By Tim from Radio Clash
The podcast currently has 172 episodes available.
Four weeks ago, John my partner of 27 years died. I have the task of arranging the funeral, which is this afternoon 19th September 2024 at 2pm (I recorded this two days ago). This includes the music…the saddest gig for any DJ, let alone the saddest thing I’ve done for someone I loved so deeply. EDIT: there is a report of how it went with video/photos here.
So this cheery banging episode /s is comprised of music I’ve made about the death of John, or about John, or that he loved that will be played at some point during the funeral service or wake/reception after.
Raise a glass for him, and remember him fondly. I will miss him forever, he was my soul mate, my daddy bear, my beautiful man.
The feed artwork is from the coffin I painted for him, a custom abstract piece called ‘The Ship’ that will take him onwards. Collaged into it is pieces of his writing – his thousands of ‘notes’ and also the symbols reflect his life from the TFL roundel to the ANL arrow and Rock Against Racism star.
The actual MP3 artwork I cannot show here, because it’s John lying in state and people get oddly squeamish about death. I just see John in another state, one I’d rather he wasn’t in, but photos of it do not bother me. Unlike my reality of doing CPR on him and watching the paramedics do same, and seeing him dead on the messy floor which I see every time I close my eyes in ‘wonderful’ 3D living technicolour courtesy of my visual brain and likely PTSD. That’s way worse.
John clothed in his favourite clothes in a white coffin – it’s a much nicer memory, if slightly weird cos he’s not really there. So be really thankful if that’s all you have to worry about. So don’t look at the artwork in the MP3 if you don’t want to see that. You are warned.
As i said at the end of the podcast, given my grief and my lack of love for anything other than songs about loss this might be the last Radio Clash, at least for a long while until I can listen to silly mashups and relate to them.
But at the moment pop songs and inane fluff are the last thing on my mind.
A delayed podcast as I’ve been off in the woods – but we have a feature on the two ‘Songs of the Summer’, the new albums by G3RST and Mark David Hadley and talk Twisted Firestarters and Mashup Summer Camp, actual camping and hiking, and why July is always Summertime Sadness – with some songs to soundtrack the long hot/rainy summer.
And we talk about Trump and the times…how could I not? It lurks over this podcast like a black cloud…
Apologies for the late podcast, just scraping in for May, and the last one was early April! I’ve been off walking the West Highland Way and the Great Glen Way in Scotland – all 170ish miles, so a LONG walk and a lot of wild camping, which seemed appropriate as it’s about to be Pride month as well.
So we have a slightly camp disco edit and queer acid tastic mix in the Kitchen Bathroom Disco, a few mashups and tunes I was singing while I was hiking, and listening to on the coach there and back, and a downtempo section where it goes a little Cabin In The Woods with strangers acting weirdly in remote locales.
And to those who follow me on HearThis, they’ve done a Mixcloud and restricted the accounts suddenly to 40 public uploads and 5Gb per account (the latter is definitely new since I am apparently over at 7.6Gb?), so I won’t be uploading there anymore. Please follow me here, on iTunes/Spotify or Amazon Podcasts – I think Google Podcasts is going, and I’m not uploading this to YouTube for anything, too much copyright aggro.
Kind of glad, since it’s another step and I’m trying to reduce my workload on these podcasts – hence no SEO/AI transcripts either. Too much faff for no return.
RIVER iS BEAUTIFUL! Fresh off a long walk along the River Thames – over a 100 miles sweetie – so we have a London and water themed podcast, an imagined soundtrack for my new YouTube video series on the Thames Path – cos I can’t afford the rights!
And new mashups from me and others and original music as well, and some old classics, And Video Killed The Radio Star? Hope not…
WEBVTT
00:04:07.600 –> 00:04:14.600
Hello, welcome to Radio Clash, this is 395, called River is Beautiful, and Curse you, Totom,
00:04:14.600 –> 00:04:16.360
for making a Coldplay Mash.
00:04:16.360 –> 00:04:18.040
Making me play a Coldplay Mash.
00:04:18.040 –> 00:04:22.600
Well, not making me play it, but making me like Coldplay Mash.
00:04:22.600 –> 00:04:29.600
After I said I really can’t stand Coldplay Mashes, Totom has to go and mash the one Coldplay
00:04:29.600 –> 00:04:34.880
song off the one album I can stand, which is the first album, and Don’t Panic.
00:04:34.880 –> 00:04:42.720
Yeah, all the feels, that’s I Promise You Flowers, Don’t Panic, Miley Cyrus vs. Coldplay.
00:04:42.720 –> 00:04:49.800
And at the start we had the Branflakes with Fifty Four Fifty from their 2016’s Ultimate Hits, which
00:04:49.800 –> 00:04:51.600
I missed, I somehow missed.
00:04:51.600 –> 00:04:56.440
I have several, at least one Branflakes album, and yeah, somehow I didn’t know about that
00:04:56.440 –> 00:04:57.440
one.
00:04:57.440 –> 00:05:00.080
I was checking out the discography and went, “What’s this?”
00:05:00.080 –> 00:05:04.600
And it sounds like a best-off, but none of the tracks I’d heard before, so it’s like
00:05:04.600 –> 00:05:07.920
a mock best-off, but I might be wrong on that.
00:05:07.920 –> 00:05:11.320
And yes, it’s called River is Beautiful because I’ve been walking the Thames path, I spent
00:05:11.320 –> 00:05:14.440
two weeks walking a lot of the Thames path.
00:05:14.440 –> 00:05:17.800
I’m not going to say exactly where I ended up, because it’s a bit spoilers, spoilers
00:05:17.800 –> 00:05:18.800
sweetie, spoilers.
00:05:18.800 –> 00:05:29.920
But yeah, I walked from Yantlet, which is where the London Stone is, to quite a bit of it,
00:05:29.920 –> 00:05:34.640
to more than halfway, and it’s 200 miles, so a lot of walking.
00:05:34.640 –> 00:05:40.080
And as this is a YouTube, as this is a video for my YouTube channel, I can’t afford the
00:05:40.080 –> 00:05:41.080
copyright.
00:05:41.080 –> 00:05:45.600
I can’t afford the musical rights to any of these songs.
00:05:45.600 –> 00:05:50.320
So weirdly, during the whole of it, I wasn’t listening to music.
00:05:50.320 –> 00:05:57.840
This episode is kind of a mixture of new stuff that I really dig, and also an imagined soundtrack
00:05:57.840 –> 00:06:00.200
for the Thames Path series.
00:06:00.200 –> 00:06:04.160
It’s going to be called Thames Spring when it comes out.
00:06:04.160 –> 00:06:06.000
I’m just editing it at the moment.
00:06:06.000 –> 00:06:11.240
And yeah, there’s a lot of tracks in here that are London based and river based.
00:06:11.240 –> 00:06:17.680
And yes, if I could license any music, there’d be some of these in that video, but I can’t.
00:06:17.680 –> 00:06:20.320
So talking of London, we can play a track by Hallmighty.
00:06:20.320 –> 00:06:23.220
This is, surprise I’ve not played this.
00:06:23.220 –> 00:06:28.640
This is from 2023, Hallmighty Presents, Disco Deluxe 6.
00:06:28.640 –> 00:06:33.440
This is Take My Heart Back to London, Ed Sheeran versus Stormzy versus Pet Shop Boys.
00:37:23.720 –> 00:37:30.400
That was Hallmighty featuring Lady Tea, with his first ever original track.
00:37:30.400 –> 00:37:31.400
That’s ‘The Rhythm’.
00:37:31.400 –> 00:37:33.080
I like that a lot.
00:37:33.080 –> 00:37:37.720
It’s a good slice of disco, modern disco.
00:37:37.720 –> 00:37:41.320
And then before that we had, yeah, more of that sort of river section.
00:37:41.320 –> 00:37:47.520
That’s ‘Water’ featuring Clara La San by Bicep from 2022.
00:37:47.520 –> 00:37:52.760
Then before that Overmono with ‘BBY’ from 2029.
00:37:52.760 –> 00:37:54.680
And then before that we had Minor Arth
00:37:54.680 –> 00:37:57.880
We had two Minor Arth tracks in that mix, actually.
00:37:57.880 –> 00:38:02.560
There’s ‘Andromedas Teardrops’, Womack and Womacn versus Gorillaz versus D-RAM or
00:38:02.560 –> 00:38:06.080
DRAM, I don’t know how you say that, a very recent mashup.
00:38:06.080 –> 00:38:12.200
I’m not really up on Gorillaz and I’ve been hearing the odd thing that has used tracks
00:38:12.200 –> 00:38:15.000
and I’ve really liked the track they use.
00:38:15.000 –> 00:38:19.200
So I have one later in the podcast, which is one of those, it’s like, “Oh, actually,
00:38:19.200 –> 00:38:20.200
I’ve not heard that.
00:38:20.200 –> 00:38:22.200
I recognise that vocalist.
00:38:22.200 –> 00:38:23.960
I must have this.”
00:38:23.960 –> 00:38:30.280
And of course, you know, ‘Teardrop’ is a classic and it’s apparently namedropped in the Andromeda
00:38:30.280 –> 00:38:31.280
track.
00:38:31.280 –> 00:38:36.640
Then before that, the theme of mine is ‘Video Killed the Radio Star’, for kind of obvious
00:38:36.640 –> 00:38:42.040
reasons I would say, though I never was a radio star.
00:38:42.040 –> 00:38:43.640
Video killed the radio unknown.
00:38:43.640 –> 00:38:52.200
But yeah, there’s very much a thing with YouTube taking on my time that I don’t really spend
00:38:52.200 –> 00:38:53.200
the time.
00:38:53.200 –> 00:39:01.240
I should do with the podcast and other things, blog and etc. are very neglected at the moment,
00:39:01.240 –> 00:39:02.240
which is very bad.
00:39:02.240 –> 00:39:05.920
But you know, it’s kind of like, that’s the way with YouTube.
00:39:05.920 –> 00:39:07.000
You have to be very much all in.
00:39:07.000 –> 00:39:10.520
You can’t just do half cock, really.
00:39:10.520 –> 00:39:13.760
So that’s Mighty Mike with ‘Time Killed the Radio Star’.
00:39:13.760 –> 00:39:18.440
That’s Cyndi Lauper’versus ‘Buggles’.
00:39:18.440 –> 00:39:23.040
And before that, we had ‘Video Killed Digital Love’, Daftpunk versus ‘The Buggles’ by
00:39:23.040 –> 00:39:24.040
Minor Arth
00:39:24.040 –> 00:39:27.240
Again, another new-ish mash.
00:39:27.240 –> 00:39:31.960
And then before that, we had one of me that was kept an obvious with, because everyone’s
00:39:31.960 –> 00:39:35.800
doing Murder on the Dancefloor mashups because of Saltburn.
00:39:35.800 –> 00:39:39.040
Even though I’ve never seen Saltburn, it was for a challenge actually.
00:39:39.040 –> 00:39:43.440
I didn’t win the challenge, but hey, that’s ‘Murder Everywhere’ on the dancefloor.
00:39:43.440 –> 00:39:45.440
Sophie Ellis Bexter versus Fleetwood Mac
00:39:45.440 –> 00:39:48.440
Yes, me doing a Fleetwood Mac mashup.
00:39:48.440 –> 00:39:49.440
Surprise!
00:39:49.440 –> 00:39:50.440
Much surprise.
00:39:50.440 –> 00:39:54.160
And then before the start of that section, we had Hallmighty with ‘Take My Heart Back
00:39:54.160 –> 00:39:57.880
to London’ Ed Sheeran and ‘Stormzy’ versus Pet Shop Boys.
00:39:57.880 –> 00:40:02.560
Yes, I’d love to have stuff like, you know, ‘Bicep’ in my video.
00:40:02.560 –> 00:40:06.560
I just have to use an AI knock-offs of that kind of thing.
00:40:06.560 –> 00:40:09.000
Unfortunately, yes, it’s sad.
00:40:09.000 –> 00:40:10.000
It’s sad.
00:40:10.000 –> 00:40:18.640
So, we’re going to play another London-related track, which is ‘London Calling’ by The Clash.
00:40:18.640 –> 00:40:19.880
Hey, we’re Radio Clash.
00:40:19.880 –> 00:40:22.320
We have to play Clash tunes it’s in the rules
00:40:22.320 –> 00:40:26.320
And this is Phoenix City All-Stars, their version of ‘London Calling’.
01:02:17.920 –> 01:02:24.020
That was men, not just
01:02:24.020 –> 01:02:26.520
any old men, we’re just innocent men.
01:02:26.520 –> 01:02:34.120
Now, MEN, J.D. Samson’s band from 2011, that’s “Who Am I to Feel So Free?” which I know from
01:02:34.120 –> 01:02:38.720
Duckie I’d heard it from Duckie and I heard it again through checking out what J.D. Samson
01:02:38.720 –> 01:02:42.040
had been up to and I was like, “Oh, I know that song.
01:02:42.040 –> 01:02:45.280
Always good to play some queer indy disco.
01:02:45.280 –> 01:02:47.480
Always a pleasure in this podcast.”
01:02:47.480 –> 01:02:51.180
The whole thing that I always love to play is also Jungle, so we had Charla Green
01:02:51.180 –> 01:02:55.560
with Babylon Fall from 2020, not from London, from Sheffield, but yeah.
01:02:55.560 –> 01:02:57.360
Before that, we had some London Elektricity.
01:02:57.360 –> 01:03:02.240
I mean, how could we do a London podcast without some London Elektricity?
01:03:02.240 –> 01:03:03.240
It’s impossible.
01:03:03.240 –> 01:03:04.240
We can’t.
01:03:04.240 –> 01:03:05.240
We cannot.
01:03:05.240 –> 01:03:06.240
We cannot.
01:03:06.240 –> 01:03:07.240
We cannot.
01:03:07.240 –> 01:03:08.640
We cannot have a London podcast without London Elektricity.
01:03:08.640 –> 01:03:13.920
And that’s from 2019’s “Building Better Worlds.”
01:03:13.920 –> 01:03:15.680
That’s “Possible Worlds” featuring Inja.
01:03:15.680 –> 01:03:19.280
I haven’t played a remix of that, but I haven’t played the original weirdly.
01:03:19.280 –> 01:03:23.920
And then we had Oki’s “Walk Idiot, Don’t Stop.”
01:03:23.920 –> 01:03:25.280
You see what I did there?
01:03:25.280 –> 01:03:31.960
Hives vs. Fleetwood Mac the Oki tracks from 2023, and The Unusuals “I’m Walking,
01:03:31.960 –> 01:03:35.960
Babe” from 1965, some classic garage rock.
01:03:35.960 –> 01:03:41.080
I’ve played some Unusualson a podcast before, a very different one with a different vocalist,
01:03:41.080 –> 01:03:42.880
but that’s their other single.
01:03:42.880 –> 01:03:45.400
They’re like three singles, I think, or two singles.
01:03:45.400 –> 01:03:47.160
And that’s that other single.
01:03:47.160 –> 01:03:51.520
They’re more known for their second single, which I forget her name, but it’s quite a
01:03:51.520 –> 01:03:55.760
well-known vocalist who worked with them on their last single.
01:03:55.760 –> 01:03:59.280
I think it was their last single, one of their singles.
01:03:59.280 –> 01:04:05.480
And then before that, we had Phoenix City All-Stars with London Calling, or London Colin, as
01:04:05.480 –> 01:04:07.040
I always call it.
01:04:07.040 –> 01:04:09.080
I can hear you, Colin.
01:04:09.080 –> 01:04:10.640
London Colin.
01:04:10.640 –> 01:04:11.640
Yes.
01:04:11.640 –> 01:04:12.640
Yes.
01:04:12.640 –> 01:04:19.520
So, again, when I was walking down the river, there was one song that was in my head, or
01:04:19.520 –> 01:04:20.520
one statement.
01:04:20.520 –> 01:04:23.440
There was a few songs that I was singing along the way.
01:04:23.440 –> 01:04:25.600
Weirdly not river-based, most of them.
01:04:25.600 –> 01:04:28.680
For some reason, I was always singing Negativland’s
01:04:28.680 –> 01:04:31.440
“I am a man, a man with four fingers.”
01:04:31.440 –> 01:04:34.000
For some reason, I just kept singing that.
01:04:34.000 –> 01:04:35.000
I don’t know why.
01:04:35.000 –> 01:04:36.000
I don’t know why.
01:04:36.000 –> 01:04:37.000
So I kept changing lyrics.
01:04:37.000 –> 01:04:38.280
“I am a man, a man with four locks.
01:04:38.280 –> 01:04:39.960
I am a man, a man with four rivers.
01:04:39.960 –> 01:04:43.960
I am a man with four pastels.”
01:04:43.960 –> 01:04:46.680
I was eating a lot of fruit pastels.
01:04:46.680 –> 01:04:49.400
With four fruit pastels, yeah.
01:04:49.400 –> 01:04:53.200
I ate two and a half bags of, no three and a half bags of fruit pastels.
01:04:53.200 –> 01:04:56.880
And I can tell you, my fruit pastel research, that the original fruit pastels are worse
01:04:56.880 –> 01:04:59.840
than the supermarket-owned brands.
01:04:59.840 –> 01:05:00.840
Even Lidl.
01:05:00.840 –> 01:05:01.840
That doesn’t make sense.
01:05:01.840 –> 01:05:06.240
But, of course, Rowntrees changed the formula, like they did with fruit gums.
01:05:06.240 –> 01:05:08.400
And then ours tastes like shit.
01:05:08.400 –> 01:05:10.600
Whereas the best one is Tesco’s.
01:05:10.600 –> 01:05:15.800
Tesco’s own fruit pastels taste fruitier than the original fruit pastels.
01:05:15.800 –> 01:05:17.920
And they still have that texture.
01:05:17.920 –> 01:05:20.400
I think it’s because they made it vegan.
01:05:20.400 –> 01:05:22.960
They made the original ones vegan.
01:05:22.960 –> 01:05:24.800
And so now they’re just not as nice.
01:05:24.800 –> 01:05:25.800
Sorry, vegans.
01:05:25.800 –> 01:05:26.800
You spoil everything.
01:05:26.800 –> 01:05:29.200
I’m going to get complaints.
01:05:29.200 –> 01:05:30.200
I don’t care.
01:05:30.200 –> 01:05:31.200
No one fucking listens to this.
01:05:31.200 –> 01:05:35.600
But yeah, so I’m not almost now listening to this.
01:05:35.600 –> 01:05:36.600
So what?
01:05:36.600 –> 01:05:37.600
It’s true, though.
01:05:37.600 –> 01:05:42.040
That’s nice things that have been sort of wrecked by having to change the formula because
01:05:42.040 –> 01:05:43.040
of…
01:05:43.040 –> 01:05:44.960
I mean, I get it with allergies, but it’s…
01:05:44.960 –> 01:05:45.960
Yeah.
01:05:45.960 –> 01:05:50.720
I have vegans and I have gluten tolerance and stuff.
01:05:50.720 –> 01:05:51.720
So I get it.
01:05:51.720 –> 01:05:55.480
But I don’t go around insisting everyone should change their crusty loaf.
01:05:55.480 –> 01:06:00.880
I wish there was more gluten bread, but I don’t think people should change theirs.
01:06:00.880 –> 01:06:06.440
But yeah, and I’ll readily agree that the gluten-free versions are dreadful.
01:06:06.440 –> 01:06:07.440
Well, not dreadful.
01:06:07.440 –> 01:06:08.440
They’re getting better.
01:06:08.440 –> 01:06:09.440
But sourdough is all right.
01:06:09.440 –> 01:06:13.240
But a lot of them are just like cardboard.
01:06:13.240 –> 01:06:17.400
And I will freely admit that.
01:06:17.400 –> 01:06:20.760
But yeah, whenever…
01:06:20.760 –> 01:06:23.280
I’ve noticed the vegan version of things.
01:06:23.280 –> 01:06:25.360
The vegan version of jelly gums.
01:06:25.360 –> 01:06:31.200
Unfortunately, I think you do need pigs or gelatin, really.
01:06:31.200 –> 01:06:34.720
It’s part of the flavor and the taste and texture.
01:06:34.720 –> 01:06:45.920
So the thing that I was saying was “Creek is beautiful” rather than saying what is the
01:06:45.920 –> 01:06:47.320
title of this podcast.
01:06:47.320 –> 01:06:48.320
River is beautiful.
01:06:48.320 –> 01:06:50.320
And so I have to play the original.
01:06:50.320 –> 01:06:51.680
So this is from Bluey.
01:06:51.680 –> 01:06:54.000
“Creek is beautiful” and it is a beautiful episode.
01:06:54.000 –> 01:06:57.720
And this is pretty much every Bluey episode.
01:06:57.720 –> 01:06:58.720
All of them actually.
01:06:58.720 –> 01:06:59.720
They are beautiful.
01:06:59.720 –> 01:07:03.320
But yeah, this is a magical paen to…
01:07:03.320 –> 01:07:08.680
Kids going outdoors and playing in the creek.
01:36:25.400 –> 01:36:28.440
It seems to be a bumper podcast for Hallmighty.
01:36:28.440 –> 01:36:33.160
Well I was actually planning to play the two Hallmighty tracks, and then he dropped the original
01:36:33.160 –> 01:36:35.640
tracks, so I was like, “Oh, put that in as well”
01:36:35.640 –> 01:36:41.400
That’s “Hear Me Under the Bridge,” Red Hot Chili Peppers versus K’Naan versus
01:36:41.400 –> 01:36:43.640
Robbie Williams, versus The Beatles.
01:36:43.640 –> 01:36:46.920
I must have agreed, when I first heard that, I was like, “Where’s The Beatles?
01:36:46.920 –> 01:36:47.920
Where’s The Beatles?”
01:36:47.920 –> 01:36:50.200
And it was just like, right at the end, a little bit of Hey Jude.
01:36:50.200 –> 01:36:56.080
And before that, we had the dub classic, “Kunte Kinte dub plate, version two”.
01:36:56.080 –> 01:36:59.520
Everyone plays version one, and I preferred version two actually.
01:36:59.520 –> 01:37:01.360
That’s by The Revolutionaries.
01:37:01.360 –> 01:37:05.560
And it’s weird, because the date on that is like 2007, 2009.
01:37:05.560 –> 01:37:09.600
I can’t find the original version, even though it’s from the 1970s.
01:37:09.600 –> 01:37:13.560
I can’t find it on Discogs because I can’t find what the original version, when the original
01:37:13.560 –> 01:37:15.920
version, release date was.
01:37:15.920 –> 01:37:20.800
I think I won these things that languished on dub plates, and never got properly released,
01:37:20.800 –> 01:37:22.920
commercially released.
01:37:22.920 –> 01:37:27.240
But I’ve certainly heard that organ sound in so many other things.
01:37:27.240 –> 01:37:30.440
So that organ sound was very much copied.
01:37:30.440 –> 01:37:34.000
And The Revolutionaries was the first time that Sly and Robbie got together.
01:37:34.000 –> 01:37:35.520
That was their group.
01:37:35.520 –> 01:37:36.520
Various people came and went.
01:37:36.520 –> 01:37:42.240
I think Ansel Collins was in there, and various people you all heard of came through The
01:37:42.240 –> 01:37:44.640
Revolutionaries.
01:37:44.640 –> 01:37:49.400
And before that, we had Gorillaz with the lost chord featuring Leee John.
01:37:49.400 –> 01:37:50.400
The man with three E’s
01:37:50.400 –> 01:37:52.400
Oh, it’s great to hear Leee John.
01:37:52.400 –> 01:37:54.040
I’m a big Imagination fan.
01:37:54.040 –> 01:37:56.040
I was as a child.
01:37:56.040 –> 01:37:59.840
And I heard that voice in a mashup, and I was like, “Hey, that’s Leee John.
01:37:59.840 –> 01:38:02.120
I’m pretty sure that’s Leee John on a Gorillaz track.”
01:38:02.120 –> 01:38:03.120
Yep.
01:38:03.120 –> 01:38:08.160
It was from 2020’s Song Machine Season 1, “Strange Times.”
01:38:08.160 –> 01:38:13.040
And I don’t know what that song’s about, but every song sounds better with Leee John in it.
01:38:13.040 –> 01:38:16.320
And before that, we had the headless, the headless organist.
01:38:16.320 –> 01:38:20.960
I’m not going to get very far, are they?
01:38:20.960 –> 01:38:21.960
Headless organist.
01:38:21.960 –> 01:38:22.960
Bonk.
01:38:22.960 –> 01:38:30.080
Now, the Handless Organist is Turn Your Radio On from 1984’s Truly a Miracle of God.
01:38:30.080 –> 01:38:35.880
And people describe that as an outsider album, and I don’t think it is.
01:38:35.880 –> 01:38:38.000
Having listened to it, it’s perfectly fine.
01:38:38.000 –> 01:38:41.360
I love the organ work, and I love the singing.
01:38:41.360 –> 01:38:43.160
It’s like, “Oh, it’s an outsider record.
01:38:43.160 –> 01:38:46.640
Just watch, because she’s got a disability, because she has no hands.”
01:38:46.640 –> 01:38:48.840
It’s like, that’s a bit weird.
01:38:48.840 –> 01:38:50.160
No, it’s not.
01:38:50.160 –> 01:38:52.520
It has to be a bit more than that.
01:38:52.520 –> 01:38:56.360
But still, I really like that song, despite the Christian bits.
01:38:56.360 –> 01:38:59.400
It’s just the, “Turn your radio on.”
01:38:59.400 –> 01:39:00.400
It’s good.
01:39:00.400 –> 01:39:06.280
And then before that, we had Billy No-Mates with Saboteur Forcefield from 2023’s Cacti.
01:39:06.280 –> 01:39:10.080
It’s probably the only podcast that went from Billy No-Mates to the Handless Organist,
01:39:10.080 –> 01:39:11.080
I can tell you.
01:39:11.080 –> 01:39:16.640
Then before that, we had a kind of a London section, but not necessarily a happy London
01:39:16.640 –> 01:39:17.640
section.
01:39:17.640 –> 01:39:19.880
It started out happy.
01:39:19.880 –> 01:39:25.720
So we had Kae Tempest with Bad Place for a Good Time, and that was the last single that they
01:39:25.720 –> 01:39:27.800
did for Big Dada.
01:39:27.800 –> 01:39:32.120
That was the last independent single from 2015.
01:39:32.120 –> 01:39:37.160
And then they joined the big bad UMG, unfortunately.
01:39:37.160 –> 01:39:43.000
And before that, we had Solange with Cranes in the Sky from 2016’s A Seat at the Table.
01:39:43.000 –> 01:39:47.240
And I questioned myself about doing this, because it harmonically works so well.
01:39:47.240 –> 01:39:52.040
But I really didn’t want to cramp on the style of Bluey’s and Joff Bush’s.
01:39:52.040 –> 01:39:53.360
“The creek is beautiful.”
01:39:53.360 –> 01:39:55.880
But then I was like, that is basically my walk.
01:39:55.880 –> 01:40:00.760
It was, you’d see a beautiful creek, a beautiful river, and then you turn the corner and there
01:40:00.760 –> 01:40:04.840
would be cranes and the usual London bullshit.
01:40:04.840 –> 01:40:10.720
And so that was why I was like, yeah, I’ll keep it in, because it’s kind of that duality
01:40:10.720 –> 01:40:13.840
is what’s in my video series.
01:40:13.840 –> 01:40:17.840
To come, he’s very much that ugly next to beautiful.
01:40:17.840 –> 01:40:20.680
And the ugly is beautiful and the beautiful is ugly, you know, that kind of thing.
01:40:20.680 –> 01:40:21.680
That’s London.
01:40:21.680 –> 01:40:24.200
It’s all jostled together, the good and the bad.
01:40:24.200 –> 01:40:29.000
And yes, as you might have guessed, my walk didn’t go badly.
01:40:29.000 –> 01:40:34.360
It didn’t, unfortunately, because of flooding, didn’t actually get where I wanted it to be,
01:40:34.360 –> 01:40:35.360
which was depressing.
01:40:35.360 –> 01:40:38.800
But it’s funny, it was Easter and it was like, well, I can’t walk on water.
01:40:38.800 –> 01:40:39.800
I’m not Jesus.
01:40:39.800 –> 01:40:44.320
So I’m going to go back and finish, well, less than half, I think it is.
01:40:44.320 –> 01:40:47.880
I’m totted it up, but it’s definitely more than half.
01:40:47.880 –> 01:40:57.080
Look at the latter bit when it’s summer and it’s less of a stressy thing, because I just
01:40:57.080 –> 01:41:02.080
ended up walking on roads and like walking roads, taking a path in, finding it flooded,
01:41:02.080 –> 01:41:03.800
you know, and it’s like I did take water through socks.
01:41:03.800 –> 01:41:08.200
I was fording across things, but the problem is you can’t hike in wellies.
01:41:08.200 –> 01:41:09.760
So it was a debate.
01:41:09.760 –> 01:41:13.560
I should have took wellies, but then it was like, well, there’d be another thing to carry.
01:41:13.560 –> 01:41:15.200
Some of the bits are impossible to afford.
01:41:15.200 –> 01:41:20.120
Like I got to this thing which I’ve jumped before or around.
01:41:20.120 –> 01:41:24.800
So sort of like this sort of bit, which is like a break in the bank.
01:41:24.800 –> 01:41:28.040
And it was, I actually put my pole and I was like, should I walk through this?
01:41:28.040 –> 01:41:30.200
And it was like, kept going down and down and down.
01:41:30.200 –> 01:41:31.200
I was more than waist deep.
01:41:31.200 –> 01:41:33.200
I was like, no.
01:41:33.200 –> 01:41:38.320
And the field was completely flooded going into unless I sort of forded that.
01:41:38.320 –> 01:41:41.520
And I was like, no.
01:41:41.520 –> 01:41:45.560
So there was a few things like that, but I did, I did ford quite a lot of them and
01:41:45.560 –> 01:41:48.440
I got, got my feet wet quite a few times.
01:41:48.440 –> 01:41:51.360
It got to a point where I don’t need wellies.
01:41:51.360 –> 01:41:52.360
I need waders.
01:41:52.360 –> 01:41:54.200
It’s too deep.
01:41:54.200 –> 01:41:56.200
And so then I was like, no, it’s just silly.
01:41:56.200 –> 01:42:00.160
I was fed up of camping by roads and walking along roads.
01:42:00.160 –> 01:42:03.000
It was just, it was just too stressy.
01:42:03.000 –> 01:42:05.520
Lots of bad places and lots of good places.
01:42:05.520 –> 01:42:06.520
Well, then one.
01:42:06.520 –> 01:42:09.760
But yeah, I’m going to play a track by Working Men’s Club.
01:42:09.760 –> 01:42:10.760
I love this greatly.
01:42:10.760 –> 01:42:13.360
It doesn’t really fit for the rest of it.
01:42:13.360 –> 01:42:15.880
It’s very sort of new wave.
01:42:15.880 –> 01:42:19.160
This is Circumference.
02:12:38.840 –> 02:12:42.520
I almost didn’t make the ending because I fell asleep to my own mashup, which is, I’m
02:12:42.520 –> 02:12:45.080
not sure that’s a good thing or a bad thing.
02:12:45.080 –> 02:12:49.080
That TBC aka Instamatic with Whisper Forever
02:12:49.080 –> 02:12:51.000
George Michael versus the Spice Girls
02:12:51.000 –> 02:12:55.120
I always wanted to do a mashup with Viva Forever.
02:12:55.120 –> 02:12:59.480
I’m not a massive Spice Girls fan, but I do like the feel of that.
02:12:59.480 –> 02:13:02.520
I mean, it was like a whole Geri leaving at that point.
02:13:02.520 –> 02:13:05.960
And you know, I don’t know.
02:13:05.960 –> 02:13:07.520
There’s a whole kind of feel of that.
02:13:07.520 –> 02:13:11.480
Even though it’s supposed to be like the end of a summer romance.
02:13:11.480 –> 02:13:13.960
It’s quite a sad song.
02:13:13.960 –> 02:13:17.680
Then before that, we had Goldie and the Gingerbreads with Walking in Different Circles.
02:13:17.680 –> 02:13:22.680
That’s some classic psych sort of garage from 1967.
02:13:22.680 –> 02:13:27.560
And before that, we had iWillBattle with Feeling Beautiful Good Things, Benson Boone
02:13:27.560 –> 02:13:28.720
versus Muse.
02:13:28.720 –> 02:13:31.520
I didn’t know the Benson Boone song at all.
02:13:31.520 –> 02:13:36.080
It’s always a good sign of a mashup when you really connect to a mashup, but you don’t
02:13:36.080 –> 02:13:37.080
know one of the songs.
02:13:37.080 –> 02:13:40.640
And you’re kind of like, it just works.
02:13:40.640 –> 02:13:45.880
I’ve not heard the original version of the Benson Boone track at all.
02:13:45.880 –> 02:13:50.280
So I don’t know it, but yeah, it just works really well.
02:13:50.280 –> 02:13:56.640
And then before that, we had ah! Alan Hurley with Black Frog Peace One.
02:13:56.640 –> 02:14:00.280
Again, I think that’s one of my favorite mashups of the year.
02:14:00.280 –> 02:14:03.440
That’s the Doors versus Thom Yorke.
02:14:03.440 –> 02:14:05.440
And I don’t know.
02:14:05.440 –> 02:14:10.200
You know, in some senses, I suppose, Radiohead, Tom York versus the Doors might be slightly
02:14:10.200 –> 02:14:11.960
obvious, but it’s not really.
02:14:11.960 –> 02:14:15.920
It feels very intertwined.
02:14:15.920 –> 02:14:22.640
It’s certainly not an obvious choice, the two songs together, but they work so well.
02:14:22.640 –> 02:14:25.160
So that’s the important thing.
02:14:25.160 –> 02:14:28.840
And then before that, we had Danny Macabre with Vampire Creep.
02:14:28.840 –> 02:14:30.920
There’s Olivia Rodrigo versus Radiohead.
02:14:30.920 –> 02:14:36.440
I question myself whether to put that in because the Radiohead is too fast, that really weird
02:14:36.440 –> 02:14:37.880
break in it.
02:14:37.880 –> 02:14:43.400
And I don’t know why the extra drums sound odd, but the combination is brilliant.
02:14:43.400 –> 02:14:51.840
The Vampire Olivia Rodrigo versus Creep, it’s kind of like more than half of a good
02:14:51.840 –> 02:14:54.040
mashup is the song selection.
