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Friday, Oct 21 2016, 2PM
For the original track, "Yorke bought a house in Cornwall and spent his time walking the cliffs and drawing, restricting his musical activity to playing the grand piano he had recently bought. 'Everything in Its Right Place' was the first song he wrote on the piano, followed by 'Pyramid Song' (released on Radiohead's 2001 album Amnesiac). He said: 'I'm such a shit piano player. I remember this Tom Waits quote from years ago, that what keeps him going as a songwriter is his complete ignorance of the instruments he's using. So everything's a novelty. That's one of the reasons I wanted to get into computers and synths, because I didn't understand how the fuck they worked. I had no idea what ADSR meant.' Working on the song during the Kid A recording sessions, producer Nigel Godrich was unimpressed with the piano rendition of the song. One night, he and Yorke transferred the song to synthesiser and Godrich manipulated the recording in Pro Tools." bit.ly
Where Thom Yorke declares "The Gloaming" to be one of his favourite tracks: www.youtube.com/watch?v=vJMXlWDy8AI
Perhaps better known to the world at large as Fatboy Slim, though he very notably started his musical career as bassist for the Housemartins.
"The Velveleetes consisted of two cousins, two sisters and a best friend. Cousins Bertha Barbee and Norma Barbee were born in Shannon, Mississippi and raised in Flint, Michigan. Lead singer Carolyn Gill and her older sister Mildred Gill lived in Kalamazoo, Michigan. Betty Kelley was Carolyn's best friend. The Barbees had already form a vocal group the Barbees and had sung together for a number of years and even started wearing matching outfits. Bertha and Norma had already been on a record as background singers for their uncle, Simon Barbee.Mickey Stevenson produced the record which was "The Wind"/"Que Pasa" with both being written by their uncle. This was to be their only single and was released on the tiny Stepp label in 1957. The group broke up and Bertha enrolled as music majors at Western Michigan University in Michigan. After an impromptu session around a baby grand piano in the student center they formed a group consisting of about twelve girls." Read on: goo.gl
German for "Leatherneck," Ledernacken was actually the stage name of Folke Jensen, who performed mainly in the 1980s and 1990s with a number of successes, especially in the American "underground" club scene. The musical style of the first years was a mix of electronic, hard rock, dance floor, accompanied by ethno-African rhythms, and performed in German and English. Due to the ironic sexist and violent lyrics, it was hardly played on the radio and the band was therefore unknown to larger audiences. Their biggest success came in the form of the single for "Amok!" which was a club favourite.
Spelled "Das Modell" before its 2009 remaster, then changed to "Das Model," this song was recorded by Kraftwerk in 1978 -- a collaboration between Ralf Hütter and Karl Bartos with lyrical help from artist Emil Schult. Featured on the album, Die Mensch-Maschine (English version title: The Man-Machine), it was first released as a 7" single in Germany (B-side: "Neonlicht"), under its English translation the song was eventually included on the B-side of the "Computer Love" single released in 1981, which reached no. 36 in the UK charts. When radio DJs started playing the B-side, EMI re-issued the single in 1981—apparently against the band's wishes—with "The Model" as the A-side.
This track was produced by Conny Plank, who had worked with Kraftwerk. "'Konrad 'Conny' Plank was born in 1940 and passed away in 1987, and was a German record producer and musician. Born in Hütschenhausen, his creativity as a sound engineer and producer helped to shape many innovative recordings of postwar European popular music, covering a wide range of genres including progressive, avant-garde, electronic music and krautrock. bit.ly
This song was released as a second single from the band's first album (during their synth-pop stage), With Sympathy.
The first selection of the day from our guest Ken Shipley, former A&R manager for Rykodisc, representing Chicago-based The Numero Group. NG is an archival record label that creates compilations of previously released music, reissues original albums, and creates album reconstructions from a variety of musical genres. Better known as Numero, the company was founded in 2003 by Tom Lunt, Rob Sevier, and Shipley, and its focus has been to research and preserve obscure recorded material and ephemera by artists and entrepreneurs who found little commercial success upon their material's initial release.
In 2013, Numero became part of a partnership with Secretly Label Group.
