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4 episodes with Wizzard
Vu sur Poussières d'étoiles (jazz) : vendredi 11 avril 2025 L'émission de Jean Neveu, le Jazz comme il l'aime et comme il nous le fait aimer : des pionniers aux créateurs actuels. Une émission accessible à tous, sans exclusive. Lou Donaldson Three little words février 1959 “L. D. + 3” Blue Note Milt Jackson Bag's groove avril 19529 “Wizzard of the vibes” Blue Note Thelonious […] Cet article provient de Radio AlterNantes FM
Wir so vor der Aufnahme: Ach, wir sprechen nur über ein einziges Spiel, das wird ja eine kurze Folge. Doch dann kam alles anders, weil wir nicht nur über Atomfall, eine Art britisches Fallout, sprechen wollten, sondern auch zu vielen kleinen und großen Themen, die uns gerade antreiben. Darunter neue und alte Fantasy-Literatur, die Auswirkungen von Trumps bizarrer Zoll-Politik auf Brettspiele und andere Hobbies und natürlich auch die Switch 2. Außerdem gibt's ein neues Steady-Goal. Wir wollen für und mit euch auf Twitch streamen! Was es damit auf sich hat, erzählen wir ebenfalls.
My wife Jackie and I run down the UK singles chart for the week beginning 19th January 1975.
Co-host Jeremy spins selections from the debut solo album by English singer-songwriter Roy Wood. Best known for his work with bands like the Move, Electric Light Orchestra, and Wizzard, Wood's solo work carries a similar knack for pop hooks and eccentric arrangements, the latter quality amplified by the fact that he's playing everything. If you like us, please support us at patreon.com/idbuythatpodcast to get exclusive content (episodes on 45s!), or tell a friend about us. Broke and have no friends? Leave us a review, it helps more people find us. Thanks!
Ottawa Valley Boss Babes' anniversary "Where Are They Now" episodes concludes with Elizabeth Davis, the bombshell behind Bombshells Tattoos! Liz is an incredibly talented and sought-after tattoo artists in the Ottawa Valley, first starting off as a tattoo artist at the famous Wizzard's Den in Petawawa, then went into hair, opening Bombshells Hair Studio AND her tattoo studio, eventually leaving hair altogether to pursue tattooing altogether. She had a unique business model with her all-female team, but is now tattooing exclusively from her home - and has bigger plans to expand her creativity into artwork, sculpturing and more! In this episode, Liz and I dive into:
Jimbo welcomes Michael Cox, Duncan Alexander and Tom Williams into the studio for a bumper edition of the Totally Football Show.Champions League matchday 6 sees Man City lose for the 7th time in 10 matches, this time in Turin against Juventus. Does Pep regret signing that new contract ahead of the most uncertain Manchester derby in years?Elsewhere Real Madrid are victorious against Atalanta in perhaps the game of the season so far, and the Brest fairytale continues.The 2034 World Cup will take place in Saudi Arabia, while the 2030 World Cup will take place in 3 different continents. The panel express their dismay at the process and ponder the future of the World Cup.The Premier League weekend also sees some Sunday 7pm kick-offs with the under-pressure Postecoglou and the inimitable Palmer in action.Plus the magnificence of Marco Silva, Wizzard and WikipediaProduced by Charlie Jones.RUNNING ORDER: • PART 1a: Juventus 2-0 Man City (06.00)• PART 1b: Victories for Arsenal, Liverpool & Villa (14.00)• PART 2a: Atalanta 2-3 Real Madrid (26.00) • PART 2b: Elsewhere in the Champions League (31.00)• PART 3: Saudi Arabia to host the 2034 World Cup (38.00)• PART 4a: Manchester derby preview (48.00)• PART 4b: The rest of the Premier League weekend (56.00) Hosted on Acast. See acast.com/privacy for more information.
Jimbo welcomes Michael Cox, Duncan Alexander and Tom Williams into the studio for a bumper edition of the Totally Football Show. Champions League matchday 6 sees Man City lose for the 7th time in 10 matches, this time in Turin against Juventus. Does Pep regret signing that new contract ahead of the most uncertain Manchester derby in years? Elsewhere Real Madrid are victorious against Atalanta in perhaps the game of the season so far, and the Brest fairytale continues. The 2034 World Cup will take place in Saudi Arabia, while the 2030 World Cup will take place in 3 different continents. The panel express their dismay at the process and ponder the future of the World Cup. The Premier League weekend also sees some Sunday 7pm kick-offs with the under-pressure Postecoglou and the inimitable Palmer in action. Plus the magnificence of Marco Silva, Wizzard and Wikipedia Produced by Charlie Jones. RUNNING ORDER: • PART 1a: Juventus 2-0 Man City (06.00) • PART 1b: Victories for Arsenal, Liverpool & Villa (14.00) • PART 2a: Atalanta 2-3 Real Madrid (26.00) • PART 2b: Elsewhere in the Champions League (31.00) • PART 3: Saudi Arabia to host the 2034 World Cup (38.00) • PART 4a: Manchester derby preview (48.00) • PART 4b: The rest of the Premier League weekend (56.00) Learn more about your ad choices. Visit megaphone.fm/adchoices
Agradece a este podcast tantas horas de entretenimiento y disfruta de episodios exclusivos como éste. ¡Apóyale en iVoox! Colabora Con Biblioteca Del Metal: En Twitter - https://twitter.com/Anarkometal72 Y Donanos Unas Propinas En BAT. Para Seguir Con El Proyecto De la Biblioteca Mas Grande Del Metal. Muchisimas Gracias. La Tienda De Biblioteca Del Metal: Encontraras, Ropa, Accesorios,Decoracion, Ect... Todo Relacionado Al Podcats Biblioteca Del Metal Y Al Mundo Del Heavy Metal. Descubrela!!!!!! Ideal Para Llevarte O Regalar Productos Del Podcats De Ivoox. (Por Tiempo Limitado) https://teespring.com/es/stores/biblioteca-del-metal-1 Que tal familia aqui os traigo el octavo especial de la biblioteca del metal, esta vez dedicado al Heavy Metal, de los años 80, de bandas muy poco conocidas a este genero. espero que sea de vuestro agrado. saludos Txarly Metal. Track List: 00:00 Soldier of the world - Hiroshima (1983) 05:05 The beast - Randy (1985) 08:42 Run from the devil - Salem's Wych (1986) 12:52 Child of hell - Black Fate (1986) 18:57 Warlord - Manowar (1983) 22:24 Metalbreaker - Scratch (1985) 26:41 Wild scud to hell - Outside (1988) 30:12 Stories from the old days - Universe (1985) 34:19 Paris is burnig - Dokken (1982) 38:02 Heavy metal beast - Lazzer (1988) 42:20 Nightmare - Storm (1982) 46:11 Ninja warrior - Wizzard (1986) 52:08 Wall of sound - Killer (1982) 56:06 Search and destroy - Stormtrooper (1985) 59:37 Blade Runner - Spitfire (1984) 01:04:08 Get it out - Alien Force (1985) 01:08:37 Swords and chains - Gotham City (1984) 01:14:01 Heavy metal ears - Picture (1981) 01:17:02 Breaker - Accept (1981) 01:20:38 Street fighter - Sacrifice (1985) 01:24:29 Under my gun - Icon (1984) 01:28:03 So many years ago - Mirage (1985) 01:33:01 Heavy metal queen - Trance (1983) 01:36:15 Warrior - Trouble (1985)Escucha este episodio completo y accede a todo el contenido exclusivo de Biblioteca Del Metal - (Recopilation). Descubre antes que nadie los nuevos episodios, y participa en la comunidad exclusiva de oyentes en https://go.ivoox.com/sq/308558
Marvin Yxner är skådespelare, regissör och improvisatör baserad i Stockholm. Han har undervisat och hållit på med improvisationsteater sedan 1978 över hela landet och framförallt med kurser Fridhems folkhögskola. Han var också med och grundade Improvisation & Co. Vi pratar om Sveriges improhistoria, teatersport och att busa med publiken. Vi pratar en massa Keith Johnstone, att göra företagsgig och hålla i impro på folkhögskola. Dessutom pratar vi om the Wizzard of Oz, Commedia dell'arte och Sveriges Improvisationsteater.
Sam Newman, Mike Sheahan and Don Scott - 'You Cannot Be Serious'
If you like someone's content, you can invite them to come onto your podcast and chat. On this episode of No Deep Dives, I chop it up with Jaliessa Sipress – Astrology, Wizzard and MossPerson™️ about the pitfalls of being alive, the beauty of the birth chart, the joy of internet mutuals and the reality of practising esotericism. IMPORTANT LINKS https://www.instagram.com/jaliessasipress/?hl=en https://www.instagram.com/edgewalkerpod/?hl=en DIVE DEEPER No Deep Dives TikTok No Deep Dives Instagram No Deep Dives Substack No Deep Dives Slack TIMESTAMPS 00:00 Introduction 00:27 Hotties Love Yapping 01:02 Meet Jaliessa Sipress 01:53 MossPerson Meets MistPerson 04:10 Bring Aquaintances Back 08:47 Astrology is NOT Personality Typing 15:06 Pop Astrology vs. Traditional Astrology 24:07 How To Actually Use Astrology 26:21 Flex's Birthchart 29:15 Should We Be Scared Of AI? 33:59 The Hero's Journey and Fool's Journey 46:01 The Complexity of Astrology and Identity 47:24 Conclusion and Final Thoughts
Hvilke singler købte vi for 51 år siden. Det var et år, hvor Glamrock for alvor havde fået fat om det europæiske publikum, samtidig var blev der købt heavy og progressiv rock i stigende oplag. Uanset var det et plade år fyldt med fest og farver. Lyt med til Nazareth, Alice Cooper, Wings, Geordie, Wizzard, … Læs videre "Single hitliste d. 19/5 1973"
Joining us in the studio is none other than Matt, also known as the Wizzard of Iz—yes, with one Z! This urban explorer isn't your average adventurer; he's more like the Indiana Jones of abandoned spaces, except he trades the fedora for a Hawaiian shirt and the whip for a sense of mischief. In this mind-bending episode, Matt regales us with stories that sound like they're straight out of a Hollywood blockbuster. Picture this: playing high-stakes hide and seek with security guards, spreading Christmas cheer by leaving gifts for fellow explorers in the most unexpected places, and hosting a pool party... on the roof of Kings Park! Yes, you heard that right—nothing says "party" like a pool with a view of the city skyline and a side of trespassing. But wait, there's more! Ever heard of undercover cops masquerading as urbexers? Matt has, and he's got the inside scoop. Plus, he takes us behind the rusted bars of Cresson Prison, unveils the chilling mystery of the missing autopsy table, and recounts the harrowing tale of spending eight hours hiding in a closet, only to leap out of a second-floor window to escape an angry owner wielding a hammer. Talk about a great escape! And if you thought Matt's adventures couldn't get any crazier, think again. He'll share the unforgettable tale of how he accidentally chopped off his thumb at an abandoned power plant. Ouch doesn't even begin to cover it! So, grab your popcorn, buckle up, and prepare to be transported to a world where the extraordinary is just another day in the life of the Wizzard of Iz. This is one episode you won't want to miss! Instagram: the.iz Chasing Bandos Podcast is available on chasingbandospodcast.com or your favourite podcasting app. Check out the pictures of our guest on Instagram at chasingbandospod. You can get in contact by email: contact@gregabandoned.com Support us by purchasing Abandoned China book - fascinating journey into incredible abandoned locations all over China! Intro song is Watcha Gon' Do is performed by Chris Shards [EPIDEMIC SOUND MUSIC LICENSE]. Rapid fire round background songs are: Greaser by TrackTribe and a tune composed by New Jersey explorer dragonboyac. Yes/No segment background song Spirit Riders performed by Telecasted and Insta Beat Vixens by half.cool In this episode we also used few second of John Denver - Take Me Home, Country Roads and Pretty Lights - Country Roads (Remix) songs. Listener discretion announcement at the beginning of the episode was done by Adrian Wunderler-Selby.
If a film director wanted to flag up incoming violence in the late ‘50s, the camera would fall upon a couple of Teds lurking in the street outside. The teenage Keith Richards remembers razors, bike chains and bloodshed at dance halls and there was an infamous Teddy Boy murder on Clapham Common that plunged the nation into frantic, media-led moral panic. Max Décharné sets out to reclaim the Teds from their “Cro-Magnon, knuckle-dragging cliché” in his new book Teddy Boys and relives this dangerously thrilling rock and roll revolution – the music, clothes, films, press stories, the birth of Ted, Peak Ted, its eventual demise and what's kept the flame alive since. Things of note include … … the full effect of Blackboard Jungle on a packed 4,000-seater cinema. ... that poignant sight of an old Ted pushing a pram with a woman with a beehive. … Joan Collins in ‘Cosh Boy'. … the first UK rock and roll gig, Bill Haley & the Comets at the New Theatre Royal in Portsmouth in 1956. … the crepe-soled, velvet-collared Duke of Edinburgh, unlikely '50s fashion icon. … Little Richard, Chuck Berry and Jerry Lee Lewis at the London Rock and Roll Show at Wembley in 1972, a key point in the Ted revival. … Malcolm McLaren, Johnny Rotten, Wizzard and assorted Ted torch-carriers. … Viv Stanshall and ‘Teddy Boys Don't Knit'. … fingertip drapes from Savile Row and how Teds subverted top-end fashion. … Fleetwood Mac as Earl Vince & the Valiants doing ‘Somebody's Gonna Get Their Head Kicked In Tonite'. … and how the Beatles and James Bond helped kick the Teds into touch. Order Max's book here …https://www.amazon.co.uk/Teddy-Boys-Post-War-Britain-Revolution-ebook/dp/B0C3SFMTFHSubscribe to Word In Your Ear on Patreon for early - and ad-free - access to all of our content, plus a whole load more!: https://www.patreon.com/wordinyourear Get bonus content on Patreon Hosted on Acast. See acast.com/privacy for more information.
