Tag: Tanya Stephens

Losing the plot, or at least the horizon we take a trip over the musical mountains to find a new perspective, getting angry with rock and metal, chiming to cosmic and concious electronica and disco and then orbiting ambient dubby meditation in Shangri-La. We have mashups from the new Hallmighty album and two mashups with Karin Dreijer, an ABBA cast-off before the ABBAlanche of ABBAstard (I will be posting about that compilation soon in a bumper post), indie occult and psychological britpop, another track from the new Orbital album, ambient classical from William Orbit, early disco Exorcist proto-mashups, more psych bluegrass and bagpipe stompiness, angry Indian metal and the show must go on, despite times being tight. Thanks to ToTom for his help with this episode. Horizon The Prize, Lost in the silence (2:31, 213Mb) Listen to RC 379: Lost Horizon byRadio Clash on hearthis.at HallMighty - Go x3 (Bastille vs The Chemical Brothers vs Moby vs Ne-yo & Q-Tip) ToToM - The Show Who Must Gon Pump It (Queen vs Electric Callboy vs Run The Jewels) Bloodywood - Dana-Dan The Kleptones - Running Interference leespoons - When I Be The One (Dua Lipa vs Fever Ray) Suede - Shadow Self Maximum the Hormone マキシマム ザ ホルモン - "Yoshū Fukushū" (予襲復讐 Preparing for Revenge) Witch Fever - Slow Burn LeeDM101 - What Else Is There In White Rooms (Röyksopp vs Booka Shade vs Linkin Park) Titus Jones - Survive the Dance (Ghost vs Gloria Gaynor vs Metric) The Champs Boys Orchestra - Tubular Bells (Cosmic mix) J Dilla - Beat 12 Tanya Stephens - Silence Hannah Williams & The Affirmations - The Only Way Out Is Through DJ Giac - When Flowers Will Survive (Gloria Gaynor vs Miley Cyrus vs Bruno Mars) Dunproofin' - Prince-A-Boo (Siouxsie & The Banshees vs Prince) Jimmy Young - Times Are Tight Orbital Feat. Anna B Savage - Home Martyn Bennett & Martin Low - PLAY Dank Zappa - Happy Come Back (Pharrell vs Pilot) ToToM - Brooklyn Horizon (Lana Del Rey vs Daft Punk) William Orbit - Ogive Number 1 Tamiko Jones - Let It Flow (Tz Deep & Slow Edit) William Orbit - I Paint What I See Hickory Wind - Sycamore Song The Electric Chamber - Cantus (Arvo Pärt) HallMighty - Don't Worry (Robin Williams vs Led Zeppelin vs Royal Philarmonic Orchestra) tbc aka Instamatic - Long And Winding Way (That Old Friends Do) (Barra McNeils vs Beatles) Denise Johnson - True Faith Transcript Hello, welcome to Radio Clash, it's 379, and we're looking towards a lost horizon,though we're not in Tibet, and it's not the 1930s, but it's close enough.That was Hallmighty, from the recent, very recent, at least on Friday, and recording thison a Saturday, try and give yourself album, that's Gox3 Bastille vs Chemical Brothersand Q-Tip vs Moby vs Neyo, I don't know the Bastille, obviously I don't know who Bastilleare, I don't know what the Neyo is, I don't know those two songs, but I know the other songsvery well, that seemed to be quite a not beat, a not beat but kind of reflective, contemplativeintro to the podcast, with the Al Pacino at the start from any given Sunday, and yes,welcome to Radio Clash, this is 379, Lost Horizon, it's unusual because this is a podcastwhich has had the artwork finished, you've got to love AI, our work finished and readybefore I actually recorded the podcast, that's a record, but you know, I was like, oh, I'llcreate the artwork for it, I'm not going, I've not even started it yet, and some of you heardme speak at the end of the podcast, and it wasn't me, it was a voice clone of me, notme doing an American accent, it was a voice clone of me, an AI voice clone, via a piecesoftware called Tortoise TTS, which you can use on Colab, on Google Colab, and yeah, itworks pretty well, a powerful American thing, if it wasn't American, I would probably useit more often, but I was using to patch a word, because of course I typically said someonewas an accordion player, not a bagpipe player, but they're very similar, and the Scottishmight get upset about that, but yeah, they kind of want to get keys, but they're bothsqueezy, make kind of meh noises, you know, very similar.So we've got a podcast with, now it's March, it's less than a week in fact, I was releasingthe other one, but the other one was delayed, so I'm behind schedule, and we've got a podcastwith, or some rock, a bit of drum and bass, we've got some J-Dilla beats, mashups, surprisesome downtown post-off, some even some folk, some will be happy to say it, but not really,no, it's sort of folky, not folky folk, it's bluegrass-y folk, and we're going to startwith a mashup by ToTom, which this is a mashup that I didn't want to play, partly becauseit includes a certain person, and I've asked ToTom to remove that person, who is an antisemiteand a