Podcasts about midnight shift

Get your Keep It Fictional Bingo Card ready, folks! We're going to talk about upcoming releases we are looking forward to reading in the next few months. Let's see how many of our favourite categories we can hit. Books mentioned on this episode: The Midnight Shift" by Cheon Seon-Ran, translated by Gene Png, Bury Our Bones in the Midnight Soil by V. E. Schwab, The Emperor of Gladness by Ocean Vuong, Den of Liars by Jessica S. Olson, The Labyrinth House Murders by Yukito Ayatsuji and translated by Ho-Ling Wong, and Exophony: Voyages Outside the Mother Tongue by Yoko Tawada, translated by Lisa Hofmann-Kuroda.

Creepypasta Scary Story

John Kirk's story is one of transition and resilience, moving from a high-pressure career as a lieutenant in the Newark Police Department to a fulfilling role as a Class Three Officer in an elementary school. After years of intense midnight shifts, chasing stolen cars, and dealing with dangerous situations, Kirk realized the toll the job was taking on his health and well-being. With over 27 years of service it was time to move on. Hosted by Ausha. See ausha.co/privacy-policy for more information.

Merci à Jon Genier de Twenty2 pour la commandite! Procurez-vous la réédition 20e anniversaire de The Dudes of Hazzard!!! Plusieurs tirages à venir sur le PATREON pour la belle merch de Jon! Drabe en show le 17 février avec Blurry Eyes et Taxi Girls au Centre des mémoires de montréalaises! Lors de cet épisode, je reçois Philip, Louis-Simon, Julian et Dan de Drabe.  On jase de la fusion des défunts Barrasso et Oakhearts, la composition, l'enregistrement des 3 singles (Ryan Battistuzzi, JP Villemure), Julian de Waiting Game à Oakhearts, l'alt-funk de Madinka, Jaymie (More Romance Records) VS Redcore au Polliwog, Breathless Scream au dernier show à L'X et une parcelle de l'origin story de la pouzza, Powernap (Asian Man Records), Phil dans Les Marmottes Aplaties à l'ère ‘'Décadents'', le Grind King sub dans Subb, O'Brasten aux talents Landry, la scène de St-Jean et leurs anciens bands (Athena, The Sober Dawn, Armand Frontal, Lab St-Joseph, Midnight Shift, Belmont Choke, Goy's Connection, Del Fiasco)  … écoutez jusqu'à la fin, y'a une belle surprise!!!!!!   Tous droits réservés aux artistes respectifs pour les pièces : Drabe – Glacier Drabe – Personne Suggestion Les Insoumises : Glint – Naive - Colouring     DRABE https://drabemtl.bandcamp.com/ BARRASSO https://barrasso.bandcamp.com/ DEL FIASCO https://delfiasco.bandcamp.com/ ATHENA https://athenaband.bandcamp.com/ The Sober Dawn https://thesoberdawn.bandcamp.com/ Mother Caliss https://soundcloud.com/lesguenilles/mothercaliss_anthologie WAITING GAME https://waitinggame.bandcamp.com/ TEMPLETON https://templetonmtl.bandcamp.com/releases LES MAINS SALES https://lesmainssalesmontreal.bandcamp.com/ OAKHEARTS https://oakheartsmtl.bandcamp.com/ POWERNAP https://powernapmtl.bandcamp.com/ Nuance Noire https://nuancenoire.bandcamp.com/   LE CLASH https://linktr.ee/leclashpodcast Logo ‘'Le Clash Podcast'' par Maxime Bonenfant (tous droits réservés à Philippe Vaillancourt) Mix et montage par Simon Pelletier Thème d'introduction  de ‘'Le Clash Podcast''par Lazy Workforce (tous droits réservés à Felix Bolduc, Julien de Kermadec, Jonathan Miron, Philippe Vaillancourt), mix Simon Pelletier

Mark Allan Gunnells is the author of such books as Tales from the Midnight Shift, The Summer of Winters, Asylum, and the forthcoming Welcome to the Graveyard. He has been writing since the age of ten, and publishing since 2005

BEWARE of what lurks in the dark edges of the farm! It might sneak up on you while you work... Enjoy these 10 TRUE Scary Work Stories from Tales from the Break Room! Get some creepy merch at https://eeriecast.store/ Follow and review Tales from the Break Room on Spotify and Apple Podcasts! https://pod.link/1621075170 Join EERIECAST PLUS to unlock ad-free episodes and support this show! (Will still contain some host-read sponsorships) https://www.eeriecast.com/plus SCARY STORIES TIMESTAMPS: 0:00 INTRO 1:15 Lunch Break Road Rage from Michigan Maniac 6:06 Night of the Mannequins from Umbral_Poe 12:30 Midnight Shift from jayjay 17:23 Paranormal Encounters from Frankie G. 32:11 The Nurse from Abs of steel 36:49 Something in the Hay Field from TheWashingtonFarmer 43:24 The Thing in the Dark from Anonymous 46:09 Man in the Corner from Morgan H 48:00 The Thing that Watches from PAXEL3Z601 52:41 It's Behind You from Anonymous LINKS:  Join my DISCORD: https://discord.gg/5Wj9RqTR3w Follow us on Spotify! https://open.spotify.com/show/3mNZyXkaJPLwUwcjkz6Pv2 Follow and Review us on iTunes! https://podcasts.apple.com/us/podcast/darkness-prevails-podcast-true-horror-stories/id1152248491   Submit Your Story Here: https://www.darkstories.org/ Get Darkness Prevails Podcast Merchandise! https://teespring.com/stores/darknessprevails Subscribe on YouTube for More Stories! https://www.youtube.com/channel/UCh_VbMnoL4nuxX_3HYanJbA?sub_confirmation=1 Learn more about your ad choices. Visit podcastchoices.com/adchoices

We've talked on this show before about the pressure (whether real or imagined) that you can feel when your sibling or someone else in your family comes out before you. In past examples on this show we've only ever been talking about one person in the family... but, on today's episode we're finding out from children's author Will Kostakis what it's like being one of three gay brothers... and, by the sounds of it, they all had different journeys (i hate myself for using that word. sorry). Snd, that's not all we talk about. we have a really interesting conversation about using writing to process and understand your world, getting comfortable in your own skin, and standing in the shadows of the corner of the queer bar hoping beyond hope that no one notices you... . Do you have any memories of The Midnight Shift, or clubbing from your own queer scene that you want to share? Well, if you have please get in touch - I want to create the biggest online record of people's memories and stories - go to www.lostspacespodcast.com and find the section 'Share a Lost Space' and tell me what you got up to! Bonus points for embarrassing photos! You can also find me on Facebook (www.facebook.com/lostspacespod), Instagram (www.instagram.com/lostspacespod) and Twitter (www.twitter.com/lostspacespod) Find out more about Will by visiting his website https://willkostakis.com/, or follow him on Instagram (https://www.instagram.com/willkostakis/) or Twitter (https://twitter.com/willkostakis) --- Send in a voice message: https://anchor.fm/k-anderson/message

Numerous challenges presented themselves on the midnight shift of Aug. 19, 2020, with an inbound FedEx Boeing 767 on approach to Los Angeles International Airport (LAX) that had a retracted left main landing gear. LAX members Jeremy Hroblak, Scott Moll, and C.J. Wilson, through their skill and professionalism, were able to address each of the challenges, contributing to the most successful outcome possible. For their efforts, the three members will be honored on June 17 in New Orleans with the Archie League Medal of Safety Award for the Western Pacific Region. The captain of the flight, Bob Smith, wrote a letter describing the event from his perspective. He concluded it by stating, “As we say at FedEx to a team member for a job well done … Bravo Zulu! Thank you for your professionalism, and for your significant contribution to an aircraft incident that, because of your actions, ended with a safe landing and minimal damage to our aircraft.”

