Podcasts about John Maus

Nick Nicely in conversation with David Eastaugh https://nicknicely1.bandcamp.com/track/or-a-brockley-afternoon English singer-songwriter who records psychedelic and electronic music. He is best known for his 1982 single "Hilly Fields (1892)". Nicely released only one other record in the early 1980s, the single "D.C.T. Dreams", before retreating from the music industry. The influence of "Hilly Fields" has been noted on Bevis Frond, Robyn Hitchcock, Robert Wyatt, and XTC's psychedelic alter egos the Dukes of Stratosphear, as well as the hypnagogic pop movement of the 2000s. In September 2014, Lo Records released Nicely's second full-length album, Space of a Second. A third Nick Nicely album, Sleep Safari, was released on 26 September 2017 through Tapete Records. In 2018, "Hilly Fields" appeared in the Timothee Chalamont film Hot Summer Nights. From the start of 2018 Nicely has been working on live performances accompanied by the musician Bug Lover and generating new versions of old tracks and adding visuals. First came secret gigs in Frappant (February and April) in Hamburg, then on 14 June 2018 at the Electric Ballroom in London supporting John Maus, followed by a December show in Moscow and then a US East coast tour again with Maus in 2019.

En este episodio, nos conectamos con Cueva Mapache, un proyecto musical originario de Barcelona, España, que acaba de lanzar su nuevo sencillo "Surcos" (7 de marzo). Edu y Nuria, integrantes de la banda, nos comparten su viaje desde sus inicios en 2019 —con un sonido arraigado al rockabilly— hasta su audaz transformación hacia una paleta sonora más experimental, influenciada por artistas como John Maus, Dry Cleaning y Protomartyr.https://open.spotify.com/intl-es/album/273CA2x6lRquqBM2t4TdO7https://cuevamapache.bandcamp.com/album/surcoshttps://www.instagram.com/cuevamapache/

We discuss John's art, his dissertation, “Communication & Control”, his “Theses on Punk Rock”, and briefly his “Fifteen Suppositions”. We also discuss Alain Badiou, Gilles Deleuze, Theodor Adorno, Michael Pisaro, Jacob Taubes, Simone Weil, Georges Bataille, Sergii Bulgakov, David Bentley Hart, Jordan Daniel Wood, St. Isaac of Nineveh, Jean-Phillipe Rameau, Jean-Jacques Rousseau, and more.

Programa #223 de la sexta temporada de Mineral, el programa realizado en iPOPfm para poder disfrutar de la música que cuesta encontrar en las ondas. Centrado principalmente en el indie y post-punk, también entran el electro, el pop y el rock. En su sexta temporada, se emite cada miércoles de 21 a 22h y está dirigido y presentado por #bluetonic. Han sonado: The Stone Roses - (Song for My) Sugar Spun Sister. The Stone Roses - Made of Stone. Slow Pulp – Slugs. Slow Pulp - Hanging By A Moment. His Electro Blue Voice - By Chance. Axolotes Mexicanos; Aiko el grupo - ROSAS y ESPINAS. Dorian – Algo Especial. Letting Up Despite Great Faults – Swirl. Cathedral Bells – Overdrive. Eyedress - My Time (feat. Wild Nothing). Eyedress - War Crimes (feat. John Maus). Spectres - Are You There. Ist Ist - The Kiss. Alcalá Norte - La Vida Cañón. Alcalá Norte - Los Chavales. Zona Malva – Suero.

1.  Shannon & The Clams - Big Wheel. 2.  BODEGA - Dedicated to the Dedicated. 3.  Cola - Pallor Tricks. 4.  Alix Fernz - Double face. 5.  Aaron Frazer - Into The Blue. 6.  Aladean Kheroufi - Why Do You Call For Rain. 7.  Suki Waterhouse - My Fun. 8.  JW Francis - Turtleneck Weather. 9.  Porches - Rag. 10.  Eyedress - War Crimes (feat. John Maus. ) 11.  Darksoft - Endless Day. 12.  Annie-Claude Deschênes - ANCIENTS. 13.  MVTANT - Voraphobes. 14.  Cindy Lee - All I Want Is You. 15. Cindy Lee - Dallas. 16. Cindy Lee  - Olive Drab. 17. Cindy Lee - Always Dreaming. 18. Cindy Lee - Wild One. 19. Cindy Lee - Flesh And Blood. 20.  Beach House - Walk in the Park. 21. DIIV - Frog In Boiling Water. 22.  VERTTIGO - Snow Angels. 23.  The Kundalini Genie - Rising Down, Falling Upwards. 24.  Fontaines D.C. - Starburster. 25.  Pretty Lightning - Jangle Bowls. 26.  Glixen - lust. 27.  la lune - despondent. 

Vous écoutez Dig Dig Diggers, l'émission des radios Ferarock !Yann de Canal B nous présente une découverte de la semaine avec Hot Garbage et leur nouvel album Precious Dream en recevant au micro Juliana Carlevaris avec Morgane à la traduction. Faisant appel aux rythmes entraînants du dark post-punk et du motorik krautrock, le groupe torontois travaille harmonieusement des mélodies brillantes et des textures tourbillonnantes dans des arrangements délibérés et inquiétants.Pour poursuivre cette émission, Lucas de Beaub FM nous présente une autre découverte de la semaine avec Music on Hold et leur nouvel album 4 Ever. Difficile de ne pas voir dans ces pop songs la paternité habillement refoulée des bricolages de R. Stevie Moore, des dingueries de Ziggy Stardust ou une attractivité propre à cette génération Y pour les compositeurs inextinguibles comme John Maus, Panda Bear ou Ariel Pink.On clôture l'émission en musique avec un live de Joni Ile capté dans les locaux de Canal B lors des Bars En Trans.

Coming up on the A&E Show this week - John Maus, Joy Division, Gulp, Neu! and Shubostar.

Honor Levy and Walter Pearce host the podcast Wet Brain. We discuss cataclysmic events about to happen, Starseed Theory, demons, fashion, God, the CIA, the problem with Millennials, how they got into Urbit, and more.The Wet Brain podcast: https://www.patreon.com/wetbrain

The Tirrel corporation is a startup building payment rails for Urbit. We discuss capitalism on Urbit, Deleuze, Christianity, and the impossibility of human dignity on the current internet.Tirrel Corporation: https://tirrel.io/Christian on Urbit: ~pindet-timmutLogan on Urbit: ~tacryt-socryp✦ I can give you an Urbit planet at https://imperceptible.computer/✦ Learn more about this episode's sponsor at https://dalten.org

Our special guest, Steph-Steph the Best-Steph is back to confront the real issues of our day: academia, where babies come from, and 80's-inspired rock opera! You won't want to miss our blistering commentary on abortion, religion, sex, and, oh yeah, this weird song called "Dumpster Baby" by John Maus! Heads up! It's our first giveaway!!! Do you listen to our podcast from a country that is not the good ol' (actually pretty fucked up, RIP) U S of A? Follow us on twitter, and rate and review us on apple podcasts or wherever you listen that lets you do that, and contact us some type of way (we recommend wineweedweird@gmail.com, or a twitter dm to @wineweedweird), and if you're the first to do so, you'll get a CUSTOM WORK OF ART by Steph-Steph the Best-Steph! You can also give her a follow on the gram: @lynnearartstudio. --- This episode is sponsored by · Anchor: The easiest way to make a podcast. https://anchor.fm/app --- Send in a voice message: https://anchor.fm/wineweedweird/message

We're the next big thing, and we're in the BEVERLY HILLS WEDDING (2021) and:  We had to cancel the Beverly Hills wedding. THEME: "The Rockford Files," by Mike Post PART ONE Dave is baking evasive ... THE Beverly Hills wedding ... Dan Smith, BYU ... Edited by Valentine's, 2022 ... Go balls out ... Cast rundown, callbacks and The Hume Cronins ... The Expositional Challenge ... False twist expectation ... Lame excuses! ... Less charming hermeticism ... Covid makes Hallmark make sense ... That's great Malick Break: Original music by Chris Collingwood PART TWO  Re-entering the cup of hot cocoa ... Spot the Angel: Terence Roquefort, but problematized ... Small town vs. Beverly Hills freaks ... "It used to be about the weddings, man" ... Eat Your Heart Out: Van crepes; green seafood puck; dessert colors; redneck voices; the worst champagne in Scotland; what about beer; Polaner All Fruit; gold dusting with a smattering of pearls; stagey class artifice ... The Hallmark Expanded Universe: Hallmark's greater Pacific Northwest; Episode 50; Episode 69 ... Hallmark's version of fancypants ... Gray as hell ... The Powder disease ... Is this Pine Mountain? ... Fog of War soundtrack ... Robert McNamara's Overdetermined: You left, you failed a promise to your dreams, you suffocated your sister, this wedding will fail, you're an idiot ... Valentine's wedding candy invitation  Break: Original music by Chris Collingwood PART THREE The Swagony of Defeat: Nice Hyundai; Zack Snyder's Justice League; Godiva (twice) ... Crossover: "Roquefort Origins: Terence in Maine"; Malick in Maine; schnapps with or without ice ... The Hallmark Bechdel Test: Mom/art exhibits/photography ... The Hallmark Voight-Kampff Test: Homiletic husband Gary; Knox Harrington, the video artist; "otherizing" the gay character beyond Hallmark uncanniness; Terence's Wonka-esque affect ... Who's the Real Villain?: Influencer-driven conspicuous consumption ... Creeping to the glass of the critique  Break: Original music by Chris Collingwood PART FOUR Rating: 3.0 ... Shut up, Jordan ... "Watchable" ... The Leftovers: Paul Ziller's IMDB (again!), Covered in Bugs/Possessed by Demons ... Worms! ... Just try a sweepstakes ... Hugh's ... It's Spagett! ... Jordan's opinion, not needed ... Out of your element, Jordan ... Haunted Jason Mraz-style Weezer cover ... They used "Hash Pipe!" ... Hallmark showed feet ... Tandem bike ... Abraham Lincoln ... iZombie, Marine sequel, the Craig Zahler universe crossover ... Urban clearance ... Merry Christmas! All other music by Chris Collingwood of Look Park and Fountains of Wayne, except: "Orchestral Sports Theme" by Chris Collingwood and Rick Murnane and "Cop Killer [8-bit John Maus cover]"

Wie lange brauchen wir für eine Review? Was muss rein? Was macht eine gute Rezension aus? Welche Texte haben uns begeistert und wie stehen wir Jahre später zu den Texten? In diesem Open Mic Feature beantworten wir eine Zuhörer:innen-Frage und sprechen eine Folge lang über alles zum Thema Reviews und ihrer Bedeutung. Warum bei den Strokes manchmal eine halbe Platten reichen muss und wie sie zum Diskurs anregen sollen verhandeln wir in diesem Feature von Track17 – Der Musikpodcast. - [00:00:00] Intro - [00:01:11] Zuletzt gehört: Can und das verschollene 90s-Rap-Album von Paula Perry + Christopher zu Gast im Podcast Audio:viel - [00:05:52] Thema 1: Wie rezensieren wir? Was muss rein? - [00:29:13] Thema 2: Wie blicken wir alte Reviews zurück? Verändern sich Meinungen? - [00:39:38] Thema 3: Verliert die Rezension heute ihre Bedeutung? Warum wird sie mit dem Album verwechselt? - [00:17:39] Thema 2: Was machen wir John Maus und was macht er da mit uns? - [00:26:59] Thema 3: Die besten Live-Alben und was sie auszeichnet

En écoute dans cet épisode de Chansomania : Cyril Guersant, Raphael, Camille Rock, John Maus et Molly Nilsson, Java, Kazero. En interview, nous sommes avec Requin Chagrin, à l'occasion de la sortie de l'album "Bye bye baby".

Avantgardistische Elektronika und frickelige Klangexperimente. ## NOKO 148 - TransCentury Update N°2 Follow the swarm into the light - TransCentury Update is a festival for music, focusing on diverse and non-mainstream booking. the event saw it’s first edition in 2016 with artists such as Beak>, Bohren & Der Club Of Gore, Alex Cameron, White Wine, Ensemble Economique, Wooden Shjips, Warm Graves and many others. center and mainstage of the festival is the over 100 years old cinema UT Connewitz, located in south leipzig’s lovely connewitz district. The 2017 edition sees a first time collaboration with the visual artist collective Wisp who provide enough eyecandy for everyone, don’t worry. 1. intro. Michael Stein - stranger things {Invada / Netflix / Lakeshore, 2016} 2. Roy Montgomery - otherness {Grapefruit, 2016} 3. Gnod - untitled (A) {Pariah Child, 2009} 4. Jones - gala extravaganza (cake mix) {Rephlex, 1997} 5. Delroy Edwards - soldier boy {L.A. Club Resource, 2016} 6. Walter TV - siddhartha {Sinderlyn, 2014} 7. Ariel Pink, Crooked Cowboy & Neil Schuh - cloak & dagger (Aaron Frankel remix) {Origami Vinyl, 2012} 8. Dave Heumann - by jove {Thrill Jockey, 2015} 9. Karies - traum von d. {This Charming Man, 2014} 10. Sonic Youth - tunic (song for karen) {DGC, 1990} 11. Ariel Pink - heaven knows what {4AD, 2014} 12. John Maus - the combine {Ribbon Music, 2017} 13. Alex Cameron - internet {Crawfish / Siberia, 2014} 14. Roy Montgomery - if and only if {Grapefruit, 2016} 15. Russian Tsarlag - last hand on the door {Hot Releases, 2013} 16. Cocteau Twins - otterley {4AD, 1984} 17. Half Japanese - you must obey me {50,000,000,000,000,000,000,000,000,000,000 Watts, 1987} 18. Godspeed You! Black Emperor - lambs’ breath {Constellation, 2015} 19. Love Theme - docklands / yaumatei {Alter, 2017} 20. Midori Takada - love song of urfa {BAJ Records, 1999} # Nokogiribiki Weird broadcast radio since 2005. Eine Sendeübernahme von Radio Blau aus Leipzig. *

Avantgardistische Elektronika und frickelige Klangexperimente. ## NOKO 148 - TransCentury Update N°2 Follow the swarm into the light - TransCentury Update is a festival for music, focusing on diverse and non-mainstream booking. the event saw it’s first edition in 2016 with artists such as Beak>, Bohren & Der Club Of Gore, Alex Cameron, White Wine, Ensemble Economique, Wooden Shjips, Warm Graves and many others. center and mainstage of the festival is the over 100 years old cinema UT Connewitz, located in south leipzig’s lovely connewitz district. The 2017 edition sees a first time collaboration with the visual artist collective Wisp who provide enough eyecandy for everyone, don’t worry. 1. intro. Michael Stein - stranger things {Invada / Netflix / Lakeshore, 2016} 2. Roy Montgomery - otherness {Grapefruit, 2016} 3. Gnod - untitled (A) {Pariah Child, 2009} 4. Jones - gala extravaganza (cake mix) {Rephlex, 1997} 5. Delroy Edwards - soldier boy {L.A. Club Resource, 2016} 6. Walter TV - siddhartha {Sinderlyn, 2014} 7. Ariel Pink, Crooked Cowboy & Neil Schuh - cloak & dagger (Aaron Frankel remix) {Origami Vinyl, 2012} 8. Dave Heumann - by jove {Thrill Jockey, 2015} 9. Karies - traum von d. {This Charming Man, 2014} 10. Sonic Youth - tunic (song for karen) {DGC, 1990} 11. Ariel Pink - heaven knows what {4AD, 2014} 12. John Maus - the combine {Ribbon Music, 2017} 13. Alex Cameron - internet {Crawfish / Siberia, 2014} 14. Roy Montgomery - if and only if {Grapefruit, 2016} 15. Russian Tsarlag - last hand on the door {Hot Releases, 2013} 16. Cocteau Twins - otterley {4AD, 1984} 17. Half Japanese - you must obey me {50,000,000,000,000,000,000,000,000,000,000 Watts, 1987} 18. Godspeed You! Black Emperor - lambs’ breath {Constellation, 2015} 19. Love Theme - docklands / yaumatei {Alter, 2017} 20. Midori Takada - love song of urfa {BAJ Records, 1999} # Nokogiribiki Weird broadcast radio since 2005. Eine Sendeübernahme von Radio Blau aus Leipzig. *

Stellt uns Fragen für die nächste Ausgabe unter info@track17podcast.de Warum wir bei limitierten Stückzahlen neuer Platten nicht gleich schimpfen sollten, weil es gerade kleinen Labels immer schwerer fällt zu kalkulieren, was wir mit John Maus machen, nachdem er sich als Katastrophen-Tourist am Kapitol gezeigt hat und was für uns ein gutes Live-Album ausmacht, auf welchen wir selbst zu hören sind und was die Liste im Musikexpress damit zu tun hat, klären wir in dieser etwas anderen Feature-Folge von Track17. Die Folge gibt's wie alle Songs des Podcasts auch auf der offiziellen Playlist auf Spotify. [Setlist] - [00:00:00] Intro - [00:01:17] Zuletzt gehört: Der japanische Gitarrist Leo Takami und die Londoner Slow-Core-Band deathcrash - [00:04:23] Thema 1: Wie stehen wir zu „künstlicher Verknappung“ von Platten? - [00:17:39] Thema 2: Was machen wir John Maus und was macht er da mit uns? - [00:26:59] Thema 3: Die besten Live-Alben und was sie auszeichnet

Big changes in 2021! This is the first of our minisodes which we will be calling EPs (get it? haha). This week we talked about the two massive country stars who have been in the news this week. It's a bit of a prelude to our next full-length! Then we talked about Ariel Pink and John Maus' field trip to the Capitol insurrection.

