Podcasts about jupiter records

Hello friends! Multi-instrumentalist, producer, composer, and longtime Austinite Matt Hubbard returns to the show for episode 1392! Matt's new album, the beautiful, instrumental, solo piano album Grandpa's Piano comes out Friday, June 7th on all streaming platforms, vinyl, and sheet music. He's also celebrating with a release show that same night at The ABGB in Austin. Go to matthubbardmusic.com for show dates, music and more. We have a great conversation about getting the inspiration for Grandpa's Piano from playing his Grandpa James' 1950's Cable & Co. baby grand piano, and starting a weekly live-stream in 2020 from his living room called “Grandpa's Piano", running a recording studio with engineer Cris Burns, the Austin music community, working with Willie Nelson, Wanda Jackson, Edie Brickell, Ray Price, Rickie Lee Jones, and so many more, Jupiter Records, instrumental music, and much more. I had a great time catching up with Matt. I'm sure you will too. Let's get down!   Follow us on Instagram, Facebook, Spotify, Apple Podcasts, or anywhere you pod.   Finance smarter with side-by-side comparisons from Nerdwallet   If you feel so inclined. Venmo: www.venmo.com/John-Goudie-1  Paypal: paypal.me/johnnygoudie

New-Old Recordings Making it into the Archive.   Playlist Symphonic Electronic Rock Symphonic electronic is always a favorite of listeners of the podcast. I note these additions, including a scarce soundtrack recording of interest. Jeff Bruner, “Try To Escape,” “Night Saucer,” “Larry And Diane Go To Hell,” “On The Beach,” “The Investigator,” “Vic's Flashback,” “End” from (side 2) from Foes (Original Motion Picture Soundtrack) (1977 Not on Label). This interesting soundtrack combined electronic music with orchestral sounds for this little seen motion picture. Recorded and mixed at Santa Barbara Sound. Music composed and conducted by Jeff Bruner; electronic music production, Doug Scott; electronic music realized by Jeff Bruner and Doug Scott. I picked this up on a trip to Boston According to Jeff Bruner himself, this record was pressed for the movie staff only and there are less than 20 copies. “The music on this record is a perfect balance of rational sounds that you've heard before and even more rational sounds which because you've never heard them before seem quite irrational. 19:36 Claude Denjean, “Memories Of Moody Blues” from Moods (1976 London Records). A few years after the initial wave of albums produced using the Moog Modular synthesizer, Denjean returned to the instrument to make this collection of classic pop tunes in an electronic symphonic vein. This song seems to touch on every other note of the classic “Nights in White Satin” without actually causing any copyright issues, I imagine. This album is a new copy added to the archive. How could I resist? 4:09 Hugo Montenegro, “MacArthur Park (Allegro Part III)” from Moog Power (1969 RCA Victor). A rockin' album of symphonic pop tunes from the heyday of Moog Modular recordings. Montenegro had the magic touch for arranging such pop songs. He was aided by Moog programming by none other than Paul Beaver and playing by Mike Melvoin. This is an old copy from my collection that I unsealed just for this podcast. Only this one track has been played on this album. 3:21 Raymond Lefèvre Et Son Grand Orchestre, “Mille Colombes” from Love In Stereo Nº 1 (1978 Barclay). This German release of French album is one of many by keyboard player and arranger Lefèvre. This one features a variety of electronic music instruments used in conjunction with an orchestra. Bass, Dave Markee; Drums, Barry Morgan; Keyboards, Alan Hawkshaw; Percussion, Ray Cooper; Synthesizer players, Guy Boyer, Maurice Vander, Raymond Lefèvre. Synthesizers used: RMI Computer, Moog 3 P, Arp DGX, Omni Polyphonic, Korg 1000, Korg 2000, Ems/Arp Sequencer. Rhythm section recorded at Lansdowne Recording Studios, London. Strings recorded at Barclay Hoche, Paris. Synthesizers recorded at Studio Damiens. 