Podcasts about what have they done

We're always looking at new ways to approach the 90s, and in the past we've revisited the output from bands and artists that got that start in the 1970s and 80s, like Tom Petty, KISS, Van Halen, and others. At the suggestion of our friend and 80s Metal co-host Chip, we've revamped the format for a fresh start. We kick it off with progressive arena rock veterans Styx, and start by checking out their 70s and 80s greatest hits to re-familiarize ourselves with the songs that became staples on classic rock radio for decades - "Come Sail Away," "Renegade," "Mr. Roboto," "Lady," and many more. Then we check out their 90s releases - the 1990 album Edge of the Century, which did not feature guitarist Tommy Shaw, then guitarist for Damn Yankees, and then their 1999 reunion with Shaw, and last with lead singer/keyboardist Dennis DeYoung, Brave New World. Unlike many of their classic rock peers, Styx managed to score a hit single at the start of the decade with the ballad "Show Me The Way." From their, we catch up with the band and current status to determine if the band thrived in the 90s, merely adapted to the times, or creatively died.   Songs In This Episode Intro - Show Me The Way (from Edge of the Century) 7:40 - Blue Collar Man (Long Nights) (from Pieces of Eight) 28:42 - Suite Madame Blue (from Equinox) 38:56 - Back To Chicago (from Edge of the Century) 41.57 - All In A Day's Work (from Edge of the Century) 58:57 - What Have They Done to You (from Brave New World) Outro - Everything Is Cool (from Brave New World)   Support the podcast, join the DMO UNION at Patreon. Listen to the episode archive at DigMeOutPodcast.com.

We're always looking at new ways to approach the 90s, and in the past we've revisited the output from bands and artists that got that start in the 1970s and 80s, like Tom Petty, KISS, Van Halen, and others. At the suggestion of our friend and 80s Metal co-host Chip, we've revamped the format for a fresh start. We kick it off with progressive arena rock veterans Styx, and start by checking out their 70s and 80s greatest hits to re-familiarize ourselves with the songs that became staples on classic rock radio for decades - "Come Sail Away," "Renegade," "Mr. Roboto," "Lady," and many more. Then we check out their 90s releases - the 1990 album Edge of the Century, which did not feature guitarist Tommy Shaw, then guitarist for Damn Yankees, and then their 1999 reunion with Shaw, and last with lead singer/keyboardist Dennis DeYoung, Brave New World. Unlike many of their classic rock peers, Styx managed to score a hit single at the start of the decade with the ballad "Show Me The Way." From their, we catch up with the band and current status to determine if the band thrived in the 90s, merely adapted to the times, or creatively died.   Songs In This Episode Intro - Show Me The Way (from Edge of the Century) 7:40 - Blue Collar Man (Long Nights) (from Pieces of Eight) 28:42 - Suite Madame Blue (from Equinox) 38:56 - Back To Chicago (from Edge of the Century) 41.57 - All In A Day's Work (from Edge of the Century) 58:57 - What Have They Done to You (from Brave New World) Outro - Everything Is Cool (from Brave New World)   Support the podcast, join the DMO UNION at Patreon. Listen to the episode archive at DigMeOutPodcast.com.

312) What Have They Done to Yours daughters? (1974)

It's week two of “I need my space, man” or “Alien? I barely KNOWlien!” and while we begin the episode torn asunder due to Curtis' Covid outbreak, we quickly come to an emotional stasis as we gush about the practical mad genius of the Chiodo Bros. KILLER KLOWNS FROM OUTER SPACE! That makes it one to one in the aliens come to earth vs the horrors in space camps this series so stick around and see what Cody selects for next time…   00:00 - 10:30ish - Friendship! Curtis had Covid! Cody bought some knockoff brand lights!   10:30ish - 58:00ish - The other stuff we watched this time!   Curtis: Season of the Witch (2011), What Have They Done to Your Daughters?, The Holy Mountain, 3 From Hell, Sleepaway Camp, SPL 2: A Time for Consequences, Riki-Oh: The Story of Ricky, Don't Tell Mom the Babysitter's Dead, American Movie, Ghostwatch, Guy Ritchie's The Covenant, Noroi: The Curse, Cathy's Curse, The Tunnel, The Planet of the Apes (1968), and Beneath the Planet of the Apes.   Austin: The Holy Mountain, Ex Machina, A Bucket of Blood, Abigail, and The First Omen   Cody: The Holy Mountain, Abigail, Civil War, Fright Night (1985), Night of the Creeps, Ready or Not, The Girl Who Knew Too Much, and Before Sunrise.   Lucas: The Holy Mountain and Abigail   58:00ish - 1:35:00ish - KILLER KLOWNS FROM OUTER SPACE - SHUDdown and discussion!   1:35:00ish - End - Our next movie in the “I need my space, man!” or “Alien, I barely KNOWlien!” series.

It's a new week and a new theme as the SHUDcast boldly goes to the final frontier… or stays home and welcomes extra-terrestrial life to earth, it's up to us really… as we dig into “I need my space, man” OR “Alien? I barely KNOW-lien!” and space horror! On our journey we'll catch up with some new cult favorites, a couple of new release bangers, and reach our destination outside the rings of Neptune with EVENT HORIZON! And my what non-legally actionable sights it showed us!   00:00 - 9:15ish - Friendship - We introduce our new theme for this mini-series and Austin tries his damnedest to wrestle a tenet of the show from Curtis with disastrous results!   9:15ish - 53:00ish - The other stuff we watched this time!   Curtis: Stopmotion, Black Out, The Unbinding, House of Wax (2005), Tourist Trap, The Bird With The Crystal Plumage, Mute Witness, and Civil War   Austin: Mute Witness, Civil War, and Once   Cody: Stopmotion, Black Out, The Unbinding, Mute Witness, Civil War, What Have They Done to Your Daughters?, Sting, and Arcadian   Lucas: Sasquatch Sunset, Strange Way of Life, and On the Line   53:00ish - 1:44:00ish - EVENT HORIZON - SHUDdown and discussion!   1:44:00ish - End - Our next movie!

This week Jeff pays tribute to a singer who was a huge part of the 1960's and 1970's musics scene. She was loved all over the world. "She is widely known for the 1971–72 global hit "Brand New Key"; her 1970 version of "Ruby Tuesday", which was originally written and recorded by the Rolling Stones; her composition "What Have They Done to My Song Ma"; and her 1970 international breakthrough hit "Lay Down (Candles in the Rain)" (inspired by her experience of performing at the 1969 Woodstockmusic festival).[3][4"]" (Wikipedia citation) Lets remember Melanie and raise our coffee cups to a wonderful singer. Enjoy this cup of coffee with Mary B's 5th son.-IF YOU LIKE THIS WEEKS EPISODE HELP US GROW THIS PODCAST BY RATING, SUBSCRIBE, AND FOLLOW US ON INSTAGRAM @MARYBS5THSON. FINALLY, PLEASE SHARE THIS PODCAST WITH THOSE YOU LOVE TO HELP US CONTINUE TO CREATE CONTENT FOR YOU TO ENJOY EVERY SUNDAY MORNING OR ANYTIME! 

So, your in for a treat. What Have They Done to Your Daughters? from 74 with special guest hosts my girl friend April and her friend Sam. The recording is very live and loud but I hope you dont mind that.

Rob and Matt talk with legendary singer / songwriter MELANIE! We talk to Melanie about her experience at the original woodstock as one of only 3 solo performers.  Melanie goes into great detail about her experience; Starting with the moment she first heard of woodstock, flying for the first time in a helicopter and taking the stage in front of a massive audience (unlike anything she ever experienced). We also talk about: Her #1 song (in 1970) BRAND NEW KEY and how she came up with the idea for the song (you won't believe what it was).   Performing with Miley Cyrus (Backyard Sessions) Melanie's new album MAGIC BUS.  This is a radio interview and music from 1972.   We loved talking to Melanie and reliving many memories with her and you'll love this interview. *********** A little bit about Melanie: Melanie landed in the New York City music and radio scene in the late 1960's. Her first single Beautiful People immediately became a turntable hit. Her first tour began with an impressive 40-day run of shows at Paris' world-famous L'Olympia Theater at the personal invitation of Bruno Coquatrix. In the years to come she would entertain millions: at An Aquarian Exposition (the 1969 Woodstock Music Festival), at Carnegie Hall, and the Isle of Wight and Glastonbury music festivals, The Sydney Opera House, the South Korean DMZ, the Theatre Royal Drury Lane, the Royal Albert Hall, and other theaters, halls and beloved music clubs around the globe. Melanie launched Neighborhood Records, making her the first American woman to open a mainstream record label. She recorded over 20 chart hits and many have been re-recorded. Melanie received an Emmy after composing lyrics for the theme song of the hit television series Beauty and the Beast. “What Have They Done to My Song Ma” was re-recorded by Ray Charles with the Count Basie Band. Nina Simone delivered a remarkable rendition, as well. “(Lay Down) Candles in the Rain” was re-recorded by Mott the Hoople on their 1971 album Wildlife. Meredith Brooks and Queen Latifah later re-recorded the anthem. “Some Say (I Got Devil)" was re-recorded by Smith's frontman Morrissey. Melanie has always known her calling in life was to entertain. Audiences have welcomed her to the stage for more than fifty years, and she continues to perform today. ******** KNOW GOOD MUSIC can be found on Podbean (host site), Spotify, Apple Podcasts, Iheart Radio, Pandora and almost anywhere you listen to podcasts.   Visit our YouTube Channel where you can see 2 video segments from this interview.  Just search "know good music". COPYRIGHT CLAIM: The songs used on the podcast : "Hearing the News", "Beautiful People", "Birthday of the Sun", "Brand New Key", "Look what they've done to my song, ma", and "Lay Down (Candles in the Rain)" used with permission from Melanie

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It's that special time of year filled with red herrings, questionable investigative skills, and ridiculous endings. Yes, it's Giallo January once again and we're kicking off this year's festivities with the film that is loosely part of the School Girls in Peril trilogy with What Have You Done to Solange and What Have They Done to Your Daughters. Come ride the roller coaster with us as we discuss Red Rings of Fear. Follow this podcast on Instagram, Twitter, Slasher, and Facebook @unsunghorrors. Follow Lance on Twitter, Instagram, and Letterboxd @lschibi Lance's shop: https://lanceschibi.bigcartel.com/ Follow Erica on Letterboxd, Twitter, or Instagram @hexmassacre Logo by Cody Schibi Part of the Prescribed Films Podcast network (www.thepfpn.com)

Melanie Safka — generally referred to by her first name only — epitomized the persona of the eternal flower child, a shy, waif-like woman whose memorable appearance at Woodstock summed up the sentiments of the time — innocent, unassuming and with songs that resonated with the optimism of the age. Her work shared that sweet sensibility, as reflected in songs such as “Beautiful People,” “Brand New Key,” “Peace Will Come,” and “What Have They Done to My Song, Ma,” among the many.Now celebrating the 50th anniversary reissue of her landmark album Gather Me, as well  as the half century reissue of her classic song “Brand New Key,” Melanie shares her story with "My Backstage Pass" as she looks back on a career that spawned well over 40 albums, some of which were released on her own record label, Neighborhood Records. That in itself was was an unheard of accomplishment at the time, one that came about as the result of her decision to defy her record company, ensure ownership of her material and make the music that she wanted to create. Learn more about Melanie Safka online at https://www.melaniesafka.com and tune in for a fascinating interview with the legend herself on "My Backstage Pass" Host Lee Zimmerman is a freelance music writer whose articles have appeared in several leading music industry publications. A former promotions representative for ABC and Capital Records and director of communications for various CBS - affiliated television stations. Lee, who currently lives in East Tennessee, recently authored "Americana Music - Voices, Visionaries & Pioneers of an Honest Sound" which is now available on Amazon and other outlets. You can contact Lee at lezim@bellsouth.netCohost/Producer Billy Hubbard is a Tennessee based Americana Singer/Songwriter and former Regional Director of A&R for a Grammy winning company, as well as a music and podcast producer. Billy is also the venue developer and booking manager of The Station in East TN. As an artist Billy is endorsed by Godin's Simon & Patrick Guitars. You can find Billy Hubbard online at http://www.BillyHubbard.com  

