RC 379: Lost Horizon

Losing the plot, or at least the horizon we take a trip over the musical mountains to find a new perspective, getting angry with rock and metal, chiming to cosmic and concious electronica and disco and then orbiting ambient dubby meditation in Shangri-La.



We have mashups from the new Hallmighty album and two mashups with Karin Dreijer, an ABBA cast-off before the ABBAlanche of ABBAstard (I will be posting about that compilation soon in a bumper post), indie occult and psychological britpop, another track from the new Orbital album, ambient classical from William Orbit, early disco Exorcist proto-mashups, more psych bluegrass and bagpipe stompiness, angry Indian metal and the show must go on, despite times being tight.



Thanks to ToTom for his help with this episode.



Horizon The Prize, Lost in the silence (2:31, 213Mb)



Listen to RC 379: Lost Horizon by Radio Clash on hearthis.at




HallMighty – Go x3 (Bastille vs The Chemical Brothers vs Moby vs Ne-yo & Q-Tip)



ToToM – The Show Who Must Gon Pump It (Queen vs Electric Callboy vs Run The Jewels)



Bloodywood – Dana-Dan



The Kleptones – Running Interference



leespoons – When I Be The One (Dua Lipa vs Fever Ray)



Suede – Shadow Self



Maximum the Hormone マキシマム ザ ホルモン – “Yoshū Fukushū” (予襲復讐 Preparing for Revenge)



Witch Fever – Slow Burn



LeeDM101 – What Else Is There In White Rooms (Röyksopp vs Booka Shade vs Linkin Park)



Titus Jones – Survive the Dance (Ghost vs Gloria Gaynor vs Metric)



The Champs Boys Orchestra – Tubular Bells (Cosmic mix)



J Dilla – Beat 12



Tanya Stephens – Silence



Hannah Williams & The Affirmations – The Only Way Out Is Through



DJ Giac – When Flowers Will Survive (Gloria Gaynor vs Miley Cyrus vs Bruno Mars)



Dunproofin’ – Prince-A-Boo (Siouxsie & The Banshees vs Prince)



Jimmy Young – Times Are Tight



Orbital Feat. Anna B Savage – Home



Martyn Bennett & Martin Low – PLAY



Dank Zappa – Happy Come Back (Pharrell vs Pilot)



ToToM – Brooklyn Horizon (Lana Del Rey vs Daft Punk)



William Orbit – Ogive Number 1



Tamiko Jones – Let It Flow (Tz Deep & Slow Edit)



William Orbit – I Paint What I See



Hickory Wind – Sycamore Song



The Electric Chamber – Cantus (Arvo Pärt)



HallMighty – Don’t Worry (Robin Williams vs Led Zeppelin vs Royal Philarmonic Orchestra)



tbc aka Instamatic – Long And Winding Way (That Old Friends Do) (Barra McNeils vs Beatles)



