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

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Hello welcome to 2 Radio Clash, this is 392, and it’s Burnout and the Big Freeze.

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Hello and welcome to Radio Clash, this is 392, and it’s The Burnout and The Big Freeze,

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and that was The Staves with All Now, which was released a couple of months ago, and I

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heard a lot on 6 Music, and I tend not to repeat what’s on 6 Music, but I heard again

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recently when I was putting together this podcast and I was like, that really sums up

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what my January has been like, the lyrics about “Be the brand empowerment I’m supposed

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to be.

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I’m supposed to be.

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Bitterness is fine only if nobody can see.

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Isn’t it exciting?”

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Yeah.

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I love the sarcasm in that.

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Suddenly check out the video as well.

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Everything is a happy song about, you know, being in the moment.

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Yeah.

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Check out the video, and yeah, you’re not correct at all, and it mentions the new year, so it’s

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got the whole sort of, “You can go wild, dear, but happy new year.

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Have a happy new year.”

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And that’s how I feel about 2024 so far.

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I’ve already screwed up my knee, lost my wireless microphone, and gained it, gone on a 45-mile

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hike, which was supposed to be a 100-mile hike, and then had to bail because of the knee

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and the microphone, and my channel is tanked.

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People have stopped subscribing to my channels, my YouTube channel, my hard-up hiker channel.

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There’s just been a bit of burnout on that, so not only have I been camping in the big

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freeze, I’ve also had the classic content burnout.

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Everything’s supposed to be happy, happy, joy, joy.

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Everything’s supposed to be like, “Yeah, it’s fine”.

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People are slagging me off in the comments.

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It’s fine.

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Everything is going to shit.

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Let’s just play while the Titanic sinks.

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And that seems to be the same in UK politics.

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We’ve just had Blue Monday, and I think a lot of people are struggling, so this is a new

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year’s podcast with probably a bit of an existential twist, but not so existential, though it doesn’t

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mention being old and tired and in the bones is Pimp Daddy Supreme’s Bubble Bottom Girls,

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Queen and Major Laser Featuring Tyga, and I was Tyga, Tyga, with a Y, not that

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Tiga.

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There’s two tigers.

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There’s Tiga with an I, and there’s Tyga with a Y, different person.

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And this is from 2013, and I missed it, but it was played recently, and I was like, “Oh,

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that’s very good”.

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So anyway.

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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

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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.

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Brilliant album, 2023’s Cacti, very kind of downbeat, I hope she hasn’t left the music

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industry.

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Tori Maes, I think, I know it’s Tori, I can’t remember her last name, is Maes, I think.

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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.

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No one says anything, even though she’s in total major label whore, so, you know, seriously,

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in 2024, I’d give no fucks, I’m not going to censor myself, but you know, I think Self Esteem

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is seriously overrated massively.

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Very funny when interviewed, it’s a bit like Noel Gallagher, music way, way, way over it.

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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

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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.

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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.

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It’s weird because that’s 2017, it sounds like something should be in 2020, talking about

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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

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are dying.

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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

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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.

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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,

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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,

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well, you know, you pay for a price of fuck off. It means there’s a whole bunch of society

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that can’t afford to go to these spaces and it means, you know, the artists on stage are

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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

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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,

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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.