RC 377: Where’s There To Go?

This is 377, and it’s where’s there to go.
Hello and welcome to Radio Clash.
This is 377, where’s there to go, and it’s the first podcast of 2023, Happy New Year.
Just had fun with Traktor, Traktor decided to hide all of the bed labels and I was like,
let’s have this blank interface and it’s going, that’s not good.
That was Mr Fitz, ages since I started with a mashup drum and bass track at the start
of the podcast, that’s mash it, he didn’t tag it, tag his shit, he didn’t actually
tag what was in it, but I know that partly through my detective work, that’s young punks.
I didn’t know the mash it, rip it, blog it and pod it, that is very much an anthem of
the podcaster and the mashup community.
I’m talking about the blog, I just redesigned Radio Clash, there’s a new shiny Radio Clash
at RadioClash.com, using, here comes the signs, here comes the techie geeky shit, using WordPress,
Gutenberg, full site editing, Gutenberg blocks.
You can now use them to create sites with, that’s the third site I suppose, in my art
portfolio blog, then my three artist blogs, as in the three earliest blogs, which is really
four because this is the first page as well, it’s getting way too geeky, but anyway, so
the important thing is you will find munepop.net slash artist new blog there, I want to look
fairly similar to the old, it’s just kind of more of evolution, whereas Radio Clash is
more of a revolutionary, revolutionary blogging, oh well not really, and we’ve got a podcast
full of, well bluegrass, Arabic music, I almost called it, Arabic bluegrass, well especially
as I don’t actually have any Arabic bluegrass, it’s a bit of a strange thing to say, I only
recently found out in September, Mashru Leila, who was a band I’ve played on this podcast
many a time, Arabic band from Lebanon have split up due to the, basically just the pressure
of being queer, the singer was queer and from that part of the world, and I have a few bands
like that who have been oppressed because of music basically, it does still happen, and
we’ve got obviously mashups, some folk, I know Don Proofen is groaning at that one,
more electronica, usual mix, even one other drum and bass track, most of this podcast
is fairly down tempo, fairly not in your face, unlike other ones, I’m going to start
with a 15 minute jungle mix, but we’re going to start with a, I think we’re on the best
mashups at the moment, is by Bill McClintock, and I have to say it’s something about his
Wham mashups, I don’t know maybe because it’s just Wham and my closet Wham fan, but his
mashups really do come to life when he uses Wham, I don’t know why that is, I’ve took
a few things of his recently done, but not a lot, and this is the first time on ages
I’ve mashup from him I’ve gone, ooh, so this is Wake Me Up Before You Go Go To The Grave,
it’s Wham vs Black Sabbath.
There’s nothing better than coming out of an insane Blue Grass version of Frankie
Goes To Hollywood meets Lordy’s Royals via Blue Grass from DJ NoNo to go into Maximum
edit and that’s from a manga called Chainsaw Man. I don’t know the manga I’m sure it’s very bloody
but it’s very counterculture but yeah I love that. I mean to play it for at least one or two
podcasts but it’s just like where can you put it? You just have to you know put it in some
and also sorry about lying about being about being a quiet episode of Radio Clash it’s kind of
yes and no. There are elements of quietness it gives quieter from here on. Although there’s
some drum and bass in there and sort of indie and all kinds of shizzle but before we had the
DJ NoNo which is Royal Tribes go to war. Frankie Goes To Hollywood versus the beef seeds. Beef seeds
are great. Check out the video for their version of Royals it’s very good. It’s a demo. It’s a demo
that never got finished which I chucked out last year and then it made the booty DJ pack. Adriana
played it on the mashup listening hour on Twitch. It went down well. Surprisingly it’s a good track
and then he got put into the DJ pack which is unusual for DJ NoNo’s oeuv. DJ NoNo’s has been
finishing a new mashup with lots of quacks and ducks in it. It’s called Quack Bitch. It’s for the
Titus Jones Crumblebanger Challenge which he insisted that people do a mashup with Keisha,
Brittany, Killers, Muse and does it panic at the disco? I think it was. I’ve done a Keisha mashup
with rich straight white men versus Pink Floyd and Abba and then did you know NoNo did of course
the most insane duck themed mashup because of the will it mash has this duck quack thing going on
and lasers. He uses a lot of lasers. Not pew pew. I mean the noises that go up and down.