self-proclaimed Nazi from the mashup.So if you're hearing this, he did so, so it's called the Show Who Must Pump it on.These are the people who were German group called, originally called Eskimo, now calledElectric Callbay, who apparently were part of a Eurovision, with some Queen.That was proof that Ghost mashups aren't just following, that's Survive the Dance, Ghostversus Gloria Gaynor versus Metric by Titus Jones, yes, Titus Jones, and that's fromNightmash Fall 2 from 2022, and I think I might have influenced the Ghost part of thatbecause, previous to him putting that out, I actually suggested that track in one ofthe Will It Mash sessions, and I noticed he took a note of it and went, oh, that's interesting,I might use that for something else, and yeah, then it appeared in the, I don't know if youdid the Will It Mash, I don't know if you mash down stream, but it's really good, Ireally, well, obviously Gloria Gaynor versus Ghost was not to like, and that section, sortof angry schizophrenic section, a lot of that is what I cut, see what happens is, I quiteoften do a podcast, and then I remember Don from Pirate Sound System, Don Gola, Blo-UpDoll, that Don, saying that you should create a list of all things you want in a playlist,and then cut the top ones off because it's kind of, you quite often put things, youknow, just cut to the chase, and I quite often do that with a podcast, but then, yeah, whathappens is almost like you're getting sort of half ways or third away in to what I wasoriginally planning.But this one, I actually played all the tracks, nearly all the tracks, it was a track by TheHell, which I decided, it's not a good idea to insult your audience, that's angry, butnot that angry, but you pretty much, it's kind of that one obviously been around sinceI didn't hear it at Halloween, but shortly after, and yeah, a lot of the tracks in therehave been in the stack for a while, they've been in Stack Hell, or Production Hell, ProductionStack Hell, but not the one before, which is a new one from LeeDM101, that's whatelse is there in White Room's Röyksopp, or Röyksopp, Röyksopp, you pronounce it, versusBooka Shade versus Linkin Park, obviously the Röyksopp has Karin Dreijer from The Knifeand Fever Ray, is the vocalist on that, and it's nice to hear her in a mash, but it wasnot alone in recent mash-ups using her, which is interesting, because there was anothermash-up using Fever Ray earlier in that section, and before that we had from 2022's, at leastabout the same sort of time as the Titus Jones mash-up actually, almost exactly, just forHalloween, that's congregations to that slow burn by Witch Fever, and again, that's oneof the ones I've sort of put in, and I don't know what it is, I think it's sort of slightly,well, this is probably what doing mash-ups spoils me, or you know, why spoils my hearing,because when I listen to Indie and Metal, and you know, what you want to call that, is itDoom Goth, Doom Goth Punk, I don't know, I tend to be a bit more sensitive about Key,and, but you know, it's emotional, it's emotion, as per the meme, emotion, but yeah, it isreally good, I like that track a lot, and again, it's been one that's been in and outof a lot of these podcasts, that track, never found a place for it, and then before thatwe had Maximum the Hormone with Yosh Fukush, (Preparing for Revenge), I think YoshFukush, I don't think it's the same thing, it might be wrong, it might be saying thesame thing, very badly saying the Japanese, and that's from 2013, and yeah, watch thevideo for that, just Google Maximum the Hormone, Preparing for Revenge, or Yosh Fukush, Ithink you will probably find it, yeah, it's got a brilliant video set in the school, notexactly sure what the revenge is about, but you know, it's not necessarily that doomy,it starts very doomy in Doom Rock, and then it goes all Power Poppy, Power, Punky, I loveher way, the Maximum the Hormone changes their styles and changes it up in the same song,I'm a big fan of that, then before that we had Suede with Shadow Self from their albumAutofiction, again another one that kind of pops in and then I take it out again becauseit doesn't interfere, and I, yeah, but certainly the lyrics are important to me at the moment,it's from, is it Jung? I think it's Jung, definitely not Freud, I think it's Jung,talking about, you know, there is a dark self, I love the lyrics about dancing on my ShadowSelf, and it's a brilliant album, check it out, then before that we had, I mentionedthe Fever Ray mashup, that's Lee Spoons with When I Be The One, Dua Lipa vs Fever Ray, Idon't know whether the first one to mash up Fever Ray, I did a Stalker Fever back in2000, and is it Seven or Nine, or something like that, you know, Late