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20
May 2014

Full Interview: Andrew Gray of The Wolfgang Press

TWP-queer-gray.jpegHere is the full interview I conducted with Andrew Gray of The Wolfgang Press, as well as In Camera, Limehouse Outlaw, and an as-yet unnamed current group. Portions of this conversation appeared in the Hall of Legends special featuring the band's music. This is the "full" recording, with everything in its proper context.

We discuss a number of things: early musical influences; the In Camera period, his joining, then leaving, then re-joining The Wolfgang Press; record covers and music videos; working with different producers; touring the United States in the 1990s; the current group he has going with his brother, Steve, as well as Gary Asquith of Rema-Rema, Mass, Renegade Soundwave, and the Lavender Pill Mob, and Michael Allen, his Wolfgang Press bandmate.

This interview was conducted on March 19, 2014, via Skype-to-phone. I was at my place and Andrew was at his. But that is only half the story. We had actually done a full interview, a week earlier--hence all the references to "last time" and "before"--but those files had been destroyed when Skype and its attendant recording software didn't shut down properly. That was a BAD day. Anyway, Andrew is a champion among humans and deserves some kind of medal for agreeing to talk to me again.

References: "Dave" has to be David Steiner [Scinto] of In Camera, and Ivo is of course Ivo Watts-Russell.

You'll have to watch this space, or this one, to find out when I've received some .mp3s of the new group. I will indeed feature them on the ongoing program.

Interview audio is below. Enjoy!

19
May 2014

Full Interview: Mark Cox of The Wolfgang Press

Wolfgang-Press-Queer-Cox.jpegHere is the full interview I conducted with Mark Cox of The Wolfgang Press. Portions of this conversation appeared in the Hall of Legends special featuring the band's music. Here's the "full" recording, with everything in its proper context.

By his own admission, Mark would be a shoe-in for Team GB if there were an Olympics of Talking. So this discussion is long and rich with detail; people and place names abound. There are many stories here, from the time "before 'punk'" up through the end of TWP, and a bit beyond.

This interview was conducted on March 7, 2014. I was in the studios of WRFI, and Mark called via landline from his flat in London. The conversation was recorded digitally, as WAV, on a flash drive, and for reasons of storage capacity is rendered here as a 128kbps .mp3. There was a point in the middle of the conversation--somewhere during the discussion of Queer and Drostan John Madden--where we had to disconnect & reconnect. I edited that as "subtly" as I could. Hopefully it doesn't bother you. If it does, write me for a full refund.

* References: I think everything is pretty well explained here; of course "Ivo," in case you miss the first mention, is Ivo-Watts Russell, co-founder and head honcho at 4AD for most of the first 19 years of that label.

"Richie," as in "Richie has a house in the Adriatic"--that is Richie Thomas of Dif Juz. And indeed he doesn't look old enough to have "met anyone in 1980." But doubtless he was.

CONFLICT OF INTEREST DISCLAIMER: even though we at WRFI are a rag-tag bunch of amateurs (in the best possible way, most of the time), we do have standards. One of these relates to "inappropriate benefits." We're not allowed to derive any sort of gain, or "special consideration," on account of our programs.

This includes things like 7-inch singles. Mark says at one point that "there's a way" the "new" Rema-Rema 7-inch, "International Scale / Short Stories," and its accompanying fanzine, "might come to" me--which is very nice of him to offer, but I would have been unable to accept. In actuality I bought a copy myself. TWICE. Scandal averted. Sorry, I realize this sort of thing is really only fit for in-house discussion, and sounds very paranoid, but you can't be too careful.

Anyway, enjoy the discussion.

16
May 2014

The Hall Of Legends - The Wolfgang Press: Transmission 125, 2014 May 14

TWP-legendary.jpegWe herewith induct The Wolfgang Press into the BOMBAST Hall of Legends, where they join The Dub Syndicate, A.R.Kane, Little Annie, Dif Juz, Prince Far I, Coil [part 1, part 2, part 3, and part 4], Billy Childish, Stereolab [charter members], and The Fall [charter members].

