RC 383: Cha Cha Charles / House Proud

The following program, it contains strong language, sexual situations, violence, and nudity.
It is intended only for mature audiences and may not be appropriate for children under 17.
It contains strong language, sexual situations, violence, and nudity.
It is intended only for mature audiences, viewer discretion advised.
We’re called Royal Blood and this is rock music.
Who likes rock music?
Nine people, brilliant.
We’re having to clap ourselves because that was so pathetic.
Well done.
Can you clap for us?
Can you clap? You’re busy.
Yes, even he’s clapping.
What does that say about you?
Hello, welcome to Radio Clash.
This is 383 and it’s Cha Cha Charles.
It’s all about the king, but also Pride because it’s House Proud.
Thank you.
Yes, playing another Abba mashup at the start of the podcast.
A second episode running.
Yes, that’s how we roll.
That’s what we do.
That’s what we do around here.
And that was Hallmighty from Disco Deluxe 7 with Mamma Vacant, Sex Pistols versus Abra.
I mentioned it in the previous podcast.
Before that, we had Anarchy In The Uk, Genesis Owusu.
Not exactly sure how you pronounce that.
He’s a Ghanaian-Australian singer and that’s from Triple J.
One of the things that happened is Triple J put up all of its past Leica version covers
on its YouTube page so you can watch them all.
And that is brilliant.
I love the way he’s changed the lyrics.
So it’s a very punk intro, a very Sex Pistols intro.
He’s interesting.
He talks about in the making of video how he connected with the anger of the song,
even though he’s actually doing it in Australia.
It’s not about the UK.
It’s more about Black Lives Matter, but also state of what’s happening.
I think it’s 2021.
Yep.
So I think it’s released for Record Store Day in 2021.
Not sure if it’s called in 2020 or 2021, but certainly Black Lives Matter is a lot to do with that.
And then I say thank you at the start for the jingle from ToTom.
And it was supposed to be, I don’t know, a week or two, and it’s been three weeks.
Stuff happened.
Stuff happened, including, yes, we had a Coronation.
In fact, I think the last podcast was posted just before that Coronation weekend.
So we have a podcast.
It starts about the King Charles III and the Coronation, which was a lovely affair.
I just stayed in bed and avoided everything, which is wise because a lot of people got
arrested just for not even protesting, just planning to stand around and say, not my king,
which is crazy, Republic.
And that’s the state of protest in this country, sadly.
So we’ve got a podcast that talks about that for a short while and then goes into a mix for Pride,
because although I’m recording this right at the end of May, it’ll soon be June and Pride Month.
So inspired by Eurovision, which also happened this month, seems ages ago now.
It was only a couple of weeks ago.
I’ve got a Skippy Skippity 90s house Eurovision-y Mix, very, very, very out and proud.
And we’re also got a few songs for Tina, because sadly, recent news that Tina Turner has died.
And a few other things.
Indie Covers, even a DJNoNo section.
Yeah, I think DJNoNo is taking over halfway through the house mix, which is probably going to end very badly.
And doing a NoNovision.
DJ Eurovision NoNoVision mix.
And yeah, so there’s a real mixture.
And as usual, we’ve got too much shit to talk about and too much shit to play.
So we’re going to start with a track, which I have to say thank you to Ian Fondue of the Lloydbrary, I’ve put him me on too,
because I was collecting anti-Coronation, anti-monarchy hip hop tracks, as you do.
I was collecting anything like that.
And I’ve got a few of those and about three of those coming up.
This is Fireball Flingaz with N.M.K. Not My King.
It’s rare that I play a full extended version of a song.
As long-term listeners would know, usually I’d mix or go for the radio edit to get more stuff in.
But that was A Flock Of Seagulls.
Yes, there’s more to Flock Of Seagulls than I ran.
Or wishing I had a photograph of you.
I love that.
That’s Space Age Love Song extended remix.
