Podcasts about Roll Over Beethoven

Air Week: June 8-14, 2026 Chuck Berry, Pt. 1 – 1955-56 Chuck Berry has been called the “Father of Rock n’ Roll” and with good reason. He took the blues of T-Bone Walker and B.B. King, the guitar riffs of Carl Hogan and mixed it with the fiddle and Western Swing music of Bob Wills & His Texas Playboys. Then he rolled it all into one big sonic blast. Rhythm & Blues become Rock n’ Roll when Chuck Berry began writing songs aimed at teenagers, finally granting them their own music. The “Juke In The Back” presents part 1 of a 3 part feature on Chuck Berry’s early career. This week, Matt The Cat explores Chuck Berry’s first full year of recording for the legendary Chess Records in Chicago. We’ll look at his recordings from his first session, held in May, 1955 to his fourth session from April, 1956 and everything in-between. Some of the titles you’ll know by heart, like “Maybellene,” “You Can’t Catch Me” and “Roll Over Beethoven,” but others might be new to your ears, like the eerie “Down Bound Train” and the very bluesy “Wee Wee Hours.” Chuck Berry defined Rock n’ Roll guitar and his influence is felt every time some one picks up a guitar with the intention of tearing the house down. Next week, we’ll finish up 1956 and begin 1957. LISTEN BELOW

Mikko Alatalo esiintyy Kuopion kaupunkiorkesterin kanssa konsertissa "Ilta Mikko Alatalon Kanssa" perjantaina 20.03.2026 Kuopion Musiikkikeskuksen Konserttisalissa klo 19.Mikko Alatalo on omien sanojensa mukaan tehnyt uransa lopputyötä: Oulu Sinfonian ja Kuopion kaupunkiorkesterin kanssa tehty levy Se se on rokkii... ja sinfoniaa, joka sisältää klassikoita kuten Ihmisen ikävä toisen luo ja Yhdentoista virran maa. Mukaan on mahtunut myös rokkia, kuten Juice Leskisen kanssa suomeksi käännetty versio kappaleesta Roll Over Beethoven, Electric Light Orchestran tulkintaa jäljitellen.

BEATLES EXCLUSIVE!! Featuring the first recordings by John, Paul, George and Ringo, recorded “live” in Hamburg, Germany in 1962. My guest today is Nigel Pearce, Beatles expert, who previously was a guest on this podcast. The songs you will hear were recorded over the last four nights of their final run in Hamburg at The Star Club. The recordings were made on an amateur tape recorder with one microphone. The tapes were lost for many years, but after they were found the tracks were enhanced using modern technology. They capture the band at a critical juncture, just before they returned to England and then exploded onto the world stage. The songs which were recorded were part of their live set and went on to become famous when they were properly recorded in the studio. So hold onto your hats as you listen to the earliest recordings of “I Saw Her Standing There”, “Roll Over Beethoven” and “Twist And Shout”.—-----------------------------------------------------------The Follow Your Dream Podcast:Top 1% of all podcasts with Listeners in 200 countries!Click here for All Episodes Click here for Guest List Click here for Guest Groupings Click here for Guest TestimonialsClick here to Subscribe Click here to receive our Email UpdatesClick here to Rate and Review the podcast—----------------------------------------FOR FURTHER INFORMATION:https://www.musicglue.com/bespoke-editions/products/the-beatles—----------------------------------------ROBERT'S LATEST RELEASE:“MA PETITE FLEUR STRING QUARTET” is Robert's latest release. It transforms his jazz ballad into a lush classical string quartet piece. Praised by a host of classical music stars.CLICK HERE FOR YOUTUBE LINKCLICK HERE FOR ALL LINKS—---------------------------------------ROBERT'S RECENT SINGLE“MI CACHIMBER” is Robert's recent single. It's Robert's tribute to his father who played the trumpet and loved Latin music.. Featuring world class guest artists Benny Benack III and Dave Smith on flugelhornCLICK HERE FOR YOUTUBE LINKCLICK HERE FOR ALL LINKS—--------------------------------------ROBERT'S LATEST ALBUM:“WHAT'S UP!” is Robert's latest compilation album. Featuring 10 of his recent singles including all the ones listed below. Instrumentals and vocals. Jazz, Rock, Pop and Fusion. “My best work so far. (Robert)”CLICK HERE FOR THE OFFICIAL VIDEOCLICK HERE FOR ALL LINKS—----------------------------------------Audio production:Jimmy RavenscroftKymera Films Connect with the Follow Your Dream Podcast:Website - www.followyourdreampodcast.comEmail Robert - robert@followyourdreampodcast.com Follow Robert's band, Project Grand Slam, and his music:Website - www.projectgrandslam.comYouTubeSpotify MusicApple MusicEmail - pgs@projectgrandslam.com  

Ok, last time we roll over Beethoven! Donate to the podcast through Patreon... https://www.patreon.com/ELOPod Or PayPal eloftmpodcast@gmail.com P.O. Box 1932 Superior, AZ 85173.

100 Jahre Schweizer Hörspiel: Mit einer «Sitcom aus dem alten Wien»! Ludwig van Beethoven ist nach Wien gezogen. Als erster freischaffender Künstler der Geschichte hat er seine liebe Not mit adligen Mäzenen, lästigen gesellschaftlichen Verpflichtungen und vorwiegend männlichen Groupies ... Im Mittelpunkt dieser Dramedy steht Beethoven, der Mensch. Als erster freischaffender Künstler der Geschichte hat er seine liebe Not mit adligen Mäzenen, lästigen gesellschaftlichen Verpflichtungen und dem Ansturm vorwiegend männlicher Groupies. Ein wiederkehrender Störfaktor ist ein hartnäckiger Schweizer Dilettant auf der Suche nach einem Kompositionslehrer. Und so gestaltet es sich für den skrupulösen Tonsetzer äusserst schwierig, eine vernünftige Note zu Papier zu bringen, während er vom Trubel der multinationalen Kaiserstadt überrollt wird. Nur sein Willen, etwas Bleibendes zu schaffen, seine Liebe zur Welt und sein Freiheitsdrang retten Ludwig den Tag. Dabei wäre es so einfach: Alles, was der arme Mann will, ist seine Ruhe. Ein letztes Wort noch über das Personal: Es ist verheerend. Mit: Christoph Maria Herbst (Ludwig van Beethoven), Sandra Kreisler (Erzählerin), Anikó Donáth (Frau Schnaps), Jürg Kienberger (Schnyder), Helmut Berger (Rainer/Polizist), Gottfried Breitfuss (Schuppanzigh/Kaiser Franz), Mona Petri (Marie Bigot/Johanna van Beethoven/Verehrerin), Martin Ostermeier (Grillparzer), Stefan Merki (Goethe/Vermieter), Barbara Falter (Kaspar), Raphael Clamer (Rossini/Bigot) und Barbara Horvath Komposition: Christian Ludwig Mayer und Ulrich Bassenge, Klavier: Christian Ludwig Mayer - Tontechnik: Helge Schwarz und Basil Kneubühler - Regie: Johannes Mayr und Ulrich Bassenge - Produktion: SRF/BR 2020 - Dauer: 57'