3:10 Early Electronic Music Several recordings featuring vintage tape compositions and performances using the Moog Modular synthesizer were among our newest arrivals to the archive. Ralph Lundsten. “Snowstorm” (1967/68) from Shangri-La (1975 His Master's Voice). Swedish release of composer Lundsten music for Shangri-La, a commissioned work for Swedish Radio. However, the album also presents several early tape works, including Winter Music, a suite of works for the season of this which this one is a part. “Suddenly, a sleigh with lit-up torches emerges out of the whirling snowstorm. … Was it for real or just a dream?” 2:30 Jean Jacques Perrey, “The Alien Planet” from Musique Electronique Du Cosmos (Electronic Music From Outer Space) (1962 MusiCues). An earlier disc of Perrey, later known as the wizard of electronic pop sounds. He was using the Ondioline for this track, an early monophonic organ, and tape manipulation to provide effects. This was a recording of broadcast library sounds. 1:02 Jean Jacques Perrey, “Space Light” from Musique Electronique Du Cosmos (Electronic Music From Outer Space) (1962 MusiCues). Another early track from Perrey. 1:03 Jean Jacques Perrey, “Intercestial Tabulator” from Musique Electronique Du Cosmos (Electronic Music From Outer Space) (1962 MusiCues). Another early tape compositionfrom Perrey that might be his imagining what a future computer would sound like. 1:03 Jean Jacques Perrey, “Barnyard in Orbit” from Musique Electronique Du Cosmos (Electronic Music From Outer Space) (1962 MusiCues). Another early track from Perrey that shows his innate sense of humor that we would hear much more of in his music yet to come. 2:17 Jean Jacques Perrey, “Micro Cosmic PL 1” from Musique Electronique A Caractere Special Pour Illustrations Sonores Et Effets Speciaux (2017 Wah Wah Records). Spanish release of an original acetate disc of Perrey demonstration tracks and original compositions. I think these were made around 1967 after Perrey had begun using the Moog Modular synthesizer. 5:19 Doug McKechnie, “The First Exploration @ SF Radical Laboratories, 1968” (2020 VG+ Records). Recently released recordings of an original tapes made in 1968 from an early Moog composer and performer. McKechnie famously played a live Moog Modular set at the Altamont performance in 1969 by the Rolling Stones. He is ever-so briefly heard and seen the film Gimme Shelter (1970). In any event, McKechnie was a pioneer who used an instrument owned by one Bruce Hatch (not Bruce Haack). He worked with the instrument for about four years before Hatch sold it to Tangerine Dream around 1972. With that came the end of one musician's dreams and the beginning of someone else's. I am so happy that Doug was able to release this recording of his early work because so many of us have been curious to hear it. This track represents some clever droning with the sequencer and one can imagine this being performed in real-time. 8:30 Hydroelectric Streetcar, “I Realize” from The Cool-Aid Benefit Album Vol. 1 (1970 Arthfor Special Products). I was searching for this Canadian benefit disc for a long time so that I could add it to my collection of Moog Modular Synthesizer recordings. The Moog in this case was owned by my acquaintance Johns Mills Cockell who played in several rock bands and avant garde performance groups during this time. Remember Intersystems? In this case, he was playing as a sideman for Hydro Electric Streetcar, a folk-rock band to which he added synthesis. Bass, Vocals, Lee Stephens; Drums, Stan Tait; Guitar, Al Wiebe; Lead Vocals, Danny McInnes; Moog Modular Synthesizer, John Mills-Cockell. 3:48 Robots A few tracks in this batch of new arrivals worked around the theme of robots, machines, and synthesized voices. Skanfrom, “Mr. Robot Is Dead” from Split 12" (2000 A.D.S.R.). Now defunct electro synthpop label from Germany run by Skanfrom. Limited to 800 hand numbered copies. Mine is number 676. Skanfrom is Roger Semsroth. 3:25 I., “Gro Stadtleben” from Split 12" (2000 A.D.S.R.). Now defunct electro synthpop label from Germany run by Skanfrom. Limited to 800 hand numbered copies. Mine is number 676. B.I. (Bakterielle Infektion) was founded in Berlin in 1995, disbanded 2011. 