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Speaker 2The best progressive rock album this year, I think, is the Virgin Suicide soundtrack by Air. Now, people might be sort of raising an eyebrow there. Well, Air's not a progressive rock band. Well, they are on this album, I'll tell you that. I mean, Air always had the element of sort of Pink Floyd meets Serge Gainsbourg, didn't they? There was a very sort of Gallic sort of approach to. And also, there's a lot of John Barry. John Barry seems to be another very popular reference point this year. And Mellotron. And Mellotron. This album is absolutely. This is a Mellotron album. It's the main instrument on this record, isn't it? It's a classic soundtrack in the sense there's three or four themes which basically are interpreted across the 13, 14 tracks. So any one of these 14 tracks will be essentially an exploration of one of these three main themes, which is a classic soundtrack trope. But the chord changes are incredibly Barry-esque and Bond-esque, aren't they? But the texture of the music, the sound of the record, is pure progressive rock, isn't it?
Speaker 3It's got a lovely sound. Well, to me. To me, it's kind of got that late 60s Floyd dreaminess. And what it's got that Floyd had at that point, they were actually a good groove band. People always forget this. You listen to Atom Hot Mother. And part of the appeal is that Waters and Mason may not be the best rhythm section in the world, but they've got a lovely feel and groove. This album's got it. And it's in a concise way. So, yeah, I love this album. And it was a sort of boom years for soundtrack albums. You know, for me, Cliff Martinez does Traffic this year, which is really good. But. He comes into his own with Solaris a couple of years later. There's some really good people working in soundtrack music.
Speaker 2And it's interesting that this is obviously an artist that hasn't been known for making soundtracks. But the director has reached out to this artist and said, come and make a soundtrack. And they seem to have taken to it like ducks to water. I mean, it's just. Like I say, it sounds quintessentially like a soundtrack record. So, it's also got that kind of very dry 70s, you know, drum sound.
Speaker 3It's sort of timeless, isn't it? I think it's one of the things, isn't it? It would have been a great soundtrack in 69. Yes. 82, 92, now.
Speaker 2Well, the album it reminds me most of is Floyd's soundtrack to More. It's got that kind of vibe to it. Yeah, I love this record. It's my favourite progressive rock album of the year. What isn't my favourite progressive rock album of the year is the King Crimson album from this year. It's my least favourite King Crimson album. And I say this as a massive Crimson fan. Obviously, I am. I love the fact that they're not looking back with this record in the production, except they are looking back musically. I think that's the problem I have with it. Is that some of it sounds like Crimson by numbers. There's even pieces on this record which refer back in the title. Pieces like Fractured, which obviously is looking back to Fracture. There's a track called Lark's Tongues. Is it Lark's Tongues in Aspic? Am I making this up now? Or is that the next album?
Speaker 3Fracture is definitely there, I think.
Speaker 2I want to say there's Lark's Tongues in Aspic part four or five or whatever it is. I'm not sure that's on this. Maybe that's on the next record. But then there's also these big kind of macho blustery blues tracks.
Speaker 3Black blues. It's the opening track. I think that's one of the weakest, partly because of the processing on Adrian Blue's voice.
Speaker 2The processing is the problem I have with this album. Everything sounds very cold, very digital. Everything I associate with Crimson sounding like a force of nature, a live force of nature, is gone in this album. It sounds like an album that's been pieced together in the studio. Everything's been played to a kind of click track and quantized. And it's a very unpleasant sounding record. It sounds very metallic. It sounds very digital. Very digital. I don't hear any of the kind of wood, sort of natural organic sounds that I'm used to hearing.
Speaker 3I mean, I quite like it because it's kind of got digital oversaturation. So you're right. It's very digital, but it's oversaturated as a sound. I mean, some of it I'm not sure about. You know, Prozac blues, I'm not fond of, mainly because.
Speaker 2Kitchen floor oyster. Wax museum. Yeah, another more bluesy.
