RC 392: The Burn Out & The Big Freeze

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Hello welcome to 2 Radio Clash, this is 392, and it’s Burnout and the Big Freeze.

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Hello and welcome to Radio Clash, this is 392, and it’s The Burnout and The Big Freeze,

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and that was The Staves with All Now, which was released a couple of months ago, and I

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heard a lot on 6 Music, and I tend not to repeat what’s on 6 Music, but I heard again

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recently when I was putting together this podcast and I was like, that really sums up

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what my January has been like, the lyrics about “Be the brand empowerment I’m supposed

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to be.

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I’m supposed to be.

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Bitterness is fine only if nobody can see.

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Isn’t it exciting?”

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Yeah.

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I love the sarcasm in that.

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Suddenly check out the video as well.

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Everything is a happy song about, you know, being in the moment.

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Yeah.

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Check out the video, and yeah, you’re not correct at all, and it mentions the new year, so it’s

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got the whole sort of, “You can go wild, dear, but happy new year.

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Have a happy new year.”

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And that’s how I feel about 2024 so far.

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I’ve already screwed up my knee, lost my wireless microphone, and gained it, gone on a 45-mile

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hike, which was supposed to be a 100-mile hike, and then had to bail because of the knee

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and the microphone, and my channel is tanked.

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People have stopped subscribing to my channels, my YouTube channel, my hard-up hiker channel.

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There’s just been a bit of burnout on that, so not only have I been camping in the big

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freeze, I’ve also had the classic content burnout.

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Everything’s supposed to be happy, happy, joy, joy.

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Everything’s supposed to be like, “Yeah, it’s fine”.

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People are slagging me off in the comments.

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It’s fine.

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Everything is going to shit.

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Let’s just play while the Titanic sinks.

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And that seems to be the same in UK politics.

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We’ve just had Blue Monday, and I think a lot of people are struggling, so this is a new

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year’s podcast with probably a bit of an existential twist, but not so existential, though it doesn’t

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mention being old and tired and in the bones is Pimp Daddy Supreme’s Bubble Bottom Girls,

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Queen and Major Laser Featuring Tyga, and I was Tyga, Tyga, with a Y, not that

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Tiga.

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There’s two tigers.

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There’s Tiga with an I, and there’s Tyga with a Y, different person.

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And this is from 2013, and I missed it, but it was played recently, and I was like, “Oh,

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that’s very good”.

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So anyway.

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That was Billy No Mates, with Spite, such an anthem of mine, for a variety of reasons,

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probably because mostly I’m a spite-powered machine, revenge, is it not only a dish served

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cold, but also success is best rend, although the success thing isn’t going so successful

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at the moment, so anyway, that’s it’s downside, and yes, the 6 Music dads that got upset

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with her Glastonbury set can fuck right off.

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Brilliant album, 2023’s Cacti, very kind of downbeat, I hope she hasn’t left the music

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industry.

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Tori Maes, I think, I know it’s Tori, I can’t remember her last name, is Maes, I think.

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But yeah, I mean really, I’ve seen Self Esteem do something pretty similar with a backing,

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you know, but of course, because she’s Milf totty, no, she’s a proper artist.

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No one says anything, even though she’s in total major label whore, so, you know, seriously,

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in 2024, I’d give no fucks, I’m not going to censor myself, but you know, I think Self Esteem

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is seriously overrated massively.

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Very funny when interviewed, it’s a bit like Noel Gallagher, music way, way, way over it.

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And then before that, we had Cherry Laine from 1979, that’s Mamy Blue, and that’s during

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that interesting period where sort of Caribbean, West Indian disco became a thing, we’re kind

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of Boney M, really, do check out Cherry Laine’s work, very kind of space disco, yeah, I mean

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Boney M was quite space disco, cosmic disco, hence, I always call it night flight to Uranus,

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but it’s night flight to Venus, but yeah, it’s an n-joke.

