Public entertainment retailing company
POPULARITY
9 episodes with HMV
5 episodes with HMV
4 episodes with HMV
5 episodes with HMV
2 episodes with HMV
2 episodes with HMV
3 episodes with HMV
2 episodes with HMV
5 episodes with HMV
Today, we're talking about the old school landmark names you can't quit. Do you say "meet you at HMV" in the mall even though HMV hasn't existed for years? How about the Space and Science Centre? The Rat Hole? A&B Sound!? And we discuss more adult sleepovers.
Condições de Funcionamento do Hospital Mestre Vitalino.
「【新宿マルイ本館 8階】『HMV record shop 新宿』が3月14日に移転リニューアルオープン！5月下旬に売り場面積を拡大！中古セールも予定」 新宿ALTAの閉館に伴い、『HMV record shop 新宿』は新宿マルイ本館 8階に3月14日に移転リニューアルオープン。詳細をご紹介します。『HMV record shop 新宿』は、新宿マルイ本館 8階への移転リニューアルオープンが決定。
In a courageous stand against AI technology, a pair of old lags communing via two cocoa tins and a piece of string attempt to put the rock and roll world to rights. Which this week involves … … what David saw in the HMV record store in Oxford Street “that shook me to the ground”. ... music that only works played loud. … Marianne Faithfull - there's no middle ground between Sacred Figure and Outrageous Diva. … why ‘60s fame is like no other fame. … is there a more enduring example of bad press than Sting's tantric sex? … John Mendelssohn's West Coast adventure with David Bowie. … which is musically more significant: punk or disco? … Tom Waits reading the weather forecast. … which musicians make convincing actors - Sinatra, Lady Gaga, Elvis, Beyonce, Justin Timberlake, Costello, Mick Jagger? … Bowie singing Jacques Brel songs on a waterbed in Hollywood. … why we miss the great press ‘hatchet jobs'. … do slogans last longer than music? … what kind of world plays When The Levee Breaks softly and in a Chelsea café? … why rock music is like the Catholic Church before the Reformation. … plus birthday guest Kevin Rose wonders which musicians made the best actors. Order John Mendelssohn's ‘Peculiar To Mr Bowie' here:https://www.nortonrecords.com/a4-peculiar-to-mr-bowie-by-john-mendelssohn/Find out more about how to help us to keep the conversation going: https://www.patreon.com/wordinyourear Get bonus content on Patreon Hosted on Acast. See acast.com/privacy for more information.
In a courageous stand against AI technology, a pair of old lags communing via two cocoa tins and a piece of string attempt to put the rock and roll world to rights. Which this week involves … … what David saw in the HMV record store in Oxford Street “that shook me to the ground”. ... music that only works played loud. … Marianne Faithfull - there's no middle ground between Sacred Figure and Outrageous Diva. … why ‘60s fame is like no other fame. … is there a more enduring example of bad press than Sting's tantric sex? … John Mendelssohn's West Coast adventure with David Bowie. … which is musically more significant: punk or disco? … Tom Waits reading the weather forecast. … which musicians make convincing actors - Sinatra, Lady Gaga, Elvis, Beyonce, Justin Timberlake, Costello, Mick Jagger? … Bowie singing Jacques Brel songs on a waterbed in Hollywood. … why we miss the great press ‘hatchet jobs'. … do slogans last longer than music? … what kind of world plays When The Levee Breaks softly and in a Chelsea café? … why rock music is like the Catholic Church before the Reformation. … plus birthday guest Kevin Rose wonders which musicians made the best actors. Order John Mendelssohn's ‘Peculiar To Mr Bowie' here:https://www.nortonrecords.com/a4-peculiar-to-mr-bowie-by-john-mendelssohn/Find out more about how to help us to keep the conversation going: https://www.patreon.com/wordinyourear Get bonus content on Patreon Hosted on Acast. See acast.com/privacy for more information.
In a courageous stand against AI technology, a pair of old lags communing via two cocoa tins and a piece of string attempt to put the rock and roll world to rights. Which this week involves … … what David saw in the HMV record store in Oxford Street “that shook me to the ground”. ... music that only works played loud. … Marianne Faithfull - there's no middle ground between Sacred Figure and Outrageous Diva. … why ‘60s fame is like no other fame. … is there a more enduring example of bad press than Sting's tantric sex? … John Mendelssohn's West Coast adventure with David Bowie. … which is musically more significant: punk or disco? … Tom Waits reading the weather forecast. … which musicians make convincing actors - Sinatra, Lady Gaga, Elvis, Beyonce, Justin Timberlake, Costello, Mick Jagger? … Bowie singing Jacques Brel songs on a waterbed in Hollywood. … why we miss the great press ‘hatchet jobs'. … do slogans last longer than music? … what kind of world plays When The Levee Breaks softly and in a Chelsea café? … why rock music is like the Catholic Church before the Reformation. … plus birthday guest Kevin Rose wonders which musicians made the best actors. Order John Mendelssohn's ‘Peculiar To Mr Bowie' here:https://www.nortonrecords.com/a4-peculiar-to-mr-bowie-by-john-mendelssohn/Find out more about how to help us to keep the conversation going: https://www.patreon.com/wordinyourear Get bonus content on Patreon Hosted on Acast. See acast.com/privacy for more information.
Get out your panchos and rain boots for this one! This week we wade into the gory, utterly disgusting (in a good way) remake of Street Trash. From Ryan Krueger, the director of Fried Barry comes this film set in the South Africa of 2050. What happens when the ultra rich decide to get rid the homeless problem by using a body melting chemical agent? Well you get a ton of gory body destruction and some unbelievable effects. What did we think of this gorefest? Tune in to find out! In the UK Street Trash will be available on limited edition Blu-ray from 17th February. Pre order on HMV & Amazon here. In the US it will be available from Vinegar Syndrome on February 25th Where to find us: https://linktr.ee/Jumpscarepodcast #streettrash #streettrash2024 #horrormovies #bodyhorror #ryankrueger #horrorpodcast #socialcommentary
Hey, Who fans and welcome to Episode 417.This episode is a slightly shorter Garry-solo episode recapping some Doctor Who news stories that landed over the last couple of weeks plus a recap of an article posted last week with an update on The Big Blue Box and some exciting announcements!Links to the stuff we mentioned:The Capital Cutaway eventThe Season 7 blu ray box set pre-order at Amazon, HMV, Zavvi and RarewavesThe update article on The Big Blue BoxThis is The Big Blue Box PodcastJoin us each week for a new episode every Friday from your hosts Garry and Adam. We talk news, reviews, commentaries and general chat on everything Doctor Who PLUS listen to our monthly Round Table episodes with the whole team. Check out our website where you can also listen to all of our episodes for free along with the amazing reviews and articles from our writing team.Follow us on the socialsCome and get involved and chat Who between episodes on Twitter, Facebook and Instagram. We also have a free Discord server for you to hop in and chat with other like-minded Who fans.Thank you for listening to this episode and remember to follow the podcast on your fav podcast app so you don't miss an episode when they drop every Friday (or pop over here for links to all the popular podcast platforms).Have a fantastic week and until next time remember... Aaaaaaaaaaallons-y!
Join Joey and GIl as they traverse through the 3 stories of people who faked their own death, from a Spanish WW2 spy who tricked the Nazi's while creating his own fake informant network, to a web developer trying to defraud insurance companies and move to another country, and our last one, a man who testified at his own murder trial. LINKS: Patreon: https://www.patreon.com/BlackCatReport Reference Links: https://listverse.com/2019/06/24/10-people-who-faked-their-own-death/ https://www.businessinsider.com/people-who-faked-their-own-deaths-2012-8#gandaruban-subramaniam-was-on-the-lam-for-20-years-before-getting-caught-3 First Story: https://www.history.com/news/spy-double-agent-death-hoax-world-war-2 https://www.agentgarbo.com/ https://www.agentgarbo.com/timeline/boarding-school/ https://www.agentgarbo.com/timeline/birth/ https://blog.nationalarchives.gov.uk/spy-garbo-story-behind-britains-greatest-double-cross-agent/ https://www.agentgarbo.com/timeline/military-service/ Second Story: https://www.dailytelegraph.com.au/dead-man-walking-hugo-jose-sanchez--behind-bars-in-uk/news-story/c75a29983cabc1034735c6d1b2430492 https://www.smh.com.au/world/five-years-for-briton-who-faked-death-and-started-new-life-in-australia-20120529-1zfv8.html https://en.wikipedia.org/wiki/HMV https://www.bbc.com/news/uk-england-18248942 https://www.dailymail.co.uk/news/article-2151225/HMV-worker-faked-death-bid-live-dream-lifestyle-Costa-Rica-claiming-850-000.html https://www.telegraph.co.uk/news/worldnews/australiaandthepacific/australia/8852256/Brit-who-faked-his-own-death-for-1.25-million-insurance-found-in-Sydney.html https://www.the-independent.com/news/uk/home-news/found-alive-and-well-and-living-sydney-the-british-tattooist-who-died-in-2005-6256951.html https://www.theguardian.com/uk/2011/nov/03/briton-arrested-over-faking-death Third Story: https://encyclopediaofarkansas.net/entries/connie-franklin-5929/ https://www.mentalfloss.com/article/67805/8-people-who-faked-their-own-deaths https://en.wikipedia.org/wiki/Murder_of_Connie_Franklin https://www.semanticscholar.org/paper/The-Arkansas-Ghost-Trial%3A-The-Connie-Franklin-Case-Blevins/d3cd5f95834f8358a58bc5b415bf66b853c4cb31 Tags: #History #fakedowndeath #JuanpujolGarcia #AlfredoSanchez #MarionFranklinRogers #ConnieFranklin #newyear #newyou #historystories #truecrimepodcast #truecrime #crime #death ----------------------------- MUSIC AND SFX CREDITS: Outro Music: Lounge Jungle by Curt S D Macdonald https://download.audiohero.com/track/41504269 Music Licensing Agreement: https://blackcat.report/music-licensing-agreement
Creativity through the lens of a professional executive coach and mentor"Creativity is a difficult word to define. It's more about what are you actually trying to achieve." David Roche is a professional coach and mentor working with a select few first-time CEOs across several sectors through his company Grey Area Coaching. He is also non-exec Chair of London Book Fair and Chair of the writing agency New Writing North. Additionally, he works with publishers and start-ups and lectures at the NFTS to their MA Creative Entrepreneurship students. David's second book, Become a Successful First-Time CEO, was published in March 2024 and is an Amazon #1 Bestseller (https://amzn.to/4dDFL55).David has worked in both retail and publishing as CEO of Borders and BOOKS etc, Product Director of both Waterstones and HMV, and Group Sales and Marketing Director of HarperCollins Publishing. He has also been President of the Booksellers Association and received several industry awards; in 2017 David was awarded an Honorary Fellowship from the University of Central Lancashire for services to the UK book trade.https://www.linkedin.com/in/davidroche/https://greyareacoaching.co.uk/Send us a text
Welcome, welcome, welcome to the Distraction Pieces Podcast with Scroobius Pip!This week Pip is joined by the hilarious writer, podcaster and original Twitter treasure RUTH HUSKO!A really great episode featuring someone who has been doing some fabulous work for such a long time, but may not necessarily be known to all y'all yet. Hopefully the opposite is true - but if not, trust us, this is a brilliant one with so much DPP goodness. Ruth's been winning first place on Twitter (X if you must but, of course, present ownership noted) for a long time, and of course that gets decent coverage right here, but also hear about such things as Norm Macdonald, Stewart Lee, Chris Morris, Richard Herring, working a regular job (one of which being HMV like Yung Pip here), Limmy, social media and where it lacks (but also succeeds), exes and all that, corporations and patter theft (you'll understand what that is quickly if you're unfamiliar!). Excellent stuff and true Distraction Pieces gold for you all. Enjoy!PIP'S PATREON PAGE if you're of a supporting natureRUTH LINKS HERE!
David Roche is a professional coach and mentor, specializing in guiding first-time CEOs through his company Grey Area Coaching. He serves as non-exec Chair of the London Book Fair and Chair of New Writing North, while also lecturing at NFTS. David's second book, Become a Successful First-Time CEO, became an Amazon #1 Bestseller in March 2024. With a background as CEO of Borders and BOOKS etc., and roles at Waterstones, HMV, and HarperCollins, David has made significant contributions to retail and publishing. He was awarded an Honorary Fellowship in 2017 for his services to the UK book trade.
Because we American expats in Germany often celebrate Thanksgiving on the weekend after our compatriots in the US, I offer you today a second Thanksgiving episode, this one featuring the extraordinary Ina Souez (1903 – 1992), one of the few Native American singers to achieve worldwide fame on the operatic stage. (For those of you who are unaware, November is Native American Heritage Month). Though her career was truncated by world events, Souez's place in the history of recorded sound is assured by virtue of her participation in the series of Mozart operas as produced by HMV in the mid-1930s as souvenirs of the first seasons of the Glyndebourne Festival. Indeed, one could argue that her Fiordiligi remains the standard by which all other interpreters are judged. This episode also includes recordings from both ends of Souez's career, as it were, including an extraordinarily rare yet impressive and touching 1957 recording of Souez singing arias and songs long after her active career had ended. The episode also features Souez in near-definitive recordings from both Ernani and La Bohème, the latter particularly appropriate as we just recently observed the 100th anniversary of the death of Giacomo Puccini. Finally, this episode also serves as a memorial to Souez, who died 32 years ago this coming week. Countermelody is a podcast devoted to the glory and the power of the human voice raised in song. Singer and vocal aficionado Daniel Gundlach explores great singers of the past and present focusing in particular on those who are less well-remembered today than they should be. Daniel's lifetime in music as a professional countertenor, pianist, vocal coach, voice teacher, and journalist yields an exciting array of anecdotes, impressions, and “inside stories.” At Countermelody's core is the celebration of great singers of all stripes, their instruments, and the connection they make to the words they sing. By clicking on the following link (https://linktr.ee/CountermelodyPodcast) you can find the dedicated Countermelody website which contains additional content including artist photos and episode setlists. The link will also take you to Countermelody's Patreon page, where you can pledge your monthly support at whatever level you can afford.
This week's episode of the Plural Pod marks the end of season one and Gareth and Joel reflect on their experiences over the last eight months. There are reviews of fresh pressings from Primal Scream, The Charlatans and a host of artists paying tribute to Margo Guryan. We explore the world of second-hand sales and find out some of the highest value titles snapped up recently, including a very Sweet 7” and some potent jangle from some Liverpudlian upstarts. James from SLAB Records in Loughton gives us our final view from the shop floor of 2024 and Tom from Cheap Indie Vinyl has all the news about how to stay on top of the latest discounts! All that and there's one last trip to HMV.Get in touch with us via pluralofvinylpod@gmail.com or @PluralVinylPod on Twitter. You can also Whatsapp via 07455680866The Plural Of Playlist, featuring tracks discussed: https://open.spotify.com/playlist/5M566WI1NstJoQcZU0KRMR?si=8h8NUeaXR_acMIrYYQ-rDQ&pi=MBWJA5SvSUewV&nd=1&dlsi=2a5d31635f704542Join the Cheap Indie Vinyl WhatsApp channel:https://whatsapp.com/channel/0029VaWT9tnElagoIHB2ed1GCheap Indie Vinyl on Bluesky:https://bsky.app/profile/cheapindievinyl.bsky.socialSLAB Records:https://www.slabrecords.co.uk/ Hosted on Acast. See acast.com/privacy for more information.
Hazel Savage is a music-tech trailblazer, guitarist, and former CEO/Co-Founder of Musiio. Beginning her journey with Shazam, she gained deep industry insights at Pandora, Universal, and HMV before founding Musiio, which was later acquired by SoundCloud. As a global speaker and advocate for AI in music, Hazel blends her expertise with relatable, often humorous, anecdotes, offering valuable perspectives on AI's impact on the music industry.In this episode, Hazel shares her insights into the fast-evolving world of AI in music, from ethical dilemmas to creative opportunities.Key takeaways:How AI is transforming music creation by enhancing human creativity and making production more accessible.The ethical implications of AI-generated music and how artists can protect their rights in the face of evolving technology.Why "strong beliefs loosely held" can be a powerful mindset for adapting to the rapid changes in tech and AI.----Learn more about Soundcloud: https://soundcloud.com/Apply for an Artist Breakthrough Session with our team: https://apply.modernmusician.me/podcast
In this executive episode, David Roche, Founder/Director of Grey Area Coaching Ltd, shares how he helps founders, boards, and CEOs achieve success in succession.You will discover:- Why the CEO role is so different from any other position- How the founder's journey to CEO is different from any other CEO- How to not only select the right success, but help ensure their success David Roche is a professional executive coach and mentor at Grey Area Coaching and works with first-time CEOs across many sectors. Passionately empowering the first-time CEO in his new book Become a Successful First-Time CEO, David has distilled decades of hands-on business leadership and coaching expertise into an accessible and strategic guide for those looking to thrive in the C-Suite. David is the Chair of the London Book Fair and the writing agency New Writing North. David was previously CEO of Borders & Books, Product Director of Waterstones and HMV, and Group Sales and Marketing Director of HarperCollins Publishing. Want to learn more about David Roche's work at Grey Area Coaching Ltd? Check out his website at https://greyareacoaching.co.uk/ and get a copy of his book Becoming a First-Time CEO on Amazon at https://www.amazon.com/Become-Successful-First-Time-CEO-relationships/dp/1781338329Mentioned in this episode:Take the Founder's Evolution Quiz TodayIf you're a Founder, business owner, or CEO who feels overworked by the business you lead and underwhelmed by the results, you're doing it wrong. Succeeding as a founder all comes down to doing the right one or two things right now. Take the quiz today at foundersquiz.com, and in just ten questions, you can figure out what stage you are in, so you can focus on what is going to work and say goodbye to everything else.Founder's Quiz
This week on the pod, jD sits down with Ross to discuss his Pavement origin story and reveal track 15. Transit: Track 2:[0:00] Previously on the Pavement Top 50. Coming in at number 16, it's Fill More Jive. It's the third song from Crooked Rain, Crooked Rain, behind Stop Breathing at 28 and Cut Your Hair at 21. So this song actually beats Cut Your Hair, which is, I don't know, is that surprising? Is that surprising to you? You no i'd rather pick bill more jive over over cut your hair but i mean cut your hair is the pop song so yeah yeah that's why i was surprised it wouldn't be in the top five or something i was you know just looking at the spotify uh the spotify plays you know uh-huh cut your hair is like way up there and bill more jive is not right right so is is it do you consider it like a deep cut like when you guys went to it on the most recent tour was it um was it a deeper cut in the bag of songs that you brought yeah i say a deeper cut because i don't think we we did it in 2010, okay and we hadn't done it for years in the 90s like i think we did it in 94 and maybe they did it with Gary too before me.Track 2:[1:23] So I would say it's a deep cut live, but in terms of, you know, records, you know, for people to really enjoy, it's a pretty great number.Track 3:[1:46] Hey, it's Shady here, back for another episode of our Top 50 Countdown for sentimental indie rock band, Pavement. Week over week, we're going to count down the 50 essential Pavement tracks that you selected with your very own Top 20 ballads. I then tabulated the results using an abacus and an abacus for dummies book. How will your favorite song fare in the rankings? Well, you'll need to tune in to find out. So there's that. This week, I'm joined by Pavement superfan, Ross from Fife. How the fuck are you doing, Ross from Fife? I'm good. Good from Fife.Track 3:[2:24] Excellent. This is good news. It's always nice to talk pavement with somebody, especially when they're doing well. Well, I don't get enough chances here to talk about anything pavement, so. Well, we're going to do that right now. Let's hear your pavement origin story. Story um well the very first time i heard pavement and this only came back to me in the last couple of weeks uh as i was thinking about you know this interview um and either it was either late 99 or early 2000s my high school girlfriend put major leagues on a mixtape you remember when you used to make mixtapes for you know for sure for your crush or your significant other at the time or whatever yeah she she made me a mixtape with uh major leaks and i i liked it it didn't set me off on my journey or anything you know but that's that's the first time i'm definitely aware of having heard Pavement. Right. A couple of years later, one of my friends.Track 3:[3:38] It was right about the time of, like, Eminem was huge. Dr. Dre had just released 2001. Yeah. Snoop Dogg was big. One of my friends flipped almost overnight from being an indie rock fan to a hip-hop fan. Oh, wild. So, yeah, I guess he was giving away his old CDs that he didn't listen to anymore or whatever. And he gave me Terror Twilight. It was a... I can't remember if he thought, right, Ross would like this or if he was just getting rid of it, you know? Yeah. But it really took me by surprise. I really liked it.Track 3:[4:27] At the time I was technically homeless. I wasn't living on the streets or whatever. I was crashing on people's couches. I was going through the sort of system like halfway houses and whatever. So I didn't have much possessions. but one of the one things I did have was Terror Twilight, and I would listen to it all the time while playing my Nintendo Game Boy or whatever and, it kind of felt like a it felt like a secret you know like my secret, because I'd never met another single living soul who had heard of Not just the album, but the band. I remember round about, it would have been the back end of 2001.Track 3:[5:28] Just pre-9-11, which seems weird, but that's the way that I remember this particular. I was on a lunch break at my first job, and I read a review of the first Malcolm A Soul album.Track 3:[5:49] And the review spent more time talking about Pavement than it did, you know, his new band, basically stating that, you know, these guys are legends, just they didn't get their due or whatever. No, I agree with that. So, yeah, a year later or whatever, I've got Terra Twilight, I love it. These guys are such enigmas to me you know this is before I was on the internet I couldn't Wikipedia them, I couldn't you know, there was no YouTube, stuff like that and by the way all this is, well some of this is on your 17th or 18th episode Krelvid User, you read out my letter oh gosh I had totally forgotten about that I remember I have a terrible memory you asked for submissions because back then a lot of the songs were quite short or even non-existent so yeah I got day drunk one day.Track 3:[7:10] I'd been out with colleagues and I thought I'm going to write JD a letter and tell him how I yeah so.Track 3:[7:20] My next the next part of the story is, I knew about the re-releases I think at some point, I don't know why I bought Sebado 3, the re-release of that album and, the album on the front it had a sticker with some sort of blurb from a music journalist saying that, This album, along with Pavement, created the blueprint for American indie. Jesus, high praise. Again, that just put it in my head. And I didn't even like Sebado Free that much. I quite like the band altogether, but I don't think it's a great album. So round about that time we're still talking about 2002 3, 4 maybe I don't have a great memory either, I go to Glasgow to watch a British band Rubin, I don't think they're around.Track 3:[8:30] Anymore but their first couple of albums were pretty good we go to King Tut's Wawa Hut, which is quite a famous venue because it's where uh oasis got signed by creation really yeah oh cool um it's a tiny place you can only fit you know two three hundred people in it maybe even then that might be a fire hazard uh but even before before the gigs played and the the venue's underground, it's like in a basement, before the gig me and a couple of friends are upstairs and I'm going through the jukebox, they've got one of these sort of.Track 3:[9:20] They're old fashioned now, but at the time they were quite modern, the jukeboxes where the album covers flip over in front of you, you know? Yeah. And I find a pavement, Slandered and Enchanted, and it's like, oh, that's that band, that's Territorial, you know, I keep hearing about them. So I stick five songs on, don't even hear them because, you know, the bar's so crowded, so noisy. But still it sticks in my head I want to learn more you know so a short time after that, I'm shopping locally in the nearest