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3 episodes with great gig
3 episodes with great gig
2 episodes with great gig
2 episodes with great gig
2 episodes with great gig
2 episodes with great gig
2 episodes with great gig
2 episodes with great gig
2 episodes with great gig
One of the most iconic and influential albums of all time, The Dark Side of the Moon by Pink Floyd is a progressive rock masterpiece that explores themes of time, mental illness, greed, death, and the human experience. Released in 1973, the album is known for its seamless flow, with each track blending into the next, creating an immersive sonic journey.Musically, it features lush synthesizers, soaring guitar solos, ethereal vocal harmonies, and groundbreaking use of studio effects. Tracks like “Time,” “Money,” and “Us and Them” have become timeless classics, while the haunting beauty of “The Great Gig in the Sky” and the hypnotic pulse of “Breathe” showcase the band's sonic experimentation.Lyrically and thematically profound, The Dark Side of the Moon resonates with listeners on an emotional and philosophical level. Its iconic prism cover art, designed by Storm Thorgerson, has become one of the most recognizable images in music history. The album spent over 900 weeks on the Billboard charts, cementing its legacy as one of the best-selling and most enduring records ever made.Listen to the album on Apple Music Listen to the album on SpotifyWhat did you think of this album? Send us a text! Support the showPatreonWebsitePolyphonic Press Discord ServerFollow us on InstagramContact: polyphonicpressmusic@gmail.comDISCLAIMER: Due to copyright restrictions, we are unable to play pieces of the songs we cover in these episodes. Playing clips of songs are unfortunately prohibitively expensive to obtain the proper licensing. We strongly encourage you to listen to the album along with us on your preferred format to enhance the listening experience.
What if you could still see Floyd in all their glory? Floydium, Canada's go-to tribute band for Pink Floyd, is touring again in 2025! Tickets are available now for the most psychedelic laser-filled night of progressive rock, since the original Floyd. Check out https://www.floydium.com/shows Floydium City: Kawartha Lakes Address: 63 Songbird Crescent Website: https://www.floydium.com/shows
Send us a textThis is one of those where it is the second episode recorded on the same night. Traditionally these are a little loose. This one is no exception.#1 podcast on Jim's blockThe BeltIce fish trip weekend recapMark's medical team--Dave and LucasJohn Mayer--cool guy or dick?Music Theory 101: AC/DCMark's buddy, Eric"A combination of Conway Twitty and Ron Jeremy"Tai ChiRadio GameInstrumental Songs: Jessica, Frankenstein, Always With Me Always With You, Black Mountainside, The Great Gig in the Sky, Eruption, Spanish Fly, Sweet Jane Intro? Sirius, YYZLet us know what you think: TheAscertainers@gmail.com#Newt's#ConwayJeremyCheck this space later for cool links referenced in the episode.
Led by Richard (Technical and Artistic Director) and Erica Warp (Director of Neuroscience for Brainstorms), this talk investigates music, art, science and commercial realities to create viable immersive experiences at scale. Brainstorms is an immersive experience exploring the brain's response to music and featuring the work of Pink Floyd and Imogen Heap, debuted at Frameless in London over 4 weekends in June 2024.A hugely ambitious project for a very small team, with a breakneck schedule and very limited budget, the exhibition was executed flawlessly. But was it ‘successful', and how are we measuring that success? This talk was recorded at the Immersive Experience Network Summit in October 2024 and is supported by Arts Council England and our industry partners Illusion Design & Construct, Mance Communications, White Light, Deterministic, Immersif, d&b audiotechnik, Scene2, Little Lion Entertainment, Entourage, and Vista Insurance.Discover more content from IEN: https://immersiveexperience.network/articles/ Hosted on Acast. See acast.com/privacy for more information.
While we obviously do Debut Buddies for the Money, what really drives us is the ceaselessness of Time and maybe a little Brain Damage. It's not just Us and Them, either, a whole host of folks are preparing for The Great Gig in the Sky. We discuss Pink Floyd's FIRST #1 RECORD, The Dark Side of the Moon with special guest writer and educator, Steve Livingston. Plus, we talk prog rock, being old, and so much more! And of course, there's a delightful MouthGarf Report and I See What You Did There! Please give us a 5 star rating on Apple Podcasts! Check out the cool Moon Composite that Steve shared here.Want to ask us a question? Talk to us! Email debutbuddies@gmail.comListen to Kelly and Chelsea's awesome horror movie podcast, Never Show the Monster.Get some sci-fi from Spaceboy Books.Get down with Michael J. O'Connor's music!Next time: First Ghost Busters
It's time for a mojo injection, jump in and feel lighter. Tune suggestions - Bridge over Troubled Water - Simon & Garfunkel This song popped into my head, it's a beauty. The Great Gig in the Sky - Pink Floyd A belter, it makes me think of crying and singing through pain. My Mum sang when giving birth to me! Babe - Take That All the feels, crazy to think this song is 31 years old!! Leave a Light On - Belinda Carlisle This is an 80's belter (just makes 80's at 1989)
Charlamos con Alan Boguslavsky (ex-guitarrista de Héroes del Silencio y Bunbury) sobre el disco ‘The Dark Side of the Moon' de Pink Floyd. En esta tercera parte (publicada originalmente en junio de 2023) hablamos de: Las dos canciones siguientes de 'The Dark Side of the Moon': «Time» y «The Great Gig in the Sky». Algunas de las leyendas alrededor de la grabación de la cantante Clare Torry en «The Great Gig in the Sky». La demanda judicial que Torry interpuso contra Pink Floyd y su discográfica EMI. La influencia de la música ‘soul' en 'The Dark Side of the Moon'. La resurrección del vinilo. Y por el camino nos encontramos con Alan Parsons, Radiohead, Jimi Hendrix, Spotify, la Fender Stratocaster, el ‘delay' de cinta y mi primera teoría de la conspiración (totalmente gratuita). Para participar en la elección de los discos que tratamos en el podcast, date de alta en mi lista de correo en discoprestado.com Contacto: discoprestado@proton.me ¡Salud y buena música! Marc Aliana
A number of Chinese cities have launched short-term job centers to help gig workers find their next job. What's new about these centers as opposed to previously existing services? How big is the gig economy overall? On the show: Laiming, Steve Hatherly & Yushan
| Stephanie Cook | Loves been Right here | Mood 2 Swing | Passing Time | The Vision | Dames Brown | Miguel Migs | Body Moves | Lovebirds | Want you in my soul | Vincenzo | Where you are | Groove Junkies | Sineads War | Kerala Dust | Untitled – DJ GOLDFINGER SAX EDIT | Four80East | Hold a Candle | Mild High Club | Tessalation | Pink Floyd | Great Gig in the Sky
| Stephanie Cook | Loves been Right here | Mood 2 Swing | Passing Time | The Vision | Dames Brown | Miguel Migs | Body Moves | Lovebirds | Want you in my soul | Vincenzo | Where you are | Groove Junkies | Sineads War | Kerala Dust | Untitled – DJ GOLDFINGER SAX EDIT | Four80East | Hold a Candle | Mild High Club | Tessalation | Pink Floyd | Great Gig in the Sky
Chloe is the hokage, anime enthusiast, fitness astrophysicist student muscle mommy. This convo touched my heart. Chloe opened up about eating disorders, deaths of beloved, cancer, suicide, family, relationships, bullying, space, astrophysics, & anime. The story I needed to hear
Being head football coach at Nebraska is still a pretty good job.
در این اپیزود افزوده رادیو چیستا، در یلدای سومین سال فعالیت این پادکست، اپیزودی که عمدتاً به عنوان پروژهای شخصی توسط خالق پادکست طراحی شده و محتوای غالب آن در سال 1396 ضبط شده، نگاهی فلسفی و شاعرانه به معنای زندگی، مرگ، و رابطه آنها در جهان پستمردن پسا-نیچه میاندازیم ... خالق: سهراب مصاحبی با همراهی: ماهور مصاحبی گویندگان مهمان: ماهور مصاحبی، رضا جلالی، سمن اویسی، نهال لک و با قدردانی از پوچگرایی نهان در شعر پارسی ... موسیقیهای استفاده شده (به ترتیب): 1. Chista Theme / Sohrab mosaheB 2. To Live is To Die / Metallica 3. Lost Keys / Tool 4. Black Swam / Thom Yorke 5. Death is the Road to Awe / Clint Mansell 6. A Great Gig in the Sky / Pink Floyd متون به کار رفته: هدف بودن / ماهور مصاحبی نقل قول هایی از صادق هدایت قید و بند تاریک اضمحلال / سهراب مصاحبی اشعاری از حافظ، خیام، ابوسعید ابولخیر و خواجوی کرمانی حمایت مالی از پادکست
Enquiring minds want to know...what do you get when you take the "Happiest Accident on the Album" (The Great Gig in the Sky) and mash it up with stories about Roger Waters' dead "friends"?? You get The Great Gig in the Sky Redux, the fifth mortally questionable track from Roger Waters' Dark Side of the Moon Redux... We're in middle-row purgatory, wedged between 4 songs that left us scratching our heads, and 5 more we're scared to ask to move so we can get up and use the lav. Why are the new versions always longer?? Chaz & Wolfie take a different listening approach on this one, given the absolute perfection and magnificence of the original track. Is it a better listening experience - who the fuk knows?? We're just glad we made it through another one without major gastrointestinal incident. It was close...butt we made it. Grab your banana and kick back for another ear-lashing, as we're joined by the late, great, Eddie "Phat Fingers" Perez, for a very Ouiga edition of Regarding Roger. Even from the Upside Down, they ask, why Roger, why? Mas Cervesa!!
1. Shine On You Crazy Diamond 00:00:00 2. Signs of Life 00:12:23 3. Learning to Fly00:15:46 4. Sorrow 00:21:03 5. Dogs of War 00:31:36 6. On The Turning Away 00:39:32 7. One of These Days 00:48:37 8. Time 00:54:50 9. On The Run 01:00:00 10. The Great Gig in the Sky 01:02:58 11. Wish You Were Here 01:07:49 12. US and Them 01:12:38 13. Money 01:20:18 14. Comfortably Numb 01:28:33 15. One Slip 01:38:30 16. Run Like Hell 01:44:36 All uploads on this channel are for promotional purposes only! The music has been converted before uploading to prevent ripping and to protect the artist(s) and label(s). If you don't want your content here please contact us immediately via email: allmusiclive@outlook.com and WE WILL REMOVE THE EPISODE IMMEDIATELY!
00:00:38 - Shine On You Crazy Diamond (Parts 1-5) 00:12:16 - Signs of Life 00:15:45 - Learning to Fly 00:20:56 - Yet Another Movie 00:27:16 - Round and Around 00:27:49 - A New Machine (Part 1) 00:29:25 - Terminal Frost 00:35:42 - A New Machine (Part 2) 00:36:28 - Sorrow 00:46:52 - The Dogs of War 00:54:52 - On The Turning Away 01:04:15 - One of These Days 01:10:14 - Time 01:15:32 - On the Run 01:18:18 - The Great Gig in the Sky 01:23:13 - Wish You Were Here 01:28:00 - Us and Them 01:35:33 - Money 01:43:57 - Comfortably Numb 01:53:51 - One Slip 02:00:00 - Run Like Hell 02:07:26 - Ending & Crédits All uploads on this channel are for promotional purposes only! The music has been converted before uploading to prevent ripping and to protect the artist(s) and label(s). If you don't want your content here please contact us immediately via email: allmusiclive@outlook.com and WE WILL REMOVE THE EPISODE IMMEDIATELY!
Sie gelten als eine der wichtigsten Bands der Musikgeschichte: Pink Floyd. Mit ihrer ausgefeilten, atmosphärischen Musik begeistern sie noch heute Millionen Fans. Wie hat es diese Band geschafft, so dermaßen erfolgreich zu sein und trotzdem immer ihr eigenes Ding zu machen? Lutz und Carsten schauen sich das "Phänomen" Pink Floyd genauer an. Im ersten Teil geht's um die Zeit von der Gründung bis zu den großen Erfolgen Mitte der 70er. Angefangen als unbedarfte Studentenband wurden sie schnell zum Geheimtipp der Psychedelic-Szene. Allerdings gab's zunehmend Probleme mit ihrem charismatischen Frontmann, von dem sie sich schließlich trennten. Wie sollte es danach weitergehen? Die Band war planlos und mit Erfolg rechnete keiner - doch Pink Floyd konnten sich erfolgreich beweisen... ++++++++++Song-Tipps zur Folge++++++++++ "Astronomy Domine", "Interstellar Overdrive", "Arnold Layne", "Remember a Day", "Set The Controls For The Heart of the Sun", "Jugband Blues", "Careful With That Axe Eugene", "Grantchester Meadows", "Atom Heart Mother", "Summer '68", "Fat Old Sun", "Echoes", "One of these Days", "San Tropez", "Breathe", "Time", "The Great Gig in the Sky", "Money", "Us and Them", Any Colour You Like", "Eclipse", "Shine On You Crazy Diamond (alle Parts)", "Welcome To The Machine", "Have A Cigar", "Wish You Were Here"
Content Warnings: Car Accidents, Blood, Parental Loss, Death, War/Military Trauma, Medical Horror, Psychological Horror, Jarring Noises, Claustrophobic Scenarios, Bugs, Language Brooks, Dr. Kinton, and Ford are the capable crew of the research vessel known as The Atolla. They've been tasked to investigate and catalogue a new discovery found deep beneath the mining facility on the moon of Arcadia-19. ------ Join our Shrimp and Crits Discord server for the official listening parties. These are every release day at 8:30PM EST. https://discord.gg/qCHktpeTDG ------ Support us on Patreon: https://www.patreon.com/ShrimpandCrits ------ You can follow our linktree (https://linktr.ee/ShrimpandCrits) to our website, social media, and much much more. Please subscribe, rate and review us on any podcatchers where you listen. If you'd like to get in touch, feel free to do so by email (shrimpandcritspodcast@gmail.com) or post (PO Box 60934 Nashville TN, 37206) ------ All music written and produced by Shrimp and Crits.
EP893 Pink Floyd - The Great Gig In The Sky
We take a look at the song "Great gig in the sky" from Pink Floyd's groundbreaking monumental album "The Dark Side of the Moon".The story starts from an impriovsed voice solo on a track about death that becomes the perfect soundtrack for love-making and the creation of life.We also see how singer Clare Tory had to fight to get recognition for her work and have her name appear aside that of banmember Richard Wright.
In this bonus episode, Jim adds a song to the Desert Island Jukebox in honor of a friend's daughter getting a great gig as an accordionist. Join our Facebook Group: https://bit.ly/3sivr9T Become a member on Patreon: https://bit.ly/3slWZvc Sign up for our newsletter: https://bit.ly/3eEvRnG Make a donation via PayPal: https://bit.ly/3dmt9lU Send us a Voice Memo: Desktop: bit.ly/2RyD5Ah Mobile: sayhi.chat/soundopsSupport The Show: https://www.patreon.com/soundopinionsSee omnystudio.com/listener for privacy information.