If a film director wanted to flag up incoming violence in the late ‘50s, the camera would fall upon a couple of Teds lurking in the street outside. The teenage Keith Richards remembers razors, bike chains and bloodshed at dance halls and there was an infamous Teddy Boy murder on Clapham Common that plunged the nation into frantic, media-led moral panic. Max Décharné sets out to reclaim the Teds from their “Cro-Magnon, knuckle-dragging cliché” in his new book Teddy Boys and relives this dangerously thrilling rock and roll revolution – the music, clothes, films, press stories, the birth of Ted, Peak Ted, its eventual demise and what's kept the flame alive since. Things of note include … … the full effect of Blackboard Jungle on a packed 4,000-seater cinema. ... that poignant sight of an old Ted pushing a pram with a woman with a beehive. … Joan Collins in ‘Cosh Boy'. … the first UK rock and roll gig, Bill Haley & the Comets at the New Theatre Royal in Portsmouth in 1956. … the crepe-soled, velvet-collared Duke of Edinburgh, unlikely '50s fashion icon. … Little Richard, Chuck Berry and Jerry Lee Lewis at the London Rock and Roll Show at Wembley in 1972, a key point in the Ted revival. … Malcolm McLaren, Johnny Rotten, Wizzard and assorted Ted torch-carriers. … Viv Stanshall and ‘Teddy Boys Don't Knit'. … fingertip drapes from Savile Row and how Teds subverted top-end fashion. … Fleetwood Mac as Earl Vince & the Valiants doing ‘Somebody's Gonna Get Their Head Kicked In Tonite'. … and how the Beatles and James Bond helped kick the Teds into touch. Order Max's book here …https://www.amazon.co.uk/Teddy-Boys-Post-War-Britain-Revolution-ebook/dp/B0C3SFMTFHSubscribe to Word In Your Ear on Patreon for early - and ad-free - access to all of our content, plus a whole load more!: https://www.patreon.com/wordinyourear Get bonus content on Patreon Hosted on Acast. See acast.com/privacy for more information.
If a film director wanted to flag up incoming violence in the late ‘50s, the camera would fall upon a couple of Teds lurking in the street outside. The teenage Keith Richards remembers razors, bike chains and bloodshed at dance halls and there was an infamous Teddy Boy murder on Clapham Common that plunged the nation into frantic, media-led moral panic. Max Décharné sets out to reclaim the Teds from their “Cro-Magnon, knuckle-dragging cliché” in his new book Teddy Boys and relives this dangerously thrilling rock and roll revolution – the music, clothes, films, press stories, the birth of Ted, Peak Ted, its eventual demise and what's kept the flame alive since. Things of note include … … the full effect of Blackboard Jungle on a packed 4,000-seater cinema. ... that poignant sight of an old Ted pushing a pram with a woman with a beehive. … Joan Collins in ‘Cosh Boy'. … the first UK rock and roll gig, Bill Haley & the Comets at the New Theatre Royal in Portsmouth in 1956. … the crepe-soled, velvet-collared Duke of Edinburgh, unlikely '50s fashion icon. … Little Richard, Chuck Berry and Jerry Lee Lewis at the London Rock and Roll Show at Wembley in 1972, a key point in the Ted revival. … Malcolm McLaren, Johnny Rotten, Wizzard and assorted Ted torch-carriers. … Viv Stanshall and ‘Teddy Boys Don't Knit'. … fingertip drapes from Savile Row and how Teds subverted top-end fashion. … Fleetwood Mac as Earl Vince & the Valiants doing ‘Somebody's Gonna Get Their Head Kicked In Tonite'. … and how the Beatles and James Bond helped kick the Teds into touch. Order Max's book here …https://www.amazon.co.uk/Teddy-Boys-Post-War-Britain-Revolution-ebook/dp/B0C3SFMTFHSubscribe to Word In Your Ear on Patreon for early - and ad-free - access to all of our content, plus a whole load more!: https://www.patreon.com/wordinyourear Get bonus content on Patreon Hosted on Acast. See acast.com/privacy for more information.
**Kev White's White House Show Replay On traxfm.org. This Week Kev Gave Us Boogie, Dance & Pop Classics, (& Tunes You Have Not Heard In Years) From Yarbrough & Peoples, Nick Kamen, Rod Stewart, Whitesnake, Sharon Redd, Hi-Gloss, Human League's "Don't You Want Me" (Purple Disco Machine Remix), Lady Taffy, Viola Wills, Barry White, Billy Paul, Harry Nilsson, Bad Company, Wizzard, Billy Vera & More Catch Kev White's The White House Show Every Thursday From 7PM UK Time The Station: traxfm.org #traxfm #boogie #danceclassics #classics #retro #remixes Listen Live Here Via The Trax FM Player: chat.traxfm.org/player/index.html Mixcloud LIVE :mixcloud.com/live/traxfm Free Trax FM Android App: play.google.com/store/apps/det...mradio.ba.a6bcb The Trax FM Facebook Page : https://www.facebook.com/profile.php?id=100092342916738 Trax FM Live On Hear This: hearthis.at/k8bdngt4/live Tunerr: tunerr.co/radio/Trax-FM Radio Garden: Trax FM Link: http://radio.garden/listen/trax-fm/IEnsCj55 OnLine Radio Box: onlineradiobox.com/uk/trax/?cs...cs=uk.traxRadio Radio Deck: radiodeck.com/radio/5a09e2de87...7e3370db06d44dc Radio.Net: traxfmlondon.radio.net Stream Radio : streema.com/radios/Trax_FM..The_Originals Live Online Radio: liveonlineradio.net/english/tr...ax-fm-103-3.htm**
Happy Christmas from the Rockonteurs. This week Guy and Gary chat to Roy Wood about his long and successful career in bands such as The Move, ELO and Wizzard. Would Roy really wish it could be Christmas every day? Find out more about the next Rockonteurs LIVE - a Quadrophenia special with director Franc Roddam and star Phil Daniels. It's on Feb 22nd at Battersea Power Station. All the details at www.Rockonteurs.comRockonteurs is produced by Ben Jones for Gimme Sugar Productions. Hosted on Acast. See acast.com/privacy for more information.
Happy Christmas from the Rockonteurs. This week Guy and Gary chat to Roy Wood about his long and successful career in bands such as The Move, ELO and Wizzard. Would Roy really wish it could be Christmas every day? Find out more about the next Rockonteurs LIVE - a Quadrophenia special with director Franc Roddam and star Phil Daniels. It's on Feb 22nd at Battersea Power Station. All the details at www.Rockonteurs.comRockonteurs is produced by Ben Jones for Gimme Sugar Productions. Hosted on Acast. See acast.com/privacy for more information.
Lyt med til historien om The Move, gruppen fik en række hits i slutningen af 60'erne med numre som, Fire Brigade, Night Of Fear, Blackberry Way. De to hoved sangskrivere Roy Wood og Jeff Lynne gik hver til sit i 72, ud af asken rejste sig to af 70'ernes bedste pop grupper Wizzard og ELO. … Læs videre "The Move, Wizzard og ELO"
Status Quo are one of Britain's longest-running bands, staying together for over six decades. During much of that time, the group was only successful in the U.K., where they racked up a string of Top Ten singles over the decades. In America, the Quo were ignored after they abandoned psychedelia for heavy boogie rock in the early '70s. Before that, the band managed to reach number 12 in the U.S. with the psychedelic classic "Pictures of Matchstick Men" Following that single, the group suffered a lean period for the next few years before the band members decided to refashion themselves as a hard rock boogie band in 1970. The Quo have basically recycled the same simple boogie on each successive album and single, yet their popularity has never waned. If anything, their very predictability ensured the group a large following. The guys started out as The Spectres with Francis Rossi (vocals, guitar) Alan Lancaster (bass) drummer John Coghlan and organist Roy Lynes. The group added Rick Parfitt (guitar, vocals) and changed its name to Status Quo. Throughout the '70s, each album Status Quo released went into the Top Five, while their singles -- including the number one "Down Down" (1974), "Roll Over Lay Down" (1975), "Rain" (1976), "Wild Side of Life" (1976), and a cover of John Fogerty's "Rockin' All Over the World" (1977) - consistently hit the Top Ten. Since they were experiencing a great deal of success, they didn't change their sound at all, they just kept churning out the same heavy boogie. John Coghlan left Status Quo in 1981 – during rehearsals for the band's 20th Anniversary album in Switzerland. Tensions had developed and John left to form his own band. By 1983 his own band featured a selection of respected musicians, comprising; guitarist Ray Majors (ex-Mott and British Lions), bass player Ian Ellis (ex-Savoy Brown and Steamhammer), and keyboard player Jeff Banister. That same year John Coghlan teamed up with a trio of other well-known musicians called the Rockers. The four man line up boasted John on drums, Phil Lynott (Thin Lizzy's frontman) on bass, guitar and vocals, Chas Hodges (from Chas ‘n' Dave) on keyboards and Roy Wood (ex Wizzard, ELO and The Move) on guitar and vocals. Coghlan continued to tour regularly playing with various musicians. He began working with Alan Lancaster in Australia who was putting together a band with Australian guitarist John Brewster, called the Bombers. John worked with The Bombers for a year but returned to the UK in 1990. John Coghlan started working with his own band, John Coghlan's Quo, during the late 1990s. By that time, Status Quo had scored 50 British hit singles, which was more than any other band in rock & roll history at the time. This week John Coghlan joins us to explain what those heady days were like, why he left the band in 1981and what life holds for him today. If you'd like to learn more about John Coghlan follow these links: http://www.johncoghlan.com/ and check out his new book SPUD https://www.amazon.co.uk/Coghlan-Quo-Steven-Myatt/dp/1899750479 To check out what Status Quo are doing these days head for https://www.statusquo.co.uk/ If you have any feedback, comments or suggestions for future guests on this show, please contact me https://abreathoffreshair.com.au/
In de Daily KINK hoor je elke avond om 20:20 het belangrijkste muzieknieuws en de nieuwste releases in KINK IN TOUCH. Ook als podcast. Met vandaag nieuws over📌Nieuwe muziek van Heartworms en Marika Hackman📌Tours van Queensriche en King Gizzard & The Lizard Wizzard📌Live muziek van The 1975
In de Daily KINK hoor je elke avond om 20:20 het belangrijkste muzieknieuws en de nieuwste releases in KINK IN TOUCH. Ook als podcast. Met vandaag nieuws over📌Nieuwe muziek van Heartworms en Marika Hackman📌Tours van Queensriche en King Gizzard & The Lizard Wizzard📌Live muziek van The 1975
They all know it's Dynamite, And the music went on and on and on…The history books will tell us that, in theory, 1973 shouldn't have worked.Terrorist campaigns, oil shortages, petrol rations, power cuts. Peters and Lee.However, as the saying goes from great adversity comes great art. Or was it great sitcoms? Either way, 1973 stands not just as one of the greatest pop years of the decade, one could argue of all time. Really, I hear you cry? Where is the evidence that a year that could see Donny Osmond hit the top spot twice needs to be elevated to such greatness? And we didn't even win the Eurovision Song Contest? CONVINCE ME!1973 was perhaps the year where the decade finally shook off the ghosts of the Sixties. The Seventies had arrived and with breathless confidence, swagger and a reclamation of joyful pop by ‘the kids', the year provides an embarrassment of musical and cultural riches. 1973 had put on its best glam gladrags and was ready to light the fuse for the rest of the decade.Colour had arrived across UK TV sets just in time for the like of Slade, Elton, Bowie, Roxy Music and a host of others to trailblaze a lightning streak of supercharged escapism across the charts and into our homes every Thursday evening on Tops of the Pops. Suzi Quatro, Alvin Stardust, Wizzard and Mud joined the glam trail with huge glittery doses of pop sensibility and killer choruses, that at times felt as if the centre couldn't hold. David Essex provided one of the most memorable songs of the year as ‘Rock On' also spearheaded 1973's revival love affair with Rock and Roll as seen in the smash hit film ‘That'll be The Day'. But this stellar year also gave us a wealth of classic soul and funk, many of which still soundtrack our lives 50 years later. Let's celebrate the greats such as Diana Ross, The Temptations, Gladys Knight, Marvin Gaye. The list of highlights (just like the beat, pop pickers) goes on and on.And in 2023, the team at NOW have proudly provided us with a Yearbook and extra volume that together curates over 140 hits and memories from 1973; a pop year like no other. A compilation that is worthy of the title A CLASSIC.Joining me for this special episode is music consultant and Duckie legend Mark Wood and music journalist, author and cofounder of needle mythology records Pete Paphides. Discover why and how Mark has documented the whole year through his amazingly tireless, daily Facebook updates - and why 1973 is such an important year for him. Revisit Pete's memories of growing up in a chip shop and the sights and sounds that triggered his own fascination with pop. Along the way, also share in some fabulous anecdotes and stories including the tale of Roy Wood's lost man bag, Alvin Stardust's minders, which 1973 topped Saint Etienne's all time list, a plethora of Beatles related links and facts and how some Daytona divine intervention soundtracked a 21st century fairground ride for one of our guests. All of this and much, much more. Whether you were there first time around or are rediscovering the glam and excitement all over again, this is a very special episode that you'll not want to miss!Like Christmas, everyday baby. Hosted on Acast. See acast.com/privacy for more information.
In deze aflevering van DE BLOEMENPODCAST van ANNEMARIJE & JORIEN zijn we weer terug in onze tuinen en vertellen we hoe deze de vakantieperiode hebben doorstaan. Annemarije trof in elk geval een jungle aan.Uiteraard hebben we het ook nog even over de vele regen die in deze periode is gevallen. Verder vragen we ons af of oranje bloemen soms superieur zijn. En houden wij ons wel aan een kleurenschema? We hebben het over de verrassing van Jorien: de leeuwenbek. En staat de nieuwe kas inmiddels in de tuin van Annemarije.Uiteraard in deze periode een langdurige dahlia-update. We bespreken o.a. de enorme dahlia Penhill Watermelon, de mooie roze Wizzard of Ozz en Waltzing Mathilda. Maar ook praten we over de schattige kleine dahlia Small World en de head turner in de voortuin van Jorien: dahlia Bumble Bee.Meer info over pluktuinen: opleiding je eigen pluktuin & boek Flower Happiness.Meer over de dames Annemarije: flowerhappiness.nl Instagram: @florabelflowers Jorien: bloematwork.nl en uniekpotlood.nl Instagram: @bloematwork en @uniekpotlood De Bloemen Podcast heeft ook een eigen Instagram account: @debloemenpodcast. Muziek: your little piece of happiness / Studio Kolomna
The first international Kloten met Motors, baby!! Acteur, voiceover en motorfreak Poal Cairo ontvangt in 'Kloten met Motors - De Podcast' bekende motorliefhebbers. In zijn garage ergens in Amsterdam bespreken in geuren en kleuren hun liefde voor (het klussen aan) motors. Ook de toekomst wordt kritisch bekeken, want elektrisch rijden, is dat nou eigenlijk wel zo rauw en puur als een échte motor? Volg Kloten met Motors op Instagram en Spotify!
