Podcasts about roy jenkins

CBC's Leila Beaudoin on the Boston Seafood Expo + Captain Chris Scott of Twillingate Adventure Tours on a welcome iceberg + Twillingate boat builder Roy Jenkins on his creations.

From this week's Moneyweek Magazine …Two rumours have been swirling around the gold markets for many years. Some have called them conspiracy theories. Others note that conspiracy theories often prove true. What's the difference between conspiracy and truth? About 30 years.The first is that China has far more gold than it says it does. We actually now know this to be true. The other is that America has far less than the 8,133 tonnes of gold it says it possesses.This rumour has been doing the rounds since 1971, when Peter Beter, a lawyer and financial adviser to former president John F. Kennedy, said he had been informed that gold in Fort Knox had been removed. He went on to write a best-selling book about it: The Conspiracy Against the Dollar.The problem is a total lack of transparency on the part of the US authorities, something that according to current US president Donald Trump, and the head of the Department of Government Efficiency, Elon Musk, will not be the case for much longer.Roosevelt triggers a boomBut to understand this situation we need to go back in time, all the way to 1933, when US president Franklin D. Roosevelt famously devalued the US dollar and revalued gold upwards by 70%, from $20 an ounce (oz) to $35/oz, in order to bolster growth. US gold reserves would increase to unprecedented levels in the next 15 years.Some of the gold came from US citizens. It was now illegal for them to own gold and they had to hand any they owned over to the authorities. Some came from the fact that the government then bought all US mined supply (the upwards revaluation of gold triggered a mining boom) and any gold imported to the US assay office. The US even began buying gold on foreign markets to protect the new higher price.Thus US official holdings in 1939 on the eve of World War II totalled 15,679 tonnes. They would only increase. With Nazi invasions, European nations sent all the gold they could across the Atlantic, either for safekeeping or to buy essential supplies; 1949 saw the high watermark of US gold holdings – 22,000 tonnes, as much as half of all the gold ever mined.In July 1944, with it clear that the Allies were going to win the war, representatives from the 44 Allied nations met at the Mount Washington Hotel in Bretton Woods for the United Nations Monetary and Financial Conference to design a new system of money for the new world order.International accounts would be settled in dollars, and those dollars were convertible to gold at $35/oz. Countries had to maintain exchange rates within 1% of the US dollar. In effect, the US was on a gold standard, and the rest of the world was on a dollar standard.The system relied on the integrity of the US dollar to work, and that integrity was in question, even before the end of the war. The June 1945 Federal Reserve Act reduced required gold reserves for notes outstanding from 40% to 25%, and against deposits from 35% to 25%. Between 1944 and 1954, because of increased supply, the dollar lost a third of its purchasing power, though the $35 Bretton Woods price remained.“Six major European countries,along with the UK, co-ordinated sales to suppress the gold price”US government spending was soaring, and it began running balance of payments deficits – made worse by the costs of foreign aid, America's new welfare systems and maintaining a military presence in Europe and Asia. Gold began leaving the US. By 1965 reserves had fallen by 9,500 tonnes, down 40% from the 1949 peak.Successive US administrations tried to stop the outflow, without success. Dwight D. Eisenhower banned Americans from buying gold overseas, Kennedy imposed the “equalisation tax” on foreign investments, and Lyndon B. Johnson discouraged Americans from travelling altogether. “We may need to forgo the pleasures of Europe for a while,” he said.Fears that the dollar would devalue following the election (won by Kennedy) sent the gold price in London to $40/oz. The Bank of England, in collusion with the Federal Reserve, began increasing gold sales to keep the price down.Thus did the London gold pool begin, with the addition of six major European nations the following year (Belgium, France, the Netherlands, West Germany, Italy and Switzerland), which co-ordinated sales to suppress, or “stabilise”, to use their word, the gold price and defuse unwanted, upward market pressure.But the pool struggled against growing demand. In 1965, an ounce of gold was still $35, but the purchasing power of the dollar had decreased by 57% from 1945, while gold reserves had also fallen sharply. The culprit was the costs of the US government, in particular the Vietnam War and president Johnson's enormous welfare spending.If you are buying gold to protect yourself in these uncertain times - and you should if you do not already own some - as always I recommend The Pure Gold Company. Pricing is competitive, quality of service is high. They deliver to the UK, the US, Canada and Europe or you can store your gold with them. More here.Bretton Woods under pressureWith inflation rising at home and international confidence in the dollar waning, these programmes were not just costly – they undermined Bretton Woods. Non-American nations felt aggrieved that they had to produce $100 worth of goods and services to get a $100 bill, when the US could just print one. French finance minister Valéry Giscard d'Estaing called it “America's exorbitant privilege”.President de Gaulle, meanwhile, had had enough. He ignored the pool to turn all French dollars and sterling balances into gold. The French even sent battleships to New York to collect their gold. De Gaulle became the target of several assassination attempts – coincidence, I'm sure. There were rather more US dollars in the world than there was gold to back them, he felt, and he was right.By 1967, US foreign liabilities were $36bn, but it only had $12bn in gold reserves – a third of what was needed to back the dollar. West Germany, Spain and Switzerland began demanding gold for their dollars. Even the British, with sterling going through one of its quadrennial collapses, asked the Americans to prepare $3bn worth of Fort Knox gold for withdrawal. Private gold demand was overwhelming.