Podcasts about Wayne Fontana

jamaica sixties clarks wayne fontana

Play Episode Listen Later Jul 17, 2022 120:00

On this weeks show he visits Jamaica for some ska, blue beat and reggae but he also brings you some well known songs from his favourite artists The Ethiopians - Train To Skaville Tony Tribe - Red Red Wine The Mamas And The Papas - Monday Monday The Zombies - Time Of The Season Prince Buster - Enjoy Yourself The Upsetters - Return Of Django Small Faces - Tin Soldier The Swinging Blue Jeans - Hippy Hippy Shake The Dramatics - Inky Dinky Wang Dang Doo The Kinks - The Villiage Green Preservation society Eddy Arnold - Little green apples The Paragons - The Tide Is High The Angels - My Boyfriends Back The Honeycombs - Have I the Right Richard Harris - MacArthur Park Roland Alphonso - Phoenix City Rudy Mills - John Jones The Belles - Melvin The Shadows - Dance On Alex Korner's Blues Incorporated - I Got My Mojo Working The Trashmen - Surfin' Bird The Skatalites - Guns Of Navarone The Untouchables - Tighten Up The Rolling Stones - Gimme Shelter The Tornados - Telstar The Yardbirds - For Your Love The Beach Boys - The Girl From New York City Jimmy Cliff - Miss Jamaica Millie - My Boy Lollipop The Equals - Baby Come Back The Searchers - Love Potion No. 9 Wayne Fontana & The Mindbender - Game of Love John Mayall - Crawling Up a Hill

El sótano - El mundo de Ben Vaughn - 05/05/22

El sótano

Play Episode Listen Later May 5, 2022 58:39

Estrenamos el nuevo álbum de Ben Vaughn, ese hombre de música asentado en California y poseedor de un gusto exquisito y una personalidad cautivadora. “The world of Ben Vaughn” nos muestra una faceta intimista, con mayoría de tempos relajados, letras inteligentemente afiladas y melodías sedosas. Los últimos minutos del episodio están dedicados al Sant Antoni Pop Fest que se celebra en Betxí este sábado 7 de mayo. Playlist; BEN VAUGHN “In my own reality” (The world of Ben Vaughn, 2022) BEN VAUGHN “Wayne Fontana was wrong” (The world of Ben Vaughn, 2022) BEN VAUGHN “Feet” (The world of Ben Vaughn, 2022) SLINK MOSS EXPLOSION “Beware beware” (Floating Ghost Hotel, 2022) REIGNING SOUND “Lonely ghost” (7’’, 2022) NICK WATERHOUSE “Fugitive lover” (Promenade blue, 2021) SPACE RAVE “Airwaves” (A Brazilian tribute to Kraftwerk, 2022) FELINE “Always” (Feline, 2022) CASA DRAGON “Pangea última” (adelanto del álbum “A mi me vale”) BIZNAGA “Línea de sombras” (Bremen no existe, 2022) THE ODDBALLS “Resurrection” (Tales of error, 2022) BLACK MAMBAS “Lusty lady” (Moderation, 2017) DOCTOR EXPLOSION “Insatisfacción” (adelanto del álbum “Superioridad moral”) THE INCREDIBLE STAGGERS “Go Go Gorilla” (7’’, 2010) THEE BRAINDROPS “Just count it” (I need action, 2020) NOX BOYS “Military school” (ST, 2014) Escuchar audio

Episode 670: Whole 'Nuther Thing February 27, 2022

Whole 'Nuther Thing

Play Episode Listen Later Feb 28, 2022 115:49

"Times are hard, you're afraid to pay the feeSo you find yourself somebody, who can do the job for freeI'm a fool to do your dirty workOh yeah, I don't wanna do your dirty workNo more, I'm a fool to do your dirty work, "Oh yeah"I won't do your dirty work however I will share my musical passion with you on the Sunday Edition of Whole 'Nuther Thing. Joining me today are Black Keys, Radiohead, Little Feat, Cyrkle, Ozark Mountain Daredevils, U2, Jeff Buckley, Rascals, Squeeze, Pink Floyd, Savoy Brown, Elvin Bishop, Wayne Fontana & The Mindbenders, Quicksilver Messenger Service, Doors, Syndicate Of Sound, Fleetwood Mac, Rolling Stones, Grass Roots, Jeff Beck, Byrds, Allman Brothers, Les Dudek, Love and Steely Dan. I'll also pay tribute to Gary Brooker who we lost last weekend.

Super Sounds of the Sixties - Sunday 13th Febraury 2022

talk sixties febraury wayne fontana

Play Episode Listen Later Feb 13, 2022 120:07

Another 2 hours of the best music from the sixties. Playlist was Dusty Springfield - Son of a preacher man Lulu - Sweep around your own back door The Hollies - Sorry Suzanne Roy Head - Treat her right The Kinks - Deadend Street Dionne Warwick - Do you know the way to san jose Little Eva - Keep your hands off my baby Ernie k. Doe - A certain Girl Small faces - Talk to you Yardbirds - For your love Small faces - here comes the nice John Mayalls Bluesbreakers - Suspisious (Part 1) Wayne Fontana & the mindbenders - Um um um um um um The Pretty Things - Midnight to Six man The Kinks - Ev'rybodys gonna be happy Sam The sham & the Pharohs - Wooly Bully Bruce Channel - Mr Bus Driver Judy Collins - Both sides now The Box tops - Soul Deep Petula Clark - I couldnt live without your love The Box Tops - The Happy song Cilla Black - Step inside love The Beatles - Penny Lane Matt Munro - Yesterday The Kinks - You really got me Herb Albert & the tijunan Brass - Work Song Zoot money's big roll band - Big time operator The Sidekicks - Up on the roof Andy Williams - Days of wine and roses The Shadows - Foot Tapper The Beatstalkers - Everybodys talking about my baby Mark Wynter - Venus in blue jeans The Kinks - Mr Pleasant The Rolling Stones - Jumping Jack Flash The Troggs - Wild Thing

CRÓNICAS APASIONADAS T03C016 125 Llamando a las puertas del cielo (20/11/2021)

CRÓNICAS APASIONADAS

Play Episode Listen Later Nov 20, 2021 56:13

The Cleftones, Toni Basil, Don Covay, Ricky Nelson, Wayne Fontana, Gene Vincent, Chubby Checker, Joe Tex, Hank Williams, Bill Monroe, Elvis, The Valentinos, Guns N´ Roses

elvis cielo nicas guns n roses hank williams las puertas chubby checker bill monroe llamando ricky nelson toni basil gene vincent joe tex wayne fontana don covay valentinos

Episode 146: Reel-To-Reel Oldies #1 [Recorded 1967]

Danny Lane's Music Museum

Play Episode Listen Later Aug 18, 2021 66:31

Rare BASEMENT TAPES – Discovered in the vaults of radio station WNEU on vintage reel-to-reel magnetic audio tapes and meticulously restored to on-air condition. These were state-of-the-art recordings created long before compact cassette tapes were produced. We present the music to you exactly as it was recorded in 1967. Enjoy.In this episode you'll hear:1) Thank The Lord For The Night Time by Neil Diamond [1967]2) Hold On! I'm Comin' by Sam & Dave [1966]3) My World Fell Down by Sagittarius [1967]4) Take It Or Leave It by The Rolling Stones [1967]5) Come Back When You Grow Up by Bobby Vee [1967]6) Purple Haze by The Jimi Hendrix Experience [1967]7) Reflections by Diana Ross & The Supremes [1967]8) All You Need Is Love (Reached #1 on August 19, 1967, Lasted for 1 week) by The Beatles [1967]9) Light My Fire (Reached #1 on July 29, 1967, Lasted for 3 weeks) by The Doors [1967]10) Ode to Billie Joe (Reached #1 on August 26, 1967, Lasted for 4 weeks) by Bobbie Gentry11) San Franciscan Nights by Eric Burdon & The Animals [1967]12) To Love Somebody by The Bee Gees [1967]13) I Live For The Sun by The Sunrays [1965]14) I'll Turn To Stone [B-side of 7-Rooms of Gloom] by The Four Tops [1967]15) Lovely Rita by The Beatles [1967]16) Sittin' On A Fence by The Rolling Stones [1967]17) Funky Broadway by Wilson Pickett [1967]18) A Groovy Kind Of Love by The Mindbenders (without Wayne Fontana) [1966]19) I Ain't Gonna Eat Out My Heart Anymore by The Young Rascals [1966]20) Baby You're A Rich Man by The Beatles [1967]21) Fakin' It by Simon & Garfunkel [1967]22) You're Welcome by The Beach Boys [1967]23) Blues' Theme (from The Wild Angels, starring Peter Fonda) by Davie Allan & The Arrows [1967] *** END OF SIDE NO. 1 *** END OF SIDE NO. 1 ***

blues animals beatles rolling stones doors rooms beach boys rich man ode arrows bee gees sagittarius gloom diana ross garfunkel neil diamond supremes oldies sittin four tops lasted peter fonda wilson pickett jimi hendrix experience eric burdon bobby vee fakin sunrays young rascals mindbenders reel to reel baby you wayne fontana to love somebody lovely rita davie allan funky broadway

Kalendarium muzyczne Radia 7 Toronto - 6 sierpnia

Kalendarium Muzyczne

Play Episode Listen Later Aug 6, 2021 15:03

Urodzeni: Ricky Echolette (Alphaville), “Help!”, Geri Halliwell (Spice Girls), Zmarli: Domenico Modugno (foto), Rick James, Marvin Hamlisch, Wayne Fontana, (Mindbenders).Nagranie z roku 2021.

toronto rick james radia nagranie marvin hamlisch mindbenders wayne fontana kalendarium

