Podcast appearances and mentions of Peter Gabriel

John Metcalfe was born in New Zealand but he's been British based for years. He's a celebrated arranger, composer, producer and violist. His music is a unique combination of classical, pop, electronica and who knows what else. He's worked with Andrea Bocelli, Blur, Peter Gabriel, George Michael, Coldplay and U2. He's a member of the classical Duke Quartet. He's also been part of the Durutti Column, a post punk outfit. He's been called “one of the UK's best, most consistently brilliant artists.”My featured song is “Ma Petite Fleur String Quartet”, my recent release. Spotify link.—-----------------------------------------------------------The Follow Your Dream Podcast:Top 1% of all podcasts with Listeners in 200 countries!Click here for All Episodes Click here for Guest List Click here for Guest Groupings Click here for Guest TestimonialsClick here to Subscribe Click here to receive our Email UpdatesClick here to Rate and Review the podcast—----------------------------------------CONNECT WITH JOHN:www.john-metcalfe.co.uk—----------------------------------------ROBERT'S LATEST RELEASE:“MA PETITE FLEUR STRING QUARTET” is Robert's latest release. It transforms his jazz ballad into a lush classical string quartet piece. Praised by a host of classical music stars.CLICK HERE FOR YOUTUBE LINKCLICK HERE FOR ALL LINKS—---------------------------------------ROBERT'S RECENT SINGLE“MI CACHIMBER” is Robert's recent single. It's Robert's tribute to his father who played the trumpet and loved Latin music.. Featuring world class guest artists Benny Benack III and Dave Smith on flugelhornCLICK HERE FOR YOUTUBE LINKCLICK HERE FOR ALL LINKS—--------------------------------------ROBERT'S LATEST ALBUM:“WHAT'S UP!” is Robert's latest compilation album. Featuring 10 of his recent singles including all the ones listed below. Instrumentals and vocals. Jazz, Rock, Pop and Fusion. “My best work so far. (Robert)”CLICK HERE FOR THE OFFICIAL VIDEOCLICK HERE FOR ALL LINKS—----------------------------------------Audio production:Jimmy RavenscroftKymera Films Connect with the Follow Your Dream Podcast:Website - www.followyourdreampodcast.comEmail Robert - robert@followyourdreampodcast.com Follow Robert's band, Project Grand Slam, and his music:Website - www.projectgrandslam.comYouTubeSpotify MusicApple MusicEmail - pgs@projectgrandslam.com  

Here we go again! Peter Gabriel is back (so soon!) with the forthcoming album, o/i, a follow-up to 2023's i/o. As before, a new track will be released each month to coincide with the full moon. The Tabletoppers discuss the first release, “Been Undone.”

We Sat Down With Rockstar Music Producer Bob Ezrin & Uncovered Insane Secrets! Take a masterclass in record production, creativity, and music career success with legendary producer Bob Ezrin. From working with Pink Floyd, Kiss, and Alice Cooper to embracing the rise of AI in music production, Bob shares secrets behind iconic albums, the importance of emotional intelligence in the studio, and how to nurture future music business talent. Tune in for game-changing insights into music production, mental health, and the ever-evolving music industry!

