Podcasts about Jim Steinman

Blase : Michael Kunze 00:07 闇が広がる Yami Ga hirogaru11:20 Moi seule choisi ma vie52:55 Die Shatten Werden Langer57:30 Drauẞen ist Freiheit74:25 Cette nuit restera eternelle86:10 MRS De Winter bin ich !101:40 Pia Douwes-Rebecca122:40 Plus rien n'arrête les ombres Michael Rolf Kunze (né le 9 novembre 1943 à Prague) est un poète, compositeur, parolier, librettiste et auteur allemand germanophone multi-récompensé, souvent en collaboration avec des compositeurs comme Sylvester Levay ou Jim Steinman. Ses œuvres, appelées "DramaMusicals", se distinguent par une structure dramatique sophistiquée inspirée du cinéma.

By Walt HickeyWelcome to the Numlock Sunday edition.This week, I spoke to Chris Dalla Riva, author of the new book Uncharted Territory: What Numbers Tell Us about the Biggest Hit Songs and Ourselves. Chris is a fixture here at Numlock, we're big fans of his newsletter Can't Get Much Higher and have been eagerly waiting for this book, which tracks the history of music by coasting along the top of the Billboard Hot 100. The book can be found at Amazon and wherever books are sold, grab a copy!This interview has been condensed and edited. Chris Dalla Riva, it is great to have you back on. Especially great this week, because you are finally out with a book that I know you've been working on for a very long time, Uncharted Territory. Thanks for coming back on.Yeah, thrilled to be back, but also thrilled to have the book come out. The book publishing world is one of the only worlds left in the world that moves slow enough where you're waiting for so long for something to happen.You have guest-written for Numlock before; you have been a staple of the Sunday editions in the past. You are definitely familiar to the audience at this point because you are doing some of the best music data journalism out there. You've been working on this thing for, I feel like, as long as I've known you, and it is just great to have it come out finally, man.Yeah, actually, I met you because I was working on this project. I was trying to track down some data that you'd used at FiveThirtyEight, and you responded to my email with your phone number. You were like, “This is easier to explain over the phone.”Yeah, I remember I had scraped the radio for months at FiveThirtyEight just to see where it went, and you hit me up with that. I think that you focused some of your energies on the newsletter, and that's been so fun to follow, but this is truly what you've been working at. It is great to get you on finally to talk all about it.What would you describe this book as? How would you describe it, either to folks who might be familiar with your newsletter or unfamiliar with your newsletter, about what you're setting out to do with this particular project?The subtitle, I think, is helpful. It's What Numbers Tell Us About the Biggest Hit Songs and Ourselves. My typical pitch is that it's a data-driven history of popular music that I wrote as I spent years listening to every number one hit song in history. You get a balance of music history, data analysis, just random music chart shenanigans. I wrote it over such a very long period of time that you get a little bit of how my life was intersecting with this book over the years as I tried to get it published.I love the angle on the No.1s being a place to go with, because it gives you a pulse on what's popular at the time and not necessarily what's the most influential at the time. You can see there's a lot of stuff that hit number one at one point or another that have no musical legacy whatsoever, but nevertheless are still interesting. It's dipping your toe in the stream, right? You can see that a lot of things that we assume about how the music industry works weren't always the case.You wrote a little bit about the early transition from big bands to singers as the front-facing people in their operation. That was informed in no small part by what was performing on the charts, but also, I think, labor action, right?An under-discussed part of music history in the last 100 years is that when thinking of any band now or any musical artist, you almost certainly think of the front person being the singer. But if you go look back at big bands of the 1930s and 1940s, anyone whose name was attached to the band was often not a singer. Some that come to mind are Glenn Miller, the Glenn Miller band. Glenn Miller was a trombone player. Artie Shaw was a clarinet player. If none of these names are familiar to you, that's okay. But you can ask your grandparents.Why does this transition happen: suddenly, the lead singer is always getting top billing in a band? There are a bunch of things that contributed to this. One thing I talk about pretty extensively is just the advent of better microphones. If a voice cannot be heard over the roar of an orchestra or a big band, you need a choir of people to sing. It makes the singer less identifiable. As we get better amplification, better microphones, you can get a wider range of vocal styles. Those vocalists can now compete with the sound of a ton of instruments.At the same time, something you mentioned that I think is a fun bit of history is how music used to be much better organized. They had better labor organization, the same way that Hollywood has much better labor organization than music these days. There still exists a group called the American Federation of Musicians. For two years, they had a strike for a work stoppage, when no new music was being recorded. This was during World War II. You weren't allowed to strike during World War II.They were frowned upon very much, it seems, yes.Yes, even if you were a musician. People were like, “Come on, why are the musicians striking?” There's a lot of interesting history there. One of the weird loopholes was that singers could not join the American Federation of Musicians. Because of that, some labels would get around the strike by just recording acapella songs or songs with instruments that were not eligible to be membership because they weren't “serious” enough, like the harmonica. There were weird harmonica songs that were popular at this time. By the time the strike ended, by the time World War II ended, suddenly, singers had a much more prominent role because they were the only ones allowed to perform.There is tons of weird stuff about this strike. Like, labels backlogged tons of recordings because they knew the strike was coming. “White Christmas,” maybe the best-selling record of all time, was one of those backlogged recordings — recorded in July of 1942 and put out however many months later.That's fun. That's basically why Tom Cruise is in a union but Bad Bunny isn't?I guess so. Music and labor have a history that I'm not an expert on. For some reason, musicians have had a much more difficult time organizing. It seemed to be a little bit easier back when there were these big bands that needed to be rolled out to perform in movie theaters or local clubs. You needed a tuba player and a trombone player and a sax player. I guess it was easier for those musicians to organize. Whereas now, things are so scattered and productions can be super small, and you could record something in your bedroom. They never got that level of organization. I think it's actually hurt artists to some degree because they don't have the protections that the film industry does.Because you're able to just coast along at the top of the charts throughout basically the century, you're able to get lots of different interweaving stories of labor and also legal disputes/legal outcomes, as well as this technological evolution. What are some of the ways that technology has informed how the music that we listen to changes or evolves over time? Or even some of the litigation that we have seen over the course of the century of musical creation. It just seems like it's a really fun way to track some of these bigger trends that we don't even know are really trends.Yeah, totally. I think one of the key themes of the book is that musical evolution is often downstream from technological innovation, which has a nice little ring to it. But in general, there's this idea that creativity is being struck by the muse, and you create something. Whereas in reality, there are usually physical constraints or technological constraints that shape the art that we make. One of the most basic examples is the length of songs. From the '40s up till the early, mid-60s, the pop song sits around 2.5 to three minutes. The reason for this is that vinyl singles could literally not hold more sound without degrading, which is completely backwards from the idea that there was an artist who chose to write a 2.5-minute song.I was like, “Well, you had to work within the constraint.” Then technology gets better, singles start to get longer. During the disco era, they actually made bigger discs to put out these long dance mixes. The single sat around like 3.5 to 4.5 minutes for decades until about 10 years ago, when it started to shorten again. People typically point to music streaming for this reason, because artists are paid if a song is listened to for more than 30 seconds, so it's really just a volume game. If you have a 14 minute song that someone listens to one time, they get paid once. But if I listen to a two-minute song seven times (which is again, the same amount of time spent listening), I will be paid out seven times. There is this financial incentive to shorten songs.I don't think artists are sitting in the studio thinking about this constantly. But what I see, what I saw again and again, is that artists were rational beings to some degree and would work within the constraints that they were given. They would usually push against those constraints. That's where a lot of great art comes out of.Even new mediums are offering new opportunities. You wrote a little bit about MTV and how that really changed a lot of what was able to be successful at the time. You had new types of acts that were able to really start competing there, and other acts that just weren't. Do you wanna speak a little bit about like what video did?Yeah, video certainly changed the game. There were artists who had visual presences earlier. The Beatles had a very visual presence. I think part of their success is tied to the fact that television was becoming a thing, and mass media was really becoming a thing. However, we associate musicians with visuals so much these days. That really emerged in the 1980s, where you needed your visual concepts to be as strong, if not stronger than, your musical concepts. I think because of that, you start seeing some artists break through who I don't think are considered great musicians.I always sadly point to the song, “Hey Mickey” by Tony Basil. If it's your favorite song, sorry. I don't think it's a masterful musical creation, but it had this fun music video where she's dressed up as a cheerleader. A lot of that song's success was just the fact that MTV was willing to put that in heavy rotation because it was a fun video to watch. We live in the shadow of that era where visuals matter just as much as anything else.When you think about the most popular artists, outside of maybe a handful, you think of their visual concepts. You think of what Beyoncé looks like, what her videos are like, same with Taylor Swift, as much as you think about their music. That really reshaped our relationship with popular music. We expect to know what artists look like. It's odd to think about that; it really wasn't a thing decades before. You could be a fan of an artist and not really know what they look like. How would you know? Maybe you saw them in a magazine. Maybe you caught them on one television show. The idea that we have access to what everyone looks like is a pretty new phenomenon.That's fun. It's just so interesting to see how a simple change, whether it's today an algorithm or then a medium of distribution, can just have material impacts on the popularity of British synth music in America.Yeah, that's the perfect example. There's a great book called I Want My MTV, and it's an oral history of MTV. They talked to one of the founders. Early MTV would play, as you're saying, all these British new wave acts. Think A Flock of Seagulls, Duran Duran or even someone like U2. They asked the founder, “Why were you playing so many British artists on early MTV?” He was like, “For some reason, British artists happened to make music videos. And there were about 200 music videos in existence. We had to fill 24 hours of programming.” A Flock of Seagulls was gonna get played a bunch of times just because they happened to make music videos.It is a weird thing. Why would anyone make a music video if there was nowhere to really play them? I don't know why