Podcast appearances and mentions of Tom Robinson Band

Toronto's premiere music showcase festival, North by North East kicks off next week, and in preparation for this, CFRC's British and Irish music show brings you coverage of emerging bands from across the water playing the festival. We also interviewed two performers: Welsh rock duo Alffa ('the mighty Alffa', in the words of Michael Sheen) and London psychedelic rock band The Paisley Daze! Catch me at the festival next week if you're a Toronto-based listener, come and say hi! Music this week by: Tom Robinson Band, Erasure, Romy, RAYE, Charli XCX, Joe & The Shitboys, Marbl, Alffa, DONT MAKE THIS WEIRD, Darkwah, The Paisley Daze, Luke Black, The New Eves. Find this week's playlist here. Do try and support artists directly! For more Canadian NXNE coverage, tune into Indie Wakeup Call this Thursday. We're also talking to the festival organisers at 8:30 EST! Touch that dial and tune in live! We're on at CFRC 101.9 FM in Kingston, or on cfrc.ca, Sundays 8 to 9:30 PM! Get in touch with the show for requests, submissions, giving feedback or anything else: email yellowbritroad@gmail.com, Twitter @⁠YellowBritCFRC⁠, IG @⁠yellowbritroad⁠. PS: submissions, cc music@cfrc.ca if you'd like other CFRC DJs to spin your music on their shows as well. Like what we do? Donate to help keep our 101-year old station going! --- Send in a voice message: https://podcasters.spotify.com/pod/show/yellowbritroad/message

It's legend time again around here at the LIFERS podcast. Of all the bands to emerge from the punk explosion of the late ‘70s, few were as adept at fusing melody and fury in quite the same way that the great Stiff Little Fingers were. Seminal in every way, SLF would go on to influence Naked Raygun, Green Day, and pretty much every punk band that ever cared to carry a tune. This week we welcome the voice of that band —a one Mr. Jake Burns— to tell us about growing up in Belfast, seeing Rory Gallagher on TV, soccer, getting a call from Pete Townsend, touring with the Tom Robinson Band, Eric Clapton and Rock Against Racism, soccer, KT's Kids, Sir Kenny Branagh, moving to Chicago, moving to West Virginia, soccer, and how to cut down on touring without quitting.

1) Tara Kemp - Peice Of My Heart2) Tara Kemp - Hold You Tight3) ABBA - Dancing Queen4) The Nolans - I'm In The Mood For Dancing5) Frankie Vali & The Four Seasons - Oh What A Night6) Boney M - Brown Girl (In The Ring)7) Gap Band - Oops Upside Your Head8) Rick Astley - Never Gonna Give You Up9) Cher - It's In His Kiss10) The Commitmemnts Ft Andrew Strong - Mustang Sally11) Vic Reeves & The Wonder Stuff - Dizzy12) Doors - Riders on the Storm (MSK Band Remix)13) Zedd ft Alessia Cara vs Fifth Harmony - Stay vs Work from Home14) Janet Jackson vs Justin Timberlake - What Have You Done For Me Lately vs Rock Your Body (Paul Oakenfold Remix)15) Various Artists - Color Esperanza16) DJ Khaled Ft Justin Bieber - I'm The One17) Little Mix Ft Stormzy - Power18) Sam Smith - Too Late For Goodbyes19) French Montana Ft Swae Lee - Unforgettable20) CNCO & Little Mix - Reggaeton Lento21) Calvin Harris Ft Pharrell Williams, Katy Perry & Big Sean - Feels22) Jonas Blue Ft William Singe - Mama23) Anne Marie - Ciao Adios23) Camila Cabello Ft Young Thug - Havana25) Chainsmokers & Coldplay - Something Just Like This26) Winston Surfshirt Ft Genesis Owusu - Theres Only One27) Tavares - Whodunit28) George McCrae - Rock You Baby29) Real Thing - You To Me Are Everything30) Hot Chocolate - So You Win Again31) Marshall Hain - Dancing In The City32) Hot Chocolate - You Sexy Thing33) KC & The Sunshine Band - That's The Way (I Like It)34) Tavares - More Than A Woman35) Tavares - Heaven Must Be Missing An Angel36) Barry Blue - Dancin' (On A Saturday Night)37) Tom Robinson Band - 2 4 6 8 Motorway38) The Eagles - New Kid In Town (MSK Band Remix)39) Charli XCX - 5 In The Morning (Super Clean)40) Alex Gaudino & Dakota - All I Think Of Is You (Extended)41) Zedd & Liam Payne vs Sunshine Anderson - Get Low vs Heard It All Before42) Fireboy DML & 21 Savage & Blxst  - Peru (Remix Clean)43) Weeknd - Out Of Time (Kaytranada Remix44) Charlie Puth - Attention45) Lady Gaga - The Cure46) Katy Perry - Bon Appetit47) Flo Rida & 99 Percent - Cake48) Drake - Passionfruit49) Cheat Codes Ft Demi Lovato - No Promises50) Gary Byrd & The GB Experience Vs Kurtis Blow - The Crown Vs The Break 51) Tom Browne Vs Kenny Lynch - Funkin' For Jamaica Vs Half The Day's Gone (Mixed By Kevin Sweeney)

1) The Staple Singers - Let's Do It Again2) Luther Vandross - What The World Needs Now3) Phyllis Nelson - Move Closer4) Curtis Stigers - You're All That Matters To Me5) Tina Turner - I Don't Wanna Fight6) Paul Young - Now I Know What Makes Otis Blue7) Dusty Springfield - Son Of A Preacher Man8) Smokey Robinson & The Miracles - The Tracks Of My Tears9) Jimmy Ruffin - What Becomes Of A Broken Heart10) Jackson 5  - I Want You Back11) Dionne Warwick - Walk On By12) Otis Redding - (Sittin On) The Dock Of The Bay13) Temptations - My Girl14) Supremes - Stop In The Name Of Love15) Aretha Franklin - Respect16) Sam & Dave - Soul Man17) Tavares - Whodunit18) George McCrae - Rock You Baby19) Real Thing - You To Me Are Everything20) Hot Chocolate - So You Win Again21) Marshall Hain - Dancing In The City22) Hot Chocolate - You Sexy Thing23) KC & The Sunshine Band - That's The Way (I Like It)24) Tavares - More Than A Woman25) Tavares - Heaven Must Be Missing An Angel26) Barry Blue - Dancin' (On A Saturday Night)27) Tom Robinson Band - 2 4 6 8 Motorway

**Kev White's White House Show Replay On traxfm.org. This Week Kev Gave Us Boogie, Dance & Pop Classics, (& Tunes You Have Not Heard In Years) From Paul Young, Luther Vandross, Culture Club, Soft Cell, M's "Pop Muzik", Lionel Richie, Alvin Stardust, Tony Wilson, Tom Robinson Band, Status Quo, Bee Gees, Tell Salavalas, David Soul, The Eagles & More Catch Kev White's The White House Show Every Thursday From 7PM UK Time The Station: traxfm.org #traxfm #boogie #danceclassics #classics #retro #remixes Listen Live Here Via The Trax FM Player: chat.traxfm.org/player/index.html Mixcloud LIVE :mixcloud.com/live/traxfm Free Trax FM Android App: play.google.com/store/apps/det...mradio.ba.a6bcb The Trax FM Facebook Page : https://www.facebook.com/profile.php?id=100092342916738 Trax FM Live On Hear This: hearthis.at/k8bdngt4/live Tunerr: tunerr.co/radio/Trax-FM Radio Garden: Trax FM Link: http://radio.garden/listen/trax-fm/IEnsCj55 OnLine Radio Box: onlineradiobox.com/uk/trax/?cs...cs=uk.traxRadio Radio Deck: radiodeck.com/radio/5a09e2de87...7e3370db06d44dc Radio.Net: traxfmlondon.radio.net Stream Radio : streema.com/radios/Trax_FM..The_Originals Live Online Radio: liveonlineradio.net/english/tr...ax-fm-103-3.htm**

Tomorrow's exciting Electronically Yours episode features Tom Robinson, who first became known in the late 1970s as a musician and LGBT activist with the Tom Robinson Band famous for hits 2-4-6-8 Motorway, Glad To Be Gay, Up Against The Wall. As a solo artist Tom had further solo hits with War Baby and Atmospherics: Listen To The Radio, and co-wrote songs with Peter Gabriel, Elton John and Dan Hartman. As a radio broadcaster Tom hosts two shows a week on BBC Radio 6 Music. He is still performing, and is much loved by his legion of fans. Ladies and gentlemen - the one and only Tom Robinson... If you can, please support the Electronically Yours podcast via my Patreon: https://www.patreon.com/electronicallyours

**Kev White's White House Show Replay On traxfm.org. This Week Kev Gave Us Boogie, Dance & Pop Classics, (& Tunes You Have Not Heard In Years), From Aswad, The Pointer Sisters, Bronski Beat, Toto, Duran Duran, David Essex, Bee Gees, The Tom Robinson Band, Harold Melvin & The Bluenotes, 10cc, Spinners, Cliff Richard, Bohannon & More Catch Kev White's The White House Show Every Thursday From 7PM UK Time The Station: traxfm.org #traxfm #boogie #danceclassics #classics #retro #remixes Listen Live Here Via The Trax FM Player: chat.traxfm.org/player/index.html Mixcloud LIVE :mixcloud.com/live/traxfm Free Trax FM Android App: play.google.com/store/apps/det...mradio.ba.a6bcb The Trax FM Facebook Page : facebook.com/original103.3 Trax FM Live On Hear This: hearthis.at/k8bdngt4/live Tunerr: tunerr.co/radio/Trax-FM Radio Garden: Trax FM Link: http://radio.garden/listen/trax-fm/IEnsCj55 OnLine Radio Box: onlineradiobox.com/uk/trax/?cs...cs=uk.traxRadio Radio Deck: radiodeck.com/radio/5a09e2de87...7e3370db06d44dc Radio.Net: traxfmlondon.radio.net Stream Radio : streema.com/radios/Trax_FM..The_Originals Live Online Radio: liveonlineradio.net/english/tr...ax-fm-103-3.htm**

