Podcast appearances and mentions of Trevor Horn

Geoff Downes has quite the musical CV. Shooting to fame with The Buggles, then joining Yes alongside Trevor Horn for their 1980 “Drama” album, he then had massive success alongside Yes member Steve Howe with the supergroup Asia. He rejoined Yes in 2011 where he remains to this day. Geoff joined me from his home in Wales for a career-spanning conversation discussing songs by The Buggles, Asia, and the epic Countermovement from the new Yes album “Aurora”.   Please forgive the sound quality on this interview. It's perfectly listenable but not optimal.   Find me on Instagram @sendingsignalspodcast

Today, we're putting The Tonearm's needle on Stephen Emmer, a Dutch composer and musician based in Amsterdam. Stephen came up in the late 70s post-punk underground, and his band Minny Pops was the first international act signed to Factory Records. He is a curious genre-explorer who has worked with Lou Reed, Chaka Khan, Tony Visconti, Trevor Horn, Flood, and many others.His latest album, Asymmetrical Dot, is a chamber work rooted in his Dutch-Indonesian heritage, built around sustained tones, wordless vocals, vibraphone, and strings. The record came out of a year when his mother died, and his first grandson was born, and the contracting themes of grief and arrival appear throughout the work.We cover the album, his hearing loss, and why he walked away from commercial work to make the most personal music of his career.(The musical excerpts heard in the interview are from Stephen Emmer's Asymmetrical Dot)—Dig Deeper• Artist and Albums:Visit Stephen Emmer at stephenemmer.com and follow him on Bluesky, Instagram, and YouTubePurchase Stephen Emmer's album Asymmetrical Dot from Bandcamp or Qobuz and listen on your streaming platform of choiceThe two previous installments in the 'introspective trilogy': Maison Melody (2020) and Mt. Mundane (2024)• Key Collaborators:Tony Visconti — Producer of Recitement; longtime producer of David BowieBeth Hirsch — Vocalist and co-writer on Asymmetrical Dot, Track 5; best known for AIR's Moon SafariFernando Aponte — Grammy-winning mixing engineer, HoustonEverton Nelson — Concertmaster and violinist; has performed with the LSO, BBC Concert Orchestra, and on recordings for Radiohead, U2, and Paul McCartneyPatricia Sullivan — Mastering engineer at Bernie Grundman Mastering, Los Angeles• *Recitement* and Its Voices:Recitement — Emmer's 2007 spoken-word album, produced by Tony Visconti.Ken Nordine — Voice-over artist and "Word Jazz" pioneer; voiced "Absolutely Grey" on RecitementColors — Ken Nordine's 1966 album, originally commissioned as radio spots for the Fuller Paint CompanyLou Reed — Rock musician and poet; voiced "Passengers" on RecitementAllen Ginsberg — Beat poet; voiced "Disconnected" on RecitementRichard Burton — Welsh actor; voiced "The Leaden Echo" and "Boy with a Cart" on Recitement• Musical Influences and References:Gamelan — Traditional Indonesian percussion ensemble; central to the sonic concept of Asymmetrical DotDave Brubeck — American jazz pianist; one of the first musicians Emmer heard as a child, via his mother's ballet teachingHeitor Villa-Lobos — Brazilian composer; among the diverse influences Emmer's mother brought to her ballet classesClaude Debussy and Gamelan — Referenced by Emmer as a historical predecessor in integrating gamelan into Western composition• Contextual References:Holiday on Ice — International touring ice show for which Emmer served as music directorMotörhead — British heavy metal band; Emmer's hearing damage traces to a backstage encounter with their sound systemCharles Ives — American modernist composer who ran a successful insurance business alongside his musical career; referenced in the episode's discussion of portfolio careersAmbon, Indonesia — Island in the Maluku province of Indonesia, historically known as Amboina; birthplace of Emmer's mother and inspiration for the album's track "Amboina (for Roekie Aronds)"—Dig into this episode's complete show notes at podcast.thetonearm.com—• Did you enjoy this episode? Please share it with a friend! You can also rate The Tonearm ⭐️⭐️⭐️⭐️⭐️ and leave a review on Apple Podcasts. • Subscribe! Be the first to check out each new episode of The Tonearm in your podcast app of choice. • Looking for more? Visit podcast.thetonearm.com for bonus content, web-only interviews + features, and the Talk Of The Tonearm email newsletter. You can also follow us on Bluesky, Mastodon, YouTube, and LinkedIn. • Be sure to bookmark our online magazine, The Tonearm! → thetonearm.com Hosted on Acast. See acast.com/privacy for more information.

Today, we're putting The Tonearm's needle on Stephen Emmer, a Dutch composer and musician based in Amsterdam. Stephen came up in the late 70s post-punk underground, and his band Minny Pops was the first international act signed to Factory Records. He is a curious genre-explorer who has worked with Lou Reed, Chaka Khan, Tony Visconti, Trevor Horn, Flood, and many others.His latest album, Asymmetrical Dot, is a chamber work rooted in his Dutch-Indonesian heritage, built around sustained tones, wordless vocals, vibraphone, and strings. The record came out of a year when his mother died, and his first grandson was born, and the contracting themes of grief and arrival appear throughout the work.We cover the album, his hearing loss, and why he walked away from commercial work to make the most personal music of his career.(The musical excerpts heard in the interview are from Stephen Emmer's Asymmetrical Dot)—Dig Deeper• Artist and Albums:Visit Stephen Emmer at stephenemmer.com and follow him on Bluesky, Instagram, and YouTubePurchase Stephen Emmer's album Asymmetrical Dot from Bandcamp or Qobuz and listen on your streaming platform of choiceThe two previous installments in the 'introspective trilogy': Maison Melody (2020) and Mt. Mundane (2024)• Key Collaborators:Tony Visconti — Producer of Recitement; longtime producer of David BowieBeth Hirsch — Vocalist and co-writer on Asymmetrical Dot, Track 5; best known for AIR's Moon SafariFernando Aponte — Grammy-winning mixing engineer, HoustonEverton Nelson — Concertmaster and violinist; has performed with the LSO, BBC Concert Orchestra, and on recordings for Radiohead, U2, and Paul McCartneyPatricia Sullivan — Mastering engineer at Bernie Grundman Mastering, Los Angeles• *Recitement* and Its Voices:Recitement — Emmer's 2007 spoken-word album, produced by Tony Visconti.Ken Nordine — Voice-over artist and "Word Jazz" pioneer; voiced "Absolutely Grey" on RecitementColors — Ken Nordine's 1966 album, originally commissioned as radio spots for the Fuller Paint CompanyLou Reed — Rock musician and poet; voiced "Passengers" on RecitementAllen Ginsberg — Beat poet; voiced "Disconnected" on RecitementRichard Burton — Welsh actor; voiced "The Leaden Echo" and "Boy with a Cart" on Recitement• Musical Influences and References:Gamelan — Traditional Indonesian percussion ensemble; central to the sonic concept of Asymmetrical DotDave Brubeck — American jazz pianist; one of the first musicians Emmer heard as a child, via his mother's ballet teachingHeitor Villa-Lobos — Brazilian composer; among the diverse influences Emmer's mother brought to her ballet classesClaude Debussy and Gamelan — Referenced by Emmer as a historical predecessor in integrating gamelan into Western composition• Contextual References:Holiday on Ice — International touring ice show for which Emmer served as music directorMotörhead — British heavy metal band; Emmer's hearing damage traces to a backstage encounter with their sound systemCharles Ives — American modernist composer who ran a successful insurance business alongside his musical career; referenced in the episode's discussion of portfolio careersAmbon, Indonesia — Island in the Maluku province of Indonesia, historically known as Amboina; birthplace of Emmer's mother and inspiration for the album's track "Amboina (for Roekie Aronds)"—Dig into this episode's complete show notes at podcast.thetonearm.com—• Did you enjoy this episode? Please share it with a friend! You can also rate The Tonearm ⭐️⭐️⭐️⭐️⭐️ and leave a review on Apple Podcasts. • Subscribe! Be the first to check out each new episode of The Tonearm in your podcast app of choice. • Looking for more? Visit podcast.thetonearm.com for bonus content, web-only interviews + features, and the Talk Of The Tonearm email newsletter. You can also follow us on Bluesky, Mastodon, YouTube, and LinkedIn. • Be sure to bookmark our online magazine, The Tonearm! → thetonearm.com Hosted on Acast. See acast.com/privacy for more information.

Guest Review - Michael Storm appeared on Political Cadence with Maxx Payne"I had a great time visiting with Phil and Lisa. The casual but organized conversation was open and honest and fair and important. So many conversations are lopsided or just not worth participating in and it's refreshing to just talk and share thoughts and be in the moment while meeting some new and interesting people."August 1980Steve Howe -Lead GuitarTrevor Horn - Lead VocalsGeoff Downs - KeyboardsChris Squire - “Base guitar”10th Studio albumReached no. 2 on UK chartsNo Jon Anderson, no Rick WakemanTrevor Horn - from The Buggles (Video Killed the Radio Star) on vocals. Trevor Horn replaced Wakeman.Jon Anderson is not on this album - Jon tended to bring his family and nanny on tour to great expense, and this grated on the band.The album was more of a new wave transition from albums like songs from topographic oceans, but it is also heavier than other Yes albums.Yes might have been the greatest example of a classic rock band trying to survives the new wave.Roger Dean designed the album cover, who was responsible for most of Yes' covers.Machine Messiah - opening reminds me of Sabotage, then goes into “Big Bottom” riff - Ascends to a very light keyboard track as Jon Anderson's voice surfaces. - 3:19 Lyrical Passage is great "Friends make their way into systems of chance (echo "friends make their way of escape into systems of chance") - Escape to freedom I need to be there - Waiting and watching the tables are turning" - The whole passage is lyrically perfect, with the echoes and call backs - - Pink Floyd sound at 5:24 mark (Tear Down the Wall”) Orchestral composition - very serene chant towards end “Machine Messiah take me into the fire” - Ends as it begins. I assumed it was John Anderson when I listened for the first time.Man in a White Car - Very brief interlude- Chimes at beginning - “Man in a White Car” are the only lyrics. It is supposed to be a call to Gary Neuman's “Cars”.Does it Really Happen - Funky rhythm at the beginning, good drumming (Jungle Boogey) - Reminds me in parts of a song called "It Can Happen" from 90125 - “Live for Pleasure, Live for fun”. - Around 5:15 it becomes a completely different instrumental, almost with a disco beat. - long fade out, which I am not a huge fan of. - Chris Squire's vocals were strong on this. Why didn't he sing more on Yes albums?Into The Lens - “I am a camera” - “Camera Camera” - Like the guitar at about the 4:00 mark. - Too much keyboard for me. - "Memories How they Fade so fast" was such a wilting, strange lyrical beginning - But “I am a camera” was a pretty lame lyric. “Camera, camera”. Musically, it had strong moments, but I found it's transitions kind of disorienting. But “Monitor” by Siouxsie and the Banshees did this better.Run Through The Light - Could not help but think of The Police and Sting during the “Run Into The Light” part - Some guitar shredding during the last minute of the song, garnished by keyboard.Tempus Fugit - Literally means ‘Time Flies' - Might have inspired Tommy Shaw/Styxx - The harmonies and rapidity of the lyrics are off the hook. “The Way That You answer with ‘Yes'! - It might just be the “Yes” song, almost reminds me of a super hero for some reason, with love as the protagonist. - I love the fast crawling of the baseline. It us a great song.Yeah Uh Huh Social Stuff:Yeah Uh Huh on Linktr.eehttps://linktr.ee/yeahuhhuhpodYeah Uh Huh on TikTok  / yeahuhhuhpod  Yeah Uh Huh on Facebook  / yeahuhhuhpod  Yeah Uh Huh on Twitter  / yeahuhhuhpod  Yeah Uh Huh on Spotifyhttps://open.spotify.com/show/7pS9l71...Yeah Uh Huh on Apple Podcastshttps://podcasts.apple.com/us/podcast...Yeah Uh Huh Website:https://yeah-uh-huh.wixsite.com/yeahu...Yeah Uh Huh WebsiteHome | YeahUhHuhPod (yeah-uh-huh.wixsite.com)Yeah-Uh-Huh on YoutubeYeah Uh-Huh -YouTubeYeah Uh Huh on Apple Podcastshttps://podcasts.apple.com/us/podcast...