Born in Lubbock, Texas, on September 7, 1936, Charles Hardin  Holley (he later dropped the "e"), after both grandfathers    the fourth child of Lawrence Odell "L.O." Holley and Ella Pauline Drake.    older siblings were Larry, Travis, and Patricia Lou.    nicknamed Buddy from a young age, and it stuck with him throughout his life.    Oddly enough, the newspaper announcement claimed that Buddy was actually a little girl. “A daughter weighing 8.5 lbs”, the Lubbock evening journal wrote. He was also only 6.5 pounds. And a boy. Buddy's family was mainly of English and Welsh descent and had some native American ancestry. During the Great Depression, the Holleys frequently moved residences within Lubbock; 17 in all.    His father changed jobs several times.    The Holley family were a musical household.  Except for Buddy's father, all family members could play an instrument or sing. His older brothers frequently entered local talent shows, and one time, his brothers signed up and Buddy wanted to play violin with them. However, Buddy couldn't play the violin.  Not wanting to break little Buddy's heart, his older brothers greased up the strings so it wouldn't make a sound. Buddy started singing his heart out and the three ended up winning the contest!  When WWII started, the U.S. government called his brothers into service. His brother Larry brought back a guitar he bought from a shipmate, and that guitar set Buddy's off. At 11 years old, Buddy started taking piano lessons.  Nine months later, he quit piano lessons and switched to guitar after seeing a classmate playing and singing on the school bus.    His parents initially bought him a steel guitar, but Buddy insisted he wanted a guitar like his brothers. They bought him a guitar, a gold top Gibson acoustic, from a pawn shop, and his brother Travis taught him to play it.  By 15, Buddy was proficient on guitar, banjo, and mandolin. During his early childhood, Holley was influenced by Hank Williams, Jimmie Rodgers, Hank Snow, Bob Wills, and the Carter Family.  He started writing songs and working with his childhood friend Bob Montgomery. The two jammed together, practicing songs by the Louvin Brothers and Johnnie & Jack. They frequently listened to Grand Ole Opry's radio programs on WSM, Louisiana Hayride on KWKH (which they once drove 600 miles to okay just to be turned away), and Big D Jamboree.  If you're not familiar with the Grand Ol Opry, it's a weekly American country music stage concert in Nashville, Tennessee, founded on November 28, 1925, by George D. Hay as a one-hour radio "barn dance" on Clearchannel's WSM, which first hit the airwaves on October 5, 1925. Its the longest-running radio broadcast in U.S. history.    At the same time he was practicing with Bob, Holley played with other musicians he met in high school, including Sonny Curtis and Jerry Allison.    In 1952 Holley and Jack Neal participated as a duo billed as "Buddy and Jack" in a talent contest on a local television show.    After Neal left, he was replaced by his buddy Bob, and they were billed as "Buddy and Bob." By the mid-'50s, Buddy & Bob played their style of music called "western and bop ."    Holley was influenced by late-night radio stations that played the blues and rhythm and blues. Holley would sit in his car with Sonny Curtis and tune to distant “black” radio stations that could only be received at night when bigger stations turned off local transmissions.    Holley then changed his music by blending his earlier country and western influence with Rhythm and Blues. After seeing the legendary Elvis perform, Holly decided to pursue his career in music full-time once he graduated high school. By mid-1955, Buddy & Bob, who already worked with an upright bass player (played by Larry Welborn), added drummer Jerry Allison to their lineup. After seeing Elvis Presley performing live in Lubbock, who Pappy Dave Stone of KDAV booked, Buddy really wanted to get after it. In February, he opened for Elvis at the Fair Park Coliseum, in April at the Cotton Club, then again in June at the Coliseum. Elvis significantly influenced the group to turn more towards Rock n Roll. Buddy and the king became friends, with Buddy even driving Elvis around when he was in town. Eventually, Bob Montgomery, who leaned toward a traditional country sound, left the group, though they continued writing and composing songs together. Holly kept pushing his music toward a straight-ahead rock & roll sound, working with Allison, Welborn, and other local musicians, including his pal and guitarist Sonny Curtis and bassist Don Guess. In October, Holly was booked as the opener for Bill Haley & His Comets (Rock Around the Clock), to be seen by Nashville scout Eddie Crandall. Obviously impressed, Eddie Crandall talked Grand Ole Opry manager Jim Denny into finding a recording contract for Holley. Pappy Stone sent Denny a demo tape, which Denny forwarded to Paul Cohen. Cohen signed the band to Decca Records in February 1956.    In the contract, Decca accidentally misspelled Holley's surname as "Holly," From that point forward, he was known as "Buddy Holly." On January 26, 1956, Holly went to his first professional recording session with producer Owen Bradley. He was a part of two more sessions in Nashville.    the producer selected the session musicians and arrangements, Holly became frustrated by his lack of creative control. In April 1956, Decca released "Blue Days, Black Nights" as a single and "Love Me" on the B-side.    "B-sides" were secondary songs that were sent out with single records. They were usually just added to have something on the flip side. Later they became songs that bands would either not release or wait to release.  Jim Denny added Holly on tour as the opening act for Faron Young. While on this tour, they were promoted as "Buddy Holly and the Two Tones." Decca then called them "Buddy Holly and the Three Tunes." The label released Holly's second single, "Modern Don Juan," along with "You Are My One Desire."    Unfortunately, neither one of these singles tickled anyone's fancy. On January 22, 1957, Decca informed Holly that they wouldn't re-sign him and insisted he could not record the same songs for anyone else for five years. The same shit happened to Universal and me. A couple of classics, like "Midnight Shift" and "Rock Around with Ollie Vee," did come out of those Decca sessions, but nothing issued at the time went anywhere. It looked as though Holly had missed his shot at stardom.  Holly was disappointed with his time with Decca. inspired by Buddy Knox's "Party Doll" and Jimmy Bowen's "I'm Stickin' with You" he decided to visit Norman Petty, who produced and promoted both of those successful records.    Buddy, Jerry Allison, bassist Joe B. Mauldin, and rhythm guitarist Niki Sullivan pulled together and headed to Petty's studio in Clovis, New Mexico. The group recorded a demo of the now-classic, "That'll Be the Day," which they had previously recorded in Nashville. Now rockin' that lead guitar, Holly finally achieved the sound he wanted. They got the song nailed down and recorded. Along with Petty's help, the group got it picked up by Murray Deutsch, a publishing associate of Petty's, and Murray got it to Bob Thiele, an executive at Coral Records. Thiele loved it. Ironically, Coral Records was a subsidiary of Decca, the company Holly had signed with before. On a side note, a subsidiary is a smaller label under the major label's umbrella. For instance, Universal signed my band to Republic, a subsidiary of Universal Music that dealt primarily with rock genres, like Godsmack. Norman Petty saw the potential in Buddy and became his manager. He sent the record to Brunswick Records in New York City. Thiele saw the record as a potential hit, but there were some significant hurdles to overcome before it could be released.  According to author Philip Norman, in his book Rave On, Thiele would only get the most reluctant support from his record company. Decca had lucked out in 1954 when they'd signed Bill Haley & His Comets and saw their "Rock Around the Clock" top the charts. Still, very few of those in charge at Decca had a natural feel or appreciation for Rock & Roll, let alone any idea of where it might be heading or whether the label could (or should) follow it down that road. Also, remember that although Buddy had been dropped by Decca the year before, the contract that Holly signed explicitly forbade him from re-recording anything he had recorded for them, released or not, for five years. However, Coral was a subsidiary of Decca, and Decca's Nashville office could hold up the release and possibly even haul Holly into court.  "That'll Be the Day" was issued in May of 1957 mainly as an indulgence to Thiele, to "humor" him. The record was put out on the Brunswick label, more of jazz and R&B label, and credited to the Crickets. The group chose this name to prevent the suits at Decca -- and more importantly, Decca's Nashville office -- from finding out that this new release was from the guy they had just dropped. The name “The Crickets” was inspired by a band that Buddy and his group followed, called “the Spiders” and they initially thought about calling themselves “The Beetles”, with two E's, but Buddy said he was afraid people would want to “squash them.” So, they picked “The Crickets.” Petty also became the group's manager and producer, signing the Crickets, identified as Allison, Sullivan, and Mauldin, to a contract. Unfortunately, Holly wasn't listed as a member in the original document to keep his involvement with "That'll Be the Day" a secret. This ruse would later become the source of severe legal and financial problems for Buddy.    The song shot to #1 on the national charts that summer. But, of course, Decca knew Holly was in the band by then. So, with Thiele's persuasion and realizing they had a hit on their hands, the company agreed to release Holly from the five-year restriction on his old contract. This release left him free to sign any recording contract he wanted. While sorting out the ins and outs of Holly's legal situation, Thiele knew that Buddy was far more than a one-hit-wonder and that he could potentially write more and different types of hits. So, Holly found himself with two recording contracts, one with Brunswick as a member of the Crickets and the other with Coral Records as Buddy Holly, all thanks to Thiele's ingenious strategy to get the most out of Buddy and his abilities. By releasing two separate bodies of work, the Crickets could keep rockin' while allowing its apparent leader and "star" to break out on his own.    Petty, whose name seems fitting as we go through this, acted as their manager and producer. He handed out writing credits at random, gifting Niki Sullivan and Joe B. Mauldin (and himself) the co-authorship of the song, "I'm Gonna Love You Too," while leaving Holly's name off of "Peggy Sue." at first. The song title, “Peggy Sue” was named after Buddy's biggest fan. Petty usually added his own name to the credit line, something the managers and producers who wanted a more significant piece of the pie did back in the '50s. To be somewhat fair, Petty made some suggestions, which were vital in shaping certain Holly songs. However, he didn't contribute as much as all of his credits allow us to believe. Some confusion over songwriting was exacerbated by problems stemming from Holly's contracts in 1956. Petty had his own publishing company, Nor Va Jak Music, and Buddy signed a contract to publish his new songs. However, Holly had signed an exclusive agreement with another company the year before. To reduce his profile as a songwriter until a settlement could be made with Petty and convince the other publisher that they weren't losing too much in any compensation, buddy copyrighted many of his new songs under the pseudonym "Charles Hardin." So many names!   The dual recording contracts allowed Holly to record a crazy amount of songs during his short-lived 18 months of fame. Meanwhile, his band -- billed as Buddy Holly & the Crickets -- became one of the top attractions of the time. Holly was the frontman, singing lead and playing lead guitar, which was unusual for the era, and writing or co-writing many of their songs. But the Crickets were also a great band, creating a big and exciting sound (which is lost to history, aside from some live recordings from their 1958 British tour). Allison was a drummer ahead of his time and contributed to the songwriting more often than his colleagues, and Joe B. Mauldin and Niki Sullivan provided a solid rhythm section.   The group relied on originals for their singles, making them unique and years ahead of their time. In 1957-1958, songwriting wasn't considered a skill essential to a career in rock & Roll; the music business was still limping along the lines it had followed since the '20s. Songwriting was a specialized profession set on the publishing side of the industry and not connected to performing and recording. A performer might write a song or, even more rarely, like Duke Ellington (It Don't Mean A Thing), count composition among his key talents; however, this was generally left to the experts. Any rock & roller wanting to write songs would also have to get past the image of Elvis. He was set to become a millionaire at the young age of 22. He never wrote his songs, and the few songwriting credits he had resulted from business arrangements rather than writing anything.   Buddy Holly & the Crickets changed that seriously by hitting number one with a song they'd written and then reaching the Top Ten with originals like "Oh, Boy" and "Peggy Sue," They were regularly charging up the charts based on their songwriting. This ability wasn't appreciated by the public at the time and wouldn't be noticed widely until the '70s. Still, thousands of aspiring musicians, including John Lennon and Paul McCartney, from some unknown band called "The Beatles," took note of their success, and some of them decided to try and tried to be like Buddy. Also unknown at the time, Holly and his crew changed the primary industry method of recording, which was to bring the artist into the label's studio, working on their timetable. If an artist were highly successful, they got a blank check in the studio, and any union rules were thrown out, but that was rare and only happened to the highest bar of musicians. Buddy Holly & the Crickets, however, did their thing, starting with "That'll Be the Day," in Clovis, New Mexico, at Petty's studio. They took their time and experimented until they got the sound they were looking for. No union told them when to stop or start their work, and they delivered terrific records; not to mention, they were albums that sounded different than anything out there. The results changed the history of rock music. The group worked out a new sound that gave shape to the next wave of rock & Roll. Most definitely influenced was British rock & Roll and the British Invasion beat, with the lead and rhythm guitars working together to create a fuller, more complex sound. On songs such as "Not Fade Away," "Everyday," "Listen to Me," "Oh Boy!," "Peggy Sue," "Maybe Baby," "Rave On," "Heartbeat," and "It's So Easy," Holly took rock & roll's range and sophistication and pushed it without abandoning its excitement and, most importantly, it's fun. Holly and the band weren't afraid to push the envelope and try new things, even on their singles. "Peggy Sue" used changes in volume and timbre on the guitar that was usually only used in instrumental albums. "Words of Love" was one of the earliest examples of double-tracked vocals in rock & Roll, and the Beatles would jump on that train the following decade. Buddy Holly & the Crickets were extremely popular in America. Still, in England, they were even more significant; their impact was compared to Elvis and, in some ways, was even bigger. This success was because they toured England; Elvis didn't. They spent a month there in 1958, playing a list of shows that were still talked about 30 years later. It also had to do with their sound and Holly's persona on stage. The group's heavy use of rhythm guitar fit right in with the sound of skiffle music, a mix of blues, folk, country, and jazz elements that most of the younger British were introduced to playing music and their first taste of rock & Roll. Also, Holly looked a lot less likely a rock & roll star than Elvis. He was tall, skinny, and wore glasses; he looked like an ordinary dude who was good at music. Part of Buddy's appeal as a rock star was how he didn't look like one. He inspired tens of thousands of British teenagers who couldn't compare themselves to Elvis or Gene Vincent. (Be Bop A Lula) In the '50s, British guitarist Hank Marvin of the Shadows owed his look and that he wore his glasses proudly on-stage to Holly, and it was brought into the '70s by Elvis Costello.  Buddy may have played several different kinds of guitars but, he was specifically responsible for popularizing the Fender Stratocaster, especially in England. For many wannabe rock & rollers in the UK, Holly's 1958 tour was the first chance they'd had to see or hear this iconic guitar in action, and it quickly became the guitar of choice for anyone wanting to be a guitarist in England. In fact, Marvin is said to have had the first Stratocaster ever brought into England.   The Crickets became a trio with Sullivan dipping out in late 1957, right after the group's appearance on The Ed Sullivan Show, but a lot more would transpire over the next year or so. The group consolidated its success with the release of two L.P.s, The Chirping Crickets, and Buddy Holly. They had two successful international tours and performed more in the United States. Holly had also started to have different ideas and aspirations than Allison and Mauldin. They never thought of leaving Texas as their home, and they continued to base their lives there, while Buddy wanted to be in New York, not just to do business but to live. His marriage to Maria Elena Santiago, a receptionist in Murray Deutsch's office, made the decision to move to New York that much easier. By this time, Holly's music had become more sophisticated and complex, and he passed off the lead guitar duties in the studio to session player Tommy Alsup. He had done several recordings in New York using session musicians such as King Curtis. It was around this time that the band started to see a slight decline in sales. Singles such as "Heartbeat" didn't sell nearly as well as the 45s of 1957 that had rolled out of stores. It's said that Buddy might even have advanced further than most of the band's audience was willing to accept in late 1958. Critics believe that the song "Well...All Right" was years ahead of its time.   Buddy split with the group -- and Petty -- in 1958. This departure left him free to chase some of those newer sounds, which also left him low on funds. In the course of the split, it became clear to Holly and everyone else that Petty had been fudging the numbers and probably taken a lot of the group's income for himself. Unfortunately, there was almost no way of proving his theft because he never seemed to finish his "accounting" of the money owed to anyone. His books were ultimately found to be so screwed up that when he came up with various low five-figure settlements to the folks he robbed, they took it.   Holly vacationed with his wife in Lubbock, TX, and hung out in Waylin Jennings's radio station in December 1958. With no money coming in from Petty, Holly decided to earn some quick cash by signing to play the Midwest's Winter Dance Party package tour. For the start of the Winter Dance Party tour, he assembled a band consisting of Waylon Jennings (on bass), Tommy Allsup (on guitar), and Carl Bunch (on drums). Holly and Jennings left for New York City, arriving on January 15, 1959. Jennings stayed at Holly's apartment by Washington Square Park on the days before a meeting scheduled at the headquarters of the General Artists Corporation, the folks who organized the tour. They then traveled by train to Chicago to meet up with the rest of the band. The Winter Dance Party tour began in Milwaukee, Wisconsin, on January 23, 1959. The amount of travel involved created problems because whoever booked the tour dates didn't consider the distance between venues. On top of the scheduling conflicts, the unheated tour buses broke down twice in the freezing weather. In addition, Holly's drummer Carl Bunch was hospitalized for frostbite to his toes while aboard the bus, so Buddy looked for different transportation.  Buddy actually sat in on drums for the local bands while Richie Valenz played drums for Buddy.    On February 2, before their appearance in Clear Lake, Iowa, Holly chartered a four-seat Beechcraft Bonanza airplane for Jennings, Allsup, and himself, from Dwyer Flying Service in Mason City, Iowa, for $108.  Holly wanted to leave after the performance at the Surf Ballroom in Clear Lake and fly to their next venue, in Moorhead, Minnesota, through Fargo, North Dakota. This plan would allow them time to rest, wash their clothes and avoid being on that crappy bus. The Clear Lake Show ended just before midnight, and Allsup agreed to flip a coin for the seat with Richie Valens. Valens called heads, and when he won, he reportedly said, "That's the first time I've ever won anything in my life" On a side note, Allsup later opened a restaurant in Fort Worth, Texas called Heads Up, in memory of this statement. Waylon Jennings voluntarily gave up his seat to J. P. Richardson (the Big Bopper), who had the flu and complained that the tour bus was too cold and uncomfortable for a man of his stature. When Buddy heard Waylon wouldn't be flying with him, he jokingly said, “I hope your old bus freezes up!” Then Waylon responded, “well, I hope your old plane crashes!” The last thing he would ever say to his friend. Roger Peterson, the pilot and only 21, took off in pretty nasty weather, although he wasn't certified to fly by instruments alone, failing an instrument test the year before. He was a big fan of Buddy's and didn't want to disappoint, so he called a more seasoned pilot to fly the trio to their destination. “I'm more of a Lawrence Welk fan.”  Sadly, shortly after 12:55 am on February 3, 1959, Holly, Valens, Richardson, and Peterson were killed instantly when the plane crashed into a frozen cornfield five miles northwest of Mason City, Iowa, airport shortly after takeoff. Buddy was in the front, next to the pilot. He loved flying and had been taking flying lessons. The three musicians were ejected from the plane upon impact, suffering severe head and chest injuries. Holly was 22 years old.   Holly's funeral was held on February 7, 1959, at the Tabernacle Baptist Church in Lubbock, TX. It was officiated by Ben D. Johnson, who married the Hollys' just months earlier. Jerry Allison, Joe B. Mauldin, Niki Sullivan, Bob Montgomery, and Sonny Curtis were pallbearers. Some sources say that Phil Everly, the one half of The Everly Brothers, was also the pallbearer, but he said at one time that he attended the funeral but was not a pallbearer. In addition, Waylon Jennings was unable to participate because of his commitment to the still-touring Winter Dance Party. Holly's body was buried in the City of Lubbock Cemetery, in the city's eastern part. His headstone has the correct spelling of his last name (Holley) and a carving of his Fender Stratocaster guitar. His wife, María Elena, had to see the first reports of her husband's death on T.V. She claimed she suffered a miscarriage the following day. Holly's mother, who heard the news on the radio in Lubbock, Texas, screamed and collapsed. Because of Elena's miscarriage, the authorities implemented a policy against announcing victims' names until the families were informed. As a result, Mary did not attend the funeral and has never visited the gravesite. She later told the Avalanche-Journal, "In a way, I blame myself. I was not feeling well when he left. I was two weeks pregnant, and I wanted Buddy to stay with me, but he had scheduled that tour. It was the only time I wasn't with him. And I blame myself because I know that, if only I had gone along, Buddy never would have gotten into that airplane."    The accident wasn't considered a significant piece of news at the time, although sad. Most news outlets were run by out-of-touch older men and didn't think rock & Roll was anything more than to be exploited to sell newspapers or grab viewing audiences. However, Holly was clean-cut and scandal-free, and with the news of his recent marriage, the story contained more misery than other music stars of the period. For the teens of the time, it was their first glimpse of a public tragedy like this, and the news was heartbreaking. Radio station D.J.s were also traumatized. The accident and sudden way it happened, along with Holly and Valens being just 22 and 17, made it even worse. Hank Williams Sr had died at 29, but he was a drug user and heavy drinker, causing some to believe his young death was inevitable. The blues guitarist Johnny Ace had passed in 1954 while backstage at a show. However, that tragedy came at his hand in a game of Russian roulette. Holly's death was different, almost more personal to the public.     Buddy left behind dozens of unfinished recordings — solo transcriptions of his new compositions, informal jam sessions with bandmates, and tapes with songs intended for other musicians. Buddy recorded his last six original songs in his apartment in late 1958 and were his most recent recordings. In June 1959, Coral Records overdubbed two of the songs with backing vocals by the Ray Charles Singers and hired guns to emulate the Crickets sound. Since his death, the finished tracks became the first singles, "Peggy Sue Got Married"/"Crying, Waiting, Hoping." The new release was a success, and the fans and industry wanted more. As a result, all six songs were included in The Buddy Holly Story, Vol. 2 in 1960 using the other Holly demos and the same studio personnel. The demand for Holly records was so great, and Holly had recorded so many tracks that his record label could release new Holly albums and singles for the next ten years. Norman Petty, the alleged swindler, produced most of these new songs, using unreleased studio masters, alternative takes, audition tapes, and even amateur recordings (a few from 1954 with recorded with low-quality vocals). The final Buddy Holly album, "Giant," was released in 1969 with the single, "Love Is Strange," taking the lead.   These posthumous records did well in the U.S. but actually charted in England. New recordings of his music, like the Rolling Stones' rendition of "Not Fade Away" and the Beatles' rendition of "Words of Love," kept Buddy's name and music in the hearts and ears of a new generation of listeners. In the States, the struggle was a little more challenging. The rock & roll wave was constantly morphing, with new sounds, bands, and listeners continuously emerging, and the general public gradually forgot about Buddy and his short-lived legacy. Holly was a largely forgotten figure in his own country by the end of the '60s, except among older fans (then in their twenties) and hardcore oldies listeners. Things began to shift toward the end of the '60s with the start of the oldies boom. Holly's music was, of course, a part of this movement. But, as people listened, they also learned about the man behind the music. Even the highly respected rock zine Rolling Stone went out of its way to remind people who Buddy was. His posing images from 1957 and 1958, wearing his glasses, a jacket, and smiling, looked like a figure from another age. The way he died also set him apart from some of the deaths of rockers like Brian Jones, Jimi Hendrix, Janis Joplin, and Jim Morrison, musicians who, at the time, overindulged in the rock in roll lifestyle. Holly was different. He was eternally innocent in all aspects of his life. Don McLean, a relatively unknown singer/songwriter, who proudly considered himself a Buddy Holly fan, wrote and released a song called "American Pie," in 1971, catapulting him into the musical ethos. Although listeners assumed McLean wrote the song about President Kennedy, he let it be known publicly that he meant February 3, 1959, the day Holly died. Maclean was a holly fan and his death devastated him when he was only 11. The song's popularity led to Holly suddenly getting more press exposure than he'd ever had the chance to enjoy in his lifetime.     The tragic plane accident launched a few careers in the years after. Bobby Vee became a star when his band took over Holly's spot on the Winter Dance Party tour.  Holly's final single, "It Doesn't Matter Anymore," hit the British charts in the wake of his death and rose to number one. Two years after the event, producer Joe Meek and singer Mike Berry got together to make "Tribute to Buddy Holly," a memorial single. But, unfortunately, rumor has it that Meek never entirely got over Holly's death, and he killed himself on the anniversary of the plane accident.   The Rock and Roll Hall of Fame included Holly among its first class in 1986. Upon his induction, the Hall of Fame basked about the large quantity of material he produced during his short musical career. Saying, "He made a major and lasting impact on popular music ." Calling him an "innovator" for writing his own material, experimenting with double-tracking, and using orchestration. He was also revered for having "pioneered and popularized" the use of two guitars, bass, and drums by rock bands. He was also inducted into the Songwriters Hall of Fame in 1986, saying his contributions "changed the face of Rock' n' Roll." Along with Petty, Holly developed techniques like overdubbing and reverb and other innovative instrumentation. As a result, according to the Songwriters Hall of Fame, Holly became "one of the most influential pioneers of rock and roll" who had a "lasting influence" on genre performers of the 1960s.   Paul McCartney bought the rights to Buddy Holly's entire song catalog on July 1, 1976.   Lubbock TX's Walk of Fame has a statue honoring Buddy of him rocking his Fender, which Grant Speed sculpted in 1980. There are other memorials to Buddy Holly, including a street named in his honor and the Buddy Holly Center, which contains a museum of memorabilia and fine arts gallery. The Center is located on Crickets Avenue, one street east of Buddy Holly Avenue.  There was a musical about Buddy. Buddy: The Buddy Holly Story, a “pioneering jukebox musical which worked his familiar hits into a narrative,” debuted in the West End in 1989. It ran until 2008, where it also appeared on Broadway, as well as in Australia and Germany, not to mention touring companies in the U.K. and U.S.   In 1994 "Buddy Holly" became a massive hit from the band Weezer, paying homage to the fallen rocker and is still played on the radio and whenever MTV decides to play videos on one of their side stations. Again, in ‘94, Holly's style also showed up in Quentin Tarantino's abstract and groundbreaking film Pulp Fiction, which featured Steve Buscemi playing a waiter impersonating Buddy.   In 1997, Buddy received the Lifetime Achievement Award from the National Academy of Recording Arts and Sciences. He was inducted into the Iowa Rock 'n' Roll Hall of Fame in 2000, as well. In 2010, Grant Speed's statue of Buddy and his guitar was taken down for repairs, and construction of a new Walk of Fame began. On May 9, 2011, the City of Lubbock held a ribbon-cutting ceremony for the Buddy and Maria Elena Holly Plaza, the new home of the statue and the Walk of Fame. The same year, on why would be Buddy's 75th birthday, a star with his name was placed on the Hollywood Walk of Fame.   There were two tribute albums released in 2011: Verve Forecast's Listen to Me: Buddy Holly,  featuring Stevie Nicks, Brian Wilson, and Ringo Starr plus 13 other artists, and Fantasy/Concord's Rave on Buddy Holly, which had tracks from Paul McCartney, Patti Smith, the Black Keys, and Nick Lowe, among others.  Pat DiNizio of the Smithereens released his own Holly tribute album in 2009. Universal released True Love Ways, an album where original Holly recordings were overdubbed by the Royal Philharmonic Orchestra in 2018, just in time for Christmas. That album debuted at number 10 on the U.K. charts. Groundbreaking was held on April 20, 2017, to construct a new performing arts center in Lubbock, TX, dubbed the Buddy Holly Hall of Performing Arts and Sciences, a $153 million project in downtown Lubbock completed in 2020 located at 1300 Mac Davis Lane.   Recently, on May 5, 2019, an article on gearnews.com had a pretty cool story, if it's true.   The famous Fender Stratocaster played and owned by Buddy Holly that disappeared after his death in 1959 has been found, according to a new video documentary called "The '54".   Gill Matthews is an Australian drummer, producer, and collector of old Fender guitars. According to the documentary, he may have stumbled upon Buddy Holly's legendary guitar. The film is The '54 and tells the history of one particular 1954 Fender Stratocaster Gil purchased two decades after the plane crash that claimed Buddy's life. Experts cited in the film say there is a good chance that the guitar in Matthews' possession is indeed Buddy Holly's actual original '54 Fender Stratocaster. If this is true, it is possibly one of the most significant finds in guitar history. You can watch the video at gearnews.com and see all the evidence presented during the film.     Sources: A biography on allmusic.com written by Bruce Eder was the main source of information here with other info coming from the following Rave on: The Biography of Buddy Holly written by Phillip Norman   Buddy Holly : Rest In Peace by Don Mclean "Why Buddy Holly will never fade away" an article on The Telegraph website written by Phillip Norman   Various other articles were used and tidbits taken from wikipedia.   And Adam Moody   Consider becoming a producer of the show. www.accidentaldads.com www.iconsandoutlaws.com       

Rev. Josh Herring Friday February 18th 2022 - The Awakening 2022

Brothers, Marty and Raffie, run a food truck that only caters to the creatures of the night. --- Support this podcast: https://anchor.fm/chillingly-bizarre/support

Episode 52 welcomes Ford Foster to the fold, with this cracking mix of Techno, House, Disco and Ghetto styles. Artist Info: https://soundcloud.com/dj-ford-foster Multi disciplined Leeds based artist. Ford Foster is a producer, DJ, MC, spoken word and comic book artist. With releases on Opal tapes, Unknown To The Unknown, Booty Call, We Jack, Midnight Shift, No Real Value, Bad Mums, Fragil White, Just Left White, Pareto Park and more. Check out the bandcamp page for the latest releases, highly recommended clobber indeed: https://djfordfoster.bandcamp.com Tracklist: Rick Giovinazzo - Back Home in the Jungle Rick Giovinazzo - Frankie Walks the Walk Discotique - Sexe Daze Maxim - Deepcut59 Metric System - SP-12 Daphne - When You Love Someone (Never Do Dub) Ford Foster - The Hereafter Ford Foster - Fun & Magic Space DJz - Tool 007 The Tweakers - All Tweaked Out (Bonus Beats) Ford Foster - Barefoot In The Bracken Faze Action - In The Trees (Dubbed Bonus Beats) Sterac - The Lost Of A Love (Dub) Airtight - London Groove Boddhi Satva - Punch Koko (Dj Tool) Edgar Winter - Please Don't Stop Lil Gin - Shake Junt DJ Space - The Visitor UFG Soundsystem - Bell Tup L.B. Bad - I Like To Move (Unknown Mix) Dusty Springfield - In Private (Bonus Beats) Bon Ton - Video Star Gabriele Rizzo - Dotos The Elcados - Ku Mi Da Hankan Chicken Lips - Many Members (Medicine Mix) Ford Foster - Come And Find Me

Mantis Radio 338 - Dahjyn Bringing a dank and visceral selection to the show we've Brooklyn's Dahjyn. Hear dark music from the likes of Old Tower, psychobilly bands Demented Are Go and The Grims, Lead Belly + Woody Guthrie, Ivy Lab, Kevin Martin's G36, Charlton, HAAi, The Outside Agency, The Prodigy, Nothus, Throbbing Gristle, Brighter Death Now, Jealous People, King Crimson, and Eternal Rot. playlist → show archives. support the show, get exclusive content → become a patron.

Lors de cet épisode, je m'entretiens avec Daniel Cesare (Oakhearts, Les Mains Sales), Mathieu Forcier et Laurence Fréchette (Oktoplut).  On y jase des nombreuses itérations de The Sober Dawn (Breathless Scream, The Belmount Choke, Midnight Shift), les ramifications avec ANARK PUNK et Nuance Noire, leur rencontre, les premiers bands à Dan (Uptake, Unreleased), Math (Asshole) et Larry (My Trendy Folks), Math dans Prevenge/Complainers, Dan dans Powernap/Templeton/Mother Caliss et Tour Manager pour Yesterday's Ring/Miracles/Saintes-Catherines/Medictation, la guerre froide des vieux bands, le plus récent EP ‘'Triangles and Squares'' de Oakhearts, le poster de Prevenge/Dig It Up/Dead Weights/Panick Attack au Turbohaus,  le nouvel album ‘'RIONNOIR'' d'Oktoplut et son concept, l'octobasse, 1001 histoires autres anecdotes et ce qui s'en vient pour leurs bands.    Tous droits réservés aux artistes respectifs : -The Sober Dawn- post-hu-mous – Our Way Out -Oktoplut- RIONNOIR – Deux Ailes Pour Tomber -Oakhearts – Triangles and Squares - Echoes Suggestion ''Les Insoumises'' : Complainers – This Could Be Better – Disaster Artists   OKTOPLUT https://oktoplut.bandcamp.com/ OAKHEARTS https://oakheartsmtl.bandcamp.com/ LES MAINS SALES https://lesmainssalesmontreal.bandcamp.com/ POWERNAP https://powernapmtl.bandcamp.com/ ANARK PUNK https://anarkpunk.bandcamp.com/ COMPLAINERS https://forevercomplaining.bandcamp.com/releases PREVENGE https://prevengetheband.bandcamp.com/ NUANCE NOIRE https://nuancenoire.bandcamp.com/ THE SOBER DAWN https://thesoberdawn.bandcamp.com/ MALAMUTE https://malamute.bandcamp.com/ MOTHER CALISS https://soundcloud.com/lesguenilles/mothercaliss_anthologie TEMPLETON https://templetonmtl.bandcamp.com/releases   LE CLASH https://linktr.ee/leclashpodcast Logo ‘'Le Clash Podcast'' par Maxime Bonenfant (tous droits réservés à Philippe Vaillancourt) Thème d'introduction  de ‘'Le Clash Podcast''par Lazy Workforce (tous droits réservés à Felix Bolduc, Julien de Kermadec, Jonathan Miron, Philippe Vaillancourt), mix Simon Pelletier

Born in the UK and based in Berlin, Cressida's sound is a cross-pollination of these two sonic spectrums - the rhythmic, dystopian force of Techno fused with a sound embedded in various points of the UK Hardcore Continuum Cressida marked his first release “Salvation“ EP on Nur Jaber's OSF label and tracks on compilations for both Dax J's Monnom Black and Mord in 2018. After two more EPs on Voitax he contributed a track to the Midnight Shift x Voitax collab LP in late 2020. Far from going unnoticed, his work has been heralded by luminary artists such as Dax J, Paula Temple, Rebekah, FJAAK to name a few. His performances have gathered at an even faster pace with shows in North America, Asia and across Europe, plus key appearances at institutions like Tresor, Berghain's Säule, //about:blank and Griessmuehle in his adopted hometown. He has also made key contributions to renowned mix series such as HATE & Groove Magazine as well as appearing on the mighty RinseFM, amongst many others. His next gig will be on 30th of October at Berghain. His recent releases include appearances on Hector Oaks' KAOS imprint and Natural Selection https://soundcloud.com/cressida https://www.instagram.com/cressida_____/

