Podcasts about The Hit Factory

We finally bring the brilliant, indelible work of Claire Denis to the pod with a discussion of her 1994 TV movie U.S. Go Home. Produced as part of the anthology series Tous les garcons et les filles de leur age… alongside work from other French visionaries like Chantal Akerman, Olivier Assayas and André Téchiné, Denis' film is an elliptical, compassionate coming-of-age story that regularly subverts expectations and never succumbs to the potentially regressive tendencies of its narrative milieu. We begin with some chatter about recent Hit Factory-featured filmmaker Edward Yang and a recent watch of his final work, Yi Yi. Then, we explore Denis' film - its lyrical formalism, its exquisite soundtrack - and how she crafts a work of simultaneously keen observation and hypnotic ambiguity. Watch U.S. Go Home on YouTubeThe Roxie theater in San Francisco is still seeking funds to help buy their building! Be sure to listen to our recent conversation with producer and Roxie board member Henry S. Rosenthal and visit the Roxie website to donate today!Get access to all of our premium episodes and bonus content by becoming a Hit Factory Patron for just $5/month.....Our theme song is "Mirror" by Chris Fish

Phil Harding had his hands in as many hits in the 80s/90s as anyone you care to mention. We will only concern ourselves with the better decade as we look into his career as producer/engineer and mixer.1. THE EARLY YEARS (Pre-1980-83)How Phil got into the business in the 70s, working with the likes of Gerry Rafferty (Baker Street!), The Walker Brothers (No Regrets!) and The Clash (White Man in Hammersmith Palais!), etc.Phil moves into the 80s with KIlling Joke and a very unique contribution to Sign of The Times by The Belle Stars. There is discussion on the differences (and similarities) between mixing pop and rock.2. MATT BIANCO/BASIA (1984-88)Working with Peter Collins leads to engineering Matt Bianco's first album which leads to Phil producing the follow up and mixing Basia's first solo LP. Through Peter connections are made with Pete Waterman.General chat on Phil's approach to mixing a track.3. STOCK AITKEN AND WATERMAN (PT 1) (1983-87)Phil enters the world of SAW. Talk of who did what within the team and experiences with Lamont Dozier, Princess, Mel & Kim and early Rick Astley.Further talk on who had "Woolworth's ears" and why SAW didn't produce Pet Shop Boys.4. DEAD OR ALIVE (1986-88)Let's face it, this section is almost exclusively about You Spin Me Round, the first SAW number one and an iconic 80s hit.5. BANANARAMA (1986-88)Working on Venus, Bananarama wanted the Spin-Me-Round hi NRG treatment, leading to a number of massive pop hits.  Also discussed is the Bananarama vocal approach and how it was decided who at the Hit Factory worked on what.EITHER/OR | Does Phil have the Terminator listen to Prince on his ghettoblaster or Robocop listen to MJ on his walkman?Phil can be found Website: philhardingmusic.comTwitter: @phardingmusicFacebook: Phil Harding80sography@gmail.comSend us a text

Our guest today is Chris Gehringer - a mastering engineer from Edgewater, New Jersey. Chris has worked with Dua Lipa, Drake, Ed Sheeran, The 1975, Rihanna, Harry Styles, and Selena Gomez, and is part-owner of Sterling Sound.We talk about getting started at Greene Street Recording, Trutone Records, and the Hit Factory, changes and evolutions in the music industry, teaching newer clients what mastering is and isn't, caring about your sound and individuality, being cognizant about balancing work and family life, listening to music passively and actively seeking out new music, credits for records, meeting new people and networking, NAMM, struggles in your career, respecting the mix, and your favorite limiters.This episode's music is brought to you by Plant Dad from Baltimore, Maryland. For more information on Plant Dad, head to instagram: @plantdad_musicFor more information about Chris:Check out: https://sterling-sound.com/engineer/chris-gehringer/And Instagram: @chrisgehringer

The Roxie Theater, a San Francisco landmark in the Mission District, is one of the oldest continuously operated cinemas in the United States, with its history tracing back to the early 1900s. Recently, The Roxie kicked off the public phase of their fundraising campaing, Forever Roxie, in order to purchase their buidling, invest in technology upgrades, and expand their programming. As the premier theater destination for both hosts of Hit Factory, we want to get the word out to listeners and ask for your support in ensuring that The Roxie remains a cherised and thriving institution in San Francisco for the long haul. We sat down for a breif conversation with film producer, former punk drummer, and Roxie board member Henry S. Rosenthal to learn more about the Forever Roxie campaign, to talk movies and the state of cinema more broadly, and cast light on why The Roxie's efforts to guide their own future as the owners of their building extends beyond San Francisco's film community and could become a roadmap for independent film exhibition all over the country. The Roxie is more than a theater. It is a home alive with engagement and inspiration where filmmakers, artists, and audiences forge a creative community through workshops, conversations, collaborative projects and fierce programming that place The Roxie at the forefront of independent film. Please donate what you can to help bring this quintessential SF film instituion into the future! Donate to Forever Roxie & Find More Ways to Support HERE.Help spread the word on your own with the Forever Roxie Social Media Toolkit.Follow The Roxie on Instagram for more updates. 

“Dimmi cosa rimane” è il primo singolo della cantautrice Luana Bongiorno, il perfetto connubio fra la profondità dell’R&B SOUL e la sonorità frizzante del POP contemporaneo. Il brano, scritto a Parigi e prodotto dal noto hit maker internazionale Nicolò Fragile, è già disponibile dal nelle principali piattaforme digitali per Hit Factory productions “Dimmi cosa rimane” […]

On today's all new episode of Struggle Session Leslie is joined by Aaron Casias & Carlee Gomes, the hosts of the hit podcast Hit Factory. We discussed the best and worst films of the year including Furiosa, Nickel Boys, Gladiator II, The Substance, Do Not Expect to Much From the End of the World and more. We also shared our favorite performances last year, the most surprisingly good films, and the worst trends in Hollywood.Fill out your own ballot. We'll discuss the results on an upcoming show: https://forms.gle/iAFTDFsbv4HtcVBi9Guest Links: https://www.patreon.com/hitfactorypodVisit our website at http://sesh.showSupport the show by subscribing: http://patreon.com/strugglesession | https://strugglesession.supercast.com/Please leave us a 5 star review at Apple podcasts: https://podcasts.apple.com/us/podcast/struggle-session/id1265384284Follow us on Instagram: https://instagram.com/thestrugglesessionCheck out our YouTube channel: https://www.youtube.com/@StruggleSessionpodcastSend an email or voicemail to thestrugglesession@gmail.com Keep up with and contact Leslie : https://msha.ke/lleeiiiStruggle Session Theme by Brendan James: https://thegreatvorelli.bandcamp.com/Become a supporter of this podcast: https://www.spreaker.com/podcast/struggle-session--5842028/support.