Ce numéro commence à l'heure zéro : "In The Court Of Crimson King", par  KING CRIMSON, 1969, LE disque considéré par beaucoup comme étant l'acte de naissance du rock progressif avec son rock aux influences musiques multiples : du classique au jazz, au psychédélique ou l'expérimental. Certes la voie avait été préparée par d'autres acteurs depuis 1966/67, notamment par les Moody blues, que je cite car c'est à leur producteur Tony Clark qu'ont fait appel les sujets de ce roi cramoisi pour finalement le remercier et produire eux-mêmes cet album, chose encore très marginale à l'époque. Extrait de cet album pour lequel Robert Fripp et ses amis ont omis de créditer votre serviteur qui a prêté sa bouille sur la pochette ! (vous comprenez pourquoi je fais de la radio et pas de la télé !!) Quelques années plus tard, la vague punk, new wave et la direction de plus en plus commerciale et de moins en moins artistique des majors aura raison des apprentis sorciers de ce courant musical. Heureusement, le néo-prog est arrivé à la rescousse dès le début des années 80 ! Si MARILLION n'est pas le 1er groupe à relever le défi (Pendragon était né juste avant mais leur 1er album est paru après "Script For A Jester's Tear"), le groupe vocalement représenté alors par Fish était alors le vaisseau amiral de ce rock progressif nouveau. Mais pour le représenter, j'ai choisi un titre issu de la discographie période Steve Hogarth qui fêtait son 70ème anniversaire la semaine dernière (bien qu'il ait oublié de m'inviter !). Extrait de "Brave" en 1994. Petit rappel, le groupe passera par la France en fin d'année avec Lazuli en 1ère partie mais attention, c'est presque partout complet !  Retour sur le rock opéra de FOREIGN : "The Symphonie Of The Wandering Jew". Souvenez vous, le 9 avril dernier (le podcast est bien sur toujours disponible sure cette plateforme) , je vous présentais le single "Activated", extrait de cet album initialement paru en 2014 mais dont deux titres ont été réenregistrés et ainsi publiés cette année par son créateur Ivan Jacquin (également aux commandes de Psychanoïa et Raging Project). Le 2ème single, "By The Sea", à l'instar d' "Activated", est réinterprété par Amanda Somerville, une voix qui compte dans le monde du métal symphonique, je  laisse vos cages à miel vous l'assurer !     Décidément ce premier semestre 2026 aura été riche (enfin plutôt dépensier ! ) pour les fans de YES… Dès le début d'année, le groupe aujourd'hui mené par Steve Howe à publié une réédition de "Yes Symphonic Live", puis du monumental "Tales From Topographic Oceans" (1973) avec notamment son remixage par Steven Wilson et autres performances alternatives et en live. Il y a quelques semaines est ressorti "From A Page", un disque particulièrement intéressant dans la discographie yessienne ! A l'origine, il s'agit d'un EP regroupant quelques titres écrits principalement par Oliver Wakeman, héritant des claviers de son célèbre papa Rick, ce dernier présent dans la grande période du groupe et notamment "Tales..." Ces titres de "From A Page" ont été écrits entre 2008 et 2011, période de réactivation de Yes, sans son chanteur d'origine Jon Anderson en "arrêt maladie"... mais avec la voix du canadien Benoit David. Puis ont refait surface les deux membres des Buggles, Trevor Horn et Geoff Downes (ce dernier étant depuis le claviériste officiel de Yes). Ce duo avait intégré la formation pour l' unique album "Drama" en 1980. Un titre, "Fly From Here" avait alors été ébauché et mis de côté.  Alors en 2011, fort de ces retrouvailles, Wakeman, le fils est invité à laisser sa place à Downes et c'est donc avec cette équipe de "Drama" que le groupe va publier l'album "Fly From Here".  Et puis 2015 est marquée par le décès du bassiste Chris Squire (seul membre a avoir joué sur tous les albums depuis son origine). Oliver Wakeman va alors proposer à ses anciens collègues de publier le matériel enregistré avec lui, ce qui sera validé par Yes et le mini album "From A Page" sera publié avec une édition bonus proposant un live de l'époque (enregistré à Lyon). Cette nouvelle version de "From A Page" est intéressante car outre les titres déjà présents sur la 1er version de 2019 (mais ici remasterisés), l'album propose aussi des titres de travail de cette époque 2008/2011 retravaillés ultérieurement par l' équipe de "Fly From Here" voire carrément inédite pour deux d'entre eux. Résultat, cette nouvelle édition de "From A Page" est plus cohérente et complete que la 1ère version et offre des versions alternatives aux titres entendus la 1ère fois sur "Fly From Here" avec un mixage que je trouve plus favorable ou en tout cas mieux équilibré avec les claviers. En comparaison, ceux tenus par Downes figurant sur "Fly From Here" paraissent plus en retrait. A vous de vous faire votre opinion mais cet album "From A Page", même s'il est plus orienté rock-pop qu'un "Close To The Edge" (on n'est pas à la même époque ! ) reste pour moi un excellent opus ! Extrait dans cette émission avec l'un des deux inédits de cette réédition, un titre à plusieurs voix dont celle de son compositeur Chris Squire en lead, émotion garantie … Et ne rangez pas trop vite votre monnaie, prochaine sortie officielle de Yes dans trois semaines avec cette fois un "vrai" nouvel album qui aura pour titre "Aurora".  Direction la Nouvelle-Zélande pour découvrir (en tout cas pour moi) une artiste atypique :  ALDOUS HARDING. Je la découvre avec déjà son 5ème album "Train On The Island". A l'origine musicienne plutôt folk, j'ai trouvé plus que cela dans sa musique. Aldous Harding dépasse ce genre pour des compositions et des sons plus alternatifs avec parfois des influences psychédélique. J'ai pu lire qu'il y avait une certaine filiation avec un certain Sy Barrett, et ce n'est pas faux ! On retrouve sur cet album (j'avoue ne pas encore avoir écouté les précédents) une interprétation oscillant entre minimalime et fantasque. Extrait dans ce numéro et découverte d'une artiste, qui certes ne fait pas à proprement parler de rock progressif mais sa musique s'intègre parfaitement dans notre univers ! A découvrir pourquoi pas sur scène, par exemple le 12 juin, salle Pleyel à Paris ?  Un p'tit tour du côté du rock progressif italien avec MARY NEWSLETTER, formation débarquée dans le rock prog au début des 90's. Malgré un nom mystérieusement anglo-saxon, le groupe joue bien en version originale. Un extrait de leur album "Del Perduto Corragio" et un son assez atypique, mélange de ce rock progressif particulièrement lyrique comme il se doit de l'autre côté des Alpes mais avec un apport psyché/expérimental tel que pouvait l'être un Pink Floyd pré-Dark Side Of The Moon, le tout très bien produit. Du bon son pour nos oreilles gourmandes !  Si "Cunégonde" nous rend visite régulièrement tout au long de la saison, j'ai ce soir mis de côté ce nouvel album d' ANGE pour un voyage dans le temps, plus précisément en 1974, et dans un univers moyenâgeux et fantasmagorique avec un extrait de l'excellent "Au Delà Du Délire". Un album qui ne rappellera pas forcément de bons souvenirs scéniques à son auteur Christian Décamps qui s'était littéralement explosé un talon lors des répétitions de la tournée consécutive à la sortie de ce disque, l'obligeant à chanter sur un fauteuil roulant lors des premières représentations.    Connaissez-vous DENNIS ATLAS ? Personnellement pas jusqu'à présent malgré un 4ème album solo à son actif et son entrée comme claviériste et choriste dans le gigantesque monde du groupe Toto depuis 2024. Ce californien a été bien éduqué puisque nourrit de Styx ou Queen par exemple, nous propose donc cet excellent opus "Principle" qui vient tout juste de sortir du four. Une bonne part à déguster dans ce numéro. A l'instar de Toto, l'histoire de DEEP PURPLE est parfois ardue à suivre, puisqu'en 1971 à la sortie de "Fireball" il y avait déjà eu quelques modifications depuis la naissance de la formation en 1968. Ils en étaient déjà à leur 5ème album et malgré toutes les difficultés, le groupe est toujours actif avec un nouvel album attendu le 3 juillet prochain : " Splat !". Ce sera leur 23ème forfait en studio et l'occasion de profiter de leur passage dans la région à deux reprises : le 18 juin au Hellfest et le 13 novembre au Zenith de Nantes ! En attendant, retour sur "Fireball".   En matière d'instabilités de formations, l'émission se termine avec un champion du genre puisque GONG ne compte plus aucun membre de la formation d'origine suite au décès de son créateur Daevid Allen en 2015 (il avait fondé Gong en 1967 à Paris où il était exilé). Mais surtout les membres restants ne collaborent au projet que depuis quelques années (aucun ne l'a connu au 20ème siècle), on peut s'interroger plus que pour d'autre cas similaires (Yes) de la légitimité du nom, alors que des branches dissidentes ont par le passé œuvré sous d'autres noms mais avec tout de même des membres d'origine ou presque  … Cela dit, je ne suis pas là pour débattre de l'usage du nom de Gong, mais vous proposer un extrait de son nouvel album "Bright Spirit", rassurant sur le respect de l'héritage des aînés, une galette fort recommandable !  Thierry Joigny AMAROK, chaque jeudi, à 20h  