The second remixer/producer in this limited 'Best Of' series is Wayne G. I can't remember exactly when I first met Wayne. I have a feeling it was back in the late 90's at either a Mardi Gras party or when he was guest DJ'ing at ARQ or The Midnight Shift in Sydney. I do remember hearing him play for the first time and making my way to the DJ booth to introduce myself (naturally). Like most of the big name international DJ/producers I have met, Wayne was very down to earth and friendly. As was the case with Division 4, it is impossible to do a best of Wayne's remixes in one episode. His style of producing has evolved so much over the years. From his early days at mega clubs like Heaven in London playing happy and hard house to his Atlantis anthems for the leisure cruise ship in the Mediterranean to his Throwback anthem/funky house sound at San Diego's Zoo Party and White Party Palm Springs and his many memorable appearances at Mardi Gras and Harbour Party here in Sydney. Wayne has mixed for some of the biggest names in the music industry and has had long established collaborations with other producers such as Andy Allder, Porl Young, Leo Frapper (LFB), Jon M. and Club Junkies. This set features some of his uplifting, house and club anthems but is only a fraction of his amazing body of work. Check him out on Soundcloud & Facebook etc and show him some love. In the meantime here is a selection of some of his best remixes. EnjoyAnthony1/ "G.U.Y" - LADY GAGA2/ "RESPECT" - WAYNE G. ft. SHAUNA JENSEN3/ "HOLD MY HAND" - JESS GLYNNE4/ "TONIGHT I'M GETTING OVER YOU" - CARLY RAE JEPSEN5/ "WHAT YOU'VE DONE TO ME" - SAMANTHA JADE6/ "DON'T MAKE ME WAIT" - 7th HEAVEN ft. DONNA GARDIER-ELLIOT7/ "WHAT YOU ARE" - BEX8/ "I JUST WANNA DANCE" - WAYNE G. ft. ALISON JIEAR9/ "MAGIC" - TONY MORAN ft. JENNIFER HOLLIDAY10/ "HEAVEN" - JOHN LePAGE ft. DEBBY HOLIDAY11/ "I BELIEVE IN YOU" - KYLIE MINOGUE12/ "GONNA BE ON TOP" - TIAAN WILLIAMS

Di podcast kali ini gue bakal bakal bahas dendam cinta atau problem solving nya cewek-cewek deh. Penasaran? Dengerin sampai habis yah.... Enjoy --- Support this podcast: https://anchor.fm/rayhan-hafid-ramadhan6/support

Full stream of Deadbeat x Om Unit's "Leaf," taken from their mini-LP on Midnight Shift, out November 19. More: www.orbmag.com/music/ @omunit @midnight-shift

ZZ Top – Tubesnake boogie -  Goin 50Dawson Smith & the Dissenters – Born with the Blues - The Mileage - 2017 Knust – BluesMike Mettalia & Midnight Shift  - Description Blues Myles Goodwyn - It'll Take Time To Get Used To Beau Kavanagh & Broken Hearted - All AloneEdgar Winter – Free Ride - The Definitive Collection Ryan Neville & The Midnight Blues Band  - As The Years Go Passing By John Lee Hooker - Bluebird Alberet Collins – Too TiredDan Patlansky - Big Things Goin down – Live in Bluesmoose café 29-10-2014Dutch Blues radio show. Live recordings , interviews and good blues music since 2004http://www.bluesmoose.nlhttps://www.youtube.com/user/Bluesmooseradiohttps://twitter.com/BluesMoosehttps://www.facebook.com/bluesmooseradio/https://itunes.apple.com/nl/podcast/blues-music-blues-moose-radio/id350828303?mt=2https://www.mixcloud.com/bluesmooseradio

Mike Mettalia & Midnight Shift  - Description Blues Sean Webster band - Start Again Michael Locke - Pleasure KingsBand Of Friends – Every man for himself - Spotlight on the G Man (2021)Billy Burns with JP Soars Band - Walk'n Out On YouDennis Gruenling featuring Doug Demming & The Jewel Tones - Rockin' All DayG. Willy Lojo & Lowdown 13 - Last NightBilly Gibson Band - What Is LovePat Ramsey - Allergic To WorkBlues Saraceno – Friday's walk - Plaid - 1992 Little Mike & The Tornades - Wait A Minute BabyThe Winters Brothers Band - Country Boy Rock & RollDutch Blues radio show. Live recordings , interviews and good blues music since 2004http://www.bluesmoose.nlhttps://www.youtube.com/user/Bluesmooseradiohttps://twitter.com/BluesMoosehttps://www.facebook.com/bluesmooseradio/https://itunes.apple.com/nl/podcast/blues-music-blues-moose-radio/id350828303?mt=2https://www.mixcloud.com/bluesmooseradio

Gay Sydney in the 90s was a magical time according to today's guest, chef, youtuber and podcaster Andrew Prior, who lived very close to the city's main gay hub, Oxford Street, in the early 90s. Our conversation focusses on this area, which Andred dubs the 'gay ghetto', at two periods of his life - the early 90s, when he was a teenager, living away from home for the first time, and the late 90s, when he was a little older (and, maybe perhaps wiser?). We talk all about the impact the massive success of the drag film 'The Adventures of Priscilla, Queen of the Desert' had on Sydney's scene, hen parties, body image, and Andrew's lost space, The Midnight Shift. Do you have any memories of Sydney's queer scene that you want to share? Well, if you have please get in touch - I want to create the biggest online record of people's memories and stories - go to www.lostspacespodcast.com and find the section 'Share a Lost Space' and tell me what you got up to! Bonus points for embarrassing photos! You can also find me on Facebook, Instagram and Twitter as @lostspacespod For more on Andrew check out Cooking Fabulously on YouTube and the Fabulously Delicious podcast, which are all about French food and the fabulous people that make it. You can also find him via his website, https://www.andrewpriorfabulously.com

New York nightlife is back in full swing and we are living for it -- Mijon even took a note from Art Simone and finally danced in the club to Chromatica!! With the first season of Drag Race Down Under coming to a close, it was only right to discuss the finale with a couple of fabulous Aussie queens; and the lovely Bree Vin-Ammyl and Krystal Kleer have us covered. We deep-dive into the final episode, the drama on Drag Race España, and even talk about drag at a funeral!On the pod:Drag Race Down Under episode 8, “Down Under Grand Finale” Kita Mean takes home the first Down Under crown and we couldn't be happier! Scarlet Adams apologized for blackface but the problem goes deeper Seriously, what was Ru Paul wearing?  Could Art Simone's dress have touched the floor?  Did Trixie and Katya make Karen From Finance famous before she was ready?  The queens' final interviews: who actually made Ru laugh Drag Race España episode 3, “Mocatriz” Unpacking ‘Mocatriz' Supremme is slaying her looks!! Inti's dramatic exit About our guests:Krystal Kleer is both your wildest dream and your worst night terror, perfectly balanced on a 6.5-inch single sole pump. Known as the Lip-Sync Assassin, this Queen will never cease to surprise, dazzle, and amaze you whether she's a magical green garden troll or an albino fairy with kaleidoscope eyes. Krystal performed for icons like Kylie Minogue, Dawn French, Baz Luhrmann, and Cher. Worked for clients like Marc Jacobs, Bundaberg Rum, Biscuit Anderson, Airbnb and Fox Sports. Other personal highlights include performing at the Sydney Opera House, being photographed atop the Sydney Harbor bridge for Sydney LGBT Mardi Gras, and being crowned Miss Dragnation 2018. Personable, witty, and dangerously funny, there is no way to explain the ethereal beauty that is Krystal Kleer.   Bree Vin-Ammyl is an Aussie queen based just outside of Sydney NSW. She has been doing drag professionally for 10 years and worked in all of Sydney's iconic bars including Stonewall Hotel, Midnight Shift, and the Imperial Hotel (of Priscilla fame), and worked alongside some of Down Under's most iconic queens! Including Carlotta, Maxi Shield, Tora Hymen. Not to mention playing hostess to a number of the Ru girls while they toured Down Under. Lately, she hosts regular trivia “The Big Fact Hunt” and bingo nights in the Wollongong and greater Sydney region. When she's not entertaining, she can be found styling wigs for local theatre and queens from all over or behind the sewing machine whipping up a frock for her next gig!FOLLOW KRYSTALInstagram: @krystalkleerofficialFacebook: Krystal KleerTikTok: @krystalkleerofficialFOLLOW BREEInstagram: @thatssobreevinFacebook: Bree TaylorTikTok: @thatssobreevinFOLLOW NICK Instagram: neprobst and grow_withnickTwitter: neprobst  FOLLOW MIJON Instagram:majorzu FOLLOW THE HUNTYS Instagram: whisperinghuntysFacebook: whisperinghuntysTiktok: whisperinghuntysTwitter: huntywhisperingWhispering Huntys Website  Whispering Huntys is an Apocalypse Podcast Network Podcast. Sign up to our Listserv: http://eepurl.com/hfnySr

Earlier this year we brought you the news of an innovative new collaboration which pairs two producers with unique perspectives on sound design and music. Prequel Tapes is best known for his noisy, disjointed approach to techno and the rougher drone inspired fringes of electronica and IDM. He has released music on the likes of Mannequin and R'COUP'D. Meanwhile, dBridge remains one of the most innovative figures in UK bass music culture having released cutting edge downtempo, jungle and drum 'n' bass over many decades for the likes of Creative Source, Exit Records and Metalheadz. Now the two have collaborated on a new EP for Midnight Shift, a record label which continues to connect generations of well versed music heads through its consistent release of high quality techno, bass and the weirder, heavier fringes of dance music. This new EP pairs two unique, creative minds. The result is a mutant hybrid showcasing the importance of collaboration and innovation. Following the release we asked kindly whether the pair might be up for recording a mix together, an alternative insight into their own collections and musical tapestry. The result is an old school mixtape, reel to reel vibes with integrity at its core.

Sir Martin's first time viewing of The Shining come listen in as we explore this particular film. Was director Stanley Kubrick trying to tell the audience something? Will we ever truly know? I believe in the chat I called Stephen King's The Graveyard Shift, The Midnight Shift. Wasn't ever a fan of that movie.

In this episode, Sheldon tells a story about a young man that went from being a garbage collector to running his own business. He never gave up through no college education until as a working adult, divorce, working midnight shifts, using his 401 to start his business, and many other things. The story is tremendous and triumphant and gives hope to all that hear his story.

Esta semana en Islas de Robinson nos movemos entre 1969 y 1972, con un buen puñado de clásicos en cruce de caminos entre rock and roll y country. Suenan: CREEDENCE CLEARWATER REVIVAL - "FEELIN' BLUE" ("WILLIE AND THE POOR BOYS", 1969) / THE KINKS - "20TH CENTURY MAN" ("MUSWELL HILLBILLIES", 1971) / NRBQ - "FLAT FOOT FLEWZY" ("CARL PERKINS & NRBQ BOPPIN' THE BLUES", 1970) / FLAMIN' GROOVIES - "COMIN' AFTER ME" ("FLAMINGO", 1970) / LEGEND - "ANYTHING YOU DO" ("LEGEND", 1971)/ DAVE EDMUNDS - "HELL OF A PAIN" ("ROCKPILE", 1971) / FRANKIE MILLER - "CANDLELIGHT SONATA IN F MAJOR" ("ONCE IN A BLUE MOON", 1972) / BRINSLEY SCHWARZ - "HOME IN MY HAND" ("NERVOUS ON THE ROAD", 1972) / COMMANDER CODY & HIS LOST PLANET AIRMEN - "MIDNIGHT SHIFT" ("LOST IN OZONE", 1971) / SKIP BATTIN - "THE BALLAD OF DICK CLARK" ("SKIP", 1972) / THE GREASE BAND - "LET IT BE GONE" ("THE GREASE BAND", 1971) / ROGER MORRIS - "LET THE FOUR WINDS BLOW" ("FIRST ALBUM", 1972) / CHRIS SPEDDING - "THE ONLY LICK I KNOW" ("THE ONLY LICK I KNOW", 1972) / Escuchar audio

Dr. Kulberg updates us on public health matters and the vaccine rollout. Lt. Roccabruna joins Lt. Traversa and the Chief to talk about what is going on on Squad C and in-service training. The equipment inventory has taken on a life of it’s own and the Annual Report will be finished today.

On Episode 36 of the Night School series, Mike sits down with Watsonville, CA hip-hop & neo-soul artist, Kabwasa. The guys discuss a variety of topics, including his new debut album 'Maiden Flight', how he shaped his unique sound, & his upcoming music video for "Midnight Shift". Kabwasa also reflects on how he got to this point in his music career, his favorite moments performing, the importance of using his platform for awareness on social & race issues in America, and so much more. Big shoutout to Kabwasa on his music & thoughtfulness in this episode! Stream 'Maiden Flight' on all platforms now! - https://open.spotify.com/album/13hltyrCYNTjy2XpsrltIE?si=PQz3pqQIT2StUo3eI7LEtQ Follow Kabwasa on Instagram - https://www.instagram.com/musicbykabwasa/ Follow our social media and blogs Instagram - https://www.instagram.com/turntableteachers/?hl=en Blog - https://www.turntableteachers.com/blog Shop - https://www.turntableteachers.com/shop Subscribe to our streaming services Apple - https://podcasts.apple.com/us/podcast/the-turntable-teachers/id1448694925 Google Play - https://playmusic.app.goo.gl/?ibi=com.google.PlayMusic&isi=691797987&ius=googleplaymusic&apn=com.google.android.music&link=https://play.google.com/music/m/Icujt6fhi2je7zzfxjkr7glcowe?t%3DThe_Turntable_Teachers%26pcampaignid%3DMKT-na-all-co-pr-mu-pod-16 Soundcloud - https://soundcloud.com/user-538618877 Spotify - https://open.spotify.com/show/4UJh499meoTP5wV2b2jrb0?si=EMaTjq9CR2-_zA6orKQNEQ Spotify Playlists- https://open.spotify.com/user/45ix6360sx8y5286mf2ims30f?si=Swo3O5_ZREaF-01aOXVThQ

Run it Red 67 is here! Before you check the show, if you’re feeling anything I’m doing at the moment then please check out the link to charities on all my pages and consider donating to some good causes in return. Also, Run it Red’s home, NTS, is currently launching a subscription service to help them do their thing without being reliant on external funding - head to the NTS site to check for more details and support their excellent work if you can.   Charity Link: biglink.to/Charities Subscribe: >>> fanlink.to/runitred Send your music >>> promos@djbensims.com Spotify Playlist: bit.ly/RUNITREDSPOTIFY   Next show >>> Midnight (UK Time) 12th/13th August www.nts.live 1. Keita Sano - Break Beat. Hihatt 2. Mike Dunn - Work. Classic 3. Reform Rebel - East Town West Town Youth. UKR 4. Black Girl, White Girl - Jelly Brain. Aerobik 5. Cinthie - Concentrate. Aus 6. H2H (Chez Damier and Ben Vedren) - Berlin Nights In Paris (Taho Remix). Balance 7. Cool Tiger - I Feel You. Junction 8. Fast Eddie - Never Let Go. Aou 9. Campbell Pirret - 992 Piano Jam. Lobster Theramin 10. Moon Boots feat. Kaleena Zanders - Juanita (Mark Broom Remix). Anjunadeep 11. Floorplan - Save The Children (Detroit Mix). M-Plant 12. Ralph Session & Dj Romain - Dance Dance. Half Assed 13. Avision - Flyin’. Avision 14. ARTF - Step By Step (Dub Version). Opilec 15. Sven Von Thülen - First Time (Instrumental). Dred 16. Nikk - Sluricane. UTTU 17. Girls Of The Internet - Humble (Mark Broom Mix 2). Drab Queen 18. Fast Eddie & Orlando Voorn - Pound Da Bass (Beat Drop mix). Aou 19. Sergie Rezza - Monté (Carl Craig Edit). Planet E 20. Ackermann - Stabilität. Uncage 21. Truncate - LAX V2. DTW 22. Ben Sims - Break It Down. Break the Silence 23. Ben Sims - Carnival (Shlomi Aber's remix). Conform 24. S-File - Things Have Changed (Mark Broom Remix). GND 25. Harry Romero - Control (Josh Wink Interpretation). Bombassa 26. Sterac - Astromech. ANGLS 27. Josh Reeves - Rotations 28. Romain Richard - Dangerous Mind 29. We Call It Voight-Kampff - Life Cycle 30. Planetary Assault Systems - Blast. ANGLS 31. Eric Fetcher - Emphasis. Collapse 32. Truncate - LA V1. DTW 33. Alexander Johansson & Mattias Fridell - Vilseledd. N&N 34. Robert Hood - The Struggle. M-Plant 35. Function - Misinterpetations Of Reality. Unknown 36. DJ 3000 - Don't Stop. Motech 37. Exos - Do Not Sleep (DJ-Rush Remix). Planet X 38. Elisa Bee - Orbit. Balkan 39. Trackmaster Dre - 4th. Odd Even 40. The Frequentis The Rebound. Unknown 41. Svreca - FRUE (Sigha Remix). Semantica 42. Maral Salmassi - 177X. Konsequent 43. Arnaud Le Texier - Mystery . Soma 44. Function - Compulsive Thinking, Repetive and Pointless. Unknown 45. A Thousand Details - Arfendal. Unknown 46. A Thousand Details - Scapula Pain. ATD 47. Brad Goddard - Big Arm. Unreleased 48. Translate - Arcnex. Float 49. Translate - Surface Radar. Unknown 50. Linear Search - Paralysis. Symboilsm 51. Vulkanski - Conflict Of Interest. Diffuse Reality 52. Wrong Assessment and Ruhig - Kavòd . Anititerra 53. Pulso - Pliegues. Subsist 54. Dorhg - Melting (Kalter Ende Remix). Atroc 55. Fergus Sweetland - Change Mode. Hayes 56. Function - An Optical Illusion Of Consciousness. Unknown 57. Anthony Rother - Stellarator. Cultivated Electronics 58. Alexander Kowalski - Crystal Patterns. RMR 59. Templefeld by Kirk Degiorgio - Day of Reckoning. Midnight Shift 60. Ryan James Ford - While You Were Sleeping. Savy 61. Nathan Kofi - Reyoh. De Litching 62. Bufiman - Blow Your Head. Dekmantel 63. Sync 24 - Hyperway. Cultivated Electronics 64. TVOUT - A1. Bank 65. Empire State - Prostitution. Veyl  

Part 1: CYBEREIGN Live set, UK Underground radio (jupitor4 records) Never die (diffuse reality) No name (unreleased) The truth (stonedwave records) assassins 2.0 (unreleased) No name (unreleased) Warp tunnel (diffuse reality) Take down /control (unreleased) Break bots (unreleased) Bionic erotic(unreleased) Breathing apparatus(unreleased) Acid tones(lasergum records) Part 2: GAMADON, guest mix, Ireland 1. The Exaltics / Heinrich Mueller - Hologram Universe (Solar One Music) 2. The Exaltics / Heinrich Mueller - Search For Artificial Intelligence (Solar One Music) 3. Assembler Code - Write Pulse (Cultivated Electronics) 4. DJ Frankie - Death Or Death ‘Assembler Code remix’ (Source Material) 5. Assembler Code - Outer Trace (Dance Trax) 6. Cyan85 & Paco Pack - 4 Ma C-Borgs (Voitax x Midnight Shift) 7. Sound Of Mind - Freaky (Programming) (F.A.C.T.) 8. JLM Werx - Acid 146 (Hilltown Disco) 9. Volruptus - SURMATUR (BBBBBB) 10. Jon Watts - Prohaasation (Butter Sessions) 11. Dez Williams - Carkrash Vilkdim (Mechatronica) 12. Jon Watts - William (Butter Sessions) 13. The Advent - L.U. (Cultivated Electronics) 14. Blotnik Brothers - In Technology We Trust (Satamile) 15. Luz1e - Sonic Measurements (Ghetto Traxx) 16. Jupiter4 - Modular Ghost System ‘Jensen Interceptor remix’ (Jupiter4) 17. Assembler Code - Generator (Censor) 18. Shawescape Renegade - Soldiers Of Electro (Gentrified Underground) 19. Galaxian - Private Tyranny (Tresor) 20. Michael Forshaw - Time To Get The 24th Century On Your Ass ep (Chan & Mike’s) 21. B. Calloway - Party ’n Bullshit ‘Dirty Mix’ (FTP) 22. Volruptus - We Are The Cyborgs (BBBBBB) 23. Jadzia - Gray Inside (FTP) 24. Kind Human Being - Electric Infinite (Fundamental) 25. Rude Solo - M.F.S (Rotters Golf Club) 26. Aux 88 - Computer Speaks (Direct Beat) 27. Ottonian - Let It Bump (FTP) 28. Voice Stealer - Electromotive Force (Subvert) 29. CN - Anubis (WeMe)

Every now and then I have to do a couple of midnight shifts. This is how I feel.

Singapore's finest Eddie Niguel joins in for the first of several mixes from the Integrity Records family for our #StayHomeDisco series. Eddie is the founder of Integrity, a label profiled by Will Sumsuch in 2019 for 5 Mag (relevant to the world today, there was some harrowing talk back then about the effect of the SARS outbreak on Singapore's club scene). He's released music on Get Physical, Dig Deeper and Midnight Shift. Integrity's latest release is the outstanding The Pier EP by Miles Ellis, out now and available from bandcamp.