specifically the British had more videos, but there were occasional times where television shows might show a video.They do love that over there, like Top of the Pops. I can see why.Music and television have always been connected. You even think Saturday Night Live still has musical acts. Back then, say your label didn't wanna send you out to Britain to go on Top of the Pops. Maybe they would send a video of you instead. There were videos that would float around on these variety shows, and some early videos were just concert footage. It was like, it was a chicken or the egg thing. Once some people had success on MTV, everyone started producing videos. MTV somehow pulled off the miracle of convincing labels that they needed to make videos and that they needed to front the cost for that. Then they had to give MTV the video for free. I don't know how MTV managed to do that.Well, all of Gen X can't be wrong. If you do wanna get it out there, you do have to get it out there. One really fun recurring thing in the book — which again, like I really enjoyed. I think it's a phenomenal work. I think it's a great history. I'm telling stories that I learned in your book to everybody. It is a really fun read in that regard, I wanna say.I do love how you occasionally clock a genre that really only exists briefly. There's one that always goes around for like the strangest things to hit number one, like the Ballad of the Green Berets. I think like there's a Star Wars disco track that I definitely have on vinyl at home about that. You wrote a lot about like teen tragedy songs. What are some of the fascinating like brief trends that only made a small splash and that all of us have forgotten ever existed, but nevertheless achieve some measure of immortality?Yeah, the teen tragedy song is a good one. That actually inspired the writing of this whole book because I got 50 No. 1s, and I was like, “Why are there so many number ones about teenagers dying? That's a little weird.” And then I did a little digging and tried to piece together why that was. The teenage tragedy song, late '50s, early '60s, there are all of these songs about two teenagers in love, usually high schoolers. One tragically dies often in a car crash, and the other is very sad and maybe says that they'll reunite again one day in the afterlife. Some of the big ones are “Leader of the Pack” by the Shangri-Las and “Teen Angel” by Mark Dinning.It's a very weird blip in popular music history. I won't say it has cast a long shadow, but there are some occasional people who pull from that tradition. The craziest teen tragedy song ever was “Bat Outta Hell” by Meatloaf, in which Jim Steinman tried to write a nine-minute motorcycle crash song. I think that's a really interesting one.Disco: bizarre in the amount of people that made disco songs. I really came to like disco and the best disco music, I'm like, “These are the greatest sounds that have ever been recorded.” But it got so big and so popular that everyone felt the need to record disco songs.Not everything is “I Feel Love,” right?No, most things are not. It strikes me that this happened with disco, but has not happened with other genres. Frank Sinatra recorded disco songs. Basically, every television theme song got a disco remix. I Love Lucy had a disco remix. The Rocky theme song had a disco remix.What? I'm sorry, Frank Sinatra did a disco song? Is it good?It's not good. It's “Night and Day” over a disco beat. And it's not clear to me if they just remixed it or if he actually recut the vocal because I just cannot imagine him doing that. In the mid-60s, there was a nun who topped the charts, The Singing Nun with a song called “Dominique.” Of course, during the disco era, it was remixed as a disco song. There are examples of this where people went sort of disco. The Rolling Stones record “Miss You” and it has the disco beat, or Pink Floyd does “Another Brick in the Wall” or Queen does “Another One Bites the Dust.”Everyone was gonna give it a try. There was so much money being made in the disco world at the time. You can always find some artists you would never think would do a disco song probably tried. They probably gave it their best.That's great. It's just fun because the things that hit number one for a week don't necessarily have to be good. They just have to be popular for like a week. Even the construction of the Top 40 chart, which you get into in the book, isn't exactly science. A lot of times, it's a little bit of intuition. It's a lot of what's selling and what's selling where specifically. It is a little bit woo woo, right?Yeah, definitely. The goal of this chart is “What's the most popular song in America in a given week?” Back in the day, that meant what were people buying? What were people listening to on the radio? What were people spinning in jukeboxes? Today, most music is done on streaming. It's consumption-based, rather than sales-based. So the chart's the same in name only, but it's really measuring very different things. The equivalent would be if we knew after you purchased your copy of “I Feel Love,” how many times did you actually play it at home? You could have purchased it, went home and never played it again. Something like that would not register on the charts these days.I respect the people at Billboard because they have an impossible task. It's like “We're gonna take all the information and we're going to boil it down into choosing or measuring what the most popular song is.” It's an impossible task to some degree.I have watched the evolution of the chart, and I go back and forth on whether they have given up on actually trying to rank stuff or if they are just ranking things in a different way. I think that the apples-to-apples between the era stuff is just so hard to do.One thing I really enjoyed about your book, in particular, is that it's not a story of why these songs are the best. It's a story of why these songs were popular at the time, just dipping the toe into the river of human sound. One thing that I'll ask as you wrap: as you were going through these eras, who did you hear a lot more of than you thought? Who did you hear a lot less than you expected?I joked with some people that if you just looked at the top of the charts, the greatest rock band of the 1970s is either Grand Funk Railroad or Three Dog Night because they both had three number one hits, and many other bands in the classic rock canon have none. Led Zeppelin does not really exist on the pop chart, the singles chart. Led Zeppelin really only put out albums. The Eagles were also big during the '70s on the music charts. But Three Dog Night, they're the legends.There are tons of people that I didn't realize how much I would see of them. Someone like Lionel Richie and Phil Collins, of course, they're tremendously popular, but they were so popular. Phil Collins was popular at the height of the bald pop star era, which I think is a thing of the past. You had multiple bald men who were regularly topping the charts in the mid-80s. You see a ton of Phil Collins, more than I was expecting, even though I know he's very popular.Who don't you see a ton of? Sometimes you don't see people until a bit later in their careers. This is actually an interesting phenomenon. Artists do not score a number one hit during their most critically acclaimed period, and then a decade later, they do. For example, Cheap Trick. They have a number one hit, but it's at the end of the '80s song called “The Flame.” Whereas if you hear Cheap Trick on the radio, it's probably their live album from the 1970s. This is a phenomenon you see again and again. Some old timer will get their number one much later in their career. Tina Turner gets her number one when she's probably in her 40s. It's always interesting to see that.There are also some artists where I feel like there's a divergence between what their most popular songs are these days and what was topping the charts. Elton John is a good example there. “Benny and the Jets” was a number one hit, still a tremendously popular song. But he's got a lot of weird No. 1s that I don't think have as much street cred these days. He has a song called “Island Girl.” Did not age like fine wine. I don't even think he plays it live anymore because it's considered somewhat racially insensitive. But it was a No. 1 hit at the time. “Philadelphia Freedom” is another one by Elton John. I feel like when people think of the Elton John catalog, it's probably not the first song that comes to mind. But it was a No. 1 hit, huge smash. His cover of “Lucy in the Sky with Diamonds” was a No. 1. Elton John has been very popular throughout the decades, but I feel like the reasons he's been popular have changed.People have just gravitated towards different songs as time has gone on. You get distortions at the top of the charts. But I think, as you mentioned, it provides a good sample of what was actually popular. You have the good, the bad, and the ugly. Whereas if you look at some other sources, people are just gonna be like, “Oh, listen to these records. These are the best records.” In reality, the bad records are important, too.Yeah, bad records are great. They're at least interesting. I imagine also some of this process must have been missing out on a lot of interesting music because one song was just dominating the charts. Were there any songs in particular that come to mind that wooled the roost for potentially a little bit too long?Yeah, the quintessential example is the “Macarena” in the ‘90s.Oh, no!I think it was No. 1 for 13 weeks.Christ!There's a great clip of people at the Democratic National Convention and '96 dancing the “Macarena.” It's so bad. Yeah, so a very popular song. There are tons of stuff that gets stuck behind it. There's a great No.1 hit in the '90s called “I Love You Always Forever.” It's a very nice song by Donna Lewis. It's stuck at No. 2 because it just happened to be popular during the “Macarena's” very long run. YYour life's work, your greatest accomplishment, being stymied by the “Macarena” feels like a level of creative hell that I have never envisioned before.Yeah, there are other artists who got unlucky. Bruce Springsteen never performed a No. 1 hit. He wrote a No.1 hit for another artist. His closest was “Dancing in the Dark” got to No. 2, but that was also when Prince released “When Doves Cry,” so it's a tough, tough week. Bob Dylan, similar thing. He wrote a No. 1 hit, but he only ever got to No. 2. I think he got to No. 2 twice. Once, he got stuck behind “Help” by the Beatles, and another time he got stuck behind “Monday Monday” by the Mamas and the Papas.This is another thing when I talk about the charts. There could be many fewer units sold in a given week, or there could be many more units sold. There's a lot of luck involved if you're gonna go all the way to No. 1. You could be Bruce Springsteen: you release the biggest record of your life, and Prince also releases the biggest record of his life at the exact same time.Incredible. So again, I have read the book. I really, really like it. People are doubtlessly familiar with the newsletter at this point, but I am also a big fan and booster of that. But I guess I'll just throw it to you. Where can folks find the book, and where can folks find you?Yeah, you can find me, Chris Dalla Riva, basically on every social media platform under cdallarivamusic. I'm most active on TikTok and Instagram. The book, Uncharted Territory: What Numbers Tell Us About the Biggest Hit Songs and Ourselves, should be available from every major retailer online. Amazon, Barnes & Noble, Walmart, Booklist, all that good stuff. Not available physically in stores, so definitely order it online.Like I said, I spent years listening to every No. 1 hit in history, built a giant data set about all those songs and used that to write a data-driven history of popular music from 1958 to basically 2025. So go pick up a copy, buy one for your mother for Christmas. Or your father, I don't discriminate. Yeah, check it out. I'm hoping people enjoy it, and I'm really excited to finally get it out in the world. It's been a long, circuitous journey to get it published.It's a really fun read, and I wish it nothing but the best. And yeah, congrats, thanks for coming on.Yeah, thanks for having me.Edited by Crystal WangIf you have anything you'd like to see in this Sunday special, shoot me an email. Comment below! Thanks for reading, and thanks so much for supporting Numlock.Thank you so much for becoming a paid subscriber! Send links to me on Twitter at @WaltHickey or email me with numbers, tips or feedback at walt@numlock.news. This is a public episode. If you'd like to discuss this with other subscribers or get access to bonus episodes, visit www.numlock.com/subscribe