02:14:54.040 –> 02:15:00.040
The Alan Hurley as well is like the one from iWillBattle.
02:15:00.040 –> 02:15:03.960
The two things just meshing.
02:15:03.960 –> 02:15:05.800
And that’s kind of more than half the battle.
02:15:05.800 –> 02:15:09.480
It’s just choosing two things that sync together really well.
02:15:09.480 –> 02:15:15.360
At the end of the day, the technical side is not as important as having two good tracks
02:15:15.360 –> 02:15:17.840
that work really well together.
02:15:17.840 –> 02:15:19.520
You can kind of overlook some of the bits.
02:15:19.520 –> 02:15:20.520
It’s like, “Hmm.”
02:15:20.520 –> 02:15:24.280
That’s still, yeah, I don’t know if that’s going on with that first break, but anyway,
02:15:24.280 –> 02:15:25.400
first drop.
02:15:25.400 –> 02:15:28.360
And then before that, we had Totom’s.
02:15:28.360 –> 02:15:33.320
Everybody would drown and You’d Too Y.O.U.D. Too.
02:15:33.320 –> 02:15:39.160
How to Destroy Angels versus Billie Eilish versus Culoe Da Song.
02:15:39.160 –> 02:15:44.600
I don’t know the How to Destroy Angels or the Culoe Da Song, but it just works so
02:15:44.600 –> 02:15:45.600
well.
02:15:45.600 –> 02:15:49.040
I know the Billie Eilish and it just is a complete mood.
02:15:49.040 –> 02:15:50.720
A complete mood.
02:15:50.720 –> 02:15:52.560
Hashtag vibe.
02:15:52.560 –> 02:15:57.800
Then before that, we had Working Men’s Club with Circumference.
02:15:57.800 –> 02:15:59.560
And as you might have guessed, that’s selection.
02:15:59.560 –> 02:16:02.640
Yeah, not exactly happy, happy, joy, joy.
02:16:02.640 –> 02:16:05.720
My mental health has been a bit weird since I got back.
02:16:05.720 –> 02:16:08.520
I think it’s just sitting indoors editing.
02:16:08.520 –> 02:16:13.880
I edited the South Downs Way Part 3 last week and now I’m working on the editing for the
02:16:13.880 –> 02:16:17.240
Thames Path stuff and just going through all my old photographs.
02:16:17.240 –> 02:16:20.200
And it’s just been a bit of a kind of like a drudge I think.
02:16:20.200 –> 02:16:26.440
But luckily I’m going out next weekend on another collaboration trip in Felixstowe and
02:16:26.440 –> 02:16:27.440
Harwich.
02:16:27.440 –> 02:16:31.040
So it’s a coast I don’t know well, walking around the estuary.
02:16:31.040 –> 02:16:34.920
Yeah, that should be hopefully good.
02:16:34.920 –> 02:16:35.920
Hopefully interesting.
02:16:35.920 –> 02:16:38.400
But yeah, I think really getting out would be good for me.
02:16:38.400 –> 02:16:43.360
I’ve been trying to keep myself busy because yeah, things have been a bit like, I think
02:16:43.360 –> 02:16:48.080
it’s just probably because I’m about to reach 51.
02:16:48.080 –> 02:16:51.440
It’s always weird about that sort of time and so looking at my achievements and the
02:16:51.440 –> 02:16:55.320
YouTube channel and stuff and just thinking it’s not really where I want it to be.
02:16:55.320 –> 02:16:59.520
I mean, that’s what the two week walk thing was about was just a bit like, you know, I’m
02:16:59.520 –> 02:17:02.760
going to do something big and sort of really push it.
02:17:02.760 –> 02:17:05.760
But it’s a lot of work, a lot of footage.
02:17:05.760 –> 02:17:06.760
A lot of editing.
02:17:06.760 –> 02:17:11.360
I don’t know how long the series hopefully won’t be daily.
02:17:11.360 –> 02:17:14.080
If it’s daily, it’s going to be 12 parts, which is right.
02:17:14.080 –> 02:17:15.080
That’s crazy.
02:17:15.080 –> 02:17:17.880
I’m hoping to do it every couple of days.
02:17:17.880 –> 02:17:21.760
My computer is having to use external drives and stuff.
02:17:21.760 –> 02:17:22.760
Computer’s fall on it.
02:17:22.760 –> 02:17:26.400
It’s just like, a lot of tech issues.
02:17:26.400 –> 02:17:30.000
I’ve been going through all my old photographs and that’s quite fun.
02:17:30.000 –> 02:17:32.840
But also the scanner won’t scan the slides.
02:17:32.840 –> 02:17:37.640
So I can’t include any of the slides unless I get the other scanner in and it’s all that
02:17:37.640 –> 02:17:38.640
sort of stuff.
02:17:38.640 –> 02:17:43.440
It’s just like, oh, so yeah, there’s a lot of that going on and it’s not helping.
02:17:43.440 –> 02:17:45.040
So I hope you’re all well.
02:17:45.040 –> 02:17:50.760
I’m going to play out with a classic from Lee Spoons, 10,000 Spoons.
02:17:50.760 –> 02:17:57.520
Again, I think I heard this on his Megabllast radio show from Noisebox Radio.
02:17:57.520 –> 02:17:58.880
I think it was that.
02:17:58.880 –> 02:18:00.520
I think he played on that.
02:18:00.520 –> 02:18:01.520
I had not heard it before.
02:18:01.520 –> 02:18:03.440
It’s from way back in the day.
02:18:03.440 –> 02:18:08.640
And I have to say, I love it, but it does have that weird kind of, because I’m pretty sure,
02:18:08.640 –> 02:18:13.440
I’m really not sure what time signatures Charots of Fire is in.
02:18:13.440 –> 02:18:18.000
And I think it’s kind of a weird kind of almost Waltz time.
02:18:18.000 –> 02:18:19.160
I’m not sure.
02:18:19.160 –> 02:18:20.160
So there an element of that.
02:18:20.160 –> 02:18:24.800
But even that, it just, it does, it does work even though bits are on like, yeah, where
02:18:24.800 –> 02:18:27.080
is the snare there?
02:18:27.080 –> 02:18:29.920
So this is Chariots Killed The Radio Star, Buggles.
02:18:29.920 –> 02:18:32.240
Yeah, again, Buggles versus Vangelis.
02:18:32.240 –> 02:18:35.600
Speak to you soon.
Sometimes you need a room full strangers to make you feel less alone,
A place dark enough to make yourself unknown, unknowable,but…home somehow,
A place to hide somehow, at least that’s how it feels.
No murder on the dancefloor with a spoken word club mix about lhaving a place to hide with your rum and ginger beer and losing those life and joy-giving queer spaces …
A very mashup/dance heavy podcast, from acid house meets Pink Floyd to phonk, the new-ish Orbital track, a track from the upcoming Arab Strap album (it’s released in April not May), War of the Worlds, walking and hiking, jungle, ALEXA PLAY PUMPED UP KICKS with tracks about personal assistants, and five gold rings…no, five new mashups from me, including a remake of an old Reborn Identity classic.
All variants of the cover:
WEBVTT
00:03:58.680 –> 00:04:00.540
Hello and welcome to Radio Clash.
00:04:00.540 –> 00:04:05.740
This is 394, and A Place To Hide, and there’s no jingle this time, I thought, well, we’ve
00:04:05.740 –> 00:04:09.880
got this long section from the end is much which I love, I love the fact you’re hearing
00:04:09.880 –> 00:04:11.400
all the Martians here.
00:04:11.400 –> 00:04:19.080
This is iWillBattle with War the Houdinis, Dua Lipa vs Jeff Wayne, War of the Worlds,
00:04:19.080 –> 00:04:24.400
and at the start you heard SpongeBob SquareWave from 2023 that this is one new day you don’t
00:04:24.400 –> 00:04:29.440
want to fuck, which I love the way that sort of chops up that sample.
00:04:29.440 –> 00:04:37.260
I hope you’re all well, I’ve been, oh, I’ve been so busy doing hiking shizzle, so hiking
00:04:37.260 –> 00:04:44.900
YouTube stuff, nearly 500 subscribers now, about sort of 16 away, and I don’t want to
00:04:44.900 –> 00:04:49.500
jinx it because I know I’m just saying this, but like, I’ll probably go down next week,
00:04:49.500 –> 00:04:50.500
it always does.
00:04:50.500 –> 00:04:56.700
And I’ve just posted on my second attempt at the South Downs Way trip where I did 45
00:04:56.700 –> 00:05:02.720
miles, you can find that over at YouTube at @HardUpHiker, just at @HardUpHiker or where
00:05:02.720 –> 00:05:04.720
you’ll find it.
00:05:04.720 –> 00:05:09.800
And yeah, I screwed my knee up, I think maybe I mentioned it in the last podcast, it’s
00:05:09.800 –> 00:05:16.680
taken five, six weeks, and I did about 50 miles for walking last week, including two
00:05:16.680 –> 00:05:22.560
12 mile hikes with the full pack, and I’ve got a video about that next week, but you
00:05:22.560 –> 00:05:26.820
know, I kind of felt I had to kind of build back up again, it’s like, you know, training
00:05:26.820 –> 00:05:30.820
or, you know, recuperation, but it’s taken a very long time and it’s been very annoying
00:05:30.820 –> 00:05:35.460
because I had all these plans and because The Big Freeze finished and everything, warmer
00:05:35.460 –> 00:05:40.980
again and I couldn’t go out, and I was like, now it’s all rains, obviously, we had the
00:05:40.980 –> 00:05:47.540
full spring, and now we’re having the proper spring, which is very wet, so yeah, I meant
00:05:47.540 –> 00:05:53.600
to get this out earlier, and I say it’s just way too, way too busy, the one I did previously
00:05:53.600 –> 00:05:57.400
was a stopgap, I mean that’s the thing with the deep dive shows, they’re very much things
00:05:57.400 –> 00:06:01.800
where I’ve got them and I just want to do a quickie, when I want to do a quickie, yeah,
00:06:01.800 –> 00:06:06.680
and this case with this one is that it’s just been hanging around for the last couple of
00:06:06.680 –> 00:06:10.920
weeks, ready to go, and I’ve just haven’t had time to record it, it’s supposed to have
00:06:10.920 –> 00:06:15.600
been for February, and this is now going to be for March really, and it’s more of a
00:06:15.600 –> 00:06:22.140
mash-up show, but more about clubs, and when the clubs closed down back in the pandemic
00:06:22.140 –> 00:06:28.020
and how I reacted to that, and hence the phrase ‘a place to hide’ is from a song later on
00:06:28.020 –> 00:06:33.500
in the podcast by Antony Szmierek, but we’re going to start in typical fashion, with nothing
00:06:33.500 –> 00:06:42.380
to do with the theme, this is Shades of Fade to Grey, Visage vs Delaney Jane by Sir Hank.
00:53:25.060 –> 00:53:54.320
That had to be Pete Cannon, and Mistrees with their 2023 take of The Streets Blinded By The Lights, and before that was The
00:53:54.320 –> 00:54:00.000
Streets, We Become Heroes, The 9Trane Edit, and that was from 2022.
00:54:00.000 –> 00:54:05.940
I had to have those songs somehow in here in a mashup or remix form, because they’re
00:54:05.940 –> 00:54:10.140
very much about clubbing, and I wasn’t a part of the Acid House Summer.
00:54:10.140 –> 00:54:14.100
I was a bit too young for all the Acid House stuff, but the original Summer of Love, he was
00:54:14.100 –> 00:54:19.380
like five years later and writing about five years before, and now it’s 30 years later.
00:54:19.380 –> 00:54:20.380
Twenty years?
00:54:20.380 –> 00:54:21.380
Yeah.
00:54:21.380 –> 00:54:22.380
I feel old.
00:54:22.380 –> 00:54:26.480
And before that, in honour of the fact that I can’t go to these places anymore, we have
00:54:26.480 –> 00:54:32.360
bis Irrelevant disco from 2022’s System Music for Home Defense, and that’s all about
00:54:32.360 –> 00:54:37.820
seemingly becoming irrelevant, and just wondering if anyone’s out there, which I totally, totally
00:54:37.820 –> 00:54:38.820
get.
00:54:38.820 –> 00:54:40.640
What could that relate to?
00:54:40.640 –> 00:54:45.520
And also, the fact that you can’t afford to go to Tokyo, I can never afford to go to
00:54:45.520 –> 00:54:46.520
Tokyo.
00:54:46.520 –> 00:54:49.760
I probably could have when I was younger, but now you can’t afford to go places that
00:54:49.760 –> 00:54:52.020
you were, and the kind of things move on.
00:54:52.020 –> 00:54:53.020
You know, like Glastonbury.
00:54:53.020 –> 00:54:54.020
I used to go to Glastonbury.
00:54:54.020 –> 00:54:56.860
I can’t afford to go to Glastonbury anymore, which is really sad.
00:54:56.860 –> 00:55:03.260
Then before that, we have, For Those I Love, with I Have a Love, the Overmono remix from
00:55:03.260 –> 00:55:04.260
2021.
00:55:04.260 –> 00:55:10.740
And I didn’t know about that until weirdly, Ivo Graham was talking about, was reviewing
00:55:10.740 –> 00:55:17.540
the Huw Stevens Round Table, the track that I played earlier, the Orbital, and said he
00:55:17.540 –> 00:55:21.560
reminded him of that track, and it was like, I’ve never heard that, and I went and checked
00:55:21.560 –> 00:55:23.060
out the Boiler Room.
00:55:23.060 –> 00:55:29.120
For Those I Love is an Irish poet, and he arrives on stage in the Boiler Room, and he
00:55:29.120 –> 00:55:33.440
is really like, wow, yes, it’s like the whole stage is levitating, and everyone’s just so
00:55:33.440 –> 00:55:34.440
into it.
00:55:34.440 –> 00:55:38.760
It was about his friend who died, so I relate to it in the sense that, you know, it’s also
00:55:38.760 –> 00:55:43.520
I Have a Love of clubbing, and I think that’s also in there as well, but also it’s a very
00:55:43.520 –> 00:55:50.100
specific love for someone else, and love for doing spoken word, and love for doing your
00:55:50.100 –> 00:55:51.100
thing.
00:55:51.100 –> 00:55:55.060
And then before that, we had something that was about the lockdown, that’s Marea (We’ve
00:55:55.060 –> 00:56:02.420
Lost Dancing) vs At Night, Switch Disco Edit, and that’s Fred Again featuring the Blessed
00:56:02.420 –> 00:56:07.620
Madonna, and Switch Disco have mixed in some Shakedown, and that seemed to work really well.
00:56:07.620 –> 00:56:10.300
I mean, again, I wanted to play that, but I played the original, but then I found that
00:56:10.300 –> 00:56:13.720
mashup edit, and I was like, oh, that’s perfect.
00:56:13.720 –> 00:56:17.160
It’s a bit weird, yeah, I haven’t heard of Switch, well, it says Switch Disco, I don’t
00:56:17.160 –> 00:56:21.080
know if that’s Switch, as in the Switch producer, or whether it’s Switch Disco or someone else.
00:56:21.080 –> 00:56:24.800
I’m not totally sure, I’m not sure.
00:56:24.800 –> 00:56:28.600
And then before that, I’ve all mentioned Martin Badder and Antony Szmierek with A Place
00:56:28.600 –> 00:56:36.440
to Hide, from 2023, when I was a single, and he’s doing the Manchester Six Music, another
00:56:36.440 –> 00:56:41.860
thing I can’t go to, the 6Music Festival, which is, you know, quite rightly so.
00:56:41.860 –> 00:56:43.460
We love Antony Szmierek here.
00:56:43.460 –> 00:56:50.180
And then before that, we had, it me, Instamatic, not the winner of the Crumplbanger Challenge,
00:56:50.180 –> 00:56:51.340
but I did actually win that challenge.
00:56:51.340 –> 00:56:55.180
It was a challenge to create phonk mashups, and I had not really come across a genre
00:56:55.180 –> 00:57:02.100
called phonk, which seems to be very much using those tomtoms, you know, those tuned 808 tomtoms.
00:57:02.100 –> 00:57:07.120
Quite often, distortion, and it’s sort of this Memphis thing, but Kordhell, who I mashed
00:57:07.120 –> 00:57:09.840
up there, is actually a British producer.
00:57:09.840 –> 00:57:13.920
And that’s Houdini Fatality, Houdini again, I do like Houdini, it’s a brilliant song,
00:57:13.920 –> 00:57:15.640
Dua Lipa versus Kordhell.
00:57:15.640 –> 00:57:22.240
I’ve done like four or five Kordhell mashups in the last month or so, I’m a big fan of
00:57:22.240 –> 00:57:23.240
his work.
00:57:23.240 –> 00:57:29.480
It’s just a very interesting, it’s a bit like more tempo, witch house, or like stream
00:57:29.480 –> 00:57:30.480
thing.
00:57:30.480 –> 00:57:34.980
There’s, there’s 80s references in there, and they use a lot of samples of Memphis
00:57:34.980 –> 00:57:38.140
rappers quite sped up and you can hardly work out what they are.
00:57:38.140 –> 00:57:43.780
I had fun making them more pop, which is probably against their, against their image with all
00:57:43.780 –> 00:57:48.500
the skulls and all the purple skulls and everything to make it all.
00:57:48.500 –> 00:57:52.940
I did a Whitney Houston one, and I did another one, which I’ll play later on.
00:57:52.940 –> 00:57:57.460
And then before that, we had a mashup, which I missed out on, it was just about three months
00:57:57.460 –> 00:58:03.800
ago, or maybe a bit longer now, at Dunproofin’ with Flash, Green Velvet versus Joey Beltram
00:58:03.800 –> 00:58:04.800
versus Queen.
00:58:04.800 –> 00:58:09.960
Oh, I mean, Green Velvet is about being in a club and looking at all of the naughty
00:58:09.960 –> 00:58:12.640
kiddies doing naughty things.
00:58:12.640 –> 00:58:15.320
Who doesn’t like, you know, Queen meeting Acid House?
00:58:15.320 –> 00:58:20.080
I don’t know, is it Joey, Joey Beltram is more techno, isn’t he?
00:58:20.080 –> 00:58:21.080
Techno.
00:58:21.080 –> 00:58:22.960
So yeah, I like that a lot.
00:58:22.960 –> 00:58:29.620
And then before that, we had Tonight in Belfast, Orbital with David Holmes, Mike Garry doing
00:58:29.620 –> 00:58:32.300
the spoken word and DJ Helen.
00:58:32.300 –> 00:58:36.400
And that was a release at the start of February, which is why I know this mix was kind of inspired
00:58:36.400 –> 00:58:40.180
it, but it was like, yeah, it kind of broke off from there and then I wanted to do a Place
00:58:40.180 –> 00:58:43.020
To Hide and I heard that and went, that’s perfect.
00:58:43.020 –> 00:58:48.220
I wanted to do a whole spoken word club mix, but then it became about a thing, obviously.
00:58:48.220 –> 00:58:54.360
I mean, quite emotional. And interestingly, in a similar sense of hiding, although in
00:58:54.360 –> 00:59:00.080
a different sense, more like looking on headphones and getting away from people, we have Bliss
00:59:00.080 –> 00:59:04.080
by Arab Strap, with the new Arab Strap album, which hasn’t been released yet, or I don’t
00:59:04.080 –> 00:59:09.160
know, maybe it’s been released now, but certainly, I don’t think it has been come out yet.
00:59:09.160 –> 00:59:11.240
But yeah, I really like that a lot.
00:59:11.240 –> 00:59:12.240
That’s really, really cool.
00:59:12.240 –> 00:59:16.800
It’s very much about having to react to people living in a city.
00:59:16.800 –> 00:59:20.740
The whole thing about sitting here, you know, having to shut people off and you put on your
00:59:20.740 –> 00:59:25.900
headphones or go hiking and get away and go camping in the middle of a wood somewhere,
00:59:25.900 –> 00:59:27.300
which is another way of doing it.
00:59:27.300 –> 00:59:28.300
It all relates.
00:59:28.300 –> 00:59:29.300
It all relates.
00:59:29.300 –> 00:59:33.740
And the start is actually just a mashup I really like, although it has a similar mood
00:59:33.740 –> 00:59:39.820
to the Arab Strap mix, Sir Hank, with Shades Of Fade To Gray, Visage versus Delaney Jane.
00:59:39.820 –> 00:59:43.700
I don’t know Delaney Jane, but I love how the interplay of those vocals worked really
00:59:43.700 –> 00:59:44.700
well.
00:59:44.700 –> 00:59:49.200
And that is, I wouldn’t say it’s hard to do, it’s half spotting two combinations that
00:59:49.200 –> 00:59:50.200
work really well.
00:59:50.200 –> 00:59:54.240
And the other one is knowing how to interweave them to make a flow narrative.
00:59:54.240 –> 00:59:57.120
And a lot of people get it wrong, they try and chop it all up and it’s all goes.
00:59:57.120 –> 01:00:03.560
And it’s like, no simple respect when it comes to juxtaposing two things to relate to each
01:00:03.560 –> 01:00:04.560
other.
01:00:04.560 –> 01:00:05.560
It’s best to let them breathe.
01:00:05.560 –> 01:00:07.520
Don’t change it to another diva every 30 seconds.
01:00:07.520 –> 01:00:08.520
And I really hate that.
01:00:08.520 –> 01:00:13.520
And when you’ve got a combination that speaks to both bits, that is a good combination.
01:00:13.520 –> 01:00:16.660
And I feel that about that one.
01:00:16.660 –> 01:00:23.540
So we’re going to change track and play some rock, but I have to say this is something
01:00:23.540 –> 01:00:29.380
I heard via, iWillBattle, iWillBattle does a top 10 or did a top 10 for January.
01:00:29.380 –> 01:00:30.860
I’m not, was it February?
01:00:30.860 –> 01:00:31.860
I don’t know.
01:00:31.860 –> 01:00:36.560
I was in the top 10 for mashups for rock, but I can’t remember if it was end of January
01:00:36.560 –> 01:00:41.980
or early February, but, but yes, I was in the top 10 with a track you’ll hear later.
01:00:41.980 –> 01:00:48.640
But he also played this track by, I originally thought it was by Lewis Wake and I was looking
01:00:48.640 –> 01:00:49.640
at Lewis wake’s Bandcamp.
01:00:49.640 –> 01:00:50.640
Where is it?
01:00:50.640 –> 01:00:51.640
Where is it?
01:00:51.640 –> 01:00:52.640
Where is it?
01:00:52.640 –> 01:00:53.640
And it turns out it’s actually by someone called Lewis Scarole.
01:00:53.640 –> 01:00:54.640
I don’t know them.
01:00:54.640 –> 01:01:00.120
I don’t know if they’re a Mashup Reddit person, but this is really cool because I know DJNoNo
01:01:00.120 –> 01:01:04.840
loves and I love Mike Oldfield & Maggie Reilly’s Moonlight Shadow.
01:01:04.840 –> 01:01:08.280
And I was thinking there wasn’t enough Moonlight Shadow mashups.
01:01:08.280 –> 01:01:12.700
That’s why DJNoNo did theirs with the Pixies and someone’s done one with Bloc
01:01:12.700 –> 01:01:13.700
Party.
01:01:13.700 –> 01:01:16.700
This is Moonlight Banquet.
01:38:19.640 –> 01:38:25.680
That was one of mine that’s TBC aka Instamatic with ‘The Great Grande in the Sky’ Ariana
01:38:25.680 –> 01:38:32.960
Grande as ‘yes and’, versus ‘Pink Floy’ds The Great Gig in the Sky’, then before that
01:38:32.960 –> 01:38:35.460
I think we’re the best moody mash I’ve heard.
01:38:35.460 –> 01:38:42.020
Well, definitely this year if not in a very long time, that’s ToTom with high times on
01:38:42.020 –> 01:38:48.140
Acid Eiffel With Dying Slaves Of Fear In The Sky, that’s Health versus Yungblud and Lil
01:38:48.140 –> 01:38:55.900
Yachty Pink Floyd versus Choice, and that was the winner in, well, when I won the Phonk
01:38:55.900 –> 01:39:02.620
Challenge, I had to judge one and I chose acid house, and that’s like a 13 minute, nearly
01:39:02.620 –> 01:39:08.200
14 minute acid mash-up epic, and it’s probably the longest mash-up I’ve played in this podcast,
01:39:08.200 –> 01:39:13.560
one of them, and I played almost all of it and just mixed out right at the end and start,
01:39:13.560 –> 01:39:18.360
but it is brilliant, I’m really glad ToTom finished that, it’s really good.
01:39:18.360 –> 01:39:24.760
And then before that we heard Caserta with Lights Off, we had a sort of a Alexa section
01:39:24.760 –> 01:39:30.400
because there was this running joke in the Crumplstock about something which PomDeter
01:39:30.400 –> 01:39:35.980
played, which is shouting ‘Alexa, play Pumped Up Kicks’ at a pork pie, there’s a
01:39:35.980 –> 01:39:40.020
video of just an hour of someone doing that, and he played 17 minutes of that and then
01:39:40.020 –> 01:39:46.660
it became a thing and then I ran with it and did a mash-up during the Crumplstock for
01:39:46.660 –> 01:39:53.580
the phonk challenge, so that was the end of January, that was about a month ago, time flies,
01:39:53.580 –> 01:40:00.560
hence that’s what that comes from. So that was DJNo No’s Phonked Up Kicks, Foster The People
01:40:00.560 –> 01:40:05.560
vs. Kordhell vs. Chin Stroke TV, which is the person who did the shouting at a pork
01:40:05.560 –> 01:40:11.360
pie, but then I thought, well, I wanted to play some Negativland, I was going through
01:40:11.360 –> 01:40:17.580
the Live Brain live Negativland shows I was at in 2020, fortunately they had to cancel the
01:40:17.580 –> 01:40:22.880
one recently because of illness, there’s ‘I’m Going To Sing Now (London 2)’, I was
01:40:22.880 –> 01:40:26.740
there for both of them, I think actually, the Weatherman’s singing, but it’s
01:40:26.740 –> 01:40:32.220
all him interacting with Alexa and Okay Google, so it’s funny how it says, that’s why left
01:40:32.220 –> 01:40:36.580
the drum and bass going, it says, ‘Music of the Spheres’ is 180 beats or whatever, in music
01:40:36.580 –> 01:40:42.440
from the cosmos, 180 beats or more, and it’s like, oh, and then before that, aforementioned
01:40:42.440 –> 01:40:47.140
more ‘Jungle’ really, that’s ‘Mirror Method’ by Charla Green, I’ve really been digging
01:40:47.140 –> 01:40:54.320
Charla Green, Charla Green is a Sheffield Jungle drum bass producer, and yeah, I’m
01:40:54.320 –> 01:41:00.680
really liking what she’s producing, so that’s from 2021, check her out, as she has a bit
01:41:00.680 –> 01:41:06.560
of a quiet YouTube channel where she’s making music from various sound and things, but also
01:41:06.560 –> 01:41:14.120
that one is on Off Me Nut Records, Ian Fondue posted the SpongeBob Squarewave,
01:41:14.120 –> 01:41:18.900
an older one of SpongeBob Squarewave, so thanks to Ian Fondue for that, but then I checked
01:41:18.900 –> 01:41:22.680
out the more recent stuff, and hence the intro thing, and that was all relating to the acid
01:41:22.680 –> 01:41:29.480
challenge, and then before that, we had Shahar Varshal with, as it was like heaven, The Cure
01:41:29.480 –> 01:41:34.680
versus Genesis, me and Genesis mashup, so yes, versus Ultravox versus Harry
01:41:34.680 –> 01:41:38.800
Styles, I love that Harry Styles song, I love the Genesis song, but yeah, that
01:41:38.800 –> 01:41:43.400
works pretty well, I mean, you know, I was talking about how things have to have a narrative
01:41:43.400 –> 01:41:47.480
flow or whatever, but they don’t necessarily have to be too chin-strokey or a little bit
01:41:47.480 –> 01:41:51.080
more chop and change, but it’s still, you know, The Cure goes really well with Genesis,
01:41:51.080 –> 01:41:55.320
The Ultravox and Harry Styles, it has a similar mood, or there’s a connection
01:41:55.320 –> 01:41:59.840
there between them, like telling a story, like with a ToTom, finding very disparate things
01:41:59.840 –> 01:42:05.520
that sound similar, and have a similar vibe, I’m going to tell a story, that’s what a
01:42:05.520 –> 01:42:11.720
good multi-mash is, but so many people don’t do it probably, and then at the start section
01:42:11.720 –> 01:42:17.720
we had Lewis Scarole with Mike Oldfield, Moonlight Shadow versus Bloc Party, is it ‘Helicopter’,
01:42:17.720 –> 01:42:22.000
I forget the name of that one, I think it’s ‘Helicopter’, I should know, 2004, 20 years
01:42:22.000 –> 01:42:31.400
ago, again, fitting old, fitting old, so, you know, play a track from Adriana A’s album,
01:42:31.400 –> 01:42:38.880
Adriana she released a album right at the end of 2023 of a collection of mashups created
01:42:38.880 –> 01:42:42.400
over the last year, and there were a lot are related to challenges I think, and it’s, I
01:42:42.400 –> 01:42:53.780
have tried to say it, it’s ‘Imashionationships’, I can’t say that, and this is, I so loved
01:42:53.780 –> 01:42:59.560
seeing Tracy Chapman at the Grammys, I think I posted about it on the blog, RadioClash.com,
01:42:59.560 –> 01:43:03.680
he sold me on Luke Combs really, because before I was a bit like, who is this person,
01:43:03.680 –> 01:43:08.480
kind of dimly knew the name, very big in country, but I was like, hmm, who is this person, and
01:43:08.480 –> 01:43:15.400
you can see the respect and love for Tracy that he has in the performance, and how apparently
01:43:15.400 –> 01:43:20.720
they made it so that Tracy had complete veto, complete agreement over the arrangement, it
01:43:20.720 –> 01:43:26.440
was her chance to shine, it was her thing, you know, they made sure it was about her,
01:43:26.440 –> 01:43:31.120
and we could tell just by the way he was on stage that it was deferring to her, almost
01:43:31.120 –> 01:43:36.040
nervous to sing with her, and it obviously meant a lot to him, and a very moving version,
01:43:36.040 –> 01:43:41.280
so this is, I Keep Forgetting You’ve Got A Fast Car, that’s Luke Combs versus Michael
01:43:41.280 –> 01:43:46.400
MacDonald, a bit of, yacht mashing, yacht mashing, yacht folk, is that a thing?
01:43:46.400 –> 01:43:48.760
I don’t know.
:18.860 –> 02:08:25.440
This is Tony Mason-Cox, hItting The Bottom, from Songs in the Key of Z, Vol 3, I didn’t
02:08:25.440 –> 02:08:31.400
realize that I think they were unofficial that Songs in the Key of Z, 1 and 2 were in
02:08:31.400 –> 02:08:32.400
Tuesday.
02:08:32.400 –> 02:08:36.960
I don’t know if 3 and 4 are how official they are, especially 3 which ends on the four
02:08:36.960 –> 02:08:44.560
tracks by a child rapist, which, you know, I was like, hmm, Google, who is this person?
02:08:44.560 –> 02:08:49.700
Oh, there he is in the sexual offender registry in the United States.
02:08:49.700 –> 02:08:50.700
Yeah, lovely. /s
02:08:50.700 –> 02:08:55.620
So I really wouldn’t buy that album, but I love that.
02:08:55.620 –> 02:09:00.980
It’s kind of like existential and also funny at the same time, which is, you know, perfect.
02:09:00.980 –> 02:09:04.500
I’ve been checking out lots of outside in music recently, and I’ve been hearing a lot
02:09:04.500 –> 02:09:10.260
via PDSMix’s Brave New Weird Show, and it’s all inspired me to go and check them out.
02:09:10.260 –> 02:09:17.040
I have to say, I have mixed feelings because I remember the heyday of WFMU, I mean, still
02:09:17.040 –> 02:09:23.280
going, but you know, the 365 Days Project and those compilations being released, you
02:09:23.280 –> 02:09:28.480
know, and finding Shooby Taylor, and there’s all that sort of stuff, early 2000s, and it
02:09:28.480 –> 02:09:34.320
seems like that used most of the pot, apart from the old thing like that one, but a lot
02:09:34.320 –> 02:09:39.660
after the pot of the good tracks. And now there’s this thing so bad it’s good and just
02:09:39.660 –> 02:09:44.940
bad or me. There’s a lot of stuff I hear that’s outside of music. It’s like the next big thing.
02:09:44.940 –> 02:09:50.060
It’s like, you know, it doesn’t, maybe just something happens when you listen to a lot
02:09:50.060 –> 02:09:54.980
of outside of music. It just becomes not as good as it used to be, but I don’t know.
02:09:54.980 –> 02:09:59.700
Then before that, we had KKill_mR_DJ with, I Wasn’t Made For Surprises, Radiohead versus
02:09:59.700 –> 02:10:05.920
Billie Eilish. Yes, I love the Billie Eilish song. So, and that was kind of obvious, perfect.