Some of you, no doubt, are visiting for the first time, having been lured here by The Wolfgang Press. A special welcome to you. Maybe this post is the only one you would care about here, but I invite you to do as much poking around as you like. The hyperlink above will take you to a loose description of the Hall of Legends, and this page describes the "idea" of the show, such as it is. The prose you find everywhere on the site is mostly for my own entertainment, since this is my outlet; if you enjoy it, that's a nice bonus. Audio's at the bottom of the post if this is all TMI.

TWP-sucker.jpegBombast listener "Paul" wrote to me sometime in late 2013 and more or less "nominated" The Wolfgang Press for the Hall of Legends. I found this daunting and hilarious all at once. In the grand scheme of things this entire program is a deadly serious joke. But a listener nomination is a momentous thing, and would have to be addressed, at least. Fortunately, and embarrassingly, I actually do keep a list of "Hall of Legends" candidates somewhere, and TWP were already on it. But this was certainly a catalyst.

One determining factor in these specials is that I have to feel like interviewing the band members will actually fill some information vacuum. Hopefully this will explain to anyone who cares (and I'm not sure anyone does) why the Hall of Legends includes this person but not that one, why certain artists have gotten "the nod" (whatever that's worth) and not others (yet, anyway). Some people have already bared all through interviews, blog entries, and social media. And then other people go and publish books. I can't exactly figure out, or at least it will take me longer to figure out, how to contribute any kind of value to the existing discourse in some cases.

TWP-my-life.jpegAnd yet--isn't this all terribly patronizing, or self-aggrandizing, or both? I'd find it awkward, presuming to do anyone a favor by featuring their music or "helping them tell their story" on this little radio show that airs in the middle of nowhere. This would be the "deadly serious" part. As I've said elsewhere, I was never really "punk" and have never fully internalized the world free of boundaries that said movement was meant to promote. Try as I might to dispel the notion, in my mind there are still "rock stars," it is still surreal that I occasionally talk to the people who have made some of my favorite records, and as I have no journalistic pretensions to objectivity or gatekeeping I just feel fortunate that they give me the time of day.

TWP-big-sex.jpegAnyway, for me it all began with Big Sex. [Isn't that true for all of us? --Ed.] That was the formative experience, mid-stream though it was. I was 18 years old. I was just starting a band, sort of. I was just beginning a stint at a college radio station. I was not knowledgeable enough to make associations, through discography or label affiliation or whatever. I just had a sense of what sounded good and what didn't. This did. God I miss that time.

Thankfully, though, I did read every word that anybody bothered to print on a record. So I made connections. And through that I found out about Rema-Rema, and Mass, and In Camera. There are no Holy Grails in music of this kind, but there are rich, Historical veins, and this was certainly one. And at the expense of telling you something the music already makes clear, it's an a-historical vein as well. This music is outside of time in the sense that it never sounds like its era, so it could just as easily be 1979, or 1989, or last week, or next.

TWP-sus.jpegEnough of that. I also remember Bird Wood Cage getting me through a difficult time, and Queer getting me through another difficult time. What is music good for if it doesn't do this? ASIDE: Why must there be so many difficult times?

Anyway, the actual interviews with Michael Allen, Mark Cox, and Andrew Gray yielded much more material than would fit in this broadcast. So those interviews will be posted in full early next week, either on Soundcloud, or Mixcloud, or here. I'll let you know. Those three deserve my thanks, and yours, for giving up time and being patient with me. (You have no idea.)

Also, there are a bunch of other people who helped make this possible, either in an immediate sense or a long time ago. They include an aforementioned ex, "Friends of Bombast" Mr. D and Jeremy, Steve Webbon at 4AD, Hall inductee Richie Thomas of Dif Juz, Kel and Craig of The Wolfgang Press Facebook group, and finally Lady Catharsis for giving me time and space to do these interviews at odd hours.