This week, we compare our notes on manual labor, truck nuts, film soundtracks, Jim Steinman, David Allan Coe, athlete salaries, and pizza. Listen to the Jortscenter playlist: https://open.spotify.com/playlist/2ioAsKKw7AhdJ0cCrasqfH?si=6c2cef121c3a4a9aJoin our Peloton!   https://www.patreon.com/JortsCenterFacebook group: https://www.facebook.com/groups/342135897580300Subreddit: https://www.reddit.com/r/jortscenterFollow us on Twitter:@JortsCenterPod Will is @wapplehouse Josh is @otherjrobbins Ryan is @ryhanbeard Vic is @DokktorvikktorZack is @ZackVanNus

In Part 3 of the Meat Loaf story, we explore the turbulent years and meteoric comeback between Dead Ringer and Bat Out of Hell II.  As Meat Loaf's partnership with Jim Steinman collapses once again after Dead Ringer fails to live up to expectation and Steinman is released from his recording contract. As Steinman finds new found success penning massive hits for other artists like Bonnie Tyler with Total Eclipse of the Heart and Air Supply with Making Love Out of Nothing at All. While Steinman thrived, Meat Loaf was left to go it alone, as he struggled to write his own material while facing mounting pressures from his record label, his managers, and even Steinman himself as he would be hit with a wave of lawsuits that ultimately drove him to bankruptcy. Forced to retreat from the lime light, Meat turned his focus to his family by coaching his daughters Little League team before reuniting with Steinman for an incredible comeback that no one saw coming. As Meat earned himself a Grammy with I'd Do Anything for Love (But I Won't Do That), cementing his place in rock history as an all time great as Meat finds himself in a great place towards the mid 90's and gears up for the final act of his remarkable journey, set to be explored in the final part of the Meat Loaf story. Enjoy! This episode was written, researched, narrated, edited and produced by Adam Hampton. If you enjoyed this episode feel free to click the free subscribe or follow button and leave the podcast a positive 5 star review on Spotify or Itunes. You can also find us on Facebook, X, Tik Tok, Instagram and our website at www.lyricsoftheirlife.com. To support the podcast further and myself as an independent podcast creator you can find us on Patreon for as little as $1 a month or Buy Me A Coffee as a one off donation of your appreciation. All these links can be seen below. Thanks to every single one of my listeners. Cheers your host Adam Hampton. Support The Podcast - Patreon: https://www.patreon.com/Lyricsoftheirlifepodcast Buy Me A Coffee: https://www.buymeacoffee.com/lyricsoflifepod Socials -   Facebook Official Page: https://www.facebook.com/lyricsoftheirlife Facebook Group: https://www.facebook.com/groups/441708960400475/ Instagram: https://www.instagram.com/lyricsoftheirlife/ X: https://x.com/lyrics_their Tik Tok: https://www.tiktok.com/@lyricsoftheirlife? Website: www.lyricsoftheirlife.com   Rate The Podcast -   Itunes: https://podcasts.apple.com/au/podcast/lyrics-of-their-life/id1521842063 Spotify: https://open.spotify.com/show/2Dj0muwHSsoWocFGPUgCnT?si=fa49e66e73d84933 Featured Playlists (Listen to the songs spoken about in every episode)-   Spotify: https://open.spotify.com/user/16j22czj103i68fdypqzbco07?si=8bbee318907c488c Youtube: https://www.youtube.com/channel/UCUiXxJhUKPwFhvd3F-Cm84w

Bat Out Of Hell would cement Meat Loaf as a household name and rising star of the music industry but fame hit hard. In this episode, we trace the whirlwind rise that led to physical collapse, creative clashes, and personal turning points. From losing his voice to butting heads with his creative partner Jim Steinman, the pressure would become all too much for Meat as cracks began to show on and off the stage before he eventually walked away from the limelight. But amid all of the chaos, he found love, became a father, and watched on from the side-lines as Jim launched his own solo album. We follow Meat's slow but determined comeback as he gears up for the next chapter in Dead Ringer.  Enjoy! This episode was written, researched, narrated, edited and produced by Adam Hampton. If you enjoyed this episode feel free to click the free subscribe or follow button and leave the podcast a positive 5 star review on Spotify or Itunes. You can also find us on Facebook, X, Tik Tok, Instagram and our website at www.lyricsoftheirlife.com. To support the podcast further and myself as an independent podcast creator you can find us on Patreon for as little as $1 a month or Buy Me A Coffee as a one off donation of your appreciation. All these links can be seen below. Thanks to every single one of my listeners. Cheers your host Adam Hampton. Support The Podcast - Patreon: https://www.patreon.com/Lyricsoftheirlifepodcast Buy Me A Coffee: https://www.buymeacoffee.com/lyricsoflifepod Socials -   Facebook Official Page: https://www.facebook.com/lyricsoftheirlife Facebook Group: https://www.facebook.com/groups/441708960400475/ Instagram: https://www.instagram.com/lyricsoftheirlife/ X: https://x.com/lyrics_their Tik Tok: https://www.tiktok.com/@lyricsoftheirlife? Website: www.lyricsoftheirlife.com   Rate The Podcast -   Itunes: https://podcasts.apple.com/au/podcast/lyrics-of-their-life/id1521842063 Spotify: https://open.spotify.com/show/2Dj0muwHSsoWocFGPUgCnT?si=fa49e66e73d84933 Featured Playlists (Listen to the songs spoken about in every episode)-   Spotify: https://open.spotify.com/user/16j22czj103i68fdypqzbco07?si=8bbee318907c488c Youtube: https://www.youtube.com/channel/UCUiXxJhUKPwFhvd3F-Cm84w

Jon Bell (Noise Berry Games) returns to the podcast to talk Shrek 2, Jim Steinman, and Bonnie Tyler's "Holding Out for a Hero." We also do a bonus segment for the first time in maybe several years! Also, Alex says "Zeuserman" at one point in this episode and it didn't get the attention it deserved so I'm letting y'all know about it here. Covers by:  Frou Frou, Lunaractive, Doveman, Karlien Van Jaarsveld, Tyce, Adam Lambert Tidal playlist here Follow Jon and Noise Berry Games on all the apps: YouTube TikTok X Instagram Facebook  

The Wailin' Jennys have been singing together for more than two decades - recording albums, touring the world, and filling venues large and small. After all these years, the trio—Ruth Moody, Heather Masse, and Nicky Mehta—have reached both a plateau and an inflection point. What's it like for a musical group that's been together for that long; for singers who've found such perfect vocal harmony for one another? How do they each think of songwriting, and of creative work in general? On their recent west coast tour, they stopped by the studio for a chat about those things and more.THE WAILIN' JENNYS ARE:Ruth Moody - Banjo, Guitar, VocalsNicky Mehta - Guitar, Drums, VocalsHeather Masse - Bass, VocalsFeaturing excerpts from the Jennys' albums Bright Morning Stars, iTunes Session - EP, 40 Days, and FirecrackerFEATURED/DISCUSSED:"Total Eclipse of the Heart" by Jim Steinman, sung by Bonnie Tyler and Rory Dodd"Paradise by the Dashboard Light," "I'd Do Anything For Love (But I Won't Do That)," "Objects in the Rearview Mirror May Appear Closer Than They Are" - by Jim Steinman sung by Meat Loaf"Closer To Fine" and "Love's Recovery" by Indigo Girls from Indigo Girls, 1989Big Magic: Creative Living Beyond Fear by Elizabeth Gilbert, 2016Kirk's essay on creativity, "Follow The Spark"Jeff Tweedy talking songwriting on The Ezra Klein Show"What Am I Here For" by Jade BirdMUSIC PICKS:Heather: Bonny Light Horseman, Keep Me On Your Mind/Set You Free, 2024Ruth: Aaron Neville, "Louisiana 1927"Nicky: Afghan Whigs, Black Love ----LINKS-----

In this first instalment of the Meat Loaf story we explore Marvin Lee Aday's childhood as he struggled with being raised in a strict Christian household alongside his abusive alcoholic father Orvis and his "angel" of a mother Wilma. As we discover the origin of the name Meat Loaf, the severe bullying Meat endured while attending school due to  his weight, his incredible interaction with President JFK on the day he was assassinated, Meat's dramatic journey to LA after a violent interaction with his father which drove him out of the family home and we discover how Meatloaf first entered the theatre scene, finding himself in the cast of Hair and The Rocky Horror Show before meeting the brains behind the masterpiece that was the Bat Out Of Hell album, Jim Steinman. All that and more in this incredible first part of the Meat Loaf story. Enjoy! This episode was written, researched, narrated, edited and produced by Adam Hampton. If you enjoyed this episode feel free to click the free subscribe or follow button and leave the podcast a positive 5 star review on Itunes. You can also find us on Facebook, Twitter, Tik Tok, Instagram and our website at www.lyricsoftheirlife.com. To support the podcast further and myself as an independent podcast creator you can find us on Patreon for as little as $1 a month or Buy Me A Coffee as a one off donation of your appreciation. All these links can be seen below. Thanks to every single one of my listeners. Cheers your host Adam Hampton. Support The Podcast - Patreon: https://www.patreon.com/Lyricsoftheirlifepodcast Buy Me A Coffee: https://www.buymeacoffee.com/lyricsoflifepod Socials - Facebook Official Page: https://www.facebook.com/lyricsoftheirlife Facebook Group: https://www.facebook.com/groups/441708960400475/ Instagram: https://www.instagram.com/lyricsoftheirlife/ Twitter: https://twitter.com/lyrics_their Tik Tok: https://www.tiktok.com/@lyricsoftheirlife? Rate The Podcast - Itunes: https://podcasts.apple.com/au/podcast/lyrics-of-their-life/id1521842063 Featured Playlists (Listen to the songs spoken about in every episode)- Spotify: https://open.spotify.com/user/16j22czj103i68fdypqzbco07?si=8bbee318907c488c Youtube: https://www.youtube.com/channel/UCUiXxJhUKPwFhvd3F-Cm84w

Curtis King is an amazing vocalist, with a versatility that is rare. His repertoire includes pop, R&B and jazz, and has developed a unique and personal style of vocalization, a sound that is African and Asian inspired, often using body percussion - creating a world vibe, or a personal language that speaks to many.Curtis is currently on tour with Bruce Springsteen and has provided background vocals for hundreds of projects and artists such as Luther Vandross, Natalie Cole, Billy Joel, Madonna, and most recently Trey Anastasio (Phish). In addition with his tours with Bruce Springsteen, he has provided supporting vocals for Carly Simon, James Taylor, Steely Dan, Pavarotti and has worked with such notable producers as Phil Ramone, Kevin Shirley, Barry Eastman, Nile Rodgers, Jim Steinman, Russ Titleman and Arif Mardin.Join Rick and Ron as they host Curtis King to the Feeding the Starving Arts podcast!

Today we'll answer the age-old question.. WHO IS MEAT LOAF?! From the moment he was born, Marvin Aday lived an unbelievable life. We dive into the lore that led to the ninth-bestselling album in the world, Bat Out Of Hell! Inspired by Jim Steinman's Peter Pan metal musical, this theatrical metal record features major and inexplicable hits like Paradise By The Dashboard Light and Heaven Can Wait. The Mixtaper is teaching us about his name's various origins, his fresh rubber ducky collection, and a fishy marriage proposal. Can this record hold up to the hype? Will our scores reflect its absurd sales statistics? Will we ever truly know Meat Loaf? The Year Of Discovery continues with this special episode!Keep Spinning at www.SpinItPod.com!Thanks for listening!0:00 Intro2:35 Who Is Meat Loaf?11:02 About Bat Out Of Hell23:44 Awards & Accolades24:28 Fact Or Spin25:32 Cher Bingo: Meat Loaf Name Origins30:13 He Needed An Oxygen Mask For Filming34:26 Meat Loaf's Ducky Rider38:43 Meat Loaf Proposed With A Fish42:55 Album Art44:40 Bat Out Of Hell48:49 You Took The Words Right Out Of My Mouth (Hot Summer Night)52:44 Heaven Can Wait53:32 All Revved Up With No Place To Go54:59 Two Out Of Three Ain't Bad57:48 Paradise By The Dashboard Light1:03:05 For Crying Out Loud1:04:55 Final Spin Hosted on Acast. See acast.com/privacy for more information.