I have not an EDM. Those those are called lasers apparently. I did not know those.
Though it’s got the goodies in it. It’s got duck sauce. It’s got all kinds of things. It’s got weird
owl and Rick D’s disco duck. You’ll hear that in a future podcast maybe. I don’t know. It’s not
really ready for mass consumption yet but it will be. And then before that we had a bit of a kind
of a Cold War theme. Obviously because the Cold War is coming back that’s bangers and mash blue
tribes. Frankius Tollywood versus New Order versus Madonna versus Masters at Work. I love that work
hit acapella. It was one of the earliest mashups I did was with Masters at Work. Work it in my yard.
That’s my terrible terrible Jamaican accent I do. It’s a great video of that by Boris B. We
haven’t heard it actually. And also if you check it out on archive.org. Boris B took both to all
So welcome back. And before that we had Minor Arth with Dead Lazarus. That’s David Bowie versus
My Robot Friend. Anyone who does a My Robot Friend mashup is mine and DJ NoNo’s little red
mashup robot friend. We just passed the sixth anniversary of the death of David Bowie. Something
like that. It was January 26th I think it was. That was earlier in January. And I love that.
I struggle with Black Star, the Bowie album because of the jazz and Lazarus as well. But
actually I like that a lot. And then at the start section we had Bill McClintock waiting me up before
you go go to the grave. Wham versus Black Sabbath. I love the fact he put the guitar in there as well.
The guitar is probably from somewhere else. I’m pretty sure it is actually from Black Sabbath.
It’s another guitar solo. He does that. The solo is quite often a different. I think it might be
Van Halen. So I said they’re going to be a Arabic section of the podcast in honor of Mashrou’ Leila
who have called it a day back in September. I wish I’d known about that. I mean it opened
today. Yeah it was only four months ago. It’s very sad news because I was hoping to come back and
maybe even see them at some point. And I would really recommend you checking out their albums
especially the later albums. The earlier albums it’s more Gypsy Funk Gypsy Punk. That sort of vibe
to them even though they’re from the Lebanon. There was that very naughty fusion. But then
they started doing more queer themes in their music. And by the way the name
could mean a few things. But Leila’s project but also Leila is a double word in Arabic. So
it can mean Leila’s project or something else. It’s an odd name. Yeah they moved into more
political and more… I was still keeping the Arabic themes and their background but looking
to more of a western thing but kind of mixing it in with the local stuff. So a bit like Muse or
you know various… He does say arcade fire but there’s some elements of that. But you know sort of
being a bit more arty but with an Arabic background. And this is three minutes and this is all about
being a musician in the pop industry or the music industry. If you look at the lyrics it’s all about
writing a three-minute pop song.
WEBVTT
Finally made it on the forecast, that’s PomDeter Where’s Your Ecstasy Of Gold Ennio Morricone vs Basement Jacks.
It’s dated 2021 but I think it’s a much older tune.
But yeah, it’s one of those tracks which I’ve always wanted to play for a very long time but it never seemed to fit anywhere.
And finally I fit it into a podcast where it worked perfectly and it perfectly said what I wanted to say.
That was a very long section but I didn’t want to interrupt it because it was a bit like a long mix and everything in there was for a reason.
Whereas the start of the podcast, which is a bit like lure people in with mashups, they made dreading tunes out of them.
That’s my MO, yeah.
I mean, lyrics are a very important part of me.
Well, music is.
You could call this podcast Messages In The Bottle or that’s kind of like a track I played in a previous show.
But yeah, there are like messages in the bottle, little capsules.
And the things I go for are the things that really speak to me, say something to me.
And that’s one of the reasons why I wish mashups could be more diverse in their sources because there’s more likelihood that Take On Me, Take Me On.
I mean, I’ve heard that many times.
Whereas something else might really talk to me.
Like Taylor Swift.
I like the Taylor Swift mashup because I like what she’s saying.
It speaks to me.
So it’s not just the older stuff, it’s the newest stuff as well, but you know, if the newest stuff is maybe not giving you aspects onto it by taking the newer stuff and sort of giving it a new coat.
