Robyn Hitchcock copyright 1984 August 23rd Music/Bug Music
Join us for our annual Halloween Spooktacular episode as we take a haunting journey through the whimsical world of Robyn Hitchcock, focusing on his classic “My Wife and My Dead Wife.” With a blend of the mundane and the macabre, we explore how Hitchcock weaves a tale of domesticity intertwined with the supernatural. From the catchy chorus to the clever lyrics, we dissect the song’s unique storytelling and how it captures the listener’s imagination. We’ll also dive into Hitchcock’s musical roots, his time with The Soft Boys, and the quirky charm of his solo work. Whether you’re a long-time fan or new to Hitchcock’s artistry, this episode delivers a mix of chills and thrills!
“My Wife And My Dead Wife ” (Robyn Hitchcock copyright 1984 August 23rd Music/Bug Music)
TRANSCRIPT:
Welcome, all you ghouls, goblins and goofballs, to our annual Halloween Spooktacular episode. I am Brad Page, your gross host with the most ghosts, here on the Pantheon Podcast network, with the annual “I’m In Love With That Song” Halloween episode. I’ll pick a song with a particularly spooky vibe and we’ll have some fun taking a closer look at it. This time we’re revisiting one of my favorite songwriters, the great Robyn Hitchcock, and one of his early classics, a song called “My Wife and My Dead Wife”.
Robyn Hitchcock was born in Paddington, part of Westminster, England, in March of 1953. He went to Westminster College, where he discovered the music that would change his life, in particular the music of Bob Dylan. He studied art in London and then moved to Cambridge, where he joined his first bands, eventually landing in The Soft Boys in 1976. The Soft Boys were a seminal British 70’s band. There was really no one else quite like them. Along with Hitchcock on guitar and vocals, The Soft Boys included Andy Metcalfe on bass– He would continue to work with Hitchcock and he played with Squeeze for about nine years– Morris Windsor was on drums, and another guitarist, a gentleman named Kimberly Rew, who would later go on to found Katrina and the Waves and wrote their massive hit “Walking on Sunshine”. Here’s a track from the first Soft Boys album, a song called “Leppo and The Jooves”.
The Soft Boys released two albums and then split in 1981. Robyn went solo, releasing some solo albums, and then formed the band Robyn Hitchcock and the Egyptians, releasing their first album, “Fegmania” in 1985– a Neo-psychedelic, surrealist classic record.
One of the tracks on the “Fegmania” album is “My Wife and My Dead Wife”. It was written by Robyn Hitchcock, and features Andy Metcalfe on bass and keyboards and Morris Windsor on drums, they’re both former members of The Soft Boys; and of course Robyn Hitchcock on guitar and vocals. The album was produced by Robyn Hitchcock and the Egyptians. The song begins with Robyn’s vocal.
I love the way he lays out the story here; Making coffee for his wife. And then the story takes a twist, and then he asks the question that should be in the listener’s mind.
Makes you curious as to what’s going on here, right? Let’s hear the rest of the first verse.
I think it’s a nice touch that he uses his own name there– his dead wife addresses him as “Robyn”. And the fact that this is just a mundane, everyday disagreement about whether she likes sugar in her coffee. It’s this juxtaposition of the ordinary with the bizarre, the fact that he’s having this conversation with a ghost or spirit. Robyn does this kind of thing so well. Here comes the first chorus.
In the background of the chorus, you’ve got this spooky keyboard part, sounds like a Theremin. It’s that classic 1950s horror movie ghostly effect. And then the chorus wraps up with this nice little tag at the end.
I like that xylophone bit there. Let’s move on to the second verse, but first let’s just listen to the instrumental backing, particularly to Andy Metcalfe’s bass part. He is the secret weapon of the Egyptians. So many great bass parts on these records.
The transition between the second verse and the chorus is different this time around. It’s more of a dramatic build up. Let’s hear that again, this time with the vocals.
That brings us to the next chorus. Let’s bring up Robyn’s vocal and listen to that.
Next up is a short bridge, and notice the background vocals here. Almost a pseudo-Beach Boys kind of thing.
