Podcasts about vicious pink

Cccan't you see? This week, we're talking about Club Jams with the fantastic Brian Moss from Vicious Pink! Originating from a serendipitous encounter in a smoky Leeds nightclub back in 1979, Josephine Warden and Brian Moss embarked on a musical journey that would redefine the synth-pop landscape. Initially known as Vicious Pink Phenomena, they made their mark by providing distinctively off-kilter backing vocals for their friends in Soft Cell, a collaboration that unfolded organically and without rehearsal. Transitioning to the simplified moniker Vicious Pink, the duo continued to captivate audiences with their avant-garde sound, releasing a string of singles that defied conventional expectations and climbed the UK dance charts between 1982 and 1986. Despite their modest intentions, their music proved to be both artful and provocative, leaving an enduring legacy in the annals of electronic music history. Minimal Wave has just released a long-awaited LP showcasing previously unreleased gems from the influential UK duo, 'Unexpected'. The album offers listeners a glimpse into the duo's creative process, compiling pop experiments recorded spontaneously, some in collaboration with Soft Cell's Dave Ball. Order Unexpected: Unexpected | Vicious Pink (bandcamp.com) Learn more about your ad choices. Visit megaphone.fm/adchoices

We'd love to hear from you! Click here to send us a text. Season 5, Episode 89With this episode, we're going to listen to new music from a band that began early in the new wave era, The Jesus And Mary Chain and their latest "Glasgow Eyes," and a band that was at the tail end of that same period, The Pixies, who released their most recent "Doggerel" in 2022.We have a lot to cover in music news including new singles from the late Michael Hutchence, The Vapors, They Might Be Giants, THE THE (as well as tour information for them), Oingo Boingo Former Members, & Vicious Pink.  We also want to mention that with the Jesus And Mary Chain review, we basically gave Jim sole credit for vocals when some were actually William.  Sorry William.

Cccan't you see? This week, we're talking about Club Jams with the fantastic Brian Moss from Vicious Pink! Originating from a serendipitous encounter in a smoky Leeds nightclub back in 1979, Josephine Warden and Brian Moss embarked on a musical journey that would redefine the synth-pop landscape. Initially known as Vicious Pink Phenomena, they made their mark by providing distinctively off-kilter backing vocals for their friends in Soft Cell, a collaboration that unfolded organically and without rehearsal. Transitioning to the simplified moniker Vicious Pink, the duo continued to captivate audiences with their avant-garde sound, releasing a string of singles that defied conventional expectations and climbed the UK dance charts between 1982 and 1986. Despite their modest intentions, their music proved to be both artful and provocative, leaving an enduring legacy in the annals of electronic music history. Minimal Wave has just released a long-awaited LP showcasing previously unreleased gems from the influential UK duo, 'Unexpected'. The album offers listeners a glimpse into the duo's creative process, compiling pop experiments recorded spontaneously, some in collaboration with Soft Cell's Dave Ball. Order Unexpected: Unexpected | Vicious Pink (bandcamp.com) Learn more about your ad choices. Visit megaphone.fm/adchoices

This week is another episode of bands that didn't quite make it commercially, however one member of one of the bands we discuss this week certainly went on to make a name for themselves in a very big way.

On the show this week - Ladytron, Vicious Pink, UNKLE and Television.

En souvenir du mythique club La Piscine, JP Trévisan nous propose ce mois-ci un mix spécial tiré de son incroyable collection de vinyles new wave et post punk. Tracklist : Orchestral Manoeuvres in the Dark "Radio Prague" Vicious Pink "Cccan't You See" Comateens "Don't Come Back (Extended Mix)" Paul Haig "Never Give-Up (remix)" Blancmange "Blind Vision" Heaven 17 "Let Me Go "Sir Billy Re-Cut)" Gary Numan "Music For Chameleons" Japan "Visions Of China" Depeche Mode "Everything Counts" Propaganda "Duel" Soft Cell "Memorabilia" Yazoo "Situation" Kraftwerk "The Model" Bronsky Beat "Small Town Boy" Yello "I Love You" Tears For Fears "Shout (US Remix)" Simple Minds "Promised You A Miracle" Talk Talk "Such A Shame" Anne Clark "Sleeper In Metropolis" Grauzone "Eisbär" Eleven Pond "Watching Trees" Liasons Dangereuses "Los Ninhos Del Parque" New Order "The Beach" Taxi Girl "Dites-le fort (nous sommes jeunes, nous sommes fiers)" Les Fils de Joie "Adieu Paris" The Smiths "This Charming Man"

It's an all-music, no-talk Halloween episode featuring three hours fo weird, spooky-adjacent music. All the tracks come from previous episodes, so if you want any context for any of these tracks, go check out the original episodes: Samantha, Sabrina and Wanda. Track listing: 0:00 Toto Coelo, “Dracula's Tango (Sucker for Your Love)” 5:51 Fancy, “Slice Me Nice” 11:33 Phoebus, “Frankenstein”  17:54 Kathy Joe Daylor, “Little Witch” 24:37 Box 20th, “Midnight Horror” 28:27 Daydream, “Crazy”  34:53 Patrick Cowley, “They Came at Night”  40:56 Style, “Run for Your LIfe” 47:58 Adolf Stern, “More… I Like It”  52:44 Monte Kristo, “The Girl of Lucifer” 58:05 Chantoozies, “Witch Queen” 1:02:09 Radiorama, “Vampires” 1:08:12 The Immortals, “Ultimate Warlord” 1:14:29 Yvonne Gage, “Doin' It in a Haunted House” 1:20:28 Trilogy, “Black Devil” 1:26:33 Cherook, “Licanthrope” 1:31:54 Den Harrow, “Broken Radio” 1:38:24 Magali, “Vampire Night” 1:42:22 Fresh, “El Lobo = The Wolf” 1:47:44 Lene Lovich, “It's You, Only You” 1:51:07 Vicious Pink, “Spooky” 1:54:19 Dorine Hollier, “Tonight! (Crazy Night)” 2:00:01 Supermax, “Spooky” 2:04:22 Stage, “Voodoo Dance”  2:11:17 Emilia, “Satan in Love” 2:14:27 Radiorama, “Yeti” 2:20:35 Toto Coelo, “I Eat Cannibals” 2:27:07 The Doctor, “Frankenstein” 2:32:09 Emmie Yokokyama, “Disco Vampirella”  2:36:28 Methusalem, “Zombie” 2:41:24 Departure, “King Kong”  2:48:35 Clay Pedrini, “Dr. Jekyll and Mr. Hyde”   2:56:25 Giusy Dej, “Follow Me” This whole thing is put together by me, Drew Mackie. Follow me on Twitter. I'm on Instagram too. Also listen to the Spotify playlist that inspired this podcast. If you have a recommendation for a song you think should be played on the show, hit me up on Twitter or leave me a voicemail by calling ‪(970) 823-4726 — or 970 82 DISCO. I may play your recommendation on a future show. Have a look at the official website for fancy people. The original art for this podcast was designed by Sarah Wickham, who rocks. Check out her art and also buy her stuff. Subscribe: Mixcloud • iTunes • Stitcher • Libsyn • Google Podcasts

