Podcasts about razormaid

💜 Corazón Púrpura Rock (edición 386) 🤘 Estos son los estrenos de otoño 👇🏻👇🏻👇🏻 PLAYLIST: 👉🏿 BLACK HOLE 👉🏿 CRIMSON SUN 👉🏿 VIS MYSTICA 👉🏿 AUTUMN’S GRIEF 👉🏿 HIGHLORD 👉🏿 ASTERISE 👉🏿 THUNDERMOTHER 👉🏿 RAZORMAID 👉🏿 LEE AARON 👉🏿 ROB MORATTI 👉🏿 WARCRY Si quieres ver el Playlist con la información del tema que suena, puedes hacerlo en nuestro blog 👇🏿 https://corazonpurpurarock.blogspot.com/2022/11/programa-386.html Si prefieres escucharnos en directo a través de la FM o la Web 👇🏿 https://corazonpurpurarock.blogspot.com/2022/08/estas-son-las-emisoras-de-radio-en-las.html 📲 Síguenos por: Nuestro Blog: https://corazonpurpurarock.blogspot.com/ YouTube: https://youtube.com/channel/UCW234Ck1P1QI4KFspzYJxng Facebook: www.facebook.com/corazonpurpurarockradio Twitter: https://twitter.com/cpurpurarock Instagram: https://instagram.com/corazonpurpurarock Tik Tok: https://tiktok.com/corazonpurpurarock Contacto: corazonpurpurarockradio@gmail.com 💜 Sobre Corazón Púrpura Rock: Es un programa de radio musical semanal: heavy metal, hard rock, power metal, rock alternativo, AOR, rock melódico, metal… Está dirigido y presentado por Gracia Santiago. Se emite en la Onda Local de Andalucía. Además de tener una versión podcasts en varias plataformas. Nació en 2014 en Córdoba (España). Esta es nuestra 9ª temporada.

1. A-ha - The Sun Always Shines On TV (Remix) 2. Talk Talk - It's my life (Rhythm Stick mix) 3. REM - Shinny happy people (Dance mix) 4. Culture Club - Miss me blind (The Edge remix) 5. Depeche Mode - Master and servant (Razormaid mix) 6. Pet Shop Boys - West end girls 84 - Sunglasses (Mix) 7. Queen - A kind of magic (Hot Tracks) 8. Michael Jackson - Thriller (DMC) 9. Trans X - Living On Video (Extended)

**Dark Indulgence 08.28.22 Industrial | EBM | Dark Techno Mixshow by Scott Durand: this week featuring brand new music from KMFDM | Ulises Arrieta | Heiniche ft Primi | Rroyce | Voicecoil | Terminatryx | Any Second | Rest my chemistry | Machine Abuse | Ultra Sunn | Cold Eyes | Green Hologhost | Dina Summer | Franz Scala | Carbon Decay | Bow Ever Down | Gettner ft Psychosomatik & more. Please remember to REPOST | SHARE | FAVORITE to help spread the new music!** Gettner ft Psychosomatik – No Hope Bow Ever Down – Oh Father (SINthetik Messiah remix) DAM13NNE – Tree wave Anthony H – The Dark Side (H's Sonic Deluxe mix) Carbon Decay – Chaos Any second – Me and my enemy (Suicide Commando) Unholy – False Definition Ofelia Ortodoxa – Memory for sinners Machine abuse – Track2.exe Franz Scala – One Way Love (Italo mix) (TKA Cover) Rest my chemistry – The Neon Wave Miss Zagato – Fuel crisis Sex Kino - Scream in the city (Cabizbajo remix) Ulises Arrieta – Elipsis Alvee & Rubbi – Singular D-nox & Beckers – Skylab Franz Matthews ft Jonathan Lehmann – The question (The Organism remix) Grausame Tochter – Annika ist tot Rufus du sol – On my knees Sian – Your demons Dina Summer – Mars Heiniche ft Primi (Manmindmachine) – Electric devil Kadosh & Rodriguez Jr – Moran Ultra sunn – The speed Nullstrahler – Stalker Rroyce – Answers & questions mOat (UK) – Paradise (Ame extended remix) Sierra – Unpredictable (Mascarpone remix) Simi Nah – You spin round (Dead or alive cover) Cold eyes – Black Liner Voicecoil – Why Psyche - Unveiling the secret (Razormaid re-edit) Green Hologhost – Shimmer of hope Eisfabrik – The Choice James Black Present – Mad world (Tears for fears cover/rmx) DK8 – Murder was the bass KMFDM – Hyena (world premier) Gabber Eleganza & HDMirror – Seen it A Projection – Careless Je T'aime – Give me more kohl Terminatryx - Blame

**Dark Indulgence 08.28.22 Industrial | EBM | Dark Techno Mixshow by Scott Durand: this week featuring brand new music from KMFDM | Ulises Arrieta | Heiniche ft Primi | Rroyce | Voicecoil | Terminatryx | Any Second | Rest my chemistry | Machine Abuse | Ultra Sunn | Cold Eyes | Green Hologhost | Dina Summer | Franz Scala | Carbon Decay | Bow Ever Down | Gettner ft Psychosomatik & more. Please remember to REPOST | SHARE | FAVORITE to help spread the new music!** Gettner ft Psychosomatik – No Hope Bow Ever Down – Oh Father (SINthetik Messiah remix) DAM13NNE – Tree wave Anthony H – The Dark Side (H's Sonic Deluxe mix) Carbon Decay – Chaos Any second – Me and my enemy (Suicide Commando) Unholy – False Definition Ofelia Ortodoxa – Memory for sinners Machine abuse – Track2.exe Franz Scala – One Way Love (Italo mix) (TKA Cover) Rest my chemistry – The Neon Wave Miss Zagato – Fuel crisis Sex Kino - Scream in the city (Cabizbajo remix) Ulises Arrieta – Elipsis Alvee & Rubbi – Singular D-nox & Beckers – Skylab Franz Matthews ft Jonathan Lehmann – The question (The Organism remix) Grausame Tochter – Annika ist tot Rufus du sol – On my knees Sian – Your demons Dina Summer – Mars Heiniche ft Primi (Manmindmachine) – Electric devil Kadosh & Rodriguez Jr – Moran Ultra sunn – The speed Nullstrahler – Stalker Rroyce – Answers & questions mOat (UK) – Paradise (Ame extended remix) Sierra – Unpredictable (Mascarpone remix) Simi Nah – You spin round (Dead or alive cover) Cold eyes – Black Liner Voicecoil – Why Psyche - Unveiling the secret (Razormaid re-edit) Green Hologhost – Shimmer of hope Eisfabrik – The Choice James Black Present – Mad world (Tears for fears cover/rmx) DK8 – Murder was the bass KMFDM – Hyena (world premier) Gabber Eleganza & HDMirror – Seen it A Projection – Careless Je T'aime – Give me more kohl Terminatryx - Blame

1. Boys Town Gang - Can't take my eyes off of you (Hot Tracks) 2. Donna Summer - Heaven knows (Hot Tracks) 3. The Communards - Never Say Goodbye (Shep Pettibone Extended Mix) 4. Sharon Redd - In the name of love (Hot Tracks) 5. Patrick Hernandez - Born to be alive (Hot tracks) 6. Gloria Gaynor - I Am What I Am (Hot Tracks) 7. Lime - Unexpected Lovers (Extended remix) 8. The Weather Girls - It's raining men (Hot Tracks) 9. The Twins - Face to face, heart to heart (Razormaid mix)

1. Get The Balance Right (Combination Mix) 2. Just Can't Get Enough (Edge Remix) 3. Master and Servant (Slavery Whip Mix) 4. People Are People (Different Mix) 5. Sea Of Sin (Razormaid Mix) 6. Pleasure Little Treasure (Razormaid Mix) 7. Strangelove (Discotech mix) 8. Enjoy the silence (Razormaid mix) 9. Behind the wheel (Shep Pettibone Remix) 10. Personal Jesus (Kaktuz Remix) 11. Policy Of Truth (Noizz Factor Club Mix) 12. It's no good (Club 69 future mix) 13. I feel loved (Danny Tenaglia's labor of love mix) 14. Free love (Deep Dish freedom mix) 15. Dream on (Morel's Pink Noise club mix) 16. Only when I loose myself (Hytraxx intro vocal mix) 17. World In My Eyes (Cicada Mix)

1. Michael Jackson - Beat It (Unreleased 12" Version) 2. Dire Straits - Money For Nothing (Unreleased 12" Version) 3. B52's - Love shack (Retroshock remix) 4. Oingo Boingo - Just Another Day (12" Mix) 5. Madonna - Material Girl 6. The Wonders - That thing you do! 7. Alphaville - Forever young (Razormaid mix) 8. Elton John - I Don't Wanna Go On With You Like That (Shep Pettibone 12 Inch Mix) 9. New Order - Blue Monday (DJ Promo Mix)

1. Discover - We don't talk anymore (Extended) 2. Undercover - Never let her slip away (Essential mix) 3. Pet Shop Boys - Saturday night forever (Razormaid) 4. Sonia - Counting every minute (The king's counting house mix) 5. Madonna - Secret (Junior's Extended Luscious Club Mix) 6. Lighthouse Family - Raincloud (Cuca remix) 7. DJ Bobo - Somebody Dance With Me (Club Mix) 8. Black Box - Strike it up (Remix)

Episodio emitido el 9 de mayo de 2021 en www.rockinvasionradio.com EDITO: Parece ser que hubo un fallo de sonido en el primer tema, que es Rock N Roll Invasion, de Razormaid. Mientras estuvo sonando, contaba que era otra de las opciones que valoré como sintonía. Después, todo marcha correctamente. Playlist: Warlock – Wrathchild Tokyo Blade – Attack Attack Ecclesia – Vatican III Sommo Inquisitore – Pestilentia Nekromantheon – Faustian Rites Sodom – Deathlike Silence Necrophobic – Dawn of the Damned Gorgon – Blood of Sorcerer Impaled Nazarene – Goat of Mendes Iron Flesh – Relinquished Flesh Pungent Stench – Happy Re-Birthday Aura Noir – Conqueror Exorcist – Call for the Exorcist Igniter – Ten Little Piggies Armored Saint – Reign of Fire Chastain – We Must Carry On

It's time for your midweek fix of metal rockers and I've got a great show lined up with tracks from Speedkiller, Black and damned, Dalton, Avantasia, Razormaid, Iron maiden, Kalidia, the Crown and Architects to name but a few. My goal for Evil FM this year, is to reach between 10,000 - 15,000 downloads so why not get clicking and enjoy some awesome music with me Patrick M Cunningham right here on Evil FM the podcast that's too loud for wimps. If you haven't checked out Captain Freak-Out's Psychedelic Radio then just click the link, head on over and get ready to enjoy some classic stoner rock courtesy of Nicholas. JOIN US ON TWITTER JOIN US ON FACEBOOK  LISTEN TO US ON I-TUNES CAPTAIN FREAK-OUT'S PSYCHEDELIC RADIO   www.patrickmcunningham.com Artwork by Luis Royo

1. DJ H feat. Stefy - Think About (FAB Remix) 2. Bananarama - I can't help it (House mix) 3. Black Box - Everybody Everybody (Jolyon Petch house mix) 4. Living House - To talk (Club Mix) 5. Liza Minnelli - Losing My Mind (Extended Remix) 6. Pet Shop Boys - So hard (Razormaid mix) 7. Silkey B - I Wanna Do It You (Club Version) 8. U2 - Lemon (Extended Bad Yard Club Mix) 9. Marky Mark & The Funy Bunch - Good Vibrations (Ultimix) 10. Nu Shooz - I Can't Wait (Promo Only mix)

1. Pet Shop Boys - We're the Pet Shop Boys (Paul Manning Palatine mix) 2. New Order - Blue Monday (12" mix) 3. B52's - Love Shack (12" mix) 4. The Wonders - That thing you do (Select mix) 5. Depeche Mode - Route 66 (Beatmasters remix) 6. Go Go's - Our lips are sealed (Razormaid mix) 7. Dire Straits - Sultans Of Swing (Lost 12" Version) 8. Elton John & Kiki Dee - Don't Go Breaking My Heart (Select Mix) 9. Michael Jackson - Dirty Diana (Alan Coulthard Remix)

This episode features music from Cheap Trick, Jack Russell’s Great White, House of Lords, Night Ranger, and more...