“The floor of the Bank of England's weighing room collapsed under the weight of all the bullion”In November 1967, the British government devalued the pound by 14%, from $2.80 to $2.40, in order to “achieve a substantial surplus on the balance of payments consistent with economic growth and full employment”.In that month, the London market saw greater bullion demand than it would typically see in nine: as much as 100 tonnes per day. To stem demand they banned forward buying, leverage and the purchase of gold with credit. The pool still lost 1,400 tonnes that year, more than a whole year's mined supply.Selling pressure on the US dollar only increased when the Viet Cong and North Vietnamese People's Army of Vietnam launched the first of a series of surprise attacks on US armed forces in South Vietnam in January 1968.Desperate to prop up the system, US military aircraft flew tonne after tonne of gold to RAF Lakenheath from where it was trucked in military convoys to the back entrance of the Bank of England: at one point the floor of the Bank of England's weighing room collapsed under the weight of all the gold.You really should subscribe to this amazing publication.Shoring up the systemIn the four days between 11 March and 14 March 1968, some 780 tonnes were sold to market. The effort to protect the price was deemed hopeless. On 15 March, UK chancellor Roy Jenkins declared a bank holiday, and the gold market was closed for a fortnight, “at the request of the United States”.Zurich also closed. Paris stayed open with gold trading at a 25% premium. All in all, the final 15 months saw over 3,000 tonnes sold to market to protect that $35 price. The pool had lost more than an eighth of its reserves.Two days later, in the rushed-through Washington Agreement, governors of the central banks in the gold pool declared there would be one fixed gold marketfor official government transactions at $35/oz and another, free-market, price for private transactions. Not for the last time, central bankers were living in a world of their own.Gold is one thing. Gold standards are another. They tend not to last, particularly bogus ones such as this one, under which citizens themselves did not handle gold. Keynes called them barbarous – ironic, perhaps, given that he was one of the architects of this one.In August 1971, president Nixon took the US off the gold standard, a “temporary” measure that remains more than 50 years later. For the first time in history, gold – Switzerland aside – played no part in the global monetary system.Of course it was the fault of the speculators. It always is. “I have directed the secretary of the Treasury to take the action necessary to defend the dollar against the speculators,” Nixon said, deflecting responsibility, and “to suspend temporarily the convertibility of the dollar into gold”.High time for a US gold auditThe US keeps its gold in four places: at Fort Knox, Kentucky (roughly 56% of its 8,133 tonnes); at the Federal Reserve Bank of New York (8%); and the remaining 36% at the mints in Denver and West Point. There has not been a proper public audit of this gold since 1953. There have been internal audits, especially between 1974 and 1986, but these were not transparent.There are many people, among them gold experts, who do not believe the gold is there. The US spent it trying to suppress the gold price in the 1960s, theysay. But in this new age of American transparency, both Trump and Musk have repeatedly pledged that this gold will be audited.There is talk of it being done on a livestream. Trump has even suggested the gold has been stolen. “We're actually going to Fort Knox to see if the gold is there,” he said, “because maybe somebody stole the gold. Tonnes of gold.”They've been making such light of it, one has to assume they know the gold is there. Musk was laughing about the conspiracies on podcasts, and he even posted a picture of a Fort Knox starter kit: a brick and some gold spray. I can't see how they would be joking if there were any serious doubts.Secretary of the Treasury, Scott Bessent, has said quite categorically that the gold is there. The last audit was in September 2024, he said in a recent Bloomberg interview, before looking down the camera and assuring the US people that “all the gold is present and accounted for”. But this would only have been an internal audit, and it would not have been a full audit.According to the US Mint, “the only gold removed has been very small quantities used to test the purity of gold during regularly scheduled audits”. No other gold has been transferred to or from the depository “for many years”. How long is many years, though? As far back as the 1960s?It's quite astonishing just how secretive the whole thing is. They opened the vaults for a congressional delegation and certain members of the press to view the gold in 1974. There were rumours swirling about then too. “We've never done this before and we'll probably never do it again,” said the then director of the US Mint Mary Brooks.“The gold commonly confiscated under Roosevelt contained some copper, and is not pure enough for sale”Then in 2017, during Trump's first administration, Treasury secretary Steven Mnuchin and Senate majority leader Mitch McConnell were invited to view the gold. “The gold was there,” Mnuchin said. He is “sure” nobody's moved it. There are “serious security protocols in place”. But there are more than 4,000 tonnes in Fort Knox. A tonne would be about the size of a medium to large suitcase. Did he see all 4,000 of them?The other big issue is the purity of the gold. What is there might not all be of good delivery quality, meaning it would not be readily accepted in international bullion markets. If much of the gold is the bullion Roosevelt confiscated in the 1930s, it will be in the form of “coinmelt”: melted down coins.The commonly confiscated coins, such as the $20 double eagle, were only 90% pure and mixed with copper to make them harder. When melted down, they were not always properly refined to modern standards, while the bars they were melted into weighed 320-330 ounces, not the 400 oz bars of good delivery standard today. In practice, this means Fort Knox gold would not be accepted without additional processing.But, until a proper audit takes place, this is all speculation, albeit reasoned speculation. We don't know the full facts. The reasons given for not conducting a full audit are flimsy: we don't need to, it would be too much of an undertaking. Please!If the US gold turns out not to be there, then the gold price goes up – potentially a lot. If it is there, it's business as usual.For now, I'd say the markets are behaving as though it is business as usual. They are climbing, and every dip is being bought, largely, it seems, by central banks (especially in Asia), who are diversifying their holdings and de-dollarising. But this audit cannot come quickly enough.Large volumes of physical gold - over 1,000 tonnes by some counts - have recently been transferred from London to New York. One theory is that was the gold was transferred in anticipation of tariffs. Another is that it was the US buying ahead of its audit. We will soon find out.Finally, I would just like to debunk one theory doing the rounds. US gold is currently marked to market at $42/oz. After the audit, those 8,133 tonnes – assuming they are there and of good delivery quality – could be marked to market at current prices, meaning a significant uplift in the value of holdings.The theory doing the rounds is that Treasury ecretary Bessent will use some of the upwards revaluation to monetise the balance sheet – not unlike how Roosevelt did in 1933 – to create funds for, among other things, the strategic bitcoin reserve. But Bessent has quite clearly stated that is not his intention.This article first appeared in Moneyweek Magazine. This is a public episode. If you'd like to discuss this with other subscribers or get access to bonus episodes, visit www.theflyingfrisby.com/subscribe

