80s (and Sometimes 10s) Music Rules ~ Criminally Underrated Artists/Bands ~ Neurotic Wreck

Anyone who has followed this blog over the years knows that I have a huge soft spot for 80s alternative music, synthesizers, musicians who think outside of the box, and sultry British voices. When Marilyn Roxie (founder/creator of net music label Vulpiano Records) asked me to review Neurotic Wreck’s latest compilation, I must say I hit the lottery on all counts.

Dan Shea (small)

Dan Wreck

Neurotic Wreck is the wildly successful cumulative and solo efforts of musician Dan Wreck. He is a one-man battering ram of musical and lyrical genius. The variety of styles ranging from electric-folk to synthesized electro could be a holy train wreck (pun intended) in the wrong hands—but it works flawlessly on his superb album called “Glow Ghosts.”

This wonderful collection of tracks transported me back to such tremendous musician favorites as Underworld, Jesus & Mary Chain, Depeche Mode, Kraftwerk, and a short-lived but fantastic group called Ashengrace.  There’s even a covert reference to a well-known Gary Numan song, but I am not going to spoil the experience by disclosing which one. The tracks are relatively short, extremely captivating, and arranged in such a brilliant way that the segue from one to another keeps the listener glued to the playlist. And, the fun part is, the artists I’ve named here are by no means the complete list of influences that the listener will identify.


Marilyn Roxie

The best way to introduce you to the up-and-coming artist Dan Wreck (a.k.a. Neurotic Wreck), along with Marilyn Roxie, the backbone of his label Vulpiano Records, is to share some questions that I asked both of them. As this post goes to press, the intended release date for “Glow Ghosts” is July 14. This is a must-have for any 80s or even contemporary alternative enthusiast, and may be purchased via pay-what-you-want here:


Sandy Missparker (SM): I’m going to show my hand up front and admit I was blown away from my first listen. You had me at “The Wakeup Call” which was, indeed, a wake-up call for me. Typically, I’m a bit skeptical when first asked to listen to a new (to me) artist’s work, but that all went out the window pretty quickly, once the playlist got rolling. So, I’m curious: how long has Neurotic Wreck been making music?

DAN WRECK: As Neurotic Wreck, I’ve been doing this since 2011; steadily putting out collections of songs compulsively to a deafening silence, a name known to literally fives of people. I’ve been in bands from an early age, though (as most artists worth anything have been, I know). There’re other projects I’m involved with, but it’s not fair to elaborate on those, (because) if I do that people’ll go “Oh Dan obviously came up with this bit” if they like what I’ve done here, and quite often the things people pick out as me having contributed–I haven’t!

SM: I clearly hear some of my favorite 80s artists influencing your music. I’d love to hear from you specifically who it is that influences the direction of your music, and what attracts you to theirs?

DAN WREurope's Missing SonsECK: Here’s where I get to be tedious and nerdy!

You already picked out the Numan thing, and like recognizes like there: one autistic monomaniac has to recognize another. I first heard Numan as a teenager and went on about how great he was to very disinterested friends. Prince is another big influence on me, another case of like recognizing like; not that I’m as technically gifted as him, but like me he was an androgynous, sexually ambiguous weirdo and artistic control freak. Also from the 80’s there’s New Order, as you’ve likely picked up from the tracks where I’ve shamelessly stolen Peter Hook’s style of playing bass. On the subject of bass, there’s also Barry Adamson: stuff like Speak In My Voice and After The Quiet sort of bear his imprint. As well as having played with many of my favorites at some point, his solo stuff manages to be soul and jazz influenced while still being very North West English; and let’s not forget the North Will Rise Again.

Then outside of all the obvious synth-pop stuff, loads of 60’s girl group records like I Never Dreamed by The Cookies, immortal solid gold pop; the drama and the melody in them is what sticks with me. Scott Walker for similar reasons. Rowland S Howard, undoubtedly, lingers over everything I do, but I could drone on about him forever (and in an article on Dennis Cooper’s excellent blog which Google have in their infinite wisdom taken down for no reason, I do). Coil is another one; I’m not sure it’s apparent from Glow Ghosts, but Jhonn Balance is a similar spectre pacing through things I’ve written. Maybe it’s apparent from Rune Cloud and some of the more esoteric lyrics.


MARILYN ROXIE: Here’s where I have to chime in, because it is Dan’s influences that I shared as favorite artists, both literary and musical, that caused me to pay more attention to his music submission, which was from an email he’d sent to my old music blog A Future in Noise back in December of 2012 with his Leave Tonight – Mixtape Side 2. Not only that, but the way that he is able to integrate it all together with his own personal style instead of the hopelessly derivative way that some artists do–that’s what really impresses me. Our mutual love of Coil and Dennis Cooper were initial conversation topics and I immediately invited him to also release material on my netlabel Vulpiano Records, which I don’t ask everyone. Vulpiano is really my own little curated paradise of independent and unsigned artists who I really love; and now Dan and I are together actually as a couple, as well, so it is very exciting to be able to work together more closely on what is happening musically.

SM: I have a deep fascination for single artist “bands” (and even duo-artist such as Underworld) who create such intricate orchestrated melodies. What does your studio look like and what types of instruments/devices do you use to develop your music?

DAN WRECK: My studio is basically wherever I’ve plugged in my digital 8 track recorder: it’s a Boss BR-600, and basically all I do is record on that, then export the tracks onto an old Window XP desktop with the Reaper Workstation installed on it. There I mix, add effects, and sometimes add software synths into it; but most of the sounds come from an electric guitar with 4 strings, a bass with 3 strings, a Novation synth with a key missing, and an old drum machine. Most of my equipment is at least cosmetically broken. Being able to afford more expensive equipment would be great personally, but wasted on me because I’d just dither around with it trying to make cool sounds rather than writing songs. I have to work within limits.

SM: In order to take your music out on the road, would you be willing to train other musicians to play various parts, or is it something that you could reproduce live as a solo act? Is live performance even something that you would consider doing?