Noughties, it's alwaysgood to hear that track, it's a brilliant track, and not enough Fever Ray mashups, notenough The Knife mashups, not enough mashups with her voice, Karin Dreijer was an amazing vocalist,and one of the best gigs I ever saw was Fever Ray, I'm really glad I saw her, I mean it's notas rare as seeing The Knife, The Knife were really kind of, they only did not that manygigs and then they stopped gigging entirely and it was then very incredibly impossibleto get a ticket, but yes, that's a very recent mash from Lee Spoons, otherwise known as 10,000Spoons, and then before that, from 2021, the AD album, that's Kleptones withRunning Interference, and I can't tell you what's in that because Kleptones do not listsources, but there's a bit of Underworld, and right at the end, you've got the recordingsession for Art of Noise, Close To The Edit, so I don't know where Eric Kleptone got theouttakes, maybe the Art of Noise put them on a deluxe thing, there's so many deluxe thingamigbobs, there's so many box sets and things from Art of Noise, but certainly I'm a prettyhardcore fan, so I've heard pretty much all of them I think, so I don't know where thatone came from, that's Anne, what's her name? Oh, what's her name? I played her on the podcast,I can't remember her name, Anne Dudley, that's Anne Dudley and friend, can I say something,they used the little outtakes, and they were obviously pissing around in the studio andthey used the bums and they used the, can I say something, very, very good, they usedthose quite a lot actually, and then before that we had Bloodywood from 2022, that'sDan-a-Dan from the album Rackshack, and they, well, I've played Bloodywood on the podcastbefore, they're from New Delhi, but they now have, and this is different from when I firstplayed them, when they were doing, well, it's weird, they were completed as parodies, butthey were doing versions, Indian versions, Indian metal versions of, well, no metal songsor even pop songs, they added a western singer, so hence why you've got the English in there,and then it switches, I'm not too fond of the singer, but it works there because that'san anti-rape, anti-sexual harassment song, and so the anger works, and I think the lyrics,and they even got sort of female singers in there, and yeah, if you look at the translation,you know, there is, I think if you go and watch the video, I think there's subtitles,yeah, so I'm not so fond of the new metal rap bits, but I like the rest, and I likea little drumming, and you know, the Dan-a-Dan-Dan, you know, it's such a heavy, violent in agood way track, and then at the start of that section, we have ToTom with the show Who MustPump It on Queen versus Run the Jewels versus Electric Callboy, a good video for ElectricCallboy as well, so we're going to play another track which gets taken out, partly becauseit's so slow, yeah, you're really selling it to him, but it is a track I really, reallylove, it is one of the proto mashups, it's one of the mashups before mashups, it's from1978, that's what time, 77-78, it's Cosmic Disco, this is the Cosmic Mix, which I thinkactually was one of the original mixes, that it might be from a later release, but it doesdate back from then, it's a Cosmic Disco version, and in the history of disco, there's quitea few, really disco-created mashups in a lot of ways, a lot of disco medley records, alot of actual mashups were, we also got Clubhouse and people like that, that's a little bit later,but you had some of the earliest mashups were Dance, Floor, Disco, Records, People, PinkProject and things like that, where people kind of, there were more interpolations ratherthan using the original sources, but they were actually mashups, in fact, taking AlanParsons Project or Mike Oldfield, and mixing it with, you know, Steely Dan, and mixingit with Michael Jackson and that kind of thing, they were limited by the fact, the technologyof the time, that quite often, and also legal stuff that it was safer to replay, a bit likethe way, I think, good times as used in Rapper's Delight is actually interpolation, it's actuallysomeone replaying it, so, you know, for legal reasons, quite often it was replayed, butyou know, it replayed fairly well, and in effect mashups, and this is one of those,this is the Champs Boy Orchestra, Tubular Bells, Cosmic Mix, but it doesn't just haveTubular Bells in it, it has the bass line and the structure of Love to Love You Babyin it, so, yes.That was Martin Bennett and Martin Low - Play from the wonderful Hardland album from 2000,yeah, kiss if you wanna kiss, definitely, and then before that we had from the new Orbital AlbumOptical Delusion that was home, Orbital featuring Anne B Savage, I don't know