Podcasts about Elastica

March 21, 2025 Today we look at the top songs debuting on the Billboard chart this week back in 1985, 1995, 2005, & 2015. Dustin, Jason, & Tyler have a hosts only romp thru the charts. We discuss 15 songs from this week in music history, including 7 Top 10s, and 2 #1s. We have new songs from Wham!, Elastica, Beck, Carly Rae Jepsen, and more. Want to be cool like us and watch the music videos for all the songs? Then here's a convenient playlist that has them all in order of discussion.

...and Elastica, Smart, Olympian.

30 years ago should not be nearly as long ago as it is. To me and my fellow Gen-Xer pal Dustin Prince, 1995 seems like just a few years ago. Even though some of it is a blur, we do have vivid nostalgic memories of that fine year, and musically speaking, 1995 ranks up there with just about any year you can name. As it happens to come in the middle of the decade, the music of '95 is a great encapsulation of the previous 5 years and the following 5 years. It's the most 90's year ever! Dustin Prince, affable fellow that he is, was kind enough to help us with a fun look back with Top Ten Albums Of 1995. Picks 10-6 are featured here in Part 1.See Dustin live with the Kevin West Band!https://www.facebook.com/KevinWestMusicWe've lowered our prices, but not our standards over at the ATTT Patreon! Those who are kindly contributing $2 a month are receiving an exclusive monthly Emergency Pod episode featuring our favorite guests and utilizing our patent-pending improv format in which we miraculously pull a playlist out of thin air. Our man in Maryland Gabe Scalone joined for an all new episode on 3/1. The great David Daskal makes his return April 1st. No Foolin'!Find out more at https://www.patreon.com/c/alltimetopten

For this episode we're joined in person by the delightful Siân Pattenden, author of the Agatha Bilke and Magical Peppers children's book series. We start by asking our guest about her early years as a child actor and teenage playwright before she describes the fanzines she published with her pal Nicky Fijalkowska. We hear how these helped to get her foot in the door at Smash Hits, the million-selling pop bi-weekly she joined in 1989. Quotes from classic Hits pieces she wrote are interspersed with hilarious recollections of working alongside Tom Doyle and Sylvia Patterson.  From "Ver Hits" we move on to the more indie-tastic Select and Siân's part in the Britpop wars – with special attention to Elastica, Jarvis Cocker and a pulped July 1994 issue that contained her guide to "legal highs". After reminiscences of a stint teaching music writing at the London School of Journalism, Siân explains the genesis of her 1998 book How to Make It in the Music Business. Mention of a 2007 Guardian Blogs piece bemoaning the "boy-rock" template established by the Beatles leads into reflections on the all-girl Bangles, subject of a new authorised biography by two-time RBP podcast guest Jennifer Otter Bickerdike. The desperately sad passing of David Johansen prompted us to dig out and digitise a 1994 audio interview with the sometime New York Dolls frontman. We hear three clips of David talking very amusingly to Q's Mat Snow – and in the process pay tribute to the singer and his fellow Dolls.  After Jasper marks the 70th anniversary of the death of Charlie Parker with quotes from the late Richard Cook's magnificent 1995 piece about the bebop genius, we pay additional tribute to jazz-funk vibraphonist Roy Ayers and neo-soul queen Angie Stone. Many thanks to special guest Siân Pattenden. Visit her website at sianpattenden.co.uk for more info on her books, art and music. Pieces discussed: En Vogue: Dawn! Maxine! Terry! Cindy!, At Home in L.A. with Paula Abdul!, This is the Future: Elastica — the Bash Street Kids, Meet the Sheatles, The Bangs: Not Just Another Girl Group, The Bangles: a Female Fab Four?, The Bangles: Globe Trotters, The Bangles: Eternal Flame, The New York Dolls' David Johansen (1994), Charlie Parker: The Prince of Wails, Roy Ayers, Angie Stone: Precious and Pure, Dancing in New York Emmylou Harris: Emmylou on the Verge and The Swede Smell of Success.

Today's fascinating episode features singer, songwriter and guitarist, Miki Berenyi.In 1987, Miki met Emma Anderson, a previous guest on Synthetic Dreams and formed the band, Lush. The group went on to release three critically acclaimed albums on legendary record label, 4AD. The band officially split in 1996, but reformed for a series of well received live shows in 2016.In 2018, Miki formed a new band called, Piroshka, which featured her partner Kevin McKillop (aka Moose) Micheal Conroy and former Elastica drummer, Justin Welch. The group released two albums on the always excellent Bella Union label.Miki's memoir Fingers Crossed, was published by Nine Eight Books In September 2022. It's extremely well written, funny, and, in parts, very moving - well worth a read. In recent years, Miki has been recording and playing shows as part of the Miki Berenyi Trio, which features Moose and guitarist Oliver Cherer. We discuss, amongst other things, the making of their truly brilliant debut album, ‘Tripla', which comes out on April 4th via Bella Union records.https://mikiberenyitrio.bandcamp.comMiki Berenyi Trio - 8th Deadly Sin (Official Video)Lush - Sweetness and Light (Official Video)Lush - Single Girl (Official Video)Lush - Ladykillers

Im letzten Jahrzehnt des letzten Jahrtausends wurde die Musikwelt auf den Kopf gestellt: Alternative, Indie, Grunge, Punk, Hip Hop, Drum'n'Bass, House oder Trip-Hop enterten den Mainstream. Zum «90er-Tag» bei SRF 3 feiern wir Hits genauso wie die Hamburger Schule und Schweizer Indie der Epoche. +++ PLAYLIST +++ · 22:55 - NEEDLE IN THE HAY von ELLIOTT SMITH · 22:51 - FRENCH DISKO von STEREOLAB · 22:45 - WINDOWLICKER von APHEX TWIN · 22:38 - INNER CITY LIFE von GOLDIE · 22:31 - UNFINISHED SYMPATHY von MASSIVE ATTACK · 22:27 - INCREDIBLE von M-BEAT FEAT. GENERAL LEVY · 22:25 - RIM SHOT (INTRO) von ERYKAH BADU · 22:18 - TWINZ (DEEP COVER '98) von BIG PUN FEAT. FAT JOE · 22:15 - BODY MOVIN' von BEATIE BOYS · 22:11 - MIDNIGHT IN A PERFECT WORLD von DJ SHADOW · 21:57 - FEELING SO REAL von MOBY · 21:52 - 6 UNDERGROUND von SNEAKER PIMPS · 21:50 - CONNECTION von ELASTICA · 21:43 - CHAMPAGNE SUPERNOVA von OASIS · 21:37 - AIRBAG von RADIOHEAD · 21:33 - LORD ONLY KNOWS von BECK · 21:29 - METAL HEART von CAT POWER · 21:23 - L.A. GIRL von THE DISTILLERS · 21:20 - LOUNGE ACT von NIRVANA · 21:17 - CANNONBALL von THE BREEDERS · 21:10 - WELCOME TO PARADISE von GREEN DAY · 21:08 - PUBLIC WITNESS PROGRAM von FUGAZI · 21:04 - FEEL THE PAIN von DINOSAUR JR. · 20:57 - IN GUZ WE TRUST von GUZ · 20:53 - LET THERE BE ROCK von TOCOTRONIC · 20:49 - UNIVERSAL TELLERWÄSCHER von DIE STERNE · 20:42 - VERSTÄRKER von BLUMFELD · 20:39 - MILLION BRILLIANT (YOU WON'T BE DISAPPOINTED...) von SUPERNOVA · 20:35 - ROCK'N'ROLL CRASH MACHINE von HNO · 20:32 - NEVER WASTE von SPORTSGUITAR · 20:27 - TV SKY von THE YOUNG GODS · 20:24 - SOMETHING FOR THE WEEKEND von SUPER FURRY ANIMALS · 20:21 - COMMON PEOPLE von PULP · 20:15 - A LETTER TO ELISE von THE CURE · 20:11 - MY FAVOURITE GAM von THE CARDIGANS · 20:08 - NO PLACE IN THE NINETIES von DIE AERONAUTEN · 20:05 - GOLD SOUNDZ von PAVEMENT

On this episode of Prisoners of Rock and Roll, we're jumping in our musical memory machine and going back 30 years to 1995. Rock and roll still ruled the charts and alternative music was still a thing. We got great albums from Alice in Chains, No Doubt, Mad Season, Oasis, Ozzy, and White Zombie.  SIlverchair, the Foo Fighters, the Deftones, Jewel, Radiohead, Alanis Morissette, and Garbage all released their debut albums.   TLC warned us against chasing Waterfalls. Coolio was living in a gangsta's paradise, and groups also released a handful of songs that we still hear today: Hey Man Nice Shot, Peaches, and those songs by Spacehog, Better Than Ezra, Elastica.  Several members of the Wu Tang Clan released solo albums. R&B kinda sucked with a few exceptions. And there was weird stuff like the Macarena, Scatman John, and Cotton Eye Joe were on the radio. We're going cover as much of it as we can in this throwback episode of Prisoners of Rock and Roll, so let's hit it.  Episode Playlist & Other Stuff Check out our episode playlist here. Get In Touch Check us out online, on Facebook, Twitter, or YouTube. or drops us an email at show@prisonersofrockandroll.com. Or if you're in Philadelphia, come visit our home base at McCusker's Tavern. Prisoners of Rock and Roll is part of Pantheon Media. We're sponsored by Boldfoot Socks. Learn more about your ad choices. Visit megaphone.fm/adchoices

On this episode of Prisoners of Rock and Roll, we're jumping in our musical memory machine and going back 30 years to 1995. Rock and roll still ruled the charts and alternative music was still a thing. We got great albums from Alice in Chains, No Doubt, Mad Season, Oasis, Ozzy, and White Zombie.  SIlverchair, the Foo Fighters, the Deftones, Jewel, Radiohead, Alanis Morissette, and Garbage all released their debut albums.   TLC warned us against chasing Waterfalls. Coolio was living in a gangsta's paradise, and groups also released a handful of songs that we still hear today: Hey Man Nice Shot, Peaches, and those songs by Spacehog, Better Than Ezra, Elastica.  Several members of the Wu Tang Clan released solo albums. R&B kinda sucked with a few exceptions. And there was weird stuff like the Macarena, Scatman John, and Cotton Eye Joe were on the radio. We're going cover as much of it as we can in this throwback episode of Prisoners of Rock and Roll, so let's hit it.  Episode Playlist & Other Stuff Check out our episode playlist here. Get In Touch Check us out online, on Facebook, Twitter, or YouTube. or drops us an email at show@prisonersofrockandroll.com. Or if you're in Philadelphia, come visit our home base at McCusker's Tavern. Prisoners of Rock and Roll is part of Pantheon Media. We're sponsored by Boldfoot Socks. Learn more about your ad choices. Visit megaphone.fm/adchoices

Nueva sesión de Viernes Eléctrico: comenzamos el fin de semana a puro guitarrazo, escuchando la música de The Reytons, The Strypes, The Charlatans, Rage Against The Machine, Elastica, Cast, Garbage, Blur, Oasis, Muse, Red Hot Chili Peppers, The Warning, The Jaded Hearts Club y Kaleo, entre otros.Playlist:THE PRESIDENTS OF THE UNITED STATES OF AMERICA - Kick Out the JamsFIDLAR - SabotageRAGE AGAINST THE MACHINE - Down On The StreetTHE JADED HEARTS CLUB - Back in the USSR (Live at The 100 Club)MILES KANE - RearrangeARCTIC MONKEYS - Dancing ShoesTHE STRYPES - Eighty-FourTHE REYTONS - Let Me BreatheTHE CHARLATANS - One to AnotherCAST - SandstormBLUR - Country HouseELASTICA - ConnectionOASIS - The Hindu TimesKULA SHAKER - Hey DudeGARBAGE - Only Happy When It RainsALANIS MORISSETTE - You Oughta KnowRED HOT CHILI PEPPERS - AeroplaneRED HOT CHILI PEPPERS - Parallel UniverseMUSE - Stockholm SyndromeLIMP BIZKIT - Break StuffDEAD POET SOCIETY - Running In CirclesTHE WARNING - S!CKKALEO - Rock N RollerKALEO - Back DoorKALEO - No GoodBLACK REBEL MOTORCYCLE CLUB - BerlinHERMANA FURIA - InstitutoALCALÁ NORTE - La Calle ElfoEscuchar audio

One for the 90s indie fans, here's an episode on Elastica's self-titled debut from 1995 which even though it's got 15 songs on it is somehow only a 38 minute long record. That doesn't mean a short podcast though - quite the opposite in fact as we find ourselves with plenty to enjoy and lots to say. Plus an absolute avalanche of other album and single releases to chat about so apologies if those sections aren't your cup of tea, feel free to skip them (although then you'll miss out on thrilling conversation about the likes of Monster Magnet, Morphine and, erm, Scooter). As always please do give us a follow on our social media platforms and why not go and give us a nice rating over on Spotify now that you're able to while you're checking out this episode's companion playlist (which contains ALL of the songs we talk about on this one) and our ongoing and sprawling playlist of songs from each album that we do an episode on. Cheers!