The Weekly Review team are back for 2021 and it's time for a cry, thanks to Olivia Rodrigo and THE SADDEST SONG IN THE WORLD (AKA Drivers License), which will be the hit of 2021. We think. Unless, of course, the hit of the year is sea shanties, the other phenomenon of 2021 so far. We also look at John Maus-gate (Maus trap?) and our album of the week is Grimes' Miss Anthropocene (Rave Edition)

New episodes drop first on Patreon! The Capitol gets bum-rushed by Trumpers (2:02), why did the police offer such little resistance? (14:32), Ariel Pink, John Maus and indie rock rioters (28:33), Georgia Senatorial runoff (42:35), the Knicks are streaking! (50:20), Steph Curry debates—and what happens when a chiller doesn't care about their legacy (1:02:21), Sixers' hot start (1:33:04). 

On the Fourth Season Premiere of the not political podcast Songs for Help, The Boys get 2021 off to a hot start. They start by talking about Ariel Pink and John Maus at the White House, go to The Bee Gees and Bob Seger, and end up with a new ratings theme song. Buckle up folks, this season is going to give you something to talk about.

This week we talk about the coup attempt, Ariel Pink and John Maus, Karlie Kloss, Derek Blasberg, Kim and Kanye's Divorce, Promising Young Woman, and listener questions!

Many were surprised this week when critically acclaimed musicians Ariel Pink and John Maus attended the political rally preceding the attack on the United States Capitol by Trump loyalists. To try to wrap their heads around Ariel Pink's flirtation with right wing politics, Lars and Sonny take a look at his 2013 appearance on the Fox News late night comedy program, Red Eye with Greg Gutfeld. This is a clip from the latest Platinum episode of Podcast Gold. To hear the full episode, subscribe to the patreon at http://podcast.gold. SUBSCRIBE TO PODCAST GOLD Patreon - https://patreon.com/PodcastDotGold?utm_medium=social&utm_source=twitter&utm_campaign=creatorshare iTunes - https://podcasts.apple.com/us/podcast/podcast-gold-with-lars-casteen/id1497952837 Spotify - https://open.spotify.com/show/4OhKwr2Yp1mEoJdqNhDyti Stitcher - https://www.stitcher.com/podcast/podcast-gold-with-lars-casteen

Auch Indiemusiker Ariel Pink und John Maus befanden sich unter den Randalierern vorm Capitol. Ihre Motive sind kryptisch. Popjournalistin Aida Baghrenejad zeigte im Deutschlandfunk eine Nähe von experimenteller Musik zu faschistoiden Ideologien auf. www.deutschlandfunk.de, Themenportal Corso Direkter Link zur Audiodatei

New year, new bad news. Riot and insurrection in Washington, DC and very grossed out to see John Maus at a Trump rally!Happy birthday to my dad and new tunes from Yu Su, Darkside, Freelove Fenner, the Weather Station, Bill Callahan, David "Kid Midas" Rees, and a tribute to the late, great MF DOOM.

Une allure noble et un air de gravité pour un chanteur allemand nommé Délage Une boite à rythme et des claviers lancinants moyennant une composition mélodique accrocheuse. C'est le titre Liebe ist Rot, et son refrain traduit comme « l'amour est rouge, la mort est noire » Facile donc de décrire ce son comme « une synth pop romantique ». On peut aussi y voir de la dark pop dont le chanteur serait plutôt un enchanteur. Celui-ci s’appelle Till Hormann, et on lui attribue aisément une touche de Nick Cave, au moins sa mélancolie, si ce n'est plus, et une voix proche de celle de John Maus. Une voix comparable donc à celle de l’américain John Maus, des influences de coldwave, et une gueule au charisme assez dingue. Ajouté à tout cela une instrumentalisation limpide, et bim le charme opère. Délage avait déjà placé la barre haute avec son premier album Loverboy Beatface, sorti il y a deux ans et dont le très bon Call me today est issu. On retrouve la même formule, celle d'une musique aérienne et d'une voix envoûtante. C'est ce qui fait le succès de Délage et lui confère le statut de king de la dark pop allemande. Son deuxième album Twist and doubt est disponible depuis le 18 septembre chez le label parisien Fields Mates Records. Et on écoute tout de suite un extrait, avec le morceau Liebe ist Rot sur euradio.

Today we try something different.  Music by Clipping, General Levy, William Crooks, Mohawk Johnson, The Garden, Mojo Nixon & Jello Biafra, F L A C O, John Maus, and MOOD KILLER. TXTBOOK Twitter / IG Doogie Twitter / IG  https://open.spotify.com/playlist/2g36OoLCR9xBMIXQ4EBFuH?si=MZujuntWT9CeksrV5dpZgg --- Send in a voice message: https://anchor.fm/goundscorechamps/message

My guest, Heba Kadry is a superb Mastering engineer now based in her brand new mastering facility in Brooklyn, NY.  She's super busy so I'm really thankful she spared me some time to chat about her new room and some wild insights into the world of the mastering professional in 2020. She's worked with SO many talented people like Bjork, Slowdive, Ryuichi Sakamoto, Deerhunter, Beach House, Cate Le Bon, Alex G, Battles, John Maus, serpentwithfeet, Blonde Redhead, Diamanda Galás, Lightning Bolt, Black Lips, Lucy Dacus, Cass McCombs, Princess Nokia and The Mars Volta to name a few. In addition to mastering original soundtracks for films such as “Midsommar”, ” Jackie” (Oscar-nominated for best original score in 2017), “Paterson” and “The Dead Don't Die”.   Check the discography and bio for full background.   _______ Nitty 75 sees me making a max for live patch called “Dose of Clap” which aims to make available the Simmons Claptrap in modern form. It controls the playback of samples in a unique way that randomizes and spreads in time. it's available to my patrons so hop on if you're not on the good train. YES!!!  Join my NEW Patreon for hanging out with audiophiles :) Get samples every 2 weeks, behind the scenes action, max for live patches… and searchable nittys as an inspirational audiobook in 75 chapters as it were. Plus you really help me out directly with some cash!  Having a crew I can talk to for feedback and to directly share new ideas and music is the business! Let's hang.  https://www.patreon.com/HOWA Links Kind sponsorship comes again from distrokid:  click here for a TASTY 30% OFF deal exclusive to the show ! https://distrokid.com/vip/lidell ____________________ Music for EP75 comes from an EP called “Feet Of Clay” by Cephas Teom. It's coming from a new label check the links! Really good stuff! METR MUSIC Website  |  Soundcloud  |  Bandcamp    

The Indie Dads look back on the highlights of the first season of the podcast, choosing their most memorable tracks, and outlining some exciting opportunities for listeners to get involved with Season Two!