1. Bag Lady (I Wonder) - Ebn-Ozn 2. Electric Barbarella (Tee's Club Mix) - Duran Duran 3. Sub-culture (Razormaid! Mix) - New Order 4. (Set Me Free) Remotivate Me (Release Mix) - Depeche Mode 5. Music That You Can Dance To (Razormaid! Mix) - Sparks 6. Love Glove (Full Version) - Visage 7. Clear Trails - Shriekback 8. European Son (12" Version) - Japan 9. Let's Go To Bed (Extended Version) - The Cure 10. When Smokey Sings (Detroit Mix) - ABC 11. No Stars (Unreleased Original Remix) - Figures On A Beach 12. Blue Savannah (Razormaid! Mix) - Erasure 13. Disenchanted (12" Version) - Communards 14. No Gift Refused (Extended Version) - Until December 15. Love Will Tear Us Apart - Simple Minds Notes and other random things: 50 episodes! Kind of a nice accomplishment, if I may say so. Not sure why 50 is any more important than, say, 47 or 5 or 19. I certainly don't want to be numerically discriminatory or anything like that, but maybe if those other numbers were divisible by something other than themselves and 1 they might get more publicity. So, I'll celebrate reaching the 50-episode milestone because not only is 50 equal to half a hundred, but it is divisible by lots of other cool numbers. On to the bands ... The first band I'd like to mention here is the first band in this podcast: Ebn-Ozn. Many of you are probably aware of the excellent "AEIOU Sometimes Y", which also appeared on CRC #28, but most of you may not be aware of their tune "Bag Lady", which was a Top 40 Club hit and minor radio hit. Both songs appeared on the group's only full-length album called "Feeling Cavalier", which is notable for being the first album to be recorded entirely on a Fairlight CMI sampling keyboard. That makes Ebn-Ozn one of the true pioneers of the sampling culture which was just starting to take hold in the early 80s. If you haven't seen the video to "Bag Lady", it featured one Imogene Coca, better known as Aunt Edna in National Lampoon's Vacation movie. Go take a look. I'll wait ... Okay, we're back live.

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Party Favorz is back with Back 2 the 80's, a monster mix of commercial dance classics from the era. After releasing the Trash Disco series last year, I knew I had to move a decade up as the genre that defined "dance" and "disco" has substantially changed with the introduction of the drum machine and synthesizers. You'll notice the snare drum is prominent in many of the songs as it was used for timing and transition throughout most of the songs. It's easy to pick up on as this was a mainstay of the dance genre of the era. Even though these took over a week to put together, the actual process was fairly easy. The very DJ friendly (unauthorized) remixes by DJ services like Ultimix, Razormaid, and Hot Tracks (among the most popular) were designed for easier transitions between songs in a live setting. I won't bore ya'll with how a lot of this was achieved but it was not unlike what I was doing with two Nakamichi tape decks at the time. The only song that was poorly structured and frankly a hot mess was "Freeway of Love" by Aretha Franklin. It starts off easy enough but quickly loses its timing by 1/8 beat throwing off the entire mix. Because it was unusually long for a mix during this period, it required a great deal of editing which I had to do manually to get it to work. The end result was flawless and well-worth the effort. Back 2 the 80's is a two-part set with the second one dropping tomorrow. After the massive success of the of my previous 80's efforts (Pure Energy, Pump Up the Volume, and Hit That Perfect Beat) I'm guessing these will satisfy your Reagan-era dance lust. Album: Back 2 the 80's pt. 1 Artists: Various Genre: 80's Dance Length: 2:15:18 Paula Abdul - Straight Up (Ultimix) Pebbles - Girlfriend (Hot Classics Remix) Janet Jackson - Pleasure Principle (Ultimix) Duran Duran - All She Wants Is (Ultimix) Nu Shooz - Point of No Return (Ultimix) Timex Social Club - Rumors (Hot Tracks Mix) Pebbles - Mercedes Boy (Ultimix) Shannon - Let The Music Play (Ultimix) Debbie Gibson - Electric Youth (Ultimix) Gloria Estefan - Get On Your Feet (Ultimix) Taylor Dayne - Tell It To My Heart (Ultimix) Company B - Fascinated (Ultimix) Janet Jackson - Nasty (Cool Summer Mix Part One) Karyn White - Secret Rendezvous (12'' White House Remix) Neneh Cherry - Buffalo Stance (Funkymix) Paula Abdul - Cold Hearted (Cold Hearted House Mix) Dan Hartman - We Are The Young (Hot Tracks Mix) INXS - I Need You Tonight (Ultimix) Rick Astley - Never Gonna Give You Up (Hot Tracks Mix) Jets - Crush On You (Ultimix Remix) Whitney Houston - I Wanna Dance With Somebody (Who Loves Me) (Ultimix) Natalie Cole - Pink Cadillac (Hot Tracks Mix) Samantha Fox - I Wanna Have Some Fun (Ultimix) Anthony & The Camp - What I Like (Hot Tracks Mix) Gwen Guthrie - Ain't Nothin' Goin' On But The Rent (Mark S. Berry & Tony Prendatt 12'' Club Mix) Bananarama - Cruel Summer (Hot Tracks Mix) Pretty Poison - Catch Me (I'm Falling) (Ultimix) Breakfast Club - Right On Track (Ultimix) Jermaine Stewart - We Don't Have To Take Our Clothes Off (Ultimix)

1. Heartbeat City - The Cars 2. All Roads Lead To Rome - The Stranglers 3. I Die: You Die - Gary Numan 4. Auto Music (Razormaid! Mix) - Our Daughter's Wedding 5. To Cut A Long Story Short (12" Version) - Spandau Ballet 6. Fun City (12" Mix) - Soft Cell 7. 8:15 To Nowhere - Vicious Pink 8. Telecommunication - A Flock Of Seagulls 9. New Life (Remix) - Depeche Mode 10. Devil Inside (12" Remix) - INXS 11. Still Angry - Book Of Love 12. Today (Extended Version) - Talk Talk 13. A Forest (Tree Mix) - The Cure 14. The Metro (Extended Version) - Berlin 15. Take On Me (Tony Mansfield 12" Version) - A-ha Notes and other random things: So, hello again! Nice to make your acquaintance. Good to finally carve out an evening to record another podcast. I swear, these days I blink and three or four months go by. I suppose, relatively speaking, the same could be said for this episode as it is officially the shortest podcast in CRC history, clocking in at just under one hour. "So, Mr. DJ Tintin," I'm sure you're saying to yourself, "for all my patience waiting for you to give me some new tunes you reward me with LESS music???" It seems that way. You still get the requisite 15 songs, but many of these were single or album versions as opposed to remixes. That's the only defense I have. BUT, look at this artist and track list! Those of you looking for some stuff you haven't heard before may have just hit the mother lode. The Stranglers? Our Daughter's Wedding? Not exactly household names. "Fun City", "Heartbeat City", "Still Angry"? Not exactly the songs anyone would recall off the top of their heads by Soft Cell, The Cars or Book Of Love, respectively. But enough justification. On to the bands ... So, why were the 80s so great? A loaded question to be sure. But ask yourself how many bands in recent memory could have a member, who owned a hair salon, rent out a space above said hair salon, form a band, get discovered by Bill Nelson of Be Bop Deluxe fame, decide upon wearing women's clothes for a video shot in three days on a shoestring budget and become superstars thanks in some part to a fledgling music network called MTV and a now-famous hairstyle? Such was the fate of A Flock of Seagulls, a band that certainly helped alter my musical trajectory and, with the song I Ran (So Far Away), created one of the most iconic and lasting songs of the decade. THAT is the greatness of the 80s - the fact that music was not yet paint-by-number. There was room for experimentation. Sure, you had to be marketable, but the definition of marketable was fluid. And the rules were fluid. As long as someone in the know heard something they liked or saw a creative spark it was sometimes enough for a label to take a chance on you. Spoken like someone who thinks the music they grew up with is the best, I know. But I ask again: could that backstory exist today? Perhaps, but I just don't see it. As for the song in this podcast, "Telecommunication", it is sort of a cult hit at this point and probably an accidental one at that. "(It's Not Me) Talking" was the first single release by AFOS in 1981, but it was the futuristic lyrics and "wall of sound" energy, later praised by uber-producer Phil Spector, that propelled "Telecommunication" into the clubs and into hearts of new wavers. The tune still sounds cool and futuristic even today and reminds me of a moment in time when musical possibilities were still limitless. "No sequencers were used" reads the liner notes of Our Daughters Wedding's first EP, "Digital Cowboy". Layne Rico (electronic percussion / synth), Keith Silva (vocals / synth) and Scott Simon (synth / saxophone) wanted everyone to know that their electronic wizardry and sleight of hand was due entirely to coordination and skill and not programming and triggers like many of their contemporaries such as Depeche Mode and OMD, two groups to which ODW was often compared after their switch over from punk rock and guitars to new wave and synths. And while the group, who sang about lawnchairs and made frequent appearances on MTV with Martha Quinn in the early days of the network, somewhat ironically dismissed DM and OMD as being too "gimmicky", the group did score opening slots for some of the giants of the day including Duran Duran, Talk Talk, Iggy Pop, The Psychedelic Furs and U2. They even worked with famed producer Colin Thurston to record the aforementioned EP. Not bad for a US-based band who suffered the slings and arrows and broken beer bottles of misfortune hurled at them for using electronics on stage at a time when punk was still king. But even skill and deigning to employ sequencers could not save the group from a dust up with their label, EMI. According to Scott Simon, the LA office killed the momentum of their full-length album, Moving Windows, which was released in 1982, because a label exec had a personal issue with one of the band's representatives. The track here, Auto Music, is a Razormaid! mix of the lead track to that first and only full-length. The sweet electronic bass line you hear came about from Simon and David Spradley, the producer for Moving Windows, "jamming one morning in our Union Square loft." To cut a long story short, Spandau Ballet are good. Go buy their records. Seriously, though, Spandau Ballet seems like a perfect name for a slick and sophisticated band who helped spearhead the New Romantic movement, an era of glossy images and high fashion that gave rise to groups like Duran Duran and Visage and others. That is until you remember that, like other groups, SB had their roots in the punk scene and that their name was Allied trench warfare slang for corpses whose bullet-riddled bodies twisted and danced on barbed wire as they were hit by German gunfire. Perhaps they would have been better off going with The Cut or The Makers, both previous band names. But, the name Spandau Ballet stuck as did the amazing voice of Tony Hadley, the Kemp brother's guitar prowess (Martin and Gary), Steve Norman's saxophone riffs and John Keeble's percussive underpinnings. That classic lineup produced a string of Top 10 hits (10 to be precise) including "Gold", "Only When You Leave", "True", "Chant No. 1" and the song in this podcast, "To Cut A Long Story Short", the groups' debut single, which reached #5 in the UK. Speculation surrounding the song is that it pertains to a veteran suffering from post-traumatic stress disorder after being drafted, but getting no explanation why he must join the war. This song apparently inspired Vince Clarke (Depeche Mode, Yaz, The Assembly) to write DM's third single, "Just Can't Get Enough" which, as a side note, is currently being used in a Wal-Mart advertisement. I did NOT see that coming! What more can be said about Gary Numan that hasn't already been said over the course of four decades by the music press? Probably nothing, so I'm not even going to try to break new ground. But, in case you missed it, Gary did just drop his 18th solo album, Savage (Songs From A Broken World), this past September and it instantly shot all the way up the album charts to #2 in the UK and #1 on the UK Indie charts. Call it a love of the man and his music or an indictment of the current music scene, but for a guy who goes down in history as the first artist to secure a #1 song using an all-electronic approach with the highly-coveted and frequently-covered "Are Friends Electric?" way back in 1979, the fact that Gary is still making music that questions, challenges, lifts, destroys and defies convention is impressive. Despite the lofty charting position of the new album and its predominant use of electronics, it failed to register on the Billboard Electronic charts because, according to a Billboard executive, “Sonically, the Numan album just does not fit in" with Billboard's perception of electronic dance music. Seems a bit ridiculous, but Numan is no stranger to such disinterest or indifference on the part of the music cabal. In fact, even during his heyday, "Are Friends Electric?" was perched atop the British charts for three weeks before any radio station would add it to their playlists. The song in this podcast, "I Die: You Die", which appeared in 1980 on the Telekon album a mere two years after his Tubeway Army signing with Beggars Banquet, is his rebuke of the music press and their God complex, star-maker/star-breaker tendencies. The track eventually reached #6 on the UK singles chart. And finally, speaking of the music press, the last band I'd like to mention here had them completely baffled and befuddled for the bulk of their career, or at least until 1990 when Hugh Cornwall left the group. The Stranglers, originally known as the Guildford Stranglers when they embarked as a band in 1974, were comprised of guitarist/keyboardist Hugh Cornwall, bassist/vocalist Jen-Jacques Burnel, keyboardist Dave Greenfield and drummer Brian Duffy (aka Jet Black). Though not one member hailed from Guildford, they were "tweeners" in every sense of the word, dabbling in numerous styles from electropop to soul during the course of their long and storied career. And while many of their successes came during their early punk days, they never quite fit into the punk scene. Ostracized for their relative age, their humorous, often self-deprecating lyrical style contrasted with their often anti-politically correct stage antics, their stunningly fast musical growth and development, and their hit-making skill, which generated 21 Top-40 singles, The Stranglers set themselves apart from their punk contemporaries and gave the press fits as they did not know how to put square pegs into round holes. The track here, "All Roads Lead To Rome" was from their seventh album, Feline. As you can hear, it has distinct new wave overtones, which makes total sense having been released in 1982, but it is certainly a brave departure from their earlier work. And while this track did not chart, it still stands as one of the high points from the Feline album and provides a glimpse into a chameleon-like band that was firmly in transition. Another episode in the books. Thanks for reading/listening. Enjoy the music!