And a lot of fun in various reasons to mix from the house mix, which I hope you enjoyed.
You had your hands in the air and poppers out or whatever.
And then before that, we had Jessica Mauboy with We Got Love, 7th Heaven Club Mix.
That was introduced to me by Eurovision.
Although I do know Jessica Mauboy.
Although I didn’t know her last name, but she’s on The Voice.
One of my guilty pleasures is to watch The Voice Australia, which is Australian.
And Australian said like that.
That’s not the only Australian that’s going to be in this podcast, I have to say.
There might be more.
We just had an Australian challenge.
And then is currently mine, which seems to be very quiet.
DJNoNo won the Australian challenge.
And more from DJNoNo.
But yeah, Jessica Mauboy, she’s one of the judges on Australian Voice.
And so I knew of her.
I didn’t know her work.
And that was in the background of in the semi-final,
they had three queens come out dressed as the three hosts
and then did a whole lip-sync spectacular.
And several of those songs were in it.
We had I’m Free by Ultra Naté was in it.
And We Got Love, which is a song I didn’t know, but I do know 7th Heaven.
Who did that mix?
7th Heaven do very good kind of piano house, kind of old school house.
You know, with proper pianos and divas and proper house that you would hear in a…
Well, I actually probably wouldn’t hear it in a proper gay club
because gay clubs are quite often players of the R2D2 music,
which sounds like R2D2 having a wank over the top of…
That’s GHB Ket music.
But you know, in the sort of more traditional gay clubs there,
we might do the more piano house, especially a Pride is the kind of thing.
It tends to be a bit less…
Then before that, we had Rita Ora praising you.
If you think Fat Boy Slim, it’s actually his song.
It’s actually Praise You.
But Rita Ora has done a new version.
That’s the Total Smash Mix Show edit.
And I think they got that via Bobby Promo.
Bobby Shaw.
If you want to check out a good house, there’s two good house Twitch streams I’ve watched recently.
Liquid Todd is one and Bobby Promo.
But Bobby Promo plans to play some new stuff,
but more old new order b-sides and things like that.
So that’s more my style.
He has a mailing list and I think I got that from his mailing list.
Thank you, Bobby.
There’s a Fat Boy Slim mix and it’s less kind of hands on the air pop.
It’s more what he’s doing now.
And the pop version is not so clubby.
So it’s kind of trying to find a good version.
And then there’s that mix show.
It’s obviously mixes in the original, which job done.
And then before that, as I mentioned,
it’s free from 2001.
Oh, my God.
I think it’s earlier than that.
I think it’s 90s.
I think just that compilation is from 2001.
I think it’s, I think it’s 97, 98, but I might be wrong.
And I’ve got to say that Jessica Mauboy by is 2018.
And Jessica Mauboy is actually an Eurovision contestant in the past as well.
So I think for Australia, so the circle of life,
the circle of Eurovision, the whole, yeah, they keep it in the family.
And then before that, we had from Eurovision 2023.
That’s Gustaph Because Of You.
That’s the Belgian entry.
And I love that greatly.
That was serving some ballroom realness.
They even had a ballroom dancer as part of the thing.
You know, the whole gay balls New York house thing is very current.
This is a reason for doing this mix because it is something that I don’t usually mix piano house.
So I do love piano rave, but you know, it’s more piano rave rave.
Or classic old school house.
I don’t, you know, if it’s, and it’s usually mixed in with the things I’ve run.
I’m not sure I’ve ever done a full on piano house, diva house mix.
It was all so I could put that track.
You know, because of that track, it’s kind of one of these things where I was like,
I want a bad track.
I’m just going to retrofit stuff around it.
I do actually like that praising you.
I like what she’s done with the song.
I love how they’ve edited in the actual that loop.
I assume it’s just fat voice limb.
Norman Cook with an ST just kind of looping as best he could at the time.
Now you could easily do, you know, and just elongate.
But back then, no, but it’s become part of it now.
