Podcast appearances and mentions of Tony Visconti

An intimate performance at the Neil Finn owned bar Tabac, sees the Finn Brothers workshopping songs for Everyone Is Here prior to heading overseas to lay them down with Tony Visconti. Louis from Brighton joins the chat to highlight the curiosities and help give what became album b-sides their day in the sun.Performances include: Tell me come on, Land torments the sea, Homesick, A Life between us, Faraway children, Gentle hum, Sunset swim, Way back down, Everyday Alright.Episode cover: Don't dream it's over by Birds Are Better. Check out the latest Birds Are Better album on Spotify over herehttps://open.spotify.com/album/2kO6osBmmIAA3Rg6Ppnmtx?si=9etCAElbSNawIHn1PnhwYwYou can significantly support the continuation of the 240 podcast for a donation of just a couple dollars per month. This goes directly towards covering the podcast hosting fees. Big thank yous if you are in a position to help. Head over here to: http://patreon.com/240neilfinn

Derek Shulman was at the heart of two great transformations – Simon Dupree & the Big Sound switching to psychedelia, and then sensing the prog-rock trade winds and becoming Gentle Giant. One minute he was singing Kites, the next Pantagruel's Nativity (Gentle Giant's rebooted ‘Playing The Fool: The Complete Live Experience' is just out). After which he was a record label president signing Bon Jovi, Slipknot and Nickelback and rebooting AC/DC and Bad Company. It's a phenomenal story and involves …   … three pieces of advice for any band today. … playing the ‘64 circuit in his R&B band the Roadrunners. … the fictitious character he invented as Simon Dupree. … when Dudley Moore was their session pianist. … memories of Marc Bolan (“flat on his back playing guitar”), Tony Iommi, Tony Visconti, Don Arden, Gerry Bron and “the English mob”. … what they borrowed from Traffic in the Great Psychedelic Scare of 1967.  … auditioning for George Martin and the lab-coated sound engineers at Abbey Road. … being phoned on a ship returning from Sweden to be told ‘Kites' was Top Twenty and doing Top Of The Pops with Status Quo and the Kinks. … “cars and bags of jewels”: the advantage of being “the darlings of the Isle of Wight Mafia” (which included the Krays). … watching Bowie recording The Man Who Sold The World at Trident. … Elton John's advice that helped form Gentle Giant. … the catastrophic US tour with Black Sabbath (on their “chemical romance”) where the audience threw cherry-bombs onstage: “you learnt how to work a crowd!” … George Underwood's cover for the first Gentle Giant album. … what he saw in Slipknot and why he signed them. You can order GENTLE GIANT – PLAYING THE FOOL: THE COMPLETE LIVE EXPERIENCE here: https://gentlegiantuk.lnk.to/PTFFind out more about how to help us to keep the conversation going: https://www.patreon.com/wordinyourear Get bonus content on Patreon Hosted on Acast. See acast.com/privacy for more information.

Derek Shulman was at the heart of two great transformations – Simon Dupree & the Big Sound switching to psychedelia, and then sensing the prog-rock trade winds and becoming Gentle Giant. One minute he was singing Kites, the next Pantagruel's Nativity (Gentle Giant's rebooted ‘Playing The Fool: The Complete Live Experience' is just out). After which he was a record label president signing Bon Jovi, Slipknot and Nickelback and rebooting AC/DC and Bad Company. It's a phenomenal story and involves …   … three pieces of advice for any band today. … playing the ‘64 circuit in his R&B band the Roadrunners. … the fictitious character he invented as Simon Dupree. … when Dudley Moore was their session pianist. … memories of Marc Bolan (“flat on his back playing guitar”), Tony Iommi, Tony Visconti, Don Arden, Gerry Bron and “the English mob”. … what they borrowed from Traffic in the Great Psychedelic Scare of 1967.  … auditioning for George Martin and the lab-coated sound engineers at Abbey Road. … being phoned on a ship returning from Sweden to be told ‘Kites' was Top Twenty and doing Top Of The Pops with Status Quo and the Kinks. … “cars and bags of jewels”: the advantage of being “the darlings of the Isle of Wight Mafia” (which included the Krays). … watching Bowie recording The Man Who Sold The World at Trident. … Elton John's advice that helped form Gentle Giant. … the catastrophic US tour with Black Sabbath (on their “chemical romance”) where the audience threw cherry-bombs onstage: “you learnt how to work a crowd!” … George Underwood's cover for the first Gentle Giant album. … what he saw in Slipknot and why he signed them. You can order GENTLE GIANT – PLAYING THE FOOL: THE COMPLETE LIVE EXPERIENCE here: https://gentlegiantuk.lnk.to/PTFFind out more about how to help us to keep the conversation going: https://www.patreon.com/wordinyourear Get bonus content on Patreon Hosted on Acast. See acast.com/privacy for more information.

Derek Shulman was at the heart of two great transformations – Simon Dupree & the Big Sound switching to psychedelia, and then sensing the prog-rock trade winds and becoming Gentle Giant. One minute he was singing Kites, the next Pantagruel's Nativity (Gentle Giant's rebooted ‘Playing The Fool: The Complete Live Experience' is just out). After which he was a record label president signing Bon Jovi, Slipknot and Nickelback and rebooting AC/DC and Bad Company. It's a phenomenal story and involves …   … three pieces of advice for any band today. … playing the ‘64 circuit in his R&B band the Roadrunners. … the fictitious character he invented as Simon Dupree. … when Dudley Moore was their session pianist. … memories of Marc Bolan (“flat on his back playing guitar”), Tony Iommi, Tony Visconti, Don Arden, Gerry Bron and “the English mob”. … what they borrowed from Traffic in the Great Psychedelic Scare of 1967.  … auditioning for George Martin and the lab-coated sound engineers at Abbey Road. … being phoned on a ship returning from Sweden to be told ‘Kites' was Top Twenty and doing Top Of The Pops with Status Quo and the Kinks. … “cars and bags of jewels”: the advantage of being “the darlings of the Isle of Wight Mafia” (which included the Krays). … watching Bowie recording The Man Who Sold The World at Trident. … Elton John's advice that helped form Gentle Giant. … the catastrophic US tour with Black Sabbath (on their “chemical romance”) where the audience threw cherry-bombs onstage: “you learnt how to work a crowd!” … George Underwood's cover for the first Gentle Giant album. … what he saw in Slipknot and why he signed them. You can order GENTLE GIANT – PLAYING THE FOOL: THE COMPLETE LIVE EXPERIENCE here: https://gentlegiantuk.lnk.to/PTFFind out more about how to help us to keep the conversation going: https://www.patreon.com/wordinyourear Get bonus content on Patreon Hosted on Acast. See acast.com/privacy for more information.

Today's guest is BISHI - singer, electronic rock-sitarist, composer, producer, and performer born in London of Bengali heritage. She has independently released two albums and several EPs on her own label Gryphon Records to critical acclaim. She co-produced her third album ‘Let My Country Awake,' with Jeff Cook, out now on all platforms. BISHI has recorded work with Tony Visconti, Sean Ono Lennon, Jarvis Cocker, Richard Norris and Daphne Guinness. Her collaborations and commissions for the stage include; The London Symphony Orchestra, The Kronos Quartet and  Yoko Ono's ‘Meltdown', and is the founder of WITCiH: The Women in Technology Creative Industries Hub, a platform elevating Women & Non-Binary genders in tech, through commissions, performances & the podcast 'Creative Women in Tech.' Ladies and gentlemen – meet the unique performer Bishi...If you can, please support the Electronically Yours podcast via my Patreon: patreon.com/electronicallyours

La banda Cápsula, formada en Buenos Aires y asentada en Bilbao, toma su nombre de la canción "Space Oddity", de David Bowie. El artista británico es una de sus grandes influencias, de ahí que hayan buscado trabajar con productores como Tony Visconti. También han colaborado con otros grandes nombres como John Agnello y han compartido escenario con leyendas como Iggy Pop, Pearl Jam u Os Mutantes. Su nuevo álbum, Primitivo Astral, lanzado en 2024 es una exploración sonora que fusiona lo mejor del pasado y del presente del rock.Escuchar audio

The teenage Woody Woodmansey was offered the job of under-foreman in the Vertex spectacle factory in Hull but then got a call from Bowie inviting him to move to London and play drums on his new album - “plus food and somewhere to stay”. It took him all weekend to decide. And involved some cultural readjustment when he did. 56 years later he's a founding member of Holy Holy and touring the UK in May – along with Tony Visconti and Glenn Gregory – performing songs from Bowie's breakthrough early ‘70s albums. He talks here about … … the life-changing sound behind the silver door of an air-raid shelter in Driffield. … supporting the Kinks in Bridlington and the Herd at Leeds University - and why Peter Frampton told him, “I'll see you at the top”. ... his first paid gig at the local girls' school. … the Spiders' instructional group outings to see ballet, mime and theatre. ... “never more than three takes”: how Bowie wrote and recorded and the sketches he drew for their stage gear.  … life at Haddon Hall and its “Gone With The Wind staircase”. … Yorkshire to London and the cultural collisions involved. … what Bowie realised was “the missing ingredient”. … Woody's checklist to assess Bowie's talents when he met him: “He wasn't Paul Rodgers or Roger Daltrey. He could write. He could communicate.” … “I'm not wearing that!” The day Mick Ronson packed his bags and left. Order Holy Holy tickets here:https://www.ticketmaster.co.uk/tony-visconti-tickets/artist/2003254Find out more about how to help us to keep the conversation going: https://www.patreon.com/wordinyourear Get bonus content on Patreon Hosted on Acast. See acast.com/privacy for more information.

