Podcasts about parlophone records

MK-Ultra digs deep into his vinyl stash for a gritty dose of 1970s Funk and Soul, inspired by Blaxploitation classics like Shaft, Foxy Brown and Superfly. Written by Thomas Oakland and featuring narration by TJ Trueh, who returns after his unforgettable performance in Raunchy Radio. A visceral and cinematic lo-fi journey through the seedy side of life on the mean streets.This podcast episode features content created or published by Armando Curcio Editore, Atlantic Records, Because Music, Blue Note Records, Flying Dutchman Records, Numbero, Parlophone Records, Polydor Records, Rhino, Sleeve Records, Tamla, Warner Music Group and others.Thomas Oakland & TJ Trueh - Welcome To The Game [Skit #1]Bobby Womack - Across 110th StreetDonny Hathaway - Little Ghetto BoyKool & The Gang - Father, FatherThe Jimmy Castor Bunch - What's Best?Johnson, Hawkins, Tatum & Durr - You Can't Blame MeThomas Oakland & TJ Trueh - The Illusion [Skit #2]Sisters Love - Give Me Your LoveJeremy Steig - Come With MeMandrill - Mango MeatThe Hygrades - Keep On MovingThomas Oakland & TJ Trueh - The Bigger They Are [Skit #3]Jackie Moore - IfMarvin Gaye - Right OnGil Scott-Heron - Pieces Of A ManCurtis Mayfield - PushermanDonald Byrd - Black ByrdThomas Oakland & TJ Trueh - Walk Away Clean [Skit #4]

Singer, composer, producer, and multi-instrumentalist Emma-Jean Thackray joins Chrystal Genesis to talk about her new album, Weirdo, an ambitious, deeply personal project written, performed, produced, mixed, and arranged entirely by Emma-Jean in her South London flat.  In this episode, they discuss how grief, neurodivergence, and resilience shaped the record, which blends elements of jazz, funk, soul, grunge, and pop. They explore her early path into musicianship, how isolation and creativity came together in the making of Weirdo, and why embracing your weirdness can create a powerful sense of self. The conversation touches on vulnerability, community, and finding your home in music, with tracks from Weirdo, out now via Brownswood Recordings and Parlophone Records, featured throughout. If you like what you heard, please leave a review, subscribe, and explore more at stancepodcast.com and on socials @stancepodcast. Stance is Hosted by Chrystal Genesis and Produced by Etay Zwick. Referenced In This Podcast & Show Notes: Wanna Die by Emma-Jean Thackray  It's Okay by Emma-Jean Thackray feat. Kassa Overall Black Hole by Emma-Jean Thackray feat. Reggie Watts Maybe Nowhere by Emma-Jean Thackray   

This week Ari sits down with Victoria Canal, a trailblazing singer-songwriter based in London. Victoria has performed on Jimmy Kimmel Live!, Later… with Jools Holland, and onstage with Coldplay at Glastonbury. She has won two Ivor Novello awards (including the Rising Star award) and recently released a new album, Slowly, It Dawns.After ten hard-won years as a DIY artist, Victoria's now signed with a major label, Parlophone Records (under Warner Music Group). In this episode, Victoria opens up about her journey as an artist and the varying pressures faced by both indie and label-repped musicians. Tune in to learn more about headlining the Troubadour, life as a touring artist, managing the pressures of social media, and how to attract the right kinds of fans. https://www.victoriacanal.com/ Chapters00:00 From Glastonbury to Stardom03:11 The Journey of Victoria's Career05:49 Creating Intimate Connections Through Music08:50 The Reality of Touring Economics11:56 Balancing Artistry and Business14:58 The Emotional Journey of Songwriting18:07 Evolving Through Performance20:55 The Impact of Social Media on Artists24:09 Navigating Vulnerability in Performance27:14 The New Album: Slowly, It Dawns30:05 Reflections on Growth and Authenticity36:23 The Inner Journey of Self-Acceptance39:50 Meeting Idols: Reality vs. Expectation40:45 A Dream Come True: Performing with Coldplay45:04 The Importance of Energy in Performance46:06 Navigating the Artist Lifestyle and People Management49:03 The Weight of Fan Interactions54:06 Social Media Pressures and Authenticity01:01:19 Taking a Stand: Performing at the Kennedy Center01:05:39 Defining Success in the Music IndustryEdited and mixed by Ari DavidsMusic by Brassroots DistrictProduced by the team at Ari's TakeOrder the THIRD EDITION of How to Make It in the New Music Business: https://book.aristake.com Hosted on Acast. See acast.com/privacy for more information.

Dan Keeling is the cofounder and editor of Noble Rot magazine, a restaurateur behind the Noble Rot restaurant group in London, and the cofounder of Keeling Andrew wine importer. He's also the author of a great new book about wine: Who's Afraid of Romanée-Conti?: A Shortcut to Drinking Great Wines. We spoke with Dan about his singular point of view on wine, his past life as head of artists and repertoire at Parlophone Records, and how to go about finding a great glass at the bar. Also on the show, Alana Yazzi tells us about her terrific new book, The Modern Navajo Kitchen: Homestyle Recipes that Celebrate the Flavors and Traditions of the Diné.Do you enjoy This Is TASTE? Drop us a review on Apple, or star us on Spotify. We'd love to hear from you. MORE FROM DAN KEELING:How I Learned That Serious Wine Doesn't Have to Be Stuffy [Slate]All the Natural Wine That's Fit To Print [TASTE]See Privacy Policy at https://art19.com/privacy and California Privacy Notice at https://art19.com/privacy#do-not-sell-my-info.

Stance is back with singer and dancer Moonchild Sanelley as we approach our 8th year on air! In Season 4, Chrystal Genesis explores the people, places, stories, and ideas shaping our creative world. And with that, we head to South Africa to hear about Full Moon, the upcoming album from Port Elizabeth-born, Jo'burg-based singer, dancer and businesswoman Moonchild Sanelly. Born Sanelisiwe Twisha, she was raised on dance routines and church choirs and has since created a sound that's entirely her own, which she calls Future Ghetto Funk—an eclectic fusion of hip hop, punk rock, house, and dance-pop with South African gqom and kwaito. She has also collaborated with artists like Beyoncé, Self Esteem, Nile Rodgers, Ezra Collective, and Gorillaz. Chrystal sat down with her to discuss her third studio album, Full Moon, her patented teal Moonmop hairstyle, and the inspiration behind her new record's themes of sexuality, reclaiming power, motherhood, vulnerability and forgiveness. If you like what you heard, please write us a review and check out more of our work at stancepodcast.com and all podcasting apps @stancepodcast This podcast was produced by Etay Zwick with additional support from Zara Martin. Music used in this podcast: Scrambled Eggs by Moonchild Sanelly with thanks to Transgressive Records Do My Dance by Moonchild Sanelly with thanks to  Transgressive Records Big Booty by Moonchild Sanelly with thanks to  Transgressive Records Gwara Gwara by Moonchild Sanelly with thanks to  Transgressive Records Demon by Moonchild Sanelly & Sad Night Dynamite with thanks to Transgressive Records With Love To An Ex by Gorillaz featuring Moonchild Sanelly with thanks to Parlophone Records  Big Man by Moonchild Sanelly and Self Esteem with thanks to  Polydor Records  

Welcome to REVEN Radio Show #006 (Halloween Edition) hosted by Data Transmission! This time, presenting RQntz - a talented Brazilian DJ and electronic music producer supported by Lady Gaga, BloodPop®, Alok, KSHMR, Fedde Le Grand, Dubdogz, among others international superstars. In a short time, RQntz (Requintes) has made a significant impact with his work. With over 100 million streams combined, his songs have a unique sound design and have been released by major labels such as Sony Music, Universal Music, the legendary Parlophone Records, Rhino Records, Cr2 Records and REVEN BEATS. The promising rising star from Curitiba, Brazil, has two tracks in collaboration with Dubdogz and recently, he achieved one of his greatest achievements leaving his mark in the history of the music industry by officially remixing ""Let's Dance"", one of the biggest hits of British pop rock legend David Bowie, in celebration of the single's 40th anniversary. RQNTZ is certainly a name to watch and keep an eye out for! Don't miss this Halloween mix from RQntz featuring some of his unreleased tracks and hot songs from other top artists! Tracklist CYRIL ft. Good Humans - Way Down Low [SPINNIN'] Orlinski - NUMB [DEN HAKU] Truth x Lies & alltalk - Action [CREATE MUSIC GROUP] RQntz & INNDRIVE ft. No/Me - Milk & Honey BYOR - Comeback [THE MYTH OF NYX] Martin Ikin - Everybody Got To Learn Sometime [ULTRA] Hollaphonic & Scott Forshaw - Mind Body Soul [PERFECT HAVOC] RQntz & Outflux ft. Brock - CANNIBAL [REVEN BEATS] RQntz ft. Cleyton Rodriguez - Spooky Violin [TARANTINO RECORDS] Kyle Watson & ero808 - Shapeshifter [NO CONTEXT] RQntz & Afrika Bambaataa - Funky Heroes SUBSHIFT & Cave Studio ft. LexBlaze - Get Loose [SERPENTALE] Kyle Watson ft. Nez - Shake It [FUNKSHWAY] Beyoncé & Shakira - Beautiful Liar (RQntz Remix) Jamiroquai - Deeper Underground (RQntz Remix) Duke & Jones - Us [CREATE MUSIC GROUP] Wax Motif & Truth x Lies & AK Renny - 212 [CR2] Loudtech ft. Ghost Gospel Girls - Cathedral [TARANTINO RECORDS]

