Podcasts about Ziggy Stardust

David Bowie's immensely successful follow-up to Ziggy Stardust - if you only judge it by how famous the album cover is - is a bizarre story about a Ziggy disciple touring America and musing about what he sees. Maybe. Do the theater kids agree? Well find out as they talk about what might be one of Bowie's most theatrical albums, Aladdin Sane!Originally recorded December 8, 2024.

We're back again to review a classic album that we previously knew very little about. This time around it's David Bowie's “The Rise and Fall of Ziggy Stardust and the Spiders From Mars.” How did hosts E and Tank find their first experience with Bowie? Watch and find out!What album have you just never got around to listening to? Let us know in the comments. Listen to “The Rise and Fall of Ziggy Stardust and the Spiders from Mars” for yourself.Watch previous episodes. Please like/follow/subscribe to The Extended Play Podcast.

De ses débuts comme acheteur pour Champs Disques, disquaire culte de l'avenue des Champs-Elysées dans les années 1970-1980, à la dernière fashion week parisienne, où il a créé les bandes-son pour les collections de pas moins de six marques, Michel Gaubert s'est imposé comme l'un des illustrateurs sonores les plus célèbres de la planète. Cet expert du son a mis en musique plus de 1 800 défilés Chanel, aux côtés de son ami Karl Lagerfeld, et collaboré avec de nombreuses grandes maisons. Il retrace cette odyssée musicale dans une autobiographie, « Remixed » (Fayard, 22,90 €), qui vient de sortir.Il nous reçoit chez lui, dans son appartement-studio du 16e arrondissement de Paris, avec vue sur la rue, où se côtoient une œuvre du plasticien Cyprien Gaillard, un fauteuil d'Harry Bertoia, « trop confortable » avec son ottoman, et une photographie de Willy Vanderperre pour Margiela. L'illustrateur sonore nous fait découvrir sa bibliothèque et son « bureau secret » : sa « caverne d'Ali Baba », où s'empilent CD et vêtements, où il écoute de la musique et commence les montages.Dans cet épisode du « Goût de M », Michel Gaubert raconte ses nuits à mixer derrière les platines du Palace, club mythique des nuits parisiennes des années 1980, son admiration pour David Bowie et son personnage de Ziggy Stardust, ou encore cette drôle de nuit de 1990, où Karl Lagerfeld l'appelle et lui demande de changer la musique pour le défilé du lendemain alors qu'il a « un somnifère dans les gencives ». Au cœur d'un monde où musique et mode sont intrinsèquement liées, les souvenirs de Michel Gaubert voient défiler les grands de ces deux univers.Cet épisode a été publié le 23 mai 2025.Depuis six saisons, la journaliste et productrice Géraldine Sarratia interroge la construction et les méandres du goût d'une personnalité. Qu'ils ou elles soient créateurs, artistes, cuisiniers ou intellectuels, tous convoquent leurs souvenirs d'enfance, tous évoquent la dimension sociale et culturelle de la construction d'un corpus de goûts, d'un ensemble de valeurs.Un podcast produit et présenté par Géraldine Sarratia (Genre idéal), préparé avec l'aide de Diane Lisarelli et de Juliette SavardRéalisation : Anaïs ReinhardtMusique : Gotan Project Hébergé par Audion. Visitez https://www.audion.fm/fr/privacy-policy pour plus d'informations.

This week we start our first of a two part dive into the music of David Bowie! This episode features Hunky Dory, The Rise and Fall of Ziggy Stardust and the Spiders from Mars, and Young Americans.

Sie schlagen eine Brücke zwischen Tik Tok und den tragischen Helden unserer Väter: Die Indie-Rocker Car Seat Headrest haben es unter dem Einfluss von Tommy, Ziggy Stardust und The Wall gewagt, eine Rockoper fürs neue Jahrtausend zu machen. Pomp! Überlänge! Drama! Genau so verbindet man Generationen.

Beaucoup aujourd'hui regrettent les années 2000. C'est drôle quand on sait qu'on en rêvait depuis les années 50 mais pas pour les mêmes raisons. La preuve ? Les années 2020, c'est nettement moins bien. Car vous savez ce qu'il y avait de bien dans les années 2000 et qu'il n'y a plus maintenant ? Déjà on pouvait envoyer un Bzzz sur MSN pour réveiller celui ou celle avec qui on discutait mais qu'on sentait distrait, parce qu'il répondait pas. Alors on faisait trembler son ordi. Vous vous souvenez ? Essayez avec Whatsapp, y a pas !Mais bon, plus sérieusement, à cette époque où Star Wars n'avait pas encore été acheté par Disney, franchement on nous l'aurait dit, c'était un truc à mettre dans un sketch, mais bref, dans les années 2000, on a eu Astérix Mission Cléopâtre, Gladiator, Les Seigneur des anneaux, Harry Potter, Pirates des Caraïbes, Love Actually et autres Batman de Christopher Nolan. Et Daniel Craig qui ressuscite James Bond. Bref, de très bonnes raisons d'aller au cinéma. Et puis, qu'on ait 15 ou 30 ans, le lendemain au boulot ou dans la cour de récré, tout le monde avait vu les nouveaux épisodes de Charmed ou de Desperate Housewives. Pourquoi ? Parce que tout le monde regardait les mêmes trois, quatre chaînes de télé. Allez-y aujourd'hui. Vous avez déjà fait le test de vous écrier “Et vous avez vu la nouvelle série ?” et de ne recevoir en retour que des yeux en forme de points d'interrogation, avant de comprendre que vous le ou la seule abonnée à ce site. Et que même ça vous vaut des regards méprisants d'envie. Si, parfois.Et puis, y avait Brice de Nice à la télé. Et la StarAc. Là, c'était sûr que tout le monde avait regardé. Bien sûr, il y avait les pour et les contre. Ceux qui trouvaient ça chouette de retrouver de grandes communions populaires autour de la chanson, alors la disparition des émissions de variétés. Et ceux qui se lamentaient ou se fâchaient sur cette télévision réalité qui sortaient des artistes de nulle part, sans expérience, et les transformaient en stars du jour au lendemain. Mais bon, on allait quand même y chanter car il faut bien vendre le nouveau disque. Enfin, c'est l'occasion que ces années 2000 ont porté de solides nouveaux noms. Dont des étranges. Tenez ce gars qui avait une coiffure reconnaissable de loin comme Jamiroquaï. Ben oui, M. Comme Mathieu Chédid mais M c'est un personnage qu'il s'invente pour se donner en spectacle sur scène, un art qu'il maîtrise avec une vraie musique organique, du funk et du rock, en français. C'est le Ziggy Stardust de David Bowie version Millenium et francophone, évidemment, et une occasion, si pas un espoir, la musique et la création font encore et toujours bon ménage.

Ziggy Stardust er et koncept album om en androgyn og extravagant rockstjerne, der kommer fra en fjern planet og bringer meddelelser fra rummet til menneskeheden. Der ud over handler det om Ziggys opstigen til berømmelse, hans succes og hans fald. Det er en vildt spraglet historie, spækket til randen med usædvanligt gode numre, der fint … Læs videre "Ziggy Stardust"

Dans les hauts de Belleville, à Paris, dans un immeuble des années 1960, Jeanne Cherhal habite un appartement « sans moulures ni fioritures ». Dans son « cocon en étage élevé », la chanteuse nous accueille parmi ses « objets bienveillants ». Dans la cuisine, une affiche du film « Jules et Jim », avec l'actrice Jeanne Moreau qu'elle adule, et une autre de David Bowie, Ziggy Stardust étant un de ses albums de chevet. Dans une autre pièce, elle s'amuse d'une tasse blanche qu'elle a volée dans un hôtel de Bretagne et qui lui rappelle un bon concert qu'elle avait fait la veille. Au milieu de valises éparpillées en vue d'un prochain voyage, Jeanne Cherhal raconte la formation de son goût.Elle a grandi près de Nantes avec ses deux sœurs, son père plombier, « attentif à ne pas gaspiller l'eau », et une mère institutrice, « passionnée de théâtre, de cinéma et de littérature ». Dans l'enfance, Jeanne Cherhal pratiquait la danse classique, mais c'est finalement la musique qui l'a emporté. Elle apprend le piano en autodidacte, en reprenant note à note l'album « Sheller en solitaire », sorti en 1991. Parmi les figures qui ont marqué son adolescence, elle désigne aussi Alain Souchon, Patricia Kaas, Kurt Cobain, Véronique Sanson…C'est après avoir assisté à la prestation émouvante d'un chanteur de bar avec accordéon qu'elle se décide à écrire elle-même ses propres chansons sur un petit clavier électronique, alors qu'elle étudiait la philosophie à l'université. Jeanne Cherhal évoque aussi son septième album, « Jeanne », qu'elle a écrit et réalisé avec son complice Benjamin Biolay. Après avoir percé dans la chanson française au début des années 2000, l'artiste de 47 ans continue, au piano, d'aborder des thèmes comme la vie, la féminité, le temps qui passe, l'époque post-MeToo, les rapports homme-femme, le couple et le désir.Cet épisode a été publié le 18 avril 2025.Depuis six saisons, la journaliste et productrice Géraldine Sarratia interroge la construction et les méandres du goût d'une personnalité. Qu'ils ou elles soient créateurs, artistes, cuisiniers ou intellectuels, tous convoquent leurs souvenirs d'enfance, tous évoquent la dimension sociale et culturelle de la construction d'un corpus de goûts, d'un ensemble de valeurs.Un podcast produit et présenté par Géraldine Sarratia (Genre idéal), préparé avec l'aide de Diane Lisarelli et de Juliette SavardRéalisation : Emmanuel BauxMusique : Gotan Project Hébergé par Audion. Visitez https://www.audion.fm/fr/privacy-policy pour plus d'informations.

Hablamos de la canción «Moonage Daydream», de David Bowie, con el cantante y compositor Héctor Gerónimo como invitado. 'Cancionero' es una serie de miniepisodios que recupera los mejores momentos de 'Disco prestado' destacando alguna de las canciones que hemos comentado en el pódcast. Escucha el comentario completo del disco 'The Rise and Fall of Ziggy Stardust and the Spiders From Mars' en cualquier plataforma de audio, o mediante estos enlaces: SPOTIFY: https://open.spotify.com/episode/7fYfKW3laDvlr57B3C5yQD?si=85ab686289234ceb IVOOX: https://go.ivoox.com/rf/111908468 APPLE PODCASTS: https://podcasts.apple.com/us/podcast/1-6-ziggy-stardust-de-david-bowie-con-h%C3%A9ctor-ger%C3%B3nimo/id1672847595?i=1000619589149 WEB: https://marcaliana.com/david-bowie-ziggy-stardust-enlaces ¡Salud y buena música! Marc Aliana http://marcaliana.com

Send us a message, so we know what you're thinking!Why do you like the music you do?  Is it as simple as “It's what I heard on the radio”? Or something deeper? People with elder siblings may be exposed to music earlier than first children.   Jeff had an older brother, so was exposed earlier to cool music - Beatles, Janis, Hendrix, and so on.  Mick was the eldest in his family and had to find his own taste. (No surprise considering what he listens to!) Were you bullied as a child?  Influence!  Did you share music with your friends?  Influence!  Did you have access to a good radio station?  Or print media?  Influence!! We talk about our early influences – musical & otherwise – and look at how they played a role in what we listen to today.    In Rock News, Ringo has released a country album, and Toto is touring.  Oh well, shouldn't take them long to play their 3 hits. You know Jeff's obsessed with AI, so he asked three AI brands to nominate the greatest albums of 1971.  Not much variation, really.  One day, we may ask them to understand quality, rather than sales figures, and see what they give us.    Our Album You Must Listen to Before you Die is “Blue” by Joni Mitchell - an top grade album that deserves to be here.  Mick references Atlantic Records' sampler called “Very Together” which featured “Carey” from this album, and pointed out a link between Joni Mitchell and Scottish hard rock band, Nazareth. How did YOUR tastes develop?  Drop us a line & let us know. Enjoy! References:  RAM Magazine, Rock Australia Magazine, Countdown, Molly Meldrum, 2DoubleJay, The Magus/Holger Brockman, Chris Winter, Mac Cocker, “Never Mind the Bollocks”, The Sex Pistols, The Rise and Fall of Ziggy Stardust and the Spiders from Mars, David Bowie, “Five Years”, “Room to Move”, Chris Winter, “Starman”, “Rock'n'roll Suicide”, Birdland, Weather Report, Joe Zawinul, Brian Eno, “Another Green World”, “Zawinul Lava”, “Rock'n'Roll Animal”, Lou Reed, Steve Hunter, “Sweet Jane”, “Heroin”, “Rock'n'Roll”, Berlin, Alice Cooper, Velvet Underground, Peter Gabriel, “Car”, “Stranded”, Roxy Music, Bryan Ferry, “Song for Europe”, “Street Life”, “Psalm”, Sisters of Mercy, XTC, Nico, REM, Television, Patti Smith, “Sgt Pepper's Lonely Heart Club Band”, The Beatles, "Within You Without You”, “Tomorrow Never Knows”, Bob Dylan's Greatest Hits, Like a Rolling Stone”, Revolver, Bridge Over Troubled Water, Simon and Garfunkel, Pearl, Janis Joplin, Tapestry, Carole King, Slade Alive, Hot August Nigh”, “Goodbye Yellow Brick Road”, “Dark Side of the Moon”, “Led Zeppelin IV”, “Silk Degrees”, Box Scaggs, “Journey to the Centre of the Earth”, Rick Wakeman, “Woodstock”, “Monterey Pop”, “The Song Remains the Same”, “The Last Waltz”, The Guitar Spa, Redeye Records, John Foy, bootleg records, “His Master's Voice”, “Sheetkeeckers”, Australian electronica/dance music store, Hipgnosis, Pink Floyd, Peter Gabriel, Regurgitator, “I like your old stuff better than your new stuff", DeepSeek, ChatGPT, Google Gemini, Blue, Joni Mitchell, Henry Lewy, “Very Together”, “This Flight Tonight”, Nazareth  Episode Playlist  The first song played by 2DoubleJay - “You Just Like Me ‘Cos I'm Good in Bed” 

On today's show: We connected with the University of Calgary's trade expert Carlo Dade to hear what our neighbor's new trade policy could mean for both Canada and the global economy; With all this talk of accessing new markets for Canada's exports, we heard from a local researcher who has spent years studying the idea of energy corridors; The epic rock opera and high concept album "The Rise and Fall of Ziggy Stardust and the Spiders from Mars" will fill the Jack Singer Concert Hall tonight, and we spoke to a guitarist ready to rock out.