See the full episode here:Kansas City Chiefs Patrick Mahomes is a WIZZARD! Sunday Night Live Will eh throw a behind-the-back pass in reg season?!? Who are the Camp Fallers and Risers going into P-GM 1? SUB for more Chiefs breakdowns - https://bit.ly/RGRSub ** GET RGR Chiefs Kingdom Merch from http://bit.ly/RGRStore ⚡ JOIN RGR Memberships for all the perks: https://bit.ly/JoinRGR GET NFL Draft & League Substack Signup DISCOUNT!! https://nfl33.substack.com/RGRMembers ** Kansas City Chiefs Kingdom News and Rumors https://twitter.com/RyanTracyNFL ️ Locked on Chiefs - https://bit.ly/LO_Chiefs RGR Craft - https://bit.ly/RGRCraft Chapter Times ⏱️ 2:01 SUB for more Chiefs breakdowns - https://bit.ly/RGRSub ** GET RGR Chiefs Kingdom Merch from http://bit.ly/RGRStore ⚡ JOIN RGR Memberships for all the perks: https://bit.ly/JoinRGR GET NFL Draft & League Substack Signup DISCOUNT!! https://nfl33.substack.com/RGRMembers ** Kansas City Chiefs Kingdom News and Rumors https://twitter.com/RyanTracyNFL ️ Locked on Chiefs - https://bit.ly/LO_Chiefs RGR Craft - https://bit.ly/RGRCraft Chapter Times ⏱️ 2:01 #ChiefsNews #Chiefs #kcchiefs #ChiefsKingdom #RGR #Filmroom ________ For Serious business inquiries, please email: rgrpodcasts@gmail.com ________ About: Consultant and Performance Coach with 20+ years experience, Ryan Tracy founded RGR (Ryan Going Rogue) Football. Our staff takes an analytical approach to breaking down your favorite team! #Chiefs #KansasCityChiefs #ChiefsKingdom #NFL33 #Chiefsnation #Chiefsfootball #chiefsfan #kcchiefs #Chiefsnews #KansasCityChiefsNews #ChiefsDailyNews #ChiefsNews #Chiefs #kcchiefs #ChiefsKingdom #RGR #Filmroom ________ For Serious business inquiries, please email: rgrpodcasts@gmail.com ________ About: Consultant and Performance Coach with 20+ years experience, Ryan Tracy founded RGR (Ryan Going Rogue) Football. Our staff takes an analytical approach to breaking down your favorite team! #Chiefs #KansasCityChiefs #ChiefsKingdom #NFL33 #Chiefsnation #Chiefsfootball #chiefsfan #kcchiefs #Chiefsnews #KansasCityChiefsNews #ChiefsDailyNews
Hejże! Ostatni przed przerwą wakacyjną odcinek dramek a w nim:
James Watt catches up with 2 of the stars of The London Palladiums big summer show The Wizzard of Oz. Gary Wilmot and Georgina OnuorahCatch it until September 3rd 2023 Hosted on Acast. See acast.com/privacy for more information.
1. The Cars 2. Plains 3. Tiny Ruins 4. Lucinda Williams 5. Deep Dark Woods 6. Wizzard ft Roy Wood 7. Bob Mould 8. Backsliders 9. Hal Cannon 10. Son Volt 11. Bruce Springsteen 12. Bettye La Vette 13. Larkin Poe 14. The MVP's 15. 3D's 16. The Fall
We usually tried to dismiss them they say the dream analysis falls into the category of woo-woo. Something is happening inside of our minds according to Benjamin Davidson, and it is our brain trying to figure things out and problem-solving. Maybe give us deliver messages while we sleep, so we can fix our recurring problems and think more comfortably throughout the day. The Dream Wizard as he called himself, Benjamin Davidson has a number of different modalities of how he actually talks you through your dreams, and it is based in science and psychology. He has helped people discover different patterns in life and discover what it is that they really wanted out of life and what they were struggling against. With this understanding, they were able to live more brilliant lives and find the extraordinary.
This episode a cop from California joins the podcast. He works for a school district, and has done so for almost 20 years. The liquor makes an appearance also. We talk about the Skogarmoar's and the skullduggery they cause in California. He flips the script and asks me a few questions. We also talk about being a lucky guy, the terrors of workers comp, leadership, and how to get anything done. A funny guy with some good takes, I think you will enjoy. Please patronize and support the LEO businesses that made this podcast possible. How are First Responders hitting huge fitness / body/ health goals? Don't miss this one! Fit Responder Fit Responder is the top remote coaching program for first responders around the US. Having support that understands the demands and stressors of the job helps when you need an effective and realistic action plan to make your goals reality. Follow FIT RESPONDER for tips, guides, memes, etc. https://fitresponder.com/ PMPM coins - www.ghostpatch.com PMPM Merch - https://poorly-made-police-memes.creator-spring.com/? --- Support this podcast: https://podcasters.spotify.com/pod/show/poorly-made-police-memes/support
**Kev White's White House Show Replay On traxfm.org. This Week Kev Gave Us Boogie, Dance & Pop Classics, (& Tunes You Have Not Heard In Years), From George Benson, Five Star, Simple Minds, The Ch-Lites, Wizzard, The Real Thing/Marina Rei - "You To Me Are Everything", Flash & The Pan, Wild Cherry, Mel & Kim, Eurythmics, The Isley Brothers, Janet Kay, David Parton & More Catch Kev White's The White House Show Every Thursday From 7PM UK Time The Station: traxfm.org #traxfm #boogie #danceclassics #classics #retro #remixes Listen Live Here Via The Trax FM Player: chat.traxfm.org/player/index.html Mixcloud LIVE :mixcloud.com/live/traxfm Free Trax FM Android App: play.google.com/store/apps/det...mradio.ba.a6bcb The Trax FM Facebook Page : facebook.com/original103.3 Trax FM Live On Hear This: hearthis.at/k8bdngt4/live Tunerr: tunerr.co/radio/Trax-FM Radio Garden: Trax FM Link: http://radio.garden/listen/trax-fm/IEnsCj55 OnLine Radio Box: onlineradiobox.com/uk/trax/?cs...cs=uk.traxRadio Radio Deck: radiodeck.com/radio/5a09e2de87...7e3370db06d44dc Radio.Net: traxfmlondon.radio.net Stream Radio : streema.com/radios/Trax_FM..The_Originals Live Online Radio: liveonlineradio.net/english/tr...ax-fm-103-3.htm**
This week we take a trip back into the 70's if you remember The Bay City Rollers, Mud, The Rubettes, Wizzard, Slade, Sweet and Chicory Tip then this show is for you
Dusty Henry revisits 1977 when Grand Wizzard Theodore debuted a revolutionary DJing technique: scratching. He quite literally stumbled into it when he was just 12 years old. Written by Dusty Henry. Audio production by Roddy Nikpour. Read the full transcript on KEXP.orgSee omnystudio.com/listener for privacy information.
Alison plays Martin in this midweek edition of the PopMaster Podcast with Ken Bruce.
As we're in the period between Christmas and New Year, the gap between episodes is going to be longer than normal, and the podcast proper is going to be back on January the ninth. So nobody has to wait around for another fortnight for a new episode, I thought I'd upload some old Patreon bonus episodes to fill the gap. Every year around Christmas the bonus episodes I do tend to be on Christmas songs and so this week I'm uploading three of those. These are older episodes, so don't have the same production values as more recent episodes, and are also shorter than more recent bonuses, but I hope they're still worth listening to. Transcript It's the middle of December, as you have probably noticed, and that means it's a time when the airwaves in both the UK and the US are dominated by Christmas music. The music that's most prominent in the UK will have to wait until we get to the seventies for a discussion, but this week and next week in these bonus episodes I'll be looking at a few American Christmas classics: [Excerpt: Gene Autry, "Here Comes Santa Claus"] If I'd been doing these Patreon bonus episodes from the beginning of the podcast, rather than waiting for the first six months or so to do them on a regular basis, I'd have covered Gene Autry in one by about the fourth episode. He's someone whose name you'll have heard a lot in the podcast -- he was an influence on all sorts of musicians we've looked at, in all areas of music. Jerry Lee Lewis, Sam Cooke, Hank Ballard, Bo Diddley, Bill Haley, Fats Domino, and Les Paul all acknowledged him as someone they were trying to imitate in one way or another, and that's just the ones where I've been able to find clear confirmation. Autry was not, in any direct sense, a precursor to rock and roll. He didn't make records that included any of the elements that later became prominent in the new music, and he didn't have a rebellious image at all. But from the early 1930s to the early 1950s, he was the single biggest star in country music. He starred in many films, had his own radio show, had a line of comics about him, and he was so popular that even his *horse* had his own radio and TV show. British people from my generation may well remember Champion, The Wonder Horse still being repeated as kids' TV in the eighties. THAT's how big Gene Autry was, and so it's unsurprising that he influenced pretty much every singer of note in the rock and roll field. But he was also, along with Bing Crosby, one of the people who pioneered American secular Christmas music: [Excerpt: Gene Autry, "Rudolph The Red Nosed Reindeer"] I specify "American" secular Christmas music here, because one thing that differs between the US and the UK when it comes to Christmas is the music that's ubiquitous. In the UK, Christmas music mostly means glam rock -- you hear Slade and Wizzard incessantly, and other 70s artists like Mud. In the US, though, it means primarily the music of the forties and fifties -- the music of people like Gene Autry. Autry started his career as just another country singer, who performed as "Oklahoma's Yodelling Cowboy". His early recordings were very much in the style of Jimmie Rodgers, and were very different from his later clean-cut image: [Excerpt: Gene Autry, "Black Bottom Blues"] But in 1932 he had a hit with a song he wrote, which would soon become a standard of country music, a rather maudlin ballad called "That Silver-Haired Daddy of Mine": [Excerpt: Gene Autry, "That Silver-Haired Daddy of Mine"] As a result of that hit, Autry started appearing in films. The first film he appeared in was a serial -- The Phantom Empire -- in which he starred as a singing cowboy who is kidnapped by people from the underground super-science kingdom Murania, descendants of the lost tribe of Mu, and has to help them defend themselves from an evil scientist who wants to steal their radium. It may not surprise you that the writer of the film came up with the plot for it while on nitrous oxide, having a tooth extracted. Autry made another forty-four films in the next five years, and every year from 1937 through 1942 he was the top star of Western films in the US, as well as having a whole series of hits with songs like "Blueberry Hill": [Excerpt: Gene Autry, "Blueberry Hill"] However, in 1942 he enlisted in the army, against the wishes of Republic, the film studio for whom he worked. They told him that if he was just going to go off and fight Nazis instead of making singing cowboy films, they were going to promote Roy Rogers instead. So from 1942 through 1945, Autry was off fighting in the Second World War. After he got back, he was the *second* most successful singing cowboy film star, after Rogers. It was in 1947 that Autry got the inspiration for the song that would define his career. He was riding his horse in a Christmas parade, known as the Santa Claus Lane parade, and he heard spectators saying "here comes Santa Claus": [Excerpt: Gene Autry, "Here Comes Santa Claus"] "Here Comes Santa Claus" not only charted that Xmas, it charted the Xmas after as well. Given that Autry's recording career was slowly fading, it seemed to make sense for him to record another Christmas song about Santa and see if he could repeat his success: [Excerpt: Gene Autry, "Rudolph the Red-Nosed Reindeer"] Not only did that go to number one -- and become the first number one of the fifties -- but "Here Comes Santa Claus" charted for the third year in a row. So of course, the next year (after an Easter single, "Peter Cottontail", which also charted, but didn't have the same repeat success as the Christmas songs), he recorded yet another Christmas single, "Frosty the Snowman": [Excerpt: Gene Autry, "Frosty the Snowman"] The next year, he didn't release a Christmas single at all, and he seemed to lose momentum. In 1952 he released one final Christmas record, "Up on the Housetop": [Excerpt: Gene Autry, "Up on the Housetop"] But that had nothing like the success his earlier Christmas records had. He carried on making films and TV shows until the mid-fifties, and he finally retired in 1964. He died in 1998. His Christmas records still occasionally hit the charts in December, and regularly feature in the special Holiday charts Billboard publish every year.
