By in show blog on Oct 10, 2017 |


"Bedknobs & Broomsticks & Hammers"

7 October 2017

With special in-studio guests: Bill Needham and David Jury of Broomsticks & Hammers

Their music is brilliant in its simplicity. The evocative lyrics are both introspective and observational, and sometimes wryly humourous...

Elements of folk, rock, country, blues, and jazz, will tantalize your ears and keep you feet tapping in time; making Broomsticks & Hammers equally pleasurable on the dance floor or your favorite listening room.”

~ Scott Wilkinson, host of The Blues Never Die, CHRW Radio Western 94.9FM


The Age Of Not Believing” (Bedknobs and Brooksticks Soundtrack)

Bedknobs and Broomsticks is a 1971 British-American musical fantasy film produced by Walt Disney Productions. It is based upon the books The Magic Bedknob; or, How to Become a Witch in Ten Easy Lessons (1943) and Bonfires and Broomsticks (1945) by English children's author Mary Norton. The film, which combines live action and animation, stars Angela Lansbury and David Tomlinson. It is frequently compared with Mary Poppins (1964), which also combined live action and animation and is partially set in the streets of London. It also features numerous cast members from Mary Poppins, particularly Tomlinson, supporting actor Reginald Owen (in his last film role), a similar film crew, songwriters the Sherman Brothers, director Robert Stevenson, art director Peter Ellenshaw, and musical direction by Irwin Kostal.

Bedknobs and Broomsticks was originally intended to be a large-scale epic holiday release similar to Mary Poppins, but after its premiere, it was shortened from its two and a half-hour length (while the liner notes on the soundtrack reissue in 2002 claims it was closer to three hours) to a more manageable (to movie theatres) two hours. Along with a minor subplot involving Roddy McDowall's character, three songs were removed entirely, and the central dance number "Portobello Road" was shortened by more than six minutes. The 139-minute version of the film would eventually be published years later.

By 1976, the film had earned rentals of $8.5 million in North America. The movie was reissued theatrically in 1979, with a shorter running time of 96 minutes and all songs, excluding "Portobello Road" and "Beautiful Briny Sea". The film has been released for home several times on VHS and DVD. Upon rediscovering the removed song "A Step in the Right Direction" on the original soundtrack album, Disney decided to reconstruct the film's original running length. Most of the film material was found, but some segments of "Portobello Road" had to be reconstructed from work prints with digital re-coloration to match the film quality of the main content. The footage for "A Step in the Right Direction" was never located. As of 2009, it remains lost, and it is believed that the footage was possibly destroyed. A reconstruction of "A Step in the Right Direction", using the original music track linked up to existing production stills, was included on the DVD as an extra to convey an idea of what the lost sequence would have looked like. The edit included several newly discovered songs, including "Nobody's Problems", performed by Lansbury. The number had been cut before the premiere of the film. Lansbury had only made a demo recording, singing with a solo piano because the orchestrations would have been added when the picture was scored. When the song was cut, the orchestrations had not yet been added; therefore, it was finally orchestrated and put together when it was placed back into the film.

The soundtrack for some of the spoken tracks was unrecoverable. Therefore, Lansbury and McDowall re-dubbed their parts, while other actors made ADR dubs for those who were unavailable. Even though David Tomlinson was still alive when the film was being reconstructed, he was in ill-health, and unavailable to provide ADR for Emelius Browne. Some of the alternate actors who re-dubbed the newly inserted scenes had questionable likenesses to that of the original voices (the postmistress, for example, had a British regional accented voice that changed from Welsh to Scottish and back again on the reconstructed scenes). Elements of the underscoring were either moved or extended when it was necessary to benefit the new material. The extended version of the film was released on VHS and DVD in 2001, to commemorate the 30th anniversary of the film. The reconstruction additionally marks the first time the film was presented in stereophonic sound. A new edition called Bedknobs and Broomsticks: Enchanted Musical Edition was released on DVD in 2009. This new single-disc edition is an identical transfer to the 30th Anniversary Edition, dropping the Scrapbook and Film Facts to make room for a Wizards of Waverly Place Special Effects featurette and a The Suite Life of Zack & Cody Blu-ray infomercial. The Sherman Brothers Featurette, the lost song "A Step in the Right Direction" and most of the other bonus features are retained from the previous edition. In 2014, the movie was again released on Special Edition Blu-ray, DVD, and Digital HD in its 117-minute General Release Version, with the deleted scenes used in the previous reconstructed version presented in a separate section on the Blu-ray disc. Many fans are disappointed that the 30th anniversary version has not been transferred onto Blu-ray as an option, (e.g. a Blu-ray set containing both the 117 -min and 140-min versions), as despite the ADR dubbing, many still prefer the longer uncut version.