DAN WRECK: Live performance is something I’ve done with other projects and will continue to do so because I love doing it. But as Neurotic Wreck, it’s quite unlikely, frankly, for the time being. Never say never, but for now it’s not on the menu. I don’t see the point of getting other talented people in and then getting them to just play what I ask them to when they may well have better ideas than me. So, if it does happen, then it’ll most likely be me doing it solo. That said, who knows? It’s under the name “Neurotic Wreck” not “Dan Shea:” it could, down the line, become more of a band. It has been, briefly, in the past.

SM: What got you started making music initially? Did you wake up one day and say, “I’m going to be a musician,” or did a specific person or event set you on that path?

DAN WRECK: Well, I’ve been around music from a very early age: my dad is a very talented songwriter, so it’s probably in my blood. I didn’t set out to be a musician or a songwriter; in fact, sometimes, to be quite honest, I wish I wasn’t. I wish I could be one of these people who’s happy just to be a consumer, rather than a producer. Ignorance is bliss, after all, but that’s not the way it worked out. In fact, for quite a long time I thought everyone could do what I do: being autistic, as I’ve mentioned, I just assume everyone can write songs or play an instrument, because if I can do it, it must be easy! Then I’ve spoke to people about it and they’ve looked back at me like a dog being taught a card trick, so it’s only recently sunk in that I may actually be quite good at all this.

SM: How would you classify your music? In other words, does it fit neatly into one genre, or does it span several different types?

coverDAN WRECK: I’ll give you a short and a long answer

Short answer: Just call it post-punk; no one knows what it actually means, but it’s an accepted bit of terminology. And if you say “post-punk,” people just nod and assume you know what you’re talking about.

Long answer: I don’t think it fits neatly into one genre, but I don’t think a lot of music does. There’re so many genres out there and they exist more as a marketing thing than as any remotely helpful guide to what you’re actually getting from the music. I’d say genre is more the domain of the gate-keepers, if you will: journalists (who I like) and publicists (spits over shoulder and crosses self). It spills over a bit but I’d say mood is a more useful way of categorizing music than genre tags. It is for me, anyway. To each their own.

MARILYN ROXIE: Post-punk makes a lot of sense as a descriptor…also, experimental synth, a dash of neo-folk that goes counter to people’s expectations around that genre as it can be overly anti-fascist. I do agree that it isn’t necessary to think of genre when he can do so many different styles with ease.

SM: It’s not unusual for artists to evolve their musical direction over time, but there is an evolution of sorts that happens in the span of the 13 tracks of this one dynamic compilation, a la David Bowie. Was that intentional?


DAN WRECK: It may have been intentional, but it wasn’t my intention. I got Marilyn to order the tracks because I think if you’re looking at something as an album rather than purely a collection of songs (important distinction even if it is an irrelevant one for many people these days), then the order is incredibly important. You’ve just mentioned Bowie, so a case in point would be 1.Outside: at the end of what is a fairly heavy-going album, especially from a multi-platinum megastar, there’s “Strangers When We Meet,” which is one of his most moving songs and even more effective because of what it’s come after. If it had been in the middle, as an individual song it’d still be wonderful; but the right sequence of tracks, as someone who still believes in the album as a viable format, is utterly crucial.

MARILYN ROXIE: I’m obsessive about playlists so I spent a lot of time working with Dan’s tracks to get the order just right. I always knew that I wanted “The Wakeup Call” to be the first track and “Tell Me What to Swallow” to be last, but finding the right ebb and flow of the softer and punchier songs was a challenge and I’m glad the flow came through in the end. Many of these tracks are from totally different recording periods.

SM: What is the hierarchy of lyrics and music—for example, do you write lyrics and then formulate the music to enhance them, or is it the music that gives birth to the lyrics?

DAN WRECK: It changes from song to song, really. If the song has a definite purpose, then it’s usually the lyrics come first: “One Skin Too Few” is something very personal about my feelings on gender and also the treatment of the mentally ill, and “Speak In My Voice” is about these same themes. They both started from lyrics. “After The Quiet” became something very personal, but that started from the descending melody line after the lyrics are sung in the choruses and expanded outwards.

SM: The label behind the promotion of “Glow Ghosts” is Vulpiano Records. I’ve had the pleasure of knowing its founder, Marilyn Roxie, for about 7 years now, thanks to the magic of the Interwebs. Marilyn, you are an extremely gifted keyboard artist in your own rights, but you seem to get a lot of satisfaction promoting others. Can you give us a little background on what makes Vulpiano Records (and Marilyn Roxie) tick?

Vulpiano RecordsMARILYN ROXIE: Vulpiano started off just as my idea of having a place to host exclusive content from independent and unsigned artists that had submitted to my old music blog (A Future in Noise, now on a bit of a hiatus). It isn’t always easy promoting yourself and throwing your content out there and hoping for the best; in the past few years, a lot of blogs have ceased to exist and only the super-popular remain, so the whole landscape is really different than it was in the late 2000s as well. Creative Commons and places to host free and legal music like Internet Archive and Free Music Archive have persisted, however, and there are a lot of exciting online radio and podcast platforms. I’m always searching for ways to share all of the great music I have gathered up.

Vulpiano is really representative my personal taste and artists I have become friends with that I think are really interesting across genres and want to show to other people, though experimental, electronic, and folk tend to predominate a bit. I do have plans to do another album of my own, which I’ve not put out since 2009 with New Limerent Object, but it’s taken me awhile to really figure out where I want to go with my own music. I am gravitating towards drone and shoegaze a lot lately, but I don’t want to just copy my favorites. I am a little too hard on myself, like many musicians. I enjoy seeking out new and exciting material so much sometimes it is hard to stop and actually go back to doing my own music! I am also involved in video art now and thinking about ways to combine that with my own music. I’ve been making videos for other people, including Dan, so I may want to make an album that has a music video for every song, or something like that. I am really interested in doing something multimedia, at any rate, but I’m not entirely sure of the final form just yet. I hope to do this late this year or early next.

SM: What can we expect in the future from Neurotic Wreck (and please don’t say it was a one-off—that would be SO disappointing!).