Reformation d'Oasis, billets mis en vente à partir de 10h (chez nous en Belgique) le samedi 31 août pour 14 dates au Royaume-Uni et en Irlande, pour le moment les seuls concerts du groupe en Europe en 2025, mais un communiqué de presse indique que "des plans sont en cours pour que l ‘'OASIS LIVE 25'' se produise sur d'autres continents en dehors de l'Europe plus tard l'année prochaine" et des détails ont été révélés sur le shooting photo secret de Liam et Noel Gallagher. Le supergroupe composé de Thom Yorke et Jonny Greenwood de Radiohead, et du batteur de Sons Of Kemet, Tom Skinner : The Smile a publié une série de messages énigmatiques sur les réseaux sociaux, et certains fans y voient les signes de l'arrivée d'un nouvel album. Un " nouvel album " de Blink 182 est prêt pour une sortie imminente, il s'agit en fait d'une édition augmentée de l'album de 2023, ‘'One More Time'', prévue pour le 6 septembre. Des séquences inédites de David Bowie interprétant "Starman" pendant la tournée Ziggy Stardust ont été découvertes. Beth Hart a annoncé son nouvel album studio, ‘'You Still Got Me'', qui sortira le 25 octobre et partage une nouvelle chanson, ‘'Wonderful World''. Mots-Clés : fans, année, prévente, réseaux sociaux, officiel, possibilité, acheter, place, mise en vente générale, app RTBF actus, section, classic 21, âme, détective, cryptogramme, Polybius, Solfa, code César, cache, visuel, Part 2, singles, All In My Head, No Fun, vieillir, conflit, séparation, 2009, nouvelle, photo noir et blanc, Simon Emmett, rumeurs, image, montage, fruit, séance, secrète, intervenant, tournée britannique, 1972, 1973, filmé, regretté, collaborateur, photographe, Mick Rock, Parlophone Records, compilation, célébrer, version audio, spatiale, Dolby Atmos, The Rise and Fall of Ziggy Stardust and the Spiders from Mars, mix, Blu-Ray, Eric Gales, Slash, Guns 'n Roses. --- Classic 21 vous informe des dernières actualités du rock, en Belgique et partout ailleurs. Le Journal du Rock, chaque jour à 7h30 et 18h30. Merci pour votre écoute Plus de contenus de Classic 21 sur www.rtbf.be/classic21 Ecoutez-nous en live ici: https://www.rtbf.be/radio/liveradio/classic21 ou sur l'app Radioplayer BelgiqueRetrouvez l'ensemble des contenus de la RTBF sur notre plateforme Auvio.be Et si vous avez apprécié ce podcast, n'hésitez pas à nous donner des étoiles ou des commentaires, cela nous aide à le faire connaître plus largement. Découvrez nos autres podcasts : Le journal du Rock : https://audmns.com/VCRYfsPComic Street (BD) https://audmns.com/oIcpwibLa chronique économique : https://audmns.com/NXWNCrAHey Teacher : https://audmns.com/CIeSInQHistoires sombres du rock : https://audmns.com/ebcGgvkCollection 21 : https://audmns.com/AUdgDqHMystères et Rock'n Roll : https://audmns.com/pCrZihuLa mauvaise oreille de Freddy Tougaux : https://audmns.com/PlXQOEJRock&Sciences : https://audmns.com/lQLdKWRCook as You Are: https://audmns.com/MrmqALPNobody Knows : https://audmns.com/pnuJUlDPlein Ecran : https://audmns.com/gEmXiKzRadio Caroline : https://audmns.com/WccemSkAinsi que nos séries :Rock Icons : https://audmns.com/pcmKXZHRock'n Roll Heroes: https://audmns.com/bXtHJucFever (Erotique) : https://audmns.com/MEWEOLpEt découvrez nos animateurs dans cette série Close to You : https://audmns.com/QfFankx

Welcome to Season 03 Episode 20 - the "Peak Sunshine" edition - of Notes from the Aisle Seat, the podcast featuring news and information about the arts in northern Chautauqua County NY, sponsored by the 1891 Fredonia Opera House. Your host is Tom Loughlin, SUNY Distinguished Teaching Professor and Chair Emeritus of Theatre and Dance at SUNY Fredonia. Guests on this episode include: Capt. Curran Schenck, Associate Bandmaster, US Army Soldier's Chorus; Mr. Michael Mcentarfer of The Wretched Group, discussing A Hard Day's Night; and Ms. Tina Rausa, President of the Board of the Lakeshore Center for the Arts on the 2024 Juicebox Organic One-Act Play Festival. Notes from the Aisle Seat is available from most of your favorite podcast sites, as well as on the Opera House YouTube Channel. If you enjoy this podcast, please spread the word through your social media feeds, give us a link on your website, and consider becoming a follower by clicking the "Follow" button in the upper right-hand corner of our home page. If you have an arts event you'd like to publicize, hit us up at operahouse@fredopera.org and let us know what you have! Please give us at least one month's notice to facilitate timely scheduling. Thanks for listening! Time Stamps Capt. Curran Schenck/US Army Soldier's Chorus  02:58 Michael Mcentarfer/A Hard Day's Night   17:48 Arts Calendar   36:15 Ms. Tina Rausa/Juicebox Organic One-Act Play Festival  38:40 Media "Summertime", DJ Dazzy Jeff and The Fresh Prince, official music video from the album Greatest Hits, March 2011 "The Star Spangled Banner", composed by Francis Scott Key (1814), performed by the US Army Field Band Soldiers Chorus, April 2016 "A Hard Day's Night", John Lennon and Paul McCartney, composers, from the album A Hard Day's Night, July, 1964, Parlophone Records; performed by Blues Beatles, March 2017 "Summertime," from the musical Porgy and Bess, composed by George Gershwin, lyrics by DuBose Heyward and Ira Gershwin, September 1935; performed by Louis Armstrong (trumpet) and Ella Fitzgerald, 1957. "Can't Help Falling in Love With You," Hugo Peretti, Luigi Creatore, George David Weiss, composers; performed by Elvis Presley, from the movie Blue Hawaii, November 1961, RCA Victor Records "See You In September," written by Sid Wayne and Sherman Edwards, originally recorded by The Tempos, Climax Records 1959; performed by Julie Budd, January 2011 Artist Links Capt. Curran Schenck Mr. Michael Mcentarfer/The Wretched Group Ms. Tina Rausa Nickel City Opera Company - The Falling and the Rising Lakeshore Center for the Arts Juicebox Organic One-Act Festival Tickets Main Street Studios BECOME AN OPERA HOUSE MEMBER!    

New @TalkArt! We meet the PET SHOP BOYS to explore their new album NONETHELESS!!!Recorded in London's Kings Cross, we chat to Neil Tennant and Chris Lowe about their history as the UK's most successful pop duo, their mutual love of art, collaborations with artists throughout their 40 year career including Derek Jarman, Eric Watson, Wolfgang Tillmans, and most recently Tim Walker, plus we explore Neil's interest for collecting & living with art. This feature-length exclusive episode celebrates today's release (April 26th 2024) of their incredible new album Nonetheless, via Parlophone Records. This is their 15th studio album, and since releasing their debut single back in 1984 they've gone on to sell more than 50 million records worldwide.‘Nonetheless' features 10 brand new tracks and is available now digitally and in various physical formats, including CD, black vinyl, clear vinyl, grey vinyl and cassette. Recorded and mixed in London last year, the album is the duo's first with producer James Ford at his studio in East London. The orchestra and backing vocals were recorded at The Church studio in North London. This is one of our favourite PSB albums they've made! Be sure to download or buy it now. The album also sees the duo return to Parlophone, the label which released their iconic and massively successful material spanning 1985 – 2012.

ALBERT HAMMOND LEGENDARY SINGER… PROLIFIC SONGWRITER…MUSICIAN AND RECORD PRODUCER RELEASING NEW ALBUM ENTITLED ‘BODY OF WORK' ZOOM SPECIAL EVENT ON INTERVIEWING THE LEGENDS!   Hello everyone and welcome to another edition of Interviewing the Legends I'm your host Ray Shasho. Albert Hammond grew up in Gibraltar. In 1960, Albert left school, formed a band and began sending out recordings of his very first compositions to labels in England, where they were released by Parlophone Records. Soon thereafter, Albert met Mike Hazlewood and almost immediately, they teamed up as collaborators and began gaining recognition as a songwriting team: “Little Arrows” (Leapy Lee in 1968 – top 10 country and pop charts), “Make Me An Island” (a number one hit in 14 countries), “Gimme Dat Ding” (The Pipkins in 1970 – pop and R&B charts), “Freedom Come, Freedom Go” (The Fortunes in 1971), “Good Morning Freedom” (Blue Mink, 1970). “Gimme Dat Ding” was written for a children's television program called “Oliver In The Overworld” which starred Freddie and the Dreamers. Having become one of Britain's most successful songwriting teams, Albert and Mike decided to move to southern California. Albert played his songs to every record company possible, until Hal Landers and Bobby Roberts gave him the first artist's contract ever for their newly built Mums label, a division of CBS's Epic label. After auditioning for CBS president Clive Davis, and over 30 other people, Albert was asked to record some songs. Albert went into the studio to record what would become the It Never Rains In Southern California album. The title song went to number five in the U.S. and became a worldwide success. This offered Albert the opportunity to tour, which led him to almost all continents. Albert went on to record seven English-language albums for the CBS label. Hammond is also known for … "Nothing's Gonna Stop Us Now" by Starship, "One Moment in Time" sung by Whitney Houston, "The Air That I Breathe", a hit for the Hollies, "To All the Girls I've Loved Before", a Julio Iglesias/Willie Nelson duet, and "When I Need You" by Leo Sayer. Just a few of the many hits that Albert Hammond is known for. Please welcome legendary singer, songwriter, musician, and record producer ALBERT HAMMOND to Interviewing the Legends …   PREORDER THE NEW ALBUM BY ALBERT HAMMOND Entitled BODY OF WORK available at https://hammond.lnk.to/bodyofworkWE Albert Hammond is one of the most prolific, versatile songwriters and performers of his or any generation. His earliest solo hits include “It Never Rains in Southern California” and “The Free Electric Band.” His contributions to popular music (writing and and/or contributing to hit songs by Tina Turner, Whitney Houston, Willie Nelson and Julio Iglesias, Diana Ross, Starship, The Hollies, Joe Cocker, Johnny Cash, Aretha Franklin) across genres and generations. "LEGENDARY SINGER & SONGWRITER ALBERT HAMMOND TRIUMPHANTLY RETURNS WITH HIS FIRST ALBUM OF ORIGINAL MATERIAL IN TWENTY YEARS. AN ECLECTIC MIX OF MONUMENTAL MUSIC! HAMMOND'S SONGS ALWAYS SOUND LIKE THEY BELONG AT THE TOP OF THE CHARTS AND HIS NEW RELEASE ‘BODY OF WORK' IS NO EXCEPTION!"  5 STARS! …BY MUSIC JOURNALIST RAY SHASHO   FOR MORE INFORMATION ABOUT ALBERT HAMMOND VISIT https://www.alberthammond.com/ Official website https://www.facebook.com/AlbertHammondOfficial Facebook https://www.facebook.com/AlbertHammondOfficial Instagram https://twitter.com/alberthammond Twitter https://www.youtube.com/@Alberthammond YouTube https://www.tiktok.com/@officialalberthammond?is_from_webapp=1&sender_device=pc Tik Tok   ALBERT HAMMOND DISCOGRAPHY Albums Studio albums Year Title 1972 It Never Rains in Southern California 1973 The Free Electric Band 1974 Albert Hammond 1975 99 Miles from L.A 1976 My Spanish Album When I Need You 1977 Mi Album de Recuerdos 1978 Albert Louis Hammond 1979 Al Otro Lado del Sol 1981 Your World and My World 1982 Somewhere in America 1986 Hammond and West 1989 Best of Me 1996 Coplas and Songs 2005 Revolution of the Heart 2010 Legend 2012 Legend II 2016 In Symphony 2024 Body of Work   Live albums Year Title Details 2013 Songbook 2013 – Live in Wilhelmshaven   Compilation albums Year Title Details        Peak chart 1976 Albert Hammond Canta Sus Grandes Éxitos en Español e Inglés Greatest Hits 1982 The Best of Albert Hammond 1988 The Very Best of Albert Hammond 1992 12 Exitos 1997 Todas Sus Grabaciones en Español Para Discos Epic (1975–1978) 2004 It Never Rains in Southern California – The Very Best Of 2016 Original Album Classics   Support us on PayPal!

