2017 Sep-Oct

Here are various segments published on PodCloud1

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Stirring Up Spooky Sounds –

 

Halloween’s right around the corner! Get ready with some suitably spooky sounds from PeeperD.

Nick Cave & The Bad Seeds, Concrete Blonde, The Doors, Love & Rockets, Karen Elson, and Chris Isaak are part of a musical mix perfect for long nights and dark spaces.
Plus a cut from the new album from Pere Ubu. The Great Pumpkin and Kolchak The Night Stalker make guest appearances as well.

There’s a lot going on in this one!

(click player for Stirring Up Spooky Sounds)

 

 

 

 

 

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No Posers: The Underground Revolution of Rock- Vol. 1

 

It’s a brand new soundboard series on Podcloud1!

This spin-off of 70’s Deep Tracks explores the underground revolution of the punk and new wave movement of the 70s. The debut episode follows the proto-punk movement from the late 60s and early 70s that inspired the punk revolution.

Proto-punk was never a cohesive movement, nor was there a readily identifiable proto-punk sound that made its artists seem related at the time. What ties proto-punk together is a certain provocative sensibility that didn’t fit the prevailing counterculture of the time. It was consciously subversive and fully aware of its outsider status. In terms of its lasting influence, much proto-punk was primitive and stripped-down, even when it wasn’t aggressive, and its production was usually just as unpolished. It also frequently dealt with taboo subject matter, depicting society’s grimy underbelly in great detail, and venting alienation that was more intense and personal than ever before.

Featuring music from The Velvet Underground, MC5, Iggy and The Stooges, Rocket From The Tombs, Dr. Feelgood, The Modern Lovers, New York Dolls, Destroy All Monsters, and The Dictators.  Plus 60s garage bands The Sonics and The Monks.

This is where the revolution begins!

(click player for No Posers -vol. 1)

 

 

 

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Fall Spice –

 

As the air is getting crisp, and the hoodies and light jackets are being dug out of the closet, MisterMusic is spinning the tunes!

This Fall podcast features new music by U2, Cults, Shout Out Louds, and
The Belligerents.  Some great older classics from The Replacements, Camper Van Beethoven, Band of Horses, and Weezer fill in the mix.

It’s getting cooler outside…but it’s always cool at PodCloud1!

 

(click player for Fall Spice)

 

 

 

 

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70’s Deep Tracks – vol. 41-

 

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

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Some of the heaviest bands of the decade get down and dirty in this colorful edition of our popular soundboard series.

Music from Black Sabbath, Blue Oyster Cult, Deep Purple, Golden Earring and Rush. Plus a deep track from one of the biggest albums of the 70s-Queen’s “A Night At The Opera”.

(click player for 70’s Deep Tracks volume 41)

 

 

 

 

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Broken Things –

 

Things are a bit broken on this soundboard.

Scattering all the musical pieces are Annie Lennox, Depeche Mode, Green Day,
Mr. Mister, David Byrne, Gypsy & The Cat, Catherine Wheel, and Paul Weller.

Get your super glue ready!

 

(click player for Broken Things)

 

 

 

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Whodunnit-Vol. 8 –

 

The game pod that challenges your musical knowledge is back!

WhoDunnit features hit tunes that are not performed by the original artist.
Host PeeperD will offer hints, but it’s up to you to figure out WhoDunnit.
This edition features a playlist of songs originally popularized by The Rolling Stones, Peter Gabriel, Vampire Weekend, Simon & Garfunkel, The Temptations and Brenton Wood.

Screw on your thinking caps and try to figure out “WhoDunnit?”

(click player for Whodunnit vol. 8)

 

 

 

 

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September Pod –

 

PeeperD returns with a blast of new music to bring in the fall.

Iron & Wine, Lilly Hiatt, and Manchester Orchestra provide fresh sounds to the mix. Classic tracks from Stephen Stills, The Killers,The Style Council and Monsterland.
Plus a garage rock nugget from The Brogues.
Backing tracks from new releases by Little Steven, Four Tet and a great re-issue from Mulatu Astake.