This week there are two episiodes of the podcast going up, both of them longer than normal. This one, episode ninety-nine, is on "Surfin' Safari" by the Beach Boys, and the group's roots in LA, and is fifty minutes long. Click the full post to read liner notes, links to more information, and a transcript of the episode.   Patreon backers also have a ten-minute bonus episode available, on "Misirlou" by Dick Dale and the Deltones. Tilt Araiza has assisted invaluably by doing a first-pass edit, and will hopefully be doing so from now on. Check out Tilt's irregular podcasts at http://www.podnose.com/jaffa-cakes-for-proust and http://sitcomclub.com/ ----more---- Resources No Mixclouds this week, as both episodes have far too many songs by one artist. The mixclouds will be back with episode 101. I used many resources for this episode, most of which will be used in future Beach Boys episodes too. It's difficult to enumerate everything here, because I have been an active member of the Beach Boys fan community for twenty-three years, and have at times just used my accumulated knowledge for this. But the resources I list here are ones I've checked for specific things. Becoming the Beach Boys by James B. Murphy is an in-depth look at the group's early years. Stephen McParland has published many, many books on the California surf and hot-rod music scenes, including several on both the Beach Boys and Gary Usher. The Beach Boys: Inception and Creation is the one I used most here, but I referred to several. His books can be found at https://payhip.com/CMusicBooks Andrew Doe's Bellagio 10452 site is an invaluable resource. Jon Stebbins' The Beach Boys FAQ is a good balance between accuracy and readability. And Philip Lambert's Inside the Music of Brian Wilson is an excellent, though sadly out of print, musicological analysis of Wilson's music from 1962 through 67. The Beach Boys' Morgan recordings and all the outtakes from them can be found on this 2-CD set. The Surfin' Safari album is now in the public domain, and so can be found cheaply, but the best version to get is still the twofer CD with the Surfin' USA album. *But*, those two albums are fairly weak, the Beach Boys in their early years were not really an album band, and you will want to investigate them further. I would recommend, rather than the two albums linked above, starting with this budget-priced three-CD set, which has a surprisingly good selection of their material on it.   Patreon This podcast is brought to you by the generosity of my backers on Patreon. Why not join them? Transcript Today, there are going to be two podcast episodes. This one, episode ninety-nine, will be a normal-length episode, or maybe slightly longer than normal, and episode one hundred, which will follow straight after it, will be a super-length one that's at least three times the normal length of one of these podcasts. I'm releasing them together, because the two episodes really do go together. We've talked recently about how we're getting into the sixties of the popular imagination, and those 1960s began, specifically, in October 1962. That was the month of the Cuban Missile Crisis, which saw the world almost end. It was the month that James Brown released Live at the Apollo -- an album we'll talk about in a few weeks' time. And if you want one specific date that the 1960s started, it was October the fifth, 1962. On that date, a film came out that we mentioned last week -- Doctor No, the first ever James Bond film. It was also the date that two records were released on EMI in Britain. One was a new release by a British band, the other a record originally released a few months earlier in the USA, by an American band. Both bands had previously released records on much smaller labels, to no success other than very locally, but this was their first to be released on a major label, and had a slightly different lineup from those earlier releases. Both bands would influence each other, and go on to be the most successful band from their respective country in the next decade. Both bands would revolutionise popular music. And the two bands would even be filed next to each other alphabetically, both starting "the Bea". In episode one hundred, we're going to look at "Love Me Do" by the Beatles, but right now, in episode ninety-nine, we're going to look at "Surfin' Safari" by the Beach Boys: [Excerpt: The Beach Boys, "Surfin' Safari"] Before I start this story properly, I just want to say something -- there are a lot of different accounts of the formation of the Beach Boys, and those accounts are all different. What I've tried to do here is take one plausible account of how the group formed and tell it in a reasonable length of time. If you read the books I link in the show notes, you might find some disagreements about the precise order of some of these events, or some details I've glossed over. This episode is already running long, and I didn't want to get into that stuff, but it's important that I stress that this is just as accurate as I can get in the length of an episode. The Beach Boys really were boys when they made their first records. David Marks, their youngest member, was only thirteen when "Surfin' Safari" came out, and Mike Love, the group's oldest member, was twenty-one.  So, as you might imagine when we're talking about children, the story really starts with the older generation. In particular, we want to start with Hite and Dorinda Morgan. The Morgans were part-time music business people in Los Angeles in the fifties. Hite Morgan owned an industrial flooring company, and that was his main source of income -- putting in floors at warehouses and factories that could withstand the particular stresses that such industrial sites faced. But while that work was hard, it was well-paying and didn't take too much time. The company would take on two or three expensive jobs a year, and for the rest of the year Hite would have the money and time to help his wife with her work as a songwriter. She'd collaborated with Spade Cooley, one of the most famous Western Swing musicians of the forties, and she'd also co-written "Don't Put All Your Dreams in One Basket" for Ray Charles in 1948: [Excerpt: Ray Charles, "Don't Put All Your Dreams in One Basket"] Hite and Dorinda's son, Bruce, was also a songwriter, though I've seen some claims that often the songs credited to him were actually written by his mother, who gave him credits in order to encourage him. One of Bruce Morgan's earliest songs was a piece called "Proverb Boogie", which was actually credited under his father's name, and which Louis Jordan retitled to "Heed My Warning" and took a co-writing credit on: [Excerpt: Louis Jordan, "Heed My Warning"] Eventually the Morgans also started their own publishing company, and built their own small demo studio, which they used to use to record cheap demos for many other songwriters and performers. The Morgans were only very minor players in the music industry, but they were friendly with many of the big names on the LA R&B scene, and knew people like John Dolphin, Bumps Blackwell, Sam Cooke, and the Hollywood Flames. Bruce Morgan would talk in interviews about Bumps Blackwell calling round to see his father and telling him about this new song "You Send Me" he was going to record with Cooke. But although nobody could have realised it at the time, or for many years later, the Morgans' place in music history would be cemented in 1952, when Hite Morgan, working at his day job, met a man named Murry Wilson, who ran a machine-tool company based in Hawthorne, a small town in southwestern Los Angeles County. It turned out that Wilson, like Dorinda Morgan, was an aspiring songwriter, and Hite Morgan signed him up to their publishing company, Guild Music. Wilson's tastes in music were already becoming old-fashioned even in the very early 1950s, but given the style of music he was working in he was a moderately talented writer. His proudest moment was writing a song called "Two Step Side Step" for the Morgans, which was performed on TV by Lawrence Welk -- Murry gathered the whole family round the television to watch his song being performed.  That song was a moderate success – it was never a hit for anyone, but it was recorded by several country artists, including the rockabilly singer Bonnie Lou, and most interestingly for our purposes by Johnny Lee Wills, Bob Wills' brother: [Excerpt: Johnny Lee Wills, "Two Step Side Step"] Wilson wrote a few other songs for the Morgans, of which the most successful was "Tabarin", which was recorded by the Tangiers -- one of the several names under which the Hollywood Flames performed. Gaynel Hodge would later speak fondly of Murry Wilson, and how he was always bragging about his talented kids: [Excerpt: The Tangiers, "Tabarin"] But as the fifties progressed, the Morgans published fewer and fewer of Wilson's songs, and none of them were hits. But the Morgans and Wilson stayed in touch, and around 1958 he heard from them about an opportunity for one of those talented kids. Dorinda Morgan had written a song called "Chapel of Love" -- not the same song as the famous one by the Dixie Cups -- and Art Laboe had decided that that song would be perfect as the first record for his new label, Original Sound. Laboe was putting together a new group to sing it, called the Hitmakers, which was based around Val Poliuto. Poliuto had been the tenor singer of an integrated vocal group -- two Black members, one white, and one Hispanic -- which had gone by the names The Shadows and The Miracles before dismissing both names as being unlikely to lead to any success and taking the name The Jaguars at the suggestion of, of all people, Stan Freberg, the comedian and voice actor. The Jaguars had never had much commercial success, but they'd recorded a version of "The Way You Look Tonight" which became a classic when Laboe included it on the massively successful "Oldies But Goodies", the first doo-wop nostalgia album: [Excerpt: The Jaguars, "The Way You Look Tonight"] The Jaguars continued for many years, and at one point had Richard Berry guest as an extra vocalist on some of their tracks, but as with so many of the LA vocal groups we've looked at from the fifties, they all had their fingers in multiple pies, and so Poliuto was to be in this new group, along with Bobby Adams of the Calvanes, who had been taught to sing R&B by Cornell Gunter and who had recorded for Dootsie Williams: [Excerpt: The Calvanes, "Crazy Over You"] Those two were to be joined by two other singers, who nobody involved can remember much about except that their first names were Don and Duke, but Art Laboe also wanted a new young singer to sing the lead, and was auditioning singers. Murry Wilson suggested to the Morgans that his young son Brian might be suitable for the role, and he auditioned, but Laboe thought he was too young, and the role went to a singer called Rodney Goodens instead: [Excerpt: The Hitmakers, "Chapel of Love"] So the audition was a failure, but it was a first contact between Brian Wilson and the Morgans, and also introduced Brian to Val Poliuto, from whom he would learn a lot about music for the next few years. Brian was a very sensitive kid, the oldest of three brothers, and someone who seemed to have some difficulty dealing with other people -- possibly because his father was abusive towards him and his brothers, leaving him frightened of many aspects of life. He did, though, share with his father a love of music, and he had a remarkable ear -- singular, as he's deaf in one ear. He had perfect pitch, a great recollection for melodies -- play him something once and it would stay in his brain -- and from a very young age he gravitated towards sweet-sounding music. He particularly loved Glenn Miller's version of "Rhapsody in Blue" as a child: [Excerpt: The Glenn Miller Orchestra, "Rhapsody in Blue"] But his big musical love was a modern harmony group called the Four Freshmen -- a group made up of two brothers, their cousin, and a college friend. Modern harmony is an outdated term, but it basically meant that they were singing chords that went beyond the normal simple triads of most pop music. While there were four, obviously, of the Four Freshmen, they often achieved an effect that would normally be five-part harmony, by having the group members sing all the parts of the chord *except* the root note -- they'd leave the root note to a bass instrument. So while Brian was listening to four singers, he was learning five-part harmonies. The group would also sing their harmonies in unusual inversions -- they'd take one of the notes from the middle of the chord and sing it an octave lower. There was another trick that the Four Freshmen used -- they varied their vocals from equal temperament.  To explain this a little bit -- musical notes are based on frequencies, and the ratio between them matters. If you double the frequency of a note, you get the same note an octave up -- so if you take an A at 440hz, and double the frequency to 880, you get another A, an octave up. If you go down to 220hz, you get the A an octave below. You get all the different notes by multiplying or dividing a note, so A# is A multiplied by a tiny bit more than one, and A flat is A multiplied by a tiny bit less than one. But in the middle ages, this hit a snag -- A#. which is A multiplied by one and a bit, is very very slightly different from B flat, which is B multiplied by 0.9 something. And if you double those, so you go to the A# and B flat the next octave up, the difference between A# and B flat gets bigger. And this means that if you play a melody in the key of C, but then decide you want to play it in the key of B flat, you need to retune your instrument -- or have instruments with separate notes for A# and B flat -- or everything will sound out of tune. It's very very hard to retune some instruments, especially ones like the piano, and also sometimes you want to play in different keys in the same piece. If you're playing a song in C, but it goes into C# in the last chorus to give it a bit of extra momentum, you lose that extra momentum if you stop the song to retune the piano. So a different system was invented, and popularised in the Baroque era, called "equal temperament". In that system, every note is very very slightly out of tune, but those tiny errors cancel out rather than multiply like they do in the old system. You're sort of taking the average of A# and B flat, and calling them the same note. And to most people's ears that sounds good enough, and it means you can have a piano without a thousand keys.  But the Four Freshmen didn't stick to that -- because you don't need to retune your throat to hit different notes (unless you're as bad a singer as me, anyway). They would sing B flat slightly differently than they would sing A#, and so they would get a purer vocal blend, with stronger harmonic overtones than singers who were singing the notes as placed on a piano: [Excerpt: the Four Freshmen, "It's a Blue World"] Please note by the way that I'm taking the fact that they used those non-equal temperaments somewhat on trust -- Ross Barbour of the group said they did in interviews, and he would know, but I have relatively poor pitch so if you listened to that and thought "Hang on, they're all singing dead-on equal tempered concert pitch, what's he talking about?", then that's on him. When Brian heard them singing, he instantly fell for them, and became a major, major fan of their work, especially their falsetto singer Bob Flanigan, whose voice he decided to emulate. He decided that he was going to learn how they got that sound. Every day when he got home from school, he would go to the family's music room, where he had a piano and a record player. He would then play just a second or so of one of their records, and figure out on the piano what notes they were singing in that one second, and duplicating them himself. Then he would learn the next second of the song. He would spend hours every day on this, learning every vocal part, until he had the Four Freshmen's entire repertoire burned into his brain, and could sing all four vocal parts to every song. Indeed, at one point when he was about sixteen -- around the same time as the Art Laboe audition -- Brian decided to go and visit the Four Freshmen's manager, to find out how to form a successful vocal group of his own, and to find out more about the group themselves. After telling the manager that he could sing every part of every one of their songs, the manager challenged him with "The Day Isn't Long Enough", a song that they apparently had trouble with: [Excerpt: The Four Freshmen, "The Day Isn't Long Enough"] And Brian demonstrated every harmony part perfectly. He had a couple of tape recorders at home, and he would experiment with overdubbing his own voice -- recording on one tape recorder, playing it back and singing along while recording on the other. Doing this he could do his own imitations of the Four Freshmen, and even as a teenager he could sound spookily like them: [Excerpt: The Beach Boys [Brian Wilson solo recording released on a Beach Boys CD], "Happy Birthday Four Freshmen"] While Brian shared his love for this kind of sweet music with his father, he also liked the rock and roll music that was making its way onto the radio during his teen years -- though again, he would gravitate towards the sweet vocal harmonies of the Everly Brothers rather than to more raucous music. He shared his love of the Everlys with his cousin Mike Love, whose tastes otherwise went more in the direction of R&B and doo-wop. Unlike Brian and his brothers, Mike attended Dorsey High School, a predominantly Black school, and his tastes were shaped by that -- other graduates of the school include Billy Preston, Eric Dolphy, and Arthur Lee, to give some idea of the kind of atmosphere that Dorsey High had. He loved the Robins, and later the Coasters, and he's been quoted as saying he "worshipped" Johnny Otis -- as did every R&B lover in LA at the time. He would listen to Otis' show on KFOX, and to Huggy Boy on KRKD. His favourite records were things like "Smokey Joe's Cafe" by the Robins, which combined an R&B groove with witty lyrics: [Excerpt: The Robins, "Smokey Joe's Cafe"] He also loved the music of Chuck Berry, a passion he shared with Brian's youngest brother Carl, who also listened to Otis' show and got Brian listening to it. While Mike was most attracted to Berry's witty lyrics, Carl loved the guitar part -- he'd loved string instruments since he was a tiny child, and he and a neighbour, David Marks, started taking guitar lessons from another neighbour, John Maus. Maus had been friends with Ritchie Valens, and had been a pallbearer at Valens' funeral. John was recording at the time with his sister Judy, as the imaginatively-named duo "John & Judy": [Excerpt: John & Judy, "Why This Feeling?"] John and Judy later took on a bass player called Scott Engel, and a few years after that John and Scott changed their surnames to Walker and became two thirds of The Walker Brothers. But at this time, John was still just a local guitar player, and teaching two enthusiastic kids to play guitar. Carl and David learned how to play Chuck Berry licks, and also started to learn some of the guitar instrumentals that were becoming popular at the time. At the same time, Mike would sing with Brian to pass the time, Mike singing in a bass voice while Brian took a high tenor lead. Other times, Brian would test his vocal arranging out by teaching Carl and his mother Audree vocal parts -- Carl got so he could learn parts very quickly, so his big brother wouldn't keep him around all day and he could go out and play. And sometimes their middle brother Dennis would join in -- though he was more interested in going out and having fun at the beach than he was in making music. Brian was interested in nothing *but* making music -- at least once he'd quit the school football team (American football, for those of you like me who parse the word to mean what it does in Britain), after he'd got hurt for the first time. But before he did that, he had managed to hurt someone else -- a much smaller teammate named Alan Jardine, whose leg Brian broke in a game. Despite that, the two became friends, and would occasionally sing together -- like Brian, Alan loved to sing harmonies, and they found that they had an extraordinarily good vocal blend. While Brian mostly sang with his brothers and his cousin, all of whom had a family vocal resemblance, Jardine could sound spookily similar to that family, and especially to Brian. Jardine's voice was a little stronger and more resonant, Brian's a little sweeter, with a fuller falsetto, but they had the kind of vocal similarity one normally only gets in family singers. However,  they didn't start performing together properly, because they had different tastes in music -- while Brian was most interested in the modern jazz harmonies of the Four Freshman, Jardine was a fan of the new folk revival groups, especially the Kingston Trio. Alan had a group called the Tikis when he was at high school, which would play Kingston Trio style material like "The Wreck of the John B", a song that like much of the Kingston Trio's material had been popularised by the Weavers, but which the Trio had recorded for their first album: [Excerpt: The Kingston Trio, "The Wreck of the John B"] Jardine was inspired by that to write his own song, "The Wreck of the Hesperus", putting Longfellow's poem to music. One of the other Tikis had a tape recorder, and they made a few stabs at recording it. They thought that they sounded pretty good, and they decided to go round to Brian Wilson's house to see if he could help them -- depending on who you ask, they either wanted him to join the band, or knew that his dad had some connection with the music business and wanted to pick his brains. When they turned up, Brian was actually out, but Audree Wilson basically had an open-door policy for local teenagers, and she told the boys about Hite and Dorinda Morgan. The Tikis took their tape to the Morgans, and the Morgans responded politely, saying that they did sound good -- but they sounded like the Kingston Trio, and there were a million groups that sounded like the Kingston Trio. They needed to get an original sound. The Tikis broke up, as Alan went off to Michigan to college. But then a year later, he came back to Hawthorne and enrolled in the same community college that Brian was enrolled in. Meanwhile, the Morgans had got in touch with Gary Winfrey, Alan's Tikis bandmate, and asked him if the Tikis would record a demo of one of Bruce Morgan's songs. As the Tikis no longer existed, Alan and Gary formed a new group along the same lines, and invited Brian to be part of one of these sessions. That group, The Islanders made a couple of attempts at Morgan's song, but nothing worked out. But this brought Brian back to the Morgans' attention -- at this point they'd not seen him in three years. Alan still wanted to record folk music with Brian, and at some point Brian suggested that they get his brother Carl and cousin Mike involved -- and then Brian's mother made him let his other brother Dennis join in.  The group went to see the Morgans, who once again told them that they needed some original material. Dennis piped up that the group had been fooling around with a song about surfing, and while the Morgans had never heard of the sport, they said it would be worth the group's while finishing off the song and coming back to them. At this point, the idea of a song about surfing was something that was only in Dennis' head, though he may have mentioned the idea to Mike at some point. Mike and the Wilsons went home and started working out the song, without Al being involved at this time -- some of the rehearsal recordings we have seem to suggest that they thought Al was a little overbearing and thought of himself as a bit more professional than the others, and they didn't want him in the group at first. While surf music was definitely already a thing, there were very few vocal surf records. Brian and Mike wrote the song together, with Mike writing most of the lyrics and coming up with his own bass vocal line, while Brian wrote the rest of the music: [Excerpt: The Beach Boys, "Surfin' (Rehearsal)"] None of the group other than Dennis surfed -- though Mike would later start surfing a little -- and so Dennis provided Mike with some surfing terms that they could add into the song. This led to what would be the first of many, many arguments about songwriting credit among the group, as Dennis claimed that he should get some credit for his contribution, while Mike disagreed: [Excerpt: The Beach Boys, “Surfin' (Rehearsal)”] The credit was eventually assigned to Brian Wilson and Mike Love. Eventually, they finished the song, and decided that they *would* get Al Jardine back into the group after all. When Murry and Audree Wilson went away for a long weekend and left their boys some money for emergencies, the group saw their chance. They took that money, along with some more they borrowed from Al's mother, and rented some instruments -- a drum kit and a stand-up bass. They had a party at the Wilsons' house where they played their new song and a few others, in front of their friends, before going back to the Morgans with their new song completed. For their recording session, they used that stand-up bass, which Al played, along with Carl on an acoustic guitar, giving it that Kingston Trio sound that Al liked. Dennis was the group's drummer, but he wasn't yet very good and instead of drums the record has Brian thumping a dustbin lid as its percussion. As well as being the lead vocalist, Mike Love was meant to be the group's saxophone player, but he never progressed more than honking out a couple of notes, and he doesn't play on the session. The song they came up with was oddly structured -- it had a nine-bar verse and a fourteen-bar chorus, the latter of which was based around a twelve-bar blues, but extended to allow the "surf, surf with me" hook. But other than the unusual bar counts it followed the structure that the group would set up most of their early singles. The song seems at least in part to have been inspired by the song "Bermuda Shorts" by the Delroys, which is a song the group have often cited and would play in their earliest live shows: [Excerpt: The Delroys, "Bermuda Shorts"] They messed around with the structure in various ways in rehearsal, and those can be heard on the rehearsal recordings, but by the time they came into the studio they'd settled on starting with a brief statement of the chorus hook: [Excerpt: The Beach Boys, "Surfin'"] It then goes into a verse with Mike singing a tenor lead, with the rest of the group doing block harmonies and then joining him on the last line of the verse: [Excerpt: The Beach Boys, "Surfin'"] And then we have Mike switching down into the bass register to sing wordless doo-wop bass during the blues-based chorus, while the rest of the group again sing in block harmony: [Excerpt: The Beach Boys, "Surfin'"] That formula would be the one that the Beach Boys would stick with for several singles to follow -- the major change that would be made would be that Brian would soon start singing an independent falsetto line over the top of the choruses, rather than being in the block harmonies.  The single was licensed to Candix Records, along with a B-side written by Bruce Morgan, and it became a minor hit record, reaching number seventy-five on the national charts. But what surprised the group about the record was the name on it. They'd been calling themselves the Pendletones, because there was a brand of thick woollen shirt called Pendletons which was popular among surfers, and which the group wore.  It might also have been intended as a pun on Dick Dale's Deltones, the preeminent surf music group of the time. But Hite Morgan had thought the name didn't work, and they needed something that was more descriptive of the music they were doing. He'd suggested The Surfers, but Russ Regan, a record promoter, had told him there was already a group called the Surfers, and suggested another name. So the first time the Wilsons realised they were now in the Beach Boys was when they saw the record label for the first time. The group started working on follow-ups -- and as they were now performing live shows to promote their records, they switched to using electric guitars when they went into the studio to record some demos in February 1962. By now, Al was playing rhythm guitar, while Brian took over on bass, now playing a bass guitar rather than the double bass Al had played. For that session, as Dennis was still not that great a drummer, Brian decided to bring in a session player, and Dennis stormed out of the studio. However, the session player was apparently flashy and overplayed, and got paid off. Brian persuaded Dennis to come back and take over on drums again, and the session resumed. Val Poliuto was also at the session, in case they needed some keyboards, but he's not audible on any of the tracks they recorded, at least to my ears. The most likely song for a follow-up was another one by Brian and Mike. This one was very much a rewrite of "Surfin'", but this time the verses were a more normal eight bars, and the choruses were a compromise between the standard twelve-bar blues and "Surfin'"s fourteen, landing on an unusual thirteen bars. With the electric guitars the group decided to bring in a Chuck Berry influence, and you can hear a certain similarity to songs like "Brown-Eyed Handsome Man" in the rhythm and phrasing: [Excerpt: The Beach Boys, "Surfin' Safari [early version]"] Around this time, Brian also wrote another song -- the song he generally describes as being the first song he ever wrote. Presumably, given that he'd already co-written "Surfin'", he means that it was the first song he wrote on his own, words and music. The song was inspired, melodically, by the song "When You Wish Upon A Star" from the Disney film Pinocchio: [Excerpt: Cliff Edwards "When You Wish Upon a Star"] The song came to Brian in the car, and he challenged himself to write the whole thing in his head without going to the piano until he'd finished it. The result was a doo-wop ballad with Four Freshmen-like block harmonies, with lyrics inspired by Brian's then girlfriend Judy Bowles, which they recorded at the same session as that version of “Surfin' Safari”: [Excerpt: The Beach Boys, "Surfer Girl [early version]"] At the same session, they also recorded two more songs -- a song by Brian called Judy, and a surf instrumental written by Carl called "Karate". However, shortly after that session, Al left the group. As the group had started playing electric instruments, they'd also started performing songs that were more suitable for those instruments, like "What'd I Say" and "The Twist". Al wasn't a fan of that kind of music, and he wanted to be singing "Tom Dooley" and "Wreck of the John B", not "Come on baby, let's do the Twist". He was also quite keen on completing his university studies -- he was planning on becoming a dentist -- and didn't want to spend time playing tons of small gigs when he could be working towards his degree. This was especially the case since Murry Wilson, who had by this point installed himself as the group's manager, was booking them on all sorts of cheap dates to get them exposure. As far as Al could see, being a Beach Boy was never going to make anyone any real money, and it wasn't worth disrupting his studies to keep playing music that he didn't even particularly like. His place was taken by David Marks, Carl's young friend who lived nearby. Marks was only thirteen when he joined, and apparently it caused raised eyebrows among some of the other musicians who knew the group, because he was so much younger and less experienced than the rest. Unlike Al, he was never much of a singer -- he can hold a tune, and has a pleasant enough voice, but he wasn't the exceptional harmony singer that Al was -- but he was a competent rhythm player, and he and Carl had been jamming together since they'd both got guitars, and knew each other's playing style. However, while Al was gone from the group, he wasn't totally out of the picture, and he remained close enough that he was a part of the first ever Beach Boys spin-off side project a couple of months later. Dorinda Morgan had written a song inspired by the new children's doll, Barbie, that had come out a couple of years before and which, like the Beach Boys, was from Hawthorne. She wanted to put together a studio group to record it, under the name Kenny and the Cadets, and Brian rounded up Carl, Al, Val Poliuto, and his mother Audree, to sing on the record for Mrs Morgan: [Excerpt: Kenny and the Cadets, "Barbie"] But after that, Al Jardine was out of the group for the moment -- though he would be back sooner than anyone expected. Shortly after Al left, the new lineup went into a different studio, Western Studios, to record a new demo. Ostensibly produced by Murry Wilson, the session was actually produced by Brian and his new friend Gary Usher, who took charge in the studio and spent most of his time trying to stop Murry interfering. Gary Usher is someone about whom several books have been written, and who would have a huge influence on West Coast music in the sixties. But at this point he was an aspiring singer, songwriter, and record producer, who had been making records for a few months longer than Brian and was therefore a veteran. He'd put out his first single, "Driven Insane", in March 1961: [Excerpt: Gary Usher, "Driven Insane"] Usher was still far from a success, but he was very good at networking, and had all sorts of minor connections within the music business. As one example, his girlfriend, Sandra Glanz, who performed under the name Ginger Blake, had just written "You Are My Answer" for Carol Connors, who had been the lead singer of the Teddy Bears but was now going solo: [Excerpt: Carol Connors, "You Are My Answer"] Connors, too, would soon become important in vocal surf music, while Ginger would play a significant part in Brian's life. Brian had started writing songs with Gary, and they were in the studio to record some demos by Gary, and some demos by the Beach Boys of songs that Brian and Gary had written together, along with a new version of "Surfin' Safari". Of the two Wilson/Usher songs recorded in the session, one was a slow doo-wop styled ballad called "The Lonely Sea", which would later become an album track, but the song that they were most interested in recording was one called "409", which had been inspired by a new, larger, engine that Chevrolet had introduced for top-of-the-line vehicles. Musically, "409" was another song that followed the "Surfin' Safari" formula, but it was regularised even more, lopping off the extra bar from "Surfin' Safari"'s chorus, and making the verses as well as the choruses into twelve-bar blues. But it still started with the hook, still had Mike sing his tenor lead in the verses, and still had him move to sing a boogie-ish bassline in the chorus while the rest of the group chanted in block harmonies over the top. But it introduced a new lyrical theme to the group -- now, as well as singing about surfing and the beach, they could also sing about cars and car racing -- Love credits this as being one of the main reasons for the group's success in landlocked areas, because while there were many places in the US where you couldn't surf, there was nowhere where people didn't have cars. It's also the earliest Beach Boys song over which there is an ongoing question of credit. For the first thirty years of the song's existence, it was credited solely to Wilson and Usher, but in the early nineties Love won a share of the songwriting credit in a lawsuit in which he won credit on many, many songs he'd not been credited for. Love claims that he came up with the "She's real fine, my 409" hook, and the "giddy up" bass vocal he sang. Usher always claimed that Love had nothing to do with the song, and that Love was always trying to take credit for things he didn't do. It's difficult to tell who was telling the truth, because both obviously had a financial stake in the credit (though Usher was dead by the time of the lawsuit). Usher was always very dismissive of all of the Beach Boys with the exception of Brian, and wouldn't credit them for making any real contributions, Love's name was definitely missed off the credits of a large number of songs to which he did make substantial contributions, including some where he wrote the whole lyric, and the bits of the song Love claims *do* sound like the kind of thing he contributed to other songs which have no credit disputes. On the other hand, Love also overreached in his claims of credit in that lawsuit, claiming to have co-written songs that were written when he wasn't even in the same country as the writers. Where you stand on the question of whether Love deserves that credit usually depends on your views of Wilson, Love and Usher as people, and it's not a question I'm going to get into, but I thought I should acknowledge that the question is there. While "409" was still following the same pattern as the other songs, it's head and shoulders ahead of the Hite Morgan productions both in terms of performance and in terms of the sound. A great deal of that clearly owes to Usher, who was experimenting with things like sound effects, and so "409" starts with a recording that Brian and Usher made of Usher's car driving up and down the street: [Excerpt: The Beach Boys, "409"] Meanwhile the new version of "Surfin' Safari" was vastly superior to the recording from a couple of months earlier, with changed lyrics and a tighter performance: [Excerpt: The Beach Boys, "Surfin' Safari (second version)"] So at the end of the session, the group had a tape of three new songs, and Murry WIlson wanted them to take it somewhere better than Candix Records. He had a contact somewhere much better -- at Capitol Records. He was going to phone Ken Nelson. Or at least, Murry *thought* he had a contact at Capitol. He phoned Ken Nelson and told him "Years ago, you did me a favour, and now I'm doing one for you. My sons have formed a group and you have the chance to sign them!" Now, setting aside the question of whether that would actually count as Murry doing Nelson a favour, there was another problem with this -- Nelson had absolutely no idea who Murry Wilson was, and no recollection of ever doing him a favour. It turned out that the favour he'd done, in Murry's eyes, was recording one of Murry's songs -- except that there's no record of Nelson ever having been involved in a recording of a Murry Wilson song. By this time, Capitol had three A&R people, in charge of different areas. There was Voyle Gilmore, who recorded soft pop -- people like Nat "King" Cole. There was Nelson, who as we've seen in past episodes had some rockabilly experience but was mostly country -- he'd produced Gene Vincent and Wanda Jackson, but he was mostly working at this point with people like Buck Owens and the Louvin Brothers, producing some of the best country music ever recorded, but not really doing the kind of thing that the Beach Boys were doing. But the third, and youngest, A&R man was doing precisely the kind of thing the Beach Boys did. That was Nik Venet, who we met back in the episode on "LSD-25", and who was one of the people who had been involved with the very first surf music recordings. Nelson suggested that Murry go and see Venet, and Venet was immediately impressed with the tape Murry played him -- so impressed that he decided to offer the group a contract, and to release "Surfin' Safari" backed with "409", buying the masters from Murry rather than rerecording them. Venet also tried to get the publishing rights for the songs for Beechwood Music, a publishing company owned by Capitol's parent company EMI (and known in the UK as Ardmore & Beechwood) but Gary Usher, who knew a bit about the business, said that he and Brian were going to set up their own publishing companies -- a decision which Murry Wilson screamed at him for, but which made millions of dollars for Brian over the next few years. The single came out, and was a big hit, making number fourteen on the hot one hundred, and "409" as the B-side also scraped the lower reaches of the charts. Venet soon got the group into the studio to record an album to go with the single, with Usher adding extra backing vocals to fill out the harmonies in the absence of Al Jardine. While the Beach Boys were a self-contained group, Venet seems to have brought in his old friend Derry Weaver to add extra guitar, notably on Weaver's song "Moon Dawg": [Excerpt: The Beach Boys, "Moon Dawg"] It's perhaps unsurprising that the Beach Boys recorded that, because not only was it written by Venet's friend, but Venet owned the publishing on the song. The group also recorded "Summertime Blues", which was co-written by Jerry Capehart, a friend of Venet and Weaver's who also may have appeared on the album in some capacity. Both those songs fit the group, but their choice was clearly influenced by factors other than the purely musical, and very soon Brian Wilson would get sick of having his music interfered with by Venet.  The album came out on October 1, and a few days later the single was released in the UK, several months after its release in the US. And on the same day, a British group who *had* signed to have their single published by Ardmore & Beechwood put out their own single on another EMI label. And we're going to look at that in the next episode...