Esta semana, en Islas de Robinson nos quedamos con algunos clásicos de la "New Wave" más punzante y "áspera". Entre el clasicismo y la actitud "punk" emergente por entonces, una colección de canciones y discos imperecederos que nos transportan directamente a la atmósfera de la segunda mitad de los 70. Conexiones obvias y repetidas en Islas de Robinson con frecuencia que, no obstante, conviene repetir de tanto en tanto... Imposible no hacerlo... necesario... ya saben, "tesoros que nunca deberían dejar de sonar a través de las ondas". Suenan: WRECKLESS ERIC - "WHOLE WIDE WORLD" ("WRECKLESS ERIC", 1977) / LARRY WALLIS - "POLICE CAR" (SINGLE, 1977) / CELIA AND THE FABULOUS MUTATIONS - "YOU BETTER BELIEVE ME" (SINGLE, 1977) / THE STRANGLERS - "HANGING AROUND" ("IV (RATTUS NORVEGICUS)", 1977) / CHRIS SPEDDING - "HURT BY LOVE" ("HURT", 1977) / PRETENDERS - "TATOOED LOVE BOYS" ("PRETENDERS", 1980) / JOE JACKSON - "THROW IT AWAY" ("LOOK SHARP!", 1979) / TOM ROBINSON BAND - "THE WINTER OF '79" ("POWER IN THE DARKNESS", 1978) / TONIO K. - "FUNKY WESTERN CIVILIZATION" ("LIFE IN THE FOODCHAIN", 1978) / NICK LOWE - "SHAKE AND POP" ("JESUS OF COOL", 1978) / ELVIS COSTELLO - "I'M NOT ANGRY" ("MY AIM IS TRUE", 1977) / GRAHAM PARKER & THE RUMOUR - "STICK TO ME" ("STICK TO ME", 1977) / THE SPORTS - "MAILED IT TO YOUR SISTER" ("RECKLESS", 1978) / MINK DEVILLE - "SHE'S SO TOUGH" ("CABRETTA", 1977) / Escuchar audio

Check out this week's highways, byways, freeways and turnpikes episode of Suburban Underground.  Steve picked great songs by these artists: Audioslave, Hole, Fountains Of Wayne, Kraftwerk, 20/20, Tom Robinson Band, Billy Idol, The Donnas, Judas Priest, Tift Merritt, The Blessing, Weezer and The Lemonheads. On the Air on Bedford 105.1 FM Radio      *** 5pm Friday ***      *** 10am Sunday ***      *** 8pm Monday *** Stream live at http://209.95.50.189:8178/stream Stream on-demand most recent episodes at https://wbnh1051.podbean.com/category/suburban-underground/ And available on demand on your favorite podcast app! Twitter: @SUBedford1051  ***    Facebook: SuburbanUndergroundRadio   ***    Instagram: SuburbanUnderground   ***    #newwave #altrock #alternativerock #punkrock #indierock  

When this week's guest, singer/songwriter Elizabeth McCullough (Alpha Cat), heard the song 'Hoover Dam' by the band Sugar, she broke her 3-song rule (making sure an album has at least 3 good songs before purchasing it) and ran out and bought their 1992 debut 'Copper Blue'. She was not disappointed. The record by Bob Mould's new band, released five years after the dissolution of his previous band - beloved punk titans Hüsker Dü - is an emotionally visceral, sonically fierce collection of songs that sound as fresh today as when they first appeared. Stone. Cold. Classic. Songs featured in this episode: If I Can't Change Your Mind - Tre Dabney/The Salt Flats/The Decemberists; Venus Smile, Orbit - Alpha Cat; Friend, You've Got To Fall, Celebrated Summer - Hüsker Dü; See A Little Light - Bob Mould; Never Again - Zulus; The Act We Act, A Good Idea - Sugar; Debaser - Pixies; Changes, Helpless - Sugar; Hoover Dam - Bob Mould (Live, acoustic); Hoover Dam, The Slim - Sugar; Glad To Be Gay - Tom Robinson Band; If I Can't Change Your Mind, Fortune Teller - Sugar; Come In Alone - My Bloody Valentine; In Bloom - Nirvana; Slick, Man On The Moon - Sugar; Wichita - Alpha Cat; If I Can't Change Your Mind - The Decemberists (Live acoustic, A.V. Club)

Episodio 4.37 de Las Cosas Que Hay Que Escuchar, en el cual observamos al abismo y nos dejamos observar junto a The Rumjacks, Violent Femmes, The Homosexuals, Tom Robinson Band, The Ghost of a Saber Tooth Tiger, Uni and the Urchins, Tom Waits, Weird Al Yankovic, Tronco, Snakefinger, Toyah, Mandy Patinkin y Elektric Music Y, obviamente, todo el delirio habitual de Saurio y las voces que lo atormentan. Si quieren convidar con un cafecito ☕, pueden hacerlo acá: https://cafecito.app/lascosasquehay Programa emitido originalmente el 13 de noviembre de 2022 por FM La Tribu, 88.7, Buenos Aires, Argentina. Repite el 14 y 15 de noviembre de 2022 en Radio Libre, 96.3, Santa Teresita, el 16 de noviembre de 2022 en Radio Asamblea FM 94.1, CABA, y el 19 de noviembre de 2022 en Radio de la Calle, FM 87.9, Bahía Blanca

Vincent Burke is a talented singer/songwriter whose work has been championed by the likes of Tom Robinson (6Music), Max Rheinhardt (Late Junction on Radio 3) and Chris Difford of Squeeze. He has played the Latitude Festival as a ‘BBC Introducing Artist' and has ambitions to curate multi-media events in South London. He also wrote one of Invisible Folk's favourite songs of 2021 inspired by Edward Colston's spectacular dive into Bristol Harbour! Music sequence: 1 Vincent Burke - Big White Boots 2 Vincent Burke - Remembrance Day 3 Vincent Burke - He Paid to Have Himself Murdered 4 Tom Robinson Band - 2-4-6-8 Motorway (excerpt) 5 Vincent Burke - What I've Been Trying to Tell You All My Life 6 Max Richter - Sleep (excerpt) 7 Vincent Burke - Call Your Mother Links: https://www.vincentburke.co.uk/ https://vincentburke.bandcamp.com/music

