Podcasts about The Human League

We're celebrating our 10th anniversary all year by digging in the vaults to re-present classic episodes with fresh commentary. Today, we're revisiting our 2021 conversation with Jimmy Jam & Terry Lewis. ABOUT JIMMY JAM & TERRY LEWISWith 26 Billboard #1 R&B hits and 16 Billboard #1 pop hits to their credit, Jimmy Jam and Terry Lewis are perhaps the most influential and successful songwriting and production duo in modern music history. With a total of 41 Top 10 hits in the US, Jimmy and Terry were named ASCAP Songwriters of the Year a record-breaking nine times. They are perhaps best known for their work with Janet Jackson, beginning with the Control album, which earned the duo a Grammy for Producer of the Year. Between 1986 and 1994 they scored thirteen #1 songs with Janet on either the R&B or pop chart, including “What Have You Done For Me Lately,” “Nasty,” “When I Think of You,” “Control,” “Let's Wait Awhile,” “Miss You Much,” “Rhythm Nation,” “Escapade” “Love Will Never Do (Without You),” “The Best Things in Life Are Free,” “That's the Way Love Goes,” “Any Time, Any Place,” and “Again,” which earned Jimmy, Terry, and Janet an Academy Award nomination for Best Original Song. Jimmy and Terry got their start as musicians with Morris Day and the Time, the Prince-produced band whose biggest hit was the Jam and Lewis-penned “Jerk Out.” They made the transition to a successful songwriting and production team working with the S.O.S. band, which landed a #2 R&B hit with “Just Be Good to Me.” From there, they made their mark on pop and R&B hits for decades to come. In addition to their work with Jackson, the duo wrote and produced the #1 pop singles “Human” by Human League, “Romantic” by Karyn White, “Thank God I Found You” by Mariah Carey, and the Boyz II Men singles “On Bended Knee” and “4 Seasons of Loneliness.” Additional R&B chart toppers include “Encore” by Cheryl Lynn, “Fake” by Alexander O'Neal, “Everything I Miss at Home” by Cherelle, “Sensitivity” by Ralph Tresvant, and the Johnny Gill singles “Rub You the Right Way” and “Wrap My Body Tight.” Other highlights from their catalog include New Edition's “If It Isn't Love” and “I'm Still in Love With You,” “No More Drama” by Mary J. Blige, Robert Palmer's hit pop cover of their Cherelle single “I Didn't Mean to Turn You On,” and recordings by Gladys Knight & The Pips, Barry White, Michael Jackson, Lionel Richie, Usher, Spice Girls, Aretha Franklin, Charlie Wilson, Ledisi, Sting, Elton John, Beyonce, Rihanna, Rod Stewart, Drake, Kendrick Lamar, Gwen Stefani, Willie Nelson, and many others.Always versatile, the duo has earned Grammy awards for Best R&B Album for Chaka Kahn's Funk This, Best Gospel Song for Yolanda Adams' “Be Blessed,” and Best Dance Recording for Janet Jackson's #1 pop and R&B hit “All For You.” Additional Jackson hits that were written and produced with Jam and Lewis include the Janet and Michael Jackson hit “Scream” and the #1 singles “Together Again,” “I Get Lonely,” “Doesn't Really Matter,” and the Nelly duet “Call On Me.”In total the team has earned over 100 gold, platinum, multi-platinum and diamond album certifications from the RIAA, have received more Producer of the Year Grammy nominations than anyone in history, earned the NAACP Lifetime Achievement Award, and were inducted into the Songwriters Hall of Fame. 

Oli Freke talks us through the history of samplers, from the introduction of the Mellotron in 1963, through to current day sampling software, while highlighting the golden era of sampling from the late 80s to early 90s.Chapters00:00 - Introduction01:08 - The Mellotron02:28 - Pre-Digital Samplers03:18 - Pierre Schaeffer And The Phonogène04:03 - Peter Zinovieff And EMS 05:44 - The University Of Illinois' PLATO06:08 - Harry Mendell's Melodian 07:21 - Wendel Sampling Computer08:29 - The Fairlight and Fairlight II15:20 - The Fundamentals Of Sampling19:43 - The Synclavier23:47 - Digital Delay Lines (DDLs)26:04 - EMU Systems Emulator31:01 - Ensoniq Mirage32:39 - Other Notable 1980s Releases34:46 - Akai S1000 and Roland S Series38:14 - Sampling And Legal Issues 41:16 - Modern Day SamplingOli Freke BiogOli Freke is a London based musician, artist and author who has had a life-long passion for electronic instruments, synthesizers and electronic music. Currently working for the BBC, he has previously enjoyed success with electro band Cassette Electrik supporting the Human League on tour, written music for television and produced dance music since the 1990s.His Synth Evolution range of posters, celebrating the synthesizer and electronic music culture, launched in 2017 and led to the definitive, hand-illustrated book, ‘Synth Evolution: From Analogue to Digital (and Back)', featuring every commercial synth of the 20th century.www.synthevolution.netwww.linktr.ee/olifrekeCatch more shows on our other podcast channels: https://www.soundonsound.com/sos-podcasts

Avec un break Human League et une retro Metro AreaBAMB - Jessy LanzaYaeji - Mirror (feat. Jessy Lanza & Yaeji) Smerz - Feisty Lizzy Mercier Descloux - My Funny Valentine Justice - afterimage justice remixHiTech, George Riley - TAKE YO PANTIES OFF Flumen, JPEGMAFIA - Track 1 Flume, JPEGMAFIA Is It Real (feat. Ravyn Lenae) Domenique Dumont - The Order Of Invisible Things Janet Jackson - When I Think of You (dance remix) Human League - Human (Instrumental Version) The Human League - Don't You Want Me Heaven 17 - (We Don't Need This) Fascist Groove Thang Boldy James & Real Bad Man - Fear Of God (Feat. Conway The Machine) Westside Gunn; Doechii - EGYPT (Remix) SARAFINA THE GREAT - GUN SLINGER (PISTOLET COUPÈ DECALÉ) Avalon Emerson; Storm Queen - On It Goes Myd feat. Channel Tres - all that glitters is not goldMetro Area - Caught UpDaniel Wang - Free Lovin Jorja Smith - The Way I Love You spill tab - Hold Me Suzanne Vega - Small Blue Thing Yaya Bey - dream girlDistribué par Audiomeans. Visitez audiomeans.fr/politique-de-confidentialite pour plus d'informations.

253 Mid Day Mix Fix is a Deep House inspired mix featuring tracks and remixes by RAYE, Don Diablo, Post Malone, Jan Areno, EDX, The Human League, Sade, EC Twins and more. The post 253 MIDDAY MIX FIX appeared first on Ed Unger Music.

**VJ Gary & The Pac To The 80's Replay On traxfm.org. This Week Gary Features The Mighty Pop Year Of 1983. Featuring Prince, Cultura Club, Eurythmics, Spandau Ballet, New Order, Human League, Sunfire, The Celtic Brothers, Bonnie Tyler, Heaven 17, Michael Jackson, Bananarama, XTC, Debbie Harry, Wham, Candi Staton, Madonna & More. #originalpirates #80smusic #popclassics #80sclassics #remixes #danceclassics #80charts #80sdancemusic #topofthepops Catch VJ Gary's Pac To The 80's Show Every Sunday From 3PM UK Time On www.traxfm.org Listen Live Here Via The Trax FM Player: chat.traxfm.org/player/index.html Mixcloud LIVE :mixcloud.com/live/traxfm Free Trax FM Android App: play.google.com/store/apps/det...mradio.ba.a6bcb The Trax FM Facebook Page : https://www.facebook.com/profile.php?id=100092342916738 Trax FM Live On Hear This: hearthis.at/k8bdngt4/live Tunerr: tunerr.co/radio/Trax-FM Radio Garden: Trax FM Link: http://radio.garden/listen/trax-fm/IEnsCj55 OnLine Radio Box: onlineradiobox.com/uk/trax/?cs...cs=uk.traxRadio Radio Deck: radiodeck.com/radio/5a09e2de87...7e3370db06d44dc Radio.Net: traxfmlondon.radio.net Stream Radio : streema.com/radios/Trax_FM..The_Originals Live Online Radio: liveonlineradio.net/english/tr...ax-fm-103-3.htm**

The CAT Club presents a classic vinyl album:THE CURE – THE HEAD ON THE DOORwith special guestDAVID M ALLENReleased in 1985, 'The Head On The Door' was The Cure's first real international success. At the helm during the recording of this terrific classic album was producer David M Allen.David is also an engineer and mixer. He has worked with The Sisters Of Mercy, The Chameleons, Depeche Mode, The Mission, The Associates, The Human League, Wire, Clan Of Xymox, Gianna Nannini, Shelleyan Orphan, Neneh Cherry, The Psychedelic Furs, Richard Strange and The Damned.AMANDA COOK was in the interviewer's chair opposite the delightful David M Allen and a splendid time was had by all.This event took place on 27th March 2025 in the Pigeon Loft at The Robin Hood, Pontefract, West Yorkshire.To find out more about the CAT Club please visit: www.thecatclub.co.ukThis podcast has been edited for content and for copyright reasons.Happy Trails.