2:34 Dee D. Jackson, “Automatic Lover” from Automatic Lover (1978 Jupiter Records). German release, 7” 45 RPM. Dee D. Jackson (Deirdre Elaine Cozier) is an English singer-songwriter, She was primarily a space disco/Italo disco concept artist, moving to Italy in the mid-1980s. The computer voice in this tune sounds like a person speaking monotone with some filtering. No artificial intelligence involved here. 3:54 Ralph Lundsten. “Robbie is Dancing the Waltz” (1975) from Shangri-La (1975 His Master's Voice). Swedish release of composer Lundsten music for Shangri-La, a commissioned work for Swedish Radio. It also includes his Heaven by Night suite from which this song comes. The robotic voice appears to be one that is amplitude modulated to provide a wavering tremolo effect. No vocoder here. 4:06 Odds and Ends Recordings that are becoming part of the archive as representative examples of the odd and curious in electronic sounds. The Marvelletes, “I Want a Guy” (1961 Tamla). Single featuring a Musitron played by Raynoma Liles Gordy (producer, arranger, musician and ex-wife of Motown executive Barry Gordy); Lead vocals by Wanda Young Rogers; background vocals by Gladys Horton, Georgeanna Tillman, Wyanetta "Juanita" Cowart, and Katherine Anderson; Other instrumentation by the Funk Brothers included Bass by James Jamerson, Drums by Benny Benjamin, Guitar by Eddie Willis, Piano by Marvin Gaye,Tenor saxophone by Hank Cosby, Baritone saxophone by Andrew "Mike" Terry. The Musitron was a modified, monophonic electric organ invented by Max Crook and featured on such well-known songs as Del Shannon's “Hats Off to Larry” and “Runaway.” Crook was the keyboard player in Del Shannon's band and they made that sound a key novelty in Shannon's songs beginning in 1961, the same year as “I Want a Guy.” 2:38 Living Shakespeare, “King Lear” excerpt from King Lear (1962 Living Shakespeare Inc.). US compilation release of various excerpts from the Living Shakespeare series. This was a series of recordings of the plays of William Shakespeare, adapted for recording and made in England. This series was available in various combinations of discs and usually featured some sort of incidental electronic music produced by a BBC Radiophonic-associated composer. I have a complete set of discs as packaged for the US market. But I came across this sampler disc and thought to include an example of the scene from King Lear where the King (as acted by Donald Wolfit) “calls down the rage of heaven in a violent thunderstorm,” with the storm sounds all being electronic. Text adapted by Fiona Bentley, Morys Aberdare; Directed by Sir Donald Wolfit; Musique Concrete and sound patterns composed by Desmond Leslie. 2:24 K-Tel, “Hit, Flop, Break Even” from K-Tel Super Star Chance-a-Tune (1973 K-Tel). 7” 45-rpm single. A triple-grooved record. (also known as 'Parallel', 'Mystery', or 'Trick-Track' record). Originally packaged as part of the board game "K-Tel Superstar Game.” The same tracks are pressed on both sides. “Players are rock stars” and collected gold records to win. Rolled the dice to move through the board. Squares had events for players to collect or lose money or release an album, which were subject to being a Hit, Flop, or Break-even by playing the disc. The game came with this Chance-A-Tune 45 RPM record which was played when a player landed on an album release square. The player drops the needle to see which of the tracks, and verdicts, comes up. The single only includes the three phrases I've edited here for the podcast. In reality, you could never tell which track would play with each drop of the needle. 0:29 Adams & Fleisner, “Surrounded In Mystery And Magic (Sounds Of The Inside)” from Space Effects Vol. 2 (1988 BCM). German recording of sound effects. I chose this one primarily because at 1:25 it was by far the longest track on this broadcast library record. 