Podcast appearances and mentions of gillian gilbert

Ah, the bizarre love/hate life of the New Order fan. What's your most loved and least favorite song on Low-Life?! For our fourth Request Episode Election, we went through dozens of listener suggestions to nominate Joe Jackson's Look Sharp, Jane's Addiction's Ritual de lo Habitual and this 1985 Manchester classic, which won in a landslide election. While half of us moaned about the album choice from our mystery nominators (MIA), we all had lots of great memories to share of adoring and rolling our eyes at NO. Superfan Sam hosted and held up lots of New Order vinyl, old tshirts were dusted off and Adam delivered an avalanche of guest rankers, starting with internationally-loved San Diego superstars Koi Division, who donned their iconic fish heads for a filmed interview. Days later, he visited Gold Diggers Sound in Los Angeles to chat with Dave Trumfio of the synth-lovin' Pulsars, whose lone 1997 debut/farewell album has finally recently been reissued. The two full interviews will be on our Youtube channel. Just you wait. In addition to getting tribute band opinions from San Francisco's Temptation and San Diego's Thieves Like Us (Substance responded too late to have their support for "Sunrise" be included), he got first hand accounts of 91X FM's infamous 1985 year-end countdown switcheroo from DJs Dwight Arnold, Pam Wolf and Billy Bones. Listen at WeWillRankYouPod.com, Apple, Spotify and your favorite voting booth.  Follow us and weigh in with your favorites on Facebook, Instagram & Threads and Twitter @wewillrankyoupod . SPOILERS/FILE UNDER:Angel dust, Angel Dust, Dwight Arnold, As It Is When It Was, Blue Monday, Billy Bones, breathing solo, Brotherhood, capitalization, Jimmy Cliff, Ian Clownfish, cowbell, the Cure, dance pop, darkwave, Darker Waves Festival, Jonathan Demme, Depeche Mode, double claps, Echo and the Bunnymen, Elegia, England, Erasure, Face Up, Factory Records, folk music, frogs, funeral soundtrack, Gene Loves Jezebel, Gillian Gilbert, harpsichord, Hook, Peter Hook, hooky, Hooky, Joy Division, Koi Division, Love Vigilantes, Low-Life, Manchester, Ennio Morricone, Stephen Morris, New Order, new wave, 91X FM, Oyster Band, Paradise, The Perfect Kiss, post-punk, Power Corruption and Lies, Pretty In Pink, Pulsars, request episode, Bernard Salmon, Peter Saville, seasonable, shaft, shenanigans, Simple Minds, Sooner Than You Think,  Sub-culture, Bernard Sumner, Sunrise, synthpop, Temptation, terrible lyrics, Thieves Like Us, This Time of Night, tribute band, Dave Trumfio, Weirdo, Steve West, Pam Wolf, 1963, 1985. US: http://www.WeWillRankYouPod.com wewillrankyoupod@gmail.comNEW! Host tips: Venmo @wewillrankyoupodhttp://www.facebook.com/WeWillRankYouPodhttp://www.instagram.com/WeWillRankYouPodhttps://www.threads.net/@WeWillRankYouPodhttp://www.twitter.com/WeWillRankYouPo http://www.YourOlderBrother.com(Sam's music page) http://www.YerDoinGreat.com (Adam's music page)https://open.spotify.com/user/dancecarbuzz (Dan's playlists)

"Movement" There's nothing about Peter Hook that I can tell you you don't already know, so let's just do a refresher run through his musical CV. In the late '70s Hook formed Joy Division with childhood pal Bernard Sumner after the two friends saw the Sex Pistols play in Manchester. The band only put out two albums and one of those albums, the legendary Closer was put out two months after the band had ceased to b,e due to the suicide of singer Ian Curtis on the eve of Joy Division's debut US/Canada tour. Rechristened New Order and consisting of the remaining members of Joy Division plus keyboardist Gillian Gilbert, New Order blended jittery post-punk rhythms with dance music. The result? Well, you know the result. They were one of the biggest bands of the '80s, spawning hits like True Faith, The Perfect Kiss, Subculture and Blue Monday, which was the biggest selling 12-inch of all time. It might still be. New Order dominated the '80s, but the '90s weren't too shabby—they had a #1 UK hit with World In Motion in 1990 and they had their biggest US hit with “Regret” in 1993. They kept crushing it, putting out Get Ready in 2001 and collaborating with Billy Corgan and Bobby Gillespie of Primal Scream. They were given the Godlike Genius award at the 2005 NME awards and got nominated for a Grammy in 2006 for Guilt Is a Useless Emotion. Then things got a bit sour, with Hook leaving the band in 2007 and forming his own outfit Peter Hook and the Light, a band that featured his son Jack and much to his fans delight, revisited the Joy Division and New Order songbooks. Over the course of his career Hook has worked with The Stone Roses, and Perry Farrell, he toured with the Durutti Column, put out albums with Revenge and Monaco and wrote one of the best music books ever: Substance; Inside New Order. This is a partial list, btw. Almost a partial partial list because when it comes to Peter Hook, there's a lot of ground to cover. But these are the basics. Do a deeper dive after you hear the show—the guy is a titan. As for his split with New Order and his boyhood pal Bernard, we don't have time to go over the legal end of that dissolution, so let's just say this. If you're hoping for a reunion you're wasting your good hope energy. Not going to happen. As a bassist, he plays with an authoritative blend of prowl and sting and not only is he one of the all time greats, he also happens to be a nice guy. This chat covers his fractured friendship with Sumner, why the New Order/Joy Division songbooks appeal to fans across generations and what Hooky has learned from his old material. www.peterhookandthelight.live www.bombshellradio.com www.embersarts.com www.stereoembersmagazine.com www.alexgreenbooks.com Stereo Embers The Podcast Twitter: @emberseditor Instagram: @emberspodcast Email: editor@stereoembersmagazine.com