The sequel to last year's Halloween episode, Samantha, is now a two-part special.  Also listen to Different Head's Halloween episodes: Spooky, Midnight Horror and Vol. 75. Track listing (purchase/stream links TK!) 0:00 Toto Coelo, “I Eat Cannibals” — Apple Music • Spotify • Amazon Music  9:17 The Doctor, “Frankenstein” 14:15 Atrium, “Doctor Jekyll”  20:28 Methusalem, “Zombie” 25:25 Methusalem, “Alien” 29:34 Babalu, “Bogey Man” 36:29 Monte Kristo, “The Girl of Lucifer” —  Spotify • Amazon Music  41:06 Emilia, “Satan in Love” — Apple Music • Spotify • Amazon Music  44:17 Fancy, “Slice Me Nice” — Apple Music • Spotify • Amazon Music 49:59 Style, “Run for Your Life” — Apple Music • Spotify 57:04 Yvonne Gage, “Doin' It in a Haunted House” 63:51 Chantoozies, “Witch Queen” — Spotify • Amazon 67:59 Helen, “Witch” — Spotify • Amazon Music  75:51 Goad, “The Witch” 77:55 Vivien Vee, “Higher” — Apple Music • Spotify • Amazon Music  83:57 Vicious Pink, “Spooky” — Apple Music • Spotify • Amazon Music  89:59 Oingo Boingo, “No One Lives Forever” — Apple Music • Spotify • Amazon Music This whole thing is put together by me, Drew Mackie. Follow me on Twitter. I'm on Instagram too. Also listen to the Spotify playlist that inspired this podcast. If you have a recommendation for a song you think should be played on the show, hit me up on Twitter or leave me a voicemail by calling ‪(970) 823-4726 — or 970 82 DISCO. I may play your recommendation on a future show. Have a look at the official website for fancy people. The original art for this podcast was designed by Sarah Wickham, who rocks. Check out her art and also buy her stuff. Subscribe: Mixcloud • iTunes • Stitcher • Libsyn • Google Podcasts

Welcome to The 80's Montage! (music, mateys and cool shit from the 80s) Your Hosts Jay Jovi & Sammy HardOn, singers from Australia's 80's tribute band Rewind 80's. We take you back to living in the 80's: music, artists, TV commercials and video clips. Episode 95: Underrated 80's Artists It's a ripper! Please rate, review and enjoy! Music licensed by APRA/AMCOS Theme music ©2019 M. Skerman see Facebook for links to videos & songs mentioned in this episode! Email: planet80sproductions@gmail.com Rewind 80's Band : www.rewind80sband.com Facebook : the80smontagepodcast twitter: 80_montage instagram : the80smontage Links from Episode 95: Underrated 80's Artists...Patreon Link With Thanks x https://www.patreon.com/the80smontagepodcast www.the80smontage.comLinks: Rick Springfield - Don't Talk To Strangers (1982)https://youtu.be/r-RqwxMRJ98Time Bandits - I'm Only Shooting Love (official video reworked)https://youtu.be/ROTspvgashcSongI'm Only Shooting LoveArtistTime BanditsLicensed to YouTube bySME (on behalf of Sony BMG Music Entertainment); Abramus Digital, ASCAP, SODRAC, LatinAutor - SonyATV, Muserk Rights Management, UNIAO BRASILEIRA DE EDITORAS DE MUSICA - UBEM, LatinAutorPerf, LatinAutor - PeerMusic, LatinAutor, and 8 music rights societiesIrene Cara - Why Me (Official Music Video)https://youtu.be/tRcrLjX7ygoVicious Pink - Cccan't You See 7" Livehttps://youtu.be/YAvBF2ZGlH0One of Vicious Pink's appearances on UK TV.. The video was actually blocked Worldwide on YT for 11 Months. YT put it back up in December 2016. Some of our music is now available to download in high quality Wav format here..https://viciouspink.bandcamp.comHave fun! Enjoy, share, subscribe, like and ring our bell.Thanks for listening VPX..https://www.facebook.com/Vicious-Pink...https://soundcloud.com/vicious-pinkhttps://www.instagram.com/vicious.pin...#KennyLoggins #DangerZone #VevoKenny Loggins - Danger Zone (Video)https://youtu.be/siwpn14IE7ERyan Paris - Dolce Vita (Official Video)https://youtu.be/EXmABxvHTG4Real Life - Catch Me I'm Fallinghttps://youtu.be/OeysVlyC_us#RealLife  are a Melbourne-based Australian New Wave/synthpop[1] band that had hits with their debut single, "Send Me an Angel" (1983) and with "Catch Me I'm Falling" (1983), both of which were featured on the band's debut album Heartland (1983).The band originally consisted of David Sterry (lead vocals and guitar), Richard Zatorski (violin and keyboard), Alan Johnson (bass) and Danny Simcic (drums). Steve Williams (keyboard) replaced Zatorski in 1986, who was then replaced by George Pappas in 1996 after a long hiatus of band activity.Til Tuesday - Don't Watch Me Bleed - 3/26/1986 - Ritzhttps://youtu.be/DwedOeU0hvYRecorded 3/26/1986 - Ritz (New York, NY)Visit Wolfgang's https://www.wolfgangs.com/music/ to stream concerts from thousands of legendary artists. 1986 YOPLAIT Commercialhttps://youtu.be/RCv60r5NK_kIn 1986 Clemenger Melbourne cast me as "Little Françoise" in a Yoplait ad. I was flown to Sydney twice and paid a rollover when the ad went into its 2nd year. Blink and you'll miss me. Writer: Pete Withy, Director: Tony Williams, DOP: Russell BoydThe Touch - Stan Bush (HD Restoration)SongThe TouchArtistStan BushAlbumTransformers The Moviehttps://youtu.be/A52--FKUQgUThis Mortal Coil - Another Day Video with Lyricshttps://youtu.be/ChyBuKMDwIkThis Mortal Coil-Another Day- (Elizabeth Fraser)https://youtu.be/MfGk1S5Pd7AWorld Party - Private Revolutionhttps://youtu.be/JaYcJQej5UwThanks for listening! www.the80smontage.com

Coming up on the A&E Show this week - Klangstof, Vitalic, Kavinsky, John Carpenter and Vicious Pink.

