Transmissions from Echo Beach with Derek Westerholm and DJ Babs:
Playlist
from June 13, 2024
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Description: Exuberance/Ebullience, banter, possibly an interview, context and connection, the familiar, the strange.
Find: Symphonies of Treble, Words Of Expectation, stab, skronk, shimmer, sheen, The New Sound of Now, Ideas for Walls, pleasure, pith, Flutter and Wow, Motorik, cowbells, disco akimbo, at least one Cantankerous Singer, The German Language, shards of glass, Ethiopian Punk, organic, synthetic, sawtooths & squarewaves, Library Riffage, yesterday's recipes, the wrong speed, intentional static, floating, ethereal, time and timelessness.
Thursday
8 - 10pm
(EDT)
|
On
WFMU's
Sheena's Jungle Room
<-- Previous playlist | Back to Transmissions from Echo Beach with Derek Westerholm and DJ Babs playlists | Next playlist -->
Upcoming events:
- Fri. Jun 14th, 4pm - 6pm:
DJ Babs fills in for The Flange and Frigate!
Pop-up player!
(* = new)
| Artist | Track | Album | Label | Year | Comments | New | Approx. start time |
|---|---|---|---|---|---|---|---|
| OSEES |
Cassius, Brutus & Judas
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SORCS 80 | Castleface Records | 2024 | "In Dante's Inferno (Canto XXXIV), Cassius is one of three people deemed sinful enough to be chewed in one of the three mouths of Satan, in the very centre of Hell, for all eternity, as a punishment for killing Julius Caesar. The other two are Brutus, his fellow conspirator, and Judas Iscariot, the Biblical betrayer of Jesus. It is unknown why the third ringleader of the conspiracy to kill Caesar, Decimus Brutus, was not also shown this deep in Hell. //// Cassius also plays a major role in Shakespeare's play Julius Caesar (I. ii. 190–195) as the leader of the conspiracy to assassinate Caesar. Caesar distrusts him, and states, "Yond Cassius has a lean and hungry look; He thinks too much: such men are dangerous." In one of the final scenes of the play, Cassius mentions to one of his subordinates that the day, October 3, is his birthday, and dies shortly afterwards." -------"HUUUUUUMANOIDSSSSSSZZZZ //// Castleface is proud to announce OSEES new album “SORCS 80” //// And along with it the animated artwork video for the first single “Cassius, Brutus & Judas” //// And goin up for pre-order on our Bandcamp are some [immediately sold out] colored wax variations and a VERY limited run of 300 bundled unique colored wax version of the studio album with a 3D lenticular cover, full band signed photo (shot by amdophoto in Japan) and a whole second LP of a full live recording of the new album recorded on a helipad on a skyscraper rooftop in DTLA (engineered by the one and only handsome guru Enrique Tena Padilla and mixed by JPD) This Live record is only 300 copies y’all Don’t sleep on it //// Amazing deep trip cover & back cover art by Bruce Riley //// Recorded, Produced and mixed in the Bunker Stu-Stu-Studio by JPD //// This one is a weird one with no guitar or keys and a full horn section What the fuck, right? Fuck it, why not. //// Dig in and get ready for another year on the planet Earth / Hope you dig / Hope you live / <3 / Osees" ////////////// "Releases August 9, 2024 //// JOHN DWYER SAMPLER EFFECTS VOCALS / TOM DOLAS SAMPLER EFFECTS / TIM HELLMAN BASS / DAN RINCON DRUMS / PAUL QUATTRONE DRUMS / CANSAFIS FOOTE BARITONE SAX / BRAD CAULKINS TENOR SAX" //////// https://ohsees.bandcamp.com/ | * | 0:00:00 (MP3 | Pop-up) |
| Psychic Graveyard |
Stuffed With Secrets
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Wilting | Artoffact Records | 2024 |
June 7th, 2024 saw the release of "WIlting", the newest by Psychic Graveyard, comprised of the minds of groups like Arab On Radar, Chinese Stars, Doomsday Student, Some Girls and All Leather, etc. " ---"“When writing an album, our songs often take shape in a variety of ways,” recalls Eric Paul. “However, ‘Stuffed Full of Secrets’ was one of the songs that Nathan presented to us as a fully realized piece. Upon hearing it, Paul, Charles, and I were immediately captivated. As for the lyrics, they were inspired by a recurring dream I’ve been experiencing lately. In this dream, I am a scarecrow, and it typically concludes after cycling through all four seasons. There’s a simplicity I find appealing—I have one task: to exist. My sole fear: is fire. When I shared the dream in a recent counseling session, my therapist remarked, ‘Someone is asking you to do something you are not capable of.’ Despite this, I still looked forward to falling asleep, eager to do just one thing.”" There is an excellent video to accompany the song, you can find it here: Psychic Graveyard: Stuffed With Secrets | OFFICIAL VIDEO |