The teenage Woody Woodmansey was offered the job of under-foreman in the Vertex spectacle factory in Hull but then got a call from Bowie inviting him to move to London and play drums on his new album - “plus food and somewhere to stay”. It took him all weekend to decide. And involved some cultural readjustment when he did. 56 years later he's a founding member of Holy Holy and touring the UK in May – along with Tony Visconti and Glenn Gregory – performing songs from Bowie's breakthrough early ‘70s albums. He talks here about … … the life-changing sound behind the silver door of an air-raid shelter in Driffield. … supporting the Kinks in Bridlington and the Herd at Leeds University - and why Peter Frampton told him, “I'll see you at the top”. ... his first paid gig at the local girls' school. … the Spiders' instructional group outings to see ballet, mime and theatre. ... “never more than three takes”: how Bowie wrote and recorded and the sketches he drew for their stage gear.  … life at Haddon Hall and its “Gone With The Wind staircase”. … Yorkshire to London and the cultural collisions involved. … what Bowie realised was “the missing ingredient”. … Woody's checklist to assess Bowie's talents when he met him: “He wasn't Paul Rodgers or Roger Daltrey. He could write. He could communicate.” … “I'm not wearing that!” The day Mick Ronson packed his bags and left. Order Holy Holy tickets here:https://www.ticketmaster.co.uk/tony-visconti-tickets/artist/2003254Find out more about how to help us to keep the conversation going: https://www.patreon.com/wordinyourear Get bonus content on Patreon Hosted on Acast. See acast.com/privacy for more information.

The teenage Woody Woodmansey was offered the job of under-foreman in the Vertex spectacle factory in Hull but then got a call from Bowie inviting him to move to London and play drums on his new album - “plus food and somewhere to stay”. It took him all weekend to decide. And involved some cultural readjustment when he did. 56 years later he's a founding member of Holy Holy and touring the UK in May – along with Tony Visconti and Glenn Gregory – performing songs from Bowie's breakthrough early ‘70s albums. He talks here about … … the life-changing sound behind the silver door of an air-raid shelter in Driffield. … supporting the Kinks in Bridlington and the Herd at Leeds University - and why Peter Frampton told him, “I'll see you at the top”. ... his first paid gig at the local girls' school. … the Spiders' instructional group outings to see ballet, mime and theatre. ... “never more than three takes”: how Bowie wrote and recorded and the sketches he drew for their stage gear.  … life at Haddon Hall and its “Gone With The Wind staircase”. … Yorkshire to London and the cultural collisions involved. … what Bowie realised was “the missing ingredient”. … Woody's checklist to assess Bowie's talents when he met him: “He wasn't Paul Rodgers or Roger Daltrey. He could write. He could communicate.” … “I'm not wearing that!” The day Mick Ronson packed his bags and left. Order Holy Holy tickets here:https://www.ticketmaster.co.uk/tony-visconti-tickets/artist/2003254Find out more about how to help us to keep the conversation going: https://www.patreon.com/wordinyourear Get bonus content on Patreon Hosted on Acast. See acast.com/privacy for more information.

John Conte Live on Game Changers With Vicki Abelson What crazy fun to sit down with my old dear friend, bassist John Conte, whom I hadn't seen in decades. How is it possible that he appears to have aged barely a day? Seriously! John took us back to childhood days, his jazz-singing mother, Rosemary, his early days on guitar, and his brother Steve at first on drums. Their first band when John was 8 or 9, their early songwriting, including John's first song, Maryanne, Sittin on a Log, which he gave us a little taste of. He was a boy with a dream of playing arenas with rock stars. He told us how they flipped instruments, with John choosing bass. His college days, jazz-infused, where he gigged around with stellar players like Terence Blanchard. We tripped down memory lane, where we met, in the md-80s at The Rock 'n Roll Cafe on Bleecker Street, 1/2 of The Brothers of Conte, as I affectionately came to call them, with his brother Steve, they were weekly regulars whenever their schedules allowed. John was in Blood, Sweat & Tears, his first major gig, at the time, and told us all about that. Great stories there, including playing Madison Square Garden. Not bad for a 23-year-old. During their tenure at the Rock 'N Roll, late one rainy night they brought in their friend, Phoebe Snow, a life changer for me who had been a diehard fan since high school. The Phoeb's and I became fast friends, and I have the boys to thank for that as well as for years of amazing live music there, and at Spo-dee-o-dee's, Woody's, RockGirl, The Marquee, The Cafe Wha, True Blue and The China Club, where they were also a part of my RockGirl Jam Band. A stellar bassist, with an easy temperament and oh so easy on the eyes, it was always a joy when John was around. I made him tell his requisite Chuck Berry story. At that same time, the Conte brothers, as part of The Hudson River Rats, were laying the foundation for much of the session and road work that was to follow. Like Finding himself in the studio with Tony Visconti and David Bowie. John's description of hearing Bowie vocalize in his ear gave me goosebumps. He talked about laying down tracks with Peter Wolf and Ian Hunter, getting to jam with loads of his heroes. The Conte Brothers connected with Kyf Brewer and Company of Wolves were borne. They did some showcases, got signed, did a tour with Richard Marx, and foreshadowed John's future, one with Southside Johnny and The Asbury Jukes. John talked us through touring with Joan Osbourne (beautiful words here), Roseanne Cash, and Southside Johnny choosing him in 2007, a gig that would take him through to present day. There was a short tour with Billy Joel during his 2012 comeback with our friend, Tommy Byrnes, lovely to hear John's take on it, and great stories about his tenure playing with The Disciples of Soul, the house band for the American Music Honors where he got to play with honorees, Jackson Browne, Mavis Staples, John Mellencamp and Dion, as well as host, Bruce Springsteen and Steven Van Zandt. John's shared the stage with Bruce numerous times before, memorably for an impromptu 45-minute set with Southside. John's recounting of that and of playing with Peter Frampton (and Sheryl Crow) at the Sandy Hook Promise Benefit is another moving, goosebump-inducing tale. I loved every single second with my old friend. It's thrilling to see how his life has played and continues to play out. The young boy living his dream. Southside Johnyy's future may be unsure, but John's certainly isn't. He's always got multiple projects cooking, his own music in the works - check him out here johnconte.bandcamp.com and here Facebook.com/johncontebass I just adore the boy. He'll always be a rockboy to me and damn, he sure still looks like one. John Conte Live on Game Changers With Vicki Abelson ****Wednesday, 1/29/25, 1 PM PT, 4 PM ET**** Streamed Live on my Facebook Replay here: https://bit.ly/4hbKHj6

Come avrebbe suonato "Heroes" di David Bowie senza la mano di Tony Visconti? E "Thriller" di Michael Jackson senza quella di Quincy Jones? E "Blood Sugar Sex Magick" senza quella di Rick Rubin? Se questi album sono considerati classici, il merito non è solo dei musicisti ma anche di coloro che stanno al di là del vetro, a lavorare con manopole e cursori e spesso a indirizzare lo stesso processo creativo: i produttori. In questa puntata passiamo in rassegna alcuni dei più leggendari.Playlist: Ike & Tina Turner - "River Deep Mountain High"Quincy Jones - "Birdland"David Bowie - "I Can't Give Everything Away"Robert Wyatt - "Heaps Of Sheeps"Red Hot Chili Peppers - "Breaking The Girl"

Chuck Prophet has put out 17+ solo records, 10 records with his former rock band Green on Red, and has worked with Bruce Springsteen, Kim Richey, Kelly Willis, Alejandro Escovedo, and Tony Visconti, appeared on many late night shows, toured with Lucinda Williams, and more. We chat with Chuck about transitioning from being in a band to having a solo career, San Fransisco as inspiration, how major successes come out of the blue, learning by doing, songwriting as a self taught art form, the need for more danger in music, and a whole lot more.Get more access and support this show by subscribing to our Patreon, right here.Links:Chuck ProphetGreen on RedJules ShearChuck CloseAngelo PetragliaLarry GottleibKim RicheySound EmporiumThe Paradise LoungeThe AlbionDead KennedysJohn CunibertiAlan WattsClick here to watch this conversation on YouTube.Social Media:The Other 22 Hours InstagramThe Other 22 Hours TikTokMichaela Anne InstagramAaron Shafer-Haiss InstagramAll music written, performed, and produced by Aaron Shafer-Haiss. Become a subscribing member on our Patreon to gain more inside access including exclusive content, workshops, the chance to have your questions answered by our upcoming guests, and more.