Please join us in welcoming Melanie Safka to chat with Heart of Indie Radio Host: Captain Eddie & Co-Host Emme Lentino Melanie landed in the New York City music and radio scene in the late 1960's. Her first single Beautiful People immediately became a turntable hit. Her first tour began with an impressive 40-day run of shows at Paris' world-famous L'Olympia Theater at the personal invitation of Bruno Coquatrix. In the years to come she would entertain millions: at An Aquarian Exposition (the 1969 Woodstock Music Festival), at Carnegie Hall, and the Isle of Wight and Glastonbury music festivals, The Sydney Opera House, the South Korean DMZ, the Theatre Royal Drury Lane, the Royal Albert Hall, and many, many more theaters, halls and beloved music clubs around the globe. Melanie launched Neighborhood Records, making her the first American woman to open a mainstream record label. She recorded over 20 chart hits and many have been re-recorded. Melanie received an Emmy after composing lyrics for the theme song of the hit television series Beauty and the Beast. “What Have They Done to My Song Ma” was re-recorded by Ray Charles with the Count Basie Band. Nina Simone delivered a remarkable rendition, as well. “(Lay Down) Candles in the Rain” was re-recorded by Mott the Hoople on their 1971 album Wildlife. Meredith Brooks and Queen Latifah later re-recorded the anthem. “Some Say (I Got Devil)" was re-recorded by Smith's frontman Morrissey. These are only a few of the many performers who have re-recorded Melanie's works. Melanie has always known her calling in life was to entertain. Audiences have welcomed her to the stage for more than fifty years, and she continues to perform today.

Melanie Anne Safka-Schekeryk, professionally known as Melanie or Melanie Safka, is an American singer-songwriter. She is best known for the 1971–72 global hit "Brand New Key", her cover of "Ruby Tuesday", her composition "What Have They Done to My Song Ma", and her 1970 international breakthrough hit "Lay Down (Candles in the Rain)" (inspired by her experience of performing at the 1969 Woodstock music festival).In the 1960s, Melanie started performing at The Inkwell, a coffee house in the West End section of Long Branch, New Jersey. After high school, her parents insisted that she go to college, so she studied acting at the American Academy of Dramatic Arts in New York, where she began singing in the folk clubs of Greenwich Village, such as The Bitter End and signed her first recording contract.Initially signed to Columbia Records in the United States, Melanie released two singles on the label. Subsequently, she signed with Buddah Records and first found chart success in Europe in 1969 with "Bobo's Party" which reached No. 1 in France. Melanie's popularity in Europe resulted in performances on European television programs, such as Beat-Club in West Germany. Her debut album received positive reviews from Billboard, which heralded her voice as "wise beyond her years. Her non-conformist approach to the selections on this LP make her a new talent to be reckoned with."Later in 1969, Melanie had a hit in the Netherlands with "Beautiful People". She was one of only three solo women who performed at the Woodstock Festival in 1969 and the inspiration for her first hit song, "Lay Down (Candles in the Rain)", apparently arose from the Woodstock audience lighting candles during her set (although most of the "candles" were actually matches or lighters). The recording became a hit in Europe, Australia, Canada, and the United States in 1970. The B-side of the single featured Melanie's spoken-word track "Candles in the Rain". "Lay Down" became Melanie's first top ten hit in America, peaking at No. 6 on the Billboard singles chart and achieving worldwide success. Later hits included "Peace Will Come (According To Plan)" and a cover of the Rolling Stones' "Ruby Tuesday".In 1970, Melanie was the only artist to ignore the court injunction banning the Powder Ridge Rock Festival scheduled to be held on July 31, August 1 and 2, 1970. She played for the crowd on a homemade stage powered by Mister Softee trucks. Shortly following this performance, she played at the Strawberry Fields Festival held from August 7 to 9, 1970, at Mosport Park, Ontario. She also performed at the Isle of Wight Festival held between August 26 and 30, 1970, at Afton Down, where she was introduced by Keith Moon and received four standing ovations (she also appeared at the 2010 Isle of Wight festival). She was also the artist who sang to herald in the summer solstice at Glastonbury Fayre (later the Glastonbury Festival) in England, in June 1971. She performed again at Glastonbury in 2011, the 40th anniversary of the original festival.Melanie left Buddah Records when they insisted that she produce albums on demand. In 1971, she formed her own label, Neighborhood Records, with Peter Schekeryk who was also her producer and husband. She had her biggest American hit on the Neighborhood label, the novelty-sounding 1972 number one "Brand New Key" (often referred to as "The Roller Skate Song"). "Brand New Key" sold over three million copies worldwide and was featured in the 1997 movie Boogie Nights. See acast.com/privacy for privacy and opt-out information.

Inspector Dave and District Attorney Jon investigate a dark and disturbing sex crime ring in Massimo Dallamano's What Have They Done to Your Daughters?/La polizia chiede aiuto (1974). CW: Child sexual abuse, sexualised violence, coercion, rape. Copyright © 2021 David Thomas and Jon Dear Availability on disc and streaming: Blu-ray.com More information: So Deadly, So Perverse: Volume 2: 50 Years of Italian Giallo Films Vol. 2 1974-2013 by by Troy Howarth La Dolce Morte: Vernacular Cinema and the Italian Giallo Film by Mikel J. Koven Our theme music:Silent Night (Dark Piano Version) by myuu Creative Commons — Attribution 3.0 Unported— CC BY 3.0Free Download/Stream Music promoted by Audio Library

This episode we discuss two related 1970s Italian genre films, a giallo, What Have You Done to Solange / Cosa avete fatto a Solange? (1972) and a giallo + poliziotteschi mashup What Have They Done to Your Daughters / La polizia chiede aiuto (1974). https://www.imdb.com/title/tt0068416/ https://www.imdb.com/title/tt0072007/

Melanie (or Melanie Safka), is an American singer-songwriter. She is best known for the 1971-72 global hit "Brand New Key", her cover of "Ruby Tuesday", her composition "What Have They Done to My Song Ma", and her 1970 international breakthrough hit "Lay Down (Candles in the Rain)" (inspired by her experience of performing at the 1969 Woodstock music festival).

Melanie (or Melanie Safka), is an American singer-songwriter.  She is best known for the 1971-72 global hit "Brand New Key", her cover of "Ruby Tuesday", her composition "What Have They Done to My Song Ma", and her 1970 international breakthrough hit "Lay Down (Candles in the Rain)" (inspired by her experience of performing at the 1969 Woodstock music festival).

Become a member of the Say You Love Satan Army today! Join us! www.patreon.com/sayyoulovesatanpodcast This episode: Pathology Perversions: The Soviet Ape-Man - Tintorera (1977) - Robot Ninja (1989) - Dangerous Men (2005) - Absurd (1981) - What Have They Done to Your Daughters? (1974) - Hardcore (1979) - Raw Force (1982) - Wrong Turn (2021) - The Editor (2014) - Saint Maude (2019) - Grave Robbers (1989) *outro track "Executioner's Tax (Swing of the Axe)" by Power Trip from the 2017 "Nightmare Logic". The podcast you are about to listen to is an account of the tragedy that befell four lower level low-lives sometime in the 1980s. Join us every week for an 80s horror overdose!!!!! website: www.sayyoulovesatanpodcast.com email: sayyoulovesatanpodcast@gmail.com Please rate, review, and subscribe on iTunes! instagram: sayyoulovesatanpodcast T-shirts, stickers, and a collection of ghoulish garb is available now at our Redbubble store! www.redbubble.com/people/sayyoulovesatan artwork: Sam Heimer