https://bbvproductions.co.uk/products/Faction-Paradox-The-Confession-of-Brother-Signet-AUDIO-DOWNLOAD-p389922366 The first season of the American science fiction horror drama television series Stranger Things premiered worldwide on the streaming service Netflix on July 15, 2016. The series was created by the Duffer Brothers, who also serve as executive producers along with Shawn Levy and Dan Cohen. This season stars Winona Ryder, David Harbour, Finn Wolfhard, Millie Bobby Brown, Gaten Matarazzo, Caleb McLaughlin, Natalia Dyer, Charlie Heaton, Cara Buono, and Matthew Modine, with Noah Schnapp, Joe Keery, and Shannon Purser in recurring roles. The first season of Stranger Things received critical acclaim, in particular for its originality, homages to the 1980s, characterization, tone, visuals, and performances (particularly those of Ryder, Harbour, Wolfhard, Brown, Heaton and Modine). Premise The first season begins on November 6, 1983, in a small town called Hawkins. Researchers at Hawkins National Laboratory open a rift to the "Upside Down," an alternate dimension that reflects the real world. A monstrous humanoid creature escapes and abducts a boy named Will Byers and a teenage girl. Will's mother, Joyce, and the town's police chief, Jim Hopper, search for Will. At the same time, a young psychokinetic girl who goes by the name "Eleven" escapes from the laboratory and assists Will's friends, Mike Wheeler, Dustin Henderson, and Lucas Sinclair, in their efforts to find Will.[1] Cast and characters See also: List of Stranger Things characters Main cast Winona Ryder as Joyce Byers[2] David Harbour as Jim Hopper[2] Finn Wolfhard as Mike Wheeler[3] Millie Bobby Brown[3] as Eleven ("El") Gaten Matarazzo as Dustin Henderson[3] Caleb McLaughlin as Lucas Sinclair[3] Natalia Dyer as Nancy Wheeler[3] Charlie Heaton as Jonathan Byers[3][4][5] Cara Buono as Karen Wheeler[6] Matthew Modine as Martin Brenner[7] Recurring Noah Schnapp as Will Byers Joe Keery as Steve Harrington Shannon Purser as Barbara "Barb" Holland[8] Joe Chrest as Ted Wheeler Ross Partridge as Lonnie Byers[9] Rob Morgan as Officer Powell John Paul Reynolds as Officer Callahan Randy Havens as Scott Clarke Catherine Dyer as Connie Frazier Aimee Mullins as Terry Ives[10] Amy Seimetz as Becky Ives Peyton Wich as Troy[11] Tony Vaughn as Principal Coleman Charles Lawlor as Mr. Melvald Tinsley and Anniston Price as Holly Wheeler Cade Jones as James Chester Rushing as Tommy H. Chelsea Talmadge as Carol Glennellen Anderson as Nicole Cynthia Barrett as Marsha Holland Jerri Tubbs as Diane Hopper Elle Graham as Sara Hopper Chris Sullivan as Benny Hammond Tobias Jelinek as lead agent Robert Walker-Branchaud as repairman agent Susan Shalhoub Larkin as Florence ("Flo") Episodes See also: List of Stranger Things episodes No. overall No. in season Title Directed by Written by Original release date 1 1 "Chapter One: The Vanishing of Will Byers" The Duffer Brothers The Duffer Brothers July 15, 2016 On November 6, 1983, in Hawkins, Indiana, a scientist is attacked by an unseen creature at a U.S. government laboratory. 12-year-old Will Byers encounters the creature and mysteriously vanishes while cycling home from a Dungeons & Dragons session with his friends Mike Wheeler, Dustin Henderson and Lucas Sinclair. The following day, Will's single mother Joyce Byers reports his disappearance to the police chief Jim Hopper, who starts a search but assures Joyce that almost all missing children are quickly found. The lab's director, Dr. Martin Brenner, investigates an organic substance oozing from the lab's basement, claiming that "the girl" cannot have gone far. A nervous young girl wearing a hospital gown wanders into a local diner. The owner, Benny, finds a tattoo of "011" on her arm and learns that her name is Eleven. Brenner, monitoring the phone lines, sends agents to the diner after Benny calls social services. The agents kill Benny, but Eleven manages to escape using telekinetic abilities. Joyce's phone short circuits after receiving a mysterious phone call that she believes is from Will. While searching for Will in the woods, Mike, Dustin, and Lucas come across Eleven. 2 2 "Chapter Two: The Weirdo on Maple Street" The Duffer Brothers The Duffer Brothers July 15, 2016 The boys bring Eleven to Mike's house, where they disagree on what to do. Mike formulates a plan for Eleven to pretend to be a runaway and seek help from his mother, Karen. Eleven refuses, however, revealing that "bad men" are after her. Will's brother Jonathan visits his estranged father Lonnie in Indianapolis to search for Will, but Lonnie rebuffs him. Hopper's search party discovers a scrap of hospital gown near the lab. After recognizing Will in a photograph and demonstrating her telekinesis, Eleven convinces the boys to trust her, as they believe she can find Will. Using the Dungeons & Dragons board, Eleven indicates that Will is on the "Upside Down" side of the board and is being hunted by the "Demogorgon" (the creature). Mike's sister Nancy and her friend Barbara 'Barb' Holland go to a party with Nancy's boyfriend Steve Harrington. Searching for Will near Steve's house, Jonathan secretly photographs the party. Joyce receives another call from Will, hears music playing from his stereo, and sees a creature coming through the wall. Left alone by the swimming pool, Barb is attacked by the Demogorgon and vanishes. 3 3 "Chapter Three: Holly, Jolly" Shawn Levy Jessica Mecklenburg July 15, 2016 Barb awakens in the Upside Down: a decaying, overgrown alternate dimension. She attempts to escape but is attacked by the Demogorgon. Joyce believes Will is communicating through pulses in light bulbs. Hopper visits Hawkins Lab, and the staff permits him to view doctored security footage from the night Will vanished, leading Hopper to investigate Brenner and discover his involvement with Project MKUltra and that a woman named Terry Ives alleged years earlier that Brenner took her daughter. Eleven recalls Brenner, whom she calls "Papa," punishing her for refusing to hurt a cat telekinetically. Steve destroys Jonathan's camera after discovering the photos from the party. Nancy later recovers a photo of Barb, simultaneously realizing that Barb is missing. Returning to Steve's house to investigate, Nancy finds Barb's untouched Volkswagen and encounters the Demogorgon but manages to escape. Joyce paints an alphabetic board on her wall with Christmas lights, allowing Will to sign to her that he is "RIGHT HERE" and that she needs to "RUN" as the Demogorgon comes through the wall. Believing Eleven knows where Will is, the boys ask her to lead them to him. Eleven leads them, to their frustration, to Will's house. From there they follow emergency vehicles to a nearby quarry just as Will's body is recovered from the water. 4 4 "Chapter Four: The Body" Shawn Levy Justin Doble July 15, 2016 Joyce refuses to believe that the body found at the quarry is Will's. Mike feels betrayed by Eleven until she proves that Will is still alive, channeling his voice through Mike's walkie-talkie. The boys theorize that Eleven could use a ham radio at their school to communicate with Will. Nancy notices a figure behind Barb in Jonathan's photo, which Jonathan realizes matches his mother's description of the Demogorgon. Nancy tells the police about Barb's disappearance. She later fights with Steve, who only cares about not getting in trouble with his father. Hopper has suspicions regarding the authenticity of the body found in the quarry when he learns that the usual coroner was sent home. Hopper confronts the state trooper who found it and beats him until he admits he was ordered to lie. The boys sneak Eleven into their school to use the radio, while Joyce hears Will's voice through her living room wall. Tearing away the wallpaper, she sees him. Eleven uses the radio to channel Will talking to his mother. Hopper goes to the morgue and finds that the body is a fake, and, suspecting that Brenner is responsible, breaks into the lab. 5 5 "Chapter Five: The Flea and the Acrobat" The Duffer Brothers Alison Tatlock July 15, 2016 Hopper searches the lab before being knocked out by the lab's guards. The boys ask their science teacher, Mr. Clarke, if it would be possible to travel between alternate dimensions, to which he answers that there could be a theoretical "gate" between dimensions. Hopper awakens at his house and finds a hidden microphone, realizing that Joyce was right the whole time. The boys follow their compasses, searching for a gate that could disrupt the Earth's electromagnetic field. Eleven recalls memories of being placed in a sensory-deprivation tank to telepathically eavesdrop on a man speaking Russian; while listening, she came across the Demogorgon. Fearing another encounter with the Demogorgon, Eleven redirects the compasses. Lucas misinterprets this as an act of betrayal, leading Mike and Lucas to fight and Eleven to telekinetically fling Lucas away from Mike. While Dustin and Mike tend to the unconscious Lucas, Eleven runs off. Nancy and Jonathan formulate a plan to kill the Demogorgon. While searching in the woods, they come across a small gate to the Upside Down. Nancy crawls through it but inadvertently draws the Demogorgon's attention. Jonathan unsuccessfully tries to look for Nancy, as the gate to the Upside Down begins to close. 6 6 "Chapter Six: The Monster" The Duffer Brothers Jessie Nickson-Lopez July 15, 2016 Jonathan pulls Nancy back through the gate. That night, Nancy is afraid to be alone and asks Jonathan to stay in her bedroom. Steve, attempting to reconcile with Nancy, sees them together through her bedroom window and assumes they are dating. Joyce and Hopper track down Terry Ives, who is catatonic and tended by her sister Becky. Becky explains that Terry was a Project MKUltra participant while unknowingly pregnant and that Terry believes Brenner kidnapped her daughter Jane at birth due to her supposed telekinetic and telepathic abilities. Nancy and Jonathan stockpile weapons to kill the Demogorgon, theorizing that it is attracted by blood. Steve is brutally beaten up in a fistfight with Jonathan after he insults Will and calls Nancy a slut. Jonathan is arrested and held at the police station for beating up Steve and inadvertently punching one of the responding officers in the face. Eleven walks into a grocery store and shoplifts several boxes of Eggo waffles. Searching for Eleven, Mike and Dustin are ambushed by two bullies but are rescued by her, as she uses her powers to break one bully's arm after he attempts to kill Mike. Eleven collapses and recalls being asked by Brenner to contact the Demogorgon and, in her terror, inadvertently opening the gate. She tearfully admits to Mike that she is responsible for allowing the Demogorgon to enter this dimension. Lucas sees agents, who have tracked down Eleven, preparing to ambush Mike's house. 7 7 "Chapter Seven: The Bathtub" The Duffer Brothers Justin Doble July 15, 2016 Lucas warns Mike that agents are searching for Eleven. Mike, Dustin, and Eleven flee the house. Eleven telekinetically flips one of the vans that block their path as the kids escape. Lucas reconciles with Mike and Eleven, and the kids hide in the junkyard. Nancy and Jonathan reveal their knowledge of the Demogorgon to Joyce and Hopper. Hopper also learns that Eleven is with the kids. The group contacts the kids, and everyone meets at the Byers' house. Joyce and Hopper realize that Eleven is Jane Ives. The group asks Eleven to search for Will and Barb telepathically, but her earlier feats have weakened her. They break into the middle school and build a makeshift sensory deprivation tank to amplify Eleven's powers. After telepathically entering the Upside Down again, Eleven finds Barb dead and Will alive, hiding in the Upside Down version of his backyard fort. Realizing that the gate is in the basement of the lab, Hopper and Joyce break into the lab and are apprehended by security guards. Nancy and Jonathan sneak into the police station to retrieve the weapons they purchased previously, planning to lure and kill the Demogorgon. In the Upside Down, the Demogorgon breaks into Will's fort. 8 8 "Chapter Eight: The Upside Down" The Duffer Brothers Story by : Paul Dichter Teleplay by : The Duffer Brothers July 15, 2016 Hopper, haunted by the death of his daughter Sara from cancer years earlier, gives up Eleven's location to Brenner, who in exchange allows Hopper and Joyce to enter the Upside Down to rescue Will. Nancy and Jonathan cut their hands to attract the Demogorgon at the Byers' house. Steve, intending to apologize to Jonathan about their fight, arrives just as the Demogorgon appears. Steve, Nancy, and Jonathan fight the Demogorgon and light it on fire, forcing it to retreat to the Upside Down. Meanwhile, Eleven and the boys hide in the middle school when Brenner and his agents arrive to kidnap Eleven; she kills most of them before collapsing from exhaustion. As Brenner and his remaining agents pin Eleven and the boys down, the Demogorgon appears, attracted by the dead agents' blood, and attacks Brenner and the remaining agents as the boys escape with Eleven. Hopper and Joyce enter the Upside Down's version of the Hawkins library, where they encounter several corpses of the Demogorgon's victims, including Barb, and find Will unconscious with a tendril down his throat. Hopper revives him using CPR after removing the tendril. The Demogorgon corners the kids, but Eleven recovers from her exhaustion and disintegrates it, causing them both to disappear. Will recovers in the hospital, reuniting with his family and friends. One month later, it is Christmas and Nancy is back together with Steve, and both are friends with Jonathan. Will coughs up a slug-like creature and has a vision of the Upside Down, but hides this from his family. Production Development Ross (left) and Matt Duffer, the creators of the series Stranger Things was created by Matt and Ross Duffer, known professionally as the Duffer Brothers.[12] The two had completed writing and producing their 2015 film Hidden, which they had tried to emulate the style of M. Night Shyamalan, however, due to changes at Warner Bros., its distributor, the film did not see a wide release and the Duffers were unsure of their future.[13] To their surprise, television producer Donald De Line approached them, impressed with Hidden's script, and offered them the opportunity to work on episodes of Wayward Pines alongside Shyamalan. The brothers were mentored by Shyamalan during the episode's production so that when they finished, they felt they were ready to produce their own television series.[14] The Duffer Brothers prepared a script that would essentially be similar to the series' actual pilot episode, along with a 20-page pitch book to help shop the series around for a network.[15] They pitched the story to a number of cable networks, all of which rejected the script on the basis that they felt a plot centered around children as leading characters would not work, asking them to make it a children's show or to drop the children and focus on Hopper's investigation in the paranormal.[14] In early 2015, Dan Cohen, the VP of 21 Laps Entertainment, brought the script to his colleague Shawn Levy. They subsequently invited The Duffer Brothers to their office and purchased the rights for the series, giving full authorship of it to the brothers. After reading the pilot, the streaming service Netflix purchased the whole season for an undisclosed amount;[16] the show was subsequently announced for a planned 2016 release by Netflix in early April 2015.[17] The Duffer Brothers stated that at the time they had pitched to Netflix, the service had already been recognized for its original programming, such as House of Cards and Orange Is the New Black, with well-recognized producers behind them, and were ready to start giving upcoming producers like them a chance.[15] The brothers started to write out the series and brought Levy and Cohen in as executive producers to start casting and filming.[18] The series was originally known as Montauk, as the setting of the script was in Montauk, New York and nearby Long Beach locations.[17][19] The brothers had chosen Montauk as it had further Spielberg ties with the film Jaws, where Montauk was used for the fictional setting of Amity Island.[20] After deciding to change the narrative of the series to take place in the fictional town of Hawkins instead, the brothers felt they could now do things to the town, such as placing it under quarantine, that they really could not envision with a real location.[20] With the change in location, they had to come up with a new title for the series under the direction from Netflix's Ted Sarandos so that they could start marketing it to the public. The brothers started by using a copy of Stephen King's Firestarter novel to consider the title's font and appearance and came up with a long list of potential alternatives. Stranger Things came about as it sounded similar to another King novel, Needful Things, though Matt noted they still had a "lot of heated arguments" over this final title.[21] Writing The idea of Stranger Things started with how the brothers felt they could take the concept of the 2013 film Prisoners, detailing the moral struggles a father goes through when his daughter is kidnapped, and expand it out over eight or so hours in a serialized television approach. As they focused on the missing child aspect of the story, they wanted to introduce the idea of "childlike sensibilities" they could offer and toyed around with the idea of a monster that could consume humans. The brothers thought the combination of these things "was the best thing ever". To introduce this monster into the narrative, they considered "bizarre experiments we had read about taking place in the Cold War" such as Project MKUltra, which gave a way to ground the monster's existence in science rather than something spiritual. This also helped them to decide on using 1983 as the time period, as it was a year before the film Red Dawn came out, which focused on Cold War paranoia.[14] Subsequently, they were able to use all their own personal inspirations from the 1980s, the decade they were born, as elements of the series,[14][22] crafting it in the realm of science fiction and horror.[23] The Duffer Brothers have cited as influence for the show (among others): Stephen King novels; films produced by Steven Spielberg, John Carpenter, Wes Craven, Robert Zemeckis, George Lucas and Guillermo del Toro; films such as Alien and Stand by Me; Japanese anime such as Akira and Elfen Lied; and video games such as Silent Hill and The Last of Us.[21][24][25][26][27][28][29][30][31] With Netflix as the platform, The Duffer Brothers were not limited to a typical 22-episode format, opting for the eight-episode approach. They had been concerned that a 22-episode season on broadcast television would be difficult to "tell a cinematic story" with that many episodes. Eight episodes allowed them to give time to characterization in addition to narrative development; if they had less time available, they would have had to remain committed to telling a horror film as soon as the monster was introduced and abandon the characterization.[15] Within the eight episodes, the brothers aimed to make the first season "feel like a big movie" with all the major plot lines completed so that "the audience feels satisfied", but left enough unresolved to indicate "there's a bigger mythology, and there's a lot of dangling threads at the end", something that could be explored in further seasons if Netflix opted to create more.[32] While explaining their intentions for the show, the Duffers adamantly stated their intentions to not explain the mythology in the show so they could leave a mystery and lot for the audience to speculate over their lack of understanding by the season finale, which they accepted but asked to be explained about at the very least, which they found like a really good exercise as they spent quite a bit of time with their writers' room figuring out exactly what the Upside Down would actually consist for, writing a 20-page mythology document whose details wouldn't be clarified for the audience until the show's fifth and final season.[33] Regarding writing for the children characters of the series, The Duffer Brothers considered themselves as outcasts from other students while in high school and thus found it easy to write for Mike Wheeler and his friends, and particularly for Barbara "Barb" Holland.[21] Joyce Byers was fashioned after Richard Dreyfuss's character Roy Neary in Close Encounters of the Third Kind, as she appears "absolutely bonkers" to everyone else as she tries to find her son Will Byers.[34] Other characters, such as Billy in the second season, have more villainous attributes that are not necessarily obvious from the onset; Matt explained that they took further inspiration from Stephen King for these characters, as King "always has really great human villains" that may be more malicious than the supernatural evil.[35] Casting The Duffers cast David Harbour as Sheriff Hopper believing this was his opportunity to play a lead character in a work. In June 2015, it was announced that Winona Ryder and David Harbour had joined the series as Joyce and as the unnamed chief of police, respectively.[2] The brothers' casting director Carmen Cuba had suggested Ryder for the role of Joyce, which the two were immediately drawn to because of her prominence in 1980s films.[14] Levy believed Ryder could "wretch up the emotional urgency and yet find layers and nuance and different sides of [Joyce]". Ryder praised that the show's multiple storylines required her to act for Joyce as "she's out of her mind, but she's actually kind of onto something", and that the producers had faith she could pull off the difficult role.[36] Upon being offered the role, Ryder felt intrigued at being given the pilot's script due to know knowing what streaming was and finding it "terrifying", with her sole condition to the Duffers for accepting the role being that, if a Beetlejuice sequel ever materialized as she and Tim Burton had been discussing since 2000, they had to let her take a break to shoot it, a condition the Duffers agreed and ultimately proved to work out when Beetlejuice Beetlejuice was greenlighted years later.[37] The Duffer Brothers had been interested in Harbour before, who until Stranger Things primarily had smaller roles as villainous characters, and they felt that he had been "waiting too long for this opportunity" to play a lead, while Harbour himself was thrilled by the script and the chance to play "a broken, flawed, anti-hero character".[21][38] Additional casting followed two months later with Finn Wolfhard as Mike, Millie Bobby Brown in an undisclosed role, Gaten Matarazzo as Dustin Henderson, Caleb McLaughlin as Lucas Sinclair, Natalia Dyer as Nancy Wheeler, and Charlie Heaton as Jonathan Byers]].[3] In September 2015, Cara Buono joined the cast as Karen Wheeler,[6] followed by Matthew Modine as Martin Brenner a month later.[7] Additional cast who recur for the first season include Noah Schnapp as Will,[3][5] Shannon Purser as Barbara "Barb" Holland,[8] Joe Keery as Steve Harrington,[39][5] and Ross Partridge as Lonnie Byers,[9] among others. Actors auditioning for the children's roles read lines from Stand By Me.[14] The Duffer Brothers estimated they went through about a thousand different child actors for the roles. They noted that Wolfhard was already "a movie buff" of the films from the 1980s period and easily filled the role, while they found Matarazzo's audition to be much more authentic than most of the other audition tapes, and selected him after a single viewing of his audition tape.[15] As casting was started immediately after Netflix greenlit the show, and prior to the scripts being fully completed, this allowed some of the actors' takes on the roles to reflect into the script. The casting of the young actors for Will and his friends had been done just after the first script was completed, and subsequent scripts incorporated aspects from these actors.[32] The brothers said Modine provided significant input on the character of Dr. Brenner, whom they had not really fleshed out before as they considered him the hardest character to write for given his limited appearances within the narrative.[34] Filming The brothers had desired to film the series around the Long Island area to match the initial Montauk concept. However, with filming scheduled to take place in November 2015, it was difficult to shoot in Long Island in the cold weather, and the production started scouting locations in and around the Atlanta, Georgia area. The brothers, who grew up in North Carolina, found many places that reminded them of their own childhoods in that area, and felt the area would work well with the narrative shift to the fictional town of Hawkins, Indiana.[20] The filming of the first season began on September 25, 2015, and was extensively done in Atlanta, Georgia, with The Duffer Brothers and Levy handling the direction of individual episodes.[40] Jackson served as the basis of the fictional town of Hawkins, Indiana.[41][42] Other shooting locations included the Georgia Mental Health Institute as the Hawkins National Laboratory site, Bellwood Quarry, Patrick Henry High School in Stockbridge, Georgia, for the middle and high school scenes,[43] Emory University's Continuing Education Department, the former city hall in Douglasville, Georgia, Georgia International Horse Park, the probate court in Butts County, Georgia, Old East Point Library and East Point First Baptist Church in East Point, Georgia, Fayetteville, Georgia, Stone Mountain Park, Palmetto, Georgia, and Winston, Georgia.[44] Set work was done at Screen Gem Studios in Atlanta.[44] The series was filmed with a Red Dragon digital camera.[34] Filming for the first season concluded in early 2016.[41] While filming, the brothers tried to capture shots that could be seen as homages to many of the 1980s references they recalled. Their goal was not necessarily to fill the work with these references, but instead to make the series seem to the viewer like a 1980s film.[21] They spent little time reviewing those works and instead went by memory. Matt further recognized that some of their filming homages were not purposely done but were found to be very comparable, as highlighted by a fan-made video comparing the show to several 1980s works side by side.[14][45] Matt commented on the video that "Some were deliberate and some were subconscious."[14] The brothers recognized that many of the iconic scenes from these 1980s films, such as with Poltergeist, was about "taking a very ordinary object that people deal with every day, their television set, and imbuing it with something otherworldly", leading to the idea of using the Christmas light strings for Will to communicate with Joyce.[21] The brothers attributed much of the 1980s feel to set and costume designers and the soundtrack composers that helped to recreate the era for them.[14] Lynda Reiss, the head of props, had about a $220,000 budget, similar to most films, to acquire artifacts of the 1980s, using eBay and searching through flea markets and estate sales around the Atlanta area. The bulk of the props were original items from the 1980s with only a few pieces, such as the Dungeons & Dragons books made as replicas.[46] Visual effects To create the aged effect for the series, a film grain was added over the footage, which was captured by scanning in film stock from the 1980s.[34] The Duffers wanted to scare the audience, but not to necessarily make the show violent or gory, following in line with how the 1980s Amblin Entertainment films drove the creation of the PG-13 movie rating. It was "much more about mood and atmosphere and suspense and dread than they are about gore", though they were not afraid to push into more scary elements, particularly towards the end of the first season.[34] The brothers had wanted to avoid any computer-generated effects for the monster and other parts of the series and stay with practical effects. However, the six-month filming time left them little time to plan out and test practical effects rigs for some of the shots. They went with a middle ground of using constructed props including one for the monster whenever they could, but for other shots, such as when the monster bursts through a wall, they opted to use digital effects. Post-production on the first season was completed the week before it was released on Netflix.[14] The title sequence uses closeups of the letters in the Stranger Things title with a red tint against a black background as they slide into place within the title. The sequence was created by the studio Imaginary Forces, formerly part of R/GA, led by creative director Michelle Doughtey.[47] Levy introduced the studio to The Duffer Brothers, who explained their vision of the 1980s-inspired show, which helped the studio to fix the concept the producers wanted. Later, but prior to filming, the producers sent Imaginary Forces the pilot script, the synth-heavy background music for the titles, as well as the various book covers from King and other authors that they had used to establish the title and imagery, and were looking for a similar approach for the show's titles, primarily using a typographical sequence. They took inspiration from several title sequences of works from the 1980s that were previously designed by Richard Greenberg under R/GA, such as Altered States and The Dead Zone. They also got input from Dan Perri, who worked on the title credits of several 1980s films. Various iterations included having letters vanish, to reflect the "missing" theme of the show, and having letters cast shadows on others, alluding to the mysteries, before settling into the sliding letters. The studio began working on the title sequence before filming and took about a month off during the filming process to let the producers get immersed in the show and come back with more input. Initially, they had been working with various fonts for the title and used close-ups of the best features of these fonts, but near the end the producers wanted to work with ITC Benguiat, requiring them to rework those shots. The final sequence is fully computer-generated, but they took inspiration from testing some practical effects, such as using Kodalith masks as would have been done in the 1980s, to develop the appropriate filters for the rendering software. The individual episode title cards used a "fly-through" approach, similar to the film Bullitt, which the producers had suggested to the studio.[48] Music Main articles: Music of Stranger Things and Stranger Things (soundtrack) The Stranger Things original soundtrack was composed by Michael Stein and Kyle Dixon of the electronic band Survive.[49] It makes extensive use of synthesizers in homage to 1980s artists and film composers including Jean-Michel Jarre, Tangerine Dream, Vangelis, Goblin, John Carpenter, Giorgio Moroder, and Fabio Frizzi.[50] According to Stein and Dixon, The Duffer Brothers had been fans of Survive's music, and used their song "Dirge" for the mock trailer that was used to sell the show to Netflix.[49][51] Once the show was green-lit, the Duffers contacted Survive around July 2015 to ask if they were still doing music; the two provided the production team with dozens of songs from their band's past to gain their interest, helping to land them the role.[49] Once aboard, the two worked with producers to select some of their older music to rework for the show, while developing new music, principally with character motifs.[51] The two had been hired before the casting process, so their motif demos were used and played over the actors' audition tapes, aiding in the casting selection.[51][52] The show's theme is based on an unused work Stein composed much earlier that ended up in the library of work they shared with the production staff, who thought that with some reworking would be good for the opening credits.[49] The first season's original soundtrack, consisting of 75 songs from Dixon and Stein split across two volumes, was released by Lakeshore Records. Digital release and streaming options were released on August 10 and 19, 2016 for the two volumes, respectively, while retail versions were available on September 16 and 23, 2016.[53][54] In addition to original music, Stranger Things features period music from artists including The Clash, Toto, New Order, The Bangles, Foreigner, Echo and the Bunnymen, Peter Gabriel and Corey Hart, as well as excerpts from Tangerine Dream, John Carpenter and Vangelis.[54][55] In particular, The Clash's "Should I Stay or Should I Go" was specifically picked to play at pivotal moments of the story, such as when Will is trying to communicate with Joyce from the Upside Down.[54] Music supervisor Nora Felder felt the song "furthered the story" and called it an additional, unseen, main character of the season.[56]