A soundtrack album was released by Buena Vista Records in 1971. While the film was released in mono sound, the musical score was recorded in stereo and the soundtrack album was released in stereo. An expanded soundtrack album was later released on CD in 2002.


sCreamGrrrl's Canadian Girl Corner...

American Girl – Tom Petty & the Heartbreakers (Tom Petty & the Heartbreakers/1976)

Tom Petty's MusiCares Speech ~“Rock & Roll Empowers America's Youth” 

The Waiting - Tom Petty & the Heartbreakers (Hard Promises/1981)

Lucky's Costco Settlement {King of the Hill Excerpt}

You Don’t Know How it Feels – Tom Petty (Wildflowers/1994)

Runaway – The Traveling Wilburys (Vol. 3/1990)

sCreamGrrrl sez: We started off SCGCCC with “American Girl” from Tom Petty and the Heartbreakers 1976 self-titled debut record. We followed that up with “The Waiting” from their 1981 album Promises. We then played “You Don’t Know How it Feels” from Petty’s solo album titled Wildflowers released in 1994 and we ended SCGCCC with “Runaway” from The Travelling Wilburys 1990 release Vol. 3.

Tom Petty was born October 20, 1950, in Gainesville, Florida, the first of two sons of Kitty and Earl Petty. His interest in rock and roll music began at age ten when he met Elvis Presley, in the summer of 1961, while his uncle was working on the set of an Elvis film called Follow That Dream.

Immediately after, Tom Petty traded in his Wham-O slingshot for a collection of Elvis 45s. Petty said that he knew he wanted to be in a band the moment he saw the Beatles on The Ed Sullivan Show. He dropped out of high school at age 17 to play bass with his newly formed band. One of Petty’s first guitar teachers was Don Felder, a fellow Gainesville resident, who would later join the Eagles. As a young man, Petty worked briefly on the grounds crew for the University of Florida, but never attended as a student. A lime tree that he planted while employed at the university is now called the Tom Petty tree. He also worked briefly as a gravedigger. Petty also overcame a difficult relationship with his father, who found it hard to accept that his son was "a mild-mannered kid who was interested in the arts" and subjected him to verbal and physical abuse on a regular basis. Petty was extremely close to his mother, and remained close to his brother, Bruce. Tom Petty and the Heartbreakers spanned from 1976 through to 1987. Traveling Wilburys spanned from 1988 through to 1990 and Petty’s solo career spanned from 1988 up until his passing. Petty appeared in a few films, his first cameo appearance was in a 1978 film called FM, he’s appeared in film Postman, the film Made in Heaven and appeared in several episodes of It's Garry Shandling's Show between 1987 and 1990, playing himself as one of Garry Shandling's neighbors. He’s also appeared on the Simpsons Episode called How I Spent My Strummer Vacation along with Mick Jagger, Keith Richards, Lenny Kravitz, Elvis Costello, and Brian Setzer. Petty has also had a recurring role as the voice of Lucky on King of the Hill.