To support independent ski journalism, please consider becoming a free or paid subscriber. This podcast hit paid subscribers' inboxes on Dec. 27. It dropped for free subscribers on Dec. 30. To receive future pods as soon as they're live, please consider an upgrade to a paid subscription.WhoJoe VanderKelen, President of SMI Snow Makers Recorded onNovember 28, 2022About SMI Snow MakersSMI is the largest U.S.-based snowmaking manufacturer, and one of the biggest such outfits in the world. Their guns sit at more than 1,000 facilities – mostly, but not exclusively, ski areas – all over the world. The company is based in Midland, Michigan, a place so flat that, if you turned it on its side, you'd roll forever and then simply tumble off the edge of the planet. An odd-seeming locale, perhaps, for a snowmaking manufacturer, until you've spent a winter there on those windy, frozen plains. SMI is not what we'd call a “consumer-facing brand,” but you'll see their product markings - V2, Axis, Grizzly, FreedomX, Puma, PoleCat, Wizzard - as you ski around. Super Puma is the one I seem to see most often, a stocky cannon with adjustable footings, perched hill-wise like a medieval defense. SMI's various guns have served eight Olympic venues, a point of immense pride for what is still a family-run operation. Joe's parents founded the company back in the ‘70s. He's been running it since 1991. You can learn more about them here:If you're ever driving US 10 through central Michigan, you can't miss the SMI factory and HQ, seated off the freeway just past the junction with Business 10 as you head west:Why I interviewed himA few weeks back, I wrote about the heroic efforts of ski areas throughout the Midwest, Mid-Atlantic, and Northeast to open in November in spite of abnormally warm early-season weather. After nodding to the usual aggressive corporate-owned badasses such as Sunday River and Killington, I called out some of the smaller operations that cracked open around the same time:More impressive, however, was New York State-owned Belleayre, seated just over two hours north of New York City, which opened the same day as Sugarloaf, beating most of New England to launch. Sister resort Gore also opened that day. Whiteface went live the following day, delivering its first-ever opening on the mountain's full 3,166-foot vertical drop. Vail Resorts' Hunter Mountain opened that day as well. Windham, five miles away (as the crow flies), opened Monday, Nov. 21. Further south, Bousquet, Massachusetts; Wisp, Maryland; and Massanutten, Virginia opened Nov. 25. In never-snowy Indiana, Perfect North opened Nov. 22, the mountain's third-earliest opening in its 43-season history.These sudden openings were not, I continued, spontaneous:These ski areas are not anomalies. They did not get lucky. Their rapid openings under marginal conditions across vast and varied geographic regions are the direct result of yearslong investments in better and more efficient snowmaking. They are the best-case present, yes, showcases of the most technologically advanced snowmaking equipment. But they also represent the future. One in which ski area operators are not passive victims of climate change, but active combatants against it, making more snow than ever in spite of less-than-ideal conditions, and doing so with equipment that uses a fraction of the energy of previous generations of snowmaking machinery.Much of that machinery comes from SMI, including nearly the entire system at Perfect North:Perhaps the most improbable get-open-and-stay-open outfit in the country is Perfect North. The ski area's base sits at just 400 feet. Of the 108 operating Midwest ski areas, only two sit farther south (Vail-owned Paoli Peaks, Indiana and Hidden Valley, Missouri). And yet, the ski area opened on just four partial days of snowmaking, which Perfect North General Manager Jonathan Davis characterized as “two mediocre nights, one fantastic night, and one good night.” Despite having just six additional snowmaking windows since, the ski area now sits at just over 50 percent open.Davis credits a few factors for this quick ramp-up: a 12,000-gallon-per-minute pumphouse feeding 260 snowguns, a seat on a valley floor that traps cold air, and institutional knowledge that can often predict snowmaking windows that the local weather forecasters miss.Again, this ski area sits in Indiana, where it snows like four inches per decade. There should not be skiing there. But there is. Because of SMI.Lift-served skiing in the United States does not exist without snowmaking. At least not as a commercial enterprise. Maybe it's something a few Bear-Trap Billys do, tromping off into the Cascades in their Army surplus jackets and skinny skis. Perhaps there are even a few ski areas. But without the big-city bases of voyaging tourists, who learn and practice on locals like Mountain Creek, New Jersey and Wachusett, Massachusetts and Afton Alps, Minnesota and Alpine Valley in Michigan, Wisconsin, and Ohio, the economic superstructure to support large-scale Rocky Mountain operations simply isn't there. What we talked aboutThe SMI story; Michigan skiing; a life of adventure running a global company; breaking down the company's footprint; how one of the flattest places on the planet became one of the global epicenters of snowmaking; Made in the USA pride; getting ahead of supply-chain problems and heading off future shortages; the company's one-of-a-kind snowmaking facility and why it's special; a primer on the global snowmaking industry and SMI's place in it; Snowmaking 101; why resorts blow snow into piles; the evolution of snow machines over time into more efficient, higher-capacity, simpler machines that make better snow and work in more variable temperatures; wet bulb temperature; making snow at the extremes; what snowmaking automation is and what it means; the amazing weather variability on a single mountain; “automated doesn't mean unattended”; ongoing resistance to automation and whether SMI will continue to offer manual snowmaking equipment; where snowmaking tech is headed in the future; swapping mechanical problems for tech problems as equipment grows more sophisticated; breaking down SMI's product lines; all-weather snowmaking; the lifecycle of a snowgun and how long the best of them can last; maintaining guns after install; creating a new system from scratch; a snowmaking system is like “a golf course irrigation system on a mountain,” but one that requires “really expensive sprinkler heads”; returning snowmaking water to the watershed; responding to the reductive environmental complaints about snowmaking as an energy and resource drain; [yes that's an NYC car alarm blaring in the background]; energy efficiency as a mission; creative energy-saving strategies; the amazing snowmaking installation that modernized Arizona Snowbowl; snowmaking as wildfire mitigation tool; how the ski industry can push back against the narrative that it's an energy hog and environmental liability; creating a new wonder of the world to pump snow onto the Olympic venues in Sochi; the resilience of skiing in the age of climate change; whether every ski area will eventually need snowmaking; intel on the next potential great ski regions; and skiing in Ukraine. Why I thought that now was a good time for this interviewListeners constantly write to me suggesting this or that interview. I appreciate this, and respond even when the suggestion is some version of “my cousin skied every ski area in Ohio in a single season and he has a great story and you should feature him on your podcast.” And I'm like thanks Bro but if I wanted to do podcasts with people my listeners wouldn't care about, I know plenty of them in real life. The Storm interviewee profile is not so much exclusive as it is well-defined: to qualify for this seat, you really either need to run a mountain, be in charge of people who do, write about lift-served skiing for a living, run some kind of website that's materially additive to the knowledge base around the sport, or make something that's fundamental to the enterprise, such as chairlifts or trailmaps.Joe, obviously, falls into the latter category. And he also holds the unofficial title of most-requested interview by my listeners/readers. Skiers really, really want to hear about snowmaking. Many – especially those who work in skiing – called out Joe in particular. So here you go.So why did I wait so long if this one was so obvious? Well, I tend to favor subjects I understand. And snowmaking, despite its relative simplicity from a mechanical point of view, has always seemed a bit intimidating as a discussion point. This matters when I'm shaping the questions that guide the interview.But, last summer, I finally toured the SMI factory and met Joe and his team in person. I grilled him for a couple hours and he showed me around and I was like yeah let's do this. Joe was an outstanding guest, who's lived his craft for decades, and I probably should have done it a lot sooner.What I got wrongI said that Taos was protected from wildfires because it sat at the end of a “valley.” I meant to say “canyon.” I discussed this at length with Taos CEO David Norden on the podcast last year:Podcast Notes* I mentioned that various folks claim to have invented snowmaking. Was it a Hollywood technical director in 1934? Was it a trio of Connecticut inventors? Grossinger's Resort in the Catskills? Mohawk Mountain? A Toronto ski club? It seems as though half the ski area websites in America include some tale about Old Cyrus Jenkins III creating the world's first snowgun with a hose and a ceiling fan strapped to a modified table saw. There's a reason for that: from a mechanical and physics point of view, snow is not that hard to make. What's hard is doing it well, which is why there are so few industrial-grade snowmaking companies today. Who made the first snowgun? I don't really know or, frankly, care, and I'll let the historians fight it out.* I actually grew up in Midland County, Michigan, where SMI's headquarters is located. There are no ski areas there. The closest, when I grew up in the small town of Sanford, were Apple Mountain in Freeland (now closed), Mott Mountain in Farwell (closed), and Snow Snake up in Harrison (still, thankfully, operating). All were less than an hour away, but SMI was the closest ski-related landmark. The factory sits directly off the US 10 expressway, the most important road in the area, and its multi-colored mural, rows of snowguns, and piles of manmade snow are impossible to miss while driving past.The Storm publishes year-round, and guarantees 100 articles per year. This is article 137/100 in 2022, and number 383 since launching on Oct. 13, 2019. Want to send feedback? Reply to this email and I will answer (unless you sound insane or, more likely, I just get busy). You can also email skiing@substack.com.The Storm explores the world of lift-served skiing year-round. Join us. This is a public episode. If you'd like to discuss this with other subscribers or get access to bonus episodes, visit www.stormskiing.com/subscribe
Tune in every Friday for more WOW Report. 10) “One Day at Christmas” by Lizzo @01:00 9) “Mi Burrito” by Choco @04:16 8) “I Wish It Could Be Christmas Everyday” by Wizzard @07:30 7) “What Child is This?” by Mary J Blige & Andreas Bocelli @11:10 6) “In Our World” by Emmet Otter's Jugband Christmas @13:50 5) “Happy Xmas (War is Over)” by John Lennon @16:20 4) “River” by Joni Mitchell @19:40 3) “Have Yourself a Merry Little Christmas” by Judy Garland @22:22 2) “Last Christmas” by WHAM! @24:12 1) “Christmas (Baby Please Come Home)” by Darlene Love "Christmas Time Is Here" by Vince Guaraldi Trio @29:33
Episode 160 of A History of Rock Music in Five Hundred Songs looks at “Flowers in the Rain" by the Move, their transition into ELO, and the career of Roy Wood. Click the full post to read liner notes, links to more information, and a transcript of the episode. Patreon backers also have a twenty-minute bonus episode available, on "The Chipmunk Song" by Canned Heat. Tilt Araiza has assisted invaluably by doing a first-pass edit, and will hopefully be doing so from now on. Check out Tilt's irregular podcasts at http://www.podnose.com/jaffa-cakes-for-proust and http://sitcomclub.com/ Note I say "And on its first broadcast, as George Martin's theme tune for the new station faded, Tony Blackburn reached for a record." -- I should point out that after Martin's theme fades, Blackburn talks over a brief snatch of a piece by Johnny Dankworth. Resources As so many of the episodes recently have had no Mixcloud due to the number of songs by one artist, I've decided to start splitting the mixes of the recordings excerpted in the podcasts into two parts. Here's part one . I had problems uploading part two, but will attempt to get that up shortly. There are not many books about Roy Wood, and I referred to both of the two that seem to exist -- this biography by John van der Kiste, and this album guide by James R Turner. I also referred to this biography of Jeff Lynne by van der Kiste, The Electric Light Orchestra Story by Bev Bevan, and Mr Big by Don Arden with Mick Wall. Most of the more comprehensive compilations of the Move's material are out of print, but this single-CD-plus-DVD anthology is the best compilation that's in print. This is the one collection of Wood's solo and Wizzard hits that seems currently in print, and for those who want to investigate further, this cheap box set has the last Move album, the first ELO album, the first Wizzard album, Wood's solo Boulders, and a later Wood solo album, for the price of a single CD. Transcript Before I start, a brief note. This episode deals with organised crime, and so contains some mild descriptions of violence, and also has some mention of mental illness and drug use, though not much of any of those things. And it's probably also important to warn people that towards the end there's some Christmas music, including excerpts of a song that is inescapable at this time of year in the UK, so those who work in retail environments and the like may want to listen to this later, at a point when they're not totally sick of hearing Christmas records. Most of the time, the identity of the party in government doesn't make that much of a difference to people's everyday lives. At least in Britain, there tends to be a consensus ideology within the limits of which governments of both main parties tend to work. They will make a difference at the margins, and be more or less competent, and more or less conservative or left-wing, more or less liberal or authoritarian, but life will, broadly speaking, continue along much as before for most people. Some will be a little better or worse off, but in general steering the ship of state is a matter of a lot of tiny incremental changes, not of sudden u-turns. But there have been a handful of governments that have made big, noticeable, changes to the structure of society, reforms that for better or worse affect the lives of every person in the country. Since the end of the Second World War there have been two UK governments that made economic changes of this nature. The Labour government under Clement Atlee which came into power in 1945, and which dramatically expanded the welfare state, introduced the National Health Service, and nationalised huge swathes of major industries, created the post-war social democratic consensus which would be kept to with only minor changes by successive governments of both major parties for decades. The next government to make changes to the economy of such a radical nature was the Conservative government which came to power under Margaret Thatcher in 1979, which started the process of unravelling that social democratic consensus and replacing it with a far more hypercapitalist economic paradigm, which would last for the next several decades. It's entirely possible that the current Conservative government, in leaving the EU, has made a similarly huge change, but we won't know that until we have enough distance from the event to know what long-term changes it's caused. Those are economic changes. Arguably at least as impactful was the Labour government led by Harold Wilson that came to power in 1964, which did not do much to alter the economic consensus, but revolutionised the social order at least as much. Largely because of the influence of Roy Jenkins, the Home Secretary for much of that time, between 1964 and the end of the sixties, Britain abolished the death penalty for murder, decriminalised some sex acts between men in private, abolished corporal punishment in prisons, legalised abortion in certain circumstances, and got rid of censorship in the theatre. They also vastly increased spending on education, and made many other changes. By the end of their term, Britain had gone from being a country with laws reflecting a largely conservative, authoritarian, worldview to one whose laws were some of the most liberal in Europe, and society had started changing to match. There were exceptions, though, and that