* | 0:06:05 (MP3 | Pop-up) |
| No Teeth |
I Am Not An Officer
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I Am Not An Officer [Digital Single] | Post Post Music | 2024 | "The syndicate unveil another snippet of their long awaited debut, "I Am Not An Officer" is perhaps their most ferocious number yet. With a teeth-grinding bass-line and instrumentation that macerates the listener like a troop of angry bayonets. //// The group had this to say about the matter: “Due to a lack of mobility, we sat twiddling knackered thumbs at the pictures that flicker past eyes on the cathode-ray. The group were distracted, as per usual. A boot to the face, followed by some sharp words which quickly whipped us in to a more attentive state. We were still on the prowl for purpose, our lust for satisfactions quickly butting heads with a brash hack of commands from the desktop screen. The heavier stints of decoration on our chests suddenly no longer felt so useful.” //// Released June 7, 2024" https://no-teeth.bandcamp.com/ | * | 0:09:20 (MP3 | Pop-up) |
| Witch, Hanna Tembo, Theresa Ng'ambi |
Ain't Nobody
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Ain't Nobody" (Chaka Khan Cover) [Digital Single] | Desert Daze Sound | 2024 | Released June 5. "The Zamrock royals, whose band name is an acronym for We Intend To Cause Havoc, have turned in a wildly compelling version of an already great song. The band’s Patrick Mwondela has this to say about it: "It was an honour to be asked to record a cover of a Chaka Khan song. /// I personally was inspired by Chaka Khan’s music in the ‘80s. This project took me back to WITCH’s Disco days when we produced the albums ‘Moving On’ and ‘Kuomboka’. Of all of Chaka Khan’s songs, we chose ‘Ain’t Nobody’ as it’s such an iconic dance floor filler! /// I worked with Jacco Gardner on production and experimented with lots of sounds and parts. It’s such a well crafted song so we were conscious not to lose its core vibrant vibe, but we also wanted to give it a ZamRock touch, with some vernacular included. The result was a raw, quirky feel just like the ‘70s ZamRock but sprinkled with the ‘80s strings and subtle brass, with a running bass line. //// For me it was a labour of love and great fun! We hope Chaka likes it." https://w-i-t-c-h.bandcamp.com/ | * | 0:11:17 (MP3 | Pop-up) |
| Jah Woble, Horace Andy |
Superstition
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Superstition (Digital single) | Cleopatra Records | 2024 | Released just a couple of days ago on June 11, Jah Wobble has been busy these past few days, with 3 different tracks from 3 different projects appearing in your players within a 10-day span. This release from the day before yesterday sees him teaming up with Horace Andy for a cover of the Stevie Wonder classic "Superstition". | * | 0:16:00 (MP3 | Pop-up) |
Music behind DJ: Jah Wobble |
Careering
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Careering / No Birds (Do Sing) Live at the Lighthouse, Poole's Centre for the arts May 15th 2024 |
Cleopatra Records |
2024 |
"Los Angeles, CA – Audiences have been patiently awaiting the opportunity to catch a live performance from former-PiL innovator Jah Wobble ever since it was announced that the visionary figure and pioneering post-punk producer/multi-instrumentalist would be crossing the pond for a multi-week run on North American shores. Now that the wait is almost over, Wobble has just released an extended two-track single that offers a sumptuous taste of what’s in store for those lucky enough to score a ticket! //// Recorded at the historic Lighthouse in Dorset, England, the single highlights two songs from PiL’s landmark 1979 Metal Box album, “Careering” and “No Birds (Do Sing),” which have been filtered, morphed and reinvented by Wobble and his longtime collaborator Jon Klein (Siouxsie & The Banshees/Specimen) in front of an enthralled audience. A studio version of “Careering” was featured on Wobble’s 2021 album Metal Box – Rebuilt In Dub, but as these live recordings show, Wobble’s stage performance offers an even more expansive vision of the songs, stretching them out into epic-length opuses and giving them room to breathe and grow into musical behemoths!" -- "Wardle declares, “This show will knock your damn socks off! Guaranteed!”" 