Dan Wreck

DAN WRECK: Well, after the huge stream of free releases over the last five years, I’m finally charging for something: Sandalphon, which will be out on Small Bear Records on the 22nd of September, the Autumn Equinox. Sandalphon is something of a genre exercise; two years ago when I recorded the bulk of those songs, I started investigating the genre of neofolk. Again, as I said earlier, this genre tag is just a convenient way of linking things with a similar ethos together; but that influenced Sandalphon an awful lot. Although, not to worry, there’re no banjos on it, the guitars are still plugged in, there’s still lots of synth, and the drums are still as mechanized as God intended. So that’s what’s coming up next. After that, who knows?


So, there you have it. I can’t emphasize enough the brilliance of this album, “Glow Ghosts,”, and urge you to add it to your music collection. The beauty of creative genius is that it keeps our lives interesting, gives us a positive outlet as listeners, and promises us always something exciting to look forward to.

Further information at Vulpiano Records and alternative stream and download options as Internet Archive, Free Music Archive, and Mediafire are here: http://vulpianorecords.com/post/147400571616

Other relevant links:

Vulpiano Records

Neurotic Wreck – Funeral of Roses
Music video by Marilyn Roxie; premiered at Artists’ Television Access in San Francisco:

Marilyn Roxie and Neurotic Wreck – Obsidian Offerings
Tribute video for Jhonn Balance for CHAOSTROPHY exhibition at LUDWIG in Berlin:

80s Music Rules ~ Criminally Underrated Artists/Bands ~ Nu Shooz

(I’m so excited to share my interview with the 80s funk group Nu Shooz. John and Valerie are funny, warm, interesting, and downright amiable–an interviewer’s dream. Sit back and enjoy their journey that began nearly 40 years ago, and promises to continue on for many more rollicking years to come.)


Valerie and John circa 1980s
Photo Credit: Nancy Bundt

New Wave music of the late 70s and early 80s consisted of many sub-genres. The influences were abundant and varied, and creative experimentation ran high. I firmly believe that’s what made 80s music so unique—the fearless attitude of its trailblazers (David Bowie, Gary Numan, Kraftwerk, OMD, Blondie, and Roxy Music, to name just a few), which ultimately opened up endless opportunities for others to carve a niche in one of the most exciting and downright brilliant music periods.

One such sub-genre is a retro funk sound, brought to light by artists such as Yellow Magic Orchestra (fronted by Ryuichi Sakamoto), Scritti Politti, and P-Funk master George Clinton. New Wave funk was born of a unique marriage of jazz, soul, urban, and synthesizers, and was a successful antidote for those tired of, or (in my case) resistant to the emergence of disco.

In the midst of heady experimentation, a group of 12 creative artists from Portland OR formed a band called Nu Shooz in 1979. They released their first album, Can’t Turn it Off in 1982. Subsequently, they scaled back to a group of 7, and worked hard performing and traveling for several more years before signing with Atlantic Records, finally landing on both the R&B and Billboard Hot 100 charts in 1986. The single that cemented their success is “I Can’t Wait.”

“I Can’t Wait” – Nu Shooz official video:

Jump ahead to 2016. The husband and wife team of Valerie Day and John Smith, founding members of Nu Shooz, are taking their group (consisting of previous, original members) back on tour to promote their latest offering, “Bagtown.” They have graciously agreed to an interview, which unfolds below.


Sandy Missparker (SM): Of course I have to ask the question that you’ve most likely answered about a bazillion times: Where did the moniker “Nu Shooz” come from?

JOHN: “The Beatles” was already taken.

SM: Who first inspired you back in the late 70s?

JOHN: I was lucky to grow up during the Motown era. First became aware of Soul Music around 1965. It was an exciting time in music, with every next record outdoing the last. But it wasn’t until 1970 when I first heard Hendrix that I decided to become a musician. After that, I got a guitar as soon as I could. Hendrix turned out to be the gateway drug that led me to Jazz. After Hendrix came John McLaughlin, and that led to Coltrane, and that led to Charlie Parker.

VALERIE: I was barely out of high school where, in the art room, we listened to a steady stream of ‘Tapestry’ by Carol King and ‘Blue’ by Joni Mitchell – still two of my favorite songwriters. Then it was on to learning how to play latin percussion instruments – which meant I was listening to Puerto Rico Allstars, The Escovidos (which included Sheila before she became Sheila E.) and Celia Cruz. But it really felt like I’d come ‘home’ when I picked up a Sarah Vaughn/Count Basie big band recording. Her voice and the arrangements just knocked me out. Turns out jazz was my gateway drug to Motown and R&B. My love of dance and the amazing voices – Aretha, Gladys Knight, Chaka Kahn – pulled me in and have never let me go.

SM: How did you become interested in a music career?

JOHN: At first you’re just trying to learn to play. It wasn’t till the mid-70s that it started to look like a career. I moved from L.A. to Portland Oregon and fell in with the Latin Jazz community. There was a band called Felicidades, and they had Horns! Got bit by the arranging bug, and that band let me write horn charts before I really even knew how. After that, I was pretty much hooked.

VALERIE: I always knew I wanted to become an artist of some kind. I studied dance for 10 years – from age 5 to 15. But the practical side of my teenage mind told me I’d probably have a longer lasting career in music than in dance. My mother was a world class opera and classical singer, so I NEVER thought I would become a singer too. In 1982, when the lead singer in Nu Shooz started missing gigs, I came out from behind the congas and became the lead singer for the band.

SM: How many people were in the original version of Nu Shooz and where did you find them?

Nu Shooz 2015 Photo Credit: Mike Hipple

Nu Shooz 2015 ~ Photo Credit: Mike Hipple

JOHN: In ’79 we started out with four people. I wanted to do Temptations and stuff like that. A year later we added four horns and three backup singers. Then we were on our way. The horn players came from a Sunday night rehearsal band that played at the musicians union hall; the Walter Bridges Big Band.

SM: How did you find your way into the “funk” side of 80s music?

