Podcast appearances and mentions of Deacon Blue

We're back with another AFTN Soccer Show packed full of World Cup, Canadian national team, and even Vancouver Whitecaps chat. The World Cup is in full flow and it's been a fantastic feast of footballing action with many twists and turns along the way. Canada is doing the country proud, claiming their first ever win and clean sheet at the tournament in their 6-0 demolition of Qatar to top Group B. We look back at the historic match and occasion, and get some postgame reaction from Alistair Johnston, Ali Ahmed, and Max Crepeau, and look ahead to the big Switzerland clash on Wednesday. Egypt also got their first ever World Cup win on Sunday, in a 3-1 come-from-behind victory over New Zealand and we bring you some postgame audio and chats with Egypt's Mo Salah and New Zealand's Finn Surman, Michael Boxall, Francis de Vries, and Elijah Just. We also cast our eyes over the tournament so far after day 10 as all three host nations are flying high. Who's impressed, who's disappointed, and can Scotland make it to the knockout rounds for the first time? We also look at some great moments for World Cup first timers and have a quick chat with Whitecaps midfielder Sebastian Berhalter about his tournament experience so far. Plus we look at the stadium experiences and atmospheres we've experienced first-hand. It's not all World Cup chat though as we bring you some audio from MLS Commissioner Don Garber as he talks about the latest situation to #SaveTheCaps and keep them in Vancouver. Plus music-wise, legendary Scottish band Deacon Blue continue their residency as our Artists of the Month and we've got another Scotland World Cup song in Wavelength. Here's the rundown for the main segments from the episode: 01.22: Intro - lots of football, lots of marching, lots of memories 10.34: World Cup stadium experiences - logistics, atmospheres, crowds 42.30: The tournament so far - hosts flying high, Scotland in tough, first timers get their moments 65.05: Hydration breaks and group tiebreakers irk 78.30: Canada thrash Qatar, now Swiss test awaits 115.00: Ali Ahmed after Qatar win 117.50: Maxime Crepeau after Qatar win 122.30: Alistair Johnston after Qatar win 141.20: Mo Salah reflects on Egypt's historic win over New Zealand 148.30: Finn Surman on his bittersweet night in Vancouver 152.40: Michael Boxall talks after NZ's loss to Egypt 162.00: Francis de Vries chats about his World Cup debut in the place he started as a pro 168.00: Eli Just chats after NZ's loss to Egypt 173.35: Don Garber on the latest to #SaveTheCaps 184.40: Wavelength - Sanjeev Kohli and Tom Urie - Back In The Game

We're back with another AFTN Soccer Show packed full of World Cup chat. After year of anticipation, excitement, and planning, with more than a few speedbumps and frustrations along the way, the 2026 World Cup is underway and the summer feast of football is in full flow. Five days in and we've had some fantastic matches, some great goals, a couple of surprises, and some great storylines. We delve into some of the main talking points so far with particular emphasis on Canada's 1-1 draw with Bosnia, their first ever World Cup point, and Scotland's 1-0 win over Haiti, their first World Cup win in 36 years. AFTN had the pleasure of being at both matches and we share some of our thoughts on the games and our experiences at the stadiums in Toronto and Boston. We also bring you some postgame audio from the Canada game as I catch up with former Whitecap Ali Ahmed to chat about getting his World Cup moment and coming back to play in Vancouver, plus we hear from Ismael Kone, Luc de Fougerolles, Max Crepeau, Joel Waterman, and Alistair Johnston about the game and what's next. All of this plus we give you some World Cup predictions, we wrap up our Canadian Soccer A to Z series, and music-wise, legendary Scottish band Deacon Blue continue their residency as our Artists of the Month and we've got another Scotland World Cup song in Wavelength. Here's the rundown for the main segments from the episode: 01.20: Intro - a special couple of days 12.25: Canada's draw with Bosnia unpacked 42.00: Ismael Kone and Luc de Fougerolles postgame audio 48.50: Max Crepeau reflects on his first World Cup game 53.27: Ali Ahmed talks getting his World Cup moment and coming back to Vancouver 59.00: Joel Waterman's postgame thoughts 61.50: Qatar Preview 64.17: Alistair Johnston on Canada becoming a soccer nation 71.55: Scotland beat Haiti in Boston, as their fans take over the city 101.20: Canadian Soccer A to Z - Z 107.25: Some World Cup predictions 125.00: Wavelength - Nick Morgan - No Scotland, No Party (2026 version)

We're back with another AFTN Soccer Show packed full of World Cup chat and interviews, in the third and final of our preview shows for the tournament. With the World Cup kick off just around the corner, we're joined by Global TV's Asa Rehman to look at how ready the Canadian team feels for the tournament, how they looked in their two recent friendlies, who we expect to get the start on Friday, and hopes and expectations against Bosnia and for the tournament as a whole. We also bring you our final three group previews, as Zach breaks down Germany and Group E, Asa looks at the Netherlands and Group F, Doug Pirie and Gordon Henderson join us from the Scottish podcast Glory Days of Gold to look at Scotland and Group C, and we chat with FC Dallas' Haitian winger Deedson about his country reaching their first finals since 1974. Plus we chat with Thomas Müller about being a pundit and not a player at this year's tournament, his advice to the Vancouver Whitecaps players heading off to their first World Cup, and bring back some South Africa 2010 memories for him with the help of that year's Panini sticker album. We also sit down for a chat with Whitecaps 18-year-old striker Rayan Elloumi about the breakneck year he's had, getting the call to Tunisia's World Cup squad, and his own World Cup memories from tournaments past. All of this plus we look at some of the IFAB rule changes for this year's tournament, we move onto the letter Y in our Canadian Soccer A to Z series, music-wise, legendary Scottish band Deacon Blue continue their residency as our Artists of the Month, and we've got another new Scotland World Cup song in Wavelength. Here's the rundown for the main segments from the episode: 01.20: Intro - thanks to our Gold Tier members 05.00: Canadian Soccer A to Z - Y 10.45: It's game time - is Canada ready? 37.40: Group E Preview - Curacao, Ecuador, Germany, and the Ivory Coast 60.00: Thomas Müller talks World Cup memories and his new role as a pundit 67.45: Group F Preview - Japan, Sweden, The Netherlands, and Tunisia 89.00: Rayan Elloumi interview on his first World Cup with Tunisia 108.00: Group C Preview part one - Brazil, Haiti, Morocco, and Scotland 130.25: Chat with Haiti winger Deedson 135.35: Group C Preview part two 160.55: Rule changes and new laws of the game at this year's World Cup 177.10: Wavelength - Belle and Sebastian - It Only Takes One Lion

We're back with another AFTN Soccer Show packed full of World Cup chat and interviews, in the second of our preview shows for the tournament. We're looking at six of the groups in this episode (Groups G to L), with special focus on Group G where two of the six matches will be at BC Place and a further two down in Seattle. There's a special focus on New Zealand, who will play two of their matches here in Vancouver, and we sit down with Portland Timbers centre back Finn Surman to chat about his footballing journey so far, the game in Aotearoa, the excitement of playing at his first World Cup, and his World Cup memories from tournaments past. We also look ahead to Uruguay's chances in Group H with Vancouver Whitecaps defender Mathias Laborda, find out how he still gets excited about the tournament, and chat about some of his World Cup memories through the years. And FC Dallas' Petar Musa talks about his selection to the Croatian World Cup team and their chances in Group L and beyond. All of this plus we hear from Jesse Marsch and Maxime Crepeau after the latter was named the Canadian starting goalkeeper for the World Cup, get Zach's experience at the Uzbekistan friendly in Edmonton, chat with Italian legend Marco Materazzi about the World Cup and what Italy need to do to qualify again, move onto the letter X in our Canadian Soccer A to Z series, music-wise, legendary Scottish band Deacon Blue wrap up their residency as our Artists of the Month, and we've got another World Cup song in Wavelength, and this time it's a throwback to Espana '82 for New Zealand. Here's the rundown for the main segments from the episode: 01.24: Intro - Zach's CanMNT travels 10.55: Max Crepeau named Canada's starting goalkeeper 20.45: Canadian Soccer A to Z - X 26.20: Group G Preview - Belgium, Egypt, Iran, and New Zealand 50.00: Finn Surman interview on New Zealand and the World Cup 72.30: Group H Preview - Cape Verde, Saudi Arabia, Spain, Uruguay 83.00: Mathias Laborda's Uruguayan World Cup memories 90.00: Group I Preview - France, Iraq, Norway, Senegal 99.40: Group J Preview - Algeria, Argentina, Austria, and Jordan 113.00: Group K Preview - Colombia, DR Congo, Portugal, and Uzbekistan 120.40: Group L Preview - Croatia, England 123.55: Petar Musa on his World Cup call-up with Croatia 129.50: Group L Preview - Ghana, Panama 132.42: Marco Materazzi on his World Cup memories and Italy not qualifying again 138.35: Wavelength - Ray Woolf and the New Zealand 1982 World Cup Squad - Heading To The Top