sort of large town.Track 3:[10:09] And I go into MVC it's a I don't know if it was an offshoot of HMV. I don't know if you've got any of this in Canada or not. You did have HMV at one time. Yeah, but they're all gone now anyway. And I find a copy of the Crooked Rain re-release. Okay. But it's like £25 or something. I was making decent money at the time. I had my first proper well-paying job. I had disposable income I was no longer homeless, But I'm not going to spend £25 on this CD I've got no idea if it's good or it's bad There's like 50 tracks So I know I'm probably going to get some sort of value for money.Track 3:[11:06] I leave. I think nothing else of it. About half an hour later, I go around the corner, and there's this independent record store sleeves. People in Fife will mourn it forever. It's gone now as well, as most independent record stores probably are. But in there, I find a copy of the re-release for £5. What? yeah it's a bit battered it's a bit broken as I think all pavement records should be, but yeah no questions asked I immediately buy it.Track 3:[11:52] I read on the bus home I read the, sort of the booklet that comes with it which just the whole time it's just adding to the mystique you know because I think Malkmus writes, I think it's from an old like, article he writes like an explanation for each song and it's never quite clear if he's just taking the piss or not, he says about stop breathing is a bit of a tennis match I was like, why wouldn't it be, you know? So, yeah, that night, the Saturday night, it burned in my memory. I mentioned this in the Creelvid user video as well.Track 3:[12:46] All my friends are going out on the town which was never an exciting occasion, but this night especially I put my foot down and said I'm not coming out I've got to paint a wall which I did, I had a wall to paint in my living room or wherever but my main reason for staying in was I wanted to listen to Crooked Ruin, Wow So I get everything ready I get A couple of beers ready Like take a couple of bong hits Or whatever I used to do that by then.Track 3:[13:28] And I get the I get the CD ready And the stereo you know And as soon as I switch it on I'm just transfixed, Like The intro to Silent Kid Or Silent Kit whatever they call it is still one of the most exciting pieces of music to me. It's fucking spectacular. Yeah, but I'd never heard a band do that. I know they've got a reputation of not giving a fuck, and a lot of bands tried to affect that feeling back then, but this is the first time I'd ever truly heard it. Yeah, yeah. Just the build-up and you hear them talking to each other and it's like, we're just going to leave that in? And it's like, yeah, of course we are. That's the recording, you know. And I just sat down on the edge of the couch, just staring at the stereo.Track 3:[14:35] And then every song after that just added to the... It was... Yeah, it was the most exciting night of music I've ever had. Oh, Jesus, that gives me goosebumps. And for, like, a good maybe six months after that, I think it's all I listened to. Crooked Rain, Crooked Rain, Crooked Rain. And of course there was a lot to listen to because it was the re-release so I got all the.Track 3:[15:10] I got all the demos of B-Sides as well and this was, perhaps, you could call it their golden era you know it had another one of my favourite pavement tracks Grounded, it had the demo of that so you got like a sort of, you know a sneak peek of what was to come, but yeah after that I think all my friends got sick of me, talking about pavement going on about pavement and it still happens quite a lot these days, you'd hear a new song on the radio and I'd say that's just a fucking pavement rip off, you know it still happens to this day I hear a song and I think, nah, you're the biggest band in Britain just now, probably, or Wet Lake, you heard them? No, I've not. Oh, they went really viral a couple of years ago with their first video, which is She's Long. Yeah. But yeah, they're big. They're quite popular in my work. I'll run Night Shift. Sometimes the radio sucks. Sometimes it's pretty cool.Track 3:[16:33] But yeah, they were getting played in the radio quite a bit. I went and listened to their album. And the final track on the album is called Supermarket. Okay. And I'm not going to call it a pavement ripoff, but it's definitely pavement inspired. Really? Yeah. It's like they sat down and thought, like, let's write a pavement song, you know? Not rip off a Pavement song, but let's write an homage. Yeah. You can go and check it out afterwards. It's kind of Wally's Alley-ish. Huh. But yeah. What's your go-to record at this point? Oh, that's always going to be Crooked Rain. Yeah? Always. Just because of those memories? Because of the night it blew me away, you know? Yeah. Second, I would say, was Slanted. That's the record I came to next.Track 3:[17:27] Believe it or not, probably my least favorite, and there is no least favorite, it's still a pavement record. Probably the one I go to least is Wowie. Oh, yeah? And I think that's just because that's the one I came to last. Right.Track 3:[17:46] But yeah, I was thinking of weird pavement stuff to tell you. After all, the very first time I listened to WALL-E, or not the first time I listened to it, but probably my favorite song on WALL-E is Father.Track 3:[18:04] Father to a Sister of Thought. Fucking brilliant song, yeah. And in that song, they mention Corpus Christi. Right. Right. The very first time I heard that song, I was driving my car. And they mentioned the Corpus Christi part. And straight away, I receive a phone call from my dad who was working in Corpus Christi. Get out of here. Yeah, seriously. That's fucked. He was in Texas, and he phones me, and I've just heard this Corpus Christi line. Like, what the hell? and I didn't even pull over to take the phone call, which is technically illegal. Well, I'm going to turn you in. Another thing is it was weird with pavement. Once I knew of them, once I... Go into them i saw them everywhere it's like oh yeah it's like when you've never heard a word before and you hear a new word and suddenly you just hear it everywhere you know right um so yeah the other sort of weird kind of thing is uh a couple years after that i'm moved to.Track 3:[19:26] They call it a city it's not really a city dundee in scotland not a nice not a nice place, so I'd start sort of dating this girl I can't even remember if we were dating at the time, she was a bit weird I realised far too late that she was highly autistic but we were math students so that comes to the territory, and one of the weirdest things about her is she was obsessed with this cartoon from the 90s, Space Ghost. Okay, yeah. So one day we go out for coffee, and just before we go to the coffee shop, I go and buy the Bright in the Corners re-release. And what are the last two songs on it? Space Ghost. Space Ghost theme, yeah. I think that made her like me more, you know. So it went in my favor. Nicely done. Well, what do you say we get into listening to track number 15? What is that? Well, we're not going to tell you until after this break. Okay. All right, we'll be right back.Track 2:[20:53] Hey, this is Bob Mustanovich from Pavement. Thanks for listening, and now on with a countdown.Track 3:[25:25] And there it is at track 15 from Wowie Zowie, Rattled by the Rush. What are your thoughts on Rattled by the Rush, Ross, from Fife? Well, I already said since I came to it last, Wowie's not my jam.Track 3:[25:47] I love it. It's still a pavement album. It's never the one that I go to. Right. and Rattled by the Rush might be the last pavement hit that I actually heard. Oh, really? Yeah. I don't think I heard it until at some point in the early 2000s. I bought, I can't remember what it's called now, the DVD. Slow Century. Slow Century, yeah. Yeah. I think maybe that's the first time I ever heard it. Oh because they showed the video on that right yeah I can't remember if it's the proper video or not I know that they had to re-release the video because it was making people sick, people used to be such fucking pussies, yeah um and I don't dislike the song or anything um if it's number 15 that's kind of surprising it wasn't in my top 20 No. It probably would be in my top 50. Okay. It sounds like I'm hating here. I'm not hating. No. At all.Track 3:[27:07] Well, you definitely think it's overrated at 15, so that's... Oh, yeah, definitely. Yeah. Definitely. The most interesting thing is obviously the lyrics. It's like a typical sort of malchemist crossword yeah I would agree with that I took a few notes, the opening line oh that I could bend my tongue outwards leave your lungs hurting.Track 3:[27:42] Could be sexual. Could be? It could also pertain to that tongue trick thing where people can fold their tongue up, you know? Oh, yeah, yeah, yeah. I did a little research and apparently 73% of adults can do it. I cannot do it. I can't either, but I've learned that you can teach yourself to do it. Oh, really? yeah i was i i work night shift so you've got to find ways to pass the time yeah exactly um and that was a thing that was going about work a couple of years ago everybody asking can can you do it can you not and i can't do it but i have learned that you can teach yourself but you haven't taught yourself well I, I got I got halfway there but I forgot to keep like doing it you know gotcha it was it was never, maybe if I put it together for a pavement song that would have helped.Track 3:[28:53] Yeah after that we've got leave your lungs hurting tuck in my shirt and pints I wear so well cross your t-shirt smell well, that's just good malchus wordplay, right? Yeah. Maybe there's a specific meaning. Obviously, there's a theme there, clothing.Track 3:[29:16] After that, we come on to the best line in the song, maybe the best line in Pavement's entire discography, caught my dad crying. Yes. I wrote down here maybe it's better we don't know what it means yeah I mean I don't think for a single second Malcolm has walked in on his dad crying, but just the imagery the thoughts it's, The crucial word is caught. He could have said, saw my dad crying. He could have said, found my dad crying. But he says caught. Right. Like it's a bad thing, you know.Track 3:[30:03] So, yeah, God knows what to say about that. It's just a great line, you know. I agree. After that, we've got, Loose like the wind from the rough we get par. This is one of my favorite things about Pavement. They like to make sports metaphors they do yeah and we've got a whole song about sports and London Lions that was in my top 20, we've got bring on the major leagues possibly their biggest hit yeah but also just the line from the rough we get par, that would indicate to me after a bad start things have turned out alright right.Track 3:[30:47] And I know there's a prevailing feeling that the whole song is about their career or where their career has taken them I didn't know that well just the whole rattled by the rush just them being affected by, whatever level of fame they'd built up I didn't hear Pavement until 99 so I didn't get to witness the, right the ascent or the rise or whatever right you know right but yeah i've heard in doing a lot of research i did that this the whole song was about their you know them struggling to cope with you know whatever rise the rise to fame yeah and i do know from reading the liner notes and uh.Track 3:[31:39] In both Crooked Reign and Huawei re-releases that they were kind of fighting back against it. Maybe not fighting back against it, I think that gets overplayed sometimes. But I think Mark missed his explain. Maybe on Huawei or the Crooked re-release that they were kind of scared.Track 3:[32:08] You know how could you not be they were like a couple dudes from Stockton you know that were that recorded some noise art and next thing you know cut your hair comes out and that I would say is the biggest song oh yeah definitely I find that at the time as well it was just a really big time for music yeah a lot of majors were looking for the next Nirvana that's right Pavement were never going to be that. But they could have filled a hole, filled a gap. Spin Magazine named them the best band, pardon me, the best album of 2000, no, not 2000, 1992. Before the album even came out, right? Before it was chanted, yeah. No, no, it had come out. It had come out. It was the number one record of the year for 1992. So they came with a lot of buzz, like a lot of buzz. I remember reading the sort of tapes that they sent out for slanted they didn't send many out but every single one found its way to someone influential that's right I don't know if they were friends but they were fucking around with Sonic Youth.Track 3:[33:27] Certainly helped they opened for Sonic Youth on the UK tour yeah first time in the UK in 92 so that was there's a great Nostanovich podcast with another Canadian guy.Track 3:[33:42] There's like music journalism online oh is it creative control I think that's what it is I think that's what it is he explains that him Malkmus and Berman got a Nirvana show, cancelled, not cancelled but shut down in New York because they were being so boisterous. Really? Yeah, and this was before Nirvana took them to Redden and stuff, you know? Wow. So they were in that... They were in that space. Yeah. Yeah, definitely.Track 3:[34:17] They probably were getting a lot bigger than they thought they'd ever be, were ever prepared to be. Absolutely. Especially, you know, Slanted came out with a lot of hype, but Crooked Rain all of a sudden was this record that had hits on it, gold sounds and cut your hair. So, you know, I think a lot of people got maybe a bit carried away about what they could be. Well, one of the things, it doesn't fit into the hype, one of the things I wanted to mention about Crooked Rain maybe one of the reasons I liked it so much is it's a little bit what I call country fried, okay yeah I can see that father to sister of thought especially right well that's wowie, Crooked Rain's got his own range life I'm sorry but whenever an indie rock band, introduces a little element into country, I call it Country Frights. Country Frights.Track 3:[35:14] Crookheads and while we are definitely Country Frights, one of my favourite modern bands, Parkey Courts, they're a bit Country Frights. I've heard a lot of comparisons to Pavement with them. Well, the reason I first listened to Parkey Courts is I've seen an article where Malchmus was in a record store and he heard Parkey Courts and he thought it was Pavement. Jesus Christ, really? That's the reason I first listened to them, you know? Yeah. And? What do you think?Track 3:[35:50] Their first album, definitely, I could see the comparisons. The same kind of attitudes, like not really caring about tunings or you know. Just the first take's good enough no matter what. But that is a real good album. You should listen to Lie Up Gold, Parquet Courts. I'll check it out. Yeah, it's very, very good. I was trying to think. Meat Puppets, they were kind of country fried. Yeah, yeah. Have you got anything else on Brattled by the Rush? Well, it might destroy every argument I've already made, but the first chorus, I'm Drowning for Your First, that reads to me like being desperate for someone's attention, And that's not pavement at all, you know? No, no. Maybe that's something very personal to Malchus. Yeah, I'm drowning for your... The second album's kind of... The second verse, I think he's just showing off. Rhyming candelabra with Barbara.Track 3:[37:12] There's other lines. get all those hard hats and sing us some scat. I just think he's scatting himself there, you know? Yeah. Although the very last line, again, it's one of their best. I don't need a minister to call me a groom. I love it. What does that mean to you? What does it mean to me? I think, well, I don't need a minister to call me a groom. Like, you can, like, fuck religion. and you can go and get married or you can do whatever you want.Track 3:[37:47] Well, this is maybe just completely personal to me. Have you ever been in a sort of strictly friends with benefits relationship? No. No. Well, I have. I was for a couple of years. And to be honest, it was maybe the healthiest relationship I've ever been in. But um i noticed during that time that friends of mine who were in traditional relationships, they fucking hated it oh wow because i was getting all the good stuff without, all the bad stuff you know and i never had to meet her parents i never had to go on any any dates with Ikea. See what I did there? I got it. Yeah, so every time I hear, I don't need a minister to call me a groom. That's what comes to mind. Really? That's just maybe because of, you know, where I was at the time. Yeah.Track 3:[38:53] But yeah, again, I've seen that linked back to the music industry. And I guess Malcomus doesn't need I don't know who the minister is but to call me a groom would be to call me a star you know, okay I can he's already a star selling you know a quarter of what other bands are, and then of course they go on I'm rattled by the rush I'm rattled by the rush etc that that.Track 3:[39:29] And I know that Pavement's writing is sometimes a bit obtuse or weird, but that has to be a reaction to whatever level of fame or popularity they've gained by that point. I can see it. We've got the interlude, no soap in the John. That's very funny. I know that John's a sort of Americanism for toilet. Yeah. So to me, that would mean no sort of airs or graces.Track 3:[40:06] Or they're not going to clean themselves up for whatever, whoever. You've done a deep dive on some of these. I've thought about it a little bit. Yeah, you have. I've had a lot of time recently.Track 3:[40:23] Well, dude, speaking of time, it's been a great time hanging out with you talking pavement. I really appreciate you making some time for me and doing this, hearing your pavement origin story and talking about Song 15. Next week, we're going to hit Song 14, and I'm going to tell you what it is right now. No, I'm not. I'm just kidding. All right everybody is there any clue is there any clues you can give to like not what's in the top 10 or not a bit no way is there anything that took you by surprise, it all took me by surprise so far yeah we're gonna at the end of the series we're gonna do some sort of round table with people who haven't got a chance to be on and they will um, discuss the list as a whole because they'll have the entire list at that point. It's difficult, you know, recording this and you don't know all the songs that come before it. But hey, that's part of the game. I should point out that with my whole Crooked Re experience, Gold Sounds is my number one favorite song from anyone of all time and it's probably never going to change. It's a fucking great song. And if it's not number one, I'm going to write.Track 3:[41:44] All right, dude. Talk to you soon. Wash your goddamn hands.Support this podcast at — https://redcircle.com/meeting-malkmus-a-pavement-podcast/exclusive-contentAdvertising Inquiries: https://redcircle.com/brandsPrivacy & Opt-Out: https://redcircle.com/privacy
In this episode of Healthy Mind, Healthy Life, host Sana welcomes David Roche, a seasoned professional coach and mentor, to discuss strategies for first-time CEOs to excel in their roles. David, who has a wealth of experience in leadership, publishing, and coaching through his company, Gray Area Coaching, shares insights from his Amazon #1 bestseller Become a Successful First-Time CEO. Topics include mastering corporate success, creating your own luck, building essential relationships, avoiding common CEO pitfalls, and overcoming imposter syndrome. This conversation is packed with actionable advice for executives and leaders aspiring to thrive in their careers. About the Guest: David Roche is a professional coach and mentor specializing in working with first-time CEOs across multiple sectors. He is the non-executive chair of the London Book Fair and chair of the writing agency New Writing North. With extensive experience in retail and publishing, David has held CEO positions at Borders and Books etc., along with senior roles at Waterstones, HMV, and HarperCollins. His bestselling book, Become a Successful First-Time CEO, focuses on the crucial steps new CEOs must take to succeed. David's unique coaching approach blends practical business strategies with personal development. Key Takeaways: Creating Your Own Luck: Success in a corporate career often involves stepping beyond your immediate role and proactively addressing challenges faced by senior leaders. Building trust by offering solutions can set you apart. The Importance of Relationships: Networking is critical for CEOs, not only for external partnerships but also for managing internal dynamics with boards, leadership teams, and employees. Effective relationships are foundational to success. Avoiding CEO Pitfalls: New CEOs often falter due to insufficient support or a failure to build the right relationships. Seeking guidance and using an external mentor can help navigate the challenging transition. Overcoming Imposter Syndrome: Many high-achieving leaders experience self-doubt. Recognizing that it is common and focusing on teamwork, rather than feeling the need to have all the answers, can help overcome these feelings. The Value of Coaching: Just as elite athletes rely on coaches, first-time CEOs benefit greatly from having a mentor or coach to provide outside perspective, encouragement, and guidance.
Josh talks with Comedian, and Heckle Hole Hero, Brendan McKeigan about Humber College Comedy, HMV, and Working New Jokes !! Follow Brendan McKeigan on Instagram (@mckeigan) As Always: Follow One Man Podcast on Instagram (Click Here) Have Your Voice Heard at contact@onemanpodcast.com
アニメ『ハイキュー！』にハマる興奮気味の神崎。そこから、子供時代にハマったことを話し始めているうちに、次々繰り広げられるあの時のアニメ、漫画、雑誌たち。「あった、あった！」とどんどんテンションが高まる２人。昔のようには夜遊びができなくなってきたことを憂いつつ、朝帰りが楽しかったあの頃の思い出から、最後は、初めて対面した芸能人の話題まで!!#寝落ち #ハイキュー #キャプテン翼 #進撃の巨人 #テラフォーマーズ #キョンシー #幽幻道士 #グーニーズ #アラフィフのつなぎ #漂流教室 #楳図かずお #おろち #こっくりさんブーム #Mybirthday #心霊写真 #笑っていいとも #いただきます #いじめのルール #うんちミュージアム #ジャンプTOON #肝臓を奪われた妻 #夜遊び #クラブのはしご #SWV #スパイスガールズ #ホイットニーヒューストン #タワレコ #HMV #そよ風の贈り物 #こにたん #藤波辰巳ニューエピソードは毎週月、水曜日に配信。▼X ハッシュタグは#ウォント▼メッセージ投稿はコチラhttps://sbwl.to/wont_message【WONT 公式アカウント】Instagram @wont_podcastX @WONT_Podcast
In a world where magic and adventure come to life, Harry Potter fans have cast a spell of their own, creating a wave of business opportunities and immense growth. Phil Pinder and Ben Fry found a way to capture this enthusiasm for all things wizardry and created their first business, The Potions Cauldron—a place where fans can immerse themselves in the universe and enjoy an enchanting brew or 2! In June 2023, with a vision to scale, they took their business to Dragon's Den and after being offered quite possibly the largest sum to date of £200,000, they simply refused to part with a third of their company and had no choice but to turn down Peter Jones himself. But since then, they've been busier than ever, opening wizarding golf franchises and shops across the UK. Their mystical drinks are now stocked in Hamleys, HMV, and Center Parcs, and they've landed a deal that will help them to produce a million bottles per year. So, the real question is, how did they do it? And how did they fund their expansion and confidently find their footing without the backing and mentorship of a Dragon? In this episode of Sound Advice, Phil tells us how they took this idea and turned it into a magical destination business.
For this week's episode of the Plural Pod, Gareth and Joel explore HMV's vinyl week list. There are reviews of fresh pressings from Beth Gibbons, Michael Head and The Red Elastic Band and Bright Light Bright Light. We dig into the world of second hand sales and find out some of the highest value titles snapped up this week, including Nirvana and a Latin delight. Manda and Moz give us the inside track on life at The Better Dog Records and Tom from Cheap Indie Vinyl provides some top tips for bargain discs this week in a somewhat extended form. All that and we hear about your grails. Get in touch with us via pluralofvinylpod@gmail.comor @PluralVinylPod on Twitter. You can also Whatsapp via 07455680866The Plural Of Playlist, featuring tracks discussed: https://open.spotify.com/playlist/5M566WI1NstJoQcZU0KRMR?si=8h8NUeaXR_acMIrYYQ-rDQ&pi=MBWJA5SvSUewV&nd=1&dlsi=2a5d31635f704542 Join the Cheap Indie Vinyl WhatsApp channel:https://whatsapp.com/channel/0029VaWT9tnElagoIHB2ed1GLowport Sale: https://lowportmusic.co.uk/Nirvana's first single: https://www.lovebuzz7.com/ Hosted on Acast. See acast.com/privacy for more information.
Wyllians Borelli, Médico neurologista e coordenador de pesquisa do HMV - 14/04/2024 by Rádio Gaúcha
Joy Slusarek Proft spent 15 years working for Universal Music Distribution. Like many before her, she started as an FMR (Field Marketing Rep), and like few, she ended up as the Vice President of Sales located in Los Angeles. While calling on stores in Missouri, Kansas, Oklahoma and Nebraska, Joy found herself with a new band called Weezer in her car, taking them to visit mid-west indie accounts. In true 90's fashion, Joy ended the day by taking Weezer to see “Pulp Fiction” shortly after it opened. From 1996-2001, Joy was a Sales Rep in Philadelphia calling on Tower Records, The Wall, HMV and National Record Mart in Pittsburgh. After finishing her career with Universal calling on Circuit City in Richmond VA and as Vice President of Sales in Los Angeles, Joy headed for a quiet part of the country in the great state of Vermont. There she found herself back at WEQX radio, where she had spent some time previously. Joy currently has the mid-day slot at WEQX and enjoys turning her audience on to new music, as well as hosting the Retro Lunch, spinning “alternative oldies” each weekday between 12noon - 12:30pm. Spend an hour with a woman who lives and breathes music.
