Podcasts about Twilight Time

Songs include: Sunrise Serenade by Glenn Miller, Twilight Time by Less Brown, The World Is Waiting For the Sunrise by Les Paul and Mary Ford, Dusk by Duke Ellington and Morning Mood by the Bamberg Symphony. 

Come and join us to hear some of our crazy takes about this weeks topics. We of course start with the David Fifita saga, we discuss what Braith Anasta said about why a player would take less at the Roosters, is it cheating? One of my previous trick plays was put into use on the weekend, a simple one but used by the best team in the NRL! Ans as always we finish with all the games that played and all the games to come in NRL ROUND 11. Don't miss the Badger badgers Badger explanation and enjoy the games!

Barry and Abigail discuss Twilight Time by Bennie Wallace and sample Time Stands Still, Twinger, Mangoes At Work, and They Call Me Baltastic from Hiatus Brewing Company in Ocala, Florida. Barry has a personal connection to Bennie Wallace through his friend “Uncle” Steve Moore, whose Oscar-nominated animated short “Redux Riding Hood” features a score written by Bennie. Watch "Redux Riding Hood" or read Uncle Steve's blog post about its production! Many thanks to Lucas Frank, owner and brewer of Hiatus Brewing Company, for sitting down with us to talk about the history and the branding of the brewery! Barry shared his other Los Angeles jazz experiences at Chadney's, across the street from the NBC Studios. One memorable performance was by trombone player Matt Finders, who was part of Tonight Show with Jay Leno Band led by Kevin Eubanks. Check out Barry's playlist of the songs that were covered by Bennie Wallace on this album! Abigail could not help but hear Silver Bells in The Tennessee Waltz. Abigail and Barry compared Willie Mae to Linus and Lucy by Vince Guaraldi Trio, from the soundtrack to “A Charlie Brown Christmas.” Up next… Diorama by Silverchair, submitted to our Virtual Jukebox by Ian Rees Jingles are by our friend Pete Coe. Visit Anosmia Awareness for more information on Barry's condition. Follow Barry or Abigail on Untappd to see what we're drinking when we're not on mic! Leave us a rating or a review on Apple Podcasts or Spotify! Facebook | Instagram | X | YouTube | Website | Email us | Virtual Jukebox --- Send in a voice message: https://podcasters.spotify.com/pod/show/pops-on-hops-podcast/message

Barry, Abigail, and special guest Nick Martino discuss Nick's work with New York Funk Exchange and sample Exclamative Sour Series - Peachicot KISS! KISS! and Atomic Duck from Able Baker Brewing in Las Vegas, Nevada. We were delighted to share the stage in Henderson, Nevada, with live recordings of six other podcasts: What Am I Making, Matt and Mattingly's Ice Cream Social, Making Podcasts Great Again (on which Abigail appeared briefly; full episode on Patreon), Parenting is a Joke (on which Barry and Abigail were interviewed together, but the live episode has not yet been released), New Music for Olds (typically a written medium), and The Muckrake Political Podcast (full episode on Patreon). Nick Martino previously appeared on Bonus: A Christmas Day's Eve! Original Songs by Our Friends from 2022 with his jazzy version of “The Christmas Song” featuring his wife Connie on vocals and his daughter Daphne on tambourine. Our guest bartender was Matt Carlson of the What Am I Making multimedia empire. With this appearance, Matt is now the first member of our five-timers club! Other members of New York Funk Exchange we specifically called out were vocalist Serena Fortier and rapper Cidida (who only appears on the hidden reprise of Without You after The Bailout Pt. 3 on the digital version of the album). Tremendous thank you to Pete Dominick of the Stand Up! with Pete Dominick podcast for organizing the event, for inviting us to record live, and ultimately for creating the community that has supported our podcast so much over the years. Thank you also to Cassie and Mike Rice of Gymcats for their on-the-ground work to make the event come together. Up next… Twilight Time by Bennie Wallace Jingles are by our friend Pete Coe. Visit Anosmia Awareness for more information on Barry's condition. Follow Barry or Abigail on Untappd to see what we're drinking when we're not on mic! Leave us a rating or a review on Apple Podcasts or Spotify! Facebook | Instagram | X | YouTube | Website | Email us | Virtual Jukebox --- Send in a voice message: https://podcasters.spotify.com/pod/show/pops-on-hops-podcast/message

Barry, Abigail, and surprise special guest Becky Rickey discuss On My Own Two Feet by Granian and sample The One They Call Zoe and A Pale Mosaic from Hops & Grain Brewing (brewed by Austin Beerworks) in Austin, Texas. Hops & Grain no longer has a taproom in Austin, but the two beers we sampled continue to be brewed by Austin Beerworks and are available at certain venues around Austin! Garen Gueyikian (the songwriter, lyricist, vocalist, and primarily instrumentalist behind Granian) co-wrote BOOM BOOM with Teddi Gold, which has been used in multiple commercials, including in an Old Navy commercial from spring 2021. Garen later formed Kill the Alarm. We played Kill the Alarm's versions of Uncovered and Collide (compare to Granian's versions of Uncovered and Collide). Abigail entered On My Own into the Abigail Hummel School of Speaking Smartly About Music with a comparison to Survivor by Destiny's Child (secondarily, I Will Survive by Gloria Gaynor). Becky posed the question of our favorite song that employs the radio static effect. Barry entered Honey Pie by The Beatles (we have officially gone zero episodes without mentioning the White Album!). Becky compared her love of Uncovered to her love of On the Way Down by Ryan Cabrera. Becky shared this video of Garen performing My Voice and breaking his guitar. Up next… Twilight Time by Bennie Wallace Jingles are by our friend Pete Coe. Visit Anosmia Awareness for more information on Barry's condition. Follow Barry or Abigail on Untappd to see what we're drinking when we're not on mic! Leave us a rating or a review on Apple Podcasts or Spotify! Facebook | Instagram | X | YouTube | Website | Email us | Virtual Jukebox --- Send in a voice message: https://podcasters.spotify.com/pod/show/pops-on-hops-podcast/message

