Podcasts about Echoplex

Episode 171 Chapter 30, EMS Analog Synthesizers. Works Recommended from my book, Electronic and Experimental Music  Welcome to the Archive of Electronic Music. This is Thom Holmes. This podcast is produced as a companion to my book, Electronic and Experimental Music, published by Routledge. Each of these episodes corresponds to a chapter in the text and an associated list of recommended works, also called Listen in the text. They provide listening examples of vintage electronic works featured in the text. The works themselves can be enjoyed without the book and I hope that they stand as a chronological survey of important works in the history of electronic music. Be sure to tune-in to other episodes of the podcast where we explore a wide range of electronic music in many styles and genres, all drawn from my archive of vintage recordings. There is a complete playlist for this episode on the website for the podcast. Let's get started with the listening guide to Chapter 30, EMS Analog Synthesizers from my book Electronic and Experimental music.   Playlist: MUSIC MADE WITH EMS ANALOG SYNTHESIZERS   Time Track Time Start Introduction –Thom Holmes 01:34 00:00 1.     Delia Derbyshire, “Dance From ‘Noah' " (1970). Composed for a television program. Used the EMS VCS3. 00:55 01:44 2.     Selections from the demonstration disc, EMS Synthi And The Composer (1971). Excerpts from Harrison Birtwistle, “Medusa,” Peter Zinovieff, “January Tensions,” and Tristram Cary, “Continuum.” 06:15 02:34 3.     Peter Zinovieff and Harrison Birtwistle, “Chronometer” (1971–2). Featured both the EMS Synthi VCS3 and modified sound recordings of the ticking of Big Ben and the chimes of Wells Cathedral clock. 24:23 08:48 4.     Mike Hankinson, “Toccata And Fugue In D Minor” (Bach) (1972) from The Classical Synthesizer. South African record realized using the Putney (EMS) VCS3. 07:04 33:06 5.     Electrophon, “Arrival of the Queen of Sheba” (1973) from In a Covent Garden (1973).  Electrophon Music was described as the studio where the electronics were recorded and produced in the UK by Radiophonic musicians Brian Hodgson, Dudley Simpson. A variety of synthesizers were used including the obscure EMS Synthi Range, a multi-effect instrument. 03:04 40:10 6.     The Eden Electronic Ensemble, “Elite Syncopations” (Joplin) (1974) from The Eden Electronic Ensemble Plays Joplin. Realized using the EMS VCS3 and Minimoog synthesizers. 04:53 43:12 7.     Peter Zinovieff, “A Lollipop For Papa” (1974).  Realized with the EMS Synthi AKS. 06:26 48:04 8.     Peter Zinovieff and Hans Werner Henze, “Tristan” (Long Section) (1975). Tape accompaniment realized with the EMS Synthi AKS. 07:40 54:40 9.     J.D. Robb, “Poem of Summer” (1976) from Rhythmania And Other Electronic Musical Compositions. Realized using the EMS Synthi AKS. 02:04 01:02:18 10.   J.D. Robb, “Synthi Waltz” (1976) from Rhythmania And Other Electronic Musical Compositions. Realized using the EMS Synthi AKS and Synthi Sequencer 256 (digital sequencer). 01:52 01:04:24 11.   Bruno Spoerri, “Hymn Of Taurus (Taurus Is Calling You!)” (1978) from Voice Of Taurus. Realized using a host of equipment, including a few EMS instruments: EMS Synthi 100, EMS VCS3, EMS AKS, EMS Vocoder 2000, Alto Saxophone with EMS Pitch-to-voltage Converter & Random Generator, plus the Lyricon, Prophet-5 Polyphonic Synthesizer, ARP Omni & Odyssey, Minimoog, Moog Taurus Bass Pedal, RMI Keyboard Computer, Ondes Martenot , Vako Polyphonic Orchestron, Bode Frequency Shifter, AMS Tape Phase Simulator, Echoplex, Roland Echo, Roland Rhythm Box, Bruno Spoerri. 02:48 01:06:16 12.   Henry Sweitzer, “Open Windows” (1979) from Te Deum.  Realized with the EMS Synthi AKS. 11:11 01:09:02 13.   Eduard Artemyev, Yuri Bogdanov, Vladimir Martynov, “Le Vent Dans La Plaine,” “Io Mi Son Giovinetta,” and “Why Ask You?” (1980) from Metamorphoses. Composed and realized using the EMS Synthi 100, a large synthesizer unit combining several EMS3 models and connecting circuitry. 08:38 01:20:14 14.   Jean-Michel Jarre, “Les Chants Magnétiques,” (side 1) (1981) from Les Chants Magnétiques. Portions realized with the EMS Synthi AKS, EMS Synthi VCS3, and EMS Vocoder 1000. 17:58 01:28:52 15.   Alessandro Cortini and Merzbow, “AAMC” (2017) from Alessandro Cortini And Merzbow. Recent recording with all sounds realized using a vintage EMS Synthi AKS. 04:49 01:46:40   Additional opening, closing, and other incidental music by Thom Holmes. My Books/eBooks: Electronic and Experimental Music, sixth edition, Routledge 2020. Also, Sound Art: Concepts and Practices, first edition, Routledge 2022. See my companion blog that I write for the Bob Moog Foundation. For a transcript, please see my blog, Noise and Notations. Original music by Thom Holmes can be found on iTunes and Bandcamp.  

This special 200th Anniversary episode of the podcast is hosted by KD Bauer and features members of the Next in Nonprofits team! KD talks with Steve Boland, Kathleen Conroy and Chelley McLear about sharing knowledge in the nonprofit sector. (Team members Bruktait Kebede, Keren Gudeman, and Grace Mayo contributed ideas off mic!) Next in Nonprofits chooses to do this in many ways, including by producing this podcast! Many charities learn a great deal about community support, new tools, partnerships and so much more. Sharing that learning is not always the top priority of any one group, but organizations like Next in Nonprofits get to learn from the stories and missions of many different groups. KD leads the team through a conversation about what brings people to nonprofit missions, how knowledge sharing - especially in a team - can create better outcomes, and contributes to a framework of abundance over scarcity. Also, listen in to know why we are referring to the Nine Inch Nails song "Echoplex".

Dry Team experiences the terror of the Fear Biome.   Killings summons a chow chow. Lilian magically manifests heroism. Stranger finds his roots.   STARRING - Austin Yorski: https://bsky.app/profile/austinyorski.bsky.social Quinn Larios: https://bsky.app/profile/rollot.bsky.social Sara: https://bsky.app/profile/cosmignon.bsky.social   SUPPORT - Patreon.com/AustinYorski Patreon.com/Cosmignon Patreon.com/WeeklyMangaRecap   ART - @cosmignon   AUDIO - "13 Ghosts II" by Nine Inch Nails licensed under a Creative Commons Attribution-Noncommercial-Share Alike license "25 Ghosts III" by Nine Inch Nails licensed under a Creative Commons Attribution-Noncommercial-Share Alike license "Echoplex" by Nine Inch Nails licensed under a Creative Commons Attribution-Noncommercial-Share Alike license OC ReMix #1527: Sonic the Hedgehog 3 'Walk on Water' [Hydrocity Zone: Act 1] by housethegrate (youtube.com)   DISCORD - https://discord.gg/YMU3qUH

The Vibe Checkers choose between two potential body parts and finish preparations for the climactic showdown with Wight the Storm Giant.   Killings gets her affairs in order with Speaker Mox. Lilian reconciles with Needles. Stranger pitches a new type of queuing system.   STARRING - Austin Yorski: https://bsky.app/profile/austinyorski.bsky.social Quinn Larios: https://bsky.app/profile/rollot.bsky.social Sara: https://bsky.app/profile/cosmignon.bsky.social   SUPPORT - Patreon.com/AustinYorski Patreon.com/Cosmignon Patreon.com/WeeklyMangaRecap   ART - @eyrphyre   AUDIO - OC ReMix #1527: Sonic the Hedgehog 3 'Walk on Water' [Hydrocity Zone: Act 1] by housethegrate (youtube.com) Silent Hill 2 OC ReMix by HoboKa: "Numbness & Knives" [Promise (Reprise)] Super Metroid OC ReMix by 744: "Submergence" [Title, Maridia - Rocky Underground Water Area] (#4462) (youtube.com) Elden Ring OC ReMix by Emunator & Hotline Sehwani: "Goldscourge" [The Final Battle] (#4692) (youtube.com) "Echoplex" by Nine Inch Nails licensed under a Creative Commons Attribution-Noncommercial-Share Alike license   DISCORD - https://discord.gg/YMU3qUH

Dark Tranquility singer Mikael Stanne zoomed in to talk about their new album "Endtime Signals" (out now) and their tour coming to the Echoplex in LA on 9/15/24. Here's what we talked about: "Endtime Signals" album (0-7) 9/15/24 at the Echoplex w/Amorphis (7-12) The Halo Effect (12-14) Mandatory Metallica (14-end)

We talked about Walter Hill's genre-defying swamp-core classic, Southern Comfort. We also remember Ricky Gervais' The Invention of Lying for a while. Then, on the debut of Malcolm on the Town, we give scene reports from last night's hottest concerts in LA. Eddie saw Vampire Weekend at the Hollywood Bowl, and Malcolm saw Nettspend at the Echoplex. get the full episode at https://www.patreon.com/Extended_Clip

Escoltem el primer senzill del nou disc d'Oques Grasses, "Com est

Hiiiiiiiiiiiiiiiiiiii! This week the lads are recording the Pubcast all the way from Los Angeles. Fresh from their show with New Order and a headliner at the Echoplex, they look forward to a sunny festival appearance at Darker Days. Its not all plain sailing, however, as the airline lost Joe's baggage and Charlie has a showdown with a woman in Whole Foods. Myles reveals he'd solve world hunger with $900bn whilst Tom would buy Messi and a yacht. Keep sending your thoughts and messages to blossomspubcast@gmail.com for a special episode next week. Hosted on Acast. See acast.com/privacy for more information.

Check out Miner Street Recordings.Hitting an asteroid with a rocket - https://www.youtube.com/watch?v=8-8eEniEfgU&themeRefresh=1 

Megan Gersch is a branding and web design unicorn that has been in the field for over 15 years. She has worked with some of the most well-known names in the entertainment industry (Netflix, Spaceland Presents, The Echo, Echoplex, Regent Theater, KCRW Radio, and Live Nation). She also cohosts the Your Sparkly Brand podcast, a show designed to empower entrepreneurs with the tips, tools and strategies needed make their businesses stand out from their competitors. Megan joins me to deep dive into creating and building a business on TikTok. We dive into the nitty gritty of branding with a purpose, building an effective website, and being yourself on video. Join the Money and Youtube Clubhouse room on Fridays: https://www.clubhouse.com/club/talking-youtube-by-vidiq Join our Facebook Group: http://t.ly/Nl9T Finding what will perform well isn't easy, but VidIQ is my go to solution for tracking trends, key words, and what my viewers are looking for. When you download the VidIQ extension you will be able to level up your content! Get vidIQ to blow up your channel at womeonofyoutube.com/vidiq Our community is focused on helping women not only to be better creators but to also make money doing it. Spreadshop allows for you to start making money as soon as you have merch to sell. You can open your FREE online merch store with Spreadshop in minutes! Cost-free, hassle-free, it's merchandising made easy. Click this link to get started for FREE! Get started with Spreadshop at https://womenofyoutube.com/Spreadshop Get your Women of Video Conference tickets: http://t.ly/HyKZ Follow Desiree at http://t.ly/GbY4 Follow Megan on TikTok at megangersch Time Stamps: 00:00 - Podcast Intro 05:28 - Meet Megan 09:54 - What has kept Megan on TikTok 11:08 - Building a business on TikTok 13:24 - Overcoming your website design obstacles 21:16 - Adding additional revenue streams 26:25 - Overcoming your struggles on video 33:10 - Rapid fire fun --- Send in a voice message: https://anchor.fm/womenofvideo/message

Episode Overview:How Megan creates bold web designs and branding for creativesHow Megan overcame and continues to overcome the challenges of running her business full-timeThe challenges and opportunities that comes with being an entrepreneur Download our budgeting courseClick here to connect with meTikTokIGAdvertising/Co-Branding Inquiries: unstuckkd.com/pages/for-brandsConnect with Megan Free Website ChecklistWebsiteInstagramTikTokYouTubeMegan Gersch is a branding and web design unicorn that has been in the field for over 15 years. She has worked with some of the most well-known names in the entertainment industry (Netflix, Spaceland Presents, The Echo, Echoplex, Regent Theater, KCRW Radio, and Live Nation). She also cohosts the Your Sparkly Brand podcast, a show designed to empower entrepreneurs with the tips, tools and strategies needed make their businesses stand out from their competitors. 