This week, Eric, Josh, and (special guest) Brad discuss: HMV, Vertigo Records, LaserDiscs, Attack Of The Clones, Wonder Woman, Hugo, King Kong, Super 8, Saturday Night At The Movies, The Petrified Forest, Super 8, broken laptops, and more! They also mention the movies screening from Friday March 22 - Thursday March 28: They Shot The Piano Player, Cinema's First Nasty Women, Archangel, This Isn't The End, The Taste Of Things, Big Shark, Riddle Of Fire, and Christine!
durée : 00:15:59 - Disques de légende du mardi 27 février 2024 - Heifetz/Barbirolli : les enregistrements HMV d'avant-guerre
Part II Kathleen Parlow was one of the most outstanding violinists at the beginning of the 20th century. In 1912, she was signed by the Columbia Record Company in New York, and her first records for the U.S. label were brought out alongside those of the legendary Eugene Ysaÿe. Listen to her fascinating story and how she took the world by storm. From her devastating looks to the intrigue her priceless instrument created. You will hear rare recordings of this prodigious player as we retell her life and try to understand why such an incredible talent has been so forgotten today. Brought to you by Biddulph recordings Transcript Welcome to the Historical String Recordings podcast, a show that gives you a chance to hear rare and early recordings of great masters and their stories. My name is Linda Lespets and my co host is Eric Wan. This is part two of the story of the remarkably talented violinist Kathleen Parlow. In part one, we met a prodigious talent. She was the first foreigner to study in the Russian Conservatorium in St. Petersburg with the famous teacher Auer, and her most ardent admirer had given her an extraordinary gift of a Guarneri del Gesù violin. But just how far can talent, hard work, and good looks get this young woman in the beginning of the 20th century? Keep listening to find out. So now it's 1909 and Kathleen has her career taking off. She has her teacher with connections, she has her violins, and the concert that she did in the National Theatre, the one where Einar saw her for the first time, the one with Johan Halvorsen conducting, well Kathleen and Johan hit it off. And now, a year later Johan Halvorsen has finished his violin concerto, and he's been working so long and hard on it, like it's his baby and, he actually dedicates this concerto to Kathleen Parlow, and asks her to premiere it with the Berlin Philharmonic at the Modenspa outside The Hague in the Netherlands in the summer of 1909. Then Johan Halversen writes this concerto, which is sort of athletic and sort of gymnastic to play. And he finishes it and dedicates it to her to Kathleen Parlow. And she plays this very tricky piece which kind of shows his faith in her virtuosic talents. Well, one of her first recordings was the Moto Perpetuo by Paganini and Auer says it's one of the most difficult pieces in terms of bowing technique ever written, he says in one of his books. The reason why is one has to keep a very controlled bow, crossing strings all over the place, and play it very rapidly. Now Kathleen Parlow's recording of the Paganini Moto Perpetuo, which was made in her first recording session for HMV, is really astounding. It's the fastest version ever made. I think it's even faster than the Jascha Heifetz and Yehudi Menuhin. Clean as a whistle, but she also phrases it so beautifully. So she doesn't just play it technically very fast. She really shapes, you know, it's all regular sixteenth notes or semiquavers, and yet she shapes the line beautifully and really gives a direction. So when you hear this, you realize she's more than just a virtuoso performer. She's somebody with real musicianship. She's an astounding player. And this concerto, it's quite interesting. It's, it's tricky and it's a piece that really shows off a virtuoso. So it's, it's quite a good one for Kathleen. And at the same time, he gives it a Norwegian twist. It's cleverly composed and a virtuoso such as Kathleen was perfect for playing this piece. There are references to Norwegian folk music. In the last movement, we can hear pieces that were traditionally played on the Norwegian Hardanger fiddle. So it's a violin that has sympathetic strings that run under the fingerboard, and it gives it quite like a like a haunting sound, a very kind of Scandinavian sound. So there are bits in this concerto that are from traditional music played on that violin. Then there's, there's this fun bit which makes a reference to a traditional Norwegian dance called the Halling Dance. And the Halling Dance is danced, it's danced by men at weddings or parties, and there's really no other way to describe it than breakdancing and it's like the ancestor of breakdancing. So what happens is the men, they show off their prowess to the ladies by doing this really cool sort of these acrobatics and the music for this hailing dance itself is quite tricky and you have to play it with like a rhythm to get the crowd moving and to give the dancer like the impetus to do his tricks and the men, they wear these like traditional costumes of like high waisted breeches and red waistcoats with long puffy sleeves and this little black hat. It's a bit like Mr. Darcy meets Run DMC. You've got this man in this traditional dress doing this breakdancing, basically. And then they do they do backflips. They do that thing where you hold your foot and you jump through it with your other foot. They do like the caterpillar move. Even like spitting around on their heads. And what happens is they'll be, they'll be dancing to this music often played with, you know, the epinette and they'll be spinning around and then intermittently after spinning around, they'll do, you know, the backflip and the headspin or the, the caterpillar. And it's, I don't know how they do it. It's, they must be very dizzy. Anyway, it's incredible. And then sort of the climax of the dance is that there's a woman also, you know, dressed traditionally, and she's got this pole, this long pole. And on the end of the pole is a hat. And the idea is you have to kick the hat off, but the pole is three meters high. So she's standing on like a ladder with the pole. And so the dancer, he'll do this kind of flying kick in the air. Either you can, you kick it off or you miss it. So in Johan Halvorsen's concerto at the end, there's this high harmonic and that you either have to hit on the G string. And like in the dance, you know, you're hitting that hat off. And so you're always there. You're always wondering if the soloist can pull it off. Can they, can they hit that high harmonic? And it's, it's the same sort of the equivalent of the spinning high kick from the dance. So, and if you were Norwegian, You would get this, I think, from the, from the music and you'd hear it. You hear that you do hear it in the music. So Kathleen Parlow, she plays this Halversen concerto and she plays it three times that year, and when she plays the piece in the National Theatre in September, there's sort of, there are mixed reviews with the critics saying that the piece was too unconventional. It's a little bit different and here's where Halvorsen, he like, he kicks up a stink a bit. This, because this concerto is like his baby and he's really protective and he's like, you know, he's quite fragile. He's, he's worked so much on this thing and people are just saying, you know, nasty things. They don't understand the work that went into it. Yeah, you write a concerto. So people, they flocked to hear Kathleen play Johan Halversen's concerto at the theatre. And it was full to bursting on several nights in a row. And if you consider on the same night in Oslo in another hall, Fritz Kreisler was playing and here you have Kathleen Parlow and people are just like cramming in to see her and Halvorsen's concerto. She was a huge name in her time. Only after a few performances and the negative critiques, Johan Halvorsen, he cancelled all the future performances of the work and, and when he retired, he burnt the manuscripts and asked for all the copies to be destroyed as well, it really, he was really hurt. Well, it was to be lost forever, except So a hundred years later, a copy of the concerto was serendipitously found in the University of Toronto's Faculty of Music, when one of the employees was looking through, not music, but personal documents of Kathleen's and it had been filed in there by mistake. And because it was with her personal files, it hadn't really, like her letters and things, it had been overlooked. So they found it and they resurrected it and they've re performed this concerto that had been lost for a hundred years. And that's another role as a musician. You're also not managing, but you also have to deal with composers that could have quite be quite touchy and everything like a musician has to have, have on their plate. Well, I think being a musician, not only do you have to have an incredible skill level, you have to have an engaging personality. You have to be able to transmit a personality through the music itself. And you have to have incredible social grace to navigate charming not only your audience, but charming the people who create the concerts, the sponsors, the people who bankroll them. I think it's an incredibly difficult task. Because the skill level playing the violin is so difficult. That in itself would take up most people's energy. But on top of that, also have to be ingratiating and charming. I think it's an incredibly difficult life. Yeah, must be exhausting. And she does get exhausted. She'll have Breakdowns through, like her first one is when she's about 22. She has like almost like a nervous breakdown. And so it's kind of, she runs hot for a long time and then crashes. And it might be like, you're saying like all these different things they have to, all the balls that they have in the air that they're juggling to keep it going. Kathleen Parlow, she's still in her teens. She's still a teenager. She has incredible success. She's performing in Germany and the Netherlands. And later that same year, she returns to Canada where she makes an extensive tour. She makes her debut in New York and Philadelphia. I mean, she's just like, she's just all over. I mean, America's a big place and she's just all over the place. And then in 1909, at the age of 19, she gets a recording contract with the gramophone company known as his master's voice. And that's the one with the dog listening into a recording trumpet. And she was offered a 10 percent artist's royalty figure. So is that good? Getting 10 percent royalties? Yes. A 10 percent royalty at that time. is really quite unheard of. I believe the gramophone company gave that to their superstars. Louisa Tetrazzini, for example, was the great coloratura soprano of the day, and she received 10 percent of the sales royalty. So for Kathleen Parlow to be receiving that percentage really attests to her status. Yeah. And like you were saying before, it was, it's like amazing that we've forgotten about her. Oh, it's kind of astounding. She was an absolute star. The concert halls and one newspaper wrote an article and I quote one of the articles, the young woman could not mistake the furor she created. She was, so she was described as the greatest woman violinist in the world and the girl of the golden bow and Of course the obsession with her willowy figure and pale complexion and feminine wilds continues Which is sort of I mean even the case today I suppose will people will go into describing a woman and what she's wearing what she looks like a bit more than a guy, this thing that's just pervaded and then there was Einar Bjornsson, always there in the background. The communications between them, himself and Kathleen, was sort of constant. He was always visiting and in her diary she was, you know, just abbreviating his name because it was so his feelings for the young woman were extreme and the money he borrowed from his father, he would never be able to repay. So he was sort of indebted his whole life because of this. It must have been a little bit awkward explaining to his wife as well where the money has gone. Yeah, it's a big chunk of her dowry. I mean, even if he did tell her, maybe, you know, I don't know, maybe he didn't tell her. Maybe she, it was possible for him to do that. I'm not sure how the laws in Norway work. If, you know, sometimes in some countries, once you marry, your, your money becomes your husband's. Basically, after the successful gramophone company recordings, she was really launched her career. She travelled all over. She travelled to, back to the United States, even though she's from Canada. She was regarded as a British artist, primarily because Canada was part of Britain, but then she made her success in the United States. And she was a very big success, so much so that the Columbia Record Company decided to offer her a recording contract. Now, there were two main companies in the United States. One of them was the Victor talking machine, which is essentially, that later became RCA Victor when it was bought by the Radio Corporation of America. But it originally started as the Victor talking machine. They had many, many big artists. They had people like Fritz Kreisler and Mischa Elman, and they also engaged a female violinist by the name of Maude Powell, who was an American born violinist. And so the Columbia Record Company decided that they should have their own roster of great instrumentalists, particularly violinists. And so they signed up Eugene Ysaie, the great Belgian violinist, but at the same time they also signed up And I think, in a sense, that was to somehow put themselves in competition with the Victor Company. These two major record companies in the United States. So you had the Victor Company with Mischa Elman and Fritz Kreisler and their female star, Maude Powell. And then you have Columbia answering back with Eugenie Ysaie and their female star, Kathleen Parlow. Yeah. So you have like we were saying, like all the relationships that you have to keep juggling as a musician. And I think what Kathleen Parlow had on top of that was this. This complicated relationship with Einar, her, her patron, who was, who it was, it's all a bit ambiguous what was going on there, but she also had that in the equation. So it's not surprising that she had multiple breakdowns like she would just go for it and then, and crash. And she plays, I think Kreisler's tambourine chinois. And was that because there was sort of this, like this kind of fascination with the Orient at that time in the, in like the 1910s, 1920s? Well, the origin of tambourine chinois, apparently according to Kreisler, but Kreisler always spun tall tales. He said that he was in a Chinese restaurant in San Francisco when the idea, the musical ideas of tambourine chinois came to, to being. So, but Kreisler always. You know, invented stories all the time. I mean, the thing is, it's a very playful, it's a very you know, fun piece of music. It's very bustling. So, hence, that's why probably Fritz Kreisler is associated with a busy Chinese restaurant in San Francisco, because it's very, very bustling in its character. But the middle section of Tamborine Chinois It's Act Viennese, so it's funny, because the middle section, when you hear it, it doesn't sound like anything to do with the Orient, or if anything, it sounds like the cafe, coffeehouses of Vienna. Yeah, it'd probably be cancelled anyway today. Well, if they heard that story, it certainly would. Then, she actually only does her first tour in America when she's 20. Kathleen, she continues with her endless touring and concert. Her money management was never great, although, you know, she's still, she's still earning quite a lot of money, and her mother and herself had, they had enough to live on, but never enough to be completely hassle free. And not that she wanted it, it seemed like she was sort of addicted to this life of the stage, and she once said when she was older that she thought maybe she had to get a job teaching, but she just couldn't do it. She played more than 375 concerts between 1908 and 1915 and, and you can believe it to get an idea. So she's 19 year old's touring schedule. Here are the countries she played in in 1909. And you have to remember the concerts are nonstop every night, almost in different cities, but here are just, here are just some of the countries she travelled to in this year, in 1909. Germany, England, Poland, Netherlands, then she goes back to England, Ireland, Germany, England, the Netherlands, Norway, Wales, England again, Ireland again, England, Scotland, Poland. Man, I gave it, it was just, you know, huge. And in her diaries we can see that she's, like, she's just a young woman, like, about town when she's in London, she takes trips to the theatre, and she talks about going to see Madame Butterfly, and she goes shopping, and she goes to tea with people she has like, appointments at the dressmaker for fittings for new dresses, and, and all of this is in between lessons, and rehearsals, and concerts. And her diary is just jam, she has these day books and they're just jam packed. Then Auer when he comes to London, her diary, it's like she has lessons with him. And you can see she's sort of excited, she's like hours arriving and then she'll see him and then she'll often have lunch with him and lessons and sometimes the lessons are at eight o'clock at night or, or 10am on a Saturday or at the middle of the night on a Monday. And she'll skip from him to rehearsals with her pianist from Carlton Keith. And she's lots of tea. She's going to tea a lot with a lot of different people. She's still only 19 here. So her popularity, it's like, it's far reaching and she's not just playing like classical music. She'll also play just popular pieces of the day. There's Kreisler's Tambourine Chinoise. And then she'll play, there's some of the recordings. They're these Irish, little Irish. Songs. So it was to appeal to the general public as well, her repertoires and her recordings. And then in 1910, she turns 20 and she has her first tour in North America. And then in 1911, the New York Herald declares her as one of the phenomena of the musical world on par with Mischa Elman. That must have been frustrating because for years she's in the same class as him and she knows him. And everyone just keeps comparing her to, she's like, Oh, she's almost as good as this guy. But no, here they're saying she is as good as this guy. I could just, must've been a little bit frustrating. Then she makes an appearance with the Toronto Symphony in 1911 and she'll go back there many times. And in the next year, in 1912, she moved with her mother, who's still her mentor and manager and chaperone, to England, where they, they rent a house just out of Cambridge, you know, in the peaceful countryside away from the big cities. And in between her touring from here, she went, she goes to China, to the U. S., to Korea and Japan. And in Japan, she records with Nipponophone Company. She recorded quite just in a not much in a short space of time. She could have, she could have recorded more afterwards, because yeah, but she doesn't. Then the news of the tragic sinking of the Titanic in April had Kathleen jumping on a streamliner herself to play a benefit concert in New York for the survivors of the disaster. And I've seen that booklet, and that you open the booklet, and there's like, life insurance. And then there's actually ads for another streamliner, and you're like, too soon, too soon, people don't want this. And then she plays, so on that same trip, she plays at the Met Opera. She plays Tchaikovsky's Serenade, Melancholique. And in New York, she signed up by Columbia Record, by the Columbia Record Company. And her first records for the US label are brought out alongside those of Eugene Ysaye. So she's alongside these, they all, they must've all known each other. She was a contemporary and she just kind of slips off the radar. And as with all the recordings of the great violinists of the day, most of Paolow's recordings on American Columbia were of popular songs and that, that would attract the general public. But the fact that most of these recordings were accompanied by an orchestra and not just piano highlights her status as a star. So they had the, they got together an orchestra for her, so she's worthy of an orchestra. Still in 1912, Kathleen, she's 22 now and she's been traveling so much, she's, now it's happening, it's hitting her, she's exhausted and she has a kind of breakdown it'd probably be like a burnout and, which, it's amazing she's lasted this long, since, you know, age 5, 6, up to 22. So she's both mentally and physically exhausted and her mother, acting as her agent, realizes that she needs to reduce some of her tours. She retreats to Meldreth, that's that house just outside of Cambridge that they have, that they've been renting. It's quite close to London, that little cottage that they have. They have easy access to London by train. And not only could they go easily to London, but traveling, traveling businessmen! From Norway! Could come to them! Easily. She continues with the concerts, one at Queen's Hall in London. So she has her little burnout, but then she's back again. Plays Schubert's Moment Musical around this time. After they've rented this home for four years, they end up buying it. So she does have enough money to buy a house, so she is you know, not frittering away all her money. So this gives her some sort of stability. And it, even though it's a, it's still a very unusual existence for a young lady of the day. So she's breaking a lot of stereotypes and this could end up being exhausting after a while. So it was nice for her to have a calm place to kick up her heels or fling off her corset. But no, she didn't, but willowy frame, she doesn't look like she's got a corset. I don't think you can play. Can you? Could you play that much? You know, you can't breathe. But, but, aren't there like old photos of, of lady violinists in corsets? I don't know how they do it. Like, you can't. Well, you had to do everything else in the corset. But you get kind of hot and sweaty and you're under the lights and it must have been exhausting. At least she was like lucky to have that pre Raphaelite fashion where she could be wearing, you know, the flowing sort of we're heading into the, the sort of the looser clothes in this era. But I think some people are still hanging on to corsets, but it's like the end of corsets and you're getting more loose clothing thankfully for her. And according to letters Kathleen wrote to friends her and her mother, and they fell in love with the village life in Mildreth. Kathleen was able to relax and lead a normal life in between tours. And then in 1915, you have World War I hits, and her tours are less frequent. Her, her patron Einar, must have been having some lively fun. Dinner conversations with his family on opposing sides. So you've got, you know, with his, you know, fascist party, enthusiastic brother and his ex-prime minister brother in law and his theatre operating lefty brother and his Jewish wife and his Left wing satirical journalist sister, and her German husband, and then, and then his patriot father. So Einar probably just wanted to run away to willowy Kathleen, and her stunning violin. But she remains in England for much of the war, and she does a few concerts locally. And her diary is quite blank until about 1916. And she uses, like, so she uses this time to relax. So ironically, she needed a war. To have a rest. That was the only thing slowing her down. She could, because she couldn't travel and tour. Now she's 26, but I feel like she's just, she's lived so much already. It's incredible. So Meldreth was the happy place where she enjoyed their lovely garden and their croquet lawn and Miss Chamberlain from the Gables next door would come and play croquet and she could escape to another world, almost. She'll go through periods of having these sort of breakdowns. I think she just pushes, there are some people like that. They'll push themselves; they just keep pushing themselves until they collapse. And I feel like she was one of, she looks like she didn't really pace herself. She just went, just hurtling into it. She just catapults herself into life and concerts and playing. In 1916, she returned to the US. She toured Norway and the Netherlands. For playing she was said to possess a sweet legato sound that made her seem to be playing with a nine foot and was admired for her effortless playing, hence her nickname, the girl with the nine foot bow. So yeah, so she must have had this really kind of, it's hard to tell, you want to be there in the concert hall to hear her. I feel like the recordings don't do her justice. A lot of Experiencing music and these pieces is actually going to a concert and it's the same today listening on a you know, at home, it's not the same as being in a concert hall and having that energy of the musician and the energy of the orchestra and the and the audience, it's very different dynamic. She recorded a few small pieces for Columbia records. And then that was, that was it. And we have no more recordings of her. And between 1917 and 1919, she wasn't able to tour outside England due to the war that was going on. And for the last 12 years, Einar Bjornsson had. He'd been this presence in her life, but now in the summer of 1920, he visited her one last time in London before sailing home for good. So that. So it finishes at this time, so he was, he was married, he had children, he was also broke. Buying a horrendously expensive violin and giving it to a girl can do that to you. And Kathleen writes, Kathleen writes in her diary simply, E. B. Sailing home. Einar had to return to his family as soon as possible because he couldn't afford to divorce his wife. Elspeth Langdon, she was, she wasn't going to let him off that easily. And if he left, he would have had to repay the, the dowry, I imagine. Thank you. Thank you very much. As I said, there are just no letters of her correspondence. There's correspondence between her and everyone else, but not with them. So that still remains. But you can sort of see by circumstance what was kind of going on. And after the Great War, Kathleen Parlow, she resumed her career in full force. She gave several world tours traveling to the Middle East, to India, to China, to Korea and Japan. And she toured the States, Canada, Indonesia and the Philippines in that year and she played concerts in 56 different cities. It was just non stop and in, and when I say 56 different cities, that's not 56, you know, concerts. That's like multiple concerts in each. City, night after night. And then in 1926, Kathleen and her mother, they leave England and they move to San Francisco. She takes a year off due to her mental health. So again, she's like, she's overdone it. The stress and basically, you know, a nervous breakdown and she's now in her mid thirties. But after having this year off, she's back onto it. She's back touring again. It's like this addiction, like you were saying, this is what, it's kind of like her, what makes her run. It's what, You know, keeps her going. But at this point she begins to slow down slightly and she starts teaching a bit. Starts teaching more and in 1929 she tours Mexico and she travels without her mother for the first time. Because her mother, Minnie, she would have been getting quite old and then Kathleen she's 39 now. So despite playing many concerts and receiving very high praise financially, she's barely kind of breaking even and she later told an interviewer that when things were very hard she and her mother had talked about her getting a job to ensure their security for the future but she just couldn't do it. And then, but then she did end up teaching at Mills College, Oakland, California. For from 1929 to 1936, but then her world tours continued and this is like, this is how she thrived, even though she would, you know, she'd crash and burn and from the exhaustion and, but then, you know, then she would go back. She realized she had to teach to earn some money. And then she returned to Canada in 1941, where she remained until she remains there until she dies in 1963. She's offered a job at the Toronto College of Music and she begins making appearances with orchestras. She has a pianist, she has the, she creates the Parlow String Quartet, which was active for 15 years. Even though this time was difficult financially for her, she would, she would never give up her violin. You know, she was struggling, just scraping by, but she, she would never give up her violin and so, I mean, it was a tricky situation. It was, it was a gift. Yeah. I mean, could you imagine? Like, she must've realized what Einar went through to give this to her and she can't, you know, she can't just be like, I'm going to sell it. So there's this sort of, it's like she's holding on to a bit of him really, like, by keeping it, if she, she gives that up. So she taught at the University of Toronto and on her wall was a large portrait of her teacher, Leopold Auer, whom she would always refer to as Papa Auer. Now that she'd given up her career as a soloist, but she still remains very active in chamber music, concerto appearance. October of 1959, she was made head of the string department at the London College of Music in West Ontario, Canada. She never marries, and she dies in Oakville, Ontario, in 1963 at the age of 72. She kept her Guarneri del Gesu until her dying day, and the instrument was sold with her estate. The Kathleen Parlow scholarship was set up with the proceeds from the sale of her violin and the money from her estate. So Kathleen Parlow was a somewhat extraordinary woman, ahead of her times in many ways, and her relationship with Einar, must have been pretty intense. And it was, there was obviously strong feelings there. And even though it's a very grey area, we don't know her love life contrasts with her, her brilliant career and her phenomenal touring and the, the energy that she had to do, it was. Exceptional she just does these brief recordings and then she does no more. And maybe, maybe that's why we've forgotten her. Have the other, did the others go on to keep recording? Well, they did. They certainly did. I think I'm surprised that Kathleen Parlow didn't make more recordings. I really am. And I don't know what that's about. I can only speculate, but I think she also kind of retreated from concertizing, didn't she, in her twenties? So, I mean, you know, she did play as far afield as the, you know, she went to China, she went to Japan. She even made recordings for the Niponophone Company in the early twenties. So she was obviously still a great celebrity. But it's sort of puzzling how somebody who had all their ducks in place to make a superstar career. You know, she had talent, she had beauty, she had interest. You know, from the public, so support from her teacher, all those elements would guarantee a superstar career. But it's so mysterious that she kind of fell off the radar. So much so that her name is completely forgotten today. Yeah, it's one of the big mysteries, but it's really quite remarkable that she was such a terrific violinist, even at the end. It wasn't that she lost her nerve or lost her playing ability. She obviously had it. So there are definitely other factors. that made her withdraw from public concertizing. And just her touring schedule is just exhausting. Like just the traveling. Yeah, it's crazy. I mean, I mean, this is truly an example of burnout. Yeah. But, but then she would, she would have the crisis and then she'd be back on, she'd be back touring. Well, you know, she was pretty resilient. But I think just the sheer number of years, I think, must have taken its toll. I think she loved being in England, in Cambridgeshire. I think those were some really happy years for her, to have a home and in a beautiful setting. But it really, it's a very complicated life and a life that really, one would want to try to understand in a deeper way. Yeah, and it seems a little nothing was ever very simple. Yeah, and she never, she never marries, she never has a family. It's Yes. Her life is really And you'd imagine she'd have suitors, you know, send them off because, you know, she was a talented, beautiful woman. So she's got Misha Elman. He could, like, if you were a man, you could easily get married and then your wife would have children. But at that time, if you married, like, she had to choose between getting married and her career. You couldn't work if, like and it often, like, you weren't allowed to work. Absolutely. Terrible. No, it's true. So she had this like, this threat, and that's all she could do. That was her life playing. And then if she married, that would be taken away from her. So she had to decide between, you know, a career and this. It's kind of, it's a bit sad, but yeah, it's a huge choice that she made and she was married to life. Yeah. The sacrifice. One way or the other. Well, I think it's wonderful that she is being remembered through this Buddulph recordings release. And it's the first time there's ever been a recording completely devoted to her. So I'm really glad that. will be able to somehow restore her memory, just a little bit even. Well, thank you for listening to this podcast. And I hope you enjoyed this story about the incredible Kathleen Parlow. If you liked the podcast, please rate it and review it wherever you listen to it. And I would really encourage you to keep listening to Kathleen Parlow's work. What you heard today were just excerpts from her songs. So if you would like to listen to. The whole piece, Biddulph Recordings have released two CDs that you can listen to on Apple Music, Spotify or any other major streaming service. You can also buy the double CD of her recordings if you prefer the uncompressed version. Goodbye.