Turn around... every now and then I get a little lonely and the snare is sounding smallTurn around... every now and then I get a little bit tired of listening to the sound of sleigh bellsTurn around... every now and then I get a little bit nervous that the cannons will not fireTurn around......every now and then Kirk decides to take on a classic 80s power ballad, and winds up learning a thing or two about when to use castanets and how to pull off an elegant key change. (Are you still singing along? Wow.)Written and Produced by: Jim SteinmanFeaturing: Bonnie Tyler and Rory Dodd, co-lead vocalsAlbum: Faster than the Speed of Night, 1983Listen/Buy via Album.LinkALSO REFERENCED/DISCUSSED:The "Literal Version" of the Total Eclipse music videoWarren Huart's terrific "Produce Like a Pro" article and video about the song“Lost in France” and “More Than a Lover” by Bonnie Tyler from The World Starts Tonight, 1977“Bat Out of Hell” and “Paradise by the Dashboard Light” by Jim Steinman as sung by Meat Loaf and Ellen Foley on Bat Out of Hell, 1977“Making Love Out Of Nothing At All” by Jim Steinman and recorded by Air Supply, 1983‘One-Hit Wonder' Bonnie Tyler Resumes Her Singing Cereer with a ‘Total Eclipse' of the Charts, People Magazine, November 1983“For Those About To Rock, (We Salute You)” by AC/DC, 1981Tchaikovsky's “1812 Overture” by the National Symphony Orchestra of Ukrane, 2005----LINKS-----

We revisit the shows creators Scott and Aaron and are joined by cast memeber Allison as we talk about the upcoming Concert of Romero & JulietZombies! Shakespeare! 1980s inspired music! All of these elements are the foundation for the new rock musical, ROMERO & JULIET.Romero, a human, falls for Juliet, a zombie, during a music festival called Deadstock on Friday the 13 th in September 1985. Romance, comedy, horror, and tragedy ensue. The show is set in Verona, PA- not far from where George Romero's class film “Night of the Living Dead” was filmed, and not far from where the concert will be presented.​ROMERO & JULIET features an original score inspired by eighties pop music icons Madonna, Bon Jovi, George Michael, Boy George, Jim Steinman and others. It is described as being in the same vein as LITTLE SHOP OF HORRORS.Romero and Juliet” will premiere on May 17, 2025 at Saint Vincent College with production by Split Stage Productions of Greensburg. There is a matinee at 2 p.m. and an evening performance at 7.

Another time, another place. That time? 1984. That place? The movies! Where a rock & roll fable was born, yet no one watched it at the time. In America, anyway. In Japan, someone saw it. A few someones. A few someones, that would go on to make some of the coolest anime and video games around. Now, in 2025? It's the perfect time to go back to that another time, and another place. To go back to the 1984 cinematic cult classic, that is the theatrical film Streets of Fire. Or at least we did. You should too!OSMnotesSadly right now there is no easy to way to just find a handy dandy streaming service to watch Streets of Fire, but it's around to buy digitally…or even physically!Streets of Fire, How to Watch and/or Buy:Stream on Devices that Streamon Amazon Video (Buy or Rent)on Apple TV (Buy or Rent)on Fandango At Home (Buy or Rent)Buy on Blu-Rayon Amazonon Shout! FactoryPlus, Time Cues:We start the OSMcast!ing – 00:00General Gabbing (Talking about the Switch 2 Announcements) – 00:45OSMplugs (Discord, Patreon, TeePublic) – 10:58Streets of FireStreets of Fire, Sans Spoilers (Mostly) – 12:01Streets of Fire, Full of Spoilers – 27:24OSMs Out of OSM and Final Thoughts – 1:08:36We also have YouTube Channels! Both for OSMcast proper and The Carbuncle Chronicle! Please subscribe, hit the bell, and share amongst your friends.And as always, feel free to leave us a review on Apple Podcasts! Oh, and if you still use Spotify, go ahead and get on that mobile device and throw us some five stars there too. Tell your friends! As well, just like we mentioned when we do the OSMplugs, you can also join the Discord and support us on Patreon! PS If you have ever wanted some OSMmerch, feel free to check out our TeePublic page! PPS We appreciate you.

Interview by Kris Peters For more than three decades, the name Chocolate Starfish has been synonymous with Australian rock music, with singer Adam Thompson one of the most engaging and enigmatic frontmen to ever grace the stage in this country. Despite the success of Chocolate Starfish and the constant touring that comes with it, Thompson has also found time to branch into other areas of the artistic world, most notably the Chocolate Starfish Bat Out Of Hell Show, where, obviously, the band performs the classic Meatloaf hits from that album and beyond. While not exactly a new project for Thompson, it is one that is close to his heart, and he has embraced the role as if it were his own - and God help anyone who tries to say it's not… This year Bat Out Of Hell - Return will see Chocolate Starfish traversing the country once more, but this time there's going to be strings attached. Literally. The electrifying show that continues to thrill audiences everywhere will be augmented by the stirring swells of a six-piece string section, escalating the rich production to mesmerizing heights. Featuring the classic album in its entirety, Bat Out of Hell - The Return promises everything audiences have come to know and love about a Starfish show – it's an entertainment experience not to be missed. As a prelude to the main event, the band will be supported by a specially curated trio performing Chocolate Starfish favourites, starring Kate Daley and her dazzling vocals, Peter Mitchell on saxophone and Les Gyori on violin. The star of the show, Adam Thompson, sat down with HEAVY to talk about Bat Out of Hell - The Return and more. "We had a lot of success a couple of years ago with the Bat Out Of Hell show, and we just thought, look, if we're going to do it again, let's take it to another level," he began. "About a year and a half ago I did a George Michael show at the Myer Music Bowl with David Campbell and a few others, and it was with an orchestra and I just loved it. I said to the boys, why don't we up the ante and see if we can use a string section because it's so made for those sorts of shows. I know Meatloaf back in the day did several of them, and that album is just made for strings. "It's an eight-piece string section," he continued, "and the dynamics of the performance will change because previously we only had synth for something like For Crying Out Loud or Heaven Can Wait. For some of those slower songs you'll have that lush tone that the string section brings. So just to feel that groan of the cello on (sings) 'now the chilly Californian wind, is blowing down our bodies again…' oh man, it's just going to be goosebumps, right?" In the full interview, Adam spoke more about the Bat Out of Hell show along with works by Jim Steinman, enhanced by the inclusion of a string section. Adam shared his excitement about the tour, reflecting on the success of previous orchestral performances and the necessary mental and physical preparation for the run of shows, which will travel from Melbourne to Perth. He emphasized the importance of pacing and structure in performances, particularly with the addition of string players, while maintaining his unique style. The conversation also highlighted the growing audience for Chocolate Starfish, especially among families, and the positive ticket sales, with some shows nearly sold out. We discussed fans reactions to Adam's personality shining through during his Meatloaf performance, the importance of sprinkling his own DNA through the show, and more.Become a supporter of this podcast: https://www.spreaker.com/podcast/heavy-music-interviews--2687660/support.

Super-Special-not-so-Secret Friend Don returns to the diningroom table for another thrilling bonus episode. Deon and Jay welcome his ass with arms wide open, as Lightnin' Lickers are want to do. Twelve crackin' tracks are lifted from wax and stitched back onto a mixtape after an in-depth discussion of the artists who created said cuts takes place. It's good to be back. Happy (Merry) St. Patrick's Day (Bay City Christmas)!Sonic contributors to the latest bonus episode of Lightnin'Licks Radio podcast include: Max Heath, Prince and the Revolution, Alan Silvestri, Nitty Gritty Dirt Band, Arc of All, Junkyard Band, Roberta Flack, Donald Trump, Jimmy Webb, The Beatles, Tim Hardin, Holland Dozier Holland, Paul Simon, Art Garfunkel, Chris Whitley, Bonnie Tyler, Jim Steinman, Missing Persons, Mitchell Froom, Guns N' Roses, Stephen Malkmus, the Jicks, KMFDM, MC 900 Ft. Jesus, Beck, Revolting Cocks, Led Zepplin, Greta Van Fleet, Grace Slick, Bjork, Black Flag, Grateful Dead, Henry Rollins Band, Mike Judge's Beavis & Butthead, A Tribe Called Quest, Ubiquity, Digible Planets, Abe Jefferson, Billy Woods, ELUCID, Raekwon the Chef, Outkast, Ms. Judy, Quelle Chris, Don Messick as Zorac, Sade, Mr. K and Boyd Jarvis.Jay noted he was snacking on the sonic deliciousness of theSound Symposium, Noel and the Red Wedge, Wartime, and Fazerdaze.Deon is with Sarah Shook and the Disarmers, Pavement, Roy Ayers, Cavalier and Child Actor. Don suggested checking out the Hard Lessons, Balthazar, S.G. Goodman, and MaidaVale. In a world full of and Stephen Millers and Ted Cruzes, be aMr. Studinger or a Tom Cedarberg. Share joy and buy music from your local record store. We suggest Electric Kitsch in beautiful Bay City, Michigan.  BONUS #25 mixtape:[SIDE 1] (1) S.G. Goodman - If You Were Someone I Loved {edit} (2) Pavement - Grounded (3) Noel & the Red Wedge - Special to You (4) Balthazar - Bunker (5) Roy Ayers - Slow Motion (6) Wartime - The Whole Truth [SIDE 2] (1) The Sound Symposium - America (2) The Hard Lessons - Milk & Sugar (3) Cavalier & Child Actor - Judy is Forever (4) Fazerdaze - A Thousand Years (5) MaidaVale - Daybreak (6) Sarah Shook & the Disarmers - Backsliders

Todd Rundgren is responsible for producing some incredibly important records including Meatloaf and Jim Steinman's Bat out of Hell and the New York Dolls selt titled LP. He has also rubbed elbows with Beatles John Lennon and Paul McCartney. FRUMESS is POWERED by ⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠www.riotstickers.com/frumess⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠JOIN THE PATREON FOR LESS THAN A $2 CUP OF COFFEE!!⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠https://www.patreon.com/Frumess ⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠

James and Kit continue their journey through rock 'n' roll discographies with a journey to Meatloaf and Jim Steinman's epic slice of guitar driven urban myth, Bat Out Of Hell. Next time, we take a dip in the River. 