Episode one hundred and fifty-eight of A History of Rock Music in Five Hundred Songs looks at “White Rabbit”, Jefferson Airplane, and the rise of the San Francisco sound. Click the full post to read liner notes, links to more information, and a transcript of the episode. Patreon backers also have a twenty-three-minute bonus episode available, on "Omaha" by Moby Grape. Tilt Araiza has assisted invaluably by doing a first-pass edit, and will hopefully be doing so from now on. Check out Tilt's irregular podcasts at http://www.podnose.com/jaffa-cakes-for-proust and http://sitcomclub.com/ Erratum I refer to Back to Methuselah by Robert Heinlein. This is of course a play by George Bernard Shaw. What I meant to say was Methuselah's Children. Resources I hope to upload a Mixcloud tomorrow, and will edit it in, but have had some problems with the site today. Jefferson Airplane's first four studio albums, plus a 1968 live album, can be found in this box set. I've referred to three main books here. Got a Revolution!: The Turbulent Flight of Jefferson Airplane by Jeff Tamarkin is written with the co-operation of the band members, but still finds room to criticise them. Jefferson Airplane On Track by Richard Molesworth is a song-by-song guide to the band's music. And Been So Long: My Life and Music by Jorma Kaukonen is Kaukonen's autobiography. Some information on Skip Spence and Matthew Katz also comes from What's Big and Purple and Lives in the Ocean?: The Moby Grape Story, by Cam Cobb, which I also used for this week's bonus. Patreon This podcast is brought to you by the generosity of my backers on Patreon. Why not join them? Transcript Before I start, I need to confess an important and hugely embarrassing error in this episode. I've only ever seen Marty Balin's name written down, never heard it spoken, and only after recording the episode, during the editing process, did I discover I mispronounce it throughout. It's usually an advantage for the podcast that I get my information from books rather than TV documentaries and the like, because they contain far more information, but occasionally it causes problems like that. My apologies. Also a brief note that this episode contains some mentions of racism, antisemitism, drug and alcohol abuse, and gun violence. One of the themes we've looked at in recent episodes is the way the centre of the musical world -- at least the musical world as it was regarded by the people who thought of themselves as hip in the mid-sixties -- was changing in 1967. Up to this point, for a few years there had been two clear centres of the rock and pop music worlds. In the UK, there was London, and any British band who meant anything had to base themselves there. And in the US, at some point around 1963, the centre of the music industry had moved West. Up to then it had largely been based in New York, and there was still a thriving industry there as of the mid sixties. But increasingly the records that mattered, that everyone in the country had been listening to, had come out of LA Soul music was, of course, still coming primarily from Detroit and from the Country-Soul triangle in Tennessee and Alabama, but when it came to the new brand of electric-guitar rock that was taking over the airwaves, LA was, up until the first few months of 1967, the only city that was competing with London, and was the place to be. But as we heard in the episode on "San Francisco", with the Monterey Pop Festival all that started to change. While the business part of the music business remained centred in LA, and would largely remain so, LA was no longer the hip place to be. Almost overnight, jangly guitars, harmonies, and Brian Jones hairstyles were out, and feedback, extended solos, and droopy moustaches were in. The place to be was no longer LA, but a few hundred miles North, in San Francisco -- something that the LA bands were not all entirely happy about: [Excerpt: The Mothers of Invention, "Who Needs the Peace Corps?"] In truth, the San Francisco music scene, unlike many of the scenes we've looked at so far in this series, had rather a limited impact on the wider world of music. Bands like Jefferson Airplane, the Grateful Dead, and Big Brother and the Holding Company were all both massively commercially successful and highly regarded by critics, but unlike many of the other bands we've looked at before and will look at in future, they didn't have much of an influence on the bands that would come after them, musically at least. Possibly this is because the music from the San Francisco scene was always primarily that -- music created by and for a specific group of people, and inextricable from its context. The San Francisco musicians were defining themselves by their geographical location, their peers, and the situation they were in, and their music was so specifically of the place and time that to attempt to copy it outside of that context would appear ridiculous, so while many of those bands remain much loved to this day, and many made some great music, it's very hard to point to ways in which that music influenced later bands. But what they did influence was the whole of rock music culture. For at least the next thirty years, and arguably to this day, the parameters in which rock musicians worked if they wanted to be taken seriously – their aesthetic and political ideals, their methods of collaboration, the cultural norms around drug use and sexual promiscuity, ideas of artistic freedom and authenticity, the choice of acceptable instruments – in short, what it meant to be a rock musician rather than a pop, jazz, country, or soul artist – all those things were defined by the cultural and behavioural norms of the San Francisco scene between about 1966 and 68. Without the San Francisco scene there's no Woodstock, no Rolling Stone magazine, no Rock and Roll Hall of Fame, no hippies, no groupies, no rock stars. So over the next few months we're going to take several trips to the Bay Area, and look at the bands which, for a brief time, defined the counterculture in America. The story of Jefferson Airplane -- and unlike other bands we've looked at recently, like The Pink Floyd and The Buffalo Springfield, they never had a definite article at the start of their name to wither away like a vestigial organ in subsequent years -- starts with Marty Balin. Balin was born in Ohio, but was a relatively sickly child -- he later talked about being autistic, and seems to have had the chronic illnesses that so often go with neurodivergence -- so in the hope that the dry air would be good for his chest his family moved to Arizona. Then when his father couldn't find work there, they moved further west to San Francisco, in the Haight-Ashbury area, long before that area became the byword for the hippie movement. But it was in LA that he started his music career, and got his surname. Balin had been named Marty Buchwald as a kid, but when he was nineteen he had accompanied a friend to LA to visit a music publisher, and had ended up singing backing vocals on her demos. While he was there, he had encountered the arranger Jimmy Haskell. Haskell was on his way to becoming one of the most prominent arrangers in the music industry, and in his long career he would go on to do arrangements for Bobby Gentry, Blondie, Steely Dan, Simon and Garfunkel, and many others. But at the time he was best known for his work on Ricky Nelson's hits: [Excerpt: Ricky Nelson, "Hello Mary Lou"] Haskell thought that Marty had the makings of a Ricky Nelson style star, as he was a good-looking young man with a decent voice, and he became a mentor for the young man. Making the kind of records that Haskell arranged was expensive, and so Haskell suggested a deal to him -- if Marty's father would pay for studio time and musicians, Haskell would make a record with him and find him a label to put it out. Marty's father did indeed pay for the studio time and the musicians -- some of the finest working in LA at the time. The record, released under the name Marty Balin, featured Jack Nitzsche on keyboards, Earl Palmer on drums, Milt Jackson on vibraphone, Red Callender on bass, and Glen Campbell and Barney Kessell on guitars, and came out on Challenge Records, a label owned by Gene Autry: [Excerpt: Marty Balin, "Nobody But You"] Neither that, nor Balin's follow-up single, sold a noticeable amount of copies, and his career as a teen idol was over before it had begun. Instead, as many musicians of his age did, he decided to get into folk music, joining a vocal harmony group called the Town Criers, who patterned themselves after the Weavers, and performed the same kind of material that every other clean-cut folk vocal group was performing at the time -- the kind of songs that John Phillips and Steve Stills and Cass Elliot and Van Dyke Parks and the rest were all performing in their own groups at the same time. The Town Criers never made any records while they were together, but some archival recordings of them have been released over the decades: [Excerpt: The Town Criers, "900 Miles"] The Town Criers split up, and Balin started performing as a solo folkie again. But like all those other then-folk musicians, Balin realised that he had to adapt to the K/T-event level folk music extinction that happened when the Beatles hit America like a meteorite. He had to form a folk-rock group if he wanted to survive -- and given that there were no venues for such a group to play in San Francisco, he also had to start a nightclub for them to play in. He started hanging around the hootenannies in the area, looking for musicians who might form an electric band. The first person he decided on was a performer called Paul Kantner, mainly because he liked his attitude. Kantner had got on stage in front of a particularly drunk, loud, crowd, and performed precisely half a song before deciding he wasn't going to perform in front of people like that and walking off stage. Kantner was the only member of the new group to be a San Franciscan -- he'd been born and brought up in the city. He'd got into folk music at university, where he'd also met a guitar player named Jorma Kaukonen, who had turned him on to cannabis, and the two had started giving music lessons at a music shop in San Jose. There Kantner had also been responsible for booking acts at a local folk club, where he'd first encountered acts like Mother McCree's Uptown Jug Champions, a jug band which included Jerry Garcia, Pigpen McKernan, and Bob Weir, who would later go on to be the core members of the Grateful Dead: [Excerpt: Mother McCree's Uptown Jug Champions, "In the Jailhouse Now"] Kantner had moved around a bit between Northern and Southern California, and had been friendly with two other musicians on the Californian folk scene, David Crosby and Roger McGuinn. When their new group, the Byrds, suddenly became huge, Kantner became aware of the possibility of doing something similar himself, and so when Marty Balin approached him to form a band, he agreed. On bass, they got in a musician called Bob Harvey, who actually played double bass rather than electric, and who stuck to that for the first few gigs the group played -- he had previously been in a band called the Slippery Rock String Band. On drums, they brought in Jerry Peloquin, who had formerly worked for the police, but now had a day job as an optician. And on vocals, they brought in Signe Toley -- who would soon marry and change her name to Signe Anderson, so that's how I'll talk about her to avoid confusion. The group also needed a lead guitarist though -- both Balin and Kantner were decent rhythm players and singers, but they needed someone who was a better instrumentalist. They decided to ask Kantner's old friend Jorma Kaukonen. Kaukonen was someone who was seriously into what would now be called Americana or roots music. He'd started playing the guitar as a teenager, not like most people of his generation inspired by Elvis or Buddy Holly, but rather after a friend of his had shown him how to play an old Carter Family song, "Jimmy Brown the Newsboy": [Excerpt: The Carter Family, "Jimmy Brown the Newsboy"] Kaukonen had had a far more interesting life than most of the rest of the group. His father had worked for the State Department -- and there's some suggestion he'd worked for the CIA -- and the family had travelled all over the world, staying in Pakistan, the Philippines, and Finland. For most of his childhood, he'd gone by the name Jerry, because other kids beat him up for having a foreign name and called him a Nazi, but by the time he turned twenty he was happy enough using his birth name. Kaukonen wasn't completely immune to the appeal of rock and roll -- he'd formed a rock band, The Triumphs, with his friend Jack Casady when he was a teenager, and he loved Ricky Nelson's records -- but his fate as a folkie had been pretty much sealed when he went to Antioch College. There he met up with a blues guitarist called Ian Buchanan. Buchanan never had much of a career as a professional, but he had supposedly spent nine years studying with the blues and ragtime guitar legend Rev. Gary Davis, and he was certainly a fine guitarist, as can be heard on his contribution to The Blues Project, the album Elektra put out of white Greenwich Village musicians like John Sebastian and Dave Van Ronk playing old blues songs: [Excerpt: Ian Buchanan, "The Winding Boy"] Kaukonen became something of a disciple of Buchanan -- he said later that Buchanan probably taught him how to play because he was such a terrible player and Buchanan couldn't stand to listen to it -- as did John Hammond Jr, another student at Antioch at the same time. After studying at Antioch, Kaukonen started to travel around, including spells in Greenwich Village and in the Philippines, before settling in Santa Clara, where he studied for a sociology degree and became part of a social circle that included Dino Valenti, Jerry Garcia, and Billy Roberts, the credited writer of "Hey Joe". He also started performing as a duo with a singer called Janis Joplin. Various of their recordings from this period circulate, mostly recorded at Kaukonen's home with the sound of his wife typing in the background while the duo rehearse, as on this performance of an old Bessie Smith song: [Excerpt: Jorma Kaukonen and Janis Joplin, "Nobody Loves You When You're Down and Out"] By 1965 Kaukonen saw himself firmly as a folk-blues purist, who would not even think of playing rock and roll music, which he viewed with more than a little contempt. But he allowed himself to be brought along to audition for the new group, and Ken Kesey happened to be there. Kesey was a novelist who had written two best-selling books, One Flew Over The Cuckoo's Nest and Sometimes A Great Notion, and used the financial independence that gave him to organise a group of friends who called themselves the Merry Pranksters, who drove from coast to coast and back again in a psychedelic-painted bus, before starting a series of events that became known as Acid Tests, parties at which everyone was on LSD, immortalised in Tom Wolfe's book The Electric Kool-Aid Acid Test. Nobody has ever said why Kesey was there, but he had brought along an Echoplex, a reverb unit one could put a guitar through -- and nobody has explained why Kesey, who wasn't a musician, had an Echoplex to hand. But Kaukonen loved the sound that he could get by putting his guitar through the device, and so for that reason more than any other he decided to become an electric player and join the band, going out and buying a Rickenbacker twelve-string and Vox Treble Booster because that was what Roger McGuinn used. He would later also get a Guild Thunderbird six-string guitar and a Standel Super Imperial amp, following the same principle of buying the equipment used by other guitarists he liked, as they were what Zal Yanovsky of the Lovin' Spoonful used. He would use them for all his six-string playing for the next couple of years, only later to discover that the Lovin' Spoonful despised them and only used them because they had an endorsement deal with the manufacturers. Kaukonen was also the one who came up with the new group's name. He and his friends had a running joke where they had "Bluesman names", things like "Blind Outrage" and "Little Sun Goldfarb". Kaukonen's bluesman name, given to him by his friend Steve Talbot, had been Blind Thomas Jefferson Airplane, a reference to the 1920s blues guitarist Blind Lemon Jefferson: [Excerpt: Blind Lemon Jefferson, "Match Box Blues"] At the band meeting where they were trying to decide on a name, Kaukonen got frustrated at the ridiculous suggestions that were being made, and said "You want a stupid name? Howzabout this... Jefferson Airplane?" He said in his autobiography "It was one of those rare moments when everyone in the band agreed, and that was that. I think it was the only band meeting that ever allowed me to come away smiling." The newly-named Jefferson Airplane started to rehearse at the Matrix Club, the club that Balin had decided to open. This was run with three sound engineer friends, who put in the seed capital for the club. Balin had stock options in the club, which he got by trading a share of the band's future earnings to his partners, though as the group became bigger he eventually sold his stock in the club back to his business partners. Before their first public performance, they started working with a manager, Matthew Katz, mostly because Katz had access to a recording of a then-unreleased Bob Dylan song, "Lay Down Your Weary Tune": [Excerpt: Bob Dylan, "Lay Down Your Weary Tune"] The group knew that the best way for a folk-rock band to make a name for themselves was to perform a Dylan song nobody else had yet heard, and so they agreed to be managed by Katz. Katz started a pre-publicity blitz, giving out posters, badges, and bumper stickers saying "Jefferson Airplane Loves You" all over San Francisco -- and insisting that none of the band members were allowed to say "Hello" when they answered the phone any more, they had to say "Jefferson Airplane Loves You!" For their early rehearsals and gigs, they were performing almost entirely cover versions of blues and folk songs, things like Fred Neil's "The Other Side of This Life" and Dino Valenti's "Get Together" which were the common currency of the early folk-rock movement, and songs by their friends, like one called "Flower Bomb" by David Crosby, which Crosby now denies ever having written. They did start writing the odd song, but at this point they were more focused on performance than on writing. They also hired a press agent, their friend Bill Thompson. Thompson was friends with the two main music writers at the San Francisco Chronicle, Ralph Gleason, the famous jazz critic, who had recently started also reviewing rock music, and John Wasserman. Thompson got both men to come to the opening night of the Matrix, and both gave the group glowing reviews in the Chronicle. Record labels started sniffing around the group immediately as a result of this coverage, and according to Katz he managed to get a bidding war started by making sure that when A&R men came to the club there were always two of them from different labels, so they would see the other person and realise they weren't the only ones interested. But before signing a record deal they needed to make some personnel changes. The first member to go was Jerry Peloquin, for both musical and personal reasons. Peloquin was used to keeping strict time and the other musicians had a more free-flowing idea of what tempo they should be playing at, but also he had worked for the police while the other members were all taking tons of illegal drugs. The final break with Peloquin came when he did the rest of the group a favour -- Paul Kantner's glasses broke during a rehearsal, and as Peloquin was an optician he offered to take them back to his shop and fix them. When he got back, he found them auditioning replacements for him. He beat Kantner up, and that was the end of Jerry Peloquin in Jefferson Airplane. His replacement was Skip Spence, who the group had met when he had accompanied three friends to the Matrix, which they were using as a rehearsal room. Spence's friends went on to be the core members of Quicksilver Messenger Service along with Dino Valenti: [Excerpt: Quicksilver Messenger Service, "Dino's Song"] But Balin decided that Spence looked like a rock star, and told him that he was now Jefferson Airplane's drummer, despite Spence being a guitarist and singer, not a drummer. But Spence was game, and learned to play the drums. Next they needed to get rid of Bob Harvey. According to Harvey, the decision to sack him came after David Crosby saw the band rehearsing and said "Nice song, but get rid of the bass player" (along with an expletive before the word bass which I can't say without incurring the wrath of Apple). Crosby denies ever having said this. Harvey had started out in the group on double bass, but to show willing he'd switched in his last few gigs to playing an electric bass. When he was sacked by the group, he returned to double bass, and to the Slippery Rock String Band, who released one single in 1967: [Excerpt: The Slippery Rock String Band, "Tule Fog"] Harvey's replacement was Kaukonen's old friend Jack Casady, who Kaukonen knew was now playing bass, though he'd only ever heard him playing guitar when they'd played together. Casady was rather cautious about joining a rock band, but then Kaukonen told him that the band were getting fifty dollars a week salary each from Katz, and Casady flew over from Washington DC to San Francisco to join the band. For the first few gigs, he used Bob Harvey's bass, which Harvey was good enough to lend him despite having been sacked from the band. Unfortunately, right from the start Casady and Kantner didn't get on. When Casady flew in from Washington, he had a much more clean-cut appearance than the rest of the band -- one they've described as being nerdy, with short, slicked-back, side-parted hair and a handlebar moustache. Kantner insisted that Casady shave the moustache off, and he responded by shaving only one side, so in profile on one side he looked clean-shaven, while from the other side he looked like he had a full moustache. Kantner also didn't like Casady's general attitude, or his playing style, at all -- though most critics since this point have pointed to Casady's bass playing as being the most interesting and distinctive thing about Jefferson Airplane's style. This lineup seems to have been the one that travelled to LA to audition for various record companies -- a move that immediately brought the group a certain amount of criticism for selling out, both for auditioning for record companies and for going to LA at all, two things that were already anathema on the San Francisco scene. The only audition anyone remembers them having specifically is one for Phil Spector, who according to Kaukonen was waving a gun around during the audition, so he and Casady walked out. Around this time as well, the group performed at an event billed as "A Tribute to Dr. Strange", organised by the radical hippie collective Family Dog. Marvel Comics, rather than being the multi-billion-dollar Disney-owned corporate juggernaut it is now, was regarded as a hip, almost underground, company -- and around this time they briefly started billing their comics not as comics but as "Marvel Pop Art Productions". The magical adventures of Dr. Strange, Master of the Mystic Arts, and in particular the art by far-right libertarian artist Steve Ditko, were regarded as clear parallels to both the occult dabblings and hallucinogen use popular among the hippies, though Ditko had no time for either, following as he did an extreme version of Ayn Rand's Objectivism. It was at the Tribute to Dr. Strange that Jefferson Airplane performed for the first time with a band named The Great Society, whose lead singer, Grace Slick, would later become very important in Jefferson Airplane's story: [Excerpt: The Great Society, "Someone to Love"] That gig was also the first one where the band and their friends noticed that large chunks of the audience were now dressing up in costumes that were reminiscent of the Old West. Up to this point, while Katz had been managing the group and paying them fifty dollars a week even on weeks when they didn't perform, he'd been doing so without a formal contract, in part because the group didn't trust him much. But now they were starting to get interest from record labels, and in particular RCA Records desperately wanted them. While RCA had been the label who had signed Elvis Presley, they had otherwise largely ignored rock and roll, considering that since they had the biggest rock star in the world they didn't need other ones, and concentrating largely on middle-of-the-road acts. But by the mid-sixties Elvis' star had faded somewhat, and they were desperate to get some of the action for the new music -- and unlike the other major American labels, they didn't have a reciprocal arrangement with a British label that allowed them to release anything by any of the new British stars. The group were introduced to RCA by Rod McKuen, a songwriter and poet who later became America's best-selling poet and wrote songs that sold over a hundred million copies. At this point McKuen was in his Jacques Brel phase, recording loose translations of the Belgian songwriter's songs with McKuen translating the lyrics: [Excerpt: Rod McKuen, "Seasons in the Sun"] McKuen thought that Jefferson Airplane might be a useful market for his own songs, and brought the group to RCA. RCA offered Jefferson Airplane twenty-five thousand dollars to sign with them, and Katz convinced the group that RCA wouldn't give them this money without them having signed a management contract with him. Kaukonen, Kantner, Spence, and Balin all signed without much hesitation, but Jack Casady didn't yet sign, as he was the new boy and nobody knew if he was going to be in the band for the long haul. The other person who refused to sign was Signe Anderson. In her case, she had a much better reason for refusing to sign, as unlike the rest of the band she had actually read the contract, and she found it to be extremely worrying. She did eventually back down on the day of the group's first recording session, but she later had the contract renegotiated. Jack Casady also signed the contract right at the start of the first session -- or at least, he thought he'd signed the contract then. He certainly signed *something*, without having read it. But much later, during a court case involving the band's longstanding legal disputes with Katz, it was revealed that the signature on the contract wasn't Casady's, and was badly forged. What he actually *did* sign that day has never been revealed, to him or to anyone else. Katz also signed all the group as songwriters to his own publishing company, telling them that they legally needed to sign with him if they wanted to make records, and also claimed to RCA that he had power of attorney for the band, which they say they never gave him -- though to be fair to Katz, given the band members' habit of signing things without reading or understanding them, it doesn't seem beyond the realms of possibility that they did. The producer chosen for the group's first album was Tommy Oliver, a friend of Katz's who had previously been an arranger on some of Doris Day's records, and whose next major act after finishing the Jefferson Airplane album was Trombones Unlimited, who released records like "Holiday for Trombones": [Excerpt: Trombones Unlimited, "Holiday For Trombones"] The group weren't particularly thrilled with this choice, but were happier with their engineer, Dave Hassinger, who had worked on records like "Satisfaction" by the Rolling Stones, and had a far better understanding of the kind of music the group were making. They spent about three months recording their first album, even while continually being attacked as sellouts. The album is not considered their best work, though it does contain "Blues From an Airplane", a collaboration between Spence and Balin: [Excerpt: Jefferson Airplane, "Blues From an Airplane"] Even before the album came out, though, things were starting to change for the group. Firstly, they started playing bigger venues -- their home base went from being the Matrix club to the Fillmore, a large auditorium run by the promoter Bill Graham. They also started to get an international reputation. The British singer-songwriter Donovan released a track called "The Fat Angel" which namechecked the group: [Excerpt: Donovan, "The Fat Angel"] The group also needed a new drummer. Skip Spence decided to go on holiday to Mexico without telling the rest of the band. There had already been some friction with Spence, as he was very eager to become a guitarist and songwriter, and the band already had three songwriting guitarists and didn't really see why they needed a fourth. They sacked Spence, who went on to form Moby Grape, who were also managed by Katz: [Excerpt: Moby Grape, "Omaha"] For his replacement they brought in Spencer Dryden, who was a Hollywood brat like their friend David Crosby -- in Dryden's case he was Charlie Chaplin's nephew, and his father worked as Chaplin's assistant. The story normally goes that the great session drummer Earl Palmer recommended Dryden to the group, but it's also the case that Dryden had been in a band, the Heartbeats, with Tommy Oliver and the great blues guitarist Roy Buchanan, so it may well be that Oliver had recommended him. Dryden had been primarily a jazz musician, playing with people like the West Coast jazz legend Charles Lloyd, though like most jazzers he would slum it on occasion by playing rock and roll music to pay the bills. But then he'd seen an early performance by the Mothers of Invention, and realised that rock music could have a serious artistic purpose too. He'd joined a band called The Ashes, who had released one single, the Jackie DeShannon song "Is There Anything I Can Do?" in December 1965: [Excerpt: The Ashes, "Is There Anything I Can Do?"] The Ashes split up once Dryden left the group to join Jefferson Airplane, but they soon reformed without him as The Peanut Butter Conspiracy, who hooked up with Gary Usher and released several albums of psychedelic sunshine pop. Dryden played his first gig with the group at a Republican Party event on June the sixth, 1966. But by the time Dryden had joined, other problems had become apparent. The group were already feeling like it had been a big mistake to accede to Katz's demands to sign a formal contract with him, and Balin in particular was getting annoyed that he wouldn't let the band see their finances. All the money was getting paid to Katz, who then doled out money to the band when they asked for it, and they had no idea if he was actually paying them what they were owed or not. The group's first album, Jefferson Airplane Takes Off, finally came out in September, and it was a comparative flop. It sold well in San Francisco itself, selling around ten thousand copies in the area, but sold basically nothing anywhere else in the country -- the group's local reputation hadn't extended outside their own immediate scene. It didn't help that the album was pulled and reissued, as RCA censored the initial version of the album because of objections to the lyrics. The song "Runnin' Round This World" was pulled off the album altogether for containing the word "trips", while in "Let Me In" they had to rerecord two lines -- “I gotta get in, you know where" was altered to "You shut the door now it ain't fair" and "Don't tell me you want money" became "Don't tell me it's so funny". Similarly in "Run Around" the phrase "as you lay under me" became "as you stay here by me". Things were also becoming difficult for Anderson. She had had a baby in May and was not only unhappy with having to tour while she had a small child, she was also the band member who was most vocally opposed to Katz. Added to that, her husband did not get on well at all with the group, and she felt trapped between her marriage and her bandmates. Reports differ as to whether she quit the band or was fired, but after a disastrous appearance at the Monterey Jazz Festival, one way or another she was out of the band. Her replacement was already waiting in the wings. Grace Slick, the lead singer of the Great Society, had been inspired by going to one of the early Jefferson Airplane gigs. She later said "I went to see Jefferson Airplane at the Matrix, and they were making more money in a day than I made in a week. They only worked for two or three hours a night, and they got to hang out. I thought 'This looks a lot better than what I'm doing.' I knew I could more or less carry a tune, and I figured if they could do it I could." She was married at the time to a film student named Jerry Slick, and indeed she had done the music for his final project at film school, a film called "Everybody Hits Their Brother Once", which sadly I can't find online. She was also having an affair with Jerry's brother Darby, though as the Slicks were in an open marriage this wasn't particularly untoward. The three of them, with a couple of other musicians, had formed The Great Society, named as a joke about President Johnson's programme of the same name. The Great Society was the name Johnson had given to his whole programme of domestic reforms, including civil rights for Black people, the creation of Medicare and Medicaid, the creation of the National Endowment for the Arts, and more. While those projects were broadly popular among the younger generation, Johnson's escalation of the war in Vietnam had made him so personally unpopular that even his progressive domestic programme was regarded with suspicion and contempt. The Great Society had set themselves up as local rivals to Jefferson Airplane -- where Jefferson Airplane had buttons saying "Jefferson Airplane Loves You!" the Great Society put out buttons saying "The Great Society Really Doesn't Like You Much At All". They signed to Autumn Records, and recorded a song that Darby Slick had written, titled "Someone to Love" -- though the song would later be retitled "Somebody to Love": [Excerpt: The Great Society, "Someone to Love"] That track was produced by Sly Stone, who at the time was working as a producer for Autumn Records. The Great Society, though, didn't like working with Stone, because he insisted on them doing forty-five takes to try to sound professional, as none of them were particularly competent musicians. Grace Slick later said "Sly could play any instrument known to man. He could have just made the record himself, except for the singers. It was kind of degrading in a way" -- and on another occasion she said that he *did* end up playing all the instruments on the finished record. "Someone to Love" was put out as a promo record, but never released to the general public, and nor were any of the Great Society's other recordings for Autumn Records released. Their contract expired and they were let go, at which point they were about to sign to Mercury Records, but then Darby Slick and another member decided to go off to India for a while. Grace's marriage to Jerry was falling apart, though they would stay legally married for several years, and the Great Society looked like it was at an end, so when Grace got the offer to join Jefferson Airplane to replace Signe Anderson, she jumped at the chance. At first, she was purely a harmony singer -- she didn't take over any of the lead vocal parts that Anderson had previously sung, as she had a very different vocal style, and instead she just sang the harmony parts that Anderson had sung on songs with other lead vocalists. But two months after the album they were back in the studio again, recording their second album, and Slick sang lead on several songs there. As well as the new lineup, there was another important change in the studio. They were still working with Dave Hassinger, but they had a new producer, Rick Jarrard. Jarrard was at one point a member of the folk group The Wellingtons, who did the theme tune for "Gilligan's Island", though I can't find anything to say whether or not he was in the group when they recorded that track: [Excerpt: The Wellingtons, "The Ballad of Gilligan's Island"] Jarrard had also been in the similar folk group The Greenwood County Singers, where as we heard in the episode on "Heroes and Villains" he replaced Van Dyke Parks. He'd also released a few singles under his own name, including a version of Parks' "High Coin": [Excerpt: Rick Jarrard, "High Coin"] While Jarrard had similar musical roots to those of Jefferson Airplane's members, and would go on to produce records by people like Harry Nilsson and The Family Tree, he wasn't any more liked by the band than their previous producer had been. So much so, that a few of the band members have claimed that while Jarrard is the credited producer, much of the work that one would normally expect to be done by a producer was actually done by their friend Jerry Garcia, who according to the band members gave them a lot of arranging and structural advice, and was present in the studio and played guitar on several tracks. Jarrard, on the other hand, said categorically "I never met Jerry Garcia. I produced that album from start to finish, never heard from Jerry Garcia, never talked to Jerry Garcia. He was not involved creatively on that album at all." According to the band, though, it was Garcia who had the idea of almost doubling the speed of the retitled "Somebody to Love", turning it into an uptempo rocker: [Excerpt: Jefferson Airplane, "Somebody to Love"] And one thing everyone is agreed on is that it was Garcia who came up with the album title, when after listening to some of the recordings he said "That's as surrealistic as a pillow!" It was while they were working on the album that was eventually titled Surrealistic Pillow that they finally broke with Katz as their manager, bringing Bill Thompson in as a temporary replacement. Or at least, it was then that they tried to break with Katz. Katz sued the group over their contract, and won. Then they appealed, and they won. Then Katz appealed the appeal, and the Superior Court insisted that if he wanted to appeal the ruling, he had to put up a bond for the fifty thousand dollars the group said he owed them. He didn't, so in 1970, four years after they sacked him as their manager, the appeal was dismissed. Katz appealed the dismissal, and won that appeal, and the case dragged on for another three years, at which point Katz dragged RCA Records into the lawsuit. As a result of being dragged into the mess, RCA decided to stop paying the group their songwriting royalties from record sales directly, and instead put the money into an escrow account. The claims and counterclaims and appeals *finally* ended in 1987, twenty years after the lawsuits had started and fourteen years after the band had stopped receiving their songwriting royalties. In the end, the group won on almost every point, and finally received one point three million dollars in back royalties and seven hundred thousand dollars in interest that had accrued, while Katz got a small token payment. Early in 1967, when the sessions for Surrealistic Pillow had finished, but before the album was released, Newsweek did a big story on the San Francisco scene, which drew national attention to the bands there, and the first big event of what would come to be called the hippie scene, the Human Be-In, happened in Golden Gate Park in January. As the group's audience was expanding rapidly, they asked Bill Graham to be their manager, as he was the most business-minded of the people around the group. The first single from the album, "My Best Friend", a song written by Skip Spence before he quit the band, came out in January 1967 and had no more success than their earlier recordings had, and didn't make the Hot 100. The album came out in February, and was still no higher than number 137 on the charts in March, when the second single, "Somebody to Love", was released: [Excerpt: Jefferson Airplane, "Somebody to Love"] That entered the charts at the start of April, and by June it had made number five. The single's success also pushed its parent album up to number three by August, just behind the Beatles' Sgt Pepper's Lonely Hearts Club Band and the Monkees' Headquarters. The success of the single also led to the group being asked to do commercials for Levis jeans: [Excerpt: Jefferson Airplane, "Levis commercial"] That once again got them accused of selling out. Abbie Hoffman, the leader of the Yippies, wrote to the Village Voice about the commercials, saying "It summarized for me all the doubts I have about the hippie philosophy. I realise they are just doing their 'thing', but while the Jefferson Airplane grooves with its thing, over 100 workers in the Levi Strauss plant on the Tennessee-Georgia border are doing their thing, which consists of being on strike to protest deplorable working conditions." The third single from the album, "White Rabbit", came out on the twenty-fourth of June, the day before the Beatles recorded "All You Need is Love", nine days after the release of "See Emily Play", and a week after the group played the Monterey Pop Festival, to give you some idea of how compressed a time period we've been in recently. We talked in the last episode about how there's a big difference between American and British psychedelia at this point in time, because the political nature of the American counterculture was determined by the fact that so many people were being sent off to die in Vietnam. Of all the San Francisco bands, though, Jefferson Airplane were by far the least political -- they were into the culture part of the counterculture, but would often and repeatedly disavow any deeper political meaning in their songs. In early 1968, for example, in a press conference, they said “Don't ask us anything about politics. We don't know anything about it. And what we did know, we just forgot.” So it's perhaps not surprising that of all the American groups, they were the one that was most similar to the British psychedelic groups in their influences, and in particular their frequent references to children's fantasy literature. "White Rabbit" was a perfect example of this. It had started out as "White Rabbit Blues", a song that Slick had written influenced by Alice in Wonderland, and originally performed by the Great Society: [Excerpt: The Great Society, "White Rabbit"] Slick explained the lyrics, and their association between childhood fantasy stories and drugs, later by saying "It's an interesting song but it didn't do what I wanted it to. What I was trying to say was that between the ages of zero and five the information and the input you get is almost indelible. In other words, once a Catholic, always a Catholic. And the parents read us these books, like Alice in Wonderland where she gets high, tall, and she takes mushrooms, a hookah, pills, alcohol. And then there's The Wizard of Oz, where they fall into a field of poppies and when they wake up they see Oz. And then there's Peter Pan, where if you sprinkle white dust on you, you could fly. And then you wonder why we do it? Well, what did you read to me?" While the lyrical inspiration for the track was from Alice in Wonderland, the musical inspiration is less obvious. Slick has on multiple occasions said that the idea for the music came from listening to Miles Davis' album "Sketches of Spain", and in particular to Davis' version of -- and I apologise for almost certainly mangling the Spanish pronunciation badly here -- "Concierto de Aranjuez", though I see little musical resemblance to it myself. [Excerpt: Miles Davis, "Concierto de Aranjuez"] She has also, though, talked about how the song was influenced by Ravel's "Bolero", and in particular the way the piece keeps building in intensity, starting softly and slowly building up, rather than having the dynamic peaks and troughs of most music. And that is definitely a connection I can hear in the music: [Excerpt: Ravel, "Bolero"] Jefferson Airplane's version of "White Rabbit", like their version of "Somebody to Love", was far more professional, far -- and apologies for the pun -- slicker than The Great Society's version. It's also much shorter. The version by The Great Society has a four and a half minute instrumental intro before Slick's vocal enters. By contrast, the version on Surrealistic Pillow comes in at under two and a half minutes in total, and is a tight pop song: [Excerpt: Jefferson Airplane, "White Rabbit"] Jack Casady has more recently said that the group originally recorded the song more or less as a lark, because they assumed that all the drug references would mean that RCA would make them remove the song from the album -- after all, they'd cut a song from the earlier album because it had a reference to a trip, so how could they possibly allow a song like "White Rabbit" with its lyrics about pills and mushrooms? But it was left on the album, and ended up making the top ten on the pop charts, peaking at number eight: [Excerpt: Jefferson Airplane, "White Rabbit"] In an interview last year, Slick said she still largely lives off the royalties from writing that one song. It would be the last hit single Jefferson Airplane would ever have. Marty Balin later said "Fame changes your life. It's a bit like prison. It ruined the band. Everybody became rich and selfish and self-centred and couldn't care about the band. That was pretty much the end of it all. After that it was just working and living the high life and watching the band destroy itself, living on its laurels." They started work on their third album, After Bathing at Baxter's, in May 1967, while "Somebody to Love" was still climbing the charts. This time, the album was produced by Al Schmitt. Unlike the two previous producers, Schmitt was a fan of the band, and decided the best thing to do was to just let them do their own thing without interfering. The album took months to record, rather than the weeks that Surrealistic Pillow had taken, and cost almost ten times as much money to record. In part the time it took was because of the promotional work the band had to do. Bill Graham was sending them all over the country to perform, which they didn't appreciate. The group complained to Graham in business meetings, saying they wanted to only play in big cities where there were lots of hippies. Graham pointed out in turn that if they wanted to keep having any kind of success, they needed to play places other than San Francisco, LA, New York, and Chicago, because in fact most of the population of the US didn't live in those four cities. They grudgingly took his point. But there were other arguments all the time as well. They argued about whether Graham should be taking his cut from the net or the gross. They argued about Graham trying to push for the next single to be another Grace Slick lead vocal -- they felt like he was trying to make them into just Grace Slick's backing band, while he thought it made sense to follow up two big hits with more singles with the same vocalist. There was also a lawsuit from Balin's former partners in the Matrix, who remembered that bit in the contract about having a share in the group's income and sued for six hundred thousand dollars -- that was settled out of court three years later. And there were interpersonal squabbles too. Some of these were about the music -- Dryden didn't like the fact that Kaukonen's guitar solos were getting longer and longer, and Balin only contributed one song to the new album because all the other band members made fun of him for writing short, poppy, love songs rather than extended psychedelic jams -- but also the group had become basically two rival factions. On one side were Kaukonen and Casady, the old friends and virtuoso instrumentalists, who wanted to extend the instrumental sections of the songs more to show off their playing. On the other side were Grace Slick and Spencer Dryden, the two oldest members of the group by age, but the most recent people to join. They were also unusual in the San Francisco scene for having alcohol as their drug of choice -- drinking was thought of by most of the hippies as being a bit classless, but they were both alcoholics. They were also sleeping together, and generally on the side of shorter, less exploratory, songs. Kantner, who was attracted to Slick, usually ended up siding with her and Dryden, and this left Balin the odd man out in the middle. He later said "I got disgusted with all the ego trips, and the band was so stoned that I couldn't even talk to them. Everybody was in their little shell". While they were still working on the album, they released the first single from it, Kantner's "The Ballad of You and Me and Pooneil". The "Pooneil" in the song was a figure that combined two of Kantner's influences: the Greenwich Village singer-songwriter Fred Neil, the writer of "Everybody's Talkin'" and "Dolphins"; and Winnie the Pooh. The song contained several lines taken from A.A. Milne's children's stories: [Excerpt: Jefferson Airplane, "The Ballad of You and Me and Pooneil"] That only made number forty-two on the charts. It was the last Jefferson Airplane single to make the top fifty. At a gig in Bakersfield they got arrested for inciting a riot, because they encouraged the crowd to dance, even though local by-laws said that nobody under sixteen was allowed to dance, and then they nearly got arrested again after Kantner's behaviour on the private plane they'd chartered to get them back to San Francisco that night. Kantner had been chain-smoking, and this annoyed the pilot, who asked Kantner to put his cigarette out, so Kantner opened the door of the plane mid-flight and threw the lit cigarette out. They'd chartered that plane because they wanted to make sure they got to see a new group, Cream, who were playing the Fillmore: [Excerpt: Cream, "Strange Brew"] After seeing that, the divisions in the band were even wider -- Kaukonen and Casady now *knew* that what the band needed was to do long, extended, instrumental jams. Cream were the future, two-minute pop songs were the past. Though they weren't completely averse to two-minute pop songs. The group were recording at RCA studios at the same time as the Monkees, and members of the two groups would often jam together. The idea of selling out might have been anathema to their *audience*, but the band members themselves didn't care about things like that. Indeed, at one point the group returned from a gig to the mansion they were renting and found squatters had moved in and were using their private pool -- so they shot at the water. The squatters quickly moved on. As Dryden put it "We all -- Paul, Jorma, Grace, and myself -- had guns. We weren't hippies. Hippies were the people that lived on the streets down in Haight-Ashbury. We were basically musicians and art school kids. We were into guns and machinery" After Bathing at Baxter's only went to number seventeen on the charts, not a bad position but a flop compared to their previous album, and Bill Graham in particular took this as more proof that he had been right when for the last few months he'd been attacking the group as self-indulgent. Eventually, Slick and Dryden decided that either Bill Graham was going as their manager, or they were going. Slick even went so far as to try to negotiate a solo deal with Elektra Records -- as the voice on the hits, everyone was telling her she was the only one who mattered anyway. David Anderle, who was working for the label, agreed a deal with her, but Jac Holzman refused to authorise the deal, saying "Judy Collins doesn't get that much money, why should Grace Slick?" The group did fire Graham, and went one further and tried to become his competitors. They teamed up with the Grateful Dead to open a new venue, the Carousel Ballroom, to compete with the Fillmore, but after a few months they realised they were no good at running a venue and sold it to Graham. Graham, who was apparently unhappy with the fact that the people living around the Fillmore were largely Black given that the bands he booked appealed to mostly white audiences, closed the original Fillmore, renamed the Carousel the Fillmore West, and opened up a second venue in New York, the Fillmore East. The divisions in the band were getting worse -- Kaukonen and Casady were taking more and more speed, which was making them play longer and faster instrumental solos whether or not the rest of the band wanted them to, and Dryden, whose hands often bled from trying to play along with them, definitely did not want them to. But the group soldiered on and recorded their fourth album, Crown of Creation. This album contained several songs that were influenced by science fiction novels. The most famous of these was inspired by the right-libertarian author Robert Heinlein, who was hugely influential on the counterculture. Jefferson Airplane's friends the Monkees had already recorded a song based on Heinlein's The Door Into Summer, an unintentionally disturbing novel about a thirty-year-old man who falls in love with a twelve-year-old girl, and who uses a combination of time travel and cryogenic freezing to make their ages closer together so he can marry her: [Excerpt: The Monkees, "The Door Into Summer"] Now Jefferson Airplane were recording a song based on Heinlein's most famous novel, Stranger in a Strange Land. Stranger in a Strange Land has dated badly, thanks to its casual homophobia and rape-apologia, but at the time it was hugely popular in hippie circles for its advocacy of free love and group marriages -- so popular that a religion, the Church of All Worlds, based itself on the book. David Crosby had taken inspiration from it and written "Triad", a song asking two women if they'll enter into a polygamous relationship with him, and recorded it with the Byrds: [Excerpt: The Byrds, "Triad"] But the other members of the Byrds disliked the song, and it was left unreleased for decades. As Crosby was friendly with Jefferson Airplane, and as members of the band were themselves advocates of open relationships, they recorded their own version with Slick singing lead: [Excerpt: Jefferson Airplane, "Triad"] The other song on the album influenced by science fiction was the title track, Paul Kantner's "Crown of Creation". This song was inspired by The Chrysalids, a novel by the British writer John Wyndham. The Chrysalids is one of Wyndham's most influential novels, a post-apocalyptic story about young children who are born with mutant superpowers and have to hide them from their parents as they will be killed if they're discovered. The novel is often thought to have inspired Marvel Comics' X-Men, and while there's an unpleasant eugenic taste to its ending, with the idea that two species can't survive in the same ecological niche and the younger, "superior", species must outcompete the old, that idea also had a lot of influence in the counterculture, as well as being a popular one in science fiction. Kantner's song took whole lines from The Chrysalids, much as he had earlier done with A.A. Milne: [Excerpt: Jefferson Airplane, "Crown of Creation"] The Crown of Creation album was in some ways a return to the more focused songwriting of Surrealistic Pillow, although the sessions weren't without their experiments. Slick and Dryden collaborated with Frank Zappa and members of the Mothers of Invention on an avant-garde track called "Would You Like a Snack?" (not the same song as the later Zappa song of the same name) which was intended for the album, though went unreleased until a CD box set decades later: [Excerpt: Grace Slick and Frank Zappa, "Would You Like a Snack?"] But the finished album was generally considered less self-indulgent than After Bathing at Baxter's, and did better on the charts as a result. It reached number six, becoming their second and last top ten album, helped by the group's appearance on the Ed Sullivan Show in September 1968, a month after it came out. That appearance was actually organised by Colonel Tom Parker, who suggested them to Sullivan as a favour to RCA Records. But another TV appearance at the time was less successful. They appeared on the Smothers Brothers Comedy Hour, one of the most popular TV shows among the young, hip, audience that the group needed to appeal to, but Slick appeared in blackface. She's later said that there was no political intent behind this, and that she was just trying the different makeup she found in the dressing room as a purely aesthetic thing, but that doesn't really explain the Black power salute she gives at one point. Slick was increasingly obnoxious on stage, as her drinking was getting worse and her relationship with Dryden was starting to break down. Just before the Smothers Brothers appearance she was accused at a benefit for the Whitney Museum of having called the audience "filthy Jews", though she has always said that what she actually said was "filthy jewels", and she was talking about the ostentatious jewellery some of the audience were wearing. The group struggled through a performance at Altamont -- an event we will talk about in a future episode, so I won't go into it here, except to say that it was a horrifying experience for everyone involved -- and performed at Woodstock, before releasing their fifth studio album, Volunteers, in 1969: [Excerpt: Jefferson Airplane, "Volunteers"] That album made the top twenty, but was the last album by the classic lineup of the band. By this point Spencer Dryden and Grace Slick had broken up, with Slick starting to date Kantner, and Dryden was also disappointed at the group's musical direction, and left. Balin also left, feeling sidelined in the group. They released several more albums with varying lineups, including at various points their old friend David Frieberg of Quicksilver Messenger Service, the violinist Papa John Creach, and the former drummer of the Turtles, Johnny Barbata. But as of 1970 the group's members had already started working on two side projects -- an acoustic band called Hot Tuna, led by Kaukonen and Casady, which sometimes also featured Balin, and a project called Paul Kantner's Jefferson Starship, which also featured Slick and had recorded an album, Blows Against the Empire, the second side of which was based on the Robert Heinlein novel Back to Methuselah, and which became one of the first albums ever nominated for science fiction's Hugo Awards: [Excerpt: Jefferson Starship, "Have You Seen The Stars Tonite"] That album featured contributions from David Crosby and members of the Grateful Dead, as well as Casady on two tracks, but  in 1974 when Kaukonen and Casady quit Jefferson Airplane to make Hot Tuna their full-time band, Kantner, Slick, and Frieberg turned Jefferson Starship into a full band. Over the next decade, Jefferson Starship had a lot of moderate-sized hits, with a varying lineup that at one time or another saw several members, including Slick, go and return, and saw Marty Balin back with them for a while. In 1984, Kantner left the group, and sued them to stop them using the Jefferson Starship name. A settlement was reached in which none of Kantner, Slick, Kaukonen, or Casady could use the words "Jefferson" or "Airplane" in their band-names without the permission of all the others, and the remaining members of Jefferson Starship renamed their band just Starship -- and had three number one singles in the late eighties with Slick on lead, becoming far more commercially successful than their precursor bands had ever been: [Excerpt: Starship, "We Built This City on Rock & Roll"] Slick left Starship in 1989, and there was a brief Jefferson Airplane reunion tour, with all the classic members but Dryden, but then Slick decided that she was getting too old to perform rock and roll music, and decided to retire from music and become a painter, something she's stuck to for more than thirty years. Kantner and Balin formed a new Jefferson Starship, called Jefferson Starship: The Next Generation, but Kantner died in January 2016, coincidentally on the same day as Signe Anderson, who had occasionally guested with her old bandmates in the new version of the band. Balin, who had quit the reunited Jefferson Starship due to health reasons, died two years later. Dryden had died in 2005. Currently, there are three bands touring that descend directly from Jefferson Airplane. Hot Tuna still continue to perform, there's a version of Starship that tours featuring one original member, Mickey Thomas, and the reunited Jefferson Starship still tour, led by David Frieberg. Grace Slick has given the latter group her blessing, and even co-wrote one song on their most recent album, released in 2020, though she still doesn't perform any more. Jefferson Airplane's period in the commercial spotlight was brief -- they had charting singles for only a matter of months, and while they had top twenty albums for a few years after their peak, they really only mattered to the wider world during that brief period of the Summer of Love. But precisely because their period of success was so short, their music is indelibly associated with that time. To this day there's nothing as evocative of summer 1967 as "White Rabbit", even for those of us who weren't born then. And while Grace Slick had her problems, as I've made very clear in this episode, she inspired a whole generation of women who went on to be singers themselves, as one of the first prominent women to sing lead with an electric rock band. And when she got tired of doing that, she stopped, and got on with her other artistic pursuits, without feeling the need to go back and revisit the past for ever diminishing returns. One might only wish that some of her male peers had followed her example.

