Podcast appearances and mentions of alan winstanley

Clive Langer in conversation with David Eastaugh https://newclang.bandcamp.com/album/new-clang Best known as one of the UK's most successful record producers with a string of high-profile credits in his portfolio, CLIVE LANGER returns in the new year with a second album from his band project, THE CLANG GROUP.A belated follow-up to 2016's Practice, the Group's maiden outing for Domino Records, New Clang was recorded with Deaf School co-conspirators John Wood (aka Max Ripple) and Gregg Braden, along with former Klaxons bassist Jamie Reynolds. Written and recorded in the aftermath of Clive's 70th birthday, New Clang is adeeply personal but incredibly vibrant album; catching Clive in reflective mode, the songs address the process of ageing and the state of the world,as well as confronting his own addiction to alcohol.“ After the pandemic, the dust settled, it felt like it was time, a new time, to play again,” he explains. “Not to revisit but to write and rehearse with my Clang Group mates. We were missing a bass player and fortuitously I met Jamie Reynolds and he filled the vacancy. The songs started to flow, we were back in the groove!”“The new album is the first sober songwriting I think I've done in almost 50 years,” he adds. “I've known and accepted that I was an addict for decades... I just didn't do anything about it. I thought I could live with it, I still enjoyed it. Someone once asked me ‘What do you do?' I replied ‘I drink'. Anyway, making an album sober was like making an album drunk except I wassober!!” Packaged in spare black-on-white, suggesting a tabula rasaof sorts, New Clang's distinctive sleeve artis the work of British artist Edwin Burdis, whom Clive met during his time with Domino Records. “Clive asked me to a studio in London to listen to his new album, still a work in progress,” recalls Edwin. “I was struck by the contrast between the upbeat music and its underlying melancholy, evoking clowns and cartoon characters and a nostalgia for London's recent past. At the time, I had been drawing simple cartoon motifs that aligned perfectly with Clive's songs. I wanted the campaign to be cohesive—black-and-white graphics that blend humour with a sense of tragedy and sadness.” A founder member of pioneering Liverpool art-rockers Deaf School, Langer is noted for a string of production credits (usually in collaboration with Alan Winstanley) on hits forthe likes of Dexys Midnight Runners (the no.1 single and album ‘Come On Eileen' and Too-Rye-Ay)andDavid Bowie(‘Absolute Beginners') plus numerous landmark releasesfor Elvis Costello, Madness, Morrissey, The Teardrop Explodes, China Crisis, Bush, They Might Be Giants, The Rockingbirds and, more recently, Fat White Family.  

Elvis Costello and the Attractions, Clive Langer, Alan Winstanley, and me.

En este episodio conversamos sobre "One Step Beyond…" de Madness y algunos de sus aspectos más destacados, como sus principales canciones, su aporte al desarrollo del ska y el contexto de la banda al momento de su lanzamiento, entre otros temas.

The Belle Stars with Sarah-Jane Owen in conversation with David Eastaugh After The Bodysnatchers broke up, guitarists Stella Barker and Sarah-Jane Owen, saxophonist Miranda Joyce, keyboardist Penny Leyton, and drummer Judy Parsons decided to form a new band, recruiting bass player Lesley Shone and lead vocalist Jennie Matthias (also known as Jennie Bellestar). Their first performance was on Christmas Day 1980, before they had chosen a name. Within a short time, the group became well-known around London, notably appearing on the front cover of Sounds magazine early in 1981. Shortly thereafter, they were signed by Stiff Records, then highly successful through its star act, Madness. The band's debut single, "Hiawatha", was released in the late spring of 1981; it was produced by Madness producers Clive Langer and Alan Winstanley. The band promoted the single by playing support slots at gigs by ska acts The Beat and Madness.  When the third single, the radio-friendly "Another Latin Love Song" again failed to break into the charts, the band tried cover versions instead, with some success. "Iko Iko", a cover of The Dixie Cups' 1965 hit  In January 1983, the Belle Stars released what would be their signature single, "Sign of the Times", peaking at number three, and a chart success throughout Europe

More goodies in the second part of the interview with Clive Langer & Alan Winstanley, exploring the years 1983-89.More Madness! Excess Costello! Bowie! Morrissey! Dexys! And more importantly, Marilyn!! (I mock, but it's a cracking one hit wonder)Clive and Alan on top form - this is one of my favourite episodes so far. So enjoy...1983 (2:29)Elvis Costello - Punch The ClockElvis Costello - Everyday I Write The BookMadness/Elvis Costello - Tomorrow's Just Another DayMadness - Wings Of A DoveMarilyn - Calling Your Name 1984 (20:44)Elvis Costello - Turning The Town RedElvis Costello - Goodbye Cruel WorldElvis Costello/Roy Orbison - The ComediansMadness - Michael Caine1985 (31:19)Dexy's Midnight Runners - Don't Stand Me DownMadness - Mad Not MadDavid Bowie/Mick Jagger - Dancing In The Street1986 (46.10) David Bowie - Absolute Beginners Absolute Beginners OST - VariousElvis Costello/Eighth Wonder - Having It AllSandie Shaw - (are you ready to be) HeartbrokenMadness - (waiting for the) Ghost Train1987 (59:51)Tears For Fears - The Seeds of Love Sessions1988 (66:30)Hothouse Flowers - Don't GoCathal Smyth - A Comfortable Man (not '88 but it's great - check it out)1989 (71:54)Morrissey - Ouija Board Ouija BoardThey Might Be Giants - Flood (recorded)80SOGRAPHY QUICKFIRE ROUND (77:23)email: 80sography@gmail.com x                                                                         hear what I say, see what I do 

