2017 Apr-May

Here are various segments published on PodCloud1

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Scream & Shout –

This soundboard will make you scream, shout, yell, and holler.

Featuring music from Tears For Fears, The Cranberries, The Isley Brothers,
Kiss, Billy Idol, Metric, Van Morrison, The Cure, and The Beatles.
Sounds crazy, right? it will work itself out…just turn it up!

(click player for Scream and Shout)




Whodunnit vol. 6 –


It’s the game pod that tests your musical knowledge.

Join host PeeperD as he lays down a playlist of hits you’ll love. The twist is that they’re not performed by the original artist.
It’s a mix of classic songs popularized by Bob Dylan, REM, Tears For Fears, Britney Spears, Ozzy Osborne, Richard Thompson, The Turtles, and Sam & Dave.

Your challenge is to figure out “Whodunnit?”

(click player for Whodunnit vol. 6)






Extra-Wide –


As part of our Jamboree month, this pod is a companion to our latest Focus On featuring Widespread Panic.

One of the best parts of a Panic show is the obscure cover songs they break out.
This soundboard features a selection of those tunes performed by the original artists.
Songs from Talking Heads, JJ Cale, The Grateful Dead, Blind Faith, The Meters, Cat Stevens, Funkadelic, Vic Chesnutt, Pops Staples, General Echo, Alan Price and Jerry Joseph.

It’s an Extra-Widespread Panic soundboard!

(click player for ‘Extra-Wide Jams’)




Jammin’ All Day –


It’s Podcloud1’s Jamboree Month!

If you’re not familiar with jam bands, this pod is a great introduction. Join Jamboree master of ceremonies PeeperD as he features some of the biggest bands of the scene like Phish, The Grateful Dead, Umphrey’s McGee and The Dave Matthews Band.
New music from The String Cheese Incident, Gov’t Mule and The Tedeschi Trucks Band. Plus a look at the summer festival schedule so you can make your travel plans.

Take your speakers outside, crank it up and you’ve got your own personal jam session.

(click player for Jammin’ All Day)





Focus On: Widespread Panic –


Since their beginnings in Athens, Georgia in 1986, Widespread Panic has risen to elite status among American jam bands.

Following in the steps of other Southern rock jam bands like The Allman Brothers Band, Panic draws from a variety of influences such as rock, blues, funk, soul, and country. Although they have released twelve studio albums throughout their career, it is through their live performances that have built a loyal following selling out venues around North America. In fact, they hold the record for the most sold-out performances at several venues including the historic Red Rocks Amphitheater.

Known for never playing the same show twice, the band has a ritual for choosing each night’s set list. Although losing two of their founding members over the years, the group overcame these hurdles and continued to grow in popularity.

As the band enters its fourth decade, they’re taking time to enjoy life. Panic recently announced that they’ll only be playing select festivals and a limited number of special event shows from now on. This reduced schedule will allow members to enjoy more time with their families as well as pursue solo projects. However, the group has indicated the desire to continue to write and record together when the time is right.

This jam-sized pod contains selections from each of Widespread Panic’s twelve studio albums.

(click player to Focus On Widespread Panic)

The starting point of Widespread Panic can be traced back to 1981 when John Bell and Michael Houser met in their dorm at the University of Georgia. Bell had been playing guitar as a solo act, and invited Houser, also a guitarist, to join him.They began living together and collaborating on music, writing songs that would later become Panic staples such as “Driving Song” and “Chilly Water”. A few years later they met bassist Dave Schools. In February of 1986, Houser called childhood friend, drummer Todd Nance, to sit in with the trio for a charity event in Athens which became their first show as “Widespread Panic.”The band was named for Houser’s once-frequent panic attacks. Texan percussionist Domingo “Sunny” Ortiz began sitting in with the band regularly later that same year.

The group played in fraternities and bars regularly slowly building a loyal following. In 1987, they signed a contract with Landslide Records and went to work on their debut album. They recorded at John Keane’s studio in Athens, which marked the start of a life-long friendship and collaboration with Keane. In September of the same year they released their first album titled Space Wrangler, which included many of the songs they’d been honing over the past decade. After the album came out, they began touring beyond the Athens area expanding to include additional northeastern dates, along with Texas, Colorado, the west coast, and internationally to Vancouver, Canada. During these tours in 1988 and 89, Sunny Ortiz joined the band as a full-time member. Keyboardist Terry “T” Lavitz, known for his work with The Dixie Dregs, played with the group during some of these dates as well.