Conductor, composer and arranger John Wilson joins Netty for tea in the latest episode. They delve into themes that are close to the heart of the OAE. John also recalls some interesting memories including his revelational trips to HMV, and his (nervous) first encounter with the OAE… John Wilson, who joined us in the summer as conductor for our Princess Ida production, shares his journey into the world of music. There are compelling conversations about his skilful ability to piece back together scores that were destroyed, experiences of orchestrating a film and the intersection of discipline, expression and freedom in performance and composition. --Tea with Netty is the Orchestra of the Age of Enlightenment's podcast hosted by viola player Annette Isserlis (Netty). Over a cuppa (or something a little stronger…), Netty chats with a variety of conductors, players and other guests as she ‘spills the tea' on the side of classical music you don't normally hear. Available as Apple podcast, Google Podcast, Spotify, Stitcher, iHeart Radio, TuneIn+Alexa
The U.S launches strikes in Israel and Syria GUEST: Reggie Cecchini, Global News Washington Correspondent What BC's alarming teacher shortage means for our kids GUEST: Clint Johnston, President of the BC Teachers Federation The Week That Was in BC Politics GUEST: Keith Baldrey, Global BC Legislative Bureau Chief Bad Blood: Taylor Swift, BTS, Drake and more pulled from TikTok's library GUEST: Geri Mayer-Judson, Show Contributor Abbotsford International Airport's passenger volume goes sky high GUEST: Parm Sidhu, General Manager of Abbotsford International Airport The Wrap - Back to the Future? HMV returns to Canada by replacing former Toys R Us locations & Universal Music Group pulls out of TikTok due to licensing rights. Is this a major blow for the social media platform? GUEST: Leah Holiove, TV Reporter and Radio Host GUEST: Sarah Daniels, real estate agent in South Surrey; author and broadcaster Learn more about your ad choices. Visit megaphone.fm/adchoices
GeekCypha 360 “Adult” Toys Section Description: Dive into the latest #GeekCypha pod. We unpack the controversy surrounding Vince McMahon and the shocking allegations against him. Then, we discuss the surprising news of Toys R Us making space for HMV stores and debate whether this signals a retail revolution or a nostalgic grab. Plus, we critically examine the relevance of the Oscars in today's entertainment landscape. Craving more geeky goodness? We share our first impressions of Percy Jackson Season 1 and Masters of the Universe: Revolution. And to quench your thirst for news, we cover James Gunn casting Milly Alcock as the new Supergirl, Geraldine Viswanathan replacing Ayo Edebiri in Thunderbolts, Michelle Yeoh and seven new cast members joining the Star Trek: Section 31 movie, and Lamorne Morris and Dylan O'Brien teaming up for Jason Reitman's SNL 1975 film. Don't miss out on this exciting episode – listen now and join the conversation! As always, the geek conversation continues. Share your theories and reactions with us using #GeekCypha. -- Catch Our Streams Every Wednesday @ 7PM ET on YouTube - YouTube.com/@FXAMedia or Twitch - Twitch.tv/geekcypha ----------------------------- Follow Us on Spotify - http://bit.ly/GeekCy Review Us on iTunes - http://bit.ly/iGeekCy ----------------------------- Follow Us on Socials | Instagram | YouTube | Twitter ----------------------------- Follow The Host: ⁃ Doc @BrianHolidae ⁃ Wendel @JawzD ⁃ Dave @merc_witta_mouth ⁃ Skinny @actionfiggyskinny ⁃ Ness @woahitsness ----------------------------- Intro & Outro Music Track: "Distant Fires" Music provided by https://slip.stream Free Download / Stream: https://get.slip.stream/PNO1iG #Geekcypha Logo by @BrianHolidae from BrianHolidae.com
This episode focuses on Caffè Nero's loyalty programme, featuring insights from James Flett, the Marketing Director for Caffè Nero. James has worked for more than 10 years on some of the UK's largest and most loved loyalty programmes and has a wealth of experience about what motivates customer behaviour and change. He heads up the UK Marketing team at Caffè Nero where he has many customer-centred responsibilities including Nero's famous ‘little blue loyalty stamp card'. In 2017 he launched the Caffè Nero app – the paper card's digital sister – that's now used by more than 3 million people globally. Prior to Caffe Nero he worked at the iconic music retailer, HMV, building Curzon cinemas on top of shops, inserting experiential retail in music festivals, and partnering with Apple to launch their products in-store. Today we will be learning about James' favourite loyalty programmes, what the loyalty landscape looks like in the coffee sector and about the Caffe Nero loyalty programme! Hosted by Charlie Hills. Show Notes : 1) James Flett 2) Caffè Nero 3) European Loyalty Whitepaper 4) Mando Connect 5) YouGov
The best of Monocle Radio this week. We interview artist Antony Gormley, discuss the result of the Dutch elections and pay a visit to the newly reopened HMV in London's Oxford Street.See omnystudio.com/listener for privacy information.
As a four-day ceasefire is announced in the Israel-Hamas conflict, we look at how the first two hours of humanitarian pause have unfolded and what comes next. Plus: Finland closes all but one of its border crossings with Russia, what the Dutch election results mean for the right in Europe and the historic HMV shop on London's Oxford Street reopens. See omnystudio.com/listener for privacy information.
Israel says 24 hostages have been freed after they were taken captive by Hamas. Tonight some of the hostages are being reunited with their friends and family. We have the latest. Also on the programme: After a four-year hiaitus, HMV has opened its doors to music lovers on London's Oxford Street - back where it all began in 1921. We take a visit.
Monocle Radio's senior correspondent Fernando Augusto Pacheco speaks with the owner of HMV, Doug Putman, about the reopening of its iconic flagship shop on London's Oxford Street.See omnystudio.com/listener for privacy information.
Both of us were involved in the launch of Mojo 30 years ago in the autumn of 1993 and we dug out our copies of the first issue. As editor Paul Du Noyer said on page 3, it was “our confirmed intention to pitch a wang-dang-doodle – all night long, if necessary.” The cover story was about a sequence from Eat The Document, the film by DA Pennebaker of Bob Dylan's '66 tour that was never released and could only be seen on bootleg VHS cassettes. And this bit was so rare and controversial it had even been deleted from most of the bootlegs - none more niche! – and featured Dylan and John Lennon's stoned ramblings in a black cab after Bob had played the Albert Hall in May ‘66. The piece by Richard Williams also focused on 10 days in the life of Dylan and the Beatles at the time, the kind of specific, deep-end trawl that helped start a whole new wing of rock book publishing. You can see the seeds of the emerging ‘heritage rock' in that first edition too. Mojo have a wonderful 30th anniversary issue out now, by the way. Further logs on this week's conversational fire include … .. why people buy ‘vinyls' when they don't own a record player. … David's story about the HMV security guard who built a shrine to James Last. … the brilliant – and fiercely competitive - mixtapes made and played in music magazines offices. ... the dreadful allegations about Russell Brand and the media rush to cut ties with him. … the band t-shirt favoured by well-heeled businessmen to signify they were once a ‘wild card'. … the Clones Roses, A Band Called Malice … the Dutiful South? … mentioned in despatches: Cat Mother and The All Night Newsboys. … and birthday guest Steve Way on the avenues of discovery encouraged by his love of Paul Weller (including the ruinous pursuit of being a Blue Note completist). Ps Dizzying pop facts: go back 30 years from the launch of Mojo and it's ‘I Want To Hold Your Hand'. There are copies of that first issue on eBay for £44.99 amazingly.Get your exclusive NordVPN deal here: https://nordvpn.com/yourearIt's risk-free with Nord's 30-day money-back guarantee.Tickets for Word In Your Ear live at 21 Soho on October 30th here: https://www.tickettext.co.uk/ysY3FvyFaeSubscribe to Word In Your Ear on Patreon here: https://www.patreon.com/wordinyourear Get bonus content on Patreon Hosted on Acast. See acast.com/privacy for more information.
Both of us were involved in the launch of Mojo 30 years ago in the autumn of 1993 and we dug out our copies of the first issue. As editor Paul Du Noyer said on page 3, it was “our confirmed intention to pitch a wang-dang-doodle – all night long, if necessary.” The cover story was about a sequence from Eat The Document, the film by DA Pennebaker of Bob Dylan's '66 tour that was never released and could only be seen on bootleg VHS cassettes. And this bit was so rare and controversial it had even been deleted from most of the bootlegs - none more niche! – and featured Dylan and John Lennon's stoned ramblings in a black cab after Bob had played the Albert Hall in May ‘66. The piece by Richard Williams also focused on 10 days in the life of Dylan and the Beatles at the time, the kind of specific, deep-end trawl that helped start a whole new wing of rock book publishing. You can see the seeds of the emerging ‘heritage rock' in that first edition too. Mojo have a wonderful 30th anniversary issue out now, by the way. Further logs on this week's conversational fire include … .. why people buy ‘vinyls' when they don't own a record player. … David's story about the HMV security guard who built a shrine to James Last. … the brilliant – and fiercely competitive - mixtapes made and played in music magazines offices. ... the dreadful allegations about Russell Brand and the media rush to cut ties with him. … the band t-shirt favoured by well-heeled businessmen to signify they were once a ‘wild card'. … the Clones Roses, A Band Called Malice … the Dutiful South? … mentioned in despatches: Cat Mother and The All Night Newsboys. … and birthday guest Steve Way on the avenues of discovery encouraged by his love of Paul Weller (including the ruinous pursuit of being a Blue Note completist). Ps Dizzying pop facts: go back 30 years from the launch of Mojo and it's ‘I Want To Hold Your Hand'. There are copies of that first issue on eBay for £44.99 amazingly.Get your exclusive NordVPN deal here: https://nordvpn.com/yourearIt's risk-free with Nord's 30-day money-back guarantee.Tickets for Word In Your Ear live at 21 Soho on October 30th here: https://www.tickettext.co.uk/ysY3FvyFaeSubscribe to Word In Your Ear on Patreon here: https://www.patreon.com/wordinyourear Get bonus content on Patreon Hosted on Acast. See acast.com/privacy for more information.
Both of us were involved in the launch of Mojo 30 years ago in the autumn of 1993 and we dug out our copies of the first issue. As editor Paul Du Noyer said on page 3, it was “our confirmed intention to pitch a wang-dang-doodle – all night long, if necessary.” The cover story was about a sequence from Eat The Document, the film by DA Pennebaker of Bob Dylan's '66 tour that was never released and could only be seen on bootleg VHS cassettes. And this bit was so rare and controversial it had even been deleted from most of the bootlegs - none more niche! – and featured Dylan and John Lennon's stoned ramblings in a black cab after Bob had played the Albert Hall in May ‘66. The piece by Richard Williams also focused on 10 days in the life of Dylan and the Beatles at the time, the kind of specific, deep-end trawl that helped start a whole new wing of rock book publishing. You can see the seeds of the emerging ‘heritage rock' in that first edition too. Mojo have a wonderful 30th anniversary issue out now, by the way. Further logs on this week's conversational fire include … .. why people buy ‘vinyls' when they don't own a record player. … David's story about the HMV security guard who built a shrine to James Last. … the brilliant – and fiercely competitive - mixtapes made and played in music magazines offices. ... the dreadful allegations about Russell Brand and the media rush to cut ties with him. … the band t-shirt favoured by well-heeled businessmen to signify they were once a ‘wild card'. … the Clones Roses, A Band Called Malice … the Dutiful South? … mentioned in despatches: Cat Mother and The All Night Newsboys. … and birthday guest Steve Way on the avenues of discovery encouraged by his love of Paul Weller (including the ruinous pursuit of being a Blue Note completist). Ps Dizzying pop facts: go back 30 years from the launch of Mojo and it's ‘I Want To Hold Your Hand'. There are copies of that first issue on eBay for £44.99 amazingly.Get your exclusive NordVPN deal here: https://nordvpn.com/yourearIt's risk-free with Nord's 30-day money-back guarantee.Tickets for Word In Your Ear live at 21 Soho on October 30th here: https://www.tickettext.co.uk/ysY3FvyFaeSubscribe to Word In Your Ear on Patreon here: https://www.patreon.com/wordinyourear Get bonus content on Patreon Hosted on Acast. See acast.com/privacy for more information.
His Master's Voice is back with his latest EP, ' Wir Sind Alle Ungleich,' a four-track electro journey set to hit the airwaves on September 12 through Kuratorium, Lennart Wiehe's record label. Embracing an infectious surge of electro-dancefloor energy, HMV unleashes a compelling auditory experience. 'Circles,' the EP's most subdued offering, maintains the signature energy that defines HMV. Anchored by a classic breakbeat rhythm and driven by an engaging bassline, 'Circles' also weaves in a subtly entrancing synth melody. While less intense than its counterparts, the track still holds its ground with a satisfying balance of elements. https://soundcloud.com/hismastersvoiceelf https://soundcloud.com/kuratorium https://www.instagram.com/iamhishamstersvoice/ https://www.instagram.com/kuratorium_berlin/ www.itsdelayed.com www.instagram.com/_____delayed/ www.facebook.com/itsdelayed
Lucy-May is a singer/songwriter from London, UK. Brought up on 60's Motown and Pop music, her vocals are a blend of classic Rhythm and Blues with a modern country take. Her unique style and edgy, retro look puts her in a class all her own. After being tipped by Sir Terry Wogan as a “British Country star ”, Lucy-Mays first single “Paper Heart” went on to be playlisted at BBC Radio 2. Singles “Whirlwind” and “We Got It” also received radio airplay, most notably by Graham Norton and Paul O'Grady. Releasing her debut album Whirlwind in 2015 she says... “it was pretty surreal seeing my album on the ‘Recommended' shelf in HMV, I literally had butterflies in my stomach and my eyes were full of tears. I was so proud.” Continuously performing around the UK while also creating a buzz Stateside, she has opened for some incredible artists such as: Michael Bolton, Gabrielle, Robben Ford, Striking Matches, Kristian Bush (Sugarland), Larkin Poe, Ashley Monroe and James Walsh (Starsailor). Some of Lucy-Mays performance highlights include: The Isle of Wight Festival, C2C and the legendary Royal Albert Hall. She has since released her second album Little by Little, having her first three singles “Counting the Days”, “Little by Little” and “Ain't About You” all make waves on UK and US radio. After a headline tour of the UK following her second record, Lucy-May sang live on BBC Radio London with Gaby Roslin and BBC introducing with Gary Crowley among many others. Lucy-May ended 2021 touring with Michael Bolton as his Background Vocalist. Currently Lucy-May is in the studio working her next album.
It's part two of our summer meeting of The Urbanist book club, in which we examine how cities could be the solution to society's biggest challenges. Plus, we discuss the changing face of retail through the story of one man's journey from shop assistant to COO of the legendary music store – HMV.See omnystudio.com/listener for privacy information.
Hey everyone, it's JD here with Pete and Tim, and we've got an exciting episode for you as we explore the Tragically Hip's 1994 album, Day for Night. This record holds a special place in my heart, and I can't wait to share my memories with Pete and Tim. Listen in as we discuss the album's unique nuances.As we examine the tracks on Day for Night, we also dive into the powerful lyricism of songs like Greasy Jungle and Nautical Disaster, uncovering the stories behind them. Our discussion also touches on the impact of the album's intro song, Grace, Too, setting the tone for the record and leaving a lasting impression on listeners.Join us as we reminisce about the days of midnight album releases and the significance of this record in the Tragically Hip's discography. Through our conversation, Pete and Tim share their first experiences with the band's music. So, whether you're a longtime fan or discovering the Tragically Hip for the first time, this episode is sure to be a nostalgic and enlightening journey through the world of Canadian rock history.0:00:00 - Speaker 1Hey, it's JD here and I'm with Pete and Tim and we have a really big announcement we want to make. Are you strapped in Good? Mark your calendars for Friday, september 1st, as long-sliced brewery brings to you getting hip to the hip on evening for the Downey Wend Jack Fund. 0:00:22 - Speaker 2Join us at the Rec Room in Toronto for a night of music, unity and making a meaningful impact. This event is dedicated to honoring the legacy of the tragically hip, while supporting the Downey Wend Jack Fund. 0:00:32 - Speaker 3Immerse yourself in a powerful tribute performance by 50 Mission, celebrating timeless classics that have shaped Canadian rock history. We'll also wrap up the podcast in a memorable way by doing our finale live that evening, but it doesn't stop there. 0:00:48 - Speaker 1This event is all about making a difference. So we've got a silent auction with prizes. you've got to see, from Blue Jays tickets to tragically hip ephemera to kitchen appliances. If you're looking for something cool, chances are you'll find it at our silent auction. 0:01:05 - Speaker 2All proceeds for the evening will go directly to the Downey Wend Jack Fund supporting healing, reconciliation and positive changes for Indigenous communities. 0:01:13 - Speaker 3Tickets are on sale June 1st and can be picked up by visiting gettinghippetothehipcom and clicking on finale. 0:01:21 - Speaker 1By attending Getting Hip to the Hip, you're not only enjoying a night of incredible music and comedy, but also contributing to a brighter future. Join a community of like-minded individuals who believe in the power of music and unity. 0:01:35 - Speaker 2Tickets are only $40, so mark your calendars and visit our webpage to secure your spot at this unforgettable event to celebrate the hip with fellow hip fans. 0:01:45 - Speaker 3Getting Hip to the Hip. An evening for the Downey Wend Jack Fund promises to be an experience that leaves a lasting impact. Please join us at the Rec Room in Toronto on September 1st and be part of something truly meaningful. We'd love to see you there. 0:02:11 - Speaker 1It's nearly 10.30 pm on September 23rd 1994. I'm on the 106 bus riding from York University to Wilson Station. during my first year at the institution, i was on a mission to pick up the latest effort by my favourite band, the highly anticipated Day for Night. Since mid-summer of 1993, i'd been going bananas over the song Nautical Disaster, first introduced to me during my 19th birthday. It was at another roadside attraction, and as the band launched into New Orleans as Syncon they jammed through the now classic cut in spectacular fashion. However, it wasn't until the Kumbaya Festival early in September of that same year that I finally heard the track on tape. My friend Heather had come home from university having recorded the festival on DHS. We quickly dubbed the video to cassette and now I was off to the races From there. it took until Canada Day of 1994 before I heard anything else from the record. The hip played the gig with a chip on their shoulder, as many of the fans had acted brorish and disrespectful towards many of the opening acts, including Daniel and Locke. The set was heavily peppered with songs from Day for Night and I liked what I heard. As I got off the subway and approached HMV, it was nearing midnight. The new album would be in my hands soon and I could listen without the distraction of frapples throwing bottles towards the stage. From the first notes of Grace II, this one felt different, especially after the slick polish of fully completely or the bar blues of the prior two records. This was a band hitting its stride and understanding exactly where it fit into the fabric of the rock and roll paradigm. But that was then. Today I'm tasked with taking Pete and Tim into my memories and hoping to goodness this one sticks the landing for them. We'll soon find out on this episode of Getting Hip to the Hip. Long Sliced Brewery Presents Getting Hip to the Hip. Hey, it's JD here and welcome to Getting Hip to the Hip, a Tragically Hip podcast where we go through the discography of the hip with two folks who have never heard of the band before. So, while they're having their first experience listening to the music, you can revisit yours. Send me an email, jd, at GettingHipToTheHipcom, with your first experience with the Tragically Hip. It would be great to hear those, as we listen to Pete and Tim, describe theirs. Speaking of Pete and Tim, they are most certainly ready to be released from their protective hatches. I will push the button now and they are there. They are on their platforms. they're they're levitating platforms. How are you doing, fellas? 0:05:22 - Speaker 2Hey guys, Oh sorry. 0:05:26 - Speaker 1He nodded his head. 0:05:29 - Speaker 2I nodded my head for all you out there in radio land. 0:05:32 - Speaker 3That's my favorite aspect of podcasts. 0:05:35 - Speaker 1He loves theater of the mind. Sorry about that. Yeah, that's great. What's new? 0:05:42 - Speaker 2Oh man, it's new. Back in the saddle, man, you know. back to work today, like I said, struggling with a little bit of jet lag, but other than that, i mean I, i how much time we got JD. I could. Could tell you a lot of what's going on, but I don't know. Put you guys to sleep, tim. What's going on with you man? 0:06:08 - Speaker 3Oh, just cranking on. the week getting started here And last week was, to be honest, kind of rough, so I'm hoping this week's good. That's. that's what I'm counting on. 0:06:18 - Speaker 1Fingers across for you, fellas, both of you, to avail yourself from the. Jag, the Jag lat the jet lag and for you to feel better this week. 0:06:29 - Speaker 2Did you try to? did you try to call me a jackoff right now? 0:06:33 - Speaker 1Is that what you're trying to call me? No, i said jet lag, but I said it wrong. Jag lift, jag off. Yeah, i'm all right, i can't complain. We've got a new puppy dog and she's pretty awesome So far. She's having a nap on the bed right now. She spent the morning in her crate, so you know, we've been letting her run free this afternoon, or I have been letting her run free this afternoon. So, yeah, that's really irrespective of nothing. But Who named her? I did. 0:07:09 - Speaker 2Nice. 0:07:10 - Speaker 1Yeah, yeah, that's my last naming job that I get to do, though. 0:07:15 - Speaker 2I gotta ask you, michael Keaton, george Clooney, val Kilmer, christian Bale, robert Pattinson- I guess I'm a bailperson at this point. I would have. I would have also. The judges would have also accepted Adam West Michael. 0:07:34 - Speaker 1Keaton. Oh, adam West, yeah, sure, sure, yeah. 0:07:39 - Speaker 2Michael Keaton. Michael Keaton was great, but yeah, christian Bale was. Those movies were so amazing. 0:07:43 - Speaker 1Oh, it was Batmania, just Batmania, when Keaton and Tim Burton put that whole thing together. 0:07:52 - Speaker 2Oh yeah, Tim, were you a fan. 0:07:54 - Speaker 3No opinion. 0:07:55 - Speaker 2Okay, you're fleeting the fifth on this one. 0:07:59 - Speaker 1Yeah, no opinion, okay. So we're here today to talk about the fourth long play from the Tragically HIP, their fifth output at this point. This came out in 1994, to be exact, it came out the third week of my first year of university and they did a midnight album release. So, like all the record stores were open, they would be open all day and then they would close at nine and then they would reopen at midnight so they could sell the record, because it was the next day, it was Tuesday, so it was like Monday night at midnight you would go and get the record before anybody else. 0:08:42 - Speaker 2I remember that Tower used to do that too. 0:08:44 - Speaker 1Right, it was a cool fad and it's just. 0:08:48 - Speaker 2you know it's got like It was Tuesday you said right, That's right. 0:08:51 - Speaker 1Records always came out on Tuesdays. 0:08:53 - Speaker 2And there's a reason for that, and somebody told me the reason. I can't remember, but there was a reason. There's a distinct reason why that was the case, right. 0:09:01 - Speaker 1Okay. Well, if you out there know what it is, use social and let us know. Or shoot us an email at JD, pete or Tim at getting hip to the hipcom. This record means a lot to me. So you know, i'm not going to. I'm not going to beat around the bush this time. Or I am going to no, i'm not going to beat around the bush this time, i'm going to lay it all out right now and say I fucking love this record. So you know, let that not impact your scores. But there may be some arguments because it's just got the, it's got the crisscross of hitting a sweet spot for me with my favorite band at the time and coming out temporarily at just the right time you know to to build a culture around. you know it was produced by the hip with assistance from Howard and Freakin I believe it's Mark Howard and Mark Freakin. Freakin I want to say sound guy for the hip You can listen to fully and completely to get the all, the, all, the detailed information. We always went through that stuff in a big way on that show And this is not what this one's about. This is an addendum. So the label was MCA. This is again another MCA release for the hip Looks in at a record 59 minutes 26 seconds, you know, just a almost an hour. Singles It had six singles. Grace, two was a single, it was the first. One came out right before the record dropped. Greasy jungle was the second one. Nautical disaster was the third one. So hard done by then scared, and then thugs, and I believe that thugs was almost, you know, a full year after the record came out. So this one had legs. All music rated this record a 3.5 or part of me a three out of five, much lower than fully completely, which was the record before this, which got a 4.5 out of five. So a three. Very interesting, very, very interesting, grace. Start off the top with your initial thoughts on this record, mr Leiden. 0:11:32 - Speaker 3I felt it was long, you know, and realize pretty quickly that we were getting some extra songs. What else about it? I did notice some recording kind of changes or uplifts as far as production value goes, which is cool. What else about it? There are some certain songs on there which I absolutely dug. I ended up listening to the first half of the album several times I want to say struggled through to get through the whole album in a sitting, but I just kept finding myself starting over at certain points. Yeah, yeah, yeah, yeah. So we can talk about that more. 0:12:16 - Speaker 1I mean, it's definitely a long record, And could I edit this record? Sure, i could. I'm not going to ever say which songs I would potentially edit out, because they're all my babies and I just couldn't say it, but I secretly know which ones I'd get rid of. Tim, you have been looking for an album. You've been searching for an album throughout this podcast. You know you've talked about Pizza with the Works, you've talked about Mishmash's and collections of songs produced together to round out an album, but it seems to me as though you are seeking not necessarily a concept, but a conceit, and I would have thought that paid off with fully, completely. It didn't. So how about this record? I? 0:13:06 - Speaker 3don't think I'm quite there yet, but I'm close. Okay, i was expecting this album to be maybe more, maybe more concise, since they were driving and had more control, i don't know. I think that just the fact that it was a couple songs longer in the cadence of all the songs and really looking at where their place and all those things that I like to do, you know, it checked a lot of boxes for me, but I didn't. I didn't finish listening to it in a take and go oh yeah, now I'm here. Pretty close though, but I'm pretty close, jd, tell us, tell us, you know, when it came out at 12.01, were you in line buying it, or when did you listen to it? Like, what do you recall from your first listen to this album and how you felt and why it's your fave? 0:14:00 - Speaker 1Well, again, it's got that crossroads right of like culture and time and place And they were my favorite band so it was like so exciting to be in Toronto and buying it right away, because before I would have had to buy it the next day, there had been some concerts leading up to the release of this record where they had dribbled some breadcrumbs of what this record was going to entail And it was so cool to hear it And, more importantly for me, after the very slick sounding fully, completely, i love the. Well, you guys both know that I'm into lo-fi music and this isn't necessarily lo-fi, but this sounds much more self-produced, right Like. It sounds like it's recorded by people who are making their first record in a good way, in a really good way, like it's so fresh sounding after what. The last group of records that we heard were more slick and polished and that sort of bar rock thing. I've always said. This was the record where the Tragically Hip revealed that it hasn't been beer that's been fueling them all these years. It's weed, like they're a total weed band, and this record was the first one that reminded me of that. The rest of the records are sort of beer Okay okay, you know. Yeah, i've had 30 years to gestate on that, though, so bear that in mind. Now Pete has blood pouring out of his mouth right now. He's chewing his tongue off. You know He's dying to jump in here. What does he have to say about all this hullabaloo? 