Woah. Was für eine lange, schier unerträgliche Pause! But fear not: euer SRF 3 Musikabend ist B-A-C-K – und tischt ab sofort wieder jeden Abend zur gewohnten Zeit ein Festmahl mit neuer Musik auf. Und da ist während den letzten vier Wochen ja einiges zusammengekommen... Neue Tunes von Julien Baker (mit Torres), Hamilton Leithauser (Ex- und Immermalwieder-The Walkmen), ganze Alben von SZA oder Bad Bunny... What a Start!! +++ PLAYLIST +++ · 22:53 – THROUGHLINES von YOU, INFINITE · 22:48 – BODY MOVES von THE WEATHER STATION · 22:43 – PURE LOVE (DAY) von DJ KOZE FEAT. DAMON ALBARN · 22:37 – WIE SCHÖN DU BIST von DJ KOZE FEAT. ARNIM TEUTOBURG-WEISS & THE DÜSSELDORF DÜSTERBOYS · 22:34 – WHEN HE COMES AROUND von TOLEDO · 22:31 – THIS TIME AROUND von MIYA FOLICK · 22:26 – SOPHIE von FREDRIK SVABØ & THEA WANG · 22:23 – LONDON MAY von BONNIE 'PRINCE' BILLY · 22:20 – THE OOGUM BOOGUM SONG von BRENTON WOOD · 22:16 – PITORRO DE COCO von BAD BUNNY · 22:11 – CRYBABY von SZA · 22:09 – CAN I? von JILL RYAN · 21:56 – KILL BILL von SZA · 21:54 – CONNECTION von ELASTICA · 21:50 – PONYTAIL von BIIG PIIG · 21:45 – JULIE von HORSEGIRL · 21:41 – SICK DOGS von HEY, NOTHING · 21:38 – BARN NURSERY von HEY, NOTHING · 21:33 – RIVERSIDE von ORACLE SISTERS · 21:31 – HELLO, HI von LITTLE SIMZ · 21:25 – TONITE von LCD SOUNDSYSTEM · 21:21 – SUGAR IN THE TANK von JULIEN BAKER & TORRES · 21:17 – DRIVE SONG von THALA · 21:13 – FERRY LADY von PANDA BEAR · 21:08 – DEFENSE von PANDA BEAR & CINDY LEE · 21:04 – THIS SIDE OF THE ISLAND von HAMILTON LEITHAUSER

Hoy en La Gran Travesía os dejamos el especial dedicado al año 1995, donde podréis escuchar a Jayhawks, PJ Harvey, Lenny Kravitz, Mad Season, Radiohead, Monster Magnet, Bjork, Kyuss, Fugazi, Blur, Pennywise, Elastica, Sleater Kinney, Foo Fighters, Meat Puppets, Rancid... y muchos más. También recordaros que ya podéis comprar La gran travesía del rock, un libro interactivo que además contará con 15 programas de radio complementarios, a modo de ficción sonora... con muchas sorpresas y voces conocidas... https://www.ivoox.com/gran-travesia-del-rock-capitulos-del-libro_bk_list_10998115_1.html Jimi y Janis, dos periodistas musicales, vienen de 2027, un mundo distópico y delirante donde el reguetón tiene (casi) todo el poder... pero ellos dos, deciden alistarse al GLP para viajar en el tiempo, salvar el rock, rescatar sus archivos ocultos y combatir la dictadura troyana del FPR. ✨ El libro ya está en diversas webs https://npqeditores.com/producto/la-gran-travesia-del-rock/ ▶️ Y ya sabéis, si os gusta el programa y os apetece, podéis apoyarnos y colaborar con nosotros por el simple precio de una cerveza al mes, desde el botón azul de iVoox, y así, además podéis acceder a todo el archivo histórico exclusivo. Muchas gracias también a todos los mecenas y patrocinadores por vuestro apoyo: Jose Angel Tremiño, Marco Landeta Vacas, Oscar García Muñoz, Raquel Parrondo, Javier Gonzar, Eva Arenas, Poncho C, Nacho, Javito, Alberto, Tei, Pilar Escudero, Utxi 73, Blas, Moy, Juan Antonio, Dani Pérez, Santi Oliva, Vicente DC,, Leticia, JBSabe, Huini Juarez, Flor, Melomanic, Noni, Arturo Soriano, Gemma Codina, Raquel Jiménez, Francisco Quintana, Pedro, SGD, Raul Andres, Tomás Pérez, Pablo Pineda, Quim Goday, Enfermerator, María Arán, Joaquín, Horns Up, Victor Bravo, Fonune, Eulogiko, Francisco González, Marcos Paris, Vlado 74, Daniel A, Redneckman, Elliott SF, Guillermo Gutierrez, Sementalex, Jesús Miguel, Miguel Angel Torres, Suibne, Javifer, Matías Ruiz Molina, Noyatan, Estefanía, Iván Menéndez, Niksisley y a los mecenas anónimos.

Con Oasis, Elastica, Supergrass, Pulp, Radiohead, PJ Harvey, The Smashing Pumpkins, Alanis Morissette, Garbage, Tricky, The Chemical Brothers y Björk.Escuchar audio

This is a remote report, a conversation conducted virtully rather than in person. In these episodes I speak with musicians who have moved away from Vancouver about their experiences and the venues they loved. Mar Sellars started playing in bands as a teenager in Vancouver, including The Riff Randells, The Ewoks  and the Engaged. She also played in bands while living in the UK, and worked at the CBC and the BBC. She currently lives in Los Angeles where she runs a Music PR, Consulting & Management Agency and is also a booking agent and label manager.  Venues discussed: The Rage, The Starfish Room, The Brickyard, The Picadilly Pub, The Good Jacket, The Marine Club, The Railway Club, The Sugar Refinery, Ms T's Cabaret, Submission Hold House, Video In, The Waldorf. Bands discussed: Flash Bastard, The Buzzcocks, Gob, Pluto, Thee Goblins, The Evaporators, The Organ, Fun 100, Lederhosen Lucil, Pulp, Blur, Elastica, Weezer, Moist, Crowded House,  Sheryl Crow, the White Stripes, Operation Makeout, the Von Blondies, Phillip Boa and the Voodooclub, Library Eater, The Disgusteens, New Pornographers. Thank you to Kellarissa for the original theme music.   This episode features the following music:  The Riff Randells: Who Says Girls Can't Rock from Riff Randells 7" (Mint Records 2000) The Racket: British Bands Release Cult Records The Evaporators: Aside From All This, Is There Anything Else? from I Gotta Rash split 12" (Nardwuar Records, 1998)  

Vittorio ZitoSindaco di Roccella Jonica"Festival dell'argomento a piacere"25 e 26 ottobre 2024Debutta il "Festival dell'argomento a piacere". Da Cottarelli sulla musica leggera a Makkox sulla fantascienza: grandi nomi coinvolgono il pubblico sulle loro passioni, spesso insospettabili. Il 25 e 26 ottobre a Roccella Jonica l'edizione zero.Un festival dove sono gli ospiti a scegliere l'argomento di cui parlare, senza una cornice tematica definita, ma soprattutto al di là delle cariche, dei ruoli, delle professioni. Una due giorni per raccontare le passioni, hobby, e interessi di ospiti del panorama culturale italiano. Il "Festival dell'argomento a piacere", diretto dal giornalista Tommaso Labate, debutta a Roccella Jonica (RC) venerdì 25 e sabato 26 ottobre con un'anteprima che dà voce a Carlo Cottarelli e Makkox e lancia l'invito per la prima edizione a giugno 2025Chi l'ha detto che un economista non può salire su un palco e parlare al pubblico di musica leggera e un fumettista tenere una lezione sulla fantascienza? Tutti abbiamo tematiche che ci appassionano, in cui siamo ferratissimi, al di là del lavoro e delle specializzazioni professionali; a Roccella Jonica si sono inventati un festival che parte proprio da qui: dare spazio alle passioni insospettabili di grandi nomi del panorama culturale italiano.Il "Festival dell'argomento a piacere", diretto dal giornalista e voce di Radio 2 Tommaso Labate e prodotto da Elastica, è promosso dal Comune di Roccella Jonica che venerdì 25 e sabato 26 ottobrene lancia l'anteprima presso l'ex Convento dei Minimi: un assaggio in due serate, a ingresso gratuito, di ciò che aspetta il pubblico a giugno 2025 con la prima edizione della manifestazione, che sarà organizzata su tre intere giornate di appuntamenti. Si comincia venerdì 25 ottobre alle 18 con Carlo Cottarelli e un dialogo su "La musica leggera", dove interverrà anche un ospite musicale a sorpresa. L'economista spiega la scelta del suo "argomento a piacere": "A parte l'economia e l'Inter la musica cosiddetta "leggera" è una delle cose che mi interessano di più. Amo cantare accompagnandomi - male - con la chitarra e sono come un juke box: suono un po' di tutto, in particolare i cantautori italiani".Si prosegue sabato 26 ottobre sempre alle 18 con Makkox e "La fantascienza". "Ho scelto la fantascienza perché mi piace: mi sembra una motivazione coerente per un festival dedicato a un "argomento a piacere". Se l'evento fosse stato dedicato a "qualcosa che odi" avrei sicuramente scelto la politica" scherza Makkox."In un'epoca in cui si punta tutto sulla iper specializzazione cosa c'è di più bello che riscoprire il vecchio "tema a piacere"? E' così che è nata l'idea di proporre a grandi esperti nei loro settori - Cottarelli nell'economia, Makkox nel disegno - di esprimersi non in quella che è la loro specialità, ma in un tema a piacere - spiegano gli organizzatori - Oggi ciascuno ridisegna i propri orizzonti sulla base dell'interrogazione continua che abbiamo dalla vita e dai social: crediamo sia bello e anche un po' liberatorio riscoprire la vecchia cara domanda a piacere che - come insegnavano i professori veramente bravi - era la più difficile delle domande, quella che dava la possibilità di esprimersi e di essere valutati al meglio". IL POSTO DELLE PAROLEascoltare fa pensarewww.ilpostodelleparole.itDiventa un supporter di questo podcast: https://www.spreaker.com/podcast/il-posto-delle-parole--1487855/support.

 Originally Published 8/19/18Ready to Cool off?  Got some Elastica, Interrupters and Social D that will help!Here's the Playlist:Cool City The Cute Lepers Can't Stand Modern MusicSmile Elastica Elastica Cool'N'Out Joe Strummer & The ...

Klubų atstovas Dominykas Juknys (Mirror Slave) laidoje pasakoja apiespalio 4-ą naują sezoną pradedančios renginių erdvės „Kablys + Club“ ambicingus planus, bendrą viziją bei santykį su kita klubo erdve - „Elastica”.Dominykas atskleidžia planuojamus atsivežti atlikėjus, pristato ne tik lankytojų pamėgtas, bet ir naujas renginių serijas bei dalinasi savo ilgametėmis įžvalgomis apie Lietuvos klubinę kultūrą.Ved. Rimvydas Černiauskas

Sprawdź Patoszkolenia! ➡️ [15.10.2024 Modelowanie DanychOgórki pozbierane, trzeba wracać do komputera. Czy faktycznie nic się nie działo? No... nie do końca, jak się okazuje. Szymon ewidentnie nie wypoczął przez wakacje, bo jeden tytuł z InfoQ i już się rozzłościł. No i podaje sposoby, jak przyspieszyć każdą bazę SQL o 10 razy. Pytanie, czy słusznie? Potem płynne przejście do tego, czy przejście Istio na eBPF zmieni coś w adopcji Service Meshy. Łukasz podnosi temat, czy zmiany licencji Elastica coś naprawdę wnoszą i czy to będzie tendencja na przyszłość. Długo nas nie było, więc nie mogło się obejść bez monitorowania projektów, które mogą spalić się na starcie, czyli... tak. Mówiliśmy o OpenTofu. Szymon znowu pokazuje, że nie wie, kto jest kim i chwali artykuł bez wiedzy, kto to właściwie napisał. Łukasza super umiejętności networkingu ratują sytuację i mamy rozmowę o tym, jak dobrać technologię w zespole :) Następnie wchodzimy w kącik "Łukasz i AI", a tam o:Spadających kosztach wykorzystania modeli LLMJakości danych firmowych i, Szymona zdaniem naiwnych, nadziejach Łukasza na to, że automat to ogarnie.A teraz nie ma co się obijać - wpadajcie na naszego Discorda! Tam możecie się z nami pokłócić o przyspieszanie SQL-a, podyskutować o naiwnych nadziejach na AI, albo po prostu podzielić się swoimi IT-owymi przemyśleniami. Słuchasz Patoarchitektów dzięki PROTOPII – firmie, w której Łukasz i Szymon działają na co dzień, wspierając zespoły IT na każdym etapie: od projektowania, przez wdrożenia i migracje, aż po optymalizację i zabezpieczenia. Oferujemy też mentoring i szkolenia dostosowane do potrzeb każdej firmy, niezależnie od wielkości. Sprawdź nas:

This season we discuss over 300 albums of the 1990s selected from https://besteveralbums.com. The show starts at (1:21). The Six Singles segment starts at (7:49). This episode covers the following albums: Method Man - Tical (37:44), Elastica - Self-Titled (59:36), Tori Amos - Under The Pink (1:21:26), and The Offspring - Smash (1:44:12).

