Podcast appearances and mentions of Roy Thomas Baker

Emitido el 04 de junio de 2025 ¡Hoy rendimos homenaje a una leyenda de los controles! En el episodio 430 de Made in Metal celebramos el legado de uno de los productores más influyentes del rock: Roy Thomas Baker. Su firma sonora dejó huella en álbumes inolvidables de bandas como Queen, Journey, Foreigner o Alice Cooper, y en este programa recorremos parte de su impresionante carrera con una selección brutal de artistas que pasaron por sus manos. 🔊 Escucha este especial con música de: Savoy Brown, Free, Ginger Baker’s Air Force, Nazareth, Queen, Journey, Alice Cooper, Foreigner, Dokken, Joe Lynn Turner, Santana, Ozzy Osbourne, Dangerous Toys y Guns N’ Roses. 📡 Emitido en: 🇪🇸 España: Sol y Rabia Radio, TNT Radio Rock, El Lokal del Rock, Asalto Mata Radio Rock 🇦🇷 Argentina: Lado Salvaje Radio 🇵🇷 Puerto Rico: Heavy Metal Mansion 🎙️ Conduce: Tony González 📲 Disponible en iVoox, Spotify, Amazon Music, Google Podcast, Apple Podcasts, Castbox y más. 👇 Suscríbete y acompáñanos en este viaje por la historia viva del rock. 👉 Síguenos también en redes y visita nuestra web para más contenidos exclusivos.

E' possibile parlare di A Night At The Opera senza parlare di Bohemian Rhapsody? Il Gufo ha deciso di provarci, per portarvi alla scoperta di uno degli album più elaborati e costosi di sempre, ma anche tra i più variegati, tra vaudeville, opera lirica, viaggi spaziali, insulti in pieno stile radiodio, profezie, donne e motori.Un capolavoro possibile solo grazie alla collaborazione col grande produttore Roy Thomas Baker e l'ingegnere del suono Mike Stone, che non a caso torneranno a collaborare con la band solo nel 1978 per Jazz, altro picco della loro carriera.Ma soprattuto, un album apprezzato niente meno che da Groucho Marx, a casa del quale, a Los Angeles, un giorno i Queen suonano su una chitarra da flamenco una canzone che parla della teoria della relatività di Einstein.Ascolta la playlist dedicata alla puntata:⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠1) A Night At The Opera - Queen (1975)

(1:25) Journalist Christel Don over Virginia Giuffré, de vrouw die prins Andrew en Jeffrey Epstein aanklaagde wegens seksueel misbruik (13:40) Journalist Jessica Voeten over haar moeder, schrijver Marga Minco (44:57) Podcastmaker Marloes Vernooijs over verzetsheld Mies Walbeehm (54:10) Wat blijft Lijn: Guida Joseph over haar grootmoeder Ida Joseph-Franken (57:03) Podcast Grote Geesten: Inge ter Schure duikt in het leven van Menno ter Braak (1:45:33) Aandacht voor muziekproducer Roy Thomas Baker (1:52:30) Zin van de Dag: Etty Hillesum

In this episode, Mike and Jeremy pay tribute to legendary producer Roy Thomas Baker, who passed away earlier this month.  We discuss his amazing run as a producer in the 70s where he produced multi-platinum albums for Queen, The Cars, Journey, Foreigner, and more!

Ce 28 avril, Marjorie Hache lance une semaine électrique dans Pop Rock Station, entre classiques puissants et actualité musicale brûlante. Alice Cooper signe son grand retour avec "Black Mamba", premier extrait de l'album "The Revenge Of Alice Cooper" attendu en juillet, enregistré avec les membres originaux du groupe et Robby Krieger des Doors. Kim Gordon célèbre ses 72 ans avec "Bye Bye", tandis que Dinosaur Pile-Up annonce "I've Felt Better" pour août. L'album de la semaine, "viagr aboys" des Viagra Boys, se dévoile avec "Pyramid Of Health", reflet d'un concert déjanté au Zénith de Paris. En parallèle, Fontaines D.C. nous livre un inédit, "Before You I Just Forget", extrait de la version deluxe de "Romance". La reprise du soir revisite "Ace of Spades" de Motörhead par Body Count. En live, les Foo Fighters font résonner "Best Of You", et un hommage est rendu à Roy Thomas Baker avec "Killer Queen" de Queen. Enfin, le quintet Sorry, venu de Londres, clôture la soirée avec "Jetplane", nouveauté lo-fi et hypnotique. Alice Cooper - Black Mamba T.Rex - Get It On Kim Gordon - Bye Bye Presidents Of The Usa - Lump Dinosaur Pile Up - My Way Tina Turner - Goldeneye Limp Bizkit - Take A Look Around Viagra Boys - Pyramid Of Health AC/DC - T.N.T. Courtney Hadwin - Spellbound Love - Everybody's Gotta Live Fontaines D.C - Before You I Just Forget Body Count - Ace Of Spades Larkin Poe - She's A Self Made Man Royal Blood - Figure It Out CMAT - Running Planning Queen - Killer Queen Girls Against Boys - Kill The Sexplayer Foo Fighters - Best Of You (Skin And Bones Version )(Live) Jimi Hendrix - Hey Joe Metallica - Wherever I May Roam Sorry - Jetplane David Bowie - China Girl Q Lazzarus - I See Your Eyes Kasabian - Days Are Forgotten Cocteau Twins - Lazy Calm Distribué par Audiomeans. Visitez audiomeans.fr/politique-de-confidentialite pour plus d'informations.

We transport listeners into the futuristic world of the Sphere in Las Vegas as Jim shares his whirlwind 24-hour trip to see Dead & Company in this revolutionary venue. Through vivid descriptions and personal anecdotes, we explore the cutting-edge technology that creates an unprecedented concert experience.• Jim scores a last-minute ticket to Dead & Company at the Sphere• The Sphere features 16K resolution LED screens surrounding the audience• Dead & Company's setlist and the mind-blowing visual experiences that accompanied each song• Tribute to legendary producer Roy Thomas Baker who died April 12, 2025, at age 78. Baker's production genius helped create some of rock's most iconic albums—Queen's first five records, The Cars' debut, Journey's breakthrough hits, and many more. • 35th Anniversary of Social Distortion's self-titled album• "Minute with Jimmy" segment featuring The Jam's accidental hit "Going Underground"• Exploration of Pete Townshend's 1980 solo album "Empty Glass""Music in My Shoes" where music and memories intertwine.Learn Something New orRemember Something OldPlease like and follow the Music in my Shoes Facebook and Instagram pages and share the podcast with your friends on social media. Contact us at musicinmyshoes@gmail.com.Send us a one-way message. We can't answer you back directly, but it could be part of a future Music In My Shoes Mailbag!!!

Kruser talks about legendary music producer Roy Thomas Baker and his work on a hit with The Cars for music anatomy and Bill Meck gives his thoughts on the first round of the NFL Draft in hour 2. See omnystudio.com/listener for privacy information.

The Cars' self-titled 1978 debut record changed the world of power pop forever. Guitarist and co-vocalist Ric Ocasek penned all the tunes, but lead guitarist Elliott Easton transformed them with his tasteful 6-string stylings. This time on Shred With Shifty, Easton sits down with Chris Shiflett to show him how to play the solo from “My Best Friend's Girl.” Born in Brooklyn before winding up in Long Island, Easton washed dishes to save up for his first 1971 Fender Telecaster, and after high school he studied at Berklee College of Music in Boston, where he picked up key theory and technique that he still holds dear. Reared on country and rockabilly players like Roy Buchanan, Jesse Ed Davis, Gram Parsons, James Burton, and Roy Nichols, Easton brought a slick twang to Ocasek's new-wave gems. Easton tells Shifty how the band came to work with producer Roy Thomas Baker in London, while crashing at a label-provided mansion nearby and driving a loaned Jaguar and Land Rover to the sessions. Easton's celebrated leads didn't take long to come together. “On my mother's memory, I did all my guitar parts in a day and a half,” he says. All he had with him was a 1978 or '77 Telecaster with a Bartolini Firebird-style mini humbucker in it, a red Les Paul, a Martin acoustic, and two effects: the brand-new Boss CE-1 and a Morley EVO-1 Echo Volume pedal. His amp of choice in those days? An Ampeg VT-22 or VT-40. After running down his giddy-up guitar parts from “Best Friend's Girl,” Easton talks about which modern players impress him, why he doesn't consider himself a shredder, and the experience of working with Mutt Lange: “I spent as much time tuning with him as playing!” If you're able to help, here are some charities aimed at assisting musicians affected by the fires in L.A:  https://guitarcenterfoundation.org https://www.cciarts.org/relief.html https://www.musiciansfoundation.org https://fireaidla.org https://www.musicares.org https://www.sweetrelief.org Full Video Episodes: http://volume.com/shifty  Apple: https://podcasts.apple.com/podcast/id1690423642 Spotify: https://open.spotify.com/show/4B8BSR0l78qwUKJ5gOGIWb iHeart: https://www.iheart.com/podcast/269-shred-with-shifty-116270551/ Pandora: https://www.pandora.com/podcast/shred-with-shifty/PC:1001071314 Follow Chris Shiflett: Facebook: https://www.facebook.com/chrisshiflettmusic Instagram: https://www.instagram.com/shifty71 TikTok: https://www.tiktok.com/@chris.shiflett Twitter: https://twitter.com/chrisshiflett71 Website: http://www.chrisshiflettmusic.com Spotify: https://open.spotify.com/artist/5tv5SsSRqR7uLtpKZgcRrg?si=26kWS1v2RYaE4sS7KnHpag Producer: Jason Shadrick Executive Producers: Brady Sadler and Jake Brennan for Double Elvis Engineering support by Matt Tahaney and Matt Beaudion Video Editor: Addison Sauvan Graphic Design: Megan Pralle Special thanks to Jon Romeo, Michelle Yoon, Chris Peterson, Greg Nacron, and the entire Volume.com crew.

I denne uges udsendelse skal vi til verdens største koncert på en hestevædeløbsbane i Zagreb, vi kigger på splintrende ny og fantastisk musik fra engelske Pulp (som er tilbage med nyt album efter 24 år), den amerikanske sanger Matt Berninger (uden sit sædvanlige band The National), og den elektroniske duo The Knocks (i smukt samspil med canadiske Dragonette), og så kigger vi på en engelsk airplay hitliste fra april 1991. Derudover er der et forsinket påskeæg til Andy Tennant, vi tager på en kort, kontroversiel rumtur med Katy Perry, vi hylder den netop afdøde producer Roy Thomas Baker, vi lytter til en sang der måske er skrevet til Postmand Pers kat Emil, og så bliver det desuden til diverse snakke om bulgarske fodboldspillere, grønne æbler i glasskåle, klubmiljøet i Mogenstrup i start 90-erne, Rod Stewarts hår, en såkaldt ”Pause Button” og så nævner vi konstant en sagnomspunden og meget velbesøgt koncert med Shu-Bi-Dua på Bellevue Strand. Playliste: Pulp - Spike Island Matt Berninger - Bonnet of pins The Knocks & Dragonette - Foolish pleasure Billie Eillish - Chihiro Thompson - Ne boj se Jean-Michel Jarre - Équinoxe, Pt. 5 (Live in Houston) Madonna - Get together (Live) Lily Allen - Smile Gasolin' - Det var Inga, Katinka og smukke Charley på sin Harley Quartz introducing Dina Carroll - It's too late Pet Shop Boys - How can you expect to be taken seriously Stevie B - Because I love you (The Postman Song) Rod Stewart - Rhythm of my heart Chesney Hawkes - The one and only Johnny Marr - Generate! Generate!  

Nueva entrega de Música de Contrabando, semanario de actualidad musical (24/04/2025)Entrevistas: - Manolo Giribert, protagonista del underground murciano de los 90( The Braslips, Levowski) nos presenta nuevo EP de Gramolo, "Reflexiones ". Novedades discográficas:Squid, Adrianne Lenker, Joviale, Benét, Hoonine, Fontaines DC, Lana del rey, The Sand, ,Militares Judías, Vera Fauna, Papa Topo, Durand Jones & The Indications, Maria Somerville, The Low Flying Panic Attack, M76, BXKS, Sueño Xanadú, Vruto, Helio, Judeline, The Bug Club, Cryymm, Caroline, Anaut y Anni B Sweet, The Swell Season, Yuno, Vënkman, Espineli, Germán Salto, Lusillon, Los Estanques y El Canijo de Jérez, Pequeño Mal, Estela Gris.Noticias:Muere David Thomas (Pere Ubu) y Roy Thomas Baker (mano derecha de Queen y The Cars). Alice Cooper Band regresan con disco. Stevie Nicks trabaja en nuevo disco después de casi 15 años. Se cayó Spotify en todo el mundo. Thom Yorke y Mark Pritchard estrenarán su película en España. Nos visita la leyenda del reggae, Burning Spear. The Skatalites en la final del CreaMurcia. The Cure confirman álbum y remezcladores de lujo. Vuelve Somos Murcia, la programación cultural de la semana Warm Up. Agenda de conciertos:Russian Red, Paul Thin, Sharif, Alis, La Esencia de Chucky, Ona Mafalda, Hidrogenesse...

Tune in to Chris Akin Presents... for a heavy dose of rock talk. We start by honoring the legacy of the late, great Roy Thomas Baker. Then, we dive into the drama surrounding The Who – that video of Daltrey and Starkey is insane! We also give our unfiltered thoughts on recent AC/DC performances... has the magic faded? Prepare for some laughs as we share some truly bizarre photos of Brian Johnson and Michael Monroe. Finally, we discuss the Netflix movie CAM and the scary world of AI deepfakes, plus quick takes on Black Mirror, Paradise, and the newest Diddy Files.Get a free Rumble Account so you can comment! https://rumble.com/register/classicmetalshow/Get commercial free versions of our episodes, advance releases and exclusive content by subscribing to Rumble Premium! https://rumble.com/premiumNOTE: Everything said here, and on every episode of all of our shows, are 100% the opinions of the hosts. Nothing is stated as fact. Do your own research to see if their opinions are true or not.   #RockNews #TheWho #ACDC #AIDeepfakeMovie #Podcast

This week on the podcast, Moose and Dews celebrate the success of Those Damn Crows, who recently achieved their first UK number one album, as well as discussing Halestorm's new track that showcases a different musical direction for the band. They also discuss Ozzy Osbourne's preparations for his farewell show, including endurance and weight training. Not bad for a 76 year-old! Ozzy also has more licensing deals than most OAPs as well. The guys also pay tribute to legendary Queen producer Roy Thomas Baker, while Dews shares a captivating review of a Heilung concert. They should burn herbs at every gig tbh. Check out our chosen charity Metal For Good and some of the great charity work they do here https://metalforgood.org/  https://primordialradio.com https://www.instagram.com/primordialradio https://tiktok.com/@primordialradio https://www.facebook.com/primordialradio https://www.x.com/primordialradio​

Bruce Springsteen a parlé de son implication dans le biopic ‘'Deliver Me From Nowhere'' réalisé par Scott Cooper, et notamment des visites sur le tournage qui lui ont rappelé des souvenirs d'enfance. Linkin Park annonce que sortira, le 25 avril, un nouveau titre, "Unshatter", extrait des premières démos dans la version deluxe de leur album ‘'From Zero''. Limp Bizkit est de retour dans le Billboard cette semaine, mais pas avec une nouveauté : c'est le hit "Rollin'" qui apparaît dans le classement, plus de deux décennies après sa sortie. Roy Thomas Baker, producteur anglais qui a notamment travaillé avec Queen et The Cars dans les années 1970 et 1980, est décédé à 78 ans. Le groupe Santana a reporté un concert au Texas ce 22 avril à cause d'un souci de santé qui a nécessité l'hospitalisation du guitariste Carlos Santana. Pete Doherty a fait le point sur sa santé dans un nouveau podcast, déclarant que " quelque chose avait changé " en lui et qu'il suit désormais un nouveau mode de vie. Mots-Clés : tournage, plateau, maison, grand-mère, histoire, film, scène, Jeremy Allen White, rôle, chanteur, réaliser, album, Nebraska, 1982, salles de cinéma, édition d'origine, Up From The Bottom, Unsher, Let You Fade, live, édition physique, packaging, vinyles colorés, double CD, streaming, top 10, ventes numériques, chansons, Hard Rock, succès, Devil May Cry, série animée d'action, franchise, jeux vidéo, succès , Elton John, David Bowie, Free, T. Rex. , Rolling Stones, les Who, 1975, Bohemian Rhapsody, studio, A Night at the Opera, américain, Majestic Theatre, San Antonio, tournée, Oneness, évanoui, réglages, salle, déshydratation, amputé, orteils, chaussures orthopédiques, diabète, type 2, diagnostiqué, héroïne, alcool, tentation. --- Classic 21 vous informe des dernières actualités du rock, en Belgique et partout ailleurs. Le Journal du Rock, en direct chaque jour à 7h30 et 18h30 sur votre radio rock'n'pop. Merci pour votre écoute Plus de contenus de Classic 21 sur www.rtbf.be/classic21 Ecoutez-nous en live ici: https://www.rtbf.be/radio/liveradio/classic21 ou sur l'app Radioplayer BelgiqueRetrouvez l'ensemble des contenus de la RTBF sur notre plateforme Auvio.be Et si vous avez apprécié ce podcast, n'hésitez pas à nous donner des étoiles ou des commentaires, cela nous aide à le faire connaître plus largement. Découvrez nos autres podcasts : Le journal du Rock : https://audmns.com/VCRYfsPComic Street (BD) https://audmns.com/oIcpwibLa chronique économique : https://audmns.com/NXWNCrAHey Teacher : https://audmns.com/CIeSInQHistoires sombres du rock : https://audmns.com/ebcGgvkCollection 21 : https://audmns.com/AUdgDqHMystères et Rock'n Roll : https://audmns.com/pCrZihuLa mauvaise oreille de Freddy Tougaux : https://audmns.com/PlXQOEJRock&Sciences : https://audmns.com/lQLdKWRCook as You Are: https://audmns.com/MrmqALPNobody Knows : https://audmns.com/pnuJUlDPlein Ecran : https://audmns.com/gEmXiKzRadio Caroline : https://audmns.com/WccemSkAinsi que nos séries :Rock Icons : https://audmns.com/pcmKXZHRock'n Roll Heroes: https://audmns.com/bXtHJucFever (Erotique) : https://audmns.com/MEWEOLpEt découvrez nos animateurs dans cette série Close to You : https://audmns.com/QfFankxDistribué par Audiomeans. Visitez audiomeans.fr/politique-de-confidentialite pour plus d'informations.

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On today's show we're shinning the Album Nerds spotlight on iconic record producer Roy Thomas Baker. Join us as we get down with RTB and some of his classic albums from the 70s and 80s. Other Diggins What do you think of these records? What's your favorite RTB produced album? Let us know on our […]

On today's show we're shinning the Album Nerds spotlight on iconic record producer Roy Thomas Baker. Join us as we get down with RTB and some of his classic albums from the 70s and 80s.Robert Calvert – Captain Lockheed and the Starfighters (1974)T'Pau – Bridge of Spies (1987)Queen – Sheer Heart Attack (1974)Other DigginsJames Brandon Lewis – Apple Cores (2025)Richard Dawson – End of the Middle (2025)Wet Leg – Moisturizer (July 11, 2025)ALO (Animal Liberation Organization) – Frames (2025)Chained Saint – Blindside (2024)Rosehill Drive – Moon is the New Earth (2008)What do you think of these records? What's your favorite RTB produced album? Let us know on our website, albumnerds.com or email us, podcast@albumnerds.com.Listen to all our episodes and suggest topics for upcoming shows on albumnerds.com. Follow us on Instagram, Facebook and Bluesky.Thanks for listening!!!

Take a closer look at Queen's epic song with John and Stewart. With aggressive guitars, rich vocal harmonies, and an over-the-top premise, the track is classic Queen. Ogre Battle also marks a pivotal moment in the band's evolution, as their recordings reached a new level under the guidance of producer Roy Thomas Baker.