  Episode sixty-one of A History of Rock Music in Five Hundred Songs looks at “That’ll Be the Day” by The Crickets. 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 “Rudolph the Red-Nosed Reindeer” by Gene Autry —-more—- Before I get to the resources and transcript, a quick apology. This one is up many hours later than normal, almost a full day. I’ve been dealing with a combination of health issues, technical problems, and family commitments, any two of which would still have allowed me to get this up on time, but which in combination made it impossible. Errata I say in here that Larry Welborn lent Holly a thousand dollars. That money was actually lent Holly by his brother, also called Larry. I also at one point say “That’ll Be the Day” was co-written by Joe Allison. I meant Jerry Allison, of course — Joe Allison was also a Texan songwriter, but had no involvement in that song.   Resources   I’ve used two biographies for the bulk of the information here — Buddy Holly: Learning the Game, by Spencer Leigh, and Rave On: The Biography of Buddy Holly by Philip Norman.  There are many collections of Buddy Holly’s work available, but many of them are very shoddy, with instrumental overdubs recorded over demos after his death. The best compilation I am aware of is The Memorial Collection, which contains almost everything he issued in his life, as he issued it (for some reason two cover versions are missing) along with the undubbed acoustic recordings that were messed with and released after his death. A lot of the early recordings with Bob, Larry, and/or Sonny that I reference in this episode are included in Down The Line: Rarities, a companion set to the Memorial Collection. Patreon This podcast is brought to you by the generosity of my backers on Patreon. Why not join them? Transcript And so, far later in the story than many people might have been expecting, we finally come to Buddy Holly, the last of the great fifties rockers to appear in our story. Nowadays, Holly gets counted as a pioneer of rock and roll, but in fact he didn’t turn up until the genre had become fairly well established in the charts. Which is not to say that he wasn’t important or innovative, just that he was one of the greats of the second wave — from a twenty-first-century perspective, Buddy Holly looks like one of the people who were there when rock and roll was invented, but by the time he had his first hit, Bill Haley, Carl Perkins, and Gene Vincent had all had all their major chart hits, and were on their way down and out. Little Richard was still touring, but he’d already recorded his last rock and roll record of the fifties, and while Fats Domino was still making hit records, most of the ones he’s remembered by, the ones that changed music, had already been released. But Holly was arguably the most important figure of this second wave, someone who, more than any other figure of the mid-fifties, seems at least in retrospect to point the way forward to what rock music would become in the decade after. So today we’re going to look at the story of how the first really successful rock group started. Because while these days, “That’ll Be The Day” is generally just credited to “Buddy Holly”, at the time the record came out, it didn’t have any artist name on it other than that of the band that made it, The Crickets: [Excerpt: The Crickets, “That’ll Be the Day”] Charles Hardin Holley grew up in Lubbock, Texas, a town in the middle of nowhere that has produced more than its fair share of famous musicians. Other than Buddy Holly, the two most famous people from Lubbock are probably Waylon Jennings, who briefly played in Holly’s band in 1959 before going on to his own major successes, and Mac Davis, who wrote several hits for Elvis before going on to become a country singer of some note himself. Holly grew up with music. His elder brothers performed as a country duo in much the same style as the Louvin Brothers, and there’s a recording of Holly singing the old country song, “Two Timin’ Woman”, in 1949, when he was twelve, before his voice had even broken: [Excerpt: Charles Holley, “Two Timin’ Woman”] By his mid-teens, he was performing as “Buddy and Bob” with a friend, Bob Montgomery, playing pure country and western music, with Buddy on the mandolin while Bob played guitar: [Excerpt: Buddy and Bob, “Footprints in the Snow”] He would also appear on the radio with another friend, Jack Neal, as “Buddy and Jack”. Some early recordings of that duo survive as well, with Jack singing while Buddy played guitar: [Excerpt: Buddy and Jack, “I Saw the Moon Crying Last Night”] When Jack Neal, who was a few years older than Buddy, got married and decided he didn’t have time for the radio any more, the Buddy and Jack Show became the Buddy and Bob Show. Around this time, Buddy met another person who would become important both to him and the Crickets, Sonny Curtis. Curtis was only a teenager, like him, but he had already made an impression in the music world. When he was only sixteen, he had written a song, “Someday”, that was recorded by the country star Webb Pierce: [Excerpt: Webb Pierce, “Someday”] Buddy, too, was an aspiring songwriter. A typical early example of his songwriting was one he wrote in collaboration with his friend Scotty Turner, “My Baby’s Coming Home”. The song wasn’t recorded at the time, but a few years later a demo version of it was cut by a young singer called Harry Nilsson: [Excerpt: Harry Nilsson, “My Baby’s Coming Home”] But it wasn’t until he saw Elvis live in 1955 that Buddy Holly knew he didn’t want to do anything other than become a rock and roll star. When Elvis came to town, the promoter of Elvis’ show was a friend of Buddy and Bob, and so he added them to the bill. They became friendly enough that every time Elvis passed through town — which he did often in those early years of his career — they would all hang out together. Bob Montgomery used to reminisce about going to the cinema with Elvis to watch Gentlemen Prefer Blondes, and Elvis getting bored with the film half an hour in, and leaving with the rest of the group. After seeing Elvis, Buddy almost immediately stepped up his musical plans. He had already been recording demos with Bob and Sonny Curtis, usually with Bob on vocals: [Excerpt: Buddy and Bob, “I Gambled My Heart”] The bass player on that song, Larry Welborn, believed in Buddy’s talents, and lent him a thousand dollars — a *massive* amount of money in 1955 — so he could buy himself a Fender Stratocaster, an amp, and a stage suit. Holly’s friend Joe B. Mauldin said of the Strat that it was the first instrument he’d ever seen with a gear shift. He was referring there to the tremelo arm on the guitar — a recent innovation that had only been brought in that year. Buddy kept playing guitar with various combinations of his friends. For example Sonny Curtis cut six songs in 1955, backed by Buddy on guitar, Larry Wellborn on bass, and Jerry Allison on drums: [Excerpt: Sonny Curtis, “Because You Love Me”] Curtis would later talk about how as soon as Elvis came along, he and Buddy immediately switched their musical style. While it was Buddy who owned the electric guitar, he would borrow Curtis’ Martin acoustic and try to play and sing like Elvis, while Curtis in turn would borrow Buddy’s Strat and play Scotty Moore’s guitar licks. Buddy was slowly becoming the most popular rock and roll singer in that part of Texas — though he had an ongoing rivalry with Roy Orbison, who was from a hundred miles away in Wink but was the only serious competition around for the best local rock and roller.  But while Buddy was slowly building up a reputation in the local area, he couldn’t yet find a way to break out and have success on a wider stage. Elvis had told him that the Louisiana Hayride would definitely have him on at Elvis’ recommendation, but when he and Sonny Curtis drove to Shreveport, the radio station told them that it wasn’t up to Elvis who got on their show and who didn’t, and they had to drive back to Texas from Louisiana without getting on the radio. This kind of thing just kept happening. Buddy and Bob and Sonny and Larry and Jerry were recording constantly, in various combinations, and were making more friends in the local music community, like Waylon Jennings, but nothing was happening with the recordings. You can hear on some of them, though, exactly what Sonny Curtis meant when he said that they were trying to sound like Elvis and Scotty Moore: [Excerpt: Buddy Holly, “Don’t Come Back Knockin'”] These songs were  the recordings that got Buddy a contract with Decca Records in Nashville, which was, at the time, one of the biggest record labels in the country. And not only did he get signed to Decca, but Buddy also got a songwriting contract with Cedarwood Music, the publishing company that was jointly owned by Jim Denny, the man in charge of the bookings for the Grand Ole Opry, and Webb Pierce, one of the biggest country music stars of the period. So it must have seemed in January 1956 as if Buddy Holly was about to become a massive rock and roll star. That first Decca recording session took place in Owen Bradley’s studio, and featured Sonny Curtis on guitar, and a friend called Don Guess on bass. The session was rounded out by two of the regular musicians that Bradley used on his sessions — Grady Martin on rhythm guitar, so Buddy didn’t have to sing and play at the same time, and Doug Kirkham on drums. The songs they cut at that initial session consisted of two of the songs they’d already demoed, “Don’t Come Back Knockin'” and “Love Me”, plus “Blue Days, Black Nights”, a song written by Ben Hall, a friend of Buddy’s from Lubbock. But it was the fourth song that was clearly intended to be the hit. We’ve talked before about the Annie songs, but that was back in March, so I’ll give you a brief refresher here, and if you want more detail, go and listen to episode twenty-two, on “The Wallflower”, which I’ll link in the show notes. Back in 1954, Hank Ballard and the Midnighters had recorded a song called “Work With Me Annie”, a song which had been, for the time, relatively sexually explicit, though it sounds like nothing now: [Excerpt: Hank Ballard and the Midnighters, “Work With Me Annie”] That song had started up a whole series of answer records. The Midnighters recorded a couple themselves, like “Annie Had a Baby”: [Excerpt: Hank Ballard and the Midnighters, “Annie Had a Baby”] Most famously there was Etta James’ “The Wallflower”: [Excerpt: Etta James, “The Wallflower”] But there were dozens more songs about Annie — there was “Annie Met Henry”, “Annie Pulled a Hum-Bug”, even “Annie Kicked the Bucket”: [excerpt: the Nu Tones, “Annie Kicked the Bucket”] And the fourth song that Buddy recorded at this first Decca session, “Midnight Shift”, was intended to be another in the Annie series. It was written by Luke McDaniel, a country singer who had gone rockabilly, and who recorded some unissued sides for Sun, like “My Baby Don’t Rock”: [Excerpt: Luke McDaniel, “My Baby Don’t Rock”] Jim Denny had suggested “Midnight Shift” for Buddy — though it seems a strange choice for commercial success, as it’s rather obviously about a sex worker: [Excerpt: Buddy Holly, “Midnight Shift”] Perhaps the label had second thoughts, as “Blue Days, Black Nights” was eventually chosen as the single, rather than “Midnight Shift”. When the paperwork for it came through for Buddy to sign, he discovered that they’d misspelled his name. He was born Charles Holley — h-o-l-l-e-y — but the paperwork spelled it h-o-l-l-y. As he was told they needed it back in a hurry, he signed it, and from then on he was Buddy Holly without the e. For the rest of 1956 Buddy continued recording with Owen Bradley for Decca, and kept having little success. Bradley became ever more disillusioned with Holly, while Paul Cohen, the executive at Decca who had signed Holly, at one point was telling his friends “Buddy Holly is the biggest no talent I have ever worked with.” One of the songs that he recorded during that time, but which wasn’t released, was one that Owen Bradley described as “the worst song I’ve ever heard”. It had been written by Holly and Joe Allison after they’d been to see the John Wayne film The Searchers — a film which later gave the name to a band from Liverpool who would become hugely influential. Holly and Allison had seen the film several times, and they kept finding themselves making fun of the way that Wayne said one particular line: [Excerpt: The Searchers, John Wayne saying “That’ll Be The Day”] They took that phrase and turned it into the title of a song. Unfortunately, the first recording of it wasn’t all that great — Buddy had been told by Webb Pierce that the way to have a hit single was to sing in a high voice, and so he sang the song far out of his normal range: [Excerpt: Buddy Holly, “That’ll Be The Day”] Around this time, Sonny Curtis stopped working with Holly. Owen Bradley didn’t like his guitar playing and wanted Holly to record with the session musicians he used with everyone else, while Curtis got an offer to play guitar for Slim Whitman, who at the time was about the biggest star in country music. So as 1956 drew to a close, Buddy Holly was without his longtime guitarist, signed to a record company that didn’t know what to do with him, and failing to realise his musical ambitions. This is when Norman Petty entered the story. Petty was a former musician, who had performed crude experiments in overdubbing in the late forties, copying Les Paul and Mary Ford, though in a much less sophisticated manner. One of his singles, a version of Duke Ellington’s “Mood Indigo”, had actually been a minor hit: [Excerpt: The Norman Petty Trio, “Mood Indigo”] He’d gone into the recording studio business, and charged bands sixty dollars to record two songs in his studio — or, if he thought the songs had commercial potential, he’d waive the charge if they gave him the publishing and a co-writing credit. Petty had become interested in rockabilly after having recorded Roy Orbison and the Teen Kings’ first single — the version of “Ooby Dooby” that was quickly deleted: [Excerpt: Roy Orbison and the Teen Kings, “Ooby Dooby”, Je_Wel Records version] When he heard Sam Phillips’ remake of the song, he became intrigued by the possibilities that echo offered, and started to build his own echo chamber — something that would eventually be completed with the help of Buddy Holly and Buddy’s father and brother. Petty recorded another rockabilly group, Buddy Knox and the Rhythm Orchids, on a song, “Party Doll”, that went to number one: [Excerpt: Buddy Knox and the Rhythm Orchids, “Party Doll”] When the Rhythm Orchids passed through Lubbock, they told Buddy about Norman Petty’s studio, and Buddy went there to cut some demos. Petty was impressed by Holly — though he was more impressed by Sonny Curtis, who was still with Buddy for those demo sessions — and when his contract with Decca expired, Petty and Holly agreed to work together. But they had a problem. Buddy’s contract with Decca said that even though they’d only released two singles by him, and hadn’t bothered to release any of the other songs he’d recorded during the year he was signed to them, he couldn’t rerecord anything he’d recorded for them for another five years. Buddy tried to get Paul Cohen to waive that clause in the contract, and Cohen said no. Holly asked if he could speak to Milt Gabler instead — he was sure that Gabler would agree. But Cohen explained to him that Gabler was only a vice president, and that he worked for Cohen. There was no way that Buddy Holly could put out a record of any of the songs he had recorded in 1956. So Norman Petty, who had been secretly recording the conversation, suggested a way round the problem. They could take those songs, and still have Holly sing them, but put them out as by a group, rather than a solo singer. It wouldn’t be Buddy Holly releasing the records, it would be the group. But what should they call the group? Buddy and Jerry Allison both really liked New Orleans R&B — they loved Fats Domino, and the other people that Dave Bartholomew worked with — and they particularly liked a song that Bartholomew had co-written for a group called the Spiders: [Excerpt: The Spiders, “Witchcraft”] So they decided that they wanted a name that was something like the Spiders. At first they considered “the Beetles”, but decided that that was too creepy — people would want to squish them. So they settled on The Crickets. And so the version of “That’ll Be The Day” that Buddy, Larry, Jerry, and Niki Sullivan had recorded with Norman Petty producing was going to be released as by the Crickets, and Buddy Holly’s name was going to be left off anything that the heads at Decca might see. Amusingly, the record ended up released by Decca anyway — or at least by a subsidiary of Decca. Norman Petty shopped the demos they’d made around different labels, and eventually he took them to Bob Thiele. Thiele had had a similar career to Milt Gabler — he’d started out as a musician, then he’d formed his own speciality jazz label, Signature, and had produced records like Coleman Hawkins’ “The Man I Love”: [Excerpt: Coleman Hawkins, “The Man I Love”] Like Gabler, he had been taken on by Decca, which of all the major labels was the only one that really understood the way that the music business was changing. He’d been put in charge of two labels owned by Decca — Coral, which was being used mostly for insipid white cover versions of black acts, and Brunswick, which was where he released rockabilly tracks by Johnny Burnette and the Rock and Roll Trio. The Crickets were clearly a Brunswick group, and so “That’ll Be the Day” was going to be released on Brunswick — and the contract was sent to Jerry Allison, not Buddy Holly. Holly’s name wasn’t mentioned at first, in case Thiele decided to mention it to his bosses and the whole thing was blown. Norman Petty had assumed that what they’d recorded so far was just going to be a demo, but Thiele said that no, he thought what they had was fine as it was, and put this out: [Excerpt: The Crickets, “That’ll Be The Day”] But the Crickets had still not properly finalised their lineup. The core of Holly and Allison was there — the two of them had been playing together for years — and Niki Sullivan would be OK on rhythm guitar, but they needed a permanent bass player. They eventually settled on Joe B. Mauldin, who had played with a group called The Four Teens that had also featured Larry Welborn. Joe B. had sat in on a gig with the other three, and they’d been impressed with his bass playing.  Before “That’ll Be the Day” was released, they were already in the studio cutting more songs. One was a song that had originally been written by Holly’s mother, though she refused to take credit for it — she was a fundamentalist Southern Baptist, and rock and roll was the Devil’s music. She was just about okay with her son playing it, but she wasn’t going to get herself involved in that. So Buddy took his mother’s song and turned it into this: [Excerpt: The Crickets, “Maybe Baby”] And at the same time, they also made an agreement that Holly could record solo material for Coral. That would actually be recorded by the same people who were making the Crickets’ records, but since he was coming up with so many new songs, they might as well use them to get twice as much material out — there was no prohibition, after all, on him recording new songs under his own name, just the ones he’d recorded in 1956. And they were recording a ludicrous amount of material. “That’ll Be The Day” still hadn’t been released, and they already had their next single in the bag, and were recording Buddy’s first solo single. That song was based on “Love is Strange” by Mickey and Sylvia, a favourite of Holly’s: [Excerpt: Mickey and Sylvia, “Love is Strange”] Holly took that basic musical concept and turned it into “Words of Love”: [Excerpt: Buddy Holly, “Words of Love”] That wasn’t a hit for Holly, but even before his version was released, the Diamonds, who usually made a habit of recording tracks originally recorded by black artists, released a cover version, which went to number thirteen: [Excerpt: The Diamonds, “Words of Love”] The Crickets were essentially spending every second they could in Petty’s studio. They were also doing session work, playing on records by Jim Robinson, Jack Huddle, Hal Goodson, Fred Crawford, and more. In the early months of 1957, they recorded dozens upon dozens of songs, which would continue being released for years afterwards. For example, just two days after “That’ll Be the Day” was finally released, at the end of May, they went into the studio and cut another song they had patterned after Bo Diddley, who had co-written “Love is Strange”,  as a Crickets side: [Excerpt: The Crickets, “Not Fade Away”] and, on the same day, a Holly solo side: [Excerpt: Buddy Holly, “Every Day”] All these songs were written by Holly and Allison, sometimes with Mauldin helping, but the songwriting credits didn’t really match that. Sometimes one or other name would get missed off the credits, sometimes Holly would be credited by his middle name, Hardin, instead of his surname, and almost always Norman Petty would end up with his name on the songwriting credits. They weren’t that bothered about credit, for the moment — there was always another song where the last one came from, and they were piling up songs far faster than they could release them. Indeed, only a month after the “Not Fade Away” and “Every Day” session, they were back in the studio yet again, recording another song, which Buddy had originally intended to name after his niece, Cindy Lou. Jerry, on the other hand, thought the song would be better if it was about his girlfriend. And you’ll be able to find out what happened after they decided between Cindy Lou and Peggy Sue in a few weeks’ time…