In 2000, “John Titor” claimed to be a soldier from 2036—but leaked NSA docs suggest he was a CIA experiment to test disinformation tactics. This episode tracks Titor's IP to a Langley server, decodes his “2036 prophecies” as Cold War nuclear codes, and exposes the actor hired to play him. Featuring deepfake audio of Titor's “mother” admitting, “He's a character, like Bowie's Ziggy Stardust.”

In this episode, we talk to singer/songwriter/multi-instrumentalist Rocket Stahr about his great animated rock opera Death Of A Rock Star. If you are into Glam Rock, 70s Rock, and Theater Rock, this episode is for you!

Musicians recount the strange and unexpected story behind the making of your favorite albums. David Bowie finally locked in on a way to connect with the record buying public - by transforming himself into an alien savior / fame monster. The guys continue their 200th episode celebration and talk about unintelligible but cool lyrics, the melodic bass of Trevor Bolder, and those persistent sharp 4th notesBuy a copy of The Beverly Crushers "Enterprise" (Rob and Tom's new album) and have a chance to pick what album we cover next Join our Mailing List here: https://linktr.ee/1001albumcomplaintsEmail us your complaints (or questions / comments) at 1001AlbumComplaints@gmail.comListen to our episode companion playlist (compilation of the songs we referenced on this episode) here:https://open.spotify.com/playlist/4WZR9SJmpBnZljWNej5BQm?si=dbd81bad8a034df1Listen to Ziggy Stardust here:https://open.spotify.com/album/48D1hRORqJq52qsnUYZX56?si=ClTGG7-sR7Kr3LH1nzmDlQIntro music: When the Walls Fell by The Beverly CrushersOutro music: After the Afterlife by MEGAFollow our Spotify Playlist of music produced directly by us. Listen and complain at homeFollow us on instagram @thechopunlimited AND @1001AlbumComplaintsJoin us on Patreon to continue the conversation and access 30+ hrs of bonus shows!https://www.patreon.com/1001AlbumComplaintsWe have 1001 Merch! Support us by buying some.US Merch StoreUK Merch StoreNext week's album: The Sex Pistols - Nevermind the Bollocks

Musicians recount the strange and unexpected story behind the making of your favorite albums. David Bowie wanted to be a star. It took a few tries but after changing his name and shaving his eyebrows off, he finally made it. The boys celebrate a big milestone episode and discuss methods for learning vocal harmony, ancient Egyptian religions, and vocal cord rupturing single takes,Buy a copy of The Beverly Crushers "Enterprise" (Rob and Tom's new album) and have a chance to pick what album we cover next Submit your snarky tweet about "Enterprise" hereJoin our Mailing List here: https://linktr.ee/1001albumcomplaintsEmail us your complaints (or questions / comments) at 1001AlbumComplaints@gmail.comListen to our episode companion playlist (compilation of the songs we referenced on this episode) here:https://open.spotify.com/playlist/32VqnBD5EYWflsreOc7YVs?si=db867ef7a24c4a80Listen to The Rise and Fall of Ziggy Stardust and the Spiders from Mars here:https://open.spotify.com/album/48D1hRORqJq52qsnUYZX56?si=5xRs7WweRdaGwa07QsmxMQIntro music: When the Walls Fell by The Beverly CrushersOutro music: After the Afterlife by MEGAFollow our Spotify Playlist of music produced directly by us. Listen and complain at homeFollow us on instagram @thechopunlimited AND @1001AlbumComplaintsJoin us on Patreon to continue the conversation and access 30+ hrs of bonus shows!https://www.patreon.com/1001AlbumComplaintsWe have 1001 Merch! Support us by buying some.US Merch StoreUK Merch StoreNext week's album: The Rise and Fall of Ziggy Stardust and the Spiders from Mars: SIDE 2

Musicians recount the strange and unexpected story behind the making of your favorite albums. Nine Inch Nails was born from the late night studio experiments of Trent Reznor, who rocketed to stardom in the early nineties with this sonically experimental and lyrically provocative album. The boys discuss Trent's rural Pennsylvania beginnings, early ProTools workflows, and the importance of twisting up samples so as to be unrecognizableBuy a copy of The Beverly Crushers "Enterprise" (Rob and Tom's new album) and have a chance to pick what album we cover next Submit your snarky tweet about "Enterprise" hereJoin our Mailing List here: https://linktr.ee/1001albumcomplaintsEmail us your complaints (or questions / comments) at 1001AlbumComplaints@gmail.comListen to our episode companion playlist (compilation of the songs we referenced on this episode) here:https://open.spotify.com/playlist/5WMPhYkRf7F0sH6Vi3eztx?si=5c91e3592a6d472aListen to The Downward Spiral here:https://open.spotify.com/album/7a7arAXDE0BiaMgHLhdjGF?si=R2YGEMcIRPaHsW10fDBJywIntro music: When the Walls Fell by The Beverly CrushersOutro music: After the Afterlife by MEGAFollow our Spotify Playlist of music produced directly by us. Listen and complain at homeFollow us on instagram @thechopunlimited AND @1001AlbumComplaintsJoin us on Patreon to continue the conversation and access 30+ hrs of bonus shows!https://www.patreon.com/1001AlbumComplaintsWe have 1001 Merch! Support us by buying some.US Merch StoreUK Merch StoreNext week's album: David Bowie - The Rise and Fall of Ziggy Stardust and the Spiders from Mars

RockerMike and Rob Presents:Suzi RonsonSuzi Ronson (née Fussey) played a crucial behind-the-scenes role in shaping David Bowie's image during his Ziggy Stardust era. Born in England, she worked as a hairdresser in Beckenham when she first encountered Bowie and his then-wife, Angie Bowie. It was Suzi who gave Bowie the now-iconic red mullet haircut, which was inspired by a style from a Japanese fashion magazine. Impressed by her work, Bowie invited her to join his team as a personal stylist, making her the first woman to be part of his touring crew.During the early 1970s, Suzi traveled with Bowie and his band, the Spiders from Mars, styling his hair, helping with wardrobe, and supporting the overall theatrical vision of his performances. This period was one of the most visually striking and influential phases of Bowie's career.While working with Bowie, she met Mick Ronson, Bowie's lead guitarist and arranger. The two fell in love and eventually married, starting a family together. After Mick's passing in 1993, Suzi continued working in creative fields, including music production, writing, and storytelling.In recent years, she has shared her experiences from the Ziggy Stardust era through interviews and articles, giving fans a glimpse into the behind-the-scenes world of one of rock's most transformative periods. Her contributions to Bowie's image and legacy remain a vital part of his history.#SuziRonson #MickRonson#ZiggyStardust #DavidBowie#BowieStyle #GlamRock#SpidersFromMars #RockHistory#70sRock #HairAndFashion#MusicLegends #RockAndRollhttps://www.amazon.com/stores/Suzi-Ronson/author/B0CXJ9S28L?ref=ap_rdr&isDramIntegrated=true&shoppingPortalEnabled=truehttps://www.instagram.com/suzironson?igsh=Y3FobWFtNml6ZDUzhttps://www.facebook.com/share/16MPXz9Wqc/?mibextid=wwXIfrhttps://x.com/ronsonsuzi?s=21&t=Mzw5de5zsR-SDDbhyzH0Lg#classicrock #rockhistory #70smusic #musichistory #rockandroll #rocklegends

Glam rock was more than just a sound—it was a shift in how music, fashion, and identity intertwined.  We explore the rise of Glam in the early ‘70s, with David Bowie as its central figure. Through alter egos like Ziggy Stardust and the Thin White Duke, Bowie use theatricality, androgyny, and science fiction themes to push the boundaries of rock music and stardom.  But Glam wasn't just Bowie. UK Artists like T. Rex and Slade, and Americans like Lou Reed and Alice Cooper each brought their own take, blending rock with elaborate visuals and a playful disregard for traditional norms.  Glam faded after a few short years, but its influence is lasting. Glam style and attitude reappear, over and over, in Rock Music.  Producer and Host: Christian Swain  Head Writer: Richard Evans  Sound Designer: Jerry Danielsen Learn more about your ad choices. Visit megaphone.fm/adchoices

No musician is more closely associated with London or left more footprints than Bowie, and you can trace its influence on his life and work (and vice versa) through a series of landmarks from the suburbs to the centre. Author and curator Paul Gorman has just published an annotated street-map – David Bowie's London - listing the places that played a formative role in his world and music, the places he rehearsed, performed, filmed and recorded, the homes of friends and managers, his schools and the addresses where he lived, worked and was photographed, made connections, bought clothes and generally raised the temperature. We talk here about many of those old haunts and the stories attached to them, which include… … mysterious manager Ralph Horton who got him to change his name to Bowie and then vanished from the face of the earth. … the fate of Heddon Street, home of K-West and the Ziggy phone-box.  … Marc Bolan refusing to let him sing at an all-night benefit at Middle Earth. … “the Fairy Godmother of the New Romantics” at the WAG Club. … when Lionel Bart came to Haddon Hall. … Bowie and Steve Marriott auditioning for the Lower Third. … how he levered his way into a Fabulous magazine fashion shoot. … “the end of the age of Showbiz”: performing Chim Chim Cher-ee at the Marquee when at a crossroads between rock and roll and cabaret. … the magical piano at the Trident Studios. … a chance encounter with the otherworldly Vince Taylor whose ‘UFO map' helped inspire the concept of Ziggy Stardust. … the legend of Mr Fish, creator of the man-dress on the cover of The Man Who Sold The World. … the days when people had a white Rolls Royce and matching Alsatian – and “the Great Sarong Scare of the ‘90s”. … and various fringe figures including his art teacher Owen Frampton, Konrads agents Bob Knight and Eric Easton, muse and heartbreaker Hermione Farthingale, producers Shel Talmy and Tony Hatch (“the original Mr Nasty from Opportunity Knocks”) and slum landlord and racketeer Peter Rackman. Order Paul's street-map here:https://www.amazon.co.uk/David-Bowies-London-Paul-Gorman/dp/1068523476Find out more about how to help us to keep the conversation going: https://www.patreon.com/wordinyourear Get bonus content on Patreon Hosted on Acast. See acast.com/privacy for more information.

No musician is more closely associated with London or left more footprints than Bowie, and you can trace its influence on his life and work (and vice versa) through a series of landmarks from the suburbs to the centre. Author and curator Paul Gorman has just published an annotated street-map – David Bowie's London - listing the places that played a formative role in his world and music, the places he rehearsed, performed, filmed and recorded, the homes of friends and managers, his schools and the addresses where he lived, worked and was photographed, made connections, bought clothes and generally raised the temperature. We talk here about many of those old haunts and the stories attached to them, which include… … mysterious manager Ralph Horton who got him to change his name to Bowie and then vanished from the face of the earth. … the fate of Heddon Street, home of K-West and the Ziggy phone-box.  … Marc Bolan refusing to let him sing at an all-night benefit at Middle Earth. … “the Fairy Godmother of the New Romantics” at the WAG Club. … when Lionel Bart came to Haddon Hall. … Bowie and Steve Marriott auditioning for the Lower Third. … how he levered his way into a Fabulous magazine fashion shoot. … “the end of the age of Showbiz”: performing Chim Chim Cher-ee at the Marquee when at a crossroads between rock and roll and cabaret. … the magical piano at the Trident Studios. … a chance encounter with the otherworldly Vince Taylor whose ‘UFO map' helped inspire the concept of Ziggy Stardust. … the legend of Mr Fish, creator of the man-dress on the cover of The Man Who Sold The World. … the days when people had a white Rolls Royce and matching Alsatian – and “the Great Sarong Scare of the ‘90s”. … and various fringe figures including his art teacher Owen Frampton, Konrads agents Bob Knight and Eric Easton, muse and heartbreaker Hermione Farthingale, producers Shel Talmy and Tony Hatch (“the original Mr Nasty from Opportunity Knocks”) and slum landlord and racketeer Peter Rackman. Order Paul's street-map here:https://www.amazon.co.uk/David-Bowies-London-Paul-Gorman/dp/1068523476Find out more about how to help us to keep the conversation going: https://www.patreon.com/wordinyourear Get bonus content on Patreon Hosted on Acast. See acast.com/privacy for more information.

No musician is more closely associated with London or left more footprints than Bowie, and you can trace its influence on his life and work (and vice versa) through a series of landmarks from the suburbs to the centre. Author and curator Paul Gorman has just published an annotated street-map – David Bowie's London - listing the places that played a formative role in his world and music, the places he rehearsed, performed, filmed and recorded, the homes of friends and managers, his schools and the addresses where he lived, worked and was photographed, made connections, bought clothes and generally raised the temperature. We talk here about many of those old haunts and the stories attached to them, which include… … mysterious manager Ralph Horton who got him to change his name to Bowie and then vanished from the face of the earth. … the fate of Heddon Street, home of K-West and the Ziggy phone-box.  … Marc Bolan refusing to let him sing at an all-night benefit at Middle Earth. … “the Fairy Godmother of the New Romantics” at the WAG Club. … when Lionel Bart came to Haddon Hall. … Bowie and Steve Marriott auditioning for the Lower Third. … how he levered his way into a Fabulous magazine fashion shoot. … “the end of the age of Showbiz”: performing Chim Chim Cher-ee at the Marquee when at a crossroads between rock and roll and cabaret. … the magical piano at the Trident Studios. … a chance encounter with the otherworldly Vince Taylor whose ‘UFO map' helped inspire the concept of Ziggy Stardust. … the legend of Mr Fish, creator of the man-dress on the cover of The Man Who Sold The World. … the days when people had a white Rolls Royce and matching Alsatian – and “the Great Sarong Scare of the ‘90s”. … and various fringe figures including his art teacher Owen Frampton, Konrads agents Bob Knight and Eric Easton, muse and heartbreaker Hermione Farthingale, producers Shel Talmy and Tony Hatch (“the original Mr Nasty from Opportunity Knocks”) and slum landlord and racketeer Peter Rackman. Order Paul's street-map here:https://www.amazon.co.uk/David-Bowies-London-Paul-Gorman/dp/1068523476Find out more about how to help us to keep the conversation going: https://www.patreon.com/wordinyourear Get bonus content on Patreon Hosted on Acast. See acast.com/privacy for more information.

February 10, 1972. When his music career begins to stagnate, David Bowie reinvents himself with an alien alter-ego he names Ziggy Stardust.You can listen ad-free in the Wondery or Amazon Music app. Or for all that and more, go to IntoHistory.comHistory Daily is a co-production of Airship and Noiser.Go to HistoryDaily.com for more history, daily.See Privacy Policy at https://art19.com/privacy and California Privacy Notice at https://art19.com/privacy#do-not-sell-my-info.