Scary Pockets is the musical collective that has been transforming pop classics into funk anthems for over half a decade. Each week they release a new cover on YouTube featuring razor-sharp instrumentalists and a rotating cast of virtuosic lead singers. Amazingly, each of their 200-plus covers is arranged on the fly, in a span of about 90 minutes—capturing the talent and spontaneity of a group of musicians at the top of their game. We here at Switched on Pop were struck by the band's ability to infuse familiar songs with syncopation and backbeat, and rack up millions of views in the process, so we reached out to Scary Pockets's leaders—guitarist Ryan Lerman and keyboardist Jack Conte—to arrange for Nate and Reanna to be flies on the wall during their creative process. After documenting the behind-the-scenes dialogue that led to a slow-burning interpretation of the Bee Gees's 1977 classic "Staying Alive," we called up Ryan, Jack, and the song's lead vocalist, Lizzy McAlpine, to hear their insights on making a song that everyone knows sound fresh and unfamiliar  Songs Discussed Bee Gees - Staying Alive (Scary Pockets Cover) Paul McCartney and Wings - Arrow Through Me (Scary Pockets Cover) Beatles - Maxwell's Silver Hammer Coldplay - Fix You (Scary Pockets Cover) Parcels - Tieduprightnow Bill Withers - Just the Two of Us (Scary Pockets Cover) Justin Bieber - Peaches (Lizzy McAlpine Cover) More on Scary Pockets Watch the video of Scary Pockets and Lizzy McAlpine covering "Staying Alive" See them LIVE with David Ryan Harris & John Scofield, November 16 at Echoplex in Los Angeles! Tickets Subscribe to their YouTube Channel: https://www.youtube.com/scarypockets Merch Store: https://www.scarypocketsfunk.com Patreon: https://www.patreon.com/scarypockets Listen on Spotify: Scary Pockets Instagram: @scarypockets  Musician Credits: Vocals: Lizzy McAlpine BGVs: Sophia James, Arielle Kasnetz Guitar: Ryan Lerman, Will Graefe Wurlitzer & Synth: Jack Conte Bass: Travis Carlton Drums: RJ Kelly Audio: Engineered & mixed by Caleb Parker Learn more about your ad choices. Visit podcastchoices.com/adchoices

Gecko Pedals is an example of what happens when a dare between bandmates ruminates for 15 years and then is finally brought to fruition. Riley at Gecko Pedals has designed and released one of the most ambitious first pedals I've ever seen and it's incredible. On this episode I talk to Riley and Pete about the beauty of tape delays, the marvel of the echoplex, and why the Geckoplex EP-5 is such a wonderfully perfect pedal. We also hear more about Riley's story, how he got into making pedals, and how it was Pete's love for an Echoplex EP-4 that spurred the creation of Gecko Pedals.Find Riley and Gecko Pedals on:Internet: https://www.geckopedals.com/Instagram: https://www.instagram.com/geckopedals/Support the show at: https://www.patreon.com/40wattpodcast/​Find guitar lessons on TrueFire (remember to use code 40WATT): https://bit.ly/3t0v1ZdFind all of the podcast links at:https://www.linktr.ee/40wattpodcasthttps://www.40wattpodcast.com/40 Watt Merchandise: https://40-watt-merch.creator-spring.com/Reverb Affiliate link: https://reverb.grsm.io/phillipcarter5480StringJoy Affiliate link: https://stringjoy.com/partner/fortywatt/Amazon Affiliate link: https://www.amazon.com/40wattSubscribe to the channel and give a like – also find us in audio format wherever you listen to podcasts and leave us a review and share us with your friends.TrueFire Affiliate LInkLearn. Practice. Play. - with TrueFire! You can use code 40WATT at checkout to receive 40% off your first or next TrueFire purchase. Patreon SupportYou can support the podcast by going to our Patreon page and becoming a supporter for as little as $5/month. Thank you for your support!