Happy New Year! To ring it in, and to celebrate 950 episodes, Desmond and Tom talk all about the influential British cosmic horror pulp hero: Professor Bernard Quatermass! In this episode, we talk about The Quatermass Xperiment (aka The Creeping Unknown), Quatermass 2 (aka Enemy from Space), Quatermass and the Pit (aka Five Million Years to Earth), and the four part TV serial The Quatermass Conclusion (aka Quatermass). Songs included: "Dead Astronauts" by The Gizmos, "Rocket Freak" by Monster Magnet, "They Came from Space" by Unto Others, "Intruder" by Peter Gabriel, "The Hippy Killers" by Bad Religion, and "Eye of Mars" by Imperial Triumphant. Send feedback to: dreadmediapodcast@gmail.com. Follow @DevilDinosaurJr and @dreadmedia on Twitter! Join the Facebook group! Support the show at www.patreon.com/dreadmedia. Visit www.desmondreddick.com, www.stayscary.wordpress.com, www.dreadmedia.bandcamp.com, www.kccinephile.com, and www.dejasdomicileofdread.blogspot.com.

Peter Gabriel achieved his biggest solo success in 1986 with the album So. Not only did it produce some of the most memorable music videos of the decade, but it also produced some of the best songs. It took a number of years before the proper follow-up, Us, was released in 1992. By then things had changed but, in many ways, Gabriel had not. 

Nach dreiwöchiger Sounds!-Pause ist die liebste Musikshow der Nation wieder zurück. Sounds! legte zwar die Füsse hoch, die Musikindustrie war aber weiterhin fleissig: Neues von Doechii und SZA, Albumankündigung von Peter Gabriel und ein neues Projekt von Alt-J-Frontmann Joe Newman. Wir hören durch!

- Brighteon's AI Developments and New Applications (0:00) - Creating a Song in the Style of Peter Gabriel (1:10) - AI's Role in Enhancing Human Life and Economic Disruptions (3:12) - The Great Divergence Song and Music Video (4:38) - AI Mimicry and Its Ethical Implications (12:22) - Silver Market and China's Impact (12:42) - Economic and Political Predictions for 2026 (31:18) - The American Tax Revolt Begins (57:40) - Alternative Solutions to Government Taxation (1:19:02) - Preparing for Economic Collapse and Currency Reset (1:24:39) - Mike Adams' Introduction and 2026 Outlook (1:27:45) - Dave DeCamp's Assessment of 2026 Conflicts (1:29:13) - Trump's Campaign Promises vs. Reality (1:30:21) - Impact of Trump's Loyalty to Netanyahu on Midterms (1:32:23) - Trump's Relationship with Al Qaeda Leaders (1:36:23) - Trump's Threats to Strike Iran Again (1:38:01) - Geopolitical Implications of Iran's Missile Capabilities (1:52:28) - The Role of Antiwar.com in Promoting Peace (1:52:51) - The Political Left and Right on War (1:54:53) - The Economic Cost of War (2:01:31) - The Future of Warfare and US-China Relations (2:11:14) For more updates, visit: http://www.brighteon.com/channel/hrreport  NaturalNews videos would not be possible without you, as always we remain passionately dedicated to our mission of educating people all over the world on the subject of natural healing remedies and personal liberty (food freedom, medical freedom, the freedom of speech, etc.). Together, we're helping create a better world, with more honest food labeling, reduced chemical contamination, the avoidance of toxic heavy metals and vastly increased scientific transparency. ▶️ Every dollar you spend at the Health Ranger Store goes toward helping us achieve important science and content goals for humanity: https://www.healthrangerstore.com/ ▶️ Sign Up For Our Newsletter: https://www.naturalnews.com/Readerregistration.html ▶️ Brighteon: https://www.brighteon.com/channels/hrreport ▶️ Join Our Social Network: https://brighteon.social/@HealthRanger ▶️ Check In Stock Products at: https://PrepWithMike.com

SPÉCIALE BEATLES PROG COVERS !  Pour ce premier numéro de 2026 en direct et dès le 1er jour de l'année, il nous fallait bien quelque chose de spécial....Alors mes grandes oreilles se sont tournées vers les fab four, ce petit groupe anglais, fervent admirateur du rock américain des 50's, y ajoutant au cours de sa (finalement courte) carrière sa patte et son incroyable inventivité, versant dans le psychédélisme pour devenir à son tour inspirant pour bon nombre de musiciens de générations à venir et l'un des acteurs préfigurant la musique progressive....Et puis juste parce que je suis fan !

Peter Hammill has spent nearly six decades building the most devoted following imaginable – Bowie, Peter Gabriel and Mark E Smith among them. ‘Rock And Role' tells his invigorating story, beautifully illustrated with photos, cuttings, artwork and memorabilia. Author Joe Banks looks back at his life, impact and captivating way with words, and stops off at … … the value of looks and charisma in the days when labels hadn't the faintest idea of the future … how Hammill “created a world to live inside and broadcast from” … psychedelic cabaret with wolf masks and blood capsules … meeting Hammill's muse and former girlfriend Alice: “50 years later, each still think the other one left them” … “songs that ask the big questions about life” … discovering VDGG in 1984 (via Marillion) and piecing together their story in the days before the internet … public school, Gilbert & Sullivan and the Hallelujah Chorus … the influence of A Plague of Lighthouse Keepers on Genesis' Supper's Ready … his plans with Mark E Smith and how Bowie had every new album delivered to him all his life … Charisma, Tony Stratton-Smith and the freedom to experiment … the intensity of his following in Japan and Italy: “there's no such thing as a casual Hammill fan”. Order ‘Rock And Role' here: https://burningshed.com/store/kingmakerHelp us to keep The Longest Conversation In Rock going: https://www.patreon.com/wordinyourear Hosted on Acast. See acast.com/privacy for more information.