  Episode sixty-one of A History of Rock Music in Five Hundred Songs looks at “That’ll Be the Day” by The Crickets. 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 “Rudolph the Red-Nosed Reindeer” by Gene Autry —-more—- Before I get to the resources and transcript, a quick apology. This one is up many hours later than normal, almost a full day. I’ve been dealing with a combination of health issues, technical problems, and family commitments, any two of which would still have allowed me to get this up on time, but which in combination made it impossible. Errata I say in here that Larry Welborn lent Holly a thousand dollars. That money was actually lent Holly by his brother, also called Larry. I also at one point say “That’ll Be the Day” was co-written by Joe Allison. I meant Jerry Allison, of course — Joe Allison was also a Texan songwriter, but had no involvement in that song.   Resources   I’ve used two biographies for the bulk of the information here — Buddy Holly: Learning the Game, by Spencer Leigh, and Rave On: The Biography of Buddy Holly by Philip Norman.  There are many collections of Buddy Holly’s work available, but many of them are very shoddy, with instrumental overdubs recorded over demos after his death. The best compilation I am aware of is The Memorial Collection, which contains almost everything he issued in his life, as he issued it (for some reason two cover versions are missing) along with the undubbed acoustic recordings that were messed with and released after his death. A lot of the early recordings with Bob, Larry, and/or Sonny that I reference in this episode are included in Down The Line: Rarities, a companion set to the Memorial Collection. Patreon This podcast is brought to you by the generosity of my backers on Patreon. Why not join them? Transcript And so, far later in the story than many people might have been expecting, we finally come to Buddy Holly, the last of the great fifties rockers to appear in our story. Nowadays, Holly gets counted as a pioneer of rock and roll, but in fact he didn’t turn up until the genre had become fairly well established in the charts. Which is not to say that he wasn’t important or innovative, just that he was one of the greats of the second wave — from a twenty-first-century perspective, Buddy Holly looks like one of the people who were there when rock and roll was invented, but by the time he had his first hit, Bill Haley, Carl Perkins, and Gene Vincent had all had all their major chart hits, and were on their way down and out. Little Richard was still touring, but he’d already recorded his last rock and roll record of the fifties, and while Fats Domino was still making hit records, most of the ones he’s remembered by, the ones that changed music, had already been released. But Holly was arguably the most important figure of this second wave, someone who, more than any other figure of the mid-fifties, seems at least in retrospect to point the way forward to what rock music would become in the decade after. So today we’re going to look at the story of how the first really successful rock group started. Because while these days, “That’ll Be The Day” is generally just credited to “Buddy Holly”, at the time the record came out, it didn’t have any artist name on it other than that of the band that made it, The Crickets: [Excerpt: The Crickets, “That’ll Be the Day”] Charles Hardin Holley grew up in Lubbock, Texas, a town in the middle of nowhere that has produced more than its fair share of famous musicians. Other than Buddy Holly, the two most famous people from Lubbock are probably Waylon Jennings, who briefly played in Holly’s band in 1959 before going on to his own major successes, and Mac Davis, who wrote several hits for Elvis before going on to become a country singer of some note himself. Holly grew up with music. His elder brothers performed as a country duo in much the same style as the Louvin Brothers, and there’s a recording of Holly singing the old country song, “Two Timin’ Woman”, in 1949, when he was twelve, before his voice had even broken: [Excerpt: Charles Holley, “Two Timin’ Woman”] By his mid-teens, he was performing as “Buddy and Bob” with a friend, Bob Montgomery, playing pure country and western music, with Buddy on the mandolin while Bob played guitar: [Excerpt: Buddy and Bob, “Footprints in the Snow”] He would also appear on the radio with another friend, Jack Neal, as “Buddy and Jack”. Some early recordings of that duo survive as well, with Jack singing while Buddy played guitar: [Excerpt: Buddy and Jack, “I Saw the Moon Crying Last Night”] When Jack Neal, who was a few years older than Buddy, got married and decided he didn’t have time for the radio any more, the Buddy and Jack Show became the Buddy and Bob Show. Around this time, Buddy met another person who would become important both to him and the Crickets, Sonny Curtis. Curtis was only a teenager, like him, but he had already made an impression in the music world. When he was only sixteen, he had written a song, “Someday”, that was recorded by the country star Webb Pierce: [Excerpt: Webb Pierce, “Someday”] Buddy, too, was an aspiring songwriter. A typical early example of his songwriting was one he wrote in collaboration with his friend Scotty Turner, “My Baby’s Coming Home”. The song wasn’t recorded at the time, but a few years later a demo version of it was cut by a young singer called Harry Nilsson: [Excerpt: Harry Nilsson, “My Baby’s Coming Home”] But it wasn’t until he saw Elvis live in 1955 that Buddy Holly knew he didn’t want to do anything other than become a rock and roll star. When Elvis came to town, the promoter of Elvis’ show was a friend of Buddy and Bob, and so he added them to the bill. They became friendly enough that every time Elvis passed through town — which he did often in those early years of his career — they would all hang out together. Bob Montgomery used to reminisce about going to the cinema with Elvis to watch Gentlemen Prefer Blondes, and Elvis getting bored with the film half an hour in, and leaving with the rest of the group. After seeing Elvis, Buddy almost immediately stepped up his musical plans. He had already been recording demos with Bob and Sonny Curtis, usually with Bob on vocals: [Excerpt: Buddy and Bob, “I Gambled My Heart”] The bass player on that song, Larry Welborn, believed in Buddy’s talents, and lent him a thousand dollars — a *massive* amount of money in 1955 — so he could buy himself a Fender Stratocaster, an amp, and a stage suit. Holly’s friend Joe B. Mauldin said of the Strat that it was the first instrument he’d ever seen with a gear shift. He was referring there to the tremelo arm on the guitar — a recent innovation that had only been brought in that year. Buddy kept playing guitar with various combinations of his friends. For example Sonny Curtis cut six songs in 1955, backed by Buddy on guitar, Larry Wellborn on bass, and Jerry Allison on drums: [Excerpt: Sonny Curtis, “Because You Love Me”] Curtis would later talk about how as soon as Elvis came along, he and Buddy immediately switched their musical style. While it was Buddy who owned the electric guitar, he would borrow Curtis’ Martin acoustic and try to play and sing like Elvis, while Curtis in turn would borrow Buddy’s Strat and play Scotty Moore’s guitar licks. Buddy was slowly becoming the most popular rock and roll singer in that part of Texas — though he had an ongoing rivalry with Roy Orbison, who was from a hundred miles away in Wink but was the only serious competition around for the best local rock and roller.  But while Buddy was slowly building up a reputation in the local area, he couldn’t yet find a way to break out and have success on a wider stage. Elvis had told him that the Louisiana Hayride would definitely have him on at Elvis’ recommendation, but when he and Sonny Curtis drove to Shreveport, the radio station told them that it wasn’t up to Elvis who got on their show and who didn’t, and they had to drive back to Texas from Louisiana without getting on the radio. This kind of thing just kept happening. Buddy and Bob and Sonny and Larry and Jerry were recording constantly, in various combinations, and were making more friends in the local music community, like Waylon Jennings, but nothing was happening with the recordings. You can hear on some of them, though, exactly what Sonny Curtis meant when he said that they were trying to sound like Elvis and Scotty Moore: [Excerpt: Buddy Holly, “Don’t Come Back Knockin'”] These songs were  the recordings that got Buddy a contract with Decca Records in Nashville, which was, at the time, one of the biggest record labels in the country. And not only did he get signed to Decca, but Buddy also got a songwriting contract with Cedarwood Music, the publishing company that was jointly owned by Jim Denny, the man in charge of the bookings for the Grand Ole Opry, and Webb Pierce, one of the biggest country music stars of the period. So it must have seemed in January 1956 as if Buddy Holly was about to become a massive rock and roll star. That first Decca recording session took place in Owen Bradley’s studio, and featured Sonny Curtis on guitar, and a friend called Don Guess on bass. The session was rounded out by two of the regular musicians that Bradley used on his sessions — Grady Martin on rhythm guitar, so Buddy didn’t have to sing and play at the same time, and Doug Kirkham on drums. The songs they cut at that initial session consisted of two of the songs they’d already demoed, “Don’t Come Back Knockin'” and “Love Me”, plus “Blue Days, Black Nights”, a song written by Ben Hall, a friend of Buddy’s from Lubbock. But it was the fourth song that was clearly intended to be the hit. We’ve talked before about the Annie songs, but that was back in March, so I’ll give you a brief refresher here, and if you want more detail, go and listen to episode twenty-two, on “The Wallflower”, which I’ll link in the show notes. Back in 1954, Hank Ballard and the Midnighters had recorded a song called “Work With Me Annie”, a song which had been, for the time, relatively sexually explicit, though it sounds like nothing now: [Excerpt: Hank Ballard and the Midnighters, “Work With Me Annie”] That song had started up a whole series of answer records. The Midnighters recorded a couple themselves, like “Annie Had a Baby”: [Excerpt: Hank Ballard and the Midnighters, “Annie Had a Baby”] Most famously there was Etta James’ “The Wallflower”: [Excerpt: Etta James, “The Wallflower”] But there were dozens more songs about Annie — there was “Annie Met Henry”, “Annie Pulled a Hum-Bug”, even “Annie Kicked the Bucket”: [excerpt: the Nu Tones, “Annie Kicked the Bucket”] And the fourth song that Buddy recorded at this first Decca session, “Midnight Shift”, was intended to be another in the Annie series. It was written by Luke McDaniel, a country singer who had gone rockabilly, and who recorded some unissued sides for Sun, like “My Baby Don’t Rock”: [Excerpt: Luke McDaniel, “My Baby Don’t Rock”] Jim Denny had suggested “Midnight Shift” for Buddy — though it seems a strange choice for commercial success, as it’s rather obviously about a sex worker: [Excerpt: Buddy Holly, “Midnight Shift”] Perhaps the label had second thoughts, as “Blue Days, Black Nights” was eventually chosen as the single, rather than “Midnight Shift”. When the paperwork for it came through for Buddy to sign, he discovered that they’d misspelled his name. He was born Charles Holley — h-o-l-l-e-y — but the paperwork spelled it h-o-l-l-y. As he was told they needed it back in a hurry, he signed it, and from then on he was Buddy Holly without the e. For the rest of 1956 Buddy continued recording with Owen Bradley for Decca, and kept having little success. Bradley became ever more disillusioned with Holly, while Paul Cohen, the executive at Decca who had signed Holly, at one point was telling his friends “Buddy Holly is the biggest no talent I have ever worked with.” One of the songs that he recorded during that time, but which wasn’t released, was one that Owen Bradley described as “the worst song I’ve ever heard”. It had been written by Holly and Joe Allison after they’d been to see the John Wayne film The Searchers — a film which later gave the name to a band from Liverpool who would become hugely influential. Holly and Allison had seen the film several times, and they kept finding themselves making fun of the way that Wayne said one particular line: [Excerpt: The Searchers, John Wayne saying “That’ll Be The Day”] They took that phrase and turned it into the title of a song. Unfortunately, the first recording of it wasn’t all that great — Buddy had been told by Webb Pierce that the way to have a hit single was to sing in a high voice, and so he sang the song far out of his normal range: [Excerpt: Buddy Holly, “That’ll Be The Day”] Around this time, Sonny Curtis stopped working with Holly. Owen Bradley didn’t like his guitar playing and wanted Holly to record with the session musicians he used with everyone else, while Curtis got an offer to play guitar for Slim Whitman, who at the time was about the biggest star in country music. So as 1956 drew to a close, Buddy Holly was without his longtime guitarist, signed to a record company that didn’t know what to do with him, and failing to realise his musical ambitions. This is when Norman Petty entered the story. Petty was a former musician, who had performed crude experiments in overdubbing in the late forties, copying Les Paul and Mary Ford, though in a much less sophisticated manner. One of his singles, a version of Duke Ellington’s “Mood Indigo”, had actually been a minor hit: [Excerpt: The Norman Petty Trio, “Mood Indigo”] He’d gone into the recording studio business, and charged bands sixty dollars to record two songs in his studio — or, if he thought the songs had commercial potential, he’d waive the charge if they gave him the publishing and a co-writing credit. Petty had become interested in rockabilly after having recorded Roy Orbison and the Teen Kings’ first single — the version of “Ooby Dooby” that was quickly deleted: [Excerpt: Roy Orbison and the Teen Kings, “Ooby Dooby”, Je_Wel Records version] When he heard Sam Phillips’ remake of the song, he became intrigued by the possibilities that echo offered, and started to build his own echo chamber — something that would eventually be completed with the help of Buddy Holly and Buddy’s father and brother. Petty recorded another rockabilly group, Buddy Knox and the Rhythm Orchids, on a song, “Party Doll”, that went to number one: [Excerpt: Buddy Knox and the Rhythm Orchids, “Party Doll”] When the Rhythm Orchids passed through Lubbock, they told Buddy about Norman Petty’s studio, and Buddy went there to cut some demos. Petty was impressed by Holly — though he was more impressed by Sonny Curtis, who was still with Buddy for those demo sessions — and when his contract with Decca expired, Petty and Holly agreed to work together. But they had a problem. Buddy’s contract with Decca said that even though they’d only released two singles by him, and hadn’t bothered to release any of the other songs he’d recorded during the year he was signed to them, he couldn’t rerecord anything he’d recorded for them for another five years. Buddy tried to get Paul Cohen to waive that clause in the contract, and Cohen said no. Holly asked if he could speak to Milt Gabler instead — he was sure that Gabler would agree. But Cohen explained to him that Gabler was only a vice president, and that he worked for Cohen. There was no way that Buddy Holly could put out a record of any of the songs he had recorded in 1956. So Norman Petty, who had been secretly recording the conversation, suggested a way round the problem. They could take those songs, and still have Holly sing them, but put them out as by a group, rather than a solo singer. It wouldn’t be Buddy Holly releasing the records, it would be the group. But what should they call the group? Buddy and Jerry Allison both really liked New Orleans R&B — they loved Fats Domino, and the other people that Dave Bartholomew worked with — and they particularly liked a song that Bartholomew had co-written for a group called the Spiders: [Excerpt: The Spiders, “Witchcraft”] So they decided that they wanted a name that was something like the Spiders. At first they considered “the Beetles”, but decided that that was too creepy — people would want to squish them. So they settled on The Crickets. And so the version of “That’ll Be The Day” that Buddy, Larry, Jerry, and Niki Sullivan had recorded with Norman Petty producing was going to be released as by the Crickets, and Buddy Holly’s name was going to be left off anything that the heads at Decca might see. Amusingly, the record ended up released by Decca anyway — or at least by a subsidiary of Decca. Norman Petty shopped the demos they’d made around different labels, and eventually he took them to Bob Thiele. Thiele had had a similar career to Milt Gabler — he’d started out as a musician, then he’d formed his own speciality jazz label, Signature, and had produced records like Coleman Hawkins’ “The Man I Love”: [Excerpt: Coleman Hawkins, “The Man I Love”] Like Gabler, he had been taken on by Decca, which of all the major labels was the only one that really understood the way that the music business was changing. He’d been put in charge of two labels owned by Decca — Coral, which was being used mostly for insipid white cover versions of black acts, and Brunswick, which was where he released rockabilly tracks by Johnny Burnette and the Rock and Roll Trio. The Crickets were clearly a Brunswick group, and so “That’ll Be the Day” was going to be released on Brunswick — and the contract was sent to Jerry Allison, not Buddy Holly. Holly’s name wasn’t mentioned at first, in case Thiele decided to mention it to his bosses and the whole thing was blown. Norman Petty had assumed that what they’d recorded so far was just going to be a demo, but Thiele said that no, he thought what they had was fine as it was, and put this out: [Excerpt: The Crickets, “That’ll Be The Day”] But the Crickets had still not properly finalised their lineup. The core of Holly and Allison was there — the two of them had been playing together for years — and Niki Sullivan would be OK on rhythm guitar, but they needed a permanent bass player. They eventually settled on Joe B. Mauldin, who had played with a group called The Four Teens that had also featured Larry Welborn. Joe B. had sat in on a gig with the other three, and they’d been impressed with his bass playing.  Before “That’ll Be the Day” was released, they were already in the studio cutting more songs. One was a song that had originally been written by Holly’s mother, though she refused to take credit for it — she was a fundamentalist Southern Baptist, and rock and roll was the Devil’s music. She was just about okay with her son playing it, but she wasn’t going to get herself involved in that. So Buddy took his mother’s song and turned it into this: [Excerpt: The Crickets, “Maybe Baby”] And at the same time, they also made an agreement that Holly could record solo material for Coral. That would actually be recorded by the same people who were making the Crickets’ records, but since he was coming up with so many new songs, they might as well use them to get twice as much material out — there was no prohibition, after all, on him recording new songs under his own name, just the ones he’d recorded in 1956. And they were recording a ludicrous amount of material. “That’ll Be The Day” still hadn’t been released, and they already had their next single in the bag, and were recording Buddy’s first solo single. That song was based on “Love is Strange” by Mickey and Sylvia, a favourite of Holly’s: [Excerpt: Mickey and Sylvia, “Love is Strange”] Holly took that basic musical concept and turned it into “Words of Love”: [Excerpt: Buddy Holly, “Words of Love”] That wasn’t a hit for Holly, but even before his version was released, the Diamonds, who usually made a habit of recording tracks originally recorded by black artists, released a cover version, which went to number thirteen: [Excerpt: The Diamonds, “Words of Love”] The Crickets were essentially spending every second they could in Petty’s studio. They were also doing session work, playing on records by Jim Robinson, Jack Huddle, Hal Goodson, Fred Crawford, and more. In the early months of 1957, they recorded dozens upon dozens of songs, which would continue being released for years afterwards. For example, just two days after “That’ll Be the Day” was finally released, at the end of May, they went into the studio and cut another song they had patterned after Bo Diddley, who had co-written “Love is Strange”,  as a Crickets side: [Excerpt: The Crickets, “Not Fade Away”] and, on the same day, a Holly solo side: [Excerpt: Buddy Holly, “Every Day”] All these songs were written by Holly and Allison, sometimes with Mauldin helping, but the songwriting credits didn’t really match that. Sometimes one or other name would get missed off the credits, sometimes Holly would be credited by his middle name, Hardin, instead of his surname, and almost always Norman Petty would end up with his name on the songwriting credits. They weren’t that bothered about credit, for the moment — there was always another song where the last one came from, and they were piling up songs far faster than they could release them. Indeed, only a month after the “Not Fade Away” and “Every Day” session, they were back in the studio yet again, recording another song, which Buddy had originally intended to name after his niece, Cindy Lou. Jerry, on the other hand, thought the song would be better if it was about his girlfriend. And you’ll be able to find out what happened after they decided between Cindy Lou and Peggy Sue in a few weeks’ time…

