RC 375: Home for Christmas

Hello and welcome to Radio Clash. This is 375 and it’s home for Christmas. Yes, it’s
a Christmas episode, sorry.
Hello and welcome to Ready Clash. This is 375 as I said and that was the Sadellites, not Satellite,
Sadelites but SAD from their excellent Santanista EP, that’s Christmas song,
Spanish Bombs by The Clash, but we’ve all felt it. In fact, I saw Christmas
Things in September this year. So this is a grudging Christmas episode. We’ve got, I would say,
quite schizophrenic mix of mash-ups, but not necessarily all pro-Christmas metal. I attribute
to the sadly departed Christine McVie of Fleetwood Mac. I am still gutted about the death of Christine
because her voice meant a lot to me. And festive sadbangers, festive drum and bass,
festive punk, indie and downtown post. You name it, it’s in here. So stick around, especially
if you are trapped somewhere during the festive period. This is a perfect mix, I think, for that
because bar humbug, we always have a mixed feeling about Christmas and New Year around here
because of my childhood. I didn’t really feel like doing a ha ha ha ha. Oh, it’s great. Ho ho ho.
Did not feel like doing that at all this year. It’s having a very austere Christmas, having a
lockdown Christmas number three, actually, for financial reasons. But there will be some happy
Christmas songs, but expect everything to have a bit of a twist. So I talked about the festive
drum and bass. This is it. This is all I want for Christmas. Ah, I hear you groaning, especially
those people who are doing the, was it, Mariahmageddon? And if you’re doing Whamageddon,
we won’t be playing the originals and remixes and mash-ups and covers don’t count in any of that.
I’m not a fan of Whamageddon because I actually quite like that song and it seems to have
erased it from the airways. Whereas the one I really want to erase, even though I did a mash
with it back in the day, 14 years ago, 15, 14 years ago, is All I Want For Christmas Is You.
But I like this version. This is Gold Dubs and Raggamuffin featuring A Little Sound.
I love this.
Playing in the background is Santa Claus with a W and the naughty but nice orchestra holiday.
Which I couldn’t fit in, but I was checking out. Yes, someone’s done a Metallica, ACDC
and Green Day Christmas albums. They are bizarre. That was Oki with Crumplmas theme.
And that was from Crumple Mass. It was the 9th anniversary of Crumple Mangersman back in November,
but obviously it feels Christmasy as well. And I love that vocal. Are you having fun?
I’m sure it’s generally meant, but yeah, I’m adding that ironically.
Before that we had Joe Goddard with Home, with our common name the guy, and of course it isn’t tagged in here.
Yeah, it’s Daniel Wilson. I wish people would actually put that in there. I know it’s changed a lot recently.
Now they actually do put this sort of stuff in the tags, but I hate how previously people didn’t do that.
It’s very annoying. Then before Home, as you might have guessed, with the name of this podcast,
there is a Home theme running through. And I explain why at the end.
That was one of mine, which is not really a festive mash-up, although it got played by Adriana for the mash-up listening hour,
festive Christmas album selection thing. And it was like, I’m very honoured, but it’s actually the wrong kind of holiday.
But it is meant to be. I mean, the name Bad Holiday goes on and on.
It’s supposed to be about those kind of holidays where you wear is much, even though it’s very uptempo itself,
it’s Bad Habits Ed Sheeran, which actually, I get to like Ed Sheeran. That’s a big confession.
With Madonna, a track called Beat Goes On from Hard Candy, and obviously Holiday by Madonna, the classic,
versus The Whispers and The Beat Goes On. I have to say, I didn’t invent two of those combos, The Whispers versus Madonna,
but I did invent the rest because I don’t think anyone’s mixed Ed Sheeran with Madonna’s Holiday or The Whispers.
But yeah, the Disco Purrfection and a few other people did a version of that.
Then before that, we had I Will Battle from his recent Now Christmas compilation.
That’s, I Believe In A Wasted Christmas, Greg Lake versus Tiesto. Tiesto, right? It’s got an umlaut.