How can you supercharge your creativity in an age when AI is reshaping everything — including how we write, edit, and market our books? What does it look like to use AI as a genuine creative partner rather than a shortcut? And could professional speaking become an income stream that complements your writing career? With James Taylor. In the intro, Audible's new royalty model; New royalty model details [ACX; Kindlepreneur]; Public Speaking for Authors, Creatives and other Introverts; Why Indie Authors Should Ignore the Market's Mood and Focus on their Mission [Self-Publishing with ALLi]; Lichfield Cathedral; This podcast is sponsored by Kobo Writing Life, which helps authors self-publish and reach readers in global markets through the Kobo eco-system. You can also subscribe to the Kobo Writing Life podcast for interviews with successful indie authors. This show is also supported by my Patrons. Join my Community at Patreon.com/thecreativepenn James Taylor is a nonfiction author, professional speaker, podcaster, and entrepreneur who helps people unlock their creative potential. He hosts the SuperCreativity Podcast and his latest book is SuperCreativity: Augmenting Human Creativity in the Age of Artificial Intelligence. You can listen above or on your favorite podcast app or read the notes and links below. Here are the highlights and the full transcript is below. Show Notes How to define creativity and why it's becoming the most valuable skill in the age of AI The five stages of the creative process — and the stage most people skip Three types of creative purpose: play, self-expression, and legacy How James used multiple AI tools alongside human collaborators to write, edit, and market SuperCreativity Bulk book sales, industry-specific editions, and revenue models for nonfiction author-speakers Practical tips for authors who want to break into professional keynote speaking You can find James at JamesTaylor.me. Transcript of the interview with James Taylor Jo: James Taylor is a nonfiction author, professional speaker, podcaster, and entrepreneur who helps people unlock their creative potential. He hosts the SuperCreativity Podcast and his latest book is SuperCreativity: Augmenting Human Creativity in the Age of Artificial Intelligence. Welcome to the show, James. James: Well, thank you for having me as a guest. I'm looking forward to this conversation today. Jo: It's going to be really good. First up— Tell us a bit more about you and how you got into writing and publishing. James: Well, today I'm a professional keynote speaker, so I deliver about fifty to a hundred keynotes per year in twenty-five-plus countries. Primarily I speak on creativity, innovation, and artificial intelligence. Go back into my deepest, darkest history—I actually used to manage rock stars. That was my old job. I used to be in the music industry for many, many years. I worked with members of The Rolling Stones, and for our listeners in the UK, I managed bands like Deacon Blue. Then I went to the dark side. In 2010, I moved to California to work in Silicon Valley, to work in the world of tech. That got me involved in artificial intelligence. Right about 2017, I was speaking at an event in San Francisco and someone came up to me and said, “You realise you could probably speak for a living, you could do this for a living.” So I thought, well, how does that work? And he told me. Then I embarked on the career that I have today, which is primarily as a speaker, with writing now coming a bit more to the fore. Jo: Wow, I remember Deacon Blue. James: Yes. Jo: “Dignity.” That's crazy. Very, very cool backstory there, but we'll come back to the career side of things. Let's get into super creativity, because my listeners are certainly creatives. Most of the listeners will have a book either on the way or they might even have lots of books. So we all do want to be super creative. How do you define creativity, and why is it important to keep focusing on this even if we do identify that way? James: For me, creativity is about bringing new ideas to the mind. Innovation is about bringing new ideas to the world, but without creativity, there is no innovation. So creativity is really the engine of innovation. Whether that is designing new products, new services, or creating new works of art and new books. The reason that creativity is becoming more important is because of what we're seeing right now in terms of artificial intelligence. AI is going to replace a lot of the non-creative tasks that we currently do in our jobs. If you look at things like the World Economic Forum, there was recently a study with a thousand global business leaders, and work from companies like LinkedIn—they all highlight that creativity is going to be one of the foremost important soft skills for this new future. So creativity, strangely, will actually become more important, not less important, as we go ahead. That's the creativity side. Probably for many of the listeners here, they'll consider themselves to be creative. That is not the norm. As I mentioned, I speak in about twenty-five countries a year, and if I ask the audiences—primarily corporate audiences—to put their hands up if they consider themselves to be creative, only between ten to forty per cent of the audience will raise their hands. So part of my job is to show them why they are more creative than they think they are and why we're all born with this creative potential. Then moving into the super creativity side, it's really to show them how they can augment that creativity by collaborating more deeply with other people or machines—things like artificial intelligence. So SuperCreativity, the book that I've written and the speeches I give on it, is really about how we can augment our individual creativity by collaborating more deeply with other people or artificial intelligence. For me, that's been the thing I've been fascinated by for the past few years, and probably for many of our listeners who are now using AI in their writing, their researching, and their marketing of their books, they're probably getting into this space as well. I really wanted to dive into that—both the collaboration with other people and with machines and AI. Jo: In terms of the super creativity then, do you have any practices or ideas? Before we get into collaboration, many of us authors work alone—and of course we can come back to the AI stuff in a minute—but in terms of super creativity, are there ways that we can even supercharge what we do already? Then, of course there are people listening who might not feel creative. So give us a few tips on how we can potentially change our mindset or become even more creative. James: In the book I talk about what I call the eight Ps of super creativity, which are purpose, personality, practice, people, process, place, product, and persuasion. Persuasion is really the marketing piece at the end. Probably the one that could be most useful to many listeners today is the practice piece—the practice or the process side of things. For many of us, what that usually consists of is just having some type of daily creative practice. Different people do it in different ways. Many of your listeners will know the works of people like Julia Cameron—the morning pages style of having some type of daily practice. Other people do it in slightly different ways. The process bit is really interesting. I talk about this creative process that we all have, and I talk about these five stages of the creative process. The first stage, let's say if we're writing a book, is really that preparation stage. That is usually the stage where we are trying to absorb as much information as possible about the thing that we're going to be writing about. The topic, if it's nonfiction, or going to the places, visiting the scenes that we're going to set certain things within for the book. So that preparation stage is really about absorbing as much information as possible from the outside. It's not going to look very creative. We're just absorbing at that stage. Now the mistake that a lot of people tend to make is they immediately try to jump from that preparation stage to looking to generate ideas. But what all the studies show us is we should spend a little bit of time in what we call the incubation stage. This is where it's often very useful if we've done some research, that we put things to one side for a little while, maybe a few weeks, move on to another project, think about something completely different. Your brain will continue to work in the background. Your unconscious brain will work on that content you've been absorbing. Then what often happens as a result of that is we come to this third stage, which is that insight stage—that aha moment. That happens for various different reasons and you can seed that in slightly different ways so you're more likely to get inspiration in your day-to-day work. Then as we know—as you are a writer of many, many books—many people think, “Well, that's it. I've done it. The idea for that book or that chapter has come to me.” That is really just the first five per cent of the process. The next stage is where we look at all the different ideas we have and decide which ones we want to pursue, which ones are going to make the grade. This is what we call the evaluation stage. Once we've done that, we move to that final stage, which is the elaboration stage. If it's a startup, this is when you're building your minimum viable product. As a writer, this is where you're actually doing the work, putting those words out onto the page. It's a very iterative process, so it's not necessarily linear. You'll go back and forth. Even as you're getting input from readers and audiences in that last stage, that is then giving you the material to move back to the preparation stage and think, “Oh, I wonder if this next book in this series, maybe I go in a slightly different direction with this character.” So each of those different stages, you can do different things to increase your levels of creativity. Jo: I love all of that, but can we go back to purpose? Because you mentioned that as one of the Ps and I think this is something that a lot of us need. As we are recording this in April 2026, the world is an interesting place. There are lots of things going on that have people worried. Well, we are not talking about politics, but I think one of the things that people struggle with is, what's the point in writing this story, for example, or what's the point in trying to get my words out there when things are difficult? I feel like coming back to purpose is perhaps the thing that helps people even take it into the process as you were talking about. And then of course, just from a practical angle— Is purpose about making money or reaching people? So maybe you could talk about the purpose side of things. James: Yes. So I talk about three different purposes, and it's not that there's just one that predominates, but usually there's one that maybe predominates on different projects. The first one is creativity as play. It's what we're basically, as humans, hardwired to do—this instinctive joy that we get just for creating for its own sake. There's nothing that really sits beyond that. We just have fun. We find pleasure in creating something. That could be a musician creating a piece of music, a sculptor creating a sculpture, an entrepreneur creating a new business or product or service. There's just this sense of play. One of the things I talk about in the book is this idea of being childlike, not childish. If you look at children, you see this very instinctively. If you see a three-year-old or a five-year-old, you give them some crayons and they will just naturally create. That's part of who they are and it's pretty abstract. Then what happens is they go to school and they're taught useful conventions—”this is how you should do it.” You even see their work start to change. You start to see them move from abstract paintings to more formal structures. Then you get your peer group, then you go to college or university and the world of work, and you're taught all these useful conventions. That's fine, but as adults, it is our responsibility to become what we call post-conventional, where we see these conventions as a useful signpost but we're willing to challenge them. We're willing to have a playfulness in what we do. So the first one is just this hardwired thing—creativity as play. The second one, and this is maybe for a lot of your listeners the reason that they are writers, is self-expression. It's a way of placing something out into the world. I was actually just in France recently, and I was talking to a young visual artist, a painter from Hungary, and she had to go up and give a speech. She really hated doing it. She was having to talk about her work and she was really uncomfortable. I could see the discomfort and my heart went out for her, because that is not the way she primarily expresses herself. She expresses herself through her art form, which is painting. For many of us, we might struggle to get on a stage, but we can express ourselves in the written word. We have something we want to say, a position we want to have, and we want to express that and get that out into the world. The final one is just this idea of legacy. That is not going to be for everyone. I can tell you, for me personally, legacy is not the reason that I write and do a lot of the stuff that I do. Maybe that changes—maybe as we get a bit older, we want to leave a body of work. So those are the three main purposes that we tend to see. Then you mentioned the financial side of what we do as well. This starts to come into that self-expression, because we need to be able to get people to buy our books or download our books and read our books in order to give us the ability to write new works and create new things. The financial side is an important component of it, but it is not the only one. I think there's a great question any writer should ask themselves. One of the first questions that I asked myself as a relatively new nonfiction writer is: why am I writing this book? What is the purpose of this book? For me, primarily it is a form of self-expression, and then you have to go, “Well, that's fine, but I also need it to have some type of financial basis for it.” It doesn't need to be the main driver of my income, but I need to have some type of revenue model. I'm happy to talk about revenue models, because probably the type of revenue model that I have as a writer is going to be different from other listeners. I tend to focus more on bulk selling of books rather than individual selling of books. Jo: Yes, I definitely want to come back to revenue models and business, but a few other things first. I want to circle back to collaboration, because I've certainly co-written with some humans, and I know a lot of listeners either have co-written or collaborated with other humans—and some of it works and some of it doesn't. You have some great information on human-plus-human creativity and collaboration. So maybe you could give us some tips on how we can be more effective collaborators with other humans. James: So there's a whole section about this idea of creative pairs. Often if you look at great creative work or innovative companies, very often when you strip it all back, you'll find at the core lots and lots of creative pairings. That is usually two different but complementary personalities who are willing to develop and challenge and improve each other's ideas. We think of Jobs and Wozniak in the world of business, or Warren Buffett and Charlie Munger. For authors, often that relationship is the work with their editor. There was a documentary I saw—I think it was a New Yorker documentary that came out a while ago—talking with a writer of history books about his relationship with his editor. It was a really beautiful relationship. These were two very different personalities, but what worked was the fact that they were different. A core component of having these creative pairings is a sense of trust—or what some people today would call psychological safety—that you are willing to challenge someone's ideas, but in a space of trust. The Germans have a great phrase for it. In English it translates as “someone to steal horses with,” which I love. Hopefully our listeners have that person where you can go to them and say, “I had this idea for a book or a chapter or a character,” and that person is a “yes, and.” Like, “Yes, and have you thought about doing it this way?” or “What would happen if you did this?” They stress test your ideas. They make your ideas better. For many of us, maybe it's our husbands or wives, our partners. Some of us are lucky enough to have editors. When I started rewriting this latest book, I actually had someone like that—a human, not an AI—that I worked with, especially on taking all these random thoughts and ideas I've been expressing in keynotes and putting them into more of a book form. The format and the structures that we use for telling stories in a speech are quite different from the structure that we would use for a nonfiction book. I didn't have as much experience there, so I wanted someone who could say, “Have you thought about structuring it this way?” or “This is a great story arc you might want to think about.” So I don't know, for you, who is your creative pairing? Who is your “someone to steal horses with”? Jo: Well, it's funny. I really think since the arrival of Claude Opus 4.6, it is absolutely Claude. James: Yes, yes. Jo: All the way. I mean, so we could come onto that next in terms of how AI has changed, because I do still work with a professional editor for both fiction and nonfiction, but it is very much in the “make my finished work better” stage. It is not in the exploratory phase. I find particularly the latest reasoning models to just be fantastic at this. And my Claude is not sycophantic. The Opus 4.6—I'm sure you've been using it too—it just doesn't behave in the way that a lot of people think these AIs did. They did behave like that, and now it's changed. So let's talk about that. What are your thoughts on collaborating more effectively with AI tools, especially as they become more and more powerful? As we record this, Claude Mythos has not come out, but it's certainly rumoured to arrive. I'm pretty excited. James: So because I've been doing this AI thing for a little while, it's given me the ability to experiment with things—the early versions of what many people are using today. I'll give you an example. Even before I started writing the book, I decided to write a book proposal. Even though I could pretty much sense I wanted to independently publish this book through my own publishing company, I thought it's a good practice to put it down into a proposal form, even though I don't go to a traditional publisher or a hybrid publisher. One of the things I did within that was get a sense of who my ideal readers are. I used a very early version—this was a few years ago—of an IBM AI tool, creating what we call a psychometric map of my ideal reader. This basically tells me, over about seventy-two different factors, how this person thinks, how they feel, what their value system is, very broadly for my ideal reader. I pulled in different sources. I knew the kind of magazines and books they were reading and what their general worldview was. So I created this—going one step beyond just creating your ideal reader to really understanding their psychometrics. I do this in my keynotes too. Before I ever give a keynote or an important pitch or a presentation, I use AI to analyse the psychometrics of the audience I'm going to be speaking to. This might tell me, for example, this audience values humour a little bit more, or this audience values a bit more practicality so they want actionable next steps, or this audience is going to be a little bit authority-challenging so they're going to push back. So even in those very early stages, just starting to think about the book—who was I writing this book for, what was the purpose of the book—I was using AI to understand the psychometrics of my absolutely perfect, ideal reader. I gave her a name. It was a female reader. There was someone similar to her that I already knew. Probably for some of your listeners, they do this instinctively anyway. They maybe have a person or a few different people they think of in their head. Then from that stage, because I've been delivering lots and lots of keynotes—and this may be an important distinction in the way that I have decided to write books as opposed to how other people write books—my family were all jazz musicians. The difference between a rock musician or a pop musician and a jazz musician is this: a rock or pop musician will go into the studio, create this opus, this work, and then tour that for the next two years. A jazz musician, on the other hand, goes out and performs the songs and the things from the album that they're eventually going to create hundreds of times, thousands of times, to find out what works with audiences, and then they go into the studio and record the stuff that works best. So I created a book more like a jazz musician. I'd delivered keynote versions of the book hundreds of times before I ever decided to actually write the book. So it had been stress-tested with real people to a certain extent. Then, getting into it, I thought—well, what works as a keynote is not necessarily going to work as a structure for a book. So what I did was start using ChatGPT models at that point to think about the structural edit of the book. What was the structure going to be? What was great is you can basically feed it every single keynote you've given over the years, all the notes, everything you've done, and it could start to give me something to riff with and really get into thinking about how I was going to create this. I was using it a little like that creative pairing we spoke about earlier. Then once I'd done that—so I've now got an idea of a structural edit essentially—I then go back and speak to some humans about it. “What do you think about this?” “What do you think about that?” And try some things out over dinner conversations. “I'm thinking about doing this—what do you think?” Then once I did that, I just did the thing that I really didn't want to do, but I guess you absolutely have to do: sit in a seat for multiple weeks and just get that crappy first draft done. That was just me writing, from my voice, in my way of doing things. Every so often I would use an AI to research a particular thing, but I didn't want to slow down the pace too much. I was focused on getting that word count done. Once I had the first draft, I then brought the AI back in. In this case, I was still using OpenAI at this stage, to act more like an editor. To tell me what was weak about the book. At this point I was starting to give it the overall framing. What was weak, what chapters needed to be improved. I then went back, started reworking each of the chapters, and worked chapter by chapter using that AI as a sparring partner. But once again, the AI is not really writing my words for me. It's maybe saying, “This part could be said better. You might want to think about doing it this way,” or “You are missing a really powerful case study or example here,” or at the very end of each chapter, I have actionable next steps, and “You're missing some things here.” So I've gone through that entire process of writing, and now I'm essentially at the second draft. At this point, what I'm doing is using another AI tool—Claude, in this case—to have a different perspective on it. I gave it the work. I mentioned a couple of editors that I really respect and different writers I respect and said, “I'm going to create a virtual beta readers group. Give me feedback on this now.” For someone that's listening to this, and we're recording this in April 2026, here's some good news for you. There are now a bunch of tools out there that use AI swarms, as we call them. You can basically feed it your book and it will create synthetic readers—thousands and thousands of synthetic readers that read your kind of style of book—and it will then give you feedback from these synthetic readers. Essentially, I was just doing an early version of that. So I got the feedback from the synthetic readers, the AI readers, and then reworked a little bit. Some of the stuff I just decided not to do because it didn't align with what I was trying to say in the book. Then the next stage was I had a beta reader group of about thirty human beta readers—my ideal readers. I sent the book to them, they gave me feedback. I then used AI to give me an overview report of all their feedback, and then I was able to go back into reworking the book. That's still really just draft three of the book, not the final book at this stage. But just to give everyone a sense of opening up the process: you could see how the human and machine were working together. Jo: Yes, I love that. I also often say to people who are speakers first that you can, if you have recordings of your talks or if you use your slide decks to record them as MP3s and then just use that transcript as the basis of a draft. Obviously it's not the book or a chapter, but it can actually preserve your voice—your speaking voice—which I think can be really effective for speakers. I like your multi-step process there. And then of course, if you have audience avatars in AI, that can help you design your book marketing. So take this into book marketing and how you're doing that. James: So I still decided to go old school with a human editor—a book editor that someone had recommended to me. I used that human book editor just to go through the book. At that point we're talking about style, some stylistic things that we wanted to do, and they can pick up other things as well. So I've got that book, and then I'm obviously starting to use AI to understand what tags, what kind of copy do I want to have in terms of putting it onto Amazon, putting it onto IngramSpark, and all these other platforms I want to put it out into. I'm using Claude here in particular—and with Claude, you have something called Cowork. It wasn't quite fully happening at that point, but there were early versions of it and Claude Code—to almost start working with and creating a virtual marketing team. I give it the book and then they could start thinking about: what is the marketing strategy for this book? What does the campaign look like? What are the things that we need to do? That was then starting to break it down. We're now three months out or so before the book is due to get released, and I'm starting to deploy that particular campaign. So for example, I'm on a podcast right now, and we try different versions. We have a human going out and reaching out to potential shows for me to be a guest on, but I also have an agent. There's also one going out and finding and researching podcasts and reaching out to those podcast hosts to have me as a potential guest. So they're doing some of the tactical work there at the same time. One mistake I made—and I don't know if you've experienced this as well—if I was to go back, one thing I would do differently is this: I decided to record the audiobook version after the physical book was already committed and ready to go out. Jo: Mm-hmm. James: And I noticed so many small errors or things I would change after having spent two days in a studio recording the voice for the entire book—changes I would have made. This is something other people did ask me: why are you not using ElevenLabs or an AI clone of your voice to read the script? There are some things I feel quite personal about, and my voice is one of those things. As a professional keynote speaker, I decided I wanted to keep that and have it in there. So it's going to be different for everyone which things they decide to offload to AI, which things they decide to give to a human member of their team, and what they decide to keep to themselves. Jo: Yes, I mean, I human-record my nonfiction, but I have an AI voice clone with ElevenLabs for my fiction now. But obviously, for people listening, you can't put an ElevenLabs voice-cloned audiobook on Audible, and a lot of your sales will be on Audible, especially for a book like this. So I think that's also important. I agree with you on doing the audio edit. There's always things you want to change. But as you mentioned, you're self-publishing this, so you can just go in and change your files. James: Yes, and that was the other reason, and this was part of the marketing—now we're moving into the marketing and the business model behind the book. For me, the book doesn't have to be a financial driver in its own sense. The way that I sell books, and usually people like myself—professional speakers—is we bulk sell books to our clients. Let's say I'm speaking at four different events this month. Each has about a thousand people at them. Those organisers will buy, say, a thousand copies of the book. So at the end of that month, you might have sold four thousand copies—not individual copies. Anything that sells on Amazon or in other places is almost like a positioning piece. Obviously you want people to buy the book and learn things from the book, but in terms of the distribution model, it's slightly different because I'm primarily selling through bulk sales. Now, here's a little twist you can do on this, and this is a decision I made even before we released this version of the book. I speak to lots of different industries. There was a speaker and author—I've forgotten his name now, I think he was from Florida—and what he decided to do was to write a slightly different version of his main book every year, but for a different industry. So what this allows him to do is, let's say in my case, I'm doing a version of the SuperCreativity book just for legal professionals because I speak to a lot of law firms and legal groups. I've already started working on a version of the book which is a little bit more attuned to that audience. As a speaker, it allows me to go to all these law firms and legal associations and bar associations and say, “Hey, I've just written the book on creativity and artificial intelligence for the legal industry.” That makes you a very bookable proposition for a client. And then obviously you can sell books from that as well. And that's before we get into the foreign language versions. That's just a model that happens to work pretty well for my part of the industry, but obviously it's going to be very different for other types of authors. Jo: No, I think that's great. For nonfiction authors, as you say, there are different revenue models. Your income, I guess, would be what, eighty, ninety per cent speaking revenue? Or do you have other things as well? James: Yes, primarily it's the keynote speaking, and anything that comes from the back of that. Sometimes it's boardroom advisory work that I do as well. But primarily it's the speaking side. So really the book is just the simplest form to get my ideas out and the most affordable form. Jo: Mm-hmm. James: Because the other thing is, you want as many people getting your ideas as possible, and there is no better, more affordable way of getting someone's ideas out there than in the form of a book. I think it's just the most unbelievable transmitter of knowledge—a book. That's why I love to write the book as well. A lot of my friends say, “Listen, books are old hat. You don't need to do a book any more. You can do these other things, other forms, online courses.” I've done lots of online courses in the past and membership sites and all those things, but there's just something that is great about a book—to be able to summarise your ideas at a particular point in time. It's also a great transmitter of value to other people. And it is affordable. Any book, someone can download a book on Audible or wherever they want—that's just an affordable way of absorbing that content. Jo: Yes. Well, of course we are all fans of books here. I do speak—I don't tend to do keynote speaking. I do more content speaking at conferences. For people listening, keynote speaking is where you tend to get the higher revenue. So if people listening have books already—let's say they have nonfiction books or even fiction books that could be turned somehow into different topics—if people want to get booked for speaking gigs, preferably ones that pay— How would you recommend authors think about moving into speaking if that's something they want to do? James: So obviously it's much easier for nonfiction authors to do that. I mean, I'll give you an example. I was speaking at an event last week in New York for L'Oréal, the hair care and cosmetics company. They had six different speakers. One of them was a speaker on macroeconomics and geopolitics. Another was an expert on communications. Another was an expert on AI. Another was an expert on storytelling. So you have to think: does my topic have value for that type of audience—that corporate audience? An easy way of finding that is if you just go onto any of the speaker bureau websites, type in “speaker bureaus,” look for the speaker bureaus, and then type in your topic area—emotional intelligence or whatever the topic area is—and look at the other speakers. See if there is obviously a number of speakers talking on this area. Importantly, look at how busy they are and look at their fee levels as well. I did an online summit a few years ago called the International Speakers Summit, where I interviewed a hundred and fifty of the world's best professional keynote speakers. I interviewed Sally Hogshead, who's an author and a speaker, and she said to me, “James, you're going out speaking about creativity, but if you just twisted it a little bit and spoke more in terms of innovation rather than creativity, you would earn an extra five thousand dollars per keynote.” So creativity and innovation—an extra five thousand dollars. That's just a simple thing that, as you get to understand the industry, you learn. Then once you do that, it's like any business—you have to treat it like a business, obviously. What makes someone a great storyteller on stages is not the same as what makes a great storyteller on the written word. So depending on where you're at, you might need certain training and skills development. If you are listening to this from America, there are things like the National Speakers Association, the NSA. If you're living in the UK, the Professional Speakers Association. These are great ways just to develop your skill set and learn from other professional speakers. Here's the good news, I didn't know anything about professional speaking until 2017–18, and it was only from having a conversation with someone who said, “Listen, you have some original thoughts. You can get paid to speak about this on stage.” Then I spent the next year really researching and understanding and looking at how to do it and creating a minimum viable product—a speech—that was a very short period of time, a year. Most of the listeners here have gone through that process of writing a book, which takes many, many months. So you have the stamina to do this type of work. You just need to find out where you fit. I thought I was going to be a speaker in marketing. I thought that was going to be my thing. And it turns out that's not what the market wanted from me. They wanted me to talk about creativity and artificial intelligence. So you have to listen to the market, like you have to listen to your readers. Jo: Yes, I think that's really interesting. I was also a member of the PSA here, and I learned in Australia with the NSAA as it was. James: Yes. Jo: And that thing about who you speak to—I mainly speak to author conferences, who, I just want to be frank, don't pay very well, if at all. So exactly what you said there— If you want to be a highly paid speaker, you have to pick the audience who's going to pay, as well as a topic that works with them. It is a very different thing to writing a book, I think. James: It is a different model. This is what was interesting when I interviewed those hundred and fifty professional speakers—the thing that came back loud and clear is there is a model to suit everyone. Jo: Mm. James: So the model that works for me—getting paid high fees to go and travel around the world, speaking on stages to primarily corporate audiences—that is not the only model. There is another model, which is called the “sell from the stage” model, where you maybe don't get paid anything to go and speak on the stage, or very little, but what you're doing is you're selling your consulting, your online course, your books, your other products from the back of the stage. That's another model as well. I have friends who have young families and they are writers and they don't want to schlep on planes like I do. I know one speaker in particular who never leaves his own city. He is a very successful professional speaker. He happens to live in Orlando, Florida, which is one of the busiest cities for conferences. So literally, he's home with his kids every night. He gets to do all this cool stuff he wants. He never has to step on a plane if he doesn't want to. That just shows you the range. I remember I once interviewed a person whose title was a Buddhist monk, French speaker, and author. He figured out he could live very affordably by living in Thailand. So he lives in Thailand for part of the year and he's very into meditation, mindfulness, yoga, and writing. He figured out he only had to give two keynotes per year to pay for his entire lifestyle. That was it. So that gives him a lot of freedom. He does those two corporate keynotes a year and for the rest of the year he's doing his yoga, his meditation, his writing, and surfboarding, whatever he's into as well. So you can see there's a whole range of different ways you can design that life. Jo: Yes, we talk a lot about definition of success and it's great to hear those different examples. So before we finish up, I just want to come back to your journey into the writing side, into books and self-publishing. We all understand, me and the listeners, how hard it is to write a book and also to market a book, but we've got the bug. So we wonder: how much have you got the bug? Do you plan on doing more writing, more books, or do you still want to lean more heavily into speaking? James: Primarily the income for me will still come from speaking. I remember listening to Elizabeth Gilbert once when she talked about her writing. She said she always wanted to have other things, so she never had to push onto her writing that it had to be the income stream for her. If it was successful, great, that's fantastic. So I have a little bit of a similar view to that. In terms of my own writing, I've got about five different nonfiction book ideas I'm now looking at. Some of them relate to speeches that I already do. Some don't. I'm looking at different versions of the SuperCreativity book, so there'll be other versions coming out—different industries, different languages. That gives you a few years of work. The other side that I want to develop is the fiction writing side. I'm already starting to work on a fiction book at the moment—a little bit like this idea of one for them, one for me. Jo: Mm-hmm. James: So one for them is for the corporate audience, that world that I live in, and the other one is for me, for my own creativity. My hope—and I don't know, maybe we need to speak in a year's time when I've written and published it—is that by doing the fiction side, it will make me a better storyteller on stages as well for my corporate audience. It will help me understand story arcs, slightly different ways of expressing stories, building emotion, building the anti-hero characters within a book, for example. So I'm hoping that they both feed off each other. But we will see. Jo: Yes, we will. All the best with that. So where can people find you and your books and everything you do online? James: The easiest place to go is JamesTaylor.me, and you can find the book, which is called SuperCreativity, there. Or just go to wherever you buy your books—your local independent bookstore—and get a copy of SuperCreativity. The audiobook may already be out by the time you're listening to this as well. If you want to learn a little bit more, we also have a podcast called the SuperCreativity Podcast, where I interview lots of wonderful guests talking about this area of super creativity. Jo: Well, thanks so much for your time, James. That was brilliant. James: Thank you, Joanna. Thanks for having me as a guest on the show.The post SuperCreativity And KeyNote Speaking With A Non-Fiction Book With James Taylor first appeared on The Creative Penn.

