RC 382: Enjoy Your Life?

Hello Welcome to Radio Clash, this is 382 and it’s Enjoy Your Life.
Yes, let’s enjoy the ride, or do we?
Hello welcome to Radio Clash and that’s
Hayseed Dixie. It had to be Hayseed Dixie. I mean, who else could it be?
We’re Dancing Queen. We had an ABBA intro, because before that we had The Random Sapphire
Mamma MIA, or Mamma Mia, but MIA. ABBA versus MIA, that’s Mamma Mia versus Paper Planes,
which is kind of a combination where you’re like, did no one ever think of that one before?
Well, there’s obvious combinations, which is only obvious when someone else does it.
And at the start, we had the Ident by reconthuse. Thank you reconthuse, and that
weren’t with the only reconthuse track in this podcast, which is called Enjoy Your Life
question mark. So you really should go up at the end, Enjoy Your Life?
But I don’t really do that. I’m not Australian. Enjoy Your Life? Well, Canadians do that. I
think they do. Enjoy Your Life? Question mark. And yeah, podcasts are like buses there.
Two comes at once, because it seems like only yesterday I did 381 and it’s not far off. It was
a week ago on my birthday. I recorded the previous podcast, which isn’t heard of, but
we have a birthday backlog of podcasts. New things are coming in. It’s like the proverbial
Charlie Chaplin in the factory where things are just coming through and it’s like a generation
game faster and faster. And that’s the same field with mashups and music I’m listening to and
everything. It’s amazing how just throwing in that Psych School 380, it threw off the sausage
machine who have been out of kilter ever since. So I thought I’d do two of these podcasts back to
back because they were actually pretty much put together. As I was doing 381, I was actually
putting the bits that didn’t fit in 381 into this ones. They are twinsies. They’re twinsies.
So we’ve got a podcast that is full of mashups, what a surprise.
But also on the theme of enjoy your life, life things. It’s not as negative as it sounds. It’s
actually quite upbeat, although we’re going between different types yeah. This one is kind
of tonally, it moves around a lot really, but not completely schizophrenic, but there are elements
of that. And that’s partly because of my turning 50 and everything. So there is some Blackbird mashups.
There’s even some Bieber in here. And it’s actually good, which is amazing. There is some
new tracks from Everything But The Girl and also Das Coolies who are the offshoot of Super
Furry Animals. There is some unheard of Delia Derbyshire later in this little tiny clips,
but yeah, they were from the article I posted on radioclash.com. Some unheard of little bits of
tapes that have never been released anywhere. And I’m not going to put them in here, but anyway.
And some Roger Eno, a sort of a female electronica section, which is, it’s not just Delia Derbyshire,
there’s a whole bunch of people. There’s more psychedelic, a bit like the psychedelic disco,
I suppose like Delia Disco. And we’re going to start with a excellent mashup, which has been
stuck on the ropes. On the mashup ropes. Do we have mashup ropes here? Been stuck in the
stack for a long time. Much longer than it should be. I know Dumb Proofing has been playing this
a lot. And quite early so. This is from the Try and Give Yourself album from Hallmighty.
And it’s number one. DJ edit. That’s Princess versus Public Enemy versus Nelly versus Pitbull versus
Whitney Houston versus anyone who knows me. And Disco 7 is about to drop, I think in the next
less, maybe, I think possibly next week. You always tell you are behind when you’re playing
the last album. The New Hallmighty album’s about to drop. So yes. But this is a good one.
Anybody who mashes, princesses, say I’m your number one, is good by me. And this has some,
I would say some old school flavor, but with a sort of modern production. And there’s a few of
those in this next couple of mashups that have that sort of 2003 flavor. Because that was the
challenge I recently did on the Crumplbangers, which was to use old school sources, stuff that’s
been released or stuff that’s phase inverted or from, you know, without using AI and all those
things. So restriction. But anyway, first up is Number One.
And some tracks you just don’t want to talk over. This is right at the end. So it’s not too bad.
That’s Oki. It rubs. And yes, by that, Oki the Mashup producer. And yeah, I really like that.
And that’s a live jam. Not only is that a brilliant acid track in the vein of Ceephax and
Legowelt and everything like that. That was all done live, which is like really amazing. The video
is up on Oki’s YouTube channel. I might try and link it on the show notes for this episode,
if I remember. And yeah, no, I mean, amazingly, they couldn’t do that all live with all hardware.
Really, but we’re not, I don’t know if it’s all hardware, but definitely a lot of hardware in there.
And it shows. And yeah, it’s a wonderful, wonderful track. Then before that, we had
Alan Hurley with White Lotus Wedding, Billy Idol versus Cristobal Tapia de Veer. No, I’ve not
actually watched White Lotus. Everyone’s been going on about White Lotus. It’s not a new
Breaking Bad. Everyone’s like, oh, White Lotus, White Lotus. And I’ve ranted many a time about
the fact that when someone, when something becomes the middle class guardian, like, have you watched?
Oh, oh, haven’t you not watched? So, you know, or everyone tells you to watch something. I run
the opposite direction. And so I’ve done that with White Lotus. But Cristobal Tapia de Veer,
I love, I’ve played his music on the podcast, loved Utopia, brilliant, brilliant. Did they try
and make a remake or did they do a remake? I think they tried to do a remake and they can. But yeah,
the UK Utopia, brilliant series. It’s kind of weird watching there’s a series by Dylan Moran.