It’s a little space in the ID3 tags here, obviously, but it can’t cope with the little umlaut.
Yeah, that’s probably the first time I ever played Tiesto on this thing. It sLowd down Tiesto.
Maybe the original was that slow, but I doubt it. Almost like Trans Newbeat.
There was, I believe, in Father Christmas, Greg Lake section there with PiecesofEight before it,
with Father Christmas, I’m Coming Home, that’s Greg Lake versus Ozzy Osbourne.
Yeah, it’s one of my favourite Christmas songs of all time because if you look at the video, if you look at all the stuff around it,
you’ll realise that it wasn’t actually written as a Christmas tune.
Listen to the lyrics, you can see that it’s actually an anti-Christmas tune.
So I love the fact that it’s a Christmas tune. It’s not every compilation, but it’s kind of hopeful.
But yeah, there’s the whole thing about the Christmas you get.
And in the video, it shows all Middle East War, which was very current at that time,
and just after the Yom-Kippur War and all that, and various things.
So yeah, it was a difficult time in 1975.
So yeah, it is not as sort of cuddly as, you know, say, wizard or slave, although I’m not against those.
But it also includes a little bit of Troika, portion of Prokofiev’s Lieutenant Kijé Suite from a 1934 Soviet film.
Yeah, not necessarily Christmas-y either.
It’s described by Peter Sinfield as he picture postcard with morbid edges on Wikipedia.
I believe in Father Christmas with Greg Lake and also Koro Landermake-Believe, which was also another Christmas hit,
even though it wasn’t a Christmas song, anyway.
And then before that, we had a last Christmas section.
That’s Ian Fondue with, like, Christmas Day, St Etienne versus Wham.
It’s interesting because I got that St Etienne compilation, the one which has, I was born on Christmas Day on it, at Christmas.
I always associate a lot of St Etienne songs at Christmas, even though I knew some of them beforehand.
I really got into Christmas that year.
I kind of did get in Christmas that year. Actually, it was a good Christmas that one.
I was one of the ones where I discovered alcohol and weird cocktails and having friends around for Christmas, and that was good.
So both songs, Christmas songs for me, I love that greatly.
And then we had Doug F with One Last Christmas that’s Wham versus Metallica’s One,
which to me was counterpoint to The PiecesofEight one.
And I forgot to say, The PiecesoofEight actually has a intro from a film by Brandon Rogers,
the bit of the star where he goes, you know, I hate you.
I thought it sounded like Kids in the Hall, but it’s very Kids in the Hall-like.
It’s called Christmas in Hell. It’s on YouTube. It’s by Brandon Rogers. Check it out.
It’s quite eerie and also very appropriate for this time of year.
And then at the start of that section, we had Gold Dubs and Ragamuffin featuring A Little Sound.
That’s All I Want For Christmas.
So we’re going to go into a more of a, well, we would have been hinting at the metal dimension at the starT.
We’ve had a few metal mashups and we’re just warming up.
Oh, yes, we’re just warming up with that.
So here is a track that should really need no introduction on this podcast.
And it’s by Santa Sabbath and I’m surprised I haven’t played this one before.
I’ve played a few of theirs over the years.
This is from 2015 and it’s Sweet Tree.
And that was Rob Halford.
Yes, that’s Halford, his band with We Three Kings.
He did a whole Christmas album.
Yeah.
God rest you, Merry Gentlemen.
A Come All You Faithful & We Three Kings.
Yeah, it is verging on hilarious, hilariously bad and brilliant.
I don’t really know where it sits.
But that’s from 2009’s Winter Songs.
I mentioned the dates for things and stuff, but actually pretty much everything was to 2020 or 2022.
The exception of the home track by Joe Goddard, which is 2017, but everything was new shizzle.
It was new shit.
Oh, yeah, some of the Christmas mashups were 2021.
Yeah, we’re getting into older stuff now.
This is a problem of Christmas song podcast.
So I’m doing one this year and this might be a long one.
But the real difficulty is I’ve played a lot of the decent stuff in previous years.
We’re talking, well, not 18 years because I had a three year gap.