Il arrive un moment dans la vie d'un artiste où il ne doit plus courir après le monde, c'est lui qui vient désormais frapper à sa porte. Jour et nuit.Alors oui, dans les années 80, tout le monde sait dans le métier de la musique qu'un single prometteur, passé dans les mains de Trevor Horn, prend soudain l'allure d'un classique. Il est devenu pour les maisons de disques celui qui sait transformer l'or en platine.Son quartier général de Notting Hill tourne presque sans arrêt. Horn adore cet endroit parce qu'il peut y faire ce qu'il aime le plus : recommencer vingt fois un détail que personne d'autre n'aurait remarqué.Et à force de produire les autres, il finit par vouloir aller encore plus loin. Avec Paul Morley, Anne Dudley et quelques complices, il lance The Art of Noise. Le principe est simple et révolutionnaire : chaque son, n'importe lequel, peut devenir de la musique. Un bruit de porte, un cri, une caisse claire, une phrase volée. On découpe, on colle, on déforme, c'est l'Art du bruit. (Close to the edit)Puis arrive de Liverpool une bande de mecs décidés à faire du bruit qui porte le nom très bizarre de Frankie Goes to Hollywood. Trevor Horn comprend tout de suite qu'ils ont des refrains énormes et une indécence parfaite pour l'époque. Il reprend leur titre Relax, booste les basses et change la rythmique, soigne chaque montée et transforme le morceau en machine irrésistible.La suite, elle, ressemble à un défilé triomphal : trois numéros un consécutifs, trois climats différents, mais une seule signature derrière le triple vitrage de la cabine du studio. En 1984, c'est Trevor Horn qui donne le tempo de la décennie. Pas étonnant qu'on vienne enregistrer chez lui l'hymne du Band Aid.À la fin des années 80, c'est au tour de deux Londoniens de la banlieue qui cherchent un nouveau souffle pour leur pop électronique. Ah on les connaît déjà, et pas un peu, les Pet Shop Boys ont leur style et leurs tubes. Mais Trevor Horn va leur offrir de l'ampleur.Il ouvre les fenêtres, fait entrer les cordes, et par la porte de la cave, fait remonter une majesté typiquement british trop longtemps enfouie. Et alors que les années 80 s'étirent vers leur fin, quand Simple Minds fait aussi appel à lui, tout un symbole, Trevor Horn leur donne un souffle insoupçonné.Et donc, quand le Mandela Day des Minds et le It's Alright des Pet Shop Boys passent à la radio en 1989, ces années bénies sont presque derrière nous. D'autres modes s'annoncent, d'autres sons arrivent. Mais avant de quitter la scène, elles ont encore le temps de tirer leur révérence avec panache, écoutez !Et si vous vous dites qu'on n'a pas fait mieux depuis ces années 80, en écoutant toutes ces chansons, ces titres produits par Trevor Horn, vous n'êtes pas loin d'avoir raison.

Au milieu des années 80, Trevor Horn n'est désormais plus le chanteur des Buggles. Oublié, les Buggles ! C'est l'homme de génie au centre d'un studio, entouré de boutons, de curseurs, machines et musiciens qu'il pousse jusqu'à leurs dernières limites. Après ABC, Yes, Propaganda, Frankie Goes To Hollywood, tout Londres sait qu'avec lui une chanson peut devenir un événement.Son quartier général est un ancien studio installé dans une église de Notting Hill où les plus grands classiques rock des années 70 ont été forgés. Horn rachète l'endroit, y fait entrer des machines de pointe, il y a des synthés partout, et surtout des enregistreurs qui tournent sans arrêt. Chez lui, les nuits finissent souvent au petit matin.Et c'est là qu'entre en scène, Grace Jones.C'est pas une débutante, hein, ancienne mannequin, figure du disco new yorkais, muse des photographes, silhouette sculptée à la hache par son compagnon Jean-Paul Goude, elle dégage une aura pas possible et est venue chercher le son qui va tuer pour son prochain disque.Dans les tiroirs de ZTT, une chanson traîne, un morceau pensé pour un autre artiste du label, sans doute Frankie Goes to Hollywood. Horn la reprend mais il la démonte, change le tempo, rallonge les breaks, ajoute des percussions, retire des couplets. Et plus il avance, plus il se dit que cette chanson n'ira à personne d'autre que Grace Jones.Le titre s'appelle “Slave to the Rhythm”. Il le lui fait écouter, elle accepte.Et là, il s'emballe. Horn veut tout essayer. Il fait venir des percussionnistes, des choristes, des cuivres, multiplie les prises. Il demande une voix parlée, puis chantée, puis glaciale, puis ironique. Grace Jones soupire, lève les yeux au ciel, mais elle recommence. Horn coupe des bandes au rasoir, recolle, change encore l'ordre des sections. On dit qu'il peut passer des heures sur quelques secondes de transition.Et le morceau devient immense. C'est une chanson pour danser, oui, mais aussi une pièce de théâtre. Quand le disque sort en 1985, impossible de le rater : on s'arrête devant la télé quand le clip passe, les radios diffusent mais surtout, l'album entier est construit autour du même titre, décliné, remodelé, repris sous plusieurs formes, on entend même une interview. Typiquement Trevor Horn, ça : quand il tient une idée, il la pousse jusqu'au bout.Alors si un jour vous êtes à Notting Hill, après avoir été phiotographier le magasin de livres de voyage à la façade bleue, pensez à traîner du côté de l'ancien Sarm Studios, vous reconnaîtrez le corps de bâtiment de l'ancienne église, et imaginez, ces quelques semaines où derrière ces murs, au milieu des années 80, deux caractères faits pour dominer leur monde se sont retrouvés dans la même pièce. Vous ne vous étonnerez plus que ça s'entende encore aujourd'hui, chaque fois que ça passe à la radio. Et écoutez l'album, c'est vraiment une trouvaille …

Au début des années 80, la new wave anglaise s'inspire beaucoup moins des groupes punks qu'ils ont été au départ, que des boîtes à rythme et synthés des artistes Allemands des années 70. Kraftwerk, évidemment, la référence absolue pour Human League, Depeche Mode, Orchestral Manoeuvres in the Dark ou encore Soft Cell.Mais il n'y a pas que Kraftwerk en Allemagne, on ne tarde pas en effet à découvrir des Deutsch Amerikanische Freundschaft, Grauzone, Einstürzende Neubauten… des noms aussi impossibles à prononcer que leur musique l'est, à écouter. Quoique certains sont plus accessibles comme Trio, Rheingold ou Propaganda.Ceux-ci sont de Düsseldorf, une région de bassins industriels qui fait furieusement penser aux Midlands britanniques, ce n'est pas un hasard. Leur idée est claire : allier la rigueur et la froideur mécanique allemande aux mélodies de la pop internationale. Les gars, ils veulent conquérir l'Europe.À Londres, un journaliste musical du nom de Paul Morley, un agitateur d'idées, travaille avec un nouveau label au nom étrange : ZTT Records, Zang Tumb Tuum. Un label lancé par Trevor Horn et sa compagne, Jill Sinclair.Ils viennent justement de triompher avec ABC et la métamorphose de Yes. Trevor Horn des Buggles est devenu le producteur dont tout le monde parle, l'homme capable de transformer une bonne partition en événement mondial. Il vient de racheter un studio construit dans une église, où ont été enregistrés des petits trucs comme We will rock you ou Stairway to heaven et qu'il transforme en QG sonore pour ZTT. C'est son laboratoire personnel, avec ses machines dernier cri, consoles immenses, ingénieurs du son pointus, un endroit où il peut inventer l'avenir car dans les années 80, il n'y a que ça qui marche.Alors on les imagine dans un pub de Notting Hill, juste à côté du studio : Paul Morley lui parle de Propaganda, Horn écoute car ce qu'il entend lui plaît immédiatement, la discipline allemande, des voix singulières, une esthétique forte et donc, un potentiel immense. Propaganda signe chez ZTT et déménage à Londres pour travailler au plus près de cette nouvelle usine à rêves.Les séances sont longues, exigeantes, il leur arrive même d'être un peu tendues car Horn pousse tout au plus loin : les arrangements, les textures de son, la dramaturgie. Le premier essai, Dr. Mabuse, est déjà une réussite : une musique cinématographique, menaçante, spectaculaire. Et puis vient le single Duel, plus mélodique, plus accessible, mais tout aussi travaillé : c'est le carton.Ce qui se joue alors dépasse largement un nouveau succès du label de Trevor Horn : la New Wave n'a plus de frontières. Les idées circulent désormais dans les deux sens entre Düsseldorf, Sheffield, Londres, et même Bruxelles. Avec Paul Morley et deux musiciens de génie, Horn va même créer son propre groupe, atypique, The Art of Noise, ils sont d'ailleurs tous très présents, sur ce titre de Propaganda qu'on entend toujours aussi souvent à la radio, plus de quarante ans après.

Le succès de Video Killed the Radio Star aurait pu rester un heureux accident, une parenthèse fulgurante dans la carrière d'un musicien de studio, comme c'est arrivé à tant d'autres. Et c'est d'autant plus évident que Trevor Horn n'aime pas sa voix, il ne se voit pas en chanteur, et supporte mal l'exposition de son image. Et logiquement, l'aventure des Buggles ne dure pas.C'est vrai ! Notre tête quand on apprend en 1980 que Trevor Horn et Geoff Downes des Buggles rejoignent le groupe Yes en tant que chanteur et claviériste ! Un épisode aussi improbable que bref. Car très vite, Downes part rejoindre un nouveau groupe, Asia, en plein enregistrement du second album des Buggles. C'est la fin, dommage, il y a des moments d'une intensité et beauté immense dans ce disque ...Et c'est justement en se retrouvant seul aux commandes de ce disque que Trevor Horn découvre le plaisir de ne plus être au premier plan. Il a trouvé mieux : contrôler le son, le modeler, le pousser là où personne n'est encore allé. Et c'est précisément à ce moment-là qu'il croise la route de ABC.Des gars qui viennent des Midlands, comme lui, Sheffield précisément, une Angleterre industrielle en plein marasme. Deux musiciens qui jouent une musique électronique sombre et expérimentale, genre David Bowie et Kraftwerk. Et qui bien sûr reste underground jusqu'au jour où un jeune journaliste de fanzine, Martin Fry, vient les interviewer. Passionné, curieux, et surtout parfaitement en phase avec leurs références, de Roxy Music à Bowie. Il lui ressemble étrangement d'ailleurs, vous ne trouvez pas ? Le courant passe immédiatement. Singleton et White lui proposent de les rejoindre. Martin Fry accepte, et en 1981, Vice Versa devient ABC.Le projet change alors de nature. Là où Vice Versa cultivait le minimalisme robotique, ABC cherche le style, l'élégance, une forme de pop sophistiquée qui emprunte autant au funk qu'à la new wave, comme les Spandau Ballet et les Duran Duran. ABC sort un premier single sur son propre label, qui entre dans le Top 20 britannique et attire l'attention de Trevor Horn.C'est un déclic pour lui car il entend dans ce son non abouti comment s'en emparer pour en faire une redoutable chanson.Et de fait, il ne se contente pas de les produire : il organise leurs chansons comme un architecte, joue avec les ruptures, les contrastes, les effets, introduit des gimmicks sonores qui surgissent et disparaissent, ou une conversation en voix off. Leur musique devient quelque chose de singulier, qu'on ne peut que remarquer : on dirait un décor en mouvement.Et c'est vrai que le premier titre de ABC produit par Trevor Horn ne ressemble à aucune autre chanson de l'époque. Non seulement elle va servir de modèle, ce qui est déjà énorme, mais surtout, la question est : qui aujourd'hui est capable de nous servir trois minutes de chanson avec autant de folie et de précision ?Avec ABC, Trevor Horn a trouvé sa place. Lui qui ne voulait plus être devant un micro est devenu celui qui décide de tout ce qu'on va entendre. Oui, c'est fou, après avoir annoncé les années 80 à la fin de la décennie précédente dans une chanson, Trevor Horn va cette fois leur ouvrir la voie.

