Genre of uptempo disco or electronic dance music
POPULARITY
3 episodes with hi nrg
3 episodes with hi nrg
3 episodes with hi nrg
7 episodes with hi nrg
7 episodes with hi nrg
7 episodes with hi nrg
2 episodes with hi nrg
3 episodes with hi nrg
2 episodes with hi nrg
When did the 60s symbolically end? Altamont? Kent State? No - when the organ stops playing towards the end of "Gimme Gimme Good Lovin'" by Crazy Elephant. It's bubblegum, but also super rockin'. Who'da thunk it? The first cover of the version was by ... Giorgio Moroder? It doesn't sound like his 70s stuff but it is wild. Third is a 80s Moroder-esque version from Roxy Perry, a blueswoman who didn't expect a Hi-NRG remix of her vocal. The fourth suitor is Canada's legendary hair metallers, Helix. For Canucks Erik and Weldon, this is manna from heavy metal heaven. Finally, a recent rendition from GospelbeacH, which is faithful - too faithful? Listen to this with some girls from Texarcan!!
MacKenzie Chung Fegan is the restaurant critic for the San Francisco Chronicle, which has just released its top 100 restaurants list. It's the first time in six years the publication has done a big list like this, and in this episode, MacKenzie goes over how she chose the restaurants and why the Bay Area food scene is absolutely on fire. We go over many of the picks, including the top ten. Also on the episode, Aliza and Matt talk about a recent trip to San Francisco and a number of exciting restaurant discoveries. Some of the places were on the Chronicle's list, while others may have slid under the radar. Matt visited bakeries and coffee spots and had a number of memorable meals. Places visited include: Bodega, Neighbor's Corner, The Coffee Movement, Hi NRG, El Mil Amores, Che Fico, Outerlands, Aziza, Maison Nico, Timbri Hotel.Do you enjoy This Is TASTE? Drop us a review on Apple, or star us on Spotify. We'd love to hear from you. See Privacy Policy at https://art19.com/privacy and California Privacy Notice at https://art19.com/privacy#do-not-sell-my-info.
Jaeki Cho and Brian Lee are the co-founders of Righteous Eats, a multi-platform media brand spotlighting small, immigrant-run food businesses in New York and beyond. They've racked up millions of views with thoughtful storytelling that goes beyond the typical food porn—and they've got ambitions for a whole lot more, hosting events and providing resources to empower business owners. Today on the show, Jaeki and Brian go deep on Righteous Eats POV and plans for the future, plus some of their favorite spots in the city.Also on the show, it's the return of Three Things where Aliza and Matt discuss what is exciting in the world of restaurants, cookbooks, and the food world as a whole. On this episode: HI NRG coffee pop-up in San Francisco, @keithhysiu x @fruitsomm pop-up report, Pistakio has a new crunchy spread. Also: Casa Dragones Reposado, Visitor NA beer, and love for the tofu scramble. Do you enjoy This Is TASTE? Drop us a review on Apple, or star us on Spotify. We'd love to hear from you. See Privacy Policy at https://art19.com/privacy and California Privacy Notice at https://art19.com/privacy#do-not-sell-my-info.
This week on Select, we have a special set from Dublin-based Saudi-born maestro Moving Still marking THREE HUNDRED episodes of our exclusive mix series
Hallo Freunde freue mich sehr euch heute eine neue Episode meiner Indie Dance The Mix Series präsentieren zu können. Diesmal mit Rune Kahr aka Rune Cosmic aus Malmö, Schweden. Viel Spaß... Hello friends I am very pleased to be able to present you a new episode of my Indie Dance The Mix Series today. This time with Rune Kahr Aka Rune Cosmic from Malmö, Sweden. Enjoy It... BIO Rune Cosmic together with Vomatron & DJ Nixxon are co-founders of the legendary Italo/disco collective Disco Vendetta, responsible for throwing some of the best 80s style parties in Copenhagen during the first decade of the millennium. Over the years some of the best and most interesting italo and disco DJs from all over Europe came to play at these events Rune Cosmic is collecting vinyl records since 1979 and DJ since 1983, he made a lot of radio (Radio Vega, Radio Silkeborg) and was part of the Club scene as Resident DJ in Silkeborg with Club New Romantic from 1987 In 1999 he start hes own Club Sunshine in Silkeborg, with House Music & Live Art Rune Cosmic have DJ most of all the good clubs in Denmark, Paris, Sweden, Berlin on the legendary Kit Kat Club (Disco Bizarre) Rune Cosmic have been DJ to the same party as, Richie Hawtin, Andrew Weatherall, Loud E, Thomas Schumacher, Albion, Flemming Dalum, Thomas Troelsen (Private) Alphabeat, Puddu Varano, Laid Back, Rickie Lee Jones, Brand New Havies, E.T.A. Kid Massive, Martin Brodin, Mike Salta, James Knights (Boytronic), Flashbaxx, Funkstar De Luxe, Ric Piccolo & Furor Exotica, Patina, Keld Toldstup Every secord week Rune Cosmic podcast Universal Beats new guest mix from DJ's around the world with Cosmic Disco, Synthwave, Indie Dance, New Beat, House, Italo, Freestyle, HiNRG, Funk, Techno, Acid, Dark Disco, Electro, New Wave, World and Soul LINKS SOUNDCLOUD https://soundcloud.com/yo-yo-391011029 INSTAGRAM https://www.instagram.com/runekahr/ Tracklist Tracklist: Irregular Disco Workers - Make It Martin Bordin - Strings Attack (Headman / Ilya Santana Remixes) Kid Machine - Italoheads Kenneth Bager Experience - Fragment Sixteen Mike Salta - Escape From Rico Bay Klapto - Master Game * Newcleus - Jam On It (A Chicken Lips Drum Deluxe) I.M.S. - An English * Anthony's Games - Silent Smiles * Alico vs Cabri - Les Mondées Engloutis Rune Cosmic - Come With Us (Emesh remix) Yello - Bostich (Martin Brodin Re-Rub) Black Devil - "H" Friend Gino Soccio - Remember Trans X - Living On Video * Pumuki - Constipated (Calystarr Dark Retro Remix) Mother F - Menegy Newcleus - Autuman (Martin Brodin Remix) Rune Cosmic - Play Der Dritte Raum - Tanzmedial Kurt Kjergaard - Italo Project (Emesh Remix) Ken Lazloo - Hey Hey Guy (Flemming Dalum Remix) Dibaba - Love Train (Swedish Disco Jets Remix) Rune Cosmic edit * listen all episodes also on APPLE PODCAST podcasts.apple.com/de/podcast/kurt…E7vXOuDgX7Ga8z4 SOUNDCLOUD PLAYLIST soundcloud.com/kk-remixe/sets/indie-dance-the-mix-series Disclaimer: All material on this channel is posted with the explicit consent of the artist/labels and no copyrights are violated in any way. If you are a copyright owner and want your work to be removed from our channel please contact us with a personal message here and we will remove your material right away. Please note that we do not benefit from posting this material and have only the intention to help new and emerging artist to be heard by supporting & promoting podcasts. Thx a lot... Kurt Kjergaard
Way back in January I had the opportunity to play an hour of tear out, Hi NRG Disco for a friends Studio 54 themed birthday party. It was right up there with my favourite sets I've played all year. Those that know me know I have a real soft spot for Big Powerful Disco numbers so it should come as no surprise that I absolutely milked the opportunity to go all in on that energy. I love this music so much, I hope you do too! As always, comment for ID's xoxo Rubio
The legendary Pete Hammond remixed a collection of classic Dead Or Alive tracks in the iconic 80's hi-nrg style and now they've been mechamixed to perfection! BPM = 122 – 131 TRACKS:U WERE MEANT 4 ME (pete hammond hi-nrg remix)UNHAPPY BIRTHDAY (pete hammond hi-nrg remix)HIT AND RUN LOVER (pete hammond hi-nrg remix)TOTAL STRANGER (pete hammond hi-nrg remix)I DON'T CARE ABOUT YOUR HEART (pete hammond hi-nrg remix)MY LOVE'S ON THE LINE (pete hammond hi-nrg remix)YOU SPIN ME ROUND (like a record) (2000 pete hammond hi-nrg remix)GONE 2 LONG (pete hammond hi-nrg remix)LOVER COME BACK TO ME (2000 pete hammond hi-ng remix)MY HEART GOES BANG (2000 pete hammond hi-nrg remix)SOMETHING IN MY HOUSE (2000 pete hammond hi-nrg remix) For all your mechamix needs check out:THE OFFICIAL WEBSITE:http://mechanism.podomatic.com THE OFFICIAL PATREON PAGE:patreon.com/THEOFFICIALMECHANISMPODCAST MORE TO EXPLORE:https://linktr.ee/mechanismpodcast
Get ready for the next SPANDAU20 Mixtape drop featuring the legendary @spencerparker !
Podcast Website: http://www.shakedownradio.com Mixcloud: http://www.mixcloud.com/chriscaggs Amazon Music Podcasts: https://bit.ly/3PhNuvZ Apple Podcasts / iTunes: https://apple.co/3tfyyDP Google Podcasts: https://bit.ly/42JlfcL iHeart Radio: https://ihr.fm/3ss7wr2 Tune In App: http://tun.in/pmkVI Castbox: https://bit.ly/3maXTcb You Tube: http://www.YouTube.com/@chriscaggs Please Donate to help with running costs of this podcast on Patreon and buy me a $5 dollars Australian coffee - http://www.patreon.com/ChrisCaggs Or donate via Go Fund Me https://gofund.me/67c7b653 A great event happening at Versus Bar at 118 norton street Leichhardt Sydney on the 15th June 2024 90s Dance & Hi NRG with Nick Skitz feat Kidd Kaos with support by Chris Spiteri aka Dj C Major you can book a table on this number 0431 743 174 With thanks to Global PR Pool, Inflyte App, PLAY MPE & Xelon Entertainment This podcast will be released each week at 8am every Friday Sydney Australia Time. Over the span of 25 Years across 15 Radio Stations - Chris Caggs has been on air at: Groove FM 96.9FM & 94.5FM - Sydney Groove FM 97.3FM - Brisbane DJ-FM 87.6FM - Sydney 2RDJ 88.1FM - Sydney 2NSB 99.3FM - Northside Radio Sydney Pump FM 99.3FM - Sydney 2ICR Radio - Sydney Mix It Up Radio - Brisbane STR8OUT Radio - Melbourne Mixxbosses Radio - Sydney Urban Movement Radio - Brisbane Liquid Radio - Snowy Mountains New South Wales - Dance Starter FM - Sydney - Dance Tune 1 Radio - Perth - Dance 4PLAY Radio - Queensland - Dance V1Radio - Melbourne - Dance Tracklist: 1. Majestic, The Jammin Kid. Celine Dion - Set My Heart On Fire (I'm Alive x The Beat Goes On) (Extended) 2. Jonas Blue - Mountains (Extended Mix) 3. KVISION & Oscar Jamo - Solo (Extended Mix) 4. Roland Clark x Rubber People - Out Of Likes (Original) 5. Romy - Always Forever 6. Sonny Fodera feat Blythe - Mind Still (Tita Lau Extended Remix) 7. NuGroove - Power (Mind Electric Extended Remix) 8. Low Steppa, Jewel Kid - Big Busta (Extended Mix) 9. John Summit & Sub Focus feat Julia Church - Go Back 10. Groove Armada - Free Jam (Extended Mix) 11. Kygo with Ava Max - Whatever (Tiesto Remix)