“Let's be brilliant!” Punk paragon Gina Birch is the latest star to join the MOJO Record Club, with tales of Raincoats, Hangovers and a musical revelation via food poisoning. Then Jenny Bulley joins Andrew Male to unpack the new David Bowie box, discover a lost treasure of outlaw country, and sample some fresh Turkish psych... Release the Anatolian Dragon! Tracklisting: 1. Gina Birch, Wish I Was You, written by Gina Birch and released on Third Man Records 2. IQU, This is Flower And Moon, written by IQU and released on K Records 3. IQU, Yopparai (a Drunkard Who Fell From Heaven) written by IQU and released on K Records 4. IQU, Can't You Even Remember That written by IQU and released on K Records 5. David Bowie, Queen Bitch, written by David Bowie and released on Parlophone Records 6. Gaye Su Akyol, Sen Benim Mağaramsın, written by Gaye Su Akyol and released on Glitterbeat Records 7. Gaye Su Akyol, Sen Benim Mağaramsın, written by Gaye Su Akyol and released on Glitterbeat Records 8. Gaye Su Akyol, Anadolu Ejderi, written by Gaye Su Akyol and released on Glitterbeat Records 9. Steve Young, Seven Bridges Road, written by Steve Young, Reissued by Real Gone Music and originally released on A&M Records (1969)

Robin Trower - I'm Out To Get You [Chrysalis Records] 10cc - The Worst Band In The World [UK Records] Trikk - Ordem [Innervision] Dan Bay, Valentin & Le Rubrique - Ich Tanz so Gern [Amselcom] Inkswel & Colonel Red - Hold On 2 It (Moodyman Remix) [Compost] Ry X & Olafur-Arnalds - Colorbling (WhoMadeWho Dub Remix) [Infectious Music] Roisin Murphy & Dj Koze - Can't Replicate 12” Edit [Ninja Tune] Jonas Rathsman - Mystery Man [Monaberry] Lady Silver - Pigeons (OMRI. Official Remix) [Unreleased] Paul Simons - 50 Ways To Leave Your Lover [CBS] Joe Cocker - Woman To Woman [A&M Records] Stiletti-Ana - Takaisin Pangeaan [Hoga Nord Rekords] Maceo Plex - Together [Crosstown Rebels] Diana Ross - Love Hangover [Motown] Nick The Record, Jaime Read - I Appreciate [Natural House] Blindsmyth - Remember The Days (Floyd Levine Remix) [Connaisseur Recordings] Pale Blue - Spells [Crosstown Rebels] Skrillex, Missy Elliot & Mr. Oizo - RATATA [Atlantic Records] Skepta - Mas Murder  Joyce Muniz - Bangalore Girl [Joyce Muniz Music] LTJ Bukem - Atmospheric Jubilancy [Unreleased] Against All Logic - Now You Got Me Hooked [Other People] Jan Hammer Group - Don't You Know [Red Gate Records] Thin Lizzy - Showdown [Mercury Records Limited] Labi Siffre - I Got The.. [Parlophone Records]

Topics: Competition & Capitalism; The Human Race, nothing less; Why I refuse to divide people into categories; Oppression vs Economics; Steroids?; Opportunity; The Hypocrisy of using Stereotypes; Depriving people of Individuality; Why I believe the truth-> When everybody wins... The World is Better / Musical Credits: "Long Tall Woman in a Black Dress" - The Hollies, Parlophone Records © 1971 | Clip Credits: "The Guardian" - Buena Vista © 2006 | Clip Credits: "Predator" - 20th Century Fox © 1987

This week's installment of Badass Records Podcast is Episode #51, and I'm pleased as punch to announce that my guest is the one, the only -- Eva Saviano.I know we touched on it in our conversation, but -- to be sure -- I wanted to peek in a few spots to make sure I had her professional title correct, and while I didn't find conviction within my search, I did find one of the best bios I've ever seen in my life, so I'll share how she has described her self and add a few details after:"Uncommonly frank and, frankly, uncommon. A sucker for the written word from a very young age, an owner of The Word Lover's Dictionary, a grammar and punctuation cowgirl, enthusiastic copy editor, bold copy writer, occasional blogger, careful proofreader, and all-around word nerd.I lead with a friendly attitude, a sense of humor, meticulous attention to detail, snappy style, and pen in hand. Effervescent. Ebullient. Energetic."I've known this gal for the better part of 20 years. I read that little passage, and all I have to say is, Can confirm. In addition, Eva is a daughter, a sister, an aunt, and a friend. She's a girlfriend, an empath, a tenderhearted loyalist, and the quickest dang wit this side of The Everglades. She's also someone you should yield to in rollerskating traffic, but that's a story for a different episode.I'm grateful that she took a chunk of an evening over her holiday visit to sit down with me and bullshit about life and music. It's possible that the list of her favorite music is endless, but we -- nevertheless -- talked about a few of her favorite records, and they are these:Alanis Morissette's Jagged Little Pill (1995)Dilate (1996), Ani DiFrancoWeezer's Pinkerton (1996)When the Pawn Hits... (1999), Fiona AppleNeko Case's The Worse Things Get... (2013)There's a reason I keep doing these with next to no traction and very little merch' sales (Note: Swag for sale!), and it's because I love it. Putting something together like each of these 51 episodes is fun and challenging, and well -- ya' can't beat the company, really.This episode is my new favorite. Seriously. Such a hoot. Many a laugh. And just plain good conversation. So, I hope you'll check it out. Peace and love to you and yours. Cheers.copyright disclaimer: I do not own the rights to the intro/outro audio. They are clips I poached from a song called, "Right Down the Line," which comes from Gerry Rafferty's City by City (1978), c/o Parlophone Records, LTD. I can't tell you that City by City is a badass record because I've only listened to this track (about 467 times) and "Baker Street," but it is one of the badassest songs ever recorded.

PATRONS ONLY! You wouldn't get it. Subscribe on Patreon for the rest of the episode. In our iciest and spiciest episode yet, we hold a bookkeeping powwow ahead of tax season: why didn't anyone tell us we were supposed to set aside money from the Patreon to give to the government? It's not like JOE BIDEN stuck out his fucking NECK to tell the truth about Tinashe... With the chips stacked and the coins counted, we turn to the news in Gay Guy World. First, we review the new Kim Petras single "Brrr," along with the debut EP from Ice Spice. Is the Ice Spice hate train just around the bend, or can we bask in her Bob Ross hair a little longer? Time will tell, but WE will tell first... Then, we discuss Azealia's catastrophic departure from Parlophone Records after being signed for only a month and releasing zero music. We play a little bit of Gay&R and plot Azealia's ideal career path. Last but certainly not least, we talk about "mascara," "grape," "unalive," and the other silly goofy words to cover up Serious Traumatic Triggering Topics on TikTok. Divulging personal trauma online! Julia Fox! Seeking attention! Elaborate lies! It's truly salacious. Follow the girls on Twitter @VLRTUALBOY and @YOURE2BASIC, and the pod meme page on Instagram @th0tcels. Free us from the bonds of the IRS on Patreon. 

Show #963 Memorial For Beardo 2022 01. Climax Blues Band -  So Many Roads (6:35) (Plays On, Parlophone Records, 1969) 02. John Hammond - Riding In The Moonlight (2:30) (Southern Fried, Atlantic Records, 1970) 03. Robben Ford - On That Morning (7:14) (Bringing It Back Home, Provogue Records, 2013) 04. Humble Pie - Every Mother's Son (5:44) (Town And Country, Immediate Records, 1969) 05. Mason Casey - She Jumped Out The Window (6:01) (Soul On Fire, Dixiefrog Records, 2001) 06. Kid Andersen - Hangover Day (4:09) (Rock Awhile, Blue Soul Records, 2004) 07. Rick Holmstrom - Descanso (5:47) (Late In The Night, MC Records, 2007) 08. Slim Gaillard Quartette - Atomic Cocktail (2:41) (78 RPM Single, Atomic Records, 1945) 09. Alastair Greene - Another Lie (6:54) (Dream Train, Rip Cat Records, 2017) 10. Roy Buchanan - The Blues Lover (8:44) (Hot Wires, Alligator Records, 1987) 11. The Kinks - When I Turn Off The Living Room Light (2:18) (The Great Lost Kinks Album, Reprise Records, 1973) 12. Denny Freeman - Soul Street (5:58) (Out Of The Blue, Amazing Records, 1987) 13. Albert Castiglia - Walk The Backstreets (9:05) (Living the Dream, Blues Leaf Records, 2012) 14. Mickey Jupp - Homework (3:45) (Oxford, Line Records, 1980) 15. The Nighthawks - You've Got To Move (4:53) (Times Four, Adelphi Records, 1982) 16. The Mothers Of Invention - WPLJ (2:52) (Burnt Weeny Sandwich, Bizarre/Reprise Records, 1970) 17. Danny Gatton - When Sonny Gets Blue (8:20) (Redneck Jazz Explosion Vol. 2, NRG Records, 1978) Bandana Blues is and will always be a labor of love. Please help Spinner deal with the costs of hosting & bandwidth. Visit www.bandanablues.com and hit the tipjar. Any amount is much appreciated, no matter how small. Thank you.

This episode focuses on A House's second album I Want Too Much released on Blanco Y Negro Records in 1990. Dave Couse and Fergal Bunbury join me to talk about: meeting producer Mike Hedges and recording I Want Too Much on Inisbofin off the Galway coast, the Abbey Road sound desk and equipment that Mike Hedges brought to Inisbofin, mixing the album in Abbey Road, signing to Setanta Records, working with Edwyn Collins on I Am the Greatest, releasing ‘Endless Art', signing with Parlophone Records and reissuing ‘Endless Art', the Pre Extinction Tapes – the archive project that Fergal and Dave have been working on to document A House's entire recording career, and recording No More Apologies with Mike Hedges in France. Dave talks about working with The Frank & Walters on their Grand Parade album, and much more. Dave and Fergal also chat about reconvening in 2019 as A House is Dead to perform I AM the Greatest at the NCH.