This week there are two episiodes of the podcast going up, both of them longer than normal. This one, episode ninety-nine, is on “Surfin’ Safari” by the Beach Boys, and the group’s roots in LA, and is fifty minutes long. Click the full post to read liner notes, links to more information, and a transcript of the episode.   Patreon backers also have a ten-minute bonus episode available, on “Misirlou” by Dick Dale and the Deltones. Tilt Araiza has assisted invaluably by doing a first-pass edit, and will hopefully be doing so from now on. Check out Tilt’s irregular podcasts at http://www.podnose.com/jaffa-cakes-for-proust and http://sitcomclub.com/ —-more—- Resources No Mixclouds this week, as both episodes have far too many songs by one artist. The mixclouds will be back with episode 101. I used many resources for this episode, most of which will be used in future Beach Boys episodes too. It’s difficult to enumerate everything here, because I have been an active member of the Beach Boys fan community for twenty-three years, and have at times just used my accumulated knowledge for this. But the resources I list here are ones I’ve checked for specific things. Becoming the Beach Boys by James B. Murphy is an in-depth look at the group’s early years. Stephen McParland has published many, many books on the California surf and hot-rod music scenes, including several on both the Beach Boys and Gary Usher. The Beach Boys: Inception and Creation is the one I used most here, but I referred to several. His books can be found at https://payhip.com/CMusicBooks Andrew Doe’s Bellagio 10452 site is an invaluable resource. Jon Stebbins’ The Beach Boys FAQ is a good balance between accuracy and readability. And Philip Lambert’s Inside the Music of Brian Wilson is an excellent, though sadly out of print, musicological analysis of Wilson’s music from 1962 through 67. The Beach Boys’ Morgan recordings and all the outtakes from them can be found on this 2-CD set. The Surfin’ Safari album is now in the public domain, and so can be found cheaply, but the best version to get is still the twofer CD with the Surfin’ USA album. *But*, those two albums are fairly weak, the Beach Boys in their early years were not really an album band, and you will want to investigate them further. I would recommend, rather than the two albums linked above, starting with this budget-priced three-CD set, which has a surprisingly good selection of their material on it.   Patreon This podcast is brought to you by the generosity of my backers on Patreon. Why not join them? Transcript Today, there are going to be two podcast episodes. This one, episode ninety-nine, will be a normal-length episode, or maybe slightly longer than normal, and episode one hundred, which will follow straight after it, will be a super-length one that’s at least three times the normal length of one of these podcasts. I’m releasing them together, because the two episodes really do go together. We’ve talked recently about how we’re getting into the sixties of the popular imagination, and those 1960s began, specifically, in October 1962. That was the month of the Cuban Missile Crisis, which saw the world almost end. It was the month that James Brown released Live at the Apollo — an album we’ll talk about in a few weeks’ time. And if you want one specific date that the 1960s started, it was October the fifth, 1962. On that date, a film came out that we mentioned last week — Doctor No, the first ever James Bond film. It was also the date that two records were released on EMI in Britain. One was a new release by a British band, the other a record originally released a few months earlier in the USA, by an American band. Both bands had previously released records on much smaller labels, to no success other than very locally, but this was their first to be released on a major label, and had a slightly different lineup from those earlier releases. Both bands would influence each other, and go on to be the most successful band from their respective country in the next decade. Both bands would revolutionise popular music. And the two bands would even be filed next to each other alphabetically, both starting “the Bea”. In episode one hundred, we’re going to look at “Love Me Do” by the Beatles, but right now, in episode ninety-nine, we’re going to look at “Surfin’ Safari” by the Beach Boys: [Excerpt: The Beach Boys, “Surfin’ Safari”] Before I start this story properly, I just want to say something — there are a lot of different accounts of the formation of the Beach Boys, and those accounts are all different. What I’ve tried to do here is take one plausible account of how the group formed and tell it in a reasonable length of time. If you read the books I link in the show notes, you might find some disagreements about the precise order of some of these events, or some details I’ve glossed over. This episode is already running long, and I didn’t want to get into that stuff, but it’s important that I stress that this is just as accurate as I can get in the length of an episode. The Beach Boys really were boys when they made their first records. David Marks, their youngest member, was only thirteen when “Surfin’ Safari” came out, and Mike Love, the group’s oldest member, was twenty-one.  So, as you might imagine when we’re talking about children, the story really starts with the older generation. In particular, we want to start with Hite and Dorinda Morgan. The Morgans were part-time music business people in Los Angeles in the fifties. Hite Morgan owned an industrial flooring company, and that was his main source of income — putting in floors at warehouses and factories that could withstand the particular stresses that such industrial sites faced. But while that work was hard, it was well-paying and didn’t take too much time. The company would take on two or three expensive jobs a year, and for the rest of the year Hite would have the money and time to help his wife with her work as a songwriter. She’d collaborated with Spade Cooley, one of the most famous Western Swing musicians of the forties, and she’d also co-written “Don’t Put All Your Dreams in One Basket” for Ray Charles in 1948: [Excerpt: Ray Charles, “Don’t Put All Your Dreams in One Basket”] Hite and Dorinda’s son, Bruce, was also a songwriter, though I’ve seen some claims that often the songs credited to him were actually written by his mother, who gave him credits in order to encourage him. One of Bruce Morgan’s earliest songs was a piece called “Proverb Boogie”, which was actually credited under his father’s name, and which Louis Jordan retitled to “Heed My Warning” and took a co-writing credit on: [Excerpt: Louis Jordan, “Heed My Warning”] Eventually the Morgans also started their own publishing company, and built their own small demo studio, which they used to use to record cheap demos for many other songwriters and performers. The Morgans were only very minor players in the music industry, but they were friendly with many of the big names on the LA R&B scene, and knew people like John Dolphin, Bumps Blackwell, Sam Cooke, and the Hollywood Flames. Bruce Morgan would talk in interviews about Bumps Blackwell calling round to see his father and telling him about this new song “You Send Me” he was going to record with Cooke. But although nobody could have realised it at the time, or for many years later, the Morgans’ place in music history would be cemented in 1952, when Hite Morgan, working at his day job, met a man named Murry Wilson, who ran a machine-tool company based in Hawthorne, a small town in southwestern Los Angeles County. It turned out that Wilson, like Dorinda Morgan, was an aspiring songwriter, and Hite Morgan signed him up to their publishing company, Guild Music. Wilson’s tastes in music were already becoming old-fashioned even in the very early 1950s, but given the style of music he was working in he was a moderately talented writer. His proudest moment was writing a song called “Two Step Side Step” for the Morgans, which was performed on TV by Lawrence Welk — Murry gathered the whole family round the television to watch his song being performed.  That song was a moderate success – it was never a hit for anyone, but it was recorded by several country artists, including the rockabilly singer Bonnie Lou, and most interestingly for our purposes by Johnny Lee Wills, Bob Wills’ brother: [Excerpt: Johnny Lee Wills, “Two Step Side Step”] Wilson wrote a few other songs for the Morgans, of which the most successful was “Tabarin”, which was recorded by the Tangiers — one of the several names under which the Hollywood Flames performed. Gaynel Hodge would later speak fondly of Murry Wilson, and how he was always bragging about his talented kids: [Excerpt: The Tangiers, “Tabarin”] But as the fifties progressed, the Morgans published fewer and fewer of Wilson’s songs, and none of them were hits. But the Morgans and Wilson stayed in touch, and around 1958 he heard from them about an opportunity for one of those talented kids. Dorinda Morgan had written a song called “Chapel of Love” — not the same song as the famous one by the Dixie Cups — and Art Laboe had decided that that song would be perfect as the first record for his new label, Original Sound. Laboe was putting together a new group to sing it, called the Hitmakers, which was based around Val Poliuto. Poliuto had been the tenor singer of an integrated vocal group — two Black members, one white, and one Hispanic — which had gone by the names The Shadows and The Miracles before dismissing both names as being unlikely to lead to any success and taking the name The Jaguars at the suggestion of, of all people, Stan Freberg, the comedian and voice actor. The Jaguars had never had much commercial success, but they’d recorded a version of “The Way You Look Tonight” which became a classic when Laboe included it on the massively successful “Oldies But Goodies”, the first doo-wop nostalgia album: [Excerpt: The Jaguars, “The Way You Look Tonight”] The Jaguars continued for many years, and at one point had Richard Berry guest as an extra vocalist on some of their tracks, but as with so many of the LA vocal groups we’ve looked at from the fifties, they all had their fingers in multiple pies, and so Poliuto was to be in this new group, along with Bobby Adams of the Calvanes, who had been taught to sing R&B by Cornell Gunter and who had recorded for Dootsie Williams: [Excerpt: The Calvanes, “Crazy Over You”] Those two were to be joined by two other singers, who nobody involved can remember much about except that their first names were Don and Duke, but Art Laboe also wanted a new young singer to sing the lead, and was auditioning singers. Murry Wilson suggested to the Morgans that his young son Brian might be suitable for the role, and he auditioned, but Laboe thought he was too young, and the role went to a singer called Rodney Goodens instead: [Excerpt: The Hitmakers, “Chapel of Love”] So the audition was a failure, but it was a first contact between Brian Wilson and the Morgans, and also introduced Brian to Val Poliuto, from whom he would learn a lot about music for the next few years. Brian was a very sensitive kid, the oldest of three brothers, and someone who seemed to have some difficulty dealing with other people — possibly because his father was abusive towards him and his brothers, leaving him frightened of many aspects of life. He did, though, share with his father a love of music, and he had a remarkable ear — singular, as he’s deaf in one ear. He had perfect pitch, a great recollection for melodies — play him something once and it would stay in his brain — and from a very young age he gravitated towards sweet-sounding music. He particularly loved Glenn Miller’s version of “Rhapsody in Blue” as a child: [Excerpt: The Glenn Miller Orchestra, “Rhapsody in Blue”] But his big musical love was a modern harmony group called the Four Freshmen — a group made up of two brothers, their cousin, and a college friend. Modern harmony is an outdated term, but it basically meant that they were singing chords that went beyond the normal simple triads of most pop music. While there were four, obviously, of the Four Freshmen, they often achieved an effect that would normally be five-part harmony, by having the group members sing all the parts of the chord *except* the root note — they’d leave the root note to a bass instrument. So while Brian was listening to four singers, he was learning five-part harmonies. The group would also sing their harmonies in unusual inversions — they’d take one of the notes from the middle of the chord and sing it an octave lower. There was another trick that the Four Freshmen used — they varied their vocals from equal temperament.  To explain this a little bit — musical notes are based on frequencies, and the ratio between them matters. If you double the frequency of a note, you get the same note an octave up — so if you take an A at 440hz, and double the frequency to 880, you get another A, an octave up. If you go down to 220hz, you get the A an octave below. You get all the different notes by multiplying or dividing a note, so A# is A multiplied by a tiny bit more than one, and A flat is A multiplied by a tiny bit less than one. But in the middle ages, this hit a snag — A#. which is A multiplied by one and a bit, is very very slightly different from B flat, which is B multiplied by 0.9 something. And if you double those, so you go to the A# and B flat the next octave up, the difference between A# and B flat gets bigger. And this means that if you play a melody in the key of C, but then decide you want to play it in the key of B flat, you need to retune your instrument — or have instruments with separate notes for A# and B flat — or everything will sound out of tune. It’s very very hard to retune some instruments, especially ones like the piano, and also sometimes you want to play in different keys in the same piece. If you’re playing a song in C, but it goes into C# in the last chorus to give it a bit of extra momentum, you lose that extra momentum if you stop the song to retune the piano. So a different system was invented, and popularised in the Baroque era, called “equal temperament”. In that system, every note is very very slightly out of tune, but those tiny errors cancel out rather than multiply like they do in the old system. You’re sort of taking the average of A# and B flat, and calling them the same note. And to most people’s ears that sounds good enough, and it means you can have a piano without a thousand keys.  But the Four Freshmen didn’t stick to that — because you don’t need to retune your throat to hit different notes (unless you’re as bad a singer as me, anyway). They would sing B flat slightly differently than they would sing A#, and so they would get a purer vocal blend, with stronger harmonic overtones than singers who were singing the notes as placed on a piano: [Excerpt: the Four Freshmen, “It’s a Blue World”] Please note by the way that I’m taking the fact that they used those non-equal temperaments somewhat on trust — Ross Barbour of the group said they did in interviews, and he would know, but I have relatively poor pitch so if you listened to that and thought “Hang on, they’re all singing dead-on equal tempered concert pitch, what’s he talking about?”, then that’s on him. When Brian heard them singing, he instantly fell for them, and became a major, major fan of their work, especially their falsetto singer Bob Flanigan, whose voice he decided to emulate. He decided that he was going to learn how they got that sound. Every day when he got home from school, he would go to the family’s music room, where he had a piano and a record player. He would then play just a second or so of one of their records, and figure out on the piano what notes they were singing in that one second, and duplicating them himself. Then he would learn the next second of the song. He would spend hours every day on this, learning every vocal part, until he had the Four Freshmen’s entire repertoire burned into his brain, and could sing all four vocal parts to every song. Indeed, at one point when he was about sixteen — around the same time as the Art Laboe audition — Brian decided to go and visit the Four Freshmen’s manager, to find out how to form a successful vocal group of his own, and to find out more about the group themselves. After telling the manager that he could sing every part of every one of their songs, the manager challenged him with “The Day Isn’t Long Enough”, a song that they apparently had trouble with: [Excerpt: The Four Freshmen, “The Day Isn’t Long Enough”] And Brian demonstrated every harmony part perfectly. He had a couple of tape recorders at home, and he would experiment with overdubbing his own voice — recording on one tape recorder, playing it back and singing along while recording on the other. Doing this he could do his own imitations of the Four Freshmen, and even as a teenager he could sound spookily like them: [Excerpt: The Beach Boys [Brian Wilson solo recording released on a Beach Boys CD], “Happy Birthday Four Freshmen”] While Brian shared his love for this kind of sweet music with his father, he also liked the rock and roll music that was making its way onto the radio during his teen years — though again, he would gravitate towards the sweet vocal harmonies of the Everly Brothers rather than to more raucous music. He shared his love of the Everlys with his cousin Mike Love, whose tastes otherwise went more in the direction of R&B and doo-wop. Unlike Brian and his brothers, Mike attended Dorsey High School, a predominantly Black school, and his tastes were shaped by that — other graduates of the school include Billy Preston, Eric Dolphy, and Arthur Lee, to give some idea of the kind of atmosphere that Dorsey High had. He loved the Robins, and later the Coasters, and he’s been quoted as saying he “worshipped” Johnny Otis — as did every R&B lover in LA at the time. He would listen to Otis’ show on KFOX, and to Huggy Boy on KRKD. His favourite records were things like “Smokey Joe’s Cafe” by the Robins, which combined an R&B groove with witty lyrics: [Excerpt: The Robins, “Smokey Joe’s Cafe”] He also loved the music of Chuck Berry, a passion he shared with Brian’s youngest brother Carl, who also listened to Otis’ show and got Brian listening to it. While Mike was most attracted to Berry’s witty lyrics, Carl loved the guitar part — he’d loved string instruments since he was a tiny child, and he and a neighbour, David Marks, started taking guitar lessons from another neighbour, John Maus. Maus had been friends with Ritchie Valens, and had been a pallbearer at Valens’ funeral. John was recording at the time with his sister Judy, as the imaginatively-named duo “John & Judy”: [Excerpt: John & Judy, “Why This Feeling?”] John and Judy later took on a bass player called Scott Engel, and a few years after that John and Scott changed their surnames to Walker and became two thirds of The Walker Brothers. But at this time, John was still just a local guitar player, and teaching two enthusiastic kids to play guitar. Carl and David learned how to play Chuck Berry licks, and also started to learn some of the guitar instrumentals that were becoming popular at the time. At the same time, Mike would sing with Brian to pass the time, Mike singing in a bass voice while Brian took a high tenor lead. Other times, Brian would test his vocal arranging out by teaching Carl and his mother Audree vocal parts — Carl got so he could learn parts very quickly, so his big brother wouldn’t keep him around all day and he could go out and play. And sometimes their middle brother Dennis would join in — though he was more interested in going out and having fun at the beach than he was in making music. Brian was interested in nothing *but* making music — at least once he’d quit the school football team (American football, for those of you like me who parse the word to mean what it does in Britain), after he’d got hurt for the first time. But before he did that, he had managed to hurt someone else — a much smaller teammate named Alan Jardine, whose leg Brian broke in a game. Despite that, the two became friends, and would occasionally sing together — like Brian, Alan loved to sing harmonies, and they found that they had an extraordinarily good vocal blend. While Brian mostly sang with his brothers and his cousin, all of whom had a family vocal resemblance, Jardine could sound spookily similar to that family, and especially to Brian. Jardine’s voice was a little stronger and more resonant, Brian’s a little sweeter, with a fuller falsetto, but they had the kind of vocal similarity one normally only gets in family singers. However,  they didn’t start performing together properly, because they had different tastes in music — while Brian was most interested in the modern jazz harmonies of the Four Freshman, Jardine was a fan of the new folk revival groups, especially the Kingston Trio. Alan had a group called the Tikis when he was at high school, which would play Kingston Trio style material like “The Wreck of the John B”, a song that like much of the Kingston Trio’s material had been popularised by the Weavers, but which the Trio had recorded for their first album: [Excerpt: The Kingston Trio, “The Wreck of the John B”] Jardine was inspired by that to write his own song, “The Wreck of the Hesperus”, putting Longfellow’s poem to music. One of the other Tikis had a tape recorder, and they made a few stabs at recording it. They thought that they sounded pretty good, and they decided to go round to Brian Wilson’s house to see if he could help them — depending on who you ask, they either wanted him to join the band, or knew that his dad had some connection with the music business and wanted to pick his brains. When they turned up, Brian was actually out, but Audree Wilson basically had an open-door policy for local teenagers, and she told the boys about Hite and Dorinda Morgan. The Tikis took their tape to the Morgans, and the Morgans responded politely, saying that they did sound good — but they sounded like the Kingston Trio, and there were a million groups that sounded like the Kingston Trio. They needed to get an original sound. The Tikis broke up, as Alan went off to Michigan to college. But then a year later, he came back to Hawthorne and enrolled in the same community college that Brian was enrolled in. Meanwhile, the Morgans had got in touch with Gary Winfrey, Alan’s Tikis bandmate, and asked him if the Tikis would record a demo of one of Bruce Morgan’s songs. As the Tikis no longer existed, Alan and Gary formed a new group along the same lines, and invited Brian to be part of one of these sessions. That group, The Islanders made a couple of attempts at Morgan’s song, but nothing worked out. But this brought Brian back to the Morgans’ attention — at this point they’d not seen him in three years. Alan still wanted to record folk music with Brian, and at some point Brian suggested that they get his brother Carl and cousin Mike involved — and then Brian’s mother made him let his other brother Dennis join in.  