Podcast appearances and mentions of john robie

Disney Chorus and Orchestra [00:20] "Little April Shower" Walter Disney's Story of Bambi Disneyland ST 3903 1960 Plip plop plip. You may recall from the last episode we heard a track from Stay Awake. On that album, "Little April Shower" is performed by Natalie Merchant, Michael Stipe, and the Roches (https://youtu.be/7ObPekx0h0M?si=BWAulm8X4hnsji14). Thelonius Monk [03:35] "Between the Devil and the Deep Blue Sea" Straight No Chaser Columbia CS 2651 1967 Monk takes a fine run at this standard originally recorded by Cab Calloway. Helped out here by Charlie Rouse on tenor sax, Larry Gales on bass, and Ben Riley on drums. Kyle Dixon and Michael Stein [11:14] "The Upside Down" Stranger Things - Volume One (A Netflix Series) Lakeshore Records 2016 Ah, the first season (https://youtu.be/b9EkMc79ZSU?si=8SqvgKenleN2NEJ0) was pretty near perfect. Had to go with the iconic title track. Frank Sinatra with the Nelson Riddle Orchestra [12:21] "Call Me" Strangers in the Night Reprise Records FS 1017 1966 Oddly enough, Frank has not one but two (2!) Petula Clark covers on this album including this one. I much prefer the brassy sassy production of Petula's version (https://youtu.be/M_mkSWxN2xk?si=gya-HwLlYCWK093i). Less Art [16:22] "Diana the Huntress" Strangled Light Gilead Media RELIC88 2017 Featuring members of Kowloon Walled City and Thrice. Igor Stravinsky and the Columbia Symphony Orchestra [19:34] "Firebird Ballet Suite (1945): Introduction - Prelude and Dance of the Firebird - Variations" Stravinsky Conducts Firebird Suite/Petrushka Suite Columbia Masterworks MS 7011 1967 This is the 1945 arrangement of The Firebird Suite. Roxy Music [22:44] "Over You" Street Life - 20 Great Hits EG EGTV 1 1986 A single orignally from Roxy Music's Flesh and Blood (https://youtu.be/3TL-Bc1giO8?si=FaZvmtDfdg2K-5uF). Evidently recorded as a way to tes tout Phil Manzanera's recently constructed studio. Made it as high as number 80 on the Hot 100. Death Valley Girls [26:07] "Electric High" Street Venom Suicide Squeeze SSQ181 2021 (originally recorded and released in 2014) Closing track to Death Valley Girl's debut studio album. Psych rock excellence (https://youtu.be/AO8z3AwIIaw?si=JCyzx7zyGK17UD5K). Salem 66 [31:08] "Seven Steps Down" 1984 Great Plains [mm:ss] "When Do You Say Hello" 1983 Strum and Thrum: The American Jangle Underground 1983-1987 Captured Tracks CT-302 2020 If you love jangle, you'll love Strum and Thrum. 28 tracks of jingle jangle goodness. An exceptional compilation that includes a 80 page booklet that dives into the scene. Yo La Tengo [36:39] "My Heart's Not In It" Stuff Like That There Matador OLE-1079-1 2015 It's hard to choose just once song from this album, but the opening track does a great job getting the listener in the mood for the album. It's a lovely rendition of the Gerry Goffin/Russ Titelman single recorded by Darlene McCrea (https://youtu.be/CuetP9wAHnY?si=o9YtuELwMU3C6S0v). New Order [39:25] "Sub-Culture" Sub-Culture Factory fac 133 1985 A remix by John Robie of the band's third single from Low-life (https://youtu.be/Uetuplhan_U?si=Or8I0F30teDUWLOh). The flip side is, of course, Dub-Culture. Ahmed Ben Ali [47:53] "Subhana" Subhana Habibi Funk HABIBI022 2023 That's right... reggae by way of Libya. Evidently reggae arrived right around peak Bob Marley and the Wailers and it took off from there. Barren Harvest [52:46] "Claw and Feather" Subtle Cruelties Handmade Birds HB-071 2014 Some dark and lovely ambient folk metal from Portland featuring Jessica Way of Worm Ourobouros. Nancy Sinatra [58:33] "Sugar Town" Sugar Reprise Records RS-6239 1967 A Lee Hazlewood number (naturally) that he says is an allusion to LSD sugar cubes. Featuring Wrecking Crew members including the great Carol Kaye, Glen Campbell, and Hal Blaine. Music behind the DJ: "These Boots Were Made for Walking" by Les Brown and his Orchestra

The fifteenth entry in 'The Shamley Silhouette', a podcasting journey through the works of Alfred Hitchcock Chapter 15 see's hosts Zach welcoming filmmaker and film lover Matt Willocks to follow the path of “The Cat” in 1955's TO CATCH A THIEF. Listen as they dissect what many consider to be the least Hitchcockian film and find out how Hitchcockian it really is. PLUS: James Stewart briefly appears to audition for Watchmen.