0:15:43 - Speaker 2Well, real quick. You mentioned that this was three out of five, and fully and completely was 4.5 out of five. Who's the company? 0:15:55 - Speaker 1I always use all music. I always use all music, all music, yeah. 0:15:59 - Speaker 2Yeah, they got their heads up their asses, because I don't even remotely see how this is less on the point scale than fully and completely, because I thought this record was fucking awesome. I agree that I felt the same way. That kind of Tim felt that it was a bit lengthy. I felt myself starting at a number of times and struggling a little bit to get through some ladder parts. There's certainly some areas where they could trim the fat, if you will. I'm not going to say which ones they are, but it was like for a band that's producing their first. It's their first go at producing a record themselves. It's kind of like it's just a little too much. It's like going out on a great first date, dinner's great, movie's great go back to the house. Sex is great. Oh, first date That your date's like hey, do you ever want to have kids? You know, it's like. It's like totally could've just done without saying that and the night would've been perfect. Like they just say that, they just ask that. Like on their way out It's like, oh, okay, doesn't mean you're not going to go out with them again, but it's, you know, i love it. I love it. 0:17:30 - Speaker 3I'll leave it there for now to let you say You know, i'll just quickly add on that very you know, very similar token that I had with it. I'm curious to hear the next albums And then to again look back at specific albums to see how I feel about them, because this is probably one. You know you are so excited. You know there's a trilogy of movies coming out on something that you love And you see the first one and you're like God, i hope the next two movies are just as good. Maybe the next one is pretty good or better, and you're like, oh shit, this is going to be great. You know, it's kind of I'm leaning towards that. I'm excited to revisit some of these to see how I feel in a couple of months. Hopefully I won't be like dude, i'm done you guys. No, that's not going to be the case. But yeah, i'm anxious to revisit the future for sure, because this is probably one of those albums. 0:18:30 - Speaker 1Yeah, yeah, i'll be interested to see that too. Maybe again we will have like a 10 year reunion. Pete mentioned that in the last episode. You know we should go back 10 years. Oh, we might. So who knows, maybe we will revisit this on whatever platform the kids are listening to in the future. I'm sure they'll be nuclear powered or something OK. So here's something new An intro song that doesn't just like open with a kick to your ass. It opens in a much different way. It still manages to kick your ass, but in a much different way. It doesn't have like a lick off the top like little bones or courage for human clenin, you know. It just doesn't have or blow a high dough. It doesn't have that same sort of whoop in the butt. It's a taste of like this is what you're going to get. I think You know it's a little bit of like setting the table. It's because you're listening to it and you're like whoa, this isn't the hip that I left behind a year and a half ago. 0:20:08 - Speaker 6Come on, just let's go. She kind of bit her left Geez, I don't know. But I can guarantee That we're now not gonna do. I'm told no proof That we're not gonna do. That's what I'm here for. I come from downtown. I'm already familiar. I'm with the low and weaks of our nation. That's what I'm here for. 0:21:46 - Speaker 7The secret rules of engagement are hard to endure. 0:21:57 - Speaker 6When the appearance of conflict again surrender means the appearance of force. Uncle, uncle, i can guarantee, i can guarantee There'll be no knock on the door. I can guarantee. I'm total proud. That's what I'm prepared for. Yeah, i've come from downtown. I'm ready for you. I'm ready to scale. And it's frustration. I'm ready to scale. And it's frustration. I'm ready to scale. And it's frustration. No, no, no, no, no, no, no, no, no, no, no, no. 0:25:07 - Speaker 7No, no, no, no, no, no. Thank you, music lovers. On behalf of our crew the finest crew in the business, ladies and gentlemen, on behalf of Robbie Gordy, johnny Paul, mr Jim Bryson on Keys, us musicians and the crew and everybody here tonight, we want to thank you. Thank you, music lovers. Thank you and Merci beaucoup. Summer on. Summer on take care of each other, drive the speed limit, wear a life jacket. 0:26:24 - Speaker 2Summer on you mentioned setting the table and I agree. And it's saying that it's a different band. That's like the one of the first things that wrote down. I feel like to be honest with you. I like this song so much. I feel like kind of it's just stupid even talking about it like it's such an honestly, it's a fucking banger. And I think I had sent to you guys in the group text like the SNL performance of this song. Yeah, it's just, it's jaw-dropping. Yeah, it's. It's the line about just. I looked at the phrasing, i looked at the lyrics and the way he did he wrote the lyrics and it's just so cool. Sorry, i wish I could articulate it better, but the rules of engagement are hard to endorse. Yeah, like is this I read a little bit online that it was you know about like a man propositioning a prostitute or a young girl. But I'm also like, is this a song about war? is this like an anti-war line that he's throwing in there? is it a double and tongue girl? I don't know, but I don't know. I could say a million things about this song, but I'll hand it over to to mr Leiden. 0:27:54 - Speaker 3I'm. I'm pretty much in the same boat. I heard this song and I immediately thought this is a stellar hip song. I can't wait to hear the rest of the album. But instead of like really going to the rest of the album, i immediately found the first live version I could find on a Google search, because I thought this song is, is gotta be, you know, quintessential live hip song and that's that's kind of where I went and I ended up finding the, the Woodstock 99. If you guys haven't watched any of the documentary about Woodstock 99, please do. It was a just the demise of Western North America, usa culture right there. But anyways, this recording, this video recording of the band at Woodstock 99, is so good, like chills on my arms, like Goose Pimples, it was just fucking amazing. This, this song. You know, i was basically like okay, that's, that's my single. Should I listen to the rest of the album? I'm pretty happy right now didn't they do. 0:29:12 - Speaker 2What did they do? a 94 and a 99, or did they just do 99 just? 0:29:19 - Speaker 3I think the documentary it's a 99 one, where they set everything on fire and tore down all the stages and rated the food trucks and 99 all those things. And then, you know, with this song in particular, i was anxious to hear the band doing their own thing without, you know, managers or producers looming over them. And there were a couple different things I heard, which are even more so on certain songs. But the drums sounded a little different, a little bigger. Maybe the bass was a little bit more engaged with drumming. And there's there's been some times when the bass is kind of funky feeling, just like really in it there was some kind of I don't know, pete, you might know, but there was some echo, really echoey guitar effects. 0:30:12 - Speaker 2I got, i got that written which were pretty cool. 0:30:15 - Speaker 3Yeah, it was kind of the song just hit all the boxes had kind of this transcendental gonna take you on a journey. You know, i liked it so much I was like I don't even care what it's about, this is just a great listen yeah. 0:30:32 - Speaker 1Tim you talking about. You know the drums being bigger and you know the production just sounding. You know bigger and you know with with some of the guitar effects a lot of it has to do with. They went back to New Orleans but this time they went to that Daniel Inwas studio and the Kingsway studio, which is just a big old house and you know they would do stuff like bedsheets over the stairwells and you know, just like like home studio tricker, but on a bigger, bolder scale, because this house has so many nooks and crannies that you can get different sounds of the different spaces. And they took advantage of that, which is very different from the, the path they took on the record prior. 0:31:22 - Speaker 2Okay, daredevil so daredevil this, the skipping start that they did. Yeah, i feel like that was. So this was. What year was this? again? GD 94, 94. So I feel like I mean that was the height of like CDs like were where literally everybody had a CD player, wasn't like the early days. So I feel like maybe it was a. It was a joke to to make people think their CD was skipped, because if you ever bought a CD and you were unfortunate to buy a scratch CD that was brand new and it skipped, you were fucking pissed. Oh yeah, so that was cool, that was unique. This song certainly does sound way better in the car. I don't know if it's just specifically my car, because I have a pretty good sounds. 0:32:26 - Speaker 3It's the premium audio system. Is that what you guys kept saying? 0:32:30 - Speaker 6premium audio. 0:32:31 - Speaker 3I think we're at a point for an acronym for pass sound system everybody everybody listening. 0:32:37 - Speaker 1How about a? 0:32:38 - Speaker 3t-shirt yeah, if I get, if I get through this. 0:32:41 - Speaker 1Okay, these guys only a ride in Pete's car, the big that dooby or there should be a bingo card where the you know, every time you hear Pete say premium audio sound system, you tick the box, or and then there's of course the free square, and then, if you hear me say so, there's that geez, we're going to Malaga. 0:33:15 - Speaker 3There's this guy there with this premium audio system and he gives people rides. 0:33:22 - Speaker 2I'm just saying that because I'm due you're doing yeah, for sure $25 a song I'm good I think that'd be cool. I think a job this no, this song. Tim mentioned something about the, this bass. You were JD, you were talking about the, the studio and all the trickery. But yeah, this is the first one where I write down the like the guitar solos, for example. They seem way less defined on this record, and I don't mean it in a bad way, i mean it in a way that and then there was a really cool oscillation effect maybe a little more jam. 0:34:13 - Speaker 3I don't know if you know, yeah, yeah, yeah, yeah yeah, i think the flavor is kind of gelled together more the oscillation effect. 0:34:24 - Speaker 2If you've ever heard the the song real emotional trash on the album, real emotional trash yeah, that Steve Malkomis song I know this came before that, but whatever he's using on that guitar solo is exactly the same effect they're using on their level because that oscillation of the guitar is just. It's so cool. I wish I was cool enough to know what it was to ever be able to use myself, because it's fucking rad. Anyway, i dug this song a lot. I really liked it. 0:34:59 - Speaker 1What do you think? what do you think they're damn? 0:35:03 - Speaker 3I did too. I think, yeah, i love the drummer just counting it off at the beginning. That that made it feel like maybe more home recording type scenario. This song, this song, like I was wishing I was in a bar, just like sitting at the bar pull-up and just I felt like I could be watching the band, you know. But it was like the barkeep and the kitchen people and I don't know. This, this one, this one kind of took me in a different direction than than many. After the one minute mark maybe this is kind of what you're talking about, pete like with the guitar and drums it gets kind of heavier or more layer layered. It felt like locomotive, like this train's just really going story wise, i mean, that's probably a podcast itself to talk about Annie Edison Taylor and going over the falls aspect of this one I love. The line in the real wonder of the world is that we don't jump to. Yes, you know, that's. That to me is like it delivers something inspiring. The song is like get out and get after it. Step out, you know, jump off that cliff, you have 50% chance of surviving if you survive. It's gonna be awesome and if you die, it'll be awesome. You know, this sounds really. It really is really cool. 0:36:40 - Speaker 1Where do we go next? we hit track three, and that's greasy jungle. Take it, tim greasy jungle. 0:36:48 - Speaker 3This one, the snares really snappy. I felt like this is where you're kind of hearing different recording, maybe aspects. When I say snappy snare, it's like tuned tighter. Maybe you know there's lots of film references here in this song which we've gotten before. There's congas, like. There's some hand drumming at some point in the song, i believe, which is. I was just like kind of tuned into the drums on this one. Obviously that's a background effect, but a new layer. There's a definitely a new crash cymbal, like there was some new drum gear right on this album. There's a new crash cymbal that's really bright. That's always kind of gets my attention. I didn't realize first few listens that it was like dirty streets, metropolis, correlation with greasy jungle. I didn't know what the heck it was about. You know I didn't for a song three. I always like hope that this is the one that's gonna get maybe somebody around the bases at bat. You know that they're gonna push, push it through and this one didn't do it as much for me. I was more kind of like okay, what's, what's next with. 0:38:21 - Speaker 1This one didn't grab me so much one of the cool little Gord Downey stories is the lyric that you're just talking about metropolis noir. It sounds so elegant and mysterious at the same time. But metropolis noir is a name he saw on a bag of coffee, it's. It's like French roasts, but in French it wasn't French roasts, it was a dark roast or something, or Italian roast. 0:39:00 - Speaker 3Dark roasts. Dark roasts, italian roasts. 0:39:02 - Speaker 1I forget which one it was, but it translated, because everything in Canada has to have a French label and a Canadian label. It translated to matropolis noir. So that's just one of those little things he stuck in his notebook. and then he's writing this greasy jungle, matropolis noir. And all of a sudden you've got this setting and then it takes you on that little story for funeral home sandwiches and coffee. Oh delicious Yeah. 0:39:33 - Speaker 3Yeah, i think that I also read that it maybe referenced a diner that he worked at that had the same name. Oh really, did you guys know that? Yeah, yeah, greasy jungle. Greasy jungle Sounds like a good diner though. 0:39:48 - Speaker 2Yeah, jd, you said French roasts, and it's funny because I always think I don't remember the name of the comedian, but in France they just call it roast, just like Tim and I's definition of Canadian bacon is actually just bacon for you right, JD, No I can't remember the comedian who did that bit, but, tim, i couldn't disagree with you more on this one. However, i will tell you. 0:40:25 - Speaker 1Tim, you're ignorant slut. 0:40:30 - Speaker 3Yes. 0:40:31 - Speaker 2I'm done. I sort of felt like that the first time I heard it And the more I. This was one where I kept digging Actually I didn't really have to do much work, but just the more I listened to it the more I was like okay, i get it. I get why this was a single. This is a banger on the phrasing on it. The vocal phrasing absolute A. Plus another great car song on the solos, super experimental, like again. It's cool, because it's not. Most of the guitar on this record is not like this. It's not a producer going. 0:41:11 - Speaker 1Okay, boys, let's lay down the solo. This is where we're going to put the solo here. Give me 32 bars, let's go. 0:41:18 - Speaker 232 bars, yeah, like it just it's so cool and it's not like that. And this song is the first although not as much, because there's another one we'll bring up and I'm sure you guys know which one it is But this is the first song where I really hear that the influence this band had on a Linus Morrisette. Oh wow, Oh yeah, There's another song on this record that we'll get to. That is clearly. It's clearly. She was sitting in her room listening to this record prior to recording Jagged Little Pill, like which I can't remember what year that came out. 0:42:04 - Speaker 1What year did that come out? It came out, i want to say the summer of 95 was when the was when she broke, when she exploded. 0:42:13 - Speaker 3Yeah, is she a fan? Is she a fan? 0:42:16 - Speaker 2She's a great musician and she's Canadian, so I would be hard pressed to think she's not. At least, i didn't mind. Oh yeah, she's Canadian. Yeah, you fuck her, stick together. So I saw her live in 2018 in LA and she just, i mean, fucking blew the roof off the place. Oh man, it was, it was, it was insane. 0:42:40 - Speaker 1Anyway, my wife had tickets to the 25th anniversary tour of Jagged Little Pill and it got canceled due to COVID. So, yeah, total drag. Yeah, yeah, okay, yeah, i'm, i'm on your side there, pete. As far as Greasy Jungle goes, next one is a cool thing that I don't know if this is something that pre-existed. You know, i don't know if somebody had taken a photograph and of a dog, you know, with its teeth bared, and wondered aloud if it had been yawning or snarling. Because, like, since that time, i've seen so many photos that I say that line in my head. You know, there's so many photos that they're captured and we feel something right away, but then you have to sort of open your mind and go well, wait a minute, maybe that feeling that I'm feeling isn't the right feeling. You know, it was just the way the photo was captured. It could have been yawning or snarling, and that sort of kicks us off. 0:44:08 - Speaker 5The cops go into the crowd under a glaring platter of light and the music's just so loud and the tourists take their t-shirts off and a bus load of kids and gifts to the finger Afternoon, when the sidewalk's hot and the shadows too chilly to linger. 0:44:50 - Speaker 6Both we're in the escuchians and at the bar, and people are helming Downtown. Never, ever been. 0:45:06 - Speaker 5Now just wait for me, I'm gonna resurface. 0:45:17 - Speaker 6I take a look at this photo girl. I don't know how clearly it's taken away. 0:45:28 - Speaker 5I'm gonna get out of here. I never saw it. The picture is never clear. 0:45:41 - Speaker 6I'm gonna make a decision. I mean an incarceration, i mean so much. One night in El Paso, the cops fall into the crowd Under a throbbing bladder of light And the music is just so loud And the tourists turn their TVs off. The box is apart with the sound of a linger Night time when the shadows come And you tilt to the tips of your fingers. But that's the way it goes in our region. I'm so strong, i'm making a chance Downtown, never ever been. Now just wait for you to resurface. Take a look at this photograph. How clearly it's taken away. He could have been the artist, not an artist. This picture is never clear. I'm so good at this photo, girl. How clearly it's taken away. I'm gonna get out of here. 0:47:48 - Speaker 5I'm in a slumber. The story is never clear. Walks right into a Mardi Gras parade. We're touring the south at the bottom of the beard. 0:48:28 - Speaker 2Yonnie and Snarling I first listened to. This record was my favorite song And that was, with my, everything I love about Grace too, it starts out very mad season. I don't know if you know that band. 0:48:52 - Speaker 1Yeah, that was the supergroup right. 0:48:54 - Speaker 2Yeah, that was the supergroup of Pearl Jam and Alice in Chains And that record. When did that record come out? Did it come out in 1993? Maybe, so they were active in 1994 to 1996, So maybe it's the same time, I don't know. Anyway, it starts out like the first and it builds. I don't know. I just loved it. I could say so much about the instrumentation, But lyrically, I don't know if you've got a line on exactly what it's about JD, But there's some historical references in there And talking about El Paso, he brings up the Mexican US border there. I'm pretty sure that runs through the 100th Meridian, Oh wow now, i know that. I could be wrong, but it just kind of feels like it's going, like Cordoni's really going in. He's a big fan of these historical references. I don't know, i dug it. What's saying you, tim? 0:50:11 - Speaker 3I dug it. I think when I first heard it started up I was thinking Okay, here's the spooky, sinister Pipps song of the album Which we often get. You know, if any song that I hear I hear a reference about El Paso or the Rio Grande, it's usually something heavy. It's not about going tubing and fishing and having fun. So yeah, there's a line in there about the cops go into the crowd Throbbing bladder of light. You know, i'd love that phrase, throbbing bladder of light. The music is so loud nighttime when the shadows cough Like this. Lyrically, the song's loaded, it's just it's really really big. I just, you know, somebody beat up and throw it in the river. This is an early song there's a moody guitar ending, i think throughout the song. The bass to me I'm always kind of honing in. It's funny because Pete's on guitar and I'm on bass and drums, which is cool, but the bass is a little punchier, like it's tuned up or I don't know. This one had definitely some home, you know, if they recorded it in the house. I'm just gonna call it home production because it's basically what it was, even if it was like Super Pro Studio, like there's some little things in there that I heard for sure. It's an interesting song. It's pretty cool It was. It's kind of an early song to me. I stuck with it a few times. 0:51:58 - Speaker 1Cool. What's next? It's number five. We're at five. Fire in the hole. 0:52:07 - Speaker 3Yeah, let's fire. Fire in the hole is fucking cool. And I say that because I heard kind of this 90s grungy punk influence with this one, even though it's not like super fast or anything. But then when I started reading into it, you know, because I figured it had something to do with fascism and Nazis And I don't know. There's something you know angry here. There's some different ties to Sonic Youth's Youth, sonic Youth's Youth Against Fascism song. It's very I don't want to say very similar, but there's definitely some things shared. You know, that was a time for me. It was a time of really getting into, like crunchy guitars, a little bit more experimentation, faster rhythms. You know this song, for a hip song maybe, is like a little bit tougher. It's a little bit tougher. And I also just thought you know by its own name and chorus that this one is probably ruckus live. It's probably just fun and, you know, fist in the air. 0:53:30 - Speaker 2Yeah, i agree, i agree, this is a banger for sure. The guitar work on it I definitely. I mean it's weird, i don't know because I'm not the biggest Guns N' Roses fan, but you know, slash's Les Paul guitar tone is pretty distinct, you know, when you hear it, and the guitar tone on this song that he's playing some lines sounds, i mean, identical. It doesn't sound like Guns N' Roses, of course the song doesn't, but that guitar tone just was so reminiscent of that And it kind of made me think, okay, so they're like trying to, they're trying to shed some older skin from the previous records, but you know, it's sort of like you can take the. You know, take the what out of the what, but you can't take the what out of the what. They still got it in their roots. You know what I mean. 0:54:35 - Speaker 1Yeah. 0:54:38 - Speaker 2So that's definitely there. And then, yeah, this is one like the obviously Grace too. I mean that's sort of like the flagship of this record. But this is another song where you're like, okay, gord's found his voice. He's really, you know, If the band is his recliner, like whenever he gets up, you can see his ass imprint. It is always there. He's found his voice. The chair is sunk. It's sunk in. Does that make sense What I'm trying to say? Yeah, he's. Yeah, he's been in that chair so long now for a number of records that it's just comforts Like he's found it. 0:55:29 - Speaker 1He knows where he's at. He's in the groove. He's in the groove Like he's absolutely. And to me, guys, isn't this the heaviest that we've ever heard them. Or is there something on Foley that might be? No, i think you're right, i do. 0:55:46 - Speaker 3I think it's up there. I think it's up there. 0:55:48 - Speaker 1Yeah, because you were saying fast and I was thinking to my head, I was like yeah, it is fast. It's fast and heavy, Like this is a great song alive. 0:55:54 - Speaker 2This is like Foo Fighters, Fast Like I was like whoa. 0:55:59 - Speaker 1Yeah, because it's still, it's still. 0:56:05 - Speaker 3It's interesting. You went to guns and roses. I don't know why I didn't go there Like I. Just I didn't hear that reference, but I want to go back. 0:56:14 - Speaker 2Just the guitar, just the guitar time. 0:56:17 - Speaker 3Yeah, yeah, yeah. 0:56:19 - Speaker 2For me oftentimes that doesn't mean something positive, Just yeah you know, outside of them anybody else I hear sounding like remotely like guns and roses. You just kind of go, eh you know. But I think it was just weird that Tom was there because coming up the hip I feel were such a that was. That was what most bands were sounding like back then. 0:56:49 - Speaker 3I don't know. Yeah, maybe 50 mission cap or something. Oh yeah, yeah, this one, you know. 0:56:56 - Speaker 1Yeah, you might be right, You might be and you might be so hard done by. 0:57:00 - Speaker 2So hard done by. To be honest with you, this is probably my least favorite of the of the record. Hey, we're in the break. Yeah, i just didn't. Yeah, i thought it was, i thought it was a cool chorus, but I just I kept thinking about, like, what would I say about the song? And it's just, you know, maybe in the 10 year reunion by then I'll have something. but this song, sorry, i wish I had I had more for it, but I really just don't. 0:57:42 - Speaker 3I'm with you a bit. I heard Allison Chains right away And I don't think it's like it's not like 100% Allison Chains. That's who I thought of And I'm starting to hear, you know, and occasional references to bands that we're doing well during this time And I'm not a big Allison Chains fan by any means, but it's. you know, there's still some lyric nuggets in here I love. you'll have to wait a minute. It's an en somatic Like. that to me is kind of a phrase of if you want, you know, beauty in life, it's not going to come to you right away. You got to, you got to deal. The ending is kind of rough. You know the yeah, i'm with you, pete. The ending is kind of rough. The snare is too snappy. The snare is like so snappy that it's like that's how you tune a snare for fucking punk rock songs with a high beat per minute. You know it just didn't. it just didn't. 0:58:45 - Speaker 1It's funny that you say that, because the original, like the demo version of this song is totally up tempo. Well so it's. It's a completely different song Me I. I think this is, i think it's fine, i think it's harkens back to like, like it could be on up to here, it could be on road apples. To me it's got that sleazy, not quite stone Z vibe. So I was really surprised to hear you say Alison chains, because I'm I'm going more of like the roots. You know, okay, that's, that's my vibe of John, but but that's, you know, this one, that's just how it was for sure. 0:59:30 - Speaker 3More filler had a rough ending and I was kind of glad it was like, okay, what's next? You want to? you want to add something, pete. 0:59:37 - Speaker 2Oh, all I was going to say was You know, that'd be cool if it was. I mean, maybe it is cool live. And I just just to comment that I always hate when you hear a band play a live version of a song and it's just fucking killer And that's the first way you hear it. And then you hear the studio version and it just absolutely blows. 