Episode 127: “Ticket to Ride” by the Beatles

A History Of Rock Music in Five Hundred Songs

Play Episode Listen Later Jul 13, 2021

This week's episode looks at "Ticket to Ride", the making of the Beatles' second film, and the influence of Bob Dylan on the Beatles' work and lives. Click the full post to read liner notes, links to more information, and a transcript of the episode. Patreon backers also have a ten-minute bonus episode available, on "The Game of Love" by Wayne Fontana and the Mindbenders. 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/ Resources No Mixcloud this week, as there are too many songs by the Beatles. I have read literally dozens of books on the Beatles, and used bits of information from many of them, but the ones I specifically referred to while writing this episode were: The Complete Beatles Chronicle by Mark Lewisohn, All The Songs: The Stories Behind Every Beatles Release by Jean-Michel Guesdon, And The Band Begins To Play: The Definitive Guide To The Songs of The Beatles by Steve Lambley, The Beatles By Ear by Kevin Moore, Revolution in the Head by Ian MacDonald, and The Beatles Anthology. For material on the making of the film, I referred to Getting Away With It by Steven Soderbergh, a book which is in part a lengthy set of conversations between Soderbergh and Richard Lester. Sadly the only way to legally get the original mix of "Ticket to Ride" is this ludicrously-expensive out-of-print box set, but the 1987 remix is widely available on the CD issue of the Help! soundtrack. The film is available on DVD. Patreon This podcast is brought to you by the generosity of my backers on Patreon. Why not join them? Transcript When we last looked at the Beatles, they had just achieved their American success, and had appeared in their first film, A Hard Day's Night. Today, we're going to look at the massive artistic growth that happened to them between late 1964 and mid 1965, the making of their second film, Help!, the influence, both artistic and personal, of Bob Dylan on the group, and their introduction both to studio experimentation and to cannabis. We're going to look at "Ticket to Ride": [Excerpt: The Beatles, "Ticket to Ride"] 1964 was a tremendously busy year for the Beatles. After they'd finished making A Hard Day's Night, but even before it was released, they had gone on yet another tour, playing Denmark, the Netherlands, Hong Kong, Australia, and New Zealand, though without Ringo for much of the tour -- Ringo had to have his tonsils removed, and so for the first eight shows of the tour he was replaced by session drummer Jimmy Nicol, the former drummer with Colin Hicks and his Cabin Boys, who had played on several cheap soundalike records of Beatles songs. Nicol was a competent drummer, though very different in style from Ringo, and he found his temporary moment of celebrity hugely upsetting -- he later described it as the worst thing to ever happen to him, and ended up declaring bankruptcy only nine months after touring with the group. Nicol is now a recluse, and hasn't spoken to anyone about his time with the Beatles in more than thirty years. After Ringo returned to the group and the film came out they went back into the studio, only two months after the release of their third album, to start work on their fourth. They recorded four songs in two sessions before departing on their first full US tour. Those songs included two cover versions -- a version of "Mr. Moonlight" by Doctor Feelgood and the Interns that appeared on the album, and a version of Little Willie John's "Leave My Kitten Alone" that didn't see release until 1995 -- and two originals written mostly or entirely by John Lennon, "Baby's In Black", and "I'm a Loser": [Excerpt: The Beatles, "I'm a Loser"] "I'm a Loser" was an early sign of an influence that had particularly changed Lennon's attitude to songwriting -- that of Bob Dylan. Dylan had been on the group's radar for some time -- Paul McCartney in the Anthology book seems to have a confused memory of seeing Madhouse on Castle Street, the TV play Dylan had appeared in in January 1963 -- but early 1964 had seen him rise in prominence to the point that he was a major star, not just an obscure folk singer. And Lennon had paid particular attention to what he was doing with his lyrics. We've already seen that Lennon had been writing surreal poetry for years, but at this point in his life he still thought of his songwriting and his poetry as separate. As he would later put it "I had a sort of professional songwriter's attitude to writing pop songs; we would turn out a certain style of song for a single, and we would do a certain style of thing for this and the other thing. I'd have a separate songwriting John Lennon who wrote songs for the meat market, and I didn't consider them (the lyrics or anything) to have any depth at all." This shouldn't be taken as Lennon saying that the early Beatles songs were lacking in quality, or that he didn't take the work seriously, but that it wasn't about self-expression. He was trying to do the best work he could as a craftsman. Listening to Dylan had showed him that it was possible instead to treat pop songwriting as art, in the sense Lennon understood the term -- as a means of personal expression that could also allow for experimentation and playing games. "I'm a Loser" is a first tentative step towards that, with Lennon for one of the first times consciously writing about his own emotions -- though careful to wrap those feelings both in a conventional love song structure and in a thick layer of distancing irony, to avoid making himself vulnerable -- and the stylistic influence of Dylan is very noticeable, as much in the instrumentation as in the lyrics. While several early Beatles singles had featured Lennon playing harmonica, he had been playing a chromatic harmonica, a type of harmonica that's mostly used for playing single-note melodies, because it allows the player to access every single note, but which is not very good for bending notes or playing chords. If you've heard someone playing the harmonica as a single-note melody instrument with few or no chords, whether Stevie Wonder, Larry Adler, or Max Geldray, the chances are they were playing a chromatic harmonica. On "I'm a Loser", though, Lennon plays a diatonic harmonica -- an instrument that he would refer to as a "harp" rather than a harmonica, because he associated it with the blues, where it's often referred to as a harp. Diatonic harmonicas are the instrument of choice for blues players because they allow more note-bending, and it's easier to play a full chord on them -- the downside, that you have a smaller selection of notes available, is less important in the blues, which tends towards harmonic minimalism. Diatonic harmonicas are the ones you're likely to hear on country, blues, and folk recordings -- they're the instrument played by people like Little Walter, Sonny Boy Williamson, Charlie McCoy, and Bob Dylan. Lennon had played a diatonic before, on "I Should Have Known Better", another song which shows Dylan's influence in the performance, though not in the lyrics. In both cases he is imitating Dylan's style, which tends to be full of chordal phrases rather than single-note melody. What's interesting about “I'm a Loser” though is contrasting John's harmonica solo with George's guitar solo which follows immediately after: [Excerpt: The Beatles, "I'm a Loser"] That's a pure Carl Perkins solo, and the group would, in their choices of cover versions for the next few months, move away somewhat from the soul and girl-group influences that dominated the covers on their first two albums, and towards country and rockabilly -- they would still cover Larry Williams, Little Richard, and Chuck Berry, but there were no more covers of contemporary Black artists, and instead there were cover versions of Buddy Holly, Carl Perkins, and Buck Owens, and Harrison switched from the Rickenbacker that had been his main instrument on A Hard Day's Night to playing a Gretsch -- the brand of guitar that Chet Atkins and Eddie Cochrane played. The consensus among commentators -- with which, for once, I agree -- seems to be that this was also because of the influence of Dylan. The argument is that the Beatles heard Dylan's music as a form of country music, and it inspired them to go back to their other country-oriented influences. And this makes a lot of sense -- it was only fifteen years earlier, at the same time as they replaced "race" with "rhythm and blues", that Billboard magazine chose to rename their folk chart to the country and western chart -- as Tyler Mahan Coe puts it, "after years of trying to figure out what to call their “poor Black people music” and “poor white people music” charts". And Dylan had been as influenced by Hank Williams as by Woody Guthrie. In short what the Beatles, especially Lennon, heard in Dylan seems to have been three things -- a reminder of the rockabilly and skiffle influences that had been their first love before they'd discovered R&B and soul, permission to write honestly about one's own experiences, and an acknowledgement that such writing could include surrealistic wordplay. Fundamentally, Dylan, as much as being a direct influence, seems to have given the group a kind of permission -- to have shown them that there was room in the commercial sphere in which they were now operating for them to venture into musical and lyrical areas that had always appealed to them. But of course, that was not the only influence that Dylan had on the group, as anyone who has ever read anything at all about their first full US tour knows. That tour saw them playing huge venues like the Hollywood Bowl -- a show which later made up a big part of their only official live album, which was finally released in 1977: [Excerpt: The Beatles, "Things We Said Today (live at the Hollywood Bowl 1964)"] It was nine days into the tour, on the twenty-eighth of August 1964, that they met Bob Dylan for the first time. The meeting with Dylan is usually called the first time the Beatles ever smoked cannabis -- and that's true, at least if you're talking about them as a group. Lennon had tried it around 1960, and both Lennon and Harrison had tried it at a show at the Southport Floral Hall in early 1962, but neither had properly understood what they were smoking, and had both already been drunk before smoking it. According to a later interview with Harrison, that had led to the two of them madly dancing the Twist in their dressing room, shouting "This stuff isn't doing anything!" But it was at this meeting that Paul and Ringo first smoked it, and it also seems to have been taken by Lennon and Harrison as their "real" first time, possibly partly because being introduced to cannabis by Bob Dylan in a New York hotel sounds a lot cooler than being introduced to it by your support band's drummer in Southport, possibly because it was the first time that they had all smoked it together as a group, but mostly because this was the time when it became a regular part of the group's life. Oddly, it happened because of a misheard lyric. Dylan had loved "I Want to Hold Your Hand", and had misheard "I can't hide" as "I get high", and thus just assumed that the British band were already familiar with cannabis. The drug had a profound effect on them -- McCartney later recalled being convinced he had discovered the meaning of life, writing it down on a bit of paper, and getting their roadie Mal Evans to hold the paper for safekeeping. The next morning, when he looked at the paper, he found it merely said "there are seven levels". Lennon, on the other hand, mostly remembered Dylan playing them his latest demos and telling them to listen to the words, but Lennon characteristically being unable to concentrate on the lyrics because in his stoned state he was overwhelmed by the rhythm and general sound of the music. From this point on, the use of cannabis became a major part of the group's life, and it would soon have a profound effect on their lifestyles, their songwriting, the production on their records, and every other aspect of their career. The Beatle on whom it seems to have had the strongest and most immediate effect was Lennon, possibly because he was the one who was coping least well with success and most needed something to take his mind off things. Lennon had always been susceptible to extremes of mood -- it's likely that he would these days be diagnosed as bipolar, and we've already seen how as soon as he'd started writing personally, he'd written "I'm a Loser". He was feeling trapped in suburbia, unsuited for his role as a husband and father, unhappy about his weight, and just generally miserable. Cannabis seemed, at least at first, to offer a temporary escape from that. All the group spent much of the next couple of years stoned, but Lennon probably more than any of them, and he was the one whose writing it seemed to affect most profoundly. On the group's return from the US, they carried on working on the next album, and on a non-album single designed to be released simultaneously with it. "I Feel Fine" is a major milestone in the group's career in a number of ways. The most obvious is the opening -- a brief bit of feedback which Lennon would always later claim to be the first deliberate use of the technique on a record: [Excerpt: The Beatles, "I Feel Fine"] Feedback had, up until this point, been something that musicians generally tried to avoid -- an unwanted sound that could wreck a performance. But among guitarists in London, especially, it was becoming the fashionable sound to incorporate, in a carefully controlled manner, in order to make sounds that nobody had heard before. Jeff Beck, Dave Davies, and Pete Townshend would all argue about which of them was the first to use the technique, but all were using it on stage by the time the Beatles recorded "I Feel Fine". But the Beatles were, if not the first to deliberately use feedback on a record (as I've said in the past, there is no such thing as a first anything, and there are debatable examples where feedback may be deliberate going back to the 1930s and some records by Bob Wills), certainly the most prominent artists to do so up to that point, and also the first to make it a major, prominent feature of a hit record in this manner. If they hadn't done it, someone else undoubtedly would, but they were the first to capture the sound that was becoming so popular in the London clubs, and as so often in their career they were able to capture something that was at the cutting edge of the underground culture and turn it into something that would be accepted by millions. "I Feel Fine" was important to the Beatles in another way, though, in that it was the first Beatles original to be based entirely around a guitar riff, and this was if anything a more important departure from their earlier records than the feedback was. Up to this point, while the Beatles had used riffs in covers like "Twist and Shout", their originals had avoided them -- the rhythm guitar had tended to go for strummed chords, while the lead guitar was usually reserved for solos and interjections. Rather than sustaining a riff through the whole record, George Harrison would tend to play answer phrases to the vocal melody, somewhat in the same manner as a backing vocalist. This time, though, Lennon wrote an entire song around a riff -- one he had based on an R&B record from a few years earlier that he particularly loved, "Watch Your Step" by Bobby Parker: [Excerpt: Bobby Parker, "Watch Your Step"] Parker's record had, in turn, been inspired by two others -- the influence of Ray Charles' "What'd I Say" is very obvious, but Parker had based the riff on one that Dizzy Gillespie had used in "Manteca", a classic early Afro-Cuban jazz record from 1947: [Excerpt: Dizzy Gillespie, "Manteca"] Parker had played that riff on his guitar, varied it, and come up with what may be the most influential guitar riff of all time, one lifted not only by the Beatles (on both "I Feel Fine" and, in a modified form, "Day Tripper") but Led Zeppelin, Deep Purple, the Allman Brothers Band, and many, many others: [Excerpt: Bobby Parker, "Watch Your Step"] Lennon took that riff and based a new song around it -- and it's important to note here that "I Feel Fine" *is* a new song. Both songs share the same riff and twelve-bar blues structure, but Lennon's lyric and melody are totally different, and the record has a different feel. There's a blurry line between plagiarism and homage, and to my mind "I Feel Fine" stays on the right side of that line, although it's a difficult issue because the Beatles were so much more successful than the unknown Parker. Part of the reason "I Feel Fine" could be the Beatles' first single based around a riff was it was recorded on a four-track machine, EMI having finally upgraded their equipment, which meant that the Beatles could record the instrumental and vocal tracks separately. This allowed Lennon and Harrison to hold down the tricky riff in unison, something Lennon couldn't do while also singing the melody -- it's noticeable that when they performed this song live, Lennon usually strummed the chords on a semi-acoustic guitar rather than doubling the riff as he does on the record. It's also worth listening to what Ringo's doing on the drums on the track. One of the more annoying myths about the Beatles is the claim made by a lot of people that Starr was in some way not a good drummer. While there has been some pushback on this, even to the extent that there is now a contrarian counterconsensus that says he was the best drummer in the world at the time, the general public still thinks of him as having been not particularly good. One listen to the part Starr played on "I Feel Fine" -- or indeed a close listen to any of his drum parts -- should get rid of that idea. While George and John are basically duplicating Parker's riff, Ringo picks up on the Parker record's similarity to "What'd I Say" and plays essentially the same part that Ray Charles' drummer had: [Excerpt: The Beatles, "I Feel Fine (isolated drum part)"] There are copies of that posted on YouTube, and almost all of them have comments from people claiming that the drumming in question must be a session drummer, because Starr couldn't play that well. Several of the Beatles' singles for the next two years would feature a heavy guitar riff as their main instrumental hook. Indeed, it seems like late 1964 is a point where things start to change a little for the Beatles in how they conceptualise singles and albums. Up to this point, they seem to have just written every song as a potential single, then chosen the ones they thought of as the most commercial as singles and stuck the rest out as album tracks. But from autumn 1964 through early 1966 there seems, at least on Lennon's part, to be a divide in how he looked at songs. The songs he brought in that became singles were almost uniformly guitar-driven heavy rockers with a strong riff. Meanwhile, the songs recorded for albums were almost all based on strummed acoustic guitars, usually ballads or at most mid-tempo, and often with meditative lyrics. He clearly seems to have been thinking in terms of commercial singles and less commercial album tracks, even if he didn't quite articulate it that way. I specify Lennon here, because there doesn't seem to be a comparable split in McCartney's writing -- partly because McCartney didn't really start writing riff-based songs until Lennon dropped the idea in late 1966. McCartney instead seems to start expanding his palette of genres -- while Lennon seems to be in two modes for about an eighteen-month period, and not really to venture out of either the bluesy riff-rocker or the country-flavoured folk rock mode, McCartney starts becoming the stylistic magpie he would become in the later period of the group's career. The B-side to the single, "She's a Woman" is, like the A-side, blues-based, but here it's McCartney in Little Richard mode. The most interesting aspect to it, though, is the rhythm guitar part -- off-beat stabs which sound very much like the group continuing to try to incorporate ska into their work: [Excerpt: The Beatles, "She's a Woman"] The single went to number one, of course, as all the group's singles in this period did. Beatles For Sale, the album that came out of these sessions, is generally regarded as one of the group's weaker efforts, possibly because of the relatively large number of cover versions, but also because of its air of bleakness. From the autumnal cover photo to the laid-back acoustic feel of much of the album, to the depressing nature of Lennon's contributions to the songwriting -- "No Reply", "I'm a Loser", "Baby's in Black", and "I Don't Want to Spoil the Party" all being a far cry from "I Feel Fine" – it's not a fun album by any means. I've always had a soft spot for the album myself, but it's clearly the work of people who were very tired, depressed, and overworked. And they were working hard -- in the four months after the end of their American tour on the twentieth of September, they recorded most of Beatles For Sale and the accompanying single, played forty-eight gigs, made TV appearances on Shindig, Scene at 6:30, Thank Your Lucky Stars, Ready Steady Go, and Top of the Pops, radio appearances on Top Gear and Saturday Club, and sundry interviews. On top of that John also made an appearance on Peter Cook and Dudley Moore's show "Not Only... But Also", performing versions of some of his poetry with Moore and Norman Rossington, who had co-starred in A Hard Day's Night: [Excerpt: John Lennon, Dudley Moore and Norman Rossington, "All Abord Speeching"] They did get a month off from mid-January 1965 through mid-February, but then it was back to work on a new film and accompanying soundtrack album. The group's second film, Help!, is generally regarded with rather less fondness than A Hard Day's Night, and it's certainly the case that some aspects of the film have not dated at all well -- in particular the way that several characters are played by white actors in brownface doing very unconvincing Indian accents, and the less than respectful attitude to Hindu religious beliefs, are things which will make any modern viewer with the slightest sensitivity to such issues cringe terribly. But those aren't the aspects of the film which most of its critics pick up on -- rather they tend to focus only on the things that the Beatles themselves criticise about the film, mostly that the group spent most of the filming stoned out of their minds, and the performances are thus a lot less focused than those in A Hard Day's Night, and also that the script -- written this time by Richard Lester's regular collaborator Charles Wood, from a story by Marc Behm, rather than by Alun Owen -- is also a little unfocused. All these are fair criticisms as far as they go, but it's also the case that Help! is not a film that is best done justice by being viewed on a small screen on one's own, as most of its critics have viewed it most of the time. Help! is part of a whole subgenre of films which were popular in the 1960s but largely aren't made today -- the loose, chaotic, adventure comedy in which a nominal plot is just an excuse for a series of comedy sketches strung together with spectacular visuals. The genre encompasses everything from It's a Mad Mad Mad Mad World to Casino Royale to The Pink Panther, and all of these films are meant to be seen on a big screen which allows the audience to appreciate their visual inventiveness, and in a communal audience which is laughing along with them. And when seen in that light, Help! is actually a remarkably entertaining example of the type. Yes, it doesn't hold together as well as A Hard Day's Night, and it doesn't resolve so much as just stop, but structurally it's remarkably close to the films of the Marx Brothers, especially their Paramount films, and it's odd that the Marx comparisons get made about A Hard Day's Night, a slice-of-life film inspired by the French New Wave, and not about the screwball comedy that ends in a confused chase sequence. There is one thing that is worth noting about Help! that is often obscured -- part of the reason for its globetrotting nature was because of the levels of taxation in Britain at the time. For top earners, like the Beatles were, the marginal rate of income tax was as high as ninety-five percent in the mid-sixties. Many of us would think this was a reasonable rate for people who were earning many, many times in a year what most people would earn in a lifetime, but it's also worth noting that the Beatles' success had so far lasted only two years, and that a pop act who was successful for five years was remarkably long-lived -- in the British pop industry only Cliff Richard and the Shadows had had a successful career as chart artists for longer than that, and even they were doing much less well in 1965 than they had been in 1963. In retrospect, of course, we know that the Beatles would continue to sell millions of records a year for more than sixty years, but that was not something any of them could possibly have imagined at the time, and we're still in a period where Paul McCartney could talk about going into writing musicals once the Beatles fad passed, and Ringo could still imagine himself as the owner of a hairdresser's. So it's not completely unreasonable of them to want to keep as much of their money as they could, while they could, and so while McCartney will always talk in interviews about how many of the scenes in the film were inspired by a wishlist from the group -- "We've never been skiing", "We've never been to the Bahamas" -- and there might even be some truth to that, it's also the case that the Bahamas were as known for their lax tax regime as for their undoubted charm as a tourist destination, and these journeys were not solely about giving the group a chance to have fun. But of course, before making the film itself, the group had to record songs for its soundtrack, and so on February the sixteenth they went into the studio to record four songs, including the next single, "Ticket to Ride": [Excerpt: The Beatles, "Ticket to Ride"] While "Ticket to Ride" is mostly -- or possibly solely -- John's song, the record is very much Paul's record. For most of 1964, McCartney hadn't really been pulling his weight in the songwriting department when compared to John -- the handful of songs he had written had included some exceptional ones, but for the most part he hadn't written much, and John had been the more productive member of their partnership, writing almost all of the A Hard Day's Night album, most of the better tracks on Beatles For Sale, and the non-album single "I Feel Fine". But now, John was sinking into one of his periodic bouts of depression -- he was still writing strong material, and would produce some of the best songs of his career in 1965, but he was unfocused and unhappy, and it was showing in his slowed productivity -- while McCartney was energised by living in London, the cultural capital of the world at that point in time, and having a famous girlfriend who was exposing him to vast areas of culture he had never been aware of before. I say that "Ticket to Ride" is written by John, but there is some slight dispute about who contributed what to the writing. John's statement was that the song was all him, and that Paul's main contribution was the drum pattern that Ringo plays. Paul, on the other hand, claims that the song is about a sixty-forty split, with John being the sixty. McCartney's evidence for that is the strong vocal harmony he sings -- usually, if there's a two-part harmony like that on a Beatles song, it came about because Lennon and McCartney were in the same room together while writing it, and singing the part together as they were writing. He also talks about how when writing it they were discussing Ryde in the Isle of Wight, where McCartney's cousin ran a pub. I can certainly see it being the case that McCartney co-wrote the song, but I can also easily see the musicianly McCartney feeling the need to harmonise what would otherwise have been a monotonous melody, and adding the harmonies during the recording stage. Either way, though, the song is primarily John's in the writing, but the arrangement is primarily McCartney's work -- and while Lennon would later claim that McCartney would always pay less attention to Lennon's songs than to McCartney's own, in this middle period of the group's career most of their truly astounding work comes when Lennon brings in the song but McCartney experiments with the arrangement and production. Over and over again we see McCartney taking control of a Lennon song in the studio and bringing out aspects of it that its composer either had not considered or had not had the musical vocabulary or patience to realise on his own. Indeed one can see this as part of the dynamic that eventually led to the group breaking up. Lennon would bring in a half-formed idea and have the whole group work on it, especially McCartney, and turn it into the best version of itself it could be, but this would then seem like McCartney trying to take over. McCartney, meanwhile, with his greater musical facility, would increasingly not bother asking for the input of the group's other members, even when that input would have turned a mediocre song into a good one or a good one into a great one. But at this point in their careers, at least, the collaboration brought out the best in both Lennon and McCartney -- though one must wonder what Harrison and Starr felt about having their parts dictated to them or simply replaced. In the case of "Ticket to Ride", one can trace the evolution of McCartney's drum pattern idea over a period of a few months. He was clearly fascinated by Hal Blaine's drum intro to "Be My Baby": [Excerpt: The Ronettes, "Be My Baby"] and came up with a variation of it for his own song "What You're Doing", possibly the most interesting song on Beatles For Sale on a pure production level, the guitar part for which, owing a lot to the Searchers, is also clearly a pointer to the sound on “Ticket to Ride”: [Excerpt: The Beatles, "What You're Doing"] "Ticket to Ride"s drum part is a more complex variation on that slightly broken pattern, as you can hear if you listen to the isolated drum part: [Excerpt: The Beatles, "Ticket to Ride (isolated drums)"] Interestingly, Ringo doesn't keep that precise pattern up all the way through in the studio recording of the song, though he does in subsequent live versions. Instead, from the third verse onwards he shifts to a more straightforward backbeat of the kind he would more normally play: [Excerpt: The Beatles, "Ticket to Ride (isolated drums)"] The mono mix of "Ticket to Ride", which is how most listeners of the time encountered it, shows much more than the stereo mix just what the group, and particularly Paul, were trying to do. It's a bass-heavy track, sluggish and thundering. It's also a song that sounds *obsessed*. For the first six bars of the verse, and the whole intro, the song stays on a single chord, A, only changing on the word "away", right before the chorus: [Excerpt: The Beatles, "Ticket to Ride"] This obsession with one chord was possibly inspired by soul music, and in particular by "Dancing in the Street", which similarly stays on one chord for a long time: [Excerpt: Martha and the Vandellas, "Dancing in the Street"] We'll be looking more at how soul music was increasingly doing away with chord progressions in favour of keeping to an extended groove on a single chord when we next look at James Brown in a few weeks' time. But in its single-chord focus and its broken drum beat, "Ticket to Ride" is very much a precursor of what the group would do a little over a year later, when they recorded "Tomorrow Never Knows". Of course, it was also around this time that the group discovered Indian music for the first time. There are scenes in the film Help! which feature musicians playing Indian instruments, and George Harrison became fascinated by the sound of the sitar and bought one, and we'll be seeing the repercussions of that for much of the next year. But it's interesting to note that a lot of the elements that make Indian classical music so distinctive to ears used to Western popular music -- the lack of harmonic movement, the modal melodies, the use of percussion not to keep a steady beat but in melodic interplay with the string instruments -- were all already present in songs like "Ticket to Ride", albeit far less obviously and in a way that still fit very much into pop song conventions. The Beatles grew immensely as musicians from their exposure to Indian music, but it's also the case that Indian music appealed to them precisely because it was an extension of the tastes they already had. Unlike when recording Beatles For Sale, the group clearly had enough original material to fill out an album, even if they ended up not doing so and including two mediocre cover versions on the album -- the last time that would happen during the group's time together. The B-sides of the two singles, John's "Yes It Is" and Paul's "I'm Down", both remained only available on the singles, even though the previous film soundtrack had included the B-sides of both its singles. Not only that, but they recorded two Lennon/McCartney songs that would remain unreleased until more than thirty years later. "If You've Got Troubles" was left unreleased for good reason -- a song written for Ringo to sing, it's probably the single worst Lennon/McCartney song ever attempted by the group, with little or nothing to redeem it. McCartney's "That Means a Lot" is more interesting. It's clearly an attempt by McCartney to write a "Ticket to Ride" part two, with a similar riff and feel: [Excerpt: The Beatles, "That Means a Lot"] It even has a sped-up repurposing of the hook line at the end, just as "Ticket to Ride" does, with "Can't you see?" taking the place of "My baby don't care": [Excerpt: The Beatles, "That Means a Lot"] The group spent a couple of sessions on that track, but seem to have given up on it. While it's far from the best thing they did, it's not worthless or unreleasable, and one suspects that they ended up thinking that the track couldn't go on the same album as "Ticket to Ride" because the two songs were just too close. Instead, they ended up giving the song to P.J. Proby, the American singer who had been brought over by Jack Good for the About The Beatles show, and who had built something of a career for himself in the UK with a string of minor hits. Lennon said "we found we just couldn't sing it. In fact, we made a hash of it, so we thought we'd better give it to someone who could do it well". And Proby *could* have done it well -- but whether he did or not is something you can judge for yourself: [Excerpt: P.J. Proby, "That Means a Lot"] Somehow, Proby's version of the song made the top thirty. When the group started filming "Help!", the film was still going under the working title "Eight Arms to Hold You", which absolutely nobody involved liked -- the title was even included on the label of some copies of "Ticket to Ride", but Lennon and McCartney particularly disliked the idea of writing a song to that title. Some have suggested that the plan was to use McCartney's "Eight Days a Week", an album track from Beatles For Sale that had been released as an American single, as a title track, but it seems unlikely that anyone would have considered that -- United Artists wanted something they could put out on a soundtrack album, and the song had already been out for many months. Instead, at almost the last minute, it was decided to name the film "Help!". This was actually close to the very first working title for the film, which had been "Help, Help". According to Lester, "the lawyer said it had already been registered and you mustn't use it so we had Beatles Two and then Eight Arms to Hold You". The only film I've been able to discover with the title "Help, Help", though, is a silent film from 1912, which I don't imagine would have caused much problem in this case. However, after the group insisted that they couldn't possibly write a song called "Eight Arms to Hold You", Lester realised that if he put an exclamation mark after the word "help", that turned it into a different title. After getting legal approval he announced that the title of the new film was going to be "Help!", and that same day John came up with a song to that title: [Excerpt: The Beatles, "Help!"] Lennon later said that the song had started out as a slow, intense, ballad, and he had been persuaded to speed it up in the studio somewhat against his will. The song being performed as an upbeat pop song possibly made it harder for the public to see what was obvious to Lennon himself, that the song itself was a cry for help from someone going through a mental health crisis. Despite the title not being his, the sentiments certainly were, and for the first time there was barely even the fig-leaf of romantic love to disguise this. The song's lyrics certainly could be interpreted as being the singer wanting help from a romantic partner, but they don't actually specify this, which is not something that could be said about any of the group's other originals up to this point. The soundtrack album for Help! is also notable in other ways. George Harrison writes two songs on the album, when he'd only written one in total for the first four albums. From this point on he would be a major songwriting presence in the group. It also contains the most obvious Dylan homage yet, with Lennon impersonating Dylan's vocal style on "You've Got to Hide Your Love Away", recorded three days after "Ticket to Ride": [Excerpt: The Beatles, "You've Got to Hide Your Love Away"] "You've Got to Hide Your Love Away" was notable in another way as well -- it was the first time that a musician other than the Beatles or George Martin was called in to work on a Beatles record (other than Andy White on the "Love Me Do" session, which was not something the Beatles chose or approved of). The flute player Johnny Scott overdubbed two tracks of flute at the end of the recording: [Excerpt: The Beatles, "You've Got to Hide Your Love Away"] That was a sign of things to come, because in June, once filming had completed, the group went into the studio to continue recording for the non-soundtrack side of the soundtrack album. This was the height of the group's success and embrace by the establishment -- two days earlier it had been announced that they were all to be awarded MBEs -- and it's also the point at which McCartney's new creative growth as a songwriter really became apparent. They recorded three songs on the same day -- his Little Richard soundalike "I'm Down", which ended up being used as the B-side for "Help!", an acoustic country song called "I've Just Seen a Face", and finally a song whose melody had come to him in a dream many months earlier. McCartney had been so impressed by the melody he'd dreamed that he'd been unable to believe it was original to him, and had spent a long time playing it to other people to see if they recognised it. When they didn't, he eventually changed the lyrics from his original jokey "Scrambled eggs/Oh my baby how I love your legs" to something more appropriate, and titled it "Yesterday": [Excerpt: The Beatles, "Yesterday (Anthology 2 early take)"] "Yesterday" was released as a Beatles track, on a Beatles album, but it had absolutely no involvement from John, George, and Ringo -- nobody could figure out how to adapt the song to a guitars/bass/drums format. Instead George Martin scored it for a string quartet, with some assistance from McCartney who, worried that strings would end up meaning something Mantovani-like, insisted that the score be kept as simple as possible, and played with almost no vibrato. The result was a Beatles track that featured five people, but only one Beatle: [Excerpt: The Beatles, "Yesterday"] The group's next album would see all the band members appearing on every track, and no musicians brought in from outside the group and their organisation, but the genie was now out of the bottle -- the label "The Beatles" on a record no longer meant that it featured John, Paul, George, and Ringo, but just that at least one of them was on the track and the others had agreed it could go out under their name. This would lead to immense changes in the way the group worked, and we'll be seeing how that played out throughout the rest of the 1960s.