We roll over "Roll Over Beethoven" again with new commentary from Mike Hudson. Donate to the podcast through PayPal eloftmpodcast@gmail.com Or subscribe to my comic strip at patreon.com/LNTCS

Hier sind wir in der Schöpfungsgeschichte des Rock. 1955 – Let there be Sound – an there was Sound.Ganz biblisch geht es hier um den Urknall der den Rock´n´Roll losgetreten hat.Vielleicht brauchen wir aber gerade in Zeiten der Krisen und des Durcheinanders feste Bezugspunkte, Sachen, die immer da sind, auf die ich mich verlassen kann – die dadurch Halt und Sicherheit geben. Ich denke wir fahren zurzeit mit unseren Lebensschiffen durch das Meer der Aufregung – da brauchen wir auch Inseln der Gelassenheit – wo nichts passiert was uns überrascht, sondern er ist wie immer und es ist schön.So können AC/DC auch dafür stehen, dass es manchmal darauf ankommt – nur bei einer Sache zu bleiben, diese Sache zu vertiefen, sich nicht zu verzetteln – Let There Be Rock – Sound, Light, Drums, GuitarLet There Be Light – And There was Light, die News die Tchaikovsky in Roll Over Beethoven erfahren hatte und die News die Jesus hier verkündigt die drehen sich darum, dass ich mich für das Licht einsetze, wenn der weiße Schmalz und der schwarze Blues aufeinander treffen dann eben nicht den Blick zu senken und Dunkelheit verbreiten und irgend etwas auszugrenzen und wegzumachen sondern, den AC/DC Geistesblitz groß werden zu lassen – es zusammen klingen zu lassen – Let There Be Sound – and there was Sound – insofern sind wir alle mit leuchtenden Augen eingeladen uns von dieser einfachen aber einfach großartigen Musik fröhlich machen zu lassen.Wenn wir wissen worauf es ankommt, dann geht es auch einfach – ich muss es eben nur machen.Foto © Keith Morris, Atlantic Records

Collating and organising some of Chuck Berry's most iconic previously released singles into one legendary release, ‘Berry Is On Top' stands as a milestone in rock ‘n' roll history. Released in 1959, this third studio album by Chuck Berry essentially functions as a mini greatest hits compilation, showcasing the raw energy, revolutionary guitar riffs, and lyrical genius that defined his career. Packed with timeless classics like ‘Johnny B. Goode', ‘Roll Over Beethoven', ‘Maybellene', and ‘Carol', this album cemented Berry's legacy as one of the true pioneers of rock ‘n' roll music. Whether you're a die-hard Chuck Berry fan or exploring the roots of rock for the first time, ‘Berry Is On Top' remains an essential listen, brimming with the rhythm, blues, and youthful rebellion that shaped a generation!Episode Playlist: https://open.spotify.com/playlist/4mum0f0N5LT8VDLYRqOHWN?si=7c2d4e9bfc784fe9#ChuckBerry #BerryIsOnTop #RockNRoll* Follow Long Live Rock 'N' Roll online: https://linktr.ee/longlivernrpod* Get in touch and/or leave us a review: longliverocknrollpodcast@gmail.com* Watch us on YouTube: https://www.youtube.com/@longlivernrpod* Listen & Review us on Apple: https://podcasts.apple.com/gb/podcast/long-live-rock-n-roll/id1581139831* Listen & Review us on Spotify: https://open.spotify.com/show/2wZW1BYAw9wJ6Z5blo2uGj

Bright lights, big stars, and big dreams all lie ahead dear listeners, and all because Brian, Van, and Spencer are taking a trip back to the very beginning of Boob Tube Boys history and discussing another episode of California Dreams!This time around the band recieves a bunch of fortune cookies from Sam's Uncle Tse-Tse, and for a few of them it doesn't turn out well. I mean it's nothing horrible, like no one dies in this episode or has an abortion or anything, but it's pretty uncomfortable for Tony, at least. However the racism-laden B-plot pales in comparison to the glorious A-plot which sees Jake running into his lifelong idol: rock superstar Zane WalkerThe band auditions for Walker who immediately wants to show them to his producer/manager who says a bunch of stuff that's clearly intended to be about the Chuck Berry song Roll Over Beethoven and there's simply no other way to interpret that dialogue. But is Zane really looking out for the California Dreams' best interests? You'll have to listen in to find out...

Pete Wylie and the mighty Wah, Spongetones, The Beatles, Electric Light Orchestra, Helene Dixon, Chuck Berry, los Impala, los Gatos Negros, The Little Willies Feat. Norah Jones, Metropolitan Union, Grateful Dead, Enrique Urquijo, Jackson Browne, Joan Baez, Elizete Cardoso, Joao Gilberto, Toquinho e Vinicius y Rosa Passos feat. Yo-Yo Ma.

Frank and Gaz are back for their last hurrah in two parts. Once again they come off a long historic run, putting the Beatles 1964 music into the broader sweep of musical history. They consider the legitimacy of comparisons between Lennon/McCartney and Mahler, Beethoven, Bach and even Mach (Tufnel/St Hubbins). Drawing on Frank's part-time classical education, they may have uncovered the mystery of the 'Aeolian Cadence'. Typically eclectic and tangential. Good luck! [In part II they will deconstruct She Loves You and This Boy!, inspired by podcasts like Strong Songs.

