In this episode of Vinyl Vibes Jack is joined by Tony Hazzard, a legendary songwriter from the '60s. Tony grew up in Liverpool in post-war Britain. His earliest exposer to music include listening to war time records such as "Run Rabbit Run" but it was rock and rollers like Buddy Holly that captured Tony the most early on. Tony started writing songs while at  Durham University. One of his early works was a song called "You Won't Be Leaving". This song would break Tony into the music world when it was recorded as a single by Hermin's Hermits in 1966. After this song however for the next year Tony went through writers block. It was not until he wrote "Ha Ha Said The Clown", a hit for Manfred Mann in 1967, that his writers block was gone for good. Other hits that would follow for Tony would be Listen to Me as recorded by the Hollies and Fox on the Run as recorded by Manfred Mann.  

More recently in 2021 Tony released his Selected Lyricsbook featuring lyrics throughout his long time in music. In 2022 Tony's latest album came out, Demonstration, an album that features remixed versions of his songs from his first solo album Tony hazard sings Tony hazard. 

Jack Zoomed Tony to discuss his early musical beginnings, the war time records he heard in his early childhood, hearing early rock and roll records on Radio Luxembourg, his early songwriting at Durham University, how he came to be a professional songwriter, the writing of his first hit "You Won't be Leaving", how he overcame his writers block with "Ha Ha Said the Clown", the lyrical brilliance of "Fox on The Run", his work with The Hollies, his book "selected Lyrics" and his recent album Demonstration. 

"I had a hit with 'You Won't Be Leaving' with Herman's Hermits and then I couldn't write anything for a year...I remember going to a meeting...I think I played three songs and he (Gerry Bron - song publisher) didn't like any of them so I stood up and said 'theres no point in playing the fourth', he said 'no, play it' and it was "Ha Ha Said The Clown" and a big grin came on his face and said its a hit" - Tony Hazzard on this episode of Vinyl Vibes talking about his hit song Ha Ha Said The Clown

Episode Hosted and Produced by Jack Hodgins

In this episode of Vinyl Vibes Jack is joined by <a href="https://tonyhazzard.com">Tony Hazzard</a>, a legendary songwriter from the '60s. Tony grew up in Liverpool in post-war Britain. His earliest exposer to music include listening to war time records such as "Run Rabbit Run" but it was rock and rollers like Buddy Holly that captured Tony the most early on. Tony started writing songs while at  Durham University. One of his early works was a song called "You Won't Be Leaving". This song would break Tony into the music world when it was recorded as a single by Hermin's Hermits in 1966. After this song however for the next year Tony went through writers block. It was not until he wrote "Ha Ha Said The Clown", a hit for Manfred Mann in 1967, that his writers block was gone for good. Other hits that would follow for Tony would be Listen to Me as recorded by the Hollies and Fox on the Run as recorded by Manfred Mann.  
More recently in 2021 Tony released his <a href="https://www.amazon.com.au/Selected-Lyrics-Tony-Hazzard-ebook/dp/B093TGTVKJ">Selected Lyrics</a> book featuring lyrics throughout his long time in music. In 2022 Tony's latest album came out, <a href="https://tonyhazzarduk.bandcamp.com/album/demonstration">Demonstration</a>, an album that features remixed versions of his songs from his first solo album Tony hazard sings Tony hazard. 
Jack Zoomed Tony to discuss his early musical beginnings, the war time records he heard in his early childhood, hearing early rock and roll records on Radio Luxembourg, his early songwriting at Durham University, how he came to be a professional songwriter, the writing of his first hit "You Won't be Leaving", how he overcame his writers block with "Ha Ha Said the Clown", the lyrical brilliance of "Fox on The Run", his work with The Hollies, his book "selected Lyrics" and his recent album Demonstration. 
"I had a hit with 'You Won't Be Leaving' with Herman's Hermits and then I couldn't write anything for a year...I remember going to a meeting...I think I played three songs and he (Gerry Bron - song publisher) didn't like any of them so I stood up and said 'theres no point in playing the fourth', he said 'no, play it' and it was "Ha Ha Said The Clown" and a big grin came on his face and said its a hit" - Tony Hazzard on this episode of Vinyl Vibes talking about his hit song Ha Ha Said The Clown
Episode Hosted and Produced by Jack Hodgins

Vinyl Vibes is a new music show created by Jack Hodgins. It features in-depth interviews with those who were a part of the vinyl era of music. If you are rocker, a groover or somewhere in between then this show is for you. On the podcast version you can find the uncut interviews but on the On Demand version you can listen to interviews along with music.