tv love american new york head game black australia babies uk woman british western new zealand night indian hong kong ride britain beatles netherlands dancing cd cannabis shadows dvd denmark losers ticket bob dylan twist billboard bahamas paramount feel good john lennon paul mccartney isle hindu stevie wonder marx pops moonlight led zeppelin james brown lester anthology george harrison tilt ray charles mccartney spoil ringo starr ringo emi little richard chuck berry steven soderbergh interns beatle deep purple casino royale wight jeff beck top gear buddy holly hollywood bowl hard days madhouse hank williams southport woody guthrie pink panther searchers george martin marx brothers dizzy gillespie cliff richard pete townshend allman brothers band soderbergh afro cuban scrambled french new wave shindig ticket to ride watch your step united artists eight days carl perkins dudley moore buck owens chet atkins kevin moore ryde hold your hand larry williams richard lester manteca mantovani peter cook vandellas lennon mccartney dave davies gretsch bob wills rickenbacker tomorrow never knows little walter be my baby andy white love me do hal blaine sonny boy williamson ian macdonald i feel fine in black beatles for sale mark lewisohn charles wood no reply mindbenders hold you little willie john mbes wayne fontana eight arms charlie mccoy mad mad mad mad world things we said today diatonic hide your love away tyler mahan coe proby castle street larry adler thank your lucky stars cabin boys i should have known better johnny scott jimmy nicol alun owen eddie cochrane tilt araiza