After coming off the road, Widespread Panic returned to John Keane’s studio to write new material in September of 1990. These sessions, called Mom’s Kitchen, produced the majority of songs intended to comprise their second album, along with other tracks that would become important parts of the band’s live repertoire like “Conrad The Caterpillar, “A of D”, “Machine” and “Impossible”. However, Mom’s Kitchen was never released because the band signed a six album deal with Capricorn Records in January of 1991.

At the label’s suggestion, Panic re-recorded much of the material at larger studios like Emerald Sound in Nashville, Kiva Studios in Memphis and Duck Tape in Decatur, Alabama. Released in July of 1991, their major label debut was simply titled Widespread Panic. In addition to the core group, T Lavitz sat in on keyboards. Later that year, the band filmed two performances at the Georgia Theatre in Athens. This resulted in a movie, directed by Billy Bob Thornton, titled Widespread Panic: Live from the Georgia Theatre.

As Panic began to tour more, John “Jojo” Hermann from the roots rock band Beanland joined the group as a keyboardist in March 1992 replacing T Lavitz. The band continued to tour throughout the entire US in 1992 joining the famous HORDE tour with Blues Traveler, Phish and long-time friend Col Bruce Hampton’s Aquarium Unit, among others. During this time, Capricorn Records re-released Space Wrangler with two additional tracks from the Mom’s Kitchen sessions and a one-take version of “Me & The Devil Blues/Heaven” from the band’s audition session that resulted in their major label deal.

Upon returning from the HORDE tour, Panic settled in to Muscle Shoals Sound in Alabama in November to begin work on their next album. The sessions lasted roughly five weeks and, in March of 1993, they released their third record Everyday. It was the group’s first recording to feature Jojo Hermann on keyboards. The album’s cover featured the girlfriend of Billy Bob Thornton-a young Angelina Jolie. It contained many of the songs which have become the group’s most-loved show stoppers. Despite very limited radio airplay, Everyday is considered by fans to be one of Panic’s best albums. It peaked at number 184 on the Billboard 200.

In 1994, Widespread Panic began work on their next album by recording rehearsals at John Keane’s home studio like they had done for Space Wrangler. They were so pleased with the results that they decided to use the sessions for the new album instead of going into a major studio to re-record. The album, titled Ain’t Life Grand, was released in September, 1994. As a sign of their rising fortunes, the group performed the title track live on Good Morning America from Morehouse College in Atlanta. They also began to receive radio airplay with their cover of Bloodkin’s “Can’t Get High” as well as their own song “Airplane”. The album was their highest charting to date, peaking at number 84 on Billboard.

After spending the better part of 1995 on the road in support of Ain’t Life Grand, Panic returned to John Keane’s studio in July of 1996 to begin work on their fifth album Bombs And Butterflies. The band held a pre-release party in Athens on December 28th, 1996, one day prior to a New Year’s Eve run of shows at the Fox Theatre in Atlanta. The album was released in February of 1997, reaching a peak position of number 50. It contained a cover of the Pops Staples song “Hope In A Hopeless World” which became a hit on rock radio charting at number 13. In June, the group performed the song “Aunt Avis” on Late Night with Conan O’Brien. Two days later, the music video for the song, directed by Billy Bob Thornton, premiered on VH1. It featured Athens singer/songwriter and band friend Vic Chesnutt who had written the song. Widespread Panic was beginning to reach a larger audience.

On April 18, 1998, to celebrate the release of their first live album, Light Fuse, Get Away, Widespread Panic offered a free “CD release party” concert in Athens Georgia. An estimated 80,000–100,000 fans descended on the town, transforming it into one of the largest CD release parties in history. This show was later released as a concert video/CD titled Panic In The Streets. The album was recorded at various shows during their 1997 tour. It included several previously unreleased songs which dated as far back as the Mom’s Kitchen sessions. It also featured a collaboration with saxophonist Branford Marsalis on the song “Pickin’ Up The Pieces”. The album peaked at number 67.

