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5 episodes with Rick Price
2 episodes with Rick Price
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2 episodes with Rick Price
2 episodes with Rick Price
2 episodes with Rick Price
2 episodes with Rick Price
2 episodes with Rick Price
2 episodes with Rick Price
RICK PRICE is a bonifide Australian music legend. His new album turns his sights onto the canon of American original hymns have spanned centuries with other gospels songs being written in the early 1900's like ‘Wayfaring Stranger', ‘Amazing Grace', ‘Wade In The Water, and ‘Will The Circle Be Unbroken'. They have resonated and been covered by legends such as Johnny Cash, Bob Dylan, Elvis Presley, Eva Cassidy, Oliva Newton-John, Ray Charles, Ed Sheeran … and now Rick Price. IMOGEN CLARK is not just an artist; she's a storyteller, a fighter, and a dreamer. The powerful Australian singer-songwriter, hailing from the Blue Mountains of New South Wales, whose music ranges from arena-ready rock anthems to raw confessional indie roots music. Her songs in the new album The Art of Getting Through are laced with lyrics, imagery of independence, suicide and redemption.WoodSongs Kid:Reed Elliotte is a 14 year old pianist and singer from Corbin, KY.
Each week a different guest joins Denis for Friday Night Drinks. This week, Simon is filling in so singer Rick Price joins 3AW Nights.See omnystudio.com/listener for privacy information.
Susie Elelman talks to Rick Price about his new album Hometown and his Hometown Australian Tour.See omnystudio.com/listener for privacy information.
Irwin Thomas (born Irwin Thomas Whittridge; 6 January 1971) is an American-born Australian singer-songwriter and guitarist. He performs professionally using the stage name Jack Jones from when he was the lead vocalist-guitarist in the band Southern Sons (1990–1996). His other bands collaborations include Electric Mary, She Said Yes and Ahmet Zappa. He is known for his collaborations with John Farnham and Rick Price. He released his debut solo album, The Evolution of Irwin Thomas, in 2002.
Australian singer-songwriter, multi-instrumentalist and record producer, Rick Price chatting with Jason Dasey on 4BC Summer Drive ahead of performing this week in Brisbane.See omnystudio.com/listener for privacy information.
Jim Beam is about more than just making some of the world's most popular bourbon. Through a commitment to sustainability and employee engagement, the Kentucky-based distillery has built a culture of safety that permeates everything it does. Let BCSP CEO Christy Uden introduce you to Jim Beam safety leaders Rick Price and James Trusley who share their playbook for going beyond regulatory compliance by emphasizing honesty, empathy, and service.See more about Jim Beam's safety culture here: https://bcsp.wistia.com/medias/aeru01w5pf
Over the past several decades you would have heard Louie Shelton's riffs and solos on many hits by artists such as; THE MONKEES Last Train To Clarksville, THE JACKSON FIVE: I Want You Back, LIONEL RICHIE; Hello, THE CARPENTERS; We've Only Just Begun & Close To You, NEIL DIAMOND; Cracklin' Rose, Play Me and I Am I Said, BOZ SCAGGS; Low Down plus albums with BARBRA STREISAND, JOE COCKER, THE MAMAS & PAPAS, MARVIN GAYE, JOHN LENNON, DIANA ROSS and many others. For the past 50 years Louie has played on more hit records than any other guitarist in history. He was also a member of the famous WRECKING CREW; a group of studio musicians who played on most of the hits from the early sixty's, seventy's and eighty's. He accompanied good friend Glen Campbell for two years on his hit TV show the Glen Campbell Good-Time Hour while at the same time was lead guitar player on other TV shows such as the Partridge Family, the Monkees and all their records. As a producer Louie produced the many hits of SEALS & CROFTS such as Summer Breeze and Diamond Girl. He also produced the Art Garfunkel albums and many other artists. Today, Louie and his family have taken up residency in Australia, on the sunny Gold Coast in Queensland, where he and his wife, Donnie, share their passion for golf and life in general. He is still going strong musically. He has a recording studio in his home and has worked with some of Australia's most successful rock bands including Noiseworks. Over the years Louie has continued to produce several bands, including Southern Sons, Mother Hubbard, The Wolverines and Bleu Tongue, and has been involved with such artists as Tommy Emanuel, Rick Price and Human Nature. Louie Shelton does not intend to slow down any time soon. He joins us this week to share his incredible story. For more information about Louie head for his website https://louieshelton.com/ To get in touch with me with comments, feedback or suggestions for future guests, send me a message through my website https://www.abreathoffreshair.com.au I hope you enjoy getting to know Louie Shelton.
It was inevitable that singer, songwriter and multi-instrumentalist Rick Price would forge a career in the music industry, but rather than jumping at any offer of a record deal that came his way, he took his time to ensure the situation was just right. Before signing to Sony Music and releasing debut album Heaven Knows in 1992, he worked for many years as a session singer, appearing in a national ad for Australia's Bicentennial in 1988 and on charity single "You're Not Alone" by Australian Olympians. He was also involved in the early stages of Girlfriend's career as a songwriter. When his own deal did fall into place as he wanted it to, he hit the ground running with back-to-back top 10 hits "Not A Day Goes By" and "Heaven Knows". Ever conscious of doing things his way, Rick switched up his sound for second album Tamborine Mountain — and he talks about his label's response to a less commercial approach and how they convinced him to come back to pop for third album Another Place. Rick also discusses his more recent independently released albums, his move to Nashville and collaboration with fellow early '90s star Jack Jones.Bonus material at chartbeats.com.au/aussieTwitter: @ChartBeatsAU, @TurnAroundOnJoyInstagram: @chartbeatsau, @joyturnbeataroundEmail: chartbeats.au@gmail.com
Pittsburgh Region Clean Cities (PRCC) hosted its annual Odyssey Day to provide a full day of interactive and experiential educational activities dedicated to promoting the use of alternative fuels and advanced technology vehicles. PRCC Executive Director Rick Price Stepped up to the One Mic Stand just as the day kicked off to give us more details on how participants at Odyssey Day explore sustainable, climate-friendly transportation solutions while learning about the many collaborative opportunities available throughout the Western PA region. The gathering was first coordinated by the National Alternative Fuels Training Consortium (NAFTC) headquartered at West Virginia University in Morgantown, West Virginia, in partnership with the U.S. Department of Energy (DOE) in 2002. PRCC hosts Odyssey Day every Fall at the Community College of Allegheny County's (CCAC's) West Hills Center. The day features presentations and unique activities designed to educate the public about cleaner transportation technologies while highlighting the unique features of CCAC's facilities.
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Episode 160 of A History of Rock Music in Five Hundred Songs looks at “Flowers in the Rain" by the Move, their transition into ELO, and the career of Roy Wood. Click the full post to read liner notes, links to more information, and a transcript of the episode. Patreon backers also have a twenty-minute bonus episode available, on "The Chipmunk Song" by Canned Heat. Tilt Araiza has assisted invaluably by doing a first-pass edit, and will hopefully be doing so from now on. Check out Tilt's irregular podcasts at http://www.podnose.com/jaffa-cakes-for-proust and http://sitcomclub.com/ Note I say "And on its first broadcast, as George Martin's theme tune for the new station faded, Tony Blackburn reached for a record." -- I should point out that after Martin's theme fades, Blackburn talks over a brief snatch of a piece by Johnny Dankworth. Resources As so many of the episodes recently have had no Mixcloud due to the number of songs by one artist, I've decided to start splitting the mixes of the recordings excerpted in the podcasts into two parts. Here's part one . I had problems uploading part two, but will attempt to get that up shortly. There are not many books about Roy Wood, and I referred to both of the two that seem to exist -- this biography by John van der Kiste, and this album guide by James R Turner. I also referred to this biography of Jeff Lynne by van der Kiste, The Electric Light Orchestra Story by Bev Bevan, and Mr Big by Don Arden with Mick Wall. Most of the more comprehensive compilations of the Move's material are out of print, but this single-CD-plus-DVD anthology is the best compilation that's in print. This is the one collection of Wood's solo and Wizzard hits that seems currently in print, and for those who want to investigate further, this cheap box set has the last Move album, the first ELO album, the first Wizzard album, Wood's solo Boulders, and a later Wood solo album, for the price of a single CD. Transcript Before I start, a brief note. This episode deals with organised crime, and so contains some mild descriptions of violence, and also has some mention of mental illness and drug use, though not much of any of those things. And it's probably also important to warn people that towards the end there's some Christmas music, including excerpts of a song that is inescapable at this time of year in the UK, so those who work in retail environments and the like may want to listen to this later, at a point when they're not totally sick of hearing Christmas records. Most of the time, the identity of the party in government doesn't make that much of a difference to people's everyday lives. At least in Britain, there tends to be a consensus ideology within the limits of which governments of both main parties tend to work. They will make a difference at the margins, and be more or less competent, and more or less conservative or left-wing, more or less liberal or authoritarian, but life will, broadly speaking, continue along much as before for most people. Some will be a little better or worse off, but in general steering the ship of state is a matter of a lot of tiny incremental changes, not of sudden u-turns. But there have been a handful of governments that have made big, noticeable, changes to the structure of society, reforms that for better or worse affect the lives of every person in the country. Since the end of the Second World War there have been two UK governments that made economic changes of this nature. The Labour government under Clement Atlee which came into power in 1945, and which dramatically expanded the welfare state, introduced the National Health Service, and nationalised huge swathes of major industries, created the post-war social democratic consensus which would be kept to with only minor changes by successive governments of both major parties for decades. The next government to make changes to the economy of such a radical nature was the Conservative government which came to power under Margaret Thatcher in 1979, which started the process of unravelling that social democratic consensus and replacing it with a far more hypercapitalist economic paradigm, which would last for the next several decades. It's entirely possible that the current Conservative government, in leaving the EU, has made a similarly huge change, but we won't know that until we have enough distance from the event to know what long-term changes it's caused. Those are economic changes. Arguably at least as impactful was the Labour government led by Harold Wilson that came to power in 1964, which did not do much to alter the economic consensus, but revolutionised the social order at least as much. Largely because of the influence of Roy Jenkins, the Home Secretary for much of that time, between 1964 and the end of the sixties, Britain abolished the death penalty for murder, decriminalised some sex acts between men in private, abolished corporal punishment in prisons, legalised abortion in certain circumstances, and got rid of censorship in the theatre. They also vastly increased spending on education, and made many other changes. By the end of their term, Britain had gone from being a country with laws reflecting a largely conservative, authoritarian, worldview to one whose laws were some of the most liberal in Europe, and society had started changing to match. There were exceptions, though, and that government did make some changes that were illiberal. They brought in increased restrictions on immigration, starting a worrying trend that continues to this day of governments getting ever crueler to immigrants, and they added LSD to the list of illegal drugs. And they brought in the Marine Broadcasting Offences Act, banning the pirate stations. We've mentioned pirate radio stations very briefly, but never properly explained them. In Britain, at this point, there was a legal monopoly on broadcasting. Only the BBC could run a radio station in the UK, and thanks to agreements with the Musicians' Union, the BBC could only play a very small amount of recorded music, with everything else having to be live performances or spoken word. And because it had a legal obligation to provide something for everyone, that meant the tiny amount of recorded music that was played on the radio had to cover all genres, meaning that even while Britain was going through the most important changes in its musical history, pop records were limited to an hour or two a week on British radio. Obviously, that wasn't going to last while there was money to be made, and the record companies in particular wanted to have somewhere to showcase their latest releases. At the start of the sixties, Radio Luxembourg had become popular, broadcasting from continental Europe but largely playing shows that had been pre-recorded in London. But of course, that was far enough away that it made listening to the transmissions difficult. But a solution presented itself: [Excerpt: The Fortunes, "Caroline"] Radio Caroline still continues to this day, largely as an Internet-based radio station, but in the mid-sixties it was something rather different. It was one of a handful of radio stations -- the pirate stations -- that broadcast from ships in international