While I'm still on hiatus, I invited questions from listeners. This is an hour-long podcast answering some of them. (Another hour-long Q&A for Patreon backers only will go up next week). Tilt Araiza has assisted invaluably by doing a first-pass edit, and will hopefully be doing so from now on. Check out Tilt's irregular podcasts at http://www.podnose.com/jaffa-cakes-for-proust and http://sitcomclub.com/ There is a Mixcloud of the music excerpted here which can be found at https://www.mixcloud.com/AndrewHickey/500-songs-supplemental-qa-edition/ Click below for a transcript: Hello and welcome to the Q&A  episode I'm doing while I'm working on creating a backlog. I'm making good progress on that, and still hoping and expecting to have episode 151 up some time in early August, though I don't have an exact date yet. I was quite surprised by the response to my request for questions, both at the amount of it and at where it came from. I initially expected to get a fair few comments on the main podcast, and a handful on the Patreon, and then I could do a reasonable-length Q&A podcast from the former and a shorter one from the latter. Instead, I only got a couple of questions on the main episode, but so many on the Patreon that I had to stop people asking only a day or so after posting the request for questions. So instead of doing one reasonable length podcast and one shorter one, I'm actually doing two longer ones. What I'm going to do is do all the questions asked publicly, plus all the questions that have been asked multiple times, in this one, then next week I'm going to put up the more niche questions just for Patreon backers. However, I'm not going to answer *all* of the questions. I got so many questions so quickly that there's not space to answer them all, and several of them were along the lines of "is artist X going to get an episode?" which is a question I generally don't answer -- though I will answer a couple of those if there's something interesting to say about them. But also, there are some I've not answered for another reason. As you may have noticed, I have a somewhat odd worldview, and look at the world from a different angle from most people sometimes. Now there were several questions where someone asked something that seems like a perfectly reasonable question, but contains a whole lot of hidden assumptions that that person hadn't even considered -- about music history, or about the process of writing and researching, or something else. Now, to answer that kind of question at all often means unpacking those hidden assumptions, which can sometimes make for an interesting answer -- after all, a lot of the podcast so far has been me telling people that what they thought they knew about music history was wrong -- but when it's a question being asked by an individual and you answer that way, it can sometimes, frankly, make you look like a horribly unpleasant person, or even a bully. "Don't you even know the most basic things about historical research? I do! You fool! Hey everyone else listening, this person thinks you do research in *this* way, but everyone knows you do it *that* way!" Now, that is never how I would intend such answers to come across -- nobody can be blamed for not knowing what they don't know -- but there are some questions where no matter how I phrased the answer, it came across sounding like that. I'll try to hold those over for future Q&A episodes if I can think of ways of unpicking the answers in such a way that I'm not being unconscionably rude to people who were asking perfectly reasonable questions. Some of the answers that follow might still sound a bit like that to be honest, but if you asked a question and my answer sounds like that to you, please know that it wasn't meant to. There's a lot to get through, so let's begin: Steve from Canada asks: “Which influential artist or group has been the most challenging to get information on in the last 50 podcasts? We know there has been a lot written about the Beatles, Beach Boys, Motown as an entity, the Monkees and the Rolling Stones, but you mentioned in a tweet that there's very little about some bands like the Turtles, who are an interesting story. I had never heard of Dino Valenti before this broadcast – but he appeared a lot in the last batch – so it got me curious. [Excerpt: The Move, “Useless Information”] In the last fifty episodes there's not been a single one that's made it to the podcast where it was at all difficult to get information. The problem with many of them is that there's *too much* information out there, rather than there not being enough. No matter how many books one reads on the Beatles, one can never read more than a fraction of them, and there's huge amounts of writing on the Rolling Stones, on Hendrix, on the Doors, on the Byrds... and when you're writing about those people, you *know* that you're going to miss out something or get something wrong, because there's one more book out there you haven't read which proves that one of the stories you're telling is false. This is one of the reasons the episodes have got so much longer, and taken so much more time. That wasn't the case in the first hundred episodes -- there were a lot of artists I covered there, like Gene and Eunice, or the Chords, or Jesse Belvin, or Vince Taylor who there's very little information about. And there are some coming up who there's far less information about than people in the last fifty episodes. But every episode since the Beatles has had a surfeit of information. There is one exception -- I wanted to do a full episode on "Rescue Me" by Fontella Bass, because it would be an interesting lens through which to look at how Chess coped with the change in Black musical styles in the sixties. But there was so little information available about her I ended up relegating it to a Patreon bonus episode, because she makes those earlier artists look well-documented. Which leads nicely into the next question. Nora Tillman asks "Forgive this question if you've answered it before: is there literally a list somewhere with 500 songs you've chosen? Has the list changed since you first composed it? Also, when did you first conceive of this list?" [Excerpt: John Reed and the D'Oyly Carte Opera Company, "As Someday it May Happen"] Many people have asked this question, or variations upon it. The answer is yes and no. I made a list when I started that had roughly two hundred songs I knew needed to be on there, plus about the same number again of artists who needed to be covered but whose precise songs I hadn't decided on. To make the initial list I pulled a list out of my own head, and then I also checked a couple of other five-hundred-song lists -- the ones put out by Rolling Stone magazine and the Rock and Roll Hall of Fame -- not because I wanted to use their lists; I have very little time for rock critical orthodoxy, as most of my listeners will likely have realised by now, but because I wanted to double-check that I hadn't missed anything obvious out, and that if I was missing something off their lists, I knew *why* I was missing it. To take a ludicrous example, I wouldn't want to get to the end of the 1960s and have someone say "Wait a minute, what about the Beatles?" and think "I *knew* I'd forgotten something!" Then, at the start of each fifty-episode season, I put together a more rigorous list of the fifty songs coming up, in order. Those lists *can* still change with the research -- for example, very early on in the research for the podcast, I discovered that even though I was completely unfamiliar with "Ko Ko Mo" by Gene and Eunice, it was a hugely important and influential record at the time, and so I swapped that in for another song. Or more recently, I initially intended to have the Doors only have one episode, but when I realised how much I was having to include in that episode I decided to give them a second one. And sometimes things happen the other way -- I planned to do full episodes on Jackie Shane and Fontella Bass, but for both of them I couldn't find enough information to get a decent episode done, so they ended up being moved to Patreon episodes. But generally speaking that fifty-song list for a year's episodes is going to remain largely unchanged. I know where I'm going, I know what most of the major beats of the story are, but I'm giving myself enough flexibility to deviate if I find something I need to include. Connected with this, Rob Johnson asks how I can be confident I'll get back to some stories in later episodes. Well, like I say, I have a pretty much absolute idea of what I'm going to do in the next year, and there are a lot of individual episodes where I know the structure of the episode long before we get to it. As an example here... I don't want to give too much away, and I'm generally not going to be answering questions about "will artist X be appearing?", but Rob also asked about one artist. I can tell you that that artist is one who will not be getting a full episode -- and I already said in the Patreon episode about that artist that they won't -- but as I also said in that episode they *will* get a significant amount of time in another episode, which I now know is going to be 180, which will also deal with another artist from the same state with the same forename, even though it's actually about two English bands. I've had the structure of that episode planned out since literally before I started writing episode one. On the other hand, episode 190 is a song that wasn't originally going to be included at all. I was going to do a 1967 song by the same artist, but then found out that a fact I'd been going to use was disputed, which meant that track didn't need to be covered, but the artist still did, to finish off a story I'd started in a previous episode. Patrick asks:"I am currently in the middle of reading 1971: Never a Dull Moment by David Hepworth and I'm aware that Apple TV have produced a documentary on how music changed that year as well and I was wondering what your opinion on that subject matter? I imagine you will be going into some detail on future podcasts, but until recently I never knew people considered 1971 as a year that brought about those changes." [Excerpt: Rod Stewart, "Angel"] I've not yet read Hepworth's book, but that it's named after an album which came out in 1972 (which is the album that track we just heard came from) says something about how the idea that any one year can in itself be a turning point for music is a little overstated -- and the Apple documentary is based on Hepworth's book, so it's not really multiple people making that argument. Now, as it happens, 1971 is one of the break points for the podcast -- episodes 200 and 201 are both records from July 1971, and both records that one could argue were in their own way signifiers of turning points in rock music history. And as with 1967 it's going to have more than its fair share of records, as it bridges the gap of two seasons. But I think one could make similar arguments for many, many years, and 1971 is  not one of the most compelling cases. I can't say more before I read Hepworth's book, which won't be for a few months yet. I'm instinctively dubious of these "this year was the big year that changed everything" narratives, but Hepworth's a knowledgeable enough writer that I wouldn't want to dismiss his thesis without even reading the book. Roger Pannell asks I'm a fairly recent joiner-in too so you may have answered this before. What is the theme tune to the podcast please. [Excerpt: The Boswell Sisters, “Rock and Roll”] The theme song to the podcast is "Rock and Roll" by the Boswell Sisters. The version I use is not actually the version that was released as a single, but a very similar performance that was used in the film Transatlantic Merry-Go-Round in 1931. I chose it in part because it may well be the first ever record to contain the phrase "rock and roll" (though as I've said many times there's no first anything, and there are certainly many records which talk about rocking and/or rolling -- just none I know of with that phrase) so it evokes rock and roll history, partly because the recording is out of copyright, and partly just because I like the Boswell Sisters. Several people asked questions along the lines of this one from Christopher Burnett "Just curious if there's any future episodes planned on any non-UK or non-North American songs? The bonus episodes on the Mops and Kyu Sakamoto were fascinating." [Excerpt: Kyu Sakamoto, "Sukiyaki"] Sadly, there won't be as many episodes on musicians from outside the UK and North America as I'd like. The focus of the podcast is going to be firmly on British, American, Irish, and Canadian musicians, with a handful from other Anglophone countries like Australia and Jamaica. There *are* going to be a small number of episodes on non-Anglophone musicians, but very few. Sadly, any work of history which engages with injustices still replicates some of those injustices, and one of the big injustices in rock history is that most rock musicians have been very insular, and there has been very little influence from outside the Anglophone world, which means that I can't talk much about influential records made by musicians from elsewhere.  Also, in a lot of cases most of the writing about them is in other languages, and I'm shamefully monolingual (I have enough schoolboy French not to embarrass myself, but not enough to read a biography without a dictionary to hand, and that's it). There *will* be quite a few bonus episodes on musicians from non-Anglophone countries though, because this *is* something that I'm very aware of as a flaw, and if I can find ways of bringing the wider story into the podcast I will definitely do so, even if it means changing my plans somewhat, but I'm afraid they'll largely be confined to Patreon bonuses rather than mainline episodes. Ed Cunard asks "Is there a particular set of songs you're not looking forward to because you don't care for them, but intend to dive into due to their importance?" [Excerpt: Jackie Shane, "Don't Play That Song"] There are several, and there already have been some, but I'm not going to say what they are as part of anything to do with the podcast (sometimes I might talk about how much I hate a particular record on my personal Twitter account or something, but I try not to on the podcast's account, and I'm certainly not going to in an episode of the podcast itself). One of the things I try to do with the podcast is to put the case forward as to why records were important, why people liked them at the time, what they got out of them. I can't do that if I make it about my own personal tastes. I know for a fact that there are people who have come away from episodes on records I utterly despise saying "Wow! I never liked that record before, but I do now!" and that to me shows that I have succeeded -- I've widened people's appreciation for music they couldn't appreciate before. Of course, it's impossible to keep my own tastes from showing through totally, but even there people tend to notice much more my like or dislike for certain people rather than for their music, and I don't feel anything like as bad for showing that. So I have a policy generally of just never saying which records in the list I actually like and which I hate. You'll often be able to tell from things I talk about elsewhere, but I don't want anyone to listen to an episode and be prejudiced not only against the artist but against the episode  by knowing going in that I dislike them, and I also don't want anyone to feel like their favourite band is being given short shrift. There are several records coming up that I dislike myself but where I know people are excited about hearing the episode, and the last thing I want to do is have those people who are currently excited go in disappointed before they even hear it. Matt Murch asks: "Do you anticipate tackling the shift in rock toward harder, more seriously conceptual moves in 1969 into 1970, with acts like Led Zeppelin, The Who (again), Bowie, etc. or lighter soul/pop artists such as Donna Summer, Carly Simon or the Carpenters? Also, without giving too much away, is there anything surprising you've found in your research that you're excited to cover? [Excerpt: Robert Plant, "If I Were a Carpenter"] OK, for the first question... I don't want to say exactly who will and won't be covered in future episodes, because when I say "yes, X will be covered" or "no, Y will not be covered", it invites a lot of follow-up discussion along the lines of "why is X in there and not Y?" and I end up having to explain my working, when the episodes themselves are basically me explaining my working. What I will say is this... the attitude I'm taking towards who gets included and who gets excluded is, at least in part, influenced by an idea in cognitive linguistics called prototype theory. According to this theory, categories aren't strictly bounded like in Aristotelian thought -- things don't have strict essences that mean they definitely are or aren't members of categories. But rather, categories have fuzzy boundaries, and there are things at the centre that are the most typical examples of the category, and things at the border that are less typical. For example, a robin is a very "birdy" bird -- it's very near the centre of the category of bird, it has a lot of birdness -- while an ostrich is still a bird, but much less birdy, it's sort of in the fuzzy boundary area. When you ask people to name a bird, they're more likely to name a robin than an ostrich, and if you ask them “is an ostrich a bird?” they take longer to answer than they do when asked about robins. In the same way, a sofa is nearer the centre of the category of "furniture" than a wardrobe is. Now, I am using an exceptionally wide definition of what counts as rock music, but at the same time, in order for it to be a history of rock music, I do have to spend more time in the centre of the concept than around the periphery. My definition would encompass all the artists you name, but I'm pretty sure that everyone would agree that the first three artists you name are much closer to the centre of the concept of "rock music" than the last three. That's not to say anyone on either list is definitely getting covered or is definitely *not* getting covered -- while I have to spend more time in the centre than the periphery, I do have to spend some time on the periphery, and my hope is to cover as many subgenres and styles as I can -- but that should give an idea of how I'm approaching this. As for the second question -- there's relatively little that's surprising that I've uncovered in my research so far, but that's to be expected. The period from about 1965 through about 1975 is the most over-covered period of rock music history, and so the basic facts for almost every act are very, very well known to people with even a casual interest. For the stuff I'm doing in the next year or so, like the songs I've covered for the last year, it's unlikely that anything exciting will come up until very late in the research process, the times when I'm pulling everything together and notice one little detail that's out of place and pull on that thread and find the whole story unravelling. Which may well mean, of course, that there *are* no such surprising things. That's always a possibility in periods where we're looking at things that have been dealt with a million times before, and this next year may largely be me telling stories that have already been told. Which is still of value, because I'm putting them into a larger context of the already-released episodes, but we'll see if anything truly surprising happens. I certainly hope it does. James Kosmicki asks "Google Podcasts doesn't seem to have any of the first 100 episodes - are they listed under a different name perhaps?" [Excerpt: REM, "Disappear"] I get a number of questions like this, about various podcast apps and sites, and I'm afraid my answer is always the same -- there's nothing I can do about this, and it's something you'd have to take up with the site in question. Google Podcasts picks up episodes from the RSS feed I provide, the same as every other site or app. It's using the right feed, that feed has every episode in it, and other sites and apps are working OK with it. In general, I suggest that rather than streaming sites like Google Podcasts or Stitcher or Spotify, where the site acts as a middleman and they serve the podcast to you from their servers, people should use a dedicated podcast app like RadioPublic or Pocketcasts or gPodder, where rather than going from a library of podcast episodes that some third party has stored, you're downloading the files direct from the original server, but I understand that sometimes those apps are more difficult to use, especially for less tech-savvy people. But generally, if an episode is in some way faulty or missing on the 500songs.com webpage, that's something I can do something about. If it's showing up wrong on Spotify or Google Podcasts or Stitcher or whatever, that's a problem at their end. Sorry. Darren Johnson asks "were there any songs that surprised you? Which one made the biggest change between what you thought you knew and what you learned researching it?" [Excerpt: The Turtles, "Goodbye Surprise"] Well, there have been a few, in different ways. The most surprising thing for me actually was in the most recent episode when I discovered the true story behind the "bigger than Jesus" controversy during my reading. That was a story I'd known one way for my entire life -- literally I think I first read about that story when I was six or seven -- and it turned out that not one thing I'd read on the subject had explained what had really happened. But then there are other things like the story of "Ko Ko Mo", which was a record I wasn't even planning on covering at first, but which turned out to be one of the most important records of the fifties. But I actually get surprised relatively little by big-picture things. I'll often discover fun details or new connections between things I hadn't noticed before, but the basic outlines of the story never change that much -- I've been reading about music history literally since I learned how to read, and while I do a deep dive for each episode, it's very rare that I discover anything that totally changes my perspective. There is always a process of reevaluation going on, and a change in the emphases in my thought, so for example when I started the project I knew Johnny Otis would come up a fair bit in the early years, and knew he was a major figure, but was still not giving him the full credit he deserved in my head. The same goes for Jesse Belvin, and as far as background figures go Lester Sill and Milt Gabler. But all of these were people I already knew were important, i just hadn't connected all the dots in my head. I've also come to appreciate some musicians more than I did previously. But there are very few really major surprises, which is probably to be expected -- I got into this already knowing a *LOT*, because otherwise I wouldn't have thought this was a project I could take on. Tracey Germa -- and I'm sorry, I don't know if that's pronounced with a hard or soft G, so my apologies if I mispronounced it -- asks: "Hi Andrew. We love everything about the podcast, but are especially impressed with the way you couch your trigger warnings and how you embed social commentary into your analysis of the music. You have such a kind approach to understanding human experiences and at the same time you don't balk at saying the hard things some folks don't want to hear about their music heroes. So, the question is - where does your social justice/equity/inclusion/suffer no fools side come from? Your family? Your own experiences? School/training?” [Excerpt: Elvis Costello and the Attractions, "Little Triggers"] Well, firstly, I have to say that people do say  this kind of thing to me quite a lot, and I'm grateful when they say it, but I never really feel comfortable with it, because frankly I think I do very close to the absolute minimum, and I get by because of the horribly low expectations our society has for allocishet white men, which means that making even the tiniest effort possible to be a decent human being looks far more impressive by comparison than it actually is. I genuinely think I don't do a very good job of this at all, although I do try, and that's not false modesty there. But to accept the premise of the question for a moment, there are a couple of answers. My parents are both fairly progressive both politically and culturally,  for the time and place where they raised me. They both had strong political convictions, and while they didn't have access to much culture other than what was on TV or in charting records or what have you -- there was no bookshop or record shop in our town, and obviously no Internet back then -- they liked the stuff out of that mix that was forward-thinking, and so was anti-racist, accepting of queerness, and so on. From a very early age, I was listening to things like "Glad to be Gay" by the Tom Robinson Band. So from before I really even understood what those concepts were, I knew that the people I admired thought that homophobia and racism were bad things. I was also bullied a lot at school, because I was autistic and fat and wore glasses and a bunch of other reasons. So I hated bullying and never wanted to be a bully. I get very, very, *very* angry