Plus on avance dans ce siècle, plus les années 80 s'y installent. Pour un tas de raisons, mais la principale, c'est quand même la musique pop qui, c'est incroyable, reste actuelle malgré quatre décennies écoulées. C'est comme si à cette époque, tout le monde avait écouté des 78 tours des années 30 et 40 et avait trouvé ça très branché.Et ce « son », il a été créé par quelques pionniers dont les disques, les chansons n'ont pas leur place dans les musées mais à la radio, dans les magasins, les bistros, les restos, les soirées. Combien de nos gosses ne nous étonnent pas en citant le nom des artistes, des vidéos, qui en ont souvent un autre en commun, celui de leur producteur : Trevor Horn.Pourtant au départ, dans les années 70, quelque part dans le nord de l'Angleterre, Trevor Horn est un homme de l'ombre, un gars qu'on appelle pour jouer de la basse, arranger un morceau ou fabriquer des jingles pour la radio. Il accompagne des artistes comme Tina Charles, qui a commis un hit disco, mais vit sa vie surtout dans des studios, où il développe une passion limite obsessionnelle : le son.Cette obsession, il la partage bientôt avec deux autres musiciens, le claviériste Geoff Downes et le guitariste Bruce Woolley, avec qui il forme en 1978 un groupe au nom étrange, The Buggles. Et ils ont à leur répertoire une chanson dans laquelle ils croient énormément, elle est à la fois mélancolique et visionnaire, puisqu'elle parle de ces deux mondes qui sont en train d'apparaître et de disparaître : la vidéo et la radio. Oui dans ce monde du futur que seront les années 80, on n'écoutera plus la radio, on regardera les chansons à la télé. Malheureusement ce titre ne ressemblant à rien de ce qui existe alors, il est refusé par toutes les maisons de disques.Et Bruce Woolley finit par quitter les Buggles pour enregistrer sa propre version du morceau avec un jeune musicien nommé Thomas Dolby…Pendant ce temps, Trevor Horn, lui, continue à travailler : il veut créer un univers qui n'existe pas encore, un souvenir du futur.C'est là que Chris Blackwell, patron de Island Records, éditeur de Bob Marley et bientôt de U2, entend la cassette des Buggles que ses employés ont pourtant déjà refusé. Trevor Horn obtient de lui alors les moyens d'aller au bout de son idée, et il s'y plonge, multiplie les prises, empilant les couches de synthétiseurs mais pas que, cherche sans relâche ce qu'il considère comme le mix parfait.Le disque sort à la fin de l'année 1979, il ne ressemble à rien de connu, et devient un succès mondial, atteignant la première place dans onze pays. Et là, tout le monde va vouloir habiller ses chansons avec son savoir-faire, un producteur pas ordinaire est né.Alors oui, c'est drôle que ce type qui s'est fait connaître en annonçant que la vidéo allait tuer la radio, a passé le reste de son existence à fabriquer des chansons qui ont donné une furieuse envie de chanter avec la radio. Et ce, dès les premières notes …

Lundi 13 avril, Pop-Rock Station lance la semaine avec un mélange de classiques et d'actualités. Ouverture avec Foo Fighters et "Of All People", nouvel extrait de leur album "Your Favourite Toy". Côté classiques, Marjorie Hache nous propose The Bangles, Paul McCartney avec Wings et "Mrs Vandebilt", ainsi que AC/DC. L'album de la semaine met en avant Memorials avec "All Clouds Bring Not Rain", porté par Verity Susman et Matthew Simms. Une esthétique entre rock 60s-70s et post-punk. Autres passages marquants : Infectious Grooves, 16 Horsepower, puis Gorillaz avec "Delirium", issu de leur projet "The Mountain". La séquence cover revisite Nirvana avec "Smells Like Teen Spirit", dans une version produite par Trevor Horn et interprétée par Jack Lukeman. Découverte "Fresh Fresh Fresh" avec Björn Yttling et Bobby Gillespie sur "Strange". Enfin, retour aux fondamentaux avec The Box Tops et Strawberry Switchblades, avant une fin d'émission avec Jack White. Foo Fighters - Of All People The Bangles - Walk Like An Egyptian Wings - Mrs. Vandebilt Green Day - Kill The DJ AC/DC - Rock&Roll Train James Brown - Papa's Got A Brand New Bag Infectious Grooves - Violent & Funky Memorials - In The Weeds Pink Floyd - Run Like Hell 16 Horsepower - Clogger Visage - Fade To Grey Gorillaz - Delirium (Feat. Mark E. Smith) Trevor Horn - Smells Like Teen Spirit (Feat. Jack Lukeman) Cold War Kids - Louder Than Ever Fatboy Slim - Right Here Right Now Motionless In White - Afraid Of The Dark Otis Redding - (Sittin'on) The Dock Of The Bay Jeff Buckley - Last Goodbye Aldous Harding - One Stop Golden Earing - Radar Love (1973 Single Edit) Stereophonics - Have A Nice Day Yttling Jazz & Bobby Gillespie - Strange Weezer - A Little Bit Of Love The Box Tops - The Letter Strawberry Switchblade - Since Yesterday The Revels - Comanche Jack White - G.O.D. And The Broken Ribs Deftones - Pink MaggitHébergé par Audiomeans. Visitez audiomeans.fr/politique-de-confidentialite pour plus d'informations.

Episode 169 – Steven Wilson Part 7, The Harmony Codex The Palaver group convenes for an in-depth track-by-track analysis of Wilson's ambitious pandemic-era project. What initially seemed derivative revealed itself as something entirely original upon closer inspection. The Harmony Codex requires *intentional listening*—passive background consumption misses the intricate layering, jazz harmonies, and Trevor Horn-inspired production that define each track. Songs like "Inclination" (7+ minutes) and "Love at All" showcase Wilson's masterful compositional unpredictability: layered vocals, sophisticated harmonic shifts, and guitar work that rewards repeated engagement. We explore standout moments—Pat Mastelotto's drumming complexity, Adam Holtzman's modular synth innovation, and the cinematic "Harmony Codex" track with its animated visuals that amplify emotional impact. BlueSky: @progpala.bsky.social X: @progpala Instagram: www.instagram.com/progressivepalaver/ Facebook: www.facebook.com/ProgPala YouTube: www.youtube.com/channel/UCw_Xxit3…cJ_7Z__w/featured Theme music provided by: Dave DeWhitt

What happens when a pop album stops behaving like a collection of songs and starts operating like a system?In this episode, we explore Slave to the Rhythm, the 1985 collaboration between Grace Jones and Trevor Horn that blurs the line between pop, performance art, and studio experiment. Built from fragments, repetitions, and reconfigurations of a single track, the album feels less like a record and more like a hall of mirrors, where identity, authorship, and control begin to dissolve.I do hope that you enjoy this episode.Mathew Woodallhttps://www.facebook.com/share/1F15mx4ea3/https://buymeacoffee.com/lownoiseWhy buy me a coffee?Low Noise is proudly ad-free. If you would like to to say thank you for any of the content you have enjoyed (and help support the continuation of creating more), the above link provides a way to make a small donation of your choice (I also function on coffee!).Feel free to leave a note with your donation to let me know what you enjoy about the podcast or any topics you would like me to discuss in the future.

Steven goes over news items of the last couple weeks, including three more European dates for Jon Anderson & The Band Geeks, Trevor Horn tour dates in December, the Wakeman & Son setlist (at the very end of this episode) and more. Plus, he reviews two new releases: Asia - Live in England, and Oliver Wakeman's album Mother's Ruin 20th Anniversary Edition. And at the very end, he goes through the Wakeman & Son setlist.

Ce mercredi, Margaux Lassalle se penche sur les nombreuses reprises de "Everybody Wants To Rule The World", extrait de l'album Songs from the Big Chair paru en 1985. Derrière son apparente légèreté, ce classique new wave évoque les notions de pouvoir et de contrôle. Un succès majeur pour Tears for Fears, resté près de 70 semaines dans les charts américains et récompensé par un Brit Award. Le titre a inspiré de nombreux artistes au fil des années. En 2007, Patti Smith en propose une version engagée et déclamée. En 2013, Lorde en livre une relecture sombre pour le film "The Hunger Games: Catching Fire". Gloria Gaynor y apporte une intensité soul, tandis que Weezer la reprend en 2019 sur son "Weezer (Teal Album)". La même année, le producteur Trevor Horn invite Robbie Williams pour une version orchestrale sur "Reimagines The Eighties". Hébergé par Audiomeans. Visitez audiomeans.fr/politique-de-confidentialite pour plus d'informations.

On the 189th episode of Keep Grinding The Podcast, I am joined by my friend and journalist Trevor Horn. On this episode, we're switching roles as we talk about my coaching journey with Foothill and Bakersfield College Women's Basketball. Check out these great convo now! Follow on Instagram:⁠ instagram.com/keepgrindingpodcast⁠Apple Podcasts: ⁠https://podcasts.apple.com/us/podcast/keep-grinding-the-podcast/id1454842213⁠Spotify: ⁠https://open.spotify.com/show/1oEJKJbSSRpbo7XQhyOF9X?si=d6PNHQLBRNSMyYNWZWy96Q⁠Website:⁠ https://www.bookec3.com/keepgrindingthepodcast⁠

March 3rd: Millie and Trevor Horn, and Janice Saunders Killed (1993) Some say that money is the root of all evil. And, when you hear stories like the one for today, it's hard to argue against that statement. On March 3rd 1993 three individuals were killed. Three lives taken for no other reason than greed and a financial payout. https://en.wikipedia.org/wiki/Lawrence_Horn, https://www.washingtonpost.com/archive/politics/1993/03/04/disabled-boy-2-women-found-slain/c2fee800-2c90-4122-b808-3c6905d213d9/, https://murderpedia.org/male.H/h/horn-lawrence.htm, https://www.nytimes.com/1996/05/17/us/man-gets-life-in-killing-of-3-for-insurance.html, https://www.westword.com/news/death-sentences-5056135, https://www.washingtonpost.com/archive/politics/1994/03/03/1-year-after-triple-homicide-nurses-brother-still-stunned/468d8252-8df9-42a6-b1be-f8f761ba42fe/, https://time.com/archive/6731900/murder-by-the-book/ Learn more about your ad choices. Visit megaphone.fm/adchoices

Billy Sherwood discusses the upcoming YES UK tour featuring the complete Fragile album. He traces his path from drummer to bassist, learning the instrument by playing along to YES records, and development in groups Lodgic and World Trade. Sherwood details his first collaboration with Chris Squire in 1989, writing ‘The More We Live – Let Go,’ and his refusal to become YES’s lead singer during the Union era. The conversation centres on Squire’s final weeks, and Squire making Sherwood promise to stay with YES and keep the band moving forward. He also reflects on his extensive tribute album work, and YES’s current recording process for albums The Quest and Mirror to the Sky. Further information yesworld.com billysherwood.com Billy Sherwood podcast tracks Podcasts also available: Steve Howe (2025), Steve Howe (2023), Steve Howe (2019), Bill Bruford, Alan White, Trevor Horn, Geoff Downes, Tony Kaye, Rick Wakeman, Chester Thompson, Colin Moulding – part 2 This podcast is also available on Apple Podcasts, YouTube, Spotify, Google apps and all usual platforms If you like what I do please support me on Ko-fi The post Billy Sherwood – YES appeared first on The Strange Brew .