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And then before that, we had Visitor with our lips sealed 12-inch mix from 2003, and

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that is Jon of the Pleased Wimmin, Jon Pleased Wimmin, under an alias, almost made it into

00:32:55.220 –> 00:32:59.980
Terry Hall related episodes, but Electro-ish, Electro-Clash-ish, I don’t know what you would

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call it, cover of Our Lips Are Sealed originally by, well, the Go-Go’s, and then covered by

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Funboy 3 with the Go-Go’s, also Terry Hall did a solo version with Nouvelle Vague, I don’t

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think The Specials ever did it, but yeah, throughout the years it’s ended up coming back in different

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versions.

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Then before that, we had Live Stream Original Mix by Mark Knight, I went through Mark Knight

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deep dive, I don’t know if it was in Fondue, or someone posted up a Mark Knight track and

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went through Mark Knight’s back catalogue, Rene Amesz and Green Velvet on the vocals

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from 2017.

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It’s weird because that’s 2017, it sounds like something should be in 2020, talking about

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everything’s moving to Livestream, you know, people used to look at Caged Animals, which

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is a bit, yeah, but you know that everything seems to have moved online now and live spaces

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are dying.

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I think Prysm in Kingston is under threat because of the company that owns it or entry

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management and Prysm being an ex-cinema or, it was a bingo hall or a cinema music hall

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that became a cinema and then bingo, but around the corner is The Regal, which has been emptied

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for nearly 20 years and all the frontage has been, all the sort of the scaffold has been

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taken down recently and it’s in a real mess and that was a bingo hall, which then was going

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to be a nightclub and it’s just been sitting empty for nearly 20 years.

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Depressing, of course, the Hebron was lost in Kingston, so yeah, it’s kind of like the

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hollowing out of nightlife and it seems to have all gone into online and Twitch and everything

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and although, you know, there is some good, good things from that, but it’s, I’m disturbed

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by that, I have to say, and the ninth thing is when [Beggars] Banquet boasts about that, they

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said, Oh, Prince Fatty, I think, I think it was anquet’s sort of statement was like,

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use it or lose it and it’s like gay spaces and queer spaces. I can’t afford to. This

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is the problem. There’s a whole bunch of people who are priced out of those spaces

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and I think that’s part of the problem really, you know, there’s a whole bunch of us who’d

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love to support those spaces, but when you’ve got like tickets, you know, 10, 20, 30, 50,

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you know, for major artists now, was it 100 quids up to stupid, you know, much higher

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than that because of online touts and, you know, Taylor Swift and all that, you know,

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it’s just this moan about, Oh, well, you know, people should support it. There used to be

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a thing and my favourite club still does this. There used to be a thing called UB40 or Unwaged

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kind of benefits tickets. I still remember those and now it’s like gone, you know, Ducky

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still does this. Most of the time, most of the things don’t do it at all. It’s like,

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well, you know, you pay for a price of fuck off. It means there’s a whole bunch of society

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that can’t afford to go to these spaces and it means, you know, the artists on stage are

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quite often white, middle class, upper class, darlings, Tarquins and Emilies, who could go

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to stage school, who could afford to spend five years, 10 years working on a band or

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whatever, playing to people who are similar like them. And it just means that there’s

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no working class in the creative spaces. And then people moan about diversity. And it’s

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like, well, what did you expect? Anyway, then before that, we had Jo-Lo with Violation.

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That’s quite a surprise. I found that I also went through a deep dive of high energy megatone

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stuff. That’s from 1983. Jo-Lo were a backing group, Jo-Carrol and Lauren Carter, who backed

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a lot of the Megatone releases. Megatone being where Sylvester was on. And sometimes with

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Sylvester actually, I think I’ve heard at least one where Sylvester’s in there in the

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mix. So quite often you’d hear him in backing things as well, but they were the in-house

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female, the backing vocalist, and they had a sort of a brief career doing singles of

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their own. And they wrote that. And I think it’s brilliant, all my like new wave meets

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high energy. It’s kind of got that as a rock. It’s a weird time where like post disco, it’s

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like that rock disco, but then you’ve got high energy as well. So it’s got that new wave

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feel with the lyrics. But yeah, very little dark lyrics for a Megatone high energy release.