In January of 1999, Panic once again returned to John Keane’s studio to work on their next studio album. This time the goal was to make a more concise and focused recording. Working with special guests The Dirty Dozen Brass Band and gospel singer Dottie Peoples, the band released the twelve-song album ‘Til The Medicine Takes in July, 1999. The title refers to a line in the song “Blue Indian”. Although it reached number 68 on the charts, it marked the last record of the band’s six album deal with Capricorn Records.

By the turn of the century, Widespread Panic had been going strong for over a decade building a large following through consistent touring. What had started at fraternity parties had grown to larger arenas and venues. In the summer and fall of 1999, Panic had toured in support of ‘Til The Medicine Takes with The Dirty Dozen Brass Band. After their deal with Capricorn ended, they formed their own label, Widespread Records. The label’s debut recording was a live album released in June of 2000 featuring highlights from these shows titled Another Joyous Evening.

Throughout 2000, the group worked on it’s seventh studio album at John Keane’s studio incorporating elements of Latin, grunge and soul to its signature sound. Randall Bramblett, a solo musician and member of Steve Winwood’s touring band, played tenor sax on a cover of Firehose’s “Sometimes”. The record also featured Jojo Hermann’s long-time crowd favorite “Big Wooly Mammoth”. The album peaked at number 57 on the Billboard 200 chart as well as number 12 on the Top Internet Albums of the Year. But Widespread Panic’s fortunes were about to change.

In early 2002, founding guitarist Michael Houser was diagnosed with pancreatic cancer. Houser continued to perform with the band into the middle of that year, but following a performance on July 2, 2002 in Cedar Rapids, Iowa he left the tour because of his declining health. Guitarist George McConnell, a former bandmate of JoJo Hermann’s in Beanland, took over as lead guitarist for the remainder of the band’s scheduled dates. Michael Houser died on August 10, 2002.

Not all of the news was bad in 2002. The band received gold certification for their concert DVD Live at Oak Mountain. They also headlined two nights of the first annual Bonnaroo Music Festival which drew a crowd upwards of 70,000 people. In June, they released a sprawling three-disc live album titled Live In The Classic City which was recorded over a three-night run in their hometown of Athens in April, 2000. It featured a mix of originals and covers with guest performances from Derek Trucks, Bruce Hampton and former REM drummer Bill Berry.

In response to Houser’s death, the band took some time off and then retreated into the studio to re-group. They began recording songs for what would be their next album with McConnell on lead guitar. But the circumstances around these sessions dictated a different approach. Panic’s previous studio albums had included songs already familiar to fans through concert performances. But this record would be comprised of never-before-heard songs written specifically for the album with the exception of two tunes. It was also the first Widespread Panic album which did not feature at least one cover song.

The band kept the album under wraps until its release so anticipation ran high amongst fans. Released in April of 2003, the album was titled Ball. It was the most ambitious and refined record they had ever recorded. Working once again with John Keane, they refined their songwriting chops and produced the tightest and most glossy recording yet. The band set out on a long tour to promote the album while trying to re-invent their live performances without Houser’s trademark guitar drone.

Late in 2003, the band announced that they would be taking a hiatus from both recording and performing in 2004. However, 2004 did see the release of three live albums: Night Of Joy and Uber Cobra-both of which were recorded during a November 2003 three-night run of shows at the House Of Blues in Myrtle Beach-as well as Jackassolantern, a compilation of cover songs performed during the band’s Halloween shows over the years. A third release from the Myrtle Beach shows, Live At Myrtle Beach was released in early 2005.

In January 2006, the band recorded their 9th studio album, Earth To America, in Nassau, Bahamas at Compass Point Studios, with Terry Manning producing. It was released in June of 2006. Their May 9 show at Atlanta’s Fox Theatre was simulcast, via satellite, in select movie theaters nationwide. Over 60,000 fans across the country watched it live in the theaters. This show was also released in DVD format in November titled Earth To Atlanta.