From this week's Moneyweek Magazine …Two rumours have been swirling around the gold markets for many years. Some have called them conspiracy theories. Others note that conspiracy theories often prove true. What's the difference between conspiracy and truth? About 30 years.The first is that China has far more gold than it says it does. We actually now know this to be true. The other is that America has far less than the 8,133 tonnes of gold it says it possesses.This rumour has been doing the rounds since 1971, when Peter Beter, a lawyer and financial adviser to former president John F. Kennedy, said he had been informed that gold in Fort Knox had been removed. He went on to write a best-selling book about it: The Conspiracy Against the Dollar.The problem is a total lack of transparency on the part of the US authorities, something that according to current US president Donald Trump, and the head of the Department of Government Efficiency, Elon Musk, will not be the case for much longer.Roosevelt triggers a boomBut to understand this situation we need to go back in time, all the way to 1933, when US president Franklin D. Roosevelt famously devalued the US dollar and revalued gold upwards by 70%, from $20 an ounce (oz) to $35/oz, in order to bolster growth. US gold reserves would increase to unprecedented levels in the next 15 years.Some of the gold came from US citizens. It was now illegal for them to own gold and they had to hand any they owned over to the authorities. Some came from the fact that the government then bought all US mined supply (the upwards revaluation of gold triggered a mining boom) and any gold imported to the US assay office. The US even began buying gold on foreign markets to protect the new higher price.Thus US official holdings in 1939 on the eve of World War II totalled 15,679 tonnes. They would only increase. With Nazi invasions, European nations sent all the gold they could across the Atlantic, either for safekeeping or to buy essential supplies; 1949 saw the high watermark of US gold holdings – 22,000 tonnes, as much as half of all the gold ever mined.In July 1944, with it clear that the Allies were going to win the war, representatives from the 44 Allied nations met at the Mount Washington Hotel in Bretton Woods for the United Nations Monetary and Financial Conference to design a new system of money for the new world order.International accounts would be settled in dollars, and those dollars were convertible to gold at $35/oz. Countries had to maintain exchange rates within 1% of the US dollar. In effect, the US was on a gold standard, and the rest of the world was on a dollar standard.The system relied on the integrity of the US dollar to work, and that integrity was in question, even before the end of the war. The June 1945 Federal Reserve Act reduced required gold reserves for notes outstanding from 40% to 25%, and against deposits from 35% to 25%. Between 1944 and 1954, because of increased supply, the dollar lost a third of its purchasing power, though the $35 Bretton Woods price remained.“Six major European countries,along with the UK, co-ordinated sales to suppress the gold price”US government spending was soaring, and it began running balance of payments deficits – made worse by the costs of foreign aid, America's new welfare systems and maintaining a military presence in Europe and Asia. Gold began leaving the US. By 1965 reserves had fallen by 9,500 tonnes, down 40% from the 1949 peak.Successive US administrations tried to stop the outflow, without success. Dwight D. Eisenhower banned Americans from buying gold overseas, Kennedy imposed the “equalisation tax” on foreign investments, and Lyndon B. Johnson discouraged Americans from travelling altogether. “We may need to forgo the pleasures of Europe for a while,” he said.Fears that the dollar would devalue following the election (won by Kennedy) sent the gold price in London to $40/oz. The Bank of England, in collusion with the Federal Reserve, began increasing gold sales to keep the price down.Thus did the London gold pool begin, with the addition of six major European nations the following year (Belgium, France, the Netherlands, West Germany, Italy and Switzerland), which co-ordinated sales to suppress, or “stabilise”, to use their word, the gold price and defuse unwanted, upward market pressure.But the pool struggled against growing demand. In 1965, an ounce of gold was still $35, but the purchasing power of the dollar had decreased by 57% from 1945, while gold reserves had also fallen sharply. The culprit was the costs of the US government, in particular the Vietnam War and president Johnson's enormous welfare spending.If you are buying gold to protect yourself in these uncertain times - and you should if you do not already own some - as always I recommend The Pure Gold Company. Pricing is competitive, quality of service is high. They deliver to the UK, the US, Canada and Europe or you can store your gold with them. More here.Bretton Woods under pressureWith inflation rising at home and international confidence in the dollar waning, these programmes were not just costly – they undermined Bretton Woods. Non-American nations felt aggrieved that they had to produce $100 worth of goods and services to get a $100 bill, when the US could just print one. French finance minister Valéry Giscard d'Estaing called it “America's exorbitant privilege”.President de Gaulle, meanwhile, had had enough. He ignored the pool to turn all French dollars and sterling balances into gold. The French even sent battleships to New York to collect their gold. De Gaulle became the target of several assassination attempts – coincidence, I'm sure. There were rather more US dollars in the world than there was gold to back them, he felt, and he was right.By 1967, US foreign liabilities were $36bn, but it only had $12bn in gold reserves – a third of what was needed to back the dollar. West Germany, Spain and Switzerland began demanding gold for their dollars. Even the British, with sterling going through one of its quadrennial collapses, asked the Americans to prepare $3bn worth of Fort Knox gold for withdrawal. Private gold demand was overwhelming.“The floor of the Bank of England's weighing room collapsed under the weight of all the bullion”In November 1967, the British government devalued the pound by 14%, from $2.80 to $2.40, in order to “achieve a substantial surplus on the balance of payments consistent with economic growth and full employment”.In that month, the London market saw greater bullion demand than it would typically see in nine: as much as 100 tonnes per day. To stem demand they banned forward buying, leverage and the purchase of gold with credit. The pool still lost 1,400 tonnes that year, more than a whole year's mined supply.Selling pressure on the US dollar only increased when the Viet Cong and North Vietnamese People's Army of Vietnam launched the first of a series of surprise attacks on US armed forces in South Vietnam in January 1968.Desperate to prop up the system, US military aircraft flew tonne after tonne of gold to RAF Lakenheath from where it was trucked in military convoys to the back entrance of the Bank of England: at one point the floor of the Bank of England's weighing room collapsed under the weight of all the gold.You really should subscribe to this amazing publication.Shoring up the systemIn the four days between 11 March and 14 March 1968, some 780 tonnes were sold to market. The effort to protect the price was deemed hopeless. On 15 March, UK chancellor Roy Jenkins declared a bank holiday, and the gold market was closed for a fortnight, “at the request of the United States”.Zurich also closed. Paris stayed open with gold trading at a 25% premium. All in all, the final 15 months saw over 3,000 tonnes sold to market to protect that $35 price. The pool had lost more than an eighth of its reserves.Two days later, in the rushed-through Washington Agreement, governors of the central banks in the gold pool declared there would be one fixed gold marketfor official government transactions at $35/oz and another, free-market, price for private transactions. Not for the last time, central bankers were living in a world of their own.Gold is one thing. Gold standards are another. They tend not to last, particularly bogus ones such as this one, under which citizens themselves did not handle gold. Keynes called them barbarous – ironic, perhaps, given that he was one of the architects of this one.In August 1971, president Nixon took the US off the gold standard, a “temporary” measure that remains more than 50 years later. For the first time in history, gold – Switzerland aside – played no part in the global monetary system.Of course it was the fault of the speculators. It always is. “I have directed the secretary of the Treasury to take the action necessary to defend the dollar against the speculators,” Nixon said, deflecting responsibility, and “to suspend temporarily the convertibility of the dollar into gold”.High time for a US gold auditThe US keeps its gold in four places: at Fort Knox, Kentucky (roughly 56% of its 8,133 tonnes); at the Federal Reserve Bank of New York (8%); and the remaining 36% at the mints in Denver and West Point. There has not been a proper public audit of this gold since 1953. There have been internal audits, especially between 1974 and 1986, but these were not transparent.There are many people, among them gold experts, who do not believe the gold is there. The US spent it trying to suppress the gold price in the 1960s, theysay. But in this new age of American transparency, both Trump and Musk have repeatedly pledged that this gold will be audited.There is talk of it being done on a livestream. Trump has even suggested the gold has been stolen. “We're actually going to Fort Knox to see if the gold is there,” he said, “because maybe somebody stole the gold. Tonnes of gold.”They've been making such light of it, one has to assume they know the gold is there. Musk was laughing about the conspiracies on podcasts, and he even posted a picture of a Fort Knox starter kit: a brick and some gold spray. I can't see how they would be joking if there were any serious doubts.Secretary of the Treasury, Scott Bessent, has said quite categorically that the gold is there. The last audit was in September 2024, he said in a recent Bloomberg interview, before looking down the camera and assuring the US people that “all the gold is present and accounted for”. But this would only have been an internal audit, and it would not have been a full audit.According to the US Mint, “the only gold removed has been very small quantities used to test the purity of gold during regularly scheduled audits”. No other gold has been transferred to or from the depository “for many years”. How long is many years, though? As far back as the 1960s?It's quite astonishing just how secretive the whole thing is. They opened the vaults for a congressional delegation and certain members of the press to view the gold in 1974. There were rumours swirling about then too. “We've never done this before and we'll probably never do it again,” said the then director of the US Mint Mary Brooks.“The gold commonly confiscated under Roosevelt contained some copper, and is not pure enough for sale”Then in 2017, during Trump's first administration, Treasury secretary Steven Mnuchin and Senate majority leader Mitch McConnell were invited to view the gold. “The gold was there,” Mnuchin said. He is “sure” nobody's moved it. There are “serious security protocols in place”. But there are more than 4,000 tonnes in Fort Knox. A tonne would be about the size of a medium to large suitcase. Did he see all 4,000 of them?The other big issue is the purity of the gold. What is there might not all be of good delivery quality, meaning it would not be readily accepted in international bullion markets. If much of the gold is the bullion Roosevelt confiscated in the 1930s, it will be in the form of “coinmelt”: melted down coins.The commonly confiscated coins, such as the $20 double eagle, were only 90% pure and mixed with copper to make them harder. When melted down, they were not always properly refined to modern standards, while the bars they were melted into weighed 320-330 ounces, not the 400 oz bars of good delivery standard today. In practice, this means Fort Knox gold would not be accepted without additional processing.But, until a proper audit takes place, this is all speculation, albeit reasoned speculation. We don't know the full facts. The reasons given for not conducting a full audit are flimsy: we don't need to, it would be too much of an undertaking. Please!If the US gold turns out not to be there, then the gold price goes up – potentially a lot. If it is there, it's business as usual.For now, I'd say the markets are behaving as though it is business as usual. They are climbing, and every dip is being bought, largely, it seems, by central banks (especially in Asia), who are diversifying their holdings and de-dollarising. But this audit cannot come quickly enough.Large volumes of physical gold - over 1,000 tonnes by some counts - have recently been transferred from London to New York. One theory is that was the gold was transferred in anticipation of tariffs. Another is that it was the US buying ahead of its audit. We will soon find out.Finally, I would just like to debunk one theory doing the rounds. US gold is currently marked to market at $42/oz. After the audit, those 8,133 tonnes – assuming they are there and of good delivery quality – could be marked to market at current prices, meaning a significant uplift in the value of holdings.The theory doing the rounds is that Treasury ecretary Bessent will use some of the upwards revaluation to monetise the balance sheet – not unlike how Roosevelt did in 1933 – to create funds for, among other things, the strategic bitcoin reserve. But Bessent has quite clearly stated that is not his intention.This article first appeared in Moneyweek Magazine. This is a public episode. If you'd like to discuss this with other subscribers or get access to bonus episodes, visit www.theflyingfrisby.com/subscribe