Graham Gouldman

Ricky Ross Meets

Play Episode Listen Later Jul 7, 2021 47:08

Graham Gouldman's songs have been cut by the Yardbirds, Hollies Herman's Hermits and Wayne Fontana. He was also a member of The Mockingbirds, 10cc, Wax and Ringo Starr's band.

mockingbird wax ringo starr yardbirds hermits graham gouldman wayne fontana

One FM presenter Josh chats with Steve about Wayne Fontana and the Mindbenders - July 5, 2021

98.5 ONE FM Podcasts

Play Episode Listen Later Jul 5, 2021 10:37

One FM presenter Josh Revens chats with Steve about the career of Wayne Fontana and his group 'The Mindbenders'. This program originally aired on Monday the 5th of July, 2021. Contact the station on admin@fm985.com.au or (+613) 58313131 The ONE FM 98.5 Community Radio podcast page operates under the license of Goulburn Valley Community Radio Inc. (ONE FM) Number 1385226/1. PRA AMCOS (Australasian Performing Right Association Limited and Australasian Mechanical Copyright Owners Society) that covers Simulcasting and Online content including podcasts with musical content, that we pay every year. This licence number is 1385226/1.

online presenter community radio mindbenders wayne fontana simulcasting one fm

Love Is Good by Mindbenders

Classic 45's Jukebox

Play Episode Listen Later May 23, 2021

Label: Fontana 1541Year: 1966Condition: M-Last Price: $25.00. Not currently available for sale.Riding the wave of the British invasion, The Mindbenders had a knack for releasing catchy singles but somehow missing out on the celebrity fame of fellow bands like the Beatles, Dave Clark Five, Hollies, Herman's Hermits, Rolling Stones, Yardbirds, Kinks, Who, etc. Like John Lennon and Paul McCartney, lead singer Wayne Fontana typically sang without showcasing his British accent, so some fans might have mistaken them for an American band. In fact, they were more successful in the U.S. than in their native country. Besides great tunes and a great lead vocalist, the band also featured lead guitarist and songwriter Eric Stewart, who later became a founding member of 10cc. Another 10cc member, Graham Gouldman, joined the Mindbenders in 1968, so all in all the band had a lasting pedigree even if their overall impact at the time was understated. This particular single, their second Top 10 U.S. hit, bundled a terrific rocker on the flip that is among their best (IMHO). Its raw sound and brash lead guitar put it firmly in the school of Garage Rock, and showed how even their B sides were worthy of the label "classic," though they failed to make an impression on the airwaves. Take a listen to the jukebox snippet to see if you don't agree. :-) Note: This copy comes in a vintage Fontana Records factory sleeve. It grades very close to Mint in appearance (Labels, Vinyl (styrene)), and the audio sounds pristine Mint!

Episode 79: Vietnam War: The Music - Goooooooood Morning Vietnam

Danny Lane's Music Museum

Play Episode Listen Later Mar 19, 2021 60:43

American Forces Vietnam Network (AFVN) was created as a morale-boosting military radio station for servicemen and women in Vietnam. AFVN broadcast 24 hours a day, seven days a week for over 10 years; it began broadcasting on August 15, 1962 and ended in March of 1973. At the height of American involvement in the war, Armed Forces Vietnam Network served more than 500,000 fighting men and women at one time. Perhaps the best-known program became the morning "Dawn Buster" program, thanks to the popularity of the sign-on slogan "Gooooood Morning, Vietnam" (which was initiated by Adrian Cronauer (1965) and later became the basis for the film Good Morning, Vietnam (1987) starring Robin Williams). “Good Morning, Vietnam!” (the movie) earned Williams an Oscar nomination as best actor and was his breakout film performance. Among the notable people who were AFVN disc jockeys were "Scotty" Brink, Pat Sajak (Wheel of Fortune - TV), and Denny Woytek (now on WSRQ radio in Sarasota, Florida). ----- Join the conversation on Facebook at ----- https://www.facebook.com/profile.php?id=100008232395712 ---- or by email at ---- dannymemorylane@gmail.com ----- You’ll hear: 1) I Get Around by The Beach Boys 2) Nowhere To Run by Martha & The Vandellas 3) Game Of Love by Wayne Fontana & The Mindbenders 4) Sugar & Spice by The Searchers 5) Liar, Liar by The Castaways 6) I Got You (I Feel Good) by James Brown & The Famous Flames 7) Baby, Please Don't Go by Them 8) Danger Heartbreak Dead Ahead by The Marvelettes 9) Five O'Clock World by The Vogues 10) California Sun by The Rivieras 11) Ballad Of A Thin Man (Mr. Jones) by The Grass Roots 12) Don't Worry Baby by The Beach Boys 13) In The Midnight Hour by Wilson Pickett 14) It's Alright by Adam Faith 15) Yeah, Yeah by Georgie Fame & The Blue Flames 16) My Boyfriend's Back by The Angels 17) Puff (The Magic Dragon) by Peter, Paul And Mary 18) Get a Job by The Silhouettes 19) You Keep Me Hangin' On by The Supremes 20) Rawhide by Frankie Laine 21) The Warmth Of The Sun by The Beach Boys 22) What A Wonderful World by Louis Armstrong 23) Cast Your Fate To The Wind by Sounds Orchestral

music american vietnam brink spice vietnam war robin williams liar good morning scotty james brown sarasota georgie fame i get around worry baby adrian cronauer wayne fontana wsrq

The Sensational Alex Harvey Band

D-Sides, Orphans, and Oddities

Play Episode Listen Later Feb 22, 2021 120:01

Dee Dee Warwick - You’re No Good (1963) The original version that, to my ears, cuts the Ronstadt version in half. Clint Ballard also wrote "The Game of Love" for Wayne Fontana and the Mindbenders. Look at that slugabed 2nd to the right. That's Eric Stewart of 10cc. Comb your hair, hippie. Doc Severinsen - Barbarella (1968) The theme to the soft-core romp featuring Jane Fonda. Check out the party scene for a frugging Spiro Agnew. Doc Severinsen was the comic foil and bandleader for Johnny Carson. With the funny suit jackets, etc. Doris (with Plums) - You Made a Fool of Me (1968) While this single is not from this album, it IS a bonus track if you can find this. I love her stuff. In fact, I confess to you right now that my song, "Epiphany", steals the first three chords of the verse. Those nutty Swedes. First, we steal ABBA. Then we steal this. Gary Crosby - I'm Gonna Call My Baby (1967) Son of the guy that sang "Hey Jude". James Iron Head Baker & Group - Black Betty (1933) A rendition of the slave song. Later, a hit for Ram Jam, who's singer was previously in The Lemon Pipers, who had a hit with "Green Tambourine." Johnny Buckett and his Cumberland River Boys - Hippie in a Blunder (1967-8) The anti-hippie sentiment of the late '60s was silly, tone-deaf (Bob Seger and Jan and Dean recorded anti-peacenik songs), and ultimately unnecessary since the peace movement itself would be bought, sold, repackaged, and neutered entirely just a couple of years later. Roxy Music - Manifesto (1979) I can't listen to Brian Ferry's vibrato for a very long time, but this song seems to be a good fit. Like a salesman. Redbone - Fais Do (1972) My confession. She will never see this post, but I used to dream about singing "Julie, Do Ya Love Me" to Julie Pawlowski (of Emporium Avenue) all the time. I still would. My god, I owned this on 8-track, a 2 tape set. I don't remember the TV commercial but there had to be one. "Magic Carpet Ride", "Fais Do", "Family Affair", so many songs. One after the other. Do you ever hear a song and snap into a place and time that hasn't entered your mind in decades? I got on the bus a few stops before her and would always sit in the middle of the two-space seat so that no one would take her spot. I think it worked once. Gladys Knight and the Pips - Come Together (1975) The Harvey Averne Dozen - The Word (1967) This is one of my favorite Beatle covers. Simple and funky. Sonny and Cher - It’s Gonna Rain (1965) No one talks about this b-side, the best thing I think Sonny or Cher ever did. His voice actually compliments the lyrics. There's a version where two different (and I mean different) lead vocal takes are played simultaneously. I don't think Sonny was that subversive, to be honest. Intentionally. Steve Clayton - (Girls Are Imitating) Twiggy (1967) Discogs: Vocalist and songwriter with a long and varied career. Released numerous singles in the late 1950s and early 1960s in various musical styles but never achieved a hit. I like Steve Clayton a real lot. This is very similar music to "Music To Watch Girls By" which was a hit at the time. He is like Mel Tormé true, but I can hear another music industry schlepper, Tony Bruno. If you are a vinyl junkie-type person and you marinate in the smoky studios of the '70s in your mind occasionally, do me a favor: Find a copy of his 1978 album Steve Not David. Does he mean David Clayton Thomas? I mean, by that time, no one cared about either one. The Beach Boys - Belles of Paris (1978) Horribly uncomfortable Mike Love emoting of some pretty awful lyrics, even by his standards. Bobby Byrd - I Know You Got Soul (1971) Bobby Lee Trammell - New Dance in France (1964) ANOTHER music orphan. He tried to be Jerry Lee Lewis, and he came THAT close, but the fates dictated otherwise. God, this episode of my show is sadder than usual. Listen for the fake audience and the attempt to glom onto Beatlemania. Unlike Tony Bruno and Steve Clayton, Trammell DOES have a Wikipedia page. Boffalongo - Dancing In The Moonlight (1970) The original version. The version that hit big was actually the third version. Adam West - Miranda (1966) The Free Design - Friends (Thank You All) (1971) Alex Harvey was the original punk. His singing career began in fucking 1958. It would be 17 YEARS before he sniffed the Top 40 in the UK, and people in the USA have never heard of him mostly. But those of us who have heard of SAHB are a universally smitten lot. This was a fantastic group that never took itself too seriously. This is a common thread in great bands. They recorded until 1978, but unlike other groups of the time, their last album, Rock Drill, was just as good as the ones they recorded at their peak of popularity. I present my favorite SAHB tracks. But I like many more. Sensational Alex Harvey Band - Hot City Symphony (1974) Sensational Alex Harvey Band - Give My Compliments To The Chef (1975) Sensational Alex Harvey Band - Shake That Thing (1975) Sensational Alex Harvey Band - The Dolphins (1979) Johnny Mathis - Love Is All (Theme from “Midnight Cowboy”) (1970) Lorne Greene - Bonanza! (1964) Andy Williams - Music To Watch Girls By (1967) ??? - ??? Rodd Keith - Let's Go Savage You And I (?) A song-poem. Leonard Nimoy - I Walk The Line (1970) Starland Vocal Band - Liberated Woman (1977) I mentioned this song on the Setlusting Bruce podcast. I called this my favorite (or was it least favorite) SVB song, because of my love for the chauvinistic sentiment masked as chivalry. Nino Tempo and April Stevens - Love Story (1972) #5 in the Netherlands! From Buffalo, NY!!! Eric Burdon & The Animals - Mama Told Me Not To Come (1967) Neil Sedaka - Dimbo Man (1972)