Subscriber-only episodeSend us a Text Message.Today we are looking at the intro licks from Chuck Berry's classic - Roll Over Beethoven. This part is steaming with double stops, pull offs, hammers and some scale mixing that just sounds awesome so not one to miss!Check the folder for this weeks TAB.If you're already a subscriber, grab this episodes TAB here: https://drive.google.com/drive/u/1/folders/1_WwAzYBpLKQBRAz942uqQb4u-C3PcvYzDownload the Triad Method: https://thebluesguitarshow.com/the-triad-method/

References Journal of Cell Science 2019.Vol.132(6), 223016. Brain Research Bulletin 2023.Volume 194, March. Pages 118-123. Beethoven, LV. 1806. Violin Concerto D major, Op. 61 https://youtu.be/_hXdjRYELGw?si=0q5_qJCZu_zAZWoE Berry, C. 1956. "Roll Over Beethoven" ; as performed by the Beatles 1963 on LP "With the Beatles" https://youtu.be/Hz5jXwOXgKQ?si=FASk6PG2SAsEkrvP --- Send in a voice message: https://podcasters.spotify.com/pod/show/dr-daniel-j-guerra/message Support this podcast: https://podcasters.spotify.com/pod/show/dr-daniel-j-guerra/support

Der Sänger und Gitarrist Chuck Berry wollte mit seiner Musik Rassengrenzen überwinden. Sein Rock'n'Roll-Sound war neu und fetzig und viel aufregender als die Musik von Beethoven. Mit seinem griffigen Slogan wird Chuck Berrys Hit 1956 zum Million-Seller und zu einem Klassiker der Rockgeschichte.

We're about to rock and roll through the timeless sounds of Chuck Berry and his iconic album, "Chuck Berry Is on Top." Released in 1959, "Chuck Berry Is on Top" is not just an album; it's a cornerstone of rock 'n' roll history. This album is a testament to the enduring influence of Chuck Berry, the true pioneer of the genre. With his distinctive guitar licks and charismatic lyrics, Chuck Berry paved the way for countless rock legends. The album boasts a collection of classic tracks, including "Johnny B. Goode," "Roll Over Beethoven," "Maybellene," and "Carol." These songs are more than just rock 'n' roll; they're anthems of youthful rebellion and the soundtrack of a generation. Chuck Berry's songwriting and guitar virtuosity set him apart. His storytelling and playful lyrics captured the essence of teenage life in post-World War II America, making his music instantly relatable. "Chuck Berry Is on Top" is a journey through the birth of rock 'n' roll, a testament to Berry's incredible talent. At the time of its release, the album was groundbreaking. It solidified Chuck Berry's status as a rock 'n' roll icon and became a blueprint for countless musicians who followed. His influence extended to The Beatles, The Rolling Stones, and virtually every rock artist who emerged in the decades that followed. Chuck Berry's impact goes beyond music; his charismatic stage presence and his famous "duck walk" became defining elements of his performances. He's celebrated not only for his pioneering music but also for breaking down racial barriers in the music industry. As we gently place the needle on this vinyl gem, we invite you to join us on a musical journey through the roots of rock 'n' roll with "Chuck Berry Is on Top." We'll explore Chuck Berry's profound impact on the genre, the album's enduring relevance, and the timeless charm of the man who defined rock 'n' roll. So, get ready to rock and roll to the tunes of Chuck Berry on this episode of Dem Vinyl Boyz.

Welcome to the Instant Trivia podcast episode 982, where we ask the best trivia on the Internet. Round 1. Category: Anagram Zoo 1: A MALL. llama. 2: Tall fellow:FIFE RAG. giraffe. 3: A mountain ape:LIAR LOG. gorilla. 4: Ocean mammal:PIN HOLD. a dolphin. 5: Asian snake fighter:EGO MOONS. a mongoose. Round 2. Category: Special Oscars 1: In 1976, she was presented with a special Oscar at her home, Pickfair. Mary Pickford. 2: Appropriately, the statuette presented to Edgar Bergen was made out of this. wood. 3: "In recognition of his brilliant creativity", this Marx Brother won a special Oscar in 1973. Groucho. 4: In 1985, Cary Grant presented an honorary Oscar to this "Philadelphia Story" co-star. James Stewart. 5: The Academy's humanitarian award was named for this late character actor and former Academy pres.. Jean Hersholt. Round 3. Category: 4-Letter Bands 1: This hard-rockin' band was shown without make-up on the cover of 1983's "Lick It Up". Kiss. 2: This Aussie band had hits in the late '80s with "Devil Inside" and "Need You Tonight". INXS. 3: This duo had a 1984 No. 1 hit with "Wake Me Up Before You Go-Go". Wham!. 4: 2 sets of brothers were in this "Whip It" group: Jerry and Bob Casale and Mark and Bob Mothersbaugh. Devo. 5: The musical "Mamma Mia!" features the music of this '70s pop powerhouse. ABBA. Round 4. Category: Geographic Meanings 1: A Caribbean island:"Rich Port". Puerto Rico. 2: A big country:"Southern Land". Australia. 3: A North African city:"Three Towns". Tripoli. 4: A South African city:"Fountain of Flowers". Bloemfontein. 5: A country in the Balkans:"Black Mountain". Montenegro. Round 5. Category: Rock And Roll Songs. With Rock" And "Roll in quotation marks 1: The 1st line of the chorus of the "Beer Barrel Polka". Roll out the barrel. 2: How love was for Ashford and Simpson in 1985. "Solid". 3: Chuck Berry's way of saying "Step aside, Ludwig". "Roll Over Beethoven". 4: To do this in '55, you had to "put your glad rags on". "Rock Around The Clock". 5: 1 of 2 Paul Simon hits that fit this category. "I Am A Rock" (or "Loves Me Like A Rock"). Thanks for listening! Come back tomorrow for more exciting trivia! Special thanks to https://blog.feedspot.com/trivia_podcasts/