Today on the LaunchLeft Podcast, Rain Phoenix engages in a rich dialogue with renowned music producer and composer, Tony Visconti. Tony reflects on his early influences, including his high school music teacher and his family's musical background. He shares fascinating stories about his collaborations with David Bowie and Brian Eno, highlighting the innovative techniques used in producing albums like Heroes and Low. The episode also explores Tony's work with T. Rex and Paul McCartney, offering listeners a glimpse into the unique creative processes behind some of rock music's most iconic records. Then, Tony launches Daisy the Great. Mina and Kelly, the voices behind the raw and playful album Spectacle: Daisy the Great vs. Tony Visconti give us a glimpse into their creative process and co-writing with Toni Visconti. The conversation is both nostalgic and insightful, providing a deep dive into the world of music production. -----------------  LAUNCHLEFT OFFICIAL WEBSITEhttps://www.launchleft.com  LAUNCHLEFT PATREON https://www.patreon.com/LaunchLeft  TWITTER https://twitter.com/LaunchLeft  INSTAGRAM https://www.instagram.com/launchleft/  FACEBOOK https://www.facebook.com/LaunchLeft  --------------------- IN THIS EPISODE:  [1:57] Tony discusses his unique and creative work with David Bowie and how they captured the unique vocal sound in the album Heroes [14:28] Tony reflects on how his high school music teacher, Dr. Israel Silberman, inspired him and helped build his foundation for music theory and love for music composition [20:00] Tony discusses the musical talent in his family, then how music found him [27:15] Tony reflects on his collaborations with David Bowie and Brian Eno [37:03] How Tony ended up composing for Paul McCarney [43:29] Meet Mina and Kelly, the voices behind Daisy the Great, and hear how their latest EP Spectacle: Daisy the Great vs. Tony Visconti came to be and a discussion about collaborating with Tony. KEY TAKEAWAYS:  From a young age, Toni studied the master sheet music of classical artists like Mozart and Beethoven, learning each instrument’s part, then figuring out how they came together. This is how his passion for producing music was sparked and led him to dive straight into the music industry after high school Tony, David Bowie, and Brian Eno worked so well together and each brought their own innovative skill sets and creative energy into the studio. Together, they created some of rock music's most iconic records. Even so, each artist would still create their own work or have other collaborations in progress, which was ideal, because it kept them from growing stagnant as artists. They were constantly learning and trying new techniques or experimenting with equipment, which they would bring into their next album together After decades creating music with icons, Tony is still passionate about learning from and collaborating with artists. For instance, while working with Mina and Kelly, his co-writing experience was something that he had never experienced before.  RESOURCE LINKS:  LaunchLeft Podcast Smart Link Daisy the Great Links: Daisy The Great - Website Spectacle: Daisy the Great vs. Tony Visconti Daisy the Great - Instagram Daisy the Great - TikTok Daisy the Great - YouTube Spectacle: Daisy the Great vs. Tony Visconti is the most expansive release from Daisy the Great yet. It is a masterclass in sonic storytelling — a dazzling exploration of the indie innovation that has defined the duo since the release of their hit “The Record Player Song” and its certified-gold follow-up, “Record Player” with AJR. The five new tracks were co-created with Grammy-winning producer Tony Visconti (David Bowie, T. Rex), and capture the New York City duo honing in on their unique brand of genre-defying music where interlocking double lead vocals and striking harmonies give their sound an artful and kaleidoscopic twist. Tony Visconti Links: Tony Visconti - Instagram Tony Visconti - X Tony Visconti - Facebook Tony Visconti is recognized as one of the top music producers in the history of rock music.

Nadja [00:23] "Sievert Pt. 1" Sv Broken Spine Productions BSP015 2023 (original release 2016) Doomy ambient goodness from Aidan and Leah once again. Eurythmics [22:32] "Love Is a Stranger" Sweet Dreams Are Made of This RCA AFL1-4681 1983 Side one, track one from their sophomore album, with a classic video (https://youtu.be/o6f593X6rv8?si=JdUQVqkJ6oVbYuni) to go along for the ride. Plus, high harmonies by Kiki Dee (https://youtu.be/z0qW9P-uYfM?si=y9ywrtnrvrpZvDqI)! Mose Allison [26:15] "Stop This World" Swingin' Machine Atlantic SD 1398 1963 Amen, Mose. Throwing in some horns is not quite the same as the classic trio from the preceding album I Don't Worry About a Thing, but it's still pretty great. Wendy Carlos [29.38] "Brandenburg Concerto No. 3 in G Major - Third Movement" Switched-On Bach Columbia Masterworks MS 7194 1968 Carlos collaborated with Bob Moog on his nascent synthesizer technology to create this album. Because the Moogs were monophonic, it took 1,000 hours over five months to record. In case you are wondering what a traditional version of this movement sounds like, here is the Netherlands Bach Society performing it (https://youtu.be/qr0f6t2UbOo?si=yiW4DA0AxFSb3sB5&t=370). The Police [34:44] "Miss Gradenko" Synchronicity A&M Records SP-3735 1983 The requisite Stewart Copeland track from final album by The Police. Ultravox [38:18] "Slow Motion" Systems of Romance Antilles AN-7069 1978 Lead track and single from Ultravox's third studio album, which became a large influence on Gary Numan (https://youtu.be/_nt5EH0UYxE?si=pm0h_4YWwXlCKJks). T. Rex [41:44] "20th Century Boy" T. Rextasy: The Best of T. Rex, 1970-1973 Warner Bros. Records 25333-1 1985 As usual, Marc Bolan lays down an undeniable groove (https://youtu.be/9SG65dlho_o?si=4Q8NPlKJc_87trVQ), produced by Tony Visconti. I almost forgot about the sax parts. Can [45:23] "Mushroom" Tago Mago United Artists Records 1971 (2007 "unofficial" repress) Tago Mago was Damo first outing with the band, following Malcolm Mooney's departure. According to guitarist Michael Karoli, the explosion at the end of the song is a slowed-down recording of an exploding firecracker. Zola Jesus [49:41] "Long Way Down" Taiga Mute 9611-1 2014 Zola Jesus' fourth studio album and only outing on Mute (before returning to Sacred Bones). Produced by musician, sound designer, and composer Dean Hurley. The Folk Implosion [54:49] "Had to Find Out" Take a Look Inside...... Communion Label COMM 32 1994 The debut album from Lou Barlow and John Davis... released 30 years ago! Stevie Wonder [56:55] "You Are the Sunshine of My Life" Talking Book Tamla T319L 1972 What?! It's a great song. And it was the single that followed up "Supersition". That's a heckuva gear shift. Number one on the Hot 100, of course. Silver Jews [59:53] "Sometimes a Pony Gets Depressed" Tanglewood Numbers Drag City DC297 2005 A rehabilitated Dave Berman comes back with this album, the fifth studio album. He is joined once again by Bob Nastanovich and Stephen Malkmus, as well as his then-wife Cassie Berman. Cover photo by William Eggleston. Music behind the DJ: "Jackie (https://youtu.be/HqAbaqVBCyo?si=qu8P0gk6OeWL5SeB&t=224)" by Billy May and his Orchestra

On this week's Talkhouse Podcast we've got two guys with more than a hundred years of music-making experience between them and the endless stories to match: Tucker Zimmerman and Tony Visconti. You'll be forgiven if you don't recognize Tucker Zimmerman's name: The songwriter existed on the fringes of the folk scene in the late 1960s but in spite of acclaim from fellow musicians—including David Bowie, as you'll hear—he never broke out. That may be because Zimmerman left America for Belgium, where he's continued to quietly create music and write for the past 40 years. But you can only keep a secret like Zimmerman for so long, and Big Thief's Adrianne Lenker happened to hear one of his records a couple of year ago and was inspired enough that one thing led to another and Big Thief ended up creating an entire record with Zimmerman called Dance of Love, which came out earlier this year. It's an odd, beautiful collaboration that's well worth checking out. In fact, check out  “Burial At Sea” from Dance of Love right here; it features Lenker and Zimmerman's voices together. The other half of today's conversation is a legendary musician and producer who also had a lot to do with bringing Tucker Zimmerman into the public consciousness. Tony Visconti is best known for his many, many collaborations with David Bowie, with whom he worked closely over Bowie's entire career. Visconti has also produced records for T. Rex, Morrissey, Sparks, and way more others than I have time to list here. But for purposes of this conversation, we need to note that he helped created Zimmerman's Ten Songs album back in 1968, which they get into in this chat. They've stayed in touch over the years, and you'll hear the affection in their voices. Speaking of voices, the third person who pops up briefly in this chat is Tucker's wife Marie Claire, who also appears on the cover of Dance of Love and contributes some vocals. Elsewhere in this conversation, Tucker and Tony talk about their early adventures together, include an acid trip facilitated by a guy named Dr. Sam. They chat about Bowie, of course, and Tucker gets a chance to thank Tony for helping him out over the years—and how he's glad Tony didn't agree to produce an ABBA record when he had the chance. Enjoy. Thanks for listening to the Talkhouse Podcast, and thanks to Tucker Zimmerman and Tony Visconti for chatting. If you liked what you heard, please follow Talkhouse on your favorite podcasting platform, and be sure to check out all the great stuff at Talkhouse.com. This episode was produced by Myron Kaplan, and the Talkhouse theme is composed and performed by the Range. See you next time! This episode is brought to you by DistroKid. DistroKid makes music distribution fun and easy with unlimited uploads and artists keep 100% of their royalties and earnings. To learn more and get 30% off your first year's membership, visit: distrokid.com/vip/talkhouse

In this new episode of the Kate Bush Fan Podcast, Seán talks to Leah Kardos, author of the new book about Hounds of Love which is part of the acclaimed 33⅓ book series which examine key albums from music history. Leah is a musician, a senior lecturer in music at Kingston University in London, co-founder of that university's Visconti Studio (with producer Tony Visconti) and is also author of Blackstar Theory: The Last Works of David Bowie. A very enjoyable chat in which she discusses what made her pitch Kate's fifth studio album to the book publishers, her experience of writing the book as we emerged from a pandemic, the challenges of producing a smaller sized book like this and why it was important to her to emphasise Kate's pioneering production work and barrier-breaking career achievements. I highly recommend this excellent little book as the perfect Christmas stocking filler for the Kate Bush fan in your life!