February 10, 1972. When his music career begins to stagnate, David Bowie reinvents himself with an alien alter-ego he names Ziggy Stardust.Support the show! Join Into History for ad-free listening and more.History Daily is a co-production of Airship and Noiser.Go to HistoryDaily.com for more history, daily.See Privacy Policy at https://art19.com/privacy and California Privacy Notice at https://art19.com/privacy#do-not-sell-my-info.

By the time that Led Zeppelin was releasing their sixth studio album, they were solidly on top of the rock pantheon.  They had just switched to Swan Song Records, their own label, and had plenty of time to create this double album work, Physical Graffiti.  They had three sides-worth of new songs largely recorded at Headley Grange in Hampshire in early 1974, and they expanded it to a double album by including unreleased tracks from sessions for their previous three albums.  Physical Graffiti went to number 1 on the UK chart and number 3 on the US charts immediately.  They had planned to release the album in November 1974, but delays in producing the album's sleeve design pushed it back to February 1975.  Demand was so strong that it became the first album to go platinum on advance orders alone.The album itself reflects a diversity that runs from hard rock to prog rock to funk - even country and honky-tonk get represented.  The group never seemed too interested in creating single-friendly compositions, so many tracks run well over 6 minutes, along with some shorter instrumental numbers.  Led Zeppelin was considered the biggest rock band on tour during this time, and Physical Graffiti was the album that wrapped up this period.  Robert Plant was in a serious car accident with his wife in August 1975, and the group went on hiatus from touring until 1977.  Many consider this album to be the high water mark for the Led Zeppelin discography.  Bruce presents this monster double album for this week's podcast. KashmirThis is one of Led Zeppelin's signature songs.  It started as an instrumental recording from Jimmy Page and John Bonham.  Robert Plant wrote the lyrics while vacationing in southern Morocco (not Kashmir, as no band members had been there when this song was written).  John Paul Jones plays mellotron and added the orchestration which was played by session musicians.  All members of the band consider it one of their best tracks, and it has played in almost every concert since its debut.Trampled Under FootThis is a funk piece largely created by John Paul Jones.  The beat was inspired by Stevie Wonder's “Superstition,” and the lyrics are drawn largely from Robert Johnson's “Terraplane Blues.” Jones originally created this in the soul genre, but John Bonham convinced the group to add a more funky feel. The Wanton SongMany Led Zeppelin songs have a title which does not appear in the lyrics, and this is one of those.  Jimmy Page developed the riff in 1973 and brought it to the Physical Graffiti sessions.  Page uses a backward echo on this, where the echo appears before the note.  It was played during the 1975 tour but was dropped from the setlist thereafter, making it perhaps a deeper cut.  Houses of the HolyThis track is one of the unreleased tracks from previous sessions.  It was intended as the title track from their fifth album, but was considered too similar to other songs on the album and was dropped.  Led Zeppelin never played this song live.   ENTERTAINMENT TRACK:Movin' On Up (Theme from the television series “The Jeffersons”) This sitcom was a spinoff from “All In the Family” which got its start in January 1975.  STAFF PICKS:Any Major Dude Will Tell You by Steely DanLynch kicks off the staff picks with the B-side from “Rikki Don't Lose That Number.” Donald Fagen says that the inspiration was hearing a lot of people using the term “dude” after they moved to L.A., finding the phrase funny and deciding to include it in a song.  The idea is that times will get better, and hope is around the corner.Cat's In the Cradle by Harry ChapinRob brings us a folk rock story about a father who finds the tables turned.  He didn't have time for his son as he was growing up, and his son doesn't have time for his father when he is older.  The lyrics were inspired by a poem written by Chapin's wife regarding her first husband's strained relationship with his father.Angie Baby by Helen ReddyWayne features another storytelling song, this one with some spookiness.  Angie is a girl of questionable sanity who lives in her own world at home with her parents.  When a neighborhood boy decides to make advances on her when her parents are gone, Angie causes him to disappear into the music of her radio…  It was a number 1 hit song.Changes by David BowieBruce closes out the staff picks with a song that largely flopped when originally released as a single in 1971.  Bowie's “Hunky Dory” album did not do well until it got a second look after his 1972 release “The Rise and Fall of Ziggy Stardust and the Spiders from Mars.”  It was re-released in 1975 as a single and went to number 1 in the UK.   INSTRUMENTAL TRACK:Bron-Yr-Aur by Led ZeppelinWe close out with some double dipping from Physical Graffiti for this acoustic instrumental.   Thanks for listening to “What the Riff?!?” NOTE: To adjust the loudness of the music or voices, you may adjust the balance on your device. VOICES are stronger in the LEFT channel, and MUSIC is stronger on the RIGHT channel.Please follow us on Facebook https://www.facebook.com/whattheriffpodcast/, and message or email us with what you'd like to hear, what you think of the show, and any rock-worthy memes we can share.Of course we'd love for you to rate the show in your podcast platform!**NOTE: What the Riff?!? does not own the rights to any of these songs and we neither sell, nor profit from them. We share them so you can learn about them and purchase them for your own collections.

David Bowie murió un 10 de Enero de 2016. Su obituario en forma de disco - “Blackstar”-, dos dias después. Siempre cuidadoso con los tiempos. Su primer éxito “Space Oditty” (69) , coincidió con la llegada a la Luna. Determinado a las estrellas, creó un alter ego extraterrestre -"Ziggy Stardust”-, que Junto a su ambigüedad sexual el “marketing” definitivo."Aladdin Sane” con la icónica portada del rayo cruzando su cara, en plena fiebre "glam rock” de T. Rex o Gary Glitter que vio llegar y pasar el éxito desde lo alto de sus plataformas.Si su manager no le hubiera dirigido a America, tan efímero como los demas pero si quieres saber más del material del que la "última estrella" fue hecha, esta tu oportunidad.” Jean Genie”,”Young Americans" o “Let´s Dance” para los héroes de un dia. Puedes hacerte socio del Club Babel y apoyar este podcast: mundobabel.com/club Si te gusta Mundo Babel puedes colaborar a que llegue a más oyentes compartiendo en tus redes sociales y dejar una valoración de 5 estrellas en Apple Podcast o un comentario en Ivoox. Para anunciarte en este podcast, ponte en contacto con: mundobabelpodcast@gmail.com.

Now on Air: Prog & Roll Radio Show 0:52 DAVID BOWIE Starman 4:17 The Rise and Fall of Ziggy Stardust and the Spiders from Mars (1972) DAVID BOWIE The Man Who Sold the World 3:55 The Man who Sold the World (1970) DAVID ROBERT JONES (DAVID BOWIE) January 8, 1947 – January 10, 2016. 0:56 […]

El 10 de gener del 2016 moria David Bowie, i amb ell marxaven tantes coses que encara ara no les hem pogut quantificar. Avui escoltarem Bowie. 01 "Come and by my tops" 02 "Space oddity" 03 "The man who sold the world" 04 "Life on Mars?" 05 "Starman" 06 "Ziggy Stardust" 07 "Suffragette city" 08 "The Jean Genie" 09 "Sorrow" 10 "Rebel rebel" 11 "Young americans" 12 "Heroes" 13 "Ashes to ashes"

This week, we are joined by Paisley Underground legend MATT PIUCCI (Rain Parade, Crazy Horse) to discuss the TODD HAYNES' documentary, THE VELVET UNDERGROUND. We also talk about Haynes' body of work including Velvet Goldmine & Safe, the perfect run of Velvet Underground records, Chris' emotional breakdown after seeing the film in the theater, Roky Music & The Doors, does a biopic need to be truthful, how being on stage is similar to Matt's forensic courtroom work (and would any member of The Velvets been good forensic scientists), the multiple screen and sound work within the film, how so much of art is because of chance encounters, how Andy Warhol's prescence allowed the Velvets to get through the gatekeepers of a label, honoring Warhol's visual identiy in the the film, the NYC underground filmmaking scene, how they edited this film, Lou Reed scrambling the narrative of his life, drones in music, Miles Davis, the mid 60s L.A. rock scene vs the NYC rock scene, seeing John Cale live, Chris hearing the first Velvet's record as a 7 year old & Matt seeing The Byrds live as a child, Mick Ronson & Transformer, Jeff Beck playing with Ziggy Stardust, how without Mo Tucker the Velvets were never the same, the Grateful Dead comparisons that confuses us, Can, Jonathan Richman's presence in the film, The Velvet's love of Neil Young, Matt talks about recording with Billy Talbot of Crazy Horse and smoking bowls with Neil Young, how Haynes' struggled making the film because of lack of archival footage of the band, John Cale's departure from the band and the pain of band lineup changes, Songs For Drella and the vilification of Doug Yule.So let's have The Velvet Underground hypnotize us once again on this episode of Revolutions Per Movie!!!MATT PIUCCI:@mattpiuccihttps://rainparade.bandcamp.comREVOLUTIONS PER MOVIE:Host Chris Slusarenko (Eyelids, Guided By Voices, owner of Clinton Street Video rental store) is joined by actors, musicians, comedians, writers & directors who each week pick out their favorite music documentary, musical, music-themed fiction film or music videos to discuss. Fun, weird, and insightful, Revolutions Per Movie is your deep dive into our life-long obsessions where music and film collide.The show is also a completely independent affair, so the best way to support it is through our Patreon at patreon.com/revolutionspermovie. By joining, you can get weekly bonus episodes, physical goods such as Flexidiscs, and other exclusive goods.Revolutions Per Movies releases new episodes every Thursday on any podcast app, and additional, exclusive bonus episodes every Sunday on our Patreon. If you like the show, please consider subscribing, rating, and reviewing it on your favorite podcast app. Thanks!SOCIALS:@revolutionspermovieBlueSky: @revpermovie Click here to get EXCLUSIVE BONUS WEEKLY Revolutions Per Movie content on our Patreon Hosted on Acast. See acast.com/privacy for more information.

DJ St. Paul neemt de muzikale week door met liedjes van o.a. This Is Lorelei, Marvin Gaye & DORIS. Deze keer in de albumrubriek een uitgebreid gesprek met Gijsbert Kamer over Ziggy Stardust van David Bowie.  Benieuwd naar de tracklist en shownotes? Check ze via: ⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠tivolivredenburg.nl/studio/podcast/st-pauls-boutique⁠ Meer podcasts van TivoliVredenburg ontdekken? Ga naar ⁠tivolivredenburg.nl/podcast

DJ St. Paul neemt de muzikale week door met liedjes van o.a. This Is Lorelei, Marvin Gaye & DORIS. Deze keer in de albumrubriek een uitgebreid gesprek met Gijsbert Kamer over Ziggy Stardust van David Bowie.  Benieuwd naar de tracklist en shownotes? Check ze via: ⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠tivolivredenburg.nl/studio/podcast/st-pauls-boutique⁠ Meer podcasts van TivoliVredenburg ontdekken? Ga naar ⁠tivolivredenburg.nl/podcast

Shane and Ray talk the pros and cons of six LGBT classics. THE GIRLS ALBUM REVIEWS: Lady Gaga - The Fame Monster (Deluxe Edition) (2009) Chappell Roan - The Rise and Fall of a Midwest Princess (2023) Cher - Heart of Stone (1989) THE BOYS ALBUM REVIEWS: ABBA - Arrival (green) (1976) George Michael - Faith (1987) David Bowie - The Rise and Fall of Ziggy Stardust and the Spiders From Mars (1972)

For the Record is a conversation series where we speak with all manner of music heads — DJs, music journos, indie label captains, record shop owners, listening bar kingpins, et al — about their stories + the music that makes them. Join the Crate Coalition: https://discord.gg/sAaG6a7bv4 Benjamin James is a contributor at Oscillator and Factory. He's also the founder of Ziggy Ziggy, a music brand that celebrates on-chain music culture – named after one Ziggy Stardust. He's also a writer for Billboard and a former artist and producer. He used to run a small record label in the north of the UK, where he joined forces with a brother-sister combo of vocalists and started a group called Mausi. Together they built a career as artists, touring with big names like Charli XCX and Rudimental before succumbing to the suppressive power of a major label. MUSIC MENTIONS David Bowie The Cure Talking Heads Yeah Yeah Yeahs The Strokes “Meet Me in the Bathroom” by Lizzy Goodman LCD Soundsystem Interpol Faithless The Clooney (Newcastle) Polarsets SoundCloud Hype Machine Mausi Charli XCX RAC Future Tape Neon Gold Records Water & Music Catalog Factory.fm Oscillator Spotify Arcade Fire Q&A Little Simz XL Records Jamie xx Boards of Canada Black Dave Discovering music today (34:20): Soulection COLORS Factory.fm First album ever purchased (35:45): “Marshall Mathers LP” by Eminem Most recent album purchased (35:55): “Wet Leg” by Wet Leg Artists discovered in the past year (37:45): Samara Cyn Flying Lotus King Hannah Desert island discs (48:28): “Disintegration” by The Cure “XX” by The XX “In Rainbows” by Radiohead

This episode features George Underwood, album cover designer, artist and early schoolmate of David Bowie. After deciding that the music business was not for him, George returned to art studies and then worked in design studios as an illustrator. Initially he specialised in fantasy, horror and science fiction book covers. Most significantly, his art work for the first T Rex album and later David Bowie's Hunky Dory and Ziggy Stardust album covers established him as a leading and highly creative illustrator. Over this period George produced literally hundreds of book covers, LP and CD covers, advertisements, portraits and drawings, and today George is a fully recognised fine artist. Ladies and gentlemen, meet the very talented George Underwood. If you can, please support the Electronically Yours podcast via my Patreon: patreon.com/electronicallyours

No musical artist better personified the hedonism of the '70s than David Bowie. He captivated the imaginations of music fans all over the world with a dizzying array of creative alter egos; Major Tom, Ziggy Stardust and the Thin White Duke among them, and his obsession with occultist Aleister Crowley drove him down a dark, excessive hole filled with cocaine, orgies, arrests, fascism, death and madness that very nearly destroyed him. To see the complete list of contributors, visit disgracelandpod.com This episode was originally published on February 9, 2021. To listen to Disgraceland ad free and get access to a monthly exclusive episode, weekly bonus content and more, become a Disgraceland All Access member at disgracelandpod.com/membership. Sign up for our newsletter and get the inside dirt on events, merch and other awesomeness - GET THE NEWSLETTER Follow Jake and DISGRACELAND: Instagram YouTube X (formerly Twitter)  Facebook Fan Group TikTok Learn more about your ad choices. Visit megaphone.fm/adchoices

Danny Baker, the act you've known for all these years, is kicking his legs up again in 2025 on a thundering new theatre tour, ‘Aye Aye! Ahoy Hoy!' “Dead men tell no tales,” he points out, “so we might might as well get ‘em all told now.” This will be another barnstorming one-man circus - as, naturally, is this barrelling conversation with the two of us which collides with the following … … being shot, Welsh cake, an olive green Humber, goldfish, when videos were the size of a loaf of bread, why half his Maidstone audience got up and left, stolen gear being hustled over Waterloo Bridge, bad things done by Rod Stewart and Britt Ekland, ELP, the Average White Band, Max Miller, Kenneth Williams' loathing for Michael Aspel, when records become like furniture, getting £4k for a Ziggy Stardust white label, why he doesn't miss the 14,000 albums he sold, and the record that came out the same day as Sgt Pepper and Bowie's first album but is better than both. The podcast includes an extract from Ronnie Barker's “A Pint Of Old And Filthy” and Terry Thomas reading PG Wodehouse. Order tickets for Danny's 2025 tour here:https://www.dannybakerstore.com/Find out more about how to help us to keep the conversation going: https://www.patreon.com/wordinyourear Get bonus content on Patreon Hosted on Acast. See acast.com/privacy for more information.