Alan Boguslavsky (ex-guitarrista de Héroes del Silencio y Bunbury) nos presta ‘The Dark Side of the Moon' de Pink Floyd. Este es el tercer episodio que dedicaremos al disco ‘The Dark Side of the Moon' de Pink Floyd, con Alan Boguslavsky como invitado. Si no habéis escuchado los dos anteriores, os recomiendo que empecéis por ahí. Alan Boguslavsky es un músico y productor mexicano con más de tres décadas de actividad profesional. Como guitarrista, en 1993 se incorporó a la banda de rock en español Héroes del Silencio, con quienes presentó el disco ‘El espíritu del vino' por gran parte de Europa, Latinoamérica y EE UU. En 1995, Alan grabó y cocompuso el cuarto y último disco de los Héroes, ‘Avalancha', de cuya gira salió el álbum en directo ‘Parasiempre'. Tras la disolución de la banda su ex-cantante, Enrique Bunbury, contó con Alan para la grabación de su primer disco en solitario, ‘Radical Sonora', y para la gira que le siguió. Más recientemente, Alan apareció en el documental ‘Héroes: Silencio y Rock & Roll', que está disponible en Netflix. Aparte de su etapa con Bunbury y Héroes del Silencio —la cual le valió el perenne apodo de «el Azteca de Oro»—, Alan ha formado parte de diversas bandas de la escena rock mexicana, como por ejemplo Neón, Kenny y los Eléctricos, Los Milky Brothers o Los Inmortales S. A., y ha producido a artistas como Mauricio Riveros, Dos Lunas o La Nube. Su constante inquietud musical se ha ido plasmando en varios proyectos personales a lo largo de su carrera, como Bogusflow o The Art Of Waiting. En la actualidad, Alan gira continuamente por Latinoamérica, España y EE UU, y en los últimos años ha colaborado con las orquestas filarmónicas de Costa Rica y Medellín. En el episodio de hoy, entre otras cosas, Alan y yo comentamos: Las dos canciones siguientes de 'The Dark Side of the Moon': «Time» y «The Great Gig in the Sky». Algunas de las leyendas alrededor de la grabación de la cantante Clare Torry en «The Great Gig in the Sky». La demanda judicial que Torry interpuso contra Pink Floyd y su discográfica EMI. La influencia de la música ‘soul' en 'The Dark Side of the Moon'. La resurrección del vinilo. Y por el camino nos encontramos con Alan Parsons, Radiohead, Jimi Hendrix, Spotify, la Fender Stratocaster, el ‘delay' de cinta y mi primera teoría de la conspiración (totalmente gratuita). Podéis mandar vuestros comentarios a discoprestado@proton.me Disco Prestado en Instagram: @discoprestadopodcast Disco Prestado en Facebook: @discoprestadopodcast Disco Prestado en YouTube: @discoprestadopodcast Transcripciones completas y lista de correo en discoprestado.com La música original de este podcast forma parte de mi EP 'The Entertainer EP', que podéis encontrar en marcaliana.com/musica y en todas las plataformas digitales. ¡Salud y buena música! Marc Aliana marcaliana.com
Yet more Canadian scandals, money flying left and right, and some questionable legislation being introduced in world capitals. Just another week in consumer choice! Broadcast on Consumer Choice Radio on April 8, 2022. Syndicated on Sauga 960AM and Coastal Carolina Network. Website: https://consumerchoicecenter.org/radio ***PODCAST*** Podcast Index: https://bit.ly/3EJSIs3 Apple: http://apple.co/2G7avA8 Spotify: http://spoti.fi/3iXIKIS RSS: https://omny.fm/shows/consumerchoiceradio/playlists/podcast.rss Our podcast is now Podcasting 2.0 compliant! Listen to the show using a Bitcoin lightning wallet-enabled podcasting app (Podverse, Breeze, Fountain, etc.) to directly donate to the show using the Bitcoin lightning network (stream those sats!). More information on that here: https://podcastindex.org/apps Produced by the Consumer Choice Center. Support us: https://consumerchoicecenter.org/donateSee omnystudio.com/listener for privacy information.
Ohio is a mess and Pink Floyd celebrates a milestone. Music: Pink Floyd - The Great Gig in the Sky Exec. Produced by Cyrus Poe
Celebrating its 50th year, does it hold up? In this episode we review the album The Dark Side of the Moon by Pink Floyd.Blend (In the Air)Blenderstyle Hosts: Casey, Matt, NathanFollow/Subscribe:YouTube: https://www.youtube.com/c/blenderstylePodcast: https://blenderstyle.buzzsprout.comBlenderstyle Merch: https://blenderstyle.square.siteInstagram: https://www.instagram.com/blenderstylemusicFacebook: https://www.facebook.com/blenderstylemusicWebsite: http://blenderstyle.netListen to Pink Floyd - The Dark Side of the Moon:YouTube Music: https://music.youtube.com/playlist?list=OLAK5uy_mXoi-FuQb9Gw7Mguhdx5F4jltT0L1qOCwSpotify: https://open.spotify.com/album/4LH4d3cOWNNsVw41Gqt2kvApple Music: https://music.apple.com/us/album/the-dark-side-of-the-moon/1065973699Keywords: Pink Floyd, The Dark Side of the Moon, David Gilmour, Nick Mason, Roger Waters, Richard Wright, Clare Torry, Dick Parry, Alan Parsons, Speak to Me, Breath (In the Air), On the Run, Time, The Great Gig in the Sky, Money, Us and Them, Any Colour You Like, Brain Damage, Eclipse, Pink Floyd Reaction, Dark Side of the Moon Reaction#pinkfloyd #thedarksideofthemoon #albumreview #davidgilmour #rogerwaters #pinkfloydreaction #darksideofthemoonreaction
We finally get to explore the Great Gig in the Sky... Heaven, as it were. I could talk about this episode for hours. Days, even. But what is Time. (and yes, I considered just assembling this entire post out of song titles and lyrics from the album, but I figured that would give us all Brain Damage... fine, I'll stop now) We finally get a peek behind the curtain, but what are we actually being shown? Who's actually doing the “showing,” and what agendas (including Chuck's) are influencing what Sam and Dean experience there? Plus Dean and Cas both take major blows to their confidence in having any hope of defeating Lucifer and stopping the apocalypse. God has always been a dick, honestly. Sam... is still desperately clinging to hope, for now. Things are looking pretty grim all around, though. I talked long enough in the episode, so here have some links: The Superwiki page My Tag for the episode My cosmology of the spn universe tag my tag for Heaven (and hell, purgatory, and the empty) my tag for soulmates (mercifully briefer than the previous two lol) filming locations map the Network Draft script an interview with Thunderbird Dinwiddie (Pamela) --- Support this podcast: https://podcasters.spotify.com/pod/show/spngeorg/support
Den 1. marts er det 50 år det ikoniske "Dark Side of the Moon" udkom. Mange tal taler deres eget sprog om albummets popularitet og blivende status som et af rockhistoriens vigtigste album – her er bare et enkelt: Gennem 24 år lå albummet på den amerikanske album top 20. I anledning af jubilæet har POV Mediano Musics Jan Eriksen inviteret Pink Floyd eksperten Thomas Ulrik Larsen i studiet. Blandt sine mange meritter er Larsen tidligere guitarist i det danske hyldestband Pink Floyd Project. Altså har han været den danske David Gilmour i en periode. Eriksen og Larsen taler da blandt meget andet også om Gilmours guitarspil i podcasten. "Gilmour er bluesguitarist. Det er nogle relativt enkle figurer, men der er noget med anstrøget. Noget af det, man ofte glemmer, når man taler guitarsoli, er at man er ilde stedt, uanset hvad man laver, uden rytmik. Han er en fantastisk rytmeguitarist, og det hører man også, når han spiller soloer,", siger Thomas Ulrik Larsen. "The Dark Side of the Moon" er det første Pink Floyd album med Roger Waters som eneforfatter til teksterne, og det første, hvor de enkelte numre hænger sammen i suiteform. Med andre ord er det Pink Floyds første konceptalbum. For første gang taler Waters direkte til sine lyttere uden flyvske metaforer. Det handler om alt det, der truer med at påføre det moderne menneskes ”Brain Damage” - penge, dødsangst, fobier, identitetskriser, nationalisme samt samfundets manipulation af vores tanker og holdninger. I dag står "The Dark Side of the Moon" med Thomas Ulrik Larsens ord som: ”Den langsommelige kæmpe, der ikke vil gå væk. Det der med, at det trisser afsted fra start til slut. Der er et enkelt nummer, nemlig Money, hvor de kommer op i omdrejninger. Det er den langsommelige dinosaurus, som har været her siden tidernes morgen, og vi hører den stadigvæk. Det har noget med dens langtidsholdbarhed, at den har fået denne her status." Og selvfølgelig kommer podcasten omkring ”The Gig in the Sky”, der har givet sangerinden Clare Torry en evigt lysende plads i rockarkiverne med sin udtryksfulde sang – som nogen har kaldt "en dødskantate". Ifølge Thomas Ulrik Larsen kan det nu ligeså godt handle om sex. Det siges, at "The Great Gig in the Sky" blev brugt som lydspor til de såkaldte liveshows i Amsterdam, hvor man kan se par dyrke sex," siger han. NB – POV Mediano Musics aftale med rettighedsorganisationen KODA, som vi selvsagt respekterer, kan vi kun spille uddrag af de enkelte numre. Desuden forekommer de enkelte numre ikke i samme rækkefølge som på albummet. Så meget desto mere grund til sætte albummet på grammofonen, CD-afspilleren eller finde det på pc, iPhone e.lign., når du er færdig med podcasten. I podcasten taler Thomas Ulrik Larsen og Jan Eriksen bl.a. om: - det stiftende medlem af Pink Floyd, Syd Barret – er det rigtigt, som myten siger, at Waters tekster direkte handler om Barrets psykiske sygdom? - sammenhængen mellem The Dark Side of the Moon og tidligere Floyd-album, specielt Meddle. - udviklingen fra psykedelisk band til del af den voksende engelske bølge, progressiv rock, også kendt som prog rock. Eller var Pink Floyd overhovedet et prog rock band? - hvad det var for noget med Wrights joystick? - et eller rettere flere bud på, hvorfor albummet har opnået sin status som et af de vigtigste rockalbum nogensinde.
Den 1. marts er det 50 år siden, det ikoniske "The Dark Side of the Moon" udkom. Mange tal taler deres eget sprog om albummets popularitet og blivende status som et af rockhistoriens vigtigste album – her er bare et enkelt: Gennem 24 år lå albummet på den amerikanske album top 200. I anledning af jubilæet har POV Mediano Musics Jan Eriksen inviteret Pink Floyd eksperten Thomas Ulrik Larsen i studiet. Blandt sine mange meritter er Larsen tidligere guitarist i det danske hyldestband Pink Floyd Project. Altså har han været den danske David Gilmour i en periode. Eriksen og Larsen taler da blandt meget andet også om Gilmours guitarspil i podcasten. "Gilmour er bluesguitarist. Det er nogle relativt enkle figurer, men der er noget med anstrøget. Noget af det, man ofte glemmer, når man taler guitarsoli, er at man er ilde stedt, uanset hvad man laver, uden rytmik. Han er en fantastisk rytmeguitarist, og det hører man også, når han spiller soloer," siger Thomas Ulrik Larsen. "The Dark Side of the Moon" er det første Pink Floyd album med Roger Waters som eneforfatter til teksterne, og det første, hvor de enkelte numre hænger sammen i suiteform. Med andre ord er det Pink Floyds første konceptalbum. For første gang taler Waters direkte til sine lyttere uden flyvske metaforer. Det handler om alt det, der truer med at påføre det moderne menneskes ”Brain Damage” - penge, dødsangst, fobier, identitetskriser, nationalisme samt samfundets manipulation af vores tanker og holdninger. I dag står "The Dark Side of the Moon" med Thomas Ulrik Larsens ord som: ”Den langsommelige kæmpe, der ikke vil gå væk. Det der med, at det trisser afsted fra start til slut. Der er et enkelt nummer, nemlig "Money", hvor de kommer op i omdrejninger. Det er den langsommelige dinosaurus, som har været her siden tidernes morgen, og vi hører den stadigvæk. Det har noget at gøre med dens langtidsholdbarhed, at den har fået denne her status." Og selvfølgelig kommer podcasten omkring ”The Gig in the Sky”, der har givet sangerinden Clare Torry en evigt lysende plads i rockarkiverne med sin udtryksfulde sang – som nogen har kaldt "en dødskantate". Ifølge Thomas Ulrik Larsen kan det nu ligeså godt handle om sex. "Det siges, at "The Great Gig in the Sky" blev brugt som lydspor til de såkaldte liveshows i Amsterdam, hvor man kan se par dyrke sex," siger han. NB – POV Mediano Musics aftale med rettighedsorganisationen KODA, som vi selvsagt respekterer, at vi kun spille uddrag af de enkelte numre. Desuden forekommer de enkelte numre ikke i samme rækkefølge som på albummet. Så meget desto mere grund til sætte albummet på grammofonen, CD-afspilleren eller finde det på pc, iPhone e.lign., når du er færdig med podcasten. I podcasten taler Thomas Ulrik Larsen og Jan Eriksen bl.a. om: - det stiftende medlem af Pink Floyd, Syd Barrett – er det rigtigt, som myten siger, at Waters tekster direkte handler om Barretts psykiske sygdom? - sammenhængen mellem "The Dark Side of the Moon" og tidligere Floyd-album, specielt "Meddle". - udviklingen fra psykedelisk band til en del af den voksende engelske bølge, progressiv rock, også kendt som prog rock. Eller var Pink Floyd overhovedet et prog rock band? - hvad det var for noget med Wrights joystick? - et eller rettere flere bud på, hvorfor albummet har opnået sin status som et af de vigtigste rockalbum nogensinde.
Jusqu'au début des années 80, lorsqu'on achetait du matériel Hi-Fi, il y avait de très grandes chances pour que la vendeuse ou le vendeur vous en vante les qualités en vous faisant écouter « Dark Side of The Moon ». Fruit d'un véritable travail d'orfèvre en studio, le chef d'œuvre définitif et spatial de Pink Floyd, qui était à son apogé, se prêtait parfaitement à l'exercice. Ce disque d'anthologie est composé de dix titres, cinq par face. Celui qui nous intéresse ici est « The Great Gig in the Sky » qui referme la face A. Voici l'histoire de cette chanson qui fut la dernière enregistrée… Hébergé par Acast. Visitez acast.com/privacy pour plus d'informations.