S8E11 went out live on 13 Mar 2025 at 19h00 on Rebel Rock Radio.  I'll sort out the playlist later, for now it's more important that you get the music.  Roy Thomas Baker was the producer in The Diabolical Challenge, Oasis were in The Immortals slot.  Artist Featured:  To be continuedThe Story of Rock and Roll. TSORR - Your one-stop shop for Rock

This week is all about bands playing other bands' songs… In fact, we're going to listen to songs that many different artists have covered; compare them, and then ask, “Who did it better???”. In this episode, we showcase the diversity of how a band can take a hit that you've heard a million times and put their own spin on it. Who do you think did it best?What's this InObscuria thing? We're a podcast that exhumes obscure Rock n' Punk n' Metal and puts them in one of 3 categories: the Lost, the Forgotten, or the Should Have Beens. These are songs you are probably familiar with, but maybe not these versions. In any case, we got ya covered! Songs this week include:Overwhelming Colorfast – “She Said, She Said (The Beatles)” from Overwhelming Colorfast(1992)Gov't Mule – “She Said, She Said (The Beatles)” from Dose (1998) Big Wreck – “Good Times Roll (The Cars)” from Bag Of Tricks (2013)Warrior Soul – “Good Times Roll (The Cars)” from Cocaine & Other Good Stuff (2020)Halestorm – “Heathens (Twenty One Pilots)” from ReAniMate 3.0: The CoVeRs eP (2017)Wolves At The Gate – “Heathens (Twenty One Pilots)” from Lost In Translation (2023)Susanna Hoffs & Matthew Sweet – “Cinnamon Girl (Neil Young)” from Under The Covers, Vol. 1 (2006)Type O Negative – “Cinnamon Girl (Neil Young)” from October Rust (1996)Please subscribe everywhere that you listen to podcasts!Visit us: https://inobscuria.com/https://www.facebook.com/InObscuriahttps://x.com/inobscuriahttps://www.instagram.com/inobscuria/Buy cool stuff with our logo on it!: https://www.redbubble.com/people/inobscuria/og-shopCheck out Robert's amazing fire sculptures and metal workings here: http://flamewerx.com/If 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/

What's your most loved and least favorite song on Shake It Up?! Sam picked The Cars' fourth album to rank, group-average style. He even (again!) held up his old copy for all of our podcast listeners to see. The boys had different experiences with the Cars but all were fans of varying degrees. Adam got his bandmate, Cars mega-fan, and Smash Mouth lead singer Zach Goode to weigh in with his favorite track as well. Listen at WeWillRankYouPod.com, Apple, Spotify and your favorite car. Follow us and weigh in with your favorites on Facebook, Instagram & Threads and Twitter @wewillrankyoupod.SPOILERS/FILE UNDER:1981, A Dream Away, All Is Forgiven, All Mixed Up, Roy Thomas Baker, The Beatles, Boston, Bow Wow Wow, Cars, Cruiser, Devo, Duran Duran, Elliot Easton, Emotion in Motion, The End, Girls On Film, Greg Hawkes, I'm not the one, Jellyfish, Let's Go, Louie Louie, Maybe Baby, Martin Mull, Gary Numan, Ric Ocasek, Benjamin Orr, Panorama, Queen, David Robinson, Shake It Off, Shake It Up, Shake Some Action, Since You're Gone, Sunfish, Taylor Swift, Tears For Fears, Think It Over, This Could Be Love, Touch And Go, Treacherous, Victim, Victim of Love

This week, we talk to Nick Brine (who, as a teenager, worked on The Stone Roses' 2nd LP & Oasis' What's The Story Morning Glory and has worked with everyone from Nick Cave to Bruce Springsteen) about the legendary Welsh recording studio that Nick got his start in the doc Rockfield: The Studio On The Farm. We discuss all the legends that have recorded there from Hawkwind to Queen from The Beta Band to Shane MacGowan, how The Ward Brothers who created Rockfield transformed their family farm into the first residential recording studio in the world, using pig stalls for reverb chambers, Joe Meek, the birthplace of Britpop, dealing with the paparazzi, Kingsley's ability to spin yarns, Iggy Pop & David Bowie recording with a piece of cheese, the magic of the Welsh countryside, driving Robert Plant around, Roy Thomas Baker's gold toilet seat, the posh side of town vs the farmer side of town, Andy Wallace, Nick's very strange initial job interview, Nick's first two sessions with Sepultura and The Stone Roses, getting used to seeing rock bands walking around your small town, working with Oasis and Nick witnessing the legendary fight that broke them up, if the Stone Roses ever get any work done in the 14 months they were there, the Wonderwall wall, using bathroom hallways as vocal booths, building studios with members of the Darkness,Teenage Fanclub and so much more!If you want amazing stories about one of the most magical places that somehow created much of the greatest music ever made…you've got it on this week's episode of Revolutions Per Movie!!!REVOLUTIONS PER MOVIE:Host Chris Slusarenko (Eyelids, Guided By Voices, owner of Clinton Street Video rental store) is joined by actors, musicians, comedians, writers & directors who each week pick out their favorite music documentary, musical, music-themed fiction film or music videos to discuss. Fun, weird, and insightful, Revolutions Per Movie is your deep dive into our life-long obsessions where music and film collide.New episodes of Revolutions Per Movies are released every Thursday, and if you like the show, please subscribe, rate, and review it on your favorite podcast app.The show is also a completely independent affair, so the best way to support it is through our Patreon at patreon.com/revolutionspermovie. There, you can get weekly exclusive bonus episodes and physical goods just by joining!SOCIALS:@revolutionspermovieBlueSky: @revpermovie.bsky.socialTHEME by Eyelids 'My Caved In Mind'www.musicofeyelids.bandcamp.comARTWORK by Jeff T. Owenshttps://linktr.ee/mymetalhand Click here to get EXCLUSIVE BONUS WEEKLY Revolutions Per Movie content on our Patreon Hosted on Acast. See acast.com/privacy for more information.

Dan and Steven look back at the 2014 Yes album Heaven & Earth on its 10th anniversary! Produced by Roy Thomas Baker and mixed by Billy Sherwood, this album featured the lineup of Jon Davison, Geoff Downes, Steve Howe, Chris Squire, and Alan White. Do you have any favorites from this album? Did you get to see the material they played live? Check out the conversation! Plus, we also share news of Steve Howe and Dylan Howe on the upcoming album Guitarscape! Yes live in San Jose 2014: https://youtu.be/nwRWQT7s-Q4 --- Support this podcast: https://podcasters.spotify.com/pod/show/yesshift/support

Send us a Text Message. Jethro Tull is one of the stranger turns taken by rock music over more than 50 years. Mick and Jeff look back at some of the band's best work, and, maybe, some of their strangest. The “Album You Must Hear Before You Die” is Queen II, a sensational album released the year before Queen took over the world!  Both Mick & Jeff love it! Jeff takes a look at what AI is doing to music.  We're not worried, because, as Joe Walsh says, AI can't even trash a hotel room!  While he's at it, he then looks at who is “knocking on Heaven's door” this month. Yet another very full episode! Episode playlist Professional Flautist watches Jethro Tull:  https://youtu.be/0SCdFmSqcjk?si=gRbdG9nsk0rW4Od7  “Too Old to Rock & Roll / Too Young to die”  References:  Queen II, EMI Records, Elektra Records, Trident Studios, Roy Thomas Baker, Jethro Tull, Marquee Club, flute, John Glasscock, Ian Anderson. Martin Barre, “Locomotive Breath”, “Aqualung”, “Loudermilk”, Ocean, “Thick as a Brick”, “Passion Play”, “Too Old to Rock & Roll / Too Young to die”, “Songs from the Wood”, “Heavy Horses”, “Broadsword and the Beast”, The Jethro Tull Christmas Album, Clive Bunker, John Glascock, Black Sabbath's Tony Iommi, salmon farming, Michael Stipe, Kirk Hammett, Nick Cave, Thick as a Brick 2: Whatever Happened to Gerald Bostock?, “Jethro Tull: The Rock Opera”, “RökFlöte”, Norse mythology, “The Zealot Gene”  

This week we bring you a cornucopia of obscure psychedelic sonic nuggets from the one, the only Cap'n Content himself; Robert Harrison. Share a tab and grab a fork as we dig into some tasty blues inspired psychedelia curated by the good captain. These are bands and songs that co-host Kevin Williams was mostly unaware of until now, so we are flipping the script a bit in this episode! Welcome to BizarrObscuria!What is it that we do here at InObscuria? Well, we exhume obscure Rock n' Punk n' Metal in one of 3 categories: the Lost, the Forgotten, or the Should Have Beens. As always, our hope is that we turn you on to something new!Songs this week include:Love – “Slick Dick” from False Start (1970)Steamhammer – “Midnight Blues Train” from Wailing Again (2022)The Pretty Things – “All Light Up” from Balboa Island (2007)Third World War – “Ascension Day” from Third World War (1972)Highway Robbery – “Ain't Gonna Take No More” from For Love Or Money (1972)Lone Star – “She Said She Said” from Lone Star (1976)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/

Cheap Trick, Rick Nielsen, Roy Thomas Baker, and me.

In observance of the retail event of the year that is Black Friday, InObscuria took it upon ourselves to have way too much Wild Turkey the day before and thus completely blackout… We've invited our friend and co-host of the Decibel Geek Podcast: Mr. Chris Czynszak on to help us put the pieces together in an in-depth discussion of the blackout era of Alice Cooper's career. If you are not aware of Alice's obscure, creepy, and quirky output from the early 80s; you are in for a treat! Grab some cheese and wine and join us for a little cracktastic Cooper!What is this InObscuria? Every week Robert and Kevin exhume obscure Rock n' Punk n' Metal in one of 3 categories: the Lost, the Forgotten, or the Should Have Beens. This week's episode features the Lost era of a very mainstream artist. There aren't many artists like this that have a period of their career where they are still releasing content but have gone “dark” to most of the record-buying public. Hope we turn you on to something new from a guy you thought you already knew!Songs this week include:Alice Cooper – “Pain”from Flush The Fashion(1980)Alice Cooper – “Headlines” from Flush The Fashion (1980) Alice Cooper – “Vicious Rumors” from Special Forces (1981)Alice Cooper – “Don't Talk Old To Me” from Special Forces (1981)Alice Cooper – “No Baloney Homosapiens (For Steve & E.T.)” from Zipper Catches Skin (1982)Alice Cooper – “Make That Money (Scrooge's Song)” from Zipper Catches Skin (1982)Alice Cooper – “Fresh Blood” from DaDa (1983)Alice Cooper – “Pass The Gun Around” from DaDa (1983) 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=uCheck out Robert's amazing fire sculptures and metal workings here: http://flamewerx.com/If 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/

Peter Straker - the man who was close friends with Freddie Mercury. ⁠⁠When Peter Straker first recorded music he was the given the moniker of the Black Bowie. He was fresh from a career defining role as Hud in Hair - the musical that redefined the musical, outrageous, brave and trailblazing. His career as an actor, found him choosing roles which were audacious and bold - playing what we'd term today as a non-binary role in Girl/Boy - a film way ahead of its time. He was the narrator in the original Tommy musical, and much later in 2017 played the role that Tina Turner took in the film, the Acid Queen. His roles in the west end are numerous and has had a stellar career, his voice captivating.⁠⁠Born in 1943 in Jamaica, Peter's recording career started in the late 1970s. He had just met Freddie Mercury with whom he was to become firm friends. Mercury helped him getting a recording deal with EMI and even co-produced with Roy Thomas Baker (who produced the first three Queen albums) This One's For Me, Straker's first album on the label.⁠⁠His career as a recording artist stuttered and he reconsidered what was he doing. In the end he continued as a stage actor in countless musicals, and even in classical roles in the Bristol Old Vic and the National Theatre in London.⁠⁠His close friendship with the legendary Queen frontman, Freddie Mercury, shines a light on the private side of Freddie - and gives an insight in that era, what Freddie's interests were, and humanises a person we often just see as an icon or idol - I found his insights fascinating.⁠Today Peter Straker has a 3-track digital single on Cherry Red Records, Just Spend the Night with Me - a 2023 mix of his original single.⁠⁠Here are some links to hear the new material⁠⁠https://sendeyo.com/en/e8da47ddfc ⁠Lyric Video here: https://youtu.be/rX01DLn4Jew⁠⁠Order Digital Single link: https://cherryred.co/PeterStraker2023⁠Support this podcast at — https://redcircle.com/pop-the-history-makers-with-steve-blame/donationsAdvertising Inquiries: https://redcircle.com/brandsPrivacy & Opt-Out: https://redcircle.com/privacy Hosted on Acast. See acast.com/privacy for more information.

POV Mediano Musics Jan Eriksen er taget en tur ud til Frelserkirken - et stenkast fra Dæmonernes Port. Franz Beckerlee er aktuel med biografien ”Franz Beckerlee – Stonefree et liv med og uden Gasolin'”. I den anledning har han været så venlig at invitere indenfor i sin lejlighed. I bogen beskriver Beckerlee sit liv som menneske og en kunstner, der for alvor så lyset, da han hørte Louis Armstrongs ”Basin Street Blues”. I mange år udtrykte han sig som jazzmusiker, indtil han som så mange andre så hørte Jimi Hendrix. Overskriften var abstrakt ekspressionisme – som jazzsaxofonist, maler og skulptør. ”Der var en stor jazzscene i Danmark dengang. Der var mange mennesker i Montmarte, men så kom tidspunktet, hvor Beatles og Stones kom ind i billedet. Så var der mange, der røg over til den form for musik. Så der blev ret ensomt inde i Montmarte efterhånden,” siger Beckerlee i POVcasten. Rockmusikken eksploderede i 50erne, men kom først til Franz senere i slutningen af 60erne. ”Vi hørte dog lidt Elvis til vores andendagsgilder efter konfirmationerne – så skulle der jo danses med damerne, og der var Elvis godt.” Selvfølgelig taler vi også om Gasolin' og fascinationen af USA, specielt New York. Allerede under sit første ophold i The Big Apple tog tennisspiller og musiker Torben Ulrich Beckerlee til sig, og blev en form for mentor i begyndelsen. Eriksen og Beckerlee forsøger at tage en tanketur tilbage til Gasolin's øverum for at nærme sig en forklaring på, hvad det var, Gasolin' havde, der skulle gøre dem til det største danske rockband – som mange stadig anser dem for at være. ”Vi troede på os selv. Vi øvede hver eneste dag. Vi stod op, sent på formiddagen. Så spiste vi frokost. Så gik vi ned spillede hele eftermiddagen. Så gik vi hjem og spiste aftensmad, og så øvede vi hele aftenen, indtil vi kunne nå den sidste øl på Eiffel Bar, inden vi hjem i seng – på et tidspunkt måtte det komme ud af knappehullerne. Det virkede næsten som om, at det var forudbestemt,” siger Beckerlee. Man kan ikke tale Gasolin' uden at tale om deres producer på flere album, Roy Thomas Baker. ”Det er lige til at blive overtroisk af at tænke på, at vi havde samme producer som Queen - samme producer som manden, der producerede "Bohemian Rhapsody,” siger Beckerlee. Roy Thomas Bakers betydning for de fire christianshavnere kan ikke overdrives, selvom Gasolin's pladeboss Poul Bruun stod klar i kulissen. ”Poul så jo helst selv at det var ham, der fik lov til at være i studiet, jeg er da lykkelig for, at vi havde Roy,” siger Franz Beckerlee. Det handler også om - inspiration. F.eks. om et nummer, der er direkte inspireret af Gasolin's møde med Ramones. - millionbeløbet , Roskilde Festivalen tilbød Gasolin for et comeback. Og som de sagde nej til. - Beckerlees andel i Kim Larsens hitalbum ”Midt om natten”. - kampene med Lone Kellermann i Christianshavns Blues Band. Dette og meget mere i denne POVcast.

POV Mediano Musics Jan Eriksen er taget en tur ud til Frelserkirken - et stenkast fra Dæmonernes Port. Franz Beckerlee er aktuel med biografien ”Franz Beckerlee – Stonefree et liv med og uden Gasolin'”. I den anledning har han været så venlig at invitere indenfor i sin lejlighed. I bogen beskriver Beckerlee sit liv som menneske og en kunstner, der for alvor så lyset, da han hørte Louis Armstrongs ”Basin Street Blues”. I mange år udtrykte han sig som jazzmusiker, indtil han som så mange andre så hørte Jimi Hendrix. Overskriften var abstrakt ekspressionisme – som jazzsaxofonist, maler og skulptør. ”Der var en stor jazzscene i Danmark dengang. Der var mange mennesker i Montmarte, men så kom tidspunktet, hvor Beatles og Stones kom ind i billedet. Så var der mange, der røg over til den form for musik. Så der blev ret ensomt inde i Montmarte efterhånden,” siger Beckerlee i POVcasten. Rockmusikken eksploderede i 50erne, men kom først til Franz senere i slutningen af 60erne. ”Vi hørte dog lidt Elvis til vores andendagsgilder efter konfirmationerne – så skulle der jo danses med damerne, og der var Elvis godt.” Selvfølgelig taler vi også om Gasolin' og fascinationen af USA, specielt New York. Allerede under sit første ophold i The Big Apple tog tennisspiller og musiker Torben Ulrich Beckerlee til sig, og blev en form for mentor i begyndelsen. Eriksen og Beckerlee forsøger at tage en tanketur tilbage til Gasolin's øverum for at nærme sig en forklaring på, hvad det var, Gasolin' havde, der skulle gøre dem til det største danske rockband – som mange stadig anser dem for at være. ”Vi troede på os selv. Vi øvede hver eneste dag. Vi stod op, sent på formiddagen. Så spiste vi frokost. Så gik vi ned spillede hele eftermiddagen. Så gik vi hjem og spiste aftensmad, og så øvede vi hele aftenen, indtil vi kunne nå den sidste øl på Eiffel Bar, inden vi hjem i seng – på et tidspunkt måtte det komme ud af knappehullerne. Det virkede næsten som om, at det var forudbestemt,” siger Beckerlee. Man kan ikke tale Gasolin' uden at tale om deres producer på flere album, Roy Thomas Baker. ”Det er lige til at blive overtroisk af at tænke på, at vi havde samme producer som Queen - samme producer som manden, der producerede "Bohemian Rhapsody,” siger Beckerlee. Roy Thomas Bakers betydning for de fire christianshavnere kan ikke overdrives, selvom Gasolin's pladeboss Poul Bruun stod klar i kulissen. ”Poul så jo helst selv at det var ham, der fik lov til at være i studiet, jeg er da lykkelig for, at vi havde Roy,” siger Franz Beckerlee. Det handler også om - inspiration. F.eks. om et nummer, der er direkte inspireret af Gasolin's møde med Ramones. - millionbeløbet , Roskilde Festivalen tilbød Gasolin for et comeback. Og som de sagde nej til. - Beckerlees andel i Kim Larsens hitalbum ”Midt om natten”. - kampene med Lone Kellermann i Christianshavns Blues Band. Dette og meget mere i denne POVcast.

Did all of your favorite 108.9 The Hawk DJ's and personnel survive the Great Drone Strike by former Hawk DJ, Whisp Turlington?! Some did. Some did not. You're just gonna have to listen to find out who made it. And you're going to have to listen to hear this weeks amazing guest on The Whisp Turlington Show - CHRIS DUKE-ANGELI (ANDREW GLEASON), world famous record producer. Oh yeah, he's got THREE NAMES! Just like Roy Thomas Baker! Sponsored by The Snow Cone Man! Farnsworth White Chocolate! Pete Best Beatles Sunday! And Channel 8's showing of National Lampoon's Speed Trap! Guest starring Andrew Gleason (The Best Show with Tom Scharpling) as Chris Duke-Angeli! 108.9 The Hawk was created, written and performed by Jason Gore and Geoff Garlock. Support The Hawk at https://patreon.com/1089thehawk! Bonus episodes! Hawk episodes one week early! So much more! Learn more about 108.9 The Hawk at 1089thehawk.com! GET THAT HAWK MERCH: http://tee.pub/lic/goodrockshirts   SOCIAL SIGHTS: https://twitter.com/1089thehawk https://instagram.com/1089thehawk

Infinity is the album where Journey takes on the sound we recognize as that monster of a group.  This fourth studio album is the first to include vocalist and front man Steve Perry in the group.  The group had been looking for a stronger lead vocalist, and had originally settled on Robert Fleischman for that role.  However, Fleischman was soon replaced by Perry after “musical and management differences” were encountered.In addition to Steve Perry, the band at the time included Neal Schon on guitar, Gregg Rolle on keyboards and vocals, Ross Valory on bass, and Aynsley Dunbar on percussion.  The album was produced by Roy Thomas Baker, who had previously worked with Queen.  Baker brought the layered sound and stacked vocals approach to the band, which is prominent in songs like “Feeling That Way” and “Anytime.” Infinity would mark a departure of Journey from their jazzy prog rock roots to a decidedly more accessible pop rock sound.  Much of their work prior to Infinity would disappear from the setlist over time.  This album would see both former lead singer Gregg Rolle and new lead singer Steve Perry sharing vocal duties on songs, but those lead duties would be almost exclusively Perry's going forward.Rob brings us this iconic band and album as we celebrate our 250th Episode. LightsThe lead track from the album is an homage to San Francisco. It was inspired by a sunrise when Perry was at Griffith Park Observatory in Los Angeles, and saw the lights going down as the sun came up.  It was the third single off the album, but was only a minor hit at number 68 on the Billboard Hot 100.Feeling That WayThis track utilizes a prominent layered sound by having multiple vocalists sing each part of the harmony in unison, creating a much fuller sound.  It also sees Perry and Rolle taking turns with the lead vocal duties.  Ordinarily paired with “Anytime,” the following song on the album, we're cutting this one short in favor of some deeper cuts.Somethin' to HideAn unusual deeper cut in an album filled with well-played songs, this track shows off Perry's high harmonies.  It was rarely played live because of the vocal difficulty.  The lyrics talk about a relationship where it is clear something is wrong, something hidden.  PatientlyAnother (relatively) deep cut, Perry and Schon wrote this song.  It is Perry's reflection about life on the road, his excitement at being a part of the band, and the thrill of the fans.  This is the first song Steve Perry wrote for the group.   ENTERTAINMENT TRACK:Intro to the television series “Project UFO”  This short-lived television series channeled the flying saucer/alien interest that was popular at the time. STAFF PICKS:Comin' Right Down On Top of Me by April Wine Bruce gets the staff picks going with a deep track from April Wine's seventh studio album, First Glance.  The song is a blues epic which chronicles the singer's feeling of being so weighed down with bad luck that he can't breathe.  Myles Goodwyn who wrote this song was the only founding member left in the group by the time this album was created.Just the Way You Are by Billy Joel  Lynch features a song dedicated to Joel's first wife and road manager, Elizabeth Weber.  It is the first single from his hugely successful fifth studio album, The Stranger, and it would win Grammy awards for Record of the Year and Song of the Year in 1979.  Joel jokes about writing songs for his wives just before they get divorced.  Jazz saxophonist Phil Wood plays the sax solo part.Northern Lights by Renaissance Journey may have given up their prog rock roots, but Wayne brings us the prog rock with the most popular song Renaissance would produce.  This song off their eighth studio album, A Song for All Seasons, is about leaving the Northern Lights of England and fiancée Roy Wood while working in the U.S.  It went to number 10 in the UK, although it didn't break into the US top 40.Don't Let Me Be Misunderstood by Santa EsmeraldaRob finishes the staff picks with a flamenco dance cover of Nina Simone's song.  The best known cover was done by the Animals, but Santa Esmeralda featured a 16-minute cover that took up an entire album side.  You may recall Santa Esmeralda's version was featured in one of the Kill Bill:  Volume 1  fight scenes. COMEDY TRACK:Short People by Randy Newman Long before his association with Disney, Randy Newman released this novelty hit which exclaims, “Don't want no short people 'round here.” 

A late Valentine's gift to you from Mike and Chris as they are joined by Paul Klingberg who was an assistant at Pierce Arrow studios where Cheap Trick recorded their 1982 release, ONE ON ONE. In this episode, the boys look back at "If You Want My Love," the first single off the Roy Thomas Baker-produced album. Is this their best ballad? How good is the extra bridge? Do you like Robin with shorter hair? We ask all the questions on this one.

Sheer Heart Attack (1974) es el tercer álbum de la banda británica de rock Queen, publicado el 8 de noviembre de 1974 por EMI. Fue grabado en los estudios Trident, Wessex, Rockfield y Air (Reino Unido) entre julio y septiembre de ese mismo año y producido por Roy Thomas Baker y Queen. Llegó al número dos de la lista de discos más vendidos en el Reino Unido y al número doce en Estados Unidos.  El álbum fue editado después de su segunda obra musical Queen II, con la cual se consagraron como banda en Reino Unido, pero no fue hasta Sheer Heart Attack donde se convirtieron en banda de renombre internacionalmente. Con los sencillos "Killer Queen"​ y "Now I'm Here"​ la banda consiguió el éxito fuera del Reino Unido. El sencillo "Killer Queen" alcanzó el puesto n.º 12 en las listas estadounidenses. 