Selección musical de Gustavo Iglesias, director de Bandeja de entrada.ELASTICA - Waking upBLUR - StereotypesOASIS - Some might saySUPERGRASS - Mansize roosterTHE BOO RADLEYS - Find the answer withinPULP - Disco 2000T.REX - Hot loveDAVID BOWIE - Ziggy StardustMOTT THE HOOPLE - All the young dudesSLADE - Cum on feel the noizeROXY MUSIC - Virginia PlainKATE BUSH - Running up that hillTHE LAST DINNER PARTY - Buried aliveDUA LIPA . Falling foreverEscuchar audio

This week on the show jD welcomes Vish from his own Kreative Kontrol, if you haven't checked it out get after it!Vish discusses song 18 and shares his Pavement origin story.Transcript:Track 1:[0:00] Previously on the Pavement Top 50.Track 2:[0:02] This week we're going deep on Box Elder. How are you feeling about song number 19, Kyra, from the COWI? I fucking love Box Elder so much. It's a great song. It's one of the earlier Pavement songs. I think it's a very early Pavement song, which is cool. And it's one that really holds up.Track 1:[0:25] I think, too. you. Hey, this is Westy from the Rock and Roll Band Pavement, and you're listening to The Countdown.Track 3:[0:34] Hey, it's JD here, back for another episode of our Top 50 Countdown for Seminole Indie Rock Band Pavement. Week over week, we're going to count down the 50 essential pavement tracks that you selected with your very own top 20 ballads. I then tabulated the results using an abacus, a wet towel, and some scrawny kid from 10th grade gym class. How will your favorite songs fare in the rankings? You'll need to tune in to find out. So there's that. This week I'm joined by Pavement superfan Vish from Creative Control with Vish Khanna. Dude, thanks for taking some time to do this. It means a lot. How the hell are you doing? I'm well, JD. Thanks for having me on your show. How are you doing? I'm great today. It's a little overcast here, but it's about five degrees so i'm gonna go for a walk later and uh.Track 3:[1:24] And that's a, that's, those are good times for me. Very nice. That's good. Going outside. Can't beat it. Yeah. No, you can't at all. Well, let's not beat around the bush, speaking of beat it, and get right into your Pavement Origins story.Track 3:[1:38] Talk to me about that, Vish. Well, I was trying to, you know, I knew I was coming on your show, so I figured I should try to ponder this, you know, and I, I was trying to remember. Remember, I think I first came upon the band when I read about them in Spin Magazine, like, I think before Crooked Rain came out. And I don't know what it was about that piece. This is right around the time I started getting to go to record stores. You know, I'm, what would I have been then? I would have been 15, 16. Some of us were driving so we could leave Cambridge, Ontario, where I'm from, and we could go to Kitchener and Waterloo and Toronto. They had the cooler record stores those were like uh college university towns so then we started going to record stores and then you start talking to the record store people and they tell you what they like and you respect them because they're your surrogate parents so somebody somebody somewhere along the line told me about pavement i i'm pretty sure it was the spin magazine article that i was i started devouring more and more music journalism and i think it was that so i remember owning uh slanted and enchanted and also uh the record store had the trigger cut single so i think i bought both things and i'm fairly certain about both things and uh i will say that that first single got me completely obsessed with their singles um because i think they're.Track 3:[3:07] I don't know, they're one of the greatest treasure troves of any band I can think of. I know you've probably talked about this with others, but I really value Pavement B-Sides. Like, I wasn't that surprised. I mean, I was surprised that Harness Your Hopes went kind of bonkers recently, but like, I'm not surprised. Like, Pavement B-Sides, I know some of them better than I know the album songs, to be honest with you. I just became so obsessed with how great, like, the the quality of their B-sides really spoke to me. And then, yeah, that's one of the, and then I feel like that was a gateway into like, what is Silver Jews? Like, why is this, what is Silver Jews in the pavement section? What is it? Oh, it's a, it's a project. Oh, there's Bob and Steve on the back of the album covers. So they're in this, I guess. And so, yeah, the B-side alternate pavement universe if you will really spoke to me and still does uh i find myself uh kind of you know mumbling song lyrics and and tunes and melodies from you know humming them from from all the b-side so yeah i i would i would position myself that way as someone who i get a little obsessive so it wasn't just the album uh the albums it was like i want to get all the singles so i owned every single.Track 3:[4:24] On mostly on compact disc when i was coming up of age and now i've got them all on actually you know what i ordered i ordered that thing that you ordered the box that i ordered the singles box that i have a bunch of them but i was like what the hell i'm gonna do it so the book looks good yeah everything about it looks good i love pavement so uh i just thought i would get that too and uh yeah i think that's pretty much it that's where i discovered them and then of course they blew up uh you know they're one of those bands that all your cool uh heroes were talking talking about before you even heard them you know so you'd read a interview with somebody you liked and they'd mention pavements you're like what is this pavement so really have a time and place for me word of mouth and then actually digging in i have still a sense memory of playing slanted and enchanted and hearing summer babe and you're just like what the hell so yeah i'd say that's that that that's that's got to be it i think that's it and you got to be there for the release of watery then did you as somebody who was like sort of ep and single obsessed did you pick that up when it came out i did i did pick it up i don't know if i got it right when it came out i can't say that for sure because i feel like i still came to them a little bit later um because i'm sure they were that article was 93 like i don't think it was about slanted it was just mentioned so but i got it yeah and as you may have heard me talk about it's yeah it's my it's like my favorite thing, really, in some ways. I love, and yeah, I miss Gary Young.Track 3:[5:51] I never got to meet or talk to Gary Young, but yeah, the drumming as a drummer as well, as a budding drummer, like hearing Gary's playing, that had a huge influence on me too. So yeah, that era. Put your finger on what it is, isn't it?Track 3:[6:06] Like, what it is about Gary's drumming. I love Westy. I love him. He's a great guy, and he's a great drummer. But there's something about Gary. There's something about the looseness and the showmanship of people like Gary Young. I would say here in Canada, we have Mark Gaudette, who was in Eric's trip, and his drumming, too. Like, it's punk rock, but it's a bit more technical. And it's precise, but it's loose. And it just has it. He's making an instrument. you know they have their own voice i suppose as drummers they have their own like you hear it and you're like oh that's that's that's either gary or as i mentioned mark for two examples uh or it's someone copying them you know it's someone someone kind of ripping them off so i certainly was of this learning how to play the instrument and getting into some really amazing drummers at the time uh just because i didn't take drum lessons i would just listen to things or go see bands and And certain people and their drumming had a huge impact on me. And certainly early pavement drumming, you know, I think it's an underrated facet of that band. Did you get a chance to see the Gary Dock?Track 3:[7:18] No, you know what? I haven't seen that doc. That's a good call. I've been rather swamped of late and I need to do that. Have you seen it? Yeah, it's really, it's, it's pretty fabulous. Yeah, I can imagine. You're right. I should, I don't know. I'm at a thing where I got to do so much and I process so much information and music and I can't keep up with everything. So yeah, I saw it come through and I was like, yeah, I will watch that eventually. And then before you know it, I don't think I'm alone in this where there's just so much stuff to consume, but yeah, good Good call. Good call. I'll try to track it down on, I don't know if it's on a thing, a service or whatever, a streaming service, but I'll try and watch that. Yeah, I think it is because I don't know how I would have seen it. I forgot. Yeah. Um, when, when did you finally get to, uh, see them live or did you see them live in the original sort of run? I saw them for the first time in Barrie, Ontario at Lollapalooza in 1995. This was the. Wow. Lollapalooza curated by Sonic Youth.Track 3:[8:18] So also on the bill was, it was supposed to be Sinead, or sorry, it was supposed, yeah, it was supposed to be Sinead O'Connor, but I think I attended the first show that she couldn't play because she was pregnant. And so Elastica filled in, but the day was like a mighty, mighty Boston's first time I got to see the Jesus lizard. Blizzard, uh, uh, Pavement obviously played during the day, uh, Hole played. Beck was on the lineup too, wasn't he? Yeah, I saw Beck play two sets, one on the main stage, uh, this was just ahead, uh, ahead of Odile coming up, and, um, he also did a side stage, uh, performance where I actually spoke to him, he, he came down and, uh, signed autographs, so he signed, I don't know where it is but he signed my Lollapalooza ticket stub and I asked him I actually I think I, I tripped him out a little because I'd heard that he was going to be collaborating with a Toronto musician. And when I mentioned it, he was like, oh, yeah, we have been talking about that. Like he was I kind of nardwired him.Track 3:[9:23] I didn't mean it was just a rumor. I just said it. And he was like, oh, yeah, we were talking about that. So anyway. Yeah. So, yeah. And the Far Side played and Moby played and all sorts of amazing eclectic. Yeah. Yeah, Cypress Hill was one of the headliners. Bob Nastanovich, when he was on my show, I did a little documentary about Bright in the Corners. And he talked extensively about their experiences with some of the artists and their experiences playing Lollapalooza. And Bob's amazing innovation of suggesting that instead of getting a bus, they would each get minivans. He got a great deal in some rental minivans and that way they could play and then just drive ahead to the show and not worry about the gear and all that stuff and and and they could kind of travel at their leisure and uh yeah anyway so Lollapalooza 95 is the first show then I saw them at the Phoenix in Toronto for the Bright in the Corners tour and then I saw them play uh you remember the cool house and the, sorry, for those wondering in Toronto.Track 3:[10:33] There was a venue and it had two rooms. It was called the Warehouse. And then beside it was something called the Government, a smaller room. And then the Warehouse became, it was like the RPM Warehouse or something like that. That's right. And then it changed names. It was the Cool House, but I think the Government was still there. So for Terror Twilight, as I recall, Pavement played the Government. So the smaller room on that tour. So I saw them there. And then I saw them on Toronto Island on the first reunion tour with the Broken Social scene.Track 3:[11:08] And I think that's the last time I was invited or I was supposed to go see them in Austin, Texas. And Bob hooked me up. And I think I might have even been able to attend the Austin City Limits taping. But unfortunately, I couldn't make it at the last minute. So that was a bit of a bummer. But I regret it. But, you know, it was weird, still weird pandemic times then. And I, I think there was also other stuff going on. So I didn't get to see them on this current reunion, but it still seems to be going as we're speaking. So who knows?Track 3:[11:42] Maybe I can see them somehow. now yeah yeah and we are recording this in early april so yeah there's we're not uh that's not a scoop people just in case you're listening to this in october and you're like oh christ they're coming back um they may they very may well be i just edited the bob episode and you know i sort of teased him because he's like we're done after south america and i was like come on come on yeah i'll believe you're done when i when when you're done yeah but um enough about me back to you uh i'm curious about the lola performance like so you got to see them in a government isn't intimate but it's nice um and then you got to see them in um lollapalooza in front of a big crowd what do you think of the the festival version of pavement well i mean obviously it's well documented that they didn't have the best time on that tour on some level uh in slow century there's obviously the the fracas uh you know uh where people are throwing mud at them and all sorts of a rock at steven actually uh you know i i was a kid i mean that was sensory overload i i was just going to how old was I? So 95 I was had I even turned.Track 3:[13:08] Yeah, I was not even, what was I, seven, 16 or something like that? I don't know. I was not an old, I was young. You were 76? No, wait a minute. Yeah, I was 17. So I was born, no, I was born in 77. So I hadn't yet turned 18. So I was 17. And yeah, it was just, that was a bonkers year, to be honest with you. That summer, I went to everything. I went to so many festivals.Track 3:[13:31] For all my bellyaching about my parents not letting me do stuff, they let me do a lot of stuff that summer so uh yeah i don't i think i was just overwhelmed by how many people were surrounding me and and and i got up as close as i could for pavement um and we got up really close like seeing the jesus lizard was a bit i love the jesus lizard already at that point i just love them and to see them was like they were larger than life and you know yeah for those who've never seen them or footage of them at that point, Yao would come into the crowd, you know, he would leap off the stage and crowd surf and all that kind of stuff and sing while he was doing it. So it was very immersive. And then Pavement, relatively the opposite, you know, they're on stage and the songs are great and they played well, as I recall. But on some level, I remember just making a point of getting up as close as possible and trying not to, at the same time, you know, be conscious of not bothering people as you move your way up, you know, because I was kind of annoyed at everyone running around and pushing their way forward and all that stuff. So, uh... Never made sense to me. Yeah, it just... That's my main memory of just, like, trying to... I was probably... For the Jesus Lizard and Pavement, I was probably... That was the closest I was probably, uh, to the stage. And, uh... And then otherwise, yeah, I don't know. I mean, I have...Track 3:[14:57] I have a real sense memory of the Phoenix show for Bright in the Corners for a few reasons. And I've talked about them with Bob, at least.Track 3:[15:05] Bob did an interpolation of a Cool Keith song, which I just, I was like, oh, I didn't know people knew about Cool Keith. Like I had only started listening to Cool Keith at that time. And he did. I have no clue. blue cool keith is a a really uh innovative uh underground hip-hop superstar he was in a group called ultra magnetic mcs and then he went solo as dr octagon and as cool keith has all these pseudonyms and uh to be precise uh and oh yeah black elvis like he had all these cool names so to be precise i believe as i recall bob was quoting dr the dr octagon project and he just did it in the middle of a song and then also the other thing that occurred to me and it's sort of relevant to the song today is during uh stereo when steven malcolm is saying the lines about getty lee and his voice being so high he shot his voice up super high like a comically high effect how did it get so like just pitch perfect super high i think it's i think it's documented in a much music interview that they did that day or whatever, like while they were in town. And then obviously afterwards, they interspersed some live footage of the band playing.Track 3:[16:26] And Stephen singing, you know, on this song that we're here to talk about today is so remarkable to me. And I remember that I had this sense memory of him singing that and thinking it was very amusing. I thought it was more amusing than impressive at the time. but over over time as i um have come to value steven's singing voice and his range and his ability, And just instincts as a singer, I view it as more impressive now than, I still think it's funny because I think he's got a comical element to his choices and certainly live anything can happen, but they were just, I think that Bright in the Corner show is the, it's certainly one of the best shows I've ever seen. So I would also say it's one of the, if not the, it was the best time I saw Pavement probably. Oh, that's a great venue. That's what I, that's, I think the Phoenix is phenomenal. I don't want to discount the reunion show I saw because I think with age and time away from each other, they actually have, I don't know, I don't know how many reunion shows you've seen, but often I find that these bands that, particularly for us, you know, the bands around in the 90s, when they come back, they're better. Yeah. They seem more at ease with themselves as people and as players.Track 3:[17:45] And so the absence, I don't know what it is. They just seem more relaxed. And I think when you're more relaxed, you play better. I think 20-something angst, we'll call it. I think if you're not relaxed with each other, you don't play as well. You're just a little uptight. And then as you sort of resign yourself to, well, not resign yourself, but as you sort of get, yeah, you let go of things. I guess that is a way of putting it. You kind of let go of any little grudges and you don't have that angst, whether it's your own or whether it's about yourself or whether it's interpersonal. And I think you just play better. So when I saw the Jesus Lizard on the reunion tour, having seen them several times in the 90s, I just was like, I think they're better. You know, they might be better. better and pavement as i recall from the toronto island show it felt good they played so well you know together um but up until that point yeah i would say that bright in the corners show i saw at.Track 3:[18:46] The phoenix in toronto was just like they were just on fire it was brilliant so yeah cool yeah well before we get into song number 18 i gotta ask you as one of the only people i know that has interviewed Mark Eibold, the reclusive Mark Eibold, how the hell did you do it? And that interview, by the way, was phenomenal. It was great.Track 3:[19:09] Well, that's very kind of you to say. I have to draw back on my memory for this. So the occasion was the Terror Twilight reissue from a year or two or a couple of years ago, whenever it was. Yeah, who knows? And like you, I think my social entry point into this band is Bob Mstanovich.Track 3:[19:32] Absolutely. So Bob is, uh, I've gone on record saying this to others. I think I said it maybe to him during our terror twilight discussion. Bob is the greatest podcast guest of all time. You don't even have to ask him a question and he starts. He's so funny and he's so frank and he says things that I surprised he might say. I love him so much and he's been very kind to me over the years as well. I first spoke with Bob, uh around the time of that reunion uh tour um uh and so what was that 2009 10 thank you very much yeah sorry i think the jesus lizard was 2009 so yeah i spoke to bob around that period and then we've maintained contact basically ever since that was for my college radio show actually and then so that was here in toronto yes that's right yeah well i lived when i was living in ontario at at the time. Um, I had a college radio show and would play some pavement and Bob was a guest on that show. And he's, and I probably wrote a magazine article for exclaim magazine as well. That's what I do and used to do more often. Anyway. Um.Track 3:[20:43] Yeah. So the Tara Twilight thing came about by this point, Bob and I had, he'd been on my podcast a few times. And so I just, I'm sure I went through the proper channels to get, try to figure out the interview and get the music and the, and you know, all the assets and all that. But Bob, I think I was like, Bob, like, can we get everyone? Let's just get everyone on the show. Probably like you have done, like you just, you know, you're, you're trying to do this now. You're trying to talk to as many of the members as you possibly can. Absolutely. And in the loop. So, yeah, you know, I'm emailing Stephen and I think I texted Stephen because, you know, he wasn't responding.Track 3:[21:22] And so we sort of landed on Westy and Bob and Mark and then Jesper, who was involved in the reissue for Matador, was going to take part. And then at the day of, Mark couldn't do it. He was in transit. He couldn't join us for the group call. But yeah, Bob connected us over email, I believe, and maybe text, I don't recall. And so Mark and I, Mark felt, I think, kind of badly that he couldn't do it, like that he said he would do it and that he didn't end up doing it. And uh i i assume bob vouched for me you know um and so that was kind of it uh really we corresponded uh he felt badly that he couldn't make the group call we arranged a time we had a good talk you heard it uh and then i believe i put it out the right after i had put out that that group call uh so back to back it was like pavement week on my show for terror twilight light. Um, so, uh, yeah, I don't, can't recall cause I do so many of these, uh.Track 3:[22:37] Exactly what mark and i talked about i think we talked about some of his, radio listening habits you did yes he still uses a radio yeah you might actually have a better perspective on it than me at this point because i just don't remember uh you know i jd i'm sure you're familiar with this you do so many of them uh interviews uh episodes you're just like oh yeah, i forgot i had so and so on the show what the hell did we talk about again i that happens to me all the time when i edit i'll be listening and i'll be like it sounds like a conversation between somebody who doubles my voice and my guests because i don't recall virtually anything about what we talked about well i remember realizing it was um a real kind of rarity for mark to do such a thing i think at the time um a sonic youth uh archival compilation had had just come out that mark appeared on so there's just a fair amount to talk about it was a lot of memory jogging unfortunately for him like you know trying to remember the terror twilight sessions trying to remember playing with sonic youth like all about a decade out from doing it you know or more a decade or more 20 years um so uh yeah i i he was very lovely and