Agradece a este podcast tantas horas de entretenimiento y disfruta de episodios exclusivos como éste. ¡Apóyale en iVoox! Colabora Con Biblioteca Del Metal: En Twitter - https://twitter.com/Anarkometal72 Y Donanos Unas Propinas En BAT. Para Seguir Con El Proyecto De la Biblioteca Mas Grande Del Metal. Muchisimas Gracias. La Tienda De Biblioteca Del Metal: Encontraras, Ropa, Accesorios,Decoracion, Ect... Todo Relacionado Al Podcats Biblioteca Del Metal Y Al Mundo Del Heavy Metal. Descubrela!!!!!! Ideal Para Llevarte O Regalar Productos Del Podcats De Ivoox. (Por Tiempo Limitado) https://teespring.com/es/stores/biblioteca-del-metal-1 Advertencia: Decidí hacer esta mezcla para mostrar algunas canciones menos conocidas y (en su mayoría) subestimadas de la banda finlandesa de power metal Stratovarius. TrackList: 0:00 Break The Ice (Twilight Time) 5:25 Reign of Terror (Dreamspace) 8:54 Atlantis (Dreamspace 10:01 Gypsy in me (Black album) 14:29 Black Diamond Demo Version (Visions, Japan release) 19:37 Galaxies (Fourth dimension) 24:39 Abyss (Dreamspace) 29:37 It's a mystery (Intermission) 33:42 Metal Frenzy (Twilight time) 36:03 Maniac dance (Black album) 40:40 We hold the key (Fourth dimension) 48:37 I did it my way (Revolution Renessaince demo album) 52:42 Papillon (Elements pt.1) 59:50 No Turning Back (Destiny) 1:04:04 Kill The King - Tribute to dio (Intermission) 1:08:43 United (Black album) 1:15:57 Uncertainty (Episode) 1:21:56 In My Line of Work (Eternal) 1:26:12 Madnesssssss strikes at midnight (Twilight time) 1:33:12 Wings Of Tomorrow (Dreamspace) Stratovarius es una banda finlandesa de power metal melódico con elementos de música clásica, fundado en 1984 en Helsinki por Tuomo Lassila, John Vihervä y Staffan Stråhlman bajo el nombre Black Water. A partir de 1986 se le ha conocido como Stratovarius (término inventado por Lassila que fusiona dos instrumentos musicales: Stradivarius, instrumentos de cuerda (como los violines) altamente apreciados por los músicos; y Stratocaster, (modelo de guitarra eléctrica de la marca Fender).​ Stratovarius es una de las pioneras del power metal y el metal sinfónico. Actualmente, la banda no cuenta con ningún miembro original, pero el miembro más antiguo es su vocalista, Timo Kotipelto, seguido por el teclista Jens Johansson. En 1984, Staffan Stråhlman, John Vihervä y Tuomo Lassila formaron su primera banda, llamada Black Water, que, posteriormente, en 1985, renombrarían como Stratovarius. Después de un año tocando y de haber sacado dos demos, Stråhlman decidió dejar la banda. Entonces, Tuomo Lassila buscó a un guitarrista que se encargara también de la voz. Tras varias audiciones encontraron a Timo Tolkki, un joven finlandés proveniente de Nurmijärvi que había tocado en una banda llamada Road Block.​ Con Timo Tolkki en la guitarra y en la voz, Tuomo Lassila buscó un teclista de origen finlandés para completar la banda, uniéndose así Antti Ikonen. Tras recorrer algunas discográficas de Finlandia firmaron con CBS Finland. En 1987, John Vihervä abandonó el grupo y fue reemplazado por Jyrki Lentonen. En 1988 lanzaron sus dos primeros sencillos, «Future Shock» y «Black Night». En 1989 publicaron su primer álbum, titulado Fright Night, al que acompañaron de una pequeña gira por Europa en la que visitaron países como Dinamarca, Rusia y Noruega. Tras unos problemas con Jyrki Lentonen, este dejó la banda y su puesto en el bajo fue ocupado por Jari Beakman. En 1991, por conflictos con CBS Finland, firmaron con una discográfica poco conocida llamada Bluelight Records para editar su segundo disco, un álbum titulado Stratovarius II, del que apenas saldrían 1000 copias a la venta. Tras haber lanzado el álbum Stratovarius II, poco tiempo después, se haría una nueva versión de él ya que el dueño de la discográfica alemana Noise Records quedó sorprendido de que tan buen álbum no fuera tomado en cuenta. De esta manera se les dio una nueva oportunidad, para esta vez, lanzarlo internacionalmente. Así, en 1992, regrabaron el álbum, renombrándolo como Twilight Time. Fue lanzado en toda Europa y algunos países de Asia y además en ese año también editaron la canción Break The Ice. Después de haber lanzado el álbum, tendrían un impresionante número de ventas en Japón, donde superarían a grupos importantes, como X Japan, Deep Purple y Black Sabbath. Esto, los sorprendió, con lo cual, planearon su primera gira internacional, visitando algunos países de Europa y Asia. Después de la fama conseguida con Twilight Time, sale de la banda Jari Behm quien tuvo poca participación en el grupo a pesar de haber permanecido dos años en ella, entonces la banda decide no descansar y contratan a Jari Kainulainen que reemplaza a Jari Behm en el bajo y lanzan su próximo álbum que sería titulado Dreamspace. Colocan a la venta dos demos y liberaron la canción Wings Of Tomorrow. Este álbum obtuvo mayor cantidad de ventas que sus dos álbumes anteriores y es el primero en que participa el joven Jari Kainulainen con la banda; ya después de esto la banda saldría nuevamente de gira y, además, el álbum superaría el número de ventas de su anterior obra. Por otra parte Tolkki logra su sueño de lanzar un álbum como solista titulado Classical Variations And Themes en el mismo año que fue lanzado el Dreamspace. Después de haber lanzado el álbum Dreamspace y de tocar en el Giants of Rock Timo Tolkki decide dejar las voces para dedicarse exclusivamente a la guitarra ya que no se veía con futuro como cantante. Entonces decide hacer una audición donde buscaba un cantante que pudiese alcanzar tonos muy altos. El elegido fue Timo Kotipelto, un joven finlandés que venía de cantar en su antigua banda Filthy Asses. Según la leyenda dice que Kotipelto escuchó su primer álbum Fright Night diciendo que buena banda, después de algunos ensayos Tolkki sorprendido por la voz del joven fue elegido para el siguiente álbum. En 1995 la banda decidió lanzar otro álbum titulado Fourth Dimension con un sonido muy diferente al anterior y la voz de Kotipelto que se convertiría en un sello personal en el estilo del grupo. El disco salió a la venta en marzo de 1995 el cual fue muy bien recibido por el público, logrando fama mundial grabando el vídeo Against The Wind. En este álbum se nota un nuevo rumbo musical de la banda optando por sonidos de música clásica combinados con heavy metal. Fourth Dimension superó el número de ventas de Twilight Time y Dreamspace. Siguió una gira internacional por varios países de Europa y en Japón. La banda lanzó a la venta su primer álbum en vivo titulado Live In Three Dimensions, el álbum salió a la venta solamente en Japón y fueron lanzadas muy pocas copias. Y un segundo álbum en vivo Twilight In The East (Live in Osaka W'Ohol) salió a fines del mismo año. Además se graba el DVD titulado "Live In Germany" que salió a la venta 4 meses después de los álbumes en vivo. Después de terminar la gira de la banda, Timo Tolkki le dijo a Tuomo Lassila y Antti Ikonen que quería hacer una música más rápida y potente que la que actualmente estaban haciendo, entonces Lassila y Ikonen deciden salir de la banda porque ya no se sentían dispuestos a continuar con el legado que Tolkki quería imponer. Con Tuomo Lassila y Antti Ikonen fuera de la banda, Tolkki se emprende en busca de un nuevo teclista y un nuevo batería, que en una charla con Timo Kotipelto y Jari Kainulainen, deciden buscar los nuevos miembros de Stratovarius fuera de Finlandia. En 1996 los nuevos miembros serían Jörg Michael y Jens Johansson que ya eran unos músicos consolidados, por su parte Jörg Michael venía de la famosa banda Rage, en ese momento de igual manera, Jens Johansson era un músico que gozaba de fama internacional y que en aquel entonces residía en Estados Unidos donde fue pretendido por la joven banda Dream Theater quienes querían optar de sus servicios. Con Jörg Michael, un extraordinario baterista, Jens Johansson reconocido como uno de los teclistas más rápidos del mundo, Timo Tolkki un excelente guitarrista y Timo Kotipelto, con una calidad vocal excelente, deciden sacar lo que sería su nuevo álbum Episode. Este disco contó con el apoyo de una orquesta, posee un sonido melódico, dramático y sinfónico, con canciones mucho más potentes y veloces que en sus anteriores álbumes. El álbum obtuvo muy buenas críticas y alcanzó el Top 40 en Finlandia y el Top 10 de Japón. De este álbum destacan "Eternity", "Speed of Light", Father Time, la balada "Forever" y "Will The Sun Rise?". La banda viaja a Japón donde graba su tercer álbum en vivo Episode In The East. En 1997 la banda lanza su sexto álbum de estudio titulado como Visions. Este disco contaría con las famosas canciones The Kiss of Judas y Black Diamond que serían muy referentes en este estilo musical en el futuro. El álbum alcanzó su primer disco de oro. Los 10 minutos de la canción Visions hicieron que fuera la más larga desde sus inicios 1985 hasta aquel 1997. El álbum logró estar en la posición número #4 en Finlandia manteniéndose por 24 semanas en el Top 40 y ser el más vendido en ese año. La banda aprovechó para realizar una extensa gira que abarcó Europa, Japón y Sudamérica por primera vez, brindándonos grandiosos temas como Kiss of Judas, Legions of the Twilight, Forever Free, la épica Visions y su tema más emblemático, Black Diamond. Además de lanzar al mercado su primer álbum compilado titulado The Past And Now. En abril se lanzó un doble disco en vivo titulado "Visions in Brazil" más el DVD titulado "Live In Rio". En 1998 la banda lanza dos álbumes en vivo titulados "Live In Jyrki" y en DVD que fue lanzado a principios del año y Visions of Europe que sería grabado en Italia y Grecia publicados en año casi a fines del 1998. Además, a fines de octubre se lanzó el nuevo álbum titulado Destiny más épico y sinfónico que el anterior en ese mismo año que trajo consigo muy buenas críticas, además de ser el álbum más vendido en ese año en Finlandia alcanzaría la posición número 1 y su canción S.O.S entraría en la posición número 2 en Finlandia, dándole su segundo disco de oro y consigo una gira mundial que los llevaría por primera vez a visitar América del Sur, visitando países como Brasil, Argentina y Chile. También obtuvieron el trofeo "Emma" de la industria fonográfica finladesa por ser una "banda de exportación. Destiny fue su segunda canción más larga con 10 minutos al igual que la canción visions. Esta vez la canción Destiny fue más famosa y dio mucho éxito en las ventas compuesta por un coro grande y metal melódico sinfónico. En 1999 lanzan su segundo álbum compilado titulado The Chosen Ones alcanzando la posición número #7 en Finlandia, un mes después de lanzar el álbum compilado se lanzó el séptimo álbum en vivo "Live In Tavastia Helsinki" más el DVD. Luego llegaron los premios y Kotipelto se llevó el segundo premio al mejor vocalista; Timo Tolkki, al mejor compositor; Jens Johansson, como el Mejor Músico extranjero. Además de lanzar antes a fines del año su octavo álbum en vivo Visions Of Destiny. Ya después de haber sacado a la venta el exitoso álbum Destiny. En el año 2000 saldría a la venta el álbum Infinite que recibiría buenas críticas, no solo musicalmente sino también en cuanto a la portada que fue un buen trabajo realizado por Derek Riggs, el álbum alcanzaría la posición número uno en Finlandia y de sacar su tercer disco de oro. Las canciones destacadas son Hunting High and Low y A Million Light Years Away alcanzando las posiciones #2 en Finlandia, ya es la tercera vez consecutiva que Stratovarius lo consigue. Además de estrenar su tercer compilado 14 Diamonds. La canción "Infinity", es su tercera canción más larga, con 9 minutos, junto con la canción "Freedom". La gira mundial de Stratovarius, incluiría por primera vez países como Hong Kong, México, El Salvador y Colombia, Junto con Sonata Arctica y Rhapsody. Luego de la extensa gira, saldría a la venta el famoso DVD de la banda titulado Infinite Visions que incluiría muchas de las presentaciones de la banda alrededor del mundo. En un concierto cuando empezaban a tocar la canción S.O.S Kotipelto se quemó el brazo con los fuegos artificiales y a pesar de esto, siguió con el concierto. Por otra parte Timo Kotipelto participó con la banda Ayreon con su álbum Universal Migrator Part 2: Flight of the Migrator. En el 2001 la discográfica editará Intermission, un álbum compilado de Lados B, incluyendo varios de los bonus tracks de discos anteriores, con algunas versiones como "I Surrender" de Rainbow y "Blood Stone" de Judas Priest covers y algunos temas en vivo. Además la banda Argentina Rata Blanca más Nightwish junto con Stratovarius realizan una nueva versión de la canción La leyenda del hada y el mago. Tolkki participa en el proyecto de Tobias Sammet titulado Avantasia con el álbum The Metal Opera En el 2002 tras las largas giras y los constantes álbumes hechos, la banda decide tomarse un respiro y trabajar en proyectos como solistas o en proyectos de invitados en algunas bandas de Metal. En ese periodo, Timo Tolkki saca su disco Hymn To Life y coopera con el proyecto musical de Tobias Sammet titulado Avantasia por segunda vez en su álbum The Metal Opera Part II. Por otra parte el teclista Jens Johansson participa en el álbum "Winterheart's Guild" de Sonata Arctica substituyendo a Mikko Harkin Además, Kainulainen participa en proyectos con Warmen en el álbum Beyond Abilities y en la canción "False News Travel Fast" del álbum Silence de Sonata Arctica. Por otro lado Timo Kotipelto hace un proyecto musical titulado Kotipelto y saca su primer álbum titulado Waiting For The Dawn. En el 2003 la banda lanzaría un álbum con dos partes, algo muy parecido a lo que hizo Helloween en sus inicios. La banda mostraría su canción Eagleheart en el año 2002, dos meses antes de lanzar el álbum oficialmente. La canción contenía muchos tintes de power metal, lo que la convirtió en una clásica del género. Pero el álbum contendría un sonido más enfocado al Neoclassical Metal que al power metal, así como canciones de muy larga duración. En enero se lanza el álbum Elements, Pt. 1 Para muchos fanes Stratovarius estaba decayendo, y para otros estaba experimentando nuevos rumbos. Cada vez más la consideraban una banda de culto. El álbum lleva la canción más larga que Infinity, Destiny y Visions. La canción "Elements" con sus 12 minutos de puro metal hecho con un coro grande al igual que Destiny. Después de lanzar Elements, Pt. 1 y tener una gira mundial, en el mes de abril sería lanzado el cuarto DVD "Live At Tuska" que fue un éxito, luego llegaría Elements, Pt. 2 ese mismo año. Consigo traería buenas y malas críticas. Cada vez más, Stratovarius experimentaba con nuevos sonidos más épicos, e incluso progresivos. En este caso, este álbum tenía un estilo épico, y algo en común con el sonido del clásico doom metal, como se ve claramente en la canción Alpha & Omega. Junto con este álbum saldría un nuevo video de la banda, correspondiente a la canción "I Walk To My Own Song", que entraría en la posición número 9 en Finlandia. Asimismo, la canción anterior, Eagleheart, entraría en la posición número 2, como también hizo el álbum. Stratovarius presentó un show en vivo en Barcelona donde presentó su nuevo trabajo un álbum en vivo llamado "Elements In Barcelona" Con estos dos álbumes, la banda conseguiría aún más fama de la que ya tenía. De aquí se deduce que adoptan un sonido un poco más comercial, que ayudó a la banda a alcanzar su objetivo. A fines del 2003 Stratovarius lanza su quinto DVD "Live In Japan". Timo Kotipelto por otra parte participó con Klamydia con su álbum "Seokset". A fines del 2003, la relación entre los miembros de Stratovarius era la peor en casi veinte años de la banda. Los problemas psicológicos y de alcoholismo de Timo Tolkki llegaron a un punto culminé cuando despidió de la banda a Timo Kotipelto (cantante) y Jörg Michael (baterista). En él 2004 la banda demuestra 2 DVD más: "Live In Italy" y el "Live At Roumanmari Festival" más el álbum en vivo de ese DVD, sin lamentar mucho la partida de los músicos, Tolkki se apresuró a anunciar a Anders Johansson (baterista de la banda Hammerfall y hermano de Jens) como el nuevo baterista, y a la ignota Katriina Wiialla –presentada solo como Miss K de entonces 30 años de edad, como la nueva vocalista. Las primeras fotos de la cantante publicadas en el sitio de la banda, en la que se la mostraba con sus manos llenas de sangre, fueron recibidas con mucho escepticismo por parte de los fanes y la prensa, sin mencionar que nadie conocía la voz a Miss K. Luego el 21 de febrero Tolkki, refirió haber tenido un ataque de pánico, tratando de calmarse, sintió que una voz le hablaba y decía "Kabbalah", pensando que era la voz de Cristo que le decía, busca un libro, "Enseñanzas de Kabbalah"... en fin él puso en la página que desde ahora tenía que estudiar el Kabbalah, además, dijo que Cristo le había pedido que se fotografiara él todo ensangrentado. Entre todo eso, salió que posiblemente Michael Kiske podría ser el nuevo vocalista de Stratovarius, pero como escribió en otro tópico, Kiske dijo rotundamente que no. Por su parte, Kotipelto, continuó su trabajo en solitario. Durante la época oscura de Stratovarius ocurrida en 2004, Kotipelto decide concentrarse nuevamente en su carrera de solista, y nace así su segunda placa discográfica, Coldness, disco que a diferencia del primero, no es un álbum conceptual, sino un álbum muy profundo y personal, lo cual es notorio en toda la composición. Los temas, reflejan el estado emocional por el que Kotipelto pasaba en esos momentos. Por su parte Michael tocó en con los legendarios Saxon. Luego de la oportuna intervención de Jens, que logró limar las asperezas entre Timo Tolkki y sus ex compañeros de banda, Stratovarius volvería con un nuevo disco homónimo dos años después, y su exvocalista se convertiría en solo un recuerdo, recibiendo apenas unas tibias palabras de agradecimiento en el CD. Timo Tolkki luego pidió disculpas por su comportamiento. En ese año, con la cantante Katriina Wiialla y Timo Tolkki , se grabó un nuevo álbum, titulado Pop-Killer, pero el álbum no fue publicado. En enero de 2005, se anunció que Stratovarius había reunido la antigua alineación. En junio de 2005, Tolkki anunció que el bajista de la banda, Jari Kainulainen, había dejado la banda debido a motivos personales. Fue sustituido por Lauri Porra, un joven músico finlandés. Stratovarius luego lanzó el auto-titulado álbum Stratovarius (álbum) en septiembre de 2005, el cual genera polémica entre sus seguidores y es duramente criticado por alejarse del estilo power-sinfónico que siempre los ha caracterizado, ya que este álbum no contiene ninguno de los elementos mencionados, más bien es un disco que podría considerarse dentro del hard rock con influencias ochenteras y un nuevo videoclip llamado Maniac Dance fue revelado en agosto. Durante este tiempo, Stratovarius inicia una gira mundial, comenzando en Argentina, que incluyó un tramo de América del Norte, donde recorrió los Estados Unidos y Canadá por primera vez en la historia de la banda. Se desempeñó en eventos como la Atlanta ProgPower, y así en lugares conocidos como BB King's House of Blues en Nueva York y Filadelfia Teatro del Trocadero. La gira también incluyó Europa y ciudades japonesas. Además. la banda lanza el décimo álbum en vivo "Live In Montreal" . Timo Kotipelto fue nuevamente elegido para grabar un álbum más con Warmen con su trabajo Accept the Fact. En septiembre de 2006 se lanza al mercado el nuevo compilado titulado Black Diamond: The Anthology. el que contiene las 30 canciones más famosas del grupo a lo largo de su historia. Además Kotipelto participó con los chicos de Leningrad Cowboys cantando versiones en vivo como "Let´s Have A Party" y "I will stay" En 2007, en el último recital que tuvo Timo Tolkki con la banda en España, Timo le preguntó a Kotipelto que si él pudiese cantar la canción de Elvis Presley "Can´t Help Falling in Love", solo muy poca gente se dio cuenta de que le pertenecía a Elvis, en aquel recital Tolkki lloró frente a sus fanes ya que era el último show con Stratovarius, al terminar el show se despidió de sus fanes y le deseó lo mejor a Stratovarius. Por otra parte Kotipelto lanza en abril el nuevo álbum en solitario Serenity (Kotipelto album) con la colaboración de Lauri Porra. En febrero del 2008 Timo Tolkki reveló la nueva banda llamada Revolution Renaissance y en marzo reveló el nuevo álbum en solista de Tolkki titulado Saana – Warrior of Light Pt 1. Después de un largo período de silencio, el 4 de marzo de 2008, Timo Tolkki declaró oficialmente la disolución de Stratovarius en su sitio web. Las confrontaciones, peleas, incompetencia, relaciones tensas, reacciones negativas, amargura, hostilidades, desinterés y la mala maestría musical han sido la causa a esta realidad interna alrededor de estos simples hechos dolorosos. Las tensiones internas dentro de la banda se citaron como la causa, diciendo que Lauri Porra y Jens Johansson eran su único apoyo, Jörg Michael se centró más en su período de sesiones de trabajo, y Kotipelto fue el mejor para tener una banda por sí mismo. La banda tenía previsto lanzar un nuevo álbum de estudio cuyo nombre lo habrían dejado en código, "R..... R.....", en el 2008. En lugar de ello, Tolkki creó un nuevo grupo llamado "Revolution Renaissance", cuyo nombre es el nombre del que sería el siguiente disco de Stratovarius y que las canciones del primer álbum serían precisamente las canciones que estarían en "R..... R......". Saldría entonces el disco de la "nueva" agrupación de Tolkki donde aparecen conocidos cantantes como Michael Kiske y Tobias Sammet entre otros. Sin embargo los miembros restantes de Stratovarius liberarían por la red el demo de "Revolution Renaissance" el disco con exactamente las mismas canciones pero interpretadas por la alineación original. Los miembros restantes de Stratovarius publicaron una declaración en línea para dar su versión de la historia. Llegaron a la conclusión de decir que las razones de Timo Tolkki fueron financieras. Además aseguraron que seguirían juntos ya que se lo deben a sí mismos y a sus fanes. Al poco tiempo, Tolkki da una declaración final en la cual da a conocer la renuncia a los derechos del nombre de Stratovarius, así como a todas las ganancias de su fondo de catálogo, cediéndolos a Timo Kotipelto, Jens Johansson y Jörg Michael. En abril de 2008 Timo Tolkki abandonó Stratovarius y dejó atrás los problemas y las deudas, dando su bendición a los otros miembros para continuar con la banda y el caso legal. Los demás miembros se encontraron en un limbo legal y una gran deuda, pero aun así continuaron trabajando. Un cambio se dio cuando finalmente se llegó a un acuerdo con Sanctuary a finales del 2008. En una entrevista, Timo Kotipelto, Jens Johansson y Lauri Porra, han anunciado que entre finales del 2008 y principios del 2009 comenzarán a componer un nuevo disco. Luego, a finales del 2008 Stratovarius anunció quién sería el que remplazará a Tolkki, un joven guitarrista finlandés, Matias Kupiainen, quien aparece en un vídeo subido a YouTube por los mismos integrantes llamado "Work in Progresser" donde se aprecian las sesiones de ensayo del nuevo disco, también incluye una parte de lo que sería una canción de su futuro álbum. En una entrevista Timo Tolkki confirma que les cedió todos los derechos de Stratovarius lo que indica que continuarán con el mismo nombre. En 2009 Timo Kotipelto revela en enero la nueva banda formada por él y los ex de Sonata Arctica titulado Cain's Offering con su nuevo trabajo Gather The Faithful que dio la luz el 22 de julio de 2009. Además la banda Stratovarius estrena su nuevo álbum titulado Polaris un álbum melódico, poderoso, fresco, bien armado y técnicamente elaborado, que salió a la venta a finales de mayo del 2009 y fue seguido de conciertos en una serie de festivales en Europa entre junio y julio, y de una gira mundial entre septiembre y octubre que se inició en Polonia e incluyó países de Asia, Norteamérica y Sudamérica, siendo su última presentación en Lima, Perú, el 24 de octubre de 2009. Alcanzó a estar en las posiciones # 2 en Finlandia es el primer álbum que participa el nuevo guitarrista Matias Kupiainen. Las canciones destacadas son 2 singles Deep Unknown y Higher We Go. En la segunda mitad del 2009, Stratovarius empieza su Tour Polaris 2009 recorriendo varios países de Europa y luego pasando por EE. UU., México, Chile, Argentina, Ecuador, concluyendo la gira en Perú. Además se lanzaría el nuevo DVD llamado "Live In Chile" en el mismo año. En 2010 se sacó a la venta una reedición del álbum Polaris Live con diverso material en directo grabado durante el Polaris Tour, titulado Polaris live (Special Edition) sería su undécimo álbum y el último por ahora. En septiembre del 2010, se anunció el comienzo de la grabación del segundo álbum de Stratovarius con Matias Kupiainen en la guitarra eléctrica. Antes de lanzar el álbum oficialmente se editará el Darkest Hours EP, con dos de los nuevos temas de su nuevo álbum: Darkest Hours e Infernal Maze, la demo de Darkest Hours y dos grabaciones en directo correspondientes a Against The Wind y Black Diamond. Saldrá a la venta el 26 de noviembre. Además, para promocionar el nuevo álbum, Stratovarius irá de gira como invitado de Helloween en su gira Seven Sinners Tour. Recientemente se ha conocido que el baterista de Stratovarius Jörg Michael sufre cáncer, del cual ha sido operado. Este hecho ha implicado que no pueda participar en la gira del grupo, siendo temporalmente sustituido por Alex Landenburg. En 2011 la banda libera su nuevo álbum titulado Elysium, que en tan solo en una semana el álbum alcanzó a estar en el puesto número #1 en Finlandia y otorgar nuevo disco de oro. Las canciones destacadas son Infernal Maze, Under Flaming Skies, Darkest Hours; Sin embargo, si hay un tema que brilla con luces propias y que merece un análisis aparte, es “Elysium”, corte homónimo y que se transforma en la canción más larga de la historia de la banda, con 18 minutos de duración. Como un tren, es un tema que tiene varios vagones en su extensión. Un inicio suave, un medio tiempo elegante que nos relata actitud positiva frente a lo venidero. El “I´m not afraid anymore” probablemente sea la línea más emblemática, y la que pega con más fuerza en esta parte. El corte va tomando fuerza conforme va avanzando, con arreglos de guitarras muy buenos, y un Johannson en un segundo plano que le viene muy bien, salvo cuando interviene en la parte de los solos, en donde hace muy buena dupla con Kupianen. Por otra parte el baterista Jörg Michael se recupera del cáncer y regresa con la banda a terminar la gira con Helloween. Este año Stratovarius revela su nuevo y esperado videoclip de su glorioso álbum "Elysium" Under Flaming Skies el primer corte de su gran obra, fue grabado en vivo en los estudios Edel Music El 20 de junio de 2012 se anuncia nuevo baterista para la banda de nombre Rolf Pilve Pagina Oficial: https://stratovarius.com/Escucha este episodio completo y accede a todo el contenido exclusivo de Biblioteca Del Metal - (Recopilation). Descubre antes que nadie los nuevos episodios, y participa en la comunidad exclusiva de oyentes en https://go.ivoox.com/sq/308558