Speaker 3But I think blues is an amazing vocalist that's done brilliant guitar pieces. And what I appreciate about it is they've taken certain classic Crimson motifs and they've upgraded it into the digital language. You know, they used V drums on the original version of this and it gives it a very distinct sound from any other King Crimson album. And it also kind of brings back something I missed madly. I loved the 80s King Crimson and he brings back that kind of counter rhythm Steve Reich style. It's like a style minimalist guitar pattern in this album.
Speaker 2Yeah, but he does it on. So I'm right. Lark's Tongues and Aspect Part 4 is on this album. Okay. So you've got an album with seven tracks, one of which apparently is by a different band called Project X. Of the remaining six tracks, two of them, one of which is 14 minutes and one of which is nine, are called Fractured and Lark's Tongues and Aspect Part 4. So there is a sense very much of compositionally looking back.
Speaker 3Yeah. Though it's got a sound that is very much of its day, more so than most albums. And I think that's the difference that for me, you know, there were a lot of progressive rock albums that I know that fans of the podcast are going to love this year, you know, by the likes of Kevin Gilbert, Spock's Beard, and those things, Flower Kings, that sort of band. And they're all amazingly well produced, performed and so on. But it's that aspect of the music that I'm not as keen on. You know, to me, it's kind of reflecting on, in the 70s, in a way that slightly loses the spirit of spontaneity that you hear in original Floyd, yes, Crimson music, which I don't think the Air does. The Air album has got all the innocence and accidental nature of an early Floyd album. And the King Crimson album I like because they're still kind of pushing themselves in a way, sonically.
Speaker 2Yeah, don't get me wrong. I mean, I like the fact the album exists in their catalogue. It is my least favourite album in their catalogue. I think mainly because of the production, the sound, the sonics of it, and also the fact it's bluesy bluster, which, to be fair, Crimson have had, they've had that in the past. I mean, Ladies on the Road, things like that. The bluesy bluster doesn't, it's the aspect of Crimson that I least enjoy. You mentioned there the Kevin Gilbert album, The Shaming of the True. I didn't know this record. I listened to it. To me, it's very clever. To me, it's, I'm not going to say anything negative about it, but to me, it's almost like the archetype of what I think of as the American approach to making progressive music, which I don't mean this to sound negative, but it always sounds like it's got much, much more of a session musician mentality about the way it's been put together. It's very clever. I hear a lot of Gentle Giant references in this record, but much more squeaky clean and session musician-ized than Gentle Giant would be. There's an FM rock quality to it. And I hear that in a lot, some of the artists you mentioned a few minutes ago, I hear that in a lot of that. To me, this album almost, because I gather Kevin Gilbert was very much, an icon that was looked up to by a lot of that generation of American progressive rock artists. I can hear the archetype in his music, this album, which I gather he was working on for many years before he passed away.
Speaker 3Nick DiVigilo, who's now in Big Big Train, he finished it off.
Speaker 2Yeah, brilliant, brilliant drummer, Nick. Yeah. I think that generation of musicians, I can hear how this album has been very important to them in shaping their kind of idea of how, and to be fair, there is a very distinctive American approach to making, you know, shall we say 21st century music, 21st century progressive rock music. And I hear it in this album. This album, to me, almost could be the archetype for that. It doesn't appeal to me personally.
Speaker 3Well, it's also one of those interesting albums where it's kind of about idealism in the industry. I think it's a concept album about a character being spewed out by the industry because the idealism doesn't communicate. And what's strange is for that, it's a really quite accessible rock album a lot of the time, isn't it? You know, for something that in a sense is talking about idealism experimentation, and so on. It's very clever musically, but it's not necessarily difficult for the listener. It's quite easy on the ear, a lot of it, which I guess is a gift. I mean, he came up, I think Kevin Gilbert used to go out with Sheryl Crow and he's all over her massive debut album. So he was spewed out by the industry.