01 MAR 25

On July 13th last year a would-be assassin narrowly failed to kill Donald Trump, instead grazing the Republican candidate's right ear. Many people of faith - both on the right and left - see this narrow miss as something of a miracle, and for some evangelicals it is a sign of God's favour towards the president-elect. Roy Jenkins looks at the influence of faith groups on US politics, and the Republican party in particular, as Americans and the world look towards Donald Trump being officially declared the 47th President of the USA. For these groups, it is particularly important to have the ear of the President as they press their own agendas. Roy speaks to Professor Mark Silk, political analyst Calvin Dark, and to pro-Trump minister Pastor Mark Burns.

Advent is a time of reflection and of waiting in expectation. Roy Jenkins talks to four people with very different experiences of waiting. They include Timothy Cho, one of very few people to successfully escape from North Korea, although not before experiencing some terrifying times in a North Korean and a Chinese prison. Tanya Marlow is a bedbound mother and writer who has had to think deeply about waiting, having suffered from a chronic health condition (ME) for many years since her teens. Retired solicitor and vicar Lindsay Ford talks about the vision he received in a Caerphilly church whilst he was going through a long period of waiting. And children's charity worker Neil Davies talks about the plight of the children whom few people wish to foster or adopt, and who may wait up to two years for their forever home.

23 NOV 24

16 NOV 24

The Bible is central to Christian worship and devotion throughout the year. But October is the month when many churches observe Bible Sunday, giving thanks for the Scriptures. This month also sees the publication of a 'Bible for young explorers', with surrounding text written by celebrity and adventurer Bear Grylls, and Cardiff based Andrew Ollerton. But do young people want a Bible? And if so, what kind? Roy Jenkins interviews Andrew Ollerton and others who are involved in helping young people engage with the Bible. We meet Arfon Jones who translated Beibl.net; Dave Kitchen author of 'Bible in Ten'; and Sian Rees the head of The Bible Society in Wales. We also go to Hope Teens youth group in Merthyr Tydfil to find out what the young people themselves make if the new Bible.

Roy Jenkins looks at the life, work and continuing influence of Isaac Watts, the great hymn-writer who was born in Southampton 350 years ago. Of the six or seven hundred hymns he composed a good handful are sung each week in services across the denominations, and some have become fixed points in worship for Easter, Christmas and even Remembrance Sunday. Ironically, some have made their way into Anglican hymnaries, despite the fact that Watts and his family faced severe privations for not worshipping at an Anglican church - his father was imprisoned on several occasions for being a 'dissenter'. Certain hymns (notably 'Joy to the World') have been translated into many languages, including Cherokee, German, French, Zulu Welsh. Celebrated in his day as a profound thinker, poet and logician Watts' influence is felt far and wide for introducing the practice of making emotionally expressive hymns an integral part of worship.

17 AUG 2024

20 JULY 24

12 JULY 24

Welcome to the online media of Life Church of Lafayette, Louisiana

Welcome to the online media of Life Church of Lafayette, Louisiana

Intro music from:Arthemis - Survivor (Destiny's Child Cover)https://www.youtube.com/watch?v=xjYCOtYjCY4The Survivor is a 1981 supernatural horror Australian-British co-production directed by David Hemmings and starring Robert Powell, Jenny Agutter, and Joseph Cotten.In Adelaide, Australia (not Eton in the UK as in the original novel written by James Herbert), airline pilot David Keller (played by Powell) survives the crash of his Boeing 747-200, unhurt despite all 300 passengers dying in the accident. With no memories of the accident, he starts to suffer strange supernatural visions.Director David Hemmings is most famous for his acting roles, including Dildano in Barbarella, Marcus Daly in Dario Argento's Deep Red, and Thomas, the fashion photographer in the hugely successful avant-garde mystery film Blowup – a role turned down by Sean Connery because director Michelangelo Antonioni would not show him the full script but only a seven-page treatment stored in a cigarette packet. Hemmings would later feature in The League of Extraordinary Gentlemen with Connery 37 years later.Robert Powell, best known for his portrayal of a charismatic cult leader/son of a carpenter in the 1977 epic television drama series Jesus of Nazareth, also played secret agent Richard Hannay in The Thirty-Nine Steps, appeared in Ken Russell's Tommy as Captain Walker and, at the request of his friend and golf partner, comedian Jasper Carrott, co-starred in the BBC sitcom The Detectives (which ran for five series!). He also lent his voice to the 2002 rock opera The Hound of the Baskervilles by Clive Nolan and Oliver Wakeman, playing John Watson. Powell was considered for several roles in Lifeforce (featured in episode 39 of this podcast). A founder member of the Social Democratic Party in 1981, he campaigned alongside Barry Norman on behalf of the party's first leader, Roy Jenkins.Jenny Agutter (OBE), who plays the role of Hobbs the clairvoyant (a male character in the novel), is best known for her ongoing role in the inexplicably popular Call the Midwife. She also starred in two adaptations of The Railway Children, the critically acclaimed film Walkabout, and, relevant to this podcast, An American Werewolf in London (listen to episode 26 for more info). The film also features Joseph Cotten, (best man at Orson Welles's wedding to Rita Hayworth) appeared in five films selected for the National Film Registry by the Library of Congress for being "culturally, historically or aesthetically" significant. In addition to these classics, he appeared in many films and TV programs, including, pertinent to this podcast, one episode of Tales of the Unexpected. He later admitted, "I was in a lot of junk. I get nervous when I don't work." This was his final motion picture, suffering a stroke shortly after working on it.James Herbert, author of the source novel, sent a note to David Hemmings offering his assistance. He never received a reply, and in 1988 dismissed this film and the later Deadly Eyes (the film adaptation of The Rats) as "They're terrible...absolute rubbish. I can only say - don't blame me." The Survivor was Herbert's third novel, published in 1976, coming after The Rats and The Fog.The music for this film is by Brian May! …but not the one you're thinking of... This is the Australian Brian May, who has an impressive musical CV, including: The Blue Lagoon, Gallipoli, Mad Max, Mad Max 2: The Road Warrior, Missing in Action 2 and Freddy's Dead: The Final Nightmare.This was the first Australian movie to cost more than $1 million (Australian) to make. The location was shifted to OZ as a complex tax dodge, allowing English investors to completely write-off on the whole film. Get bonus content on PatreonSupport this show http://supporter.acast.com/general-witchfinders. Hosted on Acast. See acast.com/privacy for more information.