JOHN: Well, before it was 80s music, it was called 70s music. It was a natural progression out of 60s soul, through Latin horn bands to Tower of Power. In the 80s I loved Rick James. That’s what we wanted to sound like, Rick James with horns by the Puerto Rico All Stars!


SM: What transpired throughout all of the years that Nu Shooz went “silent?”

JOHN: We raised a son. His name is Malcolm. Best thing we ever did. Valerie sang jazz with Big Bands and small groups, played sessions as a percussionist, and taught voice lessons for 20 years. I fell into a great gig writing music for commercials. It was all hard work but lovely too. Something different every day. After all those years just writing for the Shooz, I was ready to write some string quartets and do some heavy metal shredding.

SM: What was your motivation to craft a new collection of songs for release?

JOHN: We put the live band back together. By the end of the summer, we were getting real tight. And we needed new songs to play. So,

Original cover artwok by Malcolm Smith

Original album cover artwork by Malcolm Smith

on October 27th 2014, we went into the studio and started the record that would become Bagtown. We’re gonna spend exactly a year-and-a-half on this. That means we’re gonna be shrink-wrapped on April 25th 2016. AND WE MADE IT! With a deadline like that, you come in focused, decisive. We were determined to have fun too.

SM: Tell us how you came up with the new title for your latest creative effort?

VALERIE: When John went out to our studio to start writing for the record, he began by writing a classical piece. Nope! That’s not quite it! Then out came a couple of psychedelic songs. Hmmmm….that’s not it either! Undeterred, the next time he went out to the studio he found himself making a bag puppet out of a leftover paper sandwich bag. Soon there were more ‘bag people’, and buildings, and cardboard signs and trees. The studio was taken over by a town full of paper bags! I’d say to him, “Hey – how’s the songwriting going?” “Pretty good.” he’d say. “I made a few bag puppets today.” The bags became his buddies in the studio. They were having a party and the party needed some music. So he wrote 33 song sketches. Nine of those ended up being on the record.

“The Making of Bagtown”

SM: What main genre of music can we expect from the new album? Does it deviate much from where you left off?

VALERIE: “Bagtown” goes back to the earlier days of the band before synthesizers and drum machines, emulators and remixes. It’s an homage to the late 70s, early 80s soul, funk, vocal harmony heavy music we were listening to and in love with. Earth, Wind, and Fire meets Steely Dan and have a love child with the Tom Tom Club.

SM: How do you anticipate touring and promotion of your new album to differ from the way it was done “way back when?”

VALERIE: On the one hand, without a label and an army of people to get your music on radio, distributed in record stores, and pitched to magazines, TV and newspapers, it’s tough to get noticed – especially with the tsunami of new music being released every day. On the other hand, we have a stronger connection to the people who love our music the most; it’s a direct relationship that we weren’t able to have with our fans back in the day. We just finished doing a crowdfunding campaign through Pledgemusic that was a blast. Being able to take our audience along for the ride was super fun. As writer/artist Austin Kleon says “Show your work…” as it’s being made. “Way back when” we felt isolated and like we were creating in a vacuum. That is definitely not the case today.

SM: What challenges (if any) do you face transforming what you’ve created in a studio into a live performance?

JOHN: I wish we could afford fifteen people. Then we could make this music as big and as free as it could be.

VALERIE: The good news is that all the musicians who contributed to the recording are in our live band, so they know these tunes inside and out now. It’s so refreshing for all of us to have new material to play. Playing live and studio recording are two COMPLETELY different animals. It’s been really fun for us to bring these songs to life visually for the stage.

SM: I know it’s probably too soon to tell, but do you think there will be future Nu Shooz releases and tours?

VALERIE: John and I continue to tour with 80s shows like The Super Freestyle Explosion, Lost 80’s and more, plus we play with our full 8 piece band whenever it pencils out financially (which at this point means shows close to home in the Pacific NW.) We never imagined that we’d be performing and recording as Nu Shooz again. This feels like it’s one of the best time periods in our creative lives – so who knows? We’ve learned to never say “never.” As long as people are interested and want to hear more, we’ll keep creating and performing.


In closing, I’d like to express my sincere thanks to Valerie and John for candidly sharing their thoughts on originally forming back in the late 70s, taking a “break” from the music world, and making the decision to dive back into the limelight with panache and gusto. Their enthusiasm is highly contagious.

For an informative bio of the band’s history, check out this highly entertaining article. In addition, do yourself a huge favor and explore these additional resources to learn more about this unique and creative band:

Website:  www.NuShoozMusic.com
Facebook:  https://www.facebook.com/nushoozmusic/
Twitter:  https://twitter.com/NuShoozMusic
Instagram:  https://www.instagram.com/nushoozmusic/

Bagtown is a family production. John Smith wrote the music, Valerie Day performed, and their son Malcolm ( www.malcolmsmithartist.com) provided cover artwork for the city of anthropomorphic brown paper sacks.

“Point of No Return” – Nu Shooz official video: 

“Should I Say Yes” – Nu Shooz official video: 


How a Starman (David Bowie) and a Hero (DanBH) Validated My Life

David-Bowie-1974Nearly four months on, and I am still trying to grasp the concept of a world without the physically comforting cosmic genius of David Bowie. But, that’s nothing new for me. It has been 3 years, 8 1/2 months since my late husband Dan passed, and I’ve not really moved on from that. Sure, I’ve changed jobs (and subsequently returned to my original company), moved residence, resumed most of my creative interests…but the grieving process seems to be stuck. It must be the stuff I’m made of.

One thing I’m usually very good at is blocking the bits of my past life that are dark, desolate, and decidedly depressing. David Bowie’s death dredged that stinking muck back up and forced me to confront it head on. That wasn’t necessarily a bad thing, because now I’ve been able to let go of a lot of repressed anxiety born of stuffing ungodly visions deep down the memory hole. But, it was a thousand times more painful than satisfying.