government did make some changes that were illiberal. They brought in increased restrictions on immigration, starting a worrying trend that continues to this day of governments getting ever crueler to immigrants, and they added LSD to the list of illegal drugs. And they brought in the Marine Broadcasting Offences Act, banning the pirate stations. We've mentioned pirate radio stations very briefly, but never properly explained them. In Britain, at this point, there was a legal monopoly on broadcasting. Only the BBC could run a radio station in the UK, and thanks to agreements with the Musicians' Union, the BBC could only play a very small amount of recorded music, with everything else having to be live performances or spoken word. And because it had a legal obligation to provide something for everyone, that meant the tiny amount of recorded music that was played on the radio had to cover all genres, meaning that even while Britain was going through the most important changes in its musical history, pop records were limited to an hour or two a week on British radio. Obviously, that wasn't going to last while there was money to be made, and the record companies in particular wanted to have somewhere to showcase their latest releases. At the start of the sixties, Radio Luxembourg had become popular, broadcasting from continental Europe but largely playing shows that had been pre-recorded in London. But of course, that was far enough away that it made listening to the transmissions difficult. But a solution presented itself: [Excerpt: The Fortunes, "Caroline"] Radio Caroline still continues to this day, largely as an Internet-based radio station, but in the mid-sixties it was something rather different. It was one of a handful of radio stations -- the pirate stations -- that broadcast from ships in international waters. The ships would stay three miles off the coast of Britain, close enough for their broadcasts to be clearly heard in much of the country, but outside Britain's territorial waters. They soon became hugely popular, with Radio Caroline and Radio London the two most popular, and introduced DJs like Tony Blackburn, Dave Lee Travis, Kenny Everett, and John Peel to the airwaves of Britain. The stations ran on bribery and advertising, and if you wanted a record to get into the charts one of the things you had to do was bribe one of the big pirate stations to playlist it, and with this corruption came violence, which came to a head when as we heard in the episode on “Here Comes the Night”, in 1966 Major Oliver Smedley, a failed right-wing politician and one of the directors of Radio Caroline, got a gang of people to board an abandoned sea fort from which a rival station was broadcasting and retrieve some equipment he claimed belonged to him. The next day, Reginald Calvert, the owner of the rival station, went to Smedley's home to confront him, and Smedley shot him dead, claiming self-defence. The jury in Smedley's subsequent trial took only a minute to find him not guilty and award him two hundred and fifty guineas to cover his costs. This was the last straw for the government, which was already concerned that the pirates' transmitters were interfering with emergency services transmissions, and that proper royalties weren't being paid for the music broadcast (though since much of the music was only on there because of payola, this seems a little bit of a moot point). They introduced legislation which banned anyone in the UK from supplying the pirate ships with records or other supplies, or advertising on the stations. They couldn't do anything about the ships themselves, because they were outside British jurisdiction, but they could make sure that nobody could associate with them while remaining in the UK. The BBC was to regain its monopoly (though in later years some commercial radio stations were allowed to operate). But as well as the stick, they needed the carrot. The pirate stations *had* been filling a real need, and the biggest of them were getting millions of listeners every day. So the arrangements with the Musicians' Union and the record labels were changed, and certain BBC stations were now allowed to play a lot more recorded music per day. I haven't been able to find accurate figures anywhere -- a lot of these things were confidential agreements -- but it seems to have been that the so-called "needle time" rules were substantially relaxed, allowing the BBC to separate what had previously been the Light Programme -- a single radio station that played all kinds of popular music, much of it live performances -- into two radio stations that were each allowed to play as much as twelve hours of recorded music per day, which along with live performances and between-track commentary from DJs was enough to allow a full broadcast schedule. One of these stations, Radio 2, was aimed at older listeners, and to start with mostly had programmes of what we would now refer to as Muzak, mixed in with the pop music of an older generation -- crooners and performers like Englebert Humperdinck. But another, Radio 1, was aimed at a younger audience and explicitly modelled on the pirate stations, and featured many of the DJs who had made their names on those stations. And on its first broadcast, as George Martin's theme tune for the new station faded, Tony Blackburn reached for a record. At different times Blackburn has said either that he was just desperately reaching for whatever record came to hand or that he made a deliberate choice because the record he chose had such a striking opening that it would be the perfect way to start a new station: [Excerpt: Tony Blackburn first radio show into "Flowers in the Rain" by the Move] You may remember me talking in the episode on "Here Comes the Night" about how in 1964 Dick Rowe of Decca, the manager Larry Page, and the publicist and co-owner of Radio Caroline Phil Solomon were all trying to promote something called Brumbeat as the answer to Merseybeat – Brummies, for those who don't know, are people from Birmingham. Brumbeat never took off the way Merseybeat did, but several bands did get a chance to make records, among them Gerry Levene and the Avengers: [Excerpt: Gerry Levene and the Avengers, "Dr. Feelgood"] That was the only single the Avengers made, and the B-side wasn't even them playing, but a bunch of session musicians under the direction of Bert Berns, and the group split up soon afterwards, but several of the members would go on to have rather important careers. According to some sources, one of their early drummers was John Bohnam, who you can be pretty sure will be turning up later in the story, while the drummer on that track was Graeme Edge, who would later go on to co-found the Moody Blues. But today it's the guitarist we'll be looking at. Roy Wood had started playing music when he was very young -- he'd had drum lessons when he was five years old, the only formal musical tuition he ever had, and he'd played harmonica around working men's clubs as a kid. And as a small child he'd loved classical music, particularly Tchaikovsky and Elgar. But it wasn't until he was twelve that he decided that he wanted to be a guitarist. He went to see the Shadows play live, and was inspired by the sound of Hank Marvin's guitar, which he later described as sounding "like it had been dipped in Dettol or something": [Excerpt: The Shadows, "Apache"] He started begging his parents for a guitar, and got one for his thirteenth birthday -- and by the time he was fourteen he was already in a band, the Falcons, whose members were otherwise eighteen to twenty years old, but who needed a lead guitarist who could play like Marvin. Wood had picked up the guitar almost preternaturally quickly, as he would later pick up every instrument he turned his hand to, and he'd also got the equipment. His friend Jeff Lynne later said "I first saw Roy playing in a church hall in Birmingham and I think his group was called the Falcons. And I could tell he was dead posh because he had a Fender Stratocaster and a Vox AC30 amplifier. The business at the time. I mean, if you've got those, that's it, you're made." It was in the Falcons that Wood had first started trying to write songs, at first instrumentals in the style of the Shadows, but then after the Beatles hit the charts he realised it was possible for band members to write their own material, and started hesitantly trying to write a few actual songs. Wood had moved on from the Falcons to Gerry Levene's band, one of the biggest local bands in Birmingham, when he was sixteen, which is also when he left formal education, dropping out from art school -- he's later said that he wasn't expelled as such, but that he and the school came to a mutual agreement that he wouldn't go back there. And when Gerry Levene and the Avengers fell apart after their one chance at success hadn't worked out, he moved on again to an even bigger band. Mike Sheridan and the Night Riders had had two singles out already, both produced by Cliff Richard's producer Norrie Paramor, and while they hadn't charted they were clearly going places. They needed a new guitarist, and Wood was by far the best of the dozen or so people who auditioned, even though Sheridan was very hesitant at first -- the Night Riders were playing cabaret, and all dressed smartly at all times, and this sixteen-year-old guitarist had turned up wearing clothes made by his sister and ludicrous pointy shoes. He was the odd man out, but he was so good that none of the other players could hold a candle to him, and he was in the Night Riders by the time of their third single, "What a Sweet Thing That Was": [Excerpt: Mike Sheridan and the Night Riders, "What a Sweet Thing That Was"] Sheridan later said "Roy was and still is, in my opinion, an unbelievable talent. As stubborn as a mule and a complete extrovert. Roy changed the group by getting us into harmonies and made us realize there was better material around with more than three chords to play. This was our turning point and we became a group's group and a bigger name." -- though there are few other people who would describe Wood as extroverted, most people describing him as painfully shy off-stage. "What a Sweet Thing That Was" didn't have any success, and nor did its follow-up, "Here I Stand", which came out in January 1965. But by that point, Wood had got enough of a reputation that he was already starting to guest on records by other bands on the Birmingham scene, like "Pretty Things" by Danny King and the Mayfair Set: [Excerpt: Danny King and the Mayfair Set, "Pretty Things"] After their fourth single was a flop, Mike Sheridan and the Night Riders changed their name to Mike Sheridan's Lot, and the B-side of their first single under the new name was a Roy Wood song, the first time one of his songs was recorded. Unfortunately the song, modelled on "It's Not Unusual" by Tom Jones, didn't come off very well, and Sheridan blamed himself for what everyone was agreed was a lousy sounding record: [Excerpt: Mike Sheridan's Lot, "Make Them Understand"] Mike Sheridan's Lot put out one final single, but the writing was on the wall for the group. Wood left, and soon after so did Sheridan himself. The remaining members regrouped under the name The Idle Race, with Wood's friend Jeff Lynne as their new singer and guitarist. But Wood wouldn't remain without a band for long. He'd recently started hanging out with another band, Carl Wayne and the Vikings, who had also released a couple of singles, on Pye: [Excerpt: Carl Wayne and the Vikings, "What's the Matter Baby"] But like almost every band from Birmingham up to this point, the Vikings' records had done very little, and their drummer had quit, and been replaced by Bev Bevan, who had been in yet another band that had gone nowhere, Denny Laine and the Diplomats, who had released one single under the name of their lead singer Nicky James, featuring the Breakaways, the girl group who would later sing on "Hey Joe", on backing vocals: [Excerpt: Nicky James, "My Colour is Blue"] Bevan had joined Carl Wayne's group, and they'd recorded one track together, a cover version of "My Girl", which was only released in the US, and which sank without a trace: [Excerpt: Carl Wayne and the Vikings, "My Girl"] It was around this time that Wood started hanging around with the Vikings, and they would all complain about how if you were playing the Birmingham circuit you were stuck just playing cover versions, and couldn't do anything more interesting. They were also becoming more acutely aware of how successful they *could* have been, because one of the Brumbeat bands had become really big. The Moody Blues, a supergroup of players from the best bands in Birmingham who featured Bev Bevan's old bandmate Denny Laine and Wood's old colleague Graeme Edge, had just hit number one with their version of "Go Now": [Excerpt: The Moody Blues, "Go Now"] So they knew the potential for success was there, but they were all feeling trapped. But then Ace Kefford, the bass player for the Vikings, went to see Davy Jones and the Lower Third playing a gig: [Excerpt: Davy Jones and the Lower Third, "You've Got a Habit of Leaving"] Also at the gig was Trevor Burton, the guitarist for Danny King and the Mayfair Set. The two of them got chatting to Davy Jones after the gig, and eventually the future David Bowie told them that the two of them should form their own band if they were feeling constricted in their current groups. They decided to do just that, and they persuaded Carl Wayne from Kefford's band to join them, and got in Wood. Now they just needed a drummer. Their first choice was John Bonham, the former drummer for Gerry Levene and the Avengers who was now drumming in a band with Kefford's uncle and Nicky James from the Diplomats. But Bonham and Wayne didn't get on, and so Bonham decided to remain in the group he was in, and instead they turned to Bev Bevan, the Vikings' new drummer. (Of the other two members of the Vikings, one went on to join Mike Sheridan's Lot in place of Wood, before leaving at the same time as Sheridan and being replaced by Lynne, while the other went on to join Mike Sheridan's New Lot, the group Sheridan formed after leaving his old group. The Birmingham beat group scene seems to have only had about as many people as there were bands, with everyone ending up a member of twenty different groups). The new group called themselves the Move, because they were all moving on from other groups, and it was a big move for all of them. Many people advised them not to get together, saying they were better off where they were, or taking on offers they'd got from more successful groups -- Carl Wayne had had an offer from a group called the Spectres, who would later become famous as Status Quo, while Wood had been tempted by Tony Rivers and the Castaways, a group who at the time were signed to Immediate Records, and who did Beach Boys soundalikes and covers: [Excerpt: Tony Rivers and the Castaways, "Girl Don't Tell Me"] Wood was a huge fan of the Beach Boys and would have fit in with Rivers, but decided he'd rather try something truly new. After their first gig, most of the people who had warned against the group changed their minds. Bevan's best friend, Bobby Davis, told Bevan that while he'd disliked all the other groups Bevan had played in, he liked this one. (Davis would later become a famous comedian, and have a top five single himself in the seventies, produced by Jeff Lynne and with Bevan on the drums, under his stage name Jasper Carrott): [Excerpt: Jasper Carrott, "Funky Moped"] Most of their early sets were cover versions, usually of soul and Motown songs, but reworked in the group's unique style. All five of the band could sing, four of them well enough to be lead vocalists in their own right (Bevan would add occasional harmonies or sing novelty numbers) and so they became known for their harmonies -- Wood talked at the time about how he wanted the band to have Beach Boys harmonies but over instruments that sounded like the Who. And while they were mostly doing cover versions live, Wood was busily writing songs. Their first recording session was for local radio, and at that session they did cover versions of songs by Brenda Lee, the Isley Brothers, the Orlons, the Marvelettes, and Betty Everett, but they also performed four songs written by Wood, with each member of the front line taking a lead vocal, like this one with Kefford singing: [Excerpt: The Move, "You're the One I Need"] The group were soon signed by Tony Secunda, the manager of the Moody Blues, who set about trying to get the group as much publicity as possible. While Carl Wayne, as the only member who didn't play an instrument, ended up the lead singer on most of the group's early records, Secunda started promoting Kefford, who was younger and more conventionally attractive than Wayne, and who had originally put the group together, as the face of the group, while Wood was doing most of the heavy lifting with the music. Wood quickly came to dislike performing live, and to wish he could take