In a lively podcast episode, hosts Jesse Jackson and Sylvan Groth explore John Hiatt's song 'I Look for Love' from his 1982 album 'All of a Sudden,' produced by Tony Visconti. They discuss its 80s production, notable reception, and the impact of its lyrics, including power dynamics in relationships and emotional themes. The hosts share a deep appreciation for the song while expressing curiosity about acoustic or rock renditions. They also mention Roseanne Cash's version and their personal experiences with the song. Learn more about your ad choices. Visit megaphone.fm/adchoices

In a lively podcast episode, hosts Jesse Jackson and Sylvan Groth explore John Hiatt's song 'I Look for Love' from his 1982 album 'All of a Sudden,' produced by Tony Visconti. They discuss its 80s production, notable reception, and the impact of its lyrics, including power dynamics in relationships and emotional themes. The hosts share a deep appreciation for the song while expressing curiosity about acoustic or rock renditions. They also mention Roseanne Cash's version and their personal experiences with that song. Learn more about your ad choices. Visit megaphone.fm/adchoices

El Vuelo de Yorch hoy nos trae a David Bowie. Tony Visconti, declaró que el músico siempre hizo lo que quiso y que su muerte no fue muy diferente a su vida: una obra de arte. Un camaleón de intensa mirada futurista y cantautor que guio a generaciones de músicos a través del poder de la imagen, la intensidad, el dramatismo y la creación de una personalidad muy peculiar. Un ser libre, un extraterrestre, un inadaptado, aventurero sexual y astronauta del espacio exterior. DAVID BOWIE. A Lucana Radio, los podcast desde Aragón. Autor del programa Jorge Placek

Send us a textDavid Bowie's “Scary Monsters (and Super Creeps)” is, for many fans, his last great album. Mick regards it as one of Bowie's best, with the singles "Ashes to Ashes" and "Fashion".  Mick and Jeff talk through what makes this album great, and look at the music environment as Bowie, along with many other 70's greats, faced the changes and challenges of the 80's.“Knockin' on Heaven's Door” offers a long line of new entrants to Rock'n'Roll Heaven including Herbie Flowers, Tito Jackson, Kris Kristofferson and Liam Payne from One Direction. Our Album You Must Listen to Before you Die, fresh from Robert Dimery's book, is Dexy's Midnight Runners' “Don't Stand Me Down”, a massive failure on release in 1985 but receiving a fresh critical re-evaluation in modern times.  We didn't like it!  Not least because of their complete rip-off of “Werewolves of London” by Warren Zevon.   Episode PlaylistScary Monsters (and Super Creeps) - just the album__________________________________More Trump! One of those things – Dexy's  Bowie interview - “My Phil Collins Years”  Bowie – Ashes to Ashes live on Jools Holland  Pete Townshend   Glass Spider LiveOther References Alt Rock Chick – fabulous insightful reviews across the rock spectrum  References:  Angie Bowie, Eno, Lodger, Outside, Joy Division, Kate Bush, Gary Numan, New Romantic, “Are “Friends Electric?”, The Pleasure Principle, “Cars”, “It's No Game”, Pete Townshend, “Because You're Young”, Robert Fripp, “Heroes”, Carlos Alomar, George Murray, Dennis Davis, Tony Visconti, Kellogg's Corn Flakes, Edward Bell, Pierrot, "Ashes to Ashes", Brian Duffy, Natasha Korniloff, Lindsay Kemp, Pierrot in Turquoise, Berlin Trilogy, Phil Collins, Let's Dance, Nile Rodgers, “In the air tonight”, Alt Rock Chick, Major Tom, Fripp's skronky guitar work, “Scary Monsters (and Super Creeps)”, “Fashion”, “Scream Like a Baby”, “Kingdom Come”, Tom Verlaine, Neil Young, “Hey Hey My My” 

Ombline Roche vous plonge au cœur de l'histoire des Rita Mitsouko, l'un des duos les plus emblématiques de la musique française. À l'occasion des 67 ans de Catherine Ringer, elle nous emmène dans l'appartement parisien où le couple a enregistré leur album le plus marquant, No Comprendo. Véritable alchimie entre les textes réalistes de Catherine et les mélodies énergiques de Fred Chichin, le son des Rita Mitsouko a révolutionné le rock français des années 80. C'est en Allemagne qu'ils enregistrent leur premier album, provoquant un véritable raz-de-marée musical à leur retour en France. Mais c'est pour l'enregistrement de No Comprendo en 1986 que l'histoire prend une tournure singulière. Pas besoin d'aller aux États-Unis pour ce second album, c'est le légendaire producteur de David Bowie, Tony Visconti, qui vient à eux. Pendant trois semaines, l'élaboration de ce disque se fait sous l'œil attentif de la caméra de Jean-Luc Godard, qui filme le couple au travail pour son film Soigne ta droite.

In this episode of Backstage Sonoma, Steve Roby sits down with the iconic frontman of Cherry Poppin' Daddies, Steve Perry, ahead of their performance at the Hop Monk Tavern in Novato on September 29th. Known for their genre-blending style, Perry takes us through the band's evolution from the breakout success of "Zoot Suit Riot" to their latest album, At The Pink Rat. Get insights into their eclectic fusion of ska, swing, punk, and funk, and hear how Perry continues to challenge himself musically. Episode Highlights: The origins of Cherry Poppin' Daddies' unique genre fusion. Steve Perry's reflections on punk rock's DIY ethic and how it shaped his artistic vision. A deep dive into the new album At The Pink Rat and its jukebox musical concept. The inspiration behind featured tracks like “Thrill Thing” and “Undecided.” Collaborations and influences: working with musical legends like Buckwheat Zydeco and Tony Visconti. What fans can look forward to at the upcoming Hop Monk show in Novato. Featured Songs: “Lowdown Appreciator” “Thrill Thing” from At The Pink Rat “Undecided” (cover) Links: ⁠Cherry Poppin' Daddies Official Website⁠ ⁠Tickets to Hop Monk Tavern Show⁠ Follow on Social Media: Instagram: ⁠@cherrypoppindaddies⁠ Twitter: ⁠@cherrypoppindaddy⁠ Hashtags: #BackstageSonoma #CherryPoppinDaddies #AtThePinkRat #StevePerry #SwingRevival #SkaFusion #HopMonkLive

Through art, film, fashion, collecting, and now music, Daphne Guinness has been a creative force and industry muse second to none. On this season finale of The Grand Tourist, Dan speaks with Guinness about her new album “Sleep,” what it was like collaborating with legendary producer Tony Visconti, the unconventional summers of her youth with Salvador Dalí, her memories of Alexander McQueen and Isabella Blow, her thoughts on AI and the future of creativity, and more. Hosted on Acast. See acast.com/privacy for more information.

Hablamos sobre el disco ‘The Rise and Fall of Ziggy Stardust and the Spiders from Mars' de David Bowie, con el cantante y compositor Héctor Gerónimo como invitado. En este episodio, publicado originalmente el 13 de julio de 2023, comentamos: La música, los sonidos y las letras de la primera canción del disco, «Five Years». El origen del nombre 'Ziggy Stardust'. El viaje de Bowie desde «Space Oddity» hasta ‘Ziggy Stardust', pasando por ‘The Man Who Sold the World', ‘Hunky Dory' y Hype, la banda precursora de los Spiders from Mars. El distanciamento temporal entre Bowie y Tony Visconti, su bajista y productor anterior a ‘Hunky Dory'. El talento único de Mick Ronson como guitarrista y arreglista de los Spiders from Mars. Haddon Hall, la residencia y el laboratorio creativo de Bowie a principios de los setenta. Arnold Corns, la banda ficticia de Bowie con Freddie Burretti. Y por el camino nos encontramos con Lou Reed y la Velvet Underground, Iggy Pop, Marc Bolan, Jim Morrison, Pink Floyd, Andy Warhol, Stanley Kubrick y George Lucas, entre otros. Si quieres participar en la elección de los discos que tratamos en el podcast, ¡visita discoprestado.com y date de alta en mi lista de correo! La música original de 'Disco prestado' forma parte de mi EP 'The Entertainer', disponible en todas las plataformas y marcaliana.com/musica Contacto: discoprestado@proton.me ¡Salud y buena música! Marc Aliana marcaliana.com  

Martha Mooke is a pioneer in the field of the electric five string viola and transcends boundaries as a performer and composer. This episode features insights, stories and music, including from the beautiful album by Carla Patullo So She Howls  which just won the GRAMMY® Award for “Best New Age, Ambient, or Chant Album.” as well as from several of Martha's solo and collaborative albums. You'll hear about the unique multi-style string program she's helped launch at New Jersey City University, and about many of her mentors and collaborators from David Bowie to Tenzin Choegyal to Laurie Anderson to  Jean-Luc Ponty. Martha is passionate about the breadth and diversity needed in music education for the 21st century, and it was a joy and an inspiration for me to be able to hear about the arc of her multi-faceted career so far.   Like all my episodes, you can also watch this on my YouTube channel or listen to the podcast on all the podcast platforms, and I've also linked the transcript to my website:  https://www.leahroseman.com/episodes/martha-mooke Can you buy this independent podcaster a coffee? https://ko-fi.com/leahroseman Martha Mooke Website: https://www.marthamooke.com/ Complete Catalog of Episodes: https://www.leahroseman.com/about Newsletter sign-up: https://mailchi.mp/ebed4a237788/podcast-newsletter Linktree for social media: https://linktr.ee/leahroseman photo of Martha Mooke: Ebru Yildiz The podcast theme music was commissioned from composer Nick Kold, and you can use the timestamps to navigate the episode: Timestamps (00:00) Intro (02:59) electric viola demo with explanation of gear and effects Edmar Castaneda (09:01) Martha's creative process (13:41) clip from Ice 4 from No Ordinary Window (15:40) Martha's creative process (18:42) Multi-Style Strings program New Jersey City University (35:29) Carla Patullo So She Howls  (38:31) Machine Dreams from Carla Patullo So She Howls  (43:15) Carla Patullo album concert, vocal group Tonality (43:51) please support this independent podcast!  (44:29) Thru the Walls, Scorchio quartet, Tibet House benefit concerts, Tony Visconti, David Bowie, Philip Glass (01:01:17) Tenzin Choegyal with clip from Sutras of the Heart (01:03:50) meditation practice (01:05:46) different types of electric violins and violas, collaborations with Yamaha (01:12:17) strings education outreach project in Jamaica (01:17:18) album Buzz, Metachrosis electronic music production using insect sounds with audio clip, Linsey Pollak, sound design (01:24:46) Jean-Luc Ponty (01:33:57) clip from Omotion from No Ordinary Window (01:34:53) Laurie Anderson (01:39:09) Martha's perspectives on her career    --- Send in a voice message: https://podcasters.spotify.com/pod/show/leah-roseman/message