uh and forthcoming and um.Track 3:[23:59] I really appreciate it. I think I've spoken to everyone but Gary, I suppose. I never got a chance to speak to Gary Young. But in terms of the, I guess, whatever, core or original lineup, yeah, I've talked to all of them at some points in my life. And I hope to talk to them again.Track 3:[24:20] Yeah, I do adore them. So it's, yeah. You can tell. You can really tell. And we should have said this off the top, but Viche is, Creative Control is a podcast, if you haven't listened to it, you should listen to it. If you like music, if you're maybe a bit obsessive about music, Viche does a really phenomenal job of, you know, conversations with famous people. People uh for people who listen to this show you might want to start with some of the david berman stuff because it's it's pretty spectacular and uh and then work your way through the pavement but it's all it's all good from the stuff that i've heard for sure well thank you for the kind words and for saying so yeah i uh i do love doing the show and uh it has uh you know it's granted me access and insight, uh, to, and from people I really, truly admire and adore. And, uh, yeah, I marvel at, uh, what I've been able to, uh, accomplish and get away with, uh, it is, it is, I don't really understand it, but certain people like Bob and others, uh, uh, have a fondness for me and return to the show and all that sort of stuff. And, uh, so yeah, it means a lot. Thanks for saying that. No, no, I should have said it off the top. but uh what do you say we talk about the the song this week song number 18 let's do it okay we'll be back right after this hey.Track 1:[25:48] This is bob mistanovich from pavement uh thanks for listening and now on with a countdown 18.Track 3:[29:27] So today we're talking all about song number 18 from the masterpiece Wowie Zowie. It's the absolutely gorgeous Father to a Sister of Thought. Vish, what are your initial thoughts about this song? Well, you know, I was so happy that we landed on this as a song to talk about because I do love Wowie Zowie. I have a sense memory of picking it up when it came out. I think the day it came out. um and um obviously a strange sort of a strange record uh an eclectic record uh and this is interesting it's a really fascinating song because in some ways it's super accessible uh musically it leans with the pedal steel and some of the other moves it leans towards country music.Track 3:[30:18] I will say, as I was pondering it, I mean, I know we are in a vacuum here of people who love Pavement and who love Stephen Malcomus, but as I was listening to this in preparation for our chat, I'm like, Malcomus is like an underrated everything. I really feel that way. And in particular, I think he's a remarkable singer. And, you know.Track 3:[30:51] And this song, I think, exemplifies that. He makes super fascinating choices with his phrasing, I think, and just the notes he's going to go for on words. Like, I don't know how to put it. I'm not super adept at maybe talking about music on that level. But it's just very dynamic, the way he shoots his voice up and sort of speaks, sings one line.Track 3:[31:17] And I think aside from missing his sort of grittiness, he also is a great screamer, great yeller. He really is. Like Paul McCartney level dynamic range, I think, with Steven when he wants to. Like he can sing. I don't know if that resonates with you. Like McCartney, to me, can sing anything. He can sing a ballad. He can sing like a Little Richard Rocker and sound like a punk. Like it's bonkers, that guy's vocal range. And I think Malcomus is in that, totally in that vein. So he's not yelling on this song but i think if anyone is interested like this song is a perfect showcase for what he can do as a vocalist and before i go much further jd does that resonate with you it certainly does i when i think of this song you know the word i used right off the bat was gorgeous uh and it's gorgeous in a number of ways the vocal the melody uh like his ability as a songwriter. I don't know how much of the arranging he did, or if it was Easley who said, let's use this pedal steel.Track 3:[32:25] But nevertheless, it just works so well with the timbre of his voice. And it all comes together in a really lovely ball.Track 3:[32:36] Yeah, and I think the little contrarian aspect to, or I don't know how to describe it, this little element of, yeah, it's a little contrary, I think, you know, I don't think I'm saying anything untoward where there's an element of self-sabotage sometimes in the pavement realm where everything's going fine, and then all of a sudden, let's pull the plug and do something wild and nuts or crazy, you know what I mean? And then yeah so this song has this really jaunty country vibe and then it ends with this like, minimalist noise rock stomp damn yeah yeah yeah like it gets it suddenly becomes a little more punk after the sort of so it's kind of this and it's all part of this it's that end it has nothing to do with anything else we've heard no instrumentally nothing but it works like it works so perfectly and i think it's a way of being like all right i think i think we're getting a little saccharin here it's too gentle or something let's end a little more raucous and uh so to me i hadn't really pondered it as such before but between malchumus i think singing his ass off and and really showing his range uh the band also ends up playing very dynamically and really beautifully and and also grit like as i say there's some grit towards the end so in a weird way.Track 3:[34:03] And again i hadn't thought of it like this was a single as i recall um like there was a video for it and whatnot and they're all dressed up in like country western garb and all these sorts of things, but uh no it's a nice exemplification like this is a pretty good gateway in the pavement if you were like yeah listen to this song again you never heard of this band try this song just try it it's got humor it's enigmatic lyrically the arrangement itself is beautiful but funny uh yeah i i really think uh 18 this should be in the top five it's really wonderful wow yeah i would have it in my top 10 yeah i know you top 10 sure i don't know what these ratings mean i don't believe in ratings and awards but it's water cooler talk no it's i'm just saying as i think about it more first of all uh anyone out there listening uh once i dig into a topic i get a little excitable. So, uh, you can make the argument like, what about these other 10 songs? And I'd be like, yeah, yeah, those are also great. But this, this to me, I think, as I say, it's got a nice balance of earnestness, irreverence, beautiful singing, wonderful playing. Uh, yeah, I just think all across the board, it's beautiful. Yeah. Uh, well said.Track 3:[35:20] When you think back to buying Wowie Zowie, you said you got it on the day it came out. First of all, that's very cool.Track 3:[35:29] And second of all, I wonder, just to go on a tangent for a moment.Track 3:[35:34] I wonder if your penchant for B-sides helped you with that record. Because it's almost constructed to me where there's like a song and then more of a b-side song than a song than more of a b-side song uh you know i'm thinking like brink's job and and and stuff like that um yeah you know so that that would have really helped but what were you thinking the first time and this is asking you to really stretch your brain i apologize but what were you thinking the first time you heard this song on this wicked roller coaster ride of a record you know what it's i know this song gets come or rather the album why always how he gets compared a lot to the white album sure by the beatles um who are from liverpool uh and are no longer around but they were uh that album was um i think it's rightly regarded as this uh odd pastiche niche of sounds and ideas and somehow it it only coheres because contextually they made it cohere like it doesn't really make a ton of sense as an album but it's one of those albums where like i couldn't tell you what the best song on it is because i almost view it conceptually as a whole Oh, wow. Wow. So, there's some of it, like, you can, there are singles from it and whatnot.Track 3:[37:01] But I have a weird, this is more about me, I suppose, JD, than maybe most people, but like, I'm an albums person. So, when an artist or a band puts out an album, I assume, rightly or wrongly, in some cases it's not the case, but I assume it's a unified statement that they're making of a time, of.Track 3:[37:25] Rolling Stones, certain bands, you'll be like, yeah, this album is actually like odds and sods from the previous couple of albums that they just reworked or whatever, revisited. Um, and they still count as albums, you know, certainly Stones in the seventies, you can make that argument. There's a few records where, yeah, like just what I'm describing, it's an album, but it's really like leftovers from some ideas they had. Um, I would put Wowie Zowie in that white album category of like, it's a whole thing. Like, the way it's sequenced, the way songs blend together.Track 3:[38:04] As soon as you hear an artist do that, where the songs kind of barely, there's barely any air between them. Right. That's a sequencing choice. That's a mastering choice. That's all sorts of choices they're making. but there's then tends to be this coherence between them this isn't the case all across wowie zowie but there are songs as you know where it's just the next one just starts you're just right into another song um so it becomes a sort of sweet like thing all this to say uh i might be stalling to answer your question because i haven't listened to the whole album in some time this is going to prompt me to i listened to this song on its own and i will say it was a bit weird.Track 3:[38:48] To hear it on its own because i don't listen to pavement sorry as i've tried to just maybe exemplify i generally don't listen to um bands i got a friend pointed out to me a few years ago he was we were in a band together and he said yeah you once said you don't like greatest hits compilations i said i said that said yeah we were driving we were listening to like acdc or something and you were just it came up in conversation and you said you don't like greatest hits compilations because the context of the music is all out of order and i said right that makes sense to me yeah you're i said yeah okay i don't remember saying that sometimes i say things and i don't remember that i said them and i said oh yeah well i mean i said i said it and it stuck with him like he said yeah i've started to listen that way now because you're right like the context of an album is so important to it so when you asked me to be on the show and and suggested uh you know that we were going to talk about this particular song i just listened to it on its own.Track 3:[39:52] Totally weird. Totally weird to hear it out of the album context. So I think going back to my sense memory, I don't know. I mean, it starts with We Dance, which is weird. And then you're right. Some of the songs seem, I mean, to some people, they would seem like half finished ideas. That's right. Right. Or just like little jabs of things, you know. So you're absolutely right too, like Serpentine Pad, Brink's Job, those sound like they could be B-sides, but I would argue that the pavement B-sides are never really, they don't feel like throwaways to me. I agree. Sometimes they're a little looser and more fun, like things happen and that you wouldn't really hear. No I don't even you know what I'm just going to retract that I think they are all fully.Track 3:[40:48] Realized songs that stand on their own but yeah Wowie Zowie I suppose might have been the first sort of inkling that this band could do anything and they weren't afraid to try anything, I'm sure some people were disappointed after Crooked Rain Crooked Rain to hear this, band be a little more punk but also as we're talking about a song that like I say who knows I don't know I I've not really thought about this in a long time but I'm sure making the construction of wowie zowie and the sequencing was potentially a reaction to how much success and how they broke through with crooked rain.Track 3:[41:34] Yeah, I can get behind that thought because, I mean, it's almost outlined in Cut Your Hair, right? Yeah. That's sort of the blueprint for Wowie Zowie in a way. Yeah, like not deliberately self-sabotaging themselves, but being like, we're maybe a little too big. Let's do something a little less accessible. Like, let's do something a little more. I just want to be clear. I think it's brilliant. I don't find it confusing. But if you got into Cut Your Hair or Gold Sounds or got into that band that you saw freak out on The Tonight Show, you know... And then listen to Pueblo. Yeah, yeah. I think you're kind of like... Yeah. You would just be like, as a band, I doubt it was even conscious, but maybe it was. Maybe we should do something that's a little more like wild. And if that was the case, I'm not sure it was, I'm sure there's literature and I should have maybe revisited some of the liner notes and reissues and things to read about where their mindset was at. But, you know, even describing father to a sister of thought, it has that mix of totally, totally accessible. I could play this for my country music loving grandfather, but then it ends with like, Hey, grandpa, we're still kind of a punk band. You know what I mean? Yeah. Yeah.Track 3:[43:02] Oh, that's great. Going back to the theory of potentially sabotaging themselves, which I'm with you, I don't think they did it on purpose.Track 3:[43:13] I almost think it's like a sound and style change. You're right, Crooked Rain, Crooked Rain was so accessible, and it had a familiar sound. It had sort of a California classic rock kind of vibe to it. It crooked rain is i will interject only to say that i think crooked rain is also super weird.Track 3:[43:35] It is it helped them break through but it is a weird album like it starts weird it has like a full studio sound like it sounds like i know that was made in a bit of a patchwork as well but like it sounds more like a studio record um sure they went they went to a place that that it wasn't going to be noisy and hissy and ambient even though it has elements of that like it has a warmth to it but it's a weird and wildly arranged album too but this is even well coming off a slant coming off a slanted though it seems it just seems more you know readily available i suppose to to a wider birth of people yeah but what i was going to say is it almost reminds me of what sm did when he went solo that first record is so accessible and so poppy and so hooky and so earwormy it's amazing and then he did piglib after that which i fucking adore but it's so off the wall compared to the self-titled debut yeah and if we're viewing malcolm as you know uh obviously obviously the main driver of of their songs then yeah it's it's his whims and it's his.Track 3:[44:50] His notions for a batch of songs like you know i think bright in the corners is uh on some level it's the cleanest sounding pavement album but it's also the most esoteric and and you know i the songs sprawl and they're all over the place as well but it's also somehow more coherent and contained than wowie zowie like but but the songs stretch out that's their what did we talk about with somebody recently uh maybe it was with the pavement guys uh grateful dead type stuff yeah sure yeah like it it has a it's it's a little more zen it's less frenetic even though the imagery and whatnot is pretty intense and some of the arrangements are too so yeah i think it's just modes again this goes back to my argument i love albums i love knowing that we're hearing where a band was at, at that given time. Uh, and, and that, that batch of songs, however, like wowie zowie, however disparate the songs might be from one another, that's what they were into. Like, that's what was going on with them at the time, whether it had anything to do with external considerations or perceptions about who they were, uh, how successful they wanted to be. Like Like, that might just be all bullshit I'm making up. It could just be that's just what he had, what Malcomus and what the band had going.Track 3:[46:18] And this is it. You know, why waste it? This is, it's all over the place. Let's put it out as one thing. The next album, a little, like, I think it's, it's fair to say, uh, Bright in the Corners. Well, you know, maybe it's not fair to say, I'll ask you. Bright in the Corners, probably safe to say a more coherent sounding album than Why We Sowie. Absolutely. Yeah. It's, it's a more album-y album. Right. In a sense. But I also think Slanton and Enchanted all sounds like it's from the same expression, too. Sure, I guess I mean album to album. I just love the way it opens. There's a middle, and then there's an end. There's a finite end with Finn. Yeah yeah well i mean maybe i don't know like we we mentioned lollapalooza uh there was something going on in the in the moment in the cultural moment where you it was really cool to be an open-ended music listener it was really cool to be like yes we're playing with a folk musician we're playing with shanae o'connor and cypress hill on the same day bonkers and the jesus lizard like on some level that is a culture saying everyone is welcome every sound has merit.Track 3:[47:34] We're sick of the orthodoxies we're sick of there being camps um and so maybe wowie zowie reflects that too uh on a musical level it can be noise damaged it can be a beautiful if strange folk song, it can be a country song, it can be a goddamn screamer where Malcolm clearly loses his voice you know, on Half a Canyon or whatever. Like, it's.Track 3:[48:01] Yeah, as we speak of it, I love that album. And like I say, though, I'm having trouble decontextualizing this song from the whole. Right. And that's more about me. But if we really dial into it, when I say this is a good exemplification of Pavement as a whole, maybe it's a good exemplification of Wowie Zowie as a whole. It has that beauty and thoughtful lyricism where you're like, what's he talking about? What's going on? this is really interesting imagery. Is he talking about Corpus Christi, Texas? Or is he talking about Corpus Christi, the kind of event? Like, I remember just thinking right away, why is he singing about Texas? Like, I have that sense memory. And I have this song and some, I'm just a man. Like, I have just little bits of lyrics that are just always with me that I just hum to myself. And yeah, I, this is one of those songs where I just have sort of mindlessly sung it out loud to myself as i'm sort of tooling around my my life you know i don't know if you have that where you just have these lyrical lyrical fragments but this is definitely one of those songs.Track 3:[49:08] And uh i think um yeah it exemplifies both the band and the album in a really fascinating way for me cool well is there anything you want to say uh more about father to a sister of thought or, well you know i'm a lyrics guy and we didn't uh have a chance to get too far into it but i also i know that i mean it's on the surface it seems to be about spirituality and uh people's relationships to that but with malcolm is also you never really know um on some level i think he's spoken about this song and whatnot but um no i don't know all i'll say is i marvel at the guy and i don't think uh he's one of these people i don't think we marvel at enough as a guitar player as a musician as a as a lyricist and particularly on this song as a singer and i hope uh this isn't uh some people don't find this to be a hyperbole but you know i think we take him for granted as He's a vocalist, and this is a great example of what he can do.Track 3:[50:15] Agreed. Well, Vish, it's been dynamite to talk to you today. We went off on a few different directions, and I'm glad we got to do that. Do you want to talk a little bit more about you and the podcast? And I want to say right off the bat that I said it earlier, Creative Control, it's with K's, Creative Control. So if you're searching for it on the Google, you're going to want to spell it correctly. Correctly well thank you thank visha style of correctly well i will uh immediately say that this is a reference to a hot snake song of the same name creative control um so that's why i didn't make up the case thing and now there's like a fashion company called creative control and i think someone like fashions themselves a rapper and they call themselves creative control but they kind of show up and they don't show up i don't know what's going on but anyway yeah that's my show i mean on the internet they'll be like tweeting ramp like rabidly and then they just disappear. And then I don't know what's going on. Anyway. Yeah. Nothing to do. I, Hey, I copped the name from a band I like, so I can't really complain. Complain spelled with a K by the way.Track 3:[51:23] So, uh, yeah, I have this podcast and as we're speaking, uh, you know, it's, it's still going, uh, and it's more important to me than ever because, uh, it is now my main, job at the moment as maybe by October it won't be, but, um.Track 3:[51:41] Yeah, so all I can say is if you support the work of people like me and JD and want to support podcasters, crowdfunding, I don't know about you, JD, and we don't have to talk too much shop, but the advertising revenue is very minimal and it's honestly a little gross. No offense to your sponsors.Track 3:[52:01] I'd rather just not have it. Yeah, I'd rather not have it. But yeah, the crowdfunding and the Patreon that I have is particularly important to me at the moment. So I have different incentives and different tiers and all that kind of stuff, like pay tiers, and it's flexible and monthly and all that kind of stuff. So sorry to make this about the money. We've already talked about some of the content or whatever, like the people I talked to. Yeah, I'm proud of it. It seems to be relentless. It's never going to stop unless I do and stop making it. That sounded morbid. uh by the way if i die the show will likely die too i i just want to be clear about that but no i i love doing the show it's afforded me um some wonderful experiences and both in the conversations and then just from people like you jd reaching out wanting to talk i mean it means a lot to me so thank you for giving me a time to some time to plug and thank you for having me on this wonderful show of yours and for the the lovely conversation it means a lot yeah for me Me too. Thank you so much. All right, everybody, that's what we've got today. So be cool. Make sure you're safe and wash your goddamn hands.Track 1:[53:15] Thanks for listening to Meeting Malcolmists, a pavement podcast where we count down the top 50 pavement tracks as selected by you. If you've got questions or concerns, please shoot me an email. JD at MeetingMalcolmists.com. You.Support this podcast at — https://redcircle.com/meeting-malkmus-a-pavement-podcast/exclusive-contentAdvertising Inquiries: https://redcircle.com/brandsPrivacy & Opt-Out: https://redcircle.com/privacy