7/10 – Toronto, ONT – The Great Hall --------- 7/11 – Detroit, MI – Third Man Records Cass Corridor --------- 7/12 – Chicago, IL – Hideout --------- 7/15 – Los Angeles, CA – The Masonic Lodge At Hollywood Forever --------- 7/17 – San Francisco, CA – Great American Music Hall --------- 7/19 – Portland, OR – Mississippi Studios --------- 7/20 – Seattle, WA – Triple Door --------- 7/23 – Philadelphia, PA – The Lounge At World Cafe Live --------- 7/24 – Brooklyn, NY – Music Hall Of Williamsburg --------- 7/25 – Boston, MA – City Winery |
* |
0:20:55 (MP3 | Pop-up) |
| Ween |
Junkie Boy
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Junkie Boy Single | Rhino | 2024 | After nearly a decade and a half of slumber, the almighty Boognish rose from its chocolate-covered crypt to deliver the first Ween single in 14 years. At the stroke of midnight on Friday, disciples of Dean and Gene Ween (Mickey Melchiondo and Aaron Freeman, respectively) were blessed with the official studio release of “Junkie Boy”, an unused Ween demo from 1994’s Chocolate and Cheese sessions. The track will arrive as part of a fully loaded Chocolate and Cheese deluxe reissue set to arrive on August 2nd featuring 15 demos of previously unreleased songs and outtakes curated by Gener and Deaner. Of course, “Junkie Boy” is not a brand-new Ween song. Online records place the composition on the Pandy Fackler Tape, allegedly leaked by Dean Ween in the late 1990s. According to setlist tracker Brownbase, “Junkie Boy” has only been played live once, on 9/24/93. | * | 0:33:18 (MP3 | Pop-up) |
| Pixies |
You're So Impatient
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You're So Impatient/Que Sera Sera | BMG | 2024 | The band describes the track as an “explosive two-minute, nine-second Zombie attack at the mall.” The release marks the first recording with new bassist Emma Richardson, formerly of Band of Skulls, who replaced Paz Lenchantin earlier this year. Speaking about the song in a press release, Pixies frontman Black Francis said: “‘You’re So Impatient’ is a slightly comedic suburban culture moment: there’s this guy, there’s this gal, there’s this tug-of-love dynamic going on. But the backdrop is the mall. And while the mall is crass, it’s also a very zombie, rock ‘n’ roll horror movie setting.” | * | 0:36:51 (MP3 | Pop-up) |
| Blur |
Parklife - Live at Wembley
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Parklife - Live at Wembley | Parlophone | 2024 | Blur have announced a live album recorded at their Wembley Stadium concerts last July. Live at Wembley Stadium is out July 26, in digital and physical formats, via Parlophone. A film of the same name, directed by Toby L, will screen in cinemas in the United Kingdom and Ireland from September 6, with international release details to follow. These were the biggest shows of the band’s career to date and saw Damon Albarn, Graham Coxon, Alex James and Dave Rowntree perform to over 150,000 fans on 8th and 9th July 2023. | * | 0:38:56 (MP3 | Pop-up) |
| The Flaming Lips |
Pilot Can at the Queer of God
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Transmissions From The Satell | Warner | 1993 | Transmissions from the Satellite Heart is the sixth studio album by American rock band the Flaming Lips, released in 1993 by Warner Bros. Records. The album marked the departure of Jonathan Donahue (to Mercury Rev) and Nathan Roberts, and the addition of guitarist Ronald Jones and drummer Steven Drozd. "She Don't Use Jelly" hit after being featured on Beavis & Butthead..."Look no further than Satellites to fall in love with the psychedelic rock-styling of the best present Oklahoma City could ever have given us" | 0:42:01 (MP3 | Pop-up) | |
| Butthole Surfers |
Strawberry