1:54 Yuri Rasovsky, “Interplanetary Adventurer” from The Chicago Language Tape And Other Aberations of El Fiendo In Glorious Mono (1979 Not on Label). A curious comedy record led by Yuri Rasovsky that consists primarily of sketches that are acted out and produced as would be a radio program. There is one piece of electronic music that might interest you: Hans Wurman, venerable Moog synthesist, contributed the opening music to this story that features the Moog Modular. I suspect that this was the last recorded Moog piece that Hans produced before laying down his golden patch cords. Musician, music by Hans Wurman; Voice Actor, Dick Simpson, Don Vogel, Gary Gears, Joan Lazzerini, John Hultman, Keneth Northcott, Mell Zellman, Michelle M. Faith, Yuri Rasovsky. I chose to reproduced only this musical segment, surrounded by some of the spoken parts for context. 1:46. Originals A few recordings are just unnecessarily difficult to categorize. Joakim, “Teenage Kiss (Dub)” from Transe / Teenage Kiss (2005 Kitsune). French, 12” maxi-single. Danceable, yet strange. Written by, Performed, and produced by Joakim Bouaziz. 4:58 Landscape, “From The Tea-Rooms Of Mars .... To The Hell-Holes Of Uranus” from From The Tea-Rooms Of Mars .... To The Hell-Holes Of Uranus (1981 RCA). English electro/pop/jazz band from London. This is the title track and features some electronic tunes in the dance styles of the beguine, mambo, and tango. Which seemed to go with the other dance related tracks I found in this batch of new-old records. Electronic trombone, Trombone, Vocals, Peter Thoms; Vocals, Keyboards, Grand Piano, Fender Rhodes, Christopher Heaton; Vocals, Programmed By, Electronic Drums, Electronic Percussion, Synthesizer, Drums, Richard James Burgess; Bass Guitar, Synthesizer Bass, Vocals, Andy Pask. 7:53 Ralph Lundsten. “Cosma Nova” (1975) from Shangri-La (1975 His Master's Voice). Another track from Mr. Lundsten, commissioned for Swedish Radio. From the Heaven by Night suite, this is a dreamy dance tune. 3:18 Allen Ravenstine, “Going Upriver,” “110 In The Underpass,” and “5@28” from Electron Music / Shore Leave (2020 Waveshaper). This recent Canadian release is a collection of Ravenstine”s work for electronic and instrumental media. Ravenstine was the electronics and synthesizer player in the original lineup of Pere Ubu. He has continued to make eclectic, highly original and thoughtful music over the years. 16:11 Don Voegeli, “A Piece Of Bubble Gum” from Instant Production Music/Volume 18: Fine (1980 University Of Wisconsin-Extension). This was the final disc Voegeli made in the Electrosonic Studio for NPR, saying, “Fine . . . used as the title for this record to signal another termination, the end of the CPB and NPR funded project which over the years has brought you a total of twenty-six records of special production music.” Intended for private use by and for public (non-commercial) radio and TV facilities, this was one of the many broadcast library records that Voegeli created in a well-equipped electronic music studio that included a Moog Modular III. 1:07 Don Voegeli, “Follow the Leader” from Instant Production Music/Volume 18: Fine (1980 University Of Wisconsin-Extension). Produced by the Electrosonic Studio. 1:52 Opening background music: Barton McLean, “Dimensions I For Single Instrument And Tape” (excerpt) from American Society Of University Composers (1979 Advance Recordings). Tape composition and recording engineer, Barton McLean; Violin, Stephen Clapp. Compositions From Volume VII Of The ASUC Journal Of Music Scores. Composed while McLean was director the Electronic Music Center at the University of Texas at Austin. 13:38 Opening and closing sequences voiced by Anne Benkovitz. Additional opening, closing, and other incidental music by Thom Holmes. See my companion blog that I write for the Bob Moog Foundation: For additional notes, please see my blog, Noise and Notations.

Part 2 of our Record Store Day extravaganza at Jupiter Records in Woodbury Heights NJ. Ryan Horner from Dogfish sits in, Chuck Garrity from Death Of A Fox Brewing saves the day with a corkscrew to open the Neshaminy In The Midnight Sour, George from the Woodbury FAF Coalition Explains Lot 323, and Jay Rose and Rob explain how they both discovered the No Simple Road Podcast on the same day at the same time. Good stuff. If you want open a beer and play a drinking game while you listen, DRINK every time Rob mentions Ohio.