the same option as Brian Wilson and stay home and write songs and make records while the other four went out and performed, so Kefford and Wayne taking the spotlight from him didn't bother him at the time, but it set the group up for constant conflicts about who was actually the leader of the group. Wood was also uncomfortable with the image that Secunda set up for the group. Secunda decided that the group needed to be promoted as "bad boys", and so he got them to dress up as 1930s gangsters, and got them to do things like smash busts of Hitler, or the Rhodesian dictator Ian Smith, on stage. He got them to smash TVs on stage too, and in one publicity stunt he got them to smash up a car, while strippers took their clothes off nearby -- claiming that this was to show that people were more interested in violence than in sex. Wood, who was a very quiet, unassuming, introvert, didn't like this sort of thing, but went along with it. Secunda got the group a regular slot at the Marquee club, which lasted several months until, in one of Secunda's ideas for publicity, Carl Wayne let off smoke bombs on stage which set fire to the stage. The manager came up to try to stop the fire, and Wayne tossed the manager's wig into the flames, and the group were banned from the club (though the ban was later lifted). In another publicity stunt, at the time of the 1966 General Election, the group were photographed with "Vote Tory" posters, and issued an invitation to Edward Heath, the leader of the Conservative Party and a keen amateur musician, to join them on stage on keyboards. Sir Edward didn't respond to the invitation. All this publicity led to record company interest. Joe Boyd tried to sign the group to Elektra Records, but much as with The Pink Floyd around the same time, Jac Holzman wasn't interested. Instead they signed with a new production company set up by Denny Cordell, the producer of the Moody Blues' hits. The contract they signed was written on the back of a nude model, as yet another of Secunda's publicity schemes. The group's first single, "Night of Fear" was written by Wood and an early sign of his interest in incorporating classical music into rock: [Excerpt: The Move, "Night of Fear"] Secunda claimed in the publicity that that song was inspired by taking bad acid and having a bad trip, but in truth Wood was more inspired by brown ale than by brown acid -- he and Bev Bevan would never do any drugs other than alcohol. Wayne did take acid once, but didn't like it, though Burton and Kefford would become regular users of most drugs that were going. In truth, the song was not about anything more than being woken up in the middle of the night by an unexpected sound and then being unable to get back to sleep because you're scared of what might be out there. The track reached number two on the charts in the UK, being kept off the top by "I'm a Believer" by the Monkees, and was soon followed up by another song which again led to assumptions of drug use. "I Can Hear the Grass Grow" wasn't about grass the substance, but was inspired by a letter to Health and Efficiency, a magazine which claimed to be about the nudist lifestyle as an excuse for printing photos of naked people at a time before pornography laws were liberalised. The letter was from a reader saying that he listened to pop music on the radio because "where I live it's so quiet I can hear the grass grow!" Wood took that line and turned it into the group's next single, which reached number five: [Excerpt: The Move, "I Can Hear the Grass Grow"] Shortly after that, the group played two big gigs at Alexandra Palace. The first was the Fourteen-Hour Technicolor Dream, which we talked about in the Pink Floyd episode. There Wood had one of the biggest thrills of his life when he walked past John Lennon, who saluted him and then turned to a friend and said "He's brilliant!" -- in the seventies Lennon would talk about how Wood was one of his two favourite British songwriters, and would call the Move "the Hollies with balls". The other gig they played at Alexandra Palace was a "Free the Pirates" benefit show, sponsored by Radio Caroline, to protest the imposition of the Marine Broadcasting (Offences) Act. Despite that, it was, of course, the group's next single that was the first one to be played on Radio One. And that single was also the one which kickstarted Roy Wood's musical ambitions. The catalyst for this was Tony Visconti. Visconti was a twenty-three-year-old American who had been in the music business since he was sixteen, working the typical kind of jobs that working musicians do, like being for a time a member of a latter-day incarnation of the Crew-Cuts, the white vocal group who had had hits in the fifties with covers of "Sh'Boom" and “Earth Angel”. He'd also recorded two singles as a duo with his wife Siegrid, which had gone nowhere: [Excerpt: Tony and Siegrid, "Up Here"] Visconti had been working for the Richmond Organisation as a staff songwriter when he'd met the Move's producer Denny Cordell. Cordell was in the US to promote a new single he had released with a group called Procol Harum, "A Whiter Shade of Pale", and Visconti became the first American to hear the record, which of course soon became a massive hit: [Excerpt: Procol Harum, "A Whiter Shade of Pale"] While he was in New York, Cordell also wanted to record a backing track for one of his other hit acts, Georgie Fame. He told Visconti that he'd booked several of the best session players around, like the jazz trumpet legend Clark Terry, and thought it would be a fun session. Visconti asked to look at the charts for the song, out of professional interest, and Cordell was confused -- what charts? The musicians would just make up an arrangement, wouldn't they? Visconti asked what he was talking about, and Cordell talked about how you made records -- you just got the musicians to come into the studio, hung around while they smoked a few joints and worked out what they were going to play, and then got on with it. It wouldn't take more than about twelve hours to get a single recorded that way. Visconti was horrified, and explained that that might be how they did things in London, but if Cordell tried to make a record that way in New York, with an eight-piece group of session musicians who charged union scale, and would charge double scale for arranging work on top, then he'd bankrupt himself. Cordell went pale and said that the session was in an hour, what was he going to do? Luckily, Cordell had a copy of the demo with him, and Visconti, who unlike Cordell was a trained musician, quickly sat down and wrote an arrangement for him, sketching out parts for guitar, bass, drums, piano, sax, and trumpets. The resulting arrangement wasn't perfect -- Visconti had to write the whole thing in less than an hour with no piano to hand -- but it was good enough that Cordell's production assistant on the track, Harvey Brooks of the group Electric Flag, who also played bass on the track, could tweak it in the studio, and the track was recorded quickly, saving Cordell a fortune: [Excerpt: Georgie Fame, "Because I Love You"] One of the other reasons Cordell had been in the US was that he was looking for a production assistant to work with him in the UK to help translate his ideas into language the musicians could understand. According to Visconti he said that he was going to try asking Phil Spector to be his assistant, and Artie Butler if Spector said no. Astonishingly, assuming he did ask them, neither Phil Spector nor Artie Butler (who was the arranger for records like "Leader of the Pack" and "I'm a Believer" among many, many, others, and who around this time was the one who suggested to Louis Armstrong that he should record "What a Wonderful World") wanted to fly over to the UK to work as Denny Cordell's assistant, and so Cordell turned back to Visconti and invited him to come over to the UK. The main reason Cordell needed an assistant was that he had too much work on his hands -- he was currently in the middle of recording albums for three major hit groups -- Procol Harum, The Move, and Manfred Mann -- and he physically couldn't be in multiple studios at once. Visconti's first work for him was on a Manfred Mann session, where they were recording the Randy Newman song "So Long Dad" for their next single. Cordell produced the rhythm track then left for a Procol Harum session, leaving Visconti to guide the group through the overdubs, including all the vocal parts and the lead instruments: [Excerpt: Manfred Mann, "So Long Dad"] The next Move single, "Flowers in the Rain", was the first one to benefit from Visconti's arrangement ideas. The band had recorded the track, and Cordell had been unhappy with both the song and performance, thinking it was very weak compared to their earlier singles -- not the first time that Cordell would have a difference of opinion with the band, who he thought of as a mediocre pop group, while they thought of themselves as a heavy rock band who were being neutered in the studio by their producer. In particular, Cordell didn't like that the band fell slightly out of time in the middle eight of the track. He decided to scrap it, and get the band to record something else. Visconti, though, thought the track could be saved. He told Cordell that what they needed to do was to beat the Beatles, by using a combination of instruments they hadn't thought of. He scored for a quartet of wind instruments -- oboe, flute, clarinet, and French horn, in imitation of Mendelssohn: [Excerpt: The Move, "Flowers in the Rain"] And then, to cover up the slight sloppiness on the middle eight, Visconti had the wind instruments on that section recorded at half speed, so when played back at normal speed they'd sound like pixies and distract from the rhythm section: [Excerpt: The Move, "Flowers in the Rain"] Visconti's instincts were right. The single went to number two, kept off the top spot by Englebert Humperdinck, who spent 1967 keeping pretty much every major British band off number one, and thanks in part to it being the first track played on Radio 1, but also because it was one of the biggest hits of 1967, it's been the single of the Move's that's had the most airplay over the years. Unfortunately, none of the band ever saw a penny in royalties from it. It was because of another of Tony Secunda's bright ideas. Harold Wilson, the Prime Minister at the time, was very close to his advisor Marcia Williams, who started out as his secretary, rose to be his main political advisor, and ended up being elevated to the peerage as Baroness Falkender. There were many, many rumours that Williams was corrupt -- rumours that were squashed by both Wilson and Williams frequently issuing libel writs against newspapers that mentioned them -- though it later turned out that at least some of these were the work of Britain's security services, who believed Wilson to be working for the KGB (and indeed Williams had first met Wilson at a dinner with Khrushchev, though Wilson was very much not a Communist) and were trying to destabilise his government as a result. Their personal closeness also led to persistent rumours that Wilson and Williams were having an affair. And Tony Secunda decided that the best way to promote "Flowers in the Rain" was to print a postcard with a cartoon of Wilson and Williams on it, and send it out. Including sticking a copy through the door of ten Downing St, the Prime Minister's official residence. This backfired *spectacularly*. Wilson sued the Move for libel, even though none of them had known of their manager's plans, and as a result of the settlement it became illegal for any publication to print the offending image (though it can easily be found on the Internet now of course), everyone involved with the record was placed under a permanent legal injunction to never discuss the details of the case, and every penny in performance or songwriting royalties the track earned would go to charities of Harold Wilson's choice. In the 1990s newspaper reports said that the group had up to that point lost out on two hundred thousand pounds in royalties as a result of Secunda's stunt, and given the track's status as a perennial favourite, it's likely they've missed out on a similar amount in the decades since. Incidentally, while every member of the band was banned from ever describing the postcard, I'm not, and since Wilson and Williams are now both dead it's unlikely they'll ever sue me. The postcard is a cartoon in the style of Aubrey Beardsley, and shows Wilson as a grotesque naked homunculus sat on a bed, with Williams naked save for a diaphonous nightgown through which can clearly be seen her breasts and genitals, wearing a Marie Antoinette style wig and eyemask and holding a fan coquettishly, while Wilson's wife peers at them through a gap in the curtains. The text reads "Disgusting Depraved Despicable, though Harold maybe is the only way to describe "Flowers in the Rain" The Move, released Aug 23" The stunt caused huge animosity between the group and Secunda, not only because of the money they lost but also because despite Secunda's attempts to associate them with the Conservative party the previous year, Ace Kefford was upset at an attack on the Labour leader -- his grandfather was a lifelong member of the Labour party and Kefford didn't like the idea of upsetting him. The record also had a knock-on effect on another band. Wood had given the song "Here We Go Round the Lemon Tree" to his friends in The Idle Race, the band that had previously been Mike Sheridan and the Night Riders, and they'd planned to use their version as their first single: [Excerpt: The Idle Race, "Here We Go Round the Lemon Tree"] But the Move had also used the song as the B-side for their own single, and "Flowers in the Rain" was so popular that the B-side also got a lot of airplay. The Idle Race didn't want to be thought of as a covers act, and so "Lemon Tree" was pulled at the last minute and replaced by "Impostors of Life's Magazine", by the group's guitarist Jeff Lynne: [Excerpt: The Idle Race, "Impostors of Life's Magazine"] Before the problems arose, the Move had been working on another single. The A-side, "Cherry Blossom Clinic", was a song about being in a psychiatric hospital, and again had an arrangement by Visconti, who this time conducted a twelve-piece string section: [Excerpt: The Move, "Cherry Blossom Clinic"] The B-side, meanwhile, was a rocker about politics: [Excerpt: The Move, "Vote For Me"] Given the amount of controversy they'd caused, the idea of a song about mental illness backed with one about politics seemed a bad idea, and so "Cherry Blossom Clinic" was kept back as an album track while "Vote For Me" was left unreleased until future compilations. The first Wood knew about "Cherry Blossom Clinic" not being released was when after a gig in London someone -- different sources have it as Carl Wayne or Tony Secunda -- told him that they had a recording session the next morning for their next single and asked what song he planned on recording. When he said he didn't have one, he was sent up to his hotel room with a bottle of Scotch and told not to come down until he had a new song. He had one by 8:30 the next morning, and was so drunk and tired that he had to be held upright by his bandmates in the studio while singing his lead vocal on the track. The song was inspired by "Somethin' Else", a track by Eddie Cochran, one of Wood's idols: [Excerpt: Eddie Cochran, "Somethin' Else"] Wood took the bass riff from that and used it as the basis for what was the Move's most straight-ahead rock track to date. As 1967 was turning into 1968, almost universally every band was going back to basics, recording stripped down rock and roll tracks, and the Move were no exception. Early takes of "Fire Brigade" featured Matthew Fisher of Procol Harum on piano, but the final version featured just guitar, bass, drums and vocals, plus a few sound effects: [Excerpt: The Move, "Fire Brigade"] While Carl Wayne had sung lead or co-lead on all the Move's previous singles, he was slowly being relegated into the background, and for this one Wood takes the lead vocal on everything except the brief bridge, which Wayne sings: [Excerpt: The Move, "Fire Brigade"] The track went to number three, and while it's not as well-remembered as a couple of other Move singles, it was one of the most influential. Glen Matlock of the Sex Pistols has often said that the riff for "God Save the Queen" is inspired by "Fire Brigade": [Excerpt: The Sex Pistols, "God Save the Queen"] The reversion to a heavier style of rock on "Fire Brigade" was largely inspired by the group's new friend Jimi Hendrix. The group had gone on a package tour with The Pink Floyd (who were at the bottom of the bill), Amen Corner, The Nice, and the Jimi Hendrix Experience, and had become good friends with Hendrix, often jamming with him backstage. Burton and Kefford had become so enamoured of Hendrix that they'd both permed their hair in imitation of his Afro, though Burton regretted it -- his hair started