Sintonía: “Expo Remix" - UR Thought 3 Mix "Radioactivity" - William Orbit Hardcore Remix; "Expo Remix" - Orbital Mix; "Expo Remix" - DJ Rolando Mix; "Aero Dynamik" - Alex Gopher/Étienne de Crecy Dynamik Mix; "La Forme" - King of the Mountains Mix by Hotchip; "Tour de France" - Etape 2 Escuchar audio

Show #946 British Sixties Spinner goes back to the 1960s with rhythm & blues from England collected by his brother. 01. Georgie Fame - Pride and Joy (2:29) (Fame at Last, Columbia Records, 1964) 02. Alexis Korner - Little Bitty Girl (6:30) (A New Generation of Blues, Philips Records, 1968) 03. Keef Hartley Band - Not Foolish Not Wise (4:01) (The Battle Of North West Six, Deram Records, 1969) 04. Dr. K's Blues Band - Pet Cream Man (6:30) (Dr. K's Blues Band, Spark Records, 1968) 05. Zoot Money's Big Roll Band - The One And Only Man (3:32) (Zoot!, Columbia Records, 1966) 06. Ken Colyer's Skiffle Group - Streamline Train (2:45) (45 RPM Extended Play, Decca Records, 1955) 07. Alexis Korner - Streamline Train (2:34) (I Wonder Who?, Fontana Records, 1967) 08. Long John Baldry - You're Breaking My Heart (4:35) (Long John's Blues, United Artists Records, 1965) 09. Savoy Brown - It's My Own Fault (5:02) (Shake Down, Decca Records, 1967) 10. Alexis Korner's Blues Incorporated - I Wanna Put a Tiger in Your Tank (2:57) (R&B from the Marquee, Ace Of Clubs Records, 1962) 11. Ten Years After - I May Be Wrong, But I Won't Be Wrong Always (10:41) (Undead, Deram Records, 1968) 12. The Graham Bond Organization - Have You Ever Loved A Woman (4:55) (There's A Bond Between Us, Columbia Records, 1965) 13. Alexis Korner's Blues Incorporated - Rainy Tuesday (4:25) (Alexis Korner's Blues Incorporated, Ace Of Clubs Records, 1965) 14. Love Sculpture - Don't Answer The Door (6:05) (Blues Helping, Parlophone Records, 1968) 15. The Graham Bond Organization - Wade In The Water (2:45) (The Sound Of 65, Columbia Records, 1965) 16. Cliff Bennett & The Rebel Rousers - Steal Your Heart Away (3:34) (Cliff Bennett & The Rebel Rousers, Parlophone Records, 1965) 17. Alexis Korner's Blues Incorporated - Woke Up This Morning (2:44) (Red Hot from Alex, Transatlantic Records, 1964) 18. Zoot Money's Big Roll Band - Feelin' Sad (6:28) (It Should've Been Me, Columbia Records, 1965) 19. Alexis Korner's Blues Incorporated - Honesty (4:59) (Sky High, Spot Records, 1965) 20. Ten Years After - Adventures Of A Young Organ (2:39) (Ten Years After, Deram Records, 1967) Bandana Blues is and will always be a labor of love. Please help Spinner deal with the costs of hosting & bandwidth. Visit www.bandanablues.com and hit the tipjar. Any amount is much appreciated, no matter how small. Thank you.

Ameerika metsosoprani Joyce DiDonato album "Eden" on kutse naasta oma juurte juurde. Mäletada. Mõtiskleda puhta täiuslikkuse üle meid ümbritsevast maailmast ja uurida, kas me loome võimalikult sügava ühenduse puhta maailmaga või mitte.

Well it was a heavy news week in the incelosphere, and the news is always bad, so we begin this episode with a deconstruction and a rant. As an antidote, today's episode features an interview with friend of the pod and brilliant researcher, William Costello (@costellowilliam), whose Masters thesis about incels produced some encouraging and enlightening results. "Girls and Boys" (1994) by Blur, courtesy of Parlophone Records. ————————————————————- Check out William's new survey at: https://twitter.com/costellowilliam/status/1498598214286688258?s=21—————————————————————— Please check out my all new Patreon for ad-free, uncensored episodes and weekly blogs! https://www.patreon.com/NaamaKates ——————————————————————— INCEL is created and produced by Naama Kates for Crawlspace Media. Music by Cyrus Melchor. —————————————————————— If you or someone you know is struggling emotionally, or having a hard time, please call someone, or contact one of the excellent resources provided below. —————————————————————— Suicide Prevention Lifeline w: https://suicidepreventionlifeline.org/ t: 1.800.273.8255 —————————————————————— Samaritans Website: https://www.samaritans.org and telephone (UK): 116.123 —————————————————————— Please contact Naama at INCEL with any comments, inquiries, or just random thoughts: e: theincelproject@gmail.com --- Support this podcast: https://anchor.fm/incel/support

This week we're joined by Sian Anderson, one of the most trusted voices in the music industry, DJ, radio host and broadcaster for BBC Radio 1Xtra and A&R & Marketing Executive for Parlophone Records. She maps out her come up as a writer for Live Magazine and radio host for Rinse FM and 1Xtra as well as her transition to working for a record label, before breaking down work with Ed Sheehan, missing out on signing Unknown T, how to gain an artist's trust when developing them and advice for those who want to enter the music industry. What we've been listening to: Sian SNE - Bouquet Lotto Ash - Give You Ama Lou - Trust Nobody Peter Kojey Radical - Reason To Smile Moe Central Cee - 23 Tion Wayne - Green With Envy BenjiFlow - The Thrill Yemi Salamanda - Sphere Steam Down - Five Fruit Junglepussy - JP5000 Follow us and subscribe: https://linktr.ee/rhymesdimespod

En Música de Contrabando , revista diaria de música en Onda Regional de Murcia(hoy vamos de 23,05 a 01,00h).Miguel Gallardo, esencial autor del cómic español, ha fallecido este 21 de febrero. Gallardo, autor del mítico cómic Makoki de los 80 junto a Juanito Mediavilla, se caracterizaba por escribir sobre las vivencias que lo rodeaban. Metallica y Weezer, en el Bilbao Bizkaia Rock Day 2022. Egon Soda publicarán su álbum “Bellaurora” este viernes. The Sand presentan su nuevo single, Take my life. en el que muestran que en los momentos más difíciles siempre puede existir un camino que te haga sentir la vida de nuevo. Parlophone Records conmemora el 40 aniversario del tercer álbum de Iron Maiden, The number of the beast, con el lanzamiento de una edición en casete. Raúl Frutos (Crudo Pimento), Pepelu López (Crudo Pimento, Builtthenburnt) y Alfonso Alfonso (Espiricom, Artificiero) son Nepal Napalm, un proyecto nuevo formado por viejos guerreros. Apoyados en el metal, entendido éste con la mayor amplitud de miras posible, en sus temas se dan la mano Motorhead, Coil, el dub, la salsa brava portorriqueña y el doom portugués descompuesto.Javier Corcobado regresa con “French disko”, homenajeando con respeto y admiración a Stereolab, con la ferocidad sonora y la elegancia que le caracterizan, y acompañado musicalmente por Culto Oculto. El dúo australiano Party Dozen regresan con el eléctrico estruendo de "the worker". Porridge Radio anuncian Waterslide, diving board, ladder to the sky, su nuevo disco, subiendo la intensidad compás a compás en "back to the radio". Tatyana refresca este día de "invierno" con "between the lines", bailable adelanto de electro pop dulce como los chuches. Los sevillanos Escuelas Pías siguen regalando himnos pop con 'Manual para cuidar plantas artificiales'. 'Los chicos salvajes' es su primer (y último) adelanto antes del disco. Tras su paso por la recientísima gala de los Premios Goya, donde los sevillanos acudían nominados a la Mejor Canción Original por "Las Leyes de la Frontera", unos Derby Motoreta's Burrito Kachimba en continuo estado de gracia afrontarán este inminente marzo su primera gira internacional. Festivales como el prestigioso SXSW en EE.UU. o el Lollapalooza Argentina, junto a escenarios míticos como el Foro Indie Rocks de CDMX (México) les aguardan en un tour que hará también parada y fonda en Santiago de Chile. Litus está de vuelta. Después de Pajaros en el desván y Cuántica ... ahora es el turno de KREPTAFIBIA con la colaboración de lujo de EL KANKA. Tame Impala (Kevin Parker) publica The Slow Rush B-Sides and Remixes con temas de su álbum de 2020 publicado a través de Island Records. Myd es hoy por hoy una figura capital del electro-indie francés y uno de los activos más potentes del sello Ed Banger. En Francia, y en todo el mundo, Valentin Brunel AKA Kungs se ha convertido en la nueva cara de la música electrónica francesa debido a su mundialmente conocido tema "This Girl" (vs Cookin' On 3 Burners). "Club Azur" toma la forma de un nuevo álbum de estudio que se publicará el 18 de marzo, con el nuevo single, "Clap Your Hands", un himno para sentirse bien con un coro de niños. El nuevo tándem LOS ESTANQUES y ANNI B SWEET acaba de publicar en su canal de YouTube los dos primeros temas de su próximo disco, a modo de espectacular intro.Nace el Norai festival: más de 36 horas de música y ocio en el corazón de l'Empordà (Doble Pletina). Steve Gunn publica Nakama ep, con revisiones y remezclas de temas de su último disco Other you junto a otros artistas como Bing & ruth, Circuit des yeux. Domingo especialmente triste, la segunda canción adelanto de Bremen No Existe (Montgrí, 2022), el cuarto disco de estudio de Biznaga. El tema cuenta con la colaboración especial de Isa de Triángulo de Amor Bizarro. Marss es un joven grupo murciano que sorprendió desde su primer single, Dimensiones, y se notan crecidos con la producción de Oscar Varry Brava para su segundo single, Frio. En Fan Futura Club. tienen su puesto de largo junto a Rojuu. Hablamos con Ian, cantante y guitarra del grupo.

Prantsuse metsosopran Marianne Crebassa otsib albumil "Séguedilles" oma hispaania juuri. Lauljatari partnerid on Toulouse'i Kapitooliumi orkester ja koor Ben Glassbergi juhatusel, sopran Adriana Gonzalez, tenor Stanislas de Barbeyrac ja pianist Alphonse Cemin.

We all have an idea of the importance of George Martin to the history of The Beatles. But he didn't just come out of nowhere. At age 24, he got a job with EMI. In 1955, at the age of 29, he became the head of Parlophone Records and found a great deal of success, especially with comedy records, featuring Peter Sellers, Spike Milligan, and more. His success allowed him the freedom to experiment with film scores, electronic music, and anything else he could think of. But the one thing that he really wanted was a huge, hit-producing pop artist. In this week's podcast we talk about George Martin's road to success! NOTE! We give you a nice long list of links for each episode. The links are almost as interesting as the podcast! See: https://beatles60.group/blog --- Send in a voice message: https://podcasters.spotify.com/pod/show/beatles60/message

This week we pay tribute to one of our favorite bands, The Beatles! October 15th, 1960 marks the first recording session that included Lennon, McCartney, Harrison and Starr. To celebrate this momentous occasion, Peter and Sam swap their favorite Beatles songs, Special shoutout goes to the Alphabeatical podcast, where they cover all songs by The Beatles in alphabetical order.  You can find more info here: http://www.alphabeatical.com/ Our songs for this week:A Day in the Life from their 1967 album Sgt. Pepper's Lonely Hearts Club Band released via Parlophone Records. Something from their 1969 album Abbey Road released via Apple Records.Support the show (https://www.buymeacoffee.com/2songs1couple)

A/J Jackson, the band leader of Saint Motel, signed with the UK-based Parlophone Records in 2014, the same record label that the Beetles signed to in 1962. Being signed in the UK opened new and exciting worlds after playing just about every dive bar...