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And it sounds more like, yeah, new wave meets high energy. I love it. And then at the start

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of that section, we had Pimp Daddy Supreme with Bubble Bottom Girls, Queen versus Major Lazer

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between Tyga and a little bit of Baby Got Back in there. And I really wish there was,

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I was listening to that and thinking, yes, I do like Big Bottoms and they cannot lie.

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But yeah, I wish there was like a male version, a male version of Big Bottom Boys. I’m sure

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they probably is somewhere. I’m sure someone has done that. It’s the same with the Mamie

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Blue. I wish there was a Daddy Blue on. I wish there was some more gender switch on.

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That would work very well and be probably more appropriate. So I’ve been checking out

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the AC Soul Symphony album called Metamorphosis, which is another 2023 release. There’s a

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few things in here which are kind of, I didn’t want to say, oh, here is a review of the year

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because I want to play all kinds of stuff really, the stuff I’ve been digging. But yeah,

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along with the Billy Nomates album and AC Soul Symphony is Dave Lee, formerly Joey

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N, the Italian for black. And I want, yeah, we changed to Dave Lee because of Black Lives

00:38:30.180 –> 00:38:34.580
Matter. And quite early, so I think I mentioned on the podcast, you know, would call him that

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I was like, it’s a white bloke, come yourself Joey N. And it’s just a bit like, yes, I’m

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glad he’s just Dave Lee. And AC Soul Symphony is his pet project of, I think he got like

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a small orchestra and recreating the joys of disco, but with a modern twist. The album,

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it doesn’t always work, but I like the fact that he’s done a Philadelphia style big, big

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disco epic version of the New Avengers theme. And if you don’t know about New Avengers,

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that was, well, that was the original Avengers, which is John Steed. No, not that Avengers,

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not the Marvel ones, John Steed and Emma Peel and others. The New Avengers was the 70s version

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with Purdy, Joanna Lumley, and the coffee guy, Gareth I’ve forgotten his last name and a few

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others. The theme of it was a sort of a funk disco classic. So this is the Philly Avengers

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by the AC Soul Symphony.

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That was Cherry Glazerr with Shattered from the album I Don’t Want You Anymore,

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and I’m just looking at what that was about, because I must say the album doesn’t hit as

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much as the previous album for me, but the songs are growing on me. It’s a bit like Cacti,

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Billy No Mates. Initially, I was like, “Eh?” Apart from Deathwish, I love them a lot,

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and as I’m listening more, I’m like, “Actually, no, I get this vibe. I understand this vibe.”

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It’s like I wasn’t ready for that vibe in 2023, and 2024 was hit, and it’s like, “Yep,

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this is definitely the vibe,” and it’s about family drama and family bonds, so no wonder I like that.

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And then before that, we had a match from 2024. It’s so weird seeing 2024 on dates on things now,

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I was like, “Oh, it’s 2024.” And that’s Eternal Khaos, Adam B., with Gimme Some Vampires,

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John Lennon versus Olivia Rodrigo. I don’t know what version of that, whether they’re Remix Step,

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or whether there’s a version, because I have done a mash-up with Vampires by Olivia Rodrigo,

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which is basically all by myself. I don’t remember there being a sort of a rocky,

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up-tempo-y bit, but I have a false memory, but I don’t know if there’s a remix. Yeah.

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I was listening to the John Grant first time. He did Reason, which is brilliant, by the way.

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The first time is a six-music series about the first time you came across music and musical

01:23:05.040 –> 01:23:11.360
Milestones, and he’s got a song where he says, “I’m actually quite angry.” You might not think so.

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And yeah, I am very angry with what’s going on at the moment in the world,

01:23:16.400 –> 01:23:22.480
and what’s going on generally. And that might come out with that selection of some of the songs in

01:23:22.480 –> 01:23:29.200
this podcast, because does that give me some truth, which will be nice from politicians and various

01:23:29.200 –> 01:23:35.040
people, leaders generally, everyone. And then we’ve got Billy No Mates with Apathy’s Wild,

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which has the wonderful lyric, “The depths of everything real have shallowed.” The death of

01:23:39.840 –> 01:23:44.720
everything real has happened. Where do you sit in the new world now? And that kind of just sums

01:23:44.720 –> 01:23:51.760
up. We’re going to post COVID, post Brexit, post everything, feeling that there is at the moment.