**Smiffy's A To Z Of Soul Music Replay On www.traxfm.org. This Week Smiffy Featured an 80's Pop Special From the Years 1981 to 1983. Featuring Joe Dolce, Classic Nouveaux, XTC, Heaven 17, Japan, Orchestral Manououvres In The Dark, The Mood, Haircut 100, Ultravox, Yazoo, ABC, Human League, Duran Duran & More. #originalpirates #80s #80sclassics #1981 #1982 #1983 Listen Live Here Via The Trax FM Player: chat.traxfm.org/player/index.html Mixcloud LIVE :mixcloud.com/live/traxfm Free Trax FM Android App: play.google.com/store/apps/det...mradio.ba.a6bcb The Trax FM Facebook Page : https://www.facebook.com/profile.php?id=100092342916738 Trax FM Live On Hear This: hearthis.at/k8bdngt4/live Tunerr: tunerr.co/radio/Trax-FM Radio Garden: Trax FM Link: http://radio.garden/listen/trax-fm/IEnsCj55 OnLine Radio Box: onlineradiobox.com/uk/trax/?cs...cs=uk.traxRadio Radio Deck: radiodeck.com/radio/5a09e2de87...7e3370db06d44dc Radio.Net: traxfmlondon.radio.net Stream Radio : streema.com/radios/Trax_FM..The_Originals Live Online Radio: liveonlineradio.net/english/tr...ax-fm-103-3.htm**

The midierror meets... interview series is back with Sonicstate, speaking to all kinds of people working in music and sound.    On this episode, we're speaking to MARTYN WARE of Heaven 17, The Human League and BEF fame! In his multi-million selling career, Martyn has worked on all kinds of musical projects all over the world, including those mentioned above, as well as with Tina Turner, Chaka Khan, Sananda Maitreya (Terence Trent D'Arby) and so many more.  He formed Illustrious, an immersive soundscape company with Vince Clarke just after the millennium, and he now runs a popular podcast entitled 'Electronically Yours'  which is worth checking out - and shares its title with his Autobiography! His latest immersive experience is 'It's Always Ourselves We Find In The Sea' which is a FREE event in Halifax, running from 4th April - 4th May, with an emphasis on collective response to the climate emergency. Get ready for an expansive chat about his career, his studio, and how he approaches making music!      https://martynwareofficial.co.uk/ This is series 2, episode 1 and there are 50 previous episodes available now featuring Fatboy Slim, CJ Bolland, Andrew Huang, Tim Exile, High Contrast, Mylar Melodies, Infected Mushroom, DJ Rap, John Grant and many more. Available on Soundcloud, Spotify, Apple Music and Bandcamp.    Recommended Episode: midierror meets... John Grant {EP41]  

Martyn Ware was one of the founding members of The Human League and left to form Heaven 17 who were known for many hits including Let Me Go, Temptation, (We Don't Need This) Fascist Groove Thing, and Penthouse Pavement. He contributed to Band Aid's Do They Know It's Christmas and has produced various artist's albums including Tina Turner, Billy Preston, Erasure, and Terence Trent D'arby. He is also a college professor, a keynote speaker, podcaster, and partner in an immersive 3-D soundscape and design company called the Illustrious Company.

National Goof Off day.  Entertainment from 1960.  Jamestown Massacre, Britian enacted the Stamp Act, Outlaw Big Nose George Parrot killed.  Anne Bush 1st American woman to get a drivers license.  Todays birthdays - Louis L'Amour, Karl Malden, Werner Klemperer, William Shatner, James Patterson, Mathew Modine, Susan Ann Sulley, Rick Harrison, Reese Witherspoon.  William Hanna died.Intro - God did good - Dianna Cocoran    https://www.diannacorcoran.com/Goofing off - SparksTheme from A Summer Place - Percy Faith & his orchestraHe'll have to go - Jim ReevesBirthdays - In da club - 50 Cent   http://50cent.com/Hogans Heros TV themeRocket man - William ShatnerDon't you want me - The Human LeagueExit - Girl from the liquor store - Brad Howard    https://bradhowardmusic.net/lander countryundergroundradio.comhttps://coolcasts.cooolmedia.com/

Today's episode features Nicky Chance-Thompson, CEO for the outstanding Piece Hall in Halifax, one of the UK's premier music venues and cultural hubs. Under her leadership an outstanding arts, culture and community events programme has seen the award-winning heritage destination welcome more than 11 million visitors.This year will feature a huge range of musical events, including James, The Coors, Pendulum, UB40, Weezer, The Script, Simple Minds, Rag ‘n' Bone Man, The Human League, and many more - 32 in total so far…Ladies and gentlemen, meet Nicky Chance-Thompson...If you can, please support the Electronically Yours podcast via my Patreon: patreon.com/electronicallyours

Foi dos LPs que mais ouvi na minha adolescência. Um som electrónico, letras românticas, “every body needs love and adventure”,  enfim os condimentos QB para que este disco dos Human League tenha muitas “batatas fritas”! The Human League | Dare (LP) | The Things That Dreams Are Made Of | 1981

The Human League's "Human" is both irresistible and ridiculous. Despite the reprehensible content, Terry Lewis and Jimmy Jam create an earworm of a melody, and when combined with the not-quite-as-robotic-as-before vocals of Philip Oakey (which we continually mispronounce as "Oakley"), we can't help but return repeatedly to the tune. We discuss the history of the band, the song, and whether we can ever deem this to be a "guilt-free pleasure." Thank you for joining us! Links: The Official Video

Residus de neutrons personals. «Després del final», de Dennis Kelly. Traducció de Marc Rosich. Intèrprets: Meritxell Calvo i Ramon Pujol. Disseny de so: Roger Blasco. Vestuari: Marta Pell. Disseny de llums: Daniel Gener. Escenografia: Paula Font Creixell. Maquillatge i perruqueria: Tina Montón. Fotografies: Sergi Panizo. Premsa i comunicació: Rafaela Rivas. Distribució: Tot Produccions. Alumne en pràctiques: Nicolàs Queraltó. Disseny: Dani Ballesteros. Producció: Apunta Teatre. Adjunt de direcció: Jordi Andújar. Direcció: Marc Rosich. Sala Versus Glòries, Barcelona, 7 març 2025. Veu: Andreu Sotorra. Música: Don't You Want Me. Interpretació: The Human League. Composició: Adrian Wright, John William Calis i Phil Oakey. Àlbum: Dare!, 1981.

It's never too late for a 2024 recap, right? In today's super-sized episode, Bob, Mark, Carla and Brad discuss their favorite new songs of 2024 and songs they rediscovered last year. Well...three of the four of us followed this plan. One of us interpreted this theme a bit differently. Will there be controversy over Pearl Jam? Will Mark recover after hearing a Human League album was rated and reviewed higher than the Cure's Disintegration?  Did Brad find a song from 2024 that he actually liked? Listen and find out. Find the Playlist on Spotify + Apple Music and your Extras on Twitter and Instagram.  If you like what you hear, please share, rate and review us!Credits: Intro/ Outro — the Februarys, "Does Your Father Know"/ "... In a Letter." 

Hey Champ, Franc Moody, Donna Summer, The Human League, Anish Kumar & Barry Can't Swim, Parov Stelar, Adam Port & Alan Dixon, Moontalk e mais.A Revolta do Vinyl - Ricardo Guerra, since 2009.

**Kev White & The #White #House #Show Replay On www.traxfm.org. This Week Kev Gave Us Boogie, Dance & Pop Classics, (& Tunes You Have Not Heard In Years) From Sugar Minott, Spadau Ballet, New Order, New Musik, Human League, Eurythmics, Supertramp, T.Rex, Melba Moore, Deep Purple, Jesse Green, Joe Tax & More #originalpirates #danceclassics #70smusic #80smusic #party #boogie #disco Catch Kev White's The White House Show Every Thursday From 7PM UK Time The Station: traxfm.org Listen Live Here Via The Trax FM Player: chat.traxfm.org/player/index.html Mixcloud LIVE :mixcloud.com/live/traxfm Free Trax FM Android App: play.google.com/store/apps/det...mradio.ba.a6bcb The Trax FM Facebook Page : https://www.facebook.com/profile.php?id=100092342916738 Trax FM Live On Hear This: hearthis.at/k8bdngt4/live Tunerr: tunerr.co/radio/Trax-FM Radio Garden: Trax FM Link: http://radio.garden/listen/trax-fm/IEnsCj55 OnLine Radio Box: onlineradiobox.com/uk/trax/?cs...cs=uk.traxRadio Radio Deck: radiodeck.com/radio/5a09e2de87...7e3370db06d44dc Radio.Net: traxfmlondon.radio.net Stream Radio : streema.com/radios/Trax_FM..The_Originals Live Online Radio: liveonlineradio.net/english/tr...ax-fm-103-3.htm**

