Muziek – Denemarken – Nieuwe podcasts
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Et musikalsk verdensmålsværk i 5 dele.
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Findes der noget bedre end klavermusik? I seks udsendelser præsenterer Mathias Hammer og Jens Cornelius musikken af seks store klaverkomponister, der er umulige at komme uden om. En komponist pr. udsendelse - fra Beethoven til Rakhmaninov.
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Welcome to the Mark Innacito Podcast. My first attempt. A narrative of my life.
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Coming to you from the beautiful City of Roses in Thomasville, Georgia. We are two guys, Wendell Carr and Andy Daughtry, who love Southern Gospel Music and each week will have a nostalgic celebration of the individuals and groups whose musical legacy have left a lasting mark on Southern Gospel Music.
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This is a riveting podcast series that delves deep into the iconic world of hip hop and rap, uncovering the untold stories behind the genre's biggest names. Each episode offers an intimate exploration of the lives, struggles, and triumphs of legendary artists who have shaped the landscape of hip hop. From the meteoric rise of trailblazers like Jay-Z and Tupac Shakur to the evolution of groundbreaking figures like Missy Elliott and Kendrick Lamar. Get ready for an immersive audio experience that celebrates the cultural impact and enduring influence of the genre's most influential pioneers
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Louvor pra edificação
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Sure, here's a 2000-word celebration of The Rolling Stones' "Some Girls" album in the style of Kurt Loder:
Alright, let's talk about "Some Girls," the album that proved The Rolling Stones weren't just your dad's rock band anymore. It's 1978, disco's doing its thing, punk's screaming in the corners, and here come Mick and the boys with a record that says, "Hey, we can do that too, and we'll do it better."
Now, I've seen my fair share of Stones gigs, watched Mick strut his stuff from New York to L.A., but "Some Girls" hit different. This wasn't just another Stones record; this was a fucking statement. It was like they looked at the musical landscape, sneered that patented Jagger sneer, and said, "Watch this."
Let's break it down, track by track, because each one's got a story, each one's got that Stones magic that makes you wonder how these English boys got so damn good at American music.
We kick off with "Miss You," and holy shit, is this disco? From the Stones? You bet your platforms it is. But this ain't no "Saturday Night Fever" knock-off. This is disco with balls, disco that struts down a dark alley at 3 AM looking for trouble. Mick's harmonica wails like a lonely cat on a hot tin roof, and that bassline? It doesn't just groove; it prowls.
Then we slam into "When the Whip Comes Down," and it's like the Stones are saying, "You want punk? We'll give you punk." This track's got more attitude than a CBGB's bathroom stall. It's New York grit under Mick's nails as he spits out lyrics about the Big Apple's underbelly. Keith and Ronnie's guitars don't just play; they snarl and bite.
Now, you might think covering The Temptations is a risky move for a bunch of white boys from across the pond, but "Just My Imagination" proves the Stones can do soul with the best of them. They take that Motown classic and run it through their rock 'n' roll filter, coming out the other side with something that's both reverent and rebellious.
The title track, "Some Girls," is where things get interesting, and by interesting, I mean controversial as hell. Mick's lyrics are like a hand grenade rolled into a politically correct dinner party. It's provocative, it's outrageous, and it's quintessentially Stones. They're pushing buttons and loving every minute of it.
"Lies" comes at you fast and furious, a punk-inspired rocker that doesn't let up for a second. It's like being strapped to the front of a runaway train, with Mick as the maniacal conductor. This is the Stones showing the young punks that the old guard can still throw down with the best of them.
Then we get "Far Away Eyes," and it's like the band decided to take a drunken detour through Nashville. Mick's faux-Southern drawl is so over the top it loops back around to brilliant. It's the Stones taking the piss out of country music while simultaneously showing they can play it better than most.