02:10:05.920 –> 02:10:09.580
And I was like, Oh, why didn’t I think of that? But then again, I don’t think I’d do
02:10:09.580 –> 02:10:13.940
another Radiohead mesh for a while. I’ve been too many of them. I’ve certainly done several
02:10:13.940 –> 02:10:19.320
so no surprises ones. Then before that, we had iWillBattle with I Lose Control Of You,
02:10:19.320 –> 02:10:24.080
Teddy Swims, which is currently in the charts, I think, versus Nina Simone, who isn’t the
02:10:24.080 –> 02:10:29.640
currently in the charts, but should be. I lose control and I put a spell on you. That
02:10:29.640 –> 02:10:36.380
works very well. Then before that, we had from 1975, the B side of You Sexy Thing is
02:10:36.380 –> 02:10:40.880
the proof of the Hot Chocolate were nore than You Sexy Thing. That’s A Warm Smile that was
02:10:40.880 –> 02:10:45.660
written and performed by the other members of the band. So not Errol Brown, a beautiful
02:10:45.660 –> 02:10:50.580
song and a couple of theirs are really good. Really, I’ve been banging on for ages about
02:10:50.580 –> 02:10:56.160
Hot Chocolate and how you know, I’ve been diving into the B sides and stuff and how they kind
02:10:56.160 –> 02:11:02.040
of got known as being this novelty disco funk act. Every 1’S A Winner. YOu Sexy Thing in
02:11:02.040 –> 02:11:09.840
a very pop disco funk, but they were much, much more from day one. Then before that,
02:11:09.840 –> 02:11:15.560
we had a track kind of by me kind of not that’s TBC aka Instamatic with Boulevard of Broken
02:11:15.560 –> 02:11:21.820
Dreamcoat Green Day versus Boards of Canada. But originally that was done by Reborn Identity
02:11:21.820 –> 02:11:27.380
Gavin in 2008. And I found that version. I was like, this is good, but you know, I want
02:11:27.380 –> 02:11:32.460
the high quality version. So I made it myself. But then I made it different by adding in
02:11:32.460 –> 02:11:38.940
all of the bits of that’s Billie Joe Armstrong at five years old. He recorded a single Live
02:11:38.940 –> 02:11:42.620
To Love, I think it was. And I think one of the Green Day albums, they had a little bit
02:11:42.620 –> 02:11:50.280
of it of the interview on the B side, I used a lot more of it. Boards of Canada Chromakey
02:11:50.280 –> 02:11:57.440
Dreamcoat is the backing. And there aren’t that many mashups of Campfire Headphase at
02:11:57.440 –> 02:12:01.920
all. And there should be a lot more and heard that one and I was ahh. And I also extended it. He didn’t
02:12:01.920 –> 02:12:07.080
do the end section. So it’s, it’s called a Reborn Identity Mostly Reboot because I
02:12:07.080 –> 02:12:12.000
did bits, but it’s, I don’t know. I hate it when people add a little bit and then they
02:12:12.000 –> 02:12:16.740
go, Oh, this is mine. It’s like, that’s not right. Really, you have to completely change
02:12:16.740 –> 02:12:22.260
it or, you know, do the inverse or I even sideeye inverses. If you, if it’s a well
02:12:22.260 –> 02:12:27.660
known combo, just to do an inverse is lazy. I think you really have to nod to somebody.
02:12:27.660 –> 02:12:31.420
If you take their idea and just reverse it, you know, I think flip in reverse it, but
02:12:31.420 –> 02:12:35.820
I know some people would disagree, ‘who did it first?” But it’s just like really, you
02:12:35.820 –> 02:12:41.860
know, the person came out with a combo. You’re just flipping it. Is that really? Yeah. So
02:12:41.860 –> 02:12:45.680
yeah, that’s why I had to credit that because, you know, it’s mostly Reborn Identity’s, but
02:12:45.680 –> 02:12:51.120
you know, I sped it up and did it my way. So it is kind of my take on it. I don’t think
02:12:51.120 –> 02:12:54.540
you can find the original out there. I was looking for it looking for a high quality
02:12:54.540 –> 02:13:01.560
version because I said the version I had was 192 kilobits second. Yeah. Ooh, quality so
02:13:01.560 –> 02:13:04.380
I couldn’t find one. I was like, Oh, I’ll make it. And then, and then I asked Reborn Identity
02:13:04.380 –> 02:13:08.900
whether I could release that and Gavin said yes. So he was very good about it. So brilliant.
02:13:08.900 –> 02:13:15.420
But yes, it seems to have not been making mashups anymore, sadly. And then before that,
02:13:15.420 –> 02:13:20.580
we had Adriana A with, I Keep Forgetting You Got A Fast Car, Luke Combs versus Michael
02:13:20.580 –> 02:13:27.900
McDonald. Yacht folk is a thing. So we reached the end of the podcast. It’s been a weird
02:13:27.900 –> 02:13:32.760
one because as I say, this has been on on this has been in the stack for last at least
02:13:32.760 –> 02:13:38.600
two to three weeks. I just haven’t had time because I’ve been training, training for hiking
02:13:38.600 –> 02:13:44.560
and trying to get my knee working. And I’m going out and doing a group video in a couple
02:13:44.560 –> 02:13:49.880
of weeks or just under us about a week and a half with some YouTube people, hiking YouTube
02:13:49.880 –> 02:13:54.240
people. So I was like, Oh, I really want to make sure everything’s, you know, my knees
02:13:54.240 –> 02:13:58.060
are okay. It sounds like actually there isn’t going to be a long hike, but I didn’t want
02:13:58.060 –> 02:14:04.140
to let anyone down. That’s going to be fun. And I’m going to go back to South Downs Way
02:14:04.140 –> 02:14:11.540
in the next couple of days, hopefully, since my tent repairs dry, head off to Cocking to
02:14:11.540 –> 02:14:15.580
do the Winchester, Cocking to Winchester part. So it’s thirty three miles I last read. It’s 33
02:14:15.580 –> 02:14:19.980
miles. I think that should be all right and do that in about probably not three days.
02:14:19.980 –> 02:14:24.220
I’m not going to rush it this time. So however long it takes, it won’t take a week, but
02:14:24.220 –> 02:14:29.640
it’ll probably take about three or four days, I think, because my tests say that my knees
02:14:29.640 –> 02:14:36.040
fine for at least 12 miles and I’ll be a bit less going up and down hills. And maybe hills
02:14:36.040 –> 02:14:42.320
will be a problem. I’m hoping that’s not true. But we’ll see. So I’ve been trying to treat
02:14:42.320 –> 02:14:46.200
my knee as gently as possible, but you have to kind of use it. You have to keep moving
02:14:46.200 –> 02:14:51.680
and you have to push that envelope of your stock when it’s hurting, but then just see
02:14:51.680 –> 02:14:56.900
how far you can take it. Otherwise, you’re just stuck at home not doing anything and it doesn’t
02:14:56.900 –> 02:15:01.660
get any better. So that’s the weird thing about knees and leg injuries. You have to
02:15:01.660 –> 02:15:06.420
exercise them even if they’re a bit painful or achy, but not so it’s sharp stabby pain.
02:15:06.420 –> 02:15:10.180
It’s kind of a difference between sharp, like we need stop now. And then this is sort of
02:15:10.180 –> 02:15:15.380
the achy and it went a bit backward recently and a walk a couple of days ago, I did like
02:15:15.380 –> 02:15:20.020
four miles and it was like, ouch okay. But I’ve been trying to regularly walk each day
02:15:20.020 –> 02:15:25.160
or so normally resting if it really hurts. And you’re doing like three, four miles a
02:15:25.160 –> 02:15:31.120
day. But we just lose weight and partly just to kind of keep the knee going until I do
02:15:31.120 –> 02:15:35.320
hiking. Otherwise, what happens is you do a long 50 odd miles in a week and then you
02:15:35.320 –> 02:15:40.000
stop and then the knee kind of just goes back to where it was before it locks up a bit,
02:15:40.000 –> 02:15:46.520
you know, so you have to kind of keep exercising it, use it or lose it. So I’m going to play
02:15:46.520 –> 02:15:49.900
out with the track by Flanagan and Allen. This is one of the ones that’s been in and
02:15:49.900 –> 02:15:56.780
out of various podcasts, but I love it greatly. It’s from, I don’t know, is it in 1960, not
02:15:56.780 –> 02:16:02.180
a camera exactly when it came out with it was 1950s or 1960s [1940!]. So this is, Are You Having
02:16:02.180 –> 02:16:06.500
Any Fun? And you probably know it more from other people like Tony Bennett or Morecambe &
02:16:06.500 –> 02:16:13.980
Wise covering it. And yeah, this is Flanagan and Allen. Yes, ‘Underneath The Arches’. This
02:16:13.980 –> 02:16:20.720
is them doing. Are You Having Any Fun?
It’s been a while since I did a Deep Dive, but I finally got round to do another one, this time the joy of being bored in the 1980’s waiting for a loading screen, disco (sorry ‘jazz-funk‘ *cough*) on the radio, feeling like you are a robot in a robot’s world. You might think boredom is a bad thing, but it can actually be good for you!
So, in this episode, I play a mix of songs from the ironic indie pop of Bis to the exotic Turkish folk of Istanbul Sarkicilari and Istanbul Calgicilari, from the soulful disco of Flaming Ember and glam stomp of Raffaella Carra to the futuristic drum and bass of Cyantific and Culture Shock. And err…disco Sound of Music? Anyone?
You cannot be bored with that! Also it’s the shorted episode I’ve done in years…so bonus!
Previous episodes:
WEBVTT
00:00:00.000 –> 00:00:14.520
Hello and welcome to Radio Clash, this is 393 and it’s the third part of the Deep Dive
00:00:14.520 –> 00:00:18.120
series, it’s Boredom Could Be Good For You.
00:03:46.080 –> 00:03:53.200
Welcome to the third of the Deep Dive podcast, I last did one in June of last year, and
00:03:53.200 –> 00:04:00.280
I optimistically was like 36x, it goes to show you how long ago I planned this podcast.
00:04:00.280 –> 00:04:04.000
You compared to the last one, it’s a fairly downbeat of the Deep Dive series, which was
00:04:04.000 –> 00:04:07.920
384, ‘Tender Silence of the Night’, this one’s a bit more uptempo, and I love that
00:04:07.920 –> 00:04:12.600
Bis’s paeon to sort of, well I think it’s more 90s, but that’s what waiting for the
00:04:12.600 –> 00:04:16.400
loading screen, so of course we had to use the 8-bit intro.
00:04:16.400 –> 00:04:18.320
Thank you to Lee Spoons for that.
00:04:18.320 –> 00:04:24.960
And if you don’t know, the Deep Dive series is a dive into the tracks that are in the
00:04:24.960 –> 00:04:31.720
archives of Radio Clash, the ‘To Play’ folder, which is over 100 gigabytes big, it’s like
00:04:31.720 –> 00:04:35.560
90 odd gigabytes, because I’m doing video editing, I have to put it onto another folder.
00:04:35.560 –> 00:04:39.880
I did a new sort of tranche of these podcasts, as soon as I recorded this one, this is the
00:04:39.880 –> 00:04:44.840
last one of the first three, and I’ve actually got, yeah, it goes up to Deep Dive 11, because
00:04:44.840 –> 00:04:51.640
I went through 7,000 tracks on that folder, going through, well if I ever go “Oh sod
00:04:51.640 –> 00:04:56.120
this, I’m running out of space, delete” which I might do at some point, I’d better make
00:04:56.120 –> 00:05:00.420
sure I’ve got all the good stuff, it’s amazing how long it is to go through all that.
00:05:00.420 –> 00:05:04.720
A lot of the tracks I play on the Deep Dive series are things which kind of never really
00:05:04.720 –> 00:05:09.280
fit anywhere else, but are really good, I wouldn’t play them otherwise, but they don’t
00:05:09.280 –> 00:05:11.160
play well with others.
00:05:11.160 –> 00:05:16.720
So here is something that PDS Mix plays a lot, and it’s one of my favorites as well.
00:05:16.720 –> 00:05:22.720
I’ve talked a fair bit about disco Pink Floyd, I’m surprised, I haven’t played this probably
00:05:22.720 –> 00:05:28.040
because it was earmarked for this podcast so long ago, and this is Rosebud, named after
00:05:28.040 –> 00:05:35.880
the sled, and 1977’s version of Money, yes this is Disco Pink Floyd Money, and that is
00:05:35.880 –> 00:05:41.920
a really good 12″ but yeah, this isn’t the only Disco Pink Floyd, there’s quite a lot
00:05:41.920 –> 00:05:42.920
actually.
00:24:59.800 –> 00:25:02.640
Yes, song of my youth.
00:25:02.640 –> 00:25:04.120
A band of my youth, really.
00:25:04.120 –> 00:25:08.760
RAH Band, Richard A. Hewson, who is Hunger For Your Jungle Love, I own, Going Up, that’s
00:25:08.760 –> 00:25:09.760
from 1983.
00:25:09.760 –> 00:25:14.140
It’s actually quite a rare bit of vinyl now, but you can get arrested lugging that kind
00:25:14.140 –> 00:25:19.340
of music in the mid-80s, heard them via Clouds Across the Mood in ’85, and went, “Ooh!”
00:25:19.340 –> 00:25:27.140
and then got the best of and then delved back and found the crunch and all of those wonderful
00:25:27.140 –> 00:25:28.140
things.
00:25:28.140 –> 00:25:32.020
But for a long time, you can get arrested for disco that cheesy, but I love it.
00:25:32.020 –> 00:25:36.580
I love the synths and the vocodas and the “Sam the Samba Man” and “Hunger for Your
00:25:36.580 –> 00:25:40.400
Jungle Love.”
00:25:40.400 –> 00:25:45.120
And then before that, we had a bit of a borrowing the title of a few Twitch streams, Disco After
00:25:45.120 –> 00:25:52.080
Dark, more chilled disco thing going on, very much late disco, quite a lot of it.
00:25:52.080 –> 00:25:55.800
They probably call themselves Jazz Funk, that’s what RAH Band got branded.
00:25:55.800 –> 00:25:58.680
Jazz Funk, because they didn’t want to use the D word.
00:25:58.680 –> 00:26:04.600
That’s Surface with “Falling in Love” original mix from 1983 again, the surface were a very,
00:26:04.600 –> 00:26:05.600
very good group.
00:26:05.600 –> 00:26:10.340
The mold of Change and a few others, there was quite a few survivors of the Disco Crash
00:26:10.340 –> 00:26:16.780
who kind of went into different directions, but a bit like High Energy or Jazz Funk, Disco
00:26:16.780 –> 00:26:21.580
kept going, it just got rebranded, and it tended to slow down a bit, because things
00:26:21.580 –> 00:26:26.700
were getting 120, 130, unless it was High Energy, but a lot of the Jazz Funk slowed
00:26:26.700 –> 00:26:31.260
it down a little bit and rebranded itself, but it’s Disco, I mean Jazz Plus Funk, what
00:26:31.260 –> 00:26:32.260
is that?
00:26:32.260 –> 00:26:33.260
Disco.
00:26:33.260 –> 00:26:39.500
And then before that we had Flaming Ember from 1969, that’s Robot in a Robot’s World,
00:26:39.500 –> 00:26:44.200
Holland Dozier Holland written, that’s a B-side actually, from the things that’s good to show
00:26:44.200 –> 00:26:48.940
you this whole sort of AI, oh, robots are taking our jobs, it’s not a new thing.
00:26:48.940 –> 00:26:54.140
Then before that from 1980, we have, and this is going to be fun to pronounce, Koroglu
00:26:54.140 –> 00:27:04.380
Daglari (Sark Bülbülü ) by Istanbul Sarkicilari and Istanbul Calgicilari I think, and that’s
00:27:04.380 –> 00:27:12.300
from one of the Disco Fassl, Disco Folk compilations from 1980, well sampled, you’ve
00:27:12.300 –> 00:27:17.060
probably heard that in samples, there was a few people who were sampling that and other
00:27:17.060 –> 00:27:26.260
tracks from the series, sort of Turkish synth Disco, Koroglu Daglari is Koryaglu Mountains,
00:27:26.260 –> 00:27:31.380
which are in the north of Turkey, so I assume it’s a song about that material, or a lot
00:27:31.380 –> 00:27:35.620
of the Disco Fasil stuff was traditional songs, but don’t know the Disco style.
00:27:35.620 –> 00:27:40.660
And at the start of the session we had Rosebud with Money from 1977, and we’re going to play
00:27:40.660 –> 00:27:48.820
a track by Raffaella Carra, more known for Eurovision, set again with love and you know,
00:27:48.820 –> 00:27:54.340
thinks she won Eurovision or something, was higher and Ducky plays Raffaella Carra songs
00:27:54.340 –> 00:28:01.380
quite a lot, including this one, and this is a Italian classic from 1974, this is Rumore.
00:54:37.380 –> 00:54:45.620
That was Sheila, as in Sheila B. Devotion, with Hotel de la Plage,
00:54:45.620 –> 00:54:51.300
Ou et la plume de ma tante, so that’s 1978. A good year for disco, a very good year for disco.
00:54:51.300 –> 00:54:56.420
Then before that we had, not disco, that was Acidulant with Who’s The Gangster In You,
00:54:56.420 –> 00:55:05.860
from 2020’s MetroJax 4.3 via Balkan Vinyl, and we had a bit of a DJ no-no mix into Harmony Cats,
00:55:05.860 –> 00:55:12.500
Yes, Harmony Cats, the Brazilian disco stars, That’s Entertainment.
00:55:12.500 –> 00:55:19.300
Seems to be a medley of film tracks, there’s Cabaret there, but the real reason I play it is
00:55:19.300 –> 00:55:26.420
disco Sound of Music. Seriously, why has no one done that? Why has no one done a whole disco album
00:55:26.420 –> 00:55:31.620
of Sound of Music? Trust me on this, it’ll be brilliant. I might be the only person who buys
00:55:31.620 –> 00:55:38.420
it, but it’ll be brilliant. Then before that we had Eartha Kitt with Bronski Beat, although that’s
00:55:38.420 –> 00:55:47.700
Jon Boy, Jon Boy, that famous Bronski Beat queer Waltons, actually it’s not complete off track,
00:55:47.700 –> 00:55:53.540
because the grandfather and the Waltons was gay anyway. No, Jon Jon, it’s post
00:55:54.180 –> 00:56:01.940
Jimmy Somerville leaving, but yeah, that’s Cha Cha Heels, and that’s a camp Classic. And of course,
00:56:01.940 –> 00:56:09.700
again, I haven’t locked that one up. I think it’s 1988, but I might be wrong. 1989. Then before that
00:56:09.700 –> 00:56:18.260
we had SL2 with DJs Take Control, but that’s the Shadow Child remix from 2018. And then before
00:56:18.260 –> 00:56:25.860
that we had another pronunciation fun. This is Ooh oOh!, channeling Michael Zager Band or stealing Michael Zager Band.
00:56:25.860 –> 00:56:36.900
That’s Istanbul Sarkicilari & Istanbul Calgicilari from 1978. ayva cicek acmis, I think.
00:56:36.900 –> 00:56:44.980
Apologies to anybody Turkish listening to this. I mean, I had to put the titles into a normal
00:56:44.980 –> 00:56:50.660
character set because actually, track to us is like, no, no, it’s all those sort of special
00:56:50.660 –> 00:56:56.180
umlauts and track to us like, no, I’m not even going to read this title. And in the start section
00:56:56.180 –> 00:57:01.860
we had Raffaella Carra with 1974’s Rumore, which sounds really, that sounds disco, doesn’t it?
00:57:01.860 –> 00:57:06.580
It sounds like disco glam. This looks glam in there. It’s a bit rocky music. It’s very cool.
00:57:06.580 –> 00:57:14.820
And yes, we’re going to sort of up the BPMs a bit. And I’m going to play some German bass at
00:57:14.820 –> 00:57:20.820
you. And you have no choice in this. And we have a couple of fairly recent other, I think the cut
00:57:20.820 –> 00:57:27.700
of point for this mix was 2020, whereas the next bunch is going to be pretty much until, you know,
00:57:27.700 –> 00:57:33.060
up to the point I moved all move the tracks over, which I think was a year ago, especially as I
00:57:33.060 –> 00:57:37.140
hang you onto this for, I don’t know, a year and a half. I think it’s been two years, but may as
00:57:37.140 –> 00:57:42.580
well do some a few newer tracks and old tracks. But yeah, that was my cutoff point about a year ago
00:57:42.580 –> 00:57:48.180
for when I moved over to the NAS drive. And this is Cyantific with Wild Child.
01:30:49.140 –> 01:30:57.300
That was Enya. I usually can’t play Enya
01:30:57.300 –> 01:31:04.020
because she’s on a Universal label, but it turns out this first album is called The Celts.
01:31:04.020 –> 01:31:10.900
It was re-released as Enya in 1987, but originally it was in I think ’85 or ’86, a BBC’s The Celts
01:31:10.900 –> 01:31:15.540
soundtrack. And that’s off that, that’s I Want Tomorrow. And it’s all there, isn’t it? Proto,
01:31:15.540 –> 01:31:23.940
Enya, it’s the CLannad, the DX7, the slide guitar isn’t unusual, doing a solo version of Clannad
01:31:23.940 –> 01:31:30.900
stuff, but with more synthesizers. Then before that we had Phainopepla, and it’s the name of a
01:31:30.900 –> 01:31:37.540
bird, I don’t know how to pronounce it. With Atmosphere, Joy Division’s Atmosphere, and that’s from
01:31:37.540 –> 01:31:45.220
2018’s EP The Wolf at My Door. And I know very little about, almost nothing about Phainopepla,
01:31:45.220 –> 01:31:52.500
apart from it being a bird. And it’s a solo project of somebody called Holly Springhorn.
01:31:52.500 –> 01:32:01.220
It says here on Bandcamp, but really brilliant. I was like opera version, very operatic version
01:32:02.020 –> 01:32:09.460
of Joy Division, so I love that greatly. Then before that, that’s Amii Stewart with Don’t Ever
01:32:09.460 –> 01:32:18.660
Let Me Hear You Say Goodbye. Bit of a long title. Really, it’s by Guido & Maurizio De Angelis,
01:32:18.660 –> 01:32:27.140
who played quite a lot of their soundtracks. Italian juicers did a lot of giallo and Italian TV
01:32:27.140 –> 01:32:35.140
soundtracks. And that’s from 1979’s Killer Fish, Aguato Sul Fondo, it says it, in getting into
01:32:35.140 –> 01:32:40.900
that whole barracuda killer fish. You know, there was a whole load of them. I’ve not seen the film,
01:32:40.900 –> 01:32:44.820
but I love that soundtrack. There’s something very interesting about slowing it down. I mean,
01:32:44.820 –> 01:32:49.300
I do like that sort of slow disco, or I don’t even recall it, it’s not really disco at that point,
01:32:49.300 –> 01:32:55.620
but yeah, sort of the slow ballads of disco. There’s Discord in that, obviously because it’s a horror
01:32:55.620 –> 01:33:03.060
film. It sounds quite a spooky thing, so it’s like spooky disco. Yes. And then before that,
01:33:03.060 –> 01:33:08.180
we had a version of what playing in the background. They Long To Be Close To You. In fact, am I?
01:33:08.180 –> 01:33:13.700
Is this actually the same backing? Maybe it is. Which I use as a bed all the time. It’s Aleksander
01:33:13.700 –> 01:33:19.220
Mazur Quartet & Novi Singers. I think it is this version. Why am I using it as a bed again?
01:33:20.420 –> 01:33:28.500
You hear it again. You will hear it to the end of time. And I used to hate jazz, but you know,
01:33:28.500 –> 01:33:37.620
Carpenters, hello. And then before that, we had Velvet Chain, Beat Box (Diversion 2) from 2004’s
01:33:37.620 –> 01:33:42.820
The Abduction of the Art of Noise. It’s a cover of Beatbox 2. Again, I can’t play the originals
01:33:43.460 –> 01:33:52.180
because ZZT is now a part of Universal. Here it is. Am I playing this as a bed? Because this is
01:33:52.180 –> 01:33:58.180
the thing. There were several things in that last mix. Well, actually, our beds on this podcast,
01:33:58.180 –> 01:34:04.900
I don’t feel they get enough love. So hence playing them. And in fact, I suspect being in this mix
01:34:04.900 –> 01:34:10.900
predates them becoming beds on Radio Clash. So they were here first. So even though I’m playing it
01:34:10.900 –> 01:34:19.860
after many times using them in the background. And then before the Velvet Chain, we had Ihsan
01:34:19.860 –> 01:34:26.340
Al Munzer with the The Joy of Lina (Farha) from, well, I don’t know when it originally came out, from
01:34:26.340 –> 01:34:31.780
2015’s Habibi Funk compilation. But that, again, is another one of the beds that I use regularly
01:34:31.780 –> 01:34:40.180
on Radio Clash. But it’s a track I really love. And you can tell from the last three of these
01:34:41.060 –> 01:34:47.780
Arabic funk and disco were playing heavily on my mind. And there was lots of it in the archives.
01:34:47.780 –> 01:34:53.300
Still is a lot of it. It’s interesting how these things go through phases, how I go through phases
01:34:53.300 –> 01:35:00.820
of really getting into, say, Japanese classical covers or Arabic funk or Turkish disco or, you
01:35:00.820 –> 01:35:05.140
know, that kind of thing. And so it’s very telling and go through some go, oh, yeah, this was this.
01:35:05.140 –> 01:35:10.020
That’s when I was doing a lot of Eastern block covers as well. Hence the Novi singers who were
01:35:10.020 –> 01:35:18.900
Polish. And then before the Joy of Lena, we had Nino Nardini with Tropicola from 1972’s Mindbender.
01:35:18.900 –> 01:35:25.940
Nino Nardini, is that Roger Roger? It’s one of those people who has lots of aliases and does a lot
01:35:25.940 –> 01:35:33.940
of library music. Came from the Exotica world and then was doing more electronic stuff later on.
01:35:34.660 –> 01:35:42.660
Pre all of that, I think. And has done quite atonal startling stuff. But also quite like
01:35:42.660 –> 01:35:49.300
their traditional stuff, but very, very lovely. Exotica mixes very well, I think, from Drum and
01:35:49.300 –> 01:35:56.740
Bass. It’s a double time thing. So before that, we had Culture Shock with Renaissance from 2019’s
01:35:57.460 –> 01:36:04.500
RAM Drum and Bass annual 2020. And then before that, we had Cyantific with Wild Child, a cover
01:36:04.500 –> 01:36:12.820
of Just Be Good to Me. And that’s from 2018’s Bloodline. And yeah, I was very much into Culture
01:36:12.820 –> 01:36:17.860
Shock at that time, I remember. Because I do these things so far in the future, and it’ll
01:36:17.860 –> 01:36:22.660
be the same with the new ones, though obviously there will not be all Arabic disco, be of some,
01:36:23.220 –> 01:36:30.180
but it’s not going to be as prevalent. Because as I say, things shift and so the new stuff is
01:36:30.180 –> 01:36:36.340
very much my take on what I’ve got in my archive collection. So it’s kind of several levels. You
01:36:36.340 –> 01:36:41.460
have like, when I choose the tracks, and when I choose them for a podcast, and when sometimes they
01:36:41.460 –> 01:36:47.860
get like some of these, especially the last three of these, a lot of things are things I’ve been
01:36:47.860 –> 01:36:51.060
taking in and out. And they’re just like a little bit too long, a little bit too strange, a little
01:36:51.060 –> 01:36:59.140
bit too, you know, and I don’t like shaving off the edges of the podcast. So hence why sometimes
01:36:59.140 –> 01:37:04.820
I leave them in. And hence why sometimes I do podcasts like this where I’m intentionally not
01:37:04.820 –> 01:37:10.660
shaving off the weird bits, and going more into deeper dive into things. And it’s really interesting
01:37:10.660 –> 01:37:15.860
there’s quite a lot of mashups in the next Deep Dives, a lot more than they have been in the last
01:37:15.860 –> 01:37:22.580
three. So there’s more mashups mixed in. Because as time goes on, it’s stuff which is for a long
01:37:22.580 –> 01:37:28.340
time ago, which is I’ve completely forgotten about. So anyway, I hope you’re all well. I’m okay. I’m
01:37:28.340 –> 01:37:36.900
still trying to recover my knee, which according to a friend of mine, it’s LCL, the muscles that run
01:37:36.900 –> 01:37:42.740
down the back and the thighs, and the back of the knee, or the adductor muscles. I was wondering
01:37:42.740 –> 01:37:49.460
if it was a hamstring. And so I’ve just been doing gentle walking and exercises and trying to get
01:37:49.460 –> 01:37:56.740
that back over the last nearly three weeks, trying to get back to normal, because it was just so
01:37:56.740 –> 01:38:01.780
painful just just to walk to the shops was really painful. And that’s stopped now it’s now it’ll start
01:38:01.780 –> 01:38:08.740
to ache after a while, after a mile or so. So I have to rebuild the strength back up again, and also
01:38:08.740 –> 01:38:12.900
try to build more strength into that left knee, because that left knee is weaker than the right.
01:38:12.900 –> 01:38:20.260
So I think we won’t try and do 15 mile hikes with a heavy rucksack in the future. Not until I’ve
01:38:20.260 –> 01:38:25.940
got better at this. I mean, it’s weird because I regularly do walk or regularly have walked,
01:38:25.940 –> 01:38:32.260
you know, long distances, just not with all of that weight and pushing myself into that sort of
01:38:32.260 –> 01:38:37.140
deadline. So this is crazy. So I’ve been sort of doing the videos for that for the channel.
01:38:37.140 –> 01:38:44.580
And Red Crumplstock did two sets at Crumplstock. I released an album of best mashups of 2023.
01:38:44.580 –> 01:38:50.340
You can see that on radioclash.com. And I didn’t record my sets, although I think they’re still
01:38:50.340 –> 01:38:55.860
probably up for 14 days on I don’t know if they’ll be up by the time I do this, but they were
01:38:55.860 –> 01:39:00.980
basically, you know, just playing my mashups. I’ve done previously there was there wasn’t so
01:39:00.980 –> 01:39:07.380
much new stuff, although there was the Alexa, Alexa Play Pumped Up Kicks thing, which was
01:39:07.380 –> 01:39:13.700
via the PomDeter set. So that led to a mashup, which then became a running thing. Anyway,
01:39:13.700 –> 01:39:20.820
so a player with a track, which is very much of a certain time, I think this is Charlotte
01:39:20.820 –> 01:39:28.740
Gainsbourg, with a Ring And A Ring Of Roses. And I think I put this in because it is startlingly,
01:39:28.740 –> 01:39:34.500
you know, it’s 2017 from her album Rest, which is a really good album, by the way. And it’s about
01:39:34.500 –> 01:39:39.300
various things, but including the death of her half sister was starting when I heard it again,
01:39:39.300 –> 01:39:44.020
I think when I put this mix together, because I put this mix together post all the pandemic.
01:39:44.020 –> 01:39:50.500
And it seems to be basically about something like that about an emergency situation with
01:39:50.500 –> 01:39:56.420
an obviously Ring A Roses about plague. So yeah, it’s some very strange lyrics in this.
01:39:56.420 –> 01:39:58.580
So anyway, I’ll speak to you soon.
Happy 2024, and is it a Happy New Year? Not for me so far…a busted knee, burn out, and was out hiking in the Big Freeze – thankfully not Storm Isha!
So a belated New Year episode of Radio Clash including some tracks I loved from 2023, a surprising amount of mashups, new wave electro and indie rock, space disco and cosmic funk, tech house and drum and bass, Rock Dolly, downtempo and strangely reflective.
Fire and ice, snow and sun, hot and cold, like my 2024 is running so far.
WEBVTT
00:00:20.520 –> 00:00:28.040
Hello welcome to 2 Radio Clash, this is 392, and it’s Burnout and the Big Freeze.
00:04:33.760 –> 00:04:43.120
Hello and welcome to Radio Clash, this is 392, and it’s The Burnout and The Big Freeze,
00:04:43.120 –> 00:04:48.240
and that was The Staves with All Now, which was released a couple of months ago, and I
00:04:48.240 –> 00:04:54.280
heard a lot on 6 Music, and I tend not to repeat what’s on 6 Music, but I heard again
00:04:54.280 –> 00:04:58.420
recently when I was putting together this podcast and I was like, that really sums up
00:04:58.420 –> 00:05:03.280
what my January has been like, the lyrics about “Be the brand empowerment I’m supposed
00:05:03.280 –> 00:05:04.280
to be.
00:05:04.280 –> 00:05:05.280
I’m supposed to be.
00:05:05.280 –> 00:05:09.440
Bitterness is fine only if nobody can see.
00:05:09.440 –> 00:05:11.160
Isn’t it exciting?”
00:05:11.160 –> 00:05:12.160
Yeah.
00:05:12.160 –> 00:05:14.120
I love the sarcasm in that.
00:05:14.120 –> 00:05:16.240
Suddenly check out the video as well.
00:05:16.240 –> 00:05:20.760
Everything is a happy song about, you know, being in the moment.
00:05:20.760 –> 00:05:21.760
Yeah.
00:05:21.760 –> 00:05:27.840
Check out the video, and yeah, you’re not correct at all, and it mentions the new year, so it’s
00:05:27.840 –> 00:05:31.720
got the whole sort of, “You can go wild, dear, but happy new year.
00:05:31.720 –> 00:05:32.720
Have a happy new year.”
00:05:32.720 –> 00:05:36.520
And that’s how I feel about 2024 so far.
00:05:36.520 –> 00:05:42.600
I’ve already screwed up my knee, lost my wireless microphone, and gained it, gone on a 45-mile
00:05:42.600 –> 00:05:46.920
hike, which was supposed to be a 100-mile hike, and then had to bail because of the knee
00:05:46.920 –> 00:05:51.240
and the microphone, and my channel is tanked.
00:05:51.240 –> 00:05:55.480
People have stopped subscribing to my channels, my YouTube channel, my hard-up hiker channel.
00:05:55.480 –> 00:05:59.680
There’s just been a bit of burnout on that, so not only have I been camping in the big
00:05:59.680 –> 00:06:03.760
freeze, I’ve also had the classic content burnout.
00:06:03.760 –> 00:06:06.640
Everything’s supposed to be happy, happy, joy, joy.
00:06:06.640 –> 00:06:09.040
Everything’s supposed to be like, “Yeah, it’s fine”.
00:06:09.040 –> 00:06:10.600
People are slagging me off in the comments.
00:06:10.600 –> 00:06:11.600
It’s fine.
00:06:11.600 –> 00:06:12.840
Everything is going to shit.
00:06:12.840 –> 00:06:14.960
Let’s just play while the Titanic sinks.
00:06:14.960 –> 00:06:18.040
And that seems to be the same in UK politics.
00:06:18.040 –> 00:06:22.800
We’ve just had Blue Monday, and I think a lot of people are struggling, so this is a new
00:06:22.800 –> 00:06:29.240
year’s podcast with probably a bit of an existential twist, but not so existential, though it doesn’t
00:06:29.240 –> 00:06:34.840
mention being old and tired and in the bones is Pimp Daddy Supreme’s Bubble Bottom Girls,
00:06:34.840 –> 00:06:40.600
Queen and Major Laser Featuring Tyga, and I was Tyga, Tyga, with a Y, not that
00:06:40.600 –> 00:06:41.600
Tiga.
00:06:41.600 –> 00:06:42.600
There’s two tigers.
00:06:42.600 –> 00:06:45.360
There’s Tiga with an I, and there’s Tyga with a Y, different person.
00:06:45.360 –> 00:06:50.160
And this is from 2013, and I missed it, but it was played recently, and I was like, “Oh,
00:06:50.160 –> 00:06:51.440
that’s very good”.
00:06:51.440 –> 00:06:52.440
So anyway.