Je vous ai déjà raconté comment tant de chanteurs étaient arrivés d'Australie dans les années 60 et 70, des Bee Gees aux Easybeats en passant par Flash and the Pan. Et ça ne s'est pas arrêté dans les années 80 avec Kylie Minogue, Midnight Oil et Icehouse.Et justement, Icehouse, ça, c'est le groupe typique dont on connaît au moins une chanson par coeur, du genre qu'on monte le son sans savoir exactement ce qu'on aime en elle mais dont on ne sait rien. Je ne savais même pas qu'ils étaient Australiens ! C'est vrai que leur fameux single a fait un sacré tube fin 1982, début 83 et que cela leur avait valu d'assurer la première partie de la tournée du retour de David Bowie, la même année. Alors cette voix qui a sûrement dû vous accrocher avec son léger grain quand il descend dans les graves et sa clarté dans les aigus, c'est celle d'Iva Davies. Oui, comme les frères Davies des Kinks mais rien à voir, son père Neville a été garde forestier toute sa carrière dans la région de Sydney. Un père qui chante lors des festivités, alors son fils à qui il a inculqué l'amour des arbres, chante lui aussi, et joue de la guitare. On ne s'étonne pas que son premier groupe se nomme Flowers et qu'il rencontre un joli succès en Australie, avec sa voix, proche de celle de Bryan Ferry de Roxy Music. Alors, un jour de 1981, sa firme de disques décide de le lancer en Grande-Bretagne et par conséquent, le reste du monde. Le nom de Flowers étant déjà pris dans tous les sens, il en faut un nouveau, Iva demande :Que pensez-vous de Icehouse ? Icehouse ? Quelle idée ! Ben, c'était le nom que j'avais donné au flat que je louais à l'étage d'une vieille maison et où je me les suis gelés durant des mois.Icehouse ? vendu ! C'est d'ailleurs le titre du premier single qui paraît en 1982 et qui, au milieu de la New Wave des Ultravox, Depeche Mode et Human League serait sans doute passé inaperçu si la vidéo n'était pas tournée par le réalisateur australien, Russell Mulcahy, hyper célèbre, il est l'auteur du premier clip diffusé sur MTV : Video killed the radio stars et futur réalisateur de Highlander. Le gros succès arrive quelques mois plus tard avec Hey Little Girl, tellement New Wave, et puis un second titre de l'album plus tardivement, chanson d'un film intitulé pour ado Young Einstein, comme on en a tant tourné dans les années 80. Alors voilà, vous savez désormais que la voix de ce groupe mystérieux qu'il était à lui tout seul, appartenait à un certain Iva Davies, immense célébrité dans son pays de l'autre côté de la Terre, mais pour nous, simplement Icehouse, qui nous a offert un des très bons moments de ces années 80.

For this episode Danny Hurst is joined by Martyn Ware, the multi-platinum producer, composer, 3D soundscape artist, Electronically Yours podcast host and founding member of The Human League and Heaven 17. As a producer, Martyn worked with artists as diverse as Tina Turner and Terrence Trent Darby, before co-founding with Vince Clarke the world-leading immersive 3D soundscape design and composition firm - Illustrious Company. Martyn shares how the unique soundscape of the steel producing town he was raised in influenced his music. He also talks about living in London for 40 years and shares the creative processes behind his music. If you can´t get enough of these podcasts, head to https://www.patreon.com/DannyHurst to access my exclusive, member-only, fun-filled and fact-packed history-related videos. KEY TAKEAWAYS The sound of the steel forges created a unique soundscape that had a profound effect on Martyn and other musicians from the area. Regardless of what type of music you want to experience you can find it being played somewhere in London. The decision to go down the electronic path arose in part from wanting a way to merge the many different forms of music they liked together. Being exposed to such an eclectic mix of people and experiences has helped Martyn to keep the music he produces fresh and different. It's always evolving. Martyn provides a fascinating insight into how a track is built up element by element. Martyn shares how the process he follows when writing a song has evolved, including the pros and cons of having access to new tools such as software. London is a place of extremes; a blend of small villages. BEST MOMENTS “I can hear that industrial sound in your music.” “As you entered the town, it sounded almost like a heartbeat.” “I like the homogenization of different social strata.” “It seems to me like they're trying to make London into a gated community for rich people .” “Do you like what it evokes in you? … If it doesn't make me feel anything, it goes in the bin.” “I can't ever imagine Tina Turner finding anything difficult to sing.” “There were those who thought electronic music was witchcraft.” EPISODE RESOURCES https://martynwareofficial.co.uk https://podcasts.apple.com/gb/podcast/electronically-yours-with-martyn-ware/ https://illustriouscompany.co.uk https://www.inplaceofwar.net HOST BIO Historian, performer, and mentor Danny Hurst has been engaging audiences for many years, whether as a lecturer, stand-up comic or intervention teacher with young offenders and excluded secondary students. Having worked with some of the most difficult people in the UK, he is a natural storyteller and entertainer, whilst purveying the most fascinating information that you didn't know you didn't know. A writer and host of pub quizzes across London, he has travelled extensively and speaks several languages. He has been a consultant for exhibitions at the Imperial War Museum and Natural History Museum in London as well as presenting accelerated learning seminars across the UK. With a wide range of knowledge ranging from motor mechanics to opera to breeding carnivorous plants, he believes learning is the most effective when it's fun. Uniquely delivered, this is history without the boring bits, told the way only Danny Hurst can. CONTACT AND SOCIALS https://instagram.com/dannyjhurstfacebook.com/danny.hurst.9638 https://twitter.com/dannyhurst https://www.linkedin.com/in/danny-hurst-19574720

This week on The Metro, Rev. Jeff Ivins brings you the following bands for your trimp back: The Mars Model, Duran Duran, Bow Wow Wow, The Go-Go’s, Talk Talk, Re-Flex, Julie Brown, Adam & The Ants, Icehouse, A Flock Of Seagulls, The Human League, Robert Hazard, The Specials, Men At Work, and finishing up with Berlin.

"Human" war 1986 der letzte Superhit von THE HUMAN LEAGUE: Wir blicken zurück auf das Album "Crash" und räumen die Trümmer auf.

Ian Burden (The Human League) and David M. Allen (programming and engineering) recall the making of Dare by The post The Making of The Human League's Dare appeared first on The Strange Brew .

The lads arrive in Mid January 1995!A pretty good top 10, Noel Edmonds and "Young" Indiana Jones are on the BBC, plus Si sings The Human League! (Badly) and WHO WAS NICKI FRENCH!?!?FOLLOW US!@WrestlingNTM@MortyJr5@SJPWORLDMEDIA

This week on The Metro, Rev Jeff Ivins brings you another episode of 1980s music featuring: Public Image Ltd., Pat Benatar, Thomas Dolby, The Cure, Humans, John Mellencamp, Simple Minds, Eurythmics, Talk Talk, Joy Division, Hall & Oates, The Human League, and ending off with O.M.D.

Simon Maher, Founder of 8Radio.com

This week on The Metro, Rev. Jeff Ivins brings you tunes featuring: Echo & The Bunnymen, Simply Red, Peter Schilling, Marilyn, Jam, Pretenders, Wham!, China Crisis, Eurythmics, The Human League, Sparks, Naked Eyes, Blondie, and finishing up with Band Aid 30.

This is from a demo in the late 1980's that was never released. I feel it's got a very strong 80's dance club vibe, and I think some Human League influence probably. It's only got about a dozen words, lol, which summarise the end of a relationship in a 100% succinct and non emotional way. As with all the tracks on Early Years it was rescued and revived from demo's created in the 1980's and 1990's that were never released.

Finally back home! Another fresh, light podcast for that trip over the river and through the woods to podcast nirvana you go! Track Listing:1) The Baby Screams - The Cure 2) Belly Of The Whale [12" single version] - Burning Sensations 3) Love Action (I Believe In Love) [Extended 12" Plus remix] - Human League 4) Cocaine Decisions - Frank Zappa 5) White Lines (Don't Do It) - Grandmaster Flash and Melle Mel 7) Mirror In The Bathroom - English Beat 8) How To Be A Zillionaire [Wall Street Mix] - ABC 9) Windpower [Extended Mix] - Thomas Dolby 10) It's A Mugs Game - Soft Cell 11) I Could Be Happy [Dance Mix] - Altered Images 12) Go! [Club Mix] - Tones On Tail 13) A View to A Kill [Extended 12"] - Duran Duran 14) Dragnet [Opening Credits Mix] - Art Of Noise 15) Mutual Surrender (What A Wonderful World) - Bourgeois Tagg 16) Let's Go All the Way [Extended Blix Mix] - Sly Fox 17) Swear - Tim Scott 18) Come Back Friday - Wide Boy Awake 19) Thanks To You - Flaming Lips