Radio Endeavor Podcast #10 "SNOW GOLDEN" guest mix by OICHO SNOW GOLDEN on Dec 15, 2017 http://goldenlive.xyz/ http://www.contacttokyo.com/schedule/snow-golden-%E5%A4%A7%E5%BF%98%E5%B9%B4%E4%BC%9A/ OICHO(David Harrow)は気のままに音楽の歴史を瞬時に再現するが、そんな彼の長く深いキャリアは一言では説明しきれない。今までのDavidのキャリアはPopからアングラまでありとあらゆるジャンル、アーティストと共演してきた。常に新しいものを創り上げるモティベーション、好奇心が彼を素晴らしい共演者へと次から次へと導いてきた。80年代のPost-punkからNew wave, Neue Deutsche Welle, サンフランシスコ・ディスコ界のレジェンドRazormaidや、dubやexperimental エレクトロニック、特にOn-U Soundでの活動、Andrew Weatherallとの出会い、Technovaとして世界ツアーを幾度となく決行したり、Billie Ray MartinとPop界を占領したり、James Hardway名義でのDrum’n’bass作発表、そしてOichoとしてのカリフォルニアをベースとしたbass、dubミュージックを追求、LAの名物イベントLow End TheoryやDub Labでレジデントとして出演中。Davidは常に音にハングリーなProducerである。 David Harrow could easily play on musical heritage if he wanted, but that's not his style. The man has played with enough true legends of overground and underground music for several lifetimes, and could dine out for years on the hair-raising stories of far out and extreme musical scenes he's been involved with. But what links all his musical adventures so far is a constant quest for new and stimulating sounds, and that applies as strongly now as when he first launched into the post-punk climate in the 80’s So through synth-soaked new wave and Neue Deutsche Welle, through playing with disco legends like Razormaid on the San Francisco scene, through going deep into dub and experimental electronics as part of the On-U Sound production and live team, through the dirty rave haunts of London with Andrew Weatherall, through huge international tours as Technova, through a huge pop smash with Billie Ray Martin, through his live drum’n’bass extravaganzas as James Hardway, through the trance world, on through the Californian bass and weird-beat scenes as OICHO, to the esoteric ambient soundscapes and percussion soundtracks he releases today, Harrow is always, as a wise man once said “on to the next one”. And that hunger for the next sound, the next new idea, is what keeps his music as dazzlingly exciting as it has ever been. info https://en.wikipedia.org/wiki/David_Harrow Interviews https://daily.bandcamp.com/2017/04/24/David-harrow-interview/ current labels http://workhouse.us http://stasisrecordings.com/Site/DH.html https://oicho.bandcamp.com remixs https://www.discogs.com/artist/1702760-Oicho?filter_anv=0&subtype=Remix&type=Credits live  low end theory LA  https://www.youtube.com/watch?v=OW05omN0Rr8 https://www.youtube.com/watch?v=z3vcKmCFh9c https://vimeo.com/184072225  
 videos https://vimeo.com/oicho radio shows https://www.mixcloud.com/workhouse/ as usual 2017 is turning out to be a busy year  continuing live electronic dub performances as OICHO  all over california masterclassshowcases and electronic music instruction at POINT BLANK music academy  album production for leila gobi   world renowned tuareg singer plus too many remix to mention! improvised ambient electronic modular performances in unique environments such as the banks of the LA River  , the HAMMER and the BROAD museums  regular 4 hour reggae/dub DJ sets  at the Echoplex LA vip DJ sets  for U2 at the Rosebowl, Guns n Roses at Dodgers stadium and the Weekend at the Forum

Mary Lemanski started her professional music career at age 11, playing pipe organ. For the past 17 years, Mary has released her original music on the Internet. In 2004, she placed runner-up in the Song of the Year Contest, had a Top 10 Hit on Broadjam.com's New Wave charts, and performed at the One World Festival in St. Cloud, MN. In 2005, she was showcased at Earth Mother Mind Jam in Tempe, AZ, the Putt Putt Pub Crawl in St. Louis, MO, and the Millennium Music Conference in Harrisburg, PA. In May 2006, Mary won honorable mention in the R&B/Hip-Hop category of the Song of the Year Contest.  In 2010, Mary Lemanski released her first full-length CD, "Eclectic." Since releasing "Eclectic," Mary has performed at Six Flags Great America and was a Semi-Finalist in the 2011 Song of the Year songwriting contest. She was also a Regional Winner in Flavorpill's A Band Apart competition and was featured on the Chicago Regional Winners mixtape. In 2012, Mary released, "Speechless," an album of instrumentals in various genres. She recently released a 5-song EP with her band, Mary & The Immaculate Rejections, and is currently writing for her third full-length solo release. Mary earned a Music/Business Administration degree from Millikin University, a certification in audio engineering from the Conservatory of Recording Arts & Sciences, and an MBA in e-Business from the University of Phoenix. She is the Director of Operations and the Chicago & Springfield, IL coordinator for Songsalive!, an international songwriting organization. Mary has worked widely in the music industry, including Epitaph Records, BMG Entertainment, Clear Channel Radio, Razormaid.com, and Rhino Staging.     

1. Beat Dis - Bomb The Bass 2. Hello (Honky Tonk Mix) - The Beloved 3. Say It (Disco Citizen Mix) - ABC 4. Good Life (Indulgence Mix) - Inner City 5. Left To My Own Devices (New Toy Mix) - Pet Shop Boys 6. World (World In Action Mix) - New Order 7. Heart - Pet Shop Boys 8. That Way Again - Seven Red Seven 9. World In My Eyes (Sensoria Mix) - Depeche Mode 10. Don't Let My Love - T42 11. Oh L'amour (The Funky Sisters Remix) - Erasure 12. Pleasure Boys (Razormaid! Mix) - Visage 13. Images Of Heaven (Razormaid! Mix) - Peter Godwin 14. In Blue ... DJ (Razormaid! Mix) - Data 15. New Gold Dream (Razormaid! Mix) - Simple Minds Notes and other random things: First, apologies to Kon Kan fans. I had fully intended to include a remix of "I Beg Your Pardon" in this episode. But I didn't. Why? Well, I've found that early Sunday mornings are about the most opportune time for me to record podcasts now - really early. And in my half-awake, half-asleep state I cued up the wrong tune. In all my years of DJ-ing/podcasting, I can't ever recall cuing up a song I had no intention of using. It's funny, but I couldn't for the life of me figure out why the beats wouldn't match and it wasn't until 3 or so minutes later that I realized I was cuing up the wrong tune. At that point, I didn't have enough time to switch to a different song, so I just went with it. So, for all you Pet Shop Boys fans out there, you get two PSB tunes in this podcast with only a single song separating them. It works, I suppose, but I generally prefer to use only one song per artist in each 'cast. I guess there's a first time for everything, right? Speaking of a first time for everything, after 45 episodes, Bomb The Bass finally appears in song form and not in a production or remix vein. I alluded to "Beat Dis" in episode #41 as CRC featured the Bomb The Bass Mix of Depeche Mode's song "Strangelove" as the lead-off track. One of the early dance tracks to incorporate sampling into the mix, "Beat Dis" was the first single from Bomb The Bass (aka Tim Simenon) and had upwards of 72 samples contained within. Along with ground-breaking tracks, "Pump Up the Volume" by MARRS and "Theme from S'Express" by S'Express, "Beat Dis" heralded the arrival of sampling as a viable artform. The track was huge in Europe, reaching #2 on the UK Singles Chart. It also peaked at #1 on the Billboard Hot Dance Club Play Chart for one solitary week, marking the only charted hit for Bomb The Bass in the United States. I have a real soft spot for the track I'd like to mention next. The band is T42 and the track is "Don't Let My Love". These guys were on the upswing and on the cusp of breaking out in a big way from the Dallas-Ft.Worth market during my time there in the early 90s. Orignally a duo consisting of Jay Gillian and Jimron Goff, vocalist Will Loconto supplanted Goff as the lead singer in 1989. After the release of a cassette EP (remember those?) called Hot On Top, they gained steady airplay on 94.5 The Edge radio station, which was home to all the great alternative bands back in the day. One of my many record store haunts back then, Oak Lawn Records picked up the band for a 12" single of "Don't Let My Love", which did well enough to attract the attention of Columbia Records, who signed the group. They released the full-length album, Intruder, in 1992, which was produced by Paul Robb from Information Society. It's hard not to hear the similarities to Information Society on "Don't Let My Love" and other songs on the album as well. In an ironic twist, Loconto quit the band in 1993, setting out to work with Information Society. While Gillian brought in other musicians to keep the T42 fires burning, the band's star faded and the group melted wistfully into the retro ether. Still, they left behind some tasty pop sugar for our consumption, even doing a very respectable cover of "Let Me Go" by Heaven 17. If you're into upbeat electro-pop, Intruder is definitely worth a listen. And if you're from the DFW area, the album and this song should be a reminder of an excellent time when the DFW local music scene was king. Taken from his 1982 album of the same name, Peter Godwin's "Images In Heaven" resembles more of a cult classic than a bonafide mega-hit. Formerly a member of the short-lived glam rock band Metro, along with Duncan Browne and Sean Lyons, Godwin is probably best remembered for his solo effort, "Images In Heaven", though you'd be hard-pressed to find anyone outside of devout new wave lovers who are very familiar with the song. David Bowie may argue the "best-remembered" point, as Metro's song "Criminal World" made enough of an impression on Mr. Stardust to induce a cover tune. Still, outside of 1983's Correspondence album and a Best Of compilation released in 1998 on Oglio Records, Godwin's scant musical output has always left new wave junkies wishing for something more. Something more ... also the sentiment I feel about Seven Red Seven. Chicago natives and band mates, Mitchell Adrian and David Michael, formed the group in the early 90s and had only a couple of releases issued to minor success before going on to production work for other musicians. However, their time together as a band produced one of the more under-rated and under-appreciated synth-pop albums in Shelter, which was released on Speed Records in 1991. The album included the song here, "That Way Again" and "Thinking Of You" (which appeared in remix form in CRC episode #34). Both were issued as singles. However, the rest of the album, much like Intruder by T42, is a synth-pop delight and a must-have for any synth-pop completist, especially for fans of Red Flag, Cause & Effect, Anything Box, Cetu Javu and others. The group would record just one more album, Bass State Coma, in 1994, and an interesting cover of "Superstition" by Stevie Wonder before moving into the production field. Truly a shame their total musical output was not much, much greater. P.S. Go buy Shelter! The last band I'd like to mention in this episode is the band Data. Fronted by Georg Kajanus, who made waves in the 70s with his band Sailor, Kajanus left Sailor in 1978 to dabble in electronic music. From this, Data was born. The track here, In Blue ... DJ, is a hybrid mix by Razormaid! Records of a couple of tracks from Data's third and final album, Elegant Machinery. Their other releases include 1983's 2-Time and 1981's Opera Electronica. In 1995, Eternity Records released a compilation album called Accumulator containing the second and third albums in their entirety plus the track "Fallout" from the Opera Electronica album. That's it for this episode. I'll be back soon with another new episode. Thanks for listening!

