Podcast appearances and mentions of Roger Waters

English musician, co-founder of Pink Floyd

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InObscuria Podcast
Ep. 154: More Sounds From Outer Space

InObscuria Podcast

Play Episode Listen Later Dec 2, 2022 81:25


After hearing about the spirited sax player from Hawkwind, Nik Turner, becoming a spirit; we thought we would space out this week with the way-out sounds from outer space! We're talking about space rock people of planet earth! Join us on our return flight to aural galaxies beyond the milky way! What is it that we do here at InObscuria? We exhume obscure Rock n' Punk n' Metal in one of 3 categories: the Lost, the Forgotten, or the Should Have Beens. In this episode, we explore all things psychedelically spacey from the last 50 years of cosmic rock n' roll. Our hope is that we turn you on to something that was lost on your earthly ears.Songs this week include:Hawkwind – “65 Million Years Ago”from All Aboard The Skylark (2019)Psychlona – “Blast Off” from Venus Skytrip (2022) Dark Sun – “Black Spires” from Feed Your Mind (1997)Pinkish Black – “I'm All Gone” from Bottom Of The Morning (2015)King Buffalo – “Eye Of The Storm” from Longing To Be The Mountain (2018)Grobschnitt – “Travelling” from Grobschnitt (1972)Please subscribe everywhere that you listen to podcasts!Visit us: https://inobscuria.com/https://www.facebook.com/InObscuriahttps://twitter.com/inobscuriahttps://www.instagram.com/inobscuria/Buy cool stuff with our logo on it!: https://www.redbubble.com/people/InObscuria?asc=uIf you'd like to check out Kevin's band THE SWEAR, take a listen on all streaming services or pick up a digital copy of their latest release here: https://theswear.bandcamp.com/If you want to hear Robert and Kevin's band from the late 90s – early 00s BIG JACK PNEUMATIC, check it out here: https://bigjackpnuematic.bandcamp.com/Check out Robert's amazing fire sculptures and metal workings here: http://flamewerx.com/

Rock N Roll Pantheon
Rock is Lit: Richard Fulco, Author of 'We Are All Together', On The Summer of Love & The Long Hot Summer of 1967, with Woodstock Photographer Elliott Landy

Rock N Roll Pantheon

Play Episode Listen Later Dec 1, 2022 72:16


In this episode of Rock is Lit, Richard Fulco, author of the new novel ‘We Are All Together', is here to take us on a rockin' jaunt through the late 1960s, where we'll encounter several iconic players on the music and literature scene from that era. If you're a fan of the Summer of Love and all the trimmings that go with it, you'll love his novel and this episode. Later, Elliott Landy drops by to talk even more about the 1960s music scene, a period he should know a lot about since he's been photographing rock stars since the mid-60s. Best known for his classic rock photographs, Elliott Landy was one of the first music photographers to be recognized as an “artist.” His celebrated works include album cover photographs for Bob Dylan's ‘Nashville Skyline', The Band's ‘Music From Big Pink' and ‘The Band' album, and Van Morrison's ‘Moondance'. He's also taken portraits of such rock icons as Janis Joplin, Jimi Hendrix, Jim Morrison, etc. He was the official photographer of the 1969 Woodstock Festival. And . . . Elliott has a new book out, entitled ‘Photographs of Janis Joplin On the Road & On Stage', featuring 129 photos, including 100 unpublished, accompanied by Janis's own words from recorded interviews by David Dalton of ‘Rolling Stone' magazine. HIGHLIGHTS:Richard Fulco and I talk about Syd Barrett's descent into mental illness and his exit from Pink Floyd1967: The Summer of Love—music, culture, vibe—but for African Americans, 1967 was known as The Long Hot SummerRichard's music career when he was in his twentiesThe story and characters in ‘We Are All Together'—Syd Barrett as inspiration behind the character DylanThe Beatles' performance on the ‘Ed Sullivan Show' in 1964The quest for fame and having “IT”The American Dream and racism and toxic ChristianityCharles MansonThe Merry PrankstersThe significance of the title of the novel and its connection to The BeatlesAndy Warhol, The Factory, The Velvet Underground with Nico, Lou Reed and their role in the novelThe depiction of the Monterey Pop Festival in the story, especially the performance of Janis Joplin with Big Brother and the Holding CompanySome of the other icons who make cameos in the novel: Pete Townshend, Eric Burdon, Jann Wenner, Neal Cassady, William S. BurroughsWhat the Jack Kerouac classic novel ‘On the Road' means to Richard and meThe Monkees as a gateway drug to The BeatlesElliott Landy and I talk about How Elliott's concern about the Vietnam War brought him from a job as a photographer on a Danish film set back to America in the mid- to late 1960s to photograph peace demonstrationsHow a Country Joe and the Fish light show at The Anderson Theater in NYC's East Village started Elliott on a new career path photographing musiciansSeeing Janis Joplin, Tim Buckley, and Albert King perform the very first show at the Fillmore East on March 8, 1968Hanging out with Janis Joplin after a NYC gigElliott's style as a “fly on the wall” photographerShooting the album covers of The Band's ‘Music From Big Pink' and ‘The Band', Bob Dylan's ‘Nashville Skyline', and hanging out with guys in the town WoodstockHis experience as the official photographer at Woodstock in 1969 and the spirit of Woodstock and the 1960s MUSIC AND MEDIA IN THE EPISODE IN ORDER OF APPEARANCE:(Royalty Free Music) “Summer of Love” by Roy Edwin Williams“The King is Half-Undressed” by Jellyfish“Dock of the Bay” by Otis Redding“See Emily Play” by Pink FloydRoger Waters talks about Syd Barrett on the Joe Rogan Experience“Four” by Sonny RollinsClip of Muhammad Ali explaining his anti-draft, anti-Vietnam War stance“I Am the Walrus” by The Beatles“Ball and Chain” performed by Janis Joplin with Big Brother and the Holding Company at Monterey Pop Festival“Heroin” by The Velvet Underground with Nico‘The Monkees' Theme Song“Itchykoo Park” by The Small Faces“I Feel Like I'm Fixin' to Die Rag” by Country Joe and the Fish“Morning Glory” by Tim BuckleyCountry Joe and the Fish chant at Woodstock 1969“To Be Alone With You” by Bob DylanWavy Gravy at Woodstock“Woodstock” by Crosby, Stills, Nash & Young“Down on Me” Janis Joplin with Big Brother and the Holding Company LINKS: Richard's website, www.richardfulco.comRichard on Twitter and Instagram, @RichardFulco Link to clip of Roger Waters talking about Syd Barrett on the Joe Rogan Experience, https://www.youtube.com/watch?v=0BcKrk5tFnE&t=66s Elliott's website, www.elliottlandycomElliott on Instagram, @elliott_landy_photography Christy Alexander Hallberg's website: https://www.christyalexanderhallberg.com/Christy Alexander Hallberg Twitter, @ChristyHallbergChristy Alexander Hallberg Instagram, @christyhallbergChristy Alexander Hallberg YouTube, https://www.youtube.com/channel/UCfSnRmlL5moSQYi6EjSvqagLink to Christy Alexander Hallberg's short story on Janis Joplin, “Third Party,” published by ‘Eclectica', https://www.eclectica.org/v20n4/hallberg.html

The Toby Gribben Show
P.P. Arnold

The Toby Gribben Show

Play Episode Listen Later Dec 1, 2022 25:22


Legendary singer P.P. Arnold returns with the sensational festive tune ‘It Won't Be Christmas Without You', an instant classic for the holiday season produced by Mark Taylor & Patrick Mascall for Metrophonic Production Ltd.Living legend and queen of soul Pat ‘P.P.' Arnold needs no introduction, having accumulated a lifetime of show-stopping performances in the studio and on stage, whether through her successful solo work with '60s hits like ‘The First Cut Is The Deepest' & ‘Angel Of The Morning' and her critically acclaimed 2019 solo album ‘The New Adventures Of…' or as the go-to voice for rock and soul legends like Ike & Tina Turner, Small Faces, Stevie Wonder, Roger Waters and Nick Drake amongst others.Following the release this year of her best-selling autobiography ‘Soul Survivor', the next chapter in P.P. Arnold's story is her glorious first-time Christmas single ‘It Won't Be Christmas Without You'. Produced by Mark Taylor & Patrick Mascall from Metrophonic Productions Ltd. who also share writing credits alongside Paul Barry, the opportunity to record the track was a joy for Arnold after the isolation of lockdown. “I wasn't thinking ‘Christmas' originally I just wanted to be in the studio recording and being able to do that. I went to meet Mark and Patrick and they were so cool, and I hadn't been in a studio since 2019 because of Covid. It was nice being in the studio with really good producers who know what they wanted.”Once Arnold heard the track she knew she could bring her own distinctive vocal sound to the festive party, “I loved the track when they played it to me! I thought this is cool, it has that whole soulful sixties vibe and everything that a Christmas record should have!”Taking its cue from the fabled sound of Phil Spector's ‘A Christmas Gift For You…' album, ‘It Won't Be Christmas Without You' is a stunning ‘wall of sound' production that's set to become an instant seasonal classic. Opening with a flourish of sleigh bells before giving way to a sky-scraping euphoric chorus, it's shot through with a lyrical melancholy that immediately puts it amongst the pantheon of great Xmas songs. Throw in some saxophone that recalls E-Street band legend Clarence Clemons and you have a timeless classic to light up people's hearts and minds during the holiday season.It also proves that time hasn't diminished the power and resonance of P.P. Arnold's voice, which soars and touches the soul with the same power that it did years ago when she first burst onto the global music scene. “It stretched me because I'm singing like I'm seventeen again in that key, I gotta be working to sing in that key to keep all that stuff going, so I'm giving thanks and praise that I can still do that. When they played the track back in the studio I was like ‘oh yeah!'”Arnold's skill with her vocal delivery is something which many other vocalists would find hard to match, a talent fine-tuned over decades of professional singing work, but true to her loving spirit she understands the significance of connecting with the hearts and minds of people at one of the most important times of the year “I started stretching out but not too much, it's Christmas, everybody wants to be able to sing it! It's not just about me, I sang it for everybody.”“Mariah please, give somebody else a break!” jokes Arnold, but this festive chapter in the continuing adventures of a soul survivor proves that P.P. Arnold continues to hold her own alongside her contemporaries, and reminds us all to cherish her beautiful talents as she forges her own unique path into a bright future. Hosted on Acast. See acast.com/privacy for more information.

Live From Progzilla Towers
Live From Progzilla Towers - Edition 459

Live From Progzilla Towers

Play Episode Listen Later Dec 1, 2022 180:54


Welcome to Live From Progzilla Towers Edition 459. In this edition we heard music by Judas Priest, Caravela Escalarte, Deafening Opera, Dixie Dregs, Heldon, Zaine Griff, Trevor Horn, Green Carnation, Tonton Macoute, Damanek, Manfrog, Kevin Gilbert, Giraffe, Roger Waters, Lion Shepherd, Cosmograf, Antimatter, Paul McCartney & Wings, Steve Miller Band, Unprocessed, Verbal Delirium, Lee Abraham & Yes.

#RoCkAnDwOw Snack Music
Rock News 50 P.ta (Lo Strillone Rock)

#RoCkAnDwOw Snack Music

Play Episode Listen Later Nov 27, 2022 29:16


Rock News P.ta 50 27/11/2022 Nuovo episodio de "Lo Strillone Rock", l'appuntamento settimanale con le notizie dal mondo della musica Internazionale e Nazionale (Rock News P.ta 50). Cosa ascolterete in questo episodio: Nuova data Italiana per This Is Not A Drill' il tour di Roger Waters; Sa Natale regalatevi o regalate il calco della mano di Ringo Starr; Annunziata l'uncia data italiana per gli Imagine Dragons al Rock in Roma; Liam Gallagher contro chi non vuole che canti i brani degli Oasis; chi sono gli All Time Low? Per Chad Kroeger dei Nickelback i fan dovrebbero poter fumare marijuana ai concerti; Zayn Malik si misura con "Angel", una canzone di Jimi Hendrix; Ian Gillan chiude a una reunion con Blackmore. LA PLAYLIST Roger Waters - Smell The Roses The Beatles - With a Little Help From My Friends Image Dragons - Symphony Oasis - Don't Go Away All Time Low - Sleepwalking Nickelback - High Time Jimi Hendrix & ZAYN - Angel Deep Purple - Hush COS'E' ROCK NEWS (STRILLA LA NOTIZIA)?  Come descrivere un progetto studiato e realizzato per gli affari di Notizie? Semplicemente pensando da ascoltatore, da chi, come noi, cerca qualcuno che racconti con semplicità quello che accade nel mondo del rock. Fondamentalmente, si è cercato di realizzare un servizio semplice, accompagnato da un pizzico di ironia, curato nel dettaglio, proprio per regalare all'ascoltatore 20 minuti di notizie e musica. CONTATTI Numero WhatsApp  351 8940408 Telegram https://t.me/RoCkAndwOW Scrivi a staff@rockandwow.it

The Rock Podcast with Denny Somach
Roger Waters, in His Own Words

The Rock Podcast with Denny Somach

Play Episode Listen Later Nov 26, 2022 35:53


In this 1984 interview, Roger Waters talks about how he came to his solo career; the meaning behind The Pros and Cons of Hitch Hiking; and he even offers an opinion on the possibility of Pink Floyd coming together again.