NSFW: This episode contains strong language that may be offensive to some.The current political climate is undoubtedly tough for the LGBTQIA+ community. How do we persevere in a society where so many would like to see queer people go back in the closet? This week on Coming Out & Beyond: LGBTQIA+ Stories, host Anne-Marie Zanzal taps into the wisdom of individuals who have been out for several decades, discussing how to push through adversity and thrive. Anne-Marie is joined by her wife, Tonda McKay, who came out in the early '80s, Pam Nuchols, LCSW and therapist, and Robert McNamara, retired GM and founder of Franklin TN Pride. You'll here the group talk about their coming out stories, loss in the time of the AIDS crisis, emerging from conservative faith traditions, and how they've come through times that are even tougher than what we face in the present day.Robert's coming out song is Don't You Want Me by The Human League: https://youtu.be/uPudE8nDog0?si=uC0pHYXId_qrFsm0Pam's coming out song is Can't Fight This Feeling by REO Speedwagon: https://youtu.be/zpOULjyy-n8?si=Mx9nk8yCXF8cwk9sand Pam also recommends reading Rubyfruit Jungle by Rita Mae Brown: https://www.goodreads.com/book/show/165395.Rubyfruit_JungleAnne-Marie and Tonda mentioned a song by Chappell Roan, "Good Luck, Babe": https://youtu.be/6ENzV125lWc?si=admdyeKj1VdmNsZyTonda recommends reading "Another Mother Tongue: Gay Words, Gay worlds" by Judy Grahn: https://www.goodreads.com/book/show/64767.Another_Mother_TongueThis podcast uses the following third-party services for analysis: Chartable - https://chartable.com/privacy

NSFW: This episode contains strong language that may be offensive to some.The current political climate is undoubtedly tough for the LGBTQIA+ community. How do we persevere in a society where so many would like to see queer people go back in the closet? This week on Coming Out & Beyond: LGBTQIA+ Stories, host Anne-Marie Zanzal taps into the wisdom of individuals who have been out for several decades, discussing how to push through adversity and thrive. Anne-Marie is joined by her wife, Tonda McKay, who came out in the early '80s, Pam Nuchols, LCSW and therapist, and Robert McNamara, retired GM and founder of Franklin TN Pride. You'll here the group talk about their coming out stories, loss in the time of the AIDS crisis, emerging from conservative faith traditions, and how they've come through times that are even tougher than what we face in the present day.Robert's coming out song is Don't You Want Me by The Human League: https://youtu.be/uPudE8nDog0?si=uC0pHYXId_qrFsm0Pam's coming out song is Can't Fight This Feeling by REO Speedwagon: https://youtu.be/zpOULjyy-n8?si=Mx9nk8yCXF8cwk9sand Pam also recommends reading Rubyfruit Jungle by Rita Mae Brown: https://www.goodreads.com/book/show/165395.Rubyfruit_JungleAnne-Marie and Tonda mentioned a song by Chappell Roan, "Good Luck, Babe": https://youtu.be/6ENzV125lWc?si=admdyeKj1VdmNsZyTonda recommends reading "Another Mother Tongue: Gay Words, Gay worlds" by Judy Grahn: https://www.goodreads.com/book/show/64767.Another_Mother_TongueThis podcast uses the following third-party services for analysis: Chartable - https://chartable.com/privacy

On the November 11 edition of the Music History Today podcast, Prince starts a tour, INXS finishes a tour, & Michael Jackson calls himself the King of Pop. Also, happy birthday to guys from Awolnation, Human League, & XTC. For more music history, subscribe to my YouTube Channel or subscribe to the audio version of my music history podcasts, wherever you get your podcasts from ALL MUSIC HISTORY TODAY PODCAST NETWORK LINKS - https://allmylinks.com/musichistorytoday --- Support this podcast: https://podcasters.spotify.com/pod/show/musichistorytodaypodcast/support