¡Vótame en los Premios iVoox 2023! La irrupción de jóvenes talentos en el fútbol español, especialmente si son españoles (y del Barça), es jaleada entusiásticamente por los ciudadanos periodistas. No importa que algunos lleven apenas cuatro ratos mal contados en primera división, son elevados a los altares y considerados una bendición para sus equipos. El caso de Jude Bellingham es diferente. Alguno dice que todavía hay que esperar para emitir un juicio, otros que, en el fondo, sus actuaciones no hacen sino desnudar los problemas del Real Madrid. Min. 01 Seg. 46 - Intro Min. 10 Seg. 45 - Nadie le habría comprado Min. 16 Seg. 50 - En el partido grande, desapareció Min. 21 Seg. 51 - Hay que respetar a los rivales (menos a los del Madrid) Min. 30 Seg. 00 - Enfadado porque le engañaron Min. 34 Seg. 43 - Hay ganas de jubilarle Min. 40 Seg. 15 - Periodismo de ciencia-ficción Min. 45 Seg. 47 - Un día antes, estaba bien Min. 51 Seg. 15 - Hay que cambiar de portero para que la pifie Min. 57 Seg. 12 - El regreso del tonto útil Min. 62 Seg. 35 - Despedida Van Morrison (Aarhus 09/09/2000) Hello Josephine > Good Golly Miss Molly > Tutti Frutti > Roll Over Beethoven > Whole Lotta Shakin' Goin' On Outskirts Of Town Real Real Gone Goin' Down Geneva > Rainy Day Women > Brand New Cadillac Precious Time In The Midnight Vanlose Stairway Old Black Joe If You Love Me Cleaning Windows Bob Seger & The Silver Bullet Band - Hollywood Nights (Detroit, MI 16/06/1980)

Singles Going Around- Back To Mono Volume ThreeThis episode of the podcast is Volume 3 of Back To Mono! All selections from mono records, recorded and transferred in mono. Play Loud!The Monkees- "Theme From The Monkees" (COM-101)The Beach Boys- "California Girls" (T 2354)The Rolling Stones- "Can I Get A Witness" (LK 4605)Wilson Pickett- "In The Midnight Hour" (ATL 8129)The Beatles- "Drive My Car" (T 2553)The International Submarine Band- "Blue Eyes" (Sundazed 5530)The Byrds- "I'll Feel A Whole Lot Better" (CL 2372)The Louvin Brothers- "Satan Is Real" (LITA 073)13th Floor Elevators- "She Lives (In a Time Of Her Own) (Charly 112L)Chuck Berry- "Roll Over Beethoven" (Chess 5565)The Yardbirds- "Over Under Sideways" (LN 24246)Mitch Ryder & The Detroit Wheels- "Oo Papa Doo" (NV 2002)Pink Floyd- "Let There Be More Light" (PFRLP 29)Cream- "Sweet Wine" (ATCO 33-206)Booker T & The MG's- "Slim Jenkins Joint" (Stax 717)Dave Clark Five- "Do You Love Me" (LN 24185)Sonny & Cher- "The Letter" (ATCO 33 177)Solomon Burke- "Stupidity" (ATL 8085)The Monkees- "I'm Not Your Stepping Stone" (COM 102)The Beatles- "You Can't Do That" (T 2080)The Rolling Stones- "Let's Spend The Night Together" (LL 3499)*All selections from records listed.

 | Artist  | Title  | Album Name  | Album Copyright | Tony Campanella  | Checking on my baby  | Tony Campanella  |  | Bull City Red w RevGary Davis  | Now I'm Talking About You  | 100 Early Blues Recordings | Dave Specter  | March Through the Darkness  | Six String Soul~30 Years on Delmark Disk2 | George Benson  | Havana Moon  | Walkin' To New Orleans | Jimmy Regal & The Royals  | Elmers End Blues  | The First And Last Stop | Coolhand  | Dead Man's Hand  | Coolhand  |   |  | Half Deaf Clatch  | Astrally Challenged  | Short Songs for the Barely Conscious | Gráinne Duffy  | Each and Every Time  | Out of the Dark  |  | Ben Levin  | Take Your Time (feat. Johnny Burgin)  | Take Your Time  |  | The Meters  | Find Yourself  | Trick Bag  |   |  | Bessie Jones & with the Georgia Sea Island Singers  | Sink 'Em Low  | Get In Union  | Alan Lomax Archives/Association For Cultural Equity | James Oliver  | Goofin Around  | Less Is More  |  | Chuck Berry  | Roll Over Beethoven  | The Ultimate Collection cd 1 | Mississippi Jook Band  | Barbeque Bust  | When The Levee Breaks, Mississippi Blues (Rare Cuts CD A)  | 2007 JSP Records | Keni Lee Burgess  | Garden Of Lament  | Holy Grail  |   |  | Jujubes  | Funeral Song  | Where are we now  | 

The Sue Morgan Podcast Episode 146 - Roll Over Beethoven 150723 by Random audio from UK broadcaster Ian Watko Watkins

¿Recuerdas a  “THE DOORS”, “CARPENTERS”, ”HUMAN LEAGUE”, “SIMPLE RRED”, “PROCOL HARUM”,“TRINO MORA, MONTANER, CHERRY, SINATRA, ADAMO,…?  “MI BELLA GENIO”, “LOS LOCOS ADAMS”,“HECHIZADA” ¿BAILASTE “COSITA LINDA”, “ROLL OVER BEETHOVEN”, “PLANTACION ADENTRO”,…? Y MUCHO MAS!!! --- Support this podcast: https://podcasters.spotify.com/pod/show/genteenambiente/support

The Sue Morgan Podcast Episode 133 - Roll Over Beethoven 150423 by Random audio from UK broadcaster Ian Watko Watkins

SHOWDOWN (1973) I'M ALIVE (1980) YOURS TRULY (1981) LAST TRAIN TO LONDON (1979) CONFUSION (1979) ROLL OVER BEETHOVEN (1973) CALLING AMERICA (1986) TELEPHONE LINE (1977) XANADU (1980) DON'T BRING ME DOWN (1979) HOLD ON TIGHT (1981)

Returning guest, television writer, producer and director Jeff Greenstein (Will & Grace, Friends, Desperate Housewives), makes the case that Electric Light Orchestra were - at their core - a fantastic 'singles' band. The 1979 compilation 'ELO's Greatest Hits' showcases the pop-genius of leader Jeff Lynn, as he meticulously crafted weirdly wonderful rock hits that combined classical orchestration with pop, rock and soul that somehow managed to become classic rock staples. Songs featured in this episode: The Story Of A Rock and Roll Band - Randy Newman; Will and Grace Theme - Jonathan Wolff; National Brotherhood Week - Tom Lehrer; Don't Bring Me Down - Electric Light Orchestra; Fly Like An Eagle - Steve Miller; Rockaway Beach - Ramones; Xanadu - Electric Light Orchestra (Featuring Olivia Newton John); Do Ya - The Move; Rattled - Traveling Wilburys; Scenes From An Italian Restaurant - Billy Joel; Evil Woman, Livin' Thing - Electric Light Orchestra; T.S.O.P. (The Sound Of Philadelphia) - MFSB; Can't Get It Out Of My Head - Electric Light Orchestra; Where Is My Mind? - Pixies; Showdown - Electric Light Orchestra; I Heard It Through The Grapevine - Marvin Gaye; For A Few Dollars More (Main Theme) - Ennio Morricone; I Am The Walrus - The Beatles; 10538 Overture, Turn To Stone, Rockaria!, Roll Over Beethoven, Sweet Talkin' Woman - Electric Light Orchestra; Do You Believe In Love - Huey Lewis & The News; Sweet Talkin' Woman (Take 2 Classic Cover) - The New Pornographers; Andy Warhol - David Bowie; Telephone Line - Electric Light Orchestra; Wish You Were Here - Pink Floyd; Ma-Ma-Ma Belle, Strange Magic - Electric Light Orchestra; Do You Remember Walter - The Kinks; Mr Blue Sky - Electric Light Orchestra; A Day In The Life - The Beatles; Video Killed The Radio Star - The Buggles; The Office Theme Song - Jay Ferguson; Little Drummer Boy - Neil Diamond; Day Tripper - Electric Light Orchestra (Live in Long Beach California, 1974)