Música de Contrabando
MÚSICA DE CONTRABANDO T32C045 Duele la muerte de Pablo Milanés (23/11/2022)

Música de Contrabando

Play Episode Listen Later Nov 23, 2022 126:08


Música de Contrabando revista diaria de música en Onda Regional de Murcia (orm.es; 23,00h a 01,00h) Duele la muerte de Pablo Milanés; una pérdida muy lamentable para el mundo de la música en español, para la trova, se va toda una época.Kantero PaskualMuerdo recuperó su "Yo pisaré las calles nuevamente". Nuevo sencillo de adelanto de La vida en canciones de Víctor Manuel. Esta vez se trata de una magnífica reinterpretación del clásico de 1970 "Quiero abrazarte tanto" junto a Rozalén. El Kanka sigue desgranando canciones de su quinto disco y estrena hoy, día de Santa Cecilia, patrona de los músicos, 'No se dice suerte', que homenajea el trabajo de los músicos con ritmo andino. Roger Waters ha sacado una nueva versión de Comfortably Numb, el clásico de Pink Floyd publicado originalmente en 1980. Se trata de una interpretación «más oscura» que Waters ha grabado durante la reciente etapa norteamericana de su gira This Is Not A Drill. El trayecto de “Paris blues” ha sido largo, convirtiéndose en una leyenda para los fans de The Doors. Es un tema original de blues compuesto por los Doors y grabado durante las sesiones de The soft parade o L.A. woman. Los Rolling Stones reeditan en 4K el vídeo de “2000 light years from home”. Con Coexist, The xx desafió las presiones de un "segundo álbum difícil" para crear un disco que consolidó su estatus como un verdadero acto global. En la continuación de su aclamado debut, que marcó una época, el trío londinense continuó con sus atractivas y escasas atmósferas, pero amplió su mundo musical. Wesley Joseph anuncia Glow, su nuevo disco, con el r&b rimado de "monsoon". Franvvi presenta 3NSD (Son Buenos 2022), pop fresco con guitarras significativas y una producción de canciones directas, románticas, brillantes y festivas, que narra tres tremendos días saliendo de fiesta, 3 NOCHES SIN DORMIR, para huir de los problemas, hasta perder el control de tu vida. Delaporte se acercan a Mamba este jueves. Si sus canciones parecían insuperables, llegan Niña Polaca y se superan en Lo que yo te he querido (pretérito perfecto) . Fangoria presenta “Lo imposible”, un tema tecno perteneciente a su nuevo EP “Ex-Profeso”. Este tercer EP, “Ex-Profeso”, es el más ecléctico de la serie. SZNZ, el último proyecto ambicioso de la banda estadunidense Weezer, como al comienzo de cada temporada, llega el tercer EP “Autumn”; ha sido creado a tiempo real, en conjunto con las propias estaciones, incluye “What Happens After You” su focus track. "La Balanza" es el nuevo álbum de MEZ-K.Tras más de 14 años, sin publicar, Nacho Cano que está presentando su musical MALINCHE en Madrid, ha decidido entregar primero a sus fans, esta versión sinfónica de la obra.El disco que ha sido grabado entre los estudios ABBEY ROAD, con la orquesta de Peter Hope, y los estudios Jardines de Oriente, comandados por el propio Nacho, que ya ha declarado acerca de este disco que es "como escuchar tú solo a la luna y a la vez sumergirte en toda la constelación". Hoy recibimos a The Golden Lips. Su cantante, Joaquín Sánchez Baillo nos presenta GIFTS AND REWARDS , el segundo EP de la banda , de portada jeroglifica.

Rock & Roll Attitude
Rock and Roll Attitude 2/5 - Le rock de suites en épisodes avec Pink Floyd et James Brown

Rock & Roll Attitude

Play Episode Listen Later Nov 22, 2022 2:52


L'adage dit : les plus courtes sont les meilleurs. Pour nos rockeurs, pas toujours et l'idée de couper un titre en plusieurs morceaux, c'est justement pour le rendre plus digeste, pour en faire plusieurs chapitres courts plutôt qu'une plage à rallonge. Tout au long de sa carrière, Pink Floyd a proposé de longs titres et a aussi proposé des titres divisés en plusieurs parties. Exemple le plus célèbre de cette "découpe", c'est le fameux "Another Brick In The Wall", sur "The Wall" en 1979. Dans la partie 1, Roger Waters pose le cadre de ce qui va se confirmer sur la partie 2, le décès du père de Pink, protagoniste de ''The Wall''. La troisième partie introduit le titre ''Goodbye Cruel World''. Dans un tout autre style, James Brown nous a scindé aussi des titres, notamment “Soul Power” en 1971, ''Get Up (I Feel Like Being a Sex Machine)'' sorti en 1970 sur l'album “Sex Machine” et divisé en deux parties sur sa version 45 tours. --- Du lundi au vendredi, Fanny Gillard et Laurent Rieppi vous dévoilent l'univers rock, au travers de thèmes comme ceux de l'éducation, des rockers en prison, les objets de la culture rock, les groupes familiaux et leurs déboires, et bien d'autres, chaque matin dans Coffee on the Rocks à 6h30 et rediffusion à 13h30 dans Lunch Around The Clock.

What the Riff?!?
1973 - March: Pink Floyd "The Dark Side of the Moon"

What the Riff?!?

Play Episode Listen Later Nov 21, 2022 39:49


Arguably the biggest album of the entire rock era, Pink Floyd's eighth studio album would propel them to superstardom.  The Dark Side of the Moon is one of the most acclaimed records in history, and it is commercially unmatched in its longevity.  It topped the US Billboard Top LP's and Tape chart, and charted for 962 weeks in total!Pink Floyd at this time was David Gilmour on guitar and vocals, Roger Waters on bass and vocals, Richard Wright on keyboards, and Nick Mason on percussion.The Dark Side of the Moon was envisioned as a concept album focusing on different types of pressure like greed, conflict, and death.  It also included examination of mental health issues - as would much of Pink Floyd's discography - inspired by the problems experienced by former front man Syd Barrett.  While singles were released, we strongly recommend listening to the album in totality to get the best experience out of it.Bruce brings us this monster album, and friend of the show Mike Fernandez joins us in Wayne's absence. TimeThis was released in the US as the second single from the album (after Money).  Roger Waters wrote the lyrics.  David Gilmour and Richard Wright share lead vocals - unusual for Richard Wright.  The sounds of clocks were recorded by Alan Parsons in an antique store as a quadrophonic test, but the sounds fit so well with the theme of this track that the band included it.  All four principal members were credited with songwriting, and this would be the last time this would happen in the band's history.The Great Gig in the SkyThis track follows Time, and is basically an instrumental with some spoken words at the front.  The band went around the studio asking people questions and Gerry O'Driscal's response is recorded on this track.  Female vocalizations are provided by Clare Torry, a session vocalist that Alan Parsons brought in.  She wasn't really told what to sing, but was told, "There's no lyrics.  It's about dying - have a bit of a sing on that, girl."  Brain DamageRoger Waters is on lead in this song, with Gilmour providing backing vocals.  This and other insanity-themed lyrics are based on Syd Barrett.  The lyric, "And if the band you're in starts playing different tunes" has a historical basis, as Barrett would play a different song than the rest of the band on more than one occasion toward the end of his tenure with the band.  EclipseThis final track is actually a different song from Brain Damage, but is commonly played with it on rock radio stations because there is no break between the two on the album.  The song reflects the ying and yang of life - good and bad, life and death, light and dark.  "And everything under the sun is in tune, but the sun is eclipsed by the moon." ENTERTAINMENT TRACK:Theme to the television game show $10,000 PyramidDick Clark would serve as the initial host of this game show which started in March 1973.   STAFF PICKS:Crocodile Rock by Elton JohnBrian initiates the staff picks with the first number 1 song in the U.S. for Elton John.  The song has a 50's throwback sound, with lyrics that tell about a time when the singer danced the Crocodile Rock with Susie.  It was inspired by Australian band Daddy Cool and their song “Eagle Rock.”The Cisco Kid by WarRob's staff pick is from War's 1972 album, “The World is a Ghetto.” It made it to number 2 on the charts.  There's a reggae feel, a little funk, and a little ZZ Top.  The song is about two cowboys, Cisco and Poncho, and their adventures.  The band wanted their music to spread brotherhood and harmony to displace greed, racism, hunger, and gangs.Stuck in the Middle With You by Stealers Wheel Friend of the show Mike Fernandez brings us one of the classic lines in rock music - “clowns to the left of me, jokers to the right, here I am, stuck in the middle with you.”  Gerry Rafferty  is the founder and principal songwriter for the group.  This is Stealers Wheel's biggest hit.Danny's Song by Anne MurrayBruce wraps up the staff picks with a song Kenny Loggins wrote for his brother Danny at the birth of his son Colin.  It was first performed by a group called Gator Creek in 1970, then by Loggins and Messina in 1972.  This cover by Canadian country-pop singer Anne Murray would go to number 7 on the Billboard Hot 100. INSTRUMENTAL TRACK:Also Sprach Zarathustra by DeodatoThis funky take on the Richard Strauss piece famous for its use in "2001:  A Space Odyssey" was on the charts in March 1973.

The DEBRIEF With Briahna Joy Gray
Episode 103 - Pinko Floyd? - Roger Waters on Ukraine, China, & More

The DEBRIEF With Briahna Joy Gray

Play Episode Listen Later Nov 15, 2022 213:28


Let's chat about todays bad faith pod, the state of student debt, and anything else on your mind. Download the Callin app for iOS and Android to listen to this podcast live, call in, and more! Also available at callin.com

Bad Faith
Episode 227 Promo - America Has No Morals (w/ Roger Waters)

Bad Faith

Play Episode Listen Later Nov 14, 2022 5:51


Subscribe to Bad Faith on Patreon to instantly unlock this episode and our entire premium episode library: http://patreon.com/badfaithpodcast  Briahna speaks to Pink Floyd co-founder Roger Waters about his recent spate of powerful, controversial media appearances about American foreign policy. How has he managed to use his fame to go where most progressives aren't allowed, and how has he managed to stay the course after so much pushback from the establishment? Subscribe to Bad Faith on YouTube to access our full video library. Find Bad Faith on Twitter (@badfaithpod) and Instagram (@badfaithpod). Produced by Armand Aviram.   Theme by Nick Thorburn (@nickfromislands)

Jim and Mike TALK
INTERVIEW with ROBERT WALTER - Soul Jazz Keyboardist - The Greyboy Allstars - Roger Waters Tour

Jim and Mike TALK

Play Episode Listen Later Nov 13, 2022 37:18


Mike and I had a great time talking to Soul Jazz Keyboardist Robert Walter about his high school band Daddy Long Legs, his current band: The Greyboy Allstars and what it's like being on tour with Pink Floyd's Roger Waters.     Robert is heading back on tour in March 2023 with Roger's band for the European leg of the tour. About Robert: A founding member of the seminal groove band The Greyboy Allstars, organ, keyboard and synth sharp-shooter Robert Walter splits his time between his own 20th Congress, The Greyboy Allstars, and a robust film soundtrack career in Los Angeles.   Initially formed as the backing band for rare groove luminary DJ Greyboy, The Greyboy Allstars became a longterm project for Walter with a string of critically acclaimed albums, world tours. The band quickly became home to some of the most revered players on the modern music scene.   The Greyboy Allstars' success also served as a platform for the band's individual members to launch highly successful and substantially diverse solo careers. To flex his desire to compose in a way that was just outside of Greyboy's wheelhouse, Walter formed 20th Congress and recorded and toured heavily through the late '90s and '00s.    The band featured a rotating crew of brilliant improvisers and genre-bending virtuosos over the years including Stanton Moore, Joe Russo, Will Bernard, and Cochemea Gastelum, Simon Lott, Victor Little, Chris Alford, Scott Metzger, Andy Hess, and John Kimock,   A brilliant improviser with a gift for riveting hooks and unstoppable grooves, Walter set out to create songs that blur the line between the composed and the spontaneous; an album with a narrative arc that isn't tethered to concrete ideas. He uses a full arsenal of keyboards, synths and electronics and draws together the varied aspects of his career, from his film soundtrack work with Michael Andrews to his free-ranging improvisational excursions with the likes of genre jugglers like Marco Benevento, Skerik and Mike Gordon. ******** KNOW GOOD MUSIC can be found on Podbean (host site), Spotify, Apple Podcasts, Iheart Radio, Pandora and almost anywhere you listen to podcasts.     Visit our YouTube Channel where you can see 3 short video segments from our interviews.  Just search "know good music". Thank you for listening! - Jim  COPYRIGHT CLAIM: The songs : "OR ELSE", "EXECUTIVE PARTY" and "HELLBOUND" used with permission from Kevin Calabro at Calabro Music Media.

Rock Talk with Dr. Cropper
E115: Pink Floyd — 'Animals' Remix Review

Rock Talk with Dr. Cropper

Play Episode Listen Later Nov 8, 2022 9:23


In this episode, we briefly review Pink Floyd's recently-released remix of their 1977 album, 'Animals.'For a very deep dive into the album itself, please refer to Episode 80 from earlier this year:https://www.buzzsprout.com/1119254/9974914https://podcasts.apple.com/ca/podcast/rock-talk-with-dr-cropper/id1518703647?i=1000549485617https://open.spotify.com/episode/6VXlPsVJNVyxrHXC9YhF6o?si=8132487f6ee94699Support the showInstagram & TikTok — @rocktalk.dr.cropperTwitter — @RockTalkDrCroppFacebook, LinkedIn & YouTube — Rock Talk with Dr. CropperEmail — rocktalk.dr.cropper@gmail.com

A History Of Rock Music in Five Hundred Songs
Episode 157: “See Emily Play” by The Pink Floyd