Sylvan @sylvangreeneyes and Jesse @jessejacksonDFW are opening doors to discover John Hiatt's "Forever Yours." Will we sit and cry or smile as we dig into the lyrics of this song from 1982's All of A Sudden, produced by Tony Visconti? Learn more about your ad choices. Visit megaphone.fm/adchoices

Adam talks with American actor, comedian, voice artist, screenwriter, producer and musician Fred Armisen about hotel hacks, what Fred and Matt Berry learned when they hung out with David Bowie's producer Tony Visconti, the Stop Making Sense nerd fact David Byrne told Fred, how Adam could help Talking Heads get on better, why you can't beat Paul McCartney, why Fred wasn't nervous for his Saturday Night Live Audition, the Portlandia sketches that summed up the show best and Fred takes us on an accent tour of New York.This conversation was recorded face-to-face in London on 25th November 2023.Thanks to Séamus Murphy-Mitchell for production support and conversation editing.Podcast artwork by Helen GreenJIM DOWN - LIFE IN THE BALANCE (PAPERBACK) - 2023 (WATERSTONES)RELATED LINKSFRED ARMISEN BRITISH MUSIC PLAYLIST - 2023 (LINE OF BEST FIT WEBSITE)DAVID BOWIE, BRIAN ENO AND TONY VISCONTI RECORD WARSZAWA (animated by Brothers McLeod) - 2013 (YOUTUBE)BREAKING DOWN HEROES - TONY VISCONTI & ERIN TONKON (FROM MUSIC MOGULS: MASTERS OF POP, BCC) - 2016 (YOUTUBE)MATT BERRY INTERVIEWS BRIAN ENO - 2018 (YOUTUBE)PORTLANDIA - PUT A BIRD ON IT - 2011 (YOUTUBE)PORTLANDIA - IN THE RESTAURANT - 2011 (YOUTUBE)PORTLANDIA - WHICH BIN DOES IT GO IN - 2012 (YOUTUBE)HISTORY OF PUNK SNL - 2013 (YOUTUBE)SNL WEEKEND UPDATE - GARTH AND KAT SING HALLOWEEN SONGS - 2010 (YOUTUBE)NARDWUAR VS FRED ARMISEN - 2013 (YOUTUBE)FRED ARMISEN, BILL HADER, SETH MYERS RECALL PRINCE AFTERSHOW PARTY ON HOWARD STERN SHOW - 2016 (YOUTUBE)BEST OF BILL HADER AND FRED ARMISEN (YOUTUBE)SATURDAY NIGHT - A DOCUMENTARY ABOUT SNL BY JAMES FRANCO - 2014 (YOUTUBE) Hosted on Acast. See acast.com/privacy for more information.

Band On The Run from Paul McCartney and Wings has just turned 50! A new anniversary edition of the album has been released featuring an uderdubbed version of the album. RadioBypass is honored to join in the celebration of this great album! Find out from Paul McCartney, the late Denny Laine, Dustin Hoffman, James Coburn, engineer Geoff Emerick, and arranger Tony Viscontii about the many stories that surrounded the recording and release of an all-time rock classic. Join us for the 50th anniversary celebration of Paul McCarney and Wings - Band On The Run: All Access!

Hello Cave-Dwellers! Welcome to the the launch of The Cavern Podcast, with our guest May Pang. She worked for John Lennon and Yoko Ono as a personal assistant and production coordinator. When Lennon and Ono separated in 1973, Pang and Lennon began a relationship that lasted more than 18 months. Lennon later referred to this time as his "Lost Weekend". Pang published two books about her relationship with Lennon; a memoir, Loving John (Warner, 1983), and a book of photographs, Instamatic Karma (St. Martin's Press, 2008). A documentary about their relationship, The Lost Weekend: A Love Story, was produced in 2022. Pang was married to producer Tony Visconti from 1989 to 2000 and has two children. Follow us for weekly episodes of some of the biggest names in rock and roll! **************************** THE CAVERN CLUB, LIVERPOOL - THE MOST FAMOUS CLUB IN THE WORLD. THE PLACE WHERE THE BEATLES PLAYED NEARLY 300 TIMES AND THAT CONTINUES TO HOST SOME OF THE BIGGEST NAMES IN MUSIC. WHEN PEOPLE TALK ABOUT ICONIC MUSIC VENUES, THE CAVERN CLUB IS AT THE FOREFRONT OF THE CONVERSATION. BUT WHAT IS IT ABOUT THE CLUB THAT CONTINUES TO ATTRACT VISITORS FROM AROUND THE WORLD AND SOME OF THE BIGGEST NAMES IN MUSIC ? IN THIS SERIES, HOST JON KEATS DELVES INTO THE CHARACTER OF THE CAVERN CLUB AND ITS CONNECTION WITH SOME WELL-KNOWN SPECIAL GUESTS. ********************************************************** Thanks The Cavern HQ Team

Feel the rhythm of a bygone era as I sit down with the charismatic Danielz of T.Rextasy, the acclaimed and world's only officially endorsed T.Rex tribute band. In our heart-to-heart, we peel back the layers of nostalgia, tracing the influence of the legendary Marc Bolan on a generation of music enthusiasts. Danielz recounts his own transformation from a sports-loving teenager to a dedicated musician under the spell of Bolan's "Jeepster," drawing parallels to my own discovery of T-Rex's magnetic sound. We take you back to the thrill of flipping through vinyl at the record shop, where the anticipation for B-sides was as tangible as the grooves on the LPs. This is more than a chat; it's a journey through the very fibres of our musical souls.Venture behind the studio glass with us as Danielz describes the enigmatic partnership between Marc Bolan and producer Tony Visconti, which sculpted the soundscape of T.Rex's most celebrated hits. The intricate dance of Bolan's raw energy and Visconti's meticulous craft emerges through anecdotes, like the covert tuning of a guitar or the layered genius of "Metal Guru." This episode is a treasure chest of insider tales for fans and musicians alike, brimming with the what-ifs and might-have-beens of rock history.Closing our conversation we explore the trials and triumphs of paying tribute to T.Rex, from battling with record labels to the euphoria of planning a monumental 50-show tour. Danielz shares the essence of bringing T.Rex's hits and cherished B-sides to life on stage, ensuring every note resonates with nostalgia and authenticity. We celebrate the abiding allure of T.Rex's music as it continues to captivate fans across generations, proving that the boogie isn't just a dance—it's a legacy that keeps on grooving. Whether you're a long-time devotee or a newcomer to the cosmic energy of Bolan and T.Rex, this episode is a backstage pass to the undying spirit of glam rock.Danielz links:http://www.trextasy.com/https://www.instagram.com/trextasymarcbolan/https://www.facebook.com/t.rextasywww.undercurrentstories.com

Nos aproximamos al universo de David Bowie a través de canciones interpretadas por artistas que fueron amigos o compañeros de viaje en algún momento de la trayectoria del camaleónico artista. (Foto del podcast de los archivos de Michael Ochs; Mick Ronson (guitarra), Trevor Bolder (bajo), David Bowie y Mick Woodmansey (batería), foto promocional de "Ziggy Stardust And The Spiders From Mars", noviembre 1972 en Londres, Inglaterra)Playlist;(sintonía) MIKE GARSON “Space oddity”TONY VISCONTI and WOODY WOODMANSEY “The man who sold the world”SPIDERS FROM MARS “Ziggy Stardust”WOODY WOODMANSEY’s U BOAT “Oh La La”IAN HUNTER and MICK RONSON “All the Young dudes”MICK RONSON “Growing up and I’m fine”DANA GILLESPIE “Andy Warhol”IGGY POP and DAVID BOWIE “Funtime”CUDDLY TOYS “Madman”REEVES GABRELS feat DAVID BOWIE “You’ve been around”ADRIAN BELEW “I wish I knew”CHIC feat NILE RODGERS “Good times”CARMEN “Lonely house”FRANKIE GOES TO HOLLYWOOD “Sufragette City”Escuchar audio

Producer of T. Rex and David Bowie and this guy was SO good I was pinching myself throughout our conversation!See omnystudio.com/listener for privacy information.

Music producer Tony Visconti's long career includes albums with David Bowie, Marc Bolan, Damon Albarn, Esperanza Spalding, and more. By his count, he's produced more than 2,000 recordings. A new four-CD box set, Produced by Tony Visconti, collects nearly 80 songs on which he worked. Visconti joins us to reflect on his career and his approach to production.

On this episode of The It's Only Rock And Roll Podcast, record producer, arranger, musician, and music business veteran TONY VISCONTI discusses his life both in and out of the recording studio, working with future legends like David Bowie and Marc Bolan at the start of their careers, straight through to superstardom. Additionally, Tony recounts how a kid from the streets of Brooklyn became an indispensable presence in the studio for sessions like Joe Cocker's "With A Little Help From My Friends” to arranging strings and horns for Paul McCartney & Wing's 1973 classic LP “Band On The Run”. We also discuss the new releases from The Rolling Stones and The Beatles, as well as his own newly released seventy-seven track, career-retrospective box set, appropriately entitled “Produced By Tony Visconti”. ------------------------ ֎ Visit Tony Visconti online - https://www.tonyvisconti.com/ ֎ To order “Produced By Tony Visconti” - https://a.co/d/4UAIrYa/ Visit the 'It's Only Rock And Roll PODCAST' online at: ● Homepage – http://www.ItsOnlyRockAndRollPodcast.com ● Facebook – https://facebook.com/ItsOnlyRockAndRollPodcast/ ● YouTube - https://youtu.be/w4TLNEtjgwc ● Instagram - @itsonlyrockandrollpodcast © 2023 Howlaround Productions. All rights reserved.