Queen, Brian May, Roy Thomas Baker, Robin Geoffrey, and me.

Una de las obras más trascendentales de Queen es la seleccionada para este episodio, donde conversamos de “A Night At The Opera” y todo el contexto musical y creativo de su grabación, sus canciones más importantes, la importancia para el catálogo de la banda, el proceso colaborativo en el estudio, y muchos aspectos más.

this shows topics are producer Roy Thomas Baker....914 recording studio..also guitar great Jesse Ed Davis... a review of debut album by Dream Academy and Mark's album reveal and much more with Perry Mark & Lou --- Send in a voice message: https://podcasters.spotify.com/pod/show/perry--dedovitch/message

Colabora Con Biblioteca Del Metal: En Twitter - https://twitter.com/Anarkometal72 Y Donanos Unas Propinas En BAT. Para Seguir Con El Proyecto De la Biblioteca Mas Grande Del Metal. Muchisimas Gracias. La Tienda De Biblioteca Del Metal: Encontraras, Ropa, Accesorios,Decoracion, Ect... Todo Relacionado Al Podcats Biblioteca Del Metal Y Al Mundo Del Heavy Metal. Descubrela!!!!!! Ideal Para Llevarte O Regalar Productos Del Podcats De Ivoox. (Por Tiempo Limitado) https://teespring.com/es/stores/biblioteca-del-metal-1 Journey es una banda de rock creada en 1973 en San Francisco, Estados Unidos, por el teclista Gregg Rolie y el guitarrista Neal Schon, integrantes originales de Santana. De estilo rock progresivo en sus inicios, fue cambiando a un estilo más melódico con la incorporación del vocalista Steve Perry en 1978, quien con su voz convirtió a la banda en una de las más destacadas de los años 1980, con ventas de más de 75 millones de discos en todo el mundo convirtiéndolos en uno de los artistas más exitosos de todos los tiempos​ Journey alcanzó la cima del éxito en 1981 con el álbum Escape, que contenía canciones como «Open Arms», «Who's Crying Now» y «Don't Stop Believin'». Durante ese período, la banda lanzó una serie de canciones de éxito, incluyendo «Don't Stop Believin'» de 1981, el más vendido en la historia de iTunes​​​ Las raíces de Journey se encuentran en San Francisco, donde en 1971 el representante de Carlos Santana, Walter Herbie Herbert, decidió organizar una banda de músicos, originalmente llamada The Golden Gate Rhythm Section. Insatisfecho con la dirección musical que buscaba Santana, el teclista/vocalista Gregg Rolie y el guitarrista Neal Schon dejaron la banda en 1972. Prairie Prince de The Tubes, el bajista Ross Valory de Frumious Bandersnatch, y el guitarrista rítmico George Tickner fueron añadidos al nuevo proyecto. Tras un infructuoso concurso radial que buscaba un nombre para el grupo, Jack Villanueva​ sugirió el nombre "Journey.".​ La primera aparición pública del grupo fue en Winterland en la víspera de año nuevo en 1973. Al día siguiente volaron a Hawái a tocar en el Crater Festival. A comienzos de 1973, Prairie Prince se reunió con su antiguo grupo, The Tubes, así que Herbert trajo a Aynsley Dunbar, un baterista que había tocado con John Lennon, Frank Zappa, John Mayall, Jeff Beck, Bonzo Dog Band, Mothers of Invention, Lou Reed, y David Bowie. El 5 de febrero de 1974, la nueva conformación del grupo debutó en el Great American Music Hall, asegurando un contrato con Columbia Records. Journey lanzó su álbum homónimo en 1975. Ese mismo año Journey invitó a Albert King a uno de sus conciertos. El disco mostraba el considerable talento de la banda para la música jazz-fusión y el rock progresivo. El guitarrista rítmico Tickner dejó la banda poco antes de la grabación del segundo álbum del grupo, Look into the Future (1976), el cual le bajó el tono al sonido progresivo del primer disco, pero retuvo su base de jazz-fusión. El siguiente disco, Next, intentó reducir la duración de sus canciones para apelar a una mayor audiencia, e incluyó a Neal Schon cantando varias de las canciones, pero aun así, el éxito comercial seguía eludiéndoles. Con las ventas mediocres de Next el grupo fue presionado por el estudio para cambiar de dirección y buscar un nuevo cantante. Como resultado, Journey trajo a Robert Fleischman. Nativo del sur de California, Fleischman había estado tocando con un grupo de Chicago cuando su representante, Barry Fey, lo trajo a Denver en 1977 para una entrevista con ejecutivos de un estudio. "Estaba nevando mucho y no sabíamos si los ejecutivos iban a lograr llegar a la reunión, pero luego aparecieron muchas personas de la Costa Oeste y de la Costa Este" recuerda Fleischman.​​ Él fue "descubierto" por un ejecutivo de la CBS en dicha reunión, y un par de semanas después, fue enviado a San Francisco para una audición con Journey. A Fleischman le fue notificado que la banda buscaba un estilo más popular, similar al de Foreigner o Boston, por lo que Fleischman supo que su vocalización inspirada por Robert Plant de Led Zeppelin sería un extra. Sin embargo, la potencia de la banda a la que él se intentaba unir, lo impresionó. En su primera sesión de estudio juntos, Fleishman señala, "Era como... tener fuegos artificiales en la bolsa de atrás. Ellos llevaban tanto tiempo tocando juntos, y lo hacían tan bien, que era grandioso tocar con gente así".​ Dichas sesiones produjeron el tema "For You," que luego aparecería en Time, y "Wheel in the Sky," que luego fue re-editada sin Fleischman para el disco Infinity. Fleischman salió de gira con la banda a inicios del año siguiente, pero su lugar en el grupo tenía las horas contadas. Mantuvo a su propio representante, Barry Fey, lo cual demostró ser una constante confrontación con el representante de Journey, Herbie Herbert. Adicionalmente, Herbert parecía no estar dispuesto a dejar que la nueva dirección de la banda saliera a relucir de inmediato, lo cual terminó en situaciones como que Fleischman tenía que agitar una pandereta mientras el resto del grupo seguía tocando sus canciones antiguas para su grupo de seguidores jazz-fusión. Fleischman también chocó con otros miembros del grupo debido a que, aparentemente, no era un escritor de canciones muy productivo.​ El representante Herbie Herbert había oído mencionar al cantante Steve Perry, quien había pasado recientemente por la ruptura de su grupo Alien Project. Tras oír una demo de Perry (que Jack Villanueva le había hecho llegar), Herbie supo que había que hacer un cambio. Tras un interesante entretiempo durante el que Perry fue presentado a la banda (se le dijo a Fleischman que Perry era el primo portugués de Villanueva), Fleischman fue despedido. Perry hizo su debut público con Journey en el Old Waldorf en San Francisco, el 28 de octubre de 1977. Perry conoció a Schon, y la pareja rápidamente escribió su primera canción, "Patiently", que aparecería en el disco Infinity de 1978. Perry aportó su voz de contratenor, limpia y poderosa, a canciones como "Lights," "Wheel in the Sky," y "Anytime." Además, el productor de Queen, Roy Thomas Baker (originalmente traído por Fleischman) ayudó a darle más capas al sonido de la banda. Los cambios funcionaron, y Journey saltó al estrellato. Infinity llegó al puesto Nº 21 en ventas de discos y le dio a Journey su primer disco de platino. Sin embargo, no todos los miembros del grupo estaban felices con la nueva dirección musical. En septiembre de 1978, el baterista Aynsley Dunbar fue despedido y reemplazado por Steve Smith,​​ quien había estudiado jazz en la prestigiosa escuela Berklee en Boston, Massachusetts. El siguiente álbum de la banda, Evolution produjo el primer sencillo Top 20 de Journey, "Lovin', Touchin', Squeezin.'" El álbum Departure (1980) extendió el ascenso del grupo, llegando al n.º 8 en ventas de discos. «Any Way You Want It» fue un éxito Top 25 con amplia difusión en la radio. Luego, Journey fue a Japón a grabar la banda sonora de la película Dream After Dream, a petición del director de dicho filme. En este punto, los conciertos en vivo eran llenados por fanáticos que favorecían la nueva dirección musical del grupo, con algunos celebrando a Perry como alguna vez se hizo con Elvis Presley (sin embargo, el grupo tocaba sus viejas canciones durante los descansos de Perry tras bambalinas). Journey estaba destinado al éxito en gran escala, y a inicios de 1981 lanzó un disco en vivo llamado Captured, grabado durante los conciertos de la gira Departure en 1980. Las primeras 5 canciones del disco fueron del concierto del 8 de agosto en el Fórum de Montreal (Quebec). Otras 2 fueron de conciertos en Tokio y el resto del Cobo Hall en Detroit. Exhausto de tanto salir de gira, Rolie dejó el grupo, siendo esta la segunda vez que abandonaba una banda exitosa en su carrera.​ Recomendó a Jonathan Cain de The Babys para que lo reemplazara.​ Como si pudiera predecir el ambiente musical de los 1980s, Cain favoreció el uso del sintetizador por encima del órgano Hammond de Rolie. El grupo sabía que se les estaba uniendo un gran teclista, pero ignoraban lo poderoso de las habilidades de Cain para escribir canciones. En 1981, el séptimo disco de estudio de Journey, Escape llegó al n.º 1 de las listas, y finalmente se convirtió en su disco más vendido y popular, siendo 9 veces disco de platino. Los sencillos «Who's Crying Now», «Don't Stop Believin'» y «Open Arms» llegaron al Top 10. El trabajado sonido de la banda, encabezada por el distintivo sonido (y pronto, ampliamente imitado) de Steve Perry, se convirtió en una presencia popular en la radio. El canal MTV grabó uno de sus dos conciertos a sala llena en Houston, Texas, el 6 de noviembre de 1981 en frente de más de 20.000 aficionados.​ En particular, «Don't Stop Believin'» mostraba lo bien logrado del rango de contratenor de Perry en conjunto con el piano de Cain y la dinámica guitarra de Schon. «Open Arms», que estuvo 6 semanas en el n.º 2 en las listas de popularidad, ayudaron a establecer a Journey como el estándar del rock de los años ochenta. Tal éxito le valió poco a Journey con los críticos de música. La Rolling Stone Record Guide de 1983 le dio a cada uno de sus discos solo una estrella, y el crítico Dave Marsh escribió que «Journey era un callejón sin salida para el rock de San Francisco... excesiva trivialidad... banalidad... una explotación de un acto cínico». Marsh luego añadió Escape como uno de los peores discos en llegar al n.º 1 en la historia. Con justicia o no, los críticos a menudo categorizaban a Journey con otros actos de rock corporativo como Foreigner, Asia y Survivor. Journey también fue uno de los primeros grupos en ser patrocinado por una empresa grande, Budweiser, al cual mencionaban en las portadas de sus discos. Esto contribuyó a su imagen negativa de rock corporativo, o más precisamente, rock patrocinado por empresas. El representante Herbie Herbert, sin embargo, comentó al respecto que «se debe sembrar mientras dure la primavera»[11] La banda claramente había cortado con sus raíces hippies de Haight-Ashbury. En 1982, la banda aportó la canción «Only Solutions» a la película Tron de Disney. Casualmente, ese mismo año Journey se volvió el primer grupo en inspirar un videojuego: el arcade Journey por Bally/Midway, y Journey Escape de Data Age, para el Atari 2600. El próximo disco de Journey, Frontiers (1983), continuó su éxito comercial. Llegó al n.º 2 de ventas, y produjo 4 sencillos exitosos, de los cuales «Faithfully» y «Separate Ways» llegaron a n.º 12 y 8, respectivamente. La presencia de Cain continuó siendo fuerte en este disco, tanto por ser cantautor (él solo escribió «Faithfully») como por su uso de sintetizadores. Había llegado la era de MTV, y la popularidad de Journey se incrementó por un vídeo musical de corte documental acerca de «Faithfully», que mostraba a varios miembros del grupo con sus familias de gira, y que ayudó a que la canción se ganara un lugar, junto con «Turn the Page» de Bob Seger y «The Load's Out» de Jackson Browne, como una canción favorita para conciertos. Las escenas del documental fueron rodadas en Estadio JFK en Filadelfia, Pensilvania, con más de 80.000 aficionados presentes.​ Poco tiempo después, la banda recibió una petición de un joven moribundo de 16 años llamado Kenny Sykaluk, quien luchaba contra la fibrosis quística. Kenny quería conocer a la banda. Journey honró el deseo de Kenny, y no sólo lo visitaron en su cama, sino que le obsequiaron un walkman con su último sencillo, «Only the Young». Kenny murió en menos de un día después. En el episodio de Behind the Music de Journey, Jonathan Cain lloró al recordar la visita a Kenny, mientras que Neal Schon dijo que dicha visita «cambió mi forma de ver la vida». El cantante Steve Perry recibió mucho del crédito por el éxito de Journey. En 1984, lanzó un disco como solista, Street Talk, el cual tuvo éxito y lanzó un sencillo popular, cuyo vídeo fue emitido en MTV, llamado «Oh Sherrie». Perry también grabó Don't Fight It (1982), con Kenny Loggins. El guitarrista Neal Schon produjo dos discos con Jan Hammer en 1981 y 1983, y en 1985 fue parte del proyecto Hagar Schon Aaronson Shrieve (junto a Sammy Hagar, Kenny Aaronson y Michael Shrieve). Tras el lanzamiento de su disco en solitario, Perry tomó el control de la dirección musical en estudio de la banda. Para decepción del representante Herbie Herbert, el bajista Ross Valory y el baterista Steve Smith fueron despedidos de la banda por diferencias musicales y profesionales, y en 1986 Journey lanzó su álbum Raised on Radio como un trío Perry, Schon, y Cain. Varios músicos de estudio llenaron las dos vacantes, entre ellos el ahora jurado de American Idol, Randy Jackson y el establecido músico de estudio Larrie Londin. La producción se detuvo constantemente, debido a la decadente salud de la madre de Perry, Mary Pereira. Al final, el álbum vendió dos millones de copias. Una truncada gira le siguió, presentando a Jackson en el bajo y a Mike Baird en la batería. Luego, Perry, exhausto de tantas giras, sufriendo por la reciente muerte de su madre (con quien tuvo una relación muy cercana) y el colapso de su relación de 6 años con Sherrie Swafford, dejó Journey en 1987, terminando el recorrido de la banda en la cima. A pesar de trabajar en un proyecto en solitario en 1989 titulado Against The Wall, el cual finalmente fue desechado, Steve Perry abandonó la industria musical por varios años antes de grabar «For the Love of Strange Medicine» en 1994 y lanzar un compilado de grandes éxitos en 1998. Neal Schon y Jonathan Cain hicieron equipo con los ex-Babys (la antigua banda de Cain), John Waite y Ricky Phillips, formando Bad English con el baterista Deen Castronovo en 1988. Además, cada uno grabó discos en solitario. Luego, Schon y Castronovo se unieron al grupo del cuñado de Schon, Hardline. Steve Smith se metió de lleno en su proyecto de jazz, Vital Information, el cual eventualmente llegó a desarrollar un grupo de fanáticos de tamaño respetable. En 1991, Ross Valory, Steve Smith, y Greg Rolie se unieron a The Storm con el cantante Kevin Chalfant y el guitarrista Josh Ramos. De 1987 a 1995, Journey observó cómo crecía la venta de sus discos. Lanzaron tres recopilatorios, los cuales lograron excelentes ventas. En 1993, Kevin Chalfant (de The Storm) tocó con los miembros de Journey en algunos conciertos, y Schon, Cain, Valory, Smith y Rolie consideraron brevemente una reunión bajo el nombre de Journey con Chalfant como cantante, pero al final tal proyecto no fructificó. Ese año, Steve Perry propuso volver a la banda bajo la condición de que se cambiara de representante. Herbie Herbert fue despedido y se eligió a Irving Azoff, y en 1995 Perry volvió una vez más a Journey. En 1995, la formación que tenía Journey en 1981 volvió a juntarse. Perry, Schon, Smith, Cain, y Valory volvieron al estudio y produjeron el famoso disco Trial by Fire en 1996, que incluye los éxitos «When You Love a Woman» y «Message of Love», nominado a un Grammy. Tras el éxito de Trial by Fire, los miembros de Journey se prepararon para una gira prometedora. La sensación causada en los medios y la emoción alrededor de volver a ver a la banda de gira fueron intensas, pero todo esto llegó a un abrupto final cuando Perry se lastimó la cadera en una caminata en Háwai. Perry probablemente iba a necesitar un reemplazo de cadera. A pesar de esto, le fue difícil tomar una decisión respecto a su estado de salud (pues le era imposible presentarse en el escenario sin someterse a dicha cirugía), pero en 1998 la banda lo presionó para que tomara una decisión. Cuando Perry rehusó a operarse, Cain y Schon decidieron continuar la banda sin él. El baterista Steve Smith decidió dejar la banda en esa misma época, para volver a Vital Information. En febrero de 2001, la banda participó en un episodio de Behind the Music en VH1, pero algunos comentarios hechos durante la grabación del programa contribuyeron a calentar los ánimos entre Perry y el resto de la banda. Ese mismo año, Herbie Herbert ofreció una entrevista en la que él daba su propia opinión acerca de la historia del grupo.[12] Luego, en 2003, Robert Fleischman comentó su propia participación en el grupo.[13] En 1998 Journey se vio buscando baterista y cantante. La plaza de baterista fue llenada por Deen Castronovo, compañero de Schon y Cain en Bad English, y que entonces tocaba con Hardline. El nuevo cantante fue Steve Augeri, anteriormente de Tyketto y Tall Stories. Augeri había abandonado el negocio de la música y trabajaba como gerente en una tienda de The Gap en Nueva York. Augeri recibió una llamada telefónica de Schon, quien había escuchado su demo. Schon lo invitó a audicionar para la banda y, a pesar de no haber cantado mucho en tiempos recientes, impresionó a los miembros de Journey lo suficiente como para obtener el trabajo. El parecido de Augeri con Perry, tanto visual, vocal, y hasta en su nombre, causó cierto revuelo entre los fanáticos más antiguos, ayudado por la popularidad de internet y sus foros. Algunos fanes rechazaron a un Journey sin Steve Perry. Otros se volvieron verdaderos fanes de Steve Augeri, culpando a Perry por la decaída popularidad de la banda. Pero la mayoría de los fanáticos dudaron del cambio y (tras oírlo en vivo o en disco) aceptaron a Steve Augeri. Además de su talento, esto tenía mucho que ver con la personalidad del nuevo cantante: era extremadamente amable y simpático con cada nuevo fanático que conocía. La nueva formación de Journey rápidamente volvió a trabajar, grabando una canción para la película Armageddon llamada «Remember Me». En 2001, lanzaron su siguiente disco de estudio, Arrival. El disco originalmente fue publicado en Japón a finales de 2000, pero debido a que algunas de las canciones del disco se filtraron y terminaron en internet con comentarios mayormente negativos de los fanes por su sonido de balada, Journey decidió demorar un poco el lanzamiento de dicho disco en Estados Unidos y añadir dos canciones más pesadas para la versión estadounidense. «All the Way», de dicho disco, se convirtió en un éxito menor. En 2003, la banda lanzó un CD con cuatro canciones titulado Red 13, cuyo diseño de portada fue escogido en un concurso de fanes. En 2005, la banda se embarcó en su gira de 30 aniversario, regalando copias promocionales de su último lanzamiento de estudio, Generations para ganadores seleccionados en cada concierto. Tales conciertos, que duraban tres horas, eran divididos en dos partes: la primera con material de la época de su mayor fama (algunas de esas canciones, tocadas en vivo por primera vez en décadas), mientras que la segunda parte comprendía Escape y otros. La reputación de Journey ante la crítica no mejoró al cabo del tiempo: la edición de 2004 del Rolling Stone Album Guide llama a Journey el «acto de karaoke perfecto», y no le da más de dos estrellas y media (de cinco posibles) a ninguno de sus discos. Varias bandas tributo de Journey se han formado por todo Estados Unidos, con distintos grados de éxito (usualmente en escala local), y el cantante Kevin Chalfant de The Storm ocasionalmente se juntaba con The Gregg Rolie Band para tocar algunos éxitos de Journey de la época 1978-1980. Aunque ha sido criticado como un grupo de orden corporativo, Journey ha retenido una masa de fanes fiel a lo largo de su carrera; su música aparece en programas de TV y películas. La radio a menudo toca sus éxitos, exponiendo su música a nuevas generaciones de oyentes. Journey ganó nuevas atenciones en la década del 2000, debido a que Randy Jackson, tras su participación con Journey, se convirtió en un ejecutivo musical muy exitoso, y luego en juez de American Idol. Vídeos de Jackson con la banda se han mostrado en el programa, y varios de los participantes han intentado cantar canciones de Journey. Los más recordados han sido Clay Aiken cantando «Open Arms» en una semifinal (y luego a dúo con Kelly Clarkson en una gira de conciertos), y Elliott Yamin, también con dicha canción, en la semifinal de 2006. Judy Torres lanzó una versión del sencillo «Faithfully» en 2005. La canción «Don't Stop Believin'» se convirtió en un himno de batalla de la Serie Mundial de 2004, donde los campeones Medias Rojas de Boston ganaron la serie tras ir abajo 3 juegos a 0 contra los Yankees en la serie de división de la Liga Americana y también en 2005, donde en el desfile de la victoria de los Chicago White Sox, Steve Perry fue invitado para que cantara con miembros del equipo. El 6 de febrero de 2005 «Don't Stop Believin'» salió en un anuncio de FedEx, en el que salía Burt Reynolds y que fue programado durante el Super Bowl XXXIX. En diciembre de 2005, «Don't Stop Believin'» llegó al n.º 13 en la lista Hot Digital Songs, y fue nominada para dos categorías en unos premios de VH1. En julio de 2007, la canción apareció en la escena final de la serie de HBO The Sopranos. Petra Haden lanzó un cover de la canción en septiembre de 2007. En 2003, Journey fue admitido al Salón de la Fama de la Música de San Francisco. A la ceremonia asistieron Gregg Rolie, Jonathan Cain, Steve Smith, Ross Valory, Neal Schon, Aynsley Dunbar, Deen Castronovo, y Steve Augeri. Dos años más tarde, el 21 de enero de 2005, Journey recibió una estrella en el Paseo de la Fama de Hollywood, y Steve Perry apareció de sorpresa en la ceremonia. Las relaciones con el resto del grupo mejoraron, pero Perry dijo que no había posibilidad de una reunión con su antigua banda en el futuro cercano. Diez miembros de Journey se juntaron ese día: Perry, Augeri, Cain, Castronovo, Dunbar, Fleischman, Schon, Smith, George Tickner, y Valory. En 2009, la serie Glee, del canal Fox, hace varias referencias a Journey en diferentes capítulos de la primera temporada, siendo Don't Stop Believin' la canción principal del primer capítulo de la serie. En la temporada final, se realiza un «Journey Medley». En julio de 2006, Steve Augeri comenzó a experimentar problemas con su voz y fue obligado a renunciar. Anunció que dejaría la banda por un tiempo debido a una infección en la garganta que requería que dejara descansar a sus cuerdas vocales.  La banda trajo a Jeff Scott Soto para sustituirlo. Además, Deen Castronovo, quien llevaba tiempo cantando los coros e incluso sustituyendo a Augeri como cantante, cantó en power ballads como «Faithfully» y «Open Arms». El 19 de diciembre de 2006 la banda emitió un comunicado en su página oficial, donde nombraban a Soto como vocalista permanente.​ Sin embargo, el 12 de junio de 2007, Journey anunció la salida de Soto.​ El breve periodo de Jeff Scott Soto como vocalista se parece al igualmente breve periodo de Robert Fleischman en la misma posición en 1977, de la cual salió la decisión de contratar a Steve Perry. Los fanes especulan​ que la banda persigue la misma cadena de sucesos que hace 30 años les dio resultado. En septiembre de 2007, empezaron a circular fotos del poco conocido cantante Arnel Pineda con Journey. En el sitio oficial de Journey se da el comunicado oficial que Arnel Pineda será el nuevo vocalista oficial. Pineda tocaba con el grupo The Zoo​ el cual se dedicaba a tocar versiones de varias bandas. Neal Schon lo encontró por YouTube. Se contactó con él y luego de una soberbia audición fue incorporado a la banda. Su primera presentación oficial con Journey se realizó el 21 de febrero del 2008 en el Festival Internacional de la Canción de Viña del Mar en Chile con una transmisión televisiva en conjunto para 80 países y en vivo por señales locales, de cable y el afamado canal A&E. Pineda derrochó energía y logró cautivar a todo el público con su voz muy parecida a la de Steve Perry y su gran presencia escénica, rejuveneciendo a la banda y dejando en segundo plano su carácter de absoluto novato. Los periódicos y sitios de Internet de foros audiovisuales tipo YouTube se plagaron a los pocos minutos de sendos elogios para el nuevo vocalista y a su vez la prensa especializada nacional como extranjera alabó la presentación del grupo.​ Journey dio luego un concierto en el Estadio San Carlos de Apoquindo de Santiago, Chile, el 23 de febrero del 2008 junto a Peter Frampton y Earth, Wind & Fire, constituyéndose Chile en la única parada que se realizaría en Sudamérica con un gran éxito. Su siguiente álbum, Revelation, debutó en el n.º 5 en las listas de Billboard, vendiendo más de 196.000 unidades en sus dos primeras semanas y manteniéndose en el top 20 durante 6 semanas.​Journey también encontró el éxito en las listas contemporáneas, donde el sencillo «After All These Years» pasó más de 23 semanas alcanzando el número 9.​ Los ingresos procedentes de la gira del 2008 la convirtieron en una de las más taquilleras del año, recaudando más de 35 millones de dólares.​ El 18 de diciembre de 2008, el álbum Revelation fue certificado disco de platino por la RIAA.​​ El segundo álbum de la banda con Pineda, Eclipse, fue lanzado el 24 de mayo de 2011, y debutó en el n.º 13 en el Billboard 200.​ En noviembre de 2011, Journey lanzó su segunda recopilación de grandes éxitos, titulada Journey: Greatest Hits: Volume 2, que incluye canciones escogidas por el exvocalista Steve Perry. Durante la gira del año 2015, el baterista Deen Castronovo fue reemplazado por el músico de sesión Omar Hakim.​ Luego la banda anunció que Steve Smith retornaría nuevamente a ocupar el puesto de baterista en Journey. 25 de Junio 2021 nuevo single de Journey «The Way We Used To Be» es la primera canción que se estrena con la formación actual de Journey, compuesta por el guitarrista Neal Schon, el cantante Arnel Pineda y el teclista Jonathan Cain junto con las últimas incorporaciones: el batería Narada Michael Walden, el bajista Randy Jackson y teclista y cantante Jason Derlatka. A lo largo de diferentes entrevistas, el guitarrista Neal Schon ha dado a entender que esta nueva entrega discográfica está bastante avanzada, y que con suerte verá la luz antes de que termine el presente ejercicio. “Ya tenemos como seis temas rockeros», comentaba Schon en una entrevista con Rock & Review de FOX17 a finales del pasado año, y añadía que publicaran unos tres singles antes de estrenar el álbum completo e iniciar su gira de presentación. 29 de Julio de 2021 Deen Castronovo vuelve a Journey El guitarrista de Journey, Neal Schon, ha confirmado en las redes sociales que el ex baterista Deen Castronovo se ha reincorporado a la banda. Schon confirmó el regreso de Castronovo en una serie de comentarios en Facebook debajo de una historia del San Francisco Chronicle sobre Journey, que compartió el miércoles. Un fan comentó en la publicación, «Entonces, ¿Deen Castronovo está de vuelta en la banda ahora a tiempo completo?» a lo que Schon respondió simplemente, «Sí». Respondiendo a otro fan que imploró a la banda que «traigan de vuelta a Deen de nuevo», escribió Schon, «Deen ha vuelto. Ahora somos dobles (2) bateristas con Narada [Michael Walden, que se unió a la banda en 2020]». Schon no reveló hasta qué punto Castronovo participará en los espectáculos de Journey inmediatos y futuros. El guitarrista insinuó del regreso de Castronovo el martes cuando tuiteó una foto que parecía ser de los ensayos del concierto del viernes por la noche de la banda en el Aragon Ballroom en Chicago, que precede a la actuación del domingo de Journey en Lollapalooza. «Ok … Doble problema Chicago @NaradaMWalden @DeenTheDrummer Narada Michael Walden y el regreso de Deen Castronovo a la batería @AragonBallroom @lollapalooza», subtituló Schon en su publicación.​ Don't stop believin Monster «Any Way You Want It» - Caddyshack (1980)

