Podcasts about gonna miss me

Escucha una nueva edición de Los Ideales / The Indieals, 180 minutos de música alternativa cosidos a mano y sin algoritmos, como se hacía antes. Entrad sin llamar, aquí cabemos todos. Han sonado: 1) Tijuana Panthers - Beware Of Dog 2) The Lazy Eyes - Where's My Brain??? - Edit 3) Orange Combutta; MYK L - Dunthe (feat. MYK L) 4) Underworld - Trim 5) Oslo Twins - I Wake Up Slowly 6) bdrmm - Snares 7) Deradoorian - Storm In My Brain 8) Conscious Pilot - Kitchen Knife 9) The Pacific Nationals - Wet Wings 10) Hala - Loving (For Me) 11) Sunfruits - Reeling 12) Graham Hunt - I Just Need Enough 13) Rosa Maria - You're Gonna Miss Me 14) Sam Akpro - Tunnel Vision 15) The New Eves - Rivers Run Red 16) Font - Hey Kekulé 17) Khruangbin - Maria También 18) Drugdealer; Weyes Blood - Honey 19) Los Bitchos - Pista (Fresh Start) 20) Allah-Las - Catamaran 21) Crumb - Locket 22) Rahill - I Smile for E 23) Moda Spira - Mama 24) Kid Congo & the Pink Monkey Birds - Goldin Browne 25) Weird War - If You Can't Beat 'Em, Bite 'Em 26) Soft Ride - Extra Life 27) Sophia Kennedy - Imaginary Friend 28) Loveth Besamoh - Heavy Eyes 29) RIO KOSTA - Ancients 30) Billy Lemos; Dua Saleh; MTMBO - How Many Days 31) KuleeAngee - Push It 32) HONESTY - U&I 33) Miynt - I am I am what 34) Tunde Adebimpe - Pinstack 35) Family and Friends - Locked and Loaded 36) Silverbacks - Something I Know 37) Healthy Junkies - Forever on the Road, Mk. 2 38) Child Seat - Heart To Heart 39) Mia Maria Johansson; Hurula - Electro You 40) Cheap Teeth - Tough Times at the Day Bar 41) Dry Cleaning - Goodnight 42) Automatic - Skyscraper 43) Sweeping Promises - Hunger for a Way Out 44) Folly Group - Sand Fight 45) Beige Banquet - Genre Death 46) Skunk Anansie - An Artist Is An Artist 47) PROJECTOR - Collision 48) Search Results - Nellypot 49) Bibione - No friends just customers 50) JLJR - The Rest of Your Life 51) Elz; Crying Day Care Choir - White Wine 52) Real Farmer - Hard Times 53) Ringlets - New Life 54) CDSM - SHADY 55) Hamish Hawk - Burning Up 56) Adult Books - I Don't Think I Can Stay 57) Bummers - The South 58) Peach Club - Bad Bitch

So much running around on the Honey-Do List this morning. It is ALL done! Time to rock! The Music Authority Podcast...listen, like, comment, download, share, repeat…heard daily on Belter Radio, Podchaser, Deezer, Amazon Music, Audible, Listen Notes, Mixcloud, Player FM, Tune In, Podcast Addict, Cast Box, Radio Public, Pocket Cast, APPLE iTunes, and direct for the source distribution site: *Podcast - https://themusicauthority.transistor.fm/  AND NOW there is a website! TheMusicAuthority.comThe Music Authority Podcast! Special Recorded Network Shows, too! Different than my daily show! Seeing that I'm gone from FB now…Follow me on “X” Jim Prell@TMusicAuthority*Radio Candy Radio Monday Wednesday, & Friday 7PM ET, 4PM PT*Rockin' The KOR Tuesday, Wednesday, and Thursday at 7PM UK time, 2PM ET, 11AM PT  www.koradio.rocks*Pop Radio UK Friday, Saturday, & Sunday 6PM UK, 1PM ET, 10AM PT! *The Sole Of Indie https://soleofindie.rocks/ Monday Through Friday 6-7PM EST!*AltPhillie.Rocks Sunday, Thursday, & Saturday At 11:00AM ET!May 2, 2025, Friday, the weekend is here…@Orbis 2.0 - TMA SHOW OPEN THEME@The Rubinoos - I Think We're Alone Now [The Best Of....]@Bob Cat & The 9 Lives - Red Lips Divine@Jane Zell & The Zelltones - The Wonder [Almost Real]@Tim Moore - Second Avenue@Marc Platt - Watching You Sleep [No AI Platinum Approved]@Librarians With Hickeys - Brand New Boyfriend [How To Make Friends By Telephone] (@Big Stir Records)@Somerdale - Lulu [Let's Get Started] (koolkatmusik.com)@The Catholic Girls - I Can't Wait@Jeremy Morris - Here We Go Now [IPO Vol 3]@The Reverberations - The Way I Want You@The Spongetones - Nights in Déjà vu@Cowboy Junkies - Now I Know@R.E. Seraphin - Pillar Of Shame [Tiny Shapes]@The Pernice Brothers - How Can I Compare [Live A Little]@The Pulsebeats - Everybody Wants Some [Power Popsicle Brain Freeze] (@Ice Cream Man Power Pop And More)@Nick Eng - For Tonight [Long Shot] (@Beluga Records)@Sue Bachner & @Super 8 – Right In The Middle Of Summer [A Sprinkle Of Summer Fun] (@Ice Cream Man Power Pop And More)@The Bay City Rollers – Money Honey@Paul Groovy & The Pop Art Experience – You're Gonna Miss Me

THE REVEREND OF KARMIC YOUTH-1The Interpreter2Starry Eyes3For You4Bloody Hammer5The Wind And More6Night Of The Vampire7You're Gonna Miss Me8I Walked With A Zombie9Stand For The Fire Demon10 When You Get Delighted11 To Think12 Warning13 True Love Cast Out All Evil14 Loving Isn't A Part Time Thing15 The Looking Glass SongAs lead singer of Texas' infamous 13th Floor Elevators — one of rock's earliest, strangest and greatest psychedelic bands — Roky Erickson explored the far reaches of musical and personal extremes. The Elevators' first two albums (Psychedelic Sounds of the 13th Floor Elevators and Easter Everywhere, released, respectively, in 1966 and '67) are essential classics whose far-reaching influence transcends genre boundaries. Following a nightmarish '70s mental-hospital stint that reportedly had a devastating long-term effect on his mental health, Erickson's subsequent work revealed a singularly brilliant songwriter and performer whose talent was no less impressive for the fact that he was singing about zombies, vampires and aliens. Indeed, the demons that abound in Roky's songs are all-too-real reflections of his own troubled psyche, and the combination of the artist's oddly poetic lyrical constructions and his bracing banshee wail makes it clear, as it wasn't always, that he's not kidding.The Elevators fell apart in the late '60s, when Erickson began a three-year stretch in a state mental institution to avoid criminal prosecution on a drug charge. He didn't return to recording until the second half of the '70s, with a string of one-off singles and the four-song Sponge-label EP (reissued in 1988 as Two Headed Dog). Three of the EP's numbers were re-recorded for the 1980 CBS UK LP (the title of which is actually five unpronounceable ideograms). Roky Erickson and the Aliens is an excellent manifestation of his post-Elevators persona, expressing dark dilemmas through creepy horror-movie imagery. Roky sings such offbeat gems as “I Walked with a Zombie” and “Creature With the Atom Brain” in a tremulous voice that insists he's telling the truth — or at least believes he is. Former Creedence Clearwater bassist Stu Cook turned in an excellent production job, bringing the hard electric guitars (and Bill Miller's electric autoharp) into a sharp focus that underscores Roky's excitable state. Erickson and band seem less unstable than the drug-crazed Elevators (best remembered for “You're Gonna Miss Me”), but just barely.

SIX versions of the ultimate classic garage tune "You're Gonna Miss Me" - the original by The Spades from 1965, the 66 ur-text by 13th Floor Elevators (wherein we provide some potential innovations in the field of electric jug playing), then a bunch of wild renditions by Tom Thumb, The Heard, The Five Kinetics, & The Zoo! 

(S3-25) The 13th Floor Elevators - The Psychedelic Sounds Of The 13th Floor Elevators (International Artists Label) Released October 17, 1966, Recorded between January 3rd and October 11, 1966  Formed in Austin, Texas, in December 1965, the 13th Floor Elevators were pivotal in the psychedelic rock movement. Their debut album, The Psychedelic Sounds of the 13th Floor Elevators (1966), is noted as one of the first to describe its music as "psychedelic." Featuring the hit single "You're Gonna Miss Me," the album blended raw garage rock with folk blues and surreal elements. Roky Erickson's gritty vocals, Stacy Sutherland's reverb-drenched guitar, and Tommy Hall's electric jug playing created a distinctive sound that influenced many future musicians. Despite commercial challenges and internal struggles, the band's innovative approach significantly impacted the evolution of rock music, helping shift it from pop roots to a more artistic expression. You Tube (Full Album) https://youtube.com/playlist?list=PLL-NbN8uTOiiWCx_-GC5xB7BH2z5nTJ8m&si=zRBAvq614zAvu_d6 Spotify (Full Album) https://open.spotify.com/album/2afQ7u8n1CzNBAHjl6OQCG?si=fDrFC4cZT-6e26bbeHRzSA Curated Playlist https://open.spotify.com/playlist/7I6dzYc5UJfko8unziRMWf?si=ba8099bd98b548af

”Sweet Memphis Man””Come On People””Baby We’re Through””Temptation””In The Deep Dark Night””Bring Me Along””Waiting in the Shadows””Break””You’re Gonna Miss Me””The In Between””God Laughed””Beautiful Friend”Douglas Avery “Take My Driver”:”Looking Over A Rainbow” Escuchar audio

In 2010, Justin Maurer's band CLOROX GIRLS fell apart and he found himself living in his uncle's attic and working as a dental supply salesman in Long Beach, California. He was inspired after seeing James Carman's band IMAGES play a killer set at notorious longshoreman dive Harold's Place in San Pedro.  Harold's bartenders were known to deal trucker speed from behind the bar as well as brandish a sawed off shotgun if any of their patrons got out of line. Being the diviest of Pacific Avenue's drag of working class dive bars, they allowed locals to throw their own punk shows.  Justin made the pilgrimage across the Vincent Thomas Bridge to check out one of these shows and was blown away by IMAGES, a local band who took equal inspiration from late 70s LA punk as well as poppier UK punk like THE BUZZCOCKS.  The vocal harmonies were great and a particular lefty drummer who played his snare and floortom with his arms crossed - one James Carman - was singing lead vocals and backing vocals and harmonies in a way that caught Justin pleasantly off guard.  A few weeks later Justin bought a round of $1 beers for the IMAGES boys at Fern's, one of Long Beach's diviest on East 4th Street, but before taking their first sip they were chucked out by the doorman because every single member of IMAGES was all under 21.  Justin soon produced a music video for the boys (“Frustration”, directed by Vim Crony), and also asked James if he would be up for joining a new band.   Back in Long Beach, Justin and another new friend Cezar Mora, who had played in local bands THE SWITCHUPS and THE BAD MACHINE, were working on a project called LOS LONG BEACH BOYS, a Beach Boys cover band that sung in Spanish.  They hoped to rake in the big bucks at swap meets and lowrider car shows.  Translating and harmonizing an entire Beach Boys set in Spanish proved to be quite the challenge, and Justin and Cezar decided to write originals instead.   James invited his childhood friend Johnny Reyes to audition on bass at LA DRUGZ' first band practice at his parents' house in Carson.  The guys liked his yellow BUZZCOCKS t-shirt, his sense of humor and his mod hairstyle, so he was in.  They celebrated with homemade pancit and lumpia from James' mom. At practice, James mentioned that the best music was like a drug and the name LA DRUGS was pitched.  They looked it up and it seemed there was already a band called LA DRUGS from Boston. And they sucked. The boys decided to differentiate themselves by spelling it with a Z as an homage to THE PLUGZ.  LA DRUGZ began to gig around the South Bay, Orange County and Los Angeles playing spots like The Redwood, The Continental Room, Harold's, The Observatory, Alex's Bar and Vince Lombardi High School (VLHS). They recorded the OUTSIDE PLACE EP with Kid Kevin of CALIMUCHO  in San Pedro and approached Tim and Mark Janchar at HOVERCRAFT RECORDS in Portland, Oregon about releasing it.  The brothers dug it and said yes!  A westcoast tour was promptly arranged around the release of the record and would take the boys north to Sacramento, Oakland, San Francisco, Portland and Seattle.  In Seattle, Kurt Bloch of THE FASTBACKS joined them onstage for a raucous cover of “You're Gonna Miss Me” by 13th Floor Elevators.  The following year of 2015 took the boys out on the road with London's FAT WHITE FAMILY where they kicked off at storied L.A. Venue The Troubadour,  and toured all the way out to  Austin, Texas.  After ripping it up at the final show of their tour at The Chapel in San Francisco, both bands' vans were broken into at the Travel Lodge Motel on Market Street and Valencia where over $20K of gear was stolen along with both bands' suitcases of clothing.  FAT WHITE FAMILY flew back to the UK all wearing LA DRUGZ t-shirts which was the only clean item of clothing each member now owned.  The ALL BURNED DOWN EP was the followup and all things were quiet on the western front UNTIL NOW.   James Carman formed THE REFLECTORS,

This week your hosts Hall of Fame Referee JHawk, Jgold and Charly Butters are joined by friend of the show Tess from WWWofNEO to talk about Escape rooms, Twitter Advice, Butters quitting his job, Toyhio and Summer Camp then they are joined by Handsome Max Zero and discuss Cute but Deadly Animals, Wrestling Gear Hot Takes, His Work Ethic, Renaissance fairs and training for the Highland games, DND and being normal dude but way way more good looking and so much more on this weeks The Indie Wrestling Guide.  (Intro)-"Degenerates"- A Day to Remember (Outro)-"You're Gonna Miss Me"- 13th Floor Elevators

Singles Going Around- Now I'm Home (A 13th Floor Elevators Mix)The Spades- "We Sell Soul"13th Floor Elevators- "You're Gonna Miss Me"13th Floor Elevators- "Reverberation (Doubt)"13th Floor Elevators- "Splash 1 (Now I'm Home)"13th Floor Elevators- "Tried To Hide"13th Floor Elevators- "Slip Inside This House"13th Floor Elevators- "I've Got Levitation"13th Floor Elevators- "I Had to Tell You"13th Floor Elevators- "Before You Accuse Me"13th Floor Elevators- "Everybody Needs Somebody To Love"13th Floor Elevators- "You Can't Hurt Me Anymore"13th Floor Elevators- "Never Another"13th Floor Elevators- "May The Circle Remain Unbroken"

Otis Rush (Tore Up); Lonesome Sundown (They Call Me Sundown); Raúl Rabadán (All You Got To Do Now); Sugarman Sam (Damn Your Eyes); Memphis Slim (Bad Luck And Troubles); Kingfish Bill Tomlin (Mean And Unkind Blues); Edgar Winter (I've Got News For You); Quintus McCormick Blues Band (The Blues Has Been Good To Me); Blind Willie Johnson (Bye And Bye I'm Goin' To See The King); The Lovell Sisters (In My Time Of Dyin'); Little Smokey Smothers (You're Gonna Miss Me); Peanut, The Kidnapper (Swagger Woman Blues); Georgia Slim (I've Been Mistreated); Lucky Peterson & Andy Aledort (Not Guilty); The Milk Men (One Man Band). 

Send us a Text Message.On this episode we discuss the debut LP of the seminal psychedelic rock band, the 13th Floor Elevators: 1966's The Psychedelic Sounds of the 13th Floor Elevators. The 13th Floor Elevators were one of the the first well-known bands to come out of the Austin music scene in the 1960's, and one of the first band's nationwide to purposely embrace the term "psychedelic rock."  The band possessed a lead singer with a one of a kind voice (and screech) in Roky Erickson . The music was played with a fierce garage-rock intensity. But the thing that made them stand out was the use of the "electric jug," which imbued their songs a dark, uneasy,  and otherworldly drone.  The jug player was also the architect of the band's image and message, which relied heavily on the use of drugs as a means to "free your mind." Unfortunately the band embraced the message a little to fully, which resulted  in drug busts and helped facilitate the decline of Erickson's mental health.  But the music is something else.  Their hit single "You're Gonna Miss Me" is a undisputed classic.  and their music was innovative and influential well beyond there short time as a working band.  Visit us at www.tappingvinyl.com.

Martyn & Ian head to the Capital City Kick Off, the largest Blood Bowl tournament ever to be held in the region.The lads take a first look at The GLAM series for 2024.Drakenspear pops in to talk about Dominion Cup 3Codered comes on to talk all things Critter Bowl 9Valgas stops by to have a chat about the Grand Clash QualifierAstellos tells the lads all about Steeltown Hammerbowl CupMusic from this episode:Get With You - The Damn TruthI Can't Hear You - The Dead WeatherSlow - BeansYou're Gonna Miss Me - 13th Floor ElevatorsDead Sound - The RaveonettesSonic Reducer - Dead BoysSay Hello - FuzzFind us on FacebookEmail - eyeofnuffle@gmail.com      

Intro Song –  Adrian Duke, “Mama Don't Like You”, One Last Time, Finals, River City Blues Society, Adrian Duke Project featuring Theresa Richmond 

 First Set -
 Billy The Kid & The Regulators, “Shake That Thing”, Shake That Thing 
CFG & The Family, “Funk Blues”, Self-Titled
 Eric “E-Train” Manning, “I Miss Drinking”, Triangle Blues Society Jesse Redwing, “Turn Away”, Sydney Blues Society

 Second Set –  
 Drum & Dye, “Good Gravy”, Tall Tails, Kansas City Blues Society 
Henry D Jones, “I Can See Everyone's Mother, I Can't See Mine”, River City Blues Society
 Adam Falcon, “Five Minutes”, The Light Shines, Hudson Valley Blues Society The Deltaz, , “A Little Longer”, Nashville Blues & Roots Alliance

 Third Set – WIB
 Shaun Booker Dammit Band, “Dance With Me”, Angry Blues, Columbus Blues Alliance 
 Sister Lucille, “My New Lovers”, Tell The World, Won Best Self-Produced CD
 Mama & The Ruckus, “So Drunk” Niecie, “5-10-15 Hours”, Queen of The Hill, WIB Showcase

 Fourth Set -  LeFever, “Sweet Tooth”, Little Fish, Capital Region Blues Network 
Joe Waters, “Blues Pilin' Up ”, Winner Solo/Duo, Columbus Blues Alliance Piper and The Hard Times, “You're Gonna Miss Me”, Self-Titled, Nashville Blues & Roots Alliance