Today, Carmen is joined by Neighbor Becky, for a story that could either be the plot of a spooky movie or the retelling of a true crime case. Take it as a little Pre-Valentine's Day treat if you will. Listen as Carmen tells the story of a young man rescued abroad who reveals a horrific story of his abduction. This teenager describes to authorities all the ways he was tortured while being held captive. However, much like in many of our stories, all is not what it seems. Our main character has been found after being missing for 3 years, and he is not ok. It seems though that he has some secrets of his own. See if you can tell if this story filled with twists and turns is fact or fiction. No worries though, all will be revealed by the end!  Will Becky be able to use her detective skills (not an actual detective) to crack the case before the reveal? Will you? Let us know how you did! As always, thanks for listening.  ***Patreon members can tune in after the show to listen to our Twilight Time (or whatever it's called)***Thanks for stopping in. We love ya! IG: Live Laugh Murder PodcastGMAIL: ⁠⁠⁠⁠⁠⁠Livelaughmurderpod@gmail.com⁠⁠⁠⁠⁠ Linktree: ⁠⁠⁠⁠⁠https://linktr.ee/livelaughmurderpodcast ⁠⁠⁠⁠⁠ Patreon: ⁠⁠⁠⁠⁠patreon.com/livelaughmurderpodcast⁠⁠⁠⁠⁠ Fellow podcasters looking to record remotely.. Check out Riverside using this Link: ⁠⁠⁠⁠⁠https://www.riverside.fm/?via=LiveLaughMurderPod  --- Support this podcast: https://podcasters.spotify.com/pod/show/livelaughmurderpod/support

True Crime or Movie Plot??? Today Joanna brings you a story that hints at one of our biggest fears. (((The title says it all.))) Our main character is stuck in a horrid situation and finds the life of her unborn baby, along with herself, at risk. How would you survive in a scenario where your only survival depended on live fish and a placenta? Listen to find out how this story turns out. More importantly though, listen to discover if this is the plot of a horror movie or the facts of a true crime case. All will be revealed by the end! ***Patreon members can tune in after the show to listen to our Twilight Time (or whatever it's called)*** Thanks for stopping in. We love ya! IG: Live Laugh Murder PodcastGMAIL: ⁠⁠⁠⁠⁠Livelaughmurderpod@gmail.com⁠⁠⁠⁠ Linktree: ⁠⁠⁠⁠https://linktr.ee/livelaughmurderpodcast ⁠⁠⁠⁠ Patreon: ⁠⁠⁠⁠patreon.com/livelaughmurderpodcast⁠⁠⁠⁠ Fellow podcasters looking to record remotely..Check out Riverside using this Link: ⁠⁠⁠⁠https://www.riverside.fm/?via=LiveLaughMurderPod --- Support this podcast: https://podcasters.spotify.com/pod/show/livelaughmurderpod/support

Hoy El Mata-Rolas en La Mata o La Rescata, una cación de Los Platters "Twilight Time" de 1958, versionada por la banda española Duncan Dhu en 1987 con el título de "Al Caer La Noche"

This week we welcome director, producer, and actor Marciel Delgado to talk about the short series Twilight Time go check it out yourself at https://www.youtube.com/playlist... Twilight Time ; After the death of a friend, Violet begins to experience sleep paralysis, but as the nights go by, something foreign and sinister begins to invade her reality. Marciel Delgado is known for Twilight Time (2023), Dear Hearts and Gentle People (2019) and The Cynic and the Fool. This episode is sponsored by Deadly Grounds Coffee, head over to https://deadlygroundscoffee.com/ and grab a bag if you want to support the show head over to http://tee.pub/lic/xagxfUg22qI and grab a shirt! We are part of The Dorkening Podcast Network https://www.thedorkeningpodcastnetwork.com/ Want to create live streams like this? Check out StreamYard: https://streamyard.com/pal/d/5657902597799936 Find out more at https://wicked-horror-show.pinecast.co Send us your feedback online: https://pinecast.com/feedback/wicked-horror-show/48662759-9764-42c8-ac56-9e89cdf6ed4f This podcast is powered by Pinecast.

In the chilling conclusion to "The Nightshift" by the master of the macabre, Jay Darkmore, we've reached the final, heart-pounding act of this captivating tale. The echoes of Beethoven's "Moonlight Sonata" and Rachmaninoff's "Prelude in C Sharp Minor," skillfully performed by Spring Heeled Jack, linger in the air, a fitting backdrop to the ominous events that have unfolded.As we bid farewell to this spectral narrative, the haunting melodies give way to "Twilight Time" by The Platters, casting an eerie spell on our senses. The night has concealed its deepest secrets, and the time has come to leave them in its shadow.But fear not, for our journey through the supernatural continues. The Halloween special persists, delivering daily doses of terror and mystery. So, as we part ways for now, remember to return, keep those lanterns burning, and stay on the lookout for the unknown.Support the showYe olde march shop https://www.aohpmerch.com/s/shopDemented Darkness https://open.spotify.com/show/2ausD083OiTmVycCKpapQ8Dark Side of the Nerd https://open.spotify.com/show/6cwN3N3iifSVbddNRsXRTuFoxhound43 https://rumble.com/user/Foxhound43

When Love Isn't Enough to Keep it Together: What is beyond Love? What takes us beyond higher consciousness? In this episode we discuss the B in our name and what we have to look forward to after Magic. We also share the significance of 2024 and what it will take to achieve the 5D foundational goals that were predicted for that time.

Matt and Mikey talk about Lord of the Rings, the Bible, Super Mario the trailer, and My Little Pony.Want more content like this? Check out https://www.fattangoproductions.com to see all the shows on the Fat Tango Network!

Nuestro invitado de hoy es Louis Prima, un músico genial, extrovertido, ingenioso y divertido, trompetista y cantante de jazz de los últimos años cincuenta y primeros sesenta. Mezclaba su inglés natal, había nacido como el jazz, en Nueva Orleáns, con el italiano materno, y era un huracán, en el escenario y en sus discos. En su grupo destacaba el saxofonista Sam Butera con el que mantuvo gloriosos desafíos musicales y en el que figuró, durante unos años, su esposa, la cantante Keely Smith. Vamos con su música. Ya está sonando su ultrafamoso “Just a gigolo”. Louis Prima nació en el seno de una familia italoamericana en Nueva Orleans, Luisiana. La madre de Prima era una amante de la música y se aseguró de que cada uno de sus hijos tocara un instrumento. A Louis se le asignó el violín, pero pronto se interesó por el jazz al frecuentar los clubs de la ciudad en los que podía escuchar en directo a gente como Louis Armstrong. Así que, cuando su hermano mayor Leon se ausentó unos días para pasar unas vacaciones, se adueño de su trompeta, instrumento que le había correspondido en el reparto de su madre, y ya no la dejó nunca. Su primera banda, casi infantil, la formó con sus amigos de la escuela, Candy al bajo, Irving al clarinete y Johnny a la bateria. Pero fue en 1927 cuando se asoció con otro compañero de la escuela de jesuitas donde estudiaba para tocar en el “Whip”, un club nocturno de la ciudad. Y fue allí donde nuestro hombre decidió que quería ser profesional. Un ejemplo perfecto de la contaminación del inglés con el italiano en su éxito Buona Sera, una canción que, aunque no es suya, fue él el que la llevó a la fama. Buona Sera, Los primeros años de sus carrera no fueron muy alentadores. Sus primeros conciertos fueron un pequeño desastre, incluyendo su participación en alguna de las grandes orquestas del momento. En una ocasión, Prima y el saxofonista Dave Winstein fueron contratados para un concierto en Florida pero cuando llegaron, allí no había nadie. Estas cosas pasaban. Con dinero prestado para gasolina, volvieron a su casa. Por suerte, allí le esperaba un contrato para tocar en un barco de vapor, el Capital. Este trabajo no le proporcionó ningún aliciente a su carrera pero, bueno, tenía un sueldo fijo. Durante la Gran Depresión, Nueva York fue un polo de atracción para todos los músicos hambrientos, y había muchos. Allí fue también Louis y tuvo la suerte de conocer a Guy Lombardo, un afamado director de orquesta y esta circunstancia le dio un poco de estabilidad económica. Además, por aquel entonces, ya estaba casado. Fever Su buen hacer en los escenarios le fue granjeando fama y la oportunidad de trabajar en el cine. Además de algunos papeles menores en diversas películas, pudo demostrar sus dotes de actor de una manera un poco más seria en la película musical “Rythmn on the Range”, dirigida por Bing Crosby. Durante esta década, la de los años 30, junto al también trompetista Red Nichols, formaron el grupo “New Orleans Gang” y fue con esta formación, en la que participaban otros siete músicos, con la que grabó buena parte de su producción. A esta época pertenece su celebérrima “Sing, sing, sing”. Para la ocasión, hemos elegido la versión que hizo Benny Goodman por que está mejor remasterizada. "Twilight Time" es una canción muy popular del cancionero norteamericano. Fue compuesta por The Three Suns, un famoso, en su momento, grupo neoyorquino, aunque la versión que se hizo más famosa fue la de The Platters. La versión instrumental que dejó grabada Louis Prima de esta canción nos va a permitir apreciar su buena técnica como instrumentista. Twilight Time. Cuando estalló la Segunda guerra Mundia, nuestro amigo Prima, que por entonces estaba instalado en Las Vegas, fue enviado al frente, bueno realmente fue enviado a las bases que los americanos tenían por Islandia y Groenlandia y por allí paso la guerra, animando a lo soldados con su música. Cuando acabó la guerra, y otra vez en la carretera, incorporó a la orquesta a una joven vocalista, Keely Smith, con la que finalmente se casó. Su trabajo juntos dio muy buenos resultados porque en 1956 ambos recibieron el Grammy a la mejor canción. Y esto fue el primer año en el que se celebraba la entre de estos premios. Esta es That old black magic Los años 60 no fueron nada buenos para el artista en su vida personal: se divorció de Keely y fallecieron sus padres. No obstante, su carrera siguió creciendo, sus contratos cada vez fueron más suculentos y siguió relacionado con el mundo del cine. Desgraciadamente, este músico genial y paciente con sus fans (siempre dispuesto a firmar autógrafos y fotografiarse con una sonrisa), y cuando había regresado a su ciudad natal, Nueva Orleans, fue diagnosticado con un tumor cerebral que le mantuvo en estado vegetativo hasta su muerte. Vamos a despedirnos del Sr. Prima con una contundente versión de Night Train, en la que deja de manifiesto su especial querencia por el jazz. Y nada más por hoy. Espero que os haya gustado el programa, y que el descubrimiento o recordatorio de este artista os haya hecho pasar un rato entretenido. A fin de cuentas… ese es nuestro objetivo. Nos oímos la semana que viene. Chao.

Welcome back, and happy February QQTs!

"Empowering and Transforming" in prayer and the Word of God, to Recover All. Encouragement message to the people of God to pursue God's Word spoken in obedience. Enduring through the Twlight Time for victory.

Songs include: At Twilight, Twilight Time, Twilight In Turkey, Twilight Rag, A Little Kiss At Twilight and Twilight Blues. Performers include: Benny Goodman, Les Brown, James P Johnson, Raymond Scott, Sol Ho'opi'i , Eddie Condon and Thomas " Fats" Waller.