So 15 years of Christmas podcasts.
The cupboard is pretty bare at this point.
So I had to look quite deep and also rely on newer mashups that hadn’t paid before because we have a no repeat rule on the podcast.
And I’d say thank you to DJ Riko.
That’s R.I.K.O. for his mix mass compilations because most of this was actually pretty much set.
But it was, I’d say, lacking something.
And so I dived through his mixes back to 2019.
He does them every year.
I didn’t copy it.
I think maybe one of these was a track from the play before.
The rest of them, I heard something and went, oh, and then as you went and checked out the band camp or the album, I quite often liked a different track.
So we don’t just lift people’s tracks.
So one of those was Santa Claws And The Naughty but Nice Orchestra, which I mentioned before.
He had a track playing Hell’s Bells, which I was like, I don’t know.
It wasn’t really Christmasy enough, but Master of Puppets by Metallica was very big in 2022.
This is a bit of an end of the year show.
So, you know, it has the element because of Stranger Things, Eddie and Stranger Things and everything.
And there was a certain moment, I wouldn’t spoil it, but there was a certain moment in Stranger Things.
And there was another moment Stranger Things, which we’ll later on get to another song relating to that.
But yeah, I was a big fan of Stranger Things 4 this year.
So it was, yeah, it was all about that, the middle of it.
This element of the caretaker in there, using old school jazz record, making it all sound grungy.
It’s actually a bit like guitars.
You can hear that electro-swingy orchestra, although some of it sounds like those old lullaby albums.
You know, you get like, Tool lullaby album or Korn lullaby album.
You know, there was millions of them.
They always had that sound.
I would say those are the bell sounds and a little bit too midi for liking, but no, very well put together.
I bet you weren’t expecting to hear a Christmas Master of Puppets song outside of a mashup.
Most people were saying on booties someone came up with the idea which did you know, had come up with already, which is Master of Muppets.
That kind of, that’s not an original joke.
If you look on YouTube, people have made that reference.
But usually tracking Master of Puppets to Muppets things.
But I went through all the Sesame Street and Muppets songs I knew of, and I couldn’t find anything to work with Master of Puppets.
Also, Metallica is just a kryptonite for me.
I have trouble with their timing.
Them and Black Sabbath and Slayer, I find really difficult because none of these speed up and slow down.
Double flams, sort of syncopated drums.
It’s very hard to know where the bloody beat is.
Well, there’s lots of beats, but where the one is.
Yeah.
And then before that, we had The Dollyrots with I Saw Mummy Biting Santa Claus.
Which I don’t know if I’ve mentioned on the blog before.
I know I had mentioned Santa Sabbath before.
I don’t know if I’ve mentioned that one before I posted the video.
I haven’t played it.
And that’s from 2014.
I’m on the Master of Puppets and all of the Santa Claus and Naughty with Night Orchestra from 2007.
And they did three albums in one year.
I was expecting them to be spaced over several.
No.
I think that one was played on a previous DJ Riko mix, not one I listened to.
But he was playing another Dollyrots song, which was like, they’ve done a whole Christmas album called The Very Dollyrots Christmas.
Which you can go and download pay as you want from their bank account.
So yeah, check them out.
Then before that, we had The Myrrhderers, Carol of the Bells.
And I say murderers in that, you know, frankincense and murder sense.
Myrrhderers
Myrrhderers
Myrrhderers
Sounds a bit Liverpoolian, doesn’t it?
And that’s from 2020.
The Myrrhderers Slay Christmas.
This sort of 90s punk version of Christmas songs.
But I like them because it does sound very rough, but also quite scary, also quite shouty.
It’s one of the problems with a lot of the punk Christmas things or indie Christmas things.
They play it very straight and it’s all like, no, don’t do that.
You know, it’s Christmas.
And also if it’s a classic, you mess with the lyrics and you can do things with it.
I think I mentioned before, Carol the Bells is, it’s actually based on the very old Ukrainian hymn.
That’s very old.
I mean, we’re talking middle ages or maybe after middle ages, but there’s some evidence it might be a really, really old song.