Roy Jenkins reflects further on his broadcast career, and recounts some memorable moments in such diverse places as Russia, South America, South Africa, Hong Kong and Israel.

The first of two special editions of All Things Considered to mark Roy Jenkins' 50 years in religious broadcasting. Across his career, Roy has been involved in a vast number and variety of programmes. Today, he looks back on just a few which have made some kind of mark on him. We hear archive footage from across Roy's career, as well as the stories behind some of these memorable programme-making experiences.Join us again next week, when Roy will reflect on some of the fascinating encounters had had making radio in other countries.

Roy Jenkins talks to former nun Catherine Coldstream, who has recently published a fascinating, challenging and highly praised memoir of her former life in a Carmelite monastery. Following the death of her father, Catherine Coldstream abandoned her musician's life in Paris and sought spiritual solace in a monastery, and found what she thought was a vocation for life as a Carmelite nun. She was only in her mid-20s Yet on a rainy night 12 years later she would try to escape from the community which had once seemed idyllic. By that time it was riven between two factions, one for maintaining the old traditions at all costs, and the other for embracing the Catholic church's modernising concern for individual welfare. In recent years Catherine has been a teacher of religion and ethics, and in this conversation she reflects on both the good and the bad parts of her experience in the monastery to which she gives the fictional name of 'Akenside'.

02 MAR 24

Description:In this insightful episode of the Explaining History Podcast, we delve into a pivotal period in British history - the years 1968-1970 under the leadership of Prime Minister Harold Wilson and his Chancellor of the Exchequer, Roy Jenkins. Drawing from Kenneth O. Morgan's meticulously researched book "The People's Peace," we explore the significant economic challenges and austerity measures that defined this era.As Britain faced mounting economic pressures, Wilson and Jenkins's policies aimed to stabilize the economy and curb inflation, leading to a series of austerity measures that had profound impacts on the British society and politics. This episode examines the delicate balance they attempted to strike between economic necessity and political feasibility.We'll discuss the backdrop of global economic trends, the pressures of the Cold War, and domestic political dynamics that influenced their decisions. Furthermore, we'll look at the social and cultural shifts occurring in Britain during this period and how these interacted with the government's economic policies.Join us as we unravel the complexities of this crucial period in British history, shedding light on how the decisions of Wilson and Jenkins have shaped the economic and political landscape of modern Britain. Whether you're a history buff, a student of economics, or just curious about the past, this episode offers a compelling glimpse into an era of transformation and challenge.Harold Wilson government policies, 1960s UK economic reforms Harold Wilson, Labour Party under Harold Wilson, Harold Wilson Prime Minister achievements, British social change in Harold Wilson era, Harold Wilson government impact on UK, Harold Wilson's term as PM analysis, Harold Wilson's foreign policy 1960s, Educational reforms Harold Wilson government, Harold Wilson and the welfare state, Critique of Harold Wilson's government, Harold Wilson economic challenges 1960s, Harold Wilson's leadership style, Harold Wilson government healthcare reforms, UK political landscape during Wilson's tenure, Harold Wilson and trade unions relations, British decolonization under Harold Wilson, Harold Wilson's cabinet members, Harold Wilson's impact on British culture, Harold Wilson's government controversies, Harold Wilson and the Cold War, Harold Wilson's economic strategies, Harold Wilson government and education, Key legislations of Harold Wilson's government, Harold Wilson's approach to civil rights, Analysis of Harold Wilson's premiership, Impact of Harold Wilson on UK's foreign affairs, Harold Wilson and the nuclear deterrent, Harold Wilson's government and the media, Public opinion on Harold Wilson's government, Harold Wilson's role in European integration, Harold Wilson's government and immigration, Harold Wilson's economic reforms critique, Harold Wilson's government and technology, Harold Wilson's influence on UK's economy, Harold Wilson's approach to UK's industry, Harold Wilson government and British identity, Harold Wilson's policies on healthcare, Harold Wilson's government and youth culture, Harold Wilson's strategies during economic crisis. Become a member at https://plus.acast.com/s/explaininghistory. Hosted on Acast. See acast.com/privacy for more information.

Ted sits down with actor, writer, and esteemed improviser, Roy Jenkins, and discusses the pitfalls of timeshares, the glory of the Barbary Wars, and how to mispronounce the word Philadelphia. As always, very little here is true.

Roy Jenkins speaks to the Church in Wales' newly-appointed Director of Mission and Strategy, the poet and writer Grahame Davies. Before his recent appointment to the church of which he has been a lifelong member, Grahame served as deputy private secretary to King Charles III, where he worked behind the scenes helping with - among other things - the huge task of organising royal visits. Grahame talks about his faith journey - sometimes literally, when he reflects on a profound spiritual experience he had after visiting the island of Iona - and about the joy of hearing his own words sung and performed to millions of TV viewers around the world during the King's Coronation.

06 JAN 24

The Universal Declaration of Human Rights, signed on 10th December 1948, is seen by many to be a milestone document in human history. Drafted in the aftermath of the Second World War, it set out basic rights that belong to all of us regardless of race, religion, gender or politics. But has the declaration withstood the test of time? Roy Jenkins examines the issues with four people who have dedicated their working lives to fighting for human rights. Professor Sir Malcolm Evans, Principal of Regent's Park College in Oxford and former Chair of the United Nations Subcommittee on the Prevention of Torture. Canon Paul Oestreicher, an Anglican priest and a Quaker, a CND vice-president and former Chair of Amnesty International UK. Yasmine Ahmed, UK Director of Human Rights Watch and Marissa Conway CEO of the United Nations Association in the UK.