Agradece a este podcast tantas horas de entretenimiento y disfruta de episodios exclusivos como éste. ¡Apóyale en iVoox! La Tienda De Biblioteca Del Metal: Encontraras, Ropa, Accesorios,Decoracion, Ect... Todo Relacionado Al Podcats Biblioteca Del Metal Y Al Mundo Del Heavy Metal. Descubrela!!!!!! Ideal Para Llevarte O Regalar Productos Del Podcats De Ivoox. (Por Tiempo Limitado) https://teespring.com/es/stores/biblioteca-del-metal-1 Stratovarius es una banda finlandesa de power metal melódico con elementos de música clásica, fundado en 1984 en Helsinki por Tuomo Lassila, John Vihervä y Staffan Stråhlman bajo el nombre Black Water. A partir de 1986 se le ha conocido como Stratovarius (término inventado por Lassila que fusiona dos instrumentos musicales: Stradivarius, instrumentos de cuerda (como los violines) altamente apreciados por los músicos; y Stratocaster, (modelo de guitarra eléctrica de la marca Fender). Stratovarius es una de las pioneras del power metal y el metal sinfónico. Actualmente, la banda no cuenta con ningún miembro original, pero el miembro más antiguo es su vocalista, Timo Kotipelto, seguido por el teclista Jens Johansson. En 1984, Staffan Stråhlman, John Vihervä y Tuomo Lassila formaron su primera banda, llamada Black Water, que, posteriormente, en 1985, renombrarían como Stratovarius. Después de un año tocando y de haber sacado dos demos, Stråhlman decidió dejar la banda. Entonces, Tuomo Lassila buscó a un guitarrista que se encargara también de la voz. Tras varias audiciones encontraron a Timo Tolkki, un joven finlandés proveniente de Nurmijärvi que había tocado en una banda llamada Road Block. Con Timo Tolkki en la guitarra y en la voz, Tuomo Lassila buscó un teclista de origen finlandés para completar la banda, uniéndose así Antti Ikonen. Tras recorrer algunas discográficas de Finlandia firmaron con CBS Finland. En 1987, John Vihervä abandonó el grupo y fue reemplazado por Jyrki Lentonen. En 1988 lanzaron sus dos primeros sencillos, «Future Shock» y «Black Night». En 1989 publicaron su primer álbum, titulado Fright Night, al que acompañaron de una pequeña gira por Europa en la que visitaron países como Dinamarca, Rusia y Noruega. Tras unos problemas con Jyrki Lentonen, este dejó la banda y su puesto en el bajo fue ocupado por Jari Beakman. En 1991, por conflictos con CBS Finland, firmaron con una discográfica poco conocida llamada Bluelight Records para editar su segundo disco, un álbum titulado Stratovarius II, del que apenas saldrían 1000 copias a la venta. Tras haber lanzado el álbum Stratovarius II, poco tiempo después, se haría una nueva versión de él ya que el dueño de la discográfica alemana Noise Records quedó sorprendido de que tan buen álbum no fuera tomado en cuenta. De esta manera se les dio una nueva oportunidad, para esta vez, lanzarlo internacionalmente. Así, en 1992, regrabaron el álbum, renombrándolo como Twilight Time. Fue lanzado en toda Europa y algunos países de Asia y además en ese año también editaron la canción Break The Ice. Después de haber lanzado el álbum, tendrían un impresionante número de ventas en Japón, donde superarían a grupos importantes, como X Japan, Deep Purple y Black Sabbath. Esto, los sorprendió, con lo cual, planearon su primera gira internacional, visitando algunos países de Europa y Asia. Después de la fama conseguida con Twilight Time, sale de la banda Jari Behm quien tuvo poca participación en el grupo a pesar de haber permanecido dos años en ella, entonces la banda decide no descansar y contratan a Jari Kainulainen que reemplaza a Jari Behm en el bajo y lanzan su próximo álbum que sería titulado Dreamspace. Colocan a la venta dos demos y liberaron la canción Wings Of Tomorrow. Este álbum obtuvo mayor cantidad de ventas que sus dos álbumes anteriores y es el primero en que participa el joven Jari Kainulainen con la banda; ya después de esto la banda saldría nuevamente de gira y, además, el álbum superaría el número de ventas de su anterior obra. Por otra parte Tolkki logra su sueño de lanzar un álbum como solista titulado Classical Variations And Themes en el mismo año que fue lanzado el Dreamspace. Después de haber lanzado el álbum Dreamspace y de tocar en el Giants of Rock Timo Tolkki decide dejar las voces para dedicarse exclusivamente a la guitarra ya que no se veía con futuro como cantante. Entonces decide hacer una audición donde buscaba un cantante que pudiese alcanzar tonos muy altos. El elegido fue Timo Kotipelto, un joven finlandés que venía de cantar en su antigua banda Filthy Asses. Según la leyenda dice que Kotipelto escuchó su primer álbum Fright Night diciendo que buena banda, después de algunos ensayos Tolkki sorprendido por la voz del joven fue elegido para el siguiente álbum. En 1995 la banda decidió lanzar otro álbum titulado Fourth Dimension con un sonido muy diferente al anterior y la voz de Kotipelto que se convertiría en un sello personal en el estilo del grupo. El disco salió a la venta en marzo de 1995 el cual fue muy bien recibido por el público, logrando fama mundial grabando el vídeo Against The Wind. En este álbum se nota un nuevo rumbo musical de la banda optando por sonidos de música clásica combinados con heavy metal. Fourth Dimension superó el número de ventas de Twilight Time y Dreamspace. Siguió una gira internacional por varios países de Europa y en Japón. La banda lanzó a la venta su primer álbum en vivo titulado Live In Three Dimensions, el álbum salió a la venta solamente en Japón y fueron lanzadas muy pocas copias. Y un segundo álbum en vivo Twilight In The East (Live in Osaka W'Ohol) salió a fines del mismo año. Además se graba el DVD titulado "Live In Germany" que salió a la venta 4 meses después de los álbumes en vivo. Después de terminar la gira de la banda, Timo Tolkki le dijo a Tuomo Lassila y Antti Ikonen que quería hacer una música más rápida y potente que la que actualmente estaban haciendo, entonces Lassila y Ikonen deciden salir de la banda porque ya no se sentían dispuestos a continuar con el legado que Tolkki quería imponer. Con Tuomo Lassila y Antti Ikonen fuera de la banda, Tolkki se emprende en busca de un nuevo teclista y un nuevo batería, que en una charla con Timo Kotipelto y Jari Kainulainen, deciden buscar los nuevos miembros de Stratovarius fuera de Finlandia. En 1996 los nuevos miembros serían Jörg Michael y Jens Johansson que ya eran unos músicos consolidados, por su parte Jörg Michael venía de la famosa banda Rage, en ese momento de igual manera, Jens Johansson era un músico que gozaba de fama internacional y que en aquel entonces residía en Estados Unidos donde fue pretendido por la joven banda Dream Theater quienes querían optar de sus servicios. Con Jörg Michael, un extraordinario baterista, Jens Johansson reconocido como uno de los teclistas más rápidos del mundo, Timo Tolkki un excelente guitarrista y Timo Kotipelto, con una calidad vocal excelente, deciden sacar lo que sería su nuevo álbum Episode. Este disco contó con el apoyo de una orquesta, posee un sonido melódico, dramático y sinfónico, con canciones mucho más potentes y veloces que en sus anteriores álbumes. El álbum obtuvo muy buenas críticas y alcanzó el Top 40 en Finlandia y el Top 10 de Japón. De este álbum destacan "Eternity", "Speed of Light", Father Time, la balada "Forever" y "Will The Sun Rise?". La banda viaja a Japón donde graba su tercer álbum en vivo Episode In The East. En 1997 la banda lanza su sexto álbum de estudio titulado como Visions. Este disco contaría con las famosas canciones The Kiss of Judas y Black Diamond que serían muy referentes en este estilo musical en el futuro. El álbum alcanzó su primer disco de oro. Los 10 minutos de la canción Visions hicieron que fuera la más larga desde sus inicios 1985 hasta aquel 1997. El álbum logró estar en la posición número #4 en Finlandia manteniéndose por 24 semanas en el Top 40 y ser el más vendido en ese año. La banda aprovechó para realizar una extensa gira que abarcó Europa, Japón y Sudamérica por primera vez, brindándonos grandiosos temas como Kiss of Judas, Legions of the Twilight, Forever Free, la épica Visions y su tema más emblemático, Black Diamond. Además de lanzar al mercado su primer álbum compilado titulado The Past And Now. En abril se lanzó un doble disco en vivo titulado "Visions in Brazil" más el DVD titulado "Live In Rio". En 1998 la banda lanza dos álbumes en vivo titulados "Live In Jyrki" y en DVD que fue lanzado a principios del año y Visions of Europe que sería grabado en Italia y Grecia publicados en año casi a fines del 1998. Además, a fines de octubre se lanzó el nuevo álbum titulado Destiny más épico y sinfónico que el anterior en ese mismo año que trajo consigo muy buenas críticas, además de ser el álbum más vendido en ese año en Finlandia alcanzaría la posición número 1 y su canción S.O.S entraría en la posición número 2 en Finlandia, dándole su segundo disco de oro y consigo una gira mundial que los llevaría por primera vez a visitar América del Sur, visitando países como Brasil, Argentina y Chile. También obtuvieron el trofeo "Emma" de la industria fonográfica finladesa por ser una "banda de exportación. Destiny fue su segunda canción más larga con 10 minutos al igual que la canción visions. Esta vez la canción Destiny fue más famosa y dio mucho éxito en las ventas compuesta por un coro grande y metal melódico sinfónico. En 1999 lanzan su segundo álbum compilado titulado The Chosen Ones alcanzando la posición número #7 en Finlandia, un mes después de lanzar el álbum compilado se lanzó el séptimo álbum en vivo "Live In Tavastia Helsinki" más el DVD. Luego llegaron los premios y Kotipelto se llevó el segundo premio al mejor vocalista; Timo Tolkki, al mejor compositor; Jens Johansson, como el Mejor Músico extranjero. Además de lanzar antes a fines del año su octavo álbum en vivo Visions Of Destiny. Ya después de haber sacado a la venta el exitoso álbum Destiny. En el año 2000 saldría a la venta el álbum Infinite que recibiría buenas críticas, no solo musicalmente sino también en cuanto a la portada que fue un buen trabajo realizado por Derek Riggs, el álbum alcanzaría la posición número uno en Finlandia y de sacar su tercer disco de oro. Las canciones destacadas son Hunting High and Low y A Million Light Years Away alcanzando las posiciones #2 en Finlandia, ya es la tercera vez consecutiva que Stratovarius lo consigue. Además de estrenar su tercer compilado 14 Diamonds. La canción "Infinity", es su tercera canción más larga, con 9 minutos, junto con la canción "Freedom". La gira mundial de Stratovarius, incluiría por primera vez países como Hong Kong, México, El Salvador y Colombia, Junto con Sonata Arctica y Rhapsody. Luego de la extensa gira, saldría a la venta el famoso DVD de la banda titulado Infinite Visions que incluiría muchas de las presentaciones de la banda alrededor del mundo. En un concierto cuando empezaban a tocar la canción S.O.S Kotipelto se quemó el brazo con los fuegos artificiales y a pesar de esto, siguió con el concierto. Por otra parte Timo Kotipelto participó con la banda Ayreon con su álbum Universal Migrator Part 2: Flight of the Migrator. En el 2001 la discográfica editará Intermission, un álbum compilado de Lados B, incluyendo varios de los bonus tracks de discos anteriores, con algunas versiones como "I Surrender" de Rainbow y "Blood Stone" de Judas Priest covers y algunos temas en vivo. Además la banda Argentina Rata Blanca más Nightwish junto con Stratovarius realizan una nueva versión de la canción La leyenda del hada y el mago. Tolkki participa en el proyecto de Tobias Sammet titulado Avantasia con el álbum The Metal Opera En el 2002 tras las largas giras y los constantes álbumes hechos, la banda decide tomarse un respiro y trabajar en proyectos como solistas o en proyectos de invitados en algunas bandas de Metal. En ese periodo, Timo Tolkki saca su disco Hymn To Life y coopera con el proyecto musical de Tobias Sammet titulado Avantasia por segunda vez en su álbum The Metal Opera Part II. Por otra parte el teclista Jens Johansson participa en el álbum "Winterheart's Guild" de Sonata Arctica substituyendo a Mikko Harkin Además, Kainulainen participa en proyectos con Warmen en el álbum Beyond Abilities y en la canción "False News Travel Fast" del álbum Silence de Sonata Arctica. Por otro lado Timo Kotipelto hace un proyecto musical titulado Kotipelto y saca su primer álbum titulado Waiting For The Dawn. En el 2003 la banda lanzaría un álbum con dos partes, algo muy parecido a lo que hizo Helloween en sus inicios. La banda mostraría su canción Eagleheart en el año 2002, dos meses antes de lanzar el álbum oficialmente. La canción contenía muchos tintes de power metal, lo que la convirtió en una clásica del género. Pero el álbum contendría un sonido más enfocado al Neoclassical Metal que al power metal, así como canciones de muy larga duración. En enero se lanza el álbum Elements, Pt. 1 Para muchos fanes Stratovarius estaba decayendo, y para otros estaba experimentando nuevos rumbos. Cada vez más la consideraban una banda de culto. El álbum lleva la canción más larga que Infinity, Destiny y Visions. La canción "Elements" con sus 12 minutos de puro metal hecho con un coro grande al igual que Destiny. Después de lanzar Elements, Pt. 1 y tener una gira mundial, en el mes de abril sería lanzado el cuarto DVD "Live At Tuska" que fue un éxito, luego llegaría Elements, Pt. 2 ese mismo año. Consigo traería buenas y malas críticas. Cada vez más, Stratovarius experimentaba con nuevos sonidos más épicos, e incluso progresivos. En este caso, este álbum tenía un estilo épico, y algo en común con el sonido del clásico doom metal, como se ve claramente en la canción Alpha & Omega. Junto con este álbum saldría un nuevo video de la banda, correspondiente a la canción "I Walk To My Own Song", que entraría en la posición número 9 en Finlandia. Asimismo, la canción anterior, Eagleheart, entraría en la posición número 2, como también hizo el álbum. Stratovarius presentó un show en vivo en Barcelona donde presentó su nuevo trabajo un álbum en vivo llamado "Elements In Barcelona" Con estos dos álbumes, la banda conseguiría aún más fama de la que ya tenía. De aquí se deduce que adoptan un sonido un poco más comercial, que ayudó a la banda a alcanzar su objetivo. A fines del 2003 Stratovarius lanza su quinto DVD "Live In Japan". Timo Kotipelto por otra parte participó con Klamydia con su álbum "Seokset". A fines del 2003, la relación entre los miembros de Stratovarius era la peor en casi veinte años de la banda. Los problemas psicológicos y de alcoholismo de Timo Tolkki llegaron a un punto culminé cuando despidió de la banda a Timo Kotipelto (cantante) y Jörg Michael (baterista). En él 2004 la banda demuestra 2 DVD más: "Live In Italy" y el "Live At Roumanmari Festival" más el álbum en vivo de ese DVD, sin lamentar mucho la partida de los músicos, Tolkki se apresuró a anunciar a Anders Johansson (baterista de la banda Hammerfall y hermano de Jens) como el nuevo baterista, y a la ignota Katriina Wiialla –presentada solo como Miss K de entonces 30 años de edad, como la nueva vocalista. Las primeras fotos de la cantante publicadas en el sitio de la banda, en la que se la mostraba con sus manos llenas de sangre, fueron recibidas con mucho escepticismo por parte de los fanes y la prensa, sin mencionar que nadie conocía la voz a Miss K. Luego el 21 de febrero Tolkki, refirió haber tenido un ataque de pánico, tratando de calmarse, sintió que una voz le hablaba y decía "Kabbalah", pensando que era la voz de Cristo que le decía, busca un libro, "Enseñanzas de Kabbalah"... en fin él puso en la página que desde ahora tenía que estudiar el Kabbalah, además, dijo que Cristo le había pedido que se fotografiara él todo ensangrentado. Entre todo eso, salió que posiblemente Michael Kiske podría ser el nuevo vocalista de Stratovarius, pero como escribió en otro tópico, Kiske dijo rotundamente que no. Por su parte, Kotipelto, continuó su trabajo en solitario. Durante la época oscura de Stratovarius ocurrida en 2004, Kotipelto decide concentrarse nuevamente en su carrera de solista, y nace así su segunda placa discográfica, Coldness, disco que a diferencia del primero, no es un álbum conceptual, sino un álbum muy profundo y personal, lo cual es notorio en toda la composición. Los temas, reflejan el estado emocional por el que Kotipelto pasaba en esos momentos. Por su parte Michael tocó en con los legendarios Saxon. Luego de la oportuna intervención de Jens, que logró limar las asperezas entre Timo Tolkki y sus ex compañeros de banda, Stratovarius volvería con un nuevo disco homónimo dos años después, y su exvocalista se convertiría en solo un recuerdo, recibiendo apenas unas tibias palabras de agradecimiento en el CD. Timo Tolkki luego pidió disculpas por su comportamiento. En ese año, con la cantante Katriina Wiialla y Timo Tolkki , se grabó un nuevo álbum, titulado Pop-Killer, pero el álbum no fue publicado. En enero de 2005, se anunció que Stratovarius había reunido la antigua alineación. En junio de 2005, Tolkki anunció que el bajista de la banda, Jari Kainulainen, había dejado la banda debido a motivos personales. Fue sustituido por Lauri Porra, un joven músico finlandés. Stratovarius luego lanzó el auto-titulado álbum Stratovarius (álbum) en septiembre de 2005, el cual genera polémica entre sus seguidores y es duramente criticado por alejarse del estilo power-sinfónico que siempre los ha caracterizado, ya que este álbum no contiene ninguno de los elementos mencionados, más bien es un disco que podría considerarse dentro del hard rock con influencias ochenteras y un nuevo videoclip llamado Maniac Dance fue revelado en agosto. Durante este tiempo, Stratovarius inicia una gira mundial, comenzando en Argentina, que incluyó un tramo de América del Norte, donde recorrió los Estados Unidos y Canadá por primera vez en la historia de la banda. Se desempeñó en eventos como la Atlanta ProgPower, y así en lugares conocidos como BB King's House of Blues en Nueva York y Filadelfia Teatro del Trocadero. La gira también incluyó Europa y ciudades japonesas. Además. la banda lanza el décimo álbum en vivo "Live In Montreal" . Timo Kotipelto fue nuevamente elegido para grabar un álbum más con Warmen con su trabajo Accept the Fact. En septiembre de 2006 se lanza al mercado el nuevo compilado titulado Black Diamond: The Anthology. el que contiene las 30 canciones más famosas del grupo a lo largo de su historia. Además Kotipelto participó con los chicos de Leningrad Cowboys cantando versiones en vivo como "Let´s Have A Party" y "I will stay" En 2007, en el último recital que tuvo Timo Tolkki con la banda en España, Timo le preguntó a Kotipelto que si él pudiese cantar la canción de Elvis Presley "Can´t Help Falling in Love", solo muy poca gente se dio cuenta de que le pertenecía a Elvis, en aquel recital Tolkki lloró frente a sus fanes ya que era el último show con Stratovarius, al terminar el show se despidió de sus fanes y le deseó lo mejor a Stratovarius. Por otra parte Kotipelto lanza en abril el nuevo álbum en solitario Serenity (Kotipelto album) con la colaboración de Lauri Porra. En febrero del 2008 Timo Tolkki reveló la nueva banda llamada Revolution Renaissance y en marzo reveló el nuevo álbum en solista de Tolkki titulado Saana – Warrior of Light Pt 1. Después de un largo período de silencio, el 4 de marzo de 2008, Timo Tolkki declaró oficialmente la disolución de Stratovarius en su sitio web. Las confrontaciones, peleas, incompetencia, relaciones tensas, reacciones negativas, amargura, hostilidades, desinterés y la mala maestría musical han sido la causa a esta realidad interna alrededor de estos simples hechos dolorosos. Las tensiones internas dentro de la banda se citaron como la causa, diciendo que Lauri Porra y Jens Johansson eran su único apoyo, Jörg Michael se centró más en su período de sesiones de trabajo, y Kotipelto fue el mejor para tener una banda por sí mismo. La banda tenía previsto lanzar un nuevo álbum de estudio cuyo nombre lo habrían dejado en código, "R..... R.....", en el 2008. En lugar de ello, Tolkki creó un nuevo grupo llamado "Revolution Renaissance", cuyo nombre es el nombre del que sería el siguiente disco de Stratovarius y que las canciones del primer álbum serían precisamente las canciones que estarían en "R..... R......". Saldría entonces el disco de la "nueva" agrupación de Tolkki donde aparecen conocidos cantantes como Michael Kiske y Tobias Sammet entre otros. Sin embargo los miembros restantes de Stratovarius liberarían por la red el demo de "Revolution Renaissance" el disco con exactamente las mismas canciones pero interpretadas por la alineación original. Los miembros restantes de Stratovarius publicaron una declaración en línea para dar su versión de la historia. Llegaron a la conclusión de decir que las razones de Timo Tolkki fueron financieras. Además aseguraron que seguirían juntos ya que se lo deben a sí mismos y a sus fanes. Al poco tiempo, Tolkki da una declaración final en la cual da a conocer la renuncia a los derechos del nombre de Stratovarius, así como a todas las ganancias de su fondo de catálogo, cediéndolos a Timo Kotipelto, Jens Johansson y Jörg Michael. En abril de 2008 Timo Tolkki abandonó Stratovarius y dejó atrás los problemas y las deudas, dando su bendición a los otros miembros para continuar con la banda y el caso legal. Los demás miembros se encontraron en un limbo legal y una gran deuda, pero aun así continuaron trabajando. Un cambio se dio cuando finalmente se llegó a un acuerdo con Sanctuary a finales del 2008. En una entrevista, Timo Kotipelto, Jens Johansson y Lauri Porra, han anunciado que entre finales del 2008 y principios del 2009 comenzarán a componer un nuevo disco. Luego, a finales del 2008 Stratovarius anunció quién sería el que remplazará a Tolkki, un joven guitarrista finlandés, Matias Kupiainen, quien aparece en un vídeo subido a YouTube por los mismos integrantes llamado "Work in Progresser" donde se aprecian las sesiones de ensayo del nuevo disco, también incluye una parte de lo que sería una canción de su futuro álbum. En una entrevista Timo Tolkki confirma que les cedió todos los derechos de Stratovarius lo que indica que continuarán con el mismo nombre. En 2009 Timo Kotipelto revela en enero la nueva banda formada por él y los ex de Sonata Arctica titulado Cain's Offering con su nuevo trabajo Gather The Faithful que dio la luz el 22 de julio de 2009. Además la banda Stratovarius estrena su nuevo álbum titulado Polaris un álbum melódico, poderoso, fresco, bien armado y técnicamente elaborado, que salió a la venta a finales de mayo del 2009 y fue seguido de conciertos en una serie de festivales en Europa entre junio y julio, y de una gira mundial entre septiembre y octubre que se inició en Polonia e incluyó países de Asia, Norteamérica y Sudamérica, siendo su última presentación en Lima, Perú, el 24 de octubre de 2009. Alcanzó a estar en las posiciones # 2 en Finlandia es el primer álbum que participa el nuevo guitarrista Matias Kupiainen. Las canciones destacadas son 2 singles Deep Unknown y Higher We Go. En la segunda mitad del 2009, Stratovarius empieza su Tour Polaris 2009 recorriendo varios países de Europa y luego pasando por EE. UU., México, Chile, Argentina, Ecuador, concluyendo la gira en Perú. Además se lanzaría el nuevo DVD llamado "Live In Chile" en el mismo año. En 2010 se sacó a la venta una reedición del álbum Polaris Live con diverso material en directo grabado durante el Polaris Tour, titulado Polaris live (Special Edition) sería su undécimo álbum y el último por ahora. En septiembre del 2010, se anunció el comienzo de la grabación del segundo álbum de Stratovarius con Matias Kupiainen en la guitarra eléctrica. Antes de lanzar el álbum oficialmente se editará el Darkest Hours EP, con dos de los nuevos temas de su nuevo álbum: Darkest Hours e Infernal Maze, la demo de Darkest Hours y dos grabaciones en directo correspondientes a Against The Wind y Black Diamond. Saldrá a la venta el 26 de noviembre. Además, para promocionar el nuevo álbum, Stratovarius irá de gira como invitado de Helloween en su gira Seven Sinners Tour. Recientemente se ha conocido que el baterista de Stratovarius Jörg Michael sufre cáncer, del cual ha sido operado. Este hecho ha implicado que no pueda participar en la gira del grupo, siendo temporalmente sustituido por Alex Landenburg. En 2011 la banda libera su nuevo álbum titulado Elysium, que en tan solo en una semana el álbum alcanzó a estar en el puesto número #1 en Finlandia y otorgar nuevo disco de oro. Las canciones destacadas son Infernal Maze, Under Flaming Skies, Darkest Hours; Sin embargo, si hay un tema que brilla con luces propias y que merece un análisis aparte, es “Elysium”, corte homónimo y que se transforma en la canción más larga de la historia de la banda, con 18 minutos de duración. Como un tren, es un tema que tiene varios vagones en su extensión. Un inicio suave, un medio tiempo elegante que nos relata actitud positiva frente a lo venidero. El “I´m not afraid anymore” probablemente sea la línea más emblemática, y la que pega con más fuerza en esta parte. El corte va tomando fuerza conforme va avanzando, con arreglos de guitarras muy buenos, y un Johannson en un segundo plano que le viene muy bien, salvo cuando interviene en la parte de los solos, en donde hace muy buena dupla con Kupianen. Por otra parte el baterista Jörg Michael se recupera del cáncer y regresa con la banda a terminar la gira con Helloween. Este año Stratovarius revela su nuevo y esperado videoclip de su glorioso álbum "Elysium" Under Flaming Skies el primer corte de su gran obra, fue grabado en vivo en los estudios Edel Music El 20 de junio de 2012 se anuncia nuevo baterista para la banda de nombre Rolf Pilve .Escucha este episodio completo y accede a todo el contenido exclusivo de Biblioteca Del Metal - (Recopilation). Descubre antes que nadie los nuevos episodios, y participa en la comunidad exclusiva de oyentes en https://go.ivoox.com/sq/308558