In this episode of Seeing Them Live, Charles welcomes award-winning writer, director, and producer Eric Green. They dive into Eric's concert experiences, starting with his first concert at age 12 when he saw Debbie Gibson thanks to his mom. Eric reflects on other notable concerts, including several Lollapalooza festivals in the 90s, and iconic shows by Green Day, Aerosmith, and Ringo Starr. The discussion also covers his most surprising and disappointing concert moments. Eric talks about his background in filmmaking, highlighting his documentary 'Life on the V,' which explores the story of the short-lived Boston music video TV station V66. He delves into the significance of V66 in promoting local music and its addition to the Rock and Roll Hall of Fame's library and archives. The episode concludes with Eric sharing insights about his pop culture blog, Greens Party, where he reviews concerts and features interviews with musicians.BANDS: ACDC, Aerosmith, Beck, Ben Folds Five, Black Crows, Body Count, Brian Johnson, Butthole Surfers, Claypool Lennon Delirium, Cypress Hill, Debbie Gibson, Del Fuegos, Dinosaur Jr., Eagles, Eddie Van Halen, Elastica, Extreme, Foo Fighters, Garbage, George Harrison, Ghost of the Sabretooth Tiger, Green Day, Hole, Horde, Ice T, Jake Giles band, Jane's Addiction, John Bonham, John Lennon, Kiss, Letters to Cleo, Lilith Fair, Living Color, Lollapalooza, Metallica, Mighty Mighty Bosstones, Moby, Nine Inch Nails, Paul McCartney, Pavement, Pearl Jam, Primus, Ramones, Rancid, Ringo Starr, Rolling Stones, Rollins Band, Ruby, Screaming Trees, Sonic Youth, Sound Garden, The Beatles, The Cars, The Clash, Vans Warped, Yoko OnoVENUES: Avalon, Boston Calling, Box Center, Citi Field, Fenway Park, Hat Shell, House of Blues, Madison Square Garden, Mansfield, Massachusetts, Orpheum Theater, Paradise, Wilbur Theater, Worcester Centrum PATREON:https://www.patreon.com/SeeingThemLivePlease help us defer the cost of producing this podcast by making a donation on Patreon.WEBSITE:https://seeingthemlive.com/Visit the Seeing Them Live website for bonus materials including the show blog, resource links for concert buffs, photos, materials related to our episodes, and our Ticket Stub Museum.INSTAGRAM:https://www.instagram.com/seeingthemlive/FACEBOOK:https://www.facebook.com/profile.php?id=61550090670708

