Podcast appearances and mentions of Phil Collins

By Walt HickeyWelcome to the Numlock Sunday edition.This week, I spoke to Chris Dalla Riva, author of the new book Uncharted Territory: What Numbers Tell Us about the Biggest Hit Songs and Ourselves. Chris is a fixture here at Numlock, we're big fans of his newsletter Can't Get Much Higher and have been eagerly waiting for this book, which tracks the history of music by coasting along the top of the Billboard Hot 100. The book can be found at Amazon and wherever books are sold, grab a copy!This interview has been condensed and edited. Chris Dalla Riva, it is great to have you back on. Especially great this week, because you are finally out with a book that I know you've been working on for a very long time, Uncharted Territory. Thanks for coming back on.Yeah, thrilled to be back, but also thrilled to have the book come out. The book publishing world is one of the only worlds left in the world that moves slow enough where you're waiting for so long for something to happen.You have guest-written for Numlock before; you have been a staple of the Sunday editions in the past. You are definitely familiar to the audience at this point because you are doing some of the best music data journalism out there. You've been working on this thing for, I feel like, as long as I've known you, and it is just great to have it come out finally, man.Yeah, actually, I met you because I was working on this project. I was trying to track down some data that you'd used at FiveThirtyEight, and you responded to my email with your phone number. You were like, “This is easier to explain over the phone.”Yeah, I remember I had scraped the radio for months at FiveThirtyEight just to see where it went, and you hit me up with that. I think that you focused some of your energies on the newsletter, and that's been so fun to follow, but this is truly what you've been working at. It is great to get you on finally to talk all about it.What would you describe this book as? How would you describe it, either to folks who might be familiar with your newsletter or unfamiliar with your newsletter, about what you're setting out to do with this particular project?The subtitle, I think, is helpful. It's What Numbers Tell Us About the Biggest Hit Songs and Ourselves. My typical pitch is that it's a data-driven history of popular music that I wrote as I spent years listening to every number one hit song in history. You get a balance of music history, data analysis, just random music chart shenanigans. I wrote it over such a very long period of time that you get a little bit of how my life was intersecting with this book over the years as I tried to get it published.I love the angle on the No.1s being a place to go with, because it gives you a pulse on what's popular at the time and not necessarily what's the most influential at the time. You can see there's a lot of stuff that hit number one at one point or another that have no musical legacy whatsoever, but nevertheless are still interesting. It's dipping your toe in the stream, right? You can see that a lot of things that we assume about how the music industry works weren't always the case.You wrote a little bit about the early transition from big bands to singers as the front-facing people in their operation. That was informed in no small part by what was performing on the charts, but also, I think, labor action, right?An under-discussed part of music history in the last 100 years is that when thinking of any band now or any musical artist, you almost certainly think of the front person being the singer. But if you go look back at big bands of the 1930s and 1940s, anyone whose name was attached to the band was often not a singer. Some that come to mind are Glenn Miller, the Glenn Miller band. Glenn Miller was a trombone player. Artie Shaw was a clarinet player. If none of these names are familiar to you, that's okay. But you can ask your grandparents.Why does this transition happen: suddenly, the lead singer is always getting top billing in a band? There are a bunch of things that contributed to this. One thing I talk about pretty extensively is just the advent of better microphones. If a voice cannot be heard over the roar of an orchestra or a big band, you need a choir of people to sing. It makes the singer less identifiable. As we get better amplification, better microphones, you can get a wider range of vocal styles. Those vocalists can now compete with the sound of a ton of instruments.At the same time, something you mentioned that I think is a fun bit of history is how music used to be much better organized. They had better labor organization, the same way that Hollywood has much better labor organization than music these days. There still exists a group called the American Federation of Musicians. For two years, they had a strike for a work stoppage, when no new music was being recorded. This was during World War II. You weren't allowed to strike during World War II.They were frowned upon very much, it seems, yes.Yes, even if you were a musician. People were like, “Come on, why are the musicians striking?” There's a lot of interesting history there. One of the weird loopholes was that singers could not join the American Federation of Musicians. Because of that, some labels would get around the strike by just recording acapella songs or songs with instruments that were not eligible to be membership because they weren't “serious” enough, like the harmonica. There were weird harmonica songs that were popular at this time. By the time the strike ended, by the time World War II ended, suddenly, singers had a much more prominent role because they were the only ones allowed to perform.There is tons of weird stuff about this strike. Like, labels backlogged tons of recordings because they knew the strike was coming. “White Christmas,” maybe the best-selling record of all time, was one of those backlogged recordings — recorded in July of 1942 and put out however many months later.That's fun. That's basically why Tom Cruise is in a union but Bad Bunny isn't?I guess so. Music and labor have a history that I'm not an expert on. For some reason, musicians have had a much more difficult time organizing. It seemed to be a little bit easier back when there were these big bands that needed to be rolled out to perform in movie theaters or local clubs. You needed a tuba player and a trombone player and a sax player. I guess it was easier for those musicians to organize. Whereas now, things are so scattered and productions can be super small, and you could record something in your bedroom. They never got that level of organization. I think it's actually hurt artists to some degree because they don't have the protections that the film industry does.Because you're able to just coast along at the top of the charts throughout basically the century, you're able to get lots of different interweaving stories of labor and also legal disputes/legal outcomes, as well as this technological evolution. What are some of the ways that technology has informed how the music that we listen to changes or evolves over time? Or even some of the litigation that we have seen over the course of the century of musical creation. It just seems like it's a really fun way to track some of these bigger trends that we don't even know are really trends.Yeah, totally. I think one of the key themes of the book is that musical evolution is often downstream from technological innovation, which has a nice little ring to it. But in general, there's this idea that creativity is being struck by the muse, and you create something. Whereas in reality, there are usually physical constraints or technological constraints that shape the art that we make. One of the most basic examples is the length of songs. From the '40s up till the early, mid-60s, the pop song sits around 2.5 to three minutes. The reason for this is that vinyl singles could literally not hold more sound without degrading, which is completely backwards from the idea that there was an artist who chose to write a 2.5-minute song.I was like, “Well, you had to work within the constraint.” Then technology gets better, singles start to get longer. During the disco era, they actually made bigger discs to put out these long dance mixes. The single sat around like 3.5 to 4.5 minutes for decades until about 10 years ago, when it started to shorten again. People typically point to music streaming for this reason, because artists are paid if a song is listened to for more than 30 seconds, so it's really just a volume game. If you have a 14 minute song that someone listens to one time, they get paid once. But if I listen to a two-minute song seven times (which is again, the same amount of time spent listening), I will be paid out seven times. There is this financial incentive to shorten songs.I don't think artists are sitting in the studio thinking about this constantly. But what I see, what I saw again and again, is that artists were rational beings to some degree and would work within the constraints that they were given. They would usually push against those constraints. That's where a lot of great art comes out of.Even new mediums are offering new opportunities. You wrote a little bit about MTV and how that really changed a lot of what was able to be successful at the time. You had new types of acts that were able to really start competing there, and other acts that just weren't. Do you wanna speak a little bit about like what video did?Yeah, video certainly changed the game. There were artists who had visual presences earlier. The Beatles had a very visual presence. I think part of their success is tied to the fact that television was becoming a thing, and mass media was really becoming a thing. However, we associate musicians with visuals so much these days. That really emerged in the 1980s, where you needed your visual concepts to be as strong, if not stronger than, your musical concepts. I think because of that, you start seeing some artists break through who I don't think are considered great musicians.I always sadly point to the song, “Hey Mickey” by Tony Basil. If it's your favorite song, sorry. I don't think it's a masterful musical creation, but it had this fun music video where she's dressed up as a cheerleader. A lot of that song's success was just the fact that MTV was willing to put that in heavy rotation because it was a fun video to watch. We live in the shadow of that era where visuals matter just as much as anything else.When you think about the most popular artists, outside of maybe a handful, you think of their visual concepts. You think of what Beyoncé looks like, what her videos are like, same with Taylor Swift, as much as you think about their music. That really reshaped our relationship with popular music. We expect to know what artists look like. It's odd to think about that; it really wasn't a thing decades before. You could be a fan of an artist and not really know what they look like. How would you know? Maybe you saw them in a magazine. Maybe you caught them on one television show. The idea that we have access to what everyone looks like is a pretty new phenomenon.That's fun. It's just so interesting to see how a simple change, whether it's today an algorithm or then a medium of distribution, can just have material impacts on the popularity of British synth music in America.Yeah, that's the perfect example. There's a great book called I Want My MTV, and it's an oral history of MTV. They talked to one of the founders. Early MTV would play, as you're saying, all these British new wave acts. Think A Flock of Seagulls, Duran Duran or even someone like U2. They asked the founder, “Why were you playing so many British artists on early MTV?” He was like, “For some reason, British artists happened to make music videos. And there were about 200 music videos in existence. We had to fill 24 hours of programming.” A Flock of Seagulls was gonna get played a bunch of times just because they happened to make music videos.It is a weird thing. Why would anyone make a music video if there was nowhere to really play them? I don't know why specifically the British had more videos, but there were occasional times where television shows might show a video.They do love that over there, like Top of the Pops. I can see why.Music and television have always been connected. You even think Saturday Night Live still has musical acts. Back