In this episode, I talk about the two new Twilight Time Blu-rays (their first new discs with Screen Archives) and the Vinegar Syndrome January Package. Subscribe to the Just the Discs YouTube channel here: https://www.youtube.com/channel/UCffVK8TcUyjCpr0F9SpV53g Follow the Show on Twitter here for Episode previews and new Blu-ray News! twitter.com/justthediscspod We're also on Instagram! instagram.com/justthediscspod/  

Rocking Juliette to sleep and contemplating the irony that some of life’s most important lessons only become clear in the twilight.

Sunrises and sunsets have been a constant source of inspiration for songwriters See omnystudio.com/listener for privacy information.

Sunrises and sunsets have been a constant source of inspiration for songwriters     See omnystudio.com/listener for privacy information.

Plenty to announce this week, including Criterion's February slate, Kino picking up some old Twilight Time classics and Arrow giving a 4K finger to another studio! Lots of fun, lots of gearing up for the big holiday season. This will be the last regular 4K BLUsday installment for 2 weeks, as I have something special […]

"...it's Twilight Time."

Stephanie Crawford and Brian run down 4 discs a piece that sit atop of their "To Watch" Piles -- releases from labels like Criterion, Indicator, Scream Factory, Kino Lorber, Twilight Time, Warner Archive & others come up throughout the chat. Follow Stephanie Crawford on Twitter @Scrawfish. Follow the Show on Twitter here for Episode previews and new Blu-ray News! twitter.com/justthediscspod We're also on Instagram! instagram.com/justthediscspod/