This show is the full creation of Jack Hodgins who is the producer, host and editor for the show. Jack has been a lover of older music since he can remember with Buddy Holly being the person who got him into music. He is even a musician himself having released his own EP.

Vinyl Vibes is a new music show created by Jack Hodgins. It features in-depth interviews with those who were a part of the vinyl era of music. If you are rocker, a groover or somewhere in between then this show is for you. On the podcast version you can find the uncut interviews but on the On Demand version you can listen to interviews along with music.
This show is the full creation of Jack Hodgins who is the producer, host and editor for the show. Jack has been a lover of older music since he can remember with Buddy Holly being the person who got him into music. He is even a musician himself having released his own EP.

Vinyl Vibes

Jack Hodgins interviews the likes of Colin Hanton (Quarrymen) about their music and lives.

Jack Hodgins interviews the likes of Colin Hanton (Quarrymen) about their music and lives.

Tony Hazzard - Songwriter of Fox on The Run

On this episode of Vinyl Vibes, Jack is joined by Gary Moberly, keyboardist of The Ramrods and Sweet. Gary first found his love for music growing up amidst the rock and roll of Jerry Lee Lewis and Col Joye. During the instrumental craze of the early ‘60s, along with workmates from the Sydney Morning Herald, Gary formed The Ramrods in 1961. By the mid-‘60s, The Ramrods were popular around the Sydney area, playing gigs in pubs. It was around this time that the band came to the attention of then-President of New South Wales Young Labor, Paul Keating. Keating would become The Ramrods' manager, getting the band more gigs and even a recording contract with EMI. The Ramrods recorded two singles for EMI Records, but neither achieved chart success. As a result, the band became better known for being managed by Paul Keating rather than for their own musical output. Gary would leave The Ramrods soon after the band’s second single.

After his days in The Ramrods, Gary joined another local Sydney group called Asprope Fables in 1968. The band became popular playing covers around the Sydney area and even came third overall in the 1969 Holiday's Battle of the Sounds. Gary left Asprope Fables in late 1970 and made his way to the UK to play with a group called The Honky Tonk. This led to Gary playing with other artists in the UK, such as Cane and Able, Tina Charles, and John Miles.

A big break came in 1977 when glam rockers Sweet were looking for a keyboard player, and Gary got the job. Although at first the band wanted to keep Gary behind the curtain at shows as an unofficial member, they were so impressed with his playing that he was made an official member of Sweet. Gary’s first work with Sweet involved playing keyboards on the band’s hit Love Is Like Oxygen. Gary went on to record two albums with Sweet: Cut Above the Rest in 1979 and Water’s Edge in 1980 before leaving the group. Today, Gary is still playing music, with recent performances being with The Spirit of Smokie.

Jack phoned Gary to talk about his early days, the impact the likes of Jerry Lee Lewis and Col Joye had on him, the formation of The Ramrods, his memories of playing live with The Ramrods, what Paul Keating was like as a manager, The Ramrods' recording career, his time in Asprope Fables, his early work in the UK, how he came to join Sweet, the recording and success of Love Is Like Oxygen, his memories of touring with Sweet, playing on Sweet albums Cut Above the Rest and Water’s Edge, and his more recent music work.

"When I went to meet them about the gig in the office, Mick Tucker walks in with a fur coat on, a David Bowie haircut, haha, a golden drumstick hanging off his ears, pelican skin-pointed powder blue shoes – I thought, 'Bloody hell mate, this is weird!' Then in come Steve and Brian, and we went down to the pub. We drank from midday till midnight, and one of them came up and said, 'You've got the gig.' I said, 'I haven't played anything yet.' They said, 'You've got the gig, you can handle the drinking.' I found out later that wasn't quite true, because they’d seen me on The Old Grey Whistle Test with John Miles the week before." — Gary Moberly on this episode of Vinyl Vibes talking about joining Sweet.

Episode Hosted and Produced by Jack Hodgins.