Denise Johnson – True Faith




Transcript
Hello, welcome to Radio Clash, it’s 379, and we’re looking towards a lost horizon, though we’re not in Tibet, and it’s not the 1930s, but it’s close enough. That was Hallmighty, from the recent, very recent, at least on Friday, and recording this on a Saturday, try and give yourself album, that’s Gox3 Bastille vs Chemical Brothers and Q-Tip vs Moby vs Neyo, I don’t know the Bastille, obviously I don’t know who Bastille are, I don’t know what the Neyo is, I don’t know those two songs, but I know the other songs very well, that seemed to be quite a not beat, a not beat but kind of reflective, contemplative intro to the podcast, with the Al Pacino at the start from any given Sunday, and yes, welcome to Radio Clash, this is 379, Lost Horizon, it’s unusual because this is a podcast which has had the artwork finished, you’ve got to love AI, our work finished and ready before I actually recorded the podcast, that’s a record, but you know, I was like, oh, I’ll create the artwork for it, I’m not going, I’ve not even started it yet, and some of you heard me speak at the end of the podcast, and it wasn’t me, it was a voice clone of me, not me doing an American accent, it was a voice clone of me, an AI voice clone, via a piece software called Tortoise TTS, which you can use on Colab, on Google Colab, and yeah, it works pretty well, a powerful American thing, if it wasn’t American, I would probably use it more often, but I was using to patch a word, because of course I typically said someone was an accordion player, not a bagpipe player, but they’re very similar, and the Scottish might get upset about that, but yeah, they kind of want to get keys, but they’re both squeezy, make kind of meh noises, you know, very similar. So we’ve got a podcast with, now it’s March, it’s less than a week in fact, I was releasing the other one, but the other one was delayed, so I’m behind schedule, and we’ve got a podcast with, or some rock, a bit of drum and bass, we’ve got some J-Dilla beats, mashups, surprise some downtown post-off, some even some folk, some will be happy to say it, but not really, no, it’s sort of folky, not folky folk, it’s bluegrass-y folk, and we’re going to start with a mashup by ToTom, which this is a mashup that I didn’t want to play, partly because it includes a certain person, and I’ve asked ToTom to remove that person, who is an antisemite and a self-proclaimed Nazi from the mashup. So if you’re hearing this, he did so, so it’s called the Show Who Must Pump it on. These are the people who were German group called, originally called Eskimo, now called Electric Callbay, who apparently were part of a Eurovision, with some Queen. That was proof that Ghost mashups aren’t just following, that’s Survive the Dance, Ghost versus Gloria Gaynor versus Metric by Titus Jones, yes, Titus Jones, and that’s from Nightmash Fall 2 from 2022, and I think I might have influenced the Ghost part of that because, previous to him putting that out, I actually suggested that track in one of the Will It Mash sessions, and I noticed he took a note of it and went, oh, that’s interesting, I might use that for something else, and yeah, then it appeared in the, I don’t know if you did the Will It Mash, I don’t know if you mash down stream, but it’s really good, I really, well, obviously Gloria Gaynor versus Ghost was not to like, and that section, sort of angry schizophrenic section, a lot of that is what I cut, see what happens is, I quite often do a podcast, and then I remember Don from Pirate Sound System, Don Gola, Blo-Up Doll, that Don, saying that you should create a list of all things you want in a playlist, and then cut the top ones off because it’s kind of, you quite often put things, you know, just cut to the chase, and I quite often do that with a podcast, but then, yeah, what happens is almost like you’re getting sort of half ways or third away in to what I was originally planning. But this one, I actually played all the tracks, nearly all the tracks, it was a track by The Hell, which I decided, it’s not a good idea to insult your audience, that’s angry, but not that angry, but you pretty much, it’s kind of that one obviously been around since I didn’t hear it at Halloween, but shortly after, and yeah, a lot of the tracks in there have been in the stack for a while, they’ve been in Stack Hell, or Production Hell, Production Stack Hell, but not the one before, which is a new one from LeeDM101, that’s what else is there in White Room’s Röyksopp, or Röyksopp, Röyksopp, you pronounce it, versus Booka Shade versus Linkin Park, obviously the Röyksopp has Karin Dreijer from The Knife and Fever Ray, is the vocalist on that, and it’s nice to hear her in a mash, but it was not alone in recent mash-ups using her, which is interesting, because there was another mash-up using Fever Ray earlier in that section, and before that we had from 2022’s, at least about the same sort of time as the Titus Jones mash-up actually, almost exactly, just for Halloween, that’s congregations to that slow burn by Witch Fever, and again, that’s one of