waters. The ships would stay three miles off the coast of Britain, close enough for their broadcasts to be clearly heard in much of the country, but outside Britain's territorial waters. They soon became hugely popular, with Radio Caroline and Radio London the two most popular, and introduced DJs like Tony Blackburn, Dave Lee Travis, Kenny Everett, and John Peel to the airwaves of Britain. The stations ran on bribery and advertising, and if you wanted a record to get into the charts one of the things you had to do was bribe one of the big pirate stations to playlist it, and with this corruption came violence, which came to a head when as we heard in the episode on “Here Comes the Night”, in 1966 Major Oliver Smedley, a failed right-wing politician and one of the directors of Radio Caroline, got a gang of people to board an abandoned sea fort from which a rival station was broadcasting and retrieve some equipment he claimed belonged to him. The next day, Reginald Calvert, the owner of the rival station, went to Smedley's home to confront him, and Smedley shot him dead, claiming self-defence. The jury in Smedley's subsequent trial took only a minute to find him not guilty and award him two hundred and fifty guineas to cover his costs. This was the last straw for the government, which was already concerned that the pirates' transmitters were interfering with emergency services transmissions, and that proper royalties weren't being paid for the music broadcast (though since much of the music was only on there because of payola, this seems a little bit of a moot point). They introduced legislation which banned anyone in the UK from supplying the pirate ships with records or other supplies, or advertising on the stations. They couldn't do anything about the ships themselves, because they were outside British jurisdiction, but they could make sure that nobody could associate with them while remaining in the UK. The BBC was to regain its monopoly (though in later years some commercial radio stations were allowed to operate). But as well as the stick, they needed the carrot. The pirate stations *had* been filling a real need, and the biggest of them were getting millions of listeners every day. So the arrangements with the Musicians' Union and the record labels were changed, and certain BBC stations were now allowed to play a lot more recorded music per day. I haven't been able to find accurate figures anywhere -- a lot of these things were confidential agreements -- but it seems to have been that the so-called "needle time" rules were substantially relaxed, allowing the BBC to separate what had previously been the Light Programme -- a single radio station that played all kinds of popular music, much of it live performances -- into two radio stations that were each allowed to play as much as twelve hours of recorded music per day, which along with live performances and between-track commentary from DJs was enough to allow a full broadcast schedule. One of these stations, Radio 2, was aimed at older listeners, and to start with mostly had programmes of what we would now refer to as Muzak, mixed in with the pop music of an older generation -- crooners and performers like Englebert Humperdinck. But another, Radio 1, was aimed at a younger audience and explicitly modelled on the pirate stations, and featured many of the DJs who had made their names on those stations. And on its first broadcast, as George Martin's theme tune for the new station faded, Tony Blackburn reached for a record. At different times Blackburn has said either that he was just desperately reaching for whatever record came to hand or that he made a deliberate choice because the record he chose had such a striking opening that it would be the perfect way to start a new station: [Excerpt: Tony Blackburn first radio show into "Flowers in the Rain" by the Move] You may remember me talking in the episode on "Here Comes the Night" about how in 1964 Dick Rowe of Decca, the manager Larry Page, and the publicist and co-owner of Radio Caroline Phil Solomon were all trying to promote something called Brumbeat as the answer to Merseybeat – Brummies, for those who don't know, are people from Birmingham. Brumbeat never took off the way Merseybeat did, but several bands did get a chance to make records, among them Gerry Levene and the Avengers: [Excerpt: Gerry Levene and the Avengers, "Dr. Feelgood"] That was the only single the Avengers made, and the B-side wasn't even them playing, but a bunch of session musicians under the direction of Bert Berns, and the group split up soon afterwards, but several of the members would go on to have rather important careers. According to some sources, one of their early drummers was John Bohnam, who you can be pretty sure will be turning up later in the story, while the drummer on that track was Graeme Edge, who would later go on to co-found the Moody Blues. But today it's the guitarist we'll be looking at. Roy Wood had started playing music when he was very young -- he'd had drum lessons when he was five years old, the only formal musical tuition he ever had, and he'd played harmonica around working men's clubs as a kid. And as a small child he'd loved classical music, particularly Tchaikovsky and Elgar. But it wasn't until he was twelve that he decided that he wanted to be a guitarist. He went to see the Shadows play live, and was inspired by the sound of Hank Marvin's guitar, which he later described as sounding "like it had been dipped in Dettol or something": [Excerpt: The Shadows, "Apache"] He started begging his parents for a guitar, and got one for his thirteenth birthday -- and by the time he was fourteen he was already in a band, the Falcons, whose members were otherwise eighteen to twenty years old, but who needed a lead guitarist who could play like Marvin. Wood had picked up the guitar almost preternaturally quickly, as he would later pick up every instrument he turned his hand to, and he'd also got the equipment. His friend Jeff Lynne later said "I first saw Roy playing in a church hall in Birmingham and I think his group was called the Falcons. And I could tell he was dead posh because he had a Fender Stratocaster and a Vox AC30 amplifier. The business at the time. I mean, if you've got those, that's it, you're made." It was in the Falcons that Wood had first started trying to write songs, at first instrumentals in the style of the Shadows, but then after the Beatles hit the charts he realised it was possible for band members to write their own material, and started hesitantly trying to write a few actual songs. Wood had moved on from the Falcons to Gerry Levene's band, one of the biggest local bands in Birmingham, when he was sixteen, which is also when he left formal education, dropping out from art school -- he's later said that he wasn't expelled as such, but that he and the school came to a mutual agreement that he wouldn't go back there. And when Gerry Levene and the Avengers fell apart after their one chance at success hadn't worked out, he moved on again to an even bigger band. Mike Sheridan and the Night Riders had had two singles out already, both produced by Cliff Richard's producer Norrie Paramor, and while they hadn't charted they were clearly going places. They needed a new guitarist, and Wood was by far the best of the dozen or so people who auditioned, even though Sheridan was very hesitant at first -- the Night Riders were playing cabaret, and all dressed smartly at all times, and this sixteen-year-old guitarist had turned up wearing clothes made by his sister and ludicrous pointy shoes. He was the odd man out, but he was so good that none of the other players could hold a candle to him, and he was in the Night Riders by the time of their third single, "What a Sweet Thing That Was": [Excerpt: Mike Sheridan and the Night Riders, "What a Sweet Thing That Was"] Sheridan later said "Roy was and still is, in my opinion, an unbelievable talent. As stubborn as a mule and a complete extrovert. Roy changed the group by getting us into harmonies and made us realize there was better material around with more than three chords to play. This was our turning point and we became a group's group and a bigger name." -- though there are few other people who would describe Wood as extroverted, most people describing him as painfully shy off-stage. "What a Sweet Thing That Was" didn't have any success, and nor did its follow-up, "Here I Stand", which came out in January 1965. But by that point, Wood had got enough of a reputation that he was already starting to guest on records by other bands on the Birmingham scene, like "Pretty Things" by Danny King and the Mayfair Set: [Excerpt: Danny King and the Mayfair Set, "Pretty Things"] After their fourth single was a flop, Mike Sheridan and the Night Riders changed their name to Mike Sheridan's Lot, and the B-side of their first single under the new name was a Roy Wood song, the first time one of his songs was recorded. Unfortunately the song, modelled on "It's Not Unusual" by Tom Jones, didn't come off very well, and Sheridan blamed himself for what everyone was agreed was a lousy sounding record: [Excerpt: Mike Sheridan's Lot, "Make Them Understand"] Mike Sheridan's Lot put out one final single, but the writing was on the wall for the group. Wood left, and soon after so did Sheridan himself. The remaining members regrouped under the name The Idle Race, with Wood's friend Jeff Lynne as their new singer and guitarist. But Wood wouldn't remain without a band for long. He'd recently started hanging out with another band, Carl Wayne and the Vikings, who had also released a couple of singles, on Pye: [Excerpt: Carl Wayne and the Vikings, "What's the Matter Baby"] But like almost every band from Birmingham up to this point, the Vikings' records had done very little, and their drummer had quit, and been replaced by Bev Bevan, who had been in yet another band that had gone nowhere, Denny Laine and the Diplomats, who had released one single under the name of their lead singer Nicky James, featuring the Breakaways, the girl group who would later sing on "Hey Joe", on backing vocals: [Excerpt: Nicky James, "My Colour is Blue"] Bevan had joined Carl Wayne's group, and they'd recorded one track together, a cover version of "My Girl", which was only released in the US, and which sank without a trace: [Excerpt: Carl Wayne and the Vikings, "My Girl"] It was around this time that Wood started hanging around with the Vikings, and they would all complain about how if you were playing the Birmingham circuit you were stuck just playing cover versions, and couldn't do anything more interesting. They were also becoming more acutely aware of how successful they *could* have been, because one of the Brumbeat bands had become really big. The Moody Blues, a supergroup of players from the best bands in Birmingham who featured Bev Bevan's old bandmate Denny Laine and Wood's old colleague Graeme Edge, had just hit number one with their version of "Go Now": [Excerpt: The Moody Blues, "Go Now"] So they knew the potential for success was there, but they were all feeling trapped. But then Ace Kefford, the bass player for the Vikings, went to see Davy Jones and the Lower Third playing a gig: [Excerpt: Davy Jones and the Lower Third, "You've Got a Habit of Leaving"] Also at the gig was Trevor Burton, the guitarist for Danny King and the Mayfair Set. The two of them got chatting to Davy Jones after the gig, and eventually the future David Bowie told them that the two of them should form their own band if they were feeling constricted in their current groups. They decided to do just that, and they persuaded Carl Wayne from Kefford's band to join them, and got in Wood. Now they just needed a drummer. Their first choice was John Bonham, the former drummer for Gerry Levene and the Avengers who was now drumming in a band with Kefford's uncle and Nicky James from the Diplomats. But Bonham and Wayne didn't get on, and so Bonham decided to remain in the group he was in, and instead they turned to Bev Bevan, the Vikings' new drummer. (Of the other two members of the Vikings, one went on to join Mike Sheridan's Lot in place of Wood, before leaving at the same time as Sheridan and being replaced by Lynne, while the other went on to join Mike Sheridan's New Lot, the group Sheridan formed after leaving his old group. The Birmingham beat group scene seems to have only had about as many people as there were bands, with everyone ending up a member of twenty different groups). The new group called themselves the Move, because they were all moving on from other groups, and it was a big move for all of them. Many people advised them not to get together, saying they were better off where they were, or taking on offers they'd got from more successful groups -- Carl Wayne had had an offer from a group called the Spectres, who would later become famous as Status Quo, while Wood had been tempted by Tony Rivers and the Castaways, a group who at the time were signed to Immediate Records, and who did Beach Boys soundalikes and covers: [Excerpt: Tony Rivers and the Castaways, "Girl Don't Tell Me"] Wood was a huge fan of the Beach Boys and would have fit in with Rivers, but decided he'd rather try something truly new. After their first gig, most of the people who had warned against the group changed their minds. Bevan's best friend, Bobby Davis, told Bevan that while he'd disliked all the other groups Bevan had played in, he liked this one. (Davis would later become a famous comedian, and have a top five single himself in the seventies, produced by Jeff Lynne and with Bevan on the drums, under his stage name Jasper Carrott): [Excerpt: Jasper Carrott, "Funky Moped"] Most of their early sets were cover versions, usually of soul and Motown songs, but reworked in the group's unique style. All five of the band could sing, four of them well enough to be lead vocalists in their own right (Bevan would add occasional harmonies or sing novelty numbers) and so they became known for their harmonies -- Wood talked at the time about how he wanted the band to have Beach Boys harmonies but over instruments that sounded like the Who. And while they were mostly doing cover versions live, Wood was busily writing songs. Their first recording session was for local radio, and at that session they did cover versions of songs by Brenda Lee, the Isley Brothers, the Orlons, the Marvelettes, and Betty Everett, but they also performed four songs written by Wood, with each member of the