I was never particularly interested in politics growing up. My father was an active social democrat, and I remember him jumping up and down with excitement when the SDP was formed, as David Owen, Roy Jenkins, and Shirley Williams broke away from the Labour Party. Even as a student, I never got interested beyond having a feeling that something wasn't right. I felt I should be left-wing - that that was the right thing to be, but I never felt particularly engaged, only alienated. My vague understanding of political ideology was that Stalin and the Bolsheviks were far left and Hitler and the Nazis were far right - I didn't realise Nazi meant national socialist back then - but that far left and far right were actually quite close in philosophy. Horseshoe theory, basically.It seemed actual far right was something that didn't really exist in the UK. There was Oswald Mosley, but he was a bit of a laughing stock, and the National Front was tiny and ineffectual. In my mid-to-late 30s, as a result of studying gold, sound money and limited government, I discovered libertarianism. For the first time, here was a political philosophy that resonated with me. Government is inherently incompetent, inefficient and inequitable. The more it does, the worse things seem to get. The less it does, the better. “A multiplicity of individual decisions,” to quote John Cowperthwaite, former Governor of Hong Kong, “will produce a better and wiser result than a single decision by a Government or by a board with its inevitably limited knowledge of the myriad factors involved, and its inflexibility.”It always amazes me that somebody who advocates peace, free trade, less government, and, in the case of anarchism and anarcho-capitalism, no government at all, can be sectioned off with Nazis and labelled far right. Far right involves more government not less. To say far-right libertarian, as the Guardian did the other day to describe Argentina's new president Javier Milei, is surely oxymoronic. Or maybe just plain moronic.At best it's lazy and ignorant. At worst it's the stuff of smearing and straw men, and wilfully dishonest. I used to think it's the former. Now most of the time I realise it's the latter.I am proud to have written the Libertarian National Anthem, which distils libertarian philosophy. The lyrics read:Arise libertarians above totalitariansOur guide is the mighty invisible hand.Reject state controllers, collectors, patrollers.Our choices are better than government plans.Taxation is a form of theft.Free markets and free trade are best.Free speech, free movement, free minds and free choice.Our actions are all voluntary,Not coerced or compulsory.War we abhor, socialism does not work.No debt or inflation, no stealth confiscation,No pigs in the trough at the gravy to drink,No state education to brainwash our nation,No experts dictate what to do, what to think.We scorn your fiat currency.Gold and bitcoin is our money.We own ourselves and we live and let live.We take responsibility.Life, love and liberty.Leave us alone, let a thousand flowers bloom.How is any of that far right?(If you want to watch the video of the above, which I heartily recommend, it is here). Buying gold in the uncertain times? My recommended bullion dealer is The Pure Gold Company, whether you are taking delivery or storing online. Premiums are low, quality of service is high. They deliver to the UK, US, Canada and Europe, or you can store your gold with them. I have an affiliation deal. More here.What actually is “far right'?Time for a Wikipedia definition: Historically, "far-right politics" has been used to describe the experiences of fascism, Nazism, and Falangism. That's what I thought. But here's the problem. They've done that change-the-definition thing:Contemporary definitions now include neo-fascism, neo-Nazism, the Third Position, the alt-right, racial supremacism and other ideologies or organizations that feature aspects of authoritarian, ultra-nationalist, chauvinist, xenophobic, theocratic, racist, homophobic, transphobic, or reactionary views. So, basically, now far right can be anything you don't agree with. The name derives from the left–right political spectrum, with the "far right" considered further from center than the standard political right.Of course, the whole prism of left and right is false, in any case. Authoritarian v libertarian is much more telling, and the political compass is the best scale of all. But so overused is the term far right that the political compass is starting to look something like this.I have argued many times, starting with Life After the State, that healthcare, education and welfare would all be cheaper and of a higher standard, if the government stayed out of it. The internet is the most powerful learning tool ever created and it's (almost) free. In the context of the times, the Friendly Societies of the 19th century were much better providers of care than the state equivalent we have today. But, somehow, if you argue that state care is no good, and that we should do away with it, people think you are advocating a society with no care at all, and therefore you are a fascist and far right. It's not about wanting the best care for people though, with them, is it? It's about control.This week we have seen the election of Javier Milei in Argentina, who is a self pronounced libertarian and anarcho capitalist. His rants denouncing the state are the stuff libertarian wet dreams are made of. I know the purists say he is a WEF stooge. Please. Real life will never as clean as idealists and theorists would like. It is muddy and impure. Take the win. Milei's victory is a good for the libertarian cause, even if only for the PR it has given the word(s) anarcho capitalist. If his policies start to work, the potential for other countries to copy and for libertarianism to spread multiplies. Nevertheless, he is, as we learn from the Guardian, far right.Then on Thursday, an Algerian migrant in Ireland went on a stabbing spree at a school in Dublin, counting three small children and a woman among his victims. Many Irish people, like the rest of Europe, have had had their concerns about large-scale migration ignored by their leaders, who have set pro-immigration policies in place, for years. They've seen increased racial tension, increased crime, especially violent crime and rape, criminals released from prison early due to overcrowding, unaffordable housing get even more unaffordable, while schools, healthcare, transport infrastructure all struggle to cope with the increased numbers. But the stabbing made something snap and Dublin saw the biggest riots it has seen in living memory.Then came the reporting. This was the Telegraph, who should know better.Who committed the knife attack? Was that not violent? Or did it just happen? You're far right if you are angry kids are being stabbed? The Irish leadership took no responsibility. This had nothing to do with their policies. Instead it too blamed the far right. It was hooligans “driven by far right ideology”, said the head of police. My breath was taken away by Taoiseach Leo Varadkar who as good ignored the crime but condemned the reaction as racist, having no place in multi-cultural Ireland, and pledged more censorship and clamping down of hate speech. “The problem isn't that Ireland is being flooded with unassimilable, predatory aliens,” as John Carter so eloquently writes. “The problem isn't that a little girl was stabbed by one of them. No, the problem is that the Irish have a problem with it.”The death of the mediaThe Far Right it seems is now everywhere. Brexit was a far right thing. The Dutch feeling threatened by mass Muslim immigration is far right thing. Argentina, deciding that enough is enough after umpteen hyperinflations, large scale corruption and Lord knows what else, is far right. Even being opposed to the inequitable tax that is ULEZ is far right, apparently - by that measure, Robin Hood, Gandhi, Boudicca, the Peasants Revolt, the American and French Revolutionaries - yes, they were all far right. Both Just Stop Oil and Black Lives Matter are self-proclaimed far left organisations. Why does the media almost never refer to them as far left?There hasn't been a sudden rise or re-emergence of the Far Right. There has just been a rise in name-calling by a media that operates with dual standards. The name-calling can be justified because the definition of what is far right has been changed. And now people who are unhappy about a child being stabbed can be bracketed with Hitler. Do you remember the Nice terror attack in 2016? A Muslim terrorist drove a truck into a crowd of people celebrating Bastille day and killed 84 people. How did the media report that? This is the BBC headline:Killed by lorry! No mention of the driver, his background or political affiliation. Just the passive voice.But anyone who reacts to murderous conduct by an illegal immigrant is far right.When people are angry because George Floyd is killed and we get several months of looting, that's fine. But when three Irish kids are stabbed and the Irish get hacked off about it, that's far right. Such blatant double standards.Here we see “Oxford men”.We all know the media lies and has probably always lied. But it also has to be truthful at the level it operates. This switching between active and passive voice is, effectively, lying and sophistry. When the truth is so obviously ignored by a media too scared to call a shovel a shovel, people will inevitably lose trust in it.Thank God for alternative media, that's all I can say, or should I say, alt right media. At least there's a truth to it. Give me a citizen journalist at the heart of the action over a hack any day of the week.I don't think anyone minds people applying to come to a country, working hard, contributing, being respectful and so on. But they do mind lots of fighting-age young men coming illegally, stabbing people, raping women, exhausting local resources (such as accommodation, education and healthcare) and then being called racist and far right for raising objections. If you keep calling people far right Nazis, they will eventually start behaving like far right Nazis, as my friend Low Status Opinions keeps saying to me. The longer moderate political parties ignore the concerns of those who elected them, then the more they will be driven to extremism. It's all very well saying the mainstream media is dead. There's no doubt that it is in decline, but it still has enormous influence. The quicker it dies, the better in my opinion - then some kind of genuine free market can return and replace the  monopolistic media we have endured for the last few decades. I say “free market” can return to the media - maybe I should say “far right markets”.When all is said and done, we are seeing a battle for control of the narrative and one side is losing. That's when they start using smears like far right. This is a public episode. If you'd like to discuss this with other subscribers or get access to bonus episodes, visit www.theflyingfrisby.com/subscribe

10 NOV 23

28 OCT 23

21 OCT 23

02 SEP 23

St. David is said to have performed a number of miracles, from restoring the sight of a man who was blind to the famous occasion when a hill rose up beneath him so that the crowds could hear his preaching. As part of our series marking the 900th anniversary of St. David's recognition as a saint, Roy Jenkins and guests discuss miracles today. The panel examine how we make sense of St. David's miracles in a contemporary context, whether miracles do in fact still happen, and if they do occur, why do so many earnest prayers go unanswered? Roy Jenkins is joined by four guests; Julian Richards, who founded Cornerstone church with his wife Sarah more than thirty years ago and now heads up New Wine Cymru. Joshua Brown is a professor of psychology and neuroscience at Indiana University. His own experience of miraculous healing was recently featured in an article in the New York Times. He helped found the Global Medical Research Institute which investigates and publishes case studies of miraculous events. Gemma Simmonds is a sister of the Congregation of Jesus, a prolific writer who teaches at the Margaret Beaufort Institute of Theology in Cambridge. She is a regular visitor to Lourdes. Lastly Trystan Owain-Hughes, a Christian theologian and author of Finding Hope and Meaning in Suffering. He's the Director of Ministry Development for the Church in Wales.