Joining Tim for a Listening Party is by New Order's Stephen Morris & Gillian Gilbert to talk about one of the greatest albums ever made, and Tim's favourite album of all time, Power, Corruption & Lies. From its iconic album cover, to the lead single that never appeared on the record, Blue Monday, it is a seminal album of mystery, beauty & greatness. This episode Stephen & Gillian revisit this classic album that is celebrating its 40 anniversary this year. It was released on 2nd May 1983 on Factory

In May 1980, the band Joy Division was devastated by the death of lead singer Ian Curtis. The three remaining band members, Bernard Sumner, Peter Hook, and Stephen Morris, decided they would keep making music together, and a few months later, Gillian Gilbert joined them. They called the band New Order. New Order is one of the most influential bands of the last four decades. Their song “Blue Monday" came out in 1983, and it holds the record for being the best-selling 12-inch single of all time. Rolling Stone put “Blue Monday” on its list of the 500 Greatest Songs of All Time, and Pitchfork included it in its top 5 best songs of the 1980s. To celebrate the 40th anniversary of the release of “Blue Monday,” in this episode, New Order discusses how they created the song. This episode was produced in collaboration with Transmissions, the official New Order and Joy Division podcast produced by Cup and Nuzzle. We've put together this story out of the hours and hours of interviews they've recorded, along with a new interview I did with Peter Hook. As you'll hear the four of them explain, nothing about Blue Monday's success, or really, even its existence, was something that they planned for. For more, visit songexploder.net/new-order.

En este episodio, conversamos sobre la importancia de "Power, Corruption & Lies" de New Order, abordando algunas de sus principales canciones, su producción, influencia en el legado de la banda, entre otros elementos.

This week a look at DECADES Joy Division + New Order from John Aizlewood. ⁠⁠Both bands were genre-defining, Joy Division consisting of Ian Curtis, Bernard Sumner, Peter Hook, and Stephen Morris, proponents of dark and gloomy atmospheric music, and whose legendary status remains intact through Ian Curtis' suicide shortly before the release of Closer. And the band's remaining members were, with the addition of Gillian Gilbert, to become - New Order, with their dance-infused music which would make them one of the most influential bands of the 1980s. ⁠⁠Author John Aizlewood relates the story of both bands in the podcast. His book DECADES Joy Division + New Order provides a fascinating insight into these influential bands, and the unique story of what was to start as a close friendship between Sumner and Hook, and end in its dissolution.⁠Connect with me on Instagram; steve.blameAnd thanks to POP; The History Makers insanely wonderful talent booker: #ArchieCMichaelSupport this podcast at — https://redcircle.com/pop-the-history-makers-with-steve-blame/donationsAdvertising Inquiries: https://redcircle.com/brandsPrivacy & Opt-Out: https://redcircle.com/privacy Hosted on Acast. See acast.com/privacy for more information.

Today's entertaining Electronically Yours episode features the original drummer of Joy Division and New Order, Stephen Morris. In addition, Stephen and his wife Gillian Gilbert formed The Other Two, a superb electro pop outfit, and also New Order spin-off Bad Lieutenant. He is now a published author, broadcaster, producer and all- round great guy! Ladies and gentlemen - welcome to the unknown pleasures of Stephen Morris... If you can, please support the Electronically Yours podcast via my Patreon: https://www.patreon.com/electronicallyours

Released at the dawn of the remix era, New Order's "Temptation" b/w "Hurt" came in two formats—33 ⅓ speed 7” and 45 RPM 12”—on the same May 10, 1982. With this single, bassist Peter Hook, keyboardist/guitarist Gillian Gilbert, drummer Stephen Morris, and guitarist/vocalist Bernard Sumner stepped out from Joy Division's shadow to establish themselves as a distinct entity. Painstakingly played alongside sequencers, Hook's melodic bass to Sumner's mantric vocals are unmistakable. About The Spindle: The 7-inch record isn't just a format—it's an art form. On each episode of The Spindle podcast, music writer Marc Masters and music historian (and music maker) John Howard dive into a great 7-inch, dissecting its background, impact, and the reasons why it stands out as a small plastic piece of music history. What's your favorite 7″? Call us at 1-877-WASTOIDS and weigh in!

Der Durchbruch nach dem Downer: Alex und Eckart stellen fest, dass Einfluss und Perfektion nicht immer einhergehen müssen.

Recorded on February 26, 2022, this episode focuses on the seminal 1983 album by New Order, "Power, Corruption & Lies." The second album from New Order, "Power, Corruption & Lies" was released in May 1983 on the legendary Factory Records label (FACT 75). This episode is the second and final of our two part series focusing on the story, music, and influence of Manchester, England's music scene in the late 1970s/early 1980s.