front line taking a lead vocal, like this one with Kefford singing: [Excerpt: The Move, "You're the One I Need"] The group were soon signed by Tony Secunda, the manager of the Moody Blues, who set about trying to get the group as much publicity as possible. While Carl Wayne, as the only member who didn't play an instrument, ended up the lead singer on most of the group's early records, Secunda started promoting Kefford, who was younger and more conventionally attractive than Wayne, and who had originally put the group together, as the face of the group, while Wood was doing most of the heavy lifting with the music. Wood quickly came to dislike performing live, and to wish he could take the same option as Brian Wilson and stay home and write songs and make records while the other four went out and performed, so Kefford and Wayne taking the spotlight from him didn't bother him at the time, but it set the group up for constant conflicts about who was actually the leader of the group. Wood was also uncomfortable with the image that Secunda set up for the group. Secunda decided that the group needed to be promoted as "bad boys", and so he got them to dress up as 1930s gangsters, and got them to do things like smash busts of Hitler, or the Rhodesian dictator Ian Smith, on stage. He got them to smash TVs on stage too, and in one publicity stunt he got them to smash up a car, while strippers took their clothes off nearby -- claiming that this was to show that people were more interested in violence than in sex. Wood, who was a very quiet, unassuming, introvert, didn't like this sort of thing, but went along with it. Secunda got the group a regular slot at the Marquee club, which lasted several months until, in one of Secunda's ideas for publicity, Carl Wayne let off smoke bombs on stage which set fire to the stage. The manager came up to try to stop the fire, and Wayne tossed the manager's wig into the flames, and the group were banned from the club (though the ban was later lifted). In another publicity stunt, at the time of the 1966 General Election, the group were photographed with "Vote Tory" posters, and issued an invitation to Edward Heath, the leader of the Conservative Party and a keen amateur musician, to join them on stage on keyboards. Sir Edward didn't respond to the invitation. All this publicity led to record company interest. Joe Boyd tried to sign the group to Elektra Records, but much as with The Pink Floyd around the same time, Jac Holzman wasn't interested. Instead they signed with a new production company set up by Denny Cordell, the producer of the Moody Blues' hits. The contract they signed was written on the back of a nude model, as yet another of Secunda's publicity schemes. The group's first single, "Night of Fear" was written by Wood and an early sign of his interest in incorporating classical music into rock: [Excerpt: The Move, "Night of Fear"] Secunda claimed in the publicity that that song was inspired by taking bad acid and having a bad trip, but in truth Wood was more inspired by brown ale than by brown acid -- he and Bev Bevan would never do any drugs other than alcohol. Wayne did take acid once, but didn't like it, though Burton and Kefford would become regular users of most drugs that were going. In truth, the song was not about anything more than being woken up in the middle of the night by an unexpected sound and then being unable to get back to sleep because you're scared of what might be out there. The track reached number two on the charts in the UK, being kept off the top by "I'm a Believer" by the Monkees, and was soon followed up by another song which again led to assumptions of drug use. "I Can Hear the Grass Grow" wasn't about grass the substance, but was inspired by a letter to Health and Efficiency, a magazine which claimed to be about the nudist lifestyle as an excuse for printing photos of naked people at a time before pornography laws were liberalised. The letter was from a reader saying that he listened to pop music on the radio because "where I live it's so quiet I can hear the grass grow!" Wood took that line and turned it into the group's next single, which reached number five: [Excerpt: The Move, "I Can Hear the Grass Grow"] Shortly after that, the group played two big gigs at Alexandra Palace. The first was the Fourteen-Hour Technicolor Dream, which we talked about in the Pink Floyd episode. There Wood had one of the biggest thrills of his life when he walked past John Lennon, who saluted him and then turned to a friend and said "He's brilliant!" -- in the seventies Lennon would talk about how Wood was one of his two favourite British songwriters, and would call the Move "the Hollies with balls". The other gig they played at Alexandra Palace was a "Free the Pirates" benefit show, sponsored by Radio Caroline, to protest the imposition of the Marine Broadcasting (Offences) Act. Despite that, it was, of course, the group's next single that was the first one to be played on Radio One. And that single was also the one which kickstarted Roy Wood's musical ambitions. The catalyst for this was Tony Visconti. Visconti was a twenty-three-year-old American who had been in the music business since he was sixteen, working the typical kind of jobs that working musicians do, like being for a time a member of a latter-day incarnation of the Crew-Cuts, the white vocal group who had had hits in the fifties with covers of "Sh'Boom" and “Earth Angel”. He'd also recorded two singles as a duo with his wife Siegrid, which had gone nowhere: [Excerpt: Tony and Siegrid, "Up Here"] Visconti had been working for the Richmond Organisation as a staff songwriter when he'd met the Move's producer Denny Cordell. Cordell was in the US to promote a new single he had released with a group called Procol Harum, "A Whiter Shade of Pale", and Visconti became the first American to hear the record, which of course soon became a massive hit: [Excerpt: Procol Harum, "A Whiter Shade of Pale"] While he was in New York, Cordell also wanted to record a backing track for one of his other hit acts, Georgie Fame. He told Visconti that he'd booked several of the best session players around, like the jazz trumpet legend Clark Terry, and thought it would be a fun session. Visconti asked to look at the charts for the song, out of professional interest, and Cordell was confused -- what charts? The musicians would just make up an arrangement, wouldn't they? Visconti asked what he was talking about, and Cordell talked about how you made records -- you just got the musicians to come into the studio, hung around while they smoked a few joints and worked out what they were going to play, and then got on with it. It wouldn't take more than about twelve hours to get a single recorded that way. Visconti was horrified, and explained that that might be how they did things in London, but if Cordell tried to make a record that way in New York, with an eight-piece group of session musicians who charged union scale, and would charge double scale for arranging work on top, then he'd bankrupt himself. Cordell went pale and said that the session was in an hour, what was he going to do? Luckily, Cordell had a copy of the demo with him, and Visconti, who unlike Cordell was a trained musician, quickly sat down and wrote an arrangement for him, sketching out parts for guitar, bass, drums, piano, sax, and trumpets. The resulting arrangement wasn't perfect -- Visconti had to write the whole thing in less than an hour with no piano to hand -- but it was good enough that Cordell's production assistant on the track, Harvey Brooks of the group Electric Flag, who also played bass on the track, could tweak it in the studio, and the track was recorded quickly, saving Cordell a fortune: [Excerpt: Georgie Fame, "Because I Love You"] One of the other reasons Cordell had been in the US was that he was looking for a production assistant to work with him in the UK to help translate his ideas into language the musicians could understand. According to Visconti he said that he was going to try asking Phil Spector to be his assistant, and Artie Butler if Spector said no. Astonishingly, assuming he did ask them, neither Phil Spector nor Artie Butler (who was the arranger for records like "Leader of the Pack" and "I'm a Believer" among many, many, others, and who around this time was the one who suggested to Louis Armstrong that he should record "What a Wonderful World") wanted to fly over to the UK to work as Denny Cordell's assistant, and so Cordell turned back to Visconti and invited him to come over to the UK. The main reason Cordell needed an assistant was that he had too much work on his hands -- he was currently in the middle of recording albums for three major hit groups -- Procol Harum, The Move, and Manfred Mann -- and he physically couldn't be in multiple studios at once. Visconti's first work for him was on a Manfred Mann session, where they were recording the Randy Newman song "So Long Dad" for their next single. Cordell produced the rhythm track then left for a Procol Harum session, leaving Visconti to guide the group through the overdubs, including all the vocal parts and the lead instruments: [Excerpt: Manfred Mann, "So Long Dad"] The next Move single, "Flowers in the Rain", was the first one to benefit from Visconti's arrangement ideas. The band had recorded the track, and Cordell had been unhappy with both the song and performance, thinking it was very weak compared to their earlier singles -- not the first time that Cordell would have a difference of opinion with the band, who he thought of as a mediocre pop group, while they thought of themselves as a heavy rock band who were being neutered in the studio by their producer. In particular, Cordell didn't like that the band fell slightly out of time in the middle eight of the track. He decided to scrap it, and get the band to record something else. Visconti, though, thought the track could be saved. He told Cordell that what they needed to do was to beat the Beatles, by using a combination of instruments they hadn't thought of. He scored for a quartet of wind instruments -- oboe, flute, clarinet, and French horn, in imitation of Mendelssohn: [Excerpt: The Move, "Flowers in the Rain"] And then, to cover up the slight sloppiness on the middle eight, Visconti had the wind instruments on that section recorded at half speed, so when played back at normal speed they'd sound like pixies and distract from the rhythm section: [Excerpt: The Move, "Flowers in the Rain"] Visconti's instincts were right. The single went to number two, kept off the top spot by Englebert Humperdinck, who spent 1967 keeping pretty much every major British band off number one, and thanks in part to it being the first track played on Radio 1, but also because it was one of the biggest hits of 1967, it's been the single of the Move's that's had the most airplay over the years. Unfortunately, none of the band ever saw a penny in royalties from it. It was because of another of Tony Secunda's bright ideas. Harold Wilson, the Prime Minister at the time, was very close to his advisor Marcia Williams, who started out as his secretary, rose to be his main political advisor, and ended up being elevated to the peerage as Baroness Falkender. There were many, many rumours that Williams was corrupt -- rumours that were squashed by both Wilson and Williams frequently issuing libel writs against newspapers that mentioned them -- though it later turned out that at least some of these were the work of Britain's security services, who believed Wilson to be working for the KGB (and indeed Williams had first met Wilson at a dinner with Khrushchev, though Wilson was very much not a Communist) and were trying to destabilise his government as a result. Their personal closeness also led to persistent rumours that Wilson and Williams were having an affair. And Tony Secunda decided that the best way to promote "Flowers in the Rain" was to print a postcard with a cartoon of Wilson and Williams on it, and send it out. Including sticking a copy through the door of ten Downing St, the Prime Minister's official residence. This backfired *spectacularly*. Wilson sued the Move for libel, even though none of them had known of their manager's plans, and as a result of the settlement it became illegal for any publication to print the offending image (though it can easily be found on the Internet now of course), everyone involved with the record was placed under a permanent legal injunction to never discuss the details of the case, and every penny in performance or songwriting royalties the track earned would go to charities of Harold Wilson's choice. In the 1990s newspaper reports said that the group had up to that point lost out on two hundred thousand pounds in royalties as a result of Secunda's stunt, and given the track's status as a perennial favourite, it's likely they've missed out on a similar amount in the decades since. Incidentally, while every member of the band was banned from ever describing the postcard, I'm not, and since Wilson and Williams are now both dead it's unlikely they'll ever sue me. The postcard is a cartoon in the style of Aubrey Beardsley, and shows Wilson as a grotesque naked homunculus sat on a bed, with Williams naked save for a diaphonous nightgown through which can clearly be seen her breasts and genitals, wearing a Marie Antoinette style wig and eyemask and holding a fan coquettishly, while Wilson's wife peers at them through a gap in the curtains. The text reads "Disgusting Depraved Despicable, though Harold maybe is the only way to describe "Flowers in the Rain" The Move, released Aug 23" The stunt caused huge animosity between the group and Secunda, not only because of the money they lost but also because despite Secunda's attempts to associate them with the Conservative party the previous year, Ace Kefford was upset at an attack on the Labour leader -- his grandfather was a lifelong member of the Labour party and Kefford didn't like the idea of upsetting him. The record also had a knock-on effect on another band. Wood had given the song "Here We Go Round the Lemon Tree" to his friends in The Idle Race, the band that had previously been Mike Sheridan and the Night Riders, and they'd planned to use their version as their first single: [Excerpt: The Idle Race, "Here We Go Round the Lemon Tree"] But the Move had also used the song as the B-side for their own single, and "Flowers in the Rain" was so popular that the B-side also got a lot of airplay. The