Roy Jenkins discusses contemporary Welsh identity in Bangor with four guests: the Archbishop of Wales and Bishop of Bangor Andrew John; historian Elin Jones, author of the recent book History Grounded, documenting the history of Wales; political commentator Theo Davies-Lewis, a regular writer for The Spectator and contributor to both BBC Radio Cymru and BBC Radio Wales; and Menna Machreth, former chair of Cymdeithas yr Iaith Gymraeg (the Welsh Language Society) and currently project manager for the Welsh-medium playgroups Mudiad Meithrin. The panel discuss the relevance of St. David to contemporary society; when increasing numbers of people declare that they have no religion, what is the relevance of a saint's day? What do the faith and works of a sixth-century monk mean for those who don't share his beliefs? And in what sense can he be significant still to the faith, language and identity of a 21st century society?

This week we're marking the first anniversary of the full-scale invasion of Ukraine on 24th February 2022. Roy Jenkins explores some of the religious elements involved in this conflict. Many argue that Russia's President Putin has been using religion to justify his so-called special military operation. The largest religious tradition in both Russia and Ukraine is the Orthodox Church with years of history stretching back to 988 AD. Officially there are 15 Orthodox churches worldwide, along with a dozen others whose status is said to be uncertain. It's Patriarch Kirill who leads the Moscow Patriarchate. He's spoken in support of Russia's so-called special military operation; a stance which has led Pope Francis to refer to him as “Putin's altar boy”. We hear about him and ask just how much religious liberty there is for worshippers in Russia. Meanwhile in Ukraine where there is considerable religious diversity, we hear about the friction between the pro-Moscow Orthodox and independent Orthodox Church of Ukraine. We also hear about the humanitarian and pastoral work in the country. We also ask - what of the future? Our guests: Dr Geraldine Fagan: Editor of the journal East-West Church Report and a practising member of the Orthodox Church. www.eastwestreport.org Dr Joshua Searle of Spurgeon's College in London and a trustee of the Dnipro Hope Mission in Ukraine. www.dniprohopemission.org Jonathan Luxmoore is freelance journalist based in the UK and Poland specialising in religious news throughout Europe. He writes (among others) for the Church Times and The Tablet. Music: Extracts from the Vespers Op 37 by Sergei Rachmaninov. Extract from Prayer for Ukraine by Valentin Silvestrov.

"I love gossip"

A relationship with a brother or sister might well be the longest we ever have. It can be a source of huge mutual support in the sharing of great joys, and in the struggles of tough times. But sibling relationships can also be marked by conflict and rivalry, as we've seen in the public fracture of the relationship between Prince William and Prince Harry. Roy Jenkins meets people who've been estranged from their families for many years, and hears about the heartache family fracture can cause. Dr Lucy Blake, developmental psychologist at the University of the West of England, explains that in her research she's found that family estrangement is more common than we might think, but also how our notions of an 'ideal' family are hard to live up to. Fern Schumer Chapman, author of ‘Brother, Sister, Strangers: Sibling Estrangement and the Road to Reconciliation' examines the taboo around sibling estrangement. We examine how religious belief can be the cause painful disputes, and Assia shares how her conversion to Islam led to estrangement with her family. Amanda Morris from the Muslim Council of Britain explains the support offered to new Muslims, and how cherished sibling relationships are in the Qu'ran. We hear how faith can sometimes help heal divides, and Joe Connor from Elam Ministries explains how they help foster reconciliation between Christian converts and their families.

The recent release of Census statistics for religion suggests that the number of people with no religion now far exceeds the number of those purporting to be Christian. Roy Jenkins discusses the implication of these results with a panel including Dr Emma Whittick, chaplain of Trinity Saint Davids University of Wales at Lampeter and Carmarthen; George Craig, a retired civil servant and Methodist lay preacher; Kathy Riddick, Wales co-ordinator for Humanists UK; and Chris Street, who leads the Wales Leadership Forum, an organisation that aims to help church leaders to develop their mission.

As the Christmas festival continues, Roy Jenkins explores – with the help of a range of guests – the significance of one of the best known seasonal texts. The Magnificat is an outpouring of joy from Mary, on hearing the news from the Archangel Gabriel that she is to give birth to Jesus. The text, from St Luke's Gospel, will have been heard in many churches during the past few weeks as part of the telling of the Christmas story. There have been countless musical settings down the centuries – ranging from single line Gregorian chant to more florid settings from JS Bach and Palestrina, and in the present day from composers such as John Tavener and Arvo Pärt. As the Magnificat has an important place in Roman Catholic and Anglican liturgy, there are numerous settings for singing in the daily round of Vespers and Choral Evensongs in our cathedrals and churches. On the face of it, the Magnificat or “Mary's Song” as it's sometime known, isn't such good news for the mighty who will be unseated, and the rich who will be sent empty away. The German pastor and theologian Dietrich Bonhoeffer who was executed by the Nazis, described the Magnificat as “the most passionate, the wildest… the most revolutionary hymn ever sung.” But after a year during which we have seen the start of a war, a rise in the cost of living, a widening of the gap between rich and poor, continuing pestilence and the ravages of climate change, what hope can we glean from it for 2023? Our guests: The Rt Revd Mary Stallard, Assistant Bishop of Bangor. Andrew Wilson-Dickson, composer and Cardiff-based musician. Dr Emma Gibbins, Director of Music, St Woolos Cathedral, Newport. Revd Dr Craig Gardiner, Tutor at South Wales Baptist College and Cardiff University. Sean Stillman, Minister at Zac's Place, Swansea, and International President of God Squad. Revd Dr Jennie Hurd, Chair of Wales Synod Cymru of the Methodist Church. The programme includes extracts of settings of the Magnificat by Sir John Tavener, JS Bach, Charles Villiers Stanford, Richard Shephard, and Margaret Rizza.

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

Plunging temperatures and rising fuel and food prices are all having a severe impact on all sorts of people. Roy Jenkins looks at what some churches around Wales are doing to help people trapped in the cost of living crisis during the run-up to Christmas. In Trethomas, in the borough of Caerphilly, Roy meets Revd Dean Roberts, whose Parish Trust and Care Project, established during the Pandemic, continue to help people living in the area. Julia Bartholomew, minister of Rhos-on-Sea United Reformed Church talks about the Warm Space that her church has recently opened up, offering hot food and company to all who come. Jessica Foster of the Trussell Trust explains the continuing importance of churches for the work of foodbanks. In Flintshire, Fr Dominic Cawdell talks about The Table - an initiative offering hot meals for people in the Holywell and Greenfield parishes. And in Merthyr Tydfil, Roy speaks to Heidi Jacobson and Lisa Edwards, organisers of The Pantry at Hope Church.