Podcast Website: http://www.shakedownradio.com Mixcloud: http://www.mixcloud.com/chriscaggs Amazon Music Podcasts: https://bit.ly/3PhNuvZ Apple Podcasts / iTunes: https://apple.co/3tfyyDP Google Podcasts: https://bit.ly/42JlfcL iHeart Radio: https://ihr.fm/3ss7wr2 Tune In App: http://tun.in/pmkVI Castbox: https://bit.ly/3maXTcb You Tube: http://www.YouTube.com/@chriscaggs Please Donate to help with running costs of this podcast on Patreon and buy me a $5 dollars Australian coffee - http://www.patreon.com/ChrisCaggs Or donate via Go Fund Me https://gofund.me/67c7b653 A great event happening at Versus Bar at 118 norton street Leichhardt Sydney on the 15th June 2024 90s Dance & Hi NRG with Nick Skitz feat Kidd Kaos with support by Chris Spiteri aka Dj C Major you can book a table on this number 0431 743 174 With thanks to Global PR Pool, Inflyte App, PLAY MPE & Xelon Entertainment This podcast will be released each week at 8am every Friday Sydney Australia Time. Over the span of 25 Years across 15 Radio Stations - Chris Caggs has been on air at: Groove FM 96.9FM & 94.5FM - Sydney Groove FM 97.3FM - Brisbane DJ-FM 87.6FM - Sydney 2RDJ 88.1FM - Sydney 2NSB 99.3FM - Northside Radio Sydney Pump FM 99.3FM - Sydney 2ICR Radio - Sydney Mix It Up Radio - Brisbane STR8OUT Radio - Melbourne Mixxbosses Radio - Sydney Urban Movement Radio - Brisbane Liquid Radio - Snowy Mountains New South Wales - Dance Starter FM - Sydney - Dance Tune 1 Radio - Perth - Dance 4PLAY Radio - Queensland - Dance V1Radio - Melbourne - Dance Tracklist: 1. Majestic, The Jammin Kid. Celine Dion - Set My Heart On Fire (I'm Alive x The Beat Goes On) (Extended) 2. Jonas Blue - Mountains (Extended Mix) 3. KVISION & Oscar Jamo - Solo (Extended Mix) 4. Roland Clark x Rubber People - Out Of Likes (Original) 5. Romy - Always Forever 6. Sonny Fodera feat Blythe - Mind Still (Tita Lau Extended Remix) 7. NuGroove - Power (Mind Electric Extended Remix) 8. Low Steppa, Jewel Kid - Big Busta (Extended Mix) 9. John Summit & Sub Focus feat Julia Church - Go Back 10. Groove Armada - Free Jam (Extended Mix) 11. Kygo with Ava Max - Whatever (Tiesto Remix)
Podcast Website: http://www.shakedownradio.com Mixcloud: http://www.mixcloud.com/chriscaggs Amazon Music Podcasts: https://bit.ly/3PhNuvZ Apple Podcasts / iTunes: https://apple.co/3tfyyDP Google Podcasts: https://bit.ly/42JlfcL iHeart Radio: https://ihr.fm/3ss7wr2 Tune In App: http://tun.in/pmkVI Castbox: https://bit.ly/3maXTcb You Tube: http://www.YouTube.com/@chriscaggs Please Donate to help with running costs of this podcast on Patreon and buy me a $5 dollars Australian coffee - http://www.patreon.com/ChrisCaggs Or donate via Go Fund Me https://gofund.me/67c7b653 A great event happening at Versus Bar at 118 norton street Leichhardt Sydney on the 15th June 2024 90s Dance & Hi NRG with Nick Skitz feat Kidd Kaos with support by Chris Spiteri aka Dj C Major you can book a table on this number 0431 743 174 With thanks to Global PR Pool, Inflyte App, PLAY MPE & Xelon Entertainment This podcast will be released each week at 8am every Friday Sydney Australia Time. Over the span of 25 Years across 15 Radio Stations - Chris Caggs has been on air at: Groove FM 96.9FM & 94.5FM - Sydney Groove FM 97.3FM - Brisbane DJ-FM 87.6FM - Sydney 2RDJ 88.1FM - Sydney 2NSB 99.3FM - Northside Radio Sydney Pump FM 99.3FM - Sydney 2ICR Radio - Sydney Mix It Up Radio - Brisbane STR8OUT Radio - Melbourne Mixxbosses Radio - Sydney Urban Movement Radio - Brisbane Liquid Radio - Snowy Mountains New South Wales - Dance Starter FM - Sydney - Dance Tune 1 Radio - Perth - Dance 4PLAY Radio - Queensland - Dance V1Radio - Melbourne - Dance Tracklist: 1. Majestic, The Jammin Kid. Celine Dion - Set My Heart On Fire (I'm Alive x The Beat Goes On) (Extended) 2. Jonas Blue - Mountains (Extended Mix) 3. KVISION & Oscar Jamo - Solo (Extended Mix) 4. Roland Clark x Rubber People - Out Of Likes (Original) 5. Romy - Always Forever 6. Sonny Fodera feat Blythe - Mind Still (Tita Lau Extended Remix) 7. NuGroove - Power (Mind Electric Extended Remix) 8. Low Steppa, Jewel Kid - Big Busta (Extended Mix) 9. John Summit & Sub Focus feat Julia Church - Go Back 10. Groove Armada - Free Jam (Extended Mix) 11. Kygo with Ava Max - Whatever (Tiesto Remix)
Podcast Website: http://www.shakedownradio.com Mixcloud: http://www.mixcloud.com/chriscaggs Amazon Music Podcasts: https://bit.ly/3PhNuvZ Apple Podcasts / iTunes: https://apple.co/3tfyyDP Google Podcasts: https://bit.ly/42JlfcL iHeart Radio: https://ihr.fm/3ss7wr2 Tune In App: http://tun.in/pmkVI Castbox: https://bit.ly/3maXTcb You Tube: http://www.YouTube.com/@chriscaggs Please Donate to help with running costs of this podcast on Patreon and buy me a $5 dollars Australian coffee - http://www.patreon.com/ChrisCaggs Or donate via Go Fund Me https://gofund.me/67c7b653 A great event happening at Versus Bar at 118 norton street Leichhardt Sydney on the 15th June 2024 90s Dance & Hi NRG with Nick Skitz feat Kidd Kaos with support by Chris Spiteri aka Dj C Major you can book a table on this number 0431 743 174 With thanks to Global PR Pool, Inflyte App, PLAY MPE & Xelon Entertainment This podcast will be released each week at 8am every Friday Sydney Australia Time. Over the span of 25 Years across 15 Radio Stations - Chris Caggs has been on air at: Groove FM 96.9FM & 94.5FM - Sydney Groove FM 97.3FM - Brisbane DJ-FM 87.6FM - Sydney 2RDJ 88.1FM - Sydney 2NSB 99.3FM - Northside Radio Sydney Pump FM 99.3FM - Sydney 2ICR Radio - Sydney Mix It Up Radio - Brisbane STR8OUT Radio - Melbourne Mixxbosses Radio - Sydney Urban Movement Radio - Brisbane Liquid Radio - Snowy Mountains New South Wales - Dance Starter FM - Sydney - Dance Tune 1 Radio - Perth - Dance 4PLAY Radio - Queensland - Dance V1Radio - Melbourne - Dance Tracklist: 1. Majestic, The Jammin Kid. Celine Dion - Set My Heart On Fire (I'm Alive x The Beat Goes On) (Extended) 2. Jonas Blue - Mountains (Extended Mix) 3. KVISION & Oscar Jamo - Solo (Extended Mix) 4. Roland Clark x Rubber People - Out Of Likes (Original) 5. Romy - Always Forever 6. Sonny Fodera feat Blythe - Mind Still (Tita Lau Extended Remix) 7. NuGroove - Power (Mind Electric Extended Remix) 8. Low Steppa, Jewel Kid - Big Busta (Extended Mix) 9. John Summit & Sub Focus feat Julia Church - Go Back 10. Groove Armada - Free Jam (Extended Mix) 11. Kygo with Ava Max - Whatever (Tiesto Remix)
She was our very first interviewee back in Episode 1 — and we finally reach the conclusion of Hazell Dean's Stock Aitken Waterman journey with her version of "Better Off Without You", which was released in 1991. The Queen of Hi-NRG joins us once again to discuss recording a song previously cut by Lonnie Gordon and her thoughts about the SAW sound struggling in the early '90s. Girl group Delage were also finding it hard to land a hit with original SAW tune "Running Back For More" missing the mark. Karina and Emma from the group return to chat about the track and Delage's metamorphosis into Eden once they left the Hit Factory. Pat Sharp and Mick Brown also pop in to talk about their 1991 charity cover, "Gimme Some", and we hear from Jason Donovan, Mike Stock and Sharon McPhilemy about "R.S.V.P." — the song that gave Jason's sound and image a makeover. We also look at his first foray into musical theatre and the ramifications of that on his working relationship with SAW.Subscribe for bonus material at chartbeats.com.au/sawTwitter: @ChartBeatsAU, @MrMattDenbyInstagram: @chartbeatsauFacebook: Chart Beats: A Journey Through PopEmail: chartbeats.au@gmail.com
House, Brazilian, Disco, Middle Eastern, Freestyle, Hi NRG, Techno and more From Around the universe and back. Tune in to Zeca Velose, Claude François, Caramel, Rahaan Presents, Osunlade, Company B, Donna Summer, Divine, and so much more! it's a party.This is Unbound with Ricardo for The Face Radio, sharing past, present and future classic dance music from around the world and back...keep it locked first and third Wednesday of every month. Next Unbound: e 3/6/2024 …Keep it locked!For more info and tracklisting, visit: https://thefaceradio.com/unboundTune into new broadcasts of Unbound LIVE, Opposite Wednesdays from 10 PM - Midnight EST / 3 - 5 AM GMT (Thursday).Dig this show? Please consider supporting The Face Radio: http://support.thefaceradio.com Support The Face Radio with PatreonSupport this show http://supporter.acast.com/thefaceradio. Join the family at https://plus.acast.com/s/thefaceradio. Hosted on Acast. See acast.com/privacy for more information.
Lebanon's ambassador to the UK says no country can stand idly by when it is facing provocation and aggression. The Lebanese response comes after Israel warned that it will take military action to push Hezbollah militants away from its northern frontier if cross-border fire does not stop. Also in the programme: Is it time for Ukraine and its western backers to focus more on consolidating territory rather than forcing all Russian troops out? And from the gay clubs of Chicago to pop charts around the world, we track the enduring influence of Hi-NRG music.Photo: this picture taken from a position along the border in northern Israel on December 27, 2023 shows smoke billowing in the southern Lebanese village of Marwahin following Israeli bombardment, amid ongoing cross-border tensions as fighting continues between Israel and Hamas militants in the Gaza Strip. (Credit: Jalaa Marey / AFP via Getty Images)
We had to go out in style for the last show of 2023!
Avec la sélection electro 2023 de Melvin Schlemer !TRACKLIST Gabrielle - Forget About The World (Daft Punk Remix)Shygirl - Thicc Fred again.. - leavemealone (ft. Baby Keem)Mézigue - Shmesynth Eternal PoseT La Rock & Jazzy Jay - It's Yours Kodak Black - Lemme SeeFever Ray - Kandy (Sylvere lost in the crowd remix)NSDOS - FLOX-POXDeetron, Soulmate - Zoom (Original Mix)Two Shell - mum is callingSweet Charles - Hang Out & Hustle Josh Caffe - Do You Want To Take Me HomeFingers Inc - I'm StrongTiga, Hudson Mohawke - Night Is Not Yunè Pink - Killing Bee (TAAHLIAH Remix)Gigi Fm - Spazio Teletrasporto Sea Rene Lloyd Cole & The Commotions - Lost Weekend Supershy - If You Were My GirlRUZE - Shadysalute, Sammy Virji - PeachSkrillex, Fred Again.., Flowdan - RumbleNia Archives - Off Wiv Ya HeadzEvelyn Thomas - High EnergyDonna Summer - I Fel Loe (Patrick Cowley Megamix)
Parliamo di: Tennis, Beatles clock, Baciare ad occhi chiusi, Giornata mondiale del trasporto sostenibile e molto altro...
Le parole “piagnucolate” della destra e quelle “troppe” della sinistra; i giovani che hanno – eccome – voglia di lavorare, se vengono pagati; i danni provocati da “quelli che benpensano”.Di questo e molto altro parliamo con Frankie HI-Nrg, primo amatissimo rapper italiano, da trent'anni figura di riferimento della scena musicale e interprete della vita del Paese tra i più sensibili.