falling out in huge chunks as a result of the perm, and it took him a full two years to grow it out and back into a more natural style. Burton had started sharing a flat with Noel Redding of the Jimi Hendrix Experience, and Burton and Wood had also sung backing vocals with Graham Nash of the Hollies on Hendrix's "You Got Me Floatin'", from his Axis: Bold as Love album: [Excerpt: The Jimi Hendrix Experience, "You Got Me Floatin'"] In early 1968, the group's first album came out. In retrospect it's arguably their best, but at the time it felt a little dated -- it was a compilation of tracks recorded between late 1966 and late 1967, and by early 1968 that might as well have been the nineteenth century. The album included their two most recent singles, a few more songs arranged by Visconti, and three cover versions -- versions of Eddie Cochran's "Weekend", Moby Grape's "Hey Grandma", and the old standard "Zing! Went the Strings of My Heart", done copying the Coasters' arrangement with Bev Bevan taking a rare lead vocal. By this time there was a lot of dissatisfaction among the group. Most vocal -- or least vocal, because by this point he was no longer speaking to any of the other members, had been Ace Kefford. Kefford felt he was being sidelined in a band he'd formed and where he was the designated face of the group. He'd tried writing songs, but the only one he'd brought to the group, "William Chalker's Time Machine", had been rejected, and was eventually recorded by a group called The Lemon Tree, whose recording of it was co-produced by Burton and Andy Fairweather-Low of Amen Corner: [Excerpt: The Lemon Tree, "William Chalker's Time Machine"] He was also, though the rest of the group didn't realise it at the time, in the middle of a mental breakdown, which he later attributed to his overuse of acid. By the time the album, titled Move, came out, he'd quit the group. He formed a new group, The Ace Kefford Stand, with Cozy Powell on drums, and they released one single, a cover version of the Yardbirds' "For Your Love", which didn't chart: [Excerpt: The Ace Kefford Stand, "For Your Love"] Kefford recorded a solo album in 1968, but it wasn't released until an archival release in 2003, and he spent most of the next few decades dealing with mental health problems. The group continued on as a four-piece, with Burton moving over to bass. While they thought about what to do -- they were unhappy with Secunda's management, and with the sound that Cordell was getting from their recordings, which they considered far wimpier than their live sound -- they released a live EP of cover versions, recorded at the Marquee. The choice of songs for the EP showed their range of musical influences at the time, going from fifties rockabilly to the burgeoning progressive rock scene, with versions of Cochran's "Somethin' Else", Jerry Lee Lewis' "It'll Be Me", "So You Want to Be a Rock and Roll Star" by the Byrds, "Sunshine Help Me" by Spooky Tooth, and "Stephanie Knows Who" by Love: [Excerpt: The Move, "Stephanie Knows Who"] Incidentally, later that year they headlined a gig at the Royal Albert Hall with the Byrds as the support act, and Gram Parsons, who by that time was playing guitar for the Byrds, said that the Move did "So You Want to Be a Rock and Roll Star" better than the Byrds did. The EP, titled "Something Else From the Move", didn't do well commercially, but it did do something that the band thought important -- Trevor Burton in particular had been complaining that Denny Cordell's productions "took the toughness out" of the band's sound, and was worried that the group were being perceived as a pop band, not as a rock group like his friends in the Jimi Hendrix Experience or Cream. There was an increasing tension between Burton, who wanted to be a heavy rocker, and the older Wayne, who thought there was nothing at all wrong with being a pop band. The next single, "Wild Tiger Woman", was much more in the direction that Burton wanted their music to go. It was ostensibly produced by Cordell, but for the most part he left it to the band, and as a result it ended up as a much heavier track than normal. Roy Wood had only intended the song as an album track, and Bevan and Wayne were hesitant about it being a single, but Burton was insistent -- "Wild Tiger Woman" was going to be the group's first number one record: [Excerpt: The Move, "Wild Tiger Woman"] In fact, it turned out to be the group's first single not to chart at all, after four top ten singles in a row. The group were now in crisis. They'd lost Ace Kefford, Burton and Wayne were at odds, and they were no longer guaranteed hitmakers. They decided to stop working with Cordell and Secunda, and made a commitment that if the next single was a flop, they would split up. In any case, Roy Wood was already thinking about another project. Even though the group's recent records had gone in a guitar-rock direction, he thought maybe you could do something more interesting. Ever since seeing Tony Visconti conduct orchestral instruments playing his music, he'd been thinking about it. As he later put it "I thought 'Well, wouldn't it be great to get a band together, and rather than advertising for a guitarist how about advertising for a cellist or a French horn player or something? There must be lots of young musicians around who play the... instruments that would like to play in a rock kind of band.' That was the start of it, it really was, and I think after those tracks had been recorded with Tony doing the orchestral arrangement, that's when I started to get bored with the Move, with the band, because I thought 'there's something more to it'". He'd started sketching out plans for an expanded lineup of the group, drawing pictures of what it would look like on stage if Carl Wayne was playing timpani while there were cello and French horn players on stage with them. He'd even come up with a name for the new group -- a multi-layered pun. The group would be a light orchestra, like the BBC Light Orchestra, but they would be playing electrical instruments, and also they would have a light show when they performed live, and so he thought "the Electric Light Orchestra" would be a good name for such a group. The other band members thought this was a daft idea, but Wood kept on plotting. But in the meantime, the group needed some new management. The person they chose was Don Arden. We talked about Arden quite a bit in the last episode, but he's someone who is going to turn up a lot in future episodes, and so it's best if I give a little bit more background about him. Arden was a manager of the old school, and like several of the older people in the music business at the time, like Dick James or Larry Page, he had started out as a performer, doing an Al Jolson tribute act, and he was absolutely steeped in showbusiness -- his wife had been a circus contortionist before they got married, and when he moved from Manchester to London their first home had been owned by Winifred Atwell, a boogie piano player who became the first Black person to have a UK number one -- and who is *still* the only female solo instrumentalist to have a UK number one -- with her 1954 hit "Let's Have Another Party": [Excerpt: WInifred Atwell, "Let's Have Another Party"] That was only Atwell's biggest in a long line of hits, and she'd put all her royalties into buying properties in London, one of which became the Ardens' home. Arden had been considered quite a promising singer, and had made a few records in the early 1950s. His first recordings, of material in Yiddish aimed at the Jewish market, are sadly not findable online, but he also apparently recorded as a session singer for Embassy Records. I can't find a reliable source for what records he sang on for that label, which put out budget rerecordings of hits for sale exclusively through Woolworths, but according to Wikipedia one of them was Embassy's version of "Blue Suede Shoes", put out under the group name "The Canadians", and the lead vocal on that track certainly sounds like it could be him: [Excerpt: The Canadians, "Blue Suede Shoes"] As you can tell, rock and roll didn't really suit Arden's style, and he wisely decided to get out of performance and into behind-the-scenes work, though he would still try on occasion to make records of his own -- an acetate exists from 1967 of him singing "Sunrise, Sunset": [Excerpt: Don Arden, "Sunrise, Sunset"] But he'd moved first into promotion -- he'd been the promoter who had put together tours of the UK for Gene Vincent, Little Richard, Brenda Lee and others which we mentioned in the second year of the podcast -- and then into management. He'd first come into management with the Animals -- apparently acting at that point as the money man for Mike Jeffries, who was the manager the group themselves dealt with. According to Arden -- though his story differs from the version of the story told by others involved -- the group at some point ditched Arden for Allen Klein, and when they did, Arden's assistant Peter Grant, another person we'll be hearing a lot more of, went with them. Arden, by his own account, flew over to see Klein and threatened to throw him out of the window of his office, which was several stories up. This was a threat he regularly made to people he believed had crossed him -- he made a similar threat to one of the Nashville Teens, the first group he managed after the Animals, after the musician asked what was happening to the group's money. And as we heard last episode, he threatened Robert Stigwood that way when Stigwood tried to get the Small Faces off him. One of the reasons he'd signed the Small Faces was that Steve Marriott had gone to the Italia Conti school, where Arden had sent his own children, Sharon and David, and David had said that Marriott was talented. And David was also a big reason the Move came over to Arden. After the Small Faces had left him, Arden had bought Galaxy Entertaimnent, the booking agency that handled bookings for Amen Corner and the Move, among many other acts. Arden had taken over management of Amen Corner himself, and had put his son David in charge of liaising with Tony Secunda about the Move. But David Arden was sure that the Move could be an albums act, not just a singles act, and was convinced the group had more potential than they were showing, and when they left Secunda, Don Arden took them on as his clients, at least for the moment. Secunda, according to Arden (who is not the most reliable of witnesses, but is unfortunately the only one we have for a lot of this stuff) tried to hire someone to assassinate Arden, but Arden quickly let Secunda know that if anything happened to Arden, Secunda himself would be dead within the hour. As "Wild Tiger Woman" hadn't been a hit, the group decided to go back to their earlier "Flowers in the Rain" style, with "Blackberry Way": [Excerpt: The Move, "Blackberry Way"] That track was produced by Jimmy Miller, who was producing the Rolling Stones and Traffic around this time, and featured the group's friend Richard Tandy on harpsichord. It's also an example of the maxim "Good artists copy, great artists steal". There are very few more blatant examples of plagiarism in pop music than the middle eight of "Blackberry Way". Compare Harry Nilsson's "Good Old Desk": [Excerpt: Nilsson, "Good Old Desk"] to the middle eight of "Blackberry Way": [Excerpt: The Move, "Blackberry Way"] "Blackberry Way" went to number one, but that was the last straw for Trevor Burton -- it was precisely the kind of thing he *didn't* want to be doing,. He was so sick of playing what he thought of as cheesy pop music that at one show he attacked Bev Bevan on stage with his bass, while Bevan retaliated with his cymbals. He stormed off stage, saying he was "tired of playing this crap". After leaving the group, he almost joined Blind Faith, a new supergroup that members of Cream and Traffic were forming, but instead formed his own supergroup, Balls. Balls had a revolving lineup which at various times included Denny Laine, formerly of the Moody Blues, Jackie Lomax, a singer-songwriter who was an associate of the Beatles, Richard Tandy who had played on "Blackberry Way", and Alan White, who would go on to drum with the band Yes. Balls only released one single, "Fight for My Country", which was later reissued as a Trevor Burton solo single: [Excerpt: Balls, "Fight For My Country"] Balls went through many lineup changes, and eventually seemed to merge with a later lineup of the Idle Race to become the Steve Gibbons Band, who were moderately successful in the seventies and eighties. Richard Tandy covered on bass for a short while, until Rick Price came in as a permanent replacement. Before Price, though, the group tried to get Hank Marvin to join, as the Shadows had then split up, and Wood was willing to move over to bass and let Marvin play lead guitar. Marvin turned down the offer though. But even though "Blackberry Way" had been the group's biggest hit to date, it marked a sharp decline in the group's fortunes. Its success led Peter Walsh, the manager of Marmalade and the Tremeloes, to poach the group from Arden, and even though Arden took his usual heavy-handed approach -- he describes going and torturing Walsh's associate, Clifford Davis, the manager of Fleetwood Mac, in his autobiography -- he couldn't stop Walsh from taking over. Unfortunately, Walsh put the group on the chicken-in-a-basket cabaret circuit, and in the next year they only released one record, the single "Curly", which nobody was happy with. It was ostensibly produced by Mike Hurst, but Hurst didn't turn up to the final sessions and Wood did most of the production work himself, while in the next studio over Jimmy Miller, who'd produced "Blackberry Way", was producing "Honky Tonk Women" by the Rolling Stones. The group were getting pigeonholed as a singles group, at a time when album artists were the in thing. In a three-year career they'd only released one album, though they were working on their second. Wood was by this point convinced that the Move was unsalvageable as a band, and told the others that the group was now just going to be a launchpad for his Electric Light Orchestra project. The band would continue working the chicken-in-a-basket circuit and releasing hit singles, but that would be just to fund the new project -- which they could all be involved in if they wanted, of course. Carl Wayne, on the other hand, was very, very, happy playing cabaret, and didn't see the need to be doing anything else. He made a counter-suggestion to Wood -- keep The Move together indefinitely, but let Wood do the Brian Wilson thing and stay home and write songs. Wayne would even try to get Burton and Kefford back into the band. But Wood wasn't interested. Increasingly his songs weren't even going to the Move at all. He was writing songs for people like Cliff Bennett and the Casuals. He wrote "Dance Round the Maypole" for Acid Gallery: [Excerpt: Acid Gallery, "Dance Round the Maypole"] On that, Wood and Jeff Lynne sang backing vocals. Wood and Lynne had been getting closer since Lynne had bought a home tape recorder which could do multi-tracking -- Wood had wanted to buy one of his own after "Flowers in the Rain", but even though he'd written three hit singles at that point his publishing company wouldn't give him an advance to buy one, and so he'd started using Lynne's. The two have often talked about how they'd recorded the demo for "Blackberry Way" at Lynne's parents' house, recording Wood's vocal on the demo with pillows and cushions around his head so that his singing wouldn't wake Lynne's parents. Lynne had been another person that Wood had asked to join the group when Burton left, but Lynne was happy with The Idle Race, where he was the main singer and songwriter, though their records weren't having any success: [Excerpt: The Idle Race, "I Like My Toys"] While Wood was writing material for other people, the only one of those songs to become a hit was "Hello Suzie", written for Amen Corner, which became a top five single on Immediate Records: [Excerpt: Amen Corner, "Hello Suzie"] While the Move were playing venues like Batley Variety Club in Britain, when they went on their first US tour they were able to play for a very different audience. They were unknown in the US, and so were able to do shows for hippie audiences that had no preconceptions about them, and did things like stretch "Cherry Blossom Clinic" into an eight-minute-long extended progressive rock jam that incorporated bits of "Jesu, Joy of Man's Desiring", the Nutcracker Suite, and the Sorcerer's Apprentice: [Excerpt: The Move, "Cherry Blossom Clinic Revisited (live at the Fillmore West)"] All the group were agreed that those shows were the highlight of the group's career. Even Carl Wayne, the band member most comfortable with them playing the cabaret circuit, was so proud of the show at the Fillmore West which that performance is taken from that when the tapes proved unusable he kept hold of them, hoping all his life that technology would progress to the