Intro2mins - Growing up in Minneapolis and musical background3mins15s - The Beatles, and early influences4mins20s - First song Dave learned on the guitar, and favourite music5mins30s - Father-son relationship and parental support for guitar playing and passions7mins -  Working in the local music store in MPLS, learning about the guitar as an instrument...and a 'sideline for voilin repair-men'11mins - Starting out as a Luthier, working from home...and supporting local bands12mins - Bumping into Prince at the Knut-Kupee music store...'we knew about him for a couple of years before the first album...'13mins - Minneapolis in the late 1970s, black and white musicians playing in different parts of town14mins45s - Auditioning for Prince's early band, Dave shares his memories...trying out at Dell's Tyre Mart19mins - What were musicians wearing in the late 1970? 'A lot of spandex was occuring!' MPLS music scene memories...21mins - An amazing achievement for someone who created an entire scene and became famous throughout the world - Prince putting Minneapolis on the map.24mins - Working in London in his early 20s and working with famous musicians early on in his career (1981-83)26mins - Working with Gary Moore, and a guitar inherited from Peter Green of Fleetwood Mac29mins30s - How did going to London influence your part in Prince's story?31mins - Coming back to MPLS and Prince is achieving a level of fame...and the initial approach from his people. "He wants a guitar, and you're going to make it..."33mins30s - "I was exhilarated rather than nervous..." - making Prince's most iconic guitar having never made one before!36mins - Did you know if the guitar was actually going to be part of the Purple Rain movie??

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

We start Side 2 of With The Beatles with one of the most well-known songs of all-time, Roll Over Beethoven. Can the Beatles do the Chuck Berry classic justice? Why are there sidesteps into Superman movies? And what does a completely forgotten sitcom have to do with anything?   Rankings: Track-by-track Ranking eMail: beatlesstuffology@gmail.com Twitter: @beatles_ology JG's Writing: Judgementally Reviews...  

Aaaand we're back on track with some truly viable greats on offer this week. We'll be weighing up the merits of Paperback Writer, Roll Over Beethoven, Revolution (the rockier single version), and There's A Place. Oh and somehow Pizza Hut and Superman 3 make an appearance too. FUN! 

Includes Evil Woman, Ma Ma Ma Belle, Showdown, Livin' Thing, Do Ya, Sweet Talkin Woman, Telephone Line, Turn To Stone, Don't Bring Me Down, Can't Get It Out Of My Head, Mr. Blue Sky and Roll Over Beethoven.

Gareth continues his look at what The Young Ones did after The Young Ones with Roll Over Beethoven. A Liza Goddard vehicle that in retrospect feels like Nigel Planer should have been the bigger name, Roll Over Beethoven ran for two (rushed) series in 1985. Written by the esteemed Marks and Gran, it has no laugh track and not that many laughs and it falls apart half way through. But is it worth a re-evaluation?

“If you tried to give rock and roll a different name, you might call it ‘Chuck Berry." - John Lennon To say Chuck Berry was influential on the Beatles would be an understatement. They covered more of his songs during their career than any other artist, and "Roll Over Beethoven" was in their live set all the way back in 1957. So when recording their 2nd album, With The Beatles, in 1963, and having a bit more say on what songs they would record, it's not surprising they went with paying tribute to one of their heroes with a song that, by this time, was in their DNA. It's an exciting, if a bit controlled, rock & roll rave up, with George in the forefront, handling the classic intro riff with skill and finesse. He gives what might be his best and most energetic sounding vocal of the Beatles early output (he does tend to sometimes sound a bit non-plussed in his vocal delivery), and plays a great solo (even if he kind of muffs a note or two at the end). The band are cooking behind him, especially Ringo, who absolutely drives the track. Chuck's original served notice to the establishment that rock and roll was here to stay, and for a while that was true. Following the late 50's/early 60's more mellow, crooner boom though, when the Beatles brough rock and roll back to the forefront, their cover of "Roll Over Beethoven" serves much the same purpose....a statement piece informing the establishment that, again, rock and roll was here, youth culture was here, and the days of old were gone. Joining us this week is author, PhD, lifelong Beatles fan (and retired professor) Tim Hatfield. What began during the pandemic as Tim's daily, Beatles-themed inspirational email chain to cheer up friends and family, is now a book, "When We Find Ourselves in Times of Trouble - The Beatles: All Their Songs with Encouraging Words for Challenging Times." It's a fantastic read, finding uplifting and inspirational ideas from all the songs in the band's catalog! We had a great time chatting with Tim, talking about the Beatles' influence on his teaching career and style, passing the torch of a Beatle-influenced world to students, learning his own tenacity in working on the book, faithful cover songs, and what produces an energy in a song that some people hear, while others (looking at you, Julia) may not. Pick up Tim's book on Amazon at https://www.amazon.com/Beatles-their-songs-encouraging-challenging-ebook/dp/B0974LRBYV. It's a beautiful read. What do you think? Too high? Too low? Just right? Let us know in the comments on Facebook https://www.facebook.com/rankingthebeatles, Instagram @rankingthebeatles, or Twitter @rankingbeatles! Be sure to check out RTB's official website, www.rankingthebeatles.com and our brand new webstore!! RANK YOUR OWN BEATLES with our new RTB poster! Pick up a tshirt, coffee cup, tote bag, and more! Enjoying the show, and wanna show your support? Buy Us A Coffee! --- Send in a voice message: https://anchor.fm/rankingthebeatles/message Support this podcast: https://anchor.fm/rankingthebeatles/support

Programa nº 188 con curiosas celebraciones y locuras varias amenizadas con buena música. ADIVINA LA PELÍCULA Carlos Cano. MARÍA LA PORTUGUESA. SAN TORAL The Manhattan Transfer – BABY COOME BACK TO ME. Manuel Ausensi. CANCIÓN DEL GITANO. La Linda Tapada. CELEBRACIONES Electric Light Orchestra. ROLL OVER BEETHOVEN. The Manhattan Transfer – FOREIGN AFFAIR. EFEMÉRIDES. Cuarteto polca […] The post Los Tres Tenores 20/04/2022 first appeared on Ripollet Ràdio.