The group went to see the Morgans, who once again told them that they needed some original material. Dennis piped up that the group had been fooling around with a song about surfing, and while the Morgans had never heard of the sport, they said it would be worth the group’s while finishing off the song and coming back to them. At this point, the idea of a song about surfing was something that was only in Dennis’ head, though he may have mentioned the idea to Mike at some point. Mike and the Wilsons went home and started working out the song, without Al being involved at this time — some of the rehearsal recordings we have seem to suggest that they thought Al was a little overbearing and thought of himself as a bit more professional than the others, and they didn’t want him in the group at first. While surf music was definitely already a thing, there were very few vocal surf records. Brian and Mike wrote the song together, with Mike writing most of the lyrics and coming up with his own bass vocal line, while Brian wrote the rest of the music: [Excerpt: The Beach Boys, “Surfin’ (Rehearsal)”] None of the group other than Dennis surfed — though Mike would later start surfing a little — and so Dennis provided Mike with some surfing terms that they could add into the song. This led to what would be the first of many, many arguments about songwriting credit among the group, as Dennis claimed that he should get some credit for his contribution, while Mike disagreed: [Excerpt: The Beach Boys, “Surfin’ (Rehearsal)”] The credit was eventually assigned to Brian Wilson and Mike Love. Eventually, they finished the song, and decided that they *would* get Al Jardine back into the group after all. When Murry and Audree Wilson went away for a long weekend and left their boys some money for emergencies, the group saw their chance. They took that money, along with some more they borrowed from Al’s mother, and rented some instruments — a drum kit and a stand-up bass. They had a party at the Wilsons’ house where they played their new song and a few others, in front of their friends, before going back to the Morgans with their new song completed. For their recording session, they used that stand-up bass, which Al played, along with Carl on an acoustic guitar, giving it that Kingston Trio sound that Al liked. Dennis was the group’s drummer, but he wasn’t yet very good and instead of drums the record has Brian thumping a dustbin lid as its percussion. As well as being the lead vocalist, Mike Love was meant to be the group’s saxophone player, but he never progressed more than honking out a couple of notes, and he doesn’t play on the session. The song they came up with was oddly structured — it had a nine-bar verse and a fourteen-bar chorus, the latter of which was based around a twelve-bar blues, but extended to allow the “surf, surf with me” hook. But other than the unusual bar counts it followed the structure that the group would set up most of their early singles. The song seems at least in part to have been inspired by the song “Bermuda Shorts” by the Delroys, which is a song the group have often cited and would play in their earliest live shows: [Excerpt: The Delroys, “Bermuda Shorts”] They messed around with the structure in various ways in rehearsal, and those can be heard on the rehearsal recordings, but by the time they came into the studio they’d settled on starting with a brief statement of the chorus hook: [Excerpt: The Beach Boys, “Surfin'”] It then goes into a verse with Mike singing a tenor lead, with the rest of the group doing block harmonies and then joining him on the last line of the verse: [Excerpt: The Beach Boys, “Surfin'”] And then we have Mike switching down into the bass register to sing wordless doo-wop bass during the blues-based chorus, while the rest of the group again sing in block harmony: [Excerpt: The Beach Boys, “Surfin'”] That formula would be the one that the Beach Boys would stick with for several singles to follow — the major change that would be made would be that Brian would soon start singing an independent falsetto line over the top of the choruses, rather than being in the block harmonies.  The single was licensed to Candix Records, along with a B-side written by Bruce Morgan, and it became a minor hit record, reaching number seventy-five on the national charts. But what surprised the group about the record was the name on it. They’d been calling themselves the Pendletones, because there was a brand of thick woollen shirt called Pendletons which was popular among surfers, and which the group wore.  It might also have been intended as a pun on Dick Dale’s Deltones, the preeminent surf music group of the time. But Hite Morgan had thought the name didn’t work, and they needed something that was more descriptive of the music they were doing. He’d suggested The Surfers, but Russ Regan, a record promoter, had told him there was already a group called the Surfers, and suggested another name. So the first time the Wilsons realised they were now in the Beach Boys was when they saw the record label for the first time. The group started working on follow-ups — and as they were now performing live shows to promote their records, they switched to using electric guitars when they went into the studio to record some demos in February 1962. By now, Al was playing rhythm guitar, while Brian took over on bass, now playing a bass guitar rather than the double bass Al had played. For that session, as Dennis was still not that great a drummer, Brian decided to bring in a session player, and Dennis stormed out of the studio. However, the session player was apparently flashy and overplayed, and got paid off. Brian persuaded Dennis to come back and take over on drums again, and the session resumed. Val Poliuto was also at the session, in case they needed some keyboards, but he’s not audible on any of the tracks they recorded, at least to my ears. The most likely song for a follow-up was another one by Brian and Mike. This one was very much a rewrite of “Surfin'”, but this time the verses were a more normal eight bars, and the choruses were a compromise between the standard twelve-bar blues and “Surfin'”s fourteen, landing on an unusual thirteen bars. With the electric guitars the group decided to bring in a Chuck Berry influence, and you can hear a certain similarity to songs like “Brown-Eyed Handsome Man” in the rhythm and phrasing: [Excerpt: The Beach Boys, “Surfin’ Safari [early version]”] Around this time, Brian also wrote another song — the song he generally describes as being the first song he ever wrote. Presumably, given that he’d already co-written “Surfin'”, he means that it was the first song he wrote on his own, words and music. The song was inspired, melodically, by the song “When You Wish Upon A Star” from the Disney film Pinocchio: [Excerpt: Cliff Edwards “When You Wish Upon a Star”] The song came to Brian in the car, and he challenged himself to write the whole thing in his head without going to the piano until he’d finished it. The result was a doo-wop ballad with Four Freshmen-like block harmonies, with lyrics inspired by Brian’s then girlfriend Judy Bowles, which they recorded at the same session as that version of “Surfin’ Safari”: [Excerpt: The Beach Boys, “Surfer Girl [early version]”] At the same session, they also recorded two more songs — a song by Brian called Judy, and a surf instrumental written by Carl called “Karate”. However, shortly after that session, Al left the group. As the group had started playing electric instruments, they’d also started performing songs that were more suitable for those instruments, like “What’d I Say” and “The Twist”. Al wasn’t a fan of that kind of music, and he wanted to be singing “Tom Dooley” and “Wreck of the John B”, not “Come on baby, let’s do the Twist”. He was also quite keen on completing his university studies — he was planning on becoming a dentist — and didn’t want to spend time playing tons of small gigs when he could be working towards his degree. This was especially the case since Murry Wilson, who had by this point installed himself as the group’s manager, was booking them on all sorts of cheap dates to get them exposure. As far as Al could see, being a Beach Boy was never going to make anyone any real money, and it wasn’t worth disrupting his studies to keep playing music that he didn’t even particularly like. His place was taken by David Marks, Carl’s young friend who lived nearby. Marks was only thirteen when he joined, and apparently it caused raised eyebrows among some of the other musicians who knew the group, because he was so much younger and less experienced than the rest. Unlike Al, he was never much of a singer — he can hold a tune, and has a pleasant enough voice, but he wasn’t the exceptional harmony singer that Al was — but he was a competent rhythm player, and he and Carl had been jamming together since they’d both got guitars, and knew each other’s playing style. However, while Al was gone from the group, he wasn’t totally out of the picture, and he remained close enough that he was a part of the first ever Beach Boys spin-off side project a couple of months later. Dorinda Morgan had written a song inspired by the new children’s doll, Barbie, that had come out a couple of years before and which, like the Beach Boys, was from Hawthorne. She wanted to put together a studio group to record it, under the name Kenny and the Cadets, and Brian rounded up Carl, Al, Val Poliuto, and his mother Audree, to sing on the record for Mrs Morgan: [Excerpt: Kenny and the Cadets, “Barbie”] But after that, Al Jardine was out of the group for the moment — though he would be back sooner than anyone expected. Shortly after Al left, the new lineup went into a different studio, Western Studios, to record a new demo. Ostensibly produced by Murry Wilson, the session was actually produced by Brian and his new friend Gary Usher, who took charge in the studio and spent most of his time trying to stop Murry interfering. Gary Usher is someone about whom several books have been written, and who would have a huge influence on West Coast music in the sixties. But at this point he was an aspiring singer, songwriter, and record producer, who had been making records for a few months longer than Brian and was therefore a veteran. He’d put out his first single, “Driven Insane”, in March 1961: [Excerpt: Gary Usher, “Driven Insane”] Usher was still far from a success, but he was very good at networking, and had all sorts of minor connections within the music business. As one example, his girlfriend, Sandra Glanz, who performed under the name Ginger Blake, had just written “You Are My Answer” for Carol Connors, who had been the lead singer of the Teddy Bears but was now going solo: [Excerpt: Carol Connors, “You Are My Answer”] Connors, too, would soon become important in vocal surf music, while Ginger would play a significant part in Brian’s life. Brian had started writing songs with Gary, and they were in the studio to record some demos by Gary, and some demos by the Beach Boys of songs that Brian and Gary had written together, along with a new version of “Surfin’ Safari”. Of the two Wilson/Usher songs recorded in the session, one was a slow doo-wop styled ballad called “The Lonely Sea”, which would later become an album track, but the song that they were most interested in recording was one called “409”, which had been inspired by a new, larger, engine that Chevrolet had introduced for top-of-the-line vehicles. Musically, “409” was another song that followed the “Surfin’ Safari” formula, but it was regularised even more, lopping off the extra bar from “Surfin’ Safari”‘s chorus, and making the verses as well as the choruses into twelve-bar blues. But it still started with the hook, still had Mike sing his tenor lead in the verses, and still had him move to sing a boogie-ish bassline in the chorus while the rest of the group chanted in block harmonies over the top. But it introduced a new lyrical theme to the group — now, as well as singing about surfing and the beach, they could also sing about cars and car racing — Love credits this as being one of the main reasons for the group’s success in landlocked areas, because while there were many places in the US where you couldn’t surf, there was nowhere where people didn’t have cars. It’s also the earliest Beach Boys song over which there is an ongoing question of credit. For the first thirty years of the song’s existence, it was credited solely to Wilson and Usher, but in the early nineties Love won a share of the songwriting credit in a lawsuit in which he won credit on many, many songs he’d not been credited for. Love claims that he came up with the “She’s real fine, my 409” hook, and the “giddy up” bass vocal he sang. Usher always claimed that Love had nothing to do with the song, and that Love was always trying to take credit for things he didn’t do. It’s difficult to tell who was telling the truth, because both obviously had a financial stake in the credit (though Usher was dead by the time of the lawsuit). Usher was always very dismissive of all of the Beach Boys with the exception of Brian, and wouldn’t credit them for making any real contributions, Love’s name was definitely missed off the credits of a large number of songs to which he did make substantial contributions, including some where he wrote the whole lyric, and the bits of the song Love claims *do* sound like the kind of thing he contributed to other songs which have no credit disputes. On the other hand, Love also overreached in his claims of credit in that lawsuit, claiming to have co-written songs that were written when he wasn’t even in the same country as the writers. Where you stand on the question of whether Love deserves that credit usually depends on your views of Wilson, Love and Usher as people, and it’s not a question I’m going to get into, but I thought I should acknowledge that the question is there. While “409” was still following the same pattern as the other songs, it’s head and shoulders ahead of the Hite Morgan productions both in terms of performance and in terms of the sound. A great deal of that clearly owes to Usher, who was experimenting with things like sound effects, and so “409” starts with a recording that Brian and Usher made of Usher’s car driving up and down the street: [Excerpt: The Beach Boys, “409”] Meanwhile the new version of “Surfin’ Safari” was vastly superior to the recording from a couple of months earlier, with changed lyrics and a tighter performance: [Excerpt: The Beach Boys, “Surfin’ Safari (second version)”] So at the end of the session, the group had a tape of three new songs, and Murry WIlson wanted them to take it somewhere better than Candix Records. He had a contact somewhere much better — at Capitol Records. He was going to phone Ken Nelson. Or at least, Murry *thought* he had a contact at Capitol. He phoned Ken Nelson and told him “Years ago, you did me a favour, and now I’m doing one for you. My sons have formed a group and you have the chance to sign them!” Now, setting aside the question of whether that would actually count as Murry doing Nelson a favour, there was another problem with this — Nelson had absolutely no idea who Murry Wilson was, and no recollection of ever doing him a favour. It turned out that the favour he’d done, in Murry’s eyes, was recording one of Murry’s songs — except that there’s no record of Nelson ever having been involved in a recording of a Murry Wilson song. By this time, Capitol had three A&R people, in charge of different areas. There was Voyle Gilmore, who recorded soft pop — people like Nat “King” Cole. There was Nelson, who as we’ve seen in past episodes had some rockabilly experience but was mostly country — he’d produced Gene Vincent and Wanda Jackson, but he was mostly working at this point with people like Buck Owens and the Louvin Brothers, producing some of the best country music ever recorded, but not really doing the kind of thing that the Beach Boys were doing. But the third, and youngest, A&R man was doing precisely the kind of thing the Beach Boys did. That was Nik Venet, who we met back in the episode on “LSD-25”, and who was one of the people who had been involved with the very first surf music recordings. Nelson suggested that Murry go and see Venet, and Venet was immediately impressed with the tape Murry played him — so impressed that he decided to offer the group a contract, and to release “Surfin’ Safari” backed with “409”, buying the masters from Murry rather than rerecording them. Venet also tried to get the publishing rights for the songs for Beechwood Music, a publishing company owned by Capitol’s parent company EMI (and known in the UK as Ardmore & Beechwood) but Gary Usher, who knew a bit about the business, said that he and Brian were going to set up their own publishing companies — a decision which Murry Wilson screamed at him for, but which made millions of dollars for Brian over the next few years. The single came out, and was a big hit, making number fourteen on the hot one hundred, and “409” as the B-side also scraped the lower reaches of the charts. Venet soon got the group into the studio to record an album to go with the single, with Usher adding extra backing vocals to fill out the harmonies in the absence of Al Jardine. While the Beach Boys were a self-contained group, Venet seems to have brought in his old friend Derry Weaver to add extra guitar, notably on Weaver’s song “Moon Dawg”: [Excerpt: The Beach Boys, “Moon Dawg”] It’s perhaps unsurprising that the Beach Boys recorded that, because not only was it written by Venet’s friend, but Venet owned the publishing on the song. The group also recorded “Summertime Blues”, which was co-written by Jerry Capehart, a friend of Venet and Weaver’s who also may have appeared on the album in some capacity. Both those songs fit the group, but their choice was clearly influenced by factors other than the purely musical, and very soon Brian Wilson would get sick of having his music interfered with by Venet.  The album came out on October 1, and a few days later the single was released in the UK, several months after its release in the US. And on the same day, a British group who *had* signed to have their single published by Ardmore & Beechwood put out their own single on another EMI label. And we’re going to look at that in the next episode…