THIS WEEK: The Visit (2015)Motion Sickness welcomes back old friends as Aaron Casias of Hit Factory joins us to discuss the perpetually fascinating career of M. Night Shyamalan. I bet you all forgot that he made a Found Footage film, didn't you? We didn't forget. We never forget.Donate to Palestinian Medical Aid Support Optimism Vaccine on Patreon

To mark reaching the end of the journey through every single produced by Mike Stock, Matt Aitken and Pete Waterman from 1984-1993, Gavin and Matt celebrate the music of the Hit Factory by counting down our listeners' favourite 20 singles from the list of 200 we have discussed on the podcast. What will be number 1? (Subscribers, numbers 50-21 are counted down in the bonus material at chartbeats.com.au/saw-bonus)Support the showSubscribe for bonus material at chartbeats.com.au/sawInstagram: @chartbeatsauThreads: @chartbeatsau, @matthew_denby360Bluesky: @chartbeatsau, @matthewdenby.bsky.socialFacebook: Chart Beats: A Journey Through PopEmail: chartbeats.au@gmail.com

In 2025, the iconic NOW series moves into the world of musical theatre with a brand new show ‘NOW, That's What I Call A Musical' delivering a storyline that ties friendship and incredible 80s pop music together perfectly. A dynamic cast, a sure fire story from Pippa Evans filled with a rollercoaster of emotions and laughter is coupled by choreography from Craig Revel Horwood for a guaranteed hit night out!And if that wasn't enough the touring show includes guest appearances from an array of pop icons - Sinitta, Carol Decker, Toyah Wilcox and Sonia!And for this special episode of Back to Now, Sonia exclusively joins us to chat about the show and how this pop nostalgia spectacular is exactly what we need right now. As well as providing details (no spoilers!) about the show, Sonia takes us back to the year it's set - 1989 - and shares her own memories of becoming one of the decades most successful female chart stars. We go behind the scenes of PWL, how Sonia really convinced Pete Waterman to sign her up to the Hit Factory, who she to borrow clothes from for her debut video and what it meant to move from being a pop fan into the pages of Smash Hits in a very short period indeed!We also can't spend some time with Sonia and not talk Eurovision - so we do, and it's a blast of Europop memories.And, exclusively - find out which NOW album played constantly in Sonia's (and her boyfriends) car! Grab your popcorn, take your seat and tune into big 1989 pop memories and much more with this special episode of Back to NOW! Hosted on Acast. See acast.com/privacy for more information.

Get access to this entire episode as well as all of our premium episodes and bonus content by becoming a Hit Factory Patron for just $5/month.It's a New Year and we don't feel any different!In typical Hit Factory fashion, the simple task of creating an "In/Out" list for 2025 became a discussion about the infantilization of culture, embracing cinephilia beyond marketing cycles, and how the current state of art reflects an empire in decline. If you've ever wanted to hear a movie podcast tell you that you "have an ethical and spiritual imperative to seek out better films...you're in the right place!Other topics include the reign of filmmaker Alan Rudolph, how autonomous vehicles are definitely surveiling you, whether Doechii will be at the Met Gala, and our eager anticipation of Den of Thieves 2: Pantera.....Our theme song is "Mirror" by Chris Fish. 

Shortly after Mike Stock left PWL in 1993, he purchased a building to house a brand-new studio complex and record label, Love This, and reunited with Matt Aitken to resume their songwriting and production work together. Although, over the next few years, the duo would release many more cover versions than original songs, having success with the likes of Nicki French, Jocelyn Brown & Kym Mazelle, John Alford, Newton (in Australia) and Robson & Jerome. Mike Stock joins us for one final time to recap the highlights from the Love This era and give his rationale for the emphasis on remakes, He also discusses working with Simon Cowell on quite a few projects, including the theme to kids' TV show Mighty Morphin' Power Rangers and how the problems plaguing Love This, such as a dispute with the London Underground over rail work that compromised his studios and issues surrounding the release of "Santa Maria" by Tatjana, resulted in the label being shut in 1997. Mike goes on to talk about some of the work he's done since, such as tracks by pop acts Scooch and Girls@Play, and what he would like his overall musical legacy to be. Matt Aitken, Miriam Stockley and Julian Gingell also feature to share their memories of this era. Support the showSubscribe for bonus material at chartbeats.com.au/sawInstagram: @chartbeatsauThreads: @chartbeatsau, @matthew_denby360Bluesky: @chartbeatsau, @matthewdenby.bsky.socialFacebook: Chart Beats: A Journey Through PopEmail: chartbeats.au@gmail.com

CW: This episode discusses cinematic sexual violence. Aaron and Carlee from the Hit Factory podcast return from San Francisco to discuss one of Anthony Mann's best films, the psychological western Man of the West, starring Gary Cooper in one of his final performances as a former outlaw who has worked to get away from his sordid past and rebuild his life, only to find himself by circumstance back in league with the very “family” of killers who raised him, in a classic film noir scenario transposed to the Western genre. Jean-Luc Godard hailed Man of the West as the best film of 1958 and in this episode we discuss the psycho-sexual complexities of this western and how it pointed the way to the future of American cinema including the horror genre, how like Michael Mann's Manhunter it implicates the audience by depicting an “audience” within the movie forced to watch sexually-charged violence unfold, and the modernity of the performances by Lee J. Cobb as the crazed paterfamilias of the killers and the singer Julie London as the “saloon singer” held hostage by the gang. We also discuss what this film has to say about violence as the substance that forged Western expansion and which, as we've seen in the wake of Donald Trump's re-election, still courses through the American bloodstream today. Over 30% of all Junk Filter episodes are only available to patrons of the podcast. To support this show directly and to receive access to the entire back catalogue, consider becoming a patron for only $5.00 a month (U.S.) at ⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠patreon.com/junkfilter Follow Aaron and Carlee on Twitter, and support the Hit Factory Patreon. Julie London's title theme for Man of the West, un-used in the film itself Trailer for Man of the West (Anthony Mann, 1958)

Although both Matt Aitken and Mike Stock had left the building, PWL Records continued to release music — and in this epilogue episode, we look at some of the artists who succeeded and some that didn't hit the mark in the few years after the demise of Stock Aitken Waterman. Former PWL MD David Howells joins us to discuss the challenges of starting afresh with new talent to replace Mike and Matt, and talks about what prompted his own departure from the business he had helped steer since the mid-'80s. With a strong focus on dance music at PWL in the '90s, one of the more consistent acts — in terms of quality and chart success — was Loveland. Paul Taylor returns to explain how the group behind hits like "Let The Music (Lift You Up)" and "I Need Somebody" came about, and how PWL's Manchester business received much of Pete Waterman's attention at this point. Paul also discusses his own unceremonious exit from the group. Meanwhile. Slamm remained signed to PWL and were put to work with Gary Miller on increasingly poppy music, with singer Johnny Wilks recapping that era of the band's journey for us. Then, we finish by looking at how Pete's initial run with PWL ended in 1996 and who the songwriters and producers were that would provide him with a second wave of success in the following years with acts like Steps, Tina Cousins and Westlife.Support the showSubscribe for bonus material at chartbeats.com.au/sawInstagram: @chartbeatsauThreads: @chartbeatsau, @matthew_denby360Bluesky: @chartbeatsauFacebook: Chart Beats: A Journey Through PopEmail: chartbeats.au@gmail.com

In the studio, we're joined by Grammy-winning music producer Tony Black and returning BDP guest, NYC's premier cigar DJ, DJ Nino Brown—two longtime friends who first met over a decade ago at a cigar lounge! Tony has contributed to over 80 million sold/downloaded recordings. A former staff engineer at NYC's legendary Hit Factory (1993–1998), he tells great stories what it was like collaborating with icons like Michael Jackson, Notorious B.I.G., Jay-Z, Nas, Wu-Tang Clan, DMX, P. Diddy, Luther Vandross, Elton John, Céline Dion, Billy Joel and hundreds more! Tony won a Grammy for The Diary of Alicia Keys, and worked on three #1 albums, 25 Top 10 albums, and 21 Top 10 singles.   Website: https://tonyblackprod.com/ Youtube: https://www.youtube.com/c/TonyBlackNYC Dj Nino Brown Instagram : @djninobrownnyc Become a member on our website! Exclusive discounts & giveaways! https://www.burndownpodcast.com/  