#35-31Intro/Outro: Rip It Up by Little Richard35. Folsom Prison Blues by Johnny Cash34. All I Have to Do is Dream by The Everly Brothers33. Only You by The Platters32. Bo Diddley by Bo Diddley31. Roll Over Beethoven by Chuck BerryVote on your favorite song from today's episodeVote on your favorite song from Week 2

From The Beatles to Bob Dylan, nearly every musical icon of the last 60 years has given credit to St. Louis native, Chuck Berry as being the pioneer of rock and roll music. Berry was the first artist inducted into the Rock and Roll Hall of Fame and had a string of popular hits including Johnny B. Goode, Roll Over Beethoven, and No Particular Place To Go. His later years included more than 200 monthly appearances at Blueberry Hill in the Delmar Loop neighborhood of St. Louis. Owner Joe Edwards was Berry's best friend for decades and talks about their friendship and what make Berry a musical genius. 

#52-50Intro/Outro: Good People by Jack Johnson52. The Great Twenty-Eight by Chuck Berry (Maybellene & Brown Eyed Handsome Man & Roll Over Beethoven & Rock and Roll Music & Johnny B. Goode & Thirty Days & Sweet Little Sixteen & Beautiful Delilah)51. John Henry by They Might Be Giants (A Self Called Nowhere & Destination Moon & Thermostat & Out of Jail)50. Thriller by Michael Jackson (Thriller - Andrew's Mix)Vote on Today's Album ArtVote on Week 13 Round 2 Album Art (Episodes 361-365)Vote on Weeks 9-12 Round 3 Album Art (Episodes 341-360)

It's time for the Animanicast! Featuring a Commentary on Animaniacs Episode 17! Join your hosts Joey, Nathan and Kelly in the "Animanicast!" A podcast dedicated to Animaniacs and its sister shows.  Today we take another glimpse behind the Patreon curtain for a commentary track for Animaniacs episode 17 featuring "Roll Over Beethoven" and "The Cat and the Fiddle." Joining the hosts for this commentary is the creator of Animaniacs, Tom Ruegger and the writer of "Roll Over Beethoven," Paul Rugg! Find out more about the writing process of this episode and laugh along as we watch the episode together. To find hours of exclusive commentary tracks like this, make sure to visit our Patreon page and become a patron today! Patreon.com/Animanicast Support The Animanicast The Animanicast now has a Patreon! Head over to Patreon.com/Animanicast for exclusive episode commentaries with Tom Ruegger as well as other awesome rewards! Join the party! Head on over to Discord.Animanicast.com today to join our RetroZap discussion group. You'll get to chat with the hosts of this show as well as the hosts of other RetroZap podcasts! If you'd like to support our show there's lots of ways to do it! First of all, you could go onto Apple Podcasts and leave us a five-star positive review. Also, don't forget to tell a friend about the show! Your retweets and post shares help others find us. By going to Amazon.Animanicast.com you can find some of the newest Animaniacs merchandise including clothing, toys, videos, and even books written by some of the original writers of the show. Get some great stuff and help support our show! You can even use Amazon.Animanicast.com as your portal to Amazon on your next shopping trip and you'll still be supporting our show with any purchase you make. You could also purchase some hand prepared decals from Joey at Decals.Animanicast.com Interested in getting some Animanicast MERCHANDISE? It's in stock now at TeePublic! Get yours at Teepublic.Animanicast.com

The Animanicast is joined by Animaniacs creator Tom Ruegger and show writer Paul Rugg for a commentary on episode 17 of Animaniacs featuring "Roll Over Beethoven"

MJ's guest today is managing partner of Tribeca Wine Merchants (TWM) - Ben Aneff, a proud Native Texan turned New Yorker. TWM has been called a “renowned Burgundy specialist” by Wine Enthusiast, and named one of “America's Best Wine Shops” by Food & Wine Magazine. Having come to New York for graduate school in music, Ben's first job in the wine world was a part-time position at TWM. His interest quickly exploded, and he was lucky to be in a place that gave him the opportunities and exposure that allowed him to grow in the fine and rare wine world. He later became the director of sales, and has been the managing partner since 2014. Ben has been a leading figure in the fight against wine tariffs, and was named a "2020 Wine Industry Leader" by Wine Business Monthly. He is on the board of directors of the National Association of Wine Retailers, and is the president of the US Wine Trade Alliance, the all tier advocacy organization dedicated to ensuring a tariff-free environment for wines in the United States. In this episode, MJ and Ben discuss everything from LeBron James walking into Tribeca Wine Merchants (and causing New Yorkers (!!!) to get star struck) to Old World to New World wines: What are the wines and the regions abroad and domestic that have yet to be discovered? Ben also discusses the fight against wine tariffs and the red tape that he's working hard to cut in bureaucratic Washington. This session is no game folks. Grab a glass, put Beethoven on pause and let's get into it!A huge thank you to Ben Aneff!Follow him on IG @benaneffCheck out Tribeca Wine Merchants: https://www.tribecawine.com Follow them on IG @tribecawine This episode's in studio wines:2018 Domaine Dureuil-Janthial 2007 Auxey Duresses Les Clous_______________________________________________________________Until next time, cheers to the mavericks, philosophers, deep thinkers and wine drinkers! Don't forget to subscribe and be sure to give The Black Wine Guy Experience a five-star review on whichever platform you listen to.For insider info from MJ and exclusive content from the show sign up at Blackwineguy.comFollow MJ @blackwineguy Thank you to our sponsor Acker Wines! Listeners of the show will receive $25 off purchases of $100 or more with code BWG25 at checkout. (Retail store only) Love this podcast? Love the cool content? Get a producer like mine by reaching out to the badass team at Necessary Media. www.necessarymediaproductions.com@necessary_media_ See acast.com/privacy for privacy and opt-out information.