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Independent Worm Saloon | Capitol Records | 1993 | A Butthole Surfers documentary is in the works and YES WE NEED THAT. The Whole Truth & Nothing Butt will cover the American post-punk movement rose in the early 80’s in defiance of Reaganism, and how two accounting students from Trinity college found solidarity in their weirdness, recruited like-minded “misfit” band members - queers, weirdos, and nonconformists. Independent Worm Saloon is the sixth album by alternative rock band Butthole Surfers, released in 1993 on Capitol Records. The band chose to follow a heavier orientation for most of the record, following the hiring of producer John Paul Jones, formerly of Led Zeppelin. "Strawberry shows the Surfers' penchant for writing things as bizarre as Hell that can be stuck in your head for days, they are so catchy. Another punk verse with strange backing sections gives way to an anthemic chorus with jangly guitars that can be considered to be early REM on LSD. Another of the must-hears on the album" | 0:46:12 (MP3 | Pop-up) | |
| The Chemical Brothers |
Let Forever Be
|
Let Forever Be 7" | Astralwerks | 1999 | "Let Forever Be" is a song by English electronic music duo the Chemical Brothers, released as the second single from their third studio album, Surrender. It was the Chemical Brothers' fourth top-10 single in the United Kingdom, peaking at number nine on the UK Singles Chart, and also hit top 30 in the US. The video for the track was directed by Michel Gondry, who drew visual inspiration from Ray Davies' 1975 Granada TV production Starmaker as well as a dance sequence from the 1934 musical "Dames". The song contains uncredited vocals from Noel Gallagher of Britpop band Oasis, who also co-wrote the song and previously worked with the Chemical Brothers on "Setting Sun". | 0:50:18 (MP3 | Pop-up) | |
Music behind DJ: Massive Attack vs Mad Professor |
Karmacoma (instrumental)
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No Protection |
Virgin Records |
1995 |
0:54:07 (MP3 | Pop-up) |
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| Wire |
Stepping Off Too Quick
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154 - Special Edition - Disc 3 (Studio demos - Sixth demo sessions) | Harvest / (Pink Flag) | 1978 / (2018) | "Amongst the demos for '154', there is just one song which, despite having what Newman only half jokingly calls "the best intro to any song ever", did not make the transition from demo to fully-fledged recording, 'Stepping Off Too Quick' does indeed have an opening which, whilst taking up a third of the song's entire time frame, seems precipitous of some momentous event. If the arrangement that follows doesn't quite live up to that promise, there is still a confident energy about the piece that is underlined by the line 'Don't regret what went before'. //// "...The making of the album was a far from harmonious experience. "Wire have always been quite brutal in terms of criticisms of each other's work", states Newman. "But with '154', the feeling in the room was often much more abrasive than it had been before". The singer began to perceive Gilbert and Lewis as having formed a power bloc. For their part, Gilbert and Lewis believed the singer was siding too much with [Mike] Thorne [the producer]. "There were certainly periods when it felt like Colin and Mike would have been happy to make the record without our involvement", says Lewis. //// Grey, however, perceives the artistic disagreements slightly differently: "I think the root of it was a basic disagreement between Bruce and Mike - Bruce being the artist, taking exception to other people interfering with his work. But then why work in a group? It's completely contradictory". Gilbert himself is more circumspect: "It was a stimulating time and Mike was extremely inventive. But there were definitely divisions starting to open up."... ..."Everybody was conscious of not going over the same ground we'd already covered", says Newman. "Everybody wanted to move it on to the next thing. Everybody wanted it to be perfect. So it definitely got everyone's best attention. But it was very, very hard to make". So hard, in fact, that Wire would not record their next studio album for another eight years. | 1:02:24 (MP3 | Pop-up) | |
| Wire |
I Should Have Known Better