much about AnneB Savage, but she reminded me of Hannah Williams, who I played earlier in that, if I wouldn'thave first heard it, I was like, is that Hannah Williams? I was like, no, I don't think so,but as sentiment I totally agree with, Green the Cities, yeah, I always love it, disastermovies or sort of futuristic movie, dystopian movies, we see everything overgrown, it'slike, yes, nature take it back, a big fan of that, like the Girl With All the Gifts andthat kind of thing. Then before that we had Jimmy Young, TimesAre Tight, it's depressing how still current that is, a disco song talking about inflationand people struggling, it's 40 years old, it was top 20 in the UK dance charts in 1983,I don't know when in 83, I tried to try and look it up, but obviously the official chartsis just the official charts that don't cover the dance chart, I'm not exactly sure whereyou can find the dance charts from 1983, but it's a brilliant song, I feel bad for onlyplaying half of it, the 12 inch version which goes into a whole thing where you've got peopletalking about what's going on with them, a bit of social history in the middle of adisco record. Then before that we had Prince-A-Boo, that's Siouxsie on the Banshees vs Prince,I mean told it should be Siouxsie, I might just keep to Siouxsie just to be annoying, that'smy demproofing, that's a very recent mashup and now got a new video, seems to be goingquite viral, deservedly so, it's a brilliant combination, don't have any Siouxsie or Siouxsie orSeoxy, how else could we pronounce it? Seoxy, she's touring I think this year, I forgotto say, this is bad, I forgot to put some pulp in, I was, this is the thing, in betweenputting this podcast together and recording it, unfortunately I got sad death of SteveMackey who has pulted the bassist from Pult which is really sad that he wasn't part ofthe tour, which is why it reminded me is that Pulp are touring this year and I wanted toget tickets back and forth, they're all sold out now, but interestingly he wasn't wellenough or wasn't wanting to be part of the tour, so he wasn't actually part of the touranyway, but yeah, it's very sad, I wrote about it on the blog how important Pulp are to meand yeah I'm not exactly sure what I could have played really, I've played a lot ofPulp on this podcast over the years, it would be difficult to find, I'm sure I'd find somethingbecause he produced Mia's albums like Galang and co-wrote, Sunshowers and Galang and sohe did lots of things, he did a really good compilation, well part of the trip seriesif you remember the trip series and him and Jarvis Cocker did a compilation of the musicof the light and it's like Moondog and all kinds of interesting Bulgarian music andall kinds of interesting stuff, so yeah that's quite sad, but yeah that just reminded methat Siouxsie's Touring I think this year or soon and then Pulp Touring as well from thisyear, this month, March, April and yeah I won't get to see them annoyingly, but yeahmaybe I'll see them at a festival if I manage to get tickets, then before that we had DJGiac or Giac, but get Giac and it's either, with When Flowers Will Survive that's GloriaGaynor versus Miley Cyrus versus Bruno Mars, there are two versions of that, there isAdamusic did a version first over a month ago and that's more technically adept, I thinkthere are slightly wonders at the start of the DJ Giac, I was listening to it now, it'sone of the things where you play something and you listen to it again and again andyou DJ it and suddenly you just actually listen closely when you're recording, I don't knowwhat it is about recording or like when you have your stuff played on the mashup listeninghour Twitch by Adriana, suddenly it's like laser focus is coming in, oh crap, and thatone I think it's a little bit out of time at the start maybe, but what I like aboutthat one over the ad of music is the Bruno Mars and I'm not a fan of Bruno Mars, andalso the fact left the Gloria Gaynor, oh and just in the break that's brilliant, that'sreally good, it's touches like that are very good, but yeah I think it might slightly wonderat start, but I much prefer that version to the Adamusic version, but I was 50-50about which one to play, and Miley Cyrus' lyric, a bit like, it's the problem, it'sme, I think the lyric of 2023 has to be, it's alright until it wasn't, we built a home,watch it burn, and for me that's the, so far that's been the lyric that has originated,then before that we had The Only Way Out Is Through by Hannah Williams and the Affirmations,I mentioned Hannah Williams earlier on, but that's from 2019's 50 Foot Woman, andI always associate it with Bristol, but she's living in East Sussex Brighton area now, Inever realised she was