0:59:59 - Speaker 3So yeah, i'm, i'm with you, I'm with you. Maybe this is that? 1:00:03 - Speaker 2But to answer your question, JD, what's next is not cool. I've actually heard JD sing this song. 1:00:12 - Speaker 1Oh, that's right, I did it. I did it for a, i did it for a hip podcast, like I do a pod list, just like I do for medium alchemists And I sang it. Is that that was right? Yeah, yeah. 1:00:27 - Speaker 3I dug it, I thought it. I thought it was what's, what's that pod JD had that he took off. It was like JD sings in the shower, Was it that one? 1:00:36 - Speaker 2That's what I wanted. Jd sings in the shower. There was a. There was a. There was a video version of the podcast too, but that was yeah that was that, the lovely fans. No, i remember hearing this and the first time you sent it to me I think I was already living in Malaga. But great tune, i, you know this, and JD, you, you, you explained to me what this song was about and I've since forgotten because my brain doesn't work anymore at my age, but I did get. I think the reason why we started talking about it in the first place was because we I mentioned to you the another great Canadian singer, gordon Lightfoot's Right, ricky Deven, if it's Gerald. And so you, you brought this song up and that's kind of how it came into my, my atmosphere, my airspace if you will. 1:01:44 - Speaker 1Well, those are forever linked for me, because the first time I saw this song played live Gordon, he introduced it live as a Canadian musician, would be complete without a song about a nautical disaster. 1:02:04 - Speaker 5This song is called nautical disaster. These are the Dh과a stations for brokers. 1:02:36 - Speaker 6NotOf cybersecurity. This is Darryl, i don't wanna sweat. Ha. What's wrong? What's going on? Can't tell yourself I'm a foreign team. He said hang on, just stop, shut your big mouth and gotta do what you feel is real. He got no peace and false gods Got no Sunni, my baby. She won't know me when I'm thinking about music. I'm a foreign team. Keep it going, man. 1:04:11 - Speaker 7Let's keep the wagon wheel going. Alright, i had this dream where I relished the fray And the screaming filled my head all day. I felt as though I'd been spinned here, Settled in into the pocket. 1:04:44 - Speaker 6In a lighthouse on some rocky socket Of the coast of France, dear One afternoon. Four thousand men died in the water Here And five hundred more repression, matthew, is parasite's life In your blood. Now I'm in a lifeboat Designed for ten. Ten on me. Anything that's systematic Would get you hated. It's not a deal, nor a test, Nor a love of something stated. The selection was quick, the crew was in order And those left in the water Got kicked off the padlock And we headed home. 1:06:24 - Speaker 7And in the dream and when the phone rings, we're doing alright. 1:06:30 - Speaker 6I set it out there Those days and nights, but only a fool would complain. Anyway, susan, if you'd like A conversation To say myself, in my memory Is those fingertips Scratching on my heart, and I'm in a lifeboat Designed for ten. Ten on me. 1:07:41 - Speaker 7Anything that's systematic Would get you hated. It's not a deal, nor a test, nor a love of something stated, no matter how hard it is. You see how hard it is, it's real hard. 1:08:27 - Speaker 5There's a lifeboat Hanging on a wire Sucking up to someone, just a stoke of fire. 1:08:35 - Speaker 7Picking up the highlights of the scenery, saw some little clouds. 1:08:50 - Speaker 5They looked a little like me. I had my hands in the river, my feet back up from banks, looked up to the Lord above, said he'd call me thanks. Some times I feel so good I've got to scream. Said 40 baby, i know exactly what you mean, he said. He said I swear to God. He said Now, now. 1:09:27 - Speaker 6Now, okay, my memory Was my dear watch's river that I nailed. If near or leave a sink in there, then I don't wanna swear Swag, swag, swag, swag. 1:10:42 - Speaker 1Swag, swag, and then they launch into New Orleans' sinking. Oh my gosh, and you're sorta like what? What's going on? And then, in the middle of New Orleans' sinking, is this brand new song, fully fleshed out, not a? 1:11:00 - Speaker 3good one. You know, i read about this And it's fucking holy crap. 1:11:07 - Speaker 1It is a tornado Like it is, so destructive. 1:11:14 - Speaker 3And you know, there's not many bands Who perform live that do Extremely intentional things like that For the audience. There's not many bands that do that Doing something like that, mixing in a new song in the middle of a song People know And then did they circle back? 1:11:31 - Speaker 1Yeah, They finished, then they finished all of these things. 1:11:34 - Speaker 3That's just insane to me. I just love, i just love, love, love that. I just love that. If any, if any songwriters are out there, do that for me. When I come here you live, mix me in a new one. It's a treat, right? Yeah, because it's the opposite of going to a show And hearing a band play Like their album. You know, i've walked out of shows Because it's just boring as fuck. You know, i'll say this about In 18. I believe it was built to spill. Oh my gosh, it was like I could have just put on One of their records and sat at home. So, yeah, to be able to split in another song And keep going and mix it up And do all these things that are so creative And have the confidence to do that, and phew. 1:12:30 - Speaker 2The only thing I'll say in defensive built to spill Is there's always. 1:12:34 - Speaker 3Oh, everybody defends. Built to spill. 1:12:36 - Speaker 2No, no, i'm only saying it live I've never seen them live. Only because they always have a new line up. It's only a singer They do. They do. So if I'm a guy sitting in And part of the band this time around, the only thing I know is the record, because that's probably how they play together, which that's uh. Yeah, my buddy's seen them live And he kind of had the same feeling as you did. 1:13:01 - Speaker 1Same feeling as you did, i'm just starting to get into built. 1:13:04 - Speaker 3Yeah, sorry, bds fans. There you have it. There's another fan that wants to punch me in the gut. Not a cool disaster, i think it's fucking cool. Like my sentiment right away was like Here's the epic storytelling TH song. Here The drums it was like beating. Like we're charging into war Lifeboat designed for ten and ten. Only You know. There's just all these Great metaphors in there for like I don't know. 1:13:34 - Speaker 1Oh, i love the line about getting The remaining people in the water Getting kicked off at Antler. Oh man, i don't know why. Yeah, and this song, there's no structure, there's no verse, there's no chorus, it's just literally Like you said, tim, it's like a story. 1:13:51 - Speaker 3Yeah yeah, i don't know who the Susan reference is. I didn't look too much into that part, like, towards the end there's something about Susan Which I don't know why. With this band, whenever they mention a woman I'm always like. 1:14:03 - Speaker 1She's Evelyn's sister. 1:14:04 - Speaker 3Because it's often something grim. But you know this song there's. There's lots of data in there. This could be a rabbit hole song. It wasn't so much for me, just because I thought it was awesome. 1:14:19 - Speaker 1You're right, it is awesome. It's fucking awesome. Maybe I'm out and we're actually more song for the band. Where do we go next? Um Thugs? 1:14:28 - Speaker 2This is gonna sound really strange, but first of all, i love the chorus on this song. That's fantastic. I really dug this song a lot. It's ironic that it's called thugs and the baseline is a slowed-down version of Grandmaster flashes a message yes or yes? 1:14:54 - Speaker 3Whoa, I didn't go that deep, but I knew it was something like I. I felt there was something go out on in this song And I didn't know what I was you know, i didn't know what it was, but Uh, you keep going it's a deep, deep. 1:15:09 - Speaker 2There's clearly a deep admiration for Grandmaster flash Going on here and The. this the we reference to JD. You mentioned that this is the song where, or this is the record where, you realized they're actually a wee band out of your band. 1:15:30 - Speaker 1Um, yeah, it sort of. It sort of happened at the same time to me as well, no, but you know, there's the reference about All roll or rolling. I'll do the details, you do the roll and I'll do the details. I'm sorry about that. That's all right. 1:15:48 - Speaker 2Yeah, that's, that's kind of where. That's kind of Where I thought on that, the Again the chorus awesome, uh, there's. He keeps doing this high, are you know? it doesn't a couple times and on the record but he does like a high-pitched whoo And this song, that's really cool. And The spacey reverb Guitar is just like. I couldn't think of the song that it reminded me of or the artist, but it's, there's so much reverb on this on that guitar, it's like It's insane. 1:16:26 - Speaker 1Love it, love love, love this one. Yes, it's, yeah, you can swim in it Well said. Yeah, yeah. Where are you on thugs? 1:16:34 - Speaker 3You know I I Felt it was a little bit filler. You know I I didn't get a whole lot from this one I when I Started looking into kind of the movie references or what they get up trying to figure out When I was trying to figure out. You know any details About this song that could make me get into it more? I read and I've read this before, the quote from gourd, that if that's what you think it's about, then that's what it's about Sure, which made me think for this song. Okay, if it's. You know if I think gourd would tell me hey man, if you, if you don't dig this song, then maybe you should try Inevitability of death. You know, if you want to get heavier, then go here. If you don't, you don't get heavy with thugs and let's give you a song about struggling with cancer, which is, i think, inevitability of death. You know, there's what I enjoyed about this song is they mix it up a little bit. You know there's a Chorus singing without drums. You know they're starting to do little creative things on this album That I think help make it stand out and keep my interests more. That's kind of what I, yeah, that's kind of what I've noticed. But then you know, i think everybody probably knows anybody, or sorry, anyone knows someone is diet of cancer and maybe that's what this is about about and living life. You know, trying to Do everything to your fullest. I'm not sure about this. The song was, it was a good jam, it was it was. 1:18:17 - Speaker 1You know what you're not. You're not Far off the track. I don't think, though, when, when you say that about cancer but that would be just so terribly ironic you know Writing a song about that and then succumbing to that illness. You know all those. 1:18:38 - Speaker 3Yeah, exactly. 1:18:40 - Speaker 1Because it came on suddenly. It wasn't something he battled with for very long. It came on suddenly and he was gone, wow, other than a other than a cross-canada tour. But well, you just think, puffy lips, glistening skin, yeah, everything comes rushing in. That could be like reference to, like the chemotherapy you know, like rushing into your body. You know We don't go to hell, just yeah. I love the. I also just love the word play. I thought you'd be the death of inevitability to death just a little bit. I thought you'd be the inevitability of death to death just a little bit like. I love how it's inverted Mm-hmm, very cool, very cool. 1:19:21 - Speaker 2And he makes it work it's crazy that you say like puffy lips and glistening skin. I'm thinking of a. I'm thinking of like Scarlett Johansson and in a bikini like that's who. I'm like. That's right where I went when I heard that. That's so. I'm not even joking. 1:19:43 - Speaker 1That's like what I thought say, could have been yonder somebody somebody just came from LA, i think. 1:19:51 - Speaker 2It's been any time with Scarlett, though The I dig this song It's. It's not one of my favorites, but this was the song that Clearly did the one I mentioned earlier that that Alanis drew a lot of The word play and the way he phrases it is It's. It's exactly what she does in the song. You ought to know like it's. It's 100%. You can't Can't deny it. I'm sure if you had a gun to read she'd say yes, of course It's worth it. She's got the inspiration on. I. 1:20:33 - Speaker 1Don't think it would go that far, just just for the record. No, yeah, if you were interviewing her you would probably, i probably, i probably just ask her. 1:20:39 - Speaker 2Yeah, she seems like a nice person. 1:20:43 - Speaker 3Let's, let's, let's have her guest on the next one. 1:20:45 - Speaker 1He's gonna you have. You have that up, jady Yeah. 1:20:47 - Speaker 3Yeah. 1:20:48 - Speaker 1Yeah, I like the bass that. 1:20:49 - Speaker 2I think the chords are a little bit more. I think the chords are a little bit monotonous. The line if you go to hell, i'll still remember you, that's just. That's a really fucking cool line. But The bass starts to shine at the end, which is cool because because the chords are so I guess I've been honest the bass really isn't doing much, but then it does something that that only Tim Hates is more than I do. It's just faith. 1:21:27 - Speaker 3You know, i will say some of the hip, some of the hips, fadeouts are better than others. Okay, they've had they've had some oh dare I tragic fadeouts oh. I use that because I hate fade out so much. 1:21:47 - Speaker 2Jady, can you, can you You edit this in? can you, can you do that? 1:21:55 - Speaker 3That's funny. You mentioned that cuz a couple weeks ago, jd. I said to JD you know, sometimes I just want to add in a sound effect, like You know, and he's like you do not do that on my podcast, i hate sound effects, because I'm even thinking. 1:22:14 - Speaker 1You know, when you were talking earlier, you were talking about The bass being slowed down from Grandmaster Flash, like, oh, i could intercut. I could intercut like the Grandmaster Flash song so people could hear it. 1:22:27 - Speaker 2But then it's like It's so noticeable man, i mean it's it's so noticeable. It's exact same bass line, but anyway. 1:22:37 - Speaker 1Next song, though. So then we slow it down with scared. 1:22:41 - Speaker 3This that's so scared for me is it's like a. I instantly went to. This song would be an amazing concert concert closer. You know it's. It comes on, you know the night's finishing, it might be the what else? songs. You close your eyes at some point and just listen and get in deep. You know it's, there's, it's layered and story from I don't know Russia and the Germans and Stalin and Trying to make culture and art disappeared and like housekeepers and all these different things. It's like it's. It's. It's a sad kind of beautiful song that It's a little bit of a usual makeup for them with this kind of section of the album, but I thought it was, you know, on that note, kind of dark and lovely overall. 1:23:37 - Speaker 1What do you think, sir? 1:23:39 - Speaker 2I wasn't. I thought this was kind of like just a token. If you will token slow tune like It didn't do it for me, like When it comes to like softer hip songs, like it didn't give me the same Warm, fuzzy feeling is like fiddler's green did. 1:24:02 - Speaker 1Sure, okay, yeah, i mean, fiddler's green is a knockout pie. It is, but my god scared. I love this song really good. 1:24:10 - Speaker 2Maybe it's just positioning on the record, i don't know. I've got a Spend some more time with it and in this was actually one song. There's a couple of tunes. I didn't Get to hear the car, yeah, towards the end, because my car rides weren't as long and they started the record. I would put the first song on when I got in the car, so if I wasn't driving for a long time, obviously the song story the other record didn't didn't didn't make it in the in the car, but there was something really weird on this song. There was a Spacey sort of keyboard sound that kept going off. You know I'm talking about. 1:24:54 - Speaker 3I know, now I don't really yeah, the only thing that certainly stood out to me was the use of acoustic guitars. There's, you know that's. That was a little unusual. I don't remember keyboards. 1:25:05 - Speaker 2There's some sort of keyboard effect going on in there. That is Like the only thing I can equate it to is like you know the. It's like an oscillated version of. You know the sound of the, the metal hitting the, the track on the song. It's a sound of the men working on the chain game. Yeah, it's like it. It's like an echoey, delayed, oscillated, real subtle Vert Sample of that or something, something similar to that, and it's done with the keyboards and said it's on the song 100%. 1:25:46 - Speaker 1Huh, i've got to listen with these headphones. 1:25:49 - Speaker 2But yeah it's. It was a cool song. I dug it and I kind of wish I had more of a feeling the way you guys do about it. But you know it's okay there just hope for you. 1:25:59 - Speaker 1There's hope for you, peter. From there we go to an inch an hour, and this song always impressed me, because the math works out an In an hour today the same way, an inch an hour to feed a day, to moan tonight in this most professional way. 1:26:57 - Speaker 5There's this fucking band. You gotta see they used to care about living shit. I see no profit in talk. No food in town, no rock and roll, no bestiality. 1:27:10 - Speaker 6Makes me feel the same way. An inch an hour to feed a day, to moan tonight with their little mouth to say But our health is best with the people in the space. No stuff of town, no feed you through, no salt on the tev. It works through Making lots and moogs. 1:27:49 - Speaker 5Tonight I'm gonna win and make this gift heart. I want you to see your breath in the spring side. Heart, coffee colors, ice and feeling. First part Sound. The rushing water in the dark Makes me feel the same way. 1:28:06 - Speaker 6An inch an hour to feed a day, to moan tonight with their little mouth to say But our health is best with the people in the space. I mean our health is best with the people in the space. You see, i don't know me. I don't know me at all, i don't know myself. 1:28:47 - Speaker 1I don't know myself. I don't know myself. What did you think of this? 1:29:06 - Speaker 2one. I love the. I don't know if I paid attention to it in the other records, or I'm just hearing this now, or this is the first time they're really doing it, but I feel like the guitar is falling the vocal line, or the vocal line is falling the guitar a little bit more, which is cool, like the melody of what Gord's singing. I thought it was a fucking banger. Again, this is another one where he's like yelping. I can only say yelping because he's not screaming but he's saying oh, oh, like really multiple times during the song. Anyway, i love it. I thought this song would probably be a really good opener. I don't know if they ever opened with it, but Definitely thought it would be a good opener. 1:30:07 - Speaker 3I think this one I was anticipating, without even knowing it, after listening to Scared. Scared was like this epic kind of novel, three-part novel to get through And when an inch and hour came on in the car, within seconds was turning it way up Like. This is one that I kind of needed. With the placement in the album, it truly so. I read that it's potentially, or possibly, if it's about a fan who wrote a fan letter to the band. Supposedly this guy claims to come home at the end of his night shift every day. He would go buy some beer and sit on the stoop of his apartment And just crank tragically hip and drink beers. And he was thumbing through one of their albums and saw an address to write letters into
Hey everyone, it's JD here with Pete and Tim, and we've got an exciting episode for you as we explore the Tragically Hip's 1994 album, Day for Night. This record holds a special place in my heart, and I can't wait to share my memories with Pete and Tim. Listen in as we discuss the album's unique nuances.As we examine the tracks on Day for Night, we also dive into the powerful lyricism of songs like Greasy Jungle and Nautical Disaster, uncovering the stories behind them. Our discussion also touches on the impact of the album's intro song, Grace, Too, setting the tone for the record and leaving a lasting impression on listeners.Join us as we reminisce about the days of midnight album releases and the significance of this record in the Tragically Hip's discography. Through our conversation, Pete and Tim share their first experiences with the band's music. So, whether you're a longtime fan or discovering the Tragically Hip for the first time, this episode is sure to be a nostalgic and enlightening journey through the world of Canadian rock history.0:00:00 - Speaker 1Hey, it's JD here and I'm with Pete and Tim and we have a really big announcement we want to make. Are you strapped in Good? Mark your calendars for Friday, september 1st, as long-sliced brewery brings to you getting hip to the hip on evening for the Downey Wend Jack Fund. 0:00:22 - Speaker 2Join us at the Rec Room in Toronto for a night of music, unity and making a meaningful impact. This event is dedicated to honoring the legacy of the tragically hip, while supporting the Downey Wend Jack Fund. 0:00:32 - Speaker 3Immerse yourself in a powerful tribute performance by 50 Mission, celebrating timeless classics that have shaped Canadian rock history. We'll also wrap up the podcast in a memorable way by doing our finale live that evening, but it doesn't stop there. 0:00:48 - Speaker 1This event is all about making a difference. So we've got a silent auction with prizes. you've got to see, from Blue Jays tickets to tragically hip ephemera to kitchen appliances. If you're looking for something cool, chances are you'll find it at our silent auction. 0:01:05 - Speaker 2All proceeds for the evening will go directly to the Downey Wend Jack Fund supporting healing, reconciliation and positive changes for Indigenous communities. 0:01:13 - Speaker 3Tickets are on sale June 1st and can be picked up by visiting gettinghippetothehipcom and clicking on finale. 0:01:21 - Speaker 1By attending Getting Hip to the Hip, you're not only enjoying a night of incredible music and comedy, but also contributing to a brighter future. Join a community of like-minded individuals who believe in the power of music and unity. 0:01:35 - Speaker 2Tickets are only $40, so mark your calendars and visit our webpage to secure your spot at this unforgettable event to celebrate the hip with fellow hip fans. 0:01:45 - Speaker 3Getting Hip to the Hip. An evening for the Downey Wend Jack Fund promises to be an experience that leaves a lasting impact. Please join us at the Rec Room in Toronto on September 1st and be part of something truly meaningful. We'd love to see you there. 0:02:11 - Speaker 1It's nearly 10.30 pm on September 23rd 1994. I'm on the 106 bus riding from York University to Wilson Station. during my first year at the institution, i was on a mission to pick up the latest effort by my favourite band, the highly anticipated Day for Night. Since mid-summer of 1993, i'd been going bananas over the song Nautical Disaster, first introduced to me during my 19th birthday. It was at another roadside attraction, and as the band launched into New Orleans as Syncon they jammed through the now classic cut in spectacular fashion. However, it wasn't until the Kumbaya Festival early in September of that same year that I finally heard the track on tape. My friend Heather had come home from university having recorded the festival on DHS. We quickly dubbed the video to cassette and now I was off to the races From there. it took until Canada Day of 1994 before I heard anything else from the record. The hip played the gig with a chip on their shoulder, as many of the fans had acted brorish and disrespectful towards many of the opening acts, including Daniel and Locke. The set was heavily peppered with songs from Day for Night and I liked what I heard. As I got off the subway and approached HMV, it was nearing midnight. The new album would be in my hands soon and I could listen without the distraction of frapples throwing bottles towards the stage. From the first notes of Grace II, this one felt different, especially after the slick polish of fully completely or the bar blues of the prior two records. This was a band hitting its stride and understanding exactly where it fit into the fabric of the rock and roll paradigm. But that was then. Today I'm tasked with taking Pete and Tim into my memories and hoping to goodness this one sticks the landing for them. We'll soon find out on this episode of Getting Hip to the Hip. Long Sliced Brewery Presents Getting Hip to the Hip. Hey, it's JD here and welcome to Getting Hip to the Hip, a Tragically Hip podcast where we go through the discography of the hip with two folks who have never heard of the band before. So, while they're having their first experience listening to the music, you can revisit yours. Send me an email, jd, at GettingHipToTheHipcom, with your first experience with the Tragically Hip. It would be great to hear those, as we listen to Pete and Tim, describe theirs. Speaking of Pete and Tim, they are most certainly ready to be released from their protective hatches. I will push the button now and they are there. They are on their platforms. they're they're levitating platforms. How are you doing, fellas? 0:05:22 - Speaker 2Hey guys, Oh sorry. 0:05:26 - Speaker 1He nodded his head. 0:05:29 - Speaker 2I nodded my head for all you out there in radio land. 0:05:32 - Speaker 3That's my favorite aspect of podcasts. 0:05:35 - Speaker 1He loves theater of the mind. Sorry about that. Yeah, that's great. What's new? 0:05:42 - Speaker 2Oh man, it's new. Back in the saddle, man, you know. back to work today, like I said, struggling with a little bit of jet lag, but other than that, i mean I, i how much time we got JD. I could. Could tell you a lot of what's going on, but I don't know. Put you guys to sleep, tim. What's going on with you man? 0:06:08 - Speaker 3Oh, just cranking on. the week getting started here And last week was, to be honest, kind of rough, so I'm hoping this week's good. That's. that's what I'm counting on. 0:06:18 - Speaker 1Fingers across for you, fellas, both of you, to avail yourself from the. Jag, the Jag lat the jet lag and for you to feel better this week. 0:06:29 - Speaker 2Did you try to? did you try to call me a jackoff right now? 0:06:33 - Speaker 1Is that what you're trying to call me? No, i said jet lag, but I said it wrong. Jag lift, jag off. Yeah, i'm all right, i can't complain. We've got a new puppy dog and she's pretty awesome So far. She's having a nap on the bed right now. She spent the morning in her crate, so you know, we've been letting her run free this afternoon, or I have been letting her run free this afternoon. So, yeah, that's really irrespective of nothing. But Who named her? I did. 0:07:09 - Speaker 2Nice. 0:07:10 - Speaker 1Yeah, yeah, that's my last naming job that I get to do, though. 0:07:15 - Speaker 2I gotta ask you, michael Keaton, george Clooney, val Kilmer, christian Bale, robert Pattinson- I guess I'm a bailperson at this point. I would have. I would have also. The judges would have also accepted Adam West Michael. 0:07:34 - Speaker 1Keaton. Oh, adam West, yeah, sure, sure, yeah. 0:07:39 - Speaker 2Michael Keaton. Michael Keaton was great, but yeah, christian Bale was. Those movies were so amazing. 0:07:43 - Speaker 1Oh, it was Batmania, just Batmania, when Keaton and Tim Burton put that whole thing together. 0:07:52 - Speaker 2Oh yeah, Tim, were you a fan. 0:07:54 - Speaker 3No opinion. 0:07:55 - Speaker 2Okay, you're fleeting the fifth on this one. 0:07:59 - Speaker 1Yeah, no opinion, okay. So we're here today to talk about the fourth long play from the Tragically HIP, their fifth output at this point. This came out in 1994, to be exact, it came out the third week of my first year of university and they did a midnight album release. So, like all the record stores were open, they would be open all day and then they would close at nine and then they would reopen at midnight so they could sell the record, because it was the next day, it was Tuesday, so it was like Monday night at midnight you would go and get the record before anybody else. 0:08:42 - Speaker 2I remember that Tower used to do that too. 0:08:44 - Speaker 1Right, it was a cool fad and it's just. 0:08:48 - Speaker 2you know it's got like It was Tuesday you said right, That's right. 