Well, we've reached the end of our Paul Schrader retrospective - for a couple weeks until OH, CANADA comes out - and it's time to discuss our findings. What did we learn about Schrader? About film? About podcasting? About ourselves? Can we remember all the different ways we got sick and hurt since March? Where are we going next, and when? Thank you to everyone who has followed along on our lonely journey toward transcendence. A very special thanks to all the guests who joined us and made the show listenable whenever we let them get a word in: Aaron and Carlee from Hit Factory, Manuela Lazić, Marya E. Gates, Brandon Streussnig, Bilge Ebiri, Esmé Holden, Comrade Yui, Ryan and Este from Altmania, Robert Rubsam, Jordan Fish, Ray Tintori, Jake Tropila, Jack Sinclair, Jane Altoids, Glenn Heath, Jr., Soraya Sebghati, Nick Wiger, Chadd Harbold, Charles Lyons-Burt, Darryl and Petros from Getting Dafoe You, Roxana Hadadi, Matthew Germenis, and Bob Martin. Another extra special thanks to our Patreon supporters who help us make this whole thing make at least some sense to our families. We still can't believe any of you listen to the show. Can't and don't! We'll see you all in 2025 with a brand new subject - and episodes on OH, CANADA and JUROR #2 before the end of the year. Plus some cool surprises, maybe. Who can know the mind of God?   Follow Pod Casty For Me: https://www.podcastyforme.com/ https://twitter.com/podcastyforme https://www.instagram.com/podcastyforme/ https://www.youtube.com/@podcastyforme Support us on Patreon: https://www.patreon.com/PodCastyForMe Artwork by Jeremy Allison: https://www.instagram.com/jeremyallisonart  

Every journey has an ending, and in this episode, we reach the final three singles produced by Mike Stock and Pete Waterman in 1993 — and discuss the events surrounding the termination of the partnership as Mike left PWL. Former Miss America Suzette Charles joins us to talk about her singing/acting/pageant career and how she turned up at PWL demanding an audience with Pete. Her eventual collaboration with Mike yielded underrated gem "Free To Love Again" and five other fan favourite tracks that went unreleased at the time. She also fills us in on her studio reunion with Mike in the past few months and what we can expect from their recent work together. Sybil returns to discuss her final Stock and Waterman single, "Stronger Together", and reflect on her pop career. Plus, Johnny Wilks from Slamm talks about releasing a remake of "Virginia Plain" — the final SW production in the '90s. Then, we hear from Mike about his decision to leave PWL and what brought him and Pete, and then all of SAW back together again in the 2000s and beyond.Support the showSubscribe for bonus material at chartbeats.com.au/sawTwitter: @ChartBeatsAU, @MrMattDenbyInstagram: @chartbeatsauFacebook: Chart Beats: A Journey Through PopEmail: chartbeats.au@gmail.com

Simon Maher, Founder of 8Radio.com

The top 40 resurgence was over, with the next few Stock and Waterman singles released in 1993 struggling on the UK chart. But it wasn't for want of trying. Tapping into the same piano house sound that had yielded hits for Sybil (with and without West End), "Looks Like I'm In Love Again" by Key West featuring Erik had come to PWL via Eddie Gordon's Sanctuary imprint. The man behind Key West (and the writer of the song), music industry legend Richard Hewson joins us to discuss his decades-long career, working as an arranger for some of the biggest names in music and as an artist in his own right as The RAH Band. He reveals the story behind "Looks Like I'm In Love Again" and how Erik ended up taking over from the original vocalist. Eddie also shares his memories of that project and reveals how girl group Eternal almost signed to PWL. Meanwhile, Sybil returns to discuss her next single, a remake of "Beyond Your Wildest Dreams", and how she navigated her career in both the UK and the US. For something completely different, PWL snapped up five-piece band Slamm — and their vocalist, Johnny Wilks, talks us through that unexpected decision and recalls the making of their first single for the label, "Energize". Plus, there's the final Pat & Mick release and one last WWF Superstars single.Support the showSubscribe for bonus material at chartbeats.com.au/sawTwitter: @ChartBeatsAU, @MrMattDenbyInstagram: @chartbeatsauFacebook: Chart Beats: A Journey Through PopEmail: chartbeats.au@gmail.com

This is a big one, folks. Paul Schrader's 2017 FIRST REFORMED, a climate-doom riff on WINTER LIGHT and DIARY OF A COUNTRY PRIEST, kicked off a new phase of his career that's still unfolding as we speak. Phases unfold, right? Anyway, to help us unpack both this tremendous work of transcendental cinema and our own crushing despair, we're joined once again by our great friends Aaron and Carlee from the Hit Factory podcast. Is it illegal to describe a bomb vest as a form of prayer? We'll find out together! Further Reading: "Paul Schrader on How ‘First Reformed' Reflects His Own Despair Over Climate Crisis" "Paul Schrader on First Reformed's Provocative Ending and Its Many Influences" IPCC AR6 Synthesis Report, 2023 WWF Backgrounder: Comparing climate impacts at 1.5°C, 2°C, 3°C and 4°C Further Viewing: DIARY OF A COUNTRY PRIEST (Bresson, 1951) WINTER LIGHT (Bergman, 1963)   Follow Hit Factory: https://x.com/HitFactoryPod https://x.com/deepimpactcrier   Follow Pod Casty For Me: https://www.podcastyforme.com/ https://twitter.com/podcastyforme https://www.instagram.com/podcastyforme/ https://www.youtube.com/@podcastyforme Support us on Patreon: https://www.patreon.com/PodCastyForMe Artwork by Jeremy Allison: https://www.instagram.com/jeremyallisonart  

The commercial resurgence at PWL continued in 1993, with all four of the singles covered in this episode becoming UK hits. Still on her hot streak following the success of "The Love I Lost" with West End, Sybil returned to the top 5 with original tune "When I'm Good And Ready", which was credited to her alone. Sybil tells us what she thought of the song, which was poppier than her usual efforts, and Mike Stock shares his thoughts about the single coming together and its various mixes and remixes. After the disappointment of "Last Thing On My Mind", Bananarama were back in the top 30 with their remake of "More, More, More". Mike also discusses that track and the Please Yourself album. Meanwhile, another track was made with the World Wrestling Federation Superstars, with "Wrestlemania" reaching the top 20, and Coronation Street star Bill Tarmey visited the Hit Factory for a successful charity remake of "One Voice". Pete Day recalls working on both those singles, which came to PWL courtesy of Simon Cowell. Support the showSubscribe for bonus material at chartbeats.com.au/sawTwitter: @ChartBeatsAU, @MrMattDenbyInstagram: @chartbeatsauFacebook: Chart Beats: A Journey Through PopEmail: chartbeats.au@gmail.com