BOMBAST playlist, 2014 May 14, 2100-2300:

  1. "Cut the Tree" | The Wolfgang Press | Lonely Is An Eyesore | 4AD
  2. "Rema-Rema" |     Rema-Rema | Wheel In The Roses | 4AD
  3. "Fond Affections" | Rema-Rema | Wheel In The Roses | 4AD
  4. "Co-ordinates" | In Camera | Fin | 4AD
  5. "You and I" | Mass | You and I / Cabbage | 4AD
  6. "Prostitute" | The Wolfgang Press | The Burden of Mules | 4AD
  7. "Deserve" | The Wolfgang Press | The Legendary Wolfgang Press and Other Tall Stories | 4AD
  8. "My Way" | The Wolfgang Press | Water | 4AD
  9. "Heart of Stone" | The Wolfgang Press | Sweatbox | 4AD
  10. "My Life" | The Wolfgang Press | Standing Up Straight | 4AD
  11. "The Wedding" | The Wolfgang Press | Big Sex | 4AD
  12. "Bottom Drawer (live at Cabaret Metro, Chicago, 1989)" | The Wolfgang Press | not on album | unreleased
  13. "Shut That Door" | The Wolfgang Press | Bird Wood Cage | 4AD
  14. "Birmingham" | The Wolfgang Press | Queer | 4AD | "Listening Parlour"
  15. "Sucker" | The Wolfgang Press | Queer - bonus 12" | 4AD
  16. "Executioner (Adamson Mix)" | The Wolfgang Press | Everything Is Beautiful (A Retrospective 1983-1995) | 4AD
  17. "People Say (live)" | The Wolfgang Press | Everything Is Beautiful (A Retrospective 1983-1995) | 4AD

next time: an inevitable letdown. Enjoy the music! --kid catharsis

8
Nov 2013

Laika and the Luddite Machine: Transmission 70, 2013 November 6

This was a special evening five months in the making, and one of the "special things" I said I was working on during the summer. I explain everything during the broadcast, but I badly wanted Laika & The Luddite Machine to come play on my show, live. And I rarely get to say this about a program, but I think it could hardly have gone better than it did. There's no better "Physical Evidence" than a live band, and what a performance this was.

We are once again in the midst of fundraising at WRFI, so feel free to give us your money anytime. I say this not only as a plea but also an explanation for why there is so much talk during this program. I was such a Chatty Cathy during this broadcast, I can hardly believe it, listening back. Anyway, I am joined by Dan Aloi, host of the "Press Record and Play" program, and we discuss such things as downtown parking, road managers, "top five" lists, good and bad requests, bumper stickers, Jeff Beck, and restraining orders.

Somewhere in here there are four pieces of music by the band, which speak for themselves, at least until the band enters the control room to do some actual talking.

A magical night, this was, and we hope to have more like it soon--maybe with less "me" and more songs. It will be a relief to pipe down next Wednesday.

BOMBAST playlist, 2013 November 6, 2100-2300:

  1. "New Dimensions in Sound" | Public Service Broadcasting | Inform - Educate - Entertain | Test Card
  2. "Positive Noise" | System 7 & A Guy Called Gerald | Up | A-Wave
  3. "Untitled 1" | Laika & The Luddite Machine | live in studio
  4. "Untitled 2" | Laika & The Luddite Machine | live in studio
  5. "Untitled 3" | Laika & The Luddite Machine | live in studio
  6. "Untitled 4" | Laika & The Luddite Machine | live in studio
  7. "Station" | Here Are the Facts You Requested | All My Favourite Things At Once | Testing Ground
  8. "I Want To Be the Last Song / You Hear Before You Die" | The Feeling of Love | Reward Your Grace | Born Bad

Next time: walking a million miles for one of your frozen smiles. ENJOY THE MUSIC. You have no choice! --kid catharsis

7
Sep 2013

Rudy Tambala Interview, Part Two

AR-Kane-009.jpgHere is the second part of an interview I conducted with Rudy Tambala of A.R.Kane. Portions of this conversation appeared in the Hall of Legends special featuring A.R.Kane's music. This is the "full" recording, with everything in its proper context. Part One is available here.