Thirty-five+ years ago (a lifetime for many), the lifelong feelings of being a misfit in an un-accepting world reached a head. I found an artificial way to cope, which involved ingesting large amounts of illicit substances. The chemical cocktails made me perceive the world to be a place where I actually fit in, felt productive, and gave me a sense of purpose. Little did I know (or want to believe) that the sense of purpose would end up being a daily visceral drive to find new heights of chemically-induced bliss. The miracle in all of this is that I lived through it. That’s where Mr. Bowie comes in.

With no Internet at my disposal back then, I received music news in bits and pieces from magazines and Bowie_smile_3television (MTV was in its infancy stages). I “discovered” David Bowie late-70s and just prior to sinking to my lowest point. I remember reading a story about how he had been in a similar mess, but had the stones to walk away from it and clean up his life. Not only was he creating and delivering superior music, he was having a ball finding himself, a quest that would end up being a lifelong journey. I so admired his strength and his ability to slip seemingly effortlessly through the world; not as a knock-off wanna-be clone, but as himself. Decidedly misfit, but happy in his own skin.

I started sleeping in front of the stereo, Bowie vinyl platters piled high, listening through huge headphones, lulled to sleep by endless stories of struggle, (at times) defeat, and redemption. His poetic verses described cold, unfriendly worlds, damning events, uncaring accomplices, herculean trials–but they always had a glimmer of hope, a glimpse of light at the end of the tunnel, and a sense of purpose in a chaotic world unsympathetic to those who refuse to walk lockstep to the boringly predictable drumbeat.

Bowie_Serious_1Eventually, I, too found the stones to walk away from certain self-destruction, and into the light of the satisfaction of knowing that yes, I’m “different,” but it doesn’t matter what the world thinks of me, as long as I somehow make the world a better place for others. That’s really what it’s all about, isn’t it?

I had a setback a decade later, following a divorce and entering into an abusive relationship. Bowie’s music was forbidden in the new household, lauded as “fag crap,” and only the Rolling Stones (I wonder if Mr. Sensitive knew that Mick and David had had a dalliance) and ZZ Top were allowed. Thank God I had the presence of mind to hide away and hang onto my Bowie vinyl. I remained in that nightmare of a relationship for 5 very long years (queue up Bowie’s “Five Years” here) until I met the second hero of this maudlin story, my late husband Dan. But sadly, I had lost touch with Bowie’s world. I knew he had gotten married, and was still making music, but not much more beyond that. I had been too busy trying to survive by not poking the hornet’s nest.

Dan_Christmas_1999With Dan, another of life’s misfits and a kindred spirit, came a sense of renewal. Not only had I been given a second chance, but now a third, and I was not going to muck it up. He was truly my soul mate, the one that my bad choices put me on the right path to meet. He, too, was a Bowie fan, but we both were bogged down with work and trying to stay afloat financially. We moved from FL to GA and then back to FL, all in the span of 6 years. Life was busy, and something was wrong with Dan’s health, so it became challenging and a balancing act that consumed most of our free time. David Bowie suffered a heart attack in 2004, and Dan had his in 2005. Along with Dan’s attack came the grim news that he also had a rare and incurable vasculitis disease called Churg Strauss Syndrome. The two heroes in my life were forced to make life-altering decisions at almost the same time.

I made it my quest to ensure the remainder of Dan’s life had a note of quality and dignity. He died August 21, 2012 after a courageous struggle. Part of me died with him, but I am convinced his spirit walks with me, overseeing many of my decisions and helping me through the rough spots. David Bowie started releasing music a year later (2013) after a long hiatus to be with his beloved family. The floodgates opened for him and remained open until January 10 of this year, right up to the end. He and Dan shared something very special. They refused to accept death as a possibility, and especially not an end,  and for that reason both of their spirits shine brightly among the stars, still very much a part of this life and those who loved them.

Shortly after Bowie’s death, which was incredibly and personally devastating, I started replacing my vinyl, and ripping the CDs to my computer (which has a decent speaker system). I also filled in a few of the missing pieces and put together one helluva playlist. I have been sleeping to it every night (and playing it every day while working) for the past 3 months, and that has been what keeps the decades-old demons at bay.

During those moments when I can see clearly through the haze of grief, I consider myself very lucky, indeed, to have 2 such incredibly gifted and “different” angels watching over me for whatever time I have left on this world. After that, I will make it my eternal mission to follow them both to the ends of the universe.

When Heroes Die ~ David Bowie (January 8, 1947 – January 10, 2016)

Admittedly, I am adding my voice a bit late to the millions of others expressing shock and grief over the death of David Bowie (nee David Robert Jones) on January 10. My reasons include the inability to come to grips with my emotions and to make sense of the flood of confusion and depression that has washed over me, the likes of which I haven’t felt since losing Daniel, my beloved husband, over 3 years ago.david-bowie-174

There have been sad, hateful people who have belittled those of us in the throes of grief, not understanding the powerful hold this man held over us, and the positive influence he brought to lives wracked with hopelessness and despair. I feel sorry for those wastes of space and oxygen, for they will never know the joy that a lyric, the bend of a note, the croon of a voice, the sight of magnificent oddity can bring, when all a lost soul is looking for is some light toward which to travel with hopeful anticipation.

400full-david-bowieMy own story involves musical salvation from the darkest period of my life that included an inexplicable and debilitating addiction born of self-loathing. Something in Bowie’s music hit me at a time (late 70s/early 80s) when I could very easily have checked out on life in a drug-induced haze of oblivion. It spoke volumes to a lost soul who felt very different in an uncaring world. Suddenly, “different” was OK–acceptable and cool, even–and the earth shifted back on its axis, instead of tumbling haphazardly toward reckless destruction.

David Bowie taught me to have the courage to face down my demons, much as he had accomplished with his move to Berlin. He held my fragile psyche in his arms night after night, as I fell asleep in huge headphones, plugged into the stereo piled high with his vinyl platters, lulling me into fitful sleep and the healing needed to get back on track. His words lifted me, his music inspired me, and his lion-like courage was the model that I used to find my own way back to a world that no longer seemed as cold and full of rejection as I had once perceived it to be. I felt validated, renewed, and determined.