at cruelty and at abuses of power -- as almost all autistic people do, actually. And then, in my twenties and thirties, for a variety of reasons I ended up having a social circle that was predominantly queer and/or disabled and/or people with mental health difficulties. And when you're around people like that, and you don't want to be a bully, you learn to at least try to take their feelings into consideration, though I slipped up a great deal for a long time, and still don't get everything right. So that's the "social justice" side of things. The other side, the "understanding human experiences" side... well, everyone has done awful things at times, and I would hope that none of us would be judged by our worst behaviours. "Use every man to his desert and who should 'scape whipping?" and all that. But that doesn't mean those worst behaviours aren't bad, and that they don't hurt people, and denying that only compounds the injustice. People are complicated, societies are complicated, and everyone is capable of great good and great evil. In general I tend to avoid a lot of the worst things the musicians I talk about did, because the podcast *is* about the music, but when their behaviour affects the music, or when I would otherwise be in danger of giving a truly inaccurate picture of someone, I have to talk about those things. You can't talk about Jerry Lee Lewis without talking about how his third marriage derailed his career, you can't talk about Sam Cooke without talking about his death, and to treat those subjects honestly you have to talk about the reprehensible sides of their character. Of course, in the case of someone like Lewis, there seems to be little *but* a reprehensible side, while someone like Cooke could be a horrible, horrible person, but even the people he hurt the most also loved him dearly because of his admirable qualities. You *have* to cover both aspects of someone like him if you want to be honest, and if you're not going to be honest why bother trying to do history at all? Lester Dragstedt says (and I apologise if I mispronounced that): "I absolutely love this podcast and the perspective you bring. My only niggle is that the sound samples are mixed so low. When listening to your commentary about a song at voice level my fingers are always at the volume knob to turn up when the song comes in." [Excerpt: Bjork, "It's Oh So Quiet"] This is something that gets raised a lot, but it's not something that's ever going to change. When I started the podcast, I had the music levels higher, and got complaints about that, so I started mixing them lower. I then got complaints about *that*, so I did a poll of my Patreon backers to see what they thought, and by about a sixty-forty margin they wanted the levels to be lower, as they are now, rather than higher as they were earlier. Basically, there seem to be two groups of listeners. One group mostly listens with headphones, and doesn't like it when the music gets louder, because it hurts their ears. The other group mostly listens in their cars, and the music gets lost in the engine noise. That's a gross oversimplification, and there are headphone listeners who want the music louder and car listeners who want the music quieter, but the listenership does seem to split roughly that way, and there are slightly more headphone listeners. Now, it's literally *impossible* for me to please everyone, so I've given up trying with this, and it's *not* going to change. Partly because the majority of my backers voted one way, partly because it's just easier to leave things the way they are rather than mess with them given that no matter what I do someone will be unhappy, and partly because both Tilt when he edits the podcast and I when I listen back and tweak his edit are using headphones, and *we* don't want to hurt our ears either. Eric Peterson asks "if we are basically in 1967 that is when we start seeing Country artists like Johnny Cash and Waylon Jennings - the Man who Survived the Day the Music Died - start to bring more rock songs into their recordings and start to set the ground work in many ways for Country Rock ... how do you envision bringing the role they play in the History of Rock and Roll into the podcast?" [Excerpt: The Del McCoury Band, "Nashville Cats"] I will of course be dealing with country rock as one of the subgenres I discuss -- though there's only one real country-rock track coming up in the next fifty, but there'll be more as I get into the seventies, and there are several artists coming up with at least some country influence. But I won't be looking at straight country musicians like Jennings or Cash except through the lens of rock musicians they inspired -- things like me talking about Johnny Cash briefly in the intro to the "Hey Joe" episode. I think Cocaine and Rhinestones is already doing a better job of covering country music than I ever could, and so those people will only touch the story tangentially. Nili Marcia says: "If one asks a person what's in that room it would not occur to one in 100 to mention the air that fills it. Something so ubiquitous as riff--I don't know what a riff actually is! Will you please define riff, preferably with examples." Now this is something I actually thought I'd explained way back in episode one, and I have a distinct memory of doing so, but I must have cut that part out -- maybe I recorded it so badly that part couldn't be salvaged, which happened sometimes in the early days -- because I just checked and there's no explanation there. I would have come back to this at some point if I hadn't been thinking all along that I'd covered it right at the start, because you're right, it is a term that needs definition. A riff is, simply, a repeated, prominent, instrumental figure. The term started out in jazz, and there it was a term for a phrase that would be passed back and forth between different instruments -- a trumpet might play a phrase, then a saxophone copy it, then back to the trumpet, then back to the saxophone. But quickly it became a term for a repeated figure that becomes the main accompaniment part of a song, over which an instrumentalist might solo or a singer might sing, but which you remember in its own right. A few examples of well-known riffs might include "Smoke on the Water" by Deep Purple: [Excerpt: Deep Purple, "Smoke on the Water"] "I Feel Fine" by the Beatles: [Excerpt: The Beatles, "I Feel Fine"] "Last Train to Clarksville" by the Monkees: [Excerpt: The Monkees, "Last Train to Clarksville"] The bass part in “Under Pressure” by Queen and David Bowie: [Excerpt: Queen and David Bowie, “Under Pressure”] Or the Kingsmen's version of "Louie Louie": [Excerpt: The Kingsmen, "Louie Louie"] Basically, if you can think of a very short, prominent, instrumental idea that gets repeated over and over, that's a riff. Erik Pedersen says "I love the long episodes and I suspect you do too -- thoroughness. of this kind is something few get the opportunity to do -- but have you ever, after having written a long one, decided to cut them significantly? Are there audio outtakes you might string together one day?" [Excerpt: Bing Crosby and Les Paul, "It's Been a Long, Long Time"] I do like *having* done the long episodes, and sometimes I enjoy doing them, but other times I find it frustrating that an episode takes so long, because there are other stories I want to move on to. I'm trying for more of a balance over the next year, and we'll see how that works out. I want to tell the story in the depth it deserves, and the longer episodes allow me to do that, and to experiment with narrative styles and so on, but I also want to get the podcast finished before I die of old age. Almost every episode has stuff that gets cut, but it's usually in the writing or recording stage -- I'll realise a bit of the episode is boring and just skip it while I'm recording, or I'll cut out an anecdote or something because it looks like it's going to be a flabby episode and I want to tighten it up, or sometimes I'll realise that because of my mild speech impediments a sentence is literally unspeakable, and I'll rework it. It's very, very rare that I'll cut anything once it's been recorded, and if I do it's generally because when I listen back after it's been edited I'll realise I'm repeating myself or I made a mistake and need to cut a sentence because I said the wrong name, that sort of thing. I delete all the audio outtakes, but even if I didn't there would be nothing worth releasing. A few odd, out of context sentences, the occasional paragraph just repeating something I'd already said, a handful of actual incorrect facts, and a lot of me burping, or trying to say a difficult name three times in a row, or swearing when the phone rings in the middle of a long section. Lucy Hewitt says "Something that interests me, and that I'm sure you will cover is how listeners consume music and if that has an impact. In my lifetime we've moved from a record player which is fixed in one room to having a music collection with you wherever you go, and from hoping that the song you want to hear might be played on the radio to calling it up whenever you want. Add in the rise of music videos, and MTV, and the way in which people access music has changed a lot over the decades. But has that affected the music itself?" [Excerpt: Bow Wow Wow "C30 C60 C90 Go!"] It absolutely has affected the music itself in all sorts of ways, some of which I've touched on already and some of which I will deal with as we go through the story, though the story I'm telling will end around the time of Napster and so won't involve streaming services and so forth. But every technology change leads to a change in the sound of music in both obvious and non-obvious ways. When AM radio was the most dominant form of broadcasting, there was no point releasing singles in stereo, because at that time there were no stereo AM stations. The records also had to be very compressed, so the sound would cut through the noise and interference. Those records would often be very bass-heavy and have a very full, packed, sound. In the seventies, with the rise of eight-track players, you'd often end up with soft-rock and what would later get termed yacht rock having huge success. That music, which is very ethereal and full of high frequencies, is affected less negatively by some of the problems that came with eight-track players, like the tape stretching slightly. Then post-1974 and the OPEC oil crisis, vinyl became more expensive, which meant that records started being made much thinner, which meant you couldn't cut grooves as deeply, which meant you lost bass response, which again changed the sound of records – and also explains why when CDs came out, people started thinking they sounded better than records, because they *did* sound better than the stuff that was being pressed in the late seventies and early eighties, which was so thin it was almost transparent, even though they sounded nowhere near as good as the heavy vinyl pressings of the fifties and sixties. And then the amount of music one could pack into a CD encouraged longer tracks... A lot of eighties Hi-NRG and dance-pop music, like the records made by Stock, Aitken, and Waterman, has almost no bass but lots of skittering high-end percussion sounds -- tons of synthesised sleighbells and hi-hats and so on -- because a lot of disco equipment had frequency-activated lights, and the more high-end stuff was going on, the more the disco lights flashed... We'll look at a lot of these changes as we go along, but every single new format, every new way of playing an old format, every change in music technology, changes what music gets made quite dramatically. Lucas Hubert asks: “Black Sabbath being around the corner, how do you plan on dealing with Heavy Metal? I feel like for now, what is popular and what has had a big impact in Rock history coincide. But that kind of change with metal, no? (Plus, prog and metal are more based on albums than singles, I think.)” [Excerpt: Black Sabbath, “Sabbath Bloody Sabbath”] I plan on dealing with metal the same way I've been dealing with every other subgenre. We are, yes, getting into a period where influence and commercial success don't correlate quite as firmly as they did in the early years -- though really we've already been there for quite some time. I've done two episodes so far on the Byrds, a group who only had three top-twenty singles in the US and two in the UK, but only did a bonus episode on Herman's Hermits, who had fourteen in the US and seventeen in the UK. I covered Little Richard but didn't cover Pat Boone, even though Boone had the bigger hits with Richard's songs. In every subgenre there are going to be massive influences who had no hits, and people who had lots of hits but didn't really make much of a wider impact on music, and I'll be dealing with the former more than the latter. But also, I'll be dealing most with people who were influential *and* had lots of hits -- if nothing else because while influence and chart success aren't a one-to-one correlation, they're still somewhat correlated. So it's unlikely you'll see me cover your favourite Scandinavian Black Metal band who only released one album of which every copy was burned in a mysterious fire two days after release, but you can expect most of the huge names in metal to be covered. Though even there, simply because of the number of subgenres I'm going to cover, I'm going to miss some big ones. Related to the question about albums, Svennie asks “This might be a bit of a long winded question so just stick with me here. As the music you cover becomes more elaborate, and the albums become bigger in scale, how do you choose a song which you build the story around while also telling the story of that album? I ask this specifically with the White Album in mind, where you've essentially got four albums in one. To that end, what song would you feel defines the White Album?” [Excerpt: The Beatles, “Revolution #9”] Well, you'll see how I cover the White Album in episode one hundred and seventy-two -- we're actually going to have quite a long stretch with no Beatles songs covered because I'm going to backfill a lot of 1967 and then we're getting to the Beatles again towards the end of 1968, but it'll be another big one when we get there. But in the general case... the majority of albums to come still had singles released off them, and a lot of what I'm going to be looking at in the next year or two is still hit singles, even if the singles are by people known as album bands. Other times, a song wasn't a single, but maybe it was covered by someone else -- if I know I'm going to cover a rock band and I also know that one of the soul artists who would do rock covers as album tracks did a version of one of their songs, and I'm going to cover that soul artist, say, then if I do the song that artist covered I can mention it in the episode on the soul singer and tie the two episodes together a bit. In other cases there's a story behind a particular track that's more interesting than other tracks, or the track is itself a cover version of someone else's record, which lets me cover both artists in a single episode, or it's the title track of the album. A lot of people have asked me this question about how I'd deal with albums as we get to the late sixties and early seventies, but looking at the list of the next fifty episodes, there's actually only two where I had to think seriously about which song I chose from an album -- in one case, I chose the title track, in the other case I just chose the first song on the album (though in that case I may end up choosing another song from the same album if I end up finding a way to make that a more interesting episode). The other forty-eight were all very, very obvious choices. Gary Lucy asks “Do you keep up with contemporary music at all? If so, what have you been enjoying in 2022 so far…and if not, what was the most recent “new” album you really got into?” [Excerpt: Stew and the Negro Problem, "On the Stage of a Blank White Page"] I'm afraid I don't. Since I started doing the podcast, pretty much all of my listening time has been spent on going back to much older music, and even before that, when I was listening to then-new music it was generally stuff that was very much inspired by older music, bands like the Lemon Twigs, who probably count as the last new band I really got into with their album Do Hollywood, which came out in 2016 but which I think I heard in 2018. I'm also now of that age where 2018 seems like basically yesterday, and when I keep thinking "what relatively recent albums have I liked?" I think of things like The Reluctant Graveyard by Jeremy Messersmith, which is from 2010, or Ys by Joanna Newsom, which came out in 2006. Not because I haven't bought records released since then, but because my sense of time is so skewed that summer 1994 and summer 1995 feel like epochs apart, hugely different times in every way, but every time from about 2005 to 2020 is just "er... a couple of years ago? Maybe?" So without going through every record I've bought in the last twenty years and looking at the release date I couldn't tell you what still counts as contemporary and what's old enough to vote. I have recently listened a couple of times to an album by a band called Wet Leg, who are fairly new, but other than that I can't say. But probably the most recent albums to become part of my regular listening rotation are two albums which came out simultaneously in 2018 by Stew and the Negro Problem, Notes of a Native Song, which is a song cycle about James Baldwin and race in America, and The Total Bent, which is actually the soundtrack to a stage musical, and which I think many listeners to the podcast might find interesting, and which is what that last song excerpt was taken from. It's basically a riff on the idea of The Jazz Singer, but set in the Civil Rights era, and about a young politically-radical Black Gospel songwriter who writes songs for his conservative preacher father to sing, but who gets persuaded to become a rock and roll performer by a white British record producer who fetishises Black music. It has a *lot* to say about religion, race, and politics in America -- a couple of the song titles, to give you some idea, are "Jesus Ain't Sitting in the Back of the Bus" and "That's Why He's Jesus and You're Not, Whitey". It's a remarkable album, and it deals with enough of the same subjects I've covered here that I think any listeners will find it interesting. Unfortunately, it was released through the CDBaby store, which closed down a few months later, and unlike most albums released through there it doesn't seem to have made its way onto any of the streaming platforms or digital stores other than Apple Music, which rather limits its availability. I hope it comes out again soon. Alec Dann says “I haven't made it to the Sixties yet so pardon if you have covered this: what was the relationship between Sun and Stax in their heyday? Did musicians work in both studios?” [Excerpt: Booker T. and the MGs, "Green Onions"] I've covered this briefly in a couple of the episodes on Stax, but the short version is that Sun was declining just as Stax was picking up. Jim Stewart, who founded Stax, was inspired in part by Sam Phillips, and there was a certain amount of cross-fertilisation, but not that much. Obviously Rufus Thomas recorded for both labels, and there were a few other connections -- Billy Lee Riley, for example, who I did an episode on for his Sun work, also recorded at the Stax studio before going on to be a studio musician in LA, and it was actually at a Billy Lee Riley session that went badly that Booker T and the MGs recorded "Green Onions". Also, Sun had a disc-cutting machine and Stax didn't, so when they wanted to get an acetate cut to play for DJs they'd take it to Sun -- it was actually Scotty Moore, who was working for Sun as a general engineer and producer as well as playing RCA Elvis sessions by 1962, who cut the first acetate copy of "Green Onions". But in general the musicians playing at Stax were largely the next generation of musicians -- people who'd grown up listening to the records Sam Phillips had put out in the very early fifties by Black musicians, and with very little overlap. Roger Stevenson asks "This project is going to take the best part of 7 years to complete. Do you have contingency plans in case of major problems? And please look after yourself - this project is gong to be your legacy." [Excerpt: Bonzo Dog Doodah Band, "Button Up Your Overcoat"] I'm afraid there's not much I can do if major problems come up -- by major problems I'm talking about things that prevent me from making the podcast altogether, like being unable to think or write or talk. By its nature, the podcast is my writing and my research and my voice, and if I can't do those things... well, I can't do them. I *am* trying to build in some slack again -- that's why this month off has happened -- so I can deal with delays and short-term illnesses and other disruptions, but if it becomes impossible to do it becomes impossible to do, and there's nothing more I can do about it. Mark Lipson asks "I'd like to know which episodes you've released have been the most & least popular? And going forward, which episodes do you expect to be the most popular? Just curious to know what music most of your listeners listen to and are interested in." [Excerpt: Sly and the Family Stone, "Somebody's Watching You"] I'm afraid I honestly don't know. Most podcasters have extensive statistical tools available to them, which tell them which episodes are most popular, what demographics are listening to the podcast, where they are in the world, and all that kind of thing. They use that information to sell advertising spots, which is how they make most of their money. You can say "my podcast is mostly listened to by seventy-five year-olds who google for back pain relief -- the perfect demographic for your orthopedic mattresses" or "seven thousand people who downloaded my latest episode also fell for at least one email claiming to be from the wallet inspector last year, so my podcast is listened to by the ideal demographic for cryptocurrency investment". Now, I'm lucky enough to be making enough money from my Patreon supporters' generosity that I don't have to sell advertising, and I hope I never do have to. I said at the very start of the process that I would if it became necessary, but that I hoped to keep it ad-free, and people have frankly been so astonishingly generous I should never have to do ads -- though I do still reserve the right to change my mind if the support drops off. Now, my old podcast host gave me access to that data as standard. But when I had to quickly change providers, I decided that I wasn't going to install any stats packages to keep track of people. I can see a small amount of information about who actually visits the website, because wordpress.com gives you that information – not your identities but just how many people come from which countries, and what sites linked them. But if you're downloading the podcast through a podcast app, or listening through Spotify or Stitcher or wherever, I've deliberately chosen not to access that data. I don't need to know who my audience is, or which episodes they like the most -- and if I did, I have a horrible feeling I'd start trying to tailor the podcast to be more like what the existing listeners like, and by doing so lose the very things that make it unique. Once or twice a month I'll look at the major podcast charts, I check the Patreon every so often to see if there's been a massive change in subscriber numbers, but other than that I decided I'm just not going to spy on my listeners (though pretty much every other link in the chain does, I'm afraid, because these days the entire Internet is based on spying on people). So the only information I have is the auto-generated "most popular episodes" thing that comes up on the front page, which everyone can see, and which shows the episodes people who actually visit the site are listening to most in the last few days, but which doesn't count anything from more than a few days ago, and which doesn't count listens from any other source, and which I put there basically so new listeners can see which ones are popular. At the moment that's showing that the most listened episodes recently are the two most recent full episodes -- "Respect" and "All You Need is Love" -- the most recent of the Pledge Week episodes, episodes one and two, so people are starting at the beginning, and right now there's also the episodes on "Ooby Dooby", "Needles and Pins", "God Only Knows", "She Loves You" and "Hey Joe". But in a couple of days' time those last five will be totally different. And again, that's just the information from people actually visiting the podcast website. I've deliberately chosen not to know what people listening in any other way are doing -- so if you've decided to just stream that bit of the Four Tops episode where I do a bad Bob Dylan impression five thousand times in a row, you can rest assured I have no idea you're doing it and your secret is totally safe. Anyway, that's all I have time for in this episode. In a week or so I'll post a similar-length episode for Patreon backers only, and then a week or two after that the regular podcast will resume, with a story involving folk singers, jazz harmony, angelic visitations and the ghost of James Dean. See you then.