Portal Episode 41 - no talk just music - from house to techno with tracks by WAX, Roland Klinkenberg, Priori, Jacques Bon & Drux, The Persuader, Konrad Wehrmeister, Patrick Skoog, Thomas Hessler, Franz Jäger, Banales, Kaan Pirecioglu, Orbe, Kr!z, Echoplex and more. Music is able to lift you into other dimensions, so come with me through this portal and immerse into the depths of my record collection. www.markussuckut.com

We pick things up only 48 hours after the newly formed Appetite lineup finishes their first gig together at The Troubadour on June 6, 1985. The band quickly packs up their gear and heads north on the I-5 corridor toward Seattle for a Northwest tour that Duff originally coined, “The Shakeout Tour,” but quickly becomes known as “The Hell Tour” instead.Danny Biral is our guest on this episode; a friend and roadie for the band and the captain of their ship who commandeered a green Pontiac Catalina station wagon and a stolen gas card for this excursion to the Northwest.In this episode you'll:Hear from GNR friend, roadie, and Hell Tour driver, Danny Biral, about his relationship with the band and how he became the driver for Hell Tour.Learn about how quickly mishap turns to madness on the I-5 corridor.Listen to Hell Tour stories directly from Slash and Duff such as hitching a ride with a speed freak truck driver.Find out how Hell Tour strengthened and solidified the Appetite lineup but didn't insulate them from interpersonal problems once they returned to the Strip.Links:Preview this episode on YoutubeSubscribe to our Patreon Site to access all videos, bonus episodes, image galleries, live streams, merch and more: https://www.patreon.com/first50gigs_gnrLearn more at https://www.first50gigs.com

Punk rock is about energy, attitude, and message. It's been the gateway drug for a lot of guitarists and music lovers. And those forces are what steered East Bay Ray away from his bar-band gig in 1978. “The little hairs on the back of my neck stood up,” Ray remembered during a https://www.premierguitar.com/artists/forgotten-heroes-east-bay-ray (2016 PG interview). “I saw the Weirdos playing. I said, ‘This is what I want to do.' I phased myself out of the bar band and put an ad up in Aquarius Records and Rather Ripped Records. Klaus Flouride (bassist Geoffrey Lyall) and Jello Biafra (singer Eric Boucher) answered the ad.” And with the addition of drummer Ted (Bruce Slesinger), the Dead Kennedys were born. By the time they recorded their 1981 EP In God We Trust, Inc. (on their own independent label, Alternative Tentacles), Ted was gone and D.H. Peligro (Darren Henley) became their stalwart skin slammer. Through the band's initial eight years, four albums, and an EP, their subversive harpoon of jagged political commentary was tipped by Biafra's lyrics. That got the nation's attention, but what inspires musicians to this day was the power trio's cohesive combination of familiar and unfamiliar elements of punk and primal rock. Sure, you've got the power chords and the four-on-the-floor tempos, but depth and nuance under the biting messaging is essential to the DK's chemistry. Their punk-rock bangers have modal tendencies and atonal flourishes, and some of their most thrilling songs have odd-metered backbones. Their debut single, “California Über Alles,” is a take on composer Maurice Ravel's Boléro, no less. And nobody else in the land of the 6-string shreds quite like East Bay Ray. “One of the reasons our songs have lasted so long is the structure underneath has a lot in common with a Beatles song or a Motown song or even a '30s standard,” he says. “There are basic constructions that make a song work. I really had a hard time copying or figuring out solos off my favorite recordings when learning to play, so I'd develop my own musical method to get from one place to another. It's actually a lack of technique that helped with the music.” His creativity and resourcefulness don't stop there. East Bay Ray was the band's co-producer/engineer on most recordings, and he's tinkered with his own tone tools, assembling partscasters that best suited his approach. Ray has jammed humbuckers into the bridge of a T-style for a twangier bite that helps his rapid-fire arpeggios sting a bit more. He's slapped on short-scale Japanese F-style necks for slinkier playability. And, most notably, he put a Maestro Echoplex in front of his amp to create the signature clanging sound heard on his classic recordings with the band. (“One of my favorite records of all time is Elvis Presley's Sun Sessions. That is one of the records that inspired me to get an Echoplex, to get that slapback echo.”) “We just didn't know the rules on what to play and how to play,” he relates. “That's where not knowing something forces you to make your own solution, creating something unique and new, proving that necessity is the mother of invention. The lack of technique and knowledge helped create our sound and the music.” Before the Dead Kennedys' headlining show at Nashville's Brooklyn Bowl on June 15th, PG hit the stage for a brief but illuminating tone talk. We covered Ray's economically rich setup that includes a single Schecter doublecut and a simplified, solid-sounding Marshall, and we were enlightened about why he puts his Line 6 delay ahead of the amp and what that does to repeats. [Brought to you by http://ddar.io/Nexxus.RigRundown (D'Addario Nexxus 360 Tuner).]

Today's guest is….Megan Gersch!Megan has been in the design and marketing fields for 15+ years, and has worked with some of the most well-known names in the entertainment industry (Netflix, Spaceland Presents, The Echo, Echoplex, Regent Theater, KCRW Radio, and Live Nation).Now, Megan helps women business owners make more sales by creating a bold website design, branding, and marketing strategy.She also co-hosts the Your Sparkly Brand podcast - a show that aims to inspire and empower women entrepreneurs through sharing strategies and stories.Connect With Megan:https://www.tiktok.com/@megangerschhttps://www.megangersch.com/150 Easy Social Media Content IdeasConnect With Me On TikTok:https://www.tiktok.com/@socialtyproFree TikTok For Business Checklist - https://socialtypro.com/tiktok-checklist/Join Our Free TikTok Accountability Group! - https://hi.volley.app/land?tk=2ccFyJRTjwHaXQXFW6vWuh-tkBook An Hour TikTok Consultation - https://calendly.com/socialtypro/60minEmail Me Your Thoughts and Guest Recommendations:podcast@socialtypro.com

Episode 96. Recorded LIVE Thursday, May 19th at the Echoplex with returning guests Big Lucks of the Hard Luck Show (Ep 39 & 40), Kingsley and Minerva (Ep 80), Gregory (Ep 79), Nick Curtis (Ep 89), Alex 2Tone of Powerful Truth Angels (Ep 11), Ann Pyne (Ep 69), Glynis (Ep 88), Reno (Ep 25 and waaay more), and your hosts—Risky Wager, Uncle Mike, Lawrence, and Ukrainian Danny. They're all here for It's All Bad. (Apologies we did not get a clean recording of Giant Drag's musical performance...Guess you had to be there!) Thanks to everyone who came out to support us and thanks to all those who couldn't make it but have continued to support us all these years anyway. We love you all.

The Plugz fusionó el espíritu del punk y la música latina. La banda se formó en 1977 y fue contemporánea de las bandas que aparecen en la película The Decline of Western Civilization. Sus canciones reflejaban la ira y la angustia de crecer chicano, y esto se reflejó en su versión sardónica de alta velocidad de "La Bamba" de Ritchie Valens. Los Plugz son generalmente reconocidos como los primeros D.I.Y. banda de punk en Los Ángeles, habiendo comenzado su propio PLUGZ RECORDS y más tarde Fatima Records. La banda inicialmente estaba compuesta por: - Tito Larriva (Voz principal/guitarra) - Charlie Quintana (batería) (m. 2018) - Barry McBride (bajo/coros) Esta formación grabó el primer álbum de la banda, Electrify Me, producido y diseñado por Alan Kutner, y lanzado en 1979. Después de que McBride se fue (en algún momento entre 1979 y 1980), fue reemplazado por John Curry de The Flyboys, quien se fue para formar Choir Invisible menos de un año después. Larriva y Curry escribieron la canción principal del segundo álbum Better Luck. Los músicos del segundo álbum de la banda, Better Luck (1981), fueron: - Tito Larriva (Voz principal/guitarra) - Charlie Quintana (batería) (acreditado como "Chalo Quintana") MUSICOS INVITADOS: - Gustavo Santaolalla (Bajo/Guitarras/Charango/Coros) - Aníbal Kerpel (teclados) - Steve Berlín (saxofón) - Bruce Fowler (trombón) - Steve Fowler (Saxofón) - Brian Qualls (piano) Tony Marsico se unió a la banda a fines de 1980 y Steven Hufsteter comenzó a tocar la guitarra principal con el grupo en 1984. Con la incorporación de Steven Hufsteter a la guitarra principal, The Plugz también ocupan un lugar destacado en la banda sonora de la película Repo Man. El grupo interpretó "Hombre Secreto", una versión en español de "Secret Agent Man" de Johnny Rivers, "El Clavo y la Cruz" y la música de fondo instrumental original de la película, parte de la cual aparece en la banda sonora como Reel Ten. El bajista Tony Marsico de Plugz y el baterista Charlie Quintana junto con su amigo, el guitarrista JJ Holiday, acompañaron a Bob Dylan en su aparición en Late Night with David Letterman el 22 de marzo de 1984 para tres canciones: "Don't Start Me Talkin'" (por Sonny Boy Williamson), "Jokerman" y "Licencia para matar". En 1984, el nombre de The Plugz se retiró y los tres miembros continuaron como Cruzados con Steven Hufsteter. The Plugz reunió a los tres miembros fundadores de The Masque 30th Anniversary Party and Book Release show el 11 de noviembre de 2007 en The Echoplex en el distrito de Echo Park de Los Ángeles, California. Discografía - Sencillo "Move // Mindless Contentment / Let Go" en Slash Records (1978) - Electrificame (1979) PLUGZ RECORDS - Sencillo "Achin' / La Bamba" en Fatima Records (1981) - Mejor suerte (1981) - Los Angelinos - el renacimiento del lado este (compilación) (1983) - Banda sonora de Repo Man (1984) - Bob Dylan y los enchufes (1984) - Banda sonora de New Wave Hookers - Electrify Me (1985) Lista de canciones - Electrify Me (1979) "Una ganancia - una pérdida" (Tito Larriva) "La Causa" (Tito Larriva) "Electrificame" (Tito Larriva) "Muere satisfecho" (Tito Larriva/Barry McBride) "La Bamba" (dominio público) "Adolescente" (Tito Larriva) "Tiempo de cerebro" (Tito Larriva) "Sin palabras" (Tito Larriva) "Déjalo ir" (Tito Larriva/Barry McBride) "Infección" (Tito Larriva) "Berserktown" (Tito Larriva) La canción "Adolescent" se utilizó en la película Scarred (1984). La canción "Electrify Me", se utilizó en la película para adultos New Wave Hookers (1985).

Is your brand in need of some clean up and added sparkle? In this week's episode, I'm joined by Megan Gersch who helps women business owners boost sales and stand out in the market by creating bold website designs and branding.  Megan shares:  Her entrepreneurial journey and what makes her unique in the world of branding  What she currently delegates as she's growing her business  How to make social media and the strategy behind it easier  Her biggest pet peeve when it comes to social media AND what she loves most about it  Megan's top website must-haves How we can use our websites to build trust  Brand mistakes she sees people making How to Discover Your Dream Customer!  And more!  About Megan:  Megan has been in the design and marketing fields for 15+ years, and has worked with some of the most well-known names in the entertainment industry (Netflix, Spaceland Presents, The Echo, Echoplex, Regent Theater, KCRW Radio, and Live Nation). Now, Megan Gersch helps women business owners make more sales by creating bold website design, branding, and marketing strategy. She also cohosts the Your Sparkly Brand podcast - a show that aims to inspire and empower women entrepreneurs through sharing strategies and stories. Connect with Megan:  Website TikTok Instagram Pinterest LinkedIn Facebook Discover Your Dream Customers

This episode took a little longer to get out due to some life circumstances that took over for awhile. In this one Cory talks to Gay Dave from Echoplex media about how to battle online misinformation. full show notes available here - https://skepticalleftistpod.wordpress.com/?p=536 You can rate and review the show here - https://www.podchaser.com/podcasts/the-mind-of-a-skeptical-leftis-1779751 You can support the show here - - https://www.patreon.com/skepticalleftist - https://www.buymeacoffee.com/skepticallefty - https://www.paypal.me/brainstormpodcast --- Send in a voice message: https://anchor.fm/skepticalleftist/message

Lelak | Daniel Oleksieński pochodzący z Elbląga, obecnie zamieszkujący Gdańsk. W 2011 zaczął swoją przygodę z muzyką elektroniczną, błądził pomiędzy takimi gatunkami jak deep house, tech house aż nareszcie odnalazł techno. Przez kilka lat organizował imprezy w elbląskich klubach pod szyldem 'Electronic SOUND'. Po czym nadszedł czas zmian, od 2016 nawiązał współpracę z Miejskim Instynktem co w pełni ukierunkowało go ku jednemu słusznemu gatunkowi jakim jest techno. Grywał na wielu imprezach w większych i mniejszych miastach w Polsce, w takich klubach jak Sfinks700, Schron, Protokultura, NRD, Metro, Smolna, Poziomy, Luzztro, Drugi DOM, Transformator, Pokój, Wyspa Tamka, Ul.Elektryków, itp. u boku tych znanych i mniej znanych djów sceny klubowej np. Dtekk , Deas , Carla Roca, Echoplex, Axkan, Post Scriptum, OTHK, Sept, TAKA, Kozlov, Helboy, Mia Twin, itp. 1/2 projektu ORBIS. Występował na takich festiwalach jak LAS Festiwal, PROJECT MASOW, Instytut Techno LAS, RAVEON, itp. W 2018r zaczął współpracę z trojmiejskim kolektywem TECHENKO, co wzmożyło intensywność jego występów. Razem odwiedzili między innymi: Toruń, Białystok, Szczecin, Wrocław, Człuchów, Poznań, Warszawa, Gdańsk, Gdynia, Sopot. W jego setach możecie się spodziewać dużej dawki mocnych energicznych bitów, budowanie napięcia kończącego się wybuchem, to jest to co on lubi najbardziej. Social Channels:

Episode 42 New Arrivals to the Archives New-Old Recordings Making it into the Archives Playlist Vincenzo Agnetti, “Pieces Of Sound” from Revolutions Per Minute (The Art Record) (1982 Ronald Feldman Fine Arts Inc.). Reading and tape composition by Italian artist, photographer and writer Vincenzo Agnetti. 4:38 Chris Burden, “The Atomic Alphabet” from Revolutions Per Minute (The Art Record) (1982 Ronald Feldman Fine Arts Inc.). Solo poetry piece by Chris Burden. 0:31 Canarios, “Genesis” and “Prana” from Ciclos (1974 Ariola). Spanish album of symphonic space rock. Adapted by E. Bautista (from Vivaldi's Four Seasons); Bass, Synthesizer, Theremin, Christian Mellies; Drums, Electronic Drums (Moog), Timbales, Triangle, Vocals, Castanets, Maracas, Bells, Temple Bells, Flexotone, Glockenspiel, Rototoms, Gongs, Percussion (Bambus), Goblet Drum (Dharbuka), Alain Richard; Electric Piano, Hammond Organ,Piano, Violin, Mathias Sanveillan; Guitar, Acoustic Guitar, Lyre, Echoplex, Phase Shifter, Vocals, Antonio García De Diego; Synthesizer, Keyboards, Mellotron, Digital Frequency Meter, Ribbon Controller, Vocals,Teddy Bautista. This is pretty audacious. 7:22 Holger Czukay, “Ho-Mai-Nhi (The Boat Woman Song)” from Technical Space Composer's Crew ‎– Canaxis 5 (1969/ RE 2018). Basic tape composition work from this German pioneer, circa 1968. Originally privately released in 1969 by Technical Space Composer's Crew and titled "Canaxis 5". Later reissued as "Canaxis" by Holger Czukay and Rolf Dammers. Czukay studied under Karlheinz Stockhausen from 1963–1966, and in 1968 co-founded the German rock group Can. 7:31 Deuter, “Atlantis” from D (1971 Kuckuck). Georg Deuter, produced and composed on tape. Early work from this German ambient, electronic composer. 6:04 Far East Family Band, “The God Of Wind,” “Moving, Looking, Trying, Jumping In A Maze,” “Wa, Wa (Yamato)” from The Cave: Down To The Earth (1975 Mu Land). Bass, Akira Fukakusa; Drums, Shizuo Takasaki; Guitar, Fumio Miyashita, Hirohito Fukushima; Keyboards, Akira Ito, Fumio Miyashita, Masanori Takahashi; Percussion, Masanori Takahashi; Vocals, Hirohito Fukushima. Japanese psychedelic jam band. Spacey, fun, rollicking organs and guitars. 4:53 Langston Hughes, conclusion of Rhythms Of The World (1955 Folkways). African American poet and author Hughes narrated this work based on his book "The First Book of Rhymes.” The “documentary sounds” were field recordings used to underscore the poetry. 5:08 Steve Hackett, “Jacuzzi” from Defector (1980 Charisma). Solo album from guitarist for Genesis. This is a track of largely keyboard-like sounds featuring such instruments as the Matell Optigan and Roland GR500 Guitar Synthesizer, played by Hackett. Bass, Dik Cadbury; Concert Flute, Alto Flute, John Hackett; and keyboards by Nick Magnus. 4:37 Pedro Morquecho, “Mi Corazon Es Un Violin (Fox)” from Pedro Morquecho (Su Novacord Y Su Orquesta) (1965 Orfeon). Mexican keyboard artist who found his groove with the amazing Hammond Novachord. Here he plays some numbers for the night life, popular favorites designated for different kinds of dances, such as Afro-Beguine, Fox, and Rhumba. 3:33 Enoch Light And The Light Brigade, “Swamp-Fire” from Dimension •3• (1964 Command). This is one of the many amazing instrumental albums produced by Enoch Light for Command in the sixties. In this case, we have Dick Hyman on organ, Tony Mottola on guitar and Alto Saxophone by Walt Levinsky. I also hear an uncredited appearance by an Ondioline, a monophonic organ known to be used by Enoch Light on many albums. 2:19 Akira Itoh, “Life from the Light 光からの生命” from Inner Light Of Life / やすらぎを、君に (1978 King Records). Alto Saxophone, Flute, Vocals – Noboru Kimura; Electric Bass – Keiju Ishikawa; Electric Guitar, Vocals – Nobuo Hajime; Piano, Vocals – Kenji Kijo; Synthesizer – Akira Ito; Vocals – Goko Kunikida. Ito was previously a member of the Far East Family Band (see earlier track). 6:53 Alain Markusfeld, “1st movement” from Contemporus (1979 Egg). French singer and songwriter. Composed by, arranged By, ARP Polyphonic, ARP Prosoloist, Acoustic Piano, electric guitar, Organ, Percussion, Cymbals, Triangle, Marimbas, Harmonica, Handclaps, Vocals – Alain Markusfeld; vocals Patricia Markusfeld. 3:06 Masquerade, “Guardian Angel” from Masquerade ‎– Guardian Angel (1983 Metronome). PPG Waveterm synthesizer, Chris Evans. I don't know much about this group, other than this song and it was basically one person playing the instruments, the short-lived PPG Wave synthesizer, also used by Gary Numan, Depeche Mode, among others. 4:27 Bruno Menny, “Orbite Autour De La Planète 3” from Cosmographie (1972 Arion). This is unique album from the engineer who was also a student of composer Iannis Xenakis. This is his only album. It is a blend of concrete and synthesized sounds. 19:12 Orchestral Manoeuvres In The Dark, “Maid Of Orleans (The Waltz Joan Of Arc)” from Orchestral Manoeuvres In The Dark (1981 Dindisc). A 7-inch single. Bass, Guitar, Horns, Mellotron, Organ, Percussion (Acoustic, Electronic), rhythm program, Synthesizer, Vocals, Andrew McCluskey; Drums, Percussion (Acoustic, Electronic), Synthesizer Bass, Malcolm Holmes; Mellotron, Melodica, Organ, Percussion (Acoustic, Electronic), Piano, rhythm program, Synthesizer, Vocals, Paul Humphreys; Organ, Piano, Synthesizer, Michael Douglas. 4:12 Harold L. O'Neal Jr. (producer), “Ultimate Obstacle (All Tests Simultaneously)” from RCOA Stereo Systems Test Record (1972 Yorkshire Records). Test record using electronic sounds and tone clusters, bursts. “The Ultimate High-Fidelity Test Record.” 2:04 Karlheinz Stockhausen, “Mikrophonie I” (1964), first part, from Mikrophonie I & II / Prozession (1969 CBS). From France comes this boxed set. Electronics (Filters), Hugh Davies, Jaap Spek, Karlheinz Stockhausen; Electronics (Microphone) – Harald Boje*, Johannes G. Fritsch; Percussion (Tam-tam), Alfred Alings, Aloys Kontarsky. Mikrophonie I for Tamtam, Two Microphones, Two Filters and Potentiometers Essentially, a piece for cardboard tubes scraped on cymbals and mixed with electronic amplification and reverberation. Hugh Davies worked with Stockhausen during this period. Recorded at West German Radio Studios, Cologne, December 17 & 18, 1965. 7:24 Donna Summer, “Grand Illusion” from The Wanderer (1980 Geffen). Words and vocals by Donna Summer; Music by Giorgio Moroder; Synthesizers, Harold Faltermeyer, Sylvester Levay; Guitar, Jeff Baxter, Steve Lukather, Tim May; Drums, Percussion, Keith Forsey; Bass Guitar, John Pierce, Lee Sklar, Les Hurdle. 3:50 Ruth White, David White, Gary Maynard, Animals Are Wonderful (1982 Tom Thumb Records). Synthesizers, Ruth White. Yes, that's the Ruth White of sixties Moog Modular fame. She also made her way with children's activity records such as this. 2:16   Opening and closing sequences voiced by Anne Benkovitz. Additional opening, closing, and other incidental music by Thom Holmes. For additional notes, please see my blog Noise and Notations.  