Even though I suspect it probably was a limit of the technology.
I’m sure someone will tell me, oh, it wasn’t.
Then before that, we had the Sphinx featuring Sabrina Johnston with What Hope Have I.
I’ve played other mixes of that, but I love that song greatly.
It’s from 2007.
And that’s the 7th Heaven mix, 7th Heaven again.
It’s a song I love greatly.
I mean, probably the reason why I don’t play that much piano, modern or all skippity skippity 90s house is that I love it.
But this can be a message like free, you know, but it’s a very generic message.
A wonderful message, but or we’ve got love, you know, it’s very up.
It’s very upbeat.
You know, and that’s like because of you, it’s perfect for a Eurovision.
But I actually quite like my music having a bit more of a message to it.
And that one is definitely a song which I’ve resonated with a lot over the years.
Even more so now, you know, about the cues and the, you know, and the poverty and the tears.
It also is quite cryptic.
Some of the things, you know, A with a K, you obviously know what that means.
AK47.
But some of the things, you know, G with H gangster at Highwall, I don’t really know what that means.
So it’s like a cryptic puzzle as well.
I mentioned this before when I played last time.
But the general feeling of to get all these good things, it just seems so impossible and so difficult.
It’s such a mountain to climb.
I just think that’s just a wonderful way of saying it.
A quite a depressing thing.
But, you know, it is defined, but also, yeah, I mean, because that’s the thing I have with house is that the hopeful side is good.
But I always sometimes feel it can get a little bit vapid.
I’m more into the making a bit more of a point.
And yeah, I love that mix greatly.
Then before that, we had a new mesh up from disco deluxe seven.
That’s whole mighty with celebrity hate.
How do you say that?
Celebrate.
It’s not celebrate.
Celebr-hate.
Celebr-hate.
Celebr-hate.
Celebr-hate.
The dip song.
And that’s Joan Jett versus Kool & The Gang.
Obviously celebrate versus I hate myself for loving you.
They seem to be a theme running through this forecast of punk over things.
You know, there is a punk theme running sort of through and I’ll be more of that later.
I think there’s a section of where it was more punk, it’s more metal.
But then before that, we had a mashup of mine, which is from last year’s Pride, which I didn’t play on.
The podcast, which is a bit weird because, you know, but, you know, I probably made it too late.
That’s Captain obvious with Standing In The Way Of Survival Gossip versus Gloria Gaynor.
And that’s one of those.
Why did no one ever make this?
Because the gossip acapella was available and the instrumental of glory again has been around for a long time.
So I never understood why no one made that.
It just seemed to be an obvious Pride thing.
But my old mashups might have listened to them and go, oh, dear, that’s one of the ones I still pretty much stand by.
There could be a little bit louder on the mastering, but, you know, I’ll fix it and I’ll fix it in the edit.
And then before that, we had Dubxanne, as always known as Guido Craveiro, which I didn’t know his real name.
And that is Fade to Grey from the new Popwave In Dub album.
And if you haven’t heard the Popwave In Dub album, I would go and get it.
Go and find it online and you can stream it where it is really good.
A whole load of eighties, your kind of nineties and noughties thing, all done in a dub style.
And I’ve played a lot of Dubxanne and Easy All Stars on this podcast for a very good reason, because I love them greatly.
And I love Dub greatly.
I love Reggae greatly.
It’s just a great combining of eighties pop and Dub.
I think it’s a new all here, another track later on.
Unless they’re on out of time.
Then before that, in honour of the sadly departed Tina Turner, that suit and Unfinished Sympathy.
Yes, she covered it.
She covered it on her album Wildest Dreams, 1996.
And I love that version.
I love the fact that she had a speaky bit at the end.
And people don’t do speaky bits in track anymore.
It’s sad because I really do like that sort of, it was a whole thing about rock and roll and then a little bit in disco.
But more earlier, where people would have these all, you know, spoken word bits, you know, in the middle, little dramatic monologues.