  Episode sixty-one of A History of Rock Music in Five Hundred Songs looks at "That'll Be the Day" by The Crickets. 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 "Rudolph the Red-Nosed Reindeer" by Gene Autry ----more---- Before I get to the resources and transcript, a quick apology. This one is up many hours later than normal, almost a full day. I've been dealing with a combination of health issues, technical problems, and family commitments, any two of which would still have allowed me to get this up on time, but which in combination made it impossible. Errata I say in here that Larry Welborn lent Holly a thousand dollars. That money was actually lent Holly by his brother, also called Larry. I also at one point say "That'll Be the Day" was co-written by Joe Allison. I meant Jerry Allison, of course -- Joe Allison was also a Texan songwriter, but had no involvement in that song.   Resources   I've used two biographies for the bulk of the information here -- Buddy Holly: Learning the Game, by Spencer Leigh, and Rave On: The Biography of Buddy Holly by Philip Norman.  There are many collections of Buddy Holly's work available, but many of them are very shoddy, with instrumental overdubs recorded over demos after his death. The best compilation I am aware of is The Memorial Collection, which contains almost everything he issued in his life, as he issued it (for some reason two cover versions are missing) along with the undubbed acoustic recordings that were messed with and released after his death. A lot of the early recordings with Bob, Larry, and/or Sonny that I reference in this episode are included in Down The Line: Rarities, a companion set to the Memorial Collection. Patreon This podcast is brought to you by the generosity of my backers on Patreon. Why not join them? Transcript And so, far later in the story than many people might have been expecting, we finally come to Buddy Holly, the last of the great fifties rockers to appear in our story. Nowadays, Holly gets counted as a pioneer of rock and roll, but in fact he didn't turn up until the genre had become fairly well established in the charts. Which is not to say that he wasn't important or innovative, just that he was one of the greats of the second wave -- from a twenty-first-century perspective, Buddy Holly looks like one of the people who were there when rock and roll was invented, but by the time he had his first hit, Bill Haley, Carl Perkins, and Gene Vincent had all had all their major chart hits, and were on their way down and out. Little Richard was still touring, but he'd already recorded his last rock and roll record of the fifties, and while Fats Domino was still making hit records, most of the ones he's remembered by, the ones that changed music, had already been released. But Holly was arguably the most important figure of this second wave, someone who, more than any other figure of the mid-fifties, seems at least in retrospect to point the way forward to what rock music would become in the decade after. So today we're going to look at the story of how the first really successful rock group started. Because while these days, "That'll Be The Day" is generally just credited to "Buddy Holly", at the time the record came out, it didn't have any artist name on it other than that of the band that made it, The Crickets: [Excerpt: The Crickets, "That'll Be the Day"] Charles Hardin Holley grew up in Lubbock, Texas, a town in the middle of nowhere that has produced more than its fair share of famous musicians. Other than Buddy Holly, the two most famous people from Lubbock are probably Waylon Jennings, who briefly played in Holly's band in 1959 before going on to his own major successes, and Mac Davis, who wrote several hits for Elvis before going on to become a country singer of some note himself. Holly grew up with music. His elder brothers performed as a country duo in much the same style as the Louvin Brothers, and there's a recording of Holly singing the old country song, "Two Timin' Woman", in 1949, when he was twelve, before his voice had even broken: [Excerpt: Charles Holley, "Two Timin' Woman"] By his mid-teens, he was performing as "Buddy and Bob" with a friend, Bob Montgomery, playing pure country and western music, with Buddy on the mandolin while Bob played guitar: [Excerpt: Buddy and Bob, "Footprints in the Snow"] He would also appear on the radio with another friend, Jack Neal, as "Buddy and Jack". Some early recordings of that duo survive as well, with Jack singing while Buddy played guitar: [Excerpt: Buddy and Jack, "I Saw the Moon Crying Last Night"] When Jack Neal, who was a few years older than Buddy, got married and decided he didn't have time for the radio any more, the Buddy and Jack Show became the Buddy and Bob Show. Around this time, Buddy met another person who would become important both to him and the Crickets, Sonny Curtis. Curtis was only a teenager, like him, but he had already made an impression in the music world. When he was only sixteen, he had written a song, "Someday", that was recorded by the country star Webb Pierce: [Excerpt: Webb Pierce, "Someday"] Buddy, too, was an aspiring songwriter. A typical early example of his songwriting was one he wrote in collaboration with his friend Scotty Turner, "My Baby's Coming Home". The song wasn't recorded at the time, but a few years later a demo version of it was cut by a young singer called Harry Nilsson: [Excerpt: Harry Nilsson, "My Baby's Coming Home"] But it wasn't until he saw Elvis live in 1955 that Buddy Holly knew he didn't want to do anything other than become a rock and roll star. When Elvis came to town, the promoter of Elvis' show was a friend of Buddy and Bob, and so he added them to the bill. They became friendly enough that every time Elvis passed through town -- which he did often in those early years of his career -- they would all hang out together. Bob Montgomery used to reminisce about going to the cinema with Elvis to watch Gentlemen Prefer Blondes, and Elvis getting bored with the film half an hour in, and leaving with the rest of the group. After seeing Elvis, Buddy almost immediately stepped up his musical plans. He had already been recording demos with Bob and Sonny Curtis, usually with Bob on vocals: [Excerpt: Buddy and Bob, "I Gambled My Heart"] The bass player on that song, Larry Welborn, believed in Buddy's talents, and lent him a thousand dollars -- a *massive* amount of money in 1955 -- so he could buy himself a Fender Stratocaster, an amp, and a stage suit. Holly's friend Joe B. Mauldin said of the Strat that it was the first instrument he'd ever seen with a gear shift. He was referring there to the tremelo arm on the guitar -- a recent innovation that had only been brought in that year. Buddy kept playing guitar with various combinations of his friends. For example Sonny Curtis cut six songs in 1955, backed by Buddy on guitar, Larry Wellborn on bass, and Jerry Allison on drums: [Excerpt: Sonny Curtis, "Because You Love Me"] Curtis would later talk about how as soon as Elvis came along, he and Buddy immediately switched their musical style. While it was Buddy who owned the electric guitar, he would borrow Curtis' Martin acoustic and try to play and sing like Elvis, while Curtis in turn would borrow Buddy's Strat and play Scotty Moore's guitar licks. Buddy was slowly becoming the most popular rock and roll singer in that part of Texas -- though he had an ongoing rivalry with Roy Orbison, who was from a hundred miles away in Wink but was the only serious competition around for the best local rock and roller.  But while Buddy was slowly building up a reputation in the local area, he couldn't yet find a way to break out and have success on a wider stage. Elvis had told him that the Louisiana Hayride would definitely have him on at Elvis' recommendation, but when he and Sonny Curtis drove to Shreveport, the radio station told them that it wasn't up to Elvis who got on their show and who didn't, and they had to drive back to Texas from Louisiana without getting on the radio. This kind of thing just kept happening. Buddy and Bob and Sonny and Larry and Jerry were recording constantly, in various combinations, and were making more friends in the local music community, like Waylon Jennings, but nothing was happening with the recordings. You can hear on some of them, though, exactly what Sonny Curtis meant when he said that they were trying to sound like Elvis and Scotty Moore: [Excerpt: Buddy Holly, "Don't Come Back Knockin'"] These songs were  the recordings that got Buddy a contract with Decca Records in Nashville, which was, at the time, one of the biggest record labels in the country. And not only did he get signed to Decca, but Buddy also got a songwriting contract with Cedarwood Music, the publishing company that was jointly owned by Jim Denny, the man in charge of the bookings for the Grand Ole Opry, and Webb Pierce, one of the biggest country music stars of the period. So it must have seemed in January 1956 as if Buddy Holly was about to become a massive rock and roll star. That first Decca recording session took place in Owen Bradley's studio, and featured Sonny Curtis on guitar, and a friend called Don Guess on bass. The session was rounded out by two of the regular musicians that Bradley used on his sessions -- Grady Martin on rhythm guitar, so Buddy didn't have to sing and play at the same time, and Doug Kirkham on drums. The songs they cut at that initial session consisted of two of the songs they'd already demoed, "Don't Come Back Knockin'" and "Love Me", plus "Blue Days, Black Nights", a song written by Ben Hall, a friend of Buddy's from Lubbock. But it was the fourth song that was clearly intended to be the hit. We've talked before about the Annie songs, but that was back in March, so I'll give you a brief refresher here, and if you want more detail, go and listen to episode twenty-two, on "The Wallflower", which I'll link in the show notes. Back in 1954, Hank Ballard and the Midnighters had recorded a song called "Work With Me Annie", a song which had been, for the time, relatively sexually explicit, though it sounds like nothing now: [Excerpt: Hank Ballard and the Midnighters, "Work With Me Annie"] That song had started up a whole series of answer records. The Midnighters recorded a couple themselves, like "Annie Had a Baby": [Excerpt: Hank Ballard and the Midnighters, "Annie Had a Baby"] Most famously there was Etta James' "The Wallflower": [Excerpt: Etta James, "The Wallflower"] But there were dozens more songs about Annie -- there was "Annie Met Henry", "Annie Pulled a Hum-Bug", even "Annie Kicked the Bucket": [excerpt: the Nu Tones, "Annie Kicked the Bucket"] And the fourth song that Buddy recorded at this first Decca session, "Midnight Shift", was intended to be another in the Annie series. It was written by Luke McDaniel, a country singer who had gone rockabilly, and who recorded some unissued sides for Sun, like "My Baby Don't Rock": [Excerpt: Luke McDaniel, "My Baby Don't Rock"] Jim Denny had suggested "Midnight Shift" for Buddy -- though it seems a strange choice for commercial success, as it's rather obviously about a sex worker: [Excerpt: Buddy Holly, "Midnight Shift"] Perhaps the label had second thoughts, as "Blue Days, Black Nights" was eventually chosen as the single, rather than "Midnight Shift". When the paperwork for it came through for Buddy to sign, he discovered that they'd misspelled his name. He was born Charles Holley -- h-o-l-l-e-y -- but the paperwork spelled it h-o-l-l-y. As he was told they needed it back in a hurry, he signed it, and from then on he was Buddy Holly without the e. For the rest of 1956 Buddy continued recording with Owen Bradley for Decca, and kept having little success. Bradley became ever more disillusioned with Holly, while Paul Cohen, the executive at Decca who had signed Holly, at one point was telling his friends "Buddy Holly is the biggest no talent I have ever worked with." One of the songs that he recorded during that time, but which wasn't released, was one that Owen Bradley described as "the worst song I've ever heard". It had been written by Holly and Joe Allison after they'd been to see the John Wayne film The Searchers -- a film which later gave the name to a band from Liverpool who would become hugely influential. Holly and Allison had seen the film several times, and they kept finding themselves making fun of the way that Wayne said one particular line: [Excerpt: The Searchers, John Wayne saying "That'll Be The Day"] They took that phrase and turned it into the title of a song. Unfortunately, the first recording of it wasn't all that great -- Buddy had been told by Webb Pierce that the way to have a hit single was to sing in a high voice, and so he sang the song far out of his normal range: [Excerpt: Buddy Holly, "That'll Be The Day"] Around this time, Sonny Curtis stopped working with Holly. Owen Bradley didn't like his guitar playing and wanted Holly to record with the session musicians he used with everyone else, while Curtis got an offer to play guitar for Slim Whitman, who at the time was about the biggest star in country music. So as 1956 drew to a close, Buddy Holly was without his longtime guitarist, signed to a record company that didn't know what to do with him, and failing to realise his musical ambitions. This is when Norman Petty entered the story. Petty was a former musician, who had performed crude experiments in overdubbing in the late forties, copying Les Paul and Mary Ford, though in a much less sophisticated manner. One of his singles, a version of Duke Ellington's "Mood Indigo", had actually been a minor hit: [Excerpt: The Norman Petty Trio, "Mood Indigo"] He'd gone into the recording studio business, and charged bands sixty dollars to record two songs in his studio -- or, if he thought the songs had commercial potential, he'd waive the charge if they gave him the publishing and a co-writing credit. Petty had become interested in rockabilly after having recorded Roy Orbison and the Teen Kings' first single -- the version of "Ooby Dooby" that was quickly deleted: [Excerpt: Roy Orbison and the Teen Kings, "Ooby Dooby", Je_Wel Records version] When he heard Sam Phillips' remake of the song, he became intrigued by the possibilities that echo offered, and started to build his own echo chamber -- something that would eventually be completed with the help of Buddy Holly and Buddy's father and brother. Petty recorded another rockabilly group, Buddy Knox and the Rhythm Orchids, on a song, "Party Doll", that went to number one: [Excerpt: Buddy Knox and the Rhythm Orchids, "Party Doll"] When the Rhythm Orchids passed through Lubbock, they told Buddy about Norman Petty's studio, and Buddy went there to cut some demos. Petty was impressed by Holly -- though he was more impressed by Sonny Curtis, who was still with Buddy for those demo sessions -- and when his contract with Decca expired, Petty and Holly agreed to work together. But they had a problem. Buddy's contract with Decca said that even though they'd only released two singles by him, and hadn't bothered to release any of the other songs he'd recorded during the year he was signed to them, he couldn't rerecord anything he'd recorded for them for another five years. Buddy tried to get Paul Cohen to waive that clause in the contract, and Cohen said no. Holly asked if he could speak to Milt Gabler instead -- he was sure that Gabler would agree. But Cohen explained to him that Gabler was only a vice president, and that he worked for Cohen. There was no way that Buddy Holly could put out a record of any of the songs he had recorded in 1956. So Norman Petty, who had been secretly recording the conversation, suggested a way round the problem. They could take those songs, and still have Holly sing them, but put them out as by a group, rather than a solo singer. It wouldn't be Buddy Holly releasing the records, it would be the group. But what should they call the group? Buddy and Jerry Allison both really liked New Orleans R&B -- they loved Fats Domino, and the other people that Dave Bartholomew worked with -- and they particularly liked a song that Bartholomew had co-written for a group called the Spiders: [Excerpt: The Spiders, "Witchcraft"] So they decided that they wanted a name that was something like the Spiders. At first they considered "the Beetles", but decided that that was too creepy -- people would want to squish them. So they settled on The Crickets. And so the version of "That'll Be The Day" that Buddy, Larry, Jerry, and Niki Sullivan had recorded with Norman Petty producing was going to be released as by the Crickets, and Buddy Holly's name was going to be left off anything that the heads at Decca might see. Amusingly, the record ended up released by Decca anyway -- or at least by a subsidiary of Decca. Norman Petty shopped the demos they'd made around different labels, and eventually he took them to Bob Thiele. Thiele had had a similar career to Milt Gabler -- he'd started out as a musician, then he'd formed his own speciality jazz label, Signature, and had produced records like Coleman Hawkins' "The Man I Love": [Excerpt: Coleman Hawkins, "The Man I Love"] Like Gabler, he had been taken on by Decca, which of all the major labels was the only one that really understood the way that the music business was changing. He'd been put in charge of two labels owned by Decca -- Coral, which was being used mostly for insipid white cover versions of black acts, and Brunswick, which was where he released rockabilly tracks by Johnny Burnette and the Rock and Roll Trio. The Crickets were clearly a Brunswick group, and so "That'll Be the Day" was going to be released on Brunswick -- and the contract was sent to Jerry Allison, not Buddy Holly. Holly's name wasn't mentioned at first, in case Thiele decided to mention it to his bosses and the whole thing was blown. Norman Petty had assumed that what they'd recorded so far was just going to be a demo, but Thiele said that no, he thought what they had was fine as it was, and put this out: [Excerpt: The Crickets, "That'll Be The Day"] But the Crickets had still not properly finalised their lineup. The core of Holly and Allison was there -- the two of them had been playing together for years -- and Niki Sullivan would be OK on rhythm guitar, but they needed a permanent bass player. They eventually settled on Joe B. Mauldin, who had played with a group called The Four Teens that had also featured Larry Welborn. Joe B. had sat in on a gig with the other three, and they'd been impressed with his bass playing.  Before "That'll Be the Day" was released, they were already in the studio cutting more songs. One was a song that had originally been written by Holly's mother, though she refused to take credit for it -- she was a fundamentalist Southern Baptist, and rock and roll was the Devil's music. She was just about okay with her son playing it, but she wasn't going to get herself involved in that. So Buddy took his mother's song and turned it into this: [Excerpt: The Crickets, "Maybe Baby"] And at the same time, they also made an agreement that Holly could record solo material for Coral. That would actually be recorded by the same people who were making the Crickets' records, but since he was coming up with so many new songs, they might as well use them to get twice as much material out -- there was no prohibition, after all, on him recording new songs under his own name, just the ones he'd recorded in 1956. And they were recording a ludicrous amount of material. "That'll Be The Day" still hadn't been released, and they already had their next single in the bag, and were recording Buddy's first solo single. That song was based on "Love is Strange" by Mickey and Sylvia, a favourite of Holly's: [Excerpt: Mickey and Sylvia, "Love is Strange"] Holly took that basic musical concept and turned it into "Words of Love": [Excerpt: Buddy Holly, "Words of Love"] That wasn't a hit for Holly, but even before his version was released, the Diamonds, who usually made a habit of recording tracks originally recorded by black artists, released a cover version, which went to number thirteen: [Excerpt: The Diamonds, "Words of Love"] The Crickets were essentially spending every second they could in Petty's studio. They were also doing session work, playing on records by Jim Robinson, Jack Huddle, Hal Goodson, Fred Crawford, and more. In the early months of 1957, they recorded dozens upon dozens of songs, which would continue being released for years afterwards. For example, just two days after "That'll Be the Day" was finally released, at the end of May, they went into the studio and cut another song they had patterned after Bo Diddley, who had co-written "Love is Strange",  as a Crickets side: [Excerpt: The Crickets, "Not Fade Away"] and, on the same day, a Holly solo side: [Excerpt: Buddy Holly, "Every Day"] All these songs were written by Holly and Allison, sometimes with Mauldin helping, but the songwriting credits didn't really match that. Sometimes one or other name would get missed off the credits, sometimes Holly would be credited by his middle name, Hardin, instead of his surname, and almost always Norman Petty would end up with his name on the songwriting credits. They weren't that bothered about credit, for the moment -- there was always another song where the last one came from, and they were piling up songs far faster than they could release them. Indeed, only a month after the "Not Fade Away" and "Every Day" session, they were back in the studio yet again, recording another song, which Buddy had originally intended to name after his niece, Cindy Lou. Jerry, on the other hand, thought the song would be better if it was about his girlfriend. And you'll be able to find out what happened after they decided between Cindy Lou and Peggy Sue in a few weeks' time...

As WDET celebrates 70 years of news, music and conversation programming, we take a trip down memory lane with Liz Copeland, former host of 'Alternate Take'.

Our latest podcast explores the futuristic techno of XHINl. A Singaporean producer who's been embraced throughout Berlin and Europe, he opens up to our host @tigerlightmusic about his journey as a musician and artist plus his new 'Vision Electrified' EP on Midnight Shift.

LE CLASH PODCAST Épisode 8 : Mathias et Larry d’Oktoplut.nbsp; Ils nous parlent de Super Verdun et des Clubs Vidéotron, la bière de micro et brassage-maison, Mathieu est technicien en audio-visuel au Planétarium, l’aversion envers les concours de musique, le bon et le mauvais de la radio, Rush un péché mignon, Nuance Noire relie Pierre à Louise Harel, leurs bands communs et autres projets, leur rencontre dans Midnight Shift, Anark Punk barré du Théâtre Ste-Catherine, l’entrée dans le monde du Rock de Mathieu avec Asshole, leur nom de band ne crée pas autant de controverse qu’on pourrait le croire,nbsp; Octomom et la garde partagée, la parentalité de Larry et son retour aux études au DEP en Traitements des eaux, c’est plus facile à 2, DJ Ligne Maginot, la première tournée de The Sober Dawn, la recherche sonore, le prochain album, confusion Iron Maiden et Cult Luna, Deafheaven c’est bon même avec de la tambourine, les gongs, Mathieu et Sister Kisser, le chanteur de Cromags et ses recettes de dompe et le thé glacé de Ian McKaye, l’hésitation de signer sur une compagnie de disque, Jonathan Ben Chaud (Painchaud) et sa Cadillac-vapoteuse, jouer aux Francos, Simple Plan avec Hillary Duff à Matane et autres potins de starlette, Rock Des Tentes avec Sex Prime le band du frère à Larry, La Noce avec Dopethrone et des tounes de drogue, Ozzy, des nouveaux vidéoclips pour Errer et Démon Normal, dédramatiser le trop sérieux.Tous droits réservés aux bands : Démon Normal - Oktoplut Le Calme Pivote - Oktoplut Transit - The Sober Dawn Femme de Cuir - Nuance NoireExtrait de KAN FC Le Podcast (CBCB 3 La bière toute jaune pour Columbus et Oktoplut)OKTOPLUT FACEBOOK BANDCAMP SPOTIFY INSTAGRAM TWITTER YOUTUBE SLAM DISQUES Leurs autres projets COMPLAINERS PREVENGE NUANCE NOIRE THE SOBER DAWN MALAMUTE

We look back 60 years ago to that plane crash that took the lives of Buddy Holly, Ritchie Valens and The Big Bopper on February 3rd, 1959.  We'll spin tunes from each of those along with Dion and Waylon Jennings.  Dion also shares memories of Buddy, Sonny Curtis sings of the real Buddy story and we also hear a track from a recent release of Buddy Holly and the Royal Philharmonic Orchestra.  Rave on!!! Intro Voice Over- Rob "Cool Daddy" Dempsey Intro Music Bed: Brian Setzer- "Rockabilly Blues"   Buddy Holly & Bob Montgomery (with Sonny Curtis)-  "Midnight Shift" (alternate version with false start) Ritchie Valens- "Ooh! My Head" Dion on Buddy Holly Dion & The Belmonts- "I Wonder Why" (with studio chatter) The Big Bopper- "Chantilly Lace" Ritchie Valens- "Donna" The Crickets- "Maybe Baby"   Buddy Holly (with Waylon Jennings handclaps)-  "You're The One" (recorded at KLLL in Lubbock, TX) Dick Clark interview with Buddy Holly & The Crickets The Crickets- "It's So Easy" The Big Bopper- "White Lightning" Buddy Holly- "Heartbeat" Dion- "Hug My Radiator" Ritchie Valens- "La Bamba" Newsreel from plane crash Buddy Holly- "Crying, Waiting, Hoping" (recorded at Buddy's apartment  11 Fifth Ave, New York City Dec. 14, 1958) Ritchie Valens- "Boney Maroney" Dion- "Oh Boy" Sonny Curtis- "Real Buddy Holly Story" Buddy Holly & The Crickets with The Royal Philharmonic Orchestra- "Rave On"   Outro Music Bed: Link Wray- "That'll Be The Day"      

A police officer whose wife recently gave birth to triplets fights his need to sleep on the midnight shift, but he called to duty when he discovers two intoxicated teens in a cemetery.   Check out our Facebook page for law enforcement related news, events and time lapses at https://www.facebook.com/policeinnerviewspodcast  

Ement (Partyzanai Pop) mix for Rebelcase podcast series. More info: www.partyzanai.com

Recorded live at the Midnight Shift Oxford St, Sydney 26 November 1999

Recorded live at the Midnight Shift Oxford St, Sydney 26 November 1999

Recorded live at the Midnight Shift Oxford St, Sydney 26 November 1999

  Ben Sims Presents Run It Red 039(tracklist below) Fresh new heat from Oliver Way, Skee Mask, Gerd, DJ Haus, Nyra and more. Next show goes out on NTS Radio on 23rd June at midnight (here and Soundcloud shortly after). Thanks to everyone who listened to the show this month and to all the people who sent over music - as always, please send any music to promos@djbensims.com BEN SIMS press RUN IT RED 39. APRIL 2018 1.Oliver Way - Dust Storm. EPM 2. S3A - Presentiment (feat. Mika Blaster). Quartet Series 3. DJ Senior Vasquez - Air. Paraiso 4. Falcon - Black Ops One. UTTU 5. Dukwa - Thanks Daddy For The Groove. Bosconi 6. Riccio - Get It On. Bosconi 7. Andrea Fiorito - Make It. Cynosure 8. So Mind - Callin For Ya. Berlin Bass Collective 9. Wilson Phoenix - Good Feel. Wilson Phoenix 10. Frankie Castle & DJ Ford Foster - Bounce That (Jerome Hill Remix). Bleeper 11. Gerd - Slam Jam. Clone Roya Oak 12. Vinalog - Tape Mix 2. Relative 13. L/F/D/M - Silver Grain (D-56M Poverty Mix). Midnight Shift 14. DJ Haus - Exponential Acid. Chiwax 15. Andrew Soul feat Robert Owens - As You Are (Nick Anthony Simoncino Remix). Vibraphone 16. DJ Bone - Tell the Story. Subject Detroit 17. Johannes Volk - Insert. District 66 18. Nyra - Eternal Ends. E-Beamz 19. Dustin Zahn - Subtle Flex. Rekids 20. Maxwell Church - Fencepost. Lab.Our Music 21. Patrik Skoog - Drake Equation. Naif 22. FJAAK - Keep The Funk. FJAAK 23. Nyra - On And On. Canoe 24. Stef Mendesidis - Rotating Signal. Unreleased 25. Mark Broom - P3. PTT 26. Marquis Hawkes - Rush Hour Traffic. Dixon Avenue Basement Jams 27. Mark Flash - Kairad. Elypsia Records 28. RISC - Flight Module Mx2. Unreleased 29. Kuf - Untitled. Naif 30. Charles Green - Resolute. Revenge Techniques 31. Yant - Hydro #3. Unreleased 32. Biemsix - Clear. Symbolism 33. Avision - Over Time. Matter + 34. Ste - Ac. Ste 35. Shinedoe - Acidploitation, Intacto 36. Basement Jaxx - Good Luck (Butch Drum Tool). Rekids 37. Randomer - Shadow Harp. Dekmantel 38. P.Leone - Dancing To Get You. Work Them 39. Chadians - Creep That. Hardgroove 40. Damon Wild - Divisors. Symbolism 41. Matteo Cortese - DF93-06SX. Subsist 42. Tadeo - The Queen Of The Night. Another Intelligence 43. D Func - Fixed Response (Diego Amura Remix). Konsequent 44. Aiken - Genetics (Blawan Remix). Non Series 45. Robert Hood - Clocks. M Plant 46. Mansworth - Shape 2. Unreleased 47. Israel Toledo - Bizarre Chronicles. Counter Pulse 48. Phara & Border One - Rack Rash. REM 49. Mr Fingers - Inner Acid. Alleviated 50. Blue Hour - Meridian (Truncate Remix). Blue Hour 51. Synebot - X-Press (Damon Wild Rmx). Black 52. Galindez - Koma. Subsist 53. Juju & Jordash - SpaceTG. Slack 54. Leghau - In Order To. Float 55. Birth Of Frequency - Frosty. RawRaw 56. Dold - Pressure. Thema 57. Duckett - Cycling Is Crushed Inside A Moment He Forgot. Solar Phenomena 58. Skee Mask - Dial 274. Ilian Tape 59. Skee Mask - 50 Euro To Break Boost. Ilian Tape 60. S.O.N.S. (Shin Okubo One Night Stand) - Falling Apart. S.O.N.S.