There’s also a nice little instrumental break right in the middle there that’s reminiscent of something The Who might have done.
And that brings us to the third final verse. Notice the background vocals here, too.
Here, they extend the last line of the verse to build into the final choruses. You’ll notice that each verse is a little different; little changes each time so that there’s always something fresh. It’s not totally predictable. It just makes it a little more interesting. These are all great songwriting tricks to keep pleasantly surprising the ear of the listener. There’s also some fun with the backing vocals here, too.
And some more quirky background vocals are added here.
Robyn Hitchcock and the Egyptians – “My Wife And My Dead Wife”
Robyn Hitchcock has never had a hit album or a hit single, but he’s had a long career and a, dedicated fan base, and he’s been very influential. He’s inspired many artists, including REM, who are big Robyn Hitchcock fans. He’s been the subject of two documentaries, 2007’s “Sex, Food, Death and Insects”, directed by John Edgington, and the concert film “Storefront Hitchcock”, directed by none other than Jonathan Demme, in 1998.
Last year, Robyn released his book “1967”, an autobiography of one key year in his life, 1967, along with an album of the same name where he covered some of his favorite songs from that year. I highly recommend both.
I hope you enjoyed this slightly spooky Halloween edition. We’ll be back in two weeks with another new episode. Until then, you can get caught up with all our previous episodes– there’s over 190 of them to choose from– and you’ll find all of them on your favorite podcast app; whether it’s Apple, Amazon, Spotify, Pandora, Google, we’re out there on all of them. Or you can go to our website and find all of our episodes there. That’s lovethatsonngpodcast.com.
If you’d like to support the show, the best thing you can do is to tell a friend about it. Share this podcast with your friends and family and help us to grow our audience.
You can also support this show by going to oldglory.com and buying a T-shirt or some merch. They have a lot of great stuff there. And if you use our discount code lovethatsong, you’ll save 15% and you’ll be helping to support this podcast. That’s oldglory.com with the discount code lovethatsong. Thanks.
So that is a wrap on this Halloween edition featuring Robyn Hitchcock with “My Wife And My Dead Wife”. I will see you back here next time. Trick or treat.
"See No Evil" (Verlaine) Copyright 1977 Double Exposure Music Ltd. ASCAP
Television came out of the CBGB’s scene in New York (in fact, they were the first rock band to play the legendary club), but they never fit the “Punk” or “New Wave” label. They were unique, which is why their debut album Marquee Moon sounds timeless, as fresh today as the day it was released in 1977. Fronted by two great guitarists– the mercurial Richard Lloyd and the enigmatic Tom Verlaine, who also provided unorthodox vocals and most of the songwriting– Television would influence generations of bands that followed. Though they never achieved commercial success, Marquee Moon regularly appears on virtually every “Greatest Albums Of All Time” list. On this episode, we explore the track that opens the album, “See No Evil“.
“See No Evil” (Verlaine) Copyright 1977 Double Exposure Music Ltd. ASCAP
TRANSCRIPT:
Hello once again, fellow music travelers. My name is Brad Page, and this is the “I’m In Love With That Song” podcast, coming to you on the Pantheon Podcast Network. Each episode of this show, I pick a favorite song and try to get a handle on why it’s such a great song; what is it about this song that draws me in? Hopefully you find something in each of these songs, too. We don’t get deep into technical details or music theory, I’d rather talk about the arrangement, the performances, the production, and the emotional effect of the song. Our journey on this edition of the “I’m In Love With That Song” podcast brings us to the band Television and the song “See No Evil”.
[Music]
A couple of years ago, back on Episode 39 of this podcast, we explored a song by Richard Lloyd, one of the guitarists in Television, and we talked about Television quite a bit then. But last year– in fact, one year ago this month– we lost Tom Verlaine, the other guitarist and primary singer and songwriter for television. He passed away on January 28, 2023. So, I wanted to revisit Television and dive into one of their classic songs.