the ones I’ve sort of put in, and I don’t know what it is, I think it’s sort of slightly, well, this is probably what doing mash-ups spoils me, or you know, why spoils my hearing, because when I listen to Indie and Metal, and you know, what you want to call that, is it Doom Goth, Doom Goth Punk, I don’t know, I tend to be a bit more sensitive about Key, and, but you know, it’s emotional, it’s emotion, as per the meme, emotion, but yeah, it is really good, I like that track a lot, and again, it’s been one that’s been in and out of a lot of these podcasts, that track, never found a place for it, and then before that we had Maximum the Hormone with Yosh Fukush, (Preparing for Revenge), I think Yosh Fukush, I don’t think it’s the same thing, it might be wrong, it might be saying the same thing, very badly saying the Japanese, and that’s from 2013, and yeah, watch the video for that, just Google Maximum the Hormone, Preparing for Revenge, or Yosh Fukush, I think you will probably find it, yeah, it’s got a brilliant video set in the school, not exactly sure what the revenge is about, but you know, it’s not necessarily that doomy, it starts very doomy in Doom Rock, and then it goes all Power Poppy, Power, Punky, I love her way, the Maximum the Hormone changes their styles and changes it up in the same song, I’m a big fan of that, then before that we had Suede with Shadow Self from their album Autofiction, again another one that kind of pops in and then I take it out again because it doesn’t interfere, and I, yeah, but certainly the lyrics are important to me at the moment, it’s from, is it Jung? I think it’s Jung, definitely not Freud, I think it’s Jung, talking about, you know, there is a dark self, I love the lyrics about dancing on my Shadow Self, and it’s a brilliant album, check it out, then before that we had, I mentioned the Fever Ray mashup, that’s Lee Spoons with When I Be The One, Dua Lipa vs Fever Ray, I don’t know whether the first one to mash up Fever Ray, I did a Stalker Fever back in 2000, and is it Seven or Nine, or something like that, you know, Late Noughties, it’s always good to hear that track, it’s a brilliant track, and not enough Fever Ray mashups, not enough The Knife mashups, not enough mashups with her voice, Karin Dreijer was an amazing vocalist, and one of the best gigs I ever saw was Fever Ray, I’m really glad I saw her, I mean it’s not as rare as seeing The Knife, The Knife were really kind of, they only did not that many gigs and then they stopped gigging entirely and it was then very incredibly impossible to get a ticket, but yes, that’s a very recent mash from Lee Spoons, otherwise known as 10,000 Spoons, and then before that, from 2021, the AD album, that’s Kleptones with Running Interference, and I can’t tell you what’s in that because Kleptones do not list sources, but there’s a bit of Underworld, and right at the end, you’ve got the recording session for Art of Noise, Close To The Edit, so I don’t know where Eric Kleptone got the outtakes, maybe the Art of Noise put them on a deluxe thing, there’s so many deluxe thingamig bobs, there’s so many box sets and things from Art of Noise, but certainly I’m a pretty hardcore fan, so I’ve heard pretty much all of them I think, so I don’t know where that one came from, that’s Anne, what’s her name? Oh, what’s her name? I played her on the podcast, I can’t remember her name, Anne Dudley, that’s Anne Dudley and friend, can I say something, they used the little outtakes, and they were obviously pissing around in the studio and they used the bums and they used the, can I say something, very, very good, they used those quite a lot actually, and then before that we had Bloodywood from 2022, that’s Dan-a-Dan from the album Rackshack, and they, well, I’ve played Bloodywood on the podcast before, they’re from New Delhi, but they now have, and this is different from when I first played them, when they were doing, well, it’s weird, they were completed as parodies, but they were doing versions, Indian versions, Indian metal versions of, well, no metal songs or even pop songs, they added a western singer, so hence why you’ve got the English in there, and then it switches, I’m not too fond of the singer, but it works there because that’s an anti-rape, anti-sexual harassment song, and so the anger works, and I think the lyrics, and they even got sort of female singers in there, and yeah, if you look at the translation, you know, there is, I think if you go and watch the video, I think there’s subtitles, yeah, so I’m not so fond of the new metal rap bits, but I like the rest, and I like a little drumming, and you know, the Dan-a-Dan-Dan, you know, it’s such a heavy, violent in a good way track, and then at the start of that section, we have ToTom with the show Who Must Pump It on Queen versus Run the Jewels versus Electric Callboy, a good video for Electric Callboy as well, so we’re going to play another track which gets taken out, partly because it’s so slow, yeah, you’re really selling it to him, but it is a track I really, really love, it is one of the proto mashups, it’s one of the