December 31st – Show 1100In This EpisodeWelcome to our annual celebration of some of the musicians we lost in 2025 This year we compile using a combination of Halfhearted Dudes In Memorium pages and Wikipedia Jan [07 Jan] Peter Yarrow (American singer and songwriter for Peter, Paul and Mary), 86, bladder cancer[09 Jan] Laurie Holloway (English pianist, musical director and composer), 86[10 Jan] Sam Moore (American Hall of Fame singer-songwriter for Sam & Dave), 89[15 Jan] Linda Nolan (Irish singer for the Nolans), 65, pneumonia[30 Jan] Marianne Faithfull (English singer), 78 Feb [24 Feb] Roberta Flack (American singer), 88, amyotrophic lateral sclerosis[28 Feb] David Johansen (American musician for New York Dolls and singer as Buster Poindexter), 75, cancer Mar [04 Mar] Roy Ayers (American musician and composer), 84[10 Mar] Stedman Pearson (British singer for Five Star), 60[11 Mar] Bob Rivers (American radio personality for KISW, KJR), 68, esophageal cancer Apr [01 April] Johnny Tillotson (American singer-songwriter), 86, Parkinson’s disease[28 Apr] Mike Peters (Welsh rock singer for The Alarm), 66, chronic lymphocytic leukemia May [11 May]  John Edwards, 80, soul singer (The Spinners)[26 May] Rick Derringer (American musician for The McCoys), 77 June [05 Jun] Wayne Lewis (American singer for Atlantic Starr), 68[09 Jun] Sly Stone (American musician for Sly and the Family Stone), 82, chronic obstructive pulmonary disease[11 Jun] Brian Wilson (American musician for The Beach Boys), 82[19 Jun] James Prime (Scottish musician for Deacon Blue), 64, , cancer[26 Jun] Lalo Schifrin (Argentine-born American film and television composer), 93, pneumonia Jul [04 Jul] Mark Snow (American film and television composer for The X-Files), 78[16 Jul] Connie Francis – 87 – Pneumonia[22 July] Ozzy Osbourne – 76 – Heart Attack[24 July] Cleo Laine – 97[26 July]  Tom Lehrer – 97 Aug [August 10] Bobby Whitlock (Derek and the Dominos) – 77 – Cancer[August 27] Ray Mayhew (Sigue Sigue Sputnik) – 60 Sept [05 Sept] Mark Volman (The Turtles) – 78[06 Sept] Rick Davies (Supertramp) Oct [Oct 3]  Patricia Routledge – 96[Oct 16]  Ace Frehley – 74 – Brain bleed after a fall[Oct. 22] David Ball, 66,  Soft Cell, Nov [Nov 24] Jimmy Cliff – 81 – Pneumonia[Nov 29] Chubby Tavares – 80 Dec [Dec 03] Steve Cropper (Booker T. & the M.G.'s) – 84[Dec 14] Carl Carlton – 72[Dec 22] Chris Rea – 74 – Complications from a stroke[Dec 26]. Perry Bamonte (The Cure) – 65 Linktree Discord: https://discord.gg/7ndTXDhNC5 a Facebook message A blog comment below @ us on Twitter Why not surprise us with an MP3 in an email to twoguys@snugradio.co.uk Please take some time to show us your love by reviewing us on ITunes. We welcome ALL comments The Snug is an affiliate of Amazon Music   Snug StatsMusic This ShowSam And Dave – Soul Man (02:36) The Nolans – I’m In The Mood For Dancing (03:17) Roberta Flack – Feel Like Makin’ Love (02:53) Roy Ayers – Running Away (03:10) Bob Rivers – Downtown in the 90’s (02:28) Johnny Tillotson – Poetry In Motion (02:26) The Alarm – 68 Guns (03:33) The Spinners – Working My Way Back to You (03:57) The McCoys – Sorrow (02:05) Sly And The Family Stone – Dance To The Music (03:13) Brian Wilson – Good Vibrations (04:36) Connie Francis – My Heart Has A Mind Of Its Own (02:26) Black Sabbath – Paranoid (02:48) Tom Lehrer – Masochism Tango (02:49) Derek & The Dominos – Layla (07:11) Sigue Sigue Sputnik – Love Missile F1-11 (03:44) Turtles, The – She’d Rather Be With Me (02:19) Supertramp – Dreamer (03:33) Kiss – I Was Made For Lovin’ You (04:31) Soft Cell – Where Did Our Love Go? (03:11) Jimmy Cliff – You Can Get It If You Really Want (02:52) Carl Carlton – She’s A Bad Mama Jama (05:48) Chris Rea – Ace Of Hearts (04:53) The Cure – Close To Me (04:21) Join us every Wednesday from 18:30 (UK time) See you then…and have a Snuggly week.