"Power, Corruption and Truths" There's nothing about Peter Hook that I can tell you you don't already know, so let's just do a refresher run through his musical CV. In the late '70s Hook formed Joy Division with childhood pal Bernard Sumner after the two friends saw the Sex Pistols play in Manchester. The band only put out two albums and one of those albums, the legendary Closer was put out two months after the band had ceased to b,e due to the suicide of singer Ian Curtis on the eve of Joy Division's debut US/Canada tour. Rechristened New Order and consisting of the remaining members of Joy Division plus keyboardist Gillian Gilbert, New Order blended jittery post-punk rhythms with dance music. The result? Well, you know the result. They were one of the biggest bands of the '80s, spawning hits like True Faith, The Perfect Kiss, Subculture and Blue Monday, which was the biggest selling 12-inch of all time. It might still be. New Order dominated the '80s, but the '90s weren't too shabby—they had a #1 UK hit with World In Motion in 1990 and they had their biggest US hit with “Regret” in 1993. They kept crushing it, putting out Get Ready in 2001 and collaborating with Billy Corgan and Bobby Gillespie of Primal Scream. They were given the Godlike Genius award at the 2005 NME awards and got nominated for a Grammy in 2006 for Guilt Is a Useless Emotion. Then things got a bit sour, with Hook leaving the band in 2007 and forming his own outfit Peter Hook and the Light, a band that featured his son Jack and much to his fans delight, revisited the Joy Division and New Order songbooks. Over the course of his career Hook has worked with The Stone Roses, and Perry Farrell, he toured with the Durutti Column, put out albums with Revenge and Monaco and wrote one of the best music books ever: Substance; Inside New Order. This is a partial list, btw. Almost a partial partial list because when it comes to Peter Hook, there's a lot of ground to cover. But these are the basics. Do a deeper dive after you hear the show—the guy is a titan. As for his split with New Order and his boyhood pal Bernard, we don't have time to go over the legal end of that dissolution, so let's just say this. If you're hoping for a reunion you're wasting your good hope energy. Not going to happen. As a bassist, he plays with an authoritative blend of prowl and sting and not only is he one of the all time greats, he also happens to be a nice guy. This chat covers his fractured friendship with Sumner, why the New Order/Joy Division songbooks appeal to fans across generations and what Hooky has learned from his old material. www.peterhookandthelight.live www.bombshellradio.com www.alexgreenonline.com Stereo Embers The podcast Twitter: @emberseditor Instagram: @emberspodcast Email: editor@stereoembersmagazine.com

Arrancamos el podcast en 2021 con un programa especial en el que vamos a recordar a grandes pinceladas las cuatro décadas en activo de New Order. El pasado mes de mayo dedicábamos el programa a Joy Division por los 40 años sin Ian Curtis. Hoy hablaremos de sus sucesores, de cómo supieron evolucionar y adaptarse a la tragedia y fueron capaces de construir su propia leyenda. Todo empezó aquel trágico 18 de mayo de 1980, cuando los tres miembros del grupo, el guitarrista Bernard Sumner, el bajista Peter Hook y el batería Stephen Morris, decidían seguir adelante bajo una nueva denominación. Una refundación que comenzaba justo donde terminaba la anterior. En ese postpunk atmosférico mostrado en Closer (1980) y que puede apreciarse igualmente en el debut de los de Manchester, que sumaban a sus filas a la teclista Gillian Gilbert. Acompáñanos en este repaso a la carrera de New Order, una de las formaciones de pop electrónico más importantes e influyentes de todos los tiempos. Dirige Manuel Pinazo

New Order and Maxine Peake are joined by The Pet Shop Boys and Honey Dijon to tell the story of the best-selling, most groundbreaking and arguably greatest 12 inch single of all time. Series finale!

Maxine Peake tells the story of New Order’s first masterpiece, a record that seamlessly fuses punk, club culture and technology.

A cathedral of music. A milestone in British culture. A financial catastrophe. Maxine Peake takes us to the Haçienda, the nightclub that nearly ruined Factory Records, and then changed the world.

Maxine Peake describes the emergence of a new band from the ashes of Joy Division. Besides choosing a singer and recruiting a new member, they also needed to find a name for this embryonic group. Enter: The Witch Doctors Of Zimbabwe.

Maxine Peake, Bono, Anna Calvi, Thurston Moore and the surviving members of Joy Division describe the band's growing success, the creation of the timeless song 'Love Will Tear Us Apart', and the tragic death of their iconic singer, Ian Curtis.

Maxine Peake narrates the story of the legendarily chaotic record label Factory, with memorable contributions from founder Tony Wilson ("We were clever enough at the very beginning to know that musicians know f**k-all about music”). Also: FAC numbers explained.

Maxine Peake describes the birth of one of the most adored albums of all time, including its iconic artwork. But the process of creating a classic is far from smooth, with producer Martin Hannett’s eccentric methods generating tension.

Maxine Peake tells the story of the beginnings of Joy Division, one of the most influential bands ever. The story begins with a young Bernard Sumner posting a notice in a Manchester record shop: "Band seeks singer".

Coincidiendo con el día de su nacimiento se publica "Gimme some truth" que reúne 36 canciones del repertorio de John Lennon, publicadas con su propio nombre, el de la Plastic Ono Band o compartiendo protagonismo con Yoko Ono. Una visión de temas escogidos desde 1969-70 al 84. Desde los tiempos de la cama de la paz en una habitación de hotel de Montreal hasta el "Milk and honey" póstumo. En la producción, ejecutiva y pie de mesa de estudio, tanto Yoko (que quería que en estas nuevas mezclas partiendo casi desde cero se priorizara e intensificara la voz de John) como Sean, hijo del beatle desaparecido. El título está sacado de aquellas palabras del propio Lennon, harto de políticos neuróticos y testarudos y de escuchar a hipócritas, estrechos de mente y con poca vista". Sólo quería la verdad. Y el muestrario de piezas escogidas trata de temas (política, religión, paz, feminismo, racismo....) que seguro que estarían también en las canciones que compusiera hoy porque poco ha cambiado en este mundo. El principio y final del programa estuvo dedicado a escuchar temas (ocho en total) y rematando con una versión beatle en el Madison Square Garden en el 72. Y de un beatle a un stone porque se publica el 13 de noviembre el concierto de Keith Richards con su banda X-Pansive Winos (la de "Talk is cheap") en el Hollywood Palladium en 1988. Noticia del día es el piropo de Kelly Lee Owens (de actualidad por su disco reciente "Inner song") a su compañera en los menesteres de tocar teclas y sintes Gillian Gilbert por su papel a lo largo de los años dentro de New Order. Novedad flamante es el avance de lo que será en marzo el nuevo disco, etiqueta Fire, de Jane Weaver que sigue metamorfoseándose y ofrece una pieza con bajo quedón y sabor a Prince o Stevie Wonder. También sonó uno de los 7 pulgadas fetiche de The Wedding Present con tres canciones de una sesión para la BBC 6. Novedad de aquí es la versión (la primera vez que lo hacen) de Verona de un tema exitoso de Xoel y sus Deluxe. El calendario de cine nos lleva a la cita en Sevilla en un festival que dentro de la sección "Panorama Andaluz" proyectará el "rockumental" sobre el músico Paco Loco. Escuchar audio

This is Transmissions, the definitive story of New Order and Joy Division.