Super Sounds of the Sixties - Episode 35

time walk playlist concrete sixties wayne fontana

Play Episode Listen Later Feb 21, 2021 120:24

Episode 35 of Tommy's weekly trip through the music of the 60's Playlist was The Hollies - On a carousel The Box Tops - Soul Deep Johnny Nash - Hold me tight Yardbirds - Over, under, sideways, down Tommy Tucker - Hi - Heel Sneakers Carole King - It might as well rain until september Prince Buster - Al Capone The nashville teens - I like it like that Prince Buster - One Step beyond Sam & Dave - Soul Man Herman's Hermits - There's a kind of hush Marvin Gaye - Can i get a witness The Kinks - All day and all of the night The Exciters - Tell Him Barrett Strong - Money (thats what i want) Ken Dodd - Tears Won't Wash Away These Heartaches Del Shannon - Ginny in the mirror Booker T & the mg's - Time is tight Wayne Fontana and the mindbenders - The game of love Unit four plus two - Concrete and Clay Hermans Hermits - Can't you hear my heartbeat Georgie fame and the blue flames - Yeah, Yeah Bob Dylan - Positively 4th Street Mike Sarne - Code of love The Tornados - Locomotion with me Hermans Hermits - Somethings Happening Ernie Washington - How about you Julie Rogers - Hawaiian Wedding song Ernie Washington - Lonesome shack Gerry and the pacemakers - You'll never walk alone Duane Eddy - Peter Gunn The Dave Clark Five - Can't you see thats she's mine Bobby Darin - If i were a carpenter The Pioneers - Long shot kicked de bucket Patti Page - Pretty boy lonely Leroy van dyke - Walk on by

Super Sounds of the 60's - Episode 29

Hubert On The Air (40UP Radio)

Play Episode Listen Later Jan 10, 2021 120:14

Episode 29 of Tommy's weekly trip through the music of the sixties This weeks playlist was The Box Tops - The Letter Betty Everett & Jerry Butler - Let it be me Wayne Fontana & the Mondbenders - Um, um , um, um ,um ,um Bobby Golsboro - Honey Ricky Nelson - Hello Marylou, Goodbye Heart Bobby Goldsboro - Danny Eric burdon & the animals - See see Rider Chris Kenner - I like it like that Shirley & Johnny - Make me an offer The Rolling Stones - Around and around Adam Faith - Step feeling sorry for yourself Ray Charles - You are my sunshine Ketty lester - Love Letters Lou Christie - Lightnin' Strikes The Show Stoppers - Eeny Meeny Classics 1V - Soul Train The Shadows - Foot tapper The Tremeloes - Silence is Golden Al Martino - I love you because Len Barry - 1 2 3 Pat Boone - Picture in the fire Selena Jones - I only know i love you Billy Fury - I'd never find another you The Chiffons - Sweet talking guy Richard Chamberlain - All i have to do is dream The Chiffons - One fine day The Rolling Stones - Little Red Rooster The Four tops - baby I need your loving Dusty Springfield - I'll try anything Chuck Berry - Memphis Tenessee Dave dee, dozy, beaky, mick & Tich - Hideaway Buchanan Brothers - Son of aloving man Chris Montez - Let's dance Wilson Pickett - Mustang Sally The Merseybeats - Wishin & Hopin' The Rolling Stones - It's all over now Peter, Paul & mary - Leaving on a jet plane

leaving wayne fontana

Hubert On The Air 165 - The Originals deel 31 - Dodenherdenking

Play Episode Listen Later Oct 29, 2020 58:39

In geen enkel jaar gingen, mede door het coronavirus, zoveel muzikanten naar Rock 'n Roll Heaven als in 2020. Vandaar mooi op tijd voor Allerzielen een hele aflevering van The Originals met overledenen. Van Mac Davis (die bijvoorbeeld ook In The Ghetto voor Elvis Presley schreef) tot Alex Harvey, van Vera Lynn (in het Duits!) tot Roy Head.En van Wayne Fontana( in een Randy Newman Original) tot Danny O'Keefe met de oerversie van Goodtime Charlie's Got The Blues (ook gecoverd door Elvis overigens...)

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De petons i abra

Geografia humana

Play Episode Listen Later Oct 19, 2020 53:07

Ara que n'anem tan escassos, repartim petons i abra

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About Love Pt. 48 - Mick Harney & Barry Sunset

About Love

Play Episode Listen Later Sep 27, 2020 68:05

Pt.1 - Mick Harney The Soul Clan - That's How I Feel (1968) Barbara Mason - Yes, I'm Ready (1965) Billy Stewart - I Do Love You (1965) Righteous Brothers - You've Lost That Loving Feeling (1965) Bobby Moore and the Rhythm Aces - Searching for My Love (1966) TYRONE DAVIS - CAN I CHANGE MY MIND (1966) The Temptations - My Girl (1965) Bettye Swan - Make Me Yours (1967) Wayne Fontana & The Mindbenders - Game Of Love (1965) Mickey & Sylvia - Love Is Strange (1956) Righteous Brothers - Unchained Melody (1955) Pt.2 - Barry Sunset Donna Lewis - I Love You Always Forever (1996) Rene & Angela - I Love You More (1981) C.C. Band - Be My Love Tonight (1983) First Choice - Love Thang (1979) Harlod Melvin & The Blue Notes - The Love I Lost (1973) Laura Taylor - Some Love (1978) Supermax - Love Machine (1977) Sharron Forrester - Love Don't Live Here Anymore (1979)

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Hubert On The Air 157

Hubert On The Air (40UP Radio)

Play Episode Listen Later Sep 3, 2020 59:23

Meindert Talma liep een ton subsidie mis. Maar ongesubsidieerd leuke muziek maken kan wel degelijk: Neem One String Sam met zijn éénsnarige gitaar. Of a capella zingen op de hoek van de straat zoals The Persuasions. Legendes Don Bryant en Dan Penn brengen mooie soul. Rock 'n Roll Heaven wordt vertegenwoordigd door Wayne Fontana en Trini Lopez. En Rufus Wainwright schmaltzt als vanouds op zijn nieuwe plaat Unfollow The Rules.

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Ola's Kool Kitchen 419

Ola's Kool Kitchen's Podcast

Play Episode Listen Later Aug 22, 2020 59:44

This podcast is unpaid and survives on donations. You can donate here via paypal www.stephenmbland.com/olas-kool-kitchen Ola's Kool Kitchen is a show on KCLA 99.3 FM in Los Angeles, 107.5 andhow.FM, Rock Velvet Radio, Maximum Threshold Radio, Rock Radio UK, Sword Radio UK, Jammerstream One, Kor Radio, Bombshell Radio, Firebrand Radio, Pop Radio UK, Radio Wigwam and Radio Six International and you can hear more shows here www.mixcloud.com/olaskoolkitchen/ Show 419 1. Tokky Horror – Girlracer-single-Alcopop 2. Kelley Stoltz - Wave Goodbye-Below The Branches-Sub Pop 3. Death Valley Girls-The Universe-Under the Spell of Joy-Suicide Squeeze 4. Ljos-Frakkur-A Foreward-self release 5. Brigid Dawson & the Mothers Network-The Fool-Ballet of Apes-Castle Face Records 6. Throckmorton-It Isn’t Real-single-self release 7. Billy Nomates-No-Billy Nomates-Invada 8. Wye Oak-No Place-No Horizon-Merge Records 9. The Orielles-Come Down on Jupiter- Disco Volador-Heavenly 10. Wayne Fontana and the Mindbenders-The Game of Love-Philips 11. Johnny Guitar Watson - Wait A Minute Baby-single-Highland Records 12. Jacques Dutronc-Mini Mini Mini-single- Disques Vogue 13. The Silver Field-Day Flowers-Sing High Sing Low-Crossness Records 14. Jason Molina-Fire on the Rail-Eight Gates-Secretly Canadian

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Rock's Backpages Ep. 81: Alan McGee on Creation Records + Primal Scream + Oasis vs. Blur

Rock N Roll Pantheon

Play Episode Listen Later Aug 18, 2020 67:33

In this episode, Barney & Jasper welcome the legendary Alan McGee into RBP's virtual cupboard. The Creation Records founder talks us through his storied career, from his school days in Glasgow to the Creation 23 label of the 21st century. Reminiscing about the early '80s Living Room gigs he put on in London, Alan describes the signings of Oasis, the Jesus and Mary Chain another great Creation acts. He also explains how Primal Scream got from Sonic Flower Groove to Screamadelica; how he almost signed Teenage Fanclub's idol Alex Chilton; how My Bloody Valentine's Loveless did (or didn't) almost bankrupt his & Dick Green's baby; and how appalled Sony were by Kevin Rowland's My Beauty album after the company acquired 49% of Creation's shares in 1992.Slightly cheekily, RBP's co-hosts then force Alan to listen to clips from a 2007 audio interview with Alex James of Oasis's Britpop nemesis Blur — except it turns out he never really hated those soft southern Sassenachs in the first place: it was all the Gallaghers' fault. Quel surprise…After paying their respects to fallen pop heroes Wayne Fontana, Trini Lopez and Seeds guitarist Jan Savage, Barney & Jasper talk through their highlights of the week's new "library load ". These include Lillian Roxon's 1966 report on "Music City USA" (i.e. Nashville); Michael Goldberg's 1983 report on MTV's exclusion of Black music videos; Joni Mitchell bellyaching in 1981 about being "written out of rock history"; a breathless 2002 review of Scandi garage rockers the Hives live at London's Astoria, and a riveting Aphex Twin interview from 2003…Pieces discussed: Creation, Creationer, Creationest, Jesus & Mary Chain, Vile Evil from East Kilbride, Primal Scream, Blur's Alex James audio, Wayne Fontana, Trini Lopez, The Seeds' Jan Savage, Death Discs, Nashville, Wizzard, Patti Smith, MTV, Joni Mitchell, Cleveland punk, Jerry Ragovoy, The Hives, Aphex Twin and Beyoncé.This show is part of Pantheon Podcasts.

Rock's Backpages Ep. 81: Alan McGee on Creation Records + Primal Scream + Oasis vs. Blur

Rock N Roll Pantheon

Play Episode Listen Later Aug 18, 2020 68:18

In this episode, Barney & Jasper welcome the legendary Alan McGee into RBP's virtual cupboard. The Creation Records founder talks us through his storied career, from his school days in Glasgow to the Creation 23 label of the 21st century. Reminiscing about the early '80s Living Room gigs he put on in London, Alan describes the signings of Oasis, the Jesus and Mary Chain another great Creation acts. He also explains how Primal Scream got from Sonic Flower Groove to Screamadelica; how he almost signed Teenage Fanclub's idol Alex Chilton; how My Bloody Valentine's Loveless did (or didn't) almost bankrupt his & Dick Green's baby; and how appalled Sony were by Kevin Rowland's My Beauty album after the company acquired 49% of Creation's shares in 1992. Slightly cheekily, RBP's co-hosts then force Alan to listen to clips from a 2007 audio interview with Alex James of Oasis's Britpop nemesis Blur — except it turns out he never really hated those soft southern Sassenachs in the first place: it was all the Gallaghers' fault. Quel surprise… After paying their respects to fallen pop heroes Wayne Fontana, Trini Lopez and Seeds guitarist Jan Savage, Barney & Jasper talk through their highlights of the week's new "library load ". These include Lillian Roxon's 1966 report on "Music City USA" (i.e. Nashville); Michael Goldberg's 1983 report on MTV's exclusion of Black music videos; Joni Mitchell bellyaching in 1981 about being "written out of rock history"; a breathless 2002 review of Scandi garage rockers the Hives live at London's Astoria, and a riveting Aphex Twin interview from 2003… Pieces discussed: Creation, Creationer, Creationest, Jesus & Mary Chain, Vile Evil from East Kilbride, Primal Scream, Blur's Alex James audio, Wayne Fontana, Trini Lopez, The Seeds' Jan Savage, Death Discs, Nashville, Wizzard, Patti Smith, MTV, Joni Mitchell, Cleveland punk, Jerry Ragovoy, The Hives, Aphex Twin and Beyoncé. This show is part of Pantheon Podcasts.