00:30:58.880 –> 00:31:06.680
That was Billy No Mates, with Spite, such an anthem of mine, for a variety of reasons,
00:31:06.680 –> 00:31:13.140
probably because mostly I’m a spite-powered machine, revenge, is it not only a dish served
00:31:13.140 –> 00:31:18.980
cold, but also success is best rend, although the success thing isn’t going so successful
00:31:18.980 –> 00:31:25.560
at the moment, so anyway, that’s it’s downside, and yes, the 6 Music dads that got upset
00:31:25.560 –> 00:31:29.180
with her Glastonbury set can fuck right off.
00:31:29.180 –> 00:31:35.420
Brilliant album, 2023’s Cacti, very kind of downbeat, I hope she hasn’t left the music
00:31:35.420 –> 00:31:36.420
industry.
00:31:36.420 –> 00:31:42.800
Tori Maes, I think, I know it’s Tori, I can’t remember her last name, is Maes, I think.
00:31:42.800 –> 00:31:49.120
But yeah, I mean really, I’ve seen Self Esteem do something pretty similar with a backing,
00:31:49.120 –> 00:31:55.540
you know, but of course, because she’s Milf totty, no, she’s a proper artist.
00:31:55.540 –> 00:31:59.880
No one says anything, even though she’s in total major label whore, so, you know, seriously,
00:31:59.880 –> 00:32:04.600
in 2024, I’d give no fucks, I’m not going to censor myself, but you know, I think Self Esteem
00:32:04.600 –> 00:32:07.800
is seriously overrated massively.
00:32:07.800 –> 00:32:12.960
Very funny when interviewed, it’s a bit like Noel Gallagher, music way, way, way over it.
00:32:12.960 –> 00:32:19.640
And then before that, we had Cherry Laine from 1979, that’s Mamy Blue, and that’s during
00:32:19.640 –> 00:32:25.400
that interesting period where sort of Caribbean, West Indian disco became a thing, we’re kind
00:32:25.400 –> 00:32:30.740
of Boney M, really, do check out Cherry Laine’s work, very kind of space disco, yeah, I mean
00:32:30.740 –> 00:32:36.900
Boney M was quite space disco, cosmic disco, hence, I always call it night flight to Uranus,
00:32:36.900 –> 00:32:40.500
but it’s night flight to Venus, but yeah, it’s an n-joke.
00:32:40.500 –> 00:32:47.260
And then before that, we had Visitor with our lips sealed 12-inch mix from 2003, and
00:32:47.260 –> 00:32:55.220
that is Jon of the Pleased Wimmin, Jon Pleased Wimmin, under an alias, almost made it into
00:32:55.220 –> 00:32:59.980
Terry Hall related episodes, but Electro-ish, Electro-Clash-ish, I don’t know what you would
00:32:59.980 –> 00:33:07.900
call it, cover of Our Lips Are Sealed originally by, well, the Go-Go’s, and then covered by
00:33:07.900 –> 00:33:13.960
Funboy 3 with the Go-Go’s, also Terry Hall did a solo version with Nouvelle Vague, I don’t
00:33:13.960 –> 00:33:17.860
think The Specials ever did it, but yeah, throughout the years it’s ended up coming back in different
00:33:17.860 –> 00:33:18.860
versions.
00:33:18.860 –> 00:33:24.340
Then before that, we had Live Stream Original Mix by Mark Knight, I went through Mark Knight
00:33:24.340 –> 00:33:29.780
deep dive, I don’t know if it was in Fondue, or someone posted up a Mark Knight track and
00:33:29.780 –> 00:33:35.820
went through Mark Knight’s back catalogue, Rene Amesz and Green Velvet on the vocals
00:33:35.820 –> 00:33:36.820
from 2017.
00:33:36.820 –> 00:33:41.860
It’s weird because that’s 2017, it sounds like something should be in 2020, talking about
00:33:41.860 –> 00:33:47.460
everything’s moving to Livestream, you know, people used to look at Caged Animals, which
00:33:47.460 –> 00:33:53.060
is a bit, yeah, but you know that everything seems to have moved online now and live spaces
00:33:53.060 –> 00:33:54.060
are dying.
00:33:54.060 –> 00:33:59.620
I think Prysm in Kingston is under threat because of the company that owns it or entry
00:33:59.620 –> 00:34:06.180
management and Prysm being an ex-cinema or, it was a bingo hall or a cinema music hall
00:34:06.180 –> 00:34:12.620
that became a cinema and then bingo, but around the corner is The Regal, which has been emptied
00:34:12.620 –> 00:34:16.780
for nearly 20 years and all the frontage has been, all the sort of the scaffold has been
00:34:16.780 –> 00:34:21.700
taken down recently and it’s in a real mess and that was a bingo hall, which then was going
00:34:21.700 –> 00:34:25.900
to be a nightclub and it’s just been sitting empty for nearly 20 years.
00:34:25.900 –> 00:34:31.260
Depressing, of course, the Hebron was lost in Kingston, so yeah, it’s kind of like the
00:34:31.260 –> 00:34:36.420
hollowing out of nightlife and it seems to have all gone into online and Twitch and everything
00:34:36.420 –> 00:34:41.820
and although, you know, there is some good, good things from that, but it’s, I’m disturbed
00:34:41.820 –> 00:34:47.100
by that, I have to say, and the ninth thing is when [Beggars] Banquet boasts about that, they
00:34:47.100 –> 00:34:52.580
said, Oh, Prince Fatty, I think, I think it was anquet’s sort of statement was like,
00:34:52.580 –> 00:34:57.740
use it or lose it and it’s like gay spaces and queer spaces. I can’t afford to. This
00:34:57.740 –> 00:35:01.220
is the problem. There’s a whole bunch of people who are priced out of those spaces
00:35:01.220 –> 00:35:05.580
and I think that’s part of the problem really, you know, there’s a whole bunch of us who’d
00:35:05.580 –> 00:35:14.140
love to support those spaces, but when you’ve got like tickets, you know, 10, 20, 30, 50,
00:35:14.140 –> 00:35:20.260
you know, for major artists now, was it 100 quids up to stupid, you know, much higher
00:35:20.260 –> 00:35:24.740
than that because of online touts and, you know, Taylor Swift and all that, you know,
00:35:24.740 –> 00:35:29.580
it’s just this moan about, Oh, well, you know, people should support it. There used to be
00:35:29.580 –> 00:35:36.740
a thing and my favourite club still does this. There used to be a thing called UB40 or Unwaged
00:35:36.740 –> 00:35:43.140
kind of benefits tickets. I still remember those and now it’s like gone, you know, Ducky
00:35:43.140 –> 00:35:47.780
still does this. Most of the time, most of the things don’t do it at all. It’s like,
00:35:47.780 –> 00:35:51.820
well, you know, you pay for a price of fuck off. It means there’s a whole bunch of society
00:35:51.820 –> 00:35:56.220
that can’t afford to go to these spaces and it means, you know, the artists on stage are
00:35:56.220 –> 00:36:03.180
quite often white, middle class, upper class, darlings, Tarquins and Emilies, who could go
00:36:03.180 –> 00:36:07.300
to stage school, who could afford to spend five years, 10 years working on a band or
00:36:07.300 –> 00:36:11.820
whatever, playing to people who are similar like them. And it just means that there’s
00:36:11.820 –> 00:36:15.780
no working class in the creative spaces. And then people moan about diversity. And it’s
00:36:15.780 –> 00:36:23.860
like, well, what did you expect? Anyway, then before that, we had Jo-Lo with Violation.
00:36:23.860 –> 00:36:29.820
That’s quite a surprise. I found that I also went through a deep dive of high energy megatone
00:36:29.820 –> 00:36:36.340
stuff. That’s from 1983. Jo-Lo were a backing group, Jo-Carrol and Lauren Carter, who backed
00:36:36.340 –> 00:36:43.740
a lot of the Megatone releases. Megatone being where Sylvester was on. And sometimes with
00:36:43.740 –> 00:36:46.900
Sylvester actually, I think I’ve heard at least one where Sylvester’s in there in the
00:36:46.900 –> 00:36:52.180
mix. So quite often you’d hear him in backing things as well, but they were the in-house
00:36:52.180 –> 00:36:57.140
female, the backing vocalist, and they had a sort of a brief career doing singles of
00:36:57.140 –> 00:37:02.860
their own. And they wrote that. And I think it’s brilliant, all my like new wave meets
00:37:02.860 –> 00:37:07.740
high energy. It’s kind of got that as a rock. It’s a weird time where like post disco, it’s
00:37:07.740 –> 00:37:12.260
like that rock disco, but then you’ve got high energy as well. So it’s got that new wave
00:37:12.260 –> 00:37:20.460
feel with the lyrics. But yeah, very little dark lyrics for a Megatone high energy release.
00:37:20.460 –> 00:37:26.220
And it sounds more like, yeah, new wave meets high energy. I love it. And then at the start
00:37:26.220 –> 00:37:30.940
of that section, we had Pimp Daddy Supreme with Bubble Bottom Girls, Queen versus Major Lazer
00:37:30.940 –> 00:37:36.820
between Tyga and a little bit of Baby Got Back in there. And I really wish there was,
00:37:36.820 –> 00:37:40.100
I was listening to that and thinking, yes, I do like Big Bottoms and they cannot lie.
00:37:40.100 –> 00:37:46.580
But yeah, I wish there was like a male version, a male version of Big Bottom Boys. I’m sure
00:37:46.580 –> 00:37:51.220
they probably is somewhere. I’m sure someone has done that. It’s the same with the Mamie
00:37:51.220 –> 00:37:55.580
Blue. I wish there was a Daddy Blue on. I wish there was some more gender switch on.
00:37:55.580 –> 00:38:01.460
That would work very well and be probably more appropriate. So I’ve been checking out
00:38:01.460 –> 00:38:07.740
the AC Soul Symphony album called Metamorphosis, which is another 2023 release. There’s a
00:38:07.740 –> 00:38:12.940
few things in here which are kind of, I didn’t want to say, oh, here is a review of the year
00:38:12.940 –> 00:38:18.340
because I want to play all kinds of stuff really, the stuff I’ve been digging. But yeah,
00:38:18.340 –> 00:38:24.660
along with the Billy Nomates album and AC Soul Symphony is Dave Lee, formerly Joey
00:38:24.660 –> 00:38:30.180
N, the Italian for black. And I want, yeah, we changed to Dave Lee because of Black Lives
00:38:30.180 –> 00:38:34.580
Matter. And quite early, so I think I mentioned on the podcast, you know, would call him that
00:38:34.580 –> 00:38:41.420
I was like, it’s a white bloke, come yourself Joey N. And it’s just a bit like, yes, I’m
00:38:41.420 –> 00:38:47.980
glad he’s just Dave Lee. And AC Soul Symphony is his pet project of, I think he got like
00:38:47.980 –> 00:38:55.140
a small orchestra and recreating the joys of disco, but with a modern twist. The album,
00:38:55.140 –> 00:39:01.740
it doesn’t always work, but I like the fact that he’s done a Philadelphia style big, big
00:39:01.740 –> 00:39:07.300
disco epic version of the New Avengers theme. And if you don’t know about New Avengers,
00:39:07.300 –> 00:39:12.700
that was, well, that was the original Avengers, which is John Steed. No, not that Avengers,
00:39:12.700 –> 00:39:19.100
not the Marvel ones, John Steed and Emma Peel and others. The New Avengers was the 70s version
00:39:19.100 –> 00:39:26.820
with Purdy, Joanna Lumley, and the coffee guy, Gareth I’ve forgotten his last name and a few
00:39:26.820 –> 00:39:32.020
others. The theme of it was a sort of a funk disco classic. So this is the Philly Avengers
00:39:32.020 –> 00:39:36.540
by the AC Soul Symphony.
01:21:34.480 –> 01:21:41.120
That was Cherry Glazerr with Shattered from the album I Don’t Want You Anymore,
01:21:41.120 –> 01:21:47.520
and I’m just looking at what that was about, because I must say the album doesn’t hit as
01:21:47.520 –> 01:21:54.960
much as the previous album for me, but the songs are growing on me. It’s a bit like Cacti,
01:21:54.960 –> 01:22:00.960
Billy No Mates. Initially, I was like, “Eh?” Apart from Deathwish, I love them a lot,
01:22:02.240 –> 01:22:06.480
and as I’m listening more, I’m like, “Actually, no, I get this vibe. I understand this vibe.”
01:22:06.480 –> 01:22:12.080
It’s like I wasn’t ready for that vibe in 2023, and 2024 was hit, and it’s like, “Yep,
01:22:12.080 –> 01:22:19.680
this is definitely the vibe,” and it’s about family drama and family bonds, so no wonder I like that.
01:22:19.680 –> 01:22:24.720
And then before that, we had a match from 2024. It’s so weird seeing 2024 on dates on things now,
01:22:24.720 –> 01:22:31.920
I was like, “Oh, it’s 2024.” And that’s Eternal Khaos, Adam B., with Gimme Some Vampires,
01:22:31.920 –> 01:22:38.560
John Lennon versus Olivia Rodrigo. I don’t know what version of that, whether they’re Remix Step,
01:22:38.560 –> 01:22:43.360
or whether there’s a version, because I have done a mash-up with Vampires by Olivia Rodrigo,
01:22:43.360 –> 01:22:49.680
which is basically all by myself. I don’t remember there being a sort of a rocky,
01:22:49.680 –> 01:22:55.440
up-tempo-y bit, but I have a false memory, but I don’t know if there’s a remix. Yeah.
01:22:55.440 –> 01:23:00.160
I was listening to the John Grant first time. He did Reason, which is brilliant, by the way.
01:23:00.160 –> 01:23:05.040
The first time is a six-music series about the first time you came across music and musical
01:23:05.040 –> 01:23:11.360
Milestones, and he’s got a song where he says, “I’m actually quite angry.” You might not think so.
01:23:11.360 –> 01:23:16.400
And yeah, I am very angry with what’s going on at the moment in the world,
01:23:16.400 –> 01:23:22.480
and what’s going on generally. And that might come out with that selection of some of the songs in
01:23:22.480 –> 01:23:29.200
this podcast, because does that give me some truth, which will be nice from politicians and various
01:23:29.200 –> 01:23:35.040
people, leaders generally, everyone. And then we’ve got Billy No Mates with Apathy’s Wild,
01:23:35.040 –> 01:23:39.840
which has the wonderful lyric, “The depths of everything real have shallowed.” The death of
01:23:39.840 –> 01:23:44.720
everything real has happened. Where do you sit in the new world now? And that kind of just sums
01:23:44.720 –> 01:23:51.760
up. We’re going to post COVID, post Brexit, post everything, feeling that there is at the moment.
01:23:51.760 –> 01:23:57.920
And it doesn’t feel like 2024 is… I was hoping for something better, but it looks like it’s just
01:23:57.920 –> 01:24:04.080
more of the same shit, really. Then before that, we had ToTom. I’m very glad he released his mashup
01:24:04.080 –> 01:24:12.320
finally. This is Heart of Jolene, Blondie versus Dolly Parton, version two. And that’s from his
01:24:12.320 –> 01:24:19.840
release, mashups 2023. So we have a bit of a round of 23 in that section. Before that, although it’s
01:24:19.840 –> 01:24:25.360
from 2022, I didn’t really hear until 2023. That’s Chase and Status featuring Ethan Holt with Hold
01:24:25.360 –> 01:24:30.880
Your Ground. That is such an anthem for me at the moment from 2022 is what came before. I did listen
01:24:30.880 –> 01:24:37.360
to their mixtape. Dunproofin mentioned it. And a lot of Jungle stylings, but it didn’t hit as much
01:24:37.360 –> 01:24:42.560
as that song for me. That was the one where I was like, “Yeah, that says it. That says what I need to
01:24:42.560 –> 01:24:48.880
hear. That resonates with me.” I feel that the album’s a little bit more better than the mixtape,
01:24:48.880 –> 01:24:56.800
but anyway. And then before that, someone who was my 2023 and 2022, I was saying, but certainly
01:24:56.800 –> 01:25:04.320
2023 loved pretty much everything he released as Anthony Smirak with How Do You Get Here?
01:25:04.320 –> 01:25:11.280
Such a funky disco. It feels disco that number. Disco rap. I don’t know. Disco rap is the thing.
01:25:11.280 –> 01:25:17.440
And then before that, we had a band, again, all over 2023 and also my 2022, I think, really. But
01:25:17.440 –> 01:25:22.080
a lot of their music seemed to get proper releases because the album, like Silver,
01:25:22.080 –> 01:25:27.280
was released at the end of 2022. But no one could get it. It was impossible to get. It was
01:25:27.280 –> 01:25:33.680
re-released. That says you see with questions. And I so love that they’re getting the love they
01:25:33.680 –> 01:25:39.200
deserve from various places, 6 Music, all over the shop. They’re getting love and they should do.
01:25:39.200 –> 01:25:44.640
And then before that, we had Ben Double M, the much-missed Austrian
01:25:44.640 –> 01:25:49.360
mashup producer. That’s Sledgehammer In The Air Tonight I heard that via, I think,
01:25:49.360 –> 01:25:54.160
Pimp Daddy Supreme. I’m not sure when it came out because that’s a naughty YouTube rip because I
01:25:54.160 –> 01:26:00.560
can’t find that anywhere. So that’s 2013, I think. That might be wrong. It’s not even in the Bootleg
01:26:00.560 –> 01:26:06.400
rchive. There are quite a lot of Ben Double M tracks I don’t have. Then before that, we had
01:26:06.400 –> 01:26:12.480
Fred V and Hamzaa, another one song that’s just kind of haunted my iPod and has been like CHOON.
01:26:12.480 –> 01:26:18.320
That’s Freefall from 2023’s 500. Hospital did a release called 500.
01:26:18.320 –> 01:26:26.240
And so I can’t remember if, I think that is from 2023, but it’s part of that sort of compilation.
01:26:27.920 –> 01:26:33.360
Well, we’re checking out that, by the way, the 500 from Hospital Records. It’s always great,
01:26:33.360 –> 01:26:37.920
check out anything, any compilation from Hospital Records if you like Drum and Bass.
01:26:37.920 –> 01:26:44.160
And if you don’t like Drum and Bass, why are you here? Then before that, we had Logan Lynn
01:26:44.160 –> 01:26:50.640
with Here’s to Us, and again, another anthem of mine. It feels very New Year’s-y. It feels
01:26:50.640 –> 01:26:57.680
like a New Year’s track. That’s from New Money from 2022. And then I mentioned at Star Wars,
01:26:57.680 –> 01:27:03.120
actually, we had AC Soul Symphony with the Philly Avengers from 2023’s Metamorphosis.
01:27:03.120 –> 01:27:08.160
And that was probably my introduction, the New Avengers, that sort of disco funk thing,
01:27:08.160 –> 01:27:13.120
I think. It was probably the first time I heard funk was probably that, the New Avengers soundtrack,
01:27:13.120 –> 01:27:19.120
you know, and I loved it greatly. So I’m glad he did that. So we’re going to play a track of mine,
01:27:19.120 –> 01:27:26.880
because some of my tracks of 2022 and 2023 never really got much love, even on here.
01:27:26.880 –> 01:27:32.720
And weirdly, I never played them, partly because this came out and then someone else kind of beat
01:27:32.720 –> 01:27:39.600
me to it. And so I just abandoned it. So there’s a couple of 2022 TBC tracks that never really
01:27:39.600 –> 01:27:44.960
had the love that they should really have deserved. And there’s a new one at the end.
01:27:45.920 –> 01:27:51.600
Yeah, I haven’t replayed any of my mashups in this podcast. And I usually played two or three
01:27:51.600 –> 01:27:57.360
of mine. In fact, if that ended up, they were all the damn tempo ones. Yay, some people say.
01:27:57.360 –> 01:28:04.480
But I don’t care, it’s my podcast. So this is High and Dry Antihero, Taylor Swift versus Radiohead.
01:28:04.480 –> 01:28:09.120
I’m very proud of the vocal production on this. No I’m sure audio geekery no-one gives a
01:28:09.120 –> 01:28:13.920
fuck. But yeah, some of the echoes, I was listening to it going “Yes, you did a good job there”, but
01:28:14.480 –> 01:28:18.320
not that anyone cares. So anyway, this is TBC aka Instamatic.
02:16:36.080 –> 02:16:44.400
And that was TBC aka Instamatic, with ‘Let It Be What I Was Made For’.
02:16:44.400 –> 02:16:51.440
I finally saw the Barbie movie, which provoked that mash-up. If you’ve seen the movie, the whole
02:16:51.440 –> 02:16:58.640
Gloria speech and that, it’s very moving. But also, I liked the song before I saw the movie,
02:16:58.640 –> 02:17:05.520
because the lyrics… Well, they have a lot of personal reference. I don’t know how to feel,
02:17:05.520 –> 02:17:10.480
but I want to try. It’s very much an expression of depression. I think I’ve got to be happy,
02:17:10.480 –> 02:17:15.920
but something I’m not, something I can be, something I wait for, something I’m made for.
02:17:15.920 –> 02:17:20.640
When I first heard that song, there’s existential things in there, but also I had to make depression
02:17:20.640 –> 02:17:28.560
and wanting to change, and wanting to be happy, which is a theme of 2034 so far. And then before
02:17:28.560 –> 02:17:33.680
the mashup, they inspired it. Although, accidentally, I wasn’t intending to create a version
02:17:33.680 –> 02:17:38.800
of it. It just happened, and I had to say to myself, “Yeah, obviously, it’s subconscious
02:17:38.800 –> 02:17:44.080
inspiration”, because I wanted to do something with the Billie Eilish vocals, and then I found
02:17:44.080 –> 02:17:48.800
a Beatles track, rather than the Lennon track. So that was what I imagined Billie Eilish versus
02:17:48.800 –> 02:17:52.400
John Lennon. I mean, there’s only one mashup. I was trying to get that sort of interplay with
02:17:52.400 –> 02:17:57.680
the vocals, which I think is in the mighty mic as well, that call and response of saying,
02:17:57.680 –> 02:18:03.120
“Let it be, let it be.” Whisper words of wisdom, yeah, whisper, Billie Eilish whisper words of
02:18:03.120 –> 02:18:07.200
wisdom, “Let it be.” It’s okay. You’re working it out. So it’s going to almost measure myself.
02:18:07.200 –> 02:18:13.280
Some of my mashups are like that. Then before that, we had Grandad Traitor. That was a very late
02:18:13.280 –> 02:18:20.000
addition to this podcast, but I was listening to it today, and he won the Crumplbanger Discord
02:18:20.000 –> 02:18:28.000
Challenge, and that’s Clive Dunn versus Olivia Rodrigo by PomDeter, just 2023, right at the end.
02:18:28.000 –> 02:18:33.360
I find the whole Grandad song was rather cloying, but it works very well with that backing.
02:18:33.360 –> 02:18:39.520
I also never realised how much there’s sort of talking about history, although it was only 50,
02:18:39.520 –> 02:18:46.800
so I’m not sure if he could have remembered a time without cars, because he was only 51, 52,
02:18:46.800 –> 02:18:52.640
and that other single was a hit. So I don’t know, maybe, because it was I think it hit a couple
02:18:52.640 –> 02:18:58.240
of times, but I think it was in the ’70s, so maybe ’20s. There was a hit with, there was a Grandma
02:18:58.240 –> 02:19:01.920
track, which is a kind of version, I think they hit again in the ’80s, I think, if I remember
02:19:01.920 –> 02:19:08.080
correctly. Before that, we had Don’t Give Up, featuring Sinead O’Connor, that’s Willie Nelson.
02:19:08.080 –> 02:19:13.840
And there’s an interesting story about that track, because in 1993, just after she, quite rightly,
02:19:13.840 –> 02:19:21.040
tore a picture of the Pope up on SNL and was right about what was going on, and she never got
02:19:21.040 –> 02:19:26.960
apology for any of that. She was booed famously at a Bob Dylan concert, and I think, I’m not sure
02:19:26.960 –> 02:19:31.280
if someone was conflating, because I’m not sure why she would have been covering that track with
02:19:31.280 –> 02:19:35.760
Willie Nelson at the Bob Dylan concert, but apparently she did, and it was pulled from the
02:19:35.760 –> 02:19:41.760
recording, maybe because of what happened. But the next day, Willie Nelson, being Willie Nelson,
02:19:41.760 –> 02:19:48.880
asked her to record it with him for his album across the broadline. And that’s such a Willie
02:19:48.880 –> 02:19:53.360
Nelson thing to do, you know, he saw what was happening, wanted to give her a message of Don’t
02:19:53.360 –> 02:19:58.880
Give Up, you know, and I’m so sure that’s probably what he was intending to send that message to her,
02:19:58.880 –> 02:20:04.640
that, yeah, Don’t Give Up, almost guaranteed that was him. He’s a good human. And I’d say,
02:20:04.640 –> 02:20:09.040
thank you to Naomi for posting that onto Facebook yesterday, I think it was. Yeah,
02:20:09.040 –> 02:20:14.560
that’s going in last minute. And then before that, from the new Rockstar album, we had Dolly
02:20:14.560 –> 02:20:18.800
Parton with Purple Rain, a brilliant cover. There are a couple of really good songs on there.
02:20:18.800 –> 02:20:24.640
I would say it’s a bit overdone with the celebrity cameos, but I would kind of prefer
02:20:24.640 –> 02:20:31.520
there was less of that, though Wrecking Ball is brilliant because Dolly is Miley’s Godmother,
02:20:31.520 –> 02:20:35.920
good feel on that one. But a lot of them, you know, thinking she does Every Breath You Take and
02:20:35.920 –> 02:20:39.920
string turns up and you’re like, I’d actually prefer this without Sting, actually. I’m not
02:20:39.920 –> 02:20:44.000
sure how Prince would have felt about that cover, but I think it’s a really good cover.
02:20:44.000 –> 02:20:49.440
And of course, Stairway is on there and she did Stairway years ago. So it all of this like, oh,
02:20:49.440 –> 02:20:54.560
I don’t feel rock and roll enough to be in the rock and roll whole of fame, which is bollocks.
02:20:55.040 –> 02:20:58.000
But there’s a reason why she did the album, which is like, okay, I’ll do a rock album,
02:20:58.000 –> 02:21:02.720
which is a brilliant, brilliant thing, brilliant idea. And as I say, it doesn’t all work,
02:21:02.720 –> 02:21:08.400
but when it does, it’s very good. It’s, you know, it’s Dolly. Dolly never does terrible things.
02:21:08.400 –> 02:21:16.080
Dolly is always always quality. And then before that, we had Fennesz from 2008 Black Sea. That’s
02:21:16.080 –> 02:21:22.720
Vacuum. Black Sea and it’s the one with Venice. And obviously everyone knows in last summer,
02:21:22.720 –> 02:21:27.280
I went to a stage of checking out Fennesz’s albums, Christine Fennesz , the Austrian
02:21:27.280 –> 02:21:31.680
electroacoustic artist stage. The scribe is like a guitarist, but, you know, just glitchy
02:21:31.680 –> 02:21:38.320
electronica. And then before that, we had Giac, where I’m not the way you are,
02:21:38.320 –> 02:21:43.440
Billy Joel versus 10CC. There’s a couple of matchups in this podcast, which I usually wouldn’t
02:21:43.440 –> 02:21:49.600
play because of technical issues. And that’s one of them because not to sure about, I understand
02:21:49.600 –> 02:21:55.040
why, but I think the instrumental is pitched a bit too low, but obviously to try and keep
02:21:55.040 –> 02:21:59.840
the Billy Joel vocal at the normal pitch. I don’t know, it kind of works. I kind of like the sort
02:21:59.840 –> 02:22:06.000
of woozy nature of it, but it is slightly off-putting when you first hear that. A few other ones,
02:22:06.000 –> 02:22:10.000
like I wanted to play a Happy New Year by ABBA mashup, but there’s key issues. And I was like,
02:22:10.000 –> 02:22:16.480
yeah, I can overlook some things. It feels very crumpl or whatever, but sometimes it’s just,
02:22:16.480 –> 02:22:21.280
I can’t, I just can’t. I’m surprised there aren’t more about Happy New Year mashups. I mean, I did
02:22:21.280 –> 02:22:27.520
one, there’s that one, and there’s not that many more. It’s bizarre. It’s a brilliant track, and it’s
02:22:27.520 –> 02:22:32.480
sums up how I feel about Happy New Year. It’s depressing, but it’s kind of like,
02:22:32.480 –> 02:22:36.880
of course, that sort of like, that sort of end of the party feel, and that’s how I feel, man.
02:22:36.880 –> 02:22:43.360
And then before that, we had one of mine, which is TBC aka Instamatic Pagan Weeknd, Die for
02:22:43.360 –> 02:22:48.960
Your Poetry, The Weekend versus Bjork. That’s one of the ones I didn’t play because it has a very,
02:22:48.960 –> 02:22:57.600
very, very deep, dark personal, it’s actually about a specific weekend. And I’m not going to go into
02:22:57.600 –> 02:23:02.320
why. It’s just, it was a crush on somebody who was never going to reciprocate. Yeah, those emotions
02:23:02.320 –> 02:23:10.560
can be very strong sometimes. A lot of my TBC aka mashups are like that. When people go,
02:23:11.680 –> 02:23:16.560
they’re like, meh. And I’m like, but, you know, of course, people don’t get the emotion behind it
02:23:16.560 –> 02:23:23.840
because they weren’t there. So, and then before that, we had Hot Chocolate with Put You Love In Me,
02:23:23.840 –> 02:23:29.040
which I used in the Psychodelidisco mix, but, you know, I’ve never actually played on a
02:23:29.040 –> 02:23:35.040
podcast. So your mixes don’t disqualify. It’s if it’s been on a previous podcast. And that’s from
02:23:35.040 –> 02:23:41.680
02:23:41.680 –> 02:23:48.800
Arabic Cosmic Disco, but there’s no real beat to it. There is, on Discog, someone said about
02:23:48.800 –> 02:23:54.640
no kick drum. There is a kick drum, it’s just well buried. And it’s not a 4/4 either. It’s very dubby
02:23:54.640 –> 02:24:01.840
feel to it. It’s more dub than disco or funk in a lot of ways. Hot Chocolate were very experimental.
02:24:01.840 –> 02:24:09.920
This tends to get forgotten. Then before that, we had Low with DJ from 2015 ones and sixes.
02:24:09.920 –> 02:24:16.160
We really miss Low, which you know more because of the death of Mimi Parker. I love that lyric.
02:24:16.160 –> 02:24:21.120
You know, “you got to shake that. I’m not your DJ”. You know, “I’m not a DJ. You could shake that”.
02:24:21.120 –> 02:24:27.200
They’re a bit like Bowie’s “I’m a DJ. I am what I play”. I’m the foundational lyrics for me,
02:24:27.200 –> 02:24:32.080
especially when people think that I’m some kind of jukebox, which is like, yeah. And at the start of that
02:24:32.080 –> 02:24:38.240
section, we had TBC aka Instamatic with High And Dry Anti-Hero, Taylor Swift versus Radiohead.
02:24:38.240 –> 02:24:44.000
So, we reached the end of the podcast. I hope you enjoyed it. I’m not sure enjoyment is the
02:24:44.000 –> 02:24:51.680
right word. I hope you’re all well. As I say, my toy is very forcefully a bit weird.
02:24:51.680 –> 02:24:59.840
Lots been happening, but lots not really getting anywhere. Yeah. And as I said, I rent my knee.
02:24:59.840 –> 02:25:06.480
So, I was hoping to do more hiking and more camping, even in the cold weather, just to kind of get
02:25:06.480 –> 02:25:13.200
out of the house. And I can’t do that, man, because my knees screwed. And after nearly a week, it’s
02:25:13.200 –> 02:25:18.960
still that way. So, I might have to go to the doctor. It doesn’t get away. I’ve been doing
02:25:18.960 –> 02:25:24.800
gentle exercises and gentle walks, and it’s still hurt a lot. So, I hope all your 2024s are a
02:25:24.800 –> 02:25:30.160
bit better than mine. So, yes. Although, I mean, there have been some nice things. I’ve just got
02:25:30.160 –> 02:25:35.680
my Christmas present, which is a lovely t-shirt from Naomi, mother of my godson. This is very
02:25:35.680 –> 02:25:41.280
appropriately beard related. The person who sent my wireless mic back, I lost it at Devil’s Dyke,
02:25:41.280 –> 02:25:46.400
and they sent it back to me and I was like, oh, consider it a present when they’re going to,
02:25:46.400 –> 02:25:50.800
you know, send me the money. So, it’s good to have it back. The question is when I’ll be able to get
02:25:50.800 –> 02:25:55.360
out and use it. Although, I’m planning to take another one, because I’ve got a cheaper one now,
02:25:55.360 –> 02:26:02.160
because of course, I bought a replacement before. I put a message saying “has anyone found a mic?
02:26:02.160 –> 02:26:08.160
But I really didn’t expect anyone to actually find it. So, that was amazing. The power of social
02:26:08.160 –> 02:26:14.160
media. See, social media is not just for bad things. The mostly it is. Trying to focus on the good
02:26:14.160 –> 02:26:21.760
things. But I have to say, yeah, 2024 was a bit weird at the moment. I got obsessed with the song
02:26:21.760 –> 02:26:26.640
Don’t Let My Son Go Down On Me, which is originally by Elton John, and I really don’t like the Elton
02:26:26.640 –> 02:26:32.080
John version. I really wish George Michael had recorded it on his own, because, you know, without
02:26:32.080 –> 02:26:41.040
the Elton John. He wrote a great song. I just can’t, I’m not a massive fan of Elton John singing,
02:26:41.040 –> 02:26:48.080
that’s all. There’s only so much Watford Walrus you can cope with. He is the Watford Walrus.
02:26:48.080 –> 02:26:57.040
But someone actually did an AI version, and it’s Freddie Mercury, but not Freddie Mercury, was
02:26:57.040 –> 02:27:06.320
they took a vocal from Mark Martel, was the person who did the vocal bits in the Freddie
02:27:06.320 –> 02:27:12.240
Mercury movie. Although it was Rami Malek doing the acting, the vocals were done by Mark Martel.
02:27:12.240 –> 02:27:17.840
That’s how close to Freddie Mercury he sounds. So, someone’s then put it through about even
02:27:17.840 –> 02:27:26.880
more Freddie Mercury with an AI. And so, this is Freddie Mercury AI doing Don’t Let The Son Go
02:27:26.880 –> 02:27:32.640
Down On Me. And I hope you have a good 2024, and I’ll speak to you soon.