then, say your label didn't wanna send you out to Britain to go on Top of the Pops. Maybe they would send a video of you instead. There were videos that would float around on these variety shows, and some early videos were just concert footage. It was like, it was a chicken or the egg thing. Once some people had success on MTV, everyone started producing videos. MTV somehow pulled off the miracle of convincing labels that they needed to make videos and that they needed to front the cost for that. Then they had to give MTV the video for free. I don't know how MTV managed to do that.Well, all of Gen X can't be wrong. If you do wanna get it out there, you do have to get it out there. One really fun recurring thing in the book — which again, like I really enjoyed. I think it's a phenomenal work. I think it's a great history. I'm telling stories that I learned in your book to everybody. It is a really fun read in that regard, I wanna say.I do love how you occasionally clock a genre that really only exists briefly. There's one that always goes around for like the strangest things to hit number one, like the Ballad of the Green Berets. I think like there's a Star Wars disco track that I definitely have on vinyl at home about that. You wrote a lot about like teen tragedy songs. What are some of the fascinating like brief trends that only made a small splash and that all of us have forgotten ever existed, but nevertheless achieve some measure of immortality?Yeah, the teen tragedy song is a good one. That actually inspired the writing of this whole book because I got 50 No. 1s, and I was like, “Why are there so many number ones about teenagers dying? That's a little weird.” And then I did a little digging and tried to piece together why that was. The teenage tragedy song, late '50s, early '60s, there are all of these songs about two teenagers in love, usually high schoolers. One tragically dies often in a car crash, and the other is very sad and maybe says that they'll reunite again one day in the afterlife. Some of the big ones are “Leader of the Pack” by the Shangri-Las and “Teen Angel” by Mark Dinning.It's a very weird blip in popular music history. I won't say it has cast a long shadow, but there are some occasional people who pull from that tradition. The craziest teen tragedy song ever was “Bat Outta Hell” by Meatloaf, in which Jim Steinman tried to write a nine-minute motorcycle crash song. I think that's a really interesting one.Disco: bizarre in the amount of people that made disco songs. I really came to like disco and the best disco music, I'm like, “These are the greatest sounds that have ever been recorded.” But it got so big and so popular that everyone felt the need to record disco songs.Not everything is “I Feel Love,” right?No, most things are not. It strikes me that this happened with disco, but has not happened with other genres. Frank Sinatra recorded disco songs. Basically, every television theme song got a disco remix. I Love Lucy had a disco remix. The Rocky theme song had a disco remix.What? I'm sorry, Frank Sinatra did a disco song? Is it good?It's not good. It's “Night and Day” over a disco beat. And it's not clear to me if they just remixed it or if he actually recut the vocal because I just cannot imagine him doing that. In the mid-60s, there was a nun who topped the charts, The Singing Nun with a song called “Dominique.” Of course, during the disco era, it was remixed as a disco song. There are examples of this where people went sort of disco. The Rolling Stones record “Miss You” and it has the disco beat, or Pink Floyd does “Another Brick in the Wall” or Queen does “Another One Bites the Dust.”Everyone was gonna give it a try. There was so much money being made in the disco world at the time. You can always find some artists you would never think would do a disco song probably tried. They probably gave it their best.That's great. It's just fun because the things that hit number one for a week don't necessarily have to be good. They just have to be popular for like a week. Even the construction of the Top 40 chart, which you get into in the book, isn't exactly science. A lot of times, it's a little bit of intuition. It's a lot of what's selling and what's selling where specifically. It is a little bit woo woo, right?Yeah, definitely. The goal of this chart is “What's the most popular song in America in a given week?” Back in the day, that meant what were people buying? What were people listening to on the radio? What were people spinning in jukeboxes? Today, most music is done on streaming. It's consumption-based, rather than sales-based. So the chart's the same in name only, but it's really measuring very different things. The equivalent would be if we knew after you purchased your copy of “I Feel Love,” how many times did you actually play it at home? You could have purchased it, went home and never played it again. Something like that would not register on the charts these days.I respect the people at Billboard because they have an impossible task. It's like “We're gonna take all the information and we're going to boil it down into choosing or measuring what the most popular song is.” It's an impossible task to some degree.I have watched the evolution of the chart, and I go back and forth on whether they have given up on actually trying to rank stuff or if they are just ranking things in a different way. I think that the apples-to-apples between the era stuff is just so hard to do.One thing I really enjoyed about your book, in particular, is that it's not a story of why these songs are the best. It's a story of why these songs were popular at the time, just dipping the toe into the river of human sound. One thing that I'll ask as you wrap: as you were going through these eras, who did you hear a lot more of than you thought? Who did you hear a lot less than you expected?I joked with some people that if you just looked at the top of the charts, the greatest rock band of the 1970s is either Grand Funk Railroad or Three Dog Night because they both had three number one hits, and many other bands in the classic rock canon have none. Led Zeppelin does not really exist on the pop chart, the singles chart. Led Zeppelin really only put out albums. The Eagles were also big during the '70s on the music charts. But Three Dog Night, they're the legends.There are tons of people that I didn't realize how much I would see of them. Someone like Lionel Richie and Phil Collins, of course, they're tremendously popular, but they were so popular. Phil Collins was popular at the height of the bald pop star era, which I think is a thing of the past. You had multiple bald men who were regularly topping the charts in the mid-80s. You see a ton of Phil Collins, more than I was expecting, even though I know he's very popular.Who don't you see a ton of? Sometimes you don't see people until a bit later in their careers. This is actually an interesting phenomenon. Artists do not score a number one hit during their most critically acclaimed period, and then a decade later, they do. For example, Cheap Trick. They have a number one hit, but it's at the end of the '80s song called “The Flame.” Whereas if you hear Cheap Trick on the radio, it's probably their live album from the 1970s. This is a phenomenon you see again and again. Some old timer will get their number one much later in their career. Tina Turner gets her number one when she's probably in her 40s. It's always interesting to see that.There are also some artists where I feel like there's a divergence between what their most popular songs are these days and what was topping the charts. Elton John is a good example there. “Benny and the Jets” was a number one hit, still a tremendously popular song. But he's got a lot of weird No. 1s that I don't think have as much street cred these days. He has a song called “Island Girl.” Did not age like fine wine. I don't even think he plays it live anymore because it's considered somewhat racially insensitive. But it was a No. 1 hit at the time. “Philadelphia Freedom” is another one by Elton John. I feel like when people think of the Elton John catalog, it's probably not the first song that comes to mind. But it was a No. 1 hit, huge smash. His cover of “Lucy in the Sky with Diamonds” was a No. 1. Elton John has been very popular throughout the decades, but I feel like the reasons he's been popular have changed.People have just gravitated towards different songs as time has gone on. You get distortions at the top of the charts. But I think, as you mentioned, it provides a good sample of what was actually popular. You have the good, the bad, and the ugly. Whereas if you look at some other sources, people are just gonna be like, “Oh, listen to these records. These are the best records.” In reality, the bad records are important, too.Yeah, bad records are great. They're at least interesting. I imagine also some of this process must have been missing out on a lot of interesting music because one song was just dominating the charts. Were there any songs in particular that come to mind that wooled the roost for potentially a little bit too long?Yeah, the quintessential example is the “Macarena” in the ‘90s.Oh, no!I think it was No. 1 for 13 weeks.Christ!There's a great clip of people at the Democratic National Convention and '96 dancing the “Macarena.” It's so bad. Yeah, so a very popular song. There are tons of stuff that gets stuck behind it. There's a great No.1 hit in the '90s called “I Love You Always Forever.” It's a very nice song by Donna Lewis. It's stuck at No. 2 because it just happened to be popular during the “Macarena's” very long run. YYour life's work, your greatest accomplishment, being stymied by the “Macarena” feels like a level of creative hell that I have never envisioned before.Yeah, there are other artists who got unlucky. Bruce Springsteen never performed a No. 1 hit. He wrote a No.1 hit for another artist. His closest was “Dancing in the Dark” got to No. 2, but that was also when Prince released “When Doves Cry,” so it's a tough, tough week. Bob Dylan, similar thing. He wrote a No. 1 hit, but he only ever got to No. 2. I think he got to No. 2 twice. Once, he got stuck behind “Help” by the Beatles, and another time he got stuck behind “Monday Monday” by the Mamas and the Papas.This is another thing when I talk about the charts. There could be many fewer units sold in a given week, or there could be many more units sold. There's a lot of luck involved if you're gonna go all the way to No. 1. You could be Bruce Springsteen: you release the biggest record of your life, and Prince also releases the biggest record of his life at the exact same time.Incredible. So again, I have read the book. I really, really like it. People are doubtlessly familiar with the newsletter at this point, but I am also a big fan and booster of that. But I guess I'll just throw it to you. Where can folks find the book, and where can folks find you?Yeah, you can find me, Chris Dalla Riva, basically on every social media platform under cdallarivamusic. I'm most active on TikTok and Instagram. The book, Uncharted Territory: What Numbers Tell Us About the Biggest Hit Songs and Ourselves, should be available from every major retailer online. Amazon, Barnes & Noble, Walmart, Booklist, all that good stuff. Not available physically in stores, so definitely order it online.Like I said, I spent years listening to every No. 1 hit in history, built a giant data set about all those songs and used that to write a data-driven history of popular music from 1958 to basically 2025. So go pick up a copy, buy one for your mother for Christmas. Or your father, I don't discriminate. Yeah, check it out. I'm hoping people enjoy it, and I'm really excited to finally get it out in the world. It's been a long, circuitous journey to get it published.It's a really fun read, and I wish it nothing but the best. And yeah, congrats, thanks for coming on.Yeah, thanks for having me.Edited by Crystal WangIf you have anything you'd like to see in this Sunday special, shoot me an email. Comment below! Thanks for reading, and thanks so much for supporting Numlock.Thank you so much for becoming a paid subscriber! Send links to me on Twitter at @WaltHickey or email me with numbers, tips or feedback at walt@numlock.news. This is a public episode. If you'd like to discuss this with other subscribers or get access to bonus episodes, visit www.numlock.com/subscribe

Descubre la lista completa de ganadores. Las novedades musicales de Leire Martínez, Pole., De La Rose y más. El tráiler de 'The End of an Era', la nueva serie documental de Taylor Swift. Entrevista a Mushkaa en LOS40 Urban. En LOS40 Classic: La improvisación que se convirtió en ‘We can't dance', el mayor ‘hit' de Genesis y el adiós de Phil Collins.

Il 15 novembre, compie 80 anni Anni-Frid Synni Reuss, Contessa di Plauen, conosciuta in tutto il mondo come Frida, splendida voce femminile degli ABBA. La sua carriera inizia da adolescente come cantante jazz. Nel 1967 vince un concorso e canta in tv durante la notte in cui la Svezia cambia il senso di marcia, evento che porta la rete a creare una lunga serata di show per tenere la gente a casa. Due anni dopo incontra Benny Andersson, suo secondo marito, che la invita negli ABBA. undefinedIl gruppo svedese, nato nei primi anni '70, conquista la scena musicale internazionale con la vittoria all'Eurovision Song Contest del 1974 grazie al brano “Waterloo”, segnando l'inizio di una carriera costellata di successi planetari.Dopo lo scioglimento della band, Frida registra l'album “Something's Going On”, prodotto da Phil Collins.undefinedundefined

Phil Collins a offert une seconde vie à Can't Stop Loving You, une chanson méconnue des années 70, en la reprenant sur son album Testify en 2002. Initialement composée par le groupe White Horse, puis reprise sans succès par Leo Sayer, le titre ne devient un hit qu'après son utilisation dans une publicité automobile. Ce succès tardif est aussi marqué par une période difficile pour Collins, confronté à des problèmes d'audition. En 2019, Taylor Swift contribue à raviver l'intérêt pour ce morceau, confirmant son statut de classique.À retenir :Une reprise de White Horse (1977), popularisée par Phil Collins en 2002.Le succès est venu grâce à une publicité, bien après sa sortie.Phil Collins traversait des problèmes de santé lors de la sortie de Testify.Notre équipe a utilisé un outil d'Intelligence artificielle via les technologies d'Audiomeans© pour accompagner la création de ce contenu écrit.Hébergé par Audiomeans. Visitez audiomeans.fr/politique-de-confidentialite pour plus d'informations.

In dieser Episode gibt's kein Tutorial, kein Framework, keine Tricks. Heute wird's persönlich. Ich erzähle Dir, wie alles angefangen hat. Warum ich heute hier sitze in einem kleinen Dorf namens Walldorf in der Eifel. Warum es kein Zufall ist, dass mein Büro da steht, wo es steht. Und was diese unscheinbare Location mit Musiklegenden wie Michael Jackson, Snap!, Hans Zimmer oder Phil Collins zu tun hat. Wir reden über Zivildienst, Kloster-Schreinereien, den Wunsch Gitarrenbauer zu werden und darüber, warum ich irgendwann bei Regen und Dunkelheit nach Köln gefahren bin, um eine private Hochschule zu besuchen, die mein Leben verändert hat. Du erfährst, wie ich in der Synthesizer-Produktion gelandet bin. Wie ich für Simply Red ein Gerät zusammengebaut habe über Nacht. Wie sich daraus mein beruflicher Weg entwickelt hat. Und warum ich heute wieder in genau dem Gebäude arbeite, in dem damals schon für Weltstars wie Michael Jackson Sounds kreiert wurden. Was mich besonders freut an dieser Geschichte: Ich habe bei der Firma Waldorf nicht nur meinen ersten Job gehabt, sondern auch einen Menschen kennengelernt, der heute seit über 26 Jahren mein bester Freund ist und inzwischen sogar Teil meines Teams. Wenn Du wissen willst, wie aus Kollegen Freunde werden und aus Nachtaktionen echte Wegbegleiter, dann hör rein. Klingt wie ein PR-Gag? Ist es nicht. Diese Folge ist für alle, die wissen wollen, wo ich herkomme und warum ich heute tue, was ich tue. Ohne Buzzwords, ohne Filter. Dafür mit echtem Stoff aus der Branche. Denn die besten Geschichten schreibt nicht das Marketing, sondern das Leben. In dieser Folge erfährst Du: ✅ Warum ein kleines Dorf in der Eifel mehr Musikgeschichte geschrieben hat, als man denkt ✅ Wie ein Synthesizer mein Berufsleben in eine völlig neue Richtung gebracht hat ✅ Warum ich meine ersten Produktionen in einem ehemaligen Kloster gemacht habe ✅ Was mich als junger Toningenieur in den Bann gezogen hat und warum es bis heute so geblieben ist ✅ Welche Weltstars in meinem heutigen Büro schon Kaffee getrunken haben Mehr zu meinem Thema Videokommunikation 4.0 erfährst Du hier: Meine Website: https://www.coporate-studio.de Mein LinkedIn Profil: https://www.linkedin.com/in/florian-gypser/ Du hast ein Thema rund um Corporate Videokommunikation, zu dem Du gerne einmal einen Podcast mit mir hören möchtest? Oder Du hast spannende Inhalte zum Thema und möchtest gerne mal Gast in meinem Podcast sein? Dann schreib mir an podcast@corporate-studio.de

Send us a textThis week on Hoagie Time, Money Mike and Heif Dogg go deep into everything from weight-loss disasters and Wawa milkshakes to rock history and Delco block parties.They pay tribute to the legendary Pierre Robert, swap wild stories about Phil Collins, John Bonham, and Led ZeppelinAnd HT's Uncle. Donald “Duck” Dunn, the iconic bassist from Booker T. & the MGs and The Blues Brothers. Support the showGet your Gear here: htpodcast.myshopify.com

Thank you for listening to the latest episode of AC/LP.  In this episode, Chris and Adam discuss two albums from their collection. Adam has chosen Vs by Pearl Jam, and Chris picked No Jacket Requird by Phil Collins.   The next choices for episode four are Music for the Jilted Generation by The Prodigy and More by Pulp.    Adam and Chris would love listener feedback, especially when they pick albums. Please use the contact us page or email: contact@60MW.co.uk

Send us a textWe go live, shake off tech gremlins, and dive into a sharp, funny tour through music headlines, a KISS guitar legacy check, and a Halloween-ready sprint through one-word horror greats. Along the way, we debate what “legendary” really means and why some songs grow back after years away.• Wyman's solo box set and the meaning of legendary • How guest lists and name gravity shape solo careers • Ace Frehley's feel vs technique and KISS's show design • Why shredding fades but melody sticks • 80s pop that suddenly sounds good again • The neuroscience of the Phil Collins drum fill • One-word horror rankings with must-watch picks • Rob Zombie's Halloween remake defended • Listener chat shoutouts and local Corey Hart loreIf you like it, share it. If you didn't like it, thanks for watching and listening for an hour and five minutes and 47 seconds.If you like this podcast SHARE it. If you have any ideas or suggestions for the show you can email us at: milkcratesandturntables@gmail.com

90s Adult Contemporary In the 1990s, while grunge was roaring from Seattle and hip-hop was taking over the charts, a smoother, more polished sound quietly thrived on radio stations and office CD players across America — Adult Contemporary. This was the music of big emotions, soft edges, and universal appeal. Artists like Celine Dion, Phil Collins, Michael Bolton, and Whitney Houston carried the torch for power ballads and lushly produced pop that spoke to love, loss, and life's quieter moments. It was the soundtrack for carpool lines, candlelit dinners, and Sunday mornings — a genre that valued melody, warmth, and timeless sentiment over angst or attitude. Yet, in its own way, 90s Adult Contemporary was just as defining as its louder, cooler counterparts. It provided a refuge from the chaos of alternative rock and rap's streetwise bravado — a reminder that sincerity and strong songwriting still had a place in mainstream music. Artists like Sheryl Crow, Richard Marx, and Amy Grant modernized the format, blending acoustic pop, light rock, and even touches of R&B into radio-friendly hits. It was the sound of balance in a decade of extremes — the music that bridged generations and proved that not every great song needed distortion or defiance to leave a lasting impression. Pandora: https://pandora.app.link/iq8iShjXOLb   Apple: https://podcasts.apple.com/us/podcast/totally-80s-and-90s-recall/id1662282694    Spotify: https://open.spotify.com/show/11dk5TUoLUk4euD1Te1EYG?si=b37496eb6e784408    Amazon Music: https://music.amazon.com/podcasts/1960c8f9-158d-43ac-89a6-d868ea1fe077/totally-80s-and-90s-recall    YouTube Podcasts: https://youtube.com/playlist?list=PLH9lGakNgCDZUkkHMUu88uXYMJu_33Rab&si=xo0EEVJRSwS68mWZ   Playlists:   Spotify: https://open.spotify.com/playlist/3pkmD8xGijgo5Tkyh3tnNB?si=97q4DujkQMCuS-yvJsbYAQ    Apple: https://music.apple.com/us/playlist/90s-adult-contemporary/pl.u-38oWjx8Cg5GBpk    Amazon: https://music.amazon.com/user-playlists/c186adc614c54f8ca2a23cdb6b196264sune?marketplaceId=ATVPDKIKX0DER&musicTerritory=US&ref=dm_sh_2T2xgqk3BJ75kfQQV9XTgAPcL   Contact Us: Website: https://totally80s90srecall.podbean.com/  Email: 80s90srecall@gmail.com LinkTree:https://linktr.ee/80s90srecall 

In this episode, we speak with Terry Adams, Jr., who fronts The Phil Collins Experience - a multi-media production that pays tribute to Phil Collns and Genesis.  We discuss Terry's musical journey, his love of Phil Collins and Genesis, and the band's upcoming Chicagoland performances.

Send us a textThis week James and Jack speak with  world renown powerhouse back up singer Shaun Murphy.  Shaun, throughout her long and impressive career has provided vocals and percussion for Bob Seger, Eric Clapton and has worked with Meatloaf, Phil Collins, Glen Frey, Joe Walsh, The Moody Blues, Bruce Hornsby, Little Feat and many more. Tune in for a great show!

Nathan East & Noah East stop by Ramble City with Bradley McCaw to discus their new album Father Son. Nathan East has made a remarkable career by playing bass for all sorts of artists like Eric Clapton, Kenny Loggins, Stevie Wonder, Phil Collins, released a debut album with a new artist: his twenty four year old Hammond/Piano playing son.Watch video of this episodeListen to Father SonListen to Bradley McCaw's MusicNathan & Noah Tour Dates: July 10, Laguna Festival Of Arts at 5:30 - 7PM11, July: The Regency Ballroom in San Francisco 1300 Van Ness Ave. SF, CA18, July: Epstein Amphitheater UC San Diego https://resy.com/cities/los-angeles-ca/venues/herb-alperts-vibrato-grill-and-jazz/events/nathan-and-noah-east-father-son-debut-at-vibrato-2025-06-18?seats=2&date=2025-06-04Follow the RC Music Playlist——————————————————————-Find BradWebsite: https://www.bradleymccawofficial.comInstagram: https://www.instagram.com/bradleymccawofficialFacebook: https://www.facebook.com/bradleymccawofficialYoutube: https://www.youtube.com/@BradleymccawtvMusicals:Website: Instagram: https://www.instagram.com/bradleymccawmakesmusicals/Facebook: https://www.facebook.com/bradleymccawmakesmusicals/Youtube: https://www.youtube.com/@BradMcCawMakesMusicals———————————————

Rob “Cubby” Colby, legendary front-of-house engineer for Prince, Genesis, and Phil Collins, joins Joe Kelley for an in-depth conversation about the art of live sound. Colby opens up about his first encounters with Prince, his transition from monitor engineer to front-of-house, and the lessons learned from decades of touring with music's greatest. A must-hear for fans of live production and Prince's creative legacy.

Prog plutôt "soft" rock dans ce numéro a écouter dans son plaid...coupable

It took twelve albums, but 1983's "That's All" finally launched Genesis into the Billboard Hot 100 Top 10.This episode of the Behind The Song podcast dives into the single that cemented the Phil Collins, Tony Banks, and Mike Rutherford lineup as the band's most commercially successful era. Hear how this hit transformed them from progressive pioneers to chart-topping superstars, kickstarting a run of seven Top 10 hits in the 80's.See Privacy Policy at https://art19.com/privacy and California Privacy Notice at https://art19.com/privacy#do-not-sell-my-info.

A Flash Back from October 31, 2022!! Good Times, ENJOY!!! With the Professor Shonda in the house you know the conversations were everywhere and it was, as usual a BLAST!!! We went from Childhood Illnesses, to reading the Robert Frost Poem, "Nothing Gold can Stay". TOM Played the Phil Collins song, "In the Air Tonight" that he knew would trigger a fond memory in Shonda's mind about her Dad. It did and she shared the story with us. Awesome stuff!! AND, we had some Halloween talk!! Have a GREAT Final day in October and join us tomorrow in welcoming November!!! Later Gators!! *Get everything you need to start your own successful podcast on Podbean here: https://www.podbean.com/tomspodcastPBFree   *Visit our webpage where you can catch up on Current / Past Episodes: www.theoldmanspodcast.com     *Contact us at: theoldmanspodcast@gmail.com     Checkout and Follow the Writings of Shonda Sinclair here: Roaming the Road (of Life):https://www.shondasinclair.com/   *TOMPodcast / WTFT Radio Music Shows: https://www.mixcloud.com/TOMPodcast/   Check into Podcast Overlord on Twitter and at https://overlordshop.com/store to see how they can help get your Podcast footprint on twitter to grow.

« Fils de Dieu » ou « Fils de l'Homme »… pourquoi Jésus est-il affublé de drôles de titres comme ça ? Que signifie l'expression « ben adam » ? Et quel est le rapport entre Mowgli et Tarzan, ou encore entre le Livre de Daniel et l'évangile de Matthieu ? (SPOILER ALERT : sisi, ça a un rapport avec les deux premières questions ! ) Breeeef, dans cet épisode, on explore les titres du Christ : de la poussière d'Adam aux nuées du ciel, du “Fils d'homme” au “Fils de Dieu”. Avec Baloo, Johnny Cash, Dany Boon, Rudyard Kipling et Phil Collins !Bonne écoute !Hébergé par Ausha. Visitez ausha.co/politique-de-confidentialite pour plus d'informations.

CADENA 100 presenta una variada selección musical, incluyendo éxitos de Phil Collins, Of Monsters and Men con "Little Talks" y el ritmo pegadizo de "Échame la culpa". También suena "Run Away With Me" y canciones de The Script. Se destaca la trayectoria de Manuel Turizo y la energía de Nil Moliner con "Espectacular", además del clásico "Infinity" de Guru Josh. El programa celebra el éxito de Manuel Turizo en Sevilla y la influencia de

This week on Discologist, guest-host Philip Basnight (Broke Royals / DC Rock History Podcast) and Kevin head back to the Country with Dylan Earl's new album Level-Headed Even Smile, ponder a world that needs surround sound Phil Collins, and more. Hosted on Acast. See acast.com/privacy for more information.

Description: Andy rounds out his chat with super producer Rob Cavallo, who has sold 130 million records and produced artists like Phil Collins. It's not just older people who like old-school cars – Gen Z is getting in on the classic car action. California has introduced several new bills aimed at addressing rising home insurance costs after natural disasters and bolstering low-income home buyers. What responsibility does the state have, if any, regarding the Pacific Palisades wildfire? Tiffany Hobbs and Andy recall they both received recognition for their animal advocacy and the animal evacuation bill they helped to pass due to the January wildfires!#RobCavallo #Googoodolls #PhilCollins #Coachella #naturaldisasters #Beck #Iris #BlackBalloon #TomPetty #Maroon5 #grunge #poprock #classiccars #GenZ #millennials #AndandtheValley #PacificPalisadeswildfire #jonathanrinderknecht #animalevacuationbill #lossofusecoverage

Today's program features tuneage from Talking Heads,  Led Zeppelin, Spirit, Radiohead, Iron Butterfly, Steppenwolf, Phil Collins, Jeff Buckley, Leon Russell, Lou Reed, Beatles, Elton John, Eric Burdon &The Animals, Joni Mitchell, Tim Buckley, Grass Roots, Buckinghams, Zombies, Gerry & The Pacemakers, Small Faces, Manfred Mann, Gene Pitney, Four Seasons, The Essex and Turtles.

Chatterbox ep.801 Steve Levandoski's writing has been featured in The Oddville Press, Microfiction Monday, The Writing Disorder, Sci-Fi Lampoon, Flash Fiction Magazine, the Grim and Gilded, The Pink Hydra, and the Coffin Bell and came in third for short scripts at the 2025 Scriptapalooza and first place in the Sunday Shorts Festival. He's the big cheese at Next In Line Magazine. Described as “interestingly off-putting,” Steve lives in an underground bunker somewhere in Philadelphia with his better half Lisa and their pug Phil Collins.    ---- Listen Elsewhere ---- YouTube:  https://www.youtube.com/c/TallTaleTV Website: http://www.TallTaleTV.com   ---- Story Submission ---- Got a short story you'd like to submit? Submission guidelines can be found at http://www.TallTaleTV.com   ---- About Tall Tale TV ---- Hi there! My name is Chris Herron and I'm an audiobook narrator. In 2015, I suffered from poor Type 1 diabetes control which lead me to become legally blind for almost a year. The doctors didn't give me much hope, predicting an 80% chance that I would never see again. But I refused to give up and changed my lifestyle drastically. Through sheer willpower (and an amazing eye surgeon) I beat the odds and regained my vision. During that difficult time, I couldn't read or write, which was devastating as they had always been a source of comfort for me since childhood. However, my wife took me to the local library where she read out the titles of audiobooks to me. I selected some of my favorite books, such as the Disc World series, Name of the Wind, Harry Potter, and more, and the audiobooks brought these stories to life in a way I had never experienced before. They helped me through the darkest period of my life and I fell in love with audiobooks. Once I regained my vision, I decided to pursue a career as an audiobook narrator instead of a writer. That's why I created Tall Tale TV, to support aspiring authors in the writing communities that I had grown to love before my ordeal. My goal was to help them promote their work by providing a promotional audio short story that showcases their writing skills to readers. They say the strongest form of advertising is word of mouth, so I offer a platform for readers to share these videos and help spread the word about these talented writers. Please consider sharing these stories with your friends and family to support these amazing authors. Thank you!   ---- legal ---- All stories on Tall Tale TV have been submitted in accordance with the terms of service provided on http://www.talltaletv.com or obtained with permission by the author. All images used on Tall Tale TV are either original or Royalty and Attribution free. Most stock images used are provided by http://www.pixabay.com , https://www.canstockphoto.com/ or created using AI. Image attribution will be declared only when required by the copyright owner. Common Affiliates are: Amazon, Smashwords  

K1D en Otto-Jan bespreken hun plan voor een nieuwe supergroep: The Fistboys. We hebben het over de nieuwe Bruce Springsteen biopic, de komst van Wu Tang Clan en het feit dat Phil Collins net 35 kilo verloor.

Episode 5: Gift of Flesh (with Josh Caldwell)This week, your Regarding…Slang hosts Wolfie, Scotzo, podcasting overlord Corey, and Chaz are joined by podcaster, musician, and self-described “boneless couch philosopher” Josh Caldwell as they crack open Slang's most feral track — “Gift of Flesh.”Before the amps even warm up, the gang detours through Phil Collins tributes (and coconut oil stories you'll never un-hear), heartfelt reflections on Chaz's fallen heroe Ace Frehley, and a debate over whether harmonies are a Def Leppard necessity or just one more thing to lose in the grunge fog. Josh and Corey call out the band for ditching their signature layered vocals, while Scott wonders if “Gift of Flesh” is what happens when Sheffield meets Seattle — and Wolfie swears it's Foo Fighters before Foo Fighters knew who they were.The song itself? A muscular, riff-driven outburst that sounds like Adrenalize and Soundgarden got drunk together and woke up in a dive bar bathroom, with the Colour and the Shape all over their pants. Caldwell praises the raw guitar tone and the acoustic drum sound (“finally, something human”), while everyone else argues whether the vocals are gritty authenticity or just Joe Elliott forgetting he's Joe Elliott. Somewhere in there, they discover a lost version called Black Train, debate whether Phil secretly sang lead, and compare the riff to Ozzy and Van Halen before things inevitably derail into stripper metaphors for commercial success.This episode features:

Fidelity, Phil Collins, and Draculas - we cover a wide range of topics in this week's episode on Howard Jones' "No One Is To Blame." Besides our customary song analysis, we also revisit Bill and Frank's earlier jobs (in shoes and construction) and the lessons learned from staring at restaurant menus without eating any food. Official Video Howard Jones on Top of the Pops with the mime Rachael Sage cover (Live) Thank you for being part of our journey! Connect with us on Instagram, Facebook, etc., or send us an email at BandFGuiltFree@gmail.com! We'd love your feedback—please rate and review, and don't forget to share our podcast with your friends! Our theme music is by the incredibly talented Ian McGlynn.

A list of rock's most hated songs and albums includes Aerosmith's"I Don't Want to Miss a Thing", "Sussudio" by Phil Collins, and the soundtrack for 1978's "Sgt. Pepper's Lonely Hearts Club Band". See omnystudio.com/listener for privacy information.

Did Robert Irwin's touching dance with his mother on Dancing with the Stars reveal genuine emotion or calculated performance? The viral moment featuring the wildlife conservationist dancing to Phil Collins' "You'll Be in My Heart" has sparked passionate debate. What began as a routine with his dance partner transformed into an emotional tribute when his mother Terry unexpectedly joined him on stage, creating a powerful moment between a single mother and the son who lost his father in a tragic accident when he was just two years old. The performance has divided viewers, with some seeing a heartfelt tribute to Steve Irwin's legacy and others questioning the authenticity of the emotional display. Robert's tearful post-dance interview, where he stated "I truly feel in some way... that he's here" has become the centerpiece of this controversy.See omnystudio.com/listener for privacy information.

This is the coffee I drink every morning! Coffee with PROTEIN! Use this link https://strongcoffeecompany.com/discount/OPIERADIO for 20% off!Dive into a rollicking conversation that spans a wild Nor'easter storm in NYC, a historic Middle East peace breakthrough, and the chaotic lives of stars like Alec Baldwin and Charlie Sheen. Celebrate the comedic genius of John Candy through a new documentary revealing his heartfelt Trains, Planes, and Automobiles moments and personal struggles. Explore the high-stakes gambles of musicians like Phil Collins and Mick Jagger, who left their bands for solo careers—some soaring, others crashing. Plus, a bizarre lab-grown woolly mammoth meatball sparks debate about food's future. Packed with humor, nostalgia, and jaw-dropping anecdotes, this episode is a whirlwind of entertainment and insight.

This week's program features a Tribute to John Lodge of the Moody Blues who passed away a few days ago. Additionally, there's tuneage from Renaissance, King Crimson, Cat Stevens, Michael Hedges, Led Zeppelin, Leo Kotke, Love, The Beatles, Pat Metheny,  The Rolling Stones, Phil Collins, Canned Heat, Bob Dylan, Bob Seger & The Silver Bullet Band and NRBQ.

Francisco Javier González, periodista y comentarista deportivo

In this episode of the Mr. Beacon Podcast, we unpack Avery Dennison & Wiliot's latest partnership, share lessons from coding with AI tools like Cursor, and explore Amazon's Alexa+ upgrade. Then, we sit down with Ersan Günes, SVP IoT & Head of AI at Inpixon, to discuss Chirp technology, AI-powered tools like Ask Pixie, and how IoT and AI are converging to reshape factories, logistics, and smart environments.Ersan's Favorite Songs:“Lose Yourself” by Eminem: https://www.youtube.com/watch?v=xFYQQPAOz7Y“In The Air Tonight” by Phil Collins: https://www.youtube.com/watch?v=YkADj0TPrJA“Don't Stop Me Now” by Queen: https://www.youtube.com/watch?v=HgzGwKwLmgMMister Beacon is hosted by Steve Statler, CEO of ambientChat.ai — Using AI to connect people with places and things with an app that puts you in control of YOUR data.Our sponsor is Identiv https://www.identiv.com, whose IoT solutions create digital identities for physical objects, enhancing global connectivity for businesses, people, and the planet. We are also sponsored by Blecon http://www.blecon.net. Blecon enables physical products to communicate with cloud applications using Bluetooth Low Energy. Hosted on Acast. See acast.com/privacy for more information.

For episode 250, the guys work on ironing out the anti-male model song I Can't Dance by prog-rock-cum-pop band Genesis. This song was called "provocatively smug" which we couldn't agree more with. AND it sucks.

Break out the Jordache jeans and slap bracelets—we're firing up the Past Tens DeLorean and crash-landing straight into October 4th, 1986. Hosts Dave and Adam are your snarky tour guides through the Billboard Top 10, a week where Lionel Richie was literally defying gravity, Tina Turner was calling out “Typical Males” (present company excluded… maybe), and Run-DMC teamed up with Aerosmith to smash a wall and music history all at once. Adam admits to surviving a Lionel Richie concert back in the day (dancing on the ceiling, not covered by health insurance), we deep-dive Janet Jackson's pop domination, and we wonder aloud if Carl Anderson and Gloria Loring's “Friends and Lovers” was written for a daytime soap opera—or by one. Plus, there's a Juno Awards trivia smackdown, some righteous Canadian music history, and our patented “swap-a-song” gimmick. It's nostalgia, pop-culture snark, and synthesizer-drenched storytelling—Past Tens style. Find Adam Yas music at www.adamyas.com Topics 00:00 — Cold Open: Welcome to Past Tens—seatbelts optional, sarcasm mandatory. 00:26 — Meet the Hosts: Dave and Adam: like Hall & Oates, but with more bad puns. 03:54 — Confession Time: Adam cops to seeing Lionel Richie live in '86. Yes, he's fine. 06:59 — Pop Culture Check-In: Shoulder pads, Top Gun, and too much Aqua Net. 17:06 — Countdown Kickoff: The Billboard Top 10 begins—cue drum machines. 36:55 — Walk This Way: How Run-DMC and Aerosmith blew up MTV (and a wall). 38:20 — The Collab Heard ‘Round the World: Rap + Rock = mind blown. 42:05 — Studio Secrets: Steven Tyler screaming into the void… for art. 44:55 — MTV Controversy: Rock, rap, and race colliding on your TV screen. 53:12 — Phil Collins at Live Aid: Because Phil had to be everywhere. 57:42 — Stacey Q Spotlight: Two of hearts… but one too many listens. 01:11:37 — Oh, Canada: Glass Tiger teaches us “Don't Forget Me (When I'm Gone).” 01:19:01 — Trivia Time: Dave vs. Adam in the Great Juno Awards Quiz. 01:19:45 — Sentimental Sidebar: A Nickelback tangent, with bonus dad stories. 01:26:32 — Janet Jackson Rules the World: Control, Rhythm Nation incoming. 01:34:31 — Friends and Lovers: A song that belongs on General Hospital. 01:39:24 — Huey Lewis & The News: “Stuck With You” and dad-rock glory. 01:44:29 — The Big Reveal: Top song of October 1986. Drumroll, please. 01:45:16 — Winner of the Week: Adam swaps out a Top 10 dud for a hidden gem. 01:56:57 — Closing Credits: The flux capacitor cools down—until next time.  

In this month's episode of What Do You Call That Noise? The XTC Podcast we return to the 2025 XTC Fan Festival to hear engineer and producer Hugh Padgham remembering his work on Drums and Wires, Black Sea and English Settlement, not to mention his time with Brian Wilson, the Police, Phil Colins and many others. The episode also features a review by Jonathan Jacques of the new Atmos remix of Drums and Wires by Steven Wilson. I'm delighted to announce that What Do You Call that Noise? The XTC Podcast is now sponsored by Burning Shed, the online home for all XTC CD, vinyl and official merchandise. Music courtesy of Mick Marston and the Minor Ailments What Do You Call That Noise? An XTC Discovery Book available from www.xtclimelight.com If you've enjoyed What Do You Call That Noise? The XTC Podcast, please show your support at https://www.patreon.com/markfisher Thanks to the Pink Things, Humble Daisies and Knights in Shining Karma who've done the same.Picture courtesy of Tim Bourne ★ Support this podcast on Patreon ★

More 80s goodness on deck, Slackers!The 1980s were a springboard for musicians who left chart-topping bands to chase solo stardom, often outshining their former groups with blockbuster success. This episode explores artists who turned band fame into iconic solo careers, surpassing their groups' album sales with hits that defined the decade.Going solo was a bold move. Some swapped gritty rock for sleek pop, others wove in soulful R&B or forged entirely new sounds. Their debut albums were massively successful, with singles that dominated radio and MTV, becoming instant anthems for a generation. What's even crazier is that many of these artists sold millions more records than their former bands, crafting music that captured the 1980s spirit. From stadium rock to heartfelt ballads, their songs were everywhere - literally everywhere if your name is Phil Collins. And he wasn't the only one to spawn from Genesis!Yet, not every artist's solo leap soared. Why did some “sure-thing” talents stumble? Was their style shift too bold, or did their solo vision lack the spark of their band's collective magic? I'm looking at you, Robert Plant!

When people thing big pop stars of the 1980s, they think Michael Jackson, Madonna and Prince. And they should. BUT THEY SHOULD ALSO THINK OF PHIL COLLINS. Phil Collins was so huge in the 1980s that, just like those other pop stars, he got his own movie - Buster, a true-crime caper/romantic drama/period piece that came and went in five minutes, but not before starting some serious controversy in the UK. The internet's number one Phil Collins fan, Jeremy Parish and fellow prog aficionado Elliot Long join me to talk about the film, the odd controversy around it, and how you all should fear and respect the power of Phil Collins.

In this episode of The Bandwich Tapes, I sit down with the legendary vocalist Arnold McCuller, whose voice has graced stages and recordings alongside artists such as James Taylor and Phil Collins, among others. While we reflect on some of his most iconic musical moments, our conversation centers on his current mission as a recovery coach and interventionist, as well as his involvement with Harmonium. This powerful organization supports creatives in recovery.We talk about the unique pressures musicians face, how addiction weaves into the culture of performance, and the courage it takes to rebuild a life and career on new terms. I also share some of my own journey of sobriety — nearing one year — and Arnold offers wisdom on moving past shame, reclaiming creativity, and finding freedom through community.This is a conversation about music, resilience, and hope — one that every artist (and human) will find something in.Music from the Episode:Witness (Arnold McCuller)Chances Are (Arnold McCuller)Hard Times (Arnold McCuller)You'll Never Leave Harlan Alive (Arnold McCuller)Above the Rain (Arnold McCuller)To learn more about Arnold and his incredible work, please visit his website. Thank you for listening! If you have any questions, feedback, or ideas for the show, please contact me at brad@thebandwichtapes.com.The theme song, Playcation, was written by Mark Mundy. 

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

Join Michael Bollinger, BPACC's artistic director, as he previews the Bartlett Performing Arts & Conference Center's 27th season. The lineup opens October 10 with an outdoor Shakespeare production and includes country legends, tribute acts, family shows, arts‑education performances, and the must‑see Booker T. Jones. Highlights include Music & Theater by the Lake, Darcy Lynne& Friends (sold out), T. Graham Brown, Artrageous, Mandy Barnett's Patsy Cline tribute, The Nutcracker, the Phil Collins experience, and youth productions. BPAC is intimate and family friendly—visit BPACC.org or call the box office for tickets and details at (901)-385-5588. RECORDED SEPTEMBER 25, 2025 www.bpacc.org  

Join Michael Bollinger, BPACC's artistic director, as he previews the Bartlett Performing Arts & Conference Center's 27th season. The lineup opens October 10 with an outdoor Shakespeare production and includes country legends, tribute acts, family shows, arts‑education performances, and the must‑see Booker T. Jones. Highlights include Music & Theater by the Lake, Darcy Lynne& Friends (sold out), T. Graham Brown, Artrageous, Mandy Barnett's Patsy Cline tribute, The Nutcracker, the Phil Collins experience, and youth productions. BPAC is intimate and family friendly—visit BPACC.org or call the box office for tickets and details at (901)-385-5588. RECORDED SEPTEMBER 25, 2025 www.bpacc.org  

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

I never thought you could earn from somebody else's settlements.But our guest today, Patrick Grimes, introduced us to another (“unique”, I would say) #alternativeinvestment that isn't mainstream yet.- AxelEpisode Takeaway and Action PlanEpisode Highlights:[00:00:00-00:02:06] From Tesla to Real Estate[00:02:07-00:04:24] Beyond the Stock Market[00:04:25-00:15:20] A Unique Opportunity with Legal Funding[00:15:21-00:19:29] Risks in Litigation Funding?[00:19:30-00:27:21] The Case for Diversification[00:27:22-00:31:23] How to Become a Litigation Investor[00:31:24-00:37:20] Behind the Scenes at SpaceX and TeslaSpecial Mentions:* Tesla, SpaceX, Bayer, Monsanto, Lockheed, Raytheon, Abbott, J&J, 3M, DuPont, Lessons from Thought Leaders by Patrick Grimes, Phil Collins, Def Leppard, Kevin Eastman, Zig Ziglar, and Brian Tracy* Cases mentioned: Camp Lejeune water contamination, LA Juvenile Detention Center sexual assault, Roundup/paraquat lawsuits, toxic baby formula***Start taking action right NOW! 

I never thought you could earn from somebody else's settlements. But our guest today, Patrick Grimes, introduced us to another (“unique”, I would say) #alternativeinvestment that isn't mainstream yet.Episode Deep Dive with Action Plan: https://tinyurl.com/ep-joe-tegtmeyerEpisode Highlights:[00:00:00-00:02:06] From Tesla to Real Estate[00:02:07-00:04:24] Beyond the Stock Market[00:04:25-00:15:20] A Unique Opportunity with Legal Funding[00:15:21-00:19:29] Risks in Litigation Funding?[00:19:30-00:27:21] The Case for Diversification[00:27:22-00:31:23] How to Become a Litigation Investor[00:31:24-00:37:20] Behind the Scenes at SpaceX and TeslaSpecial Mentions:Tesla, SpaceX, Bayer, Monsanto, Lockheed, Raytheon, Abbott, J&J, 3M, DuPontLessons from Thought Leaders by Patrick Grimes, Phil Collins, Def Leppard, Kevin Eastman, Zig Ziglar, and Brian TracyCases mentioned: Camp Lejeune water contamination, LA Juvenile Detention Center sexual assault, Roundup/paraquat lawsuits, toxic baby formula***Start taking action right NOW! 