Episode 14 Electronic Jazz, Part 2: Gadgets and Modifiers Electrifying the jazz instrument.   Playlist: Sonny Stitt, “What's New” from the album What's New!!! Varitone tenor saxophone by Selmer. 1966. Players: Baritone Saxophone - George Berg Bass - George Duvivier, Jan Arnet Drums - Walter Perkins Guitar - Les Span Organ - Ernie Hayes Piano - Ellis Larkins Saxophone [Varitone] - Sonny Stitt Tenor Saxophone - Illinois Jacquet Trombone - J.J. Johnson Trumpet - Eddie Preston, Joe Wilder Vibraphone - Mike Mainieri Buddy Terry, “Electric Soul,” from the album Electric Soul, Varitone tenor sax. 1967. Players: Bass - Ron Carter Drums - Freddie Waits Electric Piano - Harols Maber Jr. Flugelhorn - Jimmy Owens Tenor Saxophone - Edlin "Buddy" Terry Trumpet - Jimmy Owens Clark Terry, “Electric Mumbles” from the album It's What's Happening. Varitone trumpet. 1967. Bass - George Duvivier Drums - Dave Bailey Piano - Don Friedman Trumpet [Varitone] - Clark Terry The Cannonball Adderly Quintet, “Gumba Gumba” from Accent On Africa, Selmer Varitone saxophone. 1968. Alto Varitone saxophone --Cannonball Adderley, Cornet --Nat Adderley – Drums --Earl Palmer - drums Brass, reeds and vocals, piano, harpsichord, guitar, bass-- Uncredited Melvin Jackson, “Funky Skull” from the album Funky Skull. String bass modified with: Maestro G-2 filter box for guitar, Boomerang and Echo-Plex and Ampeg amplifier. 1969. Acoustic Bass, Effects – Melvin Jackson Alto Saxophone, Bass Saxophone, Flute – Roscoe Mitchell Baritone Saxophone – Tobie Wynn Drums – Billy Hart, Morris Jennings Guitar – Pete Cosey Lead Guitar, Rhythm Guitar, Bass [Fender] – Phil Upchurch Piano, Organ [Hammond], Effects [Echo Plex] – Jodie Christian Tenor Saxophone – James Tatum Tenor Saxophone, Flute – Byron Bowie Tenor Saxophone, Soloist [Solos] – Bobby Pittman Trombone – Steve Galloway Trumpet – Donald Towns, Tom Hall Trumpet, Flugelhorn – Lester Bowie, Leo Smith Vocals – The Sound of Feeling Eddie Harris, “Electric Ballad,” from the album Silver Cycles. Maestro amplifier and Echoplex, 1969. Bass – Melvin Jackson Drums – Bruno Carr Percussion – Marcelino Valdes Tenor Sax (Maestro, Echoplex)—Eddie Harris John Klemmer, “Excursion #2” from Blowin' Gold, 1969, horn effects begin at about 1:11 into the track, probably the Conn-Multivider. Also some interesting effects added on Hey Jude, a excerpt which is also played. Bass - Phil Upchurch Drums - Morris Jennings Guitar - Pete Cosey Piano, Organ - Richard Thompson Tenor Saxophone, Other [Electronic Horn Effects] - John Klemmer John McLaughlin, “Marbles” from the album Devotion. Echoplex and guitar distortion effects. 1970. Bass – Billy Rich Drums, Percussion – Buddy Miles Organ, Electric Piano – Larry Young Guitar – John McLaughlin Miles Davis, “Bitches Brew” (opening) from Bitches Brew. Amplified trumpet with Maestro ring modulator and Echoplex. 1970. Bass – Dave Holland Bass [Fender] – Harvey Brooks Bass Clarinet – Bennie Maupin Trumpet[amplified] – Miles Davis Drums – Don Alias, Jack DeJohnette, Lenny White Electric Guitar – John McLaughlin Electric Piano – Chick Corea, Joe Zawinul Percussion – Jim Riley Soprano Saxophone – Wayne Shorter Miles Davis, “Nem Um Talvez” from the album Live-Evil. Echoplex and percussion. 1971. Bass –Ron Carter Drums –Jack DeJohnette Keyboards –Herbie Hancock, Keith Jarrett Saxophone –Steve Grossman Trumpet – Miles Davis Vocals – Hermeto Pascoal   Gil Melle, “The Love Song” from the album Waterbirds. Handmade electronic instruments plus echo, fuzz, and other effects. 1970 Bass [Fender] – Dave Parlato Soprano Saxophone, Other [Special Electronic Musical Instruments] – Gil Mellé Drums – Fred C. Stofflet Electric Piano [Fender] – Pete Robinson Guitar – Art Johnson, Joe Cinderella The Fourth Way, “Spacefunk” from the album Werwolf. Fender Rhodes electric piano using an Oberheim ring modulator, Recorded live at the Montreux Jazz Festival, June 19, 1970. Drums – Eddie Marshall (2) Electric Bass – Ron McClure Electric Piano [Fender Rhodes Electric Piano], Effects [Oberheim Ring Modulator] – Mike Nock Electric Violin – Michael White   Don Ellis, “Hey Jude” (opening), from Live at the Fillmore, 4-valve, quarter tone electric trumpet, Echoplex, Conn-Multivider, Oberheim ring modulator– Don Ellis. 1970. Bass - Dennis Parker Bass Trombone - Don Switzer Congas - Lee Pastora Drums - Ralph Humphrey Guitar - Jay Graydon Percussion, Drums - Ron Dunn Piano - Tom Garvin Saxophone - Fred Selden, John Klemmer, Jon Clarke, Lonnie Shetter, Sam Falzone Trombone - Ernie Carlson, Glenn Ferris Trombone, Contrabass, Tuba - Doug Bixby Trumpet - Glenn Stuart, Jack Coan, John Rosenberg, Stu Blumberg Trumpet, Drums - Don Ellis Eddie Harris, Why Don't You Quit, from the album Eddie Harris ‎– Come On Down! In 1970. Used the Hammond Innovex Condor SSM guitar synthesizer with the tenor saxophone. Bass – Donald "Duck" Dunn Drums – Tubby Ziegler* Guitar – Cornell Dupree (tracks: A1, A2, B1 to B3), Jimmy O'Rourke (tracks: A1, A2, B1 to B3), Joseph Diorio* (tracks: A3) Organ – Billy Carter Piano – Dave Crawford Tenor Saxophone [Electric] – Eddie Harris Trumpet – Ira Sullivan       The Archive Mix in which I play two additional tracks at the same time to see what happens. Here are two additional tracks of electronic jazz and amplified instruments:   Moe Koffman, “Funky Monkey” from the album Turned On. Varitone flute and Varitone dual alto saxophones. 1968 Miles Davis, “Stuff” (excerpt) from Miles in the Sky, 1968. Bass – Ron Carter Drums – Tony Williams* Piano, Electric Piano – Herbie Hancock Tenor Saxophone – Wayne Shorter Trumpet – Miles Davis   Read my book: Electronic and Experimental Music (sixth edition), by Thom Holmes (Routledge 2020).   Also see my paper, Thom Holmes (2018): The Roots of Electronic Jazz, 1950–1970, in  Jazz Perspectives

   An Ecclectic Mix when you're in a fix, a perspective SHIFTER! (Lee Scratch Perry Welcomes us)No Time For Hello - Harry BeckettFree Soul - John KlemmerKadji - Don PullenIn Between Worlds - Zara McFarlaneDragon's Gate - Emerald WebSprings - Pete JollyMandala - Lloyd Miller and the HeliocentricsStrings of Light - Yussef KamaalFirst Class - KhruangbinFire and Rain (excerpt) - Hubert LawsOzan Koukle - IceSubmission - Tyrone WashingtonRosa Mae - Mary Lou WilliamsKeep on Movin' On - Shirley ScottA Simple Waltz - Clark Terry Quartet(Wind Vs. Windchime Vs. Echoplex) http://www.freedom-sounds-radio.com/Freedom_Sounds_Jazz_Side_WEDNESDAY.m4a 

This is the audio from our video here: https://youtu.be/xS2ZWpLxkzQ   We compare an original Roland RE-201 Space Echo with the RE-20 pedal, Strymon Volante and EchoFix EF-X2. Life too short for long YouTube videos? Please see the ‘Interesting bits and go-to sections’ information below. Welcome to the episode. A little while back, Dan and I did a video on single-head tape delays based on our love of the Echoplex sound. You can watch it here: https://youtu.be/iDdK8QMcF2INow it’s the turn of the multi-head tape machine, specifically the classic Roland RE-201 Space Echo that debuted all the way back in 1974. We have some simple questions…How much does the old, analogue RE-201 sound like the ‘new’ RE-20 digital pedal?What about the EchoFix and the Strymon Volante? Can Dan put together a Heath-Robinson pedalboard that simulates what a multi-head tape delay does?Let’s do this – enjoy the episode! Pedals & stuff in this episode… • TheGigRig Three2Onehttps://www.thegigrig.com/three2one • Boss RE-20 Space EchoUK & Europe: http://bit.ly/2INcFS2USA: https://imp.i114863.net/PPyAN • Vintage Roland RE-201 Space Echohttps://soundgas.com/features/roland-tape-echo/ • Echo Fix EF-X2https://echofix.com/Australia: http://bit.ly/2sQ56r3 • Strymon VolanteUK & Europe: http://bit.ly/2GqJ6IwUSA: https://imp.i114863.net/km0knAustralia: http://bit.ly/2Ie0UZe • CornerStone Gladio V1https://www.cornerstonegear.it/products/gladio • Analogman King Of Tonehttp://www.analogman.com/kingtone.htm • Origin Effects Cali76-CDUK & Europe: http://bit.ly/2cbsLUmUSA: https://imp.i114863.net/r7Qe5Australia: http://bit.ly/2rPSRWo • Jam Pedals Ripply FallUK & Europe: http://bit.ly/2PoxKu0Australia: https://bit.ly/38Nz0gk Dan's Deconstructed Multi Head Delay• Hudson BroadcastUK & Europe: http://bit.ly/2iF2DrEAustralia: http://bit.ly/2oUbqrw • Union Tube & Transistor LABUK & Europe: http://bit.ly/2LJARtG • TC Electronic Flashback MiniUK & Europe: http://bit.ly/2h8sZOGUSA: https://imp.i114863.net/YJ90JAustralia: http://bit.ly/2EzEomM • Boss DD-3TUK & Europe: https://bit.ly/2O5F5uSUSA: https://imp.i114863.net/e6KjrAustralia: https://bit.ly/2O8HQLZ • Boss VB-2w Waza Craft VibratoUK & Europe: http://bit.ly/2j1ZyQfUSA: https://imp.i114863.net/o7qJbAustralia: http://bit.ly/2zeZWWx • Xotic Effects RC BoosterUK & Europe: http://bit.ly/2dYulwDUSA: https://imp.i114863.net/bEaQ9Australia: http://bit.ly/2PzobFw • Carl Martin HeadRoom Spring Reverbhttps://www.carlmartin.com/headroom • JHS Summing AmpUK & Europe: https://bit.ly/2W2B7rdUSA: https://imp.i114863.net/OjrWQAustralia: https://bit.ly/2DjEe7G • TheGigRig Wetter Boxhttps://shop.thegigrig.com/wetter-box/UK & Europe: http://bit.ly/2Zw6PvVAustralia: http://bit.ly/2Omv3X8 • Dunlop DVP4 Volume X MiniUK & Europe: http://bit.ly/2QLS44KUSA: https://imp.i114863.net/jvrjeAustralia: http://bit.ly/2MhpSsI • TheGigRig G2https://www.thegigrig.com/g2 * Why do we have preferred retailer links? Find out here: http://www.thatpedalshow.com/partners Interesting bits and go-to sections…- Intro playing: 00:00- What are we doing today?: 03:22- Simple demo of multi-head: 06:10- RE-20 and RE-201 comparison: 12:35- What about modulation?: 21:35- EchoFix EF-X2: 24:15- Strymon Volante: 27:15- Stereo panning Volante: 29:26- What’s in a multi-head delay?: 38:18- Dan’s Build-A-Board multi-head delay explanation: 40:45- Closing thoughts and conclusions: 53:45- Dan plays us out: 56:30 Guitars in this episode:• 1965 Fender Telecaster - no video yet• 1961 Fender Stratocaster - no video yet • Fender American Vintage ’62 Stratocaster – Mick’s video at http://bit.ly/2cQv3yT Amps in this episode• Matchless HC-30 with Matchless ESD 212 Celestion G12M Greenback speaker and Celestion G12H Anniversary speakers• Two Rock Classic Reverb Signature with Two-Rock 212 cabinet / TR 1265B speakers We hope you enjoy this episode. Please subscribe to our channel. You can buy TPS merch to support our efforts https://www.thatpedalshowstore.com We are on Patreon – crowdfunding for creativeshttps://www.patreon.com/ThatPedalShow Please visit our preferred retailers!UK & Europe: Andertons Music http://bit.ly/2cRvIvtAustralia: Pedal Empire http://bit.ly/2mWmJQf

Megan Gersch ensures that artists and venues make money and stand out with branding and design of their merchandise, websites and logos.⁣ Megan has been the Graphic Designer and Creative Director for Live Nation, Spaceland Presents (owner of Echo, Echoplex and Regent Theater in Los Angeles) and KCRW. ⁣ ⁣ She now owns her own business and shares tips on the branding process, how to obtain clients and what to expect when freelancing.⁣ ⁣ Send Sydney an email at thesetupcommunity@gmail.com for your feedback or topics you'd like to learn more about in a future episode.⁣ ⁣ https://instagram.com/thesetupseries⁣ https://twitter.com/TheSetUpSeries⁣ https://open.spotify.com/show/6qvb7YAMbHJ9N9zH3W2QSm⁣ https://podcasts.apple.com/us/podcast/the-set-up-a-look-inside-the-music-industry/id1500949845⁣ https://www.youtube.com/channel/UCSnl3gWZ61qZoSMxpjd8LbQ⁣ https://www.linkedin.com/groups/13843111/⁣ www.instagram.com/megangerschdesign⁣ www.megangersch.com⁣ and hello @megangersch.com www.spacelandpresents.com⁣ www.adobe.com --- Send in a voice message: https://anchor.fm/thesetupseries/message Support this podcast: https://anchor.fm/thesetupseries/support

In this week's show, we have Dave Cranmer a mechanical sculptor and freelance engineer that has his roots firmly in sound. He is truly an adventurous multimedia artist, designer and builder that has created all kinds of beautiful, bizarre and exceptional machines! We look at his road to being 'The Nervous Squirrel', we talk building modular and focus on some of his amazing projects and commissions! From a Radioactive Xylophone to the renowned Badgermin (a theremin in a badger!) we talk about it all! We could not get all the show notes on this so page so head over to www.esotericmodulation.com for the full show notes. Show Timings 0.00 Show introEd and Ben's pre-show chat: 00.59 Accents, Currys cast and gear,02.31 Dreaming of gear 03.18 New module tease, 04.15 Echoplex is fixed! 08.45 Valhalla Supermassive reverb and examples 16.20 Guest intro 18.10 Welcome to Dave Cranmer 19.01 The Road to Nervus Sqirl20.21 Building the skills21.59 First commission 23.00 Ring modulator, modular - the musical path 27.20 Radioactive Giger counter random source and Radioactive Xylophone 32.00 logistically tricky designs 33.55 Enjoying working on commissions 35.29 Aero Chocolate dipped grammar phone 36.31 Most technically challenging project 40.00 A favourite fun project 41.00 The Bagermin 44.00 How do people find Dave44.30 The alpaca sound system46.46 What Dave likes to build 47.50 The Wether controlled electromechanical sound installation50.20 Future projects 52.25 RoundupShow NotesDave's links:Dave Cranmer - 'The Nervous Squirrel' InformationWebsite: https://www.nervoussquirrel.comYoutube: https://www.youtube.com/user/thenervoussquirrelInstagram: https://www.instagram.com/nervoussquirreldotcom/Intro LinksOM-1 - http://www.ondemagnetique.comFolktek Resonant Garden - http://www.folktek.com/instruments/electrocoustic/lastgardentanh[3] video with the echoplex - https://youtu.be/W1AKzau1608Valhalla DSP Supermassive - http://bit.ly/SUPERmassiveDivKid presets for Supermassive - http://bit.ly/SUPERmassiveDIVKIDVirtual CZ - https://www.olilarkin.co.uk/index.php?p=virtualczXILS lab - PolyM - https://www.xils-lab.com/products/polym-p-160.htmlXFER Records - Serum - https://xferrecords.com/products/serumFelt Instruments - Wolno - https://bit.ly/WolnoGuest LinksOriginal Dalek Ring Modulator circuit - http://www.nervoussquirrel.com/ringmodulators.htmlSigning offIsolation streaming resource - https://bit.ly/coronastreamsHostsEd Ball Website:https://www.edwardball.co.ukEd Ball on Youtube: https://www.youtube.com/user/EdwardballBen Wilson aka DivKid: https://www.youtube.com/user/DivKidVideo

This is the audio from our video here: https://youtu.be/iDdK8QMcF2I Following our show on real tape delays, we’re now getting in to some of our favourite Echoplex / single-head tape machine type sounds.    We hope you enjoy this episode. Please subscribe to our channel.   You can buy TPS merch to support our efforts https://www.thatpedalshowstore.com   We are on Patreon – crowdfunding for creatives https://www.patreon.com/ThatPedalShow   Please visit our preferred retailers! UK & Europe: Andertons Music http://bit.ly/2cRvIvt Australia: Pedal Empire http://bit.ly/2mWmJQf