Rockin' the Kremlin - Russian Music Industry w/ David Junk - AZ TRT S05 EP37 (253) 9-22-2024   Things We Learned This Week Roger Waters performed The Wall – Live in Berlin after the Fall David Junk went to the concert, & was inspired and moved to Russia, got into Diamond business, then Music Industry with Universal Music David had to establish a legal record market, and had to fight corruption with the Local Mob Record Companies and Artists wanted to grow their fan-base in both Eastern Europe & Russia post the Fall of the Soviet Union Western Music had a huge impact on Russian music, culturally & maturing the industry, which created local Rock Bands & Rap Artists     Guest: David Junk Music Business in Russia https://www.linkedin.com/in/david-junk   About David Junk is a seasoned music industry veteran with a career spanning thirty years. After the fall of the Soviet Union, David Junk embarked on an extraordinary adventure by becoming one of the first American record executives to work in the Ukrainian music industry. Early Days and Introduction to Ukraine: In 1999 as a record executive for Universal Music, the world's largest record company, David started an initiative to open the first branch of Universal in Ukraine. At the time, no other Western record label had ventured into Ukraine, allowing Russia to control the Ukrainian music market. David played a pivotal role in the early development of the Ukrainian music industry. This opened the door for more Western labels to engage in business in Ukraine. Championing the Ukrainian Music Industry: As Vice President of Universal Music, David had a significant responsibility in overseeing Eastern Europe, with a specific focus on Ukraine. He was instrumental in defending the rights of Ukrainian songwriters and combating music piracy controlled by criminal groups. Under his leadership, Universal Music soared to become Ukraine's most successful international label. This achievement was largely attributed to the Ukrainian youth's love for Hip Hop and rap music from Universal's premier labels, Interscope and Def Jam Records. The world-renowned Black Eyed Peas and rapper 50 Cent graced the Ukrainian music scene, thanks to David's efforts. In 2005, Universal Music extended its support to the Ukrainian Eurovision entry, Green Jolly, when Kyiv hosted the televised event for the very first time. Contributions to the Reggaeton Genre: In 2006, David took on the role of General Manager at Universal's Machete Records in Los Angeles, where he played a crucial part in transforming it into the #1 Reggaeton label in America. His work involved collaborating with renowned artists such as Don Omar and Wisin Y Yandel, further expanding his experiences in the music industry. Gibson Guitars: In 2013, David began a new career chapter, joining Nashville-based Gibson Guitars and managing a guitar showroom from the iconic Hit Factory recording studios in New York City. In this role, David presented honorary guitars to music legends Tom Petty, Elvis Costello, Nile Rodgers, Steve Miller, and the band Cheap Trick for their inductions into the Songwriters Hall of Fame and the Rock and Roll Hall of Fame. He also provided guitar support for Blondie, Rush, The Roots, and Andrew Lloyd Webber's "School of Rock" Broadway Cast in the Macy's Thanksgiving Day Parade.     Seg 1   David Junk bio, fell into the music business by accident. Most people get into the music business through connections or ex musicians. David worked for universal music, and got into the music business when he was already working in Russia. He was living and working in Moscow and hired by universal music, then called PolyGram for a finance position for the record company.   Record label was big, carried the catalogs of Bob Marley deaf jam artist Bon Jovi and was the first musical label in Russia. David went on to become the first CEO of universal music in Russia.   David is from Ohio, and grew up during the Cold War with fear of Russia. His influenced by Roger Waters of Pink Floyd and his claim that he would not perform the album the wall unless the actual Berlin wall in Germany came down. In 1989 The Berlin wall did come down. Waters staged a concert performing the wall with celebrity ax joining in, called the Potsdam concert.   David went to Europe and attended that concert. He was influenced by the moment and returned to America to study business and the Russian language. He got an NBA in California.   In 1993 he got a job in Moscow working for a diamond mining company, mining raw diamonds. Russia has large supply of diamonds and Siberia. Unfortunately, the company David was working for turned out to be a huge scam with the Russian bosses stealing $200 million and diamonds. David was arrested and thrown in a Russian jail.   Thankfully, the actual criminals were caught and David was let go. The next job we got in Russia was for the music industry.     Seg 2   How the music business and record labels work. Record labels make money by marketing. Their big artist as well as music writes with song catalogues. Company David worked for carried many of the big rap artists like Jay Z and Eminem, as well as big bands, like U2 and the cranberries and also catalogs of Johnny Cash.   Labels are located in both the US and other countries. I band releases a new album and the record label locate in each country would promote and sell. Record labels want to sign artist to promote internationally to make more sales and exposure to the music.   The 1990s both Russia and Eastern Europe were considered one zone and many businesses were trying to expand.throughout. David visited many countries in Eastern Europe as well as former Russian Republic, like Ukraine.   At the time there was no infrastructure to sell records. There were no legal record stores and the Russian mafia controlled 90% of the music industry. There was mass piracy with music and CD. David's job working for universal music was to create a legal music industry.   Three step process to get the mafia out of the business Legislation - using the Russian Dumba work to create legislation to generate tax revenue off record sales. Country like Sweden was a model with massive revenue from the band ABBA. This failed and corruption issues continued. Police Action - Moscow police raids of piracy locations and confiscate CDs of universal music and other record labels. This partially worked, had some corruption issues. But ultimately it failed to as the pirate factories just moved from the city to military bases. Now they are under protection of the Russian military. U.S. Ambassador - went to the Bush administration to try to block Russia from the WTO world, trade organization. Russia wanted to expand its economy, enjoying the WTO. They leveraged this to push for legal action on music and other industries in Russia. Force the Russian government to protect artist and lessen the corruption.       Seg 3   In the late 1980s and 1990s artist were eager to get their music distributed in Russia. They obviously wanted to work with a record company. Do it legal have promotion that was supportive and understanding of their rights. They also understood that the royalties would be less.   There was big business though in touring. David's bosses in both Angeles and London cannot understand how powerful mafia was and how deep the corruption was.   When bands were touring in Russia mafia would interfere by selling false concert tickets. At the time in the late 1980s and early early 1990s lots of bands were touring in both Russia and Eastern Europe.   There were issues. An example of this was David Copperfield Magician tour. At one point, he did not pay the bribes and could not get his equipment out of Russia. He had to actually cancel parts of his European tour.   Band sell more records by touring in Russia. 1990s peace festival or Bon Jovi Metallica AC/DC all tour in Russia. Mariah Carey also toured in Russia. Kiss refused in the mid 1990s to Eastern Europe because of the war Yugoslavia.   MTV opened in Russia 1999 and this continue to expand music exposure of the west in Russia. Red Hot chili pop performed in the red square.   Western music had a huge cultural impact in Russia. David and universal signed the Russian band tattoo. This became the biggest selling Russian band in history.   Improved in Russia now that they've been introduced to competition from the west. Better music, better, music, videos, and better songwriting. Music is always had a connection to freedom with artist having the freedom of expression.   Hip-hop and rap was introduced to Russia and wound up becoming the most popular music in Russia today. Very much an anti-authority and freedom type music. Russia, creative popular hip-hop band called del. Many acts like Eminem, Snoop Dogg, 2Pac, 50 Cent, Jay Z, Dr. Dre, anime all became big hits in Russia.   David left Russia in 2005 and moved on to work for Gibson guitars which ultimately led to his return in 2013. Often on he lived and worked in Russia for 15 years.         If you enjoyed this show, you may like:  BRT Marketing: HERE BRT Business: HERE    Investing Topic: https://brt-show.libsyn.com/category/Investing-Stocks-Bonds-Retirement     ‘Best Of' Topic: https://brt-show.libsyn.com/category/Best+of+BRT     Thanks for Listening. Please Subscribe to the BRT Podcast.     AZ Tech Roundtable 2.0 with Matt Battaglia The show where Entrepreneurs, Top Executives, Founders, and Investors come to share insights about the future of business.  AZ TRT 2.0 looks at the new trends in business, & how classic industries are evolving.  Common Topics Discussed: Startups, Founders, Funds & Venture Capital, Business, Entrepreneurship, Biotech, Blockchain / Crypto, Executive Comp, Investing, Stocks, Real Estate + Alternative Investments, and more…    AZ TRT Podcast Home Page: http://aztrtshow.com/ ‘Best Of' AZ TRT Podcast: Click Here Podcast on Google: Click Here Podcast on Spotify: Click Here                    More Info: https://www.economicknight.com/azpodcast/ KFNX Info: https://1100kfnx.com/weekend-featured-shows/   Disclaimer: The views and opinions expressed in this program are those of the Hosts, Guests and Speakers, and do not necessarily reflect the views or positions of any entities they represent (or affiliates, members, managers, employees or partners), or any Station, Podcast Platform, Website or Social Media that this show may air on. All information provided is for educational and entertainment purposes. Nothing said on this program should be considered advice or recommendations in: business, legal, real estate, crypto, tax accounting, investment, etc. Always seek the advice of a professional in all business ventures, including but not limited to: investments, tax, loans, legal, accounting, real estate, crypto, contracts, sales, marketing, other business arrangements, etc.  