Mr. Bowie gave me back my life. And Daniel, when I met him years later, continued to anchor me and gently guide me along all the right paths. How can one damaged-yet-renewed soul thank another soul for a second chance? I’ve never felt that I adequately thanked either one of these brave and brilliant men during this physical phase of existence, but I hope to have another chance when I, too, begin life among the stars.david-bowie-2013-superpride

Rest in peace, David Robert Jones Bowie (and Daniel, my true love). You’ve both earned your wings and the opportunity to shine your love radiantly, beautifully, and eternally upon us all as we somehow attempt to navigate the rough seas of life without your physical presence. Every tear we cry waters the tree of your memory. Long may it grow tall and strong, sheltering us all with branches made of the endless beauty and joy you gave to the world.

When life interferes with good intentions…

December_21_2014-Sunrise_4It has been a painfully long time since I’ve written anything about “criminally underrated 80s music.” When I started this blog 10 years ago (3 years on Blogspot and 7 years here on WordPress), it was with the intention of showcasing at least one underrated 80s group/artist per week.

Then Dan got sick and passed away.

In all honesty, the same music I tried to systematically memorialize in words has gotten me through the past almost 3 years post-death, plus the several years prior spent being a caregiver. For that, I am deeply grateful. I am also so very grateful for DJs David MarsdenEd Cooke, musician/DJ Rob Stuart, and musician Bobbi Style. These cherished friends waved their collective magical wand of music to help keep me from being suffocated by my grief.

Music, to me, is as essential as food and water. For that reason alone, I know I have to try to get back in the saddle and write once more about 80s musicians and bands that were tragically overlooked when they deserved to be catapulted to success. I make no promises however, because I despise breaking them, but I will do my best to shake off the cobwebs and start writing again.

In the meantime, another way that I’m dealing with my grief is to dedicate a photoblog to Dan called “URSA Photography.” Photography has been another outlet of mine for many years. Since Dan helped me to hone my skills as an amateur photographer, I thought it made sense to dedicate my photography to him.

Thanks for your understanding and patience as I figure out my way through the maze of grief that has surrounded my entire life.

80s Music Rules ~ Criminally Underrated Artists/ Bands ~ Rob Stuart is Back with Electronic Dream Factory (EDF)

Excellent music never dies; sometimes it just goes away for a while. And, like a treasured loved one, its return evokes strong emotions of joy, relief, and a reconnection with the universe. That’s what’s happening here, folks. And, I am delighted to be the bearer of the fantastic news.

Rob Stuart first graced Rave and Roll’s pages exclusively as a featured artist back in November 2009. Earlier that year, I had published an article about his Toronto-based band SLAVE to the SQUAREwave, followed by a review of their then-latest smashing release, The Money Shot. Earlier this year (Feb. 2014, to be exact), I was privileged to announce Slave’s return with a jaw-dropping, in-your-face collection of tunes called Asphalt, Sex & Rock ‘N’ Roll. Now, I am thrilled to deliver the trifecta: Rob Stuart’s long-awaited re-emergence featuring an entire catalog of synthesizer-driven musical goodness from his band, Electronic Dream Factory (E.D.F).

Rob agreed to be interviewed so that I can share with you all a little bit about the beginnings of E.D.F., its evolution, the inspiration for the music, and the reason for the decision to re-release the catalog.

When did E.D.F. make its debut in the world?

EDF studios circa 1983

EDF studios circa 1983

Originally E.D.F was and still is the name of my home recording studio. I stole the name from a small British synthesizer company called Electronic Dream Plant which built a very cool monophonic synthesizer called “The Wasp.” My earliest recollection of my first home studio was back in 1981. I decided very early on in my “music career” that rather than pay other people to record in their studios, that I would just build my own and teach myself how to record, engineer and mix.

I was only sixteen back then and gear was incredibly expensive, so my first studio was nothing fancy. I would work three summer jobs to save up enough money to buy studio gear. I still remember purchasing the first real synth I ever owned, a Korg MS-20 for $595.00 at Steve’s Music Store in Toronto. I was so proud walking home with that synth tucked under my arm that day. It was once I started writing original music when I decided Electronic Dream Factory would also serve as a good band name.

Who were the original band members?

Greg Fraser, Rob Stuart, Rob Tennant (1992)

Greg Fraser, Rob Stuart, Rob Tennant (1992)

There have been many incarnations of the “band”version of E.D.F. Version 1.0 is me alone as a solo artist . Long time friend/musician/ artist, Greg Fraser was the first person to become an official member. Our first full-length self-titled album was just Greg and myself. Version 2.0 included Rob Tennant, who was the live drummer.

We soon added Maxx on guitar. Version 3.0 included Emerich Donath on stick bass and Rude Van Steenes on electronic percussion and vocals. I knew Rude back from the Vis-A-Vis days as I was an original member of that band .

EDF Version 3.0

EDF Version 3.0

Why synthesizers and electronica vs. guitars and…?

I’ve always been a synthesizer nut. Ever since I first heard early synth-based music like Tangerine Dream, Kraftwerk, Pink Floyd, Jean Michel Jarre, Vangelis, Throbbing Gristle, David Bowie, Brian Eno, Gary Numan, John Foxx, and early Human League, I knew I wanted to get into synthesizers.

First of all, they looked so cool and they could make sounds that you’d never heard before. That was really the appeal to me. I would spend hours messing around with my MS-20, plugging in cables, twiddling all the knobs, to come up with unique and different sounds. I’ve never been a person who is comfortable jamming in a rehearsal studio or in a band situation, which is why I don’t really consider myself a musician. I still don’t play that well, but writing, recording, and producing came fairly naturally to me. Writing music always was and still is a personal journey for me, so when MIDI came along it allowed me to create all parts of the music by myself, which I thrived on.

Having said that, I’ve always been a guitar fan, so when I couldn’t fake a guitar part by myself or find the right guitar sample I’d have to bring in a guitar player. Of course nothing can replace the thundering sound and look of a live guitar player on stage. That’s where Maxx came in. He was a cool-looking dude with a great head of hair and a killer guitar sound which added to the live element and gave the studio recordings a little extra grit.