En plena explosión del movimiento Punk en el Reino Unido y su filosofía del “Do it yourself” un grupo de chicos procedentes de distintas partes del país comenzaban a jugar con sintetizadores, influenciados por Kraftwerk, Bowie, Brian Eno y Donna Summer. Así es como surge el SynthPop gracias a gente como The Human League, O.M.D., Tubeway Army y varios más. Este género se hizo fuerte a comienzos de los 80s con la aparición de la “segunda generación”: Depeche Mode, Yazoo, New Order, Soft Cell, Visage y un largo etc. Durante toda la década continuó en activo y durante los últimos años de los 80s la gran invasión del House, el New Beat, el Acid House y el Techno ha sido una gran influencia para el género, tanto para artistas de la vieja escuela como para las nuevas generaciones. En este podcast podréis escuchar un breve resumen de las canciones de sintetizadores influenciadas por los nuevos sonidos que sonaron en las radios, en su gran mayoría escuchareis las versiones maxis originales. Comenzamos con When in Rome, trio británico con un solo hit “The Promise” publicado originalmente en 1987 pero fue al año siguiente cuando logra el éxito. Depeche Mode publica en 1987 “Strangelove” el primer single de su icónico álbum “Music for the masses”. Convirtiéndose en su sencillo más exitoso hasta aquel momento, logrando que muchos DJs y productores crearan sus propias remezclas no oficiales de la canción. Information Society, originales de Minneapolis con un comienzo entre el Avant-Garde y los sonidos electrónicos. Publicaron su primer álbum “oficial” en 1988, con un sonido más SynthPop, consiguiendo gran éxito en todo el mundo y del cual lanzaron 4 singles, entre ellos “Walking Away”. Al día de hoy siguen en activo. Erasure, duo británico formado por Vince Clark (Depeche Mode, Yazoo) y el vocalista Andy Bell en 1985. En abril de 1988 publican su icónico álbum (y para muchos el mejor hasta la fecha) “The Innocents”. Uno de sus sencillos “A Little Respect” se convirtió en un himno del SynthPop de la década. Book of Love, grupo americano de SynthPop formado en 1983 publicando su primera producción en 1986. En 1988 lanzan su segundo álbum del cual sale como single “Pretty Boys & Pretty Girls” logrando sonar en radios de todo el mundo. En 1993 el grupo se disuelve. Peter Schilling, cantante alemán famoso por la canción “Major Tom (Coming Home)” publicada en 1983. Pero no fue hasta 1989 que no repitió el éxito gracias a “The Different Story (World Of Lust And Crime)” colaboración con Michael Cretu, creador del grupo Enigma. El sencillo no fue un gran éxito en los US pero si en el resto del mundo. Cetu Javu, grupo alemán formado en 1984. Tenían la particularidad que varias canciones eran en castellano ya que su cantante (Javier Revilla-Díez) era hijo de españoles, aunque él ha nacido en Hannover. Debido a esto fue un grupo de gran popularidad en Latinoamérica y España, no así en el resto del mundo. Uno de sus mayores éxitos “Have in Mind” fue lanzado en 1988. Los también alemanes Camouflage lograron la notoriedad con su primer sencillo “The Great Commandment” publicado en 1987. Publicaron varios singles más de moderado éxito mundial pero nunca han podido repetir el suceso del primero. Hasta nuestros días sigue siendo muy evidente la gran influencia que ejerce Depeche Mode sobre ellos. Kon Kan, el proyecto del canadiense Barry Harris, publica el single “I Beg Your Pardon (I Never Promised You a Rose Garden)” en 1988. Debido al gran éxito obtenido la discográfica convence a Barry a lanzar un álbum integro, el cual sale al mercado un año después. Del mismo salen varios singles pero cada vez con menos repercusión. Publica un par de discos más y disuelve el proyecto para formar junto al DJ Carl Cox el dúo Thunderpuss para dedicarse a la remezcla de canciones de artistas como Madonna, Christina Aguilera, Whitney Houston, etc. Pet Shop Boys, duo de SynthPop influenciados por el Hi-NRG publican 2 discos de gran éxito y en 1988 lanzan el icónico “Introspective”. Disco concebido para las pistas de baile, 6 canciones en versiones extendidas con bases y sintetizadores propios de House. El segundo sencillo fue “Left to My Own Devices” publicado en noviembre de 1988. Hoy en día la mayoría de las canciones del álbum son parte fundamental en cualquier playlist del dúo. New Order, luego de varios discos deciden viajar a Ibiza para grabar lo que sería su siguiente producción “Technique”, muy influenciado por los sonidos que sonaban en la isla en aquel momento (House, Balearic, New Beat). El primer single fue “Round & Round” lanzado en marzo de 1989, a pesar de solo tener un éxito moderado, con los años se ha convertido en un clásico del género y del grupo. Real Life, originales de Australia este grupo de SynthPop solo lograron sonar en todas las radios del mundo con la canción “Send me an Angel”. Publicado originalmente en 1984 y luego en 1988 renombrándolo como “Send Me An Angel '89”. Espero disfrutéis del podcast. TRACKLIST: 01 - When In Rome - The Promise (Coliseum Mix) 02 - Depeche Mode - Strangelove (Maxi Mix) 03 - Information Society - Walking Away (Space Age Mix) 04 - Erasure - A Little Respect (Extended Mix) 05 - Book Of Love - Pretty Boys & Pretty Girls (Extended Mix) 06 - Peter Schilling - The Different Story (World Of Lust And Crime) (Long Version) 07 - Cetu Javu - Have In Mind (Extended Mix) 08 - Camouflage - The Great Commandment (Extended Dance Mix) 09 - Kon Kan - I Beg Your Pardon (I Never Promised You a Rose Garden) (12' remix) 10 - Pet Shop Boys - Left to My Own Devices (LP Version) 11 - New Order - Round&Round (Club mix) 12 - Real Life - Send Me An Angel '89 (Dance Mix)
En plena explosión del movimiento Punk en el Reino Unido y su filosofía del “Do it yourself” un grupo de chicos procedentes de distintas partes del país comenzaban a jugar con sintetizadores, influenciados por Kraftwerk, Bowie, Brian Eno y Donna Summer. Así es como surge el SynthPop gracias a gente como The Human League, O.M.D., Tubeway Army y varios más. Este género se hizo fuerte a comienzos de los 80s con la aparición de la “segunda generación”: Depeche Mode, Yazoo, New Order, Soft Cell, Visage y un largo etc. Durante toda la década continuó en activo y durante los últimos años de los 80s la gran invasión del House, el New Beat, el Acid House y el Techno ha sido una gran influencia para el género, tanto para artistas de la vieja escuela como para las nuevas generaciones. En este podcast podréis escuchar un breve resumen de las canciones de sintetizadores influenciadas por los nuevos sonidos que sonaron en las radios, en su gran mayoría escuchareis las versiones maxis originales. Comenzamos con When in Rome, trio británico con un solo hit “The Promise” publicado originalmente en 1987 pero fue al año siguiente cuando logra el éxito. Depeche Mode publica en 1987 “Strangelove” el primer single de su icónico álbum “Music for the masses”. Convirtiéndose en su sencillo más exitoso hasta aquel momento, logrando que muchos DJs y productores crearan sus propias remezclas no oficiales de la canción. Information Society, originales de Minneapolis con un comienzo entre el Avant-Garde y los sonidos electrónicos. Publicaron su primer álbum “oficial” en 1988, con un sonido más SynthPop, consiguiendo gran éxito en todo el mundo y del cual lanzaron 4 singles, entre ellos “Walking Away”. Al día de hoy siguen en activo. Erasure, duo británico formado por Vince Clark (Depeche Mode, Yazoo) y el vocalista Andy Bell en 1985. En abril de 1988 publican su icónico álbum (y para muchos el mejor hasta la fecha) “The Innocents”. Uno de sus sencillos “A Little Respect” se convirtió en un himno del SynthPop de la década. Book of Love, grupo americano de SynthPop formado en 1983 publicando su primera producción en 1986. En 1988 lanzan su segundo álbum del cual sale como single “Pretty Boys & Pretty Girls” logrando sonar en radios de todo el mundo. En 1993 el grupo se disuelve. Peter Schilling, cantante alemán famoso por la canción “Major Tom (Coming Home)” publicada en 1983. Pero no fue hasta 1989 que no repitió el éxito gracias a “The Different Story (World Of Lust And Crime)” colaboración con Michael Cretu, creador del grupo Enigma. El sencillo no fue un gran éxito en los US pero si en el resto del mundo. Cetu Javu, grupo alemán formado en 1984. Tenían la particularidad que varias canciones eran en castellano ya que su cantante (Javier Revilla-Díez) era hijo de españoles, aunque él ha nacido en Hannover. Debido a esto fue un grupo de gran popularidad en Latinoamérica y España, no así en el resto del mundo. Uno de sus mayores éxitos “Have in Mind” fue lanzado en 1988. Los también alemanes Camouflage lograron la notoriedad con su primer sencillo “The Great Commandment” publicado en 1987. Publicaron varios singles más de moderado éxito mundial pero nunca han podido repetir el suceso del primero. Hasta nuestros días sigue siendo muy evidente la gran influencia que ejerce Depeche Mode sobre ellos. Kon Kan, el proyecto del canadiense Barry Harris, publica el single “I Beg Your Pardon (I Never Promised You a Rose Garden)” en 1988. Debido al gran éxito obtenido la discográfica convence a Barry a lanzar un álbum integro, el cual sale al mercado un año después. Del mismo salen varios singles pero cada vez con menos repercusión. Publica un par de discos más y disuelve el proyecto para formar junto al DJ Carl Cox el dúo Thunderpuss para dedicarse a la remezcla de canciones de artistas como Madonna, Christina Aguilera, Whitney Houston, etc. Pet Shop Boys, duo de SynthPop influenciados por el Hi-NRG publican 2 discos de gran éxito y en 1988 lanzan el icónico “Introspective”. Disco concebido para las pistas de baile, 6 canciones en versiones extendidas con bases y sintetizadores propios de House. El segundo sencillo fue “Left to My Own Devices” publicado en noviembre de 1988. Hoy en día la mayoría de las canciones del álbum son parte fundamental en cualquier playlist del dúo. New Order, luego de varios discos deciden viajar a Ibiza para grabar lo que sería su siguiente producción “Technique”, muy influenciado por los sonidos que sonaban en la isla en aquel momento (House, Balearic, New Beat). El primer single fue “Round & Round” lanzado en marzo de 1989, a pesar de solo tener un éxito moderado, con los años se ha convertido en un clásico del género y del grupo. Real Life, originales de Australia este grupo de SynthPop solo lograron sonar en todas las radios del mundo con la canción “Send me an Angel”. Publicado originalmente en 1984 y luego en 1988 renombrándolo como “Send Me An Angel '89”. Espero disfrutéis del podcast. TRACKLIST: 01 - When In Rome - The Promise (Coliseum Mix) 02 - Depeche Mode - Strangelove (Maxi Mix) 03 - Information Society - Walking Away (Space Age Mix) 04 - Erasure - A Little Respect (Extended Mix) 05 - Book Of Love - Pretty Boys & Pretty Girls (Extended Mix) 06 - Peter Schilling - The Different Story (World Of Lust And Crime) (Long Version) 07 - Cetu Javu - Have In Mind (Extended Mix) 08 - Camouflage - The Great Commandment (Extended Dance Mix) 09 - Kon Kan - I Beg Your Pardon (I Never Promised You a Rose Garden) (12' remix) 10 - Pet Shop Boys - Left to My Own Devices (LP Version) 11 - New Order - Round&Round (Club mix) 12 - Real Life - Send Me An Angel '89 (Dance Mix)
This is a rewind of an episode from 2021.Today's episode is all about my favourite subgenre of disco and dance music - Italo. What it is, where it came from and why it's so enduring.Italo disco is a European form of electronic disco that proliferated throughout Europe in the early '80s. It's a catch all term for 80s electronic pop of mostly Italian origin.Italo is what happens when disco starts getting made with drum machines and synthesizers - a loveable curio of romantic pop, a tasteless yet tasteful novelty item, A simple music born at a time when music was increasingly sophisticated.Italo is big fun electronic pop music that doesn't take itself too seriously. It is time capsule of a generally more innocent time of bad dancers, keytars, moustaches and chrome-shimmering fashion.From Vice's A Bullshitter's Guide To Italo-Disco by Angus HarrisonImagine, if you can, if somebody made a B-movie of the entire disco genre. Music so obviously emotional, it becomes inescapably affecting. This is Italo and its heartstring-pulling magic. It's not disco, in fact in most cases it's technically a lot worse, but there is untold charm in the chintz.Niall and Andrea take you deep into how US disco morphed into Italo, how Moroder and Hi-NRG fits in, the characteristics of Italo disco, the glitz, the glamour and the keytars. Plus, we talk about the Nialler9 Podcast theme song - Red Dragon Band's 'Let Me Be Your Radio...Patreon members get exclusive access to my 8 hour Italo Disco playlist featuring all of the songs played on this episode, which includes classics likeDoctor's Cat – Feel The DriveMr. Flagio – Take A ChanceLa Bionda – I Wanna Be Your LoverRAF – Self-ControlKen Laszlo – Hey Hey GuyRyan Paris – Dolce VitaSabrina – Boysand many more.Support Nialler9 on Patreon and join our Discord chat Hosted on Acast. See acast.com/privacy for more information.
Musician JOHN SPRINGATE is a former member of the British glam rock band Glitter Band. Born in England, John was a bass guitarist and vocalist for the group during their heyday in the 1970s. John's professional career started when he was 19 and worked on the gigging circuit for a few years working with people like Jonny Johnson and the Bandwagon and Clem Curtis and the Foundations before joining the Glitter Band. The Glitter Band originally formed as the backing band for Gary Glitter, a prominent glam rock artist. John joined the band in 1973 and played a crucial role in their success. Known for their energetic live performances and catchy tunes, the Glitter Band achieved considerable commercial success during the glam rock era. As a member of the Glitter Band, John Springate contributed to several hit songs, including "Angel Face," "Rock and Roll Part 2," and "Goodbye My Love." These songs showcased the band's trademark sound characterised by a combination of powerful drum beats, infectious melodies, and Springate's solid bass lines. However, in the late 1970s, tensions arose between Gary Glitter and the Glitter Band, resulting in the band parting ways with Glitter in 1975. They continued as a standalone act, recording and releasing music under their own name. After the Glitter Band disbanded in the early 1980s, John Springate pursued other ventures in the music industry. He embarked on a solo career and also worked as a television presenter. In recent years, he has occasionally reunited with former Glitter Band members for reunion concerts and performances, delighting fans of their glam rock era. John also became a producer. Even more influential in his career development was the moment in the early 80s when he came out and started going to gay clubs. It was the golden age of Hi-NRG and Springate was suitably inspired to move into dance production. This is where he continues to make his living, scoring his biggest hit with Nikki French's version of 'Total Eclipse of the Heart.' He's also written theme tunes for many of Mike Mansfield's TV programmes and a disappointing Eurovision entry. In recent times, the association with Gary Glitter has become controversial due to his criminal convictions for child sexual abuse. However, it is important to distinguish between Gary Glitter and the Glitter Band, as the band members themselves were not involved in any illegal activities and swear they knew nothing about Glitter's crimes at the time. John Springate joins me this week to tell us his and the Glitter Band's story. He talks about the early days and why the band broke up and he discusses his latest solo recording called 72. It's a fascinating conversation. I hope you enjoy it. If you'd like more information about John Springate head for his website https://www.johnspringate.com/ or take yourself across to mine here Please feel free to get in touch with me too with any feedback, comments or suggestions for guests you'd like to hear from,
Hosts Nate Wilcox and Ed Legge continue their discussion of Michaelangelo Matos' "Can't Slow Down: How 1984 Became Pop's Blockbuster Year" with a look at the dance club scene that produced Madonna, her work with DJ/producer Jellybean Benitez, the emergence of House music in Chicago, the HI-NRG scene in the gay clubs and the rapid evolution of electro into Latin freestyle. Buy the book and support the show. Have a question or a suggestion for a topic or person for Nate to interview? Email letitrollpodcast@gmail.com Follow us on Twitter. Follow us on Facebook. Let It Roll is proud to be part of Pantheon Podcasts. Learn more about your ad choices. Visit megaphone.fm/adchoices
Intervista prima sel suo djset all'Eremo Club di Molfetta
Housepedia Podcasts #HomeIsWhereHouseIsPlaying 125 I Ansonica Ansonica is an Italian deejay based in Berlin. Obsessed with disco music since she was a kid, thanks to the influence of her mother she literally grew up with spaghetti and Italo disco. She spent several years following closely the club scene in Italy, working as DJ Host and PR at Ribbon Club Culture in Central Italy until she moved to Berlin in 2015. After a long time of being only in the “backstage” she has decided to start playing and creating her own "colorful" and authentic music style fully shaped by her taste and personality mixing Hi-NRG disco with diverse house and electronic vibes. She has been playing in Berlin in clubs like Kitkat, Bulbul, Klunkerkranich, Oxi, Ava Club to name a few with Disco Bizarre and ToyTonics crews. Her mission is making Disco glamorous and exciting again and bring the dancers on a fresh, sweaty, fun and always a “little bit italian” journey. In 2019 she founded HABITAT - Experience, Embrace, Belong - a music enthusiasts collective whose mission is to building a space in time where people can get together, experience musical journeys and feel like they belong. She is a member of female:pressure, a transnational online database and network of women*, AFAB, transgender, transfeminine, transmasculine, intersex [+gender optional], genderqueer, gender nonconforming, a-gender and/or non-binary DJs, musicians, composers, producers, visual artists, agents, journalists and researchers working in the realms of electronic music and visual arts. Info about the artist: @ansonicamusic Submit your mixtape: http://housepediamusic.com Like our posts? To buy a coffee and help support Housepedia Music click: ko-fi.com/housepediamusic Listen on Apple: apple.co/3n4V8s5
In our most star-studded episode yet, we ask: did Manfred Mann miss a golden opportunity to go Hi-NRG? Earth Wind & Fire, KC & The Sunshine Band, Sly & The Family Stone: can YOU tell the difference? What were the club kids wiggling to in early 1989? How wise is it to heckle Ryan Adams? What brand of cheddar best represents The Saturdays? Does anyone else other than Nick remember Ben's Brother? Also contains Bonus Content Pop Quiz!YouTube playlist // Spotify playlist // bonus tracks & extra bitsTo join in with the voting, please submit your 1st, 2nd and 3rd favourites, plus your "most bad and hated" selection, to:Twitter: @whichdecadetops // Facebook // whichdecadeistops@gmail.comThe voting deadline for this episode is 6pm UK time, Wednesday 15th February 2023. Hosted on Acast. See acast.com/privacy for more information.