Television was one of the first, if not the first, so-called punk band to play the legendary CBGB’s club in New York City, and were critical in launching the punk and new wave movement that changed music history. Television was founded in late 1973 when two friends, Richard Myers and Tom Miller, who had run away to New York City in the 60’s, met a guitarist named Richard Lloyd, and they recruited a drummer, Billy Ficca. Billy had played with Myers and Miller before, in a band called Neon Boys, but they never went anywhere. Myers and Miller were actually more successful writing and publishing their own poetry. By the time Television came together, guitarist Miller had changed his name to Tom Verlaine, and Myers, on bass, became Richard Hell. This kind of self-invention is an essential element in the sound and the approach of Television. This was the era of glitter and glam, of long hair and Led Zeppelin. But Television, largely driven by the aesthetic of Richard Hell, wore their hair short and dressed in tattered clothes. Legend has it that Malcolm McLaren was inspired by Richard Hell’s look and brought that image back to England, and the Sex Pistols who he managed.
Patty Smith was there for Television’s early gigs at CBGB’s and as a writer and a critic for magazines like Cream, she was an early booster of Television and the whole CBGB scene, publicizing the sights and the sounds and helping to create the mythology that was the New York punk scene of the 1970’s.
In 1974, the band went into the studio to lay down some demos with Brian Eno producing. But Verlaine was not happy with the results, and no record label signed the band. So they returned to CBGB’s, playing two sets a night. These Eno demo tapes have never been officially released and remain among the most legendary, infamous bootlegs, much like the Beatles in Hamburg, Germany.
Television’s steady gigs at CBGB’s tightened them up and refined their sound. But tensions grew between Verlaine and Hell, as Verlane became more and more the focus of the band, and Hell quit the band in April 1975. It was a pretty acrimonious split. He was replaced by Fred Smith, who’d been playing bass with Blondie.
The band got tighter, better, and some songs got longer, with extended dueling guitars between Verlaine and Lloyd. This interplay is one of the most important elements in Television sound, right up there with Verlaine’s lyrics and idiosyncratic voice. Bands with two distinctive lead guitarists were not new, but Television brought the guitar solo into a punk and new wave context in a unique way. And it’s the thing that I love the most about this band.
Finally, around 1976, Television signed a recording contract with Electra Records. By this point, the Ramones, Blondie, Talking Heads and Patty Smith had already released albums, even though Television had been on the scene first. They hit the studio in November ‘76 with producer Andy Johns, whose resume includes albums by Led Zeppelin and the Stones. Andy Johns has worked on some of the greatest records of all time. Verlane said they chose Andy Johns because he got decent rock and roll sounds without messing with the arrangements.
The first television album, “Marquee Moon”, was recorded in three weeks. The band wanted to keep the sound stripped down and minimal. No horns or strings, no synthesizers, no acoustic guitars. They wanted to capture their live sound, but they had spent months before rehearsing for the record, and they were ready.
Their debut album, “Marquee Moon”, is widely considered one of the greatest debut albums of all time. An incredibly influential album, even though sales-wise it was considered a flop. It sold less than 80,000 copies in the US and didn’t even crack the Billboard Top 200. But today, look at any list of the greatest albums of all time and you’re guaranteed to find Television’s “Marquee Moon” on that list somewhere. It’s just another example where sales and charts are no indication of greatness.
The album opens with the song “See No Evil”. “See No Evil” was written by Tom Verlaine and performed by Billy Ficca on drums, Fred Smith on bass, Richard Lloyd on guitar, and Tom Verlaine on guitar and lead vocals. It was produced by Andy Johns and Tom Verlaine.
The track begins with Verlaine’s guitar on the left. The bass comes in with a few notes high up on the neck, and then the drums join in, along with Richard Lloyd’s guitar on the right.
Now, let’s take a closer look at the guitars here, because there’s two very different approaches happening: Tom Verlaine’s guitar is about as straightforward as you can get. It’s one guitar track, no overdubs or doubling of parts. Just Tom on his 1958 Fender jazz master, probably playing through a Music Man 410HD amplifier.
Lloyd, on the other hand, is playing multiple parts, doubled, tripled or more. Most likely, he’s playing his Fender 1961 Stratocaster through a Fender Super Reverb amp. So, you’ve got this mix of simplicity and complexity going on. Let’s hear that intro again.