Peter Hammill has spent nearly six decades building the most devoted following imaginable – Bowie, Peter Gabriel and Mark E Smith among them. ‘Rock And Role' tells his invigorating story, beautifully illustrated with photos, cuttings, artwork and memorabilia. Author Joe Banks looks back at his life, impact and captivating way with words, and stops off at … … the value of looks and charisma in the days when labels hadn't the faintest idea of the future … how Hammill “created a world to live inside and broadcast from” … psychedelic cabaret with wolf masks and blood capsules … meeting Hammill's muse and former girlfriend Alice: “50 years later, each still think the other one left them” … “songs that ask the big questions about life” … discovering VDGG in 1984 (via Marillion) and piecing together their story in the days before the internet … public school, Gilbert & Sullivan and the Hallelujah Chorus … the influence of A Plague of Lighthouse Keepers on Genesis' Supper's Ready … his plans with Mark E Smith and how Bowie had every new album delivered to him all his life … Charisma, Tony Stratton-Smith and the freedom to experiment … the intensity of his following in Japan and Italy: “there's no such thing as a casual Hammill fan”. Order ‘Rock And Role' here: https://burningshed.com/store/kingmakerHelp us to keep The Longest Conversation In Rock going: https://www.patreon.com/wordinyourear Hosted on Acast. See acast.com/privacy for more information.

Peter Hammill has spent nearly six decades building the most devoted following imaginable – Bowie, Peter Gabriel and Mark E Smith among them. ‘Rock And Role' tells his invigorating story, beautifully illustrated with photos, cuttings, artwork and memorabilia. Author Joe Banks looks back at his life, impact and captivating way with words, and stops off at … … the value of looks and charisma in the days when labels hadn't the faintest idea of the future … how Hammill “created a world to live inside and broadcast from” … psychedelic cabaret with wolf masks and blood capsules … meeting Hammill's muse and former girlfriend Alice: “50 years later, each still think the other one left them” … “songs that ask the big questions about life” … discovering VDGG in 1984 (via Marillion) and piecing together their story in the days before the internet … public school, Gilbert & Sullivan and the Hallelujah Chorus … the influence of A Plague of Lighthouse Keepers on Genesis' Supper's Ready … his plans with Mark E Smith and how Bowie had every new album delivered to him all his life … Charisma, Tony Stratton-Smith and the freedom to experiment … the intensity of his following in Japan and Italy: “there's no such thing as a casual Hammill fan”. Order ‘Rock And Role' here: https://burningshed.com/store/kingmakerHelp us to keep The Longest Conversation In Rock going: https://www.patreon.com/wordinyourear Hosted on Acast. See acast.com/privacy for more information.

Savage Garden frontman Darren Hayes has lived quite the life.Hitting Number 1 around the world in 1997 with their debut album, he recently shared what was going on behind the scenes at that time, in his beautiful and devastating memoir, Unlovable.When he joined Zan Rowe to Take 5 back in 2024, he shared a whole new side of one of Australia's biggest stars.Peter Gabriel - 'Love To Be Loved'This is one of the Best Bits from Take 5. You can hear the full episode here: https://www.abc.net.au/listen/programs/take-5/darren-hayes-take-5-love-songs/104604586

Helen and Gavin chat about Sentimental Value, Hamnet, Wake Up Dead Man, and Jay Kelly and it's Week 29 of the list of Grammy Record of the Year Winners from 1987, which will be picked from Sledgehammer by Peter Gabriel, Greatest Love of All by Whitney Houston, Addicted to Love by Robert Palmer, That's What Friends Are For by Dionne Warwick and Friends, and Higher Love by Steve Winwood.

Hoy en La Gran Travesía viajamos hasta el año 1986 en un programa donde podréis escuchar a Iggy Pop, Depeche Mode, Green River, Guns N´ Roses, Police, Tesla, New Model Army, Megadeth, Talking Heads, Beastie Boys, Bon Jovi, Paul Simon, Joe Satriani, Genesis, Peter Gabriel.. También recordaros que ya podéis comprar La gran travesía del rock, un libro interactivo. Jimi y Janis, dos periodistas musicales, vienen de 2027, un mundo distópico y delirante donde el reguetón tiene (casi) todo el poder... pero ellos dos, deciden alistarse al GLP para viajar en el tiempo, salvar el rock, rescatar sus archivos ocultos y combatir la dictadura troyana del FPR. ✨ El libro ya está en diversas tiendas, Amazon, Fnac y también en La Montaña Mágica, por ejemplo https://www.amazon.es/GRAN-TRAVES%C3%8DA-DEL-ROCK-autoestopista/dp/8419924938 ▶️ Y ya sabéis, si os gusta el programa y os apetece, podéis apoyarnos y colaborar con nosotros por el simple precio de una cerveza al mes, desde el botón azul de iVoox, y así, además podéis acceder a todo el archivo histórico exclusivo. Muchas gracias también a todos los mecenas y patrocinadores por vuestro apoyo: Daen Cho, Diego Román, Tole, Raquel, Poncho C, Contell Carles, Sergio Rodríguez Rojas, Javier, Jose Antonio Moral, Juanito, Octavio Oliva, Andreea Deea, Samuel Sánchez, Igor Gómez Tomás, Matías Ruiz Molina, Eduardo Villaverde Vidal, Víctor Fernández Martínez, Rami, Leo Giménez, Alberto Velasco, Poncho C, Francisco Quintana, Con, Tete García, Jose Angel Tremiño, Marco Landeta Vacas, Oscar García Muñoz, Raquel Parrondo, Nacho, Javito, Alberto, Moy, Dani Pérez, Santi Oliva, Vicente DC, Leticia, Melomanic, Arturo Soriano, Gemma Codina, Raquel Jiménez, Pedro, SGD, Raul Andres, Tomás Pérez, Pablo Pineda, Quim Goday, Enfermerator, Joaquín, Horns Up, Victor Bravo, Fonune, Francisco González, Marcos Paris, Daniel A, Redneckman, Elliott SF, Sementalex, Miguel Angel Torres, Suibne, Noyatan, Iván Menéndez, Niksisley y a los mecenas anónimos.

Good Morning, ‘Hark!' ‘Do you hear what I hear?' ‘They said there'd be snow this Christmas; they said there'd be peace on earth' ‘Do they know it's Christmas?' ‘I pray God it's our last!' Throughout the land the lyrics of Christmas songs are being piped in shopping centres and pubs and, loved or loathed, we sing along. This year's official Christmas No1 will be decided on Friday. Current favourite is Kylie, with oldies from George Michael and Slade chasing hard. As Slade's Noddy Holder sings; ‘Does your granny always tell ya that the old songs are the best.' Then, in a tradition begun by Lennon and taken up by Rage Against The Machine, there are the Christmas protest songs. This year's from Brian Eno and Peter Gabriel with ‘Lullaby', a song for Gaza, and Billy Bragg's ‘Put Christ Back Into Christmas', with Bragg asking us ‘to stand with those who need the most' and reminding us that Christmas celebrates the birth of a refugee. It seems very British to me that we are free to mix protest in with sentimentality and silliness. The Christmas story is spacious enough to contain all our hopes and fears, our joy and praise, our rage and indifference. Even our scrooge-iest revulsion. For I contend that the birth of Christ is itself a kind of cosmic protest song. The original Christmas No.1 was after all sung by angels to people at the margins of society: the young Mary and Shepherds, those far from the corridors of power and status; a startling song that announces a change to the status quo, a tune sweeter and louder than the prevailing mood music of despair, the monotonous dirge of violence and oppressive power, of one bad thing after another: ‘Do not be afraid' it declares. ‘There will be peace on earth.' It's arguable that we might never have heard this story had the message not been sung to people who were immediately in tune with it, and able to sing back in words of astonished wonder and praise: ‘he has scattered the proud, put down the mighty, exalted those of lowly degree.' Or ‘My eyes have seen your salvation.' Once you've ‘hailed the incarnate deity'; or seen the Godhead veiled in flesh, the chances are you're going to sing about it. Christmas invites the world to sing a different tune. I'd even suggest that part of the reason we still sing about it – even if we stray into sentiment - is that its core melody is like a pop tune or great carol you can't help but sing along with. ‘No. I can't get you out of my head; because God and sinners are reconciled; because mild he lays his glory by; the hopes and fears of all the years are met in thee; And so this is Christmas.'

This week on The Metro, Rev. Jeff Ivins brings you the sounds of the 80s with: Olivia Newton-John, Bow Wow Wow, Bronski Beat, Kate Pierson, Peter Gabriel, Annie Lennox, Sigue Sigue Sputnik, Violent Femmes, Adam & The Ants, David Byrne/Ghost Train Orchestra, Heaven 17, Greg Kihn, Gary Numan, and finishing off with Martika.

Green Day : Boulevard Of Broken Dreams La Reprise L'originale The Relatives : With Or Without You U2 : With Or Without You For Those I Love : I Have A Love King Crimson : Epitaph Yes : Roundabout Karnivool : Aozora Peter Gabriel : Red Rain Kanadia : I'm Falling Whitesnake : Still Of The Night La Reprise L'original Halestorm : Get Lucky Daft Punk : Get Lucky Mouth Ulcers : Western Horror Story Best Albums 1968. MC 5 : Kick Out The Jams The Jimi Hendrix Experience : All Along The Watchtower The Beatles : While My Guitar Gently Weeps The Rolling Stones : Street Fighting Man Cream : White Room Archive : Remains Of Nothing (Feat Band Of Skulls ) Public Service Broadcasting : I Was Always Dreaming (Mate Night Final Remix) Hébergé par Audiomeans. Visitez audiomeans.fr/politique-de-confidentialite pour plus d'informations.

Send us a message, so we know what you're thinking!Well, we made it! 100 episodes & still going strong!  (Except for a bit of a medical interlude for both of us.) Who'd have thought the views of a pair of opinionated Aussie music fans could have entertained so many for so long?   In this episode, we celebrate the artists, music & events we've covered over the last five years.  Mick's habit of tapping the table when he gets excited; Jeff's potty-mouth; The origin of the Globite School Bag as a staple of the program.    We look at where our listeners live – and how on Earth they find out about us!  Revisiting some of your favourite episodes shows how time has proven us right on some of our more strident opinions, such as “Roxy Music peaked in 1973”, and “Warren Zevon is one of the greatest songwriters ever”!  To top it all off, the soundtrack for five years of “Mick & The Phatman Talking Music” is awesome.  You're going to love it!!  See you next year.   Playlist:  100 EpisodesReferences: Globite Bags, music expertise, facts and experiences, “Baby, you can drive my car”, f-word, Roy & H.G., “This Sporting Life”, “Bludging on the Blind Side”, strong music opinions, accessible music, “Revolver”, Kurt Cobain's suicide, Nirvana, Far Out Magazine, 17 years old, Frankfurt, “How Good is Goodbye Yellow Brick Road”, Spandau Ballet, Elton John, Fairport Convention, Richard & Linda Thompson, Sandy Denny, Fotheringay, Robert Plant, "The Battle of Evermore", Led Zeppelin, “Bring it back!  Bring it back!”, Tommy, London Symphony Orchestra, "It's a Boy", Nick Lowe, “What's so funny about peace, love & understanding?”, "Cruel to Be Kind", "I Love the Sound of Breaking Glass",  "I Knew the Bride (When She Used to Rock 'n' Roll)", Rockpile, Dave Edmunds, Elvis Costello, Graham Parker, The Pretenders, Jarrah McCleary, Panama, Gordon Ramsay, “Supergroups”, Billy Idol. Shane McGowan's teeth, “Nick Cave - his early days”,Colin Greenwood, Rolling Stone Top 500 Songs of All Time, "Rust Never Sleeps", Neil Young, “My My, Hey Hey (Out of the Blue)", "Powderfinger"."Stranded", Roxy Music, “Futurist”, “For Your Pleasure”, The Angels, "Am I Ever Gonna See Your Face Again", "Take a Long Line", ” No Way!  Get Fucked!  Fuck Off!”, Nico, Leonard Cohen, John Cale, Sex Pistols, Siouxsie Sioux, Television, Warren Zevon, The Beatles, Coldplay, Weird Al Yankovic, Led Zeppelin, Bowie, Peter Gabriel, “Melt”, Rob Younger, Ozzy, Billy Idol, Artificial intelligence, Mick & the Phatman podcast art, 1001 Albums You Must Hear before You Die, Robert Dimery, “Machine Gun Etiquette”, The Damned 