1. Tora! Tora! Tora! - Depeche Mode 2. Brother And Sister - Erasure 3. God Tonight (Art Of Mix) - Real Life 4. I Get Excited (Razormaid! Mix) - Pet Shop Boys 5. A Kind Of Tragedy - Celebrate The Nun 6. Your Tears (Razormaid! Mix) - Echo Romeo 7. Hurt - Re-Flex 8. 5-8-6 (Razormaid! Mix) - New Order 9. Cubik (Kings County Dub) - 808 State 10. Disappointed (808 Mix) - Electronic 11. Think (Virtual Reality Mix) - Information Society 12. Creation (Ultimatum Mix) - Stereo MC's 13. Train Of Thought (Extended Mix) - A-ha 14. Tesla Girls (Razormaid! Mix) - OMD 15. Reap The Wild Wind (Extended Version) - Ultravox Notes and other random things: Starting off this podcast is a song that may not be familiar to non-Depeche Mode fans - or about four of you. The phrase itself is notable for its connection to Pearl Harbor. The word "tora" literally means tiger in Japanese, though in a WWII context it is radio code for "totsugeki raigeki", meaning lightning attack. In a Depeche Mode, context, however, the song is also notable as it is one of only two Martin Gore-penned songs appearing on the band's debut: Speak & Spell. (the other was the instrumental track, Big Muff). As most of you probably know, Vince Clarke, who later went on to form Yaz and Erasure, was an original member of DM and its primary songwriter before leaving the group shortly after the release of their first record. Gore would take over songwriting duties after that. Tora! Tora! Tora!, while not one of the most well-known or provocative songs in the DM catalog, provides a tantalizing, albeit brief, glimpse into the mind of Martin Gore and all that was to come. As a side note, a live version of Tora! Tora! Tora! appears on the 12" version of the song "Get The Balance Right". It was the first live track to appear on any DM single. A limited edition version of GTBR contained several more live tracks, making it the first DM single to appear in a limited edition format. Speaking of Vince Clarke and Erasure, the second song in this 'cast, "Brother & Sister" is, in my humble opinion the best track on the band's Wild! album, which dropped in 1989, and perhaps one of their best tracks, period. Considered one of the stronger Erasure albums from stem to stern by many fans, Wild! is enigmatic in the sense that, for whatever reason, it didn't strike a chord with American audiences. Coming immediately on the heels of The Innocents from only a year earlier, an album which contained the massive hits "Chains Of Love" and "A Little Respect" one would think that the next album would have more appeal stateside. Yet, not even great songs like "Drama!, "Star" or "Blue Savannah", (#4, #11, #3 respectively in the UK) sniffed the American singles charts. The band wouldn't see the American charts again until the release of "Chorus" in 1991. On another side note, it was around that time that I got to meet Andy Bell. It was at a hotel bar in downtown Fort Worth, Texas after a concert. While I didn't attend the concert, I had a friend who worked at the hotel tip me off that Andy would be in the bar area sometime after the show. Three other friends and I piled into our car and headed for the hotel. When we arrived, there was a rather large throng of people waiting outside, hoping to get in to catch a glimpse of the band. We showed up well after the fact, walked right in the front entrance and took a seat at a table in the bar area. Nobody even inquired whether or not we had a room at the hotel (we didn't). About 15-20 minutes later, Andy and a couple members of his entourage took a seat at a table near us. We mumbled among ourselves, starstruck as ever. It took about another 15 minutes for us to get enough courage to walk over and ask for an autograph. As we were the only other people in the bar, he kindly obliged. We didn't linger or ask a bunch of questions. We simply said how much we loved Erasure's music and thanked him for the autograph. Then we returned to our table. He appeared exhausted from the show and I think he truly appreciated the fact we didn't press the issue. While many stateside think of Re-Flex as a one-hit wonder thanks to their international smash, "The Politics Of Dancing", the fact is the band had five other singles chart in various countries around the world, including the track "Hurt", which appears here. Reaching #82 in the US back in 1983, the song is largely forgotten or overlooked by all but die-hard fans at this point in time, but it's a fantastic pop gem by any standard and deserves to be heard. Re-Flex were formed in the early 1980s by musicians Baxter on vocals and guitar and Paul Fishman on keyboards and backing vocals, and included Francois Craig on bass, and two successive drummers, Phil Gould and Mark King, both of Level 42 fame. Following King's exit, Roland Vaughn Kerridge took over on drums and later, after Craig’s departure, Thomas Dolby introduced ex-Gloria Mundi bass player Nigel Ross-Scott to the band, thus completing Re-Flex's final and perhaps best-known line-up. Though the group stopped working together in 1987, they have never officially split up. If you are a fan, it might interest you to know that in 2010, Re-Flex band members released a 6 CD box set entitled 'Re-Fuse'. The set includes a re-mastered version of their debut album, The Politics of Dancing, and five CDs of other previously unreleased material. One of those five discs is their sophomore effort called Humanication which, somewhat ironically, was shelved by EMI before its release as it was deemed ... wait for it ... too political. And speaking of pop perfection, OMD's "Tesla Girls" would have to qualify. Though it's one of the definitive club tracks in the band's catalog, Andy McCluskey and Paul Humphreys found it exceptionally difficult to come up with a version that they knew to be "right". At the time, the band's confidence had bottomed-out after the release of their fourth album, Dazzle Ships, and the group struggled to produce new music they felt was up to their lofty standards. Inspired by Yugoslavian-born scientist Nikola Tesla, who developed the alternating current, and armed with a title suggested to the group by musician Martha Ladly, "Tesla Girls" went through endless revisions and multiple adaptations during umpteen recording sessions for their fifth album, Junk Culture. Even after creating what would become the album version of the song, McCluskey recorded two new versions and even attempted to remix the original studio recording before admitting defeat and signing off on the version we've all come to love ... except for "Kids In America" singer Kim Wilde, who called the tune "inane and monotonous". Still, in 1984 the track reached #21 in the UK and has become a classic. By the way, the "No, No, No" vocal sample was done by Maureen Humphreys, Paul's wife at the time. Last, but never least, you may be wondering about the title 5-8-6 by New Order. The song was originally conceived out of Factory Records' head, Tony Wilson, requesting "twenty minutes of pap" from the band. From that directive was borne a 23-minute instrumental titled "Video 5-8-6". The song contained many elements that would surface in various songs on NO's debut album, Power, Corruption and Lies, including their best-selling club hit, "Blue Monday". The song would eventually be distilled down to the vocal version of the song most fans are familiar with. Bassist Peter Hook has stated that the title comes from the bar structure found in the track "Ecstasy". The track went on to chart at #86 on the British Singles Chart and #19 on the British Indie Chart. It also went on to become a classic among classics in the New Order catalog. Welp, another episode in the books. I'll be back with another soon. Thanks for listening!

1. I Want You - Utah Saints 2. Hallucination Generation (Syametic Nightmare) - Gruesome Twosome 3. Salvation (Razormaid! Mix) - The Hood 4. State Of The Nation - New Order 5. Happiest Girl (Jack Mix) - Depeche Mode 6. You Make Me Wonder (Razormaid! Mix) - Celebrate The Nun 7. What Do You See (Arabian House Mix) - Cause & Effect 8. LSI (Love Sex Intelligence) (Beatmasters 12" Mix) - The Shamen 9. Lucky Charm (Extended Club Mix) - Hard Corps 10. Send Me An Angel '89 (Dance Mix) - Real Life 11. We Came To Dance (12" Version) - Ultravox 12. The Calling (Full Extended 12" Mix) - Ken Heaven 13. We Are The Boys (Razormaid! Mix) - Until December 14. The Sound Of The Crowd (12" Version) (Complete) - The Human League 15. My Translucent Hands (No. II) - I Start Counting Notes and other random things: Well, here it is. My first brand new podcast in nearly seven months. Where does the time go? They say patience is a virtue and good things come to those who wait and I think this one was worth waiting for. A good blend of the familiar and the not-so-familiar; some things you may remember and some you've long since forgotten or maybe never heard in your entire life. Before I get to a few band notes, I want to mention that I have now upgraded my account back to a Pro account. I just couldn't bear the thought that people were actually making a point of coming to this site to listen to the music only to be told by a pre-recorded message that they could not because of bandwidth limitations. What does that mean for you all? It means no more running out of bandwidth two days after I post a new episode. With apologies to the Pet Shop Boys it means more "opportunities" to listen and to download when you have time. It means more storage, so I don't have to delete the audio from an older podcast just to post a new one. (You may have already noticed I've re-posted some of the more recent back-catalog episodes). Over time, I will add more of them. For long-time listeners, it's a chance to re-visit some of the older stuff from "back in the day". For newer listeners, it will be like a glut of new podcasts to check out. I also want to note that I've removed the audio for my previous episode (CRC #42) as the recording levels were all over the map and I didn't think the quality was up to snuff. Perhaps 5 or 6 years ago, it would have been okay, I suppose, but even in light of the cheap mixer and free recording software I use to assemble these 'casts, I think this podcast has come too far now and demands a higher level of quality. So, I may re-record that one at a future date. At that point, I'll re-post. Same for back-catalog items. The really good ones, I'll re-post. The ones that could use a little work will most likely be re-recorded and re-posted as a "reboot" episode. All in all, thank you all again for tuning in. Have a Merry Christmas and a prosperous 2017! Now on to the bands ... If you've been a follower of this podcast since the beginning and you've clung to the belief that, against all probability, the thrash metal band, Slayer, would somehow make its presence felt at some point then your patience has finally been rewarded. And you should book your ticket to Vegas immediately. Taking a riff from the group's tune, "War Ensemble", "I Want You" was one of four Top-25 hits for Jez Willis and Tim Garbutt on Utah Saints' self-titled debut. The duo were at the pioneering edge of sampling, also grabbing a snippet of Kate Bush from her track Cloudbusting for the song "Something Good" and a soundbite from the inimitable Annie Lennox from her song "There Must Be an Angel (Playing with My Heart)" for the track "What Can You Do For Me". Called "the first true Stadium House band" by Bill Drummond of The KLF, Utah Saints were one of the first rave acts to play live and one I had the good fortune to see on the same bill with The Shamen in the early 90s during the rave culture explosion. And let me tell you: it was quite a show ... probably. I first heard "Salvation" by The Hood sometime in 1989 while in college. A guy who lived down the hall from me had a version of it on an old mix tape. I really liked the track and was pleased as punch when the first of many Razormaid! discs from my nascent subscription showed up in the mail containing a mix of that song. It is a portion of that 10+ minute version that appears here. I would soon come across a movie soundtrack of the same name while sifting through record bins at a local indie shop. New Order, Cabaret Voltaire, The Hood, hip-hop producer extraordinaire Arthur Baker and others appeared on the album, so I purchased it. While I've listened to the song "Salvation" umpteen times over the years, I did not know much about the band or its members. To this day, I still don't. I spent the better part of an hour trying to find information on the group, but mostly found song credits and track listings. Eventually, I did find a tiny bit of info on a website called The Lost Turntable. The info was posted by an Arthur Baker and a John Hood respectively, both of whom I can only assume to be the real article. "the hood- is john hood, a legendary nyc party promoter-doorman,who is also quite a good writer. he was signed for a short time on the sire label and is active on the club scene in south beach, miami, florida" "Wow! Yeah, that The Hood track is indeed me: John Hood. (Thanks AB!) And I'm delighted to find it posted. In fact, till right now I never even had an MP3 of the song! So if no one minds, I'll post this, save this, and send this around. Nice to find Salvation!" If anyone knows anything more about The Hood, I would LOVE to get a one-sheet or press kit or bio on them. Speaking of bands I don't know much about, Gruesome Twosome would qualify as well. Sort of a one-off project for founders Samy Birnbach from Minimal Compact (aka Lord Solomon Pearbrook) and Norwegian producer Per Martinsen, who had been recording under the name Syamese, "Hallucination Generation" is the only official single from the group and was released in 1989. A cult classic in its own right, the song sort of bridges the gap between traditional industrial dance music and the bourgeoning New Beat music scene that was starting to take hold at the time. Birnbach and Martinsen would later collaborate with the likes of Bertrand Burgalat, Thrash from The Orb, Paul Kendall and Fortran 5 to eventually release a full-length album called Candy From Strangers, which was released in 1993. Birnbach currently releases material under the DJ Morpheus moniker, having once worked with Colin Newman from Wire for a project called Oracle, while Martinsen performs as Mental Overdrive. While it's probably not the best analogy as they employed very different musical styles, Ultravox is much like the band Genesis in the sense that they have two distinct timelines, led by two distinctly different front men. And much like one could argue Peter Gabriel represented the true vision for Genesis, there is no denying that Phil Collins took the band to massive commercial heights and is probably remembered more readily as the face of the group. Similarly, one could argue that while John Foxx may have been the driving force behind Ultravox during their formative years, it was Midge Ure, who took over after Foxx left for a solo career, that kept the band from imploding and pushed them further into the mainstream and to massive success in the UK. With 7 Top-10 albums and 17 Top-10 singles, U-Vox, like many other bands of the day, took their cue from the glam rock outfits that came before such as Neu! In fact, early on Ultravox was known as Ultravox! (with an exclamation point) in deference to Neu! The first album with the classic line-up of Ure, Billy Currie, Warren Cann and Chris Cross would be the amazing Vienna, which marked a very different direction for the group. Produced by long-time Kraftwerk producer Conny Plank, the album included the title track, which would reach #2 in the UK and would be the highest charted song for the band. (John Lennon's "Woman" and "Shaddap You Face" by Joe Dolce would both keep the song from reaching #1). And while the 1982 album Quartet, produced by George Martin, would be the best-selling US album for U-Vox, the band would not again reach the level of critical success they found with Vienna. The song in this podcast is the 12" version of "We Came to Dance", the final single from Ultravox's sixth studio album, Quartet, released on April 18, 1983. The single reached #18 on the UK charts and was the last of seven consecutive top-20 singles for the band. This being the Christmas season, I would be derelict not to mention that Midge Ure also co-wrote (with Bob Geldof of Boomtown Rats fame) and produced the song "Do They Know It's Christmas?" by Band Aid. Last but not least, I want to mention "State Of The Nation" by New Order. Though it reached #1 on the UK Indie Singles Chart and #30 on the UK Singles chart in 1986, the song is probably not a favorite of the majority of New Order fans. I would wager if every NO devotee were to compile a list of his or her Top 10 songs, it would probably appear in less than 5% of those lists. Still, the track is a great one even if only for the fact that it's one of the few NO songs whose title actually appears within the lyrics and/or chorus of the song. As most die-hard fans know, the titles of most NO tunes have little or no relevance to the subject matter being discussed. "Shellshock", "Regret", "Touched By The Hand Of God" and "Confusion" are a few songs I can think of off the top of my head that go against that grain. While the song did not appear on the album, Brotherhood, which was released around this time, both the remix version appearing here and the B-side called "Shame Of The Nation", which was produced by John Robie, appear on the Substance compilation, released in 1987. That will do it for this epidsode. I've got my next podcast ready to record. As soon as I find some time, I'll do just that. Happy Listening!