It’s very good. But funnily enough, the sort of the evil big bad of Utopia series one, Neil
Maskell, or Maskell, he’s the one who was in Utopia. That’s the first thing I saw him in. And then to
see him in this recent series stuck playing comedy is kind of a bit weird. You know,
shouldn’t you be getting out a gas mask? It’s very strange. But anyway, Cristobal Tapia de Veer’s
brilliant, brilliant composer, a mix of experimental and soundtrack and filmic,
but they walked and he seemed to like unusual sounds and textures and weird timings and things.
Anyway, White Wedding by Billy Idol is an interesting track because
I didn’t know this. I’ve done match notes with White Wedding, taking it on surface value.
Then I looked into it and the video and I was like, oh, it’s more of a criticism. And there’ll be a
track later, which is a similar kind of criticism at a wedding. You probably won’t guess what it is,
but there will be a track that talks about reception. And is that sort of thing of saying,
oh, is this really what you want? Is this, you know, oh, it’s a nice day for this, but you
won’t solve anything. Or is this a sarcasm, there’s a cynicism in that track, which I don’t
ever really realize. I always took it more of a face value until I looked into it and the background
and so what people talked about and you know, what some writers have talked about, and it’s not as
what you seem. And I love barbed stuff like that, where it’s like, you look under the rock and
there’s lots of nasties and you go, oh, okay, it’s not really what I thought it was. Yeah,
the White Wedding is one of those. Sadly, I made a mashup, a wedding mashup,
we’re a friend of mine using it. And then 10 years later, I realized, oh, actually,
that might not have been a good idea. Yes. Then before that, we had from the new Ziggy
Stardub album, that’s Five Years, Easy Star All Stars, yes, they’re back after 12 years,
many, many years. If you don’t know who what Easy Star All Stars are, they started out doing,
I mean, I think Dub Side Of The Moon is the most famous one, but they also did an album
called Radiodread, which is OK Computer, but in dub reggae, reggae fashion. And the most famous
one is the Pink Floyd one, which I think is probably the most successful. But there are some
nice tracks on the Ziggy Stardub. And that’s Five Years and Five Years is one of my favorite
Bowie track of all time anyway, because it’s so apocalyptic and an amazing way to start an album.
The Rise and Fall of Ziggy Stardust starts with it to say, oh, you know, the opening scene,
I know it’s not really a concept album, but the opening scene is end of the world.
Surprise. And that’s a pretty good, that’s a very science fiction approach. And that goes out to
ToTom, because I know he likes that song. Then before that, we had DJNono, a new DJNono Mash,
which got kind of props. I’m not really sure, but it’s one of the few times I’ve ever had the
original artist talk about it. And I hadn’t tagged her in it, Girlfriend Of The Year.
She said, I love Blackbird and wanted a copy of it. And I sent it and it went silent. I’m like,
oh, dear, is that bad news? So that’s Creepy Blackbird Beatles versus GFOTY. And that was for
one of the challenges. That was for the one on one, actually, but I didn’t win it with that one.
I won it with another track with Dorian Electra, which I’m not playing. I don’t know why I’m
playing. It’s one of those things where I go off my mashups. Sometimes I do them and I’m like,
it does a thing. And then I’m like, and that one, even though I know it’s not perfect,
and I know this may be a little bit of harmony clash. I’m a bit mad about it. I think the feel
is there. Whereas the one that won, which was Dorian Electra, flamboyant versus Foreigner,
it is less of my style and more. I was trying to channel Ijana A and it’s more her style.
And otherwise, stand by it. I like it. And I’ll probably play it on a future podcast.
The one I was really proud of was that one, because I felt that the feel of having a McCartney
singing to a creepy blackbird. We do actually have a blackbird or a bird here that sings like
two or three in the morning. It’s unusual for DJ Nona’s work to refer back to my own life.
And I was one of those. Oh, yeah. So I like the feel of that, you know, the mixing of the Radiohead cover.
Girlfriend Of The Year did a cover of it called Creep (UR A). And she reversed the lyrics
around to being about a creep rather than the original lyrics was, I’m a creep. So sort of
from a female perspective, I like that as well. But yeah, I love the idea. I just like the idea
of having Drum and Bass adding birdsong to it, which is not actually a completely original,
but it didn’t happen enough. And then before that, the aforementioned ToTom,
who won the challenge I set, that was Washed Up Bird (Never Going Black Again). That’s the
UVR version. So that wasn’t the version that won. It was very similar to that slightly better version
because you could use modern techniques. That’s Beatles versus Fleetwood Mac. Fleetwood Mac’s
Never Going Back Again versus Blackbird. And I listened to everyone’s mashups in the 2003 challenge.