Stinking Pause – the movie review podcast with Scott, who this week is joined by Paul to chat about Cannes, cat burglars and Cary Grant It's 1955, it's Hitchcock, it's Cary Grant, it's Grace Kelly, it's the south of France….a truly great combination for a truly classic movie – To Catch A Thief For more than a decade, the dashing, retired jewel thief, John Robie, previously known as "The Cat", has been living quietly in his picture-perfect villa on the cosmopolitan, sun-kissed Côte d'Azur. However, someone is prowling the French Riviera, and as a spate of audacious diamond thefts is terrorising the Cannes, John will have no other choice but to spring back into action to clear his name. Indeed, John is caught between a rock and a hard place, and as if that weren't enough, the svelte and sophisticated nouveau-riche heiress, Frances Stevens, is on to him. But, who could be the real culprit? Above all, what will it take to catch a thief? “Not only did I enjoy that kiss last night, I was awed by its efficiency.” This and previous episodes can be found on; Apple Podcasts Podchaser Stitcher Spreaker Player FM Acast IHeartRadio Libsyn Podcast Party Follow us on Twitter @StinkingPause email: thestinkingpause@gmail.com Thanks for listening Scott and Paul

Hello lovers and listeners! In Episode 18, we're returning to our traditional format to talk about a movie we promised a long time ago, Alfred Hitchcock's To Catch a Thief. The 1955 romance from the Master of Suspense features Grace Kelly and Cary Grant on the French Riviera, burgling. Well, sorta. Retired jewel thief John Robie must stop a copy cat burglar setting him up to take the fall. With beautiful cinematography and a playful chemistry between the two leads, we had a lot of fun with this one. We're talking acceptance, forgiveness, trust, community and much more as we unpack the romantic themes at the heart of To Catch a Thief. 

Stump special with Kev Hopper in conversation with David Eastaugh Stump were an Anglo-Irish indie/experimental/rock group featuring former Microdisney membersMick Lynch (vocals) and Rob McKahey (drums), along with Kev Hopper (bass) and Chris Salmon (guitar). They formed in London in 1983. The original vocalist was Nick Hobbs, who left early on to form The Shrubs. Their first release was a four track EP Mud on a Colon issued in 1986 through the Ron Johnson record label. This was followed by a self released mini album Quirk Out produced by Hugh Jones which included their cult hit "Buffalo". "Buffalo" appeared on NME's influential C86 compilation and a video was made by Channel 4which was shown on The Tube. Continuous UK touring, regular coverage in the UK music press - including cover features in both the NME and Melody Maker, and a return to The Tube for a live performance of "Tupperware Stripper", ensured that Quirk Out stayed in the UK Indie Charts for 26 weeks, peaking at number 2. A session for the John Peel radio show recorded in February 1986 was released as a Peel Session EP on Strange Fruit Records in 1987. Following these successes the band were signed to Ensign Records. Their only full-length release, A Fierce Pancake (named after a term meaning 'deep conundrum' in The Third Policeman by Flann O'Brien) released in 1988 was recorded in Berlin and London produced by Holger Hiller with assistance from Stephen Street and was mixed by Hugh Jones after an unsuccessful session with US producer John Robie. The recording process was, however, often fraught with arguments amongst the band as to the sound and direction of the album.[4] However, the group were pleased with the finished results and three singles were released from the album: "Chaos", "Charlton Heston" (which reached number 72 in the UK Singles Chart in August 1988 and therefore became their only national chart success) and a re-released "Buffalo" (the latter only featuring on the US edition of the album). The album did not bring the crossover success the label had hoped for and, after recording a few b-sides and some demos, they split up at the end of the year. Stump's persistent and growing cult following prompted the release of A Fierce Pancake on iTunes; Hopper had previously reported on his website that their entire catalogue had been out of print since 1990. The "Pancake" download prompted the release of a 3-CD set containing Mud on a Colon, Quirk Out and A Fierce Pancake as well as the group's post-"Pancake" b-sides and demos and their compilation appearance, "Big End". This was released by Sanctuary Records in 2008 under the title The Complete Anthology. Mick Lynch died in December 2015.