Played from the test pressing released by Numero Group. From Numero: "Between 1979 and 1982, The Universal Togetherness Band tracked unearthly portions of their sprawling songbook for bewildered students in Columbia College’s audio engineering program. Storming the gates of Chicago’s premier recording studios, the erudite party band explored permutations of soul, jazz-fusion, new wave, and disco with little regard for studio rates or the availability of magnetic tape. Universal Togetherness Band captures the brightest, never-before-heard moments from this visionary group’s 5-semester recording bender. The attractive gatefold LP edition boasts magnificent reproductions of never-before-seen images from the archives of Chicago photographer Steven E. Gross. Meticulously mixed from the original multi-track sessions by Sean Marquand (Phenomenal Handclap Band), Universal Togetherness Band is presented in peak fidelity." bit.ly
"Born in Washington, D.C, pianist Shelton Kilby studied music at Howard University, Columbia Union College, and abroad in Idar-Oberstein, Germany, before relocating to Los Angeles in the early ‘70s to continue his studies in composition and orchestration at City College. Following a Shelton Kilby & Counterpoint 45 on Beegee in ’73, Spears brought Kilby, bassist Rob Brown, drummer Ralph Johnson, and guitarist Al McKay into Hollywood’s Bullet Recording Studio to cut a mix of traditional and original gospel songs. Their slung-back Rhodes-funk reading of 'Poor Wayfaring Stranger' is almost unrecognizable as a 19th-century spiritual, save for Myrna Matthews’ repetitive singing of the title over the song’s final minute. Kilby wouldn’t make it to the James Bullard era of Birthright, leaving in 1975 to arrange for the Breath Of Life television ministry." bit.ly
Covering the Talking Heads. Of the original, David Byrne has said, "That's a love song made up almost completely of non sequiturs, phrases that may have a strong emotional resonance but don't have any narrative qualities. It's a real honest kind of love song. I don't think I've ever done a real love song before. Mine always had a sort of reservation, or a twist. I tried to write one that wasn't corny, that didn't sound stupid or lame the way many do. I think I succeeded; I was pretty happy with that." bit.ly
This song was featured in concert film "Stop Making Sense" directed by Jonathan Demme, and according to the commentary track, the title "Naive Melody" refers to the music. "On the track, the guitar part and the bass part are doing the same thing throughout the whole song. According to David Byrne, many professional musicians would not play a song written in that fashion, and that is what makes the melody naive. Byrne played the lead keyboard solo. Bassist Tina Weymouth stated in the liner notes of Once in a Lifetime: The Best of Talking Heads that the song was created through 'truly naive' experimentation with different instruments and jamming. Weymouth played guitar, guitarist Jerry Harrison played a Prophet synthesiser (including the bassline), Wally Badarou used the same synthesizer to add the stabs, and Byrne switched between guitar and another Propet synthesizer, the latter of which he played using the pitch modulation wheel and 'campy' piano glissandos." bit.ly
A Tugboat remix! Of the original, bassist Tina Weymouth noted, "This song started from a jam. Chris Frantz [drummer] had just been to see Parliament-Funkadelic in its full glory at Madison Square Garden, and he was really hyped. During the jam, he kept yelling 'Burn down the house!' which was a P-Funk audience chant, and David [Byrne] dug the line, changing it to the finished version, 'Burning down the house'." (Bernie Worrell of Parliament-Funkadelic joined Talking Heads' live incarnation.) The initial lyrics were considerably different, however. In an interview on NPR's 'All Things Considered' aired on December 2, 1984, David Byrne played excerpts of early worktapes showing how the song had evolved from an instrumental jam by Weymouth and Frantz." bit.ly
"My Squelchy Life is Brian Eno's Smile -- an album that was completed, sent out to reviewers (with some reviews hitting the stands), then withdrawn suddenly by Eno, regarded as a minor effort. A year later, Nerve Net was released. Undoubtedly, Nerve Net is a more polished, adventurous, and mature album, but My Squelchy Life, is a splendid pop album, and a fine follow-up to his collaboration with John Cale, Wrong Way Up. Bootlegs abound of this album, but most of the songs found their way onto the Eno Vocal Box Set, including the dreamy 'Under' and 'Over,' and the upbeat 'Stiff.' 'I Fall Up,' one of Eno's darker songs, wound up on the B-side of 'Ali Click' a year later. So what's left? Deserving of an official release is 'The Harness,' a slow, pulsing number similar to 'The Roil, The Choke' from Nerve Net, all grandiose and golden. 'Tutti Forgetti' is a rhythmic workout similar to his work with David Byrne." bit.ly
Originally released in 1991, this album was recorded between 1989 and 1991. Kevin Shields, vocalist and guitarist, "dominated the arduous recording process; intent on achieving a particular sound, he experimented with guitar tremolo techniques and tuning systems, unorthodox production methods, obscured vocals, and sampled feedback and percussion. The group cycled through nineteen studios and a larger number of engineers during the album's two-year creation, with total recording costs rumoured to have reached £250,000." Wonder if he likes this version? bit.ly
Originally released in 1979 by English band Tubeway Army and written and produced by frontman Gary Numan, though it was not originally a hit. It was released as the first single from the band's second album Replicas, though was not a hit. Nevertheless, it has been performed by Numan regularly in his live shows throughout the years, and this cover by the Foo Fighters was featured in Songs in the Key of X: Music from and Inspired by the X-Files.