On this episode of Vinyl Vibes, Jack is joined by Gary Moberly, keyboardist of The Ramrods and Sweet. Gary first found his love for music growing up amidst the rock and roll of Jerry Lee Lewis and Col Joye. During the instrumental craze of the early &lsquo;60s, along with workmates from the Sydney Morning Herald, Gary formed The Ramrods in 1961. By the mid-&lsquo;60s, The Ramrods were popular around the Sydney area, playing gigs in pubs. It was around this time that the band came to the attention of then-President of New South Wales Young Labor, Paul Keating. Keating would become The Ramrods' manager, getting the band more gigs and even a recording contract with EMI. The Ramrods recorded two singles for EMI Records, but neither achieved chart success. As a result, the band became better known for being managed by Paul Keating rather than for their own musical output. Gary would leave The Ramrods soon after the band&rsquo;s second single.
After his days in The Ramrods, Gary joined another local Sydney group called Asprope Fables in 1968. The band became popular playing covers around the Sydney area and even came third overall in the 1969 Holiday's Battle of the Sounds. Gary left Asprope Fables in late 1970 and made his way to the UK to play with a group called The Honky Tonk. This led to Gary playing with other artists in the UK, such as Cane and Able, Tina Charles, and John Miles.
A big break came in 1977 when glam rockers Sweet were looking for a keyboard player, and Gary got the job. Although at first the band wanted to keep Gary behind the curtain at shows as an unofficial member, they were so impressed with his playing that he was made an official member of Sweet. Gary&rsquo;s first work with Sweet involved playing keyboards on the band&rsquo;s hit Love Is Like Oxygen. Gary went on to record two albums with Sweet: Cut Above the Rest in 1979 and Water&rsquo;s Edge in 1980 before leaving the group. Today, Gary is still playing music, with recent performances being with The Spirit of Smokie.
Jack phoned Gary to talk about his early days, the impact the likes of Jerry Lee Lewis and Col Joye had on him, the formation of The Ramrods, his memories of playing live with The Ramrods, what Paul Keating was like as a manager, The Ramrods' recording career, his time in Asprope Fables, his early work in the UK, how he came to join Sweet, the recording and success of Love Is Like Oxygen, his memories of touring with Sweet, playing on Sweet albums Cut Above the Rest and Water&rsquo;s Edge, and his more recent music work.
"When I went to meet them about the gig in the office, Mick Tucker walks in with a fur coat on, a David Bowie haircut, haha, a golden drumstick hanging off his ears, pelican skin-pointed powder blue shoes &ndash; I thought, 'Bloody hell mate, this is weird!' Then in come Steve and Brian, and we went down to the pub. We drank from midday till midnight, and one of them came up and said, 'You've got the gig.' I said, 'I haven't played anything yet.' They said, 'You've got the gig, you can handle the drinking.' I found out later that wasn't quite true, because they&rsquo;d seen me on The Old Grey Whistle Test with John Miles the week before." &mdash; Gary Moberly on this episode of Vinyl Vibes talking about joining Sweet.
Episode Hosted and Produced by Jack Hodgins.

Gary Moberly - Keyboardist of The Ramrods and Sweet

On this episode of Vinyl Vibes, Jack is joined by Paul Speare, former saxophonist of Dexys Midnight Runners. Paul started playing music at the age of 15 and never stopped. While working as a music teacher in Birmingham, Paul frequently did session work at a local recording studio called Outlaw Studios. Dexys Midnight Runners also frequented the studio, and at one point, they were looking for a saxophonist. Paul was put in contact with Dexys by the owner of Outlaw Studios and soon joined the band on a temporary basis. After doing his first work for the band, playing the group's number one hit Geno on the 1980 Top of the Pops Christmas special, Paul decided to join as a full-time member.

In December 1981, sessions for the group's album Too-Rye-Ay began. It was over the course of these sessions that "Come On Eileen" was recorded. Paul remained in the group for the entire recording process of the Too-Rye-Ay album, only leaving the band after the final mixing session. Paul was struggling financially while being in Dexys at the time, and with "Come On Eileen" not yet a hit or even released, he decided to leave the band. "Come On Eileen" was released as a single in the UK in June 1982, and by August 1982, the song was number one, remaining there for four weeks. In Australia, the song was an even bigger hit, reaching number one in November 1982 for five weeks. Today, the song remains as popular as ever and has secured itself as an enduring classic.

After leaving Dexys, Paul joined forces with fellow ex-Dexys musicians Jim Paterson and Brian Maurice to form TKO Horns. The band got work immediately, playing for the likes of John Watts and also the Q-Tips. After touring with the Q-Tips, TKO Horns were approached by Elvis Costello. Paul, along with the TKO Horns, went on to tour the world with Costello and was prominently featured on Costello’s studio album Punch the Clock. Today, Paul is still making music, with a recent project being his 2023 EP In Search of Avet.