And I knew for a fact that you could extract the sources of the Blackbird. You could use the old
extraction techniques, which is why you used phase inversion, I think, or it might have been a
firefarm, but I think it was a phase inversion. I knew you could do that. And also that Fleetwood
Mac had released a track called Brushes, which is an instrumental version of the backing. So
you’ve got a version of the backing, you know, so it’s not, you know, and there is actually
five one extractions of that as well. So, you know, you can do it the old way with phase inversion
and surround sound and stuff, whatever the way we had to do it. 20 years ago. Oh my god,
it’s weird to say that 20 years ago. I feel old. I am old. And so, and that was the obvious winner
for me. But there was two of them. And there was another mashup, which also was like, it was just
the two of them together. I was like, yes, because I had about three mashups, which Adriana;s Cruel
Summer one, which I’ll play probably near a summer. And another one, the three of them I could not
decide, could not decide to which one. And so what I did was did the classic decider and looking at
the other ones that were released and the one person who did two were close winners was toped on.
So that was really good. And anyway, I mean, I know it’s complete pandering,
like me, making a mashup for me that’s Fleetwood Mac versus Beatles, but it works really well.
And I knew that it was a pain to do because of the trying to extract the sources of the Beatles
fun. So I wasn’t so pedantic, it wasn’t a check. And I said a word, I did roughly no, I could tell
if I would have told someone who used AI because they have little artifacts. But you know, I knew
roughly what what we could do back in the day, you could tell from the different versions, you
know, the difference in in in being able to use. But interestingly, a lot of people learned the
thing I was trying to tell them was that it’s so much easier with AI separation. And it’s really
changed everything. But how using the original sources, if you can, or the old techniques,
sounds a lot better. Those old techniques are still worthy to learn, because the phasing version,
the five one extraction, because, you know, really, AI should be on this thing as well,
it’s either it’s a really quick thing, and you’re like, you know, you’re just gonna not too bothered
about this, or you can’t find any of those sources, or you can’t extract anything of the old ways.
I would quite can’t find any form of studio leaks, or I’m quite even efficient. That was the
point of that challenge. There’s actually quite a lot of official stuff out there as well. So,
yeah, there was a few people who said, Oh, yes, we did learn something from this. That was good.
You know, that was we did enjoy trying it out and working with the old, the old ways, the old ways.
Because I think there is a lot of place for those old techniques, because you get kind of like so
into this idea of like, Oh, no, we must do it the AI way, or the new way, and it is easier,
but sometimes it’s better to do it the old way. There might be a bit longer. So obviously,
it doesn’t always, you know, you don’t always want to go the long way around, but sometimes it’s
worth it. Then before that, we had caught in a mashup with Fucking Hostayle, Hostayl, you know,
with the Y, I don’t know how to pronounce that, as Pantera, and Justin Bieber, and the Kid
LAROI. I do actually quite like is a horrible admission, but I do actually quite secretly,
and might because of the Kid LAROI. I actually secretly quite like that Justin Bieber
and Kid LAROI track. But adding Pantera over the top just gives it just this like the chef’s
kiss. That’s just the cherry on top. I do like Caught In A Mashup. They usually post on YouTube,
they started posting over on Sowndhaus, which is great. There is about to be a change, a change
in Sowndhaus. Sowndhaus is about to change domains to Remix.audio and moving away from
the Sowndhaus to audio domain, but the moving domain. But I really would recommend checking out
Sowndhaus, remix.audio. I really recommend checking it out. And if you can post on that,
if you want to be featured on the podcast, you can send me stuff directly. But the best thing to do
is put it up on Sowndhaus and let me know. It’s just easier to listen to. And if it’s something
I like, I will favor it. And then when someone posts anything else, I will then see it and I
regularly check. So Sowndhaus is a good way. If you want to ever get your mashups on this podcast,
it is, I don’t know, I mean, they also accept remixes and white label bootlegging remixes
and stuff like that. So it doesn’t necessarily have to be that music. I don’t know. I mean,
I suppose you could even post original music on that. I mean, obviously not original music from
other people, your own original music. Because that’s the exemption because it’s Canadian,
is that it has to be transformational remix, fair use. But yeah, not all the people stuff,
but your own stuff would be fine. You know, it would be fine to put that as well. But generally,
that’s less of a problem. You can use Soundcloud for that. Whereas Sowndhaus is specifically
designed for those kind of things that you get taken off of Soundcloud. So, but yes,
it’s good to see caught in a mashup on there and dank zapper. And a few people started posting
over there, which is good. I do recommend it. And then before that, we had Ian Fondue,
also posted that on Sowndhaus. That’s lIck The Drummer, Get Wicked, Khia versus Chad Jackson.
That’s what I mentioned, I had real 2003 flavor, obviously, and Tom did as well.
And that was for the same challenge, the 2003 challenge. It was one of the top five.
But you know, I really love that greatly, partly because the original version had some issues with
it. But then Ian fixed it and it’s now brilliant. And what he wants to do, dear listeners, is do
a something that’s as good as here, Missy, work it. If you remember Hear Missy Work It. Churchill
did a hear the drama, get wicked versus Missy Elliott. And that was a classic. But like a lot
of the 2003 2004 stuff, it sounds a bit long in the tooth now. I don’t want to sound like Adriana
because I don’t care if it sounds a bit not really well mastered, I’ll just chuck it into
those own elements, you know, there are ways of fixing this in the sources of yeah, sometimes
you can get a bit crunchy and I think those early mashups do sound a bit crunchier. So
and they sound a bit weird and mixed because you go one front and another and you’re like, oh,
so it’s nice to have a good Hear the Drummer Get wicked mashup. That is a bit more modern productions.