Join San Diego native Lauren Leigh Martin, as she talks about her singing career and upcoming second album. She talks about her musical influences: her aunt, Eve Selis; her dad, Claudio Martin; her album co-producer, Jeff Berkeley; and her musical partner, Sam Hunt. The past few years have been a challenge, with breakups, the pandemic, motherhood, and mental health, but Lauren has channeled that into her work and pushed herself to expand musically. Lauren discusses the life of a professional musician, including starting with a fall-back plan, financial considerations, touring, and drugs and alcohol. She also reveals the behind-the-scenes story of her singing Pink Floyd's Great Gig in the Sky on tour, opening for Foreigner. A great San Diego episode with Bill Aho.Lauren's album release party - Jan 4, 2023https://bellyup.com/calendar/12560515/lauren-leigh-w-eve-selis-omo-cloud-ghost-in-the-picture-album-release-seated-show/Lauren Leigh's website:https://www.laurenleighmusic.com/"Blinding Lights" with Sam Hunthttps://www.youtube.com/watch?v=doB8d1ypdqMThoughts? Comments? Potshots? Contact the show at:https://www.discreetguide.com/podcast-books-shows-tunes-mad-acts/Follow or like us on podomatic.com (it raises our visibility :)https://www.podomatic.com/podcasts/books-shows-tunes-mad-actsSupport us on Patreon:https://www.patreon.com/discreetguideJennifer on Twitter:@DiscreetGuideJennifer on LinkedIn:https://www.linkedin.com/in/jenniferkcrittenden/Discreet Guide Training:https://training.discreetguide.com/
THE DARK SIDE OF THE MOON, do Pink Floyd, não apenas marcou uma nova fase da lendária banda de rock progressivo, como se tornou um ícone do gênero e marcou a história da música. O disco conta com as faixas: "Speak to Me", "Breathe", "On the Run", "Time", "The Great Gig in the Sky", "Money", "Us and Them", "Any Colour You Like", "Brain Damage" e "Eclipse". A banda era formada por: Roger Waters (baixo e vocal ,guitarra), David Gilmour (guitarra e vocal), Nick Mason (percussão e bateria) e Richard Wright (teclados e vocal). Então, convidamos Rômulo Konzen, do podcast Crazy Metal Mind, para tomar uma e falar sobre todas as faixas do THE DARK SIDE OF THE MOON, do PINK FLOYD! ******************************************** SEJA MEMBRO DO CLUBE TUPFS E TENHA ACESSO A UMA SÉRIE DE VANTAGENS! Você pode escolher um dos planos abaixo: HEADBANGER (R$ 1,99 por mês) Seu nome divulgado durante os vídeos, selo de fidelidade ao lado do seu nome sempre que deixar um comentário e emojis exclusivos! ROCKSTAR (R$ 7,99 por mês) Além dos benefícios anteriores, você terá acesso ao nosso ao grupo exclusivo no WhatsApp, pode dar nota nas resenhas e participar das listening parties, que viram podcast! METAL GOD (R$ 24,99 por mês) Além de todos os benefícios anteriores e dar uma grande ajuda financeira para a nossa criação de conteúdo, você terá acesso antecipado aos vídeos do canal, vídeos exclusivos, vai poder escolher tema de episódio, deixar perguntas para as entrevistas e participar de vídeos e lives. Também terá prioridade em brindes e descontos no merchandising do canal, quando disponíveis! SEJA MEMBRO: https://www.youtube.com/channel/UCo1lgalkCBW9Uv3GyrzhhkA/join ******************************************** Nos siga nas redes sociais: Twitter: @iurimoreira / @rafael2099 Instagram: @iurimoreira / rafaelaraujo2099
Arguably the biggest album of the entire rock era, Pink Floyd's eighth studio album would propel them to superstardom. The Dark Side of the Moon is one of the most acclaimed records in history, and it is commercially unmatched in its longevity. It topped the US Billboard Top LP's and Tape chart, and charted for 962 weeks in total!Pink Floyd at this time was David Gilmour on guitar and vocals, Roger Waters on bass and vocals, Richard Wright on keyboards, and Nick Mason on percussion.The Dark Side of the Moon was envisioned as a concept album focusing on different types of pressure like greed, conflict, and death. It also included examination of mental health issues - as would much of Pink Floyd's discography - inspired by the problems experienced by former front man Syd Barrett. While singles were released, we strongly recommend listening to the album in totality to get the best experience out of it.Bruce brings us this monster album, and friend of the show Mike Fernandez joins us in Wayne's absence. TimeThis was released in the US as the second single from the album (after Money). Roger Waters wrote the lyrics. David Gilmour and Richard Wright share lead vocals - unusual for Richard Wright. The sounds of clocks were recorded by Alan Parsons in an antique store as a quadrophonic test, but the sounds fit so well with the theme of this track that the band included it. All four principal members were credited with songwriting, and this would be the last time this would happen in the band's history.The Great Gig in the SkyThis track follows Time, and is basically an instrumental with some spoken words at the front. The band went around the studio asking people questions and Gerry O'Driscal's response is recorded on this track. Female vocalizations are provided by Clare Torry, a session vocalist that Alan Parsons brought in. She wasn't really told what to sing, but was told, "There's no lyrics. It's about dying - have a bit of a sing on that, girl." Brain DamageRoger Waters is on lead in this song, with Gilmour providing backing vocals. This and other insanity-themed lyrics are based on Syd Barrett. The lyric, "And if the band you're in starts playing different tunes" has a historical basis, as Barrett would play a different song than the rest of the band on more than one occasion toward the end of his tenure with the band. EclipseThis final track is actually a different song from Brain Damage, but is commonly played with it on rock radio stations because there is no break between the two on the album. The song reflects the ying and yang of life - good and bad, life and death, light and dark. "And everything under the sun is in tune, but the sun is eclipsed by the moon." ENTERTAINMENT TRACK:Theme to the television game show $10,000 PyramidDick Clark would serve as the initial host of this game show which started in March 1973. STAFF PICKS:Crocodile Rock by Elton JohnBrian initiates the staff picks with the first number 1 song in the U.S. for Elton John. The song has a 50's throwback sound, with lyrics that tell about a time when the singer danced the Crocodile Rock with Susie. It was inspired by Australian band Daddy Cool and their song “Eagle Rock.”The Cisco Kid by WarRob's staff pick is from War's 1972 album, “The World is a Ghetto.” It made it to number 2 on the charts. There's a reggae feel, a little funk, and a little ZZ Top. The song is about two cowboys, Cisco and Poncho, and their adventures. The band wanted their music to spread brotherhood and harmony to displace greed, racism, hunger, and gangs.Stuck in the Middle With You by Stealers Wheel Friend of the show Mike Fernandez brings us one of the classic lines in rock music - “clowns to the left of me, jokers to the right, here I am, stuck in the middle with you.” Gerry Rafferty is the founder and principal songwriter for the group. This is Stealers Wheel's biggest hit.Danny's Song by Anne MurrayBruce wraps up the staff picks with a song Kenny Loggins wrote for his brother Danny at the birth of his son Colin. It was first performed by a group called Gator Creek in 1970, then by Loggins and Messina in 1972. This cover by Canadian country-pop singer Anne Murray would go to number 7 on the Billboard Hot 100. INSTRUMENTAL TRACK:Also Sprach Zarathustra by DeodatoThis funky take on the Richard Strauss piece famous for its use in "2001: A Space Odyssey" was on the charts in March 1973.
A bite-sized podcast with tips and tricks for everyday gigging musicians, hosted by Andy Keathley in Los Angeles. Formerly GuitarCast with Andy Keathley.Follow on Instagram and Twitter @haveagreatgigPresented by Wood & Steel Live Music Co. California's Finest Live Bands for Weddings & Events. Book your band now at woodandsteel.live
The greatest assignment is to serve at the pleasure of the Father! Take a listen today...Be sure to SUBSCRIBE----REVIEW & RATE TENT TALK PODCAST w/ Nancy McCready 5-STARS to help us get the message out. Remember to get your copy of Nancy's book “From Trauma To Trust” on Amazon & join her FREE FB Group -- The Producers Way! #nancymccready.com #tenttalk #tenttribe #theproducersway.com --- Follow podcast links:⠀⠀⠀⠀⠀⠀⠀⠀⠀ Apple Podcast:⠀⠀⠀⠀⠀⠀⠀⠀⠀ apple.co/3fKQDCr⠀⠀⠀⠀⠀⠀⠀⠀⠀ ⠀⠀⠀⠀⠀⠀⠀⠀⠀ Google Podcast:⠀⠀⠀⠀⠀⠀⠀⠀⠀ bit.ly/34IN1uw Spotify Podcast: open.spotify.com/show/1QTSlnDSLFxsb4QlnwK79q
The greatest assignment is to serve at the pleasure of the Father! Take a listen today...Be sure to SUBSCRIBE----REVIEW & RATE TENT TALK PODCAST w/ Nancy McCready 5-STARS to help us get the message out. Remember to get your copy of Nancy's book “From Trauma To Trust” on Amazon & join her FREE FB Group -- The Producers Way! #nancymccready.com #tenttalk #tenttribe #theproducersway.com --- Follow podcast links:⠀⠀⠀⠀⠀⠀⠀⠀⠀ Apple Podcast:⠀⠀⠀⠀⠀⠀⠀⠀⠀ apple.co/3fKQDCr⠀⠀⠀⠀⠀⠀⠀⠀⠀ ⠀⠀⠀⠀⠀⠀⠀⠀⠀ Google Podcast:⠀⠀⠀⠀⠀⠀⠀⠀⠀ bit.ly/34IN1uw Spotify Podcast: open.spotify.com/show/1QTSlnDSLFxsb4QlnwK79q
The greatest assignment is to serve at the pleasure of the Father! Take a listen today...Be sure to SUBSCRIBE----REVIEW & RATE TENT TALK PODCAST w/ Nancy McCready 5-STARS to help us get the message out. Remember to get your copy of Nancy's book “From Trauma To Trust” on Amazon & join her FREE FB Group -- The Producers Way! #nancymccready.com #tenttalk #tenttribe #theproducersway.com --- Follow podcast links:⠀⠀⠀⠀⠀⠀⠀⠀⠀ Apple Podcast:⠀⠀⠀⠀⠀⠀⠀⠀⠀ apple.co/3fKQDCr⠀⠀⠀⠀⠀⠀⠀⠀⠀ ⠀⠀⠀⠀⠀⠀⠀⠀⠀ Google Podcast:⠀⠀⠀⠀⠀⠀⠀⠀⠀ bit.ly/34IN1uw Spotify Podcast: open.spotify.com/show/1QTSlnDSLFxsb4QlnwK79q
In this first episode of When One Thing Leads To Another, Helen and Bill get lost down an internet rabbit hole which somehow takes them from the Rolling Stones and Delia Smith to The Great Gig in the Sky and Lou Reed via the town of Northampton and Brooke Bond D. They even find out what to do if you accidentally drink washing up liquid, which may or may not come in handy.Related Links:The Rolling Stones, Let It Bleed LP on vinyl: https://therollingstonesshop.co.uk/*/Vinyl/Let-It-Bleed/1J2U12J7000The Rolling Stones, You Can't Always Get What You Want, taken from The Rock n Roll Circus:https://www.youtube.com/watch?v=Ef9QnZVpVd8Article about Nanette Workman “borrowing” Nanette Newman's surname:https://www.pressreader.com/ireland/irish-daily-mail/20200723/282278142649916Backing singer on You Can't Always Get What You Want, Nanette Workman with Lady Marmalade, featuring a certain Celine Dion:https://www.youtube.com/watch?v=T-3NLfCTLTcBacking singer on You Can't Always Get What You Want, Doris Troy with Just One Look:https://www.youtube.com/watch?v=7YtqW5G-tZQBacking singer on You Can't Always Get What You Want, Madeline Bell with I'm Gonna Make You Love Me: https://www.youtube.com/watch?v=HpY3bdvSNFIBrooke Bond D Tea advert sung by Madeline Bell: https://www.youtube.com/watch?v=s_tvIdDCNYkThe Troggs with Wild Thing featuring drummer, Ronnie Bond, writer of the Brooke Bond D Tea Ad music:https://www.youtube.com/watch?v=gSWInYFVksgDelia Smith website article about that cake on the Cover of Let It Bleed:https://www.deliaonline.com/features/2019/10/delia-and-the-rolling-stonesClare Torry talks about her famous role in Pink Flloyd's The Great Gig in the Sky:https://www.youtube.com/watch?v=mIW7xZSlZoMClare Torry's cover version of Dolly Parton's Love is Like a Butterfly, used as the theme to the BBC sitcom, Butterflies:https://www.youtube.com/watch?v=dGUDDtsFDoABrotherhood of Man with their Eurovision Song Contest Winner, Save All Your kisses For Me:https://www.youtube.com/watch?v=fhq_Q1Ut8SQHerbie Flowers talks about that famous bass line on Lou Reed's Walk on the Wild Side:https://www.youtube.com/watch?v=XBXUP5GqYJs Our GDPR privacy policy was updated on August 8, 2022. Visit acast.com/privacy for more information.
Topics Include: Venting About Coworkers, What Did He Find In His Walls? These People Are More Likely to Have Road Rage, "The Thing About Pam", Something Shocking You Found Out After Someone Passed Away, The Great Gig
The Earth of 4.5 billion years ago was perhaps the most alien version of our world, thanks to a collision with a rogue planet. Days and nights were six times shorter, the newborn Moon was as close as a weather satellite, and everything was covered with a sea of magma. Today, we learn how the Moon transformed from a giant Eye of Sauron into our pale nighttime companion, with the help of a Canadian geologist, some homemade lava, and a bucket of water. Extra credit: Squeeze a stress ball, eat only one color of candy, and try to solve this week's hidden word puzzle.
The Dark Side of the Moon by Pink Floyd was released in 1973.The Dark Side of the Moon (Andrew's Mix) includes the following songs, mixed with 63 clips:1. Speak To Me/Breathe2. On the Run3. Time4. The Great Gig in the Sky5. Money6. Us and Them7. Any Colour You Like8. Brain Damage9. Eclipse
Elkezdődött a gombapresszó plakát vásár, ami december 15-ig tart! A plakátokat és minden szükséges tudnivalót ebből a google formból ismerhetsz meg: https://forms.gle/GQPZqz5SR7hTgbsG6 ........... Sokkal jobb lett volna, ha a beszélgetés előtt látom a norvég posta reklámját látom, és nem hagyatkozom Tibire, aki szokása szerint úgy mesélt el valamit, hogy kizárólag a Mandíner kommentszekciójából tájékozódott. Legközelebb óvatosabb leszek. Itt a hivatkozott reklám. Az adában hallható Pink Ployd koncert itt látható teljes terjedelmében HD minőségben. Az adás borítóképén a The Great Gig on the Sky csodálatos hangja, Clare Torry szerepel. .................. A gombapresszó Twitter csatornája. Az élő adások helyszine, az MR4 csatorna. Az adászenéket tartalmazó Spotify lista. Ha szeretnél támogatni minket, a Patreon oldalunkon megteheted.
Your Fluffernutter phone calls! Lori Lightfoot ‘booed off' stage amid Chicago vaccine mandate fallout, more on first time reactions to Pink Floyd's 'Great Gig in the Sky' song.. and more of your calls!
Pat opens the show talking about one of his favorite songs: Pink Floyd's 'the Great Gig in the Sky', Mercury Retrograde Survival Kits at Bevmo, 1st time reactions to music on YouTube, music is the universal language, Pat got another visit from the Meat Fairy' last night and takes your calls!
Zajímá vás, jak vznikl váš oblíbený hit, jaké byly okolnosti jeho nahrávání, kdo ho ve skutečnosti složil nebo třeba zda ho kapela vůbec chtěla natočit na desku a vydat? Pro vás je tu naše Hudební knihovna.
Discussing one school districts handling of there bigoted Director of Diversity, Equity, and Inclusion. --- Send in a voice message: https://anchor.fm/foruncommonsense/message
PINK FLOYD The Great Gig In The Sky Breakdown!! --- Support this podcast: https://anchor.fm/conversations-with-vin-and-sori/support
You know the Pink Floyd song “Time” where David Gilmour realizes one day that 10 years have gone behind him? Well, if afforded the luxury of remaining upright long enough, there will be a point in everyone's life where that guarantee proves true. A lot of moments make up 10 years. We attempt to store special ones and seal them close to our heart in hopes that the feeling can be accessed for revisits. But moments, like air, enter ever so briefly before being lost to the powers of inevitability once the spirit has consumed the vitality. Because although the mind can memorize the event, the experience can never be relived. Fortunately, or unfortunately? That's for you to decide. “You run and you run to catch up with the sun but it's sinking,” Gilmour wails. It's a poignant metaphor for the ultimate act of futility – as everyone faces the indisputable challenge of having to reason with growing old. Because there is no catching up to the sun. It's the sun that catches up to you. And for many, this challenge is too overwhelming, taunted by the peace that never gets reconciled. And the result being a mind that clicks over the sane edge, resulting in a lunatic on the grass. Speaking of “grass” – that's a term that was applied to Cannabis around the time the record was made. And it's safe to assume that Roger Waters was using his fair share when channeling the lyrics. So, is it possible that Cannabis fueled this masterful work of music? It doesn't matter. Nothing matters other than to understand who you are – your personal purpose for being here at all. Until one day it's over, and your soul ascends to the Great Gig in the Sky.