This chat happened via Skype on August 26, 2013, about two weeks after we'd talked the first time. I had some "big picture" questions in mind, some of them perhaps misguided, but that's the sort of thing that happens when you've only read about a thing rather than having experienced it firsthand. As I've written elsewhere, the Bombast program is somehow about making things difficult for myself, and one aspect of that is "looking for sense where possibly there is none."

Still, I think the answers we get in this portion of the interview are worth it. "Long live difficult."

Thanks again to Rudy Tambala for being so generous with his time.

7
Sep 2013

Rudy Tambala Interview, Part One

rudytambalaillustration.jpegHere is the first part of an interview I conducted with Rudy Tambala of A.R.Kane. Portions of this conversation appeared in the Hall of Legends special featuring A.R.Kane's music. Here's the "full" recording, with everything in its proper context.

This is the basic "music interview" material--how the band formed, label intrigue, recording processes, and so forth. However, it does reveal the importance of Janet Jackson and Jellybean Benitez as "influences" (don't take my word for it, just listen) and Rudy shares with us a humorous incident brought on by the band's move to 4AD.

Just so you know, listeners--I passed up a trip to look at eagles, for goodness' sake, and eat delicious local ice cream, so this conversation could happen. Do you see what sacrifices I make in order to bring you this stuff? Rudy, for his part, was late for dinner, which is why we had to cut this off and agree to speak another time--he too deserves your special thanks, for this and of course for the music. Part Two coming soon is available here.

Yes I know I can look at eagles whenever, but still.

5
Sep 2013

Little Annie: Full Interview

littleanniepiano.jpgThis is the recording of an interview I conducted with Little Annie on August 20, 2013. I was in the control room of WRFI and she was...somewhere else. I wish the phone connection had been better, but it was good enough.

Portions of this interview aired on the Hall of Legends special featuring Little Annie's music. Actually, that's a bit understated--most of it appears there. But here's the whole thing, in order, with everything in its proper context.

It was quite an honor to speak to Little Annie, whose music I have followed for a long time. I hope the conversation is as fun for you as it was for me.

29
Aug 2013

The Hall of Legends - A.R.Kane: Transmission 57, 2013 August 28

lolita-2-sided1.jpgTonight we converse with another Legend, this time Rudy Tambala of A.R.Kane. That band enters the Hall of Legends, where they join The Fall, Stereolab, Billy Childish, Coil, Prince Far I, Dif Juz, and Little Annie. Considering that we've played over 800 different artists in the nine months the program has aired, the Hall of Legends is an exclusive club. Nevertheless, the Induction Committee will adjourn while a new wing is built.

Every visitor to the site is a precious snowflake to me (yes, even the spambots!). Some of you, no doubt, are visiting for the first time, having been lured here by A.R.Kane. A special welcome to you. Enjoy what the site has to offer, even if from your perspective it's only this post. BOMBAST is a relatively new thing, but we have many episodes available here. The hyperlink above will take you to a loose description of the Hall of Legends, and this page describes the "idea" of the show, such as it is. The prose you find everywhere on the site is mostly for my own entertainment, since this is my outlet, but if it floats your boat as well, that's fine. Audio's at the bottom of the post if this is all TMI.