In this episode, ReZurXn Radio's The Second Wav host DJ Dogbone has created a tribute episode to one of the most prolific remixers of all time, Joseph Watt of Razormaid! records. Two mini-mixes beatmixed live and in the Razormaid! style- in key as well!  Enjoy this special episode of The Second Wav. All six tracks featured in the beatmix sets are available at Razormaid.com Time and Space - Flesh for Lulu Ceremony - Curtis Ian and the Joy Division (UK cover band) Thoughtforms - Lush (mini-mix #1) No Disco (Razormaid!) - Depeche Mode I Feel Love (Razormaid!) - Donna Summer The Telephone Call (Razormaid!) - Kraftwerk China Syndrome - The Hunger (Houston, Tx) Lebanon - The Human League Clean Clean - The Buggles (Mini-Mix #2) 5-8-6(Razormaid!) - New Order The Different Story (Razormaid!) - Peter Schilling Always on My Mind (Razormaid!) - Pet Shop Boys

1. Visions Of You - Jah Wobble's Invaders Of The Heart 2. Life's What You Make It (Extended Mix) - Talk Talk 3. Birthday (Justin Robertson 12" Mix) - The Sugarcubes 4. Feel Every Beat (DNA Remix) - Electronic 5. Hallelujah (Club Mix) - Happy Mondays 6. Big In Japan (Remix '88) - Alphaville 7. Transition - Renegade Soundwave 8. Notorious (Extended Mix) - Duran Duran 9. Prisoner To Desire (Razormaid! Mix) - Psyche 10. Love Comes Quickly (Dance Mix) - Pet Shop Boys 11. Policy Of Truth (Beat Box Mix) - Depeche Mode 12. Walking Away (Space Age Mix) - Information Society 13. True Faith (Shep Pettibone Remix) - New Order 14. Subversion (Razormaid! Mix) - Tanz Waffen 15. Machines (LP Edit) - Red Flag Notes and other random things: Somebody slap me if I try to take several years off from podcasting ever again. I had to pretty much relearn everything I had known about my cheap mixer and recording software from scratch. Not only that, new updates to software means new interfaces and having to learn where all the navigation features are all over again. You may not be able to teach an old dog new tricks, but at least he can relearn old tricks since forgotten. Anyway, on to the music. Starting everything off is sort of a forgotten gem by John Joseph Wardle, also known as the inimitable Jah Wobble. The track peaked at #10 on the US Modern Rock charts back in 1992. Featuring the unmistakable backing vocals of a young Sinead O' Connor, the song was a staple on college radio back in the day. But it almost never happened. Following his stint as the original bassist for Public Image Ltd., Wobble formed Invaders of the Heart in 1983, but sometime in the mid-80s became disillusioned with the commercialism prevalent in the music industry. That and his penchant for drunken brawls let to a hiatus from music. Thankfully, a friend and former bandmate convinced him to return. A live recording he made led to a new contract with a small European label, which propelled him to further success with subsequent Invaders albums. Since the early 90s, Wobble's world music leanings and unique dub-style bass playing has shown up in numerous collaborations with a wide range of musicians of all musical backgrounds. Talk Talk hasn't appeared a lot in CRC, but that's mainly due to the freeform nature of their later music and their lack of "hits" if you will. That's not at all a slam on the group or their style. In my honest opinion they were one of the more original groups coming out of the 80s. And that's not to say they didn't have their share of chart success, but like some other well-respected bands, as their popularity ebbs, their critical acclaim skyrockets. Mixed by producer extraordinaire Tim Friese-Greene, who co-produced Thomas Dolby's "Golden Age Of Wireless" album and has done work with another of my favorite bands, Catherine Wheel, this Extended Mix appeared in February of 1986. According to the band, there was also another 12" mix of this track, by Dennis Weinrich, that was omitted from the "Asides Besides" compilation where this track was taken to "stop the listener from being driven crazy". Seems like I'm going to have to find that one now ... Although the original version of "Birthday" by The Sugarcubes is one of my favorite Sugarcubes tunes, and although I got to see them live back in 1989 opening for Public Image Ltd. and New Order, and although Bjork has attained a level of success whereby she needs only one name, I think the more interesting persona involved with the remix is Justin Robertson. It's unprecedented for me to write about remixers in CRC, but to any music lover at the turn of the 90s Justin's name has probably surfaced many, many times in record collections everywhere. Turned on to music by the burgeoning acid house scene while a student in Manchester, Robertson quickly jumped headlong into the club scene, taking the record store to DJ to club owner route. Erasure, Bjork, Happy Mondays, New Order, Talk Talk, Stereo MCs and Gary Clail are just a few of the more recognizable names Justin has worked with. You may have noticed that four of those artists/bands are featured in this podcast. Coincidence? Well, yes, it was just coincidence. To read more about Justin Robertson's odyssey, you can check him out at http://thedeadstock33s-justinrobertson.com/ Four albums and twelve singles. That's the total output of Renegade Soundwave's eight-year run as dance/east-end hip-hop/dub/sampling/electro-industrialist noise-makers. The song here, Transition, is from their "In Dub" album, which was a quick follow-up to the success of their first long-play album, "Soundclash". Released in 1989, "Soundclash" followed up several popular singles: "The Kray Twins", "Biting My Nails", and "Probably A Robbery", which charted at #38 in the UK during the year 1990. "Probably A Robbery", though gained chart legs mostly due to the b-side, "Ozone Breakdown", a favorite in dance clubs somewhat due to the prominent sample from the cult film, "The Warriors". RSW have been cited by The Chemical Brothers as a major influence. Red Flag, in my opinion as far as electronic dance music goes, was very under-appreciated. Buried beneath their hearty dance beats are beautiful pop songs with lush melodies and harmonies and catchy hooks, at least that was the case with their earlier material, including the track here, "Machines". Originally called Shades Of May, the band was conceived in 1982 and consisted of brothers Mark and Chris Reynolds. Both classically trained musicians, by 1984 the two took seriously to studying music and computer technology. A 1988 gig for a Southern California record pool got them noticed by producer Jon St. James. Shortly thereafter, their first single "Broken Heart" (an amazing song, no less) made its debut. Stacey Q, of "Two Of Hearts" fame, co-produced the single with St. James. Their album "Naive Art", a fantastic album from start to finish that included dance hits such as "Russian Radio" and "If I Ever", appeared in 1989. If timing is everything, the brothers' was impeccable as "Naive Art" hit the streets just as Depeche Mode were riding high at what was perhaps the peak of their songwriting prowess. As such, Red Flag's sound struck a chord, literally and figuratively with the synthpop crowds who, ahem, just couldn't get enough of DM at the time. Regulars to CRC will notice a rather robust selection of Razormaid! remixes throughout these podcasts and "Naive Art" remains the only album Joseph Watt and Co. from Razormaid! ever produced in its entirety. Paul Robb of Information Society also helped with the production. Red Flag were victims of label doldrums twice: the first was the dissolution of Enigma Records in 1991, which led to their signing to IRS, the label on which "Machines" appeared. The second was the following year when they were dropped from IRS, an event which, considering the label's impending financial troubles, may have been rather fortuitous. The brothers also had the foresight to use their advance to build their own studio, which would be home of their own label, Plan B Records. It would be the imprint of all future releases. While the band is still actively recording, Mark Reynolds sadly committed suicide in 2003. May he rest in peace and may his music live on forever.