01:23:51.760 –> 01:23:57.920
And it doesn’t feel like 2024 is… I was hoping for something better, but it looks like it’s just

01:23:57.920 –> 01:24:04.080
more of the same shit, really. Then before that, we had ToTom. I’m very glad he released his mashup

01:24:04.080 –> 01:24:12.320
finally. This is Heart of Jolene, Blondie versus Dolly Parton, version two. And that’s from his

01:24:12.320 –> 01:24:19.840
release, mashups 2023. So we have a bit of a round of 23 in that section. Before that, although it’s

01:24:19.840 –> 01:24:25.360
from 2022, I didn’t really hear until 2023. That’s Chase and Status featuring Ethan Holt with Hold

01:24:25.360 –> 01:24:30.880
Your Ground. That is such an anthem for me at the moment from 2022 is what came before. I did listen

01:24:30.880 –> 01:24:37.360
to their mixtape. Dunproofin mentioned it. And a lot of Jungle stylings, but it didn’t hit as much

01:24:37.360 –> 01:24:42.560
as that song for me. That was the one where I was like, “Yeah, that says it. That says what I need to

01:24:42.560 –> 01:24:48.880
hear. That resonates with me.” I feel that the album’s a little bit more better than the mixtape,

01:24:48.880 –> 01:24:56.800
but anyway. And then before that, someone who was my 2023 and 2022, I was saying, but certainly

01:24:56.800 –> 01:25:04.320
2023 loved pretty much everything he released as Anthony Smirak with How Do You Get Here?

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Such a funky disco. It feels disco that number. Disco rap. I don’t know. Disco rap is the thing.

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And then before that, we had a band, again, all over 2023 and also my 2022, I think, really. But

01:25:17.440 –> 01:25:22.080
a lot of their music seemed to get proper releases because the album, like Silver,

01:25:22.080 –> 01:25:27.280
was released at the end of 2022. But no one could get it. It was impossible to get. It was

01:25:27.280 –> 01:25:33.680
re-released. That says you see with questions. And I so love that they’re getting the love they

01:25:33.680 –> 01:25:39.200
deserve from various places, 6 Music, all over the shop. They’re getting love and they should do.

01:25:39.200 –> 01:25:44.640
And then before that, we had Ben Double M, the much-missed Austrian

01:25:44.640 –> 01:25:49.360
mashup producer. That’s Sledgehammer In The Air Tonight I heard that via, I think,

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Pimp Daddy Supreme. I’m not sure when it came out because that’s a naughty YouTube rip because I

01:25:54.160 –> 01:26:00.560
can’t find that anywhere. So that’s 2013, I think. That might be wrong. It’s not even in the Bootleg

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rchive. There are quite a lot of Ben Double M tracks I don’t have. Then before that, we had

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Fred V and Hamzaa, another one song that’s just kind of haunted my iPod and has been like CHOON.

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That’s Freefall from 2023’s 500. Hospital did a release called 500.

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And so I can’t remember if, I think that is from 2023, but it’s part of that sort of compilation.

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Well, we’re checking out that, by the way, the 500 from Hospital Records. It’s always great,

01:26:33.360 –> 01:26:37.920
check out anything, any compilation from Hospital Records if you like Drum and Bass.

01:26:37.920 –> 01:26:44.160
And if you don’t like Drum and Bass, why are you here? Then before that, we had Logan Lynn

01:26:44.160 –> 01:26:50.640
with Here’s to Us, and again, another anthem of mine. It feels very New Year’s-y. It feels

01:26:50.640 –> 01:26:57.680
like a New Year’s track. That’s from New Money from 2022. And then I mentioned at Star Wars,

01:26:57.680 –> 01:27:03.120
actually, we had AC Soul Symphony with the Philly Avengers from 2023’s Metamorphosis.