Part 1 of my conversation with guest Phil Stacey about our favorite cover songs.  Show notes: What makes a good cover? Be true to the song, but bring something of yourself to it Jagger and Bowie's cover of "Dancing in the Streets" is godawful In the '80s and '90s, used to get 45s or cassingles (or CD singles) to get B-sides Phil's honorable mention covers: U2, Courtney Barnett, Nirvana, Allman Brothers, Led Zeppelin, Etta James, Beatles, Stones, Bjork, Aretha, Pearl Jam, CSNY, Cowboy Junkies Nirvana's MTV Unplugged has several great covers Zeppelin covered a lot of songs on their early albums, with or without giving credit Jay's honorable mentions: The Clash, Hendrix, Pretenders, U2, Charles Bradley, Thin Lizzy, Bjork, Elvis Costello, Talking Heads, Living Colour, Soft Cell, Johnny Cash, PJ, Deep Purple, Urge Overkill, Violent Femmes, Anthrax, Breeders, Cheap Trick, Malkmus and Elastica, Iron Maiden, Queens of the Stone Age Phil's #10: Stevie Ray Vaughan takes on a guitar god's classic Jay's #10: Dinosaur Jr. makes a Cure song their own Phil's #9: Zeppelin's first album features a cover that was previously done by Joan Baez Judas Priest also covered a Baez song Jay's #9: A signature Blondie song was actually a cover Phil's #8: A timeless classic from the late '50s by the Flamingos Jay's #8: Sinead O'Connor made the definitive version of a Prince song Phil's #7: Faces with a powerful Temptations cover To be continued Completely Conspicuous is available through Apple Podcasts. Subscribe and write a review! The opening and closing theme of Completely Conspicuous is "Theme to Big F'in Pants" by Jay Breitling. Voiceover work is courtesy of James Gralian.

Donna Matthews is a musician and creative artist. In the 1990's she played lead guitar in Elastica and lo-fi, DIY band Klang, and in subsequent years devised and facilitated creative workshops for people in recovery from addiction. She is currently in her final year of a practice-based PhD in Music at the university of Glasgow. Interested in issues such as poetic intuition, inspiration, and gift, her work explores how the intuitive state might be conveyed through aesthetic form, whilst also exploring improvisation as a means of 'undoing form' to experience the inspired state.In this episode, Donna shares about her winding journey through music, addiction and fusing her deeply felt spiritual practice with her artistic discipline. Donna discusses the role of improvisation, speaking in tongues and what Lewis Hyde terms as the Gifted State or that posture of heart which readies the creative artist to receive inspiration and experience wonder.Patrons of the podcast can enjoy a full, unedited version of this conversation at http://www.patreon.com./makersandmysticsHere is a link to the Lewis Hyde interview mentioned in this episode.

We were back with a clutch of brand-new Indie bangers!New music from The Dear Boys, The Rifles, Chloe Slater, Royel Otis, High Vis, Clairo, The Rah's, L'Imperatrice, Brijean, Alice Phoebe Lou, and Bluhm.+ Some classics mixed in from Buzzcocks, Elastica, Oasis, Fatboy Slim, and more.As promised, we're Making Mondays Happy Again!For more info and tracklisting, visit https://thefaceradio.com/side-effects.Tune into new broadcasts of Side Effects, LIVE, Monday from 2 - 4 PM EST / 7 - 9 PM GMT on The Face Radio.Dig this show? Please consider supporting The Face Radio: http://support.thefaceradio.com.Connect: https://linktr.ee/kurtispowers Support The Face Radio with PatreonSupport this show http://supporter.acast.com/thefaceradio. Join the family at https://plus.acast.com/s/thefaceradio. Hosted on Acast. See acast.com/privacy for more information.

My guest today is Grammy-winning London-based producer and mixer Catherine Marks, who has worked on projects for boygenius, Wolf Alice, and The Mysterines.   In this episode, we discuss Upbringing in Australia Early exposure to music through parents' record collection Participation in a Yamaha piano course at an all-girls school Development of interest in songwriting and record production Studying architecture at the University of Melbourne Taking a year out to work in Dublin Introduction to Dublin's music Immersion in live music and DJ nights in Dublin Discovery of interest in music production and reverb Transition from architecture degree to music production career Learning about music production while working for Flood Recording a song with Elastica, gaining Flood's attention Fearlessness and willingness to take opportunities Early advice from her father and Support from the Dublin community Early experiences in the studio, Multitasking in various roles Learning via observing, asking questions, and reading manuals Development of skills and studio efficiency Mentorship from Alan Moulder Working with producers like Dmitry Tikovoy, Ben Hillier, and Flood Importance of capturing the immediacy of a moment over technical perfection Discipline to let go of awareness and move forward in projects Managing creative conflicts and rising from unknown engineer to sought-after producer Establishing connections with key individuals in the music industry Importance of mutual understanding and communication in the recording process Working with Alan Moulder and Flood, enhancing her career Mutual respect and high expectations foster professional growth Importance of enjoying projects and respecting colleagues Prioritizing a balanced lifestyle over immediate success Pressure to maintain career momentum and need for self-care to prevent burnout Consistent commitment and passion for work Experiences and reflections on winning a Grammy award Highs and lows of industry recognition Challenges of being away for extended periods during album work Anticipation for future projects and collaborations Matt's Rant: 500 Episodes and Pressing On Links and Show Notes Catherine's Site Catherine on Instagram Credits Guest: Catherine Marks Host: Matt Boudreau Engineer: Matt Boudreau Producer: Matt Boudreau Editing: Anne-Marie Pleau  WCA Theme Music: Cliff Truesdell  Announcer: Chuck Smith 

This week, Steve has a set of excellent "ship" songs in the middle of a show of great songs in their own right.  You will hear: Elastica, Mansun, Ride, The Rubs, Nieve Ella, Hippo Campus, Big Country, World Party, Michael Monroe, Dubstar, Texas, Magic Giant, Nirvana, Receiver, Agent Orange. On the Air on Bedford 105.1 FM Radio      *** 5pm Friday ***      *** 10am Sunday ***      *** 8pm Monday *** Stream live at http://209.95.50.189:8178/stream Stream on-demand most recent episodes at https://wbnh1051.podbean.com/category/suburban-underground/ And available on demand on your favorite podcast app! Twitter: @SUBedford1051  ***    Facebook: SuburbanUndergroundRadio   ***    Instagram: SuburbanUnderground   ***    #newwave #altrock #alternativerock #punkrock #indierock

Paul is away, but luckily a new Cherry Red compilation has hit, so let's all enjoy nine great tracks from Hey! Elastica, Department S, The Apollinaires, Grace Jones, Apocalypse Babys, The Creatures, The Higsons, Special AKA and John Cooper Clarke.Heaven Sent - The Rise Of New Pop 1979-1983, no Facebook comments this week, Facebook alternatives, last week, Alcohol gig, Paul went to the Psychobilly meeting, coming home, From the Vaults, Tony's International Gig Guide, Apocalypse Babys, this week, no idea really, Prime Minister, Tour, no Izzatwat, Quiz Time for Tony and a reminder of the ways you can listen.Song 1: Hey! Elastica – Suck A Little HoneySong 2: Department S – Is Vic There?Song 3: The Apollinaires – The Feeling's GoneSong 4: Grace Jones – She's Lost ControlSong 5: Apocalypse Babys – Where Have All The Punkettes Gone?Song 6: The Creatures – Mad Eyed ScreamerSong 7: The Higsons – Tear The Whole Thing DownSong 8: Special AKA – Bright LightsSong 9: John Cooper Clarke – The Day My Pad Went Mad

This episode of Across The Margin: The Podcast presents an interview with the author of the 33 ⅓ book dedicated to the legendary Britpop band Pulp's renowned album This is Hardcore, Jane Savidge. As co-founder and co-head of legendary PR company Savage & Best, Jane Savidge is widely credited as being one of the main instigators of the Britpop movement that swept the UK in the mid 1990s. During this time, Savage & Best represented Suede, Pulp, The Verve, Elastica and Longpigs, whilst representing many other artists of the era including the Cranberries, The Fall, and Jesus and Mary Chain. She is the author of Lunch With The Wild Frontiers (2019) and Here They Come With Their Make Up On: Suede, Coming Up and More Adventures Beyond The Wild Frontiers (2022). This Is Hardcore is Pulp's cry for help. A giant, sprawling, flawed masterpiece of a record, the 1998 album manages to tackle some of the most inappropriate grown-up issues of the day – fame, aging, mortality, drugs, and pornography – and still come out crying and laughing on the other side. In this episode host Michael Shields and Jane Savidge dig into the weighty themes present in This is Hardcore revolving around fame, aging, success, and pornography. They expound upon the “Michael Jackson Incident” which propelled lead singer Jarvis Cocker to unfathomable fame, how Jarvis used music and the crafting of This is Hardocre as catharsis for his real life struggles, what the final legacy of Pulp might be, and ultimately they celebrate a 33 ⅓ book that serves as a love letter to a remarkable album.Grab a copy of Jane Savidge's This is Hardcore here! Hosted on Acast. See acast.com/privacy for more information.