THE ARWEN LEWIS SHOW - Richard Baron Arwen welcomes Richard Barone! Richard is a recording artist, performer, producer, and author. Since pioneering the indie rock scene in Hoboken, NJ as frontman of The Bongos and helping to launch the chamber pop movement with his solo debut “Cool Blue Halo”, Barone has produced numerous studio recordings and worked with artists in every musical genre. His list of collaborators has included producer Tony Visconti, Donovan, Lou Reed, and folk legend Pete Seeger. He has scored shows and staged all-star concert events at venues such as Carnegie Hall, the Hollywood Bowl, and Summer Stage in Central Park. His memoir Frontman: Surviving The Rock Star Myth was published in 2007. His album Sorrows & Promises and his latest book, Music + Revolution (2022), are celebrations of the 1960s music scene in Greenwich Village NYC, where Barone lives. He teaches the course “Music + Revolution” at The New School's School of Jazz & Contemporary Music, has served on the Board of Governors of The Recording Academy (GRAMMYs), serves on the Advisory Board of Anthology Film Archives, and hosts Folk Radio on WBAI New York.  @TonyVisconti, @Donovan, @LouReed, @PeteSeeger. Richard's Website: http://www.richardbarone.com More info:Wikipedia: https://en.wikipedia.org/wiki/Richard_Barone The Arwen Lewis Show Host | Arwen Lewis Executive Producer | Jeremiah D. Higgins Producer - Sound Engineer - Richard “Dr. D” Dugan https://arwenlewismusic.com/ On Instagram, Follow Arwen Lewis Here: @thearwenlewisshow @arwenlewis www.thejeremiahshow.com On Instagram @jeremiahdhiggins https://linktr.ee/jeremiahdhiggins

The smash-hit interview podcast Out To Lunch will be returning on the 3rd October with a sparkly new host on dining duty: the much loved British actor, comedian and writer Ade Edmondson. After breaking into the comedy circuit in the 1980s, Edmondson starred in countless British films and TV shows, including seminal comedy The Young Ones and alongside his wife, Jennifer Saunders as part of the legendary Comic Strip Presents. Ade's more recent projects include Rain Dogs with Daisy May Cooper, Back to Life with Daisy Haggard and as Captain Peavey in Star Wars: The Last Jedi. Having won Celebrity MasterChef and 'star baker' in The Great Sports Relief Bake Off, Edmondson will leave the cooking to the professionals... taking guests such as Chrissie Hynde, Reece Shearsmith, Tony Visconti, Daisy Haggard and Ed Byrne to a top restaurant whilst you get to hear the witty and wonderous conversation. It's like you're sat at the table next to us. And if you're hungry for more, yes more… be sure to subscribe ‘The Digestivo' on Apple Podcasts where our special guests give us their five favourite restaurants from around the world and what they ate there. Plus.. those extra juicy offcuts of conversation that we couldn't squeeze into the main ep and… it's all ad free. A Sony Music Entertainment production. Find more great podcasts from Sony Music Entertainment at sonymusic.com/podcasts To bring your brand to life in this podcast, email podcastadsales@sonymusic.com Learn more about your ad choices. Visit podcastchoices.com/adchoices

The smash-hit interview podcast Out To Lunch is out now, with a sparkly new host on dining duty: the much loved British actor, comedian and writer Ade Edmondson. Ade takes guests such as Chrissie Hynde, Reece Shearsmith, Tony Visconti, Daisy Haggard and Ed Byrne to a top restaurant whilst you get to hear the witty and wonderous conversation. It's like you're sat at the table next to us. After breaking into the comedy circuit in the 1980s, Edmondson starred in countless British films and TV shows, including seminal comedy The Young Ones and alongside his wife, Jennifer Saunders as part of the legendary Comic Strip Presents. Ade's more recent projects include Rain Dogs with Daisy May Cooper, Back to Life with Daisy Haggard and as Captain Peavey in Star Wars: The Last Jedi. Having won Celebrity MasterChef and 'star baker' in The Great Sports Relief Bake Off, Ade will leave the cooking to the professionals... A Sony Music Entertainment production. Find more great podcasts from Sony Music Entertainment at sonymusic.com/podcasts To bring your brand to life in this podcast, email podcastadsales@sonymusic.com Learn more about your ad choices. Visit podcastchoices.com/adchoices

We're back! And by we, I mean me and musician, writer and academic Leah Kardos, amongst whose many achievements is the critically-acclaimed book 'Blackstar Theory: The Last Works of David Bowie' which takes a thoughtful and informed view of Bowie's final projects. She is also a friend and trusted collaborator of Tony Visconti's, founding The Visconti Studio at London's Kingston University. Currently, Leah's working on her next book, exploring Kate Bush's 'Hounds of Love' album. In this conversation, we continue our deep dive into The Next Day, with anecdotes, opinions, random theories and what we hope are facts, all of which will hopefully  entertain you as much as they did us, in the making of this podcast. Huge thanks this episode to bowiebible.com for tons of helpful information, a shoutout to our writing hero Chris O'Leary and thanks again to Leah for her custom-made theme music for this episode. 

To celebrate our 100th episode, we take a brief look at merely some of the "First Record I Ever Bought" stories for a selection of our guests over the four seasons so far: Tony Visconti, Margo Price, Fred Armisen, Rhian Teasdale (Wet Leg), Bonnie Raitt, Jane Wiedlin (Go-Go's), Robyn Hitchcock, Questlove, Susanna Hoffs (Bangles), Marc Maron, Jason Isbell, Lucinda Williams, Andy Partridge (XTC), Michelle Zauner (Japanese Breakfast), Alice Cooper, Robert Glasper, Johnny Marr (The Smiths), Joe Elliott (Def Leppard), plus Jeff Tweedy and the members of Wilco. We also surveyed some of our independent record retailers for their "First Record" stories, plus RSD co-founder Carrie Colliton and Paul Myers share their "First Record" stories. Written, produced, engineered, and hosted by Paul Myers, who also composed the theme music and selected interstitial music. Thanks to you for listening to our show, we really appreciate it. Please subscribe and or tell your friends to listen to us wherever podcasts are found. For the latest in RSD News go to RecordStoreDay.Com Sponsored as always by Crosley turntables, Tito's Handmade Vodka, and Dogfish Head Craft Brewery.  

Héctor Gerónimo nos presta ‘The Rise and Fall of Ziggy Stardust and the Spiders from Mars' de David Bowie. Este es el segundo episodio que dedicaremos al disco ‘The Rise and Fall of Ziggy Stardust and the Spiders from Mars' de David Bowie. Si no habéis escuchado la primera parte os recomiendo que empecéis por ahí. Héctor Gerónimo es un cantante, compositor y ‘frontman' nacido en Buenos Aires y criado en Madrid. Forma parte de las bandas Moebio, con quienes ha publicado cuatro discos, y Monoplasma, para la cual se juntó con el guitarrista mexicano César “el Vampiro” López (ex-miembro de Maná, Jaguares y Azul Violeta). En 2018, tras un concierto con Monoplasma en el Lunario de la Ciudad de México, Héctor recibió una oferta que no pudo rechazar: encarnar a David Bowie en Changes, una banda de tributo internacional con la que acabó girando ampliamente por el país azteca. En ese mismo año, Héctor participó en un proyecto llamado Lo Mejor del Rock en Español junto a Kenny Avilés (Kenny y los Eléctricos), Jorge Guevara y Xava Drago, del cual salió un disco titulado ‘En directo desde Zacatecas'. Además de sus actuaciones en México, Héctor ha girado por EE UU, España, Costa Rica y Puerto Rico, y actualmente prepara su primer disco en solitario. En el episodio de hoy, entre otras cosas, Héctor y yo charlamos sobre: La música, los sonidos y las letras de la primera canción del disco, «Five Years». El origen del nombre 'Ziggy Stardust'. El viaje de Bowie desde «Space Oddity» hasta ‘Ziggy Stardust', pasando por ‘The Man Who Sold the World', ‘Hunky Dory' y Hype, la banda precursora de los Spiders from Mars. El distanciamento temporal entre Bowie y Tony Visconti, su bajista y productor anterior a ‘Hunky Dory'. El talento único de Mick Ronson como guitarrista y arreglista de los Spiders from Mars. Haddon Hall, la residencia y el laboratorio creativo de Bowie a principios de los setenta. Arnold Corns, la banda ficticia de Bowie con Freddie Burretti. Y por el camino nos encontramos con Lou Reed y la Velvet Underground, Iggy Pop, Marc Bolan, Jim Morrison, Pink Floyd, Andy Warhol, Stanley Kubrick y George Lucas, entre otros. Podéis mandar vuestros comentarios a discoprestado@proton.me Disco Prestado en Instagram: @discoprestadopodcast Disco Prestado en Facebook: @discoprestadopodcast Disco Prestado en YouTube: @discoprestadopodcast Transcripciones y lista de correo en discoprestado.com La música original de este podcast forma parte de mi EP 'The Entertainer EP', que podéis encontrar en marcaliana.com/musica y en todas las plataformas digitales. ¡Salud y buena música! Marc Aliana marcaliana.com