01:27:03.120 –> 01:27:08.160
And that was probably my introduction, the New Avengers, that sort of disco funk thing,

01:27:08.160 –> 01:27:13.120
I think. It was probably the first time I heard funk was probably that, the New Avengers soundtrack,

01:27:13.120 –> 01:27:19.120
you know, and I loved it greatly. So I’m glad he did that. So we’re going to play a track of mine,

01:27:19.120 –> 01:27:26.880
because some of my tracks of 2022 and 2023 never really got much love, even on here.

01:27:26.880 –> 01:27:32.720
And weirdly, I never played them, partly because this came out and then someone else kind of beat

01:27:32.720 –> 01:27:39.600
me to it. And so I just abandoned it. So there’s a couple of 2022 TBC tracks that never really

01:27:39.600 –> 01:27:44.960
had the love that they should really have deserved. And there’s a new one at the end.

01:27:45.920 –> 01:27:51.600
Yeah, I haven’t replayed any of my mashups in this podcast. And I usually played two or three

01:27:51.600 –> 01:27:57.360
of mine. In fact, if that ended up, they were all the damn tempo ones. Yay, some people say.

01:27:57.360 –> 01:28:04.480
But I don’t care, it’s my podcast. So this is High and Dry Antihero, Taylor Swift versus Radiohead.

01:28:04.480 –> 01:28:09.120
I’m very proud of the vocal production on this. No I’m sure audio geekery no-one gives a

01:28:09.120 –> 01:28:13.920
fuck. But yeah, some of the echoes, I was listening to it going “Yes, you did a good job there”, but

01:28:14.480 –> 01:28:18.320
not that anyone cares. So anyway, this is TBC aka Instamatic.

02:16:36.080 –> 02:16:44.400
And that was TBC aka Instamatic, with ‘Let It Be What I Was Made For’.

02:16:44.400 –> 02:16:51.440
I finally saw the Barbie movie, which provoked that mash-up. If you’ve seen the movie, the whole

02:16:51.440 –> 02:16:58.640
Gloria speech and that, it’s very moving. But also, I liked the song before I saw the movie,

02:16:58.640 –> 02:17:05.520
because the lyrics… Well, they have a lot of personal reference. I don’t know how to feel,

02:17:05.520 –> 02:17:10.480
but I want to try. It’s very much an expression of depression. I think I’ve got to be happy,

02:17:10.480 –> 02:17:15.920
but something I’m not, something I can be, something I wait for, something I’m made for.

02:17:15.920 –> 02:17:20.640
When I first heard that song, there’s existential things in there, but also I had to make depression

02:17:20.640 –> 02:17:28.560
and wanting to change, and wanting to be happy, which is a theme of 2034 so far. And then before

02:17:28.560 –> 02:17:33.680
the mashup, they inspired it. Although, accidentally, I wasn’t intending to create a version

02:17:33.680 –> 02:17:38.800
of it. It just happened, and I had to say to myself, “Yeah, obviously, it’s subconscious

02:17:38.800 –> 02:17:44.080
inspiration”, because I wanted to do something with the Billie Eilish vocals, and then I found

02:17:44.080 –> 02:17:48.800
a Beatles track, rather than the Lennon track. So that was what I imagined Billie Eilish versus

02:17:48.800 –> 02:17:52.400
John Lennon. I mean, there’s only one mashup. I was trying to get that sort of interplay with

02:17:52.400 –> 02:17:57.680
the vocals, which I think is in the mighty mic as well, that call and response of saying,

02:17:57.680 –> 02:18:03.120
“Let it be, let it be.” Whisper words of wisdom, yeah, whisper, Billie Eilish whisper words of

02:18:03.120 –> 02:18:07.200
wisdom, “Let it be.” It’s okay. You’re working it out. So it’s going to almost measure myself.

02:18:07.200 –> 02:18:13.280
Some of my mashups are like that. Then before that, we had Grandad Traitor. That was a very late

02:18:13.280 –> 02:18:20.000
addition to this podcast, but I was listening to it today, and he won the Crumplbanger Discord

02:18:20.000 –> 02:18:28.000
Challenge, and that’s Clive Dunn versus Olivia Rodrigo by PomDeter, just 2023, right at the end.

02:18:28.000 –> 02:18:33.360
I find the whole Grandad song was rather cloying, but it works very well with that backing.