We have written too much about A.R.Kane, as some of you have heard, either from them or from me. (No, I'm not linking to it! Show some initiative.) Whether you're familiar with A.R.Kane's musical output or not, the contents of this program will teach you more about it than I could. I can only speak authoritatively about my own experiences:

  • My first sighting of the Lollita record, and this progression of thought--first, "nice cover star"; then, "impressive knife"; finally (after reading the sticker comment promising "Big Black meets The Durutti Column"), "if this is anywhere in that ballpark I'll love it"
  • The entire autumn of 1987, when I couldn't get the sound of "Haunting" out of my head
  • Plugging my weak drum machine into my pathetic guitar amp because it was the closest I could get to that sound
  • Experiencing chills in the middle of "Baby Milk Snatcher" when the guitars drop out

There are certainly more, but as I've mentioned elsewhere the golden years of A.R.Kane coincided with what is more or less a "missing period" for me, which is probably just as well. Less rhapsody to clutter anyone else's impression of the music or the time.

At any rate, there are many descriptors, associations, and likenesses that people toss around when discussing A.R.Kane. If you haven't encountered these classifications and similes, so much the better. To me, there are reasons A.R.Kane belong in the Hall of Legends more than certain "fellow travelers" whose vectors might overlap (although we should never say never). If these reasons aren't apparent to you after listening to this program, I certainly can't help you with words. But I do hope this amounts to a good use of your time. And if it clears the room, that could also be considered success.

BOMBAST playlist, 2013 August 28, 2100-2300:

format = "Song Title" [Artist, Album, Label]

  1. "Sado-Masochism Is a Must" [A.R.Kane, Lollita, 4AD]
  2. "When You're Sad" [A.R.Kane, When You're Sad, One Little Indian]
  3. "Baby Milk Snatcher" [A.R.Kane, Up Home!, Rough Trade]
  4. "Sperm Travels Like Juggernaut" [A.R.Kane, Love-Sick, Rough Trade]
  5. "Anitina (The First Time I See She Dance)" [M|A|R|R|S, Pump Up the Volume, 4AD]
  6. "Haunting" [A.R.Kane, When You're Sad, One Little Indian]
  7. "Spermwhale Trip Over" [A.R.Kane, Sixty-Nine, Rough Trade]
  8. "The Sun Falls Into the Sea" [A.R.Kane, Sixty-Nine, Rough Trade]
  9. "The Madonna Is With Child" [A.R.Kane, Sixty-Nine, Rough Trade]
  10. "Spanish Quay (3)" [A.R.Kane, Sixty-Nine, Rough Trade]
  11. "Listen Up! (Pulsar Mix)" [A.R.K, Listen Up!, Rough Trade] | "Physical Evidence"
  12. "Pop" [A.R.Kane, "i", Rough Trade]
  13. "Back Home / Down" [A.R.Kane, "i", Rough Trade]
  14. "Green Hazed Daze" [A.R.Kane, Love-Sick, Rough Trade]
  15. "Supervixens" [A.R.Kane, "i", Rough Trade]
  16. "Lollita" [A.R.Kane, Lollita, 4AD]
  17. "Up [demo]" [A.R.Kane, Soundcloud self-release]

next time: who can possibly know? Probably the usual. Enjoy the music!

23
Aug 2013

The Hall of Legends - Little Annie: Transmission 55, 2013 August 21

ycstbdm-front1.jpgWe herewith induct Little Annie into the Bombast Hall of Legends! She graces the show with an interview to accompany a full-length special on her music. She's been at this for 30 years, many of which are chronicled in her book, You Can't Sing the Blues While Drinking Milk--it is true, by the way, that the Rock and Roll Hall of Fame library has a copy; it's the only library in WorldCat that does. I've never spoken to anyone who had one foot in the Hall of Fame and another in the Hall of Legends, and this was a special pleasure.

I'm grateful for all site visitors, but I want to give a special welcome to first-timers, you know, those who wouldn't have found us but for Little Annie. Feel free to poke around, there's plenty of stuff that might interest you. There's some information on the Hall of Legends here, and a surprisingly current rundown of the Bombast "concept" here. My posts are mostly for me, since I don't have another blog--this will hopefully serve as a memoir, or maybe even the replacement "me" post-Singularity, but some of them might make interesting reading for someone. If that's not you, it's cool, feel free to scroll down to the bottom of this post where the audio is.