It’s a strange song.
The lyrics itself, the lyrics are put to it because the tunes are much older.
It’s about a sparrow flying east or west or something like that in the wind.
A sparrow in the wind.
It’s a very sad song.
It’s basically a sad song.
And then before that, and that’s our section, we had Santa Sabbath with Sweet Tree.
And that’s the 2015’s Children of the Sleigh.
And again, you can find Santa Sabbath on Bandcamp, along with the murderers and dolly rots.
Not the Santa Claus orchestra.
I don’t know where you’d find that.
Probably at all good record shops.
Like, all worse.
At our price.
That’s references for the kids, aren’t there?
So, I mentioned I was going to play a track relating to Stranger Things, the other track.
Weirdly, I hadn’t played it before.
It got dropped from the Stranger Things related show.
I did actually put it next to I Will Battles mashup and then dropped it.
So, I thought I’d played it and I hadn’t.
But at first, just like the 8-bit you’re hearing in the background, the Christmas chiptune by Zam,
which is, again, I will play it properly at some point.
As ever, I’m playing a lot of backgrounds because of stuff I can’t actually play because I don’t have time.
So, this is Videosex, they’re Eastern European.
And this is Computers First Christmas Card.
That was Silent Night by Psychostick.
Yep, them of the Beware the Beard and Zombie, Santa Claus and various other tracks.
Always loves Psychostick.
Then before that, we had a new mashup from me that’s Instamatic.
Santa’s Still Breathing.
Still Breathing at Christmas is the subtitle.
That’s actually the real title, but that was a bit dark, calling it that.
Although, it is about that.
That’s Sia vs Green Day.
Still Breathing vs Santa’s Coming for Us.
I want to do a death metal track, and the sources I have don’t really list the key of death metal tracks.
I think there would be a good death metal track, Santa’s Coming for Us.
But, you know, I got some of the bittersweetness in there because Still Breathing is about surviving,
although it became a bit of an anthem for me during the pandemic.
So, a personal thing there as well.
And that goes out to the people who are going to have to survive Christmas.
The people who find Christmas hard, but also a toxic minefield, or a literal minefield.
A physical, emotional, whatever.
Yeah, I see you, I hear you.
Been there, done that.
It’s shit.
Just get through it.
Keep breathing.
Survive it.
People make jokes about it, but Christmas is hell.
I’m just like the video.
A lot of my Christmases were the latter, so hence why it’s bittersweet for me.
And that’s why a lot of the mashups I’ve made this year have been about that.
They’ve been festive sad bangers, but also they’ve been about surviving that and dealing with the fact
that Christmas is not the greatest time of year for a lot of people.
It’s a weird time.
And then before that, we had Maximum the Hormone, the Japanese group,
with Alien, or A-L-I-E-N.
I can’t read the Japanese, obviously it’s originally in Japanese,
but that’s the translation from it.
Check out the video for that.
You can find it, but you should be able to under Alien.
Like the Diablo Swing Orchestra, they do a lot of that mixing and changing,
switching of genres, which is brilliant.
So they’ll do like suddenly go into a electro pop,
or suddenly go from death metal to a power punk track,
and back again, and keep switching.
There is a track I was going to play, which I’m not playing in this podcast,
from the Chainsaw Man manga.
It mixes about three or four different genres in one two minute track,
and it’s brilliant.
I love the glitchy bits, and yeah, yeah, brilliant.
I’ve been listening to a lot of Maximum the Hormone.
A bit like the idle stuff, I like the stuff that mixes the sort of the more sweet,
acuter, kawaii, cutesy stuff with the real evil death to metal.
Then before that, talking of similar, we had PiecesofEight with MC Ride,
Spitz Bars at a sax quartet playing at a NYC shopping corner on December 21st, 2021,
with Death Grips versus All I Want for Christmas is You, and it’s just the brass parts.
And that was done in 2020, even though it says 2021.
And it was bottled to Sowndhaus about two weeks or a week and a half
before the capital invasion, given the time.
That’s totally apt.