Just as Panic was regaining their stride, circumstances changed again. On August 2, 2006, nearing the end of the summer tour, the band announced that George McConnell had left the band, making his July 30 appearance at the Fox Theater in St. Louis his last. Producer John Keane and former guitar technician Sam Holt filled in on guitar for the remaining two weeks of the tour. In late 2006, Fayetteville, NC native Jimmy Herring took over the lead guitar spot for the fall tour with three nights at Radio City Music Hall in New York City. Panic’s seventh annual New Year’s shows on December 30 and 31, 2007, marked their 15th and 16th sellout performance at Philips Arena.

The band released their tenth studio album, Free Somehow, in February of 2008. It, too, was recorded with producer Terry Manning at Compass Point Studios. Following the release of the new studio album, Widespread Panic began to release vintage concert performances from the Widespread Panic Archives. The band continues to dig into their show archives, which encompass the past 25 years, releasing various shows via their website.

June 27, 2008, marked the band’s 32nd sold-out show at the historic Red Rocks Amphitheater in Colorado. This was more than any other band in the venue’s history. Mayor John Hickenlooper proclaimed Friday, June 27 “Widespread Panic Day” in the City and County of Denver. The same year, Widespread Panic was inducted into the Georgia Music Hall Of Fame in September. The band continued to tour throughout the rest of 2008 and the spring of 2009. In the summer, they teamed up with fellow southern rockers, The Allman Brothers, to do a summer and fall co-headlining tour.

Later that year, Panic began working on their next studio album. This record signaled the return of John Keane as producer as the band came back to their hometown of Athens to record. Songs on the album ranged from road-tested classics like Jerry Joseph’s “North”, Todd Nance’s vocal debut on “Clinic Cynic” and “Visiting Day” to new originals as well as the latest in a long line of Vic Chesnutt covers “This Cruel Thing”. In March 2010, it was announced that Widespread Panic would be releasing a new album titled Dirty Side Down in May. 2010 would also see the release of Live In The Classic City II containing more music from the legendary 2000 shows.

On September 29, 2010, keyboardist Jojo Herman announced that the band would be going on hiatus in 2012. In an interview with the Vanderbilt Hustler, Herman explained, “Next year will be our 25th anniversary. After that, we’re probably going to call it (quits) for awhile. So we’re looking forward to next year and going out on a high note.” The band went on to tour steadily throughout 2011.

In early 2012, the band played a limited number of shows. From January to February the band embarked on their first ever tour billed as completely acoustic. Dubbed the Wood Tour, it spawned two recordings from the Wood Tour which were released in 2012, a special Record Store Day-only vinyl record titled Live Wood in April and later Wood, in October. Between the two short legs that comprised the Wood Tour, the band played a four-night run in Mexico, marking their first shows in the country, and beginning what would become an annual tradition called Panic en la Playa.

The rest of 2012 saw the band on hiatus but band members were active with other projects. Dave Schools toured with the Mickey Hart Band, Jimmy Herring recorded a new album and toured with his own band, and Jojo Hermann played shows with the Missing Cats, occasionally opening and sitting in with the North Mississippi Allstars. On August 17, the band announced their first scheduled shows after hiatus, including two nights in Charlotte, NC and a four-night return to the Dominican Republic in 2013.

The band returned to regular touring in the spring of 2013 with a run of Mid-West and Southern shows beginning in April. During these shows, the band introduced new innovations in the audio broadcast of their live performance. Previously, Panic had allowed tapers to use audience recording devices to simulcast live shows to fans via the internet. But now the band took over streaming duties and started broadcasting live soundboard recordings of their shows.

2014 saw a return of Wood Tour, with the band playing six all-acoustic theater shows, as well as a special Wood performance held 333 feet underground in the Volcano Room at Cumberland Caverns in McMinville, TN for a taping of an episode of PBS’ Bluegrass Underground. After this, the band plugged back in playing a number of dates for the rest of the year. But more changes were coming.

On October 2, 2014, the band announced that Duane Trucks was joining the band for 2014 fall tour as drummer Todd Nance would be taking time off to attend to personal matters. As the calendar turned to 2015, Panic entered the studio again to work on what would be their twelfth studio album. Although Todd Nance received co-writing credits on every song, Duane Trucks was the drummer for the sessions. The album was titled Street Dogs and it was released in September.