"Respectable" is anything but. This is the Stones at their most defiant, thumbing their noses at anyone who thought they'd gone soft. It's a middle finger set to a Chuck Berry riff, with Mick sneering about high society and low morals. It's the sound of a band that knows its reputation and is having a blast playing with it.
Keith takes the mic for "Before They Make Me Run," and it's like listening to a jailbreak in progress. This is Keith's outlaw anthem, a big "fuck you" to the forces that tried to bring him down. When he sings "Gonna find my way to heaven, 'cause I did my time in hell," you believe every gravelly word.
"Beast of Burden" is the Stones showing their softer side, but don't mistake soft for weak. This is a love song with teeth, a ballad that can still throw a punch if it needs to. Mick and Keith's vocals weave around each other like smoke, while the guitars create a tapestry of sound that's both intricate and effortless.
The album closes with "Shattered," a frenzied ode to New York City that captures the chaos, the energy, and the madness of the Big Apple in the late '70s. Mick's rapid-fire delivery is like a beat poet on amphetamines, painting a picture of a city that's falling apart and pulling itself together at the same time.
But "Some Girls" isn't just about the individual tracks; it's about the whole goddamn package. This is the sound of a band that's been counted out coming back swinging. It's the Stones looking at punk, looking at disco, and saying, "Anything you can do, we can do better."
Let's talk about the context for a minute. By '78, a lot of people were ready to write off the Stones. They were thinking, "Sure, they were great in the '60s, but can they still bring it?" "Some Girls" was the answer, and that answer was a resounding "Fuck yes."
This album didn't just put them back on top; it redefined what it meant to be on top. They weren't competing with the new kids on the block; they were showing those kids how it's done. They took the energy of punk, the groove of disco, threw in some country twang for good measure, and wrapped it all up in that unmistakable Stones swagger.
And let's not forget, this was all happening while Keith was facing serious drug charges in Canada. Most bands would've crumbled under that kind of pressure. The Stones? They turned it into fuel for one of the best albums of their career.
The production on this record is something else, too. It's polished enough to compete with the slick disco hits of the day, but it's got enough grit and grime to remind you that this is a rock 'n' roll record, goddammit. You can almost feel the sweat and cigarette smoke coming off the vinyl.
Now, 46 years later, "Some Girls" still stands as a testament to the Stones' enduring relevance. It's a blueprint for how to age gracefully in rock 'n' roll without losing your edge. It's proof that you can change with the times without changing who you are.
The influence of this album can't be overstated. You can hear echoes of "Some Girls" in everything from the dance-rock of the 2000s to the garage revival of the 2010s. It's like the Stones threw a rock into the pond of popular music, and we're still feeling the ripples.
But beyond its influence, "Some Girls" is just a damn good time. It's the kind of album that makes you want to strut down the street like Mick Jagger, even if you've got the moves of Keith Richards after a long night. It's music that makes you feel alive, makes you feel dangerous, makes you feel like anything's possible.
And isn't that what rock 'n' roll is all about? It's not about being safe or comfortable. It's about taking risks, pushing boundaries, and maybe pissing a few people off along the way. "Some Girls" does all of that and more.
It's an album that captures a moment in time – the gritty glamour of late '70s New York, the collision of punk and disco, the last gasp of rock 'n' roll's golden age – but it also transcends that moment. It's both a time capsule and a timeless classic.
Each listen reveals new layers, new details you might have missed before. Maybe it's the way Charlie's drums punch through on "When the Whip Comes Down," or the subtle interplay between Keith and Ronnie's guitars on "Beast of Burden." It's an album that rewards repeated listens, that grows with you over time.
And let's talk about those lyrics for a minute. Mick's always been a master wordsmith, but on "Some Girls," he's operating on another level. He's spinning tales of urban decay and decadence, of love and lust in the big city. It's like a pulp novel set to music, full of colorful characters and seedy situations.
But it's not all grit and grime. There's humor here too, a wicked wit that cuts through the swagger. Listen to "Far Away Eyes" and try not to crack a smile at Mick's overblown Southern preacher routine. It's the Stones reminding us that rock 'n' roll should be fun, dammit.