But the Churchill one is a classic as well. I would agree. It has those vibes. And that’s
good to hear. Anyone uses Chad Jackson. And there’s about three people I think of that
would Ian. Oh, DJNoNo might and Lee Spoons and Churchill there aren’t many people
would use Chad Jackson. It is a shame that’s a brilliant track. And then the start of the section
made Hallmighty. Number one, DJ edit Princess versus Public Enemy versus Nelly versus Pitbull
versus Whitney Houston. And I say Disco Seven, just good to look seven is about to drop as well.
So is an interesting sounding mashup from that, which he tweeted at me that was in the works
ABBA versus Sex Pistols. So around in coming was three days ago next week. So it’s the week
coming. So yeah, that sounds very interesting ABBA versus Sex Pistols, which would have sadly
fizzed very well in this in this podcast. But you know, ABBA is always welcome on this podcast.
So we’re going to play another track. I think a track. What a surprise. As I mentioned at the
start about the enjoy your life theme section. This is an accidental theme. Like a lot my themes
not intentional. It just sometimes these things collate as I put the podcast together. It just
happens, you know, and that’s one of these. And the history of playing this track by Romy is that
I heard it on 6music and Mary Anne Hobbs played it. But she prefaced it was saying, Oh,
this samples Beverly Glenn-Copeland, a track we have actually played on this podcast, La Vita,
the opera new age track, a long time ago. And it’s sampled in the new Romy track, Romy from The XX.
And lover greatly, she played this and said, Oh, after the break, I’ll play the thing examples
and I wish people do that more often. But he samples two tracks as well. He doesn’t just sample
Beverly Glenn-Copeland. There is a vocal on there, you know, my mother told me enjoy your life,
which when I first heard La Vita, that’s one of the reasons why I played it was the opera as well,
the opera sort of vocals. But also that line, I think I talked about it when I played it many
years ago. And he’s one of those lines, there are certain lines in songs, you just stop your tracks
and you just go, Whoa, and that’s one of those. But then she mixes in with a sample from I’ll be
I’ll be on Yoha, which is a Nigerian disco track from not sure if it’s the 80s, but it’s an old,
old, old track. It’s also in there as well. And in similar fashion to Mary-Anne Hobbs, though
not really the same. I don’t like to copy 6music. I’m going to play that in the mix as well.
Obviously not going to play La Vita because I played it on a previous podcast, but
I’m going to start with the track that started it all. And this is Enjoy Your Life by Romy.
That was Trespassers William. I mentioned that in the previous podcast, I had a cover that got
shunted over to the other podcast. Now was it that’s left to center, which is one of my favorite
songs of all time, but also Suzanne Vega originally did that written by Suzanne Vega. And I can’t
play the original because of the big bad because she’s on A&M or she wasn’t A&M back then. So
you get that very good cover though. And that’s Lotte Kestner. And Lotte Kestner is appearing
everywhere because of her cover being used in The Last of Us. I’ve loved Lotte Kestner’s voice
for many, many years. Then before that, we had boygenius, also going very viral at the moment.
And also I can’t play the recent stuff because they signed to a UMG label. That’s
Souvenir from their first release, which is an independent release, I think. So I think it’s
all right. We’ll find out. And I’ve talked about certain lines of songs. In previous
podcasts about how there’s always a fulcrum, one or two tracks that kind of like the whole thing
revolves around. And that whole line about, look in the mirror, do you hate what you see,
like I do? That’s like, oof, oof, maximum oof. Then before that, we had an Instamatic mash-up.
So it’s from me, a bit of style, symphony, Harry Styles versus The Verve. Not often does
Instamatic, my alias, do stuff. Sometimes it does stuff that’s political or has a deeper meaning,
mixture. And that’s from earlier in the year. I would be lying if I didn’t say that the whole
lyrics of As It Was by Harry Styles and also meshed with the, I think, very compatible lyrics to
Bitter Sweet Symphony by the Verb. They were definitely about my 50th birthday coming.
Definitely all about aging. And that mix was very much about existentialism. And the 50th
birthday come down. So yes. Then before that, we had Fissunix, my favourite mash-up of current
times. And it was created in 2008. It seems to be the way, what was it about 2008, 2007? I think
DJ RozRoz’ mash-up that I loved early is from around that time as well. That’s Enjoy Tomorrow,
Morcheeba versus Stereophonics. And I didn’t know the Morcheeba track. It was with Judy Tzuke.
It was post Sky being fired from the group. Is that a sort of hinterland period? And maybe
Tomorrow by Stereophonics, which is a track I actually like of those. I actually ended up watching a
Kelly Jones interview about songwriting. I don’t know how that happened. Just last night,
I was just watching that and thinking, actually, those Stereophonics have never been cool. Even
back then, they weren’t cool. Seriously, it was like them versus the Manics. And the Manics are
going to win every day. But he’s a good songwriter. And I love Maybe Tomorrow. It’s a brilliant song.