E81: Alan McGee on Creation Records + Primal Scream + Oasis vs. Blur

Rock's Backpages

Play Episode Listen Later Aug 17, 2020 67:33

Word Podcast 339 - David's day at Donna Summer's house

taylor swift acast rock and roll donna summer word podcast wayne fontana

Play Episode Listen Later Aug 13, 2020 43:25

In which we applaud the great rock and roll name changes (eg the late Wayne Fontana), get unsettled by 'Stan' culture and over-zealous Taylor Swift supporters, take the temperature of the Night They Drove Old Dixie Down, remember some footballers' hits and wonder how any rock star could be gauche enough to display their gold discs.To receive this - and every - Word Podcast ahead of the rest of the world, subscribe to our frankly marvellous Patreon: https://www.patreon.com/wordinyourear Get bonus content on Patreon Hosted on Acast. See acast.com/privacy for more information.

Beach Party du 14 août 2020

Beach Party

Play Episode Listen Later Aug 13, 2020 112:18

Programmation Beach Party du 14 août 2020 : 1ère heure : Good rockin' tonight - Elvis PRESLEY The boy from New York city - The AD-LIBS Little deuce coupe - The BEACH BOYS Surf city - JAN & DEAN Barbara Ann - The REGENTS Sha la la la - The SHIRELLES One fine day - The CHIFFONS Then he kissed me - The CRYSTALS The wanderer - DION Mama-oom-mow-mow - The RIVINGTONS Tutti frutti - LITTLE RICHARD & Wolfman Jack The game of love - Wayne FONTANA & MINDBENDERS (...) 2ème heure : That's alright mama - Elvis PRESLEY (You're so square) Baby I don't care - Buddy HOLLY Baby blue - Gene VINCENT C'mon everybody - Eddie COCHRAN Venus - Frankie AVALON Tonight I fell in love - The TOKENS Why do fools fall in love - Frankie LYMON & The TEENAGERS California dreamin' - The MAMAS & THE PAPAS Mr. Tambourine man - The BYRDS Never my love - The ASSOCIATION Girl - The BEATLES Crazy love - Paul ANKA The great pretender - The PLATTERS (...) Retrouvez la programmation complète sur notre site RTL.fr

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Word Podcast 339 - David's day at Donna Summer's house

taylor swift rock and roll word podcast wayne fontana

Play Episode Listen Later Aug 13, 2020 43:25

In which we applaud the great rock and roll name changes (eg the late Wayne Fontana), get unsettled by 'Stan' culture and over-zealous Taylor Swift supporters, take the temperature of the Night They Drove Old Dixie Down, remember some footballers' hits and wonder how any rock star could be gauche enough to display their gold discs.To receive this - and every - Word Podcast ahead of the rest of the world, subscribe to our frankly marvellous Patreon: https://www.patreon.com/wordinyourear Get bonus content on Patreon See acast.com/privacy for privacy and opt-out information.

Word Podcast 339 - David's day at Donna Summer's house

Word Podcast

Play Episode Listen Later Aug 13, 2020 43:25

In which we applaud the great rock and roll name changes (eg the late Wayne Fontana), get unsettled by 'Stan' culture and over-zealous Taylor Swift supporters, take the temperature of the Night They Drove Old Dixie Down, remember some footballers' hits and wonder how any rock star could be gauche enough to display their gold discs. To receive this - and every - Word Podcast ahead of the rest of the world, subscribe to our frankly marvellous Patreon: https://www.patreon.com/wordinyourear

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Word Podcast 339 - David's day at Donna Summer's house

taylor swift acast rock and roll donna summer word podcast wayne fontana

Play Episode Listen Later Aug 12, 2020

In which we applaud the great rock and roll name changes (eg the late Wayne Fontana), get unsettled by 'Stan' culture and over-zealous Taylor Swift supporters, take the temperature of the Night They Drove Old Dixie Down, remember some footballers' hits and wonder how any rock star could be gauche enough to display their gold discs. Get bonus content on Patreon Hosted on Acast. See acast.com/privacy for more information.

Word Podcast 339 - David's day at Donna Summer's house

Word Podcast

Play Episode Listen Later Aug 12, 2020

In which we applaud the great rock and roll name changes (eg the late Wayne Fontana), get unsettled by 'Stan' culture and over-zealous Taylor Swift supporters, take the temperature of the Night They Drove Old Dixie Down, remember some footballers' hits and wonder how any rock star could be gauche enough to display their gold discs. Get bonus content on Patreon See acast.com/privacy for privacy and opt-out information.

taylor swift rock and roll word podcast wayne fontana

Word Podcast 339 - David's day at Donna Summer's house

taylor swift rock and roll word podcast wayne fontana

Play Episode Listen Later Aug 12, 2020

In which we applaud the great rock and roll name changes (eg the late Wayne Fontana), get unsettled by 'Stan' culture and over-zealous Taylor Swift supporters, take the temperature of the Night They Drove Old Dixie Down, remember some footballers' hits and wonder how any rock star could be gauche enough to display their gold discs. Get bonus content on Patreon See acast.com/privacy for privacy and opt-out information.

Bandana Blues #855 - Brandnew Blues

Bandana Blues, founded by Beardo, hosted by Spinner

Play Episode Listen Later Aug 9, 2020 87:36

Show #855 Brandnew Blues 01. Chris McKay & The Masketeers - If You Don't Wear A Mask (You're Showing What An Ass You Are) (3:57) (Single, self-release, 2020) 02. Smoke Wagon Blues Band - Sacrifice (3:38) (The Ballad Of Albert Johnson, self-release, 2020) 03. Dave Fields - Why Can't You Treat Me Right? (4:04) (Force of Will, FMI Records, 2020) 04. Gráinne Duffy - Blue Sky (3:01) (Single, self-release, 2020) 05. Sam Joyner - Them Bluez (4:36) (When U Need A Friend, self-release, 2020) 06. Paul Gillings - I'm Never Gonna Change (4:28) (Invisible Prison, self-release, 2020) 07. Kat Riggins - No Sale (3:50) (Cry Out, Gulf Coast Records, 2020) 08. David Philips - Bliss (A Quarantine Song) (4:05) (Single, Black & Tan Records, 2020) 09. Kirsten Thien - After I Left Home (6:10) (Two Sides, Screen Door Records, 2020) 10. Scott Weis Band - Right Where It Belongs (3:14) (Simmer Me Down, Sleepy Lodge Records, 2020) 11. Savoy Brown - Devil's Highway (6:08) (Ain't Done Yet, Quarto Valley Records, 2020) 12. Downchild Blues Band - Shotgun Blues (9:38) (Live At The Toronto Jazz Festival, Diesel Management Productions, 2020) 13. Betty Fox Band - Goodbye Austin (3:15) (Goodbye Austin EP, self-release, 2020) 14. Wily Bo Walker & Danny Flam - Time To Forget You (4:32) (Ain't No Man A Good Man, Mescal Canyon Records, 2020) 15. Malaya Blue - Down To The Bone (3:39) (Single, Blue Heart Records, 2020) 16. Wayne Fontana & the Mindbenders - The Game Of Love (2:07) (45 RPM Single, Fontana Records, 1965) 17. Kinsey Report - The Game Of Love (5:59) (Edge Of The City, Alligator Records, 1987) 18. Mary Jo Curry Band - Shake & Bake (4:17) (Front Porch, self-release, 2020) Bandana Blues is and will always be a labor of love. Please help Spinner deal with the costs of hosting & bandwidth. Visit www.bandanablues.com and hit the tipjar. Any amount is much appreciated, no matter how small. Thank you.

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Oldies Breakfast Show 8th August

Colin John

Play Episode Listen Later Aug 8, 2020 119:58

Wayne Fontana, Nazareth, David Cassidy, Blondie, The Beatles, Elvis, The Temptations, Jerry Lee Lewis, Cliff Richards and a whole host more memory makers

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Beach Party du 12 juillet 2020

Beach Party

Play Episode Listen Later Jul 11, 2020 115:19

Programmation Beach Party du 12 juillet 2020 : 1ère heure : All you need is love - The BEATLES The game of love - Wayne FONTANA & MINDBENDERS Ride the wild surf - JAN & DEAN The warmth of the sun - The BEACH BOYS Sleep walk (instrumental) - SANTO & JOHNNY California dreamin' - WILSON PHILLIPS Louie louie - The KINGSMEN Barbara Ann - The REGENTS I only want to be with you - Dusty SPRINGFIELD I heard it through the grapevine - Marvin GAYE If i were a carpenter - The FOUR TOPS (...) 2ème heure : Crazy love - Paul ANKA Lucille - PETER & GORDON Made to love - The EVERLY BROTHERS My whole world is falling down - Brenda LEE Ha ! Ha ! Said the clown - MANFRED MANN Summer in the city - The LOVIN' SPOONFUL Book of love - The MONOTONES & Wolfman Jack Jenny take a ride - Mitch RYDER & The DETROIT WHEELS Hey gyp - The ANIMALS His latest flame - Elvis PRESLEY Let's go to San Francisco - The FLOWER POT MEN Tender years - GEORGE JONES (...) Retrouvez la programmation complète sur notre site RTL.fr

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EV62 (S3E2) Groovy Baby Bubblegum Music (First played October 1st, 2013)

Echo Valley: The Original Bubblegum Music Podcast

Play Episode Listen Later May 28, 2020 59:23

Another hour of non-stop bubblegum fun! An Echo Valley world premiere of a great new Archies tribute song by Bill Dann and Jack Servello! A rare Mike Lookinland solo recording (Bobby from the Brady Bunch)! An amazingly bubbly DeFranco Family single! A dramatic reading of Archie Club News from a 1971 Archie comic book! Bob Marley sings gum! And plenty of unusually catchy bubblegum music from the Bourbon Family, The Buffoons, Wayne Fontana and the Mindbenders, The Electric Banana, The Archies, Lou Christie, Brian Hyland, Sally Field, Andy Kim, Tommy James and the Shondells, 1910 Fruitgum Company, The Shadows of Knight and The Tygers!

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Consequences 10cc podcast 45: The Sixties - Eric Stewart the Mindbender

Godley & Creme's Consequences

Play Episode Listen Later May 24, 2020 59:28

This week Paul and Sean are joined by podcast regular Pany Bogdanos and author of 'The Worst Band in the World' Liam Newton. Both bring some welcome perspectives and factual accuracy to this week's look at Eric Stewart's work in the 1960s. We try to give Eric's 60s work a thorough going-over here. We cast the time machine back to Eric's first record, his first band and some lucky coincidences that saw his early career reach giddy heights very quickly indeed. Their 'Game of Love' was a huge hit on both sides of the Atlantic, at a time when Manchester bands were enjoying disproportionate success Stateside. Harvey and Ric would have been key players in this of course! At first playing lead guitar fiddle behind singer Wayne Fontana, Eric was thrown into the spotlight as lead singer once his predecessor had flown the nest, and scoring a monster hit with the classic 'Groovy Kind of Love'. Paul relishes his moment to tell us where the song's brilliant writers Wine and Bayer-Sager came by its melody! The band, the now Wayne-less Mindbenders never managed to match the success of this wonderful record, but their attempts became ever more interesting and worthwhile. The immediate follow-up, 'Can't Live With You, Can't Live Without You' for example is an absolute beauty. We put a lot of focus on this fascinating period for the band, where they embrace many of the musical tropes of the time, and become a little psychedelic in the process. And very effectively too. Perhaps most interestingly, we see Eric start to develop as a songwriter, and a number of his tunes can be found on the b-sides of these later singles. 'My New Day and Age' in particular is a cracker. We also discuss his fascinating vocal journey; Eric hasn't found his natural voice yet, but he makes some highly proficient attempts. He's almost unrecognisable in places from the man who would blossom into one of the best, and most underrated singers in 1970s pop. So, much to enjoy here. Onto the late 70s and early 80s next time, with Eric's first solo projects 'the 'Girls' soundtrack and 'Frooty Rooties.

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Echo Valley Epsiode 27 (From February 27th, 2012)

Echo Valley: The Original Bubblegum Music Podcast

Play Episode Listen Later Apr 22, 2020 58:12

The games children play! We sample from the zillions of bubblegum songs about games. The 1910 Fruitgum Company reminisces about Simon Says. A dramatic reading from a whole book about Steve McQueen's love of motorcycles. A bunch of Yo-Yo songs. We welcome the new high school basketball coach, GD Spradlin! And, of course, great bubblegum music from The Brady Bunch, The Music Explosion, The Cordells, The Candy Rock Generation, East Main St. Explosion, The Hondelles, The Wombles, Wayne Fontana and the Mind Benders, The Protozoa, The Love-Ins, The Royal Guardsmen, The Osmonds and The Harlem Globetrotters

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Kluun is Aan 046

Kluun is Aan (40UP Radio)

Play Episode Listen Later Jan 25, 2020 59:03

Je hoort muziek van Beastie Boys, Wayne Fontana, Strand Of Oaks, The Waterboys, Suede, Cock Robin en Johnny Marr. En ook de vaste onderdelen als Zeikpop, de muziekmissionaris, The Secret Garden ontbreken natuurlijk niet.