1. The Politics of Dancing - Re-Flex 2. Here Comes the Rain Again - Eurythmics 3. Fools (Bigger) - Depeche Mode 4. People are Still Having Sex - LaTour 5. Thinking of You (Warzone Mix) - Seven Red Seven 6. Ebeneezer Goode (Beatmasters Mix) - The Shamen 7. Doved Up - Sunscreem 8. Round & Round (The Club Mix) - New Order 9. Two Tribes (Annihilation Mix) - Frankie Goes To Hollywood 10. Living on Video - Trans-X 11. Deeper Shade of Blue (Extended) - Red Flag 12. Dust - Boxcar 13. Together in Electric Dreams (Extended) - The Human League 14. Smalltown Boy (Razormaid! Mix) - Bronski Beat 15. Leaving on a Midnight Plane (Razormaid! Mix) - Nick Straker   Notes and other random things: Well, if the new episode hadn't already tipped you off ... I'm back! Please, no applause (surely none of you applauded). It was great to get out of town for a week even though about a third of the trip was spent in the car. Yup. About 2200 miles in total. But if you've been keeping up with these podcasts you've probably come across several posts that discuss road trips. Personally, I enjoy them. There's nothing quite like watching unfamiliar scenery float by in parallax while skirting past 18-wheelers in a downpour. In all seriousness, it's nice to witness different topography, different natural wonders, different roadkill and take in the subtle differences of a McDonald's cheeseburger that was constructed in backwoods America versus that of the big city. In case you were wondering, it tastes like it has better family values ... and a dash more possum.  But the real point of taking a vacation is to come back re-energized which, if you look at the music selection in this episode, you can clearly see that I have (unless you don't know any of these songs in which case you'll have to take my word for it and then listen for yourself!) This set is positively high energy through and through with a delicate balance of 80s and 90s; major and minor keys; some meat and in one or two cases a lot of cheese (I'm looking at you, Nick Straker ... but don't think I haven't glanced more than once in your direction too, Phil Oakey). But I like cheese, which is why songs like Together in Electric Dreams and Leaving on a Midnight Plane surface in this podcast. And just so you know, Nick and Phil, I'm going to discuss you guys first to show there are no hard feelings. Nick Straker was originally the keyboardist for a band called New Musik. Formed in 1977, the band was initially called The End of the World and was conceived mainly as a casual jam session outfit for four London-based school mates: singer Tony Mansfield, bassist Tony Hibbert, drummer Phil Towner (who drummed on the Buggles MTV-launching track Video Killed the Radio Star) and Straker. The band was one of the first to blend electronic instruments with traditional ones, creating an irresistible pop sound with superb melodies and unrelenting hooks. Why they were never able to make bigger waves on the commercial scene still baffles many music critics and historians. Mansfield, however, went on to become a big-time producer working with early 80s bands like a-ha, Vicious Pink, B-52's and After the Fire among others. Straker departed New Musik before the release of their first single choosing to pursue a solo career. He scored several hits, including A Little Bit of Jazz, which reached #1 on the U.S. Hot Dance Club Play chart in 1981 and A Walk in the Park, which hit #20 on the UK Singles Chart in 1980. The track here is the excellent (and cheesy!) Razormaid! mix of Leaving on a Midnight Plane. It originally appeared on the A Walk in the Park album and peaked at #61 on the UK Singles Chart in 1980.  Together in Electric Dreams is an interesting case study in musical perception. Often associated with The Human League, the track is really a Giorgio Moroder creation with lead singer of THL, Phil Oakey, contributing vocals. It's no surprise that THL often gets most of the credit because they were still near the apex of their popularity in 1984 when the song was initially released. The track was written for the film Electric Dreams, the first full-length feature film by Steve Barron. Barron made his mark directing some pretty high-profile music videos during the early 80s, including THL's international smash hit Don't You Want Me. The funny thing is, he intended Electric Dreams as a way of capturing the massive success of Flashdance from the year before. Yes ... Flashdance! Because that film used music from Moroder, Barron decided to employ Moroder as the music director for his new film. He wanted something heart-stirring to run during the final credits and a classic 80s track was born. The song would surface on a collaborative album by Moroder and Oakey the following year. This extended version is taken from an album of THL rarities and remixes, which certainly won't help the perception that this song is not a THL original. The fact that I credited it as THL (since it was taken from a THL album) won't help either. But I'm going to do something about that Giorgio Moroder for the remainder of the write-up Giorgio Moroder. I just hope it will set the record straight Giorgio Moroder about where some of the credit should go.  I'm still planning to cover one or two more of the bands in this podcast. However, I thought I'd pass this on: it's information about the new Erasure album I hinted at in an eariler episode. The album already dropped in the UK, but for those of us stateside, the release date is Tuesday, October 11. I can't wait!   'TOMORROW'S WORLD' - STANDARD EDITION CD & DOWNLOAD The standard single CD edition is packaged in a single fold digipac with a light pink background and includes a booklet with lyrics to all the songs that also folds out into a poster. TRACKLISTING - Be With You / Fill Us With Fire / What Will I Say When You're Gone? / You've Got To Save Me Right Now / A Whole Lotta Love Run Riot / When I Start To (Break It All Down) / I Lose Myself / Then I Go Twisting / Just When I Thought It Was Ending   'TOMORROW'S WORLD' - DELUXE EDITION CD & DOWNLOAD The deluxe 2-CD edition comes in a double-fold digipac with a light purple/blue background and different artwork to the standard edition, but includes the same poster booklet. The second CD on the deluxe edition contains 8 bonus tracks; extended mixes of 'I Lose Myself' and 'Fill Us With Fire' by longtime Erasure collaborator Gareth Jones; an extra track entitled 'Give Me Life'; demo versions of the songs that eventually became 'I Lose Myself', 'Fill Us With Fire', 'Be With You' and 'You've Got To Save Me Right Now'; and producer Frankmusik's own remix of the current Erasure single 'When I Start To (Break It All Down)' TRACKLISTING CD1 - Be With You / Fill Us With Fire / What Will I Say When You're Gone? / You've Got To Save Me Right Now / A Whole Lotta Love Run Riot / When I Start To (Break It All Down) / I Lose Myself / Then I Go Twisting / Just When I Thought It Was Ending CD2 - I Lose Myself [Extended 'No Self Control' Mix by Gareth Jones] / Give Me Life [bonus track not available elsewhere] / Fill Us With Fire [Extended 'Fired Up' Mix by Gareth Jones] / When I Start To (Break It All Down) [Frankmusik Remix] / Clash (demo version of 'I Lose Myself') / Big Song (demo version of 'Fill Us With Fire') / Major 7th (demo version of 'Be With You') / Save Me (demo version of 'You've Got To Save Me Right Now')   Note as of 10-08-11: Okay, I had planned to write a bit more about some of these bands, but I just flat don't have the time. I guess if it comes down to the writing or the music, I'll err on the side of the music because that's what this podcast is really about. So, I'm going to begin work on a new podcast with the bit of free time I have and end this one here. I'm sure these bands will return in the future and I can write about them at that time. Now, I realize the irony of writing a paragraph to tell you I don't have time to write anymore on this episode, so you don't have to bother pointing that out. Hold tight for another episode coming soon! Cheers!    

1. Tempted - Waterlillies 2. World in My Eyes (Safar Mix) - Depeche Mode 3. Neighbors (Extended Version) - Camouflage 4. So in Love (Brand New Extended Mix) - Orchestral Manoeuvers In The Dark 5. In Love with Love (Razormaid! Mix) - Debbie Harry 6. Always on My Mind / In My House - Pet Shop Boys 7. You Spin Me Round (Murder Mix) - Dead Or Alive 8. Witchcraft (Extended Mix) - Book Of Love 9. Don't Stop (Razormaid! Mix) - The Mood 10. Anvil (Night Club School) - Visage 11. Let's Go to Bed - The Cure 12. The Beach - New Order 13. Chorus (Fishes in the Sea) (Aggressive Trance Mix by Youth) - Erasure 14. Cry Wolf (Extended Mix) - a-ha 15. Hold It (Extended Mix) - Tin Tin   Notes and other random things: I don't know about you, but I've had about enough of the triple digit temperatures. In my part of the world, at least, it's so hot that sweat sweats, stadium vendors are selling "luke warm" dogs and Paris Hilton has changed her catch phrase to "That's cold." And August has just begun! I'm afraid it's going to get a lot worse before it gets better. Thankfully the opposite is true for this podcast. This week, CRC continues its new wave hangover from the previous episode with great old tracks from The Mood, Visage, The Cure and New Order among the selections. The Mood were from York over in the UK. They formed in 1980 and, like so many other groups, members John Moore, Mark James Fordyce, Steve Carter, John Dalby and Eric James Logan met in a local music store they frequented. This particular establishment was called Track Records. As it was with Fad Gadget, Depeche Mode appeared as The Mood's supporting act for several early live gigs. (Funny how DM eventually surpassed so many of the groups for whom they opened.) The song here, Don't Stop, was released in 1982 and peaked at number 59 on the UK singles chart, but did reach the top spot on the UK dance chart, which had recently been introduced. Between their formation and dissolution in 1984, the band released 5 singles, but none did well enough for their label RCA to support a full album, though a 5-track mini-album was released in the US. A deal with EMI never materialized after the group left RCA and they split up in 1984.     OMD have appeared several times before on CRC. Though mostly remembered for If You Leave, their bittersweet contribution to the awesome Pretty in Pink soundtrack, Andy McClusky and Paul Humphries strung together an amazing collection of pop hits throughout the 80s. The song here, So in Love, originally appeared on the Crush album, which was released in 1985. The album was the first that producer extraordinaire Stephen Hague (Pet Shop Boys, New Order and others) produced on his own. Though a little nervous, he and the band got along splendidly. The tracks for the album were recorded at Manor Residential studios in Oxford, an isolated locale which led to "long work days and a heroic amount of drinking," according to Stephen. As for the remix that appears here, Andy said that it "... was recorded with some live drums and most of the other instruments were from the Fairlight CMI sequencer, but all put to tape. Therefore, the 12" was made of a series of dub runs of the multi-track onto two track tape, then all spliced together like the good old analogue days." OMD recently released another studio album and have been touring quite liberally over the past year.  It's not often cover songs show up on this podcast, but in the case of Always on My Mind, I made an exception. Here, the Pet Shop Boys do their thing to Brenda Lee's 1972 country music hit, though Willie Nelson's version from ten years later may be fresher in most minds. Neil Tennant and Chris Lowe released this particular mix of the song in 1988 for their six-song album Introspective. They originally recorded the track for an ITV television special in Britain commemorating the 10-year anniversary of Elvis Presley's death (he covered the song as well). The song was such a sensation that the duo released the track as a single. The version here melds the original track with an acid-house track called In My House, which you will hear in its partiality before giving way to Dead Or Alive. A little trivia: In 2004, The Daily Telegraph slotted PSB's version of Always on My Mind at number two on their list of the 50 greatest cover songs of all time. It is a dandy, indeed.  Speaking of cover tunes, one of Visage's earliest demos was a cover of Zagar and Evans' In the Year 2525, a haunting tune about man's inquisitive, yet self-absorbed and self-destructive nature. Formed by Steve Strange, the ubiquitous club kid, Visage were a distinctive zag(ar?) to the zigging of the post-punk movement going on at the end of the 70s. With ex-Rich Kids members vocalist Midge Ure and Rusty Egan already in tow, Ultravox's Billie Currie and bassist Barry Adamson, guitarist John McGeogh and keyboardist Dave Formula from the band Magazine joined forces with the group and released their first single, Tar - probably not the best choice, but it was material leftover from Strange's time in his previous band The Photons. Still, the difference between making your mark or not in the music biz often boils down to timing and for the next release, the group, now on Polydor instead of the tiny Radar Records, released their most successful song, Fade to Grey. It went on to sell massively throughout Europe and the single jump-started what would become the New Romantic movement. A few other notes: In case you hadn't figured it out, The Beach is more or less the instrumental version of New Order's phenomenal dance track Blue Monday; mad props to the guys at Razormaid! for their absolutely killer mix of Debbie Harry's In Love With Love. My advice after hearing this version? Don't ever think about listening to the original on the Rockbird album - it's completely lifeless by comparison; a couple of episodes ago, you heard Snappy, the b-side to the Chorus single from Erasure. Well, here is the actual single, in a trance remix form you may never have heard before; finally, though it's far from my favorite track by Book of Love, band member Ted Ottaviano provides one of the better quotes you'll hear about a song. He said of Witchcraft, "While writing our second album I came up with this unrequited love song. The recipe is pretty clear: 1 part Greek Mythology, 1 part Nick at Night and a dash of JJ Fad." Good stuff! That's it for this episode. Please support the artists, for they make this all possible. Check back very soon for another new episode and thanks to everyone for listening! Cheers!    