And I miss those.
I’ve been like, I miss the raps.
You know, every song needs to have a little rap in the middle, you know, rap eight bars, 16 bars.
I miss those two things.
And yeah, that I’m playing partly because most of her stuff is UMG, unfortunately.
It’s Capitol.
She was signed to Capitol, but she moved to Parlophone in the nineties.
And so that was good.
I wouldn’t necessarily say that, you know, it’s better than the massive attack version, but it’s pretty close.
It’s a really good version.
And before that, we had the not my king section that’s Grove with Big Boots to release that actually after the Coronation.
So it’s good thing I didn’t do a Coronation thing before, but you can find that on their bandcamp.
And I love that sort of.
It’s a bit like These Boots Are Made For Walking, but 2023 on the monarchy.
Yeah.
And before that, a song that’s similar.
I don’t think you’re going to hear on the radio.
I mean, Dandelion Radio did play various kind of fuck the monarchy things.
I think you might have played that JD track.
Not sure.
They played a bunch of things.
One of the DJs did a sort of intro of two very anti-king tracks.
And I think that’s good.
But I think there’s certain stuff which might be deemed a bit libelous.
The JD King Charles track.
And good luck trying to sue me, but it’s not my track.
So you may.
But I’m not necessarily disagreeing.
Then before that, we had Fireball Flingaz that started section with N.M.K.
Not My king.
And the second use of the word cunt in this episode to Pretty Vacant.
I love the way Hallmighty sort of just focused on that because the whole point of our song is
the way of getting the word cunt in a song without you being censored.
So hence at the start, you would have heard the explicit warning that I stole from, I
think it was Fox Network or something.
It was from somewhere on YouTube, but it was an old warning because this podcast is explicit.
And if you missed all the warnings and share an explicit tag, if you gain this for your
friends and the explicit tag everywhere else, if they don’t on the explicit tag, that’s
not my problem.
But yeah, this has always been an explicit podcast, explicit thoughts.
And talking of explicit, we’re now going to let DJNoNo onto the decks.
Yes, we’ll save us, save ourselves.
And he’s going to start with a track by Teya and Selena, which was the Austrian entry,
Eurovision.
And this is Who the Hell is Edgar?
That was theNoNo-vision mix.
And it included tracks from Great Britain, Germany, Austria, Finland, France, Australia,
and rather not Eurovision, America and Russia.
Although I’m sure Pussy Riot probably say they’re not Russian anymore.
But yeah.
That was Pomdeter with Weezer versus Des O’Connor, Dick A Dum Dum Hills.
And that’s from 2020 too.
And before that, we had music from Bluey and both myself and DJNoNo are obsessed by the
music from Bluey and also the series themselves.
It’s about Cartoon Dog, Australian Cartoon Dog, six years old.
And it’s the best cartoon ever.
I would say best cartoon ever, full stop of current times.
We’re not even going to qualify it with kids cartoon.
It’s the best cartoon because there’s a lot of poignant moments, a lot of adult stuff in there.
A lot of stuff for kids as well.
It’s sort of multi-layered and it’s beautiful.
It’s absolutely beautiful.
Each episode has a different music by Joff Bush.
And that would be by Joff Bush or one of the other people who work on the show.
I’m not coming back to that, it’s actually by Joff Bush.
It’s obviously credited to Bluey, but it’s likely to be Joff Bush.
And that’s The Claw, Pachelbel’s Canon.
That’s the German one.
And Australian as well.
It’s a beautiful series.
I would say I’m more Bingo.
Bingo is a four-year-old sister to Bluey.
Bluey is a Blue Heeler, an Australian cattle dog.
And it’s so Australian.
So Australian.
But it’s beautiful.
It’s got stuff like Bush Wees and Tactical Wees.
Can you imagine a kids cartoon that mentions a tactical wee?
And then before that, a Skeewiff with, Are You Being Served a Skeewiff remix?