Nance reunited with the band for 2016’s Panic En La Playa shows in Mexico. However, on February 9, 2016, the band announced that Todd Nance was leaving the band and that, “Duane [Trucks] will be the drummer for Widespread Panic moving forward.” In April of 2016, Jojo Hermann announced that the band will stop touring extensively at the end of the year. However, he said that the band is not breaking up and will continue to make festival appearances and perform shows at select venues such as Red Rocks.


Get Fired Up –


MisterMusic mans the control board on this pod.

Bringing you new music by The War On Drugs, Fugiya & Miyagi, and Ride.
Plus a few classics taken from our music vault by John Fogerty, Talk Talk, Queen, and Gomez.

This segment will get you fired up with great tunes!

(click player for Get Fired Up)




70’s Deep Tracks vol 36 –


soundboard label (use this)70's-deep-tracks-banner-with-red-border2

These are forgotten tracks that will take you back to the days when FM radio was truly an art form. And, likely never be played on today’s preset definition of what is “Classic Rock”.

 70’s Deep Tracks – the return of album rock…Podcloud1 style!

radio ribbon new


Volume 36-
This pod features some of the groups that spawned the popular jam band movement of today.

Toe-tapping tunes from The Grateful Dead, Little Feat, The Allman Brothers Band, Traffic and The Band. Plus a late-70s gem from Bob Dylan.

(click player for 70’s Deep Tracks vol. 36)






Fresh Catch-vol. 6-


It’s a meeting of the musical minds again!

Your hosts MisterMusic and PeeperD present new music that caught there ears.
Volume 6 features new tunes by Thurston Moore, Hurray For The Riff Raff, Dan Auerbach,
Portugal.The Man, Future Islands, BNQT, and The New Pornographers.

A New Mix for your ears~ Enjoy!

(click player for Fresh Catch #6)




The Sixties-vol. 19-


This edition of our popular soundboard series explores the latter part of the decade as the counter-culture really began to break big!

Groovy tunes from Jimi Hendrix, Steppenwolf, Big Brother & The Holding Company, The Byrds, Buffalo Springfield, The Sir Douglas Quintet, The Rascals, Blood, Sweat & Tears, Canned Heat and The Guess Who. Plus a classic from Linda Ronstadt’s first group The Stone Poneys.

Turn On Your Love Light!

(click player for The Sixties-vol.19)




Jamie’s Announcement-


              PeeperD presents a pod that has it all!

  New music from Jason Isbell & The 400 Unit, Spoon and The Shins.  A salute to guitarist J. Geils. And, a classic hip-shaker from Jackie Wilson. Tunes from
Arrested Development, Bell X1, and Alice Peacock.    Plus, show producer Jamie makes a game-changing announcement.

          Things will never be the same at Podcloud1!

(click player for Jamie’s Announcement)




Focus On: The Charlatans UK


The Charlatans (known in the US as The Charlatans UK) are an alternative English band that came out of the “Madchester” music scene of the late 80s and early 90s. The term Madchester was a broad genre label that included a mix of alternative and psychedelic rock as well as electronic dance music. Other bands that rose to prominence during this time were The Stone Roses, Happy Mondays and James.

The Charlatans UK sound was more traditional than most of their peers. It started with a bluesy foundation inspired by The Rolling Stones and added dance-oriented rhythms and layers of swirling organs straight out of 60s psychedelia.

When the Madchester movement faded away in the mid 90s, The Charlatans UK stayed relevant by embracing new trends and adding fresh elements into their trademark sound. Initially, it was Brit-Pop of the mid-90s, which was soon followed by underground dance, house and techno. Later years have seen flirtations with folk, jazz and chill. But as successful as they’ve been, the band has also experienced its fair share of tragedy and bad luck over the course of their career, including the death of two members.

Now approaching their 30th anniversary, The Charlatans UK are considered one of the great British journeyman bands of the past few decades. In the UK, all of the band’s twelve studio albums have charted in the Top 40 with three of them being number ones. They have also achieved seventeen Top 30 singles and four Top 10 hits in the UK Singles Chart.