Things were looking up at the Hit Factory in early 1993. Mike Stock and Pete Waterman found themselves in the UK top 5 with back-to-back singles — something that hadn't happened in three years. And the latest of those big hits came from a remake of "The Love I Lost" released by West End featuring Sybil. The story behind the single is an intriguing one, with various mixes and multiple people having input on the track along the way. Significant among those people was Eddie Gordon, who'd spent the previous few years working on major hits for record companies like MCA, Motown and Atlantic. With his background in soul, funk and R&B, he was employed by PWL both to find songs and artists for new imprint Sanctuary Records and to develop his idea to cover "The Love I Lost" as West End (a name he'd used as a pseudonym for various projects). Eddie joins us to talk about the selection of Sybil as vocalist for the single and how he, Tony King and Asha Elfenbein (as AKA) remixed the original production, with their mixes becoming hot property in clubs before the track was reworked yet again for commercial release. He also provides insight into the business of PWL in the early '90s with new sub-labels and imprints. Plus, Sybil returns to the podcast to share her memories of "The Love I Lost" coming together, the elements of the track she insisted be changed and its success.Support the showSubscribe for bonus material at chartbeats.com.au/sawTwitter: @ChartBeatsAU, @MrMattDenbyInstagram: @chartbeatsauFacebook: Chart Beats: A Journey Through PopEmail: chartbeats.au@gmail.com

Before we begin our journey through Mike Stock's final year working with Pete Waterman at PWL, we have a preview of what's still to come. Plus, we share the first 10 minutes of our recent Greatest Hits by Kylie Minogue bonus episodeTo hear the full Greatest Hits by Kylie Minogue bonus episode and all the other extra content, you can subscribe at chartbeats.com.au/subscribeSupport the showSubscribe for bonus material at chartbeats.com.au/sawTwitter: @ChartBeatsAU, @MrMattDenbyInstagram: @chartbeatsauFacebook: Chart Beats: A Journey Through PopEmail: chartbeats.au@gmail.com

Join hosts Eric Knight and Ritch Esra as they sit down with renowned K-pop songwriter-producer JINBYJIN. With 65 number one hits and over 35 million physical copies sold, JINBYJIN shares his incredible journey from life engineering to music production, the intricacies of K-pop and J-pop, and the unique role of fan culture. Discover what makes a hit song in these genres and get inspired by JINBYJIN's advice for aspiring musicians. Don't miss this deep dive into the heart of the global music phenomenon!

What's up, dudes? They say the sequels are never as good as the first. I think The Empire Strikes Back proves them wrong…but Band Aid II doesn't. I have music journalist Alex Rawls from The Twelve Songs of Christmas and My Spilt Milk with me to talk all about the second version of the charity song done in 1989! Spoilers: it's not as good as the first, but it's still fun!On Friday, December 1, 1989, Bob Geldof called Pete Waterman to ask if he would consider producing a new version of “Do They Know It's Christmas.” Waterman was part of The Hit Factory, a production team made up of himself, Mike Stock, and Matt Aiken. They were known for hi-NRG or Eurobeat style, with tempos usually somewhere between 102-140bpm, four-to-the-floor kick drums, staccato hi-hat, and bass lines frequently looped with fast eighth or sixteenth notes doubled at the octave. In fact, they produced 13 UK #1 singles and 3 US #1s. Waterman even postponed his wedding and rallied several artists together.Subsequently, on Sunday, December 3rd, the assembled artists recorded at PWL Studios in South London. Bob Geldof and family were present. On Tuesday, December 5th, the updated version was played for the first time on London's Capital Radio, 95.8 Capital FM. Advanced sales reached 500,000 copies, and the single was officially released on December 11th. It spent 3 weeks at #1, though Band Aid's original hit spent 5 weeks at #1 and sold over 2 million copies (which was approximately $24million in sales).Kylie Minogue? Check. Bros? Yep. Cliff Richard? A little out of place, but he was definitely there! So grab your denim jacket, put on an uptempo kick drum backing track, and jam out to this episode all about Band Aid II!The 12 Songs of ChristmasFB: @TwelveSongsofChristmasTwitter: @MySpiltMilk IG: @myspiltmilkGive us a buzz! Send a text, dudes!Check us out on Facebook, Twitter, Instagram, Totally Rad Christmas Mall & Arcade, Teepublic.com, or TotallyRadChristmas.com! Later, dudes!

Get access to this entire episode as well as all of our premium episodes and bonus content by becoming a Hit Factory Patron for just $5/month.You voted for it, we watched it.We discuss the winner of our Patron Poll, Krzysztof Kieślowski's The Double Life of Veronique - A new film to both Hit Factory hosts, and one that has become an instant favorite.Enigmatic, ethereal, and steeped in a gentle magical realism, the film finds ways to make grand the quotidian and the interior emotional plane of existence, transcending attempts to articulate its power and majesty with mere words.We discuss the brilliant Irène Jacob, whose dual performance as Weronika and Veronique communicates an entire world of feeling with her eyes, and we ask if this is perhaps the most beautiful anyone has ever been onscreen. Then, we make meaning of the film's many distinct totems of symbolism - refracted images, melodies, marionettes, and their significance as links not just to the film's two protagonists, but to the imperceptible bond between all people. Finally, we discuss director Kieślowski's initial plan to release hundreds of slightly different iterations of the film in various theaters across the globe, and how the film's subtle graces are made more meaningful by their potential absence.....Our theme song is "Mirror" by Chris Fish.

To wrap up 1992, Stock and Waterman worked with two new artists and two returning favourites. In the case of Kylie Minogue, it was to be her final single released with PWL. Fittingly, her version of "Celebration" was lifted from Greatest Hits and gave her a final UK top 20 hit before departing for new musical adventures. We hear from Phil Harding & Ian Curnow, who produced the track (which later had additional production added by Stock and Waterman). Also, music video director Gregg Masuak joins us again to discuss the shoot in Rio de Janeiro. Bananarama were also back for an even more ABBA-influenced single, "Last Thing On My Mind", which wouldn't be a hit for them but, years later, would give Steps their first UK top 10 single. Mike Stock shares his thoughts on both versions. In terms of the new artists, sibling duo Fresh released "Did I Say Ti Amo" and, thanks to Simon Cowell, PWL embarked on a collaboration with the World Wrestling Federation Superstars, resulting in a top 5 hit for "Slam Jam". Mike and former PWL engineer Pete Day recall the WWF project coming together.Support the Show.Subscribe for bonus material at chartbeats.com.au/sawTwitter: @ChartBeatsAU, @MrMattDenbyInstagram: @chartbeatsauFacebook: Chart Beats: A Journey Through PopEmail: chartbeats.au@gmail.com

Returning guests Aaron Casis and Carlee Gomes (Hit Factory podcast) are here to talk the puzzling 15:17 to Paris but more importantly our first foray into Clint Eastwood's 2010s era. Together, we discuss the bizarre gelato scene, audience reaction in real time, and Clint's reputation as a public figure --- Support this podcast: https://podcasters.spotify.com/pod/show/exitingthroughthe2010s/support

We are joined by Aaron Casias and Carly Gomes of Hit Factory to discuss William Hurt's first film, Ken Russell's wild and delirious Altered States! We discuss solipsism, God, losing faith, hallucinogens, academia, and why regressing into an ape form might be many conservatives ultimate fantasy. Follow us on Twitter! Buy a cows shirt on Threadless!