Was E.D.F. mainly a studio band, stage band, or both?

I’ve always been a studio guy, but you have no choice but to play live if you want to promote your product seriously. It’s a great feeling playing your own music live with 3 or 4 other people on stage with the lights, smoke, and (hopefully) crowds of people in the audience grooving to your tunes; however, I also derive immense pleasure spending hours in my studio just writing or playing music by myself.

That’s were the “other” side of E.D.F comes from, as I also record and release ambient, chill out, new age music which I never intend to play live. Our finest moment was playing at Pine Knob in Detroit, Michigan in front of 10, 000 people for a big end-of-summer music festival.

What or who inspired the music?

The “who” is endless. See all the bands named earlier. Inspiration can come from anything, really. It could be a unique industrial sample, synth patch, drum and bass groove or simply a nice chord progression. It’s piecing all of those elements together that makes it fun and challenging.

Did E.D.F. originally get the airplay it deserved, and if so, by whom?

The first E.D.F release was actually a cassette-only; but, believe it or not, we used to get airplay on the radio. CFNY 102.1 in Toronto was the first station to play our music. That station was a huge supporter of local independent music, led of course by the one and only David Marsden who still plays my music to this day on his new station http://www.nythespirit.com. With open-minded people like David and the good folk at CFNY, the song “So, What of Tomorrow” ended up being a winner on a CFNY talent search contest and was released on a compilation CD, which to us at the time was unbelievable.

Other places that would play our music would be University radio stations like CIUT (University of Toronto), CKMS-FM in Waterloo, and CKLN (Ryerson University) who were always great supporters of ours. Local DJs like Ronno Box and Craig Beesack would play us at clubs like Catch 22 and local promoter Billy X was also an early supporter of E.D.F

What’s it like to translate a concept in your head into music that you share with the rest of the world?

It’s fun at first, but it can quickly become frustrating when the business aspect kicks in. I won’t even talk about the music business these days as no one has a clue what’s going on; but back in the early 90s there were still labels you could shop your product around to. For our first album we had some interest from TVT Records which had just signed Nine Inch Nails. For the second album, “Drama Dream” we signed a deal with a label in Montreal, which went bad. For the album “Number 3” I had a distribution deal with Toronto’s The Record Peddler. Financially that was probably the most success I had with an EDF album as they managed to get distribution deals in quite a few different territories worldwide.

What made you decide to resurrect EDF?

One word: “Tunecore.”

Tunecore is a great service that distributes your music around the world to digital music stores and streaming stations. It’s really cheap and allows you to keep 100% of the earnings. They really do get the music out all over the world! E.D.F had a pretty strong following in its heyday, especially in Europe.

As I mentioned above, the album “Number 3” was released and distributed internationally by The Record Peddler. I used to get royalty cheques from airplay I received from places like Germany, Belgium, Sweden, Norway and many other countries. Over the past few years I decided to post some old E.D.F videos on YouTube and found that people were actually looking for the old releases. It seemed like a perfect opportunity to re-master and re-release the whole collection in a new package.

Hence “Industrial Catalogue:” All four E.D.F albums in one, 64 songs in total, reasonably priced at $8.99. I did the same with my ambient/chillout/down-tempo E.D.F music, as well. Four albums in one package under the title ˜Noise Control” with 60 Songs in total.

Are there plans for live shows, and if so, where?

At this point, definitely not. SLAVE to the SQUAREwave takes up all of my spare time with live performances and recording. The last time E.D.F played live was at a rave in the middle of a farmer’s field in Oakville, a suburb of Toronto. This was actually where I met Colin Troy from S2TSW, as we were both playing at the rave that night. I was performing my more “techno” E.D.F material while Colin was doing his Smokin’ Jehovah project, which was a mix of middle eastern music and house. Really cool stuff. We chatted through the night about our love for Bowie, Roxy Music, and electronic dance music. We became instant friends and SLAVE to the SQUAREwave was born.

Do you have any examples of E.D.F. music online that people can preview?

Here’s some of my ambient/chill-out music taken from “Noise Control”:

Will the entire catalog be available for purchase? Where?

“Industrial Catalogue” is available via Amazonmp3.







“Noise Control (Vols 1 to 4)” is available via Amazonmp3.







Both albums are also on Spotify, Rdio, Shazam, iTunes, Google play, Wimp, Deezer, beats music and many, many more on-line stores.

Can folks buy single tracks?

Yup! Single tracks are the standard 99 cents.

Will this inspire you to go back into the studio and create new E.D.F. tracks?

E.D.F has never really stopped. It’s just come in many different shapes and forms over the past 32 years and will continue to evolve. I’m getting more and more into the chill-out/ambient stuff as I get older, so you can most likely expect some more music in that vein.

What’s next?

I’m considering releasing some music by a duo group I was in back in the mid 80s called “silent GREEN.” It was an ambient project where the music was ad-libbed and recorded live. I played synthesizer while Bruce Bentley played “ambient” guitar. Bruce and I also had a synthpop band called “Ear Candy,” which was another CFNY-supported band. Tragically, Bruce passed away last year, so I’m thinking of releasing it in his memory. Some of that music is pretty magical.

Thanks so much!

Thanks for your support. I love what you do. You don’t know how important things like this are to a band/artist. You’re really doing a great thing here and it is most appreciated. XOXO

80s Music (and sometimes 10s) Rules—Slave To The SQUAREwave Returns!

ASRR---CARAfter a long hiatus full of whispered rumors hinting at disbanding, retirement, everything Slave to the SQUAREwave fans absolutely did NOT want to hear, something very exciting has happened—a new album release and a hot party at the Hard Rock in Toronto on February 28, 2014 hosted by David Marsden. That sound you hear is the collective thud of gob-smacked jaws hitting the floor—hallelujah and praise the music gods!

The album—Asphalt, Sex and Rock ‘n’Roll—where to start? These Slave-starved ears were ecstatic with the long-awaited product of a flawless, long-standing, and highly successful collaboration between Rob Stuart and Colin Troy. If ever a duo were destined to create beautiful music together, this is it, folks. The result of long hours in the studio is a perfect, fun-filled collection of music that will both kick your ass and caress your soul.