Petty was known as a staunch guardian of his artistic control and artistic freedom. In 1979, he was involved in a legal dispute when ABC Records was sold to MCA Records. He refused to be transferred to another record label without his consent so in May 1979, he filed for bankruptcy and was signed to the new MCA subsidiary Backstreet Records. In 1981, when his album Hard Promises was to be released by MCA at $9.98, a dollar more than the $8.98 price going at the time, Petty voiced his objections to the price hike in the press and the issue became a popular cause among music fans. Non-delivery of the album and naming it Eight Ninety-Eight were considered, but eventually MCA decided against the price increase. In 1987, Petty sued tire company B.F. Goodrich for $1 million for using a song very similar to his song "Mary's New Car" in a TV commercial. The ad agency that produced the commercial had previously sought permission to use Petty's song but was refused. A judge issued a temporary restraining order prohibiting further use of the ad and the suit was later settled out of court. Some have claimed that the Red Hot Chili Peppers single "Dani California", released in May 2006, is very similar to Petty's "Mary Jane's Last Dance." Petty told Rolling Stone that he seriously doubted that there was any negative intent there - and a lot of rock 'n' roll songs sound alike. But then in 2015, there was Sam Smith’s song “Stay with Me” that had many similarities to I won’t Back Down. Petty and co-composer Lynne were awarded 12.5% of the royalties from that song and added in the ASCAP song credit.

Tom Petty was married to Jane Benyo from 1974 through to 1996 when they divorced. They had two daughters, one is a director and the other is an artist. He then remarried in 2001. In May 1987, an arsonist set fire to Petty's house in Encino, California. Firefighters were able to salvage the basement recording studio and the original tapes stored there, as well as his Gibson Dove acoustic guitar. His signature gray top hat, however, was destroyed. Petty later rebuilt the house with fire-resistant materials.

With his various acts over the years Tom Petty has released 20 albums most being with the Heartbreakers. He has had numerous awards and honours including, Award for Lifetime Musical Achievement, Golden Note Award, Hollywood Walk of Fame Star, Billboard Century Award, induction into the Rock n Roll Hall of Fame in New York just to name a few.

Tom Petty was found unconscious at his home, not breathing and in full cardiac arrest, early in the morning of Monday, October 2, 2017. He was taken to the UCLA Medical Center in Santa Monica, California, where he died at 8:40 pm PST that evening. After reports of Petty's hospitalization, premature reports of his death spread quickly and widely, and without official denial or confirmation, continued throughout the day until the band's management issued official confirmation shortly after Petty's actual death Monday evening. His family reported that he passed peacefully surrounded by his family, his band mates and his friends.

Rest in Peace Tom Petty, we will miss you. You may be gone but your music will live in forever.

The Traveling Wilburys – An Introduction by Mo Ostin

The birth of the Traveling Wilburys was a happy accident. Warner Bros. Records’ International Department had asked that George Harrison come up with a B-side for “This Is Love,” a single from his Cloud Nine album. At the time it was customary to couple an A-side with a never-before-heard track, giving the single extra sales value.

This was mid-1988. Cloud Nine was just out. George, along with co-writer Jeff Lynne and their friends Bob Dylan, Tom Petty, and Roy Orbison, had been hanging out in Dylan’s studio. I suppose George figured that as long as his pals were on hand, why not use them to knock off this flipside?

A couple of days later George came by my office to play the new “B-side.” We went next door to A&R head Lenny Waronker’s office so he could hear it too. George played us “Handle With Care.” Our reaction was immediate. This was a song we knew could not be wasted on some B-side. Roy Orbison’s vocal was tremendous. I really loved the beautiful guitar figure that George played. The guys had really nailed it. Lenny and I stumbled over each others’ words, asking, “Can’t we somehow turn this into an album?” (I also had a suspicion that perhaps George had been hungering for another band experience.)

We urged him on. George felt the spontaneity of it, felt its driving force. He always had great instincts. Being as smart as he was he had a remarkable ability to pull people together. Think about The Concert For Bangladesh - only George Harrison could have made that happen.

Once the idea of a full, collaborative album was in front of us, George took over. The five frontmen (Harrison, Lynne, Petty, Dylan, and Orbison) decided not to use their own names. George and Jeff had been calling studio equipment (limiters, equalizers) “wilburys.” So first they named their fivesome The Trembling Wilburys. Jeff suggested “Traveling” instead. Everyone agreed.