Just the words of the Judy Tzuke, Morcheeba track is just meshes very well, total vibe,
and also one of my favorite meshes of all time. Now, I was checking out Fissunix’s
back catalog, because Fissunix has become a common theme, posted all of his back catalog
onto Sowndhaus. And so I could just go through and it just makes it easy. They’re all band
camp. It just makes it easy to go through. I really do recommend people posting there, at least
sort of like a best of compilation or, you know, something on band camp or whatever,
because there’s so many gems that I’ve missed the periods where I wasn’t listening to mashups.
Even when I was listening to mashups, but there’s so many coming out all over the place.
It’s not easy to keep up with people’s back catalog, especially as they’ve been going as
long as I have, which is 21 years or 20 years this year, 21 years involved in the community,
20 years making mashups. And at the length of time, sites are well gone and there’s been
generations upon generations of layers and layers of digital cruft and digital debris
all lying around the internet. And it just makes it easier when there’s just like one place you
can go to and just go, oh yeah, here we are, here we are. Even if it’s curated like all these are
my best, that would really help. I would also say that it’s good to actually get most of them or
all of them there in one place. You know, this is a bootleg archive thing as well, because what
the person thinks is amazing. It’s not necessarily what is amazing. And I’ve learnt this from my
own artwork. I’m sometimes the worst judge of what’s good. So, yes. So you will hear more
Fissunix’s later, I think, or yes, later in this podcast, unless we’re on out time.
It’s already running quite late anyway. Then before that track, we had Oby Onyioha. I
don’t know, Onyioha. I don’t know how to pronounce that. Enjoy your life. From 1981, I checked. I
said 80s. It was right. There’s the rate to 70s, 80s. It was actually 80s. And that was from a
compilation, which I actually had heard before from 2016, Doing It In Lagos. Boogie, Pop and
Disco, we did in 1980s in Nigeria. I think I’d heard the compilation before. Missed that one.
And then Jamie XX suggests it for the Romy track. And then it comes back into my life
and they’re like, oh, this is actually really good disco, sort of disco funk. Yeah, brilliant.
Then before that, we had Das Koolies, which is new. She’s all from 2023. That’s Dim Byd Mawr,
I think that’s how you pronounce it. One of the tracks I was planning, we just finished the
ToTom’s challenge, which he was setting a foreign language challenge. And I did a
mashup with Pata Pata, which I love, Miriam Makeba, Xhosa. And yeah, that was fun to do,
but I really wanted to do one with Welsh, because Welsh is one of those languages I love. And we’re
talking about Welsh and Old English today, and me and John, and I was playing him some Gaelic,
some Sorley MacLean, like, I love Welsh. And that is super for animals without Gruff Rhys. Gruff Rhys
doesn’t seem to want to stop doing solo stuff. And so the other people that Super Furry Animals
have revived a new side project from the guerrilla period called Das Koolies. I got no idea what it
means. I don’t know if it means something in Welsh, or if it’s actually in German, I’m not really
sure. And that’s from the Condemned EP. The videos are brilliant. An artist called Da Da Dit has done
them. And the album comes out in September. And what I like about that is they mention in the notes
about being influenced by Purcell, and you think, yeah, whatever. And then suddenly at that break,
and it’s like, that’s totally Purcell. So fair enough. And that’s the reason why I played it was
like, ha, the rest of it, it’s like, you know, it’s like PVA, you know, people are doing that kind
of thing, that sort of psyche indie dance thing. But when it drops into Purcell, you’re like, yeah,
that’s very Super Furries and also genius. So yeah. And then before that, we had Everything
Everything from the most recent album, Raw Data Feel, that;s Software Greatman,
who’s famously they used AI to write the lyrics, which I’m not sure is a good thing,
because the album is a bit of a mixed feeling for me. It’s been like that for a last couple of
everything, everything albums, apparently, maybe only 5% got into the final album, but it named
that track. So that’s an AI named track. But I like that one. And usually with everything,
everything, the best track is the last track. I don’t know what it is. Every time I go to
and everything, everything else, I should just skip to the last track because it’s the one I want
to love when they’re being very energetic. I think more invested, I think sometimes they’re
very clever. They’re a bit like OK Go. They’re more experimental than OK Go. But they have that
thing of where OK Go was being very clever with their videos, like, oh, look at us. And it’s
like going, well, that’s clever. It doesn’t make me feel anything. And there is some element of
the way that everything, everything works with technology. And I really appreciate the
fact that they make their own videos, or they’re involved with directly doing these things.
So they’re making it part of the art. So it’s all kind of one thing. Oh, that’s brilliant.
But I do feel as though that can leave you very cold. It’s always a problem of working with
dystopian technological themes. It can just end up a bit like J.G. Ballad’s work. So that has to
be a human element. And I think there’s something about their work loses a human element sometimes.
Then before that, we had Gerd with Palm Leaves. That’s Mr Fingers, Afropsychojungledub Mix,
Aka Larry Heard. And that is originally from 2011. And that was what I was
mentioning. It was like, there’s a track and this is so psychedelic disco, that mix I did
so many years ago. It’s that one. And I wish I’d known about it because that is
very much the kind of remixes I did for Psychedelidisco. And you can find those on
like Bandcamp, which is realityengine.co.uk, something like that. I think it is. And you can
find the mix on radioclash.com. I did the full three hour mix of like disco. I don’t know what you
call it, like Afrobeat disco, psychedelic disco, weird disco, odd disco oddities, but always that
sort of very trippy feel. And I was very much into that. I didn’t buy a type Afrobeat thing.