mashups before mashups, it’s from 1978, that’s what time, 77-78, it’s Cosmic Disco, this is the Cosmic Mix, which I think actually was one of the original mixes, that it might be from a later release, but it does date back from then, it’s a Cosmic Disco version, and in the history of disco, there’s quite a few, really disco-created mashups in a lot of ways, a lot of disco medley records, a lot of actual mashups were, we also got Clubhouse and people like that, that’s a little bit later, but you had some of the earliest mashups were Dance, Floor, Disco, Records, People, Pink Project and things like that, where people kind of, there were more interpolations rather than using the original sources, but they were actually mashups, in fact, taking Alan Parsons Project or Mike Oldfield, and mixing it with, you know, Steely Dan, and mixing it with Michael Jackson and that kind of thing, they were limited by the fact, the technology of the time, that quite often, and also legal stuff that it was safer to replay, a bit like the way, I think, good times as used in Rapper’s Delight is actually interpolation, it’s actually someone replaying it, so, you know, for legal reasons, quite often it was replayed, but you know, it replayed fairly well, and in effect mashups, and this is one of those, this is the Champs Boy Orchestra, Tubular Bells, Cosmic Mix, but it doesn’t just have Tubular Bells in it, it has the bass line and the structure of Love to Love You Baby in it, so, yes. That was Martin Bennett and Martin Low – Play from the wonderful Hardland album from 2000, yeah, kiss if you wanna kiss, definitely, and then before that we had from the new Orbital Album Optical Delusion that was home, Orbital featuring Anne B Savage, I don’t know much about Anne B Savage, but she reminded me of Hannah Williams, who I played earlier in that, if I wouldn’t have first heard it, I was like, is that Hannah Williams? I was like, no, I don’t think so, but as sentiment I totally agree with, Green the Cities, yeah, I always love it, disaster movies or sort of futuristic movie, dystopian movies, we see everything overgrown, it’s like, yes, nature take it back, a big fan of that, like the Girl With All the Gifts and that kind of thing. Then before that we had Jimmy Young, Times Are Tight, it’s depressing how still current that is, a disco song talking about inflation and people struggling, it’s 40 years old, it was top 20 in the UK dance charts in 1983, I don’t know when in 83, I tried to try and look it up, but obviously the official charts is just the official charts that don’t cover the dance chart, I’m not exactly sure where you can find the dance charts from 1983, but it’s a brilliant song, I feel bad for only playing half of it, the 12 inch version which goes into a whole thing where you’ve got people talking about what’s going on with them, a bit of social history in the middle of a disco record. Then before that we had Prince-A-Boo, that’s Siouxsie on the Banshees vs Prince, I mean told it should be Siouxsie, I might just keep to Siouxsie just to be annoying, that’s my demproofing, that’s a very recent mashup and now got a new video, seems to be going quite viral, deservedly so, it’s a brilliant combination, don’t have any Siouxsie or Siouxsie or Seoxy, how else could we pronounce it? Seoxy, she’s touring I think this year, I forgot to say, this is bad, I forgot to put some pulp in, I was, this is the thing, in between putting this podcast together and recording it, unfortunately I got sad death of Steve Mackey who has pulted the bassist from Pult which is really sad that he wasn’t part of the tour, which is why it reminded me is that Pulp are touring this year and I wanted to get tickets back and forth, they’re all sold out now, but interestingly he wasn’t well enough or wasn’t wanting to be part of the tour, so he wasn’t actually part of the tour anyway, but yeah, it’s very sad, I wrote about it on the blog how important Pulp are to me and yeah I’m not exactly sure what I could have played really, I’ve played a lot of Pulp on this podcast over the years, it would be difficult to find, I’m sure I’d find something because he produced Mia’s albums like Galang and co-wrote, Sunshowers and Galang and so he did lots of things, he did a really good compilation, well part of the trip series if you remember the trip series and him and Jarvis Cocker did a compilation of the music of the light and it’s like Moondog and all kinds of interesting Bulgarian music and all kinds of interesting stuff, so yeah that’s quite sad, but yeah that just reminded me that Siouxsie’s Touring I think this year or soon and then Pulp Touring as well from this year, this month, March, April and yeah I won’t get to see them annoyingly, but yeah maybe I’ll see them at a festival if I manage to get tickets, then before that we had DJ Giac or Giac, but get Giac and it’s either, with When Flowers Will Survive that’s Gloria Gaynor versus Miley Cyrus versus Bruno Mars, there are two versions of that, there is Adamusic did a version first over a month ago and that’s more technically adept, I think there