Urban Warfare was kicking off, so it’s of the time.
Same with the Metallica track at the start of the podcast.
There seems to be a thing about war sounds, or indeed,
putting MC Ride from Death Grips doing Tachyon,
it’s over kind of cutesy things, which is very similar to what we used to do
to Thomas the Tank Engine, and I know they do as well,
and LL Cool J’s Mama Gonna Knock You Out and all that sort of stuff,
putting a very hardcore, violent rap over cutesy stuff.
There’s a long history of that, but I like that a lot.
Partly because it does sound so chaotic and reflects the times we live in.
This is the reason why I can’t do the cutesy shit anymore for this year anyway.
I struggled with that with the last two from last year,
because I had a more metal one, which was more me.
Although not really a metal version,
but the metal has the more dark side in their tracks,
and then the mash-up show was much more, yeah,
I found a bit alienated from that whole thing.
So I’m trying to mix the two in this podcast.
Then before that, we had Rock Sugar with Don’t Stop the Santa Man from 2015.
Well, weirdly, it didn’t lead us to track that down,
and then I’ve realised it was actually on a Bootie compilation.
It’s actually on a very Bootie Christmas 4.
I’ve just had a track on a very Bootie Christmas 7, which has just been released,
which I’ll play later on.
Well, where can I find that? Oh, it’s on Bootie.
I don’t know if it was a Bootie special for that compilation,
but Rock Sugar do that mixing different hair metal and classic rock
and even pop in one track.
Oh yeah, it’s a very mash-up approach.
And then before that, we had from 2007,
yeah, that’s Wax Audio’s mashing up that hell,
Kate Bush versus Prince,
which I actually only was aware of earlier this year.
Given that it’s done in 2007, it’s impressive how mixing two tracks together,
there was no AI stems or even parts at that point.
I don’t know if the rock bands still have a leak,
but those tracks aren’t in rock band.
Not being rock, they wouldn’t be.
It’s a masterclass filtering and probably centre extraction
and all that kind of thing, you know, trying to work with what you’ve got.
I don’t want to sound like an old Fergie and go,
oh, you kids today, but there’s something about those early mash-ups
where you really had to work with nothing or very little.
Those restrictions became part of the sound
and I’ve recreated mash-ups I’ve done using the more modern technologies
or the modern stems that are available.
And it doesn’t sound the same.
You need that lead and the artefacting and stuff.
It’s part of the sound.
It may seem really strange to say, but it became a thing in itself, a genre.
And then at the start of the session, we had Videosex.
Oh, we didn’t have Videosex. No, I don’t know you.
With Computer’s First Christmas Card, that’s from 1991.
And I was saying, oh, we’re Eastern European, they’re Slovenian,
former Yugoslavia.
And I have played a track from that album before,
their cover of Space Lab on it, which I’m pretty sure I’ve played.
And again, that is a track which has been holed over from so many Christmas shows
because it just seemed too bizarre, too industrial,
sort of industrial electro-pop, even a little bit Belgian new beats.
So, yeah, it seems to be based around a computer
trying to create Christmas slogans, we’re getting it wrong,
it’s Halle Berry, Chrysanthemum, but it seems to be perfect for this Christmas.
With the strangeness of modern times, yes,
we’re going to write a Guardian article about that.
So, I’m going to play a track again.
I mean, some of these tracks, I’m like, I check and I go,
I never played that? What? What? What?
What? You know, because I’m a bit like the Wax Audio track,
I assume I’ve played it and I haven’t.
And amazingly, and maybe because I was avoiding major record labels at that time,
and I still kind of do, you know, just a lot of indie tracks in it.
I never played a track from Low’s Christmas EP,
and we lost Mimi this year.
Along with Christine McVie, that’s been a sort of double blow for me
because the voices of Mimi Parker in Low and Christine McVie in Fleetwood Mac
kind of kept me alive.
I’m not being dramatic here.
You know, their songs, you know, just kept me going.
It was a very dark time.
And so, I’m going to play, I think, one of the best Christmas songs of all time.
And if you don’t know it, where have you been?