The Beatles performed before 18,000 fans at the Convention Hall in Atlantic City, New Jersey, on August 30, 1964. Among those in attendance were Barry's aunt, Carole Hummel, and family friends Carol "Cris" Crisafulli Johnson, Joan Bacon, and Marie Falzone. Despite the fact that Barry has been a huge Beatles fan since high school, he finally found out about this while discussing our recent Tripping Walruses episode with his aunt! The night before the concert, they stayed at the Lafayette Motel. At 2:15 PM, they left in the back of a fish truck, and a short distance from the Convention Hall, they switched to their waiting tour bus. The Beatles performed their standard 12-song set: Twist And Shout, You Can't Do That, All My Loving, She Loves You, Things We Said Today, Roll Over Beethoven, Can't Buy Me Love, If I Fell, I Want To Hold Your Hand, Boys, A Hard Day's Night, and Long Tall Sally. After the show, The Beatles left the venue in a laundry truck, as their limousine was too conspicuous. That night, they stayed at the Marquis De Lafayette Hotel in nearby Cape May, where they stayed for a few days prior to their September 2nd concert in Philadelphia. During their stay in Atlantic City, John Lennon and Paul McCartney wrote two songs for the Beatles For Sale album: Every Little Thing and What You're Doing. Follow Barry or Abigail on Untappd to see what we're drinking when we're not on mic! Facebook | Instagram | Twitter | YouTube | Website | Email us --- Send in a voice message: https://anchor.fm/pops-on-hops-podcast/message

#415-411Intro/Outro: Mr. Pitiful by Matt Costa415. Money for Nothing by Dire Straits414. Jeremy by Pearl Jam413. Adventure of a Lifetime by Coldplay412. (Don't Fear) The Reaper by Blue Oyster Cult411. Roll Over Beethoven by Chuck BerryBonus excerpt: It's Only Love by The BeatlesGenre Update:Rock - 43Alternative - 22R&B - 10Hip-Hop/Rap - 4Blues - 3Country - 2Folk - 2Jazz - 1New Wave - 1Punk - 1Reggae - 1

Well dem Chuck Berry seng Schwëster doheem de Piano permanent blockéiert huet, huet de Ludwig van Beethoven musse réckelen.

Stu and Luke get musical this episode as the Warners harass Beethoven and Rita and Runt meet Stradivarius, plus Mr. Skullhead turns his hand to music as well! As a 2-for-1 bonus, you get a couple of extended tangents included at the back end of this one as the hosts discuss another pair of animated cartoons that variously get on their wick for differing reasons!

EP 25 The Beatles "Roll Over Beethoven"

Welcome to the Instant Trivia podcast episode 7, where we ask the best trivia on the Internet. Round 1. Category: Hail, Hail Rock 'N' Roll 1: In this 1971 hit, Don McLean wrote that "Something touched me deep inside the day the music died". "American Pie". 2: In 1978 the Bee Gees spent a total of 13 weeks at No. 1 and this youngest brother took the top spot for 9 weeks. Andy Gibb. 3: "Roll Over Beethoven and tell" this Russian composer "the news". Tchaikovsky. 4: Hoyt Axton wrote 2 of this group's Top 5 hits: "Joy To The World" and "Never Been To Spain". Three Dog Night. 5: This Stevie Wonder hit is subtitled "Everything's Alright". "Uptight". Round 2. Category: A Question About Television 1: This question is the first line of the theme song from "The Mary Tyler Moore Show". Who can turn the world on with her smile?. 2: After this hero left the scene, someone inevitably asked, "Who was that masked man?". The Lone Ranger. 3: This 5-word question became a catchphrase for Gary Coleman on "Different Strokes". What ya talkin about Willis?. 4: Watching "Twin Peaks", the lynch mob wondered, "Who killed" this teenager. Laura Palmer. 5: This popular game show featured the question "Will our mystery guest enter and sign in, please?". What's My Line?. Round 3. Category: Pop's Music 1: Dad refuses to see a Guy Ritchie film because he's always had a secret crush on this "Like A Virgin" singer. Madonna. 2: Dad slow dances by himself to this band's "Stairway to Heaven" becuase he's having school dance flashbacks. Led Zeppelin. 3: Dad wears that dorky clock on a chain because he was into this Public Enemy before he became a VH1 reality star. Flavor Flav. 4: Dad thinks he's an O.G. because he was into these white rappers long before their album "Ill Communication". the Beastie Boys. 5: Dad needs help downloading "In Rainbows", but he always said this Thom Yorke band was ahead of its time. Radiohead. Round 4. Category: Swedish Actresses 1: Born September 18, 1905, this glamorous Swede's real last name was Gustafsson. Greta Garbo. 2: She's the only Swedish actress to win 3 Oscars. Ingrid Bergman. 3: This multi-talented lovely from Valsjobyn received an Oscar nomination for her role in "Tommy". Ann-Margret. 4: Birgitta Andersson used this first name when acting in classics like "Wild Strawberries". Bibi. 5: This daughter of Swedish actor Stig Olin starred in "Havana" and "Enemies, A Love Story". Lena Olin. Round 5. Category: Around The Commonwealth 1: The first people to settle this country migrated there 40,000 years ago; Europeans settled Botany Bay in 1788. Australia. 2: The world's seventh-largest country in size, this Commonwealth country is second by population. India. 3: This westrn hemisphere Commonwealth nation has more lakes and inland rivers than any other country. Canada. 4: English is the official language of this oil-rich country that borders Chad, NIger and Cameroon. Nigeria. 5: Constitutional changes in 2000 for this Asian country may help end its civil war between Tamils and Sinhalese. Sri Lanka. Thanks for listening! Come back tomorrow for more exciting trivia!