I denne uges udsendelse skal vi desværre til at sige farvel til noget som har eksisteret lige siden vores fødeår. Det var nemlig i 1981 at TV-kanalen MTV åbnede i USA, og den kom med det samme til at ændre den måde lyttede (eller så) musik på. For et par uger siden blev det meddelt, at man fra 2026 lukker alle MTV's kanaler i Europa, og derfor tænkte vi, at det var på tide, at vi hyldede en af de største musikalske påvirkninger i vores liv. Vi er gået i arkiverne og det betyder, at det bliver til masser af klassiske klips fra MTV-programmer som European Top 20, Most Wanted, Yo! MTV Raps, Greatest Hits, MTV Dial og MTV Unplugged. Vi kommer også til at møde nogle af de fantastiske VJ's, deriblandt de to danskere Maiken Wexø og Thomas Madvig, og så spiller vi masser af musik fra forskellige MTV-kunstnere som Madonna, Dire Straits, Pat Benetar, Michael Jackson, 2 Unlimited, The Stone Roses, a-ha, The Cars og Peter Gabriel. Derudover kigger vi på af de mest sagnomspundne øjeblikke i musikhistorien, som selvfølgelig skete til MTV's helt egen prisuddeling, MTV Video Music Awards i 1984. Vi serverer Afternoon Tea for Helle Thornings mand Stephen Kinnock, Andy viser at han er glødende Rod Stewart fan, vi afslører hvem der åndede i et glas (som man så efterfølgende kunne vinde), og så bliver det også lige til et par afstikkere til en lidt chokeret Eddie Murphy, Al Agami som gæsterapper hos Ray Cokes, alt for tynde vinterjakker, en bankmand der ligner skuespilleren Andy Serkis, forvirrende tidszoner og dyre telefonregninger. Playliste: The Buggles - Video killed the radio star Pat Benetar - You better run Rod Stewart - She wont dance with me Dire Straits - Money for nothing Ray Cokes & The Sex Gods - Simply sexy Jade - Don't walk away 2 Unlimited - Tribal dance The Stone Roses - So young King - Love & pride The Cure - Just like heaven (Live at MTV Unplugged) Electronic - For you Madonna - Like a virgin (Live at MTV Video Music Awards 1984) The Cars - You might think Youssou N'Dour & Neneh Cherry - 7 seconds Aimee Mann - I should've known Michael Jackson - Thriller a-ha - Take on me Peter Gabriel - Sledgehammer

In this episode of Working Class Audio, Matt welcomes mastering and lathe cutting engineer Natalie Bibby who works at AIR Studios in the U.K.. Natalie has worked with Kraftwerk, Bring Me The Horizon, Lola Young, Jimmy Eat World, The Vaccines, Lewis Capaldi, GIRLI, and CATTYShe's also led a world-class mastering workshop at Peter Gabriel's Real World Studios, UK.In This Episode, We Discuss:Early musical influencesStarting in recording & mixingUniversity training & goalsMetropolis internship lessonsMoving into masteringLive cuts & direct-to-discHalf-speed mastering overviewLearning & mentorship insightsJoining AIR StudiosAIR StudiosValue of attended sessionsManaging client expectationsHybrid mastering workflowsHow mastering engineers listenCommon mixing problemsMusic Producers Guild Challenges for studiosAIR's cutting reputationVinyl cutting processMastering vs. cuttingAmerican mastering mystiqueLinks and Show Notes:AIR StudiosMusic Producers GuildMatt's Rant: How we present ourselvesCredits:Guest: Natalie BibbyHost/Engineer/Producer: Matt BoudreauWCA Theme Music: Cliff TruesdellThe Voice: Chuck Smith

Welcome to an extraordinary edition of the Takin’ A Walk podcast from Buzz Knight music and the “Master of Music Mayhem,” Harry Jacobs. This comprehensive look at weekly music history explores one of the most emotionally complex weeks in rock and roll history, spanning December 8th through December 14th. From tragic losses to groundbreaking debuts, this week encompasses the full spectrum of music history’s most pivotal moments. John Lennon’s Assassination: December 8, 1980 - A Day That Changed Music Forever The episode opens with perhaps the darkest day in rock music history: December 8, 1980, when John Lennon was shot and killed outside The Dakota apartment building in New York City. Buzz Knight and Harry Jacobs provide intimate personal recollections of this Beatles tragedy that shocked the world. For listeners of this weekly music history episode note the Buzz Knight music podcast replay of "Takin A Walk" with the incredible Julian Lennon. The Beatles Reunion: Free as a Bird and the Anthology Era Moving from tragedy to reunion, the episode explores December 9, 1995, when the Beatles released “Free as a Bird”—the first new Beatles music in 24 years. Both hosts were working together at WZLX in Boston during this momentous release, bringing their firsthand perspective to this Beatles reunion moment. The track, built around a John Lennon demo with contributions from Paul McCartney, George Harrison, and Ringo Starr, represented a technological and emotional achievement in music history. Harry admits his initial underwhelm with the track, noting that while “Free as a Bird” generated enormous curiosity worldwide, it never achieved the status of Beatles classics like “Ticket to Ride,” “Help!,” or songs from Sgt. Pepper’s Lonely Hearts Club Band. The honest assessment reflects how even beloved artists can struggle to recapture past magic, and both hosts acknowledge they haven’t revisited the song since its release. This candid discussion provides valuable context for understanding fan expectations versus artistic reality in music reunion projects. The Blues Brothers Phenomenon: From Saturday Night Live to Cultural Institution December 9, 1978 marks the Saturday Night Live debut of the Blues Brothers, a moment that transformed comedy sketch into legitimate musical force. The episode provides deep insights into how Dan Aykroyd and John Belushi created this blues and R&B supergroup, enlisting Paul Shaffer, Lou Marini, Duck Dunn, and Steve Cropper, who just passed away—the latter two being legendary members of Booker T. and the MGs and key figures in the Stax Records sound that defined Memphis soul music and produced classics like “Soul Man” and “Green Onions.” Howard Shore, who served as Saturday Night Live’s musical director, recognized the potential in Aykroyd and Belushi’s blues performances and helped facilitate their transition from comedy bit to recording artists. The hosts discuss how this comedy-music crossover assembled world-class musicians around a satirical concept that became genuinely respected in the music community. The Blues Brothers represented a unique fusion of comedy and music that introduced younger audiences to blues legends and R&B classics. The conversation explores Tom “Bones” Malone, a guest on Buzz’s podcast, who joined the Blues Brothers band and played trombone with Blood, Sweat & Tears before becoming part of the SNL band. The episode details the evolution of the band from initial concept to full touring and recording entity, with Buzz noting the impressive live performances featuring the Blues Brothers’ acrobatic stage show, where the larger-than-life Belushi performed cartwheels, splits, and handstands that would later inspire Chris Farley’s physical comedy style. The Blues Brothers soundtrack, featuring “Briefcase Full of Blues” and subsequent albums, has “stood the test of time” according to both hosts. Songs like “Rubber Biscuit,” performed with Matt “Guitar” Murphy, and the memorable Aretha Franklin diner scene where Jake orders “four fried chickens and a Coke,” remain embedded in popular culture. The authentic musicianship combined with comedic brilliance created something that transcended both genres, making the Blues Brothers a permanent fixture in American music history. Otis Redding’s Legacy and Tragic Death: December 10, 1967 The episode takes a somber turn with December 10, 1967, the day Otis Redding died in a plane crash near Madison, Wisconsin, along with members of the Bar-Kays. The timing of this tragedy magnifies its impact—Redding had recorded ”(Sittin’ On) The Dock of the Bay” just three days earlier, and the song hadn’t yet been released. The track became a posthumous number-one hit, cementing Redding’s status as one of soul music’s greatest artists, though he never lived to see its success. Wings Over America: McCartney’s Epic Live Album - December 10, 1976 December 10, 1976 brought the release of Wings Over America, Paul McCartney’s triple live album documenting his 1975-1976 tour with Wings. The episode explores the rarity of triple albums in music history, particularly live albums of such scope and ambition. The hosts discuss the bootleg album called “Wings from Wings” that allegedly forced McCartney’s hand, rushing the official release to market before bootleggers could dominate sales. Harry reveals the meticulous production process behind Wings Over America, noting that McCartney collected 8,000 hours of live recordings from the tour. The legendary Beatles bassist and singer then personally mixed the album, listening to five different versions of every song before selecting the best performances. The final album was crafted to sound like a single concert experience, though it actually represented the best moments culled from the entire tour—a production approach that set standards for live albums. The episode highlights how “Maybe I’m Amazed” from this album became the definitive version for many fans, surpassing even the studio recording in emotional power and musical execution. The album also featured several Beatles songs including “Yesterday” and “Bluebird,” allowing McCartney to honor his past while showcasing his post-Beatles work with Wings. This balance between Beatles nostalgia and new material demonstrated McCartney’s artistic evolution while satisfying longtime fans. Early Genesis and Progressive Rock Evolution December 11, 1972 saw Genesis release “Foxtrot,” their fifth studio album and a landmark in progressive rock history. The episode explores this Peter Gabriel-era Genesis and the band’s evolution through various lineups. Harry recalls “Watcher of the Skies” as a standout track, while both hosts discuss later Genesis classics like “The Carpet Crawlers” from “The Lamb Lies Down on Broadway.” The conversation reveals differing perspectives on Genesis eras, with Buzz preferring the Peter Gabriel period and later Phil Collins-fronted work, while Harry admits his fandom developed more during the “Trick of the Tail” era following Gabriel’s departure. This honest exchange reflects how progressive rock bands often created distinct identities across lineup changes, appealing to different audiences in different eras. Buzz shares a memorable concert experience seeing Genesis with double drumming featuring Phil Collins and Bill Bruford (renowned for his work with Yes and King Crimson). This unique configuration represented Genesis at a transitional moment, experimenting with expanded instrumentation before settling into the trio format that would define their later commercial success. The “Trick of the Tail” tour demonstrated the band’s ability to continue without their iconic frontman, eventually leading to Collins taking over lead vocals permanently. The episode takes an unexpected turn to December 12, 1901, when Guglielmo Marconi sent the first transatlantic radio signal from Cornwall to Newfoundland. This moment in broadcasting history laid the foundation for everything that followed, including the careers of Buzz and Harry as radio professionals. Harry jokes about Buzz working for Marconi in 1901, highlighting the self-deprecating humor that characterizes their chemistry while acknowledging that without Marconi’s invention, they would never have met or built careers in radio. This historical perspective reminds listeners that music distribution, radio broadcasting, and the entire infrastructure of modern music industry traces back to pioneering moments like Marconi’s transmission. The evolution of radio technology from those first signals to contemporary podcast production represents over a century of innovation that transformed how humans experience and share music globally. The Clash’s London Calling: Punk’s Masterpiece - December 14, 1979 December 14, 1979 saw the Clash release “London Calling” in the UK, a double album that transcended punk rock limitations to incorporate reggae, rockabilly, ska, and R&B influences. The hosts recall the album’s innovative approach, including the hidden track “Train in Vain,” which became a hit despite not being listed on the original album cover—a marketing trick that created mystique and rewarded attentive listeners. Support the show: https://takinawalk.com/See omnystudio.com/listener for privacy information.