Welcome back My Swedish Friends! On this episode we are discussing Connection by Elastica.  Thank you for listening we hope you enjoy!!! Support the show

“Lived Through That” is the companion podcast to my book where I look at influential musicians of the 80s and 90s and where they are today. On this podcast, we'll delve deeper into a single pivotal moment in the lives of some of the artists I feature in that book, as well as other artists I love and admire. The stories they tell are open, honest, and inspiring. This week, we're shifting gears a bit with our guest Jane Savidge. Yes, there was a time when she was in a band called Kill Devil Hills, but ultimately she started a PR company called Savage & Best which promoted a slew of the biggest British bands of the 90s, including Suede, Pulp, Elastica, and so many others. There's even a legend that Jane coined the phrase “Britpop.” Her first book, Lunch With The Wild Frontiers: A History Of Britpop And Excess in 13 and a 1/2 Chapters, was a fantastic read. Her second book, Here They Come With Their Make Up On: Suede, Coming Up And More Adventures Beyond The Wild Frontiers, was released in 2022 and her third book on Pulp's “This is Hardcore” will be released March 7th. It's part of the brilliant 33 1/3 series from Bloomsbury Press.   You can order hernew book, "Pulp's This Is Hardcore" here. Musical credits: "Shelftop Speech" from Blue Dot Sessions Be sure to look out for my books, "Lived Through That" and "80s Redux" where ever you buy your books! You can find out more about my work and the 80s and 90s books at my website ⁠here. Learn more about your ad choices. Visit megaphone.fm/adchoices

Charlamos sobre el disco 'Coming Up' de Suede, con la periodista y promotora musical Alicia Rodríguez como invitada.   En este tercer episodio dedicado al 'Coming Up', hablamos de las canciones «Filmstar», «Lazy» e «Into the Sea». Y por el camino nos encontramos con Elastica, Echobelly, Blur, David Bowie y T. Rex.   Más información en discoprestado.com Comentarios y mensajes de voz (máximo 1 minuto): discoprestado@proton.me 'Disco prestado' en Instagram: @discoprestadopodcast 'Disco prestado' en Facebook: @discoprestadopodcast 'Disco prestado' en YouTube: @discoprestadopodcast   ¡Salud y buena música!   Marc Aliana marcaliana.com

Charlamos sobre el disco 'Coming Up' de Suede, con la periodista y promotora musical Alicia Rodríguez como invitada.   Entre otras cosas, en este episodio hablamos de: Cómo, con ‘Coming Up', Suede se alejaron del ‘glam' y se acercaron al pop, rompiendo con el sonido de sus dos discos anteriores: 'Suede' y 'Dog Man Star'. Las tensiones previas entre el cantante Brett Anderson y Bernard Butler, el guitarrista original de la banda. Richard Oakes, el atrevido fan de diecisiete años que acabó sustituyendo a Butler como guitarrista. La incorporación medio casual del teclista Neil Codling, otra pieza fundamental en el sonido del ‘Coming Up'. Y por el camino nos encontramos con Blur, Oasis, David Bowie, Elastica, Gorillaz, Kurt Cobain, Guns N' Roses, Suicidal Tendencies, Brian May y el Habbo Hotel.   Más información en discoprestado.com Comentarios y mensajes de voz (máximo 1 minuto): discoprestado@proton.me 'Disco prestado' en Instagram: @discoprestadopodcast 'Disco prestado' en Facebook: @discoprestadopodcast 'Disco prestado' en YouTube: @discoprestadopodcast   ¡Salud y buena música!   Marc Aliana marcaliana.com

The latest episode of the podcast which asks; do we really have to hug? And rub-a-dub?The Chart Music time sofa descends upon March of 1993, Pop-Crazed Youngsters – the Forgotten Nineties, if you will. A time where the only options available to The Kids were having their heads filled with rubbish by trampy Americans, or being exploited by Ian Beales in Hypercolor t-shirts who can't play real music and want you to take loads of drugs. Your panel – ligging their way around London, ensconced in an Isleworth love nest and dealing with the misery of Gym Knickers, respectively – look back upon this strange perineum between Rave and Britpop, and have a tentative sniff at itAs for Our Favourite Thursday Evening Pop Treat, it's currently weathering it's 27th crisis under the stewardship of Stanley Appell, two years removed from its Year Zero clearout. The good news is he's been given carte blanche to put on whoever he likes. The bad news is, he's only a few months away from his 60th birthday, and there's soon to be a new BBC1 controller in town who – according to rumour – is thinking about letting Janet Street Porter have a go. Musicwise, it's a reminder that everything is still up for grabs in the post-Neightnies musicsphere: Right Said Fred get the wind of BBC Star Power at their backs, which can be a bit uncomfortable when you've cut the arse out of your trousers. Lenny Kravitz is SuperMuso. After Some Rap, Brett Anderson gets dragged to the front of assembly to explain why he's let the school down by singing too violently. Then it's over to Hawaii to drop in on the Lower-Case Canadian, before she gets a shave off Cindy Crawford. Runrig make their TOTP debut, then Rage Against The Machine, fresh from getting Bruno Brookes suspended for a week, kick off the run of blipverts that passes for the Breakers section these days, which also takes in Bryan Ferry, The Jesus Lizard and Dead Madonna. Diana Ross and a Sexy Saxman appear on the set of a school play of Escape From New York, and we end with some sexy Belgian pinball action, all hosted by Mark Franklin, who was probably younger than you at the time, and still is. Sarah Bee and Simon Price join Al Needham for a rummage under the sewn-on cushion on the Mastermind chair of 1993, veering off on such tangents as being mithered by members of Suede and Elastica at a student disco, why all snack wafers of the Eighties sound like Bryan Ferry LP titles, the Lesbian Elephant, Jonny Sex-Cat and the Accessible Gamesdog, Paintballing with Ride, and Al's Secret Terror. SWEAR SWEAR, SWEAR-SWEAR SWEAR SWEAR, SWEAR-SWEAR SWEAR SWEAR, SWEAR-SWEAR THERE'S SOME SWEARING.Video Playlist| Subscribe | Facebook | Twitter| The Chart Music Wiki | PatreonGet your tickets for Chart Music at Birmingham Town Hall on Jan 13th HERE Hosted on Acast. See acast.com/privacy for more information.

Let's start the new year off right with a discussion of this Britpop classic from Elastica! Hosted by @sliiiiip and @megamixdotcom, the Super Hits Podcast reviews a different retro single each episode! We're on all of the usual podcast platforms, so come find us. Come and give us a 5-star review! To correct us if we miss a fact or get something wrong, to request a single, or to just say hello, hit us up at superhitspodcast@gmail.com Here's our website: ⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠https://megamixdotcom.com/super-hits/⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠ Here's our Twitter: @SuperHitsCast Here's our Instagram: @SuperHitsPodcast You can also find playlists for all of the songs we've covered on ⁠⁠⁠⁠⁠⁠Spotify⁠⁠⁠⁠⁠⁠ and Apple Music. Just search for Super Hits Podcast Playlist! --- Send in a voice message: https://podcasters.spotify.com/pod/show/superhitspodcast/message

With extensive expertise in electronic, acoustic, and live music, Matt stands out as a seasoned professional sound engineer and producer. His journey began as a studio assistant at EMI Music Publishing studios in the mid-90s, where he had the opportunity to work with renowned artists like Jamiroquai, Primal Scream, Elastica, Guru's Jazzmatazz, and the Bluetones. Transitioning to freelance work, Matt honed his skills in top London recording studios and became an engineer. He contributed to mixes for artists such as Tin Tin Out, The Corrs, Grant Nelson, Jungle Brothers, and even remixed an early UK Garage hit for Whitney Houston. In the year 2000, Matt took on a pivotal role as the chief engineer at the prestigious UK record label MWA. In this capacity, he was entrusted with the management of two state-of-the-art studios, where his expertise and meticulous approach played a crucial role in ensuring the highest standards of audio production. As the chief engineer, Matt not only oversaw the day-to-day operations of these remarkable studios but also held the vital responsibility of quality control for the label's output, with numerous major label collaborations and joint projects. As the UK urban scene flourished in the new millennium, Matt collaborated with notable artists like Ms Dynamite, So Solid Crew, Lemar, Estelle, KRS One, Big Brovaz, Terri Walker, and worked on projects with Cold Cut, The Gorillaz, Lifford David, and Roebeck. His talent also extended to recording and mixing the BBC 1 Idents, broadcast over 100,000 times. In recent years, Matt has continued to work with top UK and international artists, building a reputation for his exceptional sonic skills. He has maintained his excellence through collaborations with Miloco Studios, writing gear reviews for Tape Op magazine, and teaching an 'Advanced Mixing Course' at the London School of Sound. IN THIS EPISODE, YOU'LL LEARN ABOUT: Working in live sound vs. studio Being an assistant at EMI's demo studio How to get big, balanced low-end How analog recording affects your top-end How to get your kick and bass to work well with each other Sidechaining low-end Using harmonic enhancement The importance of adding mid-range to your bass Creating contrast with EQ and automation Using sidechained dynamic EQ Why you should always reach for volume and panning before other plugins Getting vocals to sound clear and focused His go-to compressors for vocals Dealing with sibilance Using stock plugins To learn more about Matt Foster, visit: https://realmix.online/ For tips on how to improve your mixes, visit https://masteryourmix.com/ Looking for 1-on-1 feedback and training to help you create pro-quality mixes? Check out my new coaching program Amplitude and apply to join: https://masteryourmix.com/amplitude/ Download your FREE copy of the Ultimate Mixing Blueprint: https://masteryourmix.com/blueprint/ Get your copy of the #1 Amazon bestselling book, The Mixing Mindset – The Step-By-Step Formula For Creating Professional Rock Mixes From Your Home Studio: https://masteryourmix.com/mixingmindsetbook/ Join the FREE MasterYourMix Facebook community: https://links.masteryourmix.com/community To make sure that you don't miss an episode, make sure to subscribe to the podcast on iTunes or on Android. Have your questions answered on the show. Send them to questions@masteryourmix.com Thanks for listening! Please leave a rating and review on iTunes!

Welcome to PTBN Pop's Video Jukebox Song of The Day! Every weekday will be featuring a live watch of a great and memorable music video. With the recent release of “The Marvels” in theaters, this week we are covering songs featured on the soundtrack for “Captain Marvel” from 2019. On today's episode, Andy Atherton is watching “Connection” by Elastica from 1995. The YouTube link for the video is below so you can watch along! https://www.youtube.com/watch?v=ilKcXIFi-Rc

Elastica burst onto the scene in 1995 with their highly acclaimed self-titled debut album, showcasing the band's distinctive blend of punk-inspired energy and catchy pop hooks. Elastica's minimalist sound and frontwoman Justine Frischmann's laid back vocals separated the band from their Britpop counterparts Blur, Suede, Oasis and Pulp. To help us revisit their freshman effort, we're joined by Rob Harvilla, host of the 60 Songs That Define the 90s podcast and his new corresponding book, out November 14th.   Songs In This Episode Intro - Connection 27:09 - Car Song 35:05 - Blue 39:43 - Indian Song Outro - Line Up   Support the podcast, join the DMO UNION at Patreon. Listen to the episode archive at DigMeOutPodcast.com.

Jay and Penny Lover discuss what's been yanking their sonic cranks as of late. Repeat guest Don throws in his two cents as well. We don't understand it. Oh, what's come over us? But we're not gonna worry. No. Not anymore. Because when men are in love, we've only got one story. That's why our love is lost somewhere in your kiss. When we're lost and alone, it's you that we miss. With a love like yours, it's hard to resist. Oh-oh-oh. Sonic contributions to the sixteenth bonus episode of Lightnin' Licks Radio podcast includes:  Nick Kroll, Jason Moustakas, DJ Nu Mark, Jurassic Five, Dave Matthews Band, SAULT, The Millennium, Emitt Rhodes, Jay Dilla, Slum Village, Doc Illingsworth, Tortoise, Burt Bacharach, Sonic Youth, Inflo, Tilla, Sleaford Mods, Viagra Boys, John Hartford, The Runaways, Motley Crue, Zhane, Weakened Friends, Adam & the Ants, Height Keech, De La Soul, Purple Mountains, Arrested Development, Nino Rota, Arc of All, Stillwater, Mac DeMarco, Dilly Dally, Big Thief, Neil Young & Crazyhorse, MJ Lenderman, Phish, Prince Paul, Chicago, Instant Funk, Young Holt Limited, Etta James, The Jam, The Specials, Elastica, Chemical Brothers, and Lionel Richie. Jay brought to the dining room table the sweet sounds of Benny Hester, Jim O'Rourke, The Donnas, and Bran Van 3000. Deon was partial to the musical stylings of Black Milk, Little Simz, Wye Oak, and Wire. Returning super special not-so-secret friend Don is fucking with JW Francis, Wednesday, Wooden Wand, and Karate, Guns and Tanning. BONUS #16 MIXTAPE [SIDE A] (1) Wye Oak – Before (2) Benny Hester – Let It Be So (3) JW Francis – Casino (4) Black Milk – Sunday's Best / Monday's Worst (5) The Donnas – Rock and Roll Machine (6) Wooden Wand – Spitting at the Camera [SIDE B] (1) Karate, Guns & Tanning – White Nights (2) Jim O'Rourke – Something Big (3) Little Simz – Poison Ivy (4) Wednesday – Chosen to Deserve (5) Bran Van 3000 – Drinking in L.A. (6) Wire - Champs --- Send in a voice message: https://podcasters.spotify.com/pod/show/llradio/message

Matt & Sammy have Brisbane DJ John Mullaney with them in the studio this week with a great selection of his favourite tracks from Al Brown, Yvonne Baker and The Showmen. Plus we've got music from Elastica, The Style Council, The Buzzcocks, Rolling Stones and more.Tune into new broadcasts of Blow-Up, Sunday from 8 - 10 AM EST / 1 PM - 3 PM GMT, in association with Brisbane's 4ZZZ.For more info visit: https://thefaceradio.com/blow-up///Dig this show? Please consider supporting The Face Radio: http://support.thefaceradio.com Support The Face Radio with PatreonSupport this show http://supporter.acast.com/thefaceradio. Join the family at https://plus.acast.com/s/thefaceradio. Hosted on Acast. See acast.com/privacy for more information.