THIS WEEK: Dances With Wolves (1990), Open Range (2003), Horizon: An American Story - Chapter 1 (2024)We're joined by Aaron from Hit Factory to discuss the standard bearer for the modern American western, Kevin Costner, and why sometimes you need to lose your wife of 18 years so you can make a four-part epic about the 19th-century American frontier. Donate to Palestinian Medical Aid Support Optimism Vaccine on Patreon

Summer 1992 didn't yield much in the way of Stock and Waterman productions. But in August that year, there was a sudden rush of releases, kicked off by a curious novelty record: a remake of "Summer Holiday" by Fat Slags, characters from Viz. Former PWL engineer Pete Day helps us get to the bottom of who exactly performed on the track. Meanwhile, Kylie Minogue got one step closer to departing the Hit Factory with new single "What Kind Of Fool (Heard All That Before)", which was included on her Greatest Hits album. Mike Stock and Terry Blamey tell us about the song, which sounded like classic SAW. Speaking of classics, Nancy Davis had another shot at success with a cover version of Jackie Wilson's "(Your Love Keeps Lifting Me) Higher And Higher". And the new-look Bananarama returned to work with Mike and Pete Waterman on "Movin' On", their first single as just the duo of Sara Dallin and Keren Woodward. Support the Show.Subscribe for bonus material at chartbeats.com.au/sawTwitter: @ChartBeatsAU, @MrMattDenbyInstagram: @chartbeatsauFacebook: Chart Beats: A Journey Through PopEmail: chartbeats.au@gmail.com

Aaron from the amazing podcast Hit Factory joins our limited series, The Chronicles of the Chronicles of Riddick, to talk about the latest entry in life of one Richard B. Riddick, the 2013 film, Riddick

Well, the time has come to say goodbye to our friend Bob (for now). We share our big announcement, rank some Bob movies, read some listener mail, and we just spend a good two hours or so talking about Bob, art, politics, and what it all means to us at the end of this road. It's been a great privilege for us both to get to do this project together every week. Both Este and I grew as friends, we made new friends, and best of all we mutually gained a greater appreciation for one of America's greatest artists. If you love movies and want to share that love, don't be afraid to do something about it! Write about it, get some microphones and record yourselves chatting about it, or just have a conversation with your friends or even a stranger. I couldn't recommend it enough. When we started this show, we'd only known each other for about a year, but having a chance to talk with a friend about art and anything else every week for a year really gave me some memories that I'll never forget. I'm happy to both have 50 episodes to look back on AND great memories with a friend.  And to all of our friends who have written in, your positivity to both our show and to the films of Altman helped reassure us that that legacy is carrying on and the Bob Mindset is always there. Thank you all for encouraging us with your kindness and for taking the time to listen to us chat for a couple hours a week about movies. Shoutouts to those who wrote in to us: Naomi, Jorge Torres, Joe (@punk_turns_puke), and our lovely pal Michael H. Smith. Additional thanks to everyone who came by and spent time with us on the show, including: Valerie Keaton, Chris Woodward, Kurt Schiller, Jake and Ian from Pod Casty, Carlee and Aaron from Hit Factory, Dante, Reilly, Gigi, Adam Slusar. You were all wonderful, kind guests and NOW friends of Bob and of us! We will see you all September 6th (that's Este's birthday!) for the premiere of "Friends of Bob". It's gonna be a blast!   Patreon: https://www.patreon.com/Altmania Everything else: https://linktr.ee/altmania

In early 1992, Boy Krazy were still a year away from their belated massive success in the US with "That's What Love Can Do" and they followed up that debut single in the UK with "All You Have To Do". Now a four-piece, the girl group shifted musical gears, releasing a more club-influenced track, but once again it failed to connect. Ruth Ann, Kimberly and Josselyne discuss that single as well as "Good Times With Bad Boys", which was released in America after "That's What Love Can Do" had been a hit. The ladies also give their thoughts on the situation involving Johnna being positioned by the label as lead vocalist. Meanwhile, Pat & Mick returned to PWL for their annual cover version — a remake of "Shake Your Groove Thing", with Pat Sharp sharing his memories of the music video. We also hear from Mike Stock about PWL's latest signing Nancy Davis and her debut single, "If You Belonged To Me". And Steve Anderson is back on the podcast to tell the Brothers In Rhythm story and recall how he and Dave Seaman were commissioned to remix "Finer Feelings" by Kylie Minogue — and that single's connection to her post-PWL work.Support the Show.Subscribe for bonus material at chartbeats.com.au/sawTwitter: @ChartBeatsAU, @MrMattDenbyInstagram: @chartbeatsauFacebook: Chart Beats: A Journey Through PopEmail: chartbeats.au@gmail.com

Following their launch in 1991 with debut single "Get Ready For This", Eurodance duo 2 Unlimited enjoyed a string of more than a dozen hits around the world. What does that have to do with Stock Aitken Waterman? Well, in the UK, the act fronted by Ray Slijngaard and Anita Doth was signed to PWL Records at a time when the Hit Factory's in-house productions were often struggling on the charts. Techno tracks like "Twilight Zone", "Maximum Overdrive", "Let The Beat Control Your Body", "The Real Thing", "Tribal Dance" and chart-topper "No Limit" were the sound of the future, while, as we've seen, more traditional pop/dance tunes were having a tough time of it. In this bonus episode, we explore the success PWL enjoyed with 2 Unlimited and what it meant for the working relationship between Pete Waterman and Mike Stock. Ray joins us to share his perspective on the rise of 2 Unlimited and the approach PWL took with the duo's tracks in the UK, initially using instrumental versions rather than ones with Ray's raps on them. He also discusses his personal and professional relationships with Anita and producers Jean-Paul de Coster and Phil Wilde, and the current status of 2 Unlimited.Support the Show.Subscribe for bonus material at chartbeats.com.au/sawTwitter: @ChartBeatsAU, @MrMattDenbyInstagram: @chartbeatsauFacebook: Chart Beats: A Journey Through PopEmail: chartbeats.au@gmail.com

Este and Ryan take a trip over to jolly old England, and who else do we run into but the Hit Factory folks themselves, Carlee and Aaron! We get into both of their histories with this movie, how it ties into their own lives, 2000s movies, Downton Abbey, being nerds as children, Bob Balaban, Bob (Altman's) comments on 9/11, this incredible cast of dames and knights, and we close out with an article on Bob that is sure to make you laugh AND get really mad! All that and more on ALTMANIA   ----Check out Hit Factory!---- https://twitter.com/HitFactoryPod https://twitter.com/deepimpactcrier https://www.patreon.com/hitfactorypod/ ----Plus our stuff!---- https://linktr.ee/altmania Mailbag here --> https://forms.gle/f8WWnud4gfN2rfu47

Hit Factory's Chief Canadian Correspondent and host of Junk Filter Podcast Jesse Hawken is back to discuss the work of French genre provocateur Claude Chabrol and his 1995 thriller 'La Cérémonie' starring Sandrine Bonnaire and Isabelle Huppert. Inspired by the true story of Christine and Lea Papin - two French sisters who, as live-in maids, were convicted of murdering their employer's wife and daughter in 1933 - the film follows Sophie (Bonnaire) a housekeeper for a wealthy family in Brittany who befriends Jeanne (Huppert), the local postal clerk. Together, the two slowly begin to form a shared psychosis, sharing a collective fantasy of paranoia, resentment, and eventually explosive violence. One of Chabrol's most championed works, the film was a key influence and inspiration for Korean director Bong Joon-ho's Oscar-winning 2019 film 'Parasite'.We unpack Chabrol's prolific career as filmmaker, beginning with his origins in the Nouvelle Vague, before leaning into more commercial tendencies during his "Golden Era" of the late 60s through the 70s, and culminating in some of his most accomplished and acclaimed work in the 1990s. Then, we discuss La Cérémonie as genre exercise and how it yields further reward with repeat viewings. Finally, we attempt to make meaning of Chabrol's joke that the movie was "the last Marxist film" by unpacking its ideas about class resentment and the disaffected, uncaring attitudes of the rich toward working class anxieties. Follow Jesse Hawken on Twitter. Follow Junk Filter on TwitterListen & Subscribe to Junk Filter and support the podcast on Patreon. Get access to all of our premium episodes and bonus content by becoming a Hit Factory Patron for just $5/month.....Our theme song is "Mirror" by Chris Fish. 