It's this year's slightly Festive show! Coming up Soulwax, Tom Vek, Fontaines D.C., Vicious Pink and a Christmas song from Low.

El 28 de Junio se celebra, en casi todo el planeta, el aniversario de los incidentes del bar STONEWALL, en Nueva York , que marcaron el comienzo de las reivindicaciones del colectivo gay. Este año, por culpa de la pandemia, las celebraciones multitudinarias se han suspendido, pero, en el asteroide Edén, tenemos nuestro propio Orgullo. Sonarán hits orgullosos de MADONNA, CINDY LAUPER, MYLÊNE FARMER, LIZA MINELLI, COMMUNARDS, ALASKA Y DINARAMA, ALMODÓVAR Y MACNAMARA, PELADA, TOM ROBINSON, HEDWIG, PANSY DIVISION, LIMP WRIST, CUPPCAKE, ZEBRA KATZ, MNEK, ARMY OF LOVERS, Q LAZZARUS, DE LACEY, VICIOUS PINK, SCISSOR SISTERS, PEACHES, KYLIE MINOGUE, LADY GAGA, ROBYN Y BARBRA STREISAND & DONNA SUMMER. Feliz ORGULLO!

A covers show!Playlist: Vicious Pink - 8:15 to Nowhere / Great Balls of FireLizzy Mercier Descloux - FireThe Quilz - Girl U WantThe Slits - I Heard It Through the GrapevineSt. Vincent - And Then She Kissed MeFrightwig - Frightwig Luvs Ya Baby!Big Joanie - No ScrubsThee Headcoatees - Ca Plaine Pour MoiSiouxie and the Banshees - Dear PrudenceFanny - Hey BulldogAmanda Lepore - I Know What Boys LikeLucy Dacus - La Vie En RoseNai Palm - Have You Ever Been (To Electric Ladyland)Freshlyground - Wanna Be Startin' SomethinMiriam Makeba - For What It's WorthAva Cherry - God Only KnowsEva Pilarova - Cesta KončiNina Simone - Don't Let Me Be MisunderstoodBig Mama Thornton - Hound DogJackie Shane - Money (That's What I Want)Cher - I Want YouJoan Baez - It's All Over Now Baby BlueOdetta - Don't Think Twice, It's All RightKaren Dalton - Reason To BelieveSunflower Bean - Harvest MoonShea Diamond - I'd Love to Change the WorldCat Power - (I Can't Get No) SatisfactionAmy Winehouse - The Girl From IpanemaGloria Gaynor - Can't Take My Eyes Off You (Remix by Alex Natale)

Peg tells us all about her interview with Luke Goss of BrosPhil shares his love for Clare Grogan and we talk about ABC, Jimmy Sommerville, Vicious Pink, Peter Godwin & Nik Kershaw amongst others

Ghost Vision, Epsilove + Eva Geist, Al Kassian, Throbbing Gristle, Consequential, Quiroga, Dusty Baron, L'Impératrice, Altin Gün, Azymuth, Dhaima, He Said, Phil Manzanera, Damon Edge, Aswefall, Boytronic, Boy Harsher, Róisín Murphy, Rolf Trostel, Stratis, Suzanne Ciani, Vicious Pink, Roxy Music, Indochine, Psychic TV, Mr. White, Kord, Ishi Vu, Easy Going, Solaris Heights, Spencer Jones, Cela, Tim Paris & Sex Judas, Random Factor, Frak, Latecomer, The Pattern Forms, Saine and more...