This week’s episode looks at “Needles and Pins”, and the story of the second-greatest band to come out of Liverpool in the sixties, The Searchers. Click the full post to read liner notes, links to more information, and a transcript of the episode. Patreon backers also have a sixteen-minute bonus episode available, on “Farmer John” by Don and Dewey. 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/ —-more—- Resources No Mixcloud this week, as there are too many recordings by the Searchers.  My two main resources for this episode have been the autobiographies of members of the group — Frank Allen’s The Searchers and Me and Mike Pender’s The Search For Myself.  All the Searchers tracks and Tony Jackson or Chris Curtis solo recordings excerpted here, except the live excerpt of “What’d I Say”, can be found on this box set, which is out of print as a physical box, but still available digitally. For those who want a good budget alternative, though, this double-CD set contains fifty Searchers tracks, including all their hits, for under three pounds.   Patreon This podcast is brought to you by the generosity of my backers on Patreon. Why not join them? Transcript Last week we had a look at the biggest group ever to come out of Liverpool, and indeed the biggest group ever to play rock and roll music. But the Beatles weren’t the only influential band on the Merseybeat scene, and while we won’t have much chance to look at Merseybeat in general, we should at least briefly touch on the other bands from the scene. So today we’re going to look at a band who developed a distinctive sound that would go on to be massively influential, even though they’re rarely cited as an influence in the way some of their contemporaries are. We’re going to look at The Searchers, and “Needles and Pins”: [Excerpt: The Searchers, “Needles and Pins”] The story of the early origins of the Searchers is, like everything about the Searchers, the subject of a great deal of dispute. The two surviving original members of the group, John McNally and Mike Pender, haven’t spoken to each other in thirty-six years, and didn’t get on for many years before that, and there have been several legal disputes between them over the years. As a result, literally everything about the group’s history has become a battlefield in their ongoing arguments. According to a book by Frank Allen, the group’s bass player from 1964 on and someone who took McNally’s side in the split and subsequent legal problems, McNally formed a skiffle group, which Mike Pender later joined, and was later joined first by Tony Jackson and then by a drummer then known as Chris Crummey, but who changed his name to the more euphonic Chris Curtis.  According to Pender, he never liked skiffle, never played skiffle, and “if McNally had a skiffle group, it must have been before I met him”. He is very insistent on this point — he liked country music, and later rock and roll, but never liked skiffle. According to him, he and McNally got together and formed a group that was definitely absolutely not in any way a skiffle group and wasn’t led by McNally but was formed by both of them. That group split up, and then Pender became friends with Tony Jackson — and he’s very insistent that he became friends with Jackson during  a period when he didn’t know McNally — and the group reformed around the three of them, when McNally and Pender got back in touch. The origin of the group’s name is similarly disputed. Everyone agrees that it came from the John Wayne film The Searchers — the same film which had inspired the group’s hero Buddy Holly to write “That’ll Be The Day” — but there is disagreement as to whose idea the name was. Pender claims that it was his idea, while McNally says that the name was coined by a singer named “Big Ron”, who sang with the band for a bit before disappearing into obscurity. Big Ron’s replacement was a singer named Billy Beck, who at the time he was with the Searchers used the stage name Johnny Sandon (though he later reverted to his birth name). The group performed as Johnny Sandon and The Searchers for two years, before Sandon quit the group to join the Remo Four, a group that was managed by Brian Epstein. Sandon made some records with the Remo Four in 1963, but they went nowhere, but they’ll give some idea of how Sandon sounded: [Excerpt: Johnny Sandon and the Remo Four, “Lies”] The Remo Four later moved on to back Tommy Quickly, who we heard last week singing a song the Beatles wrote for him. With Sandon out of the picture, the group had no lead singer or frontman, and were in trouble — they were known around Liverpool as Johnny Sandon’s backing group, not as a group in their own right. They started splitting the lead vocals between themselves, but with Tony Jackson taking most of them. And, in a move which made them stand out, Chris Curtis moved his drum kit to the front line, started playing standing up, and became the group’s front-man and second lead singer. Even at this point, though, there seemed to be cracks in the group. The Searchers were the most clean-living of the Liverpool bands — they were all devout Catholics who would go to Mass every Sunday without fail, and seem to have never indulged in most of the vices that pretty much every other rock star indulged in. But Curtis and Jackson were far less so than Pender and McNally — Jackson in particular was a very heavy drinker and known to get very aggressive when drunk, while Curtis was known as eccentric in other ways — he seems to have had some sort of mental illness, though no-one’s ever spoken about a diagnosis — the Beatles apparently referred to him as “Mad Henry”. Curtis and Jackson didn’t get on with each other, and while Jackson started out as a close friend of Pender’s, the two soon drifted apart, and by the time of their first recording sessions they appeared to most people to be a group of three plus one outsider, with Jackson not getting on well with any of the others. There was also a split in the band’s musical tastes, but that would be the split that would drive much of their creativity. Pender and McNally were drawn towards softer music — country and rockabilly, the Everly Brothers and Buddy Holly — while Jackson preferred harder, stomping, music. But it was Chris Curtis who took charge of the group’s repertoire, and who was the group’s unofficial leader. While the other band members had fairly mainstream musical tastes, it was Curtis who would seek out obscure R&B B-sides that he thought the group could make their own, by artists like The Clovers and Richie Barrett — while many Liverpool groups played Barrett’s “Some Other Guy”, the Searchers would also play the B-side to that, “Tricky Dicky”, a song written by Leiber and Stoller. Curtis also liked quite a bit of folk music, and would also get the group to perform songs by Joan Baez and Peter, Paul, and Mary. The result of this combination of material and performers was that the Searchers ended up with a repertoire rooted in R&B, and a heavy rhythm section, but with strong harmony vocals inspired more by the Everlys than by the soul groups that were inspiring the other groups around Liverpool. Other than the Beatles, the Searchers were the best harmony group in Liverpool, and were the only other one to have multiple strong lead vocalists. Like the Beatles, the Searchers went off to play at the Star Club in Hamburg in 1962. Recordings were made of their performances there, and their live version of Brenda Lee’s “Sweet Nothin’s” later got released as a single after they became successful: [Excerpt: The Searchers, “Sweet Nothin’s”] Even as every talent scout in the country seemed to be turning up in Liverpool, and even bands from nearby Manchester were getting signed up in the hope of repeating the Beatles’ success, the Searchers were having no luck getting any attention from the London music industry. In part that was because of one bit of bad luck — the day that Brian Epstein turned up to see them, with the thought of maybe managing them, Tony Jackson was drunk and fell off the stage, and Epstein decided that he was going to give them a miss. As no talent scouts were coming to see them, they decided that they would record a demo session at the Iron Door, the club they regularly played, and send that out to A&R people. That demo session produced a full short album, which shows them at their stompiest and hardest-driving. Most of the Merseybeat bands sounded much more powerful in their earlier live performances than in the studio, and the Searchers were no exception, and it’s interesting to compare the sound of these recordings to the studio ones from only a few months later: [Excerpt: The Searchers, “Let’s Stomp”] The group eventually signed to Pye Records. Pye was the third or fourth biggest record label in Britain at the time, but that was a relative matter — EMI and Decca between them had something like eighty-five percent of the market, and basically *were* the record industry in Britain at the time. Pye was chronically underfunded, and when they signed an artist who managed to have any success, they would tend to push that artist to keep producing as many singles as possible, chasing trends, rather than investing in their long-term career survival. That said, they did have some big acts, most notably Petula Clark — indeed the company had been formed from the merger of two other companies, one of which had been formed specifically to issue Clark’s records. Clark was yet to have her big breakthrough hit in the USA, but she’d had several big hits in the UK, including the number one hit “Sailor”: [Excerpt: Petula Clark, “Sailor”] The co-producer on that track had been Tony Hatch, a songwriter and producer who would go on to write and produce almost all of Clark’s hit records. Hatch had a track record of hits — we’ve heard several songs he was involved in over the course of the series. Most recently, we heard last week how “She Loves You” was inspired by “Forget Him”, which Hatch wrote and produced for Bobby Rydell: [Excerpt: Bobby Rydell, “Forget Him”] Hatch heard the group’s demo, and was impressed, and offered to sign them. The Searchers’ manager at the time agreed, on one condition — that Hatch also sign another band he managed, The Undertakers. Astonishingly, Hatch agreed, and so the Undertakers also got a record contract, and released several flop singles produced by Hatch, including this cover version of a Coasters tune: [Excerpt: The Undertakers, “What About Us?”] The biggest mark that the Undertakers would make on music would come many years later, when their lead singer Jackie Lomax would release a solo single, “Sour Milk Sea”, which George Harrison wrote for him. The Searchers, on the other hand, made their mark immediately. The group’s first single was a cover version of a song written by Doc Pomus and Mort Shuman, which had been a top twenty hit in the US for the Drifters a couple of years earlier: [Excerpt: The Drifters, “Sweets For My Sweet”] That had become a regular fixture in the Searchers’ live set, with Tony Jackson singing lead and Chris Curtis singing the high backing vocal part in falsetto. In much the same way that the Beatles had done with “Twist and Shout”, they’d flattened out the original record’s Latin cha-cha-cha rhythm into a more straightforward thumping rocker for their live performances, as you can hear on their original demo version from the Iron Door sessions: [Excerpt: The Searchers, “Sweets For My Sweet (live at the Iron Door)”] As you can hear, they’d also misheard a chunk of the lyrics, and so instead of “your tasty kiss”, Jackson sang “Your first sweet kiss”. In the studio, they slowed the song down very slightly, and brought up the harmony vocal from Pender on the choruses, which on the demo he seems to have been singing off-mic. The result was an obvious hit: [Excerpt: The Searchers, “Sweets For My Sweet”] That went to number one, helped by an endorsement from John Lennon, who said it was the best record to come out of Liverpool, and launched the Searchers into the very top tier of Liverpool groups, their only real competition being the Beatles and Gerry and the Pacemakers — and though nobody could have known it at the time, the Pacemakers’ career had already peaked at this point.  Their first album, Meet The Searchers, featured “Sweets For My Sweet”, along with a selection of songs that mixed the standard repertoire of every Merseybeat band — “Money”, “Da Doo Ron Ron”, “Twist and Shout”, “Stand By Me”, and the Everly Brothers’ “Since You Broke My Heart”, with more obscure songs like “Ain’t Gonna Kiss Ya”, by the then-unknown P.J. Proby, “Farmer John” by Don and Dewey, which hadn’t yet become a garage-rock standard (and indeed seems to have become so largely because of the Searchers’ version), and a cover of “Love Potion #9”, a song that Leiber and Stoller had written for the Clovers, which was not released as a single in the UK, but later became their biggest hit in the US (and a quick content note for this one — the lyric contains a word for Romani people which many of those people regard as a slur): [Excerpt: The Searchers, “Love Potion #9”] Their second single was an attempt to repeat the “Sweets For My Sweet” formula, and was written by Tony Hatch, although the group didn’t know that at the time. Hatch, like many producers of the time, was used to getting his artists to record his own songs, written under pseudonyms so the record label didn’t necessarily realise this was what he was doing. In this case he brought the group a song that he claimed had been written by one “Fred Nightingale”, and which he thought would be perfect for them. The song in question, “Sugar and Spice”, was a blatant rip-off of “Sweets For My Sweet”, and recorded in a near-identical arrangement: [Excerpt: The Searchers, “Sugar and Spice”] The group weren’t keen on the song, and got very angry later on when they realised that Tony Hatch had lied to them about its origins, but the record was almost as big a hit as the first one, peaking at number two on the charts. But it was their third single that was the group’s international breakthrough, and which both established a whole new musical style and caused the first big rift in the group. The song chosen for that third single was one they learned in Hamburg, from Cliff Bennett and the Rebel Rousers, a London group who had recorded a few singles with Joe Meek, like “You Got What I Like”: [Excerpt: Cliff Bennett and the Rebel Rousers, “You Got What I Like”] The Rebel Rousers had picked up on a record by Jackie DeShannon, a singer-songwriter who had started up a writing partnership with Sharon Sheeley, the writer who had been Eddie Cochran’s girlfriend and in the fatal car crash with him. The record they’d started covering live, though, was not one that DeShannon was the credited songwriter on. “Needles and Pins” was credited to two other writers, both of them associated with Phil Spector.  Sonny Bono was a young songwriter who had written songs at Specialty Records for people like Sam Cooke, Larry Williams, and Don and Dewey, and his most famous song up to this point was “She Said Yeah”, the B-side to Williams’ “Bad Boy”: [Excerpt: Larry Williams, “She Said Yeah”] After working at Specialty, he’d gone on to work as Phil Spector’s assistant, doing most of the hands-on work in the studio while Spector sat in the control room. While working with Spector he’d got to know Jack Nitzsche, who did most of the arrangements for Spector, and who had also had hits on his own like “The Lonely Surfer”: [Excerpt: Jack Nitzsche, “The Lonely Surfer”] Bono and Nitzsche are the credited writers on “Needles and Pins”, but Jackie DeShannon insists that she co-wrote the song with them, but her name was left off the credits. I tend to believe her — both Nitzsche and Bono were, like their boss, abusive misogynist egomaniacs, and it’s easy to see them leaving her name off the credits. Either way, DeShannon recorded the song in early 1963, backed by members of the Wrecking Crew, and it scraped into the lower reaches of the US Hot One Hundred, though it actually made number one in Canada: [Excerpt: Jackie DeShannon, “Needles and Pins”] Cliff Bennett and the Rebel Rousers had been covering that song, and Chris Curtis picked up on it as an obvious hit. The group reshaped the song, and fixed the main flaw with DeShannon’s original.  