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45s and More Revolutions: Mid-Season Replacement Series, Episode 3.

Vinyl-O-Matic

Play Episode Listen Later Jan 23, 2020 55:41

Herman's Hermits [00:30] "I Can Take or Leave Your Loving" MGM Records K 13885 Reached number 22 on the US charts. Bobby Darin [03:02] "Mack the Knife" ATCO Records 45-6147 1959 Bobby Darin's number one smash hit interpretation of the Berthold Brecht/Kurt Weill classic. The Fabulous Echoes [06:07] "Please Leave Her to Me" Liberty Records 55755 1964 Hong Kong garage rockers who would eventually become part of Don Ho's circle of musicians. Victor Lundberg [08:24] "Open Letter to My Teenage Son" Liberty Records 55996 1967 Phew... that may be the longest 4 minutes and 23 seconds of my life. Oh those rascally teenagers. This spent exactly 6 weeks on Billboard's Hot 100, peaking out at number 10. Vic Dana [14:05] "Lovey Kravezit" Dolton Records No. 317 1966 Definitely a new one by me. Evidently inspired by a character from the C-grade James Bond cash-in The Silencers featuring Dean Martin as Matt Helm. The character in question is portrayed by Beverly Adams, who also appeared in two other Matt Helm vehicles, as well as How to Stuff a Wild Bikini as the object of Eric Von Zipper's affections and the Bewitched episode "George the Warlock" as Dora "D. D." Danger O'Riley The Buckinghams [16:32] "Kind of a Drag" U.S.A. Records TM 1783 1966 A number one hit on the Hot 100 for this Chicago band. Wayne Fontana [18:37] "Pamela, Pamela" MGM Records K 13661 1966 So this is what Wayne gets up to without the Mindbenders. Who kissed whom in the woods? Dude, you're totally crossing pop culture references. Irma Thomas [20:48] "Some Things You Never Get Used To" Imperial Records 66095 1965 A mighty fine single from the Soul Queen of New Orleans. Somehow this Van McCoy single never gained any traction on the charts. However it did become a big hit on the Northern Soul scene. Ed Ames [25:01] "My Cup Runneth Over" RCA Victor 47-9002 1967 A number one hit on... the Adult Contemporary charts in 1967 from one of the Ames Brothers and frequent portrayer of Native Americans on television. Three Dog Night [27:45] "Joy to the World" Dunhill/ABC Records 45-4272 Three Dog Night bringin us their 1971 smash hit. Penned by Hoyt Axton, this easily made it to the number spot on the Hot 100. Jimmy Holiday [31:08] "Baby I Love You" Minit MIN 32002 1966 Some quality soul from who helped compose "Put a Little Love in Your Heart". This single reached number 98 on the Hot 100 and number 21 on the R&B charts. Brewer and Shipley [33:43] "One Toke Over the Line" Kama Sutra KA-516 1970 Yeah, somehow this one made it to number 10 on the Hot 100 despite Spiro Agnew's protestations. And produced by Occidental, California resident Nick Gravenites. The Osmonds [38:13] "One Bad Apple" MGM Records K 14193 1970 If this number one gold record sounds like The Jackson 5, well that's because it was written by papa George Jackson. Mitch Ryder and the Detroit Wheels [41:02] "Devil with a Blue Dress On/Good Golly Miss Molly" New Voice Records 817 1967 This uptempo version of Shorty Long's "Devil..." reached number 4 on the hot 100, the most successful outing. King Harvest [44:19] "Dancing in the Moonlight" Percecption Records P 515 1972 Zut alors, a little number from a Paris-based band King Harvest. This made it up to number 13 on the Hot 100. The 5th Dimension [47:18] "Save the Country" Bell Records B 895 1970 The most succesful recording of this Laura Nyro tune, reaching as far as number 27 on the Hot 100. Music behind the DJ: "Mack the Knife" by Dick Hyman

Consequences 10cc podcast 31 - Bargains Unlimited: Graham Gouldman in the 1960s pt.1

Godley & Creme's Consequences

Play Episode Listen Later Jan 5, 2020 74:15

Paul and Sean give Graham Gouldman's prolific songwriting of the 1960s our trademark 'forensic' going-over in these next two episodes. We look in detail at many of Graham's most famous and successful songs, including his big hits for Herman's Hermits, the Hollies and the Yardbirds. We also criticise and admire many of the near-misses and simply forgotten gems in his huge songwriting canon, with his own recordings with the Whirlwinds and Mockingbirds, and songs covered by Wayne Fontana, Cher, Friday Brown and Toni Basil, Dave Berry and many others. We've dug deep to bring you some songs that only exist as acetate demos! Paul's guitar makes its pod debut, as he takes us through some of Graham's wonderful chord progressions, and even examines a possible influence from Jewish religious music. Next week, we focus our attention on Graham's brilliant debut album, 'The Graham Gouldman Thing', and touch on the massive lyrical influence of his father Hymie.

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Episode 88: American Timelines: 1965, part 3

American Timelines

Play Episode Listen Later Nov 27, 2019 50:32

Episode 88: The Icebox Murders & Willis The Hero. American Timelines1965, Part 3. Todd Bridges was born to be a hero, A couple is found dismembered in their own icebox, and Wayne Fontana is NUTS! Season 4, Episode 30, of American Timelines! Part of the Queen City Podcast Network: www.queencitypodcastnetwork.com. Credits Include: Popculture.us, Mental Floss, Criminal, The Vintage News, Wikipedia, IMDB & Youtube. Information may not be accurate, as it is produced by jerks. Music by MATT TRUMAN EGO TRIP, the greatest American Band. Click Here to buy their albums!

AsabiDJ 01.12.2018 programi - Cok acayip seylerin oldugu bir program. Desert blues'dan Mogol Rock'a...

Asabi DJ

Play Episode Listen Later Nov 17, 2019 80:30

Cok acayip seylerin oldugu bir program. Desert blues'dan Mogol Rock'a...“Lady D'Arbanville” AsabiDJ, Canli Yayin ? Yusuf / Cat Stevens“The Game of Love” AsabiDJ, Canli Yayin ? Wayne Fontana & The Mindbenders“Bo Diddley” AsabiDJ, Canli Yayin ? Bo Diddley“Only the Lonely” AsabiDJ, Canli Yayin ? Chris Isaak“Sweets for My Sweet - Stereo Version” AsabiDJ, Canli Yayin ? The Searchers“Qué vendrá” AsabiDJ, Canli Yayin ? Zaz“Vrai ou faux” AsabiDJ, Canli Yayin ? Marka, Ali Abdul Sattar“Walk Like An Egyptian - Recorded at Metropolis Studios, London” AsabiDJ, Canli Yayin ? Jade Bird“Coin-Operated Boy” AsabiDJ, Canli Yayin ? The Dresden Dolls“Love Interruption” AsabiDJ, Canli Yayin ? Jack White“The Words That Maketh Murder” AsabiDJ, Canli Yayin ? PJ Harvey“Me And The Farmer” AsabiDJ, Canli Yayin ? The Housemartins“Sastanàqqàm” AsabiDJ, Canli Yayin ? Tinariwen“Yuve Yuve Yu” AsabiDJ, Canli Yayin ? The HU“Ruby” AsabiDJ, Canli Yayin ? Ali Farka Touré, Toumani Diabaté“Wolf Totem” AsabiDJ, Canli Yayin ? The HU“Alghalem” AsabiDJ, Canli Yayin ? Terakaft“Sombaraï” AsabiDJ, Canli Yayin ? Mathias Duplessy“Non, je ne regrette rien” AsabiDJ, Canli Yayin ? Édith Piafhttps://open.spotify.com/user/hakanerim-tr/playlist/7aZpK1nibB2NH9cSOaqinf?si=Y51jN1U3T7-PgJ-ndQS1Nw

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Jazzamatazz - Smiling Sixties 12

Bombshell Radio

Play Episode Listen Later Sep 26, 2019 60:00

Wednesdays 2pm-4pm ESTToday’s Bombshell (Bombshell Radio) Bombshell RadioJazzamatazz Double Header FRIDAYS 1pm-3pm EST 6pm-8pm BST 10am-12pm PDT bombshellradio.comSunday 7pm-8pm ESTSmiling Sixties is a collection of non-stop hits & classics from the 1960s. A blend of Rock'n'Roll,Soul,Pop,Beat,Rock & lots more groovy sounds from a great decade of music. 23 tracks that still put smiles on faces over half a century later. Smiling Sixties Vol.12 with Classics IV, Stevie Wonder, The Kinks, Chris Andrews, The Beatles, Lulu, Jimmy Castor Bunch, Jimmy Cliff, Wayne Fontana & The Mindbenders, Curtis Lee, Clarence Henry, The Temptations, Big Dee Irwin, Billy J. Kramer With The Dakotas, Tommy Roe, Gerry & The Pacemakers, Scaffold, Traffic, The Rolling Stones, The Move, The Hollies, Elvis Presley, The Doorsoldies, #pop, #rock, #soul, #r&b, #classics, #rocknroll1 Spooky Classics IV 2 Shoo-Be-Doo-Be-Doo-Da Day Stevie Wonder 3 Waterloo Sunset The Kinks 4 Yesterday Man Chris Andrews 5 Lady Madonna The Beatles 6 Love Loves To Love, Love Lulu 7 Hey Leroy, Your Mama's Calling Jimmy Castor Bunch 8 Wonderful World, Beautiful People Jimmy Cliff 9 The Game Of Love Wayne Fontana & The Mindbenders 10 Pretty Little Angle Eyes Curtis Lee 11 But I Do Clarence Henry 12 My Girl The Temptations 13 Swinging on a Star Big Dee Irwin 14 Little Childeren Billy J. Kramer With The Dakotas 15 Dizzy Tommy Roe 16 Ferry Cross The Mersey Gerry & The Pacemakers 17 Thank U Very Much Scaffold

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On Target: It's What's In The Grooves That Count

On Target

Play Episode Listen Later Jul 7, 2019 61:08

This is episode #222!! Teetering on the precipice of Rockabilly and jumping off into a sea of R&B this week finds Mod Marty navigating the choppy waters of fuzz guitar and Hand claps, Screaming soul and shake-your-tuchas, rattle-your-cage Blues. The destination? A Northern Soul, double-sided, Holy Grail. Get into it! Please like the Facebook page here: facebook.com/ontargetpodcast/ ------------------------------------------------- The Playlist Is: She's Got It" Little Richard - Regency "My Babe" Dale Hawkins - Quality "What'cha Gonna Do" Gary Ray & The Charms - Emerson "Lets Rock While the Rockin's Good" Little Willie John - Delta "Twist And Shout" The Isley Brothers - Quality "Don't Wanna Twist No More" Gabriel & The Angels - Quality "Junco Partner (A Worthless Cajun)" Nobody's Children - United Artists "Get Something Going" Paper Dragon - Bell "Comin' At You" The Reflections - Golden World "The Pearl" Jerry O - Shout "Love-Itis" Harvey Scales & The Seven Sounds - Magic Touch "The Duck" Jackie Lee - Sparton "Steppin' Out" John Mayall & The Bluesbreakers with Eric Clapton - Decca "Rollin' And Tumblin'" Johnny Winter - Imperial "Waitin' On You" B.B. King - ABC "Midnight Moses" Alex Harvey - Fontana "It's Just A Little Bit Too Late" Wayne Fontana & The Mindbenders - Fontana "Gonna Have A Good Time" The Clingers - Columbia "Soul Superman" The Hesitations - Kapp "I'm Not Built That Way" The Hesitations - Kapp "Come On Down" Wes Dakus - Capitol

45s and Other Revolutions: A-Sides beginning with the letter F, and some that begin with G

Vinyl-O-Matic

Play Episode Listen Later Sep 28, 2018 62:49

Palace Live a side: "For the Mekons, et al" b side: "Stable Will" Palace Records PR13 1996 Neil Diamond a side: "Forever in Blue Jeans" b side: "Remember Me" Columbia Records 3-10897 1978 Peaked at #20 on the Billboard Hot 100. Ugh, that B-side soo 70s adult contemporary (ಠ_ಠ) God Is My Co-Pilot a side: "4 Steps Down the Road to Trouble"/"I Pulled Up to Park" b side: "Iko"/"Better Get In Your Soul" The Making of Americans 1991 Whoops! Forgot to mention this excellent single in the mic break. Fun fact: Every copy of this single is 1 of 500. The Sweet a side: "Fox on the Run" b side: "Burn on the Flame" Capitol Records 4157 1975 Now this is how you incorporate synths into a song, unlike say... "Forever in Blue Jeans". Fun fact: The Scorpions covered this song?! (and "Action" too?!) Also the more recent version by The Regrettes is pretty rad too. Edgar Winter Group a side: "Free Ride" b side: "When It Comes" Epic Records 5-111025 Sounding a little like Dr. Teeth on the b-side. 1972 The J Geils Band a side: "Freezeframe" b side: "Flamethrower" EMI America B-8108 1981 Funk-y b-side! Lipps, Inc. a side: "Funkyotwn" b side: "All Night Dancing" Casablanca Records NB 2233 1979 Kind of a weird feel on the b-side. I'm supposed to dance all night to that? Wayne Fontana & the Mindbenders a side: "Game of Love" b side: "Since You've Been Gone" Fontana Records F-1503 A little on the hetero-normative side, but pretty catch. And the b-side is even catchier!