1. Souvenir (DMC Postcards From The Edge) - Orchestral Manoeuvres In The Dark 2. I Touch Roses (Full Bloom Version) - Book Of Love 3. The Good Samaritan - Counterfeit 4. New Dress (Razormaid! Mix) - Depeche Mode 5. Animal Magic (Dance Vocal) - Belouis Some 6. Bizarre Love Triangle (Shep Pettibone Remix) - New Order 7. It's Alright - Pet Shop Boys 8. The Great Commandment (Acid Commandment) - Camouflage 9. Last Train To Trancentral (Razormaid! Mix) - The KLF 10. The Sun Rising (Norty's Spago Mix) - The Beloved 11. 900 Hours (Mr. E Mix) - Boxcar 12. How To Be A Zillionaire (Bond Street Mix) - ABC 13. Cccan't You See (Razormaid! Mix) - Vicious Pink 14. Get The Balance Right! (Combination Mix) - Depeche Mode 15. Goodbye Horses (Extended Version) - Q Lazzarus ***SPECIAL NOTE FROM CRC AND DJ TINTIN***: Apologies to everyone who has attempted to download and/or listen recently, but gets a pre-recorded bandwidth notification. For awhile I had a pro account with much more bandwidth, but I couldn't justify the cost with my time limitations over the past three years. That said, I also don't like fans and followers to be cock-blocked for weeks on end by bandwidth overages. Right now, I have to be satisfied with a free account, but I didn't anticipate using up my bandwidth three days after the reset date each month. It's a good problem to have, but still a problem. Anyway, I'll keep you all in the loop should things change. For now, I guess, circle the 24th of each month on your calendar to remind yourself to grab these episodes when you can before my 15 gigs of bandwidth per month evaporates! Thanks to each and every one of you for tuning in. It really makes a guy feel good. Notes and other random things: Alright! It's 3 hours to dawn, I've got a full bowl of cereal, half a glass of water, it's dark and I'm making a podcast. Hit it! This sassy little number contains ABCs and OMDs, Counterfeits and Camouflages, Boxcars and Beloveds, something "vicious", something "new" and even a double DM! Happy Listening! Okay, so like any normal testosterone-fueled male member of the species I'm a competitive guy, my own worst critic and I can't stand giving a less-than-competent effort in whatever it is I choose to undertake. That said, I do read comments and check reviews with regard to my 'casts to make sure I'm living up to some realistic level of excellence. For the most part, I've been thrilled that this insignificant little program I assemble in my basement has brought so much joy to so many of you. I try to be honest and forthright in my write-ups for my sake, for your sake, for band's sake, for God's sake. Most of what I write is knowledge I've gleaned over the years from being a fan, from reading music mags, from collecting umpteen thousands of records and reading umpteen thousands of liner notes on the bands I feature here. Often, however, I look up artists to confirm or deny stuff I thought I'd read, thought I'd heard, figured I'd seen or otherwise dreamed. Most importantly, I try to get it right. But I don't always. ...Which brings me to the first band I'd like to mention here: Counterfeit. In episode #23, I included Lee McFadden and Co.'s song "The Good Samaritan" At the time, it was a new find for me, one I discovered on a compilation I had just purchased. Until that point I knew nothing of the band and had a difficult time finding much information on them. I jumped to the conclusion that the song I possessed was probably their only release. Thankfully, a kind listener made a comment to the contrary. He wrote: "In fact there is a three-track EP of "The Good Samaritan" that was released a couple of years ago. Myself and the other two members are still in contact and work together occasionally on music." - Lee McFadden. Holy S#!+, Lee McFadden just wrote to tell me I'm full of crap. That's so COOL! Anyway, thanks to Mr. McFadden for correcting my error. I thought it appropriate to let you all know there is more to the band than just one song. I also figured that by using Lee's comment as part of my write-up it would give me another chance to feature the excellent track here. So, back to the "my own worst critic" comment a moment ago. One of the things about this podcast that is endearing/aggravating is that it's a live mix. That is, I hit record and go for an hour or more - typically 15 songs. As you can imagine, things can sometimes go wrong when performing live, especially at 3 in the morning when I recorded this one. Some errors are bad enough I scrap the whole thing and start over. Sometimes, I just accept things like variances in recording levels or slightly mismatched beats because it's too time-consuming to spend an hour or more redoing an entire 'cast for small inconsistencies, especially when you're using cheap, finicky mixing equipment as I do. In the case of this podcast it turns out two of the tracks here had questionable endings. The first, Book Of Love's "I Touch Roses" mix had a repeated phrase for the last 30 seconds that sounded as if the track were skipping. Of course, I remembered that at the last possible moment and quickly began mixing it out. So, if it sounds like an unnatural point at which to fade in/fade out, it is. And now you know why. I'd say Daniel Miller should be flogged for ending the track in that way, but how can I possibly stay angry at the fellow who founded Mute Records? I forgive you Daniel. Just don't do it again! In case you were wondering about the other track with the weird ending it was 900 Hours by Boxcar. Thankfully, the first gaffe reminded me to avoid a second. I'd like to spend a moment to write about Belouis Some. Frankly, I could spend a day debating the correct pronunciation of Neville Keighley's alter-ego ... but I won't. Just know that all the variants I've encountered rank right up there with bands like INXS, Cetu Javu, EBN-OZN and others whose names were all butchered during their infancy. (C'mon ... admit it. You called them "Inks" the first time you saw their record in the storefront window. You know you did!) Anyway, the track "Animal Magic" was released in 1987 on Belouis Some's self-titled album, two years after the band found chart success UK and stateside with the songs "Imagination" and "Some People". Those songs led to opening gigs for Nik Kershaw and Frankie Goes To Hollywood during their heyday in 1985 and a track called "Round Round" which appeared on the Pretty In Pink soundtrack. The soundtrack is notable for two things: it's association with a