** PLEASE SUBSCRIBE **Brought to you by FUNKNSTUFF.NET and hosted by Scott "DR GX" Goldfine — musicologist and author of “Everything Is on THE ONE: The First Guide of Funk” ― “TRUTH IN RHYTHM” is the interview show that gets DEEP into the pocket with contemporary music’s foremost masters of the groove.Featured in TIR Episode 133: Funk guitar giant Dennis Coffey. Already an experienced session player, by the late 1960s funk guitar icon Dennis Coffey became a member of the Funk Brothers studio band.He played on dozens of recordings for Motown Records, and introduced a hard rock guitar sound to Motown record producer Norman Whitfield's recordings, including distortion, Echoplex tape-loop delay, and wah-wah; most notably heard on "Cloud Nine," "Ball of Confusion (That's What the World Is Today)" and "Psychedelic Shack" by The Temptations. He played on numerous other hit records of the era including No. 1 singles like Edwin Starr's "War," Diana Ross & The Supremes' "Someday We'll Be Together" and Freda Payne's No. 3 hit (No. 1 in the U.K.) "Band of Gold."In 1971, Coffey recorded "Scorpio," a million-selling instrumental single that peaked in the U.S. at No. 9 on the Billboard Hot Soul Singles chart and at No. 6 on the Billboard Hot 100. The instrumental track featured former Motown "funk brother" Bob Babbitt on bass. On Jan. 8, 1972, Coffey became the first white artist to perform on TV's Soul Train, playing "Scorpio." That record received a gold disc awarded by the Recording Industry Association of America in December 1971.The follow-up in 1972 was "Taurus," both credited to Coffey and the Detroit Guitar Band. Since then, he has recorded several solo albums, most of them for the Sussex and Westbound labels. While at Sussex Records, Coffey arranged and produced along with Mike Theodore the million-selling "Nice To Be With You" by the group Gallery. In addition, Coffey scored the blaxploitation film, Black Belt Jones (1974).Coffey was interviewed in the 2002 film, Standing in the Shadows of Motown, which told the story of Funk Brothers and explained that he had sold his Fender Stratocaster to buy a Gibson Firebird after he heard Eddie Willis of Funk Brothers play it during a Motown session. In 2004, he published a memoir, Guitars, Bars and Motown Superstars. Coffey was inducted into the Michigan Rock and Roll Legends Hall of Fame as a member of the Funk Brothers in 2010 and as a solo artist in 2018.He recounts most of it here, as well as his still active performing schedule and 2019's jazz album, Down by the River.RECORDED FEBRUARY 2020Get your copy of "Everything Is on the One: The First Guide of Funk" today! https://www.amazon.com/gp/product/1541256603/ref=as_li_tl?ie=UTF8&camp=1789&creative=9325&creativeASIN=1541256603&linkCode=as2&tag=funknstuff-20&linkId=b6c7558ddc7f8fc9fe440c5d9f3c4008

This is the audio from our video here: https://youtu.be/FWZmr1rE-yM Why do tape delay machines sound sooooo good? It’s a question we are delving into over a series of shows. We kick off with our personal favourite REAL TAPE machines. Erm, our only machines, in fact. Life too short for long YouTube videos? Please see the ‘Interesting bits and go-to sections’ information below. COVID-19: This video was filmed long before the social distancing measures were advised by various governments across the world. Rest assured that all of us at That Pedal Show began observing social distancing and stay-at-home measures as soon as they were announced. Be well y’all! There’s just something magic about tape echo. Be it an Echoplex, Space Echo, Copicat or what have you, that – literally – magnetic blend of warmth and often idiosyncratic unpredictability is what puts the tear in your eye and the emptiness in your wallet. Both Dan and I have been on a voyage of tape discovery these past months; smitten by the sounds, maddened by the maintenance and confused at the question of why modern pedal simulations just don’t stand up. Or do they? So in this first instalment of (probably) three, we indulge in the tape machines themselves. Consider it a context setting siting lap of what’s to come. In Part 2 we will delve a little more deeply into the single-head Echoplex side of things and a bunch of modern pedals, then follow that up in Part 3 with a similar treatment of the multi-head Space Echo approach. No, we haven’t looked at the European-style Wems/Meazzis etc… maybe that’s one for the future. At present we don’t own any. Off we go then… please enjoy the episode! Pedals & stuff in this episode… • TheGigRig Three2One https://www.thegigrig.com/three2one • Sonic Research ST-200 Turbo Tuner Australia: http://bit.ly/2mR1s8c • Metropoulos Supa-Boost https://store.metropoulos.net/products/copy-of-supa-boost-handwired-high-voltage-boost-pedal?variant=19776952860745 • Thorpy Warthog UK & Europe: http://bit.ly/2ELIE48 Australia: http://bit.ly/2MLINum • Keeley D&M Drive UK & Europe: http://bit.ly/2oTblU1 USA: http://bit.ly/2quRShW Australia: http://bit.ly/2pUDUAE • Diamond VIB1 Vibrato http://www.diamondpedals.com/products/vibrato/ • Boss DD-200 UK & Europe: http://bit.ly/2kyinR3 USA: http://bit.ly/2rpIPzv Australia: http://bit.ly/2smiUsQ • Fulltone Tube Tape Echo https://www.fulltone.com/products/tube-tape-echo • Roland RE-201 Space Echo Try Soundgas: https://soundgas.com/features/roland-tape-echo/ • Echo Fix EF-X2 Echo Fix EF-X2 Tape Echo Australia: http://bit.ly/2sQ56r3 https://echofix.com/products/echo-fix-ef-x2-tape-echo • Hiwatt Custom Tape Echo No longer made • TheGigRig G2 https://www.thegigrig.com/g2 * Why do we have preferred retailer links? Find out here: http://www.thatpedalshow.com/partners Interesting bits and go-to sections… - Social distancing: 0:00 - Intro playing: 0:48 - Hello and welcome: 2:05 - Where did the PRS DGT go? 2:55 - What are we doing today? 3:50 - Today’s echo machines: 4:30 - Pick / plectrum tangent: 6:35 - Today’s amps: 7:10 - Fulltone preamp on and off: 7:40 (8:23) - Fulltone preamp overdriving: 8:56 - Mick’s Belle Epoch Deluxe realisation: 10:25 - Fulltone controls and echo sounds: 10:40 - …tone on the repeats: 11:45 - …high and low tape speeds: 12:35 - …with overdrive pedals: 13:40 - Boss DD-200 quick comparison: 14:35 - Slapback sounds from the Fulltone: 15:50 - The importance of the preamp: 18:50 - Roland Space Echo RE-201: 20:35 - RE-201 and TTE quick comparison: 21:17 - RE-201 preamp: 24:15 - RE-201 playback heads: 25:50 - Echo Fix EF-X2: 30:00 (30:50) - …preamp sound and echo: 32:45 - Hiwatt Custom Tape Echo story: 35:00 - …sounds: 38:15 - …auto tape stop: 40:35 - …multi head: 41:20 - Hiwatt and Boss DD-200 compared: 42:09 - The next shows: 43:00 - What’s the commonality with tape? 44:00 - Schwang to end: 45:55 Guitars in this episode: • Fender American Vintage ’62 Stratocaster – watch Mick’s video here: http://bit.ly/2cQv3yT • Fender Custom Shop ’63 Telecaster – watch Dan’s video here: http://bit.ly/2Hlpy5Y • PRS DGT – watch Mick’s video here: http://bit.ly/2d8Xo2I • 1961 Fender Stratocaster - no video yet Amps in this episode • Two Rock Classic Reverb Signature / 212 cab with TR12-65B speakers • Marshall 1987x / 1960Ax cab with Celestion G12M Greenback speakers We hope you enjoy this episode. Please subscribe to our channel. You can buy TPS merch to support our efforts https://www.thatpedalshowstore.com We are on Patreon – crowdfunding for creatives https://www.patreon.com/ThatPedalShow Please visit our preferred retailers! UK & Europe: Andertons Music http://bit.ly/2cRvIvt Australia: Pedal Empire http://bit.ly/2mWmJQf

Soraya & Jeff welcome back The Muffs' Ronnie Barnett and music journalist, musician and reissue producer Pat Thomas to discuss the live event held at The Echoplex in Los Angeles on February 15, 2020 featuring The Dream Syndicate with support acts Dime Box Band, Tracy Bryant & DJ Ronnie Barnett.

Echoplex is one of electronic music’s most unique artists across a variety of styles and aliases. Long time music producer, dj, label owner and techno music coach and trainer. A true mainstay of techno circles for over 25 years. With discography stretching into triple digits across labels like Soleil, Synewave, ARTS, Soma, novamute, Figure he has toured throughout Europe, Asia and the Americas, rocking festival crowds and headlining massive club nights with grooves that honour techno’s legacy while looking to it’s future. With a reputation spread between countries as far-removed as Poland, Italy, and Canada, Echoplex’s music maintained a mercurial perspective while remaining instantly recognizable, constantly shifting between the energy of the dance-floor and the warmth of analogue electronica. In 2020, Echoplex launched a "Making-of Echoplex" album. Follow ECHOPLEX here: Web: http://www.peterechoplex.com/ Resident Advisor: https://www.residentadvisor.net/dj/echoplex Facebook: https://www.facebook.com/peterechoplex/ Instagram: https://www.instagram.com/soleil_records/ Soundcloud: https://soundcloud.com/peterechoplex Discogs: https://www.discogs.com/artist/9044-Echoplex Beatport: https://www.beatport.com/artist/echoplex/4772 Contact: bookings@peterechoplex.com --- Follow TECH CLUBBERS here: Web: https://www.techclubbers.com/ Resident Advisor: https://www.residentadvisor.net/profile/techclubbers Facebook: https://www.facebook.com/TechClubbers/ Instagram: https://www.instagram.com/techclubbers/ Soundcloud: https://soundcloud.com/techclubbers Mixcloud: https://www.mixcloud.com/TechClubbersRadio/ Youtube: https://www.youtube.com/c/TechClubbersPodcast Itunes: https://podcasts.apple.com/it/podcast/tech-clubbers-podcast/id1453220509 Contact: info@techclubbers.com

Although the artist behind the musical project has been working on the local scene, since 2009, he has had the fortune to grow in music since he was very young and have great influences in different musical styles, working for the music of very personal way last several years, but I think the pinnacle of all this came with the birth of "Archaic Revival" that started as a musical project in 2015 in the visible part or publicly so to speak, but the project had been working since 2014, precisely seeking to unite many elements under the previously explained concept. The project carries two fundamental bases that is my Infinite devotion for the House and the most sacred respect I have for the Techno, with different variables within other styles such as Acid, Dub, Ambient and Experimental music. His music has been supported and played by artists such as: Santiago Salazar [Santuario Podcast #20 and Podcast #27 by Dub lab LA.USA] and Cari Lekebush [Goute Mes Mix #48 by Goute Mes Disques] [Resident Advisor Dj Charts July 2015 top 10] Other outstanding supports by: Echoplex, Amotik, Slam, Luigi Madonna, Jason Fernandez, Klaudia Gawlas, Cristian Varela, and Colombia local support by: Deraout, Julianna, Magdalena, Lunate, Dsum, Kriss Salas, Gotshell, Durcheinander and many more. Has participated in festivals like: Baum Park [Medellín, 2016], Freedom Festival [Medellín, 2017] Presentations in the most important clubs in Medellín: Mansión Club, ARA Maxima (MedellínStyle Club), MUTE, Salón Amador, Calle 9 + 1, Club 1984, Underbridge, Durden, Wave and more. In addition to their participation in other cities of the country like Pereira, Cúcuta, Bucaramanga, Armenia, Valle del Cauca, Pamplona. He has shared the stage with some high-level artists such: Fjaak, Sigha, Zadig, Vril, Peter Van Hoesen, UVB, The Advent, Roberto Capuano, Markantonio, Harvey Mckay and the artists participating in the above mentioned festivals. Available in: sptfy.com/medellinstyle youtube.com/medellinstyle apple.co/2NirUXY soundcloud.com/medellinstyledj/sets/podcast www.mixcloud.com/MedellinStyle/ www.deezer.com/es/show/657932 tun.in/pjCgO medellinstyle.com/category/podcast/

Llegamos al final de año y toca hacer balance de todo lo visto y disfrutado en 2019. Como es habitual, en Cultura Seriéfila, hacemos este especial en el que hacemos nuestros propios top 10 y en el que animamos a nuestros oyentes a que hagan lo propio y nos envíen audios con sus elecciones, así como la encuesta en la que sacamos el top del pueblo. Este especial es un podcast que nos encanta hacer y así lo disfrutamos. Espero que vosotros también lo hagáis. De parte de Swanilda, Alberto, Stakado y Miguel Romero os deseamos lo mejor para 2020, tanto en lo personal como en lo seriéfilo. Es un lujo que siempre estéis ahí. El Top del Pueblo (7:01) Audios de los oyentes (14:24) Jose Antonio Abellán (17:39) Capitán Ramos (22:26) Echoplex (29:29) Chichus (35:15) Karel (37:55) Soccerkicks (43:55) PJ Cleaner (50:15) Pekosonic (56:56) Maeguin (1:01:55) Doc (1:06:12) Begobus (1:09:46) Elena (1:16:42) Javi Serrano (1:19:42) Javier Bell (1:26:44) Leo Ajenoaltiempo (1:28:40) Fernando Molina (1:32:12) Top de Alberto (1:41:26) Top de Swanilda (1:55:01) Top de Stakado (2:07:33) Top de Miguel (2:19:31) Premio Castaña y a la Mejor Serie de 2019 (2:36:00)

Llegamos al final de año y toca hacer balance de todo lo visto y disfrutado en 2019. Como es habitual, en Cultura Seriéfila, hacemos este especial en el que hacemos nuestros propios top 10 y en el que animamos a nuestros oyentes a que hagan lo propio y nos envíen audios con sus elecciones, así como la encuesta en la que sacamos el top del pueblo. Este especial es un podcast que nos encanta hacer y así lo disfrutamos. Espero que vosotros también lo hagáis. De parte de Swanilda, Alberto, Stakado y Miguel Romero os deseamos lo mejor para 2020, tanto en lo personal como en lo seriéfilo. Es un lujo que siempre estéis ahí. El Top del Pueblo (7:01) Audios de los oyentes (14:24) Jose Antonio Abellán (17:39) Capitán Ramos (22:26) Echoplex (29:29) Chichus (35:15) Karel (37:55) Soccerkicks (43:55) PJ Cleaner (50:15) Pekosonic (56:56) Maeguin (1:01:55) Doc (1:06:12) Begobus (1:09:46) Elena (1:16:42) Javi Serrano (1:19:42) Javier Bell (1:26:44) Leo Ajenoaltiempo (1:28:40) Fernando Molina (1:32:12) Top de Alberto (1:41:26) Top de Swanilda (1:55:01) Top de Stakado (2:07:33) Top de Miguel (2:19:31) Premio Castaña y a la Mejor Serie de 2019 (2:36:00)

This week Dani and Povs snagged Singer, Song Writer and Synthwave DJ Master – JAK SYN!!!!! Jak Syn has a lifelong relationship with music, playing all over LA at historic venues such as The Whisky A Go Go, The Trubador, CIA and the KeyClub. In 2018 he began working with Samuel Valentine, DJing for Night.Wav LA & San Junipero events at the Echoplex; sharing his love for Synthwave with the public! This week's movie: SGT Pepper’s Lonely Hearts Club Band

Mattia Trani has been toasted as "the future of Italian techno". The Italian has been active since 2012. He came onto the scene through his record label, Pushmaster Discs, and his musical output since then has been nothing short of prolific. Since 2012, Mattia has had 17 releases, 2 of which are LP's. His biography says " Mattia Trani is considered one of the most talented young artists of the techno music landscape of recent years, both Italian and European. Born in a musical family, he starts fostering his passion for music as a child, building his background by studying the piano at first, and then focusing on DJing and musical production." "In 2014, during the party for the 20th anniversary of Bologna's Link Club, Trani shares the console with Jeff Mills, and in that occasion, the famous Italian newspaper La Repubblica defines him a “Student of the Detroit school, which Mills himself brought to fame”." Pushmaster Discs, Mattia's label, has seen releases from artists such as Ilario Alicante, Julia Govor & Jeroen Search. Mattia's music has been remixed by the likes of Ben Sims, Donato Dozzy, DJ Shufflemaster, Echoplex, DJ Rush, Sterac and Kwartz, amoungst others. Mattia's style takes the sounds of Detroit techno through his own filter to create his sonic, but he is also influenced by classical, rock n' roll and jazz music. He is currently studying classical. Playlist 1. Under Black Helmet - untitled 2. Camila Villegas - I'm so sad 3. ZIPPO - Seq_01 4. Airod - Rave Station 5. Dax J - Speedball 6. Matasism - Cold and Blank 7. Camila Villegas - Push Harder 8. Warind - Adore 9. Airod - Fury 10. Sugar - Vaporing Sun 11. VTSS - Safe Location 12. Alpha Tracks - Hyper Reality 13. Deformation Bolenne - Tatanka 14. Diego Amura - Zitto e Balla 15. Alpha Tracks - Freedive

Twice a month, guitar amp guru Skip Simmons fields your questions on vintage tube amp buying, restoration and repair. Co-hosted by the Fretboard Journal’s Jason Verlinde. Submit your guitar amp questions to Skip here: podcast@fretboardjournal.com or by leaving us a voicemail or text at 509-557-0848. Some of the topics discussed on this episode: 8:00 Cloning vintage knobs (video link, h/t John from Australia!) 9:34 This week’s sponsors: Grez Guitars, Roberto-Venn 11:01 An open call for our first live caller 13:39 Bartell guitar history (site link)  14:49 Skip’s schedule 16:49 More Solder-gate 17:15 Single-ended, parallel twin power tube amps 21:18 WD-40 to the rescue, again 23:28 Unwanted noise from an Echoplex 32:02 Lower B-plus voltage on a Blackface Fender 37:38 Tweed Princeton with a choke vs a resistor 44:18 Speaker cable vs guitar cable (and a sad bird tale) 53:46 Skip’s soup tips 56:43 The story behind the TAVA intro music 57:44 Sal Trentino and a Standel 80L15 schematic 1:05:22 Asking boutique makers for their schematics 1:10:37 Dr. Z’s new Jetta amp and the story behind the 7591 power tube 1:15:25 Figuring out what’s original in a 1953 Fender Tweed Deluxe (5B3) 1:18:14 How noticeable are bad caps? 1:26:06 A solid state Peavey Firebass 700 that won’t stop power cycling 1:29:00 An AmpRX BrownBox for a Brownface Deluxe 1:31:57 Skip’s picks: Treme; Aretha Franklin’s Amazing Grace; Harlan County, USA; The House That Trane Built; the Recordium on YouTube; “Wherever You Go” by Skip Mahoney 1:37:00 Cheap Amazon variacs 1:39:41 Mystery tubes in a 1960 Lafayette tape deck 1:44:16 Putting the 5U4GB back into a 1969 Fender Princeton 1:51:29 Cooling off an amp that runs hot PS: The reason Jason is preoccupied: https://www.myballard.com/2019/10/07/2-alarm-fire-on-market-st/

“Coolest Conversations” can be heard every Friday on the Mighty Manfred program SiriusXM Ch.21.  It’s that series of interviews with artists who have earned themselves a “Coolest Song In The World” designation.   For this throwback episode, Manfred’s guest was Kim Shattuck. In 2016, the Muffs celebrated their 25th anniversary at Echoplex, LA,  hosted by Mighty Manfred. Following her passing October 2nd, we decided to share this interview with rock and roll's sweetheart, member of the Muffs, the Pandoras, the Pixies and more recently, the Coolies.  Join Kim Shattuck with Mighty Manfred on this Coolest Conversations in Little Steven’s Underground Garage. https://www.undergroundgarage.com/ https://www.facebook.com/undergroundgarage/ https://twitter.com/littlesteven_ug https://www.instagram.com/littlesteven_ug/

Recorded in front of The Echoplex in Echo Park, Los Angeles, California.