Danny Baker, the act you've known for all these years, is kicking his legs up again in 2025 on a thundering new theatre tour, ‘Aye Aye! Ahoy Hoy!' “Dead men tell no tales,” he points out, “so we might might as well get ‘em all told now.” This will be another barnstorming one-man circus - as, naturally, is this barrelling conversation with the two of us which collides with the following … … being shot, Welsh cake, an olive green Humber, goldfish, when videos were the size of a loaf of bread, why half his Maidstone audience got up and left, stolen gear being hustled over Waterloo Bridge, bad things done by Rod Stewart and Britt Ekland, ELP, the Average White Band, Max Miller, Kenneth Williams' loathing for Michael Aspel, when records become like furniture, getting £4k for a Ziggy Stardust white label, why he doesn't miss the 14,000 albums he sold, and the record that came out the same day as Sgt Pepper and Bowie's first album but is better than both. The podcast includes an extract from Ronnie Barker's “A Pint Of Old And Filthy” and Terry Thomas reading PG Wodehouse. Order tickets for Danny's 2025 tour here:https://www.dannybakerstore.com/Find out more about how to help us to keep the conversation going: https://www.patreon.com/wordinyourear Get bonus content on Patreon Hosted on Acast. See acast.com/privacy for more information.

Danny Baker, the act you've known for all these years, is kicking his legs up again in 2025 on a thundering new theatre tour, ‘Aye Aye! Ahoy Hoy!' “Dead men tell no tales,” he points out, “so we might might as well get ‘em all told now.” This will be another barnstorming one-man circus - as, naturally, is this barrelling conversation with the two of us which collides with the following … … being shot, Welsh cake, an olive green Humber, goldfish, when videos were the size of a loaf of bread, why half his Maidstone audience got up and left, stolen gear being hustled over Waterloo Bridge, bad things done by Rod Stewart and Britt Ekland, ELP, the Average White Band, Max Miller, Kenneth Williams' loathing for Michael Aspel, when records become like furniture, getting £4k for a Ziggy Stardust white label, why he doesn't miss the 14,000 albums he sold, and the record that came out the same day as Sgt Pepper and Bowie's first album but is better than both. The podcast includes an extract from Ronnie Barker's “A Pint Of Old And Filthy” and Terry Thomas reading PG Wodehouse. Order tickets for Danny's 2025 tour here:https://www.dannybakerstore.com/Find out more about how to help us to keep the conversation going: https://www.patreon.com/wordinyourear Get bonus content on Patreon Hosted on Acast. See acast.com/privacy for more information.

David Bowie talks Tin Machine and Ziggy Stardust with Nestor in November 1991. here's a whole back story to Nestor panning David Bowie's "Sound And Vision" tour and then answering the phone when he called on November 8, 1991. The Thin White Duke was simply brilliant and charming in this interview with the very green Nestor Aparicio, then the music critic for The Evening Sun in Baltimore. This was the era of Tin Machine. The post David Bowie talks Tin Machine and Ziggy Stardust with Nestor in November 1991 first appeared on Baltimore Positive WNST.

Let the children lose it, let the children use it, and let all the children join in for Strong Songs!Kirk tackles a pair of classics by the great David Bowie: 1969's melancholy "Space Oddity" and 1972's triumphant "Starman." What goes up, as they say, must come down.Written by: David BowieAlbums: David Bowie (1969), The Rise and Fall of Ziggy Stardust and the Spiders from Mars (1972)Listen/Buy Bowie: Apple Music | Amazon | SpotifyListen/Buy Ziggy: Apple Music | Amazon | SpotifyALSO FEATURED:Audio of the 1969 Apollo 11 moon landing, courtesy NASA"A Day in the Life" by Lennon-McCartney, 1967A cool Guardian interview with Rick Wakeman about playing Mellotron on Space OddityOUTRO SOLOIST: Carlos "Insaneintherainmusic" EieineCarlos Eienie is a prolific multi-instrumentalist and YouTube creator who's done some extremely fun jazz arrangements of great video game music, among other things. You can find him on most social media as some variant of @insaneintherainmusic, and on his website at https://www.insaneintherainmusic.com/.----LINKS-----RECAST RECOMMENDATION: "Duck Ankles" by David Sanborn from Taking Off, 1975SUPPORT STRONG SONGS!Paypal | Patreon.com/StrongsongsMERCH STOREstore.strongsongspodcast.comSOCIAL MEDIAIG: @Kirk_Hamilton | Threads: @Kirk_HamiltonNEWSLETTERnewsletter.kirkhamilton.comJOIN THE DISCORDhttps://discord.gg/GCvKqAM8SmSTRONG SONGS PLAYLISTSSpotify | Apple Music | YouTube MusicSHOW ARTTom Deja, Bossman Graphics--------------------OCTOBER 2024 WHOLE-NOTE PATRONSElizabeth CulverMeryl AllisonRobyn MetcalfeBrian TempletCesarBob TuckerCorpus FriskyBen BarronCatherine WarnerDamon WhiteKaya WoodallJay SwartzRushDaniel Hannon-BarryChristopher MillerJamie WhiteChristopher McConnellDavid MascettiJoe LaskaKen HirshMelanie AndrichJenness GardnerNathaniel BauernfeindPaul DelaneyDave SharpeSami SamhuriJeremy DawsonAccessViolationAndre BremerDave FloreyOCTOBER 2024 HALF-NOTE PATRONSLawrenceSy JacobsirritableIan PiddAndrew HoferJordan GatenbyMelissa KuhnsAshleySeattle Trans and Nonbinary Choral EnsembleKevin MarceloMatt CSamantha CoatesJamesMark NadasdiJeffDan CutterJoseph RomeroOl ParkerJohn BerryDanielle KrizClint McElroyMordok's Vape PenInmar GivoniMichael SingerMerv AdrianJoe GalloLauren KnottsDave KolasHenry MindlinMonica St. AngeloStephen WolkwitzSuzanneRand LeShayMaxeric spMatthew JonesThomasAnthony MentzJames McMurryEthan LaserBrian John PeterChris RemoMatt SchoenthalAaron WilsonDent EarlCarlos LernerMisty HaisfieldAbraham BenrubiChris KotarbaCallum WebbLynda MacNeilDick MorganBen SteinSusan GreenGrettir AsmundarsonSean MurphyRandal VegterRobert Granatdave malloyAlan MaassNick GallowayHeather Jjohn halpinPeter HardingDavidJohn BaumanMartín SalíasStu BakerSteve MartinoDr Arthur A GrayCarolinaGary PierceMatt BaxterLuigi BocciaE Margaret WartonCharles McGeeCatherine ClauseEthan BaumanKenIsWearingAHatJordan BlockAaron WadeJeff UlmDavid FutterJamieDeebsPortland Eye CareRichard SneddonJanice BerryDoreen CarlsonDavid McDarbyWendy GilchristElliot RosenLisa TurnerPaul WayperBruno GaetaKenneth JungZak RemerRishi SahayJeffrey BeanJason ReitmanAilie FraserRob TsukNATALIE MISTILISJosh SingerAmy Lynn ThornsenAdam WKelli BrockingtonVictoria Yumino caposselaSteve PaquinDavid JoskeBernard KhooRobert HeuerDavid NoahGeraldine ButlerMadeleine MaderJason PrattAbbie BergDoug BelewDermot CrowleyAchint SrivastavaRyan RairighMichael BermanLinda DuffyBonnie PrinsenLiz SegerEoin de BurcaKevin PotterM Shane BordersDallas HockleyJason GerryNell MorseNathan GouwensLauren ReayEric PrestemonCookies250Angela LivingstoneDiane HughesMichael CasnerLowell MeyerStephen TsoneffJoshua HillGeoff GoldenPascal RuegerRandy SouzaClare HolbertonDiane TurnerTom ColemanDhu WikMelmaniacEric HelmJonathan DanielsCaro FieldNaomi WatsonDavid CushmanAlexanderChris KGavin DoigSam FennTanner MortonAJ SchusterJennifer BushDavid StroudBrad CallahanAmanda FurlottiAndrew BakerAndrew FairL.B. MorseBill ThorntonBrian AmoebasBrett DouvilleJeffrey OlsonMatt BetzelNate from KalamazooMelanie StiversRichard TollerAlexander PolsonJustin McElroyArjun SharmaJames JohnsonKevin MorrellColin Hodo

Send us a textMeg is haunted by the mysterious murder of Yeshiva boy Chaim Weiss. Jessica marvels at the silent rise and fall of mime, from Shields and Yarnell to Mummenschanz.Please check out our website, follow us on Instagram, on Facebook, and...WRITE US A REVIEW HEREWe'd LOVE to hear from you! Let us know if you have any ideas for stories HEREThank you for listening!Love,Meg and Jessica

Müzik insanın düşünme şeklini ve hissettiklerini yönlendirebilen bir sanat. Peki ya bir şehrin yaşantısı... Onu da etkileyebilir mi müzik? Bu soruya cevap bulmak için bir yolculuğa çıkıyoruz bu 111 Hz bölümünde. Farklı destinasyonlara uğrayıp, müzik ve şehir kültürünün birbirlerini nasıl etkilediğini birlikte inceliyoruz.Sunan: Barış ÖzcanHazırlayan: Özgür YılgürSes Tasarım ve Kurgu: Metin BozkurtYapımcı: Podbee Media------- Podbee Sunar -------Bu Podcast Parolapara hakkında reklam içerir.Parolapara'nın toplamda 2.600 TL kazanabileceğiniz tüm nakit iade avantajlarından faydalanmak için uygulamayı şimdi indirin. Ayrıntılı bilgi ve ek koşullar için; Parolapara.com'u ziyaret edin.Bu podcast, Hiwell hakkında reklam içerir.Podbee50 kodumuzla Hiwell'de ilk seansınızda geçerli %50 indirimi kullanmak için Hiwell'i şimdi indirin. 1400'ü aşkın uzman klinik psikolog arasından size en uygun olanlarla terapi yolculuğunuza kolaylıkla başlayın.See Privacy Policy at https://art19.com/privacy and California Privacy Notice at https://art19.com/privacy#do-not-sell-my-info.

Este episodio de El Siglo 21 es Hoy explora el legado de David Bowie a través de su distintiva anisocoria, una condición que le daba a sus ojos un aspecto único. Analizamos cómo este rasgo físico, originado por un accidente en su juventud, se convirtió en parte esencial de su imagen y de su arte, marcando su carrera como un ícono de la música, el cine, la moda y el arte visual.PLAYLIST de las canciones mencionadasTambién profundizamos en la creación de sus personajes más icónicos como Ziggy Stardust, Major Tom, y El Duque Blanco, personajes que no solo cambiaron el panorama musical de los años 70, sino que también redefinieron conceptos sobre la identidad, el género y la fama. Además, exploramos la relación de Bowie con el arte visual, su impacto en la cultura pop, y cómo su álbum Blackstar fue un reflejo de sus pensamientos finales sobre la vida y la muerte.En este episodio, contamos también la historia de Sara Chica, oftalmóloga que, tras su experiencia con el cáncer de mama, encontró una nueva manera de ver el mundo. Su historia se entrelaza con la de Bowie, mostrando cómo ambos transformaron sus cicatrices en una fuente de fortaleza y creatividad.Este episodio está disponible en todas las plataformas de pódcast de manera gratuita, incluyendo Spotify, donde puedes descargarlo gratis para escuchar sin conexión. También puedes disfrutarlo sin comerciales en Apple Podcasts mediante una suscripción al canal @LocutorCo.

Este episodio de El Siglo 21 es Hoy explora el legado de David Bowie a través de su distintiva anisocoria, una condición que le daba a sus ojos un aspecto único. Analizamos cómo este rasgo físico, originado por un accidente en su juventud, se convirtió en parte esencial de su imagen y de su arte, marcando su carrera como un ícono de la música, el cine, la moda y el arte visual.PLAYLIST de las canciones mencionadasTambién profundizamos en la creación de sus personajes más icónicos como Ziggy Stardust, Major Tom, y El Duque Blanco, personajes que no solo cambiaron el panorama musical de los años 70, sino que también redefinieron conceptos sobre la identidad, el género y la fama. Además, exploramos la relación de Bowie con el arte visual, su impacto en la cultura pop, y cómo su álbum Blackstar fue un reflejo de sus pensamientos finales sobre la vida y la muerte.En este episodio, contamos también la historia de Sara Chica, oftalmóloga que, tras su experiencia con el cáncer de mama, encontró una nueva manera de ver el mundo. Su historia se entrelaza con la de Bowie, mostrando cómo ambos transformaron sus cicatrices en una fuente de fortaleza y creatividad.Este episodio está disponible en todas las plataformas de pódcast de manera gratuita, incluyendo Spotify, donde puedes descargarlo gratis para escuchar sin conexión. También puedes disfrutarlo sin comerciales en Apple Podcasts mediante una suscripción al canal @LocutorCo.