02:18:33.360 –> 02:18:39.520
I also never realised how much there’s sort of talking about history, although it was only 50,

02:18:39.520 –> 02:18:46.800
so I’m not sure if he could have remembered a time without cars, because he was only 51, 52,

02:18:46.800 –> 02:18:52.640
and that other single was a hit. So I don’t know, maybe, because it was I think it hit a couple

02:18:52.640 –> 02:18:58.240
of times, but I think it was in the ’70s, so maybe ’20s. There was a hit with, there was a Grandma

02:18:58.240 –> 02:19:01.920
track, which is a kind of version, I think they hit again in the ’80s, I think, if I remember

02:19:01.920 –> 02:19:08.080
correctly. Before that, we had Don’t Give Up, featuring Sinead O’Connor, that’s Willie Nelson.

02:19:08.080 –> 02:19:13.840
And there’s an interesting story about that track, because in 1993, just after she, quite rightly,

02:19:13.840 –> 02:19:21.040
tore a picture of the Pope up on SNL and was right about what was going on, and she never got

02:19:21.040 –> 02:19:26.960
apology for any of that. She was booed famously at a Bob Dylan concert, and I think, I’m not sure

02:19:26.960 –> 02:19:31.280
if someone was conflating, because I’m not sure why she would have been covering that track with

02:19:31.280 –> 02:19:35.760
Willie Nelson at the Bob Dylan concert, but apparently she did, and it was pulled from the

02:19:35.760 –> 02:19:41.760
recording, maybe because of what happened. But the next day, Willie Nelson, being Willie Nelson,

02:19:41.760 –> 02:19:48.880
asked her to record it with him for his album across the broadline. And that’s such a Willie

02:19:48.880 –> 02:19:53.360
Nelson thing to do, you know, he saw what was happening, wanted to give her a message of Don’t

02:19:53.360 –> 02:19:58.880
Give Up, you know, and I’m so sure that’s probably what he was intending to send that message to her,

02:19:58.880 –> 02:20:04.640
that, yeah, Don’t Give Up, almost guaranteed that was him. He’s a good human. And I’d say,

02:20:04.640 –> 02:20:09.040
thank you to Naomi for posting that onto Facebook yesterday, I think it was. Yeah,

02:20:09.040 –> 02:20:14.560
that’s going in last minute. And then before that, from the new Rockstar album, we had Dolly

02:20:14.560 –> 02:20:18.800
Parton with Purple Rain, a brilliant cover. There are a couple of really good songs on there.

02:20:18.800 –> 02:20:24.640
I would say it’s a bit overdone with the celebrity cameos, but I would kind of prefer

02:20:24.640 –> 02:20:31.520
there was less of that, though Wrecking Ball is brilliant because Dolly is Miley’s Godmother,

02:20:31.520 –> 02:20:35.920
good feel on that one. But a lot of them, you know, thinking she does Every Breath You Take and

02:20:35.920 –> 02:20:39.920
string turns up and you’re like, I’d actually prefer this without Sting, actually. I’m not

02:20:39.920 –> 02:20:44.000
sure how Prince would have felt about that cover, but I think it’s a really good cover.

02:20:44.000 –> 02:20:49.440
And of course, Stairway is on there and she did Stairway years ago. So it all of this like, oh,

02:20:49.440 –> 02:20:54.560
I don’t feel rock and roll enough to be in the rock and roll whole of fame, which is bollocks.

02:20:55.040 –> 02:20:58.000
But there’s a reason why she did the album, which is like, okay, I’ll do a rock album,

02:20:58.000 –> 02:21:02.720
which is a brilliant, brilliant thing, brilliant idea. And as I say, it doesn’t all work,

02:21:02.720 –> 02:21:08.400
but when it does, it’s very good. It’s, you know, it’s Dolly. Dolly never does terrible things.