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154 - Special Edition - Disc 1 (Original album) | Harvest / (Pink Flag) | 1979 / (2018) | From the liner notes: "One of 154's many strengths is its sequencing. And it would appear that 'I Should Have Known Better' was always tipped to be the album opener. "Beacause of the way it starts, it sounds like an arrival", observes Newman. The song - which had originally been demoed under the title "Ignorance No Plea" - was substantially reworked before Wire arrived at the album version. "We were literally playing it in the studio and I decided we needed to make an instant revision", says Newman. Gone are the stop/start moments that punctuate the demo, to be replaced with a more streamlined structure. //// Lewis's text also differs from the demo. The opening lines have changed and in the second verse several references to 'the upsetters' and 'Barrettas' have been removed. The final text feels more personal and more intimate than much of the work that had preceded it. //// The interplay between Gilbert and Newman's guitars on 'I Should Have Known Better' is simple, urgent and precise, with Lewis's bass providing a more human pulse. But it's Grey's [AKA Robert Gotobed] sibilant hi-hat and insistent kick drum that are the real backbone of the song. At 00:56, the first crack of the snare seems to break the tension and suggest we're about to shift up a gear. However, it will be another 18 seconds beforfe the second beat lands. In fact, Grey's use of the snare throughout the song doesn't seem to follow any rational scheme. And yet the placement of the beats adds real colour, excitement and emotional depth. Lewis had made his lead vocal debut on [1978 album] 'Chairs Missing', but on '154' he contributes three performances. The fact that the album opens with one of the strongest is an indication that Wire had changed their game." | 1:03:46 (MP3 | Pop-up) | |
| Wire |
Ignorance, No Plea (I Should Have Known Better)
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154 - Special Edition - Disc 3 (Studio demos - Sixth demo sessions) | Harvest / (Pink Flag) | 1978 / (2018) | Recorded and mixed December 1978. For those of you familiar with the 154's opening number, you might be surprised with the differences between the final version and the early demos. | 1:07:37 (MP3 | Pop-up) | |
| Wire |
On Returning
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154 - Special Edition - Disc 1 (Original album) | Harvest / (Pink Flag) | 1979 / (2018) | From the liner notes: "'On Returning' rounds off side one in an unexpected burst of bright eyed energy, with perhaps something of prime era Pretty Things about its melodic twists and turns. Newman's text again explores the notion of travel and specifically the purpose of holidays, namely a suntan and 'An evening of fun in the metropolis of your dreams'. //// The original demo of the song sounds like it would have slotted quite comfortably on to 'Chairs Missing', but the studio version introduces several new elements. "It was originally just a rhythm guitar and there was a point when Graham and Bruce came back from the pub and said 'Oh that sounds shit'", says Newman. "So I did some things to make it more interesting". Most noticeable are the strange wriggling darts of synth that increasingly dominate the stereo image as the song approaches its fade out." | 1:11:55 (MP3 | Pop-up) | |
| Wire |
On Returning
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154 - Special Edition - Disc 3 (Studio demos - Sixth demo sessions) | Harvest / (Pink Flag) | 1978 / (2018) | Recorded and mixed December 1978. For an album so produced and layered, it is interesting to hear the more stripped back versions, and in some ways, almost more immediately gratifying. | 1:14:39 (MP3 | Pop-up) | |
| Wire |
Once Is Enough
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154 - Special Edition - Disc 1 (Original album) | Harvest / (Pink Flag) | 1979 / (2018) | From the liner notes: "'Once Is Enough' is the album's most cacophonous track, with multiple instruments, voices, ovedubs and effects populating the stereo image. Whilst the recording may not include the kitchen sink, Lewis does provide additional percussion, hitting various pots and pans with a hammer. So intense is the overfall soundscape that for the first minute it sounds like a band getting ready to go to war. Grey, who usually favours strict metronomic rhythms, here fills the piece with terse rolls on the snare creating an oddly exhilarating energy. The song proceeds at a gallop and there is so much happening with so many of the sounds being put through various effects units that it's hard to distinguish who is playing what and how. //// Newman takes the lead vocal, with Lewis adding