John Hughes film and for being killer back when soundtracks were mostly filler. (That rhymes!) As an interesting side note: Nik Kershaw's song "Wouldn't It Be Good" also appeared on the Pretty In Pink soundtrack as a cover version by Danny Hutton Hitters. Belouis Some's "Some People" would also surface on a Swatch commercial circa 1986. Australia had its share of good rock music in the 80s. Men At Work, INXS (however you pronounce them) and Midnight Oil represent just a few of the names. But as club culture began to consume record racks in the mid-80s, fledgling bands began to dabble in electronics, shifting their focus from guitar-infused pub rock to synth-based dance music. Brisbane's Boxcar were one of those bands that gained prominence world-wide. But old pub-rock habits die-hard and the band had a difficult time of things even in their home country where they were often met by a chorus of boo-birds during live performances. The group was also ridiculed for being too derivative of established artists like New Order (whom they toured with at the turn of the 90s.) Thanks in part to producer Robert Racic, who had worked with Severed Heads (also an Aussie electronic band) and Single Gun Theory among others, Boxcar's first full-length release "Vertigo", issued in 1990, was praised by critics for it's sophisticated electronic sound. Tracks like "Freemason", which charted at #8 on the Billboard Dance Chart and "Gas Stop" brought the group some recognition outside Australia. But despite support gigs for Depeche Mode, Erasure, The Pet Shop Boys and the aforementioned New Order, the band was never really able to gain much traction and after two more albums, "Revision" in 1992 and "Algorhythm" in 1994, the band's output and live dates began to ebb even though they never officially called it quits. ABC were like the cool kids in high school that everyone wanted to be like. They had the swankiest clothes, the hippest hair cuts, listened to the coolest music and seemed to always have their finger on the pulse of whatever the "it" thing was to do at the time ... at least until the 20-year reunion rolled around and you saw them wearing the same clothes and sporting the same haircuts, albeit with much less hair and carrying around 50 extra pounds and you realized there had been little personal growth there. The band's roots grew from a band called Vice Versa. Both guitarist and synthesizer player, Mark White, and saxophonist, Stephen Singleton, were members of that group and are notable for their first ever gig being the opening act for Wire. (Not a bad way to kick off a career). After the release of an EP called "Music 4", future ABC singer Martin Fry, at the time editor of his own fanzine called Modern Drugs, interviewed the band. Shortly thereafter, they asked him to join. From the start, the band were pretty set on making 100% machine-made music. Having mega-producer Trevor Horn of The Buggles Fame, a guy affectionately nicknamed, "The Man Who Invented The Eighties" in your corner can certainly help chart a solid course for success. And did it ever. The first album, "Lexicon Of Love", went #1 in the UK, spawned innumerable imitators, featured great songs like "Look Of Love", "Poison Arrow", "Tears Are Not Enough", "Date Stamp" and others, and should be on a short list of the best albums from start to finish to come out of the 80s. From there, however, the band never ventured far from their original song-writing formula and were unable, despite some hits here and there, to duplicate the immense success of "Lexicon". In ABCs defense, not many bands could. Further, the group continued to splinter, losing members as the years went on. Drummer David Palmer left to join Yellow Magic Orchestra shortly after "Lexicon" was released. Stephen Singleton left in 1984. Remaining members Fry and White then recruited Fiona Russell-Powell (known as Eden) and David Yarritu to mitigate the departures of Palmer and Singleton. That line-up produced their biggest hit stateside with "Be Near Me". Mid-1987, ABC's album Alphabet City spawned the Top 10 hit "When Smokey Sings", a tribute to the great Motown singer, Smokey Robinson. Interestingly, Smokey was in the midst of a career resurgence for a new generation of fans and was himself firmly ensconced on the pop charts with his single "One Heartbeat" at the same time as ABC's tribute. It marked one of the only times in chart history a singer had a Top 40 hit while simultaneously being the focus of another. Not many bands can say they were responsible for coining a term that would become part of the vernacular. In an earlier CRC, I mentioned that Throbbing Gristle's Genesis P. Orridge is widely recognized to have created the "industrial" tag with the advent of his label, Industrial Music, in the mid-70s. March 27, 1982 - that's the date Vicious Pink described their music as "techno" in a feature published in Sounds magazine - almost 4 years before the term gained wider acceptance in the Detroit DJ subculture. Band members Josephine Warden and Brian Moss formed the group in 1981 in Leeds, England, getting their start as backup singers for Marc Almond and Soft Cell. Originally called Vicious Pink Phenomena, Brian describes how the name came to be: "I met [Josephine] when I was DJ at an alternative night, I put on with friends, at a pub called “The Adephi” in Leeds. I also met Dave Ball and Mark Almond there through Jose, as she went to the same College as them, Leeds Polytechnic. We decided to start a band together for a bit of fun. Jose, Dave Ball and I wrote our favourite words down on pieces of paper, turned them upside down and shuffled them about. Then we each chose one of the pieces of paper, after that we rearranged them into the name Vicious Pink Phenomena, Jose’s word was Vicious, Dave’s was Pink and mine was, well, Phenomena. It was a kind of lottery I guess, but it worked. We thought it also sounded like it could be the title for a 50’s / 60’s Science Fiction B Movie." In all, the duo would release 5 dance singles, many produced by Dave Ball of Soft Cell. Despite zero promotion and garnering next-to-no mainstream support Vicious Pink managed to chart all five of those singles in the UK. The particular track here, "Cccan't You See" was their third single and was produced by the great Tony Mansfield of New Musik fame. It was the highest charting single of the bunch, reaching #67. That's it for this episode. I'll be back soon with another. Thanks everyone and Happy Listening!