Anyone else overwhelmed with all the amazing new products on the market right now? Yeah, us too. With that in mind, this week's episode is dedicated to our current faves - everything from traditional foundations and concealers to the latest technology lip powders and hottest collabs. We've got New News from Hourglass, Marc Jacobs, Laura Mercier, KKW Beauty and Armani Beauty as well as highlights of the week and Biggie, the Full Coverage Pod Dog! Full disclosure, he's not our dog but we did consider stealing him. New News Net-a-Porter Beauty celebrates fifth birthday WWD.com KKW Beauty x Argenis Pinal kkwbeauty.com https://www.giorgioarmanibeauty-usa.com/home Neo Nude collection https://www.lauramercier.com/ Viva Cuba collection https://www.hourglasscosmetics.com/ Veil Translucent Setting Powder Veil Retouching Fluid Marc Jacobs Coconut Collection www.marcjacobs.com/beauty/ Main Feature - Spring Favourites Primark Beauty Colourpop Concealer, Uno Mas Luxe Lips, Double Entendre palette Milk Makeup Mini Sticks Smashbox Primerizer & It Cosmetics Bye Bye Foundation Glossier Lidstars Lottie London bronzer Too Faced La Crème Mystical Effects Lipstick – Life’s A Festival Collection Cover Girl Vitalist Tinted Lip Oil Lord & Berry Cream Foundation Ciaté Dewy Spritz NYX HD Eyeshadow Base Nars x Erdem Strange Flowers collection Hush app - Manny MUA hush review video Hightlight of the Week Gosh Lumi Drops Rose Blush https://www.goshcopenhagen.com/ Vansh Seamless Finish Foundation Stick & Brush https://www.hourglasscosmetics.com/ Active Botanical Serum https://vintnersdaughter.com/ This week's giveaway! https://www.instagram.com/fullcoveragepod/ Find the picture of Moonlit Skincare's Midnight Shift Recovery Oil on our Instagram and like it - that's it! One winner (USA only, sorry) will win a bottle of Midnight Shift and another winner (worldwide!) will win a Full Coverage Podcast mug. —————————————————————————– Full Coverage is a podcast for beauty addicts, by beauty addicts. Join professional makeup artist, Harriet Hadfield and unprofessional beauty junkie, Lindsey Kelk as they discuss everything happening in the world of makeup, skincare, haircare and beyond. Harriet Hadfield is a professional make-up artist and can be found on her blog and YouTube channel, HarryMakesItUp.com. www.instagram.com/harrymakesitup/ Lindsey Kelk is an internationally bestselling author, lipstick lover and pro-wrestling obsessive who can be found all over social media @lindseykelk and at lindseykelk.com/ www.instagram.com/lindseykelk/ —————————————————————————– Join the Full Coverage conversation! Full Coverage Beauty Banter Facebook Group – www.facebook.com/groups/140899483207977/ www.facebook.com/FullCoveragePodcast www.instagram.com/FullCoveragePod twitter.com/fullcoveragepod All products are supplied free of charge by brands/PR agency for review unless otherwise stated. See acast.com/privacy for privacy and opt-out information.

This week on Gem FM we have an hour of melodic, Detroit influenced techno from Karim Sahraoui. The French born and Spain based producer has releases on Derrick May's Transmat and an EP coming up on the legendary R&S in March 2017. Enjoy an hour of Karim Sahraoui in Episode 37 of Gem FM! 01 - SQL - Sound Mental State - Gem 02 - Jim Cymbala - Broken Heart (Acapella) - Mirakles 03 - weRobots - 003-01 (Tech mix) - weRobots 04 - Secret Cinema - Poolside (Nuno Dos Santos remix) - Gem 05 - H4L - Wild Hunt - Astray 06 - Stefan Vincent - Synesthesia - Dynamic Reflection 07 - Modvek - Mission R1 - Modvek 08 - Bando - Descoordinado - Hidden Suite 09 - Karim Sahraoui - Horns Of Glory (Vince Watson remix) - Loveland 10 - Satoshi Fumi - Echo (Rennie Foster remix) - Unknown Season 11 - Kaap - Phisik - Indigo Aera 12 - Robert Hood - And Then We Planned Our Escape - Music Man 13 - Kirk Degiorgio - Acid Symphony (John Beltran remix) - Midnight Shift

The October '17 edition of UP! is a luscious house journey with a combination of new, charting tracks and some classic tracks which have been given a new makeover. The set kicks off with Ultra Nate's classic "Free" made over by Sean Finn. 70's dance legend Sylvester has two of his hits covered by Lady Bee and Vizin. You will recognise them instantly when you hear them. The Cube Guys & Barbara Tucker remake their remake of Whitney's "I Wanna Dance With Somebody"& Hernando Moldonado delivers a killer mix of Kristine W's classic "Some Lovin". I played most of these tracks at the last "Rise & Shine" day recovery party at the Midnight Shift in Sydney on October 1st. A landmark venue which sadly closed its doors after this event. Enjoy Anthony 1/ "FREE" (Crazibiza Remix) - SEAN FINN ft. TERRI B. 2/ "CATCH THE LIGHT" (Division 4 Infinity Remix) - MARTHA WASH 3/ "AIN'T NO LOVE, AIN'T NO USE" (StoneBridge & Damien Hall Classic House Club Mix) - SUBESQUE ft. MELANIE WILLIAMS 4/ "ADDICTED" (Marco Rodriguez & Tony Martinez Remix) - TAITO TIKARO ft. VANESSA KLEIN 5/ "DO YOU WANNA FUNK" (Cutmore Club Mix) - LADY BEE 6/ "DO WHAT WE DO" (Division 4 & Matt Consola Club Mix) - BIT ERROR & COUNTRY CLUB MARTINI CREW ft. INAYA DAY 7/ "I WANNA DANCE WITH SOMEBODY" (The Cube Guys 100th Club Mix) - THE CUBE GUYS ft. BARBARA TUCKER 8/ "YOU MAKE ME FEEL MIGHTY REAL" (Taito Tikaro Ibiza Club Mix) - VIZIN 9/ "SOME LOVIN" (Hernando Moldonado Afterlife Club Mix) - KRISTINE W. 10/ "ST ELMO'S FIRE" (House Of Labs vs Joe Gauthreaux Vocal Club Mix) - TOY ARMADA & DJ GRIND ft. JASON WALKER 11/ "STAND BY ME" (Joe Gauthreaux Club Mix) - TOY ARMADA & DJ GRIND 12/ "WHAT ABOUT US" (Toy Armada & DJ GRIND Club Mix) - P!NK 13/ "LOVE IN RUINS" (Danny Verde Remix) - GRYFFIN ft. SINEAD HARNETT

KA§PAR (Clone, Midnight Shift, Stripped & Chewed / Lisbon) Ka§par has dedicated most of his life to the development and exploration of one thing: the danceable intersections of all things profound and musically deep. Raised on a diet of kraut rock, new wave, soul, reggae, jazz, funk, house, techno and hip hop, he has crafted his own blend of club music with little regard towards public opinion; he has released really fluffy deep house stuff and, under the same name, bleak and dark electro breaks or obscure experimental beats and bass documents. Signed to such relevant editorial brands such as Clone, Midnight Shift, Stripped & Chewed, Tomorrow Is Now, Kid! or Finale Sessions, Ka§par is a consistent and serious underground artist who has built his own sound and universe over the course of twenty years split between DJing and record producing. Some of his other projects include the african tinged duo Gatupreto (for TINK! Music) and the mysterious abstract techno moniker Fidelio (on Con+ainer). Artwork by Chris Cole Stream / download all Deep Club Podcasts here: soundcloud.com/deepclubdenver/sets/deep-club-podcasts This mix is a reflection on all things delicious to dance to, from past to future. TRACKLIST: 01. Homebase - Constant Love (Guidance Recordings) 02. Femi Kuti - What Will Tomorrow Bring , Paris City Mix (Sound Of Barclay) 03. Kenny Lattimore - Days Like These , Nuyorican Soul Mix (Columbia) 04. Theo Parrish - Cypher Delight (Sound Signature) 05. Fudge Fingas - Kinski (Purple Maze) 06. Russ Gabriel - Mr. Din (We Play House) 07. Eddie & The Eggs - Cup Of Coffee (Joss House Recordings) 08. Rootstracks - Deep And Raw (Deeply Rooted House) 09. Oscar G - Reaching Up , Raw Vocal (Tribal America) 10. Alex Alvarez - Boom Bip (Sole Channel Music) 11. Blaze - Gloria’s Muse , Danny K’s 718 Remix (West End) 12. Don Carlos - Alone , Sax Mix (Groovin Recordings) 13. Dokta Venom - Soul Krush (FarOut) 14. Hélder Russo - You & Me (Tomorrow Is Now, Kid! Test Pressing) 15. The League Unlimited Orchestra - Things That Dreams Ate Made Of (Virgin) 16. Ka§par - Deleite Obscuro (In The Dark Again) 17. Maurice Fulton presents Space - Space (Stress) 18. Brian Kage - Shut Your Eyes feat. James Garcia (FXHE) 19. Quince - Coïtus (Something Happening, Somewhere) 20. Negative Hallucination - Solidarity (Golf Channel) 21. Ka§par - Rigged , (Escapade Recordings Test Pressing) 22. Unknown Artist - Make It Right (Not On Label) 23. Chaos In The CBD - Observe Pt. 2 (Rhythm Section) 24. Henry Wu - Deep In The Mudd , with Hardhouse Banton (Eglo) 25. Tatham, Mensa, Lord & Ranks - Cascade (2000 Black) 26. Master Boogie Song & Dance - Roll The Joint , Edit (White Label) 27. The Soulmates - We Gotta Do Better (If We’re Gonna Make It Together) (Strata)

ARIA Chart DJ / Club DJ 1987 - 2004 Various venues nationally. Previous Residencies Gavan fell into DJ’ing in 1987 when the owner of the Unicorn Hotel (syd) threw him behind the decks because the resident DJ didn’t turn up. From humble beginning playing to mostly the leather community at the Unicorn Hotel and the Balmain Town Hall hotel his career now spans three decades with a formidable cluster of residencies including Stonewall Hotel, The Oxford Hotel, Gilligans cocktail bar, The Midnight Shift, Beachamp Hotel, Beresford Hotel, The Taxi Club to name but a few. His journey has seen him play across the country supporting numerous tours (The Trade Australian tour) and helping to cement major festivals (Tropical Fruits 1996­2004) and those special sell out parties that only history remembers such as headlining with his old mate Les Smith for Two Dog’s legendary Wet Dreaming parties (Byron Bay). As a long time ARIA chart DJ and judge for the ARIA awards (dance category) he was at the helm of his own record label CD Pool and Clevage which was a dance music importer selling directly to the cutting edge local digital Disc Jockey market. His presence has been strong, regularly playing at the country's most Gay parties. His been there since the very beginning and continues to wow audiences with his vocal house mixed sets at events such as Hand in Hand 2000, Frisky (Syd). Sydney Mardi Gras (Royal Hall of Industries) 2000 + 2002 (Horden Pavilion), Inquisition X 2002 (Horden Pavilion), Pride (Syd Royal Hall of Industries) 1996, 1998 + 2000. Reserection A.L.S.O Foundation

ARIA Chart DJ / Club DJ 1987 - 2004 Various venues nationally. Previous Residencies Gavan fell into DJ’ing in 1987 when the owner of the Unicorn Hotel (syd) threw him behind the decks because the resident DJ didn’t turn up. From humble beginning playing to mostly the leather community at the Unicorn Hotel and the Balmain Town Hall hotel his career now spans three decades with a formidable cluster of residencies including Stonewall Hotel, The Oxford Hotel, Gilligans cocktail bar, The Midnight Shift, Beachamp Hotel, Beresford Hotel, The Taxi Club to name but a few. His journey has seen him play across the country supporting numerous tours (The Trade Australian tour) and helping to cement major festivals (Tropical Fruits 1996­2004) and those special sell out parties that only history remembers such as headlining with his old mate Les Smith for Two Dog’s legendary Wet Dreaming parties (Byron Bay). As a long time ARIA chart DJ and judge for the ARIA awards (dance category) he was at the helm of his own record label CD Pool and Clevage which was a dance music importer selling directly to the cutting edge local digital Disc Jockey market. His presence has been strong, regularly playing at the country's most Gay parties. His been there since the very beginning and continues to wow audiences with his vocal house mixed sets at events such as Hand in Hand 2000, Frisky (Syd). Sydney Mardi Gras (Royal Hall of Industries) 2000 + 2002 (Horden Pavilion), Inquisition X 2002 (Horden Pavilion), Pride (Syd Royal Hall of Industries) 1996, 1998 + 2000. Reserection A.L.S.O Foundation

Dan and Sammie discuss filming their latest short horror film Midnight Shift with the rest of the cast and crew on location.  

ARIA Chart DJ / Club DJ 1987 - 2004 Various venues nationally. Previous Residencies Gavan fell into DJ’ing in 1987 when the owner of the Unicorn Hotel (syd) threw him behind the decks because the resident DJ didn’t turn up. From humble beginning playing to mostly the leather community at the Unicorn Hotel and the Balmain Town Hall hotel his career now spans three decades with a formidable cluster of residencies including Stonewall Hotel, The Oxford Hotel, Gilligans cocktail bar, The Midnight Shift, Beachamp Hotel, Beresford Hotel, The Taxi Club to name but a few. His journey has seen him play across the country supporting numerous tours (The Trade Australian tour) and helping to cement major festivals (Tropical Fruits 1996­2004) and those special sell out parties that only history remembers such as headlining with his old mate Les Smith for Two Dog’s legendary Wet Dreaming parties (Byron Bay). As a long time ARIA chart DJ and judge for the ARIA awards (dance category) he was at the helm of his own record label CD Pool and Clevage which was a dance music importer selling directly to the cutting edge local digital Disc Jockey market. His presence has been strong, regularly playing at the country's most Gay parties. His been there since the very beginning and continues to wow audiences with his vocal house mixed sets at events such as Hand in Hand 2000, Frisky (Syd). Sydney Mardi Gras (Royal Hall of Industries) 2000 + 2002 (Horden Pavilion), Inquisition X 2002 (Horden Pavilion), Pride (Syd Royal Hall of Industries) 1996, 1998 + 2000. Reserection A.L.S.O Foundation

ARIA Chart DJ / Club DJ 1987 - 2004 Various venues nationally. Previous Residencies Gavan fell into DJ’ing in 1987 when the owner of the Unicorn Hotel (syd) threw him behind the decks because the resident DJ didn’t turn up. From humble beginning playing to mostly the leather community at the Unicorn Hotel and the Balmain Town Hall hotel his career now spans three decades with a formidable cluster of residencies including Stonewall Hotel, The Oxford Hotel, Gilligans cocktail bar, The Midnight Shift, Beachamp Hotel, Beresford Hotel, The Taxi Club to name but a few. His journey has seen him play across the country supporting numerous tours (The Trade Australian tour) and helping to cement major festivals (Tropical Fruits 1996­2004) and those special sell out parties that only history remembers such as headlining with his old mate Les Smith for Two Dog’s legendary Wet Dreaming parties (Byron Bay). As a long time ARIA chart DJ and judge for the ARIA awards (dance category) he was at the helm of his own record label CD Pool and Clevage which was a dance music importer selling directly to the cutting edge local digital Disc Jockey market. His presence has been strong, regularly playing at the country's most Gay parties. His been there since the very beginning and continues to wow audiences with his vocal house mixed sets at events such as Hand in Hand 2000, Frisky (Syd). Sydney Mardi Gras (Royal Hall of Industries) 2000 + 2002 (Horden Pavilion), Inquisition X 2002 (Horden Pavilion), Pride (Syd Royal Hall of Industries) 1996, 1998 + 2000. Reserection A.L.S.O Foundation

ARIA Chart DJ / Club DJ 1987 - 2004 Various venues nationally. Previous Residencies Gavan fell into DJ’ing in 1987 when the owner of the Unicorn Hotel (syd) threw him behind the decks because the resident DJ didn’t turn up. From humble beginning playing to mostly the leather community at the Unicorn Hotel and the Balmain Town Hall hotel his career now spans three decades with a formidable cluster of residencies including Stonewall Hotel, The Oxford Hotel, Gilligans cocktail bar, The Midnight Shift, Beachamp Hotel, Beresford Hotel, The Taxi Club to name but a few. His journey has seen him play across the country supporting numerous tours (The Trade Australian tour) and helping to cement major festivals (Tropical Fruits 1996­2004) and those special sell out parties that only history remembers such as headlining with his old mate Les Smith for Two Dog’s legendary Wet Dreaming parties (Byron Bay). As a long time ARIA chart DJ and judge for the ARIA awards (dance category) he was at the helm of his own record label CD Pool and Clevage which was a dance music importer selling directly to the cutting edge local digital Disc Jockey market. His presence has been strong, regularly playing at the country's most Gay parties. His been there since the very beginning and continues to wow audiences with his vocal house mixed sets at events such as Hand in Hand 2000, Frisky (Syd). Sydney Mardi Gras (Royal Hall of Industries) 2000 + 2002 (Horden Pavilion), Inquisition X 2002 (Horden Pavilion), Pride (Syd Royal Hall of Industries) 1996, 1998 + 2000. Reserection A.L.S.O Foundation

ARIA Chart DJ / Club DJ 1987 - 2004 Various venues nationally. Previous Residencies Gavan fell into DJ’ing in 1987 when the owner of the Unicorn Hotel (syd) threw him behind the decks because the resident DJ didn’t turn up. From humble beginning playing to mostly the leather community at the Unicorn Hotel and the Balmain Town Hall hotel his career now spans three decades with a formidable cluster of residencies including Stonewall Hotel, The Oxford Hotel, Gilligans cocktail bar, The Midnight Shift, Beachamp Hotel, Beresford Hotel, The Taxi Club to name but a few. His journey has seen him play across the country supporting numerous tours (The Trade Australian tour) and helping to cement major festivals (Tropical Fruits 1996­2004) and those special sell out parties that only history remembers such as headlining with his old mate Les Smith for Two Dog’s legendary Wet Dreaming parties (Byron Bay). As a long time ARIA chart DJ and judge for the ARIA awards (dance category) he was at the helm of his own record label CD Pool and Clevage which was a dance music importer selling directly to the cutting edge local digital Disc Jockey market. His presence has been strong, regularly playing at the country's most Gay parties. His been there since the very beginning and continues to wow audiences with his vocal house mixed sets at events such as Hand in Hand 2000, Frisky (Syd). Sydney Mardi Gras (Royal Hall of Industries) 2000 + 2002 (Horden Pavilion), Inquisition X 2002 (Horden Pavilion), Pride (Syd Royal Hall of Industries) 1996, 1998 + 2000. Reserection A.L.S.O Foundation

ARIA Chart DJ / Club DJ 1987 - 2004 Various venues nationally. Previous Residencies Gavan fell into DJ’ing in 1987 when the owner of the Unicorn Hotel (syd) threw him behind the decks because the resident DJ didn’t turn up. From humble beginning playing to mostly the leather community at the Unicorn Hotel and the Balmain Town Hall hotel his career now spans three decades with a formidable cluster of residencies including Stonewall Hotel, The Oxford Hotel, Gilligans cocktail bar, The Midnight Shift, Beachamp Hotel, Beresford Hotel, The Taxi Club to name but a few. His journey has seen him play across the country supporting numerous tours (The Trade Australian tour) and helping to cement major festivals (Tropical Fruits 1996­2004) and those special sell out parties that only history remembers such as headlining with his old mate Les Smith for Two Dog’s legendary Wet Dreaming parties (Byron Bay). As a long time ARIA chart DJ and judge for the ARIA awards (dance category) he was at the helm of his own record label CD Pool and Clevage which was a dance music importer selling directly to the cutting edge local digital Disc Jockey market. His presence has been strong, regularly playing at the country's most Gay parties. His been there since the very beginning and continues to wow audiences with his vocal house mixed sets at events such as Hand in Hand 2000, Frisky (Syd). Sydney Mardi Gras (Royal Hall of Industries) 2000 + 2002 (Horden Pavilion), Inquisition X 2002 (Horden Pavilion), Pride (Syd Royal Hall of Industries) 1996, 1998 + 2000. Reserection A.L.S.O Foundation

ARIA Chart DJ / Club DJ 1987 - 2004 Various venues nationally. Previous Residencies Gavan fell into DJ’ing in 1987 when the owner of the Unicorn Hotel (syd) threw him behind the decks because the resident DJ didn’t turn up. From humble beginning playing to mostly the leather community at the Unicorn Hotel and the Balmain Town Hall hotel his career now spans three decades with a formidable cluster of residencies including Stonewall Hotel, The Oxford Hotel, Gilligans cocktail bar, The Midnight Shift, Beachamp Hotel, Beresford Hotel, The Taxi Club to name but a few. His journey has seen him play across the country supporting numerous tours (The Trade Australian tour) and helping to cement major festivals (Tropical Fruits 1996­2004) and those special sell out parties that only history remembers such as headlining with his old mate Les Smith for Two Dog’s legendary Wet Dreaming parties (Byron Bay). As a long time ARIA chart DJ and judge for the ARIA awards (dance category) he was at the helm of his own record label CD Pool and Clevage which was a dance music importer selling directly to the cutting edge local digital Disc Jockey market. His presence has been strong, regularly playing at the country's most Gay parties. His been there since the very beginning and continues to wow audiences with his vocal house mixed sets at events such as Hand in Hand 2000, Frisky (Syd). Sydney Mardi Gras (Royal Hall of Industries) 2000 + 2002 (Horden Pavilion), Inquisition X 2002 (Horden Pavilion), Pride (Syd Royal Hall of Industries) 1996, 1998 + 2000. Reserection A.L.S.O Foundation

Nearly 2 years after the amazing day club UP! closed it's doors, our lovely promoter Randel decided to hold a reunion party. He gathered all 10 of the original DJ's & threw an open invitation to all fans of the event and any new friends they wanted to invite. The result was a completely sold out event held at the Midnight Shift club on Sydney's Oxford Street on Saturday the 19th of November. The music was inspiring and the energy was palpable. Here is part of the set I felt privileged to play - a hands in the air trip down memory lane. Enjoy Anthony 1/ "I'M GONNA GET YOU" (Rich B. & Phil Marriott Club Mix) - DAVE AUDE` ft. JESSICA SUTTA 2/ "THE ONLY WAY IS UP" (Tommy Marcus Vocal Club Mix) - LEOMEO & MAXIM LEITY ft. ALICIA 3/ "THINGS CAN ONLY GET BETTER" (Brett Austin Club Mix) - MOPO 4/ "MAKE ME" (The 3rd Impact Club Mix) - BRITNEY SPEARS ft. G-EAZY 5/ "DREAMER" (Barry Harris 2k16 Pride Anthem Remix) - LIVIN' JOY 6/ "LET IT RAIN" (7th Heaven Club Mix) - TINCHY STRYDER ft. MELANIE FIONA 7/ "DON'T LET THIS MOMENT END" (Guena LG Club Remix) - CARLOS GALLARDO ft. REBEKA BROWN 8/ "BASICALLY OVER YOU" (B.O.Y) (Carlos Gallardo Club Remix) - ALEX NEWELL 9/ "CAKE BY THE OCEAN" (Mauro Mozart Club Mix) - DNCE 10/ "I DIDN'T KNOW MY OWN STRENGTH" (Roger Grey Club Remix) - WHITNEY HOUSTON 11/ "INTO THE BLUE" (Joe Gauthreaux Club Remix) - KYLIE MINOGUE 12/ "ONE NIGHT IN HEAVEN" (Original Club Mix) - TOY ARMADA & DJ GRIND ft. INAYA DAY

DJ/producer and label founder, Eddie Niguel, rolls up his sleeve and turns up on our 10th anniversary podcast series, with only things to groove on. Enjoy this deep-house oriented set by one of Singapore's finest and behold of this composed artistry matched with an incredibly rhythmic intuition that can't be learnt, but can be felt… and feel it you will. Don't miss out the free 10-days download, directly from Integrity Records‘ vault and add it up to your collection. Visit the link below for tracklist, interview, and download:  http://electrocaine.com/podcast/073/ Stalk us:  www.facebook.com/electrocaineHQ www.twitter.com/electrocaineHQ www.instagram.com/electrocaine

Welcome to Hellfire friends and neighbors!  In this podcast we tell of our adventures to a local BDSM nightclub party here in Sydney called “The Hellfire Club” at Midnight Shift.  We talk about our clothing choices, the club experience, and the … Continued Get bonus content on Patreon See acast.com/privacy for privacy and opt-out information.