0:08:51 - Speaker 1Records always came out on Tuesdays. 0:08:53 - Speaker 2And there's a reason for that, and somebody told me the reason. I can't remember, but there was a reason. There's a distinct reason why that was the case, right. 0:09:01 - Speaker 1Okay. Well, if you out there know what it is, use social and let us know. Or shoot us an email at JD, pete or Tim at getting hip to the hipcom. This record means a lot to me. So you know, i'm not going to. I'm not going to beat around the bush this time. Or I am going to no, i'm not going to beat around the bush this time, i'm going to lay it all out right now and say I fucking love this record. So you know, let that not impact your scores. But there may be some arguments because it's just got the, it's got the crisscross of hitting a sweet spot for me with my favorite band at the time and coming out temporarily at just the right time you know to to build a culture around. you know it was produced by the hip with assistance from Howard and Freakin I believe it's Mark Howard and Mark Freakin. Freakin I want to say sound guy for the hip You can listen to fully and completely to get the all, the, all, the detailed information. We always went through that stuff in a big way on that show And this is not what this one's about. This is an addendum. So the label was MCA. This is again another MCA release for the hip Looks in at a record 59 minutes 26 seconds, you know, just a almost an hour. Singles It had six singles. Grace, two was a single, it was the first. One came out right before the record dropped. Greasy jungle was the second one. Nautical disaster was the third one. So hard done by then scared, and then thugs, and I believe that thugs was almost, you know, a full year after the record came out. So this one had legs. All music rated this record a 3.5 or part of me a three out of five, much lower than fully completely, which was the record before this, which got a 4.5 out of five. So a three. Very interesting, very, very interesting, grace. Start off the top with your initial thoughts on this record, mr Leiden. 0:11:32 - Speaker 3I felt it was long, you know, and realize pretty quickly that we were getting some extra songs. What else about it? I did notice some recording kind of changes or uplifts as far as production value goes, which is cool. What else about it? There are some certain songs on there which I absolutely dug. I ended up listening to the first half of the album several times I want to say struggled through to get through the whole album in a sitting, but I just kept finding myself starting over at certain points. Yeah, yeah, yeah, yeah. So we can talk about that more. 0:12:16 - Speaker 1I mean, it's definitely a long record, And could I edit this record? Sure, i could. I'm not going to ever say which songs I would potentially edit out, because they're all my babies and I just couldn't say it, but I secretly know which ones I'd get rid of. Tim, you have been looking for an album. You've been searching for an album throughout this podcast. You know you've talked about Pizza with the Works, you've talked about Mishmash's and collections of songs produced together to round out an album, but it seems to me as though you are seeking not necessarily a concept, but a conceit, and I would have thought that paid off with fully, completely. It didn't. So how about this record? I? 0:13:06 - Speaker 3don't think I'm quite there yet, but I'm close. Okay, i was expecting this album to be maybe more, maybe more concise, since they were driving and had more control, i don't know. I think that just the fact that it was a couple songs longer in the cadence of all the songs and really looking at where their place and all those things that I like to do, you know, it checked a lot of boxes for me, but I didn't. I didn't finish listening to it in a take and go oh yeah, now I'm here. Pretty close though, but I'm pretty close, jd, tell us, tell us, you know, when it came out at 12.01, were you in line buying it, or when did you listen to it? Like, what do you recall from your first listen to this album and how you felt and why it's your fave? 0:14:00 - Speaker 1Well, again, it's got that crossroads right of like culture and time and place And they were my favorite band so it was like so exciting to be in Toronto and buying it right away, because before I would have had to buy it the next day, there had been some concerts leading up to the release of this record where they had dribbled some breadcrumbs of what this record was going to entail And it was so cool to hear it And, more importantly for me, after the very slick sounding fully, completely, i love the. Well, you guys both know that I'm into lo-fi music and this isn't necessarily lo-fi, but this sounds much more self-produced, right Like. It sounds like it's recorded by people who are making their first record in a good way, in a really good way, like it's so fresh sounding after what. The last group of records that we heard were more slick and polished and that sort of bar rock thing. I've always said. This was the record where the Tragically Hip revealed that it hasn't been beer that's been fueling them all these years. It's weed, like they're a total weed band, and this record was the first one that reminded me of that. The rest of the records are sort of beer Okay okay, you know. Yeah, i've had 30 years to gestate on that, though, so bear that in mind. Now Pete has blood pouring out of his mouth right now. He's chewing his tongue off. You know He's dying to jump in here. What does he have to say about all this hullabaloo? 0:15:43 - Speaker 2Well, real quick. You mentioned that this was three out of five, and fully and completely was 4.5 out of five. Who's the company? 0:15:55 - Speaker 1I always use all music. I always use all music, all music, yeah. 0:15:59 - Speaker 2Yeah, they got their heads up their asses, because I don't even remotely see how this is less on the point scale than fully and completely, because I thought this record was fucking awesome. I agree that I felt the same way. That kind of Tim felt that it was a bit lengthy. I felt myself starting at a number of times and struggling a little bit to get through some ladder parts. There's certainly some areas where they could trim the fat, if you will. I'm not going to say which ones they are, but it was like for a band that's producing their first. It's their first go at producing a record themselves. It's kind of like it's just a little too much. It's like going out on a great first date, dinner's great, movie's great go back to the house. Sex is great. Oh, first date That your date's like hey, do you ever want to have kids? You know, it's like. It's like totally could've just done without saying that and the night would've been perfect. Like they just say that, they just ask that. Like on their way out It's like, oh, okay, doesn't mean you're not going to go out with them again, but it's, you know, i love it. I love it. 0:17:30 - Speaker 3I'll leave it there for now to let you say You know, i'll just quickly add on that very you know, very similar token that I had with it. I'm curious to hear the next albums And then to again look back at specific albums to see how I feel about them, because this is probably one. You know you are so excited. You know there's a trilogy of movies coming out on something that you love And you see the first one and you're like God, i hope the next two movies are just as good. Maybe the next one is pretty good or better, and you're like, oh shit, this is going to be great. You know, it's kind of I'm leaning towards that. I'm excited to revisit some of these to see how I feel in a couple of months. Hopefully I won't be like dude, i'm done you guys. No, that's not going to be the case. But yeah, i'm anxious to revisit the future for sure, because this is probably one of those albums. 0:18:30 - Speaker 1Yeah, yeah, i'll be interested to see that too. Maybe again we will have like a 10 year reunion. Pete mentioned that in the last episode. You know we should go back 10 years. Oh, we might. So who knows, maybe we will revisit this on whatever platform the kids are listening to in the future. I'm sure they'll be nuclear powered or something OK. So here's something new An intro song that doesn't just like open with a kick to your ass. It opens in a much different way. It still manages to kick your ass, but in a much different way. It doesn't have like a lick off the top like little bones or courage for human clenin, you know. It just doesn't have or blow a high dough. It doesn't have that same sort of whoop in the butt. It's a taste of like this is what you're going to get. I think You know it's a little bit of like setting the table. It's because you're listening to it and you're like whoa, this isn't the hip that I left behind a year and a half ago. 0:20:08 - Speaker 6Come on, just let's go. She kind of bit her left Geez, I don't know. But I can guarantee That we're now not gonna do. I'm told no proof That we're not gonna do. That's what I'm here for. I come from downtown. I'm already familiar. I'm with the low and weaks of our nation. That's what I'm here for. 0:21:46 - Speaker 7The secret rules of engagement are hard to endure. 0:21:57 - Speaker 6When the appearance of conflict again surrender means the appearance of force. Uncle, uncle, i can guarantee, i can guarantee There'll be no knock on the door. I can guarantee. I'm total proud. That's what I'm prepared for. Yeah, i've come from downtown. I'm ready for you. I'm ready to scale. And it's frustration. I'm ready to scale. And it's frustration. I'm ready to scale. And it's frustration. No, no, no, no, no, no, no, no, no, no, no, no. 0:25:07 - Speaker 7No, no, no, no, no, no. Thank you, music lovers. On behalf of our crew the finest crew in the business, ladies and gentlemen, on behalf of Robbie Gordy, johnny Paul, mr Jim Bryson on Keys, us musicians and the crew and everybody here tonight, we want to thank you. Thank you, music lovers. Thank you and Merci beaucoup. Summer on. Summer on take care of each other, drive the speed limit, wear a life jacket. 0:26:24 - Speaker 2Summer on you mentioned setting the table and I agree. And it's saying that it's a different band. That's like the one of the first things that wrote down. I feel like to be honest with you. I like this song so much. I feel like kind of it's just stupid even talking about it like it's such an honestly, it's a fucking banger. And I think I had sent to you guys in the group text like the SNL performance of this song. Yeah, it's just, it's jaw-dropping. Yeah, it's. It's the line about just. I looked at the phrasing, i looked at the lyrics and the way he did he wrote the lyrics and it's just so cool. Sorry, i wish I could articulate it better, but the rules of engagement are hard to endorse. Yeah, like is this I read a little bit online that it was you know about like a man propositioning a prostitute or a young girl. But I'm also like, is this a song about war? is this like an anti-war line that he's throwing in there? is it a double and tongue girl? I don't know, but I don't know. I could say a million things about this song, but I'll hand it over to to mr Leiden. 0:27:54 - Speaker 3I'm. I'm pretty much in the same boat. I heard this song and I immediately thought this is a stellar hip song. I can't wait to hear the rest of the album. But instead of like really going to the rest of the album, i immediately found the first live version I could find on a Google search, because I thought this song is, is gotta be, you know, quintessential live hip song and that's that's kind of where I went and I ended up finding the, the Woodstock 99. If you guys haven't watched any of the documentary about Woodstock 99, please do. It was a just the demise of Western North America, usa culture right there. But anyways, this recording, this video recording of the band at Woodstock 99, is so good, like chills on my arms, like Goose Pimples, it was just fucking amazing. This, this song. You know, i was basically like okay, that's, that's my single. Should I listen to the rest of the album? I'm pretty happy right now didn't they do. 0:29:12 - Speaker 2What did they do? a 94 and a 99, or did they just do 99 just? 0:29:19 - Speaker 3I think the documentary it's a 99 one, where they set everything on fire and tore down all the stages and rated the food trucks and 99 all those things. And then, you know, with this song in particular, i was anxious to hear the band doing their own thing without, you know, managers or producers looming over them. And there were a couple different things I heard, which are even more so on certain songs. But the drums sounded a little different, a little bigger. Maybe the bass was a little bit more engaged with drumming. And there's there's been some times when the bass is kind of funky feeling, just like really in it there was some kind of I don't know, pete, you might know, but there was some echo, really echoey guitar effects. 0:30:12 - Speaker 2I got, i got that written which were pretty cool. 0:30:15 - Speaker 3Yeah, it was kind of the song just hit all the boxes had kind of this transcendental gonna take you on a journey. You know, i liked it so much I was like I don't even care what it's about, this is just a great listen yeah. 0:30:32 - Speaker 1Tim you talking about. You know the drums being bigger and you know the production just sounding. You know bigger and you know with with some of the guitar effects a lot of it has to do with. They went back to New Orleans but this time they went to that Daniel Inwas studio and the Kingsway studio, which is just a big old house and you know they would do stuff like bedsheets over the stairwells and you know, just like like home studio tricker, but on a bigger, bolder scale, because this house has so many nooks and crannies that you can get different sounds of the different spaces. And they took advantage of that, which is very different from the, the path they took on the record prior. 0:31:22 - Speaker 2Okay, daredevil so daredevil this, the skipping start that they did. Yeah, i feel like that was. So this was. What year was this? again? GD 94, 94. So I feel like I mean that was the height of like CDs like were where literally everybody had a CD player, wasn't like the early days. So I feel like maybe it was a. It was a joke to to make people think their CD was skipped, because if you ever bought a CD and you were unfortunate to buy a scratch CD that was brand new and it skipped, you were fucking pissed. Oh yeah, so that was cool, that was unique. This song certainly does sound way better in the car. I don't know if it's just specifically my car, because I have a pretty good sounds. 0:32:26 - Speaker 3It's the premium audio system. Is that what you guys kept saying? 0:32:30 - Speaker 6premium audio. 0:32:31 - Speaker 3I think we're at a point for an acronym for pass sound system everybody everybody listening. 0:32:37 - Speaker 1How about a? 0:32:38 - Speaker 3t-shirt yeah, if I get, if I get through this. 0:32:41 - Speaker 1Okay, these guys only a ride in Pete's car, the big that dooby or there should be a bingo card where the you know, every time you hear Pete say premium audio sound system, you tick the box, or and then there's of course the free square, and then, if you hear me say so, there's that geez, we're going to Malaga. 0:33:15 - Speaker 3There's this guy there with this premium audio system and he gives people rides. 0:33:22 - Speaker 2I'm just saying that because I'm due you're doing yeah, for sure $25 a song I'm good I think that'd be cool. I think a job this no, this song. Tim mentioned something about the, this bass. You were JD, you were talking about the, the studio and all the trickery. But yeah, this is the first one where I write down the like the guitar solos, for example. They seem way less defined on this record, and I don't mean it in a bad way, i mean it in a way that and then there was a really cool oscillation effect maybe a little more jam. 0:34:13 - Speaker 3I don't know if you know, yeah, yeah, yeah, yeah yeah, i think the flavor is kind of gelled together more the oscillation effect. 0:34:24 - Speaker 2If you've ever heard the the song real emotional trash on the album, real emotional trash yeah, that Steve Malkomis song I know this came before that, but whatever he's using on that guitar solo is exactly the same effect they're using on their level because that oscillation of the guitar is just. It's so cool. I wish I was cool enough to know what it was to ever be able to use myself, because it's fucking rad. Anyway, i dug this song a lot. I really liked it. 0:34:59 - Speaker 1What do you think? what do you think they're damn? 0:35:03 - Speaker 3I did too. I think, yeah, i love the drummer just counting it off at the beginning. That that made it feel like maybe more home recording type scenario. This song, this song, like I was wishing I was in a bar, just like sitting at the bar pull-up and just I felt like I could be watching the band, you know. But it was like the barkeep and the kitchen people and I don't know. This, this one, this one kind of took me in a different direction than than many. After the one minute mark maybe this is kind of what you're talking about, pete like with the guitar and drums it gets kind of heavier or more layer layered. It felt like locomotive, like this train's just really going story wise, i mean, that's probably a podcast itself to talk about Annie Edison Taylor and going over the falls aspect of this one I love. The line in the real wonder of the world is that we don't jump to. Yes, you know, that's. That to me is like it delivers something inspiring. The song is like get out and get after it. Step out, you know, jump off that cliff, you have 50% chance of surviving if you survive. It's gonna be awesome and if you die, it'll be awesome. You know, this sounds really. It really is really cool. 0:36:40 - Speaker 1Where do we go next? we hit track three, and that's greasy jungle. Take it, tim greasy jungle. 0:36:48 - Speaker 3This one, the snares really snappy. I felt like this is where you're kind of hearing different recording, maybe aspects. When I say snappy snare, it's like tuned tighter. Maybe you know there's lots of film references here in this song which we've gotten before. There's congas, like. There's some hand drumming at some point in the song, i believe, which is. I was just like kind of tuned into the drums on this one. Obviously that's a background effect, but a new layer. There's a definitely a new crash cymbal, like there was some new drum gear right on this album. There's a new crash cymbal that's really bright. That's always kind of gets my attention. I didn't realize first few listens that it was like dirty streets, metropolis, correlation with greasy jungle. I didn't know what the heck it was about. You know I didn't for a song three. I always like hope that this is the one that's gonna get maybe somebody around the bases at bat. You know that they're gonna push, push it through and this one didn't do it as much for me. I was more kind of like okay, what's, what's next with. 0:38:21 - Speaker 1This one didn't grab me so much one of the cool little Gord Downey stories is the lyric that you're just talking about metropolis noir. It sounds so elegant and mysterious at the same time. But metropolis noir is a name he saw on a bag of coffee, it's. It's like French roasts, but in French it wasn't French roasts, it was a dark roast or something, or Italian roast. 0:39:00 - Speaker 3Dark roasts. Dark roasts, italian roasts. 0:39:02 - Speaker 1I forget which one it was, but it translated, because everything in Canada has to have a French label and a Canadian label. It translated to matropolis noir. So that's just one of those little things he stuck in his notebook. and then he's writing this greasy jungle, matropolis noir. And all of a sudden you've got this setting and then it takes you on that little story for funeral home sandwiches and coffee. Oh delicious Yeah. 0:39:33 - Speaker 3Yeah, i think that I also read that it maybe referenced a diner that he worked at that had the same name. Oh really, did you guys know that? Yeah, yeah, greasy jungle. Greasy jungle Sounds like a good diner though. 0:39:48 - Speaker 2Yeah, jd, you said French roasts, and it's funny because I always think I don't remember the name of the comedian, but in France they just call it roast, just like Tim and I's definition of Canadian bacon is actually just bacon for you right, JD, No I can't remember the comedian who did that bit, but, tim, i couldn't disagree with you more on this one. However, i will tell you. 0:40:25 - Speaker 1Tim, you're ignorant slut. 0:40:30 - Speaker 3Yes. 0:40:31 - Speaker 2I'm done. I sort of felt like that the first time I heard it And the more I. This was one where I kept digging Actually I didn't really have to do much work, but just the more I listened to it the more I was like okay, i get it. I get why this was a single. This is a banger on the phrasing on it. The vocal phrasing absolute A. Plus another great car song on the solos, super experimental, like again. It's cool, because it's not. Most of the guitar on this record is not like this. It's not a producer going. 0:41:11 - Speaker 1Okay, boys, let's lay down the solo. This is where we're going to put the solo here. Give me 32 bars, let's go. 0:41:18 - Speaker 232 bars, yeah, like it just it's so cool and it's not like that. And this song is the first although not as much, because there's another one we'll bring up and I'm sure you guys know which one it is But this is the first song where I really hear that the influence this band had on a Linus Morrisette. Oh wow, Oh yeah, There's another song on this record that we'll get to. That is clearly. It's clearly. She was sitting in her room listening to this record prior to recording Jagged Little Pill, like which I can't remember what year that came out. 0:42:04 - Speaker 1What year did that come out? It came out, i want to say the summer of 95 was when the was when she broke, when she exploded. 0:42:13 - Speaker 3Yeah, is she a fan? Is she a fan? 0:42:16 - Speaker 2She's a great musician and she's Canadian, so I would be hard pressed to think she's not. At least, i didn't mind. Oh yeah, she's Canadian. Yeah, you fuck her, stick together. So I saw her live in 2018 in LA and she just, i mean, fucking blew the roof off the place. Oh man, it was, it was, it was insane. 0:42:40 - Speaker 1Anyway, my wife had tickets to the 25th anniversary tour of Jagged Little Pill and it got canceled due to COVID. So, yeah, total drag. Yeah, yeah, okay, yeah, i'm, i'm on your side there, pete. As far as Greasy Jungle goes, next one is a cool thing that I don't know if this is something that pre-existed. You know, i don't know if somebody had taken a photograph and of a dog, you know, with its teeth bared, and wondered aloud if it had been yawning or snarling. Because, like, since that time, i've seen so many photos that I say that line in my head. You know, there's so many photos that they're captured and we feel something right away, but then you have to sort of open your mind and go well, wait a minute, maybe that feeling that I'm feeling isn't the right feeling. You know, it was just the way the photo was captured. It could have been yawning or snarling, and that sort of kicks us off. 0:44:08 - Speaker 5The cops go into the crowd under a glaring platter of light and the music's just so loud and the tourists take their t-shirts off and a bus load of kids and gifts to the finger Afternoon, when the sidewalk's hot and the shadows too chilly to linger. 0:44:50 - Speaker 6Both we're in the escuchians and at the bar, and people are helming Downtown. Never, ever been. 0:45:06 - Speaker 5Now just wait for me, I'm gonna resurface. 0:45:17 - Speaker 6I take a look at this photo girl. I don't know how clearly it's taken away. 0:45:28 - Speaker 5I'm gonna get out of here. I never saw it. The picture is never clear. 0:45:41 - Speaker 6I'm gonna make a decision. I mean an incarceration, i mean so much. One night in El Paso, the cops fall into the crowd Under a throbbing bladder of light And the music is just so loud And the tourists turn their TVs off. The box is apart with the sound of a linger Night time when the shadows come And you tilt to the tips of your fingers. But that's the way it goes in our region. I'm so strong, i'm making a chance Downtown, never ever been. Now just wait for you to resurface. Take a look at this photograph. How clearly it's taken away. He could have been the artist, not an artist. This picture is never clear. I'm so good at this photo, girl. How clearly it's taken away. I'm gonna get out of here. 0:47:48 - Speaker 5I'm in a slumber. The story is never clear. Walks right into a Mardi Gras parade. We're touring the south at the bottom of the beard. 0:48:28 - Speaker 2Yonnie and Snarling I first listened to. This record was my favorite song And that was, with my, everything I love about Grace too, it starts out very mad season. I don't know if you know that band. 0:48:52 - Speaker 1Yeah, that was the supergroup right. 0:48:54 - Speaker 2Yeah, that was the supergroup of Pearl Jam and Alice in Chains And that record. When did that record come out? Did it come out in 1993? Maybe, so they were active in 1994 to 1996, So maybe it's the same time, I don't know. Anyway, it starts out like the first and it builds. I don't know. I just loved it. I could say so much about the instrumentation, But lyrically, I don't know if you've got a line on exactly what it's about JD, But there's some historical references in there And talking about El Paso, he brings up the Mexican US border there. I'm pretty sure that runs through the 100th Meridian, Oh wow now, i know that. I could be wrong, but it just kind of feels like it's going, like Cordoni's really going in. He's a big fan of these historical references. I don't know, i dug it. What's saying you, tim? 0:50:11 - Speaker 3I dug it. I think when I first heard it started up I was thinking Okay, here's the spooky, sinister Pipps song of the album Which we often get. You know, if any song that I hear I hear a reference about El Paso or the Rio Grande, it's usually something heavy. It's not about going tubing and fishing and having fun. So yeah, there's a line in there about the cops go into the crowd Throbbing bladder of light. You know, i'd love that phrase, throbbing bladder of light. The music is so loud nighttime when the shadows cough Like this. Lyrically, the song's loaded, it's just it's really really big. I just, you know, somebody beat up and throw it in the river. This is an early song there's a moody guitar ending, i think throughout the song. The bass to me I'm always kind of honing in. It's funny because Pete's on guitar and I'm on bass and drums, which is cool, but the bass is a little punchier, like it's tuned up or I don't know. This one had definitely some home, you know, if they recorded it in the house. I'm just gonna call it home production because it's basically what it was, even if it was like Super Pro Studio, like there's some little things in there that I heard for sure. It's an interesting song. It's pretty cool It was. It's kind of an early song to me. I stuck with it a few times. 