I don’t think I’m as official.
That’s from 2017.
And I found that.
I was thinking, mashing, Are You Being Served as something which didn’t really work out?
And then I found that mix.
I went, oh, I’ll have that.
And did you know, no, put it into the mix?
Yeah, as they would.
Then before that, we had Dorian Electra.
This is more the Pride element.
This is My Agenda featuring Village People and Pussy Riot.
The Anamanaguchi remix.
And I love Anamanaguchi, who do rock meets a bit tracks.
And I love Dorian Electra.
So obviously you’ve got the queer side with Dorian Electra and not with Village People.
The original Village People was quite queer, but actually the guy that’s in Village People
now is not queer at all.
It’s straight.
And Pussy Riot are all kinds of things, including I think queer.
But yeah, I love that.
The whole thing about, you know, turning frogs homosexual, because that’s the room is about
the water.
Some things in the water turning frogs homosexual.
So it’s turning people homosexual.
It’s like, yes.
But I love the fact they’ve got the little Frogger sound.
I assume that’s, I’m not going to say it again.
I’m sure other people are remixing it with the long name, which I can’t say very well.
And then before that, we had DJNoNo, a new one from DJNoNo, which won the Australian
Challenge.
That’s Bluey Idol Dancing With Bluey Generation X versus Joff Brush.
And I would say Bluey is mine and DJNoNo’s safe place at the moment.
There’s a lot of shit going on in the world and a lot of weird shit going on in our lives.
And it’s just wonderful to watch something so joyful and emotional.
It usually makes me tear up a lot.
You know, it’s partly because of my childhood.
Long story dysfunctional childhood.
I hate anyone who says, oh, that’s actually childish.
It’s like, well, sorry, my childhood was stolen by various things going on at the time.
Then before that, we had Dave Skywalker with A Fool Looks At The Finger That Points To The Sky.
We’re slightly confusing because that’s a quote from somewhere else.
And I had to track it back to Amelie because I guess, is that The Piano?
I thought it was The Piano by Michael Nyman at first.
And then I was like, I know that.
I’ve seen that in a film.
And that’s Amelie.
And that’s one of the French bits.
I don’t know where Dave Skywalker is from, but that’s from a great combination called Blockbusters.
There’s a bunch of people called Remix Everything on Bandcamp.
And they do, I wouldn’t say everything they do is great.
But when they do hit it, it is really good.
And they’ve done a couple of compilations around theme songs and TV themes, which I’ve got some bangers on.
That’s definite one.
That was a native food cycle, that compilation.
And then before that, we had Sparky with Ulysses.
That’s the UK, sort of US version of Ulysses, the English theme.
And that was a French production.
And that’s from 2023’s TV themes, supporting Cancer Research.
So they do like these long things.
And as I say, the quality is a mixture, but there was some really fun stuff on there.
Sort of more kind of, I’d say happy hardcore and drum and bass end of the spectrum and some Bang Face world, Does It Bang? type stuff.
And I recognise some of the names from the does it bang stuff, the does it bang festivals as well.
And then before that, we had the French version by a French producer.
That’s Ulysse revient, cello weekend, Ulysse returns, revient.
I know it’s the weekend, obviously.
My French is terrible, which is going to be a problem.
If I do as I plan to do and go to France in June, that’s going to be fun.
I’m trying to brush up my seven years of French with Orphagon.
I don’t know if it’s Ulysses, Ulysses 31 versus The Weeknd.
And that’s from 2023.
That’s a recent mashup and anyone mashing up Ulysses theme will get my attention and DJNoNo’s attention every time.
Then before that, we had from, well, the not very well titled Backing Tracks,
Taustanauhat
That sounds German, I should probably say it a lot better, Taustanauhat.
And that’s Cha-cha-cha, Käärijä versus Lord of the Lost.
And so that’s Finnish and German, because what happened with Cha-cha-cha,
which was the number two, should have won Univision, Loreen or Soreen as we call around here,
with Tattoo, which is really a Mika Newton song.
