Radio Clash Podcast

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Starting now.

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And let us begin.

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Hello, welcome to Radio Clash. This is 390, and it’s been a while.

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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.

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One is one where sleep doesn’t really help, you just have to rest.

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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.

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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.

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And then at start we had DJ Spud with AI Pop Revolution, a dig at UMG on this podcast.

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Whoever heard of such a thing?

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And the podcast is called Wreck The Joint after a track played later on.

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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.

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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.

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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.

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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.

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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.

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You know, they want to do the copyrights like UMG Mozart heard it once and then scribed it from memory.

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That’s how much Mozart was a genius. So this is Thylacine with Allegri.

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that was Courtney Barnett with Dead Fox

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from 2015.

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Her album, Sometimes I Sit Think and Sometimes I Just Sit, classic.

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So I didn’t play that before, and it suited the ecology vibe, but the weird thing is,

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I did not put any of that mix together with that idea.

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It just happened, and I was listening to it and going, oh, that’s what this is about.

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Yeah, sometimes these things are in the back of my mind. I’ve been doing YouTube videos on my hiking channel.

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I am The Hard Up Hiker, which is at Hard Up Hiker on YouTube.

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And if you’re into hiking or camping or wild camping or stealth camping, she’s all, then check me out.

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But I’ll be doing stuff about greenwashing and green, and I think I’ll leak into that mix.

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Something that’s very close to my heart, climate change and all that lot.

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And I’ll let the music speak for myself, really.

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And then before that, we had kleptocracy from the new album Bauhaus Staircase from OMD.

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And yeah, it’s nice to have OMD back, and also a political OMD.

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Which is not something we have been for a very long time.

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I mean, it’s kind of sometimes been in there, but yeah, not until the early days,

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when they were that post-punk and fiery talking about, well, various people.

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I think Trump is one of them.

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And corruption that’s happening around the world.

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And even a bit about Khashoggi being chopped up at the embassy and stuff like that.

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Yeah, there’s lots of stuff in there. I need to look at the lyrics, decipher it all, actually.

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And Saudi money and all that sort of stuff.

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Yeah, it’s sort of all creeping into all of our lives. It’s disturbing.

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Then before that, we had Logan Lynn with Baby Britain from his album New Money from 2022.

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And that is on Kill Rock Stars.

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So I think he felt like he had to do an Elliot Smith cover.

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But you know, Electro Elliot Smith, that’s a brilliant idea.

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And also, it shows how much of a bouncy pop song it is,

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even though the lyrics are about the United States and how fucked up it is.

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That is what that song is about.

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But also, when I first heard it, I didn’t hear it as that.

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I heard it as kind of reflecting the small-minded attitudes in Britain,

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you know, the little Britain thing.

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So it’s kind of got two things I know it’s supposed to be about.

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To me, it’s also about that almost like tries to be the United States part of Britain,

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the pharages and all those people.

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And then before that, we had that sort of acid sections weaving in and out.

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That’s Paul Funk with Don’t Make Me Wait for Acid,

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which we never want to wait for acid.

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That’s 2016’s album Aci 88, which is like a compilation.

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I’m not sure when it actually came out.

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Then before that, of course, I’m going to have a few curveballs in there.

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That’s My Blue Vird, Rendez-vous from 1977.

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And that’s one of the random cosmic dudes tracks.

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I’ve already talked a lot of times about the amazing massive directory of

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“cosmic” sort of electro, prog, disco, weirdness.

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I think it was a Russian compilation because there’s Russian things in there,

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but don’t put that against it.

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That’s well before all the invasions.

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And I’ve been mining that for years.

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It’s just a wonderful, soul-seek directory,

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which is full of real stuff you would not have found in a million years.

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And that is kind of proto acid, that verbally synth line,

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disco arpeggiation, but it has quite acid.

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Then it goes into that sort of cheesy funk sections,

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but they’re wonderfully cheesy.

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And then sort of the whole cheesy disco thing,

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nothing wrong with cheesy.

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We love cheesy disco.

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And yeah, and it goes very expansive and it goes back to that.

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I like that.

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I like that.

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Then before that, we had not acid,

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but certainly disco was Giac with his mashup,

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Lost In Too Much Music, Sister Sledge versus Jake Shears.

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I don’t know the Jake Shears track.

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I know it’s a new track.

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I think it’s called Too Much Music.

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I think I’ve seen the video even,

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but I need to properly listen to it.

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I’ve kind of lost track with Jake Shears post Scissor Sisters, I have to say.

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And then before that, we had the song on which name this podcast,

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although spelt rather differently,

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Reck The Joint by Adonis.

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That is a classic from the compilation is 89,

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but I think it’s a bit early than that.

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I think I think it’s 88 or 87.

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It’s that sort of peak period of acid house.