are slightly wonders at the start of the DJ Giac, I was listening to it now, it’s one of the things where you play something and you listen to it again and again and you DJ it and suddenly you just actually listen closely when you’re recording, I don’t know what it is about recording or like when you have your stuff played on the mashup listening hour Twitch by Adriana, suddenly it’s like laser focus is coming in, oh crap, and that one I think it’s a little bit out of time at the start maybe, but what I like about that one over the ad of music is the Bruno Mars and I’m not a fan of Bruno Mars, and also the fact left the Gloria Gaynor, oh and just in the break that’s brilliant, that’s really good, it’s touches like that are very good, but yeah I think it might slightly wonder at start, but I much prefer that version to the Adamusic version, but I was 50-50 about which one to play, and Miley Cyrus’ lyric, a bit like, it’s the problem, it’s me, I think the lyric of 2023 has to be, it’s alright until it wasn’t, we built a home, watch it burn, and for me that’s the, so far that’s been the lyric that has originated, then before that we had The Only Way Out Is Through by Hannah Williams and the Affirmations, I mentioned Hannah Williams earlier on, but that’s from 2019’s 50 Foot Woman, and I always associate it with Bristol, but she’s living in East Sussex Brighton area now, I never realised she was actually on The Voice in the UK a couple of years ago, I did not know this, so about the time I got into Hannah Williams and the Affirmations, randomly through I think it was Departure, using 4 minutes 44 in a remix or mash, and I was like, oh who’s that voice? And then I looked it up, looked at the sample, and I was like wow, it was about that sort of time, that year, she was on The Voice talking about that, and you know all that sort of stuff, so I was like, oh yeah, so yeah, the parallel universe of reality and television I don’t watch, well I have watched, I think guilty pleasure of mine, occasionally I watch The Voice clips on YouTube, but it is completely cheesy, emotion-baiting stuff, but you know, sometimes it’s really interesting, and the lyrics are from that, I know it’s probably a bit trite now, but I do love that lyric about, you know, I tried to drown my demons but they learned to swim and that kind of stuff, interestingly mentioning silence at the start, which is completely random, I was like, I’ve said before how I choose things very much around lyrics and meaning, and so I’ll pick something, and then I’ll spot things, so that talks about silence at the start, and of course the previous song was Tanya Stephens – Silence, which is an anthem of mine, that’s from 2022’s Some Kind of Madness, I’ve been talking about the album a lot, I’m mashed up one of the songs, it’s brilliant, I mean conscious dancehall what’s not to like, and what I like about that is, not only is having a go at politicians, hey what’s going on in the UK, very appropriate, those that talk over others, and create noise to, you know, make people silent, but also when you disagree with people, that when she said, oh Lord, it is weird how intolerant people are, I’m just having a different opinion sometimes, and it is very weird, you know, I mean there are opinions and there are opinions, and there are opinions that are actually just bigotry, but it’s not one of those, it’s just an opinion, and it’s so weird how, and if you have strongly held opinions about liking something, or not liking something, we’re not talking, as I say, the sort of bigotry stuff, just, you know, music, you know, stuff, art, creativity, how some people get upset at that, and it’s like, sorry, don’t tie your whole being into, you know, I can’t understand this fandom, I always find it weird, if you don’t like something, what’s it got to do with anyone else, you know, why does it upset people so much that you don’t like this, or you don’t like this, or you don’t like that, or you like that, you know, it’s, as much as the flip side, and I really hate this phrase, “don’t yuck my yum”, because that seems to shut down the conversation completely and that can get, let problematic stuff fly, I think, but because yes, I mean, sometimes some things you should yuck, because there’s dodgy shit in it, but also, I do think that the other flip side of that is you do have to have a space where you can actually talk about it, because, you know, you can’t have this thing where people just like what they like, and then, you know, there’s never any, not criticism of liking it, but criticism of what it is, because that’s just a recipe for blindly liking things and never questioning why you like them. And I think it’s a valid thing to do, and I don’t think people saying, you know, disagreeing and going, well, I don’t like that because of this, or, you know, I’m not happy because of this, that doesn’t really work for me because of these reasons. I think that’s perfectly valid, and I don’t understand why there is this move towards, I would say it’s almost an infantilisation of culture, with the fact that there’s never any