This is where Tom Verlaine’s vocals come in for the first verse. Verlane’s vocals are easily the most punky thing about the band. If they had had a different, more traditional singer, they might not have even been lumped in with punk or new wave. Underneath the vocal, the band keeps churning, especially Richard Lloyd’s guitar and Billy Ficca’s drums, both giving the song the sound of a repetitive, unstoppable machine. Remember, this is the first song on their first album, and the first thing we hear out of Tom Verlaine’s mouth is “What I want, I want now” — quite a statement of purpose from a young band breaking new ground.
That delivers us to the first chorus. As the backing vocals repeat, “I see no”, Verlaine sings over the top, “I understand all destructive urges, it seems so perfect”. And then the band builds to a climax on “I see no evil”.
I love that chorus. There’s just so much great stuff going on there. Let’s listen to the bass and drums first. Listening to them by themselves, you might get the impression of a disco song. This was New York in 1976. Disco was at its peak and hadn’t worn out its welcome yet. That sound was in the air everywhere in New York City at that time, and a little bit of that flavor made its way into this track.
Add the guitars back in and they bring the edgier rock and roll elements again. Listen to the contrasts between the guitars. Verlaine’s guitar on the left plays big slashing chords, bringing the aggression, while Richard Lloyd’s guitar is playing arpeggios on the right, adding a sense of suspended tension, waiting to be resolved by that final walk down the scale to return to the verse melody.
And here we have the second verse. Let’s talk about Verlaine’s lyrics for a minute. Rarely anything literal, his lyrics move from really clever wordplay to indecipherable phrases. This verse has a little of both. It begins, “I get ideas, I get a notion, I want a nice little boat made out of ocean”. I like that one.
Then it continues. “I get your point. You’re so sharp”. That’s great. And then he sings “Getting good reactions with your Bebo talk”. Now, if you have any idea what “Bebo talk” means, please let me know. I think maybe only Tom Verlaine understood that line.
Now, if I had to guess, I would say that he was singing “when your people talk” there. But according to the official lyric sheet that comes with the album, it’s “Bebo talk”, so your guess is as good as mine.
There’s a nice, tasteful little drum fill there by Billy Ficca, and that gets us into the next chorus.
This time. Let’s bring up the vocals on the chorus.
That scream at the end there is great. That leads right into a guitar solo by Richard Lloyd. Both Verlaine and Lloyd were excellent soloists with their own distinctive style. On some Television tracks, they trade lines or play off of each other, but on this song, Richard Lloyd takes the solo by himself. He’s overdubbed this solo. You can hear his multi layered, repetitive pattern continuing to play in the right channel while the solo sits on top, in the middle. He begins with a melodically climbing pattern.
He tosses off some rapid-fire licks there, and then plays a descending phrase that has a middle eastern feel to it. I really like this bit a lot.
Again, some pretty flashy playing there at the end. As guitarists, both Lloyd and Verlaine were in a whole other league compared to most of the bands on the CBGB scene.
Let’s bring up the bass and the drums on this final verse.
Verlaine concludes this verse by returning to the opening lines, “what I want, I want now and it’s a whole lot more than anyhow”. And then he adds, “get it?” to drive the point home.,
Now as we reach the end of the song, they kind of merge the verse and the chorus together. Here’s what the guitars, bass and drums start playing. On top of that, you have one voice repeating “I see no evil”, while at the same time, another voice sings variations on “I’m running wild with the one I love. Pull down the future with the one you love”. It’s a somewhat chaotic but exuberant call to action. It’s a great way to end the song, and to open one of the most essential albums in rock history.
The bass is really grooving during this part. There’s also a guitar playing a nice little descending part in there, too.
Television – “See No Evil”.
Many critics raved after the release of the “Marquis Moon” album, the band toured both the US and the UK. They were more successful overseas, but in the US, outside of New York, they were relegated to playing clubs and college towns. Verlaine believed that the band were just too closely identified with that New York scene and that the punk label hurt them.