And I found a few sort of early Afro synth pioneers and was doing stuff for those. So yeah,
it reminds me of that. But yes, Palm Leaves blowing in the wind. And the start section we had
Romy with Enjoy Your Life, which some of the Oby and the Beverly Glenn-Copeland. And if you
haven’t checked out Beverly Glenn-Copeland, you should. So we’re going to play at you, as we always
do, a unreleased excerpt, really, of a track that Delia Derbyshire did for Brighton Festival.
This is from 1967. And there was a lot of these things. And I’ve ranted about it before, about
the fact that there’s so much stuff out there, which is not being shared or you hear little clips
or the little little playings of it. And then you’d be like, you know, why isn’t there a
compilation. Why isn’t there a box set of this stuff? I don’t get it why Delia has not had
anything like that. Manchester University has the tapes. And it’s all like, oh, it’s not finished.
But you know, seriously, there’s so many artists out there who’ve released the stems, have released
unfinished demos, you know, it’s not an unusual thing. And this suggests that this mix of various
things, but this soundscape for an installation on Brighton’s West Pier. And I can’t remember if
that was the one that fell down. There was this Brighton Festival and they had this installation
on the pier. So of course, she went for us a very much a beach theme. So this is Labyrinth and Beachcomber
excerpt of for the Brighton Festival.
That was probably what that mix has to be. That mix should be called. You Can’t Always Get What You
Want. That’s by The Jolly Boys, the cover of the Running Stones classic. That’s Mento. And I was
looking at Mento because I was like, what’s Mento? I came across the Jolly Boys cover of Blue Monday
and then came across the album they did. Great expectation in 2010. I was like, that’s perfect.
And there’s some really good covers on there. And Mento is kind of a precursor or kind of an
alternate universe to Calypso. It’s like, I think Mento was a Jamaican genre or Caribbean Jamaican.
But at the same time, Calypso was around. Mento was there. But Mento was a bit more
folky and local and kind of more rock and roll. And the Jolly Boys have been going on since,
oh, the 50s, 60s. They still have original members in there. Obviously not all original
members because they’re getting quite old now. And they play at certain hotel. Used to, I’m not
sure they’re still going, but they, I think they are. They play at hotels in tourist hotels in
Jamaica doing covers, but in a Mento style. They even appear in your film. So yeah, I love that.
I love the Jolly Boys. And there isn’t more of their recordings. So there might be the odd
tape also floating around. And yes, as I say, you can always get what you want. That mix or
end mix, I was almost going to precursor and say, because my pretend record label on Sowndhaus is,
You Won’t Like It. And I thought, well, I’m not going to presuppose people like that mix or not.
As I said at the start, totally all over the place and intentionally, partly intentionally,
partly unintentionally. So it’s a bit like a wave. It’s interesting. There’s all the beach stuff
in there. As I was mixing, I think, yeah, this is kind of like a wave of things that go coming
and going in waves. So before the Jolly Boys, we had, You’re Just A Bloke by Roger Eno. Yeah,
that’s Brian, you know, his brother from 2012’s Ted Sheldrake, where tended to be performing the
songs of Ted Sheldrake. Now it’s very obvious that Ted Sheldrake doesn’t exist. And Roger, you
know, does this a lot. He did a whole classical music album with all these different names,
and they’re all just not real. So he’s done that before. He’s a bit of a prankster. I’ve been checking
out Roger Eno’s work. Yeah, not all great. I think he works best in with his brother. I really like
the album he did with his brother. But there’s some good stuff in there. And there is an element
of like, when you get that sort of ambience, that sort of new age, that it becomes a bit
wallpaper music, but he’s got a sense of humour. And I really like some of the more way out stuff
he’s done. And then before that, we had Everything But The Girl from the new album, Fuse, that’s Lost.
That came out on my birthday. And it’s amazing how now when the game on my birthday summed up
the whole, you know, of being middle age and how you feel about it. And I didn’t actually listen
to it several days later. And I was like, blown away of like saying, that just sums it up really.
We’re also looking back to clubland, because I didn’t realise that Ben Wattt used to run his own
club night. And so some of the little vignettes are from that sort of period. But that is called
Lost. And it is a Google search on Lost. And it’s made around all these things that came up when
you typed, you know, I’ve lost my and the, you know, so it’s quite a clever thing to do for a song.
Like all these things, you get quite dark. I’ve lost my faith, my best friend, my mother. And
this, you know, it is like I said, about this top moments and songs and things where everything
just slips around. And that’s what the podcast has been very much about. And there’s the countdown,
which can hardly hear. But if you look online, you can see the lyrics where Tracy’s input was to
button stuff, which is more consoling, but it’s off to the side. It’s quite buried. These other
voices, but they’re very distant. It’s quite a bleak track, but yes. Then before that, we had
Roger Eno with Hwendaway, which I thought was actually a traditional folk song. It turns out
he’s made it up. He’s made up a sort of Orkney style folk song. I love it anyway. That’s from 2013’s
Swimming. Then before that, a track which has been in and out of so many podcasts. And I was like,
I can’t play this. It’s too dark. It’s too dark. It’s too dark. But give them what’s happening
at the moment in Sudan and Ukraine and various other places seem gearing up for war or Cold War.