Twitter: @podgaverockInsta: @podgaverockSpecial Guest Host: Nicholas BrennickThe Cars “Just What I Needed” from the 1978 album "The Cars" released on Elektra. Written by  Ric Ocasek and produced by Roy Thomas Baker.Personel:Ric Ocasek – backing vocals, rhythm guitarElliot Easton – lead guitar, backing vocalsBenjamin Orr – lead vocals, bass guitarDavid Robinson – drums, percussionGreg Hawkes – keyboards, backing vocalsCover:Performed by Neal Marsh and Josh BondIntro Music:"Shithouse" 2010 release from "A Collection of Songs for the Kings". Written by Josh Bond. Produced by Frank Charlton.Other Artists Mentioned:Jean Claude Van Damme

Twitter: @podgaverockInsta: @podgaverockSpecial Guest Host: Nicholas BrennickThe Cars “Just What I Needed” from the 1978 album "The Cars" released on Elektra. Written by  Ric Ocasek and produced by Roy Thomas Baker.Personel:Led ZeppelinRic Ocasek – backing vocals, rhythm guitarElliot Easton – lead guitar, backing vocalsBenjamin Orr – lead vocals, bass guitarDavid Robinson – drums, percussionGreg Hawkes – keyboards, backing vocalsCover:Performed by Josh BondIntro Music:"Shithouse" 2010 release from "A Collection of Songs for the Kings". Written by Josh Bond. Produced by Frank Charlton.Other Artists Mentioned:BTKPhishElvisTaylor Swift “Red”SkrillexThe Racontuers “Steady As You Go”Jack WhiteThe White StripesNINMy Monring JacketBeach HouseBartees StrangeWillie Nelson “Ghost Rider in the Sky”Talking HeadsLed ZeppelinThe Cars “Let the Good Times Roll”The Cars “You're All I've Got Tonight”BladerunnerRutget HauerJames SpaderMidnight SpecialThe Cars “Drive”QueenDavid BowieThe Velvet UndergroundOhio Express “Yummy, Yummy, Yummy”The StrokesLou Reed “Walk on the Wild Side”The RamonesRicky NelsonBen E King “Stand By Me”A Ha “Take on Me”Tears for FearsTalking Heads “Psycho Killer”David ByrneThe BeatlesThe KillersTommy James and the Shondelles “Mony Mony”Tommy James and the Shondelles “I Think We're Alone Now”Eddie Money “Take Me Home Tonight”Eric ChurchK-OSPoison “Unskinny Bop”Scott Bradlee Postmodern JukeboxSeawayDwayne GretskyWeezerBrandon FlowersThe StrokesJarvis  CockerDavid Lee Roth