That’s sort of maybe an old coat that sort of says something about that track.
I copied down the lyrics or even wrote the lyrics down because they don’t exist on the internet across the whole of this podcast to kind of prove where each of the song has a little thing.
So we’ve got make your mind kind of problems, make something out of your fears, make your own music, let it bring you to tears.
That’s why I do my mashups or a lot of my mashups.
I try and get that emotional response because I assume that if I get that emotional response into me, then other people may similarly follow.
Well, they might not.
Quite often they don’t.
Smell the jasmine and remember to forget me.
That’s from the Arabic track.
Then we had which, you know, we’ll talk about it in a bit, but yeah, that was the one translation.
They say we meet again on down the line.
Where we’s on down the line.
How far away.
Tell me I’m okay.
The whole where thing.
Each of the podcast has like a mini theme or sub themes.
It’s like there’s something that comes through the collection of tracks, which starts to become obvious.
It’s sort of a message, a key message.
It’s a bit like I could take a pinboard and sort of connect them with a little bits of red thing, which is a bit scary.
I wouldn’t do that, but I can do because there is connections in each one.
I don’t think people realise that I actually do that with a podcast.
It’s like a very crafted thing.
It’s why when people go, oh, requests on Twitch.
It’s like, yeah, it’s not going to work for me.
And yeah, from Hammonsong.
That’s, yeah, tell me I’m okay.
This is my church.
This is where I heal my hurts.
I need to take a skin.
This pain keeps on getting in.
Where is my mind?
Can’t sleep with the wider skies because every single thought from the day goes around my mind.
That’s basically depression.
I’ve been there, done that.
I think I’m going back to the days when I was young enough to know the truth.
So innocent and didn’t get to be a child.
Is this what we are?
Is there nothing inside?
Gone are the days of hiding places.
Where is there to go?
Which gives the name to this podcast as well.
Here’s the years of new pioneers.
I think it is.
It’s literally, I had to transliterate.
Genius does not know about Hickory Wind.
I feel like a monkey in winter.
And winter has just begun.
Where is your head at?
Yeah, you can see a theme there.
So yes, that was a very existential state of Tim mix.
It’s a difficult one because I didn’t want to put it out because he wants to hear all of this stuff.
But that’s the thing is that I share music because it resonates with me which has a message to me or has a message that I appreciate.
I know people say, oh, you should cater to your audience.
You should DJs.
But I think there is an element of both.
You can do that.
But also, I think you need to make your own path really because there’s so much music out there.
So much selections you can make.
So much curating.
I hate that word.
But you know, you can do that.
You know, the path you create, you create an audience in that path.
And I do think that there is a danger of chasing those trends or what you think people want.
It becomes a very bad guessing game.
And I used to do it at the podcast and it drove me mad trying to think about what people would like.
And actually, the best thing to do is do what you like and then hopefully people will follow.
Anyway, so we had PomDeter.
There are not many Ennio Morricone mashups in the world.
I think DJ Firth has done one.
But yeah, there needs to be more Ennio Morricone mashups.
And before that, someone who is pretty much unmashed or very rarely mashed,
mostly by me, Michael Nyman versus Journey That’s Separate Ways to the Garden by TBC Aka Instamatic.
And that was the Unmashed Under Mashed Challenge.
And I think it wasn’t a mash because I did one before,
Swan Rot Chaos, which I played on a very, very old podcast.
It was a very rough demo.
I played on Resonance Radio, though.
I played it on Resonance FM when I popped into the mashup.
All those years ago.
That was a strange studio.
Why can’t we have more Steve Reich mashups?
Although I think the boys struggle with electric counterpoint.
Shifting meter and shifting key every two parts.
If you think never ending story is bad.
Yes.
Why can’t we have more way out stuff as well?
Then before that, we had Snowbird with North Wind Doth Blow,
which is a very old sort of lullaby, well, I’d say a children’s song.
Actually, originally it was probably a North children’s song.
16th century song.
I think they adapted the lyrics in the middle.
Because I’ve not heard that version before.
Rose Like A Stone, that bit.
I’m pretty sure, but it might be.
The original is just the first paragraph.
It’s just a paragraph long.
I’ve played a lot of that because it’s winter.