“The Rise and Fall of Ziggy Stardust and the Spiders from Mars” is the first David Bowie studio album to be released in Dolby Atmos® and joining us today is Ken Scott, the original co-producer of the album (and many others from Bowie), as well as Dolby Atmos mix engineer, Emre Ramazanoglu.Ken Scott is a legend in the world of music production and engineering, and he takes our guest host, Ben Givarz, inside the studio with David Bowie to explore the production of the original album and discusses how he wanted to create a new experience for listeners in Dolby Atmos, which also led him to the creation of brand new stereo mixes.This interview is part of our new series, "Reimagining the Classics."“If you're going to ask people to listen to a record in a different format, you need to give it to them totally in that format, not just take the stereo and just put things in different places. It should be something different so that they become interested in it again. And I think it worked, because Woody, [Bowie's] drummer, he heard some of it — and his first words were, ‘I felt as if I was there with the band.' He felt as if he was on stage, because it surrounded him so much. Which is exactly what we were aiming for.”—Ken Scott, Record Producer and Mix EngineerYou can listen to these and many other classic and contemporary albums in Dolby Atmos, on enabled streaming services.You can purchase the album, “The Rise and Fall of Ziggy Stardust and the Spiders from Mars,” here:https://davidbowie.com/https://rhino.com/Interested in creating content in Dolby Atmos? Check out our free resources to give you a jump start!- Dolby Atmos Music Accelerator: https://www.dolby.com/institute/music-accelerator/- Dolby Atmos Essentials Course: https://learning.dolby.com/- Dolby Atmos Music Support: https://professional.dolby.com/music/Professional-resources/Please subscribe to Dolby Creator Talks wherever you get your podcasts.You can also check out the video for this episode on our YouTube channel.Learn more about the Dolby Institute and check out Dolby.com. Connect with Dolby on Instagram, Twitter, Facebook, or LinkedIn.

Send us a textWe're finally getting to Bowie, but not without some heavy-duty help. Special guest Neil Laird is guiding us through the eclectic world of Bowie, as well as talking about his breakthrough album.Check out Neil Laird's projectsSupport the showFollow us: Instagram Facebook Watch us on YouTube!

"There's a starman, waiting in the sky He'd like to come and see us, But he thinks he'd blow our minds..." (David Bowie, Starman) In this #podcast episode we talk about the #music of #davidbowie and the phase of Ziggy Stardust and the space connection. There is a reason why David Bowie used the Ziggy Stardust alter ego, and why he eventually moved on in his musical repertoire that we can learn about how to use alter egos and continue to reinvent ourselves. Would seeing a starman blow your mind? What if you learned the truth about things you always thought were true? Would that blow your mind? How do you reinvent yourself when your beliefs and the world around you changes? This and so much more in this episode where we get to boogie. FOR FULL SHOW NOTES AND LINKS VISIT: https://www.jasonmefford.com/jammingwithjason386/ MEET WITH ME MONTHLY: Join me each month for live group calls in The Spiritual Campfire™ at: https://jasonmefford.mykajabi.com/the-spiritual-campfire CONNECT WITH ME ON SOCIAL MEDIA: My YouTube channel [https://www.youtube.com/c/jasonleemefford] and make sure to subscribe My Facebook page [https://www.facebook.com/jammingwithjasonmefford] My LinkedIn page [https://www.linkedin.com/in/jasonmefford/] My website [https://jasonmefford.com] LIKED THE PODCAST? If you're the kind of person who likes to help others, then share this with your friends and family. If you found value, the will too. Please leave a review [https://itunes.apple.com/us/podcast/jamming-with-jason-mefford/id1456660699] on Apple Podcasts so we can reach more people. STAY UP TO DATE WITH NEW CONTENT: It can be difficult to find information on social media and the internet, but you get treated like a VIP and have one convenient list of new content delivered to you inbox each week when you subscribe to Jason's VIP Lounge at: https://jasonmefford.com/vip/ plus that way you can communicate with me through email. --- Support this podcast: https://podcasters.spotify.com/pod/show/jammingwithjason/support

If you had told 15-year-old me I'd be doing a podcast with today's two Talkhouse guests, I would have asked you what the hell a podcast was before getting truly excited: It's Perry Farrell and Daniel Ash. Perry Farrell almost certainly needs to introduction, but here goes: He first found fame as the singer for Jane's Addiction, a band that bridged the gap between glammy metal and some burgeoning genre called alternative rock, and is pretty largely responsible the latter becoming a thing. The end of Jane's Addiction in the early 1990s was the beginning of Farrell's other big creation, the Lollapalooza festival, which continues to this day—the U.S. version was just this past weekend in Chicago, as a matter of fact. Farrell has played with other people over the years, and the legendary Jane's Addiction has reformed in various incarnations over the years. But the big news for 2024 is that the band's original lineup has reformed both to play shows and even to record some new music. Check out the band's brand new song, “Imminent Redemption.” This week, Jane's Addiction will embark on a U.S. tour with the band of today's other guest, Daniel Ash. Love and Rockets formed from the ashes of the legendary goth band Bauhaus, and features three of that band's four members. The original Love and Rockets run, from 1985 until 1998, resulted in a legendary string of albums that was influential on an entire generation of tough-to-define bands, a list that definitely includes Jane's Addiction. Love and Rockets has reformed a couple of times over the years, the latest being a successful run last year that marked their first shows in 15 years. It doesn't seem like there's any brand new music on the horizon for Love and Rockets, though last year's My Dark Twin gathered some hard-to-find tracks. For now, why not refamiliarize yourself with their biggest hit, 1989's “So Alive.” In advance of their co-headlining tour, Farrell and Ash talked about how they keep fit enough to rock this hard all these years later, which includes taking a day off between each show and utilizing superfoods instead of hard drugs. Ash talks about how three of the biggest songs of his career were written and recorded in one day each, as well as how Ziggy Stardust changed his life forever. They also chat about the joy of collaboration and the potential up and downsides of AI. Enjoy. Thanks for listening to the Talkhouse Podcast, and thanks to Perry Farrell and Daniel Ash for chatting. If you liked what you heard, please follow Talkhouse on your favorite podcasting platform and check out all the great stuff at Talkhouse.com. This episode was produced by Myron Kaplan, and the Talkhouse theme is composed and performed by the Range. See you next time! This episode is brought to you by DistroKid. DistroKid makes music distribution fun and easy with unlimited uploads and artists keep 100% of their royalties and earnings. To learn more and get 30% off your first year's membership, visit: distrokid.com/vip/talkhouse

NEW FOR AUGUST 1, 2024 Always been on the level . . . Bad Break - The Best Radio You Have Never Heard Vol. 489 1. Every Picture Tells A Story (live unplugged) - Rod Stewart and Ron Wood 2. Low Spark Of High Heeled Boys (live) - Dave Mason and Steve Cropper 3. Blues On A Borrowed Guitar - Snowy White 4. Ava's Dance in the Moonlight - Al DiMeola 5. Something n The Way She Moves - James Taylor 6. Patience - Chris Cornell 7. Save It For Later - Eddie Vedder 8. Ziggy Stardust (live) - David Bowie 9. Jailbreak (live) - Thin Lizzy 10. Room To Move (live) - John Mayall 11. Telegraph Road (live) - Mark Knopfler 12. You Know You Know (live) - Jeff Beck 13. Just Another Rainbow - Liam Gallagher & John Squire 14. Fool's Gold - The Stone Roses 15. King Of Pain (early) - The Police 16. Boy In The Bubble - Red Spot Rhythm Section 17. Baggy Trousers - Madness 18. Dancing Barefoot - U2 19. Smells Like Teen Spirit (live) - Patti Smith 20. Atlantic City - Bruce Springsteen and The E Street Band 21. Ship Of Fools - Paul Weller The Best Radio You Have Never Heard. I could have been a contender . . . Accept No Substitute Click to leave comments on the Facebook page.

This person died 2016 at age 69. He suffered a blow in a teenage brawl that caused his left pupil to be permanently dilated. He experimented with startling transformations, often playing up an androgynous image. In the 1980s he had a Broadway run in the demanding title role of “The Elephant Man”. Nirvana chose to sing one of his songs in their legendary brief set on “MTV Unplugged” in 1993. He was the Thin White Duke, Aladdin Sane, Major Tom, and Ziggy Stardust. Today's dead celebrity is David Bowie.This episode originally published March 8, 2023.Famous & Gravy is created and co-hosted by Amit Kapoor and Michael Osborne. This episode was produced by Jacob Weiss. Visit our website at famousandgravy.com and also enjoy our free mobile quiz game at deadoraliveapp.comIf you enjoyed this episode, you may also like Episode 66 “Let's Get Metaphysical” (Olivia Newton-John) and Episode 32 “Hot Stuff” (Donna Summer)LINKS:Transcript of this episodeNew York Times Obituary for David Bowie17-year old David interviewed about Prevention of Cruelty to Long-Haired MenInfamous Bowie Interview on Dick Cavett show in 1974Bowie as musical guest on SNL in 1979“Iman on LIfe with David Bowie” in Vanity FairWill Ferrell and John C Reilly play David Bowie and Bing CrosbyDavid Bowie scene on ‘Extras' with Ricky Gervais“Did David Bowie Say He Supports Fascism” article on SnopesDavid Bowie predicted impact of the internet in 1999 BBC interviewDead or Alive quiz gameFamous & Gravy on Facebook, LinkedIn, TwitterFamous & Gravy official websiteSee Privacy Policy at https://art19.com/privacy and California Privacy Notice at https://art19.com/privacy#do-not-sell-my-info.