Next up for the deep dive into their 80sography is the magnificent production team of Langer/Winstanley.Such a thrill to speak to the guys about their incredible 80s. In part 1 there is a lot of Madness, Dexys, a Teardrop Explodes and we find out what links Shipbuilding and Ullo John Got A New Motor.Beware - there is some exceptionally fruity language from the off. So if easily offended avert yer ears.1980 (9:01)Madness: My Girl/Embarrassment1981 (20:53)Madness: Return Of The Los Palmas 7Teardrop Explodes: Treason/RewardTenpole Tudor: Swords Of A Thousand Men1982 (28:43)Madness: Cardiac Arrest/House Of Fun/Driving In My Car/Our HouseDexy's Midnight Runners: Celtic Soul Brothers/Come On Eileen/Too Rye Ay (LP)Alexei Sayle: Ullo John Got A New MotorRobert Wyatt/Elvis Costello: ShipbuildingCLAWS CLASSICS (67.32)Quickfire round as Clive & Alan go through their favourites of the 80s (give or take a decade)Enjoy!say hi at80sography@twittercheck out reference Madness website herehttp://sevenraggedmen.com/                                                                                        Is it worth it??

Mark Saunders  in conversation with David Eastaugh Saunders's professional music career started as a drummer playing with Carlene Carter, Johnny Cash's stepdaughter, in 1982. The first time he went into a recording studio with her to record some demos, he was excited by the whole recording process and after the stint with Carlene finished in 1984, he landed a job as an assistant at West Side Studios, London working with production pair Clive Langer and Alan Winstanley who produced for Madness, Dexys Midnight Runners, Lloyd Cole & the Commotions, Elvis Costello and later Bush. In 1985, Saunders engineered the hit record "Dancing in the Street" by David Bowie and Mick Jagger. A year later, he became a freelance engineer and was discovered by Rhythm King, a label at the forefront of British dance music. Working on a couple of Bomb the Bass mixes led to co-producing Neneh Cherry's No. 2 US Billboard hit "Buffalo Stance" and the subsequent seminal multi-platinum album Raw Like Sushi. Following this, he worked on many pop/dance acts including Erasure, Depeche Mode, Lisa Stansfield and Yazz as well as Ian McCulloch, the Mission UK, the Farm, the Heart Throbs, Texas and the Sugarcubes. Robert Smith of the Cure employed Saunders's radio friendly skills to mix all singles from the album Disintegration. "Lovesong" became the Cure's highest charting single, peaking at No. 2 on the Billboard Hot 100. Saunders went on to work on further Cure albums - UK No. 1 Wish, Mixed Up and Wild Mood Swings.

Mark Saunders - record producer in conversation with David Eastaugh In 1984, Mark landed a job as an assistant at West Side Studios, London working with renowned production pair Clive Langer and Alan Winstanley who had great success producing Madness, Dexy's Midnight Runners, Lloyd Cole & the Commotions, Elvis Costello and later Bush.

Although best known as a producer, Clive Langer's short-lived group Clive Langer & the Boxes put out an exceptional EP on Radar Records in 1979 and a full-length on F-Beat the following year. In this episode, we also talk to Mr. Langer about his time with the Liverpool-based Deaf School, the seminal punk group Big In Japan, and his later production work alongside Alan Winstanley. ---Despite seminal releases from Nick Lowe and Elvis Costello, Radar Records has not retained the same sort of cultural cache as concurrent labels like Stiff, Bomp!, or Ork. Despite its short lifespan (1978-1981) and relative obscurity today, a deeper look into Radar’s discography reveals a fascinating blend of cutting-edge British punk and new wave (Yachts, Bram Tchaikovsky), ahead-of-their-time American imports (Good Rats, Pezband, Pere Ubu), and new material from rockabilly and psychedelic pioneers (Ray Campi, Red Krayola). One off-singles from Richard Hell and the Soft Boys, as well as French pioneers Métal Urbain, are still indispensable today. The end result is a body of work much more consistent and cohesive than other labels were able to manage. For every Radar album that broke into the mainstream—namely the “big four” of Jesus of Cool, Labour of Lust, This Year’s Model, and Armed Forces—there are several albums equally-deserving of a modern reappraisal. Clive Langer & the Boxes' I Want The Whole World is one of those releases.

Once again, we're joined by a fantastic producer that's behind tons of music we all love. Clive Langer started out fronting the crucial Liverpool band, Deaf School in the 70s. While they never made it global, they were a really big deal locally. Soon, Clive with his musical partner Alan Winstanley "fell into" producing the first singles by Madness (he's produced almost everything Madness has ever done) and it was off to the races. Artists like Teardrop Explodes, Elvis Costello, Dexy's Midnight Runners, Bush, Morrissey, They Might Be Giants, Hothouse Flowers and David Bowie all followed. We hear about all of these, including the creation of "Come On Eileen", how he wrote "Shipbuilding" for Robert Wyatt and, of course, the manic flurry around recording "Dancing in the Streets" with Bowie and Mick Jagger. More recently, Clive formed a new band called the Clang Group, which we also discuss. SO much great music in this one, the guy's a legend!    www.theclanggroup.com  https://www.patreon.com/thehustlepod

The acclaimed author is back to conclude our discussion about his book “Classic Tracks”.

Webber and Jonah discuss the final four ahead of an exciting Cup weekend, with contributions from Alan Winstanley of Caernarfon, Conall Murtagh from Bala, plus TNS's Craig Harrison and Gap's Andy Morrison.

John Flansburgh and John Linnell of They Might Be Giants take an hour out of their busy tour schedule to talk with Simon and Brian about their new album Nanobots; their approach to songwriting; the Dial-A-Song service; writing music for children; their collaborations with production team Clive Langer and Alan Winstanley on songs like 'Birdhouse in Your Soul', and more.