Speaker 2Yeah, to me, it sounds like someone that's more at home being a session musician or in the studio. Everything is very, very clean, very beautifully played. It doesn't have the grain that I, that I like, I guess, from, from the European, like a band like Hair, for example. Let's move on to Aging Gracefully. You'd called it something much more derogatory. I've changed the name. Aging Gracefully. We've got a lot of records this year by.
Speaker 3What, did I call it Old Bastards or something?
Speaker 2Yeah, I'm not even going to say. It's so derogatory. I was quite offended on behalf of these artists. You've already mentioned the Patti Smith album, but Johnny Cash, American Three, Solitary Man, Both Sides Now by Joni Mitchell, Silver and Gold by Neil Young, which I do know it's, it's a, another Neil Young acoustic album. It's very good. It's a good one. It's a good one. It's another Neil Young acoustic album. Life Will Kill You, Warren Zeven, who we've talked about on the show before. I know you know your friend. Two Against Nature, Steely Dan, which sounds, again, sounds like a Steely Dan record.
Speaker 3Well, that's like they just, with the Steely Dan album, it's a bit like they gave up after Asia. It's the album that should have followed Asia. It just sounds like they've gone, you know, it's not Goucher. Oh, okay. I think it's slightly more Asia. It's almost like this is the follow-up, the natural follow-up to Asia. It could have been released a year after Asia. I'm just reading. good i mean solitary man i love i love that johnny cash series of albums with rick rubin where he's doing contemporary covers and then very old songbook pieces or old country pieces his voice is beaten to shit and it really suits the material and i think rubin captures it beautifully i think they're great albums and you know there are always little bits of surprises with a nick cave cover or a nine inch nails cover or a depeche mode cover alongside a classic country piece um so i really like them and um they capture something he's very
Speaker 2good at that isn't he getting these these old timers to you know to do albums of a lifetime yeah to to come back to form and he's almost made a almost made a career a specialist speciality of doing that what about these aging gracefully we've got xtc's wasp star naked self by the the and i've also put the q you put in another category but i put it in this category because i think this is where it kind of belongs blood flowers by the q and i say that because i think it's all of these albums actually possibly with the exception of the the album which i think matt johnson did try and do something a bit fresher but certainly with the xtc album and the cure um there's a sense of them trying to make xtc and cure albums rather than really trying to do something different and to me they sound a little bit tired it's to me xtc really miss i think they missed dave gregory on this record they missed the flair he had in terms of the arrangements um and i think with the cure it sounds like they're trying to do disintegration again they're trying to do pornography again and is it right that this is sort of supposed to be unofficially part of the
Speaker 3trilogy yeah well i think you're right and most of that although i feel more strongly i really like blood flowers actually because i think it has got a sound distinct from and pornography um and it's got you know i maybe he just sounds so worn down in a beautifully robert smith way and it's got a slightly more acoustic palette at times a slightly more impressionistic piano so i i really kind of rate blood flowers although i totally take your point no i mean i
Speaker 2did i i playing devil's advocate to myself i did say here am i being he said it was rubbish didn't you no i'm not saying it's rubbish but i'm saying am i being unfair firstly because they're not that old i mean the yeah yeah sure that they're xtc they're probably in their late 30s early 40s much younger than we are now you know um so am i being unfair but there's a sense that all three of these artists feel like they're trying in a way a bit like we talked about with you too earlier yeah a little bit like that and i think it was perceived like that at the time they've been off on a few tangents and now we're going to come back we're going to come back because i think the cures previous records of this was was it wild mood swings yeah where they tried to be this kind of almost joyous almost their acting
Speaker 3baby wasn't it yeah and there's
Speaker 2a sense with blood flowers okay now what people really like about the cure is 17 seconds pornography disintegration let's make another miserable album where the tracks will run to nine ten minutes and it feels a little bit more contrived to me a little bit less inspired i feel the same way about