It was stolen from Mika Newton with Katy Perry’s stylings for Firework.
Look at Mika Newton and you’ll find, and you’ll be horrified, the verse is identical.
The chorus is very close and the chorus is share more with Firework.
It’s pretty cold for a Univision that’s supposed to be hosted and won by Ukraine.
It’s a Ukrainian previous entry and just duplicated it.
That’s a bit cold.
So Käärijä was number two, my winner in my heart and DJNoNo’s heart.
But Lord of the Lost, the German entrants, who sadly got, well, not exactly no point,
but they were the lowest.
And of course, the UK additional was an ordinal last somewhere around there.
It wasn’t a great song though.
But the German entrance covered, which is highly unusual for another act to cover,
another act song.
But on YouTube before the contest, and it’s good.
So it’s like a duet between Käärijä and Lord of the Lost, and greatly.
There’s been a few mash-ups, including weirdly nothing, not a Mika Newton mash-up,
which would make more sense with the winner, with Loreen.
There’s been a few mash-ups of Cha Cha Cha, and weirdly they don’t put the vocal in.
And the whole point of Cha Cha Cha is Cha Cha Cha Cha Cha Cha, it’s that bit.
That is the fun part of that.
And so you can’t really do a mash-up and not have the Cha Cha Cha’s.
There was a really good Ein Zwei Drei Polizei mash-up.
And again, they didn’t have the Cha Cha Cha’s in it.
I was like, Oh, I’m not playing that.
You know, DJNoNo agreed.
And then before that, we had Teya and Selena with Who the Hell Is Edgar.
And that was the Austrian entry.
About Edgar Allan Poe.
About the ghost of Edgar Allan Poe possessing one or both of the songwriters of the song to create a song.
But then the whole 0.03 is the Spotify.
So it’s actually an attack at the music industry because although she’s got the ghost of Edgar Allan Poe
making her do this brilliant song, she can’t make any money because Spotify
and all those other rates and, you know, and she’s got comedy.
These comedy plays, you know.
I love the whole sort of Baby Got Back sort of intro.
And it’s just a really mad track.
And unfortunately, they were right at the start of the final.
So they made it to the final, but they were one of the first tracks
and that generally doesn’t go that well and it didn’t.
Although they weren’t as bad as Germany or the UK entries.
So, yeah.
So, yes, that was no new vision with a whole bunch of tracks from all over.
The international sound of silliness, generally.
So on to a track by Kygo and Tina Turner.
I didn’t know about this back in the day.
Kygo did a remix of Tina Turner and it made it a mix of tropical house and sort of piano house.
And I do like this a lot.
So this is the classic, the Tina classic.
What’s love got to do with it by Kygo and Tina Turner?
That was me, TBC aka Instamatic with Million Reasons
I don’t like Mondays.
That’s Lady Gaga versus Boomtown Rats.
That’s a very new mash-up done as of yesterday.
Although it depends when I post this.
I might not spend weeks editing this for rather long, I guess.
Then before that, we had the mash-up that inspired it from 2017.
That’s ToTom’s Down To A Million Reasons.
That’s Lady Gaga versus Gary Numan.
And I heard that via an Adriana stream.
Adriana saying she didn’t have enough Gary Numan mash-ups.
So ToTom sent that over.
I’ve not heard that one before.
And it really sold me on the Lady Gaga song, Million Reasons.
Because the original was all very pseudo, fake country.
I’ve said this before that Gaga is a great songwriter,
a great image for the production.
And that song sound to me just a bit generic.
And taken away from that backing was like,
oh, I really connected with the song for a variety of reasons.
Not often do I hear a mash-up go.
I really want to use that lyric.
And I don’t know, Mondays is an earworm for me.
It’s something I sing every Monday.
I think about every Monday.
It was a song from my childhood.
And I do know what it’s about.
It’s about a school shooting.