point where they could be released and show what a good live band they'd been, though as things turned out they didn't get released until after his death. But when they got back to the UK it was back to the chicken-in-a-basket circuit, and back to work on their much-delayed second album. That album, Shazam!, was the group's attempt at compromise between their different visions. With the exception of one song, it's all heavy rock music, but Wayne, Wood, and Price all co-produced, and Wayne had the most creative involvement he'd ever had. Side two of the album was all cover versions, chosen by Wayne, and Wayne also went out onto the street and did several vox pops, asking members of the public what they thought of pop music: [Excerpt: Vox Pops from "Don't Make My Baby Blue"] There were only six songs on the album, because they were mostly extended jams. Other than the three cover versions chosen by Wayne, there was a sludge-metal remake of "Hello Suzie", the new arrangement of "Cherry Blossom Clinic" they'd been performing live, retitled "Cherry Blossom Clinic Revisited", and only one new original, "Beautiful Daughter", which featured a string arrangement by Visconti, who also played bass: [Excerpt: The Move, "Beautiful Daughter"] And Carl Wayne sang lead on five of the six tracks, which given that one of the reasons Wayne was getting unhappy with the band was that Wood was increasingly becoming the lead singer, must have been some comfort. But it wasn't enough. By the time Shazam! came out, with a cover drawn by Mike Sheridan showing the four band members as superheroes, the band was down to three -- Carl Wayne had quit the group, for a solo career. He continued playing the cabaret circuit, and made records, but never had another hit, but he managed to have a very successful career as an all-round entertainer, acting on TV and in the theatre, including a six-year run as the narrator in the musical Blood Brothers, and replacing Alan Clarke as the lead singer of the Hollies. He died in 2004. As soon as Wayne left the group, the three remaining band members quit their management and went back to Arden. And to replace Wayne, Wood once again asked Jeff Lynne to join the group. But this time the proposition was different -- Lynne wouldn't just be joining the Move, but he would be joining the Electric Light Orchestra. They would continue putting out Move records and touring for the moment, and Lynne would be welcome to write songs for the Move so that Wood wouldn't have to be the only writer, but they'd be doing it while they were planning their new group. Lynne was in, and the first single from the new lineup was a return to the heavy riff rock style of "Wild Tiger Woman", "Brontosaurus": [Excerpt: The Move, "Brontosaurus"] But Wayne leaving the group had put Wood in a difficult position. He was now the frontman, and he hated that responsibility -- he said later "if you look at me in photos of the early days, I'm always the one hanging back with my head down, more the musician than the frontman." So he started wearing makeup, painting his face with triangles and stars, so he would be able to hide his shyness. And it worked -- and "Brontosaurus" returned the group to the top ten. But the next single, "When Alice Comes Back to the Farm", didn't chart at all. The first album for the new Move lineup, Looking On, was to finish their contract with their current record label. Many regard it as the group's "Heavy metal album", and it's often considered the worst of their four albums, with Bev Bevan calling it "plodding", but that's as much to do with Bevan's feeling about the sessions as anything else -- increasingly, after the basic rhythm tracks had been recorded, Wood and Lynne would get to work without the other two members of the band, doing immense amounts of overdubbing. And that continued after Looking On was finished. The group signed a new contract with EMI's new progressive rock label, Harvest, and the contract stated that they were signing as "the Move performing as The Electric Light Orchestra". They started work on two albums' worth of material, with the idea that anything with orchestral instruments would be put aside for the first Electric Light Orchestra album, while anything with just guitar, bass, drums, keyboard, and horns would be for the Move. The first Electric Light Orchestra track, indeed, was intended as a Move B-side. Lynne came in with a song based around a guitar riff, and with lyrics vaguely inspired by the TV show The Prisoner, about someone with a number instead of a name running, trying to escape, and then eventually dying. But then Wood decided that what the track really needed was cello. But not cello played in the standard orchestral manner, but something closer to what the Beatles had done on "I am the Walrus". He'd bought a cheap cello himself, and started playing Jimi Hendrix riffs on it, and Lynne loved the sound of it, so onto the Move's basic rhythm track they overdubbed fifteen cello tracks by Wood, and also two French horns, also by Wood: [Excerpt: The Electric Light Orchestra, "10538 Overture"] The track was named "10538 Overture", after they saw the serial number 1053 on the console they were using to mix the track, and added the number 8 at the end, making 10538 the number of the character in the song. Wood and Lynne were so enamoured with the sound of their new track that they eventually got told by the other two members of the group that they had to sit in the back when the Move were driving to gigs, so they couldn't reach the tape player, because they'd just keep playing the track over and over again. So they got a portable tape player and took that into the back seat with them to play it there. After finishing some pre-existing touring commitments, the Move and Electric Light Orchestra became a purely studio group, and Rick Price quit the bands -- he needed steady touring work to feed his family, and went off to form another band, Mongrel. Around this time, Wood also took part in another strange project. After Immediate Records collapsed, Andrew Oldham needed some fast money, so he and Don Arden put together a fake group they could sign to EMI for ten thousand pounds. The photo of the band Grunt Futtock was of some random students, and that was who Arden and Oldham told EMI was on the track, but the actual performers on the single included Roy Wood, Steve Marriott, Peter Frampton, and Andy Bown, the former keyboard player of the Herd: [Excerpt: Grunt Futtock, "Rock 'n' Roll Christian"] Nobody knows who wrote the song, although it's credited to Bernard Webb, which is a pseudonym Paul McCartney had previously used -- but everyone knew he'd used the pseudonym, so it could very easily be a nod to that. The last Move album, Message From The Country, didn't chart -- just like the previous two hadn't. But Wood's song "Tonight" made number eleven, the follow-up, "Chinatown", made number twenty-three, and then the final Move single, "California Man", a fifties rock and roll pastiche, made the top ten: [Excerpt: The Move, "California Man"] In the US, that single was flipped, and the B-side, Lynne's song "Do Ya", became the only Move song ever to make the Hot One Hundred, reaching number ninety-nine: [Excerpt: The Move, "Do Ya"] By the time "California Man" was released, the Electric Light Orchestra were well underway. They'd recorded their first album, whose biggest highlights were Lynne's "10538 Overture" and Wood's "Whisper in the Night": [Excerpt: The Electric Light Orchestra, "Whisper in the Night"] And they'd formed a touring lineup, including Richard Tandy on keyboards and several orchestral instrumentalists. Unfortunately, there were problems developing between Wood and Lynne. When the Electric Light Orchestra toured, interviewers only wanted to speak to Wood, thinking of him as the band leader, even though Wood insisted that he and Lynne were the joint leaders. And both men had started arguing a lot, to the extent that at some shows they would refuse to go on stage because of arguments as to which of them should go on first. Wood has since said that he thinks most of the problems between Lynne and himself were actually caused by Don Arden, who realised that if he split the two of them into separate acts he could have two hit groups, not one. If that was the plan, it worked, because by the time "10538 Overture" was released as the Electric Light Orchestra's first single, and made the top ten -- while "California Man" was also still in the charts -- it was announced that Roy Wood was now leaving the Electric Light Orchestra, as were keyboard playe
For every Wizzard, Slade or Mariah Carey, who could pretty much sit back and retire following theirChristmas hits, there are those Christmas songs that are so strange or cringe worthy (or both), it's no wonder they sit in the depths of Noel hell.In this episode of Heard This, we'll be delving into Santa's sack to discover the mad, bad and truly odd festive offerings that have been served up over the decades. Episode Music: Sly - Bryant Lowry Episode Sources: https://www.billboard.com/culture/lifestyle/weird-christmas-songs-holiday-8546698/https://en.wikipedia.org/wiki/Mr._Hankey%2C_the_Christmas_Poo?wprov=sfla1https://en.wikipedia.org/wiki/Gaudete?wprov=sfla1https://youtu.be/coLftIkrkXEhttps://www.wanderlust.co.uk/content/9-crazy-christmas-songs-from-around-the-world/https://youtu.be/a0mT-zNxRMwhttps://www.rollingstone.com/music/music-lists/worst-christmas-songs-of-all-time-1261578/the-killers-dont-shoot-me-santa-1270966/https://www.songfacts.com/facts/east-17/stay-another-dayhttps://en.wikipedia.org/wiki/Dominick_the_Donkey?wprov=sfla1https://www.timeout.com/music/the-12-worst-christmas-songs-ever-inflicted-on-humankind
Emma takes on Andy in the first PopMaster Podcast of the week, presented by Ken Bruce.
Cosmic Universe is a play to earn game that is being built on the Harmony ONE Blockchain.Cosmic Universe is a game centered around wizard NFT's or (Non Fungible Tokens). You can buy land plots as well as wizards. The game is being finished at the moment. Some exciting things are in the works and it is exciting to see how the game will be when it comes out. Below are the links. Thanks for listening! Cosmic Universe Website: https://cosmicwizards.one/Cosmic Universe Discord: https://discord.com/invite/rGbW6gKuwCCosmic Universe Twitter: https://twitter.com/thecosmicguild
The No Eye Deer boys sit down and talk with Mike Hoepner, founder of the Eau Claire Goose Posse to talk turkey hunting and the best shotguns for taking down that tom. Topics discussed: Goose hunting and just missing the X; what the hell is going on with this years maple syrup season; Aaron's insight into what makes sap run; Goose sticks are freaking tasty; son started trap shoopting; fisherman is busted for exceeding his walleye bag limit and serving the fillets during Viking games at his house; West Virginia's largest buck harvested in 2021 was poached in a parking lot of a church; what does it take to successfully hunt turkey; stalk hunt vs hunting from the blind vs sitting on the ground; turkey calls; best shotgun for turkey hunting; The Wad Wizard choke; cooking up your turkey; smoke vs crockpot; out west prairie dog hunting; black dog flooring and lumber; Search and Recovery Engineering;Connect with Aaron, Adam and No Eye DeerNo Eye Deer on Youtube
Attention Goose Hunters! Laura Schara chats with National Goose Calling champion and owner of DRC Call Co., Cory Loeffler, on his road to the American Masters Goose Calling contest as well as tips to improve your goose calling skills! They call him the Goose Wizard for a reason! Supported by: North Dakota Tourism (https://www.legendarynd.com/,) Kinetico (https://www.kinetico.com/,) Voyageur Saunas (https://www.voyageursaunas.com/,) Minnesota Propane (https://propane.com/) - “Clean American Energy” & The Minnesota DNR (https://www.dnr.state.mn.us/wmas)
In this episode, Barney & Jasper welcome the legendary Alan McGee into RBP's virtual cupboard. The Creation Records founder talks us through his storied career, from his school days in Glasgow to the Creation 23 label of the 21st century. Reminiscing about the early '80s Living Room gigs he put on in London, Alan describes the signings of Oasis, the Jesus and Mary Chain another great Creation acts. He also explains how Primal Scream got from Sonic Flower Groove to Screamadelica; how he almost signed Teenage Fanclub's idol Alex Chilton; how My Bloody Valentine's Loveless did (or didn't) almost bankrupt his & Dick Green's baby; and how appalled Sony were by Kevin Rowland's My Beauty album after the company acquired 49% of Creation's shares in 1992.Slightly cheekily, RBP's co-hosts then force Alan to listen to clips from a 2007 audio interview with Alex James of Oasis's Britpop nemesis Blur — except it turns out he never really hated those soft southern Sassenachs in the first place: it was all the Gallaghers' fault. Quel surprise…After paying their respects to fallen pop heroes Wayne Fontana, Trini Lopez and Seeds guitarist Jan Savage, Barney & Jasper talk through their highlights of the week's new "library load ". These include Lillian Roxon's 1966 report on "Music City USA" (i.e. Nashville); Michael Goldberg's 1983 report on MTV's exclusion of Black music videos; Joni Mitchell bellyaching in 1981 about being "written out of rock history"; a breathless 2002 review of Scandi garage rockers the Hives live at London's Astoria, and a riveting Aphex Twin interview from 2003…Pieces discussed: Creation, Creationer, Creationest, Jesus & Mary Chain, Vile Evil from East Kilbride, Primal Scream, Blur's Alex James audio, Wayne Fontana, Trini Lopez, The Seeds' Jan Savage, Death Discs, Nashville, Wizzard, Patti Smith, MTV, Joni Mitchell, Cleveland punk, Jerry Ragovoy, The Hives, Aphex Twin and Beyoncé.This show is part of Pantheon Podcasts.
In this episode, Barney & Jasper welcome the legendary Alan McGee into RBP's virtual cupboard. The Creation Records founder talks us through his storied career, from his school days in Glasgow to the Creation 23 label of the 21st century. Reminiscing about the early '80s Living Room gigs he put on in London, Alan describes the signings of Oasis, the Jesus and Mary Chain another great Creation acts. He also explains how Primal Scream got from Sonic Flower Groove to Screamadelica; how he almost signed Teenage Fanclub's idol Alex Chilton; how My Bloody Valentine's Loveless did (or didn't) almost bankrupt his & Dick Green's baby; and how appalled Sony were by Kevin Rowland's My Beauty album after the company acquired 49% of Creation's shares in 1992.Slightly cheekily, RBP's co-hosts then force Alan to listen to clips from a 2007 audio interview with Alex James of Oasis's Britpop nemesis Blur — except it turns out he never really hated those soft southern Sassenachs in the first place: it was all the Gallaghers' fault. Quel surprise…After paying their respects to fallen pop heroes Wayne Fontana, Trini Lopez and Seeds guitarist Jan Savage, Barney & Jasper talk through their highlights of the week's new "library load ". These include Lillian Roxon's 1966 report on "Music City USA" (i.e. Nashville); Michael Goldberg's 1983 report on MTV's exclusion of Black music videos; Joni Mitchell bellyaching in 1981 about being "written out of rock history"; a breathless 2002 review of Scandi garage rockers the Hives live at London's Astoria, and a riveting Aphex Twin interview from 2003…Pieces discussed: Creation, Creationer, Creationest, Jesus & Mary Chain, Vile Evil from East Kilbride, Primal Scream, Blur's Alex James audio, Wayne Fontana, Trini Lopez, The Seeds' Jan Savage, Death Discs, Nashville, Wizzard, Patti Smith, MTV, Joni Mitchell, Cleveland punk, Jerry Ragovoy, The Hives, Aphex Twin and Beyoncé.
Especial dia de Nadal a "Ciutat Maragda" en format lletra i m
Emily Watson discusses her role as Marmee March, the mother of four daughters, in the new BBC TV adaptation of Louisa May Alcott's novel Little Women, set in 1860s Massachusetts against the background of the American Civil War.As the landmark film The Graduate turns 50 today, actress Tracy Ann Oberman and film critic MaryAnn Johanson discuss how the character of the seductress Mrs Robinson shaped the role of the older woman on screen.Ahead of this year's Doctor Who Christmas Special which features the regeneration of the 12th Doctor, Peter Capaldi, we ask Doctor Who: The Fan Show's Christel Dee exactly what regeneration is, how it works, and what we can expect from the Christmas Special.With only a couple of days left before Christmas, music writer Ben Wardle breathes a sigh of relief that he won't be bombarded for much longer by those perennial Christmas songs, from Wham to Wizzard. He discusses what makes an enduring Christmas pop tune and how having one in your back catalogue can be a nice little earner.Presenter John Wilson Producer Jerome Weatherald Image: Marmee March (EMILY WATSON), Meg March (WILLA FITZGERALD) Credit: BBC/Playground/Patrick Redmond.
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