The story of Pride as heard through the LGBTQ+ music that made a movement's soundtrack, put into perspective by Steve Sims in this edition of Queer Music Focus (including The Tom Robinson Band, Sandy Rapp, Jon Gilbert Leavitt, Tundo Olaniran, The Deisel Tykes and more). And in NewsWrap: Thailand's Cabinet sends a civil partnership proposal to Parliament, the Czech president vows to veto marriage equality, Istanbul's peaceful Pride is attacked by riot police, Ohio's House votes to verify student athletes' genitals, drag queen readings rile rightwing hate “groomers,” U.S. Rep. Lieu tells Christian congressional homophobes to come to Jesus, and more international LGBTQ news reported this week by John Dyer V and Melanie Keller (produced by Brian DeShazor). All this on the June 13, 2022 edition of This Way Out! Join our family of listener-donors today at http://thiswayout.org/donate/

Your host, Tom Austin-Morgan, is back to let you know what's been going on since the Chris Constantinou Interview episode went out and what you can expect from the next one. Firstly, a big thanks to Chris for the time he took to talk to me last month, it's been wonderful to make his acquaintance and to get to know him. Special thanks must again go out to Rhiannon Ifans who arranged the meeting in the first place, I'm looking forward to what else she's go up her sleeve! This month I appeared on another music-based podcast: Love That Album, which I'm a big fan of. Myself and the host, Maurice discussed the Tom Robinson Band's debut album Power In The Darkness as well as a lot of the political, societal and musical landscapes of the UK in the 1970s. I had an absolute blast finally meeting Maurice and getting onto his podcast, I hope you either heard it and enjoyed it or will seek it out to listen to, I think that episode makes a great companion piece to this podcast and, if you make the effort to listen to it and you do enjoy it, I hope you subscribe to Love That Album, Maurice is a great host and a fountain of knowledge. His most recent episode came out this week and is an interview with the bassist from the band The Knack, which was a real eye-opener about a band a lot of people dismiss as a one hit wonder. Make sure you listen to that one too! The news this month features bands like Buzzcocks, Black Flag, John Doe, The Linda Lindas, My Chemical Romance, Adolescents, Dream Nails and The Beastie Boys as well as the nominations announced by the Rock And Roll Hall of Fame. I also review Dublin-born, now London-based post-punk band Fontaines D.C.'s third album Skinty Fia. Be sure to get in touch on social media or email and do go to Apple Music to leave a rating and review, it really does help and you get the review read out on the show! Until next time, take care and stay safe. Contact Twitter: @BannedBiogs Facebook: @BannedBiographies Instagram: @bannedbiographies E-mail: bannedbiographies@gmail.com