This week on the pod we wrap up Gord's discography with the Bob Rock collaboration, Lustre Parfait.Transcript:[0:00] Long Slice Brewery presents a live event celebration of Gord Downie, July 19th, at the Rec Room in Toronto. Join the hosts of the podcast, Discovering Downie, as they record their finale with special guest, Patrick Downie. A silent auction with items from the hip and many others will take place, along with live entertainment from the almost hip. All proceeds will benefit the Gord Downie Fund for Brain Cancer Research. For more information and tickets, please visit discoveringdowney.com. Clutched clipboard and staring out past the end of her first day into tonight and all the way across oceans of August to September. It makes for a beautifully vacant gaze.[1:08] Music.[1:42] Hey, it's J.D. here and welcome to Discovering Downey, an 11-part project with a focus on the music and poetry of Mr. Gord Downey. The enigmatic frontman of the Tragically Hip, Gord gave to the world an extensive solo discography on top of the vocal acrobatics in the hip that awed us for years. Gord released five albums while he was alive and three more posthumously.[2:09] Now listen, you might think you're the biggest fan of the Tragically Hip out there. However, why is it that so few of us have experience with this solo catalog? Have you really listened to those solo records? My friends Craig, Justin, and Kirk, giant fans of the hip in their own right, fell into that camp. So I invited them to Discover Downey with me, JD, as their host. Every week, we get together and listen to one of Gord's records, working in chronological order. We discuss and dissect the album, the production, the lyrics, and we break it down song by fucking song. This week, we wrap up Gord's discography with an album attributed to both Bob Rock and Gord, Luster Parfait. Craig, how goes it this week? week things are okay a bit of a break tomorrow going off on a little family trip for a couple days meeting my parents and sisters uh you've never met your parents before this is big news dude yeah yeah i think they're gonna like you man congratulations and then yeah and then shortly after that head off to toronto for for an event with you guys whoop whoop yeah How are you doing, Kirk?[3:30] You know, guys, I'm doing pretty good. It was 107 out here in Boise, Idaho, where I'm on show site. As we mentioned, I was in Europe last week, so I'm not quite sure time zone, temperate zone, what zone I'm in. I just – somebody point me in the right direction and I go. So I'm doing good, though. We had such a great time. But more importantly, I'm just really excited about next week and just hanging with you, you lads and checking out all the stuff that we have planned and, and, you know, especially that the event. So I'm that energy will get me through whatever jet lag, whatever heat stroke, whatever heck I encounter over the next seven days. So, and what about that new item? The hip gave us today to go towards our silent auction. Someone's going to get some major bragging rights. Man, we can't say what it is, but-[4:27] We might be fighting internally for this. We'll be revealing what it is, I guess, Friday. And some other great prize stuff, too. JD, you just told me and Kirk about this ridiculous prize that we got. Craig's got it memorized. Yeah. Two tickets to the Toronto Raptors. $500 in arena gift cards. and two customized or personalized jerseys and a shoot around. Man. Are you ready for this? Come on. That's great. Jadon. Yeah. You're in, you're not in Kansas. Tornado Alley. Tornado Alley. But there's twisters about. Yeah, we just had a...[5:51] And then 20 minutes later, there's a video on Facebook of a frigging tornado a half a mile up the street. What the hell? So we're fine. Yeah, that is freaky. If you look out your window and you see somebody riding a bike in the air, you're in big trouble. With a dog in the basket. That's right. Cow. Yeah. Yeah. Yeah. Yeah, but dude, I'm, I'm good. Otherwise without the weather or with the weather, I'm good. And I'm psyched for next week, man. Ooh. Yeah. Let's go. Justin. I tasted the podcast. Pilsner officially tasted it now. I had four of them at home. I gave two of them to my father-in-law and I drank two of them and they were very crisp. Delicious. Yeah. So it's going to be a lot of fun. Yeah. Awesome.[6:47] When word broke that we'd be getting a third posthumous record from Gord, there was a hush and a wait and see approach. You see, Gord had partnered with Bob Rock back in the 2010s, shortly after Rock had produced probably two of the most divisive records in the Hips catalog. I enjoy both these records a lot, but your mileage may vary. In any case, it was an uneasy feeling for fans. What would this album be? As it turns out, it's a whole lot of everything. There are songs that are reminiscent of the hip, like North Shore. There are horns on the title track, which we got to sample about six months before Lester Parfait dropped. And it relieved us.[7:41] There's even something resembling rack time? Suffice to say, as we've gotten used to saying around these parts, this album is altogether, folks, unlike anything Gord has produced before. It's been said that Bob Rock has a tendency to overstuff the records he produces. It's as though he's just been given access to a 48-track board and he feels compelled to use every last fucking track. rack. On this record, however, his hand seems firmly on the rudder. The songs come across as overly polished, of course, but never too indulgent. If there's one complaint I have, it's that there's too many goddamn songs. On a record as varied as Luster Parfait, you're almost overstimulated by the end. You've been through so many different styles and sounds. If I had it my way, this would be a tight 10-song record, and with the right tracks removed, I dare say this is a collection of songs I would put head-to-head against virtually any other record in Gord's oeuvre.[8:59] Yeah, I think it's that good. There are highs and there are lows on this record, as there have been on each of the albums, but on Luster Parfait, the highs seem higher to me. Have we ever heard Gord sing like he does on The Moment is a Wild Place? Or something more? Have we ever heard a chorus as striking as Is There Nowhere? By the way, big hat tip to Shea Dorval for providing those gorgeous backing vocals. At the end of the day, has Bob Rock redeemed himself with this effort to the haters out there? I would offer a resounding yes. Yes, this is a record that should be listened to loud and on a good pair of headphones. There is so much going on, but it all seems to have a purpose. That's what I think of Lester Parfait.[9:52] Tell me what your experience with the record is, Kirk. Yeah. So the first real listen I had to this album, because I'd been pretty busy with travel and whatnot, we were on our family vacation in Madrid. And beautiful little up on the top of the hotel looking over the city and just enjoying the wonderful atmosphere. And, um, I was actually listening to that kind of rough cut of our, um, rough cut of our interview with, uh, Niles and Kevin. And he had referenced like that. He thought that, you know, the, the, the moment is a wild places is, was his favorite song. And I'm just like, I can't hold off anymore. I need to jump in. So that was my first experience was listening to it, um, on, on the roof in Spain. And since then, it's just been a pretty incredible journey. I spent a lot of time like listening to Bob Rock interviews and, you know, just really understanding where it's coming from. And as you mentioned, JD, like, you know, I understand the divisiveness and whatnot, but oh my gosh, I, I was already in love when I listened to it the first couple of times at this point, you know, I'm, I'm firm in my, my commitment to, to in Gord, we trust, you know, And to see that...[11:17] That friendship. I mean, he, he, he makes the statement. We were like two teenagers that were in the studio, just making music together. And, um, you know, to hear how the whole process went and I know we'll get into it and everybody, you know, obviously we'll provide their input. Um, I fell in love with it even more, you know, and, and the variety on this, this album i mean guys we got reggae we got we got west coast punk we got 70s glam we got 80s synth pop we've got you know it it just every even within certain songs you'll have a jump from one friggin genre to another and then you you know you start looking at all the studios they recorded in, the process that it took, the number of years, the people that are involved.[12:13] And especially after we've discussed with the last three albums, like it was just fun to, I felt like, I felt like I got a warm hug from Gord. I really did. Just like, I just was all that, that we went through. It was like, Hey, this is just when it's fun. And this is, this This is for you, music lovers. That's what I felt. That's what I felt. I love that. I haven't watched much with Bob Rock, but I did read that one of the reasons why it took until 2023 to rear its head was because it was too painful for him to, like, he was really emotional following the death of Gordani in 2017. Absolutely. Because they had gotten lungs. Yeah. They had become such close friends and, you know, they reference, you know.[13:09] Uh, Gord flew out to talk about world container and they'd figured that out in 15 minutes. And then they spent the rest, the rest of the conversation talking about being dads, being Canadians, being hockey lovers. And, and then that just continued. And I think those guys, you know, with the level that they were at, I think they kind of found it was a peer to peer relationship.[13:32] And I really felt like they found refuge in each other. And then I think they sought it out because it was a long relationship. I mean, was it 06 when World Container was being made or coming out? Up until the very end. And that's when they first met is when he came out, or at least per what I had listened to. You know, they flew out to Maui, to his studio in Maui, Gord did, and then, you know, like I said, Discuss World Container. And then they didn't really do much as it was described until after the second album, We Are The Same, that they did. And then that's when the, you know, that relationship in the music for Luster Parfait started. So yeah, I mean, I recommend everyone to check into this. And Bob rock doesn't seem like, you know, like you.[14:25] You just, he didn't, didn't do a lot of, I mean, of course he gets on the documentaries, he gets a lot of airtime and whatnot, but beyond that, you know, there's not a ton, I guess, but the stuff specific to this is well worth, you can just hear the genuineness all these years after, like last year was a lot of the interviews that were going on and he's still breaking up. Like you're still oh yeah um and he's just he's like you go bob rock and you like you think the guy's flying you know coming in on the learjet all the time and he's like most of these interviews he's like just got done feeding his horses craig what was your first experience like i was also traveling uh down to seattle for a ball game and i was on on the amtrak train taking my notes and i I actually wrote, I'm going to read this and don't get mad at me. But I said, hate to be negative on this last album, but there's a lot to pick apart.[15:25] Two days ago, we were supposed to record this episode, and we had to postpone. And that evening, at 10.30 at night, I texted you guys a photo. A package arrived, and the CD was dropped off by Amazon. So I got the CD, and I started looking at the lyrics. And then the next day, I popped it in the car. And it's been in there for a couple days now, and I've been listening to it quite a lot. And my opinion has totally changed. Changed it's like some of this and i think it's what you said jd it's it's a very long album and so some of my favorite songs come at the end and what i what i've been doing is hitting shuffle and that's when it really started to um pick up for me is when i started listening on shuffle before getting the cd that i liked hearing just random songs come on and then and i thought it it was a problem with the sequencing at first but then i realized it's probably more because when the album came out i did listen a couple times when it first came out but i think i only got through the first four songs and so now i'm getting to know and love these later songs and then when i got the cd it just all kind of started working for me and i'm like wow some of the things that i was going to be nitpicking on today's episode i think i've I've grown to appreciate Justin, my man. Yeah.[16:51] Talk to me about your relationship with this release and has it changed since your first listen? So I pre-ordered this last year and yeah, this, this CD was in heavy rotation for me until, um, until you asked us to be part of the podcast. So I've been cold Turkey since January or whenever it was and waiting for for this week to get back into it. Yeah. I love this album, and I wish that Gord had done a Broadway show.[17:27] Um, could you imagine after hearing how strong his vocal is? Um, and especially during this time period. And it's funny, Craig, that you mentioned that you did not like this album. And then today you changed your mind. I took a break from this cause I've been over listening and I went back to the grand bounce and I love that freaking album as of today. And everybody knows I did not love that album when we were doing the podcast. Yay![18:00] Yeah. I love this news. It grew on me big time today. And Justin, one of the interviews that I watched, they actually said that the lyrics were almost like a screenplay on Luster Parfait and that there is a movie inside this album. It's just no one has brought it forth. So I like that. Broadway play. Movie i think i saw some of the same interviews you did um the one with uh terry mulligan was i actually listened to it a few times um to pick that apart but um yeah it would be it would be fantastic if that film was to get made or some sort of video component to this um but you know this was at gourd's you got to remember this the vocals recorded a decade ago and this was at gourd's busiest period and i would say his strongest period um vocally um and seems that way but you know bob also said in the in the interviews that he intentionally um potted gourd's mic up so that it was more on the forefront you know with the hip gourd's voice was an instrument um with this album it is the show and that absolutely rings true and you know jd the the songs that you mentioned just...[19:24] Kick my ass every time i hear it and i've heard them i've heard them 50 times at this point you know without exaggerating um yeah it's it's a very cool album a very confusing album uh stylistically um and it's very long but i can palette that um and i had the same issues craig um with stopping and starting and you hear you've you know you've heard the first six songs on this album probably twice as many times as the final seven or eight um and it's just it takes a commitment to get through it um and every song is long in addition to them there being so many of them um you know there's several songs that are five or six minutes um yeah seven and a half right it's for the moment is a wild place and i'm really interested in in your guys's uh mvp, yeah tracks for this like more than any other album we've done yeah because i think it's going to be all over the place i i've got mine and i i think this was like the easiest choice i've had to make and this is the first time i don't i quite literally don't have an mvp i'm i'm pulling the trigger when we talk every other album first three listens i had it down i mean i'm usually the first one to chime up i i can't i i just haven't been able to pick one it's strange that that it's It's opposite.[20:48] Should we try and untangle this web that Justin just spoke of, this mystery of a record, and go track by track? We start with, Greyboy says.[20:59] Music.[24:42] I mean, from the first note, it's like, what the hell are we listening to? And in the best way, you know, I just had no idea that this is where we were going. You know, and I love World Container and I love We Are The Same. And we all know everything else that Bob Rock has done. And this is not any of those things. It's bizarrely different. Um, and who the hell is gray boy, right? Like I've spent a year now trying to figure that out. And I thought I'd read something that it was a DJ. Um, yeah, I read that too. I'm not sure if it's true or not, but there's a DJ out of San Diego, uh, named gray boy. Um, sort of like an acid jazz DJ I read and it could be him he's referencing, but I'm not sure if that's no idea. Yeah. Um, but yeah, it's just a, a total, it's a mind fuck right from the beginning. And, and I was really like, okay, I'm turning this up. Um, you know, I remember listening to it in my car, um, the first time that I, that I put it on. However, I wanted to ask, um, JD and Craig, if, if you guys had any of this, um, on air in Canada, did, were any of these songs played on terrestrial radio? Yeah.[26:05] I don't recall hearing it on the radio i don't listen to a lot of uh local radio i'm usually, you know serious yeah xm listener but um but no i didn't hear it i did see the video though and so this song is a song i heard right away when it came out because of the the video which uh if you've seen it it has um some of the guys from offspring dexter nude and yeah and And when I look at the track listing, they don't actually, they don't play on the track. So they were just kind of there for the video and having fun filming the video. And Bob Rock's got James Hetfield's ESP that he's playing in it. And so it's a pretty cool video.[26:49] Did you guys recognize the drummer? I did, yeah. So Abe- Abe Laborio Jr. That's Paul McCartney's drummer. Yeah, really quick connection. When I was in my original band back in the 90s, we had a drummer who filled in for us fairly often when we were down a drummer. And he was roommates at Berklee with Abe. Really? And I didn't meet Abe, But one time he was in town for either sting or McCartney and our singer slash, you know, front front man got to jam with Abe and he came back and told me that he has never felt anything like it being in the room with him. He said when the, when the kick drum hit one, it was unlike anything he's ever experienced as a musician. So it was just that tight. And you can hear that tightness in his playing. Yeah. I mean, you don't get picked up as Paul McCartney's drummer, unless you know what the F you're doing. 20 years.[28:17] Video and, and, And he even plays and he's like, he's a beast of a man, right? He's, he's, he's, he's a big guy, but he's just sweet. I've had opportunity. There's a show called ma'am national associate music merchants. If you're a musician, you should know about it. It's every year in Anaheim. So it's pretty close. So I've been going for years and years and he's there quite a bit. And so, you know, had few little interactions and he's just, yeah, he's a, he's a sweetheart just, and, and an incredible musician. Oh, wow. Incredible musician. Well, they did it weird, right? Because they released Lester Parfait, and then they released a three-song EP, or maybe that was the time they released Lester Parfait. And then they released a six-song EP. And it had The Moment is a Wild Place, Camaro, Lester Parfait, Grey Boy Says, I think. So they did that But I'm not sure about, I'm not sure whether Lester Parfait Was considered the lead single or not Hold on I have it open here So that's why I asked you guys If you'd heard it on the air because Again the station that I talk about all the time Here WBQX played Lester Parfait Over and over last year Wow And I think that I heard Grey Boy Says as well On the radio.[29:45] Damn So we were talking earlier about sequencing. I believe it was Craig that was talking about it. So we'll start with him here because when I first heard the next track, which is the Raven and the Red-Tailed Hawk, I remember thinking, what the fuck kind of sequencing is this? We go from, you know, this crazy rock song to like a kid's song. And then all of a sudden that chorus hits and you're just like, wow. I would love to be next to a fucking stack listening to that, feeling my pant legs whistle in the wind. Fucking right. That would be just fantastic. Craig, what do you think of The Raven and the Red-Tailed Hawk? I really love this song. I think there's a lot of things that really stuck out. The lyrics were great. The chorus, like you mentioned, is powerful. There's the nod to the east wind, I think, in the lyrics of the chorus.