This is a continuously mixed journey through some of my favorite, classic, dancy-as-shit, new wave cuts! I expect this will be a series with at least two or three more episodes to it. Enjoy! Waving from the Future (SBW Megamix) - (42:45) The Human League - "Empire State Human" Japan - "Quiet Life (12" Mix)" Vicious Pink - "Take Me Now" Bronski Beat - "Do It" Yazoo - "Goodbye Seventies" Ultravox - "White China" Missing Persons - "Words (The Edge Extended Mix)" Fischer Z - "So Long" Siouxsie & The Banshees - "Hong Kong Garden" Alphaville - "Dance with Me" Secession - "Simon Says" ---Supreme Bunny Warlord

1. The Politics of Dancing - Re-Flex 2. Here Comes the Rain Again - Eurythmics 3. Fools (Bigger) - Depeche Mode 4. People are Still Having Sex - LaTour 5. Thinking of You (Warzone Mix) - Seven Red Seven 6. Ebeneezer Goode (Beatmasters Mix) - The Shamen 7. Doved Up - Sunscreem 8. Round & Round (The Club Mix) - New Order 9. Two Tribes (Annihilation Mix) - Frankie Goes To Hollywood 10. Living on Video - Trans-X 11. Deeper Shade of Blue (Extended) - Red Flag 12. Dust - Boxcar 13. Together in Electric Dreams (Extended) - The Human League 14. Smalltown Boy (Razormaid! Mix) - Bronski Beat 15. Leaving on a Midnight Plane (Razormaid! Mix) - Nick Straker   Notes and other random things: Well, if the new episode hadn't already tipped you off ... I'm back! Please, no applause (surely none of you applauded). It was great to get out of town for a week even though about a third of the trip was spent in the car. Yup. About 2200 miles in total. But if you've been keeping up with these podcasts you've probably come across several posts that discuss road trips. Personally, I enjoy them. There's nothing quite like watching unfamiliar scenery float by in parallax while skirting past 18-wheelers in a downpour. In all seriousness, it's nice to witness different topography, different natural wonders, different roadkill and take in the subtle differences of a McDonald's cheeseburger that was constructed in backwoods America versus that of the big city. In case you were wondering, it tastes like it has better family values ... and a dash more possum.  But the real point of taking a vacation is to come back re-energized which, if you look at the music selection in this episode, you can clearly see that I have (unless you don't know any of these songs in which case you'll have to take my word for it and then listen for yourself!) This set is positively high energy through and through with a delicate balance of 80s and 90s; major and minor keys; some meat and in one or two cases a lot of cheese (I'm looking at you, Nick Straker ... but don't think I haven't glanced more than once in your direction too, Phil Oakey). But I like cheese, which is why songs like Together in Electric Dreams and Leaving on a Midnight Plane surface in this podcast. And just so you know, Nick and Phil, I'm going to discuss you guys first to show there are no hard feelings. Nick Straker was originally the keyboardist for a band called New Musik. Formed in 1977, the band was initially called The End of the World and was conceived mainly as a casual jam session outfit for four London-based school mates: singer Tony Mansfield, bassist Tony Hibbert, drummer Phil Towner (who drummed on the Buggles MTV-launching track Video Killed the Radio Star) and Straker. The band was one of the first to blend electronic instruments with traditional ones, creating an irresistible pop sound with superb melodies and unrelenting hooks. Why they were never able to make bigger waves on the commercial scene still baffles many music critics and historians. Mansfield, however, went on to become a big-time producer working with early 80s bands like a-ha, Vicious Pink, B-52's and After the Fire among others. Straker departed New Musik before the release of their first single choosing to pursue a solo career. He scored several hits, including A Little Bit of Jazz, which reached #1 on the U.S. Hot Dance Club Play chart in 1981 and A Walk in the Park, which hit #20 on the UK Singles Chart in 1980. The track here is the excellent (and cheesy!) Razormaid! mix of Leaving on a Midnight Plane. It originally appeared on the A Walk in the Park album and peaked at #61 on the UK Singles Chart in 1980.  Together in Electric Dreams is an interesting case study in musical perception. Often associated with The Human League, the track is really a Giorgio Moroder creation with lead singer of THL, Phil Oakey, contributing vocals. It's no surprise that THL often gets most of the credit because they were still near the apex of their popularity in 1984 when the song was initially released. The track was written for the film Electric Dreams, the first full-length feature film by Steve Barron. Barron made his mark directing some pretty high-profile music videos during the early 80s, including THL's international smash hit Don't You Want Me. The funny thing is, he intended Electric Dreams as a way of capturing the massive success of Flashdance from the year before. Yes ... Flashdance! Because that film used music from Moroder, Barron decided to employ Moroder as the music director for his new film. He wanted something heart-stirring to run during the final credits and a classic 80s track was born. The song would surface on a collaborative album by Moroder and Oakey the following year. This extended version is taken from an album of THL rarities and remixes, which certainly won't help the perception that this song is not a THL original. The fact that I credited it as THL (since it was taken from a THL album) won't help either. But I'm going to do something about that Giorgio Moroder for the remainder of the write-up Giorgio Moroder. I just hope it will set the record straight Giorgio Moroder about where some of the credit should go.  I'm still planning to cover one or two more of the bands in this podcast. However, I thought I'd pass this on: it's information about the new Erasure album I hinted at in an eariler episode. The album already dropped in the UK, but for those of us stateside, the release date is Tuesday, October 11. I can't wait!   'TOMORROW'S WORLD' - STANDARD EDITION CD & DOWNLOAD The standard single CD edition is packaged in a single fold digipac with a light pink background and includes a booklet with lyrics to all the songs that also folds out into a poster. TRACKLISTING - Be With You / Fill Us With Fire / What Will I Say When You're Gone? / You've Got To Save Me Right Now / A Whole Lotta Love Run Riot / When I Start To (Break It All Down) / I Lose Myself / Then I Go Twisting / Just When I Thought It Was Ending   'TOMORROW'S WORLD' - DELUXE EDITION CD & DOWNLOAD The deluxe 2-CD edition comes in a double-fold digipac with a light purple/blue background and different artwork to the standard edition, but includes the same poster booklet. The second CD on the deluxe edition contains 8 bonus tracks; extended mixes of 'I Lose Myself' and 'Fill Us With Fire' by longtime Erasure collaborator Gareth Jones; an extra track entitled 'Give Me Life'; demo versions of the songs that eventually became 'I Lose Myself', 'Fill Us With Fire', 'Be With You' and 'You've Got To Save Me Right Now'; and producer Frankmusik's own remix of the current Erasure single 'When I Start To (Break It All Down)' TRACKLISTING CD1 - Be With You / Fill Us With Fire / What Will I Say When You're Gone? / You've Got To Save Me Right Now / A Whole Lotta Love Run Riot / When I Start To (Break It All Down) / I Lose Myself / Then I Go Twisting / Just When I Thought It Was Ending CD2 - I Lose Myself [Extended 'No Self Control' Mix by Gareth Jones] / Give Me Life [bonus track not available elsewhere] / Fill Us With Fire [Extended 'Fired Up' Mix by Gareth Jones] / When I Start To (Break It All Down) [Frankmusik Remix] / Clash (demo version of 'I Lose Myself') / Big Song (demo version of 'Fill Us With Fire') / Major 7th (demo version of 'Be With You') / Save Me (demo version of 'You've Got To Save Me Right Now')   Note as of 10-08-11: Okay, I had planned to write a bit more about some of these bands, but I just flat don't have the time. I guess if it comes down to the writing or the music, I'll err on the side of the music because that's what this podcast is really about. So, I'm going to begin work on a new podcast with the bit of free time I have and end this one here. I'm sure these bands will return in the future and I can write about them at that time. Now, I realize the irony of writing a paragraph to tell you I don't have time to write anymore on this episode, so you don't have to bother pointing that out. Hold tight for another episode coming soon! Cheers!    