JOHAN BAECKSTROM – Great UnknownCOLD CAVE – Pacing Around the ChurchDEPECHE MODE – Survive (Skinflutes remix)TWIN RITUAL – MetaphorPARRALOX – Fade To Grey (Visage cover)STEREO WIDTH – AlgorithmHIDDEN CITIES – The ShadowsPET SHOP BOYS – Rent (Blue Collar Bros. mix)DON'T BELIEVE IN GHOSTS – Still Holding OnJAMES LAURENT – Lipstick StainsMIDNIGHT OIL – The Bark-Darling RiverDRUMXWAVE with THE BEACHDOLLS – As The World TurnsCLUB NOVA – MasqueradeBLUTENGEL – Say SomethingROSS ALEXANDER – Real Gone Kid (7th Heaven remix) (Deacon Blue cover)

Welcome to the first "From The Vault" episode. Today we're going almost back to the beginning. We're going to listen to Season 1 Episode 2, which we called "Nothing Just Happens", from two years ago. Listening back to this not only brought back memories of the beginnings of Autistic Licence, but also sparked a conversation between Siana & I about what's changed for us, and what's been reinforced. You'll hear that conversation in our next episode - "The Luck Illusion - Nothing Just Happens Revisited" which we'll release later this week.

No sabemos si hay algo por lo que merezca la pena vivir, hasta que estemos dispuestos a morir por ello. A veces podemos arriesgar nuestra vida en el impulso en un momento, o por la atracción del peligro, pero no con la conciencia de saber que hay algo importante en juego. Esteban fue un hombre que sacrificó su vida por su fe, no en un mero acto de valor, sino lleno del Espíritu de Dios (Hechos 6-7). Tras la sintonía de nuestro programa, esta vez a cargo de un músico cristiano, Jim Brickman, escuchamos a la banda escocesa Deacon Blue. Esteban fue uno de los primeros diáconos de la iglesia primitiva (Hch. 6: 1-6). El grupo que lleva el nombre del Diácono Triste nació en una Asamblea de Hermanos en Dundee. José de Segovia conoció a Ricky Ross cuando iba con los miembros del grupo de jóvenes de su iglesia a vender sus cintas en el festival cristiano de Greenbelt a principios de los 80. Funda en el 85 el grupo que lleva ese nombre en Glasgow con su esposa Lorraine McIntosh, que le lleva a la fe católica. Escuchamos su canción "Loaded", que en 2012 explicó al Daily Record que viene del cántico evangélico "Jesús es la respuesta". Chris Kyle y Alistair Stewart fueron unos cristianos irlandeses que formaron uno de esos dúos que había en los años 70 al estilo de Simon y Garfunkel. Su canción sobre "Vivir en estos días" (Living In These Days) apareció en su segundo disco, publicado en Gran Bretaña en 1978, que fue reeditado luego en Alemania en 1993. Kyle se convirtió en un músico de estudio. Su canción habla de la dificultad de mantener la fe en un mundo como este. Y los chicos de Children 18:3, la banda de punk formada en una familia cristiana a principios de este siglo por tres hermanos educados en casa en Morris (Minnesota), le pregunta a Esteban si no tenía miedo en su canción "Final" (2008). "La peste" es la primera serie que hace Movistar en 2017 con muy mal sonido y oscura iluminación. Cuenta para ello con un director tan excepcional como Alberto Rodríguez, el director sevillano de películas tan importantes como "Grupo 7", "La isla mínima" o "El hombre de las mil caras", todas ellas basadas en realidades históricas de la España contemporánea. En "La peste" viaja a la Sevilla del siglo XVI y hace uno de los pocos cuadros que existen en la ficción española del foco reformista que dio luz a la primera traducción de la Biblia al castellano. Su representación de uno de los autos de fe en que la Inquisición acabó con la vida de estas personas es impresionante. La historia se vuelve absurda cuando se inventa a un protestante que mata protestantes en Sevilla, por la diferencias que había entre los reformadores. Comentamos algunas escenas de la versión doblada con el fondo de la banda sonora original de Julio de la Rosa. Acabamos el programa con otra canción dedicada al mártir Esteban. Es obra del músico cristiano americano John Waller, que escribió esta canción en los años 90, pero no la ha podido grabar hasta el 2023, que se dedica a llevar la alabanza de una iglesia metodista libre de Colorado. En este tema imagina cómo fue recibido Esteban en el Cielo con una "Ovación de pie" (Standing Ovation) por esa "gran multitud de testigos" (Hebreos 12:1), que nos observa.