A/J Jackson, the band leader of Saint Motel, signed with the UK-based Parlophone Records in 2014, the same record label that the Beetles signed to in 1962. Being signed in the UK opened new and exciting worlds after playing just about every dive bar in the US. Today we talk about the steps building up to the band's success, and how every experience changes you in some way. • When the routine is good and when it's bad. • Growth • Toured dive bars all over the countries. • Starting in the “Mail Room” of the music business. • Growth is always a matter of steps. • No one has to lose. • Winning can be more special • https://www.aview.com/ • https://www.saintmotel.com/ TIME-STAMPED SHOW NOTES: [7:56] Band signed out of UK. [13:15] Made same music since 5 years old. [15:36] Success has a lot of moving parts.

Yo, yo!!!!!!Squeezing in this Ep just in time, before August bids us farewell. Sorry for leaving it to the last minute. It's been a super busy month or so since I was last in touch. Lots of wonderful music to play you and hopefully, some exciting news to bring you in the course of the next month. So make sure you stay tuned.Keep supporting the artists, labels and above all, the music as much as you possibly can and please spread the word about the show.Love you...Ross. x1. Eddie Hale 'Terrace of an Elephant' (Denude)2. Deep Eyes 'Step To Agartha' (Lumina)3. Elkka 'Burnt Orange' (Technicolour)4. Gabriels 'Love & Hate In A Different Time' (Atlas Artists x Parlophone Records)5. Kozmodrum 'Povratak na Parni Pogon' (Rika Musika)6. Sampology, ft. Allysha Joy 'Suffer and Swim' (Middle Name)7. Anushka 'Bad Weather' (Tru Thoughts)8. Kidnap 'Untroubled' (Birds That Fly)9. TSHA 'Power' (Ninja Tune)10. Afronaut 'How It Goes' (Tru Thoughts)11. First Choice 'Let No Man Put Asunder (Dam Swindle Remix)' (Salsoul)12. Felipe Gordon 'Keepin' It Jazz' (Heist)13. Makèz 'Feel the Same' (Heist)14. Denyl Brook 'Rollin' (Shall Not Fade)15. Brooklyn Baby 'Well See What They Say' (Don't Need A Million)16. Halal Sol 'Rushin (Bongomann Re-rush)' (Darker than Wax)17. Tom Junior 'Move Ya Body (Original Mix)' (Legent)18. David San 'Ragweed' (Psicodelica)19. Blip Service 'War Cry' (Dancing Family)20. Jeremiah Asiamah 'Bring It' (Ground Up)21. Kamus 'Better 'Off Her Own' (Self Release)22. Rival Consoles 'Pulses of Information' (Erased Tapes)

Welcome back to Clued Up! On this weeks episode we are joined by Komali Scott-Jones (@komali_krldn), A&R Manager at Parlophone Records and co-founder of The Black Music Coalition and The Debrief, and Ikram (@ikzzrima) from The M Word Podcast joins us as guest host. We discuss Komali's work to make a change and create space for black people in the music industry and deep dive into her work as A&R for artists such as Hamzaa and Mnelia (59 mins). We also chat about celebrities recent confessions about not washing (25 mins), updates on #FreeBritney (30 mins), our thoughts on this weeks Love Island (32 mins), Justin Bieber being added to the remix of Essence (41 mins), and Nicki Minaj being sued for trying to cover up her husband's crimes (56 mins) Plus our additions to our weekly playlist #PonDaPlaylist (86 mins).

Nesse episódio, conversamos a competição de podcasts na qual participamos recentemente e um pouco de como foi todo esse processo, além de divulgar o resultado, é claro! Obrigado a todos que votaram

A la fin de la semaine passée, on savourait le nouveau single d'Iron Maiden "The Writing on The Wall" et hier, on a pu découvrir le nom de l'album : Senjutsu. "Inspiré par le Japon", selon un communiqué, il sortira le 3 septembre via Parlophone Records. "'Senjutsu' peut être traduit par 'tactique et stratégie'. Le groupe s'est à nouveau associé à Mark Wilkinson pour créer l'œuvre d'art spectaculaire inspirée des samouraïs." On apprend le décès de Robert E. “Robby” Steinhardt, chanteur et violoniste du groupe Kansas. Il a succombé à une pancréatite à l'âge de 71 ans. Son épouse, Cindy Steinhardt, avait annoncé son hospitalisation samedi à Tampa, en Floride. Elle avait alors précisé qu'il venait d'enregistrer son premier album solo et qu'il espérait être rapidement de retour sur scène et en tournée. Les Belgofolies, l'événement qui remplace les Francofolies de Spa en cette période de pandémie de coronavirus, a annoncé l'annulation des deux premières soirées de concert en raison des intempéries qui ont frappé la Belgique et particulièrement la province de Liège et la région de Spa. La série de soirées de concerts, qui devait se tenir du 19 au 25 juillet, commencera finalement DEMAIN, mercredi 21 juillet pour se terminer le 26. Dominique Ragheb y sera d'ailleurs en direct pour Classic 21 ce vendredi 23 juillet de 20h à 23h pour partager avec vous le retour tant attendu des festivals, quelques rencontres avec les artistes programmés et l'ambiance générale. En cette journée de deuil national, rappelons que vous pouvez toujours faire un don via le compte de la Croix-Rouge BE70 (8x0) 25 25, avec en communication « Inondation ». --- Classic 21 vous informe des dernières actualités du rock, en Belgique et partout ailleurs. Le Journal du Rock, chaque jour à 7h30 et 18h30.

A la fin de la semaine passée, on savourait le nouveau single d’Iron Maiden "The Writing on The Wall" et hier, on a pu découvrir le nom de l’album : Senjutsu. "Inspiré par le Japon", selon un communiqué, il sortira le 3 septembre via Parlophone Records. "'Senjutsu' peut être traduit par 'tactique et stratégie'. Le groupe s’est à nouveau associé à Mark Wilkinson pour créer l’œuvre d’art spectaculaire inspirée des samouraïs." On apprend le décès de Robert E. “Robby” Steinhardt, chanteur et violoniste du groupe Kansas. Il a succombé à une pancréatite à l’âge de 71 ans. Son épouse, Cindy Steinhardt, avait annoncé son hospitalisation samedi à Tampa, en Floride. Elle avait alors précisé qu’il venait d’enregistrer son premier album solo et qu’il espérait être rapidement de retour sur scène et en tournée. Les Belgofolies, l’événement qui remplace les Francofolies de Spa en cette période de pandémie de coronavirus, a annoncé l’annulation des deux premières soirées de concert en raison des intempéries qui ont frappé la Belgique et particulièrement la province de Liège et la région de Spa. La série de soirées de concerts, qui devait se tenir du 19 au 25 juillet, commencera finalement DEMAIN, mercredi 21 juillet pour se terminer le 26. Dominique Ragheb y sera d’ailleurs en direct pour Classic 21 ce vendredi 23 juillet de 20h à 23h pour partager avec vous le retour tant attendu des festivals, quelques rencontres avec les artistes programmés et l’ambiance générale. En cette journée de deuil national, rappelons que vous pouvez toujours faire un don via le compte de la Croix-Rouge BE70 (8x0) 25 25, avec en communication « Inondation ». --- Classic 21 vous informe des dernières actualités du rock, en Belgique et partout ailleurs. Le Journal du Rock, chaque jour à 7h30 et 18h30.

Based in New York City, Mario J. McNulty is a Grammy Award-winning music producer, mixer and engineer who's worked with David Bowie, Prince, Nine Inch Nails, Laurie Anderson, Harry Nilsson, Julian Lennon, Justin Tranter, Raveonettes and many other well-known artists.At the 50th Grammy Awards ceremony, Mario J. McNulty won a Grammy in the Best Contemporary World Music category for Angelique Kidjo's Djin Djin. Other Grammy nominated albums include Homeland by Laurie Anderson and The Next Day by David Bowie.Source: http://jdmanagement.com/mariojmcnulty/Parlophone Records are proud to announce David Bowie Loving The Alien (1983 – 1988), the fourth in a series of box sets spanning his career from 1969.Among the studio and live albums from the period, the set will also contain an exclusive new production of the 1987 album Never Let Me Down, by Bowie producer/engineer Mario McNulty with new instrumentation by Bowie collaborators Reeves Gabrels, David Torn, Sterling Campbell and Tim Lefebvre. Never Let Me Down (2018) also boasts a string quartet with arrangements by Nico Muhly and a guest cameo by Laurie Anderson on Shining Star (Makin' My Love).Source: https://www.davidbowie.com/blog/2018/7/18/david-bowie-loving-the-alien-1983-1988-due-octoberThis episode is from an archive from the KPFK program Rock Profiles adapted for podcast. Host Maggie LePique, a radio veteran since the 1980's at NPR in Kansas City Mo. She began her radio career in Los Angeles in the early 1990's and has worked for Pacifica station KPFK Radio in Los Angeles since 1994.  Support the show

Email: audioofftheshelf@gmail.com. Instagram: @audioofftheshelf Twitter: @AOTS204 Facebook: https://www.facebook.com/audioofftheshelf King Kong Girio. “Summer's Back.” unreleased, [date unknown]. CD. Jane's Addiction. “Summertime Rolls.” Nothing's Shocking. Warner Bros. Records, 1988. CD. LP. Davis, Miles. “Summertime.” Porgy & Bess. Columbia Records, 1959. Vinyl. LP. DJ Jazzy Jeff & The Fresh Prince. “Summertime.” Summertime. Jive/RCA. Records, 1991. Cassingle. EP. EMF. “Long Summer Days.” Schubert Dip. Parlophone Records, 1991. CD. LP. Aggrolites, The. “Reggae Summertime” IV. Hellcat Records, 2009. CD. LP. Long Beach Dub All Stars. “Listen to DJs.” Wonders of the World. Geffen/DreamWorks, 2001. CD. LP. Copyright Disclaimer under Section 107 of the copyright act 1976, allowance is made for fair use for purposes such as criticism, comment, news reporting, scholarship, and research. Fair use is a use permitted by copyright statute that might otherwise be infringing. Non-profit, educational or personal use tips the balance in favour of fair use.