Idle Race didn't want to be thought of as a covers act, and so "Lemon Tree" was pulled at the last minute and replaced by "Impostors of Life's Magazine", by the group's guitarist Jeff Lynne: [Excerpt: The Idle Race, "Impostors of Life's Magazine"] Before the problems arose, the Move had been working on another single. The A-side, "Cherry Blossom Clinic", was a song about being in a psychiatric hospital, and again had an arrangement by Visconti, who this time conducted a twelve-piece string section: [Excerpt: The Move, "Cherry Blossom Clinic"] The B-side, meanwhile, was a rocker about politics: [Excerpt: The Move, "Vote For Me"] Given the amount of controversy they'd caused, the idea of a song about mental illness backed with one about politics seemed a bad idea, and so "Cherry Blossom Clinic" was kept back as an album track while "Vote For Me" was left unreleased until future compilations. The first Wood knew about "Cherry Blossom Clinic" not being released was when after a gig in London someone -- different sources have it as Carl Wayne or Tony Secunda -- told him that they had a recording session the next morning for their next single and asked what song he planned on recording. When he said he didn't have one, he was sent up to his hotel room with a bottle of Scotch and told not to come down until he had a new song. He had one by 8:30 the next morning, and was so drunk and tired that he had to be held upright by his bandmates in the studio while singing his lead vocal on the track. The song was inspired by "Somethin' Else", a track by Eddie Cochran, one of Wood's idols: [Excerpt: Eddie Cochran, "Somethin' Else"] Wood took the bass riff from that and used it as the basis for what was the Move's most straight-ahead rock track to date. As 1967 was turning into 1968, almost universally every band was going back to basics, recording stripped down rock and roll tracks, and the Move were no exception. Early takes of "Fire Brigade" featured Matthew Fisher of Procol Harum on piano, but the final version featured just guitar, bass, drums and vocals, plus a few sound effects: [Excerpt: The Move, "Fire Brigade"] While Carl Wayne had sung lead or co-lead on all the Move's previous singles, he was slowly being relegated into the background, and for this one Wood takes the lead vocal on everything except the brief bridge, which Wayne sings: [Excerpt: The Move, "Fire Brigade"] The track went to number three, and while it's not as well-remembered as a couple of other Move singles, it was one of the most influential. Glen Matlock of the Sex Pistols has often said that the riff for "God Save the Queen" is inspired by "Fire Brigade": [Excerpt: The Sex Pistols, "God Save the Queen"] The reversion to a heavier style of rock on "Fire Brigade" was largely inspired by the group's new friend Jimi Hendrix. The group had gone on a package tour with The Pink Floyd (who were at the bottom of the bill), Amen Corner, The Nice, and the Jimi Hendrix Experience, and had become good friends with Hendrix, often jamming with him backstage. Burton and Kefford had become so enamoured of Hendrix that they'd both permed their hair in imitation of his Afro, though Burton regretted it -- his hair started falling out in huge chunks as a result of the perm, and it took him a full two years to grow it out and back into a more natural style. Burton had started sharing a flat with Noel Redding of the Jimi Hendrix Experience, and Burton and Wood had also sung backing vocals with Graham Nash of the Hollies on Hendrix's "You Got Me Floatin'", from his Axis: Bold as Love album: [Excerpt: The Jimi Hendrix Experience, "You Got Me Floatin'"] In early 1968, the group's first album came out. In retrospect it's arguably their best, but at the time it felt a little dated -- it was a compilation of tracks recorded between late 1966 and late 1967, and by early 1968 that might as well have been the nineteenth century. The album included their two most recent singles, a few more songs arranged by Visconti, and three cover versions -- versions of Eddie Cochran's "Weekend", Moby Grape's "Hey Grandma", and the old standard "Zing! Went the Strings of My Heart", done copying the Coasters' arrangement with Bev Bevan taking a rare lead vocal. By this time there was a lot of dissatisfaction among the group. Most vocal -- or least vocal, because by this point he was no longer speaking to any of the other members, had been Ace Kefford. Kefford felt he was being sidelined in a band he'd formed and where he was the designated face of the group. He'd tried writing songs, but the only one he'd brought to the group, "William Chalker's Time Machine", had been rejected, and was eventually recorded by a group called The Lemon Tree, whose recording of it was co-produced by Burton and Andy Fairweather-Low of Amen Corner: [Excerpt: The Lemon Tree, "William Chalker's Time Machine"] He was also, though the rest of the group didn't realise it at the time, in the middle of a mental breakdown, which he later attributed to his overuse of acid. By the time the album, titled Move, came out, he'd quit the group. He formed a new group, The Ace Kefford Stand, with Cozy Powell on drums, and they released one single, a cover version of the Yardbirds' "For Your Love", which didn't chart: [Excerpt: The Ace Kefford Stand, "For Your Love"] Kefford recorded a solo album in 1968, but it wasn't released until an archival release in 2003, and he spent most of the next few decades dealing with mental health problems. The group continued on as a four-piece, with Burton moving over to bass. While they thought about what to do -- they were unhappy with Secunda's management, and with the sound that Cordell was getting from their recordings, which they considered far wimpier than their live sound -- they released a live EP of cover versions, recorded at the Marquee. The choice of songs for the EP showed their range of musical influences at the time, going from fifties rockabilly to the burgeoning progressive rock scene, with versions of Cochran's "Somethin' Else", Jerry Lee Lewis' "It'll Be Me", "So You Want to Be a Rock and Roll Star" by the Byrds, "Sunshine Help Me" by Spooky Tooth, and "Stephanie Knows Who" by Love: [Excerpt: The Move, "Stephanie Knows Who"] Incidentally, later that year they headlined a gig at the Royal Albert Hall with the Byrds as the support act, and Gram Parsons, who by that time was playing guitar for the Byrds, said that the Move did "So You Want to Be a Rock and Roll Star" better than the Byrds did. The EP, titled "Something Else From the Move", didn't do well commercially, but it did do something that the band thought important -- Trevor Burton in particular had been complaining that Denny Cordell's productions "took the toughness out" of the band's sound, and was worried that the group were being perceived as a pop band, not as a rock group like his friends in the Jimi Hendrix Experience or Cream. There was an increasing tension between Burton, who wanted to be a heavy rocker, and the older Wayne, who thought there was nothing at all wrong with being a pop band. The next single, "Wild Tiger Woman", was much more in the direction that Burton wanted their music to go. It was ostensibly produced by Cordell, but for the most part he left it to the band, and as a result it ended up as a much heavier track than normal. Roy Wood had only intended the song as an album track, and Bevan and Wayne were hesitant about it being a single, but Burton was insistent -- "Wild Tiger Woman" was going to be the group's first number one record: [Excerpt: The Move, "Wild Tiger Woman"] In fact, it turned out to be the group's first single not to chart at all, after four top ten singles in a row. The group were now in crisis. They'd lost Ace Kefford, Burton and Wayne were at odds, and they were no longer guaranteed hitmakers. They decided to stop working with Cordell and Secunda, and made a commitment that if the next single was a flop, they would split up. In any case, Roy Wood was already thinking about another project. Even though the group's recent records had gone in a guitar-rock direction, he thought maybe you could do something more interesting. Ever since seeing Tony Visconti conduct orchestral instruments playing his music, he'd been thinking about it. As he later put it "I thought 'Well, wouldn't it be great to get a band together, and rather than advertising for a guitarist how about advertising for a cellist or a French horn player or something? There must be lots of young musicians around who play the... instruments that would like to play in a rock kind of band.' That was the start of it, it really was, and I think after those tracks had been recorded with Tony doing the orchestral arrangement, that's when I started to get bored with the Move, with the band, because I thought 'there's something more to it'". He'd started sketching out plans for an expanded lineup of the group, drawing pictures of what it would look like on stage if Carl Wayne was playing timpani while there were cello and French horn players on stage with them. He'd even come up with a name for the new group -- a multi-layered pun. The group would be a light orchestra, like the BBC Light Orchestra, but they would be playing electrical instruments, and also they would have a light show when they performed live, and so he thought "the Electric Light Orchestra" would be a good name for such a group. The other band members thought this was a daft idea, but Wood kept on plotting. But in the meantime, the group needed some new management. The person they chose was Don Arden. We talked about Arden quite a bit in the last episode, but he's someone who is going to turn up a lot in future episodes, and so it's best if I give a little bit more background about him. Arden was a manager of the old school, and like several of the older people in the music business at the time, like Dick James or Larry Page, he had started out as a performer, doing an Al Jolson tribute act, and he was absolutely steeped in showbusiness -- his wife had been a circus contortionist before they got married, and when he moved from Manchester to London their first home had been owned by Winifred Atwell, a boogie piano player who became the first Black person to have a UK number one -- and who is *still* the only female solo instrumentalist to have a UK number one -- with her 1954 hit "Let's Have Another Party": [Excerpt: WInifred Atwell, "Let's Have Another Party"] That was only Atwell's biggest in a long line of hits, and she'd put all her royalties into buying properties in London, one of which became the Ardens' home. Arden had been considered quite a promising singer, and had made a few records in the early 1950s. His first recordings, of material in Yiddish aimed at the Jewish market, are sadly not findable online, but he also apparently recorded as a session singer for Embassy Records. I can't find a reliable source for what records he sang on for that label, which put out budget rerecordings of hits for sale exclusively through Woolworths, but according to Wikipedia one of them was Embassy's version of "Blue Suede Shoes", put out under the group name "The Canadians", and the lead vocal on that track certainly sounds like it could be him: [Excerpt: The Canadians, "Blue Suede Shoes"] As you can tell, rock and roll didn't really suit Arden's style, and he wisely decided to get out of performance and into behind-the-scenes work, though he would still try on occasion to make records of his own -- an acetate exists from 1967 of him singing "Sunrise, Sunset": [Excerpt: Don Arden, "Sunrise, Sunset"] But he'd moved first into promotion -- he'd been the promoter who had put together tours of the UK for Gene Vincent, Little Richard, Brenda Lee and others which we mentioned in the second year of the podcast -- and then into management. He'd first come into management with the Animals -- apparently acting at that point as the money man for Mike Jeffries, who was the manager the group themselves dealt with. According to Arden -- though his story differs from the version of the story told by others involved -- the group at some point ditched Arden for Allen Klein, and when they did, Arden's assistant Peter Grant, another person we'll be hearing a lot more of, went with them. Arden, by his own account, flew over to see Klein and threatened to throw him out of the window of his office, which was several stories up. This was a threat he regularly made to people he believed had crossed him -- he made a similar threat to one of the Nashville Teens, the first group he managed after the Animals, after the musician asked what was happening to the group's money. And as we heard last episode, he threatened Robert Stigwood that way when Stigwood tried to get the Small Faces off him. One of the reasons he'd signed the Small Faces was that Steve Marriott had gone to the Italia Conti school, where Arden had sent his own children, Sharon and David, and David had said that Marriott was talented. And David was also a big reason the Move came over to Arden. After the Small Faces had left him, Arden had bought Galaxy Entertaimnent, the booking agency that handled bookings for Amen Corner and the Move, among many other acts. Arden had taken over management of Amen Corner himself, and had put his son David in charge of liaising with Tony Secunda about the Move. But David Arden was sure that the Move could be an albums act, not just a singles act, and was convinced the group had more potential than they were showing, and when they left Secunda, Don Arden took them on as his clients, at least for the moment. Secunda, according to Arden (who is not the most reliable of witnesses, but is unfortunately the only one we have for a lot of this stuff) tried to hire someone to assassinate Arden, but Arden quickly let Secunda know that if anything happened to Arden, Secunda himself would be dead within the hour. As "Wild Tiger Woman" hadn't been a hit, the group decided to go back to their earlier "Flowers in the Rain" style, with "Blackberry Way": [Excerpt: The Move, "Blackberry Way"] That track was produced by Jimmy Miller, who was producing the Rolling Stones and Traffic around this time, and featured the group's friend Richard Tandy on harpsichord. It's also an example of the maxim "Good artists copy, great artists steal". There are very few more blatant examples of plagiarism in pop music than the middle eight of "Blackberry Way". Compare Harry Nilsson's "Good Old Desk": [Excerpt: Nilsson, "Good Old Desk"] to the middle