In our weekly review show, Kirsty Wark is joined by writer and critic Hannah McGill and writer and journalist Alan Taylor to discuss What Can We Know, the latest novel from Booker Prize winning writer Ian McEwan, an epic story set in a largely underwater Britain a hundred years in the future which touches on themes including climate change and great poetry. They also give their verdicts on Frances Poet's Small Acts of Love, a musical theatre production inspired by relationships formed across the Atlantic between victims of the Lockerbie disaster in December 1988. The production - a collaboration between the Citizens Theatre in Glasgow and the National Theatre of Scotland, and with songs by Deacon Blue's Ricky Ross, is the opening production in the newly refurbished 'Citz', a theatre which has played an important role in the city and also in the careers of the likes of Rupert Everett, Glenda Jackson and Miriam Margolyes, and which has just reopened after a major revamp. They also review The Girlfriend, a new psychological thriller from Amazon Prime, which stars Robin Wright as a possessive mother whose life begins to unravel when her son brings home a new partner she suspects is not all she seems. We also bring you the latest in our series of interviews with authors shortlisted for this year's BBC National Short Story Award, Colwill Brown. Presenter: Kirsty Wark Producer: Mark Crossan

Nueva entrega de Música de Contrabando, semanario de actualidad musical (26/06/2025)Entrevistas:- Arde Bogotá protagoniza 2 fechas de Cartagena Suena, y hablamos con su cantante, Antonio García - Reunimos a los finalistas del CreaMurcia Pop Rock ( Palomo Palomo, Wakame , Querido Diablo).NoticiasAdiós a Mick Ralphs, guitarrista de Mott the Hoople y Bad Company, y James Prime , teclista de Deacon Blue. Pulp logran el n°1 27 años más tarde. Bob Dylan anuncia libro de dibujos. Steve Van Zandt operado de urgencia. Joni Mitchell recopila grabaciones jazzísticas. Springsteen confirma que existe versión eléctrica de Nebraska. Cuatro años después de su último trabajo, Jonathan Richman regresa el 16 de julio con el álbum Only frozen sky anyway. Visor Fest: Peter Hook & The Light y Ash se unen a Happy Mondays, The Lemonheads, Echobelly, Buffalo Tom, Then Jericho y ChuchoNovedades:Muse, Els Michels Affair, Celeste cLaufey, Bon Iver, Haim, Mac de Marco, Royel Otis, The Lemonheads, Joy Division, Franz Ferdinand ft Johnny Marr, Miles Kane, Superchunk, The Beaches, Joy Orbison y Overmomo, Omni, Sam Fender, Parquesvr, Fito Páez, Linda Mirada, Le Parody, Alberto&García, Samantha Hudson&Luis Miguélez, Rossi & Jazzy, Depresión Sonora, Pieles Sebastian , Alamo 51(Pedro Pop Las Palas), Tere Staldean, Santiago Auserón y Anni B Sweet, Loganz, Hannah Jadagu, Jasss, Roldán, El Nido remezcla Perarnau, Noname ganan el Creamurcia Otras Tendencias. Ruth Lorenzo amadrina finalistas CreaMurcia. Agenda de conciertos:Joaquín Sabina, The Lemon Twigs, Cypress Hill, Rock Imperium( Scorpions Hitten), Tulsa, Depedro, Oh Bro Los Secretos, Brooklyn Funk Essentials (Jazz San Javier), Marcelo Criminal (Conga Festival)...

speciale lavoro Pt.1 Con Lorenzo Mercandalli MITSKI: working for the knife / COLAPESCE, DIMARTINO: splash / DEACON BLUE: dignity / ENZO JANNACCI: il bonzo / MICHAEL JACKSON: workin' day and night / BILLY BRAGG: there is power in a union / 99 POSSE: salario garantito / IL NUOVO CANZONIERE ITALIANO: sciur padron da li beli braghi bianchi / THE BEATLES: a hard day's night / MARIANNE FAITHFULL: working class hero / BRUCE SPRINGSTEEN: working on the highway / BELLE AND SEBASTIAN: step into my office, baby / RUSH: working man / GANG: sesto san giovanni / NATALINO OTTO: mille lire al mese / THE CLASH: career opportunities

Indie News, Yann Tiersen, Divine Comedy, Deacon Blue ...

With the album's reduced commercial clout and declining role in music consumption, a dilemma crops up for all long-established bands involved in the endeavour of making a new LP record. Put simply, why bother? Why toil for four years on a body of work that distils 100 song ideas into ten tracks, spending a fortune in the process, only to see it flash across the charts and then evaporate into the mesh of 100 million songs? It's an existential question for Ricky Ross of Deacon Blue, who told me:“It's sort of madness really, when all the good songs and books have already been written. Who wants to hear what's in my head or what we've created as a band? Does anyone even sit down and listen to an album now? But I think of it in the same way as poets, novelists and filmmakers. It's still worth doing if you feel you can do it well”. Arguably, new albums have been especially challenging for Deacon Blue in part because the band made one of the most accomplished debuts ever, 1987's Raintown. With its themes of growing up in Glasgow, work, money, expectations and dreams, Raintown is as universal a concept as any record and yet it is fundamentally a musical tribute to Glasgow that most Scots are really proud of. It set a high bar for Deacon Blue, and yet the band went on to have acute commercial success with the four albums that followed between 1989 and 1994, rounding the period off with a Greatest Hits compilation (remember them!) Our Town, in 1994. The band then split, and you can't say they didn't quit while they were ahead. They each went on to have their own multi-media career ventures, acting, writing and presenting, effectively avoiding the inevitable mid-career slump of many of their contemporaries. Alas, they came back together in 1999 and the second act has been a classic post limelight affair. A string of lower key albums placed them firmly in the ‘for fans only' vortex of music careers - perfectly sustainable and yet largely forgotten by the mainstream. It hasn't stopped the band hitting creative highs with albums though, notably 2014's A New House  and the outstanding City of Love in 2020. But when the journey continues, where do you go next? The answer seems to be ‘full circle, then forward'. New album The Great Western Road arrives on a momentous anniversary for Deacon Blue, it is 40 years since songwriter and frontman Ricky Ross and drummer Dougie Vipond created the group's first incarnation. With the opening title track set in Glasgow, it's more than a nod to their debut (indeed, the title track echoes Raintown's opener Born In A Storm, a ‘Gershwin meets Glasgow' classic). The band reunited with Raintown recording engineer Matt Butler and so were clearly ready to revisit their origins. But as the new album unfolds, so does the metaphor of the band stretching out further and further. The result is a bunch of songs that reflect the sense of expectation of their early work with reflection, perspective and a contented resignation. Classic country songs How We Remember It and Curve of the Line are particular highlights of a mature, grown up pop record. Support the showGet more related content at: https://www.songsommelier.com/

**DJ Ricky K Show Replay on www.traxfm.org. Ricky Featured 70's, 80's, 90's, 2000's & Dance Classics tracks From Avril Lavigne, Boyzone, Robert Palmer, Jason Mraz, Mr President, Inxs, KT Tunstall, Climie Fisher, Britney Spears, Deacon Blue, UB40, Blu Cantrell, The Corrs, Dead Or Alive, Steve Angello X Robin S. - Show Me Love (feat. Laidback Luke), Underworld & More. #originalpirates #80music #90smusic #danceclassics #popmusic Catch Ricky K Live Every Sunday From 11AM UK Time/9PM Australia Time 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**

Surgidos en Glasgow en 1985, este año Deacon Blue celebran sus 40 años de carrera con la publicación de un disco de canciones nuevas que esta semana protagoniza nuestro tiempo de radio. Además recuperamos algunos de sus hits de los 80 y escuchamos a su frontman Ricky Ross con un mensaje que nos ha hecho llegar para compartir con nosotros ese aniversario. La actualidad internacional la completan The Primitives, Haim, Snow Patrol, April June, Moki, Nick Deutsch, Roberto Celi, Rich Swingle, RedLight, Zachary Mason, Bernard Côté, Phil Swanson, Romain Gutsy y Minna Lafortune. Además seguimos descubriendo el disco de Manic Street Preachers que la pasada semana protagonizó nuestro álbum de la semana. En el apartado nacional destacamos las novedades de Rigoberta Bandini, La Bien Querida, Niña Polaca y Carlangas, Kitai, Living Camboya, Naked Eva, Hijo Terco Bufalo Gris, Mairena y Maria Rodés. Además Malmö 040 hacen aparición para hablarnos de su nuevo disco y próximos conciertos. No nos olvidamos de seguir recomendándote festivales. En esta ocasión te hablamos del Low Festival de Benidorm mientras suena lo nuevo de The Kooks. El broche lo ponen Niños Bravos con su sorprendente nueva versión de "Un beso y una flor" de Nino Bravo que ellos mismos nos presentan.

...y más nuevas canciones de Self Esteem, Marie Davidson, Amaral, Parquesvr, Joe Crepúsculo, Japanese Breakfast, My Morning Jacket, Tamino y The Horrors.Escuchar audio

Los galeses Manic Street Preachers regresan con su decimoquinto álbum, un disco con el que demuestran estar más en forma que nunca. Y no es una forma de hablar: es un discazo que incluye algunas de sus mejores canciones en los últimos tiempos. Lo destacamos esta semana mientras gira en nuestro tocadiscos. El resto de novedades de la escena internacional que destacamos esta semana las firman Ezra Furman, Deacon Blue, Arrows in Action, Banners, The Lovelines, Fraser, The Primitives, Juan y la Hormiga, Maxi Lambert, Jonas & the Jaguar Moon, Tristan Auber, Rip Gerber, Jeff Vidov, Breudd, Lestroso, Martin Oh, Gengvej, Winne Ama y Miki Berenyi Trio. En el apartado nacional suena lo nuevo de Tripulante, Ilinoise, Maria Rodes feat. Delafe, Merino y Exfan. Nuestra versión de la semana la firman Roots Asylum con la que recordamos un clásico de The Velvet Underground. Y no es el único momento en el que echamos la vista atrás pues también recuperamos un clásico de Teenage Fanclub y te damos los últimos detalles del valenciano Deleste Festival. El punto bailable lo pone el DJ valenciano McCallister compartiendo con nosotros la remezcla que acaba de hacer del último tema de Viva Suecia, que él mismo nos presenta. Y el broche lo ponemos con una recomendación literaria: "¡Lo tengo en vinilo!", un libro que firma Oscar Avendaño sobre la fidelidad y el amor a ese formato.