The Indie Dads are back after their holidays, taking a delve into John Maus' 2011 synthwave album "We Must Become The Pitiless Censors of Ourselves"...via, of course, diversions into The Stone Roses, The Sisters of Mercy, The Doors, and, erm, 90s regional football host Elton Welsby.This is a two-part podcast so don't forget the partner episode!

The Indie Dads are back after their holidays, taking a delve into John Maus' 2011 synthwave album "We Must Become The Pitiless Censors of Ourselves"...via, of course, diversions into The Stone Roses, The Sisters of Mercy, The Doors, and, erm, 90s regional football host Elton Welsby.This is a two-part podcast so don't forget the partner episode!

Bag albumaktuelle Kå gemmer sig Kailash William Chatterjee som er denne uges gæst i musikprogrammet Pitten med Aleksandra Milanovic.Før de kan udforske Kå live maskinrummet, så skal han lige identificeres som koncertgænger og fan. Kå løfter sløret for at de bedste livekoncerter, som han har været til, er med JPEGMAFIA og John Maus, samt at han er kæmpe fan af Kendrick Lamar.Kå er aktuel med debutalbummet 'Dum Flex', og i studiet fortæller han os om skriveprocessen med henblik på at producere musik til koncerter.Vi åbner op for live maskinrummet og finder værktøjer som at få folk til at sige "WOOOOOW!" og føle sig godt tilpas på scenen.Til 'Tegn din drømmesetliste'-legen tiltænker Kå sin drømme setliste på Roskilde Festivals Orange scene, hvor Emil Kruse og Tobias Rahim skal joine ham i henholdsvis en helikopter og på et løbehjul.Til slut runder vi fanuniverset, hvor Kå beskriver en oplevelse med en fan, mens han sad i sit vindue og røg smøger.

This week the Mortvillians discuss the ongoing police riots happening across the country as a response to the protests over the murder of George Floyd. This week's breaks are "Cop Killer" by John Maus and "We Had to Tear This Motherfucker Up" by Ice Cube. Subscribe to Mortville!

It's another A&E show from the home studio! Coming up this week - Hot Chip, Manhead, The Horrors, John Maus and New Order.

En este nuevo episodio elevamos la tensión junto a los sonidos de John Maus, Teardrop explodes, Pasto, Dr. Feelgood, Richard Swift, Human Tetris, Hank Tree, Incoherente, Schneider TM y The Field.

David Lee Marks is best known for his work as a member of The Beach Boys. Growing up across the street from the Wilson family, Marks spent his formative years singing and playing with Brian, Dennis, and Carl Wilson.   At age 10, David received his first guitar for Christmas; he and Carl began studying with John Maus (later John Walker of the Walker Brothers) and developing their own electric guitar style, which caught the attention of Carl's oldest brother, budding composer Brian. David and Carl's rock ‘n' roll guitar sound blended with Brian's complex harmonies to help create the signature sound of the Beach Boys. ​ Thirteen-year-old Marks officially joined The Beach Boys in February 1962 and became one of the five signatories on the band's recording contract with Capitol Records. He remained a member through October 1963, performing in over 100 concerts across the United States, appearing on national television, and playing rhythm guitar and singing on the band's first four albums, and on hits like “Surfin' Safari,” “409,” “Surfin' U.S.A.,” “Shut Down,” “Surfer Girl,” “In My Room,” and “Be True to Your School.” While David's time in the band may be considered short, there's no denying the impact of the early years of the Beach Boys on their enduring and iconic legacy.  ​ Leaving the Beach Boys gave David the freedom to focus on his own songwriting with a new band, David Marks & The Marksmen. One of the first bands to sign to Herb Alpert's A&M Records, The Marksmen packed concert venues up and down the state of California but ultimately disbanded in 1965 after a release on the Warner Brother's label.  ​ Marks went on to record session-work for Murry Wilson's Sunrays. He also played with Casey Kasem's Band Without a Name, cult-classic psychedelic-pop bands The Moon and Colours, Delaney & Bonnie, and Warren Zevon. By age 21, he had been signed to five major record labels and had grown disillusioned with the Los Angeles music scene. In 1969, he relocated to Boston, where he studied jazz and classical guitar as a private student at the Berklee College of Music and the New England Conservatory. David went on to earn a reputation as a solid session guitarist without ever capitalizing on his previous association with the Beach Boys. Through it all, however, he remained friends and stayed in contact with members of the Beach Boys, even appearing as a special guest from time to time. David rejoined the band in as a full-time member in 1997, when Carl Wilson, fighting cancer, was unable to continue touring with the group. Marks left the band for a second time in 1999 after being diagnosed with hepatitis C. Since his diagnosis, he has become a leader in the hepatitis C community, often appearing in the media to raise awareness of the disease. ​ In 2007, David co-wrote his autobiography, The Lost Beach Boy, with Beach Boys historian Jon Stebbins. The book is a frank account of his career with and without the Beach Boys, his health problems, his musical development, and his recovery and acceptance within the Beach Boys community. ​ The Beach Boys celebrated their 50th Anniversary in 2012 when David Marks joined Brian Wilson, Mike Love, Al Jardine, and Bruce Johnston on a 73-date World Tour. The highly anticipated reunion kicked-off at the 54th Annual Grammy Awards where they performed two classic hits: Surfer Girl (with Foster the People) and Good Vibrations (with Maroon 5). Their studio efforts led to the release of That's Why God Made The Radio on Capitol Record, marking the first Beach Boys album of new material since 1992; for their efforts, the album broke in at Number #2 on the Billboard charts. The band's subsequent world tour took America's Band on 73 shows on four continents and included appearances on The Tonight Show with Jay Leno, The Late Show with Jimmy Fallon, Charlie Rose, Good Morning America, the Jools Holland Show, SMAP, and the Today Show Australia. The also sang the National Anthem on opening day of Dodger's Stadium, which was also marking its 50th season.     Post reunion, David and Al Jardine joined Brian Wilson for a short US Summer Tour, followed that fall with a subsequent North American tour which included Jeff Beck. The collaboration was voted the #3 tour of 2013 and landed Wilson, Jardine, Marks & Beck another slot on the Jimmy Fallon Show.  David Marks also joined an illustrious group of artist who guested on Brian Wilson's 2015 solo release, No Pier Pressure – his guitar can be heard on the album's single, The Right Time, which charted #28 on the Billboard charts and #1 on BBC Radio Two, and  ​ David Marks toured as a part time member of Mike Love's Beach Boys from 2014 - 2016 and continues to perform with the Surf City All Stars and Dean Torrence of Jan & Dean.  David's also returned to his roots as a session guitarist, playing on several albums by artists such as the Smithereens, the Surf City All Stars, Mod Hippie, Jez Graham, and Miami Dan. ​ On his own, Marks has also released two studio albums in the last five years: David Marks & Friends: Live on the Sunset Strip (with guests artists Marilyn Wilson-Rutherford of the Honeys and John Walker of the Walker Brothers) and Back in the Garage featuring Los A-Phonics, from Valencia, Spain, with whom he toured Spain in 2016.  courtesy of davidleemarks.com

It was my birthday. I saw John Maus. Minds were blown.

This is a special Thanksgiving episode, recorded live on route to Windsor ON. We talk family, cookies, play Guess Who and enjoy the music of Neil Young, America and John Maus.

FPR 162 features the gilt-edged music of @gary-war & @vazyjulie. Gary War is an American avant-garde musician, ex-Ariel Pink’s Haunted Graffiti member, frequent John Maus and Bob Trimble collaborator, who has featured on labels including Sacred Bones, Spectrum Spools, Upset The Rhythm and others. This week, he is performing at The Others Way Festival 2019 in Auckland and Wellington, and in Dunedin and Christchurch with John Maus and Purple Pilgrims. Vazy Julie is a powerhouse in a fiercely independent Marseille music scene. She and her crew steer @metaphorecollectif & she has strong ties to the @bfdmrec family. Julie also runs the outré Meta - Zone Libre, so we get a glimpse of what it sounds like to party in her world for the second hour. Giddy up, its wild. *Gary War* --No Tracklist-- *Vazy Julie* The Sabres Of Paradise - Chapel Street Market 9am [Warp] Bailey Ibbs - Fairo [Articulate Sound] Nurve - Spasm [Tectonic] SMP - Natty Bop [Planet Euphorique] Léonie Pernet Feat. Hanaa Ouassim - Auaati (Acid Arab Remix) [Tsugi] Leibniz - Bat [Ortloff Records] DJ Haram - No Idol Remix [Hyperdub] Citizen Boy feat. Dapo Tuburna - Gqom Fever [Gqom Oh!] Emo Kid - Digital Response [Gqom Oh!] Shay - Oh Oui [Capitol Music France] The Sabres Of Paradise - Ano Electro (Andante) [Warp] Anz - Clanger [Chow Down] Rizzla - Twitch Queen [Fade To Mind] Boylan - Shimmy [Oil Gang] Dinamarca - Juguete [Staycore] MM - Terrible Muscle [Even The Strong] DJ Plead - Liquify [Nervous Horizon] Tautumeitas - Reganu Nakts [CPL-Music] Clara! y Maoupa - Unreleased [Editions Gravats] Meuko! Meuko! - 眾神廟 The Temple [Danse Noir] Ausschuss - Headfirst [Haunter Records] Rizzla - Fucking Fascist [Fade To Mind] Rafa Maya - Sacrifice [320 RIP] Ivy Lab - Peninsula [Critical Recordings] Dead Can Dance - Agape [[PIAS] Recordings] Timbaland & Magoo Feat. Sebastian & Raje Shwari - Indian Flute [X-Mix] Simo Cell - Balandbeat [Brothers From Different Mothers] Matt Houston Feat. Lord Kossity ‎- Cendrillon Du Ghetto [Barclay]

Grilled meats on July 4th, and spooky movies in the dark. That's how Jake rolls and that's what he talks about today. Also, John Maus...Jake forgets to mention that John Maus is not only a musician, but a philosophy professor. So that information goes to the description now.Music recommendations are “Clube da Esquina” by Milton Nascimento, and “Unknown Pleasures” & “Closer” by Joy Division.Wake & Jakehttps://www.auxchicago.com/wake-jakehttps://www.instagram.com/wakeandjakepod/https://twitter.com/WakeandJakePodJake Fisherhttps://www.instagram.com/kennyg.g.allin/https://deathbotrecords.bandcamp.com/Music Composed by Jake FisherLogo by Baitul Javid

We're on social media now!! Follow on IG (@ywdap) and Twitter (@ywdapodcast)We discuss Nina Kravitz's seven-year-old bathwater being auctioned off for $650, and subsequently get some bad ideas for our Patreon. Jacob and Jeff give their Floridian takes on Fest. Aaron discusses Grimes's inspiring decision to end transphobia by buying a Monomachine to rip off SOPHIE.

This week, we drift in and out of sleep to the clean and ambient soundscapes of New Age. Tracks are taken from Light in the Attic's archival collection 'Kankyo Ongaku' as well as hypnagogic-popper John Maus' latest record 'Addendum'.

On today’s very special episode of Songmess we are joined by Jorge Chalino and Arturo Uriza, two dynamic musicians from the city of Cholula. Together they are Cholula Dans Division, an explorative band playing with obscure vinyl samples and synth experimentation to create wild, danceable soundscapes. Uriza co-owns and manages Rompe Records, a stylish store in downtown Cholula, fully equipped with a bar and space for small indie shows and DJ sets that go off every weekend. On the flip side, Chalino runs a home studio where he crafts magical sounds for several bands and artists in town, including personal projects like Montecarlo 88, The Phoenix Flowers and Planetas Muertos. Our conversation today is touching on everything from their creative dynamic, to Cholula and Puebla’s love of Sonidero culture and their rebuking of social media and streaming platforms. Find all their music, including that for their alternate projects, for purchase on Bandcamp! Featured Artists: Cholula Dans Division, KLF, The Phoenix Flowers, Montecarlo 88, John Maus and The Orb. Cholula Dans Divison Bandcamp: https://choluladansdivision.bandcamp.com/ Montecarlo 88 Bandcamp: https://montecarlo88.bandcamp.com/album/m-xico-86 The Phoenix Flowers Bandcamp: https://thephoenixflowers.bandcamp.com/releases Songmess Instagram: www.instagram.com/songmess/?hl=es-la Songmess Merch: https://songmess.threadless.com/ #BOPS Playlist: https://open.spotify.com/user/22bbqlhgqrssaoxlha3zkdr7y/playlist/2sdavi01h3AA5531D4fhGB?si=H0YSN5DvSV-yRHAxl4CB6Q Subscribe to Songmess on Apple Podcasts, Stitcher, Google Play or SoundCloud, find us on Facebook, Twitter and Instagram, and contact us at songmessmusic@gmail.com.

“Amuse-Bouche” – March 9th 2019 Tuck in,  there’s so much pop culture media to nosh on this week and only two hosts in house to eat it up. Mark is off saving the world, so it’s up to Matt and John to “Gotta Get Up, Gotta Get Out, Gotta get Home till the Morning Comes.” Wait? Did we say that already? Ah, well. Who Cares? In infinite time loops this podcast is still a blast. Enjoy this Amuse-Bouche a.k.a. “Silky Nutmeg Ganache” of T.V., Film, Theater, and Music before the main course of our first Madcap Marchness episode…what’s the definition of Hoosier? (It’s a person from Indiana btw) Tonight, on the Marquee: T.V. Court – Russian Doll, RPDR S11, Game of Thrones, Mildred Pierce, NOS4A2, and The Act Movie Phone – Suspiria, From the Life of the Marionettes, The Hour of the Wolf, Sergei Bondarchuck’s War and Peace, Us, Pet Semetary, Cold Pursuit, Apollo 13, and How to Train Your Dragon 3: The Hidden World. Troddin the Boards – Glenn Close in Sunset Boulevard: The Musical: The Movie. Disc Jockeys – Harry Nillson, John Maus, Los Campesinos!, Love, Vampire Weekend, The National, Solange, Hozier, Synthetic Duck, Electric Bungalow, and Puke in a Sieve

Wednesday, February 28, 2019: Featuring Indie Dance, Darkwave - This mix was recorded live and contains tracks from John Maus, Phantogram, Chromeo, Thomas Dolby, Boy Harsher, Austra, Charlie XCX, Pale Waves, Hante., TRAITRS, Interpol and more.

Starring: Dan Stewart, Nick Wandersee. On this episode, Nick and I talk HBO's Crashing, Swiss Army Man, Lords of Chaos, the John Maus concert, and the best live shows we've been to. --- This episode is sponsored by · Anchor: The easiest way to make a podcast. https://anchor.fm/app

Whoa people.....has it been 1 year of Reg and Stone? Why yes it has! We wish happy birthday to ourselves before diving into the new Offset album, Father of 4, Solange's weird takeover of BlackPlanet, and new music from Doja Cat + Rico Nasty, plus Lizzo and John Maus. See acast.com/privacy for privacy and opt-out information.

Karsan Turner already discussed John Maus and his musical career...but in this episode we learn about a different part of Maus' life. Did he make contact with aliens? Or is it just the government trolling Karsan?

Two pieces, one a radio play performed by me and my fam, and a conceptual sound piece based on William Basinski's "Disintegration Loops" and John Maus's song "Sensitive Recollections." Happy birthday, Art!