Still reading? Okay! Especially on Induction Nights, I like to let the music speak for itself, since rambling gets me into trouble. But I do have a personal story to share. It's "how I discovered Little Annie's music," so it's a story about the old days.

asilieinyourarms.jpgAt KDVS all the new records we added to the collection bore a blank sticker on the front cover, so that deejays could comment on the music. Supposedly, the intent was that people would use this space to describe or classify a record's contents--just to be helpful, so that hardcore punk deejays, let's say, didn't waste a lot of time pulling and previewing records that turned out to be ambient new age, let's say. [Or vice versa!] Looking back, this wasn't such a great idea. People should have been exposed to more surprises. I know I should have been.

Anyway, every now and then the "sticker discourse" would move past the usual small talk ["metal crossover," "better than ever," "remember when this band was good?"] and take on a life of its own. Here's one of those times. In 1987, we received a white-label test pressing of this record from One Little Indian [what a VIP status we had, for a 5000-watt station 6,000 miles away!]--we weren't sure of the song titles, so we could barely label the disc, but I guess someone in the "music director" circle must have known of "Annie Anxiety" from her Crass period, so there was that.

littleannieshortsweet.jpgAll I remember is that song A2 ["Down by the Station," as it turns out] ignited one of the most intense "sticker debates" I witnessed in my time at KDVS. More and more stickers had to be added as the flame war continued, and if I remember correctly it carried over to the back of the generic sleeve. What was all the fuss about? The instrumental backing, "naturally." I've written previously about the arguments we used to have, which must seem silly now to everyone except those who still think that music dies a little bit whenever someone powers up a drum machine. But at our "college rock" station [at the time it could still be called that, without irony], in our sleepy little town, there were plenty of people who thought that way, and they were pissed that someone had the temerity to make a record that didn't sound to them like music. It's odd, in retrospect, that of all records it should have been this one that triggered such an outburst. Maybe Neubauten and Test Dept. skated by because they weren't "dance" music or something; it's certainly plausible.

littleanniecoalminecanary.jpegLost on these people was the fact that the record actually did feature live musicians with some pretty solid pedigrees [but then, without a proper sleeve, how could anyone know?]--it wouldn't surprise me if people who actually liked London Underground and African Head Charge records found themselves "asking rhetorically" if any talent or imagination had been necessary to make this thing. Also lost on the complainers was the argument that ripped jeans, a Marshall stack, and a "bad attitude" add up to a cliché of their own. There really wasn't much for us to do back then, so when we weren't partying with each other we diverted ourselves by screaming ideology at each other. God I miss that time.

I was only 19, and it was my first year at the station, so I observed this raging colloquium without participating, but I did know two things. I liked the vocal, and I had always felt [as did the singer, though I wouldn't discover this for a long time] that machines were soothing and musical. I didn't know at the time who this "Annie" person was, but I was on her side then and have been ever since. It is a good place to be.

BOMBAST playlist, 2013 August 21, 2100-2300:

format = "Song Title" [Artist, Album, Label]