Jack Zoomed Paul to talk about his early days, what inspired him to start playing instruments at the age of 15, the impact his music teacher had on him, his early session work at Outlaw Studios, how he came to join Dexys Midnight Runners, his memories of playing on the 1980 Top of the Pops Christmas special, his first recording with Dexys (Plan B), The Projected Passion Revue Tour, the recording and writing of "Come On Eileen," the group's album Too-Rye-Ay, what made Paul leave the band, the success of "Come On Eileen," his work with TKO Horns, and his recent music work.

"It was such an unusual song, I mean there's never been another song like it before or since, really. I think we all realized there was something unique about it. Whether that would translate into it being a hit record on that scale, that it was, perhaps didn't occur to us." — Paul Speare talking about Come On Eileen in this episode of Vinyl Vibes.

Hosted and produced by Jack Hodgins.

On this episode of Vinyl Vibes, Jack is joined by Paul Speare, former saxophonist of Dexys Midnight Runners. Paul started playing music at the age of 15 and never stopped. While working as a music teacher in Birmingham, Paul frequently did session work at a local recording studio called Outlaw Studios. Dexys Midnight Runners also frequented the studio, and at one point, they were looking for a saxophonist. Paul was put in contact with Dexys by the owner of Outlaw Studios and soon joined the band on a temporary basis. After doing his first work for the band, playing the group's number one hit Geno on the 1980 Top of the Pops Christmas special, Paul decided to join as a full-time member.
In December 1981, sessions for the group's album Too-Rye-Ay began. It was over the course of these sessions that "Come On Eileen" was recorded. Paul remained in the group for the entire recording process of the Too-Rye-Ay album, only leaving the band after the final mixing session. Paul was struggling financially while being in Dexys at the time, and with "Come On Eileen" not yet a hit or even released, he decided to leave the band. "Come On Eileen" was released as a single in the UK in June 1982, and by August 1982, the song was number one, remaining there for four weeks. In Australia, the song was an even bigger hit, reaching number one in November 1982 for five weeks. Today, the song remains as popular as ever and has secured itself as an enduring classic.
After leaving Dexys, Paul joined forces with fellow ex-Dexys musicians Jim Paterson and Brian Maurice to form TKO Horns. The band got work immediately, playing for the likes of John Watts and also the Q-Tips. After touring with the Q-Tips, TKO Horns were approached by Elvis Costello. Paul, along with the TKO Horns, went on to tour the world with Costello and was prominently featured on Costello&rsquo;s studio album Punch the Clock. Today, Paul is still making music, with a recent project being his 2023 EP In Search of Avet.
Jack Zoomed Paul to talk about his early days, what inspired him to start playing instruments at the age of 15, the impact his music teacher had on him, his early session work at Outlaw Studios, how he came to join Dexys Midnight Runners, his memories of playing on the 1980 Top of the Pops Christmas special, his first recording with Dexys (Plan B), The Projected Passion Revue Tour, the recording and writing of "Come On Eileen," the group's album Too-Rye-Ay, what made Paul leave the band, the success of "Come On Eileen," his work with TKO Horns, and his recent music work.
"It was such an unusual song, I mean there's never been another song like it before or since, really. I think we all realized there was something unique about it. Whether that would translate into it being a hit record on that scale, that it was, perhaps didn't occur to us." &mdash; Paul Speare talking about Come On Eileen in this episode of Vinyl Vibes.
Hosted and produced by Jack Hodgins.

Paul Speare- Former Saxophonist of Dexys Midnight Runners

On this episode of Vinyl Vibes, Jack is joined by Robert Upchurch, long-time member of The Trammps. Finding his musical roots in gospel music, Robert began playing the R&B club circuit in Philadelphia in the early ‘70s. He was soon discovered and signed to Golden Fleece Records, where he released his debut single, The Devil Made Me Do It, and began his journey into disco music. After Robert released his debut single, the Golden Fleece label folded, and its artist roster was bought out by Atlantic Records. The Trammps, a disco group from Philadelphia, were also signed to Golden Fleece when it folded. Now with both artists on the Atlantic label, the label wanted to see how Robert would sound with The Trammps.

Robert officially joined The Trammps, and in 1977 he sang backing on their single Disco Inferno. At first, the single was only a moderate hit, reaching number 53 on the Billboard Hot 100 in the United States. However, the song was later added to the soundtrack of the disco film Saturday Night Fever. Disco Inferno then experienced immense success, becoming the closing track on the 40 million-selling Saturday Night Fever soundtrack album. As a reissued single, the song was also a hit in its own right, reaching number 11 on the Billboard Hot 100 and number 32 on the Australian Kent Music Charts. Today, the song is remembered as one of the signature tracks of the disco era.