This week Lex sits down with Komali, who is an A&R at Parlophone Records, looking after the likes of Hamzaa and Mnelia. She chats us through her career journey, inspirations, juggling and successes in a conversation of inspiration and insight! Komali Handles:@komali_krldnLex Handles:@lexonthedecks See acast.com/privacy for privacy and opt-out information.

No Words, Just Music Vol. II: Rock The World, English A to Z. 1.- ALICE COOPER – Bed Of Nails – Trash (1989 Epic Records) 2.- BANG TANGO – Dancin´On Coals – Dancin´On Coals (1991 Mechanic/MCA) 3.- CRY OF LOVE – Bad Thing – Brother (1993 Sony Music) 4.- DANZING – Mother – Danzing (1988 Def American) 5.- ENUFF `Z´ NUFF – Superstitious – Animals With Human Intelligence (1993 Arista) 6.- FLAME – Wild One – Flame (1992 Giant) 7.- GREEN DOLLAR COLOUR – Heart Donation – Green Dollar Colour (2005 Bad Reputation) 8.- HURRICANE PARTY – Crown Of Thorns – Get This E.P. (2004 Santuary Records) 9.- IT´S ALIVE – Funky Time – It´s Alive (1991 Megarock Records) 10.- JACKYL – Down On Me – Jackyl (1992 Geffen Records) 11.- KING´S X – Over My Head – Gretchen Goes To Nebraska (1989 Megaforce/Atlantic Records) 12.- LIONSHEART – I Believe In Love – Pride In Tact (1994 Music For Nations) 13.- MANIC EDEN – Can You Feel It – Manic Eden (1994 CNR Music) 14.- NEVERLAND – Lean On Me – Neverland (1991 Interscope) 15.- OVERLAND – Alive And Kicking – Break Away (2008 Escape Music) 16.- PLACE CALLED RAGE – Trapped – Place Called Rage (1995 Mercury Music Japan/Al Pitrelli Music) 17.- QUEEN – Was It All Worth It – The Miracle (1989 Island Records) 18.- RED FUN – Rock This Town – Red Fun (1993 BMG Ariola) 19.- SKIN -Spit On You – Lucky (1996 Parlophone Records) 20.- TALISMAN – Mysterious (This Time It´s Serious) – Genesis (1993 Dino Records) 21.- UGLY KID JOE – Don´t Go – America´s Least Wanted (1992 Mercury) 22.- VINCE NEIL – Can´t Have Your Cake – Exposed (1993 Warner Brothers) 23.- WWIII – Love You To Death – WWIII (1990 Hollywood Records) 24.- XYZ – Maggy – XYZ (1989 Enigma) 25.- Y&T – Contagious – Contagious (1987 Geffen Records) 26.- ZENO – Crystal Dreams – Zenology (1995 Zero Records Japan) Directed by Jesús Alijo LUX DON'T LET ANYONE GET AHEAD OF YOU! FEEL FREE TO REGISTER, ENJOY, COMMENT, FOLLOW AND SHARE, THANK YOU.

Today's guest boasts a more diverse catalogue and interesting journey than your average songwriter. With multi-platinum hits across genres, her own label/publishing/management company, Jinsing, and a Senior A&R position at Parlophone Records, she has achieved so much since hanging out in her Grandad's reggae shop as a child. Recognising the early talent of the now seven times #1 artist Jess Glynne whilst hosting a song-writing masterclass at Jess's college, our guest went on to co-write the UK No. 1's ‘Hold My Hand' which led to her Ivor Novello nominations and to her winning a BMI Award. She has gone on to collaborate with a host of international producers and artists and recently co-wrote the 2021 UEFA Championship x Pepsi anthem ‘Rotate' by Burna Boy and Becky G. Other collaborators include producers such as Fraser T Smith, Toby Gad, Stephen Di Genius, Diplo and David Guetta, and artists Jax Jones, Paloma Faith & Sigala, RAYE, Madison Beer, Sean Paul, Rita Ora, Clean Bandit, Craig David, Gary Barlow, Jennifer Lopez & Maluma, Joel Corry and Hailee Steinfeld. In recognition of her achievements she was nominated for Songwriter Of The Year at the Music Business Worldwide Awards 2018, and won the “Music Creative” Award at Music Week's 2018 Women In Music event. She also recently won her second BMI award for Madison Beer's ‘Home With You' and joined the board of Directors of the prestigious Ivors Academy in 2020. And The Writer Is… Jin Jin!Artwork: Michael Richey White. See acast.com/privacy for privacy and opt-out information.

Endless River is just one of Pink Floyd's many albums. The Endless River is the fifteenth studio album by the English rock band Pink Floyd, released in November 2014 by Parlophone Records in Europe and Columbia Records in the rest of the world. I also added a couple of songs from two other albums as you will see in the playlist below. I hope you enjoy these classic and not so classic rock songs from one of the greatest rock bands from my era. Songs are in order of playlist...US AND THEM (Dark Side of the Moon), COMFORTABLY NUMB (The Wall), All other songs are from The Endless River album. THINGS LEFT UNSAID, IT'S WHAT WE DO, EBB AND FLOW, SUM, SKINS, UNSUNG, ANISINA, THE LOST ART OF CONVERSATION, ON NOODLE STREET, ALLONS 1, AUTUMN 1968, ALLONS 2, TALKIN' HAWKIN', CALLING, EYES TO PEARLS, SURFACING, LOUDER THAN WORDS. Thanks for listening to Ken Steele Music. Please share my podcasts and website with your friends and family. Hopefully, they will also enjoy this as music as you.

Andy Daniell is the head A&R and FFRR Records also Senior A&R at Parlophone Records. Ive known Andy for some years from his days at Defected Records but wanted to catch up with him about his new venture in to major record labels. Enjoy x

Banx & Ranx are a duo of producers, songwriters and remixers from Montreal, Quebec, Canada.The duo have been together since 2014 and since then, not only have they signed with one of the most coveted record labels in the world, Parlophone Records, but they've produced, written songs and partnered up with artists like: Sean Paul, Dua Lipa, Diplo, French Montana and Nicky Jam to name a few.Although they're Canadian, they've had more hits in the UK such as their song Answerphone with UK's pop princess Ella Eyre and Yxng Bane, which made it in the Top 40 over there peaking at number 5. They also co-wrote, co-produced Sean Paul's Crick Neck and had him feature on their song Ego. Along with those collaborations they also worked on Nicky Jam's hit I Can't Forget You off his album Fénix which was nominated for 2 Latin Grammy Awards.Banx & Ranx are showing that they're the real deal, just this week, they teamed up with Quebec mega star Marie-Mai and Imposs to release Sans Lendemain, a song that will certainly make its way on many radio stations playlist in the next few weeks.

It's time for another breakdown! Today we pick apart the Jupiter Movement of the Planets Suite by Gustav Holst. My favorite piece of music by this great composer.Music: "Jupiter," The Planets, Gustav Holst, Royal Philharmonic Orchestra, Last Night of the Proms, Parlophone Records, LTD., 2007. --- This episode is sponsored by · Anchor: The easiest way to make a podcast. https://anchor.fm/app