A History Of Rock Music in Five Hundred Songs

Play Episode Listen Later Nov 8, 2022


Episode one hundred and fifty-seven of A History of Rock Music in Five Hundred Songs looks at “See Emily Play", the birth of the UK underground, and the career of Roger Barrett, known as Syd. Click the full post to read liner notes, links to more information, and a transcript of the episode. Patreon backers also have a twenty-five-minute bonus episode available, on "First Girl I Loved" by the Incredible String Band. Tilt Araiza has assisted invaluably by doing a first-pass edit, and will hopefully be doing so from now on. Check out Tilt's irregular podcasts at http://www.podnose.com/jaffa-cakes-for-proust and http://sitcomclub.com/ Resources No Mixcloud this time, due to the number of Pink Floyd songs. I referred to two biographies of Barrett in this episode -- A Very Irregular Head by Rob Chapman is the one I would recommend, and the one whose narrative I have largely followed. Some of the information has been superseded by newer discoveries, but Chapman is almost unique in people writing about Barrett in that he actually seems to care about the facts and try to get things right rather than make up something more interesting. Crazy Diamond by Mike Watkinson and Pete Anderson is much less reliable, but does have quite a few interview quotes that aren't duplicated by Chapman. Information about Joe Boyd comes from Boyd's book White Bicycles. In this and future episodes on Pink Floyd I'm also relying on Nick Mason's Inside Out: A Personal History of Pink Floyd and Pink Floyd: All the Songs by Jean-Michel Guesdon and Philippe Margotin. The compilation Relics contains many of the most important tracks from Barrett's time with Pink Floyd, while Piper at the Gates of Dawn is his one full album with them. Those who want a fuller history of his time with the group will want to get Piper and also the box set Cambridge St/ation 1965-1967. Barrett only released two solo albums during his career. They're available as a bundle here. Completists will also want the rarities and outtakes collection Opel.  ERRATA: I talk about “Interstellar Overdrive” as if Barrett wrote it solo. The song is credited to all four members, but it was Barrett who came up with the riff I talk about. And annoyingly, given the lengths I went to to deal correctly with Barrett's name, I repeatedly refer to "Dave" Gilmour, when Gilmour prefers David. Patreon This podcast is brought to you by the generosity of my backers on Patreon. Why not join them? Transcript A note before I begin -- this episode deals with drug use and mental illness, so anyone who might be upset by those subjects might want to skip this one. But also, there's a rather unique problem in how I deal with the name of the main artist in the story today. The man everyone knows as Syd Barrett was born Roger Barrett, used that name with his family for his whole life, and in later years very strongly disliked being called "Syd", yet everyone other than his family called him that at all times until he left the music industry, and that's the name that appears on record labels, including his solo albums. I don't believe it's right to refer to people by names they choose not to go by themselves, but the name Barrett went by throughout his brief period in the public eye was different from the one he went by later, and by all accounts he was actually distressed by its use in later years. So what I'm going to do in this episode is refer to him as "Roger Barrett" when a full name is necessary for disambiguation or just "Barrett" otherwise, but I'll leave any quotes from other people referring to "Syd" as they were originally phrased. In future episodes on Pink Floyd, I'll refer to him just as Barrett, but in episodes where I discuss his influence on other artists, I will probably have to use "Syd Barrett" because otherwise people who haven't listened to this episode won't know what on Earth I'm talking about. Anyway, on with the show. “It's gone!” sighed the Rat, sinking back in his seat again. “So beautiful and strange and new. Since it was to end so soon, I almost wish I had never heard it. For it has roused a longing in me that is pain, and nothing seems worth while but just to hear that sound once more and go on listening to it for ever. No! There it is again!” he cried, alert once more. Entranced, he was silent for a long space, spellbound. “Now it passes on and I begin to lose it,” he said presently. “O Mole! the beauty of it! The merry bubble and joy, the thin, clear, happy call of the distant piping! Such music I never dreamed of, and the call in it is stronger even than the music is sweet! Row on, Mole, row! For the music and the call must be for us.” That's a quote from a chapter titled "The Piper at the Gates of Dawn" from the classic children's book The Wind in the Willows -- a book which for most of its length is a fairly straightforward story about anthropomorphic animals having jovial adventures, but which in that one chapter has Rat and Mole suddenly encounter the Great God Pan and have a hallucinatory, transcendental experience caused by his music, one so extreme it's wiped from their minds, as they simply cannot process it. The book, and the chapter, was a favourite of Roger Barrett, a young child born in Cambridge in 1946. Barrett came from an intellectual but not especially bookish family. His father, Dr. Arthur Barrett, was a pathologist -- there's a room in Addenbrooke's Hospital named after him -- but he was also an avid watercolour painter, a world-leading authority on fungi, and a member of the Cambridge Philharmonic Society who was apparently an extraordinarily good singer; while his mother Winifred was a stay-at-home mother who was nonetheless very active in the community, organising a local Girl Guide troupe. They never particularly encouraged their family to read, but young Roger did particularly enjoy the more pastoral end of the children's literature of the time. As well as the Wind in the Willows he also loved Alice in Wonderland, and the Little Grey Men books -- a series of stories about tiny gnomes and their adventures in the countryside. But his two big passions were music and painting. He got his first ukulele at age eleven, and by the time his father died, just before Roger's sixteenth birthday, he had graduated to playing a full-sized guitar. At the time his musical tastes were largely the same as those of any other British teenager -- he liked Chubby Checker, for example -- though he did have a tendency to prefer the quirkier end of things, and some of the first songs he tried to play on the guitar were those of Joe Brown: [Excerpt: Joe Brown, "I'm Henry VIII I Am"] Barrett grew up in Cambridge, and for those who don't know it, Cambridge is an incubator of a very particular kind of eccentricity. The university tends to attract rather unworldly intellectual overachievers to the city -- people who might not be able to survive in many other situations but who can thrive in that one -- and every description of Barrett's father suggests he was such a person -- Barrett's sister Rosemary has said that she believes that most of the family were autistic, though whether this is a belief based on popular media portrayals or a deeper understanding I don't know. But certainly Cambridge is full of eccentric people with remarkable achievements, and such people tend to have children with a certain type of personality, who try simultaneously to live up to and rebel against expectations of greatness that come from having parents who are regarded as great, and to do so with rather less awareness of social norms than the typical rebel has. In the case of Roger Barrett, he, like so many others of his generation, was encouraged to go into the sciences -- as indeed his father had, both in his career as a pathologist and in his avocation as a mycologist. The fifties and sixties were a time, much like today, when what we now refer to as the STEM subjects were regarded as new and exciting and modern. But rather than following in his father's professional footsteps, Roger Barrett instead followed his hobbies. Dr. Barrett was a painter and musician in his spare time, and Roger was to turn to those things to earn his living. For much of his teens, it seemed that art would be the direction he would go in. He was, everyone agrees, a hugely talented painter, and he was particularly noted for his mastery of colours. But he was also becoming more and more interested in R&B music, especially the music of Bo Diddley, who became his new biggest influence: [Excerpt: Bo Diddley, "Who Do You Love?"] He would often spend hours with his friend Dave Gilmour, a much more advanced guitarist, trying to learn blues riffs. By this point Barrett had already received the nickname "Syd". Depending on which story you believe, he either got it when he started attending a jazz club where an elderly jazzer named Sid Barrett played, and the people were amused that their youngest attendee, like one of the oldest, was called Barrett; or, more plausibly, he turned up to a Scout meeting once wearing a flat cap rather than the normal scout beret, and he got nicknamed "Sid" because it made him look working-class and "Sid" was a working-class sort of name. In 1962, by the time he was sixteen, Barrett joined a short-lived group called Geoff Mott and the Mottoes, on rhythm guitar. The group's lead singer, Geoff Mottlow, would go on to join a band called the Boston Crabs who would have a minor hit in 1965 with a version of the Coasters song "Down in Mexico": [Excerpt: The Boston Crabs, "Down in Mexico"] The bass player from the Mottoes, Tony Sainty, and the drummer Clive Welham, would go on to form another band, The Jokers Wild, with Barrett's friend Dave Gilmour. Barrett also briefly joined another band, Those Without, but his time with them was similarly brief. Some sources -- though ones I consider generally less reliable -- say that the Mottoes' bass player wasn't Tony Sainty, but was Roger Waters, the son of one of Barrett's teachers, and that one of the reasons the band split up was that Waters had moved down to London to study architecture. I don't think that's the case, but it's definitely true that Barrett knew Waters, and when he moved to London himself the next year to go to Camberwell Art College, he moved into a house where Waters was already living. Two previous tenants at the same house, Nick Mason and Richard Wright, had formed a loose band with Waters and various other amateur musicians like Keith Noble, Shelagh Noble, and Clive Metcalfe. That band was sometimes known as the Screaming Abdabs, The Megadeaths, or The Tea Set -- the latter as a sly reference to slang terms for cannabis -- but was mostly known at first as Sigma 6, named after a manifesto by the novelist Alexander Trocchi for a kind of spontaneous university. They were also sometimes known as Leonard's Lodgers, after the landlord of the home that Barrett was moving into, Mike Leonard, who would occasionally sit in on organ and would later, as the band became more of a coherent unit, act as a roadie and put on light shows behind them -- Leonard was himself very interested in avant-garde and experimental art, and it was his idea to play around with the group's lighting. By the time Barrett moved in with Waters in 1964, the group had settled on the Tea Set name, and consisted of Waters on bass, Mason on drums, Wright on keyboards, singer Chris Dennis, and guitarist Rado Klose. Of the group, Klose was the only one who was a skilled musician -- he was a very good jazz guitarist, while the other members were barely adequate. By this time Barrett's musical interests were expanding to include folk music -- his girlfriend at the time talked later about him taking her to see Bob Dylan on his first UK tour and thinking "My first reaction was seeing all these people like Syd. It was almost as if every town had sent one Syd Barrett there. It was my first time seeing people like him." But the music he was most into was the blues. And as the Tea Set were turning into a blues band, he joined them. He even had a name for the new band that would make them more bluesy. He'd read the back of a record cover which had named two extremely obscure blues musicians -- musicians he may never even have heard. Pink Anderson: [Excerpt: Pink Anderson, "Boll Weevil"] And Floyd Council: [Excerpt: Floyd Council, "Runaway Man Blues"] Barrett suggested that they put together the names of the two bluesmen, and presumably because "Anderson Council" didn't have quite the right ring, they went for The Pink Floyd -- though for a while yet they would sometimes still perform as The Tea Set, and they were sometimes also called The Pink Floyd Sound. Dennis left soon after Barrett joined, and the new five-piece Pink Floyd Sound started trying to get more gigs. They auditioned for Ready Steady Go! and were turned down, but did get some decent support slots, including for a band called the Tridents: [Excerpt: The Tridents, "Tiger in Your Tank"] The members of the group were particularly impressed by the Tridents' guitarist and the way he altered his sound using feedback -- Barrett even sent a letter to his girlfriend with a drawing of the guitarist, one Jeff Beck, raving about how good he was. At this point, the group were mostly performing cover versions, but they did have a handful of originals, and it was these they recorded in their first demo sessions in late 1964 and early 1965. They included "Walk With Me Sydney", a song written by Roger Waters as a parody of "Work With Me Annie" and "Dance With Me Henry" -- and, given the lyrics, possibly also Hank Ballard's follow-up "Henry's Got Flat Feet (Can't Dance No More) and featuring Rick Wright's then-wife Juliette Gale as Etta James to Barrett's Richard Berry: [Excerpt: The Tea Set, "Walk With Me Sydney"] And four songs by Barrett, including one called "Double-O Bo" which was a Bo Diddley rip-off, and "Butterfly", the most interesting of these early recordings: [Excerpt: The Tea Set, "Butterfly"] At this point, Barrett was very unsure of his own vocal abilities, and wrote a letter to his girlfriend saying "Emo says why don't I give up 'cos it sounds horrible, and I would but I can't get Fred to join because he's got a group (p'raps you knew!) so I still have to sing." "Fred" was a nickname for his old friend Dave Gilmour, who was playing in his own band, Joker's Wild, at this point. Summer 1965 saw two important events in the life of the group. The first was that Barrett took LSD for the first time. The rest of the group weren't interested in trying it, and would indeed generally be one of the more sober bands in the rock business, despite the reputation their music got. The other members would for the most part try acid once or twice, around late 1966, but generally steer clear of it. Barrett, by contrast, took it on a very regular basis, and it would influence all the work he did from that point on. The other event was that Rado Klose left the group. Klose was the only really proficient musician in the group, but he had very different tastes to the other members, preferring to play jazz to R&B and pop, and he was also falling behind in his university studies, and decided to put that ahead of remaining in the band. This meant that the group members had to radically rethink the way they were making music. They couldn't rely on instrumental proficiency, so they had to rely on ideas. One of the things they started to do was use echo. They got primitive echo devices and put both Barrett's guitar and Wright's keyboard through them, allowing them to create new sounds that hadn't been heard on stage before. But they were still mostly doing the same Slim Harpo and Bo Diddley numbers everyone else was doing, and weren't able to be particularly interesting while playing them. But for a while they carried on doing the normal gigs, like a birthday party they played in late 1965, where on the same bill was a young American folk singer named Paul Simon, and Joker's Wild, the band Dave Gilmour was in, who backed Simon on a version of "Johnny B. Goode". A couple of weeks after that party, Joker's Wild went into the studio to record their only privately-pressed five-song record, of them performing recent hits: [Excerpt: Joker's Wild, "Walk Like a Man"] But The Pink Floyd Sound weren't as musically tight as Joker's Wild, and they couldn't make a living as a cover band even if they wanted to. They had to do something different. Inspiration then came from a very unexpected source. I mentioned earlier that one of the names the group had been performing under had been inspired by a manifesto for a spontaneous university by the writer Alexander Trocchi. Trocchi's ideas had actually been put into practice by an organisation calling itself the London Free School, based in Notting Hill. The London Free School was an interesting mixture of people from what was then known as the New Left, but who were already rapidly aging, the people who had been the cornerstone of radical campaigning in the late fifties and early sixties, who had run the Aldermaston marches against nuclear weapons and so on, and a new breed of countercultural people who in a year or two would be defined as hippies but at the time were not so easy to pigeonhole. These people were mostly politically radical but very privileged people -- one of the founder members of the London Free School was Peter Jenner, who was the son of a vicar and the grandson of a Labour MP -- and they were trying to put their radical ideas into practice. The London Free School was meant to be a collective of people who would help each other and themselves, and who would educate each other. You'd go to the collective wanting to learn how to do something, whether that's how to improve the housing in your area or navigate some particularly difficult piece of bureaucracy, or how to play a musical instrument, and someone who had that skill would teach you how to do it, while you hopefully taught them something else of value. The London Free School, like all such utopian schemes, ended up falling apart, but it had a wider cultural impact than most such schemes. Britain's first underground newspaper, the International Times, was put together by people involved in the Free School, and the annual Notting Hill Carnival, which is now one of the biggest outdoor events in Britain every year with a million attendees, came from the merger of outdoor events organised by the Free School with older community events. A group of musicians called AMM was associated with many of the people involved in the Free School. AMM performed totally improvised music, with no structure and no normal sense of melody and harmony: [Excerpt: AMM, "What Is There In Uselesness To Cause You Distress?"] Keith Rowe, the guitarist in AMM, wanted to find his own technique uninfluenced by American jazz guitarists, and thought of that in terms that appealed very strongly to the painterly Barrett, saying "For the Americans to develop an American school of painting, they somehow had to ditch or lose European easel painting techniques. They had to make a break with the past. What did that possibly mean if you were a jazz guitar player? For me, symbolically, it was Pollock laying the canvas on the floor, which immediately abandons European easel technique. I could see that by laying the canvas down, it became inappropriate to apply easel techniques. I thought if I did that with a guitar, I would just lose all those techniques, because they would be physically impossible to do." Rowe's technique-free technique inspired Barrett to make similar noises with his guitar, and to think less in terms of melody and harmony than pure sound. AMM's first record came out in 1966. Four of the Free