Of course, following the sad news of David Berman's untimely demise recently we thought it fitting to play Silver Jews. David Berman was a wonderful man and his music reflects this. More on David Berman later on, because we have much more besides. SALES bookend the show with flavours of Joy Division and Suzanne Vega. There is some promise as we expect a Chinese takeaway delivery only to be reminded it's New Year and no such delicious meal is in sight. We discover that making music purely for your own enjoyment is a thing. Sir Woman was doing just this, much like Keaton Henson whom has graced the show previously. But Sir Woman isn't the only one and we have more secretive music makers being showcased on the show in coming weeks. Over nineties music making sensation Barbara Dane sings of the binds of conjugal felicity in her wonderful Single Girl. You think you know about protest singers? Woody, Bob and Pete? Be prepared to relearn what you think you know as Barbara Dane towers above them all. Is there anything else? There sure is. Flogging Molly mix never ending Irish reels with rock and roll and send us heading for the dance floor. And finally, before the close of the show we introduce you to The Local Honeys. Straight out of Kentucky these two ladies are the real deal. Banjo player Montana Hobbs and guitarist Linda Jean Stokley manage to blend bluegrass foot stompers with sweet Appalachian mountain harmonies. Able to drive hard fiddle based tunes, sing the high lonesome sound and tell a damn good story these girls are destined for great things. You can even hire them out for your own events via their website! Chinese New Year SALES Random Rules Silver Jews Making Love Sir Woman Single Girl Barbara Dane Devil's Dance Floor Flogging Molly The Junkman The Local Honeys Renee SALES David Berman - the legacy of beautiful music remains The first time I met David Berman was at a backyard party at Grimey’s Records in Nashville. One of the fun ideas Grimey’s cooked up that day was to have a “Meet and Greet The Nashville Indie Rockers” table, and at this table was David Berman, Kurt from Lambchop, and me. I found David Berman funny, avuncular, and sweet. Not many people came up to talk to us - most of the people at the party already knew us, and we probably all felt a little silly and embarrassed sitting there. It felt a little like that scene in Spinal Tap when no one shows up for the autograph signing at the record store. Kurt killed time by drawing ‘blind caricatures’ of us by placing a blindfold on his face and drawing our portraits from memory. I still have mine. David had with him two old Silver Jews 7” singles he was trying to sell. A young woman eventually came up and asked about them. “They’re $3 each,” David told her. “I only have $5,” said the girl. “That’s OK, take them,” said David, handing her the records. “I’m not here today to make money. I’m here to make friends.” 2008 low point In 2008 I was at a very low point in my life. I was in the midst of what is often euphemistically known as a “messy divorce” and was about to be dropped from my label. Also being informed, while on tour, that the record store I managed back home was to close, leaving me unemployed. I had been abandoned by both my band and my then-wife in the middle of a grueling five-week tour across the US. The final two weeks of this tour were dates opening for Silver Jews. By this point on the tour I was traveling alone. I was already friends with guitarist William Tyler and bassist Cassie Berman. The latter of whom played bass in a short-lived band I was in at the time called HP Witchcraft. I didn’t really know the rest of the band very well. Word spreads quickly in our small circle of indie rockers. By the time I met up with the Silver Jews crew in New Orleans, everyone had already heard about my recent run of hard luck. The entire band and crew made me feel very welcome at a time when I really needed it. It felt good to be among friends. They were sympathetic but not pitying or meddlesome.Each of them made an effort, despite their demanding schedules, to hang out with me and make sure I was OK. A few of them even offered to travel with me and keep me company on the road. David Berman in particular was a good friend to me during this time despite people constantly seeking his attention and tugging on his sleeve. David Berman to the rescue On the last night of the tour, at the Echoplex in LA, I was asked to join the band onstage for the last song of their set, “Punks in the Beerlight.” Cassie and guitarist Peyton Pinkerton quickly ran through the chords of the song with me backstage. Cassie told me she’d cue me when it was time to join the band onstage. David Berman was blind as a bat. He also didn’t like to wear his glasses onstage. When it came time for me to accompany the band on “Punks In The Beerlight,” David saw me approach, but didn’t recognize me at first, only seeing the shape and shadow of a big guy hopping up onstage and fiddling with an amplifier. Oh, well, I guess they’re pulling the plug on us, sorry. The crowd booed. David Berman Myopic misunderstanding In his blindness, David, having momentarily forgot about the plan for me to sit in with the band. He thought I was a security guard cutting the power and coming to tell him the show was past curfew and they had to stop. “No, David, that’s James!” explained Cassie. Everyone laughed. It was a memorable moment and I still smile when I think about it. The last time I spoke to David he suggested I call my new band “Orangutan Menopause.” Then he apologized for not being more present during the tour years earlier when he knew I was going through so much gnarly shit. I told him truthfully that I never felt that he was anything but present. Those last shows of the tour with Silver Jews might have saved my life. At the very least, if he and his band hadn’t been as generous, sweet, and hospitable to me as they were, I almost definitely would have bailed on the remainder of the tour and God only knows what else. David is still there for me, as he is for so many of you, when I listen to his songs. Though it will be a while before I am able to listen to them again, I expect that they will remain just as beautiful as before, if a lot sadder. To the max. Written by James Jackson Toth and published on Aquarium Drunkard Further reading - The David Berman interview

So I saw my first show at the Echoplex and got instantly hooked to anything Part Time Punks wants to do. She Past Away played the final show of their US tour the other night with locals Aurat and visiting Texans, Twin Tribes. Check out the full write-up at www.girlundergroundmusic.com

Welcome to the new episode of Club Room! This week we start with a real classic from Fred Falke & Alan Braxe, Felix Da Housecat & Kristin Velvet, Mark Broom, Echoplex, Radio Slave, Marquis Hawkes & DJ Haus and Markus Suckut 1. Fred Falke & Alan Braxe - Intro 2. Felix Da Housecat + Kristin Velvet - Not Hard 3. Mark Broom - Jungle 4. Echoplex - Magnetic Share Of Wonders 5. Radio Slave - Let It Rain (Deetron edit) 6. Monomood - Parameter One 7. Cave - Antarctica 8. Echoplex - Shut Off 9. Marquis Hawkes & DJ Haus - Feel So Real 10. Upercent - Pulcre (BOg Remix) 11. Markus Suckut - Unknown

Hola a todos y todas, bienvenidos a Crónicas de Invernalia Extra, un especial que no teníamos pensado hacer pero que sentíamos que debíamos a nuestra audiencia. Miguel Romero, Stakado, Alberto Wikiseries y Swanilda despiden Juego de Tronos, haciendo balance de lo que ha sido una gran serie. Queremos agradecer a todos y todas los oyentes el apoyo y el cariño que nos han dado durante estas seis semanas, en especial a los invitados Sandra, Berto, Mary Veran, Capitán Ramos y a PJ Cleaner. Y también a los que nos han mandado audios como Adrián, Maeguin, Chente, Leo, Migartri, Laura, Karel, Mari Carmen, Echoplex, Silvia, Lope y Txita. ¡Muchas gracias!

Hola a todos y todas, bienvenidos a Crónicas de Invernalia Extra, un especial que no teníamos pensado hacer pero que sentíamos que debíamos a nuestra audiencia. Miguel Romero, Stakado, Alberto Wikiseries y Swanilda despiden Juego de Tronos, haciendo balance de lo que ha sido una gran serie. Queremos agradecer a todos y todas los oyentes el apoyo y el cariño que nos han dado durante estas seis semanas, en especial a los invitados Sandra, Berto, Mary Veran, Capitán Ramos y a PJ Cleaner. Y también a los que nos han mandado audios como Adrián, Maeguin, Chente, Leo, Migartri, Laura, Karel, Mari Carmen, Echoplex, Silvia, Lope y Txita. ¡Muchas gracias!

May 2019 Techno set incl. recent tracks from Pfirter, Mike Dehnert, Kessell, Egor Boss, Mattias Fridell, Sasha Rydell, Kontal, Developer, Joton, Echoplex, Sin Sin, Wrong Assessment, Roll Dann and Roberto

Here’s another episode where I activate old man story mode and tell you a thing or two about how the 1980’s were. Part One involves a machine called an Echoplex, which I used for all kinds of fun and shenanigans as a kid. The Echoplex segment isn’t quite as exciting as I’d hoped it would be, but it’s still fun

Josephine Cruz aka JAYEMKAYEM is a DJ, a music writer and a record label manager.  She has been living in Toronto for three and a half years now.  Her main reason for moving from Calgary to Toronto was to work in the music industry.  For years, Josephine has played at venues all over North America, opening sets for Playboi Carti at Montreal’s Apartment 200 and spinning alongside SOSUPERSAM at Echoplex in Los Angeles. Her eclectic style of Hip Hop and R&B to Grime and UK Garage has brought people to the dance floor night after night. Before that, Josephine was working in marketing. Josephine shares how she was able to trust herself and her abilities to live a more authentic and truthful life doing what she loves instead of living for other people's definition of success.  Check out her episode to listen to her story. Check out thetaoofselfconfidence.com for show notes of Josephine's episode, Josephine's website, resources, gifts and so much more.

Episode 3 coming at ya! Mentele & The Hayes rockin' and rollin' to The Echoplex for a night they call Bootie LA. It's time to dance. : : Matt Mentele Review : : Service: A Music: D Dance Vibe: D+ Matthew Mentele overall grade: C- *Betsy's Bonus Points* No bonus points "You have fun if you're already there with people, and if you do a different drug." - Betsy Hayes "I don't want to go to a place and have Linkin Park screamed at me." - Matt Mentele *Notes* Do the right drug There's a bathroom attendant #StageLeft Pizza = Boo Bootie LA at The Echoplex, $5 Before 10:30 / $10 After --- Support this podcast: https://anchor.fm/mentele-and-the-hayes/support

Betsy and I survive Ubers, spilled drinks, and sloppy drunk people to bring you episode #3. 2000's mash up night at Bootie LA at Echoplex.

The first ever "I Don't Think So, Honey!" Live from LA continues! 50 comedians take one minute each to go off on culture. Part Two featuring Megan Gailey, Blair Socci, Kara Klenk, Alice Wetterlund, Veronica Osorio, Brendan Scannell, Chris Schleicher, Patrick Rogers, Louis Virtel, Joel Kim Booster, Kirby Howell-Baptiste, Samantha Martin, Mo Welch, Mano Agapion, Oscar Montoya, Langan Kingsley, Siobhan Thompson, Rhea Butcher, Glenn Boozan, Broti Gupta, Danielle Perez, Eliza Skinner, Solomon Georgio, Drew Droege, and Naomi Ekperigin.  Recorded Live at the Echoplex in LA! — LAS CULTURISTAS HAS A PATREON! For $5/month, you get exclusive access to WEEKLY Patreon-ONLY Las Culturistas content!! https://www.patreon.com/lasculturistas SUBSCRIBE ON APPLE PODCASTS TODAY! CONNECT W/ LAS CULTURISTAS ON FACEBOOK & TWITTER for the best in "I Don't Think So, Honey" action, updates on live shows, conversations with the Las Culturistas community, and behind-the scenes photos/videos: www.facebook.com/lasculturistas twitter.com/lasculturistas LAS CULTURISTAS IS A FOREVER DOG PODCAST foreverdogpodcasts.com/las-culturistas  Learn more about your ad-choices at https://news.iheart.com/podcast-advertisers

The first ever "I Don't Think So, Honey!" Live from LA is here! 50 comedians take one minute each to go off on culture. Part One featuring Rae Sanni, Alison Rich, Jeremy Beiler, Andrew Law, D’Arcy Carden, Sudi Green, Fran Gillespie, Dave Mizzoni, Greta Titelman, Tim Murray, Jaboukie Young-White, Aly Dixon, Janie Stolar, Reed Brice, Rekha Shankar, Haley Hepworth, Billy Domineau, Mike Spence, Andrew Farmer, Emily Schmidt, Ira Madison III, Charles Rogers, Jordan Firstman, Teresa Lee, Daniel Webb. Plus, the presentation of the Las Culturistas Icon Award to Guy Branum. Recorded Live at the Echoplex in LA! --- LAS CULTURISTAS HAS A PATREON! For $5/month, you get exclusive access to WEEKLY Patreon-ONLY Las Culturistas content!! https://www.patreon.com/lasculturistas SUBSCRIBE ON APPLE PODCASTS TODAY! CONNECT W/ LAS CULTURISTAS ON FACEBOOK & TWITTER for the best in "I Don't Think So, Honey" action, updates on live shows, conversations with the Las Culturistas community, and behind-the scenes photos/videos: www.facebook.com/lasculturistas twitter.com/lasculturistas LAS CULTURISTAS IS A FOREVER DOG PODCAST foreverdogpodcasts.com/las-culturistas  Learn more about your ad-choices at https://news.iheart.com/podcast-advertisers

Featuring: Michael "Boston" Hannon and Paul “Moonpir” Carver-Smith Running Time: 1:44:55 Music by MusiM: Spotify | Bandcamp | iTunes Livestream Archive: YouTube This week we chat about Marvel Puzzle Quest, The 11th Hour, 12 Is Better Than 6, Rainbow Six Siege, Echoplex, Burnout Paradise Remastered, Diablo 3, LEGO Marvel Super Heroes 2, Fortnite. Sea of Thieves achivements unveiled Yakuza Kiwami 2 launches in August (of this year) Twitch Prime now offers a bunch of free games each month Shadow of the Tomb Raider coming Fall (of this year) Microsoft changing up this year’s E3 plans Microsoft is sort of battling a strange Game Pass bug Arkane teasing something for Prey  

Today on BSing with Badasses Jo and Jordan welcome human-unicorn wonder hybrid, Lauren Ruth Ward. We talk about her long journey from Baltimore to LA, her writing process, her amazing residency (which you should go to January 29th at The Echoplex), new music, new label...and so much more! http://www.laurenruthwardmusic.com/ Music featured in today's episode: Lauren Ruth Ward "Blue Collar Sex Kitten" Lauren Ruth Ward "Sideways" Lauren Ruth Ward "Staff Only" PREMIERE!! If you like what we are doing please like, subscribe and share. Wouldn't, couldn't do it without you.

Mattia Trani is releasing an eclectic re-up of his debut album from last year – THE HI-TECH MISSION. A collection of artists, each from a different part of the world, have remixed Trani’s originals. The idea for the album, released by Pushmaster Discs, was to showcase techno remix approaches from all over the world. Check out details over at https://mnmt.no/blog/echoplex-techno-remix/

With a career spanning twenty years, Echoplex has cemented himself as one of the mainstays of the scene. Taking influence from the European, US and UK sounds, his style is something that’s hard to pin down, and is a state of constant evolution and re-imagination. https://mnmt.no/blog/monument-142-echoplex-solar-experience-mix/ https://www.facebook.com/MonuMnt/

Randy and Jason go see Poppy and Titanic Sinclair at the Echoplex. What happens next will startle and thrill you! Show Date: 10/28/17

Time is often fiddled with in video games and some developers choose run rampant with the idea that it is indeed fluid. ECHOPLEX is a game that is built from the concept of time being fluid as it requires the player to focus on what they have done second before in order to solve a series of puzzles. It does this by having the player directly interact with their past selves. Brilliantly put together, show host Chris ORegan was enthralled by ECHOPLEX and reached out to Output Games, the makers of ECHOPLEX to talk about it. This episode of The Sausage Factory is a result of that chat. http://media.blubrry.com/caneandrinse/caneandrinse.com/sausage/TSF_Episode141.mp3  

Bassgewitter im Juli. Die letzten vier Tracks sind schon fast Classics. Absolut hörbar. Playlist: 1. Franco Cinelli - D.Dean, 2. Marco Bailey - return of you, 3 Liss C. - Balance, 4. Hans Bouffmyhre - Rise Above (Keith Carnal Remix), 5. Marco Bailey - return of you, 6. Deep´A & Biri - Overdrum, 7. Henrik schwarz - not also you, 8. Jerome Sydenham - No earth required, 9. Rico Puestel - Neyst, 10. David Carretta - Never Control (IS-File Remix), 11. Cleric - Unwritten Future, 12. Jerome Sydenham - Bread and Water, 13. Rico Puestel - Enokid, 14. Hackler & Such - Sigma Field, 15. Sven Sossong - World (The Wilders Remix), 16. Alex Bau - Illuse, 17. Cleric - Unwanted Arrival, 18. NHK - Blackstreet, 19. Tim Seavers $ Der Kroate - Nervenheilanstalt (2007), 20. Steve Rachmad - Ignacio Virton (2001), 21. Echoplex - taking off (2001), 22. Samuel L. Session - Risin´ (2006)

This is episode 50. A small milestone which I’m pretty proud of. For this episode Leo Hazree prepared again a great mix. Leo Hazree is known for his sophisticated techno which includes industrial, acid and electronica. Tracklist 01. Russ Gabriel - Track1 02. Blawan - Say what you want to say 03. Eduardo de la Calle - Wildheit 04. Florian Mendi - Collide 05. Frank Maurel - Esquizo 06. Marcel Dettmann - Apron 07. Oligo - Voltage 08. Setaocc Mass - Numb 09. Perc - Dynes 10. Pjotr G, Dubiosity - Stasis 11. Makaton - 4 point suspension 12. Regis - A necklace of bites 13. Skudge - Silent running 14. The Welderz - There is no light 15. Andrea Belluzi - 10.8 16. Damon Wild - Waveterm 17. Dimi Angelis - Green Aviation 18. Echoplex, Damon Wild - Warzawa (Niteworks Mix) http://leohazree.com/ https://www.facebook.com/leo.hazree/ https://soundcloud.com/leo_hazree https://www.facebook.com/waveyardpodcast http://www.lowfrequencypodcast.net

Kole Leijen (1983) is started playing and making Techno music since 1998. Getting support from the biggest artists like Jeff Mills,Dave Clarke,DVS1,Oscar Mulero,Chris Liebing and many others, he is a well known character in the scene. Also Kole is owner of U.F.F Records, which has now 14 releases, with artist like, Jay Denham, Elektrabel, Oliver Kucera, Eric Fetcher and Mike Storm on it. Played at hundreds of parties in his career, he knows how to get the visitor at higher spheres with his hypnotic DJ-sets. As highlights he played also at Awakenings and Tresor Berlin. In 2012 he also appears on Axis Records with the Something In The Sky Mix . In 2007 he started with Jan Boekel, his own party-organisation, called ‘Civilized?’. They found a club called Escape in Amsterdam, where they gave the parties. With artists like Elektrabel, Regis, Anton Pieëte, Bas Mooy, and Rumenige & Loktibrada. DJ Surgeles played also with artists like Dimitri (nl) b2b, Echoplex, and Steve Rachmad. DJ Surgeles won the ADE 2005 Competition for best track with Dave Clarke. Labels: Axis Records Belief System Diffuse Reality Nasty Temper Records Repressure Recordings U.F.F Records Trabet Records Dancefloor Killers Achromatiq Skarn Division Switch Off Records. DJ Surgeles is one of the few left playing only vinyl sets. Follow Eclectic on Facebook: https://www.facebook.com/Eclecticlimited Follow DJ Surgeles on Facebook: https://www.facebook.com/Dj-Surgeles-158009567547209/

Ep 39 Malisa Humphrey & Diana-Sofia Estrada: The People On this episode our guests are Malisa Humphrey & Diana-Sofia Estrada. Malisa Humphrey is an artist who lives and works in Los Angeles and Diana-Sofia Estrada is also an artist who lives and works in Los Angeles who is also an avid cyclist and animal lover. This episode in our Notes from The People we're featuring a contribution from long time friend of the show Andrew Choate, an audio collage titled "Dope As Self Control" compiled from sounds he recorded on a recent trip to New Zealand. To close out the show, we have music by Peter Brotzman brought to us by Los Angeles' own Andrew Choate / The Unwrinkled Ear. He has produced a concert on May 16th, 2016, which is coming up if you're listening to this near the original air date, that will be at the Echoplex featuring legendary German saxophonist Peter Brotzmann. Brotzmann is bringing a band to Los Angeles for the first time since the 1970s, and that band is none other than the stellar London rhythm section of Steve Noble on drums, John Edwards on doublebass and, Chicago's finest, Jason Adasiewicz on vibraphone. We'll hear an excerpt from their album "Mental Shake", recorded at a recent live date at Cafe Oto in London.

Syntax - LIVE @ The Echoplex 3.22.16 SETLIST: 1. Andromeda 2. Parsec 3. Vermillion 4. Gosford (New track) 5. Moonraker 6. Longmore 7. Stratus (f. HOME) 8. Section Z (New Track) 9. Choose Your Destiny (MK Tribute)

Reiley and Clark love talking about music, especially in the company of good friends and cold drinks. In their pilot episode, Reiley and Clark talk about how they fell in love with music. They also give a preview of upcoming album reviews, and almost spill cider on their computers.

DJ / PRODUCER / RECORDING ARTIST - INDUCE I'm always down for buying records, and especially when I don't have to overly prepare myself to dig deep, play tetris, sneeze 8,000 times, and get super dirty and dusty all in the process. One day my friend Justin invited me to go to this private record sale in Atwater Village. This sale, I like to now refer to as the "farmers market of records" was right up my alley. I literally rolled out of bed on a Sunday AM and rushed over to the sale. I knew if I slept on it I'd run the risk of all the boogie-disco records being gone. I pulled up and found myself at Ryan's house. We had these carefree discussions about music and records in general. I shared with him my feelings of never loving any kind of "new" music, and sometimes feeling like this nostalgic girl that's stuck somewhere I can never return to. Later upon leaving, Ryan's stopped me and said "Hey give this a try. It's something new, and maybe you'll like it" and I did. I really did. He handed me his album The Wonderful Sound of Induce, Halfway Between Me And You. I went home and searched it on Spotify (I didn't want to break the packaging), and immediately started listening. I was blown away, A) I loved it and B) I was overjoyed that I was listening to a white man's voice that sounded beautiful. As you all know, I am huge, a huge pushover for any soulful white-man that can sing well. I almost died when I heard his take on Oliver Cheatham's Get Down Saturday Night. I immediately reached out to him and asked that he come be a guest on my show, and the rest is history. We spent all day Sunday together, talking and working. I later went to his gig at Eighty-Two in the Arts District, and learn that he dominates on Ms. Pac Man. He even beat the high score by over 100,000 points. Dude is serious. We also spoke in our best Sol Rosenberg voices all night long. I related to everything we talked about and shared. Thanks Ryan for a truly, reallygreat day. -Seeps Ryan Smith, known by Induce, is a Los Angeles based DJ, Music Producer, Recording Artist, Record Collector/Seller. Induce is from Miami, Florida, and started deejaying in clubs as a teen. Later in the early 2000's, Induce co-founded Miami based independent record label, Counterflow Recordings, and went on to own and operate his own label, The Wonderful Sound, also known as WonderSound. He served as editor-in-chief and contributing writer for issues 1 & 2 of the turntablism magazine, Tablist Magazine founded by DJ Infamous. In 2008 he was voted Best Club DJ in Miami by the Miami New Times. In more recent years he's received recognition for his work as a singer; his 2012 album Halfway Between Me And You received praised as one of the best indie-soul releases of that year by MTV Hive, and won him Artist of the Year in the Miami-area hip-hop website The 305. In 2013 he started directing videos, such as "Get Down Saturday Night" from his Halfway Between Me And You album and "Ride Around" and "Alina" from Sunset Summer. Induce has collaborated with Danny Daze on a DJ mix consisting of Italo disco style music, Disco For Abruzzo Vol. 1, and has toured with Kid Sister as her DJ. He has worked with a number of prominent producers and DJs, notably Gigamesh, being featured on the song "When You’re Dancing" and with DJ Kon, being featured on the song "Love Shine", and on the On My Way with Jack Splash. He currently has a radio show on dublab called Dancing, Thinking, Loving, Listening, which airs on Thursdays at 8pm on dublab.com and DJ's all over Los Angeles, but can regularly be found at Bar Marmont, LIttle Joy and the 143 Parties at the Echoplex. You can follow him on all social media @INDUCE1.