1988 is a wild year in music. Most of the big names that defined the 1980s are taking a break, leaving the door open for a number of new faces to break in and help define the sound that'll take us into the 1990s. This is a year of rap, of freestyle- and house-inspired dance, of alternative rock, and of off-centered mainstream pop.Join Tim and Chris as they pick their top-12 songs of 1988. These are nominees for the prestigious Hall of Songs, the hall of fame for songs that currently includes 72 songs. Listen to the episode, then vote for your Hall of Songs picks at hallofsongs.com.
Hall of Songs listeners: This was an historic election. Tim and Chris break down your votes judging the greatness of songs released between 1981 and '87. Along the way, we play a little One Away.
While I'm still on hiatus, I invited questions from listeners. This is an hour-long podcast answering some of them. (Another hour-long Q&A for Patreon backers only will go up next week). Tilt Araiza has assisted invaluably by doing a first-pass edit, and will hopefully be doing so from now on. Check out Tilt's irregular podcasts at http://www.podnose.com/jaffa-cakes-for-proust and http://sitcomclub.com/ There is a Mixcloud of the music excerpted here which can be found at https://www.mixcloud.com/AndrewHickey/500-songs-supplemental-qa-edition/ Click below for a transcript: Hello and welcome to the Q&A episode I'm doing while I'm working on creating a backlog. I'm making good progress on that, and still hoping and expecting to have episode 151 up some time in early August, though I don't have an exact date yet. I was quite surprised by the response to my request for questions, both at the amount of it and at where it came from. I initially expected to get a fair few comments on the main podcast, and a handful on the Patreon, and then I could do a reasonable-length Q&A podcast from the former and a shorter one from the latter. Instead, I only got a couple of questions on the main episode, but so many on the Patreon that I had to stop people asking only a day or so after posting the request for questions. So instead of doing one reasonable length podcast and one shorter one, I'm actually doing two longer ones. What I'm going to do is do all the questions asked publicly, plus all the questions that have been asked multiple times, in this one, then next week I'm going to put up the more niche questions just for Patreon backers. However, I'm not going to answer *all* of the questions. I got so many questions so quickly that there's not space to answer them all, and several of them were along the lines of "is artist X going to get an episode?" which is a question I generally don't answer -- though I will answer a couple of those if there's something interesting to say about them. But also, there are some I've not answered for another reason. As you may have noticed, I have a somewhat odd worldview, and look at the world from a different angle from most people sometimes. Now there were several questions where someone asked something that seems like a perfectly reasonable question, but contains a whole lot of hidden assumptions that that person hadn't even considered -- about music history, or about the process of writing and researching, or something else. Now, to answer that kind of question at all often means unpacking those hidden assumptions, which can sometimes make for an interesting answer -- after all, a lot of the podcast so far has been me telling people that what they thought they knew about music history was wrong -- but when it's a question being asked by an individual and you answer that way, it can sometimes, frankly, make you look like a horribly unpleasant person, or even a bully. "Don't you even know the most basic things about historical research? I do! You fool! Hey everyone else listening, this person thinks you do research in *this* way, but everyone knows you do it *that* way!" Now, that is never how I would intend such answers to come across -- nobody can be blamed for not knowing what they don't know -- but there are some questions where no matter how I phrased the answer, it came across sounding like that. I'll try to hold those over for future Q&A episodes if I can think of ways of unpicking the answers in such a way that I'm not being unconscionably rude to people who were asking perfectly reasonable questions. Some of the answers that follow might still sound a bit like that to be honest, but if you asked a question and my answer sounds like that to you, please know that it wasn't meant to. There's a lot to get through, so let's begin: Steve from Canada asks: “Which influential artist or group has been the most challenging to get information on in the last 50 podcasts? We know there has been a lot written about the Beatles, Beach Boys, Motown as an entity, the Monkees and the Rolling Stones, but you mentioned in a tweet that there's very little about some bands like the Turtles, who are an interesting story. I had never heard of Dino Valenti before this broadcast – but he appeared a lot in the last batch – so it got me curious. [Excerpt: The Move, “Useless Information”] In the last fifty episodes there's not been a single one that's made it to the podcast where it was at all difficult to get information. The problem with many of them is that there's *too much* information out there, rather than there not being enough. No matter how many books one reads on the Beatles, one can never read more than a fraction of them, and there's huge amounts of writing on the Rolling Stones, on Hendrix, on the Doors, on the Byrds... and when you're writing about those people, you *know* that you're going to miss out something or get something wrong, because there's one more book out there you haven't read which proves that one of the stories you're telling is false. This is one of the reasons the episodes have got so much longer, and taken so much more time. That wasn't the case in the first hundred episodes -- there were a lot of artists I covered there, like Gene and Eunice, or the Chords, or Jesse Belvin, or Vince Taylor who there's very little information about. And there are some coming up who there's far less information about than people in the last fifty episodes. But every episode since the Beatles has had a surfeit of information. There is one exception -- I wanted to do a full episode on "Rescue Me" by Fontella Bass, because it would be an interesting lens through which to look at how Chess coped with the change in Black musical styles in the sixties. But there was so little information available about her I ended up relegating it to a Patreon bonus episode, because she makes those earlier artists look well-documented. Which leads nicely into the next question. Nora Tillman asks "Forgive this question if you've answered it before: is there literally a list somewhere with 500 songs you've chosen? Has the list changed since you first composed it? Also, when did you first conceive of this list?" [Excerpt: John Reed and the D'Oyly Carte Opera Company, "As Someday it May Happen"] Many people have asked this question, or variations upon it. The answer is yes and no. I made a list when I started that had roughly two hundred songs I knew needed to be on there, plus about the same number again of artists who needed to be covered but whose precise songs I hadn't decided on. To make the initial list I pulled a list out of my own head, and then I also checked a couple of other five-hundred-song lists -- the ones put out by Rolling Stone magazine and the Rock and Roll Hall of Fame -- not because I wanted to use their lists; I have very little time for rock critical orthodoxy, as most of my listeners will likely have realised by now, but because I wanted to double-check that I hadn't missed anything obvious out, and that if I was missing something off their lists, I knew *why* I was missing it. To take a ludicrous example, I wouldn't want to get to the end of the 1960s and have someone say "Wait a minute, what about the Beatles?" and think "I *knew* I'd forgotten something!" Then, at the start of each fifty-episode season, I put together a more rigorous list of the fifty songs coming up, in order. Those lists *can* still change with the research -- for example, very early on in the research for the podcast, I discovered that even though I was completely unfamiliar with "Ko Ko Mo" by Gene and Eunice, it was a hugely important and influential record at the time, and so I swapped that in for another song. Or more recently, I initially intended to have the Doors only have one episode, but when I realised how much I was having to include in that episode I decided to give them a second one. And sometimes things happen the other way -- I planned to do full episodes on Jackie Shane and Fontella Bass, but for both of them I couldn't find enough information to get a decent episode done, so they ended up being moved to Patreon episodes. But generally speaking that fifty-song list for a year's episodes is going to remain largely unchanged. I know where I'm going, I know what most of the major beats of the story are, but I'm giving myself enough flexibility to deviate if I find something I need to include. Connected with this, Rob Johnson asks how I can be confident I'll get back to some stories in later episodes. Well, like I say, I have a pretty much absolute idea of what I'm going to do in the next year, and there are a lot of individual episodes where I know the structure of the episode long before we get to it. As an example here... I don't want to give too much away, and I'm generally not going to be answering questions about "will artist X be appearing?", but Rob also asked about one artist. I can tell you that that artist is one who will not be getting a full episode -- and I already said in the Patreon episode about that artist that they won't -- but as I also said in that episode they *will* get a significant amount of time in another episode, which I now know is going to be 180, which will also deal with another artist from the same state with the same forename, even though it's actually about two English bands. I've had the structure of that episode planned out since literally before I started writing episode one. On the other hand, episode 190 is a song that wasn't originally going to be included at all. I was going to do a 1967 song by the same artist, but then found out that a fact I'd been going to use was disputed, which meant that track didn't need to be covered, but the artist still did, to finish off a story I'd started in a previous episode. Patrick asks:"I am currently in the middle of reading 1971: Never a Dull Moment by David Hepworth and I'm aware that Apple TV have produced a documentary on how music changed that year as well and I was wondering what your opinion on that subject matter? I imagine you will be going into some detail on future podcasts, but until recently I never knew people considered 1971 as a year that brought about those changes." [Excerpt: Rod Stewart, "Angel"] I've not yet read Hepworth's book, but that it's named after an album which came out in 1972 (which is the album that track we just heard came from) says something about how the idea that any one year can in itself be a turning point for music is a little overstated -- and the Apple documentary is based on Hepworth's book, so it's not really multiple people making that argument. Now, as it happens, 1971 is one of the break points for the podcast -- episodes 200 and 201 are both records from July 1971, and both records that one could argue were in their own way signifiers of turning points in rock music history. And as with 1967 it's going to have more than its fair share of records, as it bridges the gap of two seasons. But I think one could make similar arguments for many, many years, and 1971 is not one of the most compelling cases. I can't say more before I read Hepworth's book, which won't be for a few months yet. I'm instinctively dubious of these "this year was the big year that changed everything" narratives, but Hepworth's a knowledgeable enough writer that I wouldn't want to dismiss his thesis without even reading the book. Roger Pannell asks I'm a fairly recent joiner-in too so you may have answered this before. What is the theme tune to the podcast please. [Excerpt: The Boswell Sisters, “Rock and Roll”] The theme song to the podcast is "Rock and Roll" by the Boswell Sisters. The version I use is not actually the version that was released as a single, but a very similar performance that was used in the film Transatlantic Merry-Go-Round in 1931. I chose it in part because it may well be the first ever record to contain the phrase "rock and roll" (though as I've said many times there's no first anything, and there are certainly many records which talk about rocking and/or rolling -- just none I know of with that phrase) so it evokes rock and roll history, partly because the recording is out of copyright, and partly just because I like the Boswell Sisters. Several people asked questions along the lines of this one from Christopher Burnett "Just curious if there's any future episodes planned on any non-UK or non-North American songs? The bonus episodes on the Mops and Kyu Sakamoto were fascinating." [Excerpt: Kyu Sakamoto, "Sukiyaki"] Sadly, there won't be as many episodes on musicians from outside the UK and North America as I'd like. The focus of the podcast is going to be firmly on British, American, Irish, and Canadian musicians, with a handful from other Anglophone countries like Australia and Jamaica. There *are* going to be a small number of episodes on non-Anglophone musicians, but very few. Sadly, any work of history which engages with injustices still replicates some of those injustices, and one of the big injustices in rock history is that most rock musicians have been very insular, and there has been very little influence from outside the Anglophone world, which means that I can't talk much about influential records made by musicians from elsewhere. Also, in a lot of cases most of the writing about them is in other languages, and I'm shamefully monolingual (I have enough schoolboy French not to embarrass myself, but not enough to read a biography without a dictionary to hand, and that's it). There *will* be quite a few bonus episodes on musicians from non-Anglophone countries though, because this *is* something that I'm very aware of as a flaw, and if I can find ways of bringing the wider story into the podcast I will definitely do so, even if it means changing my plans somewhat, but I'm afraid they'll largely be confined to Patreon bonuses rather than mainline episodes. Ed Cunard asks "Is there a particular set of songs you're not looking forward to because you don't care for them, but intend to dive into due to their importance?" [Excerpt: Jackie Shane, "Don't Play That Song"] There are several, and there already have been some, but I'm not going to say what they are as part of anything to do with the podcast (sometimes I might talk about how much I hate a particular record on my personal Twitter account or something, but I try not to on the podcast's account, and I'm certainly not going to in an episode of the podcast itself). One of the things I try to do with the podcast is to put the case forward as to why records were important, why people liked them at the time, what they got out of them. I can't do that if I make it about my own personal tastes. I know for a fact that there are people who have come away from episodes on records I utterly despise saying "Wow! I never liked that record before, but I do now!" and that to me shows that I have succeeded -- I've widened people's appreciation for music they couldn't appreciate before. Of course, it's impossible to keep my own tastes from showing through totally, but even there people tend to notice much more my like or dislike for certain people rather than for their music, and I don't feel anything like as bad for showing that. So I have a policy generally of just never saying which records in the list I actually like and which I hate. You'll often be able to tell from things I talk about elsewhere, but I don't want anyone to listen to an episode and be prejudiced not only against the artist but against the episode by knowing going in that I dislike them, and I also don't want anyone to feel like their favourite band is being given short shrift. There are several records coming up that I dislike myself but where I know people are excited about hearing the episode, and the last thing I want to do is have those people who are currently excited go in disappointed before they even hear it. Matt Murch asks: "Do you anticipate tackling the shift in rock toward harder, more seriously conceptual moves in 1969 into 1970, with acts like Led Zeppelin, The Who (again), Bowie, etc. or lighter soul/pop artists such as Donna Summer, Carly Simon or the Carpenters? Also, without giving too much away, is there anything surprising you've found in your research that you're excited to cover? [Excerpt: Robert Plant, "If I Were a Carpenter"] OK, for the first question... I don't want to say exactly who will and won't be covered in future episodes, because when I say "yes, X will be covered" or "no, Y will not be covered", it invites a lot of follow-up discussion along the lines of "why is X in there and not Y?" and I end up having to explain my working, when the episodes themselves are basically me explaining my working. What I will say is this... the attitude I'm