School people decided to put together their own record label, DNA, and they got an agreement with Elektra Records to distribute its first release -- Joe Boyd, the head of Elektra in the UK, was another London Free School member, and someone who had plenty of experience with disruptive art already, having been on the sound engineering team at the Newport Folk Festival when Dylan went electric. AMM went into the studio and recorded AMMMusic: [Excerpt: AMM, "What Is There In Uselesness To Cause You Distress?"] After that came out, though, Peter Jenner, one of the people who'd started the label, came to a realisation. He said later "We'd made this one record with AMM. Great record, very seminal, seriously avant-garde, but I'd started adding up and I'd worked out that the deal we had, we got two percent of retail, out of which we, the label, had to pay for recording costs and pay ourselves. I came to the conclusion that we were going to have to sell a hell of a lot of records just to pay the recording costs, let alone pay ourselves any money and build a label, so I realised we had to have a pop band because pop bands sold a lot of records. It was as simple as that and I was as naive as that." Jenner abandoned DNA records for the moment, and he and his friend Andrew King decided they were going to become pop managers. and they found The Pink Floyd Sound playing at an event at the Marquee, one of a series of events that were variously known as Spontaneous Underground and The Trip. Other participants in those events included Soft Machine; Mose Allison; Donovan, performing improvised songs backed by sitar players; Graham Bond; a performer who played Bach pieces while backed by African drummers; and The Poison Bellows, a poetry duo consisting of Spike Hawkins and Johnny Byrne, who may of all of these performers be the one who other than Pink Floyd themselves has had the most cultural impact in the UK -- after writing the exploitation novel Groupie and co-writing a film adaptation of Spike Milligan's war memoirs, Byrne became a TV screenwriter, writing many episodes of Space: 1999 and Doctor Who before creating the long-running TV series Heartbeat. Jenner and King decided they wanted to sign The Pink Floyd Sound and make records with them, and the group agreed -- but only after their summer holidays. They were all still students, and so they dispersed during the summer. Waters and Wright went on holiday to Greece, where they tried acid for the first of only a small number of occasions and were unimpressed, while Mason went on a trip round America by Greyhound bus. Barrett, meanwhile, stayed behind, and started writing more songs, encouraged by Jenner, who insisted that the band needed to stop relying on blues covers and come up with their own material, and who saw Barrett as the focus of the group. Jenner later described them as "Four not terribly competent musicians who managed between them to create something that was extraordinary. Syd was the main creative drive behind the band - he was the singer and lead guitarist. Roger couldn't tune his bass because he was tone deaf, it had to be tuned by Rick. Rick could write a bit of a tune and Roger could knock out a couple of words if necessary. 'Set the Controls for the Heart of the Sun' was the first song Roger ever wrote, and he only did it because Syd encouraged everyone to write. Syd was very hesitant about his writing, but when he produced these great songs everyone else thought 'Well, it must be easy'" Of course, we know this isn't quite true -- Waters had written "Walk with me Sydney" -- but it is definitely the case that everyone involved thought of Barrett as the main creative force in the group, and that he was the one that Jenner was encouraging to write new material. After the summer holidays, the group reconvened, and one of their first actions was to play a benefit for the London Free School. Jenner said later "Andrew King and myself were both vicars' sons, and we knew that when you want to raise money for the parish you have to have a social. So in a very old-fashioned way we said 'let's put on a social'. Like in the Just William books, like a whist drive. We thought 'You can't have a whist drive. That's not cool. Let's have a band. That would be cool.' And the only band we knew was the band I was starting to get involved with." After a couple of these events went well, Joe Boyd suggested that they make those events a regular club night, and the UFO Club was born. Jenner and King started working on the light shows for the group, and then bringing in other people, and the light show became an integral part of the group's mystique -- rather than standing in a spotlight as other groups would, they worked in shadows, with distorted kaleidoscopic lights playing on them, distancing themselves from the audience. The highlight of their sets was a long piece called "Interstellar Overdrive", and this became one of the group's first professional recordings, when they went into the studio with Joe Boyd to record it for the soundtrack of a film titled Tonite Let's All Make Love in London. There are conflicting stories about the inspiration for the main riff for "Interstellar Overdrive". One apparent source is the riff from Love's version of the Bacharach and David song "My Little Red Book". Depending on who you ask, either Barrett was obsessed with Love's first album and copied the riff, or Peter Jenner tried to hum him the riff and Barrett copied what Jenner was humming: [Excerpt: Love, "My Little Red Book"] More prosaically, Roger Waters has always claimed that the main inspiration was from "Old Ned", Ron Grainer's theme tune for the sitcom Steptoe and Son (which for American listeners was remade over there as Sanford and Son): [Excerpt: Ron Grainer, "Old Ned"] Of course it's entirely possible, and even likely, that Barrett was inspired by both, and if so that would neatly sum up the whole range of Pink Floyd's influences at this point. "My Little Red Book" was a cover by an American garage-psych/folk-rock band of a hit by Manfred Mann, a group who were best known for pop singles but were also serious blues and jazz musicians, while Steptoe and Son was a whimsical but dark and very English sitcom about a way of life that was slowly disappearing. And you can definitely hear both influences in the main riff of the track they recorded with Boyd: [Excerpt: The Pink Floyd, "Interstellar Overdrive"] "Interstellar Overdrive" was one of two types of song that The Pink Floyd were performing at this time -- a long, extended, instrumental psychedelic excuse for freaky sounds, inspired by things like the second disc of Freak Out! by the Mothers of Invention. When they went into the studio again with Boyd later in January 1967, to record what they hoped would be their first single, they recorded two of the other kind of songs -- whimsical story songs inspired equally by the incidents of everyday life and by children's literature. What became the B-side, "Candy and a Currant Bun", was based around the riff from "Smokestack Lightnin'" by Howlin' Wolf: [Excerpt: Howlin' Wolf, "Smokestack Lightnin'"] That song had become a favourite on the British blues scene, and was thus the inspiration for many songs of the type that get called "quintessentially English". Ray Davies, who was in many ways the major songwriter at this time who was closest to Barrett stylistically, would a year later use the riff for the Kinks song "Last of the Steam-Powered Trains", but in this case Barrett had originally written a song titled "Let's Roll Another One", about sexual longing and cannabis. The lyrics were hastily rewritten in the studio to remove the controversial drug references-- and supposedly this caused some conflict between Barrett and Waters, with Waters pushing for the change, while Barrett argued against it, though like many of the stories from this period this sounds like the kind of thing that gets said by people wanting to push particular images of both men. Either way, the lyric was changed to be about sweet treats rather than drugs, though the lascivious elements remained in. And some people even argue that there was another lyric change -- where Barrett sings "walk with me", there's a slight "f" sound in his vocal. As someone who does a lot of microphone work myself, it sounds to me like just one of those things that happens while recording, but a lot of people are very insistent that Barrett is deliberately singing a different word altogether: [Excerpt: The Pink Floyd, "Candy and a Currant Bun"] The A-side, meanwhile, was inspired by real life. Both Barrett and Waters had mothers who used  to take in female lodgers, and both had regularly had their lodgers' underwear stolen from washing lines. While they didn't know anything else about the thief, he became in Barrett's imagination a man who liked to dress up in the clothing after he stole it: [Excerpt: The Pink Floyd, "Arnold Layne"] After recording the two tracks with Joe Boyd, the natural assumption was that the record would be put out on Elektra, the label which Boyd worked for in the UK, but Jac Holzman, the head of Elektra records, wasn't interested, and so a bidding war began for the single, as by this point the group were the hottest thing in London. For a while it looked like they were going to sign to Track Records, the label owned by the Who's management, but in the end EMI won out. Right as they signed, the News of the World was doing a whole series of articles about pop stars and their drug use, and the last of the articles talked about The Pink Floyd and their association with LSD, even though they hadn't released a record yet. EMI had to put out a press release saying that the group were not psychedelic, insisting"The Pink Floyd are not trying to create hallucinatory effects in their audience." It was only after getting signed that the group became full-time professionals. Waters had by this point graduated from university and was working as a trainee architect, and quit his job to become a pop star. Wright dropped out of university, but Mason and Barrett took sabbaticals. Barrett in particular seems to have seen this very much as a temporary thing, talking about how he was making so much money it would be foolish not to take the opportunity while it lasted, but how he was going to resume his studies in a year. "Arnold Layne" made the top twenty, and it would have gone higher had the pirate radio station Radio London, at the time the single most popular radio station when it came to pop music, not banned the track because of its sexual content. However, it would be the only single Joe Boyd would work on with the group. EMI insisted on only using in-house producers, and so while Joe Boyd would go on to a great career as a producer, and we'll see him again, he was replaced with Norman Smith. Smith had been the chief engineer on the Beatles records up to Rubber Soul, after which he'd been promoted to being a producer in his own right, and Geoff Emerick had taken over. He also had aspirations to pop stardom himself, and a few years later would have a transatlantic hit with "Oh Babe, What Would You Say?" under the name Hurricane Smith: [Excerpt: Hurricane Smith, "Oh Babe, What Would You Say?"] Smith's production of the group would prove controversial among some of the group's longtime fans, who thought that he did too much to curtail their more experimental side, as he would try to get the group to record songs that were more structured and more commercial, and would cut down their improvisations into a more manageable form. Others, notably Peter Jenner, thought that Smith was the perfect producer for the group. They started work on their first album, which was mostly recorded in studio three of Abbey Road, while the Beatles were just finishing off work on Sgt Pepper in studio two. The album was titled The Piper at the Gates of Dawn, after the chapter from The Wind in the Willows, and other than a few extended instrumental showcases, most of the album was made up of short, whimsical, songs by Barrett that were strongly infused with imagery from late-Victorian and Edwardian children's books. This is one of the big differences between the British and American psychedelic scenes. Both the British and American undergrounds were made up of the same type of people -- a mixture of older radical activists, often Communists, who had come up in Britain in the Ban the Bomb campaigns and in America in the Civil Rights movement; and younger people, usually middle-class students with radical politics from a privileged background, who were into experimenting with drugs and alternative lifestyles. But the  social situations were different. In America, the younger members of the underground were angry and scared, as their principal interest was in stopping the war in Vietnam in which so many of them were being killed. And the music of the older generation of the underground, the Civil Rights activists, was shot through with influence from the blues, gospel, and American folk music, with a strong Black influence. So that's what the American psychedelic groups played, for the most part, very bluesy, very angry, music, By contrast, the British younger generation of hippies were not being drafted to go to war, and mostly had little to complain about, other than a feeling of being stifled by their parents' generation's expectations. And while most of them were influenced by the blues, that wasn't the music that had been popular among the older underground people, who had either been listening to experimental European art music or had been influenced by Ewan MacColl and his associates into listening instead to traditional old English ballads, things like the story of Tam Lin or Thomas the Rhymer, where someone is spirited away to the land of the fairies: [Excerpt: Ewan MacColl, "Thomas the Rhymer"] As a result, most British musicians, when exposed to the culture of the underground over here, created music that looked back to an idealised childhood of their grandparents' generation, songs that were nostalgic for a past just before the one they could remember (as opposed to their own childhoods, which had taken place in war or the immediate aftermath of it, dominated by poverty, rationing, and bomb sites (though of course Barrett's childhood in Cambridge had been far closer to this mythic idyll than those of his contemporaries from Liverpool, Birmingham, Newcastle, or London). So almost every British musician who was making music that might be called psychedelic was writing songs that were influenced both by experimental art music and by pre-War popular song, and which conjured up images from older children's books. Most notably of course at this point the Beatles were recording songs like "Strawberry Fields Forever" and "Penny Lane" about places from their childhood, and taking lyrical inspiration from Victorian circus posters and the works of Lewis Carroll, but Barrett was similarly inspired. One of the books he loved most as a child was "The Little Grey Men" by BB, a penname for Denys Watkins-Pitchford. The book told the story of three gnomes,  Baldmoney, Sneezewort, and Dodder, and their adventures on a boat when the fourth member of their little group, Cloudberry, who's a bit of a rebellious loner and more adventurous than the other three, goes exploring on his own and they have to go off and find him. Barrett's song "The Gnome" doesn't use any precise details from the book, but its combination of whimsy about a gnome named Grimble-gromble and a reverence for nature is very much in the mould of BB's work: [Excerpt: The Pink Floyd, "The Gnome"] Another huge influence on Barrett was Hillaire Belloc. Belloc is someone who is not read much any more, as sadly he is mostly known for the intense antisemitism in some of his writing, which stains it just as so much of early twentieth-century literature is stained, but he was one of the most influential writers of the early part of the twentieth century. Like his friend GK Chesterton he was simultaneously an author of Catholic apologia and a political campaigner -- he was a Liberal MP for a few years, and a strong advocate of an economic system known as Distributism, and had a peculiar mixture of very progressive and extremely reactionary ideas which resonated with a lot of the atmosphere in the British underground of the time, even though he would likely have profoundly disapproved of them. But Belloc wrote in a variety of styles, including poems for children, which are the works of his that have aged the best, and were a huge influence on later children's writers like Roald Dahl with their gleeful comic cruelty. Barrett's "Matilda Mother" had lyrics that were, other than the chorus where Barrett begs his mother to read him more of the story, taken verbatim from three poems from Belloc's Cautionary Tales for Children -- "Jim, Who Ran away from his Nurse, and was Eaten by a Lion", "Henry King (Who chewed bits of String, and was cut off in Dreadful Agonies)", and "Matilda (Who Told Lies and Was Burned to Death)" -- the titles of those give some idea of the kind of thing Belloc would write: [Excerpt: The Pink Floyd, "Matilda Mother (early version)"] Sadly for Barrett, Belloc's estate refused to allow permission for his poems to be used, and so he had to rework the lyrics, writing new fairy-tale lyrics for the finished version. Other sources of inspiration for lyrics came from books like the I Ching, which Barrett used for "Chapter 24", having bought a copy from the Indica Bookshop, the same place that John Lennon had bought The Psychedelic Experience, and there's been some suggestion that he was deliberately trying to copy Lennon in taking lyrical ideas from a book of ancient mystic wisdom. During the recording of Piper at the Gates of Dawn, the group continued playing live. As they'd now had a hit single, most of their performances were at Top Rank Ballrooms and other such venues around the country, on bills with other top chart groups, playing to audiences who seemed unimpressed or actively hostile. They also, though made two important appearances. The more well-known of these was at the 14-Hour Technicolor Dream, a benefit for International Times magazine with people including Yoko Ono, their future collaborator Ron Geesin, John's Children, Soft Machine, and The Move also performing. The 14-Hour Technicolor Dream is now largely regarded as *the* pivotal moment in the development of the UK counterculture, though even at the time some participants noted that there seemed to be a rift developing between the performers, who were often fairly straightforward beer-drinking ambitious young men who had latched on to kaftans and talk about enlightenment as the latest gimmick they could use to get ahead in the industry, and the audience who seemed to be true believers. Their other major performance was at an event called "Games for May -- Space Age Relaxation for the Climax of Spring", where they were able to do a full long set in a concert space with a quadrophonic sound system, rather than performing in the utterly sub-par environments most pop bands had to at this point. They came up with a new song written for the event, which became their second single, "See Emily Play". [Excerpt: The Pink Floyd, "See Emily Play"] Emily was apparently always a favourite name of Barrett's, and he even talked with one girlfriend about the possibility of naming their first child Emily, but the Emily of the song seems to have had a specific inspiration. One of the youngest attendees at the London Free School was an actual schoolgirl, Emily Young, who would go along to their events with her schoolfriend Anjelica Huston (who later became a well-known film star). Young is now a world-renowned artist, regarded as arguably Britain's