eight of "Blackberry Way": [Excerpt: The Move, "Blackberry Way"] "Blackberry Way" went to number one, but that was the last straw for Trevor Burton -- it was precisely the kind of thing he *didn't* want to be doing,. He was so sick of playing what he thought of as cheesy pop music that at one show he attacked Bev Bevan on stage with his bass, while Bevan retaliated with his cymbals. He stormed off stage, saying he was "tired of playing this crap". After leaving the group, he almost joined Blind Faith, a new supergroup that members of Cream and Traffic were forming, but instead formed his own supergroup, Balls. Balls had a revolving lineup which at various times included Denny Laine, formerly of the Moody Blues, Jackie Lomax, a singer-songwriter who was an associate of the Beatles, Richard Tandy who had played on "Blackberry Way", and Alan White, who would go on to drum with the band Yes. Balls only released one single, "Fight for My Country", which was later reissued as a Trevor Burton solo single: [Excerpt: Balls, "Fight For My Country"] Balls went through many lineup changes, and eventually seemed to merge with a later lineup of the Idle Race to become the Steve Gibbons Band, who were moderately successful in the seventies and eighties. Richard Tandy covered on bass for a short while, until Rick Price came in as a permanent replacement. Before Price, though, the group tried to get Hank Marvin to join, as the Shadows had then split up, and Wood was willing to move over to bass and let Marvin play lead guitar. Marvin turned down the offer though. But even though "Blackberry Way" had been the group's biggest hit to date, it marked a sharp decline in the group's fortunes. Its success led Peter Walsh, the manager of Marmalade and the Tremeloes, to poach the group from Arden, and even though Arden took his usual heavy-handed approach -- he describes going and torturing Walsh's associate, Clifford Davis, the manager of Fleetwood Mac, in his autobiography -- he couldn't stop Walsh from taking over. Unfortunately, Walsh put the group on the chicken-in-a-basket cabaret circuit, and in the next year they only released one record, the single "Curly", which nobody was happy with. It was ostensibly produced by Mike Hurst, but Hurst didn't turn up to the final sessions and Wood did most of the production work himself, while in the next studio over Jimmy Miller, who'd produced "Blackberry Way", was producing "Honky Tonk Women" by the Rolling Stones. The group were getting pigeonholed as a singles group, at a time when album artists were the in thing. In a three-year career they'd only released one album, though they were working on their second. Wood was by this point convinced that the Move was unsalvageable as a band, and told the others that the group was now just going to be a launchpad for his Electric Light Orchestra project. The band would continue working the chicken-in-a-basket circuit and releasing hit singles, but that would be just to fund the new project -- which they could all be involved in if they wanted, of course. Carl Wayne, on the other hand, was very, very, happy playing cabaret, and didn't see the need to be doing anything else. He made a counter-suggestion to Wood -- keep The Move together indefinitely, but let Wood do the Brian Wilson thing and stay home and write songs. Wayne would even try to get Burton and Kefford back into the band. But Wood wasn't interested. Increasingly his songs weren't even going to the Move at all. He was writing songs for people like Cliff Bennett and the Casuals. He wrote "Dance Round the Maypole" for Acid Gallery: [Excerpt: Acid Gallery, "Dance Round the Maypole"] On that, Wood and Jeff Lynne sang backing vocals. Wood and Lynne had been getting closer since Lynne had bought a home tape recorder which could do multi-tracking -- Wood had wanted to buy one of his own after "Flowers in the Rain", but even though he'd written three hit singles at that point his publishing company wouldn't give him an advance to buy one, and so he'd started using Lynne's. The two have often talked about how they'd recorded the demo for "Blackberry Way" at Lynne's parents' house, recording Wood's vocal on the demo with pillows and cushions around his head so that his singing wouldn't wake Lynne's parents. Lynne had been another person that Wood had asked to join the group when Burton left, but Lynne was happy with The Idle Race, where he was the main singer and songwriter, though their records weren't having any success: [Excerpt: The Idle Race, "I Like My Toys"] While Wood was writing material for other people, the only one of those songs to become a hit was "Hello Suzie", written for Amen Corner, which became a top five single on Immediate Records: [Excerpt: Amen Corner, "Hello Suzie"] While the Move were playing venues like Batley Variety Club in Britain, when they went on their first US tour they were able to play for a very different audience. They were unknown in the US, and so were able to do shows for hippie audiences that had no preconceptions about them, and did things like stretch "Cherry Blossom Clinic" into an eight-minute-long extended progressive rock jam that incorporated bits of "Jesu, Joy of Man's Desiring", the Nutcracker Suite, and the Sorcerer's Apprentice: [Excerpt: The Move, "Cherry Blossom Clinic Revisited (live at the Fillmore West)"] All the group were agreed that those shows were the highlight of the group's career. Even Carl Wayne, the band member most comfortable with them playing the cabaret circuit, was so proud of the show at the Fillmore West which that performance is taken from that when the tapes proved unusable he kept hold of them, hoping all his life that technology would progress to the point where they could be released and show what a good live band they'd been, though as things turned out they didn't get released until after his death. But when they got back to the UK it was back to the chicken-in-a-basket circuit, and back to work on their much-delayed second album. That album, Shazam!, was the group's attempt at compromise between their different visions. With the exception of one song, it's all heavy rock music, but Wayne, Wood, and Price all co-produced, and Wayne had the most creative involvement he'd ever had. Side two of the album was all cover versions, chosen by Wayne, and Wayne also went out onto the street and did several vox pops, asking members of the public what they thought of pop music: [Excerpt: Vox Pops from "Don't Make My Baby Blue"] There were only six songs on the album, because they were mostly extended jams. Other than the three cover versions chosen by Wayne, there was a sludge-metal remake of "Hello Suzie", the new arrangement of "Cherry Blossom Clinic" they'd been performing live, retitled "Cherry Blossom Clinic Revisited", and only one new original, "Beautiful Daughter", which featured a string arrangement by Visconti, who also played bass: [Excerpt: The Move, "Beautiful Daughter"] And Carl Wayne sang lead on five of the six tracks, which given that one of the reasons Wayne was getting unhappy with the band was that Wood was increasingly becoming the lead singer, must have been some comfort. But it wasn't enough. By the time Shazam! came out, with a cover drawn by Mike Sheridan showing the four band members as superheroes, the band was down to three -- Carl Wayne had quit the group, for a solo career. He continued playing the cabaret circuit, and made records, but never had another hit, but he managed to have a very successful career as an all-round entertainer, acting on TV and in the theatre, including a six-year run as the narrator in the musical Blood Brothers, and replacing Alan Clarke as the lead singer of the Hollies. He died in 2004. As soon as Wayne left the group, the three remaining band members quit their management and went back to Arden. And to replace Wayne, Wood once again asked Jeff Lynne to join the group. But this time the proposition was different -- Lynne wouldn't just be joining the Move, but he would be joining the Electric Light Orchestra. They would continue putting out Move records and touring for the moment, and Lynne would be welcome to write songs for the Move so that Wood wouldn't have to be the only writer, but they'd be doing it while they were planning their new group. Lynne was in, and the first single from the new lineup was a return to the heavy riff rock style of "Wild Tiger Woman", "Brontosaurus": [Excerpt: The Move, "Brontosaurus"] But Wayne leaving the group had put Wood in a difficult position. He was now the frontman, and he hated that responsibility -- he said later "if you look at me in photos of the early days, I'm always the one hanging back with my head down, more the musician than the frontman." So he started wearing makeup, painting his face with triangles and stars, so he would be able to hide his shyness. And it worked -- and "Brontosaurus" returned the group to the top ten. But the next single, "When Alice Comes Back to the Farm", didn't chart at all. The first album for the new Move lineup, Looking On, was to finish their contract with their current record label. Many regard it as the group's "Heavy metal album", and it's often considered the worst of their four albums, with Bev Bevan calling it "plodding", but that's as much to do with Bevan's feeling about the sessions as anything else -- increasingly, after the basic rhythm tracks had been recorded, Wood and Lynne would get to work without the other two members of the band, doing immense amounts of overdubbing. And that continued after Looking On was finished. The group signed a new contract with EMI's new progressive rock label, Harvest, and the contract stated that they were signing as "the Move performing as The Electric Light Orchestra". They started work on two albums' worth of material, with the idea that anything with orchestral instruments would be put aside for the first Electric Light Orchestra album, while anything with just guitar, bass, drums, keyboard, and horns would be for the Move. The first Electric Light Orchestra track, indeed, was intended as a Move B-side. Lynne came in with a song based around a guitar riff, and with lyrics vaguely inspired by the TV show The Prisoner, about someone with a number instead of a name running, trying to escape, and then eventually dying. But then Wood decided that what the track really needed was cello. But not cello played in the standard orchestral manner, but something closer to what the Beatles had done on "I am the Walrus". He'd bought a cheap cello himself, and started playing Jimi Hendrix riffs on it, and Lynne loved the sound of it, so onto the Move's basic rhythm track they overdubbed fifteen cello tracks by Wood, and also two French horns, also by Wood: [Excerpt: The Electric Light Orchestra, "10538 Overture"] The track was named "10538 Overture", after they saw the serial number 1053 on the console they were using to mix the track, and added the number 8 at the end, making 10538 the number of the character in the song. Wood and Lynne were so enamoured with the sound of their new track that they eventually got told by the other two members of the group that they had to sit in the back when the Move were driving to gigs, so they couldn't reach the tape player, because they'd just keep playing the track over and over again. So they got a portable tape player and took that into the back seat with them to play it there. After finishing some pre-existing touring commitments, the Move and Electric Light Orchestra became a purely studio group, and Rick Price quit the bands -- he needed steady touring work to feed his family, and went off to form another band, Mongrel. Around this time, Wood also took part in another strange project. After Immediate Records collapsed, Andrew Oldham needed some fast money, so he and Don Arden put together a fake group they could sign to EMI for ten thousand pounds. The photo of the band Grunt Futtock was of some random students, and that was who Arden and Oldham told EMI was on the track, but the actual performers on the single included Roy Wood, Steve Marriott, Peter Frampton, and Andy Bown, the former keyboard player of the Herd: [Excerpt: Grunt Futtock, "Rock 'n' Roll Christian"] Nobody knows who wrote the song, although it's credited to Bernard Webb, which is a pseudonym Paul McCartney had previously used -- but everyone knew he'd used the pseudonym, so it could very easily be a nod to that. The last Move album, Message From The Country, didn't chart -- just like the previous two hadn't. But Wood's song "Tonight" made number eleven, the follow-up, "Chinatown", made number twenty-three, and then the final Move single, "California Man", a fifties rock and roll pastiche, made the top ten: [Excerpt: The Move, "California Man"] In the US, that single was flipped, and the B-side, Lynne's song "Do Ya", became the only Move song ever to make the Hot One Hundred, reaching number ninety-nine: [Excerpt: The Move, "Do Ya"] By the time "California Man" was released, the Electric Light Orchestra were well underway. They'd recorded their first album, whose biggest highlights were Lynne's "10538 Overture" and Wood's "Whisper in the Night": [Excerpt: The Electric Light Orchestra, "Whisper in the Night"] And they'd formed a touring lineup, including Richard Tandy on keyboards and several orchestral instrumentalists. Unfortunately, there were problems developing between Wood and Lynne. When the Electric Light Orchestra toured, interviewers only wanted to speak to Wood, thinking of him as the band leader, even though Wood insisted that he and Lynne were the joint leaders. And both men had started arguing a lot, to the extent that at some shows they would refuse to go on stage because of arguments as to which of them should go on first. Wood has since said that he thinks most of the problems between Lynne and himself were actually caused by Don Arden, who realised that if he split the two of them into separate acts he could have two hit groups, not one. If that was the plan, it worked, because by the time "10538 Overture" was released as the Electric Light Orchestra's first single, and made the top ten -- while "California Man" was also still in the charts -- it was announced that Roy Wood was now leaving the Electric Light Orchestra, as were keyboard playe
Find out what's happening across the region this weekend. Aussie singer songwriter Rick Price chats about his upcoming show this Saturday at the Maryborough Sports Club.See omnystudio.com/listener for privacy information.