This is segment 1 of 2 from what has now become a bit of a tradition for us. This is our 3rd Record Store Day Podcast, and the second year in a row we've done it from Jupiter Records in Woodbury Heights NJ. Record Store Day falls right at the end of the Hippie High Holidaze of Bicycle Day, 4/20, the anniversary of Prince's death and Earth Day. Seeing as how Dogfish Head is the official beer of Record Store Day, we had Ryan Horner from Dogfish sit in with some beautiful liquid. The theme of this one was "Opening The Vaults." We all brought beers from the deep dark recesses of our collections and opened them on the show. Most of the beers that were opened were older than our children. Rob opens a VERY sour Stone Enjoy After, Jay Rose breaks down how to drink a sour beer, Steve Zimmerman from Jupiter shares some of the more ridiculous things he finds in record collections, and Richard enjoys an 11 year old 120 IPA. Chuck Garrity from Death Of A Fox Brewing in Clarksboro NJ hangs for a bit to explain how his brewery is a coffee house and his coffee house is a brewery. Very cool stuff. Open a beer from your vault and enjoy the ride!

"Чингисхан" - группа из Западной Германии Группа из ФРГ "Dschinghis Khan" («Чингисхан») начала свою звездную деятельность в 1978 г. Создал ее продюсер Ральф Сигель. В то время он был директором звукозаписывающей студии"Jupiter Records". Она была создана самим Ральфом в 1974 году. В студии работали такие музыканты, как Ди Ди Джексон и "Silver Convention". В группу входило всего шесть участников: певцы из Венгрии Едина Поп (1941 года рождения) и Лесли Мандоки (1953 год рождения), немцы Генриетт Хейчель (1953 года рождения) и Вольфганг Хейчель (1950 года рождения), вокалист из Великобритании Стив Бендер (1942 года рождения) и южноафриканский танцор Льюис Хендрик Подгейтер (1951 года рождения). Кстати, Едина Поп в 1969 г. получила приз как лучшая венгерская вокалистка. Как основу для пародии, группа взяла известную композицию "Rasputin"(«Распутин», 1978 год) от Boney M. А композиция-дебют "Чингисхан" выиграла в немецком отборочном цикле «Евровидения», а потом она заняла почетное четвертое место на «Евровидении – 79» в Израиле. Композиция была на первой строчке хит-парада Германии, второй в Швеции, третьей в Норвегии и Швейцарии. За один только года группа выпускает целую серию настоящих танцевальных суперхитов. Среди которых можно отметить "Hadji Halef Omar" («Хаджи Халеф Омар»), "Kazachok"(«Казачок»), "Samurai"(«Самурай»), "Moscau" («Москау»). Эти знаменитые композиции вошли в первый альбом группы, который так и называется - "Dschinghis Khan" («Чингисхан»). Уже появившиеся фанаты группы с нетерпением ждали второго альбома. Альбом вышел в 1980 г. Внимание заслуживают две довольно длинные композиции - "Machu Picchu" («Мачу Пикчу»)и "Rom"(«Ром»). Вскоре, почувствовав, что пик успеха коллектива позади, Стив Бендер выходит из состава группы, начав сольную карьеру. Последней попыткой группы задержаться на пике славы становится мюзикл "Corrida" («Коррида»,1983), который был выпущен в стиле латино. Однако он прошел довольно незаметно. Но справедливости ради стоит отметить, что критиками мюзикл был отмечен как композиция, идеально сочетающая в себе напор и лиричность , вследствие чего он был признан удачным (это мнение западных критиков, в СССР все альбомы Чингисхана имели оглушительный успех, ослабление к творчеству группы на западе связано скорее всего, что музыканты сильно подняли планку своим первым альбомом. превзойти его просто невозможно ни Чингисхану ни какой либо другой группе. Альбом "Москва" по праву считается лучшим в мире).

This episode was recorded on Record Store Day at Jupiter Records in Woodbury Heights NJ. We drink a ton of great beer and discuss the parallels between the craft beer world and the record collecting world. Steve Zimmerman from Jupiter Records sits in, we learn about "The Summer Of Richard", and George from the Woodbury FAF Coalition drops some knowledge about the Lot 323 event and how it benefits the arts in Woodbury. Also, Matt and Abe from Big Noise Music Fest stop in to tell us to go down to Delaware on May 20th to check out some killer music! Strap in, this is a long one!