02:21:08.400 –> 02:21:16.080
Dolly is always always quality. And then before that, we had Fennesz from 2008 Black Sea. That’s

02:21:16.080 –> 02:21:22.720
Vacuum. Black Sea and it’s the one with Venice. And obviously everyone knows in last summer,

02:21:22.720 –> 02:21:27.280
I went to a stage of checking out Fennesz’s albums, Christine Fennesz , the Austrian

02:21:27.280 –> 02:21:31.680
electroacoustic artist stage. The scribe is like a guitarist, but, you know, just glitchy

02:21:31.680 –> 02:21:38.320
electronica. And then before that, we had Giac, where I’m not the way you are,

02:21:38.320 –> 02:21:43.440
Billy Joel versus 10CC. There’s a couple of matchups in this podcast, which I usually wouldn’t

02:21:43.440 –> 02:21:49.600
play because of technical issues. And that’s one of them because not to sure about, I understand

02:21:49.600 –> 02:21:55.040
why, but I think the instrumental is pitched a bit too low, but obviously to try and keep

02:21:55.040 –> 02:21:59.840
the Billy Joel vocal at the normal pitch. I don’t know, it kind of works. I kind of like the sort

02:21:59.840 –> 02:22:06.000
of woozy nature of it, but it is slightly off-putting when you first hear that. A few other ones,

02:22:06.000 –> 02:22:10.000
like I wanted to play a Happy New Year by ABBA mashup, but there’s key issues. And I was like,

02:22:10.000 –> 02:22:16.480
yeah, I can overlook some things. It feels very crumpl or whatever, but sometimes it’s just,

02:22:16.480 –> 02:22:21.280
I can’t, I just can’t. I’m surprised there aren’t more about Happy New Year mashups. I mean, I did

02:22:21.280 –> 02:22:27.520
one, there’s that one, and there’s not that many more. It’s bizarre. It’s a brilliant track, and it’s

02:22:27.520 –> 02:22:32.480
sums up how I feel about Happy New Year. It’s depressing, but it’s kind of like,

02:22:32.480 –> 02:22:36.880
of course, that sort of like, that sort of end of the party feel, and that’s how I feel, man.

02:22:36.880 –> 02:22:43.360
And then before that, we had one of mine, which is TBC aka Instamatic Pagan Weeknd, Die for

02:22:43.360 –> 02:22:48.960
Your Poetry, The Weekend versus Bjork. That’s one of the ones I didn’t play because it has a very,

02:22:48.960 –> 02:22:57.600
very, very deep, dark personal, it’s actually about a specific weekend. And I’m not going to go into

02:22:57.600 –> 02:23:02.320
why. It’s just, it was a crush on somebody who was never going to reciprocate. Yeah, those emotions

02:23:02.320 –> 02:23:10.560
can be very strong sometimes. A lot of my TBC aka mashups are like that. When people go,

02:23:11.680 –> 02:23:16.560
they’re like, meh. And I’m like, but, you know, of course, people don’t get the emotion behind it

02:23:16.560 –> 02:23:23.840
because they weren’t there. So, and then before that, we had Hot Chocolate with Put You Love In Me,

02:23:23.840 –> 02:23:29.040
which I used in the Psychodelidisco mix, but, you know, I’ve never actually played on a

02:23:29.040 –> 02:23:35.040
podcast. So your mixes don’t disqualify. It’s if it’s been on a previous podcast. And that’s from

02:23:35.040 –> 02:23:41.680

1977. I think that was a single. And it just sounds so bizarre. In a wonderful way, like

02:23:41.680 –> 02:23:48.800
Arabic Cosmic Disco, but there’s no real beat to it. There is, on Discog, someone said about

02:23:48.800 –> 02:23:54.640
no kick drum. There is a kick drum, it’s just well buried. And it’s not a 4/4 either. It’s very dubby

02:23:54.640 –> 02:24:01.840
feel to it. It’s more dub than disco or funk in a lot of ways. Hot Chocolate were very experimental.

02:24:01.840 –> 02:24:09.920
This tends to get forgotten. Then before that, we had Low with DJ from 2015 ones and sixes.

02:24:09.920 –> 02:24:16.160
We really miss Low, which you know more because of the death of Mimi Parker. I love that lyric.

02:24:16.160 –> 02:24:21.120
You know, “you got to shake that. I’m not your DJ”. You know, “I’m not a DJ. You could shake that”.