There’s really only about ninety seconds’ worth of actual song in “Needles and Pins”, and DeShannon’s version ends with a minute or so of vamping — it sounds like it’s still a written lyric, but it’s full of placeholders where entire lines are “whoa-oh”, the kind of thing that someone like Otis Redding could make sound great, but that didn’t really work for her record. The Searchers tightened the song up and altered its dynamics — instead of the middle eight leading to a long freeform section, they started the song with Mike Pender singing solo, and then on the middle eight they added a high harmony from Curtis, then just repeated the first verse and chorus, in the new key of C sharp, with Curtis harmonising this time: [Excerpt: The Searchers, “Needles and Pins” (middle eight on)] The addition of the harmony gives the song some much-needed dynamic variation not present in DeShannon’s version, while repeating the original verse after the key change, and adding in Curtis’ high harmony, gives it an obsessive quality. The protagonist here is spiralling – he keeps thinking the same things over and over, at a higher and higher pitch, getting more and more desperate. It’s a simple change, but one that improves the song immensely. Incidentally, one thing I should note here because it’s not something I normally do — in these excerpts of the Searchers’ version of “Needles and Pins”, I’m actually modifying the recording slightly. The mix used for the original single version of the song, which is what I’m excerpting here, is marred by an incredibly squeaky bass pedal on Chris Curtis’ drumkit, which isn’t particularly audible if you’re listening to it on early sixties equipment, which had little dynamic range, but which on modern digital copies of the track overpowers everything else, to the point that the record sounds like that Monty Python sketch where someone plays a tune by hitting mice with hammers. Here’s a couple of seconds of the unmodified track, so you can see what I mean: [Excerpt: The Searchers, “Needles and Pins”] Most hits compilations have a stereo mix of the song, and have EQ’d it so that the squeaky bass pedal isn’t noticeable, but I try wherever possible to use the mixes that people were actually listening to at the time, so I’ve compromised and used the mono mix but got rid of the squeaky frequencies, so you can hear the music I’m talking about rather than being distracted by the squeaks. Anyway, leaving the issue of nobody telling Chris Curtis to oil his pedals aside, the change in the structure of the song turned it from something a little baggy and aimless into a tight two-and-a-half minute pop song, but the other major change they made was emphasising the riff, and in doing so they inadvertently invented a whole new genre of music.  The riff in DeShannon’s version is there, but it’s just one element — an acoustic guitar strumming through the chords. It’s a good, simple, play-in-a-day riff — you basically hold a chord down and then move a single finger at a time and you can get that riff — and it’s the backbone of the song, but there’s also a piano, and horns, and the Blossoms singing: [Excerpt: Jackie DeShannon, “Needles and Pins”] But what the Searchers did was to take the riff and play it simultaneously on two electric guitars, and then added reverb. They also played the first part of the song in A, rather than the key of C which DeShannon’s version starts in, which allowed the open strings to ring out more. The result came out sounding like an electric twelve-string, and soon both they and the Beatles would be regularly using twelve-string Rickenbackers to get the same sound: [Excerpt: The Searchers, “Needles and Pins”] That record is the root of jangle-pop and folk-rock. That combination of jangling, reverb-heavy, trebly guitars and Everly Brothers inspired harmonies is one that leads directly to the Byrds, Love, Big Star, Tom Petty, REM, the Smiths, and the Bangles, among many others. While the Beatles were overall obviously the more influential group by a long way, “Needles and Pins” has a reasonable claim to be the most influential single track from the Merseybeat era. It went to number one in the UK, and became the group’s breakthrough hit in the US, reaching number sixteen. The follow-up, “Don’t Throw Your Love Away”, a cover of a B-side by the Orlons, again featuring Pender on lead vocals and Curtis on harmonies, also made number one in the UK and the US top twenty, giving them a third number one out of four singles. But the next single, “Someday We’re Gonna Love Again”, a cover of a Barbara Lewis song, only made number eleven, and caused journalists to worry if the Searchers had lost their touch. There was even some talk in the newspapers that Mike Pender might leave the group and start a solo career, which he denied. As it turned out, one of the group’s members was going to leave, but it wasn’t Mike Pender. Tony Jackson had sung lead on the first two singles, and on the majority of the tracks on the first album, and he thus regarded himself as the group’s lead singer. With Pender taking over the lead on the more recent hit singles, Jackson was being edged aside. By the third album, It’s The Searchers, which included “Needles and Pins”, Jackson was the only group member not to get a solo lead vocal — even John McNally got one, while Jackson’s only lead was an Everlys style close harmony with Mike Pender. Everything else was being sung by Pender or Curtis. Jackson was also getting involved in personality conflicts with the other band members — at one point it actually got to the point that he and Pender had a fistfight on stage. Jackson was also not entirely keen on the group’s move towards more melodic material. It’s important to remember that the Searchers had started out as an aggressive, loud, R&B band, and they still often sounded like that on stage — listen for example to their performance of “What’d I Say” at the NME poll-winners’ party in April 1964, with Chris Curtis on lead vocals clearly showing why he had a reputation for eccentricity: [Excerpt: The Searchers, “What’d I Say (live)”] The combination of these musical differences and his feelings about having his place usurped meant that Jackson was increasingly getting annoyed at the other three band members. Eventually he left the group — whether he was fired or quit depends on which version of the story you read — and was replaced by Frank Allen of Cliff Bennett and the Rebel Rousers.  Jackson didn’t take this replacement well, and publicly went round telling people that he had been pushed out of the band so that Curtis could get his boyfriend into the band, and there are some innuendoes to this effect in Mike Pender’s autobiography — although Allen denies that he and Curtis were in a relationship, and says that he doesn’t actually know what Curtis’ sexuality was, because they never discussed that kind of thing, and presumably Allen would know better than anyone else whether he was in a relationship with Curtis.  Curtis is widely described as having been gay or bi by his contemporaries, but if he was he never came out publicly, possibly due to his strong religious views. There’s some suggestion, indeed, that one reason Jackson ended up out of the band was that he blackmailed the band, saying that he would publicly out Curtis if he didn’t get more lead vocals. Whatever the truth, Jackson left the group, and his first solo single, “Bye Bye Baby”, made number thirty-eight on the charts: [Excerpt: Tony Jackson and the Vibrations, “Bye Bye Baby”] However, his later singles had no success — he was soon rerecording “Love Potion Number Nine” in the hope that that would be a UK chart success as it had been in the US: [Excerpt: Tony Jackson and the Vibrations, “Love Potion Number Nine”] Meanwhile, Allen was fitting in well with his new group, and it appeared at first that the group’s run of hits would carry on uninterrupted without Jackson. The first single by the new lineup, “When You Walk In The Room”, was a cover of another Jackie DeShannon song, this time written by DeShannon on her own, and originally released as a B-side: [Excerpt: Jackie DeShannon, “When You Walk In The Room”] The Searchers rearranged that, once again emphasising the riff from DeShannon’s original, and by this time playing it on real twelve-strings, and adding extra compression to them. Their version featured a joint lead vocal by Pender and Allen: [Excerpt: The Searchers, “When You Walk In the Room”] Do you think the Byrds might have heard that? That went to number three on the charts. The next single was less successful, only making number thirteen, but was interesting in other ways — from the start, as well as their R&B covers, Curtis had been adding folk songs to the group’s repertoire, and there’d been one or two covers of songs like “Where Have All the Flowers Gone?” on their albums, but “What Have They Done to the Rain?” was the first one to become a single.  It was written by Malvina Reynolds, who was a socialist activist who only became a songwriter in her early fifties, and who also wrote “Morningtown Ride” and “Little Boxes”. “What Have They Done to The Rain?” was a song written to oppose nuclear weapons testing, and Curtis had learned it from a Joan Baez album. Even though it wasn’t as big a success as some of their other hits, given how utterly different it was from their normal style, and how controversial the subject was, getting it into the top twenty at all seems quite an achievement. [Excerpt: The Searchers, “What Have They Done To The Rain?”] Their next single, “Goodbye My Love”, was their last top ten hit, and the next few singles only made the top forty, even when the Rolling Stones gave them “Take It Or Leave It”. The other group members started to get annoyed at Curtis, who they thought had lost his touch at picking songs, and whose behaviour had become increasingly erratic. Eventually, on an Australian tour, they took his supply of uppers and downers, which he had been using as much to self-medicate as for enjoyment as far as I can tell, and flushed them down the toilet. When they got back to the UK, Curtis was out of the group. Their first single after Curtis’ departure, “Have You Ever Loved Somebody”, was given to them by the Hollies, who had originally written it as an Everly Brothers album track: [Excerpt: The Searchers, “Have You Ever Loved Somebody”] Unfortunately for the Searchers, Chris Curtis had also heard the song, decided it was a likely hit, and had produced a rival version for Paul and Barry Ryan, which got rushed out to compete with it: [Excerpt: Paul and Barry Ryan, “Have You Ever Loved Somebody”] Neither single made the top forty, and the Searchers would never have a hit single again. Nor would Curtis. Curtis only released one solo single, “Aggravation”, a cover of a Joe South song: [Excerpt: Chris Curtis, “Aggravation”] The musicians on that included Jimmy Page, John Paul Jones, and Joe Moretti, but it didn’t chart. Curtis then tried to form a band, which he named Roundabout, based on the concept that musicians could hop on or hop off at any point, with Curtis as the only constant member. The guitarist and keyboard player quickly decided that it would be more convenient for them if Curtis was the one to hop off, and without Curtis Jon Lord and Richie Blackmore went on to form Deep Purple. The Searchers didn’t put out another album for six years after Curtis left. They kept putting out singles on various labels, but nothing came close to charting. Their one album between 1966 and 1979 was a collection of rerecordings of their old hits, in 1972. But then in 1979 Seymour Stein, the owner of Sire Records, a label which was having success with groups like the Ramones, Talking Heads, and the Pretenders, was inspired by the Ramones covering “Needles and Pins” to sign the Searchers to a two-album deal, which produced records that fit perfectly into the late seventies New Wave pop landscape, while still sounding like the Searchers: [Excerpt: The Searchers, “Hearts in Her Eyes”] Apparently during those sessions, Curtis, who had given up music and become a civil servant, would regularly phone the studio threatening to burn it down if he wasn’t involved. Unfortunately, while those albums had some critical success, they did nothing commercially, and Sire dropped them. By 1985, the Searchers were at breaking point. They hadn’t recorded any new material in several years, and Mike Pender and John McNally weren’t getting on at all — which was a particular problem as the two of them were now the only two members based in Liverpool, and so they had to travel to and from gigs together without the other band members — the group were so poor that McNally and Pender had one car between the two of them. One of them would drive them both to the gig, the other would drive back to Liverpool and keep the car until the next gig, when they would swap over again. No-one except them knows what conversations they had on those long drives, but apparently they weren’t amicable. Pender thought of himself as the star of the group, and he particularly resented that he had to split the money from the band three ways (the drummers the group got in after Curtis were always on a salary rather than full partners in the group). Pender decided that he could make more money by touring on his own but still doing essentially the same show, with hired backing musicians. Pender and the other Searchers eventually reached an agreement that he could tour as “Mike Pender’s Searchers”, so long as he made sure that all the promotional material put every word at the same size, while the other members would continue as The Searchers with a new singer. A big chunk of the autobiographies of both Pender and Allen are taken up with the ensuing litigation, as there were suits and countersuits over matters of billing which on the outside look incredibly trivial, but which of course mattered greatly to everyone involved — there were now two groups with near-identical names, playing the same sets, in the same venues, and so any tiny advantage that one had was a threat to the other, to the extent that at one point there was a serious danger of Pender going to prison over their contractual disputes. The group had been earning very little money anyway, comparatively, and there was a real danger that the two groups undercutting each other might lead to everyone going bankrupt. Thankfully, that didn’t happen. Pender still tours — or at least has tour dates booked over the course of the next year — and McNally and Allen’s band continued playing regularly until 2019, and only stopped performing because of McNally’s increasing ill health. Having seen both, Pender’s was the better show — McNally and Allen’s lineup of the group relied rather too heavily on a rather cheesy sounding synthesiser for my tastes, while Pender stuck closer to a straight guitar/bass/drums sound — but both kept audiences very happy for decades. Mike Pender was made an MBE in 2020, as a reward for his services to the music industry. Tony Jackson and Chris Curtis both died in the 2000s, and John McNally and Frank Allen are now in well-deserved retirement. While Allen and Pender exchanged pleasantries and handshakes at their former bandmates’ funerals, McNally and Pender wouldn’t even say hello to each other, and even though McNally and Allen’s band has retired, there’s still a prominent notice on their website that they own the name “The Searchers” and nobody else is allowed to use it. But every time you hear a jangly twelve-string electric guitar, you’re hearing a sound that was originally created by Mike Pender and John McNally playing in unison, a sound that proved to be greater than any of its constituent parts.