It seems still very appropriate. And also Trump is not going away and Elon Musk and all the usual
bullshit. Sound of Sirens by Kinsey Sicks still is current. And that was done in lockdown three years
ago. Obviously a cover of Sound of Silence, but in a very Kinsey Sicks fashion. But listen to the
lyrics. It is very much about Christian right and leaders ignoring the people, which is a dangerous
thing to do because whenever people have it nor the people, it never ends well in the end. But I
have hope. I probably shouldn’t do it at the age of 50. I have some hope that things will change and
people will stand up to what’s going on. But who knows? Then before that, we had in a similar fashion
Fissunix. Fissunix. It’s Fissunix. In 2013, it’s The Art of Peace, Megadeth versus IAM.
And I assume IAM is a French hip-hop producer with a little bit of rapping at the end. But I
love the idea of turning Megadeth Peace Sells But Who’s Buying into a really very funky hip-hop
track or sort of groove-funk track. And also it gets to focus on the lyrics. Because the thing
about heavy metal, Megadeth, is we grift and to distract you a bit from the lyrics. And like that,
it’s a more naked and minimal. You can hear what’s going on in there and yeah, sadly still current.
Then before that, we had Smash Mash-ups with Sound of Viva Forever. That’s a new mash-up,
Simon and Garfunkel. Yeah, I know me and Simon and Garfunkel and Sound of Silence. I know.
Get over it. It’s always going to be here. Versus Disturbed, which I don’t like that version. I
have versus Spice Girls. Luckily the Disturbed version is sort of brilliant, but yeah, I’m not a
fan of… It’s like hearing in tropical climates, like hearing a toad, you know, one of those frogs
that you hear in the background. Yeah, I’m not a fan of the Disturbed version, but mostly it’s
Simon and Garfunkel. As you went and looked at the video for Viva Forever, I’ve never seen it.
Because I remember the sack at the time, it came out when Geri left the Spice Girls and
there was always sort of, oh, it’s sorry, but it was actually mostly written by her, ironically.
And it’s quite a weird video. It’s a really quite spooky video, I have to say. That’s about being
away with the fairies. So anyway, then before that, we had something that probably everyone
hated, but I loved. It is Jocy De Oliveira Wavesong from 1981. Historia, Esparavos, Instrumentos,
Acousticos and Electronicas. And Jocy De Oliveira is a Brazilian composer and multimedia
artist and pianist. I felt a rabbit hole checking out South American female producers, female electronic
music producers and artists and musicians. And that mix was very much about not siloing because
there was also an interesting article I read about the fact that these top 10, especially on
Women’s Day, these top 10 lists of, oh, the best, you know, not only does it feel very competitive,
it silos them into being like, oh, well, only on this day or only on this special occasion,
are we going to honor the female or fem, not cis male producers and musicians and composers?
I hope you’ve got from this podcast, we always feature the people who don’t fit that cis male
white mould. It is always going to be here. And I do try, I don’t always aim and manage it, but I
do try to always put 50% in every podcast. It doesn’t, you know, it doesn’t matter if it’s
International Women’s Day or not. I do agree. There is some element of where that’s useful to say
I have found it useful, some of those lists. There is this element of like othering,
which is problematic. It’s the same thing we’re saying here’s, you know, 10 queer artists or 10,
you know, trans musicians, you should know, in one sense, good, in one sense, it seems to
put the label beforehand. And it’s one of the reasons why, as an artist, I’ve never put myself
out as a queer or gay artist. I’ve always been, I’m an artist who happens to be. And that doesn’t
mean that identity is second. In fact, sometimes it’s primary, but an experience is primary to the
art I make. But there is an element of saying a black artist or some people are happy with that.
I personally am not. I personally don’t like the label to come first, because it becomes,
it sets up a genre. So, you know, the queer art is very much talking about very specific things.
I can’t obviously talk about black art or other communities, but for queer art, it’s very much
like, Oh, you know, nudity and is certain givens. And I’m like, I find that a bit too much like a
trap. So, you know, I’m not interested in doing erotic male art. I’m not interested in doing
things that are about gender necessarily. I don’t feel that sort of need to be pigeonholed.
And I think there’s something right in saying, No, these things should be mixed together,
even if it’s rather randomly like in that mix. That was the point. These things shouldn’t
necessarily be like, Oh, no, we’re going to put these things together in one happy package.
That is the theme of this podcast. We’re not going to do that. And we’re not going to do
this sort of thing about, Oh, no, I’m going to not play that because it might go down badly.
Yes, not going to do that. If I feel it is worth playing, I’m going to play it,
even if sometimes it sticks out like I saw some. It’s something I do and like, I love mixing and
I love creating a cohesive whole, but also sometimes you have to break that rule.