Planet Patrol is an American electro group originating in the 1980s. The members were Arthur Baker, John Robie, and a quintet of vocalists led by Herbert J. Jackson: lead singer Joseph Lites, Rodney Butler, Michael Anthony Jones, and Melvin B. Franklin (not to be confused with Melvin Franklin of The Temptations). The group only produced a single album, the self-titled Planet Patrol in 1983, which peaked at #64 on the Billboard R&B Albums chart. The group's most popular song, "Play at Your Own Risk", was created from tracks that did not make the final version of Afrika Bambaataa's seminal "Planet Rock".    

Elektrodos show of the 25th September 2017 dedicated to new electro songs from producers such as Dynamix II & John Robie and Sky Borg. With DJ Set from DJ Geremy Elektrodos show del 25 de septiembre del 2017, dedicado a novedades de artistas como Dynamix II & John Robie y Sky Borg. Con DJ Set de DJ Geremy Playlist: 01. Dynamix II & Johan Robie - They´re Coming 02. Skyborg - Guetto Blasta 03. DJ Geremy DJ Set

1. I Want You - Utah Saints 2. Hallucination Generation (Syametic Nightmare) - Gruesome Twosome 3. Salvation (Razormaid! Mix) - The Hood 4. State Of The Nation - New Order 5. Happiest Girl (Jack Mix) - Depeche Mode 6. You Make Me Wonder (Razormaid! Mix) - Celebrate The Nun 7. What Do You See (Arabian House Mix) - Cause & Effect 8. LSI (Love Sex Intelligence) (Beatmasters 12" Mix) - The Shamen 9. Lucky Charm (Extended Club Mix) - Hard Corps 10. Send Me An Angel '89 (Dance Mix) - Real Life 11. We Came To Dance (12" Version) - Ultravox 12. The Calling (Full Extended 12" Mix) - Ken Heaven 13. We Are The Boys (Razormaid! Mix) - Until December 14. The Sound Of The Crowd (12" Version) (Complete) - The Human League 15. My Translucent Hands (No. II) - I Start Counting Notes and other random things: Well, here it is. My first brand new podcast in nearly seven months. Where does the time go? They say patience is a virtue and good things come to those who wait and I think this one was worth waiting for. A good blend of the familiar and the not-so-familiar; some things you may remember and some you've long since forgotten or maybe never heard in your entire life. Before I get to a few band notes, I want to mention that I have now upgraded my account back to a Pro account. I just couldn't bear the thought that people were actually making a point of coming to this site to listen to the music only to be told by a pre-recorded message that they could not because of bandwidth limitations. What does that mean for you all? It means no more running out of bandwidth two days after I post a new episode. With apologies to the Pet Shop Boys it means more "opportunities" to listen and to download when you have time. It means more storage, so I don't have to delete the audio from an older podcast just to post a new one. (You may have already noticed I've re-posted some of the more recent back-catalog episodes). Over time, I will add more of them. For long-time listeners, it's a chance to re-visit some of the older stuff from "back in the day". For newer listeners, it will be like a glut of new podcasts to check out. I also want to note that I've removed the audio for my previous episode (CRC #42) as the recording levels were all over the map and I didn't think the quality was up to snuff. Perhaps 5 or 6 years ago, it would have been okay, I suppose, but even in light of the cheap mixer and free recording software I use to assemble these 'casts, I think this podcast has come too far now and demands a higher level of quality. So, I may re-record that one at a future date. At that point, I'll re-post. Same for back-catalog items. The really good ones, I'll re-post. The ones that could use a little work will most likely be re-recorded and re-posted as a "reboot" episode. All in all, thank you all again for tuning in. Have a Merry Christmas and a prosperous 2017! Now on to the bands ... If you've been a follower of this podcast since the beginning and you've clung to the belief that, against all probability, the thrash metal band, Slayer, would somehow make its presence felt at some point then your patience has finally been rewarded. And you should book your ticket to Vegas immediately. Taking a riff from the group's tune, "War Ensemble", "I Want You" was one of four Top-25 hits for Jez Willis and Tim Garbutt on Utah Saints' self-titled debut. The duo were at the pioneering edge of sampling, also grabbing a snippet of Kate Bush from her track Cloudbusting for the song "Something Good" and a soundbite from the inimitable Annie Lennox from her song "There Must Be an Angel (Playing with My Heart)" for the track "What Can You Do For Me". Called "the first true Stadium House band" by Bill Drummond of The KLF, Utah Saints were one of the first rave acts to play live and one I had the good fortune to see on the same bill with The Shamen in the early 90s during the rave culture explosion. And let me tell you: it was quite a show ... probably. I first heard "Salvation" by The Hood sometime in 1989 while in college. A guy who lived down the hall from me had a version of it on an old mix tape. I really liked the track and was pleased as punch when the first of many Razormaid! discs from my nascent subscription showed up in the mail containing a mix of that song. It is a portion of that 10+ minute version that appears here. I would soon come across a movie soundtrack of the same name while sifting through record bins at a local indie shop. New Order, Cabaret