Welcome to Hellfire friends and neighbors!  In this podcast we tell of our adventures to a local BDSM nightclub party here in Sydney called “The Hellfire Club” at Midnight Shift.  We talk about our clothing choices, the club experience, and the … Continued See acast.com/privacy for privacy and opt-out information.

Hideout Sessions - Episode 127 August is nearly upon and so is another Wakefield. Yep, my wife and I are about to land our second little one, litterally any day. Exciting times! Equally thrilling (well perhaps more or less so, depending on whether you're me or you lot!) new music. We have, Mr. G, Conner Youngblood, Julien Mier, Anchoring, Paul Woolford, Son of Sound, XXXY, Franc Moody and a load more wonderfulness! Please spread the word and some sunshine. Love you...Rxx P.S. GET IN TOUCH ON: HIDEOUTSESSIONS@MAC.COM https://twitter.com/FranksonMusicUK https://soundcloud.com/FranksonMusicUK https://www.facebook.com/FranksonMusicUK Tracklist: 1. Julien Mier ‘Camouflaged' (Cascade) 2. Alphabets Heaven ‘Party'(Wotnot) 3. Karma Art ‘Abra' (Sixty Cycle Hum) 4. Hifi Sean Ft. Bootsy Collins ‘Atomium (Dr. Packer Remix)' (Plastique) 5. Letterette ‘Sweeter' (Wulf) 6. The Avalanches “Subways' (Astralwerks) 7. Al Green 'Simply Beautiful (Maribou State Edit) (D/L) 8. Son Of Sound ‘Antitode' (Delusions of Grandeur) 9. Franc Moody ‘Yuri' (Juicebox) 10. Anchorsong ‘Kajo (Anchorsong Remix)' (Tru Thoughts) 11. Addvibe, ft. Jay Nemor ‘Deep In (Your Soul)' (Beat Service) 13. Christa Vi ‘Loveblind (FybeOne Remix)' (Tangelo) 14. XXXY ‘No Matter' (Ten Thousand Yen) 15. Paul Woolford ‘Mother & Child' (Hotflush) 16. NT89 ‘Red Rapture (Original Mix)' (Lyase) 17. Mr. G ‘Black Pepper Crab' (Midnight Shift) 18. Roger Sanchez ‘Morning Prayer (DJ E-Clyps Blacklight Dub)' (Stealth) 19. Ferreck Dawn & Rene Amesz 'Lord' (Extended Mix) (Spinnin' Deep) 20. Dusky ‘Ingrid Is A Hybrid (Bwana's We're All In This Together Remix)' (17 Steps) 21. Poté ‘Katz' (The Full Hundred) 22. Machinedrum ‘Dos Puertas ft. Kevin Hussein' (Ninja) 23. Conner Youngblood ‘The Birds of Finland' (Tunecore)

Hey Peeps, Hope you enjoyed your 2K15 cause 2K16 will be a cracker of year.. My New Wild Pop: FRUITY 2K16 Podcast is showcasing what I generally play at the Midnight Shift in the Club Room whenever this Epic Night comes along, New Choons, Classic Choon’s and Mashup’s that will get you going like Carmen Miranda on heat…… I do have to mention a WORLD EXCLUSIVE Remix by a great DJ mate of mine, DJ Mark Loasby has been an inspiring DJ on the Sydney scene making mashups that a lot of Sydney DJ’s including the Freemasons and myself, now he’s’ delved into making his own mix and he did a cracker of a Whitney Remix that surely I shall be playing to death including during Mardi Gras and I have the great pleasure of adding it to my Wild Pop Podcast for all you Fruity punters out there and speaking of Whitney, Whitney Houston’s “It’s Not Right But It’s Okay” was a MAJOR Dance Hit for Nippy and it was thanks to the Thunderpuss boy’s Barry Harris and Chris Cox who made a STOMPER of a remix that was going BONKERS for the LGBT community all over the WORLD and still gets played, so a Happy 17th Birthday to the THUNDEROUS MIX of “It’s Not Right”… As per my usual Mashup Exclusives to my Wild Pop Series I hope you enjoy it and don’t forget to come to a FRUITY NIGHT!!!! TRACKLIST: 1. Rain Down Levels (Dj AnVi's 2K16 Love Power Mashup) - Freemasons vs Nick Jonas 2. Les Sex (Argonaut X Moto Blanco Mash) - Kylie Minogue 3. Sax (Wideboys Club Mix) - Fleur East 4. Til It Happens To You (Dave Aude Club Mix) - Lady Gaga 5. High (Russ Rich & Leo Frappier Club Mix) - Peyton, Wayne G 6. How Will I Know (Mark Loasby Mardi Gras 2016 Mix) - Whitney Houston 7. Stevie Knows (7th Heaven Club Mix) - Olly Murs 8. Watchin in Peanut Butter Jelly (Dj AnVi's Visualizin Mashup) - Galantis vs Freemasons Ft. Amanda Wilson 9. Over And Over Again (Cahill Club Remix) - Nathan Sykes 10. 100 Degrees (7th Heaven Club Mix) - Kylie Minogue ft. Dannii Minogue) 11. Love Myself (Toy Armada & DJ GRIND Club Mix) - Hailee Steinfeld 12. On My Mind (Barry Harris Remix) - Ellie Goulding 13. It's Not Right But It's Okay (Thunderpuss Mix) - Whitney Houston 14. The Voice Within (Almighty Mix) - Christina Aguilera

Hideout Sessions - Episode 114 It's actually too hot to type. So, I'm just going to say...new music. Brilliant. Tell everyone to subscribe please. Thank you. Love you...Rx P.S. GET IN TOUCH ON: HIDEOUTSESSIONS@MAC.COM https://twitter.com/FranksonMusicUK https://soundcloud.com/FranksonMusicUK https://www.facebook.com/FranksonMusicUK Tracklist: 1. Dele Sosimi 'E Go Better' (Wah Wah 45s) 2. Ginger Johnson and His African Messengers 'Adura' (Freestyle) 3. K15 'alone/together' (Wotnot) 4. Bodymoves 'What Cha Gonna Do?' (Keep Up!) 5. Kartel, ft. J-Rican 'All I Have' (Roche Musique) 6. Nate Connelly '7824 Fire (Throwing Snow Remix)' (Blindcolor) 7. Submerse 'Gloom' (Project Mooncircle) 8. Maribou State, ft. Pedestrian 'The Clown (Axel Boman Remix)' 9. Tee Mango 'Leave You' (Millionhands) 10. Howling 'Stole the Night' (Counter/Monkeytown) 11. Chad Mitchell 'Connect With Our Love' (Roam) 12. DJ Day 'Land Of 1000 Chances (Lord Echo's Disco Mix)' (Bastard Jazz) 13. Disclosure, ft. Gregory Porter 'Holding On (Gus Pirelli VIP 7" Disco Mix)' (?) 14. Lindstrom 'Home Tonight (HNNY Remix)' (Feedelity) 15. Keita Sano 'Once I Found A Diamond' (Spring Theory) 16. Gerry Read & Kevin McPhee 'Ten Eight Seven (FRUMMPPP Rmx)' (Fourth Wave) 17. Eddie Niguel 'The Warehouse' (Midnight Shift) 18. Seven Davis Jr 'Sunday Morning' (Ninja) 19. Dextric 'Siren (Original Mix)' (Southern Fried) 20. DJ MK & DJ Go 'Fantastic (ft. Lunar C & Scrufizzer)' (D'arblay) 21. Tsunga 'Maris Piper' (Black Acre) 22. Spectral Soul, ft. Lily McKenzie 'Shelter (VIP Mix)' (Shogun Audio) 23. Zinc 'Back Up' (Promo) 24. Friction Vs Metrik 'Timelapse' (Shogun Audio) 25. Frankson 'Retreat' (?)

Step back in time to the days when DJs played vinyl, glow-sticks lit up the dancefloor and galloping bass-lines ruled the clubs... let's go all the way back to The 90s! Here are some highlights from my set at the Nov 2013 PUMP party at The Midnight Shift in Sydney! http://DJDanMurphy.com - check out my website for heaps more music & contact details. 1. In The Evening - SHERYL LEE RALPH 2. Show Me Love - ROBIN S 3. Spice Up Your Life (morales carnival club mix) - SPICE GIRLS 4. Better The Devil You Know (almighty mix) - KYLIE MINOGUE 5. There's Nothing I Won't Do - JX 6. Joy (mondo's pussycat mix) - STAXX 7. Another Night - REAL MCCOY 8. Coconut - DANNII MINOGUE 9. Don't Cry For Me Argentina (miami mix) - MADONNA 10. Fee Fi Fo Fum - CANDY GIRLS ft. SWEET PUSSY PAULINE 11. You Lift Me Up (hi lux vox mix) - REBEKAH RYAN 12. Theme From S-Express - S-EXPRESS 13. Dreamlover (def club mix) - MARIAH CAREY 14. Passion - AMEN 15. I Imagine (eddy fingers mix) - MARY KIANI 16. Vogue (house mix) - MADONNA 17. Stop - SPICE GIRLS 18. ...Baby One More Time (davidson ospina mix) - BRITNEY SPEARS 19. Don't Stop Movin' - LIVIN' JOY 20. I've Been Thinking About You - LONDON BEAT 21. Just A Little Bit (motiv8 mix) - GINA G 22. Opposites Attract - PAULA ABDUL • http://facebook.com/DJDanMurphy • http://twitter.com/DJDanMurphy • http://soundcloud.com/DJDanMurphy

Get ready to play hard on and off the field down under and be united by rugby! From 24 to 31 August 2014, teams from over 15 countries will come together in Sydney to celebrate diversity in sport. Join me at the Midnight Shift on Fri 29th Aug from 9pm to welcome the players to Sydney at the Bingham Cup Arrivals Party http://www.themidnightshift.com.au/event/bingham-cup-arrivals-party/ Follow me on twitter @DJBoltSyd Tracklisting: 001 - Stay With Me (Xavi Alfaro Club Remix) - Xavi Alfaro, Cristobal Chaves 002 - Playing With Hearts (Hazzaro Remix) - Benny Maze, Danny Inzerillo feat. Denitia 003 - Hold On Tight (Dolly Rockers Mix) - DMS12, Lizzie Curious 004 - Lovin You (Original Mix) - Taito Tikaro, Flavio Zarza feat. Stanley Miller 005 - When I Was Seventeen (Jorge Montia & Jerome Robins Mix) - Jayforce 006 - Lift Me Up (Big Room Mix) - Taito Tikaro, Flavio Zarza feat. Chipper 007 - Feel the Rhythm and Enjoy It (Taito Tikaro & Flavio Zarza Remix) - Oscar Yotomi feat. Amanda 008 - Turn On The Music (Edy Whiskey & Fly Rework 2014) - Roger Sanchez feat. GTO,Falseface 009 - Tonight (Yinon Yahel Mashup) - Yinon Yahel ft Emmi 010 - Youre Not Alone (Original Mix) - Jochen Simms 011 - Falling In Love (Deeper & Deeper) (Barry Harris 2k14 & Bill Hallquist Edit) - Madonna 012 - Bow To The Queen (Bobby Blanco & Dim Jim Remix) - Carol Anthony 013 - Thrown It All Away (Dolly Rockers Remix) - Lizzie Curious, J-C 014 - The Secret Key Of Life (Vicente Belenguer & Blas Marin Remix) - Taito Tikaro, Flavio Zarza feat. Estela Martin 015 - I'm on Fire (Xavi Alfaro Remix) - K-Low, Lydia Sanz 016 - Supratech (Juan Gimeno Remix) - Xavi Alfaro 017 - Werk It (Xavi Alfaro Remix) - Kobretti, Stricted Soul, Roz Brown 018 - Shiny Disco Balls vs Cab You Feel (Teddy Clarks Private Mashup) - Who Da Funk 019 - A Deeper Love (Teddy Clarks Pvt Mash!) - Aretha Franklin

Here´s our 36th Podcast mixed by... ...Simon Hinter from Siegen, Germany. Beginning with deejayin' and scratchin', makin' Hip Hop Beats in the late ninetees, he is exploring more and more electronic music playgrounds. Through his work at one of his best friend's Record Store "Kratzer" in his hometown Siegen, he's getting much inspirations and knowledge about music itself. These years were to create a mastery in melodic electronica and shape a deeper perspective that has found home in labels such as ProgCity Deep Trax, Phil, Love Unlimited Vibes, Midnight Shift and Tenth Circle. Not giving a fuck about musical rules or principles, Simon is serious about his music being his alone, and allowing him to do whatever he wants, whenever. Neither is his small hometown scene of Siegen, Germany, a springwell of talent. Simon’s music is an anomaly that arose not as a result of a scene but from his concentrated efforts as a fun-loving individual with like-minded buddies. Citing influences such as hip-hop, soul, jazz, funk and rare soundtracks of the sixtees and seventees, Simon identifies himself primarily as a producer, although DJing and his love for playing records Thank you so much, Simon

My promo mix for "Love Fur" party coming to Sydney on June long weekend (Queen's Birthday) Visit the facebook Event page here www.facebook.com/events/618282151596226/ Love Fur is London's coolest & hottest hairy man party. It is a hot club night where everything hairy related is adored and the men wearing it be it hairy bears, cubs, muscle bears, muscle men, muscle boys or twinks. Love Fur is part of the same home as Love Sports which is a successful night in New York, Seattle, San Francisco & London and soon to be in Atlanta. This party Love Fur will be in conjunction with the amazing Harbour City Bears so you know you are in for a good night. It will take place June 6th @ Midnight Shift from 10pm-5am. There will be 2 rooms of music with Australia's best dj's Brett Austin, Gerard Frank Long, Matt Effect & Richard Bolt. Expect one room to be sexy tech beatz and the other funky driving house. Adding to that line-up is Gordon John all the way from London who went down a storm in Sydney Mardi Gras 2014 Track Listing: 001 - Disco Burn (Marco Molina & Marco Vistosi Remix) - Housemassive, Groovenerd, Fdf (Italy) 002 - Dreaming (JL and Afterman Remix) - Hoxton Whores, Martin Villeneuve, Jerome Robins 003 - Ilarie (Criminal Vibes Remix) - Leony! 004 - I Need A Miracle (Club Mix) - Criminal Vibes 005 - See The Beat (Original Mix) - Dolly Rockers 006 - Lost In Music (Dolly Rockers Remix) - The House Bandits 007 - Feel It Inside (Alex Acosta Big Room Mix) - Carlos Gallardo, Rebeka Brown 008 - The Feelin (Original Mix) - Rio Dela Duna & Block & Crown 009 - One Day (Dolly Rockers Remix) - @IT 010 - Alright 2013 (Dolly Rockers Remix) - Mark Wilkinson, Paul Jackson, Dolly Rockers 011 - What Is Love (Billy Lace Edit) - Haddaway Vs. Eric Morillo Vs. Abel Ramos 012 - Naturally (Original Mix) - Trent Cantrelle 013 - Release Me Vs Aphrodite (Sweet Beatz Project PVT Mashup) - Zoe Badwi vs Kryder 014 - Helium (UMEK & Mike Vale Remix) - Chris Lake feat. Jareth 015 - Now You're Gone (Mr. Tom Wave & Miss Dolly Aka. Mr. & Miss Mashup) - Juan Kidd & Felix Baumgartner Feat Lisa Millett 016 - What About My Bad Habit (Griffin White 2K14 Mashup) - ATFC ft. Onephatdeeva vs. Dolly Rockers

ARIA Chart DJ / Club DJ 1987 - 2004 Various venues nationally. Previous Residencies Gavan fell into DJ’ing in 1987 when the owner of the Unicorn Hotel (syd) threw him behind the decks because the resident DJ didn’t turn up. From humble beginning playing to mostly the leather community at the Unicorn Hotel and the Balmain Town Hall hotel his career now spans three decades with a formidable cluster of residencies including Stonewall Hotel, The Oxford Hotel, Gilligans cocktail bar, The Midnight Shift, Beachamp Hotel, Beresford Hotel, The Taxi Club to name but a few. His journey has seen him play across the country supporting numerous tours (The Trade Australian tour) and helping to cement major festivals (Tropical Fruits 1996­2004) and those special sell out parties that only history remembers such as headlining with his old mate Les Smith for Two Dog’s legendary Wet Dreaming parties (Byron Bay). As a long time ARIA chart DJ and judge for the ARIA awards (dance category) he was at the helm of his own record label CD Pool and Clevage which was a dance music importer selling directly to the cutting edge local digital Disc Jockey market. His presence has been strong, regularly playing at the country's most Gay parties. His been there since the very beginning and continues to wow audiences with his vocal house mixed sets at events such as Hand in Hand 2000, Frisky (Syd). Sydney Mardi Gras (Royal Hall of Industries) 2000 + 2002 (Horden Pavilion), Inquisition X 2002 (Horden Pavilion), Pride (Syd Royal Hall of Industries) 1996, 1998 + 2000. Reserection A.L.S.O Foundation

ARIA Chart DJ / Club DJ 1987 - 2004 Various venues nationally. Previous Residencies Gavan fell into DJ’ing in 1987 when the owner of the Unicorn Hotel (syd) threw him behind the decks because the resident DJ didn’t turn up. From humble beginning playing to mostly the leather community at the Unicorn Hotel and the Balmain Town Hall hotel his career now spans three decades with a formidable cluster of residencies including Stonewall Hotel, The Oxford Hotel, Gilligans cocktail bar, The Midnight Shift, Beachamp Hotel, Beresford Hotel, The Taxi Club to name but a few. His journey has seen him play across the country supporting numerous tours (The Trade Australian tour) and helping to cement major festivals (Tropical Fruits 1996­2004) and those special sell out parties that only history remembers such as headlining with his old mate Les Smith for Two Dog’s legendary Wet Dreaming parties (Byron Bay). As a long time ARIA chart DJ and judge for the ARIA awards (dance category) he was at the helm of his own record label CD Pool and Clevage which was a dance music importer selling directly to the cutting edge local digital Disc Jockey market. His presence has been strong, regularly playing at the country's most Gay parties. His been there since the very beginning and continues to wow audiences with his vocal house mixed sets at events such as Hand in Hand 2000, Frisky (Syd). Sydney Mardi Gras (Royal Hall of Industries) 2000 + 2002 (Horden Pavilion), Inquisition X 2002 (Horden Pavilion), Pride (Syd Royal Hall of Industries) 1996, 1998 + 2000. Reserection A.L.S.O Foundation