In this episode of ALPS In Brief, our Risk Manager Mark Bassingthwaighte sits down with University of Montana Professor Jeff Brandt to talk about synthesizers, AI, and his class on the history of rock and roll. — Transcript:  Mark Bassingthwaighte:  Hello, I'm Mark Bassingthwaighte, the Risk Manager here at ALPS, and welcome to ALPS In Brief, the podcast that comes to you from the historic Florence building in beautiful Downtown Missoula, Montana. As many of you know, I have been in Florida now for a number of years, but I'm back at the home office here, and we have a special event every two years where we bring in a lot of our bar associates from various bar associations around the country. Then we have some special speakers that come in and talk about all kinds of things.  I have just finished attending a presentation given by Jeff Brandt, who is a professor here at the university and does a course on the history of music. I got to say, in all honesty, folks, I wish you could all have been here. This was one of the most fun, creative presentations I've seen in a long, long time. Jeff, it's a pleasure to have you here. Before we get started, can I ask you to take just a little bit of time and tell us about who you are?  Jeff Brandt:  Okay, so I was born in Sitka, Alaska, which is a tiny, well, it's a big island actually, but a tiny town on a big island in Southeast Alaska. Average rainfall there is about 96 inches per year, so it's a Pacific Coast rainforest.  Mark Bassingthwaighte:  Right.  Jeff Brandt:  I went to college in Tacoma, Washington at Pacific Lutheran University. Taught private percussion lessons after that for about 20 years. Somewhere in the middle or somewhere in there, I got my graduate teaching degree. Then we ended up in Missoula, Montana as a result. Then by happenstance, the History of Rock & Roll as a course fell into my lap.  Mark Bassingthwaighte:  That was an established course before you got here?  Jeff Brandt:  It was.  Mark Bassingthwaighte:  Okay.  Jeff Brandt:  Yeah. There were a lot of people that have taught it prior to me, but when I was given the opportunity to run with it, it was one of the first online courses developed at the University of Montana, and that's really when I dug in because I knew that teaching it in an online setting, I was going to have to be more aware of the points I was trying to get across and how they were delivered. I dug deeper and deeper into the historical aspect of the course, and then I just started creating these different slide programs. Now I'm on my third set of slides and I think it's my final because they're so good now I don't want to mess with them, but that's my brief history.  Mark Bassingthwaighte:  I didn't realize this is online. Could anybody get online and just take this course?  Jeff Brandt:  Anybody can take it online. I'll give my spiel about online education, to be honest here, is I think online education is good if you have time to do it. I think in-person education, generally speaking, is better.  Mark Bassingthwaighte:  I would agree with you.  Jeff Brandt:  There are so many different resources now for people to learn. Just with YouTube alone, you can go down an endless pit of stuff on one member of one obscure band, it seems.  Mark Bassingthwaighte:  Yeah.  Jeff Brandt:  Yeah. Mine is one of the many resources out there.  Mark Bassingthwaighte:  You're welcome to share. Folks, I'm telling you, if you have any interest at all in the history of rock and roll and want to have some awesome fun, this is a course I would encourage you to take and see. I didn't realize. How might folks find this?  Jeff Brandt:  Well, you go to the University of Montana. I believe you have to register as a student.  Mark Bassingthwaighte:  Okay.  Jeff Brandt:  You think that I would know all the hoops you have you have to jump through.  Mark Bassingthwaighte:  No, that's fine.  Jeff Brandt:  You have to jump through several hoops and then you can take online classes. I do encourage people who are not working 40 hours a week and who are interested in really digging in, to take it in-person because there's so much more interaction with the way the clips are played and the way the slides are presented. Get on the University of Montana website and search it, and you can join the online course or the face-to-face.  Mark Bassingthwaighte:  You clearly have a passion. It just seems like listening to you, you're having just a ton of fun too, and I love that. Folks, I can also share this course is I think the number one or the number two top.  Jeff Brandt:  It's one or two or three. It depends on the year.  Mark Bassingthwaighte:  Yeah. Why do you do this?  Jeff Brandt:  Well, honestly, the first time it fell in my lap. I was just kind of given the opportunity to sub for somebody and subbing for somebody in a college course is, it's a lot to take on because you jump into it usually with all of their materials because that's usually the unwritten rule is, "I'll let you use my stuff." I mean, back then, I mean, it makes me sound like a dinosaur, but the person that gave me the stuff had overheads, and so I was using overhead.  Mark Bassingthwaighte:  Wow. Yeah.  Jeff Brandt:  Maybe it was a year later that I was using slides, but they gave me their overheads. I jump in, I'm starting to do this, and honestly, I was scared because I guess when you're, I can speak as a male when you're 23, 24, 25, you think you know a lot of stuff. I just cracked open the first of two textbooks that this prof was using, and I was like, "Oh, boy, do I know nothing and I'm teaching it in three weeks."  Then fast-forward, I end up digging in reading resources, listening to a lot of albums. I'll be honest with you, I hadn't really dug into the Beatles that much prior because there were so many other acts that I was interested in. Then I started listening to their catalog and the Rolling Stones, and again, that's a tiny scratch on the surface that doesn't include the other British bands like The Animals and The Who and Led Zeppelin and then John Mayall and the Bluesbreakers and all these other in-depth things you can go in. That's just the British blues scene.  Mark Bassingthwaighte:  Right.  Jeff Brandt:  What I realized was in order to make this work and why I continued to want to do it, is what I would need to do is have what I would call kind of a surfacey understanding of about 300 to 400 acts in the entertainment business. Gradually bit by bit, the department would buy my recordings. I would go and dig in and listen to everything from Blind Lemon Jefferson to the Spice Girls. I would just year-by-year chip away. When you get into a subject like counted cross-stitch or skiing or building doors, you get better at it and you realize ways to enjoy it more.  I got to a point where I created my final, what I call my final set of slides, and I really, really carefully planned out the layout of the slides, how the format of the class was going to move and how I was going to justify only featuring certain artists as opposed to leaving out bands, like the one I always pick on is AC/DC because they're not really a part of the course. That's why I do it and why I like to do it, because it's like anything else where you get into it, then you kind of become addicted once you have a little taste.  Mark Bassingthwaighte:  Yeah, yeah, I get that. Year after year, how do I want to say this? Let me do it this way. What do you hope students get out of your class?  Jeff Brandt:  Well, there are these objectives that we write in the syllabus that you're supposed to abide by, et cetera, et cetera, and I do, but what I really want people to get out of the course is I want them to understand a general approach, or I guess have a general understanding of the social history that rock and roll highlights in America. That's one thing.  Mark Bassingthwaighte:  Okay.  Jeff Brandt:  I want them to understand that rock and roll is not white, it's not Elvis Presley, it's not AC/DC, it's not, even though I love them, it's not Metallica. It is something that came about quite by accident and through a lot of pain. That part is kind of an inconvenient truth that some students don't like. I have to warn people in the beginning, "I'm not going to sugar coat this, I'm going to bring it directly to you. Some of the things are inconvenient truths that you may not have faced prior. Depending on how invested you are in learning as a person, it may buck your understanding of how this thing has worked."  Mark Bassingthwaighte:  Yeah.  Jeff Brandt:  Just for example, the inconvenient truth, like I was mentioning today that Elvis Presley is a cover artist. Bill Haley is a cover artist.  Mark Bassingthwaighte:  Mm-hmm.  Jeff Brandt:  They're not original rock and roll artists.  Mark Bassingthwaighte:  Right.  Jeff Brandt:  The original rock and roll artists are people like Chuck Berry and Little Richard and Bo Diddley and all of the artists on Chess Records. Those are the original rock and roll artists, but because of the unfortunate existence of so much racism in our country, a lot of those people were shoved aside because it was easier to market people with light skin.  Mark Bassingthwaighte:  So interesting.  Jeff Brandt:  That's another thing I wanted to go with and maybe if I'm going to highlight a third thing I want them to go away with, is an understanding that you can listen to more than one subgenre within rock and roll. You get people that are "metalheads" and people that are into techno pop or house or people that seventies rock, or here's another category I have, people that love the sixties. They have blinders on. If it's between '64 and '69, it's in, and if it's '70 and on, it's out. The understanding that if you listen to pick your artist, like name a person, let's just pick like Katy Perry. If you listen to Katy Perry and you put hours into it, you will grow to like that artist. If you listen to Destiny's Child, you will grow, if you listen to Frank Zappa, you will grow to like it. I want express in that third point that it takes time to do that, and it's an investment and it's a willing investment.  Mark Bassingthwaighte:  It's very interesting. I appreciate what you're sharing, and again, after hearing what you had to say here just a few moments ago, it has changed how I look at certain things. What I liked about it, it helps understand the culture, understand music in general, where it comes from. I mean, I have a greater sensitivity. Yeah, I just thought it was very good.  Jeff Brandt:  Well, it's almost like one thing along those lines, it's almost like with Louis Armstrong.  Mark Bassingthwaighte:  Yeah.  Jeff Brandt:  Louis Armstrong was this one of several trumpet or cornet players as they were originally, in the early jazz era that was a soloist and gained a following from the general public, the general population in the United States. Now, Louis was seen as a performer on stage, but at the same time, he couldn't stay in the same hotels, he couldn't eat in the same restaurants.  Mark Bassingthwaighte:  Right.  Jeff Brandt:  He could walk on stage in a club, but not eat at the restaurant in the club.  Mark Bassingthwaighte:  Yeah. Yeah.  Jeff Brandt:  He would've to be fed backstage and those kind of inconvenient truths to uncover that for people in a day when I think it's easy to brush that aside and highlight that he was an ambassador to the world in the 1970s. Yeah, in the seventies he was, but for the majority of his time as a performer, he was only respected as a performer, not as a human being.  Mark Bassingthwaighte:  Wow. I agree with you, that is a great message I think. God bless. These are important things.  Jeff Brandt:  I mean, I think that, and another thing that's along those lines too, it's a little bit of a stretch as a parallel, but it is a parallel, is that performers in rock and roll, many times are actors.  Mark Bassingthwaighte:  Okay.  Jeff Brandt:  If you're in a heavy metal band and you're acting all angry on stage and chugging it away on your guitar up there and singing these lyrics that are full of vitriol, that doesn't necessarily define who you were at breakfast at 10 o'clock that morning or who you are when you're off tour with your wife and kids or with your partner at the winery or whatever. That's a different thing. There are a lot of people that can't get past that. They see name your hard rock artist, "That's an evil person." That person puts on sweatpants, watches reruns of shows that we all like on Netflix, enjoys a donut every now and again, and takes a walk with dog.  Mark Bassingthwaighte:  They're just real people, right?  Jeff Brandt:  They're real people. That part is also misunderstood about rock and roll in the same way that people can't or don't want to unveil the truth about black artists.  Mark Bassingthwaighte:  Right. Right. One of the things, we talked a little bit last night, and again, you were sharing this in your presentation, one of the things that really sort of struck me was your comments about synthesizers. I'm a guy that likes that sound, but I didn't fully appreciate its impact and the evolution and how that impacted the artists of the day. I guess I'd have to honestly say I'm still not sure where you come out on synthesizing. Is that a good thing? Is it a bad thing? I'd be curious, what's your thought about?  Jeff Brandt:  Okay. Well, I mean, I own a synthesizer. Every band I've played in has used a synthesizer.  Mark Bassingthwaighte:  Okay.  Jeff Brandt:  I'm not against synthesizers. I also don't dislike house music. I don't dislike techno pop. I don't dislike the synth revolution that happened in the late, let's call it the late seventies to the early eighties where it exploded, where everybody had to have a Yamaha DX7. I don't dislike that. What I think is problematic, is the idea that this machine is everything.  Mark Bassingthwaighte:  Right.  Jeff Brandt:  I think the other part that's problematic is that, and this is going to make me sound like I'm super old because my instrument, my main instrument is drum set. People will ask me, "Well, why haven't you dug into this or this or this about the history of rock and roll?" I say, "Well, I also practice instruments and I have a passion for playing them." To me, it's not just about reading and regurgitating facts, it's about keeping up my musical skills. What happens when you get into the world of synth is to some degree, you lose the world of any sort of musical technique because the machine can do so much of it for you.  Mark Bassingthwaighte:  Okay. Right.  Jeff Brandt:  I think that the bad side of synth is highlighted like groups like Human League, because if you look at a group like Human League and they're early stuff, it sounds like, da-da-da-da-da-da-da-da-da, it's very robotic and synthesized, as we should say, in the sense that everything is exactly placed on the exact moment of the exact quarter of the beat. That there is no doubt in your mind exactly where the center of the beat is. You can press a button and the synthesizer can do that. Whereas on piano, you have to go to make the same da-da-da-da-da-da, you have to go like fingers, 4, 3, 2, 1, da-da-da-da-da-da-da-da-da-da-da-da-da-da-da-da-da over and over again to make that same key do that. To some degree, whenever electronics jump to the next level, we lose a tiny bit of our ability to perform on those instruments.  Mark Bassingthwaighte:  Okay. Yeah.  