0:51:58 - Speaker 1Cool. What's next? It's number five. We're at five. Fire in the hole. 0:52:07 - Speaker 3Yeah, let's fire. Fire in the hole is fucking cool. And I say that because I heard kind of this 90s grungy punk influence with this one, even though it's not like super fast or anything. But then when I started reading into it, you know, because I figured it had something to do with fascism and Nazis And I don't know. There's something you know angry here. There's some different ties to Sonic Youth's Youth, sonic Youth's Youth Against Fascism song. It's very I don't want to say very similar, but there's definitely some things shared. You know, that was a time for me. It was a time of really getting into, like crunchy guitars, a little bit more experimentation, faster rhythms. You know this song, for a hip song maybe, is like a little bit tougher. It's a little bit tougher. And I also just thought you know by its own name and chorus that this one is probably ruckus live. It's probably just fun and, you know, fist in the air. 0:53:30 - Speaker 2Yeah, i agree, i agree, this is a banger for sure. The guitar work on it I definitely. I mean it's weird, i don't know because I'm not the biggest Guns N' Roses fan, but you know, slash's Les Paul guitar tone is pretty distinct, you know, when you hear it, and the guitar tone on this song that he's playing some lines sounds, i mean, identical. It doesn't sound like Guns N' Roses, of course the song doesn't, but that guitar tone just was so reminiscent of that And it kind of made me think, okay, so they're like trying to, they're trying to shed some older skin from the previous records, but you know, it's sort of like you can take the. You know, take the what out of the what, but you can't take the what out of the what. They still got it in their roots. You know what I mean. 0:54:35 - Speaker 1Yeah. 0:54:38 - Speaker 2So that's definitely there. And then, yeah, this is one like the obviously Grace too. I mean that's sort of like the flagship of this record. But this is another song where you're like, okay, gord's found his voice. He's really, you know, If the band is his recliner, like whenever he gets up, you can see his ass imprint. It is always there. He's found his voice. The chair is sunk. It's sunk in. Does that make sense What I'm trying to say? Yeah, he's. Yeah, he's been in that chair so long now for a number of records that it's just comforts Like he's found it. 0:55:29 - Speaker 1He knows where he's at. He's in the groove. He's in the groove Like he's absolutely. And to me, guys, isn't this the heaviest that we've ever heard them. Or is there something on Foley that might be? No, i think you're right, i do. 0:55:46 - Speaker 3I think it's up there. I think it's up there. 0:55:48 - Speaker 1Yeah, because you were saying fast and I was thinking to my head, I was like yeah, it is fast. It's fast and heavy, Like this is a great song alive. 0:55:54 - Speaker 2This is like Foo Fighters, Fast Like I was like whoa. 0:55:59 - Speaker 1Yeah, because it's still, it's still. 0:56:05 - Speaker 3It's interesting. You went to guns and roses. I don't know why I didn't go there Like I. Just I didn't hear that reference, but I want to go back. 0:56:14 - Speaker 2Just the guitar, just the guitar time. 0:56:17 - Speaker 3Yeah, yeah, yeah. 0:56:19 - Speaker 2For me oftentimes that doesn't mean something positive, Just yeah you know, outside of them anybody else I hear sounding like remotely like guns and roses. You just kind of go, eh you know. But I think it was just weird that Tom was there because coming up the hip I feel were such a that was. That was what most bands were sounding like back then. 0:56:49 - Speaker 3I don't know. Yeah, maybe 50 mission cap or something. Oh yeah, yeah, this one, you know. 0:56:56 - Speaker 1Yeah, you might be right, You might be and you might be so hard done by. 0:57:00 - Speaker 2So hard done by. To be honest with you, this is probably my least favorite of the of the record. Hey, we're in the break. Yeah, i just didn't. Yeah, i thought it was, i thought it was a cool chorus, but I just I kept thinking about, like, what would I say about the song? And it's just, you know, maybe in the 10 year reunion by then I'll have something. but this song, sorry, i wish I had I had more for it, but I really just don't. 0:57:42 - Speaker 3I'm with you a bit. I heard Allison Chains right away And I don't think it's like it's not like 100% Allison Chains. That's who I thought of And I'm starting to hear, you know, and occasional references to bands that we're doing well during this time And I'm not a big Allison Chains fan by any means, but it's. you know, there's still some lyric nuggets in here I love. you'll have to wait a minute. It's an en somatic Like. that to me is kind of a phrase of if you want, you know, beauty in life, it's not going to come to you right away. You got to, you got to deal. The ending is kind of rough. You know the yeah, i'm with you, pete. The ending is kind of rough. The snare is too snappy. The snare is like so snappy that it's like that's how you tune a snare for fucking punk rock songs with a high beat per minute. You know it just didn't. it just didn't. 0:58:45 - Speaker 1It's funny that you say that, because the original, like the demo version of this song is totally up tempo. Well so it's. It's a completely different song Me I. I think this is, i think it's fine, i think it's harkens back to like, like it could be on up to here, it could be on road apples. To me it's got that sleazy, not quite stone Z vibe. So I was really surprised to hear you say Alison chains, because I'm I'm going more of like the roots. You know, okay, that's, that's my vibe of John, but but that's, you know, this one, that's just how it was for sure. 0:59:30 - Speaker 3More filler had a rough ending and I was kind of glad it was like, okay, what's next? You want to? you want to add something, pete. 0:59:37 - Speaker 2Oh, all I was going to say was You know, that'd be cool if it was. I mean, maybe it is cool live. And I just just to comment that I always hate when you hear a band play a live version of a song and it's just fucking killer And that's the first way you hear it. And then you hear the studio version and it just absolutely blows. 0:59:59 - Speaker 3So yeah, i'm, i'm with you, I'm with you. Maybe this is that? 1:00:03 - Speaker 2But to answer your question, JD, what's next is not cool. I've actually heard JD sing this song. 1:00:12 - Speaker 1Oh, that's right, I did it. I did it for a, i did it for a hip podcast, like I do a pod list, just like I do for medium alchemists And I sang it. Is that that was right? Yeah, yeah. 1:00:27 - Speaker 3I dug it, I thought it. I thought it was what's, what's that pod JD had that he took off. It was like JD sings in the shower, Was it that one? 1:00:36 - Speaker 2That's what I wanted. Jd sings in the shower. There was a. There was a. There was a video version of the podcast too, but that was yeah that was that, the lovely fans. No, i remember hearing this and the first time you sent it to me I think I was already living in Malaga. But great tune, i, you know this, and JD, you, you, you explained to me what this song was about and I've since forgotten because my brain doesn't work anymore at my age, but I did get. I think the reason why we started talking about it in the first place was because we I mentioned to you the another great Canadian singer, gordon Lightfoot's Right, ricky Deven, if it's Gerald. And so you, you brought this song up and that's kind of how it came into my, my atmosphere, my airspace if you will. 1:01:44 - Speaker 1Well, those are forever linked for me, because the first time I saw this song played live Gordon, he introduced it live as a Canadian musician, would be complete without a song about a nautical disaster. 1:02:04 - Speaker 5This song is called nautical disaster. These are the Dh과a stations for brokers. 1:02:36 - Speaker 6NotOf cybersecurity. This is Darryl, i don't wanna sweat. Ha. What's wrong? What's going on? Can't tell yourself I'm a foreign team. He said hang on, just stop, shut your big mouth and gotta do what you feel is real. He got no peace and false gods Got no Sunni, my baby. She won't know me when I'm thinking about music. I'm a foreign team. Keep it going, man. 1:04:11 - Speaker 7Let's keep the wagon wheel going. Alright, i had this dream where I relished the fray And the screaming filled my head all day. I felt as though I'd been spinned here, Settled in into the pocket. 1:04:44 - Speaker 6In a lighthouse on some rocky socket Of the coast of France, dear One afternoon. Four thousand men died in the water Here And five hundred more repression, matthew, is parasite's life In your blood. Now I'm in a lifeboat Designed for ten. Ten on me. Anything that's systematic Would get you hated. It's not a deal, nor a test, Nor a love of something stated. The selection was quick, the crew was in order And those left in the water Got kicked off the padlock And we headed home. 1:06:24 - Speaker 7And in the dream and when the phone rings, we're doing alright. 1:06:30 - Speaker 6I set it out there Those days and nights, but only a fool would complain. Anyway, susan, if you'd like A conversation To say myself, in my memory Is those fingertips Scratching on my heart, and I'm in a lifeboat Designed for ten. Ten on me. 1:07:41 - Speaker 7Anything that's systematic Would get you hated. It's not a deal, nor a test, nor a love of something stated, no matter how hard it is. You see how hard it is, it's real hard. 1:08:27 - Speaker 5There's a lifeboat Hanging on a wire Sucking up to someone, just a stoke of fire. 1:08:35 - Speaker 7Picking up the highlights of the scenery, saw some little clouds. 1:08:50 - Speaker 5They looked a little like me. I had my hands in the river, my feet back up from banks, looked up to the Lord above, said he'd call me thanks. Some times I feel so good I've got to scream. Said 40 baby, i know exactly what you mean, he said. He said I swear to God. He said Now, now. 1:09:27 - Speaker 6Now, okay, my memory Was my dear watch's river that I nailed. If near or leave a sink in there, then I don't wanna swear Swag, swag, swag, swag. 1:10:42 - Speaker 1Swag, swag, and then they launch into New Orleans' sinking. Oh my gosh, and you're sorta like what? What's going on? And then, in the middle of New Orleans' sinking, is this brand new song, fully fleshed out, not a? 1:11:00 - Speaker 3good one. You know, i read about this And it's fucking holy crap. 1:11:07 - Speaker 1It is a tornado Like it is, so destructive. 1:11:14 - Speaker 3And you know, there's not many bands Who perform live that do Extremely intentional things like that For the audience. There's not many bands that do that Doing something like that, mixing in a new song in the middle of a song People know And then did they circle back? 1:11:31 - Speaker 1Yeah, They finished, then they finished all of these things. 1:11:34 - Speaker 3That's just insane to me. I just love, i just love, love, love that. I just love that. If any, if any songwriters are out there, do that for me. When I come here you live, mix me in a new one. It's a treat, right? Yeah, because it's the opposite of going to a show And hearing a band play Like their album. You know, i've walked out of shows Because it's just boring as fuck. You know, i'll say this about In 18. I believe it was built to spill. Oh my gosh, it was like I could have just put on One of their records and sat at home. So, yeah, to be able to split in another song And keep going and mix it up And do all these things that are so creative And have the confidence to do that, and phew. 1:12:30 - Speaker 2The only thing I'll say in defensive built to spill Is there's always. 1:12:34 - Speaker 3Oh, everybody defends. Built to spill. 1:12:36 - Speaker 2No, no, i'm only saying it live I've never seen them live. Only because they always have a new line up. It's only a singer They do. They do. So if I'm a guy sitting in And part of the band this time around, the only thing I know is the record, because that's probably how they play together, which that's uh. Yeah, my buddy's seen them live And he kind of had the same feeling as you did. 1:13:01 - Speaker 1Same feeling as you did, i'm just starting to get into built. 1:13:04 - Speaker 3Yeah, sorry, bds fans. There you have it. There's another fan that wants to punch me in the gut. Not a cool disaster, i think it's fucking cool. Like my sentiment right away was like Here's the epic storytelling TH song. Here The drums it was like beating. Like we're charging into war Lifeboat designed for ten and ten. Only You know. There's just all these Great metaphors in there for like I don't know. 1:13:34 - Speaker 1Oh, i love the line about getting The remaining people in the water Getting kicked off at Antler. Oh man, i don't know why. Yeah, and this song, there's no structure, there's no verse, there's no chorus, it's just literally Like you said, tim, it's like a story. 1:13:51 - Speaker 3Yeah yeah, i don't know who the Susan reference is. I didn't look too much into that part, like, towards the end there's something about Susan Which I don't know why. With this band, whenever they mention a woman I'm always like. 1:14:03 - Speaker 1She's Evelyn's sister. 1:14:04 - Speaker 3Because it's often something grim. But you know this song there's. There's lots of data in there. This could be a rabbit hole song. It wasn't so much for me, just because I thought it was awesome. 1:14:19 - Speaker 1You're right, it is awesome. It's fucking awesome. Maybe I'm out and we're actually more song for the band. Where do we go next? Um Thugs? 1:14:28 - Speaker 2This is gonna sound really strange, but first of all, i love the chorus on this song. That's fantastic. I really dug this song a lot. It's ironic that it's called thugs and the baseline is a slowed-down version of Grandmaster flashes a message yes or yes? 1:14:54 - Speaker 3Whoa, I didn't go that deep, but I knew it was something like I. I felt there was something go out on in this song And I didn't know what I was you know, i didn't know what it was, but Uh, you keep going it's a deep, deep. 1:15:09 - Speaker 2There's clearly a deep admiration for Grandmaster flash Going on here and The. this the we reference to JD. You mentioned that this is the song where, or this is the record where, you realized they're actually a wee band out of your band. 1:15:30 - Speaker 1Um, yeah, it sort of. It sort of happened at the same time to me as well, no, but you know, there's the reference about All roll or rolling. I'll do the details, you do the roll and I'll do the details. I'm sorry about that. That's all right. 1:15:48 - Speaker 2Yeah, that's, that's kind of where. That's kind of Where I thought on that, the Again the chorus awesome, uh, there's. He keeps doing this high, are you know? it doesn't a couple times and on the record but he does like a high-pitched whoo And this song, that's really cool. And The spacey reverb Guitar is just like. I couldn't think of the song that it reminded me of or the artist, but it's, there's so much reverb on this on that guitar, it's like It's insane. 1:16:26 - Speaker 1Love it, love love, love this one. Yes, it's, yeah, you can swim in it Well said. Yeah, yeah. Where are you on thugs? 1:16:34 - Speaker 3You know I I Felt it was a little bit filler. You know I I didn't get a whole lot from this one I when I Started looking into kind of the movie references or what they get up trying to figure out When I was trying to figure out. You know any details About this song that could make me get into it more? I read and I've read this before, the quote from gourd, that if that's what you think it's about, then that's what it's about Sure, which made me think for this song. Okay, if it's. You know if I think gourd would tell me hey man, if you, if you don't dig this song, then maybe you should try Inevitability of death. You know, if you want to get heavier, then go here. If you don't, you don't get heavy with thugs and let's give you a song about struggling with cancer, which is, i think, inevitability of death. You know, there's what I enjoyed about this song is they mix it up a little bit. You know there's a Chorus singing without drums. You know they're starting to do little creative things on this album That I think help make it stand out and keep my interests more. That's kind of what I, yeah, that's kind of what I've noticed. But then you know, i think everybody probably knows anybody, or sorry, anyone knows someone is diet of cancer and maybe that's what this is about about and living life. You know, trying to Do everything to your fullest. I'm not sure about this. The song was, it was a good jam, it was it was. 1:18:17 - Speaker 1You know what you're not. You're not Far off the track. I don't think, though, when, when you say that about cancer but that would be just so terribly ironic you know Writing a song about that and then succumbing to that illness. You know all those. 1:18:38 - Speaker 3Yeah, exactly. 1:18:40 - Speaker 1Because it came on suddenly. It wasn't something he battled with for very long. It came on suddenly and he was gone, wow, other than a other than a cross-canada tour. But well, you just think, puffy lips, glistening skin, yeah, everything comes rushing in. That could be like reference to, like the chemotherapy you know, like rushing into your body. You know We don't go to hell, just yeah. I love the. I also just love the word play. I thought you'd be the death of inevitability to death just a little bit. I thought you'd be the inevitability of death to death just a little bit like. I love how it's inverted Mm-hmm, very cool, very cool. 1:19:21 - Speaker 2And he makes it work it's crazy that you say like puffy lips and glistening skin. I'm thinking of a. I'm thinking of like Scarlett Johansson and in a bikini like that's who. I'm like. That's right where I went when I heard that. That's so. I'm not even joking. 1:19:43 - Speaker 1That's like what I thought say, could have been yonder somebody somebody just came from LA, i think. 1:19:51 - Speaker 2It's been any time with Scarlett, though The I dig this song It's. It's not one of my favorites, but this was the song that Clearly did the one I mentioned earlier that that Alanis drew a lot of The word play and the way he phrases it is It's. It's exactly what she does in the song. You ought to know like it's. It's 100%. You can't Can't deny it. I'm sure if you had a gun to read she'd say yes, of course It's worth it. She's got the inspiration on. I. 1:20:33 - Speaker 1Don't think it would go that far, just just for the record. No, yeah, if you were interviewing her you would probably, i probably, i probably just ask her. 1:20:39 - Speaker 2Yeah, she seems like a nice person. 1:20:43 - Speaker 3Let's, let's, let's have her guest on the next one. 1:20:45 - Speaker 1He's gonna you have. You have that up, jady Yeah. 1:20:47 - Speaker 3Yeah. 1:20:48 - Speaker 1Yeah, I like the bass that. 1:20:49 - Speaker 2I think the chords are a little bit more. I think the chords are a little bit monotonous. The line if you go to hell, i'll still remember you, that's just. That's a really fucking cool line. But The bass starts to shine at the end, which is cool because because the chords are so I guess I've been honest the bass really isn't doing much, but then it does something that that only Tim Hates is more than I do. It's just faith. 1:21:27 - Speaker 3You know, i will say some of the hip, some of the hips, fadeouts are better than others. Okay, they've had they've had some oh dare I tragic fadeouts oh. I use that because I hate fade out so much. 1:21:47 - Speaker 2Jady, can you, can you You edit this in? can you, can you do that? 1:21:55 - Speaker 3That's funny. You mentioned that cuz a couple weeks ago, jd. I said to JD you know, sometimes I just want to add in a sound effect, like You know, and he's like you do not do that on my podcast, i hate sound effects, because I'm even thinking. 1:22:14 - Speaker 1You know, when you were talking earlier, you were talking about The bass being slowed down from Grandmaster Flash, like, oh, i could intercut. I could intercut like the Grandmaster Flash song so people could hear it. 1:22:27 - Speaker 2But then it's like It's so noticeable man, i mean it's it's so noticeable. It's exact same bass line, but anyway. 1:22:37 - Speaker 1Next song, though. So then we slow it down with scared. 1:22:41 - Speaker 3This that's so scared for me is it's like a. I instantly went to. This song would be an amazing concert concert closer. You know it's. It comes on, you know the night's finishing, it might be the what else? songs. You close your eyes at some point and just listen and get in deep. You know it's, there's, it's layered and story from I don't know Russia and the Germans and Stalin and Trying to make culture and art disappeared and like housekeepers and all these different things. It's like it's. It's. It's a sad kind of beautiful song that It's a little bit of a usual makeup for them with this kind of section of the album, but I thought it was, you know, on that note, kind of dark and lovely overall. 1:23:37 - Speaker 1What do you think, sir? 1:23:39 - Speaker 2I wasn't. I thought this was kind of like just a token. If you will token slow tune like It didn't do it for me, like When it comes to like softer hip songs, like it didn't give me the same Warm, fuzzy feeling is like fiddler's green did. 1:24:02 - Speaker 1Sure, okay, yeah, i mean, fiddler's green is a knockout pie. It is, but my god scared. I love this song really good. 1:24:10 - Speaker 2Maybe it's just positioning on the record, i don't know. I've got a Spend some more time with it and in this was actually one song. There's a couple of tunes. I didn't Get to hear the car, yeah, towards the end, because my car rides weren't as long and they started the record. I would put the first song on when I got in the car, so if I wasn't driving for a long time, obviously the song story the other record didn't didn't didn't make it in the in the car, but there was something really weird on this song. There was a Spacey sort of keyboard sound that kept going off. You know I'm talking about. 1:24:54 - Speaker 3I know, now I don't really yeah, the only thing that certainly stood out to me was the use of acoustic guitars. There's, you know that's. That was a little unusual. I don't remember keyboards. 1:25:05 - Speaker 2There's some sort of keyboard effect going on in there. That is Like the only thing I can equate it to is like you know the. It's like an oscillated version of. You know the sound of the, the metal hitting the, the track on the song. It's a sound of the men working on the chain game. Yeah, it's like it. It's like an echoey, delayed, oscillated, real subtle Vert Sample of that or something, something similar to that, and it's done with the keyboards and said it's on the song 100%. 1:25:46 - Speaker 1Huh, i've got to listen with these headphones. 1:25:49 - Speaker 2But yeah it's. It was a cool song. I dug it and I kind of wish I had more of a feeling the way you guys do about it. But you know it's okay there just hope for you. 1:25:59 - Speaker 1There's hope for you, peter. From there we go to an inch an hour, and this song always impressed me, because the math works out an In an hour today the same way, an inch an hour to feed a day, to moan tonight in this most professional way. 1:26:57 - Speaker 5There's this fucking band. You gotta see they used to care about living shit. I see no profit in talk. No food in town, no rock and roll, no bestiality. 1:27:10 - Speaker 6Makes me feel the same way. An inch an hour to feed a day, to moan tonight with their little mouth to say But our health is best with the people in the space. No stuff of town, no feed you through, no salt on the tev. It works through Making lots and moogs. 1:27:49 - Speaker 5Tonight I'm gonna win and make this gift heart. I want you to see your breath in the spring side. Heart, coffee colors, ice and feeling. First part Sound. The rushing water in the dark Makes me feel the same way. 1:28:06 - Speaker 6An inch an hour to feed a day, to moan tonight with their little mouth to say But our health is best with the people in the space. I mean our health is best with the people in the space. You see, i don't know me. I don't know me at all, i don't know myself. 1:28:47 - Speaker 1I don't know myself. I don't know myself. What did you think of this? 1:29:06 - Speaker 2one. I love the. I don't know if I paid attention to it in the other records, or I'm just hearing this now, or this is the first time they're really doing it, but I feel like the guitar is falling the vocal line, or the vocal line is falling the guitar a little bit more, which is cool, like the melody of what Gord's singing. I thought it was a fucking banger. Again, this is another one where he's like yelping. I can only say yelping because he's not screaming but he's saying oh, oh, like really multiple times during the song. Anyway, i love it. I thought this song would probably be a really good opener. I don't know if they ever opened with it, but Definitely thought it would be a good opener. 1:30:07 - Speaker 3I think this one I was anticipating, without even knowing it, after listening to Scared. Scared was like this epic kind of novel, three-part novel to get through And when an inch and hour came on in the car, within seconds was turning it way up Like. This is one that I kind of needed. With the placement in the album, it truly so. I read that it's potentially, or possibly, if it's about a fan who wrote a fan letter to the band. Supposedly this guy claims to come home at the end of his night shift every day. He would go buy some beer and sit on the stoop of his apartment And just crank tragically hip and drink beers. And he was thumbing through one of their albums and saw an address to write letters into
Back in the day, the HMV store on Henry Street was where people would go to buy the latest record or queue for tickets for the hottest gig in town. It closed in 2016, but thanks to the resurrection of vinyl sales HMV is returning to Henry Street. It is expected to open some time next month. Henry McKean joined Sean to discuss...
Siamo tornati, adesso si lavora sul serio! La delusione del Napoli, ne parliamo anche con Adani. Il ritorno del vinile, a Londra riapre HMV. Il ritorno di Jack Nicholson alla partita dei Lakers.
Tech's Message: News & Analysis With Nate Lanxon (Bloomberg, Wired, CNET)
This week on Tech's Message:The failure of the UK's emergency test systemWhat network Three got wrong and whyGoodbye, Covid tracing app, we hardly knew yeNate's back in New York filmingIan's bananaThe extended, ad-free version available via Patreon subscription also includes:HMV's reopening its biggest UK storeVinyl, merch and live music are back for retailBananasBagpipesKiltsHaggisOuttakes and much more…Links:https://www.bbc.com/news/uk-politics-65391455 https://www.ispreview.co.uk/index.php/2023/04/three-uk-coughs-to-problems-with-emergency-alert-test.html https://www.bbc.com/news/technology-65377793 https://www.telegraph.co.uk/business/2023/04/28/hmv-return-flagship-store-oxford-street-london/ https://www.nature.com/articles/s41467-023-36495-z Become a supporter to unlock bonus content and listen live — join our Patreon.Full show notes, subscription options and more available at https://www.uktechshow.com. TECH'S MESSAGE IS: Hosts: Nate Lanxon, Ian MorrisProduction and Editing: Nate LanxonMusic: Audio Network & Pond5Certain Artwork Elements Designed By: macrovector / FreepikPublisher (Free Version): AcastCopyright © Nate LanxonAds (on free version) are not endorsements, nor controlled by Tech's Message. Read Nate's ad policy. Hosted on Acast. See acast.com/privacy for more information.
Brit Rockers Joe Symes & The Loving Kind return! Brit rockers Joe Symes & the Loving Kind continue touring the HMV stores promoting their latest EP, and will be headlining at Jimmy's in Liverpool May 20. The band's self-titled debut album, released on their own record label, Truly Independent Records, is a resume of their musical versatility. A record containing songs of the rock, psychedelic, dah-dah, easy listening, country and movie soundtrack variety. One international reviewer called it an indie rock classic and two tracks appeared on the Charity Compilation Shoulder to Shoulder alongside tracks by Paul Weller, Ocean Colour Scene, Roger McGuinn (The Byrds), Robyn Hitchcock, Noel Gallagher, Pete Noone (Herman's Hermits) and Wishbone Ash. This collection was organised by David Quaife, whose brother Pete was the original bass player of the British rock legends The Kinks. Creation Records' Alan McGee even praised the album in question, even adding Hollywood stars like Matthew Modine, and Michael Keaton to the fan-base.
It's episode 7 of Ur Welcome America presents CHASING THE SATURDAYS; there is a surprise christening, an HMV calendar signing & Frankie explains that Tor is short for Victoria.UR WELCOMEAs always please send your feedback to;Insta: @urwelcomeamericaTwitter: @urwelcomeUSAEmail: UrWelcomeAmericaPodcast@gmail.com
Surinder Shinda - Folk Zindabad (71) - Punjabi Podcast with SangtarReleased February 24, 2023Surinder Shinda is one of the most regarded folk singer of Punjab in the last fifty years. In this podcast he shares his childhood memories and his path to from a humble carpenter family to HMV's best selling Punjabi artist.More at https://www.PunjabiPod.com - Thanks for supporting, sharing and following Punjabi Podcast.
Nick and Stu return to discuss a varied range of topics this week, in lieu of any goals. We do look at a couple of tactical points from the goalless draws with Carlisle and Northampton, but we also venture to such topics as power surges, PA decibels, referee abuse, Nathan Jones, Woolworths, HMV, and the statistically-interesting 1997-98 season. There's even a mention of Chris's favourite ever Wimbledon player. Can you guess who it is yet? Also, a quick preview of Saturday's game with Hartlepool.
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