En el programa de hoy, tenemos a un grupo imprescindible del techno pop de los 80: PROPAGANDA. Se formaron en Alemania, pero desarrollaron su carrera en Inglaterra, bajo el padrinazgo del gran Trevor Horn. Una carrera tan errática como sobresaliente y la vamos a repasar a través de sus singles, caras b, maxisingles, remezclas, álbumes, proyectos paralelos y producciones para otros artistas.

Cette semaine, Margaux Lassalle explore les nombreuses relectures de "Personal Jesus", le classique de Depeche Mode sorti en 1989 sur l'album "Violator". Écrite par Martin Gore, la chanson s'inspire du livre "Elvis and Me" de Priscilla Presley et évoque cette figure rassurante vers laquelle on se tourne dans les moments difficiles. Au fil des années, le titre a été revisité dans des styles très variés. En 2002, Johnny Cash en propose une version dépouillée et grave, presque spirituelle. En 2004, Marilyn Manson signe une reprise industrielle devenue culte, tandis que Nina Hagen reste fidèle à son univers théâtral. En 2020, Tété transforme le morceau en une lecture folk et acoustique. Plus récemment, le producteur Trevor Horn réunit Iggy Pop et Lambrini Girls sur l'album "Echoes Ancient and Modern" pour une version brute et sans fioritures. Margaux Lassalle conclue sa chronique avec une interprétation live du duo nantais KO KO MO, captée dans le studio du #DriveRTL2 en 2022 : une reprise intense qui montre à quel point "Personal Jesus" continue d'inspirer des artistes de tous horizons. Hébergé par Audiomeans. Visitez audiomeans.fr/politique-de-confidentialite pour plus d'informations.

The PM guys take on the mighty Frankie Goes To Hollywoods' debut album - Welcome to the Pleasuredome, ably assisted by Darren Moore and Neil McCrystal. In part one of a lengthy chat - background to the album and the initial Frankie phenomena, Trevor Horn, ZTT and a track by track review of the first disc of the 2 LP configuration of this groundbreaking album. Look out for part 2 next week.

Geoff Downes has lent his keyboard wizardry to many of the biggest and best bands of the last 50 years. He was a trendsetting new-waver with the Buggles popularizing synth pop alongside Trevor Horn. Then they were famously recruited to join Yes, changing that band's sound for a decade. And, while with Asia, he showed how good "corporate" AOR rock (not to mention supergroups) could be. There have been several other side-projects (DBA), one-offs (Trapeze), and production jobs (GTR, Thompson Twins) along the way as well that has kept him active and in demand. Yes's 2011 comeback album, Fly from Here, which reunited that 1980 version of the band that created the much-loved Drama album, has recently been reimagined and released on vinyl for the first time as Fly from Here: Return Trip. Geoff gives us the scoop on everything and more. Enjoy!  Official website for the progressive rock band YES The Hustle Podcast | creating podcasts | Patreon

Cette semaine, focus sur Frankie Goes To Hollywood, groupe britannique formé à Liverpool au début des années 80 autour du chanteur Holly Johnson. Derrière un nom qui évoque un artiste solo se cache un collectif à l'image provocante et assumée, mêlant synth-pop, new wave et rock, avec une forte dimension politique et sexuelle. Leur premier album "Welcome to the Pleasuredome" sorti en 1984 connaît un succès colossal, porté par le tube "Relax", mais aussi par la ballade "The Power of Love" et le titre engagé "Two Tribes", produit par Trevor Horn, figure majeure de la pop des années 80. Deux ans plus tard, le groupe publie "Liverpool", un deuxième disque plus rock qui ne rencontre pas le même accueil commercial. La séparation intervient peu après, ouvrant la voie à des carrières solo, notamment celle de Holly Johnson, marqué par le succès "Americanos" en 1989, avant son retrait de la scène musicale au début des années 90. Mais malgré une discographie courte, Frankie Goes To Hollywood ne se résume pas à un seul tube. Leur impact culturel et musical sur la pop des années 80 reste considérable, et "Relax", censuré à sa sortie avant de devenir un phénomène mondial, demeure l'un des titres les plus emblématiques de la décennie. Hébergé par Audiomeans. Visitez audiomeans.fr/politique-de-confidentialite pour plus d'informations.

In the early hours of March 3, 1993, someone snuck into the Maryland home of Millie Horn, where she lived with her disabled eight-year-old son, Trevor, and his nurse, Janice Saunders. After shooting both women in the head multiple times, the intruder smothered Trevor Horn to death, then quietly left the house. Hours later, the bodies of all three were discovered by Millie's sister, who stepped by to check on them.Almost immediately, suspicion fell on Millie Horn's ex-husband, Lawrence, who lived thousands of miles away in California, but with whom she'd spoken just hours before the murders occurred. In time, investigators were able to establish a financial motive, linking Lawrence Horn to the murders, yet they were unable to place Horn in Maryland when the murders occurred. Ultimately, Lawrence Horn would be tried and convicted for all three murders, but by that time, he wasn't sole perpetrator of the crime. And when prosecutors were finally able to pin down the men responsible for the deaths, it turned out the killers received guidance from a very surprising source.Recommendations:Phantasma By Kaylie SmithHappy Place By Emily HenryReferencesAssociated Press. 1993. "Man says he wasn't involved in slaying of ex-wife and son." Star-Democrat (Easton, MD), March 10: 5.Baltimore Sun. 1993. "Murder suspect denies threatening former wife." Baltimore Sun, April 9: 27.Brooke, James. 1996. "Lawsuit tests lethal power of words." New York Times, February 14.Hermann, Peter. 1994. "Father arrested in 3 murders." Baltimore Sun, July 21: 21.James Edward Perry v. State of Maryland. 2002. 0667, Sept. Term, 2001 (Court of Special Appeals of Maryland, November 7).James Edward Perry v. State of Maryland. 1996. 119, Sept. Term, 1995 (Court of Appeals of Maryland, December 16).Smolla, Rodney. 1999. Deliberate Intent: A Lawyer Tells the True Story of Murder by the Book. New York, NY: Crown.Sullivan, Kevin. 1994. "Accused went from glamour of Motown to a life of modest means." Washington Post, July 20.Vick, Karl. 1996. "Horn convicted for three murders." Washingotn Post, May 4: 1. Cowritten by Alaina Urquhart, Ash Kelley & Dave White (Since 10/2022)Produced & Edited by Mikie Sirois (Since 2023)Research by Dave White (Since 10/2022), Alaina Urquhart & Ash KelleyListener Correspondence & Collaboration by Debra LallyListener Tale Video Edited by Aidan McElman (Since 6/2025) Hosted by Simplecast, an AdsWizz company. See pcm.adswizz.com for information about our collection and use of personal data for advertising.

SUPPORT THIS PODCAST!Join PatreonGet some merch~~~~FEATURED SONGREC – “Almost Everything About You” (from KITE TO CAMDEN)~~~~Part 4 of my Great Producers series takes us to the 1980s. The synth & drum machine experiments of the 1970s went everywhere. Disco & punk permeated nearly every genre. And production went from midrange & mellow to bright and big. I go over all those changes, and discuss many of the top producers of the decade, including some you may have been missing from previous years. And I discuss how very different the production values of the first & second halves of the decade really were.How do you feel about 1980s production values? Can you hear a clear difference between the first & second halves of the decade? Who were your favorite producers? Which production developments do you feel most shaped the music in subsequent decades? Discuss dammit!BONUS MxTRA: The 1980s production divide – recommended listening Hosted by Simplecast, an AdsWizz company. See pcm.adswizz.com for information about our collection and use of personal data for advertising.

On the Saturday January 31, 2026 edition of The Richard Crouse Show we meet Mark Critch. For twenty-three years he has starred on CBC’s popular political satire show “This Hour Has 22 Minutes.” He adapted his first book, “Son of a Critch,” into a hit TV series, co-staring movie legend Malcolm McDowell, and airing on the CBC in Canada and Netflix in the United States. Today we talk about his latest book, “Sorry, Not Sorry.” In the book, which is available now wherever fine books are sold, Mark delves into the heart of what it means to be Canadian at a time when national pride is on the rise. He examines everything from the historical decision of Newfoundland to join Canada, to the modern-day implications of the Freedom Convoy, the evolving symbolism of the Canadian flag, and of the many reasons Canada is worth fighting for. Then, we have a look at the incredible career of Simon Franglen. His credits include four of the list of top grossing films and six of the list of best-selling albums of all time. He began his career as a synthesizer programmer for Trevor Horn (working with acts like Frankie Goes to Hollywood), moved into composing famous jingles for big products, and became a top LA session musician/producer in the '90s, contributing to massive hits with artists like Michael Jackson, Whitney Houston, Celine Dion, Madonna, and more. He won a Grammy for Record of the Year as producer on Celine Dion's "My Heart Will Go On" from Titanic, directed by James Cameron. He worked with the late James Horner as an arranger/producer on films like “Avatar,” “The Amazing Spider-Man,” and others, before fully scoring “Avatar: The Way of Water” and “Avatar: Fire and Ash.” Today we talk about his work, from Frankie Goes to Hollywood’s dancefloor anthems to Avatar’s lush, habitable moon, Pandora.

On the Saturday January 31, 2026 edition of The Richard Crouse Show we meet Mark Critch. For twenty-three years he has starred on CBC's popular political satire show “This Hour Has 22 Minutes.” He adapted his first book, “Son of a Critch,” into a hit TV series, co-staring movie legend Malcolm McDowell, and airing on the CBC in Canada and Netflix in the United States. Today we talk about his latest book, “Sorry, Not Sorry.” In the book, which is available now wherever fine books are sold, Mark delves into the heart of what it means to be Canadian at a time when national pride is on the rise. He examines everything from the historical decision of Newfoundland to join Canada, to the modern-day implications of the Freedom Convoy, the evolving symbolism of the Canadian flag, and of the many reasons Canada is worth fighting for. Then, we have a look at the incredible career of Simon Franglen. His credits include four of the list of top grossing films and six of the list of best-selling albums of all time. He began his career as a synthesizer programmer for Trevor Horn (working with acts like Frankie Goes to Hollywood), moved into composing famous jingles for big products, and became a top LA session musician/producer in the '90s, contributing to massive hits with artists like Michael Jackson, Whitney Houston, Celine Dion, Madonna, and more. He won a Grammy for Record of the Year as producer on Celine Dion's "My Heart Will Go On" from Titanic, directed by James Cameron. He worked with the late James Horner as an arranger/producer on films like “Avatar,” “The Amazing Spider-Man,” and others, before fully scoring “Avatar: The Way of Water” and “Avatar: Fire and Ash.” Today we talk about his work, from Frankie Goes to Hollywood's dancefloor anthems to Avatar's lush, habitable moon, Pandora.