In the past, Love That Album has avoided getting political. The albums being focused on for the most part didn't require the conversations to get embroiled in the very furnace that keeps people blathering on talk-back radio and social media – mostly in uncivilised fashion.That all changes for this episode. If you don't like talk about what a pack of dickheads (I use less polite terminology on the actual show) fascists really are and the political masters who enable them....you might wanna skip this show.Otherwise......welcome to episode 156 of Love That Album.It seems like we're still in a dark era for humanity with wars and bigotry continuously being part of every day life across this broken planet. In England back in the 70s, the National Front were gaining supporters from both ends of the class system. There was a very real chance that their racist ideology was going to be allowed into mainstream government – not just staying in the fringes of society. The Rock Against Racism movement was born to fight this ideology – particularly after the likes of Eric Clapton and David Bowie started saying things in public that would have been frightening to immigrants and Holocaust survivors.It was into this environment that songwriter and activist Tom Robinson brought his music into the public arena. He and his band (aptly named The Tom Robinson Band) brought a tough combination of pub and punk rock mixed with unambiguous lyrics explaining that if people didn't confront the fascists, then life as they knew it was over.I am privileged to be joined by podcaster and punk historian Tom Austin-Morgan to discuss the debut album by the TRB, Power In The Darkness. The album is confronting lyrically, but Robinson is smart enough to know that if you back up your messages with catchy hooks and singalong choruses, you'll have a better chance of getting your message across. Tom and I discuss Tom's music in a broader sense, but the necessity is that we have to discuss the political environment of England in the 70s to give the album context. We really couldn't have done the album justice without providing the history.I'm super grateful to Tom for providing his time and expertise. I highly recommend his excellent show “Banned Biographies”. The show focuses on the history of the original era of British punk – both by documentary style episodes and interviews with those who were there. Trust me – you need this show in your life. You can find it at all the usual places you get podcasts, or you can find it at https://www.bannedbiographies.com/ You can check the show's socials out at:Twitter: @BannedBiogsFacebook: @BannedBiographiesInstagram: @bannedbiographiesDownload this episode of LTA from your podcast app of choice.The wider back catalogue of episodes can also be found at http://lovethatalbumpodcast.blogspot.comLove That Album is proudly part of the Pantheon Podcast network. Go to http://pantheonpodcasts.com to check out all their great shows.You can send me feedback at rrrkitchen@yahoo.com.au (written or mp3 voicemail) or join the Facebook group at http://www.facebook.com/groups/lovethatalbumIf you'd consider writing an iTunes review I'd be immensely grateful. However, it'd be even better if you told a friend about the podcast and Pantheon – at a barbecue, over coffee, on social media….whatever way you choose, consider me grateful.Proudly Pantheon.

In the past, Love That Album has avoided getting political. The albums being focused on for the most part didn't require the conversations to get embroiled in the very furnace that keeps people blathering on talk-back radio and social media – mostly in uncivilised fashion. That all changes for this episode. If you don't like talk about what a pack of dickheads (I use less polite terminology on the actual show) fascists really are and the political masters who enable them....you might wanna skip this show. Otherwise......welcome to episode 156 of Love That Album. It seems like we're still in a dark era for humanity with wars and bigotry continuously being part of every day life across this broken planet. In England back in the 70s, the National Front were gaining supporters from both ends of the class system. There was a very real chance that their racist ideology was going to be allowed into mainstream government – not just staying in the fringes of society. The Rock Against Racism movement was born to fight this ideology – particularly after the likes of Eric Clapton and David Bowie started saying things in public that would have been frightening to immigrants and Holocaust survivors. It was into this environment that songwriter and activist Tom Robinson brought his music into the public arena. He and his band (aptly named The Tom Robinson Band) brought a tough combination of pub and punk rock mixed with unambiguous lyrics explaining that if people didn't confront the fascists, then life as they knew it was over. I am privileged to be joined by podcaster and punk historian Tom Austin-Morgan to discuss the debut album by the TRB, Power In The Darkness. The album is confronting lyrically, but Robinson is smart enough to know that if you back up your messages with catchy hooks and singalong choruses, you'll have a better chance of getting your message across. Tom and I discuss Tom's music in a broader sense, but the necessity is that we have to discuss the political environment of England in the 70s to give the album context. We really couldn't have done the album justice without providing the history. I'm super grateful to Tom for providing his time and expertise. I highly recommend his excellent show “Banned Biographies”. The show focuses on the history of the original era of British punk – both by documentary style episodes and interviews with those who were there. Trust me – you need this show in your life. You can find it at all the usual places you get podcasts, or you can find it at https://www.bannedbiographies.com/ You can check the show's socials out at: Twitter: @BannedBiogs Facebook: @BannedBiographies Instagram: @bannedbiographies Download this episode of LTA from your podcast app of choice.The wider back catalogue of episodes can also be found at http://lovethatalbumpodcast.blogspot.com Love That Album is proudly part of the Pantheon Podcast network. Go to http://pantheonpodcasts.com to check out all their great shows. You can send me feedback at rrrkitchen@yahoo.com.au (written or mp3 voicemail) or join the Facebook group at http://www.facebook.com/groups/lovethatalbum If you'd consider writing an iTunes review I'd be immensely grateful. However, it'd be even better if you told a friend about the podcast and Pantheon – at a barbecue, over coffee, on social media….whatever way you choose, consider me grateful. Proudly Pantheon. Learn more about your ad choices. Visit megaphone.fm/adchoices