The Trombone Corner Podcast is brought to you by Bob Reeves Brass and The Brass Ark.  Join hosts Noah and John as they interview Tom "Bones" Malone.   About Tom : Tom “Bones” Malone, trombonist, multi-instrumentalist, arranger & producer is best known for his work with The Blues Brothers, David Letterman Show and Saturday Night Live. Tom has played on 4,400+ television shows, 3,500+ radio & television commercials, over 1,500 recordings and thousands of live performances throughout the world. Tom has done 3,000 arrangements for television.   Tom plays trombone, tuba, bass trombone, contrabass trombone, euphonium, bass trumpet, trumpet, flugelhorn, piccolo trumpet, alto sax, tenor sax, baritone sax, flute, piccolo, alto flute and bass flute.   “Tom Bones Malone, a multi-instrumentalist, is perhaps the most successful musician in the history of film, live television and sound recording production.” - Ray Hair, president, American Federation of Musicians   Tom has performed, recorded and/or arranged for Ray Charles, James Brown, Stevie Wonder, Paul McCartney, Gil Evans, Yes, Miles Davis, Beck, Aretha Franklin, Spyro Gyra, Jimmy Cliff, Frank Zappa, Stuff, The Temptations, The Supremes, Sting, Elton John, James Taylor, J Giels Band, Blood Sweat & Tears, The Band, Levon Helm, Phil Collins, Wilson Pickett, Sam & Dave, Ben E. King, The BeeGees, Meco, The Coasters, Bon Jovie, Carly Simon, Dr. John, Olivia Newton-John, Joe Cocker, The Meters, The Neville Brothers, Leo Sayer, Boz Skaggs, Chuck Berry, Robert Plant, Jeff Beck, Jimmy Page, Gypsy Kings, Willie Nelson, Clint Black, Dolly Parton, George Benson, B B King, Vince Gill, John Mayer, Steve Winwood, The Killers, Blues Traveler, The Stylistics, Busta Rhymes, Bonnie Raitt, Bruce Springsteen, Al Green, Gloria Estefan, Garth Brooks, Faith Hill, Eddie Harris, Cyndi Lauper, David Bowie, ‘N Sync, Coolio, Snoop Dog, 50 Cent, Solomon Burke, Steely Dan, Aerosmith, Tony Bennett, Mary J. Blige, Peter Frampton, Lyle Lovett, Etta James, Jon Secada, Joe Cocker, Sinead O'Conner, Toni Braxton, Harry Connick, Jr., Randy Newman, Little Richard, Pointer Sisters, Eric Clapton, Billy Preston, Marvin Gaye, Whitney Houston, Chaka Kahn, Four Tops, Elephant's Memory, Eddie Floyd, Count Basie, The Spinners, The Stylistics, Barry Manilow, Jose Feliciano, Woody Herman, Tom Petty, Macy Grey, Van Morrison, Frankie Valli, Hanson, Peggy Lee, Brenda Lee, Liza Minelli, Cab Calloway, The O'Jay's, Nancy Wilson, Shirley Bassey, Billy Joel, Bonnie Tyler, Lou Reed, Baja Men, Dr. Buzzard's Savannah Band, Joss Stone, Dionne Warwick, Meatloaf, Ashford & Simpson, Pat Metheny, David Sanborn, Luther Vandross, Teddy Pendergrass, Glen Campbell, Malo, Vicki Sue Robinson, Mandrill, Gladys Knight & The Pips, Diana Ross, Average White Band, Dreamgirls, Van McCoy, Mongo Santamaria, Instant Funk, Stephanie Mills, Herbie Mann, Paul Simon, Gloria Gayner, Plácido Domingo, Village People, Bobby Blue Bland, Pink Floyd, Hubert Laws, Tina Turner, Joe Jackson, Chuck Mangione, Lou Rawls, David Byrne, Phil Woods, James Ingram, Hank Crawford, Carmen McRae, Bette Midler, Phoebe Snow, Rupert Holmes, BJ Thomas, Samantha Sang, Al Jarreau, Sheena Easton, Johnny Taylor, Little Milton, Stanley Clark, Little Anthony & The Imperials, Joe Pesche, Ron Carter, Buddy Rich, Les Elgart, Larry Elgart, Billy Cobham, Louis Bellson, Stanley Turrentine, Gato Barbieri, Ringo Starr, Lady Gaga, Bob Geldoff, Debbie Harry, Run DMC, Ricky Martin, John Mellencamp, Eurythmics, Rufus Thomas, Debby Harry, Run DMC, Ricky Martin, Shaggy, John Mellencamp, Chris Montez, Joey Dee, Dusty Springfield, The Blues Brothers, Hanson and many others.

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.

"Buenos días, Javi y Mar" en CADENA 100 informa que el gobierno reúne a autónomos por nuevas cuotas y que familiares de 50 familias piden 12 años de cárcel para una enfermera por simular vacunaciones a más de 400 niños. Se anuncian los premios Emmy para 'The Pit' (drama), 'El estudio' (comedia) y 'Adolescencia' (miniserie). Valladolid celebra el Campeonato Mundial de Puzles. The Weeknd ofrece conciertos en agosto y se escucha 'Blinded by the lights'. La sección de jeroglíficos auditivos identifica 'Stranger Things', 'Los Soprano', 'Miami Vice' y 'Cómo conocí a vuestra madre'. Neil Moliner presenta 'Tu cuerpo en braille' como una nueva etapa musical. Un nutricionista recomienda cambiar la alimentación, eliminando azúcar, para reducir la irritabilidad. Se envían audios de WhatsApp de padres y madres con anécdotas. Hay discusiones en pareja por coches, Phil Collins o la Torre del Oro. Se escucha 'Feel' de Robbie Williams, 'See You Again' de Charlie Puth y 'Before you go' de Lewis ...

Join Opie for a wild ride as he wraps up summer with a beach fire under the stars on Long Island. From a $12.9 million Kobe Bryant and Michael Jordan sports card to a $8,000 martini in the Hamptons, Opie dives into the absurdities of wealth and excess. Looked up how much the bottle of Pappy Van WInkle bottle of bourbon I got for saving a little girl is worth! He rants about dog poop piling up in NYC, driverless cars stirring up trouble, and a 64-year-old getting punched on the subway. When not to use Bug Spry! Plus, thoughts on Pete Davidson stealing the show in The Pickup with Eddie Murphy, a moving Devo documentary, and a heartfelt nod to Phil Collins as the man of the day. Get ready for laughs, nostalgia, and Opie's unfiltered take on it all. Subscribe and hit that like button to keep the Opie Radio podcast rolling!

South Park attacking Trump has been good for ratings, Howard Stern spin, Phil Collins abused by AI, angry Rosie O'Donnell, Maz relives the time he made Mitch Album angry, and Jim's Picks: Hand Songs. Another new South Park aired last night. Some people are saying this is the best season ever. Are you mad they didn't go after Joe Biden/Kamala Harris? CNN viewership continues to dwindle. MSNBC MS NOW is brutal too. Streaming services are getting more expensive as services are raising rates. A new Bonerline. Breaking Howard Stern News...Some people are saying the news of him not signing a deal is an inside job. Tom Mazawey joins us for the first time ever with no time restrictions. He TRIED to walk back his Detroit Tigers hot take, but he came out with a new Detroit Lions hot take. Michigan Football is still a hot topic. Was there news about them recently? Week 0 of College Football is this weekend. Maz weaseled his way into the Champions Club yesterday to see the Tigers sweep Houston. Maz has angered every host that he has ever worked with in radio. AI is the best. Some people are saying Phil Collins is constantly in and out of the hospital. Jimmie Ward of the Houston Texans is in some hot water. Tik Tokker Julia Hill ruined a baseball game. Jaylen Brown's dad was busted for attempted murder. Not a good look. Rosie O'Donnell is in the news more now since she moved to Ireland. Now she's starting a fight with Jay Leno. Fit for TV: The Reality of the Biggest Loser doc on Netflix is getting a ton of discussion. Jim's Picks: Hand Songs. If you'd like to help support the show… consider subscribing to our YouTube Channel, Facebook, Instagram and Twitter (Drew Lane, Marc Fellhauer, Trudi Daniels, Jim Bentley and BranDon).