This week's episode looks at "Needles and Pins", and the story of the second-greatest band to come out of Liverpool in the sixties, The Searchers. Click the full post to read liner notes, links to more information, and a transcript of the episode. Patreon backers also have a sixteen-minute bonus episode available, on "Farmer John" by Don and Dewey. 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/ ----more---- Resources No Mixcloud this week, as there are too many recordings by the Searchers.  My two main resources for this episode have been the autobiographies of members of the group -- Frank Allen's The Searchers and Me and Mike Pender's The Search For Myself.  All the Searchers tracks and Tony Jackson or Chris Curtis solo recordings excerpted here, except the live excerpt of "What'd I Say", can be found on this box set, which is out of print as a physical box, but still available digitally. For those who want a good budget alternative, though, this double-CD set contains fifty Searchers tracks, including all their hits, for under three pounds.   Patreon This podcast is brought to you by the generosity of my backers on Patreon. Why not join them? Transcript Last week we had a look at the biggest group ever to come out of Liverpool, and indeed the biggest group ever to play rock and roll music. But the Beatles weren't the only influential band on the Merseybeat scene, and while we won't have much chance to look at Merseybeat in general, we should at least briefly touch on the other bands from the scene. So today we're going to look at a band who developed a distinctive sound that would go on to be massively influential, even though they're rarely cited as an influence in the way some of their contemporaries are. We're going to look at The Searchers, and "Needles and Pins": [Excerpt: The Searchers, "Needles and Pins"] The story of the early origins of the Searchers is, like everything about the Searchers, the subject of a great deal of dispute. The two surviving original members of the group, John McNally and Mike Pender, haven't spoken to each other in thirty-six years, and didn't get on for many years before that, and there have been several legal disputes between them over the years. As a result, literally everything about the group's history has become a battlefield in their ongoing arguments. According to a book by Frank Allen, the group's bass player from 1964 on and someone who took McNally's side in the split and subsequent legal problems, McNally formed a skiffle group, which Mike Pender later joined, and was later joined first by Tony Jackson and then by a drummer then known as Chris Crummey, but who changed his name to the more euphonic Chris Curtis.  According to Pender, he never liked skiffle, never played skiffle, and "if McNally had a skiffle group, it must have been before I met him". He is very insistent on this point -- he liked country music, and later rock and roll, but never liked skiffle. According to him, he and McNally got together and formed a group that was definitely absolutely not in any way a skiffle group and wasn't led by McNally but was formed by both of them. That group split up, and then Pender became friends with Tony Jackson -- and he's very insistent that he became friends with Jackson during  a period when he didn't know McNally -- and the group reformed around the three of them, when McNally and Pender got back in touch. The origin of the group's name is similarly disputed. Everyone agrees that it came from the John Wayne film The Searchers -- the same film which had inspired the group's hero Buddy Holly to write "That'll Be The Day" -- but there is disagreement as to whose idea the name was. Pender claims that it was his idea, while McNally says that the name was coined by a singer named "Big Ron", who sang with the band for a bit before disappearing into obscurity. Big Ron's replacement was a singer named Billy Beck, who at the time he was with the Searchers used the stage name Johnny Sandon (though he later reverted to his birth name). The group performed as Johnny Sandon and The Searchers for two years, before Sandon quit the group to join the Remo Four, a group that was managed by Brian Epstein. Sandon made some records with the Remo Four in 1963, but they went nowhere, but they'll give some idea of how Sandon sounded: [Excerpt: Johnny Sandon and the Remo Four, "Lies"] The Remo Four later moved on to back Tommy Quickly, who we heard last week singing a song the Beatles wrote for him. With Sandon out of the picture, the group had no lead singer or frontman, and were in trouble -- they were known around Liverpool as Johnny Sandon's backing group, not as a group in their own right. They started splitting the lead vocals between themselves, but with Tony Jackson taking most of them. And, in a move which made them stand out, Chris Curtis moved his drum kit to the front line, started playing standing up, and became the group's front-man and second lead singer. Even at this point, though, there seemed to be cracks in the group. The Searchers were the most clean-living of the Liverpool bands -- they were all devout Catholics who would go to Mass every Sunday without fail, and seem to have never indulged in most of the vices that pretty much every other rock star indulged in. But Curtis and Jackson were far less so than Pender and McNally -- Jackson in particular was a very heavy drinker and known to get very aggressive when drunk, while Curtis was known as eccentric in other ways -- he seems to have had some sort of mental illness, though no-one's ever spoken about a diagnosis -- the Beatles apparently referred to him as "Mad Henry". Curtis and Jackson didn't get on with each other, and while Jackson started out as a close friend of Pender's, the two soon drifted apart, and by the time of their first recording sessions they appeared to most people to be a group of three plus one outsider, with Jackson not getting on well with any of the others. There was also a split in the band's musical tastes, but that would be the split that would drive much of their creativity. Pender and McNally were drawn towards softer music -- country and rockabilly, the Everly Brothers and Buddy Holly -- while Jackson preferred harder, stomping, music. But it was Chris Curtis who took charge of the group's repertoire, and who was the group's unofficial leader. While the other band members had fairly mainstream musical tastes, it was Curtis who would seek out obscure R&B B-sides that he thought the group could make their own, by artists like The Clovers and Richie Barrett -- while many Liverpool groups played Barrett's "Some Other Guy", the Searchers would also play the B-side to that, "Tricky Dicky", a song written by Leiber and Stoller. Curtis also liked quite a bit of folk music, and would also get the group to perform songs by Joan Baez and Peter, Paul, and Mary. The result of this combination of material and performers was that the Searchers ended up with a repertoire rooted in R&B, and a heavy rhythm section, but with strong harmony vocals inspired more by the Everlys than by the soul groups that were inspiring the other groups around Liverpool. Other than the Beatles, the Searchers were the best harmony group in Liverpool, and were the only other one to have multiple strong lead vocalists. Like the Beatles, the Searchers went off to play at the Star Club in Hamburg in 1962. Recordings were made of their performances there, and their live version of Brenda Lee's "Sweet Nothin's" later got released as a single after they became successful: [Excerpt: The Searchers, "Sweet Nothin's"] Even as every talent scout in the country seemed to be turning up in Liverpool, and even bands from nearby Manchester were getting signed up in the hope of repeating the Beatles' success, the Searchers were having no luck getting any attention from the London music industry. In part that was because of one bit of bad luck -- the day that Brian Epstein turned up to see them, with the thought of maybe managing them, Tony Jackson was drunk and fell off the stage, and Epstein decided that he was going to give them a miss. As no talent scouts were coming to see them, they decided that they would record a demo session at the Iron Door, the club they regularly played, and send that out to A&R people. That demo session produced a full short album, which shows them at their stompiest and hardest-driving. Most of the Merseybeat bands sounded much more powerful in their earlier live performances than in the studio, and the Searchers were no exception, and it's interesting to compare the sound of these recordings to the studio ones from only a few months later: [Excerpt: The Searchers, "Let's Stomp"] The group eventually signed to Pye Records. Pye was the third or fourth biggest record label in Britain at the time, but that was a relative matter -- EMI and Decca between them had something like eighty-five percent of the market, and basically *were* the record industry in Britain at the time. Pye was chronically underfunded, and when they signed an artist who managed to have any success, they would tend to push that artist to keep producing as many singles as possible, chasing trends, rather than investing in their long-term career survival. That said, they did have some big acts, most notably Petula Clark -- indeed the company had been formed from the merger of two other companies, one of which had been formed specifically to issue Clark's records. Clark was yet to have her big breakthrough hit in the USA, but she'd had several big hits in the UK, including the number one hit "Sailor": [Excerpt: Petula Clark, "Sailor"] The co-producer on that track had been Tony Hatch, a songwriter and producer who would go on to write and produce almost all of Clark's hit records. Hatch had a track record of hits -- we've heard several songs he was involved in over the course of the series. Most recently, we heard last week how "She Loves You" was inspired by "Forget Him", which Hatch wrote and produced for Bobby Rydell: [Excerpt: Bobby Rydell, "Forget Him"] Hatch heard the group's demo, and was impressed, and offered to sign them. The Searchers' manager at the time agreed, on one condition -- that Hatch also sign another band he managed, The Undertakers. Astonishingly, Hatch agreed, and so the Undertakers also got a record contract, and released several flop singles produced by Hatch, including this cover version of a Coasters tune: [Excerpt: The Undertakers, "What About Us?"] The biggest mark that the Undertakers would make on music would come many years later, when their lead singer Jackie Lomax would release a solo single, "Sour Milk Sea", which George Harrison wrote for him. The Searchers, on the other hand, made their mark immediately. The group's first single was a cover version of a song written by Doc Pomus and Mort Shuman, which had been a top twenty hit in the US for the Drifters a couple of years earlier: [Excerpt: The Drifters, "Sweets For My Sweet"] That had become a regular fixture in the Searchers' live set, with Tony Jackson singing lead and Chris Curtis singing the high backing vocal part in falsetto. In much the same way that the Beatles had done with "Twist and Shout", they'd flattened out the original record's Latin cha-cha-cha rhythm into a more straightforward thumping rocker for their live performances, as you can hear on their original demo version from the Iron Door sessions: [Excerpt: The Searchers, "Sweets For My Sweet (live at the Iron Door)"] As you can hear, they'd also misheard a chunk of the lyrics, and so instead of "your tasty kiss", Jackson sang "Your first sweet kiss". In the studio, they slowed the song down very slightly, and brought up the harmony vocal from Pender on the choruses, which on the demo he seems to have been singing off-mic. The result was an obvious hit: [Excerpt: The Searchers, "Sweets For My Sweet"] That went to number one, helped by an endorsement from John Lennon, who said it was the best record to come out of Liverpool, and launched the Searchers into the very top tier of Liverpool groups, their only real competition being the Beatles and Gerry and the Pacemakers -- and though nobody could have known it at the time, the Pacemakers' career had already peaked at this point.  Their first album, Meet The Searchers, featured "Sweets For My Sweet", along with a selection of songs that mixed the standard repertoire of every Merseybeat band -- "Money", "Da Doo Ron Ron", "Twist and Shout", "Stand By Me", and the Everly Brothers' "Since You Broke My Heart", with more obscure songs like "Ain't Gonna Kiss Ya", by the then-unknown P.J. Proby, "Farmer John" by Don and Dewey, which hadn't yet become a garage-rock standard (and indeed seems to have become so largely because of the Searchers' version), and a cover of "Love Potion #9", a song that Leiber and Stoller had written for the Clovers, which was not released as a single in the UK, but later became their biggest hit in the US (and a quick content note for this one -- the lyric contains a word for Romani people which many of those people regard as a slur): [Excerpt: The Searchers, "Love Potion #9"] Their second single was an attempt to repeat the "Sweets For My Sweet" formula, and was written by Tony Hatch, although the group didn't know that at the time. Hatch, like many producers of the time, was used to getting his artists to record his own songs, written under pseudonyms so the record label didn't necessarily realise this was what he was doing. In this case he brought the group a song that he claimed had been written by one "Fred Nightingale", and which he thought would be perfect for them. The song in question, "Sugar and Spice", was a blatant rip-off of "Sweets For My Sweet", and recorded in a near-identical arrangement: [Excerpt: The Searchers, "Sugar and Spice"] The group weren't keen on the song, and got very angry later on when they realised that Tony Hatch had lied to them about its origins, but the record was almost as big a hit as the first one, peaking at number two on the charts. But it was their third single that was the group's international breakthrough, and which both established a whole new musical style and caused the first big rift in the group. The song chosen for that third single was one they learned in Hamburg, from Cliff Bennett and the Rebel Rousers, a London group who had recorded a few singles with Joe Meek, like "You Got What I Like": [Excerpt: Cliff Bennett and the Rebel Rousers, "You Got What I Like"] The Rebel Rousers had picked up on a record by Jackie DeShannon, a singer-songwriter who had started up a writing partnership with Sharon Sheeley, the writer who had been Eddie Cochran's girlfriend and in the fatal car crash with him. The record they'd started covering live, though, was not one that DeShannon was the credited songwriter on. "Needles and Pins" was credited to two other writers, both of them associated with Phil Spector.  Sonny Bono was a young songwriter who had written songs at Specialty Records for people like Sam Cooke, Larry Williams, and Don and Dewey, and his most famous song up to this point was "She Said Yeah", the B-side to Williams' "Bad Boy": [Excerpt: Larry Williams, "She Said Yeah"] After working at Specialty, he'd gone on to work as Phil Spector's assistant, doing most of the hands-on work in the studio while Spector sat in the control room. While working with Spector he'd got to know Jack Nitzsche, who did most of the arrangements for Spector, and who had also had hits on his own like "The Lonely Surfer": [Excerpt: Jack Nitzsche, "The Lonely Surfer"] Bono and Nitzsche are the credited writers on "Needles and Pins", but Jackie DeShannon insists that she co-wrote the song with them, but her name was left off the credits. I tend to believe her -- both Nitzsche and Bono were, like their boss, abusive misogynist egomaniacs, and it's easy to see them leaving her name off the credits. Either way, DeShannon recorded the song in early 1963, backed by members of the Wrecking Crew, and it scraped into the lower reaches of the US Hot One Hundred, though it actually made number one in Canada: [Excerpt: Jackie DeShannon, "Needles and Pins"] Cliff Bennett and the Rebel Rousers had been covering that song, and Chris Curtis picked up on it as an obvious hit. The group reshaped the song, and fixed the main flaw with DeShannon's original.  There's really only about ninety seconds' worth of actual song in "Needles and Pins", and DeShannon's version ends with a minute or so of vamping -- it sounds like it's still a written lyric, but it's full of placeholders where entire lines are "whoa-oh", the kind of thing that someone like Otis Redding could make sound great, but that didn't really work for her record. The Searchers tightened the song up and altered its dynamics -- instead of the middle eight leading to a long freeform section, they started the song with Mike Pender singing solo, and then on the middle eight they added a high harmony from Curtis, then just repeated the first verse and chorus, in the new key of C sharp, with Curtis harmonising this time: [Excerpt: The Searchers, "Needles and Pins" (middle eight on)] The addition of the harmony gives the song some much-needed dynamic variation not present in DeShannon's version, while repeating the original verse after the key change, and adding in Curtis' high harmony, gives it an obsessive quality. The protagonist here is spiralling – he keeps thinking the same things over and over, at a higher and higher pitch, getting more and more desperate. It's a simple change, but one that improves the song immensely. Incidentally, one thing I should note here because it's not something I normally do -- in these excerpts of the Searchers' version of "Needles and Pins", I'm actually modifying the recording slightly. The mix used for the original single version of the song, which is what I'm excerpting here, is marred by an incredibly squeaky bass pedal on Chris Curtis' drumkit, which isn't particularly audible if you're listening to it on early sixties equipment, which had little dynamic range, but which on modern digital copies of the track overpowers everything else, to the point that the record sounds like that Monty Python sketch where someone plays a tune by hitting mice with hammers. Here's a couple of seconds of the unmodified track, so you can see what I mean: [Excerpt: The Searchers, "Needles and Pins"] Most hits compilations have a stereo mix of the song, and have EQ'd it so that the squeaky bass pedal isn't noticeable, but I try wherever possible to use the mixes that people were actually listening to at the time, so I've compromised and used the mono mix but got rid of the squeaky frequencies, so you can hear the music I'm talking about rather than being distracted by the squeaks. Anyway, leaving the issue of nobody telling Chris Curtis to oil his pedals aside, the change in the structure of the song turned it from something a little baggy and aimless into a tight two-and-a-half minute pop song, but the other major change they made was emphasising the riff, and in doing so they inadvertently invented a whole new genre of music.  The riff in DeShannon's version is there, but it's just one element -- an acoustic guitar strumming through the chords. It's a good, simple, play-in-a-day riff -- you basically hold a chord down and then move a single finger at a time and you can get that riff -- and it's the backbone of the song, but there's also a piano, and horns, and the Blossoms singing: [Excerpt: Jackie DeShannon, "Needles and Pins"] But what the Searchers did was to take the riff and play it simultaneously on two electric guitars, and then added reverb. They also played the first part of the song in A, rather than the key of C which DeShannon's version starts in, which allowed the open strings to ring out more. The result came out sounding like an electric twelve-string, and soon both they and the Beatles would be regularly using twelve-string Rickenbackers to get the same sound: [Excerpt: The Searchers, "Needles and Pins"] That record is the root of jangle-pop and folk-rock. That combination of jangling, reverb-heavy, trebly guitars and Everly Brothers inspired harmonies is one that leads directly to the Byrds, Love, Big Star, Tom Petty, REM, the Smiths, and the Bangles, among many others. While the Beatles were overall obviously the more influential group by a long way, "Needles and Pins" has a reasonable claim to be the most influential single track from the Merseybeat era. It went to number one in the UK, and became the group's breakthrough hit in the US, reaching number sixteen. The follow-up, "Don't Throw Your Love Away", a cover of a B-side by the Orlons, again featuring Pender on lead vocals and Curtis on harmonies, also made number one in the UK and the US top twenty, giving them a third number one out of four singles. But the next single, "Someday We're Gonna Love Again", a cover of a Barbara Lewis song, only made number eleven, and caused journalists to worry if the Searchers had lost their touch. There was even some talk in the newspapers that Mike Pender might leave the group and start a solo career, which he denied. As it turned out, one of the group's members was going to leave, but it wasn't Mike Pender. Tony Jackson had sung lead on the first two singles, and on the majority of the tracks on the first album, and he thus regarded himself as the group's lead singer. With Pender taking over the lead on the more recent hit singles, Jackson was being edged aside. By the third album, It's The Searchers, which included "Needles and Pins", Jackson was the only group member not to get a solo lead vocal -- even John McNally got one, while Jackson's only lead was an Everlys style close harmony with Mike Pender. Everything else was being sung by Pender or Curtis. Jackson was also getting involved in personality conflicts with the other band members -- at one point it actually got to the point that he and Pender had a fistfight on stage. Jackson was also not entirely keen on the group's move towards more melodic material. It's important to remember that the Searchers had started out as an aggressive, loud, R&B band, and they still often sounded like that on stage -- listen for example to their performance of "What'd I Say" at the NME poll-winners' party in April 1964, with Chris Curtis on lead vocals clearly showing why he had a reputation for eccentricity: [Excerpt: The Searchers, "What'd I Say (live)"] The combination of these musical differences and his feelings about having his place usurped meant that Jackson was increasingly getting annoyed at the other three band members. Eventually he left the group -- whether he was fired or quit depends on which version of the story you read -- and was replaced by Frank Allen of Cliff Bennett and the Rebel Rousers.  Jackson didn't take this replacement well, and publicly went round telling people that he had been pushed out of the band so that Curtis could get his boyfriend into the band, and there are some innuendoes to this effect in Mike Pender's autobiography -- although Allen denies that he and Curtis were in a relationship, and says that he doesn't actually know what Curtis' sexuality was, because they never discussed that kind of thing, and presumably Allen would know better than anyone else whether he was in a relationship with Curtis.  Curtis is widely described as having been gay or bi by his contemporaries, but if he was he never came out publicly, possibly due to his strong religious views. There's some suggestion, indeed, that one reason Jackson ended up out of the band was that he blackmailed the band, saying that he would publicly out Curtis if he didn't get more lead vocals. Whatever the truth, Jackson left the group, and his first solo single, "Bye Bye Baby", made number thirty-eight on the charts: [Excerpt: Tony Jackson and the Vibrations, "Bye Bye Baby"] However, his later singles had no success -- he was soon rerecording "Love Potion Number Nine" in the hope that that would be a UK chart success as it had been in the US: [Excerpt: Tony Jackson and the Vibrations, "Love Potion Number Nine"] Meanwhile, Allen was fitting in well with his new group, and it appeared at first that the group's run of hits would carry on uninterrupted without Jackson. The first single by the new lineup, "When You Walk In The Room", was a cover of another Jackie DeShannon song, this time written by DeShannon on her own, and originally released as a B-side: [Excerpt: Jackie DeShannon, "When You Walk In The Room"] The Searchers rearranged that, once again emphasising the riff from DeShannon's original, and by this time playing it on real twelve-strings, and adding extra compression to them. Their version featured a joint lead vocal by Pender and Allen: [Excerpt: The Searchers, "When You Walk In the Room"] Do you think the Byrds might have heard that? That went to number three on the charts. The next single was less successful, only making number thirteen, but was interesting in other ways -- from the start, as well as their R&B covers, Curtis had been adding folk songs to the group's repertoire, and there'd been one or two covers of songs like "Where Have All the Flowers Gone?" on their albums, but "What Have They Done to the Rain?" was the first one to become a single.  It was written by Malvina Reynolds, who was a socialist activist who only became a songwriter in her early fifties, and who also wrote "Morningtown Ride" and "Little Boxes". "What Have They Done to The Rain?" was a song written to oppose nuclear weapons testing, and Curtis had learned it from a Joan Baez album. Even though it wasn't as big a success as some of their other hits, given how utterly different it was from their normal style, and how controversial the subject was, getting it into the top twenty at all seems quite an achievement. [Excerpt: The Searchers, “What Have They Done To The Rain?”] Their next single, "Goodbye My Love", was their last top ten hit, and the next few singles only made the top forty, even when the Rolling Stones gave them "Take It Or Leave It". The other group members started to get annoyed at Curtis, who they thought had lost his touch at picking songs, and whose behaviour had become increasingly erratic. Eventually, on an Australian tour, they took his supply of uppers and downers, which he had been using as much to self-medicate as for enjoyment as far as I can tell, and flushed them down the toilet. When they got back to the UK, Curtis was out of the group. Their first single after Curtis' departure, "Have You Ever Loved Somebody", was given to them by the Hollies, who had originally written it as an Everly Brothers album track: [Excerpt: The Searchers, "Have You Ever Loved Somebody"] Unfortunately for the Searchers, Chris Curtis had also heard the song, decided it was a likely hit, and had produced a rival version for Paul and Barry Ryan, which got rushed out to compete with it: [Excerpt: Paul and Barry Ryan, "Have You Ever Loved Somebody"] Neither single made the top forty, and the Searchers would never have a hit single again. Nor would Curtis. Curtis only released one solo single, "Aggravation", a cover of a Joe South song: [Excerpt: Chris Curtis, "Aggravation"] The musicians on that included Jimmy Page, John Paul Jones, and Joe Moretti, but it didn't chart. Curtis then tried to form a band, which he named Roundabout, based on the concept that musicians could hop on or hop off at any point, with Curtis as the only constant member. The guitarist and keyboard player quickly decided that it would be more convenient for them if Curtis was the one to hop off, and without Curtis Jon Lord and Richie Blackmore went on to form Deep Purple. The Searchers didn't put out another album for six years after Curtis left. They kept putting out singles on various labels, but nothing came close to charting. Their one album between 1966 and 1979 was a collection of rerecordings of their old hits, in 1972. But then in 1979 Seymour Stein, the owner of Sire Records, a label which was having success with groups like the Ramones, Talking Heads, and the Pretenders, was inspired by the Ramones covering "Needles and Pins" to sign the Searchers to a two-album deal, which produced records that fit perfectly into the late seventies New Wave pop landscape, while still sounding like the Searchers: [Excerpt: The Searchers, "Hearts in Her Eyes"] Apparently during those sessions, Curtis, who had given up music and become a civil servant, would regularly phone the studio threatening to burn it down if he wasn't involved. Unfortunately, while those albums had some critical success, they did nothing commercially, and Sire dropped them. By 1985, the Searchers were at breaking point. They hadn't recorded any new material in several years, and Mike Pender and John McNally weren't getting on at all -- which was a particular problem as the two of them were now the only two members based in Liverpool, and so they had to travel to and from gigs together without the other band members -- the group were so poor that McNally and Pender had one car between the two of them. One of them would drive them both to the gig, the other would drive back to Liverpool and keep the car until the next gig, when they would swap over again. No-one except them knows what conversations they had on those long drives, but apparently they weren't amicable. Pender thought of himself as the star of the group, and he particularly resented that he had to split the money from the band three ways (the drummers the group got in after Curtis were always on a salary rather than full partners in the group). Pender decided that he could make more money by touring on his own but still doing essentially the same show, with hired backing musicians. Pender and the other Searchers eventually reached an agreement that he could tour as "Mike Pender's Searchers", so long as he made sure that all the promotional material put every word at the same size, while the other members would continue as The Searchers with a new singer. A big chunk of the autobiographies of both Pender and Allen are taken up with the ensuing litigation, as there were suits and countersuits over matters of billing which on the outside look incredibly trivial, but which of course mattered greatly to everyone involved -- there were now two groups with near-identical names, playing the same sets, in the same venues, and so any tiny advantage that one had was a threat to the other, to the extent that at one point there was a serious danger of Pender going to prison over their contractual disputes. The group had been earning very little money anyway, comparatively, and there was a real danger that the two groups undercutting each other might lead to everyone going bankrupt. Thankfully, that didn't happen. Pender still tours -- or at least has tour dates booked over the course of the next year -- and McNally and Allen's band continued playing regularly until 2019, and only stopped performing because of McNally's increasing ill health. Having seen both, Pender's was the better show -- McNally and Allen's lineup of the group relied rather too heavily on a rather cheesy sounding synthesiser for my tastes, while Pender stuck closer to a straight guitar/bass/drums sound -- but both kept audiences very happy for decades. Mike Pender was made an MBE in 2020, as a reward for his services to the music industry. Tony Jackson and Chris Curtis both died in the 2000s, and John McNally and Frank Allen are now in well-deserved retirement. While Allen and Pender exchanged pleasantries and handshakes at their former bandmates' funerals, McNally and Pender wouldn't even say hello to each other, and even though McNally and Allen's band has retired, there's still a prominent notice on their website that they own the name "The Searchers" and nobody else is allowed to use it. But every time you hear a jangly twelve-string electric guitar, you're hearing a sound that was originally created by Mike Pender and John McNally playing in unison, a sound that proved to be greater than any of its constituent parts.