La lista adulta contemporánea de España top40star.es radio2050.es Primera parte de la edición de TOP 40 STAR de 15 de marzo de 2025 @top40star

Durante toda la semana repasamos 'Temporary' el tercer álbum del proyecto colaborativo del prestigioso productor británico, comentado por él mismo.En el programa de hoy también sonaron nuevas canciones de Deacon Blue, Miami Horror, Mochakk, Miki Berenyi Trio, Model/Actriz, The Monnlandingz y The Smile, además del recuerdo a David Johansen (New York Dolls)Escuchar audio

Nueva entrega de Música de Contrabando, semanario de actualidad musical ( 27/02/2025)Entrevistas:- Allan McCarthy. La historia de este ex recluso músico sigue dando la vuelta al mundo: un libro, un documental de la BBC, nuevas grabaciones, una película, y un concierto en la prisión son las principales novedades de la bola de nieve mediática, que se ha extendido a los USA.- Clara Plath se suben de nuevo al escenario junto a Nada Surf. - Glas y Madbel unidos por 'Dime' de la eurovisiva Beth. Atención al estreno de su versión del clásico de Osvaldo Farrés, quizás...Noticias:Semana aciaga para la música: nos dejaron Roberta Flack, Jerry Butler, Gwen McCrae, Chris Jarper. Problemas de salud de Peter Doherty. La película Pink Floyd At Pompeii regresa restaurada en cine y en vinilo. The Residents lanzan nuevo disco, 'Doctor Dark'. Olly, ganador de San Remo, renuncia ir a Eurovisión. Alcalá Norte Premio Ruido al mejor álbum debut. La cultura y el periodismo británico plantan cara al gobierno británico lanzando un disco mundo frente a la IA. La música grabada creció de nuevo en España, pero baja la venta de vinilos. Wu-Tang Clan se reunirán para última gira. The Smile comparten remites. Franz Ferdinand versionean con orquesta a Britney Spears. Karla Sofía Gascón asistirá a la gala de los Oscars; confirmadas actuaciones de LISA, Doja Cat y RAYE. Canela Party confirma a Blonde Redhead. Murcia acoge la II edición de Igualdad es Murcia con numerosas actuaciones (Karlan).Novedades musicales:VIVA SUECIA, Deerhoof, The Horrors, Hurray For The Riff Raff, Fontaines DC, Marlon Williams % Lorde, Hope Tala, Yawners, The Bug Club, Deacon Blue, Julien Baker & Torres, Momma, Miki Berenyi Trío, Surprise Chef, Unknown Mortal Orchestra, Jaywood, Deep Sea River, Girlpuppy, M76, Loganz, Papa Topo, Memocracia, Bria Salmena, Darkside, Sen Senra & Ed Maverick.Agenda de Conciertos:Nada Surf, LeVerse, Marwan, Repion, caracazador, Joseba Irazoki, Corizonas, A Mares, Pole, ElyElla, Glas, Madbel, Arroye, Sueiro, Muerdo, Clara Plath...

To tie-in with the 2025 Academy Awards, this episode of the podcast discusses one of the frontrunners for Best Picture, Director, Actor as well as Supporting Actor and Actress. James Mangold's A Complete Unknown chronicles the very early years in the career of the great singer songwriter Bob Dylan and stars Timothée Chalamet in the lead role.Joining host Dr Pasquale Iannone to talk about the film is Ricky Ross. Ricky is a singer-songwriter and frontman of Deacon Blue, the acclaimed, much-loved Scottish band formed in Glasgow almost exactly forty years ago. Alongside writing and performing, Ricky is also a Sony award-winning broadcaster. Since 2008, he has presented Another Country on BBC Radio Scotland which showcases the best in Americana old and new.The conversation was recorded at the beginning of February 2025, with Ricky and the band gearing up for the release of their new album The Great Western Road as well a major UK tour. Ricky and Pasquale discuss the musical biopic in general before turning to Mangold's A Complete Unknown. They explore the film's focus on four key early years in Dylan's career and also touch upon the Oscar-nominated performances of Chalamet as Dylan, Monica Barbaro as Joan Baez and Edward Norton as Pete Seeger. Ricky shares his thoughts on the film's evocation of the New York folk scene and tells Pasquale what he thought of its depiction of the songwriting process.

Podrían ser londinenses, californianos o de Miami pero son valencianos. Esta semana te descubrimos a Lila Rome, herederos del sonido de Dua Lipa o Harry Styles con una increible propuesta en la que fusionan música pop y disco. Hablamos con ellos y escuchamos juntos algunas de las canciones de su disco de debut. La actualidad nacional la completan Mariagrep, Merino, Shego, DJ Moderno, Angie Sánchez, Amor Butano, Niños Bravos, Fermi, Oscar Peris, Shinova feat. ETS, Vheko y Oreiana. Además Fresquito y Mango firman nuestra versión de la semana con un clásico de Amaral. Las novedades internacionales las firman Alpaca Sports, Anderson East, Ervin Munir, Charles James & the Rise, Georgia Mae, Agnes Grahn, My Morning Jacket, Andreaperry y Deacon Blue. El broche lo ponemos con el recuerdo a Marianne Faithfull que nos dejaba hace unos días a la edad de 79 años.

Nueva entrega de Música de Contrabando, semanario de actualidad musical (30/1/2025)- Entrevistas: - Pignoise: Al frente de Pignoise está el ex futbolista del Real Madrid Álvaro Benito con el que hablamos, que compagina su agenda como comentarista con el resurgir de su grupo y, además, con un nuevo proyecto musical llamado Chicle.- Yayo Delgado nos presenta el ciclo "Sala de Bandas" protagonizado por grupos emergentes a lo largo de 2025- Manva Negra nos presenta su recién estrenado album, "Lucero". fusión de géneros con el folclore como base.- Noticias: Lynyrd Skynyrd gira 50 aniversario. Nick Cave anuncia gira en solitario. Bjõrk arremete contra Spotify. Se prepara rodaje película de Los Secretos. Supergrass y James, primeros nombres del Sonorama Ribera Day. Sony dejará de producir Blu-Ray. Toundra regresa con nueva formación. Vuelven las Nits de Barcelona. Semana del Benidorm Pop Fest. Black Grape gira 30 aniversario. Madrid Pop Fest completa su cartel. Los Planetas logran un top 10 con "Pop". Rush celebra 50 aniversario con una Super Deluxe Edition. Lady GaGa anuncia su nuevo álbum, Mayhem. - Novedades discográficas: Deacon Blue, Doves, Stereophonics, Jamie XX, Hope Tala, The Darkness, Japanese Breakfast, Horsegirl, Julian Baker & Torres, Divorce, Los Jaleo, Rata, Alec López, Karlan Malva, Circuit des yeux, Myriam Swanson, Fermi & María Rodés, Yawners, Verona, Niña Polaca & Dani Fernández, Lisasinson, Joy Orbison & Joe James, Craig Finn, Goblin Circus, The Wombats, Los Acebos, Danzón el Gato, Cabo Ventura, Uwade, Momma, La Texana, - Agenda de conciertos: Pignoise, Maestro Espada, Baiuca, Los Bengala, Santero y Los Muchachos, El Diablo de Shangai, Besmaya, Manva Negra, Sanguijuelas del Guadiana, Garaje Florida, Ropero, Nuria Culla, Los Recortables...

...y más nuevas canciones de Tunde Abedimpe, Kele Okereke, Shygirl, Deacon Blue, Franz Ferdinand y Mogwai.Escuchar audio

Volvemos con lo mejor del panorama indie, emergente y alternativo nacional e internacional... 120 minutos con lo mejor del panorama nacional e internacional... VERONA, YAWNERS, SILOÉ, SOLEÁ MORENTE, TU OTRA BONITA, REYKO, ATZUR, DEACON BLUE, THE CURE, PRIMAL SCREAM, SIMPLE MINDS, MANIC STREET PREACHERS, THE SMASHING PUMPKINS, AMAIA, VICTORIAS, CALA VENTO, PUÑO DRAGÓN, NEVERLAND BARI, ANDREA SANTIAGO, THE KILLER BARBIES, THE BLACK KEYS, THE SHERLOCKS, HIMALAYAS, THE AMAZONS, BIKINI TEST FAILURE, S.J. ARMSTRONG, RIVAL KARMA, MORCHEEBA, SUMERGENTE, BETTY BOO, MEDIDA DESASTRE, KIM WILDE, NINGÚN TONTO... y el recuerdo a FOX THE FOX... ¿Alguien da más? 87.7 FM en Cantabria y arcofm.com/escuchar para el resto del mundo. Y en todas las redes sociales para que no pierdas detalle de la música más emergente y alternativa.

This year the Scottish pop rock band Deacon Blue celebrates 40 years together. Not only is the band going strong – so is the marriage bringing together its lead vocalists Ricky Ross and Lorraine McIntosh. They both join Nihal Arthanayake to reflect on four decades of music-making.Paul McKenna's career has taken him from radio DJ to stage hypnotist to self-help book author. His latest offering – Power Manifesting – explores how he's used manifesting to achieve his goals. He looks at how super-achievers praise this technique and explains how he uses the toolkit in day to day life.Julie Wilson Nimmo is a star of Scottish TV classics like Balamory, Chewin' The Fat and Scot Squad. Her current role is slightly different as she and fellow actor and comedian husband Greg Hemphill set off to the Scottish islands to dip in their beautiful seas. Jules and Greg's Wild Swim sees the couple enjoy the invigoration of cold water swimming, along with chats about mental health, the menopause and much more.Indie-folk pop singer-songwriter Rachel Sermanni shares music from her latest release – no way blues. And singer-songwriter Jon Muq who was born in Uganda and has forged a career in Austin, Texas. He performs from his album Flying Away.

Join Matt Forde & Matt Dyson for an afternoon of FESTIVE goals, chaos & tunes. This week, the guys asked if you've ever bumped into anyone you've slagged off, revealed the very best part of Christmas - and No-el Gallagher was summonded in the Séance of the Living.The guys were also joined by Deacon Blue legend & Dundee United fan Ricky Ross for a festive catchup!