Happy Xmas from Radio Clash – and have a Perfectly Reasonable New Year, ok? We say goodbye to Shane MacGowan the only way we know how – with a TikTok meme, play lots of silly Christmas tunes, mashups, covers, and even some non-festive stuff like some selections from Mashed At The Sock Hop Vol 2 and Hallmighty’s 100% Fresh album. Even a new ‘Xmas single’ from The KLF (sorta).
Xmas Metal, punk, electro, drum and bass, reggae, ska, pop, indie, new age, electronica, folk and The Indescribably Ungenred, this podcast has a gift for everyone! And oddly. no Wham’s Last Xmas this year, so safe for Whamageddon (Mariahpocalypse maybe not, almost – it’s an edge case).
00:00:28.840 –> 00:00:33.160
Hello, Welcome to Radio Clash 391, it is the Christmas episode.
00:00:33.160 –> 00:00:37.160
Which is the Mameless Christmas episode, because it doesn’t have a name.
00:07:48.640 –> 00:07:54.720
That was God Rest Ye Merry Gentlemen by Wat Tyler.
00:07:54.720 –> 00:07:59.200
We had both sides of the Christmas debate there.
00:07:59.200 –> 00:08:06.400
I must sound leaning towards the Tankard Fuck Christmas Wat Tyler approach to the festivities.
00:08:06.400 –> 00:08:13.520
Before that was Tankard Fuck Christmas from 1995 and that was God Rest Ye Merry Gentlemen
00:08:13.520 –> 00:08:20.280
Wat Tyler from 2009’s A Damaged Christmas Gift To You.
00:08:20.280 –> 00:08:24.840
We like punk and metal festive songs on this podcast we play them quite often.
00:08:24.840 –> 00:08:30.760
As it started we had a mashup with iWillBattle, that’s Shake God It’s Christmas, Queen
00:08:30.760 –> 00:08:37.360
vs Taylor Swift and that’s a leftover, a reheated leftover, How Christmasy from 2022
00:08:37.360 –> 00:08:41.240
from now the Christmas Bootlegs album which apparently has been uploading onto YouTube
00:08:41.240 –> 00:08:42.240
this year.
00:08:42.240 –> 00:08:47.560
Not so many Christmas festivities from iWillBattle but then again it goes through
00:08:47.560 –> 00:08:52.640
cycles I know I’m surprised I did one this year which we’ll hear later in the podcast.
00:08:52.640 –> 00:08:58.360
I wasn’t intending to so I added it to X-Mash rather than doing multiple Christmas albums
00:08:58.360 –> 00:08:59.360
because I didn’t do that many.
00:08:59.360 –> 00:09:05.160
I do maybe one or two maybe I did three last year which is quite a lot for me and you might
00:09:05.160 –> 00:09:06.600
hear another one of those as well.
00:09:06.600 –> 00:09:10.880
More reheated leftovers some years I do noms so I just add it to the band camp and you
00:09:10.880 –> 00:09:16.560
find that on the finger treble band camp it should be realityengine.co.uk should direct
00:09:16.560 –> 00:09:17.560
that.
00:09:17.560 –> 00:09:21.680
This is a Nameless Christmas episode I couldn’t think of a name so it’s called the Nameless
00:09:21.680 –> 00:09:23.200
Christmas episode.
00:09:23.200 –> 00:09:28.280
Maybe we’ll find a name along the way maybe the names will be the friends we make along
00:09:28.280 –> 00:09:31.000
the way or maybe the friends will be names we make.
00:09:31.000 –> 00:09:35.800
I don’t know I really don’t know I really don’t care actually.
00:09:35.800 –> 00:09:39.200
As I said I’m not just not in the mood this year in a way.
00:09:39.200 –> 00:09:44.280
I had stockpiled all of this Christmas shit so I feel like I’ll use it.
00:09:44.280 –> 00:09:50.720
Over the last 12 months suddenly he’s literally started in December, November last year and
00:09:50.720 –> 00:09:55.400
weren’t used and some of them were like oh yes yes but this is a good one it’s Cuckooland
00:09:55.400 –> 00:10:00.840
again from a Damaged Christmas gift to you and this is Silver Bells which is something
00:10:00.840 –> 00:10:01.840
I love anyway.
00:29:00.300 –> 00:29:09.400
“Torys to fuck off, torys to fuck off, torys to fuck off, torys to fuck off, torys to fuck
00:29:09.400 –> 00:29:13.600
off, torys to fuck off, torys to fuck off…”
00:29:13.600 –> 00:29:20.280
Ah yes, that’s the anthem of this year for me, and actually it came out at the end of
00:29:20.280 –> 00:29:22.400
last year.
00:29:22.400 –> 00:29:27.520
But sadly the torys are still there, and I really do want them to fuck off.
00:29:27.520 –> 00:29:32.580
That is Grace Petrie, I Just Want The Torys To Fuck Off (A Christmas Song).
00:29:32.580 –> 00:29:33.820
Very helpful.
00:29:33.820 –> 00:29:37.540
From her YouTube post just before last year, and I didn’t hear it about that enough, I
00:29:37.540 –> 00:29:41.300
was like, “Oh I wonder what Grace Petrie’s doing because of Fairytale?”
00:29:41.300 –> 00:29:43.220
I didn’t mention at the start.
00:29:43.220 –> 00:29:48.140
We had a little bit of a meme that’s doing the rounds, Censoring Christmas with Holland
00:29:48.140 –> 00:29:54.460
and Barrett, or New Season of Taggart for that section, because we had the sad death
00:29:54.460 –> 00:29:57.960
of Shane MacGowan.
00:29:57.960 –> 00:30:02.720
But unfortunately that’s brought out the people going, “I don’t like the snowflake version!”
00:30:02.720 –> 00:30:08.080
I just watched the version played at the funeral.
00:30:08.080 –> 00:30:11.160
Luckily one of the comments tipped me off before I got to that section, because I was
00:30:11.160 –> 00:30:16.880
just like, “Oh I do hope at a funeral they didn’t leave the F-word in?”
00:30:16.880 –> 00:30:17.880
Apparently yes.
00:30:17.880 –> 00:30:22.120
I even saw someone on TikTok, I know TikTok, I don’t need to go to TikTok, but I was actually
00:30:22.120 –> 00:30:26.900
looking for that meme itself, the Holland and Barrett New Season of Taggart, which I think
00:30:26.900 –> 00:30:30.500
is genius, thanks to iWillBattle for introducing me to that.
00:30:30.500 –> 00:30:32.000
And so I was looking for that.
00:30:32.000 –> 00:30:35.220
Unfortunately I stumbled on all the people moaning about the censorship of Fairytale
00:30:35.220 –> 00:30:38.780
of New York, and one was going, “Queer people don’t care.”
00:30:38.780 –> 00:30:40.980
And I’m like, “This queer person does.”
00:30:40.980 –> 00:30:46.380
And it was a woman who was saying it, and F-word, and I don’t mean fuck, is directed
00:30:46.380 –> 00:30:48.260
at male gay men, or it’s directed at men.
00:30:48.260 –> 00:30:49.260
It’s a male thing.
00:30:49.260 –> 00:30:55.420
No-one has ever used that word against a woman, so it’s not her word to police, it’s not
00:30:55.420 –> 00:30:58.800
her word to say, “Oh that’s perfectly fine.”
00:30:58.800 –> 00:30:59.800
Well to you maybe.
00:30:59.800 –> 00:31:04.840
I was so glad when the news broke and Craig Charles played the Haggard version.
00:31:04.840 –> 00:31:10.640
I get it, the Haggard isn’t as good a rhyme, but I just know, just know.
00:31:10.640 –> 00:31:15.840
When that song comes on, I’m just like tense up, it’s just, “Oh what version is it?
00:31:15.840 –> 00:31:16.840
What version is it?”
00:31:16.840 –> 00:31:18.920
You know it’s always going in my brain, I was like, “Oh I just don’t want to hear that
00:31:18.920 –> 00:31:19.920
word.”
00:31:19.920 –> 00:31:21.460
I don’t want to hear that bit.
00:31:21.460 –> 00:31:25.820
Unfortunately, the death of Shane McGowan was brought out by those people, and so I really
00:31:25.820 –> 00:31:30.060
love that censorship, you know, and New Season of Taggart, which is not actually invented
00:31:30.060 –> 00:31:31.060
by that meme.
00:31:31.060 –> 00:31:35.540
It was someone, 2018 I think when the first debate of this, someone came up with that,
00:31:35.540 –> 00:31:36.540
somebody on Twitter.
00:31:36.540 –> 00:31:40.980
But I hadn’t heard the Holland and Barrett, it was very funny, very funny.
00:31:40.980 –> 00:31:48.220
So Grace Petrie, I know, long anecdote, did another version where she changed it, “I love
00:31:48.220 –> 00:31:49.220
Diane Abbott.”
00:31:49.220 –> 00:31:54.200
I posted that on the blog two years ago, and of course they got a long green ink comment
00:31:54.200 –> 00:31:59.160
from someone telling me how I was wrong and how they constitutionally have the right to
00:31:59.160 –> 00:32:01.160
say that word.
00:32:01.160 –> 00:32:03.960
And it’s like, “Mate, are you even gay?”
00:32:03.960 –> 00:32:06.240
I’ll accept it if you’re gay.
00:32:06.240 –> 00:32:10.920
You know, if you’re a male gay man, then yeah, I will accept it as a thing, but don’t tell
00:32:10.920 –> 00:32:17.040
the people what words that they can be offended by please.
00:32:17.040 –> 00:32:19.740
It makes me so angry.
00:32:19.740 –> 00:32:21.900
And so do the Tories, so yes, we want them to fuck off.
00:32:21.900 –> 00:32:23.500
I think it would be good for the country at this point.
00:32:23.500 –> 00:32:24.780
They’re driving the country into the ground.
00:32:24.780 –> 00:32:28.260
I mean, spending all that money, sending people to Rwanda.
00:32:28.260 –> 00:32:30.360
Why?
00:32:30.360 –> 00:32:33.900
And then before that, we had Logan Lynn, 2021’s It’s Christmas Motherfucker.
00:32:33.900 –> 00:32:39.620
I think dealing with the American version of this, from what I remember him saying about
00:32:39.620 –> 00:32:43.940
it, it’s about COVID and Christian right and how they just didn’t care.
00:32:43.940 –> 00:32:49.080
But in 2023, when I hear body bags under the tree, I’m thinking, well, not just the AIDS
00:32:49.080 –> 00:32:53.000
pandemic and COVID, but also what’s going on in Gaza.
00:32:53.000 –> 00:32:56.240
So yeah, that section was a bit of a Gaza section.
00:32:56.240 –> 00:32:58.240
Yeah, happy Christmas.
00:32:58.240 –> 00:33:03.880
Because before we had the anti-war song, which weirdly never gets marked as an anti-war song.
00:33:03.880 –> 00:33:06.880
It always gets put into compilations when people don’t listen to the lyrics.
00:33:06.880 –> 00:33:14.820
I Believe in Father Christmas by Hannah Peel, (REBOX) from 2014, a single called Find Peace
00:33:14.820 –> 00:33:16.500
very appropriately.
00:33:16.500 –> 00:33:17.500
She gets it.
00:33:17.500 –> 00:33:22.220
Greg Lake wrote that as a criticism of the war that was going on at the Middle East, the
00:33:22.220 –> 00:33:23.220
time.
00:33:23.220 –> 00:33:24.220
I can forget which one it was.
00:33:24.220 –> 00:33:25.740
Was it the Yon Kippur?
00:33:25.740 –> 00:33:29.220
It was ’74, ’75.
00:33:29.220 –> 00:33:32.260
And it’s like time just repeats itself, doesn’t it?
00:33:32.260 –> 00:33:33.260
Depressingly.
00:33:33.260 –> 00:33:38.100
Before that, we had William Maranci with For Whom the Bell Tolls, But It’s All I Want
00:33:38.100 –> 00:33:41.220
for Christmas, Metallica versus Mariah Carey.
00:33:41.220 –> 00:33:45.640
I was going to go No Mariah Carey, but doesn’t use the vocal.
00:33:45.640 –> 00:33:49.900
And I can’t remember if Mariahpocalypse, where the, I think it’s like Whamageddon,
00:33:49.900 –> 00:33:51.700
Remixes and Mashups are Fine covers.
00:33:51.700 –> 00:33:53.200
I think it’s just the original.
00:33:53.200 –> 00:33:57.640
But there’s no Maria in that, apart from a little bit of backing box.
00:33:57.640 –> 00:33:58.640
So I thought it was all right.
00:33:58.640 –> 00:33:59.640
I thought it was all right.
00:33:59.640 –> 00:34:00.720
Because yeah, I know, I get it.
00:34:00.720 –> 00:34:06.260
I feel the same way about the original, but I love how it just turns into a song about
00:34:06.260 –> 00:34:07.260
bells.
00:34:07.260 –> 00:34:10.660
We had a bell section there, because before we had For Whom the Bell Tolls, a cover by
00:34:10.660 –> 00:34:13.300
Santa Claws And The Naughty But Nice Orchestra.
00:34:13.300 –> 00:34:15.340
They do sound like complete cash ins.
00:34:15.340 –> 00:34:16.660
They do like Christmas themed albums.
00:34:16.660 –> 00:34:20.140
The faces is randomly put in sleigh bells over the top.
00:34:20.140 –> 00:34:22.900
But that one is a bit more electro swing, a bit more different.
00:34:22.900 –> 00:34:25.460
And the Christmas Frawl, a holiday tribute to Metallica.
00:34:25.460 –> 00:34:28.180
So it’s like how they do change the genre somewhat.
00:34:28.180 –> 00:34:31.760
There’s like this weird goth swing thing going on.
00:34:31.760 –> 00:34:32.760
I don’t know how to describe it.
00:34:32.760 –> 00:34:34.240
It’s like goth electro swing.
00:34:34.240 –> 00:34:35.800
I like that part.
00:34:35.800 –> 00:34:40.680
And then at the start of the session we had Cuckooland with Silver Bells.
00:34:40.680 –> 00:34:41.880
One of my favourites.
00:34:41.880 –> 00:34:44.560
And so we’re going to continue the Mashupage.
00:34:44.560 –> 00:34:45.560
Is that a word?
00:34:45.560 –> 00:34:46.560
Mashupage?
00:34:46.560 –> 00:34:47.560
This is the Kleptones
00:34:47.560 –> 00:34:48.720
And this is a classic one.
00:34:48.720 –> 00:34:53.240
I didn’t know about this one until fairly recently, I think the last year or so.
00:34:53.240 –> 00:34:55.200
Or I found it and then lost it.
00:34:55.200 –> 00:34:56.400
It does happen with my collection.
00:34:56.400 –> 00:34:58.980
I find I lose things all the time.
00:34:58.980 –> 00:35:03.860
This is Bling Crosby, Bing Crosby Bootleg, White Christmas Christmas.
00:56:16.900 –> 00:56:20.060
This is turning out to be the Nightmare Podcast before Christmas.
00:56:20.060 –> 00:56:21.460
I might call it that.
00:56:21.460 –> 00:56:26.100
I just had a first thing ever, a complete crash of Traktor.
00:56:26.100 –> 00:56:27.620
That’s never happened.
00:56:27.620 –> 00:56:31.220
It’s had freezers, literally just like BAM!
00:56:31.220 –> 00:56:38.560
And for a while there I thought I’d lost an hour’s worth of recording.
00:56:38.560 –> 00:56:43.160
Looks like thanks to Reaper and VLC being able to read it.
00:56:43.160 –> 00:56:49.440
I got it back, but yes, the ghosts of Christmas present.
00:56:49.440 –> 00:56:55.920
That was Merry Christmas, Mr Lawrence, the Inokasira Rangers, a Japanese Ska group, and
00:56:55.920 –> 00:57:00.760
that goes out to Ryuichi Sakamoto, who we lost this year.
00:57:00.760 –> 00:57:03.300
One of my favourite songs of all time.
00:57:03.300 –> 00:57:05.900
I used that as a bed, but it deserves more.
00:57:05.900 –> 00:57:08.780
It deserves so much better.
00:57:08.780 –> 00:57:12.780
And before that we had a bit of a reggae ska, Christmas ska, Christmas reggae.
00:57:12.780 –> 00:57:14.340
Yes, Christmas reggae is a thing.
00:57:14.340 –> 00:57:17.020
Trojan did a whole album of it.
00:57:17.020 –> 00:57:21.900
That was a very strange album actually from 1980.
00:57:21.900 –> 00:57:25.700
Christmas album by Jacob Miller and Ray I.
00:57:25.700 –> 00:57:28.900
But that’s actually from the Christmas reggae box set I mentioned.
00:57:28.900 –> 00:57:29.900
And that’s Deck the Halls.
00:57:29.900 –> 00:57:32.840
I think it’s 1980 it came out originally.
00:57:32.840 –> 00:57:33.840
It’s a completely demented.
00:57:33.840 –> 00:57:36.160
I mean Deck the Halls with Bows of Collie.
00:57:36.160 –> 00:57:37.520
How could I not?
00:57:37.520 –> 00:57:39.320
The other ones are brilliant as well.
00:57:39.320 –> 00:57:45.360
Then before that we had Granville Williams Orchestra with Santa Claus Ska-Ing to Town.
00:57:45.360 –> 00:57:50.320
And then we had some new shizzle from the KLF.
00:57:50.320 –> 00:57:54.560
All the KLF Kare Foundation, or KLF Kare, or the K2 Foundation, or whatever they are
00:57:54.560 –> 00:57:55.920
this week.
00:57:55.920 –> 00:58:02.180
And that’s the turn you thought. Remix of Everybody’s Talking at Me, the KLF and Ricardo
00:58:02.180 –> 00:58:03.180
Da Force.
00:58:03.180 –> 00:58:05.340
That was just posted up on their KLF Kare website.
00:58:05.340 –> 00:58:09.260
Yeah, they’re getting into doing old folks’ homes for raving people.
00:58:09.260 –> 00:58:10.260
I like that.
00:58:10.260 –> 00:58:12.900
The sort of the Christmas intro is going to be appropriate.
00:58:12.900 –> 00:58:17.020
And the idea is called the far name is some like Christmas number one or some like, you
00:58:17.020 –> 00:58:19.020
know, Christmas, top Christmas thing or something.
00:58:19.020 –> 00:58:20.020
Yeah, maybe they hope.
00:58:20.020 –> 00:58:21.020
Maybe they hope.
00:58:21.020 –> 00:58:24.740
But I don’t know if Nilsson’s estate would agree.
00:58:24.740 –> 00:58:34.000
And before that we had DJ Paul V with an update of his Just Can’t Get Club Action, 23 Edit,
00:58:34.000 –> 00:58:37.800
that’s Yo Majesty and Enya versus Depeche Mode.
00:58:37.800 –> 00:58:38.800
Yo Majesty and Enya.
00:58:38.800 –> 00:58:42.160
I don’t think Yo Majesty approached Enya and went, “Oh, can we have a collab?”
00:58:42.160 –> 00:58:43.160
No.
00:58:43.160 –> 00:58:48.480
And before that, a classic from last year that IamJstncrdble with Fe-Kneesh Navidad.
00:58:48.480 –> 00:58:51.960
That became the Bootie anthem of last Christmas, I remember.
00:58:51.960 –> 00:58:54.580
That’s Megan Thee Stallion versus Aquadrop.
00:58:54.580 –> 00:58:57.700
He was like, “Ehh, eh, eh, I can’t do that.
00:58:57.700 –> 00:58:58.700
I can’t do that.”
00:58:58.700 –> 00:59:00.980
That noise that Megan Thee Stallion makes.
00:59:00.980 –> 00:59:05.660
But yeah, it was all about Megan Thee Stallion and Cardi B last year, obviously.
00:59:05.660 –> 00:59:07.460
And I did Christmas Wapping as well.
00:59:07.460 –> 00:59:09.900
So that was…
00:59:09.900 –> 00:59:13.340
And then before that we had a silent section.
00:59:13.340 –> 00:59:17.300
We had the Kleptones with Bling Crosby, Bing Crosby Bootleg.
00:59:17.300 –> 00:59:19.420
It’s called White Xmas Christmas.
00:59:19.420 –> 00:59:22.520
I’m not exactly sure why this two Christmases is in there.
00:59:22.520 –> 00:59:25.040
Double the fun from 2003.
00:59:25.040 –> 00:59:30.560
So I’m going to play some more Rock at You, because I can.
00:59:30.560 –> 00:59:32.440
And maybe some Drum and Bass.
00:59:32.440 –> 00:59:33.960
Just maybe, if you’re good.
00:59:33.960 –> 00:59:35.160
If you’ve not on the naughty list.
00:59:35.160 –> 00:59:36.840
Yeah, in the background you’re hearing some more.
00:59:36.840 –> 00:59:39.120
I mentioned earlier the Santa Claws.
00:59:39.120 –> 00:59:42.160
I’m not sure if I used this as a bed before on a previous Christmas, but yeah, Boulevard
00:59:42.160 –> 00:59:44.160
of Broken Dreams.
00:59:44.160 –> 00:59:45.600
Because I sometimes do this.
00:59:45.600 –> 00:59:47.480
This one I’m just using Christmas beds.
00:59:47.480 –> 00:59:50.460
Well, almost made it into the podcast, but didn’t.
00:59:50.460 –> 00:59:54.660
But so before something else goes wrong, which is probably about five minutes from now,
00:59:54.660 –> 00:59:56.740
I’m going to play a track by the Dollyrots.
00:59:56.740 –> 01:00:00.140
The Dollyrots do a lot of Christmas stuff every year.
01:00:00.140 –> 01:00:04.580
I’m not sure what they’re doing this Christmas, but this is from 2014, Because I’m Santa.
01:00:04.580 –> 01:00:12.100
And I don’t know if it’s a piss-take of a Riot Girl song, but it’s very Riot Girl.
01:17:23.880 –> 01:17:33.280
That was iWillBattle with Disconnected From Your Collar, Connie Francis vs. Chase & Status,
01:17:33.280 –> 01:17:37.240
and that’s from the new album Mashed Up at the Sockhop Vol 2.
01:17:37.240 –> 01:17:41.480
There’s a couple of mashups from that in that segment.
01:17:41.480 –> 01:17:44.160
And yeah, not everything in this podcast is Christmas related.
01:17:44.160 –> 01:17:46.000
I get mad if everything was Christmas related.
01:17:46.000 –> 01:17:47.000
I mean, it’d be like, what?
01:17:47.000 –> 01:17:53.360
There has to be a bit of a palate cleanser from all the sugary, candy cane nonsense.
01:17:53.360 –> 01:17:55.800
So yeah, there’s a bit of drum and bass, Connie Francis.
01:17:55.800 –> 01:18:00.160
I think there needs to be more Connie Francis bootlegs in the world.
01:18:00.160 –> 01:18:02.520
My tip, Stupid Cupid, go check her out.
01:18:02.520 –> 01:18:08.600
And then before that, we had Hallmighty with Rhiannon’s Time,, Fleetwood Mac vs. Chase &
01:18:08.600 –> 01:18:11.200
Status, so we had a Chase & Status section.
01:18:11.200 –> 01:18:15.880
I’ve been checking out their last mixtape, Dunproofin, mentioned it, so I was like,
01:18:15.880 –> 01:18:17.600
oh, and also their previous album.
01:18:17.600 –> 01:18:20.920
There was almost going to be an album track from their previous album and they have a
01:18:20.920 –> 01:18:23.600
time, I’m trying to reconnect with Chase & Status.
01:18:23.600 –> 01:18:25.920
I haven’t really checked out their stuff for a while.
01:18:25.920 –> 01:18:31.040
Then before that, we had, again, from the Sock Hop Vol 2, there’s like two parts.
01:18:31.040 –> 01:18:33.360
There’s iWillBattles, Rock ‘n Roll mashups.
01:18:33.360 –> 01:18:39.640
It’s like music that you would hear in a rock ‘n roll diner, something pre-1960s.
01:18:39.640 –> 01:18:45.320
There’s also a mixtape section, which I’m very proud that DJNoNo opens with the swinging
01:18:45.320 –> 01:18:52.080
cymbals, killed the Radio Star, I think it’s called, swinging cymbals vs. Buggles, and ends
01:18:52.080 –> 01:18:56.120
with Patsy Cline vs Olivia Rodrigo.
01:18:56.120 –> 01:18:59.000
So I was very proud that it’s sort of top and tail that.
01:18:59.000 –> 01:19:05.240
But that’s reconthuse with Runaway Love Fool, and again, we need more Del Shannon,
01:19:05.240 –> 01:19:06.640
mashups in the world.
01:19:06.640 –> 01:19:09.880
iWillBattled it one, and that one.
01:19:09.880 –> 01:19:13.320
And that’s Cardigans vs. Del Shannon.
01:19:13.320 –> 01:19:20.920
Then we had a rock section with a mashup from last year from me, Santa Still Breathing.
01:19:20.920 –> 01:19:21.920
It’s a bit weird.
01:19:21.920 –> 01:19:26.320
I think I made some of them a bit late, but they all were earmarked for the podcast and
01:19:26.320 –> 01:19:28.800
I don’t play them.
01:19:28.800 –> 01:19:29.800
I do that sometimes.
01:19:29.800 –> 01:19:33.440
I make stuff for the podcast and go, “Oh, I must play this.”
01:19:33.440 –> 01:19:35.440
Something else comes on there.
01:19:35.440 –> 01:19:36.440
Nope.
01:19:36.440 –> 01:19:38.520
I have a harsh in my own music sometimes.
01:19:38.520 –> 01:19:40.360
So that’s Santa Still Breathing.
01:19:40.360 –> 01:19:47.280
Still Breathing at Christmas, Sia vs. Green Day, that’s a V2 version from Instamatic.
01:19:47.280 –> 01:19:49.680
And you can find that on the XMash compilation I mentioned before.
01:19:49.680 –> 01:19:52.200
For free, you’ll donate or whatever you want to do.
01:19:52.200 –> 01:19:53.200
It’s pay as you want.
01:19:53.200 –> 01:19:58.200
Who knows how long it’ll be up there for, because Bandcamp changed their management
01:19:58.200 –> 01:20:00.240
to a company that’s into DRM.
01:20:00.240 –> 01:20:03.840
So I think it runs DRM software or something like that.
01:20:03.840 –> 01:20:07.720
I’m suspecting my account to be cancelled any day soon.
01:20:07.720 –> 01:20:11.600
And then at the start of the section, we had the Dollyrots with Because I’m Santa from
01:20:11.600 –> 01:20:14.600
2014’s a Dollyrots Christmas mini album.
01:20:14.600 –> 01:20:19.720
As you might have guessed, I really do like my old school, early synthesizers, organ synthesizers.
01:20:19.720 –> 01:20:20.720
I love those.
01:20:20.720 –> 01:20:23.040
This is by Pedro Morquecho.
01:20:23.040 –> 01:20:25.320
I probably said that wrong.
01:20:25.320 –> 01:20:29.600
And you’ll hear more of them in a little bit, but as I say, this section was more about
01:20:29.600 –> 01:20:35.280
newer music or newer things that aren’t Christmasy necessarily.
01:20:35.280 –> 01:20:42.120
And I’ve been really digging the album Tresor by Gwenno, which there was a Peggy P challenge
01:20:42.120 –> 01:20:44.320
talking about Breton music.
01:20:44.320 –> 01:20:45.920
And I was like, oh, Cornish music.
01:20:45.920 –> 01:20:49.640
And I never got into actually making the mashup, but it’s a beautiful album.
01:20:49.640 –> 01:20:55.160
She’s a Welsh artist, but writing in Kernow or Cornish.
01:20:55.160 –> 01:20:56.400
So this is Tonnow.
01:46:07.140 –> 01:46:10.740
That was Santa Cloud with Chrismurfingland.
01:46:10.740 –> 01:46:13.900
It goes on for another three or four minutes.
01:46:13.900 –> 01:46:17.140
A lot of people would rebel at that point.
01:46:17.140 –> 01:46:21.340
That’s St Allio from 2018’s Christmas Spirits for all three.
01:46:21.340 –> 01:46:27.160
I don’t know if there’s any more Santa Cloud last year or so, I haven’t checked very recently.
01:46:27.160 –> 01:46:33.600
Then before that we had Bruce Haack and Ted Pandel from 1976’s Ebenezer Electric that’s
01:46:33.600 –> 01:46:36.680
I Like Christmas, which I was like, oh is that a cover?
01:46:36.680 –> 01:46:38.240
But I think they wrote that.
01:46:38.240 –> 01:46:42.000
Or Ted Pandel, I don’t know who wrote that, but there’s no credits to who is.
01:46:42.000 –> 01:46:44.920
And a little bit Ms Esther Nelson in there as well.
01:46:44.920 –> 01:46:47.440
It was on her label, Dimension 5.
01:46:47.440 –> 01:46:53.140
And before that we had Pedro Moquecho, who you’re hearing in the background as well.
01:46:53.140 –> 01:47:02.060
That’s Campanas Navadinas, Jingle Bells from Noche De Paz Mexican Organist and Bandleader.
01:47:02.060 –> 01:47:07.460
And then before that we had CSE Art Project with I Played This Cassette Till I Broke It
01:47:07.460 –> 01:47:09.500
with a bit of John Peel in there.
01:47:09.500 –> 01:47:13.740
I don’t know if that made the Festive 50 on Dandelion Radio, that’s where I first heard
01:47:13.740 –> 01:47:14.740
it.
01:47:14.740 –> 01:47:19.320
I had to plug the Festive 50 that they do on the station.
01:47:19.320 –> 01:47:24.240
And it’s interesting that actually that’s the early Festive 50 where it was all time.
01:47:24.240 –> 01:47:31.200
It had to change it because one of the Festive 50s, the lost Festive 50, it was so disheartening.
01:47:31.200 –> 01:47:33.120
It just stopped doing it.
01:47:33.120 –> 01:47:38.480
It came out a little bits after, not during Christmas.
01:47:38.480 –> 01:47:43.840
And partly the reason why I changed it was the same records we’re getting in the top
01:47:43.840 –> 01:47:45.700
10 or top 20 every year.
01:47:45.700 –> 01:47:49.740
And so he made it so it had to be released during that year to stop that.
01:47:49.740 –> 01:47:51.580
Because there used to be these rants.
01:47:51.580 –> 01:47:57.020
I’ve heard them on some of the Festive 50s, like him going, “Oh, that’s the same record
01:47:57.020 –> 01:47:58.020
again.
01:47:58.020 –> 01:47:59.700
Was there no other records?”
01:47:59.700 –> 01:48:05.060
And then before that we had Clannad with Almost Seems Too Late To Turn.
01:48:05.060 –> 01:48:06.300
That’s not very Christmasy.
01:48:06.300 –> 01:48:11.100
I think it was released around this time of year as a single.
01:48:11.100 –> 01:48:13.200
And that’s from 1985’s Macalla.
01:48:13.200 –> 01:48:18.040
And probably the reason we’re playing Clannad, and there might be some more Clannad in a
01:48:18.040 –> 01:48:19.040
second.
01:48:19.040 –> 01:48:20.040
I got those albums at Christmas.
01:48:20.040 –> 01:48:24.240
So it kind of feels Christmasy to me, even though it’s not really Christmas music.
01:48:24.240 –> 01:48:28.160
And then another song, which is not Christmas music, but has become Christmas music a bit
01:48:28.160 –> 01:48:35.120
like I believe in Father Christmas, is River by Joni Mitchell, as covered by Tracy Thorn
01:48:35.120 –> 01:48:39.240
there in 2012 for her Tinsel and Lights album.
01:48:39.240 –> 01:48:40.240
It’s a beautiful song.
01:48:40.240 –> 01:48:44.080
I love River so much, but it’s said at Christmas, but it’s not really a Christmas song.
01:48:44.080 –> 01:48:50.040
It seems like any song that’s some motley tangentially said at Christmas or as a sort of thing at
01:48:50.040 –> 01:48:54.480
Christmas just gets sort of shoehorned into Christmas compilation land.
01:48:54.480 –> 01:48:55.920
It’s bizarre.
01:48:55.920 –> 01:49:00.960
Then before that we had Tonnow by Gwenno from 2022’s Trezor.
01:49:00.960 –> 01:49:02.440
I really recommend checking it out.
01:49:02.440 –> 01:49:04.920
It sort of, it might be a bit of Broadcast actually.
01:49:04.920 –> 01:49:12.400
It’s like Broadcast, Belbury poly, but Cornish, a bit more real instruments rather than electronica.
01:49:12.400 –> 01:49:16.360
But bits of it made me think it’s a bit more jazzy, a bit more funky version of some of
01:49:16.360 –> 01:49:17.360
the Broadcast stuff.
01:49:17.360 –> 01:49:23.720
So yeah, it has that quite spooky mystical, neolithic feel, which I love.
01:49:23.720 –> 01:49:25.120
Hey, hey, Clannad.
01:49:25.120 –> 01:49:29.320
But also I’ve been editing the video of me hanging around on Chanctonbury rings.
01:49:29.320 –> 01:49:32.080
So that’s Justin Kraus territory and all that sort of stuff.
01:49:32.080 –> 01:49:35.600
That’s probably where it’s coming from in my head.
01:49:35.600 –> 01:49:42.200
So I’m going to play a song from the Low Christmas EP from 1999.
01:49:42.200 –> 01:49:44.760
And this is because of the sad loss of Mimi Parker.
01:49:44.760 –> 01:49:47.040
Just over a year ago we lost Mimi Parker.
01:49:47.040 –> 01:49:50.080
So yeah, I’m still not over it really.
01:49:50.080 –> 01:49:54.880
One of the best, if not the best Christmas single EPs or I would say in that series.
01:49:54.880 –> 01:49:55.880
Really it’s an album.
01:49:55.880 –> 01:49:57.880
I think there’s six tracks on there.
01:49:57.880 –> 01:50:02.400
Of all time, is that low EP?
01:50:02.400 –> 01:50:04.400
So this is Long Way Around The Sea by Low.
02:07:32.820 –> 02:07:36.940
That was Written in the Snow by Bruce Haack and Ted Pandel.
02:07:36.940 –> 02:07:46.740
Again from the 1976 Ebenezer Electric album, Beautiful Song, very much Ted Pandel singing.
02:07:46.740 –> 02:07:54.100
I’ve seen him interviewed about Bruce Haack before, and then before that we had Christian
02:07:54.100 –> 02:07:57.740
Chevalier with Deuce Knight, Silent Night.