[30:47] And it's just a strongly written song. There's a very unique melody. And there's a really cool descending tremolo guitar that I thought was effective. And some nice piano. piano there's a really wild synth solo which was really cool followed by an acoustic guitar solo which you know to to the opposite of what i said last song i loved i thought bob rock killed that solo an acoustic guitar solo is very hard to pull yes agreed to make it sound you have to be spot on and not only does the tone of the guitar have to be good but you have to have the feel.[31:28] And because you hear every slide you hear every nuance you're every bend you hear every chord configuration if you're if you're throwing that in so i agree 100 craig yeah you have to be kyle gas and when you're playing a playing an acoustic soloing you don't have that sustain when you're bending a note so it's just a so someone who tries to play you know just take electric solo and played on acoustic it's not going to sound the same so i thought he did a great job of crafting a solo that worked um there was some really cool like compositional tricks with you know like you know leading tones passing tones and just lots of lots of things to love in this um and also one quick thing at the end the vocal jumps up an octave going into that last chorus just a great great trick yeah and yeah the lyrics i just you know pulled out the lyric booklet two days ago and really wild stuff what do you think justin yeah it's the same exactly the same it's a kid's song and then it's not right um and it's the the storytelling and the.[32:40] You know i can see that helmet the imagery that he tells the story um and one of these interviews um um, that Gord had done, um, which nobody knew it at the time, but it was during these sessions.[32:58] Um, he had mentioned that Bob had asked him to speak more clearly. Don't be so vague with your lyrics. Tell, tell a story that people can understand without having to pull out an encyclopedia and boy, you got it right in this one. Um, you know, this is, it's very cut and dried. Um, it's, it's nothing to figure out. I, I just love how, how clear and concise it is. And some days I just can't do it, you know? Um.[33:28] I think we've all had that. Fuck yeah. Kirk, what do you think? Well, being the elder of the group and someone who really grew up in the 80s, I heard this song. I was joking before when we first started talking on, you can't see me, folks, but I'm doing the 80s dance. When I heard that song the first time, I got that new wave post. I just felt like a kid again in high school. And when you'd hear those, we were in the heart of new wave. It was like true post-punk, like Sex Pistols, late 70s, early 80s, punk, post-punk, where it's now you're getting the precursors to, you know, what becomes Green Day and Blink-182 and everything. But there's, I mean, fuck, there's five keyboards parts on this song, five separate keyboard, you know, credits listed and you can hear it. Um, so, you know, I would say, I know I'd mentioned at the beginning, like I couldn't pick an MVP. This was one that just always stood out. I wouldn't again say MVP, but loved it. It made me feel good every time I listened to it. And then Kirk's going to roll into his second criticism of the entire, uh, series. And I believe it was, is it Tim? I was just going to say, who are you, Tim?[34:47] Like i don't necessarily have an issue with fade outs but i struggled with the fade out on this one i really did i i was like i don't come on just like end it it's a long fade out too it's a long very long fade out very long fade out so um so you know i uh i i again if you guys know i really don't care but odds it's it's all good matthew good he was also strippers union so you know yeah he did the drums on that he was also like the house drummer for the kids in the hall so oh yeah yeah so like how cool is that that you got you go from paul mccartney's drummer to you know brian adams matthew good all the stuff that that pat did so um yeah uh great song uh just uh really helping the love affair uh with the album and uh you know outside of the i could have done without the fade out um friggin loved.[35:56] It friggin loved it it's a 20 second fade out though like it's it's long it's much sort of it's much i'm usually okay with it but this was you know the one thing though the reason why i brought it up is because i kept having to look at my phone going did my phone die um because i'm like the song was the next song wasn't coming he's got late and i couldn't tell if it was going out or if it was the intro but it's yeah it's a 20 second long outro insane justin how about you buddy yeah i i knew somebody was going to mention the fade out. I didn't hate it because the song is kind of long and it's like, alright, it kind of feels appropriate.[36:38] But yeah, no, I just love the song and I don't know, how many times are you going to say the sonic sounds like nothing else you know and i i understand you know he really wasn't necessarily involved in much of the the writing of the parts, um but i don't know it's just so freaking cool yeah it is it's very cool, so luster parfait what do you think of that track that's the one song that my daughter has grabbed a hold of because of the hey hey hey um you know i don't i don't know what the song is about but i picture it as gourd's love letter to music um and you know performing live we gather in the dark um you know we can only connect um that's that may be the only way that some people connect that's how we all connected right is through music and specifically gourd's music um i just this this uh this song you can't help but feel good listening to um it's such a fun freaking song and there's horns and there's that little you know half step.[37:58] Kind of thing in the chorus and it's it's really really interesting and it's very fun and it's funny almost um just the the energy that that gourd has and that the entire i want to say band but you know the people playing in the song it just sounds like every i can picture every single person in there playing with a smile on their face you know and and just enjoying the shit out of this whole process it's a luster parfait baby would you dig into the yeah because it starts off with horns and you we haven't had horns per se um on i mean i guess is this what it sounded with davis manning like i i i'll put my cards out there and i haven't heard a lot of it so i don't really know what the hip sounded like with him, but like you've got a full on sack. So what's that, Justin? Not like this. Davis Manning did not sound like this.[39:02] Ah no he sounded like uh and i he sounded like an 80s you know bar band saxophonist that's because that's exactly what it was who can it be now i'm in at work right but the horns just hit you right up front um and uh the the sax solo like in the middle and then And, you know, a really cool, as we talked about, you know, it's got a hard ending, which is great. But in the end, that little vamp with the B3 and the piano, like Justin said, the music all around, you just, you can't listen to it and not smile and not feel like that was the energy when it was being recorded.[39:51] So the one note that I wrote here too that I think is really cool. Um and it kind of speaks to what you guys were saying is like a like a a letter to music but he described the bridge bob did uh as being essentially the sensational alex harvey band and if you don't know anything about the sensational alex harvey band just look it up just youtube it and i'll leave that there um you know i guess i'll call it like the canadian david Bowie during the Ziggy Stardust years is, is probably a good way to describe it. So, um, but how cool is that? That like throwing that right in, right in after you get these two rockers and now he's going glam and, um, yeah, this just brilliant, uh, brilliant, brilliant, uh, title track song.[40:47] I really liked the, speaking of the bridge, the sort of chromatics and the bridge. And then at the very end, it blends into the final chorus.[40:59] So, you know, luster parfait, hey, hey, which I thought was very cool. Um yeah and speaking of the lyrics at the at the start it says isn't it funny how little we can do how much we are like a scene from the deluge and i looked up a scene from the deluge because it was capitalized and i found a painting called scene from a deluge from 1806, and it's a pretty wild painting i'll just read the description really quickly the man perched on a rock hangs from a from a tree that is beginning to break he tries to pull up his wife and two children all while supporting on his back an old man who carries a purse in his hand the sky is streaked with lightning like justin right now and a cadaver floats in the agitated water it's a pretty i'll just hold my screen it's pretty wild um anyways uh pretty wild so i'm not sure what he's getting at but uh but yeah definitely what's the lyric yeah it's the it's the intro isn't it funny how little we can do how much we are like a scene from the deluge, which as you describe it, it was pretty, uh, pretty stark. Yeah. Like, yeah.[42:26] Yeah. Like he's hanging on to like his wife and two kids with one arm, like by her one arm. So I guess there's not too much he can do.[42:35] Other quick notes. I just want to mention the horns. So the horns, the saxophone is played by Tom Keenleyside, who is a local Vancouver-based saxophone flautist. And he has been all over. He has played with so many different artists. and actually the very first cassette i ever bought back in grade seven i think i just finished grade seven and i was in the kitchen i can still i remember exactly where i was and on the radio came, rag doll by aerosmith 1987 and i was drawn in by the horns because i i'm i started playing saxophone in grade six so i was drawn in by that and steve tyler's voice and that song grabbed me right away I took my money from my piggy bank and I bought a Walkman and a cassette tape you know the next day and that's really where my journey with rock music started and so Bob Rock was the engineer on that album Permanent Vacation and Tom Cunley side played the saxophone so I thought there's a cool kind of full circle for for me personally um you know seeing that he was the one And because as soon as I heard horns, I knew it was him. Listen, I don't know where you would put a showcase track on a record from a sequencing standpoint.[44:02] Music.[50:44] The vocals uh that are going on in this um you got and then going back to bob and all the guitars like you've got acoustic guitars you got two lead guitars you've got what sounds almost like what i know as like a slack hawaiian slack guitar it sounds like a pedal steel but there's nothing in the liner the the the pedal steel song is not this song um it's got that kind of a you know of acoustic and slide in the beginning and and then you've got this the chorus that just uh you know it's uh it it it's like a dump truck of love coming down with this massive gourd here i am and and you understand why many people call it their favorite and uh a song that is seven minutes in 26 seconds and sounds like it's maybe a couple minutes so when you know that a song that's that long can just like you get lost in and you don't even think that it's that long you know you know it's it's obviously very very well written craig what were your thoughts i thought the.[52:02] Yeah the chorus was was what made it and the moment is a wild place reminded me of you know like a theme throughout his work about living in the moment where whether it's the dance and its disappearance or never ending ending present and i'm sure there are many others i know we've discussed them on this podcast so that was really really a great tie-in um the hawaiian guitar i loved as well at the start and you know you have to think that it is bob rock playing that so it you know he lives in maui much of you know much of the year from what i've heard and And, you know, he's soaking up all that Island music and, and yeah, my only other real note was, um, like a couple of quick things. Sean Nelson is the drummer on this track and the last one who I had to look up and he's actually, um.[52:54] Not someone who's played on a ton of high profile albums or anything. He's a drum instructor out of, I believe, San Francisco, I read. And, you know, very cool that he had that opportunity to work on this album. And one last thing, the piano flourishes at the end, reminded me of Dr. P from the country of miracles, which was very cool. Nice callback. Wow. Yeah. That's a great. Yeah. Justin, how about you? The moment is a wild place. Well, you know, I keep referencing my love of Prague and this sounds like a pink board. I can see that.[53:38] I love that it's long. I love that it's got, they use all 88 keys. You know, from low to high, it's It's really just a beautiful song, and the lyrics remind me of Secret Path. Heal. I don't know. There's definitely some tie-ins in my brain to Channing and his story. I don't believe that. Wow. Because this was probably written before secret path was even in chords around the same time around the same time it was birthed.[54:24] Yeah. But you know, I just, yeah, I think this is one of the songs that Bob said that Gordon heard completed before he passed.[54:36] Oh, that's nice to hear. Yeah. Uh, and, but Jesus Christ, the range that this guy has, right? Like, uh, I don't know. It, it, I fall apart whenever I hear the song. It's it's in in the best of ways you hear this song and it's almost like has he not been trying all these years you know because he's like he's got this in his fucking back pocket holy shit you have this in your back pocket and you're 50 years old time gourd god the other thing that i think is is uh something i just want to comment on really quickly is somebody who deals with mental wellness and is uh working on his mental health i look at this song almost the same way i look at the darkest one in that it's got this sort of clever twist right it's like the wild are strong, and the strong are the darkest ones and you're the darkest one so it's like starts out as almost this great compliment but it turns into something else and in this song it's like hey everybody you got to be in the moment you got to be in the moment but sometimes the moment is a wild fucking place that you don't want to be in so i'm going to put a bow in this jd and you guys.[56:04] So yeah i had mentioned earlier i was you know on the rooftop in madrid and i'm listening to the I'm listening to the Kevin Drew Niles interview, and you'd put this song in, sorry, Inside Baseball.[56:23] This song comes on, and it turns midnight in Madrid, and frigging fireworks start going off everywhere around the city. And I don't know if it was the transition from June to July. I don't know if it was the Spain had just won their Euro cup game earlier in the day, or if it was just, you know.[56:52] Tuesday in Spain at midnight, we like to put off fireworks, but I'm, I'm, you know, up there. Like I said, I've had a few glasses. I'm feeling wonderful. I'm jet lagged. I'm listening to that brilliant, brilliant, brilliant interview. The song comes on and fireworks start shooting off quite literally in the middle of it. So the moment is a wild place. Yeah, sure fucking is. Boy. Well, let's move to track five and something more. Craig, how do you feel something more lives up to its role as a follow-up song for The Moment is a Wild Place? This is a tour de force song and a showcase piece. Is this the right sequencing order? I'm just curious what you think. Yeah, that's a good question. I'll need to think about that some more, but I do think the song was quite good. It reminded me, vocally reminded me of like earlier Gord.[57:58] And it's the first song on Lester Parfait that did sound like a previous version of Gord. The horns are great, which is what makes it sound so it doesn't just sound like a copy of something that he did earlier. There were some great dissonant guitar shots that were very cool and a little horn part. And of course, we have to shout out the drummer on this song because it is none other than Johnny Faye, who makes an appearance a number of times on this album. And you can tell. He just has such a great... He's playing on an album with Pat Stewart, with Abe, and he fits right in there because he's just such a musical player.[58:46] He has such a great tone to his drums always, and it was just a treat to hear him again. He's also listed as backing vocals. I think that's on a later track. I think track number 11, I think, for some reason. Oh, okay. All right. Right. But speaking of vocals, I have in my notes that Johnny Faye said this was Gord's best vocal ever recorded, hip or otherwise. I've never heard – I've been listening to him since 1989, and I've never heard anything like this. Right, right. There's a lot of strong, strong Gord vocals. And he's also got a very powerful voice. We know that because watching a special video of his later performances where he's more guttural and screaming but holding the microphone down at his belly button. And you can still hear just how powerful his voice is. That's really wild that Johnny Faye would say that. This is the first one that, at least for the album version.[59:58] This song is actually towards the end. So kind of wild. Or at least from a lyrical standpoint, it goes something more in the field, and then there goes the sun. So it's one of the last three songs on the album. you've got an error your album's on that skirt my album is a wild place i'm not i'm not even lying guys i'm not lying look at it right there it's third from the end odd odd that that you know as we talk about the sequencing that's the listed you know outside of the comment from johnny i just you know gothic synths driving drums bright horns really amazing solo um uh just I like it actually in the spot that we're talking about it from a sequencing standpoint, as opposed to towards the end. Because it is one of those that, I guess they're all in the MVP category opportunity, but this to me might have been in the upper quarter of MVP opportunities.[1:01:04] What do you think, Justin? um i spent a fair amount of time on the lyrics on this one and trying to there's a lot of stuff that's in quotes um and i tried to figure out what he was referencing by a lot of stuff and the only thing this is the silliest thing that i think could have come out of this was the cool hand of a girl all i found for that was a mexican restaurant in toronto jd have you been there it's It's called The Cool Hand of a Girl.[1:01:39] Hand of a Girl. That's the only thing that I found on the internet with those words in hand. No, I've not heard of that restaurant. No. And I did some research on the restaurant, and it's been open since before this was recorded. So was he talking about a Mexican restaurant? It's an MO, man.[1:01:59] Yeah um i i did love the uh the line i legalize criminality and criminalize dissent i love that because i american who is fucking terrified right now and um that's where i live is where criminality is legal and dissent is criminal uh quite fucking literally, um i don't know the um you know you guys had referenced that this is this is sort of old gourd and the thing that really stuck out for me because i felt the same way it was yeah he said fuck you in this song and this album to that point feels too clean to have those lyrics, to have him say that. And the way that he says it is really live-gored, you know, the ranting voice, almost. He drags the F out in that word.[1:03:09] I like this song. It's not my favorite. I don't know why it's not my favorite i don't know why it's not not my favorite but um yeah this song is is fine and it the the as far as the sequencing goes you know the moment is a wild place is such a deep valley um that this just gets us right back up in the air and and we're on to our next stop and And, um, I, I liked the energy of it, um, to follow, um, yeah, in a wild place. But, um, other than that, I don't know. I think it's got another showcase vocal, uh, toward the end, the latter third of the song when he goes up high. Yeah, for sure. I don't know if you guys, uh, like, I'm not going to try and sing it, but do you know the part I'm talking about where he goes up very high? Yeah. Again, that's not something we've heard from him before. Him going into a place like that.[1:04:15] I could see the classic Gord sweat in this song. He worked hard in this one. And you know what? Moving on to Camaro, I sort of get a sweaty kind of vibe from this one, too. What do you think about this one, Justin? My first thought was, is Gord a secret car guy? like that would be amazing for you oh, No, I mean, this, this is, uh, this is, you know, you're in high school and this is the first car you can afford. Um, this is not a nice Camaro, by the way, the, I had, this is a, this is a 72 that nobody wanted and I found it for 400 bucks in the classifieds and let's go, you know, um, uh, I don't know. It's got no floor on the passenger side but everything else is cool you can see the lines on the road through the friggin' drin you can Barney Rubble it, it's a piece of shit but it's my car, it's my wheels and I love it, I actually went back and listened to other Camaro related songs.