Episode 74: National Spotlight - Smoke SeasonThanks for tuning in to 210 Local Media podcast, I am your host, Mario Zamarron. We've done it. This is a first for the 210 Local Media Podcast, we're featuring a band that's not from San Antonio. They're not even from Texas. This episode, we bring you Smoke Season. The reason we're doing a whole episode for them, is because they will be at our own Jack's Patio on Thursday… TOMORROW! They'll be joining the stage with The Peach Kings and our own local band, Spell 27 at 7pm. Smoke Season's PR rep Amanda reached out to us to see about getting some more attention for the show. After seeing Smoke Season's music video for Ouroboros, I had to share them. Please check out the bands' bio in our show notes and on our website, it's simply too long to read here, but I guarantee it's worth it. Smoke Season has joined my list of national bands to see, and thanks to Amanda, I'll be there tomorrow night!Smoke Season is Gabrielle Wortman and Jason Rosen, an electronic-ethereal duo, that I can only describe as a soulful powerhouse of thumping beats and enthralling harmonies. They reflect a myriad of genres while sounding like the perfect baby of Moby and Tori Amos, but drenched in timeless musicality.We were given the option to play a couple of songs, or all of them, so we went all-in. However, if you want to experience “Ouroboros”, you should find and “Like” them on FaceBook at www.facebook.com/smokeseason. You can find them everywhere; iTunes, Spotify, Soundcloud, YouTube, Instagram, Twitter, and on their homepage, www.smokeseason.com. Without further ado, here's Smoke Season.LooseBeesBadlandsSimmer DownOpaqueFools GoldOfficial Bio"Eerie roots rambles with more ethereal, electronic-pop interludes." - LA Weekly"The Black Keys heard through a cloud of marijuana smoke." - Los Angeles Magazine"Ethereal western soul" - Free Bike Valet"A cinematic approach to Americana" - Buzzbands LA"Simultaneously delicate and ethereal but warm and woodsy" - Salt Lake City WeeklyApril 2014 Artist of the Month - Deli Magazine Los AngelesSmoke Season was formed in early 2013 by Gabrielle Wortman and Jason Rosen. Combining their musical backgrounds, the duo created their own unique take on Americana, infusing folk with electronic undertones and rich vocal harmonies that has been steadily capturing the attention of fans and press since.  Smoke Season catapulted into must-know status during their impressive August residency at Los Angeles' acclaimed venue, the Echoplex.  Their performances were hailed in the press by LA Weekly ("Music Pick of the Week"), Los Angeles Magazine, LA Record, Buzzbands LA, Radio Free Silver Lake, Free Bike Valet, Grimy Goods and more.Their sophomore EP, Hot Coals Cold Souls, released July 29, 2014, has been gaining impressive traction in the press for its powerful mash-up of styles and refinement of their already unique sonic imprint.  Described as "pop, rock, electronic, Americana, and folk elements collide in an inspired way" (The Daily Album), the EP "pulls mood-building tricks from country, R&B, dancy indie, chillwave (the intro to “Opaque”) and more" (Independent Clauses).Smoke Season began in 2013 with a self-produced their debut EP, Signals, and self-directed music video for their first single, Soleil.  After being released in March 2013, the Signals EP went on to independently sell thousands of copies and garner critical acclaim.  Since then, Smoke Season has been steadily touring, showcasing their music around the country and most notably at Sundance Film Festival 2014, Noise Pop 2015, CMJ 2014, on AXS TV, Bite Size TV, Balcony TV, Afterbuzz TV, and more.Also, a special shoutout to Malissa Prevost for being our lone Patreon supporter. To join her and get a shout out on the show, listen to some exclusive Patreon ONLY content, and enjoy other secret benefits, check out our page at www.patron.com/210LocalMedia The link is in the show notes as well. Thanks for listening.You can contact us on --- Send in a voice message: https://podcasters.spotify.com/pod/show/210localmedia0/message Support this podcast: https://podcasters.spotify.com/pod/show/210localmedia0/support

Episode 12 - Dick Dale   On this week's episode of The Keep Calm and Rock On Podcast, the guys are joined by one of the most influential and important people in the history of rock and roll, The King of the Surf Guitar, Dick Dale. Pioneering an entire sub genre of music known as "Surf Rock", Dick Dale has served to influence Stevie Ray Vaughn, Eddie Van Halen, Jimi Hendrix, and countless others in his over 60 years in music. With classics like "Miserlou", "Let's Go Tripping" and "Pipeline", he will forever be recognized as a legendary player and technician. With his innovations with Leo Fender in developing variations of the Fender amp, the JBL 15 inch speaker, and the Echoplex echo machine, Dick has had an influence both on and off the stage. Celebrate the career of the King of the Surf Guitar on The Keep Calm and Rock On Podcast!

Hi guys , here we are, just like every month on the IntransikBeats Podcast. I m Vince Lorenz and this month we have the pleasure to discover an artist Duo known under the collaboration name : Hertz Collision. They’re from Florence in Italy, where they often showcase their works at the Geisha Fusion Club during Recipe parties. You can also check out their productions from home, especially their latest release to date on Dynamic Reflection called Endurance EP, featuring a remix from our good friend Xhei all the way from Argentina. They released on other labels such as Nulabel, Concrete Records, Spectra Rebel and many more. Good Stuff ! You will find everything in the description below as usual, so we start this techno trip with a track from Black Sun remixed by Abdulla Rashim called Polar Inertia. Enjoy ! You are Listenning to IntransikBeats Podcast, Hertz Collision in the mix and that was their latest track called Right Place Right Time. I am back to close this hour of techno crazyness mixed by this talented duo, i personally really enjoyed the track from Echoplex called the Relapse, such a nice hypnotic vibe released on 12 inch vinyl on Index Marcel Fengler. I thank Hertz Collision for making this episode possible, and thank you for your massive support !! Our Intransikbeats podcast is now available for download on Itunes, so make sure to subscribe there if you want to get our latest episodes from your mobile. See you next month Follow their activity @ https://www.facebook.com/pages/Hertz-Collision/391091937685496?fref=ts Fresh Sounds @ https://soundcloud.com/hertz-collision Releases @ https://pro.beatport.com/artist/hertz-collision/354333/releases ENDURANCE EP @ https://soundcloud.com/dynamic-reflection/sets/hertz-collision-endurance-ep

Matt is invited behind the DJ booth for this exclusive interview with the singer-songwriter, producer, and DJ/mashup artist, meekly known as ShyBoy. Once a member of the band Hypnogaja, ShyBoy discusses the band's dissolution but reaffirms a working relationship with its members. His solo work, however, has taken flight with two LPs, Lost In Space and Water on Mars, not to mention his newest EP, Daisy Pusher. Solo work aside, his career is complemented by a recent residency at the club, Bootie, at the Echoplex in Los Angeles, which he discusses alongside his fondness for making mashups. Fielding a vast array of musical tastes (and an ode to Donna Sommer), ShyBoy leaves time for a chat on Sci-fi and comic books for his & Matt's "spinning" dialogue. Continue reading

We call in christmas with some powerful techno. This time with Kaelan from Italy. 1. What kind of artists inspire you? I'm pretty inspired by detroit and dub techno artists such as Basic Channel, Deepchord, Substance & Vainqueur, Echoplex, Derrick May, Claude Young and more.. 2. What kind of "sound" can we expect from Kaelan? The sound can be described as functional techno with hints of soul. 3. Whats up over there in Italy? Techno tips? I think there are some really interesting upcoming artists, proposing inspiring music... I can think for example at Roberto Bosco, Stenny, Emanuele Pertoldi or my partner in crime Hydergine... they are making outstanding stuff! 4. Whats up with you in the future? Releases, parties, etc Well, i have some ep that will be out in the next year. There is an upcoming vinyl release on my label Subosc, then, another one on Emmanuel's label "Arts". Next to this there will be a follow up ep on Ranges with my bro Roberto Hydergine, an album with "2030" moniker on Suburban Avenue and a lot of new stuff that must be released. About parties i'll play with Par Grindvik next 20/12 here in italy. Artwork: AK Rockefeller - Half Rome https://www.flickr.com/photos/akrockefeller/10401709234/

Conrad Loebl Is One Of Los Angeles' Premiere Show Bookers. Hear Us Talk Booking Shows, Being Straight Edge For 10 Years, and Why It Pays To Be A Good GuyShow booking can be a tiring and thankless job. Thankfully we have folks like Conrad Loebl behind the scenes. Working as the booker for IHEARTCOMIX for the last 2 years, he's been responsible for curating some of the most forward thinking and “up on shit” lineups that LA has to offer at venues like the Echoplex, Los Globos, and the El Rey.Love these episodes where folks aren't necessarily full time musicians, but are still heavily involved in music. This is one of those episodes. Hear about how Conrad started throwing shows as a teenager, being straight edge for 10 years, and why it pays to just be a good guy. –Lee See acast.com/privacy for privacy and opt-out information.

This week, Dave and Gunnar talk about: watching your email, hearing your GnuPG key, the smell of fresh-baked OpenStack, a taste of ARM on Fedora, a touch of Skynet. Subscribe via RSS or iTunes. This episode’s title is dedicated to Peter Larsen. We heard you, and welcome your feedback! Lauren wins the National Center for Women & Information Technology Aspirations in Computing 2014 Ohio Affiliate Award PaaS and Three Cruelties of Federal IT Gunnar enjoys Plague Inc when not catching up on Game of Thrones Dave says Roku 3 + Android app + {YouTube|Netflix} = Awesome Almost related: Fulfill your New Years resolution of clearing out your YouTube backlog at 2x speed Pandora for Android gets an alarm clock but it needs a cell or wifi connection Learn Over 60 Google Now Commands with This Infographic Jaguar makes fun of Mercedes-Benz cars for having the vestibular ocular reflexes of a chicken BadBIOS, part n: Acoustic cryptanalysis, and there’s a CVE for that Gmail blows up e-mail marketing by caching all images on Google servers Disable it if you want: Disable Automatic Image Loading in Gmail to Save Data and Privacy PSA: Your Phone Logs Everywhere You Go. Here’s How to Turn It Off Ebooks now read you Related: Google Play Books update allows ePub and PDF uploads right from your device Google Adds to Its Menagerie of Robots Related: U.S. military may have 10 robots per soldier by 2023 See also: Cyberdyne Systems, DARPA Tried to Build Skynet in the 1980s, A Bizarre Petting Zoo Where Robots Replace Animals D&G DIY Joke Kit of the Week: Robot anesthesiologists to put patients under before colonoscopies Turning mobile phones into 3D scanners Microsoft Security Essentials misses 39% of malware in Dennis test Open Cloud Meetup, hosted by our own Jason Callaway The Dan and Gunnar Show presents Is it PaaS or something else? via web January 14 and 15 Massachusetts launches open cloud to spur big data R&D Red Hat Enterprise Linux OpenStack Platform 4.0 is here Fedora 20 is out: ARM is now Tier 1 and Gunnar’s FedUp Today in “OS is dead”: Want to run OpenShift on ARM? OK, why not Dan Risacher on Hellekson’s Law Betteridge’s Law: For example, Is REST losing its flair – REST API Alternatives HT Robin Price: WebRTC and Echoplex Salt vs. gravel vs. cheese vs. beet juice Cutting Room Floor HT Jim Stogdill: Fear, Uncertainty, Dopamine (or: “How to build an effective cult”) Totally unrelated: Free OpenShift stickers! Easily denounce your friends with a North Korean press release generator This week in cognitive surplus: George Takei’s and Newt Gingrich’s Amazon reviews Why are eggs egg shaped? This Crazy Pneumatic Tube System Will Deliver Burgers at 87 MPH Nokia’s Strategy For Selling The Lumia 2520 Windows 8 Tablet Is To Make You Very Uncomfortable EGTS stands for Electric Green Taxiing System and can stand for other things too How to make really long words in German Charming Parisian Subway Etiquette Guide Airport cell phone crashing We Give Thanks Peter Larsen for being a good sport about our show titles Dan Risacher for advancing the cause of Hellekson’s Law astroturfing Robin Price for the WebRTC and Echoplex pointers Jim Stogdill for mind-hacking videos

Ep. 17 - Experimental noise rock band Deerhoof talks Japanese food and more w/ Chuck and Zach backstage at the Echoplex in L.A. before one of their gigs.  Greg tells us about the time he picketed a McDonald's in Oakland, what it's like being a vegetarian on tour, and his picks for the best sunflower seeds and which rest stops to get them at.  Satomi gives us her picks for Japan, says that Flaming Lips has better catering than Radiohead, and recounts her very first visit to Chuck E Cheese.  

This week: A BAS bureau twofer! First Patricia talks to Mika Tajima. This week, Patricia Maloney chats with artist Mika Tajima at the San Francisco Museum of Modern Art just before the opening of the exhibition Stage Presence, where her collaborative film, performance, and sculptural project, Today is Not a Dress Rehearsal, is currently on view through October 8, 2012 . Mika Tajima, was born in Los Angeles, and lives and works in Brooklyn. She earned a BA from Bryn Mawr College in 1997, an MFA from Columbia University in 2003, and attended The Fabric Workshop and Museum Apprentice Training Program in 2003. Her work has been included in the exhibitions The Pedestrians, South London Gallery, London (2011); Transaction Abstraite, New Galerie, Paris (2011); The Double, Bass Museum, Miami (2010); Knight’s Move, Sculpture Center, Long Island City (2010); Today is Not a Dress Rehearsal, San Francisco Museum of Modern Art (2009); The Extras, X Initiative, New York (2009); Learn to Communicate Like a Fucking Normal Person, Art Production Fund, New York (2009); Deal or No Deal, Kevin Bruk Gallery, Miami (2008); 2008 Whitney Biennial, Whitney Museum of American Art, New York (2008); Mika Tajima: Broken Plaid/Holding Your Breath (taking the long way), RISD Museum, Providence (2008); The Double, The Kitchen, New York (2008); Sympathy for the Devil, Museum of Contemporary Art, Chicago (2007); Music Is a Better Noise, PS.1 Contemporary Art Center, Long Island City (2006); Grass Grows Forever in Every Possible Direction, Walker Art Center, Minneapolis (2005); Echoplex, Swiss Institute Contemporary Art, New York (2005); and Uncertain States of America, Astrup Fearnley Museum, Oslo, Norway (2005). She is part of the music-based performance group New Humans. The following is part of the ongoing collaboration between Bad at Sports and Art Practical. You can read an abridged version of the interview here. Next: New India correspondant Tanya Gill goes to the India Art Fair! Tanya Gill, a Chicago artist living in New Delhi, wanders through the India Art Fair of 2012. Over the course of four days she spoke to Gallery owners and artists, and found a surprising number of Chicago connects. Recorded here are her conversations with Kiran Chandra, Renuka Sawhney of The Guild, artist Vibha Galhotra, artist Ram Rahman from The SAHMAT Collective, Laura Williams of Art 18/21, artists Joan Livingston and Katarina Weslien from the School of the Art Institute of Chicago, Ritika Baheti of the Autonomous Public Laboratory Project, and four living works of art by Preeti Chandrakant.

Electronic Music - Summer 2012 01 - KIRA KIRA_Hamar (0'00) (Feathermagnetik / Sound Of A Handshake / 2012) 02 - LAUREL HALO_Carcass (4'30) (Quarantine / Hyperdub / 2012) 03 - I††_Echoplex (8'50) (BSD / Clan Destine Records / 2012) 04 - EPROM_Metahuman (13'30) (Metahuman / Rwina Records / 2012) 05 - RUBY MY DEAR_Knit For Snow (16'20) (Remains Of Shape To Come / Ad Noseam / 2012) 06 - FROG POCKET_Frog And The Volcano (20'20) (Frog And The Volcano / Mouthmoth / 2012) 07 - FENNESZ_Aun 40 (24'50) (Aun / Ash International / 2012) 08 - GHOSTING SEASON_Far End Of The Graveyard (29'00) (The Very Last Of The Saints / Last Night On Earth / 2012) 09 - UKKONEN_Seventy Three Days Of Radiance (36'40) (The Isolated Rhythms Of... / Uncharted Audio / 2012) 10 - LE K_Lovely Sleep (42'40) (Free Wheel / Karat Records / 2012) 11 - MORITZ VON OSWALD TRIO_Club (47'20) (Fetch / Honest Jon's Records / 2012) 12 - SUPREME CUTS_Whispers In The Dark (53'00) (Whispers In THe Dark / Dovecote Records / 2012)

GreenPlexus Radio - 13th Baktun Mixology - Cheers to an end-of-the year celebration of music, effort, faith to survive and enjoy life 2011. The sun-worshiping Mayans decided that the year 2012 is the end of this age. The Bible Codes hold cluster after cluster describing a nasty solar event, as well as a terrible disaster in 2012.* Here now in the 13th Baktun, one (1) Gregorian year away from concluding this 13th cycle, GreenPlexus Radio does not believe in the end of the world; but believes that quite possibly we may see a great cycle finishing and possibly if a new one is in the mix...  Let the music play ~!~ This music podcast is a heavy mix of Madlib aka BeatKonducta music, inspired by recent performances at the EchoPlex, and the StonesThrow 15th Anniversary. Lot's of love for the musical geniuses from "the Ox!" This podcast is hopefully an enjoyable provocative mix of hip hop, jazz inspired, electronic beats.  The mix contains songs by the following artists - The Eternal Broadcaster - Madlib (an eternal favorite) | School Days - Stanley Clark | Our Music - D Day One | So Much - Madlib | The Ghetto (Instrumental) - Madlib (feat Freddie Gibbs)| ParkLight - Madlib | 9th Caller - J-Dilla (RIP)| Kanstrumental 3 - Kan Kick | Check The Method - Lord Finesse | Kava Root - Fluent | Beautiful Lies - Mt. Eden| Fifth Ave - Gold Panda | WoOfer - Mono/Poly | The Off Beat (Glitch Hop) - FlyAmSam | It's a Fine Day - Opus III | Jahara - Teebs | BUMP - FlyAmSam | Monk Star - E. Super Stars | Orange Juice Simpson - The Jet Age of Tomorrow (aka Super 3) | Lord Knows (Instrumental) Mashup - Rick Ross, Drake| Second 2nd Set - D Day One | Trouble - BeatKonducta | Gazillion Ear (Instrumental) - Doom | Blaxican - MED | Monk Star - E. Super Stars |  Pimp Cup - Black Milk | Just the Yellow Bits - Teebs. | Special thanks to all family and friends who gave snippets of intros and voice-overs, much-mucho love. Thank you for listening. Music copyright all the respective artists. All other material copyright GreenPlexus Radio 2011, 2012. For private use only. All rights reserved. Any unauthorized copying, editing, re-engineering, exhibition, renting, exchanging, public performance, or broadcast of this audio is strictly prohibited. *http://www.december212012.com/index.shtml

Hey! Someone got distracted by Skyrim and delayed at uploading the podcast! But hey! It’s here! Episode 4! Intro and Outro brought to you by Nine Inch Nails’ Discipline [00:00 - 32: 00] BYRDIE’S REVIEW OF ARKHAM CITY! Break! (Brought to you by Nine Inch Nails’s Echoplex) [34:00 - 51:30] NEWS CONFERENCE: Discussing the idea of a Biometric controller (from this news article!) 2nd Break! [54:00 - 1:20:00 END] PERSONAL CHOICE: This week! 2 games each of us love that everyone else hates! It’s a good one! Listen in!

Rafter – No Fucking Around Friendly Fires – Photobooth Secret Machines – Faded Lines Javelin – Tryouts Childish Gambino – Bitch, Look At Me Now Crystal Castles – Magic Spells M.I.A. – Pull Up the People Deadmau5 – Some Chords Tanlines – Real Life Squarepusher – A Journey to Reedham Nine Inch Nails – Echoplex … Continue reading Pretty Much Amazing x Brainbheats: Mixcloud’s Celebration of Curation

The precipice between noise and melody, staring Brady Sharpe on guitar, Matt Hamilton on guitar, Dylan Simon on Arp Odyssey synth and Echoplex, and Bobobobobob on Korg MS-20.