The band was broke. At one point, they had to sell all of their equipment just to survive, and Richard Lloyd was developing a serious heroin habit. The band recorded their second album, “Adventure”, released in April 1978. The album doesn’t really capture the magic of that first record. For one thing, Richard Lloyd had been hospitalized for weeks due to a heart condition caused by his drug abuse, and so his participation on that second album was limited.
At any rate, the second record fared no better than the first, and by July 1978, Television called it quits. Years later, a few reunions would follow, and they even recorded one final album in 1992.
As I mentioned at the top of the show, Tom Verlaine passed away one year ago, on January 28, 2023. He was 73 at the time of this recording. Billy Ficca, Fred Smith, and Richard Lloyd are still with us.
Thanks for listening to this episode of the “I’m In Love With That Song” podcast. I will be back in two weeks with another new episode. Until then, catch up on all of our previous shows on our website, lovethatsongpodcast.com. Or you can also find us on any podcast, app or service– Amazon, Google, Apple, Spotify, iHeartRadio, Yada yada yada, this podcast is available on all of them.
It always helps us out if you write a review and post it wherever it is that you listen to the show. And please, if you’d like to support this podcast, tell someone about it. Share it with your friends. That’s the best advertising we could ever possibly have.
On behalf of everyone here at the Pantheon podcast Network, I thank you for supporting all of our shows, and thanks for listening to this episode on “See No Evil” by Television.
ADDITIONAL INFORMATION: Television (band) https://en.wikipedia.org/wiki/Television_(band)
CBGB’s club https://www.cbgb.com/
Tom Verlaine https://en.wikipedia.org/wiki/Tom_Verlaine
Richard Lloyd https://en.wikipedia.org/wiki/Richard_Lloyd_(guitarist)
"Making Plans For Nigel" (Colin Moulding) Copyright 1979 EMI Virgin Records Ltd
Keyboardist Barry Andrews was out and new guitarist Dave Gregory came onboard for XTC’s 3rd album, Drums And Wires, as the band’s sound palette expanded. Written & sung by bassist Colin Moulding, “Making Plans For Nigel” became XTC’s first big hit. This episode, we explore the production, performance and the origin of this XTC classic.
“Making Plans For Nigel” (Colin Moulding) Copyright 1979 EMI Virgin Records Ltd
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TRANSCRIPT:
Welcome, friends. There’s no thugs in our house, so come on in and join us here at the “I’m In Love With That Song” podcast on the Pantheon Podcast Network. My name is Brad Page and each episode of this show, I pick a favorite song and we explore it together, discovering all the elements that go into making it a great song. We don’t get into music theory here, so don’t worry if you’re not a musician or technically inclined. All that’s required here is a desire to listen.
This time, we’re exploring a song from one of the most creative bands ever. This is “Making plans for Nigel” by XTC.
Guitarist Andy Partridge and bassist Colin Molding started working together in the early 70’s. Both were singers and songwriters. Along with drummer Terry Chambers, they played in various bands with various names. By 1976, keyboard player Barry Andrews joined the band, and they changed their name to XTC.
They released their first album, “White Music”, in January 1978. And then, less than a year later, they released their second album called “Go To” in October 78. Two months later, Barry Andrews quit. He would go on to work with Robert Fripp and form the band Shriekback. But XTC decided to go into a different direction. They recruited a guitarist, a guy named Dave Gregory, who they knew from back in their hometown of Swindon.
They set to work on their third album, “Drums and Wires”. “Drums and Wires” earned its name due to the increased focus on drums and guitar sounds. The album was produced by Steve Lillywhite and engineered by Hugh Padgam, who were both the architects behind the gated, reverb drum sound that would pretty much define the sound of the 1980s.
Andy Partridge was the primary songwriter in XTC. He wrote eight of the twelve songs on the album. The other four tracks were Colin Molding songs. “Making Plans For Nigel” was one of Colin’s.
By this time, Colin was getting a little tired of the more quirky, angular stuff the band had been doing. And with the addition of Dave Gregory on guitar, he was able to push the band in a more pop direction. Not necessarily more commercial, just more accessible.