1. Rio (Carnival Version) - Duran Duran 2. White Feathers - Kajagoogoo 3. We Live So Fast (Special Dance Mix) - Heaven 17 4. Always Hoping - Vicious Pink 5. Underneath the Radar (12" Remix) - Underworld 6. Photographic - Depeche Mode 7. Sex Dwarf - Soft Cell 8. Heaven is Waiting (Dance Mix) - The Danse Society 9. A Day (Remix) - Clan of Xymox 10. Dancing in Berlin (Dance Remix) - Berlin 11. Whip It - Devo 12. I Melt with You - Modern English 13. Just Like Heaven - The Cure 14. Never Say Never - Romeo Void 15. Chosen Time - New Order Special Note from DJ Tintin: While originally recorded in 2011, I re-recorded this May 28, 2017 to correct a few of the recording glitches from the original post. Since the original post, I also found a remix version of "Heaven Is Waiting" by Danse Society, which I have substituted for the album version.  Notes and other random things: Every so often, I go real old school with the old school. The multiplier makes this podcast feeble decrepit school in some ways. Everything you hear in this one is roughly 1981-1985, the exceptions being Underneath the Radar by Underworld and club/radio mainstay Just Like Heaven by The Cure. This episode begins with Duran Duran's Rio, the lead-off track for their album of the same name. The particular version here, the Carnival Version, is very similar to the original, though it contains a few more measures of instrumentation for a nice change of pace to the familiar one any retro lovers will know by heart. Stephen "Tin Tin" Duffy, known for his catchy 80s tune Kiss Me and for his band The Lilac Time, was the original vocalist for the band, though he left after a year figuring they would go nowhere. Simon Le Bon eventually became the frontman and the highly recognizable face of the group, though it's keyboardist Nick Rhodes with his flair for production and keyboard wizardry that really helped define the group's sound. An avid fine artist, he was acutely aware early on of the power that music videos could have on album sales, as any boy on the verge of his teens will recall from the early days of MTV. Though most guys at that age were taunted and teased mercilessly for listening to such flamboyant music, Duran Duran were an early guilty pleasure that found their way into my regular music rotation when I wasn't hanging out with the rabble-rousers. Speaking of Mr. Rhodes, there is a larger connection between Duran Duran and Kajagoogoo, the second band appearing in this episode, than just the beat matching. It was Nick who discovered them and persuaded them to sign with EMI records despite a bidding war among three other record labels. He also helped produce their first album, White Feathers, along with Duran Duran producer Colin Thurston (who has made several appearances here on CRC doing work for Talk Talk and others). That album contained the title track heard here. An interesting side note: Nick also produced Kajagoogoo's biggest hit, Too Shy, which went on to top the charts in 1983. The kicker is that Duran Duran wouldn't have their own number one until later to the chagrin of Nick. I'm certain there are no sour grapes as Duran Duran went on to have a much longer career when all was said and done. Over the past two episodes, the summer edition and this week's new wave edition, you may have seen and heard your fill of Modern English for a while. Both Face of Wood and now the heartbreakingly overplayed I Melt With You come from the band's second album called After the Snow. If I may say so, it is one of my all-time favorite albums. Vocalist Robbie Grey, Gary McDowell, Michael Conroy, Richard Brown, and Stephen Walker put together a sound that resonates with me more than any other: guitars, percussion, excellent vocal timbre and just the right level of keyboard accoutrements. I'm pretty sure that is the reason I fell in love with New Order and mid-80s The Cure as well. Produced by Hugh Jones, who did a lot of work with Echo and the Bunnymen, and released in 1983, After the Snow has great melodies, lovely arrangements and every song hits the sweet spot. And though I Melt With You was re-recorded and re-issued in '90, used in a Burger King ad, a Hershey ad, a Ritz ad, a Taco Bell ad and in cover form by Nouvelle Vague for automaker GMC, and overplayed on 80s flashback radio shows everywhere, if you can somehow transport yourself back in time and try to remember how you felt when you first heard it, you'll recall just how amazing this song still is. A little Modern English trivia: The band formed in Colchester, Essex in 1977 and were originally called The Lepers. Thankfully that didn't stick. Heaven is Waiting from Danse Society represents the pinnacle of the band's early output. Kind of like B-Movie, they suffered from poor timing, ill-conceived decisions from label management and never really were able to capitalize on momentum. While recording the material for the Heaven is Waiting album, the guys sought to work with Ian Broudie, who produced for Echo and the Bunnymen, had his own band Care and later went on to form The Lightning Seeds. Anyway, Ian had other projects in the works and the band instead teamed up with Nigel Gray, who had worked with the Police and Siouxsie and the Banshees. It should have been a good fit, but Gray apparently had a rigid schedule consisting of 10am -5pm sessions. The problem was that even if a session was going well, he would call it a day at 5pm. The result was an album that, according to keyboardist Lyndon Scarfe, "was dull, lifeless, uninspired, and depressed the shit out of us." While the guys did eventually hook up with Brodie to retool the tracks, their Arista label decided to release the Stones cover 2000 Light Years from Home as their third single, something the band fought adamantly to prevent. Despite a video and a huge promotional push, the single failed to chart and it thus began their ultimate demise. Shame, really.  As founder of 415 Records, Howie Klein brought bands like Wire Train, Translator, Until December and Red Rockers to the fore. He later went on to become the President of Reprise Records from 1989 until 2001. In this episode, you'll hear one of the ultimate sexual equivocations from the 80s in the track Never Say Never by Romeo Void, another one of Klein's finds. Lead singer Deborah Iyall is Native American and if anyone could look less like how she sounds, Deborah would certainly qualify with her half-spoken, half-sung style. Though Romeo Void disbanded in 1985, she did a couple of solo albums and, having teamed up with songwriter Peter Dunne, is still performing live today, though they haven't quite generated the buzz that she and her band did in 1982 with this tune. That's all for this episode. As always, if you like any of the music you hear, please support the artists. Oh, and in case you were wondering, the image above is from artist Patrick Nagel. His iconic work appeared on the cover of the Rio album by Duran Duran, though an alternate image was used on the 2001 limited edition remastered version. Nagel died in 1984 at the young age of 38. He was found dead in his car after suffering an apparent heart attack. Ironically, he had earlier participated in a 15-minute celebrity Aerobathon to support the American Heart Association.  So, on that happy note ... but I'll be back again soon with another episode, so there's that! Thanks again to everyone for your continued support.      