Get access to this entire episode as well as all of our premium episodes and bonus content by becoming a Hit Factory Patron for just $5/month.We've reached the halfway point of 2024, which means it's time to sit down with the joint CEOs of Hit Factory LLC and discuss some of the best films of the year, recent finds, and new additions the CarleeCore™ Canon.Sit back as Carlee (the preeminent online authority on horny movies) shares her read on Luca Guadagnino''s 'Challengers', Aaron talks through a few international features topping his best of the year list, and we both explain why 'The People's Joker' director Vera Drew is the new Tony Scott.....Our theme song is "Mirror" by Chris Fish.

The River of Dreams album was Billy Joel's introduction to a new generation of fans in the early 90s. With chart-topping songs, a notorious Grammy appearance, and an extensive world tour, it was a landmark in Billy's career.  But for drummer Zachary Alford, it was one of his first experiences in a major label session, and another step in his quickly-blossoming career.  Hot on the heels of high-profile world tours, Zachary got the call to come in cold to a session at the Hit Factory in New York. That day, Billy and producer Danny Kortchmar were set to record “All About Soul.” Zack tracked his parts, and would go on to record a total of seven songs, 6 of which made the album.  Now, 30 years after the album's release, Zachary shared his memories of those sessions and much more. His journey from working with multiple bands in Manhattan, to touring the world with B-52s, Bruce Springseen, David Bowie and others, and his memories of developing his style and skill set are a master class for aspiring musicians and anyone looking for an honest peek behind the curtain.  Join us as we dig deep into the River of Dreams sessions, and the mindset of an acclaimed professional musician.   ------   Email us: glasshousespodcast@gmail.com   Glass Houses - A Billy Joel Podcast on the web / social media: Website: http://www.glasshousespod.com Facebook: https://www.facebook.com/glasshousespodcast/ Instagram: https://www.instagram.com/glasshousespod/ Twitter: https://twitter.com/glasshousespod  Discord: https://discord.gg/6G6cMRFu7T   Support the podcast: Paypal: https://paypal.me/glasshousespod Venmo: @MGrosvenor   Produced by Michael Grosvenor & Jack Firneno for Glass Houses Media, LLC Learn more about your ad choices. Visit megaphone.fm/adchoices

There was no denying the popularity of rave and techno in the UK in 1991, and Stock and Waterman went all clubby as the year drew to a close — with help from some key collaborators. DJs Paul Taylor and Danny Bennett (aka Danny Hibrid) from Angels nightclub visited PWL to work with Tony King on remixing Kylie Minogue album track "I Guess I Like It Like That". The result: a completely new single, "Keep On Pumpin' It", which came out in its own right. Paul and Tony tell the story of this club classic, which was issued to clubs as a white label ahead of its commercial release. Meanwhile, the unlikely pairing of Malcolm McLaren and Alison Limerick were brought together to work with SW on "Magic's Back", the theme song to Malcolm's documentary, The Ghosts Of Oxford Street. Alison talks about the project and her own run of '90s club classics, like "Where Love Lives", "Make It On My Own" and "Time Of Our Lives". And, as we commence our journey into 1992, the third single from Let's Get To It was Kylie's remake of "Give Me Just A Little More Time", which was backed by rave-inspired B-side "Do You Dare". Support the Show.Subscribe for bonus material at chartbeats.com.au/sawTwitter: @ChartBeatsAU, @MrMattDenbyInstagram: @chartbeatsauFacebook: Chart Beats: A Journey Through PopEmail: chartbeats.au@gmail.com

Late in 1991, PWL was trying all sorts of things to get back in the charts on a regular basis, including working with '80s funk/soul band Cool Notes. Single "Make This A Special Night" harked back to some of SAW's earliest releases when they dabbled in R&B — and was one of several tracks recorded with the group, which was now a trio. Singer Lauraine McIntosh talks about Cool Notes' progression from reggae outfit to commercially successful soul group with mid-'80s hits "Spend The Night" and "In Your Car" — and the downturn in popularity that followed. She reveals the never-before-discussed story behind her 1988 guest vocal on "Don't Make Me Wait" by Bomb The Bass and how she wound up as a session singer at PWL, which led to Cool Notes' deal. Meanwhile, Kylie Minogue was also taken in a more soulful direction with "If You Were With Me Now", her big ballad duet with R&B sensation Keith Washington. Former PWL engineer Pete Day shares his memories of recording with Keith and we discuss the song's video and promotion, including the approach Kylie's Australian record company took with the single. Former Yell! member Paul Varney returned to PWL as a solo artist, but it seems the company didn't quite know what to do with him, almost releasing Kenny Thomas-esque track "If Only I Knew" before opting for the more pop-influenced "So Proud Of You", with both tracks ending up having a connection with the work of in-demand house producer and remixer Steve "Silk" Hurley. Paul talks about the back-and-forth situation with his two solo tracks and his subsequent musical projects, including writing Precious's 1999 Eurovision entry, "Say It Again".Support the Show.Subscribe for bonus material at chartbeats.com.au/sawTwitter: @ChartBeatsAU, @MrMattDenbyInstagram: @chartbeatsauFacebook: Chart Beats: A Journey Through PopEmail: chartbeats.au@gmail.com

THG welcomes back guest and sponsor Scott Slagle. Scott is Charlotte-based recording engineer, producer and owner of Asylum Digital Recording & Mixing Studio.  A veteran in the Carolina music scene, he has worked as a freelance recording engineer/producer at The Bassment, Chung King, D&D, DARP, Firehouse, The Hit Factory, HUSH Studios, Reflection Sound Studios and The Sonic Cafe'.  He is a founding member of Electric Mountain, a team of producers that consists of Stephen Barrett, Dave Haire, Christopher Holston & Jason Michel and 1/5 of the band Super Ape (handling keyboards, percussion, production & programming). Scott is a voting member of the Audio Engineering Society (AES). Support the Show.Make sure to subscribe to us on Spotify, Apple Podcasts, and Google Podcasts. Also follow us on Instagram and Facebook @hilltopglove. Sponsored by: BOPs, Lynx Recording Studios, Mid Carolina Service Co., Asylum Digital Recording & Mixing, Celeb Studio Cafe, the Simon Marketing Agency, and TruBrilliance Ent. Become a member of our Patreon channel to get access to full video episodes, early premieres, and bonus content!