question of what you’re consuming, and, you know, and there is some stuff which is a bit like reality television, it’s fast food, and you’ve got to accept that it’s fast food, and you can’t say, oh no, I like what I like, well, yeah, but I think you should be a little bit more critical, especially as nowadays, when a lot of these things, a lot of these have got, you know, like Matt Hancock on somebody said, I must have to get me out of here. There’s sort of the politics and entertainment world have collided to a point where you can’t just say, oh, I like what I like, oh, I like him, well, he let people die, so, and then laughed about it in WhatsApp texts, you know, so, you know, oh, I like what I like, oh, I like him. No, it’s not, there is a point of where entertainment becomes politics, and there is a point where entertainment becomes more than entertainment, it becomes propaganda, or it becomes something very dark, so, you know, I think you have to be aware, you can’t just like things just because you like them, rant over, but I just, I think there’s a real problem with that. People should be able to not necessarily defend why they like something, you know, oh, you must tell me in 20 words why you like this, but I think if you can’t say, oh, well, it makes me feel good, or it reminds me of this time, or I, you know, I came across that with a partner, and it reminds me of them, or whatever, you know, that’s fine, but you know, when people don’t ever think about what they consume, it’s very easy to feed your shit, that’s basically, you know, I don’t mean shit as in a value judgment, sometimes it is shit, but it’s very easy to feed your crap, that is not only not bad for you, but actually can lead people to brexity and bigotry type things, so yeah, anyway. And then before the Tanya Stephens, we had J-Dilla, and that is from 1998’s Another Batch, that’s beat 12, sampling Hall & Oates, via kind of De La Soul, I’ve checked out one of J-Dilla’s beat compilation or cassettes called Another Batch, or it wasn’t really named for it, it’s just Another Batch, it’s because it says at the start, Another Batch, and it has a couple of really good things in it, and I do love that, it’s like with Donuts, there is a thing with J-Dilla’s work where it becomes quite, it’s not just got the whole equal, I learned about a single Diller time with the shifting the snares and shifting in the NPC, just shifting things to be off beat, but they’re sort of on beat enough to rap to them, but they’re this sort of swung sort of woozy thing going on, which I love, but also has something very meditative about it, about some of his work, and such a shame he’s gone. But yeah, Hall & Oates have been sampled a fair bit, I’m obviously Say No Go De La Soul, but in hip hop, but various other versions of that, and various other things, but that was kind of the end of a live performance of just singing it’s not fair or fair, and you just took the fair and just a little bit of it and chopped it up, and it’s very beautiful. I just love the way it just hangs in space, it has a mood, an instant mood just from a beat and shifting sample. Yeah, I don’t know, I think it’s such a shame about Jay Dee dying, because I think if he was around nowadays, well, technology’s got now, it might not be, but I think he would be kind of like a Steve Reich type person, who’s doing really amazing experimental shit, because that’s that sort of bending of time and moving things over time is, you know, Electric Counterpoint, it’s all that kind of thing, you know, and you know, it’s an interesting thing. Then before that, at the start of the section, we had the Champs Boys Orchestra with Tubular Bells, Cosmic Mix, and I think 1978, it’s only 70s, check that out, actually. Oh, it’s actually even earlier, it’s from 1976, though I don’t know whether the Cosmic version was played there is later, but yeah, the original version is from 1976, wow. So after The Exorcist, which is 73, but you love to love your baby would be about 75, 75 I think it was. So yeah, wow, very interestingly, Donna Summer doesn’t get a credit, yeah, it doesn’t sound like a modern mix, it’s got crack on it, yeah, I can’t find where that came from, it could be a DMC type disco pool mix, it’s interestingly not coming up, nope, but anyway, I mean with a crack hole and the way it sounds, it’s old school, it’s not someone just remixing that because they would have vamped up all levels and probably tried to avoid the crackles. So yes, but I love that, and I say 76, wow, I thought 77 or 78, now to say the fact that these are the Cosmic mix suggests possibly a later remix than the late 70s because Cosmic was big in 78, so that’s possibly a later remix, but yeah. So I’m going to play a track from Dank Zappa, who is DJ’s on Twitch, DJ Dank Zappa, and I think between me and PDS and a few other people have convinced him to start posting, it’s got a hundred mashups, it’s not quite interesting, he plays nothing but his own mashups on his Twitch stream, and this is Happy Come Back, Pharrell vs. Pilot, I actually ran into recently about how much I absolutely