I don’t know if she said that word online Mondays,
but she said something similar, I think.
And it was on the early school shootings,
where this girl had a rifle.
Given to her by her father,
and then she just one day decided to shoot at the children
in the playground opposite.
And no one really knows why.
So yeah, it’s a very dark song.
And then before that, we had Ordinary World by DubXanne
from the Popwave In Dub album, Brilliant Cover.
One of my favorite songs of all time,
by Duran Duran.
Other co-written by Warren Cuccurullo.
And there was very much spearhead behind that song.
Although the lyrics are about a friend of Simon LeBon.
Of course they credit Duran Duran,
but it seems to be very Warren Cuccurullo based.
Then before that, we had The Soft War
with All The Umbrellas In London
and Magnetic Fields cover from a May 2020 cover album
from the PRF Monthly.
Now the PRF is Premier Rock Forum
and it’s a bit like GYBO.
If you can imagine GYBO, but with indie bands,
bedroom musicians and very indie bands,
no way of type things.
But doing a monthly compilation since 2014
and putting it on Bandcamp.
And they’ve got hundreds of them.
And a bit like our challenges on Discord,
the person who wins the last there’s voting
on the song that’s submitted.
And the person who wins the last one
gets to choose the artist or album.
Sometimes it is restricted to an album
or sometimes a genre type,
but usually it’s around an artist
or an album from an artist.
And they all cover the songs of that artist or theme.
And they have a month to do that.
And like the Remix Anything,
it really can be very, very, very variable.
But that is really beautiful.
Seriously, anybody doing a Magnetic Fields covers album,
it’s actually got 71 in the graphic
because they got 71 songs.
I’m sure they probably were aiming at
either 69 or 99, but you know,
I suspect they were trying to go for 69 love songs.
And they ended up with 71.
And it’s a beautiful song.
And I really like Stephin Merritt’s songwriting.
And of course a song about London.
I mean, hello, you know, All The Umbrellas In London.
The idea is that it’s all, you know,
usually in a love song, that’s not really a love song.
You know, you’re talking cliches,
but he’s turning around all the cliches,
like all the dope in Tokyo.
Then before that, we had a mashup from me again.
A lot of mashups in this podcast.
Usually I don’t play a lot of my mashups.
I’ll play only a couple,
but there’s various reasons for each one.
And also I think my quality has gone up a lot
over the last couple of months.
And so, you know, I could treat myself
and playing a few more.
But I’m actually more critical of my own work
than I am other people’s.
And that one is the case in point,
because I did ages ago, put it up as a demo,
and then was listening to it and saying,
why did I not put ladies on the podcast?
Why did I just leave it to rot on Sowndhaus,
which is now Remix Audio, if you didn’t know.
It’s now Remix Dot Audio.
And that was the other thing I did in the break
between the last podcast is have to go through
and change all of the embeds
and all the links on the blog.
Blogs, multiple blogs,
to remix to audio, which actually went quite well.
But that was one of the many things that happened.
And yeah, and I was thinking,
why did I not play this?
This is actually very good.
So I actually made it for the podcast,
because I wanted to play Left of Center
by Suzanne Vega, because she’s A&M.
Sometimes I make mashups to play on the podcast.
For songs which I can’t play the original song,
because the mashup can never be licensed.
That’s the reason why I don’t mind UMG stuff in a mashup.
But when it’s the original song,
then there’s no sort of defense for that.
And that just gives me aggro,
so I can just do DMCA and pull it.
I can pull it out anyway,
but with mashup, there is a bit of a defense
on transformation and, you know, that sort of stuff.
And the Instamatic one earlier was a similar one,
but I was saving sort of saving us for this Pride podcast.
Then before that, we had The Air That I Creep by Recidivist.
And that’s from PRF Monthly again.
That’s from November 2021.
They did Radiohead, and that was a good one as well.
And then before that, we had Flamboyant Love.