And then there's the controversy. The title track ruffled more than a few feathers with its provocative lyrics. But isn't that what the Stones have always done? They've never been afraid to push buttons, to say the unsayable. "Some Girls" is them doubling down on that reputation, daring anyone to call them out.
But here's the thing – beneath the swagger, beneath the controversy, beneath the genre-hopping experimentation, "Some Girls" is just a killer rock 'n' roll record. It's the sound of a band firing on all cylinders, making music not because they have to, but because they can't imagine doing anything else.
It's the sound of the Stones proving that they're not just survivors, but innovators. They're not content to rest on their laurels or rehash past glories. They're pushing forward, evolving, adapting, but always remaining unmistakably themselves.
And that, perhaps, is the true legacy of "Some Girls." It's not just a great album (although it is that). It's a blueprint for longevity in rock 'n' roll. It's proof that getting older doesn't have to mean getting softer or safer. It's a middle finger to anyone who thinks rock 'n' roll has an expiration date.
Listening to "Some Girls" in 2024, it's remarkable how fresh it still sounds. Sure, some of the references might be dated, but the energy, the attitude, the sheer joy of making music – that's timeless. It's an album that could only have been made by the Stones, but it's also an album that redefined what the Stones could be.
So here's to "Some Girls," to Mick and Keith and Charlie and Ronnie and Bill. Here's to an album that proved the Stones weren't just still in the game, but that they were changing the rules. Here's to disco and punk and country and rock 'n' roll all smashed together into one glorious mess. Here's to taking risks, to pushing boundaries, to never playing it safe.
Because in the end, that's what "Some Girls" is all about. It's about a band looking at a changing world and saying, "We're not done yet. Not by a long shot." And -
the podcast that covers everything from music , sports, religion, politics to happy slapping . Support this podcast: https://podcasters.spotify.com/pod/show/the-shed-podcast/support
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The Drumming News Network is a daily news site focusing on the interests of drummers with new product release information, artist updates, and much more. In essence, all things drums, keeping even the busiest of people up to date.
You’ll the following and more daily news: latest drumming news, daily drum news, drummer news, percussion news, drum product news, drumming special interest, drum company news, drum events, drum clinics, drum manufacturers, drum endorsement, drum magazine, drum gear, drum podcast, drummer interview .
Each podcast episode will include a review of the week’s news stories, interviews, special guest, as well as guest drummers.
Please visit www.DrummingNewsNetwork.com daily to keep up on all the latest drumming news. -
Værten Rune Ingemann har ambition om at at lave et musikalsk portræt af bandet HUGORM, men må igennem mangt og meget bare for at få bandet samlet til et interview.
Hør, om portrættet bliver en realitet i denne podcast om bandet og deres album ‘Drømmehug’.
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Hvor skal du høre den nye spændende livemusik?
‘På Plakaten’ vil hver uge give nedslag og anbefalinger af koncerter på landets mange koncertsteder.
Der vil også væreportrætter af koncertsteder, musikernes egne anbefalinger, anekdoter, nyheder og kommentarer fra podcastens lyttere.
Inspirationen til På Plakaten stammer fra en debat der begyndte i 2023, hvor enkelte koncertsteder fortalte om hvor svært de kunne have det, med at lokke publikum ud af deres stuer, for at høre live musik på deres lokale koncertsted. Podcasten er dog ikke tænkt som et PR-fremstød for enkelte koncertsteder, men som 30 ugentlige minutter, der skal pirre musiknysgerrige danskere, til at undersøge hvad der er af tilbud i deres lokalområde. Enten lige nu eller et sted i fremtiden.
Værterne er Carsten Holm, Sidsel Thomassen og Johanne Nedergaard.