02:07:57.740 –> 02:08:01.700
That isn’t dated, but I think it’s early ’82s.
02:08:01.700 –> 02:08:04.140
Christian Chevallier, yes, him.
02:08:04.140 –> 02:08:05.140
That gets name-checked.
02:08:05.140 –> 02:08:12.140
Boards of Canada he did a Christmas album called Noëls D’hier Et De Demain, which I’ve totally
02:08:12.140 –> 02:08:16.180
ruined, but you know, I don’t speak French.
02:08:16.180 –> 02:08:19.940
Then before that in Irish, we had Barra MacNeils with…
02:08:19.940 –> 02:08:21.940
Ah, here we go.
02:08:21.940 –> 02:08:26.380
Sumhach An Oidhch’, probably.
02:08:26.380 –> 02:08:33.860
Silent Night in Irish from their 2006 Christmas album too, and Barra MacNeils are Canadian,
02:08:33.860 –> 02:08:38.780
but they were Canadian Irish, and they sing in Irish.
02:08:38.780 –> 02:08:47.140
Then before that we had a song that you probably know, but you do like, what is these lyrics?
02:08:47.140 –> 02:08:52.180
That’s Egg with Have Yourself a Merry Little Christmas, and those are the original lyrics.
02:08:52.180 –> 02:08:57.300
I only learned that today, and I then had to hunt out and find a cover of the original,
02:08:57.300 –> 02:09:04.900
because Judy Garland was upset at the lyrics thinking it would really traumatise this young
02:09:04.900 –> 02:09:06.580
girl that she’s singing it to.
02:09:06.580 –> 02:09:10.740
This might be our last, but it’s 1944, you can see where it’s coming from.
02:09:10.740 –> 02:09:14.780
So it’s much more modern colline, and like a lot of Christmas songs, they tend to get
02:09:14.780 –> 02:09:19.820
sort of happyed up, and that sadly one has been so changed over the years, and the lyrics
02:09:19.820 –> 02:09:25.420
have been so mucked around that although I can see why it was changed because it’s very
02:09:25.420 –> 02:09:32.220
melancholy, I also think that given the film, the bit in the film, Meet Me in St. Louis,
02:09:32.220 –> 02:09:38.260
and the time, it kind of makes more sense, but yeah, it was changed and changed again.
02:09:38.260 –> 02:09:40.380
I feel sorry for it, and that’s from 2021.
02:09:40.380 –> 02:09:48.900
And then before that we heard Clannad again from 1980s Crann Úll with ‘La Coimhthioch Fan
02:09:48.900 –> 02:09:55.380
Dtuath’, A Strange Day In The Countryside, I probably murdered that completely.
02:09:55.380 –> 02:10:00.500
Then before that, it sounded quite Clannad-y actually if you think about it, and it’s low
02:10:00.500 –> 02:10:08.020
with ‘Long Way Around the Sea’, and there are not many people I will play Christian songs
02:10:08.020 –> 02:10:09.020
from.
02:10:09.020 –> 02:10:14.300
It’s like Low, and Daniel Johnston, that’s about it really.
02:10:14.300 –> 02:10:19.980
I’m not really a big fan of very Christian songs, but that’s about the Three Kings in
02:10:19.980 –> 02:10:21.140
the story in the Bible.
02:10:21.140 –> 02:10:24.260
I don’t know what the ‘Long Way Around the Sea’ is a reference to, maybe it’s something
02:10:24.260 –> 02:10:26.020
that we were told to do.
02:10:26.020 –> 02:10:29.300
Again, something that had been foretold, I don’t really know.
02:10:29.300 –> 02:10:31.540
I’m not up on that sort of stuff.
02:10:31.540 –> 02:10:37.980
It is a beautiful song, and yeah, it’s very sad that we lost Mimi Parker.
02:10:37.980 –> 02:10:38.980
Just over a year ago.
02:10:38.980 –> 02:10:42.380
I got all my Christmas stuff pretty much ready actually.
02:10:42.380 –> 02:10:49.060
Cards have mostly all sent off all the present support, and I’ve been doing lots of eBay
02:10:49.060 –> 02:10:50.060
stuff actually.
02:10:50.060 –> 02:10:53.780
I’ve been selling a lot of my stuff on eBay, so possibly sending out presents is nothing.
02:10:53.780 –> 02:10:57.700
A couple of days I’ve been sending out another parcel, another parcel, another parcel.
02:10:57.700 –> 02:11:01.780
Just sending a lot of old stuff, funny raising for the YouTube channel, just booked in for
02:11:01.780 –> 02:11:05.740
Christmas Day lunch, so luckily I don’t have to cook that.
02:11:05.740 –> 02:11:07.700
I like that a lot.
02:11:07.700 –> 02:11:14.460
I’m meeting up with Adriana, hopefully around the 21st/22nd, and also meeting up with my
02:11:14.460 –> 02:11:19.540
godson and his mother and his brother to give the presents.
02:11:19.540 –> 02:11:22.580
So that’ll be good if those two happen.
02:11:22.580 –> 02:11:24.060
I’m looking forward to those.
02:11:24.060 –> 02:11:29.180
Yeah, I’ve had lots of eBay’s, it’s weird, all the high ticket items.
02:11:29.180 –> 02:11:30.940
Pretty much all of them are sold now.
02:11:30.940 –> 02:11:31.940
They haven’t been in trouble.
02:11:31.940 –> 02:11:36.060
What’s been trouble is the little five quid, couple of quid ones.
02:11:36.060 –> 02:11:37.460
And they’ve been no end of trouble.
02:11:37.460 –> 02:11:42.060
I had one today where the postage, I put it in his large letter and obviously the Royal
02:11:42.060 –> 02:11:44.660
Mail disagreed and tried to surcharge this person.
02:11:44.660 –> 02:11:47.700
And it’s so much faffed in here with refunds and things.
02:11:47.700 –> 02:11:49.620
And it’s all over a couple of quid.
02:11:49.620 –> 02:11:52.620
It’s like, what?
02:11:52.620 –> 02:11:57.260
I understand, but especially when the two I sent to the wrong, I switched the labels.
02:11:57.260 –> 02:12:02.420
And then one went to my old address up in North West London.
02:12:02.420 –> 02:12:07.020
If you remember when I used to live there, I need to now go there at some point and probably
02:12:07.020 –> 02:12:09.260
will do so on the days I’m in London.
02:12:09.260 –> 02:12:15.660
To pick it up, the woman that works at landlord is usually helpful as she was back then, which
02:12:15.660 –> 02:12:16.900
is not at all.
02:12:16.900 –> 02:12:20.180
And reminded why I was kind of relieved leaving that place.
02:12:20.180 –> 02:12:23.820
Although I didn’t want to leave, but that was one of the upsides, not having to deal
02:12:23.820 –> 02:12:24.820
with her.
02:12:24.820 –> 02:12:25.820
And just like, errr.
02:12:25.820 –> 02:12:32.260
So yeah, lots of faffy things, but I think I’ve mostly got it all sorted currently.
02:12:32.260 –> 02:12:35.900
So I hope you’re all having a good run up to Christmas and a good Christmas depending
02:12:35.900 –> 02:12:38.660
on when you listen to this or a good new year if it’s then.
02:12:38.660 –> 02:12:42.540
I’m playing out with a mashup of mine and this is new.
02:12:42.540 –> 02:12:45.540
This is posted as of anywhere a week ago.
02:12:45.540 –> 02:12:48.460
This is my Christmas mashup for this year.
02:12:48.460 –> 02:12:52.540
And Fast Car is having a moment because the Luke Combs cover, but it’s one of my
02:12:52.540 –> 02:12:54.460
favourite songs of all time.
02:12:54.460 –> 02:12:56.420
But it’s also incredibly sad.
02:12:56.420 –> 02:13:01.620
There’s a challenge on the Crumplbanger Discord of happy songs versus sad songs.
02:13:01.620 –> 02:13:02.620
You had to kind of contrast them.
02:13:02.620 –> 02:13:06.740
And literally I made this about an hour or two after that deadline closed.
02:13:06.740 –> 02:13:09.300
So it was obviously on my mind.
02:13:09.300 –> 02:13:15.660
So this is a Tracy Chapman’s Fast Car versus Chris Rea’s Driving Home for Christmas.
02:13:15.660 –> 02:13:17.460
Driving A Fast Car Home For Christmas.
02:13:17.460 –> 02:13:18.740
And people seem to like this one.
02:13:18.740 –> 02:13:21.180
And when I came with the con bar, I was like, I have to do this.
02:13:21.180 –> 02:13:22.180
I have to do this.
02:13:22.180 –> 02:13:25.780
This is just, it just works.
02:13:25.780 –> 02:13:27.740
And it has the nostalgia factor as well.
02:13:27.740 –> 02:13:30.180
And I didn’t realise both eighties as well.
02:13:30.180 –> 02:13:31.180
Close in date.
02:13:31.180 –> 02:13:33.860
There’s a genre clash sort of.
02:13:33.860 –> 02:13:36.420
Not a age clash either.
02:13:36.420 –> 02:13:38.660
So anyway, I’ll speak to you soon.
We wreck the joint with an acid rain of Adonis, Type-303, Paul Funk, Hunter Lombard, Lambrini Girls, Courtney Barnett, Logan Lynn and Makoto with a strangely serious podcast made of acid house bangers new and old, punk, pop, liquid dnb and indie rock. I let the music do the talking about climate change, corruption and the status quo (not Status Quo, although they are always welcome too).
Also new releases from B. Dolan, OMD and Duran Duran which are also in a similar global tip, and we talk about the 60th anniversary of Doctor Who and why the Doctor Woke bigots should get into the sea, and even play the odd mashup, including a new one from me using Dua Lipa’s latest.
Then we go into a Doctor Who inspired ‘we are star dust’ section, floating among the cosmos with Disasterpeace, Roger Eno, Elizabeth Parker, Mono and World’s End Girlfriend and oki bringing the deep ending widescreen space vibes.
WEBVTT
00:00:00.000 –> 00:00:02.000
Starting now.
00:00:02.000 –> 00:00:04.920
And let us begin.
00:04:35.600 –> 00:04:39.760
Hello, welcome to Radio Clash. This is 390, and it’s been a while.
00:04:39.760 –> 00:04:51.160
I’ve been off doing things. In fact, off wild camping the last couple of days, so I am exhausted, not tired, exhausted. There is a difference.
00:04:51.160 –> 00:04:54.440
One is one where sleep doesn’t really help, you just have to rest.
00:04:55.000 –> 00:05:05.400
And that was, I mean, Houdini is everywhere at the moment, literally everywhere. It’s very similar to everywhere by Fleetwood Mac, and who does Fleetwood Mac measure up to well? Me.
00:05:05.400 –> 00:05:17.200
That’s Captain Obvious with Houdini Everywhere, Dua Lipa, Houdini vs. Fleetwood Mac’s Everywhere, The PsycheMagik Edit, which is my favourite remix of that track.
00:05:17.720 –> 00:05:25.640
And then at start we had DJ Spud with AI Pop Revolution, a dig at UMG on this podcast.
00:05:25.640 –> 00:05:27.000
Whoever heard of such a thing?
00:05:27.000 –> 00:05:31.920
And the podcast is called Wreck The Joint after a track played later on.
00:05:32.480 –> 00:05:48.800
We have a kind of a, if I say it’s an existential acid electro banger with a few references to big TV events and also topics in the world that put you off.
00:05:48.800 –> 00:05:57.120
I don’t know. It’s a weird one. It’s very, it’s one of these ones where I put together without a message and then suddenly a message just formed.
00:05:57.320 –> 00:06:03.040
I don’t know how that happened. So we start singing, which doesn’t have a message, but it’s it’s a really beautiful song.
00:06:03.040 –> 00:06:15.160
This is Allegri by Thylacine and the composer is called Allegri and the tracks called Misere and it infamously was transcribed by Ia for the Vatican.
00:06:15.160 –> 00:06:22.680
And it was super secret and things like that were never allowed to out, never written down because, you know, they will do all the rights to it.
00:06:22.680 –> 00:06:27.680
You know, they want to do the copyrights like UMG Mozart heard it once and then scribed it from memory.
00:06:27.680 –> 00:06:32.440
That’s how much Mozart was a genius. So this is Thylacine with Allegri.
00:52:22.520 –> 00:52:35.800
that was Courtney Barnett with Dead Fox
00:52:35.800 –> 00:52:39.560
from 2015.
00:52:39.560 –> 00:52:44.360
Her album, Sometimes I Sit Think and Sometimes I Just Sit, classic.
00:52:44.520 –> 00:52:50.360
So I didn’t play that before, and it suited the ecology vibe, but the weird thing is,
00:52:50.360 –> 00:52:53.800
I did not put any of that mix together with that idea.
00:52:53.800 –> 00:53:00.200
It just happened, and I was listening to it and going, oh, that’s what this is about.
00:53:00.200 –> 00:53:05.800
Yeah, sometimes these things are in the back of my mind. I’ve been doing YouTube videos on my hiking channel.
00:53:05.800 –> 00:53:09.720
I am The Hard Up Hiker, which is at Hard Up Hiker on YouTube.
00:53:10.440 –> 00:53:16.920
And if you’re into hiking or camping or wild camping or stealth camping, she’s all, then check me out.
00:53:16.920 –> 00:53:21.480
But I’ll be doing stuff about greenwashing and green, and I think I’ll leak into that mix.
00:53:21.480 –> 00:53:24.360
Something that’s very close to my heart, climate change and all that lot.
00:53:24.360 –> 00:53:27.480
And I’ll let the music speak for myself, really.
00:53:27.480 –> 00:53:34.600
And then before that, we had kleptocracy from the new album Bauhaus Staircase from OMD.
00:53:34.600 –> 00:53:39.800
And yeah, it’s nice to have OMD back, and also a political OMD.
00:53:40.280 –> 00:53:43.320
Which is not something we have been for a very long time.
00:53:43.320 –> 00:53:46.440
I mean, it’s kind of sometimes been in there, but yeah, not until the early days,
00:53:46.440 –> 00:53:50.680
when they were that post-punk and fiery talking about, well, various people.
00:53:50.680 –> 00:53:52.120
I think Trump is one of them.
00:53:52.120 –> 00:53:55.880
And corruption that’s happening around the world.
00:53:55.880 –> 00:53:59.880
And even a bit about Khashoggi being chopped up at the embassy and stuff like that.
00:53:59.880 –> 00:54:03.560
Yeah, there’s lots of stuff in there. I need to look at the lyrics, decipher it all, actually.
00:54:03.560 –> 00:54:06.840
And Saudi money and all that sort of stuff.
00:54:07.480 –> 00:54:12.040
Yeah, it’s sort of all creeping into all of our lives. It’s disturbing.
00:54:12.040 –> 00:54:19.960
Then before that, we had Logan Lynn with Baby Britain from his album New Money from 2022.
00:54:19.960 –> 00:54:22.440
And that is on Kill Rock Stars.
00:54:22.440 –> 00:54:25.480
So I think he felt like he had to do an Elliot Smith cover.
00:54:25.480 –> 00:54:28.760
But you know, Electro Elliot Smith, that’s a brilliant idea.
00:54:28.760 –> 00:54:32.520
And also, it shows how much of a bouncy pop song it is,
00:54:32.520 –> 00:54:37.560
even though the lyrics are about the United States and how fucked up it is.
00:54:37.560 –> 00:54:39.480
That is what that song is about.
00:54:39.480 –> 00:54:42.680
But also, when I first heard it, I didn’t hear it as that.
00:54:42.680 –> 00:54:47.240
I heard it as kind of reflecting the small-minded attitudes in Britain,
00:54:47.240 –> 00:54:49.000
you know, the little Britain thing.
00:54:49.000 –> 00:54:52.840
So it’s kind of got two things I know it’s supposed to be about.
00:54:52.840 –> 00:54:57.160
To me, it’s also about that almost like tries to be the United States part of Britain,
00:54:57.160 –> 00:54:59.400
the pharages and all those people.
00:54:59.400 –> 00:55:03.720
And then before that, we had that sort of acid sections weaving in and out.
00:55:03.720 –> 00:55:06.440
That’s Paul Funk with Don’t Make Me Wait for Acid,
00:55:06.440 –> 00:55:08.440
which we never want to wait for acid.
00:55:08.440 –> 00:55:12.760
That’s 2016’s album Aci 88, which is like a compilation.
00:55:12.760 –> 00:55:14.360
I’m not sure when it actually came out.
00:55:14.360 –> 00:55:17.960
Then before that, of course, I’m going to have a few curveballs in there.
00:55:17.960 –> 00:55:21.720
That’s My Blue Vird, Rendez-vous from 1977.
00:55:21.720 –> 00:55:26.040
And that’s one of the random cosmic dudes tracks.
00:55:26.040 –> 00:55:31.080
I’ve already talked a lot of times about the amazing massive directory of
00:55:31.080 –> 00:55:36.040
“cosmic” sort of electro, prog, disco, weirdness.
00:55:36.040 –> 00:55:40.520
I think it was a Russian compilation because there’s Russian things in there,
00:55:40.520 –> 00:55:42.280
but don’t put that against it.
00:55:42.280 –> 00:55:44.120
That’s well before all the invasions.
00:55:44.120 –> 00:55:45.960
And I’ve been mining that for years.
00:55:45.960 –> 00:55:50.200
It’s just a wonderful, soul-seek directory,
00:55:50.200 –> 00:55:54.360
which is full of real stuff you would not have found in a million years.
00:55:54.360 –> 00:55:58.040
And that is kind of proto acid, that verbally synth line,
00:55:58.040 –> 00:56:00.840
disco arpeggiation, but it has quite acid.
00:56:00.840 –> 00:56:03.800
Then it goes into that sort of cheesy funk sections,
00:56:03.800 –> 00:56:05.160
but they’re wonderfully cheesy.
00:56:05.160 –> 00:56:07.080
And then sort of the whole cheesy disco thing,
00:56:07.080 –> 00:56:09.000
nothing wrong with cheesy.
00:56:09.000 –> 00:56:10.280
We love cheesy disco.
00:56:10.280 –> 00:56:12.760
And yeah, and it goes very expansive and it goes back to that.
00:56:12.760 –> 00:56:14.440
I like that.
00:56:14.440 –> 00:56:15.000
I like that.
00:56:15.000 –> 00:56:19.160
Then before that, we had not acid,
00:56:19.160 –> 00:56:23.160
but certainly disco was Giac with his mashup,
00:56:23.160 –> 00:56:26.520
Lost In Too Much Music, Sister Sledge versus Jake Shears.
00:56:26.520 –> 00:56:27.960
I don’t know the Jake Shears track.
00:56:27.960 –> 00:56:29.160
I know it’s a new track.
00:56:29.160 –> 00:56:30.760
I think it’s called Too Much Music.
00:56:30.760 –> 00:56:32.200
I think I’ve seen the video even,
00:56:32.200 –> 00:56:34.760
but I need to properly listen to it.
00:56:34.760 –> 00:56:38.680
I’ve kind of lost track with Jake Shears post Scissor Sisters, I have to say.
00:56:38.680 –> 00:56:43.400
And then before that, we had the song on which name this podcast,
00:56:43.400 –> 00:56:45.400
although spelt rather differently,
00:56:45.400 –> 00:56:47.240
Reck The Joint by Adonis.
00:56:47.240 –> 00:56:50.600
That is a classic from the compilation is 89,
00:56:50.600 –> 00:56:51.800
but I think it’s a bit early than that.
00:56:51.800 –> 00:56:54.600
I think I think it’s 88 or 87.
00:56:54.600 –> 00:56:56.520
It’s that sort of peak period of acid house.
00:56:56.520 –> 00:57:00.440
Then before that some modern asset house from Type-303.
00:57:00.440 –> 00:57:03.320
I haven’t played Type-303 for a long while.
00:57:03.320 –> 00:57:07.720
That smile from a new EP called Take Off.
00:57:07.720 –> 00:57:10.280
There are certain people who I keep tabs on
00:57:10.280 –> 00:57:12.120
and Type-303 is one of those.
00:57:12.120 –> 00:57:16.200
I really like what they do with the modern acid sound.
00:57:16.200 –> 00:57:20.040
Then before that from also from acid,
00:57:20.040 –> 00:57:23.400
88 I think although there might be two albums called Acid 88.
00:57:23.400 –> 00:57:25.640
I say, oh, that’s really bizarre.
00:57:25.640 –> 00:57:27.640
So there’s a 2016 Acid 88 album,
00:57:27.640 –> 00:57:31.000
but there’s DJ Pierre presents Acid 88, Vol three.
00:57:31.000 –> 00:57:32.760
Oh, I see it’s a third in the series.
00:57:32.760 –> 00:57:33.800
Yeah, as you were.
00:57:33.800 –> 00:57:36.760
That’s Hunter Lombard with Unlocked.
00:57:36.760 –> 00:57:39.400
I like the sort of breaks acid feel of that.
00:57:39.400 –> 00:57:42.200
Then another track from the OMD album.
00:57:42.200 –> 00:57:43.560
That’s Anthropocene.
00:57:43.560 –> 00:57:45.640
And that reminds me of minimal by Pet Shop Boys,
00:57:45.640 –> 00:57:46.680
which is where I like it.
00:57:46.680 –> 00:57:49.880
But I like the use of AI.
00:57:49.880 –> 00:57:51.160
It’s not really AI voices.
00:57:51.160 –> 00:57:54.040
It’s TTS voices getting very geeky.
00:57:54.040 –> 00:57:54.840
Those are the TTS.
00:57:54.840 –> 00:57:56.840
I think it’s called Charles, I think it is.
00:57:56.840 –> 00:57:59.240
I’m showing my geekiness.
00:57:59.240 –> 00:58:03.720
I’ve been looking into text to speech for a long time
00:58:03.720 –> 00:58:05.320
and playing with it for a long time.
00:58:05.320 –> 00:58:07.160
I have not much just come out with it,
00:58:07.160 –> 00:58:09.240
but I’m waiting for that time
00:58:09.240 –> 00:58:12.040
where I can just type the podcast and I have to say it.
00:58:12.040 –> 00:58:14.600
We’re almost there.
00:58:14.600 –> 00:58:15.240
Almost there.
00:58:15.800 –> 00:58:17.320
You know, I mean, I’ll probably still say it anyway.
00:58:17.320 –> 00:58:18.520
It’s very quicker than typing it.
00:58:18.520 –> 00:58:20.360
Things like corrections or just, you know,
00:58:20.360 –> 00:58:21.560
being able to, you know,
00:58:21.560 –> 00:58:23.400
back to the Amiga days I was playing with stuff.
00:58:23.400 –> 00:58:27.240
Yeah, I think that’s a TTS voice rather than AI voice.
00:58:27.240 –> 00:58:29.560
It sounds a bit more robotic.
00:58:29.560 –> 00:58:31.880
Talking about, well, it’s interesting
00:58:31.880 –> 00:58:34.280
because I’ve been doing during this walk
00:58:34.280 –> 00:58:37.160
sort of three days, two nights of wild camping.
00:58:37.160 –> 00:58:40.280
It was all through Neolithic landscapes
00:58:40.280 –> 00:58:41.880
on the South Downs Way.
00:58:41.880 –> 00:58:43.400
I went to Chanctonbury Ring.
00:58:43.400 –> 00:58:45.000
I was going past so many.
00:58:45.000 –> 00:58:47.480
I slept next to Tumuli.
00:58:47.480 –> 00:58:48.520
Tumulus, Tumuli.
00:58:48.520 –> 00:58:50.200
Tumulus, I think it was Tumulus rather than Tumuli
00:58:50.200 –> 00:58:50.680
because it was one of them,
00:58:50.680 –> 00:58:51.320
but there was actually, I think,
00:58:51.320 –> 00:58:52.120
another one over there.
00:58:52.120 –> 00:58:52.520
Over there.
00:58:52.520 –> 00:58:53.640
So I got up on Tumuli.
00:58:53.640 –> 00:58:55.160
Tumuli.
00:58:55.160 –> 00:58:57.320
So much Neolithic chiseled.
00:58:57.320 –> 00:58:58.920
That’s kind of pointing out how, you know,
00:58:58.920 –> 00:59:00.360
walking over all these things
00:59:00.360 –> 00:59:01.640
which are changed by human hands
00:59:01.640 –> 00:59:03.800
and how that is at risk
00:59:03.800 –> 00:59:05.320
and the current scheme of things.
00:59:05.320 –> 00:59:06.920
I’m amazed that I put all these songs together.
00:59:06.920 –> 00:59:08.520
You know, and I put it next to Supernature,
00:59:08.520 –> 00:59:10.440
which is the only reason I’ve got Supernature in
00:59:10.440 –> 00:59:11.720
is because Duran Duran covered it
00:59:11.720 –> 00:59:13.480
on the latest album which came out
00:59:13.480 –> 00:59:14.920
at the end of October.
00:59:14.920 –> 00:59:17.720
Danse Macabre, that in quotes goth album.
00:59:17.720 –> 00:59:19.560
Then some more disco, I would say.
00:59:19.560 –> 00:59:23.240
Disco goth, Black Disco, I don’t know, Dark Disco.
00:59:23.240 –> 00:59:24.440
So it has a few goth bits,
00:59:24.440 –> 00:59:25.720
but you know, it’s not that goth.
00:59:25.720 –> 00:59:29.160
Black Moonlight’s very good.
00:59:29.160 –> 00:59:31.160
And that one, I really like their cover of
00:59:31.160 –> 00:59:32.920
Cerrone’s Supernature,
00:59:32.920 –> 00:59:33.640
but I forgot.
00:59:33.640 –> 00:59:34.920
I was not listening to the lyrics.
00:59:34.920 –> 00:59:37.160
It’s a song I love dearly,
00:59:37.160 –> 00:59:39.240
but it is about people
00:59:39.240 –> 00:59:40.520
screwing up the environment
00:59:40.520 –> 00:59:42.840
and trying to accelerate the growth of things
00:59:42.840 –> 00:59:45.160
and then creating monsters through messing with,
00:59:45.160 –> 00:59:47.960
you know, I mean, Cerrone was ahead of his time,
00:59:47.960 –> 00:59:50.040
GM crops and stuff, you know, so, yes.
00:59:50.040 –> 00:59:52.360
And then before that, a cover, another cover,
00:59:52.360 –> 00:59:55.880
by Taggy Matcher, which I heard on Dandelion Radio
00:59:55.880 –> 00:59:58.280
very recently and was like,
00:59:58.280 –> 00:59:59.640
“Oh, I’ve got Supernature.
00:59:59.640 –> 01:00:00.520
Oh, Supernature.”
01:00:00.520 –> 01:00:04.440
You know, so that’s Supernature featuring Phoebe Killdeer
01:00:04.440 –> 01:00:05.560
I think it’s Kildeer.
01:00:05.560 –> 01:00:08.040
I mean, it’s not a very fortunate name for,
01:00:09.080 –> 01:00:09.960
I think it was a single,
01:00:09.960 –> 01:00:12.920
but it’s also from Disco Reggae Vol 5.
01:00:12.920 –> 01:00:15.800
I’ve played quite a few of the Disco Reggae things in the past.
01:00:15.800 –> 01:00:21.240
I like Taggy Matcher’s style, covers and originals,
01:00:21.240 –> 01:00:23.240
but sort of like Disco meets Reggae thing,
01:00:23.240 –> 01:00:25.160
which I really like a lot.
01:00:25.160 –> 01:00:28.920
And the start section, we had Allegri’s Miserere,
01:00:28.920 –> 01:00:33.160
as covered by French trans producer Thylacine
01:00:33.160 –> 01:00:35.320
on 2020’s Timeless,
01:00:35.320 –> 01:00:37.880
doing the whole William Orbit thing, really.
01:00:38.520 –> 01:00:40.040
It’s very much in the William Orbit
01:00:40.040 –> 01:00:42.840
as remixed by Ferry Corsten’s sort of vibe.
01:00:42.840 –> 01:00:45.320
A few people have done that classic, you know,
01:00:45.320 –> 01:00:48.280
I mean, obviously, you’re all back to Wendy Carlos.
01:00:48.280 –> 01:00:51.000
I always like to shoe on some classical stuff in here,
01:00:51.000 –> 01:00:54.520
because we like to pretend we’re a little bit more refined
01:00:54.520 –> 01:00:55.400
than we really are.
01:00:55.400 –> 01:01:02.280
So yeah, I wasn’t really expecting that accidental rumination
01:01:02.280 –> 01:01:05.160
on corruption and the state of the world.
01:01:05.160 –> 01:01:06.840
It’s a bit of a heavy mix.
01:01:06.840 –> 01:01:09.000
During that, I found out about Logan Lynn
01:01:09.000 –> 01:01:14.040
and off the 30 years of Kill Rock Stars album,
01:01:14.040 –> 01:01:15.480
looking for something else.
01:01:15.480 –> 01:01:20.280
I checked out the whole album and then found this song.
01:01:20.280 –> 01:01:21.960
It has a brilliant video.
01:01:21.960 –> 01:01:24.600
Found the cover, the Elliot Smith cover off of that.
01:01:24.600 –> 01:01:26.120
It doesn’t mix that well,
01:01:26.120 –> 01:01:29.240
but it does kind of follow on from the previous bit.
01:01:29.240 –> 01:01:33.880
There’s a few more message tracks, a few more,
01:01:33.880 –> 01:01:35.800
and then we’ll swerve into something else.
01:01:35.800 –> 01:01:38.840
So this is Rich and Beautiful by Logan Lynn.
01:35:33.720 –> 01:35:54.920
That was a new single by B. Dolan. I can’t wait for a new album. I helped fund it. I want the
01:35:54.920 –> 01:36:02.120
people to pledge for the new album. It’s all done off Pledges and that is The Rock Cried Out.
01:36:02.120 –> 01:36:08.200
Great video because we went way over the pledges massively so as to be able to afford
01:36:08.200 –> 01:36:16.440
videos and tours and samples, which is unusual for a B. Dolan album. Usually they can’t afford
01:36:16.440 –> 01:36:24.680
samples. That’s good. Before that, we had Hannah Williams and the Affirmations with Tablecloth.
01:36:25.640 –> 01:36:29.880
A bit like the Hitchhiker’s, the most elegant use of the word fuck. That’s the most
01:36:29.880 –> 01:36:36.040
divine use of the song fuck ever. Impactful as well. That’s from 2019’s 50 Foot Woman. I don’t
01:36:36.040 –> 01:36:41.960
know why. I didn’t know until many years later she was on The Voice, but I really don’t know why.
01:36:41.960 –> 01:36:47.480
Sampled by Jay-Z, Hannah Williams and the Affirmations should have been, she and the group
01:36:47.480 –> 01:36:54.360
should have been household names. I don’t know why not. Before that, I’ve been tracking down for
01:36:55.160 –> 01:37:01.320
two, three plus years. I had it in a really low quality rip off vinyl and it’s one of these
01:37:01.320 –> 01:37:06.920
annoying things where people are like, “Oh, we released the vinyl. We were not going to release
01:37:06.920 –> 01:37:13.480
it on any of the format and it drives me mad when people do that.” That was Bob and Gene and the
01:37:13.480 –> 01:37:19.480
Inversions with It’s Not What You Know, It’s Who You Know. Victor Axelrod did the reggae version of
01:37:19.480 –> 01:37:27.000
that and Daptone have just released a compilation. It’s now out in decent quality on digital formats
01:37:27.000 –> 01:37:33.160
and things. If you ask me to, Victor Axelrod covers for Daptone Records. I heard him being
01:37:33.160 –> 01:37:39.880
interviewed on David Rodigan’s show and it was good to hear, but the best thing was to hear that
01:37:39.880 –> 01:37:46.120
I actually get that track. It’s not some limited edition vinyl as it was before. I don’t have a
01:37:46.120 –> 01:37:51.480
vinyl deck so I can’t. It’s useless to me. I have to say a sentiment of that is very true, sadly.
01:37:51.480 –> 01:37:59.320
And if you happen to be neurodiverse and don’t really… I know people say Tim, “Don’t blame
01:37:59.320 –> 01:38:04.760
your behavior on your autism or whatever I am on the spectrum.” But it’s a bit more than that.
01:38:04.760 –> 01:38:10.840
Burnout and people pick up on the weirdness and ableist bullying and yeah, there’s all kinds of
01:38:10.840 –> 01:38:15.240
stuff that people don’t see behind the scenes. But all they see is you having a freak out. They
01:38:15.240 –> 01:38:20.360
don’t see all the shit that’s been going on behind the scenes and people trying to gaslight you and
01:38:20.360 –> 01:38:25.880
wind you up, which does happen, sadly. I’m now very aware of it so I just don’t. I just shut that
01:38:25.880 –> 01:38:33.000
shit down very quickly. I don’t even play those games. But in my 20s and 30s, yeah, it was more
01:38:33.000 –> 01:38:41.000
difficult. And then before that we had Instamatic again, me, with While My Flowers Gently Weep
01:38:41.000 –> 01:38:45.960
Miley Cyrus vs The Beatles and we’re playing that because it’s a mashup I haven’t played and
01:38:45.960 –> 01:38:55.480
also The Beatles Now and Then in the news and a fairly drudgy, dreadful song. I don’t know. I can
01:38:55.480 –> 01:39:02.760
see why John Lennon left it. And I was hoping it would be a proper AI related release of Grow Old
01:39:02.760 –> 01:39:08.920
With Me which would make much more sense and is a better song. It was sort of released as a demo
01:39:08.920 –> 01:39:14.840
on the posthumous Lennon album and I think it would have made more sense than now and then,
01:39:14.840 –> 01:39:19.160
which is just, you can kind of see why he never actually made it into a bigger thing.
01:39:19.160 –> 01:39:24.040
It’s not that good a song. George Harrison was right. Hence, there’s a George Harrison there.
01:39:24.040 –> 01:39:29.480
And also weirdly, it links into how you got inverted and the inversions. It’s like, yeah,
01:39:29.480 –> 01:39:33.400
that’s probably not accidental. It’s just by the way my brain works. It’s really odd.