" The gig economy – the future of work – is here, and consumers love it. We can get a ride, order food, or even have our dogs walked with the tap of an app. But the gig economy relies on its workers to be independent contractors, and some recent court cases are challenging that model. Should Uber drivers be employees or contractors? Plus, learn what the “middle ground” is. -- At Plain English, we make English lessons for the modern world. -- Today's full English lesson, including a free transcript, can be found at: https://plainenglish.com/377 -- Learning English should be fun! That's why our lessons are about current events and trending topics you care about: business, travel, technology, health, science, politics, the environment, and so much more. Our free English lessons always include English expressions and phrasal verbs, too. -- Learn even more English at PlainEnglish.com, where we have fast and slow audio, translations, videos, online English courses, and a supportive community of English learners like you. Sign up free at PlainEnglish.com/Join -- Aprende inglés gratis en línea con nuestro curso de inglés. Se habla a una velocidad lenta para que todos entiendan. ¡Aprende ingles con nosotros ahora! | Aprenda Inglês online grátis com o Plain English, a uma velocidade menor, para que todos possam entender. Contact: E-mail jeff@plainenglish.com | WhatsApp +1 312 967 8757 | Facebook PlainEnglishPod | Instagram PlainEnglishPod | Twitter @PlainEnglishPod "
Quante vasche hai fatto?
In this episode, music connoisseur @sammysamarth talks about ‘Groundhog Day' by Em Beihold, 'Bath Salt's' by DMX, in collaboration with Jayz and Nas, ‘Tohfa' by Vayu And finally, 'Zahir Kare' by Pranay Bahuguna For this week's trivia, Samarth will talk about the popular song ‘The Great Gig in the Sky' by Pink Floyd
A recent survey on PC Magazine says Kaysville and Price are two of the best cities North America for working from home. What are the metrics for the study and what do Kaysville and Price have that sets them apart? See omnystudio.com/listener for privacy information.
Nu det’ jul igen, og nu det’ tid til at byde velkommen til denne virtuelle podcastsmagning, for julen varer til påske. Men indimellem vil Carsten Berthelsen og jeg guide dig gennem smagekassens første overraskelser, og tilmed komme julens glæder og andre fornøjeligheder i hu. De udvalgte øl er til de eftermiddagstimer, hvor dagene længes, og lyset langsomt fortrænger mørket op mod påske. Øl: Gamma, Smoke & Lasers - Dry & Bitter, Great Gig in the Sky - Slow Burn, Hi-Heel Sneakers Underlægningsmusik: Slowfly feat. Revel Day - Silver White Daniels Jul produceres af Daniel Røde Holmberg for Bauer Media.
What better way to start developing an Antipodean flavor to SpyCast than to release an episode with Brett Peppler. Aussie Army. Spec Ops. Deputy Director Military Intelligence. AIPIO President. Professor. He’s been around the block, thought about the block, and anticipated what the block might do next (he said he is, "desperately, madly in love with Futures Intelligence"). The Indo-Pacific is often overlooked, but it will be a key component of international security long after Brett and I have slipped the surly bonds of earth for the Great Gig in the Sky. The timing of our conversation was interesting, it was the official national holiday of Australia where Brett was (Australia Day, 26th Jan), and the unofficial national holiday of Scotland where I was (Burns Night, Jan 25th). Coincidence? Serendipity? Conspiracy? One for the intelligence analysts among us methinks.
Surprising as this may be, we usually do have a plan for each episode. Nevertheless, every so often the events of the day take precedent. This week, all to suddenly, and far too soon, we learned of the passing of Eddie Van Halen, which made most other things seem trivial. As we all await The Mandalorian’s return we take a few minutes to discuss a pair of recent videos that look at what went into creating the physical model and motion capture apparatus used for the Disney+ series. In an era where CGI is easier and cheaper an effort like this is worth paying attention to. There’s also the usual Random Topics, a round of What’s in the Box and a Hot Toys Minute where the Joes catch up on a pile of recent acquisitions. And lastly, one of the hosts revisits Star Trek: Lower Decks with surprising results ... particularly to him. Check out pics of all the stuff and links for the videos at regularjoes.com. Thanks for listening!
In this final episode of the first season of Girls Talk About Music, I look back at the women musicians who inspired me to start the podcast and who inspire me every day with their music and talent. Musicians mentioned:Pink FloydClare TorryZero 7Sia FurlerMayra AndradeIbeyiDaniel CaesarH.E.R.Songs mentioned:The Great Gig in the SkyDistractionsDestinyCarried AwayLinks to explore:Pink Floyd - The Great Gig in the SkySia - Lady CroissantMayra Andrade - LuaIbeyi - Live at KEXPH.E.R - Carried AwayH.E.R. Fender Sessions
Great Gig if you can get it: Lehman Brothers in their bankruptcy (BK) here in 2020--yes 2020--is having to respond to a proof of claim (POC) which has been filed in the Lehman BK by Nationstar, along with a stipulation which effectively confirms the POC, to the effect that Nationstar is affirmed to have a right to collect from the debt originator Lehman on the same mortgage debt which in a typical scenario they would be restricted from collecting solely from the Individual Borrower--in other words the bulk of the listeners to the Neil Garfield Show. As Bill will discuss, the Obligation under the Note section of the POC at issue here states that: "The Note Holder may enforce its rights under this Note against each person individually or against all of us together. This means that any one of us may be required to pay all the amounts owed under this Note." Then on the Show today Charles Marshall will drill down into the latest Covid-19 impacts to civil legal procedure, foreclosure auctions, and unlawful detainer cases, including addressing foreclosure and eviction moratoriums.
Jenny talks about the loss of her son due to suicide. Please note, this is a sensitive episodeEPISODE NOTES:Twitter ~ LadymouthpodLogo ~ DavidHttps://www.facebook.com/david.aronson.7Intro ~ IG jeffmalartsSound Engineer Brian.Gunning@outlook.comOutro ~ IG overwinterphlCHECK OUT OUR MERCH!https://www.redbubble.com/people/thatsnotcanon/explore?page=1&sortOrder=recent See acast.com/privacy for privacy and opt-out information.
I'm joined by guest Phil Stacey as we discuss our favorite albums of 1973. Show notes: - Recorded via Zoom - "Tie a Yellow Ribbon" was big in '73 - Dark Side of the Moon spent 741 weeks on the Billboard albums chart - Big singles from Jim Croce, Paul Simon, Roberta Flack, Stories, Joe Walsh, Stealers Wheel - Jay's bubbling under albums: Wings, Queen, Lou Reed, Steely Dan, Stevie Wonder, Marvin Gaye, John Lennon, Sabbath - Marvin Gaye: Not a subtle man - Phil's bubbling under: Bob Marley and the Wailers, ZZ Top, Grateful Dead, Gram Parsons, Rolling Stones, ELP, Iggy and the Stooges - Jay's top albums: NY Dolls, Bowie, Pink Floyd, The Who, Led Zep - Dark Side of the Moon has been so overplayed over the years, but still a great album - Phil's top albums: Allman Brothers, Elton John, Bowie, The Who, Led Zep - The ridiculous coincidences of HBO's Vinyl - Quadrophenia is the last great Who album - The underrated John Paul Jones - Jay's favorite: Iggy and the Stooges with a blistering comeback - Full of snarl and punk attitude - Phil's favorite: Pink Floyd - Favorite songs: Jay - "Search and Destroy"; Phil - "The Great Gig in the Sky" - R.I.P., Chadwick Boseman, who was amazing in Get On Up, a 2014 biopic about James Brown Completely Conspicuous is available through Apple Podcasts. Subscribe and write a review! The opening and closing theme of Completely Conspicuous is "Theme to Big F'in Pants" by Jay Breitling. Voiceover work is courtesy of James Gralian.
We're joined by Jaimee Taylor-Nielsen, one of the masterminds behind music bookers Coven. Jamie also produces Bad Vibrations festival and is the host of The Bridge on FBi Radio. This series is Get Gig Ready, and this is the episode we talk gigs. What do you need to put on a show? How do you find a venue? How do you make sure you get booked again? We cover all your questions about live music and how to make the most of your skills and networks to ensure you're ready for the way gigs are evolving. If you've got the tunes but aren't quite sure how to get across the line to performing live, this is the episode for you.Our Feature Artist this week is Fallen Robins, with their track Going to Canberra.Jaimee: https://www.instagram.com/_goldiefawn/Fallen Robins: https://www.facebook.com/thefallenrobins/
Mortality, humanity, and mental health struggles loom large over this episode’s MinnTrax albums: “By the Throat” from Minneapolis hip-hop duo Eyedea & Abilities and “Dark Side of the Moon” by classic English psych rockers Pink Floyd. They’re both really well-constructed albums that are fun to listen to in very different ways and for very different moods. Just how different is part of our discussion with Justice Harrison (Skybound Entertainment)! Our community-led segment is full of fun talk about bands we pigeonholed for some reason, favorite video game soundtracks, and if Kanye was better “before he became a genius.” Thanks to MinnMax supporter CalebMurray for suggesting this episode’s outro song! To jump to a particular discussion, check out the timestamps below… 11:45 - “Hay Fever” 18:25 - “Spin Cycle” 23:50 - “Sky Diver” 31:45 - Eyedea vs. Brother Ali rap battle 33:40 - “Factory” 40:05 - “Junk” 43:35 - “Time Flies When You Have a Gun” 49:55 - “This Story” 58:20 - “Speak to Me”/”Breathe” 1:05:25 - “Brain Damage” 1:10:40 - “Money” 1:17:00 - “On the Run”/”Time” 1:30:20 - “The Great Gig in the Sky” 1:34:25 - “Us and Them” 1:41:55 - “Eclipse” 1:45:17 - Community questions 2:10:20 - Community song (“Crows” by The Delta Saints, suggested by MinnMax supporter CalebMurray) Follow Justice on Twitter at https://twitter.com/lofijustice Listen to Justice’s music on Soundcloud: https://soundcloud.com/wirelessthetireless Learn more about Skybound and the upcoming Skybound Xpo at https://www.skybound.com/ Support MinnMax on Patreon: https://www.patreon.com/minnmax/ MinnTrax Episode Playlist: https://spoti.fi/2vgqfvK MinnTrax Community Playlist: https://spoti.fi/3aRRgox
Jake recounts his Fourth of July, and the incredible fireworks show he saw.Music recommendation is “Dream River” by Bill Callahan.Wake & Jake (Bonus Content)https://www.patreon.com/wakeandjakepodWake & Jakehttps://www.auxchicago.com/wake-jakehttps://www.instagram.com/wakeandjakepod/https://twitter.com/WakeandJakePodJake Fisherhttps://www.instagram.com/kennyg.g.allin/https://deathbotrecords.bandcamp.com/Music Composed by Jake FisherLogo by Baitul Javid
Episode 87 – Pink Floyd Part 9, The Dark Side of the Moon Pt 2 The group finishes out our extensive look into The Dark Side of the Moon, side 2. With a little extra lore from the bonus time we tackle the breathtaking genius of the rest of this album. There is no shortage of topics from the production on Money to the recycling of musical ideas from previous projects to the unparalleled beauty and power of Great Gig in the Sky. Twitter: @progpala Email: progpala@gmail.com Facebook: www.facebook.com/ProgPala YouTube: www.youtube.com/channel/UCw_Xxit3D8wbv-AcJ_7Z__w/featured Theme music provided by: Dave DeWhitt
In this show we chat with our Friends Ginger and Eva of WHISKEY & FUEGO! Whiskey & Fuego is the collaboration effort of producers, Ginger N. Whiskey and Eva Mae Garnet, aka the “Feisty Fuego”. For years they have produced various shows and events that captivated audiences throughout San Diego. Specializing in unique, interactive, and glamorous affairs, their shows became a staple in southern California. Having traveled far and wide, performing in cities like London, Toronto, New York, and Denver, they continue to hone and improve their crafts while learning from the best in the industry. They produce a monthly show at Sycamore Den every last Thursday called Burlesque Boogie Nights and are producing a Pink Floyd tribute called Great Gig in the Sky.
We’re back discussing tech in the time of the Covid-19 Pandemic: space-based internet from headline-shy Elon Musk; ex-football player uses AI to predict Covid-19 outbreaks (alright, ‘soccer player’); the Instagram founders are back tracking Covid-19 spread and making better statisticians of us all; Travis Scott played a show to 12 million people. In a video game? Pietro had no idea at first what he was seeing in the night sky recently. It was Starlink’s satellite train - the latest batch of what will be thousands of satellites, part of Elon Musk’s plan to ‘rebuild the internet in space’. While we know now more than ever why internet access has to be a human right, what will the sky look like when it’s full of satellites? Footballers don’t usually found AI companies after retiring, but an ex-Real Madrid midfielder did. Now his company is pivoting to predict Covid-19 outbreaks in his native Spain. The Instagram founders are also tracking the spread of Covid-19 cases state-by-state in the U.S. And they’re doing a great job at something that’s pretty difficult: making data interesting to look at. Travis Scott played a show to 12 million people. Well, it was a Travis Scott avatar. And it was in a video game. But still, in the wake of social distancing, is this an unexpected future for entertainment? We’re grateful that we can carry on making podcasts during this pandemic. Creative Machines wishes to thank all the essential workers keeping society going. We hope you’re being taken care of and we appreciate you. Creative Machines is produced by David Angell at Giant Sound Toronto. We want guests! Email us at machinespodcast@gmail.com if you want to be on or know someone who should. Find us on Twitter and Instagram @machinespodcast.
A 47 años del lanzamiento del clásico disco de Pink Floyd, Eduardo Fabregat revisa las particularidades del álbum que logró el récord de semanas en los más escuchados, el aporte de Alan Parsons y el destrato con la cantante de “The Great Gig in the Sky”.
Forty seven years ago this week (3/1/73) Pink Floyd released their legendary album 'Dark Side Of The Moon'. In this episode we’ll explore the stories behind the songs, the mysterious voices heard throughout and the famous voice that was left off, the secret song heard at the end of the record and the eerie connection the album has with the 1939 film Wizard of Oz. Grab your ticket and get ready for another wild ride headed straight for 'The Dark Side of the Moon'!SIDE ONE:1. "Speak to Me"2. "Breathe" 3. "On the Run"4. "Time"5. "The Great Gig in the Sky"SIDE TWO:1. "Money"2. "Us and Them"3. "Any Colour You Like"4. "Brain Damage"5. "Eclipse"Find DISCovery on Facebook at www.facebook.com/TheDISCoverypodcasthomeThe DISCovery theme song "Woo Hoo" by Reebosound (https://reebosound.bandcamp.com)Please give the show a five-star rating and review wherever you listen to DISCovery!