taking towards who gets included and who gets excluded is, at least in part, influenced by an idea in cognitive linguistics called prototype theory. According to this theory, categories aren't strictly bounded like in Aristotelian thought -- things don't have strict essences that mean they definitely are or aren't members of categories. But rather, categories have fuzzy boundaries, and there are things at the centre that are the most typical examples of the category, and things at the border that are less typical. For example, a robin is a very "birdy" bird -- it's very near the centre of the category of bird, it has a lot of birdness -- while an ostrich is still a bird, but much less birdy, it's sort of in the fuzzy boundary area. When you ask people to name a bird, they're more likely to name a robin than an ostrich, and if you ask them “is an ostrich a bird?” they take longer to answer than they do when asked about robins. In the same way, a sofa is nearer the centre of the category of "furniture" than a wardrobe is. Now, I am using an exceptionally wide definition of what counts as rock music, but at the same time, in order for it to be a history of rock music, I do have to spend more time in the centre of the concept than around the periphery. My definition would encompass all the artists you name, but I'm pretty sure that everyone would agree that the first three artists you name are much closer to the centre of the concept of "rock music" than the last three. That's not to say anyone on either list is definitely getting covered or is definitely *not* getting covered -- while I have to spend more time in the centre than the periphery, I do have to spend some time on the periphery, and my hope is to cover as many subgenres and styles as I can -- but that should give an idea of how I'm approaching this. As for the second question -- there's relatively little that's surprising that I've uncovered in my research so far, but that's to be expected. The period from about 1965 through about 1975 is the most over-covered period of rock music history, and so the basic facts for almost every act are very, very well known to people with even a casual interest. For the stuff I'm doing in the next year or so, like the songs I've covered for the last year, it's unlikely that anything exciting will come up until very late in the research process, the times when I'm pulling everything together and notice one little detail that's out of place and pull on that thread and find the whole story unravelling. Which may well mean, of course, that there *are* no such surprising things. That's always a possibility in periods where we're looking at things that have been dealt with a million times before, and this next year may largely be me telling stories that have already been told. Which is still of value, because I'm putting them into a larger context of the already-released episodes, but we'll see if anything truly surprising happens. I certainly hope it does. James Kosmicki asks "Google Podcasts doesn't seem to have any of the first 100 episodes - are they listed under a different name perhaps?" [Excerpt: REM, "Disappear"] I get a number of questions like this, about various podcast apps and sites, and I'm afraid my answer is always the same -- there's nothing I can do about this, and it's something you'd have to take up with the site in question. Google Podcasts picks up episodes from the RSS feed I provide, the same as every other site or app. It's using the right feed, that feed has every episode in it, and other sites and apps are working OK with it. In general, I suggest that rather than streaming sites like Google Podcasts or Stitcher or Spotify, where the site acts as a middleman and they serve the podcast to you from their servers, people should use a dedicated podcast app like RadioPublic or Pocketcasts or gPodder, where rather than going from a library of podcast episodes that some third party has stored, you're downloading the files direct from the original server, but I understand that sometimes those apps are more difficult to use, especially for less tech-savvy people. But generally, if an episode is in some way faulty or missing on the 500songs.com webpage, that's something I can do something about. If it's showing up wrong on Spotify or Google Podcasts or Stitcher or whatever, that's a problem at their end. Sorry. Darren Johnson asks "were there any songs that surprised you? Which one made the biggest change between what you thought you knew and what you learned researching it?" [Excerpt: The Turtles, "Goodbye Surprise"] Well, there have been a few, in different ways. The most surprising thing for me actually was in the most recent episode when I discovered the true story behind the "bigger than Jesus" controversy during my reading. That was a story I'd known one way for my entire life -- literally I think I first read about that story when I was six or seven -- and it turned out that not one thing I'd read on the subject had explained what had really happened. But then there are other things like the story of "Ko Ko Mo", which was a record I wasn't even planning on covering at first, but which turned out to be one of the most important records of the fifties. But I actually get surprised relatively little by big-picture things. I'll often discover fun details or new connections between things I hadn't noticed before, but the basic outlines of the story never change that much -- I've been reading about music history literally since I learned how to read, and while I do a deep dive for each episode, it's very rare that I discover anything that totally changes my perspective. There is always a process of reevaluation going on, and a change in the emphases in my thought, so for example when I started the project I knew Johnny Otis would come up a fair bit in the early years, and knew he was a major figure, but was still not giving him the full credit he deserved in my head. The same goes for Jesse Belvin, and as far as background figures go Lester Sill and Milt Gabler. But all of these were people I already knew were important, i just hadn't connected all the dots in my head. I've also come to appreciate some musicians more than I did previously. But there are very few really major surprises, which is probably to be expected -- I got into this already knowing a *LOT*, because otherwise I wouldn't have thought this was a project I could take on. Tracey Germa -- and I'm sorry, I don't know if that's pronounced with a hard or soft G, so my apologies if I mispronounced it -- asks: "Hi Andrew. We love everything about the podcast, but are especially impressed with the way you couch your trigger warnings and how you embed social commentary into your analysis of the music. You have such a kind approach to understanding human experiences and at the same time you don't balk at saying the hard things some folks don't want to hear about their music heroes. So, the question is - where does your social justice/equity/inclusion/suffer no fools side come from? Your family? Your own experiences? School/training?” [Excerpt: Elvis Costello and the Attractions, "Little Triggers"] Well, firstly, I have to say that people do say this kind of thing to me quite a lot, and I'm grateful when they say it, but I never really feel comfortable with it, because frankly I think I do very close to the absolute minimum, and I get by because of the horribly low expectations our society has for allocishet white men, which means that making even the tiniest effort possible to be a decent human being looks far more impressive by comparison than it actually is. I genuinely think I don't do a very good job of this at all, although I do try, and that's not false modesty there. But to accept the premise of the question for a moment, there are a couple of answers. My parents are both fairly progressive both politically and culturally, for the time and place where they raised me. They both had strong political convictions, and while they didn't have access to much culture other than what was on TV or in charting records or what have you -- there was no bookshop or record shop in our town, and obviously no Internet back then -- they liked the stuff out of that mix that was forward-thinking, and so was anti-racist, accepting of queerness, and so on. From a very early age, I was listening to things like "Glad to be Gay" by the Tom Robinson Band. So from before I really even understood what those concepts were, I knew that the people I admired thought that homophobia and racism were bad things. I was also bullied a lot at school, because I was autistic and fat and wore glasses and a bunch of other reasons. So I hated bullying and never wanted to be a bully. I get very, very, *very* angry at cruelty and at abuses of power -- as almost all autistic people do, actually. And then, in my twenties and thirties, for a variety of reasons I ended up having a social circle that was predominantly queer and/or disabled and/or people with mental health difficulties. And when you're around people like that, and you don't want to be a bully, you learn to at least try to take their feelings into consideration, though I slipped up a great deal for a long time, and still don't get everything right. So that's the "social justice" side of things. The other side, the "understanding human experiences" side... well, everyone has done awful things at times, and I would hope that none of us would be judged by our worst behaviours. "Use every man to his desert and who should 'scape whipping?" and all that. But that doesn't mean those worst behaviours aren't bad, and that they don't hurt people, and denying that only compounds the injustice. People are complicated, societies are complicated, and everyone is capable of great good and great evil. In general I tend to avoid a lot of the worst things the musicians I talk about did, because the podcast *is* about the music, but when their behaviour affects the music, or when I would otherwise be in danger of giving a truly inaccurate picture of someone, I have to talk about those things. You can't talk about Jerry Lee Lewis without talking about how his third marriage derailed his career, you can't talk about Sam Cooke without talking about his death, and to treat those subjects honestly you have to talk about the reprehensible sides of their character. Of course, in the case of someone like Lewis, there seems to be little *but* a reprehensible side, while someone like Cooke could be a horrible, horrible person, but even the people he hurt the most also loved him dearly because of his admirable qualities. You *have* to cover both aspects of someone like him if you want to be honest, and if you're not going to be honest why bother trying to do history at all? Lester Dragstedt says (and I apologise if I mispronounced that): "I absolutely love this podcast and the perspective you bring. My only niggle is that the sound samples are mixed so low. When listening to your commentary about a song at voice level my fingers are always at the volume knob to turn up when the song comes in." [Excerpt: Bjork, "It's Oh So Quiet"] This is something that gets raised a lot, but it's not something that's ever going to change. When I started the podcast, I had the music levels higher, and got complaints about that, so I started mixing them lower. I then got complaints about *that*, so I did a poll of my Patreon backers to see what they thought, and by about a sixty-forty margin they wanted the levels to be lower, as they are now, rather than higher as they were earlier. Basically, there seem to be two groups of listeners. One group mostly listens with headphones, and doesn't like it when the music gets louder, because it hurts their ears. The other group mostly listens in their cars, and the music gets lost in the engine noise. That's a gross oversimplification, and there are headphone listeners who want the music louder and car listeners who want the music quieter, but the listenership does seem to split roughly that way, and there are slightly more headphone listeners. Now, it's literally *impossible* for me to please everyone, so I've given up trying with this, and it's *not* going to change. Partly because the majority of my backers voted one way, partly because it's just easier to leave things the way they are rather than mess with them given that no matter what I do someone will be unhappy, and partly because both Tilt when he edits the podcast and I when I listen back and tweak his edit are using headphones, and *we* don't want to hurt our ears either. Eric Peterson asks "if we are basically in 1967 that is when we start seeing Country artists like Johnny Cash and Waylon Jennings - the Man who Survived the Day the Music Died - start to bring more rock songs into their recordings and start to set the ground work in many ways for Country Rock ... how do you envision bringing the role they play in the History of Rock and Roll into the podcast?" [Excerpt: The Del McCoury Band, "Nashville Cats"] I will of course be dealing with country rock as one of the subgenres I discuss -- though there's only one real country-rock track coming up in the next fifty, but there'll be more as I get into the seventies, and there are several artists coming up with at least some country influence. But I won't be looking at straight country musicians like Jennings or Cash except through the lens of rock musicians they inspired -- things like me talking about Johnny Cash briefly in the intro to the "Hey Joe" episode. I think Cocaine and Rhinestones is already doing a better job of covering country music than I ever could, and so those people will only touch the story tangentially. Nili Marcia says: "If one asks a person what's in that room it would not occur to one in 100 to mention the air that fills it. Something so ubiquitous as riff--I don't know what a riff actually is! Will you please define riff, preferably with examples." Now this is something I actually thought I'd explained way back in episode one, and I have a distinct memory of doing so, but I must have cut that part out -- maybe I recorded it so badly that part couldn't be salvaged, which happened sometimes in the early days -- because I just checked and there's no explanation there. I would have come back to this at some point if I hadn't been thinking all along that I'd covered it right at the start, because you're right, it is a term that needs definition. A riff is, simply, a repeated, prominent, instrumental figure. The term started out in jazz, and there it was a term for a phrase that would be passed back and forth between different instruments -- a trumpet might play a phrase, then a saxophone copy it, then back to the trumpet, then back to the saxophone. But quickly it became a term for a repeated figure that becomes the main accompaniment part of a song, over which an instrumentalist might solo or a singer might sing, but which you remember in its own right. A few examples of well-known riffs might include "Smoke on the Water" by Deep Purple: [Excerpt: Deep Purple, "Smoke on the Water"] "I Feel Fine" by the Beatles: [Excerpt: The Beatles, "I Feel Fine"] "Last Train to Clarksville" by the Monkees: [Excerpt: The Monkees, "Last Train to Clarksville"] The bass part in “Under Pressure” by Queen and David Bowie: [Excerpt: Queen and David Bowie, “Under Pressure”] Or the Kingsmen's version of "Louie Louie": [Excerpt: The Kingsmen, "Louie Louie"] Basically, if you can think of a very short, prominent, instrumental idea that gets repeated over and over, that's a riff. Erik Pedersen says "I love the long episodes and I suspect you do too -- thoroughness. of this kind is something few get the opportunity to do -- but have you ever, after having written a long one, decided to cut them significantly? Are there audio outtakes you might string together one day?" [Excerpt: Bing Crosby and Les Paul, "It's Been a Long, Long Time"] I do like *having* done the long episodes, and sometimes I enjoy doing them, but other times I find it frustrating that an episode takes so long, because there are other stories I want to move on to. I'm trying for more of a balance over the next year, and we'll see how that works out. I want to tell the story in the depth it deserves, and the longer episodes allow me to do that, and to experiment with narrative styles and so on, but I also want to get the podcast finished before I die of old age. Almost every episode has stuff that gets cut, but it's usually in the writing or recording stage -- I'll realise a bit of the episode is boring and just skip it while I'm recording, or I'll cut out an anecdote or something because it looks like it's going to be a flabby episode and I want to tighten it up, or sometimes I'll realise that because of my mild speech impediments a sentence is literally unspeakable, and I'll rework it. It's very, very rare that I'll cut anything once it's been recorded, and if I do it's generally because when I listen back after it's been edited I'll realise I'm repeating myself or I made a mistake and need to cut a sentence because I said the wrong name, that sort of thing. I delete all the audio outtakes, but even if I didn't there would be nothing worth releasing. A few odd, out of context sentences, the occasional paragraph just repeating something I'd already said, a handful of actual incorrect facts, and a lot of me burping, or trying to say a difficult name three times in a row, or swearing when the phone rings in the middle of a long