greatest living stone sculptor, but at the time she was very like the other people at the London Free School -- she was from a very privileged background, her father was Wayland Young, 2nd Baron Kennet, a Labour Peer and minister who later joined the SDP. But being younger than the rest of the attendees, and still a little naive, she was still trying to find her own personality, and would take on attributes and attitudes of other people without fully understanding them,  hence the song's opening lines, "Emily tries, but misunderstands/She's often inclined to borrow somebody's dream til tomorrow". The song gets a little darker towards the end though, and the image in the last verse, where she puts on a gown and floats down a river forever *could* be a gentle, pastoral, image of someone going on a boat ride, but it also could be a reference to two rather darker sources. Barrett was known to pick up imagery both from classic literature and from Arthurian legend, and so the lines inevitably conjure up both the idea of Ophelia drowning herself and of the Lady of Shallot in Tennyson's Arthurian poem, who is trapped in a tower but finds a boat, and floats down the river to Camelot but dies before the boat reaches the castle: [Excerpt: The Pink Floyd, "See Emily Play"] The song also evokes very specific memories of Barrett's childhood -- according to Roger Waters, the woods mentioned in the lyrics are meant to be woods in which they had played as children, on the road out of Cambridge towards the Gog and Magog Hills. The song was apparently seven minutes long in its earliest versions, and required a great deal of editing to get down to single length, but it was worth it, as the track made the top ten. And that was where the problems started. There are two different stories told about what happened to Roger Barrett over the next forty years, and both stories are told by people with particular agendas, who want particular versions of him to become the accepted truth. Both stories are, in the extreme versions that have been popularised, utterly incompatible with each other, but both are fairly compatible with the scanty evidence we have. Possibly the truth lies somewhere between them. In one version of the story, around this time Barrett had a total mental breakdown, brought on or exacerbated by his overuse of LSD and Mandrax (a prescription drug consisting of a mixture of the antihistamine diphenhydramine and the sedative methaqualone, which was marketed in the US under the brand-name Quaalude), and that from late summer 1967 on he was unable to lead a normal life, and spent the rest of his life as a burned-out shell. The other version of the story is that Barrett was a little fragile, and did have periods of mental illness, but for the most part was able to function fairly well. In this version of the story, he was neurodivergent, and found celebrity distressing, but more than that he found the whole process of working within commercial restrictions upsetting -- having to appear on TV pop shows and go on package tours was just not something he found himself able to do, but he was responsible for a whole apparatus of people who relied on him and his group for their living. In this telling, he was surrounded by parasites who looked on him as their combination meal-ticket-cum-guru, and was simply not suited for the role and wanted to sabotage it so he could have a private life instead. Either way, *something* seems to have changed in Barrett in a profound way in the early summer of 1967. Joe Boyd talks about meeting him after not having seen him for a few weeks, and all the light being gone from his eyes. The group appeared on Top of the Pops, Britain's top pop TV show, three times to promote "See Emily Play", but by the third time Barrett didn't even pretend to mime along with the single. Towards the end of July, they were meant to record a session for the BBC's Saturday Club radio show, but Barrett walked out of the studio before completing the first song. It's notable that Barrett's non-cooperation or inability to function was very much dependent on circumstance. He was not able to perform for Saturday Club, a mainstream pop show aimed at a mass audience, but gave perfectly good performances on several sessions for John Peel's radio show The Perfumed Garden, a show firmly aimed at Pink Floyd's own underground niche. On the thirty-first of July, three days after the Saturday Club walkout, all the group's performances for the next month were cancelled, due to "nervous exhaustion". But on the eighth of August, they went back into the studio, to record "Scream Thy Last Scream", a song Barrett wrote and which Nick Mason sang: [Excerpt: Pink Floyd, "Scream Thy Last Scream"] That was scheduled as the group's next single, but the record company vetoed it, and it wouldn't see an official release for forty-nine years. Instead they recorded another single, "Apples and Oranges": [Excerpt: Pink Floyd, "Apples and Oranges"] That was the last thing the group released while Barrett was a member. In November 1967 they went on a tour of the US, making appearances on American Bandstand and the Pat Boone Show, as well as playing several gigs. According to legend, Barrett was almost catatonic on the Pat Boone show, though no footage of that appears to be available anywhere -- and the same things were said about their performance on Bandstand, and when that turned up, it turned out Barrett seemed no more uncomfortable miming to their new single than any of the rest of the band, and was no less polite when Dick Clark asked them questions about hamburgers. But on shows on the US tour, Barrett would do things like detune his guitar so it just made clanging sounds, or just play a single note throughout the show. These are, again, things that could be taken in two different ways, and I have no way to judge which is the more correct. On one level, they could be a sign of a chaotic, disordered, mind, someone dealing with severe mental health difficulties. On the other, they're the kind of thing that Barrett was applauded and praised for in the confines of the kind of avant-garde underground audience that would pay to hear AMM or Yoko Ono, the kind of people they'd been performing for less than a year earlier, but which were absolutely not appropriate for a pop group trying to promote their latest hit single. It could be that Barrett was severely unwell, or it could just be that he wanted to be an experimental artist and his bandmates wanted to be pop stars -- and one thing absolutely everyone agrees is that the rest of the group were more ambitious than Barrett was. Whichever was the case, though, something had to give. They cut the US tour short, but immediately started another British package tour, with the Jimi Hendrix Experience, the Move, Amen Corner and the Nice. After that tour they started work on their next album, A Saucerful of Secrets. Where Barrett was the lead singer and principal songwriter on Piper at the Gates of Dawn, he only sings and writes one song on A Saucerful of Secrets, which is otherwise written by Waters and Wright, and only appears at all on two more of the tracks -- by the time it was released he was out of the group. The last song he tried to get the group to record was called "Have You Got it Yet?" and it was only after spending some time rehearsing it that the rest of the band realised that the song was a practical joke on them -- every time they played it, he would change the song around so they would mess up, and pretend they just hadn't learned the song yet. They brought in Barrett's old friend Dave Gilmour, initially to be a fifth member on stage to give the band some stability in their performances, but after five shows with the five-man lineup they decided just not to bother picking Barrett up, but didn't mention he was out of the group, to avoid awkwardness. At the time, Barrett and Rick Wright were flatmates, and Wright would actually lie to Barrett and say he was just going out to buy a packet of cigarettes, and then go and play gigs without him. After a couple of months of this, it was officially announced that Barrett was leaving the group. Jenner and King went with him, convinced that he was the real talent in the group and would have a solo career, and the group carried on with new management. We'll be looking at them more in future episodes. Barrett made a start at recording a solo album in mid-1968, but didn't get very far. Jenner produced those sessions, and later said "It seemed a good idea to go into the studio because I knew he had the songs. And he would sometimes play bits and pieces and you would think 'Oh that's great.' It was a 'he's got a bit of a cold today and it might get better' approach. It wasn't a cold -- and you knew it wasn't a cold -- but I kept thinking if he did the right things he'd come back to join us. He'd gone out and maybe he'd come back. That was always the analogy in my head. I wanted to make it feel friendly for him, and that where we were was a comfortable place and that he could come back and find himself again. I obviously didn't succeed." A handful of tracks from those sessions have since been released, including a version of “Golden Hair”, a setting by Barrett of a poem by James Joyce that he would later revisit: [Excerpt: Syd Barrett, “Golden Hair (first version)”] Eleven months later, he went back into the studio again, this time with producer Malcolm Jones, to record an album that later became The Madcap Laughs, his first solo album. The recording process for the album has been the source of some controversy, as initially Jones was producing the whole album, and they were working in a way that Barrett never worked before. Where previously he had cut backing tracks first and only later overdubbed his vocals, this time he started by recording acoustic guitar and vocals, and then overdubbed on top of that. But after several sessions, Jones was pulled off the album, and Gilmour and Waters were asked to produce the rest of the sessions. This may seem a bit of a callous decision, since Gilmour was the person who had replaced Barrett in his group, but apparently the two of them had remained friends, and indeed Gilmour thought that Barrett had only got better as a songwriter since leaving the band. Where Malcolm Jones had been trying, by his account, to put out something that sounded like a serious, professional, record, Gilmour and Waters seemed to regard what they were doing more as producing a piece of audio verite documentary, including false starts and studio chatter. Jones believed that this put Barrett in a bad light, saying the outtakes "show Syd, at best as out of tune, which he rarely was, and at worst as out of control (which, again, he never was)." Gilmour and Waters, on the other hand, thought that material was necessary to provide some context for why the album wasn't as slick and professional as some might have hoped. The eventual record was a hodge-podge of different styles from different sessions, with bits from the Jenner sessions, the Jones sessions, and the Waters and Gilmour sessions all mixed together, with some tracks just Barrett badly double-tracking himself with an acoustic guitar, while other tracks feature full backing by Soft Machine. However, despite Jones' accusations that the album was more-or-less sabotaged by Gilmour and Waters, the fact remains that the best tracks on the album are the ones Barrett's former bandmates produced, and there are some magnificent moments on there. But it's a disturbing album to listen to, in the same way other albums by people with clear talent but clear mental illness are, like Skip Spence's Oar, Roky Erickson's later work, or the Beach Boys Love You. In each case, the pleasure one gets is a real pleasure from real aesthetic appreciation of the work, but entangled with an awareness that the work would not exist in that form were the creator not suffering. The pleasure doesn't come from the suffering -- these are real artists creating real art, not the kind of outsider art that is really just a modern-day freak-show -- but it's still inextricable from it: [Excerpt: Syd Barrett, "Dark Globe"] The Madcap Laughs did well enough that Barrett got to record a follow-up, titled simply Barrett. This one was recorded over a period of only a handful of months, with Gilmour and Rick Wright producing, and a band consisting of Gilmour, Wright, and drummer Jerry Shirley. The album is generally considered both more consistent and less interesting than The Madcap Laughs, with less really interesting material, though there are some enjoyable moments on it: [Excerpt: Syd Barrett, "Effervescing Elephant"] But the album is a little aimless, and people who knew him at the time seem agreed that that was a reflection of his life. He had nothing he *needed* to be doing -- no  tour dates, no deadlines, no pressure at all, and he had a bit of money from record royalties -- so he just did nothing at all. The one solo gig he ever played, with the band who backed him on Barrett, lasted four songs, and he walked off half-way through the fourth. He moved back to Cambridge for a while in the early seventies, and he tried putting together a new band with Twink, the drummer of the Pink Fairies and Pretty Things, Fred Frith, and Jack Monck, but Frith left after one gig. The other three performed a handful of shows either as "Stars" or as "Barrett, Adler, and Monck", just in the Cambridge area, but soon Barrett got bored again. He moved back to London, and in 1974 he made one final attempt to make a record, going into the studio with Peter Jenner, where he recorded a handful of tracks that were never released. But given that the titles of those tracks were things like "Boogie #1", "Boogie #2", "Slow Boogie", "Fast Boogie", "Chooka-Chooka Chug Chug" and "John Lee Hooker", I suspect we're not missing out on a lost masterpiece. Around this time there was a general resurgence in interest in Barrett, prompted by David Bowie having recorded a version of "See Emily Play" on his covers album Pin-Ups, which came out in late 1973: [Excerpt: David Bowie, "See Emily Play"] At the same time, the journalist Nick Kent wrote a long profile of Barrett, The Cracked Ballad of Syd Barrett, which like Kent's piece on Brian Wilson a year later, managed to be a remarkable piece of writing with a sense of sympathy for its subject and understanding of his music, but also a less-than-accurate piece of journalism which led to a lot of myths and disinformation being propagated. Barrett briefly visited his old bandmates in the studio in 1975 while they were recording the album Wish You Were Here -- some say even during the recording of the song "Shine On, You Crazy Diamond", which was written specifically about Barrett, though Nick Mason claims otherwise -- and they didn't recognise him at first, because by this point he had a shaved head and had put on a great deal of weight. He seemed rather sad, and that was the last time any of them saw him, apart from Roger Waters, who saw him in Harrod's a few years later. That time, as soon as Barrett recognised Waters, he dropped his bag and ran out of the shop. For the next thirty-one years, Barrett made no public appearances. The last time he ever voluntarily spoke to a journalist, other than telling them to go away, was in 1982, just after he'd moved back to Cambridge, when someone doorstopped him and he answered a few questions and posed for a photo before saying "OK! That's enough, this is distressing for me, thank you." He had the reputation for the rest of his life of being a shut-in, a recluse, an acid casualty. His family, on the other hand, have always claimed that while he was never particularly mentally or physically healthy, he wasn't a shut-in, and would go to the pub, meet up with his mother a couple of times a week to go shopping, and chat to the women behind the counter at Sainsbury's and at the pharmacy. He was also apparently very good with children who lived in the neighbourhood. Whatever the truth of his final decades, though, however mentally well or unwell he actually was, one thing is very clear, which is that he was an extremely private man, who did not want attention, and who was greatly distressed by the constant stream of people coming and looking through his letterbox, trying to take photos of him, trying to interview him, and so on. Everyone on his street knew that when people came asking which was Syd Barrett's house, they were meant to say that no-one of that name lived there -- and they were telling the truth. By the time he moved back, he had stopped answering to "Syd" altogether, and according to his sister "He came to hate the name latterly, and what it meant." He did, in 2001, go round to his sister's house to watch a documentary about himself on the TV -- he didn't own a TV himself -- but he didn't enjoy it and his only comment was that the music was too noisy. By this point he never listened to rock music, just to jazz and classical music, usually on the radio. He was financially secure -- Dave Gilmour made sure that when compilations came out they always included some music from Barrett's period in the group so he would receive royalties, even though Gilmour had no contact with him after 1975 -- and he spent most of his time painting -- he would take photos of the paintings when they were completed, and then burn the originals. There are many stories about those last few decades, but given how much he valued his privacy, it wouldn't be right to share them. This is a history of rock music, and 1975 was the last time Roger Keith Barrett ever had anything to do with rock music voluntarily. He died of cancer in 2006, and at his funeral there was a reading from The Little Grey Men, which was also quoted in the Order of Service -- "The wonder of the world, the beauty and the power, the shapes of things, their colours lights and shades; these I saw. Look ye also while life lasts.” There was no rock music played at Barrett's funeral -- instead there were a selection of pieces by Handel, Haydn, and Bach, ending with Bach's Allemande from the Partita No. IV in D major, one of his favourite pieces: [Excerpt: Glenn Gould, "Allemande from the Partita No. IV in D major"]  As they stared blankly in dumb misery deepening as they slowly realised all they had seen and all they had lost, a capricious little breeze, dancing up from the surface of the water, tossed the aspens, shook the dewy roses and blew lightly and caressingly in their faces; and with its soft touch came instant oblivion. For this is the last best gift that the kindly demi-god is careful to bestow on those to whom he has revealed himself in their helping: the gift of forgetfulness. Lest the awful remembrance should remain and grow, and overshadow mirth and pleasure, and the great haunting memory should spoil all the after-lives of little animals helped out of difficulties, in order that they should be happy and lighthearted as before. Mole rubbed his eyes and stared at Rat, who was looking about him in a puzzled sort of way. “I beg your pardon; what did you say, Rat?” he asked. “I think I was only remarking,” said Rat slowly, “that this was the right sort of place, and that here, if anywhere, we should find him. And look! Why, there he is, the little fellow!” And with a cry of delight he ran towards the slumbering Portly. But Mole stood still a moment, held in thought. As one wakened suddenly from a beautiful dream, who struggles to recall it, and can re-capture nothing but a dim sense of the beauty of it, the beauty! Till that, too, fades away in its turn, and the dreamer bitterly accepts the hard, cold waking and all its penalties; so Mole, after struggling with his memory for a brief space, shook his head sadly and followed the Rat.