01:39:33.400 –> 01:39:40.680
Then The Unusuals with Summer is Over and that is a probably best known Dustie Springfield
01:39:40.680 –> 01:39:46.680
track which I didn’t know about which is weird because I thought I knew I heard a lot of early
01:39:46.680 –> 01:39:54.120
Dustie Springfield but is a B-side and she recorded her brother’s track. The brother was a co-writer
01:39:54.120 –> 01:40:00.760
of that track and it originally oddly went to Frank Ifield in 964 and then she did a cover
01:40:00.760 –> 01:40:08.280
later on and that’s from 1966. A very wonderful psych garage version and the singer is probably
01:40:08.280 –> 01:40:14.840
better known, Kathi MacDonald in the sort of garage-y world. And then before that, we had
01:40:14.840 –> 01:40:21.320
more stealth classical. It’s a continuum by Disasterpeace but really, really, it’s actually
01:40:21.320 –> 01:40:27.240
Chopin’s Prelude Op 28 number four. But you know, I didn’t know that was actually a classical
01:40:27.240 –> 01:40:34.760
theme but I liked the way he’s done that. And Fez is an important game to me. I did another mash-up
01:40:34.760 –> 01:40:40.440
with another Fez track so I mean I’ve done three Fez mash-ups. You can find that on my remix.audio
01:40:40.440 –> 01:40:45.560
page. Just look for Instamatic or Captain Obvious you’ll find it. That was kind of a link
01:40:45.560 –> 01:40:51.720
because of the return of Doctor Who in the 60th year of “Doctor Who” to Danny Macabre’s
01:40:51.720 –> 01:40:57.640
Knights of Who Muse versus Doctor Who theme. And yeah, I haven’t watched it yet. I was a choice
01:40:57.640 –> 01:41:02.760
between either record this podcast or watch it. I’ll watch it probably after I record this podcast
01:41:02.760 –> 01:41:08.200
or tomorrow but yeah, I haven’t watched it yet. I’m really looking forward to it. And the track
01:41:08.200 –> 01:41:14.760
before Terf Wars by Lamarini Girls from 2023’s You’re Welcome which is a brilliant name for the
01:41:14.760 –> 01:41:20.520
album is a response those people who have a problem with all the trans representation,
01:41:20.520 –> 01:41:25.560
and all the queer representation in the new Doctor Who I’m sure there’ll be lots of whining
01:41:25.560 –> 01:41:34.280
about “Oh woke PC, lefty PC, it’s gone terrible, oh all this woke PC crap” and yeah, Russell T. Davis
01:41:34.280 –> 01:41:39.800
is basically told them to get in the sea. They’re not the exact words but you know something along
01:41:39.800 –> 01:41:43.720
those lines. Basically they’ll have to live with their sad lonely lives I think that’s what he said.
01:41:43.720 –> 01:41:50.360
And good on them. And I think actually what it will be is because it’s RTD it will be a great
01:41:50.360 –> 01:41:54.920
story and it’ll be great Doctor Who so these people are going to have to suck it up. Whenever
01:41:54.920 –> 01:41:59.960
it’s it just happens to have some representation but it doesn’t work as well. Say Discovery I
01:41:59.960 –> 01:42:05.720
think Discovery had its moments which I loved but it seemed to kind of struggle from pretty much to
01:42:05.720 –> 01:42:12.200
the first series actually. Star Trek and all it got was “Oh no” and it’s not the fault the characters
01:42:12.200 –> 01:42:17.400
it’s the writers and it’s got nothing to do with whether there’s a trans or non-binary character
01:42:17.400 –> 01:42:23.240
or even a real person playing another character who is those things. No it’s to do with writers and
01:42:23.240 –> 01:42:28.280
lots of other things and it’s always really depressing when you hear this “Oh oh it’s
01:42:28.280 –> 01:42:34.520
all it’s because this woke him and it’s like yeah because Doctor Who was never about social justice”
01:42:34.520 –> 01:42:42.440
I’ve said this so many times this one character that is about social justice from day one.
01:42:42.440 –> 01:42:47.080
You know I mean I think there was reading someone was criticising some of the early stuff like
01:42:47.080 –> 01:42:53.080
Talons of Weng Chiang and kind of get it but it you know it’s not exactly blackface it’s a bit
01:42:53.080 –> 01:42:58.680
you know yellowface yeah kind of the whole stereotype but that’s kind of going off those
01:42:58.680 –> 01:43:06.280
kind of stories there’s Victorian stories and so I don’t know if it was as bad as you know some of
01:43:06.280 –> 01:43:12.520
the say blackface stuff or whatever it’s of its time but I don’t think especially with the stories
01:43:12.520 –> 01:43:18.760
about Doctor Who you know fighting oppression and fighting against you know literal Nazis the
01:43:18.760 –> 01:43:23.960
Daleks and stuff like that who were based off of the Nazis and stuff like fighting for the little
01:43:23.960 –> 01:43:28.360
guy fighting oppression that’s Doctor Who you know never once he went yeah you know what I
01:43:28.360 –> 01:43:33.000
wouldn’t know what I really should support is those Christian right wing corporations yeah I
01:43:33.000 –> 01:43:38.360
think they’re getting victimised and I think we should prop up capitalism and I think it all’s
01:43:38.360 –> 01:43:43.960
gonna all go really well there’s never been a story we’ve done that so or she so yeah that is
01:43:43.960 –> 01:43:51.080
you know weird so I hope they all have yeah I hope they all have sad lonely lives with their old
01:43:51.080 –> 01:43:59.000
reruns leave all us to enjoy new Doctor Who and then before that we had a bit of Drum and Bass
01:43:59.000 –> 01:44:04.840
with Osiris by Makoto and Danny Wheeler that’s from 2021’s What You Need I always like to
01:44:04.840 –> 01:44:10.120
drop in a little bit Makoto or liquid drum and bass because that’s that’s kind of where my heart
01:44:10.120 –> 01:44:15.080
is quite often then at the start of the section we had Logan Lynn with Rich And beautiful from
01:44:15.080 –> 01:44:21.000
2021’s 30 years of Kill Rock Starss which is a great compilation by the way starts out a bit very
01:44:21.000 –> 01:44:25.400
indian tonal sort of stuff but then there’s a little bit stuff like one of the early Gossip singles
01:44:25.400 –> 01:44:31.080
that came out a year or two before Standing the Way of Control hit one or two years before it was
01:44:31.080 –> 01:44:35.400
a big hit and no one was interested and then it suddenly just took off I think it was bit of a
01:44:35.400 –> 01:44:39.960
sleeper it went crept up the charts and crept up crept up it got into the you know the highest
01:44:39.960 –> 01:44:44.840
charts and then it just you know skyrocketed one of the singles before that was a track about called
01:44:44.840 –> 01:44:51.480
Listen Up! and that is really good and it’s a bit of a forgotten classic of theirs so we’re gonna
01:44:51.480 –> 01:44:59.400
play more into the star theme because of Doctor Who I’ve been really loving and I’d say shout out to
01:44:59.400 –> 01:45:06.120
Ian Fondue for posting about this Paradise Marsh I’m not even played the game but Disasterpeace
01:45:06.120 –> 01:45:12.200
again has done I don’t know it’s a bit like if you imagine Campfire Headphase by BoC meets Disasterpeace
01:45:12.200 –> 01:45:17.720
and 8-bit and the sort of stuff he’s been doing in piano music and that’s what it feels like
01:45:17.720 –> 01:45:24.600
and it’s about a frog in a marsh but this is a track called The Celestial Fields and it is beautiful
02:15:13.000 –> 02:15:27.000
that was oki with Call Me Comfortably Numb Lil Nas X versus Pink Floyd that was three
02:15:27.000 –> 02:15:32.840
years old and I only heard that so playing that iWillBattle on his twitch stream and
02:15:32.840 –> 02:15:38.760
yeah I hadn’t heard that before and I joked and it’s only part joking though I don’t have the
02:15:38.760 –> 02:15:42.680
time to organize at the moment that me and oki should get together and do a Pink Floyd album
02:15:42.680 –> 02:15:49.960
that is a good idea the problem is I’m so busy doing the youtube shizzle hence why this podcast
02:15:49.960 –> 02:15:55.960
is late hence why I’ve sorted out Christmas podcast but from then I can’t guarantee when I’m
02:15:55.960 –> 02:16:01.080
going I do want to podcast I do want to get the podcast going this out the blog and the mashups
02:16:01.080 –> 02:16:08.280
they’ve all kind of fallen by the bike you really have to commit 100% to youtube given I have an
02:16:08.280 –> 02:16:15.720
audience there it’s just under 300 subscribers at the moment and one of my videos went not exactly
02:16:15.720 –> 02:16:20.840
viral but you know I mean for something that was just me talking to have like well last time I looked
02:16:20.840 –> 02:16:27.000
it was 15 000 but it’s probably more views now yeah I’ve been shooting all these wild camping
02:16:27.000 –> 02:16:32.920
hiking gear videos and people always said to me oh you should go where your audience is and I never
02:16:32.920 –> 02:16:39.960
really did it until now and so I feel bad for my other audiences and my other things but that’s
02:16:39.960 –> 02:16:45.560
where things are taking off at the moment and that’s where I could actually earn some money so
02:16:46.200 –> 02:16:51.400
money being a real problem at the moment podcasts and mashups do not earn money partly because they’re
02:16:51.400 –> 02:16:57.480
other people’s content so it’s kind of interesting doing something that’s completely original my stuff
02:16:57.480 –> 02:17:04.920
my video my scripts me talking my ugly face all of that and that people actually want to watch
02:17:04.920 –> 02:17:12.760
which is I find amazing really I’ve got a great face for audio so yes then before oki we had
02:17:13.480 –> 02:17:21.240
Mono and World’s End Girlfriend with trailer 3 from 2006 palmless prayer mass murder refrain
02:17:21.240 –> 02:17:28.520
and that is one of the most beautiful pieces of music ever that’s just astoundingly beautiful I mean
02:17:28.520 –> 02:17:34.440
the name you describe it is I don’t know shoe gaze or post rock it’s only very different from what
02:17:34.440 –> 02:17:41.960
World’s End Girlfriend does but Mono have to that’s Mogwai the out Mogwai Mogwai quite often and yeah
02:17:41.960 –> 02:17:47.400
that that is really beautiful and there are several other tracks like that on that album very long
02:17:47.400 –> 02:17:51.880
incredibly long and I played all of it pretty much 6music wouldn’t do that they have to
02:17:51.880 –> 02:17:55.640
cut open sections I don’t know why because it’s like it’s a music station you should be able to
02:17:55.640 –> 02:18:01.240
play long tracks people just don’t play long tracks we do hear everyone’s ever like something I will
02:18:01.240 –> 02:18:05.800
play it all in full I know I mix in the mix things but some things I’m like nope I’m playing
02:18:05.800 –> 02:18:11.080
all that and that’s one of them then before that we had Roger Eno Dust Of Stars is
02:18:11.720 –> 02:18:19.240
from his 2018 album that’s working with youth the sample in there is Jean-Michel Basquiat
02:18:19.240 –> 02:18:27.960
from a very strange release in his band Gray I mean the idea of it as being a pop band and then
02:18:27.960 –> 02:18:33.880
it starts with a spoken word intro of him calling up a suicide hotline what gets kind of muffled
02:18:33.880 –> 02:18:39.240
sadly in that is he’s saying the city is killing me which is a brilliant brilliant line and then
02:18:39.240 –> 02:18:43.880
it goes completely mad it’s sample collage it goes to be a very Tomorrow Never Knows
02:18:43.880 –> 02:18:50.120
after that but that intro has been sampled quite a lot and then before that we had Elizabeth Parker
02:18:50.120 –> 02:18:56.280
with the Dying of the Light from the recent compilation Future Perfect now the funny thing
02:18:56.280 –> 02:19:01.320
is is that you listen to that obviously it’s not a new track it’s an old track and then listen to
02:19:01.320 –> 02:19:07.320
Disasterpeace which which is mixed in between it sort of goes between it and that’s Celestial Fields
02:19:07.320 –> 02:19:13.080
and from Paradise Marsh I’m not exactly sure when that Dying of the Light track was created but it
02:19:13.080 –> 02:19:18.840
would probably be several decades ago it probably would be 80s or 90s there’s so much similarity
02:19:18.840 –> 02:19:25.720
there it’s it’s crazy and so we’ve reached the end of the podcast I hope you enjoyed this it’s
02:19:25.720 –> 02:19:29.560
it’s not been so much mashups it’s one of these things where it’s really depends on your mood
02:19:29.560 –> 02:19:34.360
thing and sometimes I just want to focus on original music a bit like I’m focusing on original
02:19:34.360 –> 02:19:43.640
content mashups can be a little bit too sweet I’m probably bad for you a little bit concentrated
02:19:43.640 –> 02:19:48.440
a little bit too too too saccharine a little bit too sweet sometimes there’s like a plus b plus c
02:19:48.440 –> 02:19:56.440
or you know it’s like it gets a bit hyper and sometimes you want to go back to the meat and veg
02:19:56.440 –> 02:20:04.040
rather than the chocolate on that sundae with you know lots of cream and cherry on top which
02:20:04.040 –> 02:20:09.080
mashups tend to be I don’t know if someone makes them but you know I’m always very aware of trying
02:20:09.080 –> 02:20:12.840
to get things in patica we’re not trying to add more and more and more until you get this
02:20:12.840 –> 02:20:20.200
multi-mash monstrosity and it’s just too much and I was very much like that with my 72 segment
02:20:20.200 –> 02:20:28.040
which which hasn’t come out yet it’s soon soon the 72 part 6 will come out and I’m part of that
02:20:28.040 –> 02:20:33.560
and my section was very much like I listened to the previous sections and went okay
02:20:33.560 –> 02:20:39.080
you know let’s let’s do something my way do something that hasn’t been done by anyone else
02:20:39.080 –> 02:20:46.840
on this 72 and there’s a longer version of one of the combos I used some people like 20 parts 20
02:20:46.840 –> 02:20:51.720
things 10 things they seem to be throwing everything in and I don’t think that necessarily works
02:20:51.720 –> 02:20:56.760
especially in such a short section I think it’s better to have a couple of a plus b’s that really
02:20:56.760 –> 02:21:03.720
work rather than two or three that do and then 10 that don’t you know so I don’t know how successful
02:21:03.720 –> 02:21:09.960
it was I mean yeah I struggled with some of the keys hey wonderful Beatles again whatever the key
02:21:09.960 –> 02:21:17.320
that Warren ever knows is in and also something where actually I did know but I forgot to actually
02:21:17.320 –> 02:21:21.720
raise the key which is you know it’s all kind of thing of part of like doing something to
02:21:21.720 –> 02:21:28.040
in terms of 72 hours which is you know a rush I mean nowadays I can do that years ago I struggled
02:21:28.040 –> 02:21:33.560
with anything that quick because it took me ages to do anything and about six months to listen to
02:21:33.560 –> 02:21:37.880
it and then release and then find someone else has beat me by with three weeks yeah that quite
02:21:37.880 –> 02:21:43.640
often happened so we’re going to play out with the track from Bugsy Malone but this is a cover and
02:21:43.640 –> 02:21:48.440
again there’s just something I had spent ages trying to track down a high quality version
02:21:48.440 –> 02:21:55.000
because I heard it on 6Music. Steve Lamac played this cover of You Give a Little Love and
02:21:55.000 –> 02:22:01.400
it’s one of my favourite songs from Bugsy Malone but it took me ages to find a non sort of 128
02:22:01.400 –> 02:22:06.440
Kbps MP3 version you know something that was a bit better than that and so this is Silvery
02:22:06.440 –> 02:22:12.280
and it’s from 2010’s Railway Architecture and I hope you’re all well and I’ll speak to you well
02:22:12.280 –> 02:22:17.160
for the Xmas show I’m actually already put it together a whole bunch of things to play so not
02:22:17.160 –> 02:22:22.280
like previous years they’re like two they’ll only be one and after that I don’t know when I mean
02:22:22.280 –> 02:22:28.920
it’s you know I’ll try and stick to one podcast a month but I don’t know because it’s finding the
02:22:28.920 –> 02:22:35.560
time between filming videos and editing them and so anyway enough of my plans for YouTube
02:22:35.560 –> 02:22:38.840
Domination here’s You Give a Little Love by Silvery.
A ghostly ‘not halloween’ edition of Radio Clash, more Halloween-adjacent than the plastic chinese proxy-Xmas junkfest that Halloween has become. Ghosts of Xmas Capitalism…
So we have songs about ghosts, existence, falling out of planes, dark paths, a trance cover of Wendy Carlos, a hard house cover of Somewhere Over The Radio, feminist queer punk, proto-vapourwave, silly songs about vegetables and whales, ghosts and their swimmng pools, cranes, Beach Boys singing Nine Inch Nails, indie, jungle, rave, ambient, pop, electronica….
So the usual really!
WEBVTT
00:15:17.880 –> 00:15:20.160
Hello, welcome to Radio Clash.
00:15:20.160 –> 00:15:24.200
I managed to wrest the podcast away from the robots, the Ghosts in The Machine.
00:15:24.200 –> 00:15:25.880
Nice to take over.
00:15:25.880 –> 00:15:31.400
It’s 389 and it’s called Ghosts as the AI voices said.
00:15:31.400 –> 00:15:36.000
Yeah, that was because there was four tracks I wanted to play as the intro track.
00:15:36.000 –> 00:15:39.600
And so I thought, well, why don’t I play all four of them?
00:15:39.600 –> 00:15:40.520
At least two of them.
00:15:40.520 –> 00:15:47.840
You’re not supposed to start with a downtempo track, but the fact that it was so queer left field choices.
00:15:47.840 –> 00:15:54.440
Most of those, yeah, it seemed to fit, especially for a not Halloween episode of Radio Clash.
00:15:54.440 –> 00:15:58.160
It’s Halloween adjacent, hence called Ghosts.
00:15:58.160 –> 00:16:01.920
You won’t be hearing Monster Mash or Thriller or Ghostbusters.
00:16:01.920 –> 00:16:07.800
Yay, or Dragula or any of those because I’m just tired of Halloween.
00:16:07.800 –> 00:16:12.000
I’m tired of it becoming the spooky Christmas, commercial.
00:16:12.000 –> 00:16:19.760
Even though DJNoNo did do a surprise Halloween mashup with Taylor Swift.
00:16:19.760 –> 00:16:26.480
He’s a bit of a Swifty versus Spooky Ccary Skeletons Skellingtons by Andrew Gold.
00:16:26.480 –> 00:16:27.480
No, I don’t know.
00:16:27.480 –> 00:16:31.520
A drum and bass remix of that, especially for Adriana because she was saying how much she
00:16:31.520 –> 00:16:36.200
didn’t like spooky scary skeletons, but how they weren’t enough mashups of Haunted.
00:16:36.200 –> 00:16:40.240
But we’re not playing on this podcast either.
00:16:40.240 –> 00:16:45.120
This podcast is very much about defying expectation, especially for Halloween show.
00:16:45.120 –> 00:16:50.120
So that was Max Tundra with This Woman’s Work, which is a recent release from this year.
00:16:50.120 –> 00:16:52.320
I heard it on Don Letts’ show.
00:16:52.320 –> 00:16:53.720
I don’t know exactly when it was released.
00:16:53.720 –> 00:16:56.480
I think it’s released in the last month or so.
00:16:56.480 –> 00:16:57.480
Similarly, M(h)aol.
00:16:57.480 –> 00:17:04.360
We’ve played M(h)aol M Brackets H AOL before on this podcast.
00:17:04.360 –> 00:17:10.920
And they recently released an album called Attachment Styles, and that’s Bisexual Anxiety.
00:17:10.920 –> 00:17:12.920
And there’s not enough bisexual music.
00:17:12.920 –> 00:17:15.120
There’s not enough bi-pride on this podcast.
00:17:15.120 –> 00:17:16.960
So putting that right.
00:17:16.960 –> 00:17:20.720
Good how someone talk about that stuff because they seem to get it from both sides and not
00:17:20.720 –> 00:17:21.920
in a good way.
00:17:21.920 –> 00:17:25.320
Then before that, we had One Oh Trix Point Never with A Barely Lit Path.
00:17:25.320 –> 00:17:26.320
I love the album.
00:17:26.320 –> 00:17:30.840
It’s an album called Again, which was recently released apparently about his 40 year old
00:17:30.840 –> 00:17:35.400
self talking to his 20 year old self or his younger self.
00:17:35.400 –> 00:17:37.800
And the video is amazing.
00:17:37.800 –> 00:17:42.400
It seems to be a child as well because it’s got two car crash dummies, but they’re riding
00:17:42.400 –> 00:17:44.840
the back of the car and they’re not in control of where they’re going.
00:17:44.840 –> 00:17:46.760
It goes all very psychedelic.
00:17:46.760 –> 00:17:50.480
But I think there’s a lot of existential stuff in that track.
00:17:50.480 –> 00:17:55.920
Lots of things about the Barely Lit Path and not really knowing anything and you know,
00:17:55.920 –> 00:17:56.920
path to your house.
00:17:56.920 –> 00:18:01.360
You don’t know his childhood or talking about the barely lit path through life.
00:18:01.360 –> 00:18:03.200
Then we had a bit of a riff.
00:18:03.200 –> 00:18:07.400
Riffusion is an AI music generator where you can create your own songs.
00:18:07.400 –> 00:18:10.920
They’re all like 11 seconds, but they’re brilliant for jingles.
00:18:10.920 –> 00:18:15.560
So you will hear not more in this podcast, but in future you might hear some of those
00:18:15.560 –> 00:18:16.560
popping up.
00:18:16.560 –> 00:18:18.000
But I’m not a big thing on jingles.
00:18:18.000 –> 00:18:22.360
I have to say I did a whole load of them and I was like Tim, you don’t play many jingles
00:18:22.360 –> 00:18:23.360
on the podcast.
00:18:23.360 –> 00:18:24.360
I’m very anti-jingle.
00:18:24.360 –> 00:18:28.800
But anyway, I found it bizarre because it was like some avant-garde kids thing that
00:18:28.800 –> 00:18:29.800
one.
00:18:29.800 –> 00:18:32.960
Then before that we had Help Me I’m Gay by Lambrini Girls.
00:18:32.960 –> 00:18:35.240
I’ve been really digging Lambrini Girls.
00:18:35.240 –> 00:18:38.680
Just a new EP, their first EP called You’re Welcome.
00:18:38.680 –> 00:18:39.680
They are brilliant.
00:18:39.680 –> 00:18:41.520
Then 6Music, but that was Iggy Pop.
00:18:41.520 –> 00:18:44.640
Iggy Pop’s been playing them and that was the first one.
00:18:44.640 –> 00:18:47.480
I was like, wow, yes, I like that.
00:18:47.480 –> 00:18:50.200
I like that a lot.
00:18:50.200 –> 00:18:54.760
Apparently the lead singer wasn’t out to her mum when she first did that and her mum was
00:18:54.760 –> 00:18:55.760
in the audience.
00:18:55.760 –> 00:18:57.240
She had to quickly come out.
00:18:57.240 –> 00:19:00.440
I think she came out to her mum on stage and said, “Hi, mum, I’m gay.”
00:19:00.440 –> 00:19:02.440
Then went into it.
00:19:02.440 –> 00:19:04.440
Apparently everything was fine.
00:19:04.440 –> 00:19:08.240
Then we had another of those very strange…
00:19:08.240 –> 00:19:12.280
I was doing stuff like trying to do country polka.
00:19:12.280 –> 00:19:16.320
I came up with this concept of Xylophone Rock, accordion rock.
00:19:16.320 –> 00:19:18.120
That’s the kind of things I was doing.
00:19:18.120 –> 00:19:19.880
So yeah, there was a little jingle there.
00:19:19.880 –> 00:19:22.200
Then in the start from There I Ruined It.
00:19:22.200 –> 00:19:26.520
Also AI generated that’s the Beach Boys Sing Hurt, Hurtin USA.
00:19:26.520 –> 00:19:31.720
That’s the Beach Boys Singing Nine Inch Nails, which I like a lot.
00:19:31.720 –> 00:19:35.920
Now we go on to the track that actually I was planning to start before I came across
00:19:35.920 –> 00:19:36.920
those other tracks.
00:19:36.920 –> 00:19:38.440
So it’s a bit of a false start.
00:19:38.440 –> 00:19:41.640
A bit of a spooky, spooky false start.
00:19:41.640 –> 00:19:42.840
The Hidden Door.
00:19:42.840 –> 00:19:47.640
This is JARV IS… and I haven’t seen what this is from.
00:19:47.640 –> 00:19:49.280
This is from This Is Going to Hurt.
00:19:49.280 –> 00:19:51.480
The series performed from the…
00:19:51.480 –> 00:19:52.920
I suppose diaries or the book.
00:19:52.920 –> 00:19:55.800
This is Going to Hurt by Adam Kay.
00:19:55.800 –> 00:20:01.040
And you might go, who’s Adam Kay, we’ve played him on the podcast long, long time ago.
00:20:01.040 –> 00:20:06.000
We played his a formed band because he was in the Amateur Transplants and we played the
00:20:06.000 –> 00:20:07.000
London Underground song.
00:20:07.000 –> 00:20:10.120
We played a few of theirs and he’s aware of that as well.
00:20:10.120 –> 00:20:13.640
I know that through a third party that he was told about the podcast.
00:20:13.640 –> 00:20:20.240
And so I’m not actually watched the series, but JARV IS…, the band run by Jarvis Cocker,
00:20:20.240 –> 00:20:21.240
did the soundtrack.
00:20:21.240 –> 00:20:25.520
I do this quite often, listen to the soundtrack and don’t watch the thing.
00:20:25.520 –> 00:20:26.720
So it’s a tad out of context.
00:20:26.720 –> 00:20:30.720
I don’t know how this was used in the series, but I love this.
00:20:30.720 –> 00:20:33.240
It’s a bit like Cunts Are Running The World.
00:20:33.240 –> 00:20:35.360
He says everything I’d like to say at the moment.
00:20:35.360 –> 00:20:37.360
So this is Fuck This.
00:52:21.120 –> 00:52:22.880
That’s Michael the DJ.
00:52:22.880 –> 00:52:26.320
with Move Out of my Head.
00:52:26.320 –> 00:52:28.720
Billy Joel, Anthony,
00:52:28.720 –> 00:52:33.120
versus Kylie’s, get out of my head, obviously.
00:52:33.120 –> 00:52:36.960
Now before that, we had Where’s Your Padam at?
00:52:36.960 –> 00:52:37.840
by Hallmighty.
00:52:37.840 –> 00:52:41.120
Oh, I’ve got to say that Michael the DJ is from 2021.
00:52:41.120 –> 00:52:42.320
It’s an old one.
00:52:42.320 –> 00:52:48.240
Before all of that, I don’t understand why Anthony, Billy Joel, is everywhere.
00:52:48.240 –> 00:52:50.160
It’s kind of become this meme thing.
00:52:50.160 –> 00:52:52.720
I assume TikTok is always just blame TikTok.
00:52:52.720 –> 00:52:56.640
And then we had Where’s Your Padam at?
00:52:56.640 –> 00:52:59.680
Hallmighty, Basement Jaxx versus Kylie.
00:52:59.680 –> 00:53:02.560
That’s one of his secret tracks.
00:53:02.560 –> 00:53:07.680
You have to go on a secret M(h)aoling list and knock three times and say the secret password to find
00:53:07.680 –> 00:53:08.240
that one.
00:53:08.240 –> 00:53:10.480
And then before that, we had Meatraffle.
00:53:10.480 –> 00:53:13.760
We had a Brixton link there because Basement Jaxx is South of the River.
00:53:13.760 –> 00:53:15.920
Brixton, So is Meatraffle, I think.
00:53:16.640 –> 00:53:21.920
That’s the Lovesong Industrial Complex from a Base And Superstructure, the new album.
00:53:21.920 –> 00:53:24.160
And yeah, it’s always good to hear from them.
00:53:24.160 –> 00:53:29.040
Then before that, we had Chickle, Chickle, Chickle, what Chickle?
00:53:29.040 –> 00:53:32.960
Tickle Tune Typhoon with Vega Boogie.
00:53:32.960 –> 00:53:36.800
And that’s from 1984, I think.
00:53:36.800 –> 00:53:38.400
Yep, from Circle Around.
00:53:38.400 –> 00:53:46.320
And Tickle Tune Typhoon, an interesting group of people who did
00:53:46.560 –> 00:53:49.600
well, it’s kind of kid’s tunes, but it’s kind of Wiggles Before the Wiggles.
00:53:49.600 –> 00:53:51.200
They were doing that kind of thing.
00:53:51.200 –> 00:53:57.360
And Danny Deardorff, who we have played before in Danny and Joyce on this podcast.
00:53:57.360 –> 00:53:58.800
Remember a track called Stars?
00:53:58.800 –> 00:54:00.800
If you’ve heard it once, you’ll never forget it.
00:54:00.800 –> 00:54:06.560
I did a deep dive because someone posted that cover of the album, Ma La Lady, or
00:54:06.560 –> 00:54:07.520
given it in a wheelchair.
00:54:07.520 –> 00:54:09.840
It’s something we made fun about in malady, obviously.
00:54:09.840 –> 00:54:15.920
He went on to have quite a successful music career, opened many a time for Seals and Croft.
00:54:16.320 –> 00:54:22.800
Did a duo with… Danny and Joseph after Danny and Joyce, because after he left his first wife,
00:54:22.800 –> 00:54:25.200
then was in Tickle Typhoon with a lot of other people.
00:54:25.200 –> 00:54:29.840
Though he’s not on that track, but you will hear a track with Danny Deardorff later on.
00:54:29.840 –> 00:54:31.120
That was Vega Boogie.
00:54:31.120 –> 00:54:32.800
You don’t get many raps to vegetables.
00:54:32.800 –> 00:54:36.320
Then before that, we had Sank, with Is It In?
00:54:36.320 –> 00:54:39.520
You Should Be Dancing, Jimmy ‘Bo’ Horne versus Bee Gees.
00:54:39.520 –> 00:54:41.760
That got in because there’s been so many Bee Gees mashups.
00:54:41.760 –> 00:54:44.240
So not so many Jimmy ‘Bo’ Horne and it’s rude.
00:54:44.800 –> 00:54:45.520
And I like it.
00:54:45.520 –> 00:54:48.720
And I like to mix in with children’s tunes, as you do.
00:54:48.720 –> 00:54:54.400
Then before that, we had Jacana People, another new track called Twist Forever.
00:54:54.400 –> 00:54:58.800
I think Jacana People are Serbian house electronic producers,
00:54:58.800 –> 00:55:01.040
featuring Antony Szmierek.
00:55:01.040 –> 00:55:02.560
It’s always good to hear from him.
00:55:02.560 –> 00:55:07.840
And I seem to work with this sort of getting lost deep vibe from the previous track,
00:55:07.840 –> 00:55:08.880
which is Lost in the Deep.
00:55:08.880 –> 00:55:10.480
The Lost Art of Rolling in the Deep.
00:55:10.480 –> 00:55:13.520
Adele versus Queens of the Stone Age by me Instamatic.
00:55:13.520 –> 00:55:14.800
I’d forgotten about that mashup.
00:55:14.800 –> 00:55:18.000
Have to say thank you to Will Battle.
00:55:18.000 –> 00:55:21.920
iWillBattle for reminding me because he played on his Twitch show,
00:55:21.920 –> 00:55:23.520
Mashups Rock, which is on Tuesdays.
00:55:23.520 –> 00:55:27.040
And it was funny because the first 10, 15 was like,
00:55:27.040 –> 00:55:28.160
this is really familiar.
00:55:28.160 –> 00:55:29.520
Oh, it’s one of mine.
00:55:29.520 –> 00:55:31.840
I did it for a challenge and I completely forgot about it.
00:55:31.840 –> 00:55:34.960
And I did have it in the stack to play on the podcast, but never did.
00:55:34.960 –> 00:55:37.600
It is this year, but it’s way earlier in the year.
00:55:37.600 –> 00:55:38.560
It’s six, eight months ago.
00:55:38.560 –> 00:55:39.840
So I forget about mashups.
00:55:39.840 –> 00:55:41.040
I forget what I’ve done.
00:55:41.040 –> 00:55:46.320
And then before that, we had Big Joanie with Cranes in the Sky, Solange Knowles cover.
00:55:46.320 –> 00:55:49.120
That came out in 2020.
00:55:49.120 –> 00:55:49.600
It’s weird.
00:55:49.600 –> 00:55:53.680
Sometimes a song sells me on a band and there’s a song from them,
00:55:53.680 –> 00:55:58.080
which I’ll play right at the end, which sold me on Big Joanie because 6Music,
00:55:58.080 –> 00:56:02.720
sort of Lard, Lamacq, lots of people have been playing Big Joanie
00:56:02.720 –> 00:56:05.920
because they’re a London queer black feminist pong group.
00:56:05.920 –> 00:56:08.080
So I knew the name.
00:56:08.080 –> 00:56:10.480
I’d heard the songs, but nothing really struck me.
00:56:10.480 –> 00:56:12.720
And I heard a song which was like, wow.
00:56:12.720 –> 00:56:15.840
And then I went diving and then heard that.
00:56:15.840 –> 00:56:16.880
Oh, Cranes in the Sky.
00:56:16.880 –> 00:56:18.000
I draw a lot of cranes.
00:56:18.000 –> 00:56:21.520
It’s a bit neurodiverse and obsession with cranes.
00:56:21.520 –> 00:56:23.120
So we’re cranes.
00:56:23.120 –> 00:56:25.520
I’ll listen to a song about cranes in the sky because I like cranes.
00:56:25.520 –> 00:56:28.240
And I found out it’s a really good song.
00:56:28.240 –> 00:56:30.480
And then I was like, oh, it’s by Solange Knowles.
00:56:30.480 –> 00:56:35.040
Because I really generally don’t like Solange’s work.
00:56:35.040 –> 00:56:37.760
I appreciate what she does and she’s very talented.
00:56:37.760 –> 00:56:40.640
Her sister has to write with about 10 different people.
00:56:40.640 –> 00:56:45.920
She does write a lot of this stuff and is really interesting.
00:56:45.920 –> 00:56:52.560
But the music doesn’t really match up to the sort of indie Beyonce type thing, does it?
00:56:52.560 –> 00:56:53.360
Not really the same.
00:56:53.360 –> 00:56:56.960
But I actually really liked that video and the original song as well,
00:56:56.960 –> 00:57:01.760
because what it’s talking about about kind of like roaming around and running away from
00:57:01.760 –> 00:57:04.320
your problems and never really finding home.
00:57:04.320 –> 00:57:06.800
Yeah, of course I’d resonate with that.
00:57:06.800 –> 00:57:09.600
Then before that we had JARV IS… with Fuck This.
00:57:09.600 –> 00:57:14.320
I don’t know if they cover in that about Adam Kay leaving for comedy and
00:57:14.320 –> 00:57:16.720
jacking in his job.