section. Lucy Hewitt says "Something that interests me, and that I'm sure you will cover is how listeners consume music and if that has an impact. In my lifetime we've moved from a record player which is fixed in one room to having a music collection with you wherever you go, and from hoping that the song you want to hear might be played on the radio to calling it up whenever you want. Add in the rise of music videos, and MTV, and the way in which people access music has changed a lot over the decades. But has that affected the music itself?" [Excerpt: Bow Wow Wow "C30 C60 C90 Go!"] It absolutely has affected the music itself in all sorts of ways, some of which I've touched on already and some of which I will deal with as we go through the story, though the story I'm telling will end around the time of Napster and so won't involve streaming services and so forth. But every technology change leads to a change in the sound of music in both obvious and non-obvious ways. When AM radio was the most dominant form of broadcasting, there was no point releasing singles in stereo, because at that time there were no stereo AM stations. The records also had to be very compressed, so the sound would cut through the noise and interference. Those records would often be very bass-heavy and have a very full, packed, sound. In the seventies, with the rise of eight-track players, you'd often end up with soft-rock and what would later get termed yacht rock having huge success. That music, which is very ethereal and full of high frequencies, is affected less negatively by some of the problems that came with eight-track players, like the tape stretching slightly. Then post-1974 and the OPEC oil crisis, vinyl became more expensive, which meant that records started being made much thinner, which meant you couldn't cut grooves as deeply, which meant you lost bass response, which again changed the sound of records – and also explains why when CDs came out, people started thinking they sounded better than records, because they *did* sound better than the stuff that was being pressed in the late seventies and early eighties, which was so thin it was almost transparent, even though they sounded nowhere near as good as the heavy vinyl pressings of the fifties and sixties. And then the amount of music one could pack into a CD encouraged longer tracks... A lot of eighties Hi-NRG and dance-pop music, like the records made by Stock, Aitken, and Waterman, has almost no bass but lots of skittering high-end percussion sounds -- tons of synthesised sleighbells and hi-hats and so on -- because a lot of disco equipment had frequency-activated lights, and the more high-end stuff was going on, the more the disco lights flashed... We'll look at a lot of these changes as we go along, but every single new format, every new way of playing an old format, every change in music technology, changes what music gets made quite dramatically. Lucas Hubert asks: “Black Sabbath being around the corner, how do you plan on dealing with Heavy Metal? I feel like for now, what is popular and what has had a big impact in Rock history coincide. But that kind of change with metal, no? (Plus, prog and metal are more based on albums than singles, I think.)” [Excerpt: Black Sabbath, “Sabbath Bloody Sabbath”] I plan on dealing with metal the same way I've been dealing with every other subgenre. We are, yes, getting into a period where influence and commercial success don't correlate quite as firmly as they did in the early years -- though really we've already been there for quite some time. I've done two episodes so far on the Byrds, a group who only had three top-twenty singles in the US and two in the UK, but only did a bonus episode on Herman's Hermits, who had fourteen in the US and seventeen in the UK. I covered Little Richard but didn't cover Pat Boone, even though Boone had the bigger hits with Richard's songs. In every subgenre there are going to be massive influences who had no hits, and people who had lots of hits but didn't really make much of a wider impact on music, and I'll be dealing with the former more than the latter. But also, I'll be dealing most with people who were influential *and* had lots of hits -- if nothing else because while influence and chart success aren't a one-to-one correlation, they're still somewhat correlated. So it's unlikely you'll see me cover your favourite Scandinavian Black Metal band who only released one album of which every copy was burned in a mysterious fire two days after release, but you can expect most of the huge names in metal to be covered. Though even there, simply because of the number of subgenres I'm going to cover, I'm going to miss some big ones. Related to the question about albums, Svennie asks “This might be a bit of a long winded question so just stick with me here. As the music you cover becomes more elaborate, and the albums become bigger in scale, how do you choose a song which you build the story around while also telling the story of that album? I ask this specifically with the White Album in mind, where you've essentially got four albums in one. To that end, what song would you feel defines the White Album?” [Excerpt: The Beatles, “Revolution #9”] Well, you'll see how I cover the White Album in episode one hundred and seventy-two -- we're actually going to have quite a long stretch with no Beatles songs covered because I'm going to backfill a lot of 1967 and then we're getting to the Beatles again towards the end of 1968, but it'll be another big one when we get there. But in the general case... the majority of albums to come still had singles released off them, and a lot of what I'm going to be looking at in the next year or two is still hit singles, even if the singles are by people known as album bands. Other times, a song wasn't a single, but maybe it was covered by someone else -- if I know I'm going to cover a rock band and I also know that one of the soul artists who would do rock covers as album tracks did a version of one of their songs, and I'm going to cover that soul artist, say, then if I do the song that artist covered I can mention it in the episode on the soul singer and tie the two episodes together a bit. In other cases there's a story behind a particular track that's more interesting than other tracks, or the track is itself a cover version of someone else's record, which lets me cover both artists in a single episode, or it's the title track of the album. A lot of people have asked me this question about how I'd deal with albums as we get to the late sixties and early seventies, but looking at the list of the next fifty episodes, there's actually only two where I had to think seriously about which song I chose from an album -- in one case, I chose the title track, in the other case I just chose the first song on the album (though in that case I may end up choosing another song from the same album if I end up finding a way to make that a more interesting episode). The other forty-eight were all very, very obvious choices. Gary Lucy asks “Do you keep up with contemporary music at all? If so, what have you been enjoying in 2022 so far…and if not, what was the most recent “new” album you really got into?” [Excerpt: Stew and the Negro Problem, "On the Stage of a Blank White Page"] I'm afraid I don't. Since I started doing the podcast, pretty much all of my listening time has been spent on going back to much older music, and even before that, when I was listening to then-new music it was generally stuff that was very much inspired by older music, bands like the Lemon Twigs, who probably count as the last new band I really got into with their album Do Hollywood, which came out in 2016 but which I think I heard in 2018. I'm also now of that age where 2018 seems like basically yesterday, and when I keep thinking "what relatively recent albums have I liked?" I think of things like The Reluctant Graveyard by Jeremy Messersmith, which is from 2010, or Ys by Joanna Newsom, which came out in 2006. Not because I haven't bought records released since then, but because my sense of time is so skewed that summer 1994 and summer 1995 feel like epochs apart, hugely different times in every way, but every time from about 2005 to 2020 is just "er... a couple of years ago? Maybe?" So without going through every record I've bought in the last twenty years and looking at the release date I couldn't tell you what still counts as contemporary and what's old enough to vote. I have recently listened a couple of times to an album by a band called Wet Leg, who are fairly new, but other than that I can't say. But probably the most recent albums to become part of my regular listening rotation are two albums which came out simultaneously in 2018 by Stew and the Negro Problem, Notes of a Native Song, which is a song cycle about James Baldwin and race in America, and The Total Bent, which is actually the soundtrack to a stage musical, and which I think many listeners to the podcast might find interesting, and which is what that last song excerpt was taken from. It's basically a riff on the idea of The Jazz Singer, but set in the Civil Rights era, and about a young politically-radical Black Gospel songwriter who writes songs for his conservative preacher father to sing, but who gets persuaded to become a rock and roll performer by a white British record producer who fetishises Black music. It has a *lot* to say about religion, race, and politics in America -- a couple of the song titles, to give you some idea, are "Jesus Ain't Sitting in the Back of the Bus" and "That's Why He's Jesus and You're Not, Whitey". It's a remarkable album, and it deals with enough of the same subjects I've covered here that I think any listeners will find it interesting. Unfortunately, it was released through the CDBaby store, which closed down a few months later, and unlike most albums released through there it doesn't seem to have made its way onto any of the streaming platforms or digital stores other than Apple Music, which rather limits its availability. I hope it comes out again soon. Alec Dann says “I haven't made it to the Sixties yet so pardon if you have covered this: what was the relationship between Sun and Stax in their heyday? Did musicians work in both studios?” [Excerpt: Booker T. and the MGs, "Green Onions"] I've covered this briefly in a couple of the episodes on Stax, but the short version is that Sun was declining just as Stax was picking up. Jim Stewart, who founded Stax, was inspired in part by Sam Phillips, and there was a certain amount of cross-fertilisation, but not that much. Obviously Rufus Thomas recorded for both labels, and there were a few other connections -- Billy Lee Riley, for example, who I did an episode on for his Sun work, also recorded at the Stax studio before going on to be a studio musician in LA, and it was actually at a Billy Lee Riley session that went badly that Booker T and the MGs recorded "Green Onions". Also, Sun had a disc-cutting machine and Stax didn't, so when they wanted to get an acetate cut to play for DJs they'd take it to Sun -- it was actually Scotty Moore, who was working for Sun as a general engineer and producer as well as playing RCA Elvis sessions by 1962, who cut the first acetate copy of "Green Onions". But in general the musicians playing at Stax were largely the next generation of musicians -- people who'd grown up listening to the records Sam Phillips had put out in the very early fifties by Black musicians, and with very little overlap. Roger Stevenson asks "This project is going to take the best part of 7 years to complete. Do you have contingency plans in case of major problems? And please look after yourself - this project is gong to be your legacy." [Excerpt: Bonzo Dog Doodah Band, "Button Up Your Overcoat"] I'm afraid there's not much I can do if major problems come up -- by major problems I'm talking about things that prevent me from making the podcast altogether, like being unable to think or write or talk. By its nature, the podcast is my writing and my research and my voice, and if I can't do those things... well, I can't do them. I *am* trying to build in some slack again -- that's why this month off has happened -- so I can deal with delays and short-term illnesses and other disruptions, but if it becomes impossible to do it becomes impossible to do, and there's nothing more I can do about it. Mark Lipson asks "I'd like to know which episodes you've released have been the most & least popular? And going forward, which episodes do you expect to be the most popular? Just curious to know what music most of your listeners listen to and are interested in." [Excerpt: Sly and the Family Stone, "Somebody's Watching You"] I'm afraid I honestly don't know. Most podcasters have extensive statistical tools available to them, which tell them which episodes are most popular, what demographics are listening to the podcast, where they are in the world, and all that kind of thing. They use that information to sell advertising spots, which is how they make most of their money. You can say "my podcast is mostly listened to by seventy-five year-olds who google for back pain relief -- the perfect demographic for your orthopedic mattresses" or "seven thousand people who downloaded my latest episode also fell for at least one email claiming to be from the wallet inspector last year, so my podcast is listened to by the ideal demographic for cryptocurrency investment". Now, I'm lucky enough to be making enough money from my Patreon supporters' generosity that I don't have to sell advertising, and I hope I never do have to. I said at the very start of the process that I would if it became necessary, but that I hoped to keep it ad-free, and people have frankly been so astonishingly generous I should never have to do ads -- though I do still reserve the right to change my mind if the support drops off. Now, my old podcast host gave me access to that data as standard. But when I had to quickly change providers, I decided that I wasn't going to install any stats packages to keep track of people. I can see a small amount of information about who actually visits the website, because wordpress.com gives you that information – not your identities but just how many people come from which countries, and what sites linked them. But if you're downloading the podcast through a podcast app, or listening through Spotify or Stitcher or wherever, I've deliberately chosen not to access that data. I don't need to know who my audience is, or which episodes they like the most -- and if I did, I have a horrible feeling I'd start trying to tailor the podcast to be more like what the existing listeners like, and by doing so lose the very things that make it unique. Once or twice a month I'll look at the major podcast charts, I check the Patreon every so often to see if there's been a massive change in subscriber numbers, but other than that I decided I'm just not going to spy on my listeners (though pretty much every other link in the chain does, I'm afraid, because these days the entire Internet is based on spying on people). So the only information I have is the auto-generated "most popular episodes" thing that comes up on the front page, which everyone can see, and which shows the episodes people who actually visit the site are listening to most in the last few days, but which doesn't count anything from more than a few days ago, and which doesn't count listens from any other source, and which I put there basically so new listeners can see which ones are popular. At the moment that's showing that the most listened episodes recently are the two most recent full episodes -- "Respect" and "All You Need is Love" -- the most recent of the Pledge Week episodes, episodes one and two, so people are starting at the beginning, and right now there's also the episodes on "Ooby Dooby", "Needles and Pins", "God Only Knows", "She Loves You" and "Hey Joe". But in a couple of days' time those last five will be totally different. And again, that's just the information from people actually visiting the podcast website. I've deliberately chosen not to know what people listening in any other way are doing -- so if you've decided to just stream that bit of the Four Tops episode where I do a bad Bob Dylan impression five thousand times in a row, you can rest assured I have no idea you're doing it and your secret is totally safe. Anyway, that's all I have time for in this episode. In a week or so I'll post a similar-length episode for Patreon backers only, and then a week or two after that the regular podcast will resume, with a story involving folk singers, jazz harmony, angelic visitations and the ghost of James Dean. See you then.
La storia del Rap in Italia dal principio ai giorni nostri in 8 episodi speciali. @ Monologato Podcast Production Learn more about your ad choices. Visit megaphone.fm/adchoices
Tracklist : www.thepartylife.com.au/500The Party Life : www.linktr.ee/thepartylifeDj Fuel : www.linktr.ee/djfuel
Okay, I swear this is the last HI-NRG eurodance-related thing for a while. But in the meantime... BENEDETTO SCUOLAVECCHIO!!! Tracklist for April 6, 2022 01 :: Fishbone Beat - Save The Planet (C.Y.B. Run Mix) 02 :: Kiss The Beat - Power People (Power Mix) 03 :: Prezioso - Get On Up (Club Version) 04 :: Andrea - 'Cause I Love U (V.D.A. Mix) 05 :: Solaris - Puerta Del Sol (Rambla Mix) 06 :: Order 2 Dance - Turn Me Again (Rawhouse Mix) 07 :: Culture Beat - Mr. Vain (Vain Mix) 08 ...