Jeff Brandt:  Like with synth, you lose a little bit of ability to perform on a general keyboard. With electric guitar, you lose a little bit of ability to perform on an acoustic guitar. With electric drums, you lose a little bit of ability to play an acoustic drum set. I mean, imagine if there was an electric French horn, for example. French horn is one of the most difficult instruments to play, right?  Mark Bassingthwaighte:  Right, of course.  Jeff Brandt:  Period. I mean, it's like a French horn. Missing notes on a French horn is a Monday, that's normal. You can't avoid it. Imagine if there were a way to synthesize so that it would know that your note was going to be missed by your embouchure, and it would bring the correct note out. We would lose some of the, maybe the desire to practice and get it to where we are. That's where I feel it's the bad side of synth. But in general, I'm with you. I like the sound of the synthesizer. I like the ideas you can get from the synthesizer. I even like the drum ideas that you get from a synthesizer. I think that we were talking about last night, it's like you can go too far with something, where you need to think about reining it back in. It's like alcohol. It's like collecting cars.  Mark Bassingthwaighte:  Yeah. Yeah.  Jeff Brandt:  It's like colors of carpet in your home. At what point in time do you say enough is enough.  Mark Bassingthwaighte:  Yeah. Yeah. Well, my interest in this, it's my understanding again, that when this technology, as it sort of evolved and really became mainstream, there were a lot of responses. One of which was this is going to put people out of work because it was the Moody Blues, you could go and see the orchestra.  Jeff Brandt:  Didn't need the spring place.  Mark Bassingthwaighte:  It changes. I hear you can lose some skill sets because the machine is doing it for you, but it also brings about, I think, some creativity. It seems to me once the revolution happened, the music industry didn't go away, but how it works changed.  Jeff Brandt:  Yes.  Mark Bassingthwaighte:  We're at a point where I think, and even involved where, we're having all kinds of discussions and reactions with the evolution of generative AI.  Jeff Brandt:  Mm-hmm.  Mark Bassingthwaighte:  There are people saying, "This is going to take jobs away from all kinds of people," not just musicians with the synth, but I also can see that this could bring about some incredible creativity opportunities, allowing just the exploration of music to go far further in directions we've made never even think of right now.  Jeff Brandt:  Right. Right.  Mark Bassingthwaighte:  Could you do all sorts of things with tones, vocal tones, and I don't know.  Jeff Brandt:  Yes.  Mark Bassingthwaighte:  What is your thought? Do you see this as a game changer? Is this much ado about nothing?  Jeff Brandt:  Well, first of all, I think that it's inevitable.  Mark Bassingthwaighte:  Okay.  Jeff Brandt:  You could use the Pandora's box example. Once Pandora's box is open, then it's open and you can't shut it again. Well, the synthesizer was going to be developed, I'll tell you why, is because it comes from the pipe organ.  Mark Bassingthwaighte:  Oh, really?  Jeff Brandt:  The pipe organ is the first synthesizer. The pipe organ has stops that create different sounds. If you study the pipe organ going way back, you look at real pipe organs, they have sounds on them where you pull stops out and make it sound like a flute and make it sound like a trumpet.  Mark Bassingthwaighte:  I never thought about it that way, but you're right. Yeah.  Jeff Brandt:  It has a pedal system because pipe organ players have to read three staves. They read treble, they read bass, and then they read sub bass, as I'll call it. I honestly don't know the exact term, but another bass clef for their feet. They're basically playing, no pun intended, a synthesizer with their feet, while they're playing two synths with their hands. That's the original synth. People that think that this came about in like '64, it's been around since Bach, and guess what? It's not going away.  I think the part about the synthesizer and change, is that it is inevitable that AI along with that new technologies will enter where new possibilities will come up. I think that the good side, is some things are a little bit easier for us to do. For example, Pro Tools is a program where you can click into the program and cut right in, and it both takes the ambient sounds from before and the ambient sounds after and blends it together so you can't tell the person was clicked in at that moment. That's amazing. That makes it simpler.  Mark Bassingthwaighte:  Right.  Jeff Brandt:  It saves money for people that own Pro, it saves time, and humans are generally speaking all about that. I mean, if there's a cherry tree here and there's a bigger cherry tree across the river and you're like, "I'm going to stay with this cherry tree right here because I don't want to cross the river." That's what we would literally call the lowest hanging fruit.  Mark Bassingthwaighte:  Right.  Jeff Brandt:  With a synthesizer, if there is an option to make something a little bit simpler, people are going to use it. Again, there's the when is when part, when is enough enough? When is too much, too much, is what I mean. I think with AI, it's going to inevitably bring up other options that we haven't thought of, and it's inevitably going to bring about sounds or feelings or grooves or patterns that will catch people's ears that you cannot create with guitar rhythm guitar standard acoustic bass, or electric acoustic bass and drums, and we like that change.  Mark Bassingthwaighte:  Speaking personally, is your, I guess, conclusion or do you see the rise of AI, generative AI then, as a positive development? Are you optimistic looking forward to see what the music industry does with this? Or is it cautious optimism?  Jeff Brandt:  I'd say it's cautious optimism because it is true, for example, let's just go with trucks, there are trucks now that can be self-driven.  Mark Bassingthwaighte:  Right.  Jeff Brandt:  I don't necessarily think that's a good thing. First of all, I think that we can put things on trains, and I know I sound like a total socialist here, but you can put things on trains and all of those cars are "self-driven" by the one engineer up there, and it's very efficient. Trucks that are self-driven will become a problem at some point because you can hack into that.  Mark Bassingthwaighte:  Yes.  Jeff Brandt:  You can't hack into a human's mind nearly as easy, so there's that.  Mark Bassingthwaighte:  Yeah.  Jeff Brandt:  I think that it's good to have the humans operating things.  Mark Bassingthwaighte:  Yeah.  Jeff Brandt:  At the same time with the music business and recording, if you go back to the sixties and then the seventies, you had tons of studios that were busy hour by hour, day by day, week by week. You'd have to book into that studio six months in advance to get a four-hour space.  Mark Bassingthwaighte:  Right.  Jeff Brandt:  Now, there are studios that are completely abandoned because they've moved into people's homes because of the laptop, because of microphones like the one we're using right here, and because of the synthesizer. Is it good or is it worse? It's change.  Mark Bassingthwaighte:  Yeah.  Jeff Brandt:  That's what it is.  Mark Bassingthwaighte:  Yeah.  Jeff Brandt:  Is it going to affect having lots and lots of people play a string track versus using a synthesizer to simply overdub things? Yes, it's going to affect that. Is it going to affect it to the point where somebody goes to a symphony orchestra or a jazz concert and they see 18 mannequins on stage holding up instruments, and all of it comes from a synthesizer? I doubt it because we like to watch artists perform.  Mark Bassingthwaighte:  Yeah.  Jeff Brandt:  Like with hip-hop, almost all of the time in the hip-hop genre or any sub-genre or sub-sub-genre of hip-hop, you have people that are using synthesizers to create the entire track other than the vocals. They're even manipulating the vocals using the synth. When they go on tour, now, increasingly there are people that are using instrumentalists on tour because it's more interesting to look at.  Mark Bassingthwaighte:  That makes sense, yeah.  Jeff Brandt:  You don't want just two turntables and a microphone back there because that's all it is.  Mark Bassingthwaighte:  Yeah. Yeah. Why pay all the money to go?  Jeff Brandt:  When you go on tour, it's convenient for artists like Mariah Carey to just take the synths and go out there, but she knows that when she can afford to hire the string players, it looks cool.  Mark Bassingthwaighte:  Yeah. Yeah.  Jeff Brandt:  I think it's a case of are you going to see the glass as half full or half empty? It's here. It's been here since the pipe organ. It's going to stay. It's a question of when do you say enough is enough, and how do you look at it from your perspective as a musician? I guess I'd add one more thing. If you're afraid of the synthesizer, learn to use one. Right there.  Mark Bassingthwaighte:  Yeah, absolutely. Yeah. I really, really appreciate and love everything that you've shared. Folks, one of the reasons I wanted to do this, as you well are aware, our profession is struggling. There's a lot of people that are very much embracing the AI evolution and a lot of others very, very concerned about will they have a job. A lot of legal staff are concerned, "Will I have a job in a couple more years?" I'm using AI myself to do a lot of writing, and it's saving me tons of time, and it elevates my game. It really does. I still am the one that policy, it's an idea generator for me.  Getting back to this, I'm hoping that it is helpful to you who are listening, as we think about the challenges, the concerns, work through this, it's easier to hear and get some thoughts about how we should be responding or what do we do with all this, when we talk about it in the context of something else. Discussing this as it relates to music, I think is very eye-opening. I love the comment, you are absolutely right this synthesizer.  Jeff Brandt:  It's hard to say.  Mark Bassingthwaighte:  I always get tongue-twisted.  Jeff Brandt:  It's really tough to say.  Mark Bassingthwaighte:  It's been around since Bach.  Jeff Brandt:  It's been around since the organ.  Mark Bassingthwaighte:  I never really understood that. I think some similar things can be said about AI. It's been here a lot longer than we realize. Not in the same way, generative AI is certainly very, very new. I am cautiously optimistic about it. I would encourage you folks to just take a realistic look, take some opportunities, if you're threatened by it, pick up the instrument and learn it, and it can help your practice. I just think it's a positive thing overall. We got to be careful going too far. I can keep rambling on about this stuff for a long time. I have so many planes in my head up right now.  Jeff Brandt:  Well, there's one more thing that's worth adding.  Mark Bassingthwaighte:  Please, please.  Jeff Brandt:  There's a drummer in LA named Greg Bissonette.  Mark Bassingthwaighte:  Yes.  Jeff Brandt:  He's a studio drummer. He went to University of North Texas. He's played with lots of different artists. Greg Bissonette has always made his living playing drums.  Mark Bassingthwaighte:  Okay.  Jeff Brandt:  Now, when he first entered the studio scene in Los Angeles, as far as I know, he was going to studios and recording. You'd get your drums carted over to the studio by a carting service. You'd show up, you'd play the gig, which was a recording gig, and then you would pack your stuff up or the carting service would pack your stuff up. You'd go home and you'd be waiting for your next booked gig. Now, Greg has a microphone set up in his home. People send him a file. He listens to the file. There's maybe a click track on it, or maybe not, maybe he has to create his note. I mean, I don't know him personally, but if you need a reference for Greg Bissonette, he played all of the in-between clips on the Friends show.  Mark Bassingthwaighte:  Oh, seriously?  Jeff Brandt:  He's that guy and he's done a lot more than that. Understand that the convenience of somebody emailing you a file or dropping a file in a box and you download this file and then go ahead and say, "Okay, I'm going to add drums to this track," and you do it from your home studio. There are some good things about this. Number one, he's not driving a car in LA traffic to a studio, which means he gets to spend more time at home and more time with his family. That's better for the environment. Electric car or not, it's better.  Mark Bassingthwaighte:  Agreed.  Jeff Brandt:  Okay. It doesn't have the same in-person work environment that you had say in the sixties when the Fab Four or the Rolling Stones are right there together, hashing it out like, "What does this mean?" That's different. The truth of the matter is, I don't think anybody who's listening to something Greg Bissonette has recorded probably would go, "Oh, well, this obviously is something this guy did at his home studio with the downloaded file." In that way, it doesn't matter. Again, it's a choice of how do you want to do the track? Is it a jazz band? You probably need to come together and play. Is it a digital track and they want live drums on it?  Mark Bassingthwaighte:  Yeah.  Jeff Brandt:  Send it, who cares?  Mark Bassingthwaighte:  Right.  Jeff Brandt:  Again, this idea of change is the only constant. I mean, maybe I'll be eating my own words and I'll be replaced by a robot that has all of the personality of a human being and knows every single history of rock and roll fact. Sure. Maybe that'll happen. I doubt it. People like Greg Bissonette are still out there finding a creative way to make a living simply because they went, "Oh, now I need the studio at home. Oh, now I need this technology so that the files can be sent to me. I need my microphones, everything tuned up."  Mark Bassingthwaighte:  Yeah.  Jeff Brandt:  You still find a way to do it, and I think that we will. I've never bought that line about AI and knock on wood, that it's going to come together and destroy the human race. I think that's silly.  Mark Bassingthwaighte:  Yeah, I do too.  Jeff Brandt:  I think what it's going to do is it's going to be one of those things where we just have to be careful how we use it.  Mark Bassingthwaighte:  Mm-hmm. Yeah.  Jeff Brandt:  I think you could say we have to be careful. We have to be careful about how we drive Hummers.  Mark Bassingthwaighte:  Yeah.  Jeff Brandt:  We have to be careful about not making buildings too tall.  Mark Bassingthwaighte:  Right.  Jeff Brandt:  We have to be careful about not making wave machines so powerful that kids get knocked over when they're going to a wave machine at a water park to have fun. It's pretty simple stuff.  Mark Bassingthwaighte:  Yeah. I want to thank you for taking the time to sit down and talk. You have said so eloquently, things that I have trouble saying. I can't put it into words in the same way you do. All I can say is, folks, Jeff, the insights here, what I'm trying to get across, I hope it's self-evident now, you're summarizing all this just perfectly. That's it. I appreciate your coming. I'll let all of you get back to work. If you have any thoughts, questions, concerns on risk management, ethics, insurance, etc, remember, I'm not the Risk Manager of Alps, I'm hired by Alps to be your Risk Manager. Feel free to reach out anytime. It's MBass@Alpsinsurance.com. Good talking to you all. Take care. Bye-bye.   