02:24:21.120 –> 02:24:27.200
They’re a bit like Bowie’s “I’m a DJ. I am what I play”. I’m the foundational lyrics for me,

02:24:27.200 –> 02:24:32.080
especially when people think that I’m some kind of jukebox, which is like, yeah. And at the start of that

02:24:32.080 –> 02:24:38.240
section, we had TBC aka Instamatic with High And Dry Anti-Hero, Taylor Swift versus Radiohead.

02:24:38.240 –> 02:24:44.000
So, we reached the end of the podcast. I hope you enjoyed it. I’m not sure enjoyment is the

02:24:44.000 –> 02:24:51.680
right word. I hope you’re all well. As I say, my toy is very forcefully a bit weird.

02:24:51.680 –> 02:24:59.840
Lots been happening, but lots not really getting anywhere. Yeah. And as I said, I rent my knee.

02:24:59.840 –> 02:25:06.480
So, I was hoping to do more hiking and more camping, even in the cold weather, just to kind of get

02:25:06.480 –> 02:25:13.200
out of the house. And I can’t do that, man, because my knees screwed. And after nearly a week, it’s

02:25:13.200 –> 02:25:18.960
still that way. So, I might have to go to the doctor. It doesn’t get away. I’ve been doing

02:25:18.960 –> 02:25:24.800
gentle exercises and gentle walks, and it’s still hurt a lot. So, I hope all your 2024s are a

02:25:24.800 –> 02:25:30.160
bit better than mine. So, yes. Although, I mean, there have been some nice things. I’ve just got

02:25:30.160 –> 02:25:35.680
my Christmas present, which is a lovely t-shirt from Naomi, mother of my godson. This is very

02:25:35.680 –> 02:25:41.280
appropriately beard related. The person who sent my wireless mic back, I lost it at Devil’s Dyke,

02:25:41.280 –> 02:25:46.400
and they sent it back to me and I was like, oh, consider it a present when they’re going to,

02:25:46.400 –> 02:25:50.800
you know, send me the money. So, it’s good to have it back. The question is when I’ll be able to get

02:25:50.800 –> 02:25:55.360
out and use it. Although, I’m planning to take another one, because I’ve got a cheaper one now,

02:25:55.360 –> 02:26:02.160
because of course, I bought a replacement before. I put a message saying “has anyone found a mic?

02:26:02.160 –> 02:26:08.160
But I really didn’t expect anyone to actually find it. So, that was amazing. The power of social

02:26:08.160 –> 02:26:14.160
media. See, social media is not just for bad things. The mostly it is. Trying to focus on the good

02:26:14.160 –> 02:26:21.760
things. But I have to say, yeah, 2024 was a bit weird at the moment. I got obsessed with the song

02:26:21.760 –> 02:26:26.640
Don’t Let My Son Go Down On Me, which is originally by Elton John, and I really don’t like the Elton

02:26:26.640 –> 02:26:32.080
John version. I really wish George Michael had recorded it on his own, because, you know, without

02:26:32.080 –> 02:26:41.040
the Elton John. He wrote a great song. I just can’t, I’m not a massive fan of Elton John singing,

02:26:41.040 –> 02:26:48.080
that’s all. There’s only so much Watford Walrus you can cope with. He is the Watford Walrus.

02:26:48.080 –> 02:26:57.040
But someone actually did an AI version, and it’s Freddie Mercury, but not Freddie Mercury, was

02:26:57.040 –> 02:27:06.320
they took a vocal from Mark Martel, was the person who did the vocal bits in the Freddie

02:27:06.320 –> 02:27:12.240
Mercury movie. Although it was Rami Malek doing the acting, the vocals were done by Mark Martel.

02:27:12.240 –> 02:27:17.840
That’s how close to Freddie Mercury he sounds. So, someone’s then put it through about even

02:27:17.840 –> 02:27:26.880
more Freddie Mercury with an AI. And so, this is Freddie Mercury AI doing Don’t Let The Son Go

02:27:26.880 –> 02:27:32.640
Down On Me. And I hope you have a good 2024, and I’ll speak to you soon.