If you were intrigued by Colman Connolly's concert review of John Maus published last week, this podcast will be of great interest to you. Karsan discusses the progression of this experimental artist including his influences, work outside of the music world and other projects. If you're new to John Maus, Karsan crafted a Spotify playlist of the best. https://open.spotify.com/playlist/54v5fDZcLLz552znDvWyem

Vous pouvez dire ce que vous voulez, il faut de tout pour faire un monde. De tout, ça tombe bien puisque c'est ce qu'aime notre invité : de Tout.Alors autant vous dire qu'il a du faire un choix dans tout ça et je n'ai pas été déçu pendant l'enregistrement.Entre souvenirs de télévision, moment de concert, quelques ambiances travaillées au bourbon ou juste parfois un peu plus étrange, cette playlist est l'occasion de parcourir éclectisme d'un graphiste nanardeux, amateur de magasines qui font tut tut. C'est la playlist de MVCDLM. Idiotèque (en live) de Radiohead. Sous le soleil des tropiques de Ludwig Von 88. Bylar de Dead Can Dance. I've seen footage de Death Grips. Waiting Room de Fugazi. Blue in Green de Miles Davis. Carnaval de Taeko Onuki. Cop Killer de John Maus. Ars Moriendi de Mr Bungle. Aghartha de SunnO))). Et le titre de la honte :Supernatural de Danny L Harle feat. Carly Rae Jaspen. Les bonus :L'oeil du cyclone (le site de notre invité pas l'émission de Canal+ mais apparemment c'est fait un peu exprès).Les meilleurs live de Nulle part Ailleurs.Reformation de Ludwig Von 88.Les sites spécialisés musique sue sont Pitchfork, Le Drone, Mowno, Noisemag et Noisey Vice.Radio 666Le concert de John Maus : Glassland live (faut être accroché hein).

Peter from Carlsbad is a good friend from... I can't remember where.   We talk about being a creep at work, being labeled a creep at work, defending Kevin Spacey, fatherhood, and John Maus.

This week on Kettle, Simon is away in the desert so Ben is rejoined by Matt B to play new tunes and chat about music production with modular synths (Simon played one of his tracks back on #207.) Enjoying the show? Please support BFF.FM with a donation. Playlist 8′00″ Bodys by Car Seat Headrest on Twin Fantasy (Matador Records) 11′35″ Mainland by Rolling Blackouts Coastal Fever on Hope Downs (Sub Pop) 16′17″ Me And My Husband by Mitski on Be The Cowboy (Dead Oceans) 17′01″ Under the Sun by DIIV on Is The Is Are (Captured Tracks) 27′52″ Repeating Patterns by We Were Promised Jetpacks on The More I Sleep The Less I Dream (Big Scary Monsters) 31′41″ Mothers by Steady Holiday on Nobody's Watching (Barsuk) 35′20″ Small Spaces by Micah P. Hinson on Small Spaces (Full Time Hobby) 44′35″ Glimpse Of Hope (Joe Goddard Remix) by Nils Bech on Echo EP (DFA Records) 51′23″ Cop Killer by John Maus on We Must Become the Pitiless Censors of Ourselves (Ribbon Music) 55′00″ Happy Ending by Alex Cameron on Jumping the Shark (Secretly Canadian) 65′11″ The Ghost Ship by Farao on Pure-O (Western Vinyl) 67′38″ Guilty Pleasures by Georgi Kay on Guilty Pleasures (Monoki) 71′24″ Dive Down by Mile Me Deaf (Siluh) 75′00″ Dark Heart by Tunng on Songs You Make At Night (Full Time Hobby) 82′35″ God(s) by Jean-Michel Blais on Dans Ma Main (Arts & Crafts) 84′36″ Four Years Later by David Holmes on Mosaic OST (Touch Sensitive) 98′17″ Moons Apart by Ann Annie on Atmospheres, Vol. 2 (Modularfield) 100′15″ Perdonare by Alessandro Cortini on AVANTI (Point of Departure) 104′55″ Everything About You Is Special by Venetian Snares on Traditional Synthesizer Music (Mutesong) 108′34″ Earth-Sinking-Into-Water by Surgeon on Luminosity Device (Dynamic Tension) 117′18″ Solarised Sound by Cavern of Anti-Matter on Hormone Lemonade (Duophonic) Check out the full archives on the website.

Night Birds: Recorded & mixed by Reuben Aptroot Recorded at the Zoo, Brisbane, 9th June 2017 Hailing from New Jersey, Nights Birds play surfy, punk rock whilst paying homage to the hardcore movement of the 80’s. Since 2009 they have released a total of LP’s, including their latest effort Mutiny At Muscle Beach through Fat Wreck Chords, as well as a handful of 7 inches. The four piece are known for their extremely energetic live performances and fiercely DIY ethos. Greenwave Beth: Recorded  & mixed by Branko Cosic Recorded at the 4ZZZ Carpark, Brisbane, 26th August 2017 Sydney’s Greenwave Beth is the musical project of Flowertruck vocalist Charles Rushforth and Will Blackburn. They combine restrictive and industrial sounds of midi sequenced drum and bass with free form songwriting in the style of John Maus and Suicide. With their debut single “Make Up” being released in 2017, Greenwave Beth have supported the likes of Hockey Dad, Big White and Mere Women.

Durée : 59:12 - 2017/2018: RETOUR SUR UNE SAISON DE CONCERTS. Pour la dernière émission de cette saison, Nico de FrancoSun est venu me rejoindre pour faire une petite synthèse des concerts qui nous ont marqués. On a pris nos choix, on a mélangé avec les vôtres, et ça a donné ça, à écouter bien au frais durant tout l'été... Her - Quite Like (Stereolux Nantes le 29 Novembre 2017 et le 27 Avril 2018) Belle & Sebastian - I'll Be Your Pilot (Stereolux le 9 Février 2018) Sweat Like An Ape - High Moon (La Scène Michelet le 30 Mai 2018) John Maus - The Combine (Festival Soy à la Maison de Quartier de Doulon Nantes le 28 Octobre 2017) Lenparrot - Inner Place (Le Lieu Unique Nantes le 11 Février 2018) Chaton - N'importe quoi (Festival Les Z'éclectiques au Jardin de Verre Cholet le 17 Février 2018) Duchess Says - Negative Thoughts (Festival Wine Nat / White Heat au Lieu Unique Nantes le 20 Mai 2018) Cachemire - La Veste (La Barakason Rezé le 21 Avril 2018) La Maison Tellier - Sur Un Volcan (Les Rockeurs ont du Coeur à Stereolux Nantes le 16 Décembre 2017) Justice - Fire (La Nuit de l'Erdre à Nort-sur-Erdre le 29 Juin 2018) Très bel été à tous, profitez de vos vacances si vous en prenez pour aller voir un maximum de concerts, on se retrouve pour les sélections hebdomadaires en direct des studios de SUN à la rentrée, toujours le lundi de 19H à 20H. Retour prévu le 17 Septembre avec une émission spéciale Festival Scopitone qui aura lieu à Nantes du 19 au 23 Septembre !  D'ici là, tout l'été, chaque lundi de 19H à 20H, profitez de la sélection musicale "Artistes du Grand Ouest" préparée par Du Bruit à Nantes, pour rester complètement à l'ouest !  

Durée : 59:12 - 2017/2018: RETOUR SUR UNE SAISON DE CONCERTS. Pour la dernière émission de cette saison, Nico de FrancoSun est venu me rejoindre pour faire une petite synthèse des concerts qui nous ont marqués. On a pris nos choix, on a mélangé avec les vôtres, et ça a donné ça, à écouter bien au frais durant tout l'été... Her - Quite Like (Stereolux Nantes le 29 Novembre 2017 et le 27 Avril 2018) Belle & Sebastian - I'll Be Your Pilot (Stereolux le 9 Février 2018) Sweat Like An Ape - High Moon (La Scène Michelet le 30 Mai 2018) John Maus - The Combine (Festival Soy à la Maison de Quartier de Doulon Nantes le 28 Octobre 2017) Lenparrot - Inner Place (Le Lieu Unique Nantes le 11 Février 2018) Chaton - N'importe quoi (Festival Les Z'éclectiques au Jardin de Verre Cholet le 17 Février 2018) Duchess Says - Negative Thoughts (Festival Wine Nat / White Heat au Lieu Unique Nantes le 20 Mai 2018) Cachemire - La Veste (La Barakason Rezé le 21 Avril 2018) La Maison Tellier - Sur Un Volcan (Les Rockeurs ont du Coeur à Stereolux Nantes le 16 Décembre 2017) Justice - Fire (La Nuit de l'Erdre à Nort-sur-Erdre le 29 Juin 2018) Très bel été à tous, profitez de vos vacances si vous en prenez pour aller voir un maximum de concerts, on se retrouve pour les sélections hebdomadaires en direct des studios de SUN à la rentrée, toujours le lundi de 19H à 20H. Retour prévu le 17 Septembre avec une émission spéciale Festival Scopitone qui aura lieu à Nantes du 19 au 23 Septembre !  D'ici là, tout l'été, chaque lundi de 19H à 20H, profitez de la sélection musicale "Artistes du Grand Ouest" préparée par Du Bruit à Nantes, pour rester complètement à l'ouest !  

This week the gang is joined by Loquacious Leon to discuss what not to do on Cinco De Mayo, drug addiction, the Burning Man Libertarian Jerk Sesh, homelessness, New Zealand (not really), and loneliness in the age of the internet, and a bunch of other stuff. This week's breaks are "The People Are Missing" by John Maus and "Pink Frost" by (New Zealand's own) The Chills. Subscribe to Mortville! 

New music from John Maus (obligatory) & Tess Roby, and I recommend checking out Anna McClellan.

johnma.us / pdxpod.comSupport the show (https://www.paypal.me/pdxpod)

Wir sind endlich auf Spotify! An dieser Stelle möchten sich Albert und Christopher bei allen Platten entschuldigen, die aus Platzmangel, Willkür und Tagesform nicht in die aktuelle Folge gekommen sind. Das Musikjahr ist gut zu uns und wir zu euch. Diesen Monat sprechen wir z.B. über die Rückkehr von Hamburgs House-Maestro DJ Koze, Hype-Thema Peggy Gou auf Ninja Tune, die zwei neuen Platten von Techno-Mysterium Traumprinz und die sensationelle Leftield-Pop-Compilation auf dem ebenso sensationellen Label Music From Memory. Dazu das DFA-Debüt von Perel, die erste EP der norwegischen RnB-Erneuerer Smerz sowie Geheimtips aus Mühlheim und eine Überraschung von Nicolas Jaar. P.S. Irgendwas mit Actress. Setlist [00:00:00] Intro [00:01:03] Welcome to Spotify! Wir sind umgezogen und haben euch mitgenommen [00:06:22] Zuletzt gehörte Platten: Das neue Autechre-Epos, Gang-Gang-Dance-Skepsis und DJ-Krush-Nostalgie [00:13:56] Coming soon: Actress, Moodymann, Ryo Fukui, John Maus etc. [00:23:35] Video-Talk: Sophie – Faceshopping [00:28:04] DJ Koze // Knock Knock (Pampa Records) [00:42:33] A.A.L // 2012 – 2017 (Other People) [00:49:37] Perel // Hermetica (DFA) [00:58:53] Peggy Gou / Once EP (Ninja Tune) [01:05:33] Thoma Fehlmann & Terrence Dixon // We Take It From Here (Tresor) [01:13:39] Phaserboys // st EP (Aiwo rec.) [01:20:00] Smerz // Have Fun EP (XL) [01:25:13] DJ Healer // Nothing 2 Loose & Prime Minister of Doom // Mudshadow Propaganda (All Possible Worlds) [01:37:06] Marie Davidson // st EP (HoloDeck) [01:43:04] VA: Uneven Paths – Deviant Pop From Europe 80 – 91 (Music From Memory) [01:53:22] Playlist-Talk: Princess Nokia, Tara Nome Doyle, The Streets, Flame1, DJ Playstation, Daniel Avery, S4U uvm.. [02:04:25] Irgendwie ist Musik gut, Ausblick + Verabschiedung

Delve into the strange and wonderful world of Weirdo Music Forever. Bobby Weirdo is the main man at this website that curates a magical world of art and music based on his favorite artists. Ariel Pink, John Maus, R Stevie Moore, and Gary Wilson. Bobby's attention to the myriad of other like minded artists that spring from this well does an amazing service to the community. His Passion, perseverance and knowledge are awe-inspiring. I learned a lot studying The Weirdo Music Forever Community and you will to. This Conversation was recorded on an iphone 7 using Tapeacall app. Mid April 2018 in a small farmhouse in Western PA. ENJOY!

...it rains a lot. Lauren, CiTR's high school intern, co-hosts. Featuring very new music from John Maus, Dumb & Olivia's World!

Come for the aesthetic, stay to learn about the sport of football. Ahem (https://www.youtube.com/watch?v=QfFCb1y0WfA)

1 ~ Sleepwalk by Santo & Johnny 2 ~ Here She Comes Now by The Velvet Underground 3 ~ This Is The Day by The The 4 ~ Driving And Talking At The Same Time by The Necessaries 5 ~ Joe Le Taxi by Vanessa Paradis 6 ~ Cold Cafe by Karen Marks 7 ~ Feel It All Around by Washed Out 8 ~ Playground by Schmoov! 9 ~ Aquarius by Boards Of Canada 10 ~ Wild Heart (Live Recording) by Stevie Nicks 11 ~ Pauvre Lola by Serge Gainsbourg 12 ~ Come On Home by Lee Hazlewood 13 ~ PPP by Beach House 14 ~ Money by Pink Floyd 15 ~ You Can Have It (Take MY Heart) by Robert Palmer 16 ~ Straight To Hell by The Clash 17 ~ Hey Moon by John Maus

A tribute to Mark E. Smith of The Fall, who died yesterday but will always be a bad ass. New music from Wetface and a new show ID from JOHN MAUS (!!!!!!!!!)

¡Nuevo programa musical de Metodologic! ¿Qué os parece un singular recorrido por algunas melodías de videojuegos cuya base se inspira o ha servido de inspiración al respecto de otras músicas? Spidey selecciona una serie de potentes composiciones que, durante casi dos horas, recorren casos de sintonías que claramente se inspiran en otras, de plagios descarados y, por qué no decirlo, de copias involuntarias. Oiremos temas de artistas como John Maus, Soul II Soul, Stratovarius, Jean Michel Jarre o Dimmu Borgir, intercalando a míticos nombres del videojuego como Chris Huelsbeck, Michiru Yamane, Tim Wright o Kenji Yamamoto. ¿Sabes de más temas que encajen con la temática de este programa? Cuéntanoslo, que nos interesa ;-) Programa dedicado a la memoria de Dolores O'Riordan.

John Maus is coming to town and I'm going a bit squirrelly with anticipation. Also, new music from Moon King & US Girls

Lubacov cumplió años y años y años y lo hace saber de forma pasiva-agresiva mientras Señorlobo y el ponen temarracos, como siempre, del demonio. Esta semana con Tito Ramírez, Max Meser, Calibro 35, Shigeto, Mike Fabulous, Cálido Lehamo, LyricL y John Maus.

La Mélodie du Bonheur, c'est un podcast hebdomadaire consacré à la musique. Chaque semaine, un album passe dans notre viseur, dans un cycle trois actus, un hors-actu. L'album de la semaine : Cette semaine, Cater, Flavien, Loik et Wazoo vous parlent de Dedicated to Bobby Jameson, album d'Ariel Pink sorti le 15 septembre 2017 et de Screen Memories, album de John Maus sorti le 27 octobre 2017. Les recommandations : • Cater : Phantom Brickworks, album de Bibio• Flavien : Getting Over It with Bennett Fody, jeu vidéo développé par Bennett Fody• Loik : Songs of Protest and Anti-Protest, album de Bobby Jameson sous le nom Chris Lucey• Wazoo : la saison 3 de Twin Peaks, série créée par Mark Frost et David Lynch. La critique de toitouvrant sur The Doldrums. Tracklist : • Générique de début : Michel Polnareff – Une simple mélodie ; Star Academy – La Musique• Album de la semaine : John Maus - Hey Moon / Ariel Pink's Haunted Graffiti -Bright Lit Blue Skies ; Ariel Pink - Another Weekend ; John Maus - Teenage Witch• Quizz : Ariel Pink's Haunted Graffiti - Round and Round / John Maus - And the Rain... ; Ariel Pink's Haunted Graffiti - The Doldrums / John Maus - Rights for Gays ; Ariel Pink's Haunted Graffiti - The Ballad of Bobby / John Maus - Time to Die ; Ariel Pink's Haunted Graffiti - Can't Hear My Eyes / John Maus - The Combine ; Ariel Pink's Hautned Graffiti - Is This the Best Spot ? / John Maus - Cop Killer ; Ariel Pink - Time to Live / John Maus - Maniac ; Ariel Pink - Tiume to Meet Your God / John Maus - Do Your Best ; Ariel Pink - Witchhunt for World War III / John Maus - Keep Pushing On ; Ariel Pink - Dedicated to Bobby Jameson / John Maus - Pets ; Ariel Pink - Put Your Number in My Phone / John Maus - Streetlight ; Ariel Pink's Hautned Graffiti - Jesus Christ Came to Me in a Dream / John Maus - Touchdown ; Ariel Pink's Hautned Graffiti - Butt House Blondies / John Maus - Pur Rockets• Morceau de fin : Brendan Byrnes - Siolas• Générique de fin : Pet Shop Boys – Hit Music ; ABBA – Thank You for the Music ; Ulver – Like Music ; Kraftwerk – Musique Non Stop ; Serge Gainsbourg – Ballade de Melody Nelson Retrouver le podcast : XSilence | Facebook | Twitter | iTunes | Podcloud

RA's editorial staff look back on the year.