backing vocals and asides,. Here again, the multi-layered arrangement is clearly the result of hours of painstaking work. Throughout the album, Newman and Lewis's vocals are subject to strong treatments and changes of pitch and pace due to a generous use of vari-speed. Sometimes these treatments suggest warmth, depth and intimacy; at other points the use of effects creates a strange distancing. On 'Once Is Enough' both approaches are combined, leading to a decentring feeling. //// The song was composed by Newman, who does not consider it amongst his best work: "It's not my favourite song. It's got my vocal line and my guitar doing the same thing which I would never normally do and I think the song is weaker for that". Lyrically, lines such as 'I'd attempt a casual structure, perceding interaction' and 'Is just a drop compared with having double vision' may well be Newman's observation of the creative tensions within Wire at this point." | 1:16:27 (MP3 | Pop-up) | |
| Wire |
Once Is Enough
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154 - Special Edition - Disc 3 (Studio demos - Sixth demo sessions) | Harvest / (Pink Flag) | 1978 / (2018) | Recorded and mixed December 1978. The song really does end this way on the demo... So don't be surprised at the sudden stop. This is a good example of how the demo can reveal just how much might have been underneath a track later produced with an "everything & the kitchen sink" approach. | 1:19:47 (MP3 | Pop-up) | |
| Wire |
40 Versions
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154 - Special Edition - Disc 1 (Original album) | Harvest / (Pink Flag) | 1979 / (2018) | From the liner notes: "Most bands would choose to end the second side of the album with 'Indirect Inquiries'. It has an intensity and gravitas that is hard to follow. And yet, as with side one, a dark, brooding and near apocalyptic song is topped by something with a more optimistic tone. /// The demo of '40 Versions' indicates that the majority of the song's architecture was already in place. Its warm fuzzy texture and chugging guitars are all present and correct, and yet the recording that closes '154' has acquired a quite different tone. It has a far more spacious quality with the keyboard textures very much to the fore. "'40 Versions' is one of my favourites", says Gredy. "It has a sort of cleanness and clarity about the sound and it feels so much more confident than what we were doing on the first two albums". It perhaps seems odd that Grey singles out this song, as his drum track was removed and replaced with a rhythmic track of gated noise. But as Grey points out, "All that concerns me really, is what works best within the song itself". //// Gilbert's text simultaneously explores the writings of Carlos Castaneda in the closing lines: "In between are where only edges can be seen'. Conscious or otherwise, the text is also suggestive of the multitude of options that lay open to Wire at this point in time. When the thrumming bass line changes direction at 02:42, the song is injected with a final burst of energy before concluding in a blurred landscape of vocals and flickering shafts of synth tone." | 1:22:27 (MP3 | Pop-up) | |
| Wire |
40 Versions
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154 - Special Edition - Disc 3 (Studio demos - Sixth demo sessions) | Harvest / (Pink Flag) | 1978 / (2018) | Recorded and mixed December 1978. Closer to the '154' final product than some of the other versions, but still much more direct. As noted earlier in the playlist, Robert "Gotobed" Grey's drums were replaced with electronics in the Studio version, as well as all the keys brought much more to the fore. I am endlessly fascinated with the world of originals and alternates. I hope this has been enjoyable to you, too! | 1:25:58 (MP3 | Pop-up) | |
Music behind DJ: Wire |
Song 1
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[154 EP] 154 - Special Edition - Disc 2 (Singles, B-sides and studio recordings) |
Harvest / (Pink Flag) |
1979 / (2018) |
"The initial copies of 154 came with a four track 7-inch EP with a solo contribution from each member of Wire. These pieces experimented with different approaches, mirroring what the group saw as a possible future..." --- Before Blur's "Song 2" was Robert Gotobed's "Song 1." |
1:29:14 (MP3 | Pop-up) |
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Music behind DJ: Wire |