Glenn Adamson is reprising his performance as Strat in Bat Out Of Hell for its 2025 UK tour.Glenn previously played Strat on tour across the UK, US and Australia in addition to a West End run at the Peacock Theatre. Bat Out of Hell has book, music and lyrics by Jim Steinman, direction by Jay Scheib, with musical supervision and additional arrangements by Michael Reed.Glenn's other theatre credits include: Dave in Closer To Heaven (Turbine Theatre), Rick in Bat Boy In Concert (London Palladium), understudy Galileo in We Will Rock You (London Coliseum), Theo and understudy St Jimmy in American Idiot (Australasian Tour/Arts Theatre/UK Tour), Billy in The Rise and Fall of Little Voice (Union Theatre) and Terry in Secret Love (UK Tour). In this episode, Glenn discusses why he's excited to be reprising his performance as Strat and the challenges that come with playing such a demanding role, as well as his path into theatre and journey through the industry so far.Bat Out Of Hell kicks off its UK tour in Edinburgh on 6th January and is booking through to September 2025. Visit www.batoutofhellmusical.com for info and tickets. This podcast is hosted by Andrew Tomlins  @AndrewTomlins32  Thanks for listening! Email: andrew@westendframe.co.uk Visit westendframe.co.uk for more info about our podcasts.  

An award winning independent music artist, singer, songwriter, multi instrumentalist, music producer and videographer, this London based creative grew up in Nottingham UK. Self taught on piano and guitar, he was to discover a love for fully crafting his own material from conception to production and everything in between. Solidifying his skills at Paul McCartney's Performing Arts Institute LIPA in Liverpool, saw him write two musicals and record his first solo album before arriving in London to pursue long held musical dreams. As an ever evolving queer artist with inspirational pop icons surcharging his self expression, the big city in the early naughties proved a resistant force in his honest lyrics and themes gaining any commercial appeal. And so, shunning the corporate cats with a firm belief that art comes from a place of truth, he did it his way, retaining creative control by launching his own record label - Young Lust Records, learning the music biz from the ground up. Having carved a niche with his own brand of queer themed rock music and videos, exciting collaborations and projects soon followed, along with a strong online audience and international fan base garnering millions of YouTube views and viral videos, capturing the supportive eye of much loved English actor, broadcaster, writer, comedian and director Stephen Fry. Combining elements of rock, punk, alternative, pop and visual storytelling with a theatrical flair, his songs are candid in dealing with the joys, pains and experiences of gay identity. As an LGBTQ+ advocate and activist his expressions are unashamedly positive and celebratory with humorous yet acerbic commentary on institutional homophobia within the entertainment industry. Quirky, heart-warming and political. Fifteen years and four studio albums deep, his work has involved an international roster of film directors, illustrators and visual artists to bring his stories to life with an award winning debut album Not Thinking Straight and follow up Cover Boy co-produced with Mark Crew of Bastille and Rag n Bone Man credits, and has had his work featured in Gay Times, Attitude and Out Magazines. Alongside further nods from actor Tom Hiddleston, LGBtQ+ activist Peter Tatchell & legendary songwriter and producer Jim Steinman. With his latest album Tales of Queer Suburbia set for release in early 2025, this is someone making waves in the wonderful world of queer.

Send us a textEveryone knows and loves Creedence Clearwater Revival. Their run of hits at the end of the '60's, and their enduring popularity, has rarely been equaled. Not so well-known is the story of the clashes that caused their run to end so abruptly. We take a look at how the band split and the many personal and legal issues that led to it.  It ain't pretty! Well, we also kept our promise and listened to the new Coldplay album, “Moon Music”.  How did it sound to us? Regular listeners won't be surprised at our reaction! In Rock News, we look some more at the issues surrounding Diddy, and look at the problems with the "stage hole" in Melbourne. Our Album You Must Listen to Before You Die is 1977's “Bat Out of Hell” by Meat Loaf.  Such a great album!!  References:  Houston Bernard, “Dancing in the Dirt”, Puff Daddy, Sean 'Diddy' Combs, Chris Martin, Marvel Stadium, Music of the Spheres, Olivia Rodrigo, Donald Trump sneakers, Meat Loaf, Bat Out of Hell, Todd Rundgren, You took the Words Right Out of My Mouth, Two Out of Three Ain't Bad, Jim Steinman, Rocky Horror Picture Show, car sex, El Cerruto California, Doug Clifford, Stu Cook, The Blue Velvets, Tom Fogerty, Fantasy Records, Casey Kasem, Credence Newball, Olympia beer, CCR, Dale Hawkins' Susie Q, Apocalypse Now, Woodstock, Bad Moon Rising, Proud Mary, "Have You Ever Seen The Rain?", Hammond B3 organ, Booker T. & the M.G.'s, “Fortunate Son”, Trump (the) fortunate son, An American Werewolf in London, Evan Almighty, Keith Richards, Saul Zaentz, Allen Klein, “The Royal Albert Hall Concert”, Concord Records, Rockin' All Over the World, Status Quo, Asylum, Warner Bros, Centerfield, Zanz Kan't Dance, Mr. Greed, “Mardi Gras”, Rolling Stone (Jon Landau), “Classic Album Review”, “The 10 Worst Albums Ever”, Rock & Roll Hall of Fame, Pop, Chronicle, US Top 200, Glenn Barros, The Long Road Home Playlist  We play all the music/artists discussed during this episode 

Send us a textThis episode, we look at what Rolling Stone magazine considers to be the best songs of the 80's.  We have been critical of Rolling Stone in the past for the quality of their lists, and this time is no different.  However, there's some good stuff in this list, which we're happy to acknowledge.  Of course, we point out their failings as well – it'd be no fun if we didn't, would it?! In Rock News, we look at a new album from Coldplay (as if anybody cares!), the trials of Sean “Puffy” Combs, and The Beatles. Our “Album You Must listen to Before you Die” is 1985's The Nation's Saving Grace, by The Fall.  Mick loves it, Jeff doesn't think much of it.   So, what's new? Another fun episode.  Enjoy.  References:  Rolling Stone magazine, 80's, Coldplay, ‘Moon Music', No 1 album, Sean Diddy Coombs, Puff Daddy, Diddy, Cassie Ventura, Beatlemania, Beatles '64, David Tedeschi, Disney+, The Fall, The Nations Saving Grace, John Leckie, Mark E Smith, Can, German, krautrock, Damo Suzuki, DoubleJay, TripleJ, Prince, ‘Kiss', Madonna, ‘Like a Prayer', Grandmaster Flash and the Furious Five, ‘The Message', Michael Jackson, ‘Billie Jean', Public Enemy, ‘Bring the Noise', Whitney Houston, ‘How Will I Know?”, The Go-Gos, ‘Our Lips Are Sealed', Duran Duran, ‘Hungry Like the Wolf', Kate Bush, ‘Running Up That Hill', The Smiths, ‘There Is a Light That Never Goes Out', Husker Du, Minutemen, rap artists, Bowie, Depeche Mode, Culture Club, Clash, Neneh Cherry, U2, Joy Division, AC/DC, “Hell's Bells”, INXS, “Never Tear Us Apart”, Apple music streaming, Leonard Cohen, Tower of Song, Sisters of Mercy, “This Corrosion”, “Floodland”, Jim Steinman, “New Big Prinz”, Frankie Goes to Hollywood, “Relax", Cher, “If I Could Turn Back Time”, Missouri, Bow Wow Wow, “I Want Candy”, Haysi Fantaysee, “Shiny Shiny”, Countdown, Falco, “Rock Me, Amadeus”, A-Ha, “Take on me”, Nena,  99 Luftballon, Kim Carnes, “Bette Davis Eyes”, Shriekback, “Nemesis", parthenogenesis, Samantha Fox, Africa, Toto  Playlist – Episode This is our usual playlist, where we curate a list to play what we've talked about in the episode Playlist – Spotify's complete list  Africa – Mass band  Samantha Fox web site – purely for academic interest! 

Send us a textIn this very special Halloween episode, Tom and Ty get out their protective eyewear, turn around, and stare into the bright eyes of Bonnie Tyler's 1983 "Total Eclipse of the Heart." Nearly blinded by Jim Steinman's over-the-top songwriting, the two marvel at how he and Bonnie Tyler make the song work (in spite of Tom almost purging his Halloween candy over the multitudinous key changes...or maybe it was the meatloaf?  Another slice, anyone?). The boys dig deep into how pioneering music video maestro Russell Mulcahy brought his spooky magic to the song, creating a perplexing masterpiece for the ages. Hold your headless horseman tight as we gallop into the dark forest of taboo in this episode of T(rick) n' T(reat).Songs:Reverb Syndicate - Better Dancing Through TechnologyBonnie Tyler - Total Eclipse of the HeartPolice - Every Breath You TakeMichael Jackson - Billie JeanIrene Cara - Flashdance (What a Feeling)Bobby (Boris) PIckett - Monster MashWarren Zevon - Werewolves of LondonNikki French - Total Eclipse of the HeartBonnie Tyler - It's a HeartacheMeatloaf - You Took the Words Right Out of My MouthMeatloaf - Paradise by the Dashboard LightBonnie Tyler - Have You Ever Seen the Rain?Ted Nugent - Cat Scratch FeverAir Supply - Making Love Out of Nothing at AllAdam Ant - StripPolice - Don't Stand So Close to MeGhost - Dance MacabreConnect with us:Instagram

This week, it's Remington's turn to get sick & Shaun decided to be nice & let him choose his own horror anime to watch 8 episodes of! Meanwhile Dylan begs y'all to watch a production of Tanz der Vampire, rivalled only by Streets of Fire for best use of Jim Steinman's music. If you'd like to give us feedback, ask a question, or correct a mistake, send an email to AnimeOutOfContext@gmail.com or tweet at us @AnimeConPod. Visit our Patreon at patreon.com/AnimeoutofContext if you would like to contribute to the show and get bonus content ranging from clips from our pre-episode banter, bonus episodes (including the 12 days of April Fools), our prototype Episode 0, to even getting shout-outs in the show! Intro and Outro are trimmed from "Remiga Impulse" by Jens Kiilstofte, licensed by MachinimaSound to Anime Out of Context under CC BY-NC-ND 4.0 which the licensor has modified for the licensee to allow reproduction and sharing of the Adapted Material for Commercial purposes