Speaker 3wasp star i feel the same way about wasp star i mean wasp star really misses gregory and i think weirdly enough although they were trying something different there's something slightly more orthodox about the compositions and the sounds and i think it's a little bit more orthodox i think it's a little bit more orthodox i think apple venus one actually might be one of my favorite xcc albums what a great album is so partly it's a slightly disappointing xcc album and partly they've just followed up one of the albums of their career you know apple venus one so you know you know
Speaker 2historically speaking they were supposed to be yeah those two albums were supposed to be essentially a double album together they were supposed to be the orchestral pieces and then the guitar piece and for whatever reason they got split apart and in the meantime david left so maybe it's what could have been in terms of a double album but i agree with you i think apple venus and so there is that that sense of disappointment when you hear an amulet wasp star and it's like oh it's xdc back to writing fairly you know by their standards fairly i think uninteresting guitar pop well this is the
Speaker 3apple venus one they're doing things they've never done before the textures some of the chord voicings some of the arrangements you're never going to hear them in any other xdc album it's unique in itself and a great xdc album this sounds almost like a bit like exactly as you said the youtube album it's a bit like wait a minute what are xdc and it's doing it slightly without the charm or the sense of accident and without
Speaker 2dave gregory and also i do feel i do feel like colin molding by this time is really phoning his songs in right i think no matter how much andy might still be you know like inspired and you know really trying hard to write great songs i feel like colin sounds particularly on this album although his songs on apple venus again on apple venus is really good yeah but the songs on this album standing in for joe just not great by his stand and he's written some of the best xdc songs of all lest we forget so yeah
Speaker 3yeah just not but they say me from vocally you know it seems to me that andy partridge colin molding on venus one they're kind of stretching themselves they're sounding better than they've ever sounded before and then it's almost like this is within it's almost like they've almost curled up in a ball certainly andy on
Speaker 2things like river of orchids yeah yeah definitely let's move on to the final category then tim go on jazz i've kind of lumped these all in together because there's not a massive amount of albums in any of these genres so jazz at least not ones we're familiar with or perhaps we feel like we need to talk about jazz minimalism experimental music there are a couple of albums that are trying to take jazz into a different place in this year and i i love them the next have we talked about the next on the show before no i don't think so the next are i mean how do you describe that minimalism is jazz it's jazz without soloing isn't it it's about create i feel like we've talked about this in relation to someone else did we talk about it maybe nick barch nick barch yeah okay i was just thinking we must have talked about this before because i can almost hear myself saying these things before the next are like nick barch except they take take it to an extreme of extended composition yeah most of their pieces last in the entirety of a single cd hanging gardens this is their album from this year which is the album i discovered them with and i think it's still my favorite is a 60 minute long composition where there are no solos at all no one is soloing and yet this is somehow jazz music but it's also ambient music it's also minimalism it's about creating repetitive ostinatos but somehow with the jazz sensibility and it's very hard to describe i think you have to go and hear it but it's hypnotic it's inspiring it's when i heard it i was blown away yeah because i've heard nothing like this before nothing like this before this is jazz music this is minimalism music both of which i love somehow combined and it's also australian maybe that's got an aspect of it too i don't know it's not european it's not american it has something which sounds alien to both traditions american and european what do you think about the next thing
Speaker 3well there's another australian band from this year's like dirty three who are another trio from australia made an album which in some ways it's a bit like a kind of jazz version of the silver mount zion there's a lot of violin it's
Speaker 2on my list too i really
Speaker 3like that album it's quite emotional warren ellis who eventually ended up with nick cave of course the next it's difficult i suppose i think the minimalist comparison is the closest because it's one of those albums if you're listening to it for 60 minutes it seems like nothing's happening it's a bit like how people sometimes understand early philip glass it's like what is happening over 60 minutes but if you were to put the needle at a different point in the song you can see how it's developing yes constantly so there's no one groove that's the same and that's how it's jazz almost in
Speaker 2a way isn't it that
Speaker 3you know it's 60 minutes that sounds like it's the same thing yeah but at every single minute something shifts maybe even every single second it's
Speaker 2it's a living breathing organism isn't it yeah it's not like relentless as well it's yeah it's it's almost something you could imagine could only exist because of the influence of electronic music but it is the antithesis of that at the same time in that it is a living breathing changing constantly evolving constantly growing organism yes i mean is
Speaker 3it a bit like you know you're saying about the quest love that when he was taking the yes drums being influenced by exactly that this is a jazz band being influenced by dj by electronica music yes and electronica and um yeah it's really successful i mean they're a bit like suno in the sense that once you get a grip and a grasp of them the albums yes do blur a little bit
Speaker 2they're very prolific they've made about 25 30 albums now and each almost every single album is a single 60 minute piece yeah you're right i think they do break they do shake it up a little bit from album to album the album after this ether is beatless it's it's just about creating little sort of flurries of sound so there's no constant rhythm whereas this has a constant rhythm all the
Speaker 3sounds like it's created in real time doesn't it because i mean again it's like one of the things when i listen to this it's bloody exhausting it's like how if this is recorded in real time how did they do it well
Speaker 2they've got live albums where they do this right so they they they certainly do it i think the difference between the studio albums the live albums is they go back and they they spend a lot of time processing the mix right whereas the live performances are just literally you're listening to piano double bass drums so they're a trio we should have said that at the beginning of the album you're listening to piano double bass drums so they're a trio we should have said that at the beginning of the album you're listening to piano double bass drums so they're truly organic um another another sort of new development in jazz this year for me at least as far as i'm aware is doom jazz born and a club of gore released their album sunset mission which i think is one of their definitive statements this is a style of music which is like the next is not about grandstanding it's not about soloing it's not about the cult of personality but this is about reducing jazz to being as slow and as melancholic and as loungy as you can possibly imagine i said i use the word loungy because one of the things i think was a big influence on this kind of strand of music and there's a lot of bands who kind of picked up on it it never became a big thing but there's a lot of bands that play this sort of doom jazz now go back and watch those david lynch movies yeah and twin peaks and the way he uses so like the judy cruise songs from from twin peaks for example reducing jazz to something slow sinister sinister it's got this kind of sinister jazz sinister jazz oh it's a good song um reducing it to something with that sense of brooding menace but it's all about slowing again no soloing slowing the tempo down so it's almost like um you know a snail pace and boron and de clavagor for me are the front runners of this kind of scene so their album sunset mission is a great record to check out slowing doom jazz slowing it down to a snail's pace but beautiful textures they use things like fender roads they use malatron on some of their records again you talked about the prevalence of malatron this year and that kind of lynchian sense of something something sinister is about i think the lynchings is funny because
Speaker 3i'd never really heard of it until earlier today when you played me some of it and automatically appealed to me i thought it was very beautifully done but it was interesting i was thinking angelo bad lamenti that was kind of coming to mind i think
Speaker 2that's the starting point for this yeah so there's a whole generation of bands that kind of picked up on that the way bad lamenti and lynch created their soundtracks and it became this genre of but there's also influences again from from things like the soundtrack to the ipcress file i want to say yeah john barry john barry again seems to be someone that towers over a lot of the music this this year casts a shadow over a lot of the music from this year solid ether by nils petter molva i don't know exactly how you say his surname even though he's on my last record um i don't know how you say his son nils petter molva um so he's interesting in the sense that we we may have talked about this before maybe not um a jazz musician that's embracing electronica yeah it's embracing drum and bass it's embracing idm and combining it into but this is more traditionally jazz in the sense that he is a soloist yeah so there is still sort of and i