www.iconsandoutlaws.com   The band Journey came together in San Francisco in 1973 under the auspices of former Santana manager Herbie Herbert who also managed The Steve Miller band, Roxette, and Europe. They were initially called the Golden Gate Rhythm Section and were backup players for established Bay Area bands. Originally, it included Santana alumni Neal Schon on lead guitar and Gregg Rolie on keyboards and lead vocals. Completing the band were bassist Ross Valory and rhythm guitarist George Tickner, both from the band Frumious Bandersnatch. Prairie Prince of The Tubes served as drummer. After one particular performance in Hawaii, the crew quickly abandoned the "backup band" idea and began developing their own distinctive jazz fusion style. After an unsuccessful radio contest to name the group, roadie John Villanueva suggested the name "Journey."   The band's first public gig was at the Winterland Ballroom on New Year's Eve 1973 to an audience of 10,000, and the following day, they flew to Hawaii to perform at the Diamond Head Crater to an even bigger audience. Prairie Prince returned to The Tubes shortly after. On February 1, 1974, the band hired British drummer Aynsley Dunbar, who had recently worked with the one and only David Bowie and was also a member of the second version of Frank Zappa's Mothers of Invention. On February 5, 1974, the new lineup debuted at the Great American Music Hall, showcasing in front of Columbia Records executives. They signed a recording contract with the label following the performance and later performed at venues around the Bay Area.   Journey went into CBS Studios in November 1974 with grammy award-winning producer Roy Halee to record their debut album "Journey." It was released in April 1975, entering the Billboard charts at number 138. This record was a jazzy progressive rock album focused mainly on the band's instrumental talents. It featured songs like "Of A Lifetime" and the instrumental, "Kahoutek,"; both songs pushing the 7-minute mark. Rhythm guitarist Tickner left the band shortly after due to the heavy touring the band was promoting the album, allowing Schon to take on the complete guitar duties.    Journey entered the studio again in late 1975 to record "Look into the Future," released in January 1976 and hit the Billboard Top 200 charts at number 100. The band promoted the album with a two-hour performance at the Paramount Theatre in Seattle, which later aired on the radio as touring continued to promote their second album. For this second album, the members of Journey toned down the overt progressiveness of their first release in favor of a more straightforward sound. The album also features a cover version of The Beatles' "It's All Too Much" from the 1968 Yellow Submarine film and 1969 soundtrack. The title track, "Look Into The Future," was the longest recorded Journey song at 8:10 until 1980, when "Destiny" from Dream, After Dream would claim that honor.   From May to October 1976, the band went to "His Master's Wheels" Studios to record their third studio album, "Next," which, just like the previous album, was produced by the band. However, they brought a much more commercial sound while keeping their jazz fusion and progressive rock roots. The album was released in February and charted on the Billboard Top 200 at 85. It would be the last album to feature Gregg Rolie as the lead singer. "Spaceman" with the instrumental "Nickel and Dime" was the single, and, unfortunately, sales did not improve, which led Columbia Records to almost dropping the band.   About these times in the band's career, lead guitarist Neal Schon has said: "I still think some of the stuff we did then was great. Some of it was self-indulgent, just jamming for ourselves, but I also think a lot of other things hurt us in the early days. It took a while for the politics to sort of shape up."   Journey's album sales did not improve, so Columbia Records requested they change their musical style and add a lead singer who would share lead vocals with Rolie. In comes Steve Perry, right? Nope! The band hired Robert Fleischman from the Los Angeles-based band "Staggerwing" and began transitioning toward a more popular style, similar to that of Foreigner and Boston. Journey went on tour with Fleischman in 1977, opening for bands like Black Sabbath, Judas Priest, and Emerson, Lake & Palmer. Fleischman and the rest of the band began writing and rehearsing new songs, including the hit "Wheel in the Sky." However, this new lineup would be short-lived because the band was introduced to that guy I mentioned earlier, Steve Perry, during a performance before approximately 100,000 at Soldier Field in Chicago. This chance encounter was significant because differences between Fleischman and manager Herbie Herbert resulted in Fleischman's departure from the band within the year.   Steve made his live debut with the band at the Old Waldorf in October 1977, stepping into His Master's Studios and Cherokee Studios from October to December. Herbie hired Roy Thomas Baker as the new record's producer to add a layered sound approach similar to a band Baker had previously worked with, a little English band called "Queen." With a new lead singer and new producer in tow, the band's fourth studio album, Infinity, was released in January 1978, and peaked at number 21 on Billboard. "Lights", "Anytime," and "Wheel In The Sky" were the album's singles, and it has sold over 3 million copies. Journey then set out on tour supporting the album and headlined a full tour for the first time.   According to Herbie, tensions were high between Aynsley Dunbar and the rest of the band due to the change in music direction from the jazz-fusion sound. Guitarist Neal Schon said: "We would talk about it, and he'd say he'd be willing to simplify things. But we'd get out there, and after five shows he wasn't doing that at all." Finally, Dunbar's resistance came to a head when he started playing erratically and talking crap about the other members, which later resulted in Herbie axing Dunbar after their headline tour. He was replaced by Berklee-trained drummer and Montrose member Steve Smith.   Perry, Schon, Rolie, Smith, and Valory returned to the studio at Cherokee Studios in late 1978 to record their fifth album, Evolution, which was later released in March 1979, peaking at number 20 on Billboard and selling another 3 million copies. This album, which would be a milestone for the band, gave the band their first Billboard Hot 100 Top 20 single, "Lovin', Touchin', Squeezin'," peaking at number 16, and was all over the radio. Following the tour in support of Evolution, the band expanded its operation to include a lighting and trucking operation for future gigs. The tour had grossed more than $5 million, making the band as popular as it had been in five years. Journey later entered Automatt Studios to record their sixth studio album, Departure, released in March 1980, peaking at number 8 on Billboard. The first single, "Any Way You Want It," peaked at number 23 on the Billboard Hot 100 in 1980. The album featured an edgier sound, thanks partly to the "live in studio" way the songs were recorded. They initially went into the studio with 19 tracks, eventually trimming down to 12. This record would also go on to sell over 3 million copies!   Founding member and keyboardist Gregg Rolie left the band following the Departure tour to start a family and undertake various solo projects. It was the second time he had departed from a successful act in his career. Yep, he left Journey and Santana. Keyboardist Stevie "Keys" Roseman was then brought in to record the lone studio track, "The Party's Over (Hopelessly in Love)," on the band's live album "Captured." Rolie suggested pianist Jonathan Cain of The Babys as his permanent replacement so, with Cain's synthesizers replacing Rolie's organ, Cain had become the band's newest member. With Cain joining as the new keyboard player, the band entered Fantasy Studios in Berkeley, California, in late 1980, releasing their seventh studio album, "Escape," in July 1981. Escape became their most successful album, charting at number one in the United States. In addition, the album had a ton of hit singles, including: "Who's Crying Now," "Still They Ride," "Open Arms," and the iconic "Don't Stop Believin'." In July of 2021, it was certified diamond, selling over 10 million copies!!   Oh, and "Escape" had its own video game! Journey Escape was a video game developed and manufactured by Data Age for the Atari 2600 console and released in 1982.    Want to hear the plot of the game?   You're on the road with Journey, one of the world's hottest rock groups. A spectacular performance has just ended. Now it's up to you to guide each Journey Band Member past hordes of Love-Crazed Groupies, Sneaky Photographers, and Shifty-Eyed Promoters to the safety of the Journey Escape Vehicle in time to make the next concert. Your mighty manager and loyal roadies are there to help, but the escape is up to you!   These other bands may have been successful, but not Atari 2600 successful.   Journey began another lengthy yet successful tour on June 12, 1981, supported by opening acts Billy Squier, (My Kind of Lover) Greg Kihn Band, Point Blank, and Loverboy. They then opened for one and only The Rolling Stones on September 25 of the same year. MTV videotaped one of their two sold-out shows in Houston on November 6, 1981, in front of over 20,000 fans, later released on DVD, which for 1981 was HUGE.   Following the success of the 1981 tour, the band's entire establishment as a corporation, and the formation of a fan club called "Journey Force," the band released "Only Solutions" and "1990s Theme" for the 1982 Disney film Tron.    At this point, Journey was absolutely killing it, so they entered Fantasy Studios again in the middle of their 1982 tour to record their eighth studio album, Frontiers. Released in February 1983, "Frontiers" was the band's second-biggest selling album, selling over six million copies. Peaking at number 2 on the Billboard charts, it spawned the hit singles "Separate Ways (Worlds Apart)," "Send Her My Love," "After the Fall," and of course, "Faithfully," and you can hear our version of Faithfully wherever you listen to new music and at the end of this episode.   Journey began the tour supporting "Frontiers" in Japan and continued in North America alongside the Canadian Crooner, Bryan Adams, as the opening act. During the tour, NFL Films recorded a video documentary of their life on the road called "Frontiers and Beyond," shooting scenes at JFK Stadium in Philadelphia, Pennsylvania with more than 80,000 fans in attendance.   After the success of the Frontiers tour, the band decided to take some well-deserved time off. Steve and Neal both tried their hands at solo projects, and in 1984 Steve Perry, with the help of band manager Herbie, recorded and released his first solo album, Street Talk. Street Talk released Perry's biggest hit as a solo artist, "Oh Sherrie," written for his then-girlfriend Sherrie Swafford. The song hit #3 on the billboard hot 100 and #1 on Billboard's Rock chart, and the accompanying music video (also featuring Swafford) was a hit on MTV.   Neal Schon toured briefly in 1984 with his supergroup HSAS, supporting their sole album, "Through the Fire, released that year on Geffen.    Sidenote, what does "HSAS" stands for? Any guesses?   Hagar Schon Aaronson Shrieve featured lead vocalist Sammy Hagar (Van Halen), lead guitarist Neal Schon, bassist Kenny Aaronson (The Yard birds), and drummer Michael Shrieve. (Santana). The group reportedly rehearsed for less than a month before playing in concert.   Who are the Yardbirds? (For Your Love) Well, they were an English rock band formed in 1963 and launched the careers of a few notable guitarists like Eric Clapton, Jimmy Page, and Jeff Beck   Also, At age 20, drummer Michael Shrieve was the second youngest musician to perform at Woodstock while playing for Santana. His drum solo during "Soul Sacrifice" in the Woodstock film has been described as "electrifying."   When asked by the press if Journey was finished after selling their properties at the end of 1984, guitarist Neal commented, "No way Journey's ending. We're all too committed to this band to ever let that happen. In fact, one of the reasons we decided to go off in separate directions for a while was to keep the band as strong as ever."   After a productive phone call between Cain and Perry, the band returned to Fantasy Studios in late 1985 to record their ninth studio album "Raised on Radio," but with Steve Perry acting as the album's producer. Unfortunately, things were pretty tense within the band leading Herbie and Steve to fire both bass player Ross Valory and drummer Steve Smith for musical and professional differences. This booting took place only a few months into the recording sessions for the album, though Valory later admitted he left the band on his terms.    Bassist and future American Idol judge Randy Jackson, bassist Bob Glaub, and established drummer Larrie Londin were brought in to continue the album's recordings. If you're not familiar with Larrie Londin, check out his credentials. He's done session work with everyone from the Supremes and Marvin Gaye to Elvis and Dolly Parton. He is an absolute legend in the business—an "icon" for sure.   "Raised on Radio" was released in May 1986, peaking at number four on Billboard's album chart but underperforming compared to the band's previous two albums. It featured five singles: The top ten hit "Be Good to Yourself" along with "Suzanne," "Girl Can't Help It," "I'll Be Alright Without You," and "Why Can't This Night Go On Forever?".   The Raised on Radio support tour began at Angels Camp, California, in August 1986. The band performed sold-out shows throughout the United States before concluding with two shows in Anchorage, Alaska, in early 1987, with selected dates supported by Honeymoon Suite (New Girl Now), The Outfield (Your Love), and Glass Tiger (Don't Forget Me When I'm Gone.) The tour featured Randy Jackson on bass and Mike Baird on drums, and was videotaped by MTV for a documentary that included interviews with the band members called Raised on Radio, just like the album. MTV apparently loved themselves some Journey!   With tensions between Perry, the band, and manager Herbie at an all-time high following the tour's conclusion, Perry was unable or unwilling to remain actively involved and was tired of touring as it affected his health and his vocals.   Steve said: "I called Jon and Neal together. We met in San Rafael, we sat on the edge of the marina, and I just told them, 'I can't do this anymore. I've got to get out for a while.' And they said: 'Well, what do you mean?' And I said: 'That's exactly what I mean, is what I'm saying. I just don't want to be in the band anymore. I want to get out; I want to stop.' And I think Jon said: 'Well, just take some time off, and we'll think,' and I said: 'OK, fine.' And I just sort of fell back into my life. I looked around and realized that my whole life had become everything I'd worked so hard to be, and when I came back to have a regular life, I had to go find one."   He also stated: "The truth is, that I thought music had run its course in my heart," Perry explains in a statement on his website. "I'd had an amazing time in an amazing band, and then the chance to express myself as a solo artist too. But I had to be honest with myself, and in my heart, I knew I just wasn't feeling it anymore." "For a long time, I could barely even listen to music. My last show with Journey was February of 1987. Then one day, it hit me that I couldn't do this anymore. I felt as if I had to jump off this merry-go-round — this big beautiful mothership that we had all worked so hard together to build."   Following the "Raised on Radio" tour, the band went into a hiatus. However, Columbia Records released the Greatest Hits compilation in November 1988, which became one of the biggest selling greatest hits albums, selling over 15 million copies and continuing to sell half a million to a million copies per year. The compilation spent 750 weeks on the Billboard album charts until 2008. To date, their greatest hits album has sold almost 21 million copies worldwide.   Here's something else I wasn't aware of. While Steve Perry had retreated from the public eye, Schon and Cain spent the rest of 1987 collaborating with other profound artists. They worked with artists like Jimmy Barnes and Michael Bolton before teaming up with Cain's ex-Babys bandmates John Waite and Ricky Phillips. They, in turn, formed the supergroup Bad English (When I See You Smile, Price of Love) with drummer Deen Castronovo in 1988, releasing two albums in 1989 and 1991.    Steve Smith, however, devoted his time to his jazz bands, Vital Information and Steps Ahead, and teamed up with former bassist Ross Valory and original Journey keyboardist Gregg Rolie. They formed the band "The Storm" with singer Kevin Chalfant and guitarist Josh Ramos, and guess who their manager was? Herbie, of course!!   On November 3, 1991, Neal Schon, Jonathan Cain, and Steve Perry reunited to perform "Faithfully" and "Lights" at the Bill Graham tribute concert 'Laughter, Love & Music' at Golden Gate Park in San Francisco, California, following the concert promoter's death in an unfortunate helicopter accident.    In October 1993, Schon, Rolie, Valory, Dunbar, Smith, and Cain reunited and performed at a private dinner for manager extraordinaire Herbie Herbert at Bimbo's in San Francisco, with Kevin Chalfant (Allen Parsons Project live singer) on lead vocals.   After the breakup of Bad English in 1991, Neal Schon and Deen Castronovo formed the glam metal band Hardline (Takin Me Down) with brothers Johnny and Joey Gioeli, releasing only one studio album before his departure. Neal later joined Paul Rodgers (Bad Company vocalist) in 1993 for live performances, alongside Castronovo. In 1994, Steve Perry had released his second solo album, "For the Love of Strange Medicine," and toured North America in support of the album, though his voice had changed since the last time he had performed. Those high notes weren't as easy to hit anymore. Steve Perry ultimately decided to reunite with Journey under one condition. He demanded that there be a bowl of peanut M&Ms backstage at all times and that they HAD to be all brown with one, just one, green NON-peanut M&M on top.    Yeah, that's not true. Steve's one condition was that Herbie Herbert would no longer be the band's manager. Instead, the band hired Irving Azoff, longtime Eagles manager, as the new manager for the band in October 1995. Steve Smith and Ross Valory reunited with the band and started writing material for their next album, with rehearsals beginning that same month.   The band began recording their tenth studio album, "Trial by Fire" in early 1996 at The Site and Wildhorse Studio in Marin County and Ocean Way Recorders where they recorded under producer "The Caveman" Kevin Shirley (Mr. Big, Iron Maiden, Dream Theater.) This album was released in late October that year, peaking at number three on the Billboard album charts. The album's hit single "When You Love a Woman" reached number 12 on the Billboard charts and was nominated in 1997 for a Grammy Award for Best Pop Performance by a Duo or Group with Vocal. The album also produced three top 40 mainstream rock tracks, "Message of Love," reaching number 18, "Can't Tame the Lion," hitting number 33, and "If He Should Break Your Heart," reaching number 38. It sold roughly 1.5 million units.   Plans for a support tour failed when Steve Perry, while hiking in Hawaii on a ten-day break in August 1996, discovered he had a degenerative bone condition and could not perform without hip replacement surgery. The accident resulted in the album's release date being delayed.   Upon its release, "Trial By Fire" was considered the band's worst-selling album and failed to match the originality and playability of the band's previous work. Neal Schon later admitted that the album had too many ballads and fans just wanted to hear that sweet, sweet rock and roll saying: "Even on our last record, the Trial By Fire record, a lot of the rock stuff just got shelved and ended up being like twenty ballads, I don't know how many ballads."  The band took another break following the album's dismal release to work on more solo projects, waiting for Perry to decide if he was able to or wanted to tour. Schon released his solo album Electric World in 1997, later creating Abraxas Pool with former Journey member Gregg Rolie, drummer Michael Shrieve and a few former Santana members. Jonathan Cain released his two solo albums, Body Language and For A Lifetime in 1997 and 1998 respectively. Following the reunion album's long-awaited release, Journey was becoming restless and tired of waiting for an answer from Steve Perry and touring. Following a phone call between Cain and Perry, Steve announced that he would again depart from Journey, releasing himself from the band's contracts and deciding to semi-retire from the music business. Steve Smith later quit the band, saying that Journey would not be the same without Perry and returning to his jazz career and his project "Vital Information."   The band hired the familiar drummer Deen Castronovo, Schon's and Cain's Bad English bandmate, to replace Steve Smith. After auditioning several high-profile candidates, including Geoff Tate (Queensryche), Kevin Chalfant, and John West (Royal Hunt), Journey replaced Perry with Steve Augeri, formerly of Tyketto and Tall Stories.  The band later recorded the song "Remember Me," featured on the soundtrack for the 1998 film Armageddon. Upon the song's release, the song showed fans that the band made the right decision in hiring Augeri. That soundtrack has sold over 5,392,500 copies.   Following a rehearsal with Augeri and Castronovo, the band went to Japan to perform four gigs, where they had still held an enormous fanbase. When asked how he felt about touring again in over a decade, Neal Schon commented: "It's a little like we are reborn again." Next, Journey embarked on a tour in the United States titled "Vacation's Over" which began in October and concluded at the end of December in Reno. They continued the tour with another leg in 1999, starting in Minnesota in June and finishing in Michigan in September.   From March to August 2000, the band entered Avatar Studios to record yet another studio album, "Arrival" with producer Kevin Shirley. The album was released in Japan later in the year, with a North American release in April 2001. The album had peaked at number 56 on the Billboard charts. However, the single "All the Way" failed to boost sales for the album. It was considered a disappointment with mixed opinions regarding the album, resulting in Sony dropping the band from the label. Upon the album's completion, the band set off on tour supporting the album in Latin America, the United States, and Europe.   In response to the attacks in New York City on September 11, 2001, Journey joined various bands at a major fundraising event on October 20 and 21 at the Smirnoff Music Centre in Dallas, Texas, to raise money for the victims and families of the tragedy. The event raised around one million dollars.   The Journey camp was quiet in 2002 as Neal Schon formed ANOTHER band, "Planet Us," with Castronovo, Sammy Hagar, and former Van Halen bassist Michael Anthony until 2004, when they disbanded. Schon also co-wrote songs alongside the band Bad Company, while keyboardist Jonathan Cain released another solo album.  Recording a few songs between 2001 and 2002, Journey released a four-track EP titled "Red 13" in November under their new label "Journey Music." The band chose the album cover design through a fan contest with the online cover designed by fan Kelly McDonald. However, the retail cover was only made available at the band's shows and was designed by Christopher Payne. Journey only performed one club gig in support of the EP but later began another tour of the United States from May to August 2003.  They continued touring the following year with another summer tour titled "Summer Detour" which began in June and concluded in September 2004. In November of that year, Journey joined REO Speedwagon and Styx for a tour around the Caribbean aboard the Triumph cruise ship. Sounds miserable. I'm not too fond of boats.   In 2005, the members of Journey were inducted into the Hollywood Walk of Fame alongside former members Steve Perry, Dunbar, George Tickner, Steve Smith, and Fleischmann. Rolie was the only member who did not appear at the ceremony. Surprised to see Perry joining them to accept the induction with the band, Valory commented that it was a pleasant surprise to see him.   Following their addition to the Hollywood Walk of Fame, the band began recording at the Record Plant in Sausalito, California, for their twelfth studio album, "Generations," which featured producer Kevin Elson who had collaborated with the band before. The album was released on August 29 in Europe, with a North American release following on October 4. The album peaked at number 170 on the Billboard charts. To promote the album and celebrate the band's 30th anniversary, the band embarked on a tour starting in Irvine, California, in June and concluding in Phoenix in October. Each concert on tour was three hours long with an intermission and featured many of their classic hits and included the new songs from the album. "Generations" sold less than 100,000 copies.   In 2006, the band toured Europe and joined Def Leppard on a North American tour. During the tours however, there was talk that Augeri was not singing but instead using backing tracks to cover up his deteriorating vocals. Those allegations resulted in him getting attacked by the fans. Augeri had suffered from vocal attrition problems before the band began the tour with Def Leppard. In addition, Journey had been accused of using pre-recorded lead vocals before, an accusation that former manager Herbie Herbert insists was true. SHOCKER. Valory denied the allegations, stating that it was a myth, a lie, an all-out fabrication, and that Augeri's vocals did not give out!    In a later press statement, the band announced that Augeri had to step down as Journey's lead singer and leave the tour to recover. Augeri performed his last show with Journey on July 4 in Raleigh.   With the tour still happening and successful, the band quickly hired Jeff Scott Soto from Talisman as their lead vocalist for the tour. He performed as Journey's vocalist on July 7 in Bristow for the first time. Because of its success and popularity, The band later extended the tour to November. Soto was officially announced as the band's new vocalist in December 2006. If you're keeping track, that's five lead singers.   Following tours of Europe and the United States in 2007, the band announced on June 12 that Scott Soto was no longer with them. In a statement, Neal Schon stated: "He did a tremendous job for us, and we wish him the best. We've just decided to go our separate ways, no pun intended. We're plotting our next move now." Cheeky. I love it.   Following Soto's exit from the group, the band was without a lead vocalist again. So Neal Schon began searching YouTube for a new lead vocalist, with Jeremey Hunsicker of the Journey tribute band "Frontiers" auditioning and spending a week with the band writing material. Hunsicker claims to have been formally offered the position, but it fell through shortly following tension with Schon. However, one of the tracks co-written with Hunsicker, "Never Walk Away," later appeared on the Revelation album. Neal Schon later found Filipino singer Arnel Pineda of the cover band The Zoo, covering the song "Faithfully." (Our version is arguably better, just saying.) Schon was so impressed that he contacted Pineda to set up two days of auditions with him. The auditions went well, and they later named him the official lead vocalist of Journey on December 5, 2007. In 2007, the hit song "Don't Stop Believin'" gained coverage and sharp growth in popularity when it was used in The Sopranos television series final episode, prompting digital downloads of the song to skyrocket. But, unfortunately, the Soprano's finale also pissed a lot of people off.   In November 2007, Journey entered the studio with Pineda to record the studio album "Revelation." The album was released on June 3, 2008. It debuted at number five on the Billboard charts, selling more than 196,000 units in its first two weeks and staying in the top 20 for six weeks. As a multi-disc set (2-CD), each unit within that set counts as one sale, which I didn't know. Journey also found success on Billboard's Adult Contemporary chart, where the single "After All These Years" spent over 23 weeks, peaking at number 9. "Revelation" has sold over 1 million copies.   On February 21, 2008, Pineda performed for the first time with Journey in front of 20,000 fans in Chile. The band began the "Revelation" tour in the United Kingdom in June, continuing the tour into North America, Asia, Europe, and South America, concluding in October. Receipts from the 2008 tour made Journey one of the top-grossing concert tours of the year, bringing in over $35,000,000. On December 18, 2008, Revelation was certified platinum by RIAA.   The band performed at the Super Bowl 43 pre-game show in Tampa, Florida, on February 1, 2009. The band continued their Revelation tour in May and concluded it in October 2009. They also performed in Manila in front of 30,000 fans, recorded for a live release, "Live in Manila."   In 2009, "Don't Stop Believin'" became the top-selling song on iTunes among those released before 2000, with over 500,000 downloads.   Journey then entered Fantasy Studios in Berkeley, California, in 2010 with Pineda to record their next studio album, "Eclipse." The album was released on May 24, 2011, and debuted at number 13 on the Billboard 200 charts with the singles "City of Hope" and "Human Feel." Unfortunately, "Eclipse" could not match the success of Revelation, barely selling 100,000 copies—an 1/8th of the previous album's sales. They later toured the United Kingdom in June 2011 with Foreigner and Styx. Journey was awarded the "Legend of Live Award" at the Billboard Touring Awards in October. The band later released Greatest Hits 2 in November of 2011.   In June 2015, drummer Deen Castronovo was arrested following a domestic altercation. Journey fired him in August and was replaced by Omar Hakim on the band's 2015 tour. He was sentenced to four years probation after pleading guilty to domestic violence charges.    In 2016, Steve Smith again returned as Journey's drummer, reuniting all of the Escape-Frontiers-Trial by Fire lineup members except lead singer Steve Perry. In 2018, during the North American tour with Def Leppard, Journey topped the Billboard Hot Tours List for grossing more than $30 million over 17 shows.   On March 3, 2020, Schon and Cain announced that they had fired Smith and Valory and were suing them for an alleged "attempted corporate coup d'état," seeking damages over $10 million. The lawsuit alleged Smith and Valory tried to "assume control of Nightmare Productions because they incorrectly believe that Nightmare Productions controls the Journey name and Mark" to "hold the Journey name hostage and set themselves up with a guaranteed income stream after they stop performing." Valory and Smith contested the firings with the support of former manager Herbie Herbert and former lead singer Steve Perry. Court filings revealed that Steve Perry had been paid as a band member for years despite not performing. In an open letter dated that same day, Schon and Cain stated Smith and Valory "are no longer members of Journey; and that Schon and Cain have lost confidence in both of them and are not willing to perform with them again." Valory counter-sued Schon and Cain for their partnership's claim of owning the Journey trademark and service mark.   In June 2020, Neal Schon announced via his social media page that a new album with Jackson and Walden was "starting to take shape." The following month, he confirmed the album's progress and that they would release new music in early 2021. In January 2021, he announced that the album's first single would be released later that year, with the possibility of a worldwide tour to follow. In April 2021, the band reached an "amicable settlement" with former members Valory and Smith, confirming they were no longer a part of Journey. The single "The Way We Used to Be" was released on June 24, 2021.   In July 2021, Neal Schon confirmed that Deen Castronovo, had rejoined as a second drummer.   On February 16, 2022, the band announced the title and track listing of their upcoming fifteenth studio album "Freedom," which is set to be released on July 8, 2022. On March 1, 2022, Cain confirmed that neither Walden nor Randy Jackson remained in the lineup, with Walden's dipping out following a minor heart attack following a live show in Pennsylvania. Nevertheless, they both still played on Freedom, as they had completed their parts on the album before departing. The second single, "You Got the Best of Me," was released on April 26, 2022. The third single, "Let It Rain," was released just recently, on May 17, 2022. So be on the lookout for Journey's new album!   According to the Recording Industry Association of America (RIAA) Journey has sold 48 million albums in the U.S., making them the 25th best-selling band. In addition, their worldwide sales have reached over 80 million records globally, making them one of the world's best-selling bands of all time.

Lars Ramkilde Knudsen er professor i kryptologi - "hemmelighedernes videnskab", som faget bliver kaldt. Hemmeligt er til gengæld ikke Lars' livslange kærlighed til Kim Larsen og Gasolin'. Særligt gassernes "Perron "Gare Du Nord"" bringer Lars tilbage til ungdommens dansefester - og til Pompeij, hvor han befandt sig, da nyheden om Kim Larsens dødsfalds landede. En nyhed, der medførte spontan fællessang i den syditalienske ruinby... Hør også Lars fortælle om kryptologi som videnskab i podcasten Techfolk (https://www.spreaker.com/user/dtulearnforlife/lars-ramkilde-knudsen-dtu-lfl-final). Varighed: 6:33

James White and the Blacks [00:24] "Contort Yourself" Off White 4 Men with Beards 4M 504 2002 (original released in 1979) A little something for all your No Wave Funk needs. DEVO [03:30] "Peek-A-Boo" Oh, No! It's DEVO Warner Bros. Records 9 23741-1 1982 One of the more memorable videos from the early MTV era. (https://youtu.be/nrudnbUoYAw) And certainly relevant today. Zola Jesus [06:27] "Exhumed" Okovi Sacred Bones Records SBR-184 2017 Killer track from one of my favorite albums of 2017. If you've never seen Zola Jesus live, I highly recommend it. Niki Danilova is a helluva performer (https://youtu.be/jtd_q0jiYw4?t=5). Fritzi Bielmeier [10:09] "Fairgrounds, Fair Organ, Brewery Horses and Wagaon pass by/Holzhacker Baum" Oktoberfest: The Music and Sounds of the Biggest Beer Party in the World Decca DL 4332 1959 Why, it's just like being there, apart from the vomit and sawdust. Tennessee Ernie Ford with Dorothy Gill [16:01] "Ain't Nobody's but My Own" Ol' Rockin' Ern Capitol Records T888 1957 Ol' Ern rocks out, no doubt to impress a Wicked City Woman (https://youtu.be/xSdBpDgfSGY). Guy Clark [17:57] "To Live Is to Fly" Old Friends Sugar Hill Records SH 1025 1988 Guy taking this excellent Townes Van Zandt song for a nice trip with the help of Emmylou Harris on harmony vocals. The Madrid Festival de Matadors Orchestra [21:11] "Gallito" "Olé" Music of the Bull Ring Bravo! Records K 125 ? If are curious about the origins of bullfighting in Spain, the intros to a good number of Cocaine and Rhinestones Season 2 episodes (https://cocaineandrhinestones.com/episodes/season-two) will satisfy your needs (as well as any George Jones and Tammy Wynnette needs you may have). Donna Summers [23:35] "I Feel Love" On the Radio - Greatest Hits Vol. 1 & 2 Casablanca NBLP-2-7191 1979 The sadly too-short 7" edit of this epic Giorgio Moroder classic, second only in my mind to Sparks' "Number One Song in Heaven (https://youtu.be/P6I6yr7WDeg)". Siouxsie and the Banshees [29:05] "Christine" Once Upon a Time/The Singles PVC Records PVC 8906 1981 The second single from their 1980 album Kaleidoscope, marked by the addition of John McGeoch on guitar. Cheap Trick [32:04] "Saturday at Midnight" One on One Epic FE 38021 1982 Cheap Trick try on Sparks? Produced by the legendary Roy Thomas Baker. Shannon & the Clams [35:02] "Onion" Onion Easy Eye Sound EES-004 2018 Recorded at Dan Auerbach's Easy Eye Sound Studio. So much goodness on this album, so I opted for my favorite track. Red Fang [37:49] "Flies" Only Ghosts Relapse Records RR 7347 2016 Hot track one, side one from the fourth studio effort by Portland's very own Red Fang. St. Etienne [42:52] "Stoned to Say the Least (Album Version)" Only Love Can Break Your Heart Warner Bros. Records 0-40196 1991 As heard on the wonderful Foxbase Alpha. The Dirtbombs [50:35] "Hey! Cookie" Ooey Gooey Chewy Ka-Blooey In the Red Recordings ITR-248 2013 The Dirtbombs! Bubblegum pop! What more could you ask for?! Jerry Lee Lewis [53:23] "Money" Original Golden Hits - Volume 2 Sun SUN 103 1969 The Killer slays this Bradford/Gordy classic. The Ink Spots [55:37] "We'll Meet Again" Original Ink Spots Vol. 1 Coronet Records CX-101 1959 It's true, we will meet again. Hopefully sooner rather than later! Music behind the DJ: "Alfie" by Christopher Scott

In June of 1978, The Cars released their debut album. Recorded at AIR studios in London and produced by Roy Thomas Baker, the resulting nine songs play as a best of album. Lets talk The Cars, The Cars!

My guest today is Bryan Cook a Los Angeles based mixer working in the studio world for the past 20 years.  Bryan grew up just outside of Philadelphia, playing the saxophone. A book of Charlie Parker solos became the initial inspiration to pursue music on a deeper level experiencing the studio for the first time in high school and he went on to attend the Berklee College of Music in Boston to study music production and engineering, where his first studio job was interning at Blue Jay studios outside of Boston.  Upon graduation, Bryan headed to Los Angeles, where he landed at the legendary A&M Studios, which has since been renamed Henson Recording Studios.  He worked with artists like Rod Stewart, The Wallflowers, Korn and +Live+, and producers such as Brendan O'Brien, Roy Thomas Baker, Jerry Harrison, Richard Perry, and Trevor Horn.  He then headed out on his own in 2002. He worked for many years recording and mixing for composer/producer Michael Andrews doing music projects including Inara George and Gary Jules, alongside film projects like Walk Hard and 40 year old virgin. He now mixes on his own full time with the rare tracking or production session sprinkled in. He enjoys all kinds of music, except klezmer and polka. Bryan is best known for his work as a mixer for artists like U2, One Republic, the tv show Songland, and Allie Sherlock produced by Ryan Tedder. He has recorded the Raconteurs, Fleet Foxes, Iggy Pop, Queens of the Stoneage, Cold War Kids, Damien Rice, The Eels, and Autolux for Nigel Godrich's well-received “From The Basement” series. His recent work includes producing, recording, and mixing Jeff Goldblum's latest album, “I Shouldn't Be Telling You This.” Thank you to Howard Willing for the introduction. Get access to FREE mixing mini-course: http://MixMasterBundle.com THANKS TO OUR SPONSORS! https://RecordingStudioRockstars.com/Academy Use code ROCKSTAR to get 10% https://samplyaudio.com Use code RSR20 to get 20% off for the first 3 months https://carltatzdesign.com/Mixroom-Mentor https://www.Spectra1964.com http://MacSales.com/Rockstars http://iZotope.com/Rockstars use code ROCK10 for 10% off http://www.thetoyboxstudio.com http://UltimateMixingMasterclass.com Hear guests discography on Spotify: https://open.spotify.com/playlist/6TQgZEzPzuBHiFI0aJBu5Q?si=8586643b649941c0 If you love the podcast, then please leave a review: https://RSRockstars.com/Review CLICK HERE FOR COMPLETE SHOW NOTES AT: http://RSRockstars.com/333

Elliot Easton, guitarist for The Cars (among others), continues his eclectic conversation with Andrew Loog Oldham in part two of the podchat. The two talk about their shared love for The Hollies, the difference between legendary producers Mutt Lange and Roy Thomas Baker, how Elliot was a teenage activist, the events leading to the breakup of The Cars, playing with Creedence Clearwater Revival, and what it means that Elliot shares a birthday with “Allen Crime."And, now, ladies and gentlemen — the show notes! : The Untold Truth of Creedence Clearwater RevisitedEugene McCarthy, Unsung HeroThe Poor People's Campaign, 1968In 1968, a ‘Resurrection City' of Tents, Erected to Fight PovertyThe Jim Kweskin Jug BandDale Hawkins - "Susie Q"10 Best Rhythm Sections Of All TimeThe HolliesAfter a tough start in Salford, Graham Nash is living the rock'n'roll dreamLaurel Canyon trailerThe Hollies - "Stop In The Name Of Love"All-Vox man… that's Tony HicksWhen The Hollies met Graham GouldmanHarvey Brian Lisberg – talent agent & impresarioPye RecordsMike Smith: The Most Underrated Singer in Classic Rock?Sam Cooke, The Rolling Stones, The Beatles -- and Allen KleinTime - The MusicalThe Dave Clark 5 - "Any Way You Want It"The Legendary Battle Between the Rolling Stones and Their Notorious Manager, Allen KleinMutt Lange: a guide to his best albumsThe Linn LM-1: The Drum Machine that changed everythingBee Gees & Arif Mardin - "40 Years Atlantic Records"Why the Cars Ran off the Road with 'Door to Door'Sounds and Vision - S2 – Johnny Marr (Part 1)Everyone Gets a Voice in the Oral History David Bowie: A LifeMarianne Faithfull - "As Tears Go By"The Truth About Ric Ocasek and Benjamin Orr's RelationshipMilkwood - "With You With Me"Benjamin Orr obituaryRic Ocasek obituaryAndrew Loog Oldham's Sounds and Vision is a partner of the Double Elvis podcast network.  For more of the best music storytelling follow @DoubleElvis on Instagram or search Double Elvis in your podcast app.