Come To The Sunshine 121 - the songs of Randy Newman

Come To The Sunshine

Play Episode Listen Later Oct 23, 2017 114:06

In an episode first aired on October 23, 2017: DJ Andrew Sandoval reviews the wonderful songwriting work of Randy Newman with selections recorded between 1963 - 1971 as performed by Billy J. Kramer, Saturday's Children, Nashville Teens, Eric Burdon & The Animals, Van Dyke Parks, Wayne Fontana, Tom Northcott, The Everly Brothers, Nilsson, Harper's Bizarre, The Alan Price Set, Cilla Black, Dusty Springfield, Ruthann Friedman, Claudine Longet, Lori Burton, Eddie Hodges, Frankie Laine, P.J. Proby, Gene Pitney, The Epics, Tommy Boyce, Manfred Mann, Beverley, Ella Fitzgerald, Davy Jones, The Brothers, The Beau Brummels, Rick Nelson and Randy himself.

Eric Stewart Part 1

The Strange Brew - artist stories behind the greatest music ever recorded

Play Episode Listen Later Aug 29, 2017 73:50

To tie in with the release of Eric Stewart's autobiography ‘The Things I Do For Love' and the Eric Stewart Anthology, Eric talks to Jason Barnard in the first of two podcasts covering his remarkable career. Eric Stewart – Night And Day (Frooty Rooties, Mercury, 1982) Wayne Fontana and The Mindbenders – The Game of […] The post Eric Stewart Part 1 appeared first on The Strange Brew.

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Come To The Sunshine 115 - The Songs Of Mann/Weil

Come To The Sunshine

Play Episode Listen Later Jun 12, 2017 118:35

In an episode first aired June 12, 2017: DJ Andrew Sandoval spotlights the songs of Barry Mann & Cynthia Weil, with rare selections by Max Frost & The Troopers; The Stained Glass; Barry Mann; Paul Revere & The Raiders featuring Mark Lindsay; Del Shannon; Keith Allison; Chad & Jeremy; Dave Berry; The Paris Sisters; The Ronettes; Nino Tempo & April Stevens; The Executives; The Lovin’ Spoonful; The Crystals; Wayne Fontana & The Mindbenders; The Beach Boys; The Everly Brothers; Twice As Much with Vashti; Harper's Bizarre; Bergen White; Barry Gordon; The Monkees; Dusty Springfield; Neil McArthur; The Animals; The Shadows; Bruce & Terry; The Dave Clark Five; The New Dawn; Mama Cass; Lulu; Herman's Hermits; The Fortunes; Nancy Priddy; The Will-o-bees

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Missing In Action 97 (w/c 25-01-16)

On The Radio with James Murphy

Play Episode Listen Later Jan 27, 2016 55:51

Here's The Playlist: 1 The Osmonds - Having A Party 2 Marvin Rainwater - Whole Lotta Woman 3 Wet Wet Wet - Wishing I Was Lucky 4 Pilot - January 5 Dusty Springfield - Wishin' & Hopin' 6 The Housemartins - Caravan Of Love 7 Leo Sayer - Show Must Go On 8 The Kinks - Dead End Street 9 The Who - Happy Jack To hear songs 10-45, you'll need to be subscribe (See below) 46 Wayne Fontana & The Mindbenders - Game Of Love 47 Steely Dan - Doctor Wu 48 Teri De Sario - Ain't Nothin' Gonna Keep Me From You 49 Wet Wet Wet - Angel Eyes 50 Double - Captain Of Her Heart 51 Bob Dylan - Maggie's Farm 52 Rupert Holmes - Him You can subscribe to my shows at http://bit.ly/1PcJC6o

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Music Memories 494 Wayne Fontana and the Mindbenders

Mike Schulz's posts

Play Episode Listen Later May 3, 2015 3:59

By Brother Cinaedus #Pride48, #MusicMemories

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Come To The Sunshine #96 - Tommy Roe

Come To The Sunshine

Play Episode Listen Later Jun 16, 2014 125:15

In an episode first aired June 16, 2014 DJ Andrew Sandoval hosts episode #96 of "Come To The Sunshine." Hour one of the program features twenty rare vinyl singles in mono from: Billy Fury; Bernadette Peters; The Blue Things; Randy Fuller; Don Lee Wilson; King David; Wayne Fontana; Spencer Davis Group; The Searchers; The Moody Blues; The Reivers; Nancy Sinatra; Pozo-Seco Singers; Jerry Shore; Corvettes; The Royal Groove; The Smithsonian Institute; Scott McKenzie; The Mother Love; The Subterranean Monastery. Hour two of the program features twenty-five in a Roe from Tommy Roe in an all "monoe" artist spotlight. A full playlist will be posted at www.cometothesunshine.com

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EV62 (S3E2) Groovy Baby Bubblegum Music

Echo Valley: The Original Bubblegum Music Podcast

Play Episode Listen Later Oct 2, 2013 59:24

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Episode 152 - Groovy Kind of Love

PZ's Podcast

Play Episode Listen Later Sep 29, 2013 31:58

The text is Isherwood's journal entry for August 3, 1967. The topic: How to grow in love for the people who are right around you. Lesley Gore is going to help us, plus, naturally, William Hale White; plus Gerald Heard; plus Wayne Fontana.

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33. A Great Catharsis

Radio Free Gunslinger

Play Episode Listen Later Jan 20, 2013

Your host for this edition of Radio Free Gunslinger, is Vincent PriceThe ContentFirst Sequence:Lalo Schifrin - Theme from 'Mannix'The Randy Newman Orchestra - Theme from 'Peyton Place'Nelson Riddle & His Orchestra - Theme from 'The Naked City'Henry Mancini - Theme from 'Mr. Lucky'The Dave Brubeck Quartet - Theme from 'Mr. Broadway'Second Sequence:Elvis Presley - Young and BeautifulAl Kooper - Brand New DayWayne Fontana & The Mindbenders - It's Getting Harder All the TimeCat Stevens - Don't Be ShyCharlie Smalls - Never Felt Like This BeforeThird Sequence:Armando Trovaioli - Vedo nudoRiz Ortolani - Beat fuga shakeNora Orlandi - SohoNico Fidenco - Supercolpo shakeLuis Enríquez Bacalov - SensiFourth Sequence:Bobby Womack - Harlem Love ThemeJohnny Pate - Brother on the RunCurtis Mayfield - Freddie's Dead (instrumental)Ripple - Get OffMelvin Van Peebles - Sanra Z/VoicesSummation:The Chico Hamilton Quintet - Concerto of Themes from 'Sweet Smell of Success'

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050: Who's Gonna Mend My Rainbow? (Cian Ó Cíobháin)

Shock World Service

Play Episode Listen Later Dec 28, 2012 72:13

Shock World Service 50 Who's Gonna Mend My Rainbow? by Cian Ó Cíobháin 28/12/12 Galway, Ireland 1. Chilly Gonzales – Kenaston A man with an unfair edge on pretty much every other male on the planet – check his track “Take Me To Broadway” where he boasts of having an extra testicle. 2. Rachel Zeffira – To Here Knows When With talk of a new My Bloody Valentine LP, we'll try not get our hopes up and wallow instead in this pretty cover of one of the ‘Loveless' LPs finest moments. 3. Alice Cohen – Cascading Keys This bears all the hallmarks of a lost 4AD classic but turns out to be the highlight of Alice Cohen's recent LP ‘Pink Keys.' 4. The Go-Betweens – Bachelor Kisses Grant McLennan wrote this song during Christmas '83 on his way back to London from New York. He penned it whilst sitting in immigration having been refused entry to the UK. 5. Blood Orange – Instantly Blank (The Goodness) Dev Hynes, previously of short-lived dance punk troupé Test Icicles and who later went solo playing folk-pop as Lightspeed Champion, won me over briefly with this romantic jam. 6. SlowPlaceLikeHome – Talby's Tower 2012 was a vintage year for the good folk of Co. Donegal. Not content on sauntering their way to Gaelic football All-Ireland glory, devouring several footballing superpowers on their way. 7. Os Mutantes – Panis Et Circenses Tropicália legends Os Mutantes from São Paulo, Brazil with this magical mystery tour various music genres from 1966. A 8. Young Dreams – Fog Of War (Korallreven Remix) Sweden's Korrallreven remix Norway's Young Dreams and in the process transport Scandinavia to a 1960's west coast Brian Wilson-esque wonderland. 9. Animal Collective – Applesauce I came to their latest LP with pretty low expectations on the back of lukewarm reviews. What a pleasant surprise to find that the haters and naysayers couldn't have been more off the mark. ‘Centipede HZ' is a riot of colour and ideas and infinitely more interesting than 90% of what passes for Pitchfork –endorsed indie these days. 10. The Pale Saints – You Tear The World In Two From Leeds and one of the better of the shoegazing bewildebeast that roamed the pastures of the Melody Maker cultivated indie landscape back in the day. 11. Arthur Russell – Habit Of You The man with the largest post-humous back catalogue since Johann Sebastian Bach took my breath away when I rediscovered this lost classic from his ‘Love Is Overtaking Me' LP. 12. Arto Lindsay – Simply Are From Arto Lindsay's third solo LP ‘Noon Chill,' originally released in '97, the LP masterfully draws on art pop, tropicália & bossa nova traditions. 13. The Durutti Column – My Country To my shame, I was a latecomer to the music of Vinni Reilly's The Durutti Column. Finally this year I began to investigate his music – thanks to tips from listeners of my radio show – in spite of being aware of the existence of The Durutti Column since I first heard the immortal words “Factory Records” being uttered by someone at the back of the school bus to Dingle as a young fella. 14. Tortoise – Glass Museum Keith Wallace AKA Loner Deluxe and éminence grise of the Rusted Rail label was all over post-rock before anyone else during my college days and stuck this one on tape for me during my UCG years. 15. Gene Pitney – 24 Sycamore Originally a massive hit in Australia for Manchester-born Wayne Fontana in '67, I got to hear the Gene Pitney cover from '73 before the original. 16. Jim O' Rourke – Insignificance ‘Insignificance' is also the title of Chicago musician's third LP from 2001, from whence this track is lifted from. 17. Laetitia Sadier – Silent Spot The former Stereolab chanteuse's second LP ‘Silencio' was released with a minimum of fanfare in '12 and boasted several lovely moments. 18. Sonic Youth – Schizophrenia For me, few singers, or creators of music can better Sonic Youth 1980's output. 19. Grouper – Alien Observer One of Liz Harris' finest ever songs and that's saying something.

Interview with Uri Geller

Play Episode Listen Later Sep 7, 2006 29:48

This week Opal talks to world famous psychic and television personality Uri Geller. From his extraordinary childhood right through to his spoon bending antics, Opal finds out exactly what Uri Geller does in a typical day. Uri gives his side of how his friendship with Michael Jackson went wrong. From bending contraceptive coils to hidden cameras between his teeth, Uri tells all. We also find out exactly what the mystery package under his arm at the airport contained...

Interview with Richard Carpenter

europe travel air travelers ipods travellers davy living legends john walker pete townshend andy williams big l peter tork frankie laine richard carpenter john steel wayne fontana marty wilde

Play Episode Listen Later Aug 17, 2006 31:33

Richard Carpenter talks to Opal live on the BigL. Richard talks about the artistic freedom he was given by his record label when he recorded back in his youth.

Interview with Wayne Fontana

Play Episode Listen Later Aug 1, 2006 14:24

Another week, another celebrity interview. Opal Bonfante is joined by Wayne Fontana, founder of The Mindbenders and chats with him live on the phone. Wayne talks about his satisfaction from performing in the UK and his current tour. Wayne talks about how the group started out in the Jets and forming what he describes as a ?skittle group?.

Interview with Susannah Hoffs

europe travel air travelers ipods travellers davy living legends bangles john walker pete townshend andy williams peter tork frankie laine richard carpenter john steel wayne fontana marty wilde hoffs

Play Episode Listen Later Jul 15, 2006 23:09

The Bangles reunited in 2000 and have been releasing new music over the past three years. Susannah Hoffs speaks to Opal about how the band has been coming back together again. As a mother of two, Susannah chats with Opal about juggling family life with her passion for music as well as her thoughts on the success of the band back in the 1980?s.

Interview with Davy Jones

Play Episode Listen Later Jun 30, 2006 22:11

Opal is joined by a surprise guest on the phone, none other than the legendary and very lively Davy Jones from the Monkees. Jones talks about his fond memories of 60's music and frank opinions of today's pop stars. Neglected by the British press but still big in America, Davy Jones talks to Opal before finally emigrating to the States.

Interview with Pete Townshend