At the end of every year, Kevin does a solo episode celebrating top releases of that year… but there are lots of albums that don't get picked and they stay sadly on the bloody scribed scroll. This week we resurrect some of the lost souls from the past 4 years. Those left for dead may now rise!What is it we do here at InObscuria? Every show Kevin opens the crypt to exhume and dissect from his personal collection; an artist, album, or grouping of tunes from the broad spectrum of rock, punk, and metal. This week we look back on the last 4 years of rock n' punk n' metal. Hopefully, you get turned onto something new!Songs this week include:Night - “Shadow Gold” from High Tides – Distant Skies (2020)False Heads - “Wrap Up” from It's All There But You're Dreaming (2020)Mordred - “Smash Goes The Bottle” from The Dark Parade (2021)Slammin' Gladys - “Light Up” from Two (2021)StarGazer - “Can You Conceive It” from Life Will Never Be The Same (2022)The Poor - “Payback's A Bitch” from Payback's A Bitch - single (2022)Haken - “Lovebite” from Fauna (2023)Creeper - “Cry To Heaven” from Sanguivore (2023)Please subscribe everywhere that you listen to podcasts!Visit us: https://inobscuria.com/https://www.facebook.com/InObscuriahttps://twitter.com/inobscuriahttps://www.instagram.com/inobscuria/Buy cool stuff with our logo on it!: https://www.redbubble.com/people/InObscuria?asc=uIf you want to hear Robert and Kevin's band from the late 90s – early 00s BIG JACK PNEUMATIC, check it out here: https://bigjackpnuematic.bandcamp.com/If you'd like to check out Kevin's band THE SWEAR, take a listen on all streaming services or pick up a digital copy of their latest release here: https://theswear.bandcamp.com/Check out Robert's amazing fire sculptures and metal workings here: http://flamewerx.com/

A biker gang kidnapps an ex-soldier's rock star girlfriend, and he gets revenge through the power of Jim Steinman power ballads and giant hammers in a very silly "Rock 'n' Roll Fable" from the guy who gave us The Warriors. Starring Michael Pare, Diane Lane, Willem Dafoe, Rick Moranis, and Amy Madigan. Written by Walter Hill and Larry Gross. Directed by Walter Hill. Music by Jim Steinman, Ry Cooder, and others.

Sharon Sexton is back in the frame! Sharon is currently starring as the alternate Janis in A Night With Janis Joplin. Following a run on Broadway and various tours, the show is making its West End premiere at the Peacock Theatre.Sharon is celebrated for her iconic performance as Sloane in Jim Steinman and Meat Loaf's musical Bat Out Of Hell. Sharon originated the role during its original runs at the Manchester Opera House, London Coliseum and Dominion Theatres. Sharon later reprised her performance as Sloane in the Toronto production and recent UK/International tour. Later this year she will once again return for the musical's new tour. Since the beginning, Sharon has played Sloane opposite her husband Rob Fowler as Falco. Sharon's other theatre credits include playing Donna in the UK & international tour of Mamma Mia! as well as the West End productions of Billy Elliot and The Commitments.  Alongside her theatre work, Sharon is well known for her cabarets and concerts; her shows with Rob have won awards whilst she also has an acclaimed one woman show based on the life of Liza Minnelli. Most recently Sharon starred in and produced the concert tour of Defying Gravity: West End Woman. In this episode, Sharon discusses finding her Janis voice, returning to Bat Out Of Hell and why she has always been a hustler... plus lots more. A Night With Janis Joplin runs at the Peacock Theatre until 28th September 2024. Visit www.anightwithjanisjoplin.com for info and tickets. Hosted by Andrew Tomlins  @AndrewTomlins32  Thanks for listening! Email: andrew@westendframe.co.uk Visit westendframe.co.uk for more info about our podcasts.  The Loved One'How far would you go to find the person who means the most to you in all the...Listen on: Apple Podcasts Spotify

Put on your best leather overalls and head to a spot suit riot, cause we're talking about Walter Hill's STREETS OF FIRE! We discuss how much Amy Madigan rules, how much Tom Cody doesn't work, and construct an epic Jim Steinman song for the ages.   Produced by Andrew Ivimey as part of The From Superheroes Network   Visit www.FromSuperheroes.com for more podcasts, articles, video series, web comics, and more.

Hysteria is the album that should not exist.  Def Leppard's fourth studio album was plagued with delays and tragedy.  Despite this fact, the album would become one of the greatest heavy metal albums of all time. The band wrapped up their Pyromania tour in early 1984, and started writing their next album shortly thereafter.  Producter John "Mutt" Lange began working with them to arrange the songs, but was suffering from burnout and couldn't commit to producing the album.  Jim Steinman (of Meatloaf's "Bat Out of Hell" fame).  The fit was not good, and the band parted ways with Steinman by the fall.  They began self-producing, but it was slow work.  Then in December tragedy struck, as drummer Rick Allen crashed his Corvette, losing his left arm in the accident.  The band stuck with him as he returned to the drums, using a combination of acoustic and electronic drums and MIDI pedals to trigger sounds for parts ordinarily played with the left arm.  Self-production was continued until Mutt Lange was able to rejoin in mid-1985.  Final recording sessions occurred in early 1987, and the finished product finally was released in August 1987.Def Leppard's goal with the album, was amazingly aggressive:  they wanted to create a rock album similar to Michael Jackson's "Thriller," such that every track on the album could potentially be a hit single.  This goal was largely achieved, as seven of the albums tracks were released as singles, an unpresidented achievement for a rock band at the time.  This would also produce controversy with Def Leppard fans, as the group was perceived by some as selling out to commercial "hair metal" sensitivities popular at the time. Friend of the show Steve Hardin joins us in Bruce's absence, and Lynch brings us this monster album of heavy metal (or hair metal, depending on your perspecitve) for week's podcast. HysteriaThe title track was the fourth single from the album, and the group's first top 10 single in the US.  Drummer Rick Allen came up with the name for this slow rocker.  "'Cause it's a miracle, oh say you will, ooh babe.  Hysteria when you're near."AnimalThis fast paced song was the second release in the US and the first single in the UK where it broke into the top 10.  It was one of the more difficult songs for the group to write, going through multiple iterations with multiple producers before arriving in the style used on the album.RocketThis track was almost created as an instrumental, but morphed into a tribute song, referencing many of the influential groups of the 60's and 70's.  It also features a backwards masking vocal from another song on the album (Gods of War) which says, "we're fighting with the gods of war."  Pour Some Suger On MeOften considered Def Leppard's signature song, this track was a last-minute addition to the album.  It came out of an acoustic jam developed by lead singer Joe Elliott.  Producer Mutt Lange liked the tune and pushed for its development despite the album being behind schedule.  It was created in about 2 weeks, and would reach number 2 on the Billboard Hot 100.   ENTERTAINMENT TRACK:I Get Around by The Beach Boys (from the motion picture “Goor Morning, Vietnam”)This movie starred Robin Williams as an Armed Forces Radio Service DJ who is popular with the troops, but problemmatic to the bureaucrats. STAFF PICKS:Say You Will by ForeignerRob starts the staff pick with a song that hit number 6 on the charts.  Foreigner evolved their sound in the late 80's to meet the aesthetic of the day, with heavier use of the synthesizer and less guitar riffs.  It is the first single from their sixth studio album, "Inside Information."No New Tale to Tell by Love and RocketsWayne's staff pick is an alternative rock sound with an unusual flute instrumentation from a group out of the UK underground.  This was their first US hit, going to number 18 on the US Mainstream Rock chart.  It is from their third album, "Earth, Sun, Moon," and they would release another four albums before breaking up in 1989,Big River by the Beat FarmersFriend of the show Steve Hardin brings an unusual song with a country/rocakabilly slant.  The lyrics discuss following a girl down the Mississippi.Faith by George MichaelLynch finishes the title track from George Michael's debut solo album.  This song with a Bo Diddley beat on an acoustic rhythm guitar went to number 1 on the Billboard Hot 100.  Michael wrote the song because he needed faith in his own abilities after leaving the band Wham! to go solo. INSTRUMENTAL TRACK:Complexity by Front Line AssemblyThis Canadian industrial band released their first full-length album in 1987. Thanks for listening to “What the Riff?!?” NOTE: To adjust the loudness of the music or voices, you may adjust the balance on your device. VOICES are stronger in the LEFT channel, and MUSIC is stronger on the RIGHT channel.Please follow us on Facebook https://www.facebook.com/whattheriffpodcast/, and message or email us with what you'd like to hear, what you think of the show, and any rock-worthy memes we can share.Of course we'd love for you to rate the show in your podcast platform!**NOTE: What the Riff?!? does not own the rights to any of these songs and we neither sell, nor profit from them. We share them so you can learn about them and purchase them for your own collections.

Hey Strutters! This week is monumental as we celebrate the 10th anniversary of "Everybody Wants." Originally released in the UK on July 28, 2014, this debut album has shaped the band's trajectory despite initial challenges. Remember the iconic single "Could Have Been Me"? It's still rocking hard! We take a nostalgic trip down memory lane, revisiting the tracks that didn't make the 2016 US reissue and discussing the bittersweet differences. As always, we're diving deep into the music that influences our favorite band, and this week's pick is a legendary classic that you won't want to miss. In today's episode, Luke and I wrap up our series on influential albums by spotlighting Meat Loaf's "Bat Out of Hell." Luke shares how discovering this album on vinyl during a tough time in his life offered both solace and inspiration. From the epic theatrics of Jim Steinman's songwriting to the relentless passion Meat Loaf brought to each track, this album has left an indelible mark on Luke's musical journey. Whether it's the dramatic spoken word intro of "You Took the Words Right Out of My Mouth" or the rebellious energy that courses through the entire album, Luke's insights will make you appreciate this rock masterpiece even more. So, grab your headphones and let's get lost in the music together. Don't forget to leave us a review and join our official Strutters group on Facebook to keep the conversation going. Until next time, keep strutting! Learn more about your ad choices. Visit megaphone.fm/adchoices

Hey Strutters! This week is monumental as we celebrate the 10th anniversary of "Everybody Wants." Originally released in the UK on July 28, 2014, this debut album has shaped the band's trajectory despite initial challenges. Remember the iconic single "Could Have Been Me"? It's still rocking hard! We take a nostalgic trip down memory lane, revisiting the tracks that didn't make the 2016 US reissue and discussing the bittersweet differences. As always, we're diving deep into the music that influences our favorite band, and this week's pick is a legendary classic that you won't want to miss. In today's episode, Luke and I wrap up our series on influential albums by spotlighting Meat Loaf's "Bat Out of Hell." Luke shares how discovering this album on vinyl during a tough time in his life offered both solace and inspiration. From the epic theatrics of Jim Steinman's songwriting to the relentless passion Meat Loaf brought to each track, this album has left an indelible mark on Luke's musical journey. Whether it's the dramatic spoken word intro of "You Took the Words Right Out of My Mouth" or the rebellious energy that courses through the entire album, Luke's insights will make you appreciate this rock masterpiece even more. So, grab your headphones and let's get lost in the music together. Don't forget to leave us a review and join our official Strutters group on Facebook to keep the conversation going. Until next time, keep strutting! Learn more about your ad choices. Visit megaphone.fm/adchoices