Once again, Tom Austin-Morgan, your host is back to let you know what's been going on this month since the last two episodes went out, what's going on the world of punk rock and what you can expect from next months episode. Firstly, I'd like to extend my grateful thanks to both Them Fantasies and The Sewer Cats. Both conversations were really interesting, enlightening and fun, I hope you'll agree, and despite the fact that the music they make is poles apart, both bands' conviction in their art and enthusiasm when talking about it were utterly infectious and inspiring.  Previous guest, Louise Aubrie, has relocated to LA to start writing and recording new material. Meanwhile, she's released a new video for the song Dark from the album Antonio which she came on the show to talk about last year. Check it out in the back catalogue. I've guested on the Love That Album podcast, which is a brilliant show that I've listened to for years. The host, Maurice, and a guest – in this case me – discuss a variety of great albums from the rock, jazz or folk genres in some depth.  The episode is available now, which is apt because it corresponds with the 44th anniversary of the first Rock Against Racism concert at Victoria Park on the 30th April 1978 which featured, among others, the Tom Robinson Band. The episode is about their first album Power In The Darkness, although it also deals with the political and environmental history of the time because a lot of that fed into the themes of the album. It was a delightful chat with someone who has such a wealth of knowledge and made me feel most welcome, do go and find Love That Album podcast and listen not just to the episode I'm on, but rifle through the back catalogue, there'll certainly be a lot you'll be familiar with, but there are some great surprises to be had too. Thanks Maurice! I review just the one album this month; Wet Leg's debut, self-titled album that came out at he beginning on the month. Is it full of repetitive, flash in the pan indie nothingness or is it as goods as I hoped it would be? By sure to get in touch on social media or email and do to Apple Music to leave a rating and review, it's the podcast's second birthday, after all! Until next time, take care and stay safe. Contact Twitter: @BannedBiogs Facebook: @BannedBiographies Instagram: @bannedbiographies E-mail: bannedbiographies@gmail.com

In the past, Love That Album has avoided getting political. The albums being focused on for the most part didn't require the conversations to get embroiled in the very furnace that keeps people blathering on talk-back radio and social media – mostly in uncivilised fashion. That all changes for this episode. If you don't like talk about what a pack of dickheads (I use less polite terminology on the actual show) fascists really are and the political masters who enable them....you might wanna skip this show. Otherwise......welcome to episode 156 of Love That Album. It seems like we're still in a dark era for humanity with wars and bigotry continuously being part of every day life across this broken planet. In England back in the 70s, the National Front were gaining supporters from both ends of the class system. There was a very real chance that their racist ideology was going to be allowed into mainstream government – not just staying in the fringes of society. The Rock Against Racism movement was born to fight this ideology – particularly after the likes of Eric Clapton and David Bowie started saying things in public that would have been frightening to immigrants and Holocaust survivors. It was into this environment that songwriter and activist Tom Robinson brought his music into the public arena. He and his band (aptly named The Tom Robinson Band) brought a tough combination of pub and punk rock mixed with unambiguous lyrics explaining that if people didn't confront the fascists, then life as they knew it was over. I am privileged to be joined by podcaster and punk historian Tom Austin-Morgan to discuss the debut album by the TRB, Power In The Darkness. The album is confronting lyrically, but Robinson is smart enough to know that if you back up your messages with catchy hooks and singalong choruses, you'll have a better chance of getting your message across. Tom and I discuss Tom's music in a broader sense, but the necessity is that we have to discuss the political environment of England in the 70s to give the album context. We really couldn't have done the album justice without providing the history. I'm super grateful to Tom for providing his time and expertise. I highly recommend his excellent show “Banned Biographies”. The show focuses on the history of the original era of British punk – both by documentary style episodes and interviews with those who were there. Trust me – you need this show in your life. You can find it at all the usual places you get podcasts, or you can find it at https://www.bannedbiographies.com/ You can check the show's socials out at: Twitter: @BannedBiogs Facebook: @BannedBiographies Instagram: @bannedbiographies Download this episode of LTA from your podcast app of choice.The wider back catalogue of episodes can also be found at http://lovethatalbumpodcast.blogspot.com Love That Album is proudly part of the Pantheon Podcast network. Go to http://pantheonpodcasts.com to check out all their great shows. You can send me feedback at rrrkitchen@yahoo.com.au (written or mp3 voicemail) or join the Facebook group at http://www.facebook.com/groups/lovethatalbum If you'd consider writing an iTunes review I'd be immensely grateful. However, it'd be even better if you told a friend about the podcast and Pantheon – at a barbecue, over coffee, on social media….whatever way you choose, consider me grateful. Proudly Pantheon.

In the past, Love That Album has avoided getting political. The albums being focused on for the most part didn't require the conversations to get embroiled in the very furnace that keeps people blathering on talk-back radio and social media – mostly in uncivilised fashion.That all changes for this episode. If you don't like talk about what a pack of dickheads (I use less polite terminology on the actual show) fascists really are and the political masters who enable them....you might wanna skip this show.Otherwise......welcome to episode 156 of Love That Album.It seems like we're still in a dark era for humanity with wars and bigotry continuously being part of every day life across this broken planet. In England back in the 70s, the National Front were gaining supporters from both ends of the class system. There was a very real chance that their racist ideology was going to be allowed into mainstream government – not just staying in the fringes of society. The Rock Against Racism movement was born to fight this ideology – particularly after the likes of Eric Clapton and David Bowie started saying things in public that would have been frightening to immigrants and Holocaust survivors.It was into this environment that songwriter and activist Tom Robinson brought his music into the public arena. He and his band (aptly named The Tom Robinson Band) brought a tough combination of pub and punk rock mixed with unambiguous lyrics explaining that if people didn't confront the fascists, then life as they knew it was over.I am privileged to be joined by podcaster and punk historian Tom Austin-Morgan to discuss the debut album by the TRB, Power In The Darkness. The album is confronting lyrically, but Robinson is smart enough to know that if you back up your messages with catchy hooks and singalong choruses, you'll have a better chance of getting your message across. Tom and I discuss Tom's music in a broader sense, but the necessity is that we have to discuss the political environment of England in the 70s to give the album context. We really couldn't have done the album justice without providing the history.I'm super grateful to Tom for providing his time and expertise. I highly recommend his excellent show “Banned Biographies”. The show focuses on the history of the original era of British punk – both by documentary style episodes and interviews with those who were there. Trust me – you need this show in your life. You can find it at all the usual places you get podcasts, or you can find it at https://www.bannedbiographies.com/ You can check the show's socials out at:Twitter: @BannedBiogsFacebook: @BannedBiographiesInstagram: @bannedbiographiesDownload this episode of LTA from your podcast app of choice.The wider back catalogue of episodes can also be found at http://lovethatalbumpodcast.blogspot.comLove That Album is proudly part of the Pantheon Podcast network. Go to http://pantheonpodcasts.com to check out all their great shows.You can send me feedback at rrrkitchen@yahoo.com.au (written or mp3 voicemail) or join the Facebook group at http://www.facebook.com/groups/lovethatalbumIf you'd consider writing an iTunes review I'd be immensely grateful. However, it'd be even better if you told a friend about the podcast and Pantheon – at a barbecue, over coffee, on social media….whatever way you choose, consider me grateful.Proudly Pantheon.

First one back in the studio for a while. Includes many a shout-out for the likes of Electric Six; Dionne Warwick; Billy Nomates; Tom Robinson Band and Catatonia amongst many others. Nice.

Podcast #558 takes chances with tracks from Tom Robinson Band, Beach Youth, Teenage Fanclub, Meilyr Jones, Fresh, Fightmilk, Remember Sports, & Transvision Vamp.

The beginning of Summer 1978 sees the release of 2 groundbreaking albums, a couple solid efforts from artists destined for future greatness and a handful of absolute clunkers! R emerges a lot happier than J after exploring releases by Talking Heads, the Rezillos, the Boomtown Rats, DEVO, Peter Gabriel, Magazine and Tom Robinson Band. Plus, a Closer look at the Dead Boys. Listen to the full playlist on Spotify: https://spoti.fi/2SmgXcT -- Email us at deepdives.deepcuts@gmail.com

Punk 4 The Homeless radio are back on the wheels of steel spinning recent and old favourites, new discoveries and more etc. and just a couple of days before Doin' It 4 The Kids fest 11 featuring 19 excellent acts! This Ep features fantastic tunes from the likes of: Body Count, Those Poor Bastards, Molly Rhythm, Mud City Manglers, Bob Marley & Lee Perry, The Rezillos, Sweeping Promises, Gogol Bordello, Tom Robinson Band, The Saints, The Dry Retch, Pupajim, Monica & The Explosion, Jefferson Airplane, Casual Nausea, The Crane Wives, The Mob, Gordon Gano & The Ryans, UgLi, Parks, Squares and Alleys, Slow Faction, Louis Armstrong... If you can please donate to Compass Children's Charity for their vital work with at-risk and street kids: https://www.compasschildrenscharity.org.uk/donation/ - Thanks to Horrn & Hoof records for hosting our podcasts! - In loving memory of Bruce Wright, Candiflp Blackwood & Bob Booth RIP -

Here we have part two of episode 11 with legendary musician, BBC Radio DJ, and long-time LGBT rights activist Tom Robinson. whose 45 year music career has seen him through some extraordinary experiences. In part 1, we heard Tom's stories of life growing up, the journey into his activism, and his time with Tom Robinson Band at the height of their success. Here in part two, we explore Tom's life post TRB, his work in radio, the story behind BBC Introducing, and Tom's advice for new artists.

TRACKLIST 4:00 Texas - Halo 8:00 Chris Rea - You Can Go Your Own Way 11:00 Lightning Seeds - What If... 13:30 Republica - Ready to Go 16:00 Gigolo Aunts - Where I Find My Heaven 19:00 Supergrass - Alright (2015 - Remaster) 21:30 Blues Traveler - Run-Around 26:00 Counting Crows - Mr. Jones 29:30 The Connells - '74-'75 33:30 T.Rex - 20th Century Boy 37:00 Deacon Blue - Real Gone Kid 40:00 The Tom Robinson Band - 2-4-6-8 Motorway 43:00 Roxy Music - Love Is the Drug 46:30 The Cars - My Best Friend's Girl (2016 Remaster) 50:00 Sheryl Crow - Everyday Is A Winding Road 53:30 Paul Weller - The Changingman 56:30 INXS - Elegantly Wasted 1:00:00 Talking Heads - Road to Nowhere (2005 Remaster) 1:03:30 Crowded House - It's Only Natural 1:06:30 Del Amitri - Not Where It's At 1:09:30 John Stewart - Gold 1:13:30 OMC - How Bizarre 1:17:00 Iggy Pop - The Passenger 1:21:00 Dodgy - Staying Out For The Summer 1:24:00 Gin Blossoms - Hey Jealousy 1:27:30 Lighthouse Family - Ocean Drive 1:31:00 Mike + The Mechanics - Over My Shoulder (2014 Remastered) 1:34:30 Steve Winwood - Higher Love 1:39:30 Terrorvision - Easy 1:42:00 Cast - Fine Time 1:45:00 M People - Search for the Hero 1:49:00 The Smiths - How Soon Is Now? 1:57:00 R.E.M. - What's The Frequency, Kenneth? 2:00:30 Edwyn Collins - A Girl Like You 2:04:30 Aztec Camera - Good Morning Britain (Mendelsohn Single Mix) 2:08:00 Roachford - Cuddly Toy 2:11:00 Prefab Sprout - Cars And Girls Rock, Pop Rock Type: Mix93 bpm Key: E monte carlo

We chat about his iconic group Tom Robinson Band, their massive hits 2-4-6-8 Motorway, the protest song Glad to be Gay and why that tune helped the LGBT movement. He tells me how he got into being a successful broadcaster for the BBC, being influenced by John Peel who replied to his fan letters while working on the offshore radio pirate station Radio London and later defied a radio ban to play Tom's song Glad to be Gay on the airwaves. We also talk about his battle with depression and his 6 years spent at the Finchden Manor community in Kent from the age of 16 which saved his life. He also tells me how he got to sing his favourite song Rickety Tickety Tin at the Sidmouth Folk Festival, which we get the pleasure of hearing at the end of the show.