The fact is the band had all kinds of influences and with Barry Andrews’ departure, they could explore and incorporate sounds and styles beyond just the punk and new wave approach.
When Colin first presented “Making Plans For Nigel” to the band, he was strumming it on a nylon string classical guitar, and that wasn’t going to cut it for XTC. Andy Partridge contributed a lot to the arrangement of the song, and he worked with drummer Terry Chambers on the drum part. Influenced by the sounds of Devo, Andy referred to it as an “upside down drum part”, where Terry was moving a conventional rhythm around to different drums on the drum set.
Colin is following the tom pattern on his bass. Dave Gregory is playing staccato spiky chords on his guitar, while Andy is playing a two-note riff over the top.
You can hear a slow flanging effect on the drums. Terry is playing an insistent pattern on the floor tom instead of the hi-hat or symbol, as a drummer would typically do. In fact, he’s playing the hi-hat along with the bass drum. And just before the rest of the band kicks in, one of the guitars sounds like it’s momentarily stepping on a wah-wah pedal.
Again, that’s Dave Gregory’s guitar playing chords panned somewhat to the left and Andy playing that two-note bit on the right. Here comes Colin’s vocal:
Andy has to inject some weirdness… he just can’t help himself. So he adds that odd little backing vocal part.
The lyrics tell the tale of a boy with overbearing parents who’ve already mapped out the path of his life. It’s a song about parental domination. Colin said he chose the name “Nigel” because he knew a few Nigels at school, and thought the name fit the song. But the lyrics are somewhat autobiographical. Colin’s dad did not approve of him being in a band and wanted Colin to cut his hair. Back in those days, you could get expelled from school for having long hair and sure enough, Colin was expelled for refusing to cut his hair.
The song isn’t really a depiction of Colin’s life, he just used that as a starting point. But Colin did say that there’s “a bit of Nigel in myself”. There’s probably a little Nigel in many of us.
And some more quirky backing vocals from Andy there. Doubled on guitar, I think.
Little bit of a guitar fill there from Andy.
There’s a voice whispering, we’re only making plans for Nigel behind the lead vocal. Check it out.
Colin imagined Nigel working in middle management, so he gave him a corporate job at British Steel, more or less at random. Turned out to be a good choice because a month after the album was released, 100,000 union steel workers went on strike.
The British Steel Company was upset enough by the song that they found four of their employees named Nigel and had them tell the press just how great it was to work for British steel. And, as usual, this kind of publicity only helped XTC to sell more records.
They used a keyboard to create that metallic, industrial crashing sound that, along with the unique drum pattern, give the song a mechanized production line feel that matches the corporate industry conformity of the lyrics.
Now we’ve reached the bridge; Andy adds his distinctive harmony vocals here.
Andy is going to add a background vocal here, singing the line “In his work” with kind of a howling delivery that makes you wonder just how happy Nigel really is with his work.
That last time, Andy sings “In his world”. And then they repeat the main verse.
Let’s focus in on the drum part, and listen again to the way Terry Chambers plays the floor tom like it was the hi hat and uses the hi hat for accents.
And there’s another short guitar break played by Andy.
They repeat the verse again, but with different harmonies that add a sense of urgency to it. this time.
Andy adds a new high pitched vocal to that part.
Lyrically, the song is never sung from Nigel’s perspective. The whole song is sung from the perspective of Nigel’s overbearing parents. Nigel never gets to share his thoughts or feelings in his own song.
Another reference to British Steel. Here, the song breaks as they repeat the word “Steel” with that heavy echo. I imagine this was influenced by the reggae dub sound.
The rhythm guitars get a little busier here at the end.
“Making Plans For Nigel” – XTC
When the record company heard “Making Plans For Nigel”, they wanted it to be the first single from the album, and it turned out to be their first big hit, at least in the UK.
XTC is often compared to the Beatles, and I think that’s an apt comparison, at least in the sense that there was a certain tension between the two primary songwriters; there was a constant evolution from album to album; that no two records are the same; and that they were always exploring new sounds and new approaches to making records. Their songs were always smart, always clever and they knew their way around to catchy melody.