1. What Time is Love? (LP Mix) - The KLF 2. Make it Mine (v 1.0 Progress Mix) - The Shamen 3. Blue Eyed Pop (S1000 Mix) - The Sugarcubes 4. Love Baby - Fortran 5 5. Break 4 Love (Razormaid! Mix) - Raze 6. The Beginning (Roundabout Mix) - Seal 7. Walking Away (S.M.D. Mix) - Information Society 8. Don't Tell Me (Dance Remix) - Blancmange 9. Snappy (12" Remix) - Erasure 10. Beat of Life - Anything Box 11. Je T'aime (Extended Mix) - Vicious Pink 12. Bitter Heart (Razormaid! Mix) - Seona Dancing 13. Regret (The Fire Island Mix) - New Order 14. So Weit Wie Noch Nie (Erlend Oye Mix) - Jurgen Paape 15. The Caterpillar (Flicker Mix) - The Cure   Notes and Other Random Things:  Happy Memorial Day Weekend to all my US listeners and happy regular weekend to everyone else around the globe. The occasion here in the states marks a time of sun, friends, family, icy beverages and plumes of smoke wafting from the grills and barbeque pits of backyards everywhere. But it also marks a time of quiet reflection and giving thanks to the men and women in the Armed Forces who have served our country and have, in some cases, given their lives to protect our shores. It is thanks to their bravery and their willingness to put everything on the line that the rest of us have the freedom to over-eat, get sloppy drunk and moon my television while screaming obscenities at whichever NASCAR event happens to be on. Oh, don't tell me you haven't done it. Anyway, even though it doesn't seem like nearly enough, a heartfelt "Thank You" to all those in uniform. Heroes - all of you. On such a patriotic day for us in the states, and with my being one of its inhabitants, I almost feel guilty including songs with foreign lyrics like Vicious Pink's French-inspired Je T'aime and Jurgen Paape's So Weit Wie Noch Nie. The latter song includes samples from an artist named Daliah Lavi, whose lyric appears in a 1972 track called Vielleicht Schon Morgen. Mind you, I have nothing against the French and the Germans. One makes great fries and the other exceptional gummy bears. It's just that on a day like today, I somehow feel like the whole podcast should be nothing but John Philip Sousa samples sprinkled into a mash-up of The National Anthem and Take Me Out to the Ball Game, you know? But because none of those are 80s tunes (or 90s tunes for that matter) that would never happen. Of course, considering that this podcast sort of strayed from a typically unwavering adherence to the 80s & 90s theme anyway, I suppose I could have chosen that path. For instance, the Jurgen Paape track is actually a 2002 release. It just fit so well with New Order's Regret that I couldn't resist. Also, astute listeners will hear an MC5 sample right at the beginning of the KLF track What Time is Love? Yeah, that's lead singer Rob Tyner screaming, "Kick out the jams, M0+#er Fu(k=r!" And if you listen closely and know well your old people music, you will hear a number of other samples including a highly recognizable "1 ... 2 ... 3 ...4" from the Beatles in the remix of Make it Mine by The Shamen; and "It is time ..." a chopped up sample from Chrissy Hynde of The Pretenders in the track Love Baby by Fortran 5. The original lyric appeared in the song Stop Your Sobbing. Back to the KLF … James Cauty and William Drummond have appeared in an earlier episode of CRC. At that time, I mentioned how musically irreverent they were and how glaringly insubordinate they were to the music industry as a whole. It seemed as if everything they did was merely to get a reaction out of the public or to challenge the accepted definitions of art. One read of their hilarious and very tongue-in-cheek book How to Have a Number One the Easy Way will support that notion, but it doesn’t mean they didn’t pen some very infectious and highly danceable tracks in the process. What Time is Love?, despite dripping with mid-range frequencies, is one of them. Now, pay attention because here are some names that you should know as they helped make the song what it is: Isaac Bello: he’s the guy who does the rapping in the song. Wanda Dee: she’s responsible for the “I wanna see you sweat” lyric And then there are P.P. Arnold and Katie Kisson, who yell “Mu Mu!” at various intervals. How’s that for a resume builder? The Sugarcubes make their second appearance on CRC with the excellent remix of Blue Eyed Pop. As most Bjork fans know, the Icelandic collective is where the pint-sized pop star first gained international acclaim, though she had been involved in music from a very young age, even recording her first album at age 11. She has also had a brilliant solo career and contributed vocals to the song QMart on the 808 State album Ex:el. This mix of Blue Eyed Pop was done by S1000. The DJ/production duo consisted of Mike Koglin and Spencer Williams. Koglin has gone on to become a very prominent trance DJ and producer these days, running his own record imprint called Noys Music. To those younger listeners with a larger familiarity with the trance scene, he had a huge club hit in 1998 with a track called The Silence, which was a reworking of Depeche Mode’s Enjoy the Silence.  Raze were conceived by American producer Vaughn Mason with singer Keith Thompson contributing vocals. Though Break 4 Love was released in 1988, Thompson also did the vocal honors on a track called Jack the Groove in 1986. That song was one of the very first house music chart topping tracks in the UK, creeping into the top 20 at one point. The Pet Shop Boys and Peter Rauhofer, who also performed under the name Club 69, did a cover of Break 4 Love in 2001. Using the name The Collaboration, the track appears on the bonus disc of the album Release and as a b-side to the second disc of their single Home and Dry. The Razormaid! version here is pretty filthy at points, thus the Explicit tag on this podcast. It’s a pretty muddy, steamy affair anyway, but some of the samples might make you squirm a bit if you’re within earshot of your parents while listening. Why on earth you would put yourself into that predicament anyway is beyond me. Then again, as the guy who just admitted he moons his television, I probably don't have much room to judge. You probably don’t want to play this one around your kids either, unless you’re prepared to answer a LOT of questions. Information Society have appeared on CRC several times in the past and they will appear again in the future. I’ll let the band themselves tell you about this particular track. I’m still trying to figure out what S.M.D. stands for. “This was the 2nd single released off the ‘first’ album. It did almost as well as What's On Your Mind, getting to #9 in the top 40 in the fall of '88. The video got a lot of MTV airplay. We had a big problem with this one in the studio. When we were mixing, and we got to the vocals, they sounded distorted in a very strange manner. Of course, the first thing we did was to solo the vocals to hear what was wrong with them. Then we couldn't hear anything wrong with them, so we shook our heads and went back to mixing. Then they sounded distorted again. Only WITH the tracks did they sound distorted. Eventually we realised that the super-heavy TR-808 kick drum sound was creating the ILLUSION of distortion in the vocals, similar to the effect of talking into a fan. We had to remove the super-sub-kick during the vocals sections.” They went on to say, “It was on this single that we began to realise how little control a band, especially a dance band, really has over its re-mixes. We rejected the Shep Pettibone mix outright. It went on the CD anyway. We really didn't like the "The Space Age" samples in the Space Age mix, they stayed.” Hmmmm. I think I’m getting some pretty good ideas about what the S, M, and the D might stand for now! Erasure are no stranger to this podcast nor will they ever be with the sheer volume of catchy dance tracks Andy Bell and Vince Clarke have cobbled together over the twenty-plus years they have been together. Snappy is the b-side to the song Chorus, which appeared on the album of the same name. This 12” mix was produced by uber-producer extraordinaire Martyn Phillips. Fans of Erasure (and Depeche Mode for that matter) might be interested to know that an album collaboration between Vince Clarke (an original member of DM) and Martin Gore is forthcoming. On August 27th of last year, Clark shared via Twitter that he and Gore had recorded a track called “Zaat”, which was to appear on the next Erasure album. The two apparently had enough creative energy together to crank out a full-length. As far as I know, no dates have been set for either release at this point. Last, but not least, I wanted to write a few words about Seona Dancing (pronounced like Shawna). The knowledge has gained a bit of traction with the success of The Office in the UK and all his other pursuits, but Seona Dancing was the musical outlet for one Ricky Gervais when he was but a skinny little gothy/new wavy-looking kid back in the day. They had two single releases: this song and one called More to Lose, but after both achieved only modest (and apparently unofficial) chart positioning, he and friend/bandmate Bill Macrae decided to call it a day in 1984. Gervais is certainly not regretting that move, though any lovers of 80s electronica might beg to differ. As a side note, if you have small kids, do yourself a favor and don't let them listen to Break 4 Love. Did I already say that? In all seriousness though, get Ricky's excellent Flanimals series of children’s books. I happened to pick up the first one a few days ago and it’s really quite funny. It’s a brief biography of a bunch of non-sensical creatures with non-sensical names along with descriptions of their habits and behavioral traits. It’s a very entertaining read, I must admit. I also must admit I think I bought it more for myself than for anyone else. Hey, I do an 80s podcast. What kind of maturity level do you think you’re dealing with here? Thanks to everyone for listening. I hope to be back again soon with another episode. In the meantime, enjoy this one and be sure to support the artists you like. Without their efforts, none of this is possible.   

1. Let Me Go - Heaven 17 2. New Song (Extended Version) - Howard Jones 3. Domino Dancing - Pet Shop Boys 4. Living in a Box (Razormaid! Mix) - Living In A Box 5. I Don't Want Your Love (Curiosity Mix) - Duran Duran 6. What is Love? (Deeeee Mix) - Deee-Lite 7. Pablo - Beloved 8. I've Been Thinking About You (Def 12" Mix) - Londonbeat 9. Ride the Bullet (The DNA Remix) - Army Of Lovers 10. I Say Yeah (Razormaid! Mix) - Secchi 11. Intoxication (Dubfield Mix) - React 2 Rhythm 12. Dirty Epic (Album Version) - Underworld 13. X-ray - Camouflage 14. Russian Radio (Razormaid! Mix) - Red Flag 15. 1963 - New Order     Notes and other random things: Believe it or not, I get a lot of great email from listeners, so before I get to the music, let's dig into the CRC mailbag:   Dear DJ Tintin, You're always busy with your pod-thingy. What, you too much of a big shot to call anymore? Signed, Mom.   Heh...sorry, mom. Just trying to give people their fill of good retro music. I'll call you next week. I promise. Okay, that's it for the mailbag this week.     As for the music, most of this episode is rather upbeat and fun with one glaring exception: 1963 by New Order. Regular listeners will notice that New Order turns up a lot in these podcasts, yet I've never really devoted much time to writing much about them. I don't know why that is, exactly. After all, they're one of my favorite bands of all time, so you'd figure I'd give them a ton of column inches in my write-ups. But, everything about the band has always been understated, from their lyrics, to their cover art, and even to their significance in music history. In a weird way, I suppose, my omissions might be a greater sign of respect for a group that managed for so long to conceal itself. I mean, they weren't much for interviews and their liner notes rarely revealed anything about the members. Heck, Bernard Sumner, Peter Hook, and Stephen Morris were sort of unwilling rock stars anyway, their new band coming about after the dissolution of Joy Division and the death of former band mate and lead singer Ian Curtis. There was some serious discussion as to whether or not they wanted to continue as a band after the tragedy. Thankfully, they did continue on. They overcame early criticisms of being a Joy Division sound-alike and eventually developed their own sound, creating some of the most memorable dance music from the 80s. Blue Monday, for instance, is still the top-selling 12" dance mix of all time. (Check out CRC #19 to hear the song.) As for 1963, there is disagreement about its meaning. A superficial listen to the lyrics reveals a grim scenario whereby a man murders his lover and takes on another. The song is a recap of the failed relationship and seems to be sung from the perspective of the deceased. When taken into account with the date, 1963, however, the song, depending on what you believe, takes on a deeper significance. While much of New Order's music is left for open interpretation, as the band has said, it has also been said that lead singer Bernard Sumner wrote the song about the death of John F. Kennedy. According to some, Sumner had a theory that surmised JFK hired a hitman to kill Jackie so that he could be with Marilyn Monroe. History turned out differently and the bullets found a different target. So distraught was Monroe, she killed herself. The song, therefore, is sung from Jackie's perspective, begging John to spare her life. It's an interesting theory, but history will also show that Monroe died a year before Kennedy. Some have suggested the song refers to a soldier taking on another wife while fighting overseas and killing his domestic lover out of necessity or perhaps guilt. Some have suggested “Johnny” is a reference to Bernard's adoptive father John Dicken. Whatever the case, it's admittedly a sort of a down way to end a podcast lyrically, though the song's producer, Stephen Hague, has pointed out that it's the only song about domestic violence you can dance to. I'll hang my hat on that statement. New Song by Howard Jones is the first appearance for HoJo on CRC. With few exceptions, his music was always positive, but when you’re a self-described optimist that glove would seem to fit. Listen closely and see if you don’t find similarities between this song and Solsbury Hill by Peter Gabriel. While it’s long gone now, Jones' distinctive Mohawk hairdo was quite the spectacle back in the day. They were one-hit wonders in the U.S. with their 1987 hit Living in a Box, but the band of the same name had a second album that did quite well in Sheffield, England, their place of origin. The song Blow the House Down from the 1989 release Gatecrashing included Queen’s Brian May on guitar. This particular song is from their eponymous debut.   After Living in a Box, the podcast took an odd house-y kind of turn. Pablo has a dub feel and comes from Beloved’s remix album called Blissed Out. I’ve Been Thinking About You is the 12” version of the #1 tune by Londonbeat from 1991. The original appeared on their second full-length release called In the Blood. The first time I heard this tune, I thought it was Roland Gift and the boys from Fine Young Cannibals. A reasonable mistake, but a mistake no less. Ride the Bullet is the b-side of Crucified, probably the best-known hit from Army of Lovers. They always reminded me of Dead or Alive with Victorian-era costumes instead of drab-looking gothic clothes. This particular track was remixed by DNA, who has done many remix projects including the classic version of Tom’s Diner by Suzanne Vega (CRC #9) I Say Yeah is an awesome dance track by Italo-Disco producer Stefano Secchi. This particular song is the Razormaid! remix of the track and features vocals by Orlando Johnson. React 2 Rhythm grew out of the West London dance scene. The song here, Intoxication, was the second major release from the group, having signed initially to legendary producer William Orbit’s Guerilla Records imprint. This particular mix, the Dubfield Mix, was one of two by techno outfit Leftfield. The other was called the Clubfield Mix. At least half a dozen others remixed this track including pre-eminent 80s remixer Justin Robertson and John Digweed. Underworld has appeared on CRC before with their track Skyscraper I Love You (CRC #17). Here they return with the album version of Dirty Epic from the same dubnobasswithmyheadman CD. It’s hard to believe the transformation these guys have gone through over the years and maybe even harder to believe Karl Hyde and Rick Smith have been making music together for over 30 years. Though they haven’t yet been on CRC, their early ‘80s outfit Freuer will make an appearance at some point in time. Finally, there’s the Camouflage track X-ray. This version was taken from their limited, 2-disc, numbered best of collection called Rewind. In case you were wondering, I own pressing #3502. As the band puts it, they “liked the aura of the letters forming this word.” Before shooting the video, they wanted to watch the film The Man with the X-ray Eyes. The main character in the film is named Ray Milland. Because it took them ages to find a copy of the film they had watched as children, they eventually named the bonus track of the X-ray single In Search of Ray Milland. Bet you didn’t know that! Seems like these write-ups keep getting longer and longer every new episode. I’ll have to work on shortening them. I just don’t want to gyp any of the bands out of their due glory, though I may have to concentrate on the songs that have really neat stories behind them in the future. I don’t know. We’ll see, I guess. That’s all for this episode. I’ll be back again soon with more mail from the mailbag and some more groovy retro tunes. Until then…be good, everyone. By the way, the image associated with this episode is Half Face with Collar by Roy Lichtenstein. It is significant not only for the high price it was supposed to fetch at auction (and didn’t), but for the fact it was completed in…you guessed it…1963. Thanks to the website artobserved.com for the great image.       