For the first time in a long time Dan does an episode solo. He doesn't like it. This, actually, should be considered a spinoff called "Maybe Certainly Not." Regardless, Dan has some updates about what is going on, upsides, downsides and progress, slow that it may be. Never fear, Leyla will return in episode 6. MUSIC: Slow Burn & Just As Soon Kevin MacLeod (incompetech.com) Licensed under Creative Commons: By Attribution 3.0 License http://creativecommons.org/licenses/by/3.0/
An eclectic compilation of some of my favorite evocative tracks to whet one's appetite for whatever possibilities the day or evening may bring. Perfect for watching the sun come up. Tracklist: Mulatu Astatke “Tezeta” Pekka Pohjola “The Madness Subsides” Pink Floyd “The Great Gig in the Sky” The Durutti Column “Sketch for Summer” Jun Miyake “Lillies of the Valley” Astra “Oasis” Brian Eno and David Byrne “Regiment” Parlour No. 2 “The City” Rothko “Roads Become Rivers” (Four Tet Remix) Kings of Convenience “The Weight of My Words” (Four Tet Remix) Calm “Space is My Place” (Mark Barrott’s ReImagination to the Sacred Heart Center) Vangelis “Let it Happen” Radiohead “Reckoner” (Johnny Miller Remix) Cassiano “Onda” Sampology “Smile” As always, vinyl only used in this recording.
Un espacio que evoca la historia y anécdotas de las canciones que marcaron una época. En este episodio les traemos grandes éxitos del rock progresivo.Repasamos la historia detrás estas canciones:The Great Gig in the Sky - Pink FloydTurn It On Again - GenesisLong Distance Runaround - YesSoft Vanilla - FocusKayleigh - Marillion21st Century Schizoid Man - King CrimsonAnother Day - Dream Theater.Con Jesús Martínez y Gerardo OrtegaSíguenos en Instagram: https://www.instagram.com/codigolibre.radio/https://www.instagram.com/gerryortegaisme/Escúchanos en www.codigolibreradio.com#SomosLoQueDecimos See acast.com/privacy for privacy and opt-out information.
This week's episode of A History of Rock Music in Five Hundred Songs is the second of two bonus episodes answering listener questions at the end of the first year of the podcast. Click the full post to read liner notes, links to more information, and a transcript of the episode. Patreon backers also have a bonus podcast, answering even more questions. ----more---- Resources As always, I've created a Mixcloud streaming playlist with full versions of all the songs in the episode. This one also includes the songs from the Patreon bonus episode, as that's even more questions and answers. Patreon This podcast is brought to you by the generosity of my backers on Patreon. Why not join them? Transcript Welcome to the second and final part of this year's question and answer bonus podcasts. This week I'm actually going to do two of these. The one that's going on the main podcast is going to consist of those questions that my backers asked that have to do primarily with the podcast and the music, while the one that's going only to backers consists mostly of questions that have been asked about me and my life and so forth -- stuff that might be less interesting to the casual listener, but that clearly someone is interested in. Next week I get back to the main story, with an episode about Carl Perkins, but right now we're going to jump straight into the questions. Matthew Elmslie asks: "It's not an issue you've had to confront yet, as you navigate the mid-'50s, but eventually you're going to come up against the clash between the concept of popular music where the basic unit is the song or single, and the one where the basic unit is the album. What are your thoughts on that and how do you plan to deal with it?" This is a question I had to give some consideration to when I was writing my book California Dreaming, which in many ways was sort of a trial run for the podcast, and which like the podcast told its story by looking at individual tracks. I think it can be a problem, but probably not in the way it first appears. First, the period where the album was dominant was a fairly short one -- it's only roughly from 1967 through about 1974 that the bands who were getting the most critical respect were primarily thinking in terms of albums rather than singles. After that, once punk starts, the pendulum swings back again, so it's not a long period of time that I have to think of in those terms. But it is something that has to be considered during that period. On the other hand, even during that period, there were many acts who were still primarily singles acts -- the Monkees, Slade, the Move, T-Rex... many of whom, arguably, had more long-term influence than many of the album acts of the time. I think for the most part, though, even the big album acts were still working mostly in ways that allow themselves to be looked at through the lens of single tracks. Like even on something like Dark Side of the Moon, which is about as concept-albumy as it gets, there's still "Money" and "Great Gig in the Sky" which are individual tracks people know even if they don't necessarily know the album, and which could be used as the focus of an episode on the album. Even with Led Zeppelin, who never released singles at all, there are tracks that might as well have been singles, like "Whole Lotta Love" or "Stairway to Heaven". So for the most part it's fairly easy to find a single track I can focus on. The real problem only comes in for a handful of albums -- records, mostly from that period in the late sixties and early seventies, which absolutely deserve to be considered as part of the podcast, but which don't have standout tracks. It's hard to pick one track from, say, Trout Mask Replica by Captain Beefheart or Astral Weeks by Van Morrison -- those two albums really do need considering as albums rather than as individual tracks -- there's no reason to choose, say, "Frownland" over "The Dust Blows Forward 'n' the Dust Blows Back" or vice versa, or "Madame George" over "Slim Slow Slider". What I'll do in those cases will probably vary from case to case. So with Trout Mask Replica I'd probably just pick one song as the title song for the episode but still talk about the whole album, while with Astral Weeks the most likely thing is for me to focus the episode on "Brown-Eyed Girl", which isn't on the album, but talk about the making of Astral Weeks after "Brown-Eyed Girl" was a success. That's assuming I cover both those albums at all, but I named them because I'm more likely to than not. [Excerpt: Van Morrison, “Brown-Eyed Girl”] Russell Stallings asks: "Andrew, in [the] 60s it seems rock guitar was dominated by Stratocasters and Les Pauls, what was the guitar of choice in the period we are currently covering (1957) ?" Well, 1957 is just about the point where this becomes an interesting question. Before this point the guitar hasn't played much of a part in the proceedings -- we've seen guitarists, but there've been more piano players -- 1957 is really the point where the guitar becomes the primary rock and roll instrument. Before I go any further, I just want to say that I've never been a particular gearhead. There are people out there who can tell the difference instantly between different types of guitars based on a note or two. I'm not one of them -- I can sort of make out the difference between a Fendery sound and a Gibsony one and a Rickenbackery one, but not at a tremendous level of precision. I tend to care more about the technique of the player than the sound of the instrument, so this isn't my area of expertise. But I'll give this a go. Now, there wasn't a straightforward single most popular guitar at this point. It's true that from the late sixties on rock pretty much standardised around the Les Paul and the Stratocaster -- though it was from the late sixties, and you get a lot of people playing different guitars in the early and mid sixties -- but in the fifties people were still figuring things out as individuals. But at the same time, there is, sort of, an answer to this. The Strat wasn't particularly popular in the 50s. The only first-rank 50s rocker who played a Strat was Buddy Holly, who always played one on stage, though he varied his guitars in the studio from what I've read. Buddy Holly is indirectly the reason the Strat later became so popular -- he inspired Hank Marvin of the Shadows to get one, and Marvin inspired pretty much every guitarist in Britain to copy him. But other than in surf music, the Strat wasn't really popular until around 1967. You'd occasionally get a Telecaster player in the 50s -- Buck Owens, who played on quite a few rockabilly sessions for people like Gene Vincent and Wanda Jackson before he became one of the greats of country music, played a Telecaster. And James Burton, who played in the fifties with Ricky Nelson and Dale Hawkins, among others, was another Telecaster player. But in general there weren't a lot of Fender players. [Excerpt: Ricky Nelson, “Hello, Mary Lou”, James Burton guitar solo] Some people did play Gibsons -- most of the Chicago electric blues people seem to have been Gibson people, and so was Chuck Berry. Scotty Moore also played a Gibson. But rather than go for the Les Paul, they'd mostly go for hollow-body models like the L5, which could be played as either electric or acoustic. Scotty Moore also used a custom-built Echosonic amp, so he could get a similar guitar sound on stage to the one he'd got in the studio with Sam Phillips, and he used the L5 and Echosonic combination on all the Elvis hits of the fifties. Carl Perkins did play a Les Paul at first, including on "Blue Suede Shoes", but he switched to a Gibson ES-5 (and got himself an Echosonic from the same person who made Scotty Moore's) after that. [Excerpt: Carl Perkins, “Matchbox”] For acoustic guitar, people generally either used a Martin, like Elvis Presley or Ray Edenton, who was the session rhythm player who doubled Don Everly's guitar in the studio (Phil Everly would double it live, but he didn't play on the records), or they'd play a Gibson acoustic, as Don Everly and Buddy Holly did. But overwhelmingly the most popular guitar on rockabilly sessions -- which means in rock and roll for these purposes, since with the exception of Chuck Berry the R&B side of rock and roll remained dominated by piano and sax -- the most popular rockabilly guitar was a Gretsch. There were various popular models of Gretsch guitar, like the Duo Jet, but the most popular were the 6120, the Country Gentleman, and the Tennessean, all of which were variants on the same basic design, and all of which were endorsed by Chet Atkins, which is why they became the pre-eminent guitars among rockabilly musicians, all of whom idolised Atkins. You can hear how that guitar sounds when Atkins plays it here… [Excerpt: Chet Atkins, “Mr. Sandman”] Atkins himself played these guitars on sessions for Elvis (where he just played rhythm) and the Everly Brothers (for whom he played lead in the studio). Duane Eddy, Cliff Gallup of the Blue Caps, Eddie Cochran, and many more played Gretsch guitars in imitation of Atkins. Bo Diddley also played a Gretsch before he started playing his own custom-built guitar. There was no default guitar choice in the 50s the way there was later, but the Gretsch seemed to be the choice of the guitarists who were most admired at the time, and so it also became the choice for anyone else who wanted that clean, country-style, rockabilly lead guitar sound. That sound went out of fashion in the later sixties, but George Harrison used a Gretsch for most of his early leads, and Michael Nesmith of the Monkees always played a Gretsch -- when they started doing twelve-strings, in 1966, they initially only made three, one for Chet Atkins, one for George Harrison, and one for Nesmith, though they later mass-produced them. But anyway, yeah. No single answer, but Gretsch Country Gentleman, with a hollow-bodied Gibson in close second, is the closest you'll get. William Maybury asks "About when does the History of Soul divorce from the History of Rock, in your eyes?" That's a difficult question, and it's something I'll be dealing with in a lot more detail when we get to the 1970s, over a whole series of episodes. This is the grotesquely oversimplified version. The short answer is -- when "soul" stopped being the label that was applied to cutting-edge black music that white people could rip off. The history of rock is, at least in part, a history of white musicians incorporating innovations that first appeared in black musicians' work. It's not *just* that, of course, but that's a big part of it. Now, around 1970 or so, "rock" gets redefined specifically as music that is made by white men with guitars, and other people making identical music were something else. Like there's literally no difference, stylistically, between "Maggot Brain" by Funkadelic and things like Peter Green era Fleetwood Mac or "Watermelon in Easter Hay" by Frank Zappa, but people talk about P-Funk as a funk group rather than a rock group – I know the question was about soul, rather than funk, but in the early seventies there was a huge overlap between the two. [Excerpt: Funkadelic, “Maggot Brain”] But as long as soul music remained at the forefront of musical innovations, those innovations were incorporated by white "rock" acts, and any attempt to tell the story of rock music which ignores George Clinton or Stevie Wonder or Sly Stone or Marvin Gaye would be a fundamentally dishonest one. But some time around the mid-seventies, "soul" stops being a label that's applied to innovative new music, and becomes a label for music that's consciously retro or conservative, people like, say, Luther Vandross. Not that there's anything wrong with retro music -- and there's some great soul music made in the 80s and 90s -- but the music that was at the cutting edge was first disco and then hip-hop, and that's the music that was spawning the innovations that the rock musicians would incorporate into their work. And, indeed, after around 1980 rock itself becomes more consciously retro and less experimental, and so the rate of incorporation of new musical ideas slows down too, though never completely stops. But there's always some fuzziness around genre labels. For example, if you consider Prince to be a soul musician, then obviously he's still part of the story. Same goes for Michael Jackson. I don't know if I'd consider either of them to be soul per se, but I could make a case for it, and obviously it's impossible to tell the story of rock in the eighties without those two, any more than you could tell it without, say, Bruce Springsteen. So, really, there's a slow separation between the two genres over about a twenty-year period, starting in the mid-sixties and finishing in the mid-eighties. I *imagine* that Prince is probably the last new musician who might be described as soul who will be appearing in the podcast, but it really depends on where you draw the boundaries of what counts as soul. There'll be a few disco and hip-hop acts appearing over the last half of the series, and some of them might be considered soul by some people. That's the best I can do at answering the question right now, but it's a vastly oversimplified version of the real answer, which is "listen to all the podcasts for the seventies when I get to them". One from Jeff Stanzler: "For me, the most surprising inclusion so far was the Janis Martin record. You did speak some about why you felt it warranted inclusion, but I'd love to hear more of your thinking on this, and maybe also on the larger philosophical question of including records that were more like significant signposts than records that had huge impact at the time." [Excerpt: Janis Martin, “Drugstore Rock & Roll”] Some of this goes back to some of the stuff I was talking about last week, about how there are multiple factors at play when it comes to any song I'm choosing, but the Janis Martin one makes a good example of how those factors play into each other. First, everything I said in that episode is true -- it *is* an important signpost in the transition of rock and roll into a music specifically aimed at white teenagers, and it is the first record I've come across that deals with the 1950s of Happy Days and American Graffiti rather than the other things that were going on in the culture. Even though "Drugstore Rock and Roll" wasn't a massively successful record, I think that makes it worth including. But there were other factors that warranted its inclusion too. The first of these was simply that I wanted to include at least one song by a woman at that point. If you don't count the Platters, who had one female member, it had been three months since the last song by a woman. I knew I was going to be doing Wanda Jackson a few weeks later, but it's important to me that I show how women were always part of the story of rock and roll. The podcast is going to be biased towards men, because it's telling the story of an industry that was massively biased towards men, but where women did have the opportunity to break through I want to give them credit. This is not including "token women" or anything like that -- rather it's saying "women have always been part of the story, their part of the story has been ignored, I want to do what I can to redress the balance a bit, so long as I don't move into actively misrepresenting history". Then there's the fact that Janis Martin had what to my mind was a fascinating story, and one that allowed me to talk about a lot of social issues of the time, at least in brief. And finally there's the way that her story ties in with those of other people I've covered. Her admiration of Ruth Brown allowed me to tie the story in with the episode on "Mama, He Treats Your Daughter Mean", and also gave me a way to neatly bookend the story, while showing the influence of one of the songs I'd already covered. Her working for RCA and with the same musicians as Elvis meant that I could talk a bit more about those musicians, and her being marketed as "the Female Elvis" meant that I could talk about Elvis' larger cultural impact on the world in 1956, something that needed to be discussed in the series, but which I hadn't found space for in an episode on Elvis himself at that point. (And in talking about the various Elvis-based novelty records I was also able to mention a few figures who will turn up in future episodes, planting seeds for later). [Excerpt: Eddie Cochran and the Holly Twins, “I Want Elvis For Christmas”] So that's the thinking there. Every episode has to serve a bunch of different purposes if I'm going to tell this story in only five hundred episodes, and the Janis Martin one, I think, did that better than many. As to the larger question of signposts versus impact at the time -- I am trying, for the most part, to tell the story from the point of view of the time we're looking at, and look at what mattered to listeners and other musicians at the time. But you also have to fill in the details of stuff that's going to affect things in the future. So for example you can't talk about REM without first having covered people like Big Star, so even though Big Star weren't huge at the time, they'll definitely be covered. On the other hand someone like, say, Nick Drake, who had little influence until he was rediscovered decades later, won't be covered, except maybe in passing when talking about other artists Joe Boyd produced, because he didn't really have an effect on the wider story. In general, the prime consideration for any song that I include is -- does it advance the overall story I'm telling? There'll be stuff left out that would be in if the only criterion was how people reacted to it at the time, and there'll be stuff included which, on its own merits, just wouldn't make the list at all. There's one Adam Faith album track, for example, that I'm going to talk about in roughly nine months, which I think is almost certainly not even the best track that Adam Faith recorded that day, which is about as low a bar as it gets. But it'll be in there because it's an important link in a larger story, even though it's not a song that mattered at all at the time. And a final question from Daniel Helton on whether I considered doing an episode on "Ain't Got No Home" by Clarence "Frogman" Henry. [Excerpt: Clarence “Frogman” Henry, “Ain't Got No Home”] It's a great record, but much of what I'd have to say about it would be stuff about the New Orleans scene and Cosimo Matassa's studio and so forth -- stuff that I'd probably already covered in the episodes on Fats Domino and Lloyd Price (including the episode on Price that's coming up later), so it'd be covering too much of the same ground for me to devote a full episode to it. If I was going to cover Frogman in the main podcast, it would *probably* be with "I Don't Know Why (But I Do)" because that came out at a time when there were far fewer interesting records being made, and I'd then cover his history including "Ain't Got No Home" as part of that, but I don't think that's likely. In fact, yeah, I'll pencil in "Ain't Got No Home" for next week's Patreon episode. Don't expect much, because those are only ten-minute ones, but it came out at around the same time as next week's proper episode was recorded, and it *is* a great record. I'll see what I can do for that one. Anyway, between this and the Patreon bonus episode, I think that's all the questions covered. Thanks to everyone who asked one, and if I haven't answered your questions fully, please let me know and I'll try and reply in the comments to the Patreon post. We'll be doing this again next year, so sign up for the Patreon now if you want that. Next week we're back to the regular podcasts, with an episode on "Matchbox" by Carl Perkins. Also, I'm *hoping* -- though not completely guaranteeing yet -- that I'll have the book based on the first fifty episodes done and out by this time next week. These things always take longer than I expect, but here's hoping there'll be an announcement next week. See you then.