1. What Time is Love? (LP Mix) - The KLF 2. Make it Mine (v 1.0 Progress Mix) - The Shamen 3. Blue Eyed Pop (S1000 Mix) - The Sugarcubes 4. Love Baby - Fortran 5 5. Break 4 Love (Razormaid! Mix) - Raze 6. The Beginning (Roundabout Mix) - Seal 7. Walking Away (S.M.D. Mix) - Information Society 8. Don't Tell Me (Dance Remix) - Blancmange 9. Snappy (12" Remix) - Erasure 10. Beat of Life - Anything Box 11. Je T'aime (Extended Mix) - Vicious Pink 12. Bitter Heart (Razormaid! Mix) - Seona Dancing 13. Regret (The Fire Island Mix) - New Order 14. So Weit Wie Noch Nie (Erlend Oye Mix) - Jurgen Paape 15. The Caterpillar (Flicker Mix) - The Cure   Notes and Other Random Things:  Happy Memorial Day Weekend to all my US listeners and happy regular weekend to everyone else around the globe. The occasion here in the states marks a time of sun, friends, family, icy beverages and plumes of smoke wafting from the grills and barbeque pits of backyards everywhere. But it also marks a time of quiet reflection and giving thanks to the men and women in the Armed Forces who have served our country and have, in some cases, given their lives to protect our shores. It is thanks to their bravery and their willingness to put everything on the line that the rest of us have the freedom to over-eat, get sloppy drunk and moon my television while screaming obscenities at whichever NASCAR event happens to be on. Oh, don't tell me you haven't done it. Anyway, even though it doesn't seem like nearly enough, a heartfelt "Thank You" to all those in uniform. Heroes - all of you. On such a patriotic day for us in the states, and with my being one of its inhabitants, I almost feel guilty including songs with foreign lyrics like Vicious Pink's French-inspired Je T'aime and Jurgen Paape's So Weit Wie Noch Nie. The latter song includes samples from an artist named Daliah Lavi, whose lyric appears in a 1972 track called Vielleicht Schon Morgen. Mind you, I have nothing against the French and the Germans. One makes great fries and the other exceptional gummy bears. It's just that on a day like today, I somehow feel like the whole podcast should be nothing but John Philip Sousa samples sprinkled into a mash-up of The National Anthem and Take Me Out to the Ball Game, you know? But because none of those are 80s tunes (or 90s tunes for that matter) that would never happen. Of course, considering that this podcast sort of strayed from a typically unwavering adherence to the 80s & 90s theme anyway, I suppose I could have chosen that path. For instance, the Jurgen Paape track is actually a 2002 release. It just fit so well with New Order's Regret that I couldn't resist. Also, astute listeners will hear an MC5 sample right at the beginning of the KLF track What Time is Love? Yeah, that's lead singer Rob Tyner screaming, "Kick out the jams, M0+#er Fu(k=r!" And if you listen closely and know well your old people music, you will hear a number of other samples including a highly recognizable "1 ... 2 ... 3 ...4" from the Beatles in the remix of Make it Mine by The Shamen; and "It is time ..." a chopped up sample from Chrissy Hynde of The Pretenders in the track Love Baby by Fortran 5. The original lyric appeared in the song Stop Your Sobbing. Back to the KLF … James Cauty and William Drummond have appeared in an earlier episode of CRC. At that time, I mentioned how musically irreverent they were and how glaringly insubordinate they were to the music industry as a whole. It seemed as if everything they did was merely to get a reaction out of the public or to challenge the accepted definitions of art. One read of their hilarious and very tongue-in-cheek book How to Have a Number One the Easy Way will support that notion, but it doesn’t mean they didn’t pen some very infectious and highly danceable tracks in the process. What Time is Love?, despite dripping with mid-range frequencies, is one of them. Now, pay attention because here are some names that you should know as they helped make the song what it is: Isaac Bello: he’s the guy who does the rapping in the song. Wanda Dee: she’s responsible for the “I wanna see you sweat” lyric And then there are P.P. Arnold and Katie Kisson, who yell “Mu Mu!” at various intervals. How’s that for a resume builder? The Sugarcubes make their second appearance on CRC with the excellent remix of Blue Eyed Pop. As most Bjork fans know, the Icelandic collective is where the pint-sized pop star first gained international acclaim, though she had been involved in music from a very young age, even recording her first album at age 11. She has also had a brilliant solo career and contributed vocals to the song QMart on the 808 State album Ex:el. This mix of Blue Eyed Pop was done by S1000. The DJ/production duo consisted of Mike Koglin and Spencer Williams. Koglin has gone on to become a very prominent trance DJ and producer these days, running his own record imprint called Noys Music. To those younger listeners with a larger familiarity with the trance scene, he had a huge club hit in 1998 with a track called The Silence, which was a reworking of Depeche Mode’s Enjoy the Silence.  Raze were conceived by American producer Vaughn Mason with singer Keith Thompson contributing vocals. Though Break 4 Love was released in 1988, Thompson also did the vocal honors on a track called Jack the Groove in 1986. That song was one of the very first house music chart topping tracks in the UK, creeping into the top 20 at one point. The Pet Shop Boys and Peter Rauhofer, who also performed under the name Club 69, did a cover of Break 4 Love in 2001. Using the name The Collaboration, the track appears on the bonus disc of the album Release and as a b-side to the second disc of their single Home and Dry. The Razormaid! version here is pretty filthy at points, thus the Explicit tag on this podcast. It’s a pretty muddy, steamy affair anyway, but some of the samples might make you squirm a bit if you’re within earshot of your parents while listening. Why on earth you would put yourself into that predicament anyway is beyond me. Then again, as the guy who just admitted he moons his television, I probably don't have much room to judge. You probably don’t want to play this one around your kids either, unless you’re prepared to answer a LOT of questions. Information Society have appeared on CRC several times in the past and they will appear again in the future. I’ll let the band themselves tell you about this particular track. I’m still trying to figure out what S.M.D. stands for. “This was the 2nd single released off the ‘first’ album. It did almost as well as What's On Your Mind, getting to #9 in the top 40 in the fall of '88. The video got a lot of MTV airplay. We had a big problem with this one in the studio. When we were mixing, and we got to the vocals, they sounded distorted in a very strange manner. Of course, the first thing we did was to solo the vocals to hear what was wrong with them. Then we couldn't hear anything wrong with them, so we shook our heads and went back to mixing. Then they sounded distorted again. Only WITH the tracks did they sound distorted. Eventually we realised that the super-heavy TR-808 kick drum sound was creating the ILLUSION of distortion in the vocals, similar to the effect of talking into a fan. We had to remove the super-sub-kick during the vocals sections.” They went on to say, “It was on this single that we began to realise how little control a band, especially a dance band, really has over its re-mixes. We rejected the Shep Pettibone mix outright. It went on the CD anyway. We really didn't like the "The Space Age" samples in the Space Age mix, they stayed.” Hmmmm. I think I’m getting some pretty good ideas about what the S, M, and the D might stand for now! Erasure are no stranger to this podcast nor will they ever be with the sheer volume of catchy dance tracks Andy Bell and Vince Clarke have cobbled together over the twenty-plus years they have been together. Snappy is the b-side to the song Chorus, which appeared on the album of the same name. This 12” mix was produced by uber-producer extraordinaire Martyn Phillips. Fans of Erasure (and Depeche Mode for that matter) might be interested to know that an album collaboration between Vince Clarke (an original member of DM) and Martin Gore is forthcoming. On August 27th of last year, Clark shared via Twitter that he and Gore had recorded a track called “Zaat”, which was to appear on the next Erasure album. The two apparently had enough creative energy together to crank out a full-length. As far as I know, no dates have been set for either release at this point. Last, but not least, I wanted to write a few words about Seona Dancing (pronounced like Shawna). The knowledge has gained a bit of traction with the success of The Office in the UK and all his other pursuits, but Seona Dancing was the musical outlet for one Ricky Gervais when he was but a skinny little gothy/new wavy-looking kid back in the day. They had two single releases: this song and one called More to Lose, but after both achieved only modest (and apparently unofficial) chart positioning, he and friend/bandmate Bill Macrae decided to call it a day in 1984. Gervais is certainly not regretting that move, though any lovers of 80s electronica might beg to differ. As a side note, if you have small kids, do yourself a favor and don't let them listen to Break 4 Love. Did I already say that? In all seriousness though, get Ricky's excellent Flanimals series of children’s books. I happened to pick up the first one a few days ago and it’s really quite funny. It’s a brief biography of a bunch of non-sensical creatures with non-sensical names along with descriptions of their habits and behavioral traits. It’s a very entertaining read, I must admit. I also must admit I think I bought it more for myself than for anyone else. Hey, I do an 80s podcast. What kind of maturity level do you think you’re dealing with here? Thanks to everyone for listening. I hope to be back again soon with another episode. In the meantime, enjoy this one and be sure to support the artists you like. Without their efforts, none of this is possible.