actually on The Voice in the UK a couple of years ago, I did notknow this, so about the time I got into Hannah Williams and the Affirmations, randomly throughI think it was Departure, using 4 minutes 44 in a remix or mash, and I was like, oh who'sthat voice?And then I looked it up, looked at the sample, and I was like wow, it was about that sortof time, that year, she was on The Voice talking about that, and you know all that sort ofstuff, so I was like, oh yeah, so yeah, the parallel universe of reality and televisionI don't watch, well I have watched, I think guilty pleasure of mine, occasionally I watchThe Voice clips on YouTube, but it is completely cheesy, emotion-baiting stuff, but you know,sometimes it's really interesting, and the lyrics are from that, I know it's probablya bit trite now, but I do love that lyric about, you know, I tried to drown my demonsbut they learned to swim and that kind of stuff, interestingly mentioning silence atthe start, which is completely random, I was like, I've said before how I choose thingsvery much around lyrics and meaning, and so I'll pick something, and then I'll spot things,so that talks about silence at the start, and of course the previous song was TanyaStephens - Silence, which is an anthem of mine, that's from 2022's Some Kind of Madness, I'vebeen talking about the album a lot, I'm mashed up one of the songs, it's brilliant, I meanconscious dancehall what's not to like, and what I like about that is, not only is havinga go at politicians, hey what's going on in the UK, very appropriate, those that talkover others, and create noise to, you know, make people silent, but also when you disagreewith people, that when she said, oh Lord, it is weird how intolerant people are, I'mjust having a different opinion sometimes, and it is very weird, you know, I mean thereare opinions and there are opinions, and there are opinions that are actually justbigotry, but it's not one of those, it's just an opinion, and it's so weird how, andif you have strongly held opinions about liking something, or not liking something, we'renot talking, as I say, the sort of bigotry stuff, just, you know, music, you know, stuff,art, creativity, how some people get upset at that, and it's like, sorry, don't tie yourwhole being into, you know, I can't understand this fandom, I always find it weird, if youdon't like something, what's it got to do with anyone else, you know, why does it upsetpeople so much that you don't like this, or you don't like this, or you don't like that,or you like that, you know, it's, as much as the flip side, and I really hate this phrase,"don't yuck my yum", because that seems to shut down the conversation completely and thatcan get, let problematic stuff fly, I think, but because yes, I mean, sometimes some thingsyou should yuck, because there's dodgy shit in it, but also, I do think that the otherflip side of that is you do have to have a space where you can actually talk about it,because, you know, you can't have this thing where people just like what they like, andthen, you know, there's never any, not criticism of liking it, but criticism of what it is,because that's just a recipe for blindly liking things and never questioning why you likethem.And I think it's a valid thing to do, and I don't think people saying, you know, disagreeingand going, well, I don't like that because of this, or, you know, I'm not happy becauseof this, that doesn't really work for me because of these reasons.I think that's perfectly valid, and I don't understand why there is this move towards,I would say it's almost an infantilisation of culture, with the fact that there's neverany question of what you're consuming, and, you know, and there is some stuff which isa bit like reality television, it's fast food, and you've got to accept that it's fast food,and you can't say, oh no, I like what I like, well, yeah, but I think you should be a littlebit more critical, especially as nowadays, when a lot of these things, a lot of thesehave got, you know, like Matt Hancock on somebody said, I must have to get me out of here.There's sort of the politics and entertainment world have collided to a point where you can'tjust say, oh, I like what I like, oh, I like him, well, he let people die, so, and thenlaughed about it in WhatsApp texts, you know, so, you know, oh, I like what I like, oh,I like him.No, it's not, there is a point of where entertainment becomes politics, and there is a point whereentertainment becomes more than entertainment, it becomes propaganda, or it becomes somethingvery dark, so, you know, I think you have to be aware, you can't just like things justbecause you like them, rant over, but I just, I think there's a real