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Recording Studio Rockstars
RSR374 - Ross Hogarth - Meditation, Music, Mixing, & Mindfulness In The Studio

Recording Studio Rockstars

Play Episode Listen Later Nov 4, 2022 117:10


My guest today is Ross Hogarth a Multiple Grammy winning producer, engineer, and mixer with a long and varied list of credits in musical styles from blues, to reggae, to heavy metal, and rock. Gov't Mule, Roger Waters, The Black Crowes, Shawn Colvin, John Mellencamp, R.E.M.and Jewel are just some of the artists that Ross has worked with in over three decades of recording. Ross has been a guest on the podcast for episode RSR148 where you can hear more of his backstory working with artists like Van Halen, Ziggy Marley, and Keb Mo. And today we will see whats new at his studio. Get access to FREE mixing mini-course: https://MixMasterBundle.com THANKS TO OUR SPONSORS! https://samply.app/ Use code RSR20 to get 20% off for the first 3 months https://www.Spectra1964.com https://MacSales.com/Rockstars https://iZotope.com/Rockstars use code ROCK10 for 10% off https://apiaudio.com/ https://www.adam-audio.com https://RecordingStudioRockstars.com/Academy Use code ROCKSTAR to get 10% off https://www.thetoyboxstudio.com/ https://UltimateMixingMasterclass.com Hear guests discography on Spotify: https://open.spotify.com/playlist/2RbCRnYkn8YRASY9cYCndr?si=656ce062393d44d0 If you love the podcast, then please leave a review: https://RSRockstars.com/Review CLICK HERE FOR COMPLETE SHOW NOTES AT: https://RSRockstars.com/374

Strong Songs
Pink Floyd: The Dark Side of the Moon

Strong Songs

Play Episode Listen Later Nov 4, 2022 60:41


For the 100th episode of Strong Songs, Kirk takes a deep dive into one of the most famous concept albums ever recorded. Pink Floyd's "The Dark Side of the Moon" is an instantly recognizable, widely discussed album, played and replayed to the point that it's easy to forget that it was made by a handful of young people with some instruments and a mixing desk. So buckle in for a whirlwind tour of the entire record, with pauses along the way to highlight some of the sounds, styles, and techniques that made The Dark Side of the Moon such an artistic and technological breakthrough.ALBUM: The Dark Side of the Moon, 1973Music By: David Gilmour, Richard Wright, Roger Waters, Nick MasonLyrics By: Roger WatersEngineered by: Alan ParsonsALSO FEATURED/DISCUSSED"Blue in Green" by Bill Evans/Miles Davis from Kind of Blue 1959"The Wizard of Oz," 1939The 2008 documentary Pink Floyd: The Making of The Dark Side of the MoonOUTRO SOLOIST: Kirk HamiltonKirk is the host of Strong Songs. He brought in year four with a guitar solo, and he's taking it out with a sax solo. Symmetry!-----LINKS-----SUPPORT STRONG SONGSPaypal | Patreon.com/StrongsongsMERCH STOREstore.strongsongspodcast.comSOCIAL MEDIA@StrongSongs | @Kirkhamilton | IG: @Kirk_HamiltonNEWSLETTERhttps://kirkhamilton.substack.com/subscribeJOIN THE DISCORDhttps://discord.gg/GCvKqAM8SmOUTRO SOLO PLAY-A-LONG:https://soundcloud.com/kirkhamilton/strong-songs-outro-music-no-soloSTRONG SONGS PLAYLISTSSpotify | Apple Music | YouTube Music----------------NOVEMBER 2022 WHOLE-NOTE PATRONSEd RankinTimothy morsheadJay SwartzMiriam JoySEAN D WINNIERushDaniel Hannon-BarryRRElliot RosenAshley HoagMark and MichelleMelissa OsborneChristopher MillerJamie WhiteChristopher McConnellDavid MascettiJoshua JarvisJoe LaskaKen HirshJezMelanie AndrichJenness GardnerSimon CammellGuinevere BoostromNarelle HornBill RosingerErinAidan CoughlanJeanneret Manning Family FourDave SharpeSami SamhuriAccessViolationRyan TorvikElliot Jay O'NeillJim ChokeyAndre BremerMark SchechterDave FloreyNOVEMBER 2022 HALF-NOTE PATRONSjohn halpinJennifer KennerPeter HardingDavidRuthieAnthony MahramusMeghan O'LearyJeffrey PuzzoJohn BaumanDax and Dane HuddlestonMartín SalíasTim HowesSteve MartinoDr Arthur A GrayCarolinaGary PierceMatt BaxterGiantPredatoryMolluskCasey FaubionLuigi BocciaRob AlbrightE Margaret WartonDaniel MosierCharles McGeeCatherine ClauseEthan BaumanRenee DowningKenIsWearingAHatJordan BlockAaron WadeChad HivnerTravis PollardJeff UlmJamieDeebsPortland Eye CareAdam RayAnupama RaghavanDemetri DetsaridisCarrie SchneiderAlenka GrealishRichard SneddonDavid JudsonJulian RoleffJanice BerryDoreen CarlsonDavid McDarbyAbigail DuffieldWendy GilchristLisa TurnerPaul WayperDennis M EdwardsJeffrey FerrisBruno GaetaKenneth JungbenAdam StofskyZak RemerRishi SahayJason ReitmanGreg BurgessAilie FraserVonPaul McGrealKaren ArnoldNATALIE MISTILISJosh SingerPhino DeLeonAmy Lynn ThornsenAdam WKelli BrockingtonStephen RawlingsBen MachtaVictoria YuKevin RiversBrad ClarkMichael J. Cunninghammino caposselaSteve PaquinSarahDavid JoskeEmma SklarBernard KhooRobert HeuerMatthew GoldenDavid NoahGeraldine ButlerRichard CambierMadeleine MaderJason PrattStewart OakAbbie BergDoug BelewDermot CrowleyAchint SrivastavaRyan RairighMichael BermanOlivia BishopJohn GisselquistElaine MartinLinda DuffyKourothSharon TreeBelinda Mcgrath-steerLiz SegerEoin de BurcaKevin PotterM Shane BordersPete SimmSusan PleinDallas HockleyJason GerryNathan GouwensWill Dwyer Alethea LeeLauren ReayEric PrestemonCookies250Damian BradyAngela LivingstoneDavid FriedmanSarah SulanDiane HughesKenneth TiongJo SutherlandMichael CasnerJen SmallLowell MeyerEtele IllesStephen TsoneffLorenz SchwarzWenJack SjogrenGeoff GoldenRobyn FraserPascal RuegerRandy SouzaJCClare HolbertonDiane TurnerTom ColemanMark PerryDhu WikMelEric HelmJake RobertsJonathan DanielsSteven MaronMichael FlahertyCaro Fieldmichael bochnerNaomi WatsonDavid CushmanAlexanderChris KGavin DoigSam FennTanner MortonAJ SchusterJennifer BushDavid StroudAmanda FurlottiAndrew BakerMatt GaskellJules BaileyAndrew FairL.B. MorseBill ThorntonBrian AmoebasBrett DouvilleJeffrey OlsonMatt BetzelMuellerNate from KalamazooMelanie StiversRichard TollerAlexander PolsonEarl LozadaJon O'KeefeJustin McElroyArjun SharmaJames JohnsonKevin MorrellKevin PennyfeatherColin Hodo

Voices: River City
Angelique Ashby's corruption scandal and racist policy (and why you should vote for Dave Jones)

Voices: River City

Play Episode Listen Later Nov 3, 2022 65:59


Today we're discussing a very important election in California's District 8 state Senate race. In particular, we're looking at how awful of a candidate Angelique Ashby is proving herself to be: Just this week Ashby found herself facing a corruption scandal for gifting city-owned Roger Waters tickets to union leadersin what appears to be a bid for their favor in her race. Ashby fashions herself a feminist, but has a peculiar history of not supporting Black women running for office. When a woman came forward saying that former Sacramento mayor Kevin Johnson had sexually abused her as a child, Angelique kept quiet. And when more allegations rolled in? Crickets. We also discuss Ashby's opponent, Dave Jones, and why he is the one fit for the Senate job. Unlike Ashby, Jones doesn't have Big Oil spending millions in the race. He's also endorsed by Planned Parenthood, and has a proven record of working to find housing for unsheltered Sacramentans. The choice is clear for us. Thanks for listening, defund the police and, as always: Twitter: @youknowkempa, @ShanNDSTevens, @Flojaune, @guillotine4you Support us on Patreon: https://www.patreon.com/voicesrivercity   Sacramentans can hear us on 103.1 KUTZ Thursdays at 6 pm and again Fridays at 8 am. If you require a transcript of our episodes, please reach out to info@voicesrivercity.com and we'll make it happen. And thank you to Be Brave Bold Robot for the tunes  

Talkhouse Podcast
Nigel Godrich with Fran Healy (Travis)

Talkhouse Podcast

Play Episode Listen Later Nov 3, 2022 42:27


On this week's Talkhouse Podcast we've got the Scottish singer and songwriter behind some of the catchiest songs of the past two decades along with the super producer who helped bring those songs into the world: Fran Healy and Nigel Godrich. Healy is the singer, guitarist, and chief songwriter of the band Travis, which really broke big with 1999's The Man Who, scoring mainstream hits with songs like “Why Does it Always Rain on Me” and “Turn.” They've since created a deep catalog that numbers nine albums. But for today's purposes we're going to concentrate on 2001's The Invisible Band, which Travis is giving a belated 20th birthday celebration for at the moment, including a US tour that starts this week. It can be difficult to follow up a massive success like The Man Who, and Travis turned once again to Godrich to help them chart the proper course. It wasn't the beginning, but rather the continuation of a long and fruitful relationship. Check out “Sing” from The Invisible Band. Godrich, by the time Invisible Band came around, had found massive success as the producer of Radiohead's OK Computer, and of course he would go on to be the sort of unofficial sixth member of that band—recording all of their albums and even playing music with Thom Yorke in Atoms for Peace. As you'll hear in this conversation, Godrich had some solid advice for Healy heading into The Invisible Band, though it's not necessarily advice he would give anymore. Beyond his work with Radiohead and Travis, Godrich has also produced classics by Beck—including Mutations and Sea Change—and Air and Arcade Fire and Roger Waters. The list goes on. In this conversation, the two old friends talk about their state of mind and state of life back when they commenced recording The Invisible Band in Los Angeles. They talk about Godrich's recent revelatory experience seeing the Pavement reunion tour—he also produced that band's swan song, Terror Twilight. There's even a story about a baby goat peeing in a very expensive guitar case. Enjoy. Thanks for listening to the Talkhouse Podcast and thanks to Fran Healy and Nigel Godrich for chatting. If you liked what you heard, please follow Talkhouse on your favorite podcasting and social media platforms. This episode was produced by Myron Kaplan, and the Talkhouse theme is composed and performed by the Range. See you next time!

Rock N Roll Pantheon
Ugly american Werewolf in London #100: Nick Mason's Saucerful of Secrets Live in Indianapolis

Rock N Roll Pantheon

Play Episode Listen Later Oct 29, 2022 104:16


Nick Mason's Saucerful of Secrets had to wait 2 years to tour due to COVID.  But The Wolf & Action Jackson waited 27 years to see a live show together again; however, they all converged in Indianapolis on Friday, October 14.  As proud members of Panteon Podcasts, we sponsored the The Echoes Tour and worked the show while greeting our VIP Experience winner, Heather.Listen to The Wolf's journey from Europe to Indianapolis and how dangerously close he was to missing the show.  Hear snippets of our interview with Guy Pratt & Gary Kemp of the Saucers (and the brilliant podcast The Rockonteurs) and the amazing night we had in Indy.  Starting with One Of These Days through to the epic Echoes the guys shared stories, had some fun with the crowd, displayed extraordinary musicianship and still came back for an encore.Thanks to all our listeners who've supported us through our first 100 shows!  We pay tribute to all our guests, fellow podcasters and friends who have joined us over the years with a fun mashup of their bumpers.  And don't worry, we've got hundreds more shows in us...Hear Ep96 for our full interview with Gary & Guy: https://podcasts.apple.com/nl/podcast/uawil-96-gary-kemp-guy-pratt-of-nick-masons/id1542993846?i=1000580988376&l=enHear Ep75 for my review from Royal Albert Hall in London: https://podcasts.apple.com/nl/podcast/uawil-75-nick-masons-saucerful-of-secrets-live-at/id1542993846?i=1000565385735&l=enUgly American Werewolf in London WebsiteTwitterInstagramYouTubeLInkTreewww.pantheonpodcasts.comWant to win front row seats to Nick Mason's Saucerful of Secrets in the US?Enter here to win tickets and a chance to be on a Pantheon Podcast: https://pantheonpodcasts.com/nickmasonGet tickets here: https://www.thesaucerfulofsecrets.com/

The Ugly American Werewolf in London Rock Podcast
UAWIL #100: Nick Mason's Saucerful of Secrets Live in Indy

The Ugly American Werewolf in London Rock Podcast

Play Episode Listen Later Oct 27, 2022 104:16


Nick Mason's Saucerful of Secrets had to wait 2 years to tour due to COVID.  But The Wolf & Action Jackson waited 27 years to see a live show together again; however, they all converged in Indianapolis on Friday, October 14.  As proud members of Panteon Podcasts, we sponsored the The Echoes Tour and worked the show while greeting our VIP Experience winner, Heather.Listen to The Wolf's journey from Europe to Indianapolis and how dangerously close he was to missing the show.  Hear snippets of our interview with Guy Pratt & Gary Kemp of the Saucers (and the brilliant podcast The Rockonteurs) and the amazing night we had in Indy.  Starting with One Of These Days through to the epic Echoes the guys shared stories, had some fun with the crowd, displayed extraordinary musicianship and still came back for an encore.Thanks to all our listeners who've supported us through our first 100 shows!  We pay tribute to all our guests, fellow podcasters and friends who have joined us over the years with a fun mashup of their bumpers.  And don't worry, we've got hundreds more shows in us...Hear Ep96 for our full interview with Gary & Guy: https://podcasts.apple.com/nl/podcast/uawil-96-gary-kemp-guy-pratt-of-nick-masons/id1542993846?i=1000580988376&l=enHear Ep75 for my review from Royal Albert Hall in London: https://podcasts.apple.com/nl/podcast/uawil-75-nick-masons-saucerful-of-secrets-live-at/id1542993846?i=1000565385735&l=enUgly American Werewolf in London WebsiteTwitterInstagramYouTubeLInkTreewww.pantheonpodcasts.comWant to win front row seats to Nick Mason's Saucerful of Secrets in the US?Enter here to win tickets and a chance to be on a Pantheon Podcast: https://pantheonpodcasts.com/nickmasonGet tickets here: https://www.thesaucerfulofsecrets.com/

What the Riff?!?
Rocking Halloween - A What the Riff Rabbit Hole

What the Riff?!?