Melanie is not just a singer and a songwriter; she is a big part of American Music History. If you haven’t heard of her, that’s not an accident, the corporate record labels have done their best to hide and downplay her incredible career. Why? Because she was the first female singer to create her own record label. The corporate big wigs have done their best to erase her accomplishments, but guess what, they have failed miserably. You see, you can’t keep a spirit like Melanie’s under a cover, you can’t hide her, and you certainly cannot ignore her. Listen to her story as she tells you snips from history which leads up to her first online streaming concert coming up on January 30th, 2021. If you want a sampling of her music, go to her YouTube channel link below.   https://www.melaniesafka.com/ https://www.facebook.com/events/340082417061967/ https://www.youtube.com/channel/UCRk3uJG-FRzn-sasozxx0kA Here is a link to Miley Cyrus and Melanie singing one of Melanie’s songs “Look what they’ve done to my song Ma” https://www.youtube.com/watch?v=LL4BHMSreF8   Melanie landed in the New York City music and radio scene in the late 1960’s. Her first single Beautiful People immediately became a turntable hit. Her first tour began with an impressive 40-day run of shows at Paris’ world-famous L’Olympia Theater at the personal invitation of Bruno Coquatrix. In the years to come she would entertain millions: at An Aquarian Exposition (the 1969 Woodstock Music Festival), at Carnegie Hall, and the Isle of Wight and Glastonbury music festivals, The Sydney Opera House, the South Korean DMZ, the Theatre Royal Drury Lane, the Royal Albert Hall, and many, many more theaters, halls and beloved music clubs around the globe. Melanie launched Neighborhood Records, making her the first American woman to open a mainstream record label. She recorded over 20 chart hits and many have been re-recorded. Melanie received an Emmy after composing lyrics for the theme song of the hit television series Beauty and the Beast. “What Have They Done to My Song Ma” was re-recorded by Ray Charles with the Count Basie Band. Nina Simone delivered a remarkable rendition, as well. “(Lay Down) Candles in the Rain” was re-recorded by Mott the Hoople on their 1971 album Wildlife. Meredith Brooks and Queen Latifah later re-recorded the anthem. “Some Say (I Got Devil)" was re-recorded by Smith’s frontman Morrissey. These are only a few of the many performers who have re-recorded Melanie’s works. Melanie has always known her calling in life was to entertain. Audiences have welcomed her to the stage for more than fifty years, and she continues to perform today.