This week on The Metro, Rev. Jeff Ivins brings you the following artists for your weekly time warp back to the 1980s: Joy Division, The Psychedelic Furs, The The, The Go-Go’s, Ultravox, Midnight Oil, Culture Club, Chris de Burgh, Rod Stewart, The Cars, The Human League, Kim Carnes, Depeche Mode, and ending off with Soft Cell.

This week on The Metro, Rev Jeff Ivins plays you some Halloween songs mixed in with other new wave and post punk bands featuring: Bad Brains, The Romantics, The Flesheaters, Oingo Boingo, Greg Kihn, Gleaming Spires, Human League, Adam & The Ants, Rockwell, Dalbello, Dead Kennedys, Anti Nowhere League, G.B.H., UK Subs, Cockney Rejects, Penetration, Alternative TV, Magazine, and ending with Michael Jackson.

Chuck and Roxy are finally back and open this episode with updates as to what's been going on in their lives as well as som TV updates! Next it's time to "Meet the Littles" as our hosts welcome Brian Miller to the podcast! (16:00) We hear all about how he and Chuck were fortunate enough to have already met. INSTAGRAM: @brianvmiller TWITTER: @seebriansbrain Then our hosts close out the show with a Fantasy Football update and your emails and notes! (39:00) SONG: "Freedom" by The Evan Riley Band WEBSITE: www.evanrileymusic.com TWITTER: @evanrileyband FACEBOOK: Evan Riley Band  JINGLE: (Slurping The) Association Ft: Jaime Julian - A parody of a song by The Human League.Recorded by robert berg in Pittsburgh, PARecorded: 05/28/2023  Released: 05/29/2023  First aired: unaired Podcast Website - www.loyallittlespod.com   Podcast Email - WTFCPODNET@GMAIL.COM Twitter:@loyallittlespod Instagram: @theloyallittlespodcast PODCAST LOGO DESIGN by Eric Londergan www.redbubble.com Search: ericlondergan or copy and paste this link! https://www.redbubble.com/people/ericlondergan/shop --- Support this podcast: https://podcasters.spotify.com/pod/show/loyallittles/support

This week on The Metro, Rev Jeff Ivins brings you the following music for your time warp back to the 1980s: Escape Club, Blondie, The Go-Go’s, Undertones, Re-Flex, Pet Shop Boys, Jermaine Stewart, Peter Gabriel, Call, The Human League, Rubber Rodeo, The Smiths, The Motels, Red Rockers, Midnight Oil, and finishes off with Cyndi Lauper.

National custodian day. Entertainment from 1976. Last silver rush, Comic strip Peanuts debuted, Papa Johns founded. Todays birthdays - Mahatma Gandhi, Bud Abbott, Don McLean, Chris LeDoux, Sting, Philip Oakley, Kelly Ripa, Tiffany. Sam Adams died.Intro - Pour some sugar on me - Def Leppard     http://defleppard.com/Custodian appreciation song - VimeoPlay the funky music - Wild CherryHeres some love - Tanya TuckerBirthdays - In da club - 50 Cent  https://www.50cent.com/ Who's on first - Abbott and CostelloAmerican pie - Don McLeanThis cowboys hat - Chris LeDouxToo young to feel this damn old - Garth BrooksEvery breath you take - PoliceDon't you want me - The Human LeagueI think were alone now - TiffanyExit - It's not love - Dokken    https://www.dokken.net/Follow Jeff Stampka at cooolmedia.com or facebook 

Abba's biographer Jan Gradvall met and interviewed Abba many times and builds a fresh picture of their internal chemistry in his new book Melancholy Undercover. Highlights of this illuminating pod include … … how Sweden rejected their early hits for not being sufficiently “socialist”. …. the discomfiting early life of Anni-Frid Lyngstad. … what Max Martin and Denniz Pop thought made Abba's music so durable.  … Strindberg, Bergman, the climate, the eight months of darkness and the role of melancholia in Swedish pop culture.  … the influence of the Human League on their later catalogue. … why manager Stig Anderson “became a burden”. … “Norway has Grieg, Finland has Sibelius, Sweden has Benny …” … the first band to write about divorce. … the Abba song with 57 chords and the only two samples Abba ever approved. … Elvis Costello, Joe Strummer and Ian Dury backstage at a 1979 London show. … when Sid Vicious ran into Abba at an airport on the Pistols' 1977 Swedish tour.  … the role of the Lionesses football team, Kurt Cobain, Erasure, U2, Madonna and the Sydney gay community in the Abba revival.  … why the Abbatars are better than Abba.  … the myth of Agnetha as “the Greta Garbo of Pop”.  … and why The Day Before You Came is more than the Abba swansong. Order Melancholy Undercover here:https://www.amazon.co.uk/Book-ABBA-Melancholy-Undercover/dp/0571390986Find 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.

Abba's biographer Jan Gradvall met and interviewed Abba many times and builds a fresh picture of their internal chemistry in his new book Melancholy Undercover. Highlights of this illuminating pod include … … how Sweden rejected their early hits for not being sufficiently “socialist”. …. the discomfiting early life of Anni-Frid Lyngstad. … what Max Martin and Denniz Pop thought made Abba's music so durable.  … Strindberg, Bergman, the climate, the eight months of darkness and the role of melancholia in Swedish pop culture.  … the influence of the Human League on their later catalogue. … why manager Stig Anderson “became a burden”. … “Norway has Grieg, Finland has Sibelius, Sweden has Benny …” … the first band to write about divorce. … the Abba song with 57 chords and the only two samples Abba ever approved. … Elvis Costello, Joe Strummer and Ian Dury backstage at a 1979 London show. … when Sid Vicious ran into Abba at an airport on the Pistols' 1977 Swedish tour.  … the role of the Lionesses football team, Kurt Cobain, Erasure, U2, Madonna and the Sydney gay community in the Abba revival.  … why the Abbatars are better than Abba.  … the myth of Agnetha as “the Greta Garbo of Pop”.  … and why The Day Before You Came is more than the Abba swansong. Order Melancholy Undercover here:https://www.amazon.co.uk/Book-ABBA-Melancholy-Undercover/dp/0571390986Find 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.