The fact that XTC never got the attention they deserved, especially in America, is just one of those frustrating things about the music business. But it doesn’t change the fact that as far as I’m concerned, they made some of the greatest albums ever.
Thank you for listening to this edition of the “I’m In Love With That Song” podcast. If you’d like to leave feedback or a review of the show, podchaser.com is probably the best place to do it. You can keep up to date with the show on our Facebook page, and you can find all of our previous episodes on our website, lovethatsongpodcast.com or just search for us on Google Podcasts, Amazon, Spotify, Apple Podcasts, and pretty much anywhere podcasts can be found.
And if you like the show, the best thing you can do to support us is to tell some friends about it– share it with other people. That helps the show to grow.
We are part of the Pantheon network of podcasts, where you can find a ton of other music related shows, so give some of those shows a listen. New episodes of this show are released on the first and the 15th of every month, so I’ll see you back here in about two weeks.
Until then, thanks again for listening to this episode on “Making Plans For Nigel” by XTC.
"In Every Dream Home A Heartache" (Bryan Ferry) Copyright 1973 Careers-BMG Music Publishing (BMI)
Wealth and excess go together; emptiness and detachment are right around the corner. This song delves into all of that, along with a particular obsession. What do you do when money no longer buys you a thrill? Bryan Ferry has some thoughts…
NOTE: Though there’s no profanity used in this episode, the discussion does involve sexual activities so be warned… you might wanna listen to this one on headphones.
“In Every Dream Home A Heartache” (Bryan Ferry) Copyright 1973 Careers-BMG Music Publishing (BMI)
This podcast makes multiple references to Marie-Hélène de Rothschild’s “Surrealist Ball”. More details on the infamous event here, if you’re interested:
Guy de Rothschild and Marie-Hélène de Rothschild at the Surrealist Ball, Dec. 12, 1972 (Image courtesy of Legendary Parties by Prince Jean-Louis De Faucigny-Lucinge)
The song as used in the opening scene of “Mindhunter” Season 2, Episode 1 on Netflix:
The “I’m In Love With That Song” Podcast just one of many great music-related shows on the Pantheon network. Check them all out!
"Just What I Needed" (Ric Ocasek) Copyright 1978 Lido Music, Inc.
It Came From Boston: 5 experienced musicians come together to make something new: keyboard whiz Greg Hawkes; the bassist with the killer voice, Benjamin Orr; drummer David Robinson from the legendary Modern Lovers; one of the tastiest guitarists in the business, Elliot Easton; and singer/songwiriter/guitarist & mastermind Ric Ocasek. Merging classic guitar rock with the burgeoning synth-pop sounds to bring New Wave to the masses, The Cars defined that sound for the late-70’s/Early ’80’s. It all started on local Boston radio with this song.
“Just What I Needed” (Ric Ocasek) Copyright 1978 Lido Music, Inc.
"Stupefaction" (Graham Parker) Copyright 1980 Street Music
Graham Parker arose from the UK Pub Rock scene, a back-to-basics sound that was a precursor to Punk. Along with his band, The Rumour (which included guitarist Brinsley Schwarz, a legend in his own right), he recorded a handful of essential albums in the ’70’s and has released a string of great records throughout his long career. A notable songwriter with a distinct edge and a wonderfully biting voice, he’s influenced many artists that followed. Here’s one song that represents everything I love about Graham Parker.
“Stupefaction” (Graham Parker) Copyright 1980 Street Music
"That's Really Super, Supergirl" (Andy Partridge) Copyright 1986 Virgin Nymph Music, Inc (BMI) - Copyright 2010 Ape House Ltd
I will admit that I can be prone to hyperbole, but I’m convinced this is The Best Album Of The 1980’s and one of the greatest albums of all time. It is a perfect album. A magnificent song cycle that reveals something new each time you listen to it. A masterwork of songwriting and production. I could go on…
This song is a blast of pure pop; catchy, clever and concise– 3 minutes and 20 seconds of pop genius. It will make you smile.
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