The group was born: five guys with star stature in their own rights, but it was George who created this Wilbury environment where five stars could enjoy an ego-free collaboration. Everybody sang, everybody wrote, everybody produced — and had great fun doing so.

You can hear George’s humility and good nature reflected in the Wilburys and their music. To my thinking, this was a perfect collaboration. All five were good friends who admired and respected one another. Roy Orbison was somebody they all idolized. Of course, they revered Bob Dylan too. But Bob was closer to being their contemporary, so it was Roy who gave the project that special glow from rock ’n’ roll’s early formative years.

Reflecting on all this, I recall a few years before when my wife Evelyn and I had been in London. George had invited us to his house, Friar Park, to celebrate Evelyn’s birthday. Roy was a houseguest there at the time, so perhaps this could have been an early hint leading to the Wilburys. So, too, might it have been the time Tom, George, and Jeff (Bob wasn’t able to make it, as he’d just injured his hand) came to dinner at our house a year or so before “Handle With Care.” For us, Tom had played a new song, as yet unrecorded, called “Free Fallin’,” backed by his two future Wilbury mates. Lenny and I loved the song so much we asked Tom and the guys to do it at least three times that evening.

Perhaps even then they all were Wilburys. They just didn’t know their last name yet.

With the huge international success — over five million copies sold — of Traveling Wilburys, Volume 1, a follow-up was inevitable. George, being George, titled the second album The Traveling Wilburys, Volume 3. Sadly, by this time Roy had died, but there was still great excitement when we visited the Wilburys, recording in the Wallace Neff-designed house at the top of Coldwater Canyon. Being with those guys, in that setting — truly memorable.

I’m glad that a song that had once been destined for semi-obscurity as a B-side became the catalyst for something so lasting and joyful. Rolling Stone magazine named Traveling Wilburys, Volume 1 one of the 100 Best Albums of All Time.

{Mo Ostin is Chairman Emeritus of Warner Bros. Records.}

Etymological Origins by Tiny Hampton

The etymological origins of The Traveling Wilburys have aroused something of a controversy amongst academic circles. Did they, as Professor “Bobby” Sinfield believes, originate from the various Wilbury Fairs which traveled Europe in Medieval times, titillating the populace with contemporary ballads, or were they rather derived from, “YE TRAVELING WILBURYS”, who were popular locksmiths during the Crusades and used to pick or unlock the jammed chastity belts (rather like today’s emergency plumbers.)

Dr. Arthur Noseputty of Cambridge believes they were closely related to the Strangling Dingleberries, which is not a group but a disease. I think this can be discounted, not only because of his silly name but also from his habit of impersonating Ethel Merman during lectures. Some have even gone on to suggest tenuous links with The Pillsburys, the group who invented Flour Power.

Dim Sun, a Chinese academic, argues that they may be related to “THE STROLLING TILBURYS”, Queen Elizabeth the first’s favourite minstrels, and backs this suspicion with the observation that The Traveling Wilburys is an obvious anagram of “V. BURYING WILL’S THEATRE”, clearly a reference to the closing of Shakespeare’s Globe theatre by Villiers during an outbreak of the plague. This would account for the constant traveling. Indeed, many victims of the plague and St.Vitus’ dance literally danced themselves to death, and it is this dancing theme that resurfaces with The Wilbury Twist. Not a cocktail but a dance craze, reminiscent of The Wilbury Quadrille made famous at Bath in 1790 by Beau Diddley, and the Wilbury Waltz, which swept Vienna in the 1890’s.

One thing, however, remains certain. The circumambulatory peregrinations of these itinerant mundivagant peripatetic nomads has already disgorged one collection of popular lyrical cantata, which happily encapsulated their dithyrambic antiphonic contrapuntal threnodies as a satisfactory auricular experience for the hedonistic gratification of the hoi-polloi on a popular epigraphically inscribed gramophonic recording. Now here’s another one.