This week's guest, Don Cowan (Kraut), brings us T. Rex's 1972 release 'The Slider'. Leader Marc Bolan - still at the top of his game - unleashes a trippy cast of characters (Telegram Sam, Baby Strange, Jungle-face Jake, Buick Mackane...etc) on this rock-and-roll dream of a record. Rock on! Songs discussed in this episode: Metal Guru - Nena; Don't Believe - Kraut; Ziggy Stardust, Heroes - David Bowie; Bang A Gong (Get It On), Metal Guru - T. Rex; Panic - The Smiths; Elenore - The Turtles; Mystic Lady - T. Rex; Sloop John B - The Beach Boys; Rock On, The Slider, Baby Boomerang - T. Rex; The Ballad Of John and Yoko - The Beatles; Walk On The Wild Side - Lou Reed; Spaceball Ricochet - T. Rex; Trampled Under Foot - Led Zeppelin; Buick McCane - T. Rex; Telegram Sam - Bauhaus; Telegram Sam, Rabbit Fighter, Baby Strange, Ballrooms Of Mars, Chariot Choogle, Main Man - T. Rex; Arming The World - Kraut 

Today on KNOW GOOD MUSIC we talk with singer/songwriter/author : RICHARD BARONE from the 80s band THE BONGOS. Richard is quite the music historian!  We talk about Richard's early days in music as the littlest DJ, promoting bands at 16, forming the Bongos, touring, moving to Greenwich village on the advise of Tiny Tim (who became one his good friends) and Richard's great new book all about Greenwich Village in the 60s called MUSIC + REVOLUTION!   You will learn alot after listening to this interview!  Highly informative. *********** Richard's upcoming shows : PINUPS AT 50 (David Bowie Tribute) - June 30th - City Winery - New York City / PINUPS AT 50 (David Bowie Tribute) - July 2nd - City Winery - Philadelphia  CARNEGIE HALL - Music + Revolution - Greenwich Village in the 60s - Music & readings from Richard's Book with special guests like Marshall Crenshaw (more to be announced) - November 19, 2023 To order Richard's book you can order anywhere you buy books.  Signed copies are available on Richard's website at: www.richardbarone.com ******** A little bit about RICHARD BARONE: Richard Barone is a recording artist, performer, producer, and author. Since pioneering the indie rock scene in Hoboken, NJ as frontman of The Bongos and then helping to launch the chamber pop movement with his solo debut “cool blue halo”, Barone has produced  numerous studio recordings and worked with artists in every musical genre. His list of collaborators includes Tony Visconti, Donovan, the late Lou Reed, and folk legend Pete Seeger. He has scored shows and staged all-star concert events at venues such as Carnegie Hall, the Hollywood Bowl, and SummerStage in Central Park. His memoir Frontman: Surviving The Rock Star Myth was published by Hal Leonard Books. His album Sorrows & Promises and his latest book, Music + Revolution, are celebrations of the 1960s music scene in Greenwich Village NYC, where Barone lives. He teaches the course “Music + Revolution” at The New School's School of Jazz & Contemporary Music, has served on the Board of Governors of The Recording Academy (GRAMMYs), serves on the Advisory Board of Anthology Film Archives, and hosts Folk Radio on WBAI New York.  ******** KNOW GOOD MUSIC can be found on Podbean (host site), Spotify, Apple Podcasts, Iheart Radio, Pandora and almost anywhere you listen to podcasts.     Visit our YouTube Channel where you can see 2 video segments from this interview.  Just search "know good music".   COPYRIGHT CLAIM: The songs used on the podcast : "Brave New World", "Numbers with Wings", "Did you ever have to make up your mind", "Bleeker Street" and "Glow in the Dark" used with permission from Richard Barone.

This time, we're joined by talented keyboardist and Dream Theatre member Jordan Rudess. Facing the challenge of choosing only six items for his studio, Jordan shares studio stories of working with David Bowie and Tony Visconti, what he's been up to with ChatGPT and which new instrument he's taking with him into the studio for Dream Theatre's next record. Season 5 is sponsored by Audient: audient.com STUFF WE TALK ABOUT (SPOILERS AHEAD!)https://www.instagram.com/reel/CpvXNiIsPKv/In The Studio with Dream Theatre: https://www.youtube.com/watch?v=oXyaFYkL0w4https://www.beartracks-studio.com/Bear Tracks Echo Chambers: https://youtu.be/bJd8606oNNk?t=430https://www.apple.com/uk/shop/buy-mac/mac-studiohttps://zoomcorp.com/en/us/digital-mixer-multi-track-recorders/https://apps.apple.com/us/app/morphwiz/id377345348https://faustharrisonpianos.com/https://earthworksaudio.com/piano-microphones/pm40/https://www.youtube.com/watch?v=2oSm4iW1ZRUhttps://www.expressivee.com/2-osmosehttps://audiomodeling.com/https://www.genelec.com/game-audio/8341-and-7380-immersive-systemhttps://en.wikipedia.org/wiki/Morton_Subotnickhttps://www.tangerinedreammusic.com/https://www.moogmusic.com/products/minimoog-model-dGeoShred: https://apps.apple.com/gb/app/geoshred/id1064769019GeoShred Music: https://www.youtube.com/watch?v=w2sGpqipggwhttps://twitter.com/eriktnorlander?lang=en-GBhttps://riffler.app/https://store.lavamusic.com/