Four Agreements - Matthew Dekay (Martin Roth remix) Hypnos - Danito & Athina (Innellea's Highway to Hypnosis remix) Home - Adriatique, Delhia De France, Mario Canal (Mind Against remix) Vanishing- Fideles, Tale of Us Wave Rider - Fideles Just Let Me Dance - Scandal (Maxxi Soundsystem remix) Let's Do It Again - Jamie XX Gimmie! Gimmie! - ABBA, Sgt Slick (Freejack remix) In Chicago - John Summit Perspex Sex - Freeform Five (Ewan's HI NRG remix) Speak - Ee-Sma Miami to Atlanta - Pryda Can't Stop It - Fehrplay Midnight City - M83 (Eric Prydz remix) Som Sas - Eric Prydz Mirage - Pryda
This set has been updated since the original post. 'I Believe 2009 (Ralphi Rosario Vocal Club Mix)' by The Absolute feat. Suzanne Palmer was substituted for 'Body Rock' by Oceana and 'Dancing On My Own (Guy Scheiman Club Remix)' by Robyn was added to the final version. No sooner than I finished yesterday's post — I found an issue with the website, which lead me down a rabbit hole of multiple issues. Mind you, nothing that affects the user experience but triggers my anal instincts of perfection. By the time I finished and resolved to leave some issues for another day — my day was lost and I was too tired to finish volume 4 of the Ultimate Gay Anthems & PRIDE Classics that I promised I was going to do. Rick has been out of town so that allowed me to get up early this morning and get to work on cleaning up this mix, while replacing a couple of tracks with better versions. Then I started adding stuff I had forgotten about and this 4-hour set turned into nearly 5 hours. The end result is shear perfection and frankly a delight for GenX and early Millennials. I had decided to skip on mixing up a variety of styles for the final two volumes, which makes things a bit easier so volume 4 is big room circuit but nothing that's over the top. There's a lot of gay anthems and quality classic gay pride cuts here. As I had previously stated, this series is as close as you're going to get to a best of the Diva Hall of Fame people have asked me for. What's nice about this is that all those leading ladies that I never got around to inducting or for whatever reason didn't feel it was warranted — are included here. People like Jeanie Tracy, Kimberly Davis, Anastacia, Suzanne Palmer (who really deserves an entry), Paula Cole, Shania Twain, Heather Small (of M People), Judy Cheeks, Alison Limerick, Lara Fabian, Nelly Furtado, Debby Holiday, Amber, Goldfrapp, Sarah Atereth, Deborah Cooper, Beth Sacks, Pepper MaShay, Andra Day, Latanza Waters, CeCe Peniston, Sabrina Johnston, Shawn Christoper, Soraya Vivian (Degrees of Motion), Thelma Houston and so many more have touched our little gay hearts at one point or another in our drama-filled lives that it's a travesty that I can't acknowledge all of them. Consider this series their honorary induction and acknowledgement of what they've meant to so many of us. We say, thank you from the bottom of our little queer hearts. We've got one more set to go, which will be the remaining Hi NRG and house music tracks before jumping into the annual Gay Anthems For A New Generation so we can wrap up our 2022 Gay Pride offerings before festivities start kicking off. Until the next time...ENJOY! Album: Ultimate Gay Anthems & Pride Classics Vol. 4 Genre: Circuit, House, Hi NRG Year: 2022 Total Time: 05:00:07 1. DJ Bill Bennett & Suzanne Palmer - Fame (Bill Bennett & Pete Masitti Video Mix) 2. Donna Summer - I Feel Love (Rollo & Sister Bliss Monster Mix Full Extended Mix) 3. Kristine W - Feel What You Want (Junior's NY Xtended Vocal) 4. Shannon - Give Me Tonight (Hex Hector & Dezrok 2000 A.D. Club Mix) 5. Lara Fabian - I Will Love Again (Hex Hector & Mac Quayle Main Mix) 6. Shades Of Love - Body To Body (Keep In Touch) (Junior Vasquez Club Mix) 7. Deborah Cox - Nobody's Supposed To Be Here (Hex Hector's Club Mix) 8. Nelly Furtado - I'm Like A Bird (Junior Vasquez Club Remix) 9. Debby Holiday - Diva (Chris Cox Club Anthem) 10. Amber - Sexual (Li Da Di) (Thunderpuss 2000 Club Mix) 11. Britney Spears - Work Bitch (George M. Extended Mix) 12. Erika Jayne - One Hot Pleasure (Ralphi Rosario Club Mix) 13. Goldfrapp - Ooh La La (Peter Rauhofer Reconstruction Mix) 14. Lady Gaga - Bad Romance (DJ Paulo's Gaga Oh La-La Remix) 15. Sarah Atereth - It Doesn't Take Much (Tracy Young Club Mix) 16. The Absolute feat. Suzanne Palmer - I Believe 2009 (Ralphi Rosario Vocal Club Mix) 17. Goldfrapp - Strict Machine (Calderone + Suryanto Mix) 18. Tony Moran vs.
This set has been updated since the original post. 'I Believe 2009 (Ralphi Rosario Vocal Club Mix)' by The Absolute feat. Suzanne Palmer was substituted for 'Body Rock' by Oceana and 'Dancing On My Own (Guy Scheiman Club Remix)' by Robyn was added to the final version. No sooner than I finished yesterday's post — I found an issue with the website, which lead me down a rabbit hole of multiple issues. Mind you, nothing that affects the user experience but triggers my anal instincts of perfection. By the time I finished and resolved to leave some issues for another day — my day was lost and I was too tired to finish volume 4 of the Ultimate Gay Anthems & PRIDE Classics that I promised I was going to do. Rick has been out of town so that allowed me to get up early this morning and get to work on cleaning up this mix, while replacing a couple of tracks with better versions. Then I started adding stuff I had forgotten about and this 4-hour set turned into nearly 5 hours. The end result is shear perfection and frankly a delight for GenX and early Millennials. I had decided to skip on mixing up a variety of styles for the final two volumes, which makes things a bit easier so volume 4 is big room circuit but nothing that's over the top. There's a lot of gay anthems and quality classic gay pride cuts here. As I had previously stated, this series is as close as you're going to get to a best of the Diva Hall of Fame people have asked me for. What's nice about this is that all those leading ladies that I never got around to inducting or for whatever reason didn't feel it was warranted — are included here. People like Jeanie Tracy, Kimberly Davis, Anastacia, Suzanne Palmer (who really deserves an entry), Paula Cole, Shania Twain, Heather Small (of M People), Judy Cheeks, Alison Limerick, Lara Fabian, Nelly Furtado, Debby Holiday, Amber, Goldfrapp, Sarah Atereth, Deborah Cooper, Beth Sacks, Pepper MaShay, Andra Day, Latanza Waters, CeCe Peniston, Sabrina Johnston, Shawn Christoper, Soraya Vivian (Degrees of Motion), Thelma Houston and so many more have touched our little gay hearts at one point or another in our drama-filled lives that it's a travesty that I can't acknowledge all of them. Consider this series their honorary induction and acknowledgement of what they've meant to so many of us. We say, thank you from the bottom of our little queer hearts. We've got one more set to go, which will be the remaining Hi NRG and house music tracks before jumping into the annual Gay Anthems For A New Generation so we can wrap up our 2022 Gay Pride offerings before festivities start kicking off. Until the next time...ENJOY! Album: Ultimate Gay Anthems & Pride Classics Vol. 4 Genre: Circuit, House, Hi NRG Year: 2022 Total Time: 05:00:07 1. DJ Bill Bennett & Suzanne Palmer - Fame (Bill Bennett & Pete Masitti Video Mix) 2. Donna Summer - I Feel Love (Rollo & Sister Bliss Monster Mix Full Extended Mix) 3. Kristine W - Feel What You Want (Junior's NY Xtended Vocal) 4. Shannon - Give Me Tonight (Hex Hector & Dezrok 2000 A.D. Club Mix) 5. Lara Fabian - I Will Love Again (Hex Hector & Mac Quayle Main Mix) 6. Shades Of Love - Body To Body (Keep In Touch) (Junior Vasquez Club Mix) 7. Deborah Cox - Nobody's Supposed To Be Here (Hex Hector's Club Mix) 8. Nelly Furtado - I'm Like A Bird (Junior Vasquez Club Remix) 9. Debby Holiday - Diva (Chris Cox Club Anthem) 10. Amber - Sexual (Li Da Di) (Thunderpuss 2000 Club Mix) 11. Britney Spears - Work Bitch (George M. Extended Mix) 12. Erika Jayne - One Hot Pleasure (Ralphi Rosario Club Mix) 13. Goldfrapp - Ooh La La (Peter Rauhofer Reconstruction Mix) 14. Lady Gaga - Bad Romance (DJ Paulo's Gaga Oh La-La Remix) 15. Sarah Atereth - It Doesn't Take Much (Tracy Young Club Mix) 16. The Absolute feat. Suzanne Palmer - I Believe 2009 (Ralphi Rosario Vocal Club Mix) 17. Goldfrapp - Strict Machine (Calderone + Suryanto Mix) 18. Tony Moran vs.
The Ultimate Gay Anthems & PRIDE Classics volume 3 is now ready for mass release and this one follows in the same footsteps as its predecessors in that it goes back and forth from Hi NRG to Big Room classics. Apparently, I had compiled more tracks than I realized, so this four-set series will turn into five. I've pretty much got volume 4 in the bag but want to make some last minute track version changes and plan on dropping that tomorrow to speed things up. The goal is to have the final volume and the anticipated two-volume set of The Ultimate Gay Anthems For A New Generation out by the end of the month so we can move on to regularly scheduled programming. It's not clear if there will be an official 2022 Gay Pride set — so I'll just leave that as an open question mark. In other news, Apple went back and has now put the entire Party Favorz Store up on Apple Podcasts. The show is available in iTunes but there they only have the standard Party Favorz show and all the other shows are listed out in the wild separately from the main show (that's not how they used to do it so I may have to reach out to them to have them put under one umbrella). I'm not sure why iTunes is different from Apple Podcasts but I'm not going to spend a lot of time on it. Anywho, you can now follow Party Favorz on Apple Podcasts as well as each individual category separately and it's all under one roof here https://apple.co/3NbkT7t If you're following on iTunes, I'd still recommend using the manual method because that one lists up to 300 episodes while the official channel only has 100. Plus, you can go back and add each category individually to keep all your folders better organized if you choose by using the feed URL for each genre I provided in my last post. Since I took that post down — I will try to have those listed in the support section later today. I should be back tomorrow. Until then...ENJOY! Album: Ultimate Gay Anthems & Pride Classics Vol. 3 Genre: Circuit, House, Hi NRG Year: 2022 Total Time: 04:15:02 1. Diana Ross - Touch Me In The Morning (Almighty Definitive Mix) 2. Cher - Believe (Almighty Essential Club Mix) 3. Jennifer Lopez - Waiting For Tonight (Hex's Momentous Club Mix) 4. Barbara Tucker - Love's On Time (Junior Vasquez Remix) 5. Rosabel with Jeanie Tracy - Cha Cha Heels (Tony Moran + Warren Rigg Remix) 6. Pussycat Dolls - Don't Cha (Ralphi's Hot Freak 12" Vox Mix) 7. Kimberly Davis - Get Up (Oxford Hustlers' Arena Anthem Remix) 8. Anastacia - I'm Outta Love (Hex Hector Main Club Mix) 9. Suzanne Palmer - Muscles (Club 69 Future Mix) 10. Deborah Cox - It's Over Now (Hex Hector Club Mix) 11. Whitney Houston - It's Not Right But It's Ok (Thunderpuss 2000 Club Mix) 12. Paula Cole - I Believe In Love (Jonathan Peters' Club Anthem Mixshow) 13. Christina Aguilera - Beautiful (Peter Rauhofer Mixshow) 14. Britney Spears - Toxic (Lenny Bertoldo Mix Show Edit) 15. Shania Twain - Your'e Still The One (Soul Solution Extended Club Mix) 16. Angie Stone - Wish I Didn't Miss You (Hex Hector & Mac Quayle Club Mix) 17. Inaya Day - Nasty Girl (Peter's Reconstruction Mix) 18. Bronski Beat - Smalltown Boy (DMC 2017 Remix) 19. Liza Minnelli - Losing My Mind (Almighty Mix) 20. Pet Shop Boys - It's A Sin (Barry Harris 2021 Remix) 21. Heather Small feat. Dirty Disco & Matt Consola - Moving On Up (Division 4 & Matt Consola Remix) 22. Matt Consola feat. Brenda Reed - Coming Back (Dirty Disco Houston Eagle House Remix) 23. Coming Out Crew feat. Sabrina Johnston - Free Gay & Happy (T-empo's Free At Last Mix) 24. Linda Eder - I Am What I Am (Lenny B's Too Much Drama Club) 25. Boys Town Gang - Can't Take My Eyes Off You (Stonebridge Remix) 26. John Paul Young - Love Is In The Air (Barry Harris 2018 Refresh Mix) 27. Madonna - Holiday 2016 (Taj vs. Dave Aude Mashup) 28. Mariah Carey - We Belong Together (TMC's Heartbroken Club Update) 29.