1. Idiot Country - Electronic 2. Rising Sun - The Farm 3. Patience (Razormaid! Mix) - Celebrate The Nun 4. Soul On Fire - Anything Box 5. The Walk (Everything Mix) - The Cure 6. LSI (Love Sex Intelligence) (Beatmasters 12" Mix) - The Shamen 7. What Can You Do For Me - Utah Saints 8. Blue Monday (Hardfloor Mix) - New Order 9. Channel Z (12" Rock Mix) - The B-52's 10. Sea Of Sin (Razormaid! Mix) - Depeche Mode 11. You Think You Know Her (The Deception Mix) - Cause & Effect 12. One In Ten (UB40 Vocal) - 808 State 13. Red Hills Road - Candyflip 14. Give Me Your Hand (Razormaid! Mix) - Red Flag 15. Tasty Fish (Pascal 12" Mix) - The Other Two Notes and other random things: I hope everyone is staying busy and safe during the current craziness. I really assumed that lockdowns and stay-at-home-orders early in the spring would be a boon for my podcasting opportunities, but alas it was not. Still, I finally managed to get around to recording this line up of tunes yesterday that I assembled a while ago. So there's that. If you're a 90s dance music fan there is lots to love here, most of which has not appeared in a #CRCRetro podcast prior to today (I'm looking at you Anything Box, Electronic, The B-52's, The Farm, Cause & Effect and Candyflip). One thing that stands out is a full third of the tunes here are album versions and not remixes. Much like the more you learn the more you find out you have yet to learn, the same applies to my music collection. Seems like the more stuff I collect, the more I realize how much I have yet to get. Because I have no desire to repeat things too often in this 'cast, I assume nobody will have issues with hearing album cuts of some songs strategically placed among the mixes. But, it certainly makes mixing more challenging. Thank God for looping! A second thing that stands out is that three songs here are from the New Order evolutionary tree. "Idiot Country" (a personal fave of mine) from the super-group Electronic featured Bernard Sumner from New Order, Johnny Marr from The Smiths/The The, and Neil Tennant from Pet Shop Boys. "Tasty Fish", from 1991, is by The Other Two: New Order drummer Stephen Morris and New Order keyboardist Gillian Gilbert. Of course, then there's the 1995 Hardfloor Mix of "Blue Monday", the original of which still sounds cool and futuristic all these years later, and is still the best-selling 12" dance single of all-time. Considering I'm currently reading Peter Hook's book "Substance Inside New Order", which is his take on the phenomenon that was/is New Order I suppose I had them on the brain while assembling this podcast. Nonetheless, there's a lot of good, upbeat vibes in this edition and really we could all use a little more of that these days. More to come ...

Cat Stevens [00:52] "Sitting" Catch Bull at Four A&M Records SP 4365 1972 How about a nice song about meditation from a number one album? Eddy Arnold [04:03] "Tumbling Tumbleweeds" Cattle Call RCA Victor LSP-2578 1963 Written by a golf caddy, no less. Heatwave [06:45] "The Groove Line" Central Heating Epic JE 35260 1978 Funk from the UK! This hot song made it to number 7 on the Hot 100. Thou [11:00] "The Defeatist's Lament" Ceremonies of Humiliation Vitriol Records/Dead Tank Records/Bloated Veins VIT037/DTR-031/BV-007 2014 A 3 record compilation consisting of singles, EPs and splits from this fantastically heavy Louisiana group. Thou [14:47] "Skinwalker" Ceremonies of Repetition Gilead Media RELIC109 2019 Skinwalkers are a pretty intriguing bit of Navajo folklore. New Order [18:34] "Ceremony" Ceremony Factory FAC. 33 1981 This is the first version of this single, released as a 7" in January 1981, and the 12" release in March. It was re-recorded in September 1981 when Gillian Gilbert joined the band. Jimmy Buffett [22:59] "Margaritaville" Changes in Latitudes, Changes in Attitudes ABC Records AB-990 1977 Every day someone is born who has never heard Margaritaville. Yves Montand [27:07] "Le Chant de la Libération (Le Chant des Partisans)" Chansons Populaires de France Monitor MF 324 1959 A song about the French Resistance that sort of became an alternate National Anthem in the years after the war. Charles Mingus [32:19] "Ool-Ya-Koo" Charles Mingus and Friends Columbia KG 31614 1973 Recorded at Lincoln Center on February 4, 1972 featuring quite the collection of musicians. This Dizzy Gillespie numbers is quite fun. Mutilation Rites [36:26] "Axiom Destroyer" Chasm Gilead Media/Argento Records RELIC74/AT0009 2018 Some blackened heaviness from Brooklyn on "blood and bone" splatter vinyl. Scott Walker [40:25] "The Meeting" The Childhood of a Leader 4AD CAD3620 2016 Haven't seen the film but the soundtrack is outstanding, as you might expect from Scott Walker. Dr. Teeth and the Electric Mayhem [43:19] "Little Saint Nick" A Christmas Together RCA Victor AFL1-3451 1979 It's Christmas in June as Dr. Teeth and crew give us their best Beach Boys. Buck Owens and his Buckaroos [46:41] "Santa Looked a Lot Like Daddy" Christmas with Buck Owens and his Buckaroos Capitol Records T-2396 1965 Mysteries revealed! Clan of Xymox [45:54] "7th Time" Clan of Xymox Relativity EMC 8037 1986 Some exemplary goth from The Netherlands. If you want to read a hilarious argument about goth music vs darkwave, head over to the Talk page of the Dark Wave Wikipedia entry (https://en.wikipedia.org/wiki/Talk:Dark_wave). George Carlin [53:31] "Muhammad Ali - America the Beautiful" Class Clown Little David LD 1004 1972 I'd still say this still holds up lo these many years later. Bowerbirds [28:10] "This Year" The Clearing Dead Oceans DOC033lp 2012 Phil and Beth and crew bring us some fine indie folk rock on this 2012 Dead Oceans album. Interested parties should definitely check out the new Bowerbirds EP Thrift Store/High Rise (https://bowerbirds.bandcamp.com/). Music behind the DJ: "Soulful Strut" by Billy May and his Orchestra