Because that EP, the Christmas EP for Low, which was released in 1999,
is literally one of the best Christmas EPs of all time.
It has one of the best new Christmas songs, this side of Maria.
It was actually after Mariah.
Mariah, Mariah, Mariah.
If you say Mariah, I say Mariah.
I say don’t play them.
So this is just like Christmas by Low.
That was me.
TBC versus Captain Obvious that time.
And that was Snow Patrol on the beach Chasing Eagles at Christmas.
Eagles versus Taylor Swift versus Snow Patrol.
Yes, me with a Snow Patrol boot.
My reputation.
And that was featured on A Very Bootie Christmas seven.
And it was inspired by a mashup earlier in the mix.
So I thought I’d put them all together.
And then before that, we had Suede drive myself home from the new album
or new ish album or to fiction.
There’s a few tracks in that mix that were things that either I recently
or not so recently booked from playing on the podcast because too depressing.
But yeah, it seemed to be something that needed to be said about home
and Christmas hence title of this podcast.
I said I’d explain.
Mostly because this is the third Christmas where I haven’t seen my dad.
Over two years, I haven’t seen him in the person at all.
Spoken to on the phone, but you know, COVID and lockdown and.
And there was a challenge on the Crumblebangers Discord about home,
about the area you live in.
You had to make a mashup or remix or a track,
including things from where you came from or currently live for your idea of home.
And so that got me thinking about it.
And I’m not actually included the track about the place I grew up in this podcast,
but I was in a future one.
That’s very depressing, really.
But yeah, it got me listening to a lot of old Lancashire folk that my dad used to have
and not thinking about this idea of home.
And one of the tracks in that mix was from that challenge.
Then extended into when I was putting this together, the home theme was coming through
all the way through everything in the lyrics and the titles.
It’s there.
And so it’s kind of been a conscious theme in this one.
And yeah, I think it’s coming from that thing of where, you know, this time of year,
feel rather left out when it comes to my family.
Obviously, my house sisters don’t talk to me like that.
So we’ll get Christmas cards, maybe, possibly.
Yeah.
Lovely dysfunctional families.
And they’re about the reason why I’d hate Christmas in the first place.
So it’s, yeah.
Lovely.
And then before the suede, we had Totom with the track from that challenge,
which is this must be the place to keep yourself warm.
Talking heads versus Frightened Rabbit.
When I saw Frightened Rabbit, I was like, yes, please.
And it was as good as I thought it would be RIP Scott Hutchinson.
I mentioned Frightened Rabbit on the podcast a long time ago,
but yeah, I’m a big fan of Frightened Rabbit.
And that’s thematically works and is very much about home.
At home, not necessarily being where you think it is.
Then before that, a track which has been in rotation for this podcast for years.
That’s Antony and Bryce Dresner.
I was young when I left home.
That’s a Bob Dylan cover from Dark Was The Night,
the David Lynch compilation,
but it was like Dangermouse and Sparklehorse and Vic Chesnutt,
all kinds of people on there.
And it’s just, it’s a beautiful track.
I love it.
It’s one of the best things Antony of Antony the Johnson’s has ever done.
It’s hard.
It’s hard sell.
There’s a double meaning there, obviously, because when Bob Dylan was doing it,
he was rewriting a track called 500 Miles,
which is based on a traditional tune called 900 Miles.
There’s lots of these songs about being far away and working on the train,
being part of a train gang or traveling my trains long distances and being away from home.
But there’s a different element, obviously, when it talks about,
I can’t go back as I am if you’re trans or you’re queer or different.
It creates a real sticking point this time of year to go back home and do you straighten yourself?
Do you become cis?
Do you hide who you are?
What do you do?
Some of that sort of hometown regret is in the track that I paired it with,
which is Adriana A’s mashup, which inspired mine,
which is Dorothea Goes Home for the Holidays,
Taylor Swift versus Coldplay.
And usually, yeah, me and a Coldplay bootleg would love to know.
I wouldn’t be fucking with that, no.
But it’s the two Taylor Swift songs, Dorothea and Tis the Damned Season.