Welcome to an extraordinary edition of the Takin’ A Walk podcast with host Buzz Knight and the self-proclaimed “Master of Music Mayhem,” Harry Jacobs. This comprehensive music history podcast episode explores one of the most emotionally complex weeks in rock and roll history, spanning December 8th through December 14th. From tragic losses to groundbreaking debuts, this week encompasses the full spectrum of music history’s most pivotal moments. John Lennon’s Assassination: December 8, 1980 - A Day That Changed Music Forever The episode opens with perhaps the darkest day in rock music history: December 8, 1980, when John Lennon was shot and killed outside The Dakota apartment building in New York City. Buzz Knight and Harry Jacobs provide intimate personal recollections of this Beatles tragedy that shocked the world. The Beatles Reunion: Free as a Bird and the Anthology Era Moving from tragedy to reunion, the episode explores December 9, 1995, when the Beatles released “Free as a Bird”—the first new Beatles music in 24 years. Both hosts were working together at WZLX in Boston during this momentous release, bringing their firsthand perspective to this Beatles reunion moment. The track, built around a John Lennon demo with contributions from Paul McCartney, George Harrison, and Ringo Starr, represented a technological and emotional achievement in music history. Harry admits his initial underwhelm with the track, noting that while “Free as a Bird” generated enormous curiosity worldwide, it never achieved the status of Beatles classics like “Ticket to Ride,” “Help!,” or songs from Sgt. Pepper’s Lonely Hearts Club Band. The honest assessment reflects how even beloved artists can struggle to recapture past magic, and both hosts acknowledge they haven’t revisited the song since its release. This candid discussion provides valuable context for understanding fan expectations versus artistic reality in music reunion projects. The Blues Brothers Phenomenon: From Saturday Night Live to Cultural Institution December 9, 1978 marks the Saturday Night Live debut of the Blues Brothers, a moment that transformed comedy sketch into legitimate musical force. The episode provides deep insights into how Dan Aykroyd and John Belushi created this blues and R&B supergroup, enlisting Paul Shaffer, Lou Marini, Duck Dunn, and Steve Cropper, who just passed away—the latter two being legendary members of Booker T. and the MGs and key figures in the Stax Records sound that defined Memphis soul music and produced classics like “Soul Man” and “Green Onions.” Howard Shore, who served as Saturday Night Live’s musical director, recognized the potential in Aykroyd and Belushi’s blues performances and helped facilitate their transition from comedy bit to recording artists. The hosts discuss how this comedy-music crossover assembled world-class musicians around a satirical concept that became genuinely respected in the music community. The Blues Brothers represented a unique fusion of comedy and music that introduced younger audiences to blues legends and R&B classics. The conversation explores Tom “Bones” Malone, a guest on Buzz’s podcast, who joined the Blues Brothers band and played trombone with Blood, Sweat & Tears before becoming part of the SNL band. The episode details the evolution of the band from initial concept to full touring and recording entity, with Buzz noting the impressive live performances featuring the Blues Brothers’ acrobatic stage show, where the larger-than-life Belushi performed cartwheels, splits, and handstands that would later inspire Chris Farley’s physical comedy style. The Blues Brothers soundtrack, featuring “Briefcase Full of Blues” and subsequent albums, has “stood the test of time” according to both hosts. Songs like “Rubber Biscuit,” performed with Matt “Guitar” Murphy, and the memorable Aretha Franklin diner scene where Jake orders “four fried chickens and a Coke,” remain embedded in popular culture. The authentic musicianship combined with comedic brilliance created something that transcended both genres, making the Blues Brothers a permanent fixture in American music history. Otis Redding’s Legacy and Tragic Death: December 10, 1967 The episode takes a somber turn with December 10, 1967, the day Otis Redding died in a plane crash near Madison, Wisconsin, along with members of the Bar-Kays. The timing of this tragedy magnifies its impact—Redding had recorded ”(Sittin’ On) The Dock of the Bay” just three days earlier, and the song hadn’t yet been released. The track became a posthumous number-one hit, cementing Redding’s status as one of soul music’s greatest artists, though he never lived to see its success. Wings Over America: McCartney’s Epic Live Album - December 10, 1976 December 10, 1976 brought the release of Wings Over America, Paul McCartney’s triple live album documenting his 1975-1976 tour with Wings. The episode explores the rarity of triple albums in music history, particularly live albums of such scope and ambition. The hosts discuss the bootleg album called “Wings from Wings” that allegedly forced McCartney’s hand, rushing the official release to market before bootleggers could dominate sales. Harry reveals the meticulous production process behind Wings Over America, noting that McCartney collected 8,000 hours of live recordings from the tour. The legendary Beatles bassist and singer then personally mixed the album, listening to five different versions of every song before selecting the best performances. The final album was crafted to sound like a single concert experience, though it actually represented the best moments culled from the entire tour—a production approach that set standards for live albums. The episode highlights how “Maybe I’m Amazed” from this album became the definitive version for many fans, surpassing even the studio recording in emotional power and musical execution. The album also featured several Beatles songs including “Yesterday” and “Bluebird,” allowing McCartney to honor his past while showcasing his post-Beatles work with Wings. This balance between Beatles nostalgia and new material demonstrated McCartney’s artistic evolution while satisfying longtime fans. Early Genesis and Progressive Rock Evolution December 11, 1972 saw Genesis release “Foxtrot,” their fifth studio album and a landmark in progressive rock history. The episode explores this Peter Gabriel-era Genesis and the band’s evolution through various lineups. Harry recalls “Watcher of the Skies” as a standout track, while both hosts discuss later Genesis classics like “The Carpet Crawlers” from “The Lamb Lies Down on Broadway.” The conversation reveals differing perspectives on Genesis eras, with Buzz preferring the Peter Gabriel period and later Phil Collins-fronted work, while Harry admits his fandom developed more during the “Trick of the Tail” era following Gabriel’s departure. This honest exchange reflects how progressive rock bands often created distinct identities across lineup changes, appealing to different audiences in different eras. Buzz shares a memorable concert experience seeing Genesis with double drumming featuring Phil Collins and Bill Bruford (renowned for his work with Yes and King Crimson). This unique configuration represented Genesis at a transitional moment, experimenting with expanded instrumentation before settling into the trio format that would define their later commercial success. The “Trick of the Tail” tour demonstrated the band’s ability to continue without their iconic frontman, eventually leading to Collins taking over lead vocals permanently. The episode takes an unexpected turn to December 12, 1901, when Guglielmo Marconi sent the first transatlantic radio signal from Cornwall to Newfoundland. This moment in broadcasting history laid the foundation for everything that followed, including the careers of Buzz and Harry as radio professionals. Harry jokes about Buzz working for Marconi in 1901, highlighting the self-deprecating humor that characterizes their chemistry while acknowledging that without Marconi’s invention, they would never have met or built careers in radio. This historical perspective reminds listeners that music distribution, radio broadcasting, and the entire infrastructure of modern music industry traces back to pioneering moments like Marconi’s transmission. The evolution of radio technology from those first signals to contemporary podcast production represents over a century of innovation that transformed how humans experience and share music globally. The Clash’s London Calling: Punk’s Masterpiece - December 14, 1979 December 14, 1979 saw the Clash release “London Calling” in the UK, a double album that transcended punk rock limitations to incorporate reggae, rockabilly, ska, and R&B influences. The hosts recall the album’s innovative approach, including the hidden track “Train in Vain,” which became a hit despite not being listed on the original album cover—a marketing trick that created mystique and rewarded attentive listeners. Support the show: https://musicsavedme.net/See omnystudio.com/listener for privacy information.

In dieser besonderen Live-Episode vom Studiosofa Podcast auf der LEaT con 2025 sprechen wir mit niemand Geringerem als Hans-Martin Buff – Grammy-Gewinner, Prince-Engineer, Peter-Gabriel-Mixer und Wegbereiter von immersiver Musikproduktion.Er berichtet über seinen Grammy für Peter Gabriels i/o Album, erklärt, warum Immersive Audio für ihn das kreativste Format unserer Zeit ist und verrät, wie er seine Karriere vom Assistenten in Minneapolis zum gefragten 3D-Audio-Mischer aufgebaut hat. Dazu teilt er ehrliche Einschätzungen zu Dolby Atmos, verrät seine Lieblings-Plug-ins und erklärt, warum „die Macht, Nein zu sagen“ sein wichtigstes Karriere-Werkzeug ist.Ein energiegeladenes Gespräch voller Insights, Humor, Ehrlichkeit und wertvollen Impulsen für Producer, Engineers und alle, die in 3D-Audio tiefer einsteigen wollen.Sound&Recording-Magazin | Studiosofa PodcastWebsite: ⁠⁠⁠soundandrecording-magazin.de⁠⁠⁠WhatsApp-Gruppe: ⁠⁠⁠soundandrecording-magazin.de/whatsapp⁠⁠⁠Instagram: ⁠⁠⁠@soundandrecording.magazin⁠⁠⁠YouTube: ⁠⁠⁠@StudiosofaPodcast⁠⁠⁠TikTok: ⁠⁠⁠⁠⁠@soundandrecording.mag⁠⁠⁠

Born and raised in Toronto, Canada, Ryan moved to London in 1998 to pursue postgraduate studies at the London School of Economics. Shortly after graduating, Ryan co-founded his first venture, iGabriel, one of the UK's first early-stage tech venture funds backed exclusively by CEOs and entrepreneurs such as Brent Hoberman, Lord Myners, Peter Gabriel and Harvey Goldsmith. After successfully merging with Pi Capital, Ryan went on to establish the UK arm of the Realstar Group of companies, a privatelyowned Canadian property investment and management company with over $9B of assets under management. Realstar is focused on hospitality and residential rental assets. 

Peter Gabriel's So is one of the most iconic art-pop albums of the 1980s, a record that blends emotional vulnerability, ambitious production, and global musical influences into something both personal and cinematic. After years of being known as the “enigmatic” former Genesis frontman—dabbling in experimental textures, avant-rock, and political themes—Gabriel pivoted toward a more accessible yet deeply crafted sound with So. The result was a creative crossroads where pop hooks met worldbeat rhythms, and cutting-edge studio techniques met soulful songwriting.At its heart, So is an album about connection—romantic, spiritual, and human. You can hear it in the yearning “In Your Eyes,” the playful and sensual “Sledgehammer,” the haunted introspection of “Red Rain,” and the grief-stricken storytelling of “Don't Give Up,” his duet with Kate Bush. The album pairs emotional depth with sonic brilliance: meticulously layered percussion, innovative sampling, and a wide palette of instruments from horns to synthesizers to traditional African rhythms.So also marked Gabriel's breakthrough into the mainstream, supported by visually groundbreaking music videos—especially “Sledgehammer,” which became a cultural phenomenon thanks to its stop-motion innovation. But the album remains far more than its singles. Its sequencing, flow, and emotional arc make it a cohesive, immersive listen that still feels fresh decades later.In short: So is a rare achievement—an art-rock album that became a pop classic without compromising its intelligence, experimentation, or emotional honesty. If you're exploring the most enduring albums of the '80s, this one is essential.

Send us a textIt is wife swap time once again on Nerdery and Murdery. Geoffrey jumps into the Nerdery seat and goes full fan mode with a deep dive into the world of Peter Gabriel, his music, his influence, and the sound that shaped a generation. Then Zig takes over the Murdery side and brings the powerful story of the Battle of Blair Mountain, one of the most important and explosive labor uprisings in American history. Nerd out. Murd up. Let's go!Support the show

In this episode of the XS Noize Podcast, Mark Millar is joined by legendary producer Steve Lillywhite — the Grammy-winning studio mastermind behind iconic records by U2, The Rolling Stones, Talking Heads, The Smiths, The Killers, Peter Gabriel, and many more. Steve talks about the release of a brand-new 4-track EP featuring a completely unreleased live version of "Fairytale of New York" — recorded at Glasgow Barrowlands in December 1987. This historic performance captures the first time The Pogues ever played the song live, and the first time Kirsty MacColl performed it onstage with the band. The EP is released on 12 December. Recorded by Steve himself — producer of the original version and then-husband of Kirsty MacColl — the Barrowlands tape offers a rare window into the early live life of what has become the UK's favourite Christmas song for over a decade. Originally charting at No. 2 in 1987, "Fairytale of New York" has returned to the UK Top 20 every year since 2005. Steve reflects on the making of the classic track, the energy of that unforgettable night in Glasgow, and key moments from across his remarkable career. Listen to Steve Lillywhite discuss the new EP, the legacy of Fairytale of New York, and the stories behind his legendary productions — exclusively on the XS Noize Podcast. About The XS Noize Podcast With over 250 episodes, the XS Noize Podcast has become a trusted home for music's legends and trailblazers — a space where real conversations meet real stories. Hosted by Mark Millar, the show has welcomed an extraordinary lineup including The Charlatans, Gary "Mani" Mounfield, Glen Matlock, Miles Kane, Matt Berninger, Saint Etienne, D:Ream, Gavin Rossdale, The Farm, Snow Patrol, John Lydon, Will Sergeant, Ocean Colour Scene, Gary Kemp, Doves, Gavin Friday, David Gray, Anton Newcombe, Peter Hook, Razorlight, Sananda Maitreya, James, Crowded House, Elbow, Cast, Kula Shaker, Shed Seven, Future Islands, Peter Frampton, Bernard Butler, Steven Wilson, Travis, New Order, The Killers, Tito Jackson, Simple Minds, The Divine Comedy, Shaun Ryder, Gary Numan, Sleaford Mods, and Michael Head — among many more. Explore the complete XS Noize Podcast archive here. New episodes drop weekly — subscribe for more in-depth conversations with the artists who shape our lives.