Episode eighty-nine of A History of Rock Music in Five Hundred Songs looks at “Will You Love Me Tomorrow?” by the Shirelles, and at the beginnings of the Brill Building sound. Click the full post to read liner notes, links to more information, and a transcript of the episode.   Patreon backers also have a ten-minute bonus episode available, on “Tom Dooley” by the Kingston Trio. 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/ —-more—- Resources As always, I’ve created a Mixcloud streaming playlist with full versions of all the songs in the episode. There are no biographies of the Shirelles in print, so I’ve used a variety of sources, including the articles on the Shirelles and Luther Dixon at This Is My Story. The following books were also of some use: A Natural Woman is Carole King’s autobiography. Always Magic in the Air: The Bomp and Brilliance of the Brill Building Era by Ken Emerson is a good overview of the whole scene. Girl Groups by John Clemente contains potted biographies of many groups of the era. And Here Comes The Night: The Dark Soul of Bert Berns and the Dirty Business of Rhythm and Blues by Joel Selvin goes into some detail about Scepter Records. I also referred to the liner notes of this CD, which contains most of the Shirelles tracks worth owning.   Patreon This podcast is brought to you by the generosity of my backers on Patreon. Why not join them?   Transcript   We’re currently in a patch of rock and roll history that is ludicrously undocumented. There is book after book about the major stars of the early rock and roll era — while you won’t find much out there on a lot of truly important artists, you can find out enough about Elvis and Ray Charles and Johnny Cash and Little Richard and Chuck Berry and the rest — these are all romantic figures of legend, the Titans who were defeated in the Titanomachy that was the mid-sixties Beat boom. And of course, there are many many, books on almost every band of the mid to late sixties to even have a minor hit. But the period from 1958 through 1964 is generally summed up by “and there were some whitebread nonentities like Fabian and Frankie Avalon”. Occasionally, in some of the books, there is a slightly more subtle approach taken, and the summary is “there were some whitebread nonentities like Fabian and Frankie Avalon, and also Roy Orbison and one or two others made a decent record”. But there were many other people making great records — people who made hits that are still staples of oldies radio in a way that a lot of records from a few years later aren’t; records that still sound like they’re fresh new records made by people who have ideas. Today we’re going to talk about a few of those people, and about one of those great records. We’re going to look at the Brill Building, and some of the songwriters who worked there, and at the great record producer Luther Dixon, and at the Shirelles, and their record “Will You Love Me Tomorrow?”: [Excerpt: The Shirelles, “Will You Love Me Tomorrow?”] It’s been a little while since we looked at any of the early girl groups, but if you remember the episodes on the Bobettes and the Chantels, girl groups in the early years were largely a phenomenon based in New York, and that’s more or less the case with the Shirelles, who didn’t come from New York itself, but from Passaic New Jersey, about sixteen miles away. Shirley Owens, Doris Coley, Addie Harris and Beverly Lee met at school, and formed a group called the Poquellos, which is apparently Spanish for “little birds”. As we’ve discussed previously, most of the early doo-wop groups were named after birds, and these girls were forming their group before girl groups became regarded as something separate from male vocal groups. Oddly, the group that became the most successful of the early girl groups, and the one that more than any other set the template for all those that would follow, never wanted to become professional singers, and almost had to be forced against their will at every stage. Their first public performance, in fact, was as a punishment. They had been singing with each other in gym class, and not paying attention to the teacher, and so the teacher told them that, as a punishment, they would have to perform in the school talent contest, which they didn’t want to do. They performed at the show, singing a song they’d made up themselves, “I Met Him on a Sunday”, and went down a storm with the kids at the school. In particular, one of the girls there, Mary Jane Greenberg, insisted that the girls come and meet her mother, Florence. Florence Greenberg was a bored suburban housewife, who until her mid-forties had concentrated on being a homemaker for her husband, who was an executive at a potato chip firm, and for her two children. In her spare time she mostly did things like run fundraisers for the local Republican party. But her son was interested in getting into the music business in some way, and her husband was friends with Freddy Bienstock, who worked for Hill and Range at the Brill Building, and whose job was choosing the songs that Elvis Presley would record. Bienstock invited Greenberg to come and visit him at Hill and Range’s offices, and after spending a little time around the Brill Building, Greenberg became convinced that she should start her own record label, despite having no experience in the field whatsoever. She would often just go and hang around at a restaurant near the Brill Building to soak in the atmosphere. The Poquellos were actually not at all interested in making a record, but Mary Jane kept insisting that they should meet with her mother anyway. It got to the point that the girls used to try to avoid her at school and hide from her, but she was insistent and eventually they relented, and went to see Mrs Greenberg. They auditioned for her in her front room, singing the same song they’d performed at the school talent contest. Mrs Greenberg decided that they were going to be the first group signed to her new label, Tiara Records, and they recorded the song they’d written, with Greenberg’s musical son Stan producing and arranging, under the name Stan Green: [Excerpt: The Shirelles, “I Met Him On A Sunday (Ronde Ronde)”] Stan wasn’t the only person with a new name. The Poquellos were also renamed, to the Shirelles — after Shirley Owens, but with the “el” ending to be reminiscent of the Chantels, and that was the name they would be known by from that point on. “I Met Him On A Sunday” was a minor local success, and was picked up by Decca Records, who bought the girls’ contract out from Greenberg. They managed to get it to number fifty on the charts, but the two singles they recorded for Decca after that didn’t have any success, and the label dropped them. That might have been the end of the Shirelles, but Greenberg had remained their manager, and she had started up a new record label, Scepter Records, and signed them up to that instead of Tiara. Their first few singles for Scepter did nothing, but then a change in Scepter’s staffing changed everything, not just for the Shirelles, but for the world of music. Greenberg was not a particularly musical person — and indeed several of the people who worked for her would later mock some decisions she’d made when she’d used her own judgment about songs. But she surrounded herself with people who were musical. The director of A&R for Scepter was Wally Roker, who had originally been the bass singer in the Heartbeats, who’d had a top five hit with “A Thousand Miles Away” in 1956: [Excerpt: The Heartbeats, “A Thousand Miles Away”] Roker in turn introduced Greenberg to a friend of his, Luther Dixon. Greenberg and Dixon’s initial meeting was just the length of one elevator ride, but that was long enough for them to exchange numbers and arrange to meet again. Soon Dixon was working for Greenberg at Scepter, and was also her lover. Dixon had started out as a singer, joining a minor group called The Buddies, who had recorded singles like “I Stole Your Heart”: [Excerpt: The Buddies, “I Stole Your Heart”] But he had soon moved into songwriting. Dixon was a collaborator by nature, and his first big hit was written with a writing partner called Larry Harrison. “Why Baby Why” went to number five for Pat Boone in 1957: [Excerpt: Pat Boone, “Why Baby Why”] He spent some time writing with Otis Blackwell, with whom he wrote “All the Way Home” for Bobby Darin: [Excerpt: Bobby Darin, “All the Way Home”] And at the time he met Greenberg, he had just written “Sixteen Candles” with Allyson Khent, a number two hit for the Crests: [Excerpt: The Crests, “Sixteen Candles”] Greenberg took him on as a staff writer and producer, and gave him a cut of the publishing rights for his songs — almost unheard of at that time. The first record he worked on for the Shirelles was also the group’s first top forty hit. With Shirley Owens, Dixon wrote “Tonight’s the Night”. It was intended as a B-side to a song with a lead by Doris, but “Tonight’s the Night” was an unexpected success and established Shirley firmly in the role of the group’s lead singer: [Excerpt: The Shirelles, “Tonight’s the Night”] That went to number thirty-nine, and a competing version by the Chiffons also made the Hot One Hundred: [Excerpt: The Chiffons, “Tonight’s the Night”] The Shirelles were a hit group, and they needed a follow-up. And that’s where Goffin and King enter our story… Carole King had, from a very early age, been a child prodigy with a particular talent for music. In her autobiography she talks about how when she was a child, her dad would have her, as a party trick, turn to the wall while he played notes on the piano and she called out which one he was playing. Apparently her father would claim she had perfect pitch, and this was not quite true — she had relative pitch, which meant that once she heard one note she knew, she could tell all the rest of the notes from that, so her father would always start with middle C. But that sense of relative pitch is in itself an amazing talent for a tiny child — I still can’t do that with any great accuracy in my forties, and I’ve spent most of my life studying and playing music. By the age of eight she had appeared in a couple of shows, including Ted Mack’s Amateur Hour, which was a nationally broadcast show, performing in a duo with a friend, but she didn’t know exactly what it was she wanted to do until she was thirteen, when she went on a date with Joel Zwick, who would later become known as the director of My Big Fat Greek Wedding among others — one thing that seems to happen a lot in King’s early life is getting to know people who would go on to become very successful. Zwick took her to an Alan Freed show at the Paramount in Brooklyn, where she saw LaVern Baker, BB King, Mickey Baker, the Moonglows, and several other R&B stars of the period. It wasn’t, though, seeing the musicians themselves that made Carol Klein, as she then was, want to go into rock and roll music, though that was certainly an inspiration, and she talks a lot about how that Freed show was her introduction to a whole world of music that was far from the whitebread pop on which she had grown up. Rather, it was almost a chance event. She and her date hung around the stage door to see if they could see any of the performers and get autographs. The group they were in accidentally got drawn in through the stage door when some people who were meant to be there were let in, and she got to see the performers hanging around backstage. She knew then, not that she wanted to be a performer herself, but that she wanted to be part of that world, someone that those performers knew and respected. She started attending a stage school, where one of her classmates was Al Pacino, but after a short while she left, deciding that she wasn’t cut out for the non-musical aspects of the school, and went back to a normal high school, where she formed her first group, the Cosines. along with Zwick. She started writing songs when she heard a group from a rival local high school, Neil Sedaka and the Linc-Tones, singing a song called “While I Dream”: [Excerpt: The Tokens “While I Dream”] Sedaka had briefly dated her, and had co-written that song himself, with Howard Greenfield, and his group got a record deal under the name The Tokens. King figured that if he could do that, so could she. She started writing songs, and found she was good at melodies but not particularly great at lyrics. But she still thought she was good enough to do something. She decided that she was going to go and see Alan Freed, and play him some of her songs. Freed listened to her politely, and explained to her how, at the time, one went about becoming a professional songwriter for the R&B market. He told her to get the addresses of record labels from the phone book, go and try to play her songs to them, and explained how a publishing contract would work. The record label he mentioned to her specifically was Atlantic Records, so she tried that one first. Jerry Wexler and Ahmet Ertegun listened to her, and told her she had talent and to come back when she had more songs. It wasn’t a rejection, but it wasn’t the instant acceptance she’d hoped for. The second label she went to was ABC-Paramount, where she saw Don Costa. Costa was head of A&R at the label, but also a musician himself. Around this time he had released a cover version of Bill Justis’ “Raunchy”, under the name Muvva Guitar Hubbard: [Excerpt: Muvva “Guitar” Hubbard, “Raunchy”] Costa would later go on to arrange and conduct for Frank Sinatra, and he also had a respectable career as a session guitarist, but Carol didn’t know any of this when she went into his office and played through her songs for him. She was flabbergasted to find that, rather than just sign her to a publishing contract, he asked her to sign a recording contract as well. She was disappointed that he wasn’t interested in signing the rest of her group — he thought she was good enough by herself, without needing to hear the other three — but not so disappointed that she didn’t sign with him straight away. Her first few singles were solo compositions, and didn’t do very much in terms of sales, partly because she still didn’t consider herself especially good as a lyricist: [Excerpt: Carole King, “The Right Girl”] So while she was trying to have a music career, she also went off to college, aged sixteen — she had skipped multiple years in school — where she met someone else who had had a minor hit. The boy who performed under the name Jerry Landis had released “Hey! Schoolgirl”, an Everly Brothers knockoff, with a friend, as Tom and Jerry: [Excerpt: Tom and Jerry, “Hey! Schoolgirl”] Landis and King started working together, recording demos for other writers, though never writing together. For some of those demos, they re-used the Cosines name, like on this one for a song by Marty Kalfin: [Excerpt: The Cosines, “Just to Be With You”] They were quite proud when the arrangement they came up with for that demo was copied exactly for the finished record, which made the lower regions of the Hot One Hundred: [Excerpt: The Passions, “Just to Be With You”] They didn’t work together for very long, and Jerry Landis went on to record under other names like “True Taylor” and “Paul Kane”, before getting back together with Tom, and deciding to work together under their real names. We’ll be hearing more of Paul Simon and his partner Art Garfunkel in future episodes. Someone else she met while at college was the man who was to become her first husband, another Gerry — Gerry Goffin. Goffin impressed her with his looks the first time she saw him — he looked exactly like a drawing she had clipped out of a magazine, which looked to her like the perfect boyfriend. Goffin impressed her less, though, with his studied dislike of rock and roll music, but was suddenly keen to write a song with her when she mentioned that she’d been selling songs. He’d been trying to write a musical, but he was primarily a lyricist, and couldn’t do much with music. King mentioned that she knew that Atlantic were looking for a new song for Mickey and Sylvia, and the two of them worked on a song based on the style of “Love is Strange”, which they completed very quickly, and took to Atlantic. Unfortunately, when they got there, they were told that Mickey and Sylvia had split up, but that their song would be suitable for the new duo they’d put together to continue the act — Mickey and Kitty: [Excerpt: Mickey and Kitty, “The Kid Brother”] That was released as a B-side. The A-side, “Ooh Sha La La” was written by Neil Sedaka and Howie Greenfield: [Excerpt: MIckey and Kitty, “Ooh Sha La La”] Sedaka and Greenfield had become hot songwriters, and around this time Sedaka was also becoming a successful performer. His first hit as a performer, “Oh Carol”, was in fact written about Carole King: [Excerpt: Neil Sedaka, “Oh Carol”] And King herself recorded an answer record to that, with new lyrics by Goffin: [Excerpt: Carole King, “Oh Neil”] By the time she was seventeen, King was married to Goffin, and pregnant with his child. Goffin was working a day job, and they were treating the occasional twenty-five dollar advance they got from writing songs as windfalls. But then, when she was on one of her visits to 1650 Broadway to sell songs, King bumped into Sedaka, who told her she should come and meet Al Nevins and Don Kirshner, the owners of Aldon Music. Aldon is the publisher who, more than any single other company, was responsible for what became known as the Brill Building sound. Even though they weren’t based in the actual Brill Building, which was at 1619 Broadway, but in 1650 Broadway, the companies in that second building were so associated with the Brill Building sound that you’ll find almost every history of music misattributes them and places them there, and in most interviews, when you see people talking about the Brill Building, even people who worked in one or other building, they’re as likely to be talking about 1650 as 1619. Kirshner is someone we’ve met briefly before. He’d started out as a songwriter, working with his friend Bobby Darin on songs like “I Want Elvis For Christmas”, which had been recorded by the Holly Twins with Eddie Cochran impersonating Elvis: [Excerpt: The Holly Twins and Eddie Cochran, “I Want Elvis For Christmas”] However, as Darin had moved into performance, Kirshner had gone into music publishing. He’d scored early success when working for Vanderbilt Music by bringing Al Lewis out of retirement. Lewis had been a hit songwriter in the thirties and forties, but hadn’t done much for a while. But then Fats Domino had had a hit with “Blueberry Hill”, a song Lewis had cowritten decades earlier, and Kirshner decided to pair Lewis with a black musician, Sylvester Bradford, and the two started writing hits together, notably “Tears on My Pillow” for Little Anthony and the Imperials: [Excerpt: Little Anthony and the Imperials, “Tears on My Pillow”] Kirshner had then formed his own publishing company. He’d first approached Pomus and Shuman, and then Leiber and Stoller, to go into business with him, but he ended up with Al Nevins, who had been a musician and had also co-written “Twilight Time” with Buck Ram, which had been a hit in the forties and then later revived by the Platters: [Excerpt: The Platters, “Twilight Time”] Kirshner and Nevins were looking for talented new songwriters, and they had signed up Sedaka and Greenfield, and also signed Paul Simon around this time, as well as another couple, Barry Mann and Cynthia Weill. When Carole King played them a few of the songs she’d co-written with Goffin, they signed Goffin and King to a three-year contract, with advances of one thousand dollars for the first year, two thousand for the second, and three thousand for the third, to be offset against their royalties. This was a fortune for the young couple, and so they went from soul-crushing day jobs to… a day job, working in a cubicle. Aldon had a very regimented system. Every writing team had a tiny cubicle, containing a piano and a couple of chairs, in which they would work during normal office hours. Kirshner’s system was simple — any time any new act had a hit, he would get all the songwriters in his office to try to write a follow-up to the hit, in the same style. Of the efforts to find a follow-up to “Tonight’s the Night”, Kirshner decided on one that Goffin and King had written. “Will You Love Me Tomorrow?” had lyrics that had rather more depth than most of the songs that were charting at the time. Goffin’s initial dislike of rock and roll music had been because of what he perceived as its lyrical vacuity, and in “Will You Love Me Tomorrow?” he found a lyrical formula that would define girl groups from that point on — a look at a kind of female adolescent emotion that had previously not been discussed in pop music. In this case the lyrics were from the point of view of a woman worrying that she’s just a one-night stand, not someone the man cares about, and struck a chord with millions. But King’s music is at least as impressive. She modelled the song on “There Goes My Baby”, and when Luther Dixon accepted the song for the Shirelles, she decided she would write a string arrangement for it like the one the Drifters had used. She’d never written for an orchestra before, so she got a book on arrangement out of the library, and looked through it quickly before writing the string arrangement overnight. The group didn’t like the song, thinking it sounded like a country song, but Luther Dixon insisted, and the result went to number one: [Excerpt: The Shirelles, “Will You Love Me Tomorrow?”] The B-side to that single, a Luther Dixon song called “Boys”, would also become a well-known track itself: [Excerpt: The Shirelles, “Boys”] Two more top ten hits followed, and then the group’s singles started doing less well again. To reverse the downward trend, Dixon brought in a song by another new writer, Burt Bacharach. Bacharach had written a song with Mack David — the brother of his usual lyricist Hal David — called “I’ll Cherish You”. Dixon liked the song, but thought the lyrics were a bit too sickly. He changed the lyrics around, making them instead about someone who still loves her boyfriend despite her friends telling her how bad he is, and retitling it “Baby It’s You”. For the record itself, he just used Bacharach’s original demo and stuck Shirley’s voice on top — Shirley was the only member of the group to sing on the record, though it was still released as by the Shirelles. You can still hear Bacharach singing on the “sha la la”s: [Excerpt: The Shirelles, “Baby It’s You”] That returned them to the top ten, and the follow-up, “Soldier Boy”, written by Dixon and Greenberg, became their second number one. Unfortunately, it would be their last. Dixon and Greenberg ended their relationship, and Dixon went on to a new job at Capitol Records. Various other people produced recordings for the Shirelles at Scepter, but none had the same success with them that Dixon did. It didn’t help that the girls were starting families, and at various times one or other member had to be replaced on the road while they were on maternity leave. The singer who replaced them for those shows was a session singer who Bacharach was producing for Scepter, named Dionne Warwick. To make matters worse, the Shirelles discovered that Greenberg had been lying to them. They’d been told that their royalties were being put into a trust for them, for when they turned twenty-one, but they discovered that no such trust existed, and Greenberg had just been keeping their money. They entered into lawsuits against Scepter, but remained signed to the label, and so couldn’t record for anyone else. Their career was destroyed. They remained together in one lineup or another, with members coming and going, until the early eighties, when they all went their separate ways, though they all started their own lineups of Shirelles. These days Shirley tours under her married name as Shirley Alston Reeves and Her Shirelles, while Beverly Lee owns the rights to tour as The Shirelles with no modifiers. Addie Harris died in 1982, and Doris Coley in 2000. The Shirelles were badly treated by their record company, and by history. They made some of the most important records of the sixties, and it was their success that led to the great boom in girl groups of the next few years — the Supremes, the Marvelettes, the Crystals, the Ronettes, and the rest, all were following in the Shirelles’ footsteps. Because they had their greatest success in that period between 1958 and 1964 which most rock historians treat as having nothing of interest in, they’re almost ignored despite their huge influence on the musicians who followed them. But without them, the sound of sixties pop would have been vastly different, and to this day their greatest records sound as fresh and inspiring as the day they were recorded.