Wherein: Adrienne and Steve discuss the political charged punk of Jake Burns and Northern Ireland's Stiff Little Fingers Scroll down to play Podcast              Suspect Device at Discogs                           Inflammable Material at Discogs                Suspect Device live in 1978           SLF Website          Article about The Troubles from The Irish Times                Our SGS 021 Podcast - The Undertones - My Perfect Cousin                             Our SLF live review at The Cat's Cradle, Carrboro NC                     The Clash at Discogs                         Our SGS Podcast 059 Tom Robinson Band - 2-4-6-8 Motorway                            RAR article from Classic Rock                            Nodody's Heroes at Discogs                  3 Homemade Trail Mix Recipes               Food That Built America                

In this episode we talk to Rev from The Drowns. Their recent album "Under Tension" is gonna be a Top 10 of 2020 for sure! In this fascinating conversation we talk about influences, jobs, sports etc. With music by The Drowns and the Tom Robinson Band.

Séptima emisión de la segunda temporada de "Las cosas que hay que escuchar", con temas de Lily-Rose Depp, Harley Quinn Smith & Christopher Drake, Muncie Girls, Belly, Evangelicals, Tom Robinson Band, Fanny, Imogen Heap, Suarez, Aurora, Luscious Jackson, Holychild y Caravan Palace Además de todo el delirio habitual de Saurio y las voces que lo atormentan. Programa emitido originalmente el 12 de abril de 2020 por FM La Tribu, 88.7, Buenos Aires, Argentina.

Séptima emisión de la segunda temporada de "Las cosas que hay que escuchar", con temas de Lily-Rose Depp, Harley Quinn Smith & Christopher Drake, Muncie Girls, Belly, Evangelicals, Tom Robinson Band, Fanny, Imogen Heap, Suarez, Aurora, Luscious Jackson, Holychild y Caravan Palace Además de todo el delirio habitual de Saurio y las voces que lo atormentan. Programa emitido originalmente el 12 de abril de 2020 por FM La Tribu, 88.7, Buenos Aires, Argentina.

Wherein: Adrienne and Steve discuss the anthemic pub rock of Tom Robinson and his ahead of time messaging. Scroll down to play Podcast.         2-4-6-8 Motorway at Discogs                         Tom Robinson Official Site            2-4-6-8 Motorway at Youtube    

Spear of Destiny special with Kirk Brandon in conversation with David Eastaugh Formed in 1983, the band's original line-up consisted of Kirk Brandon, Stan Stammers, Chris Bell and Lascelles James. In late 1983, this line-up was superseded by Dolphin Taylor on drums, Alan St Clair on guitar, John Lennard on sax and Neil Pyzer on keyboards and additional saxophone. In 1984, John Lennard was replaced by Mickey Donnelly on saxophone. Spear of Destiny recorded one session for John Peel (recorded 22 November 1982, transmitted on BBC Radio 1 on 29 November 1982). "The band played a punk-influenced form of power rock, which often had an anthemic feel." Their second album, One Eyed Jacks was released in 1984. It reached No. 22 in the UK Albums Chart[4] Spear of Destiny’s reputation in the mid-1980s depended to a greater extent on their live performances.[citation needed] In 1985, their album, World Service reached the UK Top 20. Founder member Stan Stammers left in 1986. In the wake of the release of the fourth album, Outland (1987) and its Top 15 hit "Never Take Me Alive", the band began achieving some chart success and staging sell-out concerts, including a support slot to U2 at Wembley Stadium. However, ill fortune struck on the eve of the band’s appearance at the Reading Festival, as Brandon developed reactive arthritis which obliged the band to put all their plans on hold for nearly a year. In addition to Brandon and Stammers, past members of the band in the 1980s included former Gillan drummer Pete Barnacle, former JoBoxers bassist Chris Bostock, former Adam and the Ants guitarist Marco Pirroni, and former Tom Robinson Band and Stiff Little Fingers drummer Dolphin Taylor. Brandon is also a member of the supergroup, Dead Men Walking.

"Las cosas que hay que escuchar" #4, con temas de Chumbawamba, The Colonel, Lene Lovich, Tom Robinson Band, The Tornados, Heinz, Larkin Poe, that dog, DAF, Tuxedomoon, Philemon Arthur and the Dung, Imogen Heap y Mc Honky. Y todo el delirio habitual de "Las cosas que hay que escuchar". Emitido originalmente el 23 de junio de 2019 por FM La Tribu, 88.7, de Buenos Aires, Argentina.

"Las cosas que hay que escuchar" #4, con temas de Chumbawamba, The Colonel, Lene Lovich, Tom Robinson Band, The Tornados, Heinz, Larkin Poe, that dog, DAF, Tuxedomoon, Philemon Arthur and the Dung, Imogen Heap y Mc Honky. Y todo el delirio habitual de "Las cosas que hay que escuchar". Emitido originalmente el 23 de junio de 2019 por FM La Tribu, 88.7, de Buenos Aires, Argentina.

We continue our journey with Ace and Doctor Who after the programme ended on BBC One with The Fearmonger. Written by Jonathan Blum and released by Big Finish in 2000, this story is quite relevant to the political climate of today with its anti-immigrant politics and increasingly mainstream fascism. Upon its release, Ben recalls that it seemed a bit farfetched, but giving it a fresh listen to now 19 years later it really stands out as a significant story. David likes how this is a finely crafted mystery and Blum's love for and knowledge of this era is well on display. Both praise how well Ace and the Doctor work together as a team throughout this story. Beautify written, this is a must-listen-to story. Opening music is "First Shooting" from Alistair Lock's score for The Fearmonger. Closing music is the 1978 song "Power in the Darkness" by the English punk band Tom Robinson Band, which stylized fist on its cover was the inspiration for Clayton Hickman's CD cover design.

Muzikaal thema is Glad To Be Gay. Je hoort The Tom Robinson Band, Robert Long, Eartha Kitt, Jackie Shane & Tedje en de flikkers.

Welcome to Live From Progzilla Towers Edition 277. In this edition we heard music by Rick Wakeman, Grand Tour, Antimatter, Bent Knee, Haken, Jethro Tull, Fright Pig, Ellesmere, Lazuli, Jolly, Yggdrasil, Crack The Sky, The Reign of Kindo, The Flower Kings, Mr. Radio, Eddie Jobson, Tom Robinson Band, Soen, Discipline, Syndone & Unitopia.

Another round of protest songs, this time from Phil Lynott, Tom Robinson Band, and Phil Ochs, along with tracks from the legendary Can, Walter Wanderley, and Priests.

Get your lotto cards out! Billy G and Mikey T do the math and present songs with numbers in the title. Discussions include the early years of Ronnie James Dio, the biggest regret of the Tom Robinson Band, and the influence of Big Star and Alex Chilton. From zero to a billion, it all adds up to great 70's rock & roll.

Lou Reed- walk on the wild side Lou Reed- romeo had juliette Jim Carroll- the city drops into the night Jimmy Cliff- world upside down Potato Pirates- rudecore The Generators- heartbreak beach Cock Sparrer- true to yourself Cock Sparrer- i got your number The Cliches- never change 45 Adapters- fred perry fanatic The Jam- in the city Tim Armstrong- into action Billy Bragg- waiting for the great leap forward Ramshackle Army- new england Iggy Pop- punk rocker MC5- american ruse Eight Days- what's so strange Frehose- brave captain Firehose- windmilling The Damned- smash it up Gen X- into the valley of the dolls The Professionals- join the professionals The Looters- won't get conned again The Toasters- thrill me up The Toasters- don't blame me Mighty Mighty Bosstones- don't worry desmond dekker The Pisstons- walk on Noi!se- idle action Booze & Glory- only fools get caught Real McKenzies- mainland Dropkick Murphys- going out in style Dropkick Murphys- deeds not words Dog Company- skinhead girl Dreadful Children- electric Sloppy seconds- the kids alright tonight McRad- weakness Monster Trux- independents Oblivion Seekers- bring me the dead Ian Hunter- once bitten The Business- drinking & driving Psychedelic Furs- we love you Utopia- hammer in my heart Midnight Creeps- memorial day The Epoxies- join the professionals The Gizmos- 1978 Les Thugs- femme fetale M.O.T.O- dance to the radio Phantom Torpedoes- i don't like you The Meteors- i hate people The Fuckin' Eagles- get that pollution out of your throat Black Strobe- i'm a man Deadbolt- hobo babylon Deadbolt- going to wichita Blag Dahlia- star 69 He Who Cannot Be Named- daddy's dead Dwarves- looking out for number 1 Scrum- killing time Eddie Spaghetti- jesus never lived on mars Hounds & Harlots- divisadero The Pisstons- panic T.S.O.L- what if they gave a war T.S.O.L- flowers by the door The Clash- stay free Cock Sparrer- will you The Outcasts- another teenage rebel Strawberry Blondes- beat down babylon Bad Manners- special brew Buster Shuffle- our night out The Rough Kutz- chell health Upper Crust- back in black Upper Crust- let them eat rock Spitting Cobras- throw your horns Supagroup- rulin' Mighty Mighty Bosstones- our only weapon Iggy Pop- kick it The Pin Ups- your generation Strongbow- almost gone Descendents- suburban home Dag Nasty- staring @ the rude boys Fugazi- waiting room Swingin' Utters- eddie's teddy Modern Lovers- modern world Velvet Underground- i can't stand it Tom Robinson Band- winter of '79 The Who- the punk meets the godfather Scissor Sisters- take your mama out The Pogues & Steve Earle- when johnny come lately NRBQ- me & the boys Nofx- straight edge