With heat waves hitting all over, it's hot as H-E-double hockey sticks - so what could be better than revisiting a classic episode about an iconic rock album that when it debuted in 1977 was just as hot as the crazy temperatures we're getting? Strap into your cycle and enjoy!~~~We've covered our fair share of musicians and music-adjacent topics on This Was a Thing, and we'll probably cover plenty more in the future. But when it comes to the Venn Diagram of musical theatre, rock-and-roll, and cover art that includes apocalyptic motorcycles, there's only one album that should come to mind. That's because there was only one Meatloaf, only one Jim Steinman, and only one Bat Out of Hell. (Well, three, technically, but who's counting.)Ray teaches Rob about the genesis of this epic, 7-track, 46-minute rock-and-roll experience; how Meatloaf's and Jim's musical theatre roots brought them together; what Rob and Ray wouldn't do for love; why this album owes its initial popularity to our neighbors up North and our friends across the pond; when a motorcycle is not a motorcycle; and why, despite how experimental and out-there it was, Bat Out of Hell remains one of the the best-selling and most beloved creations of its time.If you like what we're doing, please support us on Patreon, or you can subscribe to our bonus content on Apple Podcasts. And we'd love to find even more listeners, so if you have time, please leave us a rating or review on Apple Podcasts, Spotify, or wherever you listen to podcasts. And if you have any other thoughts or feedback you'd like to share with us, we'd love to hear from you - feel free to email us or send us a message on social media. Thank you as always for your support, and if you have any thoughts or feedback you'd like to share with us, we'd love to hear from you - feel free to send us a message on social media! And we'd love to find even more listeners, so if you have a second, please leave us a rating or review on Apple Podcasts.TEAMRay HebelRobert W. SchneiderMark SchroederBilly RecceDaniel SchwartzbergGabe CrawfordNatalie DeSaviaEPISODE CLIPS

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 Air Supply, REO Speedwagon, The Go-Go’s, Jim Steinman, Olivia Newton-John and Electric Light Orchestra, Kate Bush, Queen and David Bowie, Billy Joel, Peter Gabriel and Laurie Anderson, Pet Shop Boys, Dead Or Alive, Talk Talk, and finishing with Ultravox.

In this episode, we speak with Eric Troyer, singer, keyboardist and founding member of ELO II and The Orchestra, who have been keeping the great songs of ELO alive for decades.  We also discuss Eric's great session work with Billy, Joel, Jim Steinman and John Lennon.

In this Season 6 episode, I rank the best songs written by Jim Steinman. --- Support this podcast: https://podcasters.spotify.com/pod/show/dorneysvinyl/support

This is an earlier episode drop than usual, in hopes of capitalizing on the total eclipse frenzy that is currently happening in our part of the world. There is not a better song to feature for this time of year than Bonnie Tyler's immortal (like a vampire!) and timeless hit. We've been waiting to do this one for years: the time is now! Mixtape Official Video "Literal" Video You can find us on Instagram, Facebook, and our website. You can email us at BandFGuiltFree@gmail.com, too. Feel free to rate and review us wherever you listen! Here is our Spotify playlist featuring every song we've featured. Our theme music is by the incredibly talented Ian McGlynn.

Work privately with David About David Cady: DAVID CADY is currently a professor of commercial and musical theatre performance at AMDA, NYU, and Pace University. Prior, he was a casting director for Donna DeSeta Casting for close to 30 years. In addition to countless commercials, his casting credits include the original Dirty Dancing, Disney's Enchanted, Michael John LaChiusa's The Petrified Prince for the Public Theater, and the world premiere of Andrew Lloyd Webber and Jim Steinman's Whistle Down the      Wind, directed by Harold Prince.   He was an original cast member of Stephen Sondheim and George Furth's Merrily We Roll Along, and can be seen in Lonny Price's film about the experience, The Best Worst Thing That Ever Could Have Happened. In an enlightening discussion filled with actionable advice and heartfelt stories, David Cady, a veteran of musical theatre, shares his extensive knowledge and passion for the art. This episode is a treasure trove for aspiring and established performers alike, offering guidance on auditions, the importance of self-awareness, and the intrinsic value of kindness and professionalism in the theatre world. Key Takeaways: Mastering Auditions: David discusses the crucial approach to auditions, emphasizing the importance of viewing oneself as a collaborator rather than just a hopeful applicant. The mindset should be about showcasing how you are the answer to a casting call, equipped with meticulously selected material that plays to your current strengths. The Right Material: The selection of audition pieces is paramount. David advises against reaching for material that's beyond one's current range, instead advocating for focusing on pieces that showcase one's abilities best. This includes having self-taped auditions with tracks designed in your key and reflecting your unique voice. Technical Savvy: The conversation turns to the technical aspects of modern auditions, highlighting the need for performers to become adept at using software like GarageBand and iMovie for editing self-tapes. This technical skill set is becoming increasingly crucial in a digital-first auditioning world. Confidence and Growth: Drawing from his own experiences, David talks about the evolution of confidence through the repeated cycle of auditioning, failing, and learning. He stresses that a failure is not a setback but an opportunity for growth. Building and Maintaining Relationships: One of the episode's most poignant messages is the importance of kindness, professionalism, and building lasting relationships in the industry. David shares personal anecdotes to underscore how your behavior and interaction with everyone, from the casting director to the monitor, can significantly impact your career. A Career for Life: The discussion concludes on a reflective note, with David reminding listeners that a career in musical theatre is a lifelong journey. The importance of cherishing and working with your current capabilities, continually learning, and building a reputation of kindness and professionalism cannot be overstated. Special Moments: David shares inspiring stories from his career, including his auditions and the lessons learned along the way. A candid discussion about the mental and emotional aspects of performing, emphasizing self-love and the journey towards finding and owning your voice. For More Information: To explore working with David Cady on your musical theatre auditions, click on the link in the show notes. Learn more about Acting Business Bootcamp and how it can advance your career by also checking the show notes. This episode is a must-listen for anyone passionate about musical theatre, offering insights and advice that span the breadth of a performer's journey from auditions to professional growth and personal fulfillment.

Movie Meltdown - Episode 622 This episode we discuss the recent comedy Bottoms directed by Emma Seligman and starring Rachel Sennott and Ayo Edebiri. And while we take turns punching each other in the face, we also mention… Mad Max: Fury Road, The Monkees, Easy Rider, football players, The Bear, the most level-headed out of a bunch of crazy people, magic melons, Leslie Nielsen, phone books, cloning is real, alternate crazy world, winning awards, quick one liners, the commentary track, painfully realistic, this should be red flags all over the place, smart comedies and dumb comedies, Instagram posts, musical ironic jokes, the differences in being a high school student today versus years ago, Head and the insane universe of Jim Steinman. Spoiler Alert: Full spoilers for the 2023 movie "Bottoms", so watch the movie before you listen.  “Ha, ha… joke's on you! You got a better movie than you even thought you were gonna get.”

It's February, so that means it's time for the AIPT Movies podcast's “Shredruary” series! Where we cover movies that revolve around music or musicians! In this week's episode, Alex, Tim, and Matt discuss iconic genre director Walter Hill's 1984 Rock n' Roll Fable, Streets of Fire!A scary biker gang led by an unnerving-yet-alluring Willem Dafoe! A terrifying Ed Begley Jr.! Infectious music from Jim Steinman, Ry Cooder, Dan Hartman, Stevie Nicks, The Blasters, and Boston-based new wave band, Face to Face! Diane Lane looking incredible while playing one of the greatest fictional rock stars of all time! A story out of time, transporting you to a world that feels both nostalgic and somewhat futuristic (for the time it was released at least)! A sonic and visual feast, this movie was made for fans of noirs, cars, and motorcycle bars!In addition, Alex shares his spoiler-free thoughts on the new Aaron Eckhart action movie, The Bricklayer, and the South Korean revenge thriller, Ballerina!You can find AIPT Movies on Apple Podcasts, Spotify, or wherever you get your podcasts. As always, if you enjoy the podcast, be sure to leave us a positive rating, subscribe to the show, and tell your friends!The AIPT Movies podcast brings you the latest in movie news, reviews, and more! Hosted by supposed “industry vets,” Alex Harris, Tim Gardiner, and Matt Paul, the show gives you a peek behind the scenes from three filmmakers with oddly nonexistent filmographies. You can find Alex on Instagram and Twitter @ActionHarris. Matt is a terrific artist that you can find on Instagram @no_wheres_ville. Tim can't be found on social media because he doesn't exist. If you have any questions or suggestions for the AIPT Movies crew, they can be reached at aiptmoviespod@gmail.com, or you can find them on Twitter @AIPTmoviesPod.Theme song is “We Got it Goin On” by Cobra Man.

This week, I am joined by Desmond Child and we're diving into the stories behind the songs he's written for & co-written with Kiss, Bon Jovi, Aerosmith, Alice Cooper, Joan Jett & The Blackhearts, Cher, Meat Loaf & more!  He also discusses: the changing musical landscape in the early 1990's; his mindset behind key changes in songs; working with Meat Loaf (and Jim Steinman) on “Bat Out Of Hell 3;” how Slipknot was an influence on “Bat Out Of Hell 3;” Why KISS' “I Was Made For Loving You” is not a disco song; his experience at KISS' final show at Madison Square Garden, and much more! Be sure to visit MyWeeklyMixtape.com to hear all of the songs we discussed in this episode!  FOR MORE ON MY WEEKLY MIXTAPE Website: http://www.myweeklymixtape.com Patreon: https://www.patreon.com/myweeklymixtape Facebook: http://www.facebook.com/myweeklymixtape Twitter: https://twitter.com/myweeklymixtape Instagram: https://www.instagram.com/myweeklymixtape TikTok: https://www.tiktok.com/@myweeklymixtape Learn more about your ad choices. Visit megaphone.fm/adchoices

Gerry Sullivan and Chris Clark take the elevator down with us for Meat Loaf's iconic album, with lyrics by Jim Steinman. the birth of the power ballad can have its' roots traced back to this classic from the 70's.Follow us: Instagram Facebook Watch us on YouTube!