They were the pop stars that changed everything for the Hit Factory — and in this episode we discuss pivotal singles for Jason Donovan and Kylie Minogue. In Jason's case, his remake of "Happy Together" was his final single with PWL, as he made the leap to musical theatre and a new record label. The cover version was also the first Stock and Waterman production, with Matt Aitken now out of the picture. Jason joins us for one last time to discuss the parting of ways with PWL, his third studio album, All Around The World, and how his career has developed until the present day. As for Kylie, she kicked off her fourth studio album with new jack swing single "Word Is Out" and its controversial music video. Terry Blamey, Mike Stock, Julian Gingell and Pete Day all share their memories of the Let's Get To It era of Kylie's career, while remixer Tony King talks about his Summer Breeze remix, which was released as the official single version in Australia.Support the Show.Subscribe for bonus material at chartbeats.com.au/sawTwitter: @ChartBeatsAU, @MrMattDenbyInstagram: @chartbeatsauFacebook: Chart Beats: A Journey Through PopEmail: chartbeats.au@gmail.com

To mark the third anniversary of A Journey Through Stock Aitken Waterman, former PWL remixer Tony King joins us to share his story of going from Phil Harding's assistant to being responsible for a Billboard Hot 100 smash hit thanks to his remix of "Don't Make Me Over" by Sybil. Tony recounts the "weird" way he landed a job at PWL and how his first task was to remix "Packjammed (With The Party Posse)" by Stock Aitken Waterman — in a matter of hours. He also talks about some of his early remixes on tracks by Kylie Minogue and The Reynolds Girls. We follow Tony's journey into the '90s and how crucial his partnership with Asha Elfenbein was to the development of his remix ability. He also weighs in on the changes at PWL in the '90s, including the departure of Matt Aitken and the proliferation of dance sub-labels and European licensing deals.Support the Show.Subscribe for bonus material at chartbeats.com.au/sawTwitter: @ChartBeatsAU, @MrMattDenbyInstagram: @chartbeatsauFacebook: Chart Beats: A Journey Through PopEmail: chartbeats.au@gmail.com

The Boy Krazy story is one of the most interesting — and complicated! — in the SAW history. The American girl group was put together through auditions in New York, going through a few line-up changes before the final five-piece, Johnna, Josselyne, Kimberly, Renee and Ruth Ann, signed a deal with PWL Records and flew to London to start recording with Stock Aitken Waterman. Kimberly and Josselyne join us to reminisce about that process and how debut single "That's What Love Can Do" came together. Released in mid-1991 in the UK, it unfortunately didn't connect with the British public, but over a year later, it started picking up steam in the US when a Denver, Colorado radio station put it on high rotation. By 1993, it became one of SAW's biggest hits on the Billboard Hot 100. Kimberly and Josselyne talk us through the highs and lows of that process. And thanks to Mario at Cheer Up (@cheeruppopparty), we're also able to share some of an interview with Johnna, who performed lead vocals on "That's What Love Can Do". Great song, great story!Support the showSubscribe for bonus material at chartbeats.com.au/sawTwitter: @ChartBeatsAU, @MrMattDenbyInstagram: @chartbeatsauFacebook: Chart Beats: A Journey Through PopEmail: chartbeats.au@gmail.com

It's a break in format this week as A Little Bookish shares its first mini-episode. This week Mere and McCall share their Little Things. This minisode might also serve as a checklist of things you can do today to bring you joy, but we'll let you be the judge of that!  Some links!  Song Machine: Inside the Hit Factory by John Seabrook Hit Makers by Derek Thompson  Cinderella by Remi Wolf Keep it Up by Good Neighbors Higher Love by Kygo and Whitney Houston Every Single Album Podcast  Trolls Soundtrack Turning Red Soundtrack  Cowboy Carter by Beyonce  Too Faced Lip Injection (Size Queen) Bad Therapy by Abigail Shrier  The Localist Podcast by Carrie Rollwagen  Internet Goodness from Mere Emily Henry Release Party!  

It had to happen at some point. In May 1991, the Stock Aitken Waterman era ended when Matt Aitken walked away from his role as one third of the songwriting and production trio. In this episode, he explains what prompted his decision and we explore the changing nature of PWL at the time, which was a contributing factor in the split. Mike Stock also weighs in on Matt's departure and reveals whether he blames his musical partner for leaving. In terms of the music, we look at one of the most polarising singles in the SAW catalogue — and one which was among the last things Matt worked on. The latest Neighbours stars to come to the Hit Factory, Gayle and Gillian Blakeney (aka The Twins) were hoping to follow other SAW stars up the chart, but "All Mixed Up" was a commercial disappointment. It also divides fans like almost no other track. We follow the sisters' story from their early appearances on Australian TV to their deal with Mushroom Records and discuss why their SAW experience wasn't so great and why their single provokes such strong reactions. Plus, we take a quick look at the 1991 remix of "Roadblock", which featured in-demand rapper Einstein.Support the showSubscribe for bonus material at chartbeats.com.au/sawTwitter: @ChartBeatsAU, @MrMattDenbyInstagram: @chartbeatsauFacebook: Chart Beats: A Journey Through PopEmail: chartbeats.au@gmail.com

Pucker up, listeners - Daddy's here! That's right: accomplished Brian De Palmist and official Daddy of the show, Hit Factory co-host Aaron Casias, is back to help us unpack De Palma's Schrader-scripted 1976 VERTIGO riff OBSESSION! We kind of did a one-episode De Palma podcast, honestly, because there's a bit more BDP here than Paul Schrader. Join us for more Bernard Herrmann talk, more Geneviève Bujold talk (from TIGHTROPE, remember?), and very informed New Orleans opinions. Check it out! You don't really have to watch the movie tbh!!! Topics include: Vilmos Zsigmond, Hitchcock riff, Tony Scott's DEJA VU, voyeurism, women in genre film, "The New South", Cliff Robertson being a pain in the ass, OLDBOY, Aaron's impassioned plea for us to cover BDP, and only a little bit of bathroom talk, we promise. Further Reading: Hollywood from Vietnam to Reagan by Robin Wood "Repeat Performance": Brad Westcott on Obsession   Further Viewing: VERTIGO (1958) DEJA VU (2006) DE PALMA (2015)   Follow Aaron Casias: https://twitter.com/HitFactoryPod   https://www.podcastyforme.com/ Follow Pod Casty For Me: https://twitter.com/podcastyforme https://www.instagram.com/podcastyforme/ https://www.youtube.com/@podcastyforme Support us on Patreon: https://www.patreon.com/PodCastyForMe Artwork by Jeremy Allison: https://www.instagram.com/jeremyallisonart  

The River of Dreams album was Billy Joel's introduction to a new generation of fans in the early 90s. With chart-topping songs, a notorious Grammy appearance, and an extensive world tour, it was a landmark in Billy's career.  But for drummer Zachary Alford, it was one of his first experiences in a major label session, and another step in his quickly-blossoming career.  Hot on the heels of high-profile world tours, Zachary got the call to come in cold to a session at the Hit Factory in New York. That day, Billy and producer Danny Kortchmar were set to record “All About Soul.” Zack tracked his parts, and would go on to record a total of seven songs, 6 of which made the album.  Now, 30 years after the album's release, Zachary shared his memories of those sessions and much more. His journey from working with multiple bands in Manhattan, to touring the world with B-52s, Bruce Springseen, David Bowie and others, and his memories of developing his style and skill set are a master class for aspiring musicians and anyone looking for an honest peek behind the curtain.  Join us as we dig deep into the River of Dreams sessions, and the mindset of an acclaimed professional musician.   ------   Email us: glasshousespodcast@gmail.com   Glass Houses - A Billy Joel Podcast on the web / social media: Website: http://www.glasshousespod.com Facebook: https://www.facebook.com/glasshousespodcast/ Instagram: https://www.instagram.com/glasshousespod/ Twitter: https://twitter.com/glasshousespod  Discord: https://discord.gg/6G6cMRFu7T   Support the podcast: Paypal: https://paypal.me/glasshousespod Venmo: @MGrosvenor   Produced by Michael Grosvenor & Jack Firneno for Glass Houses Media, LLC

Rich Travali is one of the most successful guests we've ever featured on the show. He began his career in the 80s at the Hit Factory in New York working with legends like Patti Smith, Sting and Paul Simon, who he was especially close to during the recording of The Rhythm of the Saints. In the 90s he formed a bond with Puff Daddy which led to a couple decades of gigantic hits - 11 #1 singles and over 140 million in total record sales. We're talking generational hits like "Hot in Herre", "Big Poppa", "Independent Woman" "Gettin' Jiggy Wit It" and tons more. TLC, Robin Thicke, LL Cool J, Pharrell and many others make him "their guy". It's a fascinating and unique story. Enjoy!  www.richtravali.com www.patreon.com/thehustlepod