  1. "Sit on Down" [Little Annie, Songs from the Coal Mine Canary, Durtro / Jnana]
  2. "Everything and More" [Little Annie, Volume 4, Volume]
  3. "As I Lie in Your Arms" [Annie Anxiety Bandez, As I Lie in Your Arms, One Little Indian] / "Physical Evidence"
  4. "Le Mangers Heureux" [Little Annie, In Dread with Little Annie, On-U Sound]
  5. "Gown of Tears" [Little Annie & Baby Dee, State of Grace, Tin Angel]
  6. "Third Gear Kills" [Annie Anxiety, Soul Possession, Southern]
  7. "Down by the Station" [Annie Anxiety Bandez, As I Lie in Your Arms, One Little Indian] / "Physical Evidence"
  8. "Smile" [Little Annie & Paul Wallfisch, Peace (for Mom), Brainwashed]
  9. "Thirteen Things I Did Today" [Little Annie, Interiors, Invisible]
  10. "Chicken Delight" [Little Annie & The Legally Jammin', Little Annie & The Legally Jammin', Italic]
  11. "I Think of You" [Little Annie, Short and Sweet, On-U Sound]
  12. "Rise" [Annie Anxiety Bandez, As I Lie in Your Arms, One Little Indian] / "Physical Evidence"
  13. "The Birdie Song" / "Dreams and Light" [The Wolfgang Press, Queer, 4AD]
  14. "Private Dancer" [Little Annie & Paul Wallfisch, When Good Things Happen to Bad Pianos, Durtro / Jnana]
  15. "Hello Horror" [Annie Anxiety, Barbed Wire Halo, Crass]
  16. "Lullaby" [Little Annie, Brain in the Wire, Brainwashed]
  17. "Hier Encore" [Annie Anxiety Bandez, Jackamo, Southern]
  18. "Bless Those (Little Annie's Prayer)" [Little Annie, Short and Sweet, On-U Sound]

next time: dare we hope for another induction?

5
Jul 2013

Richie Thomas of Dif Juz: Full Interview

Here is the full conversation I had with Richie Thomas of Dif Juz on June 26, 2013. This was a very spur-of-the-moment interview about 5 hours before the show was to air, and I recorded it directly from Skype using the "recommended" Amolto software download. Portions of the conversation were aired in the Dif Juz special later that night.

While the recording software worked "fine" in testing, the actual sound levels during the conversation were crazily different, so I have basically compressed the hell out of this and made it "dynamic-free." We do lose the nuances of vocal intensity, but this has turned into an interview you can enjoy while mowing the lawn, making a smoothie, or launching a missile.

I was strangely less anxious during this conversation than the one I had with Gary Bromley a couple of weeks prior--I think it was because that other conversation was planned and I had a lot of time to get nervous about it. This interview was something I didn't think was going to happen at all, until Richie got in touch with me a couple of hours beforehand. I had to scramble to figure out Skype, which I'd used maybe 4 or 5 times in my life, and the recording software.

Anyway, I have annotated this conversation as I did the other one. Hope you find this amusing, or at least helpful.

0:02:56 - I "knew" about this from Wikipedia but hadn't planned to ask about it; just another piece of trivia, or so I thought.

0:03:05 - Remember that this is a Skype conversation and a lot of reactions, chuckles, etc. are based on facial expressions. Wish you could have seen this one!

0:10:40 - !!!

0:17:00 - Here I go, banging on abt. the "4AD sound" again.

0:18:30 - He brought it up, not me! [But I have kind of come to feel this way about Extractions, love those songs though I do.]

0:20:30 - would have played "MI" if I'd had time; if you've never heard it, it's here.

0:21:30 - I did play it; it's at about the 1:46:00 mark in the program.

0:27:00 - I learn something about Skype--I feel about 80 years old at this moment.

0:31:20 - The Murphy Federation record can be yours, if you have 5000 Euros. [to be fair, the seller does have a 100% rating, so "buy with confidence!"]

0:35:00 - "Crosswinds", from Extractions--another song I really should have played on the program, esp. as it's one of the less "treacly" numbers on that record.

0:35:25 - Haven't had time to listen to the entire YouTube playlist, but could this be the film score?

0:39:20 - Dif Juz & Mad Professor - another lost recording to track down!

0:53:00 - Since there's really no existing press on Dif Juz, the Television references aren't there, although they make sense. There is sort of a "twin lead" guitar thing going in a lot of Dif Juz tracks.

0:58:55 - this track appears at the 1:55:00 mark of the program.

0:59:00 - I'm so star-struck, and so panicked about how I'm going to edit this down for the program, that I've forgotten how Skype works and that Richie just did this same thing half an hour ago.

Many thanks, again, to Richie and Gary for their time and their stories.

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