problem with that.People should be able to not necessarily defend why they like something, you know, oh, youmust tell me in 20 words why you like this, but I think if you can't say, oh, well, itmakes me feel good, or it reminds me of this time, or I, you know, I came across that witha partner, and it reminds me of them, or whatever, you know, that's fine, but you know, whenpeople don't ever think about what they consume, it's very easy to feed your shit, that'sbasically, you know, I don't mean shit as in a value judgment, sometimes it isshit, but it's very easy to feed your crap, that is not only not bad for you, but actuallycan lead people to brexity and bigotry type things, so yeah, anyway.And then before the Tanya Stephens, we had J-Dilla, and that is from 1998's AnotherBatch, that's beat 12, sampling Hall & Oates, via kind of De La Soul, I've checked out oneof J-Dilla's beat compilation or cassettes called Another Batch, or it wasn't reallynamed for it, it's just Another Batch, it's because it says at the start, Another Batch,and it has a couple of really good things in it, and I do love that, it's like with Donuts,there is a thing with J-Dilla's work where it becomes quite, it's not just got the wholeequal, I learned about a single Diller time with the shifting the snares and shiftingin the NPC, just shifting things to be off beat, but they're sort of on beat enough torap to them, but they're this sort of swung sort of woozy thing going on, which I love,but also has something very meditative about it, about some of his work, and such a shamehe's gone.But yeah, Hall & Oates have been sampled a fair bit, I'm obviously Say No Go De LaSoul, but in hip hop, but various other versions of that, and various other things, but thatwas kind of the end of a live performance of just singing it's not fair or fair, andyou just took the fair and just a little bit of it and chopped it up, and it's very beautiful.I just love the way it just hangs in space, it has a mood, an instant mood just from abeat and shifting sample.Yeah, I don't know, I think it's such a shame about Jay Dee dying, because I think if he wasaround nowadays, well, technology's got now, it might not be, but I think he would be kindof like a Steve Reich type person, who's doing really amazing experimental shit, becausethat's that sort of bending of time and moving things over time is, you know, Electric Counterpoint,it's all that kind of thing, you know, and you know, it's an interesting thing.Then before that, at the start of the section, we had the Champs Boys Orchestra with TubularBells, Cosmic Mix, and I think 1978, it's only 70s, check that out, actually.Oh, it's actually even earlier, it's from 1976, though I don't know whether the Cosmicversion was played there is later, but yeah, the original version is from 1976, wow.So after The Exorcist, which is 73, but you love to love your baby would be about 75,75 I think it was.So yeah, wow, very interestingly, Donna Summer doesn't get a credit, yeah, it doesn't soundlike a modern mix, it's got crack on it, yeah, I can't find where that came from, it couldbe a DMC type disco pool mix, it's interestingly not coming up, nope, but anyway, I mean witha crack hole and the way it sounds, it's old school, it's not someone just remixing thatbecause they would have vamped up all levels and probably tried to avoid the crackles.So yes, but I love that, and I say 76, wow, I thought 77 or 78, now to say the fact thatthese are the Cosmic mix suggests possibly a later remix than the late 70s because Cosmicwas big in 78, so that's possibly a later remix, but yeah.So I'm going to play a track from Dank Zappa, who is DJ's on Twitch, DJ Dank Zappa, andI think between me and PDS and a few other people have convinced him to start posting,it's got a hundred mashups, it's not quite interesting, he plays nothing but his ownmashups on his Twitch stream, and this is Happy Come Back, Pharrell vs. Pilot, I actuallyran into recently about how much I absolutely really hated the Pharrell song Happy, and thisactually makes it alright, which is for a mashup to do that.That was TBC, Aka Instamatic, a new track from me, and Long And Winding Way That OldFriends Do, Barra McNeils, you might know Barra McNeils, they're a folk group fromCanada, do a lot of harmony work, do a brilliant version of Goin' Back, which almost made itto this broadcast, that's all two Barra McNeils in one broadcast, versus Beatles, long andwinding road, and that was supposed to be for the ABBA compilation, because it was anoriginal ABBA, it got rejected, it has all the feels, even more feels, we have all thefeels and some more as well, that's pretty much TBC aka Instamatic's work, and thenbefore that, in a similar