Episode eighty-nine of A History of Rock Music in Five Hundred Songs looks at "Will You Love Me Tomorrow?" by the Shirelles, and at the beginnings of the Brill Building sound. Click the full post to read liner notes, links to more information, and a transcript of the episode.   Patreon backers also have a ten-minute bonus episode available, on "Tom Dooley" by the Kingston Trio. 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/ ----more---- Resources As always, I've created a Mixcloud streaming playlist with full versions of all the songs in the episode. There are no biographies of the Shirelles in print, so I've used a variety of sources, including the articles on the Shirelles and Luther Dixon at This Is My Story. The following books were also of some use: A Natural Woman is Carole King's autobiography. Always Magic in the Air: The Bomp and Brilliance of the Brill Building Era by Ken Emerson is a good overview of the whole scene. Girl Groups by John Clemente contains potted biographies of many groups of the era. And Here Comes The Night: The Dark Soul of Bert Berns and the Dirty Business of Rhythm and Blues by Joel Selvin goes into some detail about Scepter Records. I also referred to the liner notes of this CD, which contains most of the Shirelles tracks worth owning.   Patreon This podcast is brought to you by the generosity of my backers on Patreon. Why not join them?   Transcript   We're currently in a patch of rock and roll history that is ludicrously undocumented. There is book after book about the major stars of the early rock and roll era -- while you won't find much out there on a lot of truly important artists, you can find out enough about Elvis and Ray Charles and Johnny Cash and Little Richard and Chuck Berry and the rest -- these are all romantic figures of legend, the Titans who were defeated in the Titanomachy that was the mid-sixties Beat boom. And of course, there are many many, books on almost every band of the mid to late sixties to even have a minor hit. But the period from 1958 through 1964 is generally summed up by "and there were some whitebread nonentities like Fabian and Frankie Avalon". Occasionally, in some of the books, there is a slightly more subtle approach taken, and the summary is "there were some whitebread nonentities like Fabian and Frankie Avalon, and also Roy Orbison and one or two others made a decent record". But there were many other people making great records -- people who made hits that are still staples of oldies radio in a way that a lot of records from a few years later aren't; records that still sound like they're fresh new records made by people who have ideas. Today we're going to talk about a few of those people, and about one of those great records. We're going to look at the Brill Building, and some of the songwriters who worked there, and at the great record producer Luther Dixon, and at the Shirelles, and their record "Will You Love Me Tomorrow?": [Excerpt: The Shirelles, "Will You Love Me Tomorrow?"] It's been a little while since we looked at any of the early girl groups, but if you remember the episodes on the Bobettes and the Chantels, girl groups in the early years were largely a phenomenon based in New York, and that's more or less the case with the Shirelles, who didn't come from New York itself, but from Passaic New Jersey, about sixteen miles away. Shirley Owens, Doris Coley, Addie Harris and Beverly Lee met at school, and formed a group called the Poquellos, which is apparently Spanish for "little birds". As we've discussed previously, most of the early doo-wop groups were named after birds, and these girls were forming their group before girl groups became regarded as something separate from male vocal groups. Oddly, the group that became the most successful of the early girl groups, and the one that more than any other set the template for all those that would follow, never wanted to become professional singers, and almost had to be forced against their will at every stage. Their first public performance, in fact, was as a punishment. They had been singing with each other in gym class, and not paying attention to the teacher, and so the teacher told them that, as a punishment, they would have to perform in the school talent contest, which they didn't want to do. They performed at the show, singing a song they'd made up themselves, "I Met Him on a Sunday", and went down a storm with the kids at the school. In particular, one of the girls there, Mary Jane Greenberg, insisted that the girls come and meet her mother, Florence. Florence Greenberg was a bored suburban housewife, who until her mid-forties had concentrated on being a homemaker for her husband, who was an executive at a potato chip firm, and for her two children. In her spare time she mostly did things like run fundraisers for the local Republican party. But her son was interested in getting into the music business in some way, and her husband was friends with Freddy Bienstock, who worked for Hill and Range at the Brill Building, and whose job was choosing the songs that Elvis Presley would record. Bienstock invited Greenberg to come and visit him at Hill and Range's offices, and after spending a little time around the Brill Building, Greenberg became convinced that she should start her own record label, despite having no experience in the field whatsoever. She would often just go and hang around at a restaurant near the Brill Building to soak in the atmosphere. The Poquellos were actually not at all interested in making a record, but Mary Jane kept insisting that they should meet with her mother anyway. It got to the point that the girls used to try to avoid her at school and hide from her, but she was insistent and eventually they relented, and went to see Mrs Greenberg. They auditioned for her in her front room, singing the same song they'd performed at the school talent contest. Mrs Greenberg decided that they were going to be the first group signed to her new label, Tiara Records, and they recorded the song they'd written, with Greenberg's musical son Stan producing and arranging, under the name Stan Green: [Excerpt: The Shirelles, "I Met Him On A Sunday (Ronde Ronde)"] Stan wasn't the only person with a new name. The Poquellos were also renamed, to the Shirelles -- after Shirley Owens, but with the "el" ending to be reminiscent of the Chantels, and that was the name they would be known by from that point on. "I Met Him On A Sunday" was a minor local success, and was picked up by Decca Records, who bought the girls' contract out from Greenberg. They managed to get it to number fifty on the charts, but the two singles they recorded for Decca after that didn't have any success, and the label dropped them. That might have been the end of the Shirelles, but Greenberg had remained their manager, and she had started up a new record label, Scepter Records, and signed them up to that instead of Tiara. Their first few singles for Scepter did nothing, but then a change in Scepter's staffing changed everything, not just for the Shirelles, but for the world of music. Greenberg was not a particularly musical person -- and indeed several of the people who worked for her would later mock some decisions she'd made when she'd used her own judgment about songs. But she surrounded herself with people who were musical. The director of A&R for Scepter was Wally Roker, who had originally been the bass singer in the Heartbeats, who'd had a top five hit with "A Thousand Miles Away" in 1956: [Excerpt: The Heartbeats, "A Thousand Miles Away"] Roker in turn introduced Greenberg to a friend of his, Luther Dixon. Greenberg and Dixon's initial meeting was just the length of one elevator ride, but that was long enough for them to exchange numbers and arrange to meet again. Soon Dixon was working for Greenberg at Scepter, and was also her lover. Dixon had started out as a singer, joining a minor group called The Buddies, who had recorded singles like "I Stole Your Heart": [Excerpt: The Buddies, "I Stole Your Heart"] But he had soon moved into songwriting. Dixon was a collaborator by nature, and his first big hit was written with a writing partner called Larry Harrison. "Why Baby Why" went to number five for Pat Boone in 1957: [Excerpt: Pat Boone, "Why Baby Why"] He spent some time writing with Otis Blackwell, with whom he wrote "All the Way Home" for Bobby Darin: [Excerpt: Bobby Darin, "All the Way Home"] And at the time he met Greenberg, he had just written "Sixteen Candles" with Allyson Khent, a number two hit for the Crests: [Excerpt: The Crests, "Sixteen Candles"] Greenberg took him on as a staff writer and producer, and gave him a cut of the publishing rights for his songs -- almost unheard of at that time. The first record he worked on for the Shirelles was also the group's first top forty hit. With Shirley Owens, Dixon wrote "Tonight's the Night". It was intended as a B-side to a song with a lead by Doris, but "Tonight's the Night" was an unexpected success and established Shirley firmly in the role of the group's lead singer: [Excerpt: The Shirelles, "Tonight's the Night"] That went to number thirty-nine, and a competing version by the Chiffons also made the Hot One Hundred: [Excerpt: The Chiffons, "Tonight's the Night"] The Shirelles were a hit group, and they needed a follow-up. And that's where Goffin and King enter our story... Carole King had, from a very early age, been a child prodigy with a particular talent for music. In her autobiography she talks about how when she was a child, her dad would have her, as a party trick, turn to the wall while he played notes on the piano and she called out which one he was playing. Apparently her father would claim she had perfect pitch, and this was not quite true -- she had relative pitch, which meant that once she heard one note she knew, she could tell all the rest of the notes from that, so her father would always start with middle C. But that sense of relative pitch is in itself an amazing talent for a tiny child -- I still can't do that with any great accuracy in my forties, and I've spent most of my life studying and playing music. By the age of eight she had appeared in a couple of shows, including Ted Mack's Amateur Hour, which was a nationally broadcast show, performing in a duo with a friend, but she didn't know exactly what it was she wanted to do until she was thirteen, when she went on a date with Joel Zwick, who would later become known as the director of My Big Fat Greek Wedding among others -- one thing that seems to happen a lot in King's early life is getting to know people who would go on to become very successful. Zwick took her to an Alan Freed show at the Paramount in Brooklyn, where she saw LaVern Baker, BB King, Mickey Baker, the Moonglows, and several other R&B stars of the period. It wasn't, though, seeing the musicians themselves that made Carol Klein, as she then was, want to go into rock and roll music, though that was certainly an inspiration, and she talks a lot about how that Freed show was her introduction to a whole world of music that was far from the whitebread pop on which she had grown up. Rather, it was almost a chance event. She and her date hung around the stage door to see if they could see any of the performers and get autographs. The group they were in accidentally got drawn in through the stage door when some people who were meant to be there were let in, and she got to see the performers hanging around backstage. She knew then, not that she wanted to be a performer herself, but that she wanted to be part of that world, someone that those performers knew and respected. She started attending a stage school, where one of her classmates was Al Pacino, but after a short while she left, deciding that she wasn't cut out for the non-musical aspects of the school, and went back to a normal high school, where she formed her first group, the Cosines. along with Zwick. She started writing songs when she heard a group from a rival local high school, Neil Sedaka and the Linc-Tones, singing a song called "While I Dream": [Excerpt: The Tokens "While I Dream"] Sedaka had briefly dated her, and had co-written that song himself, with Howard Greenfield, and his group got a record deal under the name The Tokens. King figured that if he could do that, so could she. She started writing songs, and found she was good at melodies but not particularly great at lyrics. But she still thought she was good enough to do something. She decided that she was going to go and see Alan Freed, and play him some of her songs. Freed listened to her politely, and explained to her how, at the time, one went about becoming a professional songwriter for the R&B market. He told her to get the addresses of record labels from the phone book, go and try to play her songs to them, and explained how a publishing contract would work. The record label he mentioned to her specifically was Atlantic Records, so she tried that one first. Jerry Wexler and Ahmet Ertegun listened to her, and told her she had talent and to come back when she had more songs. It wasn't a rejection, but it wasn't the instant acceptance she'd hoped for. The second label she went to was ABC-Paramount, where she saw Don Costa. Costa was head of A&R at the label, but also a musician himself. Around this time he had released a cover version of Bill Justis' "Raunchy", under the name Muvva Guitar Hubbard: [Excerpt: Muvva "Guitar" Hubbard, "Raunchy"] Costa would later go on to arrange and conduct for Frank Sinatra, and he also had a respectable career as a session guitarist, but Carol didn't know any of this when she went into his office and played through her songs for him. She was flabbergasted to find that, rather than just sign her to a publishing contract, he asked her to sign a recording contract as well. She was disappointed that he wasn't interested in signing the rest of her group -- he thought she was good enough by herself, without needing to hear the other three -- but not so disappointed that she didn't sign with him straight away. Her first few singles were solo compositions, and didn't do very much in terms of sales, partly because she still didn't consider herself especially good as a lyricist: [Excerpt: Carole King, "The Right Girl"] So while she was trying to have a music career, she also went off to college, aged sixteen -- she had skipped multiple years in school -- where she met someone else who had had a minor hit. The boy who performed under the name Jerry Landis had released "Hey! Schoolgirl", an Everly Brothers knockoff, with a friend, as Tom and Jerry: [Excerpt: Tom and Jerry, "Hey! Schoolgirl"] Landis and King started working together, recording demos for other writers, though never writing together. For some of those demos, they re-used the Cosines name, like on this one for a song by Marty Kalfin: [Excerpt: The Cosines, "Just to Be With You"] They were quite proud when the arrangement they came up with for that demo was copied exactly for the finished record, which made the lower regions of the Hot One Hundred: [Excerpt: The Passions, "Just to Be With You"] They didn't work together for very long, and Jerry Landis went on to record under other names like "True Taylor" and "Paul Kane", before getting back together with Tom, and deciding to work together under their real names. We'll be hearing more of Paul Simon and his partner Art Garfunkel in future episodes. Someone else she met while at college was the man who was to become her first husband, another Gerry -- Gerry Goffin. Goffin impressed her with his looks the first time she saw him -- he looked exactly like a drawing she had clipped out of a magazine, which looked to her like the perfect boyfriend. Goffin impressed her less, though, with his studied dislike of rock and roll music, but was suddenly keen to write a song with her when she mentioned that she'd been selling songs. He'd been trying to write a musical, but he was primarily a lyricist, and couldn't do much with music. King mentioned that she knew that Atlantic were looking for a new song for Mickey and Sylvia, and the two of them worked on a song based on the style of "Love is Strange", which they completed very quickly, and took to Atlantic. Unfortunately, when they got there, they were told that Mickey and Sylvia had split up, but that their song would be suitable for the new duo they'd put together to continue the act -- Mickey and Kitty: [Excerpt: Mickey and Kitty, "The Kid Brother"] That was released as a B-side. The A-side, "Ooh Sha La La" was written by Neil Sedaka and Howie Greenfield: [Excerpt: MIckey and Kitty, "Ooh Sha La La"] Sedaka and Greenfield had become hot songwriters, and around this time Sedaka was also becoming a successful performer. His first hit as a performer, "Oh Carol", was in fact written about Carole King: [Excerpt: Neil Sedaka, "Oh Carol"] And King herself recorded an answer record to that, with new lyrics by Goffin: [Excerpt: Carole King, "Oh Neil"] By the time she was seventeen, King was married to Goffin, and pregnant with his child. Goffin was working a day job, and they were treating the occasional twenty-five dollar advance they got from writing songs as windfalls. But then, when she was on one of her visits to 1650 Broadway to sell songs, King bumped into Sedaka, who told her she should come and meet Al Nevins and Don Kirshner, the owners of Aldon Music. Aldon is the publisher who, more than any single other company, was responsible for what became known as the Brill Building sound. Even though they weren't based in the actual Brill Building, which was at 1619 Broadway, but in 1650 Broadway, the companies in that second building were so associated with the Brill Building sound that you'll find almost every history of music misattributes them and places them there, and in most interviews, when you see people talking about the Brill Building, even people who worked in one or other building, they're as likely to be talking about 1650 as 1619. Kirshner is someone we've met briefly before. He'd started out as a songwriter, working with his friend Bobby Darin on songs like "I Want Elvis For Christmas", which had been recorded by the Holly Twins with Eddie Cochran impersonating Elvis: [Excerpt: The Holly Twins and Eddie Cochran, "I Want Elvis For Christmas"] However, as Darin had moved into performance, Kirshner had gone into music publishing. He'd scored early success when working for Vanderbilt Music by bringing Al Lewis out of retirement. Lewis had been a hit songwriter in the thirties and forties, but hadn't done much for a while. But then Fats Domino had had a hit with "Blueberry Hill", a song Lewis had cowritten decades earlier, and Kirshner decided to pair Lewis with a black musician, Sylvester Bradford, and the two started writing hits together, notably "Tears on My Pillow" for Little Anthony and the Imperials: [Excerpt: Little Anthony and the Imperials, "Tears on My Pillow"] Kirshner had then formed his own publishing company. He'd first approached Pomus and Shuman, and then Leiber and Stoller, to go into business with him, but he ended up with Al Nevins, who had been a musician and had also co-written "Twilight Time" with Buck Ram, which had been a hit in the forties and then later revived by the Platters: [Excerpt: The Platters, "Twilight Time"] Kirshner and Nevins were looking for talented new songwriters, and they had signed up Sedaka and Greenfield, and also signed Paul Simon around this time, as well as another couple, Barry Mann and Cynthia Weill. When Carole King played them a few of the songs she'd co-written with Goffin, they signed Goffin and King to a three-year contract, with advances of one thousand dollars for the first year, two thousand for the second, and three thousand for the third, to be offset against their royalties. This was a fortune for the young couple, and so they went from soul-crushing day jobs to... a day job, working in a cubicle. Aldon had a very regimented system. Every writing team had a tiny cubicle, containing a piano and a couple of chairs, in which they would work during normal office hours. Kirshner's system was simple -- any time any new act had a hit, he would get all the songwriters in his office to try to write a follow-up to the hit, in the same style. Of the efforts to find a follow-up to "Tonight's the Night", Kirshner decided on one that Goffin and King had written. "Will You Love Me Tomorrow?" had lyrics that had rather more depth than most of the songs that were charting at the time. Goffin's initial dislike of rock and roll music had been because of what he perceived as its lyrical vacuity, and in "Will You Love Me Tomorrow?" he found a lyrical formula that would define girl groups from that point on -- a look at a kind of female adolescent emotion that had previously not been discussed in pop music. In this case the lyrics were from the point of view of a woman worrying that she's just a one-night stand, not someone the man cares about, and struck a chord with millions. But King's music is at least as impressive. She modelled the song on "There Goes My Baby", and when Luther Dixon accepted the song for the Shirelles, she decided she would write a string arrangement for it like the one the Drifters had used. She'd never written for an orchestra before, so she got a book on arrangement out of the library, and looked through it quickly before writing the string arrangement overnight. The group didn't like the song, thinking it sounded like a country song, but Luther Dixon insisted, and the result went to number one: [Excerpt: The Shirelles, "Will You Love Me Tomorrow?"] The B-side to that single, a Luther Dixon song called "Boys", would also become a well-known track itself: [Excerpt: The Shirelles, "Boys"] Two more top ten hits followed, and then the group's singles started doing less well again. To reverse the downward trend, Dixon brought in a song by another new writer, Burt Bacharach. Bacharach had written a song with Mack David -- the brother of his usual lyricist Hal David -- called "I'll Cherish You". Dixon liked the song, but thought the lyrics were a bit too sickly. He changed the lyrics around, making them instead about someone who still loves her boyfriend despite her friends telling her how bad he is, and retitling it "Baby It's You". For the record itself, he just used Bacharach's original demo and stuck Shirley's voice on top -- Shirley was the only member of the group to sing on the record, though it was still released as by the Shirelles. You can still hear Bacharach singing on the "sha la la"s: [Excerpt: The Shirelles, "Baby It's You"] That returned them to the top ten, and the follow-up, "Soldier Boy", written by Dixon and Greenberg, became their second number one. Unfortunately, it would be their last. Dixon and Greenberg ended their relationship, and Dixon went on to a new job at Capitol Records. Various other people produced recordings for the Shirelles at Scepter, but none had the same success with them that Dixon did. It didn't help that the girls were starting families, and at various times one or other member had to be replaced on the road while they were on maternity leave. The singer who replaced them for those shows was a session singer who Bacharach was producing for Scepter, named Dionne Warwick. To make matters worse, the Shirelles discovered that Greenberg had been lying to them. They'd been told that their royalties were being put into a trust for them, for when they turned twenty-one, but they discovered that no such trust existed, and Greenberg had just been keeping their money. They entered into lawsuits against Scepter, but remained signed to the label, and so couldn't record for anyone else. Their career was destroyed. They remained together in one lineup or another, with members coming and going, until the early eighties, when they all went their separate ways, though they all started their own lineups of Shirelles. These days Shirley tours under her married name as Shirley Alston Reeves and Her Shirelles, while Beverly Lee owns the rights to tour as The Shirelles with no modifiers. Addie Harris died in 1982, and Doris Coley in 2000. The Shirelles were badly treated by their record company, and by history. They made some of the most important records of the sixties, and it was their success that led to the great boom in girl groups of the next few years -- the Supremes, the Marvelettes, the Crystals, the Ronettes, and the rest, all were following in the Shirelles' footsteps. Because they had their greatest success in that period between 1958 and 1964 which most rock historians treat as having nothing of interest in, they're almost ignored despite their huge influence on the musicians who followed them. But without them, the sound of sixties pop would have been vastly different, and to this day their greatest records sound as fresh and inspiring as the day they were recorded.