58 finds us back at our home base, Tiki Tiki Board Games in Woodbury NJ for our Record Store Day Preview. Are you aware that Record Store Day is on April 22 this year? Are you also aware that Dogfish Head is the Official Beer of Record Store Day? We combine 2 of our favorite things as we sit down with Ryan Horner from Dogfish Head Brewing and Steve Zimmerman from Jupiter Records. Dogfish beers are cracked, we explore the parallel universes of craft beer and rare records, and announce where you can find the Dogfish/Crosley truck in South Jersey .

Chris Roberts war einer der erfolgreichsten deutschsprachigen Schlagersänger in der ersten Hälfte der 70er Jahre. Seine sonnige Ausstrahlung trafen den Zeitgeist. Ab 1961 machte er zunächst eine Berufsausbildung als Elektromechaniker, ab 1963 besucht er das Polytechnikum. 1964 war er Schlagzeuger der Rock-'n'-Roll-Band „Blue Rockets“, die bekannte Lieder von Buddy Holly, den Everly Brothers oder Fats Domino nachspielten. Somit kann der heute 65 jährige Roberts im Jahr 2011 sein 50 jähriges Bühnenjubiläum feiern und gleichzeitig 45 Jahre "Platte", denn fünf Jahre später kam seine erste Schallplatte auf den Markt. 1966 wurde Roberts von Hans Bertram entdeckt, der ihm einen Vertrag bei der Plattenfirma Polydor verschaffte. Roberts' erste Single, die Beatmusik-Nummer „Babys Gone“, und weitere Titel fanden zwar wenig Aufmerksamkeit, doch 1968 landete Roberts, noch unter dem Namen Chris Robert, mit dem Schlager Titel „Wenn Du mal einsam bist“ eine Nummer 15 in den Charts. Darauf folgten bis 1972 mit Titeln wie „Die Maschen der Mädchen“, „Ich bin verliebt in die Liebe“, „Hab ich dir heute schon gesagt, daß ich dich liebe“ und „Hab Sonne im Herzen“ fünf Platzierungen in den Top 10. In dieser Zeit hatte er unzählige Auftritte im Fernsehen, auch in der DDR. Anfang der 70er Jahre war Roberts auch als Darsteller in vielen Schlagerfilmen zu sehen. Als 1973 größere Hits ausblieben, wechselte Roberts zu Jupiter Records und hatte dort mit dem Ralph-Siegel-Titel „Du kannst nicht immer siebzehn sein“ den größten Hit seiner Karriere (12 Wochen in den Top 10 bis auf Rang drei). Ebenfalls versuchte er, diese Erfolge in anderen Ländern zu wiederholen, so entstanden z.B. „Barbara“ (niederländische Version von „Wann liegen wir uns wieder in den Armen Barbara“) sowie „A mí me gusta la vida“ (spanische Version von „Ich bin verliebt in die Liebe“). Trotz unzähliger weiterer Veröffentlichungen bis in die frühen 80er Jahre konnte er an diese Erfolge nicht mehr anknüpfen. Bis heute sind ihm aber zahlreiche, vor allem weibliche, Fans treu geblieben. Beim Eurovision Song Contest 1985 vertrat er als Teil eines Sextetts (unter anderem auch mit Ireen Sheer) Luxemburg mit dem dreisprachig vorgetragenen Lied Children, Kinder, Enfants. Die Gruppe belegte den 13. Platz. Seit Mitte der 1970er Jahre arbeitet Roberts auch als Musikproduzent und Liedtexter, 1979 wirkte Roberts in dem Musical Sweet Charity mit. Er war von 1989 bis 2010 verheiratet mit der Schlagersängerin und Schauspielerin Claudia Roberts. Chris Roberts hat zwei Söhne, eine Tochter und lebt heute in Nümbrecht in Nordrhein-Westfalen. Infos unter: www.ccroberts.de