Podcasten er produceret med hjælp fra Dansk Live og økonomisk støtte fra KODA og Musikforlæggerne i Danmark. -
Musicians and childhood friends Gino Cappuccetti and Mark Getman chatting about their experiences with music both as a listener, and as a performer. Casual and often hilarious observations (occasionally with special guests) about various genres of music and the social settings they exist in.
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In diesem Format sprechen wir (Till & Mats) über Musik, die uns bewegt, begeistert und die über kurz oder lang in unsere DNA übergegangen ist. Von Billie Eilish über Slipknot bis hin zu Blumentopf und Coldplay, alle 14 Tage gibt es gibt einiges für uns zu besprechen!Wir bedanken uns bei unserem Partner Shure, die diesen Podcast sponsern und uns außerdem mit den SM7B-Mikrofonen ausgestattet haben! Link zu Shure: https://www.shure.com/de-DE/produkte/mikrofone/sm7b?variant=SM7BWas für Themen/Bands/Alben würdet ihr euch wünschen? Schreibt uns gerne an [email protected]!
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ReVoicing the Future, a Women of NAMM podcast features female leaders from across the music products industry sharing their professional journeys and lessons learned to empower the professional development of emerging talent in the industry. This podcast has been co-produced and edited by Natalie Morrison, Stephanie Lamond & Julia Olsen.Music by: Lucky LamondSponsored by: AKG
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Tønder Festival celebrates its 50th anniversary with a gift to all who take an interest in folk and roots music, and in music history generally.
The podcast Weekend with Pete is a sound portrait of the American folksinger and environmental and human rights activist Pete Seeger.
The hitherto unpublished recordings will be available in five parts.
In 1999, the Swiss radio journalist Jean-Claude Kuner was in Beacon in USA to interview Pete Seeger. It took a whole weekend. At almost 80 years of age, Pete Seeger sang, played guitar, banjo and flute and talked for hours. It was all taped, including Jean-Claude's visit with Pete to an environment project and one of Pete Seeger's then rare concerts.
Pete Seeger sings his own versions of Turn,Turn,Turn, We Shall Overcome and many more.
These tapes were shelved for 25 years until Tønder Festival presenter, radio journalist Claus Vittus met Jean-Claude. Claus Vittus, who has previously made podcasts for Tønder Festival, was on the look-out for a suitable gift to all those involved in Tønder Festival's 50th anniversary.
The two prize-winning radio journalists decided, in the light of Pete Seeger's actual appearance at Tønder Festival in 1990, that the Seeger recordings should be podcast in five instalments. The Weekend with Pete podcast is in English and will be freely available to all on the usual podcast platforms. -
Forfatteren Fine Gråbøl er vildt draget af kor. Kor er lyden af fællesskaber, de mangfoldige og de disciplinerede, de besværlige og de ensrettede, de guddommelige og de kropslige. Kormusik er så enkelt og intimt, og samtidig så overjordisk i sin lyd. Der skal ikke mere til end stemmer. I podcastserien KORET inviterer forfatter Fine Gråbøl en række kunstnere, sangere, musikere og komponister ind til en samtale om korets betydning, og hvilke typer af lydlige fællesskaber kor skaber eller besværliggør.
KORET er skabt og tilrettelagt af Fine Gråbøl, Timmy Olivia Thyge Johansen og Louise Tandrup Esbensen for The Lake Radio. -
Donald Glover: A Multifaceted Artist's Journey to Global Stardom
Donald Glover is a figure of monumental talent and versatility in the modern entertainment landscape. Known both for his musical persona, Childish Gambino, and his impressive career in acting, writing, and directing, Glover has continually pushed the boundaries of artistic expression. With the recent announcement of a world tour and an upcoming new album, Glover is once again set to captivate audiences worldwide. This biography explores his journey from a comedic writer to a multi-dimensional artist who challenges and reshapes cultural narratives.