Get Down 1 + 2
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[154 EP] 154 - Special Edition - Disc 2 (Singles, B-sides and studio recordings) |
Harvest / (Pink Flag) |
1979 / (2018) |
Apparently a "joke" song that Colin Newman submitted for the EP. However, with the recording time afforded to them, he also was able to record his debut solo album. So productive, none-the-less. |
1:32:16 (MP3 | Pop-up) |
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| Simon Love |
Joey Ramone
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Sincerely S, Love x | Tapete Records | 2018 | A tribute to Joey and the Phil Spector era of the Ramones. Simon Love hails from London. "First time that I heard your voice, I never knew that there could be a better noise, I got touched and I saw the light, and you’ve been right beside me ever since that night. Good times and the bad times too, it never makes a difference to the things you do, from the beach, to the basement door, and everything begins with a “1-2-3-4”. When I get to feel like this, I wanna give you a great big kiss, now I know that I’m never alone, oh I love you, Joey Ramone. Hey! Ho! Let’s go! Now you’re gone, but you’re always here, the needle hits the record and the blues disappear, Topshop t-shirts, Primark too, I’m sorry about Bono but, Helen still loves you (Yes I do) (CHORUS) (INSTRUMENTAL) For Dee-Dee, and Tommy, CJ, Richie, Marky, Phil and Johnny, now I know that I’m never alone, oh I love you, oh I love you, oh I love you, Joey Ramone" | 1:35:53 (MP3 | Pop-up) | |
| Helen Love |
Joey Ramoney
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Radio Hits | Damaged Goods | 1994 | The band was formed in 1992 by Helen Love (vocals, guitar) with Sheena (guitar, keyboards), Roxy (bass, drum machine), and Mark (keyboards). Current members are Helen, Sheena and Ricardo Autobahn. The main thematic elements in their oeuvre are Joey Ramone, summer days and bubblegum music. Love claims only to listen to the music of the Ramones. A play on the Ramones' song "Sheena Is a Punk Rocker", the single was brought to Joey's attention by the UK branch of the Ramones fan club.Joey subsequently invited the band to New York to play a gig. Joey introduced the band's Evening Session on Radio 1, and duetted with Helen on the album version of "Punk Boy". Helen provided backing vocals on the Joey Ramone album Don't Worry About Me, singing on the track "Mr. Punchy". | 1:38:54 (MP3 | Pop-up) | |
| Swoons |
My Grandpa Is Joey Ramone
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All or Nothing Comp | Mad Butcher Records | 2020 | Joey Ramone...grandpa? For sure and in the best way. The Swoons...German band, formed 1990 in Wolfhagen, Hessen....not to be confused by a new Canadian band called Swoons...this Swoons loves Oi and Joey Ramone. They disbanded in 2005. | 1:41:13 (MP3 | Pop-up) | |
| Nancys Rubias |
Nancy Ramone
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Gabba Gabba Nancy | Dro Atlantic | 2007 | An electro pop/glam group formed in Madrid in 2004 by Mario Vaquerizo, Juan Pedro, Miguel Balanzategui, and Susie Pop, Nancys Rubias are tightly associated with Fangoria, as Vaquerizo is both Alaska's husband and Fangoria's manager, and Nacho Canut writes all of their lyrics. Plus, they often tour and perform as Fangoria's supporting act. Conceived at the spur of the moment as a novelty act/inner joke, Nancys Rubias take their ironic obsession with kitsch, androgynous sexuality, bubblegum punk, and disco to the point of self-parody. Predictably, this well-connected concept band has a heightened media profile, and its albums and singles have proved quite popular. | 1:43:07 (MP3 | Pop-up) | |
| Spastic Panthers |
Ballad of Joey Ramone
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Complete Pantherography 2009-2016 | Self Released | 2016 | The Spastic Panthers formed from the ashes of Calgary punk heroes The Motherfuckers, Sheglank'd Shoulders and Antisocial Club in the winter of 2008. Combining the old school skate rock of Sheglank'd with the nomeansno and Minutemen worship of Antisocial Club, the Spastic Panthers aren't just another dirtbag punk rock band full of meatheads pretending to be punk. Often described as sounding like The Freeze meets S.O.A, | 1:45:38 (MP3 | Pop-up) | |
| The Creeping Ivies |
What Would Joey Ramone Do?