Time Arist Title Duration Album Year Composer Label Listeners 0:00:00 Karmakanic Gotta Lose this Ball and Chain 6:03 Transmutation 2025 36 0:06:02 1128 1:10 38 0:10:25 Joviac Level 1 4:34 Autofiction Pt. 1 - Shards 2025 35 0:14:59 ENIGMATIC SOUND MACHINES Red Forest 9:48 Imperfect Silence (24 Bit Hi Res) 2025 36 0:24:48 Jacob Roberge The Long Way Home 5:04 The Passing 2025 37 0:26:10 Jacob Roberge The Long Way Home 5:04 The Passing 2025 37 0:31:22 Art of Noise Close (to the Edit) (The Prince's Trust Produced by Trevor Horn  2004) 4:22 38 0:35:43 'Pure Reason Revolution' '5. Scream Sideways' 10:06 'Above Cirrus' 2022 38 0:50:09 Galahad Alive 8:13 The Last Great Adventurer 2022 40 0:58:22 Jacob Roberge Empty Traces, Pt.1 5:07 The Passing 2025 37 1:03:29 OSTURA Duality 12:02 The Room 34 1:19:58 Dave Bainbridge Fall Away 16:27 On The Edge (Of What Could Be) 2025 38 1:36:41 Scardust 05. Concrete Cages (feat. PATTY GURDY) - STRANG... 7:19 Strangers 2020 Orr Didi, Noa Gruman M-Theory Audio 39 1:45:42 Jacob Roberge Petrichor 10:11 The Passing 2025 33 1:56:00 Thomas Dolby Airhead 5:05 Aliens Ate My Buick 1988 Thomas Dolby EMI-Manhattan 36 2:04:34 Pendragon Afraid Of Everything 5:23 Love Over Fear (Acoustic) 2020 36 2:10:09 United Progressive Fraternity Don't Look Back - Turn Left 5:35 Fall In Love With The World 2014 Inside Out Music 41 2:15:44 Phideaux Out Of The Angry Planet 7:33 Phideaux & Mogon Promotional Issue 2012 36 2:30:15 Jacob Roberge The Passing 31:53:00 The Passing 2025 35

Time Arist Title Duration Album Year Composer Label Listeners 0:00:00 Karmakanic Gotta Lose this Ball and Chain 6:03 Transmutation 2025 36 0:06:02 1128 1:10 38 0:10:25 Joviac Level 1 4:34 Autofiction Pt. 1 – Shards 2025 35 0:14:59 ENIGMATIC SOUND MACHINES Red Forest 9:48 Imperfect Silence (24 Bit Hi Res) 2025 36 0:24:48 Jacob Roberge The Long Way Home 5:04 The Passing 2025 37 0:26:10 Jacob Roberge The Long Way Home 5:04 The Passing 2025 37 0:31:22 Art of Noise Close (to the Edit) (The Prince’s Trust Produced by Trevor Horn  2004) 4:22 38 0:35:43 ‘Pure Reason Revolution’ ‘5. Scream Sideways’ 10:06 ‘Above Cirrus’ 2022 38 0:50:09 Galahad Alive 8:13 The Last Great Adventurer 2022 40 0:58:22 Jacob Roberge Empty Traces, Pt.1 5:07 The Passing 2025 37 1:03:29 OSTURA Duality 12:02 The Room 34 1:19:58 Dave Bainbridge Fall Away 16:27 On The Edge (Of What Could Be) 2025 38 1:36:41 Scardust 05. Concrete Cages (feat. PATTY GURDY) – STRANG… 7:19 Strangers 2020 Orr Didi, Noa Gruman M-Theory Audio 39 1:45:42 Jacob Roberge Petrichor 10:11 The Passing 2025 33 1:56:00 Thomas Dolby Airhead 5:05 Aliens Ate My Buick 1988 Thomas Dolby EMI-Manhattan 36 2:04:34 Pendragon Afraid Of Everything 5:23 Love Over Fear (Acoustic) 2020 36 2:10:09 United Progressive Fraternity Don’t Look Back – Turn Left 5:35 Fall In Love With The World 2014 Inside Out Music 41 2:15:44 Phideaux Out Of The Angry Planet 7:33 Phideaux & Mogon Promotional Issue 2012 36 2:30:15 Jacob Roberge The Passing 31:53:00 The Passing 2025 35

NUMA is a singer, songwriter, producer, artistic director, and TV commentator, also known as the Singer of Self-Empowerment. She has released 22 singles — each with its own music video — translated into Italian, Spanish and English, fully representing her artistic style. Through her music and her message of positive thinking and personal growth, she shares her voice and vision around the world.NUMA has collaborated on numerous Italian and international music projects with artists such as Renato Zero, Adriano Celentano, Gianna Nannini, Pino Daniele, Trevor Horn, Alan Clark and Phil Palmer (Dire Straits). https://www.facebook.com/NUMApageofficialhttps://www.youtube.com/numavideochannelhttps://www.instagram.com/numa_palmerhttps://x.com/numapalmerhttps://www.tiktok.com/@numapalmerBetterHelp: Go to ⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠https://betterhelp.com/macolino⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠ for 10% off your first month of therapy with BetterHelp and get matched with a therapist who will listen and help #sponsoredYouTube: ⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠https://www.youtube.com/c/JeffMacolino⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠Follow Me!!! ⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠https://twitter.com/saintjmac⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠https://www.facebook.com/jeffmacolinopodcast⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠https://www.instagram.com/saintjmac/⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠IMDB: ⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠https://www.imdb.com/title/tt17046562/?ref_=nm_knf_t1⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠TikTok: ⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠https://www.tiktok.com/@jeffmacolino⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠Art Credit: Chase Henderson

Text the showAsh is a drummer based in Norfolk. His credits include artists like Adele, Trevor Horn, Tori Amos and Robbie Williams.Amongst many other things we discussed finding Jazz early on, having Pino Palladino as a neighbour, and using instagram as a professional tool.I hope you enjoy our conversation as much as I did.(Recorded 4th December 2025)Support the showFollow me on Instagram - @nategrooveSubscribe to support the show - https://www.buzzsprout.com/2058148/supportAny questions or guest suggestions, please email nwinsessionwith@gmail.com

In this episode of Sync Music Matters, I'm joined by composer and music producer Simon Franglen for a fascinating conversation spanning pop production and film score. Simon reflects on his early career writing jingles and programming the Synclavier for Trevor Horn, an experience that placed him at the intersection of music and emerging technology. That foundation led to high-level session gigs working on music for artists including Michael Jackson, Whitney Houston, and Celine Dion – culminating in his role producing “My Heart Will Go On” for Titanic. His transition into film scoring began with Dances With Wolves, working alongside John Barry and then Alan Sylvestri and James Horner. Experience that shaped his approach to melody and storytelling. We discuss how those lessons continue to inform his work today. The conversation then turns to Simon's latest project, Avatar: Fire and Ash, where he recorded new themes and created original musical instruments to help define the film's sonic world. With a piano in the room, Simon plays excerpts from the score, offering rare insight into his creative process. Simon talks about the film's songs including “Dream as One” by Miley Cyrus and “The Future and The Past” sung by Zoë Saldaña and how they support the narrative. We also explore the decline of strong thematic composition in modern cinema and why Hollywood has shifted away from it. Finally, Simon offers his perspective on AI and the music industry, addressing both the risks and the enduring importance of human creativity. Listen to the Avatar: Fire and Ash Score on Spotify

Text the showNick is a guitarist based in London.His credits include artists like Trevor Horn, Alex James and Will Young.Amongst many other things we discussed diversification, being an introvert, and the power of a good mentor.I hope you enjoy our conversation as much as I did.(Recorded 11th November 2025)Support the showFollow me on Instagram - @nategrooveSubscribe to support the show - https://www.buzzsprout.com/2058148/supportAny questions or guest suggestions, please email nwinsessionwith@gmail.com

In a special celebratory 30th episode, Graham and Chris countdown their favourite 30 Pet Shop Boys songs - each a new excuse to fall down the usual rabbit holes of stories and memories! Girls Aloud, Tom Watkins, Dame Anna Neagle, Zelda Fitzgerald, Trevor Horn, TS Eliot and Kermit the Frog each make an appearance, and there's also time to reappraise those negative reviews of Behaviour, the collapse of the music industry and - you know you really want it - the actual secrets of sexual attraction. But first - the real challenge: agreeing a joint list!   Want to show your love for the Pet Shop Boys In Depth podcast?  Visit our new Crowdfunder - anything appreciated! Get your name mentioned in a future episode: https://gofund.me/cf16f4bc3 Check out our T-shirt store - all profits from our exclusive designs go towards supporting the podcast: https://in-depth.teemill.com And there's additional In Depth content on our social media channels: Facebook: http://tiny.cc/3jhcvz Bluesky: http://tiny.cc/jc7h001 X: http://tiny.cc/lc7h001

Guests Paulee Alex Bow - Magical Synth Adventurer and vintage digital specialist Rich Hilton - Producer, engineer and keyboards for Chic Steve Hillier - Songwriter, DJ and Dubstar Tom Tebby - Superstar For preshow and Ad free version and much more: Patreon.com/sonicstate IZotope Ozone 12 Go beyond the limits of mastering with Ozone 12. Unlock the impossible with this complete suite of 20 pro modules, including 3 brand-new, best-in-class additions. Plus, make Master Assistant your own with a new customizable flow. With intelligent tech that guides, not decides, you're always in control. Native Instruments Modular Icons vintage modular synth sounds from iconic artists and instruments. Made in collaboration with the Bob Moog Foundation, more than 60% of each sale goes to them. Part of the Play Series: Great-sounding presets and real-time control. 00:00:08 SHOW START 00:02:16 AD:Patreon 00:12:19 SynTesla Giorgio III 00:24:21 AD:iZotope Ozone12 00:25:55 Under rated Drum Machines 00:36:01 GForce Software MAP 00:44:03 AD: NI Modular Icons 00:47:27 Krafwerk Vocoder Schneider Collection 00:58:16 Trevor Horn's SSL Where to Watch/Listen - We now stream the live show to Youtube Live, Twitch,  Facebook Live as well as at  Sonicstate.com/live every Weds at 4pm UK time- please do join in. Preshow available on Twitch.