Abba's biographer Jan Gradvall met and interviewed Abba many times and builds a fresh picture of their internal chemistry in his new book Melancholy Undercover. Highlights of this illuminating pod include … … how Sweden rejected their early hits for not being sufficiently “socialist”. …. the discomfiting early life of Anni-Frid Lyngstad. … what Max Martin and Denniz Pop thought made Abba's music so durable.  … Strindberg, Bergman, the climate, the eight months of darkness and the role of melancholia in Swedish pop culture.  … the influence of the Human League on their later catalogue. … why manager Stig Anderson “became a burden”. … “Norway has Grieg, Finland has Sibelius, Sweden has Benny …” … the first band to write about divorce. … the Abba song with 57 chords and the only two samples Abba ever approved. … Elvis Costello, Joe Strummer and Ian Dury backstage at a 1979 London show. … when Sid Vicious ran into Abba at an airport on the Pistols' 1977 Swedish tour.  … the role of the Lionesses football team, Kurt Cobain, Erasure, U2, Madonna and the Sydney gay community in the Abba revival.  … why the Abbatars are better than Abba.  … the myth of Agnetha as “the Greta Garbo of Pop”.  … and why The Day Before You Came is more than the Abba swansong. Order Melancholy Undercover here:https://www.amazon.co.uk/Book-ABBA-Melancholy-Undercover/dp/0571390986Find 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.

Dylan Jones once described the Eighties as being shaped by ‘a new type of bohemianism, one empowered by a certainty and an optimism that was only fleeting back in the sixties.' *Moreso, K.Tel records importantly reminded us that home taping was killing music. So, it's November 1981, and this young music fan is feverishly taking ownership of two cassettes in his local Woolworths. One blue, one red. One bought, one free. Together this maiden compilation purchase - from the aforementioned compilation giant K.Tel, Charthits ‘81 - as kicked off by the ever so eighties drum crash from Dave Stewart and Barbara Gaskin – was the start of a lifelong love for variously compiled pop. One that would lead to, well, NOW. Forty years later and the superlative team at NOW HQ delivered their Yearbook for 1981. 85 of the biggest, brightest and best hits (thank you Mr. Mulligan for that very nice tagline). A year that started tragically with the death of John Lennon, and ended with Susanne and Joanne from the Human League with spray foam in their mouths amidst highly flammable Christmas trees in BBC Television Centre.And inbetween, a dazzling twelve months where the decade began to take shape and form an identity that remains with us today. Pop, soul, disco, funk, rock, reggae and metal. All present and correct. But, as Thursday nights on BBC1 would testify through those iconic theme tunes of Tomorrow's World and the newly christened TOTP Yellow Pearl in July, electronica was elbowing its way through the queue at the Blitz club to make a defining mark on the sights and sounds of 1981.With the able assistance of guests Chi and Ian from ElectricityClub.co.uk, this episode revisits the NOW Yearbook 1981 (and it's stellar accompanying extra volume!). An iconic line up of music and memories awaits including Duran, Duran, Ultravox, Soft Cell, Kim Wilde, The Human League and ABBA. We explore how the year saw some seventies survivors glam up and mobilise for this new decade with assistance from the new video pioneers such as Russell Mulcahy and David Mallet. We also consider how retro never sounded so good, what made a good (and bad) medley hit, how tribal factions and cultural identity shaped our school days (and the streets across the UK), how news and popular culture were living under the ever present threat of global destruction and how pop saved us all once again.Grab some blank tapes, switch off one of the three channels on your TV and join us as we head back to a glorious year in pop, 1981.Ridicule is, as you know, nothing to be scared of. * Sweet Dreams: The Story of the New Romantics: Dylan Jones (2020) Hosted on Acast. See acast.com/privacy for more information.

220 Mid Day Mix Fix is a Deep House inspired mix featuring tracks and remixes by The Human League, Zara Larsson, Major Lazer, The Pool Kids, DJ Pebbles, Codeko, Dua Lipa, EDX and more. The post 220 MIDDAY MIX FIX on Mix93FM appeared first on Ed Unger Music.

It's time for another trivia quiz episode! Join the lads as they cover a wide range of music from Joy Division to Big Black to the Human League. Email us at deepdives.deepcuts@gmail.com.

This entertaining episode of Electronically Yours features the people's punk legend and mercurial punk survivor Spizz AKA Spizz Oil, Spizz Energi, Athletico Spizz 80, The Spizzles, Spizz Orwell, Spizz Sexual, Dynamo Spizz amongst many others… ‘Where's Captain Kirk' was their biggest hit, and their shows and recordings have burgeoned unabated since 1977 (where he became friends with Martyn and the Human League while touring with Siouxsie and the Banshees. This interview is a doozy - meet the amazing Spizz. If you can, please support the Electronically Yours podcast via my Patreon: patreon.com/electronicallyours

This week on The Metro, Rev. Jeff Ivins brings you the following bands for your weekly time warp to the 1980s: After The Fire, Quarterflash, Paul Young, Thomas Dolby, The Human League, The Clash, Madonna, Kenny Loggins, Greg Kihn, Fun Boy Three, Devo, Big Country, Dfx2, Elvis Costello, and finishing off with The Smiths.

This week, Steve picked an hour of mirror and shadow songs.  We will hear the artists: Big Country, Alvvays, The Wombats, Siouxsie & The Banshees, Oasis, Death Cab For Cutie, Duran Duran, Elvis Costello, Billy Idol, Joywave, The Human League, The Psychedelic Furs, Def Leppard, Queensryche. On the Air on Bedford 105.1 FM Radio      *** 5pm Friday ***      *** 10am Sunday ***      *** 8pm Monday *** Stream live at http://209.95.50.189:8178/stream Stream on-demand most recent episodes at https://wbnh1051.podbean.com/category/suburban-underground/ And available on demand on your favorite podcast app! Twitter: @SUBedford1051  ***    Facebook: SuburbanUndergroundRadio   ***    Instagram: SuburbanUnderground   ***    #newwave #altrock #alternativerock #punkrock #indierock

In this nostalgic episode of 'Past Tens, a Top 10 Time Machine', hosts Dave and Milt transport listeners back to July 1982, exploring the Billboard Top 10 hits and top albums of the week. They discuss enduring classics from artists like John Cougar (Mellencamp?), Van Halen, and the Rolling Stones. Highlights include "The Loverboy Teen Butt Album Cover Story," and a Jeopardy-style quiz segment. Additionally, the hosts offer their own favorite picks, adding a personal twist to the musical lineup. Tune in for an engaging deep dive into music history filled with humor, debates, nachos, cocktails, lots of full frontal nudity, and unexpected stories.Topics00:47 Aging and Colonoscopy Tales!03:14 Patriotism Pod Recap04:17 Upcoming Weekend Plans05:16 Listener Reviews and Feedback06:24 Time Machine to July 3rd, 198229:33 John Cougar's Breakthrough Album37:35 Nostalgic TV Memories38:09 Johnny C's Career and Music39:18 David Lee Roth's Era40:46 Van Halen's Diver Down Album48:35 Rolling Stones' Live Albums53:53 Jeopardy! Style Music Quiz01:01:48 Toto's Grammy-Winning Album01:09:52 Human League's Synth-Pop Impact01:15:06 Willie Nelson's Pop Breakthrough01:16:04 Cover Versions and Collaborations01:19:21 Willie Nelson's Humor and Legacy01:24:15 Paul McCartney's Tug of War01:30:20 Asia's Debut Album01:38:04 Recap and Reflections

This week on The Metro, Magister Gene steps in for Reverend Jeff Ivins to take you on your weekly time trip to the 1980s with Tracy Chapman, Spandau Ballet, John Waite, Fleetwood Mac, The Pretenders, Hall and Oates, Toto, Police, Dexys Midnight Runners, After the Fire, The Human League, B-52’s, Talking Heads, A-Ha, Big Country, and Nena.

Welcome to Live From Progzilla Towers Edition 522. In this special Prance edition we heard music by Ludwig Van Beethoven Vs The Chemical Brothers, Koan, Ben Liebrand, Globular, Goantum Fantay, Dire Straits Vs The Police, I Monster, Steven Wilson, Haruomi Hosono, Ott., The Dubbeltjes, The Beatles, Pink Floyd Vs The Bee Gees, System F, Throbbing Gristle, BT, Shpongle, Simon Posford & Friends, Younger Brother, The Human League, Underworld & The Beatles Vs Kraftwerk.