14 NOV 22

Roy Jenkins and guests discuss human rights and the Football World Cup with a live audience at Wrexham Glyndŵr University. The panel discussion is part of a range of programmes being broadcast by BBC Radio Wales in Wrexham this weekend to mark the Wal Goch Festival of Football. The Football World Cup is just a week away and it's the first time Wales has qualified since 1958. It's also the first time the World Cup has been hosted by a Muslim nation, Qatar, and the country is expecting 1.3 million fans. However, the games have been shadowed by controversy, with questions asked about the rights and working conditions of the migrant workers involved in building the infrastructure. Paris and other French cities are boycotting the games by not screening them in public spaces. In response the Emir of Qatar, Sheikh Tamim bin Hamad al-Thani, has said that Qatar has faced unprecedented criticism since winning the bid. Joining Roy Jenkins to discuss the issues are Graham Daniels, General Director of Christians in Sport and a Director of Cambridge United Football Club. Jahangir Mohammad, Founder and Director of the Ayaan Institute. Ewa Turczanska, Member of the Colwyn Bay Amnesty International group and contributor to the World Cup values statement made with the Welsh Centre for International Affairs. Faisal Bodi from the Islamic Human Rights Commission. Audience includes students from Wrexham Glyndŵr University, Coleg Cambria, Chester University and Bangor University.

Dick Taverne entered parliament in 1962, and rubbed shoulders with some of the political giants of the 20th century. He was a minister in Harold Wilson's government, and worked with Roy Jenkins to legalise homosexuality and introduce decimalisation. He even campaigned for remain on a bus with Liz Truss.Plus columnists Melanie Reid and James Forsyth on Kwasi Kwarteng's non-apology over the mini-budget, the end of the age of secrecy in Westminster and the return of Big Ben's bongs Hosted on Acast. See acast.com/privacy for more information.

Roy Jenkins looks at what some regard as one of the most significant developments for religious faith in Britain for generations: a practising Hindu in the highest office in the land. It's only 8 years since Rishi Sunak became an MP, so the speed of his ascent has been astonishing. But this is a Prime Minister from a very different mould to many of his predecessors: he really does ‘do faith'. Only it's not the Christian one. Roy talks to three Hindus in Wales to discover what they make of this the youngest Prime Minister in modern times, and the first ever Hindu in that role. How – if at all - might his faith and cultural background shape his personal and political values? And where – if at all - might these values cause him difficulty? Until his promotion to the role of Chancellor, few outside Westminster had heard of Rishi Sunak. Yet he rapidly created a favourable impression, introducing policies such as the furlough scheme and the popular ‘Eat Out to Help Out' to woo nervous diners back to the hospitality sector. It has to be said, Sunak has not been elected by the public at large – only by a majority of MPs of his own party. Nevertheless, his rise has confounded many expectations. And according to some Hindu believers, the portents are highly auspicious: Sunak was appointed on Diwali. Taking part in the programme are Vishnav Hindu theologian and teacher Akhandadhi Das, retired RE teacher Neera Vyas, and Dr Poonam Singal of the Hindu Cultural Association of Wales.

Tax is an issue which none of us can avoid. It can spark furious debate, be the cause of sleepless nights, and it's just hastened the demise of a prime minister and her government. Few of us relish paying tax, but most accept that it's the price of living in a society. But can it ever be made fair? How much should the well-off be paying? And how is a religious faith meant to shape how its followers approach such questions? Roy Jenkins is joined by four guests to discuss the issues. Rebecca Reading is a tax specialist and partner at Lewis Golden. She's been a tax director for Price Waterhouse Cooper and Tata Steel. Ross Hendry is the CEO of CARE (Christian Action, Research and Education.) He trained in economics, and has held a variety of positions dealing with public policy. Sue Richardson is a Catholic and Chair of ‘Church Action for Tax Justice', whose latest campaign appeals for a one-off wealth tax on the country's richest people. Andy Hartropp is an economist and an Anglican minister, he's the author of ‘God's Good Economy.'

This week Roy Jenkins is in conversation with Siân Rees, the new Head of Bible Society in Wales who's less than two weeks in the job. The charity has its roots in Wales with Mary Jones's 26 mile walk to Bala in mid-Wales over 200 years ago to buy a bible in her own language. Today, Bible Society (formerly known as the British and Foreign Bible Society) is finding new ways of telling (as the hymn goes) the old, old story. Only this month the society has released a new video “The Bible in four minutes”; a spoken animation written and narrated by Welsh poet Dai Woolridge. In this programme Siân Rees tells Roy of her upbringing and her commitment to recapture today the kind of passion for the Bible as Mary Jones showed 200 years ago. www.biblesociety.org.uk/wales

Roy Jenkins looks back at a century of religious broadcasting on the BBC. With a motto inspired by a Biblical source, the early BBC was avowedly Christian, and largely Anglican at that. Sir John Reith (a man lacking in neither religious conviction nor self-belief) placed enormous importance on the radio as a means of disseminating the Christian message. Roy Jenkins looks at Reith's legacy of religious programmes on the airwaves, and subsequently on television, as producers tackled the increasingly complex make-up of multi-cultural Britain. From the broadcasting of services and state occasions to talks such as C.S. Lewis's hugely popular essays and Dorothy L Sayers' experimental drama The Man Born to be King, the BBC was at times innovative and prepared to court occasional controversy. Some of the BBC's religious programmes, such as The Daily Service - first broadcast in 1929 and still with us today - have a remarkable history almost as long as the BBC itself. Others, such as Songs of Praise, have faced diminishing audiences, as well as changes of slot times - a reflection on an increasingly secularised audience perhaps. Roy's guests include Sian Nicholas, Professor of Modern History at Aberystwyth University; Leslie Griffiths; Ian Tutton, a former member of the Central Religious Affairs Committee whose job it was to oversee religious broadcasting; and Caitriona Noonan, Senior Lecturer in Media and Communications at Cardiff University.

13 AUG 22

06 AUG 22

Roy Jenkins guest is a nun who is one of the world's best-known campaigners against the death penalty. Sister Helen Prejean came to international fame when she was played by Susan Sarandon in the Academy award winning film Dead Man Walking, based on her best-selling book of the same name. She has had direct dialogue with two popes, and is credited among those who've helped move the Catholic Church into opposition to capital punishment in all circumstances. Helen Prejean has witnessed the trauma of men being executed on six separate occasions, but the willingness to put herself through this, like her worldwide campaigning, required first a revolution in her own thinking - not least in her understanding of her faith. In a new book River of Fire, she describes her spiritual journey, with passion and humour. This programme was first broadcast in February 2020.

Actor, writer, and master improvisor, Roy Jenkins has lived as a bald man since his 30's, but he knew it was coming with having a very bald father. He and Brian unpack accepting the inneviatble, how being lazy about vainty allows for acceptance, and get into Roy's origen story in finding the Groundlings and his writing stint at Late Night with Conan O'Brien. The baldies discuss the nuts and bolts of survival in show business, trying to be mentally present on set, and the evils and wonders of commercials. Roy's a tall, bald and hilairous drink of water, so... bottoms up? __ Show Information Twitter: @baldtalkpodcast Instagram: @baldtalkpod Email: baldtalkpod@gmail.com Brian Huskey Twitter: @thebrianhuskey Instagram: @thebrianhuskey Charlie Sanders Instagram: @charliesanders