I mentioned a mashup,
Foreigner vs. Dorian Electra,
which won the challenge a while back,
because there was a sad song,
Slow Song vs. Hyperpop Challenge.
And that’s what introduced me to Dorian Electra.
So that’s why Dorian Electra is in this podcast.
And it seemed to go very well with the Tina Turner,
a similar kind of mood of three electronic with soulful vocals.
But I don’t know what love is,
is one of a few songs of theirs I like.
And it is very, I know it probably has seen, you know,
eye rolls from rock fans,
but
you can tell, you can hear that he has a soul background
and a soulful voice,
and you can hear the soul in there.
Once you take it away from the backing,
you’re like, wow, it’s a really soulful, gospel type track.
It works very well with Flamboyant by Dorian Electra,
which is about being, well, queer and flamboyant.
So, good one for Pride.
But that’s another one where I was like, I heard it and went,
it’s weird, I can win challenges with tracks
and just abandon them and feel like, hmm, not sure about this.
Or do it be all about something and go, oh, this is great.
And then the week later, I’ll be like,
I have to come back to some tracks sometimes.
And then at the start of the section,
we had Kygo and Tina Turner,
What’s Love Got To Do With, that came out in 2020.
Yeah, I would say it’s kind of house, tropical house.
It sounds that sort of 2020, late 10s tropical house.
There’s a little bit of trans-EDM in there.
So I’ve reached the end of the podcast.
This is going to be way too long, as usual.
And some of the albums I’ve been checking out recently
is two albums in quick succession,
because the 10th year anniversary of Daft Punk’s
Random Access Memories, which finally I found a track
which I wanted a high-res version
since they released the video, the goodbye video,
a version of one of their songs off-ram.
And yeah, the deluxe is mixed feelings.
I mean, there were some things in there
that I had already heard before, like Horizon,
which is almost not a Japanese version,
but there was a very nice overture version of Horizon.
They did strings for every single song on that album.
Even if there aren’t strings in it, they actually did strings.
There’s even one they spent at a million,
well, is it a million pounds, a million dollars?
Might be a million dollars.
I don’t know if it was obviously less,
but they spent a million of something.
I don’t think it was pesos on that album for their own money.
And one of the reasons is they spent weeks and months
in the studio and hired arrangers and orchestras
to do orchestral versions.
And there’s a lot of live playing
from session musicians and them and their friends and stuff.
So it’s like they used to make albums.
And the other one was Time by ELO.
I’m not really sure why I fell into that rabbit hole.
I think I somehow came across Ticket to the Moon,
and I wanted to play Ticket to the Moon
because of the intro saying,
remember the 1980s?
And in the end, I took it out
because I didn’t really have space.
And I also wanted to play 21st Century Man.
And I was like, that’s perfect.
And then found out I’d played it on the podcast many years before.
So I’m going to play an epilogue,
which quotes both of those tracks, I think,
and Twilight as well.
It’s like the epilogue of the album quotes
the whole load of things from there.
But the reason for that is go and listen to
ELO’s 21st Century Man,
because although it’s about a man that’s been sent
into the future from 1984 to 1995,
it’s so much applies to now.
It’s just spooky.
And I think that Time album,
a lot of people are hearing about it
because it was, it’s a concept album,
and it’s a lot of synthesizers.
I think it still stands up a lot of it.
Nearly all of it, actually.
There’s a few of them I’m not sure about anymore.
But yeah, no, I think it’s a good album and a good concept.
So we’re going to play out with epilogue, two epilogues.
So ELO’s epilogue and Touch 2021 epilogue,
probably my favorite or one of my favorite
Daft Punk tracks of all time.
And means a lot to me.
And this version, yeah, it’s emotional.
So anyway, here’s epilogue on two of them.
Drip Drop Drip Little April .
Nah it’s like May or June, isn’t it?
Drip torture.
Anamana Gucci.
Anamana Gucci. Anamana Gucci. Anamana Gucci.