This week’s episode of A History of Rock Music in Five Hundred Songs is the second of two bonus episodes answering listener questions at the end of the first year of the podcast. Click the full post to read liner notes, links to more information, and a transcript of the episode. Patreon backers also have a bonus podcast, answering even more questions. —-more—- Resources As always, I’ve created a Mixcloud streaming playlist with full versions of all the songs in the episode. This one also includes the songs from the Patreon bonus episode, as that’s even more questions and answers. Patreon This podcast is brought to you by the generosity of my backers on Patreon. Why not join them? Transcript Welcome to the second and final part of this year’s question and answer bonus podcasts. This week I’m actually going to do two of these. The one that’s going on the main podcast is going to consist of those questions that my backers asked that have to do primarily with the podcast and the music, while the one that’s going only to backers consists mostly of questions that have been asked about me and my life and so forth — stuff that might be less interesting to the casual listener, but that clearly someone is interested in. Next week I get back to the main story, with an episode about Carl Perkins, but right now we’re going to jump straight into the questions. Matthew Elmslie asks: “It’s not an issue you’ve had to confront yet, as you navigate the mid-’50s, but eventually you’re going to come up against the clash between the concept of popular music where the basic unit is the song or single, and the one where the basic unit is the album. What are your thoughts on that and how do you plan to deal with it?” This is a question I had to give some consideration to when I was writing my book California Dreaming, which in many ways was sort of a trial run for the podcast, and which like the podcast told its story by looking at individual tracks. I think it can be a problem, but probably not in the way it first appears. First, the period where the album was dominant was a fairly short one — it’s only roughly from 1967 through about 1974 that the bands who were getting the most critical respect were primarily thinking in terms of albums rather than singles. After that, once punk starts, the pendulum swings back again, so it’s not a long period of time that I have to think of in those terms. But it is something that has to be considered during that period. On the other hand, even during that period, there were many acts who were still primarily singles acts — the Monkees, Slade, the Move, T-Rex… many of whom, arguably, had more long-term influence than many of the album acts of the time. I think for the most part, though, even the big album acts were still working mostly in ways that allow themselves to be looked at through the lens of single tracks. Like even on something like Dark Side of the Moon, which is about as concept-albumy as it gets, there’s still “Money” and “Great Gig in the Sky” which are individual tracks people know even if they don’t necessarily know the album, and which could be used as the focus of an episode on the album. Even with Led Zeppelin, who never released singles at all, there are tracks that might as well have been singles, like “Whole Lotta Love” or “Stairway to Heaven”. So for the most part it’s fairly easy to find a single track I can focus on. The real problem only comes in for a handful of albums — records, mostly from that period in the late sixties and early seventies, which absolutely deserve to be considered as part of the podcast, but which don’t have standout tracks. It’s hard to pick one track from, say, Trout Mask Replica by Captain Beefheart or Astral Weeks by Van Morrison — those two albums really do need considering as albums rather than as individual tracks — there’s no reason to choose, say, “Frownland” over “The Dust Blows Forward ‘n’ the Dust Blows Back” or vice versa, or “Madame George” over “Slim Slow Slider”. What I’ll do in those cases will probably vary from case to case. So with Trout Mask Replica I’d probably just pick one song as the title song for the episode but still talk about the whole album, while with Astral Weeks the most likely thing is for me to focus the episode on “Brown-Eyed Girl”, which isn’t on the album, but talk about the making of Astral Weeks after “Brown-Eyed Girl” was a success. That’s assuming I cover both those albums at all, but I named them because I’m more likely to than not. [Excerpt: Van Morrison, “Brown-Eyed Girl”] Russell Stallings asks: “Andrew, in [the] 60s it seems rock guitar was dominated by Stratocasters and Les Pauls, what was the guitar of choice in the period we are currently covering (1957) ?” Well, 1957 is just about the point where this becomes an interesting question. Before this point the guitar hasn’t played much of a part in the proceedings — we’ve seen guitarists, but there’ve been more piano players — 1957 is really the point where the guitar becomes the primary rock and roll instrument. Before I go any further, I just want to say that I’ve never been a particular gearhead. There are people out there who can tell the difference instantly between different types of guitars based on a note or two. I’m not one of them — I can sort of make out the difference between a Fendery sound and a Gibsony one and a Rickenbackery one, but not at a tremendous level of precision. I tend to care more about the technique of the player than the sound of the instrument, so this isn’t my area of expertise. But I’ll give this a go. Now, there wasn’t a straightforward single most popular guitar at this point. It’s true that from the late sixties on rock pretty much standardised around the Les Paul and the Stratocaster — though it was from the late sixties, and you get a lot of people playing different guitars in the early and mid sixties — but in the fifties people were still figuring things out as individuals. But at the same time, there is, sort of, an answer to this. The Strat wasn’t particularly popular in the 50s. The only first-rank 50s rocker who played a Strat was Buddy Holly, who always played one on stage, though he varied his guitars in the studio from what I’ve read. Buddy Holly is indirectly the reason the Strat later became so popular — he inspired Hank Marvin of the Shadows to get one, and Marvin inspired pretty much every guitarist in Britain to copy him. But other than in surf music, the Strat wasn’t really popular until around 1967. You’d occasionally get a Telecaster player in the 50s — Buck Owens, who played on quite a few rockabilly sessions for people like Gene Vincent and Wanda Jackson before he became one of the greats of country music, played a Telecaster. And James Burton, who played in the fifties with Ricky Nelson and Dale Hawkins, among others, was another Telecaster player. But in general there weren’t a lot of Fender players. [Excerpt: Ricky Nelson, “Hello, Mary Lou”, James Burton guitar solo] Some people did play Gibsons — most of the Chicago electric blues people seem to have been Gibson people, and so was Chuck Berry. Scotty Moore also played a Gibson. But rather than go for the Les Paul, they’d mostly go for hollow-body models like the L5, which could be played as either electric or acoustic. Scotty Moore also used a custom-built Echosonic amp, so he could get a similar guitar sound on stage to the one he’d got in the studio with Sam Phillips, and he used the L5 and Echosonic combination on all the Elvis hits of the fifties. Carl Perkins did play a Les Paul at first, including on “Blue Suede Shoes”, but he switched to a Gibson ES-5 (and got himself an Echosonic from the same person who made Scotty Moore’s) after that. [Excerpt: Carl Perkins, “Matchbox”] For acoustic guitar, people generally either used a Martin, like Elvis Presley or Ray Edenton, who was the session rhythm player who doubled Don Everly’s guitar in the studio (Phil Everly would double it live, but he didn’t play on the records), or they’d play a Gibson acoustic, as Don Everly and Buddy Holly did. But overwhelmingly the most popular guitar on rockabilly sessions — which means in rock and roll for these purposes, since with the exception of Chuck Berry the R&B side of rock and roll remained dominated by piano and sax — the most popular rockabilly guitar was a Gretsch. There were various popular models of Gretsch guitar, like the Duo Jet, but the most popular were the 6120, the Country Gentleman, and the Tennessean, all of which were variants on the same basic design, and all of which were endorsed by Chet Atkins, which is why they became the pre-eminent guitars among rockabilly musicians, all of whom idolised Atkins. You can hear how that guitar sounds when Atkins plays it here… [Excerpt: Chet Atkins, “Mr. Sandman”] Atkins himself played these guitars on sessions for Elvis (where he just played rhythm) and the Everly Brothers (for whom he played lead in the studio). Duane Eddy, Cliff Gallup of the Blue Caps, Eddie Cochran, and many more played Gretsch guitars in imitation of Atkins. Bo Diddley also played a Gretsch before he started playing his own custom-built guitar. There was no default guitar choice in the 50s the way there was later, but the Gretsch seemed to be the choice of the guitarists who were most admired at the time, and so it also became the choice for anyone else who wanted that clean, country-style, rockabilly lead guitar sound. That sound went out of fashion in the later sixties, but George Harrison used a Gretsch for most of his early leads, and Michael Nesmith of the Monkees always played a Gretsch — when they started doing twelve-strings, in 1966, they initially only made three, one for Chet Atkins, one for George Harrison, and one for Nesmith, though they later mass-produced them. But anyway, yeah. No single answer, but Gretsch Country Gentleman, with a hollow-bodied Gibson in close second, is the closest you’ll get. William Maybury asks “About when does the History of Soul divorce from the History of Rock, in your eyes?” That’s a difficult question, and it’s something I’ll be dealing with in a lot more detail when we get to the 1970s, over a whole series of episodes. This is the grotesquely oversimplified version. The short answer is — when “soul” stopped being the label that was applied to cutting-edge black music that white people could rip off. The history of rock is, at least in part, a history of white musicians incorporating innovations that first appeared in black musicians’ work. It’s not *just* that, of course, but that’s a big part of it. Now, around 1970 or so, “rock” gets redefined specifically as music that is made by white men with guitars, and other people making identical music were something else. Like there’s literally no difference, stylistically, between “Maggot Brain” by Funkadelic and things like Peter Green era Fleetwood Mac or “Watermelon in Easter Hay” by Frank Zappa, but people talk about P-Funk as a funk group rather than a rock group – I know the question was about soul, rather than funk, but in the early seventies there was a huge overlap between the two. [Excerpt: Funkadelic, “Maggot Brain”] But as long as soul music remained at the forefront of musical innovations, those innovations were incorporated by white “rock” acts, and any attempt to tell the story of rock music which ignores George Clinton or Stevie Wonder or Sly Stone or Marvin Gaye would be a fundamentally dishonest one. But some time around the mid-seventies, “soul” stops being a label that’s applied to innovative new music, and becomes a label for music that’s consciously retro or conservative, people like, say, Luther Vandross. Not that there’s anything wrong with retro music — and there’s some great soul music made in the 80s and 90s — but the music that was at the cutting edge was first disco and then hip-hop, and that’s the music that was spawning the innovations that the rock musicians would incorporate into their work. And, indeed, after around 1980 rock itself becomes more consciously retro and less experimental, and so the rate of incorporation of new musical ideas slows down too, though never completely stops. But there’s always some fuzziness around genre labels. For example, if you consider Prince to be a soul musician, then obviously he’s still part of the story. Same goes for Michael Jackson. I don’t know if I’d consider either of them to be soul per se, but I could make a case for it, and obviously it’s impossible to tell the story of rock in the eighties without those two, any more than you could tell it without, say, Bruce Springsteen. So, really, there’s a slow separation between the two genres over about a twenty-year period, starting in the mid-sixties and finishing in the mid-eighties. I *imagine* that Prince is probably the last new musician who might be described as soul who will be appearing in the podcast, but it really depends on where you draw the boundaries of what counts as soul. There’ll be a few disco and hip-hop acts appearing over the last half of the series, and some of them might be considered soul by some people. That’s the best I can do at answering the question right now, but it’s a vastly oversimplified version of the real answer, which is “listen to all the podcasts for the seventies when I get to them”. One from Jeff Stanzler: “For me, the most surprising inclusion so far was the Janis Martin record. You did speak some about why you felt it warranted inclusion, but I’d love to hear more of your thinking on this, and maybe also on the larger philosophical question of including records that were more like significant signposts than records that had huge impact at the time.” [Excerpt: Janis Martin, “Drugstore Rock & Roll”] Some of this goes back to some of the stuff I was talking about last week, about how there are multiple factors at play when it comes to any song I’m choosing, but the Janis Martin one makes a good example of how those factors play into each other. First, everything I said in that episode is true — it *is* an important signpost in the transition of rock and roll into a music specifically aimed at white teenagers, and it is the first record I’ve come across that deals with the 1950s of Happy Days and American Graffiti rather than the other things that were going on in the culture. Even though “Drugstore Rock and Roll” wasn’t a massively successful record, I think that makes it worth including. But there were other factors that warranted its inclusion too. The first of these was simply that I wanted to include at least one song by a woman at that point. If you don’t count the Platters, who had one female member, it had been three months since the last song by a woman. I knew I was going to be doing Wanda Jackson a few weeks later, but it’s important to me that I show how women were always part of the story of rock and roll. The podcast is going to be biased towards men, because it’s telling the story of an industry that was massively biased towards men, but where women did have the opportunity to break through I want to give them credit. This is not including “token women” or anything like that — rather it’s saying “women have always been part of the story, their part of the story has been ignored, I want to do what I can to redress the balance a bit, so long as I don’t move into actively misrepresenting history”. Then there’s the fact that Janis Martin had what to my mind was a fascinating story, and one that allowed me to talk about a lot of social issues of the time, at least in brief. And finally there’s the way that her story ties in with those of other people I’ve covered. Her admiration of Ruth Brown allowed me to tie the story in with the episode on “Mama, He Treats Your Daughter Mean”, and also gave me a way to neatly bookend the story, while showing the influence of one of the songs I’d already covered. Her working for RCA and with the same musicians as Elvis meant that I could talk a bit more about those musicians, and her being marketed as “the Female Elvis” meant that I could talk about Elvis’ larger cultural impact on the world in 1956, something that needed to be discussed in the series, but which I hadn’t found space for in an episode on Elvis himself at that point. (And in talking about the various Elvis-based novelty records I was also able to mention a few figures who will turn up in future episodes, planting seeds for later). [Excerpt: Eddie Cochran and the Holly Twins, “I Want Elvis For Christmas”] So that’s the thinking there. Every episode has to serve a bunch of different purposes if I’m going to tell this story in only five hundred episodes, and the Janis Martin one, I think, did that better than many. As to the larger question of signposts versus impact at the time — I am trying, for the most part, to tell the story from the point of view of the time we’re looking at, and look at what mattered to listeners and other musicians at the time. But you also have to fill in the details of stuff that’s going to affect things in the future. So for example you can’t talk about REM without first having covered people like Big Star, so even though Big Star weren’t huge at the time, they’ll definitely be covered. On the other hand someone like, say, Nick Drake, who had little influence until he was rediscovered decades later, won’t be covered, except maybe in passing when talking about other artists Joe Boyd produced, because he didn’t really have an effect on the wider story. In general, the prime consideration for any song that I include is — does it advance the overall story I’m telling? There’ll be stuff left out that would be in if the only criterion was how people reacted to it at the time, and there’ll be stuff included which, on its own merits, just wouldn’t make the list at all. There’s one Adam Faith album track, for example, that I’m going to talk about in roughly nine months, which I think is almost certainly not even the best track that Adam Faith recorded that day, which is about as low a bar as it gets. But it’ll be in there because it’s an important link in a larger story, even though it’s not a song that mattered at all at the time. And a final question from Daniel Helton on whether I considered doing an episode on “Ain’t Got No Home” by Clarence “Frogman” Henry. [Excerpt: Clarence “Frogman” Henry, “Ain’t Got No Home”] It’s a great record, but much of what I’d have to say about it would be stuff about the New Orleans scene and Cosimo Matassa’s studio and so forth — stuff that I’d probably already covered in the episodes on Fats Domino and Lloyd Price (including the episode on Price that’s coming up later), so it’d be covering too much of the same ground for me to devote a full episode to it. If I was going to cover Frogman in the main podcast, it would *probably* be with “I Don’t Know Why (But I Do)” because that came out at a time when there were far fewer interesting records being made, and I’d then cover his history including “Ain’t Got No Home” as part of that, but I don’t think that’s likely. In fact, yeah, I’ll pencil in “Ain’t Got No Home” for next week’s Patreon episode. Don’t expect much, because those are only ten-minute ones, but it came out at around the same time as next week’s proper episode was recorded, and it *is* a great record. I’ll see what I can do for that one. Anyway, between this and the Patreon bonus episode, I think that’s all the questions covered. Thanks to everyone who asked one, and if I haven’t answered your questions fully, please let me know and I’ll try and reply in the comments to the Patreon post. We’ll be doing this again next year, so sign up for the Patreon now if you want that. Next week we’re back to the regular podcasts, with an episode on “Matchbox” by Carl Perkins. Also, I’m *hoping* — though not completely guaranteeing yet — that I’ll have the book based on the first fifty episodes done and out by this time next week. These things always take longer than I expect, but here’s hoping there’ll be an announcement next week. See you then.