Another winter song is The Colourfield with Monkey in Winter.
Featuring Sinead O’Connor, which I just quoted.
That production is so 1988.
It would be more 1988 if it had a few orchestra straps in it
and was actually sung by Milli Vanilli.
A beautiful song.
And I think the production is almost pro to trip hop.
I would look to there’s not anyone who on the Bristol scene who did it,
but I wonder if someone sampled it.
I haven’t actually looked, but I haven’t heard of anyone sampling it.
But that seems very sample of all those little synth bits.
They might be very dated, but they’re actually very early trip poppies.
Then before that, we had Peggy P with their mashup mother’s on the storm.
That’s Bruce Haack versus a door.
Anyone who does Bruce Haack mashup series down there.
And that is brilliant.
And when they posted it on the Crumplbangers Discord,
because I think it was also part of the Unmashed Challenge,
what they said.
E major question mark.
E question mark.
Yes, I can guarantee.
What track does that, what things say about that Bruce Hack track?
They lie. It’s almost been in the podcast before.
It’s just some kind of weird tinnati in that.
Which means it doesn’t really mix very well with most things.
It does mix into hip hop though.
So we had Dangermouse and Black Thought from their Cheat Code album.
Their recent Cheat Code album. The Darkest Part featuring Wreck 1 and Kid Sister.
Brilliant album that.
I played Belize in a previous podcast and that’s another one.
Danger Mouse is very good at that sort of very,
not just finding brilliant samples,
but also that sort of mood, #mood, that survive.
You know, sort of dark and grandiose thing.
Then before that, we had Hickory Wind from 1974.
This is where’s there to go, I mentioned before.
And that was written by Sam Morgan, their violinist.
When Hickory Wind went to a musical school, university,
and they did the Bluegrass as a side project.
It’s interesting, you can hear bits of psych and also medieval early music in there.
It’s, you know, some mandolin and stuff.
It’s not traditional bluegrass. I like that sort of psychedelic bluegrass.
Is there such a thing as psychgrass that needs to be?
Yeah, they did a few albums and not all my thing.
I mean, there’s quite a few traditional bluegrass covers on there,
but the originals from Sam Morgan are very good.
I really like what he’s talking about.
And that seems to be about the American Indians,
but that lyric about where’s there to go.
It resonates a lot with me because as you do podcast mashups over 20 years,
I call this, it’s to be my 20th year of doing mashups.
And next year, my 20th year of doing this podcast.
Well, I did have a gap with that.
I did have gaps with the mashups being there to start.
And yeah, new people come online, new things happen, new trends,
there’s surveillance and everything.
There is no hiding place. It’s like there’s no stone unturned.
And there’s, I mean, there are, but it’s everyone jumps on that bandwagon.
New pioneers everywhere. Where do you go?
Where do you go this podcast? Where do you go my mashups? Where do you go?
Something I’ve been thinking about. Hey, it’s a new year. That’s what you’re thinking of.
And before that, Paul Carmen aka Dolphin.
I think it’s caused under the name Dolphin Smile nowadays.
That’s from 1976. That’s Goin’ Back.
Any cover of Dusty’s or actually it’s originally was released by someone else,
but it got pulled because they changed the lyrics.
So they got disqualified.
Georgie or something or Georgie was the first recording of that song that they changed the lyrics
and Gerry Goffin and Carol King are very upset about that and got it pulled.
So, yeah, it’s really, it’s Dusty’s song. She was a second.
Anyone who covers that song, we’re interested in hearing it.
And I’ve done a deep drive. I’ve got a whole lot of them to listen to actually.
And I just found a compilation of 60 covers.
Occasionally you’ll find this like 60 covers of, I don’t know if they’re online things
or someone’s doing a speciality thing, but I did that with Popcorn and a few other songs.
which was the, or someone’s collected them.
And Hickory Wind, that’s how I found Hickory Wind, just deep diving on going back.
I was going back because it was a catalog, yeah.
That’s what happens when you deep dive through a song.
You discover actually never even thought about or never even heard.
You wouldn’t have heard a million years about.
Then before that we had Minor Arth.
God is a DJ with nothing left to lose.
That’s Everything but the Girl, the new one from Everything but the Girl.