This week, I am joined by Desmond Child and we're diving into the stories behind the songs he's written for & co-written with Kiss, Bon Jovi, Aerosmith, Alice Cooper, Joan Jett & The Blackhearts, Cher, Meat Loaf & more!  He also discusses: the changing musical landscape in the early 1990's; his mindset behind key changes in songs; working with Meat Loaf (and Jim Steinman) on “Bat Out Of Hell 3;” how Slipknot was an influence on “Bat Out Of Hell 3;” Why KISS' “I Was Made For Loving You” is not a disco song; his experience at KISS' final show at Madison Square Garden, and much more! Be sure to visit MyWeeklyMixtape.com to hear all of the songs we discussed in this episode!  FOR MORE ON MY WEEKLY MIXTAPE Website: http://www.myweeklymixtape.com Patreon: https://www.patreon.com/myweeklymixtape Facebook: http://www.facebook.com/myweeklymixtape Twitter: https://twitter.com/myweeklymixtape Instagram: https://www.instagram.com/myweeklymixtape TikTok: https://www.tiktok.com/@myweeklymixtape Learn more about your ad choices. Visit megaphone.fm/adchoices

Kenny takes listeners on a deep dive into the music industry as he welcomes renowned hitmaker, Desmond Child, to the podcast. Together, they unveil the remarkable career of this legendary musician who has etched his name in the annals of music history by producing, writing, or co-writing some of the most iconic rock and pop songs ever recorded. With credits including such artists as Kiss, Bon Jovi, Cher, and many, many more, Desmond's Grammy-winning production skills and his prestigious membership in the Songwriters Hall of Fame highlight his extraordinary contributions to the world of music.  During this engaging episode, listeners are transported on a mesmerizing journey through the multifaceted world of music. Desmond Child generously shares the captivating stories behind legendary songs like "Livin' on a Prayer," and "Livin' la Vida Loca," providing a rare glimpse into the creative process that brought these timeless classics to life. The episode not only explores the triumphs but also the challenges faced in the music industry, all while shedding light on the passion that fuels artists and producers to create music that ultimately resonates with millions. Whether one is a dedicated music enthusiast, an aspiring songwriter, or merely curious about the enigmatic world behind chart-topping hits, this episode is yet another absolute must-listen. Episode Highlights: Desmond Child's book, Livin' On A Prayer: Big Songs Big Life Ensuring “Hole in my Soul” and “Ain't that a Bitch” made it on Aerosmith's Nine Lives album The songwriting inspiration that Dianne Warren and Desmond's mother provided Desmond's Gentlemen's Club, Pro Tools, and recording Ricky Martin's Livin' La Vida Loca Glen Ballard, Alanis Morisette, Wilson Phillips, Avril Lavigne and Lauren Christy Writing for such stars as Hilary Duff, Kelly Clarkson, Carrie Underwood, Bo Bice, and Fantasia Kenny on recording multiple songs in one day Working with Meatloaf Working on Meatloaf's Bat Out of Hell 3 Desmond on learning how to work with Meatloaf and his temper Desmond on self-publishing his book Livin' On A Prayer: Big Songs Big Life Desmond's story behind Aerosmith's “Dude (Looks Like a Lady)” The writing of Aerosmith's “Angel” and “Heart's Done Time” Desmond's songwriting process Writing “You Give Love A Bad Name” with Jon Bon Jovi and Richie Sambora Desmond's contributions to Bon Jovi's “Livin' on a Prayer” and “Bad Medicine” Quotes: "Your sessions were always the most exciting, and you were such a great team leader. And you motivate everybody. You motivate, you excite everybody. That's your gift is passion, love, and joy." "He felt guilty because he really should never have gotten into the legal battles he did with Jim Steinman over the brand Bat Out of Hell." "I was known as a difficult person, and I don't see myself as difficult. I'm demanding, but people are better because of it." "And it's like the song caught on and it brought their band back to life."

Wherein we find… THAT in Jim Steinman's refrigerator.  Send us your love: gwritersanon@gmail.com  Find our Facebook page at the end of the pier (Ghost Writers, Anonymous).  

Wherein Meat Loaf proves he isn't chicken.  Rally into our inbox: gwritersanon@gmail.com  Fly like a Bat Outta Hell from our Facebook page (Ghost Writers, Anonymous).  

Dave brings us a record that takes us on a hilariously long-winded journey into long-windedness.

Welcome back to The Greatest Song In The World, our recurring monthly segment in which we and members of our audience submit some of all-time favorites in search of The Greatest Song In The World! This month, we've got four great nominees thanks in part to some of our listeners and friends of the show! Please continue to stay subscribed to the show as we will continue to share our love for these meaningful songs and share with you what we think are the Greatest In The World! Also on the episode, we share our thoughts on albums from artists like Sincere Engineer, Koyo, Luca Brasi, Pulses., Thank You I'm Sorry, Zack Bryan, and U2 #BringMeTheHorizon #TheWonderYears #JimSteinman #DustinKensrue #SincereEngineer #Koyo #LucaBrasi #Pulses #ThankYouImSorry #ZackBryan #U2 ---------------------------------- Find us on social media: https://discord.gg/2jv87Wypvw https://www.twitter.com/TheSkinnyPod https://www.instagram.com/mikewearsprada mail to:theskinnywithmikeandadam@gmail.com --- Send in a voice message: https://podcasters.spotify.com/pod/show/theskinnywithmikeandadam/message Support this podcast: https://podcasters.spotify.com/pod/show/theskinnywithmikeandadam/support

Not only is he an accomplished Letterer, but Rob Jones is also a writer and Rob stayed up way too late to chat with me about the current Kickstarter campaign for Thunder Child #2 which is on KS until October 3rd. Rob introduces me to the Jeff Wayne musical version of War of the Worlds and after listening, as someone that's a fan of musicals and the combined talents of Meatloaf and Jim Steinman, I was shocked I hadn't heard of this before. Rob and I have a fantastic conversation about how he got into comics and why he wanted to write (with Matthew Hardy) a comic about the HMS Thunder Child, wonderfully illustrated by Kevin Castaniero, colored by Simon Gough, and edited by Fred McNamara.  Learn more about your ad choices. Visit megaphone.fm/adchoices

Scott sits in person with the always fantastic Luke Spiller of The Struts on the day of their NYC show and they catch up about everything from the Taylor Hawkins performance to life on the road to the new record and acoustic EP…They begin by chatting a bit about Luke's fashion obsessoin and segue way into life on the road and the summer festivals and the competitive nature of the shows…They get into the idea of AI and rock music and talk about their new record and how it was recorded- to the new video, and tour and end with the Top 5 Rolling Stones songs and the Top 5 rock songs of all time…Tune in for a fun one…

David's Advanced Commercial Class About David: DAVID CADY is currently a professor of commercial and musical theatre performance at AMDA, NYU, and Pace University. Prior, he was a casting director for Donna DeSeta Casting for close to 30 years. In addition to countless commercials, his casting credits include the original Dirty Dancing, Disney's Enchanted, Michael John LaChiusa's The Petrified Prince for the Public Theater, and the world premiere of Andrew Lloyd Webber and Jim Steinman's Whistle Down the      Wind, directed by Harold Prince.   He was an original cast member of Stephen Sondheim and George Furth's Merrily We Roll Along, and can be seen in Lonny Price's film about the experience, The Best Worst Thing That Ever Could Have Happened. Most of the auditions are self-tapes.  When do you make a daring choice?  The times when I didn't ask for permission to be Peter Pamela Rose. Those were the times I got the callback or maybe booked the job.   Really understanding how to interpret that script.   What is your relationship to the product?  When you have a theatrical text, it's your job to become the person on the page. And when you have a commercial text, it's your job to make the person on the page you.   It's odd because even though you are filming something, you are capturing a live performance.   It must still have that sense of spontaneity, that alive quality if something is 95%. Great. Or let's even say 90% great. You don't throw it out because 10% is not exactly what you would want it to be.   How many takes do you do?   What am I trying to achieve here?  They have to have performance energy, and they have to have performance commitment.   It's hard to develop a healthy perspective as to what they are looking for. Ask yourself: What am I looking for when I watch myself tapes?   Go to an audition with the, "I can't wait to show you what I've got. Like I can't wait to show you what I have."  And I think in some ways if you can bottle that excitement in your self-tape, and I think there's a real trick there.  Dropping off the gift of your talent.  Are you someone who has strong ideas about what this performance looks like? Are you someone who makes choices? Are you someone who makes interesting choices? Are you someone who does something that's out of the box that gets their attention, whether it's something that ever ends up in the commercial or not?  It's a sense of self, and it's a freedom, and it's a joy in, in doing this that just, that comes through.   There isn't a tentativeness.  It's not your job to tell the audience how they felt about your performance.  I would always love it when an actor screwed something up or said something that wasn't in the script. And I would say to them, do you know that that happened? And they'd say, oh, really?  Improv in Commercials is different.  You want to be accessible to yourself.  How to handle one-liners. 

We had the pleasure of interviewing Paul Crook of Meat Loaf's official band, The Neverland Express over Zoom video!Paul Crook — Meat Loaf's longtime producer, music director, and guitarist — recently released, Paradise Found: Bat Out of Hell Reignited, a new LP helmed by Meat Loaf's official band, The Neverland Express — featuring alumni Justin Avery, (keyboard, vocals), Tom Brislin (orchestration), Steve Buslowe (bass), Paul Crook (guitar), Randy Flowers (guitar), David Luther (saxophone), Lyssa Lynne (“Stop Right There!”), John Miceli (drums) — plus American Idol Season 13 winner Caleb Johnson providing lead vocals. Today, the album is finally out through Deko Entertainment and Crook's label, Crooked Media, LLC.Paradise Found reimagines the sound, passion, and fury of the original Bat Out of Hell, the 1977 release by Meat Loaf and composer Jim Steinman, which remains in the top five best-selling albums of all time. It includes all seven songs performed in their original order. The song arrangements have developed over decades of touring and now the listener can hear these re-envisioned versions.As Crook states on the album: "The music is timeless, and we play it virtually note for note. The wall of sound that fans experience when seeing us live is captured in this recording. Meat Loaf fans will be pleased. We're hoping this release introduces Meat and Jim to a whole new fan base.""This album has been a labor of love for us," continues Crook. "Meat Loaf's passing has left a huge hole in the hearts of millions around the world. We are committed to keeping the legacy alive by celebrating this incredible music. I felt there was no better way to honor our boss and Jim than to release our tribute to Bat Out of Hell on this special 45th anniversary."The LP's first single “All Revved Up With No Place To Go” dropped this past October, almost 45 years to the date of the official release of the original Bat Out of Hell album. Later, Deko + Crooked presented the record's next single, "Two Out Of Three Ain't Bad," alongside a behind-the-scenes making-of video. Alongside the LP drop, Deko + Crooked share the record's focus track, "Bat Out Of Hell."We want to hear from you! Please email Hello@BringinitBackwards.com. www.BringinitBackwards.com#podcast #interview #bringinbackpod #PaulCrook #MeatLoaf #BatOuttaHell #AllRevvedUpWithNoPlaceToGo #TheNeverlandExpress #ParadiseFound #NewMusic #ZoomListen & Subscribe to BiBhttps://www.bringinitbackwards.com/follow/ Follow our podcast on Instagram and Twitter! https://www.facebook.com/groups/bringinbackpod