00:57:16.720 –> 00:57:17.600
I think they alluded to it.
00:57:17.600 –> 00:57:18.880
But yeah, it might be about that.
00:57:18.880 –> 00:57:21.120
Or maybe it’s about consultants and the NHS.
00:57:21.120 –> 00:57:21.920
I don’t really know.
00:57:21.920 –> 00:57:23.680
I must watch it.
00:57:23.680 –> 00:57:31.920
So are you going to play a track which goes out to Lee Spoons because he mentioned it.
00:57:31.920 –> 00:57:32.800
On Blue Sky.
00:57:32.800 –> 00:57:33.920
I’m on Blue Sky.
00:57:33.920 –> 00:57:38.400
If you look on fingertrable.bsky.social.
00:57:38.400 –> 00:57:40.480
So I’m on Blue Sky.
00:57:40.480 –> 00:57:45.520
The thing taking over from Twitter because Twitter is becoming a complete dumpster fire.
00:57:45.520 –> 00:57:50.000
And he mentioned it on there and I was like, oh wow, I like this.
00:57:50.000 –> 00:57:56.000
I never realised that not only does this have apparently according to him like 23, 24 key changes in it.
00:57:56.000 –> 00:58:03.520
But also I never realised someone that had done a sort of a trance house cover of Wendy Carlos.
00:58:03.520 –> 00:58:05.680
This is The Orang Theme by Cygnus X.
01:17:37.160 –> 01:18:06.160
That was Terra Firma by Enola Gay featuring Mount Palomar.
01:18:07.160 –> 01:18:10.240
Not either band, I know very well.
01:18:10.240 –> 01:18:12.400
I went and checked them out after I heard that song.
01:18:12.400 –> 01:18:16.400
I love that song and it’s like a folk dance song.
01:18:16.400 –> 01:18:19.680
And Enola Gay are usually much more noisy and shoutier.
01:18:19.680 –> 01:18:22.000
So it’s kind of very different from what they usually do.
01:18:22.000 –> 01:18:23.000
But I like it.
01:18:23.000 –> 01:18:24.720
I like it a lot.
01:18:24.720 –> 01:18:26.400
And I heard that via Round Table.
01:18:26.400 –> 01:18:32.080
I think one of the last Lamacq Round Table because Steve Lamacq is doing one show a week.
01:18:32.080 –> 01:18:35.640
He spent last 30 odd years doing the drive time show.
01:18:35.640 –> 01:18:38.440
Obviously not on 6Music, he’s been going that long.
01:18:38.440 –> 01:18:41.080
But yeah, I’m ready one and then 6Music.
01:18:41.080 –> 01:18:42.920
And that went down very well with them.
01:18:42.920 –> 01:18:46.760
Usually things are a bit more electronic, a bit more off kilter.
01:18:46.760 –> 01:18:49.160
Don’t go down very well with the Round Table.
01:18:49.160 –> 01:18:51.440
I guess, but I did.
01:18:51.440 –> 01:18:58.720
Then before that we had Perk and Pixel Empire with Innocent Dreams from an album, a collaboration
01:18:58.720 –> 01:19:00.960
album called Matchup with Mild Sauce.
01:19:00.960 –> 01:19:04.920
Which I heard of via MixMstrStel.
01:19:04.920 –> 01:19:11.160
And that includes Flume, Burial, Fleetwood Mac, obviously Fleetwood Mac.
01:19:11.160 –> 01:19:14.280
And the Burial and Fleetwood Mac is what’s selling on me.
01:19:14.280 –> 01:19:16.880
And Morcheeba, Moog Island.
01:19:16.880 –> 01:19:17.880
Interesting compilation.
01:19:17.880 –> 01:19:22.120
The people I don’t really know apart from MixMstrStel.
01:19:22.120 –> 01:19:24.920
It’s always good to check out stuff via our mashups.
01:19:24.920 –> 01:19:25.920
Discord and the Reddit.
01:19:25.920 –> 01:19:27.920
Which I do from times to times.
01:19:27.920 –> 01:19:32.560
Before I heard the Michael the DJ track, a few other things.
01:19:32.560 –> 01:19:35.440
Then before that we had Dwarde with Forever.
01:19:35.440 –> 01:19:38.160
I have to thank Aaron for that.
01:19:38.160 –> 01:19:40.880
Paige’s brother who posted about that on his Facebook.
01:19:40.880 –> 01:19:43.240
So actually not about that, I wanted to do the tracks.
01:19:43.240 –> 01:19:45.120
And I actually preferred that one more.
01:19:45.120 –> 01:19:47.840
Because I love that Jungle meets soul vocals.
01:19:47.840 –> 01:19:48.840
I’m always a sucker for that.
01:19:48.840 –> 01:19:52.360
And I know of Dwarde via their work with Tim Reaper.
01:19:52.360 –> 01:19:56.080
And that’s from a record label called Deep Jungle.
01:19:56.080 –> 01:19:58.760
Who also re-released track before it.
01:19:58.760 –> 01:20:01.320
Which is 4AM by Orca.
01:20:01.320 –> 01:20:03.520
I don’t know if they re-released that mix.
01:20:03.520 –> 01:20:05.200
But I like that mix the best.
01:20:05.200 –> 01:20:06.600
That’s remix one.
01:20:06.600 –> 01:20:08.120
Although sometimes it’s called remix two.
01:20:08.120 –> 01:20:09.840
It’s very confusing.
01:20:09.840 –> 01:20:11.640
And that’s originally from 1993.
01:20:11.640 –> 01:20:13.640
4AM, the remixes and originals.
01:20:13.640 –> 01:20:15.200
There’s a white label.
01:20:15.200 –> 01:20:18.000
They tend to, not completely.
01:20:18.000 –> 01:20:19.200
They do some new stuff now.
01:20:19.200 –> 01:20:22.040
But they started out releasing, and still do,
01:20:22.040 –> 01:20:26.480
release a lot of 90s Jungle on the Deep Jungle label.
01:20:26.480 –> 01:20:28.600
But they seem to be branching out to more newer things.
01:20:28.600 –> 01:20:30.280
Hence the Dwarde and the Tim Reaper.
01:20:30.280 –> 01:20:32.760
Who have released things on that label.
01:20:32.760 –> 01:20:36.400
But I like this idea of taking, they had like Dillinja.
01:20:36.400 –> 01:20:37.560
Old Dillinja tracks on there.
01:20:37.560 –> 01:20:40.480
So that’s the first time capsule that’s old.
01:20:40.480 –> 01:20:42.720
I suspect someone might be off tape.
01:20:42.720 –> 01:20:44.560
But it’s always fascinating here.
01:20:44.560 –> 01:20:47.120
There’s old Jungle Pirate Radio classic.
01:20:47.120 –> 01:20:49.680
You never hear again, usually.
01:20:49.680 –> 01:20:52.160
Then before that we had Marusha.
01:20:52.160 –> 01:20:53.600
Also from the 90s.
01:20:53.600 –> 01:20:56.360
’94, that’s Somewhere Over The Rainbow.
01:20:56.360 –> 01:20:59.640
And I have to thank PDSMix for introducing me to that.
01:20:59.640 –> 01:21:01.920
And that’s a bit of sort of Berlin Electronica.
01:21:01.920 –> 01:21:03.280
So Berlin DJ, I think.
01:21:03.280 –> 01:21:05.280
Love parade, like stuff.
01:21:05.280 –> 01:21:08.080
But I love the fact that there’s a hardcore.
01:21:08.080 –> 01:21:10.320
Is that hardcore?
01:21:10.320 –> 01:21:12.200
Is that more, it’s not really trance.
01:21:12.200 –> 01:21:13.160
I wouldn’t call that trance.
01:21:13.160 –> 01:21:14.800
So I would call that more Hardhouse,
01:21:14.800 –> 01:21:16.480
or not really Fat as Gabba,
01:21:16.480 –> 01:21:19.520
but yeah, sort of Gabba-ry Hardhouse remix
01:21:19.520 –> 01:21:22.600
of Cover of Somewhere Over the Rainbow.
01:21:22.600 –> 01:21:26.960
Then before that we had Cygnus X from 2000.
01:21:26.960 –> 01:21:29.680
Although again, I’m not sure if that’s correct, that date.
01:21:29.680 –> 01:21:31.520
The Orange theme, the original mix.
01:21:31.520 –> 01:21:34.800
‘Cause it’s always a problem with compilations
01:21:34.800 –> 01:21:37.640
and re-releases and remixes and stuff.
01:21:37.640 –> 01:21:41.560
You never totally know if that’s actually the correct date.
01:21:41.560 –> 01:21:44.640
But somewhere around then, somewhence.
01:21:44.640 –> 01:21:49.120
So yes, we’re now gonna play a more of a spooky,
01:21:49.120 –> 01:21:50.840
well, it’s not really a spooky track,
01:21:50.840 –> 01:21:54.280
but you’ll find the ghost theme running through
01:21:54.280 –> 01:21:55.200
in some of the sounds.
01:21:55.200 –> 01:21:57.640
It’s more being inspired by things
01:21:57.640 –> 01:21:58.920
that are a little bit more spooky
01:21:58.920 –> 01:22:01.200
and a bit more dark and a bit more,
01:22:01.200 –> 01:22:03.440
even just the woo, noise.
01:22:03.440 –> 01:22:04.800
Yeah, don’t do that again.
01:22:04.800 –> 01:22:06.640
And this has it a lot.
01:22:06.640 –> 01:22:10.800
It’s a trend that actually has been in a lot of podcasts
01:22:10.800 –> 01:22:11.640
having taken out.
01:22:11.640 –> 01:22:13.440
And it seemed to be more appropriate for this.
01:22:13.440 –> 01:22:15.520
And this is from 1982,
01:22:15.520 –> 01:22:18.040
Waldir Calmon and Afro Son.
01:22:18.040 –> 01:22:19.920
But you probably will recognize this
01:22:19.920 –> 01:22:24.600
’cause it’s a very naughty, I think, Brazilian or South American
01:22:24.600 –> 01:22:27.040
steal of a track you might recognize.
02:02:43.320 –> 02:02:46.120
That was, Big Joanie.
02:02:46.760 –> 02:02:49.920
Into My Arms (Reprise)
02:02:49.920 –> 02:02:52.080
from their album,
02:02:52.080 –> 02:02:53.800
from last year Back Home,
02:02:53.800 –> 02:02:55.280
and checked out Big Joanie partly
02:02:55.280 –> 02:02:57.760
because I saw an article about
02:02:57.760 –> 02:03:00.480
Lambrini Girls and M(h)aol
02:03:00.480 –> 02:03:01.480
animation Big Joanie,
02:03:01.480 –> 02:03:02.320
and I was like, oh yeah,
02:03:02.320 –> 02:03:03.360
never really checked them out.
02:03:03.360 –> 02:03:06.400
The original of that sounds very New-Ordery.
02:03:06.400 –> 02:03:08.320
Sounds almost like New Order to me.
02:03:08.320 –> 02:03:10.160
New Order maybe crossed with a bit of
02:03:10.160 –> 02:03:12.360
doo-wop Motown girl group,
02:03:12.360 –> 02:03:15.080
but it’s still quite new-ordery in the synths
02:03:15.080 –> 02:03:17.000
and the guitars.
02:03:17.000 –> 02:03:19.040
I much prefer that Be My Baby
02:03:19.040 –> 02:03:22.120
Ronettes version rather than the actual single.
02:03:22.120 –> 02:03:24.040
The video’s brilliant as well.
02:03:24.040 –> 02:03:26.000
Then before that, we heard Rosita.
02:03:26.000 –> 02:03:26.720
with Down Here,
02:03:26.720 –> 02:03:28.320
Rosita being the band formed
02:03:28.320 –> 02:03:30.960
by two of the members of Kenickie.
02:03:30.960 –> 02:03:34.400
And that’s from 2000’s Santa Pocas Dream EP.
02:03:34.400 –> 02:03:36.200
I’d heard the odd thing from Rosita,
02:03:36.200 –> 02:03:38.320
and it hadn’t really stuck.
02:03:38.320 –> 02:03:40.240
And I kind of did a bigger dive
02:03:40.240 –> 02:03:41.880
because I was reading about, you know,
02:03:41.880 –> 02:03:43.040
the end of Kenickie and thinking,
02:03:43.040 –> 02:03:44.560
what did they do?
02:03:44.560 –> 02:03:48.480
Johnny X became J Xaverre.
02:03:48.480 –> 02:03:49.800
And you can find him on band camp.
02:03:49.800 –> 02:03:51.520
He’s still producing music.
02:03:51.520 –> 02:03:54.560
I think one of them became a lecturer in sociology.
02:03:54.560 –> 02:03:56.760
And obviously, Lauren Laverne is on,
02:03:56.760 –> 02:03:59.000
as I present her now, but it’s very sad.
02:03:59.000 –> 02:04:00.840
I’m still pissed off about Kenickie splitting.
02:04:00.840 –> 02:04:01.800
They were my group.
02:04:01.800 –> 02:04:04.240
Pulp and them were like my groups really.
02:04:04.240 –> 02:04:07.760
And I was really, really upset when they split.
02:04:07.760 –> 02:04:09.120
And I really liked that.
02:04:09.120 –> 02:04:10.960
And it’s kind of weird
02:04:10.960 –> 02:04:13.120
because some of the songs I don’t really get,
02:04:13.120 –> 02:04:16.240
but that one, I’m like, oh, that’s really good.
02:04:16.240 –> 02:04:17.200
But there’s a few bits in it.
02:04:17.200 –> 02:04:19.240
Like my old name doesn’t mean anything, you know,
02:04:19.240 –> 02:04:20.080
that kind of thing.
02:04:20.080 –> 02:04:22.560
I’m like, hmm, yes.
02:04:22.560 –> 02:04:23.520
I don’t know when it was written,
02:04:23.520 –> 02:04:26.040
but bits of it sounded a little bit
02:04:26.040 –> 02:04:28.640
possibly referring to the end of Kenickie.
02:04:28.640 –> 02:04:30.320
Something has that vibe.
02:04:30.320 –> 02:04:33.240
And then before that, we had The Monkees
02:04:33.240 –> 02:04:35.320
with Me and Magdalena.
02:04:35.320 –> 02:04:39.560
That’s from their last album, Good Times from 2016.
02:04:39.560 –> 02:04:41.440
And that was written by Ben Gibbard,
02:04:41.440 –> 02:04:44.120
otherwise known as Death Cab for Cutie.
02:04:44.120 –> 02:04:46.680
And I think I did hear at the time.
02:04:46.680 –> 02:04:47.600
I’m pretty sure I heard it,
02:04:47.600 –> 02:04:52.440
but I checked it out again and I was like, wow.
02:04:52.440 –> 02:04:55.440
That’s, it’s surprisingly good song
02:04:55.440 –> 02:04:56.600
for The Monkees to sing,
02:04:56.600 –> 02:04:59.280
but they do it justice and it’s very sad to hear.
02:04:59.280 –> 02:05:02.400
You didn’t hear a Mike’s Nesmith and Mickey
02:05:02.400 –> 02:05:03.240
on the same track.
02:05:03.240 –> 02:05:05.240
Generally they did their own backing vocals,
02:05:05.240 –> 02:05:06.560
or they might do some backing vocals,
02:05:06.560 –> 02:05:08.560
not as like a duet.
02:05:08.560 –> 02:05:09.960
And that worked really well.
02:05:09.960 –> 02:05:11.160
The rest of the album is kind of like,
02:05:11.160 –> 02:05:14.920
Bubblegum, Pop, Surfy, Adam Schlesinger
02:05:14.920 –> 02:05:17.000
RIP, put the album together.
02:05:17.000 –> 02:05:19.240
But there’s also things like weirdly Paul Weller,
02:05:19.240 –> 02:05:22.200
and Noel Gallagher did a song for it and things like that,
02:05:22.200 –> 02:05:24.320
which I don’t think totally works, but.
02:05:24.320 –> 02:05:25.160
Well, I mean, I suppose they didn’t,
02:05:25.160 –> 02:05:26.520
they’re totally their last album.
02:05:26.520 –> 02:05:27.520
They did a Christmas album.
02:05:27.520 –> 02:05:30.080
This last full album, they did a Christmas album.
02:05:30.080 –> 02:05:32.080
And that was the last, then Peter Tork died
02:05:32.080 –> 02:05:34.120
and then Mike Nessith.
02:05:34.120 –> 02:05:36.320
And so it’s only just Micey Dolenz anymore.
02:05:36.320 –> 02:05:38.040
And I’ve not heard that R.E.M album yet.
02:05:38.040 –> 02:05:39.240
I’m not sure it’s out yet.
02:05:39.240 –> 02:05:40.920
They did an R.E.M. covers album,
02:05:40.920 –> 02:05:42.320
which I posted about on the blog,
02:05:42.320 –> 02:05:44.560
which I would like to hear.
02:05:44.560 –> 02:05:46.920
And then before that, we had Courtney Barnett
02:05:46.920 –> 02:05:51.920
with He’s the Thing from 2021’s Things Take Time, Take Time.
02:05:51.920 –> 02:05:53.080
It’s interesting.
02:05:53.080 –> 02:05:54.360
I don’t know what’s going on with Courtney Barnett.
02:05:54.360 –> 02:05:58.400
She’s ended her record label a few months ago,
02:05:58.400 –> 02:06:02.560
released an album of really a live jam soundtrack
02:06:02.560 –> 02:06:05.480
to a tour film about her.
02:06:05.480 –> 02:06:07.160
And that was the last thing on that label.
02:06:07.160 –> 02:06:09.160
So I don’t know what’s going on with that,
02:06:09.160 –> 02:06:10.520
’cause she ran that label for,
02:06:10.520 –> 02:06:12.800
must be at least 15, maybe 20 years.
02:06:12.800 –> 02:06:15.640
I was kind of passed by some of the singles,
02:06:15.640 –> 02:06:17.880
but that one is really good.
02:06:17.880 –> 02:06:20.440
I don’t know, it was a weird time to do very upbeat,
02:06:20.440 –> 02:06:21.280
happy music.
02:06:21.280 –> 02:06:24.360
It was a very downbeat time during the lockdown.
02:06:24.360 –> 02:06:27.000
I think the timing was wrong for that album.
02:06:27.000 –> 02:06:30.360
Then before that, we had Tickle Tune Typhoon.
02:06:30.360 –> 02:06:31.680
That’s Little Owket,
02:06:31.680 –> 02:06:36.680
sung by Danny Deardoff from 1994’s Baby Tickle Tunes,
02:06:36.680 –> 02:06:39.000
Patty Cakes and Peek-A-Boo’s.
02:06:39.000 –> 02:06:41.440
Danny Deardoff sadly died in 2018.
02:06:41.440 –> 02:06:45.440
I didn’t know that until I did my deep dive onto his work.
02:06:45.440 –> 02:06:49.440
He had to be lifted on stage and used a wheelchair
02:06:49.440 –> 02:06:52.320
and sang sort of lying down.
02:06:52.320 –> 02:06:55.560
And the story goes is that Seals and Croft,
02:06:55.560 –> 02:07:00.320
he ended up a tape to them and they loved his work.
02:07:00.320 –> 02:07:04.280
And so he was supporting them with his Danny and Joseph band.
02:07:04.280 –> 02:07:06.680
And the promoters were like,
02:07:06.680 –> 02:07:08.680
“Oh, we want you back” but were horrified.
02:07:08.680 –> 02:07:11.520
They wanted them to drop the support act.
02:07:11.520 –> 02:07:13.600
And they were like, “Sorry, if Danny doesn’t play,
02:07:13.600 –> 02:07:15.120
“we’re not playing.”
02:07:15.120 –> 02:07:18.960
And they stuck with that, even as promoters were upset.
02:07:18.960 –> 02:07:19.800
They were like, “Nope.”
02:07:19.800 –> 02:07:23.000
And that’s the way it was back then in the ’70s and ’80s.
02:07:23.000 –> 02:07:25.880
It was like, “Oh, no, we can’t have disabled people
02:07:25.880 –> 02:07:27.040
on the stage.”
02:07:27.040 –> 02:07:29.280
I remember them telling Robert Wyatt
02:07:29.280 –> 02:07:31.760
not to have his wheelchair,
02:07:31.760 –> 02:07:33.640
which he refused to comply with.
02:07:33.640 –> 02:07:35.840
They wanted to put him into a chair and to sit there.
02:07:35.840 –> 02:07:36.960
And he was like, “No.”
02:07:36.960 –> 02:07:38.720
And it was this idea of,
02:07:38.720 –> 02:07:40.320
“Oh, no, we can’t have disabled people
02:07:40.320 –> 02:07:42.360
on a wheelchair in the public eye.”
02:07:42.360 –> 02:07:44.720
It’s a bit like the way some people are with trans people
02:07:44.720 –> 02:07:48.160
or queer people or it seems to be this whole thing of like,
02:07:48.160 –> 02:07:49.760
“Oh, we can’t, the people are different.
02:07:49.760 –> 02:07:53.600
We’re just gonna want them out of the way and it’s horrible.”
02:07:53.600 –> 02:07:54.560
But to give credit,
02:07:54.560 –> 02:07:57.000
and I’m not into Seal and Croft’s work,
02:07:57.000 –> 02:07:58.880
it’s very, how do you describe it?
02:07:58.880 –> 02:08:01.880
Not even folk, it’s sort of like very middle of the road.
02:08:01.880 –> 02:08:02.840
But they stuck with him
02:08:02.840 –> 02:08:05.760
and I think he did several tours with them.
02:08:05.760 –> 02:08:07.680
And then joined Tickle Tune Typhoon
02:08:07.680 –> 02:08:10.240
and did songs about being different.
02:08:10.240 –> 02:08:11.920
It was just part of the band.
02:08:11.920 –> 02:08:13.280
Very talented man
02:08:13.280 –> 02:08:17.320
and broke those doors down for other disabled musicians.
02:08:17.320 –> 02:08:20.280
So good on you Danny Deardorff.
02:08:20.280 –> 02:08:24.080
I mean, I’ve played the Stars tracks so long ago
02:08:24.080 –> 02:08:25.920
’cause I think with WFMU, I heard it
02:08:25.920 –> 02:08:27.960
and it was such a weird song,
02:08:27.960 –> 02:08:30.440
but it’s his voice, his voice is amazing.
02:08:30.440 –> 02:08:31.280
And I liked it.
02:08:31.280 –> 02:08:32.560
It wasn’t the case of like me just playing it
02:08:32.560 –> 02:08:33.480
just ’cause it’s weird.
02:08:33.480 –> 02:08:35.400
‘Cause you know, I play weird stuff
02:08:35.400 –> 02:08:36.320
but I like it.
02:08:36.320 –> 02:08:38.480
I don’t play weird shit, I don’t like.
02:08:38.480 –> 02:08:39.320
I love his voice.
02:08:39.320 –> 02:08:41.240
In the thread on, for some reason,
02:08:41.240 –> 02:08:43.760
someone posted onto shit record covers.
02:08:43.760 –> 02:08:45.880
There’s a Facebook group called Shit Record Covers
02:08:45.880 –> 02:08:47.200
and it isn’t a good, it is a true,
02:08:47.200 –> 02:08:49.960
it is not a good record cover for his first record.
02:08:49.960 –> 02:08:54.960
It is just, it’s a bit kind of like that Little Britain
02:08:54.960 –> 02:08:58.320
with the two, the carer and Matt Lucas in the chair.
02:08:58.320 –> 02:08:59.160
It’s a bit like that.
02:08:59.160 –> 02:09:02.560
It’s just, it’s yeah, it’s just, I mean, one sense,
02:09:02.560 –> 02:09:04.760
like I just said, put it out and center,
02:09:04.760 –> 02:09:08.000
but there’s also, yeah, it is a cheesy record cover.
02:09:08.000 –> 02:09:10.760
It doesn’t really work as a record cover, but anyway.
02:09:10.760 –> 02:09:12.880
Yeah, I was educating people on Danny Deardorff
02:09:12.880 –> 02:09:13.880
’cause I did a bit of dive
02:09:13.880 –> 02:09:15.680
I was like, oh yeah, I know this song.
02:09:15.680 –> 02:09:17.480
I know this album, it’s actually quite good.
02:09:17.480 –> 02:09:18.720
You know, there’s some good songs on there
02:09:18.720 –> 02:09:21.080
that are quite strange and they are quite strange.
02:09:21.080 –> 02:09:22.720
Some of the Danny and Joseph stuff is strange,
02:09:22.720 –> 02:09:25.880
but they did a brilliant cover of “Sentimental Lady.”
02:09:25.880 –> 02:09:27.760
Bob Welch, which I mean, seriously,
02:09:27.760 –> 02:09:30.480
covering Bob Welch is always gonna endear me.
02:09:30.480 –> 02:09:32.360
But yeah, now check it out Stars.
02:09:32.360 –> 02:09:34.280
I think you should find it on YouTube,
02:09:34.280 –> 02:09:35.200
Danny and Joyce
02:09:35.200 –> 02:09:38.320
As I said in that thread, it reminded me of Vic Chesnutt,
02:09:38.320 –> 02:09:40.400
not just because they were both in wheelchairs,
02:09:40.400 –> 02:09:42.560
but he had a similar voice.
02:09:42.560 –> 02:09:44.360
I don’t know whether it’s a physical thing
02:09:44.360 –> 02:09:47.040
’cause Gaelynn Lee as well has a similar voice.
02:09:47.040 –> 02:09:49.880
It’s very plaintive, but I think it might be very head voice,
02:09:49.880 –> 02:09:51.880
very nasal, maybe the lack of muscles.
02:09:51.880 –> 02:09:52.720
I’m not sure.
02:09:52.720 –> 02:09:55.680
Very distinctive voice that I’ve heard
02:09:55.680 –> 02:09:57.400
on a few disabled musicians,
02:09:57.400 –> 02:09:59.040
and I don’t know whether it’s a physical thing
02:09:59.040 –> 02:10:00.600
or just a thing like that, I don’t know.
02:10:00.600 –> 02:10:03.120
And then before that, we had Ghosts in the Abbey
02:10:03.120 –> 02:10:05.240
by Elizabeth Parker from the new album.
02:10:05.240 –> 02:10:09.440
There is an album of her work called Future Perfect.
02:10:09.440 –> 02:10:11.840
Came out about a couple of weeks now.
02:10:11.840 –> 02:10:14.120
Really well worth checking out.
02:10:14.120 –> 02:10:16.720
I knew of Elizabeth Parker from the Radiophonic Workshop
02:10:16.720 –> 02:10:20.600
and I knew of her work and I knew she did Living Planet
02:10:20.600 –> 02:10:22.040
and Living Planet was a big hit.
02:10:22.040 –> 02:10:23.800
They released that on record separately,
02:10:23.800 –> 02:10:25.240
and things like that.
02:10:25.240 –> 02:10:26.720
But I hadn’t really checked her stuff.
02:10:26.720 –> 02:10:28.280
And actually, you listen to it now and you go,
02:10:28.280 –> 02:10:33.280
“Oh, you can hear all those influences for vapourwave
02:10:33.280 –> 02:10:37.200
for One Oh Trix Point Never, and all that sort of stuff.
02:10:37.200 –> 02:10:39.120
So she was really ahead of her time.
02:10:39.120 –> 02:10:40.480
Then before that, we had Fake Jew
02:10:40.480 –> 02:10:43.080
That’s their name, not me.
02:10:43.080 –> 02:10:45.440
With “Ghosts Swimming Pools”
02:10:45.440 –> 02:10:47.280
that’s Kendrick Lamar versus Presets
02:10:47.280 –> 02:10:49.360
So a little more of a beat chopping up.
02:10:49.360 –> 02:10:52.320
There aren’t that many mashups, hardly any.
02:10:52.320 –> 02:10:53.960
In fact, that’s it.
02:10:53.960 –> 02:10:57.680
And one or more, which is coming up shortly,
02:10:57.680 –> 02:10:59.840
of Presets – Ghosts.
02:10:59.840 –> 02:11:01.920
I’ve played them before and I wanted to play
02:11:01.920 –> 02:11:04.320
a mashup or a cover and I couldn’t find any covers.
02:11:04.320 –> 02:11:06.280
No one’s covered Ghosts by Presets.
02:11:06.280 –> 02:11:07.120
It’s weird.
02:11:07.120 –> 02:11:09.560
I would sort of someone would have covered it at some point
02:11:09.560 –> 02:11:11.640
on Triple J or something like that.
02:11:11.640 –> 02:11:14.680
No, that’s the only mashup I could find.
02:11:14.680 –> 02:11:16.840
That one, and so I made another one
02:11:16.840 –> 02:11:19.040
because I wanted to sort of fit with the theme
02:11:19.040 –> 02:11:23.960
and I am obsessed, still obsessed with Ghosts by the Presets.
02:11:23.960 –> 02:11:25.960
Very much talking about aging.
02:11:25.960 –> 02:11:29.120
And that’s kind of a running theme in this podcast.
02:11:29.120 –> 02:11:31.200
Then before that, we had one of mine,
02:11:31.200 –> 02:11:33.800
tbc aka Instamatic with Time to Hold On
02:11:33.800 –> 02:11:34.880
talking about time.
02:11:34.880 –> 02:11:37.520
That’s Kylie Minogue versus Pink Floyd
02:11:37.520 –> 02:11:40.520
Time versus Hold On To Now.
02:11:40.520 –> 02:11:41.920
I think that works really well.
02:11:41.920 –> 02:11:45.320
Some may differ, but I think that still holds up.
02:11:45.320 –> 02:11:47.520
And there is a video, if you go and look at the timbearcub
02:11:47.520 –> 02:11:49.760
mashup channel, you’ll be able to see that.
02:11:49.760 –> 02:11:52.720
A very rare video of my work.
02:11:52.720 –> 02:11:54.760
Then before that, from the new album,
02:11:54.760 –> 02:11:58.520
Through Trains that’s Mark David Hadley with Scratchings
02:11:58.520 –> 02:12:01.080
That was released about months ago again,
02:12:01.080 –> 02:12:02.600
or maybe a few weeks ago.
02:12:02.600 –> 02:12:05.840
You can find that on his bank account and buy a copy.
02:12:05.840 –> 02:12:09.720
It’s very good. It’s soundbymark.bankamp.com.
02:12:09.720 –> 02:12:11.840
And before that, we had LeeDM101
02:12:11.840 –> 02:12:15.400
with a bit of synthwave, meets John Denver.
02:12:15.400 –> 02:12:19.040
That’s LA Roads John Denver versus The Midnight.
02:12:19.040 –> 02:12:20.680
That’s fairly recent as well.
02:12:20.680 –> 02:12:23.320
And before that, oh no, not again.
02:12:23.320 –> 02:12:26.960
We had Blue Whale yes, The Blue Mammal Waltz
02:12:26.960 –> 02:12:31.960
by Tickle Tune Typhoon, which I had to play because, seriously,
02:12:31.960 –> 02:12:35.200
me and Hitchhikers and Whales and also QI.
02:12:35.200 –> 02:12:38.640
I’m a fan of QI, so “lue Whale is a running joke on QI.
02:12:38.640 –> 02:12:40.800
When is that going to come back?
02:12:40.800 –> 02:12:44.000
And that’s from 2000’s Singin’ Science
02:12:44.000 –> 02:12:46.360
Then before that, we had Elizabeth Parker again
02:12:46.360 –> 02:12:48.480
with Insect Revolt
02:12:48.480 –> 02:12:51.680
That’s from the recent compilation.
02:12:51.680 –> 02:12:54.440
And then at the start of that section,
02:12:54.440 –> 02:12:57.760
we had Waldir Calmon with Afro Son.
02:12:57.760 –> 02:12:59.960
Yes, you’ve probably forgotten about it now,
02:12:59.960 –> 02:13:04.960
but yeah, complete ripoff of Jean-Jacques Perrey’s EVA.
02:13:04.960 –> 02:13:07.000
With a woo, no, it’s supposed to be spacey.
02:13:07.000 –> 02:13:08.880
It sounds a bit ghosty, actually, but anyway.
02:13:08.880 –> 02:13:10.720
Ghosty space, space ghost, I don’t know.
02:13:10.720 –> 02:13:13.240
Brazilian composer I was right, it was Brazilian
02:13:13.240 –> 02:13:17.680
Again, something that I was planning to put in many podcasts
02:13:17.680 –> 02:13:19.040
and it never got there.
02:13:19.040 –> 02:13:21.080
So I hope you’re all well.
02:13:21.080 –> 02:13:22.360
This is the end of the podcast
02:13:22.360 –> 02:13:24.440
and I’ll play out with a track,
02:13:24.440 –> 02:13:27.320
another mashup of mine unusual amount of mashups,
02:13:27.320 –> 02:13:29.080
four mashups of mine, is that, or three?
02:13:29.080 –> 02:13:30.880
Is it four, is it three?
02:13:30.880 –> 02:13:33.080
No, three, three, yeah, that’s not too bad.
02:13:33.080 –> 02:13:38.960
So I decided to mash up the Presets – Ghosts
02:13:38.960 –> 02:13:41.120
with Cat Stevens.
02:13:41.120 –> 02:13:44.160
One of the mashups became about something
02:13:44.160 –> 02:13:45.240
while I was doing it.
02:13:45.240 –> 02:13:47.560
And it’s kind of a running theme in this podcast,
02:13:47.560 –> 02:13:49.200
not just the ghosts bit.
02:13:49.200 –> 02:13:52.640
And so this is “Ghosts of My Father”
02:13:52.640 –> 02:13:54.640
with the presets versus Cat Stevens.
02:13:54.640 –> 02:13:56.000
My dad’s still alive.
02:13:56.000 –> 02:13:59.840
The art of it is actually my great, great uncle Robert.
02:13:59.840 –> 02:14:03.720
So it is kind of related to family and genealogy
02:14:03.720 –> 02:14:06.680
and I’ve been doing a lot of genealogy recently.
02:14:06.680 –> 02:14:09.680
And yeah, Father and Son is a very meaningful track
02:14:09.680 –> 02:14:11.640
for a lot of people, partly because it was used
02:14:11.640 –> 02:14:13.640
in Guardians of the Galaxy,
02:14:13.640 –> 02:14:17.480
but it’s always been one of those interesting tracks.
02:14:17.480 –> 02:14:19.440
In Cat Stevens’ career.
02:14:19.440 –> 02:14:23.240
So anyway, I’ll speak to you soon and I hope you enjoy this.
The podcast currently has 172 episodes available.