Speaker 3guess bill laswell had done something similar in a way i mean yeah it's sort of drum and bass and club beats with a kind of john hassell style trumpet yeah but i
Speaker 2think bill has been flirty with it but bill has when i always think more on the sort of funk
Speaker 3yeah and dub sometimes as well with him this is definitely
Speaker 2someone coming from the tradition of jazz music yeah using electronic music no it's
Speaker 3good it's this is a careful combination and it is you're right it's kind of got authentic jazz voicing that kind of textual john hassell influence on the trumpet processing and then kind of club beats and what a weird album to be on ecm it really showed the ecm was sort of trying to yeah exactly yeah break them old so the
Speaker 2final the final entry on our list of jazz minimalism and experimental and in fact the final entry on our list yeah is this one tim mertz bauer mertz box a 50 cd set of japanese noise music really now the thing is we live in an era 2024 which we're doing a 50 cd box set is like everyone's doing it aren't they i
Speaker 3think no man have just
Speaker 2done it in 2000 the idea that someone was doing a 50 cd box set of all unreleased music it sounded like it was a joke
Speaker 3yeah i bought
Speaker 2it how much i think it's about 300 pounds it's quite good value but inside which is
Speaker 3about 10 000 pounds in 2024 times yeah
Speaker 2inside you get a little a little cast you know one of those car cd changes which has got all the discs in it 50 discs you get a book you get a t-shirt a mertz bauer t-shirt yeah lots of this is the this is de rigueur these days in 2000 i do like it i've got to say you're interested in listening to now aren't you well i'm interested in holding the bag i think in 2000 yeah no one would have dared to do a 50 cd box set now the world's full of them well snapper release them every week done a few myself so there you go mertz right tim let's i've
Speaker 3never heard that i must have not i've not even heard half a cd of that 50 cd so you've not listened to it no
Speaker 2i'm i'm not gonna i'm not gonna recommend it to you all the listeners unless you're predisposed towards noise music um it is it's hardcore it's hardcore listening obviously 50 c and i have listened to it all the way through i think once i have listened to it and i love mertz but i love
Speaker 3japanese noise you were sort of 28 when you started and 36 when you finished exactly but
Speaker 2what a what a fetishistic object that is isn't it it's lovely i've got to
Speaker 3say the object is
Speaker 2interestingly a lot 50 cd set and again i say i say that because then no one was even releasing 10 cd sets i'll swap you won't
Speaker 3be a slender sherbet for
Speaker 2that slender sherbet the classic momus covering momus at momus album yeah um tim yeah 2000 it's a pretty good year wasn't it despite really healthy despite my skepticism i was not going to have anything to say about anything in the 21st century and to be fair we have done a couple of episodes in the 2000s already but i think they were about 10 minutes
Speaker 3long no 2002 we did and we were actually we're really excited we were very surprised or was it 2001 i think we did 2001 and we loved it 2006 we did and that was a bit like 1992 we felt it had gone off 2006 we felt like it was a stale caramac that had been left out in the rain did we talk
Speaker 2about ocean size every everything into everyone into position or whatever it's called everything you
Speaker 3said that was rubbish i
Speaker 2remember oh i love that record no i love that record um so maybe it's just the first couple of years of the 2000s we like because 2000 is looking like a pretty good year yeah yeah 2001 great year if you were going to pick your favorite album of the year
Speaker 3goldfrapp's felt mountain actually it's just whenever i listen to it i get completely lost in that world it's stunning it's sonically impressive um very sensuous her voice is great will gregory's sense of arrangement and sound uh superb i'm with you on
Speaker 2that i think that record is absolutely stunning and still sounds as good as it ever did yeah it still sounds as good as it ever did i love the radiohead album of course i do but like you i think amnesiac a follow-up yeah that's the one would be the one i would go for which is 2001 it's got it's got my two favorite radiohead songs of the era which are pyramid song and knives out and i think that's the one that i would go for so for that reason i'm going to say kid a very important record i'm not going to put it as my favorite record of the year my favorite records of the year probably are like you the goldfrapp record ghost tropic okay yeah that's great yeah i think i think it's just an album that again exists outside of any time it's just stunning and i i listen to it as a continuum as i listen to it as an album and for that reason alone i never get tired of listening to it other albums this year that i possibly would would consider amongst my favorites the virgin suicides the air album is brilliant and the next album hanging gardens is probably my favorite next album um as you say a lot of their albums are a little bit interchangeable this for me is just a little cut above and in that sense i think what they do is very important in the sense they've almost created their own sound i'm going to say that's that's a very special record to me now a little bit more difficult pick the album you feel is the most important record for you and i think that's a or influential well that