This week on Track By Track we're discussing New Order's eighth studio album, Waiting For The Sirens' Call - the first with Phil Cunningham, and without Gillian Gilbert. The album featured the singles Krafty, Jetstream (feat. Ana Matronic, and released 15 years ago this week) and the title track. Let us know your thoughts @trackbytrackuk - and make sure you're subscribed!

When New Order entered the 1990s, they were coming off their first number one album on the UK charts along with two top twenty singles. So what did they do? Immediately split into multiple factions. While the well received 1993 album Republic would produce one of their finest singles in Regret, the 90s for New Order are defined by side projects. For bassist Peter Hook, it started with Revenge and continued with Monaco. For Bernard Sumner, he paired up with former Smiths guitarist Johnny Marr, and brought along a number of notable collaborators from bands such as the Pet Shop Boys, Kraftwerk and Black Grape to form Electronic, while Stephen Morris and Gillian Gilbert formed the slightly passive-aggressively named The Other Two for a pair of albums. Along with our guests, we revisit the entire decade for the band and their various extracurricular activities, and how that impacted the sound New Order in the 90s and 2000s.   Songs In This Episode:   Intro - Regret by New Order 8:51 - World In Motion by New Order 14:05 - Pineapple Face by Revenge 19:49 - Tasty Fish by The Other Two 28:47 - World by New Order 39:54 - What Do You Want From Me? by Monaco 56:36 - Rock The Shack Outro - Getting Away With It   To support the podcast, join us at Patreon for bonus content and more. Facebook / Twitter / Instagram   Zazzle Merch Store   http://www.digmeoutpodcast.com  

When New Order entered the 1990s, they were coming off their first number one album on the UK charts along with two top twenty singles. So what did they do? Immediately split into multiple factions. While the well received 1993 album Republic would produce one of their finest singles in Regret, the 90s for New Order are defined by side projects. For bassist Peter Hook, it started with Revenge and continued with Monaco. For Bernard Sumner, he paired up with former Smiths guitarist Johnny Marr, and brought along a number of notable collaborators from bands such as the Pet Shop Boys, Kraftwerk and Black Grape to form Electronic, while Stephen Morris and Gillian Gilbert formed the slightly passive-aggressively named The Other Two for a pair of albums. Along with our guests, we revisit the entire decade for the band and their various extracurricular activities, and how that impacted the sound New Order in the 90s and 2000s.   Songs In This Episode:   Intro - Regret by New Order 8:51 - World In Motion by New Order 14:05 - Pineapple Face by Revenge 19:49 - Tasty Fish by The Other Two 28:47 - World by New Order 39:54 - What Do You Want From Me? by Monaco 56:36 - Rock The Shack Outro - Getting Away With It   To support the podcast, join us at Patreon for bonus content and more. Facebook / Twitter / Instagram   Zazzle Merch Store   http://www.digmeoutpodcast.com  

