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6 episodes with richie blackmore
6 episodes with richie blackmore
4 episodes with richie blackmore
4 episodes with richie blackmore
2 episodes with richie blackmore
2 episodes with richie blackmore
2 episodes with richie blackmore
2 episodes with richie blackmore
2 episodes with richie blackmore
Ingen midtvejskrise at spore i heavy metal-året 1975, hvor vi i år fejrer 50 års jubilæum for hovedværker fra både Alice Cooper, Led Zeppelin og Black Sabbath. Vi kommer selvfølgelig omkring disse i dette podcastafsnit, men også andre virile 50-års jubilanter som Ritchie Blackmore's Rainbow, Queen, Aerosmith, The Sweet og Thin Lizzy. Og så er der den spøjse danske heavy-vinkel anno 1975: Røde Mor. Ja, sgu'! Som altid er studievært Jens "Jam" Rasmussen i engageret selskab med de tungt rockende eksperter Steffen Jungersen og Michael Stützer Hansen. Nedslagspunkter: - Alice Cooper går solo, optræder i København og sætter kursen for King Diamonds senere sceneoptræden. - I 1975 hedder King Diamond endnu blot Kim Bendix Petersen. Her gør han sig som rytmeguitarist i bandet Brainstorm, som bl.a. spiller Deep Purple covernumre. - Den ikoniske ex-Purple guitarist Richie Blackmore debuterer med sit nye band Rainbow, der har den magiske metalrock-sanger Ronnie James Dio i front. - Deep Purple rekrutterer ny guitarist i den unge amerikaner Tommy Bolin, der har godt greb om spaden, men kun en kort epoke i bandet. - Lemmy skriver og indspiller sit sidste nummer inden han forlader Hawkwind. Nummeret hedder... "Motorhead". - Det rocker på forskellig vis i Amerika: fra ZZ Top over KISS til Blue Öyster Cult. - Michael fortæller om raketguitaristen Ace Frehley, Steffen om en særlig guitarstemning i Blue Öyster Cult-balladen "Then Came The Last Days of May". - Queen indspiller "A Night at the Opera" og hæver baren op i himmelstørrelse med uforlignelige "Bohemian Rhapsody". - Rush og Thin Lizzy er fortsat produktive og på vej fremad. - Det danske venstrefløjs kunstnerkollektiv Røde Mor laver rødglødende heavy rock, og en satire over betonforstadens ulykkelige skæbner. - En epokegørende aften i netop betonforstaden: studieværten befinder sig vis á vis selveste glamidolerne The Sweet lige inden de forvandler sig til sorte metalrockere. - The Scorpions giver den som tysksproget Sweet-coverband, og laver deres eget tredje album... på engelsk. - Power balladen slår igennem hos Aerosmith, Nazareth, Alice Cooper og på hitlisterne, men ikke hos AC/DC. - Vi afrunder med to hovedværker: Led Zeppelins ambitiøse dobbelt album "Physical Graffitti" og Black Sabbaths eminente udkomme af ryggen-mod-muren "Sabotage". Tag med os tilbage til 1975 og kom i guldrandet jubilæumsstemning med vort metalrockende studiehold og hard rock- og heavy-klassikere ad libitum. God lytning! Idé, tilrettelæggelse og research: Jens "Jam" Rasmussen Produktion: Jan Eriksen
Join Cheryl Lee - That Radio Chick on STILL ROCKIN' IT for news, reviews, music and interviews with some of our favourite Australian musicians.Kevin Borich's musical odyssey began with an olive oil can and a rusty trumpet on the back steps of his childhood home in New Zealand. Sixty years and over twenty albums later, the 78-year-old guitar virtuoso shows no signs of slowing down. "The R word is nowhere near," he laughs, describing a recent performance where fans went "nuts" down front, singing along to every lyric.This legendary Australian musician is preparing for a historic one-night-only performance in Adelaide alongside fellow rock icons John Swan and Dave Gleeson. The collaboration stems from Borich and Swan's time together in the Party Boys and their recent work on Borich's acclaimed "Duets" album, which also featured collaborations with Joe Walsh, Ian Moss, Tim Rogers, and other music luminaries.Throughout our conversation, Kevin shares extraordinary stories from a career that's intersected with rock royalty. Carlos Santana calling him onstage before 60,000 fans. Richie Blackmore of Deep Purple showing up at his gig after hearing him play. Jamming with Bo Diddley, an early influence who shaped his rhythmic sensibilities. These moments paint the picture of an artist whose talent has earned the respect of the very musicians who inspired him.From his beginnings with the La-De-Da's to performing at landmark Australian events like the 1972 Sunbury Festival and New Year's Eve celebrations at the Sydney Opera House, Kevin has consistently delivered authentic, passionate rock music. His recent successes—including his "Legacy" album topping AMRAP charts for three months—demonstrate an artist still exploring his creative potential.What comes through most clearly is his unwavering love for performance and connection with audiences. Even as he acknowledges challenges like the rising cost of living affecting live music attendance, his enthusiasm for the upcoming Adelaide show is palpable. He's "getting oiled up" for rehearsals, ready to deliver another unforgettable night of Australian rock history in the making.Don't miss this rare opportunity to witness Kevin Borich, John Swan, and Dave Gleeson sharing the stage for one extraordinary performance that promises to showcase the enduring power of Australian rock music at its finest.What has Kevin Borich been up to lately? Let's find out!!Get out when you can, support local music and I'll see you down the front!!Visit: ThatRadioChick.com.au
En esta ocasion les presentamos una pequeña charla con un camarada de tehuacan que sube contenido de rock en su canalsiganlo como richard blackmore
Heavy metal rock legend, Carl Canedy, and writer Phillip “Doc” Harrington, recently published Carl's autobiography, Tales of a Wild Dog, Memoirs of a Rock Warrior. Since the age of 5, after observing a striking red drum set at a wedding reception, Carl was determined to play the drums. He received his first drum set in his early teens, immediately immersed himself in practice, and eventually developed his now-famous signature style. He also taught himself how to play guitar and piano, which would later come in handy in his role as a songwriter. After spending his formative years touring with the band Kelakos, in 1979, Carl joined forces with David “Rock” Feinstein to start the legendary Upstate, NY power trio, The Rods. The band quickly became a sensation in the northeast, landing a major recording contract with Arista Records. The Rods toured and played shows with the likes of no less than: Judas Priest, Ozzy, Motörhead, Metallica, Richie Blackmore, Blue Oyster Cult, and many others. In the late 1980's, Carl produced of some of heavy metal's most iconic bands, including: Anthrax, Overkill, Exciter, Possessed, Helstar and many others. He also coached, developed, and mentored bands such as Roxx Gang and Young Turk. The Rods had a resurgence in 2010 with their comeback album; Vengeance., which was followed by Brotherhood of Metal and the highly acclaimed Rattle the Cage. The Rods continue to tour and are currently putting the final touches on their 11th studio album. Carl has also released 2 albums under the moniker of Canedy.Doc is a devoted culinarian and a dedicated heavy metal fan. A graduate of the esteemed Culinary Institute of America, he has spent the past 2 decades writing and arranging technical manuals for the baking industry. Doc views the 80's heavy metal scene as monumentally historic and highly impactful. He seeks to chronicle as much of its stories, triumphs, and challenges as time permits. A massive Rods fan, Doc encouraged Carl to write his memoirs.I've read Tales of a Wild Dog and can tell you it's an intense, personal look at working within the gritty, full force world of Heavy Metal. If you're a fan of the genre and want to know more about its origins and the people in it, be sure to check out Tales of a Wild Dog. www.canedyband.com
In this one, Eddie and Jerry talk, Silent Hill 2, Spider-Man/Moon Knight, The Penguin and what kind of music is Richie Blackmore making now?!? Enoy!
This EP Bakko & LC discuss starting a consulting agency for young artists. Chappel Roan choosing the wrong field to work in. A "Dear LC" letter. Helmet being the latest to cancel. Puddle of Mudd drama. Oasis reunites. Linkin Park has a new singer. Christopher Cross replaces Richie Blackmore. Sugar Free Sixx. Scotti Hill speaks & more. Pantheon Podcasts Reach out to us! Rate, review, and subscribe at Apple Podcasts: Cobras & Fire: Comedy / Rock Talk Show on Apple Podcasts Join our fanpage on Facebook: (2) Cobras ON Fire: Private Group | Facebook Click like and follow on Facebook: (2) Cobras & Fire: Rock Podcast | Chicago IL | Facebook Follow us on Twitter: Best Hard Rock & Metal Podcast (@CobrasFire) / Twitter Subscribe to our YouTube channel: Cobras & Fire Rock Podcast - YouTube Email us: Buy a shirt!:"Cobras and Fire Podcast" T-shirt for Sale by CobrasandFire | Redbubble | cobras and fire t-shirts - cobras fire t-shirts Stitcher: Cobras & Fire: Comedy / Rock Talk Show on Stitcher Spreaker: Cobras & Fire: Comedy / Rock Talk Show | Listen to Podcasts On Demand Free | TuneIn Find it all here: Cobras and Fire Podcast - Comedy Rock Talk Show Music: Chris Holmes - The Devil Made Me Do It Haunt - Hit N Run W.A.S.P. - Hotrods to Hell Local H - Everyone Alive Helmet - Unsung Liz Phair - Supernova Oasis - D'you Know What I Mean Saxon - Ride Like The Wind Learn more about your ad choices. Visit megaphone.fm/adchoices
This EP Bakko & LC discuss starting a consulting agency for young artists. Chappel Roan choosing the wrong field to work in. A "Dear LC" letter. Helmet being the latest to cancel. Puddle of Mudd drama. Oasis reunites. Linkin Park has a new singer. Christopher Cross replaces Richie Blackmore. Sugar Free Sixx. Scotti Hill speaks & more. Pantheon Podcasts Reach out to us! Rate, review, and subscribe at Apple Podcasts: Cobras & Fire: Comedy / Rock Talk Show on Apple Podcasts Join our fanpage on Facebook: (2) Cobras ON Fire: Private Group | Facebook Click like and follow on Facebook: (2) Cobras & Fire: Rock Podcast | Chicago IL | Facebook Follow us on Twitter: Best Hard Rock & Metal Podcast (@CobrasFire) / Twitter Subscribe to our YouTube channel: Cobras & Fire Rock Podcast - YouTube Email us: Buy a shirt!:"Cobras and Fire Podcast" T-shirt for Sale by CobrasandFire | Redbubble | cobras and fire t-shirts - cobras fire t-shirts Stitcher: Cobras & Fire: Comedy / Rock Talk Show on Stitcher Spreaker: Cobras & Fire: Comedy / Rock Talk Show | Listen to Podcasts On Demand Free | TuneIn Find it all here: Cobras and Fire Podcast - Comedy Rock Talk Show Music: Chris Holmes - The Devil Made Me Do It Haunt - Hit N Run W.A.S.P. - Hotrods to Hell Local H - Everyone Alive Helmet - Unsung Liz Phair - Supernova Oasis - D'you Know What I Mean Saxon - Ride Like The Wind Learn more about your ad choices. Visit megaphone.fm/adchoices
In this episode of CHRIS AKIN PRESENTS..., Chris sits down with legendary producer Flemming Rasmussen. They dive into his upcoming FLEMMING RASMUSSEN MASTERCLASS, designed to help musicians and engineers master their craft. Discover insights from the man behind Metallica's iconic albums: RIDE THE LIGHTNING, MASTER OF PUPPETS, and ...AND JUSTICE FOR ALL. Hear about his first impressions when he heard the mix for ...AND JUSTICE FOR ALL. They also discuss his experience working with Richie Blackmore during his time in Rainbow. Don't miss this deep dive into the mind of a production genius. Tune in for an episode packed with music history and expert advice. #musicproduction #metallica #flemmingrasmussen #masterclass #ridehtelightning #masterofpuppets #andjusticeforall #richieblackmore #rainbow #musiclegends #musiceducation #musicinterview NOTE: Everything said here, and on every episode of all of our shows are 100% the opinions of the hosts. Nothing is stated as fact. Do your own research to see if their opinions are true or not. Please SUBSCRIBE, click the notification bell, leave a comment or a like, and share this episode!
VII En el programa 138 y el 140 hablé de famosos y experiencias paranormales, eran famosos en general, modelos, cantantes, actores, que han vivido fenómenos inexplicables. En esta ocasión, quería hablar solo de músicos. Y aunque a veces sus anécdotas las han vivido solos, no en pocas ocasiones, ha sido toda la banda… algo que puede dar qué pensar. Casas embrujadas, encuentros con fantasmas, avistamientos OVNIs, o mensajes de esperanza. Voy a contaros anécdotas de muchos músicos muy importantes, tal vez de la historia, como Elvis Presley, quien tuvo experiencias con su madre fallecida y con avistamientos, entre otras anécdotas. David Bowie, a quien canciones como, Space Oddity, Oh! You Pretty Things, Starman, Moonage Daydream, Station to Station, podríamos decir que han sido inspiradas en dichas experiencias. Durante la década de 1970, también se adentró en un mundo oscuro y misterioso: el del ocultismo y la magia negra. La canción “Quicksand” del álbum “Hunky Dory” menciona a Aleister Crowley, el famoso ocultista británico. Hablaré de Jimmy Hendrix y Robert Fripp de King Crimson, quienes grabaron en Château d’Hérouville, al parecer un lugar embrujado, ya que se dice que el músico Frederic Chopin, se veía con su amante George Sand. En la actualidad la compra Michel Magne y hace un estudio de grabación. También pasan por allí, Grateful Dead, Bill Wyman, el bajista de los Rolling Stones, Bee Gees, Pink Floyd, Cat Stevens, Iggy Pop, Deep Purple, Uriah Heep , Jethro Tull, Elton John, Richie Blackmore, T Rex, Sham 69 y Fleetwood Mac. También hablare de músicos de la talla de The Clash, Black Sabbath, Tony Iommi, Geezer Butler, Ozzy Osbourne, Radiohead, de su cantante, Thom Yorke, New Order, Robbie Williams o The Cure, The Police, Sting, Sammy Hagar, reconocido por su brillante carrera en Van Halen tras reemplazar a David Lee Roth, John Lennon, The Beatles, Ringo Starr, George Harrison y Paul McCartney. HAZTE MECENAS, no dejes que La Biblioteca, cierre Nunca sus Puertas… GRATITUD ESPECIAL: Siempre a los MECENAS. Sin ustedes… esto no tendría sentido. SUSCRIBETE AL CANAL DE TELEGRAM: https://t.me/LaLamadaDeLaLuna PUEDES VER ALGUNOS VIDEOS DE LLDLL: https://www.youtube.com/channel/UCEOtdbbriLqUfBtjs_wtEHw Suscríbete al Canal Youtube y a Ivoox. Sigamos sumando en LLDLL, SUSCRIBETE en IVOOX y comparte. Y si deseas escuchar todos los programas en cerrados y sin anuncios… Escucha el episodio completo en la app de iVoox, o descubre todo el catálogo de iVoox Originals
Martin Devlin and Tony Kemp present episode 14 of the Rugby League Hour, brought to you by MicroBio Solutions. Every Monday during the 2024 NRL season on The Platform, Devlin - host of It's Only Sport - is joined by one of the best rugby league analysts going around in Kemp, the ex-Warriors coach and Kiwis representative.First off, Marty and Kempy recap the action from round 15 of the NRL season, which featured a number of surprise results, including the Dolphins surviving a Cronulla Sharks fightback to win 30-28, the South Sydney Rabbitohs making it three in a row with a 22-12 victory over the Brisbane Broncos, and the Wests Tigers breaking their nine-game losing run with an 18-10 win over the Gold Coast Titans. The Melbourne Storm remain top of the table thanks to their impressive win over the Warriors, with the Penrith Panthers in second, the Sharks in third and Dolphins fourth. The Sydney Roosters, Canterbury Bulldogs, Canberra Raiders and Manly Sea Eagles make up the teams sitting 5-8.Then, it's Up The Wahs - a segment that Marty and Kempy dedicate solely to chatting about the Warriors. This week's edition focuses on the Warriors' heavy 38-24 defeat at the hands of the Storm in Auckland, which ended a three-game winning run for the Mount Smart club. The boys question how the Warriors let slip a commanding 14-0 lead early on, whether or not Shaun Johnson should be dropped after an underwhelming performance, and more.Next, it's He's A Ledge, and this week it's a New Zealand rugby league favourite in the form of Richie Blackmore who features on the podcast. The outside back represented the Kiwis on 25 occasions, and played his club footy for the likes of the Warriors, Castleford and Leeds. Marty and Kempy chat with Blackmore about memories from the famous 1991 trans-Tasman test win over Australia in Melbourne, how Blackmore's career started, and much more.Then, Marty and Kempy go head-to-head debating a number of NRL topics, including if the Roosters are still a premiership contender, and what the new Warriors halves combination should be if coach Andrew Webster elects to change it. Kempy hands out the Effluex clean-up award for the player, coach or team who did their job better than anyone else on the weekend - someone who rolled up their sleeves and turned gunk into gold. And to finish things off, Kempy lists his five best teams in the NRL right now on TK's Top 5.The Rugby League Hour is sponsored by MicroBio Solutions Limited, solving environmental issues using green technologies. Visit microbio.co.nz.
Interview by Kris PetersSometimes the best brand of heavy metal is the one that follows a straight line. While bands of the modern era generally tend to mix a plethora of styles and genres into each recording, there are still the die-hard old-school metalheads that subscribe to the old adage of if it ain't broke, don't try to fix it.Veteran MidWest thrash metal outfit Conquest are one of those bands.Over successive previous albums, Conquest have flown the flag high for old-school metal, with crushing guitars and blinding speed punctuating their material. So it comes as no surprise then that their latest album Paradox - out now - is cut from the same cloth.More of the same, if you will, only better.Vocalist/guitarist Derrick Brumley joined HEAVY to talk us through more, starting with the reaction to Paradox thus far."So far really good," he enthused. "I mean, we're pretty blessed on how much attention it's getting these days. It's awesome. When you're a musician, and you're an artist at it, you hope for the best. Expect the worst, but keep pushing for the best (laughs)."We ask him to go deeper into the musical side of Paradox."The record Paradox is 16 songs, one is a cover of The Man On The Silver Mountain," he began. "Dio and Richie Blackmore early on was a big inspiration for me, so I was really into that old stuff like that. That's how that song found its way on the record. Just something I always wanted to record and that kind of spawned the whole thing. And then for the other tracks, we had a bunch of tunes written for the record, but then COVID hit, and the original drummer had left the band for a little bit because he had major personal issues. He was out of the band, then Lee came in and filled in the next two years - I should say became a member of the band - and just killed it on the drums. He brought this thunder to the songs, so we put all these songs together and ended up with 16 tracks after writing with Lee. It just piled in, next one, next one, and it was really cool and a really diverse record. It's very old school with a little touch of new stuff here and there. I tried to keep the production raw. I don't like overproduced stuff."In the full interview, Derrick talked more about the songs on Paradox, keeping true to your influences, writing and recording in the studio, the obstacles the band had to overcome in order to finish the album, a bit of history about Conquest, their upcoming show with Burning Witches and more.Become a supporter of this podcast: https://www.spreaker.com/podcast/heavy-music-interviews--2687660/support.
S7E21 went out Live on Rebel Rock Radio at 19h00 on 23 May 2024. It was busy as always, something for everyone. Just a note, 4 min from the end when I say goodnight the mic cuts out for some reason so there is a short gap before the outro track, Imagine someone saying who the previous tracks were, and thanks for listening, and be careful out there. In Evolutions we continue to look at the evolution of the Foo Fighters, this week's track was ‘Learning To Fly'. The Twisted Twins featured tracks called ‘The Reckoning'. The first one came from Dee Snider and the second one came from Halestorm. Immortals this week came from Deep Purple, the track was ‘Mistreated' off the Burn album. I doubt anyone will argue about its Immortal status. Richie Blackmore wrote it just before he left the band and David Coverdale sang it on the Burn album where this version comes from. Blackmore took it with him to Rainbow and Ronnie James Dia did it justice for many years. I had the pleasure of hearing Glenn Hughes do it solo on acoustic guitar with Kings of Chaos at Sun City. The Diabolical Challenge looked at four bands beginning with the letter ‘U'. The idea is that we have 4 albums, and you can only pick one. This week we had: Ugly Kid Joe – America's Least WantedUFO – Lights OutUriah Heep – Look at YourselfU2 – Achtung Baby Bomb Crocodile and Slow Panda's picks of the week were Dave Hause's ‘Pedal Down' and Dire Straits with ‘Sultans of Swing'. Good news on the Google Play Podcast issue if you listen to TSORR on Google Podcasts they are shutting it down and forcing podcasters onto YouTube Music. I got a message from them kindly telling me that I could transfer all my Podcasts including The Story of Rock and Roll to the YouTube Music platform. It was dead simple it all moved across in about 30 seconds. All the TSORR shows are there and it all works great. You should get one too if you use Google for TSORR Podcasts. Just follow the steps. If you have problems you can find us on plenty of other sites. The TSORR website www.thestoryofrockandroll.com will always be able to help. You can also always contact TSORR on Facebook, X or Instagram. Artists Featured: Corey Taylor, Dangerous Toys, Firehouse, Metallica, BlackØwl, Fastrack, The Saints, Brave Rival, Joe Bonamassa, Laura Cox, Girish & the Chronicles, Kickin' Valentina, Dee Snider, Halestorm, Sebastian Bach, Dokken, Bod Dylan, Tom Petty, Foo Fighters, Black Star Riders, Five Finger Death Punch, System of a Down, Tank, Edguy, Kerry King, Slipknot, Deep Purple, Ugly Kid Joe, UFO, Uriah Heep, U2, My Chemical Romance, Nickelback, Dire Straits, Dave Hause, Wolf Hoffman, The UninvitedThe Story of Rock and Roll. TSORR - Your one-stop shop for Rock
What's up Kitchiezzzz? If you've been to any blues, rock, soul or R&B shows in the tri city area in the last 25 years, then you have definitely seen Chris Latta. Chris got his start with the basics of Rock. A well versed education of Tony Iomi, Jimi Hendrix and Richie Blackmore, to name a few. When he was introduced to the blues, it opened up a pallet within Pandora's box and led to what has arguably been one of the most successful careers of a 'side man' that KW has ever seen, and for good reason. Chris is a chameleon and can fit in with just about anyone and is as versatile as they come. Strap in and listen to some of the stories that Chris has been a part of along the way. If you'd like to support our show, check out our merch line on our social media accounts and drop as a line with your order at kitchenerfamous@gmail.com We would also like to thank our sponsors: Room 47, The White Rabbit, Hop House Waterloo, Studio 27 (RFB Development), The Lancaster Smokehouse, The Duke Of Wellington, Encore Records and the Belmont Village Bestival!! Give them a like and follow on all social media accounts to stay up to date on current events and specials! Cheers everyone and enjoy our episode with Chris Latta!! --- Send in a voice message: https://podcasters.spotify.com/pod/show/kitchenerfamous/message
#music #podcast #guitarsolo The Cacophony Sessions are back with their thoughts on greatest guitar solos of all time. Joining Dan Whitell on this episode are Alex, Tom and Martyn; each with two pics for a discussion on what makes a guitar solo work - and what doesn't. The playlist containing all of our picks (including Dan B's and Jim's in spite of their absence from this episode) can be found on Apple Music and Spotify:https://music.apple.com/gb/playlist/shredders-revenge-or-just-axin-questions/pl.u-xlyNBoltkJxKX8https://open.spotify.com/playlist/2Vg5tA1SbXXB6HWNImQL7LIn this episode we spend a good thirty minutes or so going through some of the comments we've had on the subject as well, meaning that we cover a lot of different songs in this one. Also discover the two reasons Tom hates guitar solos (feat. science), Alex's latest band name, Baphomet's penchant for gran turismo, carnival metal and one of us channels our inner Dennis Reynolds.From this point on, all of our episodes will be available for free in full on both audio platforms and the YouTube channel. If you are interested in supporting our Patreon we will now be making monthly Q&A videos so sign up to have your questions answered by a member of the Cacophony Sessions team! As always, make sure you follow us on social media, and please like and subscribe to keep this Cac train rolling.Thanks for watching, see you in December for our overrated episode!Stay Funkyhttps://cacophonysessions.com/https://www.patreon.com/TheCacophonySessionsSupport the show
EP 576 featuring a discussion with vocalist David Glen Eisley
EP 576 featuring a discussion with vocalist David Glen Eisley
THAT METAL INTERVIEW presents Ronnie Romero of Rainbow, Elegant Weapons, Michael Schenker Group & Lords of Black (recorded September 2023). The bombastic frontman Ronnie Romero is here to speak of his 1st solo originals album, 'Too Many Lies, Too Many Masters' as he previously released two solo covers albums. He reveals the reasons why he decided to form different bands at this point in his career.That Metal Interview Podcast is FREE and ON DEMAND, stream now on Apple Podcasts, iHeart Radio, Spotify, Anchor, Google Podcasts, Pandora, Amazon Music, TuneIn, Deezer, Bandcamp.Listen to #ThatMetalInterviewPodcast: https://lnk.to/uj7sH3k4Follow us on Twitter: https://twitter.com/ThatMetalInterv Follow us on Instagram: https://www.instagram.com/thatmetalinterview/Like us on Facebook: https://www.facebook.com/ThatMetalInterviewSubscribe on YouTube: http://youtube.com/JrocksMetalZoneSupport the show(9) Facebook(6) That Metal Interview Podcast (@ThatMetalInterv) / X (twitter.com)That Metal Interview Podcast (@thatmetalinterview) • Instagram photos and videos(2297) That Metal Interview Podcast - YouTube
On this week's show, we're joined by melodic rock Vocalist Ronnie Romero, an artist who got his name on the heavy metal map debuting as Singer of Richie Blackmore's Rainbow, followed by an extensive stint with Michael Schenker. Raised in Chile, lived in Spain, and now resides in Romania, he is truly a Global musician & hands down is the hardest working man in the rock business! In 2023 alone he released his second all-covers album, toured Europe with the Rock Meets Classic ensemble, plus the band he co-leads with Richie Faulkner, Elegant Weapons, released their debut album & toured the European Summer festival circuit. And if that wasn't enough, he's just released his brand-new solo album “Too Many Lies, Too Many Masters”, a labor of love Ronnie put all of his heart & soul into! In this episode Ronnie shares a lot about his intentions for 2023 and in the future, as he takes his first big step into taking on all aspects of his musical career on his own, from the song writing to the producing, managing of his Brand, etc. & we take an in-depth look at the songs on the new album. Also, he talks all about the overwhelming response received from playing the new Elegant Weapons material to massive audiences, many who had likely never heard a song before & impromptu approach in selecting cover songs to add to the setlist. Ronnie reveals just how he got into music (it was a family affair, as his Grandfather led a Big Band Orchestra & his Dad was the Crooner), the privilege of working with so many major artists in such a short period of his career, and how he's been able to put out so much material in the last 10 years. In addition, we hear about his passion for CD shopping (something he still does on a regular basis as he travels the globe!), his philosophy for only picking deep cuts for his latest covers albums, how his wife ended up as the Model on the album covers, and he reveals a big answer to an important question sent in from a Listener about the future of Elegant Weapons. And of course, we couldn't leave the conversation without talking about his experiences and impressions of both guitar gods (Blackmore & Schenker), as Ronnie reflects back on just what he learned from his mentors, plus he's sharing a great story of his time playing soccer with the Rainbow crew. Another example of a great, unique, conversation filled with in-depth anecdotes and disclosures found only here at Metal Mayhem ROC. Thank you for the support and remember to always KEEP IT HEAVY! Visit the website and join the Metal mayhem ROC community. Sign up for our weekly newsletter keeping you updated on all new podcast episodes as well as reminders for our live Radio show on Monday nights. METAL MAYHEM ROC SOCIALS: https://metalmayhemroc.com/ https://metaldevastationradio.com/ http://pantheonpodcasts.com/ https://twitter.com/MetalmayhemR https://www.youtube.com/channel/UC1Y8gRcKQODNMWwyLBfIHOA https://www.instagram.com/metalmayhemroc/ https://www.facebook.com/groups/metalmayhemroc Ronnie Romero SOCIALS: https://www.facebook.com/ronnieromeroofficial https://www.instagram.com/ro_ck_nnie/ https://twitter.com/TheRonnieRomero Learn more about your ad choices. Visit megaphone.fm/adchoices
On this week's show, we're joined by melodic rock Vocalist Ronnie Romero, an artist who got his name on the heavy metal map debuting as Singer of Richie Blackmore's Rainbow, followed by an extensive stint with Michael Schenker. Raised in Chile, lived in Spain, and now resides in Romania, he is truly a Global musician & hands down is the hardest working man in the rock business! In 2023 alone he released his second all-covers album, toured Europe with the Rock Meets Classic ensemble, plus the band he co-leads with Richie Faulkner, Elegant Weapons, released their debut album & toured the European Summer festival circuit. And if that wasn't enough, he's just released his brand-new solo album “Too Many Lies, Too Many Masters”, a labor of love Ronnie put all of his heart & soul into! Ronnie shares a lot about his intentions for 2023 and in the future, as he takes his first big step into taking on all aspects of his musical career on his own, from the song writing to the producing, managing of his Brand, etc. & we take an in-depth look at the songs on the new album. Also, he talks all about the overwhelming response received from playing the new Elegant Weapons material to massive audiences, many who had likely never heard a song before & impromptu approach in selecting cover songs to add to the setlist. Ronnie reveals just how he got into music (it was a family affair, as his Grandfather led a Big Band Orchestra & his Dad was the Crooner), the privilege of working with so many major artists in such a short period of his career, and how he's been able to put out so much material in the last 10 years. In addition, we hear about his passion for CD shopping (something he still does on a regular basis as he travels the globe!), his philosophy for only picking deep cuts for his latest covers albums, how his wife ended up as the Model on the album covers, and he reveals a big answer to an important question sent in from a Listener about the future of Elegant Weapons. And of course, we couldn't leave the conversation without talking about his experiences and impressions of both guitar gods (Blackmore & Schenker), as Ronnie reflects back on just what he learned from his mentors, plus he's sharing a great story of his time playing soccer with the Rainbow crew. Another example of a great, unique, conversation filled with in-depth anecdotes and disclosures found only here at Metal Mayhem ROC. Thank you for the support and remember to always KEEP IT HEAVY! Visit the website and join the Metal mayhem ROC community. Sign up for our weekly newsletter keeping you updated on all new podcast episodes as well as reminders for our live Radio show on Monday nights. METAL MAYHEM ROC SOCIALS: https://metalmayhemroc.com/ https://metaldevastationradio.com/ http://pantheonpodcasts.com/ https://twitter.com/MetalmayhemR https://www.youtube.com/channel/UC1Y8gRcKQODNMWwyLBfIHOA https://www.instagram.com/metalmayhemroc/ https://www.facebook.com/groups/metalmayhemroc Ronnie Romero SOCIALS: https://www.facebook.com/ronnieromeroofficial https://www.instagram.com/ro_ck_nnie/ https://twitter.com/TheRonnieRomero Learn more about your ad choices. Visit megaphone.fm/adchoices
Electric violinist/guitarist for Kansas and lead singer/violinist of Stratospheerius Joe Deninzon talks about his latest release “Behind the Curtain (Live at ProgStock) featuring “One Foot in the Next World” and “Game of Chicken” plus his previous works including “ Guilty of Innocence”, “Headspace” and “The Next World”! Joe is hailed by critics as “The Jimi Hendrix of the Violin” and has worked with The Who, Bruce Springsteen, Sheryl Crow, 50 Cent, Richie Blackmore, Smokey Robinson, Les Paul plus performed with numerous symphonies and formed “The Grand Canyon School of Rock”! Check out the amazing Joe Deninzon on all streaming platforms and www.joedeninzon.com today! #joedeninzon #electricviolinist #guitarist #leadsinger #stratospheerius #kansas #behindthecurtain #progstock #onefootinthenextworld #gameofchicken #guiltyofinnoncence #headspace #jimihendrix #thewho #brucespringsteen #sherylcrow #50cent #lespaul #grandcanyonschoolofrock #iheartradio #spotify #applemusic #youtube #anchorfm #bitchute #rumble #mikewagner #themikewagnershow #mikewagnerjoedeninzon #themikewagnershowjoedeninzon --- Send in a voice message: https://podcasters.spotify.com/pod/show/themikewagnershow/message Support this podcast: https://podcasters.spotify.com/pod/show/themikewagnershow/support
Electric violinist/guitarist for Kansas and lead singer/violinist of Stratospheerius Joe Deninzon talks about his latest release “Behind the Curtain (Live at ProgStock) featuring “One Foot in the Next World” and “Game of Chicken” plus his previous works including “ Guilty of Innocence”, “Headspace” and “The Next World”! Joe is hailed by critics as “The Jimi Hendrix of the Violin” and has worked with The Who, Bruce Springsteen, Sheryl Crow, 50 Cent, Richie Blackmore, Smokey Robinson, Les Paul plus performed with numerous symphonies and formed “The Grand Canyon School of Rock”! Check out the amazing Joe Deninzon on all streaming platforms and www.joedeninzon.com today! #joedeninzon #electricviolinist #guitarist #leadsinger #stratospheerius #kansas #behindthecurtain #progstock #onefootinthenextworld #gameofchicken #guiltyofinnoncence #headspace #jimihendrix #thewho #brucespringsteen #sherylcrow #50cent #lespaul #grandcanyonschoolofrock #iheartradio #spotify #applemusic #youtube #anchorfm #bitchute #rumble #mikewagner #themikewagnershow #mikewagnerjoedeninzon #themikewagnershowjoedeninzon --- Send in a voice message: https://podcasters.spotify.com/pod/show/themikewagnershow/message Support this podcast: https://podcasters.spotify.com/pod/show/themikewagnershow/support
Recently retired Warrior turned wellbeing officer, Anthong Gelling, is one of the game's true characters - with some crazy stories to go with a whirlwind career. Earlier this year he sat down with the boys to talk borrowing money from Richie Blackmore, getting sacked for pranks in the UK Super League, manifesting a return to Mt Smart and that infamous 2013 World Cup tour with the Cook Islands. One Take, the official podcast of the One NZ Warriors is proudly brought to you by the TAB, Head to tab.co.nz or their app now for all of your Rugby League and Warriors betting options. See omnystudio.com/listener for privacy information.
What would happen if McFly entered the studio with Richie Blackmore and Rivers Cuomo? I imagine something not too unlike their new album, 'Power to Play', which is reviewed in this episode. Twitter: @critical_noise Instagram: @scid.marc
We're back to bring you up to speed on all the pertinent news happening in the rock world with Geekwire! Steel Panther drew mixed reactions from rock fans and musicians with their recent audition on America's Got Talent. We share our thoughts on this move. Bob Rock claims he drew praise from both Jack White and Jimmy Page for the St. Anger album. We mull over the mental state of all parties involved. Deep Purple's Roger Glover has put the kibosh on the recent rumors of a Richie Blackmore return to the band. We also discuss his take on bands doing 'farewell' tours. Brian Johnson says the AC/DC camp is excited for their upcoming Power Trip performance. We share our thoughts on if this is a harbinger of things to come for the legendary band. Other stories include Guns N' Roses breaking out some live rarities, Gene Simmons continuing to be delusional, Scott Rockenfield's lawsuit against Queensryche, why Sammy Hagar deserves credit for everything, and much more! All that and rock star birthdays, death days, and upcoming releases we're excited about. We hope you enjoy Geekwire for the week of June 8th, 2023 and SHARE with a friend! Decibel Geek is a proud member of the Pantheon Podcasts family. Contact Us! Rate, Review, and Subscribe in iTunes Join the Facebook Fan Page Follow on Twitter Follow on Instagram E-mail Us Subscribe to our Youtube channel! Support Us! Buy a T-Shirt! Donate to the show! Stream Us! Stitcher Radio Spreaker TuneIn Become a VIP Subscriber! Click HERE for more info! Comment Below Direct Download Learn more about your ad choices. Visit megaphone.fm/adchoices
We're back to bring you up to speed on all the pertinent news happening in the rock world with Geekwire! Steel Panther drew mixed reactions from rock fans and musicians with their recent audition on America's Got Talent. We share our thoughts on this move. Bob Rock claims he drew praise from both Jack White and Jimmy Page for the St. Anger album. We mull over the mental state of all parties involved. Deep Purple's Roger Glover has put the kibosh on the recent rumors of a Richie Blackmore return to the band. We also discuss his take on bands doing 'farewell' tours. Brian Johnson says the AC/DC camp is excited for their upcoming Power Trip performance. We share our thoughts on if this is a harbinger of things to come for the legendary band. Other stories include Guns N' Roses breaking out some live rarities, Gene Simmons continuing to be delusional, Scott Rockenfield's lawsuit against Queensryche, why Sammy Hagar deserves credit for everything, and much more! All that and rock star birthdays, death days, and upcoming releases we're excited about. We hope you enjoy Geekwire for the week of June 8th, 2023 and SHARE with a friend! Decibel Geek is a proud member of the Pantheon Podcasts family. Contact Us! Rate, Review, and Subscribe in iTunes Join the Facebook Fan Page Follow on Twitter Follow on Instagram E-mail Us Subscribe to our Youtube channel! Support Us! Buy a T-Shirt! Donate to the show! Stream Us! Stitcher Radio Spreaker TuneIn Become a VIP Subscriber! Click HERE for more info! Comment Below Direct Download Learn more about your ad choices. Visit megaphone.fm/adchoices
We're back to discuss all the happenings in the rock and metal world with Geekwire! The drama in the Motley Crue camp just continues to heat up. Between Mick Mars' lawsuit, Nikki Sixx's disparaging response, Carmine Appice getting into the action, and the potential for new music from the band, there's a lot to cover. We share our take on this situation. KISS' End of the Road tour continues to roll on but not without some speed bumps. In a recent show, Gene Simmons had to take a seat during the band's set due to dehydration. We discuss our thoughts on where things stand with the band and what the future may hold. Dolly Parton recently welcomed Nikki Sixx as a guest on her upcoming rock album. We share our thoughts on the non-creative song list for this upcoming project. Some good news in the Soundgarden world, as the dispute between Chris Cornell's widow and the surviving band members appears to have been settled. Other stories covered this week include Cherie Currie's thoughts on the slim chance of a Runaways reunion, Ozzy Osbourne looking rough, Blackie Lawless fighting back issues, Mr. Big potentially recording new music, Richie Blackmore and Deep Purple reunion rumors, new Great White music, and much more! We hope you enjoy Geekwire for the week of 04.21.23 and SHARE with a friend! Decibel Geek is a proud member of the Pantheon Podcasts family. Contact Us! Rate, Review, and Subscribe in iTunes Join the Facebook Fan Page Follow on Twitter Follow on Instagram E-mail Us Subscribe to our Youtube channel! Support Us! Buy a T-Shirt! Donate to the show! Stream Us! Stitcher Radio Spreaker TuneIn Become a VIP Subscriber! Click HERE for more info! Comment Below Direct Download Learn more about your ad choices. Visit megaphone.fm/adchoices
We're back to discuss all the happenings in the rock and metal world with Geekwire! The drama in the Motley Crue camp just continues to heat up. Between Mick Mars' lawsuit, Nikki Sixx's disparaging response, Carmine Appice getting into the action, and the potential for new music from the band, there's a lot to cover. We share our take on this situation. KISS' End of the Road tour continues to roll on but not without some speed bumps. In a recent show, Gene Simmons had to take a seat during the band's set due to dehydration. We discuss our thoughts on where things stand with the band and what the future may hold. Dolly Parton recently welcomed Nikki Sixx as a guest on her upcoming rock album. We share our thoughts on the non-creative song list for this upcoming project. Some good news in the Soundgarden world, as the dispute between Chris Cornell's widow and the surviving band members appears to have been settled. Other stories covered this week include Cherie Currie's thoughts on the slim chance of a Runaways reunion, Ozzy Osbourne looking rough, Blackie Lawless fighting back issues, Mr. Big potentially recording new music, Richie Blackmore and Deep Purple reunion rumors, new Great White music, and much more! We hope you enjoy Geekwire for the week of 04.21.23 and SHARE with a friend! Decibel Geek is a proud member of the Pantheon Podcasts family. Contact Us! Rate, Review, and Subscribe in iTunes Join the Facebook Fan Page Follow on Twitter Follow on Instagram E-mail Us Subscribe to our Youtube channel! Support Us! Buy a T-Shirt! Donate to the show! Stream Us! Stitcher Radio Spreaker TuneIn Become a VIP Subscriber! Click HERE for more info! Comment Below Direct Download Learn more about your ad choices. Visit megaphone.fm/adchoices
Watto catches up with Former Kiwis and Warriors back Richie Blackmore ahead of the Warriors vs Cowboys this weekend at Mount Smart Stadium. Make sure to catch live coverage of the Warriors vs Cowboys game here on SENZ. Learn more about your ad choices. Visit megaphone.fm/adchoices
On this episode of CHRIS AKIN PRESENTS..., Chris sits down with Saxon vocalist Biff Byford. Byford called in to talk about their new album MORE INSPIRATIONS, the inspiration he drew from the songs chosen, Ronnie James Dio, getting kicked off a Rainbow tour, and how strange it will be moving on with Saxon without co-founder and guitarist Paul Quinn. BECOME A VIP: https://bit.ly/cms-vipGET A FREE RUMBLE ACCOUNT: https://rumble.com/register/classicmetalshow/GET A FREE ODYSEE ACCOUNT: https://odysee.com/$/invite/@ClassicMetalShow:aPlease SUBSCRIBE, click the notification bell, leave a comment or a like, and share this episode! **NOTE: Everything said here, and on every episode of all of our shows are 100% the opinions of the hosts. Nothing is stated as fact. Do your own research to see if their opinions are true or not.** Get all our episodes at www.chrisakin.net. Facebook: www.facebook.com/chrisakinpresentsInstagram: www.instagram.com/chrisakinpresentsTwitter: www.twitter.com/realchrisakinYoutube: https://www.youtube.com/channel/UCol9mEEohs58oVsvtcnCevA --- Send in a voice message: https://podcasters.spotify.com/pod/show/cmspn/message
On this episode of CHRIS AKIN PRESENTS..., Chris sits down with Saxon vocalist Biff Byford. Byford called in to talk about their new album MORE INSPIRATIONS, the inspiration he drew from the songs chosen, Ronnie James Dio, getting kicked off a Rainbow tour, and how strange it will be moving on with Saxon without co-founder and guitarist Paul Quinn.
Discussing a Legend: Richie Blackmore
It's been 28 years to the day since the Warriors first entered the Winfield Cup, and former Warrior Richie Blackmore joined Staf to talk about what it was like. Learn more about your ad choices. Visit megaphone.fm/adchoices
Special Guest Joseph James drops by The City's Backyard Podcast! GRAMMY NOMINATED MUSIC PRODUCER, SINGER/SONGWRITER & MUSIC EXECUTIVE RELEASES HIS FIRST SOLO EFFORT Berklee College of Music graduate Joseph James has had a keen eye for talent and has helped launch and develop the music careers of many talented artists most notably, Stefani Germanotta aka Lady Gaga & others . . . Other credentials : Keyboardist for Bocelli, Bono and Blackmore (Deep Purple) Joe first met Stefani in 2003 to produce her college application demo for New York University's Tisch School of the Arts. Together they recorded three Jazz standards. Fast forward to 2023 and Joseph's debut single is #22 / Billboard AC and Climbing Featured on Spotify : 31k Streams, 14k Followers / 4wks 200K Plays Added to Sirius/XM Love & Mosaic channels Valentine's Day is a year-round celebration of Love + Music VALENTINE : https://www.youtube.com/watch?v=ik--xhP8hK4 The rest of Joseph's album ('5.5') follows in the coming weeks!
00.00: Na, akkor a tojás ára meg van oldva. 01.20: A mikrogettók szerelemese, avagy hol vannak a Hollán Ernő utcai herbálosok? 03.50: A kamera az új bézbólütő. 05.40: Matolcsy György előadása a kecskeméti egyetemen. 06.55: Magyarország térszerkezeti összefüggései, avagy minden idők matolcsysta infografikája. 10.30: Neumann János, a híres káromkodó. 11.50: A magas infláció illiberális dolog. 15.50: Orbán ördögi olimpiai terve, és Építész Laci levele: A hagyományos magyarázat, hogy Magyarországon világszínvonalú otthona kell legyen minden sportágnak és azért pont ott, mert az egy régóta fejlesztésre váró rozsdaövezeti terület. Hallgasson szakmányban Orbánt és Fürjest, akit ez részletesebben érdekel! Szerencsére nem kell! Mert van egy sokkal rövidebb összeesküvés elméletem: Magyarországon titokban olimpia lesz olimpia nélkül vagyis minden sportágnak lesz stadionja és benne vb-je. És minden ott, ahol az az olimpiára ki lett találva. Küldöm a titkos könyvet. Na, mi van a 25, oldalon? A stadion! Ott. Véletlenül pont ott! Másik kedvencem az olimpiai falu ott a szomszédban, amit Karácsony is hajlandó Diákvárosnak hívni és hasznosnak tartani, pedig semmi értelme. Nem Diákvárosok kellenek, hanem campusok, ahol egy helyen vannak az egyetemek és a diákok, vagyis a koleszok. A hiányzó koleszoknak tehát az egyetemek mellett kell helyet keresni, nem random üres telkeken! Fontos, hogy a Diákváros NE épüljön meg! 19.30: Mindenki nyugodjon meg: Bede Márton életében nem lesz budapesti olimpia! 22.00: Uj Péter levizsgázott motorra. 23.30: Uszodamigránsok aktuál. 24.20: Nindzsapálya az öttusában. 26.30: Takeshi Kitano pályaműve az öttusa helyettesítésére. 27.30: Gyermekfagyasztás a Hosszú Katinka Sportuszodában. 29.30: Road test: törökbálinti uszoda. 30.40: Mindennemű szőr eltávolítása tilos! 37.20: Kvíz: ki volt a világ valaha volt legnagyobb énekese? 38.40: Axl Rose és Sebastian Bach Nazarethet énekelnek, és az eredeti Love Hurts. 39.30: Richie Blackmore coming outja a Smoke on the waterről. 41.00: Bede Márton lengyel filmje a hegymászásról. 41.00: Maciej Berbeka (valójában 20 fok körül van a különbség az Everest téli és nyári szezonja között). 46.45: Jerzy Kukuczka. 49.50: Broad Peak a Netflixen. 51.30: Decapitated, nagyszerű lengyel death metál. 53.00: Búmerkesergő: a fesztiválon ott áll a keverőpult mögött egy ötvenes, rossz arcú fasz. 54.00: Miért van méltatlanul kevés magyar színész Hollywoodban? 56.30: Timothy Snyder az ukrán-amerikai relációról 57.45: Ez ilyen zsidó, ez biztos ért a pénzhez. Kriptószponzorok az F1-ben See omnystudio.com/listener for privacy information.
James LoMenzo Interview: James talks about leaving NYC for LA, getting out of his own way so the Universe can guide him… playing with Richie Blackmore, abruptly leaving the music business and then re-entering it later on… a dark period in time for him, more. 100% Real & enthusiastic: Cool Guitar & Music T-Shirts!: http://www.GuitarMerch.com James has toured and played with White Lion, Megadeth, Zakk Wylde, Pride & Glory, Black Label Society, Slash's Snakepit, David Lee Roth, and has been with John Fogerty for the last 6 years. Subscribe & Website: https://www.everyonelovesguitar.com/subscribe Support this show: http://www.everyonelovesguitar.com/support
If you grew up in the 70's you were probably a huge GRAHAM BONNET fan. Graham used to front Richie Blackmore's Rainbow and Alactrazz. Now he has a new album called "Day Out In Nowhere." I caught up with Graham as he lounged in the Californian sunshine in LA. BILL MEDLEY from THE RIGHTEOUS BROTHERS has been enjoying a hugely successful career as a singer for more than 60 years. After Bobby Hatfield's death, Bill has reinvented the Righteous Brothers and is wowing audiences all over again. Bill walks us through the highlights of his incredible career and introduces us to his latest album - a tribute both to Bobby and to his first love, The Blues. He was the voice of Manfred Mann's Earthband and the founder of the 70's group, Night. He's also hugely successful as a songwriter, most notably for the hit made famous by Australia's own John Farnham. His name is CHRIS THOMPSON and we meet him from his home in Belgium this week. Boy, does he have a story to tell. Join me won't you? www.abreathoffreshair.com.au or wherever you get your podcasts. Don't forget to subscribe too please and I'd love to hear if you're enjoying the show!
Sound Matters episode #123 features Tom's 3rd in-depth conversation with Mark Kendall from the multi-platinum band Great White. In this episode, we debut a new segment called "Song Matters" where I specifically dig into an artist's recollections and stories on the songwriting and recording of many of the band's classic tracks. Mark goes deep into many tracks from Great White's back catalog sharing insights about the making of the music through the years. The "Song Matters" segments are for anyone who is interested in the creation process, and how the music ultimately gets written, recorded and released. > Overview of how Great White and Mark wrote songs in the early days> On reasons for recording fuller demos before presenting to band > "Congo Square"> Hendrix and Bowie's approach to song ideas> Not the Mark Kendall show... but a band of dudes with opinions> Collaborative or competitive in Great White with respect to songwriting credits> "Mista Bone"> "Rock Me" and how some of the greats change typical songwriting approaches> When others in the band hear and help with your ideas> Tom Petty and Jackson Browne... masters of their craft> When to keep working on a song or move on> Collaborating with bandmate Michael Lardie and writing solo sections> Writing in different song structure styles> Getting inspiration from other sources and Richie Blackmore's lifts, etc.> "Hold On" from the 1st album and "No Better Than Hell"> "Shot In the Dark" from 2nd album (and Alan Niven's contributions)> Jack Russell and writing lyrics> Alan Niven (like the 6th Great White member) - strong with lyrics and the business side> "Waiting For Love" from Shot In the Dark (w/Stephan Jerry Lynn Williams)> Nervous when recording and working with Michael Wagner> The Once Bitten record... did they sense it was gonna be big> "Rock Me" and hearing it back for the first time> On "Rock Me" and the workaround for the 7 min. length> "Save Your Love"> "Lady Red Light"> Michael Wagner - no effects records> "Once Bitten, Twice Shy" (Ian Hunter)> "The Angel Song" with Dio charity-inspired lyric and video> "Call It Rock and Roll"> "Afterglow" (Steve Marriott)> On Steve Marriott and (Jack Russell) singing on Herman Rarebell's solo album> "Love Is A Lie"> People online teaching guitar parts for Great White songs> Working with Jack Blades (and Don Dokken) on the Can't Get There from Here album...> Working with Myron Grombaucher (from Pat Benatar band) > Recording guitars and drums for the Can't Get There from Here album> Really listening to others ideas before shooting them down in favor of your idea> "This Is the Life" with Terry Illous (from XYZ) and Mark's grandson on the pick slide)> Creating atmospheres and not worrying about duplicating live> Underrated Great White songs: "Hold On" and "Street Killer" from the first album> Songs that are selected as singles vs. those that are B-sides> Well-constructed songs with memorable guitar parts... always been the goal> Mark wanted to be like Carlos Santana> Jimmy Page's guitar solo on "Stairway to Heaven"> Why Great White songs are memorable> Dynamics in music are the most important thing> On shredding with respect to songwriting and guitar playing> On continuing to get better, be inspired, and collaborating as a songwriter and music fan> Mark's longtime friend who is a trusted ear> The several months waiting after finishing a record> Mark's favorites of the 13 Great White videos> Thoughts on using technology today (for video and audio)> Mark's solo workConnect with Mark Kendall & Great White:Website: www.officialgreatwhite.comFacebook: www.facebook.com/GreatWhiteOfficialFacebook: www.facebook.com/MarkSKendallTwitter: www.twitter.com/MarkKendall_GWInstagram: www.instagram.com/mr._greatwhite (@mr._greatwhite)Connect with TOM LEU:Websites: www.SoundMatters.tv | www.TomLeu.com | www.16Imaging.com Official Facebook Page: www.facebook.com/tomleu2Twitter: www.twitter.com/tomleu (@tomleu)Instagram: www.instagram.com/tomleu (@tomleu)YouTube: www.tomleu.tv SOUND MATTERS Radio Episode #123 >> www.SoundMatters.tv/sm123/
Greg Renoff, author of “Van Halen Rising: How a Southern California Backyard Party Band Saved Heavy Metal” and “Ted Templeman: A Platinum Producer's Life in Music”, joins us to talk about a pivotal album in his youth, "Burn" by Deep Purple. It also happens to be one of my favorite albums, too. We also spend some time talking about the first solo LP from bass player Glenn Hughes, another personal favorite of mine.If you liked this episode, check out the previous episode where we do a deep dive into the song "Burn":www.lovethatsongpodcast.com/deep-purple-burn/-- This show is one of many great podcasts on the Pantheon Podcasts network, where you'll find a ton of podcasts focusing on the music & the artists we love.
We've all seen iconic gear abuse. Jimi Hendrix setting his guitar on fire, Paul Stanley busting up prop guitars, Richie Blackmore destroying a guitar on a TV camera, or Pete Townsend smashing guitars, amps, drums, stands, microphones, monitors, really anything in sight. Of course this is the extreme. Obviously scratches and dents can happen through normal playwear and tear. Belt buckle rash, hand and arm friction on the body and neck, getting knocked by an instrument cable, stand rash, sun bleaching, luthier mishaps, pick and nail scratches… But what are some war scars that we have seen on our own gear? Any good stories? How do we feel about used gear? Is it okay to buy relic'd? Should you repair a ding? How much does the value drop? And is it okay to break gear on purpose? Well we will discuss this, and more on this group therapy session with Lloyd, on the Tweed Couch. --- Support this podcast: https://anchor.fm/tweedcouch/support
Richie Blackmore talking Warriors and Shaun Johnsons return, Hazel Tubic on Super Rugby Aupiki and one fantastic lawn! Listen here to the Midday Wrap.
O Rainbow foi uma banda sensacional, o mentor foi o genial guitarrista Richie Blackmore, mas a melhor fase foi quando o vocal ficou a catgo de Ronnie James Dio, e é exatamente isso que o jornalista Eduardo Dutra Maia aborda neste PAPO FURADO!
Great stories about Def Leppard, playing with Richie Blackmore, Gary Moore, Michael Schenker… Getting sober 32 years ago and what the trigger was… drinking $20,000 worth of coffee… putting Delta Deep (one of Phil's side projects) together… his top 3 musical experiences, favorite guitarists he's played with… biggest life lesson he's learned (which has helped keep him very grounded), the toughest thing he's had to do, and much more. INCREDIBLY cool! Cool Guitar & Music T-Shirts! http://www.GuitarMerch.com Subscribe: https://www.everyonelovesguitar.com/subscribe Support this show: http://www.everyonelovesguitar.com/support
Australian rock music legend Dave Tice shares stories from the early days of Buffalo, The Count Bishops and a life in music and records. Part 2 of 2 Topics include: Dave moves to UK, joins the Count Bishops Recording The Count Bishops debut Playing in London in 1977 The Richie Blackmore incident Opening up for Black Sabbath in 1973 Dave's solo single “I Don't Want to Spoil The Party” Transitioning from the Count Bishops to The Bishops Playing with Motorhead, partying with Lemmy Recording “a moment” Proudest achievement of his recording history Future plans Live shows and opportunities Buffalo Revisited Who owns the rights to Buffalo music currently? “Volcanic Rock Live” from Ripple Music Why Buffalo records are so collectable Pre-order Buffalo Revisited "Volcanic Rock Live" here. Extended interview here: www.Patreon.com/VinylGuide Listen on Apple: https://apple.co/2Y6ORU0 Listen on Spotify: https://spoti.fi/36qhlc8 Follow our Podcast: https://linktr.ee/vinylguide Facebook: www.Facebook.com/VinylGuide Instagram: www.Instagram.com/VinylGuide Support our show: www.Patreon.com/VinylGuide If you like records, just starting a collection or are an uber-nerd with a house-full of vinyl, this is the podcast for you. Nate Goyer is The Vinyl Guide and discusses all things music and record-related
Gracias a Marcos de Soria, Felipe de Benicasim y Antonio de Madrid por escribir a Rock Syndicate y aunque no todos han pedido este disco, creo que a Antonio le daba igual el disco, el caso es que fuera de Ronnie James Dio, los demás sí que querían escuchar este disco, que me trae muy buenos recuerdos y que en su día, gran parte de los temas escuche en directo por la propia banda. En mis años heavys. Es el año de 1975, aunque debemos ir un poco más atrás para poder entender la importancia histórica de este trabajo discográfico del que hablaremos, ubicarnos en los acontecimientos previos al nacimiento de una de las bandas más influyentes de la historia, que ocupa un sitio de honor en el sagrado templo del Rock Metal y cuyo legado va más allá del tiempo y del espacio.
In this episode of LIGHT TALK, The Lumen Brothers discuss everything from Working on Devised Productions to Chloe. Join Steve, Driscoll, and David as they pontificate about: What we learned from our first lighting designs; Having something in common with Mozart; With travel budgets being cut, how to get all the experience of going to trade shows if you can't go to trade shows; Working on devised productions; Call me "Jacques Martan'"; Halloween treats; "Koi Delight"; Taking the last boat out of Catalina; The MTV VMA Awards Show; Big bottoms and big kick drums; Smashing guitars on your head; Dave Grohl vs. Richie Blackmore; What is real, what is AR, and what is just a hallucination?; Floor projections; What is "Jewel Lighting"?; and "Hoping for the best". Nothing is Taboo, Nothing is Sacred, and Very Little Makes Sense.
The intro music you just heard The Northern Lights of Old Aberdeen featured the guitar of Richie Blackmore, probably best known for his work with rock band Deep Purple and the vocals of today's guest, from Scotland, the great pipes of Doogie White. Welcome to the Better Each Day podcast. I'm your host Bruce Hilliard with a very special guest. Sometimes there's an interview where I could go on talking to the guest for hours. This is one of them. The dinner bell rang and Doogie had to run. His album, As Yet Untitled, the topics, everything else. Please welcome Doogie White. Thanks so much for listening to my stuff. My music can be found on Spotify, Apple Music, Amazon and all the digital platforms. I'm looking forward to more live performances and meeting more people in person. Until then, honor your future, it comes with a lifetime guarantee. This is Bruce Hilliard...over and out! Support this podcast
The intro music you just heard The Northern Lights of Old Aberdeen featured the guitar of Richie Blackmore, probably best known for his work with rock band Deep Purple and the vocals of today's guest, from Scotland, the great pipes of Doogie White. Welcome to the Better Each Day podcast. I'm your host Bruce Hilliard with a very special guest. Sometimes there's an interview where I could go on talking to the guest for hours. This is one of them. The dinner bell rang and Doogie had to run. His album, As Yet Untitled, the topics, everything else. Please welcome Doogie White. Thanks so much for listening to my stuff. My music can be found on Spotify, Apple Music, Amazon and all the digital platforms. I'm looking forward to more live performances and meeting more people in person. Until then, honor your future, it comes with a lifetime guarantee. This is Bruce Hilliard...over and out! Support this podcast
The intro music you just heard was the guitar of Richie Blackmore, probably best known for his work with rock band Deep Purple and the vocals of today's guest, from Scotland, the great pipes of Doogie White. Welcome to the Better Each Day podcast. I'm your host Bruce Hilliard with a very special guest. Sometimes there's an interview where I could go on talking to the guest for hours. This is one of them. The dinner bell rang and Doogie had to run. His album, As Yet Untitled, the topics, everything else. Doogie started his career in his native Scotland in 1984 by fronting the Scottish hard rock band La Paz, paying his dues, and making a couple of records that instantly showcased his big, powerful voice. After auditioning for the lead vocalist slot in Iron Maiden and touring Japan in 1991 with Praying Mantis, White recorded a demo tape that eventually ended up in the hands of Ritchie Blackmore, who, in 1994, hired White to be Rainbow's lead singer. White remained in Rainbow until 1997 with the band releasing 1995's Stranger in Us All album that featured Doogie as lead vocalist. A live CD/DVD, entitled Black Masquerade, recorded in 1995, was released in 2013. White went on to join Yngwie Malmsteen's Rising Force in 2001 and recorded two albums (Attack!! and Unleash the Fury) before leaving the band in 2008 and joining UK metal band Tank, with whom he recorded two albums. Doogie joined up with another legendary guitarist, Michael Schenker, in 2011 and recorded two albums under the moniker Michael Schenker's Temple of Rock. He is currently the lead vocalist in longtime UK hard rock band, Alcatrazz, when he took over from the band's founding singer, Graham Bonnet, in 2020. Alcatrazz released its first single, Turn of the Wheel, with Doogie on vocals, in June 2021. He's performed and recorded with loads of other big names over the years, but rather than me listing them all here, let's set up a call with Doogie and you can hear it straight from the horse's mouth. Please welcome Doogie White. Support this podcast
The intro music you just heard was the guitar of Richie Blackmore, probably best known for his work with rock band Deep Purple and the vocals of today's guest, from Scotland, the great pipes of Doogie White. Welcome to the Better Each Day podcast. I'm your host Bruce Hilliard with a very special guest. Sometimes there's an interview where I could go on talking to the guest for hours. This is one of them. The dinner bell rang and Doogie had to run. His album, As Yet Untitled, the topics, everything else. Doogie started his career in his native Scotland in 1984 by fronting the Scottish hard rock band La Paz, paying his dues, and making a couple of records that instantly showcased his big, powerful voice. After auditioning for the lead vocalist slot in Iron Maiden and touring Japan in 1991 with Praying Mantis, White recorded a demo tape that eventually ended up in the hands of Ritchie Blackmore, who, in 1994, hired White to be Rainbow's lead singer. White remained in Rainbow until 1997 with the band releasing 1995's Stranger in Us All album that featured Doogie as lead vocalist. A live CD/DVD, entitled Black Masquerade, recorded in 1995, was released in 2013. White went on to join Yngwie Malmsteen's Rising Force in 2001 and recorded two albums (Attack!! and Unleash the Fury) before leaving the band in 2008 and joining UK metal band Tank, with whom he recorded two albums. Doogie joined up with another legendary guitarist, Michael Schenker, in 2011 and recorded two albums under the moniker Michael Schenker's Temple of Rock. He is currently the lead vocalist in longtime UK hard rock band, Alcatrazz, when he took over from the band's founding singer, Graham Bonnet, in 2020. Alcatrazz released its first single, Turn of the Wheel, with Doogie on vocals, in June 2021. He's performed and recorded with loads of other big names over the years, but rather than me listing them all here, let's set up a call with Doogie and you can hear it straight from the horse's mouth. Please welcome Doogie White. Support this podcast
In the mid-to late 1970's, during the gray area when Los Angeles was still all about glam rock while embracing the nascent punk scene, a group of groupies became an all-girl band called Backstage Pass. Instantaneously, they took Hollywood by storm, got international press, made a splash wherever they went, stealing -and in some cases breaking-the hearts of musicians who'd go on to be household names...at least in rock'n'roll circles. In this episode, hostess Pleasant Gehman chats with her long time pals from Backstage Pass Genevieve Schor (aka Genny Body) Spock and Marina. The stories are uproarious tales of love, teenage lust, intercontinental trysts, debauchery on The Sunset Strip and LA's first underground punk club The Masque. The Hot Girl Mayhem stars the likes of The Damned, Elvis Costello, The Screamers, Sex Pistols, Richie Blackmore, Doctor Feelgood, Nick Lowe...and way too many more to mention.More from Pleasant Gehmanwww.pleasantgehman.comInstagram: @princessofhollywoodwww.facebook.com/pleasant.gehmanwww.twitter.com/PleasantGehman1This show is part of Pantheon Podcasts
In the mid-to late 1970's, during the gray area when Los Angeles was still all about glam rock while embracing the nascent punk scene, a group of groupies became an all-girl band called Backstage Pass. Instantaneously, they took Hollywood by storm, got international press, made a splash wherever they went, stealing -and in some cases breaking-the hearts of musicians who'd go on to be household names...at least in rock'n'roll circles. In this episode, hostess Pleasant Gehman chats with her long time pals from Backstage Pass Genevieve Schor (aka Genny Body) Spock and Marina. The stories are uproarious tales of love, teenage lust, intercontinental trysts, debauchery on The Sunset Strip and LA's first underground punk club The Masque. The Hot Girl Mayhem stars the likes of The Damned, Elvis Costello, The Screamers, Sex Pistols, Richie Blackmore, Doctor Feelgood, Nick Lowe...and way too many more to mention.More from Pleasant Gehmanwww.pleasantgehman.comInstagram: @princessofhollywoodwww.facebook.com/pleasant.gehmanwww.twitter.com/PleasantGehman1This show is part of Pantheon Podcasts
In the mid-to late 1970's, during the gray area when Los Angeles was still all about glam rock while embracing the nascent punk scene, a group of groupies became an all-girl band called Backstage Pass. Instantaneously, they took Hollywood by storm, got international press, made a splash wherever they went, stealing -and in some cases breaking-the hearts of musicians who'd go on to be household names...at least in rock'n'roll circles. In this episode, hostess Pleasant Gehman chats with her long time pals from Backstage Pass Genevieve Schor (aka Genny Body) Spock and Marina. The stories are uproarious tales of love, teenage lust, intercontinental trysts, debauchery on The Sunset Strip and LA's first underground punk club The Masque. The Hot Girl Mayhem stars the likes of The Damned, Elvis Costello, The Screamers, Sex Pistols, Richie Blackmore, Doctor Feelgood, Nick Lowe...and way too many more to mention. More from Pleasant Gehman www.pleasantgehman.com Instagram: @princessofhollywood www.facebook.com/pleasant.gehman www.twitter.com/PleasantGehman1 This show is part of Pantheon Podcasts Learn more about your ad choices. Visit megaphone.fm/adchoices
In the mid-to late 1970’s, during the gray area when Los Angeles was still all about glam rock while embracing the nascent punk scene, a group of groupies became an all-girl band called Backstage Pass. Instantaneously, they took Hollywood by storm, got international press, made a splash wherever they went, stealing -and in some cases breaking-the hearts of musicians who’d go on to be household names...at least in rock’n’roll circles. In this episode, hostess Pleasant Gehman chats with her long time pals from Backstage Pass Genevieve Schor (aka Genny Body) Spock and Marina. The stories are uproarious tales of love, teenage lust, intercontinental trysts, debauchery on The Sunset Strip and LA’s first underground punk club The Masque. The Hot Girl Mayhem stars the likes of The Damned, Elvis Costello, The Screamers, Sex Pistols, Richie Blackmore, Doctor Feelgood, Nick Lowe...and way too many more to mention. More from Pleasant Gehman www.pleasantgehman.com Instagram: @princessofhollywood www.facebook.com/pleasant.gehman www.twitter.com/PleasantGehman1 This show is part of Pantheon Podcasts
Join Ben Jekyll something a little different this week. We have an in depth conversation between Richie Blackmore and Candice Night about Nature`s Light, the new Blackmore`s Night album, including the tracks Four Winds and Wish You Were Here There`s also new music from Grand Theft Audio - another life Void Vater - i want more Danko Jones - i want out Thundermother - the road is ours Sumo Cyco - no surrender Atreyu - underrated Erra - shadow autonomous Act of Denial - slave Nuclear - hatetrend Arion - i love to be your enemy Terminalist - relentless alteration And some classics from Blutengel - black Then Comes Silence - warm like blood VNV Nation - testament Catch Dancing With The Dead in its normal spot, 8-10pm UK time via mmhradio.co.uk every Saturday night. Heard something you like and want to hear it again? heard something you hate and want us to banish it? Got something you didn`t hear and think we should play it? Drop a mail to benjekyll@mmhradio.co.uk
Hoy vamos a ocuparnos de un disco mítico, objetivo número uno de todos los coleccionistas de vinilos que se precien. Se trata del doble álbum Made in Japan del no menos mítico grupo Deep Purple. El disco se publicó en diciembre de 1972 y se grabó durante su primer gira por Japón en ese mismo año, recibiendo las mejores críticas tanto del público como de la prensa especializada. La banda ya había grabado de forma privada algunos conciertos pero la verdad es que no estaba nada entusiasmada con este proyecto más profesional y más comprometido y, sobre todo, hacerlo en directo con los riesgos que conlleva semejante trabajo. Se impuso la opinión de la compañía discográfica y el disco salió adelante. Aighway Star, registrado en Osaka el 16 de agosto de 1972 En aquel momento la nómina de Deep Purple estaba formada por los fundadores Richie Blackmore, a la guitarra, Ian Paice, a la batería y Jon Lord al órgano. Para la gira contrataron a Ian Gillan (voz) y Roger Glover, bajo. Pensaron que debían orientar su sonido psicodélico hacia el Hart rock, y así lo hicieron. La extensa gira fue un éxito de público pero el grupo seguía con su idea inicial de no publicar un álbum en directo porque creían que era imposible reproducir en un LP la calidad y la experiencia de sus conciertos. Lamentablemente, las grabaciones se retransmitieron por radio, ocasionando la aparición de numerosas grabaciones piratas. Una de estas, distribuida por Virgin Records llegó incluso a los tribunales. Al final, los acontecimientos convencieron a la banda de que el lanzamiento de un álbum en directo sería un éxito comercial. Child in time, grabado en Osaka el 16 de agosto de 1972. Deep Purple ya eran conocidos en Japón por los sencillos que se habían publicado anteriormente, así que tenía todo el sentido la realización de la gira. Esta se concretó en los días 15, 16 y 17 de agosto de 1972 y las entradas se agotaron nada más salir a la venta. Como ya habían aceptado la grabación, el grupo insistió en que, por lo menos, el trabajo se realizara de la forma más adecuada. Gillan, el cantante, comentó al respecto. “Dijimos que elegiríamos el equipo, los ingenieros y que tendríamos la última palabra sobre que cintas se publicarían y cuales no.” Así que, el grupo contrató al productor Martin Birch, que ya había trabajado en sus anteriores álbumes de estudio, para que grabara las actuaciones con una mesa de ocho pistas y poder, posteriormente, hacer las mezclas los propios músicos. Deep Purple llegó a Japón el 9 de agosto, una semana antes del primer concierto, pero para entonces, su productor Birch ya no estaba tan seguro de que la calidad de la grabación fuera buena, y es que el equipo que le habían suministrado no tenía ningún control de balance y era, además, demasiado pequeño. La banda optó por no interesarse por el resultado final del proyecto y se concentró simplemente en realizar unas buenas actuaciones. Smoke on the water, grabada en Osaka el 15 de agosto de 1972. El segundo concierto en Osaka, fue considerado como el más sólido de los dos que se dieron en esta ciudad y, de hecho, la mayoría de las pistas provienen de él. Solo se utilizó una canción del concierto del día 15, “Smoke on the water”, la que acabamos de oír. Parece ser que fue la única ocasión en la que Blackmore ejecutó correctamente el riff inicial. A pesar de estas pequeñas minucias, la banda disfrutó con la gira. Glover comentó: “Que trece o catorce mil chicos japoneses estuvieran cantando con nosotros “Child in time” fue algo muy emocionante”. El bajista siempre consideró esta gira como el punto álgido de su carrera. Bueno, también es verdad que algún miembro del grupo no se lo pasó tan bien. En los estadios, la banda contaba con una fila de guardaespaldas situados frente al escenario. Cuando, en uno de estos conciertos, Blackmore destrozó su guitarra al final de «Space Truckin'» y la lanzó al público, varios de estos guardaespaldas saltaron sobre los aficionados para hacerse con ella como un preciado trofeo. El incidente molestó mucho al guitarrista, pero el resto del grupo lo encontró divertidísimo. Escucharemos ahora “The Mule”, grabada en Tokio el 17 de agosto de 1972 A pesar de su planteamiento inicial, y como la banda no consideraba el álbum de vital importancia, solo Glover y Paice se presentaron para las mezclas. El resto parece ser que nunca escucharon el resultado final y además no querían que el disco saliera a la venta fuera de Japón y exigían tener plenos derechos sobre las cintas, sin embargo, quien manda manda, o se la compañía discográfica, el álbum fue publicado mundialmente de todos modos. Made in Japan fue lanzado en el Reino Unido en diciembre de 1972, con el diseño artístico del propio Glover, os acordareis, la famosa fotografía de la banda a todo color en la portada y contraportada. Rápidamente se convirtió en un éxito comercial y llegó a la sexta posición de Billboard 200, la mejor en la carrera del grupo. Escucharemos ahora “Strange kind of women”, registrada en Osaka el 16 de agosto de 1972 Recientemente Ian Gillan ha declarado que, aún a la edad que tienen, sienten mucha energía para continuar pisando los escenarios durante muchos años más, y que, desde luego, no piensan disolver Deep Purple. Según él, podría seguir tocando hasta los 90 años. El pasado 26 de febrero de 2020, Deep Purple anunció el lanzamiento de un nuevo álbum para el mes de abril de ese año. Posteriormente tuvieron que aplazarlo, con motivo de la pandemia del Coronavirus, y fue lanzado definitivamente en el mes de agosto. Si les hacemos caso, tenemos Deep Purple para rato. Que así sea. Lazy, grabada en Tokio el 17 de agosto de 1972. Y ya nos vamos. Ha sido un placer, otro día más, escuchar buena música en vuestra compañía. Nos oímos nuevamente la próxima semana. Que no falte nadie. Hasta entonces… ¡Buenas Vibraciones!
This week's episode looks at "Needles and Pins", and the story of the second-greatest band to come out of Liverpool in the sixties, The Searchers. Click the full post to read liner notes, links to more information, and a transcript of the episode. Patreon backers also have a sixteen-minute bonus episode available, on "Farmer John" by Don and Dewey. Tilt Araiza has assisted invaluably by doing a first-pass edit, and will hopefully be doing so from now on. Check out Tilt's irregular podcasts at http://www.podnose.com/jaffa-cakes-for-proust and http://sitcomclub.com/ ----more---- Resources No Mixcloud this week, as there are too many recordings by the Searchers. My two main resources for this episode have been the autobiographies of members of the group -- Frank Allen's The Searchers and Me and Mike Pender's The Search For Myself. All the Searchers tracks and Tony Jackson or Chris Curtis solo recordings excerpted here, except the live excerpt of "What'd I Say", can be found on this box set, which is out of print as a physical box, but still available digitally. For those who want a good budget alternative, though, this double-CD set contains fifty Searchers tracks, including all their hits, for under three pounds. Patreon This podcast is brought to you by the generosity of my backers on Patreon. Why not join them? Transcript Last week we had a look at the biggest group ever to come out of Liverpool, and indeed the biggest group ever to play rock and roll music. But the Beatles weren't the only influential band on the Merseybeat scene, and while we won't have much chance to look at Merseybeat in general, we should at least briefly touch on the other bands from the scene. So today we're going to look at a band who developed a distinctive sound that would go on to be massively influential, even though they're rarely cited as an influence in the way some of their contemporaries are. We're going to look at The Searchers, and "Needles and Pins": [Excerpt: The Searchers, "Needles and Pins"] The story of the early origins of the Searchers is, like everything about the Searchers, the subject of a great deal of dispute. The two surviving original members of the group, John McNally and Mike Pender, haven't spoken to each other in thirty-six years, and didn't get on for many years before that, and there have been several legal disputes between them over the years. As a result, literally everything about the group's history has become a battlefield in their ongoing arguments. According to a book by Frank Allen, the group's bass player from 1964 on and someone who took McNally's side in the split and subsequent legal problems, McNally formed a skiffle group, which Mike Pender later joined, and was later joined first by Tony Jackson and then by a drummer then known as Chris Crummey, but who changed his name to the more euphonic Chris Curtis. According to Pender, he never liked skiffle, never played skiffle, and "if McNally had a skiffle group, it must have been before I met him". He is very insistent on this point -- he liked country music, and later rock and roll, but never liked skiffle. According to him, he and McNally got together and formed a group that was definitely absolutely not in any way a skiffle group and wasn't led by McNally but was formed by both of them. That group split up, and then Pender became friends with Tony Jackson -- and he's very insistent that he became friends with Jackson during a period when he didn't know McNally -- and the group reformed around the three of them, when McNally and Pender got back in touch. The origin of the group's name is similarly disputed. Everyone agrees that it came from the John Wayne film The Searchers -- the same film which had inspired the group's hero Buddy Holly to write "That'll Be The Day" -- but there is disagreement as to whose idea the name was. Pender claims that it was his idea, while McNally says that the name was coined by a singer named "Big Ron", who sang with the band for a bit before disappearing into obscurity. Big Ron's replacement was a singer named Billy Beck, who at the time he was with the Searchers used the stage name Johnny Sandon (though he later reverted to his birth name). The group performed as Johnny Sandon and The Searchers for two years, before Sandon quit the group to join the Remo Four, a group that was managed by Brian Epstein. Sandon made some records with the Remo Four in 1963, but they went nowhere, but they'll give some idea of how Sandon sounded: [Excerpt: Johnny Sandon and the Remo Four, "Lies"] The Remo Four later moved on to back Tommy Quickly, who we heard last week singing a song the Beatles wrote for him. With Sandon out of the picture, the group had no lead singer or frontman, and were in trouble -- they were known around Liverpool as Johnny Sandon's backing group, not as a group in their own right. They started splitting the lead vocals between themselves, but with Tony Jackson taking most of them. And, in a move which made them stand out, Chris Curtis moved his drum kit to the front line, started playing standing up, and became the group's front-man and second lead singer. Even at this point, though, there seemed to be cracks in the group. The Searchers were the most clean-living of the Liverpool bands -- they were all devout Catholics who would go to Mass every Sunday without fail, and seem to have never indulged in most of the vices that pretty much every other rock star indulged in. But Curtis and Jackson were far less so than Pender and McNally -- Jackson in particular was a very heavy drinker and known to get very aggressive when drunk, while Curtis was known as eccentric in other ways -- he seems to have had some sort of mental illness, though no-one's ever spoken about a diagnosis -- the Beatles apparently referred to him as "Mad Henry". Curtis and Jackson didn't get on with each other, and while Jackson started out as a close friend of Pender's, the two soon drifted apart, and by the time of their first recording sessions they appeared to most people to be a group of three plus one outsider, with Jackson not getting on well with any of the others. There was also a split in the band's musical tastes, but that would be the split that would drive much of their creativity. Pender and McNally were drawn towards softer music -- country and rockabilly, the Everly Brothers and Buddy Holly -- while Jackson preferred harder, stomping, music. But it was Chris Curtis who took charge of the group's repertoire, and who was the group's unofficial leader. While the other band members had fairly mainstream musical tastes, it was Curtis who would seek out obscure R&B B-sides that he thought the group could make their own, by artists like The Clovers and Richie Barrett -- while many Liverpool groups played Barrett's "Some Other Guy", the Searchers would also play the B-side to that, "Tricky Dicky", a song written by Leiber and Stoller. Curtis also liked quite a bit of folk music, and would also get the group to perform songs by Joan Baez and Peter, Paul, and Mary. The result of this combination of material and performers was that the Searchers ended up with a repertoire rooted in R&B, and a heavy rhythm section, but with strong harmony vocals inspired more by the Everlys than by the soul groups that were inspiring the other groups around Liverpool. Other than the Beatles, the Searchers were the best harmony group in Liverpool, and were the only other one to have multiple strong lead vocalists. Like the Beatles, the Searchers went off to play at the Star Club in Hamburg in 1962. Recordings were made of their performances there, and their live version of Brenda Lee's "Sweet Nothin's" later got released as a single after they became successful: [Excerpt: The Searchers, "Sweet Nothin's"] Even as every talent scout in the country seemed to be turning up in Liverpool, and even bands from nearby Manchester were getting signed up in the hope of repeating the Beatles' success, the Searchers were having no luck getting any attention from the London music industry. In part that was because of one bit of bad luck -- the day that Brian Epstein turned up to see them, with the thought of maybe managing them, Tony Jackson was drunk and fell off the stage, and Epstein decided that he was going to give them a miss. As no talent scouts were coming to see them, they decided that they would record a demo session at the Iron Door, the club they regularly played, and send that out to A&R people. That demo session produced a full short album, which shows them at their stompiest and hardest-driving. Most of the Merseybeat bands sounded much more powerful in their earlier live performances than in the studio, and the Searchers were no exception, and it's interesting to compare the sound of these recordings to the studio ones from only a few months later: [Excerpt: The Searchers, "Let's Stomp"] The group eventually signed to Pye Records. Pye was the third or fourth biggest record label in Britain at the time, but that was a relative matter -- EMI and Decca between them had something like eighty-five percent of the market, and basically *were* the record industry in Britain at the time. Pye was chronically underfunded, and when they signed an artist who managed to have any success, they would tend to push that artist to keep producing as many singles as possible, chasing trends, rather than investing in their long-term career survival. That said, they did have some big acts, most notably Petula Clark -- indeed the company had been formed from the merger of two other companies, one of which had been formed specifically to issue Clark's records. Clark was yet to have her big breakthrough hit in the USA, but she'd had several big hits in the UK, including the number one hit "Sailor": [Excerpt: Petula Clark, "Sailor"] The co-producer on that track had been Tony Hatch, a songwriter and producer who would go on to write and produce almost all of Clark's hit records. Hatch had a track record of hits -- we've heard several songs he was involved in over the course of the series. Most recently, we heard last week how "She Loves You" was inspired by "Forget Him", which Hatch wrote and produced for Bobby Rydell: [Excerpt: Bobby Rydell, "Forget Him"] Hatch heard the group's demo, and was impressed, and offered to sign them. The Searchers' manager at the time agreed, on one condition -- that Hatch also sign another band he managed, The Undertakers. Astonishingly, Hatch agreed, and so the Undertakers also got a record contract, and released several flop singles produced by Hatch, including this cover version of a Coasters tune: [Excerpt: The Undertakers, "What About Us?"] The biggest mark that the Undertakers would make on music would come many years later, when their lead singer Jackie Lomax would release a solo single, "Sour Milk Sea", which George Harrison wrote for him. The Searchers, on the other hand, made their mark immediately. The group's first single was a cover version of a song written by Doc Pomus and Mort Shuman, which had been a top twenty hit in the US for the Drifters a couple of years earlier: [Excerpt: The Drifters, "Sweets For My Sweet"] That had become a regular fixture in the Searchers' live set, with Tony Jackson singing lead and Chris Curtis singing the high backing vocal part in falsetto. In much the same way that the Beatles had done with "Twist and Shout", they'd flattened out the original record's Latin cha-cha-cha rhythm into a more straightforward thumping rocker for their live performances, as you can hear on their original demo version from the Iron Door sessions: [Excerpt: The Searchers, "Sweets For My Sweet (live at the Iron Door)"] As you can hear, they'd also misheard a chunk of the lyrics, and so instead of "your tasty kiss", Jackson sang "Your first sweet kiss". In the studio, they slowed the song down very slightly, and brought up the harmony vocal from Pender on the choruses, which on the demo he seems to have been singing off-mic. The result was an obvious hit: [Excerpt: The Searchers, "Sweets For My Sweet"] That went to number one, helped by an endorsement from John Lennon, who said it was the best record to come out of Liverpool, and launched the Searchers into the very top tier of Liverpool groups, their only real competition being the Beatles and Gerry and the Pacemakers -- and though nobody could have known it at the time, the Pacemakers' career had already peaked at this point. Their first album, Meet The Searchers, featured "Sweets For My Sweet", along with a selection of songs that mixed the standard repertoire of every Merseybeat band -- "Money", "Da Doo Ron Ron", "Twist and Shout", "Stand By Me", and the Everly Brothers' "Since You Broke My Heart", with more obscure songs like "Ain't Gonna Kiss Ya", by the then-unknown P.J. Proby, "Farmer John" by Don and Dewey, which hadn't yet become a garage-rock standard (and indeed seems to have become so largely because of the Searchers' version), and a cover of "Love Potion #9", a song that Leiber and Stoller had written for the Clovers, which was not released as a single in the UK, but later became their biggest hit in the US (and a quick content note for this one -- the lyric contains a word for Romani people which many of those people regard as a slur): [Excerpt: The Searchers, "Love Potion #9"] Their second single was an attempt to repeat the "Sweets For My Sweet" formula, and was written by Tony Hatch, although the group didn't know that at the time. Hatch, like many producers of the time, was used to getting his artists to record his own songs, written under pseudonyms so the record label didn't necessarily realise this was what he was doing. In this case he brought the group a song that he claimed had been written by one "Fred Nightingale", and which he thought would be perfect for them. The song in question, "Sugar and Spice", was a blatant rip-off of "Sweets For My Sweet", and recorded in a near-identical arrangement: [Excerpt: The Searchers, "Sugar and Spice"] The group weren't keen on the song, and got very angry later on when they realised that Tony Hatch had lied to them about its origins, but the record was almost as big a hit as the first one, peaking at number two on the charts. But it was their third single that was the group's international breakthrough, and which both established a whole new musical style and caused the first big rift in the group. The song chosen for that third single was one they learned in Hamburg, from Cliff Bennett and the Rebel Rousers, a London group who had recorded a few singles with Joe Meek, like "You Got What I Like": [Excerpt: Cliff Bennett and the Rebel Rousers, "You Got What I Like"] The Rebel Rousers had picked up on a record by Jackie DeShannon, a singer-songwriter who had started up a writing partnership with Sharon Sheeley, the writer who had been Eddie Cochran's girlfriend and in the fatal car crash with him. The record they'd started covering live, though, was not one that DeShannon was the credited songwriter on. "Needles and Pins" was credited to two other writers, both of them associated with Phil Spector. Sonny Bono was a young songwriter who had written songs at Specialty Records for people like Sam Cooke, Larry Williams, and Don and Dewey, and his most famous song up to this point was "She Said Yeah", the B-side to Williams' "Bad Boy": [Excerpt: Larry Williams, "She Said Yeah"] After working at Specialty, he'd gone on to work as Phil Spector's assistant, doing most of the hands-on work in the studio while Spector sat in the control room. While working with Spector he'd got to know Jack Nitzsche, who did most of the arrangements for Spector, and who had also had hits on his own like "The Lonely Surfer": [Excerpt: Jack Nitzsche, "The Lonely Surfer"] Bono and Nitzsche are the credited writers on "Needles and Pins", but Jackie DeShannon insists that she co-wrote the song with them, but her name was left off the credits. I tend to believe her -- both Nitzsche and Bono were, like their boss, abusive misogynist egomaniacs, and it's easy to see them leaving her name off the credits. Either way, DeShannon recorded the song in early 1963, backed by members of the Wrecking Crew, and it scraped into the lower reaches of the US Hot One Hundred, though it actually made number one in Canada: [Excerpt: Jackie DeShannon, "Needles and Pins"] Cliff Bennett and the Rebel Rousers had been covering that song, and Chris Curtis picked up on it as an obvious hit. The group reshaped the song, and fixed the main flaw with DeShannon's original. There's really only about ninety seconds' worth of actual song in "Needles and Pins", and DeShannon's version ends with a minute or so of vamping -- it sounds like it's still a written lyric, but it's full of placeholders where entire lines are "whoa-oh", the kind of thing that someone like Otis Redding could make sound great, but that didn't really work for her record. The Searchers tightened the song up and altered its dynamics -- instead of the middle eight leading to a long freeform section, they started the song with Mike Pender singing solo, and then on the middle eight they added a high harmony from Curtis, then just repeated the first verse and chorus, in the new key of C sharp, with Curtis harmonising this time: [Excerpt: The Searchers, "Needles and Pins" (middle eight on)] The addition of the harmony gives the song some much-needed dynamic variation not present in DeShannon's version, while repeating the original verse after the key change, and adding in Curtis' high harmony, gives it an obsessive quality. The protagonist here is spiralling – he keeps thinking the same things over and over, at a higher and higher pitch, getting more and more desperate. It's a simple change, but one that improves the song immensely. Incidentally, one thing I should note here because it's not something I normally do -- in these excerpts of the Searchers' version of "Needles and Pins", I'm actually modifying the recording slightly. The mix used for the original single version of the song, which is what I'm excerpting here, is marred by an incredibly squeaky bass pedal on Chris Curtis' drumkit, which isn't particularly audible if you're listening to it on early sixties equipment, which had little dynamic range, but which on modern digital copies of the track overpowers everything else, to the point that the record sounds like that Monty Python sketch where someone plays a tune by hitting mice with hammers. Here's a couple of seconds of the unmodified track, so you can see what I mean: [Excerpt: The Searchers, "Needles and Pins"] Most hits compilations have a stereo mix of the song, and have EQ'd it so that the squeaky bass pedal isn't noticeable, but I try wherever possible to use the mixes that people were actually listening to at the time, so I've compromised and used the mono mix but got rid of the squeaky frequencies, so you can hear the music I'm talking about rather than being distracted by the squeaks. Anyway, leaving the issue of nobody telling Chris Curtis to oil his pedals aside, the change in the structure of the song turned it from something a little baggy and aimless into a tight two-and-a-half minute pop song, but the other major change they made was emphasising the riff, and in doing so they inadvertently invented a whole new genre of music. The riff in DeShannon's version is there, but it's just one element -- an acoustic guitar strumming through the chords. It's a good, simple, play-in-a-day riff -- you basically hold a chord down and then move a single finger at a time and you can get that riff -- and it's the backbone of the song, but there's also a piano, and horns, and the Blossoms singing: [Excerpt: Jackie DeShannon, "Needles and Pins"] But what the Searchers did was to take the riff and play it simultaneously on two electric guitars, and then added reverb. They also played the first part of the song in A, rather than the key of C which DeShannon's version starts in, which allowed the open strings to ring out more. The result came out sounding like an electric twelve-string, and soon both they and the Beatles would be regularly using twelve-string Rickenbackers to get the same sound: [Excerpt: The Searchers, "Needles and Pins"] That record is the root of jangle-pop and folk-rock. That combination of jangling, reverb-heavy, trebly guitars and Everly Brothers inspired harmonies is one that leads directly to the Byrds, Love, Big Star, Tom Petty, REM, the Smiths, and the Bangles, among many others. While the Beatles were overall obviously the more influential group by a long way, "Needles and Pins" has a reasonable claim to be the most influential single track from the Merseybeat era. It went to number one in the UK, and became the group's breakthrough hit in the US, reaching number sixteen. The follow-up, "Don't Throw Your Love Away", a cover of a B-side by the Orlons, again featuring Pender on lead vocals and Curtis on harmonies, also made number one in the UK and the US top twenty, giving them a third number one out of four singles. But the next single, "Someday We're Gonna Love Again", a cover of a Barbara Lewis song, only made number eleven, and caused journalists to worry if the Searchers had lost their touch. There was even some talk in the newspapers that Mike Pender might leave the group and start a solo career, which he denied. As it turned out, one of the group's members was going to leave, but it wasn't Mike Pender. Tony Jackson had sung lead on the first two singles, and on the majority of the tracks on the first album, and he thus regarded himself as the group's lead singer. With Pender taking over the lead on the more recent hit singles, Jackson was being edged aside. By the third album, It's The Searchers, which included "Needles and Pins", Jackson was the only group member not to get a solo lead vocal -- even John McNally got one, while Jackson's only lead was an Everlys style close harmony with Mike Pender. Everything else was being sung by Pender or Curtis. Jackson was also getting involved in personality conflicts with the other band members -- at one point it actually got to the point that he and Pender had a fistfight on stage. Jackson was also not entirely keen on the group's move towards more melodic material. It's important to remember that the Searchers had started out as an aggressive, loud, R&B band, and they still often sounded like that on stage -- listen for example to their performance of "What'd I Say" at the NME poll-winners' party in April 1964, with Chris Curtis on lead vocals clearly showing why he had a reputation for eccentricity: [Excerpt: The Searchers, "What'd I Say (live)"] The combination of these musical differences and his feelings about having his place usurped meant that Jackson was increasingly getting annoyed at the other three band members. Eventually he left the group -- whether he was fired or quit depends on which version of the story you read -- and was replaced by Frank Allen of Cliff Bennett and the Rebel Rousers. Jackson didn't take this replacement well, and publicly went round telling people that he had been pushed out of the band so that Curtis could get his boyfriend into the band, and there are some innuendoes to this effect in Mike Pender's autobiography -- although Allen denies that he and Curtis were in a relationship, and says that he doesn't actually know what Curtis' sexuality was, because they never discussed that kind of thing, and presumably Allen would know better than anyone else whether he was in a relationship with Curtis. Curtis is widely described as having been gay or bi by his contemporaries, but if he was he never came out publicly, possibly due to his strong religious views. There's some suggestion, indeed, that one reason Jackson ended up out of the band was that he blackmailed the band, saying that he would publicly out Curtis if he didn't get more lead vocals. Whatever the truth, Jackson left the group, and his first solo single, "Bye Bye Baby", made number thirty-eight on the charts: [Excerpt: Tony Jackson and the Vibrations, "Bye Bye Baby"] However, his later singles had no success -- he was soon rerecording "Love Potion Number Nine" in the hope that that would be a UK chart success as it had been in the US: [Excerpt: Tony Jackson and the Vibrations, "Love Potion Number Nine"] Meanwhile, Allen was fitting in well with his new group, and it appeared at first that the group's run of hits would carry on uninterrupted without Jackson. The first single by the new lineup, "When You Walk In The Room", was a cover of another Jackie DeShannon song, this time written by DeShannon on her own, and originally released as a B-side: [Excerpt: Jackie DeShannon, "When You Walk In The Room"] The Searchers rearranged that, once again emphasising the riff from DeShannon's original, and by this time playing it on real twelve-strings, and adding extra compression to them. Their version featured a joint lead vocal by Pender and Allen: [Excerpt: The Searchers, "When You Walk In the Room"] Do you think the Byrds might have heard that? That went to number three on the charts. The next single was less successful, only making number thirteen, but was interesting in other ways -- from the start, as well as their R&B covers, Curtis had been adding folk songs to the group's repertoire, and there'd been one or two covers of songs like "Where Have All the Flowers Gone?" on their albums, but "What Have They Done to the Rain?" was the first one to become a single. It was written by Malvina Reynolds, who was a socialist activist who only became a songwriter in her early fifties, and who also wrote "Morningtown Ride" and "Little Boxes". "What Have They Done to The Rain?" was a song written to oppose nuclear weapons testing, and Curtis had learned it from a Joan Baez album. Even though it wasn't as big a success as some of their other hits, given how utterly different it was from their normal style, and how controversial the subject was, getting it into the top twenty at all seems quite an achievement. [Excerpt: The Searchers, “What Have They Done To The Rain?”] Their next single, "Goodbye My Love", was their last top ten hit, and the next few singles only made the top forty, even when the Rolling Stones gave them "Take It Or Leave It". The other group members started to get annoyed at Curtis, who they thought had lost his touch at picking songs, and whose behaviour had become increasingly erratic. Eventually, on an Australian tour, they took his supply of uppers and downers, which he had been using as much to self-medicate as for enjoyment as far as I can tell, and flushed them down the toilet. When they got back to the UK, Curtis was out of the group. Their first single after Curtis' departure, "Have You Ever Loved Somebody", was given to them by the Hollies, who had originally written it as an Everly Brothers album track: [Excerpt: The Searchers, "Have You Ever Loved Somebody"] Unfortunately for the Searchers, Chris Curtis had also heard the song, decided it was a likely hit, and had produced a rival version for Paul and Barry Ryan, which got rushed out to compete with it: [Excerpt: Paul and Barry Ryan, "Have You Ever Loved Somebody"] Neither single made the top forty, and the Searchers would never have a hit single again. Nor would Curtis. Curtis only released one solo single, "Aggravation", a cover of a Joe South song: [Excerpt: Chris Curtis, "Aggravation"] The musicians on that included Jimmy Page, John Paul Jones, and Joe Moretti, but it didn't chart. Curtis then tried to form a band, which he named Roundabout, based on the concept that musicians could hop on or hop off at any point, with Curtis as the only constant member. The guitarist and keyboard player quickly decided that it would be more convenient for them if Curtis was the one to hop off, and without Curtis Jon Lord and Richie Blackmore went on to form Deep Purple. The Searchers didn't put out another album for six years after Curtis left. They kept putting out singles on various labels, but nothing came close to charting. Their one album between 1966 and 1979 was a collection of rerecordings of their old hits, in 1972. But then in 1979 Seymour Stein, the owner of Sire Records, a label which was having success with groups like the Ramones, Talking Heads, and the Pretenders, was inspired by the Ramones covering "Needles and Pins" to sign the Searchers to a two-album deal, which produced records that fit perfectly into the late seventies New Wave pop landscape, while still sounding like the Searchers: [Excerpt: The Searchers, "Hearts in Her Eyes"] Apparently during those sessions, Curtis, who had given up music and become a civil servant, would regularly phone the studio threatening to burn it down if he wasn't involved. Unfortunately, while those albums had some critical success, they did nothing commercially, and Sire dropped them. By 1985, the Searchers were at breaking point. They hadn't recorded any new material in several years, and Mike Pender and John McNally weren't getting on at all -- which was a particular problem as the two of them were now the only two members based in Liverpool, and so they had to travel to and from gigs together without the other band members -- the group were so poor that McNally and Pender had one car between the two of them. One of them would drive them both to the gig, the other would drive back to Liverpool and keep the car until the next gig, when they would swap over again. No-one except them knows what conversations they had on those long drives, but apparently they weren't amicable. Pender thought of himself as the star of the group, and he particularly resented that he had to split the money from the band three ways (the drummers the group got in after Curtis were always on a salary rather than full partners in the group). Pender decided that he could make more money by touring on his own but still doing essentially the same show, with hired backing musicians. Pender and the other Searchers eventually reached an agreement that he could tour as "Mike Pender's Searchers", so long as he made sure that all the promotional material put every word at the same size, while the other members would continue as The Searchers with a new singer. A big chunk of the autobiographies of both Pender and Allen are taken up with the ensuing litigation, as there were suits and countersuits over matters of billing which on the outside look incredibly trivial, but which of course mattered greatly to everyone involved -- there were now two groups with near-identical names, playing the same sets, in the same venues, and so any tiny advantage that one had was a threat to the other, to the extent that at one point there was a serious danger of Pender going to prison over their contractual disputes. The group had been earning very little money anyway, comparatively, and there was a real danger that the two groups undercutting each other might lead to everyone going bankrupt. Thankfully, that didn't happen. Pender still tours -- or at least has tour dates booked over the course of the next year -- and McNally and Allen's band continued playing regularly until 2019, and only stopped performing because of McNally's increasing ill health. Having seen both, Pender's was the better show -- McNally and Allen's lineup of the group relied rather too heavily on a rather cheesy sounding synthesiser for my tastes, while Pender stuck closer to a straight guitar/bass/drums sound -- but both kept audiences very happy for decades. Mike Pender was made an MBE in 2020, as a reward for his services to the music industry. Tony Jackson and Chris Curtis both died in the 2000s, and John McNally and Frank Allen are now in well-deserved retirement. While Allen and Pender exchanged pleasantries and handshakes at their former bandmates' funerals, McNally and Pender wouldn't even say hello to each other, and even though McNally and Allen's band has retired, there's still a prominent notice on their website that they own the name "The Searchers" and nobody else is allowed to use it. But every time you hear a jangly twelve-string electric guitar, you're hearing a sound that was originally created by Mike Pender and John McNally playing in unison, a sound that proved to be greater than any of its constituent parts.
This week’s episode looks at “Needles and Pins”, and the story of the second-greatest band to come out of Liverpool in the sixties, The Searchers. Click the full post to read liner notes, links to more information, and a transcript of the episode. Patreon backers also have a sixteen-minute bonus episode available, on “Farmer John” by Don and Dewey. Tilt Araiza has assisted invaluably by doing a first-pass edit, and will hopefully be doing so from now on. Check out Tilt’s irregular podcasts at http://www.podnose.com/jaffa-cakes-for-proust and http://sitcomclub.com/ —-more—- Resources No Mixcloud this week, as there are too many recordings by the Searchers. My two main resources for this episode have been the autobiographies of members of the group — Frank Allen’s The Searchers and Me and Mike Pender’s The Search For Myself. All the Searchers tracks and Tony Jackson or Chris Curtis solo recordings excerpted here, except the live excerpt of “What’d I Say”, can be found on this box set, which is out of print as a physical box, but still available digitally. For those who want a good budget alternative, though, this double-CD set contains fifty Searchers tracks, including all their hits, for under three pounds. Patreon This podcast is brought to you by the generosity of my backers on Patreon. Why not join them? Transcript Last week we had a look at the biggest group ever to come out of Liverpool, and indeed the biggest group ever to play rock and roll music. But the Beatles weren’t the only influential band on the Merseybeat scene, and while we won’t have much chance to look at Merseybeat in general, we should at least briefly touch on the other bands from the scene. So today we’re going to look at a band who developed a distinctive sound that would go on to be massively influential, even though they’re rarely cited as an influence in the way some of their contemporaries are. We’re going to look at The Searchers, and “Needles and Pins”: [Excerpt: The Searchers, “Needles and Pins”] The story of the early origins of the Searchers is, like everything about the Searchers, the subject of a great deal of dispute. The two surviving original members of the group, John McNally and Mike Pender, haven’t spoken to each other in thirty-six years, and didn’t get on for many years before that, and there have been several legal disputes between them over the years. As a result, literally everything about the group’s history has become a battlefield in their ongoing arguments. According to a book by Frank Allen, the group’s bass player from 1964 on and someone who took McNally’s side in the split and subsequent legal problems, McNally formed a skiffle group, which Mike Pender later joined, and was later joined first by Tony Jackson and then by a drummer then known as Chris Crummey, but who changed his name to the more euphonic Chris Curtis. According to Pender, he never liked skiffle, never played skiffle, and “if McNally had a skiffle group, it must have been before I met him”. He is very insistent on this point — he liked country music, and later rock and roll, but never liked skiffle. According to him, he and McNally got together and formed a group that was definitely absolutely not in any way a skiffle group and wasn’t led by McNally but was formed by both of them. That group split up, and then Pender became friends with Tony Jackson — and he’s very insistent that he became friends with Jackson during a period when he didn’t know McNally — and the group reformed around the three of them, when McNally and Pender got back in touch. The origin of the group’s name is similarly disputed. Everyone agrees that it came from the John Wayne film The Searchers — the same film which had inspired the group’s hero Buddy Holly to write “That’ll Be The Day” — but there is disagreement as to whose idea the name was. Pender claims that it was his idea, while McNally says that the name was coined by a singer named “Big Ron”, who sang with the band for a bit before disappearing into obscurity. Big Ron’s replacement was a singer named Billy Beck, who at the time he was with the Searchers used the stage name Johnny Sandon (though he later reverted to his birth name). The group performed as Johnny Sandon and The Searchers for two years, before Sandon quit the group to join the Remo Four, a group that was managed by Brian Epstein. Sandon made some records with the Remo Four in 1963, but they went nowhere, but they’ll give some idea of how Sandon sounded: [Excerpt: Johnny Sandon and the Remo Four, “Lies”] The Remo Four later moved on to back Tommy Quickly, who we heard last week singing a song the Beatles wrote for him. With Sandon out of the picture, the group had no lead singer or frontman, and were in trouble — they were known around Liverpool as Johnny Sandon’s backing group, not as a group in their own right. They started splitting the lead vocals between themselves, but with Tony Jackson taking most of them. And, in a move which made them stand out, Chris Curtis moved his drum kit to the front line, started playing standing up, and became the group’s front-man and second lead singer. Even at this point, though, there seemed to be cracks in the group. The Searchers were the most clean-living of the Liverpool bands — they were all devout Catholics who would go to Mass every Sunday without fail, and seem to have never indulged in most of the vices that pretty much every other rock star indulged in. But Curtis and Jackson were far less so than Pender and McNally — Jackson in particular was a very heavy drinker and known to get very aggressive when drunk, while Curtis was known as eccentric in other ways — he seems to have had some sort of mental illness, though no-one’s ever spoken about a diagnosis — the Beatles apparently referred to him as “Mad Henry”. Curtis and Jackson didn’t get on with each other, and while Jackson started out as a close friend of Pender’s, the two soon drifted apart, and by the time of their first recording sessions they appeared to most people to be a group of three plus one outsider, with Jackson not getting on well with any of the others. There was also a split in the band’s musical tastes, but that would be the split that would drive much of their creativity. Pender and McNally were drawn towards softer music — country and rockabilly, the Everly Brothers and Buddy Holly — while Jackson preferred harder, stomping, music. But it was Chris Curtis who took charge of the group’s repertoire, and who was the group’s unofficial leader. While the other band members had fairly mainstream musical tastes, it was Curtis who would seek out obscure R&B B-sides that he thought the group could make their own, by artists like The Clovers and Richie Barrett — while many Liverpool groups played Barrett’s “Some Other Guy”, the Searchers would also play the B-side to that, “Tricky Dicky”, a song written by Leiber and Stoller. Curtis also liked quite a bit of folk music, and would also get the group to perform songs by Joan Baez and Peter, Paul, and Mary. The result of this combination of material and performers was that the Searchers ended up with a repertoire rooted in R&B, and a heavy rhythm section, but with strong harmony vocals inspired more by the Everlys than by the soul groups that were inspiring the other groups around Liverpool. Other than the Beatles, the Searchers were the best harmony group in Liverpool, and were the only other one to have multiple strong lead vocalists. Like the Beatles, the Searchers went off to play at the Star Club in Hamburg in 1962. Recordings were made of their performances there, and their live version of Brenda Lee’s “Sweet Nothin’s” later got released as a single after they became successful: [Excerpt: The Searchers, “Sweet Nothin’s”] Even as every talent scout in the country seemed to be turning up in Liverpool, and even bands from nearby Manchester were getting signed up in the hope of repeating the Beatles’ success, the Searchers were having no luck getting any attention from the London music industry. In part that was because of one bit of bad luck — the day that Brian Epstein turned up to see them, with the thought of maybe managing them, Tony Jackson was drunk and fell off the stage, and Epstein decided that he was going to give them a miss. As no talent scouts were coming to see them, they decided that they would record a demo session at the Iron Door, the club they regularly played, and send that out to A&R people. That demo session produced a full short album, which shows them at their stompiest and hardest-driving. Most of the Merseybeat bands sounded much more powerful in their earlier live performances than in the studio, and the Searchers were no exception, and it’s interesting to compare the sound of these recordings to the studio ones from only a few months later: [Excerpt: The Searchers, “Let’s Stomp”] The group eventually signed to Pye Records. Pye was the third or fourth biggest record label in Britain at the time, but that was a relative matter — EMI and Decca between them had something like eighty-five percent of the market, and basically *were* the record industry in Britain at the time. Pye was chronically underfunded, and when they signed an artist who managed to have any success, they would tend to push that artist to keep producing as many singles as possible, chasing trends, rather than investing in their long-term career survival. That said, they did have some big acts, most notably Petula Clark — indeed the company had been formed from the merger of two other companies, one of which had been formed specifically to issue Clark’s records. Clark was yet to have her big breakthrough hit in the USA, but she’d had several big hits in the UK, including the number one hit “Sailor”: [Excerpt: Petula Clark, “Sailor”] The co-producer on that track had been Tony Hatch, a songwriter and producer who would go on to write and produce almost all of Clark’s hit records. Hatch had a track record of hits — we’ve heard several songs he was involved in over the course of the series. Most recently, we heard last week how “She Loves You” was inspired by “Forget Him”, which Hatch wrote and produced for Bobby Rydell: [Excerpt: Bobby Rydell, “Forget Him”] Hatch heard the group’s demo, and was impressed, and offered to sign them. The Searchers’ manager at the time agreed, on one condition — that Hatch also sign another band he managed, The Undertakers. Astonishingly, Hatch agreed, and so the Undertakers also got a record contract, and released several flop singles produced by Hatch, including this cover version of a Coasters tune: [Excerpt: The Undertakers, “What About Us?”] The biggest mark that the Undertakers would make on music would come many years later, when their lead singer Jackie Lomax would release a solo single, “Sour Milk Sea”, which George Harrison wrote for him. The Searchers, on the other hand, made their mark immediately. The group’s first single was a cover version of a song written by Doc Pomus and Mort Shuman, which had been a top twenty hit in the US for the Drifters a couple of years earlier: [Excerpt: The Drifters, “Sweets For My Sweet”] That had become a regular fixture in the Searchers’ live set, with Tony Jackson singing lead and Chris Curtis singing the high backing vocal part in falsetto. In much the same way that the Beatles had done with “Twist and Shout”, they’d flattened out the original record’s Latin cha-cha-cha rhythm into a more straightforward thumping rocker for their live performances, as you can hear on their original demo version from the Iron Door sessions: [Excerpt: The Searchers, “Sweets For My Sweet (live at the Iron Door)”] As you can hear, they’d also misheard a chunk of the lyrics, and so instead of “your tasty kiss”, Jackson sang “Your first sweet kiss”. In the studio, they slowed the song down very slightly, and brought up the harmony vocal from Pender on the choruses, which on the demo he seems to have been singing off-mic. The result was an obvious hit: [Excerpt: The Searchers, “Sweets For My Sweet”] That went to number one, helped by an endorsement from John Lennon, who said it was the best record to come out of Liverpool, and launched the Searchers into the very top tier of Liverpool groups, their only real competition being the Beatles and Gerry and the Pacemakers — and though nobody could have known it at the time, the Pacemakers’ career had already peaked at this point. Their first album, Meet The Searchers, featured “Sweets For My Sweet”, along with a selection of songs that mixed the standard repertoire of every Merseybeat band — “Money”, “Da Doo Ron Ron”, “Twist and Shout”, “Stand By Me”, and the Everly Brothers’ “Since You Broke My Heart”, with more obscure songs like “Ain’t Gonna Kiss Ya”, by the then-unknown P.J. Proby, “Farmer John” by Don and Dewey, which hadn’t yet become a garage-rock standard (and indeed seems to have become so largely because of the Searchers’ version), and a cover of “Love Potion #9”, a song that Leiber and Stoller had written for the Clovers, which was not released as a single in the UK, but later became their biggest hit in the US (and a quick content note for this one — the lyric contains a word for Romani people which many of those people regard as a slur): [Excerpt: The Searchers, “Love Potion #9”] Their second single was an attempt to repeat the “Sweets For My Sweet” formula, and was written by Tony Hatch, although the group didn’t know that at the time. Hatch, like many producers of the time, was used to getting his artists to record his own songs, written under pseudonyms so the record label didn’t necessarily realise this was what he was doing. In this case he brought the group a song that he claimed had been written by one “Fred Nightingale”, and which he thought would be perfect for them. The song in question, “Sugar and Spice”, was a blatant rip-off of “Sweets For My Sweet”, and recorded in a near-identical arrangement: [Excerpt: The Searchers, “Sugar and Spice”] The group weren’t keen on the song, and got very angry later on when they realised that Tony Hatch had lied to them about its origins, but the record was almost as big a hit as the first one, peaking at number two on the charts. But it was their third single that was the group’s international breakthrough, and which both established a whole new musical style and caused the first big rift in the group. The song chosen for that third single was one they learned in Hamburg, from Cliff Bennett and the Rebel Rousers, a London group who had recorded a few singles with Joe Meek, like “You Got What I Like”: [Excerpt: Cliff Bennett and the Rebel Rousers, “You Got What I Like”] The Rebel Rousers had picked up on a record by Jackie DeShannon, a singer-songwriter who had started up a writing partnership with Sharon Sheeley, the writer who had been Eddie Cochran’s girlfriend and in the fatal car crash with him. The record they’d started covering live, though, was not one that DeShannon was the credited songwriter on. “Needles and Pins” was credited to two other writers, both of them associated with Phil Spector. Sonny Bono was a young songwriter who had written songs at Specialty Records for people like Sam Cooke, Larry Williams, and Don and Dewey, and his most famous song up to this point was “She Said Yeah”, the B-side to Williams’ “Bad Boy”: [Excerpt: Larry Williams, “She Said Yeah”] After working at Specialty, he’d gone on to work as Phil Spector’s assistant, doing most of the hands-on work in the studio while Spector sat in the control room. While working with Spector he’d got to know Jack Nitzsche, who did most of the arrangements for Spector, and who had also had hits on his own like “The Lonely Surfer”: [Excerpt: Jack Nitzsche, “The Lonely Surfer”] Bono and Nitzsche are the credited writers on “Needles and Pins”, but Jackie DeShannon insists that she co-wrote the song with them, but her name was left off the credits. I tend to believe her — both Nitzsche and Bono were, like their boss, abusive misogynist egomaniacs, and it’s easy to see them leaving her name off the credits. Either way, DeShannon recorded the song in early 1963, backed by members of the Wrecking Crew, and it scraped into the lower reaches of the US Hot One Hundred, though it actually made number one in Canada: [Excerpt: Jackie DeShannon, “Needles and Pins”] Cliff Bennett and the Rebel Rousers had been covering that song, and Chris Curtis picked up on it as an obvious hit. The group reshaped the song, and fixed the main flaw with DeShannon’s original. There’s really only about ninety seconds’ worth of actual song in “Needles and Pins”, and DeShannon’s version ends with a minute or so of vamping — it sounds like it’s still a written lyric, but it’s full of placeholders where entire lines are “whoa-oh”, the kind of thing that someone like Otis Redding could make sound great, but that didn’t really work for her record. The Searchers tightened the song up and altered its dynamics — instead of the middle eight leading to a long freeform section, they started the song with Mike Pender singing solo, and then on the middle eight they added a high harmony from Curtis, then just repeated the first verse and chorus, in the new key of C sharp, with Curtis harmonising this time: [Excerpt: The Searchers, “Needles and Pins” (middle eight on)] The addition of the harmony gives the song some much-needed dynamic variation not present in DeShannon’s version, while repeating the original verse after the key change, and adding in Curtis’ high harmony, gives it an obsessive quality. The protagonist here is spiralling – he keeps thinking the same things over and over, at a higher and higher pitch, getting more and more desperate. It’s a simple change, but one that improves the song immensely. Incidentally, one thing I should note here because it’s not something I normally do — in these excerpts of the Searchers’ version of “Needles and Pins”, I’m actually modifying the recording slightly. The mix used for the original single version of the song, which is what I’m excerpting here, is marred by an incredibly squeaky bass pedal on Chris Curtis’ drumkit, which isn’t particularly audible if you’re listening to it on early sixties equipment, which had little dynamic range, but which on modern digital copies of the track overpowers everything else, to the point that the record sounds like that Monty Python sketch where someone plays a tune by hitting mice with hammers. Here’s a couple of seconds of the unmodified track, so you can see what I mean: [Excerpt: The Searchers, “Needles and Pins”] Most hits compilations have a stereo mix of the song, and have EQ’d it so that the squeaky bass pedal isn’t noticeable, but I try wherever possible to use the mixes that people were actually listening to at the time, so I’ve compromised and used the mono mix but got rid of the squeaky frequencies, so you can hear the music I’m talking about rather than being distracted by the squeaks. Anyway, leaving the issue of nobody telling Chris Curtis to oil his pedals aside, the change in the structure of the song turned it from something a little baggy and aimless into a tight two-and-a-half minute pop song, but the other major change they made was emphasising the riff, and in doing so they inadvertently invented a whole new genre of music. The riff in DeShannon’s version is there, but it’s just one element — an acoustic guitar strumming through the chords. It’s a good, simple, play-in-a-day riff — you basically hold a chord down and then move a single finger at a time and you can get that riff — and it’s the backbone of the song, but there’s also a piano, and horns, and the Blossoms singing: [Excerpt: Jackie DeShannon, “Needles and Pins”] But what the Searchers did was to take the riff and play it simultaneously on two electric guitars, and then added reverb. They also played the first part of the song in A, rather than the key of C which DeShannon’s version starts in, which allowed the open strings to ring out more. The result came out sounding like an electric twelve-string, and soon both they and the Beatles would be regularly using twelve-string Rickenbackers to get the same sound: [Excerpt: The Searchers, “Needles and Pins”] That record is the root of jangle-pop and folk-rock. That combination of jangling, reverb-heavy, trebly guitars and Everly Brothers inspired harmonies is one that leads directly to the Byrds, Love, Big Star, Tom Petty, REM, the Smiths, and the Bangles, among many others. While the Beatles were overall obviously the more influential group by a long way, “Needles and Pins” has a reasonable claim to be the most influential single track from the Merseybeat era. It went to number one in the UK, and became the group’s breakthrough hit in the US, reaching number sixteen. The follow-up, “Don’t Throw Your Love Away”, a cover of a B-side by the Orlons, again featuring Pender on lead vocals and Curtis on harmonies, also made number one in the UK and the US top twenty, giving them a third number one out of four singles. But the next single, “Someday We’re Gonna Love Again”, a cover of a Barbara Lewis song, only made number eleven, and caused journalists to worry if the Searchers had lost their touch. There was even some talk in the newspapers that Mike Pender might leave the group and start a solo career, which he denied. As it turned out, one of the group’s members was going to leave, but it wasn’t Mike Pender. Tony Jackson had sung lead on the first two singles, and on the majority of the tracks on the first album, and he thus regarded himself as the group’s lead singer. With Pender taking over the lead on the more recent hit singles, Jackson was being edged aside. By the third album, It’s The Searchers, which included “Needles and Pins”, Jackson was the only group member not to get a solo lead vocal — even John McNally got one, while Jackson’s only lead was an Everlys style close harmony with Mike Pender. Everything else was being sung by Pender or Curtis. Jackson was also getting involved in personality conflicts with the other band members — at one point it actually got to the point that he and Pender had a fistfight on stage. Jackson was also not entirely keen on the group’s move towards more melodic material. It’s important to remember that the Searchers had started out as an aggressive, loud, R&B band, and they still often sounded like that on stage — listen for example to their performance of “What’d I Say” at the NME poll-winners’ party in April 1964, with Chris Curtis on lead vocals clearly showing why he had a reputation for eccentricity: [Excerpt: The Searchers, “What’d I Say (live)”] The combination of these musical differences and his feelings about having his place usurped meant that Jackson was increasingly getting annoyed at the other three band members. Eventually he left the group — whether he was fired or quit depends on which version of the story you read — and was replaced by Frank Allen of Cliff Bennett and the Rebel Rousers. Jackson didn’t take this replacement well, and publicly went round telling people that he had been pushed out of the band so that Curtis could get his boyfriend into the band, and there are some innuendoes to this effect in Mike Pender’s autobiography — although Allen denies that he and Curtis were in a relationship, and says that he doesn’t actually know what Curtis’ sexuality was, because they never discussed that kind of thing, and presumably Allen would know better than anyone else whether he was in a relationship with Curtis. Curtis is widely described as having been gay or bi by his contemporaries, but if he was he never came out publicly, possibly due to his strong religious views. There’s some suggestion, indeed, that one reason Jackson ended up out of the band was that he blackmailed the band, saying that he would publicly out Curtis if he didn’t get more lead vocals. Whatever the truth, Jackson left the group, and his first solo single, “Bye Bye Baby”, made number thirty-eight on the charts: [Excerpt: Tony Jackson and the Vibrations, “Bye Bye Baby”] However, his later singles had no success — he was soon rerecording “Love Potion Number Nine” in the hope that that would be a UK chart success as it had been in the US: [Excerpt: Tony Jackson and the Vibrations, “Love Potion Number Nine”] Meanwhile, Allen was fitting in well with his new group, and it appeared at first that the group’s run of hits would carry on uninterrupted without Jackson. The first single by the new lineup, “When You Walk In The Room”, was a cover of another Jackie DeShannon song, this time written by DeShannon on her own, and originally released as a B-side: [Excerpt: Jackie DeShannon, “When You Walk In The Room”] The Searchers rearranged that, once again emphasising the riff from DeShannon’s original, and by this time playing it on real twelve-strings, and adding extra compression to them. Their version featured a joint lead vocal by Pender and Allen: [Excerpt: The Searchers, “When You Walk In the Room”] Do you think the Byrds might have heard that? That went to number three on the charts. The next single was less successful, only making number thirteen, but was interesting in other ways — from the start, as well as their R&B covers, Curtis had been adding folk songs to the group’s repertoire, and there’d been one or two covers of songs like “Where Have All the Flowers Gone?” on their albums, but “What Have They Done to the Rain?” was the first one to become a single. It was written by Malvina Reynolds, who was a socialist activist who only became a songwriter in her early fifties, and who also wrote “Morningtown Ride” and “Little Boxes”. “What Have They Done to The Rain?” was a song written to oppose nuclear weapons testing, and Curtis had learned it from a Joan Baez album. Even though it wasn’t as big a success as some of their other hits, given how utterly different it was from their normal style, and how controversial the subject was, getting it into the top twenty at all seems quite an achievement. [Excerpt: The Searchers, “What Have They Done To The Rain?”] Their next single, “Goodbye My Love”, was their last top ten hit, and the next few singles only made the top forty, even when the Rolling Stones gave them “Take It Or Leave It”. The other group members started to get annoyed at Curtis, who they thought had lost his touch at picking songs, and whose behaviour had become increasingly erratic. Eventually, on an Australian tour, they took his supply of uppers and downers, which he had been using as much to self-medicate as for enjoyment as far as I can tell, and flushed them down the toilet. When they got back to the UK, Curtis was out of the group. Their first single after Curtis’ departure, “Have You Ever Loved Somebody”, was given to them by the Hollies, who had originally written it as an Everly Brothers album track: [Excerpt: The Searchers, “Have You Ever Loved Somebody”] Unfortunately for the Searchers, Chris Curtis had also heard the song, decided it was a likely hit, and had produced a rival version for Paul and Barry Ryan, which got rushed out to compete with it: [Excerpt: Paul and Barry Ryan, “Have You Ever Loved Somebody”] Neither single made the top forty, and the Searchers would never have a hit single again. Nor would Curtis. Curtis only released one solo single, “Aggravation”, a cover of a Joe South song: [Excerpt: Chris Curtis, “Aggravation”] The musicians on that included Jimmy Page, John Paul Jones, and Joe Moretti, but it didn’t chart. Curtis then tried to form a band, which he named Roundabout, based on the concept that musicians could hop on or hop off at any point, with Curtis as the only constant member. The guitarist and keyboard player quickly decided that it would be more convenient for them if Curtis was the one to hop off, and without Curtis Jon Lord and Richie Blackmore went on to form Deep Purple. The Searchers didn’t put out another album for six years after Curtis left. They kept putting out singles on various labels, but nothing came close to charting. Their one album between 1966 and 1979 was a collection of rerecordings of their old hits, in 1972. But then in 1979 Seymour Stein, the owner of Sire Records, a label which was having success with groups like the Ramones, Talking Heads, and the Pretenders, was inspired by the Ramones covering “Needles and Pins” to sign the Searchers to a two-album deal, which produced records that fit perfectly into the late seventies New Wave pop landscape, while still sounding like the Searchers: [Excerpt: The Searchers, “Hearts in Her Eyes”] Apparently during those sessions, Curtis, who had given up music and become a civil servant, would regularly phone the studio threatening to burn it down if he wasn’t involved. Unfortunately, while those albums had some critical success, they did nothing commercially, and Sire dropped them. By 1985, the Searchers were at breaking point. They hadn’t recorded any new material in several years, and Mike Pender and John McNally weren’t getting on at all — which was a particular problem as the two of them were now the only two members based in Liverpool, and so they had to travel to and from gigs together without the other band members — the group were so poor that McNally and Pender had one car between the two of them. One of them would drive them both to the gig, the other would drive back to Liverpool and keep the car until the next gig, when they would swap over again. No-one except them knows what conversations they had on those long drives, but apparently they weren’t amicable. Pender thought of himself as the star of the group, and he particularly resented that he had to split the money from the band three ways (the drummers the group got in after Curtis were always on a salary rather than full partners in the group). Pender decided that he could make more money by touring on his own but still doing essentially the same show, with hired backing musicians. Pender and the other Searchers eventually reached an agreement that he could tour as “Mike Pender’s Searchers”, so long as he made sure that all the promotional material put every word at the same size, while the other members would continue as The Searchers with a new singer. A big chunk of the autobiographies of both Pender and Allen are taken up with the ensuing litigation, as there were suits and countersuits over matters of billing which on the outside look incredibly trivial, but which of course mattered greatly to everyone involved — there were now two groups with near-identical names, playing the same sets, in the same venues, and so any tiny advantage that one had was a threat to the other, to the extent that at one point there was a serious danger of Pender going to prison over their contractual disputes. The group had been earning very little money anyway, comparatively, and there was a real danger that the two groups undercutting each other might lead to everyone going bankrupt. Thankfully, that didn’t happen. Pender still tours — or at least has tour dates booked over the course of the next year — and McNally and Allen’s band continued playing regularly until 2019, and only stopped performing because of McNally’s increasing ill health. Having seen both, Pender’s was the better show — McNally and Allen’s lineup of the group relied rather too heavily on a rather cheesy sounding synthesiser for my tastes, while Pender stuck closer to a straight guitar/bass/drums sound — but both kept audiences very happy for decades. Mike Pender was made an MBE in 2020, as a reward for his services to the music industry. Tony Jackson and Chris Curtis both died in the 2000s, and John McNally and Frank Allen are now in well-deserved retirement. While Allen and Pender exchanged pleasantries and handshakes at their former bandmates’ funerals, McNally and Pender wouldn’t even say hello to each other, and even though McNally and Allen’s band has retired, there’s still a prominent notice on their website that they own the name “The Searchers” and nobody else is allowed to use it. But every time you hear a jangly twelve-string electric guitar, you’re hearing a sound that was originally created by Mike Pender and John McNally playing in unison, a sound that proved to be greater than any of its constituent parts.
Rainbow loi nahkansa 80-luvulle tultaessa. Se käänsi kurssinsa raa'an juurekkaasta heavystä kohti kaupallisempaa soundia. Richie Blackmore teki tempun, joka monelta bändiltä jäi tekemättä. Hetken aikaa Rainbow oli maailman suurin hard rock bändi, mutta miksi työ jäi kesken? Sitä tässä Kasarin Lapset -podcastin kaksisosaisessa Rainbow-spesiaalissa on Vesa Winbergin kanssa pohtimassa Kristian Huovelin.
BIG O SHOW DEC 17 SEG #17 MUSIC HISTORY DOOBIE BROTHERS RICHIE BLACKMORE DAVID BOWIE AND MORE
Candice Night is the lead singer of Blackmore's Night with her husband Richie Blackmore from Deep Purple/Rainbow. A new holiday EP, "Here We Come A-Caroling", is out now. www.blackmoresnight.com
On this Ian Paice Interview, how Deep Purple started and an early advantage they had, playing with Paul McCartney, David Gilmour, Gary Moore... how Gary Moore inadvertently painted himself into a musical corner he couldn’t get out of… playing in Jakarta with Tommy Bolin, smuggling Ritchie Blackmore out of California Jam in a helicopter so he wouldn’t be arrested by the Sheriff... why the band members all needed oxygen bottles for their Bolivia gig… warm thoughts on being a parent & of his own parents, a few Deep Purple songs where he thought he “nailed it!” (None of them are what you’re thinking!)... how he’s changed over the last few years, THE most important business lesson he’s learned in more than 50 years of performance. TONS more. VERY candid, very kind, total professional! Ian Paice is the drummer and last remaining original member of Deep Purple still active in the band today. Ian founded Deep Purple with singer Rod Evans & guitarist Richie Blackmore, in March 1968. Ian’s also played & toured with Whitesnake, Gary Moore, Paice Ashton Lord, Paul McCartney, George Harrison & others. Ian co-wrote many of DP’s classic tracks, including Child in Time, Highway Star, Lazy, Smoke on the Water, Woman from Tokyo and others. He’s also a member of the Rock & Roll Hall of Fame. Support this Show: http://www.everyonelovesguitar.com/support Subscribe https://www.everyonelovesguitar.com/subscribe/ Facebook: https://www.facebook.com/EveryoneLovesGuitar/ Instagram: https://www.instagram.com/everyonelovesguitar/
William Shatner has cultivated a career spanning over 60 years as an award-winning actor, (most notably in the role of “Captain James T. Kirk” in the TV series Star Trek), director, producer, writer, recording artist, and horseman. His new album is 'The Blues', a collection of blues classics with a little help from some famous friends, like Richie Blackmore from Deep Purple, Stax Records guitarist Steve Cropper, Elvis sideman James Burton, and many more. He and Bret talk about how he immersed himself in the genre as he prepped for the album, the music he grew up listening to in Montreal, and the highs and lows of touring with a band.
Volvemos a "rescatar" a una de las grandes y míticas bandas dentro del Hard Rock. Liderada por un grandisimo y polémico guitarrista procedente de otra "mítica" banda, el es Richie Blackmore y ellos RAINBOW. Sube el volumen y disfruta!!
All-Voice Media Podcast Episode 17: Mastering Vocal Style and Versatility with Megan Keith Chenot Megan Keith Chenot joins the All-Voice Media Podcast! Touring with rock stars, respecting the instrument, what she's learned from teaching, how she decided to keep performing, and how she got started on a career in music. We met at NAMM: 2020, the largest music tech convention in the world, where Megan was performing and she had such a lovely, expressive voice and kind, charming personality that I knew I wanted to find out what she knew about a career in music as a vocalist, and share it with you, the All-Voice Nation! From Megan's start with the band, 8 To The Bar, to touring with her brother David Keith who tours with Richie Blackmore's band Rainbow, growing up in a musical family, and how she thinks about and uses Harmony to create unique live musical experiences. How she got sponsored by Sennheiser and Vox amps, which style of music came easiest and hardest, and some savage gear recommendations. Like, Comment, Subscribe, and support quality independent art or it goes away! Any questions or comments? Want to be first to get the latest tips and tricks on how to best develop vocal range, power and expressiveness? Reach out to ian@allvoicemedia.com! --- This episode is sponsored by · Anchor: The easiest way to make a podcast. https://anchor.fm/app Support this podcast: https://anchor.fm/all-voice-media/support
Great stories about Def Leppard, playing with Richie Blackmore, Gary Moore, Michael Schenker… Getting sober 32 years ago and what the trigger was… drinking $20,000 worth of coffee… putting Delta Deep (one of Phil’s side projects) together… his top 3 musical experiences, favorite guitarists he’s played with… biggest life lesson he’s learned (which has helped keep him very grounded), toughest thing he’s had to do, and much more. INCREDIBLY cool! Subscribe https://www.everyonelovesguitar.com/subscribe/ Facebook: https://www.facebook.com/EveryoneLovesGuitar/ Instagram: https://www.instagram.com/everyonelovesguitar/ Twitter: https://twitter.com/ELovesGuitar
James has toured and played with White Lion, Megadeth, Zakk Wylde, Pride & Glory, Black Label Society, Slash’s Snakepit, David Lee Roth, and has been with John Fogerty for the last 6 years. James talks about leaving NYC for LA, getting out of his own way so the Universe can guide him… playing with Richie Blackmore, abruptly leaving the music business and then re-entering it later on… a dark period in time for him, more. 100% Real & enthusiastic: Subscribe https://www.everyonelovesguitar.com/subscribe/ Facebook: https://www.facebook.com/EveryoneLovesGuitar/ Instagram: https://www.instagram.com/everyonelovesguitar/ Twitter: https://twitter.com/ELovesGuitar
Phil’s got some great stories about playing with Richie Blackmore, Gary Moore, Michael Schenker & Paul Chapman… Getting sober 32 years ago and what the trigger was… drinking $20,000 worth of coffee… putting Delta Deep (one of Phil’s side projects) together… his top 3 musical experiences, favorite guitarists he’s played with… biggest life lesson he’s learned (which has helped keep him very grounded), toughest thing he’s had to do, and much more. INCREDIBLY cool! Subscribe https://www.everyonelovesguitar.com/subscribe/ Facebook: https://www.facebook.com/EveryoneLovesGuitar/ Instagram: https://www.instagram.com/everyonelovesguitar/ Twitter: https://twitter.com/ELovesGuitar
Acompañame en el episodio de hoy a recorrer la carrera de una de las bandas más influyentes de la historia del rock: Rainbow. Liderada por el genial guitarrista Richie Blackmore y dueños de un sonido caracterizado primero por el clasicismo y luego por sonidos más modernos, la banda nunca perdió la magia que la llevó a ocupar un lugar de privilegio en el Universo Rockero.
We close out the year in excellent fashion with DIO-CEMBER VOL2! We left off last week with Ronnie James Dio fronting Black Sabbath. Inasmuch as the chemistry was palatable, Ronnie needs and change and things pick up in 1983. The Holy Diver album is an absolute powerhouse because of its lineup. Guitarist Vivian Campbell, bassist Jimmy Bain, and drummer Vinny Appice were the perfect arsenal to back Ronnie up. Accordingly, the results are made clear in the material they released. To follow up Holy Diver with such strong albums as Last in Line and Sacred Heart speaks to the power of this lineup. DIO-CEMBER VOL2 DIO-CEMBER VOL2 explores the many changes that took place in Ronnie's career. While the original lineup gets plenty of love in this episode, we also aim to show you that fantastic material was released well after they ceased to be a unit. Consequently, you'll get tracks from DIO albums including Dream Evil, Lock Up the Wolves, Strange Highways, Magica, Killing the Dragon, and Master of the Moon. Additionally, Aaron spins a great track from the Heaven and Hell lineup. Ronnie James Dio may no longer be with us but he leaves a musical legacy that endures. Indeed, his incomparable voice raised the bar for such legends as Richie Blackmore and Tony Iommi. Additionally, the impressive material that he put out through the DIO is an undeniable template to the greatness of Heavy Metal. We hope you've enjoyed DIO-CEMBER. DIO-CEMBER VOL2 is the end of our two-part tribute to the great Ronnie James Dio. However, there's always next year! We Recommend: Eternol Idols video reviews on Youtube DIO-CEMBER VOL1 Contact Us! Rate, Review, and Subscribe in iTunes Join the Facebook Fan Page Follow on Twitter Follow on Instagram E-mail Us Subscribe to our Youtube channel! Support Us! Donate to the show! Stream Us! Stitcher Radio Spreaker TuneIn Become a VIP Subscriber! Click HERE for more info! Comment Below Direct Download
We celebrate the holidays this week by releasing volume 1 of a 2 part special on a legend; DIO-CEMBER Vol1 is here! In this special, we pay tribute to the late, great Ronnie James Dio. This week's entry has us focusing on Ronnie's first decade in the rock world 1972-1981. Ronald Padavona was born in New Hampshire in 1942. His family would soon move to New York where he would be raised around music. Beginning at the age of 5, Ronnie was a born-performer. Stints playing trumpet and bass would lead the way to Ronnie fronting bands. After changing his name to Dio around 1960, his first real step in the world of rock would be taken in 1972. ELF's self-titled debut album features Ronnie and childhood friends performing while Deep Purple legends Roger Glover and Ian Paice produced. This would lead to extended touring opening for Purple and, eventually, the formation of Richie Blackmore's Rainbow. DIO-CEMBER Vol1 Rainbow's history is well-covered but, in short, the Dio-led version of the band is legendary in its output. Richie Blackmore's Rainbow, Rising, and Long Live Rock & Roll are testaments to the powerful partnership between the singer and guitarist. Unfortunately, the clash of egos would lead to Ronnie leaving Rainbow. On the other hand, rock history was waiting to be changed as Dio would then team up with Black Sabbath who had recently parted ways with Ozzy Osbourne. The newfound chemistry between Dio and guitarist Tony Iommi was undeniable. As a result, Black Sabbath would release two landmark albums with Ronnie; Heaven and Hell and Mob Rules. Despite the incredible material, it would be a short-lived union. But, that's for us to discuss on volume 2. We hope you enjoy DIO-CEMBER Vol 1 - Ep345 and SHARE with a friend! Also Check Out: Marvelous Team Ups - Episode 314 Eternal Idols - Sabbath and Related Youtube Reviews Contact Us! Rate, Review, and Subscribe in iTunes Join the Facebook Fan Page Follow on Twitter Follow on Instagram E-mail Us Subscribe to our Youtube channel! Support Us! Donate to the show! Stream Us! Stitcher Radio Spreaker TuneIn Become a VIP Subscriber! Click HERE for more info! Comment Below Direct Download
Pat sits down with special guest Wendy Dio to discuss the legendary career of her husband Ronnie James Dio as well as her ongoing charity work for cancer research.
Con un poquito de Grunge nos adentramos en Nirvana - Smell Like teen spirit, Pearl Jam -Vs - Daugther, Soundgarden - Superunknown The Day I tried to live, Temple of the dog - Hunger strike. Bloque Rarezas: covers hechos por supergrupos: Van Halen "You really got me" (The Kinks) Van Halen I, Rolling Stones - Like a Rolling Stone (Bob Dylan) Totally Stripped, Blondi - Heroes - Blondie & Beyond, U2 Helter Skelter (The Beatles) Rattle and Hurm, Finalizamos con el bloque efemerides, celebrando el cumpleaños de Richie Blackmore, para elegimos un tema de Deep Purple del disco In Rock "Speed King" y de Rainbow del disco Rising "Run with the wolf".
Der findes een person i den her verden, som vågner op om morgenen og hedder Richie Blackmore. Kæmpe stjerne OG guitarblæser i Deep Purple. Desuden ser vi nærmere på, at man skal også huske at tygge maden, inden man sluger - ellers kan man få en ordentlig hikke. Casper & Frankie dykker ugenert ned i store følelser og hverdagsliv tilsat gode vibrationer og ustyrlige mængder guitarlir. Så smør dig bare en mad, slå fødderne op og lyt til Farrock - det har du sgu fortjent. Hver uge elsker vi en ny musiker, som får lidt ekstra kærlighed med på vejen. Værter: Casper Bach Hegstrup og Frank "Frankie" Ziyanak.
Scott and Rose talk about a great musical icon from the 80s.....Ronnie James Dio!! They dig deeper into his past and beginnings in the music industry all the way back into the 60s and 70s. Yep they’re breaking a few rules for this tribute to someone that had such a huge impact on the hard rock and metal industry! Playing with such greats as Richie Blackmore and Tony Iomi!
David Rosenthal ’81: Music director and keyboardist for the Piano Man for 23 Years and counting By Curtis Killian During a recent artist residency at his alma mater, David Rosenthal ’81, Billy Joel’s music director and keyboardist since 1993, described his prodigious career as “a fun and exciting journey.” He wasn’t exaggerating. On the most recent leg of that odyssey, Rosenthal is booked for indefinite sold-out shows with Billy Joel in a first-of-its-kind residency at Madison Square Garden. Thus far there have been 26 monthly engagements at the fabled venue, which Rosenthal says will continue as long as there is a demand. “It’s just remarkable, the enthusiasm of the New York fans for Billy,” Rosenthal says. “Worldwide he has that incredible appeal, but particularly in New York he has that home advantage.” Notably, Joel and Rosenthal will also play at Fenway Park in August for the third summer in a row, and Joel’s sold-out debut gig at Wembley Stadium in September. Of his role as music director and the unique arena residency, Rosenthal notes, “It’s a lot of preparedness. No two shows with him are identical.” The arena residency offers Joel the chance to perform his lesser-known tunes in addition to the hits fans expect. In preparation, Rosenthal says he has keyboard sounds programmed for about 85 songs. Rosenthal arrived at Berklee during the late 1970s as a classically trained pianist. He formed a band with fellow student Steve Vai ’79, a collaboration that has continued throughout their careers and is documented on several albums. “Everybody knew he was a great player,” Rosenthal says of Vai. “We played a lot of different things, and I believe it was Steve’s tape of our band that got [him his] audition with Frank Zappa. He’s a remarkable talent and [we] have remained great friends.” That relationship and others were an added benefit to Rosenthal from his Berklee years. Rosenthal’s first venture after graduating was a successful audition to replace keyboardist Don Airey in guitarist Richie Blackmore’s band Rainbow. It extended through two world tours and two albums, and was followed by tours with Little Steven, Cindi Lauper, Robert Palmer, and Enrique Iglesias as well as studio work with an array of artists. In addition to these gigs and his long-term work with Joel, Rosenthal has manned the keyboards with progressive stalwarts Happy the Man, orchestrated a concerto for Yngwie Malmsteem, and done synth programming for Bruce Springsteen. During a recent Berklee visit hosted by the Electronic Production and Design Department and the Office of Alumni Affairs, Rosenthal gave clinics on designing and playing a touring keyboard rig, the application of Apple’s Main Stage, and the role of the music director. “It’s fascinating, I’m on the cutting edge of technology now, but every piece of gear I use now did not exist while I was at Berklee,” he says. “But what I was fortunate to receive in my education here was all the concepts of how things work, and that enabled me to adapt to whatever technologies came along after I left. “I really love doing all types of projects [stylistically and musically], but [also enjoy] projects as synth programmer, orchestrator or producer,” Rosenthal says. “There are a lot of things I’ve been fortunate to do throughout all of my career, so far it’s been a good run.” Curtis Killian is a web content producer for Berklee’s Office of Alumni Affairs.
New Jack Johnson, John Doe, Spunj, Spencer Daniels, The Regrettes + Leftover Salmon, Brian Auger, The Tubes, Ziggy Marley, Sister Rosetta Tharpe, John Hiatt, Soul Vibrator, Judith Owen, Fatoumata Diawara... Birthdays for Richie Blackmore, Larry Ferguson
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