More music than you can hope for in a pod-sized set!

(click player for “September Pod”)

 

 

 

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Year In Modern Rock: 1988-89

 


The Modern Rock chart was published by the music industry magazine Billboard, it was created in the midst of the growing popularity of alternative music on rock radio in the late 1980s. As less-established alternative acts were receiving minimal exposure on album-oriented rock (AOR) radio stations, their labels turned to modern rock stations for airplay.

During the decade, it was known as the Modern Rock Tracks chart and tabulated based on play from commercial radio & non-commercial college stations.

The Modern Rock Tracks chart debuted in the September 10, 1988 issue of Billboard, with the inaugural number-one single being “Peek-a-Boo” by English alternative rock band Siouxsie and the Banshees.
People noted the presence of more independent artists on Modern Rock Tracks compared to its companion chart, Album Rock Tracks.
By the end of the decade, twenty-two singles had topped the chart.

This soundboard features music from the first 12 months of the ‘Modern Rock’ charts from it’s debut through 1989.

(click player for The Year in Modern Rock)

 

 

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History Repeating –

 

 

MisterMusic returns to the PodCloud1 studio this September to mark the 5th autumn in a row on the ‘One for Great Music’ .

History may repeat, but this pod has a few crispy new entries for your listening pleasure!
New tunes from Beck, Angus & Julia Stone, and Pale Seas in this one.
Plus, a few classics pulled from our extensive music vault make this September’s segment one for the history books.

(click player for History Repeating)

 

 

 

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Focus On: The The –

 

The The are an English post-punk band that is actually the brainchild of musician Matt Johnson.

Although active in various forms since 1979, the mercurial Johnson is the only consistent member of the group. The The‘s sound is a mix of pop, alternative, post-punk and dance-rock influences. However, Johnson’s lyrics are often dark and controversial with many having a political theme. This juxtaposition of upbeat music with heavy lyrical content became the group’s trademark sound.

During the 80s and 90s, The The achieved critical acclaim and commercial success with the release of several hit albums and singles. This was particularly true in the UK where the band scored 15 chart singles with seven reaching the Top 40. Their most successful album, 1985’s Infected, spent 30 weeks on the chart. This was followed by the top ten albums Mind Bomb and Dusk. The The is also recognized for it’s innovative use of film and video. Johnson created several concert films during the band’s heyday. Although he focuses most of his time today on soundtrack work, Matt Johnson occasionally releases singles under the group name. The most recent of these was “We Can’t Stop What’s Coming “ which came out this past April for Record Store Day.

This pod features selections from several of The The’s eight studio albums.

(click player to Focus On: The The)

 

Bio:

Born in London on August 15,1961, singer/songwriter Matt Johnson was raised in the flat above his father’s pub, The Two Puddings, which was a haven for well-known celebrities and criminals. He also became exposed to music at the nightclubs and dance halls owned by his uncle. It was here he saw performers like Howlin’ Wolf, The Kinks, and Muddy Waters.

Johnson formed his first band named Roadstar when he was eleven. At the age of fifteen, he was hired as a tea boy for the Dewolfe Music Publishing Company which specialized in production library music. Within three years, he was working in DeWolfe’s recording studio as an assistant engineer. He also continued working in bands such as The Marble Index.

In November of 1977, Johnson placed an advertisement in the New Music Express asking for “a bass/lead guitarist into The Velvet Underground and Syd Barrett”. A few months later, Johnson placed a second advertisement in the NME stating his new influences were The Residents and Throbbing Gristle.

While trying to get this new band going, Johnson recorded a demo solo album titled See Without Being Seen in 1978 which he sold at various underground gigs on cassettes. In 1979, he began working with Colin Lloyd-Tucker who was a friend and colleague at De Wolfe Music. As The The was getting underway, Johnson was simultaneously working with Lloyd-Tucker in an experimental synth-pop combo called The Gadgets.

Later that year, Johnson recorded his first actual solo album titled Spirits. Although the album was not released, it contained the album track “What Stanley Saw” which was later licensed to Cherry Red Records for their Perspectives & Distortion compilation album.