|
Ghost World | Jet Black Records | 2014 | The Creeping Ivies are from the UK. Becca Bomb and Duncan Destruction. There is something reassuringly old skool about their vibe - simplicity at its best, one guitar, drums, vocals and one hell of a sound... | 1:46:46 (MP3 | Pop-up) | |
| Joey Ramone |
What A Wonderful World
|
Don't Worry About Me | Sanctuary Records | 2022 | Where other punk groups became somewhat puritanical, Joey refused to be pigeonholed; transcending judgement and categorisation until his death in 2002. Of all the tracks that encapsulate Joey’s stunning capacity for joy, one of the most moving is his take on Louis Armstrong’s ‘What A Wonderful World’, the title track from Don’t Worry About Me – released posthumously in 2002. Joey’s cover of the 1967 jazz classic shouldn’t be as heartwarming as it is. A straight-up punk reimagining filled with chugging guitars and swooping vocals, the single was imbued with heightened significance following its creator’s death. Recorded at the very end of his life, it sees Joey revisit a song he would have heard playing on the radio while he was growing up. Of course, the sentiment of Armstrong’s original song shines through too, lending the track an optimism rare in the world of punk. Louis Armstrong was also nearing the end of his life when he recorded ‘What A Wonderful World’ in 1966, which is perhaps why the song carries such a poignant sense of near-divine revelation. | 1:49:29 (MP3 | Pop-up) | |
Music behind DJ: The Nutley Brass |
Something To Believe In
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Ramones Songbook as Played by the Nutley Brass |
Modern Harmonic |
2021 |
One of my favourite Ramones ballads. Please do yourself a favour and rewatch this video someday soon. You'll be happy and glad you did. |
1:52:02 (MP3 | Pop-up) |
|
| Françoise Hardy. |
Voilà
|
Ma Jeunesse Fout le Camp | Warner | 1967 | Françoise Madeleine Hardy was a French singer-songwriter and actress. Mainly known for singing melancholic sentimental ballads, Hardy rose to prominence in the early 1960s as a leading figure of the yé-yé wave. In addition to her native French, she also sang in English, Italian and German. | 1:55:19 (MP3 | Pop-up) |
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Listener comments!
ultradamno:
Yay Wire!
Albini on Ramones www.youtube.com...
Scott_Oz:
🌏🌞🍻😎💨🍺🍺🌊🏖️🌴
Alli B:
DJ Babs:
DJ Babs:
Alli B:
DJ Babs:
Alli B:
DJ Babs:
Derek Westerholm:
Alli B:
DJ Babs:
Alli B:
DJ Babs:
DJ Babs:
DJ Babs:
Alli B:
DJ Babs:
Alli B:
Alli B:
Alli B:
DJ Babs:
Derek Westerholm:
Derek Westerholm:
DJ Babs:
ultradamno:
DJ Babs:
ultradamno:
DJ Babs:
Scott_Oz:
Derek Westerholm:
ultradamno:
DJ Babs:
ultradamno:
DJ Babs:
cheyenne:
DJ Babs:
ultradamno:
Alli B:
ultradamno:
gsdoubleu:
ultradamno:
ultradamno:
Alli B:
DJ Babs:
DJ Babs:
Derek Westerholm:
ultradamno:
Derek Westerholm:
DJ Babs:
Derek Westerholm:
DJ Babs:
Alli B:
ultradamno:
DJ Babs:
DJ Babs:
Alli B:
Kristine:
DJ Babs:
DJ Babs:
Kristine:
ultradamno:
DJ Babs:
Kristine:
DJ Babs:
DJ Babs:
ultradamno:
Kristine:
Kristine:
Kristine:
ultradamno:
DJ Babs:
DJ Babs:
DJ Babs:
ultradamno:
Kristine:
DJ Babs:
ultradamno:
DJ Babs:
Scott_Oz:
DJ Babs:
Derek Westerholm:
ultradamno:
Alli B:
Alli B:
Derek Westerholm:
DJ Babs:
Alli B:
DJ Babs:
Kristine:
Derek Westerholm:
Alli B:
ultradamno:
Kristine:
krutzo:
Kristine:
DJ Babs:
DJ Babs:
ultradamno:
DJ Babs:
Alli B:
v-dawg:
i missed last week's show because of flooding on the roads.
late check-in today...hot weather then rain tomorrow.
Bob Barth:
Alli B:
Derek Westerholm:
ultradamno:
Derek Westerholm:
Scott_Oz:
🌏🌞🍻😎🤙💨🍺🍺
Bob Barth:
ultradamno:
Derek Westerholm:
krutzo:
Bob Barth:
DJ Babs:
Kristine:
Derek Westerholm:
v-dawg:
v-dawg:
Derek Westerholm:
DJ Babs:
Derek Westerholm:
Derek Westerholm:
Derek Westerholm:
v-dawg: