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"Naming a band can be quite difficult. The list of bands we will discuss today went back into history to grab a name or an event to come up with a moniker. You know a good many of them. "
Bienvenido a los mejores podcast de comedy central
"The K Pop band EXO claimed that one of their concerts in South Korea sold out in less than two seconds. It sounds impossible because you are not being told the entire story. It is a badge of honor for bands to sell out quickly. Other than EXO, who did legitimately sell out the fastest. We will tell you our pick."
"Often an actor will start a band once her or she is famous. However many actors start as musicians. Some saw great success. We have some surprising names this week."
"Rock and Roll really came into its own in the 1950s and once it did someone was always proclaiming it bad for the youth in one way or another. These were generally called Moral Panics. Here is the history and some examples of a few of the most popular Moral Panics."
Uno de los podcast favoritos de nuestro Tony moog
Moog synths, live electronics, saxophones, clarinets - Doppelgänger project is composed by Bill Balsa for the trio Martin Woelfli, Pierre Zeidler and Bruno de Chénerilles. Recorded, mixed and mastered by Bruno de Chénerilles at Audiorama Studio - Released on Audiorama label : Audiorama Long10 - CD available on https://alesiacosmos.com/the-shop-audiorama-records/
Moog synths, live electronics, saxophones, clarinets - Doppelgänger project is composed by Bill Balsa for the trio Martin Woelfli, Pierre Zeidler and Bruno de Chénerilles. Recorded, mixed and mastered by Bruno de Chénerilles at Audiorama Studio - Released on Audiorama label : Audiorama Long10 - CD available on https://alesiacosmos.com/the-shop-audiorama-records/
Moog synths, live electronics, saxophones, clarinets - Doppelgänger project is composed by Bill Balsa for the trio Martin Woelfli, Pierre Zeidler and Bruno de Chénerilles. Recorded, mixed and mastered by Bruno de Chénerilles at Audiorama Studio - Released on Audiorama label : Audiorama Long10 - CD available on https://alesiacosmos.com/the-shop-audiorama-records/
Moog synths, live electronics, saxophones, clarinets - Doppelgänger project is composed by Bill Balsa for the trio Martin Woelfli, Pierre Zeidler and Bruno de Chénerilles. Recorded, mixed and mastered by Bruno de Chénerilles at Audiorama Studio - Released on Audiorama label : Audiorama Long10 - CD available on https://alesiacosmos.com/the-shop-audiorama-records/
Moog synths, live electronics, saxophones, clarinets - Doppelgänger project is composed by Bill Balsa for the trio Martin Woelfli, Pierre Zeidler and Bruno de Chénerilles. Recorded, mixed and mastered by Bruno de Chénerilles at Audiorama Studio - Released on Audiorama label : Audiorama Long10 - CD available on https://alesiacosmos.com/the-shop-audiorama-records/
"Here is the second show where we play songs you might not know were covers. Often the cover version of a song becomes a bigger hit. And even if you did know the hit was a cover you may not know the original. We will play you a few."
"This is the first of a two show set. Often people are shocked to hear that a hit song is a cover. We have put together a long list of hit songs that are covers and we will play the original to you can hear where the hit you know came from."
Aaron Astrachan on the investments made for MOOG's Expansion bonus 113 Mon, 30 Jun 2025 23:24:16 +0000 EViG1dLjXYP8XelL0EEuHr5Jn6amtxoe news WBEN Extras news Aaron Astrachan on the investments made for MOOG's Expansion Archive of various reports and news events 2024 © 2021 Audacy, Inc. News False https://player.amperwavepodcasti
Jonathan Kasper Operations Transformation Manager with Moog bonus 267 Mon, 30 Jun 2025 23:08:53 +0000 yjW2IcD539aSx28zafPoaUqn3auTkqn3 news WBEN Extras news Jonathan Kasper Operations Transformation Manager with Moog Archive of various reports and news events 2024 © 2021 Audacy, Inc. News False https://player.amperwavepodcastin
WBEN's Evan DiPasquale on the major expansion to MOOG's Space and Defense Group bonus 64 Mon, 30 Jun 2025 23:20:09 +0000 NQgrd2vZukHqnXnbMQvOm6lK5xyTy6BK news WBEN Extras news WBEN's Evan DiPasquale on the major expansion to MOOG's Space and Defense Group Archive of various reports and news events 2024 © 2021 Audacy, Inc. News False https://playe
Nicole Wodka-Cook on the expansion with Moog bonus 418 Mon, 30 Jun 2025 23:12:56 +0000 p1MAWXHUJOmYWJWNg9VuqB33Z9QkSdmT news WBEN Extras news Nicole Wodka-Cook on the expansion with Moog Archive of various reports and news events 2024 © 2021 Audacy, Inc. News False https://player.amperwavepodcasting.com?feed-link
"In July of 1962, the Rolling Stones play their first gig in the Marquee Club. The Marquee Club was one of the main venues for 1960s British rock. This week we will discuss the rather interesting history of the Marquee Club."
True to their deep, widescreen approach to both production and live-performing, Parisian outfit Atomic Moog clock in with a helluva sleek and lushly relief'd mix, recorded on the occasion of their latest live performance at Outre Bleu on March 29. Through their releases for the likes of Delsin, Appian, Lowless or Monument, the French duo has been carving a niche for itself at the fringes of the dubbed-out techno tradition and abstract-leaning experimentality. This two-hour jaunt into their reverb and delay-heavy imaginarium has us moving across narrow corridors and cathedral-large spaces by turn, exploring the concept of spatialization in dance music under a new, boundary-pushing light. Through focal-shifting jumps between acid-drenched beds of rippling analogue sine waves and sizzling machine circuitry, the constant angle shifts from macro to micro tell a tale of vibrant sound research, not quite picking a side between the dance floor's sense of purpose and genre-unbound, creative unintentionality.
"Punk music has produced some of the greatest performers and some of the greatest musician nicknames. Here is a list of the best names and where they came form."
During the 14-minute interview, Walsh discusses MOOG's legacy in designing and manufacturing high-performance motion control products and how the company's experience with mission critical solutions translates into the data center space. He outlines how intelligent cooling controls and maintenance services contribute to overall data center sustainability and explains what sets MOOG's purpose-built data center products apart from the competition. Walsh also discusses recent advancements in motion control and cooling systems for data centers, including a new ultrasonic sensor that measures cavitation in liquid cooling fluids. During the interview, Walsh shares his thoughts on the rise of liquid cooling across the data center industry and the role MOOG plans to play in this transformation.
"Back in 1973 Muhammad Ali knocks out George Foreman in what was called The Rumble in the Jungle. This victory inspires Johnny Wakelin to write the song Black Superman. He gets a hit with it. So what other songs are written for or about athletes. We have a list."
Guitarist Dee Brown created a jazzy album of R&B instrumentals on which he adopted the persona of a fictious character called “Mister Smooth,” who is confident, focused, and anchored in equanimity. Writing eight new songs, most of them with his GRAMMY® nominated producer and longtime collaborator Valdez Brantley (Usher, Mary J. Blige, Keith Sweat, Lil Wayne), Brown's sixth album will be released by Innervision Records on March 28. The melody-rich title track will be issued as a single the same day. Stepping into the “Mister Smooth” character like a method actor while writing and recording the album wasn't much of a stretch for Brown, who is a devout man of faith. The confidence and maturity that he exudes on the recording and is on full display via his guitar work and the compositions he crafted for the set are bolden and empowering. It's a determined mindset purposed with overcoming challenges and adversity while remaining in control - even when the world feels chaotic. “Mister Smooth embodies a person who is consistently on top of things and maintains control in any situation. Even when faced with uncertainty, he excels at ‘faking it until he makes it,' elevating the experience for everyone involved. I created an album that captures the essence of what it means to be a Mister Smooth. This concept isn't just a reflection of who I am or aspire to be; it represents a powerful attribute that enhances any situation. The name itself resonates with many, making it relatable and appealing. This is perfectly aligned with the type of music we produce and the kind of person with whom we all aspire to be,” said Brown who released multiple singles from the project while he was working on the collection over the last couple of years. After opening the album with “Mister Smooth,” the Detroit- born and based artist offers a taste of his hometown on “Wes 8Mile,” which he wrote with multi-time Billboard No. 1 chart-topper Blake Aaron who produced the song that was issued as a single. Mike Parlett's saxophone perfectly complements Brown's cool toned electric jazz guitar riffs that invoke jazz guitar legend Wes Montgomery. “Eight Mile is one of the main streets running through Detroit, and I grew up on the west side of Detroit. The name ‘Wes 8Mile' comes from my guitar hero Wes Montgomery's unique style of playing, which often involved using octaves. An octave is a note that is eight diatonic notes away from the first note, and he would play these two notes together. My goal was to create an up-tempo groove that incorporated both octaves and single note playing, along with a half-step modulation. I also wanted to incorporate an ensemble, which is why I invited saxophonist Mike Parlett to play on the track with Carnell Harrell (keyboards), Mel Brown (bass), and Tony Moore (drums),” explains Brown. Another collaboration with Aaron resulted in “The Thing Is…” which adds horn player and arranger David Mann, keyboardist Tateng Katindig, and Aaron's rhythm guitar to the ensemble. It was the second single from the album and hit all the major charts. “Many times, when a conversation is going and someone wants to make a valid point, they will say, 'The thing is...' That is what this song is all about, making a musical valid point that will grab your attention and immediately be noticed," stated Brown. Brown and Brantley interpret Sister Sledge's rousing anthem “We Are Family,” which includes an imaginative jazz breakdown midway through the disco dancefloor filler. “My wife suggested that we remake ‘We Are Family' and I immediately thought of Nile Rodgers, the incredible guitarist from the legendary group Chic. I've always admired his rhythm guitar work,” Brown admitted. Brown sees his Mister Smooth character as someone who would be charming, which inspired the song titled “Charming.” “This track was developed after I decided we needed to record a slower song. I wanted to incorporate 808 electric drums, Moog synth/bass, and a variety of synthesized sounds reminiscent of the 1990s with a strong emphasis on guitar,” said Brown. “Finesse” was the first track recorded for the album, yet the song had to go through a process of evolution. Brown explains, “I noticed a problem with the song's chorus. I decided to try an alternative melody, and it seems to work perfectly. So, when you hear the track, if you listen to the lead melody on the big body guitar, that's the new melody and if you listen in the background, there's another melody that is played with my Stratocaster-style guitar that is more like a picking style playing the original melody. They work together perfectly.” The album's first single was “You Already Know,” which was released as a deep cut during the recording process to keep Brown on radio playlists. His gregarious guitar is slick and proficient as it deftly maneuvers to the fore of a midtempo electric groove. The vibrant “Charismatic” gets a boost from Merlon Devine's soprano sax. Brown explains, “Initially, Valdez (Brantley) played the flute sound on the track on his keyboard, but I felt we needed a live flute player. Unfortunately, all the flautists we knew were unavailable. I suggested using a soprano saxophone instead and called my good friend, Merlon Devine. We decided to keep the keyboard flute sound after all, but it's Merlon's beautiful soprano sax that really stands out on this track.” We experience a completely different side of Brown on “4th Dimension,” on which he indulges his rock god guitar alter ego. “I was kind of a rock ‘n' roller influenced by great bands from the '80s and '90s. I've always loved legendary guitarists like Jeff Beck, Carlos Santana, Jimi Hendrix, and Jimmy Page, and I wanted to create a rocky, funky groove. We started exploring a direction that I don't usually take. Become a supporter of this podcast: https://www.spreaker.com/podcast/ladydiva-live-radio--2579466/support.
This week, I'm joined by JoE Silva, the author of The Minimoog Book and host of Athens 411, who chose the film Moog to discuss.We talk about how JoE first met Robert Moog and then went on a 14 year journey to write The Minimoog Book, Rush's Geddy Lee writing the preface to the book, the incredible stories surrounding Sun Ra as one of the first musicians to get a Minimoog, the strange era where digital synths overtook analog synths, how shy and gentle Robert Moog was, Moog's onstage work with Yes, the synth company's humble beginnings, the music industry's fear of synths replacing 'real' musicians, Kraftwerk, why live music was the most important factor for Moog making his instruments, JoE's time with Eno, the amazing early documentary footage of the Moog factory, Bernie Worrell & Rick Wakeman's outdated conversation in the film, DJ Spooky, Taco Bell's 'Island Of Electronicus, Stereolab, our top 3 synth parts of all time and more. So let's set the oscillators to the max on this week's episode of Revolutions Per Movie!JoE SILVA: https://www.athens441.org/aboutTHE BOOK: https://bjooks.com/products/the-minimoog-bookTHE FILM: https://www.youtube.com/watch?v=yRsSSjqZ1ykREVOLUTIONS PER MOVIE:Host Chris Slusarenko (Eyelids, Guided By Voices, owner of Clinton Street Video rental store) is joined by actors, musicians, comedians, writers & directors who each week pick out their favorite music documentary, musical, music-themed fiction film or music videos to discuss. Fun, weird, and insightful, Revolutions Per Movie is your deep dive into our life-long obsessions where music and film collide.The show is also a completely independent affair, so the best way to support it is through our Patreon at patreon.com/revolutionspermovie. By joining, you can get weekly bonus episodes, physical goods such as Flexidiscs, and other exclusive goods.Revolutions Per Movies releases new episodes every Thursday on any podcast app, and additional, exclusive bonus episodes every Sunday on our Patreon. If you like the show, please consider subscribing, rating, and reviewing it on your favorite podcast app. Thanks!SOCIALS:@revolutionspermovieBlueSky: @revpermovieTHEME by Eyelids 'My Caved In Mind'www.musicofeyelids.bandcamp.com ARTWORK by Jeff T. Owenshttps://linktr.ee/mymetalhand Hosted on Acast. See acast.com/privacy for more information.
"Last week we spoke of Dockery Farms which the birthplace of The Blues. As all music does it was expanded and taken to different places by the musicians who played it. Here is a run down and description of the most popular forms of The Blues."
"Back in March of 1979 the movie The China Syndrome came out. Weeks later the Three Mile Island nuclear disaster occurred. This lead to musicians setting up MUSE and holding the NO Nukes concerts, albums and film. We have the entire story including the first time Bruce Springsteen was recorded live."
It's time to interogate, or potentially impregnate, some witnesses, and Jorcerer is the sweaty sex blob for the job. Meanwhile, Cabert and Moog face off in an ultimately pointless excersise. Who will win??Dicey Bastards is the actual play podcast with more charisma than a dire worm who used to be your girlfriend but got cursed by a wizard after she wouldn't shut up about that stupid worm question people pretend they ask their boyfriends on the internet. Not much charisma is what I mean, buddy, you were better off without her.Check out our merch! https://www.teepublic.com/?ar_ad=teepublic&ar_adgroup=58700006420472509&ar_campaign=71700000074037014&ar_channel=google&ar_clx=yes&ar_strategy=search&gad_campaignid=1880244643&gad_source=1&gbraid=0AAAAADqCRGZgfX-dxU2RLIKwluivA-mek&gclid=Cj0KCQjwxdXBBhDEARIsAAUkP6iIsw8Ve3fiGA7hNb_NoJuptp9b-CvULc9_nO8pzvPII3ITlhFGTt4aAhKQEALw_wcB&gclsrc=aw.ds&ref_id=13059Become a supporter of this podcast: https://www.spreaker.com/podcast/authors-dragons-comedy-dnd-podcast--5624719/support.
(S4 Ep25) The Doors - Strange Days Released September 25, 1967, Recorded between May-August 1967 (Elektra) Strange Days, The Doors' ambitious sophomore album, blends dark, poetic themes with groundbreaking production. Opening with the eerie Moog-driven title track—one of rock's earliest uses of the synthesizer—the album dives into surrealism, alienation, and existential dread. Highlights include hits like “People Are Strange” and “Love Me Two Times,” the experimental “Horse Latitudes,” and the 11-minute epic “When the Music's Over.” Jim Morrison's lyrics, often lifted from his notebooks, showcase a maturing vocal performance. At the same time, Ray Manzarek's keyboards, Robby Krieger's inventive guitar, and John Densmore's jazz-inflected drumming create a rich sonic palette. Despite a mixed initial reception, Strange Days is now regarded as a milestone in psychedelic rock, influencing subsequent genres such as gothic and post-punk. The album's avant-garde cover, atmospheric production by Bruce Botnick, and dense, evocative songwriting confirm The Doors as one of America's most innovative 1960s bands, far more than just Morrison's myth.Signature Songs: "Love Me Two Times," "People Are Strange," "When The Music's Over"Full Album: YouTube Spotify Playlist” YouTube Spotify
Doug McKechnie is an unsung pioneer of electronic music, a visionary who traversed the fringes of sound and consciousness at a time when technology, art, and radical thought were colliding to reshape culture. Emerging from the explosive counterculture scene of San Francisco in the late 1960s, Doug was one of the first musicians to experiment extensively, and the very first to play live, with the Moog synthesiser, using it not merely as an instrument but as a portal into new dimensions of experience. "I wasn't interested in playing melodies. I wanted to find out what electricity sounded like when it told the truth.” He didn't just make music—he made experiences. He played marathon sets in warehouses, at acid-fueled happenings, art galleries, planetariums, and with The Grateful Dead. His performances were long-form, trance-like explorations of voltage, feedback, and consciousness—music as transformation. “Those shows weren't performances. They were portals” His music lay largely hidden for decades until re-released by VG+Records Doug's Music: The Complete San Francisco Moog: 1968-72 San Francisco Moog: 1968-72 Vol. 2 With Thanks to Lee Gardner at VG+ #DougMcKechnie #BureauOfLostCulture #lighshows #sanfrancisco #thegratefuldead #frankoppenheimer #goldengatebridge #ElectronicMusicHistory #ModularSynths #MoogMusic #Psychedelic60s #VintageSynthesizers #UndergroundSounds #modularFrequencies #alanwatts
Episode 174 Chapter 33, Digital Synthesizers and Samplers. Works Recommended from my book, Electronic and Experimental Music Welcome to the Archive of Electronic Music. This is Thom Holmes. This podcast is produced as a companion to my book, Electronic and Experimental Music, published by Routledge. Each of these episodes corresponds to a chapter in the text and an associated list of recommended works, also called Listen in the text. They provide listening examples of vintage electronic works featured in the text. The works themselves can be enjoyed without the book and I hope that they stand as a chronological survey of important works in the history of electronic music. Be sure to tune-in to other episodes of the podcast where we explore a wide range of electronic music in many styles and genres, all drawn from my archive of vintage recordings. There is a complete playlist for this episode on the website for the podcast. Let's get started with the listening guide to Chapter 33, Digital Synthesizers and Samplers from my book Electronic and Experimental music. Playlist: DIGITAL SYNTHESIZERS AND SAMPLERS Time Track Time Start Introduction –Thom Holmes 01:38 00:00 1. Jon Appleton, “Syntrophia”(1978) from Music For Synclavier And Other Digital Systems. Composed and performed on the Synclavier, Dartmouth Digital Synthesizer, Jon Appleton. 08:55 01:40 2. Claude Larsen, “Nitrogen” (1980) from Synthesis. Sounds a bit like “Oxygen” by Jarre from 1976. Programmed, performed, Fairlight CMI Music, Roland System 700, Oberheim TVS-1 Four Voice, Polymoog, Roland MC 8 Micro-Composer, Syntovox vocoder, Claude Larson. 02:31 10:36 3. Eberhard Schoener, “Fairlight 80” (1980) from Events. Featured the Fairlight CMI played by Schoener and vocals by Clare Torry. 04:20 13:04 4. Eberhard Schoener, “Events - A La Recherche Du Temps Perdu” (1980) from Events. Mellotron, Violin, Piano, Moog, Oberheim, Fairlight CMIsynthesizers, Eberhard Schoener; Fairlight CMI, Morris Pert; Gong, Percussion (Gede, Kempli, Rejong), Furst Agong Raka; Gong, Percussion (Gender, Lanang, Rejong), Ketut Tama; Gong, Percussion (Wadong, Rejong), Rai Raka; Percussion, Morris Pert; Fender electric piano, Roger Munnis; tenor saxophone, Olaf Kübler; Drums, Evert Fraterman, Pete York; Electric Bass, Steve Richardson; Electric Guitar, Ian Bairnson. 11:07 17:26 5. Klaus Schulze, “Death Of An Analogue” (1980) from Dig It. All music played on the Crumar GDS digital synthesizer/computer. All percussion by F.S. Drum Inc. and GDS. 12:20 28:31 6. Klaus Schulze, “The Looper Isn't A Hooker” (1980) from Dig It. All music played on the Crumar GDS digital synthesizer/computer. All percussion by F.S. Drum Inc. and GDS. 07:05 40:52 7. Joel Chadabe and Jan Williams, “Song Without Words” (1981) from Rhythms For Computer And Percussion. "The equipment used in RHYTHMS is a portable minicomputer/digital synthesizer system designed and manufactured by New England Digital Corporation in Norwich, Vermont, expressly for making music.” This was an early Synclavier without a keyboard controller. Synclavier digital synthesizer, Joel Chadabe; Percussion, Vibraphone, Marimba, Slit Drum, Log, Wood Block, Temple Block, Cowbell, Singing Bowls, Jan Williams. 07:24 47:54 8. Don Muro, “Deanna Of The Fields” (1981) from Anthology. Vocals, Piano, Electric Piano, Acoustic Guitar, Electric Guitar, Synthesizer, Korg M1 Music Workstation, Bass, Drums, Percussion, Don Muro. 02:52 55:18 9. Nervous Germans, “Hometown” (1981) from Nervösen Deutschen. Bass, Producer, Micki Mäuser; Drums, Udo Dahmen; Guitar, Manni Holländer; Vocals, Casio VL Tone micro keyboard, Grant Stevens. 05:15 58:10 10. Tuxedomoon, “Blind” from Time To Lose, Blind. Effects, Guitar, Peter Principle; Casio M-10, Blaine L. Reininger; Vocals, Moog, Soprano Saxophone, Steven Brown; Vocals, Winston Tong. 07:44 01:03:26 11. Herbie Hancock, “Rough” (1983) from Future Shock. Fairlight CMI, AlphaSyntauri, Emulator, Herbie Hancock; Background Vocals, Bernard Fowler, Grandmixer D.ST., Nicky Skopelitis, Roger Trilling; Bass, Bill Laswell; Drums, Sly Dunbar; Lead Vocals, Lamar Wright; Prophet-5, Michael Beinhorn; Turntables, Voice, Grandmixer D.ST. 06:54 01:11:00 12. Wendy Carlos, “Genesis,” “Eden,” and “I.C. (Intergalactic Communications)” (1984) from Wendy Carlos' Digital Moonscapes. Programmed All Sounds programmed and performed on the Crumar GDS/Synergy digital synthesizer, Wendy Carlos. 15:20 01:17:50 13. Ron Kuivila, “Household Object” (1984) from Fidelity. Casio VL toneand homemade electronics, Ron Kuivila. 09:34 01:33:20 14. Lejaren Hiller, “Expo '85” (1985) from Computer Music Retrospective. Four short pieces highlight the versatility of the Kurzweil K250: “Circus Piece - A Cadential Process” (4:04), “Transitions - A Hierarchical Process” (2:12), “Toy Harmonium - A Statistical Process” (1:41), “Mix Or Match - A Tune Generating Process (5 Examples)” (3:44). 11:55 01:42:52 15. Third World, “Can't Get You (Out Of My Mind)” (1985) from Sense Of Purpose. Yamaha DX7, Prophet 5, PFR Yamaha, Grand Piano Yamaha Acoustic, Organ Hammond B3, Clavinet Mohner D6, Percussion, Vocals, Michael "Ibo" Cooper; Backing Vocals, Glenn Ricks, Meekaaeel; Bass, Rhythm Guitar, Backing Vocals, Percussion, Richie "Bassie" Daley; Drums Yamaha Acoustic Drums, Electronic Drums Simmons, Drum Machine D.M.X., Drum Machine Linn Drum Machine, Percussion, Backing Vocals, Willie Stewart; Keyboards, Lead Guitar, Rhythm Guitar, Harmonica, Acoustic Guitar The Washburn Electro Acoustic, Vocals, Percussion, Stephen "Cat" Coore; Lead Vocals, Backing Vocals, Bill "Bunny Rugs" Clarke; Percussion, Neil Clarke; Percussion, Binghi Drums, Junior Wedderburn, Tschaka Tonge. 03:37 01:54:46 16. George Todd, “Sound Sculptures” (1985) from Music For Kurzweil And Synclavier. Synclavier Digital Music System, George Todd. 09:02 01:58:22 17. Russ Freeman, “Easter Island” (1986) from Nocturnal Playground. Electric Guitar, Acoustic Guitar, Guitar Synthesizer, Keyboard Bass, Emulator II, Linn 9000 Drum programming, Russ Freeman; Drums, Percussion, David Renick; Percussion, Emulator II programming, Steve Reid; Alto Saxophone, Brandon Fields. 05:30 02:07:22 18. Donald Steven of G.E.M.S., “Images - Refractions Of Time And Space (1986)” from Group Of The Electronic Music Studio - McGill University. Yamaha DX7, Laurie Radford; Bass, John Oliver; Electric Flute, Jill Rothberg; Percussion, Elliot Polsky, François Gauthier. 11:42 02:12:52 19. Jane Brockman, “Kurzweil Etudes” (1-3) (1986) from Music For Kurzweil And Synclavier. Kurzweil K250, Jane Brockman. 10:19 02:24:32 20. Richard Burmer, “Across The View” (1987) from Western Spaces. Emulator II plus an analog synth, Richard Burmer. 04:38 02:34:48 21. Sonny Sharrock Band, “Kate (Variations On A Theme By Kate Bush)” (1990) from Highlife. Electronics, Korg M1, Korg Wave Station, Dave Snider; Bass, Charles Baldwin; Drums, Abe Speller, Lance Carter; Guitar, Sonny Sharrock. 05:52 02:39:32 22. Second Decay, “Taste” (1994) from Taste. Produced with the Roland Compu Music CMU-800R workstation and without MIDI; Simmons Electronic Drums,Thomas V.. Other synths used: ARP Odyssey, ARP 2600, PPG Wave 2.0, Emulator I and II, Roland SH-101, SH-7, CR-78, TR-808, MC-4, TR-606, EMS Synthi A, Solina String, Mellotron, Crumar Performer, Teisco 110F, Wasp, Linn LM-1, SCI Pro-One, Minimoog, Korg Mono-Poly, SQ-10, Elektro Harmonix Minisynth, Vocoder and effect devices, Compact Phasing A, Roland Echos RE 201, SRE 555. 04:20 02:45:18 Additional opening, closing, and other incidental music by Thom Holmes. My Books/eBooks: Electronic and Experimental Music, sixth edition, Routledge 2020. Also, Sound Art: Concepts and Practices, first edition, Routledge 2022. See my companion blog that I write for the Bob Moog Foundation. For a transcript, please see my blog, Noise and Notations. Original music by Thom Holmes can be found on iTunes and Bandcamp.
Former NHLer Andy Moog joined the program to discuss the Stanley Cup Playoffs. Hosted on Acast. See acast.com/privacy for more information.
"Dockery Farms is said to be the place where the Delta Blues began. That is a bold statement but once you hear the research I have gathered it will be hard to argue. Robert Johnson did not sell his soul for great musical talent. He went to Dockery Farms which is still open today and welcoming visitors."
"If you have an extra 12495 dollars lying around then you can be a roadie for Gene Simmons on his solo tour. We will discuss what you must do and if the money is worth it. We will also talk about the average monies paid to real roadies."
Episode 173 Chapter 32, Other Analog Synthesizers. Works Recommended from my book, Electronic and Experimental Music Welcome to the Archive of Electronic Music. This is Thom Holmes. This podcast is produced as a companion to my book, Electronic and Experimental Music, published by Routledge. Each of these episodes corresponds to a chapter in the text and an associated list of recommended works, also called Listen in the text. They provide listening examples of vintage electronic works featured in the text. The works themselves can be enjoyed without the book and I hope that they stand as a chronological survey of important works in the history of electronic music. Be sure to tune-in to other episodes of the podcast where we explore a wide range of electronic music in many styles and genres, all drawn from my archive of vintage recordings. There is a complete playlist for this episode on the website for the podcast. Let's get started with the listening guide to Chapter 32, Other Analog Synthesizers from my book Electronic and Experimental music. Playlist: OTHER EARLY SYNTHESIZER RECORDINGS (PRE-MIDI AND NOT MOOG) Time Track Time Start Introduction –Thom Holmes 01:36 00:00 1. Raymond Scott, “Space Mystery” (1963). Used Scott's Electronium, a custom-made analog synthesizer/sequencer. 05:08 01:42 2. Pauline Oliveros, “Alien Bog” (1967). Used a prototype Buchla 100 modular synthesizer at Mills College. 33:13 06:53 3. John Eaton, “Soliloquy For Syn-Ket” (1973) from Electro-Vibrations (The Music Of John Eaton). Used the Synket, an Italian-made modular synthesizer of which only six were ever made. 06:38 40:06 4. John Keating, “Earthshine” (1975) from Space Experience 2. Featured the ARP 2600 and Pro- Soloist. 04:09 46:46 5. Patrick Gleeson, “Saturn, The Bringer Of Old Age” (1976) from Beyond The Sun: An Electronic Portrait Of Holst's The Planets. Used Eµ Systems Polyphonic synthesizer. 09:31 51:02 6. Jean Michel Jarre, “Oxygene, Part IV” (1976) from Oxygene. Used the ARP Odyssey, EMS Synthi AKS, EMS Synthi VCS3, and RMI Harmonic Synthesizer and Keyboard Computer. 03:07 01:00:34 7. Bennie Maupin, “Crystals” (1978) from Moonscapes. Featured the E-mu Modular Synthesizer programmed by Patrick Gleeson, who owned Different Fur Studios in the San Francisco area and owned E-mu synthesizers (see previous track for an example of the E-mu Systems Polyphonic synthesizer). Here, we have a different treatment of the same instrument by jazz woodwind player Maupin, who played Soprano Saxophone, Tenor Saxophone, Bass Clarinet, Flute, Marimba, Glockenspiel, E-mu Synthesizer, and Computone Synthesizer Winddriver on this album. I picked this track because this is most stripped-down arrangement featuring only Maupin playing the E-mu synthesizer and other instruments. 01:18 01:03:44 8. Pere Ubu, “On the Surface” (1978) from Dub Housing. Allen Ravenstein used the EML Electrocomp 101 modular synthesizer as a member of this band. 02:37 01:05:02 9. Sylvester, “You Make Me Feel (Mighty Real)” (1978) from Step II. One of the few albums to feature EML (Electronic Music Laboratories) Modular Synthesizer plus String synthesizer, Electro-comp 101 synthesizer and 200 expander unit, Oberheim DS-2 Sequencer, Effects, Pat Cowley; organ, Electric piano, Clavinet, Michael C. Finden; Percussion, David Frazier; Producer, Lead Vocals, Piano, Sylvester. EML was a Connecticut-based synth maker that was around from about 1970 to 1984. They were best-known for their Electro-comp modular synths. The 101 was a duophonic semi-modular 44-note synth and the model 200 was an expander unit that added ring modulation, spring reverb, and high and low filters to the setup. It was interesting to hear this Moroder-like pulsating synth sound coming from something other than a Moog. 06:34 01:07:40 10. Isao Tomita, “The Sea Named Solaris” (1978) from Kosmos. Used the Roland System 700, Roland Strings RS- 202, Roland Revo 30, in addition to Moog Modular III, Moog System 55, and Polymoog synthesizers. 12:28 01:14:11 11. Moebius, “Song For Lya” (1979) from Moebius. Serge, Oberheim, and Minimoog synthesizers, vocals, Bryce Robbley; Serge, Oberheim synthesizers, Doug Lynner; Violin, John Stubbs. Listen closely to tune-out the parts by the Odyssey and Minimoog and you will experience a lovely bed laid down by the Serge. Moebius had three members, one a violinist, heard in this tune blending with the Serge. Although the group used a Sennheiser vocoder on another track, the vocal distortion on this track may have actually been the voice processed with the Serge. 03:15 01:26:42 12. Pascal Languirand, “O Nos Omnes” (1980) from De Harmonia Universalia. Features the Farfisa Synthorchestra, the famous Italian's company entry into the string synthesizer fray. The Syntorchestra was split into two keyboard sections, strings (polyphonic), and mono synth voices. It was a hybrid organ and synthesizer and used much by Klaus Schulze and other German electronic musicians for the short time that it was available from 1975 to 1978. Nine slider controls were positioned next to a 3-octave keyboard and provided some “chaotic” control episodes for this much beloved and rare keyboard. 07:15 01:29:56 13. Henry Kucharzyk, “Play Dot Sam” (1981) from Walk The Line - Three New Works By Henry Kucharzyk. This work is performed at the Samson Box at the Center for Computer Research in Music and Acoustics (CCRMA), Stanford University, Palo Alto, California. This track is an escapee from the 1970s but nonetheless fills a void in that period when commercial synthesizers were moving to digital technology and were quite expensive. The Samson Box was a computer-based digital synthesizer created in 1977 by Peter Samson, who worked at the university. “Samson” was formally known as the “Systems Concepts Digital Synthesizer. It was a one-off special-purpose dedicated audio computer designed for use by student composers at Center for Computer Research in Musical and Acoustics (CCRMA) at Stanford University. 03:05 01:37:08 14. Terry Riley, “The Ethereal Time Shadow” (1981-82) from Music from Mills. Used two Prophet V synthesizers, tuned to just intonation and employing sequencing. 08:51 01:40:12 Additional opening, closing, and other incidental music by Thom Holmes. My Books/eBooks: Electronic and Experimental Music, sixth edition, Routledge 2020. Also, Sound Art: Concepts and Practices, first edition, Routledge 2022. See my companion blog that I write for the Bob Moog Foundation. For a transcript, please see my blog, Noise and Notations. Original music by Thom Holmes can be found on iTunes and Bandcamp.
A Strasbourg en mai 1995, Carole Prin, une jeune femme sur le point d'accoucher, disparaît. Elle a appelé son compagnon, Roland, projectionniste dans un cinéma, pour lui dire qu'elle partait à la maternité : elle n'y est jamais arrivée. Depuis, pas de nouvelles. Une information judiciaire pour enlèvement vient d'être ouverte.Distribué par Audiomeans. Visitez audiomeans.fr/politique-de-confidentialite pour plus d'informations.
"First you need to know there are no swear words in this show. It was this week back in the 60s when the FBI released a letter stating that there were no curse words in the song Louie Louie. But people keep looking. This is a list of songs that were banned or otherwise maligned because someone was sure the singer was cursing. But there was no curse word. It is a long list."
"This week back in 2007 Sammy Hagar sold an 80 percent stake in his Cabo Wabo tequila for $80 million. Since then it seems every musician or band has their own line of booze. Here is a good long list and where you can buy it."
There’s two kinds of people when it comes to holidays.Those who are more than happy to spend two straight weeks napping by the pool, and those who struggle with suddenly not having something to do.Osher is most definitely in the latter cohort.In this episode he shares how over time, he’s had to learn a lot about what to do when he’s not working. Mostly because when he goes too hard in either direction (work or play) - it’s not a good time for me or anyone.::Subscribe to Osher’s Substack here: https://oshergunsberg.substack.com/Join Osher and guests for the next live show - Story Club at The Sydney Comedy Festival - tickets at storyclublive.comMay 11 The Comedy Store, Sydney. Ft: Osher GünsbergZoë Norton-LodgeNat’s What I ReckonHannah ReillyBlair Joscleyne (aka Moog)and Gracie OttoSee omnystudio.com/listener for privacy information.
"We all know the stories of the Beatles, Doors, Dylan and Stones on Ed Sullivan. However, there are a few more good stories you might find interesting. They are not as big at the main stories, but interesting nonetheless."
durée : 00:14:15 - Belle Epoque, Joseph Moog - Dans ce nouvel opus, Joseph Moog partage avec nous un état d'âme sentimental, sa nostalgie d'une époque pleine de créativité et d'exubérance intellectuelle.
durée : 00:14:15 - Belle Epoque, Joseph Moog - Dans ce nouvel opus, Joseph Moog partage avec nous un état d'âme sentimental, sa nostalgie d'une époque pleine de créativité et d'exubérance intellectuelle.
It’s Monday, and Osher’s got a story about the time he traded bagels for having a baby, and the mortifying experience of being emasculated by a plastic cup. Story Club Tickets at storyclublive.comMay 11 The Comedy Store, Sydney.Ft: Osher GünsbergZoë Norton-LodgeNat’s What I ReckonHannah ReillyBlair Joscleyne (aka Moog)and Gracie OttoSee omnystudio.com/listener for privacy information.
"A story about the Payola Hearings came up in a music history feed and it occurred to me that we have never done a show on Payola. It is a rather interesting story of companies acting in their own interest with the backing of the government. You may think Payola is bad but I believe I can change your mind."
Today on another encore episode of the Rarified Heir Podcast, we are talking to musician Jon Klages, grandson of musician and Hi-Fi proponent and record label owner Enoch Light. Our conversation with Jon began with understanding just who his grandfather was. A classically trained musician, Enoch founded his first group, Enoch Light & His Orchestra & later Enoch Light and the Light Brigade before World War II. Wildly popular in upper class New York society, Light went on to found one of the most unique independent record labels, well, ever. Vinyl collectors today will know Light's Command Records & Project 3 firstly for its unique, minimalist artwork from renowned artist Josel Albers. From classical to pop to Space Age Bachelor Pop to popular soundtrack hits and more, Light was nothing if not proficient. From albums like Persuasive Percussion to The Private Life of a Private Eye, Lights albums were visually stunning first and foremost. But take a listen to any of his albums from composers as varied as Doc Severinson, Dick Hyman, Tommy Mottola & the landmark album from The Free Design, the albums were recorded for the best audio fidelity available. The albums sound terrific. We discuss this with Jon & loved hearing about how his own mother played a role in all these recordings too. If you love the Moog, horns, Bossa Nova and more mid-sixties exotica, you must find these albums for your collection. We also talk to Jon about his experiences in the studio with his grandfather as well as his own recordings. Part of the fabled Hoboken indie scene of the 1980s, Jon release a new album in 2021, Fabulous Twilight and has a new album coming in 2025 as well. We discuss how Jon became a singer/songwriter, how his passion for being around music led to a career in it and much more. Plus, we hear much about Jon's father, a seven-time Emmy winner for lighting design who worked with everyone from Muhammad Ali to Ernie Kovacs. This is one episode you do not want to miss and it's happening right now. Take a listen to the Rarified Heir Podcast with Jon Klages, right now.
"At the time of this recording, President Trump has paused the Tariffs but for China. Even so, the tariffs will have a marked effect on the cost of almost everything dealing with music including instruments to records to touring to streaming."
"Tool was just roundly booed off the stage at their own festival. Seems they promised two separate sets over two night and did not deliver. But it is not just them. You will not believe some other bands who were booed off stage as well."
"There are a lot of songs that have famous people in their titles. We wanted to know who some of the lesser known people named in titles are. The internet did not disappoint. We have a good long list."
Guest and HostGuest: Seth Cluett, Director of Columbia University's Computer Music Center | On LinkedIn: https://www.linkedin.com/in/seth-cluett-7631065/ | Columbia University Computer Music Center Bio: https://cmc.music.columbia.edu/bios/seth-cluettHost: Sean Martin, Co-Founder at ITSPmagazine and Host of Redefining CyberSecurity Podcast & Music Evolves Podcast | Website: https://www.seanmartin.com/Show NotesMusic and technology have always shaped each other, and few places embody that relationship as deeply as the Computer Music Center (CMC) at Columbia University. In this episode of Music Evolves, Sean Martin sits down with Seth Cluett, Director of the Computer Music Center and Assistant Director of the Sound Art MFA program at Columbia, to explore the center's rich history, its role in advancing music technology, and how it continues to shape the future of sound.The Legacy and Mission of the Computer Music CenterThe CMC is housed in the same 6,000-square-foot space as the original Columbia-Princeton Electronic Music Center, which dates back to 1951 and is one of the world's oldest university-based electronic music research facilities. This was the birthplace of early electronic music, where pioneers learned to use cutting-edge technology to create new sounds. Many of those musicians went on to establish their own studios around the world, from Egypt to Japan.The center has played a role in major milestones in music history, including the work of Wendy Carlos, a former student known for Switched-On Bach, the score for Tron, and The Shining. The first piece of electronic music to win a Pulitzer Prize was also composed here. Today, under Cluett's leadership, the focus remains on creativity-driven technological innovation—allowing composers and artists to explore technology freely and push the boundaries of what's possible in sound and music.One of the center's guiding principles is accessibility. Cluett emphasizes the importance of lowering barriers to entry for students who may not have had prior access to music technology. The goal is to make sure that anyone, regardless of background, can walk into the studio and begin working with 80% of its capabilities within the first 20 minutes.Exploring the Labs and StudiosThe episode also includes a tour of the labs and studios, showcasing some of the center's groundbreaking equipment. One highlight is the RCA Mark II Synthesizer, the world's first programmable music synthesizer. Built in the late 1950s, this massive machine—seven feet tall and weighing over a ton—was instrumental in shaping the sound of early electronic music. The system worked by punching holes into paper to control sound generation, similar to a player piano. While no longer in use, the CMC has collaborated with iZotope to model some of its effects digitally.The tour also features Columbia's electronic music studio, which houses synthesizers from Buchla, Serge, and Moog—the latter being developed by Bob Moog, who was once an undergraduate at Columbia. The center's modern design emphasizes a seamless workflow between analog and digital technologies, allowing students to quickly create, process, and experiment with sound.Another key space is the immersive media and spatial audio research facility, which features a 12.1-channel loudspeaker sphere for ambisonic sound, along with a 32-capsule microphone that captures highly detailed audio environments. This technology is not only shaping music but also fields like virtual reality, data sonification, and interactive media.The Future of Music TechnologyLooking ahead, Cluett highlights the increasing interplay between AI, machine learning, and music composition. While some companies promote AI-generated melodies, he believes that truly expressive, human-driven composition remains essential. The role of technology, he argues, is not to replace human creativity but to enable new forms of expression. The CMC is at the forefront of this shift, experimenting with real-time audio processing, interactive performance systems, and embedded sensors that enhance live music experiences.As music and technology continue to merge, Columbia's Computer Music Center remains a key player in shaping the future of sound. Whether through pioneering hardware, software innovation, or fostering the next generation of creative minds, the center proves that music technology is not just about engineering—it's about expression, accessibility, and the pursuit of artistic joy.
Once again, we're diving deep into the Esalen archives to share a fascinating historical recording - this one featuring electronic music pioneer Doug McKechnie. In the late 1960s and early '70s, Doug McKechnie was at the cutting edge of musical innovation, harnessing the revolutionary Moog synthesizer to create mesmerizing sounds. McKechnie was a contemporary of iconic figures like Wendy Carlos, known for the 1968 record "Switched-on Bach," a collection of pieces by Bach that were performed by Carlos on the Moog synthesizer. This album, which won a Grammy for Classical Album of the Year, played a key role in bringing synthesizers to popular music. McKechnie was also tied to the Grateful Dead, contributing to the band's most experimental album, "Aoxomoxoa.” He also played at Altamont, not really a feather in anyone's cap, but it shows the breadth of his growing popularity, and that of the Moog synthesizer. Moogs are characterized by distinctive electronic timbres and pulsating rhythms, as well as hypnotic sequences. They are very much a part of the psychedelia of the late 1960s, fitting right in with the oil light shows, pop art, face paint and neon day glo colors of the time. The Moog's ability to generate evocative psycho-acoustic atmospheres allowed musicians like McKechnie to tap into the exploration of internal landscapes that seemed to naturally occur during psychedelic adventures. The performance you're about to hear was recorded live at Esalen in the late 1960s, preserved for decades on half inch to reel, then dusted off, digitized, and transported to you via the magic of podcasting. So sit back, relax, and let the Moog take you on a trippy auditory journey to a pivotal moment in musical and technological history.
It's time for Stan to indulge in his incredibly destructive gambling habit, and with no one to babysit Moog, murder is definitely on the cards! Meanwhile Cabert and Klaudia need to rush back with their shocking news, as soon as they stop at this fancy restaurant, obviously.Dicey Bastards is the actual play D&D podcast for people who want an entire fried octopus in their Bloody Mary. Featuring Drew Hayes, Rick Gualtieri, Robert Bevan, EM Kaplan, MK Gibson, and Steve Wetherell. That's right, the internet's finest comedy fantasy writers who also appear on this podcast!Hey, you're still reading? Excellent! Join us on Patreon or check out our merch store. Money is a prison. Free yourself! Give it to us!Become a supporter of this podcast: https://www.spreaker.com/podcast/authors-dragons-comedy-dnd-podcast--5624719/support.
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