The The made their live debut at London’s Africa Centre on May 11, 1979. They were third on the bill after Scritti Politti and Prag VEC. Johnson used backing tape tracks that he created at his day job at De Wolfe for the drums and bass. The band at this point consisted of Johnson on vocal, electric piano, guitar and tapes and Keith Laws on synthesizer and tapes. It was Laws who suggested the name ‘The The’ to Matt Johnson.

Peter Ashworth, who later became a noted photographer, joined The The’s as a drummer in 1980. Tom Johnston, who was also managing The The, was added on bass. The The released their debut single titled “Controversial Subject/Black And White” on 4AD Records. The recordings were produced by Bruce Gilbert and Graham Lewis of the group Wire. Although both Ashworth and Johnston were credited with appearing on the single, neither actually played on the recordings. All instruments were played by Johnson and Laws. Johnston and Ashworth soon dropped out of The The and returned to their respective day jobs. As a duo, Johnson and Laws began performing as The The. They appeared in concert with bands such as Wire, Cabaret Voltaire, DAF, This Heat, The Birthday Party and Scritti Politti.

In early 1981, The The contributed the song ‘Untitled’ to the Some Bizarre Album compilation. In September, The The signed a deal with Some Bizarre Records and released the 7″ single “Cold Spell Ahead”. By this time Matt Johnson had begun playing all the instruments himself so Laws left to pursue his studies. This left Johnson as a solo artist using a group moniker.

Later in 1981 Johnson was signed up by Ivo-Watts-Russell from 4AD Records to record a solo album which was titled Burning Blue Soul. Although all of the instruments and vocals were performed by Johnson, the album featured various producers including Wire’s Bruce Gilbert and Graham Lewis, Ivo and Johnson himself. Years later, due to a request from Johnson so that all of his albums would be in the same rack together, it would be re-issued and credited to The The.

With Johnson now freed from the politics of a permanent group line-up, he was able to take The The up to the next level spending the next few years collaborating with a diverse range of creative individuals, freely changing personnel from project to project.

The The’s next single was a retooling of “Cold Spell Ahead”, now entitled “Uncertain Smile”. It was produced in New York by Mike Thorne and it reached No. 68 in the UK. This version is different from the more familiar album version featuring sax and flute by session player Crispin Cioe rather than the piano of Squeeze’s Jools Holland.

In 1982, the intended debut album by The The titled The Pornography of Despair was recorded. However it was never officially mixed or released. Johnson ran off some cassette copies for friends and several tracks were subsequently re-recorded and issued as b-sides. But the original album remains unmixed and unissued. Steve James Sherlock played flute and saxophone on the re-recordings of “Three Orange Kisses From Kazan” and “Waitin’ For The Upturn”, two of the songs from the album which saw the light of day as b-sides.

In 1983 The The released their official debut album, the synth-noir classic Soul Mining. It contained the hit “This Is The Day”, as well as a new recording of “Uncertain Smile”. Produced by Johnson and Paul Hardiman, it featured guest appearances from Orange Juice’s drummer Zeke Manyika, Jools Holland, Thomas Leer and J.G. Thirlwell also known as Foetus. Over the years, Soul Mining has appeared on numerous lists as one of the best albums of the 1980s.

During The The’s more prolific period of album releases, from Soul Mining to Dusk, most artwork used on the albums and single releases was produced by Johnson’s brother Andrew Johnson, using the pseudonym Andy Dog. The artwork has a distinctive style, and sometimes courted controversy, most notably the initial release of the 1986 single “Infected” which featured a masturbating devil and was withdrawn from sale and re-issued with an edited version of the same drawing.

For the 1986 album Infected, The The still consisted only of Johnson. But the recording was augmented by session musicians and featured friends such as Manyika and Rip Rig + Panic singer Neneh Cherry. This album spawned four charting singles in the UK, notably “Heartland”, which made the UK Top 30.