Produced by Joseph Cottrell, Wayne Hall, Ken Fuller and Jeffrey Crecelius After the emergence online of another Drama Tour video - with sound - by James Ferrani on YouTube, Mark and I took a careful look at his 2 videos from consecutive days on the 1980 Drama Tour that featured Buggles men Trevor Horn and Geoff Downes. There are at least 2 revelations contained in the videos that I don't believe any Yes fans except those who attended the concerts in North America have experienced in the intervening 45 years. I knew they had happened but seeing them is quite remarkable. Stay tuned for our discussion, watch the videos below and leave us a comment while you are here. What are the unique aspects of these videos? Was Chris Squire a bit 'under the weather'? Who looked more comfortable - Downes or Horn? See if you agree with us and then leave a comment below. https://youtu.be/SgWu1NIJjss?si=8MuF1WPc9GkhjqTr https://youtu.be/uIbcQTITKOc?si=qwByx3z5-La8Xt0F Steve Howe Press Release Fans will be happy to know that to follow up the release of ‘Portraits Of Bob Dylan' on 12th September, Steve Howe will issue ‘Signals Crossed', an E.P including three previously unreleased interpretations of Bob Dylan songs. It will feature ‘I Want You', ‘One Too Many Mornings' and ‘Mama, You`ve Been On My Mind'. It will include appearances by Geoff Downes, Dylan Howe, Stephanie Sounds and Paul K Joyce. The EP will be available as a white vinyl 10” – one sided and mirror backed – limited to 500 copies worldwide.   It will also be available as a download.   It will be released on 5th December 2025.   You can pre-order the vinyl here:  https://lnk.to/joLdy9 Steve Howe: “I recorded 'I Want You' before starting the released ‘Portraits Of Bob Dylan' tracks, then I recorded two alternative versions of songs from the album in different styles. This version of 'One Too Many Mornings' wasn't in the right key for Phoebe Snow, who sang beautifully to an acoustic version on the released album. This version gives it an electric setting, taking a little from Bob's 'Hard Rain' version. I sang ‘Mama, You've Been On My Mind' on the original release, slow and a little mournful but here has a more upbeat and optimistic flavour.  With the vocal harmonies and Dylan's drumming, these tracks retain the mood of what I wanted to explore in 2000, songs about getting your Signals Crossed”  Track Listing: 1.    I Want You 2.    One Too Many Mornings 3.    Mama, You've Been On My Mind. Steve Howe: “What I loved about it was having the chance to arrange them as I wasn't going to copy what Dylan had done; I wanted to bring a little bit more to it.”  Steve Howe:  “The ‘Portraits' idea was always a sort of pipe dream, and I originally
recorded one song to start the project, and I thought, this will be good, I'll do lots of Bob” Preorder the Barry Plummer 2026 Calendar! EXECUTIVE PRODUCER VERSION SOLD OUT STANDARD VERSION For illustration only - final cover will vary Yes - The Tormato Story & Tales from Topographic Oceans - Yes Album Listening Guide Available now! YesMusicBooks.com YMP Patrons: Producers: Joseph Cottrell Wayne Hall Ken Fuller Jeffrey Crecelius Patrons: Aaron SteelmanLindAl Dell'AngeloLobate ScarpBarry GorskyMark BaggsBill WhittakerMark James LangBob MartilottaMark SlaterBrian HarrisMartin KjellbergBrian SullivanMichael HanderhanChris BandiniMichael O'ConnorCraig EstenesMiguel FalcãoDave OwenPaul HailesDavidPaul TomeiDavid HeydenRachel HadawayDavid PannellRobert NasirDavid WatkinsonRobert VandiverDeclan LogueRonnie NeeleyDemScott ColomboDoug CurranSimon BarrowFergus CubbageStephen LambeFred BarringerSteve DillGary BettsSteve LuziettiGeoff BailieSteve PerryGeoffrey MasonSteve RodeGuy DeRomeSteve ScottHenrik AntonssonSteven RoehrHogne Bø PettersenTerence SadlerTodd DudleyThomas DeVriesJohn CowanJohn ThomsonJohn HoldenJohn ViolaJamie ...

Don't sleep on 'Drama' from 1980 by Yes! Author Preston Frazier shares why this album, featuring Trevor Horn on vocals, is his favorite despite Jon Anderson's absence. Give it a listen and discover a hidden gem in the Yes discography. Listen to Episode 324: The Other Side Of Yes: Exploring The Music Without Jon Anderson15% OFF Any Purchase At Old Glory For Booked On Rock Listeners! — Over 300,000 officially licensed items. Featuring legendary music artists like Bob Marley, The Beatles,Grateful Dead, and more. Use the code "BOOKEDONROCK" or hit this link:https://oldglory.com/discount/BOOKEDONROCK---------- BookedOnRock.com The Booked On Rock Store The Booked On Rock YouTube Channel Follow The Booked On Rock with Eric Senich:BLUESKYFACEBOOKINSTAGRAMTIKTOKX Find Your Nearest Independent Bookstore Contact The Booked O

Si hi ha un productor que exemplifica com cap altre la sonoritat ampul

Janvier – DeBarge : Rhythm Of the NightIssus d'une véritable saga familiale, les DeBarge passent du funk/soul de Switch à une pop FM plus large voulue par Motown. Composée par Diane Warren, cette chanson caribéenne devient leur plus gros hit, accompagnée d'un clip marquant et une présencce dans la B.O. du film The Last Dragon.Février – Jesse Johnson : Be Your ManAncien guitariste de The Time, proche de Prince mais souvent éclipsé par lui, Jesse Johnson lance sa carrière solo chez A&M. Son premier album révèle un guitariste brillant, héritier assumé de Hendrix et acteur clé du Minneapolis Sound.Mars – Steve Arrington : Feel So RealEx-membre de Slave, Arrington brille en solo avec ce tube soulful et jazzy où apparaît Freddie Hubbard à la trompette. Gros succès international, il sera son chant du cygne avant son virage spirituel et son retrait de la scène musicale.Avril – Freddie Jackson : Rock Me Tonight (For Old Times Sake)Dès son premier album, Freddie Jackson détrône Luther Vandross au sommet du R&B. Avec ce slow jam produit par Paul Lawrence et Barry Eastmond, il s'impose comme l'un des crooners emblématiques de l'ère quiet storm.Mai – Rick James : GlowDernier grand éclat de Rick James, ce single funky et théâtral met en scène son auto-dérision dans un clip culte. Entre grooves puissants et ballades samplées par le hip-hop, il reste un jalon marquant de sa carrière chez Motown.Juin – Aretha Franklin : Freeway Of LoveRelancée par Narada Michael Walden, Aretha Franklin signe un triomphe pop avec ce tube énergique, porté par le sax de Clarence Clemons. L'album Who's Zoomin' Who? lui offre un disque de platine et plusieurs hits mondiaux.Juillet – Ready For The World : Oh SheilaOriginaire du Michigan, RFTW connaît un succès fulgurant avec ce premier album inspiré par Prince et le son de Minneapolis. Leur tube Oh Sheila atteint la première place des classements R&B, dance et pop US, un sommet qu'ils ne retrouveront jamais.Août – Colonel Abrams : TrappedChanteur de Detroit installé à New York, Colonel Abrams marque la transition entre funk/disco et house music. Son titre Trapped devient un classique dance, annonciateur de la vague House à venir.Septembre – Full Force : Alice, I Want You Just For Me !Véritables pionniers du son new jack swing avant Teddy Riley, Full Force combinent funk, hip-hop et soul avec audace. Ce single, extrait de leur premier album, illustre leur créativité explosive, aussi bien en tant qu'artistes que producteurs.Octobre – Grace Jones : Slave To The RhythmProduit par Trevor Horn, ce titre conceptuel mêlant funk, new wave et orchestration luxuriante devient un hit international. Le clip, monté à partir des pubs de Jean-Paul Goude, contribue à renforcer l'aura iconique de Grace Jones.Novembre – Sheila E. : A Love BizarreExtrait de son deuxième album Romance 1600, ce single co-écrit avec Prince s'impose comme un classique Minneapolis Sound. Le clip, lié au film Krush Groove, immortalise l'énergie de Sheila E. et son rôle central dans l'univers des productions Paisley Park.Décembre – James Brown : Living in AmericaRevenu en force grâce à la BO de Rocky IV, James Brown livre un hymne patriotique produit par Dan Hartman. Avec ce tube où l'on trouve Stevie Ray Vaughan à la guitare, il décroche un Grammy et un ultime succès international.Hébergé par Ausha. Visitez ausha.co/politique-de-confidentialite pour plus d'informations.

Although only a minor hit in the U.S., "Video Killed the Radio Star" topped the charts in a number of countries, and Buggles' 1979 The Age of Plastic became a hit in many countries. It was popular enough that Trevor Horn and Geoff Downes, the two main members of the band, were asked to join Yes for their Drama album in 1980. When Yes broke up the plan was to make another Buggles album, only Downes got recruited into Asia. Horn went ahead anyway, using demos and new songs, to create the second, and last album by the band.  Donate to the podcast through Patreon... https://www.patreon.com/ericwincentsen728 Or PayPal eloftmpodcast@gmail.com P.O. Box 1932 Superior, AZ 85173.

Send us a text In this episode, we dive into Drama (1980), one of the most surprising and divisive albums in the Yes catalog. With Jon Anderson and Rick Wakeman gone, the band recruited Trevor Horn and Geoff Downes of The Buggles, reshaping the group's sound for a new decade. We explore the bold risks Yes took during this turbulent lineup shift, the mix of progressive rock tradition with fresh new wave energy, and the album's long-lasting legacy among fans. From the thunderous opener “Machine Messiah” to the radio-friendly “Into the Lens,” we break down what makes Drama a fascinating turning point in Yes's history. Support the showBrowse the 33/24 Archives: Check out the backroom! Follow us: Instagram Facebook Watch us on YouTube!

W/C 4th August 2025I had no idea that Trevor Horn had so much to do with this song. I have always really liked it, but it was only when the TH band played it last night at the Cropredy gig did I put two and two together. TBH even then he had to kind of say it out loud for the penny to drop.Anyway I think it's a banger and worthy of a break in the day to have a listen...the kids were really getting into, I wonder if it has had a second life on TikTok.In other news apols for this being a bit late, I had recorded it in time but my host has been distracting me with stories of village life and clips of Rollie Birkin.Stay safe.All The Things She Said - t.A.T.uTherapy For Me (or TFM as I now refer to it) is a bit of an audio curiosity. It started out as a mechanism for me to clear my head, with the hope that by saying stuff out loud it would act as a little bit of self-help. It's remains loose in style, fluid in terms of content and raw - it's a one take, press record and see what happens, affair.If you want to keep in touch with TFM and the other stuff I do then please follow me on Facebook, Insta, Twitter or Patreon. Thanks for getting this far.