Early Life and Education
Born on September 25, 1983, in Edwards Air Force Base, California, and raised in Stone Mountain, Georgia, Donald McKinley Glover Jr. grew up in a Jehovah’s Witness household, which he has described as a stringent environment. Despite the restrictive nature of his upbringing, Glover found solace and expression in writing and entertainment from an early age. He attended the DeKalb School of the Arts and later graduated from New York University's Tisch School of the Arts with a degree in Dramatic Writing in 2006.
Career Beginnings in Comedy and Writing
Glover's career began with a mix of youthful ambition and serendipity when a spec script he wrote for "The Simpsons" in college came to the attention of David Miner, a producer for "30 Rock." Impressed by his talent, Miner and Tina Fey hired Glover as a writer for the NBC show when he was just 23. During his time on "30 Rock," Glover also made cameo appearances and contributed to some of the show's memorable comedic moments, earning a Writers Guild of America Award in the process.
While working in television, Glover continued exploring other avenues of creativity. He started performing with the sketch comedy group Derrick Comedy, and in 2009, the group released an independent film titled "Mystery Team," which Glover co-wrote and starred in. The film became a cult favorite and showcased Glover’s growing range as an actor and writer.
Breakthrough in Acting
Donald Glover’s acting career took a significant leap forward with his role as Troy Barnes on the NBC sitcom "Community" in 2009. His character, known for its quirky and emotionally resonant moments, quickly became a fan favorite. Glover's performance on "Community" demonstrated his ability to balance comedy with depth, making him a standout in the ensemble cast.
While on "Community," Glover began to explore music more seriously under the stage name Childish Gambino, a moniker he found from a Wu-Tang Clan name generator. His early work included mixtapes and albums like "Camp" (2011) and "Because the Internet" (2013), which received critical acclaim for their innovative sound and introspective lyrics.
Musical Success and Innovation
Childish Gambino's music career evolved with the release of "Awaken, My Love!" in 2016, which featured a more funkadelic sound distinct from his earlier work. The album included hits like "Redbone," which won a Grammy for Best Traditional R&B Performance and became pivotal in Glover’s music career. His bold experimentation with genres and themes solidified his place as a significant figure in contemporary music.
Perhaps the most striking moment in Glover’s musical career came with the release of "This is America" in 2018. The song and its accompanying video created a massive cultural impact, addressing issues of race, violence, and the American identity. The single won four Grammy Awards, including Record of the Year and Song of the Year, highlighting Glover’s prowess in using art to spark conversation and reflection.
Continued Excellence in Film and Television
Parallel to his music career, Glover has made significant strides in television and film. He created, wrote, directed, and starred in the critically acclaimed series "Atlanta," which premiered on FX in 2016. The series won numerous awards, including two Golden Globes for Best Television Series – Musical or Comedy and Best Actor for Glover himself.
In film, Glover has taken on roles that align with his dynamic capabilities. He played young Lando Calrissian in "Solo: A Star Wars Story" (2018) and provided the voice for Simba in the 2019 remake of "The Lion King."
Latest Ventures: New Album and World Tour
In a thrilling update for fans, Childish Gambino has recently announced an upcoming world tour, set to promote his latest album. This new project promises to delve deeper into Glover's creative genius, offering new rhythms, narratives, and possibly, social commentary. This tour and album are not just another milestone in his career but a reaffirmation of his relentless evolution as an artist.
Conclusion
Donald Glover’s journey from a writer on "30 Rock" to a multifaceted star shows a relentless pursuit of artistic growth and expression. His work across various forms of media not only showcases his multi-dimensional talent but also his commitment to challenging societal norms and sparking dialogue. With his upcoming album and world tour, Glover continues to
define his legacy as an artist who transcends traditional boundaries and engages with his audience in deeply meaningful ways. -
A weekly music podcast covering full albums and other music related topics. Join as they listen through the generations and genres of music.
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Peter PTA aka Unge Autotune Nej Tak præsenterer god gammeldags hiphop-snak med anekdoter, facts, gæster og quiz.
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