This track was specially remixed by Zeus B. Held.
The original version of this song is ambient, without percussion. "Writing credits for the song are attributed exclusively to David Sylvian, while instruments credits on the single sleeve are attributed to Sylvian, Richard Barbieri and Steve Jansen, therefore excluding fourth band member Mick Karn. The lyrics describe deeply personal feelings. Sylvian has since said to Mojo that 'Ghosts' pre-empted the band splitting up: 'It was the only time I let something of a personal nature come through and that set me on a path in terms of where I wanted to proceed in going solo.'[Bereft of drums, the minimalist track would not be described as a 'commercially viable' single in most circumstances. However, Japan's popularity at the time, in addition to the early 1980s fashion for new wave music, allowed the single to become unexpectedly popular. In Smash Hits, Tim de Lisle described the single as 'arguably the best thing they've ever done –slow, spare and mesmerising.'" goo.gl
Originally written by Robbie van Leeuwen and first released on Shocking Blue's album, At Home in 1969. The song was later covered by Nirvana, who released it as their debut single in 1988.
From a tribute album featuring songs by Nirvana. Released by Robotic Empire for Record Store Day on April 16, 2016, it concludes a series of Robotic Empire Nirvana tribute albums, which also includes 2014's In Utero, in Tribute, in Entirety (a tribute to In Utero) and Whatever Nevermind (a tribute to Nevermind).
Remixed by Damian Taylor and Arcade Fire. "After working and travelling full-time with the Icelandic singer Björk from 2005 and 2011 on two albums and an extended world tour, New Zealand-born Damian Taylor settled in Montreal, where he custom-built his own studio, Golden Ratio, in the city's Mile-End neighbourhood. The studio was designed with acoustician John Brandt. Taylor's Grammy-nominated projects include Best Alternative Album for Björk's Vespertine (2001) and Volta (2007), Best Dance Album for The Prodigy's Always Outnumbered, Never Outgunned (2004), and Best Remix for Sarah Vaughan's 'Fever' Adam Freeland Remix (2005). Taylor has worked with notable artists such as Austra, Diamond Rings, Kasabian, Frou Frou, Stateless, South, The Whip, Freeland, Young Love, Robyn, The B-52s, The Boredoms, The Killers, and Arcade Fire." bit.ly
The WLD PTCH Remix. Released to celebrate Record Store Day 2011.
A remix of Joy Division's "A Means to an End." Wonder if Ian would have liked this, because we kind of totally love it!
"Prince promoted the song by lip-syncing it with his band on The Midnight Special and American Bandstand, where he gave host Dick Clark an awkward interview, answering his questions with one-word answers. Prince claimed to be 19 but was 21 at the time. Clark later said, 'That was one of the most difficult interviews I've ever conducted, and I've done 10,000 musician interviews.'" bit.ly
Lee Majors, born in 1939, is best known for his roles in television classics Big Valley and The Six Million Dollar Man. "He was born in Wyandotte, Michigan, a suburb of Detroit. His parents, Carl and Alice Yeary, were both killed in separate accidents (prior to his birth and when he was one year old, respectively). At age two, Majors was adopted by an uncle and aunt and moved with them to Middlesboro, Kentucky. He earned a scholarship to Indiana University, where he again competed in sports. Majors transferred to Eastern Kentucky University in Richmond, Kentucky, in 1959.He played in his first game the following year, but suffered a severe back injury which left him paralyzed for two weeks, and ended his college football career. After college, he received an offer to try out for the St. Louis Cardinals football team. Instead, he moved to Los Angeles and found work at the Los Angeles Park & Recreation Department as the Recreation Director for N. Hollywood Park." goo.gl
Founded in Seattlei n 1969 by Luther Rabb (bass and vocals) and Ronnie Hammon (drums), and hugely inspired by their childhood friend, Jimi Hendrix.