Infected was accompanied by a full-length film. Costing hundreds of thousands of dollars, Infected: The Movie was shot on locations in Bolivia, Peru and New York. Different songs were directed by different directors, mainly Tim Pope and Peter ‘Sleazy’ Christopherson of Throbbing Gristle. Throughout 1986 and 1987, Johnson toured the world extensively showing the film in cinemas instead of performing live concerts. The film was also shown twice in its entirety on Channel 4 in the UK and on MTV’s 120 Minutes in the US.

In 1987 Johnson took some tentative steps back into performing live. While promoting Infected: The Movie in Australia, he had a chance encounter with Billy Bragg. Bragg persuaded him to return to Britain and support Red Wedge which was a coalition of like-minded musicians supporting the British Labor Party in its election campaign. Johnson agreed and enrolled longtime friend and collaborator Manyika to join him in performing shows in London featuring stripped down versions of the more political The The songs such as “Heartland”. This experience convinced Johnson to put a band together once again.

By 1988, The The was an actual band again. Johnson recruited ex-Smiths guitarist Johnny Marr, ex-Nick Lowe bassist James Eller and ex-ABC drummer David Palmer to join him as fully-fledged members. This line-up, plus guest singer Sinéad O’ Connor, recorded the album Mind Bomb, which debuted at No. 4 in the UK Albums Chart. It featured the band’s highest charting single to that time, “The Beat(en) Generation”, which peaked at No. 18 in the UK Singles Chart. The first single from Mind Bomb was actually scheduled to be “Armageddon Days Are Here (again)” but with its chorus of “Islam is rising, the Christians mobilizing” and sensitivities over the Salman Rushdie affair that had recently erupted, this song was deemed unsuitable for release by Epic/CBS.

Keyboardist D.C. Collard was added to the official line-up in 1989. Keyboard player Steve Hogarth, who’d played on Infected, had initially been asked to join but opted instead to become the new lead vocalist of Marillion.  The band embarked on a lengthy world tour in 1989 and 1990 called The The Versus The World. A live film of the same name, directed by Tim Pope, was shot during three nights at London’s Royal Albert Hall at the end of the tour.

In 1990 the studio EP Shades of Blue was released. This included cover versions of Fred Neil’s “Dolphins” and Duke Ellington’s “Solitude”. It also included a new original song titled “Jealous of Youth” and a live version of “Another Boy Drowning” from Burning Blue Soul. This and a later EP of remixes, 1993’s Dis-infected, were compiled into a 1994 full-length album for the North American market called Solitude.

In 1993, the five-piece line-up issued the album Dusk, which debuted at No. 2 in the UK. It spun off three Top 40 singles in the UK, led by “Dogs of Lust”. Another world tour followed, the Lonely Planet tour, at which point the band’s line-up was reshuffled. Marr and Eller left, and were replaced by Atlanta-based guitarist Keith Joyner and New York bassist Jared Michael Nickerson after Johnson relocated the band to America. Also added was Boston harmonica player Jim Fitting of the band “Treat Her Right”. The version of their hit “This Is The Day” featuring Fitting was often dubbed “That Was The Day”. Palmer bowed out partway through the tour and was replaced by ex-Stabbing Westward drummer Andy Kubiszewski. This version of the band headlined the main stage at the 1993 Reading Festival.

Another full-length film, directed by longtime collaborator Tim Pope, was made for this album. From Dusk Til Dawn was shot in New Orleans and New York and along with Johnson and Johnny Marr also featured various characters from the New York underground scene such as sexologist Annie Sprinkle, writer and raconteur Quentin Crisp, Guardian Angels founder Curtis Sliwa, and porn star Rick Savage amongst many other carnival characters.

Now permanently relocated to New York, The The’s next project was 1995’s Hanky Panky, an album that consisted entirely of Hank Williams cover tunes. Hanky Panky was recorded by a new group consisting of Johnson, Collard, Fitting, ex-Iggy Pop guitarist Eric Schermerhorn, ex-David Bowie bassist Gail Ann Dorsey, and drummer the “Reverend Brian MacLeod”. Their cover version of “I Saw The Light” hit No. 31 in the UK.