And they’re all about two sides of the possibly same story about going home and seeing an old flame.
And those kind of weird, conflicting things about going back to where you came from.
Whether it’s, is it home anymore?
Is it, you know, do you still have ties there?
A lot of the disruption in my background is because I moved when I was seven from Oldham.
And it’s interesting that John also did the same, moving from rather more further,
from Scotland to South Africa.
And I think if you’ve had the early displacement and moved around a bit,
it’s very hard to say where your home is.
Your home is certain people, really. It’s not really a place.
And so it’s a kind of weird time of year.
All these messages about, oh, you should go home with your family Christmas.
And then before that, we had Tracy Thorn, Like A Snowman,
which is Stephin Merritt from Magnetic Fields doing an amazing,
the bluesy sort of soulful Christmas song.
Very bittersweet. And I love that greatly for that.
Then before that, we had the section to do with Christine McVie, which is,
I played two of my mashups, which I played rather a lot on my mashups in this podcast.
And I don’t usually do that. I usually limit myself to three, like one from each alias pretty much.
I guess cobbled together when they’re starting to collaborate with each other.
Yeah, it’s all a bit multiple personalities.
Those are trying to explain, A, that I’m surprised I didn’t play them on the podcast before,
and B, how important Christine McVie was to me,
that some of the more personal mashups I’ve ever done,
are similar to the Dorothea, two sides of the relationship,
although not necessarily a different person, are using her.
So we’ve got Over Reckoning, Fleetwood Mac versus Radiohead.
And then before that, also Fleetwood Mac versus Radiohead, but surprise, Daddy.
And yeah, they are listening to the Over Reckoning.
There’s a bit in it, which I remember I couldn’t tune,
even though I actually cut everything at that point.
I actually cut everything in the back, and it still sounded out, would you?
Yes. Christine likes to sing very jazzily.
And then the start of that section, we had Sarah Bernhardt.
And again, the track that’s been in the stack for a really long time,
a very long time, probably since I’ve discovered it.
That songbird, covered by her, and I love that greatly.
It makes me strange why you’re playing a comedy track.
But thinking about Sandra Bernhardt,
there’s always pathos and soul in her singing,
as well as the comedy bits, and it just plays off.
And she only really liked this thing about Sylvester,
which I’ve played on the podcast before.
She only seems to talk about, or even parody, or use artists she loves.
It’s obvious.
And again, it never really totally worked until now.
And then the start of the section, we had the song for Mimi,
which is Low’s Just Like Christmas,
which I love how they were in Scandinavia.
Oh, it looks like Christmas.
It’s like, no, it’s not.
It’s not.
Actually, when we’re alone together and it’s not snowing,
and it’s different to this, that’s my normal Christmas.
And we’ll define our Christmases differently.
So that’s the end of the podcast.
It’s a rather long one.
Hopefully, it’ll edit down better,
less as it is.
And I hope you all have a good festive period.
Happy holidays.
Happy Hannukah.
Happy Kwanzaa.
Merry Christmas.
Have a cool Yule.
Have a good Festivus.
Yeah, some people support that.
And Pagans do do Festivus.
Satinalia and all that lot.
I probably missed a few.
Yeah, I have the Festival of the Lights.
So let’s go on with the name at the moment.
You know, all those things.
Diwali.
I remembered that.
I think that was about now, I think.
You know, have a good one.
And I play out with a track by me.
Yes, another one.
I know, two out of three mashups by me,
but I think it’s probably one of the best ones I’ve ever done.
And it was narrowly pipped to the post by another mashup
for the Very Bootie Christmas seven.
Hopefully it’ll make it onto the eighth one.
This is TBC versus Captain Obvious.
This is Last Christmas Heroes.
Wham versus David Bowie.
And it’s the most epic thing to play out on.
And also it’s very personal as well about my Christmas,
especially the bit about I’ll be drunk or you’ll be mean.
That’s probably what’s going to happen.
So have a good one.
Happy Christmas.
I recently, or not so recently,
booked, booked, booked.