  Episode seventy-seven of A History of Rock Music in Five Hundred Songs looks at “Brand New Cadillac” by Vince Taylor and the Playboys, and the sad career of rock music’s first acid casualty. Click the full post to read liner notes, links to more information, and a transcript of the episode. Patreon backers have two bonus podcasts this week. There’s a haf-hour Q&A episode, where I answer backers’ questions, and a ten-minute bonus episode on “The Hippy Hippy Shake” by Chan Romero. Tilt Araiza has assisted invaluably by doing a first-pass edit, and will hopefully be doing so from now on. Check out Tilt’s irregular podcasts at http://www.podnose.com/jaffa-cakes-for-proust and http://sitcomclub.com/  —-more—- Resources As always, I’ve created a Mixcloud streaming playlist with full versions of all the songs in the episode. There are several books available on Vince Taylor, including an autobiography, but sadly these are all in French, a language I don’t speak past schoolboy level, so I can’t say if they’re any good. The main resources I used for this episode were the liner notes for this compilation CD of Taylor’s best material,  this archived copy of a twenty-year-old homepage by a friend of Taylor’s, this blogged history of Taylor and the Playboys, and this Radio 4 documentary on Taylor. But *all* of these were riddled with errors, and I used dozens of other resources to try to straighten out the facts — everything from a genealogy website to interviews with Tony Sheridan to the out-of-print autobiography of Joe Barbera. No doubt this episode still has errors in it, but I am fairly confident that it has fewer errors than anything else in English about Taylor on the Internet.  Errata I say that Gene Vincent also appeared on Oh Boy! — in fact he didn’t appear on UK TV until Parnes’ next show, Boy Meets Girls, which would mean Taylor was definitely the originator of that style. A major clanger — I say that Sheridan recorded “Why” while he was working on “Oh Boy!” — in fact this wasn’t recorded until later — *with the Beatles* as his backing band. I should have known that one, but it slipped my mind and I trusted my source, wrongly.   Patreon This podcast is brought to you by the generosity of my backers on Patreon. Why not join them? Transcript On the twenty-first of May 1965, at the Savoy Hotel in London, there was a party which would have two major effects on the history of rock and roll music, one which would be felt almost immediately, and one whose full ramifications wouldn’t be seen for almost a decade. Bob Dylan was on the European tour which is chronicled in the film “Don’t Look Back”, and he’d just spent a week in Portugal. He’d come back to the UK, and the next day he was planning to film his first ever televised concert.   That plan was put on hold. Dylan was rushed to hospital the day after the party, with what was claimed to be food poisoning but has often been rumoured to be something else. He spent the next week in bed, back at the Savoy, attended by a private nurse, and during that time he wrote what he called “a long piece of vomit around twenty pages long”. From that “long piece of vomit” he later extracted the lyrics to what became “Like a Rolling Stone”. But Dylan wasn’t the only one who came out of that party feeling funny. Vince Taylor, a minor British rock and roller who’d never had much success over here but was big in France, was also there. There are no euphemisms about what it was that happened to him. He had dropped acid at the party, for the first time, and had liked it so much he’d immediately spent two hundred pounds on buying all the acid he could from the person who’d given it to him. The next day, Taylor was meant to be playing a showcase gig. His brother-in-law, Joe Barbera of Hanna Barbera, owned a record label, and was considering signing Taylor. It could be the start of a comeback for him. Instead, it was the end of his career, and the start of a legend: [Excerpt: Vince Taylor and the Playboys, “Brand New Cadillac”] There are two problems with telling the story of Vince Taylor. One is that he was a compulsive liar, who would make up claims like that he was related to Tenzing Norgay, the Nepalese mountaineer who was one of the two men who first climbed Everest, or that he was an airline pilot as a teenager. The other is that nobody who has written about Taylor has bothered to do even the most cursory fact-checking For example, if you read any online articles about Vince Taylor at all, you see the same story about his upbringing — he was born Brian Holden in the UK, he emigrated to New Jersey with his family in the forties, and then his sister Sheila met Joe Barbera, the co-creator of the Tom and Jerry cartoons. Sheila married him in 1955 and moved with him to Los Angeles — and so the rest of the family also moved there, and Brian went to Hollywood High School. Barbera decided to manage his brother-in-law, bring him over to London to check out the British music scene, and get him a record deal. There’s just… a bit of a problem with this story. Sheila did marry Joe Barbera, but not until the mid 1960s. Her first marriage, in 1947, was to Joe Singer, and it was Singer, not Barbera, who was Taylor’s first manager. That kind of inaccuracy appears all over the story of Vince Taylor So, what we actually know is that Brian Maurice Holden — or Maurice Brian Holden, even his birth name seems to be disputed — was born in Isleworth Middlesex, and moved to New Jersey when he was seven, with his family, emigrating on the Mauretania, and that he came back to London in his late teens. While there was a real Hollywood High School, which Ricky Nelson among others had attended, I suspect it’s as likely that Holden decided to just tell people that was where he’d been to school, because “Hollywood High School” would sound impressive to British people. And sounding impressive to British people was what Brian Holden had decided to base his career on. He claimed to an acquaintance, shortly after he returned to the UK, that he’d heard a Tommy Steele record while he was in the US, and had thought “If this is rock and roll in England, we’ll take them by storm!” [Excerpt: Tommy Steele, “Rock With the Caveman”] Holden had been playing American Legion shows and similar small venues in the US, and when his brother-in-law Joe Singer came over to Britain on a business trip, Holden decided to tag along, and Singer became Holden’s manager. Holden had three great advantages over British stars like Steele. He had spent long enough in America that he could tell people that he was American and they would believe him. In Britain in the 1950s, there were so few Americans that just being from that country was enough to make you a novelty, and Holden milked that for all it was worth, even though his accent, from the few bits of interviews I’ve heard with him, was pure London. He was also much, much better looking than almost all the British rock and roll stars. Because of rationing and general poverty in the UK in the forties and fifties as a result of the war, the British fifties teenage generation were on the whole rather scrawny, pasty-looking, and undernourished, with bad complexions, bad teeth, and a general haggardness that meant that even teen idols like Dickie Pride, Tommy Steele, or Marty Wilde were not, by modern standards, at all good looking. Brian Holden, on the other hand, had film-star good looks. He had a chiselled jaw, thick black hair combed into a quiff, and a dazzling smile showing Hollywood-perfect teeth. I am the farthest thing there is from a judge of male beauty, but of all the fifties rock and roll stars, the only one who was better looking than him was Elvis, and even Elvis had to grow into his good looks, while Holden, even when he came to the UK aged eighteen, looked like a cross between James Dean and Rock Hudson. And finally, he had a real sense of what rock and roll was, in a way that almost none of the British musicians did. He knew, in particular, what a rockabilly record should sound like. He did have one tiny drawback, though — he couldn’t sing in tune, or keep time. But nobody except the unfortunate musicians who ended up backing him saw that as a particular problem. Being unable to sing was a minor matter. He had presence, and he was going to be a star. Everyone knew it. He started performing at the 2Is, and he put together a band which had a rather fluid membership that to start with featured Tony Meehan, a drummer who had been in the Vipers Skiffle Group and would later join the Shadows, but by the time he got a record deal consisted of four of the regular musicians from the 2is — Tony Sheridan on lead guitar, Tony Harvey on rhythm, Licorice Locking on bass and Brian Bennett on drums. He also got himself a new name, and once again there seems to be some doubt as to how the name was chosen. Everyone seems agreed that “Taylor” was suggested by his sister Sheila, after the actor Robert Taylor. But there are three different plausible stories for how he became Vince. The first is that he named himself after Vince Everett, Elvis’ character in Jailhouse Rock. The second is that he was named after Gene Vincent. And the third is that he took the name from a pack of Pall Mall cigarettes, which had a logo with the Latin motto “in hoc signo vinces” — that last word spelled the same way as “Vinces”. And while I’ve never seen this suggestion made anywhere else, there is also the coincidence that both Licorice Locking and Tony Sheridan had been playing, with Jimmy Nicol, in the Vagabonds, the backing band for one of Larry Parnes’ teen idol acts, Vince Eager, who had made one EP before the Vagabonds had split from him: [Excerpt: Vince Eager, “Yea Yea”] So it may be that the similarity of names was in someone’s mind as well. Taylor and his band, named the Playboys, made a huge impression at the 2is, and they were soon signed to Parlophone Records, and in November 1958 they released their first single. Both sides of the single were cover versions of relatively obscure releases on Sun records. The B-side was a cover version of “I Like Love”, which had been written by Jack Clement for Roy Orbison, while the A-side, “Right Behind You Baby” was written by Charlie Rich and originally recorded by Ray Smith: [Excerpt: Ray Smith, “Right Behind You Baby”] Taylor’s version was the closest thing to an American rockabilly record that had been made in Britain to that point. While the vocal was still nothing special, and the recording techniques in British studios created a more polite sound than their American equivalents, the performance is bursting with energy: [Excerpt: Vince Taylor, “Right Behind You Baby”] It’s Sheridan, though, who really makes the record — he plays a twenty-four bar guitar solo that is absolute light years ahead of anything else that was being done in Britain. Here, for example, is “Guitar Boogie Shuffle”, an instrumental hit from Britain’s top rock and roll guitarist of the time, Bert Weedon: [Excerpt: Bert Weedon, “Guitar Boogie Shuffle”] As you can hear, that’s a perfectly good guitar instrumental, very pleasant, very well played. Now listen to Tony Sheridan’s guitar solo on “Right Behind You Baby”: [Excerpt: Vince Taylor, “Right Behind You Baby”] That’s clearly not as technically skilled as Weedon, but it’s also infinitely more exciting, and it’s more exciting than anything that was being made by any other British musicians at the time. Jack Good certainly thought so. While “Right Behind You Baby” wasn’t a hit, it was enough to get Vince on to Oh Boy!, and it was because of his Oh Boy! performances that Vince switched to the look he would keep for the rest of his career — black leather trousers, a black leather jacket, a black shirt with the top few buttons undone, showing his chest and the medallion he always wore, and black leather gloves. It was a look very similar to that which Gene Vincent also adopted for his performances on Oh Boy! — before that, Vincent had been dressing in a distinctly less memorable style — and I’ve seen differing accounts as to which act took on the style first, though both made it their own. Taylor was memorable enough in this getup that when, in the early seventies, another faded rocker who had been known as Shane Fenton made a comeback as a glam-rocker under the name Alvin Stardust, he copied Taylor’s dress exactly. But Good was unimpressed with Taylor’s performance — and very impressed with Sheridan’s. Sheridan was asked to join the Oh Boy! house band, as well as performing under his own name as Tony Sheridan and the Wreckers. He found himself playing on such less-than-classics as “Happy Organ” by Cherry Wainer: [Excerpt: Cherry Wainer, “The Happy Organ”] He also released his own solo record, “Why”: [Excerpt: Tony Sheridan, “Why”] But Sheridan’s biggest impact on popular music wouldn’t come along for another few years… Losing the most innovative guitarist in the British music industry should have been a death-blow to Taylor’s career, but he managed to find the only other guitarist in Britain at that time who might be considered up to Sheridan’s standard, Joe Moretti — who Taylor nicknamed Scotty Moretti, partly because Moretti was Scottish, but mostly because it would make his name similar to that of Scotty Moore, Elvis’ guitarist, and Taylor could shout out “take it, Scotty!” on the solos. While Sheridan’s style was to play frantic Chuck Berry-style licks, Moretti was a more controlled guitarist, but just as inventive, and he had a particular knack for coming up with riffs. And he showed that knack on Taylor’s next single, the first to be credited to Vince Taylor and the Playboys, rather than just to Vince Taylor. The A-side of that single was rather poor — a cover version of Johnny Ace’s “Pledging My Love”, which was done no favours by Taylor’s vocal: [Excerpt: Vince Taylor and the Playboys, “Pledging My Love”] But it was the B-side that was to become a classic. From the stories told by the band members, it seems that everyone knew that that song — one written by Taylor, who otherwise barely ever wrote songs, preferring to perform cover versions — was something special. But the song mentioned two different brand names, Cadillac and Ford, and the BBC at that time had a ban on playing any music which mentioned a brand name at all. So “Brand New Cadillac” became a B-side, but it’s undoubtedly the most thrilling B-side by a British performer of the fifties, and arguably the only true fifties rock and roll classic by a British artist. “Move It” by Cliff Richard had been a good record by British standards — “Brand New Cadillac” was a great record by any standards: [Excerpt: Vince Taylor and the Playboys, “Brand New Cadillac”] Unfortunately, because “Pledging My Love” was the A-side, the record sold almost nothing, and didn’t make the charts. After two flops