This pod features selections from many of The Charlatans UK studio albums recorded over their lengthy career.

click player to Focus On: The Charlatans UK




The story of The Charlatans actually starts several years earlier with the opening of The Hacienda nightclub in May of 1982. The club was an offshoot of Factory Records and was very influential in the development of popular culture in Manchester, England. In its early days, The Hacienda featured predominately club-oriented pop music, hosting gigs from early 80s artists such as New Order, Cabaret Voltaire, Culture Club, The Thompson Twins and The Smiths. This helped create a music scene that made Manchester synonymous with alternative pop culture. By 1986, the club had switched focus from being a live venue to a dance club with DJs spinning house music.

The late 80s Madchester sound was a mixture of funk, psychedelia, guitar rock and house music. It was influenced by indie music that dominated the city’s music scene as well as absorbing various influences coming from The Hacienda. Many of the significant bands that would make up the Madchester scene were influenced by the music they heard at The Hacienda. Around 1988, The Stone Roses were one of those bands. With a mix of garage, Krautrock, soul, punk and reggae, they were considered one of the pioneering groups of the movement. Although they had not yet achieved commercial success, their influence is where The Charlatans story begins.

Inspired by The Stone Roses, bassist Martin Blunt recruited keyboardist Rob Collins, drummer Jon Brookes and guitarist Jon Baker to form The Charlatans in 1988. After rehearsing with a variety of vocalists, they settled on Tim Burgess to fill out the original line-up. The band recorded several early demos that year in hopes of securing a record deal. Although they were unsuccessful, the sound that the group would become famous for was evident on these recordings. They were developing a fusion of 1960s soul, R&B and garage rock that was led by Collins’ Hammond organ and the driving rhythm section of Blunt’s bass lines and Brookes’s drumming.

Since their demos did not attract any record labels, the group formed Dead Dead Good records and self-released their debut 12” single “Indian Rope” in January of 1990. Collins’ distinctive Hammond organ sound separated The Charlatans from their other Manchester peers and the single went on to become a number one hit on the British indie charts. By the spring, they’d signed with the major label Beggars Banquet. A few months later, they released the single “The Only One I Know” which was hugely successful. It climbed into the top ten and became the group’s signature single.

The band continued recording throughout the spring of 1990 releasing a second single titled “Then”. By the fall, the group had recorded enough material to release their first full-length album, Some Friendly, which debuted at number one on the British charts.

After such a remarkable start to their career, it was almost inevitable that the band’s fortunes would change. As they launched their first American tour, The Charlatans were forced to add “UK” to their name because a San Francisco band from the 60s owned the rights to the name. Following this tour, guitarist Jon Baker announced he was leaving the band. He was replaced by Mark Collins (no relation to Rob). But the group was further sidetracked by Martin Blunt’s struggles with severe depression.

For their second go-round in the studio, The Charlatans UK brought in noted producer Flood to lead the sessions. However, Flood’s production style clashed with the band’s loose flow leaving them unsatisfied with the final product. Released in April of 1992, the album was titled Between 10th and 11th. It was named after the address of the New York Marquee which was the site of the group’s first US concert. By this time the Madchester sound had become passe and the album was largely ignored by the public, earning mixed reviews by the music press. It failed to reach the Top 20 in the UK Albums Chart. But the success of the lead single “Weirdo”, which reached the Top 20, and two weekends of high-profile gigs together with the group Ride kept them in the public eye.

However, the band’s bad luck streak would continue as they suffered a major setback later that year. Rob Collins was charged with armed robbery after a friend had robbed a liquor store while he was waiting in the car outside. Collins claimed to have no knowledge of the robbery until he heard a gunshot inside the shop as his friend ran out. He pled guilty to a lesser charge and was sentenced to four months in prison. Before he left for jail, Collins joined the band in the studio laying down tracks for what would be their third album.

The goal was to create a classic-rock inspired album fusing influences such as Bob Dylan and The Rolling Stones. Steve Hillage, known for his work with the group Gong, produced the album. It featured a straightforward sound with more active percussion mixed higher in the sound. Released in March of 1994, the record was titled Up To Our Hips and it reached number 8 on the UK Albums Chart. It contained the single “Can’t Get Out Of Bed”.