mood, and mode, and moody mash, that's Hallmighty with Don'tWorry, Robin Williams vs Led Zeppelin, via the Royal Philharmonic Orchestra, maybe there'ssome original Led Zeppelin in there, but it's Star 8 Heaven, I agree completely with thatsentiment, and then before that we had The Electric Chamber, which is really a bit morebit, but originally it was released as The Electric Chamber, and then immediately pulled,or fairly immediately pulled, because Arvo Part, how have you pronounced his name, Ithink it's Part, the Estonian composer got really upset about that version of Cantus,which is annoying, because it was really good, I didn't realise classical composers hadthe veto, but you apparently have to get, I think you have to get permission to sell,I think streaming is different, but you have to get a licence from your composer, if youknow do a physical release, and I think that's what happened there, and so I said nope, andso I had to pull it, which is a bit weird if you think about it, we wouldn't get thatsome Wagner or Mozart, because they're dead, but you know, nope, not happy, so I'm playingit here, because screw Arvo Part, then before that we had Hickory Wind with Sycamore Song,that's from 1978, Crossing Devil's Bridge, oh and The Electric Chamber was from 1995,and yeah, that's more psychgrass, bluegrass psych, psychedelic bluegrass, and so I saidfolk, it wasn't really folk in that sense, I suppose my mashup is sort of folk-y, butyeah, I would say it's more psychedelic really, I mean yeah, I learned this song from a cricketand it was Blowing in the Wind, doesn't get more psychedelic than that, then before thatwe had William Orbit again, under his own name, I paint what I see, that's from StrangeCargo 5 from 2014, and that was later put on his Painter album, which he released fairlyrecently, well I don't mind that version, it's kind of a bit new agey and thing goingon, whereas that's more like you'd expect from William Orbit's Strange Cargo, sort ofa very sparse, and I love the lyrics about you know, how can you paint infinity whenit's raining and I paint what I see, not what I know, and that is very true, I do paintwhat I see, not what I know, and then before that we had Tamiko Jones, I went througha whole deep dive on Tamiko Jones, who was an Asian-African-American singer, and startedout doing more whipped cream type jazzy stuff, and then went more into funk, and even lateron did an electro cover of I Want You by Marvin Gaye, which is really good, sort of went moreinto the funk and soul world, but started off very much in the bossa nova world, andvery good, and I like that, it's let it flow, TZ's deep and slow edit, and that is obviouslyclassic disco, and it is around late 70s, I think 78, but yeah, it doesn't say here,and I can't really exactly know that exactly when it came out, I think it was 77, 78,obviously not that edit version, then before that we had William Orbit again, I do liketo shoehorn classical music in, I mean, the album pieces in the modern style, which gotre-released without the Arvo Paart, it then had a really cheesy version of Adagio, the platoontrack, Adagio of the Strings, which got remixed by Ferry Corsten, which kind of put me offthat whole album, because I was just like, oh dear, cheesy trance version of, I'm suresome of you would be like, oh no, I love trance, but yeah, especially at the time, I was nota fan of trance, not the German, Dutch version, but the rest of it is actually very, veryambient, and that is Ogive number one, I think it's number two, I looked up on the Wikipediapage and apparently you got it wrong, it's not Ogive number one, it's number two by Satie,and we always like to have some Satie, I almost put in a mandolin version of Gnossiennes, I mean,you know, as you did, you could have had a mandolin version of Gnossiennes, and yeah, I likethat a lot, I like the sort of melding of William Orbit's fairly identifiable synth work, and that'svery mid-90s ambient house thing, with people like Satie and Arvo Part, and I think, I'm not sureif that was on the original album, it probably might be all the things that replaced the Peart,not sure, I would have to look up, yeah, so it was re-released in around 2000, and that's whenyou had the remix, it was all different, and it was all under William Orbit's name rather thanthe Electric Chamber, which initially I went looking for the William Orbit, Arvo Part,and I couldn't find them because they're underneath the Electric Chamber on Discogs,so anyway, and then before that we had ToTom from 2016, that's Brooklyn Horizon in Lana Del Reyversus Daft Punk, and that's from Ultraviolent Boots, an album he did with several other people,Miss Meep and a few other people of Lana Del