Show NotesElliot Easton's guide to The Cars' discographyThe Cars (streaming discography)The Cars: Power SteeringWhat did you do to get your SAG card?Maxanne Sartori13th Floor Elevators - "You're Gonna Miss Me"Terry DoranThe Dark Side Of Colonel ParkerJust how difficult is it to make a sustainable living from streaming?The Cars on Midnight SpecialWolfman Jack!!!! Howlin' On The Air part 12018 Rock & Roll Hall of Fame - The Cars - Induction SpeechMega music manager Irving Azoff, still feared, still fightingShep GordonTony Dimitriades Wiki: Everything to Know about Tom Petty's ManagerSync Up: Elliot Roberts Interviewed by Warren ZanesFrom Mailroom to Boardroom: 10 Modern-Day Execs Who Started At The BottomRoy Thomas Baker: Taking Chances and Making HitsFree - "All Right Now"Gus DudgeonQueen - The Story of Bohemian RhapsodyStephens Electronics, maker of the 40-track analog multitrack machineThe Cars - "Drive"The Rolling Stones - "Heart of Stone"The Cars - "Just What I Needed" (demo version)The Cars - "Just What I Needed" (Roy Thomas Baker version)20 Struggles Only Left Handed People Will UnderstandThe Cars Rock Goes to College 1979 (Full Concert)Andrew Loog Oldham's Sounds and Vision is a partner of the Double Elvis podcast network. For more of the best music storytelling follow @DoubleElvis on Instagram or search Double Elvis in your podcast app.

We talk to Carol Decker - Lead singer of the multi platinum pop rock band T'Pau. Carol shares stories of growing up in a working class background and suddenly, once taking steps into art college she would be introduced into a whole new creative world. This new journey would allow her vocal talents to shine and eventually see her forming the chart topping band that would conquer the charts both at home and in the USA. We learn of the origins of her songwriting partnership with T'Pau bandmate Ronnie Rogers and also working with legendary producer Roy Thomas Baker in this fun chat with one of the finest singers of the 80s.This episode is brought to you by our friends Dead Skull Coffee.https://deadskullcoffee.co.uk/discount/STVPlease visit The Straight To Video Patreon Page to find out how you can help grow this show. https://www.patreon.com/stvpod 

Pat welcomes the legendary original vocalist of Foreigner, Lou Gramm, to the "Zoom Room" to discuss his career in music. See Privacy Policy at https://art19.com/privacy and California Privacy Notice at https://art19.com/privacy#do-not-sell-my-info.

The customer is always right, so they say… hmmm… well, on this week's show we're going to test that theory to the limit as we look at the second album from the early 00's most successful hard rock revivalists; The Darkness' One Way Ticket To Hell… and Back! Let's hope you had a receipt for that catsuit. We're joined by Metal Hammer editor and longtime fan of the band Merlin Alderslade to dig deep into just what went wrong with rock's great new hopes of the 21st century. Released on the 28th of November 2005, the follow up to the inhumanly successful Permission To Land was always going to struggle by comparison, and it would take more than endless nudging, winking and tomfoolery and the excessive production techniques of the legendary Roy Thomas Baker, he of Bohemian Rhapsody fame, to save this album from a fickle mainstream public. During the recording of the record the band lost their iconically moustached bassist Frankie Poullain, frontman Justin Hawkins made the bizarre decision to go solo, and by the time the album was released drugs, apathy and exhaustion had all but destroyed the band, their stratospheric rise all crashing down around them as quickly as it had risen.  But is the album actually that bad, or had The Darkness fifteen minutes of fame just expired? Find out here.

Today’s theme is simple…party time.  Episode 47 of the Seven Notes of Separation begins with a toast…Bottoms Up from Van Halen starts the festivities thanks to our great friend, Eric Alberty.  Craig Smith of the Pods and Sods Network submitted the Ween track, Your Party, which wraps up our show.  Party-goers today include REO Speedwagon, Brian May, and producer Roy Thomas Baker.  B.Y.O.B.!!!!!  See you there!!!!

Episode 45 covers the fifth Queen studio album, 1976's "A Day at the Races." It was the band's first completely self-produced album, and the first not to feature producer Roy Thomas Baker. The album serves as a companion album to the band's previous album, A Night at the Opera, both taking their names from Marx Brothers films, as well as sharing similar packaging and eclectic musical themes. Mark, Kevin, Alex, and Chris take you on a historical journey surrounding the album as well as share our favorites and not-so favorites from the record. We go on a deep dive track-by-track listen of this hard rock album as well as share personal stories of discovering Queen's "A Day at the Races." Tune in next week for Episode 46 covering the sixth Queen album "News of the World."Available at https://lightthesky.net/podcasts/queen/a-day-at-the-races/ and on all podcast streaming platforms (just search "Light the Sky Podcast.")Follow "Light the Sky Podcast" on Instagram, Twitter, and Facebook to stay up-to-date with all things LTS.Instagram: https://www.instagram.com/lighttheskypodcast/Twitter: https://twitter.com/LighttheSkyPod1Facebook: https://www.facebook.com/LightTheSkyPodcast/

Mötley Crüe record their debut album Too Fast For Love with engineer Michael Wagener at Hit City West and release it on their own Leathür Records label. Once signed to Electra Records, they partially re-record and remix the record with Gordon Fordyce under the supervision of producer Roy Thomas Baker. --- Support this podcast: https://anchor.fm/david-blake-lucarelli/support

Aaron and Bryon tear into Mötley Crüe's raw, stellar debut, and chat with special guest Harvey Warren, who filled in for Tommy Lee at a Crüe show in Canada. Roy Thomas Baker's livelihood is discussed, and hear about a chance encounter with Nuno Bettencourt. --- Support this podcast: https://anchor.fm/hair-metal-memories/support

Pallbearer [00:24] "Thorns" Heartless Profound Lore Records PFL179LP 2017 Some doomy goodness from the these Little Rock gents. One of my favorite albums from 2017. The Isley Brothers [05:48] "Fight the Power (Part 1 & 2)" The Heat Is On T-Neck PZ 33536 1975 Scorching opener from the Brothers 1975 double platinum album. Thou [11:09] "Into the Marshlands/Clarity" Heathen Howling Mine ORE007 2014 More heaviness, this time by way of Louisiana. Easily one of the best doom albums of the last 10 years. Heaven 17 [19:40] "(We Don't Need This) Fascist Groove Thang" Heaven 17 Arista AL 6606 1982 Sadly, as true today as it was 40 years ago, if not more so. Cheap Trick [23:58] "Reach Out" Heavy Metal - Music from the Motion Picture Full Moon DP-90004/Asylum Records DP-90004 1981 So very 1981 in the best possible way. Roy Thomas Baker produced this excellent Cheap Trick pop rocker co-written by Pete Comita, the bassist who briefly replaced Tom Petesson. Virgil Fox [27:34] "J.S. Bach: Toccata and Fugue in D Minor, BWV 565" Heavy Organ at Carnegie Hall, Vol. 2 RCA Red Seal ARL1-0477 1974 That's right, Bach orgelwerk set to a light show, oops light experience. No, really. (https://youtu.be/QuOdbVJ0OcU?t=144) Taj Mahal [35:44] "Diving Duck Blues" Heavy Sounds Columbia CS 9952 1970 Compilation for the kids who are into the heavy stuff. This track is a selection from Taj's first album. Swiss Yodel Club [40:03] "Sounds of Switzerland: Wolfsbödeler Yodel Song/Wie Bas Ich Mir Da Obe" Songs from Heidi Disneyland DQ-1327 1968 Yodels recorded via the tin cans and string method? Bloc Party [44:16] "Helicopter (Weird Science Remix featuring Peaches)" Helicopter Dim Mak Records DM095 2006 The sounds of 2006, in a good way. Gravy Train!!!! [50:05] "Burger Baby" Hello Doctor Kill Rock Stars KRS 389 2003 Why yes, of course there's a video (https://youtu.be/PDK8LqsaeJ4). Los Campesinos! [51:55] "Baby I Got the Death Rattle" Hello Sadness Heart Swells HS001/Turnstile 796.A022.010 2011 This is an album that just keeps on giving. I always enjoy putting it on the turntable. Music behind the DJ: "Spinning Wheel" by Terry Baxter and his Orchestra

Gestur þáttarins að þessu sinni er enginn, en vinur þáttarins sendir pistil og lag og óskalagasíminn opnar kl. 20.00 - 5687123. Plata þáttarins sem við heyrum amk. þrjú lög af er fimmta hljóðversplata hljómsveitarinnar Queen; A Day at the Races sem kom út 10. Desember 1976 og er af mörgum aðdáanda Queen talin ein af bestu plötum sveitarinnar. Hljómsveitin stjórnaði sjálf upptökum en Mike nokkur Stone var upptökumaður en hann tók upp fyrstu sex plötur Queen og var hægri hönd upptökustjórans Roy Thomas Baker sem stjórnaði upptökum á fyrstu fjórum plötunum. A Day at the Races er einskonar systurplata A Night at the Opera sem kom út árið áður, en nöfnin eru bæði fengin frá kvikmyndum Marx bræðra og umslögin minna hvort á annað. A night at the Opera er hvítt en umslag A Day at the races er svart. Músíklega eru þessar tvær plötur líka systur og allskyns stílar í gangi, allt frá einskonar leikhúsmúsík upp í harðasta rokk. Platan náði toppsæti vinsældalistanna í Bretlandi, Japan og Hollandi t.d. og fór hæst í 5. Sæti listans í Bandaríkjunum. Þegar BBC setti saman lista yfir bestu plötur allra tíma árið 2006 lenti A Day at the Races í 67. sæti.

Gestur þáttarins að þessu sinni er enginn, en vinur þáttarins sendir pistil og lag og óskalagasíminn opnar kl. 20.00 - 5687123. Plata þáttarins sem við heyrum amk. þrjú lög af er fimmta hljóðversplata hljómsveitarinnar Queen; A Day at the Races sem kom út 10. Desember 1976 og er af mörgum aðdáanda Queen talin ein af bestu plötum sveitarinnar. Hljómsveitin stjórnaði sjálf upptökum en Mike nokkur Stone var upptökumaður en hann tók upp fyrstu sex plötur Queen og var hægri hönd upptökustjórans Roy Thomas Baker sem stjórnaði upptökum á fyrstu fjórum plötunum. A Day at the Races er einskonar systurplata A Night at the Opera sem kom út árið áður, en nöfnin eru bæði fengin frá kvikmyndum Marx bræðra og umslögin minna hvort á annað. A night at the Opera er hvítt en umslag A Day at the races er svart. Músíklega eru þessar tvær plötur líka systur og allskyns stílar í gangi, allt frá einskonar leikhúsmúsík upp í harðasta rokk. Platan náði toppsæti vinsældalistanna í Bretlandi, Japan og Hollandi t.d. og fór hæst í 5. Sæti listans í Bandaríkjunum. Þegar BBC setti saman lista yfir bestu plötur allra tíma árið 2006 lenti A Day at the Races í 67. sæti.

Gestur þáttarins að þessu sinni er enginn, en vinur þáttarins sendir pistil og lag og óskalagasíminn opnar kl. 20.00 - 5687123. Plata þáttarins sem við heyrum amk. þrjú lög af er fimmta hljóðversplata hljómsveitarinnar Queen; A Day at the Races sem kom út 10. Desember 1976 og er af mörgum aðdáanda Queen talin ein af bestu plötum sveitarinnar. Hljómsveitin stjórnaði sjálf upptökum en Mike nokkur Stone var upptökumaður en hann tók upp fyrstu sex plötur Queen og var hægri hönd upptökustjórans Roy Thomas Baker sem stjórnaði upptökum á fyrstu fjórum plötunum. A Day at the Races er einskonar systurplata A Night at the Opera sem kom út árið áður, en nöfnin eru bæði fengin frá kvikmyndum Marx bræðra og umslögin minna hvort á annað. A night at the Opera er hvítt en umslag A Day at the races er svart. Músíklega eru þessar tvær plötur líka systur og allskyns stílar í gangi, allt frá einskonar leikhúsmúsík upp í harðasta rokk. Platan náði toppsæti vinsældalistanna í Bretlandi, Japan og Hollandi t.d. og fór hæst í 5. Sæti listans í Bandaríkjunum. Þegar BBC setti saman lista yfir bestu plötur allra tíma árið 2006 lenti A Day at the Races í 67. sæti.

Don Dokken talks about working with George Lynch, Tom Werman, Michael Wagener, and Roy Thomas Baker on Dokken's 1984 platinum album, 'Tooth and Nail.' This excerpt was taken from the full in bloom interview with Don Dokken. You can listen to the entire Don Dokken interview @ fullinbloom.com: https://fullinbloom.com/don-dokken-the-full-in-bloom-interview-2020-don-talks-tooth-and-nail-the-lost-songs-great-white-george-lynch-tom-werman-geoff-workman/ You can also listen to the interview where Tom Werman talks about his experience working on 'Tooth and Nail': https://fullinbloom.com/dokken-tooth-and-nail-inside-the-album-w-producer-tom-werman-george-lynch-geoff-workman-full-in-bloom-interview/ Hit the subscribe button if you would like to be notified as new interviews & excerpts are uploaded. Song by FOOL OF FATE

Gurú, psicólogo, ingeniero de sonido, cazatalentos...La figura del productor musical es más compleja de lo que parece. Repasamos la historia, personalidad y aportaciones de algunos de los más importantes: La excentricidad del creador del muro de sonido, el quinto Beatle, los excesos de Roy Thomas Baker, el artesano del baladón David Foster, el creador del sonido Caño Roto, Quincy Jones o famosísimo Rick Rubin.

Hoy recordaremos parte del quinto álbum de Queen, "A Day at the Races" publicado en 1976, último en el cargo de la produción de Roy Thomas Baker. Contiene temas como "Good old Fashioned lover boy", "Tie your mother down" o "Somebody to love"... y como siempre , crearemos una historia paralela traduciendo parte de las letras originales, para entre varias canciones, que cada oyente pueda imaginar, a su vez una historia distinta. No están todas las que son, pero son todas las que están. Podeis también seguirnos en https://www.facebook/radioinsomnianight https://www.instagram.com/radio_insomniac Muchas gracias por escuchar y apoyar Radio Insomnia. Si tu quieres, puedes ser uno de los mecenas de Radio Insomnia, desde 1,49€ al mes. Gracias

Albums and All That, Starting with the letter C as in Charlie From Cabaret (Original Sound Track Recording) to Castlevania (Trevor Morris) Joel Grey [00:42] "Two Ladies" Cabaret ABC Records ABCD 752 1972 Deedle Eee Deedlee Dee indeed! Caetano Veloso [03:54] "O Leãozinho" Caetano Veloso Nnonesuch 79127 1986 Recorded in NYC with translated lyrics by Arto Lindsay. Mizmor [06:14] "Desert of Absurdity" Cairn Gilead Media RELIC114 2019 This release was easily in my Top 10 albums from 2019. Wymond Miles [17:15] "Devil's Blue Eyes" Call by Night Sacred Bones Records SBR-153 2016 Sonic guitar wizard from the Fresh & Onlys in fine form on his 3rd solo album. Stephen Malkmus and Friends [21:22] "Spoon" Can's Ege Bamyasi Matador OLE 1030-1 2013 Recorded in 2012 in Köln to celebrate the 40th anniversary of Can's landmark album. Barry White [25:10] "Can't Get Enough of Your Love, Babe" Can't Get Enough 20th Century Records T-444 1974 Every day, someone is born who has never heard "Can't Get Enough of Your Love, Babe". This album topped the Top 200 and the single topped the Hot 100. Elvis Presley [29:40] "Snowbird" A Canadian Tribute RCA KKL1-7065 1978 One for all you Anne Murray fans out there from a post-humous Elvis compilation dedicated to the Great White North. Siouxsie and the Banshees [32:38] "Candyman" Candyman Wonderland/Polydor SHEX 10 1987 Some excellent mid-period Siouxsie, topped out at 34 on the UK charts. Jerry Goldsmith [36:22] "Main Title" Capricorn One: Original Motion Picture Sound Track Warner Bros. BSK 3201 1978 From the man who brought the Planet of the Apes original motion picture sound track comes some very dramatic music! Captain & Tenille [39:10] "Love Will Keep Us Together" Captain & Tenille's Greatest Hits A&M SP-4667 1977 Sedaka's back... as interpreted by The Captain and Toni Tenille. There's some pretty fun keyboard things going on throughout the whole song. Great work Cap'n! Men at Work [42:34] "Overkill" Cargo Columbia QC 38660 1983 While this album may lack the novelty impact of Business as Usual, I'd say the song craft is much stronger on this one. Case in point: Overkill. This triple-platinum album peaked at number 3 on the Top 200, as did this single. Benny Goodman [47:22] "One O'Clock Jump" Carnegie Hall Jazz Concert Columbia OSL-160 1963 A Basie classic, from a classic 1938 jazz concert that included the likes of Benny Goodman, Harry James, Lionel Hampton, Gene Krupa, Cootie Williams, Johnny Hodges, and Lester Young. The Cars [53:57] "My Best Friend's Girl" The Cars Elektra 6E-135 1978 Gotta love that Muswell Hillbilly riff. This New Wave multi-platinum smash hit has so many great songs it's hard to pick just one. Plus it's an example of Roy Thomas Baker at his finest. The Decemberists [57:40] "The Legionnaire's Lament" Castaways and Cutouts Jealous Butcher JB-052/Hush Records HUSH 049 2002 Released on my birthday way back in 2002. Trevor Morris [01:02:23] "Main Title" Castlevania: Music from the Netflix Original Series Lakeshore Records LKS35056 2017 Splatter red and black vinyl, known as "Belmont Blood". If you are at all interested in anime and/or the video game franchise, this series is definitely worth your time. Music behind the DJ: "Sarah's Song" by Krzystof Komeda

Live Killers es el primer disco en vivo editado por la banda inglesa Queen. Se editó el 26 de junio de 1979 y se grabó durante la gira Europea de Jazz Tour, y se mezcló en sus propios estudios, los Mountain Studios de Mountreux. La banda no quedó satisfecha con el resultado del disco, siendo Roger el más contrario a él, aborreciéndolo.[cita requerida] Una edición singular se editó en 1985 llamada Queen Live para algunos pocos países, como Brasil, Sudáfrica, Australia, Japón y Nueva Zelanda. En sí el disco es un extraño mix de versiones en vivo, más algunos elementos grabados luego en el estudio y otros editados fuera. We Will Rock You (Fast Version) - 3:20 Let Me Entertain You - 3:16 Death On Two Legs (Dedicated To...) - 3:32 Killer Queen - 2:00 Bicycle Race - 1:30 I'm In Love With My Car - 2:03 Get Down, Make Love - 4:32 You're My Best Friend - 2:10 Now I'm Here - 8:43 Dreamer's Ball - 3:43 Love of My Life - 5:00 '39 - 3:27 Keep Yourself Alive - 4:03 Disco 2 Don't Stop Me Now - 4:30 Spread Your Wings - 5:23 Brighton Rock - 12:14 Bohemian Rhapsody - 6:03 Tie Your Mother Down - 3:41 Sheer Heart Attack - 3:36 We Will Rock You - 2:50 We Are the Champions - 3:30 God Save The Queen - 1:32 Publicación 22 de junio de 1979 Grabación Enero a marzo de 1979 Género(s) Hard rock Duración 90:08 Discográfica EMI (Reino Unido), Hollywood Records (Estados Unidos) Productor(es) Queen y Roy Thomas Baker

Gestur þáttarins að þessu sinni er Guðmundur Jónsson tónlistarmaður, Gummi úr Sálinni og GG Blús t.d. Hann mætir með uppáhalds ROKKplötuna sína klukkan 21.00 Plata þáttarins sem við heyrum amk. þrjú lög af er A Night at the Opera, fjórða hljóðversplata hljómsveitarinnar Queen. Hún kom kom út 21. nóvember 1975 á vegum EMI Records í Bretlandi og Evrópu og Elektra Records í Bandaríkjunum. Og akkúrat þennan dag 1975 náði hún toppsæti breska vinsældalistans og sat á toppnum í fjórar vikur. A Night at the Opera var fyrsta plata Queen sem fór á toppinn en alls ekki sú síðasta. Upptökustjóri plötunnar var Roy Thomas Baker sem gerði fyrstu fimm plöturnar með Queen, og það var sagt frá því á sínum tíma að þetta væri dýrasta plata sem hafði verið tekin upp, það fór svo mikil tími í upptökurnar. Nafn plötunnar er fengið frá titli samnefndrar kvikmyndar sem Marx bræður gerðu árið 1935. Platan var tekin upp í ýmsum stúdíóum á fjögurra mánaða tímabili árið 1975. Queen hafði lent í því eins og svo margar aðrar hljómsveitir í sögunni að semja af sér þannig að þeir höfðu næstum enga peninga fengið fyrir fyrstu þrjár plöturnar sínar. Þeir enduðu á þessum tímapunkti samning sinn við Tridend Studios og fóru annað og unnu. Upptökuvinnan var flókin útkoman mjög fjölbreytt, A Night at the Opera er gríðarlega fjölbreytt plata. Þar er spilað rokk eins og gengur, en þar eru líka ballöður, söngleikamúsík, dixieland-jazz ofl. Og auk hinna hefðbundnu rokkhljóðfæra sem eru notuð á plötunni notuðu þeir líka kontrabassa, hörpu og ukulele svo eitthvað sé nefnt. Platan fór á toppinn heima í Bretlandi eins og fram hefur komið og náði fjórða sæti bandaríska vinsældalistans. Platan hefur í dag selst í meira en 6 milljónum eintaka. Platan hefur að geyma vinsælasta og þekktasta lag Queen, sjálft krúnudjásnið, Bohemian Rhapsody, sem er eitt vinsælasta og þekktasta lag rokksögunnar. Platan fékk misjafna dóma þegar hún kom út. Sveitinni var hælt fyrir fjölbreytileikann og sándið, en mörgum þótti platan ekkert sérstök. Hún hlaut tvær Grammy tilnefningar 1977, rúmu ári eftir að hún kom út, í flokkunum Best Pop Vocal Performance by a Duo, Group or Chorus og Best Arrangement for Voices. Í seinni tíð er talað um þessa plötu sem eina af merkustu og flottustu plötum rokksögunnar. Árið 2003 lenti hún í sæti 231 á lista Rolling Stone yfir 500 bestu plötur sögunnar. Í fyrra var A Night at the Opera vígð inn í frægðarhöll Grammy. Óskalagasíminn verður opnaður (5687-123) um kl. 20 og A+B er svo að þessu sinni með Jimi Hendrix. EGO - Stórir strákar fá raflost Psychadel