Did you ever make the statement, “If I had ___________________ I would.” Well all week Jim and Pam, along with their long-time friend Rick Price, will fill in that blank and have a conversation about 5 different things you may be waiting on. You don't want to miss a single day. Contact information: LatinAmericanMinistry.org Facebook - Latin American Ministry Email: jim@latinamericanministry.org or laministry@yahoo.com
Did you ever make the statement, “If I had ___________________ I would.” Well all week Jim and Pam, along with their long-time friend Rick Price, will fill in that blank and have a conversation about 5 different things you may be waiting on. You don't want to miss a single day. Contact information: LatinAmericanMinistry.org Facebook - Latin American Ministry Email: jim@latinamericanministry.org or laministry@yahoo.com
Did you ever make the statement, “If I had ___________________ I would.” Well all week Jim and Pam, along with their long-time friend Rick Price, will fill in that blank and have a conversation about 5 different things you may be waiting on. You don't want to miss a single day. Contact information: LatinAmericanMinistry.org Facebook - Latin American Ministry Email: jim@latinamericanministry.org or laministry@yahoo.com
Did you ever make the statement, “If I had ___________________ I would.” Well all week Jim and Pam, along with their long-time friend Rick Price, will fill in that blank and have a conversation about 5 different things you may be waiting on. You don't want to miss a single day. Contact information: LatinAmericanMinistry.org Facebook - Latin American Ministry Email: jim@latinamericanministry.org or laministry@yahoo.com
Did you ever make the statement, “If I had ___________________ I would.” Well all week Jim and Pam, along with their long-time friend Rick Price, will fill in that blank and have a conversation about 5 different things you may be waiting on. You don't want to miss a single day. Contact information: LatinAmericanMinistry.org Facebook - Latin American Ministry Email: jim@latinamericanministry.org or laministry@yahoo.com
Atlanta, Georgia's own The Georgia Satellites released their debut and self-titled album in 1986. Dan Baird was their primary songwriter and lead vocalist on most songs. Guitarist Rick Richards, bassist Rick Price, and dummer Mauro Magellan complete the band. Originally formed as Keith and the Satellites in 1980, the band saw a number of personnel changes and a name change to The Georgia Satellites soon thereafter. They honed their craft playing at a Buckhead bar called Hedgens on Monday nights.The Georgia Satellites signed with Elektra Records in 1986 and released this debut album to significant commercial success. The single "Keep Your Hands To Yourself" saw significant airplay on MTV, and went to number 2 on the Billboard Hot 100, denied the number 1 spot by Bon Jovi's "Livin' On a Prayer." The band featured a southern rock sound with a boogie slant, and this debut would be certified Platinum by the RIAA.The Georgia Satellites would produce two albums of original material and a third with both new and re-released tracks after this debut, but would not see the popularity return to the level of this first album. Dan Baird left the band in 1990 and the band went on hiatus for a few years, but the remaining members would return to touring by 1993 and still perform today.Wayne brings us this classic of southern rock. Railroad SteelThis track is the third single from the album. It did not chart on the Billboard Hot 100 but made it to number 34 on the Billboard Rock Charts. The lyrics are about a guy who is cold, but whose heart can be melted by a particular woman.Keep Your Hands To Yourself"She said, 'Don't hand me no lines, and keep your hands to yourself!'" This is the big hit from the album, reaching number 2 on the Billboard Hot 100. It is about a woman that will not give in to a guys pleading until they get married. "You see, I wanted her real bad and I was about to give in. Oh, that's when she started talking about true love, started talking about sin."Battleship ChainsThough it didn't make the top 40, this was an entry into the Billboard Hot 100 at number 86. It also features guitarist Rick Richards on lead vocals. This song was written by Terry Anderson and recorded by his band The Woods out of North Carolina. The Georgia Satellites heard the band and recorded their own version.Red LightThis is a deep cut, and is a song about a woman who is angry at her partner. "Got Van Halen wailin' on the stereo eight track. Watch out baby that's what I said. There's a red light, road block, bridge out ahead." ENTERTAINMENT TRACK:Dentist! by Steve Martin (from the motion picture “Little Shop of Horrors”)This movie based on the musical of the same name starred Rick Moranis and a psychotic plant living off human blood. Steve Martin has a cameo as a sadistic dentist. STAFF PICKS:Ship of Fools by World PartyRob starts off our staff picks with a British group which was basically a solo project for lead man Karl Wallinger. While his band was a one-hit wonder, Wallinger collaborated with other artists like Sinead O'Connor and Robbie Williams, and was the musical director for the films “Clueless” and “Reality Bites.” The concept of the lyrics is that there will be a price to pay from the way you are living today. The Way It Is by Bruce Hornsby and the RangeBruce's staff pick is a piano driven soft rock song about civil rights and not getting complacent. It hit number 1 on the Billboard Hot 100. "That's just the way it is - ah, but don't you believe them."Everybody Have Fun Tonight by Wang ChungBrian brings us a song originally conceived as a ballad, but adapted to a faster pace and dance orientation by producer Peter Wolf. The self-referential verb "Wang Chung" is a nonsensical but catchy phrase.(I am) Superman by R.E.M.Wayne's staff pick is actually a cover song originally recorded by a band called The Clique. Bassist Mike Mills sings lead on this song because Michael Stipe wasn't very enthusiastic about it. When Stipe sings backup vocals in live performances, he holds his arms up and out as if he is Superman flying. INSTRUMENTAL TRACK:Walter's Theme by R.E.M.We wrap up this week's podcast with an instrumental track off R.E.M's album "Dead Letter Office."
We talk with two master Australian musicians about the music business and the challenges musicians face making a living in the 21st Century. Paul Gildea is a guitarist who has played with Icehouse for decades, as well as being guitarist with Little River Band, Rick Price and Vika and Linda Bull to name just three. […]
See omnystudio.com/listener for privacy information.
We go global as Rick Price joins Brian and Kevin from Nashville before starting his Soulville tour of Australia and Blackfeather frontman Neale Johns chats from his Thailand home about Seasons of Change and Boppin' the Blues. Could you be a better, safer and smarter driver? Of course you could and Murcotts Driving Excellence are the people who can help you get there. They have been doing it for decades. Call them 1300 555 576 or visit the website murcotts.edu.au See omnystudio.com/listener for privacy information.
Hippy Hippy Shake! Hello Cleveland! Miten uuteen huippuluokan live-levyyn liittyy Tom Cruise?! Mitä punaista Juha nappasi mukaansa Kööpenhaminassa 1992? Kuuntele, viihdy ja äimisty! Uutisissa Rolling Stonesin El Mocambo -live, GA-20, Skid Row, Deep Purple, Mavis Staples, Levon Helm, Frank Zappa, Florence and the Machine, Southside Johnny and the Asbury Jukes, Ville Valo sekä Mick Jagger. Studiossa Sami Ruokangas ja Juha Kakkuri. Kuunnelluissa levyissä Keith Richards: Main Offender ja Georgia Satellites: Lightnin' In A Bottle - The Official Live Album. Jakson soittolista: https://open.spotify.com/playlist/0LeGIAotSVe58ZwQnn85kR?si=4ac1a5ea59d546fb Jutuissa mukana ovat myös April Wine, Chuck Berry, Hound Dog Taylor, Erik Grönwall, H.E.A.T, ZP Theart, Tank, Sebastian Bach, Hooters, Blue Öyster Cult, Sweden Rock, Motörhead, Scorpions, Mikkey Dee, Steve Morse, Simon McBride, Ian Gillan, Don Airey, Agents, Nick Cave, Tom Waits, Daniel Pemberton, Guy Richie, Steve Jordan, Charlie Watts, X-pensive Winos, Bobby Keys, Babi Floyd, Sarah Dash, LaBelle, Waddy Wachtel, Charley Drayton, Ronnie Wood, The Swinging Blue Jeans, Dan Baird, Dan Baird & Homemade Sin, Mick Brown, Jerkin' Crocus, Tom Cruise, Jerry Lee Lewis, Rick Richards, Rick Price, Mauro Magellan, Bon Jovi, Status Quo, Ian McLagan, George Jones, Del Shannon, Bill Haley, Ramones, Bruce Springsteen, Beatles ja Ringo Starr.