RA's editorial staff look back on the year.

DJ Kevin Cole crushes it on his latest new music mix featuring Kiasmos, the Gunn-Truscinski Duo, John Maus, Hundred Waters and the cross cultural collaboration of heavyweights Trio Da Kali & Kronos Quartet.   1. Autonomics - Southern Funeral 2. Flat Worms - Pearl 3. Oh Sees - Jettisoned 4. Cock & Swan - What Was Life? (What's Your Problem?) 5. John Maus - The Combine 6. Porches - Find Me 7. Hundred Waters - Wave To Anchor 8. Shredders - Fly As I Dare 9. GDJYB - That Day I Went To His Funeral 10. Ages and Ages - How It Feels 11. Gunn-Truscinski Duo - Flood And Fire 12. Trio Da Kali & Kronos Quartet - Eh Ya Ye 13. Kiasmos - BlurredSupport the show: https://www.kexp.org/donateSee omnystudio.com/listener for privacy information.

Albert und Christopher klettern aus den Plattenkisten, setzen den Expeditionshelm ab und schmeißen das Mikro an um sich für Episode 4 von Track17 zurückzumelden. Im Gepäck sind neue EPs der Hamburger Acid-House-Chefin Helena Hauff und von Exploded View, welche gewohnt kühlen 60s Dub-Punk kredenzen. Und weil ein bisschen Nostalgie nicht schaden kann, reisen wir mit Blockhead in das ferne Jahr 2007, suchen verzweifelt mit Palmbomen II nach seiner Cindy, freuen uns schon auf DJ Lindenstraße, werfen Touchdowns mit Comebacker John Maus uvm.. Spotify-Playlist https://open.spotify.com/user/1122029323/playlist/7AtwymJUY4fJxsIlWedMGB Setlist [00:00:00] Intro [00:01:50] Zuletzt gehört: Patrick Cowleys Soundtracks, Fever-Ray-Haderei und Metro-Area-Reissue.. [00:11:21] John Maus // Screen Memories [00:20:15] Palmbomen II // Memories Of Cindy [00:27:48] Levon Vincent // For Paris [00:34:50] Exploded View // Summer Came Early EP [00:42:06] Sudan Archives // Sudan Archives EP [00:46:21] Blockhead // Uncle Tony's Coloring Book [00:54:44] Thomas Brinkmann // Retrospektiv [01:02:57] Burial // Pre Dawn/Indoors [01:15:06] Helena Hauff // Have You Been There, Have You Seen It EP [01:19:19] DJ Seinfeld // Time Spent Away From U [01:28:23] Playlist-Talk: Floating Points, Blawan, The Orielles, Avalon Emerson uvm.. [01:32:35] Wiederschaun Reingehaun + Ankündigung der Special-Ausgabe zum Jahresende

News indie, Girls in Hawwaii, John Maus, Baxter Dury

In this episode, Sean and Jake discuss new albums from Julien Baker, Weezer, Slaughter Beach, Dog, and John Maus. They also discuss Pinegrove's new single “Intrepid,” and whether Pinegrove has potential to be the “next big” indie rock band. Segments include Mt. Rushmore of greatest hits albums, Recommendations of the Week, and Release Radar.

Records we talk about: Margo Price - https://open.spotify.com/album/2ZxlcZ2NMgupfqGcyjnmkE Jackie Shane - https://open.spotify.com/album/4cixaT2jAnamdxeLqvWOhk A. Savage - https://open.spotify.com/album/1jmReMlhBKjUB7KXg9Pdxm John Maus - https://open.spotify.com/album/50Trv9V4O6AUqYOCm5HUG8 Events We Mention: Movie Night: https://www.facebook.com/events/490463681309038/ Guantanamo Baywatch: https://www.facebook.com/events/323556001442740/ Neptunes Halloween: https://www.facebook.com/events/292808551221170/ Other Stuff We Talk About: https://support.apple.com/explore/find-my-iphone-ipad-mac-watch Tocino Gump Insult Vid: https://www.youtube.com/watch?v=WC6zd5MPA2E Kev's "The Man Who Sold The World" cover: https://www.youtube.com/watch?v=x26_BHZtPzs Kev & Enoch's episode of Pavement Enslavement https://thepavementenslavement.simplecast.fm/ Kev's Band: https://lesswestern.bandcamp.com/

New songs from Nick Krgovich! John Maus! And Fuzzy P!

Pour la première émission de Reverb 21, Justine vous emmène avec elle à bord de sa R21 découvrir l’artiste américain…

Трек-Лист Выпуск № 243 01 Sedgewick – To Fold 02 Geowulf – Drink Too Much 03 KALEIDA – Meter 04 The National – Day I Die 05 Hello Jonathan – Karma Secrets 06 Wolf Parade – You're Dreaming 07 The Pains Of Being Pure At Heart – The Echo Of Pleasure 08 Tori Amos – Cloud Riders 09 Tori Amos – Up The Creek 10 UNKLE feat. Mark Lanegan & ESKA – Looking for the Rain 11 John Maus – The Combine 12 Shock Machine – Shock Machine 13 Andrew Belle – TRNT 14 Jakob Ogawa feat. Clairo – You Might Be Sleeping

Da sind wir wieder und mitgebracht haben wir den „schwierigen zweiten Podcast“, in welchem wir über die für uns wichtigsten Platten des Monats sprechen. Warum das LCD-Soundsystem-Revival die bessere Trainspotting-Fortsetzung wurde und was FIFA06 damit zu tun hat, wie der gespenstische Electro-Pop von Kedr Livanskiy eine Szene in Russland erweckt, warum Four Tet ohnehin die geilste Sau ist, wieso Christopher beim neuen Mount Kimbie-Album melancholisch auf 2009 zurückblickt, warum mit Ross From Friends House jetzt als Meme durchgeht und und und… Setlist [00:00:00] Intro [00:01:42] Über Holger Czukay & seine Bedeutung [00:07:25] LCD Soundsystem // American Dream [00:19:20] Kedr Livanskiy // Ariadna [00:26:21] Four Tet // SW9 9SL-Planet (12") [00:34:34] VA // Closed Circuits: Australian Alternative Electronic Music Of The 70s & 80s Vol. 1 [00:41:17] Sunshine & The Rain // In The Darkness Of My Night [00:46:44] Mount Kimbie // Love What Survives [00:56:09] Actress & LCO // Audio Track 5 (12") [01:01:46] Ross From Friends // The Outsiders (2x12") [01:12:08] Maya Jane Coles // Take Flight [01:17:01] Bicep // Bicep [01:24:13] Playlist zur Sendung mit Deerhoof, Dauwd, DJ Hell, Nina Kraviz, John Maus etc... [01:27:58] Auf WIederhören! Kopfhörer raus und ab in den Plattenladen..

A long awaited new release from John Maus gets us going this week with a cut from his new record ahead of a career-spanning reissue release on Ribbon Music. There are plenty of newbies on the show though, including Coil/Wire/Tomaga members collaborating as UUUU, 19-year old Rwandian freestylist Rosine Nyiranshimiyimana, London jazz collective Ill Considered, and Flamingods solo project Samsara. We also have the latest from Dead Albatross Award winners Annabel (lee) and immense disco edits from Yung Bae

Episode 17 features new songs from Frankie Rose, Robyn Hitchcock, and B Boys! Robyn Hitchcock and Frankie Rose embark on nationwide tours starting in September, so catch them in your town this fall!   Plus great tunes from tons of bands playing at all your favorite spots from Jersey City to Bushwick, including Bethlehem Steel, John Maus, Patio, Lina Tullgren, Gun Outfit, and NRBQ! Ringo Deathstarr and the Dead Kennedys round out this episode with two musical public service announcements. This podcast hates fascists and would like to remind you to avoid direct eye contact with the sun during the lunar eclipse next week!

В этом эпизоде я и Александр Путило, уже знакомый вам по третьему эпизоду RJ/Podcast, пытаемся прийти в себя после урагана, которым оказался 8 эпизод, и вернуться в более "привычную" обстановку Твин Пикса.

A John Maus "rarity," new Echuta & Kristian North (ex[?]-Babysitter), plus a beatboxing break by Storm.

Your host for this edition is Marcel DuchampIt is entitled Machines Are the Agents of Our DestructionThis edition was programmed by Max SlobodinThe ContentFirst Sequence:Talking Heads - I ZimbraDeerhoof - Life is SufferingTorn Hawk - Untitled ThreeNancy Sinatra - You Only Live TwicePrimal Scream - Higher Than the SunSecond Sequence:The Normal - Warm LeatheretteKate Tempest - The TruthCharles Mingus - Duet Solo DancersJohn Maus - ...and the RainTangerine Dream - Diamond DiaryThird Sequence:Prinzhorn Dance School - WorkerMarnie Stern - Every Single Line Means SomethingBananarama - Cruel SummerTV on the Radio - DLZLadytron - Soft PowerFourth Sequence:Siouxsie and The Banshees - Red LightSilver Apples - A Pox On YouLightning Bolt - Dead CowboyStan Ridgway - CamouflageDeath Grips - I Want It I Need It (Death Heated)Summation:Stereolab - Jenny Ondioline

Feat. a cheese and crackers mix from Scraps [AU], and other pieces from Simon. From Scraps: "its basically full of cheese and crackers- a mix of tunes that I dig, including a bunch of tunes from my friends bands that are awesome!!! Brainbeau, Kt Spit, Madboots and The Harpy Choir (THC) which was a Brisbane band I played in briefly with Matt Kennedy of Kitchensfloor and Julia formerly of the original Bent. I wish I was friends with East 17, Bobby Brown, DMX and the rest of the crew! Maybe one day they will call me up and say, "oi, lets have a cheesy party bitch", and ill be "Yess, lets make the dancefloor into a lava fondue" Shit yess, imagine Imagination slow dancing with John Maus, the passion!! the flames!! Stacks on Thompson Twins coco-jumbo sandwich, fucking hold me now, no rush..." 5crap5.bandcamp.com @not-not-fun-1 @moontown-records facebook.com/friendlypotential www.r1.co.nz/programme/sunday/friendlypotential

Tukholmalainen Sam Ghazi on lääkäri, kirjailija ja runoilija. Hän miettii kesäpuheessaan kahtiajakoisuuden etuja, kertoo alkuperästään, runoudesta - ja patologiasta. Ruumiinavaus avaa Sam Ghazin kesäpuheen. Se on varta vasten käännetty suomeksi esikoisrunoteoksesta Sömn är tyngre än vatten. Se on ohjesääntö siitä, kuinka tehdä ruumiinavaus ja kuinka kirjoittaa elämästä. Siitä hän siirtyi tieteiskirjallisuuden pariin, ja onnistui. Sången ur det kinesiska rummet on saanut paljon huomiota ja hyviä arvosteluja, ennen kaikkea koska se ei ole mikään tavallinen scifi-kirja. Se onkin oikeastaan omaelämäkerrallinen tarina - pääosassa on robotti, joka haluaa runoilla eikä analysoida syöpäsoluja. Teoksesta huomaa, että sen on kirjoittanut patologian erikoislääkäri, joka mieluummin kirjoittaa kuin tapaa potilaita. Ilman äitiä ei olisi tullut kesäpuhetta Sam Ghazin isä oli kotoisin Syyriasta, varakkaasta perheestä.  Äiti oli pientilallisen tytär Itä-Suomesta. Arabiaa Sam ei ole oppinut, mutta suomea kyllä, mutta vain lapsena. Nyt siitä on parikymmentä vuotta, joten miten selviytyä kesäpuhujatehtävästä kymmenvuotiaan sanastolla? No, äiti auttoi.  Sam Ghazi miettii kahtiajakoisuuden etuja, kertoo alkuperästään, runoudesta ja patologiasta. Ja tähdentää, että kirjallisuus on kohtauspaikka, jossa voi ylittää rajat ja olla säälimätön. Parempi tehdä se siellä kuin todellisessa maailmassa. Sam Ghazin kesäpuheeseensa valitsemat kappaleet: 1. Kanada's death, Pt 2, Adagio in D Minor, John Murphy, Sunshine - music from the motion picture 2. Avenue of Hope, I am Kloot, Sunshine - music from the motion picture 3. Streetlight, We must become the pitiless censors of ourselves, John Maus 4. Fredmans epistel 72-Lämnad vid Cajsa Lisas säng, sent om en afton, Visorna, Nina Ramsby och Martin Hederos Sisuradion kesäpuhujat keskiviikkoisin kello 18.30 P4-kanavalla ja uusintana sunnuntai-aamusin P2-kanavan Kulttuurisunnuntaissa. Sekä milloin ja missä vain netissä ja älypuhelimen SR Play -appissa. Tuottaja: Ulla Rajakisto ulla.rajakisto@sverigesradio.se  Kuuntele Sisuradion Kesäpuhujat 2014 - soittolistaa Spotifyssa:

On influences, with Ross Simonini, playing songs and videos that have inspired him

La música de ball dels 80, el techno dark, el synth pop i tots els seus derivats, el mite d'una època que es creia esgotada, ha tornat als nostres díes. D'Ultravox a Pallers, de Gary Numan a John Maus. Tot un viatge.

Playlist: The Nite-Liters – Excuse me while I do my thing, Curtis Mayfield – Little Child Running Wild, Scientist – Rocking Time Warp Dub, John Maus – Matter of Fact, Battles – Africastle, The Cure – A Forest, Ariel Pink – Menopause Man, Real Estate – Green Aisles, Wild Nothing – Drifter, Beach Fossils – […]

John Maus, Castles in the GraveLee Hazlewood, Pour ManSonny & the Sunsets, Pretend You Love MeLower Dens, PropagationBeach House, Equal MindMount Eerie, House ShapeBroken Water, DrownThe Maxines, Hang AroundWeed, Even BlackSharon Van Etten, Give OutPap Pap!!, Your Golden Thoughts Over Black CoffeeWhat's Hot, We Are What's Hot!No Gold, Good & Bad

John Maus, No Title (Molly)The Dirty Projectors, The Gun Has No TriggerGreat Lake Swimmers, The Great ExhaleThe Pack AD, SirensThree Inches of Blood, My Sword Will Not SleepScissor Sisters, Filthy GorgeousPhil Dickson, Nothin But LoveAnna Karina, Roller GirlChromatics, Kill for love

We woke ourselves up laughing, our heads spinning to future music. Somewhere near the beginning was new music from Ninja Tune vets Funki Porcini, and at long last, DJ Food. New singles from Sei A and Julio Bashmore kept our heads above water, while Yppah played “D.Song.” The praised sounds of John Maus were ringing […]

John Maus, Quantum LeapBabysitter, Gotta Be Me, Gotta Be FreeKorean Gut, Your Misery, Our BenefitWeed, With DrugSean Nicholas Savage, Can’t Get My Mind Off YouNo GoldWeird WeekKellarissa, Moon of NeptuneApollo Ghosts, LightweightPEACE, The DarkSilver Shampoo, Jethro SkullBlack Lips, Raw MeatSlim Twig, PriscillaYacht, I Walked AloneTennis, PigeonCape DoryEleanor Friedberger, I Won’t Fall Apart On You TonightThanks again to CJ for the three week fill-in!

John Maus, Cop Killer Blouse, Time Travel Blackout Beach, Be Forewarned, The Night has Come Fine Mist, Out of Love (No Kids remix) Babysitter, Paralyzer Paunch Sleuth, Doris Day Mac DeMarco, Rock ‘n’ Roll Nightclub Aaron Read, Woman in the Dunes Quaker Parents, When You Can’t Beat The Dream Guided By Voices, Doughnut For A Snowman Yacht, I Walked Alone Painted Palms, Falling Asleep Machu Picchu, All I Want for Christmas is a Hoverboard Wild Billy Childish & The Musicians of the British Empire, Pete Townsend’s Christmas I'm away the next three weeks. CJ has generously offered to fill in for me. Thanks pal! Back again on January 5th!

The Noise of Foliage. Including new and unreleased tracks from Nite Jewel, Meredith Monk, Shirley Collins, Puce Moment, Sissy Soundsystem, Moderat vs. Shackleton, Mount Kimbie, Belbury Poly, Siouxsie and the Banshees, Atlas Sound, 3 Teens Kill 4, The Mattachine Machine, John Maus, Psychic TV, Riceboy Sleeps, Lawrence English, and Antony and the Johnsons.

"Chuckanut Drive" by Power Pill Fist from Kongmanivong; "We Are the Living" by Our Brother The Native from Make Amends for We Are Merely Vessels; "She Swims in the Clouds" by Barn Owl from Bridge to the Clouds; "Birds" by Lymbyc System from Love Your Abuser; "Luukkaangas" by Nemeth from Film; "It's Hot" by Religious Knives from It's After Dark; "Streets" by Valet from Naked Acid; "Entrance" by Excepter from Debt Dept; The untitled fifth track from Trade Ye No Mere Moneyed Art by Axolotl; "Heaven is Real" by John Maus from Love is Real; "Cockmotherfighting" by Natural Snow Buildings from Laurie Bird.

"Chuckanut Drive" by Power Pill Fist from Kongmanivong; "We Are the Living" by Our Brother The Native from Make Amends for We Are Merely Vessels; "She Swims in the Clouds" by Barn Owl from Bridge to the Clouds; "Birds" by Lymbyc System from Love Your Abuser; "Luukkaangas" by Nemeth from Film; "It's Hot" by Religious Knives from It's After Dark; "Streets" by Valet from Naked Acid; "Entrance" by Excepter from Debt Dept; The untitled fifth track from Trade Ye No Mere Moneyed Art by Axolotl; "Heaven is Real" by John Maus from Love is Real; "Cockmotherfighting" by Natural Snow Buildings from Laurie Bird.