Gestur þáttarins að þessu sinni er Guðmundur Jónsson tónlistarmaður, Gummi úr Sálinni og GG Blús t.d. Hann mætir með uppáhalds ROKKplötuna sína klukkan 21.00 Plata þáttarins sem við heyrum amk. þrjú lög af er A Night at the Opera, fjórða hljóðversplata hljómsveitarinnar Queen. Hún kom kom út 21. nóvember 1975 á vegum EMI Records í Bretlandi og Evrópu og Elektra Records í Bandaríkjunum. Og akkúrat þennan dag 1975 náði hún toppsæti breska vinsældalistans og sat á toppnum í fjórar vikur. A Night at the Opera var fyrsta plata Queen sem fór á toppinn en alls ekki sú síðasta. Upptökustjóri plötunnar var Roy Thomas Baker sem gerði fyrstu fimm plöturnar með Queen, og það var sagt frá því á sínum tíma að þetta væri dýrasta plata sem hafði verið tekin upp, það fór svo mikil tími í upptökurnar. Nafn plötunnar er fengið frá titli samnefndrar kvikmyndar sem Marx bræður gerðu árið 1935. Platan var tekin upp í ýmsum stúdíóum á fjögurra mánaða tímabili árið 1975. Queen hafði lent í því eins og svo margar aðrar hljómsveitir í sögunni að semja af sér þannig að þeir höfðu næstum enga peninga fengið fyrir fyrstu þrjár plöturnar sínar. Þeir enduðu á þessum tímapunkti samning sinn við Tridend Studios og fóru annað og unnu. Upptökuvinnan var flókin útkoman mjög fjölbreytt, A Night at the Opera er gríðarlega fjölbreytt plata. Þar er spilað rokk eins og gengur, en þar eru líka ballöður, söngleikamúsík, dixieland-jazz ofl. Og auk hinna hefðbundnu rokkhljóðfæra sem eru notuð á plötunni notuðu þeir líka kontrabassa, hörpu og ukulele svo eitthvað sé nefnt. Platan fór á toppinn heima í Bretlandi eins og fram hefur komið og náði fjórða sæti bandaríska vinsældalistans. Platan hefur í dag selst í meira en 6 milljónum eintaka. Platan hefur að geyma vinsælasta og þekktasta lag Queen, sjálft krúnudjásnið, Bohemian Rhapsody, sem er eitt vinsælasta og þekktasta lag rokksögunnar. Platan fékk misjafna dóma þegar hún kom út. Sveitinni var hælt fyrir fjölbreytileikann og sándið, en mörgum þótti platan ekkert sérstök. Hún hlaut tvær Grammy tilnefningar 1977, rúmu ári eftir að hún kom út, í flokkunum Best Pop Vocal Performance by a Duo, Group or Chorus og Best Arrangement for Voices. Í seinni tíð er talað um þessa plötu sem eina af merkustu og flottustu plötum rokksögunnar. Árið 2003 lenti hún í sæti 231 á lista Rolling Stone yfir 500 bestu plötur sögunnar. Í fyrra var A Night at the Opera vígð inn í frægðarhöll Grammy. Óskalagasíminn verður opnaður (5687-123) um kl. 20 og A+B er svo að þessu sinni með Jimi Hendrix. EGO - Stórir strákar fá raflost Psychadel

Gestur þáttarins að þessu sinni er Guðmundur Jónsson tónlistarmaður, Gummi úr Sálinni og GG Blús t.d. Hann mætir með uppáhalds ROKKplötuna sína klukkan 21.00 Plata þáttarins sem við heyrum amk. þrjú lög af er A Night at the Opera, fjórða hljóðversplata hljómsveitarinnar Queen. Hún kom kom út 21. nóvember 1975 á vegum EMI Records í Bretlandi og Evrópu og Elektra Records í Bandaríkjunum. Og akkúrat þennan dag 1975 náði hún toppsæti breska vinsældalistans og sat á toppnum í fjórar vikur. A Night at the Opera var fyrsta plata Queen sem fór á toppinn en alls ekki sú síðasta. Upptökustjóri plötunnar var Roy Thomas Baker sem gerði fyrstu fimm plöturnar með Queen, og það var sagt frá því á sínum tíma að þetta væri dýrasta plata sem hafði verið tekin upp, það fór svo mikil tími í upptökurnar. Nafn plötunnar er fengið frá titli samnefndrar kvikmyndar sem Marx bræður gerðu árið 1935. Platan var tekin upp í ýmsum stúdíóum á fjögurra mánaða tímabili árið 1975. Queen hafði lent í því eins og svo margar aðrar hljómsveitir í sögunni að semja af sér þannig að þeir höfðu næstum enga peninga fengið fyrir fyrstu þrjár plöturnar sínar. Þeir enduðu á þessum tímapunkti samning sinn við Tridend Studios og fóru annað og unnu. Upptökuvinnan var flókin útkoman mjög fjölbreytt, A Night at the Opera er gríðarlega fjölbreytt plata. Þar er spilað rokk eins og gengur, en þar eru líka ballöður, söngleikamúsík, dixieland-jazz ofl. Og auk hinna hefðbundnu rokkhljóðfæra sem eru notuð á plötunni notuðu þeir líka kontrabassa, hörpu og ukulele svo eitthvað sé nefnt. Platan fór á toppinn heima í Bretlandi eins og fram hefur komið og náði fjórða sæti bandaríska vinsældalistans. Platan hefur í dag selst í meira en 6 milljónum eintaka. Platan hefur að geyma vinsælasta og þekktasta lag Queen, sjálft krúnudjásnið, Bohemian Rhapsody, sem er eitt vinsælasta og þekktasta lag rokksögunnar. Platan fékk misjafna dóma þegar hún kom út. Sveitinni var hælt fyrir fjölbreytileikann og sándið, en mörgum þótti platan ekkert sérstök. Hún hlaut tvær Grammy tilnefningar 1977, rúmu ári eftir að hún kom út, í flokkunum Best Pop Vocal Performance by a Duo, Group or Chorus og Best Arrangement for Voices. Í seinni tíð er talað um þessa plötu sem eina af merkustu og flottustu plötum rokksögunnar. Árið 2003 lenti hún í sæti 231 á lista Rolling Stone yfir 500 bestu plötur sögunnar. Í fyrra var A Night at the Opera vígð inn í frægðarhöll Grammy. Óskalagasíminn verður opnaður (5687-123) um kl. 20 og A+B er svo að þessu sinni með Jimi Hendrix. EGO - Stórir strákar fá raflost Psychadel

This live stream music history podcast, reviews The Cars debut album and comes up with 10 questions for Ric Ocasek as a tribute to this amazing artist. Two comedians use the socratic method and improv to develop questions for Ric Ocasek while live streaming on October 26th, 2019. Stephen Alloy, a lawyer by profession, and my self, a retired veteran, met while learning improv and now perform improv in the Omaha area. We both love The Cars, and wanted to learn more about Ric Ocasek. We listened to interviews, podcasts & documentaries and read anything we could find about Ric Ocasek. In the live stream we have a broad discussion! Who had a similar sound to The Cars, how did Ric Ocasek get along with producer Roy Thomas Baker, what would the 1978 Ocasek think of Weezer, who did Ocasek look up to in the song writing world, how much did Ocasek influence the bands he produced, what is up with 3.44, would the The Cars have produced more if the Hindenburg disaster had not occurred, what attracted Ocasek to Orr, who is the Ric Ocasek of today, what fundamentally motivated Ocasek, and many other steams of thought! The video of this podcast is available at https://youtu.be/SVjhIFveEyASupport the show (https://www.youtube.com/channel/UCqogkrQjtGfMCP8NrPiswWw?sub_confirmation=1)

The guys are joined by Ira Elliot of Nada Surf to discuss the Cars fantastic debut record and pay tribute to the genius of Ric Ocasek. Plenty of great stories from Ira who had the pleasure of knowing Ric as the producer of Nada Surf's first record and also got to play with Ric on the "Troublizing" record. Other discussion about Roy Thomas Baker, Bambi Kino and Bill Murray, Benjamin Orr, Phoebe Cates, and more. Catch Nada Surf at nadasurf.com Check out other episodes at RecordsRevisitedPodcast.com, Apple Podcasts, Stitcher, Castbox, iHeartMedia, and we're now on Google Podcasts and Spotify. Additional content is found at: Facebook.com/recordsrevisitedpodcast or twitter @podcastrecords

Hoy vamos a repasar la vida y milagros de uno de los mejores grupos de la historia del rock: THE QUEEN. Para ello contaremos con la colaboración de dos periodistas de prestigio: Miguel Ángel Bargueño y Carlos Marcos que hace unos días publicaron un artículo en el periódico El País en el que, a través de 12 de las mejores canciones de este grupo, recorrían la trayectoria musical de esta fantástica banda. Así que, y apoyándonos en ese trabajo, empezamos con el número 12 de esta lista: Another One Bites the Dust, de 1980 e incluida en el disco “The Game” La línea de bajo resulta tan adherente como un buen estribillo. Y es una apuesta segura para poner patas arriba una discoteca. El bajo de John Deacon, autor del tema, es el protagonista absoluto del 'single' más vendido de la historia de Queen (fue número uno de ventas en Estados Unidos y en casi todo el mundo). Como buen bajista, flipaba con el funk y la música disco, y con esos mimbres, creó esta base rítmica prodigiosa. El tema está aderezado con efectos de sonido que hoy pueden parecer obsoletos, pero que en su momento eran de lo más moderno: recuerdan al despegue de una nave espacial. Queen ponían así un pie en los ochenta, cuando se suponía que la ciencia ficción iba a dejar de ser ficción. Con todo, la banda no tenía mucha confianza en este tema, y, según ha revelado Roger Taylor, fue Michael Jackson quien, tras escucharlo, les dijo: “Chicos, estáis locos si no lo sacáis como 'single”. El batería también recordó que muchas emisoras de soul creyeron, al oírlo por primera vez, que el tema era de un grupo afroamericano. Numero once: Killer Queen, de 1974 e incluida en el disco “Sheer Heart” La estructura de Killer Queen es casi cabaretera. Pero Queen consiguen elaborar un medio tiempo rockero, con capas de voces ya marca de la casa y la guitarra afilada (y limpia) de Brian May. Era 1974 y Queen eran todavía una banda de rock duro. Killer Queen es la canción que le dio el primer éxito internacional al grupo. Se ponían los primeros cimientos del reinado de uno de los mejores grupos de la historia. Sobre esta canción, Mercury explicó: “Trata sobre una mujer de clase alta que se dedica a la prostitución. Lo que quiero transmitir en el texto es que las mujeres ricas también pueden ser putas”. Pero según parte de sus seguidores, la protagonista es un travesti… a saber. Sea como fuere, la canción salió en poco tiempo. “La escribí en una noche”, confirmó Mercury. Una anécdota: la estrella pop Katy Perry denominó a su propio perfume Killer Queen. Y lo explicó: “Freddie Mercury definió en la letra a la mujer que siempre he querido ser. Por eso he llamado así a mi perfume”. Bueno, a lo mejor alguien debería haber explicado a Perry la auténtica intención de la letra. Seguimos: número DIEZ, “Seven seas of Rhye”, de 1974 e incluida en el disco “Queen II” Resulta llamativo cómo Queen eran capaces de hacer tanto en tampoco tiempo. 'Seven seas of Rhye' dura 2,45 (como una canción punk, vamos), pero pasan mil cosas: una introducción de piano, guitarras heavies, una deslumbrante interpretación de Mercury, estribillos, solo de guitarra, parte vocal operística, una coda ruidosa con voces de fiesta… Estamos ante los Queen de su etapa dura. La canción se incluye en su segunda obra, 'Queen II'. Una reinvención del rock duro en toda regla. Es también una de las letras más misteriosas de la primera etapa del grupo. La tierra de Rhye aparece en varias letras escritas por Mercury. Para algunos es un mundo fantástico creado por él y su hermana mientras vivían con su familia en Zanzíbar. Freddie nació allí: su padre trabajaba para la británica Secretaría de las Colonias y en aquella época Zanzíbar estaba bajo protectorado inglés. La otra versión es que es una letra de contenido religioso: una crítica al lado oscuro de las religiones. Como siempre… a saber. Número NUEVE: We will rock you, de 1977 e incluida en su disco News of the world. Con esta canción nació el rock de estadio. Sorprendentemente corta (solo dos minutos: ¿a que creías que era más larga?), más básica imposible (incluso podría sobrar el solo de guitarra final) y de una eficacia automática. Si alguien sueña con componer la canción que tiene que corear todo el mundo, está perdiendo el tiempo: lleva en marcha desde 1977. La mayoría de los éxitos de Queen están compuestos por Mercury. Este no: lleva la firma del guitarrista Brian May. ¿En qué se inspiró para componer este clásico de los estadios? Pues en un estadio. Habla May: “Una noche, al final de un concierto, nos retiramos del escenario y de fondo escuché a la gente cantar el himno del Liverpool. Me fui a la cama pensando en una canción donde el público pudiera participar. Es gente que está ahí, apretujada, apenas se puede mover, pero puede aplaudir, golpear sus pies y cantar. Cuando me desperté por la mañana 'We will rock you' salió del tirón”. Vamos a por el número OCHO: Bicycle Race, de 1978 e incluida en el disco Jazz. Esta canción es originalísima, tanto por su composición como por su letra. A Mercury, que no tenía especial predilección por las bicicletas, se le encendió la bombilla cuando vio pasar el pelotón del Tour de Francia cerca del estudio donde Queen estaban grabando 'Jazz' en Montreux (Suiza). Con esa imagen desarrolló una lista de ideas contrapuestas (“Tú dices blanco, yo digo negro / Tú dices ladrar, yo digo morder”), sazonada de agudos comentarios sobre 'Star Wars', Tiburón', 'Peter Pan', 'Superman' o 'Frankenstein', con el ansia de libertad como trasfondo. También fue muy original su lanzamiento como 'single', dado que 'Fat bootmed girls', en la otra cara, era un tema siamés: en la letra de uno se mencionaba el otro y viceversa. Su vídeo causó sensación: muestra a un nutrido grupo de modelos desnudas montando en bicicleta en los alrededores del estadio de Wembley. Llegamos al número siete: Crazy Little Thing Called Love, de 1979, del disco The Game. Por qué nos gusta tanto? Porque es una maravillosa rareza dentro de la discografía de Queen. Una canción de latido acústico, con un ritmo de rock and roll de los cincuenta que podrían haber firmado unos revisionistas como Stray Cats. Pero no: es de Queen y les reportó mucho dinero, ya que fue la primera vez que el grupo llegó al número uno en EEUU. “Me salió en cinco minutos mientras me tomaba un baño”, declaró Freddie Mercury sobre 'Crazy Little Thing Called Love'. Luego llegaría la fase de pulir, pero básicamente salió de allí, de un baño relajado en una habitación de hotel del Hilton de Múnich, donde el grupo se fue a grabar el disco 'The Game'. Resulta curioso el vídeo, con todos los miembros vestidos de rockeros duros (cuero a tope) y donde Mercury, agasajado por bellas señoritas, ejerce de macho alfa como si fuera un componente de Led Zeppelin. Número SEIS: Now I’m Here, de 1975. Para el aficionado que se enganchó a Queen en los ochenta quizá este tren desbocado no lo sienta familiar. Pero sí, Queen fueron duros, muy duros. ‘Now I´m here’ es el ejemplo, una canción de rock perfecta: apabullante energía, melodía y una interpretación feroz. Hay hasta un minisolo de batería. Esta vez el que compone es Brian May, y en unas circunstancias llamativas. La escribe durante una convalecencia en el hospital, afectado por una hepatitis. “Estábamos en plena gira por Estados Unidos con Mott the Hoople y tuvimos que suspenderla por mi enfermedad. Fue una faena. Incluso llegué a temer que me sustituyeran, así que empecé a escribir canciones para el próximo disco”, ha contado May. En la letra se hace referencia a la gira con Moot the Hoople e incluso un guiño a un clásico de Chuck Berry, ‘Little Queenie’. Número cinco: Don’t stop me now, de 1978 e incluida en su LP Jazz Con su ritmo endiablado y su mensaje de “voy a comerme el mundo”, es mejor que cualquier libro de autoayuda. Aunque es un tema inequívoco de rock, no hay guitarra excepto en el solo: conseguir esa potencia solo con piano, bajo y batería es algo que no está al alcance de cualquiera. La rica discografía de Queen permite que sucedan cosas como esta: que un tema que en su momento no tuvo especial repercusión sea redescubierto con el paso de los años —gracias a la publicidad y el cine— y hoy figure entre sus títulos más emblemáticos. Mercury debió de escribir la letra en un momento de especial subidón, utilizando la astronomía como metáfora de su excitación febril: “Soy una estrella fugaz saltando por el cielo”, “viajo a la velocidad de la luz”, “soy un cohete de camino a Marte” o “soy un satélite fuera de control” son algunas de esas referencias. Aunque la frase más redonda es: “Estoy ardiendo a través del cielo a 200 grados, por eso me llaman míster Fahrenheit”. En 2014, en el Reino Unido la eligieron como la mejor canción para conducir. Vamos al número cuatro: “Under Pressure”, de 1981 e incluida en el disco “Hot Space”. Artista invitado: David Bowie. A veces, unas pequeñas notas tocadas como si nada, lo son todo. Por ejemplo: el bajo de esta canción. Bueno, pues resulta que la colaboración entre dos colosos como Freddie Mercury y David Bowie, se recuerda por ese sonido de bajo de John Deacon. Lo que no está claro es si fue idea de Deacon o si Deacon la tocó, luego se le olvidó y la recordó Bowie con alguna aportación. La canción tiene mucho más: un duelo vocal que no es tal, ya que Bowie y Mercury se van alternando en la ejecución de forma tan fluida como sorprendentemente generosa, si tenemos en cuenta el volumen de sus egos respectivos. En cualquier caso, de dos artistas colosales que no estaban ni mucho menos en su mejor momento sale una obra maestra como “Under Pressure”. Bowie venía del tibio “Scary Monsters” y Queen estaban exhaustos después de años de éxito. Se juntaron en Suiza y salió esta pieza firmada por los cinco en la que se trabajó de forma colectiva para que luego Freddie y David se pelearan en la última fase del proceso. “ La mezcla final no me pareció buena. Fue el momento en el que Freddie y David batallaran duramente por imponer sus criterios”, ha revelado Brian May. En tercera posición: Somebady to Love, de 1976 e incluida en el disco “A day at the races” Cuatro rockeros ingleses sonando como un coro góspel de cien personas. Y, al mismo tiempo, 100% Queen. Tras el éxito de 'Bohemian Rhapsody', Mercury intentó hacer algo parecido en el siguiente disco, 'A Day at The Races'. Con una variante: en vez de inspirarse en la tradición operística europea, lo hizo en el góspel estadounidense. “Es nuevo, es ligeramente diferente”, explicó Freddie a la revista 'Circus' en 1977. “Pero aún suena a los Queen de siempre”. En la misma entrevista, el batería Roger Taylor explicó que este tema “está muy influido por Aretha Franklin. Freddie está muy colgado con ella”. A diferencia de 'Bohemian rhapsody', se acerca más al formato estándar de canción de rock. Compuesta por Mercury al piano, la letra va dirigida a Dios, a quien pide explicaciones por una vida vacía de amor: “Me he pasado la vida creyendo en ti pero no encuentro alivio, Señor”. El arreglo de los coros es verdaderamente soberbio. Llegó al número dos en la lista de ventas británica. Mocedades (sí, Mocedades) grabó en 1981 una notable versión ('Amar a alguien'); parece que para conseguir el permiso de Mercury un representante de la discográfica tocó el timbre de su casa de Londres y le puso 'Eres tú', tras lo cual accedió. Y ya estamos en el número dos: I Want to Break Free de 1984 e incluida en el disco ‘The Works’ Si Queen vivieron una segunda edad dorada en los ochenta fue por temas como este. Aunque la mayor parte del repertorio de Queen nació de la pluma de Freddie Mercury, el bajista John Deacon escribió unos cuantos temas, de los que este y 'Another one bites the dust' son los más logrados y famosos. Construido con una base electrónica, cuenta con un solo de sintetizador memorable a cargo del canadiense Fred Mandel. Por el divertido vídeo, en el que los componentes del grupo aparecen vestidos de mujer realizando tareas domésticas (una parodia de la serie 'Coronation street'), algunos dieron por sentado que el tema era una declaración de la sexualidad de Mercury; pero el autor, como decimos, es Deacon, y la idea del vídeo fue del batería Roger Taylor. Si el público ya conocía el talento y la fuerza del grupo, ahora supo de su capacidad de reinvención, recuperando el aplauso masivo del público con esta y otras canciones en plena era de los teclados y las hombreras. En la actualidad, Deacon lleva una vida tranquila de sexagenario alejado de los focos. Y, por fin, el número uno: Bohemian Rhapsody, de 1975 e incluida en el disco “A night at the Opera” Con esta canción, estos cuatro tíos hicieron volar por los aires la estructura clásica de rock (estrofas y un estribillo que se repite) y se las arreglaron para insertar seis canciones en una. Tiene partes de ópera. Cascadas de voces. Una introducción a capella. Referencias a Galileo y Fígaro. La letra es misteriosa y fascinante. Y el solo de guitarra posee vida propia. No está claro qué llevó a Freddie Mercury a escribir este drama sobre un hombre que confiesa a su madre que ha cometido un asesinato y se prepara para ir al infierno. Algunos biógrafos apuntan a que se trata de una metáfora sobre la ruptura de Mercury con su pasado (hasta poco antes había estado saliendo con una chica, Mary Austin) y la aceptación de su homosexualidad. El autor nunca lo aclaró y prefirió alimentar la incógnita. Las múltiples capas de voces supusieron un reto para la tecnología de la época, que se resolvió poniendo a Mercury, May y Taylor a grabar los coros durante jornadas enteras; luego el productor Roy Thomas Baker duplicó docenas de cintas. Pese a que la discográfica no lo veía claro por su duración (casi seis minutos), se publicó como 'single' y fue un gran éxito: número uno durante nueve semanas seguidas en el Reino Unido. Aunque ya se habían rodado vídeos musicales anteriormente, el de esta canción es uno de los primeros en constituir una obra de arte en sí mismo. Queen fue la última banda realmente gigante hasta la aparición de U2, pero eso será otra historia y otro momento. Señoras y Señores, hemos terminado por hoy. Espero y deseo que vuestra vuelta al trabajo o lo que sea, os pase casi casi desapercibida.