Melanie. Melanie Anne Safka-Schekeryk (born February 3, 1947), professionally known as Melanie or Melanie Safka, is an American singer-songwriter. She is best known for the 1971-72 global hit "Brand New Key", her cover of "Ruby Tuesday", her composition "What Have They Done to My Song Ma", and her 1970 international breakthrough hit "Lay Down (Candles in the Rain)" (inspired by her experience of performing at the 1969 Woodstock music festival).She will be performing a live stream concert on; SUNDAY, JANUARY 30, 2021 AT 3pm CST. Melanie – In Concert!https://www.facebook.com/events/340082417061967 The Douglas Coleman Show now offers audio and video promotional packages for music artists as well as video promotional packages for authors. Please see our website for complete details. http://douglascolemanshow.comIf you have a comment about this episode or any other, please click the link below.https://ratethispodcast.com/douglascolemanshow

Melanie. Melanie Anne Safka-Schekeryk (born February 3, 1947), professionally known as Melanie or Melanie Safka, is an American singer-songwriter. She is best known for the 1971-72 global hit "Brand New Key", her cover of "Ruby Tuesday", her composition "What Have They Done to My Song Ma", and her 1970 international breakthrough hit "Lay Down (Candles in the Rain)" (inspired by her experience of performing at the 1969 Woodstock music festival).She will be performing a live stream concert on; SUNDAY, JANUARY 30, 2021 AT 3pm CST. Melanie – In Concert!https://www.facebook.com/events/340082417061967 The Douglas Coleman Show now offers audio and video promotional packages for music artists as well as video promotional packages for authors. Please see our website for complete details. http://douglascolemanshow.comIf you have a comment about this episode or any other, please click the link below.https://ratethispodcast.com/douglascolemanshow

Has WWE gone with Adam Pearce to get the next Universal Title match against Roman Reigns at The Royal Rumble? WHAT HAVE THEY DONE!? WWE SmackDown full show review, results, and highlights for Friday January 8, 2021. Featuring: - Big E vs Apollo Crews (WWE IC Title)- The D. Dawgs vs The Street Profits (SmackDown Tag Titles)- Daniel Bryan vs Sami Zayn vs King Corbin vs Shinsuke Nakamura vs Rey Mysterio (Gauntlet Match) GET THE NEW OTS CyberPunk 2077 T SHIRT!► https://www.bonfire.com/jd-punk-2077 BLACK FACE MASKS IN STOCK! Get your Off The Script FACE MASKS! ► http://www.mouthmasker.com/ots Subscribe!

Melissa Romero Coots, Steven Coots, and Anthony Evans discuss Big Little Lies Season 2 Episode 1 "WHAT HAVE THEY DONE?", Season 2 Episode 2 "TELL-TALE HEARTS", and Season 2 Episode 3 "THE END OF THE WORLD". *SPOILER WARNING* LISTEN: apple podcasts | google play | soundcloud | spotify | stitcher EMAIL: onthewatchpodcast@hotmail.com INSTAGRAM: @onthewatchpodcast TWITTER: @onthewatchpod Anthony: @themanuc Melissa: @chanelokitty Steven: @stevencoots

In this week's episode David, John and Kyle discuss Russia’s announcement of their own Chernobyl series (1:40), a proposed Magic 8-Ball movie (6:50) and Justin Bieber’s challenge to fight Tom Cruise (12:05). Next we review the three episodes of Black Mirror season five which include “Striking Vipers” (17:50), “Smithereens”(26:05) and “Rachel, Jack and Ashley Too” (32:35). Finally we review the season two premiere of Big Little Lies entitled “What Have They Done?” (45:40). This episode was originally streamed on June 11th on our Twitch channel and is also available for video playback on YouTube. For even more Black Mirror be sure to check out our review of season four and the interactive Bandersnatch film. To get in touch with us and find out when we are recording follow us on Twitter!

The Broadcast's Amanda, Shandy, and Colleen discuss HBO's "Big Little Lies." They start with Season 2, Episode 1, "What Have They Done?"

Hosts Ollie Drennan, Simone Thomas, Mia Brabham, and Jessie Zahner discuss the season 2 premiere of HBO’s Big Little Lies, episode 1, “What Have They Done?”. Stay tuned for our exciting special segment, news and gossip, and our predictions of what’s to come this season. Let us know all your thoughts and theories in the comments below and be sure to follow our hosts on social media! @olliedreamer @simoneathomas @yourstrulymia @athletchic ABOUT BIG LITTLE LIES: Big Little Lies is an upcoming American comedy-drama miniseries series created by David E. Kelley, based on the book of the same name by Liane Moriarty. The series will air on HBO. The pilot episode was written by Kelley. --- This episode is sponsored by · Anchor: The easiest way to make a podcast. https://anchor.fm/app · The Colin and Samir Podcast: The Colin and Samir Podcast hosted by LA - based friends and filmmakers Colin and Samir takes a look into what it’s like to make creativity your career. https://open.spotify.com/show/5QaSbbv2eD4SFrlFR6IyY7?si=Dj3roVoJTZmOime94xhjng

Josh Wigler and Emily Fox recap the season 2 premiere of HBO's Big Little Lies entitled "What Have They Done?" The post Big Little Lies | Season 2 Premiere Recap: “What Have They Done?” appeared first on PostShowRecaps.com.

Hosts Ollie Drennan, Simone Thomas, Mia Brabham, and Jessie Zahner discuss the season 2 premiere of HBO’s Big Little Lies, episode 1, “What Have They Done?”. Stay tuned for our exciting special segment, news and gossip, and our predictions of what’s to come this season. Let us know all your thoughts and theories in the comments below and be sure to follow our hosts on social media! @olliedreamer @simoneathomas @yourstrulymia @athletchic ABOUT BIG LITTLE LIES: Big Little Lies is an upcoming American comedy-drama miniseries series created by David E. Kelley, based on the book of the same name by Liane Moriarty. The series will air on HBO. The pilot episode was written by Kelley. --- This episode is sponsored by · Anchor: The easiest way to make a podcast. https://anchor.fm/app

Joanna Robinson and Richard Lawson discuss "What Have They Done?" the first episode of the second season of Big Little Lies on HBO In the second season, Andrea Arnold takes over directing duties as we return to Monterey, California for another season of Big Little Lies. Meryl Streep joins the already packed cast as Mary Louise, Celeste's step-mother. The new addition complicates the relationship between Celeste and her boys, and the attempts of the "Monterey Five" to keep their secret.  Learn more about your ad choices. Visit megaphone.fm/adchoices

Ciao, giallo fans! Lori and Aria are back with another episode of Queer Giallo Cult. This week the discussion focuses on the movies where the killers target and punish (a very normative sense of) femininity. Movies discussed are "What Have They Done to Solange?" (1972), "Torso" (1973), and "Don't Torture a Duckling" (1972).THIS EPISODE CONTAINS MAJOR SPOILERS FOR THE MOVIES DISCUSSEDAudio clip from "All Women Are Bad" by The Cramps See acast.com/privacy for privacy and opt-out information.