1. Love Is All That Matters - The Human League 2. In The Name Of Love - Naked Eyes 3. What He Say - Ministry 4. Too Shy (Midnight Mix) - Kajagoogoo 5. (I'll Never Be) Maria Magdalena (Extended Version) - Sandra 6. Jet Set (Jellybean Mix) - Alphaville 7. Some People (Special Club Mix) - Belouis Some 8. World In My Eyes (Oil Tank Mix) - Depeche Mode 9. Vanishing Point - New Order 10. Boy (Original 12" Version) - Book Of Love 11. Probably A Robbery (12 Gauge Turbo) - Renegade Soundwave 12. Count To Three (House Mix) - Red Flag 13. Loved It (The Other Track) - The Other Two 14. Different Story (World Of Lust And Crime) (Long Version) - Peter Schilling 15. This Occupation (Extended Mix) - China Crisis Notes and other random things: So, how often does a band release a non-hit to promote an upcoming Greatest Hits compilation? I don't know the answer exactly, but it can't be very often. Still, The Human League did just that with the first track in this episode. Truth be told, "Love Is All That Matters" did reach #41 in the UK, but this particular song was aimed at US audiences specifically due to the fact the that "Human", the first single from the album Crash, went to #1 in the States. Sadly, the track failed to chart in America. Oddly enough, the song, which was the third single off the album, was released almost two years after the album itself, which made it more of a promotion for the upcoming Greatest Hits package. Accompanying the song's release was a cheaply-made clips video, perpetuating the notion that the group's label was not willing to invest much more in the band, with their having reached a low point creatively. It's why the band was flown to Minneapolis in the first place to work with renowned producers Jimmy Jam and Terry Lewis, mega-producers responsible for the meteoric rise of Janet Jackson and others. While the parties got along personally, professionally the sessions were a total power struggle. Lead singer Phil Oakey said of the pairing, "We like to be in control in the studio. We don't like giving that up to a producer. That's why we had a big, final argument, and we just decided to go home and leave them to finish it off. It just got to the point of who had the power, and in that instance...They were the men behind the mixing console, so they had ultimate control." Jam and Lewis had notoriously rejected much of the band's material in favor of their own, even replacing keyboardists Philip Adrian Wright and Ian Burden. Wright was so humiliated, he quit the band upon their return to the UK and Burden shortly thereafter. Still, despite the power struggle, Oakey now admits that this record saved their careers, despite feeling as if its not truly their album. Whatever the case, "Love Is All That Matters" is a terrific song, which is why I chose to feature it here. Naked Eyes has not often shown up in these podcasts, mostly because I do not own any remixes by the group. (Insert audible gasp here). While their music is fantastic, it seems there was always something there to remind me that other releases took precedence over filling gaps in the Naked Eyes portion of my music collection. (You see what I did there!) Thank goodness for looping then, right? At least it gives me a chance to feature SOMETHING by these guys. In this instance, I chose "(What) In the Name of Love" from 1984's Fuel for the Fire album. It was the second full-length release from the group that was origially conceived as a duo featuring Pete Byrne on vocals and counterpart Rob Fisher on keyboards. Originally in a band called Neon with future Tears For Fears progenitors, Roland Orzabal and Curt Smith, that collaboration was short-lived, but it gave fans of 80s music two great bands at the expense of one, which is not a bad thing at all. And though you may hear lots of wacky stories from those who lived through the decade of excess, one thing you'll never hear anyone say is "I remember seeing Naked Eyes live." Though Pete Byrne has said they expected to tour after their first album, but their record label wanted them to produce more studio material, many believe that the complexity of their music prevented them from ever touring. They were one of the early adopters of the Fairlight CMI and Emulator sampling synthesizers and, because of the sheer bulk of the equipment back then and the limitations those synthesizers possessed with regard to memory and sequencing ability, it was considered almost impossible to recreate their songs in a live setting. These were digital sound reproductions, not analog or reel-to-reel reproductions as bands like Depeche Mode used on stage for percussion early in their careers. So, much like Visage before them, the band was strictly a studio creation. After the second album, Byrne and Fisher took a hiatus from Naked Eyes to pursue other musical interests, but left the partnership open-ended. They had always planned to get back together to write more songs. The moment arrived in 1999, but sadly the sessions were interrupted when Rob Fisher died of complications from surgery. Still, Byrne has carried on and Naked Eyes in its current incarnation has been playing live shows across America from Hollywood to Carnegie Hall, has performed on PBS and has put out both a live concert DVD and a critically-acclaimed ten-song acoustic collection. An all-new studio album is apparently forthcoming as well. Maybe it will have some remixes! Anyone with a working knowledge of Ministry and Alain Jourgensen knows the group has gone through a fairly massive transformation from their early days as a new wave/synthpop group to the thrash metal juggernaut that tore up venues with punishing guitar-laden sounds from mid-90s to the present. To anyone else, it would seem that the Ministry appearing in this podcast is not even the same group as the current incarnation. Heck, it's still hard for me to connect the dots between point A and point B, but for Jourgensen that would probably be the preferable scenario. He has repeatedly said his previous persona, that of a clean-cut kid sporting new wave duds and singing with a fake British accent was a mistake, disavowing any willfulness on his part to produce such a monstrously "awful" album as With Sympathy, the source for "What He Say", the track that appears here. He has held tight to the notion that Arista records was solely responsible for the direction the band took on that first full-length release, though his wife at the time was quoted as saying "...the English accent thing was more an homage to the bands he loved than anything else. He was not trying to come off as British. The Stones used a southern accent and no one crawled up their ass for it." Regardless, With Sympathy is an excellent slice of new wave bliss despite the fact that its creator denies having anything to do with it. Out of print for quite a while (Jourgensen has said on several occasions that he destroyed the original master tapes) the album was reissued in 2012 with three bonus tracks. The Other Two, if memory serves (and it may not) has not yet appeared in CRC. The group consists of Stephen Morris and Gillian Gilbert, husband and wife, drummer and keyboardist respectively of New Order and both critical components to the success of that band. Morris also drummed for Joy Division. Morris has said there is no real mystery to The Other Two band name "We're crap at names, and it was getting late" is his explanation of its origin. Interestingly, the pair originally sought out Alison Moyet and Kim Wilde to perform vocal duties, but Moyet didn't happen and Wilde apparently went on too many vacations to be a reliable addition. With Morris' dislike of singing drummers (Phil Collins and Don Henley specifically make him sick) Gilbert was recruited to provide the voice for the group. Most of the material appearing on their two albums, The Other Two & You (1993) and Super Highways (1999) is part re-purposed stuff and left-over stuff cobbled together from the various television and soundtrack work the duo has authored over the years. The track here, "Loved It (The Other Track)" was the last song on their debut album and appeared only on CD releases. Last, but not least is a woman who outsold Madonna in many countries during the mid-80s. Her name is Sandra Ann Lauer - Sandra - as her legions of fans know her, and is one of two artists in this episode to have collaborated with Michael Cretu, with one of them eventually marrying the producer extraordinaire. Can you guess which one? (Hint: it's not Peter Schilling) Formerly the lead singer of a disco trio called Arabesque, she also provided vocals on the string of Enigma albums released in the 90s and beyond. The track here, "(I'll Never Be) Maria Magdalena was the lead single from her debut album The Long Play, which was released in 1985. While having a rather striking resemblance to Laura Branigan and Italian singer Raf's huge hit "Self Control" from a year earlier, this track went on to become a #1 hit in 21 countries around the world. It was re-released in 1993 with much more techno elements and a futuristic video, but it flopped signaling the start of her career decline from it's lofty peak. She is, however, still recording music to moderate success. Thus endeth the lesson and this episode. Until next time, Happy Listening!

This is the first episode of Season 03! Of course it starts off with a disgusting, wretched, pathetic episode. Enjoy our sad stories about our first sexual encounters, & what caused our nocturnal emissions. Intro & Outro Music: Nine Inch Nails - Head Down Nine Inch Nails - Zero-Sum (Stephen Morris & Gillian Gilbert)

This is the first episode of Season 03! Of course it starts off with a disgusting, wretched, pathetic episode. Enjoy our sad stories about our first sexual encounters, & what caused our nocturnal emissions. Intro & Outro Music: Nine Inch Nails - Head Down Nine Inch Nails - Zero-Sum (Stephen Morris & Gillian Gilbert)

1. Strangelove (Bomb The Bass) - Depeche Mode 2. Keep On (Razormaid! Mix) - Cabaret Voltaire 3. World In Motion (The B-Side) - England New Order 4. Suicide Blonde (Milk Mix) - INXS 5. Don't Talk To Me About Love (12" Mix) - Altered Images 6. Quiet Life (12" Mix) - Japan 7. Memorabilia (12" Mix) - Soft Cell 8. Left To My Own Devices (New Toy Mix) - Pet Shop Boys 9. Your Love Takes Me Higher (The Pod Went Pop Mix) - Beloved 10. You Spin Me Round (Murder Mix) - Dead Or Alive 11. Take Me Now (Razormaid! Mix) - Vicious Pink 12. Sex (I'm A ... ) (Extended Version) - Berlin 13. Girls On Film (Night Version) - Duran Duran 14. Dance With Me (Long Version) - Alphaville 15. It's Called A Heart (Extended) - Depeche Mode Notes and other random things: I hope this time around I will get to do some notes on some of the tracks in this episode. I'm guessing most would rather hear the music than read a bunch of ramblings from a guy stuck in the 80s, but I'll do my best to keep the total package intact. I do want to quickly point out to readers/listeners that this episode did manage to earn an "Explicit" tag due to some thematic issues in a couple of the songs. While the language is generally fine, there is one "slut" outburst in the Berlin tune and some sketchy noises in a couple of the songs typically associated with carnal activities. Just wanted any parents out there to be aware should you feel like playing this mix in the car or somewhere where inquisitve and/or impressionable kids might be within earshot. Berlin and Beloved are the problematic songs, so just fast-forward through those if you're concerned. On to the songs ... Leading off things is a Bomb The Bass remix of the DM classic, "Strangelove". It's an appropriate first track, I suppose, as the song was the first single off the Music for the Masses album, which was released in 1987. While eminently successful at that point in their career, it's probably the album that nudged DM toward super-stardom, an interesting turn of events considering the band chose the album name as a lark, a snide dismissal of the suggestion that they create more commercially successful music. While the compositions on the album were more sparsely arranged than previous albums and darker in tonality, the album was a critical and commercial success, effectively making DM a musical fixture among the masses, something they jokingly embraced in selecting the title. As for the song itself, it was originally a high-energy pop song, but Mute founder and producer Daniel Miller thought the overall feel of the track wasn't a good fit for the album. Miller's remixed version is the one that shows up on Music for the Masses. Bomb The Bass, by the way, is the one-man audio production team, Tim Simenon. Simenon found early success in the mid-80s as a musician creating drum tracks and basslines, then "bombing" them with a variety of samples and noises. His first single, "Beat Dis", which contained 72 samples including bits and pieces from Public Enemy to Ennio Morricone to anything in between, was one of the first tracks to introduce sampling into the musical vernacular. "World in Motion" was a song written by New Order in support of England's 1990 FIFA World Cup campaign. Believe it or not, the tune still stands as New Order's only #1 hit on the UK singles charts, holding the top spot for 2 consecutive weeks. The song is credited to ENGLAND New Order, most likely because members of that era's football (soccer) team, including left-winger and future hall-of-famer, John Barnes, contributed vocals and rapping to the song. Last year, a blog entry in NME magazine celebrated the 25th anniversary of perhaps the greatest sports-themed anthem of all time with a look at ten "geeky" facts about the song. I've reposted them below. 1. New Order drummer Steve Morris claims the band's manager, Tony Wilson, tricked the FA and the band into working with each other. "Knowing Tony, he probably sold them the idea of us doing a song and then told us the FA had come up with the brilliant idea." 2. In fact, he and instrumentalist Gillian Gilbert initially thought the offer of making the song was a joke. They had another offer of work on the table – with director Michael Powell – but eventually chose to delay that until the following year. Later, on the day they started recording 'World in Motion', they received a phone call saying Powell had died. "We made the right decision," they said. "We'd have looked like proper charlies working with a dead director." 3. Gilbert and Morris were actually pretty crucial to the song – the track was adapted from one of their compositions as The Other Two, which was originally written for BBC's 'Reportage'. 4. At the time, when NME asked footballer John Barnes how excited he was to be collaborating on a football song, he responded: "If I thought it was going to be the same as the usual crap, why bother? But this is alright." Barnes' rap was written by the man himself and performed - legend has it - in one take. 5. When the FA heard "love's got the world in motion", they asked the band to replace "love's" with "we've". The band refused. "It's an anti-hooligan song", they said. Too right. 6. Morris, in a crisis of ambiguity, called coming up with the lyrics a "nightmare", because he wanted to avoid any association with football violence while being cheeky enough that "if it all went pear-shaped, at least we could say it was a joke." He later said, "I couldn't imagine it being anything other than 'World Cup Willy', but Keith Allen got involved and made it funny." 7. Keith Allen, who co-wrote 'World In Motion', wanted it to be called 'E for England', with lyrics that ran: "E is for England, England starts with E / We'll all be smiling when we're in Italy." The FA vetoed the decision. Looking back at it in 1993, he was diplomatic: "I think at the time there were certain drug-related overtones that didn't appeal to either Top of the Pops or the record company." Allen was later involved in 1998 unofficial England song 'Vindaloo'. 8. At the time the song was released, lead singer Bernard Sumner told NME, "This should be the last straw for Joy Division fans." Make of that what you will. 9. Reflecting on the song years later, Morris said that it may have changed football. "It did come at a bit of a turning point for football. Until that point it was all very laddish. After 'World in Motion' everybody got a bit loved-up with it." 10. Barnes recently revealed that he had to do a rap-off with Paul Gascoigne, Steve McMahon, Peter Beardsley and Des Walker before he was picked to perform the rap. The question is - did Gazza cry when he lost out that time too? By the way, the song that would knock "World in Motion" from it's lofty perch at #1? "Sacrifice" by Elton John. For shame! Produced by the great Trevor Horn and appearing on the album Introspective, as well as being one of the longest tracks in their musical repertoire, "Left to My Own Devices" by the Pet Shop Boys was intended to be an "experiment in seeing how mundane a pop song could be, before setting it against extravagant music," according to lead singer Neil Tennant. No doubt, the song adds touches of classical music, specifically orchestral phrases culled from Claude Debussy's "Prélude à l'après-midi d'un faune" ("Prelude to the Afternoon of a Faun"), to the proceedings. However, this mundane song is rife with supposedly biographical or semi-biographical information from Tennant's youth that he ambiguously puts on display topped off with an idiomatic title. Whether lyrics about "roundheads" (a reference to Pro-Parliamentary forces in the English civil war) the sun and brochures and Che Guevara are self-referential terms about the Boys' "alternative" lifestyles is a matter of conjecture and I'll leave it to smarter people than myself to pour over the details. Frankly, I don't care what the meaning. I prefer just to listen and enjoy. In a previous episode, I mentioned the numerous contributions of Nick Rhodes to the success of Duran Duran. Perhaps his biggest was that of a visionary as he quickly seized on the potential of the music video. He was the one who pushed the band toward more elaborate productions, a somewhat questionable decision at the dawn of the 80s as the phenomenon that would come to be known as MTV was still months away from its eventual August 1, 1981 launch date. Not to mention, at that time, nobody could have actually predicted the overwhelming success of the network and the lasting impact it would have on the music industry. Released in July of 1981, "Girls On Film" was the third single from Double D's self-titled album. Interestingly, it was the band that chose the song to be their third single after a dismal showing by the second single, "Careless Memories", a song that had been selected by their label, EMI. Though "Careless Memories" reached #37 in the UK, it was perceived as a failure because the first single, "Planet Earth", had been a Top 20 hit. "Careless Memories" was also the song chosen to herald the soon-to-be released full-length album. That the band chose "Girls On Film", a staple at live performances, as the group's third single was fortuitous. It helped album sales overseas, though it did not initially chart in the US. After the follow-up success of the Rio album in 1982, their first album was re-issued in the states in 1983 and became certified platinum in 1985. While the song is no doubt a great one, it was the video, which was originally filmed in 1981 a few weeks prior to the launch of MTV, that made serious waves and caused serious consternation among parents and network censors. The uncut version circulated regularly on the Playboy Channel as it was deemed too pornographic for MTV. It was also banned on the BBC. A heavily-edited "day" version was created for regular airplay and is the one with which most of us are familiar. And though the song had already achieved chart success, it was that video, directed by Godley & Creme, that kept people talking and kept the band firmly in the public eye. Simon Le Bon would later lament that the scandalous nature of the video obscured the message of the song, which was about the exploitation of models in the fashion industry. To end this episode, I figured I'd include the most reviled song in the Depeche Mode catalog. Okay, that's a bit of an exaggeration, but both Martin Gore and Alan Wilder have, on numerous occasions, described "It's Called A Heart" as their least favorite single ever recorded by DM. Wilder admitted he was "anti even recording, let alone releasing it". So, why the high level of disdain for the song? Seems the band, especially Wilder, thought that the b-side, "Fly On The Windscreen" was a stronger song and should have been released as the band's next single at the time. Apparently, the record label didn't like the fact the first word of the song was "death". Yet Wilder argues: "I fought tooth-and-nail on behalf of the B-side Fly on the Windscreen which was far superior. To me, the whole thing was a serious backward step. I felt we'd worked diligently to build up recognition for a harder sound, with more depth and maturity, and here was this ultra poppy number that did nothing for our reputation." When asked in an interview if he could turn back time and do something over again, Wilder responded: "I don't think I'd change much, apart from some of the hair styles and those daft boots I wore in 101. Oh, and I'd also make sure that I missed my wake-up call on the day we made the video for It's Called a Heart." Wilder says of the video concept, "Quite how [Peter Care, the director] equated 'calling something a heart' with twirling cameras around on the end of a string in a field of corn in Reading dressed in a skirt, I'll never be able to tell you." Wilder hated the song so much that he answered the question "In your opinion, what makes up a true DM fan?" with "Anyone who still gives us the time of day after having heard It's Called a Heart". Remixes didn't fare much better in Wilder's eyes. He once commented on the "Slow Mix" version of the song, "...you do need to be particularly devout to endure it - slowing it down to half speed made it twice as long - probably not a very good idea - twice the agony." Okay, so Alan Wilder doesn't particularly care for the song, but I LOVE IT! And since I'm curating this podcast, I included all 7+ minutes of the Extended Mix for your listening enjoyment. That's it for this episode. I've got another podcast all figured out and I'll post it as soon I can find time to record it. Thanks for tuning in/listening/reading!