Play Episode Listen Later Oct 24, 2022 51:25


Our Christmas Rabbit Hole Episodes rank among the highest. This special episode features classic rock songs and theme songs which feature a spooky theme.  We hope you enjoy this first “Halloween” special from What The Riff?!?Theme from the television series “The Walking Dead”  This post-apocalyptic zombie series ran for 11 seasons, from 2010 until 2022.  It was based on a comic book of the same name and sparked multiple spin-offs.  The minor key and strings set the mood well for this horror series.Theme from the television series “The Munsters”  A television classic that surprisingly only ran for two seasons, from 1964 until 1966, in black-and-white.  Some say the ratings drop that resulted in cancellation of the show was due to competition from "Batman."Run Like Hell by Pink Floyd  This track from “The Wall” features music from David Gilmour and lyrics from Roger Waters, the last collaboration to date from these two.  The song represents the turn to violence in the life of Pink as he orders his thugs to attack the “riff-raff.”Bark at the Moon by Ozzy Osbourne  The first single from the 1983 album of the same name tells of a creature who terrorized a town, was killed, and then returns from the dead.  The song featured the first Ozzy music video.Heaven and Hell by Black Sabbath  The title track to the 1980 album of the same name features new front man Ronnie James Dio on vocals, taking over for Ozzy Osbourne in the band.  Dio is also the source of the lyrics for the track.Spirits in the Material World by the Police  Sting wrote this opening track to the Police October 1981 album “Ghost in the Machine.”  It is a psychological and philosophical piece, discussing man's existence and the failure of the institutions around him. Witchy Woman by the Eagles  One of the early Eagles songs, this track was the only song on the debut album for which Don Henley would have a writing credit.  The inspiration was an amalgam of women Henley had met, but the primary inspiration was Zelda Fitzgerald, the muse and wife of F. Scott Fitzgerald.Hells Bells by AC/DC  The lead-off track to the album “Back in Black” starts with the tolling of a 2,000 pound bronze bell.  Today it is used in multiple sports events, as well as being a fantastic Halloween song.Friend of the Devil by the Grateful Dead  This folk rock track appeared on the Dead's fifth studio album, “American Beauty,” from 1970.  It is one of the most covered Dead songs in their catalog.    Feed My Frankenstein by Alice Cooper  While this song was originally recorded by British group Zodiac Mindwarp and the Love Reaction, it is more famous in its cover version which Cooper performed in a cameo in the movie “Wayne's World.”  The cover also has guest appearances itself, including Joe Satriani, Steve Vai, Nikki Sixx, and Elvira. Superstition by Stevie Wonder  This funky song came out in October 1972 and hit number 1 on the Billboard Hot 100 in 1973.  Wonder chronicles a number of superstitions in the lyrics, and warns against the negative effects of being superstitious. Thriller by Michael Jackson  No Halloween song list would be complete without the seventh single from Michael Jackson's sixth studio album of the same name.  Thriller was not originally intended to be a single, but became that in an attempt to boost the album sales.  The video would be scarily expensive, and would be called "the most famous music video of all time" by the Library of Congress.  The tactic worked, as album sales doubled after Thriller's release as a single.

Two Nice Jewish Boys
#303 - Monthly Recap: The Worst Deal Ever, Burning Hijabs and Antisemite Roger Waters

Two Nice Jewish Boys

Play Episode Listen Later Oct 21, 2022 70:01


Naor and Eytan are BACK after the Holidays hiatus to discuss everything that's taking place in our crumbling reality. *** Support us at https://www.patreon.com/2njb

Spot Lyte On...
John Barry on Levon Helm

Spot Lyte On...

Play Episode Listen Later Oct 20, 2022 53:04


Writer John Barry joins us on the podcast to talk his new book, "Levon Helm: Rock, Roll & Ramble—The Inside Story of the Man, the Music and the Midnight Ramble."Ringo wrote the foreword, and Roger Waters, Graham Nash and Warren Haynes are among those interviewed. Larry Campbell, who served as Levon Helm Band Musical Director and produced or co-produced Levon's three Grammy-winning solo albums, which were inspired by the Rambles, had this to say about the book:"John Barry was the perfect 'fly on the wall' during this great last chapter and final curtain call in Levon Helm's life. He was the quintessential observer from the early days of the Midnight Ramble to the end and has brilliantly captured the details and the spirit of that wonderful timein this book."Born in the Bronx, raised in the New York City suburbs of Rockland County and living in New York State's Hudson Valley since 1990, John W. Barry is an award-winning journalist with a passion for writing and a love of music.This combination has brought John to some pretty incredible places and put him in the company of some incredible people. From Radio City Music Hall in Manhattan to Red Rocks Amphitheater in Colorado and many places in between, John's relentless pursuit of the stories, the people and the circumstances that define the world around us has enabled him to assemble the puzzle pieces of a compelling tale or two over the course of his lifetime.John is a very proud graduate of Clarkstown South High School and the State University of New York at New Paltz, where he earned a journalism degree. The latter is what brought John to Ulster County, New York, and set him on his path to Woodstock, Levon Helm Studios and the Midnight Ramble. As a journalist for the USA Today Network's Poughkeepsie Journal in Dutchess County, New York, John found himself in the center of Levon's Midnight Ramble house concerts, getting to know Levon, his band, his crew, his management team, Team Levon and, of course, his fans.Prior to serving as the music writer for the Poughkeepsie Journal, John wrote for his hometown newspaper, The Journal News, as a police reporter, covering municipal beats and writing extensively about local angles to the Northern Ireland peace process. John has also freelanced for RollingStone.com and since leaving the USA Today Network at the end of 2020, has been working as a freelance writer and blogger, and editorial consultant. In the wake of the publication of this book, John is already working on his next project and continuing to do what he enjoys most, hiking and camping in the Hudson Valley's stunning terrain, cooling off in its swimming holes and breathing in deeply its crisp night air.Purchase a copy of the Levon book here. Lean more about Lyte.Find more great podcasts from Osiris Media, the leading storyteller in music. Hosted on Acast. See acast.com/privacy for more information.

Spotlight On
John Barry on Levon Helm

Spotlight On

Play Episode Listen Later Oct 20, 2022 53:04


Writer John Barry joins us on the podcast to talk his new book, "Levon Helm: Rock, Roll & Ramble—The Inside Story of the Man, the Music and the Midnight Ramble."Ringo wrote the foreword, and Roger Waters, Graham Nash and Warren Haynes are among those interviewed. Larry Campbell, who served as Levon Helm Band Musical Director and produced or co-produced Levon's three Grammy-winning solo albums, which were inspired by the Rambles, had this to say about the book:"John Barry was the perfect 'fly on the wall' during this great last chapter and final curtain call in Levon Helm's life. He was the quintessential observer from the early days of the Midnight Ramble to the end and has brilliantly captured the details and the spirit of that wonderful timein this book."Born in the Bronx, raised in the New York City suburbs of Rockland County and living in New York State's Hudson Valley since 1990, John W. Barry is an award-winning journalist with a passion for writing and a love of music.This combination has brought John to some pretty incredible places and put him in the company of some incredible people. From Radio City Music Hall in Manhattan to Red Rocks Amphitheater in Colorado and many places in between, John's relentless pursuit of the stories, the people and the circumstances that define the world around us has enabled him to assemble the puzzle pieces of a compelling tale or two over the course of his lifetime.John is a very proud graduate of Clarkstown South High School and the State University of New York at New Paltz, where he earned a journalism degree. The latter is what brought John to Ulster County, New York, and set him on his path to Woodstock, Levon Helm Studios and the Midnight Ramble. As a journalist for the USA Today Network's Poughkeepsie Journal in Dutchess County, New York, John found himself in the center of Levon's Midnight Ramble house concerts, getting to know Levon, his band, his crew, his management team, Team Levon and, of course, his fans.Prior to serving as the music writer for the Poughkeepsie Journal, John wrote for his hometown newspaper, The Journal News, as a police reporter, covering municipal beats and writing extensively about local angles to the Northern Ireland peace process. John has also freelanced for RollingStone.com and since leaving the USA Today Network at the end of 2020, has been working as a freelance writer and blogger, and editorial consultant. In the wake of the publication of this book, John is already working on his next project and continuing to do what he enjoys most, hiking and camping in the Hudson Valley's stunning terrain, cooling off in its swimming holes and breathing in deeply its crisp night air.Purchase a copy of the Levon book here. Lean more about Lyte.Find more great podcasts from Osiris Media, the leading storyteller in music. Hosted on Acast. See acast.com/privacy for more information.

En Caso de que el Mundo Se Desintegre - ECDQEMSD

Que el poder seduce no es ninguna novedad y que el poder puede generar una adicción peligrosa tampoco.  ECDQEMSD podcast episodio 5371 Los Seductores Conducen: El Pirata y El Sr. Lagartija https://canaltrans.com Sin seducción no puede haber voto, ni convencimiento, ni apoyo, ni acompañamiento. Y por supuesto, el arte de la seducción puede hacer uso de diferentes instrumentos. La belleza, la épica, el discurso, la imagen, el dinero. La política lo sabe. No hay seguidor, defensor y militante más fiel que el amarrado por los hilos del dinero. Lo bonito del asunto, es que los seductores generalmente ni siquiera están tan convencidos de lo que dicen. Solo son actos reflejos. Adiestramientos históricos. Ejercicios propios de los seductores. Como cuando no están interesados en seducir y sin embargo seducen. Porque muchas veces el objetivo no es seducir al prójimo si no seducir al espejo Noticias Del Mundo: Llegó la Copa del Mundo a México - Roger Waters en el Foro Sol - La nueva canción de Queen - Aquel día de la lealtad en Argentina - Perón preso y miles en la plaza de Mayo - Eminem de festejo - Reuniones chilangas. Historias Desintegradas: El payasito en la sexy comedia - Había que chambear - La corneta del general - La comezón - Sarna con gusto no pica - Enfermera de perros - Todos somos muchas cosas - Artistas luminosos - Diferencias y convivencias - La corcholata - Más te tardas - De perro y monos - Dicho y refranes muy groseros y escandalosos - El cargamento nigeriano y más... https://www.canaltrans.com/ecdqemsd_podcast_2022/5371_los_seductores.html En Caso De Que El Mundo Se Desintegre Podcast no tiene publicidad, sponsors ni organizaciones que aporten para mantenerlo al aire. Solo el sistema cooperativo de los que aportan a través de las suscripciones hacen posible que todo esto siga siendo una realidad. Gracias Dragones Dorados: https://www.canaltrans.com/radio/suscripciones.html

Prevail with Greg Olear
MAGA Apostate (with Melissa Jo Peltier)

Prevail with Greg Olear

Play Episode Listen Later Oct 14, 2022 89:11


After sharing his thoughts about Putin's new atrocities in Ukraine, Kanye West, Roger Waters, Elon Musk, and the poltroonish quitter Ben Sasse, Greg Olear talks to his friend, the documentary filmmaker Melissa Peltier, about her new film, “The Game is Up: Disillusioned Trump Voters Tell Their Stories.” Plus: the clash inside the country's richest man. Follow Melissa: https://twitter.com/MelissaJPeltier Watch “The Game is Up:” https://www.amazon.com/gp/video/detail/B0B6SVXWLX/ref=atv_dp_share_cu_r About the film: https://thegameisupmovie.com/ Subscribe to the PREVAIL newsletter: https://gregolear.substack.com/about

The Amy Edwards Show
105 - Joshua J. Holland, on How to Harness Your #1 Fitness Tool: AWARENESS

The Amy Edwards Show

Play Episode Listen Later Oct 13, 2022 84:38


Joshua J. Holland is a Holistic Trainer, Author of "The Awareness Shift", Biohacker, Podcast Host of "Simply Walk the Talk", NASM, CPT, EMS Certified, and a Primal Blueprint Coach + MovNat L1. I got to connect with Josh and hear about his own shift and his #1 foundational tool, awareness, when he was coming through Austin on tour with Pink Floyd's Roger Waters, who he helps stay tour-ready at age 79. Josh is easygoing and has a unique and accessible approach to fitness. This episode, hear him on: Fitness isn't about “fitness” The holistic approach His #1 thing in fitness (and how it used to be sleep) The importance of compassion How to incorporate more life-balance His recent transformation with his psychedelic journey The importance of physical balance His work with Roger Waters and what that's brought them both His use of Pomodoro technique Holistic healing and how he applies it, and how we can too Find Josh on his website HERE or follow him on Instagram @joshuajholland. Find more on his Linktree HERE. Referenced in this episode: https://www.slackbow.com/ Get Josh's Book Here: https://books.joshuajholland.com/ 20% off WAANDS: https://waands.com/?ref=GKWwgfA1tYGAd Or use code AMYEDWARDS for 10% off // CERVIX WAND 20% OFF: https://waands.com/products/cervix-wand?ref=GKWwgfA1tYGAd Thank you for being here! Please rate + review the show, it helps us grow! I love you!

Joe Rogan Experience Review podcast
292 Joe Rogan Experience Review of Roger Waters Et al.