Hoy vamos a repasar la vida y milagros de uno de los mejores grupos de la historia del rock: THE QUEEN. Para ello contaremos con la colaboración de dos periodistas de prestigio: Miguel Ángel Bargueño y Carlos Marcos que hace unos días publicaron un artículo en el periódico El País en el que, a través de 12 de las mejores canciones de este grupo, recorrían la trayectoria musical de esta fantástica banda. Así que, y apoyándonos en ese trabajo, empezamos con el número 12 de esta lista: Another One Bites the Dust, de 1980 e incluida en el disco “The Game” La línea de bajo resulta tan adherente como un buen estribillo. Y es una apuesta segura para poner patas arriba una discoteca. El bajo de John Deacon, autor del tema, es el protagonista absoluto del 'single' más vendido de la historia de Queen (fue número uno de ventas en Estados Unidos y en casi todo el mundo). Como buen bajista, flipaba con el funk y la música disco, y con esos mimbres, creó esta base rítmica prodigiosa. El tema está aderezado con efectos de sonido que hoy pueden parecer obsoletos, pero que en su momento eran de lo más moderno: recuerdan al despegue de una nave espacial. Queen ponían así un pie en los ochenta, cuando se suponía que la ciencia ficción iba a dejar de ser ficción. Con todo, la banda no tenía mucha confianza en este tema, y, según ha revelado Roger Taylor, fue Michael Jackson quien, tras escucharlo, les dijo: “Chicos, estáis locos si no lo sacáis como 'single”. El batería también recordó que muchas emisoras de soul creyeron, al oírlo por primera vez, que el tema era de un grupo afroamericano. Numero once: Killer Queen, de 1974 e incluida en el disco “Sheer Heart” La estructura de Killer Queen es casi cabaretera. Pero Queen consiguen elaborar un medio tiempo rockero, con capas de voces ya marca de la casa y la guitarra afilada (y limpia) de Brian May. Era 1974 y Queen eran todavía una banda de rock duro. Killer Queen es la canción que le dio el primer éxito internacional al grupo. Se ponían los primeros cimientos del reinado de uno de los mejores grupos de la historia. Sobre esta canción, Mercury explicó: “Trata sobre una mujer de clase alta que se dedica a la prostitución. Lo que quiero transmitir en el texto es que las mujeres ricas también pueden ser putas”. Pero según parte de sus seguidores, la protagonista es un travesti… a saber. Sea como fuere, la canción salió en poco tiempo. “La escribí en una noche”, confirmó Mercury. Una anécdota: la estrella pop Katy Perry denominó a su propio perfume Killer Queen. Y lo explicó: “Freddie Mercury definió en la letra a la mujer que siempre he querido ser. Por eso he llamado así a mi perfume”. Bueno, a lo mejor alguien debería haber explicado a Perry la auténtica intención de la letra. Seguimos: número DIEZ, “Seven seas of Rhye”, de 1974 e incluida en el disco “Queen II” Resulta llamativo cómo Queen eran capaces de hacer tanto en tampoco tiempo. 'Seven seas of Rhye' dura 2,45 (como una canción punk, vamos), pero pasan mil cosas: una introducción de piano, guitarras heavies, una deslumbrante interpretación de Mercury, estribillos, solo de guitarra, parte vocal operística, una coda ruidosa con voces de fiesta… Estamos ante los Queen de su etapa dura. La canción se incluye en su segunda obra, 'Queen II'. Una reinvención del rock duro en toda regla. Es también una de las letras más misteriosas de la primera etapa del grupo. La tierra de Rhye aparece en varias letras escritas por Mercury. Para algunos es un mundo fantástico creado por él y su hermana mientras vivían con su familia en Zanzíbar. Freddie nació allí: su padre trabajaba para la británica Secretaría de las Colonias y en aquella época Zanzíbar estaba bajo protectorado inglés. La otra versión es que es una letra de contenido religioso: una crítica al lado oscuro de las religiones. Como siempre… a saber. Número NUEVE: We will rock you, de 1977 e incluida en su disco News of the world. Con esta canción nació el rock de estadio. Sorprendentemente corta (solo dos minutos: ¿a que creías que era más larga?), más básica imposible (incluso podría sobrar el solo de guitarra final) y de una eficacia automática. Si alguien sueña con componer la canción que tiene que corear todo el mundo, está perdiendo el tiempo: lleva en marcha desde 1977. La mayoría de los éxitos de Queen están compuestos por Mercury. Este no: lleva la firma del guitarrista Brian May. ¿En qué se inspiró para componer este clásico de los estadios? Pues en un estadio. Habla May: “Una noche, al final de un concierto, nos retiramos del escenario y de fondo escuché a la gente cantar el himno del Liverpool. Me fui a la cama pensando en una canción donde el público pudiera participar. Es gente que está ahí, apretujada, apenas se puede mover, pero puede aplaudir, golpear sus pies y cantar. Cuando me desperté por la mañana 'We will rock you' salió del tirón”. Vamos a por el número OCHO: Bicycle Race, de 1978 e incluida en el disco Jazz. Esta canción es originalísima, tanto por su composición como por su letra. A Mercury, que no tenía especial predilección por las bicicletas, se le encendió la bombilla cuando vio pasar el pelotón del Tour de Francia cerca del estudio donde Queen estaban grabando 'Jazz' en Montreux (Suiza). Con esa imagen desarrolló una lista de ideas contrapuestas (“Tú dices blanco, yo digo negro / Tú dices ladrar, yo digo morder”), sazonada de agudos comentarios sobre 'Star Wars', Tiburón', 'Peter Pan', 'Superman' o 'Frankenstein', con el ansia de libertad como trasfondo. También fue muy original su lanzamiento como 'single', dado que 'Fat bootmed girls', en la otra cara, era un tema siamés: en la letra de uno se mencionaba el otro y viceversa. Su vídeo causó sensación: muestra a un nutrido grupo de modelos desnudas montando en bicicleta en los alrededores del estadio de Wembley. Llegamos al número siete: Crazy Little Thing Called Love, de 1979, del disco The Game. Por qué nos gusta tanto? Porque es una maravillosa rareza dentro de la discografía de Queen. Una canción de latido acústico, con un ritmo de rock and roll de los cincuenta que podrían haber firmado unos revisionistas como Stray Cats. Pero no: es de Queen y les reportó mucho dinero, ya que fue la primera vez que el grupo llegó al número uno en EEUU. “Me salió en cinco minutos mientras me tomaba un baño”, declaró Freddie Mercury sobre 'Crazy Little Thing Called Love'. Luego llegaría la fase de pulir, pero básicamente salió de allí, de un baño relajado en una habitación de hotel del Hilton de Múnich, donde el grupo se fue a grabar el disco 'The Game'. Resulta curioso el vídeo, con todos los miembros vestidos de rockeros duros (cuero a tope) y donde Mercury, agasajado por bellas señoritas, ejerce de macho alfa como si fuera un componente de Led Zeppelin. Número SEIS: Now I’m Here, de 1975. Para el aficionado que se enganchó a Queen en los ochenta quizá este tren desbocado no lo sienta familiar. Pero sí, Queen fueron duros, muy duros. ‘Now I´m here’ es el ejemplo, una canción de rock perfecta: apabullante energía, melodía y una interpretación feroz. Hay hasta un minisolo de batería. Esta vez el que compone es Brian May, y en unas circunstancias llamativas. La escribe durante una convalecencia en el hospital, afectado por una hepatitis. “Estábamos en plena gira por Estados Unidos con Mott the Hoople y tuvimos que suspenderla por mi enfermedad. Fue una faena. Incluso llegué a temer que me sustituyeran, así que empecé a escribir canciones para el próximo disco”, ha contado May. En la letra se hace referencia a la gira con Moot the Hoople e incluso un guiño a un clásico de Chuck Berry, ‘Little Queenie’. Número cinco: Don’t stop me now, de 1978 e incluida en su LP Jazz Con su ritmo endiablado y su mensaje de “voy a comerme el mundo”, es mejor que cualquier libro de autoayuda. Aunque es un tema inequívoco de rock, no hay guitarra excepto en el solo: conseguir esa potencia solo con piano, bajo y batería es algo que no está al alcance de cualquiera. La rica discografía de Queen permite que sucedan cosas como esta: que un tema que en su momento no tuvo especial repercusión sea redescubierto con el paso de los años —gracias a la publicidad y el cine— y hoy figure entre sus títulos más emblemáticos. Mercury debió de escribir la letra en un momento de especial subidón, utilizando la astronomía como metáfora de su excitación febril: “Soy una estrella fugaz saltando por el cielo”, “viajo a la velocidad de la luz”, “soy un cohete de camino a Marte” o “soy un satélite fuera de control” son algunas de esas referencias. Aunque la frase más redonda es: “Estoy ardiendo a través del cielo a 200 grados, por eso me llaman míster Fahrenheit”. En 2014, en el Reino Unido la eligieron como la mejor canción para conducir. Vamos al número cuatro: “Under Pressure”, de 1981 e incluida en el disco “Hot Space”. Artista invitado: David Bowie. A veces, unas pequeñas notas tocadas como si nada, lo son todo. Por ejemplo: el bajo de esta canción. Bueno, pues resulta que la colaboración entre dos colosos como Freddie Mercury y David Bowie, se recuerda por ese sonido de bajo de John Deacon. Lo que no está claro es si fue idea de Deacon o si Deacon la tocó, luego se le olvidó y la recordó Bowie con alguna aportación. La canción tiene mucho más: un duelo vocal que no es tal, ya que Bowie y Mercury se van alternando en la ejecución de forma tan fluida como sorprendentemente generosa, si tenemos en cuenta el volumen de sus egos respectivos. En cualquier caso, de dos artistas colosales que no estaban ni mucho menos en su mejor momento sale una obra maestra como “Under Pressure”. Bowie venía del tibio “Scary Monsters” y Queen estaban exhaustos después de años de éxito. Se juntaron en Suiza y salió esta pieza firmada por los cinco en la que se trabajó de forma colectiva para que luego Freddie y David se pelearan en la última fase del proceso. “ La mezcla final no me pareció buena. Fue el momento en el que Freddie y David batallaran duramente por imponer sus criterios”, ha revelado Brian May. En tercera posición: Somebady to Love, de 1976 e incluida en el disco “A day at the races” Cuatro rockeros ingleses sonando como un coro góspel de cien personas. Y, al mismo tiempo, 100% Queen. Tras el éxito de 'Bohemian Rhapsody', Mercury intentó hacer algo parecido en el siguiente disco, 'A Day at The Races'. Con una variante: en vez de inspirarse en la tradición operística europea, lo hizo en el góspel estadounidense. “Es nuevo, es ligeramente diferente”, explicó Freddie a la revista 'Circus' en 1977. “Pero aún suena a los Queen de siempre”. En la misma entrevista, el batería Roger Taylor explicó que este tema “está muy influido por Aretha Franklin. Freddie está muy colgado con ella”. A diferencia de 'Bohemian rhapsody', se acerca más al formato estándar de canción de rock. Compuesta por Mercury al piano, la letra va dirigida a Dios, a quien pide explicaciones por una vida vacía de amor: “Me he pasado la vida creyendo en ti pero no encuentro alivio, Señor”. El arreglo de los coros es verdaderamente soberbio. Llegó al número dos en la lista de ventas británica. Mocedades (sí, Mocedades) grabó en 1981 una notable versión ('Amar a alguien'); parece que para conseguir el permiso de Mercury un representante de la discográfica tocó el timbre de su casa de Londres y le puso 'Eres tú', tras lo cual accedió. Y ya estamos en el número dos: I Want to Break Free de 1984 e incluida en el disco ‘The Works’ Si Queen vivieron una segunda edad dorada en los ochenta fue por temas como este. Aunque la mayor parte del repertorio de Queen nació de la pluma de Freddie Mercury, el bajista John Deacon escribió unos cuantos temas, de los que este y 'Another one bites the dust' son los más logrados y famosos. Construido con una base electrónica, cuenta con un solo de sintetizador memorable a cargo del canadiense Fred Mandel. Por el divertido vídeo, en el que los componentes del grupo aparecen vestidos de mujer realizando tareas domésticas (una parodia de la serie 'Coronation street'), algunos dieron por sentado que el tema era una declaración de la sexualidad de Mercury; pero el autor, como decimos, es Deacon, y la idea del vídeo fue del batería Roger Taylor. Si el público ya conocía el talento y la fuerza del grupo, ahora supo de su capacidad de reinvención, recuperando el aplauso masivo del público con esta y otras canciones en plena era de los teclados y las hombreras. En la actualidad, Deacon lleva una vida tranquila de sexagenario alejado de los focos. Y, por fin, el número uno: Bohemian Rhapsody, de 1975 e incluida en el disco “A night at the Opera” Con esta canción, estos cuatro tíos hicieron volar por los aires la estructura clásica de rock (estrofas y un estribillo que se repite) y se las arreglaron para insertar seis canciones en una. Tiene partes de ópera. Cascadas de voces. Una introducción a capella. Referencias a Galileo y Fígaro. La letra es misteriosa y fascinante. Y el solo de guitarra posee vida propia. No está claro qué llevó a Freddie Mercury a escribir este drama sobre un hombre que confiesa a su madre que ha cometido un asesinato y se prepara para ir al infierno. Algunos biógrafos apuntan a que se trata de una metáfora sobre la ruptura de Mercury con su pasado (hasta poco antes había estado saliendo con una chica, Mary Austin) y la aceptación de su homosexualidad. El autor nunca lo aclaró y prefirió alimentar la incógnita. Las múltiples capas de voces supusieron un reto para la tecnología de la época, que se resolvió poniendo a Mercury, May y Taylor a grabar los coros durante jornadas enteras; luego el productor Roy Thomas Baker duplicó docenas de cintas. Pese a que la discográfica no lo veía claro por su duración (casi seis minutos), se publicó como 'single' y fue un gran éxito: número uno durante nueve semanas seguidas en el Reino Unido. Aunque ya se habían rodado vídeos musicales anteriormente, el de esta canción es uno de los primeros en constituir una obra de arte en sí mismo. Queen fue la última banda realmente gigante hasta la aparición de U2, pero eso será otra historia y otro momento. Señoras y Señores, hemos terminado por hoy. Espero y deseo que vuestra vuelta al trabajo o lo que sea, os pase casi casi desapercibida.

Gestur þáttarins að þessu sinni er Sandra Barilli sem er meðal annars umboðsmaður Reykjavíkurdætra og tónleikabókari á Húrra Sandra mætir með uppáhalds ROKKplötuna klukkan 21.00 Plata þáttarins er fimmta hljóðversplata hljómsveitarinnar Queen; A Day at the Races sem kom út 10. Desember árið 1976. EMI gaf út í Bretlandi en Elektra records í Ameríku. Hún er fyrsta plata Queen sem sveitin tók upp án upptpkustjórans Roy Thomas Baker, en sveitin stjórnaði upptökum plötunnar sjálf. Upptökumaður var Mike Stone. Hún var tekin upp þremur hljóðverum; Sarm East í London, The Manor í Oxfords og Wessex Studios í London. A Day at the Races er einskonar systurplata fjóðru plötu Queen, A Night at the Opera sem kom út árið áður. Báðar taka plöturnar nöfn sín frá kvikmyndum eftir Marx-bræður og umslögin eru líka svipuð. Á Night at the opera er skjaldarmerki á hvítum grunni, en á A Day at the Races er skjaldarmerki á svörtum fleti. Og músíklega og textalega eru þær báðar úti um allt, allt frá gamaldags dægurlögum upp í harðasta rokk. Platan náði toppsæti breska vinsældalistans og þess hollenska og japanska og 5. Sæti náði platan í Ameríku. Allar fyrstu 5 plötur Queen að þessari meðtaldri, náðu gullsölu í Ameríku. Í kosningu sem BBC efndi til 2006 lenti A Day at the Races í 67. Sæti yfir bestu plötur allra tíma. Hér er lagalistinn: Maus - Kerfisbundin þrá Rainbow - Since you been gone (óskalag) Foo Fighters - Big me Wilco - Impossible Germany The Jam - In the city Buzzcocks - Ever fallen in love Adam & The Ants - Antmusic Pink Floyd - Arnold Layne Ovlov - Baby alligator SÍMATÍMI Rolling Blackouts Coastal Fever - An air conditioned man Rolling Stones - Angie (óskalag) The Beatles - In my life (óskalag) Crazy Elephant - Gimme gimme good lovin (óskalag) Tame Impala - Elephant Queen - Tie your mother down (plata Þáttarins) Thin Lizzy - Massacre (óskalag) A+B Iron Maiden - The clairvoyant (A) Iron Maiden - Prisoner (B) Fontains DC - Boys in the better land Queen - You and i (plata Þáttarins) GESTUR Füzz - SANDRA BARILLI MEÐ VELVET UNDERGROUND Led Zeppelin - Black dog SANDRA II Velvet Underground - Sunday morning SANDRA III Velvet Underground - Heroin Grand Funk Railroad - Stop looking back (óskalag) Oasis - All around the world Queen - Teo toriatte (plata Þáttarins) Neil Young & Promise of the real - Love and only love (live) Óskalagasíminn verður opnaður (5687-123) um kl. 20 og A+B er svo að þessu sinni með Iron Maiden.

Gestur þáttarins að þessu sinni er Sandra Barilli sem er meðal annars umboðsmaður Reykjavíkurdætra og tónleikabókari á Húrra Sandra mætir með uppáhalds ROKKplötuna klukkan 21.00 Plata þáttarins er fimmta hljóðversplata hljómsveitarinnar Queen; A Day at the Races sem kom út 10. Desember árið 1976. EMI gaf út í Bretlandi en Elektra records í Ameríku. Hún er fyrsta plata Queen sem sveitin tók upp án upptpkustjórans Roy Thomas Baker, en sveitin stjórnaði upptökum plötunnar sjálf. Upptökumaður var Mike Stone. Hún var tekin upp þremur hljóðverum; Sarm East í London, The Manor í Oxfords og Wessex Studios í London. A Day at the Races er einskonar systurplata fjóðru plötu Queen, A Night at the Opera sem kom út árið áður. Báðar taka plöturnar nöfn sín frá kvikmyndum eftir Marx-bræður og umslögin eru líka svipuð. Á Night at the opera er skjaldarmerki á hvítum grunni, en á A Day at the Races er skjaldarmerki á svörtum fleti. Og músíklega og textalega eru þær báðar úti um allt, allt frá gamaldags dægurlögum upp í harðasta rokk. Platan náði toppsæti breska vinsældalistans og þess hollenska og japanska og 5. Sæti náði platan í Ameríku. Allar fyrstu 5 plötur Queen að þessari meðtaldri, náðu gullsölu í Ameríku. Í kosningu sem BBC efndi til 2006 lenti A Day at the Races í 67. Sæti yfir bestu plötur allra tíma. Hér er lagalistinn: Maus - Kerfisbundin þrá Rainbow - Since you been gone (óskalag) Foo Fighters - Big me Wilco - Impossible Germany The Jam - In the city Buzzcocks - Ever fallen in love Adam & The Ants - Antmusic Pink Floyd - Arnold Layne Ovlov - Baby alligator SÍMATÍMI Rolling Blackouts Coastal Fever - An air conditioned man Rolling Stones - Angie (óskalag) The Beatles - In my life (óskalag) Crazy Elephant - Gimme gimme good lovin (óskalag) Tame Impala - Elephant Queen - Tie your mother down (plata Þáttarins) Thin Lizzy - Massacre (óskalag) A+B Iron Maiden - The clairvoyant (A) Iron Maiden - Prisoner (B) Fontains DC - Boys in the better land Queen - You and i (plata Þáttarins) GESTUR Füzz - SANDRA BARILLI MEÐ VELVET UNDERGROUND Led Zeppelin - Black dog SANDRA II Velvet Underground - Sunday morning SANDRA III Velvet Underground - Heroin Grand Funk Railroad - Stop looking back (óskalag) Oasis - All around the world Queen - Teo toriatte (plata Þáttarins) Neil Young & Promise of the real - Love and only love (live) Óskalagasíminn verður opnaður (5687-123) um kl. 20 og A+B er svo að þessu sinni með Iron Maiden.

A Night at the Opera es el cuarto álbum de estudio de la banda británica de rock Queen. Publicado en 1975 y coproducido por Roy Thomas Baker y Queen, fue en el tiempo de su lanzamiento, la producción más cara realizada, pero a su vez un éxito comercial, el álbum fue votado por el público y citado por publicaciones musicales como uno de los mejores trabajos de Queen y de la historia del rock. Desde Buenos Aires Adrian González (@buey_solo) nos cuenta detalles de discos imprescindibles de la música popular, junto a Toño Cevallos (@toniocevallos)

Pat and Christy pay tribute to the memory of The Cars bassist Benjamin Orr. They also discuss the upcoming biography by Joe Milliken entitled "Let's Go!: Benjamin Orr and The Cars." Kyle plays the tunes and cracks wise.