Led by the positive reaction to their last album, The Charlatans UK returned to the studio to record their most ambitious, focused and successful album yet. Released in September of 1995, the band’s self-titled fourth album saw them become major UK stars again, topping the albums chart and spawning the Top 20 single “Just When You’re Thinkin’ Things Over”. The group incorporated heavy dance elements into its core sound creating a nice balance of traditional and modern post-acid house music.

Sadly, the group’s bad luck was not over. While recording tracks for their fifth album, keyboardist Rob Collins was killed in a car accident on July 22, 1996. With Collins’s keyboard and organ playing being such a large part of the band’s sound, The Charlatans were faced with a big decision, especially with a slot at that year’s Knebworth Festival already booked. They decided to continue, drafting in the Primal Scream and former Felt keyboardist Martin Duffy until a permanent replacement could be found.

Tellin’ Stories, the band’s fifth album, was eventually released in April of 1997. It featured contributions from both Rob Collins and Martin Duffy. The album contained the group’s biggest UK hits to date with the singles “One to Another”, “North Country Boy” and “How High”.

The following year saw the release of the career-spanning compilation Melting Pot which marked the end of the band’s contract with Beggars Banquet. Although they signed with Universal Records, their relationship with Beggars Banquet remained strong and the band helped put together the B-sides collection Songs From The Other Side a few years later. They also released the DVD Just Lookin’ 1990-97,which showcased all their promotional videos and a selection of live recordings from that era.

1999’s Us And Only Us marked the start of a new era for The Charlatans UK. Their first release for Universal saw new keyboard player Tony Rogers make his Charlatans album debut, having previously toured in support of Tellin’ Stories. This album presented a moody atmosphere of deep grooves and sonic textures with a haze of keyboard and subdued beats. Although the album didn’t contain anything as grabbing as the previous album, it did show that the group was figuring out how to make their sound timeless by adding new influences while remaining true to their core sound.

The Charlatans UK faced yet another challenge during this period as lead singer Tim Burgess moved to L.A. However, true to their resilient nature, the band used their singer’s emigration to the other side of the world as a springboard to creative rejuvenation. The result was an album that pumped up the sound of their previous record by re-exploring the dance-rock fusion of their early years. The record was titled Wonderland. Unfortunately, it was released on September 11th, 2001 so it was virtually lost in the turmoil the world experienced during the next few months. But it was well received by critics who felt it subtly incorporated modern dance trends without abandoning the band’s rock base.

Three years later, The Charlatans UK returned with the surprising Up At The Lake. Instead of the hip-hop and dance textures of Wonderland, the group delivered a more subdued record that returned to their classic-rock roots. But, for the first time, they brought a folkier flavor to the sound. Some critics felt it marked a new chapter for the band as now “mature artists”. Other felt The Charlatans UK were retreating and retrenching just as the album’s title suggested. This theory was supported by the fact that Up At The Lake was the band’s only album to not receive a US release.

After signing with Sanctuary Records, the band returned with their ninth full-length album in April of 2006 titled Simpatico. This time, the band explored reggae and dub sounds. The first single, “Blackened Blue Eyes”, hit number 28 while the album reached number 10 in its first week of release. However, it dropped out of the charts soon after. Later in the year, the band put out a career-spanning singles compilation titled Forever: The Singles which was released on CD and DVD. It was preceded by the re-recorded song remixed by Youth, “You’re So Pretty We’re So Pretty”, which originally appeared on Wonderland.

The Charlatans UK played several high-profile supporting gigs in mid-2007 opening for The Who and The Rolling Stones at a number of stadium and festival shows. The band contributed the song “Blank Heart, Blank Mind” to a Love Music, Hate Racism compilation CD which came free with the October 2007 issue of New Music Express. Later that same month, a new single titled “You Cross My Path” was released as a free download exclusively through the XFM website. A second single “Oh! Vanity” emerged in March of 2008, as the band once again teamed up with XFM.

In May of 2008, The Charlatans UK became the first UK band to release an album as a free download via a radio station. The album was You Cross My Path, and it also received a physical CD/LP release which coincided with a full UK tour. The album was a return to form as the band revved up the rhythms and took more risks with the production. Critics felt that the album reconnected to the spirit of their initial series of releases. One was quoted as saying “it’s obvious why this album first appeared for free on the web. It’s the easiest way for The Charlatans UK to demonstrate to all fans, whether they were forgotten or devoted, that they are once again operating at full power”.