In 1997 an experimental album called Gun Sluts was recorded but left unreleased by the band after it was rejected for being too uncommercial by their label. The The severed their eighteen-year relationship with Sony and moved to Interscope on Trent Reznor’s Nothing Records imprint.

In 2000, The The, now consisting of Johnson, Schermerhorn, Nashville bassist Spencer Campbell and New Jersey drummer Earl Harvin, released the album Nakedself. Following the album’s release, the band embarked on yet another lengthy world tour lasting fourteen months titled The Naked Tour. Not counting soundtrack albums, Nakedself remains The The’s final released studio album to date.

This same line-up also recorded two new tracks, “Deep Down Truth”, featuring Angela McCluskey on vocals and “Pillar Box Red”. Both songs were produced by Clive Langer and Alan Winstanley for the 2002 compilation album 45 RPM: The Singles Of The The.

In June 2002 The The made a sole live appearance at the Meltdown Festival at London’s Royal Festival Hall as guests of David Bowie. At this point, the band consisted solely of Johnson and longtime friend and collaborator J.G. Thirlwell on tapes and loops, and young film director Benn Northover on film and video.

This was the last live performance by The The to date. Johnson has stated on the official The The web site that “There are no plans for one-off shows or tours in the near future but there will undoubtedly be another The The tour at some point.”

Since 2003 the reclusive Johnson has kept well away from the public eye and has concentrated primarily on soundtrack work, scoring numerous documentaries, films and art installations.

In May 2007 The The released a new download-only single on their web site. Titled “Mrs. Mac”, it was an autobiographical song about Johnson’s first day at school as a child in Stratford, East London. All instruments and vocals on the track were performed by Johnson.

A press release was issued along with this track, announcing a forthcoming The The album called The End of the Day with various songs from The The’s catalog being performed by some of Johnson’s favorite artists including Elysian Fields, J.G. Thirlwell, Thomas Leer, Elbow, Rob Ellis, John Parish, Anna Domino, Meja, Angela McCluskey, Ergo Phizmiz, “Rustin Man” aka Paul Webb among others. To date, the album remains a work in progress, although a preview can be heard at the band’s official site.

Since 2009 a new generation has been exposed to The The’s music through TV commercials. “This Is The Day” has been used extensively in high-profile advertising campaigns for Levi’s Dockers, M&M’s and Amazon. The The’s music continues to be used on British radio and television. In 2011 “This Is The Day” was covered by British band Manic Street Preachers receiving extensive radio play.

More recently Matt Johnson has created several new arms of The The included Cineloa which is a label created specifically for soundtrack and spoken word releases. Radio Cineloa is a 15-minute podcast downloadable from The The’s official website. It features previews of upcoming releases, works in progress, conversations with collaborators and previously unheard material from the vaults. Johnson has also started a book publishing company by the name of Fifty First State Press. The first release was a memoir by Matt’s dad about the Johnson family’s time owning one of East London’s most notorious pubs and music houses, The Two Puddings in Stratford.

In the spring of 2014, Sony announced that they planned to release a Soul Mining 30th Anniversary Deluxe Edition Boxset in the summer. The reissue was remastered by Matt Johnson at Abbey Road Studios.

In early 2015 Johnson told Uncut magazine that he was starting to write the first new vocal-based The The album since 2000’s NakedSelf.

The The released a brand new 7″ record called “We Can’t Stop What’s Coming” for 2017’s Record Store Day. The song, which premiered on a Radio Cineola broadcast, marked a collaboration once again with guitarist Johnny Marr. Johnson hinted that the song might be the first in a new album project. But no timetable for an official release has been announced.

 

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70’s Deep Tracks-vol. 40 –

 

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

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The south rises again with another installment of 70s watermelon boogie

featuring The Marshall Tucker Band, Lynyrd Skynyrd, Grinderswitch, The Outlaws, Pure Prairie League and The Ozark Mountain Daredevils.  Plus a solo track from Allman Brothers Band guitarist Richard Betts.
A couple of “stoner” classics by Jonathan Edwards and The New Riders Of The Purple Sage round out this pod of down south jukin’.

 

(click player for 70’s Deep Tracks volume 40)

 

 

 

 

 

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