in a row, Parlophone dropped Vince Taylor and the Playboys, and Taylor went back to performing at the 2Is with whatever random collection of musicians he could get together. Brian Bennett and Licorice Locking, meanwhile, went on to join Marty Wilde’s band the Wildcats, and scored an immediate hit with Wilde’s rather decent cover version of Dion and the Belmonts’ “Teenager in Love”: [Excerpt: Marty Wilde and the Wildcats, “Teenager in Love”] Moretti, Locking, and Bennett will all turn up in our story in future episodes. Taylor’s career seemed to be over before it had really begun, but then he got a second chance. Palette Records was a small label, based in Belgium, which was starting operations in Britain. They didn’t have any big stars, but they had signed Janis Martin, who we talked about back in episode forty, and in August 1960 they put out her single “Here Today and Gone Tomorrow Love”: [Excerpt: Janis Martin, “Here Today and Gone Tomorrow Love”] And at the same time, they put out a new single by Vince Taylor, with a new lineup of Playboys. The A-side was a fairly uninspired ballad called “I’ll Be Your Hero”, very much in the style of Elvis’ film songs, but they soon switched to promoting the flip side, “Jet Black Machine”, which was much more in Taylor’s style. It wasn’t up to the standards of “Brand New Cadillac”, but it was still far more exciting than most of the records that were being made in the UK at the time: [Excerpt: Vince Taylor and the Playboys, “Jet Black Machine”] That seemed like it would be a turning point in Taylor’s career — according to one source I’ve read, it made the top twenty on the NME charts, though I haven’t been able to check those charts myself, and given how unreliable literally everything I’ve read about Taylor is, I don’t entirely trust that. But it was definitely more successful than his two previous singles, and the new lineup of Playboys were booked on a package tour of acts from the 2Is. Things seemed like they were about to start going Taylor’s way. But Taylor had always been a little erratic, and he started to get almost pathologically jealous. He would phone his girlfriend up every night before going on stage, and if she didn’t answer he’d skip the show, to drive to her house and find out what she was doing. And in November 1960, just before the start of the tour, he skipped out on the tour altogether and headed back to visit his family in the States. The band carried on without him, and became the backing group for Duffy Power, one of the many acts managed by Larry Parnes. Power desperately wanted to be a blues singer, but he was pushed into recording cover versions of American hits, like this one, which came out shortly after the Playboys joined him: [Excerpt: Duffy Power, “Whole Lotta Shakin’ Goin’ On”] The Playboys continued to back Power until June 1960, when they had a gig in Guildford, and a remarkable coincidence happened. They were unloading their equipment at the 2Is, to drive to Guildford with it, when Taylor walked round the corner. He’d just got back from the USA and happened to be passing, and they invited him along for the drive to the show. He came with them, and then Duffy Power, who was almost as unreliable as Taylor, didn’t turn up for the show. They invited Taylor to perform in his place, and he did, and blew the audience away. Power eventually turned up half-way through the show, got angry, punched the drummer in the face during the interval, and drove off again. The drummer got two stitches, and then they finished the show. Taylor was back with the Playboys, and Duffy Power was out, and so the next month when Power was booked for some shows in Paris, on a bill with Vince Eager and Wee Willie Harris, Taylor took his place there, too. France was about as far behind Britain in rock and roll terms as Britain was behind America, and no-one had ever seen anything like Vince Taylor. Taylor and the Playboys got signed to a French label, Barclay Records, and they became huge stars — Taylor did indeed get himself a brand new Cadillac, a pink one just like Elvis had. Taylor got nicknamed “le diable noir” — the black Devil — for his demonic stage presence, and he inspired riots regularly with his shows. A review of one of his performances at that time may be of interest to some listeners: “The atmosphere is like many a night club, but the teenagers stand round the dancing floor which you use as a stage. They jump on a woman with gold trousers and a hand microphone and then hit a man when he says “go away.” A group follows, and so do others, playing ‘Apache’ worse than many other bands. When the singer joins the band, the leather jacket fiends who are the audience, join in dancing and banging tables with chairs. The singers have to go one better than the audience, so they lie on the floor, or jump on a passing drummer, or kiss a guitar, and then hit the man playing it. The crowd enjoy this and many stand on chairs to see the fun, and soon the audience are all singing and shouting like one man, but he didn’t mind. Vince (Ron, Ron) Taylor finally appeared and joined the fun, and in the end he had so much fun that he had to rest. But in spite of this it had been a wonderful show, lovely show…lovely.” That was written by a young man from Liverpool named Paul McCartney, who was visiting Paris with his friend John Lennon for Lennon’s twenty-first birthday. The two attended one of Taylor’s shows there, and McCartney sent that review back to run in Mersey Beat, a local music paper. Lennon and McCartney also met Taylor, with whom they had a mutual friend, Tony Sheridan, and tried to blag their way onto the show themselves, but got turned down. While they were in Paris, they also got their hair cut in a new style, to copy the style that was fashionable among Parisian bohemians. When they got back to Liverpool everyone laughed at their new mop-top hairdos… Taylor kept making records while he was in Paris, mostly cover versions of American hits. Probably the best is his version of Chuck Willis’ “Whatcha Gonna Do?”: [Excerpt: Vince Taylor et ses Play-Boys, “Watcha Gonna Do (When Your Baby Leaves You)?”] But while Taylor was now a big star, his behaviour was becoming ever more erratic, not helped by the amphetamines he was taking to keep himself going during shows. The group quit en masse in November 1962, but he persuaded them back so they could play a two-week residency at the Star Club in Hamburg, before a group from Liverpool called the Beatles took over for Christmas. But Taylor only lasted four days of that two-week residency. Just before midnight on the fifth night, just before they were about to go on, he phoned his girlfriend in Paris, got no answer, decided she was out cheating on him, and flew off to Paris instead of playing the show. He phoned the club’s manager the next day to apologise and say he’d be back for that night’s show, but Horst Fascher, the manager, wasn’t as forgiving of Taylor as most promoters had been, and said that he’d shoot Taylor dead if he ever saw him again. The residency was cancelled, and the Playboys had to sell their mohair suits to Cliff Bennett and the Rebel Rousers to pay for their fare back to Paris. For the next few years, Taylor put out a series of fairly poor records with different backing groups, often singing sickly French-language ballads with orchestral backings. He tried gimmicks like changing from his black leather costume into a white leather one, but nothing seemed to work. His money was running out, but then he had one more opportunity to hit the big time again. Bobby Woodman, the drummer from the second lineup of the Playboys, had been playing with Johnny Hallyday, France’s biggest rock and roll star, under the stage name Bobbie Clarke, but then Hallyday was drafted and his band needed work. They got together with Taylor, and as Vince Taylor and the Bobbie Clarke Noise they recorded an EP of blues and rock covers that included a version of the Arthur Crudup song made famous by Elvis, “My Baby Left Me”. It was a quite extraordinary record, his best since “Brand New Cadillac” seven years earlier: [Excerpt: Vince Taylor and the Bobbie Clarke Noise, “My Baby Left Me”] They played the Paris Olympia again, this time supporting the Rolling Stones. Vince Taylor was on his way to the top again. And they had the prospect of an American record deal — Taylor’s sister Sheila had married Joe Barbera, and he’d started up a new label and was interested in signing Taylor. They arranged a showcase gig for him, and everyone thought this could be the big time. But before that, he had to make a quick trip to the UK. The group were owed money by a business associate there, and so Taylor went over to collect the money, and while he was there he went to Bob Dylan’s party, and dropped acid for the first time. And that was the end of Vince Taylor’s career. One of the things that goes completely unreported about the British teen idols of the fifties is that for whatever reason, and I can’t know for sure, there was a very high incidence of severe mental illness among them — an astonishingly high incidence given how few of them there were. Terry Dene was invalided out of the Army with mental health problems shortly after he was drafted. Duffy Power attempted suicide in the early sixties, and had recurrent mental health problems for many years. And Dickie Pride, who his peers thought was the most talented of the lot, ended up dead aged twenty-seven, after having spent time in a psychiatric hospital and suffering so badly he was lobotomised. Vince Taylor was the one whose mental problems have had the most publicity, but much of that has made his illness seem somehow glamorous or entertaining, so I want to emphasise that it was anything but. I spent several years working on a psychiatric ward, and have seen enough people with the same condition that Taylor had that I have no sense of humour about this subject at all. The rest of this podcast is about a man who was suffering horribly. Taylor had always been unstable — he had been paranoid and controlling, he had a tendency to make up lies about himself and act as if he believed them, and he led a chaotic lifestyle. And while normally LSD is safe even if taken relatively often, Taylor’s first acid trip was the last straw for his fragile mental health. He turned up at the showcase gig unshaven, clutching a bottle of Mateus wine, and announced to everyone that he was Mateus, the new Jesus, the son of God. When asked if he had the band’s money, he pulled out a hundred and fifty francs and set fire to it, ranting about how Jesus had turfed the money-lenders out of the temple. An ambulance was called, and the band did the show without him. They had a gig the next day, and Taylor turned up clean-shaven, smartly dressed, and seemingly normal. He apologised for his behaviour the night before, saying he’d “felt a bit strange” but was better now. But when they got to the club and he saw the sign saying “Vince Taylor and the Bobbie Clarke Noise”, he crossed “Vince Taylor” out, and wrote “Mateus” in a felt pen. During the show, instead of singing, he walked through the crowd, anointing them with water. He spent the next decade in and out of hospital, occasionally touring and recording, but often unable to work. But while he was unwell, “Brand New Cadillac” found a new audience. Indeed, it found several audiences. The Hep Stars, a band from Sweden who featured a pre-ABBA Benny Andersson, had a number one hit in Sweden with their reworking of it, just titled “Cadillac”, in 1965, just a month before Taylor’s breakdown: [Excerpt: Hep Stars, “Cadillac”] In 1971, Mungo Jerry reworked the song as “Baby Jump”, which went to number one in the UK, though they didn’t credit Taylor: [Excerpt: Mungo Jerry, “Baby Jump”] And in 1979, the Clash recorded a version of it for their classic double-album London Calling: [Excerpt: The Clash, “Brand New Cadillac”] Shortly after recording that, Joe Strummer of the Clash met up with Taylor, who spent five hours explaining to Strummer how the Duke and Duchess of Windsor were trying to kill him with poisoned chocolate cake. Taylor at that time was still making music, and trying to latch on to whatever the latest trend was, as in his 1982 single “Space Invaders”, inspired by the arcade game: [Excerpt: Vince Taylor, “Space Invaders”] But the new music he was making was almost an irrelevance — by this point he had become a legend in the British music industry, not for who he was in 1982, but for who he was in 1958, and he has had songs written about him by people as diverse as Adam Ant and Van Morrison. But his biggest influence came in the years immediately after his breakdown. Between 1966 and 1972, Taylor spent much of his time in London, severely mentally ill, but trying to have some kind of social life based on his past glories, reminding people that he had once been a star. One of the people he got to know in London in the mid-sixties was a young musician named David Jones. Jones was fascinated by Taylor, even though he’d never liked his music — Jones’ brother was schizophrenic, and he was worried that he would end up like his brother. Jones also wanted to be a rock and roll star, and had some mildly messianic ideas of his own. So a rock and roll star who thought he was Jesus — although he sometimes thought he was an alien, rather than Jesus, and sometimes claimed that Jesus *was* an alien — and who was clearly severely mentally ill, had a fascination for him. He talked later about not having been able to decide whether he was seeing Taylor as an example to follow or a cautionary tale, and about how he’d sat with Taylor outside Charing Cross Station while Taylor had used a magnifying glass and a map of Europe to show him all the sites where aliens were going to land. Several years later, after changing his name to David Bowie, Jones remembered the story of Vince Taylor, the rock and roll star who thought he was an alien messiah, and turned it into the story of Ziggy Stardust: [Excerpt: David Bowie, “Ziggy Stardust”] In 1983, Taylor retired to Switzerland with his new wife Nathalie. He changed his name back to Brian Holden, and while he would play the occasional gig, he tried as best he could to forget his past, and seems to have recovered somewhat from his mental illness. In 1991 he was diagnosed with cancer, and died of it three months later. Shortly before he died, he told a friend “If I die, you can tell them that the only period in my life where I was really happy was my life in Switzerland”.

Today we start afresh. It is a Monday and we are kicking it off with joy power and motivation. Cheers friends! Music: "Jupiter", Gustav Holst, Last Night of the Proms, Parlophone Records, 2007. --- This episode is sponsored by · Anchor: The easiest way to make a podcast. https://anchor.fm/app