Some of this podcast has been intentionally, I don’t intentionally,
believing those edges in. So before Wave Song, we had Clothes, an excerpt by Delia Derbyshire,
which she did with Elizabeth Kozmian. She did a film with Elizabeth Kozmian and was in 1980,
working on a second film, but it didn’t happen. So it’s just that I’m sure it’s longer an excerpt,
but there’s just interestingly her using the coder, just vocals, which I’ve never heard before.
That was kind of interesting. And again, should be available to buy.
Then before that, another track from Fuse, that’s Run A Red Light by Everything But The Girl. And
yes, yes, bumping powder from a key. Yeah, I have met people like that. And they only
have written about those people that who is always kind of chances in the night world,
where you, the nighttime economy, as I call it now, where there’s always our next week,
it’s going to be my big break next week, next week. And then they constantly going out clubbing.
Yeah, I’ve met enough of those. But then what I find, I enjoy clubbing and I enjoy that thing,
but also I keep it separate because you can get so drawn into getting addicted to it and also
the drugs and other things. But chasing that rush is fun in small doses. And I’ve seen so many
casualties of the whole disco casualty. There’s a bit of a cliche, I know, but I’ve met some.
Interesting how Ben Watt, who’s that’s one of Ben Watt’s songs, is documenting those kind of
interactions of those people who are very like, but there’s a more positive one,
there’s one about dancing during the day. And Tracy’s all into dancing as well and clubbing.
She’s mentioned that on her solo records. There’s the whole thing about,
you know, when those were dancing. And that’s what reminds me of the Vauxhall Tavern.
They used to have Orange after DTPM. And you’d see people dancing away,
who’d been dancing all weekend, usually with some chemical assistance.
And yeah, that sort of thing where you look to the door and you suddenly see there’s someone
to come out and you just see the door, these people, everyone clubbing and it’d be like
sunny outside and it’s like three o’clock on a Sunday. Interesting disjunct that one.
Then before that, we had The Pregnant Dream by Ruth Anderson. Ruth Anderson is an American,
usually cut-ups or remixes in the sense of William Burroughs cut-ups and is produced quite a few
tracks using sort of mixed media media. They’re quite hard to find because obviously copyright.
Quite a few of them to play and she’s very interesting. She’s on the same time as Paulino
Oliveros and quite often is included in the conversation. She’s a, or was, I don’t know if
she still is a professor, one of the universities in the States. How that reminds me of it also
tied into Delia. Delia did a piece with Barry Bermange about dreams. And so I love the humor of
that conversation about you. I don’t want you to tell me about a dream. Oh, I was telling you a
dream. I forgot about the dream. I love that cyclical nature. Then before that, we have
Renaldo and the Loaf from their wonderful album Gurdy Hurding from 2016 at the Scent of a Turnip.
If there’s a song that should be a mash-up theme song, it’s that. It’s talking about mash it up,
you know, it’s bizarre and it should be the kind of thing that gets mashed up into a Crumplbanger
and played on the chat pod. But I have a feeling it would never do that because everyone would be
like, that’s just a bit too weird. That makes me sad. Then before that, we, at the start of the section
we had Delia Derbyshire with Labyrinth and Beachcomber, except for the Brighton Festival on 67.
So I’ve reached the end of the podcast. I almost nuked everything somehow by stopping something
running while I was doing it. So who knows if this is recording. It seems to be recording the voice,
but it could all have gone horribly wrong, which sums up everything about this podcast,
should be the motto of this podcast. Korg go horribly wrong, and usually does.
So we’re going to play out with a track in a similar fashion about failure.
This is by reconthuse and I’m surprised I haven’t played this. I think it was done for one of the
challenges. I can’t remember which one it was, one of the early criminal bangers discord challenges
and it’s a bit of an anthem. I think it might be for one of the, we’ve had the instrumental
challenge a few times. I think it might be for one of them using instrumental. I think it might be
that. But this is Chariots of Failure, Jack Black and many others versus Vangelis. And I talked about
this on one of the discords that the last line, which is from Bo Burnham in this mashup, you should
pay attention to because I do think there is a place in podcasting and art and everything else
for not having an audience. People think that comment is a joke from Bo Burnham. The whole
thing about if you live without having an audience, do it. That is actually a good credo to have as
an artist of, I mean, his work has talked a lot at Eighth Grade about the need for people to see
what you do. And he as a child, as a teenager that grew up on the internet, went viral on the
internet as a kid, has nosed the upsides and downsides of that and that how in a way making stuff
and then people not paying attention, it has a certain freedom outside of freedom. I do think
there’s a little bit too much focus on influences and numbers and the validity of people being
defined by social media. And I’m probably sounds like a bit like old man’s shouts of cloud, but
it’s true. I think there is a problem with that because I think it doesn’t accept that art is
made in ways and by people and by situations don’t necessarily leave themselves to be initially
and usually never initially popular. They’re usually popular after the person’s dead,
which is depressing. And so if you can make art in a vacuum and it’s not not over,
make art in a void of expectations and a void of anybody looking in, it can be wonderful,
but hard to do, very hard to do. So this is Chariots of Failure and I’ll speak to you soon.
so I like that obviously I must stop saying the word obviously obviously obviously I must
stop saying the word obviously obviously oh shitThis is just dummy content. Put your relevant content over here. We want to remind you, smile and passion are contagious, be a carrier.