Band It About - Proudly Supporting Live Music "Podcast Series"
John McDermott moved to South Australia from Mackay, Qld in 1991 along with his fellow progressive rock band members 'Labyrinth', after hearing that Adelaide had a healthy Prog Rock scene. The band disbanded and the members moved back to Mackay without John who had decided to stay in SA and eventually studied Jazz Drumming at the Elder Conservatorium of Music - University of Adelaide. John has played with a variety of bands here in Adelaide and is a regular performer at the Adelaide Fringe and Cabaret Festivals. Corporate events and other performances with artists including James Morrison, Rhonda Burchmore, Rachael Beck, Grace Knight, Lillian Boutte, Ann Hampton Calloway, John St. Peeters, Rick Price & Marina Prior. Several performances with the Adelaide Symphony Orchestra including ‘Symphony Under The Stars', ‘ASO Does Disco', ‘ASO Plays James Bond', The King's Singers, ‘Gigs at Grainger' & ‘ASO Does Latin'. Concert tours include Tom Burlinson's “Now We're Swingin'” in metro and country SA, the Jon English & Peter Cupples ‘Uncorked' show in Qld, Tas, WA and NSW, Peter Cupples, Rick Price & Jenny Morris in south-east Qld. Orchestral drummer for Adelaide's Carols by Candlelight since 2000. Founded the John McDermott Quintet at Brisbane Jazz Club 2011, 2002 - 2013 Marmalade Jam, 1998-2006: Member of Hammond organ combo – Hammond Eggs performing and recording standards and original jazz/blues material at ABC studios Adelaide. 1997-2007: Member of 10 piece Latin Jazz ensemble Marmalade Circus recording original material at ABC studios, live broadcast for Jim McLeod's Jazz Track & at Full Bench studios Adelaide. Also performed at many SA venues & jazz festivals, 2001 Thredbo Jazz Festival, 2001 Manly Jazz Festival and at the 2002 Sydney Festival's Jazz in the Domain. 1997-1998: Performed and recorded with jazz choir The Adelaide Connection directed by Connaitre Miller (US) most notably at the International Association of Jazz Educators convention in New York (with US pianist/educator Mark Levine) and afterwards in Tennessee, Kansas & California. 2006: Performed on film score for short animated film “Sweet & Sour”, premiering at the Adelaide Film Festival in February 2007. Teaching: Instrumental Tutor Drums/Percussion from 1995 to present in various independent and state schools in SA and Qld. Feb 2000 – Present Casual Instrumental Tutor – Jazz Drum Kit Elder Conservatorium of Music – University of Adelaide, SA. In 1999 John published the instructional book “Accents & Applications” aimed at drum kit and rhythm students of all ages at all levels. Link to upcoming show at Fringe festival with Reuben Kaye: https://adelaidefringe.com.au/fringetix/reuben-kaye-the-butch-is-back-af2022 Recent album launch of Mike Stewart Big Band's “The Hang” https://mikestewartbigband.bandcamp.com/album/the-hang Music: Intro: "Band It About" written and recorded by Catherine Lambert and Michael Bryant. Outro "Igpay Atinlay" (Pig Latin) written by John McDermott in 2000 and recorded with the Hammond Eggs Quartet in 2006. John McDermott Drums, Paul White on Hammond, Dave Innocente on Guitar, and Chris Soole on Sax. All of the BAND IT ABOUT - Podcast Series links can be located here: https://linktr.ee/banditaboutpodcastseries --- Send in a voice message: https://anchor.fm/dianne-spillane/message
This week we have James Dawson on the podcast. James is the managing director of The Launchsquad. James has a long and colourful background in the music industry. From 1997, James managed his own band, LUKSTAT from their first show in Caringbah to sharing the stage with Grinspoon, Front End Loader, and Rumanastone. From there in 2001, James began employment with Allied Artists, Australia's (then) premier Country Booking Agency. James worked directly with GANGgajang, Rick Price, James Blundell and many country music artists, booking extensive rural and regional tours.James provided many insights into the current state of the live music, and the potential way forward. He also shared some great tips for artists to help them get booked and seen. Reach Out to James at the Launchsquad - https://www.thelaunchsquad.com.au/The Launch Squad on Facebook - https://www.facebook.com/thelaunchsquad/Lukstak on Youtube - https://www.youtube.com/watch?v=dfOx67S5wO0All of our Episodes on our websitehttps://unfilteredandundiscovered.com/Follow us on our SocialsYouTube – https://www.youtube.com/channel/UCHa2c8r-PMVrLVpxpyzY6uQFacebook – https://www.facebook.com/unfilteredundiscoveredEnjoy our Spotify PlaylistsUnfiltered & Undiscovered –https://open.spotify.com/playlist/5R84KLNeq7MhDewUtFJuqeUnfiltered Protest Songshttps://open.spotify.com/playlist/2GTQ9aEQvxnVzRojKgtPdU?si=1fa4aadcd2244e15
Ryan Park's Plea Sowie picks a crazy score in the footy Emma McKeon's back from Tokyo Rick Price delivers a 'Bathroom Session'
Rick Price has a new Album out
An all new episode of Hey Hey It's The Podcast is here. Join Criss Fresh, Mitch and Jonsey as they recap episodes of Australian TV institution Hey Hey It's Saturday. This episode looks at the 14th Hey Hey of 1996. It features Jean Claude Van Damme, Hoodu Gurus, Rick Price and more. Please subscribe to us on iTunes and you can find us at: Twitter: @heyheypodcast Instagram: @heyheypodcast
Nueva Edicion solicitada por todos vosotros como continuación al primer AOR TOP , haremos algunos mas VIGILANT3 42 “AOR TOP 2” 1. ANDY TAYLOR – I MIGHT LIE (THUNDER – 1987) 2. TORBEN SCHMIDT – SAME OLD SONG , SAME OLD STORY (A BIT ON THE SIDE – 1991) 3. ROULETTE – FOOL FOR YOUR LOVE ( BETTER LATE THAN NEVER- 2008) SINGLE ORIGINAL 1989) 4. HONEYMOON SUITE – FEEL IT AGAIN ( THE BIG PRIZE – 1986) 5. HAREM SCAREM – WITH A LITTLE LOVE ( S/T – 1991) 6. DARE – INTO THE FIRE ( OUT OF THE SILENCE – 1988) 7. PUSH UK – MIRACLE OF LOVE ( STRANGE WOLRD – 2010) ORIGINAL 1987 8. HAYWIRE – SEPARATE DREAMS ( DON´T JUST STAND THERE – 1987) 9. BOULEVARD – DREAM ON ( S/T – 1988) 10. CHRIS IRVINE – FROZEN RIVERS ( S/T – 1992) 11. BECKETT – HANGIN´BY A THREAD (S/T – 1991) 12. JOHN WAITE – DON´T LOSE ANY SLEEP ( ROVER´S RETURN – 1987) 13. BEAU COUP – SOMEWHERE OUT IN THE NIGHT ( BORN & RAISED (ON ROCK´N´ROLL) – 1987) 14. SHOOTING STAR – SUMMER SUN ( SILENT SCREAM – 1985) 15. VIRGINIA WOLF – DON´T BREAK AWAY ( PUSH – 1987) 16. BEAU GESTE – NO MORE HEROES ( ANOTHER NIGHT IN THE CITY – 1986) 17. I-TEN – QUICKSAND ( TAKING A COLD LOOK – 1983) 18. CHARLIE – THE HEARTCHES BEGIN ( S/T – 1983) 19. GLASS TIGER – FAR AWAY FROM HERE ( DIAMOND SUN – 1988) 20. STARSHIP – DESPERATE DREAMS ( KNEE DEEP IN THE HOOPLA – 1985) 21. RICK PRICE – NOT A DAY GOES BY ( HEAVEN KNOWS – 1992) 22. CHRIS THOMPSON – OUT OF THE DARK ( BACKTRACK 1980 -1984 – 2008) 23. WHAT IF – IF THIS IS LOVE ( S/T – 1987) 24. JOE LYNN TURNER – ENDELESSLY ( RESCUE YOU – 1985) 25. DESMOND CHILD – I DON´T WANNA BE YOUR FRIEND (DISCIPLINE – 1991) 26. JIMMY DAVIS AND JUCTION – CATCH MY HEART (KICK THE WALL – 1987) 27. MARK SPIRO – THROUGH MY EYES ( NOW IS THEN, THEN IS NOW – 1996) 28. ZAPPACOSTA – WHE SHOULD BE LOVERS (S/T – 1984) 29. THE OUTFIELD – MY PARADISE ( VOICES OF BABYLON – 1989) 30. RICK SPRINGFIELD – SOULS ( LIVING IN OZ – 1983)
Rock Around The Blogin Sami Ruokangas ja Juha Kakkuri käyvät läpi alan uutisia. "Levy jota olen viime aikoina kuunnellut"-osiossa Foo Fightersin Medicine At Midnight ja UFO:n Strangers In The Night (8 cd:n Deluxe Box). Lähetyksessä mainittuina mukana myös Mary Wilson (RIP), Supremes, Diana Ross, Steve Earle & The Dukes, Justin Townes Earle, Led Zeppelin, Greta Van Fleet, Robert Plant, Bill Wyman, Rhythm Kings, Rolling Stones, Georgie Fame, Motörhead, Lemmy, Phil Campbell, Mikkey Dee, Georgia Satellites, Jerkin´ Crocus, Elektra, Dan Baird, Mauro Magellan, Rick Price, Rick Richards, Bad Company, Paul Rodgers, Simon Kirke, Mick Ralphs, Ace Frehley, ZZ Top, Billy Gibbons, Scorpions, Styx, Wolfgang Vam Halen, Jerry Lee Lewis, Guns N´ Roses, Kinks, Chuck Berry, Dave Grohl, David Bowie, Thin Lizzy, Ron Nevison, Eddie Trunk, Pearl Jam, Drive-By Truckers, Patterson Hood, The Motors, AC/DC, Phil Mogg, The Who, Roger Daltrey, Michael Schenker, Paul Raymond, Pete Way ja Andy Parker. (Kuvassa Michael Schenker ja Phil Mogg).
In an episode first aired on October 26, 2020 - DJ Andrew Sandoval revists the playlist for episode #4, spinning sides by P.F. Sloan; Tommy Boyce; Every Mother's Son; Modern Folk Quintet; The Shindogs; The Black Sheep; Gary Lewis & The Playboys; The Lemon Pipers; Ellie Janov; The Spectrum; Herman's Hermits; Freddie & The Dreamers; Graham Gouldman; Jackie DeShannon; The Back Porch Majority; Chris & Craig; Jesse Lee Kincaid; The Looking Glass; The Montage; The Cyrkle; The Proposition; and Rick Price. In the album spotlight, Sandoval spins selections from 1969's Mojo Magic by Mojo. For the artist spotlight, he turns you on to the Turtles deepest cuts in an extended look at the best from Westchester.
In the Music Real E46, Manny and Nicki catch up with Australian Multi-Instrumentalist, Singer, Songwriter and Music Producer, Rick Price. Rick's lockdown was quite different to ours as he is living in Nashville – a music town now completely shut down. Rick was scheduled to tour in Australia this year but like so many artists around the world, those dates have been postponed until it is clear how venues will not operate safely. https://themusicreal.com.au/2020/06/12/rick-price-lockdown-in-nashville/
This week I have the pleasure of sitting down with a good friend and mentor of mine Ralph Carr. Ralphy is an international business superstar who has worked with some of the biggest names in entertainment and sport. These artists include Tina Arena, Vanessa Amorosi, Richard Wilkins, Kate Ceberano, Mark Vincent, Dean Ray, Cosentino, Paris Wells, Jon Stevens, Sally Cooper, Bonnie Anderson, Rick Price, Pseudo Echo, Deborah Conway and footballing royalty Dustin Martin. Today Ralphy shares his story, which includes his upbringing, lessons he has learnt along the way from his parents, mentors and years of business working with the biggest names across the globe. The life values and principles that Ralphy shares today will hit home with listeners of all ages, as they can be applied to bring, love, success and happiness to all areas of your life. There is a reason that Ralphy is such a successful person, and he shares that all with us today. After today's chat if you would like to reach out and let Ralphy know how much you loved the episode you can do so on the links below: Website - http://www.ralphcarr.com/ Instagram - https://www.instagram.com/carr.ralph LinkedIn - https://au.linkedin.com › ralphcarr
Rick Price Joined me for a chat in Nov 2018 - he was Touring Australia on His " Heaven Knows - Cover to Cover" Tour . His debut album, Heaven Knows was released in July 1992, which peaked at No. 3 on the ARIA charts It provided two top ten singles, "Not a Day Goes by " (February 1992) and the Heaven Knows (July). At the APRA Awards of 1992 "Heaven Knows" won Song of the Year for Price and his co-writer, Heather Field
An all new episode of Hey Hey It’s The Podcast is here. Join Criss Fresh, Mitch and Jonsey as they recap episodes of Australian TV institution Hey Hey It's Saturday. This episode looks at the 13th Hey Hey of 1995. This episode features Elle Macpherson, Rick Price, Denise Drysdale and more. Please subscribe to us on iTunes and you can find us at: www.facebook.com/heyheyitsthepodcast Twitter: @heyheypodcast
Thanks to Abe Martinez for keeping Sing Song Saturday alive and inspiring all of us to keep singing:) --- Send in a voice message: https://anchor.fm/ufr/message
Troy sees Sam Smith, Def Leppard & Rick Price and avoids the Melbourne stabbing. There’s new internet sensation, Trolley Man. Are GoFundMe pages good or bad? Are online petitions a waste of time? Dubai Police get Hover Bikes. And there’s awesome kinky advice.