They’re back. Yes, they’re back with a new album.
And that was the single they released. Good video as well.
I posted it onto the blog.
Versus Faithless versus Ultraista versus Four Tet.
Usually I wouldn’t play anything that was possibly a tribute,
but one, mashing the Everything but the Girl is always, I like that song.
And also it’s been a while since Maxi Jazz died, so I’ll allow it.
I usually don’t as you ban any tributes released after the death of someone
because it feels a bit ambulance, chasey, but also the lyrics are that, like I said,
and it’s one of the ones I quoted, which is, you know, this is where I heal my hurts.
This is where I heal my hurts, this podcast.
It’s just therapy.
You’re all my audience to therapy, great.
Frankie Goes To Hollywood versus Future Sound of London.
And I heard that via him, PimpDaddySupreme’s Mix, PDS Mixes, Twitch Stream.
He played that and another Mashup I’ll play at the end.
Whenever I get there after all this long mattering.
Yeah, and I never heard that and it doesn’t totally work.
There’s some slight clashes in there, but given the time
and given I’ve had his power of love by Frankie, who is a song that means a lot to me,
it’s just perfect to me.
I mean, you could do it better, but I suspect you’d lose a lot of charm
and you probably lose the strings.
I think the part of it is where the interplay of the strings and the synths.
But yeah, it’s a difficult one because of the string chords.
There’s always going to be issues with that.
But nowadays, you can extract things and you can extract that vocal
and do it in quotes properly.
But I bet it wouldn’t sound the same.
It’s what happened with my old mashups I tried to update.
They just sounded dead and not interesting.
Then before that, we had one of the tracks, which is the heart of the podcast.
There are several songs which I actually build into the podcast,
which are the songs that I first decide that I have to put in
and then I kind of build everything around it
and Electric Lines towards one of those songs.
It’s kind of like a love song from Joe Godard to Alexis Taylor
and also about the fact that about what music you make is important
but also how we make the music and how disposable it can be,
which goes back to three minutes at the start.
There’s a couple of songs in this about the whole disposability of music
and how it’s alienating and disenfranchising.
It’s not good.
I just love the mood of that.
It moves me close to tears that song.
That sort of love but also not yearning but disquiet
with not just manshouts at the moon,
old manshouts that old kids get off the lawn type stuff.
More the progress doesn’t necessarily go forward in a good way.
And then before that, a mashup of mine and Instamatic with…
Who’s in time?
Who’s this Instamatic person?
I Wouldn’t Run Up That Hill, Kate Bush versus Alan Parsons project.
Again, the case in point.
An old, dusty, prog funk track, almost disco from 1977
from Alan Parsons Project featured in Grand Theft Auto V
but isn’t really known that well.
It’s one of my favourites.
I’m not a massive fan of Alan Parsons Project but I love that song
because of the message.
It’s quite angry.
Angry prog funk, angry disco.
And of course, running up that hill.
And someone nicely said, I think it was a minor off actually,
you know, out of all the millions of RUTH mashups done something different.
And that was my intention was to do that.
I don’t want to repeat what I’ve done before.
This is not what I do.
Then before that, we had Funboy 3.
Again, we’ve got the Terry Hall in here as a sort of a tribute again to Terry Hall.
The sort of things I dug out for the last podcast.
That is one of my favourite songs from Funboy 3.
It’s from Waiting from 1983.
I loved Disquiet in that album.
I think it was the last Funboy 3 album yet.
Of course, some albums you can feel that sort of things are not totally there,
but it works for that one.
And if you think that Prince invented that line at your age, not your shoe size,
and I’m sure I’ve talked about this before.
No, Terry Hall wrote.
And maybe someone else did it before him,
but Terry Hall wrote that line in 1983.
Four years before.
Take that, Prince.
Especially as I’ve been striking my videos,
because my live Will It Paint videos,
my I’d been doing live streaming painting.
Yeah, one of them involved a song from Prince and it got struck.
Luckily, I didn’t get a copyright strike,
but it just got pulled.
And so I’ve had to go through and mute everything.
You need to expect the Eagles and Don Henley.
Always expect Don Henley.
Then before that, we had Sault.
Light’s in your hands.
Again, the lyrics about childhood mean a lot to me.