Speaker 3might be kid a but then i think it's had a limited um impact partly because rock music has really not taken this i concur
Speaker 2i think it should i think it should have had more influence than it's had and it's funny how we were talking about the influences had almost a kind of almost in a sort of retrogressive way of sending people back away from it yeah uh coldplay and you two kind of get sort of almost providing the anti-kid a yeah if that's its influence obviously negative one but i think it obviously has it has had an influence on music but not i think you're right not to the extent that you might have might have anticipated
Speaker 3now you know whereas you can say that the bends and okay computer they set a template for the next 10 15 years of rock and indie rock that sadly doesn't yeah but maybe should have done the d'angelo maybe in the way yeah it's conceived i think you know that perhaps might be the one you can hear in more latter-day
Speaker 2i think so too i think in the sense that it was beginning of that kind of whole generation of neo soul music the fact that urban music today is the dominant musical form that record it's brilliant the production is brilliant it's looking forward at the same time it's also drawing from the past and isn't that what we what we sort of value the most of all on this podcast i mean that's what we're always looking for in a way isn't it the eminem and the lincoln park records in their own way have been very influential too but influential on music that i personally don't like now lincoln park you
Speaker 3could definitely hear it yeah through the early 2000s influencing a lot of bands partly because of its success partly because it was a great sound well and also
Speaker 2Also, I did say the Coldplay record. I think there's been no end of sort of bands that have tried to ape the Coldplay sound.
Speaker 3And again, what I like about Coldplay is that, you know, for a mainstream band, they have continually shifted their directions. They've tried different things. Yeah, they've tried different things.
Speaker 2And he just has got the most phenomenal voice and he can sing the phone book and it sounds good. And on that note, I think we can draw a veil over the year 2000. Unless there's anything else you want to say, Tim?
Speaker 3We didn't do readers' questions or responses, but we can do that on another occasion. Next year, though, I think we're going to discuss, we're going to go back in time.
Speaker 2I want to, yeah, I'm really keen to do 1968. 1968? Yeah, there's a couple of records I really feel like I want to talk about that kind of are things that with areas of music we've not talked about on the show before. And they're from that year.
Speaker 3We're going to go back in time 32 years.
Speaker 2Well, it's kind of the interesting period, isn't it, between Psychedelia in the summer of love and the sort of birth, the real birth of progressive music. And there's this little in-between period, isn't there? Yeah. And I'm really fascinated by that year and I love a lot of records from that era. So I think we're going to do 1968 next year. So we'll do, we'll remember to do readers' questions, readers' wives on the 1968 episode, if we're not dead by then. Thank you very much for listening, as always. I hope you enjoyed it and it's goodbye from me and it's goodbye from Tim.
Speaker 3I was going to say bye-bye, which I'm going to say. For God's sake. No, I'm going to say, we never say this. We're useless. What? If you like the podcast, please review, please press like, because apparently it's something to do with demographics, algorithms and Bill Gates. I don't understand. Yeah, if we get good reviews,
Speaker 2apparently the algorithm shares our podcast with more people.
Speaker 3It apparently means that Bill Gates has got it on his airplane that minute.
Speaker 2Yeah, and Joe Rogan will be, you know.
Speaker 3And Joe Rogan will be inviting us both onto his podcast. On the podcast, yeah.
Speaker 2Yeah. We are rubbish at that. We're rubbish at, you know, for years we were rubbish about actually doing this at any regularity. At least we've fixed that. But we're rubbish at promoting ourselves. Yes. I was right to do that, wasn't I? I was right to say that. No, you're absolutely right. Absolutely right. My bad. My bad for not mentioning that. But having him mentioned now, can we sign off? Yeah. It's goodbye from me and it's goodbye from Tim.
Speaker 4Bye-bye. Bye-bye. Fresh for everyone. Restrictions apply. See site or store for details.
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