Voltaire, The Hood, hip-hop producer extraordinaire Arthur Baker and others appeared on the album, so I purchased it. While I've listened to the song "Salvation" umpteen times over the years, I did not know much about the band or its members. To this day, I still don't. I spent the better part of an hour trying to find information on the group, but mostly found song credits and track listings. Eventually, I did find a tiny bit of info on a website called The Lost Turntable. The info was posted by an Arthur Baker and a John Hood respectively, both of whom I can only assume to be the real article. "the hood- is john hood, a legendary nyc party promoter-doorman,who is also quite a good writer. he was signed for a short time on the sire label and is active on the club scene in south beach, miami, florida" "Wow! Yeah, that The Hood track is indeed me: John Hood. (Thanks AB!) And I'm delighted to find it posted. In fact, till right now I never even had an MP3 of the song! So if no one minds, I'll post this, save this, and send this around. Nice to find Salvation!" If anyone knows anything more about The Hood, I would LOVE to get a one-sheet or press kit or bio on them. Speaking of bands I don't know much about, Gruesome Twosome would qualify as well. Sort of a one-off project for founders Samy Birnbach from Minimal Compact (aka Lord Solomon Pearbrook) and Norwegian producer Per Martinsen, who had been recording under the name Syamese, "Hallucination Generation" is the only official single from the group and was released in 1989. A cult classic in its own right, the song sort of bridges the gap between traditional industrial dance music and the bourgeoning New Beat music scene that was starting to take hold at the time. Birnbach and Martinsen would later collaborate with the likes of Bertrand Burgalat, Thrash from The Orb, Paul Kendall and Fortran 5 to eventually release a full-length album called Candy From Strangers, which was released in 1993. Birnbach currently releases material under the DJ Morpheus moniker, having once worked with Colin Newman from Wire for a project called Oracle, while Martinsen performs as Mental Overdrive. While it's probably not the best analogy as they employed very different musical styles, Ultravox is much like the band Genesis in the sense that they have two distinct timelines, led by two distinctly different front men. And much like one could argue Peter Gabriel represented the true vision for Genesis, there is no denying that Phil Collins took the band to massive commercial heights and is probably remembered more readily as the face of the group. Similarly, one could argue that while John Foxx may have been the driving force behind Ultravox during their formative years, it was Midge Ure, who took over after Foxx left for a solo career, that kept the band from imploding and pushed them further into the mainstream and to massive success in the UK. With 7 Top-10 albums and 17 Top-10 singles, U-Vox, like many other bands of the day, took their cue from the glam rock outfits that came before such as Neu! In fact, early on Ultravox was known as Ultravox! (with an exclamation point) in deference to Neu! The first album with the classic line-up of Ure, Billy Currie, Warren Cann and Chris Cross would be the amazing Vienna, which marked a very different direction for the group. Produced by long-time Kraftwerk producer Conny Plank, the album included the title track, which would reach #2 in the UK and would be the highest charted song for the band. (John Lennon's "Woman" and "Shaddap You Face" by Joe Dolce would both keep the song from reaching #1). And while the 1982 album Quartet, produced by George Martin, would be the best-selling US album for U-Vox, the band would not again reach the level of critical success they found with Vienna. The song in this podcast is the 12" version of "We Came to Dance", the final single from Ultravox's sixth studio album, Quartet, released on April 18, 1983. The single reached #18 on the UK charts and was the last of seven consecutive top-20 singles for the band. This being the Christmas season, I would be derelict not to mention that Midge Ure also co-wrote (with Bob Geldof of Boomtown Rats fame) and produced the song "Do They Know It's Christmas?" by Band Aid. Last but not least, I want to mention "State Of The Nation" by New Order. Though it reached #1 on the UK Indie Singles Chart and #30 on the UK Singles chart in 1986, the song is probably not a favorite of the majority of New Order fans. I would wager if every NO devotee were to compile a list of his or her Top 10 songs, it would probably appear in less than 5% of those lists. Still, the track is a great one even if only for the fact that it's one of the few NO songs whose title actually appears within the lyrics and/or chorus of the song. As most die-hard fans know, the titles of most NO tunes have little or no relevance to the subject matter being discussed. "Shellshock", "Regret", "Touched By The Hand Of God" and "Confusion" are a few songs I can think of off the top of my head that go against that grain. While the song did not appear on the album, Brotherhood, which was released around this time, both the remix version appearing here and the B-side called "Shame Of The Nation", which was produced by John Robie, appear on the Substance compilation, released in 1987. That will do it for this epidsode. I've got my next podcast ready to record. As soon as I find some time, I'll do just that. Happy Listening!

Planet Patrol - Play At Your Own Risk Edit By Petko Turner Planet Patrol is an American electro group originating in the 1980s. The members were Arthur Baker, John Robie, and a quintet of vocalists led by Herbert J. Jackson: lead singer Joseph Lites, Rodney Butler, Michael Anthony Jones, and the late Melvin Franklin. The group only produced a single album, the self-titled Planet Patrol in 1983, which peaked at #64 on the Billboard R&B Albums chart. The group's most popular song, "Play at Your Own Risk", was created from tracks that did not make the final version of Afrika Bambaataa's seminal "Planet Rock". Download for free on The Artist Union

For the 54th Avenue Red Podcast we welcome a truly talented, hard-working and well-respected veteran of the underground music scene - Andrew Duke from Halifax in Nova Scotia, Canada. Andrew is a music collector, DJ, artist, remixer, sound designer, radio/mix show host and has also been writing about music since 1981. Andrew Duke In The Mix is his mixshow, which began way back in 1987 during the emergence of true House & Techno initially as a weekly radio show on CKDU 88.1FM Halifax NS Canada and ran through until 2004. He has continued the show independently since then to this very day on various platforms. As a producer, Andrew had a very nice record out on Own Jay's Batti Batti imprint, which comes with a remix from XDB. Well worth tracking down a copy! In this explosive mix of raw 80's Electro/Freestyle/Hip-House, Andrew has made 7 edits especially for this smoking hot mix for Avenue Red. Get involved and make sure to Like/Share if you're digging it ;) "A mix of some of my favourite freestyle and early electro cuts, including some edits I did personally for this mix. Dedicated to the memory of the late great New York editing genius, Bad Boy Jose "Chep" Nunez (born 1964, died 8th December 1990)." Andrew Duke, December 2015 http://andrewdukeinthemix.com https://soundcloud.com/andrewdukecognitionaudio ===== 01 Man Parrish - Hip Hop, Be Bop (Don't Stop); Hip Hop, Be Bop (Don't Stop) (Importe/12 MP321) 1982 written & produced by Man Parrish, John Robie, and Raul Rodriguez 02 Gucci Crew II - Gucci Bass; Gucci Bass (Gucci GC100) 1987 03 Noel - Silent Morning (1018 db); Silent Morning (4th & Broadway PRO439) 1987 written by Noel Pagan; produced by Roman Ricardo & Paul Robb (of Information Society); remixed by Little Louie Vega with keys by David Cole 04 Fascination - Don't You Think It's Time; Don't You Think It's Time (Vinylmania VMR014DJ) 1988 written & produced by Todd Terry; mix by Naughty Norty Cotto with edits by Gail "Sky" King (Andrew Duke Edit) 05 Nocera - Summertime, Summertime (Hard Summer db); Summertime, Summertime (Sleeping Bag SLX0022) 1986 written by Floyd Fisher & Maria Nocera; mixed by Mantronik with edits by Bad Boy Chep Jose Nunez (Andrew Duke Edit) 06 TKA - One Way Love (db); One Way Love (Tommy Boy TB866) 1986 produced, mixed, edited, and percussion by The Latin Rascals 07 Loose Touch - Bad Of The Heart; Bad Of The Heart (Ligosa LIG508) 1988 vocals by George Lamond; produced, mixed, and edited by Chris Barbosa & Mark Liggett (Andrew Duke Edit) 08 Soave - Crying Over You; Crying Over You (Mic Mac MIC521) 1989 produced by Owen "OS" Soba with edits by Tony Garcia (Andrew Duke Edit) 09 Sweet Sensation - Take It While It's Hot (Only Omar db); Take It While It's Hot (Next Plateau NP50072) 1988 edited by Oh, Oh Omar Santana with scratches by Eric "Serious" Santana (Omar's brother) (Andrew Duke Edit) 10 The Cover Girls - Because Of You (Heartthrob db); Because Of You (Fever SF819CLUB) 1987 remixed by Robert Clivilles & Little Louie Vega with edits by The Latin Rascals 11 Harry Hosono & Yellow Magic Orchestra - Fire Cracker; Special DJ Copy (Alfa 1001) 1978 written by Martin Denny (Andrew Duke Edit) 12 New Order - Confusion (inst); Confusion (Streetwise SWRL2213/Of Factory New York 9) 1983 written by Arthur Baker & New Order; mixed by Arthur Baker & John "Jellybean" Benitez; engineered by John Robie 13 Dynamix II - Just Give The DJ A Break ft Too Tough Tee (db); Just Give The DJ A Break (Bass Station BSR005) 1987 14 Concept Of One - The Question ft Noel (Answer db); The Question (Cutting CR244DJ) 1990 remixed by Aldo Marin & Tony Moran with edits by The Latin Rascals (Andrew Duke Edit) 15 Nayobe - Please Don't Go (db vers); Please Don't Go (Fever SF802) 1984 written & produced by Andy "Panda" Tripoli; perc Bashiri Johnson, keys Fred McFarlane 16 Information Society - Running (The Nest mx); Running (Tommy Boy TB877) 1986 vocals by Murat Konar; remix by Joey Gardner & Louie Vega with edits by The Latin Rascals 17 Hashim - Chateau Vie (Castle Life); Cutting rxs Vol 1 comp (Cutting CR2000DJ) 1987 additional production, remix, and edits by Aldo Marin & Benji Candelario 18 Will To Power - Fading Away (The Rhythm db); Fading Away (Epic 4908183) 1989 remixed by Shep Pettibone with edits by Chep Nunez 19 Sa-Fire - Let Me Be The One; Let Me Be The One (Cutting CR212) 1987 remixed by Aldo Marin with edits by The Latin Rascals (Andrew Duke Edit) 20 Cybotron - Cosmic Cars (Magic Juan Detroit style mx); Cosmic Cars (Fantasy D3104) 1988 remixed by Magic Juan aka Juan Atkins 21 Debbie Deb - Lookout Weekend; Lookout Weekend (Jam Packed JPI103) 1984 written & produced by Pretty Tony (Andrew Duke Edit) 22 Pretty Tony - Jam The Box (inst); Jam The Box (Music Specialists MSI109) 1984 23 Afrika Bambaataa - Planet Rock (inst); Planet Rock (Tommy Boy TB823) 1982 written by Arthur Baker & John Robie; produced by Arthur Baker 24 Twilight 22 - Electric Kingdom (inst db vers); Electric Kingdom (Vanguard SPV68) 1983 25 MC ADE - Da' Train (X-tended inst); Da' Train (4Sight FS5634) 1989 26 Kraftwerk - Numbers/Computer World 2; Numbers (Warner Bros PROA973) 1981 (Shep Pettibone 98.7 Kiss Mastermix)

1. American Dream - L.A. Style 2. X, Y & Zee (Sensory Amplification Mix) - Pop Will Eat Itself 3. W.F.L. (Think About the Future Mix) - Happy Mondays 4. Never Let Me Down (Aggro Mix) - Depeche Mode 5. It's Over Now - Cause & Effect 6. Again ('90 Remix) - Do Piano 7. Prisoner to Desire - Psyche 8. Don't Argue (Dance) - Cabaret Voltaire 9. Hyperreal (Remix) - The Shamen 10. Life on Your Own (Extended) - The Human League 11. Hip Hop Be Bop (12" Mix) - Man Parrish 12. State of the Nation - New Order 13. Around My Heart (Razormaid! Mix) - Sandra 14. It's Alright Now (Back to Basics) - Beloved 15. State of Shock (L'Pool Edit) - Revenge   Notes and other random things: Greetings from Charlotte, NC. I'm DJ Tintin and this is my retro podcast. Glad you've found it. Feel free to stay as long as you like. Sorry for the re-introduction, but I've been away for so many weeks between my last podcast and this one that I almost feel like stranger to many of you. If you're tuning in for the first time, I am. And if you are, in fact, a newbie, I recommend going back and re-reading the first sentence, making sure to apply a tone of sincerity to the voice in your head instead of a sarcastic one. Before you do, however, I need to add a few more adjectives. That first sentence should read: Greetings from bread-less, milk-less, power generator-less Charlotte, NC. What the hell am I talking about? Well, for those listeners in the U.S., (and possibly abroad) you are probably well aware of the recent hurricane that hit the eastern seaboard over the past week. (If you're not, may I suggest the internet?) As such, there is neither bread, nor milk, nor power generator to be found anywhere as these are the desirable items for which panic-stricken residents spend hours in check-out lines hoping to buy the week leading up to the event.  Now, as a mid-west transplant living in the Carolinas for 14 years, I get the fear associated with hurricanes. I do. They are analagous to the fear we mid-westerners have in regards to tornadoes. The difference is you have about 10-15 minutes maximum to prepare for a tornado as opposed to a week or so for a hurricane. What that means is after a tornado passes, I can at least emerge from the twisted pile of tinder that used to be my house, go down to the local market (if it’s still standing) and celebrate my continuing to live with a bowl of cereal. In the Carolinas, that’s an impossibility because the shelves have been completely wiped out.   If I were a guy who actually bothered to prepare for catastrophe instead of worrying about posting his next podcast, I'd actually scoop up all the lunch meat, cereal and lightbulbs from the nearby food emporium at the first word of impending doom. Surely, someone with bread, milk and a power generator would be willing to barter for shelter should I be left homeless. Methinks the guy with the cache of mustard or mayo would probably be sitting pretty as well. On to the music … L.A. Style make their first appearance on CRC. They were a rave group that toured extensively between 1991 and 1995, when they eventually split up. The group was founded by radio host Wessel van Diepen, also the most successful dance-pop producer in Dutch history having assembled the groups Nakatomi and the Vengaboys as well. The band was fronted by Frans Zid Merkx, a multi-tool artist going by the moniker FX. Best known for their huge club hit James Brown is Dead, L.A. Style were the first group to land a rave track on Billboard’s Hot 100 Airplay chart. The song here, American Dream, is the last track on L.A. Style’s self-titled album from 1993. The sample contained within comes from the first inaugural speech of President Richard M. Nixon, delivered Monday, January 20, 1969. See the excerpt below: “The American dream does not come to those who fall asleep. But we are approaching the limits of what government alone can do. Our greatest need now is to reach beyond government, and to enlist the legions of the concerned and the committed. What has to be done, has to be done by government and people together or it will not be done at all. The lesson of past agony is that without the people we can do nothing; with the people we can do everything.” Pop Will Eat Itself have appeared a couple times in earlier CRC episodes (#13 and #20) and both times the tracks used were taken from their Cure For Sanity album circa 1990. If you believe the past is a good indicator of the future, you won’t at all be surprised to learn that X, Y & Zee, the track here, also appeared on that amazing album. I say amazing because I have vivid memories associated with it, trucking home from Texas to Kansas over fall break my sophomore year in college. I took my roommate to see the Kansas/Kansas State football game and then we stayed in Manhattan (also called "The Little Apple", which is home to the KSU campus) with friends drinking and carousing well into the night after a KSU victory (though truth be told I’m a KU fan). This album received heavy rotation on that 1200-mile round trip and deservedly so, though you won’t find much agreement among those haters of what was called the “grebo” movement. Mostly a product of the music media who have an unfailing compulsion to label clusters of similar-sounding music, grebo started in the late 80s and continued on into the early 90s before “Brit Pop” took over. PWEI were forerunners of the subculture, which encompassed bands whose sound blended garage rock, hip hop, pop and electronica. Dreads, partially shaved heads and high ponytails, torn jeans, boots, lumberjack shirts, army surplus clothing, and eclectic hats defined the fashion (if you can call it that), a look dubbed by the Trouser Press as “slimy-looking lowlifes playing retrograde raunch”. Ned’s Atomic Dustbin, Jesus Jones, The Wonder Stuff and others were all part of that short-lived movement. The remix appearing here, though taken from the single, also appears as a hidden track at the end of the Cure for Sanity CD. A little PWEI trivia: the band was headed by Clint Mansell, a fine musician who has gone on to score many Hollywood films including the Darren Aronofsky films Pi and Requiem for a Dream, The Wrestler and Black Swan. Music writing credits on PWEI albums are all listed as Vestan Pance, a pseudonym for the entire band. At one time, after the addition of drummer Robert “Fuzz” Townshend to their line-up, they proposed the name Vestan Pance and Socks, which was summarily rejected by their label RCA. Speaking of heading up an artistic movement, The Happy Mondays would most certainly qualify. Lead by one-time smack user Sean Ryder, the Mondays charged headlong into what would become the Ecstasy-fueled club scene in Manchester, England. Dubbed “Madchester” by those who were there, the Mondays became poster boys for the “haves” of the sonic landscape, diving into excess so severely that they nearly drove their label, Factory Records, into financial oblivion. The whole thing is pretty well-chronicled in the excellent film 24-Hour Party People, directed by Michael Winterbottom, which is sort of a dramatized account of Factory Records head man, Tony Wilson, and the rise of Joy Division, with some attention given to other Factory bands including: New Order, A Certain Ratio, The Durutti Column and, of course, the Mondays. The track here, W.F.L. (which stands for Wrote For Luck) was remixed by Paul Oakenfold and appears on the mini-album Hallelujah. Hallelujah was originally a four-song EP called the Madchester Rave On EP, but was renamed after three bonus dance mixes were added before its release in the U.S. For Erasure buffs, a Vince Clarke remix of W.F.L. also appears on the CD version of the Mondays’ second full-length album called Bummed. When close-knit bands lose a member to tragic circumstances there exists a time of deep reflection followed by a re-evaluation period where remaining members make the critical decision to fold up the tent or to carry on. After losing singer Ian Curtis to suicide on the eve of their first U.S. tour, Bernard Sumner, Peter Hook and Stephen Morris of Joy Division decided to continue on, though they decided a name change was in order to escape the long shadow left by Curtis. Out of the ashes came New Order. For Rob Rowe of Cause & Effect, the untimely death of friend and co-founder Sean Rowley too put his hopes for the future in serious doubt. The tragic loss in many ways eclipsed the success of their self-titled debut album on Exile Records (which was later re-issued as Another Minute by BMG). That album spawned two top ten dance singles, including You Think You Know Her, which stands as the group’s pop chart high point. Unlike Joy Division, Rob made the decision to move forward under the C&E banner. He enlisted Keith Milo, a California-based electronic musician and, along with drummer Richard Shepherd, the band released their second full-length album, Trip, in 1994.             “Performing the tribute to Sean at the KROQ Acoustic Christmas Show in LA was a turning point,” explains Rowe in the band’s Offical bio, “The overwhelming support from the fans and audience made me realize that giving up just wasn’t an option.” “Coming in to Cause and Effect after Sean’s death was a scary thing to do,” adds Milo. “There was so much uncertainty. Sean was a genius with melody, he was irreplaceable. I think there was solace in the fact that we became a very different band at that point and we all felt that we were doing the right thing by continuing on.” Produced by the great Martyn Phillips, Trip contains the brilliant track appearing here, It’s Over Now. It ultimately climbed to #7 on Billboard’s modern rock charts, and was the band’s fourth release to appear on Billboard Hot 100 singles chart. The last artist I want to touch upon this go-round is Man Parrish. An Andy Warhol, Club 54 “freakazoid”, Man Parrish is responsible for a couple of the most enduring, innovative and influential tracks in the history of electronic music. I say a couple because as quickly as he arrived he vanished once again into relative obscurity. Arriving right at the juncture of the evolutionary electronic music tree where legendary producers like Arthur Baker and John Robie split from the Kraftwerk-infused trunk to create a portion of the hip-hop foundation with Soul Sonic Force’s track Planet Rock, Manny Parrish would split the other way, building upon the notes of Kraftwerk’s Autobahn that were no doubt trapped somewhere in his brain. Using a Roland TR-808 drum machine and two keyboards, he crafted Hip Hop Be Bop in his bedroom. In doing so, he became one of the early producers-turned-artists on the electronic music scene. In an interview, Man said of the track, “It was played in a really wide spectrum: in black hip-hop clubs, in white underground places like Danceteria, in after-hours clubs. The radio station pumped it like crazy because I did vocoder spots for them and in exchange for payment, they put my stuff into heavy rotation. When you first hear it, you think, ‘Huh, weird instrumental track.’ But the more you listen to it, it's like, 'This is really interesting.' It even happened to me: I used to hate it at first." Hip Hop Be Bop went on to sell over two million copies, but Parrish received almost nothing for his groundbreaking efforts. Much like innovation, ripping off artists was commonplace back then. As Parrish explains, “When I first started out I was so broke I made this song called Heatstroke as a soundtrack for a porno movie. Some DJ had sampled it off the movie, made an acetate, and somebody told me, ‘Hey they're playing your music at this club.’ I ran down to the club and all of a sudden my song came on. I asked the DJ, ‘Wait a minute, where'd you get that record? It's my music.’ He told me, ‘That's your music? Come down to the record company, they'll sign you on the spot.’" He goes on to say, “I got nothing--it was the classic first record rip-off deal. I would go to the label and literally beg for rent. The guy who owned it bought a plane, a house in Vermont, and a Porsche with a hand-carved dashboard. It was how everyone did it back then.” After suffering so many disappointments and massive burn-out, Parrish ended up a male prostitute for a spell to pay the bills. As many musicians as were influenced by him, Man Parrish inadvertently may have influenced thousands of lawyers as well as his story reads like a textbook case of copyright infringement, an issue which would come to the forefront of music as technology and sampling began to take hold during the 80s. That’s it for this episode. Thanks to everyone for tuning in and be sure to support the artists as they make this all possible. Barring any more hurricanes, I’ll be back soon with another episode. Cheers!