really hated the Pharrell song Happy, and this actually makes it alright, which is for a mashup to do that. That was TBC, Aka Instamatic, a new track from me, and Long And Winding Way That Old Friends Do, Barra McNeils, you might know Barra McNeils, they’re a folk group from Canada, do a lot of harmony work, do a brilliant version of Goin’ Back, which almost made it to this broadcast, that’s all two Barra McNeils in one broadcast, versus Beatles, long and winding road, and that was supposed to be for the ABBA compilation, because it was an original ABBA, it got rejected, it has all the feels, even more feels, we have all the feels and some more as well, that’s pretty much TBC aka Instamatic’s work, and then before that, in a similar mood, and mode, and moody mash, that’s Hallmighty with Don’t Worry, Robin Williams vs Led Zeppelin, via the Royal Philharmonic Orchestra, maybe there’s some original Led Zeppelin in there, but it’s Star 8 Heaven, I agree completely with that sentiment, and then before that we had The Electric Chamber, which is really a bit more bit, but originally it was released as The Electric Chamber, and then immediately pulled, or fairly immediately pulled, because Arvo Part, how have you pronounced his name, I think it’s Part, the Estonian composer got really upset about that version of Cantus, which is annoying, because it was really good, I didn’t realise classical composers had the veto, but you apparently have to get, I think you have to get permission to sell, I think streaming is different, but you have to get a licence from your composer, if you know do a physical release, and I think that’s what happened there, and so I said nope, and so I had to pull it, which is a bit weird if you think about it, we wouldn’t get that some Wagner or Mozart, because they’re dead, but you know, nope, not happy, so I’m playing it here, because screw Arvo Part, then before that we had Hickory Wind with Sycamore Song, that’s from 1978, Crossing Devil’s Bridge, oh and The Electric Chamber was from 1995, and yeah, that’s more psychgrass, bluegrass psych, psychedelic bluegrass, and so I said folk, it wasn’t really folk in that sense, I suppose my mashup is sort of folk-y, but yeah, I would say it’s more psychedelic really, I mean yeah, I learned this song from a cricket and it was Blowing in the Wind, doesn’t get more psychedelic than that, then before that we had William Orbit again, under his own name, I paint what I see, that’s from Strange Cargo 5 from 2014, and that was later put on his Painter album, which he released fairly recently, well I don’t mind that version, it’s kind of a bit new agey and thing going on, whereas that’s more like you’d expect from William Orbit’s Strange Cargo, sort of a very sparse, and I love the lyrics about you know, how can you paint infinity when it’s raining and I paint what I see, not what I know, and that is very true, I do paint what I see, not what I know, and then before that we had Tamiko Jones, I went through a whole deep dive on Tamiko Jones, who was an Asian-African-American singer, and started out doing more whipped cream type jazzy stuff, and then went more into funk, and even later on did an electro cover of I Want You by Marvin Gaye, which is really good, sort of went more into the funk and soul world, but started off very much in the bossa nova world, and very good, and I like that, it’s let it flow, TZ’s deep and slow edit, and that is obviously classic disco, and it is around late 70s, I think 78, but yeah, it doesn’t say here, and I can’t really exactly know that exactly when it came out, I think it was 77, 78, obviously not that edit version, then before that we had William Orbit again, I do like to shoehorn classical music in, I mean, the album pieces in the modern style, which got re-released without the Arvo Paart, it then had a really cheesy version of Adagio, the platoon track, Adagio of the Strings, which got remixed by Ferry Corsten, which kind of put me off that whole album, because I was just like, oh dear, cheesy trance version of, I’m sure some of you would be like, oh no, I love trance, but yeah, especially at the time, I was not a fan of trance, not the German, Dutch version, but the rest of it is actually very, very ambient, and that is Ogive number one, I think it’s number two, I looked up on the Wikipedia page and apparently you got it wrong, it’s not Ogive number one, it’s number two by Satie, and we always like to have some Satie, I almost put in a mandolin version of Gnossiennes, I mean, you know, as you did, you could have had a mandolin version of Gnossiennes, and yeah, I like that a lot, I like the sort of melding of William Orbit’s fairly identifiable synth work, and that’s very mid-90s ambient house thing, with people like Satie and Arvo Part, and I think, I’m not sure if that was on the original album, it probably might be all the things that replaced the Peart, not sure, I would have to look up, yeah, so it was re-released in around 2000, and that’s when you had the remix, it was all different, and it was all under William Orbit’s name rather than the Electric