2010 was a year of ups and downs for The Charlatans UK. They celebrated the twentieth anniversary of their debut album Some Friendly which they played live at the Primavera Sound Festival. In September of 2010, the band released their eleventh studio album, Who We Touch, on Cooking Vinyl Records. It included the single “Love Is Ending”. For this record, the group recaptured their sense of adventure with a collection of songs that critics described as “neo-shoegazer”. More attention was spent on musical textures instead of the groove, with each song drawing from a different musical palate. The album charted at Number 21 in the UK Albums Chart.

But on September 15th, 2010, drummer Jon Brookes collapsed during a performance in Philadelphia. The remaining US tour dates were postponed, as Brookes was diagnosed with a brain tumor and was flown back to the UK for an operation and course of radiation and chemotherapy treatment. The Verve’s Peter Salisbury acted as a stand-in drummer for the remainder of the Charlatans UK dates. Brookes returned to the stage for the band’s Christmas and New Year Eve’s gigs at the end of the year.

In March of 2011, Universal Music re-released a deluxe edition of the band’s 1999 album Us & Us Only, featuring a collection of bonus tracks including B-sides and live recordings. At the same time, Tim Burgess and Mark Collins played an acoustic tour of the UK which coincided with an EP titled Warm Sounds. It featured six stripped-down and reworked versions of Charlatans tracks including “North Country Boy”, “The Only One I Know” and “Smash The System”. Burgess went on to record a solo album titled Oh No I Love You which was later released in 2012. In December, the band announced they would be performing the album Tellin’ Stories in its entirety at London’s HMV Hammersmith Apollo, O2 Apollo Manchester and Glasgow’s Barrowland Ballroom in June of 2012.

2013 saw the band return to their Big Mushroom studio to begin working on demos for a new album. In May 2013 the Mountain Picnic Blues DVD was released, which was a documentary about their Tellin’ Stories album from its creation in 1997 to the 15th anniversary of the album.

On August 13th, 2013, drummer Jon Brookes succumbed to brain cancer at the age of 44, having undergone several operations and treatment for the condition since his diagnosis in 2010. The band paid him tribute in a special event, with Pete Salisbury playing in his place and bands such as Beady Eye, The Vaccines and Manic Street Preacher also joining the bill. Tim Burgess confirmed that Brookes’s recordings would appear on the band’s next album, originally slated for sometime in 2014.

After The Charlatans signed with BMG Rights Management in 2014, they announced they were recording their twelfth studio album. Modern Nature was eventually released in January of 2015. The album featured contributions from the band’s temporary drummers Peter Salsbury of The Verve, Stephen Morris of New Order and Gabriel Gurnsey of Factory Floor. Although Brookes’s absence is felt, the album mined a chilled-out soulful groove that hinted at the group gaining strength through the therapy of music. Critics felt it showcased a band whose members are aware of where they’ve been and grateful for what they have. Modern Nature hit number 7 on the UK Albums Chart making it the band’s highest charting album since 2001’s Wonderland. The band is currently touring in support of the record having visited the US, Spain, Australia, Japan and Dubai over the past two years.





Spring Treats –


Join host MisterMusic as he serves up some musical treats!

Featuring new music by Holy Holy, Broken Social Scene, and The Jesus & Mary Chain.
A couple of recent appetizers by Ed Harcourt and Wild Belle.
You won’t leave the table without a desert of sweet tunes by The Cars, Cayucas, and Love & Rockets.

Tasty Indeed!

(click player for Spring Treats)





70’s Deep Tracks-vol.35-


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These are forgotten tracks that will take you back to the days when FM radio was truly an art form. And, likely never be played on today’s preset definition of what is “Classic Rock”.

 70’s Deep Tracks – the return of album rock…Podcloud1 style!

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Volume 35-
Sample some of the prog rock sounds of the 70s.

Music from Pink Floyd, Genesis, Yes, Emerson, Lake & Palmer, Ambrosia and The Alan Parsons Project. Plus a one-hit wonder from Tycoon. This is the music that made black light posters popular.

(click player for 70’s Deep Tracks vol. 35)