Episode 169 of A History of Rock Music in Five Hundred Songs looks at “Piece of My Heart" and the short, tragic life of Janis Joplin. Click the full post to read liner notes, links to more information, and a transcript of the episode. Patreon backers also have a half-hour bonus episode available, on "Spinning Wheel" by Blood, Sweat & Tears. Tilt Araiza has assisted invaluably by doing a first-pass edit, and will hopefully be doing so from now on. Check out Tilt's irregular podcasts at http://www.podnose.com/jaffa-cakes-for-proust and http://sitcomclub.com/ Resources There are two Mixcloud mixes this time. As there are so many songs by Big Brother and the Holding Company and Janis Joplin excerpted, and Mixcloud won't allow more than four songs by the same artist in any mix, I've had to post the songs not in quite the same order in which they appear in the podcast. But the mixes are here — one, two . For information on Janis Joplin I used three biographies -- Scars of Sweet Paradise by Alice Echols, Janis: Her Life and Music by Holly George-Warren, and Buried Alive by Myra Friedman. I also referred to the chapter '“Being Good Isn't Always Easy": Aretha Franklin, Janis Joplin, Dusty Springfield, and the Color of Soul' in Just Around Midnight: Rock and Roll and the Racial Imagination by Jack Hamilton. Some information on Bessie Smith came from Bessie Smith by Jackie Kay, a book I can't really recommend given the lack of fact-checking, and Bessie by Chris Albertson. I also referred to Blues Legacies and Black Feminism: Gertrude “Ma” Rainey, Bessie Smith, and Billie Holiday by Angela Y. Davis And the best place to start with Joplin's music is this five-CD box, which contains both Big Brother and the Holding Company albums she was involved in, plus her two studio albums and bonus tracks. Patreon This podcast is brought to you by the generosity of my backers on Patreon. Why not join them? Transcript Before I start, this episode contains discussion of drug addiction and overdose, alcoholism, mental illness, domestic abuse, child abandonment, and racism. If those subjects are likely to cause you upset, you may want to check the transcript or skip this one rather than listen. Also, a subject I should probably say a little more about in this intro because I know I have inadvertently caused upset to at least one listener with this in the past. When it comes to Janis Joplin, it is *impossible* to talk about her without discussing her issues with her weight and self-image. The way I write often involves me paraphrasing the opinions of the people I'm writing about, in a mode known as close third person, and sometimes that means it can look like I am stating those opinions as my own, and sometimes things I say in that mode which *I* think are obviously meant in context to be critiques of those attitudes can appear to others to be replicating them. At least once, I have seriously upset a fat listener when talking about issues related to weight in this manner. I'm going to try to be more careful here, but just in case, I'm going to say before I begin that I think fatphobia is a pernicious form of bigotry, as bad as any other form of bigotry. I'm fat myself and well aware of how systemic discrimination affects fat people. I also think more generally that the pressure put on women to look a particular way is pernicious and disgusting in ways I can't even begin to verbalise, and causes untold harm. If *ANYTHING* I say in this episode comes across as sounding otherwise, that's because I haven't expressed myself clearly enough. Like all people, Janis Joplin had negative characteristics, and at times I'm going to say things that are critical of those. But when it comes to anything to do with her weight or her appearance, if *anything* I say sounds critical of her, rather than of a society that makes women feel awful for their appearance, it isn't meant to. Anyway, on with the show. On January the nineteenth, 1943, Seth Joplin typed up a letter to his wife Dorothy, which read “I wish to tender my congratulations on the anniversary of your successful completion of your production quota for the nine months ending January 19, 1943. I realize that you passed through a period of inflation such as you had never before known—yet, in spite of this, you met your goal by your supreme effort during the early hours of January 19, a good three weeks ahead of schedule.” As you can probably tell from that message, the Joplin family were a strange mixture of ultraconformism and eccentricity, and those two opposing forces would dominate the personality of their firstborn daughter for the whole of her life.  Seth Joplin was a respected engineer at Texaco, where he worked for forty years, but he had actually dropped out of engineering school before completing his degree. His favourite pastime when he wasn't at work was to read -- he was a voracious reader -- and to listen to classical music, which would often move him to tears, but he had also taught himself to make bathtub gin during prohibition, and smoked cannabis. Dorothy, meanwhile, had had the possibility of a singing career before deciding to settle down and become a housewife, and was known for having a particularly beautiful soprano voice. Both were, by all accounts, fiercely intelligent people, but they were also as committed as anyone to the ideals of the middle-class family even as they chafed against its restrictions. Like her mother, young Janis had a beautiful soprano voice, and she became a soloist in her church choir, but after the age of six, she was not encouraged to sing much. Dorothy had had a thyroid operation which destroyed her singing voice, and the family got rid of their piano soon after (different sources say that this was either because Dorothy found her daughter's singing painful now that she couldn't sing herself, or because Seth was upset that his wife could no longer sing. Either seems plausible.) Janis was pushed to be a high-achiever -- she was given a library card as soon as she could write her name, and encouraged to use it, and she was soon advanced in school, skipping a couple of grades. She was also by all accounts a fiercely talented painter, and her parents paid for art lessons. From everything one reads about her pre-teen years, she was a child prodigy who was loved by everyone and who was clearly going to be a success of some kind. Things started to change when she reached her teenage years. Partly, this was just her getting into rock and roll music, which her father thought a fad -- though even there, she differed from her peers. She loved Elvis, but when she heard "Hound Dog", she loved it so much that she tracked down a copy of Big Mama Thornton's original, and told her friends she preferred that: [Excerpt: Big Mama Thornton, "Hound Dog"] Despite this, she was still also an exemplary student and overachiever. But by the time she turned fourteen, things started to go very wrong for her. Partly this was just down to her relationship with her father changing -- she adored him, but he became more distant from his daughters as they grew into women. But also, puberty had an almost wholly negative effect on her, at least by the standards of that time and place. She put on weight (which, again, I do not think is a negative thing, but she did, and so did everyone around her), she got a bad case of acne which didn't ever really go away, and she also didn't develop breasts particularly quickly -- which, given that she was a couple of years younger than the other people in the same classes at school, meant she stood out even more. In the mid-sixties, a doctor apparently diagnosed her as having a "hormone imbalance" -- something that got to her as a possible explanation for why she was, to quote from a letter she wrote then, "not really a woman or enough of one or something." She wondered if "maybe something as simple as a pill could have helped out or even changed that part of me I call ME and has been so messed up.” I'm not a doctor and even if I were, diagnosing historical figures is an unethical thing to do, but certainly the acne, weight gain, and mental health problems she had are all consistent with PCOS, the most common endocrine disorder among women, and it seems likely given what the doctor told her that this was the cause. But at the time all she knew was that she was different, and that in the eyes of her fellow students she had gone from being pretty to being ugly. She seems to have been a very trusting, naive, person who was often the brunt of jokes but who desperately needed to be accepted, and it became clear that her appearance wasn't going to let her fit into the conformist society she was being brought up in, while her high intelligence, low impulse control, and curiosity meant she couldn't even fade into the background. This left her one other option, and she decided that she would deliberately try to look and act as different from everyone else as possible. That way, it would be a conscious choice on her part to reject the standards of her fellow pupils, rather than her being rejected by them. She started to admire rebels. She became a big fan of Jerry Lee Lewis, whose music combined the country music she'd grown up hearing in Texas, the R&B she liked now, and the rebellious nature she was trying to cultivate: [Excerpt: Jerry Lee Lewis, "Whole Lotta Shakin' Goin' On"] When Lewis' career was derailed by his marriage to his teenage cousin, Joplin wrote an angry letter to Time magazine complaining that they had mistreated him in their coverage. But as with so many people of her generation, her love of rock and roll music led her first to the blues and then to folk, and she soon found herself listening to Odetta: [Excerpt: Odetta, "Muleskinner Blues"] One of her first experiences of realising she could gain acceptance from her peers by singing was when she was hanging out with the small group of Bohemian teenagers she was friendly with, and sang an Odetta song, mimicking her voice exactly. But young Janis Joplin was listening to an eclectic range of folk music, and could mimic more than just Odetta. For all that her later vocal style was hugely influenced by Odetta and by other Black singers like Big Mama Thornton and Etta James, her friends in her late teens and early twenties remember her as a vocal chameleon with an achingly pure soprano, who would more often than Odetta be imitating the great Appalachian traditional folk singer Jean Ritchie: [Excerpt: Jean Ritchie, "Lord Randall"] She was, in short, trying her best to become a Beatnik, despite not having any experience of that subculture other than what she read in books -- though she *did* read about them in books, devouring things like Kerouac's On The Road. She came into conflict with her mother, who didn't understand what was happening to her daughter, and who tried to get family counselling to understand what was going on. Her father, who seemed to relate more to Janis, but who was more quietly eccentric, put an end to that, but Janis would still for the rest of her life talk about how her mother had taken her to doctors who thought she was going to end up "either in jail or an insane asylum" to use her words. From this point on, and for the rest of her life, she was torn between a need for approval from her family and her peers, and a knowledge that no matter what she did she couldn't fit in with normal societal expectations. In high school she was a member of the Future Nurses of America, the Future Teachers of America, the Art Club, and Slide Rule Club, but she also had a reputation as a wild girl, and as sexually active (even though by all accounts at this point she was far less so than most of the so-called "good girls" – but her later activity was in part because she felt that if she was going to have that reputation anyway she might as well earn it). She also was known to express radical opinions, like that segregation was wrong, an opinion that the other students in her segregated Texan school didn't even think was wrong, but possibly some sort of sign of mental illness. Her final High School yearbook didn't contain a single other student's signature. And her initial choice of university, Lamar State College of Technology, was not much better. In the next town over, and attended by many of the same students, it had much the same attitudes as the school she'd left. Almost the only long-term effect her initial attendance at university had on her was a negative one -- she found there was another student at the college who was better at painting. Deciding that if she wasn't going to be the best at something she didn't want to do it at all, she more or less gave up on painting at that point. But there was one positive. One of the lecturers at Lamar was Francis Edward "Ab" Abernethy, who would in the early seventies go on to become the Secretary and Editor of the Texas Folklore Society, and was also a passionate folk musician, playing double bass in string bands. Abernethy had a great collection of blues 78s. and it was through this collection that Janis first discovered classic blues, and in particular Bessie Smith: [Excerpt: Bessie Smith, "Black Mountain Blues"] A couple of episodes ago, we had a long look at the history of the music that now gets called "the blues" -- the music that's based around guitars, and generally involves a solo male vocalist, usually Black during its classic period. At the time that music was being made though it wouldn't have been thought of as "the blues" with no modifiers by most people who were aware of it. At the start, even the songs they were playing weren't thought of as blues by the male vocalist/guitarists who played them -- they called the songs they played "reels". The music released by people like Blind Lemon Jefferson, Son House, Robert Johnson, Kokomo Arnold and so on was thought of as blues music, and people would understand and agree with a phrase like "Lonnie Johnson is a blues singer", but it wasn't the first thing people thought of when they talked about "the blues". Until relatively late -- probably some time in the 1960s -- if you wanted to talk about blues music made by Black men with guitars and only that music, you talked about "country blues". If you thought about "the blues", with no qualifiers, you thought about a rather different style of music, one that white record collectors started later to refer to as "classic blues" to differentiate it from what they were now calling "the blues". Nowadays of course if you say "classic blues", most people will think you mean Muddy Waters or John Lee Hooker, people who were contemporary at the time those white record collectors were coming up with their labels, and so that style of music gets referred to as "vaudeville blues", or as "classic female blues": [Excerpt: Mamie Smith, "Crazy Blues"] What we just heard was the first big blues hit performed by a Black person, from 1920, and as we discussed in the episode on "Crossroads" that revolutionised the whole record industry when it came out. The song was performed by Mamie Smith, a vaudeville performer, and was originally titled "Harlem Blues" by its writer, Perry Bradford, before he changed the title to "Crazy Blues" to get it to a wider audience. Bradford was an important figure in the vaudeville scene, though other than being the credited writer of "Keep A-Knockin'" he's little known these days. He was a Black musician and grew up playing in minstrel shows (the history of minstrelsy is a topic for another day, but it's more complicated than the simple image of blackface that we are aware of today -- though as with many "more complicated than that" things it is, also the simple image of blackface we're aware of). He was the person who persuaded OKeh records that there would be a market for music made by Black people that sounded Black (though as we're going to see in this episode, what "sounding Black" means is a rather loaded question). "Crazy Blues" was the result, and it was a massive hit, even though it was marketed specifically towards Black listeners: [Excerpt: Mamie Smith, "Crazy Blues"] The big stars of the early years of recorded blues were all making records in the shadow of "Crazy Blues", and in the case of its very biggest stars, they were working very much in the same mould. The two most important blues stars of the twenties both got their start in vaudeville, and were both women. Ma Rainey, like Mamie Smith, first performed in minstrel shows, but where Mamie Smith's early records had her largely backed by white musicians, Rainey was largely backed by Black musicians, including on several tracks Louis Armstrong: [Excerpt: Ma Rainey, "See See Rider"] Rainey's band was initially led by Thomas Dorsey, one of the most important men in American music, who we've talked about before in several episodes, including the last one. He was possibly the single most important figure in two different genres -- hokum music, when he, under the name "Georgia Tom" recorded "It's Tight Like That" with Tampa Red: [Excerpt: Tampa Red and Georgia Tom, "It's Tight Like That"] And of course gospel music, which to all intents and purposes he invented, and much of whose repertoire he wrote: [Excerpt: Mahalia Jackson, "Take My Hand, Precious Lord"] When Dorsey left Rainey's band, as we discussed right back in episode five, he was replaced by a female pianist, Lil Henderson. The blues was a woman's genre. And Ma Rainey was, by preference, a woman's woman, though she was married to a man: [Excerpt: Ma Rainey, "Prove it on Me"] So was the biggest star of the classic blues era, who was originally mentored by Rainey. Bessie Smith, like Rainey, was a queer woman who had relationships with men but was far more interested in other women.  There were stories that Bessie Smith actually got her start in the business by being kidnapped by Ma Rainey, and forced into performing on the same bills as her in the vaudeville show she was touring in, and that Rainey taught Smith to sing blues in the process. In truth, Rainey mentored Smith more in stagecraft and the ways of the road than in singing, and neither woman was only a blues singer, though both had huge success with their blues records.  Indeed, since Rainey was already in the show, Smith was initially hired as a dancer rather than a singer, and she also worked as a male impersonator. But Smith soon branched out on her own -- from the beginning she was obviously a star. The great jazz clarinettist Sidney Bechet later said of her "She had this trouble in her, this thing that would not let her rest sometimes, a meanness that came and took her over. But what she had was alive … Bessie, she just wouldn't let herself be; it seemed she couldn't let herself be." Bessie Smith was signed by Columbia Records in 1923, as part of the rush to find and record as many Black women blues singers as possible. Her first recording session produced "Downhearted Blues", which became, depending on which sources you read, either the biggest-selling blues record since "Crazy Blues" or the biggest-selling blues record ever, full stop, selling three quarters of a million copies in the six months after its release: [Excerpt: Bessie Smith, "Downhearted Blues"] Smith didn't make royalties off record sales, only making a flat fee, but she became the most popular Black performer of the 1920s. Columbia signed her to an exclusive contract, and she became so rich that she would literally travel between gigs on her own private train. She lived an extravagant life in every way, giving lavishly to her friends and family, but also drinking extraordinary amounts of liquor, having regular affairs, and also often physically or verbally attacking those around her. By all accounts she was not a comfortable person to be around, and she seemed to be trying to fit an entire lifetime into every moment. From 1923 through 1929 she had a string of massive hits. She recorded material in a variety of styles, including the dirty blues: [Excerpt: Bessie Smith, "Empty Bed Blues] And with accompanists like Louis Armstrong: [Excerpt: Bessie Smith with Louis Armstrong, "Cold in Hand Blues"] But the music for which she became best known, and which sold the best, was when she sang about being mistreated by men, as on one of her biggest hits, "'Tain't Nobody's Biz-Ness if I Do" -- and a warning here, I'm going to play a clip of the song, which treats domestic violence in a way that may be upsetting: [Excerpt: Bessie Smith, "'Tain't Nobody's Biz-Ness if I Do"] That kind of material can often seem horrifying to today's listeners -- and quite correctly so, as domestic violence is a horrifying thing -- and it sounds entirely too excusing of the man beating her up for anyone to find it comfortable listening. But the Black feminist scholar Angela Davis has made a convincing case that while these records, and others by Smith's contemporaries, can't reasonably be considered to be feminist, they *are* at the very least more progressive than they now seem, in that they were, even if excusing it, pointing to a real problem which was otherwise left unspoken. And that kind of domestic violence and abuse *was* a real problem, including in Smith's own life. By all accounts she was terrified of her husband, Jack Gee, who would frequently attack her because of her affairs with other people, mostly women. But she was still devastated when he left her for a younger woman, not only because he had left her, but also because he kidnapped their adopted son and had him put into a care home, falsely claiming she had abused him. Not only that, but before Jack left her closest friend had been Jack's niece Ruby and after the split she never saw Ruby again -- though after her death Ruby tried to have a blues career as "Ruby Smith", taking her aunt's surname and recording a few tracks with Sammy Price, the piano player who worked with Sister Rosetta Tharpe: [Excerpt: Ruby Smith with Sammy Price, "Make Me Love You"] The same month, May 1929, that Gee left her, Smith recorded what was to become her last big hit, and most well-known song, "Nobody Knows You When You're Down and Out": [Excerpt: Bessie Smith, "Nobody Knows You When You're Down and Out"] And that could have been the theme for the rest of her life. A few months after that record came out, the Depression hit, pretty much killing the market for blues records. She carried on recording until 1931, but the records weren't selling any more. And at the same time, the talkies came in in the film industry, which along with the Depression ended up devastating the vaudeville audience. Her earnings were still higher than most, but only a quarter of what they had been a year or two earlier. She had one last recording session in 1933, produced by John Hammond for OKeh Records, where she showed that her style had developed over the years -- it was now incorporating the newer swing style, and featured future swing stars Benny Goodman and Jack Teagarden in the backing band: [Excerpt: Bessie Smith, "Gimme a Pigfoot"] Hammond was not hugely impressed with the recordings, preferring her earlier records, and they would be the last she would ever make. She continued as a successful, though no longer record-breaking, live act until 1937, when she and her common-law husband, Lionel Hampton's uncle Richard Morgan, were in a car crash. Morgan escaped, but Smith died of her injuries and was buried on October the fourth 1937. Ten thousand people came to her funeral, but she was buried in an unmarked grave -- she was still legally married to Gee, even though they'd been separated for eight years, and while he supposedly later became rich from songwriting royalties from some of her songs (most of her songs were written by other people, but she wrote a few herself) he refused to pay for a headstone for her. Indeed on more than one occasion he embezzled money that had been raised by other people to provide a headstone. Bessie Smith soon became Joplin's favourite singer of all time, and she started trying to copy her vocals. But other than discovering Smith's music, Joplin seems to have had as terrible a time at university as at school, and soon dropped out and moved back in with her parents. She went to business school for a short while, where she learned some secretarial skills, and then she moved west, going to LA where two of her aunts lived, to see if she could thrive better in a big West Coast city than she did in small-town Texas. Soon she moved from LA to Venice Beach, and from there had a brief sojourn in San Francisco, where she tried to live out her beatnik fantasies at a time when the beatnik culture was starting to fall apart. She did, while she was there, start smoking cannabis, though she never got a taste for that drug, and took Benzedrine and started drinking much more heavily than she had before. She soon lost her job, moved back to Texas, and re-enrolled at the same college she'd been at before. But now she'd had a taste of real Bohemian life -- she'd been singing at coffee houses, and having affairs with both men and women -- and soon she decided to transfer to the University of Texas at Austin. At this point, Austin was very far from the cultural centre it has become in recent decades, and it was still a straitlaced Texan town, but it was far less so than Port Arthur, and she soon found herself in a folk group, the Waller Creek Boys. Janis would play autoharp and sing, sometimes Bessie Smith covers, but also the more commercial country and folk music that was popular at the time, like "Silver Threads and Golden Needles", a song that had originally been recorded by Wanda Jackson but at that time was a big hit for Dusty Springfield's group The Springfields: [Excerpt: The Waller Creek Boys, "Silver Threads and Golden Needles"] But even there, Joplin didn't fit in comfortably. The venue where the folk jams were taking place was a segregated venue, as everywhere around Austin was. And she was enough of a misfit that the campus newspaper did an article on her headlined "She Dares to Be Different!", which read in part "She goes barefooted when she feels like it, wears Levi's to class because they're more comfortable, and carries her Autoharp with her everywhere she goes so that in case she gets the urge to break out into song it will be handy." There was a small group of wannabe-Beatniks, including Chet Helms, who we've mentioned previously in the Grateful Dead episode, Gilbert Shelton, who went on to be a pioneer of alternative comics and create the Fabulous Furry Freak Brothers, and Shelton's partner in Rip-Off Press, Dave Moriarty, but for the most part the atmosphere in Austin was only slightly better for Janis than it had been in Port Arthur. The final straw for her came when in an annual charity fundraiser joke competition to find the ugliest man on campus, someone nominated her for the "award". She'd had enough of Texas. She wanted to go back to California. She and Chet Helms, who had dropped out of the university earlier and who, like her, had already spent some time on the West Coast, decided to hitch-hike together to San Francisco. Before leaving, she made a recording for her ex-girlfriend Julie Paul, a country and western musician, of a song she'd written herself. It's recorded in what many say was Janis' natural voice -- a voice she deliberately altered in performance in later years because, she would tell people, she didn't think there was room for her singing like that in an industry that already had Joan Baez and Judy Collins. In her early years she would alternate between singing like this and doing her imitations of Black women, but the character of Janis Joplin who would become famous never sang like this. It may well be the most honest thing that she ever recorded, and the most revealing of who she really was: [Excerpt: Janis Joplin, "So Sad to Be Alone"] Joplin and Helms made it to San Francisco, and she started performing at open-mic nights and folk clubs around the Bay Area, singing in her Bessie Smith and Odetta imitation voice, and sometimes making a great deal of money by sounding different from the wispier-voiced women who were the norm at those venues. The two friends parted ways, and she started performing with two other folk musicians, Larry Hanks and Roger Perkins, and she insisted that they would play at least one Bessie Smith song at every performance: [Excerpt: Janis Joplin, Larry Hanks, and Roger Perkins, "Black Mountain Blues (live in San Francisco)"] Often the trio would be joined by Billy Roberts, who at that time had just started performing the song that would make his name, "Hey Joe", and Joplin was soon part of the folk scene in the Bay Area, and admired by Dino Valenti, David Crosby, and Jerry Garcia among others. She also sang a lot with Jorma Kaukonnen, and recordings of the two of them together have circulated for years: [Excerpt: Janis Joplin and Jorma Kaukonnen, "Nobody Knows You When You're Down and Out"] Through 1963, 1964, and early 1965 Joplin ping-ponged from coast to coast, spending time in the Bay Area, then Greenwich Village, dropping in on her parents then back to the Bay Area, and she started taking vast quantities of methamphetamine. Even before moving to San Francisco she had been an occasional user of amphetamines – at the time they were regularly prescribed to students as study aids during exam periods, and she had also been taking them to try to lose some of the weight she always hated. But while she was living in San Francisco she became dependent on the drug. At one point her father was worried enough about her health to visit her in San Francisco, where she managed to fool him that she was more or less OK. But she looked to him for reassurance that things would get better for her, and he couldn't give it to her. He told her about a concept that he called the "Saturday night swindle", the idea that you work all week so you can go out and have fun on Saturday in the hope that that will make up for everything else, but that it never does. She had occasional misses with what would have been lucky breaks -- at one point she was in a motorcycle accident just as record labels were interested in signing her, and by the time she got out of the hospital the chance had gone. She became engaged to another speed freak, one who claimed to be an engineer and from a well-off background, but she was becoming severely ill from what was by now a dangerous amphetamine habit, and in May 1965 she decided to move back in with her parents, get clean, and have a normal life. Her new fiance was going to do the same, and they were going to have the conformist life her parents had always wanted, and which she had always wanted to want. Surely with a husband who loved her she could find a way to fit in and just be normal. She kicked the addiction, and wrote her fiance long letters describing everything about her family and the new normal life they were going to have together, and they show her painfully trying to be optimistic about the future, like one where she described her family to him: "My mother—Dorothy—worries so and loves her children dearly. Republican and Methodist, very sincere, speaks in clichés which she really means and is very good to people. (She thinks you have a lovely voice and is terribly prepared to like you.) My father—richer than when I knew him and kind of embarrassed about it—very well read—history his passion—quiet and very excited to have me home because I'm bright and we can talk (about antimatter yet—that impressed him)! I keep telling him how smart you are and how proud I am of you.…" She went back to Lamar, her mother started sewing her a wedding dress, and for much of the year she believed her fiance was going to be her knight in shining armour. But as it happened, the fiance in question was described by everyone else who knew him as a compulsive liar and con man, who persuaded her father to give him money for supposed medical tests before the wedding, but in reality was apparently married to someone else and having a baby with a third woman. After the engagement was broken off, she started performing again around the coffeehouses in Austin and Houston, and she started to realise the possibilities of rock music for her kind of performance. The missing clue came from a group from Austin who she became very friendly with, the Thirteenth Floor Elevators, and the way their lead singer Roky Erickson would wail and yell: [Excerpt: The 13th Floor Elevators, "You're Gonna Miss Me (live)"] If, as now seemed inevitable, Janis was going to make a living as a performer, maybe she should start singing rock music, because it seemed like there was money in it. There was even some talk of her singing with the Elevators. But then an old friend came to Austin from San Francisco with word from Chet Helms. A blues band had formed, and were looking for a singer, and they remembered her from the coffee houses. Would she like to go back to San Francisco and sing with them? In the time she'd been away, Helms had become hugely prominent in the San Francisco music scene, which had changed radically. A band from the area called the Charlatans had been playing a fake-Victorian saloon called the Red Dog in nearby Nevada, and had become massive with the people who a few years earlier had been beatniks: [Excerpt: The Charlatans, "32-20"] When their residency at the Red Dog had finished, several of the crowd who had been regulars there had become a collective of sorts called the Family Dog, and Helms had become their unofficial leader. And there's actually a lot packed into that choice of name. As we'll see in a few future episodes, a lot of West Coast hippies eventually started calling their collectives and communes families. This started as a way to get round bureaucracy -- if a helpful welfare officer put down that the unrelated people living in a house together were a family, suddenly they could get food stamps. As with many things, of course, the label then affected how people thought about themselves, and one thing that's very notable about the San Francisco scene hippies in particular is that they are some of the first people to make a big deal about what we now  call "found family" or "family of choice". But it's also notable how often the hippie found families took their model from the only families these largely middle-class dropouts had ever known, and structured themselves around men going out and doing the work -- selling dope or panhandling or being rock musicians or shoplifting -- with the women staying at home doing the housework. The Family Dog started promoting shows, with the intention of turning San Francisco into "the American Liverpool", and soon Helms was rivalled only by Bill Graham as the major promoter of rock shows in the Bay Area. And now he wanted Janis to come back and join this new band. But Janis was worried. She was clean now. She drank far too much, but she wasn't doing any other drugs. She couldn't go back to San Francisco and risk getting back on methamphetamine. She needn't worry about that, she was told, nobody in San Francisco did speed any more, they were all on LSD -- a drug she hated and so wasn't in any danger from. Reassured, she made the trip back to San Francisco, to join Big Brother and the Holding Company. Big Brother and the Holding Company were the epitome of San Francisco acid rock at the time. They were the house band at the Avalon Ballroom, which Helms ran, and their first ever gig had been at the Trips Festival, which we talked about briefly in the Grateful Dead episode. They were known for being more imaginative than competent -- lead guitarist James Gurley was often described as playing parts that were influenced by John Cage, but was equally often, and equally accurately, described as not actually being able to keep his guitar in tune because he was too stoned. But they were drawing massive crowds with their instrumental freak-out rock music. Helms thought they needed a singer, and he had remembered Joplin, who a few of the group had seen playing the coffee houses. He decided she would be perfect for them, though Joplin wasn't so sure. She thought it was worth a shot, but as she wrote to her parents before meeting the group "Supposed to rehearse w/ the band this afternoon, after that I guess I'll know whether I want to stay & do that for awhile. Right now my position is ambivalent—I'm glad I came, nice to see the city, a few friends, but I'm not at all sold on the idea of becoming the poor man's Cher.” In that letter she also wrote "I'm awfully sorry to be such a disappointment to you. I understand your fears at my coming here & must admit I share them, but I really do think there's an awfully good chance I won't blow it this time." The band she met up with consisted of lead guitarist James Gurley, bass player Peter Albin, rhythm player Sam Andrew, and drummer David Getz.  To start with, Peter Albin sang lead on most songs, with Joplin adding yelps and screams modelled on those of Roky Erickson, but in her first gig with the band she bowled everyone over with her lead vocal on the traditional spiritual "Down on Me", which would remain a staple of their live act, as in this live recording from 1968: [Excerpt: Big Brother and the Holding Company, "Down on Me (Live 1968)"] After that first gig in June 1966, it was obvious that Joplin was going to be a star, and was going to be the group's main lead vocalist. She had developed a whole new stage persona a million miles away from her folk performances. As Chet Helms said “Suddenly this person who would stand upright with her fists clenched was all over the stage. Roky Erickson had modeled himself after the screaming style of Little Richard, and Janis's initial stage presence came from Roky, and ultimately Little Richard. It was a very different Janis.” Joplin would always claim to journalists that her stage persona was just her being herself and natural, but she worked hard on every aspect of her performance, and far from the untrained emotional outpouring she always suggested, her vocal performances were carefully calculated pastiches of her influences -- mostly Bessie Smith, but also Big Mama Thornton, Odetta, Etta James, Tina Turner, and Otis Redding. That's not to say that those performances weren't an authentic expression of part of herself -- they absolutely were. But the ethos that dominated San Francisco in the mid-sixties prized self-expression over technical craft, and so Joplin had to portray herself as a freak of nature who just had to let all her emotions out, a wild woman, rather than someone who carefully worked out every nuance of her performances. Joplin actually got the chance to meet one of her idols when she discovered that Willie Mae Thornton was now living and regularly performing in the Bay Area. She and some of her bandmates saw Big Mama play a small jazz club, where she performed a song she wouldn't release on a record for another two years: [Excerpt: Big Mama Thornton, "Ball 'n' Chain"] Janis loved the song and scribbled down the lyrics, then went backstage to ask Big Mama if Big Brother could cover the song. She gave them her blessing, but told them "don't" -- and here she used a word I can't use with a clean rating -- "it up". The group all moved in together, communally, with their partners -- those who had them. Janis was currently single, having dumped her most recent boyfriend after discovering him shooting speed, as she was still determined to stay clean. But she was rapidly discovering that the claim that San Franciscans no longer used much speed had perhaps not been entirely true, as for example Sam Andrew's girlfriend went by the nickname Speedfreak Rita. For now, Janis was still largely clean, but she did start drinking more. Partly this was because of a brief fling with Pigpen from the Grateful Dead, who lived nearby. Janis liked Pigpen as someone else on the scene who didn't much like psychedelics or cannabis -- she didn't like drugs that made her think more, but only drugs that made her able to *stop* thinking (her love of amphetamines doesn't seem to fit this pattern, but a small percentage of people have a different reaction to amphetamine-type stimulants, perhaps she was one of those). Pigpen was a big drinker of Southern Comfort -- so much so that it would kill him within a few years -- and Janis started joining him. Her relationship with Pigpen didn't last long, but the two would remain close, and she would often join the Grateful Dead on stage over the years to duet with him on "Turn On Your Lovelight": [Excerpt: Janis Joplin and the Grateful Dead, "Turn on Your Lovelight"] But within two months of joining the band, Janis nearly left. Paul Rothchild of Elektra Records came to see the group live, and was impressed by their singer, but not by the rest of the band. This was something that would happen again and again over the group's career. The group were all imaginative and creative -- they worked together on their arrangements and their long instrumental jams and often brought in very good ideas -- but they were not the most disciplined or technically skilled of musicians, even when you factored in their heavy drug use, and often lacked the skill to pull off their better ideas. They were hugely popular among the crowds at the Avalon Ballroom, who were on the group's chemical wavelength, but Rothchild was not impressed -- as he was, in general, unimpressed with psychedelic freakouts. He was already of the belief in summer 1966 that the fashion for extended experimental freak-outs would soon come to an end and that there would be a pendulum swing back towards more structured and melodic music. As we saw in the episode on The Band, he would be proved right in a little over a year, but being ahead of the curve he wanted to put together a supergroup that would be able to ride that coming wave, a group that would play old-fashioned blues. He'd got together Stefan Grossman, Steve Mann, and Taj Mahal, and he wanted Joplin to be the female vocalist for the group, dueting with Mahal. She attended one rehearsal, and the new group sounded great. Elektra Records offered to sign them, pay their rent while they rehearsed, and have a major promotional campaign for their first release. Joplin was very, very, tempted, and brought the subject up to her bandmates in Big Brother. They were devastated. They were a family! You don't leave your family! She was meant to be with them forever! They eventually got her to agree to put off the decision at least until after a residency they'd been booked for in Chicago, and she decided to give them the chance, writing to her parents "I decided to stay w/the group but still like to think about the other thing. Trying to figure out which is musically more marketable because my being good isn't enough, I've got to be in a good vehicle.” The trip to Chicago was a disaster. They found that the people of Chicago weren't hugely interested in seeing a bunch of white Californians play the blues, and that the Midwest didn't have the same Bohemian crowds that the coastal cities they were used to had, and so their freak-outs didn't go down well either. After two weeks of their four-week residency, the club owner stopped paying them because they were so unpopular, and they had no money to get home. And then they were approached by Bob Shad. (For those who know the film Walk Hard: The Dewey Cox Story, the Bob Shad in that film is named after this one -- Judd Apatow, the film's director, is Shad's grandson) This Shad was a record producer, who had worked with people like Big Bill Broonzy, Sarah Vaughan, Dinah Washington, and Billy Eckstine over an eighteen-year career, and had recently set up a new label, Mainstream Records. He wanted to sign Big Brother and the Holding Company. They needed money and... well, it was a record contract! It was a contract that took half their publishing, paid them a five percent royalty on sales, and gave them no advance, but it was still a contract, and they'd get union scale for the first session. In that first session in Chicago, they recorded four songs, and strangely only one, "Down on Me", had a solo Janis vocal. Of the other three songs, Sam Andrew and Janis dueted on Sam's song "Call on Me", Albin sang lead on the group composition "Blindman", and Gurley and Janis sang a cover of "All Is Loneliness", a song originally by the avant-garde street musician Moondog: [Excerpt: Big Brother and the Holding Company, "All is Loneliness"] The group weren't happy with the four songs they recorded -- they had to keep the songs to the length of a single, and the engineers made sure that the needles never went into the red, so their guitars sounded far more polite and less distorted than they were used to. Janis was fascinated by the overdubbing process, though, especially double-tracking, which she'd never tried before but which she turned out to be remarkably good at. And they were now signed to a contract, which meant that Janis wouldn't be leaving the group to go solo any time soon. The family were going to stay together. But on the group's return to San Francisco, Janis started doing speed again, encouraged by the people around the group, particularly Gurley's wife. By the time the group's first single, "Blindman" backed with "All is Loneliness", came out, she was an addict again. That initial single did nothing, but the group were fast becoming one of the most popular in the Bay Area, and almost entirely down to Janis' vocals and on-stage persona. Bob Shad had already decided in the initial session that while various band members had taken lead, Janis was the one who should be focused on as the star, and when they drove to LA for their second recording session it was songs with Janis leads that they focused on. At that second session, in which they recorded ten tracks in two days, the group recorded a mix of material including one of Janis' own songs, the blues track "Women is Losers", and a version of the old folk song "the Cuckoo Bird" rearranged by Albin. Again they had to keep the arrangements to two and a half minutes a track, with no extended soloing and a pop arrangement style, and the results sound a lot more like the other San Francisco bands, notably Jefferson Airplane, than like the version of the band that shows itself in their live performances: [Excerpt: Big Brother and the Holding Company, "Coo Coo"] After returning to San Francisco after the sessions, Janis went to see Otis Redding at the Fillmore, turning up several hours before the show started on all three nights to make sure she could be right at the front. One of the other audience members later recalled “It was more fascinating for me, almost, to watch Janis watching Otis, because you could tell that she wasn't just listening to him, she was studying something. There was some kind of educational thing going on there. I was jumping around like the little hippie girl I was, thinking This is so great! and it just stopped me in my tracks—because all of a sudden Janis drew you very deeply into what the performance was all about. Watching her watch Otis Redding was an education in itself.” Joplin would, for the rest of her life, always say that Otis Redding was her all-time favourite singer, and would say “I started singing rhythmically, and now I'm learning from Otis Redding to push a song instead of just sliding over it.” [Excerpt: Otis Redding, "I Can't Turn You Loose (live)"] At the start of 1967, the group moved out of the rural house they'd been sharing and into separate apartments around Haight-Ashbury, and they brought the new year in by playing a free show organised by the Hell's Angels, the violent motorcycle gang who at the time were very close with the proto-hippies in the Bay Area. Janis in particular always got on well with the Angels, whose drugs of choice, like hers, were speed and alcohol more than cannabis and psychedelics. Janis also started what would be the longest on-again off-again relationship she would ever have, with a woman named Peggy Caserta. Caserta had a primary partner, but that if anything added to her appeal for Joplin -- Caserta's partner Kimmie had previously been in a relationship with Joan Baez, and Joplin, who had an intense insecurity that made her jealous of any other female singer who had any success, saw this as in some way a validation both of her sexuality and, transitively, of her talent. If she was dating Baez's ex's lover, that in some way put her on a par with Baez, and when she told friends about Peggy, Janis would always slip that fact in. Joplin and Caserta would see each other off and on for the rest of Joplin's life, but they were never in a monogamous relationship, and Joplin had many other lovers over the years. The next of these was Country Joe McDonald of Country Joe and the Fish, who were just in the process of recording their first album Electric Music for the Mind and Body, when McDonald and Joplin first got together: [Excerpt: Country Joe and the Fish, "Grace"] McDonald would later reminisce about lying with Joplin, listening to one of the first underground FM radio stations, KMPX, and them playing a Fish track and a Big Brother track back to back. Big Brother's second single, the other two songs recorded in the Chicago session, had been released in early 1967, and the B-side, "Down on Me", was getting a bit of airplay in San Francisco and made the local charts, though it did nothing outside the Bay Area: [Excerpt: Big Brother and the Holding Company, "Down on Me"] Janis was unhappy with the record, though, writing to her parents and saying, “Our new record is out. We seem to be pretty dissatisfied w/it. I think we're going to try & get out of the record contract if we can. We don't feel that they know how to promote or engineer a record & every time we recorded for them, they get all our songs, which means we can't do them for another record company. But then if our new record does something, we'd change our mind. But somehow, I don't think it's going to." The band apparently saw a lawyer to see if they could get out of the contract with Mainstream, but they were told it was airtight. They were tied to Bob Shad no matter what for the next five years. Janis and McDonald didn't stay together for long -- they clashed about his politics and her greater fame -- but after they split, she asked him to write a song for her before they became too distant, and he obliged and recorded it on the Fish's next album: [Excerpt: Country Joe and the Fish, "Janis"] The group were becoming so popular by late spring 1967 that when Richard Lester, the director of the Beatles' films among many other classics, came to San Francisco to film Petulia, his follow-up to How I Won The War, he chose them, along with the Grateful Dead, to appear in performance segments in the film. But it would be another filmmaker that would change the course of the group's career irrevocably: [Excerpt: Scott McKenzie, "San Francisco (Be Sure to Wear Some Flowers in Your Hair)"] When Big Brother and the Holding Company played the Monterey Pop Festival, nobody had any great expectations. They were second on the bill on the Saturday, the day that had been put aside for the San Francisco acts, and they were playing in the early afternoon, after a largely unimpressive night before. They had a reputation among the San Francisco crowd, of course, but they weren't even as big as the Grateful Dead, Moby Grape or Country Joe and the Fish, let alone Jefferson Airplane. Monterey launched four careers to new heights, but three of the superstars it made -- Otis Redding, Jimi Hendrix, and the Who -- already had successful careers. Hendrix and the Who had had hits in the UK but not yet broken the US market, while Redding was massively popular with Black people but hadn't yet crossed over to a white audience. Big Brother and the Holding Company, on the other hand, were so unimportant that D.A. Pennebaker didn't even film their set -- their manager at the time had not wanted to sign over the rights to film their performance, something that several of the other acts had also refused -- and nobody had been bothered enough to make an issue of it. Pennebaker just took some crowd shots and didn't bother filming the band. The main thing he caught was Cass Elliot's open-mouthed astonishment at Big Brother's performance -- or rather at Janis Joplin's performance. The members of the group would later complain, not entirely inaccurately, that in the reviews of their performance at Monterey, Joplin's left nipple (the outline of which was apparently visible through her shirt, at least to the male reviewers who took an inordinate interest in such things) got more attention than her four bandmates combined. As Pennebaker later said “She came out and sang, and my hair stood on end. We were told we weren't allowed to shoot it, but I knew if we didn't have Janis in the film, the film would be a wash. Afterward, I said to Albert Grossman, ‘Talk to her manager or break his leg or whatever you have to do, because we've got to have her in this film. I can't imagine this film without this woman who I just saw perform.” Grossman had a talk with the organisers of the festival, Lou Adler and John Phillips, and they offered Big Brother a second spot, the next day, if they would allow their performance to be used in the film. The group agreed, after much discussion between Janis and Grossman, and against the wishes of their manager: [Excerpt: Big Brother and the Holding Company, "Ball and Chain (live at Monterey)"] They were now on Albert Grossman's radar. Or at least, Janis Joplin was. Joplin had always been more of a careerist than the other members of the group. They were in music to have a good time and to avoid working a straight job, and while some of them were more accomplished musicians than their later reputations would suggest -- Sam Andrew, in particular, was a skilled player and serious student of music -- they were fundamentally content with playing the Avalon Ballroom and the Fillmore and making five hundred dollars or so a week between them. Very good money for 1967, but nothing else. Joplin, on the other hand, was someone who absolutely craved success. She wanted to prove to her family that she wasn't a failure and that her eccentricity shouldn't stop them being proud of her; she was always, even at the depths of her addictions, fiscally prudent and concerned about her finances; and she had a deep craving for love. Everyone who talks about her talks about how she had an aching need at all times for approval, connection, and validation, which she got on stage more than she got anywhere else. The bigger the audience, the more they must love her. She'd made all her decisions thus far based on how to balance making music that she loved with commercial success, and this would continue to be the pattern for her in future. And so when journalists started to want to talk to her, even though up to that point Albin, who did most of the on-stage announcements, and Gurley, the lead guitarist, had considered themselves joint leaders of the band, she was eager. And she was also eager to get rid of their manager, who continued the awkward streak that had prevented their first performance at the Monterey Pop Festival from being filmed. The group had the chance to play the Hollywood Bowl -- Bill Graham was putting on a "San Francisco Sound" showcase there, featuring Jefferson Airplane and the Grateful Dead, and got their verbal agreement to play, but after Graham had the posters printed up, their manager refused to sign the contracts unless they were given more time on stage. The next day after that, they played Monterey again -- this time the Monterey Jazz Festival. A very different crowd to the Pop Festival still fell for Janis' performance -- and once again, the film being made of the event didn't include Big Brother's set because of their manager. While all this was going on, the group's recordings from the previous year were rushed out by Mainstream Records as an album, to poor reviews which complained it was nothing like the group's set at Monterey: [Excerpt: Big Brother and the Holding Company, "Bye Bye Baby"] They were going to need to get out of that contract and sign with somewhere better -- Clive Davis at Columbia Records was already encouraging them to sign with him -- but to do that, they needed a better manager. They needed Albert Grossman. Grossman was one of the best negotiators in the business at that point, but he was also someone who had a genuine love for the music his clients made.  And he had good taste -- he managed Odetta, who Janis idolised as a singer, and Bob Dylan, who she'd been a fan of since his first album came out. He was going to be the perfect manager for the group. But he had one condition though. His first wife had been a heroin addict, and he'd just been dealing with Mike Bloomfield's heroin habit. He had one absolutely ironclad rule, a dealbreaker that would stop him signing them -- they didn't use heroin, did they? Both Gurley and Joplin had used heroin on occasion -- Joplin had only just started, introduced to the drug by Gurley -- but they were only dabblers. They could give it up any time they wanted, right? Of course they could. They told him, in perfect sincerity, that the band didn't use heroin and it wouldn't be a problem. But other than that, Grossman was extremely flexible. He explained to the group at their first meeting that he took a higher percentage than other managers, but that he would also make them more money than other managers -- if money was what they wanted. He told them that they needed to figure out where they wanted their career to be, and what they were willing to do to get there -- would they be happy just playing the same kind of venues they were now, maybe for a little more money, or did they want to be as big as Dylan or Peter, Paul, and Mary? He could get them to whatever level they wanted, and he was happy with working with clients at every level, what did they actually want? The group were agreed -- they wanted to be rich. They decided to test him. They were making twenty-five thousand dollars a year between them at that time, so they got ridiculously ambitious. They told him they wanted to make a *lot* of money. Indeed, they wanted a clause in their contract saying the contract would be void if in the first year they didn't make... thinking of a ridiculous amount, they came up with seventy-five thousand dollars. Grossman's response was to shrug and say "Make it a hundred thousand." The group were now famous and mixing with superstars -- Peter Tork of the Monkees had become a close friend of Janis', and when they played a residency in LA they were invited to John and Michelle Phillips' house to see a rough cut of Monterey Pop. But the group, other than Janis, were horrified -- the film barely showed the other band members at all, just Janis. Dave Getz said later "We assumed we'd appear in the movie as a band, but seeing it was a shock. It was all Janis. They saw her as a superstar in the making. I realized that though we were finally going to be making money and go to another level, it also meant our little family was being separated—there was Janis, and there was the band.” [Excerpt: Big Brother and the Holding Company, "Bye Bye Baby"] If the group were going to make that hundred thousand dollars a year, they couldn't remain on Mainstream Records, but Bob Shad was not about to give up his rights to what could potentially be the biggest group in America without a fight. But luckily for the group, Clive Davis at Columbia had seen their Monterey performance, and he was also trying to pivot the label towards the new rock music. He was basically willing to do anything to get them. Eventually Columbia agreed to pay Shad two hundred thousand dollars for the group's contract -- Davis and Grossman negotiated so half that was an advance on the group's future earnings, but the other half was just an expense for the label. On top of that the group got an advance payment of fifty thousand dollars for their first album for Columbia, making a total investment by Columbia of a quarter of a million dollars -- in return for which they got to sign the band, and got the rights to the material they'd recorded for Mainstream, though Shad would get a two percent royalty on their first two albums for Columbia. Janis was intimidated by signing for Columbia, because that had been Aretha Franklin's label before she signed to Atlantic, and she regarded Franklin as the greatest performer in music at that time.  Which may have had something to do with the choice of a new song the group added to their setlist in early 1968 -- one which was a current hit for Aretha's sister Erma: [Excerpt: Erma Franklin, "Piece of My Heart"] We talked a little in the last episode about the song "Piece of My Heart" itself, though mostly from the perspective of its performer, Erma Franklin. But the song was, as we mentioned, co-written by Bert Berns. He's someone we've talked about a little bit in previous episodes, notably the ones on "Here Comes the Night" and "Twist and Shout", but those were a couple of years ago, and he's about to become a major figure in the next episode, so we might as well take a moment here to remind listeners (or tell those who haven't heard those episodes) of the basics and explain where "Piece of My Heart" comes in Berns' work as a whole. Bert Berns was a latecomer to the music industry, not getting properly started until he was thirty-one, after trying a variety of other occupations. But when he did get started, he wasted no time making his mark -- he knew he had no time to waste. He had a weak heart and knew the likelihood was he was going to die young. He started an association with Wand records as a songwriter and performer, writing songs for some of Phil Spector's pre-fame recordings, and he also started producing records for Atlantic, where for a long while he was almost the equal of Jerry Wexler or Leiber and Stoller in terms of number of massive hits created. His records with Solomon Burke were the records that first got the R&B genre renamed soul (previously the word "soul" mostly referred to a kind of R&Bish jazz, rather than a kind of gospel-ish R&B). He'd also been one of the few American music industry professionals to work with British bands before the Beatles made it big in the USA, after he became alerted to the Beatles' success with his song "Twist and Shout", which he'd co-written with Phil Medley, and which had been a hit in a version Berns produced for the Isley Brothers: [Excerpt: The Isley Brothers, "Twist and Shout"] That song shows the two elements that existed in nearly every single Bert Berns song or production. The first is the Afro-Caribbean rhythm, a feel he picked up during a stint in Cuba in his twenties. Other people in the Atlantic records team were also partial to those rhythms -- Leiber and Stoller loved what they called the baion rhythm -- but Berns more than anyone else made it his signature. He also very specifically loved the song "La Bamba", especially Ritchie Valens' version of it: [Excerpt: Ritchie Valens, "La Bamba"] He basically seemed to think that was the greatest record ever made, and he certainly loved that three-chord trick I-IV-V-IV chord sequence -- almost but not quite the same as the "Louie Louie" one.  He used it in nearly every song he wrote from that point on -- usually using a bassline that went something like this: [plays I-IV-V-IV bassline] He used it in "Twist and Shout" of course: [Excerpt: The Isley Brothers, "Twist and Shout"] He used it in "Hang on Sloopy": [Excerpt: The McCoys, "Hang on Sloopy"] He *could* get more harmonically sophisticated on occasion, but the vast majority of Berns' songs show the power of simplicity. They're usually based around three chords, and often they're actually only two chords, like "I Want Candy": [Excerpt: The Strangeloves, "I Want Candy"] Or the chorus to "Here Comes the Night" by Them, which is two chords for most of it and only introduces a third right at the end: [Excerpt: Them, "Here Comes the Night"] And even in that song you can hear the "Twist and Shout"/"La Bamba" feel, even if it's not exactly the same chords. Berns' whole career was essentially a way of wringing *every last possible drop* out of all the implications of Ritchie Valens' record. And so even when he did a more harmonically complex song, like "Piece of My Heart", which actually has some minor chords in the bridge, the "La Bamba" chord sequence is used in both the verse: [Excerpt: Erma Franklin, "Piece of My Heart"] And the chorus: [Excerpt: Erma Franklin, "Piece of My Heart"] Berns co-wrote “Piece of My Heart” with Jerry Ragavoy. Berns and Ragavoy had also written "Cry Baby" for Garnet Mimms, which was another Joplin favourite: [Excerpt: Garnet Mimms, "Cry Baby"] And Ragavoy, with other collaborators

This one is dedicated to the legendary FLYING WINNEBAGO — the host who served as my lead-in show on WCOM for 8 amazing years. Fare thee well, Winnebago! You are dearly missed but never forgotten. Tracklist for May 31, 2023 01 :: The 13th Floor Elevators - You're Gonna Miss Me 02 :: Human Sexual Response - Jackie Onassis 03 :: Talk Talk - Talk Talk 04 :: Simple Minds - All The Things She Said 05 :: The Shakes - Hunt You Down (Extended Version) 06 :: Industry - State Of The Nation 07 :: ...

Chaos in the CBD & Nathan Haines - Sirena Deep Jimpster & Crackazat - Natural Child Louie Vega feat Honey Dijon - Feels So Right (DJ Deep Remix) Franck Roger - On Fayah Atjazz & Fred Everything - Stay a Little While Felipe Gordon - For Martha (Kai Alce Remix) Julian Gomes, Kuniyuki Takahashi & Sio - Let Me Go James Curd - Sublime Mind (Byron the Aquarius Remix) Mij Mack - Voices Dino Lenny - Washington Street Austin Auto - I'm On The Phone J. Caesar - ICON ASHRR - Fizzy (Scientist Dub) Jovonn - The Piano Fix Blaze feat. Alexander Hope - Wonderland (Jimpster Remix) Vince Watson - Peace of Mind ft Jon Dixon Luke Solomon & Amp Fiddler - Come On Over Session Victim - Porchless Keita Sano - Violet Marschmellows - Soulpower (Jazzanova Remix) Neal Francis - BNYLV (Derrick Carter Remix) Manuel Sahagun - Hostages Turntable Orchestra - You're Gonna Miss Me

Lien vers la playlist de cet épisode : linktr.ee/djwildroseCrédits :Animatrice : DJ WildroseDirectrice éditoriale : DJ WildroseRéalisateur : Kevin AbadieIngénieur du son : Kevin AbadieMusique :. Donovan - Seasons of the Witch, 1966, Epic. Iron Butterfly - In-A-Gadda-Da-Vida, 1968, Atco. Jefferson Airplane - Somebody to Love, 1967, RCA Victor. The 13th Floor Elevators - You're Gonna Miss Me, 1966, Contract / International Artists. Roky Erickson - Two Headed Dog, 1980, CBS Hébergé par Acast. Visitez acast.com/privacy pour plus d'informations.

Two Hours of trashy garage, punk, rock, soul and fury with host DJ Jdub.  This week: a bunch of good stuff!  New releases, classics, plus musical previews of upcoming concerts this week in Los Angeles, including the Nuggets 50th anniversary show and the Cruel World Festival.Outrage Radio playlist – May 18, 2023[0:00]1.        Fugazi – Cassavetes2.        Bad Posture -  Time For Smack3.        The BellRays – Sister Disaster4.        The Tears – Don't Care About Nothing [10:10]5.        Pyrex – Lizard Teeth (2023)6.        Enola Gay – PTS.DUP (2023)7.        Cran – Policeman (2023)8.        Pharma – Stand Or Sit (2023)9.        Sial - Sia Sia (2023)10.      Cava – Imaginary Dinner (2023)11.      Punter – State Breakfast (2023)12.      C.O.F.F.I.N. – Cut You Off (2023)13.      Killer Kin – Mr. Dynamite (2023) [33:02]14.      The Control Freaks – She's The Bomb15.      The Binges – Motorcycle Song16.      Pentagram – Forever My Queen17.      Death Valley Girls – Death Valley Boogie18.      Hoodoo Gurus – Dig It Up19.      Wine Lips – Eyes [50:37]20.      The Dictators – Stay With Me21.      The Damned – Neat Neat Neat [57:50]22.      Gang Of Four – I Found That Essence Rare23.      Gang Of Four – Outside The Trains Don't Run On Time24.      Tubeway Army – That's Too Bad25.      Tubeway Army – Oh! Didn't I Say [1:12:17]26.      Generation X – Your Generation27.      Generation X – Youth Youth Youth28.      Siouxsie & The Banshees - Monitor29.      Siouxsie & The Banshees – Halloween [1:32:05]30.      Iggy & The Stooges – Raw Power31.      Iggy Pop – Lust For Life [1:43:30]32.      The Seeds – Pushin' Too Hard33.      Count Five – Psychotic Reaction34.      The Standells – Dirty Water35.      The Remains – Don't Look Back36.      13th Floor Elevators – You're Gonna Miss Me [1:57:33]37.      Patti Smith - Gloria Outrage Radio broadcasts live on Thursday evenings from 9-11PM (Pacific) at LuxuriaMusic .com.

Singles Going Around- NuggetsShadows of Knight- "Oh Yea"The Magicians- "Invitation To Cry"The Thirteenth Floor Elevators- "You're Gonna Miss Me"Count Five- "Psychotic Reaction"The Amboy Dukes- "Baby Please Don't Go"The Blues Magoos- "Tobacco Road"The Premiers- "Farmer John"The Standells- "Dirty Water"The Vagrants- "Respect"

In this episode we delve into the world of psychedelic music - The Doors, Jimi Hendrix, The Beatles, & more! This is another highly influential music genre that started in the 1960s and inspired many rock and indie artists that we know and love today and even a rapper?? Tune in to find out who! Playlist of songs: Telstar - The Tornados The 2000 Pound Bee - The Ventures I Feel Fine - The Beatles Mr. Tambourine Man - The Byrds Heart Full of Soul - The Yardbirds Flying High - Country Joe & The Fish Shapes of Things - The Yardbirds Eight Miles High - The Byrds White Rabbit - Jefferson Airplane Today - Jefferson Airplane You're Gonna Miss Me - 13th Floor Elevators I Just Wasn't Made For These Times - The Beach Boys Sunshine Superman - Donovan Good Vibrations - The Beach Boys Strawberry Fields Forever - The Beatles I Had Too Much to Dream - The Electric Prunes Arnold Layne - Pink Floyd Julia Dream - Pink Floyd Bike - Pink Floyd All the World Is Love - The Hollies On a Carousel - The Hollies ចិត្តមួយថ្លើមមួយ - Sinn Sisamouth, Ros Sereysothea Seni Her Gördüğümde - Erkin Koray Manic Depression - Jimi Hendrix Purple Haze - Jimi Hendrix Crimson & Clover - Aguaturbia Crimson & Clover - Tommy James & The Shondells Down On Me - Big Brother & The Holding Company Sunshine Of your Love - Cream Light My Fire - The Doors Break on Through - The Doors End of the Night - The Doors Beat It on down the Line - Grateful Dead (I Can't Get No) Satisfaction - The Rolling Stones Planet Caravan - Black Sabbath She's A Rainbow - The Rolling Stones Tales Of Brave Ulysses - Cream Paint It, Black - The Rolling Stones Little Wing - Jimi Hendrix Voodoo Child - Jimi Hendrix The Less I Know The Better - Tame Impala New Person, Same Old Mistakes - Tame Impala Ride - The Dandy Warhols Electric Feels - MGMT Little Dark Age - MGMT Young Men Dead - The Black Angels the BLACK seminole. - Lil Yachty

R.E.M. "I'm Gonna DJ"The Hold Steady "Most People Are Djs"The Low Anthem "Yellowed By the Sun"Jason Isbell and the 400 Unit "Kid Fears (feat. Brandi Carlile & Julien Baker)"The Crystals "And Then He Kissed Me"Louis Armstrong "I Ain't Gonna Give Nobody None of This Jelly Roll"Kitty Wells "Do Right Woman, Do Right Man"13th Floor Elevators "You're Gonna Miss Me"Kris Kristofferson "Maybe You Heard"The Undertones "Teenage Kicks"The Tammys "Egyptian Shumba"The White Stripes "Hello Operator"Muddy Waters "Baby I Done Got Wise"D'Angelo "Feel Like Makin' Love"Dolly Parton "Don't Drop Out"John R. Miller "Motor's Fried"Aimee Mann "In Mexico"Bob Dylan & The Band "Goin' to Acapulco"The Flies "I'm Not Your Stepping Stone"Clem Snide "Moment in the Sun"Neko Case "John Saw That Number"My Morning Jacket "The Way That He Sings"The Supremes "You Can't Hurry Love"Willie Nelson & Wynton Marsalis "Rainy Day Blues"Oscar Peterson Trio "The Girl From Ipanema"Leslie Gore "Maybe I Know"The Velvet Underground "Oh! Sweet Nuthin'"Cat Clyde "Sheets of Green"Lightnin' Hopkins "Ride in Your New Automobile"Matt Sweeney "I Am a Youth Inclined to Ramble"Townes Van Zandt "Still Looking For You"The Shirelles "Will You Love Me Tomorrow"Gram Parsons "The Angels Rejoiced Last Night"Doc Watson "Little Darling Pal of Mine"Tom Verlaine "There's a Reason"Television "See No Evil"Neutral Milk Hotel "In the Aeroplane Over the Sea"Phoebe Bridgers "I Know The End"Shaver "The Earth Rolls On"Solomon Burke "Diamond in Your Mind"Dave Rawlings Machine "Pilgrim (You Can't Go Home)"

(Part 1 of 3) Today I'm joined by Marcus from 'the Return of the Repressed' podcast to discuss Jim Jones and Jonestown. We discuss the 'known unknowns' with regards to Jonestown. Marcus walks us through the many early reactions to Jonestown which seem to nail it on the head, including those near to Representative Leo Ryan. We talk about the 'mystery tape'. Then, we lay the groundwork for understanding Jonestown by delving into the religious background of the Jones church including the Branhamites, the Latter Rain movement, and the curious crossover between these religious groups and cults across the world, especially in Africa. Links: https://anchor.fm/thereturnoftherepressed https://www.patreon.com/TheReturnOfTheRepressed/posts Songs: You're Gonna Miss Me by the 13th Floor Elevators Tried to Hide by the 13th Floor Elevators Merch: https://programmed-to-chill.myshopify.com/

Playlist: 1. The Police - Invisible Sun 2. The Umbrellas - Autumn 3. Whipping Boy - Twinkle 4. Emperor Of Ice Cream - Weather Vane 5. Teenage Fanclub - Fallen Leaves 6. The Beths - Change In The Weather 7. Dendrons - New Outlook 8. The Comet Is Coming - Code 9. 1990s - Fassbinder Would Have Loved Techno 10. The Chesterfields - Bitesize 11. Half Man Half Biscuit - Every Time A Bell Rings 12. Hawkwind - Hurry On Sundown 13. Atlantis - I Ain't Got The Time 14. Flowertruck - Sing Along To Your Life 15. The House Of Love - Light Of The Morning 16. Pete Astor - Time On Earth 17. Wilco - War On War 18. Prefab Sprout - Goodbye Lucille #1 19. Supergrass - Beautiful People 20. The Coral - Eyes Of The Moon 21. The Kinks - Autumn Almanac 22. Paul Weller - Birth Of An Accidental Hipster 23. Dana Gavanski - Bend Away and Fall 24. Emma Tricca - Mars Is Asleep 25. Cassandra Jenkins - It's You26. Björk - Like Someone In Love27. Portishead - The Rip 28. Elaine Howley - Autumn Speak 29. Stereolab - Miss Modular 30. Nancy Sinatra & Lee Hazlewood - Love Is Strange 31. Tim Burgess - Typical Music 32. Pixies - There's A Moon On 33. R.E.M. - The Wake-Up Bomb 34. Pavement - Loretta's Scars 35. Loretta Lynn - Who's Gonna Miss Me?Image: Kiltimagh Kruising 80s/90sPodomatic: https://soulshenanigans.podomatic.com Apple Podcasts: https://apple.co/3fYzstV Google Podcasts: https://bit.ly/331g0tM Amazon Music: https://amzn.to/32OIqGI TuneIn Radio: https://bit.ly/30UUPIu Mixcloud: https://www.mixcloud.com/soulshenanigans  Twitter: @soulshenanigans Facebook: soulshenanigans Email: soulshenanigans(at)gmail.com      

Queremos recordarte que el próximo 17 de noviembre llevaremos a la Sala Clamores de Madrid el primer podcast de RADIO CON BOTAS en directo. Poo a poco te iremos dando más información, pero ya puedes reservar tu lugar cerca de nosotros. Tenía 90 años, era la orgullosa hija de un minero que había nacido en una cabaña de Butcher Hollow, en Kentucky, y se convirtió en una de las pioneras de la música country desde los primeros primeros años 60. El pasado martes nos enteramos de que Loretta Lynn, la llamada “reina de la country music”, había muerto mientras dormía en su casa de Hurricane Mills, cerca de Nashville, en el estado de Tennessee. Era obligado escuchar algunas de sus canciones más representativas de su larga carrera para una mujer comprometida con el hecho de serlo, de encontrarse con un matrimonio complicado y de mirar de frente a la infidelidad, el alcoholismo, la dura vida de su entorno y contra la doble moral, reivindicando la libertad sexual y el uso de la píldora anticonceptiva en una sociedad extremadamente conservadora. Se anticipó a los tiempos con la naturalidad de una mujer honesta y atrevida que gozaba, además, de una voz cautivadora y creíble. Se ha marchado Loretta Lynn, la orgullosa hija de un minero del carbón de Butcher Hollow. Ahora ya es eterna. PLAYLIST 01-LORETTA LYNN “Coal Miner's Daughter (Recitation)” (Lynn) Legacy 02-LORETTA LYNN “Blue Kentucky Girl (Single Version)” (Mullins) Decca 03-LORETTA LYNN “I'm A Honky Tonk Girl" (Lynn) Zero 04-LORETTA LYNN “Don't Come Home a Drinkin' (With Lovin' On Your Mind) (Single Version)” (Lynn/Wells) Decca 05-LORETTA LYNN “The Pill” (Lynn/McHan/Bayless) Decca 06-LORETTA LYNN “Fist City” (Lynn) Decca 07-LORETTA LYNN “You Ain't Woman Enough (To Take My Man) (Single Version)” (Lynn) Decca 08-LORETTA LYNN feat. REBA McENTIRE & CARRIE UNDERWOOD “Still Woman Enough” (Lynn/Lynn Russell) Legacy 09-LORETTA LYNN & MARGO PRICE “One's On The Way” (Silverstein) Legacy 10-k.d.lang with BRENDA LEE, LORETTA LYNN & KITTY WELLS “Honky Tonk Angels Medley” (Delmore/Raye/Tubb/Glover/Carr/Delmore/Raney) Sire 11-LORETTA, DOLLY, TAMMY “Silver Threads And Golden Needles” (Rhodes/Reynolds) Columbia 12-CONWAY TWITTY & LORETTA LYNN “After The Fire Is Gone” (White) Decca 13-LORETTA LYNN & WILLIE NELSON “Lay Me Down” (Marchetti) Legacy 14-LORETTA LYNN “Who’s Gonna Miss Me?” (Lynn) Sony Legacy 15-LORETTA LYNN “Hey Loretta” (Silverstein) Decca

Floresville native Jenna Oakley has earned the title of Miss Southlake 2023 at the Miss Southlake & Miss Westlake Competition hosted at the Coppell Arts Center on Sept. 24, in Coppell. Jenna was also named the Overall Talent Winner at the 2023 competition for her vocal performance of her original piece, “I'm Gonna Miss Me.” Oakley received more than [post_excerpt],000 in educational scholarships at the competition. As Miss Southlake, she will advocate for her social impact initiative, recognizing grief-based depression. Jenna is currently a student at Sam Houston State University in Huntsville, where she is pursuing a double major in...Article Link

13th Floor Elevators - You're Gonna Miss Me 5/9/66The Animals - Bo Diddley (live)Egor – StreetSpirit - Policeman's BallJefferson Airplane - High Flyin' BirdThe Grateful Dead - jack straw 5/3/72The Move - OmnibusThe Reverberations - move alongThe Mothers of Invention - Help I'm A RockAphrodite's Child - annabellaLowell George & The Factory - Candy Cane MadnessThe Grateful Dead - Can't Come DownCharles Lloyd – Sorcery (live)Vanilla Fudge - you keep me hanging onCream - I Feel FreeAmon Acid - orange lightJethro Tull - With You There To Help Me/By Kind Permission Of 11/4/70The Grateful Dead - Sparrow Hawk RowLos Beat 4 - Pobre GatoSam the Sham & the Pharoahs - wooly bullyThe Rolling Stones - Little Red RoosterThe Barbarians - are you a boy or are you a girlThe Doors - The EndThe Book PileWant to sound smart? Two comics discuss a book every Monday so you can pretend you read.Listen on: Apple Podcasts Spotify Oddity Poddity: A Paranormal PodcastA little history, a little haunt! Terrifying tales delivered in a Southern accent.Listen on: Apple Podcasts Spotify The Art Coaching Club PodcastEach week Hayley gives tangible tips to help grow your creative business. Listen on: Apple Podcasts Spotify The Soul Music Lab R&B, NEO SOUL & SMOOTH JAZZ MUSIC AND COMMENTARY Listen on: Apple Podcasts SpotifySupport the show

Rockshow Episode 162 Roky Erickson Roger Kynard "Roky" Erickson (July 15, 1947 – May 31, 2019) was an American musician and singer-songwriter. He was a founding member and the leader of the 13th Floor Elevators and a pioneer of the psychedelic rock genre. Erickson was interested in music from his youth, playing piano from age five and taking up guitar at 10. He attended school in Austin and dropped out of Travis High School in 1965, one month before graduating, rather than cut his hair to conform to the school dress code.Erickson wrote his first songs, "You're Gonna Miss Me" and "We Sell Soul", at age 15, and started a band with neighborhood friends which would evolve into his first notable group, the Spades.The Spades scored a regional hit with "We Sell Soul"; the song is included as an unlisted bonus track on Erickson's 1995 album All That May Do My Rhyme and was adapted as "Don't Fall Down" by the 13th Floor Elevators for their debut album. The Spades' original version of "You're Gonna Miss Me", later a hit for the 13th Floor Elevators, was featured on the compilation album The Best of Pebbles Volume 1. https://www.rokyerickson.com/ https://www.newyorker.com/culture/postscript/the-pure-weirdness-of-the-psychedelic-rock-icon-roky-erickson/amp https://open.spotify.com/artist/7hCsRnXtcbez8msLPfjbkz https://m.facebook.com/rokyericksonTM/ https://m.imdb.com/name/nm2227718/ https://mobile.twitter.com/rokyericksontm #musicvideo #musicstudio #musiclover #musiclife #musicindustry #musiclovers #musiccover #musician#Alicecooper #musicproducer #musicproduction #musicians #musicislife #musicartist #musicphotography #musicvideos #Music #drummer #Guitar @drummers @spotify @twitter #grammy @grammy @psychedelic rock #psychedelic rock @Roky Erickson #Roky Erickson #goldalbum #Platinumalbum @Platinum @gold Please follow us on Youtube,Facebook,Instagram,Twitter,Patreon and at www.gettinglumpedup.com https://linktr.ee/RobRossi Get your T-shirt at https://www.prowrestlingtees.com/gettinglumpedup And https://www.bonfire.com/store/getting-lumped-up/ https://app.hashtag.expert/?fpr=roberto-rossi80 https://dc2bfnt-peyeewd4slt50d2x1b.hop.clickbank.net Subscribe to the channel and hit the like button This episode is sponsored by · Anchor: The easiest way to make a podcast. https://anchor.fm/app Support this podcast: https://anchor.fm/rob-rossi/support https://itunes.apple.com/us/podcast/getting-lumped-up-with-rob-rossi/id1448899708 https://open.spotify.com/show/00ZWLZaYqQlJji1QSoEz7a https://www.patreon.com/Gettinglumpedup --- Support this podcast: https://anchor.fm/rob-rossi/support

Award-winning Christian music recording artist and Floresville native Jenna Oakley can add another title to her list of accomplishments ... Miss Texas 2022 Rookie Talent! Jenna competed at Miss Texas June 20-25 as Miss Piney Woods, participating in four phases of competition, including Private Interview, Red Carpet, Talent, and Onstage Question/Social Impact Pitch, where she shared her initiative, “Recognizing Grief-based Depression.” At the contest's conclusion, Jenna placed in the Top 12 and won overall highest score in First Year Talent, singing her original song, “I'm Gonna Miss Me.” “This experience was so surreal and very eye-opening,” Jenna said. “I have...Article Link

This episode is part of Pledge Week 2022. Every day this week, I'll be posting old Patreon bonus episodes of the podcast which will have this short intro. These are short, ten- to twenty-minute bonus podcasts which get posted to Patreon for my paying backers every time I post a new main episode -- there are well over a hundred of these in the archive now. If you like the sound of these episodes, then go to patreon.com/andrewhickey and subscribe for as little as a dollar a month or ten dollars a year to get access to all those bonus episodes, plus new ones as they appear. Click below for the transcript Transcript Just a note before I begin, this episode deals with mental illness and with the methods, close to torture, used to treat it in the middle of the last century, so anyone for whom that's a delicate subject may want to skip this one. There's a term that often gets used about some musicians, "outsider music", and it's a term that I'm somewhat uncomfortable with. It's a term that gets applied to anyone eccentric, whether someone like Jandek who releases his own albums through mail order and just does his own thing, or someone like Hasil Adkins who made wild rockabilly music, or an entertainer like Tiny Tim who had a bizarre but consistent view of showbusiness, or a band like the Shaggs who were just plain incompetent, or people like Wesley Willis or Wild Man Fischer who had serious mental health problems. The problem with the term is that it erases these differences, and that it assumes that the most interesting thing about the music is the person behind it. It also erases talent, especially in the case of mentally ill artists. There are several mutually incompatible assumptions about creative artists who have mental health problems. One is that their music should be treated like a freak show, and either appreciated for that reason (if you're someone who gets their entertainment from someone else's suffering) or disdained (if you don't want to do that). Other people think that the mental illness *makes* the music, that great art comes from mental health problems, while yet others will argue that someone's art has nothing at all to do with their mental health, and is not influenced by it in any way. All of these positions are, of course, wrong. Mental illness doesn't stop someone from making great art -- except when it takes away the ability to make art at all of course -- people like Brian Wilson or Vincent Van Gogh are testament to that, and their best work has nothing to do with a freak show. But nor does it grant the ability to make great art. Someone with no musical talent who develops schizophrenia just becomes a schizophrenic person with no musical talent. But to say that mental illness doesn't affect the work is also nonsense. Everything about someone's life affects their art, especially something as important as their mental health. And the real problem with these labels comes with those artists who don't manage to develop a substantial body of work before their illness sets in. Those with real musical talent, but who end up getting put in the outsider artist bucket because their work is so obviously affected by their illness. And one of those is Roky Erickson, of the Thirteenth Floor Elevators. Erickson started his career aged fifteen with a group based in Austin, Texas, called the Spades -- and I hope that this wasn't intended as a racial slur, as the word was sometimes used at this time. Their first single, "We Sell Soul", released in 1965, shows the clear influence of "Gloria" by Them: [Excerpt: The Spades, "We Sell Soul"] That was a regional hit, and so their second single, the first song that Erickson had ever written, was recorded in the same style: [Excerpt: The Spades, "You're Gonna Miss Me"] But by December 1965, Erickson had left the Spades, and joined Stacy Sutherland, Benny Thurman, and John Ike Walton, the members of another band called the Lingsmen. They were joined by a fifth man, Tommy Hall, who became the band's lyricist, liner-note writer, and general spokesman, and who played an electric jug, creating an effect somewhere between bubbling and a wobble board. Hall started calling the group's music "psychedelic rock" in late 1965 after being influenced by Timothy Leary, and I've seen some people say he was the first person ever to use the term. The group released a rerecorded version of "You're Gonna Miss Me" on a small local label: [Excerpt: The Thirteenth Floor Elevators, "You're Gonna Miss Me"] That was released in January 1966, and later picked up by a larger label, International Artists, which was the home of a lot of Texan psychedelic bands, like the Golden Dawn and the Red Crayola. It spent most of the year slowly climbing the charts, eventually reaching number fifty-five -- the highest chart position the group would ever have. It was included on their debut album, The Psychedelic Sounds of the Thirteenth Floor Elevators, released towards the end of the year, by which time Thurman had been replaced by Ronnie Leatherman on bass. The album's liner notes were written by Hall and had a large amount of advocacy for the use of psychedelic drugs -- as did the music itself, though some of this was a little more subtle, like the song "Fire Engine", where the line "let me take you to the empty place" was meant to sound like "DMT place", DMT being a psychedelic drug: [Excerpt: The Thirteenth Floor Elevators, "Fire Engine"] Around this time, the band crossed paths with Janis Joplin, who was a big fan of the group and who they tried to get to join them, but Joplin decided to move to California instead. Tommy Hall was a huge advocate for both the potential of LSD to open people's minds, and of the general semantics of Alfred Korzybski, and his enthusiasm for both showed up on the group's second album. Unfortunately, not all of the group were of quite the same mind, and Leatherman and Walton left early in the sessions for that album, Easter Everywhere, which was considered not quite up to the standards of the previous album, though Erickson and Hall's eight-minute long "Slip Inside This House" is a favourite of most of the fans. [Excerpt: The Thirteenth Floor Elevators, "Slip Inside This House"] Unfortunately, the band started to disintegrate. The core of Erickson, Hall, and Sutherland remained together, but various bass players and drummers came and went -- though one of the band's rhythm sections, Duke Davis and Danny Thomas, was good enough that the band's label got them to back Lightnin' Hopkins on his album Free Form Patterns. According to reports I've read, Davis and Thomas were both on acid during the session, but they still play solidly throughout: [Excerpt: Lightnin' Hopkins, "Give Me Time to Think"] Another potential bass player at this point was a roommate of Erickson's, who Erickson tried to get into the band but who Hall turned down. Townes Van Zandt later went on to rather bigger things. Erickson also started to have some mental problems -- apparently taking LSD literally every day for years is not great for you. And when he was arrested for marijuana possession, he decided to use his mental health as a way to get out of a potential ten-year jail sentence, by getting three years in a psychiatric hospital instead. He later claimed that he was lying about his problems and acting mad to get this sentence, but he had been having problems before then. Hall and Sutherland and their current rhythm section finished up a few demos, and the record label put out one final album made up of outtakes, plus a faked live album with crowd noise overdubbed on some earlier studio recordings, but with their lead singer in hospital for three years the band split up. Hall became a Scientologist and quit the music industry altogether. If Erickson *was* faking his illness when he went into the hospital, he wasn't faking it by the time he came out. Psychiatric medicine was still in its infancy then. It's far from wonderful today, but at least in general you can be relatively sure that the treatment won't make you worse. That wasn't the case in the late sixties and early seventies, and Erickson was forced through multiple sessions of electro-shock therapy. (To be clear, electro-shock therapy can sometimes be effective for some conditions when done properly and with the patient's consent. This wasn't either.) When Erickson finally got out, he tried to put his life back together, and formed a new band called Bleib Alien, later renamed Roky Erickson and the Aliens, who made hard rock records with lyrics about science fiction and horror themes like zombies, fire demons, medical experimentation, and two-headed dogs: [Excerpt: Roky Erickson and the Aliens, "Two-Headed Dog"] Erickson became a cult artist, cited as an influence by everyone from Henry Rollins to ZZ Top, and intermittently released recordings for the next few decades, but he spent much of the time dealing with severe, untreated, schizophrenia. There are many stories about this time that get shared, and are easy to find online, but which I'm not going to repeat here because they tend to be shared in a freak-show manner. But by 2001 he was placed in the legal custody of his brother . This kind of situation is often abused, but in Erickson's case it seems to have done him good. His brother got him legal and medical help, and helped him start finally receiving royalties on some of his records. There was a one-off fiftieth anniversary reunion of most of the living original members of the Thirteenth Floor Elevators, and in 2010 Erickson released his finest album, a collaboration with the band Okkervil River, True Love Cast Out All Evil: [Excerpt: Roky Erickson and Okkervil River, "Ain't Blues Too Bad"] By all accounts the last years of Erickson's life were happier and more comfortable than any he'd had. He got to tour the world, playing for appreciative crowds, he got his schizophrenia under control, and he was able to live a relatively independent life, and to know that new generations of musicians admired his work. He died in 2019, aged seventy-one.

When this week's guest, producer/audio engineer Paul Mahern, discovered 'Easter Everywhere' by Texas psychedelic rock band 13th Floor Elevators in the early 80s, he was a punk rock loving musician (Indianapolis Indiana's Zero Boys) looking to expand his musical horizons. He got all that he bargained for and more with this wonderfully dense, expansive and mind-blowing record by a band - led by Tommy Hall and Roky Erickson - that went all-in on their spirituality-through-psychedelics ideals. "You're moving, keep climbing...leave your body behind." Songs featured in this episode: I've Got Levitation (live, 1967) - 13th Floor Elevators; Vicious Circle - Zero Boys; Forecast - Diane Coffee (feat. Deep Sea Diver); Lucifer Sam - Pink Floyd; You're Gonna Miss Me - 13th Floor Elevators; Night of the Vampire - Roky Erickson; Slip Inside This House, Slide Machine - 13th Floor Elevators; Monkey Island - Powell St John; She Lives (In a Time of Her Own) - The Judybats; She Lives (In a Time of Her Own) - 13th Floor Elevators; Let's Spend The Night Together - The Rolling Stones; Nobody To Love - 13th Floor Elevators; D.C.B.A.-25 - Jefferson Airplane; It's All Over Now, Baby Blue - Bob Dylan; It's All Over Now, Baby Blue, Earthquake - 13th Floor Elevators; I Look Around - Rain Parade; Things'll Never Be The Same - Spacemen 3; Dust - 13th Floor Elevators; Think (Let Tomorrow Bee) - Sebadoh; I've Got Levitation, I Had To Tell You - 13th Floor Elevators; Sweet Virginia - The Rolling Stones; Universal Soldier - Buffy Sainte Marie; Postures (Leave Your Body Behind) - 13th Floor Elevators; Earthquake - Butthole Surfers

10:00 PM | Whirling Dervishes | Theme From Love Song 10:04 PM | Editors | Heart Attack10:07 PM | The First Edition | Just Dropped In (To See What Condition My Condition Was In) 10:12 PM | Toro y Moi | Ordinary Pleasure10:15 PM | 13th Floor Elevators | You're Gonna Miss Me 10:17 PM | Surf Curse | Sugar 10:21 PM | Pixies | Gigantic 10:24 PM | Frightwig | A Man's Gotta Do What a Man's Gotta Do 10:28 PM | Razzy Bailey | I Hate Hate 10:32 PM | Cocteau Twins | Iceblink Luck 10:36 PM | Bruce Springsteen | Gotta Get That Feeling (Live at The Carousel, Asbury Park, NJ - December 2010)  10:39 PM | D..B. Caulfield | The One That Got Away 10:43 PM | The Waterboys | Blackberry Girl 10:46 PM | ICEHOUSE | Icehouse 10:50 PM | Wavves | Sinking Feeling 10:55 PM | The Beatles | All Together Now 

#10-6Intro/Outro: You're Gonna Miss Me by 13th Floor Elevators10. Be My Baby by The Ronettes *9. (Sittin' On) The Dock of the Bay by Otis Redding *8. I Want You Back by The Jackson 5 *7. (I Can't Get No) Satisfaction by The Rolling Stones *6. My Generation by The Who *Vote on your favorite song from today's episodeVote on your favorite song from Week 3* - Previously played on the podcast

We travel across the Atlantic to America in the 1960s and 1970s for the latest show.Cromagnon who only released one album, but a great album, and more famous bands such as 13th Floor Elevators, The Fugs and The Velvet Undergound.Further watching:The Velvet Undergound: A Todd Haynes DocumentaryYou're Gonna Miss Me by Keven McAlesterTracks played:Cromagnon- Caledonia and Organic Sundown13th Floor Elevators- Reverberation and Slip Inside This HouseThe Fugs- Turn On/Tune In/ Drop Out and Dust DevilThe Velvet Underground- The Gift and Here She Comes Now

Episode one hundred and forty-six of A History of Rock Music in Five Hundred Songs looks at “Good Vibrations” by the Beach Boys, and the history of the theremin. Click the full post to read liner notes, links to more information, and a transcript of the episode. Patreon backers also have a ten-minute bonus episode available, on "You're Gonna Miss Me" by the Thirteenth Floor Elevators. Tilt Araiza has assisted invaluably by doing a first-pass edit, and will hopefully be doing so from now on. Check out Tilt's irregular podcasts at http://www.podnose.com/jaffa-cakes-for-proust and http://sitcomclub.com/ Resources There is no Mixcloud this week, because there were too many Beach Boys songs in the episode. I used many resources for this episode, most of which will be used in future Beach Boys episodes too. It's difficult to enumerate everything here, because I have been an active member of the Beach Boys fan community for twenty-four years, and have at times just used my accumulated knowledge for this. But the resources I list here are ones I've checked for specific things. Stephen McParland has published many, many books on the California surf and hot-rod music scenes, including several on both the Beach Boys and Gary Usher.  His books can be found at https://payhip.com/CMusicBooks Andrew Doe's Bellagio 10452 site is an invaluable resource. Jon Stebbins' The Beach Boys FAQ is a good balance between accuracy and readability. And Philip Lambert's Inside the Music of Brian Wilson is an excellent, though sadly out of print, musicological analysis of Wilson's music from 1962 through 67. I have also referred to Brian Wilson's autobiography, I Am Brian Wilson, and to Mike Love's, Good Vibrations: My Life as a Beach Boy. As a good starting point for the Beach Boys' music in general, I would recommend this budget-priced three-CD set, which has a surprisingly good selection of their material on it, including the single version of "Good Vibrations". Oddly, the single version of "Good Vibrations" is not on the The Smile Sessions box set. But an entire CD of outtakes of the track is, and that was the source for the session excerpts here. Information on Lev Termen comes from Theremin: Ether Music and Espionage by Albert Glinsky Transcript In ancient Greece, the god Hermes was a god of many things, as all the Greek gods were. Among those things, he was the god of diplomacy, he was a trickster god, a god of thieves, and he was a messenger god, who conveyed messages between realms. He was also a god of secret knowledge. In short, he was the kind of god who would have made a perfect spy. But he was also an inventor. In particular he was credited in Greek myth as having invented the lyre, an instrument somewhat similar to a guitar, harp, or zither, and as having used it to create beautiful sounds. But while Hermes the trickster god invented the lyre, in Greek myth it was a mortal man, Orpheus, who raised the instrument to perfection. Orpheus was a legendary figure, the greatest poet and musician of pre-Homeric Greece, and all sorts of things were attributed to him, some of which might even have been things that a real man of that name once did. He is credited with the "Orphic tripod" -- the classification of the elements into earth, water, and fire -- and with a collection of poems called the Rhapsodiae. The word Rhapsodiae comes from the Greek words rhaptein, meaning to stitch or sew, and ōidē, meaning song -- the word from which we get our word "ode", and  originally a rhapsōdos was someone who "stitched songs together" -- a reciter of long epic poems composed of several shorter pieces that the rhapsōdos would weave into one continuous piece. It's from that that we get the English word "rhapsody", which in the sixteenth century, when it was introduced into the language, meant a literary work that was a disjointed collection of patchwork bits, stitched together without much thought as to structure, but which now means a piece of music in one movement, but which has several distinct sections. Those sections may seem unrelated, and the piece may have an improvisatory feel, but a closer look will usually reveal relationships between the sections, and the piece as a whole will have a sense of unity. When Orpheus' love, Eurydice, died, he went down into Hades, the underworld where the souls of the dead lived, and played music so beautiful, so profound and moving, that the gods agreed that Orpheus could bring the soul of his love back to the land of the living. But there was one condition -- all he had to do was keep looking forward until they were both back on Earth. If he turned around before both of them were back in the mortal realm, she would disappear forever, never to be recovered. But of course, as you all surely know, and would almost certainly have guessed even if you didn't know because you know how stories work, once Orpheus made it back to our world he turned around and looked, because he lost his nerve and didn't believe he had really achieved his goal. And Eurydice, just a few steps away from her freedom, vanished back into the underworld, this time forever. [Excerpt: Blake Jones and the Trike Shop: "Mr. Theremin's Miserlou"] Lev Sergeyevich Termen was born in St. Petersburg, in what was then the Russian Empire, on the fifteenth of August 1896, by the calendar in use in Russia at that time -- the Russian Empire was still using the Julian calendar, rather than the Gregorian calendar used in most of the rest of the world, and in the Western world the same day was the twenty-seventh of August. Young Lev was fascinated both by science and the arts. He was trained as a cellist from an early age, but while he loved music, he found the process of playing the music cumbersome -- or so he would say later. He was always irritated by the fact that the instrument is a barrier between the idea in the musician's head and the sound -- that it requires training to play. As he would say later "I realised there was a gap between music itself and its mechanical production, and I wanted to unite both of them." Music was one of his big loves, but he was also very interested in physics, and was inspired by a lecture he saw from the physicist Abram Ioffe, who for the first time showed him that physics was about real, practical, things, about the movements of atoms and fields that really existed, not just about abstractions and ideals. When Termen went to university, he studied physics -- but he specifically wanted to be an experimental physicist, not a theoretician. He wanted to do stuff involving the real world. Of course, as someone who had the misfortune to be born in the late 1890s, Termen was the right age to be drafted when World War I started, but luckily for him the Russian Army desperately needed people with experience in the new invention that was radio, which was vital for wartime communications, and he spent the war in the Army radio engineering department, erecting radio transmitters and teaching other people how to erect them, rather than on the front lines, and he managed not only to get his degree in physics but also a diploma in music. But he was also becoming more and more of a Marxist sympathiser, even though he came from a relatively affluent background, and after the Russian Revolution he stayed in what was now the Red Army, at least for a time. Once Termen's Army service was over, he started working under Ioffe, working with him on practical applications of the audion, the first amplifying vacuum tube. The first one he found was that the natural capacitance of a human body when standing near a circuit can change the capacity of the circuit. He used that to create an invisible burglar alarm -- there was an antenna sending out radio waves, and if someone came within the transmitting field of the antenna, that would cause a switch to flip and a noise to be sounded. He was then asked to create a device for measuring the density of gases, outputting a different frequency for different densities. Because gas density can have lots of minor fluctuations because of air currents and so forth, he built a circuit that would cut out all the many harmonics from the audions he was using and give just the main frequency as a single pure tone, which he could listen to with headphones. That way,  slight changes in density would show up as a slight change in the tone he heard. But he noticed that again when he moved near the circuit, that changed the capacitance of the circuit and changed the tone he was hearing. He started moving his hand around near the circuit and getting different tones. The closer his hand got to the capacitor, the higher the note sounded. And if he shook his hand a little, he could get a vibrato, just like when he shook his hand while playing the cello. He got Ioffe to come and listen to him, and Ioffe said "That's an electronic Orpheus' lament!" [Excerpt: Blake Jones and the Trike Shop, "Mr. Theremin's Miserlou"] Termen figured out how to play Massenet's "Elegy" and Saint-Saens' "The Swan" using this system. Soon the students were all fascinated, telling each other "Termen plays Gluck on a voltmeter!" He soon figured out various refinements -- by combining two circuits, using the heterodyne principle, he could allow for far finer control. He added a second antenna, for volume control, to be used by the left hand -- the right hand would choose the notes, while the left hand would change the volume, meaning the instrument could be played without touching it at all. He called the instrument the "etherphone",  but other people started calling it the termenvox -- "Termen's voice". Termen's instrument was an immediate sensation, as was his automatic burglar alarm, and he was invited to demonstrate both of them to Lenin. Lenin was very impressed by Termen -- he wrote to Trotsky later talking about Termen's inventions, and how the automatic burglar alarm might reduce the number of guards needed to guard a perimeter. But he was also impressed by Termen's musical invention. Termen held his hands to play through the first half of a melody, before leaving the Russian leader to play the second half by himself -- apparently he made quite a good job of it. Because of Lenin's advocacy for his work, Termen was sent around the Soviet Union on a propaganda tour -- what was known as an "agitprop tour", in the familiar Soviet way of creating portmanteau words. In 1923 the first piece of music written specially for the instrument was performed by Termen himself with the Leningrad Philharmonic, Andrey Paschenko's Symphonic Mystery for Termenvox and Orchestra. The score for that was later lost, but has been reconstructed, and the piece was given a "second premiere" in 2020 [Excerpt: Andrey Paschenko, "Symphonic Mystery for Termenvox and Orchestra" ] But the musical instrument wasn't the only scientific innovation that Termen was working on. He thought he could reverse death itself, and bring the dead back to life.  He was inspired in this by the way that dead organisms could be perfectly preserved in the Siberian permafrost. He thought that if he could only freeze a dead person in the permafrost, he could then revive them later -- basically the same idea as the later idea of cryogenics, although Termen seems to have thought from the accounts I've read that all it would take would be to freeze and then thaw them, and not to have considered the other things that would be necessary to bring them back to life. Termen made two attempts to actually do this, or at least made preliminary moves in that direction. The first came when his assistant, a twenty-year-old woman, died of pneumonia. Termen was heartbroken at the death of someone so young, who he'd liked a great deal, and was convinced that if he could just freeze her body for a while he could soon revive her. He talked with Ioffe about this -- Ioffe was friends with the girl's family -- and Ioffe told him that he thought that he was probably right and probably could revive her. But he also thought that it would be cruel to distress the girl's parents further by discussing it with them, and so Termen didn't get his chance to experiment. He was even keener on trying his technique shortly afterwards, when Lenin died. Termen was a fervent supporter of the Revolution, and thought Lenin was a great man whose leadership was still needed -- and he had contacts within the top echelons of the Kremlin. He got in touch with them as soon as he heard of Lenin's death, in an attempt to get the opportunity to cryopreserve his corpse and revive him. Sadly, by this time it was too late. Lenin's brain had been pickled, and so the opportunity to resurrect him as a zombie Lenin was denied forever. Termen was desperately interested in the idea of bringing people back from the dead, and he wanted to pursue it further with his lab, but he was also being pushed to give demonstrations of his music, as well as doing security work -- Ioffe, it turned out, was also working as a secret agent, making various research trips to Germany that were also intended to foment Communist revolution. For now, Termen was doing more normal security work -- his burglar alarms were being used to guard bank vaults and the like, but this was at the order of the security state. But while Termen was working on his burglar alarms and musical instruments and attempts to revive dead dictators, his main project was his doctoral work, which was on the TV. We've said before in this podcast that there's no first anything, and that goes just as much for inventions as it does for music. Most inventions build on work done by others, which builds on work done by others, and so there were a lot of people building prototype TVs at this point. In Britain we tend to say "the inventor of the TV" was John Logie Baird, but Baird was working at the same time as people like the American Charles Francis Jenkins and the Japanese inventor Kenjiro Takayanagi, all of them building on earlier work by people like Archibald Low. Termen's prototype TV, the first one in Russia, came slightly later than any of those people, but was created more or less independently, and was more advanced in several ways, with a bigger screen and better resolution. Shortly after Lenin's death, Termen was invited to demonstrate his invention to Stalin, who professed himself amazed at the "magic mirror". [Excerpt: Blake Jones and the Trike Shop, "Astronauts in Trouble"] Termen was sent off to tour Europe giving demonstrations of his inventions, particularly his musical instrument. It was on this trip that he started using the Romanisation "Leon Theremin", and this is how Western media invariably referred to him. Rather than transliterate the Cyrillic spelling of his birth name, he used the French spelling his Huguenot ancestors had used before they emigrated to Russia, and called himself Leo or Leon rather than Lev. He was known throughout his life by both names, but said to a journalist in 1928 "First of all, I am not Tair-uh-MEEN. I wrote my name with French letters for French pronunciation. I am Lev Sergeyevich Tair-MEN.". We will continue to call him Termen, partly because he expressed that mild preference (though again, he definitely went by both names through choice) but also to distinguish him from the instrument, because while his invention remained known in Russia as the termenvox, in the rest of the world it became known as the theremin. He performed at the Paris Opera, and the New York Times printed a review saying "Some musicians were extremely pessimistic about the possibilities of the device, because at times M. Theremin played lamentably out of tune. But the finest Stradivarius, in the hands of a tyro, can give forth frightful sounds. The fact that the inventor was able to perform certain pieces with absolute precision proves that there remains to be solved only questions of practice and technique." Termen also came to the UK, where he performed in front of an audience including George Bernard Shaw, Arnold Bennett, Henry Wood and others. Arnold Bennett was astonished, but Bernard Shaw, who had very strong opinions about music, as anyone who has read his criticism will be aware, compared the sound unfavourably to that of a comb and paper. After performing in Europe, Termen made his way to the US, to continue his work of performance, propagandising for the Soviet Revolution, and trying to license the patents for his inventions, to bring money both to him and to the Soviet state. He entered the US on a six-month visitor's visa, but stayed there for eleven years, renewing the visa every six months. His initial tour was a success, though at least one open-air concert had to be cancelled because, as the Communist newspaper the Daily Worker put it, "the weather on Saturday took such a counter-revolutionary turn". Nicolas Slonimsky, the musicologist we've encountered several times before, and who would become part of Termen's circle in the US, reviewed one of the performances, and described the peculiar audiences that Termen was getting -- "a considerable crop of ladies and gentlemen engaged in earnest exploration of the Great Beyond...the mental processes peculiar to believers in cosmic vibrations imparted a beatific look to some of the listeners. Boston is a seat of scientific religion; before he knows it Professor Theremin may be proclaimed Krishnamurti and sanctified as a new deity". Termen licensed his patents on the invention to RCA, who in 1929 started mass-producing the first ever theremins for general use. Termen also started working with the conductor Leopold Stokowski, including developing a new kind of theremin for Stokowski's orchestra to use, one with a fingerboard played like a cello. Stokowski said "I believe we shall have orchestras of these electric instruments. Thus will begin a new era in music history, just as modern materials and methods of construction have produced a new era of architecture." Possibly of more interest to the wider public, Lennington Sherwell, the son of an RCA salesman, took up the theremin professionally, and joined the band of Rudy Vallee, one of the most popular singers of the period. Vallee was someone who constantly experimented with new sounds, and has for example been named as the first band leader to use an electric banjo, and Vallee liked the sound of the theremin so much he ordered a custom-built left-handed one for himself. Sherwell stayed in Vallee's band for quite a while, and performed with him on the radio and in recording sessions, but it's very difficult to hear him in any of the recordings -- the recording equipment in use in 1930 was very primitive, and Vallee had a very big band with a lot of string and horn players, and his arrangements tended to have lots of instruments playing in unison rather than playing individual lines that are easy to differentiate. On top of that, the fashion at the time when playing the instrument was to try and have it sound as much like other instruments as possible -- to duplicate the sound of a cello or violin or clarinet, rather than to lean in to the instrument's own idiosyncracies. I *think* though that I can hear Sherwell's playing in the instrumental break of Vallee's big hit "You're Driving Me Crazy" -- certainly it was recorded at the time that Sherwell was in the band, and there's an instrument in there with a very pure tone, but quite a lot of vibrato, in the mid range, that seems only to be playing in the break and not the rest of the song. I'm not saying this is *definitely* a theremin solo on one of the biggest hits of 1930, but I'm not saying it's not, either: [Excerpt: Rudy Vallee, "You're Driving Me Crazy" ] Termen also invented a light show to go along with his instrument -- the illumovox, which had a light shining through a strip of gelatin of different colours, which would be rotated depending on the pitch of the theremin, so that lower notes would cause the light to shine a deep red, while the highest notes would make it shine a light blue, with different shades in between. By 1930, though, Termen's fortunes had started to turn slightly. Stokowski kept using theremins in the orchestra for a while, especially the fingerboard models to reinforce the bass, but they caused problems. As Slonimsky said "The infrasonic vibrations were so powerful...that they hit the stomach physically, causing near-nausea in the double-bass section of the orchestra". Fairly soon, the Theremin was overtaken by other instruments, like the ondes martenot, an instrument very similar to the theremin but with more precise control, and with a wider range of available timbres. And in 1931, RCA was sued by another company for patent infringement with regard to the Theremin -- the De Forest Radio Company had patents around the use of vacuum tubes in music, and they claimed damages of six thousand dollars, plus RCA had to stop making theremins. Since at the time, RCA had only made an initial batch of five hundred instruments total, and had sold 485 of them, many of them as promotional loss-leaders for future batches, they had actually made a loss of three hundred dollars even before the six thousand dollar damages, and decided not to renew their option on Termen's patents. But Termen was still working on his musical ideas. Slonimsky also introduced Termen to the avant-garde composer and theosophist Henry Cowell, who was interested in experimental sounds, and used to do things like play the strings inside the piano to get a different tone: [Excerpt: Henry Cowell, "Aeolian Harp and Sinister Resonance"] Cowell was part of a circle of composers and musicologists that included Edgard Varese, Charles Ives, and Charles Seeger and Ruth Crawford, who Cowell would introduce to each other. Crawford would later marry Seeger, and they would have several children together, including the folk singer Peggy Seeger, and Crawford would also adopt Seeger's son Pete. Cowell and Termen would together invent the rhythmicon, the first ever drum machine, though the rhythmicon could play notes as well as rhythms. Only two rhythmicons were made while Termen was in the US. The first was owned by Cowell. The second, improved, model was bought by Charles Ives, but bought as a gift for Cowell and Slonimsky to use in their compositions. Sadly, both rhythmicons eventually broke down, and no recording of either is known to exist. Termen started to get further and further into debt, especially as the Great Depression started to hit, and he also had a personal loss -- he'd been training a student and had fallen in love with her, although he was married. But when she married herself, he cut off all ties with her, though Clara Rockmore would become one of the few people to use the instrument seriously and become a real virtuoso on it. He moved into other fields, all loosely based around the same basic ideas of detecting someone's distance from an object. He built electronic gun detectors for Alcatraz and Sing-Sing prisons, and he came up with an altimeter for aeroplanes. There was also a "magic mirror" -- glass that appeared like a mirror until it was backlit, at which point it became transparent. This was put into shop windows along with a proximity detector -- every time someone stepped close to look at their reflection, the reflection would disappear and be replaced with the objects behind the mirror. He was also by this point having to spy for the USSR on a more regular basis. Every week he would meet up in a cafe with two diplomats from the Russian embassy, who would order him to drink several shots of vodka -- the idea was that they would loosen his inhibitions enough that he would not be able to hide things from them -- before he related various bits of industrial espionage he'd done for them. Having inventions of his own meant he was able to talk with engineers in the aerospace industry and get all sorts of bits of information that would otherwise not have been available, and he fed this back to Moscow. He eventually divorced his first wife, and remarried -- a Black American dancer many years his junior named Lavinia Williams, who would be the great love of his life. This caused some scandal in his social circle, more because of her race than the age gap. But by 1938 he had to leave the US. He'd been there on a six-month visa, which had been renewed every six months for more than a decade, and he'd also not been paying income tax and was massively in debt. He smuggled himself back to the USSR, but his wife was, at the last minute, not allowed on to the ship with him. He'd had to make the arrangements in secret, and hadn't even told her of the plans, so the first she knew was when he disappeared. He would later claim that the Soviets had told him she would be sent for two weeks later, but she had no knowledge of any of this. For decades, Lavinia would not even know if her husband was dead or alive. [Excerpt: Blake Jones and the Trike Shop, "Astronauts in Trouble"] When Termen got back to the USSR, he found it had changed beyond recognition. Stalin's reign of terror was now well underway, and not only could he not find a job, most of the people who he'd been in contact with at the top of the Kremlin had been purged. Termen was himself arrested and tortured into signing a false confession to counter-revolutionary activities and membership of fascist organisations. He was sentenced to eight years in a forced labour camp, which in reality was a death sentence -- it was expected that workers there would work themselves to death on starvation rations long before their sentences were up -- but relatively quickly he was transferred to a special prison where people with experience of aeronautical design were working. He was still a prisoner, but in conditions not too far removed from normal civilian life, and allowed to do scientific and technical work with some of the greatest experts in the field -- almost all of whom had also been arrested in one purge or another. One of the pieces of work Termen did was at the direct order of Laventy Beria, Stalin's right-hand man and the architect of most of the terrors of the Stalinist regime. In Spring 1945, while the USA and USSR were still supposed to be allies in World War II, Beria wanted to bug the residence of the US ambassador, and got Termen to design a bug that would get past all the normal screenings. The bug that Termen designed was entirely passive and unpowered -- it did nothing unless a microwave beam of a precise frequency was beamed at it, and only then did it start transmitting. It was placed in a wooden replica of the Great Seal of the United States, presented to the ambassador by a troupe of scouts as a gesture of friendship between the two countries. The wood in the eagle's beak was thin enough to let the sound through. It remained there for seven years, through the tenures of four ambassadors, only being unmasked when a British radio operator accidentally tuned to the frequency it was transmitting on and was horrified to hear secret diplomatic conversations. Upon its discovery, the US couldn't figure out how it worked, and eventually shared the information with MI5, who took eighteen months to reverse-engineer Termen's bug and come up with their own, which remained the standard bug in use for about a decade. The CIA's own attempts to reverse-engineer it failed altogether. It was also Termen who came up with that well-known bit of spycraft -- focussing an infra-red beam on a window pane, to use it to pick up the sound of conversations happening in the room behind it. Beria was so pleased with Termen's inventions that he got Termen to start bugging Stalin himself, so Beria would be able to keep track of Stalin's whims. Termen performed such great services for Beria that Beria actually allowed him to go free not long after his sentence was served. Not only that, but Beria nominated Termen for the Stalin Award, Class II, for his espionage work -- and Stalin, not realising that Termen had been bugging *him* as well as foreign powers, actually upgraded that to a Class I, the highest honour the Soviet state gave. While Termen was free, he found himself at a loose end, and ended up volunteering to work for the organisation he had been working for -- which went by many names but became known as the KGB from the 1950s onwards. He tried to persuade the government to let Lavinia, who he hadn't seen in eight years, come over and join him, but they wouldn't even allow him to contact her, and he eventually remarried. Meanwhile, after Stalin's death, Beria was arrested for his crimes, and charged under the same law that he had had Termen convicted under. Beria wasn't as lucky as Termen, though, and was executed. By 1964, Termen had had enough of the KGB, because they wanted him to investigate obvious pseudoscience -- they wanted him to look into aliens, UFOs, ESP... and telepathy. [Excerpt, The Beach Boys, "Good Vibrations (early version)" "She's already working on my brain"] He quit and went back to civilian life.  He started working in the acoustics lab in Moscow Conservatory, although he had to start at the bottom because everything he'd been doing for more than a quarter of a century was classified. He also wrote a short book on electronic music. In the late sixties an article on him was published in the US -- the first sign any of his old friends had that he'd not  died nearly thirty years earlier. They started corresponding with him, and he became a minor celebrity again, but this was disapproved of by the Soviet government -- electronic music was still considered bourgeois decadence and not suitable for the Soviet Union, and all his instruments were smashed and he was sacked from the conservatory. He continued working in various technical jobs until the 1980s, and still continued inventing refinements of the theremin, although he never had any official support for his work. In the eighties, a writer tried to get him some sort of official recognition -- the Stalin Prize was secret -- and the university at which he was working sent a reply saying, in part, "L.S. Termen took part in research conducted by the department as an ordinary worker and he did not show enough creative activity, nor does he have any achievements on the basis of which he could be recommended for a Government decoration." By this time he was living in shared accommodation with a bunch of other people, one room to himself and using a shared bathroom, kitchen, and so on. After Glasnost he did some interviews and was asked about this, and said "I never wanted to make demands and don't want to now. I phoned the housing department about three months ago and inquired about my turn to have a new flat. The woman told me that my turn would come in five or six years. Not a very reassuring answer if one is ninety-two years old." In 1989 he was finally allowed out of the USSR again, for the first time in fifty-one years, to attend a UNESCO sponsored symposium on electronic music. Among other things, he was given, forty-eight years late, a letter that his old colleague Edgard Varese had sent about his composition Ecuatorial, which had originally been written for theremin. Varese had wanted to revise the work, and had wanted to get modified theremins that could do what he wanted, and had asked the inventor for help, but the letter had been suppressed by the Soviet government. When he got no reply, Varese had switched to using ondes martenot instead. [Excerpt: Edgard Varese, "Ecuatorial"] In the 1970s, after the death of his third wife, Termen had started an occasional correspondence with his second wife, Lavinia, the one who had not been able to come with him to the USSR and hadn't known if he was alive for so many decades. She was now a prominent activist in Haiti, having established dance schools in many Caribbean countries, and Termen still held out hope that they could be reunited, even writing her a letter in 1988 proposing remarriage. But sadly, less than a month after Termen's first trip outside the USSR, she died -- officially of a heart attack or food poisoning, but there's a strong suspicion that she was murdered by the military dictatorship for her closeness to Jean-Bertrand Aristide, the pro-democracy activist who later became President of Haiti. Termen was finally allowed to join the Communist Party in the spring of 1991, just before the USSR finally dissolved -- he'd been forbidden up to that point because of his conviction for counter-revolutionary crimes. He was asked by a Western friend why he'd done that when everyone else was trying to *leave* the Communist Party, and he explained that he'd made a promise to Lenin. In his final years he was researching immortality, going back to the work he had done in his youth, working with biologists, trying to find a way to restore elderly bodies to youthful vigour. But sadly he died in 1993, aged ninety-seven, before he achieved his goal. On one of his last trips outside the USSR, in 1991, he visited the US, and in California he finally got to hear the song that most people associate with his invention, even though it didn't actually feature a theremin: [Excerpt: The Beach Boys, "Good Vibrations"] Back in the 1930s, when he was working with Slonimsky and Varese and Ives and the rest, Termen had set up the Theremin Studio, a sort of experimental arts lab, and in 1931 he had invited the musicologist, composer, and theoretician Joseph Schillinger to become a lecturer there. Schillinger had been one of the first composers to be really interested in the theremin, and had composed a very early piece written specifically for the instrument, the First Airphonic Suite: [Excerpt: Joseph Schillinger, "First Airphonic Suite"] But he was most influential as a theoretician. Schillinger believed that all of the arts were susceptible to rigorous mathematical analysis, and that you could use that analysis to generate new art according to mathematical principles, art that would be perfect. Schillinger planned to work with Termen to try to invent a machine that could compose, perform, and transmit music. The idea was that someone would be able to tune in a radio and listen to a piece of music in real time as it was being algorithmically composed and transmitted. The two men never achieved this, but Schillinger became very, very, respected as someone with a rigorous theory of musical structure -- though reading his magnum opus, the Schillinger System of Musical Composition, is frankly like wading through treacle. I'll read a short excerpt just to give an idea of his thinking: "On the receiving end, phasic stimuli produced by instruments encounter a metamorphic auditory integrator. This integrator represents the auditory apparatus as a whole and is a complex interdependent system. It consists of two receivers (ears), transmitters, auditory nerves, and a transformer, the auditory braincenter.  The response to a stimulus is integrated both quantitatively and selectively. The neuronic energy of response becomes the psychonic energy of auditory image. The response to stimuli and the process of integration are functional operations and, as such, can be described in mathematical terms , i.e., as  synchronization, addition, subtraction, multiplication, etc. But these integrative processes alone do not constitute the material of orchestration either.  The auditory image, whether resulting from phasic stimuli of an excitor or from selfstimulation of the auditory brain-center, can be described only in Psychological terms, of loudness, pitch, quality, etc. This leads us to the conclusion that the material of orchestration can be defined only as a group of conditions under which an integrated image results from a sonic stimulus subjected to an auditory response.  This constitutes an interdependent tripartite system, in which the existence of one component necessitates the existence of two others. The composer can imagine an integrated sonic form, yet he cannot transmit it to the auditor (unless telepathicaliy) without sonic stimulus and hearing apparatus." That's Schillinger's way of saying that if a composer wants someone to hear the music they've written, the composer needs a musical instrument and the listener needs ears and a brain. This kind of revolutionary insight made Schillinger immensely sought after in the early 1930s, and among his pupils were the swing bandleaders Benny Goodman and Tommy Dorsey, and the songwriter George Gershwin, who turned to Schillinger for advice when he was writing his opera Porgy and Bess: [Excerpt: Ella Fitzgerald and Louis Armstrong, "Here Come De Honey Man"] Another of his pupils was the trombonist and arranger Glenn Miller, who at that time was a session player working in pickup studio bands for people like Red Nichols. Miller spent some time studying with him in the early thirties, and applied those lessons when given the job of putting together arrangements for Ray Noble, his first prominent job. In 1938 Glenn Miller walked into a strip joint to see a nineteen-year-old he'd been told to take a look at. This was another trombonist, Paul Tanner, who was at the time working as a backing musician for the strippers. Miller had recently broken up his first big band, after a complete lack of success, and was looking to put together a new big band, to play arrangements in the style he had worked out while working for Noble. As Tanner later put it "he said, `Well, how soon can you come with me?' I said, `I can come right now.' I told him I was all packed, I had my toothbrush in my pocket and everything. And so I went with him that night, and I stayed with him until he broke the band up in September 1942." The new band spent a few months playing the kind of gigs that an unknown band can get, but they soon had a massive success with a song Miller had originally written as an arranging exercise set for him by Schillinger, a song that started out under the title "Miller's Tune", but soon became known worldwide as "Moonlight Serenade": [Excerpt: Glenn Miller, "Moonlight Serenade"] The Miller band had a lot of lineup changes in the four and a bit years it was together, but other than Miller himself there were only four members who were with that group throughout its career, from the early dates opening for  Freddie Fisher and His Schnickelfritzers right through to its end as the most popular band in America. They were piano player Chummy MacGregor, clarinet player Wilbur Schwartz, tenor sax player Tex Beneke, and Tanner. They played on all of Miller's big hits, like "In the Mood" and "Chattanooga Choo-Choo": [Excerpt: Glenn Miller, "Chattanooga Choo-Choo"] But in September 1942, the band broke up as the members entered the armed forces, and Tanner found himself in the Army while Miller was in the Air Force, so while both played in military bands, they weren't playing together, and Miller disappeared over the Channel, presumed dead, in 1944. Tanner became a session trombonist, based in LA, and in 1958 he found himself on a session for a film soundtrack with Dr. Samuel Hoffman. I haven't been able to discover for sure which film this was for, but the only film on which Hoffman has an IMDB credit for that year is that American International Pictures classic, Earth Vs The Spider: [Excerpt: Earth Vs The Spider trailer] Hoffman was a chiropodist, and that was how he made most of his living, but as a teenager in the 1930s he had been a professional violin player under the name Hal Hope. One of the bands he played in was led by a man named Jolly Coburn, who had seen Rudy Vallee's band with their theremin and decided to take it up himself. Hoffman had then also got a theremin, and started his own all-electronic trio, with a Hammond organ player, and with a cello-style fingerboard theremin played by William Schuman, the future Pulitzer Prize winning composer. By the 1940s, Hoffman was a full-time doctor, but he'd retained his Musicians' Union card just in case the odd gig came along, and then in 1945 he received a call from Miklos Rozsa, who was working on the soundtrack for Alfred Hitchcock's new film, Spellbound. Rozsa had tried to get Clara Rockmore, the one true virtuoso on the theremin playing at the time, to play on the soundtrack, but she'd refused -- she didn't do film soundtrack work, because in her experience they only wanted her to play on films about ghosts or aliens, and she thought it damaged the dignity of the instrument. Rozsa turned to the American Federation of Musicians, who as it turned out had precisely one theremin player who could read music and wasn't called Clara Rockmore on their books. So Dr. Samuel Hoffman, chiropodist, suddenly found himself playing on one of the most highly regarded soundtracks of one of the most successful films of the forties: [Excerpt: Miklos Rozsa, "Spellbound"] Rozsa soon asked Hoffman to play on another soundtrack, for the Billy Wilder film The Lost Weekend, another of the great classics of late forties cinema. Both films' soundtracks were nominated for the Oscar, and Spellbound's won, and Hoffman soon found himself in demand as a session player. Hoffman didn't have any of Rockmore's qualms about playing on science fiction and horror films, and anyone with any love of the genre will have heard his playing on genre classics like The Five Thousand Fingers of Dr T, The Thing From Another World, It Came From Outer Space, and of course Bernard Hermann's score for The Day The Earth Stood Still: [Excerpt: The Day The Earth Stood Still score] As well as on such less-than-classics as The Devil's Weed, Voodoo Island, The Mad Magician, and of course Billy The Kid Vs Dracula. Hoffman became something of a celebrity, and also recorded several albums of lounge music with a band led by Les Baxter, like the massive hit Music Out Of The Moon, featuring tracks like “Lunar Rhapsody”: [Excerpt: Samuel Hoffman, "Lunar Rhapsody”] [Excerpt: Neil Armstrong] That voice you heard there was Neil Armstrong, on Apollo 11 on its way back from the moon. He took a tape of Hoffman's album with him. But while Hoffman was something of a celebrity in the fifties, the work dried up almost overnight in 1958 when he worked at that session with Paul Tanner. The theremin is a very difficult instrument to play, and while Hoffman was a good player, he wasn't a great one -- he was getting the work because he was the best in a very small pool of players, not because he was objectively the best there could be. Tanner noticed that Hoffman was having quite some difficulty getting the pitching right in the session, and realised that the theremin must be a very difficult instrument to play because it had no markings at all. So he decided to build an instrument that had the same sound, but that was more sensibly controlled than just waving your hands near it. He built his own invention, the electrotheremin, in less than a week, despite never before having had any experience in electrical engineering. He built it using an oscillator, a length of piano wire and a contact switch that could be slid up and down the wire, changing the pitch. Two days after he finished building it, he was in the studio, cutting his own equivalent of Hoffman's forties albums, Music For Heavenly Bodies, including a new exotica version of "Moonlight Serenade", the song that Glenn Miller had written decades earlier as an exercise for Schillinger: [Excerpt: Paul Tanner, "Moonlight Serenade"] Not only could the electrotheremin let the player control the pitch more accurately, but it could also do staccato notes easily -- something that's almost impossible with an actual theremin. And, on top of that, Tanner was cheaper than Hoffman. An instrumentalist hired to play two instruments is paid extra, but not as much extra as paying for another musician to come to the session, and since Tanner was a first-call trombone player who was likely to be at the session *anyway*, you might as well hire him if you want a theremin sound, rather than paying for Hoffman. Tanner was an excellent musician -- he was a professor of music at UCLA as well as being a session player, and he authored one of the standard textbooks on jazz -- and soon he had cornered the market, leaving Hoffman with only the occasional gig. We will actually be seeing Hoffman again, playing on a session for an artist we're going to look at in a couple of months, but in LA in the early sixties, if you wanted a theremin sound, you didn't hire a theremin player, you hired Paul Tanner to play his electrotheremin -- though the instrument was so obscure that many people didn't realise he wasn't actually playing a theremin. Certainly Brian Wilson seems to have thought he was when he hired him for "I Just Wasn't Made For These Times": [Excerpt: The Beach Boys, "I Just Wasn't Made For These Times"] We talked briefly about that track back in the episode on "God Only Knows",   but three days after recording that, Tanner was called back into the studio for another session on which Brian Wilson wanted a theremin sound. This was a song titled "Good, Good, Good Vibrations", and it was inspired by a conversation he'd had with his mother as a child. He'd asked her why dogs bark at some people and not at others, and she'd said that dogs could sense vibrations that people sent out, and some people had bad vibrations and some had good ones. It's possible that this came back to mind as he was planning the Pet Sounds album, which of course ends with the sound of his own dogs barking. It's also possible that he was thinking more generally about ideas like telepathy -- he had been starting to experiment with acid by this point, and was hanging around with a crowd of people who were proto-hippies, and reading up on a lot of the mystical ideas that were shared by those people. As we saw in the last episode, there was a huge crossover between people who were being influenced by drugs, people who were interested in Eastern religion, and people who were interested in what we now might think of as pseudo-science but at the time seemed to have a reasonable amount of validity, things like telepathy and remote viewing. Wilson had also had exposure from an early age to people claiming psychic powers. Jo Ann Marks, the Wilson family's neighbour and the mother of former Beach Boy David Marks, later had something of a minor career as a psychic to the stars (at least according to obituaries posted by her son) and she would often talk about being able to sense "vibrations". The record Wilson started out making in February 1966 with the Wrecking Crew was intended as an R&B single, and was also intended to sound *strange*: [Excerpt: The Beach Boys, "Good Vibrations: Gold Star 1966-02-18"] At this stage, the song he was working on was a very straightforward verse-chorus structure, and it was going to be an altogether conventional pop song. The verses -- which actually ended up used in the final single, are dominated by organ and Ray Pohlman's bass: [Excerpt: The Beach Boys, "Good Vibrations: Gold Star 1966-02-18"] These bear a strong resemblance to the verses of "Here Today", on the Pet Sounds album which the Beach Boys were still in the middle of making: [Excerpt: The Beach Boys, "Here Today (instrumental)"] But the chorus had far more of an R&B feel than anything the Beach Boys had done before: [Excerpt: The Beach Boys, "Good Vibrations: Gold Star 1966-02-18"] It did, though, have precedent. The origins of the chorus feel come from "Can I Get a Witness?", a Holland-Dozier-Holland song that had been a hit for Marvin Gaye in 1963: [Excerpt: Marvin Gaye, "Can I Get a Witness?"] The Beach Boys had picked up on that, and also on its similarity to the feel of Lonnie Mack's instrumental cover version of Chuck Berry's "Memphis, Tennessee", which, retitled "Memphis", had also been a hit in 1963, and in 1964 they recorded an instrumental which they called "Memphis Beach" while they were recording it but later retitled "Carl's Big Chance", which was credited to Brian and Carl Wilson, but was basically just playing the "Can I Get a Witness" riff over twelve-bar blues changes, with Carl doing some surf guitar over the top: [Excerpt: The Beach Boys, "Carl's Big Chance"] The "Can I Get a Witness" feel had quickly become a standard piece of the musical toolkit – you might notice the resemblance between that riff and the “talking 'bout my generation” backing vocals on “My Generation” by the Who, for example. It was also used on "The Boy From New York City", a hit on Red Bird Records by the Ad-Libs: [Excerpt: The Ad-Libs, "The Boy From New York City"] The Beach Boys had definitely been aware of that record -- on their 1965 album Summer Days... And Summer Nights! they recorded an answer song to it, "The Girl From New York City": [Excerpt: The Beach Boys, "The Girl From New York City"] And you can see how influenced Brian was by the Ad-Libs record by laying the early instrumental takes of the "Good Vibrations" chorus from this February session under the vocal intro of "The Boy From New York City". It's not a perfect match, but you can definitely hear that there's an influence there: [Excerpt: "The Boy From New York City"/"Good Vibrations"] A few days later, Brian had Carl Wilson overdub some extra bass, got a musician in to do a jaw harp overdub, and they also did a guide vocal, which I've sometimes seen credited to Brian and sometimes Carl, and can hear as both of them depending on what I'm listening for. This guide vocal used a set of placeholder lyrics written by Brian's collaborator Tony Asher, which weren't intended to be a final lyric: [Excerpt: The Beach Boys, "Good Vibrations (first version)"] Brian then put the track away for a month, while he continued work on the Pet Sounds album. At this point, as best we can gather, he was thinking of it as something of a failed experiment. In the first of the two autobiographies credited to Brian (one whose authenticity is dubious, as it was largely put together by a ghostwriter and Brian later said he'd never even read it) he talks about how he was actually planning to give the song to Wilson Pickett rather than keep it for the Beach Boys, and one can definitely imagine a Wilson Pickett version of the song as it was at this point. But Brian's friend Danny Hutton, at that time still a minor session singer who had not yet gone on to form the group that would become Three Dog Night, asked Brian if *he* could have the song if Brian wasn't going to use it. And this seems to have spurred Brian into rethinking the whole song. And in doing so he was inspired by his very first ever musical memory. Brian has talked a lot about how the first record he remembers hearing was when he was two years old, at his maternal grandmother's house, where he heard the Glenn Miller version of "Rhapsody in Blue", a three-minute cut-down version of Gershwin's masterpiece, on which Paul Tanner had of course coincidentally played: [Excerpt: The Glenn Miller Orchestra, "Rhapsody in Blue"] Hearing that music, which Brian's mother also played for him a lot as a child, was one of the most profoundly moving experiences of Brian's young life, and "Rhapsody in Blue" has become one of those touchstone pieces that he returns to again and again. He has recorded studio versions of it twice, in the mid-nineties with Van Dyke Parks: [Excerpt: Brian Wilson and Van Dyke Parks, "Rhapsody in Blue"] and in 2010 with his solo band, as the intro and outro of an album of Gershwin covers: [Excerpt: Brian Wilson, "Rhapsody in Blue"] You'll also often see clips of him playing "Rhapsody in Blue" when sat at the piano -- it's one of his go-to songs. So he decided he was going to come up with a song that was structured like "Rhapsody in Blue" -- what publicist Derek Taylor would later describe as a "pocket symphony", but "pocket rhapsody" would possibly be a better term for it. It was going to be one continuous song, but in different sections that would have different instrumentation and different feelings to them -- he'd even record them in different studios to get different sounds for them, though he would still often have the musicians run through the whole song in each studio. He would mix and match the sections in the edit. His second attempt to record the whole track, at the start of April, gave a sign of what he was attempting, though he would not end up using any of the material from this session: [Excerpt: The Beach Boys, "Good Vibrations: Gold Star 1966-04-09" around 02:34] Nearly a month later, on the fourth of May, he was back in the studio -- this time in Western Studios rather than Gold Star where the previous sessions had been held, with yet another selection of musicians from the Wrecking Crew, plus Tanner, to record another version. This time, part of the session was used for the bridge for the eventual single: [Excerpt: The Beach Boys: "Good Vibrations: Western 1966-05-04 Second Chorus and Fade"] On the twenty-fourth of May the Wrecking Crew, with Carl Wilson on Fender bass (while Lyle Ritz continued to play string bass, and Carol Kaye, who didn't end up on the finished record at all, but who was on many of the unused sessions, played Danelectro), had another attempt at the track, this time in Sunset Studios: [Excerpt: The Beach Boys: "Good Vibrations: Sunset Sound 1966-05-24 (Parts 2&3)"] Three days later, another group of musicians, with Carl now switched to rhythm guitar, were back in Western Studios recording this: [Excerpt: The Beach Boys: "Good Vibrations: Western 1966-05-27 Part C" from 2:52] The fade from that session was used in the final track. A few days later they were in the studio again, a smaller group of people with Carl on guitar and Brian on piano, along with Don Randi on electric harpsichord, Bill Pitman on electric bass, Lyle Ritz on string bass and Hal Blaine on drums. This time there seems to have been another inspiration, though I've never heard it mentioned as an influence. In March, a band called The Association, who were friends with the Beach Boys, had released their single "Along Comes Mary", and by June it had become a big hit: [Excerpt: The Association, "Along Comes Mary"] Now the fuzz bass part they were using on the session on the second of June sounds to my ears very, very, like that intro: [Excerpt: The Beach Boys, "Good Vibrations (Inspiration) Western 1966-06-02" from 01:47] That session produced the basic track that was used for the choruses on the final single, onto which the electrotheremin was later overdubbed as Tanner wasn't at that session. Some time around this point, someone suggested to Brian that they should use a cello along with the electrotheremin in the choruses, playing triplets on the low notes. Brian has usually said that this was Carl's idea, while Brian's friend Van Dyke Parks has always said that he gave Brian the idea. Both seem quite certain of this, and neither has any reason to lie, so I suspect what might have happened is that Parks gave Brian the initial idea to have a cello on the track, while Carl in the studio suggested having it specifically play triplets. Either way, a cello part by Jesse Erlich was added to those choruses. There were more sessions in June, but everything from those sessions was scrapped. At some point around this time, Mike Love came up with a bass vocal lyric, which he sang along with the bass in the choruses in a group vocal session. On August the twenty-fourth, two months after what one would think at this point was the final instrumental session, a rough edit of the track was pulled together. By this point the chorus had altered quite a bit. It had originally just been eight bars of G-flat, four bars of B-flat, then four more bars of G-flat. But now Brian had decided to rework an idea he had used in "California Girls". In that song, each repetition of the line "I wish they all could be California" starts a tone lower than the one before. Here, after the bass hook line is repeated, everything moves up a step, repeats the line, and then moves up another step: [Excerpt: The Beach Boys, "Good Vibrations: [Alternate Edit] 1966-08-24"] But Brian was dissatisfied with this version of the track. The lyrics obviously still needed rewriting, but more than that, there was a section he thought needed totally rerecording -- this bit: [Excerpt: The Beach Boys, "Good Vibrations: [Alternate Edit] 1966-08-24"] So on the first of September, six and a half months after the first instrumental session for the song, the final one took place. This had Dennis Wilson on organ, Tommy Morgan on harmonicas, Lyle Ritz on string bass, and Hal Blaine and Carl Wilson on percussion, and replaced that with a new, gentler, version: [Excerpt: The Beach Boys: "Good Vibrations (Western 1966-09-01) [New Bridge]"] Well, that was almost the final instrumental session -- they called Paul Tanner in to a vocal overdub session to redo some of the electrotheremin parts, but that was basically it. Now all they had to do was do the final vocals. Oh, and they needed some proper lyrics. By this point Brian was no longer working with Tony Asher. He'd started working with Van Dyke Parks on some songs, but Parks wasn't interested in stepping into a track that had already been worked on so long, so Brian eventually turned to Mike Love, who'd already come up with the bass vocal hook, to write the lyrics. Love wrote them in the car, on the way to the studio, dictating them to his wife as he drove, and they're actually some of his best work. The first verse grounds everything in the sensory, in the earthy. He makes a song originally about *extra* -sensory perception into one about sensory perception -- the first verse covers sight, sound, and smell: [Excerpt: The Beach Boys, "Good Vibrations"] Carl Wilson was chosen to sing the lead vocal, but you'll notice a slight change in timbre on the line "I hear the sound of a" -- that's Brian stepping into double him on the high notes. Listen again: [Excerpt: The Beach Boys, "Good Vibrations"] For the second verse, Love's lyric moves from the sensory grounding of the first verse to the extrasensory perception that the song has always been about, with the protagonist knowing things about the woman who's the object of the song without directly perceiving them. The record is one of those where I wish I was able to play the whole thing for you, because it's a masterpiece of structure, and of editing, and of dynamics. It's also a record that even now is impossible to replicate properly on stage, though both its writers in their live performances come very close. But while someone in the audience for either the current touring Beach Boys led by Mike Love or for Brian Wilson's solo shows might come away thinking "that sounded just like the record", both have radically different interpretations of it even while sticking close to the original arrangement. The touring Beach Boys' version is all throbbing strangeness, almost garage-rock, emphasising the psychedelia of the track: [Excerpt: The Beach Boys, "Good Vibrations (live 2014)"] While Brian Wilson's live version is more meditative, emphasising the gentle aspects: [Excerpt Brian Wilson, "Good Vibrations (live at the Roxy)"] But back in 1966, there was definitely no way to reproduce it live with a five-person band. According to Tanner, they actually asked him if he would tour with them, but he refused -- his touring days were over, and also he felt he would look ridiculous, a middle-aged man on stage with a bunch of young rock and roll stars, though apparently they offered to buy him a wig so he wouldn't look so out of place. When he wouldn't tour with them, they asked him where they could get a theremin, and he pointed them in the direction of Robert Moog. Moog -- whose name is spelled M-o-o-g and often mispronounced "moog", had been a teenager in 1949, when he'd seen a schematic for a theremin in an electronic hobbyist magazine, after Samuel Hoffman had brought the instrument back into the limelight. He'd built his own, and started building others to sell to other hobbyists, and had also started branching out into other electronic instruments by the mid-sixties. His small company was the only one still manufacturing actual theremins, but when the Beach Boys came to him and asked him for one, they found it very difficult to control, and asked him if he could do anything simpler. He came up with a ribbon-controlled oscillator, on the same principle as Tanner's electro-theremin, but even simpler to operate, and the Beach Boys bought it and gave it to Mike Love to play on stage. All he had to do was run his finger up and down a metallic ribbon, with the positions of the notes marked on it, and it would come up with a good approximation of the electro-theremin sound. Love played this "woo-woo machine" as he referred to it, on stage for several years: [Excerpt: The Beach Boys, "Good Vibrations (live in Hawaii 8/26/67)"] Moog was at the time starting to build his first synthesisers, and having developed that ribbon-control mechanism he decided to include it in the early models as one of several different methods of controlling the Moog synthesiser, the instrument that became synonymous with the synthesiser in the late sixties and early seventies: [Excerpt: Gershon Kingsley and Leonid Hambro, "Rhapsody in Blue" from Switched-On Gershwin] "Good Vibrations" became the Beach Boys' biggest ever hit -- their third US number one, and their first to make number one in the UK. Brian Wilson had managed, with the help of his collaborators, to make something that combined avant-garde psychedelic music and catchy pop hooks, a truly experimental record that was also a genuine pop classic. To this day, it's often cited as the greatest single of all time. But Brian knew he could do better. He could be even more progressive. He could make an entire album using the same techniques as "Good Vibrations", one where themes could recur, where sections could be edited together and songs could be constructed in the edit. Instead of a pocket symphony, he could make a full-blown teenage symphony to God. All he had to do was to keep looking forward, believe he could achieve his goal, and whatever happened, not lose his nerve and turn back. [Excerpt: The Beach Boys, "Smile Promo" ]

A week ago I made a post on my personal Facebook page asking what should the next episode of the podcast focus on, and my good buddy Kris Forward suggested 60's Proto-Punk. Now, I know very little about this "genre" except for it's major players, The Stooges, MC5, The Velvets, etc., so I thought it would be fun to put something together and learn a little more. So here we are. 22 songs that I think are a pretty damn good representation of what one would call Proto-Punk. I hope you enjoy it. Don't forget to tell your friends or anyone you know that loves music to check out the podcast, subscribe to it, and give it a rating it would really help out! Track list: 1. MC5 - "Ramblin' Rose" 2. The Sonics - "The Witch" 3. The Monks - "I Hate You" 4. The Strangeloves - "Night Time" 5. Them - "Mystic Eyes" 6. The Stooges - "Not Right" 7. The Deejays - "Black Eyed Woman" 8. 13th Floor Elevators - "You're Gonna Miss Me" 9. The Velvet Underground - "I'm Waiting For the Man" 10. The Music Machine - "Double Yellow Line" 11. The Seeds - "Pushin' To Hard" 12. The Rationals - "I Need You" 13. The Lyrics - "So What!!" 14. Love - "7 & 7 Is.." 15. The Castaways - "Liar, Liar" 16. The Blue Rondos - "Baby I Go For You" 17. The Kingpins - "Diamond Girl" 18. The E-Types - "Put the Clock Back On the Wall" 19. The Creation - "Making Time" 20. The Vagrants - "Respect" 21. The Standells - "Dirty Water" 22. ???????????

Episode 33 of Ninebullets Radio: Here is the playlist [Artist – Song (Album)]: 01. Divided Heaven - Monuments (Oblivion) 02. Tejon Street Corner Thieves - Goers (Goers) 03. Jeremy Pinnell - Fightin' Man (Goodbye L.A.) 04. Bad Flamingo - Comes Easy To Me 05. Leah Blevins - Afraid (First Time Feeling) 06. Nick Bosse - What Happened To Country 07. Dustin Ballard - Creep (Honky Tonk Version) 08. Cody Jinks - Like A Hurricane (Mercy) 09. Margo Cilker - That River (Pohorylle) 10. Evan Honer - How Could I Ever 11. Dirty Deep - You're Gonna Miss Me (feat. Scott H. Biram) (A Wheel In The Grave) Bold = Request Ninebullets Radio on: Facebook, Soundcloud, Stitcher, Apple Podcasts, Google Music, IHeartRadio

Order and disorder, a freeform haze of garbage guitars, shorted electronics, found detritus, collage, linear songs, sounds from strange lands. Contact me at btradio85@gmail.comPLAYLIST:DOPE PURPLE - Cosmic Rock Is Not Dead - Grateful End (WV Sorcerer Productions, 2021)WITCHES BROOM - Watching - Witches Broom (Cardinal Fuzz, 2022)TANK OF DANZIG - The People Are Hungry - Not Trendy (1982, re: Music à la Coque, 2013)LUCKY PIERRE - Communiqué - V/A: We Are Not Devo; US Synthpunk 79-84 (Energy Dome, 2021, orig 1988)LIQUID LUNCH - Plastic Is Good - Come Again (BC, 2021)TUPPERWARE - Big Tub - Tupperware (cs, Deluxe Bias, 2021)EMILY ROBB - Saucer - How To Moonwalk (Petty Bunco, 2021)MOHEGAN SUN/"RICK JAMES" - It's A Very Special Place - V/A: Taste What They've Done To My Oatmeal: The Worst Compilation Ever Made 1978-2020 (Classic Trash, 2020)MOHEGAN SUN/"THE KNACK" - Big Casino - V/A: Taste What They've Done To My Oatmeal: The Worst Compilation Ever Made 1978-2020 (Classic Trash, 2020)TACO BELL/"THE KNACK" - My Chalupa - V/A: Taste What They've Done To My Oatmeal: The Worst Compilation Ever Made 1978-2020 (Classic Trash, 2020)"THE TROGGS" - Cheesestring - V/A: Taste What They've Done To My Oatmeal: The Worst Compilation Ever Made 1978-2020 (Classic Trash, 2020)XL CAPRIS - Shark Horror - Where Is Hank (Axle/7, 1981)PRIVATE ANARCHY - Palm Was A Gas - Central Planning (Round Bale, 2019)BEGIN SAYS - Arbeit (Demo 1984) - Archives: First Tracks 1983-1985 (Endlesston, 2019)LEE SCOTT & SLY MOON - King of What - FDMB (Blah, 2021)ELENI POULOU/ELOPE - Excerpt - Boiling Holsten (cs, No Bounds Radio, 2021)ZBIGNEIW RYBCZYNSKI - Excerpt - Oh I Can't Stop! (1975)PETER TSCHERKASSKY - Excerpt - Outer Space (1999)PGM - Willie Nelson In Bali - Songs Everybody Knows (cs, NL, 1984)ALENA KRIVILLA - Огонёк Ларька - Encyclopedia For Boys (Post Materialization Music, 2021)ŠVENTINIS BANKUCHENAS - Baudų Baudužė - Nykstančių Liaudies Dainų Rinkinys (Dangus, 2021)ZAÏDI EL BATNI - Malik ya Malik - V/A: Maghreb K7 Club: Synth Raï, Chaoui & Staifi 1985-1997 (Bongo Joe, 2021)MINORU "HOODOO" FUSHIMI - Kenka Oyaji - Kenka Oyaji (Syntax, 1987)BLAWAN - Blika - Woke Up Right Handed (XL, 2021)AFRICAN GHOST VALLEY - HG - Hondas Goblins (Jollies, 2021)PRINCESS DIANA OF WALES - Still Beach - Princess Diana of Wales (cs, A Colourful Storm, 2021)MOHAMMED MUSTAFA HEYDARIAN - Improvisation Based on Shushtari - Songs of Horaman (cs, Radio Khiyaban, 2021)ANNE GILLIS - Rapid Eye Movement - Archives 5CD box: 1983-2005 (Art Into Life, 2015)ROKY ERICKSON ON KSAN 1978THIRTEENTH FLOOR ELEVATORS - You're Gonna Miss Me (live) - You and I and Me (NL, 2020)CLIMAX - You...I - 7" (Ronnex, 1969)TELEPHONE EXCHANGE - Qué Irresponsable - Telégrafos de México (Up In Her Room, 2021)

 Originally published 12/6/15Desert Island Discs - Love 'em and I play a ton tonite!Here's the playlist:You're Gonna Miss Me  13th Floor Elevators High Fidelity (Original Soundtrack) Newest... Real Punk Radio podcast Network brings you the best in Punk, Rock, Underground Music around! From Classic Oi!, Psychobilly and Hardcore to some Classic Rock n Roll and 90's indie Alt Rock greatness!! With Tons of Live DJ's that like to Talk Music From Garage Rock, to Ska.. We are True MUSIC GEEKS!

Be prepared to spill your popcorn this week as we check out songs from spooky flicks! That's right, we are going to the movies and we're prepared for blood n' gore n' frights! Did you ever hear about rock bands selling their souls to the devil, and if you listen to their music or play their albums backwards that you will turn into a demonic zombie??? The 70s, 80s, and 90s were full of films about horrific demons and metal n' punk bands either having their songs featured in the movie, or were themselves featured as the subject of the film. Grab your Reeses Pieces, large Coke, a severed limb, and hum along.What is it we do here at InObscuria? Every show Kevin opens the crypt to exhume and dissect from his personal collection; an artist, album, or collection of tunes from the broad spectrum of rock, punk, and metal. This week Robert gets a glimpse into another collection of lost and forgotten songs from the silver screen SCREAM! Our hope is that we turn you on to something new… and that you make it to the end of movie!Songs this week include:Fastway – “Stand Up” from Trick Or Treat – Original Motion Picture Soundtrack (1986)W.A.S.P. – “Scream Until You Like It” from Live… In The Raw (1987) Roky Erickson – “Burn The Flames” from Return Of The Living Dead (1985)Rollins Band – “Fall Guy” from Tales From The Crypt Presents: Demon Knight (Original Motion Picture Soundtrack) (1995)Black Roses – “Dance On Fire” from Black Roses: Original Motion Picture Soundtrack (1988)Monster Magnet – “Silver Future” from Heavy Metal 2000 (2000)Thor – “We Live To Rock” from Tritonz: The Edge Of Hell (1987)Echo & The Bunnymen – “People Are Strange” from The Lost Boys Soundtrack (1987)Be sure to check out the Roky Erickson documentary: You're Gonna Miss Me and the Jon Mikl Thor documentary I Am Thor!Please subscribe everywhere that you listen to podcasts!Visit us: https://inobscuria.com/https://www.facebook.com/InObscuriahttps://twitter.com/inobscuriahttps://www.instagram.com/inobscuria/Buy cool stuff with our logo on it!: https://www.redbubble.com/people/InObscuria?asc=uIf you'd like to check out Kevin's band THE SWEAR, take a listen on all streaming services or pick up a digital copy of their latest release here: https://theswear.bandcamp.com/If you want to hear Robert and Kevin's band from the late 90s – early 00s BIG JACK PNEUMATIC, check it out here: https://bigjackpnuematic.bandcamp.com/Check out Robert's amazing fire sculptures and metal workings here: http://flamewerx.com/

If you've ever really loved someone, but still lost, this one's for you. Doesn't matter if it was last week or third grade, if someone broke your heart, put another quarter in the “Jukebox From Hell.” It's OK to cry. Nobody's watching.You'll hear:1)     If Hell Had A Jukebox by Travis Tritt2)     I Can't Stop Loving You (Though I Try) by The Outlaws3)     The Best Of Everything by Tom Petty & The Heartbreakers4)     In Dreams by Roy Orbison5)     All the Best by John Prine6)     Bobby Jean by Bruce Springsteen7)     I'll Never Love This Way Again by Dionne Warwick8)     You Still Move Me by Dan Seals9)     When I Stop Dreaming by Emmylou Harris10) I Will Always Love You by Vince Gill (with Dolly Parton)11) Till Your Memory's Gone by Bill Medley12) Best I Ever Had by Chris Isaak13) Young And Innocent by Elefante14) She's Out Of My Life by Michael Jackson15) I Will Always Think About You by New Colony Six16) Chances Are by Bob Seger & The Silver Bullet Band (with Martina McBride)17) Saturday Night by The Eagles18) What Might Have Been by Little Texas19) I Don't Wanna Live Without Your Love by Chicago20) I Know You're Out There Somewhere by The Moody Blues21) What It Takes by Aerosmith22) Interlude Theme (Time is like a Dream) by Timi Yuro23) Second Chance by .38 Special24) Sweetest One by The Crests (with Johnny Maestro)25) I'll Be Here Where The Heart Is by Kim Carnes26) I Could Have Loved You So Well by Ray Peterson27) You're Gonna Miss Me by Connie Francis28) Even Now by Barry Manilow29) I'll Never Get Over You by John Hiatt30) When You Come Back to Me Again by Steve Lawrence31) This Ain't A Love Song by Bon Jovi32) I Won't Be The One To Let Go by Barbra Streisand & Barry Manilow- - - Stand tall. - - - Join the conversation on Facebook at - - - https://www.facebook.com/profile.php?id=100008232395712   - - - - - or by email at - - -dannymemorylane@gmail.com   - - -

Welcome to Showcasing House Music DJ Mixes by dattrax!! 'Electric City' is a tribute to the city we love and where we fell in love with house music, Toronto. A tribute to it's community of house music DJs, producers, promoters, club owners, everyone involved and the all the party people/ the dancers (included those of us who can't dance but love to ;)This is a tribute to the house we got into, grew into, grew up in and fell in love with each time we heard these tracks. A huge hi-five, hug and thank you to all the singers, producers and DJs that made and played these tracks!!'Classic House' is a shifting definition... just depends on when you got into house and when those first 5-6 formative years were for you. For us tracks made in 1985-1996 are considered 'classic' but we started partying in 1990 and from 1990-1996 we were privileged to have heard and danced to the earlier tracks.For 'Electric City', I wanted to go for the 'what old is new again' intent, so it's not entirely a classic house mix because it contains some instrumental tracks that were created past '96 and I included covers and remixes of classics that had the same feel, had great sound quality and didn't care when those were actually produced. For the regular classics, sound quality was paramount also, but had to make exceptions for "Move" and "Music Take Me Up" because they are such wicked tracks (were my poor attempts at transferring my vinyl to digital). I'm sorry but on "Emotions Electric" was a CD version I bought at Sam The Record Man (sadly not in biz anymore)... back to my apology, I cranked the bass too much so...Over 5yrs ago, I wasted almost two months in the cracks of time between work and family recording a crate and a half (150 records) into my computer. Realised afterwards that because I had a crappy sound card the digitized tracks were flat sounding). After that Jim and I just started buying classics on beatport, traxsource, itunes and defected and probably 90% of the time the sound quality was excellent.Got a few classic tracks from friends like Eric Ling, Gene King, Devon Wills and Tyrone Solomon. Then Roberto Pinto told me about Discogs and all my classic house vinyl dreams are gonna coming true. We keep saying but bears repeating: "This is the best time for house music. Period!"As always, we hope you enjoy this mix and that it gives you that house feeling from head to toe. (If you were so inclined, then please donate any amount you'd like to with the paypal button to the right side of this site. We've had two donations in the last four years of operating this site, but hoping to set a record this year & you can be a part of that;)---------------Listed are the 42 tracks in order and a few sentences about each: (Really want to give you a little history of our early journey):cover by FCL- "It's You" (2012) Original (1986) "It's You" by E.S.P. Love this acapella cover!! Thought this would be a great start to this mix. Don't have a good quality version of the original.A Guy Called Gerald- "Emotions Electric" (1988) DJ AKI from the warehouse days made me love this track, it's so beautiful. Bought it on CD many years ago and always wanted to put it on a mix.Murk (Oscar G & Ralf Falcon)/ Coral Way Chiefs *moniker- "Release Myself" (1992) First heard this at a warehouse party on Spadina Ave, south of Dundas St in Toronto's main downtown Chinatown. It was at a "PTS" party!! Peter, Tyrone & Shams dominated warehouse parties for a few summers. Tightest house djs. Shams actually played this track off of reel to reel!!!!!!!!!! Mixing from reel to reel to vinyl turntables- BADASS!!Bobby Konders- "The Poem" (1990) Jim & I first head this at 'RPM All Ages Sundays' DJ'ed by Matt C. Jim flipped out and bought his first house records the next day. Think we met weeks later both stomping like maniacs at the speaker bins. We were 16 and were like: "WHAT THE HECK IS THIS STUFF!! THIS MUSIC IS WICKED!!!"Satoshi Tomiie- "And I Loved You" feat. vocals by Arnold Jarvis (1990) This was a record from my very 1st record purchases. It was summer time and I walked into a record store on Yonge St., downtown called "Carnival" and met Tyrone Solomon (of PTS fame!). Nicest guy and bought Shades of Black's "SHADOWS" EP on some label called 'Intrigue', I think. Can't imagine how many times I've heard this beautiful record and at countless parties.cover by Phonique- "Feel What You Want" feat. vocals by Rebecca (2012) Original (1994) by Rob Dougan & Rollo Armstrong & Kristine W (also featuring her vocals) Jim bought doubles of the original Kristine W. We were crammed into his bedroom when he 1st played it for me- I FLIPPED OUT!! Jim loved phasing doubles and then playing them purposely slightly off beat- sounded wicked!! Now you can do it with a 'delay' effects button. He made a mix on cassette tape, then we went downtown looking for a warehouse party. Love this cover done by Phonique and Rebecca, they keep the original feel but brought a freshness to this timeless vocal track.M.A.W.- "I Can't Get No Sleep" remixed by David Morales (1995) First time I heard this was at a warehouse party near Wellesley St., around 6am, after working nightshift at 7West Cafe. Vince Ailey's friend was DJing. Can't remember his name but was a towering spanish guy, great guy. The way he expertly slowly drifted these two minutes of drum intro into the last song. I was dancing non-stop and when that India vocal came in- WOW!!Tommy Musto- "Take Some Time Out" feat. vocals by Arnold Jarvis (1987) This vocal still gives me goosebumps!! Was a fav at many warehouse jams!remixed by Bush II Bush- "You're Gonna Miss Me" (2007) Original by Turntable Orchestra ‎– "You're Gonna Miss Me" (1988) Love the original the best but don't have a clean, good quality digital copy and my vinyl's all scratched up. This is a really good remix bringing modern day tight, bright sounds to this classic vocal.Bang The Party- "Bang-Bang You're Mine" (1990) First time I heard this was at my pal, Moses' house, we were wrecked and he was mixing this and Fingers Inc tracks. We were all 16yrs old and couldn't believe this house music stuff!!cover by Xakosa- "Miss Me" feat. vocals by Kenny Thomas (2013) Original by Turntable Orchestra ‎– "You're Gonna Miss Me" (1988) This is such a good cover with a jackin' beat, had to include also even though played another version already. Back in the day, DJs like AKI and PTS would tease you by playing parts of a track, 5-6 times during the night- just a sliver, a few beats each time, just enough of a hook. That's how they broke tracks! By the 5th time, everyone was so excited that the whole room was bouncing with hands in the air!Bobby D'Ambrosio‎– "Moment Of My Life" feat. vocals by Michelle Weeks (1997) ‎ This is one of the most uplifting vocal house tracks out there! Michelle Weeks baby!! Man, there are probably 250 classic house tracks I'd love to put in mixes if I only had clean digital versions. One can dream.M.A.W.- "I Get Lifted" feat. vocals by Barbara Tucker remixed by John Ciafone (1994) Don't know a house dj worth his salt that doesn't have two dozen Masters At Work vinyl records. Priceless track. Feelin' this?Masters At Work or M.A.W.(Little Louie Vega & Kenny Dope Gonzalez)- "I Can't Get No Sleep" feat. vocals by India (1993) Had to include the original. First time we heard this was years before that David Morales remix played earlier. We were at "Kat Klub", just south west of Church St & Queen St E. Kevin Williams, rubbed the celophone cover off of the record on his jeans and SLAMMED this down. He could MIX!! Kevin was actually the first LIVE house DJ i had heard at 16 at "GO GO's", in the 'White Room' on Richmond St & Duncan. He BURNED through records with fast change ups. At the end of the night, Jason Palma said there was a STACK of records in a pile beside him OUTSIDE of their sleeves!! He mixes with a frenzy! Jason told that story and I felt it on the dance floor but wasn't privy to the DJ booth ; ) I got in with my cousin's 21yr old ID, I guess since every Chinese guy at that time looked the same ; ) Great for me!Thompson & Lenoir (LNR)- "Can't Stop The House" (1987) LNR, same guys that made the warehouse classic "Work It To The Bone"!! Wish I had a clean copy of that! First time Jim and I heard this was at 616 Yonge St., around Wellesley. When AKI threw this down, we almost put our fists through the wall it was that exciting!! FLIPPED OUT! That's HOUSE MUSIC. ‎Murk (Oscar G & Ralf Falcon)/ Liberty City *moniker– "Some Lovin'" (1992) I loved this track so much that for a whole summer, every warehouse I went to, I 'requested' this track. Drove AKI and the rest nuts. But this vocal was SOOOOOOO DIRTY!!! That MURK feel, those baselines!! Then we saw Liberty City perform it live at The OZ on Mercer St.Jestofunk-"Stellar Funk" remixed by Lazzaro (1997) This congo instrumental I played the crap out of back in the vinyl days, mixed it with dozens of different vocals. My personal policy is NEVER REPEAT a combo and it's brought joy to every situation. Great track!!Joe Smooth- "The Promised Land" feat. vocals by Anthony Thomas (1987) What this track does to you is HOUSE MUSIC. Beautiful in every way. Can listen to this and have listened to this OVER AND OVER AGAIN.Instrumental mix by M.A.W. (date?) M.A.W.-River Ocean‎– "Love & Happiness" (Yemaya Y Ochún) feat. vocals by India (1994) Jim bought doubles of this also and he played the crap out of it! Like a great dessert that's good with EVERY meal. Tracks like this make mixing so much fun because each new combo is a rebirth in emotions.Inner City- "Big Fun" (1988) was when original by Kevin Saunderson was made, but this remix was made in (2003) by Juan Atkins First time I heard this was at Focus on Joseph St around Wellesley. Nope not the 'Focus' at City Hall, that was before my time. Play a few bars and people go MENTAL on the dancefloor! Infectious.dub mix remixed by Soul Clap Raze- "Break 4 Love" (2011) vocal mix remixed by Soul Clap Raze- "Break 4 Love" (2011) Original (1988) Raze- "Break 4 Love" feat. vocals by Keith Thompson I LOVE EVERY VERSION of the original also, the full vocal, the instrumental bringing out this timeless baseline and the spanish female vocal version. Jim bought these remixes and I just lost it. Can't believe Soul Clap got the original vocal by Keith Thompson. They keep the original sounds but brought it to the current times. Like the beginning of the dub and didn't like the beginning of the vocal, so I mixed them together. The original is the best but will have to save for another time.remixed by Michel Cleis 'Floreo'(2010) original M.A.W.-River Ocean‎– "Love & Happiness" (Yemaya Y Ochún) feat. vocals by India (1994) Jim had double records of this original MAW vocal! This remix revived this track for us!Murk (Oscar G & Ralf Falcon)- "Tried So Hard" feat. vocals by Bobby Pruit (1993) This track reminds me of one of the 1st time I met Vince Ailey, a great Toronto House DJ & producer but back then he was one of the BADDEST dancers! And not that hip-hop dancing to house music crap, real house dancing. We were at a PTS party on Duncan, south of Richmond. The ceilings were low and sweat was dripping off it. That was nasty, but the MUSIC was so addictive, no one left till after 5am!!Kerri Chandler & Johnny McDougald- "Something Wrong" (1992) Killer track! Chandler is a brick layer, this is a foundation dub. New house lovers are gonna say "WTF??!!" Jim and I often wonder when we hear a wicked track.. 'how did they come up with this track? the ideas? the sounds?' We should start producing so we can make someone else think that. Hopefully soon...Fingers Inc. (Larry Heard, Ron Wilson & Robert Owens) ‎– "Music Take Me Up" feat. vocals by Robert Owens (1985) My first exposure to house in a serious way was Fingers tracks, think over a dozen like 'So Glad', 'What About This Love', 'Distant Planet', 'A Path', 'Mysteries of Love, 'Can You Feel It' and the list is endless. Tracks got attention those days. We burned the grooves off these records!!Mondo Grosso- "Souffles H" remixed by M.A.W. (1995) How many MAW tracks in this mix?? Little Louie Vega & Kenny "Dope" Gonzalez are so sick!! How many house tracks copied their swing? Standing on the shoulders of Giants! Let it grow!!remixed by Tricky Disco- "Tricky Disco" (1990) Love this sexy sax mix! Didn't like this track till it wasn't being played any longer.Jaydee- "Plastic Dreams" (1992) This is an anthem with killer keys!!original M.A.W. & Lem Springsteen- "Nite Life" feat. vocals by Kim English (1994) remixed by Armand Van Helden (1994) Love this vocal!! All our fav house djs in the past played this track. Can't stop dancing to this.Blaze- "So Special" (1990) This was one of my first records and has so many great memories attached to it.Eddie Lewis & Kerri Chandler- "I Need You" feat. vocals by Kamar (1993) Nothing like seeing a smokey dark room with over a hundred people with hands in the air and singing along! House Karaoke!!Cajmere- "Brighter Days" feat. vocals by Dajae (1992) remixed by Karizma & DJ Spen (2011) Karizma smashed it with this remix!! He kept all the original elements and turbo boosted the thump of this gorgeous vocal!Dodha & DJ Spen- "Inrowd" (2013) This is not a classic instrumental but reminded me of the old days with it's feel and sound. Actually reminded me of Mateo & Matos' track "Raw Elements", gotta get that vinyl on Discogs!original Jay Williams, Nelson Roman & Rob Hanning- "Sweat" feat. vocals by Jay Williams (1990) JoJoFlores-Rmx (1999?) 'Sweat' reminds me of this club in North York, just outside of Toronto, but now part of the GTA (Greater Toronto Area). "Inner City" was a wicked club and one of the first to play house. And the dancers there were incredible!! It was that time when everyone got tailored dress pants made and they all had slight to ridiculous bell bottoms. But it seemed so cool at the time watching these guys dance. Jay Williams' vocals on this are legendary and JoJo made this killer remix that made this vocal alive again!Martin Solveig- "Afro Deep" (1999) This is not a classic track but I played the crap out of this congo instrumental. The house feel can be expressed in limitless ways.original Show Me Love feat. vocals by Robin S (1993) remixed by Steve Angello & Laidback Luke (2008) Jim played this remix for the first time at a party a few years ago and EVERYONE went bananas at a certain part near the beginning. You'll definitely KNOW when you FEEL it.Nightmares On Wax- "Aftermath" (1990) This reminds me of a dance my friends DJ'ed at at Jarvis Collegiate near Wellesley. That was a party and we were all into HOUSE and danced like crazy. My friend, Noel Nanton (AN INCREDIBLE HOUSE DJ & PRODUCER), got me into house at 16 and took me to go see Kevin Williams at GO-GO's and some friends had great friends at Jarvis Collegiate and we bonded with tons of house music.Scotti Deep/ Fathoms N.Y. *moniker- "Braniak" (1995) Jim and I went BONKERS when we heard this for the 1st time at a warehouse party. Think it was at the 4th and 5th on Richmond St. It was such a raw and techy bouncy charger!original Romanthony- "Bring U Up" (1995) remixed by Deetron (2011) I don't know how many Romanthony records we own but he made some great ones. God Rest his Soul. This remix by DeeTron brought this track back to the current state of affairs. Love remixes of classics that preserve the feel but make it fresh with higher quality of sounds.Fingers Inc.- "Bring Down The Walls" feat. vocals by Robert Owens (1986) Bought this digital copy from iTunes. Got every Fingers vinyl! This got so played out it almost sounded commercial. But for those who haven't heard it for years or for the first time- WATCH OUT.John Rocco- "Move" (1987) I first heard this at Jim's house, this was when FreeStyle + House was the sound. We got into it probably by '95. Best memory of this track live was when Kenny Glasgow, now famous 1/2 of Art Department, dropped this right from the beginning at The Wellington, on Wellington, south of Spadina & King St. Toronto history. Killer thumpin' intro. I never mix this track cause I want to hear that beginning.---------------Reach out to us and comment. Just Google 'dattrax' and you'll find all places online that we've been a part of. Please share with other like-minded individuals.---------------There's a PayPal donate button on the right if you're on our main Podomatic site if you want to buy us a beer to say cheers ; )Our PayPal donation email if you are listening to our mixes on another platform. Any amount of support is welcomed. We appreciate you! dattrax@gmail.com---------------Our main mix site: https://dattrax.podomatic.com/ or at: https://www.podomatic.com/podcasts/dattrax or Google "dattrax" and find the Podomatic link.THIS IS THE BEST OPTION: You can download the free "Podomatic" app, sign up with your email, then search 'dattrax' and subscribe to 'house music by dattrax'. It has a cute pic of my youngest boy when he was little and over my DJ mixer. BOOM!! 120 mixes, the last 27yrs of our lives in the crack of time between family, friends and work.---------------Most of the digital tracks in this mix bought from https://www.beatport.com/ + https://www.traxsource.com/ and https://defected.com/ and iTunes, http://www.apple.com/itunes/This mix was created on a Native Instrument's "Traxtor Kontrol S4" controller MK3 version, a crappy PC laptop and No sync applied.

Random tracks, randomly selected by Shuffle, mixed by me :) Episode 111 
The Lunar Saloon 
Every Friday from 10P - 12A PST
 99.1 FM Long Beach
 Streaming at KLBP.org
 Air date : May 14 , 2021 
-=-=-=-=-=-=-=-=-=- Five Times of Dust, Computer Bank, Close To The Noise Floor: Formative UK Electronica 1975-1984 A Popular History Of Signs, Ladder Jack (Wax Trax Remix) (feat. Al Jourgensen), House / Ladderjack Ibibio Sound Machine, Uwa the Peacock (Eki Ko Inuen Uwa), Ibibio Sound Machine Jimmy Scott, Be Careful (Full Beam Edit), Full Beam! - For Gees Only Volume 2 Wizdom, I'm So In Love With You, Kenny Dope & Keb Darge ‎– Kay Dee Records The Soul Children, Move Over, The RZA Presents Shaolin Soul Selection Volume 1 Anne & Gilles, Cela Est Certain, Chevance (etc.) - Outremusique Pour Enfants 1974-1985 Derya Yıldırım & Grup Şimşek, Bir Kardeşim, Kar Yağar Lush, Etheriel, Gala Risqué, Starlight, Starlight VC People, Bomarzo, Mystery Of Bomarzo The Android Sisters, Coconut Cooed, Songs Of Electronic Despair Tino, Basic Rudiments, Tino's Breaks Volumes 1 & 2 Nu-Skool, You're Gonna Miss Me', You're Gonna Miss Me Sarantis, Desertbound, Karami Volume 2 DJ Python, Be Si To, Derretirse Furor Exótica, Run Them (Alan Dente Remix), More Is More NO I-D, Love Mecanica, DJ Harvey ‎– The Sound Of Mercury Rising (Volume 1) Charly Kingson, Nanga 'Boko, Born in Africa Midnight Groovers, O Ti Yo, Sofrito: International Soundclash DJ Lilocox, Vozes Ricas, Paz & Amor Okzharp & Ribane, Dun, Closer Apart Red Axes, Break the Limit, Red Axes Cliff Lothar, Dro Friday, White Savage Plastics (プラスチックス), Delicious, Welcome Plastics (ウエルカム・プラスチックス) Roland Bocquet, Trilogue, Robot Rose ""Claviers Synthétiseur"" Stock, Hausen & Walkman, New, Organ Transplants Vol. 2 The Wailers, Driftwood, Technicolor Paradise: Rhum Rhapsodies & Other Exotic Delights The Ian Langley Group, Semi-Santana, Reggae For Real (And Other Rhythms) Jean-Michel Hervé, Andean's Shepherd (Sonimage: Safari), Bibliothèque Exotique Vol. 5 Masahiko Sato, The notice is noticed, Belladonna The Morning After, Get It, The American Boogie Down: America's Lost Disco, Funk & Boogie Yvon Rioland & Jean-Marie Hauser, Sweet Basil, Discoritmo Jacky Nodaro, Desinvolte, Timing N° 5

Theme song by Nick Shoulders & Joel Huggins nickshoulders.bandcamp.com Artwork by Ben Barnes benbarnes.net Songs featured in this episode: -The Gimmicks "Swarm Inside" from the album Honeymoon's Over on Estrus Records 2000 -13th Floor Elevators "You're Gonna Miss Me" from the album The Psychedelic Sounds Of The 13th Floor Elevators on International Artists 1966 -The Phantom Surfers "Pygmy Dance" from the album "The Great Surf Crash Of '97" on Lookout Records 1996 -The A-Bones "Baby Doll" from the collection Daddy Wants A Cold Beer And Other Million Sellers on Norton Records 2004 -The Mummies "Sooprize Package For Mr. Mineo" from the album Never Been Caught on Telstar Records 1992 -Kill Sybil "Dumb" from the album Kill Sybil on Empty Records 1993 -Death Valley Girls "Under The Spell Of Joy" from the album "Under The Spell Of Joy" on Suicide Squeeze Records 2020

Треклист передачи: 01 Neptune is Dead - Worship What We Fear 02 The Monarch - The Grand Scheme 03 Katana Cartel - Dime a Dozen 04 Sicometal - Despreciable 05 John Henry & The Rainmakers - You're Gonna Miss Me 06 Walk The Walk- - Running from You 07 Ronnie Atkins - Scorpio 08 Steve Lukather - Run To Me (feat. Ringo Starr Joseph Williams 09 Alice Cooper - USD1000 High Heel Shoes 10 Epica - Code of Life 11 Joseph Williams - The Dream 12 Rob Zombie - The Ballad Of Sleazy Rider 13 Bonnie Tyler - I'm Not in Love (10сс COVER) 14 Ann Wilson - The Hammer 15 Bonfire - American Nights (Almost Unplugged) 16 Corporate Control - What About Us 17 Page 99 - Must Be the Weather 18 LAU - The Cards (Highway Superstar Boogie Mix) 19 Blisskrieg - Take It Back 19 Haney's Big House - Ten Feet Of Rhythm 20 Gary Moore - In My Dreams

Patti Day – “Right Before My Eyes” (House Vocal Mix) Chanelle – “One Man” (One Mix) Adeva – “Respect” (Original 12 Inch Mix) Turntable Orchestra – “You’re Gonna Miss Me” (Original Mix) Ten City – “That’s The Way Love Is” (Deep House Mix) A Guy Called Gerald – “Voodoo Ray” (Paradise Ballroom Mix) Degrees Of […] The post The Penthouse Sessions 10th Jan 2021 appeared first on SSRadio.

A tribute album is a way for musicians to pay homage to an artist they love. While not all of them are good, the great ones let the music shine through. This week, hosts Jim DeRogatis and Greg Kot talk all things tribute and review the last release from late producer Hal Willner, a tribute to Marc Bolan. Featured Songs:John Cale, "Hallelujah," I'm Your Fan: The Songs of Leonard Cohen, Atlantic, 1991R.E.M, "First We Take Manhattan," I'm Your Fan: The Songs of Leonard Cohen, Atlantic, 1991Nino Rota, "8 e 1/2," Fellini e Rota, C.A.M., 1963The Carla Bley Band, "8 1/2," Amarcord Nino Rota, Hannibal, 1981Leonard Cohen, "Hallelujah," Various Positions, Columbia, 1984Jeff Buckley, "Hallelujah," Grace, Columbia, 1994The House of Love, "Who By Fire," I'm Your Fan: The Songs of Leonard Cohen, Atlantic, 1991Leonard Cohen, "Who By Fire," New Skin for the Old Ceremony, Columbia, 1974Nick Cave and the Bad Seeds, "Tower of Song," I'm Your Fan: The Songs of Leonard Cohen, Atlantic, 1991Bob Dylan & Mavis Staples, "Gonna Change My Way of Thinking," Gotta Serve Somebody: The Gospel Music of Bob Dylan, Sony/Columbia, 2003ZZ Top, "Reverberation (Doubt)," Where The Pyramid Meets The Eye: A Tribute To Roky Erickson, Sire, 1990John Wesley Harding, "If You Have Ghosts," Where The Pyramid Meets The Eye: A Tribute To Roky Erickson, Sire, 1990Bongwater, "You Don't Love Me Yet," Where The Pyramid Meets The Eye: A Tribute To Roky Erickson, Sire, 1990Primal Scream, "Slip Inside This House," Where The Pyramid Meets The Eye: A Tribute To Roky Erickson, Sire, 1990Doug Sahm & Sons, "You're Gonna Miss Me," Where The Pyramid Meets The Eye: A Tribute To Roky Erickson, Sire, 1990Butthole Surfers, "Earthquake," Where The Pyramid Meets The Eye: A Tribute To Roky Erickson, Sire, 1990Julian Cope, "I Have Always Been Here Before," Where The Pyramid Meets The Eye: A Tribute To Roky Erickson, Sire, 1990R.E.M., "I Walked With A Zombie," Where The Pyramid Meets The Eye: A Tribute To Roky Erickson, Sire, 1990Bobby Darin, "Mack the Knife," That's All, Atco, 1959John Zorn, "Der Kleine Leutnant Des Lieben Gottes (The Little Lieutenant of the Loving God)," Lost In The Stars: The Music Of Kurt Weill, A&M, 1985Marianne Faithful & Chris Spedding, "The Ballad Of The Soldier's Wife," Lost In The Stars: The Music Of Kurt Weill, A&M, 1985Frank Sinatra, "September Song," Point of No Return, Capitol, 1962Lou Reed, "September Song," Lost In The Stars: The Music Of Kurt Weill, A&M, 1985T. Rex, "Bang a Gong (Get It On)," Electric Warrior, Fly, 1971Kesha, "Children of the Revolution," Angelheaded Hipster: The Songs of Marc Bolan & T. Rex, BMG, 2020Nick Cave, "Cosmic Dancer," Angelheaded Hipster: The Songs of Marc Bolan & T. Rex, BMG, 2020T. Rex, "Cosmic Dancer," Electric Warrior, Fly, 1971T. Rex, "Life's a Gas," Electric Warrior, Fly, 1971Lucinda Williams, "Life's a Gas," Angelheaded Hipster: The Songs of Marc Bolan & T. Rex, BMG, 2020Elton John & U2, "Bang a Gong (Get It On)," Angelheaded Hipster: The Songs of Marc Bolan & T. Rex, BMG, 2020T. Rex, "Rock On," The Slider, EMI, 1972Perry Farrell, "Rock On," Angelheaded Hipster: The Songs of Marc Bolan & T. Rex, BMG, 2020Peaches, "Solid Gold, Easy Action," Angelheaded Hipster: The Songs of Marc Bolan & T. Rex, BMG, 2020Bob Mould, "Siberian Butterfly," Blue Hearts, Merge, 2020  

En la edición de esta semana de Ruta 61 hay blues de un padre de peso, Muddy Waters, y de su hijo, Big Bill Morganfield. Playlist: Snatch It Back and Hold It – Junior Wells; I Be's Troubled, I Can't Be Satisfied, Walkin' Blues, I'm A King Bee – Muddy Waters; Mellow Chick Swing – Big Bill Morganfield; Strong Man Holler – Big Bill Morganfield, Taj Mahal; Roll With Me, What's The Matter, People Sure Act Funny, Rambin' Mind, I Don't Know Why, When You Lose Someone You Love, Help Someone, Bloodstains On The Wall – Big Bill Morganfield; You're Gonna Miss Me – Big Bill Morganfield, Taj Mahal. Escuchar audio

♫ BSJ - Brother ♫ G & B - Games ♫ N.W.N. - Swallow ♫ Tommy Glasses - Lovin’ ♫ Frederick Alonso, Lee Wilson - Walk Into The Sun ♫ KARU - We Were Together ♫ Turntable Orchestra - You’re Gonna Miss Me ♫ Harry Color - Raga Is In The Club ♫ Franck Roger, Jovonn - Remember ♫ Samuri (NYC) feat Kevin Aviance - Bang The Beat ♫ Rocket Dubz - Sweet Sunshine ♫ Kelly G - Feels Good (Yeah!) ♫ Glass Slipper - The Zone ♫ Dylan Debut - U.R. ♫ Mario Dubbi, Allen Craig - My Nature ♫ DJ PP, Thousand Nights - In Deep ♫ Zulumafie, Svino - Time After Time ♫ Sinnamon - I Need You Now ♫ Charlie Hesen - Up For It ♫ Quentin Harris - Stronger ♫ ISSA (US), Thea Austin - House Music Gives Me Love ♫ Fenix - Deed I Do ♫ Digital Analogue Hotel - Motel Shaker ♫ Dee Gorgeous - Better Than Sex ♫ Ruff Stuff - Centurion Voyage ♫ PaperMache Tiger - Feel Me

The Last Surviving Relic From a Bygone Age When Monsters Walked The Earth!Playlist: J.G. Thirlwell - No VacancyThe Vicious Cycles - Tiger In The NightThe Modernettes - BarbraBenny Blue - Made CapThe Vice Barons - The Starlite MotelThe Pretenders - Tattooed Love BoysThe Crown Imperials - Peggy SueLes Hou Lops - Oh Non!The Salty Seamen - Sweet YolandaGoldie Dawn - CrimeTommy and the Commies - Hurtin' 4 CertainBig Balls and the Great White Idiot - Gonna Be A RatThe Phantom Surfers - GammeraLos Punkitos - Caca Culo Pedo PisThe Dogs - Skin On SkinChrome Reverse - NamelessThe Von Zippers - Nothing Can Bring Me DownThe Payola$ - Make Some NoiseThe 13th Floor Elevators - You're Gonna Miss Me

We've got a ton of great music, including a new track from GR3YS0N! Check out my interview on Nerd Music Meltdown! - https://bit.ly/2QIXMpqThe playlist is in order and marked as follows: Title by Artist – Album The L Word (prod. Incooperative and Baron Cuts) by LEX the Lexicon - Artist Raging Ego Hide & Seek (c64 Remix) by Dual Core Cooligans (feat. Task the Samsara) by HomeBoy Advance - Classic TV Prince of All Saiyans by GR3YS0N Bedtime Boys (featuring Badfriend) by rap legend Jesse Dangerously - The Rap Hundreds, season 3 Rollin' (the Side Quest) by Creative Mind Frame Irresistable Force by 2 Skinnee J's - Sing, Earthboy, Sing! Time Machine Massacre by Swamp Thing - Grandpa Funnybook's Mix-Tapingly Arranged Rapping Song Album 2: Dyadic Dynamite! Searching by Able-X - The Butterfly Effect Incogni2 by Optimus Rhyme Hot Topic Is Not Punk Rock (featuring the Matches) by MC Lars - Greatest Hits Secret of Homonym (feat. Cutesylvania) by Professor Shyguy - Fuzzy Cluster NasBars b LadyJ & Osiris Green - TOKENS You're Gonna Miss Me by The ThoughtCriminals - Cold Winter Blessed to Breathe (Blaze Rock feat. Ocean, Random, ROK) prod by the Council Productions by Mega Ran - TeacherRapperHero: the Random Mixtape vol.1 Featured Artists:LEX the Lexicon Artist - thelexiconartist.comDual Core – dualcoremusic.comHomeBoy Advance - homeboyadvance.bandcamp.comGR3S0N (Frm NyteXing,Maverick da Roninn) - gr3ys0n.bandcamp.comrap legend Jesse Dangerously – dangerously.caCreative Mind Frame (AKA 1-Up) - creativemindframe.bandcamp.com2 Skinnee J's - 2sj.comSwamp Thing - swampthingraps.comProfessor Shyguy - professorshyguy.bandcamp.comOptimus Rhyme - optimusrhyme.comMC Lars - mclars.comWreck the System – wreckthesystem.bandcamp.comThe ThoughtCriminals - thethoughtcriminals.bandcamp.comMega Ran – megaran.com Like and follow and whatever the Press Start Socials: Twitter, Facebook, Twitch and now Youtube!! Do you like Video Game Remixes? Check out Press Start to Continue DLC, the FULL two hour show featuring music from all sorts of games, interviews with artists, theme shows, and of course the nerdcore you love! Vist the site to learn more! Please consider supporting Press Start on Pulse by going to tips.pinecast.com/jar/PressStart. Every cent goes to buying new music to play on the show! This podcast is a member of the Planetside Podcast Network. Visit PlanetsidePodcasts.com to find other Planetside Productions! Find out more at https://pressstartpulse.pinecast.co Send us your feedback online: https://pinecast.com/feedback/pressstartpulse/9e91d61c-ca86-4d42-bf34-1d87875c3292

We've got a ton of great music, including a new track from GR3YS0N!Check out my interview on Nerd Music Meltdown! - https://bit.ly/2QIXMpqThe playlist is marked as follows:*Title* by *Artist* – *Album* (Game) Hour 1 Groovin' Through the Cosmos (Galactic Groove) by Amphibious -  Shuttle Rush: Shuttle Remix (OC ReMix) Bright Moon (OC ReMix) by Michael Hudak Shin (Megami Tensei: Persona 3) Madd Forest (OC ReMix) by Joshua Morse (Castlevania III) T-Spin (OC ReMix) by Schtiffles (Tetris) Vessel of the Void (OC ReMix) by zircon (Final Fantasy 5) Squid Sisters "Epic Rock" Cover by Little V Mills (Splatoon) The Obsequious Heterophobia of Dr. Melefam Buttfink (OC ReMix) by bLiNd, Meteo Xavier (Sonic the Hedgehog 4: Episode I) Flames of Darkness (OC ReMix) by Vyper (Mega Man ZX) Horizons of Time (OC ReMix) by DDRKirby(ISQ) (Chrono Trigger) Wish Upon a Wendellian Star (OC ReMix) by Big Giant Circles (Final Fantasy Adventure) A Maiden's Prayer (OC ReMix) by RebeccaETripp (Final Fantasy 10) Our Destiny (OC ReMix) by Forest Elves (Final Fantasy 8) The Shimmering Ether of Satorl (OC ReMix) by Kade Kalka (Xenoblade Chronicles) Featured Artists:Little V Mills - littlev.bandcamp.com Hour 2 The L Word (prod. Incooperative and Baron Cuts) by LEX the Lexicon - Artist Raging Ego Hide & Seek (c64 Remix) by Dual Core Cooligans (feat. Task the Samsara) by HomeBoy Advance - Classic TV Prince of All Saiyans by GR3YS0N Bedtime Boys (featuring Badfriend) by rap legend Jesse Dangerously - The Rap Hundreds, season 3 Rollin' (the Side Quest) by Creative Mind Frame Irresistable Force by 2 Skinnee J's - Sing, Earthboy, Sing! Time Machine Massacre by Swamp Thing - Grandpa Funnybook's Mix-Tapingly Arranged Rapping Song Album 2: Dyadic Dynamite! Searching by Able-X - The Butterfly Effect Incogni2 by Optimus Rhyme Hot Topic Is Not Punk Rock (featuring the Matches) by MC Lars - Greatest Hits Secret of Homonym (feat. Cutesylvania) by Professor Shyguy - Fuzzy Cluster NasBars by LadyJ & Osiris Green - TOKENS You're Gonna Miss Me by The ThoughtCriminals - Cold Winter Blessed to Breathe (Blaze Rock feat. Ocean, Random, ROK) prod by the Council Productions by Mega Ran - TeacherRapperHero: the Random Mixtape vol.1 Featured Artists:LEX the Lexicon Artist - thelexiconartist.comDual Core – dualcoremusic.comHomeBoy Advance - homeboyadvance.bandcamp.comGR3S0N (Frm NyteXing,Maverick da Roninn) - gr3ys0n.bandcamp.comrap legend Jesse Dangerously – dangerously.caCreative Mind Frame (AKA 1-Up) - creativemindframe.bandcamp.com2 Skinnee J's - 2sj.comSwamp Thing - swampthingraps.comProfessor Shyguy - professorshyguy.bandcamp.comOptimus Rhyme - optimusrhyme.comMC Lars - mclars.comWreck the System – wreckthesystem.bandcamp.comThe ThoughtCriminals - thethoughtcriminals.bandcamp.comMega Ran – megaran.com All songs marked “OCReMix” can be found at OverClocked ReMix (http://ocremix.org) – please show them some support! Download, donate, tell your friends! Ending tune by KeyJayHD -  Check out more of his stuff at keyjayhd.bandcamp.com! Like and follow and whatever the Press Start Socials: Twitter, Facebook, Twitch and now Youtube!! Support Press Start to Continue DLC by donating to the tip jar: https://tips.pinecast.com/jar/PressStart Send us your feedback online: pinecast.com/feedback/PressStart Press Start is now open to syndication! If you would like Press Start to Continue to air on YOUR station, email PressStartMorlock@Gmail.com This podcast is a member of the Planetside Podcast Network. Visit PlanetsidePodcasts.com to find other Planetside Productions!

No, this isn't about the Dinosaur, Jr. album with the same name. It's weirder than that. In the decades since Pink Floyd, the Beatles, and dozens of psychedelic bands topped the charts, experimental music has been pushed to the side; ghettoized. But it has always been there and continues to evolve like a kaleidoscope. Steve takes Keith on a journey down the rabbit hole, deep underground to discuss the first psychedelic band, an Australian punk band, a pair of eccentric sisters, and a Brazilian group that has been dubbed psychedelic witches. Tune in as they delve into the lairs of the 13th Floor Elevators, Tropical Fuck Storm, CocoRosie, and RAKTA. As Keith mentioned in the episode, each of these bands benefit from a deeper listen than a random song or two, nonetheless here are a few possible entry points to the bands we discussed this week:13th Floor Elevators have three albums, but it's the first two (The Psychedelic Sounds of... and Easter Everywhere) that feature the classic line-up. Some of our favorites are "Step Inside This House," "Roller Coaster," "She Lives in a Time of Her Own," and "Levitation." Their most famous song and title of the Roky Erickson biopic is "You're Gonna Miss Me."Tropical Fuck Storm have only been around a few years and have released two proper albums and a series of singles with b-sides. "You Let My Tyres Down," "Two Afternoons," "Suburbiopia," and "Maria 63" may be a good way in.Trying to navigate CocoRosie is a bit more difficult. They have been around over 15 years and have released seven albums. Their songs vary in style from freak folk to hip hop to something that might be played by a baroque music box. They surely have a handful of songs that you will like, it just comes down to finding the ones that suit your taste. "Lucky Clover," "Terrible Angels," "Werewolf," "Restless" and the whole Grey Oceans album are all good entry points. Or you could start with their most recent album, Put the Shine On, released in March of 2020.It will probably only take you a few minutes to know whether you want to hear more RAKTA. You could start with "Falha Comum," "Fin do Mundo," "Raiz Forte," or "Atrativos Da Mentira." Support the show (https://teespring.com/stores/the-new-dad-rock)

... a coleccionar discos. Adicción, más bien. ¡Ay! Y cómo no, tres soles murcianos que deberían brillar más, auténticos maestros de las melodías como Joaquín Talismán o Ross o del ritmo (y blues) como Al Dual. Se reedita la obra maestra de Matthew Sweet (Under the covers) con la cantante de las Bangles Susanna Hoffs y aprovechamos para que nos de el sol con dos máquinas nuevas de la marca Lennon-McCartney, ésta de Matthew y Susanna y otra de los novísimos Nite Sobs, coleguillas de los Lolas y los Reflectors que mantienen encendido el sol powerpopero en los USA. En Londres a veces también sale el sol (verdad George?) con Richard Davies & The Dissidents, e incluso en Alemania donde los rockers Boppin b se encargan de animarlo con rockabilly y cuidados capilares (ay, otra vez). Los viejos rockeros como Robert Gordon o Web Wilder nos ponen el tostado final. Ya tenemos un más que respetable color, así que échanos un poquito de menos, como los Hipnofónicos, hasta un próximo programa. Listado de artistas y canciones:El Inquieto Roque, Me Marcho a Japón Andrew Weiss and Friends, All the News Fit to PrintLolas, Fall AwayMatthew Sweet & Susanna Hoffs, And Your Bird Can SingNick Piunti & The Complicated Men, Going NowhereNite Sobs, I'll Keep You SatisfiedNite Sobs, Going WrongThe Reflectors, Teenage heartsRichard Davies & The Dissidents, Heartbeat SmileRichard Davies & The Dissidents, (Long Road) To Your HeartReno Bo, Second To LastJoaquín Talismán y Los Chamanes, En Las NubesRoss, InterstellarAl Dual, A New Day Will Be TrueBoppin' b, Take Care Of Your Hair.Robert Gordon, Everybody's Rocking But MeWebb Wilder, Tell Me What's WrongThe Hypnophonics, You're Gonna Miss Me

On today's episode, enjoy the following: Story Kickoff: “You Never Know What the End's Gonna Be” by Diane Ferlatte Story Spotlight: “Occam's Razor” by Dolores Hydock Storytime: Introductions by the mothers of The Apple Seed team “Fallin'” by Jay O'Callahan An interview with Jarom Jordan, Spencer Linton, and Ben Bagley of BYU Sports Nation “You're Gonna Miss Me” by Carmen Deedy Radio Family Journal: Mother

Invitée : Johnny Winston a.k.a Clara Merlin – écrivaine, chanteuse, performeuse.                                                     Animatrices et lectrices : Margot Espinasse-Gambarotto & Marion Feugère.                               Textes lus :                                                                                                                                    Henry Henry                                                                                                                                                 Descente de lit                                                                                                                                     Griffes de Tygre                                                                                                                                          Un demi litre de whisky et autant de pleurs plus tard                                                               De toute façon tout le monde meurt                                                                         Musiques :                                                                                                                                   Johnny Hallyday – Le Vieux Roi Est Mort                                                                                          13th Floor Elevator – You're Gonna Miss Me                                                                                     Damso – Julien                                                                                                                               Forêt – Douche Froide                                                                                                                              Bilal Hassani feat. Alpkapote – Monarchie Absolue                                                                    Ecouter Johnny :  https://soundcloud.com/user-316981907 

In the latest ARK of E Pod, Bending Not Breaking Co-Host Sunshine Mayfield joins me from a very safe social distance to discuss our Top 5 Movies we'd like to see remade/rebooted as TV shows. This conversation was sparked by HULU's brilliant High Fidelity which we highly recommend! We'd love to hear your ideas for Movie to TV Reboots and which pitch you liked the best... Send Feedback : thearkofe@gmail.com Music Credits : Intro ("You're Gonna Miss Me" by The Thirteenth Floor Elevators) Bumper ("Wake Up Next to God" by oso oso) Outro ("I Believe (When I Fall In Love It Will Be Forever)" by Stevie Wonder, Covered by Da'Vine Joy Randolph) Listen to EXCLUSIVE Episodes Series & Bonus Content : www.patreon.com/thearkofe Shop Our New Merch Store : https://www.redbubble.com/people/thearkofe?ref=artist_title_name OR use the Link at the top of Our Homepage : www.thearkofe.com Follow more from The Ark of E Network : On Instagram @thearkofenetwork , Twitter @thearkofe , Facebook : The Ark of E

The little things that annoy us about our loved ones may be some of the things we miss most about them when they're gone. On today's BITE, you'll hear a story called "You're Gonna Miss Me" by Carmen Deedy. Sam is joined in the studio by Gene Nelson.

This is episode #239! Mod Marty is pulling out some high ticket items as well as some underappreciated, affordable disks for your listening pleasure. The amazing thing is that it doesn't matter how much these black doughnuts cost, their worth is in the music waiting in the grooves to be released. Please like the Face­book page here: face​book​.com/​o​n​t​a​r​g​e​t​p​o​d​cast/ ----------------------------------------------- The Playlist Is: "What Made You Change Your Mind" The Monarchs - Sound Stage 7 "Please Forgive Me" Du-Ettes - One-Derful "Hi Heel Sneakers" Ramsey Lewis Trio - Cadet "B-A-B-Y" Carla Thomas - Stax "Baby What You Want Me To Do" Erma Franklin - Shout "I'm In Love For The First Time" The Gambrells - CUB "You're Gonna Miss Me" 13th Floor Elevators - International Artists "13 O'Clock Theme For Psychotics" Positively Thirteen O'Clock - HBR "Tried to Hide" 13th Floor Elevators - International Artists "If That's What You Wanted" Frank Beverley & The Butlers - Sassy "Why Girl" The Precisions - Drew "You're Messing Up My Mind" Herb Fame - Date "Speed Up" Betty Moorer - Wand "Hey Love" Sam Waymon - RCA "Lonely Drifter" Pieces of Eight - A&M "Pathfinder" Teddy & the Rough Riders - Huron "You make me feel good" The Zombies - Parrot "Too Early In The Mornun'" The Butterfingers - Red Leaf "Dance a-Go-Go" The 4 Fables - Canadian Tea Council "Dance, Dance, Dance" The Beach Boys - Capitol "Wax 'Em Down" The Avantis - Chancellor

Madonna está de vuelta (de todo) y lo demuestra en las canciones de “Madame X”, su “disco portugués”, una montaña rusa de sonidos que preside la portada del número de julio/agosto y que reina en “La Hora Rockdelux” del verano. En el programa también hay espacio para recordar a los desaparecidos Dr. John y Roky Erickson (vía The13th Floor Elevators), además de picotear en los nuevos álbumes de Kate Tempest, Holly Herndon y Tyler, The Creator, nuestro disco del mes. Volvemos en septiembre. Felices vacaciones, amigas y amigos.01 Madonna – “Batuka” 02 Madonna (featuring Anitta) – “Faz gostoso”03 Madonna (+ Quavo) – “Future”04 Tyler, The Creator – “I Think”05 Dr. John – “Such A Night”06 Holly Herndon – “Eternal”07 The 13th Floor Elevators – “You're Gonna Miss Me”08 Kate Tempest – “Lesson

Franklin Bynum is a judge. Sometimes, he even wears the black robes associated with the job. But the title and the robes don't begin to tell his story. What distinguishes Bynum, a 37-year-old democratic socialist from Houston, Texas, who was elected last fall to serve on the Harris County Criminal Court bench, is his determination to unravel and replace the "oppressive punishment bureaucracies" that define our criminal justice system. An able lawyer, who has served as a public defender and a defense attorney, he knows his way around the courts and the jails of Texas. And Bynum has reached the logical conclusion, as his Twitter profile announces, that "people need care not cages." Bynum ran for a court post last year, mounting a campaign that proposed radical reforms. He framed his advocacy with facts, figures and humanity. It was so impressive that the conservative Houston Chronicle newspaper endorsed Bynum, along with the local chapter of Democratic Socialists of America, and he won along with a group  of progressive jurists who promised to make real the promise of justice. Bynum's now on the bench and he has already taken the lead in proposing dramatic changes that would end the cash-bail system and other abuses. He's our guest this week for a exciting conversation on Next Left. SHOW NOTES A Socialist in Every District (https://www.jacobinmag.com/2019/01/socialists-elections-2020-bernie-sanders) Jacobin  Nathan J. Robinson Democratic Socialist Franklin Bynum is ready to get to work on the Harris County bench (https://www.houstonchronicle.com/news/columnists/grieder/article/Democratic-Socialist-Franklin-Bynum-is-ready-to-13435032.php) Houston Chronicle Erica Greider For County Criminal Court No. 8: Franklin Bynum (https://www.khou.com/article/news/crime/judge-reacts-to-police-chiefs-criticism-of-low-bonds-in-harris-county/285-bfd8d9aa-138f-4635-b216-76e94c07c25c) Houston Chronicle Editorial Board At Least 17 Democratic Socialists Seek Office in Texas (https://www.khou.com/article/news/crime/judge-reacts-to-police-chiefs-criticism-of-low-bonds-in-harris-county/285-bfd8d9aa-138f-4635-b216-76e94c07c25c) Texas Observer Gus Bova What is Prison Abolition? (https://www.thenation.com/article/what-is-prison-abolition/) The Nation John Washington The End of Policing (https://www.versobooks.com/books/2426-the-end-of-policing) Alex S. Vitale Group Therapy (https://www.aboveandbeyond.nu/radio/abgt335) Above & Beyond You’re Gonna Miss Me (https://www.youtube.com/watch?v=0OytJYBfwUk) 13th Floor Elevators

Outro Music: You’re Gonna Miss Me by the 13th Floor Elevators

Joey Negro is the most well-known pseudonym of master British DJ/producer/remixer Dave Lee. Under a plethora of other monikers including Akabu, Doug Willis, The Sunburst Band, Jakatta, Raven Maize, Sessomatto, and Z Factor, Dave was one of the first artists to incorporate disco samples in house music when he began his production career in 1988. Indeed, he was in the studio making credible British House music when many luminaries around him were still busy getting to grips with their decks. Little has changed since then and Dave is still widely regarded as one of the forefathers of the UK dance scene who is still as productive as ever in the studio and behind the decks most weekends. A producer first, his work ethic is legendry, having been involved in well over 300 productions, countless albums and a healthy stack of pop crossover hit singles with tracks such as ‘Must Be The Music’, ‘Make A Move On Me’ and Jakatta’s ‘American Dream” making the UK Top 10. Dave has also been commissioned to remix the likes of Kelly Rowland, Empire of the Sun, Mariah Carey, Labrynth, Pet Shop Boys, Diana Ross and many many more. He also conceived and produced the UK number 1 “Relight My Fire” by Take That. However, despite the crossover successes the majority of Dave’s productions have had the heart in underground clubland – with releases on many seminal house music labels – Transmat, Nu Groove, Quark, JBO, Azuli, Deconstruction Guidance & NRK. Intrinsically linked with the birth of house in the UK, Dave Lee set up the dance music division of Rough Trade, Demix in 1986 and through this link, he began working with the Rhythm King label, which had had a number of hits with acts like Bomb The Bass, S-Express, Cookie Crew and Beatmasters. This experience and intimacy with other leading house labels led to him establishing his own imprint, Republic Records, in 1988. Now defunct, Republic was one of the UK’s first soulful house label releasing classics such as Phase II “Reachin” and Turntable Orchestra “You’re Gonna Miss Me” - as well as some early productions of his own like Raven Maize “Forever Together” Joey Negro, as an entity, was born in 1990 with the release of “Do It Believe It’ on US cult house label Nu Groove. When struggling for an act name Dave flicked through a pile of records next to his desk and ending up putting together Pal Joey and J Walter Negro - “I thought it sounded like a cool hispanic New York guy, I certainly never envisaged I’d be answering to the name Joey 25 years later”. The track was a breakthrough success and was followed by ‘Do What You Feel’, which was released on his second label and successor to Republic, Z Records. ‘Do What You Feel’ eventually crossed from a club hit to a top 40 pop hit on Virgin Records. Another Top 40 track followed with “Love Fantasy” and an album “Universe of Love” with guest appearances from disco acts The Trammps and Gwen Gutherie. Throughout the 90/00’s Dave delivered a constant stream of productions and remixes with tracks like his “Can’t Get High Without U” and Z Factor “Gotta Keep Pushin” (used as the theme for Ibiza Uncovered) becoming anthems on the dancefloor. These days his label ZR is not only a vehicle for him to release his own music but has become a very cool brand featuring productions and remixes from both cutting edge and established producers like Dennis Ferrer, Jimpster, Henrik Schwarz, The Revenge and Frankie Knuckles. Dave’s work producing live disco act The Sunburst Band has been the source of much praise and adoration. Their fourth album ‘The Secret Life of Us’ from 2012 was yet another power house of all things soul, jazz, and funk featuring a host of live musicians and vocalists has been widely regarded as the strongest Sunburst album yet. The LP topped the Solar Sweet rhythms for over 2 months (a record), Starpoint Soul chart, Amazon Funk chart and has received across the board props. The band continue to tour around the world on a regular basis. Dave has remained an avid vinyl collector and has put together many genre defining compilations – ‘Disco (Not Disco)’ (Strut), ‘Joey Negro In The House’ (Defected), ‘Disco Spectrum’ Vol.1–3 (BBE), ‘Jumpin’ 1& 2 (Harmless), Southport Weekender Volume 1, ‘Nite:Life’ and ‘Back In The Box’ (NRK) ‘The Trip’ (Family Records) ‘The Voyage – Excursions into Early House’ (X Treme) & ‘Lust: Art & Soul’ (Susu). Whilst on ZR he’s compiled ‘Destination Boogie’, ‘Locked In The Vinyl Cellar’, ‘Supafunkanova’ ‘The Soul of Disco’ (Vol.1-3), ‘Back Street Brit Funk’ and the latest labour of love ‘GoGo Get Down’ that focused on Washington DC GoGo funk, all of which continue to further cement him as one of the UK’s foremost musical authorities. Not wanting to hog all the limelight, Dave has started the ‘Under The Influence’ series on ZR which gives a platform to some of the worlds most serious record collectors – unknown names who’ve spent their lives collecting music and have the knowledge to put together a wicked selection on previously unheard music. His discography is undoubtedly impressive and his deep understanding as a selector of all things disco and house on the dancefloor have ensured his status on the global DJ circuit worldwide to this day. Joey Negro's dj sets reflect his extensive love of music ranging from rare disco through to vocal and classic house and often into more deep, electronic and techy areas, his sets littered with exclusives, old and new. Where as many producers from his era have tended to ease off on the studio work Mr Lee keeps turning out the club hits, evident in 2012 when he had 5 releases in the Traxsource end of year top 100. 2013 saw his long awaited compilation ‘Remixed With Love’ hit the stores. Packed with brand new remixes of classic disco tracks all reworked from original 24 track tapes and including artists such as Roxy Music, Patrice Rushen & Roy Ayers, the album topped sales charts on Amazon and Juno and stayed at No.1 on Traxsource for 4 months. His Akabu track "Everybody Wants Something" also featured in many end of year ‘best of’ charts. Joey has kept the pressure on in 2014 with singles under his Z Factor, Doug Willis and Sunburst Band aliases plus remixes for Zo! and Tramhead. He also put together and released a universally applauded Italo House album which dug deep into house history delivering some forgotten gems that still sound great today. Looking forward to next year there are already three albums lined up - Supafunkanova Volume 2, Remixed With Love Vol. 2 and a stunning compilation of 90s House and Garage. Also look out for a new artist album from Joey Negro coming soon... For all booking enquiries please email simon AT zrecords DOT ltd DOT uk

Joey Negro is the most well-known pseudonym of master British DJ/producer/remixer Dave Lee. Under a plethora of other monikers including Akabu, Doug Willis, The Sunburst Band, Jakatta, Raven Maize, Sessomatto, and Z Factor, Dave was one of the first artists to incorporate disco samples in house music when he began his production career in 1988. Indeed, he was in the studio making credible British House music when many luminaries around him were still busy getting to grips with their decks. Little has changed since then and Dave is still widely regarded as one of the forefathers of the UK dance scene who is still as productive as ever in the studio and behind the decks most weekends. A producer first, his work ethic is legendry, having been involved in well over 300 productions, countless albums and a healthy stack of pop crossover hit singles with tracks such as ‘Must Be The Music’, ‘Make A Move On Me’ and Jakatta’s ‘American Dream” making the UK Top 10. Dave has also been commissioned to remix the likes of Kelly Rowland, Empire of the Sun, Mariah Carey, Labrynth, Pet Shop Boys, Diana Ross and many many more. He also conceived and produced the UK number 1 “Relight My Fire” by Take That. However, despite the crossover successes the majority of Dave’s productions have had the heart in underground clubland – with releases on many seminal house music labels – Transmat, Nu Groove, Quark, JBO, Azuli, Deconstruction Guidance & NRK. Intrinsically linked with the birth of house in the UK, Dave Lee set up the dance music division of Rough Trade, Demix in 1986 and through this link, he began working with the Rhythm King label, which had had a number of hits with acts like Bomb The Bass, S-Express, Cookie Crew and Beatmasters. This experience and intimacy with other leading house labels led to him establishing his own imprint, Republic Records, in 1988. Now defunct, Republic was one of the UK’s first soulful house label releasing classics such as Phase II “Reachin” and Turntable Orchestra “You’re Gonna Miss Me” - as well as some early productions of his own like Raven Maize “Forever Together” Joey Negro, as an entity, was born in 1990 with the release of “Do It Believe It’ on US cult house label Nu Groove. When struggling for an act name Dave flicked through a pile of records next to his desk and ending up putting together Pal Joey and J Walter Negro - “I thought it sounded like a cool hispanic New York guy, I certainly never envisaged I’d be answering to the name Joey 25 years later”. The track was a breakthrough success and was followed by ‘Do What You Feel’, which was released on his second label and successor to Republic, Z Records. ‘Do What You Feel’ eventually crossed from a club hit to a top 40 pop hit on Virgin Records. Another Top 40 track followed with “Love Fantasy” and an album “Universe of Love” with guest appearances from disco acts The Trammps and Gwen Gutherie. Throughout the 90/00’s Dave delivered a constant stream of productions and remixes with tracks like his “Can’t Get High Without U” and Z Factor “Gotta Keep Pushin” (used as the theme for Ibiza Uncovered) becoming anthems on the dancefloor. These days his label ZR is not only a vehicle for him to release his own music but has become a very cool brand featuring productions and remixes from both cutting edge and established producers like Dennis Ferrer, Jimpster, Henrik Schwarz, The Revenge and Frankie Knuckles. Dave’s work producing live disco act The Sunburst Band has been the source of much praise and adoration. Their fourth album ‘The Secret Life of Us’ from 2012 was yet another power house of all things soul, jazz, and funk featuring a host of live musicians and vocalists has been widely regarded as the strongest Sunburst album yet. The LP topped the Solar Sweet rhythms for over 2 months (a record), Starpoint Soul chart, Amazon Funk chart and has received across the board props. The band continue to tour around the world on a regular basis. Dave has remained an avid vinyl collector and has put together many genre defining compilations – ‘Disco (Not Disco)’ (Strut), ‘Joey Negro In The House’ (Defected), ‘Disco Spectrum’ Vol.1–3 (BBE), ‘Jumpin’ 1& 2 (Harmless), Southport Weekender Volume 1, ‘Nite:Life’ and ‘Back In The Box’ (NRK) ‘The Trip’ (Family Records) ‘The Voyage – Excursions into Early House’ (X Treme) & ‘Lust: Art & Soul’ (Susu). Whilst on ZR he’s compiled ‘Destination Boogie’, ‘Locked In The Vinyl Cellar’, ‘Supafunkanova’ ‘The Soul of Disco’ (Vol.1-3), ‘Back Street Brit Funk’ and the latest labour of love ‘GoGo Get Down’ that focused on Washington DC GoGo funk, all of which continue to further cement him as one of the UK’s foremost musical authorities. Not wanting to hog all the limelight, Dave has started the ‘Under The Influence’ series on ZR which gives a platform to some of the worlds most serious record collectors – unknown names who’ve spent their lives collecting music and have the knowledge to put together a wicked selection on previously unheard music. His discography is undoubtedly impressive and his deep understanding as a selector of all things disco and house on the dancefloor have ensured his status on the global DJ circuit worldwide to this day. Joey Negro's dj sets reflect his extensive love of music ranging from rare disco through to vocal and classic house and often into more deep, electronic and techy areas, his sets littered with exclusives, old and new. Where as many producers from his era have tended to ease off on the studio work Mr Lee keeps turning out the club hits, evident in 2012 when he had 5 releases in the Traxsource end of year top 100. 2013 saw his long awaited compilation ‘Remixed With Love’ hit the stores. Packed with brand new remixes of classic disco tracks all reworked from original 24 track tapes and including artists such as Roxy Music, Patrice Rushen & Roy Ayers, the album topped sales charts on Amazon and Juno and stayed at No.1 on Traxsource for 4 months. His Akabu track "Everybody Wants Something" also featured in many end of year ‘best of’ charts. Joey has kept the pressure on in 2014 with singles under his Z Factor, Doug Willis and Sunburst Band aliases plus remixes for Zo! and Tramhead. He also put together and released a universally applauded Italo House album which dug deep into house history delivering some forgotten gems that still sound great today. Looking forward to next year there are already three albums lined up - Supafunkanova Volume 2, Remixed With Love Vol. 2 and a stunning compilation of 90s House and Garage. Also look out for a new artist album from Joey Negro coming soon... For all booking enquiries please email simon AT zrecords DOT ltd DOT uk

GUUUUUMBO! El programa más gumberro que empieza con este grito de guerra cada lunes a las 19h en www.ipopfm.com, dirigido y presentado por The Reverend Hotfoot Jackson. En el episodio de hoy han sonado: 01. Jimmy Carroll - Big Green Car 02. Bobby Verne - Red Hot Car 03. Jackie Brenston - Rocket 88 04. Clarence Garlow - Route 90 05. Paul Curry - Route 66 06. Gene Vincent - Rollin' Danny 07. The Other Half - Mr. Pharmacist 08. The Monks - Oh, How To Do Now 09. 13th Floor Elevators - You're Gonna Miss Me 10. ? And The Mysterians - Are You For Real 11. Johnny & The Hurricanes - Bam Boo 12. The Riptides - Machine Gun 13. Lillian Briggs - I Want You To Be My Baby 14. Louis Prima - Jump, Jive An 'Wail 15. Bruce Cloud - My Book 16. Gary U.S. Bonds - New Orleans 17. Rod Bernard - Colinda 18. Jay Chevalier - Come Back To Louisiana 19. Katie Webster - The Katie Lee 20. Dee Dee Sharp - Ride 21. Richard Anthony - J' Irai Twister Le Blues 22. Baris Manço - Twistin' USA 23. McKinley Mitchell - Rock Everybody Rock 24. T. Valentine - Little Lu-Lu Frog BE GUMBO MY FRIEND!

The playlist is marked as follows: Title by Artist – Album (Game) In the Beginning (OC ReMix) by YoshiBlade (Final Fantasy 7) The Land of the Fayth (OC ReMix) by RoeTaKa (Final Fantasy 10) Chaos, Cookies, and Cider (OC ReMix) by Faseeh, Tiago Rodrigues (Undertale) Forest Blast (OC ReMix) by RebeccaETripp (Donkey Kong Country 2) Feelings of Hometownishness (OC ReMix) by Chris | Amaterasu, Furilas, Jorito, XPRTNovice (Dragon Slayer: The Legend of Heroes) Dark Shores of Hyrule (OC ReMix) by Jonah-B (Zelda: Ocarina of Time) Hogging Molly (OC ReMix) by Brandon Strader, Rexy (Crash Bandicoot) Geofractura (OC ReMix) by ThePlasmas (Ecco: The Tides of Time) Launch the Cow! (OC ReMix) by MkVaff (Earthworm Jim) Choose Your Destiny (Super Smash Bros. Melee) by DaMonz - Smash The Record: The Record (OC ReMix) Crimea River (OC ReMix) by Sir NutS (Tetris) Space Storms - Super Mario Galaxy 2 (Instrumental) by Foxarocious - Multiverse Music Vol. 1 [多元宇宙 | 音楽] (Instrumental Collection) Pallet Town by Trevor Alan Gomes - Piano Collections: Pokémon Green Final Lap by Myster Wilson - Myster Wilson World EP Bad Dudes by 8-Bit Boys - 8-Bit Diagrams The Verses of Genesis by MC Cheshire Grin - LOSER: A Sega Genesis Tribute Beat the Game...Again by LadyJ - Our Fantasy II: New Beginnings Crashing Cars and Awarding Stars by The Grammar Club - MC Horse Rides Again! anamanaGANGSTA by Tribe One - anamanaGANGSTA // Devil Rhymeosaur Hop The Rock (Hello, Cleveland) by Hi-C (ft. Kid Charlamaign) - Rhyme Torrents Volume 9 Hunger Strike by dzk & josh Digital Age by Soup or Villainz - Star Talk Cold As Ice by Psychic Cyclone - Ziggy Scaredust You're Gonna Miss Me by The ThoughtCriminals - Cold Winter I < 3 Gwen Stacy by LX & Philonius Phunk - Cerebro My Love (feat. Rufus Pipes) by Mega Ran - Mega Ran 9 Character Select by Bizarro X-Men - Noncents Vol. 14 Keep Your Satellites Out of My Brain by Red Ants - Hokey Religions Release Party Further Artists: Soup or Villainz - souporvillainz.bandcamp.com The ThoughtCriminals - thethoughtcriminals.bandcamp.com LX – lxnerdcore.bandcamp.com Mega Ran – megaran.com Psychic Cyclone – psychiccyclone.com LadyJ - createladyj.bandcamp.com Tribe One – tribeone.bandcamp.com Philonius Phunk – philoniusphunk.bandcamp.com Redd Hood (frm Mr Wilson) - mysterwilson.bandcamp.com Foxarocious – www.foxarocious.com Materia Collective - materiacollective.com All songs marked “OCReMix” can be found at OverClocked ReMix (http://ocremix.org) – please show them some support! Download, donate, tell your friends! Like and follow and whatever the Press Start Socials: Twitter (@PressStartVFR) and Facebook.com/starttocontinue Be sure to check out Popular Geekery on Youtube - youtube.com/populargeekeryprime If you like Artemis Spaceship Bridge Simulator join the Terran Stellar Navy! - TerranStellarNavy.net This podcast is part of the Planetside Productions Network. Visit Planetside.pro to find other Planetside Podcasts! Support Press Start to Continue DLC by donating to their Tip Jar: https://tips.pinecast.com/jar/PressStart Send us your feedback online: https://pinecast.com/feedback/PressStart/b9d6f8a5-d1ee-42c4-8db0-d31b63138415

Episode 8 of Cookie-Dough Radio Podcast with Ste & Terser   Soulful underground music across the genres. Every month we will be digging deep in to our record collection and playing a selection of our favourite vinyl, some old and some new. For the first half of the show we will be playing tracks covering a number of genres. For the second half of the show will be going into the mix with a selection of our favourite house tracks. If you enjoy our podcasts please show your support by leaving a comment or hitting the ‘like’ or ‘re-post’ buttons. Your support is much appreciated! Thanks for listening S&T soul / funk / disco / nu-disco / reggae / dancehall / drum n bass / hip-hop / afro / deep house / soulful house / classic house 1. Nina Simone - See Line Woman (MAW Remix) 2. Electric Wire Hustle - Brother Sub ft Kimbra (Ashley Beadle Remix) 3. Donnie Elbert - Piece of Leather 4. William Onyeabor - Body and Soul 5. Jungle Brothers - Feelin' Alright 6. Omni Trio - Renegade Snares (Foul Play Remix) 7. Calibre - Down on You 8. Ny*AK - 1988 9. DJ Nature - Everyone 10. Ian Blevins - Grasscutter 11. Joe Goddard - Music is the Answer (Peza Remix) 12. Waterson - Shelter (Moodymanc Remix) 13. 4 Turntable Orchestra - You're Gonna Miss Me (1988 Mix)

The Total Tutor Neil Haley will interview Celebrity John Schneider of The Dukes of Hazzard and You're Gonna Miss Me. Buckle up for an unforgettable road trip featuring a star-studded cast with John Schneider from The Dukes of Hazzard, country music star Kix Brooks, and more as they explore what being a family really means. When country music legend Colt Montana dies suddenly, his two estranged sons reunite to pay their respects. But before either son can claim the large inheritance their father left them, they'll have to fulfill his last wish—reconnecting with their family by enduring a challenging road trip. Tallahassee “Tally” Montana needs the cash to keep himself out of prison. But after spending a few days on the road with his devil-may-care brother Mav—he's starting to think jail might be the better option. Stranded on a southwestern scavenger hunt filled with old relatives and trigger happy new friends, the brothers are forced to work together, learning more about their father's life as they repair the broken bonds the “legend” left behind.   

Beck, Temples, Lê Almeida, The Rolling Stones, Hellacopters, Boogarins, Perro, Strokes, Stone Roses e várias outras bandas em nossa Mixtape 56, faça o download agora. (clique com o botão direito e selecione salvar). Para ouvir outras músicas do artista clique nos links. 01 – Strange Or Be Forgotten – Temples 02 – She Bangs the Drums – The Stone Roses 03 – 6000 Dias – Boogarins 04 – The Daily Planet – Love 05 – Paint It, Black – The Rolling Stones 06 – You’re Gonna Miss Me – 13th Floor Elevators 07 – Radio Kids – Strand of Oaks 08 – I Bleed – The Pixies 09 – Bad Vibes – Lê Almeida 10 – Game of Pricks – Guided By Voices  11 – Devils Haircut – Beck 12 – Under Cover Of Darkness – The Strokes 13 – Lock All The Doors – Noel Gallagher’s High Flying Birds 14 – I Wanna Destroy You – The Soft Boys 15 – La Reina de Inglaterra – Perro 16 – Treason – Naked Raygun 17 – Joker In The Pack – The Adicts 18 – Born With a Tail – The Supersuckers 19 – (Gotta Get Some Action) Now! – The Hellacopters A próxima mixtape vai pro ar no dia 10/03/2017.

Lush, Beck, 13th Floor Elevators, Elton John, Tame Impala, Queens Of the Stone Age e várias outras bandas na mixtape que o nosso amigo Renan Esteves preparou, faça o download agora. (clique com o botão direito e selecione salvar). Para ouvir outras músicas do artista clique nos links. 01 – Ladykillers – Lush 02 – Son Of A Bitch – Civet 03 – Love Bites ( So Do I) – Halestorm 04 – Follow Me Down – Pretty Reckless 05 – Dreams – Beck 06 – Erre – Boogarins 07 – Cause I’m a Man – Tame Impala 08 – Junpin’ Jack Flash – Ananda Shankar 09 – You’re Gonna Miss Me – 13th Floor Elevators 10 – Doom and Gloom – The Rolling Stones 11 – Crocodile Rock – Elton John 12 – You’re My Best Friend – Queen 13 – Heart of Glass – Blondie 14 – Monster – Fred Schneider 15 – In My Head – Queens Of the Stone Age 16 – Breed – Nirvana A próxima mixtape vai pro ar no dia 20/04/2016.

Intro SongAndy Santana & the West Coast Playboys, “Take Me Back”, Watch Your Step, Delta Groove Music First Set Duece 'n a Quarter, “Bust That Boogie”, Take The Journey, Bolt RecordDelta Moon, “Down In The Flood”, Low DownMighty Mike Schermer, “Stop Crying”, Blues In Good Hands, VizzTone Label Group Second SetWhelan, “Too Cold Ohio Blues, The Story of Ike Dupree Karen Lovely, “Low Road”, Ten Miles of Bad Road, Yako RecordsLittle Boys Blue, “Bad Love”, Bad Love, Jaxon Records Third SetThe Reverend Shawn Amos, “You're Gonna Miss Me”, Loves You, Jimmy Adler, “Cornbread and Lima Beans”, Grease Alley, Sprucewood Records Clarence “The Blues Man” Turner, “Fame & Fortune”, The Caster Blaster Fourth SetAndy Poxon, “Next To You'”, Must Be Crazy!, EllerSoul Records The Beat Daddys, “DUI Love”, hoodoo that we do, Melrose Hill Records Mick Kolassa, “Grapes & Greens”, Ghosts of the Riverside Hotel, Swingsuit RecordsZac Harmon, “Back Of The Yards”, Right Man Right Now, Blind Pig Records

Playlist: Michael Cleary Band- Mind Made Up, Erin & Neil Harpe- Down & Out, Chris O’Leary Band- Waiting For the Phone To Ring, California Honeydrops- Carolina Peach, Spin Doctors- Some Other Man Instead, Christine Ohlman & Rebel Montez- What’s The Matter With You Baby?, Mike Crandall Band- 20 Miles, Jeff Pitchell- Unsung Hero Of The Blues, Candye Kane- Sweet Nothin’s, John Ginty- The Quirk, Roxy Perry- Don’t You Worry, Sean Chambers- You’re Gonna Miss Me, Anni Piper- Bleeding Heart Tattoo, Dave Keyes- You Think I Don’t Know, Devon Allman- When I Left Home, Max Creek- You Let Me Down Again, Tas Cru- One Eyed Jack, Tas Cru- Grizzle N’ Bone, Mojomatics- Soy Baby. Win $100 in the Feed Our Friends Contest: There was no winner in our Feed Our Friends Contest this week . To win a $100 gift card from Black-Eyed Sally’s in Hartford simply send us an 8-15 second video about why you want the gift card. Send your videos to music@onthehorn.com and you are in the running. Good luck next week!! Black-Eyed News: I thought this was kind of funny; If Neko Case asks you to stop taking pictures with your smartphone while she’s playing, you listen to her. Otherwise, she’ll make things very tense and awkward. That’s exactly what happened to a crowd in Cincinnati who drew the alt-country singer/songwriter’s wrath after she repeatedly asked them to not take videos or photos while she was performing. Case reportedly became surly with the crowd, while several attendees stormed out or pointed some obscene gestures towards Case. Some fans have taken to the Internet to complain about Case’s attitude, but the singer has remained silent on the incident since the show ended. e-more@elmoremagazine.com The Who’s workload will be considerably lighter after 2015. The band have planned an extensive tour for that year, which marks their 50th anniversary as a group, but Pete Townshend has claimed that their Silver Anniversary tour will also be their last. Bandmate Roger Daltrey agreed with Townshend’s decision, saying that the realities of undertaking massive tours have become more and more problematic as the two have gotten older. This will not spell the end of The Who as a whole, though; Daltrey has gone on record as saying that the band will continue to work as a recording unit after their final tour. e-more@elmoremagazine.com Keeping the Blues Alive Award Recipients Announced Congratulations to the 2014 Keeping the Blues Alive Award recipients: Affiliated Organization: Crossroads Blues Society of Illinois - Rockford, Illinois Art: Cristen Craven Barnard - Senatobia, Mississippi Club: Kingston Mines - Chicago, Illinois Education: Tas Cru - Chaumont, New York Festival (International): Cazorla Blues Festival - Cazorla, Spain Festival (U.S.): Mississippi Valley Blues Festival - Davenport, Iowa Film, Television and Video: Stefan Grossman - Sparta, New Jersey Historical Preservation: George Mitchell - Fort Myers, Florida International: The Royal Mail Hotel - Goodna, Queensland, Australia Journalism: Gene Tomko - Lafayette, Louisiana Literature: Gerard Herzhaft - Lyon, France Manager: Marcia Weaver - Jackson, Mississippi Photography: Dick Waterman - Oxford, Mississippi Producer: Tom Hambridge - Nashville, Tennessee Promoter: Myron Mu - San Francisco, California Publicist: Frank Roszak - North Hills, California Radio (Commercial): Jerry Schaefer - East Islip, New York Radio (Public): Larry Lisk - St. Petersburg, Florida Record Label: Stony Plain Records - Edmonton, Alberta Special Committee Award: Blue Star Connection - Winter Park, Colorado The Blues Foundation will honor these 20 individuals and organizations during a recognition luncheon Friday, January 24, 2014, at the Downtown Memphis Doubletree. Tickets can be purchased on the IBC page at www.blues.org. This week’s Blues Blast interview was done with Doug Deming right after he won the Sean Costello Rising Star Award at the Blues Blast Awards last month it’s a great interview with a very humble guy please give it a read it’s great. info@thebluesblast.com The last story is more of an announcement: On Friday Night December 20th Black-Eyed Sally’s has for the first time and hopefully not the last the pleasure of bringing in the Devon Allman Band. You may have seen or heard his work with Honeytribe or the Royal Southern Brotherhood or even some stuff off of his latest release Turquoise but if you haven’t seen him live you owe it to yourself so get your reservations now this will surely sell out quickly. Blues In The Area: 11/21 THURSDAY Sonny Landreth - The Iron Horse (7pm) - Northampton, MA Petey Hop - Theodores' - Springfield, MA Dan Stevens - The Pond House Grille (8pm) - Glastonbury, CT 11/22 FRIDAY The Official Blues Brothers Revue - Infinity Music Hall (8pm) - Norfolk, CT 11/23 SATURDAY Tas Cru - Black-eyed Sally's (9pm) - Hartford Dave Keller Band / The Mighty Soul Drivers - Bridge Street Live (8pm) - Collinsville, CT special guest James Montgomery Jeff Pitchell - The Hungry Tiger - Manchester, CT The Tom Sanders Band - The Cypress Restaurant (8pm) - Middletown, CT The Cobalt Rhythm Kings - The Park Central Tavern (9pm) - Hamden, CT Brandt Taylor - New York Pizza (7:30pm) - Plainfield, CT Ryan Hartt & the Blue Hearts - The Knickerbocker Cafe (8pm) - Westerly, RI Black-Eyed Sally’s Weekly Rundown: Wednesday Nov 20 Blues Open Mic hosted by Tim McDonald Friday Nov 22 Dan Kortchmar/ McDonald Band Saturday Nov 23 Tas Cru Monday Nov 25 Theo Hill Trio Tuesday Nov 26 Mike Palin’s Other Orchestra I hope to see you out and about this week but if not please continue to support live music wherever you are. subscribe-with-itunes-button

dattrax: 'Electric City' is a tribute to the city we love and where we fell in love with house music, Toronto. A tribute to it's community of house music DJs, producers, promoters, club owners, everyone involved and the all the party people/ the dancers (included those of us who can't dance but love to ;) This is a tribute to the house we got into, grew into, grew up in and fell in love with each time we heard these tracks. A huge hi-five, hug and thank you to all the singers, producers and DJs that made and played these tracks!! 'Classic House' is a shifting definition... just depends on when you got into house and when those first 5-6 formative years were for you. For us tracks made in 1985-1996 are considered 'classic' but we started partying in 1990 and from 1990-1996 we were privileged to have heard and danced to the earlier tracks. For 'Electric City', I wanted to go for the 'what old is new again' intent, so it's not entirely a classic house mix because it contains some instrumental tracks that were created past '96 and I included covers and remixes of classics that had the same feel, had great sound quality and didn't care when those were actually produced. For the regular classics, sound quality was paramount also, but had to make exceptions for "Move" and "Music Take Me Up" because they are such wicked tracks (were my poor attempts at transferring my vinyl to digital). I'm sorry but on "Emotions Electric" was a CD version I bought at Sam The Record Man (sadly not in biz anymore)... back to my apology, I cranked the bass too much so... Over 5yrs ago, I wasted almost two months in the cracks of time between work and family recording a crate and a half (150 records) into my computer. Realised afterwards that because I had a crappy sound card the digitized tracks were flat sounding). After that Jim and I just started buying classics on beatport, traxsource, itunes and defected and probably 90% of the time the sound quality was excellent. Got a few classic tracks from friends like Eric Ling, Gene King, Devon Wills and Tyrone Solomon. Then Roberto Pinto told me about Discogs and all my classic house vinyl dreams are gonna coming true. We keep saying but bears repeating: "This is the best time for house music. Period!" As always, we hope you enjoy this mix and that it gives you that house feeling from head to toe. (If you were so inclined, then please donate any amount you'd like to with the paypal button to the right side of this site. We've had two donations in the last four years of operating this site, but hoping to set a record this year & you can be a part of that;) Listed are the 42 tracks in order and a few sentences about each: (Really want to give you a little history of our early journey) cover by FCL- "It's You" (2012) Original (1986) "It's You" by E.S.P. Love this acapella cover!! Thought this would be a great start to this mix. Don't have a good quality version of the original. A Guy Called Gerald- "Emotions Electric" (1988) DJ AKI from the warehouse days made me love this track, it's so beautiful. Bought it on CD many years ago and always wanted to put it on a mix. Murk (Oscar G & Ralf Falcon)/ Coral Way Chiefs *moniker- "Release Myself" (1992) First heard this at a warehouse party on Spadina Ave, south of Dundas St in Toronto's main downtown Chinatown. It was at a "PTS" party!! Peter, Tyrone & Shams dominated warehouse parties for a few summers. Tightest house djs. Shams actually played this track off of reel to reel!!!!!!!!!! Mixing from reel to reel to vinyl turntables- BADASS!! Bobby Konders- "The Poem" (1990) Jim & I first head this at 'RPM All Ages Sundays' DJ'ed by Matt C. Jim flipped out and bought his first house records the next day. Think we met weeks later both stomping like maniacs at the speaker bins. We were 16 and were like: "WHAT THE HECK IS THIS STUFF!! THIS MUSIC IS WICKED!!!" Satoshi Tomiie- "And I Loved You" feat. vocals by Arnold Jarvis (1990) This was a record from my very 1st record purchases. It was summer time and I walked into a record store on Yonge St., downtown called "Carnival" and met Tyrone Solomon (of PTS fame!). Nicest guy and bought Shades of Black's "SHADOWS" EP on some label called 'Intrigue', I think. Can't imagine how many times I've heard this beautiful record and at countless parties. cover by Phonique- "Feel What You Want" feat. vocals by Rebecca (2012) Original (1994) by Rob Dougan & Rollo Armstrong & Kristine W (also featuring her vocals) Jim bought doubles of the original Kristine W. We were crammed into his bedroom when he 1st played it for me- I FLIPPED OUT!! Jim loved phasing doubles and then playing them purposely slightly off beat- sounded wicked!! Now you can do it with a 'delay' effects button.  He made a mix on cassette tape, then we went downtown looking for a warehouse party. Love this cover done by Phonique and Rebecca, they keep the original feel but brought a freshness to this timeless vocal track. M.A.W.- "I Can't Get No Sleep" remixed by David Morales (1995) First time I heard this was at a warehouse party near Wellesley St., around 6am, after working nightshift at 7West Cafe. Vince Ailey's friend was DJing. Can't remember his name but was a towering spanish guy, great guy. The way he expertly slowly drifted these two minutes of drum intro into the last song. I was dancing non-stop and when that India vocal came in- WOW!! Tommy Musto- "Take Some Time Out" feat. vocals by Arnold Jarvis (1987) This vocal still gives me goosebumps!! Was a fav at many warehouse jams! remixed by Bush II Bush- "You're Gonna Miss Me" (2007) Original by Turntable Orchestra ‎– "You're Gonna Miss Me" (1988) Love the original the best but don't have a clean, good quality digital copy and my vinyl's all scratched up. This is a really good remix bringing modern day tight, bright sounds to this classic vocal. Bang The Party- "Bang-Bang You're Mine" (1990) First time I heard this was at my pal, Moses' house, we were wrecked and he was mixing this and Fingers Inc tracks. We were all 16yrs old and couldn't believe this house music stuff!! cover by Xakosa- "Miss Me" feat. vocals by Kenny Thomas (2013) Original by Turntable Orchestra ‎– "You're Gonna Miss Me" (1988) This is such a good cover with a jackin' beat, had to include also even though played another version already. Back in the day, DJs like AKI and PTS would tease you by playing parts of a track, 5-6 times during the night- just a sliver, a few beats each time, just enough of a hook. That's how they broke tracks! By the 5th time, everyone was so excited that the whole room was bouncing with hands in the air! Bobby D'Ambrosio‎– "Moment Of My Life" feat. vocals by Michelle Weeks (1997) ‎ This is one of the most uplifting vocal house tracks out there! Michelle Weeks baby!! Man, there are probably 250 classic house tracks I'd love to put in mixes if I only had clean digital versions. One can dream. M.A.W.- "I Get Lifted" feat. vocals by Barbara Tucker remixed by John Ciafone (1994) Don't know a house dj worth his salt that doesn't have two dozen Masters At Work vinyl records. Priceless track. Feelin' this? Masters At Work or M.A.W.(Little Louie Vega & Kenny Dope Gonzalez)- "I Can't Get No Sleep" feat. vocals by India (1993) Had to include the original. First time we heard this was years before that David Morales remix played earlier. We were at "Kat Klub", just south west of Church St & Queen St E. Kevin Williams, rubbed the celophone cover off of the record on his jeans and SLAMMED this down. He could MIX!! Kevin was actually the first LIVE house DJ i had heard at 16 at "GO GO's", in the 'White Room' on Richmond St & Duncan. He BURNED through records with fast change ups. At the end of the night, Jason Palma said there was a STACK of records in a pile beside him OUTSIDE of their sleeves!! He mixes with a frenzy! Jason told that story and I felt it on the dance floor but wasn't privy to the DJ booth ; ) I got in with my cousin's 21yr old ID, I guess since every Chinese guy at that time looked the same ; ) Great for me! Thompson & Lenoir (LNR)- "Can't Stop The House" (1987) LNR, same guys that made the warehouse classic "Work It To The Bone"!! Wish I had a clean copy of that! First time Jim and I heard this was at 616 Yonge St., around Wellesley. When AKI threw this down, we almost put our fists through the wall it was that exciting!! FLIPPED OUT! That's HOUSE MUSIC. ‎ Murk (Oscar G & Ralf Falcon)/ Liberty City *moniker– "Some Lovin'" (1992) I loved this track so much that for a whole summer, every warehouse I went to, I 'requested' this track. Drove AKI and the rest nuts. But this vocal was SOOOOOOO DIRTY!!! That MURK feel, those baselines!! Then we saw Liberty City perform it live at The OZ on Mercer St. Jestofunk-"Stellar Funk" remixed by Lazzaro (1997) This congo instrumental I played the crap out of back in the vinyl days, mixed it with dozens of different vocals. My personal policy is NEVER REPEAT a combo and it's brought joy to every situation. Great track!! Joe Smooth- "The Promised Land" feat. vocals by Anthony Thomas (1987) What this track does to you is HOUSE MUSIC. Beautiful in every way. Can listen to this and have listened to this OVER AND OVER AGAIN. Instrumental mix by M.A.W. (date?) M.A.W.-River Ocean‎– "Love & Happiness" (Yemaya Y Ochún) feat. vocals by India (1994) Jim bought doubles of this also and he played the crap out of it! Like a great dessert that's good with EVERY meal. Tracks like this make mixing so much fun because each new combo is a rebirth in emotions. Inner City- "Big Fun" (1988) was when original by Kevin Saunderson was made, but this remix was made in (2003) by Juan Atkins First time I heard this was at Focus on Joseph St around Wellesley. Nope not the 'Focus' at City Hall, that was before my time. Play a few bars and people go MENTAL on the dancefloor! Infectious. dub mix remixed by Soul Clap Raze- "Break 4 Love" (2011) vocal mix remixed by Soul Clap Raze- "Break 4 Love" (2011) Original (1988) Raze- "Break 4 Love" feat. vocals by Keith Thompson I LOVE EVERY VERSION of the original also, the full vocal, the instrumental bringing out this timeless baseline and the spanish female vocal version. Jim bought these remixes and I just lost it. Can't believe Soul Clap got the original vocal by Keith Thompson. They keep the original sounds but brought it to the current times. Like the beginning of the dub and didn't like the beginning of the vocal, so I mixed them together. The original is the best but will have to save for another time. remixed by Michel Cleis 'Floreo'(2010) original M.A.W.-River Ocean‎– "Love & Happiness" (Yemaya Y Ochún) feat. vocals by India (1994) Jim had double records of this original MAW vocal! This remix revived this track for us! Murk (Oscar G & Ralf Falcon)- "Tried So Hard" feat. vocals by Bobby Pruit (1993) This track reminds me of one of the 1st time I met Vince Ailey, a great Toronto House DJ & producer but back then he was one of the BADDEST dancers! And not that hip-hop dancing to house music crap, real house dancing. We were at a PTS party on Duncan, south of Richmond. The ceilings were low and sweat was dripping off it. That was nasty, but the MUSIC was so addictive, no one left till after 5am!! Kerri Chandler & Johnny McDougald- "Something Wrong" (1992) Killer track! Chandler is a brick layer, this is a foundation dub. New house lovers are gonna say "WTF??!!" Jim and I often wonder when we hear a wicked track.. 'how did they come up with this track? the ideas? the sounds?' We should start producing so we can make someone else think that. Hopefully soon... Fingers Inc. (Larry Heard, Ron Wilson & Robert Owens) ‎– "Music Take Me Up" feat. vocals by Robert Owens (1985) My first exposure to house in a serious way was Fingers tracks, think over a dozen like 'So Glad', 'What About This Love', 'Distant Planet', 'A Path', 'Mysteries of Love, 'Can You Feel It' and the list is endless. Tracks got attention those days. We burned the grooves off these records!! Mondo Grosso- "Souffles H" remixed by M.A.W. (1995) How many MAW tracks in this mix?? Little Louie Vega & Kenny "Dope" Gonzalez are so sick!! How many house tracks copied their swing? Standing on the shoulders of Giants! Let it grow!! remixed by Tricky Disco- "Tricky Disco" (1990) Love this sexy sax mix! Didn't like this track till it wasn't being played any longer. Jaydee- "Plastic Dreams" (1992) This is an anthem with killer keys!! original M.A.W. & Lem Springsteen- "Nite Life" feat. vocals by Kim English (1994) remixed by Armand Van Helden (1994) Love this vocal!! All our fav house djs in the past played this track. Can't stop dancing to this. Blaze- "So Special" (1990) This was one of my first records and has so many great memories attached to it. Eddie Lewis & Kerri Chandler- "I Need You" feat. vocals by Kamar (1993) Nothing like seeing a smokey dark room with over a hundred people with hands in the air and singing along! House Karaoke!! Cajmere- "Brighter Days" feat. vocals by Dajae (1992) remixed by Karizma & DJ Spen (2011) Karizma smashed it with this remix!! He kept all the original elements and turbo boosted the thump of this gorgeous vocal! Dodha & DJ Spen- "Inrowd" (2013) This is not a classic instrumental but reminded me of the old days with it's feel and sound. Actually reminded me of Mateo & Matos' track "Raw Elements", gotta get that vinyl on Discogs! original Jay Williams, Nelson Roman & Rob Hanning- "Sweat" feat. vocals by Jay Williams (1990) JoJoFlores-Rmx (1999?) 'Sweat' reminds me of this club in North York, just outside of Toronto, but now part of the GTA (Greater Toronto Area). "Inner City" was a wicked club and one of the first to play house. And the dancers there were incredible!! It was that time when everyone got tailored dress pants made and they all had slight to ridiculous bell bottoms. But it seemed so cool at the time watching these guys dance. Jay Williams' vocals on this are legendary and JoJo made this killer remix that made this vocal alive again! Martin Solveig- "Afro Deep" (1999) This is not a classic track but I played the crap out of this congo instrumental. The house feel can be expressed in limitless ways. original Show Me Love feat. vocals by Robin S (1993) remixed by Steve Angello & Laidback Luke (2008) Jim played this remix for the first time at a party a few years ago and EVERYONE went bananas at a certain part near the beginning. You'll definitely KNOW when you FEEL it. Nightmares On Wax- "Aftermath" (1990) This reminds me of a dance my friends DJ'ed at at Jarvis Collegiate near Wellesley. That was a party and we were all into HOUSE and danced like crazy. My friend, Noel Nanton (AN INCREDIBLE HOUSE DJ & PRODUCER), got me into house at 16 and took me to go see Kevin Williams at GO-GO's and some friends had great friends at Jarvis Collegiate and we bonded with tons of house music. Scotti Deep/ Fathoms N.Y. *moniker- "Braniak" (1995) Jim and I went BONKERS when we heard this for the 1st time at a warehouse party. Think it was at the 4th and 5th on Richmond St. It was such a raw and techy bouncy charger! original Romanthony- "Bring U Up" (1995) remixed by Deetron (2011) I don't know how many Romanthony records we own but he made some great ones. God Rest his Soul. This remix by DeeTron brought this track back to the current state of affairs. Love remixes of classics that preserve the feel but make it fresh with higher quality of sounds. Fingers Inc.- "Bring Down The Walls" feat. vocals by Robert Owens (1986) Bought this digital copy from iTunes. Got every Fingers vinyl! This got so played out it almost sounded commercial. But for those who haven't heard it for years or for the first time- WATCH OUT. John Rocco- "Move" (1987) I first heard this at Jim's house, this was when FreeStyle + House was the sound. We got into it probably by '95. Best memory of this track live was when Kenny Glasgow, now famous 1/2 of Art Department, dropped this right from the beginning at The Wellington, on Wellington, south of Spadina & King St. Toronto history. Killer thumpin' intro. I never mix this track cause I want to hear that beginning. Most of the tracks in this mix bought from www.Beatport.com and www.Traxsource.com and www.Defected.com and iTunes, http://www.apple.com/itunes/ BTW... if you enjoy this mix, then there's a PayPal DONATE button on the top right side of this website... any amount would be appreciated ; ) For Toronto or Global bookings: dattrax@gmail.com This house mix made on Traktor S4 Controller & laptop with no sync applied, but mix was made multiple times with multiple failures. Hope you are forgiving and have fun listening.