In this episode we dive into a lesser-known compilation from Dundee, 1996, titled 'After the Storm', which was created to raise funds for 18U. We explore the tracks, uncovering a mix of genres from 80s power ballads to 90s dance and country influences. There's a lot of colourful and, shall we say, sometimes questionable, musical efforts showcased in this CD, and as ever we humorously navigate the ups and downs of their listening experience. Highlights include oddities like George McFarlane's rap experiment and a cheerful dance track by Bliss. They wrap up with an existential crisis triggered by Real Gone Kid by Deacon Blue. But it's all for your entertainment, so it's all good. Oh, and yeah cause this week is particularly heavy the first 18 minutes or so are about Trump winning the US election. So feel free to skip ahead if that doesn't tickle your fancy. 00:00 Introduction and Birthday Banter 00:57 Post-Birthday Blues and Football Highlights 02:20 Political Discussion: Election Results and Reactions 06:31 The Impact of Information Economy on Politics 09:32 Misogyny and Conservative Trends in Gen Z 11:40 The GOP's Transformation and Democratic Challenges 16:11 Crypto Bros and Political Discourse 17:19 Middle Eastern Vote and Political Puritanism 18:32 Music Podcast Transition and Upcoming Topics 44:41 Country Vibes and Musical Influences 45:47 Highland Cowpunk and Unique Instrumentation 48:08 Exploring George McFarlane's Musical Journey 51:40 Dundee's Musical Scene and Hidden Gems 57:07 Ian Cusick: A Deep Dive 01:01:24 90s Dance Nostalgia with Bliss and Lucy Jules 01:04:42 Gary Clark and King L 01:07:37 Michael Marra: Dundee's Bard 01:19:10 Final Thoughts and Reflections

Time to open up the lovely old Chatabix listener's mailbag once again - and we kick things off with some really old ones. Sorry it's taken so long to get around to them, but we got there in the end. This week, your topics include Deacon Blue, a Paul Foot gig, a new gardening business, short-lived hobbies, Ibizan Chatabiscuits and foreign listener meet-ups, playing chess, the psychology of showing off and being on Blind Date. FOR ALL THINGS CHATABIX'Y FOLLOW/SUBSCRIBE/CONTACT: YouTube: https://www.youtube.com/@chatabixpodcast Twitter: https://twitter.com/chatabix1 Insta: https://www.instagram.com/chatabixpodcast/ Patreon: https://www.patreon.com/chatabix Merch: https://chatabixshop.com/ Contact us: chatabix@yahoo.com Learn more about your ad choices. Visit podcastchoices.com/adchoices

Deacon Blue, will bring The Very Best of Deacon Blue Tour  to The National Museum of Ireland, Collins Barracks, Dublin this coming Friday 

This weekend of celebrating our nation's birthday, Steve picked an hour of red, white and blue artists.  You will hear the artists: Blood Red Shoes, White Lies, The Blue Stones, The Red Button, Snowy White, Blue October, Girl In Red, Jack White, Blue In Heaven, King Crimson, Whitesnake, Blue Oyster Cult, Red Hot Chili Peppers, Plain White T's, Deacon Blue, American Hi-Fi. On the Air on Bedford 105.1 FM Radio      *** 5pm Friday ***      *** 10am Sunday ***      *** 8pm Monday *** Stream live at http://209.95.50.189:8178/stream Stream on-demand most recent episodes at https://wbnh1051.podbean.com/category/suburban-underground/ And available on demand on your favorite podcast app! Twitter: @SUBedford1051  ***    Facebook: SuburbanUndergroundRadio   ***    Instagram: SuburbanUnderground   ***    #newwave #altrock #alternativerock #punkrock #indierock

The legendary Ricky Ross, the lead singer of Deacon Blue shares previously untold stories on the rise of Deacon Blue in the 1980s and the motivations behind his songwriting.

Dori has better friends than Paulo and she rubs it in his face by reviewing Deacon Blue in concert.  Paulo wants to create a George Michael economy which leads to possibly the best discovery in the history of this show. Paulo names so many sex tapes which prompts Dori to talk about Saltburn - possibly the name of a sex tape.  Are we about to get a hologram remake of ‘'Do they know it's Christmas''? Is Madonna nicer to her dancers than Lizzo? Can you name an 80s song by the first line - all coming up on That 80s Show. Follow us on Facebook - That 80s Show SA or join our Whatsapp Channel: https://whatsapp.com/channel/0029VaNcFqY7IUYUne9BdF1c

Jim Prime has been Deacon Blue's keyboard player for decades, and that alone is a great reason to spend some serious time with him. Add in his other playing credits with other artists (John Martyn, Johnny Hallyday), his sense of humour and some of the best anecdotes we've heard, and you've got an interview for... The post James Prime, Deacon Blue appeared first on The Keyboard Chronicles.

This week we look at the history, culture, and politics of Scotland.  There are lessons for all of us in seeing how Scotland has changed, been blessed and declined.   We look at Scottish influence on the world; from psalms to paganism; Braveheart; the history of Scotland;  John Knox; Education; Abortion; Sir James MacMillan; The Chief Apologises; Woke Scotland; Nicola Sturgeon; Edinburgh Rape Crisis Centre; Pregnant Men; Conversion Therapy; Authoritarian Scotland; The New Highland Clearances; Eilish McColgan and Andy Murray; the decline of the Church; and hope for the future.With music from the Peat Bog Faeries, Slim Dusty, St Peters Free Church, the Battlefield Band; Sir James MacMillan; the Average White Band; Deacon Blue; RunRig; Nazareth; and Steph Macleod. 

A pesar que el termino Indie no se comenzó a utilizar muchos años después. En los 80s un centenar de artistas hoy podrían ser considerados como o cercanos al Indie-Pop a pesar de que tuvieran singles de gran éxito mundial. Hoy son de gran influencia para todas las nuevas generaciones de artistas, los cuales mencionan en reportajes. Arrancamos con los maravillosos Talk Talk.” I Don't Believe in You”, single extraido de su tercer álbum “The Colour of Spring” de 1986. Aztec Camera, “How Men Are”. Single de su tercer álbum publicado en 1987, “Love” Everything but the Girl, “Cross My Heart”. Canción extraída de su álbum “Baby, The Stars Shine Bright” de 1986 pero no se publicó como single, a pesar de figurar en un par de recopilatorios de la banda. The Adventures, “Don't Tell Me”. Canción extraída de su álbum debut “Theodore And Friends“ editado en 1985. Deacon Blue, “When Will You (Make My Telephone Ring)”. Single editado en 1987, extraído del álbum debut del grupo escoces “Raintown”. Aquí escuchareis la versión de 12 pulgadas. The Blow Monkeys, “Out With Her”. Se lanzó como single solo en el Reino Unido y Alemania en 1987. Pertenece al tercer disco del proyecto de Dr. Robert, “She Was Only a Grocer's Daughter”. The Blue Nile, “Over The Hillside”. La canción abre el segundo álbum de la banda escocesa “Hats”, publicado en 1989. Roxy Music, “Avalon”. Single y título de su octavo y último álbum de estudio, publicado en 1982. Immaculate Fools, “Tragic Comedy”. Uno de sus singles más exitosos, extraído del disco “Dumb Poet” del año 87. Fra Lippo Lippi, “Everytime I See You”. Canción editada originalmente como single por el grupo noruego. Se incorporó en la edición europea de su disco “Songs” de 1986, aunque una versión diferente. Morrissey, “Everyday is Like Sunday”. Al año de la disolución de The Smiths, Morrissey publica en 1988 su primer álbum como solista. Su segundo single, el primero fue “Suedehead”, fue este “Everyday is Like Sunday”. Cock Robin, “The Promise You Made”. Single perteneciente al álbum debut de la banda americana, publicado en 1985. Tears for Fears, “Advice For The Young at Heart”. Extraído de su tercer álbum “The Seeds of Love” de 1989, el single se publicó en 1990. Prefab Sprout,”Goodbye Lucille #1”. Editado en 1985 bajo el nombre de “Johnny Johnny”, extraído del aclamadísimo segundo álbum del grupo “Steve McQueen”. China Crisis, “Wishful Thiunking”. Single extraído del segundo álbum de la banda de Liverpool, “Working With Fire & Steel (Possible Pop Song Vol.2)”, publicado en 1983. The Dream Academy, “The Love Parede”. Luego del exitoso primer single “Life in a Northem Town”, extraen un segundo sencillo de su álbum debut, en 1985.

A pesar que el termino Indie no se comenzó a utilizar muchos años después. En los 80s un centenar de artistas hoy podrían ser considerados como o cercanos al Indie-Pop a pesar de que tuvieran singles de gran éxito mundial. Hoy son de gran influencia para todas las nuevas generaciones de artistas, los cuales mencionan en reportajes. Arrancamos con los maravillosos Talk Talk.” I Don't Believe in You”, single extraido de su tercer álbum “The Colour of Spring” de 1986. Aztec Camera, “How Men Are”. Single de su tercer álbum publicado en 1987, “Love” Everything but the Girl, “Cross My Heart”. Canción extraída de su álbum “Baby, The Stars Shine Bright” de 1986 pero no se publicó como single, a pesar de figurar en un par de recopilatorios de la banda. The Adventures, “Don't Tell Me”. Canción extraída de su álbum debut “Theodore And Friends“ editado en 1985. Deacon Blue, “When Will You (Make My Telephone Ring)”. Single editado en 1987, extraído del álbum debut del grupo escoces “Raintown”. Aquí escuchareis la versión de 12 pulgadas. The Blow Monkeys, “Out With Her”. Se lanzó como single solo en el Reino Unido y Alemania en 1987. Pertenece al tercer disco del proyecto de Dr. Robert, “She Was Only a Grocer's Daughter”. The Blue Nile, “Over The Hillside”. La canción abre el segundo álbum de la banda escocesa “Hats”, publicado en 1989. Roxy Music, “Avalon”. Single y título de su octavo y último álbum de estudio, publicado en 1982. Immaculate Fools, “Tragic Comedy”. Uno de sus singles más exitosos, extraído del disco “Dumb Poet” del año 87. Fra Lippo Lippi, “Everytime I See You”. Canción editada originalmente como single por el grupo noruego. Se incorporó en la edición europea de su disco “Songs” de 1986, aunque una versión diferente. Morrissey, “Everyday is Like Sunday”. Al año de la disolución de The Smiths, Morrissey publica en 1988 su primer álbum como solista. Su segundo single, el primero fue “Suedehead”, fue este “Everyday is Like Sunday”. Cock Robin, “The Promise You Made”. Single perteneciente al álbum debut de la banda americana, publicado en 1985. Tears for Fears, “Advice For The Young at Heart”. Extraído de su tercer álbum “The Seeds of Love” de 1989, el single se publicó en 1990. Prefab Sprout,”Goodbye Lucille #1”. Editado en 1985 bajo el nombre de “Johnny Johnny”, extraído del aclamadísimo segundo álbum del grupo “Steve McQueen”. China Crisis, “Wishful Thiunking”. Single extraído del segundo álbum de la banda de Liverpool, “Working With Fire & Steel (Possible Pop Song Vol.2)”, publicado en 1983. The Dream Academy, “The Love Parede”. Luego del exitoso primer single “Life in a Northem Town”, extraen un segundo sencillo de su álbum debut, en 1985.

This episode Tim is joined by Ricky Ross & Lorraine McIntosh to talk through Deacon Blue's second album, When the World Knows Your Name. It was a number 1 album in the UK going double platinum and contained the band's first top 10 hit, and 4 subsequent singles reaching the top 30. Together they discuss the album, offer their unusual ways of remembering song ideas, talk about playing Deacon Blue songs at their daughter's wedding and pay tribute to the band's original guitarist, Graeme Kelling.When the World Knows Your Name was released on 6th April 1989 on Columbia.