Abby Travis boasts a prolific career that spans back to the early 1990s, encompassing both significant contributions to music as a touring artist and a sought-after session player. Her diverse musical journey has seen her collaborating with artists such as The Go-Go's, Cher, Beck, Elastica, KMFDM, Eagles of Death Metal, and Masters of Reality. Other highlights include a performance at the 2017 Women's March in downtown L.A., where she shared the stage with U2's The Edge, Juliette Lewis, and Rage Against the Machine's Brad Wilk. Abby currently lives in Upstate New York and continues to record.

En 1995 se editaron discos de Radiohead, de Pulp, de Blur, de Massive Attack, de los Chemical Brothers, The PJ Harvey o de Elastica. La música británica se engalanó con su mejores ropas y el fenómeno del britpop llevó a su culmen. Aquel año en las islas británicas la música sonaba en cualquier esquina, en cada ciudad presumían de sus bandas locales y los festivales se peleaban por contratar primero a sus estrellas. Aquel año el foco acabó fijado en Manchester. El 2 de octubre Oasis publicó Whats the Story (Morning Glory).La edición del segundo disco de la banda de los hermanos Gallagher marcó el punto álgido del aquel movimiento cultural creado por las revistas musicales y multiplicado por la prensa sensacionalista y generalista. Todos compraron la rivalidad entre Blur y Oasis, todos entendieron que lo que estaba pasando a mediados de los años noventa era comparable a aquel Swinging London de los años sesenta e Inglaterra se preparó para una nueva British Invasion que no fue del impacto de la que comandaron Beatles y compañía, pero que transmitió una sensación parecida. Un año después debutaron las Spice Girls en Inglaterra y los Back Street Boys en EEUU y el rock perdió fuerza en las listas de éxito, pero todo lo que sucedió en aquellos maravillosos noventas tuvo un impacto enorme en la música de los años posteriores.El viaje de los hermanos Gallagher fue tremendamente agitado, pero para este disco todo encajó. El primer álbum de la banda contenía temas que llevaban años cociéndose a fuego lento, pero tras gastar todas las balas en ese debut, el grupo llegó al estudio con la necesidad de demostrar que nada de aquello había sido casualidad. Sin darle muchas vueltas, sin sentir la presión, Oasis firmó un disco redondo grabado casi del tirón. "Creo que todo el proceso duró 12 días de trabajo lo que es acojonante, lo hicimos del tirón y eso que llegamos al estudio con la mitad de las canciones sin terminar. Eso es algo que solo logras cuando eres joven porque no le das vueltas a las cosas", contaba la banda en un documental.Esta semana comenzamos nueva temporada en Sofá Sonoro y lo hacemos recordando junto a Arancha Moreno la historia de uno de los discos más recordados y exitosos de los años noventa.

En 1995 se editaron discos de Radiohead, de Pulp, de Blur, de Massive Attack, de los Chemical Brothers, The PJ Harvey o de Elastica. La música británica se engalanó con su mejores ropas y el fenómeno del britpop llevó a su culmen. Aquel año en las islas británicas la música sonaba en cualquier esquina, en cada ciudad presumían de sus bandas locales y los festivales se peleaban por contratar primero a sus estrellas. Aquel año el foco acabó fijado en Manchester. El 2 de octubre Oasis publicó Whats the Story (Morning Glory).La edición del segundo disco de la banda de los hermanos Gallagher marcó el punto álgido del aquel movimiento cultural creado por las revistas musicales y multiplicado por la prensa sensacionalista y generalista. Todos compraron la rivalidad entre Blur y Oasis, todos entendieron que lo que estaba pasando a mediados de los años noventa era comparable a aquel Swinging London de los años sesenta e Inglaterra se preparó para una nueva British Invasion que no fue del impacto de la que comandaron Beatles y compañía, pero que transmitió una sensación parecida. Un año después debutaron las Spice Girls en Inglaterra y los Back Street Boys en EEUU y el rock perdió fuerza en las listas de éxito, pero todo lo que sucedió en aquellos maravillosos noventas tuvo un impacto enorme en la música de los años posteriores.El viaje de los hermanos Gallagher fue tremendamente agitado, pero para este disco todo encajó. El primer álbum de la banda contenía temas que llevaban años cociéndose a fuego lento, pero tras gastar todas las balas en ese debut, el grupo llegó al estudio con la necesidad de demostrar que nada de aquello había sido casualidad. Sin darle muchas vueltas, sin sentir la presión, Oasis firmó un disco redondo grabado casi del tirón. "Creo que todo el proceso duró 12 días de trabajo lo que es acojonante, lo hicimos del tirón y eso que llegamos al estudio con la mitad de las canciones sin terminar. Eso es algo que solo logras cuando eres joven porque no le das vueltas a las cosas", contaba la banda en un documental.Esta semana comenzamos nueva temporada en Sofá Sonoro y lo hacemos recordando junto a Arancha Moreno la historia de uno de los discos más recordados y exitosos de los años noventa.

In the '90s, U.K. rock was by Britons, for Britons. The music of the U.K. indie, Madchester and shoegaze scenes fused together into a new wave of guitar bands with punk energy, laddish lyrics and danceable grooves. They called it Britpop. In the motherland, Britpop set the charts alight: Blur faced off against Oasis. Pulp poked fun at the class system. Suede sold androgyny, and Elastica repackaged '70s art-punk as '90s pop. But with rare exception, these hits didn't translate in America. There was no Third British Invasion in the '90s—with the exception of that one inscrutable Oasis song about a “Wonderwall.” Why did Britpop fire up Old Blighty and flop with the Yanks? Join Chris Molanphy as he tries to define Britppop—was it a scene? a sound? a movement?—and explains how the music boomed and busted faster than a cannonball. Podcast production by Kevin Bendis. Make an impact this Asian American & Pacific Islander Heritage Month by helping Macy's on their mission to fund APIA Scholars. Go to macys.com/purpose to learn more. Learn more about your ad choices. Visit megaphone.fm/adchoices

In the '90s, U.K. rock was by Britons, for Britons. The music of the U.K. indie, Madchester and shoegaze scenes fused together into a new wave of guitar bands with punk energy, laddish lyrics and danceable grooves. They called it Britpop. In the motherland, Britpop set the charts alight: Blur faced off against Oasis. Pulp poked fun at the class system. Suede sold androgyny, and Elastica repackaged '70s art-punk as '90s pop. But with rare exception, these hits didn't translate in America. There was no Third British Invasion in the '90s—with the exception of that one inscrutable Oasis song about a “Wonderwall.” Why did Britpop fire up Old Blighty and flop with the Yanks? Join Chris Molanphy as he tries to define Britppop—was it a scene? a sound? a movement?—and explains how the music boomed and busted faster than a cannonball. Podcast production by Kevin Bendis. Make an impact this Asian American & Pacific Islander Heritage Month by helping Macy's on their mission to fund APIA Scholars. Go to macys.com/purpose to learn more. Learn more about your ad choices. Visit megaphone.fm/adchoices

In the '90s, U.K. rock was by Britons, for Britons. The music of the U.K. indie, Madchester and shoegaze scenes fused together into a new wave of guitar bands with punk energy, laddish lyrics and danceable grooves. They called it Britpop. In the motherland, Britpop set the charts alight: Blur faced off against Oasis. Pulp poked fun at the class system. Suede sold androgyny, and Elastica repackaged '70s art-punk as '90s pop. But with rare exception, these hits didn't translate in America. There was no Third British Invasion in the '90s—with the exception of that one inscrutable Oasis song about a “Wonderwall.” Why did Britpop fire up Old Blighty and flop with the Yanks? Join Chris Molanphy as he tries to define Britppop—was it a scene? a sound? a movement?—and explains how the music boomed and busted faster than a cannonball. Podcast production by Kevin Bendis. Make an impact this Asian American & Pacific Islander Heritage Month by helping Macy's on their mission to fund APIA Scholars. Go to macys.com/purpose to learn more. Learn more about your ad choices. Visit megaphone.fm/adchoices

In the '90s, U.K. rock was by Britons, for Britons. The music of the U.K. indie, Madchester and shoegaze scenes fused together into a new wave of guitar bands with punk energy, laddish lyrics and danceable grooves. They called it Britpop. In the motherland, Britpop set the charts alight: Blur faced off against Oasis. Pulp poked fun at the class system. Suede sold androgyny, and Elastica repackaged '70s art-punk as '90s pop. But with rare exception, these hits didn't translate in America. There was no Third British Invasion in the '90s—with the exception of that one inscrutable Oasis song about a “Wonderwall.” Why did Britpop fire up Old Blighty and flop with the Yanks? Join Chris Molanphy as he tries to define Britppop—was it a scene? a sound? a movement?—and explains how the music boomed and busted faster than a cannonball. Podcast production by Kevin Bendis. Make an impact this Asian American & Pacific Islander Heritage Month by helping Macy's on their mission to fund APIA Scholars. Go to macys.com/purpose to learn more. Learn more about your ad choices. Visit megaphone.fm/adchoices

In the '90s, U.K. rock was by Britons, for Britons. The music of the U.K. indie, Madchester and shoegaze scenes fused together into a new wave of guitar bands with punk energy, laddish lyrics and danceable grooves. They called it Britpop. In the motherland, Britpop set the charts alight: Blur faced off against Oasis. Pulp poked fun at the class system. Suede sold androgyny, and Elastica repackaged '70s art-punk as '90s pop. But with rare exception, these hits didn't translate in America. There was no Third British Invasion in the '90s—with the exception of that one inscrutable Oasis song about a “Wonderwall.” Why did Britpop fire up Old Blighty and flop with the Yanks? Join Chris Molanphy as he tries to define Britppop—was it a scene? a sound? a movement?—and explains how the music boomed and busted faster than a cannonball. Podcast production by Kevin Bendis. Make an impact this Asian American & Pacific Islander Heritage Month by helping Macy's on their mission to fund APIA Scholars. Go to macys.com/purpose to learn more. Learn more about your ad choices. Visit megaphone.fm/adchoices

In the '90s, U.K. rock was by Britons, for Britons. The music of the U.K. indie, Madchester and shoegaze scenes fused together into a new wave of guitar bands with punk energy, laddish lyrics and danceable grooves. They called it Britpop. In the motherland, Britpop set the charts alight: Blur faced off against Oasis. Pulp poked fun at the class system. Suede sold androgyny, and Elastica repackaged '70s art-punk as '90s pop. But with rare exception, these hits didn't translate in America. There was no Third British Invasion in the '90s—with the exception of that one inscrutable Oasis song about a “Wonderwall.” Why did Britpop fire up Old Blighty and flop with the Yanks? Join Chris Molanphy as he tries to define Britppop—was it a scene? a sound? a movement?—and explains how the music boomed and busted faster than a cannonball. Podcast production by Kevin Bendis. Make an impact this Asian American & Pacific Islander Heritage Month by helping Macy's on their mission to fund APIA Scholars. Go to macys.com/purpose to learn more. Learn more about your ad choices. Visit megaphone.fm/adchoices

Producer John Leckie's long and storied career spans from Syd Barrett and John Lennon to Doves and the Coral. That's over 50 years of amazing work. In this 2 hour conversation we try to cover as much of it as possible. The diverse and far-ranging list of topics include Fela Kuti, Ornette Coleman, the Stone Roses, Human League, Simple Minds, Gene Loves Jezebel, Spiritualized, the Verve, Ride, Pink Floyd, John Lennon, George Harrison, XTC, T. Rex, the Fall, Public Image Ltd, Magazine, Radiohead, Elastica and Los Lobos. The man can do, and has done, everything and became a legend because of it. Enjoy every minute!   www.patreon.com/thehustlepod