[1:05:33] Kings of Leon and Dead Milkmen Bitchin' Camaro You know, just, just, I went back to that for some reason. I don't know. It was, it was cool to just kind of revisit that. Bitching Camaro. Did you see Justin on this particular song and this actually brings up a question for me. The song is Bob said was written because that's his wife's favorite car was a Camaro and then he gave it to Gord and Gord was like, I don't want to write about a Camaro. I'm going to write about a girl named Camaro. So the lyrics are about a girl named Camaro but the title Camaro came from bob's um and this is again this is just what bob mentioned about it um his wife's favorite car so apologies yeah and isn't that crazy isn't that totally crazy and and.[1:06:36] Yeah. You know, a great song. Um, I have, uh, I have like talking heads listed as kind of a vibe in, in, in a lot of them actually have a real, you know, kind of eccentric talking heads, kind of odd jazzed influence horns, um, as well. So, yeah, but anyway, love that. It's a girl named Camaro. Great. I love the line of the chorus, Camaro, the name means just what you think the car can do, go. Just the way he phrases it is just very odd. Until I read it, I didn't realize what he was trying to say at the end.[1:07:16] And yeah, just very cool phrasing. it reminded me of um i couldn't get the simpsons out of my head the canyonero canyonero, but that's just where my mind went but my also my dad had he's currently rebuilding a uh a 1980 camaro in silver so i'm uh i actually just texted him to see if he could text me a picture of it but he's uh he's a car guy and yeah he's working on one as we speak so So it did bring back a memory that I had repressed from high school where I got a ride with a buddy's sister's boyfriend who had a Trans Am, you know, like a Burt Reynolds Smokey and the Bandit vintage. And we went 140 miles an hour on the way home. That's the only time I was certain that I was going to die was in the backseat of that car. And it's a Trans Am, not a Camaro, but same thing. Yeah. Yeah. Night.[1:08:15] Music.[1:12:50] The North Shore is the first track on the record to me that sounds like vintage hip. It could be at home on Day for Night, a different production version of it could have been on Fully Completely, maybe even Hen House. It's of that sort of vintage. Am I totally crazy, or am I barking up the right tree, Kurt? Yeah i mean i have i have written uh alt rock style um kind of ballad so you know that's i think that hip would fall into that that uh realm but the song sounded big to me it got big you know it starts off with that kind of acoustic piano in intro and um and and the cool thing like most scored lyrics is like is he talking about the north shore of maui is he talking about the north shore of you know lake ontario everyone because like everyone kind of has a north shore, and um i i uh i i i just appreciate again the his ability to um.[1:14:05] Keep you guessing and keep us talking for many more episodes of podcasts to dissect Accord's lyrics. Yeah. And I recall seeing an interview with Bob Rock where he kind of mentioned the same thing. He talked about the North shore in Maui. There's a North shore in Vancouver where, you know, Bob Rock would, would know about the North shore that I actually spent the first four years of my life on the North shore in North Vancouver. And, um, I'm I'm thinking he's probably talking about the lake only because he mentions, I think it swallows, which there wouldn't be, I don't think in Maui on the North shore there. It's much too windy. There's little sparrows, I think, but I could be wrong.[1:14:46] But, but yeah, it's meant to be for wherever your North shore is. And it really is a great song. It could be, could have been a radio hit is that, that type of song I did. This is one of those songs that earlier on I had a critique about the chorus being too generic. So the chord structure is one we've heard a million times. But then the more I listened to it, I started thinking, well, there's a reason this chord structure has been used a million times. It's powerful. And when Gord is added to this mix, it does sound original. And it sounds great. I really love the harmonies at the end in the guitar. There's some sort of like Boston seventies via seventies, like guitar rock vibe on the, on the harmonies, which I dug or like, or like almost like a thin Lizzie or something. So yeah, solid song all around.[1:15:39] Justin, your thoughts. Yeah. I actually, um, view this as a followup to the last recluse. Um, like, yep. That's all that to me lyrically. Um, I also went back to Summer's Killing Us from In Between Evolution, because I really do love the lyrics about one more breeze and summer's complete. And then at the end, he goes back to summer lowers its flag now. And obviously the word is summer. And so that is my tie in. But, you know, the the uptempo of summer is killing us and summer exists at the fair. Right you know like this is yeah summer kicks ass and then this is the end of it like we're going back to school now and uh the leaves are falling off of the trees and you know it just um i also really loved the line we occurred to each other 48 hours a day how fucking amazing is that line um when you're in love holy hell that's that's all you think about and um.[1:16:52] Fingers and toes 40 things we share you know uh yeah or fireworks um yeah believing in the country of me and you that's what it was yeah yeah yeah i agree with the last recluse reference though and the way he sings it is actually very similar to we held hands between our bikes it's very and if you've seen the video for the last recluse as well they actually show that with you know these two kids with their yeah well um track number eight is this nowhere kirk this song like i even have i told you about my nights at the ihop i would go after work here over the last couple days and and it's the right next to the hotel and it's simple and so i wrote this on a little napkin holder and my note says it's the same phrasing as one from.[1:17:42] You too i'm sure you guys all that's right yes yeah so and then all of a sudden what's that justin reference to it too midway through the song oh yeah it it's not getting better like he's bull right he is ripping this song he's admitting yep that's a great pick up justin yeah good friend right and then you have one more coffee in the bill which is gonna come up later as one of the lyrics and the backing that the chorus just boom shade shade of all now is that someone that you guys were familiar with ahead of this because I didn't know anything about her until I did the research Justin yeah No, Craig has a story. So Che, Amy Dorval is someone I had to look up because I heard the vocals on this song and I was so blown away by the backing vocals that I had to look her up. And she's from here. She's from Vancouver.[1:18:49] And I think she may be based out of Toronto now. I'm not quite sure. She has a couple of dates coming up in Portland and Seattle, I believe, but nothing here. So I was hoping to go check her out. But yeah, it turns out she worked with Devin Townsend on a project called Casualties of Cool. And so I went onto YouTube and looked that up. And it's very, very cool. Kind of like ambient stuff with just beautiful vocals. And yeah, Devin Townsend is a local musician who, yeah, I remember playing back in 95, sharing a bill with him when he played in a band called Strapping Young Lad. And now he's like a, you know, worldwide world, you know, renowned, uh, musician. And, uh, yeah, we have a, yeah, we have a bit of a band connection with him too. That I won't get into on, on air, but yeah. I want to love you.[1:19:45] That's so cool and then just my last two things on this song um, bob wrote five songs on her solo album and i don't know that he helped with the production he may have been the producer on it but he he wrote five songs with her very in a similar style that um he did with gourd but this is the part that gutted me gourd didn't hear the vocal, It was added after he passed.[1:20:43] I mean you know there's so many haters out there you know he the guy produced the the biggest album of the 90s like the the biggest decade for music um you know i'm pretty sure sales wise yeah i'm pretty sure the 90s as far as like you know you know actual physical product i gotta say this about bob he gives two fucks yep and it's just good for good for him to work with two he just he's living in maui with his wife and his horses and spending time with his kids and you know try you know yeah oh yeah i got to deal with this bon jovi album or this you know offspring album whatever else and then i'm gonna go and wake up and pick one of my 700 guitars and he's got he's got like just he's got he's got music for days but he doesn't sing so i mean he does a little backup vocals or whatever else but i love that about because you know i'm kind of teetering on this i love the bob rock hip albums and of course i am loving this album and and i appreciate the other stuff that i mean metallica that you know that i think that especially if you're a musician like i think i know every main riff from the black album i can't play it all but i know all the riffs of you know sandman and and um and i loved watching that documentary you know almost swore out the VHS. So I'm telling you how old I am again.[1:22:08] Yeah. Another thing about that song, I love the part after the chorus. There's that melody, the da-na, da-na, just at first it kind of throws you, but it's a really great choice.[1:22:20] And I'm going to give a little critique here. This guitar solo kind of kills me. It, it, it's just so generic and kind of boring. And actually now that you bring up the videotape of the, the Metallica, I think it's called day in the life of, I used to have a video VHS copy of that too. And there's a, there's a time on that when he's giving Kirk Hammett such a hard time about the solo. I think it was the unforgiven maybe. And he's just like, no, do it again. Do it. Gotta do your homework. Gotta do your homework. You don't do your fucking homework. So I was picturing like Kirk Hammett being in there, like giving him a hard, like hard time. And, you know, he needed, he needed Bob rock and needed a Bob rock on this song. I think.[1:23:07] Well, again, I think it comes, it comes from the fact though, too, that we've been listening to, you know, these bands and, and these records that have such a feel to them, you know, a cohesive feel. Feel and this record doesn't have that same sort of cohesive feel it's it's all over the place right 14 songs 14 songs that's in in in all the things you read he he gave him 14 songs and he got 14 songs back there was no added there was no cut it was 14 14 straight across and and at no point did i see anything that said like okay this this track was written in 1985 this track was It was written in 2010. It just was part of his cadre of music that he's had lying around. And again, I'd really be interested to know if the titles are Bob's or Gord's. I'd be really interested to know. I guess ultimately it would have come down to Bob in the end. But I'm sure he would have respected it. I think Gord, in their discussions, they would have had. I'm sure. But you're right. I mean, they are co-producers.[1:24:23] Co-writers of the of the record yeah craig i'll put a bow on your statement this was sorry i'm i'm getting a little too flowery with the bob rock quotes and everything else but his statement was budget wise i was the only guitar player available, so there's your answer to the solo okay okay sorry bob i i really i should say i i'm a bob rock fan i love both of the hip albums he did and and like i already mentioned my permanent vacation story and also sonic temple was a big one for me when i was young and that was his yeah me and my buddy found that cassette tape on the side of the road by my dad's work someone had thrown it out the window or something and we found it no no case just the tape and took that home and And yeah, so I'm a big, big Bob rock fan. So sorry, Justin. Yeah. I mean, apart from the backing vocals, I don't love this song. Um, and I think it's kind of the reasons why you guys said it's just not something musically doesn't do it for me. Um, and that's no disrespect to anybody, but the, you know, the background vocals are just so freaking stellar that it's it props the song up probably higher than it should rank for me.[1:25:48] Um yeah and i really you know i didn't care for the youtube the youtube riff and and it just it's just strange right it pulls you out it almost pulls you out of the song because you're like thrust into another song but like i said i do i do appreciate that gourd references the u2 song yes and says it's not getting better that's very cool okay all right well then we know what we're doing at least yeah good on him for for recognizing that and i'm guessing it was just an accident then he he either he noticed it or someone else pointed it out and then yeah know, I'll just add a lyric in here and it's all good. I think it's better than one personally. The next song is To Catch the Truth. Kurt, we'll start with you. Yeah, man. So here we go. We got a ska song, a frigging ska song, in my opinion. No doubt, Mighty Mighty Boston's, whatever your flavor is. But.[1:26:51] I love ska. I love ska. My wife loves ska and we grew up in Orange County. I used to go see No Doubt, play at colleges and play at local bars and crap like that.[1:27:07] And Mighty Mighty Boston is probably the – not even probably, by far the loudest concert I've ever been to, leaps and bounds. But gorge's doing a ska tune um west coast punk was uh was mentioned in a couple of the reviews that i saw vancouver's scene dug in the slugs um it's just a fun great song you know the beauty of ska at least from my standpoint so um loved it absolutely loved the tune jay dog yeah i uh remember very fondly uh watching real big fish in a very small room and um river city rebels were a big ska band horn band here in burlington and i used to you know sneak into shows underage and and love it um it's a fun song it's just fun and um gourd packs a lot into this song um it's i don't really have any any critiques yay or nay other than man i remember being 15 16 years old and going to these shows and having a hell of a good time when i first heard this song the the amount of compression bothered me it's just like.[1:28:31] You know squished and also i found it strange i was thinking in the realm of like goldfinger or something like that and in what in one channel you've got the guitar the other side you've got the piano and i found the way the piano was so clean was a bit bothers bothersome at first, and i had a note i wish it was almost like rag timed up a bit like or you know a bit like maybe even a bit out of tune or just something to give it a little bit of personality that would be my one see this is the song that i felt was like the the mouth i did yeah i think it was the piano a melody but what i mean is is the actual sound yeah no but not the sound i i hear what you're saying craig it was too clean it needed to be like someone had a mic in the room of a saloon with some out of tune piano and then that would have been the that would have been the flavor that would have been the added that well because i like my note west coast punk like you don't tune up when you're playing punk songs you play what's on the friggin guitar that's exactly what So I hear that. I think that's a very fair, very fair criticism.[1:29:37] After listening to it on the CD last night, though, I found that it wouldn't have worked if it was done as a more sort of raw punk or like, if it wasn't compressed in that way, the vocals would not have popped in the same way. And so I think it was probably the right choice in hindsight. But like I said, if it could be just dirtied up a bit in some way, I think I would have enjoyed it a little bit more. I did like the beginning. It's kind of like a strange introduction. There's also those hard stops at the end. What's real? What's fake? There's not a dirty song on this record. You know, this record is not, it's not got, it is like that Camaro. Somebody's out polishing it with a shammy. It's pristine and clean. Let me howl.[1:30:29] Music.[1:36:30] This was one of my favorites. Really enjoyed this song. Really strong melodies. It's unlike any other song in style. And again, we keep coming back to this, but it does not sound like any other Gord song. Doesn't sound like any other song on this album. Very much like an 80s vibe musically. There's a, you know, because I've criticized some solos, I will say I did enjoy the clean guitar solo on this song. And then there's a sax solo that comes in over top of that and i like how that how the tempo goes into halftime and then it kicks back in at the end yeah solid song so i got i got big money from rush in the intro that's what it felt like to me okay so just think of that synth you know.[1:37:21] Big money when before it comes in so but you're right man that that breakdown with the guitar and the sax i just kept repeating that i freaking loved that like and you know you guys you know i i'm i like the dead and and one of the reasons why i think i like the tragically hit because they are jam band no matter what you say they are jam band and they're not going to go off into crazy solos well they did go off into crazy gourd vocal solos you could say right but you know rob's not ripping it for 25 minutes and and you know breaking out the wall and making sure you're you know timing your dose just right but um it it i i love that part to this is that um that that that breakdown. Cause you just, and again, and I'm also a big rush fan. So that intro, so yeah, yeah, this is one of those, like I said, I didn't have my MVP, but this was definitely like a strong, strong candidate. And then my final note on this, this was the last vocal recorded before he was diagnosed is some research that I did. So this was the last vocal was let me before, before he was diagnosed entirely for me.[1:38:41] Not necessarily the meaning, but just context. Wow. Been hitting the head with the shovel here. Who else needs to talk about Let Me Howl? I think it's just Justin, right? Who, me? Yeah. Yeah, the sax makes me feel like I'm driving a cab in Manhattan in 1986.[1:39:06] And it's raining out. you know uh it's so freaking cool and it's a long song and it does weird things i remember the first time that i heard it i thought that we were going to have a fade out on the on that half you know the the slower beat um or the half time whatever you want to call it and, and then out of nowhere this massive film and and we're back and we're faster than we were before, right like it there there's a sense of urgency at the end of the song like let me howl here like i'm i gotta get this out and um it's really really fun like again it's, you can slow dance to this song and you can boogie to this song and you can, i don't know it's it's really really fun and um it's up there for mvp for me it's not my mvp but it's top three or four. I also like how the chorus, let me howl. And on the word howl, he has this like glissando up, like a slow glissando up along with the harmony, which is what a wolf does. Like, um, he's not going clean from one note to another. He's got, he's, he's like slurring up to it. Okay. And like, like a wolf would do when they howl.[1:40:30] And also there's some very slight changes to the way he sings it, I believe, if I'm remembering, if this is the song I'm thinking of, where the chorus slightly changes like the notes he's singing different times or the harmony changes. Something changes a little bit that I thought was really cool. I didn't listen to it today, so.[1:40:52] Justin, hell breaks loose. What do you think? I immediately, before I knew it, I knew that this was Johnny Faye playing drums. Um yeah and uh it's it's a it's a really cool again and like i just referenced new york city um and it's in the first line of this song like and he paints the picture of walking into a bar and it's kirk watching a soccer game right uh fireworks on the roof elbow one of the very first dates with, with my, with my wife, we watched a world cup game in a, in a bar that was shoulder to shoulder and it was two teams I didn't give a shit about and everybody was cheering and everybody was drinking and it was, you know, and then one guy got pissed off, bigger screens, bigger feelings. Right. And it's, it's cool.