Rey's Ultraviolent album, and I never heard at the time,I heard Adriana play that mash-up, I thought it was a new mash-up, and I was like, what's this?Obviously me, me, me, and a Daft Punk mash-up, yes of course, I'd never heard it, I hadn'tlistened to it, probably because at the time I was like, oh Lana Del Rey, I'm less like that now,but for a long time I was like, hmm, not too sure about her, and that's really good,I like that a lot, and it kind of lent its name, along with the painting stuff,to the name of this podcast, Horizon Lost Horizon, I knew the phrase Lost Horizon andgoogled it, and then found out that it's actually a book, the invented phrase Shangri-La, so it's a 1930sbook set in Tibet, and it's set in a valley called Shangri-La, and that's where the name Shangri-Lacomes from, the idea of an utopia hidden or lost in a way, is from that book, I've never read it,but you know, the artwork is inspired by it, and I just like the name Lost Horizon Horizon,painting, it kind of worked, and then the start of that section, we had Dank Zappa, DJ Dank Zappawith Happy Come Back, Pharrell vs Pilot, Baby Come Back, oh I love that song, yes, it's weird becauseI must have been very young, I don't know how young I was when I first heard that song,I'm not sure if I'd heard it later, but it just reminds me of the radio being on in the 1970s,I'm being very young, probably like Brotherhood of Man on the tracks, which is seeped into myconsciousness very early on, by stealth, and it's just there, so I do have a soft spot from mid,obviously you can like Carpenters, but mid 70s, early mid 70s, and you know, 70s AOR, cheese,if it's got a good tune, not everything, that's what then to bail out, that's themorkish ballad stuff, such a tune, and yeah, a very good vibe, and it makes me not hateHappy, you can always tell it's a good mashup, it makes me not hate a track I absolutely despise,which I do, Pharrell's Happy is one of those tracks where I kind of don't like get lucky anymore,because get lucky is been overplayed, and it got a bit too much, I mean, I love the Nile Rodgersguitar thing, I love Daft Punk, I love the album, I love Random Access Memories, which is getting are-release, I said last podcast, but his vocal and then Happy, it just kind of put me off thewhole thing, and I heard Get Lucky for too many times as well, which didn't help, I heard Happyeven more, and it was just, these things, every radio was playing it, it was just like, let'sget it started by the Black Eye Peas, one of those songs just never goes away, and you just getreally irritated by it, that's one of those, and yeah, it's so annoyingly cheery that you justwant to break things, happy, it's almost like a ringtone, it's annoyingly, you know what I mean,naggy, repetitive, and also irritatingly cheery, so yeah, not that everything has to be indie,sort of depressing, folk music, melancholy, but yeah, I do like something a bit more thanna na na na na, happy, let's get lucky isn't it, this is the point in my head, it just goes gethappy, get lucky, lucky, get happy, you know, it just, they merge together with my head, and yeah,so I hope you enjoyed this podcast, it's, you know, I'm gonna have a lot of editing from the rambling,and I'll play out with a track by Denise Johnson, and I remember this album being talked about,because when she died sadly in 2020, they were talking about the album being released,and I never really checked it out, and I should have, because there's some really good coversand originals on where does it go, and it's kind of sad because I think the original album's gonnacome out in 2019, and then it was some reason it was put off till September 2020, and she died afew months before that, and if you don't know Denise Johnson, she was a singer with a certainratio, who penned a very good thing about her, and also sang with Primal Scream, and you know,various people involved in a lot of projects, a lot of bands, and sang for, I think sang for,he took the light, and you know, New Order, I think, I think New Order, pretty sure she didsing for New Order, she sang for a lot of factory related bands, as backing vocals, and Primal Scream,and she sang lead on one of the tracks, usually backing vocals, and so this album was her kindof coming out from being a backing vocalist, mostly, to being lead vocalist, and then she diedbefore we released it, which is really sad, so this is True Faith by Denise Johnson, she used toapparently do acoustic versions of various tunes, and there's a Smith tune, and there's aNew Order tune, and various things, and this is a really lovely version of New Order's True Faith,so anyway, I'll speak to you soon.

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