Joe Rogan Experience Review podcast

Play Episode Listen Later Oct 12, 2022 51:32


 Thanks to this weeks sponsors:  First Personand use code JRERfor 15% off your first order Mintmobile Go to www.mintmoble.com/JRER to cut your bill to $15 a month and get your plan shipped to your door free.  First Person Go to www.getfirstperson.com Code JRER for 15% off your first order www.JREreview.com For all marketing questions and inquiries: JRERmarketing@gmail.com This week we discuss Joe's podcast guests as always. Review Guest list: Jann Wenner, Roger Waters and Sober October A portion of ALL our SPONSORSHIP proceeds goes to Justin Wren and his Fight for the Forgotten charity!! Go to Fight for the Forgotten to donate directly to this great cause.  This commitment is for now and forever. They will ALWAYS get money as long as we run ads so we appreciate your support too as you listeners are the reason we can do this. Thanks! Stay safe.. Follow me on Instagram at www.instagram.com/joeroganexperiencereview Please email us here with any suggestions, comments and questions for future shows.. Joeroganexperiencereview@gmail.com

The Great Deception Podcast
Monday Night MasterDebaters ‘Read As Much As You Can, Get Educated, And Do the Right Thing!'

The Great Deception Podcast

Play Episode Listen Later Oct 11, 2022 129:02


Welcome back for episode 51 of the Monday Night MasterDebaters where I had a great conversation with Ryan from the Dangerous World Podcast and Josh & Sean from The Minds Eye Podcast. Josh & Sean give us a lesson on TikTok & the recipe for a viral video (is there one?). We discuss shadow bans, short vs long form content, Grim Cutty, Roger Waters on Rogan, One World Order, Tartaria, War on Drugs, Dismantling the nuclear family, Pineal Gland, Psychotronic energy, Ivy League schools, Debt Slavery, Consumerism, Ancient Knowledge, Bob Lazar, and so much more! Please like, review & share the show. Go support the great guests: Josh & Sean From The Minds Eye Podcast https://www.instagram.com/themindseyepodcast/ https://www.tiktok.com/@themindseyepodcast https://linktr.ee/themindseye15?fbclid=PAAaYMhSYGlO89-4cDTOSaCTqoruFvvZ_qxearWrhB5QqRbjfFv8YOHwG6lTw Ryan from Dangerous World Podcast Patreon: https://www.patreon.com/DangerousWorldPodcast/posts IG: @dangerousworldpod Merch: https://dangerousworldstore.com/ Mat from The Great Deception Podcast Linktree: https://linktr.ee/thegreatdeceptionpodcast IG: https://www.instagram.com/thegreatdeceptionpodcast/ YouTube: https://youtube.com/user/Barons44 Email: thegreatdeceptionpodcast@gmail.com To Make Contributions: PayPal: https://www.paypal.com/paypalme/MatthewTerrillion?country.x=US&locale.x=en_US Venmo: https://account.venmo.com/u/Matthew-Terrillion Patreon: https://www.patreon.com/thegreatdeceptionpodcast Merch: https://my-store-cb4b4e.creator-spring.com --- Support this podcast: https://anchor.fm/the-great-deception-podcast/support

People First - All Else Follows
Season Three Introduction

People First - All Else Follows

Play Episode Listen Later Oct 11, 2022 4:08


Interesting References From The PodcastThe recording that appears in the middle of the podcast is a Roger Waters track from the 1969 Pink Floyd album Unmagumma.People First LinksPodcasthttps://podcast.peoplefirst.businessNewsletterhttps://newsletter.peoplefirst.businessBloghttps://peoplefirst.businessBookhttps://store.peoplefirst.business/slapped-the-book-summaryWays To Support People FirstBeyond sharing what you read, see and hear far and wide, we have a single page that links to the various worlds where you can show your support through a number of different mechanisms.https://store.peoplefirst.business/supportContextual Johnhttps://john.philpin.com/business

Unsung Dreamers - The Musical Journeys of the Not-So-Rich & Famous
MONDAY MORNING MEDICATION #87 10.10.22 - Marty's, Cardinals & BlackMidi

Unsung Dreamers - The Musical Journeys of the Not-So-Rich & Famous

Play Episode Listen Later Oct 10, 2022 56:59


Here's some brain food to get your week started. Today we talk about our first full week of bar-ownership, there are cabinet company stories, Dan talks about his BlackMidi experience and he even softens his thoughts on Roger Waters...just a little bit. Your Beloved Hosts: Dan & Tara Fritz Give us a 5-Star Rating!   It will help us get out there!! Monday Morning Medication is a bonus weekly segment we do just to get your week started off with a chuckle.   CHECK OUT THESE LINKS: Follow us! Facebook: @unsungscreamerspodcast Twitter: @unsungscreamers Instagram: UnsungScreamersPodcast   SUBSCRIBE to our YouTube Channels:  UNSUNG SCREAMERS (interview videos and clips of our Thursday live show): https://www.youtube.com/channel/UCsmFctGjTbhGm8OjbXuHHEw   TANIEL (travel vlog): https://www.youtube.com/channel/UCLeQVrD4q3PmIdszDzfCovQ   Wanna support the show? Patreon: http://www.patreon.com/unsungscreamers Venmo: @unsung-screamers PayPal.me/unsungscreamers CashApp: $UnsungScreamers   MERCH...Shirts, coffee mugs, etc: http://www.unsungscreamers.com/shop   Join Our Facebook Group: https://www.facebook.com/groups/224045859415490   Got something to say? unsungscreamers@gmail.com

Uncut Jamz
Ukraine Wants To Kill Roger Waters & How To Find Cheap Concert Tickets

Uncut Jamz

Play Episode Listen Later Oct 7, 2022 39:55


Uncut Jamz Music Podcast Episode #111. This episode we review some of the weeks fresh new singles below as well discuss revelation that Roger Waters is on a Ukraine Hit list for his comments on the war. Also, we dive deep into the world of concert tickets and find that there is hope for all of us that love going to see live music.FRESH FINDZ:“new body rhumba” – LCD Soundsystem “Tour Death Song” – All Them Witches “Fudge” – Jonestown Massacre “Summer” – nanopod REVIEW WITH YOU: "Riverfront" - Leo Nocentelli

The JamBase Podcast
Episode 144: Robert Walter

The JamBase Podcast

Play Episode Listen Later Oct 6, 2022 49:05


The Greyboy Allstars keyboardist Robert Walter checks in from Roger Waters tour on the latest episode of 'The JamBase Podcast.'

Matt, Bob & B-DOE
Matt and Bob 10-6-22 Matt is injured, Ozzy's cosmetic line, Frugality, National plus size day

Matt, Bob & B-DOE

Play Episode Listen Later Oct 6, 2022 127:51


Tune in to see why Matt came into the studio injured. Ozzy has a new cosmetics line. Question of the day: What is the most frugal thing you've done. Roger Waters... just play and sing. Check out why Matt's local McDonalds was on the news.Support the show: https://www.klbjfm.com/mattandbobfm/See omnystudio.com/listener for privacy information.

Countdown with Keith Olbermann
TRUMP'S SUIT IS ABOUT ANNOUNCING HE'S RUNNING

Countdown with Keith Olbermann

Play Episode Listen Later Oct 5, 2022 44:34 Very Popular


EPISODE 47 A-Block (1:46) SPECIAL COMMENT: Trump's appeal of the "Special Master Compromise" is just a stalling tactic so he can time his 2024 announcement AFTER the Mid-terms but BEFORE he's indicted (2:16) He knows announcing before 11/8/22 will undercut many election deniers he needs in place in '24. He may even believe the DOJ won't indict him if he's an announced candidate. (4:00) Whatever the specifics, the appeal to Clarence Thomas at the Supreme Court is nonsense: it might as well be 35 blank pages (6:11) The NYT notes he didn't even appeal the ruling that lets DOJ continue using the classified stolen documents in its investigation of him. (7:27) Trump could also be deflecting legal attention from his next real problem: The trial of The Oath Keepers (11:00) Prosecutors played a tape of a November 2020 meeting to plan a violent insurrection and if they can tie it to Trump's inner circle, he's meat. B-Block (14:45) EVERY DOG HAS ITS DAY: Ranger in Greenville, Tennessee. (15:48) POSTSCRIPTS TO THE NEWS: The abortion story won't hurt Herschel Walker. His son's videos will. And what happened to the lawsuit, Hersch? (20:08) IN SPORTS: Our long national nightmare is over: Aaron Judge is the new home run champ. And if you don't think so, ask yourself: which is the all-time Strikeout Record: Nolan Ryan's 383 in 1973 or Matt Kilroy's 513 in 1886? (24:19) THE WORST PERSONS IN THE WORLD: Mehmet Oz, torturer of puppies, competes with Roger Waters and David Zaslav of CNN for the honors. C-Block (30:50) THINGS I PROMISED NOT TO TELL: It's the 15th Anniversary of the day MSNBC management told me they'd never let me use Rachel Maddow as my guest host, nor give her her own show, because no woman could get ratings in prime time, and we didn't need a second liberal show, and no LGBTQ woman host would ever attract male viewers! See omnystudio.com/listener for privacy information.

Rolling Stone Music Now
Roger Waters: A Contentious Political Discussion

Rolling Stone Music Now

Play Episode Listen Later Oct 4, 2022 96:43 Very Popular


In an explosive, wide-ranging interview with investigative journalist James Ball, the Pink Floyd co-founder says he's on a "Ukrainian kill list," and discusses his controversial views on the conflict there — and Russia, and Wikileaks, and Israel, and so much more.  Learn more about your ad choices. Visit podcastchoices.com/adchoices

I'm In Love With That Song
Pink Floyd - "See Emily Play"

I'm In Love With That Song

Play Episode Listen Later Oct 1, 2022 22:46 Very Popular


"See Emily Play" was only Pink Floyd's 2nd single, but it was a watershed moment in psychedelic rock history. Though Syd Barrett's body of work was relatively small, he left behind a huge legacy that's still influencing people today. This song is one of the highlights of his short and tragic career."See Emily Play" (Syd Barrett) Copyright 1967 Westminster Music Limited REGISTER TO WIN THE NICK MASON VIP TICKET UPGRADE here:http://www.pantheonpodcasts.com/nickmason  -- This show is just one of many great Rock Podcasts on the Pantheon Podcasts network. Gotta catch 'em all!  

Rock N Roll Pantheon
I'm In Love With That Song: Pink Floyd - "See Emily Play"

Rock N Roll Pantheon

Play Episode Listen Later Oct 1, 2022 22:46


“See Emily Play” was only Pink Floyd's 2nd single, but it was a watershed moment in psychedelic rock history. Though Syd Barrett's body of work was relatively small, he left behind a huge legacy that's still influencing people today. This song is one of the highlights of his short and tragic career.“See Emily Play” (Syd Barrett) Copyright 1967 Westminster Music Limited REGISTER TO WIN THE NICK MASON VIP TICKET UPGRADE here:http://www.pantheonpodcasts.com/nickmason  — This show is just one of many great Rock Podcasts on the Pantheon Podcasts network. Gotta catch 'em all!  

French Podcast
News in Slow French #605 - Study French while Listening to the News

French Podcast

Play Episode Listen Later Sep 30, 2022 8:31 Very Popular


Nous commencerons notre émission en passant en revue quelques évènements de l'actualité de cette semaine. Nous commenterons d'abord la victoire de la coalition de droite dirigée par le parti Fratelli d'Italia de Giorgia Meloni aux élections générales italiennes qui ont eu lieu dimanche. Nous discuterons également de l'annulation des concerts polonais de Roger Waters, cofondateur de Pink Floyd, en raison de sa position sur la guerre en Ukraine. Puis, dans la partie scientifique de notre émission, nous nous intéresserons à une étude publiée récemment dans la revue Psychological Science qui confirme que les préférences alimentaires commencent avant la naissance. Et enfin, nous parlerons du champion de tennis suisse Roger Federer, qui a officiellement pris sa retraite après 25 ans de carrière durant lesquels il a remporté 20 titres du grand chelem.    Dans la deuxième partie de notre émission, « Trending in France », nous parlerons de chiffres inquiétants sur la présence de résidus de pesticides dans l'eau potable en France. Nous discuterons aussi de la célébration de la journée nationale d'hommage aux Harkis qui s'est tenue le 25 septembre comme chaque année. - La coalition de droite de Giorgia Meloni remporte les élections générales italiennes - Les concerts de Roger Waters prévus en Pologne ont été annulés - Les fœtus rient ou pleurent selon qu' ils sont exposés au goût de la carotte ou du chou kale - Roger Federer prend sa retraite - 20 % des Français ont été exposés à de l'eau contaminée - Célébration de la journée nationale d'hommage aux Harkis

Nerds With Vaginas
Episode Nine

Nerds With Vaginas

Play Episode Listen Later Sep 30, 2022 22:17


This week I went to see Roger Waters in concert and talk about my feelings on his political views. I also have a new segment where I review movies. This week I reviewed the movie Blonde. I chat with my sister and dad quickly at the dinner table. https://www.patreon.com/NerdsWithVaghttps://www.gofundme.com/f/getting-a-lawyer-to-get-the-nwv-fb-page-backhttps://www.instagram.com/thecouncilofelrond/

Rock N Roll Pantheon
Ugly American Werewolf in London: Gary Kemp & Guy Pratt of Nick Mason's Saucerful of Secrets Interview

Rock N Roll Pantheon

Play Episode Listen Later Sep 30, 2022 54:29


We are proud to welcome 2 legends of music - Guy Pratt & Gary Kemp.  Gary may be best known from his days as the guitarist & lead songwriter of Spandau Ballet but you may also know him as an actor (The Bodyguard).  Guy Pratt took over for Roger Waters on bass in Pink Floyd and has worked with superstars like Michael Jackson, Madonna, David Gilmour and so many more. Not only are they inspirations because of their musical talents but they host an extraordinary podcast, The Rockonteurs.  We chatted with them about their current tour of the US with Nick Mason's Saucerful of Secrets and what it's like to play music from Pink Floyd's pre-Dark Side catalog.  You'll find them quick with a joke but also very sincere as Guy talks about singing Rick Wright's parts on stage, Gary following in the footsteps of Syd Barrett, David Gilmour and David Bowie & the fun they have on the Rockonteurs.This is a special show for us as we've wanted to have Guy on since we reviewed Pink Floyd's Delicate Sound of Thunder on episode 3.  PInk Floyd fans may also want to download Episode 69 on A Momentary Lapse of Reason and Episode 75 on Nick Mason's Saucerful of Secrets live at Royal Albert Hall in London.We're excited to sponsor this tour, see below on how you can win a VIP experience with 2 FRONT ROW SEATS and be on our podcast.   We'll be at the show at Clowes Hall in Indianapolis on Friday, October 14 - get you tickets to the show and then come by to say hi to us!Ugly American Werewolf in London WebsiteThe RockonteursTwitterInstagramYouTubeLInkTreewww.pantheonpodcasts.comWant to win front row seats to Nick Mason's Saucerful of Secrets in the US?Enter here to win tickets and a chance to be on a Pantheon Podcast: https://pantheonpodcasts.com/nickmasonWe'll be at the Indianapolis show Friday, October 14, Get tickets here: https://www.thesaucerfulofsecrets.com/