Following the group's success with Disco Inferno, into the later ‘70s, disco started experiencing massive pushback from rock listeners. Like many disco groups of the time, The Trammps’ success started to fade. The Trammps would continue to make music into the ‘80s, with their last album, This One Is for the Party, being commercially unsuccessful and only seeing a release in the Netherlands. Since then, the group has continued to play live, and Robert has remained in the group all this time.

In this episode, Jack calls Robert to talk about his early life, hearing his voice for the first time on a reel-to-reel tape recorder, his time doing gospel music, hearing rock and roll for the first time, his time playing on the R&B club circuit, how he came to be discovered and signed to Golden Fleece Records, his first single The Devil Made Me Do It, how he came to join The Trammps in 1976, the recording of Trammps songs such as Disco Party and their famous Disco Inferno, playing his first gig with the group at Madison Square Garden, how Disco Inferno came to be featured in Saturday Night Fever, the success of Disco Inferno, the band's work into the '80s, and the group's touring today.

"The first time we heard it, we were at the office of our production company, and Ron Kersey, who wrote the song, played it for us. My first impression was 'Oh no,' because, like I said, I've never liked disco. I said, 'You guys gotta be kidding, you know, come on, haha.' The other guys thought it was okay, but I just didn't feel it would do anything." — Robert Upchurch on this episode of Vinyl Vibes, talking about hearing Disco Inferno for the first time.

Hosted and produced by Jack Hodgins.

On this episode of Vinyl Vibes, Jack is joined by Robert Upchurch, long-time member of <a href="https://www.thetrammps.net/">The Trammps</a>. Finding his musical roots in gospel music, Robert began playing the R&amp;B club circuit in Philadelphia in the early &lsquo;70s. He was soon discovered and signed to Golden Fleece Records, where he released his debut single, The Devil Made Me Do It, and began his journey into disco music. After Robert released his debut single, the Golden Fleece label folded, and its artist roster was bought out by Atlantic Records. The Trammps, a disco group from Philadelphia, were also signed to Golden Fleece when it folded. Now with both artists on the Atlantic label, the label wanted to see how Robert would sound with The Trammps.
Robert officially joined The Trammps, and in 1977 he sang backing on their single Disco Inferno. At first, the single was only a moderate hit, reaching number 53 on the Billboard Hot 100 in the United States. However, the song was later added to the soundtrack of the disco film Saturday Night Fever. Disco Inferno then experienced immense success, becoming the closing track on the 40 million-selling Saturday Night Fever soundtrack album. As a reissued single, the song was also a hit in its own right, reaching number 11 on the Billboard Hot 100 and number 32 on the Australian Kent Music Charts. Today, the song is remembered as one of the signature tracks of the disco era.
Following the group's success with Disco Inferno, into the later &lsquo;70s, disco started experiencing massive pushback from rock listeners. Like many disco groups of the time, The Trammps&rsquo; success started to fade. The Trammps would continue to make music into the &lsquo;80s, with their last album, This One Is for the Party, being commercially unsuccessful and only seeing a release in the Netherlands. Since then, the group has continued to play live, and Robert has remained in the group all this time.
In this episode, Jack calls Robert to talk about his early life, hearing his voice for the first time on a reel-to-reel tape recorder, his time doing gospel music, hearing rock and roll for the first time, his time playing on the R&amp;B club circuit, how he came to be discovered and signed to Golden Fleece Records, his first single The Devil Made Me Do It, how he came to join The Trammps in 1976, the recording of Trammps songs such as Disco Party and their famous Disco Inferno, playing his first gig with the group at Madison Square Garden, how Disco Inferno came to be featured in Saturday Night Fever, the success of Disco Inferno, the band's work into the '80s, and the group's touring today.
"The first time we heard it, we were at the office of our production company, and Ron Kersey, who wrote the song, played it for us. My first impression was 'Oh no,' because, like I said, I've never liked disco. I said, 'You guys gotta be kidding, you know, come on, haha.' The other guys thought it was okay, but I just didn't feel it would do anything." &mdash; Robert Upchurch on this episode of Vinyl Vibes, talking about hearing Disco Inferno for the first time.
Hosted and produced by Jack Hodgins.

Tony Hazzard - Songwriter of Fox on The Run

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