In this episode of "Here, There, and Everywhere", Jack Lawless sits down with May Pang, a renowned photographer, music industry executive, and the former girlfriend of John Lennon. May recently released a new film called "The Lost Weekend: A Love Story", which explores the 18-month romantic relationship between her and the legendary musician. In this exclusive interview, May shares never-before-heard stories about her life with John Lennon and her memories of "The Lost Weekend". May and Jack talk about how she started working for Yoko & John, her memories of living with John, jamming with John and Paul McCartney, how she encouraged John to re-connect with loved ones, John's opinions on the music of the other Beatles, and more! If you're interested in seeing "The Lost Weekend: A Love Story" in theaters, be sure to get tickets here: https://www.thelostweekendtickets.com/ Follow May Pang Twitter: https://twitter.com/maypang Instagram: https://www.instagram.com/themaypang_official/   If you like this episode, be sure to subscribe to this podcast! Follow us on Twitter and Instagram. Or click here for more information: Linktr.ee/BeatlesEarth   ---   The Beatles were an English rock band, formed in Liverpool in 1960, that comprised John Lennon, Paul McCartney, George Harrison and Ringo Starr. They are regarded as the most influential band of all timeand were integral to the development of 1960s counterculture and popular music's recognition as an art form. Rooted in skiffle, beat and 1950s rock 'n' roll, their sound incorporated elements of classical music and traditional pop in innovative ways; the band later explored music styles ranging from ballads and Indian music to psychedelia and hard rock. As pioneers in recording, songwriting and artistic presentation, the Beatles revolutionised many aspects of the music industry and were often publicised as leaders of the era's youth and sociocultural movements. Led by primary songwriters Lennon and McCartney, the Beatles evolved from Lennon's previous group, the Quarrymen, and built their reputation playing clubs in Liverpool and Hamburg over three years from 1960, initially with Stuart Sutcliffe playing bass. The core trio of Lennon, McCartney and Harrison, together since 1958, went through a succession of drummers, including Pete Best, before asking Starr to join them in 1962. Manager Brian Epstein moulded them into a professional act, and producer George Martin guided and developed their recordings, greatly expanding their domestic success after signing to EMI Records and achieving their first hit, "Love Me Do", in late 1962.   Lennon, McCartney, Harrison and Starr all released solo albums in 1970. Their solo records sometimes involved one or more of the others; Starr's Ringo (1973) was the only album to include compositions and performances by all four ex-Beatles, albeit on separate songs. With Starr's participation, Harrison staged the Concert for Bangladesh in New York City in August 1971. Other than an unreleased jam session in 1974, later bootlegged as A Toot and a Snore in '74, Lennon and McCartney never recorded together again. Two double-LP sets of the Beatles' greatest hits, compiled by Klein, 1962–1966 and 1967–1970, were released in 1973, at first under the Apple Records imprint. Commonly known as the "Red Album" and "Blue Album", respectively, each has earned a Multi-Platinum certification in the US and a Platinum certification in the UK. Between 1976 and 1982, EMI/Capitol released a wave of compilation albums without input from the ex-Beatles, starting with the double-disc compilation Rock 'n' Roll Music. The only one to feature previously unreleased material was The Beatles at the Hollywood Bowl (1977); the first officially issued concert recordings by the group, it contained selections from two shows they played during their 1964 and 1965 US tours. The music and enduring fame of the Beatles were commercially exploited in various other ways, again often outside their creative control. In April 1974, the musical John, Paul, George, Ringo ... and Bert, written by Willy Russell and featuring singer Barbara Dickson, opened in London. It included, with permission from Northern Songs, eleven Lennon-McCartney compositions and one by Harrison, "Here Comes the Sun". Displeased with the production's use of his song, Harrison withdrew his permission to use it.Later that year, the off-Broadway musical Sgt. Pepper's Lonely Hearts Club Band on the Road opened. All This and World War II (1976) was an unorthodox nonfiction film that combined newsreel footage with covers of Beatles songs by performers ranging from Elton John and Keith Moon to the London Symphony Orchestra. The Broadway musical Beatlemania, an unauthorised nostalgia revue, opened in early 1977 and proved popular, spinning off five separate touring productions. In 1979, the band sued the producers, settling for several million dollars in damages. Sgt. Pepper's Lonely Hearts Club Band (1978), a musical film starring the Bee Gees and Peter Frampton, was a commercial failure and an "artistic fiasco", according to Ingham. Accompanying the wave of Beatles nostalgia and persistent reunion rumours in the US during the 1970s, several entrepreneurs made public offers to the Beatles for a reunion concert.Promoter Bill Sargent first offered the Beatles $10 million for a reunion concert in 1974. He raised his offer to $30 million in January 1976 and then to $50 million the following month. On 24 April 1976, during a broadcast of Saturday Night Live, producer Lorne Michaels jokingly offered the Beatles $3,000 to reunite on the show. Lennon and McCartney were watching the live broadcast at Lennon's apartment at the Dakota in New York, which was within driving distance of the NBC studio where the show was being broadcast. The former bandmates briefly entertained the idea of going to the studio and surprising Michaels by accepting his offer, but decided not to. May Fung Yee Pang (born October 24, 1950) is an American former music executive. She worked for John Lennon and Yoko Ono as a personal assistant and production coordinator, and when Lennon and Ono separated in 1973, Pang and Lennon began a relationship that lasted more than 18 months. Lennon later referred to this time as his "Lost Weekend". Pang subsequently produced two books about their relationship—a memoir called Loving John (Warner, 1983) and a book of photographs, Instamatic Karma(St. Martin's Press, 2008). A documentary about their relationship, The Lost Weekend: A Love Story, was produced in 2022. Pang was married to producer Tony Visconti from 1989 to 2000 and has two children. Pang was born in Manhattan, New York City, New York. She is the daughter of Chinese immigrants and grew up in New York's Spanish Harlem with an elder sister and an adopted brother, both of whom were born in China. Pang's mother had a laundry business in the area. The Pang family left when the tenements where they lived were scheduled to be razed, and moved to an apartment near 97th Street and 3rd Avenue in Manhattan. After graduating from Saint Michael Academy, Pang attended New York City Community College. She wanted to be a model, but the modeling agencies told her she was too "ethnic". Pang's early jobs included being a song-plugger, which meant encouraging artists to record songs written by songwriters. In 1970, she began work in New York as a receptionist at ABKCO Records, Allen Klein's management office, which at that time represented Apple Records and three former Beatles: Lennon, George Harrison, and Ringo Starr. Pang was asked to help Lennon and Ono with their avant-garde film projects, Up Your Legs Forever and Fly, in December 1970. Pang was then asked to be Lennon and Ono's secretary and factotum/gofer in New York and Britain, which led to a permanent position as their personal assistant when the Lennons moved from London to New York in 1971. Pang coordinated an art exhibition in Syracuse, New York, on October 9, 1971, for Ono's This Is Not Here art show at the Everson Museum. Ono's show coincided with Lennon's 31st birthday, and a party was held at the Hotel Syracuse, which was attended by Ringo Starr, Phil Spector, and Elliot Mintz, among others.   In mid-1973, Pang was working on the recording of Lennon's Mind Games album. Lennon and Ono were having marital problems and Ono suggested to Pang that she become Lennon's companion. Ono explained that she and Lennon were not getting along, had been arguing and were growing apart, and said that Lennon would start seeing other women. She pointed out that Lennon had said he found Pang sexually attractive. Pang replied that she could never start a relationship with Lennon, as he was her employer and married. Ono ignored Pang's protests and said that she would arrange everything. Ono later confirmed this conversation in an interview.[9] At the time Lennon had his 18-month relationship with Pang, he was in a period of his life that he would later refer to as his "Lost Weekend", in reference to the film and novel of the same title. In October 1973, Lennon and Pang left New York for Los Angeles to promote Mind Games, and decided to stay for a while, living at lawyer Harold Seider's apartment for a couple of days and then Lou Adler's house. While there, Lennon was inspired to embark on two recording projects: to make an album of the old rock 'n' roll songs that inspired him to become a musician, and to produce another artist. In December 1973, Lennon collaborated with Phil Spector to record the oldies album Rock 'n' Roll. The alcohol-fueled recording sessions became legendary. Every musician in L.A. wanted to participate, but soon Lennon's drinking and Spector's erratic behavior (which included his firing a gun in the studio control room) caused the sessions to break down. Then Spector, who claimed to have been in a car accident, took the session tapes and became unreachable. In March 1974, Lennon began producing Harry Nilsson's Pussy Cats album, thus named to counter the "bad boy" image the pair had earned in the media with two drinking incidents at The Troubadour. The first was when Lennon placed a Kotex on his forehead and scuffled with a waitress at a concert given by Ann Peebles, who had released one of Lennon's favorite records at the time, 'I Can't Stand The Rain'; and the second, two weeks later, when Lennon and Nilsson were ejected from the same club after heckling the Smothers Brothers. Lennon thought it would be a good idea for the musicians to live under one roof to ensure they would get to the studio on time, so Pang rented a beach house in Santa Monica for her, Lennon, Nilsson, Ringo Starr and Keith Moon to live in. At this time, Pang encouraged Lennon to reach out to family and friends. He and Paul McCartney mended fences and played together for the first and only time after the breakup of the Beatles (see A Toot and a Snore in '74). Pang also arranged for Julian Lennon to visit his father for the first time in almost four years. Julian began to see his father more regularly. Lennon bought Julian a Gibson Les Paul copy guitar and a drum machine for Christmas in 1973, and encouraged Julian's interest in music by showing him some chords. "Dad and I got on a great deal better then," recalls Julian. "We had a lot of fun, laughed a lot and had a great time in general when he was with May Pang. My memories of that time with Dad and May are very clear—they were the happiest time I can remember with them." The cover of Julian's seventh album, Jude,features a childhood photo of him taken by Pang.  

The Next Day is 10. And what a sprawling, dense forest of darkness, enervation and guttural thrills it is. The perfect halfway point between the charismatic rock of Reality and ethereal elusive Blackstar, it's often overlooked and overshadowed by that monumental successor. But there is a lot here to unpack and to do it, I could think of no one better than Leah Kardos, senior lecturer in music at Kingston University where she co-founded the Visconti Studio with Tony Visconti, the leader of The Stylophone Orchestra, a frequent contributor to The Wire magazine and author of the universally acclaimed Blackstar Theory: The Last Works of David Bowie a wonderfully engaging tome that offers a rich reading of Bowie's final works through the eyes of a musician, musicologist, historian and fan. In this, the first part of our conversation about The Next Day, Leah and I discuss the background to the album's recording, the uniquely long timespan of sessions that indicated a very different approach from Bowie and Visconti, the wealth of themes emerging in the text and quite a bit of tangential chat too along the way. And as you'll hear, this is an album that really does fascinate Kardos - she has oodles of Bowie related material including performances, talks, podcast and song analyses on YouTube that are really worth checking out too.

Dom Morley is a British sound engineer and record producer. He started his career in the late 1990s at DEP International Studios in Birmingham before moving to London in 1999 to take a position at Metropolis Studios. Here he worked his way up through the ranks, engineering for such producers as Tony Visconti, Phil Spector and Mark Ronson. It was his work with Ronson on the Amy Winehouse Back to Black album that won him the Record Of The Year Grammy Award in 2008. Since then Morley has become a freelance engineer and producer working recently with such artists as Sting, Adele, Grinderman, Kate Walsh, The Police, Colin MacIntyre and Jeff Beck. He produced the Mull Historical Society album City Awakenings. IN THIS EPISODE, YOU'LL LEARN ABOUT: Moving up the ranks quickly as an intern The small details that create a great experience for your clients so that they come back time and time again Being the “fifth member” of the band The most expensive mistake you can make in the studio Establishing your creative vision in order to make the production process easier How to set up a mix around the vocals How he sets up his vocal effects to keep the mix exciting Why it's a good idea to record singers in the control room with you Committing to sounds in the recording stage What he does to ensure mixes translate across multiple playback systems To learn more about Dom Morley, visit: https://www.dommorley.com/ To learn more tips on how to improve your mixes, visit https://masteryourmix.com/ Download your FREE copy of the Ultimate Mixing Blueprint: https://masteryourmix.com/blueprint/ Get your copy of the #1 Amazon bestselling book, The Mixing Mindset – The Step-By-Step Formula For Creating Professional Rock Mixes From Your Home Studio: https://masteryourmix.com/mixingmindsetbook/ Join the FREE MasterYourMix Facebook community: https://links.masteryourmix.com/community To make sure that you don't miss an episode, make sure to subscribe to the podcast on iTunes or on Android. Have your questions answered on the show. Send them to questions@masteryourmix.com Thanks for listening! Please leave a rating and review on iTunes!

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

Thin Lizzy's Phil Lynott, and his friend, and cohort, Gary Moore worked together from their youth, on and off. They recorded in a band called Skid Row, and would associate through the decades, until Phil's death in 1986 at age 36. That included stints in Thin Lizzy, the band Phil led, which we explore this week.Their songs had their own legend, and broke them worldwide, but it was the live shows that sealed their reputation, badass as it was.  Markus and Ray try to detail as much as possible about the formation and evolution of Thin Lizzy, and the varied factors that worked for, and against, the band.Hope you find some good stuff in this one. Music, history, or something else...We love our sponsors!!! Please visit their web sites, and support them because they make this crazy show go:Boldfoot Socks   https://boldfoot.comCrooked Eye Brewery   https://crookedeyebrewery.com/Don't forget that you can find all of our episodes, on-demand, for free right here on our web site: https://imbalancedhistory.com/    

Baxie talks to Steve Eagles of The Photos and Satan's Rats---a band from Britain's first wave of Punk! They even opened up for The Sex Pistols a few times. It's a great story of a band that came into their own, would release a top 5 album in the UK, and had their next effort (which was produced by the legendary Tony Visconti)swatted down and kept on the shelves for 27 years. The Rat's are back with a new lead singer, Puss Johnson, and are now called Satan's Cats. Very, very interesting stuff! Listen on Apple Podcasts, SoundCloud, Spotify, and on the Rock102 website1