Most casual Yes fans aren't familiar with their 1980 release Drama. After 8 years of gold and platinum releases, Drama failed to sell as well as its 70s prog counterparts like Close To The Edge or Fragile. When they went to the south of France to record in late 1979, it was the most celebrated Yes lineup of Jon Anderson (vocals), Chris Squire (Bass), Steve Howe (guitars), Rick Wakeman (keyboards) and Alan White (drums), Coming off two solid efforts in Going For The One and Tormato, there was strong interest in the band, especially in America where they'd prebooked a tour including 3 sold out shows at Madison Square Garden. However, factions took over and cracks were exposed in the harmony of the band. Howe, White and Squire would come later and bring producer Roy Thomas Baker with them. Those four would dismiss the airy and ethereal efforts of Wakeman and Anderson in favor of their own heavy and proggy riffs. After Alan White injured himself roller skating with Richard Branson (as one does), the retreated back to England but Anderson and Wakeman had had enough and they left the band. Under the same management of Brian Lane and using the same studios were The Buggles, Geoff Downes (Keyboards) and Trevor Horn (vocals) vehicle for their worldwide hit Video Killed The Radio Star. Chris Squire invited them in to help write some songs but really, he wanted them in the band. Though Trevor Horn was reluctant to try to replicate Jon Anderson's high pitched vocals, they eventually joined and recorded Drama. Critics said it sounded remarkably like Yes, maybe more than they expected. But while Trevor's vocals aren't an exact match of Anderson's, they do hit that high register and the work by the musicians of Yes is off the charts strong. Tempus Fugit is a quintessential Yes song and Run Through The Light gives Trevor something closer to his own range while Geoff modernizes Yes' sound. Many Yes fans decided that no Anderson and No Wakeman meant No Thanks. But Drama has aged well and even the Roger Dean cover, which was never a big favorite of The Wolf compared to most all he did with Yes and Asia, is something that grows on you. This is a hidden gem in the Yes catalog, one that The Wolf includes among his favorite Yes albums. Give it a chance, see if you agree. * And if you can get the 2004 remaster do so - it sounds great and has lots of bonus tracks including some from the Anderson/Wakeman sessions. Check out our new website: ⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠ ⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠Ugly American Werewolf in London Website⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠ ⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠Twitter⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠ ⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠Threads⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠ ⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠Instagram⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠ ⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠YouTube⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠ ⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠LInkTree⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠ ⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠www.pantheonpodcasts.com⁠ Learn more about your ad choices. Visit megaphone.fm/adchoices

Poor old Johnnie Ray.Actually, I wonder what the heart wrenching vocal superstar of the fifties made of his starring role in the biggest selling single of 1982, thirty years after his own chart topping run? Did anyone ever ask how he felt watching the footage of his younger self in the video for Come On Eileen intertwined with Kevin's dungaree festooned Emerald Express on a London street corner. Perhaps, as he was famous for doing, he cried. I hope Mr Rowland at least sent him a thank you note.So, welcome back to 1982!Were you there in those now gone days of pop perfection? Did you dance in the ra-ra skirt to Duran Duran at the school disco? Did you shed a tear as The Jam called it a day on the new Channel Four pop weekly The Tube, even though Paul knew well(er) what the next chapter held for his newly formed council. Or perhaps the Smash Hits of over forty years ago exist for you in playlists and radio schedules discovered since. Either way, the NOW Yearbook (and Extra volume) welcomes you with a neon smile to bring together over 140 hits, memories, misses and otherwise that sum up a stellar twelve months of pop. And as 1981's steely electronic winter defrosted, a new pop was emerging. Duran, Spandau, Culture, Club, Wham!, Haircut 100 and a dazzling cast of many more were turning the colour back up on their (three channel) TV sets. Whilst the technology that gloriously gave us the new romantic sounds of 1981 was still driving the decade forward, suddenly we were taking ourselves, well, a bit less seriously. Pop was fun again as seen in the ever evolving, cheerleading extravaganza that was Top of The Pops. The charts were indeed alive to the possibilities of much more. Trevor Horn's hit production machine was digitising our delights with the sounds of ABC, Dollar and even the Appalachian hip-hop of Malcolm McLaren's Buffalo Gals. Seventies survivors such as Hot Chocolate, Roxy Music, ABBA, Marvin Gaye and others were upping their game and embracing - gasp - synthesisers! And you know what, it was sounding and looking (thanks to glossy videos) AMAZING.And across the pond in the US of A? Well, we were importing them our own brand of fabulous pop and they were sending us ROCK in the form of Steve Miller, Survivor and J Geils - but even that was, well, shiny and new. What was indeed going on?To quote Smash Hits (snip!) editor David Hepworth, there were, he said, “no patterns” to pop in 1982. Join chief editor of electrictyclub.co.uk Chi Ming Lai and author of 1984: The Year Pop Went Queer Ian Wade as we dive back into a fascinating twelve months of pop as chronicled in the NOW Yearbook 1982. Amongst many other things, discover which star(s) were upsetting the Musician's Union, find out more about the language of Smash Hits and how we need it more than ever, why old was the new New, learn about the NEXT BIG genre that you need in your life (Elegant Futurism!), why Germany was giving us EVERYTHING, and discover what Haysi Fantaysee were really up to on TOTP (if you dare!).The 1982 Yearbook - Hi Fidelity indeed! Hosted on Acast. See acast.com/privacy for more information.

Most casual Yes fans aren't familiar with their 1980 release Drama. After 8 years of gold and platinum releases, Drama failed to sell as well as its 70s prog counterparts like Close To The Edge or Fragile. When they went to the south of France to record in late 1979, it was the most celebrated Yes lineup of Jon Anderson (vocals), Chris Squire (Bass), Steve Howe (guitars), Rick Wakeman (keyboards) and Alan White (drums), Coming off two solid efforts in Going For The One and Tormato, there was strong interest in the band, especially in America where they'd prebooked a tour including 3 sold out shows at Madison Square Garden. However, factions took over and cracks were exposed in the harmony of the band. Howe, White and Squire would come later and bring producer Roy Thomas Baker with them. Those four would dismiss the airy and ethereal efforts of Wakeman and Anderson in favor of their own heavy and proggy riffs. After Alan White injured himself roller skating with Richard Branson (as one does), the retreated back to England but Anderson and Wakeman had had enough and they left the band. Under the same management of Brian Lane and using the same studios were The Buggles, Geoff Downes (Keyboards) and Trevor Horn (vocals) vehicle for their worldwide hit Video Killed The Radio Star. Chris Squire invited them in to help write some songs but really, he wanted them in the band. Though Trevor Horn was reluctant to try to replicate Jon Anderson's high pitched vocals, they eventually joined and recorded Drama. Critics said it sounded remarkably like Yes, maybe more than they expected. But while Trevor's vocals aren't an exact match of Anderson's, they do hit that high register and the work by the musicians of Yes is off the charts strong. Tempus Fugit is a quintessential Yes song and Run Through The Light gives Trevor something closer to his own range while Geoff modernizes Yes' sound. Many Yes fans decided that no Anderson and No Wakeman meant No Thanks. But Drama has aged well and even the Roger Dean cover, which was never a big favorite of The Wolf compared to most all he did with Yes and Asia, is something that grows on you. This is a hidden gem in the Yes catalog, one that The Wolf includes among his favorite Yes albums. Give it a chance, see if you agree. * And if you can get the 2004 remaster do so - it sounds great and has lots of bonus tracks including some from the Anderson/Wakeman sessions. Check out our new website: ⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠ ⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠Ugly American Werewolf in London Website⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠ ⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠Twitter⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠ ⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠Threads⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠ ⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠Instagram⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠ ⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠YouTube⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠ ⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠LInkTree⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠ ⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠www.pantheonpodcasts.com Learn more about your ad choices. Visit megaphone.fm/adchoices

Produced by Joseph Cottrell, Wayne Hall, Ken Fuller and Jeffrey Crecelius This week, Mark and I returned to the show to talk about the Yes classic album, 90125 from 1983. It is clearly, we believe, a great album but what makes it a great Yes album? It wasn't originally going to be a Yes album at all and only became one at the last possible moment when Jon Anderson arrived on the scene. The band Cinema, consisting of Tony Kaye, Alan White, Trevor Rabin and Chris Squire had basically finished the record with Trevor Horn but, as you can read in full detail in Stephen Lambe's excellent book about the album, there were several reasons that band was ultimately replaced by the name and the aura of Yes. What do you think Mark and I came up with for our 6 reasons and would you have chosen the same features? Let us know in the show notes for this week's episode. Is this a real Yes album? What makes it great? Who makes it great? My 90125 and 9012Live collection 90125 Singles https://youtube.com/playlist?list=OLAK5uy_nW0C1j_RpvQypX6RHJzN_zSxeDZ7ilOQA&si=UD2mb8Bxeqq6bHl4 Yes - The Tormato Story & Tales from Topographic Oceans - Yes Album Listening Guide Available now! YesMusicBooks.com YMP Patrons: Producers: Joseph Cottrell Wayne Hall Ken Fuller Jeffrey Crecelius Patrons: Aaron SteelmanLindAl Dell'AngeloLobate ScarpBarry GorskyMark BaggsBill WhittakerMark James LangBob MartilottaMark SlaterBrian HarrisMartin KjellbergBrian SullivanMichael HanderhanChris BandiniMichael O'ConnorCraig EstenesMiguel FalcãoDave OwenPaul HailesDavidPaul TomeiDavid HeydenRachel HadawayDavid PannellRobert NasirDavid WatkinsonRobert VandiverDeclan LogueRonnie NeeleyDemScott ColomboDoug CurranSimon BarrowFergus CubbageStephen LambeFred BarringerSteve DillGary BettsSteve LuziettiGeoff BailieSteve PerryGeoffrey MasonSteve RodeGuy DeRomeSteve ScottHenrik AntonssonSteven RoehrHogne Bø PettersenTerence SadlerTodd DudleyJohn CowanJohn ThomsonJohn HoldenJohn ViolaJamie McQuinnTim Stannard Become a Patron!

We celebrate four years of Yesshift! You'll hear them zoom through multiple topics: reminiscing about the podcast, giving a nod to the late percussionist Luis Jardim (who worked with Trevor Horn), our copies of Prog Magazine 160 (the one honoring Chris Squire), Yes' 2000 Masterworks Tour, the CD and DVD contents of Yes - The Early Broadcasts, Rick Wakeman's comments on the Rock & Roll Hall of Fame Induction back in 2017, a little bit about Ozzy Osbourne's farewell concert where Adam Wakeman performed, clarification on reports of new King Crimson material, and what reviews and interviews you can expect next from this podcast!

On the 147th of The Keep Grinding Podcast, I am joined by sports journalist Trevor Horn. We're talking about his first Wrestlemania experience and everything that happened in Vegas during his voyage. Wrestling fans this is a must watch and listen! SUBSCRIBE TODAY! Follow on Instagram: instagram.com/keepgrindingpodcastApple Podcasts: https://podcasts.apple.com/us/podcast/keep-grinding-the-podcast/id1454842213Spotify: https://open.spotify.com/show/1oEJKJbSSRpbo7XQhyOF9X?si=d6PNHQLBRNSMyYNWZWy96QWebsite: https://www.bookec3.com/keepgrindingthepodcast

Dive into the world of film scoring and production with Simon Franglen, acclaimed composer known for his work on Titanic and Avatar, in this milestone 100th episode!

Tomorrow's episode features singer, songwriter, and record producer Bruce Woolley. He wrote songs with artists such as the Buggles and Grace Jones, including "Video Killed the Radio Star" and "Slave to the Rhythm", and co-founded the Radio Science Orchestra. His original band project was Bruce Woolley and the Camera Club, and the famous album ‘An English Garden' has recently been reissued as a boxed set. Over the years he has worked regularly with Trevor Horn and Thomas Dolby and later formed a band called The Radio Science Orchestra. Amongst many other collaborations, he has spent time with Andy Warhol, Timothy Leary and Keith Haring Ladies and gentlemen, meet Bruce Woolley... If you can, please support the Electronically Yours podcast via my Patron: patreon.com/electronicallyours