And that’s from the 9 album from 2021,
but I’ve been checking out the four.
Is it five?
I think it might be five albums,
maybe four in November.
And there’s some really good stuff on that,
although I’m not too fond of the gospel stuff.
They had like a gospel album
and a sort of less religious album,
and they got like an instrumental album.
It’s like, oh my God.
Oh, yes, there’s literally God in there.
Some good stuff in there.
As for any multi-album thing,
it gets the mix back,
but I do like Sault’s work.
London Collective.
You heard InFlo, who’s thought to be the main person, mind it.
He was the one talking about his childhood.
And also, Laurette Josiah, his sister, appears on,
I think that album, what we’ve won the on before,
talking about stuff, so yeah.
But it might not be.
They’re very secretive.
They don’t do any press.
They just release music out there.
Gets played on six music, gets played out there.
Gets played around and talked about in the Guardian
and in various other places.
And it’s brilliant music.
I love the fact that they just was like,
no, we’re not playing that game.
We’re just going to release it ourselves.
A nice success with it, which is brilliant.
Then before that, we had Graphic and Dex,
or Graphics and Dex with empty bottles.
That was a drum and bass I was talking about.
Dex is always brilliant.
Always welcome on this podcast,
because he talks about mental health
and says how he is and how he’s feeling
and what his struggles are
and doesn’t try and bullshit,
which is unusual in the world of drum and bass
and hip hop generally.
Then we had Mashrou Leila before that.
Shim El Yasminus,
one I quoted, which is a smell of Jasmine,
which is about probably a gay relationship.
It’s sung by a man to another man
and says, you know,
I wish I was your wife,
but we are living in different houses.
Remember to forget me.
Very, very poignant,
but I love the music on that as well.
And then before that, we had…
My God, yes.
Long section.
We had Colourfield, Hammond Song,
originally by the Roches,
and that was in like 77,
77 or 78,
originally produced by Fripp,
and they covered it in 1985.
And I said before,
it was about…
It seems to be out in multiple things, that song.
I don’t really know what it’s about,
because I thought it was about
wanting them to go off with a man
and break up the group,
but actually,
if you read Wikipedia,
by the fact that two of them
had a record before.
Suzy…
Was it Suzy and Maggie?
Or was it Suzy and Terre Roche?
I can’t remember.
I think it’s Suzy and Maggie.
Had a record out before The Roches,
which is the three of them.
And they were told to get new clothes,
and what they did is basically turn around
two weeks before the record was released,
and went to a place called Hammond.
And that’s what it’s about.
It’s about being told these things about,
oh, you’re throwing it all away.
So they turned it around to be about a man
rather than record labels,
but it is apparently about that.
And so they went on their next album
when they went to another record label.
And they were like, no,
we’re not going to do this.
And I think Colourfield and Terry Holt
did a good job there.
Then before that,
we had Ah, a recent mash-up.
Where’s my anti-hero?
Taylor Durden.
That’s Taylor Swift versus Pixies.
And then the start of the section
we had Ian Fondue,
with where is your man?
The Pixies.
That’s a Where’s Your Mind thing.
Where’s your mind?
Quite 2,
because it was also in the Pomdeter match.
So every trend of the podcast,
well, this has been a long recording.
It’s going to be fun to edit probably.
So yeah, I hope you’re all well.
Redesigned to the blog and everything.
The reasons why this podcast has taken so long.
Also, all the stuff has been going on.
So I’m going to play out with a track by Futuro.
They’ve very much missed Futuro, Steve Lima.
Breathe with me till dawn.
And it’s just about to be dawn.
It’s seven in the morning.
Probably is dawn now,
what it’s about to be.
So this is Breathe with me till dawn.
It’s Pink Floyd.
Hey, Pink Floyd and Mashups are so overdone.
With Judy Tsuke.
I don’t know, I pronounced that.
Mixing the version of Stay with me till dawn.
Which is kind of a late 70s song.
It’s kind of been lost nowadays.
So anyway, I’ll speak to you soon.

The bedsa are not ready, get to bed, young man.
I haven’t started recording, that would help.
I’ll start recording, recording.
I haven’t recorded in Traktor, that would be a fun thing to do.