Siana goes to a Deacon Blue concert and talks about stimulation and over-stimulation. We compare notes on what that feels like and what we do to recover. This sparks on ongoing conversation about how autistic people spend and recoup energy and why this may be different to the experiences of others, and why processes around managing tasks and time can be such dominant features of our lives. We talk about how "nothing just happens" in our lives. Why "it depends" and "good enough" are such important concepts to us as autistic people. An interruption by Leo's dogs Molly & Woody provides a wonderful illustration of distraction and how this effects AuDHD communication and thought!   Links Deacon Blue Spoon Theory An article on demand avoidance Our website Our socials        

Ged and Iestyn take a breather ahead of the Georgia game to look back at many things. Just how good is the Wales team? Who is the most important player at RWC 2023? Are New Zealand back? Who was the drummer in Deacon Blue? The Attacking Scrum at the Rugby World Cup is sponsored by MSG Tours. If you fancy joining the boys in Nantes for Wales' final pool game against Georgia, you can still buy packages through MSG Tours. Find out more here. https://linktr.ee/attackingscrum Get 20% off SO Coffee from August 2023 by using code SCRUM20 at the checkout. Learn more about your ad choices. Visit megaphone.fm/adchoices

In the words of Deacon Blue we think of a 'ship called dignity' and look at this weeks news in the light of human dignity....looking at banning discussion on covid; Target; Dark Mojo; Implanting Wombs; Monty Python; Teacher threatens pupil for stating only two genders; win for Christian teaching assistant; US funds drag queens in Ecuador; the Ashes; Death of Shane Warne;  the Central African Republic; the Titan; Bonny M; Honduras; Matilda; Cromwell's Prayer book; Atheist converts;  the Gettys; with music from Deacon Blue, Booker T and the MGs; , Boney M, the CAR, the African Children's Choir,  and the Gettys.   

Deacon Blue : Town To Be Blamed La Reprise, L'original Antony and the Johnsons - Knockin' on Heaven's Door Bob Dylan - Knockin' On Heaven's Door Alberta Cross : Mercy Crosby, Stills, Nash & Young : Cathedral Them Crooked Vultures : Bandoliers Queens Of The Stone Age : Emotion Sickness Led Zeppelin : You Shook Me Foo Fighters : Rescued Björk : Army Of Me (Sucker Punch Remix) Extreme : Xout Oasis : Slide Away La Reprise L'original Didier Wampas : Les Neiges Du Kilimanjaro Pascal Danel : Les Neiges Du Kilimanjaro Saint Agnes : Bloodsuckers Les Zeppelin : When The Leevee Breaks Crown Lands : Lady Of The Lake Stone Fury : Burns Like A Star City And Colour : The Water Is Coming Killing Joke : Love Like Blood Killing Joke : Full Spectrum Dominance

We're really starting to think that a pound just isn't very sound at all any more… This week we thought it'd be good to bring back your favourite Poundland £1 album review show. Except, Poundland doesn't sell CDs anymore (probably a good thing), which means we had to start looking at other places to buy CDs for £1. Which meant going to charity shops and to be honest, that sits just fine with us. We roped Vicki into the latest edition, and instead of releasing it to our subs we thought we'd show people who aren't subs just exactly what they're missing by putting this episode on general release. So what do we have in our £1 album bucket this week? Well folks, it's Deacon Blue, Ed Sheeran and Miss Dynamite. Not sure what else we can say. This went about as well as you'd expect - torturously so. Just…just go with it.

The Braw and The Brave is a podcast about people and their passions. Episode 194 is in conversation with Lisa McKechnie whose passion for performing began at just 4 years old, when she featured on a GMTV talent competition. A naturally gifted vocalist, she began to pursue more opportunities to share her talents and at age 14 sang at ‘Live & Loud' to an audience of 32,000 at Hampden stadium alongside artists such as Daniel Beddingfiend, Blue and Rachel Stevens. Awarded a BA in Musical Theatre from University of West Of Scotland, Lisa went on to establish her own theatre school, Fever Pitch Academy and in 2013 was named STV's Young Community Entrepreneur of The Year. Lisa has been a member of SoulNation Gospel Choir, for almost a decade performing at numerous prestigious venues and events up and down the country, singing with the likes of Deacon Blue and providing backing vocals for Kerry Ellis. Lisa has featured in various productions with Insideout Productions and at the time of recording is gearing up to star in The Journey Back at the SEC Armadillo with Stuart Hay Productions. With dedication, determination and an abundance of skill and talent Lisa has built a successful business and career whilst being mum to son Jude. Overcoming adversity, her infectious positivity and unwavering zest for life continues to fuel the ventures and opportunities Lisa welcomes with both arms! Lisa is a Bellshill lass who is indeed braw and brave! Enjoy! Fever Pitch Academy website https://www.feverpitchacademy.com/ Fever Pitch Academy Facebook https://www.facebook.com/Feverpitchacademy Tickets for The Journey Back https://www.ticketmaster.co.uk/the-journey-back- glasgow-04-02-2023/event/36005D7EE93D5F5E If you've enjoyed this episode you can help support the production of future episodes by clicking on the Ko-Fi link below. Many thanks. https://ko-fi.com/thebrawandthebrave Follow The Braw and The Brave https://www.instagram.com/thebrawandthebravepodcast/ https://www.facebook.com/TheBrawandTheBrave https://twitter.com/BrawBrave See https://soundcloud.com/ for privacy and terms of use.

This week on the Fortunately podcast, Fi and Jane are back from holidays and are joined by singer and broadcaster Ricky Ross. Now a presenter on BBC Scotland, Ricky Ross is the lead singer of Deacon Blue, and he shares stories from his new memoir Walking Back Home. He talks about following his faith whilst living the life of a rockstar, and all three discuss what makes a good interview with a musician. Ricky also explains just why he never went to a barbecue at Bruce Springsteen's house. Before he arrives, Fi and Jane discuss breakfast buffets, saving sun loungers and feelings you're not supposed to have. Get in touch: fortunately.podcast@bbc.co.uk

Plus, the Scottish pop icons Deacon Blue are on the show with Vinny.

Cuando se habla de la música de los 80s enseguida todos nombran Sweet Dreams, Take on Me o Relax. Pero fue una década muy rica de estilos, géneros y sonidos nuevos. Continuando con el podcast anterior, en donde todas las canciones estaban unidas por un punto en común o vinculo. En este caso he seleccionado canciones cuyo vinculo es la melancolía, y un punto de tristeza (muy propio del Post Punk y el Goth Rock). En este caso el núcleo de este conjunto de canciones es Broken Land de The Adventures, procedentes de Irlanda del Norte, una bellísima melodía que logro gran éxito en las islas británicas en el '88 y ha sonado en las emisoras de radio de gran parte del mundo. Continuamos con Soul Crying Out de Simple Minds que no fue publicado como single, pertenece al disco Street Fighting Years del año '89. Una letra que hace referencia a los años de la infancia de Jim Kerr (el líder del grupo) en Glasgow. Give it Up de Talk Talk lanzado como single en 1986, un downtempo decadente y melancólico con una letra un tanto pesimista y desesperanzadora. The Woodentops y The Blue Nile, dos grupos que con los años han quedado olvidados, del primero rescato Give It Time (1985) y del segundo The Downtown Lines (1989), ambas canciones sonaron en su momento, incluso la canción de The Blue Nile fue versionada por Annie Lennox en su disco Medusa, melodías melancólicas ochenteras. Everything But The Girl, grupo de origen Indie Pop con toques de Jazz, pasando por el Pop ochentero y acabando como una banda de electrónica en los 90s, pero siempre conservando su sello independiente. De ellos rescato Driving, publicada como single en 1989 y uno de sus mayores éxitos de la década. Morrissey y The Smiths, el primero líder de los Smiths y quien comenzó su carrera solista tras la disolución del grupo, uno de sus primeros singles y éxitos como solista fue justamente Everyday Like Sundays, quien mejor que Morrissey para hablar de letras melancólicas y tristes. En el caso de los Smiths he incluido There Is a Light That Never Goes Out, que se puede agregar a esta altura de esta canción?, con los años se convirtió en una de las más populares del grupo, su letra habla de un amor no correspondido y con un supuesto final fatal. Los escoceses Deacon Blue, y los ingleses Prefab Spout. Los primeros con su éxito del '87 Dignity, los segundos con When Love Breaks Down de 1984. The Dream Academy y The Church, casi dos “One Hit Wonder” pero que fueron mucho mas a pesar de un solo gran éxito a nivel mundial. Life in a Northdem Town, publicada en 1985, una canción atípica para la época, mas propia de finales de los 60s con esas armonías vocales, melódicas bucólicas propias de Folk de aquella época y un espíritu muy Hippie, aquí podréis escuchar la versión extendida. En el caso de The Church su gran éxito Under The Milky Way (1988). El grupo australiano logra el éxito masivo después de casi 10 años de carrera. Echo & The Bunnymen y su Bring on The Dancing Horses, que se puede agregar sobre este grupo y esta canción? Publicada como single en 1985 y grabada para el film de John Hughes “Pretty In Pink”. Peter Murphy, ex líder de Bauhaus, comenzó su carrera solita a mediados de los 80s, con un estilo mas cercano al Pop Rock / Post Punk que al sonido gótico de su grupo. Aquí podréis escuchar Indigo Eyes del año '88. The Stranglers, sobrevivientes del Punk continuaron su carrera durante toda la década y en el año 1986 publicaron su mayor éxito a nivel mundial, Always The Sun. Tears for Fears, dentro de su exitoso álbum “Songs From The Big Chair” nos encontramos con la bellísima Head Over Hills, siendo el cuarto single del disco. Y con la que cierro el podcast. Como el podcast anterior, no me he centrado en un movimiento en específico sino en el valor de un conjunto de canciones que uniéndolas suenan en armonía unas con otras. Espero disfrutéis del podcast. TRACKLIST: 01 - The Adventures - Broken Land 02 - Simple Minds - Soul Crying Out 03 - Talk Talk - Give It Up 04 - The Woodentops - Give it Time 05 - Everything But The Girl - Driving 06 - The Blue Nile - The Downtown Lights 07 - The Dream Academy - Life in a Northern Town (Extended Version) 08 - Deacon Blue - Dignity 09 - Morrissey - Everyday is Like Sunday 10 - Echo & The Bunnymen - Bring On The Danging Horses 11 - Peter Murphy - Indigo Eyes (Single Edit) 12 - The Church - Under The Milky Way 13 - The Smiths - There is a Light That Never Goes Out 14 - Prefab Sprout - When Love Breaks Down 15 - The Stranglers - Always The Sun (Hot Mix) 16 - Tears for Fears - Head Over Heels (Radio Version)

This week's show covers new music from London's Jamie xx, Brooklyn's Boyish, a film soundtrack by Pennsylvania's Alex G, and a track from the debut album by London's Walt Disco.For the archive pick this week, Mark dusts off a 1989 gem from the Glaswegian band Deacon Blue. This is Scottish uptempo soul pop from an ‘80s band, which is always a fun thing to find via the time machine. Of course, there are six more bonus tracks, but you have to sign up for our email newsletter to get those. It's pretty easy to do, if you just click this link.  (And do so without fear. We won't misuse your email address, as this show is run by two guys, Mark and Brendan; Not some faceless corporation.) Lastly, don't miss our fabulous Spotify playlists. We make one for each episode of the show, so grab the latest if you are up to date, and dig into previous episodes if you are new here, or just curious. Have a terrific week! 

A Scottish Podcast About Scotland!This week it is just Chris and Jonny venturing out on their own, together but alone, exploring new things but with no guide to light their path. The boys take a look at some of their favourite bands and songs from home all while taking the p*ss out of Rory. Crank up the volume and put on your dancing shoes for this week's episode of Thistle Do Nicely.  SláinteCONTACT:Instagram: thistledopodTwitter: @thistledopodFacebook: www.facebook.com/thistledopodEmail: thistledonicelypod@gmail.comwebsite & sources: https://www.thistledonicelypod.com/SOURCESThe Proclaimers - Sunshine on Leith Idlewild - You Held The World In Your ArmsDeacon Blue - Your Swaying ArmsDel Amitri - Always The Last to KnowKT Tungstall - Black Horse and The Cherry TreeIdlewild - In Remote Part/Scottish Fiction Travid - Turn Bay City Rollers - Saturday NightDel Amitri - Roll to Me