He's one half of an enduring double act which made people laugh for decades. Here Syd Little speaks to Caroline Heywood about his partnership with the late, great Eddie Large who died from Covid-19 complications back in April. Over two parts, Syd takes their story from the early days doing the clubs through to their heady days of tv and variety stardom. Little Remembers Large begins an occasional series in which Caroline Heywood talks candidly and in depth with legendary British comedians. This is Part 2. You can find Part 1 by scrolling through the Distinct Nostalgia feed. Meanwhile don't forget our Comedy Writing Legends series with two programmes celebrating the work of Laurence Marks and Maurice Gran. The pair started working together from a very young age and have had decades of success penning some classic British shows including Birds of a Feather, Shine on Harvey Moon and Roll Over Beethoven. Look through the Distinct Nostalgia feed for parts 1 and 2. Distinct Nostalgia is produced by MIM.The DN theme is composed by Rebecca Applin and Chris Warner.Please contact us via the contact us page at DistinctNostalgia.comSupport the show (https://www.patreon.com/distinctnostalgia)

He's one half of an enduring double act which made people laugh for decades. Here Syd Little speaks to Caroline Heywood about his partnership with the late, great Eddie Large who died from Covid-19 complications back in April. Over two parts, Syd takes their story from the early days doing the clubs through to their heady days of tv and variety stardom. Little Remembers Large begins an occasional series in which Caroline Heywood talks candidly and in depth with legendary British comedians. Meanwhile don't forget the start of our Comedy Writing Legends series with two programmes celebrating the work of Laurence Marks and Maurice Gran. The pair started working together from a very young age and have had decades of success penning some classic British shows including Birds of a Feather, Shine on Harvey Moon and Roll Over Beethoven. Look through the Distinct Nostalgia feed for parts 1 and 2. Distinct Nostalgia is produced by MIM.The DN theme is composed by Rebecca Applin and Chris Warner.Please contact us via the contact us page at DistinctNostalgia.comSupport the show (https://www.patreon.com/distinctnostalgia)

COMEDY WRITING LEGENDS - MARKS AND GRAN - EPISODE 1 PART TWOWe kick off our Comedy Writing Legends series with two programmes celebrating the work of Laurence Marks and Maurice Gran. The pair started working together from a very young age and have had decades of success penning some classic British shows including Birds of a Feather, Shine on Harvey Moon and Roll Over Beethoven. Here in Part 2 they tell Distinct Nostalgia about working with Rik Mayall and creating 'The New Statesman' as well as their long running, often repeated time travelling comedy hit Goodnight Sweetheart.Future programmes in the Comedy Writing Legends series will meet the talent behind Porridge, One Foot in the Grave, Man About the House and Second Thoughts among many other great shows. Look out for lots of interesting shows over Christmas. More on Corrie at 60, a new drama with June Brown and an interview with Syd Little remembering his comedy partner Eddie Large who died earlier this year from Covid-19 complications.Distinct Nostalgia - More than a Podcast!Support the show (https://www.patreon.com/distinctnostalgia)

Ludwig van Beethoven ist von Bonn nach Wien gezogen. Umgehend gerät der demokratisch gesinnte Rheinländer in Konflikt mit der k. u. k. Wirklichkeit und den Vorstellungen seiner Mitmenschen. Mit Händen und Füssen stemmt sich Ludwig gegen die Begleiterscheinungen des Star-Daseins. Im Mittelpunkt dieser Dramedy steht Beethoven, der Mensch. Als erster freischaffender Künstler der Geschichte hat er seine liebe Not mit adligen Mäzenen, lästigen gesellschaftlichen Verpflichtungen und dem Ansturm vorwiegend männlicher Groupies. Ein wiederkehrender Störfaktor ist ein hartnäckiger Schweizer Dilettant auf der Suche nach einem Kompositionslehrer. Und so gestaltet es sich für den skrupulösen Tonsetzer äusserst schwierig, eine vernünftige Note zu Papier zu bringen, während er vom Trubel der multinationalen Kaiserstadt überrollt wird. Nur sein Willen, etwas Bleibendes zu schaffen, seine Liebe zur Welt und sein Freiheitsdrang retten Ludwig den Tag. Dabei wäre es so einfach: Alles, was der arme Mann will, ist seine Ruhe. Ein letztes Wort noch über das Personal: Es ist verheerend. Mit: Christoph Maria Herbst (Ludwig van Beethoven), Sandra Kreisler (Erzählerin), Anikó Donáth (Frau Schnaps), Jürg Kienberger (Schnyder), Helmut Berger (Rainer/Polizist), Gottfried Breitfuss (Schuppanzigh/Kaiser Franz), Mona Petri (Marie Bigot/Johanna van Beethoven/Verehrerin), Martin Ostermeier (Grillparzer), Stefan Merki (Goethe/Vermieter), Barbara Falter (Kaspar), Raphael Clamer (Rossini/Bigot) und Barbara Horvath Komposition: Christian Ludwig Mayer und Ulrich Bassenge, Klavier: Christian Ludwig Mayer - Tontechnik: Helge Schwarz und Basil Kneubühler - Regie: Johannes Mayr und Ulrich Bassenge - Produktion: SRF/BR 2020 - Dauer: 30' 1/2: Montag, 07.12.2020, 14.00 Uhr, Radio SRF 1

Welcome to the Big Beatles Sort Out, a show in which I, author and musician Garry Abbott, attempt to finally decide my favourite Beatles recordings by scoring each and every one for lyrical content, musicality and production. I am assisted in this venture by my brother and resident Beatles expert, Paul Abbott, with a deep knowledge of the Beatles and the wider context in which they operated. Each episode we explore and score 5 songs from the Beatles full recording catalogue. The songs are drawn at random to try and avoid any album or era prejudices skewing the results. So please join us as we try and sort out, The Beatles. Episode 15 Songs: Run for your Life, There's a Place, Dizzy Miss Lizzy, Roll Over Beethoven, The Ballad of John and Yoko PLUS RUTLES BONUS! Blue Suede Schubert!. Please let anyone know about this podcast who might be interested! You can contact me on Twitter @big_sort or @Garry_Abbott, email at BigBeatlesSortOut@Gmail.com, or via my website www.garryabbott.co.uk. Please listen out for Paul's other Podcasts, 'The Head Ballet' - all about novelty music, and 'Hark! 87th Precinct Podcast' - all about Ed McBain's seminal police procedural novel series. You can listen along to the songs featured in this episode on this handy spotify playlist: https://open.spotify.com/playlist/6bdTo8WIhXePPNZZlOMjg6 Keep up with the scoring charts, or start your own using the blank-master, with this handy google sheet: https://docs.google.com/spreadsheets/d/1Qc7mHMeBBM9LSPUV0L6zrYrF2Rib9eX-Xssua-Wox3g/edit?usp=sharing

It was New Years Eve 1953, and pianist Johnnie Johnson had a problem.... See omnystudio.com/listener for privacy information.