{Professor “TINY” Hampton is currently leading the search for Intelligent Life amongst Rock Journalism at the University of Please Yourself, California.}

A Stationary People by Hugh Jampton

The original Wilburys were a stationary people who, realizing that their civilization could not stand still forever, began to go for short walks — not the “traveling”, as we now know it, but certainly as far as the corner and back. They must have taken to motion, in much the same way as penguins were at that time taking to ledges, for the next we hear of them they were going out for the day (often taking lunch or a picnic). Later, we don’t as yet know how much later, some intrepid Wilburys began to go away for the weekend, leaving late Friday and coming back Sunday. It was they who evolved simple rhythmic forms to describe their adventures.

A remarkable sophisticated musical culture developed, considering there were no managers or agents, and the further the Wilburys traveled the more adventurous their music became, and the more it was revered by the elders of the tribe who believed it had the power to stave off madness, turn brunettes into blondes and increase the size of their ears.

As the Wilburys began to go further and further in their search for musical inspiration they found themselves the object of interest among many less developed species — nightclub owners, tour operators and recording executives. To the Wilburys, who had only just learnt to cope with wives, roadies and drummers, it was a blow from which many of them never recovered.

A tiny handful survived — the last of the Traveling Wilburys — and the songs gathered here represent the popular laments, the epic and heroic tales, which characterize the apotheosis of the elusive Wilbury sound. The message of the music travels, as indeed they traveled and as I myself must now travel for further treatment. Good listening, good night and let thy Wilbury be done . . .

{Hugh Jampton, E.F. Norti-Bitz Reader in Applied Jacket, University of Krakatoa (East of Java)}


Postcards from a Stage

Montreal Blue - Broomsticks & Hammers (Postcard/2016)

Passing Cars - Broomsticks & Hammers (Postcard/2016)

The Final Moments of Christopher McCandless - Broomsticks & Hammers (Postcard/2016)


Mirror Block 

Kathleen - Broomsticks & Hammers (Mirror Box/2017)

Amy {Excerpt} - Broomsticks & Hammers (Mirror Box/2017)

Refugee Freedom - Broomsticks & Hammers (Mirror Box/2017)


Broomsticks & Hammers is…

Bill Needham (vocals, guitar, primary songwriter)
Breck Campbell (drums, vocals)
David Jury (bass)
Paul Aitken (guitar)
James Lefave (guitar)
Jeff Gee (mandolin, vocals)
Michael Bonnell (keyboards, accordion)

Winners of the 2016 Folk/Roots Jack Richardson London Music Award, Broomsticks & Hammers continues and builds on the folk/roots tradition of taking songs grounded in stories of the human condition and treating these stories with great musicianship and exciting band dynamics. On record, the songs shine through alongside the band’s keen ear for thoughtful and sometimes quirky musical treatments. Live, the force of a seven-piece unit comes to the fore as the band traverses folk, rock, country, and even a little jazz and blues with ease. Fans of the roots music of Blue Rodeo, Dan Mangan, Ryan Adams, The Skydiggers, The Band, and others will find that Broomsticks & Hammers fits right in.

Since it's founding in 2013 the band has built a strong local fan base, playing local clubs, community-centered events, and supporting a variety of charitable causes.

Among the band's most notable performances are: The main stage at the venerable Canterbury Folk Festival in Ingersoll; the main stage at the prestigious Home County Music and Art Festival in London; the inaugural season of Grand Bend’s Summer Sunset Sounds concert series; the sold out “It’s Not, Not Country” showcase in downtown London (with London favourite's Kevin's Bacon Train) as part of Canadian Country Music Awards Week.

The band’s debut album Postcard was released in January 2016 and charted steadily on CHRW Radio Western and was well-received at college stations nation-wide, even reaching at #2 on the roots charts at CFBX in Kamloops, BC.

The band’s sophomore release, Mirror Box, was recorded at the Sugar Shack in London with Juno-nominated producer/engineer Simon Larochette. The Mirror Box Release Party will be 7pm – 2am on October 14, 2017 at the Jack Richardson London Music Hall of Fame Ballroom!

Tickets are $10 each and are available in person from a band member, at the London Music Hall Box Office, or online at

Bonus Blog Cut (as featured during the "Lucky's Costco Settlement" segment):