The Police - Can't Stand Losing You The Temptations - Get Ready Curtis Harding - Need Your Love The Rolling Stones - Jumpin' Jack Flash Two Door Cinema Club - What You Know The Kinks - You Really Got Me (Darren Flinders remix) Bronski Beat - Why Peter Gabriel - Sledgehammer Robbie Williams - SupR.E.M.e Alphaville - Big In Japan The Kaiser Chiefs - Ruby Harry Styles - Watermelon Sugar Ed Sheeran - Shape Of You Sombr - 12 To 12 The Weeknd - Open Hearts Foster The People - Lost In Space Scissor Sisters - Only The Horse Machine Gun Kelly Feat. Blackbear - My Ex's Best Friend Freddie Mercury - Living On My Own Hébergé par Audiomeans. Visitez audiomeans.fr/politique-de-confidentialite pour plus d'informations.

⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠Get ad-free episodes, early release, and bonus shows⁠ At last we come to the thrilling conclusion of our listener Meghan's story, wherein she finds someone to mentor her in the ways of the paranormal and she begins to dispel the spirits which have haunted her her entire life. Also on this episode: Peter Gabriel deep dives, the kids have forgotten JCVD, and the dreams that lied.Huge thanks to Meghan for sharing her experiences with us! We're honoured to be part of your story. Full shownotes @ ⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠GhostStoryGuys.com Learn more about your ad choices. Visit megaphone.fm/adchoices

This week we get our first Peter Gabriel tune, "Mercy Street"!Wanna be part of the insanity? Join our Patreon!You can follow us on Twitter ⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠@PodcastWillRock⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠, Facebook at ⁠⁠And The Podcast Will Rock⁠⁠ and you can check out our website at ⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠www.podcastwillrock.com⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠.Proud member of The Deep Dive Podcast Network, ⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠www.deepdivepodcastnetwork.com⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠For more of Corey's nonsense check out the CMPU! Hosted on Acast. See acast.com/privacy for more information.

The dust has barely settled in Verde Park — and the souls (not deaths, legally) are still being counted. Whisp Turlington and Geoff “The Angry Man” Garlock return to the air after Whispstock 25, the ill-fated eight-day music festival that celebrated Whisp… and possibly ended civilization.Whisp defends the festival, claiming the “482 deaths” were actually “souls captured and sent home courtesy of Whisp Turlington.”John Mellencamp stops by to explain his time working the funnel cake stand — and why you should never finger John Mellencamp.Geoff delivers a Good Rock Fact about Alfred Hitchcock nearly directing a Peter Gabriel movie.Whisp reveals his new liquor line, Turlington Cognacs, co-founded with George Clooney.Geoff and Whisp salute the ending of Greg Lemonsour's legendary podcast, "WTDG."There's confusion, regret, and a Zamboni that somehow killed both people and animatronic bears.Do you want 108.9 The Hawk to do better in the ratings? Give ‘em a hand!Subscribe to the podcast on Apple, Spotify, YouTube — or whatever app you use. Your choice!Join the Rock Battalion: sign up for our mailing list at 1089thehawk.com.Patreon keeps the lights on (and the Food Gulch ads rolling): patreon.com/1089thehawk.YouTube is where you'll find clips, video episodes and yelling: youtube.com/@1089thehawk.Follow us everywhere: Instagram, TikTok, Bluesky, Facebook, Threads Hosted on Acast. See acast.com/privacy for more information.

Master violinist/vocalist/composer L. Shankar (aka Shenkar) has spent the past four decades developing a personal style that ranges from strict Indian classical music to Western instrumental pop although usually he lands somewhere in the middle. Since playing his first solo concert at the age of seven, he has gone on to accompany many of South India's leading vocalists and become a major soloist. Schooled in voice, violin, and the drums, he has composed new ragas and folk songs, and played with countless other master musicians. In the 1970s, with John McLaughlin, Zakir Hussain, Vikku Vinayakram, and Ramnad Raghavan, he co-founded the legendary Indo-jazz group Shakti. In the 1980s, he introduced a custom-made 10-string double violin capable of covering the whole range of the orchestra's string section from violin to double bass. He has collaborated with Frank Zappa and Peter Gabriel and has continued to expand the international audience for Indian music, often combining North Indian (Hindustani) and South Indian (Carnatic) styles, (Robert Browning Associates program notes, 2022). L. Shankar performs original works, in-studio.Set list: 1. Ananda Nadamadum Tillaj Sankara 2. Ganapathiye Varuvaai  3. Shamudu

The knives come out over whether we've found the perfect love song as we look at another classic episode. The Book Of Love, originally by The Magnetic Fields, covered by Peter Gabriel, and by Gavin James. Outro music is In Spite Of Ourselves, by John Prine with iris DeMent.

Ce 10 novembre, Marjorie Hache ouvre une nouvelle semaine de Pop-Rock Station avec deux heures entre rock intemporel et nouveautés. Pink Floyd, Queen, Sonic Youth et Editors côtoient les riffs de Kasabian et le punk californien de NOFX. L'album de la semaine est signé des Londoniens de Sorry avec "Cosplay", un troisième opus pop psyché et décalé dont est extrait "Candle". Parmi les découvertes, on retrouve aussi les Australiens de The Southern River Band avec "All Over Town" et les Écossais de The Twilight Sad, de retour après sept ans d'absence avec "Waiting For The Phone Call", en collaboration avec Robert Smith de The Cure. La reprise du jour est "Solsbury Hill" de Peter Gabriel, revisitée par Lou Reed. Pop-Rock Station célèbre également les 50 ans du mythique "Horses" de Patti Smith avant de conclure la soirée avec Florence + The Machine, Led Zeppelin et Genesis. Kasabian - Hippie Sunshine Editors - An End Has A Start Patti Smith - Gloria U2 - Vertigo NOFX - Linoleum Queen - Crazy Little Thing Called Love Elvis Presley - Jailhouse Rock Sorry - Candle Placebo - Battle For The Sun Police - Wrapped Around Your Finger Pink Floyd - Wish You Were Here Foo Fighters - Asking For A Friend Lou Reed - Solsbury Hill Amy Winehouse - Back To Black The Southern River Band - All Over Town The Animals - House Of The Rising Sun Muse - Muscle Museum Florence + The Machine - Everybody Scream Led Zeppelin - Immigrant Song Sonic Youth - Bull In The Heather The Twilight Sad- Waiting For The Phone Call Depeche Mode - Little 15 Townes Van Zandt - Waiting Around To Die Travis - Side Genesis - The Cinema ShowHébergé par Audiomeans. Visitez audiomeans.fr/politique-de-confidentialite pour plus d'informations.

Dan, Manny, & Billy talk about the recent shutting down of MTV music channels in the UK and what that means for the future of MTV, while putting some iconic music videos that aired on MTV in the 80s and 90s to the ultimate test—THE NOSTALGIA TEST! “MTV created culture.” -Manny After hearing about MTV music channels being shut down in the UK after 40 years, the guys had to call an audible and to talk about what they think this means for the future of MTV, music videos, and the cultural impact that MTV had on pop-culture. They also talk about what this means for MTV in the US? The episode then dives into a celebration of iconic music videos that aired in MTV from the 80s and 90s, like Michael Jackson's “Thriller,” Beastie Boys' “Sabotage,” Peter Gabriel's “Sledgehammer,” and Duran Duran's “Hungry Like the Wolf.” There's also the classic Nostalgia Test Podcast tangents, Billy's hot take about Pearl Jam, and so much more. This is part 1 of a series on MTV, so stay tuned for episodes on TRL and Carson Daly, MTV2, Beavis & Butthead, and everything else MTV.   Email us (thenostalgiatest@gmail.com) your thoughts, opinions, and topics for our next Nostalgia Test! Suggest A Test & Be Our Guest! We're always looking for a fun new topic for The Nostalgia Test. Hit the link above, tell us what you'd like to see tested, and be our guest for that episode!   Approximate Rundown 00:00 MTV Shuts Down in UK and Europe 01:07 Corporate Restructuring and Layoffs 03:44 MTV's Shift to Reality TV 05:11 The Decline of Music Videos 06:33 Nostalgic Memories of MTV 09:25 Impact of Technology on Social Interaction 11:29 Driving and Navigation in the Digital Age 15:05 The Evolution of Music Videos 20:30 Iconic Music Videos and Their Legacy 36:10 MTV Music Awards and Controversies 47:16 Hilarious Movie Quotes and Intro Discussion 48:04 Running Out of Gas Stories 49:59 Michael Jackson's Transformation and Movie Theater Scene 54:41 Iconic Music Videos and Their Impact 01:15:09 MTV's Influence on Culture and Reality TV 01:28:29 Conclusion and Future Episodes   Book The Nostalgia Test Podcast Bring The Nostalgia Test Podcast's high energy fun and comedy on your podcast, to host your themed parties & special events!  The Nostalgia Test Podcast will create an unforgettable Nostalgic experience for any occasion because we are the party! We bring it 100% of the time! Email us at thenostalgiatest@gmail.com or fill out the form at this link. LET'S GET NOSTALGIC!     Keep up with all things The Nostalgia Test Podcast on Instagram | Substack | Discord | TikTok | Bluesky | YouTube | Facebook   The intro and outro music ('Neon Attack 80s') is by Emanmusic. The Lithology Brewing ad music ("Red, White, Black, & Blue") is by PEG and the Rejected

Yes that's right, them OMYAC boys are up to more mischeif tonight as we delve into the 2nd installment in our "legacy album" series with Peter Gabriel's most recent 2023 release "i/o". We also manage to find time to talk about other culturally important records like Bez's Madchester Anthems and (the other) PSB's "Ass To The World", naturally. 

In Arteetude Episode 305 – WAW Zoom Talk Part 2: Perfection, Promotion & the Power of Collaboration, host Detlef Schlich reconnects with Berlin-based musician and producer Dirk Schlömer, his creative partner in WAW – Wild Atlantic Way.Together, they continue their deep dive into The Nile's Bittersweet Song, reflecting on audience reactions, the challenges of modern promotion, and the delicate art of knowing when a piece of music is “finished.” Their discussion expands into the ethics of AI-generated music, creative authenticity, and how musicians from the '70s and '80s are navigating a digital music landscape where algorithms often replace intuition.Between stories of Peter Gabriel's perfectionism, studio anecdotes from the 1990s, and the realities of playlist submissions in 2025, Detlef and Dirk explore what it means to stay true to one's artistic voice in an AI-driven age.The episode concludes with a live version of The Nile's Bittersweet Song recorded in Ballydehob — a raw, heartfelt performance capturing the living pulse of their collaboration.Listen now on Spotify, Apple Music, or YouTube. Support WAW by streaming The Nile's Bittersweet Song and following Arteetude for weekly reflections on art, music, and technology.The Nile flows on—and so does WAW.

Marina Muhlfriedel in conversation with David Eastaugh  Vivabeat was a Los Angeles-based techno-pop band founded in 1978 and active into the mid-1980s. It is best known for being discovered by and signed to its first record deal at the request of Peter Gabriel. It became the first American band on Tony Stratton Smith's British label, Charisma Records. The band released one album for Charisma Records, Party in the War Zone. The album included one of the band's most successful songs, "Man from China." The song became a Top 20 charted dance club hit in the United States, Europe, and Asia. "Man from China" also appears on the Charisma Label/Various Masterpieces album – The Sounds Album Volume 6, released in 1980.

In this episode of Working Class Audio, Matt welcomes back engineer/producer and 3D audio geek, Hans-Martin Buff to discuss mixing Peter Gabriel's I/O as well as his own project Tearjerkers. In This Episode, We Discuss:TearjerkersPeter GabrielReal Word StudiosBinaural MixingATMOSFormat HatersLinks and Show Notes:Pure Audio Streaming:Immersive Audio Album:Link tree Album:Youtube Siren Video:Audiomovers Apple: Illusonics Neumann RimeVirtuoso: Waves NX: Matt's Rant: Focused DiscussionCredits:Guest: Hans-Martin BuffHost/Engineer/Producer: Matt BoudreauWCA Theme Music: Cliff TruesdellThe Voice: Chuck Smith

In this episode of Working Class Audio, Matt welcomes back engineer/producer and 3D audio geek, Hans-Martin Buff to discuss mixing Peter Gabriel's I/O as well as his own project Tearjerkers.  In This Episode, We Discuss: Tearjerkers Peter Gabriel Real Word Studios Binaural Mixing ATMOS Format Haters Links and Show Notes: Pure Audio Streaming: Immersive Audio Album: Link tree Album: Youtube Siren Video: Audiomovers Apple:  Illusonics  Neumann Rime Virtuoso:  Waves NX:  Matt's Rant: Focused Discussion Credits: Guest: Hans-Martin Buff Host/Engineer/Producer: Matt Boudreau WCA Theme Music: Cliff Truesdell The Voice: Chuck Smith

As teenagers, The Wolf & Action Jackson dreamed of seeing Led Zeppelin live. However, the boys came of age in the 1980s after the band had broken up following the death of John Bonham. They were forced to live with ill-fated one-off reunions like Live Aid, Atlantic Records 40th and Knebworth. While they jumped at the chance to see Page/Plant in the mid-90s doing reworked versions of Zeppelin classics, they knew it would never be the same as a proper Led Zeppelin concert back in the day. On this 27th edition of First Concert Memories, the monthly sidecast from the hosts of The Ugly American Werewolf in London Rock Podcast, the boys are psyched to speak with Tony Michaelides. Tony had the rare privilege to see Led Zeppelin as a teenager in Manchester right before they blasted their way to superstardom. He tells the story of Robert Plant inviting him backstage to meet the rest of the guys in the band after the show and how having a signed Zeppelin poster made him the talk of the school yard that next week. However, this was actually just the beginning of Tony going backstage and interacting with artists as he would eventually have a 4 decade career in the music biz working with such luminaries as David Bowie, Peter Gabriel, Steve Winwood and more. Tony has gone on to write books about his experience in the industry and hosts a podcast, Moments That Rock, which share some of his amazing stories from over the years. We may not always be able to keep him on point but we do talk a bit about the show, Zeppelin's place in history and how the industry has changed over the years. A fun chat with a true rock veteran! Check out our new website: ⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠ ⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠Ugly American Werewolf in London Website⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠ ⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠Twitter⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠ ⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠Threads⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠ ⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠Instagram⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠ ⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠YouTube⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠ ⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠LInkTree⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠ ⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠www.pantheonpodcasts.com⁠ Learn more about your ad choices. Visit megaphone.fm/adchoices

Frizz and Bob take the other road in the Genesis breakup and following Peter Gabriel straight into So - the bold, bizarre, and beautiful album that turned an avant-garde art rocker into an unexpected pop icon. Frizz is sipping Ardnamurchan AD Single Malt and Bob's pouring a glass of Uncle Boojie's Double Oaked as we track Gabriel's transformation from inflatable stage props and silent retreats to chart-topping soul bangers, groundbreaking drum sounds, and the most iconic music video of the MTV era. This is Peter Gabriel at his most human, strange, spiritual, and romantic - and it might just be the weirdest way anyone's ever taken over the world.

As teenagers, The Wolf & Action Jackson dreamed of seeing Led Zeppelin live. However, the boys came of age in the 1980s after the band had broken up following the death of John Bonham. They were forced to live with ill-fated one-off reunions like Live Aid, Atlantic Records 40th and Knebworth. While they jumped at the chance to see Page/Plant in the mid-90s doing reworked versions of Zeppelin classics, they knew it would never be the same as a proper Led Zeppelin concert back in the day. On this 27th edition of First Concert Memories, the monthly sidecast from the hosts of The Ugly American Werewolf in London Rock Podcast, the boys are psyched to speak with Tony Michaelides. Tony had the rare privilege to see Led Zeppelin as a teenager in Manchester right before they blasted their way to superstardom. He tells the story of Robert Plant inviting him backstage to meet the rest of the guys in the band after the show and how having a signed Zeppelin poster made him the talk of the school yard that next week. However, this was actually just the beginning of Tony going backstage and interacting with artists as he would eventually have a 4 decade career in the music biz working with such luminaries as David Bowie, Peter Gabriel, Steve Winwood and more. Tony has gone on to write books about his experience in the industry and hosts a podcast, Moments That Rock, which share some of his amazing stories from over the years. We may not always be able to keep him on point but we do talk a bit about the show, Zeppelin's place in history and how the industry has changed over the years. A fun chat with a true rock veteran! Check out our new website: ⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠ ⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠Ugly American Werewolf in London Website⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠ ⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠Twitter⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠ ⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠Threads⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠ ⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠Instagram⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠ ⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠YouTube⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠ ⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠LInkTree⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠ ⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠www.pantheonpodcasts.com Learn more about your ad choices. Visit megaphone.fm/adchoices

1975 found Genesis in a time of transition. After coming off a lengthy and technically difficult tour for their 1974 album The Lamb LIes Down On Broadway, most everyone was a little burned out. Peter Gabriel ended up leaving the band to embark on a solo career (one that would land him in the Rock N Roll Hall of Fame) and the band were left with a lengthy audition process to replace him. Meanwhile, guitarist Steve Hackett had been accumulating music he'd written to keep him sane on the road during the difficult Lamb tour. But not only did Steve have pieces leftover from Genesis sessions, he'd begun to write pieces that might not make sense in the context of the band - acoustic pieces and songs written for a woman's voice. So while on a break from the band, he conjured up Voyage of the Acoylyte - his first solo record released on the same label as Genesis, Charisma. To help Steve lay down these track, he enlisted the help of bandmates Mike Rutherford and Phil Collins (who would go onto replace Gabriel as the lead singer of Genesis after dozens of singers were deemed unworthy). The opening Ace of Wands is a real showcase for Steve's guitar playing - crisp tone with technique that creates a rich soundscape. And while he does do a bit of singing on the record, he leaves the vocals to more capable collaborators like Sally Oldfield on Shadow of the Hierophant and Phil Collins on Star of Sirius. While some of this might have made sense on a Genesis album, some of the acoustic pieces or parts accompanied by his brother John Hackett on flute stand out as something different to what his band would usually produce. With a loose concept around the names of Tarot Cards, Voyage of the Acolyte takes you on a heroes journey with all sorts of incredible textures and sounds with Steve's guitar as the main focus. 50 years later, he still plays these songs live and they fit in very well with the classic Genesis songs that Steve still honors live. Check ⁠www.hackettsongs.com⁠ for tour dates Check out our new website: ⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠ ⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠Ugly American Werewolf in London Website⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠ ⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠Twitter⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠ ⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠Threads⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠ ⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠Instagram⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠ ⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠YouTube⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠ ⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠LInkTree⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠ ⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠www.pantheonpodcasts.com⁠ Learn more about your ad choices. Visit megaphone.fm/adchoices

September 7th, 1988, marked the culmination of 11 years of toil and sweat, when a true “band of brothers” from down under became the biggest musical act on the planet by scooping the pool at the 1988 MTV Music Awards. Nominated for nine awards, INXS walked away with the top five major honors, edging out longtime rivals U2, along with music legends like George Harrison, Bruce Springsteen, and XTC, with their iconic Need You Tonight/Mediate song and groundbreaking video. By this time, the MTV Awards had already surpassed the Grammys as the preeminent music event, and INXS rightfully stood as the darlings of the international music industry. Having spent the previous decade tirelessly touring the globe and steadily building momentum, they reached a crescendo that placed them at the very center of the late-'80s musical zeitgeist. With fellow icons including Rod Stewart, Aerosmith, Depeche Mode, Guns N' Roses, Elton John, Cher, Bryan Ferry, Peter Gabriel, Cyndi Lauper, and The Bangles appearing or presenting, the night became both a peer-to-peer celebration and global recognition of INXS' remarkable achievements. Much of this impact was amplified through the vision of legendary TV producer Dick Clark, who ensured the event was broadcast around the world. So it's with great pleasure that Bee and I unpack this unforgettable night, explore the rise and history of the MTV Awards, and reflect on the lasting impact this achievement continues to hold within the INXS legacy. Love and peace ✌️ https://www.inxsaccessallareas.com/  

1975 found Genesis in a time of transition. After coming off a lengthy and technically difficult tour for their 1974 album The Lamb LIes Down On Broadway, most everyone was a little burned out. Peter Gabriel ended up leaving the band to embark on a solo career (one that would land him in the Rock N Roll Hall of Fame) and the band were left with a lengthy audition process to replace him. Meanwhile, guitarist Steve Hackett had been accumulating music he'd written to keep him sane on the road during the difficult Lamb tour. But not only did Steve have pieces leftover from Genesis sessions, he'd begun to write pieces that might not make sense in the context of the band - acoustic pieces and songs written for a woman's voice. So while on a break from the band, he conjured up Voyage of the Acoylyte - his first solo record released on the same label as Genesis, Charisma. To help Steve lay down these track, he enlisted the help of bandmates Mike Rutherford and Phil Collins (who would go onto replace Gabriel as the lead singer of Genesis after dozens of singers were deemed unworthy). The opening Ace of Wands is a real showcase for Steve's guitar playing - crisp tone with technique that creates a rich soundscape. And while he does do a bit of singing on the record, he leaves the vocals to more capable collaborators like Sally Oldfield on Shadow of the Hierophant and Phil Collins on Star of Sirius. While some of this might have made sense on a Genesis album, some of the acoustic pieces or parts accompanied by his brother John Hackett on flute stand out as something different to what his band would usually produce. With a loose concept around the names of Tarot Cards, Voyage of the Acolyte takes you on a heroes journey with all sorts of incredible textures and sounds with Steve's guitar as the main focus. 50 years later, he still plays these songs live and they fit in very well with the classic Genesis songs that Steve still honors live. Check www.hackettsongs.com for tour dates Check out our new website: ⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠ ⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠Ugly American Werewolf in London Website⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠ ⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠Twitter⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠ ⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠Threads⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠ ⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠Instagram⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠ ⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠YouTube⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠ ⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠LInkTree⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠ ⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠www.pantheonpodcasts.com Learn more about your ad choices. Visit megaphone.fm/adchoices

Artist, songwriter, and producer Ivory Layne joins us to talk about her new EP 'Part-Time Jobs Near Me', music discovery through Pandora, and the greatest song she's ever heard in her entire life, "In Your Eyes" by Peter Gabriel! Plus, Scott and Katherine chat about the new Jade album THAT'S SHOWBIZ BABY! and other music we've been listening to.   Find Ivory Layne on instagram @ivorylayne and listen to her music wherever you listen to music! @gr8songpod on instagram @ScottInterrante on instagram @Katherinethegr8 on instagram Theme music: "Kratos In Love" by Skylar Spence

This week, Frizz is sipping Great Glen's Yuzu Gin and Bob's got a glass of Ardnahoe's Inaugural Release Single Malt Scotch as we dive into Invisible Touch - the sleek, synth-driven album that launched Genesis into full-blown pop superstardom. We unpack how a band that started with prog epics and fox masks ended up dominating MTV, topping charts, and soundtracking an entire decade. From political puppets and breakup ballads to keytar solos and stadium-sized hooks, this is Genesis at their most confident, polished, and unexpectedly iconic.

In today's episode we're thrilled to have Reeya Banerjee—writer, vocalist, voice‑over artist, and the raw, honest storyteller behind the critically‑acclaimed album The Way Up—joining host James Cox for a deep‑dive into the healing power of music.We kick things off with a quick word from our sponsor, BetterHelp, reminding listeners that affordable, flexible online therapy is just a few clicks away (and you can snag 10 % off your first month at betterhelp.com/music‑speaks).From there, James and Reeya wanders through the musical landscape that shapes her art:the Beatles' “Something,”Springsteen's “Thunder Road,”U2's “The Sweetest Thing,”Fiona Apple's “Criminal,”Peter Gabriel's “Sledgehammer,”and Eminem's “Lose Yourself.”Reeya reveals how each of these tracks inspired her own songwriting, and why certain songs—like her own “The Way Up,” “Deep Water,” and the childhood‑memory‑laden “Snow”—feel easier to say when they're sung. She also opens up about the mental‑health crisis she faced in 2019, the intensive therapy that helped her reclaim her voice, and the way music became her conduit for processing grief, insomnia, and the restless energy of a night‑owl musician.Listeners get a sneak peek at Reeya's upcoming August release “This Place,” a concept album that maps nine cities to nine core emotions, and we hear about the stories behind singles such as “Misery of Place,” “For the First Time,” “Runner,” and the soon‑to‑drop “Upstate Rust.”The conversation rounds out with playful cover‑quiz challenges, a nostalgic look at the Hudson‑Valley bar that sparked her creative community, and a heartfelt promise that when words fail, music always speaks.Stay tuned, grab your headphones, and prepare for an episode packed with candid conversation, lyrical insights, and a reminder that—no matter how dark the night—there's always a melody waiting to lift you up.And remember: when you need a mental‑health boost, BetterHelp is just a click away at betterhelp.com/music‑speaks.