On this "To Watch Pile" Episode, Brian is joined by returning guest Aaron Pynn - who has a great YouTube channel that is perfect for JTD fans: https://www.youtube.com/channel/UC86Rb_aoMKA3IKKZwJBhLVQ On this show, we touch on discs from Scream Factory, AGFA, Warner Archive, Twilight Time, Kino Lorber, Massacre Video and more! Follow Aaron on Twitter @MrVinsyn and definitely check out his YouTube Channel! Follow the Show on Twitter here for Episode previews and new Blu-ray News! twitter.com/justthediscspod We're also on Instagram! instagram.com/justthediscspod/

James' son is in rare form after a broken elbow requires anesthesia. Lucy's brother swallows his tooth and goes hunting for it.

James' son is in rare form after a broken elbow requires anesthesia. Lucy's brother swallows his tooth and goes hunting for it.

James' son is in rare form after a broken elbow requires anesthesia. Lucy's brother swallows his tooth and goes hunting for it.

Twilight for Twilight Time. Hanks' Greyhound is snatched by Apple TV+. The Snyder Cut is REAL! Cannes and Sundance are streaming virtually. Plus, Andy, Ray, and Tommy bring three weird trailers and a list of films celebrating awkward dinners! Ray's Trailer: Black Ops Andy's Trailer: Da 5 Bloods Tommy's Trailer: The Short History of the Long Road THE LIST!Awkward Dinners!Ray's List American Beauty Scent of a Woman Dawn of the Dead Andy's List The Remains of the Day Dirty Rotten Scoundrels Ravenous Tommy's List August: Osage County Hannibal The Family Stone 00:00 - 2020-05-23 • Saturday Matinée 04:15 - It's Twilight Time, Kids 11:19 - Greyhound moving to Apple TV+ 16:51 - The Snyder Cut 20:14 - We Are One: A Global Film Festival 22:44 - Let's Do Trailers 36:15 - The Review Game 41:40 - The List • Awkward Dinners 58:41 - Coming Attractions

Twilight for Twilight Time. Hanks' Greyhound is snatched by Apple TV+. The Snyder Cut is REAL! Cannes and Sundance are streaming virtually. Plus, Andy, Ray, and Tommy bring three weird trailers and a list of films celebrating awkward dinners! Ray's Trailer: Black Ops Andy's Trailer: Da 5 Bloods Tommy's Trailer: The Short History of the Long Road THE LIST!Awkward Dinners!Ray's List American Beauty Scent of a Woman Dawn of the Dead Andy's List The Remains of the Day Dirty Rotten Scoundrels Ravenous Tommy's List August: Osage County Hannibal The Family Stone 00:00 - 2020-05-23 • Saturday Matinée 04:15 - It's Twilight Time, Kids 11:19 - Greyhound moving to Apple TV+ 16:51 - The Snyder Cut 20:14 - We Are One: A Global Film Festival 22:44 - Let's Do Trailers 36:15 - The Review Game 41:40 - The List • Awkward Dinners 58:41 - Coming Attractions

Mickey walks Sylvia home as she tries to explain that she is not the same person he thinks she is. Nanna is at their house waiting for her arrival and not pleased, as usual. BE BOSS...STAY GOLD...CDLAWSON.COM --- This episode is sponsored by · Anchor: The easiest way to make a podcast. https://anchor.fm/app --- Send in a voice message: https://anchor.fm/kbossradio/message

Twilight Time is the new album by guitarist Nick Millevoi and his Desertion Trio. The album features covers of both well known and obscure rock and doo wop songs from the 50s and 60s. In this interview, Millevoi talks about the origin of the trio and the idea for the record; the impact of David Lynch on the way we hear music from this era; and his upcoming touring schedule with Desertion Trio, Unspeakable Garbage and others. I've been recording conversations with jazz musicians since 2007. I think it's important work that deserves public support. I'd also like to be able to do it for my living. If you agree that The Jazz Session is worth supporting, become a member today for just $5 a month at thejazzsession.com/join. You'll get a monthly bonus episode, early access to every show, and a yearly gift. Help me make this show for decades to come by joining today. Thank you.

Twilight Time is the new album by guitarist Nick Millevoi and his Desertion Trio. The album features covers of both well known and obscure rock and doo wop songs from the 50s and 60s. In this interview, Millevoi talks about the origin of the trio and the idea for the record; the impact of David Lynch on the way we hear music from this era; and his upcoming touring schedule with Desertion Trio, Unspeakable Garbage and others. I've been recording conversations with jazz musicians since 2007. I think it's important work that deserves public support. I'd also like to be able to do it for my living. If you agree that The Jazz Session is worth supporting, become a member today for just $5 a month at thejazzsession.com/join. You'll get a monthly bonus episode, early access to every show, and a yearly gift. Help me make this show for decades to come by joining today. Thank you.

Links www.youtube.com/mrparka https://www.instagram.com/mrparka/ https://twitter.com/mrparka00 http://www.screamingtoilet.com/dvd--blu-ray https://www.facebook.com/screamingpotty/ https://www.facebook.com/mrparka http://shutupbrandon.podbean.com/ https://www.facebook.com/screamingpotty/ https://itunes.apple.com/us/podcast/shut-up-brandon-podcast/id988229934?mt=2 https://www.stitcher.com/podcast/podbean-70/shut-up-brandon-podcast Time Stamps “Tideland” Review– 0:45 “American Guinea Pig: Sacrifice” Review –7:04 “The Killer Elite” and “Noon Wine” Review – 12:48 “Messenger of Death” Review – 22:05 “Lowlife” Review – 27:17 “Puppet Master: The Littlest Reich” Review – 32:36 The Weekly Western “Boss” Review – 40:40 VHS Voyage “Terrorgram” Review – 48:46 “Dead End” Pick a Movie – 56:42 Pick a Movie Winner Drawing– 1:01:54 Q&A – 1:02:34 Update – 1:06:13   Video Version - https://youtu.be/nI5SFEinprI   Links of Interest – More Info, Enter Pick a movie, Ask a question –  https://www.screamingtoilet.com/dvd--blu-ray/mrparkas-video-reviews-for-the-week-of-august-25th-episode-67   Arrow Video – http://www.arrowvideo.com/   “Tideland” Blu-Ray – https://mvdshop.com/products/tideland-blu-ray                                        Unearthed Films – http://www.unearthedfilms.com/news.htm   “American Guinea Pig: Sacrifice” Blu-Ray – https://mvdshop.com/products/american-guinea-pig-sacrifice-blu-ray   Twilight Time – https://www.twilighttimemovies.com/   “The Killer Elite” Blu-Ray – https://www.amazon.com/Killer-Elite-Blu-ray-Robert-Duvall/dp/B00OKTIOPK/ref   Olive Films – https://olivefilms.com/   “Messenger of Death” Blu-Ray – https://olivefilms.com/product/messenger-of-death-blu-ray/   Shout! Factory Entertainment – https://www.shoutfactory.com/   “Lowlife” Blu-Ray – https://www.shoutfactory.com/product/lowlife?product_id=6785   RLJ Entertainment – https://us.rljentertainment.com/movies/   “Puppet Master: the Littlest Reich” 4K Disc – https://www.amazon.com/gp/product/B07F9GH8QK?tag=rljent08-20   VCI Entertainment – https://www.vcientertainment.com/   “Boss” Blu-Ray/DVD

On this episode, Brian returns to the land of Twilight Time to talk about AUTO FOCUS, THE SEVEN-UPS, THE NEW CENTURIONS, UNDERWORLD U.S.A. and DON'T BOTHER TO KNOCK.

This week, Brian goes back to the Twilight Time well to cover their recent releases of BOB & CAROL & TED & ALICE, THE HOSPITAL, DRAGONWYCK, FOREVER AMBER and THE L-SHAPED ROOM.

On this Bonus episode, Brian talks musical with a stack of discs from Shout Factory, Warner Archive and Twilight Time including - SGT. PEPPER'S LONELY HEARTS CLUB BAND, THE APPLE, BRIGADOON, KID GALAHAD and HOW TO SUCCEED IN BUSINESS WITHOUT REALLY TRYING.

On this episode, Brian goes all in on a gigantic stack of comedy Blu-rays from Warner Archive, Kino Lorber, Shout Factory, Twilight Time and Mill Creek - including WAITING FOR GUFFMAN, SHAKES THE CLOWN, THE MAN WITH TWO BRAINS, MY BLUE HEAVEN, TAKE THE MONEY AND RUN,THE WRONG GUY, YOUNG DOCTORS IN LOVE, HOME FOR THE HOLIDAYS, 8 HEADS IN A DUFFEL BAG and more!

Tea for One/孤品兆赫-180, 爵士/Twilight Time微博，微信订阅号：【孤品兆赫】豆瓣小站：https://site.douban.com/138652/ 豆瓣小组：www.douban.com/group/457663/ 本期继续一期爵士乐的专题，来听几首50年代的老曲子，欢迎收听。Tracklist 1. < Twilight Time > -- The Platters, 1958 2. < My Prayer > -- The Platters, 1956 3. < THERE WILL NEVER BE ANOTHER YOU -- The Four Freshmen, 1956 4. < The Last Time I Saw Paris > -- The Four Freshmen, 1955 5. < The Last Time I Saw Paris > -- Michel Legrand，1960 6. < Moulin Rouge > -- Michel Legrand , 1988 7. < Moulin Rouge > -- Willie Nelson, 1988 8. < Twilight Time > -- Willie Nelson, 1988

On this episode, Brian focuses on a pile of discs from several labels including Kino Lorber, Warner Archive, Olive Films, Twilight Time and Vinegar Syndrome.

On this episode, Brian runs down some Twilight Time Blu-ray releases from this year (a few of them from a month or two back) including 9 TO 5, MOSCOW ON THE HUDSON, WHO'LL STOP THE RAIN, HELL AND HIGH WATER and THE BRIDGE AT REMAGEN.

On this week's episode, Brian runs down Twilight Time's Blu-ray Releases from the month of April - including Billy Wilder's THE FORTUNE COOKIE, Woody Allen's ANOTHER WOMAN, William Wyler's HOW TO STEAL A MILLION and YOU'LL NEVER GET RICH with Fred Astaire and Rita Hayworth.

We change things up by focusing on a boutique label, Twilight Time, that has found success through a unique business model. Mark and Aaron happen to be big fans, and feel that we have directly contributed towards some of their profits. We talk about the company, their business model, why they have succeeded, and we address some common critiques. We also review a few discs each, and finally count down our favorite Twilight Time titles. About Nick Redman: London-born Nick Redman, one of Hollywood's leading producers of movie music, is also an award-winning documentary filmmaker. An Academy Award nominee as producer of the 1996 Warner Brothers documentary, The Wild Bunch: An Album in Montage, he went on to write, produce, and direct A Turning of the Earth: John Ford, John Wayne and The Searchers (1998), which became a prize-winner at multiple film festivals. As a consultant to the Fox Music Group (ongoing since 1993), he has developed and overseen Hollywood's most comprehensive film music restoration program, personally producing more than 500 albums featuring the music of Alfred Newman, Bernard Herrmann, Jerry Goldsmith, John Williams, Rodgers and Hammerstein, Alex North, Hans Zimmer, James Horner, Michael Kamen and many more. His productions of the “Star Wars Trilogy” were certified Gold by the RIAA. In 2007, he produced and directed Becoming John Ford, a feature-length documentary for Twentieth Century Fox, which premiered as a special selection at the Venice International Film Festival. The film details the creative and fractious relationship between the brittle, contentious director and his mentor / boss, studio chief Darryl F. Zanuck. In his capacity as a film historian, he has presided over commentaries for dozens of DVDs. As producer and director, he has provided special materials—documentaries and commentaries—for numerous titles including Sam Peckinpah's Legendary Westerns Collection, honored by Entertainment Weekly as the Number One DVD boxed set of 2006. In 2011, he co-founded the independent label Twilight Time which releases classic films licensed from 20th Century Fox, Columbia/Sony, and MGM/UA on DVD and Blu-ray. Nick has been a member of BAFTA Los Angeles for many years and has conducted numerous interviews for screening Q&A's and the Heritage Archive, including Michael Apted, Malcolm McDowell, Sir Ben Kingsley, Ian McShane, Tilda Swinton, Kevin Brownlow and Millicent Martin. About Brian Jamieson: Jamieson first entered the film industry with the New Zealand branch of Warner Bros. in 1977. He was later transferred to the United Kingdom. After his success publicizing Steven Spielberg's Close Encounters of the Third Kind and Peter Yates' The Deep, he was named the International Publicist of the Year. He moved to the United States in 1984. During the 1980s, he was in charge of all the company's theatrical marketing in Latin America, the Far East, South Africa, Europe, Australia and New Zealand; he was later promoted to head of International Marketing and Publicity, which made him responsible for home video marketing internationally. He also collaborated with Stanley Kubrick to promote Full Metal Jacket; they continued to work together until Eyes Wide Shut, Kubrick's last film before his death in 1999. The Times Colonist called Jamieson a “respected film preservationist”. In his work at Warner Home Video, Jamieson shepherded the restorations of numerous classical films. In 2002, Jamieson helped produce Charlie: The Life and Art of Charles Chaplin, with Richard Schickel, which was shown at the 2003 Cannes Film Festival. Two years later, he collaborated with Schickel to reconstruct The Big Red One, by Sam Fuller. The two readded 47 minutes of previously cut material.The reconstruction won several awards, including the Seattle Film Critics Awards and the Los Angeles Film Critics Association Awards. He later released a reconstruction of Sam Peckinpah's 1969 film The Wild Bunch.

This is my take on the Platter's classic.

BRIAN SAUR joins me to talk about cinephilia, collecting movies and being a purveyor of film enthusiasm. We cover so much!, including: being a part of the film community, the GGTMC, his film blog, Rupert Pupkin Speaks, collecting media like Twilight Time, Criterion, Scream Factory, Warner Archive, Kino Lorber, niche labels, blu-ray, film passion, classic film, cult cinema, marketing, music licensing, origins, film classes, professors, working video stores, the video rental generation, VHS, Evil Dead II, Blockbuster Video, John Wayne, Howard Hawks, French New Wave, Top 10 lists, Netflix, populism vs obscurity, seekers, film critics, positivity, Martin Scorsese, The King of Comedy, Paul Zimmerman, underrated movies, Joe Dante, Trailers From Hell, Larry Karaszewski, networking, his documentary on Danny Peary, Cult Movies, Alternate Oscars, Guide for the Film Fanatic, Patton Oswalt, Silver Screen Fiend, the difficult life of filmmakers, juggling family, time management, podcasting, and how Serial might be bringing new listeners to the medium. Enjoy!Rupert Pupkin SpeaksBrian on TwitterThe Danny Peary Doc on TwitterInterview Clips from the Upcoming Danny Peary Doc!Music on this podcast:Artist: The WhoSong: The SeekerArtist: Henry ManciniSong: Tana's Theme (from Touch of Evil)Copyrights are owned by the artists and their labels. No money is made from this podcast.

"When you say things like 'I'm a proud Scot', you've really got to think 'what is it I am proud of?'. Are you proud of Scotland as a nation, as a country, as everyone else understands understands a country to be in the whole world? Or are you proud of it as a sort of junior region of the UK?"For the 78th episode of The Scottish Independence Podcast I spoke with Karen Campbell.Karen has written five novels: The Twilight Time, After the Fire, Shadowplay and Proof of Life and she has also recently become an active speaker on the Yes circuit, to much acclaim.This is an episode you don't want to miss.We talked about lots of things and I didn't miss the opportunity to ask an ex-policeman about the current policing situation in Scotland either. I'm not going to do any more spoilers other than the above.Hope you enjoy…LINKShttp://www.karencampbell.co.uk/index.htmlhttp://michaelgreenwell.wordpress.com/https://twitter.com/writerkcampbellhttps://twitter.com/mgreenwell