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Then before that some modern asset house from Type-303.

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I haven’t played Type-303 for a long while.

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That smile from a new EP called Take Off.

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There are certain people who I keep tabs on

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and Type-303 is one of those.

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I really like what they do with the modern acid sound.

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Then before that from also from acid,

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88 I think although there might be two albums called Acid 88.

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I say, oh, that’s really bizarre.

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So there’s a 2016 Acid 88 album,

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but there’s DJ Pierre presents Acid 88, Vol three.

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Oh, I see it’s a third in the series.

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Yeah, as you were.

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That’s Hunter Lombard with Unlocked.

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I like the sort of breaks acid feel of that.

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Then another track from the OMD album.

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That’s Anthropocene.

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And that reminds me of minimal by Pet Shop Boys,

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which is where I like it.

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But I like the use of AI.

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It’s not really AI voices.

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It’s TTS voices getting very geeky.

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Those are the TTS.

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I think it’s called Charles, I think it is.

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I’m showing my geekiness.

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I’ve been looking into text to speech for a long time

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and playing with it for a long time.

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I have not much just come out with it,

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but I’m waiting for that time

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where I can just type the podcast and I have to say it.

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We’re almost there.

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Almost there.

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You know, I mean, I’ll probably still say it anyway.

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It’s very quicker than typing it.

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Things like corrections or just, you know,

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being able to, you know,

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back to the Amiga days I was playing with stuff.

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Yeah, I think that’s a TTS voice rather than AI voice.

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It sounds a bit more robotic.

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Talking about, well, it’s interesting

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because I’ve been doing during this walk

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sort of three days, two nights of wild camping.

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It was all through Neolithic landscapes

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on the South Downs Way.

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I went to Chanctonbury Ring.

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I was going past so many.

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I slept next to Tumuli.

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Tumulus, Tumuli.

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Tumulus, I think it was Tumulus rather than Tumuli

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because it was one of them,

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but there was actually, I think,

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another one over there.

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Over there.

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So I got up on Tumuli.

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Tumuli.

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So much Neolithic chiseled.

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That’s kind of pointing out how, you know,

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walking over all these things

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which are changed by human hands

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and how that is at risk

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and the current scheme of things.

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I’m amazed that I put all these songs together.

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You know, and I put it next to Supernature,

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which is the only reason I’ve got Supernature in

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is because Duran Duran covered it

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on the latest album which came out

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at the end of October.

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Danse Macabre, that in quotes goth album.

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Then some more disco, I would say.

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Disco goth, Black Disco, I don’t know, Dark Disco.

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So it has a few goth bits,

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but you know, it’s not that goth.

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Black Moonlight’s very good.

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And that one, I really like their cover of

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Cerrone’s Supernature,

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but I forgot.

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I was not listening to the lyrics.

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It’s a song I love dearly,

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but it is about people

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screwing up the environment

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and trying to accelerate the growth of things

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and then creating monsters through messing with,

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you know, I mean, Cerrone was ahead of his time,

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GM crops and stuff, you know, so, yes.

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And then before that, a cover, another cover,

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by Taggy Matcher, which I heard on Dandelion Radio

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very recently and was like,

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“Oh, I’ve got Supernature.

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Oh, Supernature.”

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You know, so that’s Supernature featuring Phoebe Killdeer

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I think it’s Kildeer.

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I mean, it’s not a very fortunate name for,

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I think it was a single,

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but it’s also from Disco Reggae Vol 5.

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I’ve played quite a few of the Disco Reggae things in the past.

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I like Taggy Matcher’s style, covers and originals,

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but sort of like Disco meets Reggae thing,

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which I really like a lot.

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And the start section, we had Allegri’s Miserere,

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as covered by French trans producer Thylacine

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on 2020’s Timeless,

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doing the whole William Orbit thing, really.

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It’s very much in the William Orbit

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as remixed by Ferry Corsten’s sort of vibe.

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A few people have done that classic, you know,

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I mean, obviously, you’re all back to Wendy Carlos.

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I always like to shoe on some classical stuff in here,

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because we like to pretend we’re a little bit more refined

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than we really are.

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So yeah, I wasn’t really expecting that accidental rumination

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on corruption and the state of the world.

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It’s a bit of a heavy mix.

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During that, I found out about Logan Lynn

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and off the 30 years of Kill Rock Stars album,

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looking for something else.

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I checked out the whole album and then found this song.

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It has a brilliant video.

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Found the cover, the Elliot Smith cover off of that.

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It doesn’t mix that well,

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but it does kind of follow on from the previous bit.

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There’s a few more message tracks, a few more,

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and then we’ll swerve into something else.

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So this is Rich and Beautiful by Logan Lynn.

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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.

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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.

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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

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know why. I didn’t know until many years later she was on The Voice, but I really don’t know why.

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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

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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.