This week’s episode of A History of Rock Music in Five Hundred Songs is the second of two bonus episodes answering listener questions at the end of the first year of the podcast. Click the full post to read liner notes, links to more information, and a transcript of the episode. Patreon backers also have a bonus podcast, answering even more questions. —-more—- Resources As always, I’ve created a Mixcloud streaming playlist with full versions of all the songs in the episode. This one also includes the songs from the Patreon bonus episode, as that’s even more questions and answers. Patreon This podcast is brought to you by the generosity of my backers on Patreon. Why not join them? Transcript Welcome to the second and final part of this year’s question and answer bonus podcasts. This week I’m actually going to do two of these. The one that’s going on the main podcast is going to consist of those questions that my backers asked that have to do primarily with the podcast and the music, while the one that’s going only to backers consists mostly of questions that have been asked about me and my life and so forth — stuff that might be less interesting to the casual listener, but that clearly someone is interested in. Next week I get back to the main story, with an episode about Carl Perkins, but right now we’re going to jump straight into the questions. Matthew Elmslie asks: “It’s not an issue you’ve had to confront yet, as you navigate the mid-’50s, but eventually you’re going to come up against the clash between the concept of popular music where the basic unit is the song or single, and the one where the basic unit is the album. What are your thoughts on that and how do you plan to deal with it?” This is a question I had to give some consideration to when I was writing my book California Dreaming, which in many ways was sort of a trial run for the podcast, and which like the podcast told its story by looking at individual tracks. I think it can be a problem, but probably not in the way it first appears. First, the period where the album was dominant was a fairly short one — it’s only roughly from 1967 through about 1974 that the bands who were getting the most critical respect were primarily thinking in terms of albums rather than singles. After that, once punk starts, the pendulum swings back again, so it’s not a long period of time that I have to think of in those terms. But it is something that has to be considered during that period. On the other hand, even during that period, there were many acts who were still primarily singles acts — the Monkees, Slade, the Move, T-Rex… many of whom, arguably, had more long-term influence than many of the album acts of the time. I think for the most part, though, even the big album acts were still working mostly in ways that allow themselves to be looked at through the lens of single tracks. Like even on something like Dark Side of the Moon, which is about as concept-albumy as it gets, there’s still “Money” and “Great Gig in the Sky” which are individual tracks people know even if they don’t necessarily know the album, and which could be used as the focus of an episode on the album. Even with Led Zeppelin, who never released singles at all, there are tracks that might as well have been singles, like “Whole Lotta Love” or “Stairway to Heaven”. So for the most part it’s fairly easy to find a single track I can focus on. The real problem only comes in for a handful of albums — records, mostly from that period in the late sixties and early seventies, which absolutely deserve to be considered as part of the podcast, but which don’t have standout tracks. It’s hard to pick one track from, say, Trout Mask Replica by Captain Beefheart or Astral Weeks by Van Morrison — those two albums really do need considering as albums rather than as individual tracks — there’s no reason to choose, say, “Frownland” over “The Dust Blows Forward ‘n’ the Dust Blows Back” or vice versa, or “Madame George” over “Slim Slow Slider”. What I’ll do in those cases will probably vary from case to case. So with Trout Mask Replica I’d probably just pick one song as the title song for the episode but still talk about the whole album, while with Astral Weeks the most likely thing is for me to focus the episode on “Brown-Eyed Girl”, which isn’t on the album, but talk about the making of Astral Weeks after “Brown-Eyed Girl” was a success. That’s assuming I cover both those albums at all, but I named them because I’m more likely to than not. [Excerpt: Van Morrison, “Brown-Eyed Girl”] Russell Stallings asks: “Andrew, in [the] 60s it seems rock guitar was dominated by Stratocasters and Les Pauls, what was the guitar of choice in the period we are currently covering (1957) ?” Well, 1957 is just about the point where this becomes an interesting question. Before this point the guitar hasn’t played much of a part in the proceedings — we’ve seen guitarists, but there’ve been more piano players — 1957 is really the point where the guitar becomes the primary rock and roll instrument. Before I go any further, I just want to say that I’ve never been a particular gearhead. There are people out there who can tell the difference instantly between different types of guitars based on a note or two. I’m not one of them — I can sort of make out the difference between a Fendery sound and a Gibsony one and a Rickenbackery one, but not at a tremendous level of precision. I tend to care more about the technique of the player than the sound of the instrument, so this isn’t my area of expertise. But I’ll give this a go. Now, there wasn’t a straightforward single most popular guitar at this point. It’s true that from the late sixties on rock pretty much standardised around the Les Paul and the Stratocaster — though it was from the late sixties, and you get a lot of people playing different guitars in the early and mid sixties — but in the fifties people were still figuring things out as individuals. But at the same time, there is, sort of, an answer to this. The Strat wasn’t particularly popular in the 50s. The only first-rank 50s rocker who played a Strat was Buddy Holly, who always played one on stage, though he varied his guitars in the studio from what I’ve read. Buddy Holly is indirectly the reason the Strat later became so popular — he inspired Hank Marvin of the Shadows to get one, and Marvin inspired pretty much every guitarist in Britain to copy him. But other than in surf music, the Strat wasn’t really popular until around 1967. You’d occasionally get a Telecaster player in the 50s — Buck Owens, who played on quite a few rockabilly sessions for people like Gene Vincent and Wanda Jackson before he became one of the greats of country music, played a Telecaster. And James Burton, who played in the fifties with Ricky Nelson and Dale Hawkins, among others, was another Telecaster player. But in general there weren’t a lot of Fender players. [Excerpt: Ricky Nelson, “Hello, Mary Lou”, James Burton guitar solo] Some people did play Gibsons — most of the Chicago electric blues people seem to have been Gibson people, and so was Chuck Berry. Scotty Moore also played a Gibson. But rather than go for the Les Paul, they’d mostly go for hollow-body models like the L5, which could be played as either electric or acoustic. Scotty Moore also used a custom-built Echosonic amp, so he could get a similar guitar sound on stage to the one he’d got in the studio with Sam Phillips, and he used the L5 and Echosonic combination on all the Elvis hits of the fifties. Carl Perkins did play a Les Paul at first, including on “Blue Suede Shoes”, but he switched to a Gibson ES-5 (and got himself an Echosonic from the same person who made Scotty Moore’s) after that. [Excerpt: Carl Perkins, “Matchbox”] For acoustic guitar, people generally either used a Martin, like Elvis Presley or Ray Edenton, who was the session rhythm player who doubled Don Everly’s guitar in the studio (Phil Everly would double it live, but he didn’t play on the records), or they’d play a Gibson acoustic, as Don Everly and Buddy Holly did. But overwhelmingly the most popular guitar on rockabilly sessions — which means in rock and roll for these purposes, since with the exception of Chuck Berry the R&B side of rock and roll remained dominated by piano and sax — the most popular rockabilly guitar was a Gretsch. There were various popular models of Gretsch guitar, like the Duo Jet, but the most popular were the 6120, the Country Gentleman, and the Tennessean, all of which were variants on the same basic design, and all of which were endorsed by Chet Atkins, which is why they became the pre-eminent guitars among rockabilly musicians, all of whom idolised Atkins. You can hear how that guitar sounds when Atkins plays it here… [Excerpt: Chet Atkins, “Mr. Sandman”] Atkins himself played these guitars on sessions for Elvis (where he just played rhythm) and the Everly Brothers (for whom he played lead in the studio). Duane Eddy, Cliff Gallup of the Blue Caps, Eddie Cochran, and many more played Gretsch guitars in imitation of Atkins. Bo Diddley also played a Gretsch before he started playing his own custom-built guitar. There was no default guitar choice in the 50s the way there was later, but the Gretsch seemed to be the choice of the guitarists who were most admired at the time, and so it also became the choice for anyone else who wanted that clean, country-style, rockabilly lead guitar sound. That sound went out of fashion in the later sixties, but George Harrison used a Gretsch for most of his early leads, and Michael Nesmith of the Monkees always played a Gretsch — when they started doing twelve-strings, in 1966, they initially only made three, one for Chet Atkins, one for George Harrison, and one for Nesmith, though they later mass-produced them. But anyway, yeah. No single answer, but Gretsch Country Gentleman, with a hollow-bodied Gibson in close second, is the closest you’ll get. William Maybury asks “About when does the History of Soul divorce from the History of Rock, in your eyes?” That’s a difficult question, and it’s something I’ll be dealing with in a lot more detail when we get to the 1970s, over a whole series of episodes. This is the grotesquely oversimplified version. The short answer is — when “soul” stopped being the label that was applied to cutting-edge black music that white people could rip off. The history of rock is, at least in part, a history of white musicians incorporating innovations that first appeared in black musicians’ work. It’s not *just* that, of course, but that’s a big part of it. Now, around 1970 or so, “rock” gets redefined specifically as music that is made by white men with guitars, and other people making identical music were something else. Like there’s literally no difference, stylistically, between “Maggot Brain” by Funkadelic and things like Peter Green era Fleetwood Mac or “Watermelon in Easter Hay” by Frank Zappa, but people talk about P-Funk as a funk group rather than a rock group – I know the question was about soul, rather than funk, but in the early seventies there was a huge overlap between the two. [Excerpt: Funkadelic, “Maggot Brain”] But as long as soul music remained at the forefront of musical innovations, those innovations were incorporated by white “rock” acts, and any attempt to tell the story of rock music which ignores George Clinton or Stevie Wonder or Sly Stone or Marvin Gaye would be a fundamentally dishonest one. But some time around the mid-seventies, “soul” stops being a label that’s applied to innovative new music, and becomes a label for music that’s consciously retro or conservative, people like, say, Luther Vandross. Not that there’s anything wrong with retro music — and there’s some great soul music made in the 80s and 90s — but the music that was at the cutting edge was first disco and then hip-hop, and that’s the music that was spawning the innovations that the rock musicians would incorporate into their work. And, indeed, after around 1980 rock itself becomes more consciously retro and less experimental, and so the rate of incorporation of new musical ideas slows down too, though never completely stops. But there’s always some fuzziness around genre labels. For example, if you consider Prince to be a soul musician, then obviously he’s still part of the story. Same goes for Michael Jackson. I don’t know if I’d consider either of them to be soul per se, but I could make a case for it, and obviously it’s impossible to tell the story of rock in the eighties without those two, any more than you could tell it without, say, Bruce Springsteen. So, really, there’s a slow separation between the two genres over about a twenty-year period, starting in the mid-sixties and finishing in the mid-eighties. I *imagine* that Prince is probably the last new musician who might be described as soul who will be appearing in the podcast, but it really depends on where you draw the boundaries of what counts as soul. There’ll be a few disco and hip-hop acts appearing over the last half of the series, and some of them might be considered soul by some people. That’s the best I can do at answering the question right now, but it’s a vastly oversimplified version of the real answer, which is “listen to all the podcasts for the seventies when I get to them”. One from Jeff Stanzler: “For me, the most surprising inclusion so far was the Janis Martin record. You did speak some about why you felt it warranted inclusion, but I’d love to hear more of your thinking on this, and maybe also on the larger philosophical question of including records that were more like significant signposts than records that had huge impact at the time.” [Excerpt: Janis Martin, “Drugstore Rock & Roll”] Some of this goes back to some of the stuff I was talking about last week, about how there are multiple factors at play when it comes to any song I’m choosing, but the Janis Martin one makes a good example of how those factors play into each other. First, everything I said in that episode is true — it *is* an important signpost in the transition of rock and roll into a music specifically aimed at white teenagers, and it is the first record I’ve come across that deals with the 1950s of Happy Days and American Graffiti rather than the other things that were going on in the culture. Even though “Drugstore Rock and Roll” wasn’t a massively successful record, I think that makes it worth including. But there were other factors that warranted its inclusion too. The first of these was simply that I wanted to include at least one song by a woman at that point. If you don’t count the Platters, who had one female member, it had been three months since the last song by a woman. I knew I was going to be doing Wanda Jackson a few weeks later, but it’s important to me that I show how women were always part of the story of rock and roll. The podcast is going to be biased towards men, because it’s telling the story of an industry that was massively biased towards men, but where women did have the opportunity to break through I want to give them credit. This is not including “token women” or anything like that — rather it’s saying “women have always been part of the story, their part of the story has been ignored, I want to do what I can to redress the balance a bit, so long as I don’t move into actively misrepresenting history”. Then there’s the fact that Janis Martin had what to my mind was a fascinating story, and one that allowed me to talk about a lot of social issues of the time, at least in brief. And finally there’s the way that her story ties in with those of other people I’ve covered. Her admiration of Ruth Brown allowed me to tie the story in with the episode on “Mama, He Treats Your Daughter Mean”, and also gave me a way to neatly bookend the story, while showing the influence of one of the songs I’d already covered. Her working for RCA and with the same musicians as Elvis meant that I could talk a bit more about those musicians, and her being marketed as “the Female Elvis” meant that I could talk about Elvis’ larger cultural impact on the world in 1956, something that needed to be discussed in the series, but which I hadn’t found space for in an episode on Elvis himself at that point. (And in talking about the various Elvis-based novelty records I was also able to mention a few figures who will turn up in future episodes, planting seeds for later). [Excerpt: Eddie Cochran and the Holly Twins, “I Want Elvis For Christmas”] So that’s the thinking there. Every episode has to serve a bunch of different purposes if I’m going to tell this story in only five hundred episodes, and the Janis Martin one, I think, did that better than many. As to the larger question of signposts versus impact at the time — I am trying, for the most part, to tell the story from the point of view of the time we’re looking at, and look at what mattered to listeners and other musicians at the time. But you also have to fill in the details of stuff that’s going to affect things in the future. So for example you can’t talk about REM without first having covered people like Big Star, so even though Big Star weren’t huge at the time, they’ll definitely be covered. On the other hand someone like, say, Nick Drake, who had little influence until he was rediscovered decades later, won’t be covered, except maybe in passing when talking about other artists Joe Boyd produced, because he didn’t really have an effect on the wider story. In general, the prime consideration for any song that I include is — does it advance the overall story I’m telling? There’ll be stuff left out that would be in if the only criterion was how people reacted to it at the time, and there’ll be stuff included which, on its own merits, just wouldn’t make the list at all. There’s one Adam Faith album track, for example, that I’m going to talk about in roughly nine months, which I think is almost certainly not even the best track that Adam Faith recorded that day, which is about as low a bar as it gets. But it’ll be in there because it’s an important link in a larger story, even though it’s not a song that mattered at all at the time. And a final question from Daniel Helton on whether I considered doing an episode on “Ain’t Got No Home” by Clarence “Frogman” Henry. [Excerpt: Clarence “Frogman” Henry, “Ain’t Got No Home”] It’s a great record, but much of what I’d have to say about it would be stuff about the New Orleans scene and Cosimo Matassa’s studio and so forth — stuff that I’d probably already covered in the episodes on Fats Domino and Lloyd Price (including the episode on Price that’s coming up later), so it’d be covering too much of the same ground for me to devote a full episode to it. If I was going to cover Frogman in the main podcast, it would *probably* be with “I Don’t Know Why (But I Do)” because that came out at a time when there were far fewer interesting records being made, and I’d then cover his history including “Ain’t Got No Home” as part of that, but I don’t think that’s likely. In fact, yeah, I’ll pencil in “Ain’t Got No Home” for next week’s Patreon episode. Don’t expect much, because those are only ten-minute ones, but it came out at around the same time as next week’s proper episode was recorded, and it *is* a great record. I’ll see what I can do for that one. Anyway, between this and the Patreon bonus episode, I think that’s all the questions covered. Thanks to everyone who asked one, and if I haven’t answered your questions fully, please let me know and I’ll try and reply in the comments to the Patreon post. We’ll be doing this again next year, so sign up for the Patreon now if you want that. Next week we’re back to the regular podcasts, with an episode on “Matchbox” by Carl Perkins. Also, I’m *hoping* — though not completely guaranteeing yet — that I’ll have the book based on the first fifty episodes done and out by this time next week. These things always take longer than I expect, but here’s hoping there’ll be an announcement next week. See you then.