With the recent release of Pet Shops Boys latest single “Love etc.” and the highly anticipated “Yes” album to be released on March 23rd (in the U.K. only, U.S. will follow later this year), I decided it was time to dig out a mega-mix I put together in 2007 for Rick, the ultimate ‘pethead'.  For whatever reason, I never shared it with the site, but I popped this sucker in while he was cooking our nights dinner to be served with a movie and a few cocktails. Frankly, I forgot just how good this mix is.  All I could remember is what a bitch it was to put together.  After all, vastly different BPMs, different decades, different styles often without an intro/outro to the mixes, didn't make for club-friendly mixing (hence the reason why so many “Hot Tracks” and “Razormaid” mixes were used due to their club readiness).  I also checked out our good friend Raj over at Electroqueer, whose post “My Life in the Pet Shop Boys” is a fun read on his thoughts about what PSB means to him.  He also includes his top ten all-time favorite PSB albums.  Check it out for a quick trip down memory lane. I'm sure everyone has their stories about where they were, what they were doing or even their first gay kiss while listening to the boys.  I'm not sure where I read this, but several years ago I came across an article about ten ways to tell if your boyfriend is gay.  One of the things on the list is if his CD collection had Madonna's “Immaculate Collection”, Erasure's “Pop! 20 Hits” or the Pet Shop Boys “Discography: The Complete Singles Collection”. Granted, he could just say that it belonged to his little sister, but try explaining all three (which is the most likely scenario for any self-respecting card-carrying homosexual from the eighties and nineties) LOL.  While there has never been a shortage of PSB mega-mixes, I think you'll find these two mixes cover a broader range of favorites as well as the hits from the 80's forward.  I hope you like this as much as Rick and I did while bouncing off the walls last night. ENJOY! Album : Pet Shop Boys |  Mixed-UP I & II Genre : Dance, Disco, Electronica, House Total Time : 2:37:02 Opportunities (Let's Make Lots Of Money) (Original 12'' Mix) Love Comes Quickly (Dance Mix) West End Girls (Sasha Mix) One More Chance (Hot Tracks Remix) Left To My Own Devices (Razormaid Mix) Heart (Hot Tracks Mix) What Have I Done To Deserve This (Shep Pettibone Mix) Domino Dancing (Disco Mix) Always On My Mind (Hot Tracks Mix) Losing My Mind (Hot Tracks Remix) Was It Worth It (12'' Remix) Discoteca (Trouser Enthusiasts Mix) Go West (Ming's Gone West First & Second Movement) Before (D.T.'s After Mix) Being Boring (Hot Tracks Remix) Where The Streets Have No Name (Hot Tracks Remix) I Don't Know What You Want But… (David Morales Remix) Break 4 Love (Friburn & Urik Hi-Pass Mix) It's A Sin (Technopop Remix) Minimal (M-Factor Mix) So Hard (David Morales Red Zone Vocal Mix) Paninaro '95 (Angel Moraes Deep Dance Mix) I'm With Stupid (PSB Maxi-Mix) New York City Boy (The Almighty Definitive Mix) It's Alright (Razormaid Mix)

With the recent release of Pet Shops Boys latest single “Love etc.” and the highly anticipated “Yes” album to be released on March 23rd (in the U.K. only, U.S. will follow later this year), I decided it was time to dig out a mega-mix I put together in 2007 for Rick, the ultimate ‘pethead'.  For whatever reason, I never shared it with the site, but I popped this sucker in while he was cooking our nights dinner to be served with a movie and a few cocktails. Frankly, I forgot just how good this mix is.  All I could remember is what a bitch it was to put together.  After all, vastly different BPMs, different decades, different styles often without an intro/outro to the mixes, didn't make for club-friendly mixing (hence the reason why so many “Hot Tracks” and “Razormaid” mixes were used due to their club readiness).  I also checked out our good friend Raj over at Electroqueer, whose post “My Life in the Pet Shop Boys” is a fun read on his thoughts about what PSB means to him.  He also includes his top ten all-time favorite PSB albums.  Check it out for a quick trip down memory lane. I'm sure everyone has their stories about where they were, what they were doing or even their first gay kiss while listening to the boys.  I'm not sure where I read this, but several years ago I came across an article about ten ways to tell if your boyfriend is gay.  One of the things on the list is if his CD collection had Madonna's “Immaculate Collection”, Erasure's “Pop! 20 Hits” or the Pet Shop Boys “Discography: The Complete Singles Collection”. Granted, he could just say that it belonged to his little sister, but try explaining all three (which is the most likely scenario for any self-respecting card-carrying homosexual from the eighties and nineties) LOL.  While there has never been a shortage of PSB mega-mixes, I think you'll find these two mixes cover a broader range of favorites as well as the hits from the 80's forward.  I hope you like this as much as Rick and I did while bouncing off the walls last night. ENJOY! Album : Pet Shop Boys |  Mixed-UP I & II Genre : Dance, Disco, Electronica, House Total Time : 2:37:02 Opportunities (Let's Make Lots Of Money) (Original 12'' Mix) Love Comes Quickly (Dance Mix) West End Girls (Sasha Mix) One More Chance (Hot Tracks Remix) Left To My Own Devices (Razormaid Mix) Heart (Hot Tracks Mix) What Have I Done To Deserve This (Shep Pettibone Mix) Domino Dancing (Disco Mix) Always On My Mind (Hot Tracks Mix) Losing My Mind (Hot Tracks Remix) Was It Worth It (12'' Remix) Discoteca (Trouser Enthusiasts Mix) Go West (Ming's Gone West First & Second Movement) Before (D.T.'s After Mix) Being Boring (Hot Tracks Remix) Where The Streets Have No Name (Hot Tracks Remix) I Don't Know What You Want But… (David Morales Remix) Break 4 Love (Friburn & Urik Hi-Pass Mix) It's A Sin (Technopop Remix) Minimal (M-Factor Mix) So Hard (David Morales Red Zone Vocal Mix) Paninaro '95 (Angel Moraes Deep Dance Mix) I'm With Stupid (PSB Maxi-Mix) New York City Boy (The Almighty Definitive Mix) It's Alright (Razormaid Mix)

Play Pause Support the PodcastDownloadShare var srp_player_params_677258c243ca0 = {"title":"","store_title_text":"","albums":[],"hide_artwork":"true","sticky_player":"true","show_album_market":0,"show_track_market":"true","hide_timeline":0,"player_layout":"skin_boxed_tracklist","orderby":"date","order":"DESC","hide_album_title":"true","hide_album_subtitle":"true","hide_player_title":"true","hide_track_title":"true","show_publish_date":"false","show_skip_bt":"false","show_volume_bt":"false","show_speed_bt":"false","show_shuffle_bt":"false","use_play_label":"true","use_play_label_with_icon":"true","progressbar_inline":"true","spectro":"","hide_progressbar":"true","main_settings":"||"} var srp_player_params_args_677258c243ca0 = {"before_widget":"","after_widget":"","before_title":"","after_title":"","widget_id":"arbitrary-instance-677258c243ca0"} if(typeof setIronAudioplayers !== "undefined"){ setIronAudioplayers("arbitrary-instance-677258c243ca0"); } The allure of the Pet Shop Boys is eternal; it's a fact I was vividly reminded of during a laid-back evening with Rick, my other half and the ultimate 'pethead' among us. He was stirring up something magical in the kitchen while I queued up a mega-mix of PSB tracks I'd crafted back in 2007. The beats and melodies filled the room, serving as a reminder of the duo's indelible mark on synth-pop, new wave, and dance music across generations. Let's be honest; blending songs from different decades, each with its own BPM and style, is no easy feat. But that's what makes Pet Shop Boys unique—their ability to transcend time and genre. Crafting this mega-mix was akin to maneuvering through a musical obstacle course, which is why I leaned on 'Hot Tracks' and 'Razormaid' mixes to give the set a more club-friendly vibe. As we sat back and savored our dinner and drinks, the track "Opportunities (Let's Make Lots Of Money)" filled the room, a poignant reminder of the band's early dalliances with ironic social commentary. Next up was "Love Comes Quickly," a dance mix capturing the ephemeral nature of affection. Then, "West End Girls," a Sasha remix offering, took us back to the heart of 1980s London. The set continued to evolve with one of my favorite songs from their catalog like "Being Boring," paying homage to times gone by, and "Go West," which carried the unmistakable echoes of a world moving towards new beginnings. Then again, it was more of patronage to the gay mecca Key West in South Florida or even San Francisco — take your pick. The Pet Shop Boys—Neil Tennant and Chris Lowe—formed in London in 1981. They burst onto the scene with their debut album "Please" and never looked back. Over the years, their lyrical genius and pioneering electronic beats have resonated with diverse audiences, earning them Brit Awards, a devoted fan base, and even a place in theatrical productions. I'm sure everyone has their stories about where they were, what they were doing or even their first gay kiss while listening to PSB.  I'm not sure where I read this, but several years ago I came across an article about ten ways to tell if your boyfriend is gay.  One of the things on the list is if his CD collection had Madonna's “Immaculate Collection”, Erasure's “Pop! 20 Hits” or “Discography: The Complete Singles Collection” by the dynamic duo. So whether you're listening to "Paninaro '95" for its haunting beats or "New York City Boy" for its disco-fueled tempo, each song offers a window into the rich tapestry of human emotion. The genius of the Pet Shop Boys lies not just in their ability to craft hits, but in their knack for capturing the zeitgeist,