Matt Purcell spoke with Australian music artist Dami Im on The Examined Life Podcast which they discussed her music, story and beliefs. Support Dami on her tour http://www.damiim.com/tour/ About Dami In 2013 Dami Im arrived, seemingly out of nowhere, and found herself a home in the sonic heart of Australia. Born in South Korea, Dami won The X Factor on the strength of her astonishing voice and palpable sense of artistry. More success followed as Dami earned multiple ARIA accreditations, including #1 chart positions and multi-platinum sales for the likes of her self-titled debut album and hit singles 'Alive', 'Super Love' and 'Gladiator'. For any one tuning into The X Factor it was obvious that Dami was not only an artist of the new millennium, but she possessed a devout understanding of the rich history of pop and how truly great songs are crafted. Since then, Dami released two more acclaimed studio albums, including the Gold accredited 2014 release, CLASSIC CARPENTERS, which peaked at #3 on the ARIA album charts and gave rise to a sold out national tour. Dami then travelled to Sweden to represent Australia at The Eurovision Song Contest 2016-where she placed second in the world performing in front of an audience of 200 million with her power ballad & international smash, 'Sound of Silence'. The beginning of 2018, saw Dami release her fourth studio album, I HEAR A SONG via Sony Music Entertainment Australia. I HEAR A SONG sees Im breathe new life into jazz classics while also weaving pared-back pop hits around two stunning new original songs, all beautifully recorded in Nashville. The impressive collection of songs from the most iconic and ground-breaking women of music include album opener, 'Feeling Good' famously performed by Nina Simone, Beyoncé's 'Love On Top' and the first instant grat track, the emotionally charged, 'Autumn Leaves'. When asked about the track listing, Dami comments, "Before you listen to the album it might look like an unusual combination of songs but I recorded every tune with the same desire, which was to share the stories of these amazing women, the most raw and simple way, through a microphone and my fingers on the black and white keys." Breaking with the modern multitrack style of recording, where each instrument and vocal layer is recorded in isolation, Im and producer Rick Price fittingly returned to more old school methods. Every track you hear was recorded with Im playing the piano or the Wurlitzer live as she sang. "Even though doing it together is more imperfect, it sounded better left organic and raw rather than trying to have that perfect, polished sound," she says. Among the musicians on the album is double bassist Dennis Crouch (Johnny Cash, Elton John, Diana Krall), virtuoso harpist Kirsten Agresta Copely (Lady Gaga, Stevie Wonder, Jay-Z, Beyoncé), string arranger and viola player Kristin Wilkinson (Taylor Swift, Stevie Nicks, Dolly Parton), and members of the Nashville Symphony Orchestra. Dami returned to the stage in April & May performing tracks from I HEAR A SONG in an up-close and personal environment along the east coast. Due to the success, Dami will be back performing three regional performances across Australia. Starting on the 3rd of November at Gladstone Entertainment Centre, 23rd of November in Coffs Harbour and 24th November at Wests New Lambton, Newcastle. Tickets via http://www.damiim.com/tour/
Live from Ron's Pizza, Terry Lash sat down with some members of Zanesfield Petanque before their big memorial weekend tournament, Rick Price and some members of his travel softball team, and Zach Overturf the new head coach of Indian Lake boys basketball.
Jack Jones (aka Irwin Thomas) is one of Australia's most beloved guitarists. Whilst his vocal chops brought him to prominence in Southern Sons in the early 1990s his sublime guitar phrasing, touch and tone were always close at hand. Jack talks us through the making of 'California Dreaming', a new chart topping album with his longtime friend Rick Price. The record - recorded in Rick's Nashville - is an homage to the West Coast songbook and features stellar guitar moments amidst Jack and Rick's vocal collaboration. Jack also talks about sneaking LA tone tips from Dave Friedman back in the day. Guitar Speak Podcast Links Subscribe and find previous episodes at iTunes, Stitcher or visit us at www.guitarspeakpodcast.libsyn.com. Follow us on Facebook & Instagram Join our Guitar Speak Forum You can support us on Patreon
Ross Greenwood is joined live in studio by Rick Price and Jack Jones to discuss their upcoming tour around Australia and why they joined to join forces in the ever-changing music industry.
Terry Lash sits down with Scott Sheeley the general manager and founder of Iron Tiger a member of the Alliance MMA group. Four local fighters talk about their upcoming fight on November 22nd at Iron Tiger 77. Rick Price from Bucknuts stops by to talk Ohio State Football's playoff chances and what's going on with the recruiting trail. Andrea Simon of Bellefontaine Cheer and a few of her cheerleaders discuss winning their first CBC cheer competition title since 2012.
Individully they've seen huge successes, and now Jack Jones and Rick Price have teamed up to cover some of their favourite songs. The album 'California Dreaming' is a tribute to the west-coast California sounds of the 60’s & 70’s.
On #MorningShow989 this week, we look back and celebrate 40 years in music for Australian…
No babies were harmed by dingos in this episode, but your guides did sit down with Australian born, Nashville resident Jared Kneale. Brandon and Jason first get a cultural lesson from Jared. Touring in Australia is way different than here in the states, and even the opportunities look a little bit different. While in his native homeland, Jared has played with "Austrialian Idols," Hillsong, and the Afro-Cuban rock band Watussi. After getting connected with some players living in Nashville, Jared booked his flight to the states only bringing some clothes and his drums. Armed with confidence and using his cajón as his business card at writers rounds he quickly started working with Rebecca St. James and Audio Adrenalin, Mikky Ekko, Dave Barnes, Matt Wertz, Sugar & the Hi-Lows, Gabe Dixon, Amy Stroup, Trent Dabbs, Jessie Baylin, Isaac Hayden, Rick Price, Jason Eskridge, amongst various other local singer/songwriters. Then they dive in on landing the gig with Grammy Award-winning artist Kacey Musgraves. "How Murica," is Jared? He passes the guides' test, then they look at what life looks like after a great gig. Jared's life today is playing and producing records, and playing gigs that keep his schedule open for session work. This episode is for drummers, touring players, session guys, and immigrants in a music city wondering what it takes to make it as a Nashville player hustling for work as a BLOOMIN' DRUMMER!
Rick Price is known in Australia for his hits including “Heaven Knows”, “Walk Away Renee” and “Not a Day Goes By”, but he's so much more. Now living in Nashville, he is a producer, while still continuing to create original music. His latest album, Tennessee Sky, brings him back to Australia with his “Can I Get a Witness” Tour in April. Susie got to catch up with Rick ahead of the tour by Skype to talk music, touring, food, health, Tina Arena, famous people in Nashville and producing music. We also caught up again with Dr Charlotte Middleton to ask for the doctor's perspective on a debate of parents versus doctor in the doctor's surgery. If a parent brings a child in to see a doctor with a gut feeling of what's going on, but the doctor diagnoses something else, how hard should a parent push to follow their gut? Episode Timeline: 02:38 Introducing Rick Price 24:30 Dr Charlotte Middleton – A parent's gut vs a doctor's diagnosis Show Links: To find out more about Rick Price, go to: Rick Price To check out his upcoming tour dates, go to: Rick Price Tour
Casey Barnes played alongside Bryan Adams, Eskimo Joe and Vanessa Amorosi and had a number one song in Europe singing Marco Demark's remake of Tiny Dancer. That was before he hit the stage of Australian Idol in 2009. Since that time, his career has continued to soar and this year has seen him return to Nashville, working alongside Australia's Rick Price, to pull together a whole new album. Though he had the hit in Europe with a dance track, his style is now more Americana – country meets blues meets folk. In this episode, we talk about how his music has taken shape, his family life, and how touring life isn't always all it's cracked up to be. A Facebook post and comment, on the topic of second-hand information, caught Susie's attention recently. So, we tracked down the man behind the comment and discuss the web of rumors and gossip and how to handle it when someone tries to bring you in on them. Episode Timeline: 02:50 Introducing Casey Barnes 26:24 Getting to Know You With Casey Barnes 33:24 The Web of Rumors and Gossip with Garry Mac Getting to Know You If you could give someone a book as a gift that would make their life better, what would you give? “The Secret” by Rhonda Byrne What is your favourite quote to live by? “You never know unless you give it a go” “You're never gonna know unless you ask the question” “Perseverance pays off” What is your favourite family activity, past or present? Family picnic What are your recent highs and lows? Low: An underwhelming accommodation experience in Nashville High: Recording in Nashville at The Sound Emporium in Nashville Show Links: To find out more about Casey Barnes, go to: Casey Barnes Check out Casey's video for “The One You Love”: The One You Love
He went on to become Hillsong singer songwriter during Geoff Bullock days and David is touring country towns and cities in August. His new CD produced by Rick Price
Rick Price is an Australian singer, songwriter and music producer, who is now based in the USA, in the country music capital of Nashville. After hits in Australia through the 1980's and 90's, Rick headed to Nashville to live and has just recorded his latest album, entitled 'Tennessee Sky'. Funded online through Pledge Music, could this be the future for musicians and songwriters in getting albums recorded and produced?In this show we discuss:-The dream - "I wanna be Elvis"The day you realise your childhood dreamFollowing your inner internal voiceThe influence your environment has on youPledge Muisc - how it works, and how it is the new model for getting an album fundedWhere Rick finds his influences for his songwritingBe still, be quiet and follow your instinctsThe writing process - seeing the songCreative visualisation and journaling Michael Smith, Naturopath & Nutritionist, on Blood Tests:-What to ask for?Full Bood count / panelAdrenal Function testThyroid testCholesterol - Full comprehensive test See acast.com/privacy for privacy and opt-out information.
David Willersdorf has had his songs recorded by Dove and Grammy Award nominees, Hillsong, Darlene Zschech, Motown and Gospel artists and many other great singers around the world. He talks about his new collaborative single with Steve Grace, Steve Apirana and Peter Shurley etc. Which is raising money for Compassion. He also shares about his new album produced by Rick Price, from his band, "The Free."
For the first time on Inside MusiCast we turn our focus to the land down under and one of its extremely talented artists, Kere Buchanan. Having been heavily influenced by his father, Kere began playing piano at the age of three, picked-up the drums at 10 and by the age of 12 he was already diving into sessions. He has worked with some of the finest artists in Australia, including Tina Arena, Marcia Hines, Kasey Chambers, Bella, Rick Price and Delta Goodrem, to name a few. Kere was the founding member of The Bodacious Cowboys, a Steely Dan tribute band, as well as duo Kerosene with his writing partner Glenn Bidmead. In 2009 Kere released his first solo album titled ‘Starting Over’ and has recently released his second solo project, ‘Goodbye Yesterday.’ Inside MusiCast is pleased to welcome Kere Buchanan.
Download music by RICK PRICE on iTunes: http://bit.ly/RickPriceMusic
Download music by RICK PRICE on iTunes: http://bit.ly/RickPriceMusic
This week BayLou are going through some emotional stuff – Thinkin About Drinkin About You, and when it comes to drinking The Sunny Cowgirls recommend a Good Spot Here. Although the morning after sees the Wolfe Brothers shout WAKE UP, to which Jasmine Rae adds “its a hangover – Look It Up” Also tunes from Rick Price, Jetty Road, Lyn Bowtell, and Lionel Richie all on REAL Country This week. REAL Country is interactive! So comment, view, share, rate and SUBSCRIBE!!! Call our REQUEST LINE, ANYTIME 1300 929 516 CONNECT WITH REAL COUNTRY: http://www.facebook.com/RealCountry http://www.twitter.com/RealCountryMix http://www.RealCountryMix.com http://www.youtube.com/bseaustralia Ben Sorensen's OFFICIAL pages: http://www.BenSorensen.com http://www.twitter.com/bensorensen1 http://www.facebook.com/BenSorensenFanPage For live event bookings and advertising opportunities please email info@bseaustralia.com
Black Heritage: Celebrating Black History Month,Part 1- I spent time in the homes of two succesful southern black families. i wanted to understand a few things. I listened. I wanted to see if I could experience a few things through their eyes then get their freshest thoughts on how far we've come, where we are now, and where we're headed? I expected to be broadened and deepened; I didn't expect to be surprised. Perhaps, you will be too. Meet the Marina's and the Price's. And a few women with nappy hair. Blog - The Journey ILICET - A Time To Begin Again A Sound Byte Life
First aired August 15th, 2011 "Come To The Sunshine" show 72 Moves to the sound of Roy Wood, Carl Wayne, Trevor Burton, Bev Bevan, Ace Kefford, Rick Price and Jeff Lynne. Yes, its THE MOVE! This spectacular spotlight features two hours of rare radio recordings, vintage vinyl and astounding covers from Birmingham's finest, The Move. Host Andrew Sandoval also spins Move related recordings and covers from Idle Race, Lemon Tree, Sheridan/Rick Price, Acid Gallery, The Casuals, Equipe 84 & Tom Northcott. A full playlist is available at our website: www.cometothesunshine.com
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