This week, Adam and Kevin review Hélène Cattet and Bruno Forzani's Let the Corpses Tan, along with discussion of some other films including What Have They Done to Your Daughters?, Don't Torture a Duckling, The Cat O' Nine Tails, Harlem Nights, and Searching. 00:01:58 - Let the Corpses Tan review 00:22:40 - Watch list 00:45:50 - New releases Please consider supporting Film Pulse by contributing to our Patreon for just $1 per month! http://patreon.com/filmpulse web: http://filmpulse.net twitter: http://twitter.com/filmpulsenet facebook: http://facebook.com/filmpulse

Links www.youtube.com/mrparka https://www.instagram.com/mrparka/ https://twitter.com/mrparka00 http://www.screamingtoilet.com/dvd--blu-ray https://www.facebook.com/screamingpotty/ https://www.facebook.com/mrparka http://shutupbrandon.podbean.com/ https://www.facebook.com/screamingpotty/ https://itunes.apple.com/us/podcast/shut-up-brandon-podcast/id988229934?mt=2 https://www.stitcher.com/podcast/podbean-70/shut-up-brandon-podcast Time Stamps “The Hornet's Disciple and the Scars She Left” Chat– 0:15 “The Changeling” Review –9:15 “What Have They Done to Your Daughters?” Review – 15:32 “Shadow Builder” Review – 22:02 “Housesitters” Review – 27:08 VHS Voyage “Blood Games” Review – 31:31 “War Hunt” Pick a Movie – 36:43 Pick a Movie Winner Drawing– 42:40 Q&A – 43:15 Update – 45:41   Video  Version – https://youtu.be/dKpIxUmZxsA   Links of Interest More Info, Enter Pick a movie, Ask a Question, “The Changeling” written review –  http://www.screamingtoilet.com/dvd--blu-ray/mrparkas-video-reviews-for-the-week-of-august-11th-episode-65   Dustin Mills Facebook – https://www.facebook.com/dustin.w.mills/   Severin Films – https://severin-films.com/   “The Changeling” Blu-Ray Bundle – https://severin-films.com/shop/the-changeling-bundle2/   Arrow Video – https://arrowfilms.com/   “What Have They Done to Your Daughters?” Blu-Ray – https://mvdshop.com/products/what-have-they-done-to-your-daughters-blu-ray   MVD Rewind Facebook – https://www.facebook.com/MVDRewindCollection/   “Shadow Builder” Blu-Ray – https://mvdshop.com/products/bram-stokers-shadowbuilder-special-edition-blu-ray   “Housesitters” Facebook – https://www.facebook.com/HousesittersMovie/   “Housesitters” Amazon Prime Streaming – https://www.amazon.com/Housesitters-Jamie-Jirak/dp/B07FWBZ2Q6/   “Blood Games” VHS – https://www.amazon.com/Blood-Games-Gregory-Scott-Cummins/dp/6301878329/   “War Hunt” DVD – https://www.amazon.com/War-Hunt-John-Saxon/dp/B00008PC12/     Update Blu-Ray Unseen Brute Corps Rendel: Dark Vengeance Fangs of the Living Dead Night of the Seagulls Alienator Dance Macabre Dracula Has Risen From the Grave

Linkswww.youtube.com/mrparkahttps://www.instagram.com/mrparka/https://twitter.com/mrparka00http://www.screamingtoilet.com/dvd--blu-rayhttps://www.facebook.com/screamingpotty/https://www.facebook.com/mrparkahttp://shutupbrandon.podbean.com/https://www.facebook.com/screamingpotty/https://itunes.apple.com/us/podcast/shut-up-brandon-podcast/id988229934?mt=2https://www.stitcher.com/podcast/podbean-70/shut-up-brandon-podcast Time Stamps “The Hornet’s Disciple and the Scars She Left” Chat– 0:15 “The Changeling” Review –9:15 “What Have They Done to Your Daughters?” Review – 15:32 “Shadow Builder” Review – 22:02 “Housesitters” Review – 27:08 VHS Voyage “Blood Games” Review – 31:31 “War Hunt” Pick a Movie – 36:43 Pick a Movie Winner Drawing– 42:40 Q&A – 43:15 Update – 45:41   Video  Version – https://youtu.be/dKpIxUmZxsA   Links of Interest More Info, Enter Pick a movie, Ask a Question, “The Changeling” written review –  http://www.screamingtoilet.com/dvd--blu-ray/mrparkas-video-reviews-for-the-week-of-august-11th-episode-65   Dustin Mills Facebook – https://www.facebook.com/dustin.w.mills/   Severin Films – https://severin-films.com/   “The Changeling” Blu-Ray Bundle – https://severin-films.com/shop/the-changeling-bundle2/   Arrow Video – https://arrowfilms.com/   “What Have They Done to Your Daughters?” Blu-Ray – https://mvdshop.com/products/what-have-they-done-to-your-daughters-blu-ray   MVD Rewind Facebook – https://www.facebook.com/MVDRewindCollection/   “Shadow Builder” Blu-Ray – https://mvdshop.com/products/bram-stokers-shadowbuilder-special-edition-blu-ray   “Housesitters” Facebook – https://www.facebook.com/HousesittersMovie/   “Housesitters” Amazon Prime Streaming – https://www.amazon.com/Housesitters-Jamie-Jirak/dp/B07FWBZ2Q6/   “Blood Games” VHS – https://www.amazon.com/Blood-Games-Gregory-Scott-Cummins/dp/6301878329/   “War Hunt” DVD – https://www.amazon.com/War-Hunt-John-Saxon/dp/B00008PC12/     Update Blu-Ray Unseen Brute Corps Rendel: Dark Vengeance Fangs of the Living Dead Night of the Seagulls Alienator Dance Macabre Dracula Has Risen From the Grave Frankenstein Must Be Destroyed Requiem for a Dream Director’s Cut Hell Ride A Bad Day for the Cut The Perfect Weapon Meteor Man Film Notes The Hornet’s Disciple and the Scars She Left – 2018 – Dustin Mills The Changeling – 1980 – Peter Medak What Have They Done to Your Daughters? – 1974 – Massimo Dallamano Shadow Builder – 1998 – Jamie Dixon Housesitters – 2018 – Jason Coffman Blood Games – 1990 – Tanya Rosenberg War Hunt – 1962 – Denis Sanders

Weiter geht’s mit dem Settegialli: Im Juli werden sieben Gialli geguckt, Einsteiger und Leute mit knappen Zeitbudget können aber auch gerne mit vier Filmen loslegen. Listen mit eurer Giallo-Auswahl, Meinungen, Rezensionen und Podcasts kommen alle unter dem Hashtag #SETTEGIALLI unter. Diesmal spricht Alexander zusammen mit Patrick Lohmeier von Bahnhofskino über Der Tod trägt schwarzes Leder (1974, La polizia chiede aiuto, What Have They Done to Your Daughters?), ein Giallo-Poliziottesco Hybrid mit Mario Adorf, der gerade Patrick sehr am Herzen liegt. Warum das so ist und was ein Poliziottesco ist, erfahrt ihr im Podcast. Der Tod trägt schwarzes Leder arbeiten wir wieder nicht nach dem klassischen Beat Sheet ab, sondern nach den sieben „Giallo-Beats“: La trama e scandalo: Der Plot und der Protagonist‬ Belle ragazze: Die Frauen‬ ‪Grande stile: Regie, Stil, Musik‬ ‪L’Assassinio: Der Mörder und die Morde‬ Sospetto: Die Verdächtigen und das ‬Skandalöse Sciocchezze! Die Italoquatsch Momente‬ ‪I momenti miglori: Der Bava Farbmoment und andere Highlights‬ Mehr Infos zum #Settegialli findet ihr hier Patrick und den Bahnhofskino Podcast findet ihr auf Twitter unter @bahnhofskino und unter bahnhofskino.com Clips: DER TOD TRÄGT SCHWARZES LEDER – deutscher Kinotrailer Sponsor: Diese Episode von Abspanngucker wird präsentiert von Discover TV Digital (http://app.tvdigital.de/discover), einer TV-Programm-App für iPad und Android Tablets mit persönlichen Empfehlungen und verdammt schickem Design. Ob Free-TV, Pay-TV oder Stream, da findet sich für jeden was zum gucken! Ihr könnt die App 3 Monate lang in der Premium Version, inkl. persönlicher Empfehlungen antesten, danach hätten wir einen Promocode für euch über den ihr die Premiumversion 1 Jahr lang weiter nutzen könnt für 2,99 € statt 19,99 €. Ohne Premium kann man die App natürlich auch nutzen, dann halt nur ohne persönliche Empfehlungen. Hier ist der Code für euch: 8888888888 (10x die 8). Info Vielen lieben Dank an unsere Steady Abspannfreunde Michael, Patrick, Rüdiger, Severin, Felix und Nenad! Wollt ihr uns auch unterstützen? Dann findet ihr uns auf Steady unter steadyhq.com/abspanngucker Alternativ könnt ihr uns auf Paypal eine Spende hinterlassen Wir freuen uns natürlich immer auch über Reviews auf iTunes Unsere Titelmusik ist von Arnob Bal aka FamLi. Ihr findet ihn auf Twitter unter @ArnobBal Ihr findet uns unter abspanngucker.de twitter.com/abspannpodcast facebook.com/abspanngucker podcast@abspanngucker.de

主播打分： 刘三解（前凤凰网历史频道主编，《芳华》等4期嘉宾；公号“刘三解freestyle”）：8分； “这部电影也有主旋律色彩，虽然是刀尖上跳舞，但在表达方式上也和《归来》没什么两样。” （刘三解的其它打分：《至暗时刻》8分；《芳华》5.5分；《妖猫传》5分） 柏小莲（资深媒体人；《嘉年华》等4期嘉宾；公众号“柏小莲”）：7分； “片中的法庭戏太‘美剧’了，就说《傲骨贤妻》的庭辩戏都比这个要精彩得多。” （柏小莲的其它打分：《第三度嫌疑人》7.5分；《后来的我们》6.5分；《唐人街探案2》6.5分） 波米：7分； “本片是家庭伦理的反类型，所有家庭粘合剂元素在本片都是失效的，本片其实是一部本质上的伤痕电影。” 《羞辱》（قضية رقم ٢٣）平均分：约7.3分 本期节目流程与目录： 开场曲：(Max Richter)； 第27秒-第4分钟：影片信息介绍（无剧透）； 第4分钟-第8分钟：三位主播为影片打分并阐述理由（无剧透）； 第8分半-第37分钟：嘉宾“刘三解”和“柏小莲”和波米谈及《羞辱》“问题” （涉及剧透）： 1、嘉宾“刘三解”觉得本片最后过于说教，涉及国家民族层面的讨论有些肤浅； 2、嘉宾“柏小莲”主要认为本片有“庭辩戏有些套路”、“和解动机不足”和“缺少鲜明女性形象”这三个问题； 3、波米认为两个律师的人设问题较大，对比《一次别离》等片，影片的封闭式结尾也并不高级； 随后三位主播就律师的冲突动机展开激烈辩驳； 第37分钟-1小时20分半：交换意见，三位主播谈影片亮点 （涉及剧透）： 1、柏小莲认为影片节奏非常好，有些历史细节的展现非常感染人； 2、刘三解提到一段法庭证人的历史回忆让他潸然落泪，对两位主角的塑造非常成功； 3、波米觉得影片的道德平衡维持得较好，“无人可独自拥有受害者身份”等表意都值得深思； 1小时20分半-尾声：外延话题（涉及剧透）：“中东战争”与“黎巴嫩内战”电影介绍，重点提及《黎巴嫩》、《焦土之城》和《和巴什尔跳华尔兹》； 尾声曲目：(Max Richter)； 影片《羞辱》重要信息： 本片北美分级：R级； 本期节目重点提及的电影片单： 《慕尼黑》（2005） 《和巴什尔跳华尔兹》（2008） 《黎巴嫩》（2009） 《焦土之城》（2010） 《一次别离》（2011） 《狐步舞》（2017） 《三块广告牌》（2017）

Welcome to our landmark 300th episode of the GGtMC!!! For our celebration and for your listening pleasure we are bringing you reviews of What Have You Done to Solange? (1972) and What Have They Done to Our Daughters? (1974) both directed by Massimo Dallamano and Rings of Terror (1978) directed by Alberto Negrin. We hope you enjoy the episode and we want to thank all of you that have been there since the beginning and those of you that are new to the GGtMC!!! We do this for the love of cinema and sharing that with all of you makes it all worth it!!! Emails to midnitecinema@gmail.com Adios!!! --- Send in a voice message: https://anchor.fm/ggtmc/message