Como ya he contado en el podcast “80s SynthPop 1” el gran reinado del SynthPop como género “puro” fue durante la primera mitad de los 80s, pero durante el resto de la década surgieron muchos grupos de pop electrónico muy influenciados por estos sonidos, como los Pet Shop Boys (sus principales influencias eran el SynthPop y el HI-NRG procedente de New York), Bronski Beat, Erasure (cuya mitad del dúo es Vince Clarke uno de los fundadores de Depeche Mode), llegaron artistas de otros países, principalmente Alemania (Camouflage, Propaganda, Alphaville), y artistas consagrados como Freddie Mercury, quien publicó varios singles de éxito a mediados de década puramente synthpop. Durante la segunda mitad de los 80s la mayoría de grupos estrella del género habían desaparecido o continuaban en activo con poco éxito, Depeche Mode fue acercándose a los sonidos electrónicos procedentes de Alemania y Bélgica y publicando sus mejores álbumes y triunfando en los US, New Order supo sobrevivir publicando grandes singles bailables, O.M.D. cada vez sonaban más pop, muy alejados de los sonidos de sus comienzos. Durante la segunda mitad fue la llegada “masiva” del House, el New Beat, el EBM, el pop electrónico tuvo que cambiar para poder sobrevivir, haciéndose más duro, bailable y acido. En este podcast podréis escuchar la segunda generación de grupos de SynthPop, así como también canciones muy influenciadas por el género. TRACKLIST: 01 - Pet Shop Boys - West End Girls 02 - Erasure - A Little Respect 03 - Orchestral Manoeuvres in the Dar - Secret 04 - New Order - Bizarre Love Triangle (Single Version) 05 - When In Rome - The Promise 06 - Peter Schilling - The Different Story (World Of Lust And Crime) 07 - The Beloved - I Love You More 08 - Alphaville - Big in Japan (Single Version) 09 - Bronski Beat - Smalltown Boy 10 - Freddie Mercury - I Was Born To Love You 11 - Propaganda - Duel 12 - Cetu Javu - Have In Mind (Extended Mix) 13 - Camouflage - The Great Commandment (Extended Dance Mix) 14 - Depeche Mode - Behind the Wheel (Shep Pettibone Remix) 15 - Information Society - What's On Your Mind (Pure Energy) 16 - Real Life - Send Me An Angel '89 (Dance Mix)
Como ya he contado en el podcast “80s SynthPop 1” el gran reinado del SynthPop como género “puro” fue durante la primera mitad de los 80s, pero durante el resto de la década surgieron muchos grupos de pop electrónico muy influenciados por estos sonidos, como los Pet Shop Boys (sus principales influencias eran el SynthPop y el HI-NRG procedente de New York), Bronski Beat, Erasure (cuya mitad del dúo es Vince Clarke uno de los fundadores de Depeche Mode), llegaron artistas de otros países, principalmente Alemania (Camouflage, Propaganda, Alphaville), y artistas consagrados como Freddie Mercury, quien publicó varios singles de éxito a mediados de década puramente synthpop. Durante la segunda mitad de los 80s la mayoría de grupos estrella del género habían desaparecido o continuaban en activo con poco éxito, Depeche Mode fue acercándose a los sonidos electrónicos procedentes de Alemania y Bélgica y publicando sus mejores álbumes y triunfando en los US, New Order supo sobrevivir publicando grandes singles bailables, O.M.D. cada vez sonaban más pop, muy alejados de los sonidos de sus comienzos. Durante la segunda mitad fue la llegada “masiva” del House, el New Beat, el EBM, el pop electrónico tuvo que cambiar para poder sobrevivir, haciéndose más duro, bailable y acido. En este podcast podréis escuchar la segunda generación de grupos de SynthPop, así como también canciones muy influenciadas por el género. TRACKLIST: 01 - Pet Shop Boys - West End Girls 02 - Erasure - A Little Respect 03 - Orchestral Manoeuvres in the Dar - Secret 04 - New Order - Bizarre Love Triangle (Single Version) 05 - When In Rome - The Promise 06 - Peter Schilling - The Different Story (World Of Lust And Crime) 07 - The Beloved - I Love You More 08 - Alphaville - Big in Japan (Single Version) 09 - Bronski Beat - Smalltown Boy 10 - Freddie Mercury - I Was Born To Love You 11 - Propaganda - Duel 12 - Cetu Javu - Have In Mind (Extended Mix) 13 - Camouflage - The Great Commandment (Extended Dance Mix) 14 - Depeche Mode - Behind the Wheel (Shep Pettibone Remix) 15 - Information Society - What's On Your Mind (Pure Energy) 16 - Real Life - Send Me An Angel '89 (Dance Mix)
AFTER - Colle We Are The People - Empire of the Sun (NOYSE PROJECT Unofficial remix) Street Spirit - Radiohead (Fran Bux remix) Don't You Want Me - The Human League (Purple Disco Machine remix) Who Are You - Tunnelvisions Reborn - Dj Skif All I Want - Boys Noize (Purple Disco Machine remix) The Sweetest Sin - Kvinn, Airsand Who Needs Forever - Chicola (Citizen Kain remix) January - Disclosure (Finnebassen remix) Jailbait - Avicii (Demo mix) Proper Education - Pink Floyd (Eric Prydz edit) In Love - Grum The Future - Pryda Flute - Hot Chips (Sasha remix) Heater - Hot Since 82 Body Control - Hot Since 82 I'm Not Alone - Calvin Harris (CamelPhat remix) Hello There - Cagedbaby (Radio Slave remix) Freak - CamelPhat This is Acid - Lorenzo De Blanck Remember - Pryda Perspex Sex - Freeform Five (Ewan's HI-NRG mix) Warning Signs - Alan Fitzpatrick (CamelPhat remix) Megacities - Dosem
Recorded and streamed live in Edith Budapest on 12th February 2022. YouTube: https://youtu.be/vY__YW_iWjI Venue: https://www.facebook.com/edithbudapest/ Lost Minute: https://www.facebook.com/lostminutebudapest Event: https://www.facebook.com/events/454979029549119 Music collector, DJ and occasional artist/producer. DJ'ing since 1997, I play a wide range of music that is mainly focussed on the deeper and dubbier shades of House, Techno & Electro. I also love all kinds of eclectic stuff including Disco, Boogie, Hi-NRG, Italo, Synth Pop, Nu-Jazz, Jazzdance, Lounge, Downtempo, Dub, Reggae, Jungle, Liquid Drum & Bass, IDM, Electronica, Warp, Ninja Tune etc. In summer 2013 I set up the Avenue Red imprint to push quality material from a wide plethora of DJs and artists who I have particular respect for in terms of their musical output, artistry and dedication to the cause. https://soundcloud.com/alecpritchard https://soundcloud.com/avenue-red RTS.FM Budapest: YouTube: https://bit.ly/rtsfmbudapest SoundCloud: https://soundcloud.com/rtsfm/sets/rts-fm-budapest Mixcloud: https://www.mixcloud.com/rtsfmbudapest
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Luego de la gran revolución que fue el movimiento Punk y el “hazlo tú mismo” cientos de jóvenes cogieron por primera vez una guitarra, un bajo, un micrófono o un sintetizador, y así surgieron varios movimientos como el Post-Punk, la New Wave y el SynthPop, entro varios más. El SynthPop nació a finales de los 70s y básicamente se remonta al desarrollo de los sintetizadores que cada vez eran más populares, portátiles y asequibles. Es una mezcla de Pop y música electrónica, con influencias del Klaust Rock, Glam Rock y la música Disco. Entro los primeros grupos en surgir podemos encontrar a The Human League (con una formación diferente en sus comienzos), Ultravox (quienes venían de la escena del Post-Punk y el Glam), Tubeway Army (en donde se encontraba Gary Numan), Japan (aunque son bastante difíciles de encasillar en un género) entre varios más. Kraftwerk publica dos álbumes fundamentales para el género, The Man Machine (‘78) y Computer World ('81). A principios de los 80s surgían Orchestral Manouvres in the Dark, Soft Cell, Visage, Gary Numan comienza su exitosa carrera solista, y varias bandas más combinando las melodías del Pop con sonidos electrónicos generados por sintetizadores, cajas de ritmo, baterías electrónicas y sequencers. La línea divisoria entre el New Wave, el SynthPop y el New Romantic es casi invisible y varias bandas las han cruzado en muchas ocasiones (Talk Talk, Duran Duran, Spandau Ballet, Visage, A Flock of Seagulls, etc). El synthpop se masifica y comienzan a aparecer mas grupos, Eurythmics (anteriormente era un grupo New Wave llamado The Tourist), New Order (de las cenizas de Joy Division), Depeche Mode, Yazoo, Heaven 17 y un largo etc. Su reinado fue hasta mas o menos 1984-1985 cuando comienza su caída (casualmente en 1984 sale el primer disco de The Smiths), muchos grupos se separan, otros cambian de estilo, Depeche mode por ejemplo que endureció su sonido, experimentando y acercándose a los sonidos electrónicos que se producían en Alemania. Vince Clark luego de dejar Depeche Mode y Yazoo forma junto a Andy Bell Erasure en el año '85 con un sonido electrónico mucho más pop, los Pet Shop Boys surgen con su mezcla de synthPop, Hi-NRG y Pop, a-ha se consagra en todo el mundo con el single “Take on Me”. El resto de década se completa con la llegada del House, el cual es acogido por varios artistas de la escena electrónica británica, el resurgimiento del Rock en las listas de ventas y la factoría “Stock Aitken & Waterman” que publicaban singles como rosquillas. En medio de todo este panorama el synthpop se desaparece poco a poco del mercado. Pero ha dejado una gran influencia que al día de hoy seguimos escuchando en las radios. En esta primera parte podréis escuchar los principales éxitos del SynthPop muchos de los cuales son auténticos himnos del Pop, junto con un par de canciones publicadas a finales de los 70s pero que son fundamentales para comprender el Pop electrónico de los Ochentas. TRACKLIST: 01 - Visage - Fade To Grey (Original 7'' Dance Mix) 02 - M - Pop Muzik 03 - Soft Cell - Tainted Love 04 - Frankie Goes To Hollywood - Relax 05 - The Human League - Don't You Want Me 06 - Kraftwerk - The Model 07 - Yazoo - Situation (U.S. 12'' Mix) 08 - Eurythmics - Sweet Dreams (Are Made of This) 09 - Gary Numan - Cars 10 - Depeche Mode - Just Can't Get Enough 11 - Donna Summer - I Feel Love (Edit) 12 - New Order - Blue Monday (Original 12'' Version) 13 - Philip Oakey & Giorgio Moroder - Together In Electric Dreams 14 - Duran Duran - Planet Earth 15 - Spandau Ballet - To Cut A Long Story Short 16 - Orchestral Manoeuvres in the Dark - Enola Gay 17 - Ultravox - Dancing With Tears In My Eyes (7'' Version) 18 - a-ha - Take On Me (Extended Mix)
Luego de la gran revolución que fue el movimiento Punk y el “hazlo tú mismo” cientos de jóvenes cogieron por primera vez una guitarra, un bajo, un micrófono o un sintetizador, y así surgieron varios movimientos como el Post-Punk, la New Wave y el SynthPop, entro varios más. El SynthPop nació a finales de los 70s y básicamente se remonta al desarrollo de los sintetizadores que cada vez eran más populares, portátiles y asequibles. Es una mezcla de Pop y música electrónica, con influencias del Klaust Rock, Glam Rock y la música Disco. Entro los primeros grupos en surgir podemos encontrar a The Human League (con una formación diferente en sus comienzos), Ultravox (quienes venían de la escena del Post-Punk y el Glam), Tubeway Army (en donde se encontraba Gary Numan), Japan (aunque son bastante difíciles de encasillar en un género) entre varios más. Kraftwerk publica dos álbumes fundamentales para el género, The Man Machine (‘78) y Computer World (’81). A principios de los 80s surgían Orchestral Manouvres in the Dark, Soft Cell, Visage, Gary Numan comienza su exitosa carrera solista, y varias bandas más combinando las melodías del Pop con sonidos electrónicos generados por sintetizadores, cajas de ritmo, baterías electrónicas y sequencers. La línea divisoria entre el New Wave, el SynthPop y el New Romantic es casi invisible y varias bandas las han cruzado en muchas ocasiones (Talk Talk, Duran Duran, Spandau Ballet, Visage, A Flock of Seagulls, etc). El synthpop se masifica y comienzan a aparecer mas grupos, Eurythmics (anteriormente era un grupo New Wave llamado The Tourist), New Order (de las cenizas de Joy Division), Depeche Mode, Yazoo, Heaven 17 y un largo etc. Su reinado fue hasta mas o menos 1984-1985 cuando comienza su caída (casualmente en 1984 sale el primer disco de The Smiths), muchos grupos se separan, otros cambian de estilo, Depeche mode por ejemplo que endureció su sonido, experimentando y acercándose a los sonidos electrónicos que se producían en Alemania. Vince Clark luego de dejar Depeche Mode y Yazoo forma junto a Andy Bell Erasure en el año ’85 con un sonido electrónico mucho más pop, los Pet Shop Boys surgen con su mezcla de synthPop, Hi-NRG y Pop, a-ha se consagra en todo el mundo con el single “Take on Me”. El resto de década se completa con la llegada del House, el cual es acogido por varios artistas de la escena electrónica británica, el resurgimiento del Rock en las listas de ventas y la factoría “Stock Aitken & Waterman” que publicaban singles como rosquillas. En medio de todo este panorama el synthpop se desaparece poco a poco del mercado. Pero ha dejado una gran influencia que al día de hoy seguimos escuchando en las radios. En esta primera parte podréis escuchar los principales éxitos del SynthPop muchos de los cuales son auténticos himnos del Pop, junto con un par de canciones publicadas a finales de los 70s pero que son fundamentales para comprender el Pop electrónico de los Ochentas. TRACKLIST: 01 - Visage - Fade To Grey (Original 7'' Dance Mix) 02 - M - Pop Muzik 03 - Soft Cell - Tainted Love 04 - Frankie Goes To Hollywood - Relax 05 - The Human League - Don't You Want Me 06 - Kraftwerk - The Model 07 - Yazoo - Situation (U.S. 12'' Mix) 08 - Eurythmics - Sweet Dreams (Are Made of This) 09 - Gary Numan - Cars 10 - Depeche Mode - Just Can't Get Enough 11 - Donna Summer - I Feel Love (Edit) 12 - New Order - Blue Monday (Original 12'' Version) 13 - Philip Oakey & Giorgio Moroder - Together In Electric Dreams 14 - Duran Duran - Planet Earth 15 - Spandau Ballet - To Cut A Long Story Short 16 - Orchestral Manoeuvres in the Dark - Enola Gay 17 - Ultravox - Dancing With Tears In My Eyes (7'' Version) 18 - a-ha - Take On Me (Extended Mix)
This kicks off our dive into Italo and Euro disco from 1988. 1988 is considered the end of the age of Italo Disco as music evolves into Hi NRG and house music. The post Italo Disco Songs from 1988 Part 1 first appeared on DiscoItalo.com.
Hosts Nate Wilcox and Ryan Harkness continue their discussion of “Last Night A DJ Saved My Life - The History of the Disc Jockey” by Bill Brewster and Frank Broughton with a look at how Hi-NRG, the sound that emerged in the post-disco backlash club scenes of London, San Francisco and New York, spawned the most successful production/songwriting team of all-time and provided a soundtrack for tragedy.Let It Roll is proud to be part of Pantheon Podcasts.
Hosts Nate Wilcox and Ryan Harkness continue their discussion of “Last Night A DJ Saved My Life - The History of the Disc Jockey” by Bill Brewster and Frank Broughton with a look at how Hi-NRG, the sound that emerged in the post-disco backlash club scenes of London, San Francisco and New York, spawned the most successful production/songwriting team of all-time and provided a soundtrack for tragedy.Let It Roll is proud to be part of Pantheon Podcasts.
Minitecas! Nuestra primera vez rumbeando.
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