Chamber, which initially I went looking for the William Orbit, Arvo Part, and I couldn’t find them because they’re underneath the Electric Chamber on Discogs, so anyway, and then before that we had ToTom from 2016, that’s Brooklyn Horizon in Lana Del Rey versus Daft Punk, and that’s from Ultraviolent Boots, an album he did with several other people, Miss Meep and a few other people of Lana Del Rey’s Ultraviolent album, and I never heard at the time, I heard Adriana play that mash-up, I thought it was a new mash-up, and I was like, what’s this? Obviously me, me, me, and a Daft Punk mash-up, yes of course, I’d never heard it, I hadn’t listened to it, probably because at the time I was like, oh Lana Del Rey, I’m less like that now, but for a long time I was like, hmm, not too sure about her, and that’s really good, I like that a lot, and it kind of lent its name, along with the painting stuff, to the name of this podcast, Horizon Lost Horizon, I knew the phrase Lost Horizon and googled it, and then found out that it’s actually a book, the invented phrase Shangri-La, so it’s a 1930s book set in Tibet, and it’s set in a valley called Shangri-La, and that’s where the name Shangri-La comes from, the idea of an utopia hidden or lost in a way, is from that book, I’ve never read it, but you know, the artwork is inspired by it, and I just like the name Lost Horizon Horizon, painting, it kind of worked, and then the start of that section, we had Dank Zappa, DJ Dank Zappa with Happy Come Back, Pharrell vs Pilot, Baby Come Back, oh I love that song, yes, it’s weird because I must have been very young, I don’t know how young I was when I first heard that song, I’m not sure if I’d heard it later, but it just reminds me of the radio being on in the 1970s, I’m being very young, probably like Brotherhood of Man on the tracks, which is seeped into my consciousness very early on, by stealth, and it’s just there, so I do have a soft spot from mid, obviously you can like Carpenters, but mid 70s, early mid 70s, and you know, 70s AOR, cheese, if it’s got a good tune, not everything, that’s what then to bail out, that’s the morkish ballad stuff, such a tune, and yeah, a very good vibe, and it makes me not hate Happy, you can always tell it’s a good mashup, it makes me not hate a track I absolutely despise, which I do, Pharrell’s Happy is one of those tracks where I kind of don’t like get lucky anymore, because get lucky is been overplayed, and it got a bit too much, I mean, I love the Nile Rodgers guitar thing, I love Daft Punk, I love the album, I love Random Access Memories, which is getting a re-release, I said last podcast, but his vocal and then Happy, it just kind of put me off the whole thing, and I heard Get Lucky for too many times as well, which didn’t help, I heard Happy even more, and it was just, these things, every radio was playing it, it was just like, let’s get it started by the Black Eye Peas, one of those songs just never goes away, and you just get really irritated by it, that’s one of those, and yeah, it’s so annoyingly cheery that you just want to break things, happy, it’s almost like a ringtone, it’s annoyingly, you know what I mean, naggy, repetitive, and also irritatingly cheery, so yeah, not that everything has to be indie, sort of depressing, folk music, melancholy, but yeah, I do like something a bit more than na na na na na, happy, let’s get lucky isn’t it, this is the point in my head, it just goes get happy, get lucky, lucky, get happy, you know, it just, they merge together with my head, and yeah, so I hope you enjoyed this podcast, it’s, you know, I’m gonna have a lot of editing from the rambling, and I’ll play out with a track by Denise Johnson, and I remember this album being talked about, because when she died sadly in 2020, they were talking about the album being released, and I never really checked it out, and I should have, because there’s some really good covers and originals on where does it go, and it’s kind of sad because I think the original album’s gonna come out in 2019, and then it was some reason it was put off till September 2020, and she died a few months before that, and if you don’t know Denise Johnson, she was a singer with a certain ratio, who penned a very good thing about her, and also sang with Primal Scream, and you know, various people involved in a lot of projects, a lot of bands, and sang for, I think sang for, he took the light, and you know, New Order, I think, I think New Order, pretty sure she did sing for New Order, she sang for a lot of factory related bands, as backing vocals, and Primal Scream, and she sang lead on one of the tracks, usually backing vocals, and so this album was her kind of coming out from being a backing vocalist, mostly, to being lead vocalist, and then she died before we released it, which is really sad, so this is True Faith by Denise Johnson, she used to apparently do acoustic versions of various tunes, and there’s a Smith tune, and there’s a New Order tune, and various things, and this is a really lovely version of New Order’s True Faith, so anyway, I’ll speak to you soon.