The week in music history, Gram Parsons went up in smoke, literally! It's the week Jimi Hendrix and Marc Bolan checked in for the Great Gig in The Sky and Queen were back in the saddle, but Halfords weren't impressed! This is a look at the week of September 16th to 20 in Music History with Marty Miller.
In this episode, I talked about a few of my mental victories as of late, and had a couple realizations during it. Listen to find out what they were! Enjoy, Folks! www.mistuffpodcast.com www.skrewballwhiskey.com Tip Jar https://www.paypal.me/kelseyhudgins Venmo @Kelsey-Hudgins-1 SoundCloud https://soundcloud.com/kelsey-hudgins Facebook https://www.facebook.com/MIStuffPodcast/?ref=bookmarks Twitter https://twitter.com/MIStuffPodcast1 Instagram https://www.instagram.com/mistuffpodcast/ GoFundMe https://www.gofundme.com/need-new-podcast-equipment-help&rcid=r01-155401020133-8d1603657b8346aa&pc=ot_co_campmgmt_w
Here's what some of our favorite songs do with keyboards! Did you have any thoughts? Comments? Please send them to us at joyouseclectic@gmail.com! Social Media: https://www.instagram.com/joyouseclectic/ | https://www.facebook.com/joyouseclectic/ | https://twitter.com/joyouseclectic Songs Used Chad Songs: "The Ascent of Stan" by Ben Folds, "Brothers on a Hotel Bed" by Death Cab for Cutie, "Eastern Glow" by The Album Leaf, "Lingus" by Snarky Puppy Matt Songs: "T.T.T (Twelve Tone Tune)" by Bill Evans Trio, "The Great Gig in the Sky" by Pink Floyd, "Someone Great" by LCD Soundsystem Parker Songs: "Dogs Can Grow Beards All Over" by The Devil Wears Prada, "Limb from Limb - Instrumental" by Protest The Hero, "Clipping" by Mutemath, "Wombat Astronaut (Beyond the Burrow)" by Plini All intros/bumpers/outros written and recorded by hosts. Check out our 'sister' podcast "Two Bros Driving" here: https://itunes.apple.com/us/podcast/two-bros-driving/id1349804668?mt=2 or follow their social media @twobrosdriving Photo credit to unsplash
David Arana is a professional musician living and working in the Los Angeles area. He has played for many groups whose interests and beliefs are wide-ranging and colorful, and in general speak to the better part of the human experience. For this reason, he attributes his long-standing position as the "go to accompanist for the unusual" to his ability to fit in with the many faith-based and social-service-oriented organizations for whom he has worked. He has shared the stage with such notable artists as Mel Tormé, Liza Minnelli, and The Supremes and is currently serving as pianist/musical director for Engelbert Humperdinck. Jason and Dave can be reached at www.guitarninjas.co www.davejohnstone.com
hmudrechet Mon, 05 Nov 2018 17:35:00 GMT no 525
האזנה מודרכת - The Great Gig In The Sky - Pink Floyd
This week I recap the wonderful weekend that was Scoopfest!!!
On our August end-of-month roundtable we discuss the challenges and rewards independent musicians face in an online world. See acast.com/privacy for privacy and opt-out information. Become a member at https://plus.acast.com/s/dtns.
The Dark Side of the Moon, é o oitavo disco do Pink Floyd; nele, encontramos essa pérola da música mundial: "The Great Gig in the Sky", que além de nos arrancar lágrimas com uma performance vocal fora do comum, também deixou histórias incríveis nos bastidores protagonizadas por sua intérprete, "Clare Torry"."SEJA UM SÓCIO DO CLUBE DA MÚSICA AUTORAL"Imagine poder votar no artista que fará parte de um episódio do Clube.Imagine poder fazer parte de um grupo secreto, onde você pode interagir, dar seus pitacos e receber conteúdos extras.Imagine além de tudo isso, você poder receber os novos episódios antes de todo mundo e ainda por cima, levar uma camiseta do Clube da Música Autoral.Acesse a página:https://clubedamusicaautoral.com.br/assinee veja como se tornar um sócio do Clube.Quer receber os episódios do Clube através do WhatsApp? Basta clicar no link:http://bit.ly/2DGdkkYe confirmar a mensagem.Mais informações em:https://clubedamusicaautoral.com.brContato:clubedamusicaautoral@gmail.com
Phish.net Show PagePhish.com Show PageState Theatre Wiki Hosted on Acast. See acast.com/privacy for more information.
The Great Gig in the Sky. Dieses Album von Pink Floyd ist eines der meistverkauften Alben aller Zeiten weltweit. Und Tanja Mazurek singt mit The Floyd Council diesen sehr sehr schwierigen Part live. Eine außergewöhnliche Leistung der Radiomoderatorin, Traurednerin und Musikerin. In diesem sehr familiären Interview erzählt sie, wer das Multitalent ist. Ihre Zeit als Sängerin bei Hubert von Goisern, das Interview mit Toto Sänger Steve Lukather und vieles mehr. Viel Spass mit Folge 77. Dein Gary Stütz
Celebrate, Ellisfam LA Takeover, Comfortably Numb behind the wheel, Eclipse into abyss, In line for The Great Gig in the Sky, Team Sleep OC, Musink, Subject A, Politricks, Current Events.
Hey, remember Tobias? No? Yeah, neither do the Animorphs. He's not in this episode, and they barely address it! Nobody's worried about him, or anything! Anyways, it's On the Run! I'm more a fan of Great Gig in the Sky, but I do app-oh, what the fuck, it's a different one. Okay, fine, sure.In addition to this Tobias-less episode, we also discussed Smoothie Pockets, Stabbed in a Parking Lot Carnival, I Only Morph Into the Mountain Goats, Shopdropping, Human Acquisition Ethics, How I Met Yeerk Mother, ASGAB, Double Ds Jewellers, and Getting AndaLIT.REFERENCED MEDIA: That Community gifSupport us on Patreon!
Episode 5 Chalk & Talk-Access All Areas (What makes a great gig?) in this episode we unpack the latest gig by Foo Fighters and explain why they have that formula for a great live, loud, rocknroll show!
In this episode, Curt and Kevin are joined by guest vocalist Ryan Lucas as they discuss the first two volumes of the Scott Pilgrim series: Scott Pilgrim's Precious Little Life and Scott Pilgrim vs. the World, written and drawn by Bryan Lee O'Malley and published by Oni Press! Scott Pilgrim, aimless 23-year-old bassist for Toronto band Sex Bob-Omb, is dating 17-year-old high school student Knives Chau when he falls hard for delivery girl Ramona Flowers. But in order to date her, he'll have to break up with Knives—and, oh yeah, defeat seven of Ramona's exes in hand-to-hand combat! Can Scott get his act together long enough to help Sex Bob-Omb score a prestigious gig opening for his ex-girlfriend Envy Adams—and vanquish the League of Ramona's Evil Ex-Boyfriends? And can he book himself and the band into that Great Gig in the Sky known as … The Comics Canon? Things Discussed in This Episode: • Is Scott Pilgrim kind of a jerk? • Do these books pass the Bechdel Test? • The Flying Burrito Brothers' Gilded Palace of Sin • Is Kevin really Scott Pilgrim? • Curt hates the name of our letters segment • Our first negative review • Random House vs. Houghton Mifflin • Zot! The Complete Black and White Collection: 1987-1991 • Kamikaze Vol. 1: Run Rabbit Run • Love and Rockets: Maggie the Mechanic The Comics Canon is presented with the support of Creative Loafing Atlanta, home of such podcasts as Mo Audio and Dish on the Dish. Join us in two weeks as we discuss another fictional league—Alan Moore and Kevin O'Neill's League of Extraordinary Gentlemen! Until then, please rate us on iTunes, send us an email, or hit us up on Twitter or Facebook, and we may read your comments in an upcoming episode. And as always, thanks for listening!
Look who’s back! Ok STO fans, it’s been a while — Tony and Evan have been hard at work saving the galaxy. Ok, maybe not the galaxy, but at least our own sanity from child raising. This episode takes on the challenges of explaining death to your kids. They also give a breakdown on the … Continue reading Episode #8 – Great Gig in the Sky →
In this episode, the gang discusses the funniest films ever made, other podcasts, and what to burn when we die. Josh brings in one of his banked short film drafts, Maxx writes an introduction for an efficient criminal, and Liam writes about a girl and a burned-down house. Afterwards, we discuss diction and clarity, and our trailer ends up being a movie that will never be made, but that everyone secretly wants. Show notes and links can be found at www.badstorytellers.comLearn more about your ad choices. Visit megaphone.fm/adchoices See acast.com/privacy for privacy and opt-out information.
Grounded #104 ~ 100316 {Nightfly} Pink Floyd – The Great Gig In The Sky Donald Fagen – I.G.Y. (What A Beautiful World) David Bowie – A New Career In A New Town Scott Walker – Rawhide Laurie Anderson – Freefall Ween – It's Gonna Be Alright Brian Eno – Golden Hours Can – Thief Mr. Bungle – Pink Cigarette Julee Cruise – Falling Robert Wyatt – Alliancedownload.
No es fácil dejar atrás a las estrellas de la música, pero en Discomanía agradecemos las composiciones que nos dejaron para recordar; el Great Gig in the Sky rinde tributo a Maurice White. Recorrimos también algunas de las presentaciones memorables del medio tiempo del Super Bowl. Las risas no podían faltar en Discomanía con una parodia que hicimos al poema de La noche quedó atrás.
“Mambo Sun” / “Cosmic Dancer” / “Jeepster” / “Monolith” / “Lean Woman Blues” / “Bang a Gong (Get It On)” / “Girl” / “The Motivator” / “Planet Queen” / “Life’s a Gas” / “Rip Off” Additional Audio Excerpts: The Mountain Goats (“This Year"), John Mellencamp (“Jack and Diane”), Led Zeppelin (“Whole Lotta Love”, “Heartbreaker”, “Moby Dick”, “The Battle of Evermore"), Massive Attack 3 (soundtrack), REM (“The Lifting"), Bruce Springsteen (“Tenth Avenue Freeze Out”, “She’s the One"), The Smiths (“There is a Light That Never Goes Out”), The Black Keys (“Everlasting Light”), Bachman Turner Overdrive (“Taking Care of Business"), Chase (“Get It On"), The Who (“We Won’t Be Fooled Again"), Bob Dylan (“Maggie’s Farm"), Kiss (“Rock and Roll All Nite"), Guns ’n Roses (“Welcome to the Jungle"), Poison (“Unskinny Bop"), Sex Pistols (“God Save the Queen"), Def Leppard (“Rock of Ages"), Genesis (“Supper’s Ready"), Pink Floyd (“The Great Gig in the Sky”)
The job of a back up singer can be a thankless one. They check their egos at the door and use their considerable talent to make the artist whose name is on the marquee sound good. It can be a great gig, but there is seldom much in the way of glory. After all, who remembers the name of the women who scat sang Pink Floyd's "Great Gig in the Sky" or the emotional climax of the Rolling Stones' "Gimme Shelter?" (Clare Torry and Merry Clayton for those keeping score at home.) But in the industry it is common knowledge that these vocalists in the shadows can often sing circles around their employers and have solid careers of their own. Grammy winner Sheryl Crow got her start singing backup vocals for the likes of Michael Jackson, Stevie Wonder and Don Henley before she took center stage. And such is the case for Nicole Gordon. She has a long list of credits supporting other artists and her powerful and dynamic voice has been the sound of numerous film and TV projects and commercial spots. She's also a quite capable writer with a handful of albums, and she regularly travels to the songwriting Mecca of Nashville to flex her writing chops. She is living proof that there is more than one way to make a living in the music business.
00:00 Dump City (8.28.09 - Canopy Club, Urbana, Illinois) 19:38 Billie Jean (6.25.09 - Lewis Ginter Botanical Garden, Richmond, Virginia) 24:54 Rocker part II* (7.16.09 - Capitol Theatre, Davenport, Iowa) 38:12 Power of Soul** > 51:51 Miss Tinkle's Overture (6.26.09 - Rocks the Harbor, Buffalo, New York) 62:51 Time > 69:21 Great Gig in the Sky (8.27.09 - Canopy Club, Urbana, Illinois) Total Broadcast Length 72:35 Notes: * with Everything In Its Right Place (Radiohead) jam ** with Immigrant Song (Led Zeppelin) teases
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