What should you expect? Here’s my humble attempt to describe the pleasure trip this album delivers to its listeners. Strap yourself in, slide your headset on, and prepare to rumble—this is way better than the best road trip you’ve ever had in the mightiest muscle car.

If asked to describe the opening track Middle Finger in one word, “funkalicious” is the closest adjective that does it any justice.  It’s a combination of Max Headroom (without the stutter) meets the Funkateers that is the perfect warm-up for what’s in store along this welcome journey. Alive and Electric (Dedicated to Jodi) presents swelling synths and superb harmonies; it’s a truly pleasing blend of keys and strings that picks up speed and takes on a life of its own.S2TSW-Poster-01

Next up is Texan Thugs and Rock ‘n’ Roll, a play on words rife with fast cars, a thrumming beat, and tough-guy lyrics. Who could ask for anything more? Then, wafting through the headset is a slightly off-kilter intro to The Big South that lures the listener into a poetic bop-fest of beat-driven goodness.

Not for the faint of heart, Zombie charges off the starting line in a sheer frenzy. Anyone who can sit still while listening to the exceptional synths and snarling vocals of this party-in-your-ear track needs to check for a pulse because they just may well be a zombie. Then, when you think you have a handle on what’s feeding into your brain, the Dr. Who-esque intro of Poor Man’s Fight draws you smack-dab into the middle of the fray, while trippy, fun lyrics bind you up and hold you captive.

Who wouldn’t wish for a Seven Day Saturday Night? Here it is handed to you on a silver platter—the penultimate weekend escape, complete with kick-ass strings that transport you straight into the party-hearty environment that you crave. From there, the bass-heavy opening of Bump promises—and delivers—heart-stopping percussive goodness.

Early Stone Roses anyone? Montreal is another foray into trippy melodies, sexy organ, and seductive piano. After the shameless seduction has left you breathless, you are thrown in front of a revving engine like a beast out of control. Amazing Grace threatens to spin out wildly; miraculously, traction holds you firmly to the road and catapults you along the autobahn of life and love.

SLAVE-to-the-SQUAREwaveThe next track begs for Peace of Mind, but the direct and driven message is that it’s truly an elusive goal. To emphasize that point, Time is Running Out presents a frantic and breathless illustration that time for us is, indeed, running out. Perhaps we should stop and smell the roses?

Casino is a perfectly crafted analogy of love won and lost the hard way. Better luck the next time, baby. You see, everybody gets a little lucky sometimes. Destined to be a favorite, Alive and Electric (Rob’s Analog Electromix) would be ideally at home on any Ultravox collection. The vocals form a faultless partnership with synths that reach down into the soul and infuse a shot of divine life-sustaining energy.

Zombie (Sonix Mix) is a less-frenetic reprise of the un-dead anthem; a different spin on a great, rollicking song. Likewise, Texan Thugs and Rock ‘n’ Roll (Mad Flowers Mix) gives one last and different listen to what makes this collection a no-holds-barred masterpiece.

Slave to the SQUAREwave delivers raw, unbridled musical joy with each and every collaborative piece that they create. Don’t miss out on a chance to experience truly artistic genius at its very best, while Rob and Colin still have the passion to make it happen. And, if you are lucky enough to be in the greater Toronto area whenever the sun, moon and stars align in perfect combination, be sure to see the dynamic duo Rob Stuart and Colin Troy, along with supporting band members Doug Lea and Craig Moffitt, for a live performance.  It’s definitely on my bucket list.ASRR---Reel-to-Reel

A very limited supply of 200 Asphalt, Sex and Rock ‘n’Roll CDs will be available at the release gig at the Hard Rock Café (279 Yonge St, Toronto ON) gig on Feb 28, 2014. After that, an “Expanded Edition” will be added, which includes these outstanding bonus tracks: “India”, “Stereo Orthophonic High Fidelity Victrolis (SOHFV),” and “Alive & Electric (Kernel Chiptune Mix).” Also, for the first time, S2TSW are making The Money Shot (another absolute personal fave) available with all bonus tracks. Both albums are for sale starting Feb. 28, 2014 at the locations shown below.


Gary Numan ~ The Amazing 80s Icon is Back Stronger Than Ever

From the “it doesn’t get much better than this” department….Gary Numan’s live set presented by KCRW in its total exquisiteness.

This was merely a warm-up for the mini-eastern US tour he was about to embark on, and the later more extensive UK tour.

Unfortunately, I missed Numan in Sunrise, FL when he opened for Trent Reznor and Nine Inch Nails on October 30. I had a ticket, but circumstances way beyond my control prevented me from attending.

Next time…and there WILL be a next time, so I hear. Perhaps in March 2014.

Until then, there are always quality videos such as this–and my dreams–to sustain me.

With thanks to Andrew Lister for calling my attention to this video.

“Dead Son Rising” CD by Gary Numan with Ade Fenton ~ A Review

Please do not copy any portion of this article without the express written consent of the original author. Requests for permission may be left in the form of a comment on https://raveandroll.wordpress.com.

“Dead Son Rising” CD by Gary Numan with Ade Fenton – released September 2011

(Photo credits: Ed Fielding Photography http://www.edfielding.co.uk/)

Long awaited, Dead Son Rising is a theme-driven collection of electronica only the way Gary Numan, along with Ade Fenton, can create. Pounding and wistful, demanding and longing, tender and brutal, it is a study in impossible contrasts that work together so seamlessly as to be other-worldly. Words can only inadequately describe the music on this brilliant CD. If you love electronica/dark wave/industrial/goth, this is a must-have addition to your collection.

The swell of the synthesizers backdropped with breathing sounds and static is a perfect indicator of what is to come on this epic CD. Something sinister yet magical is in the air, and we are about to be willingly drawn into its merciless grasp.

Big Noise Transmission
Static noise and a driving rhythm section catapult us into a staccato mind-puzzle fraught with urgent, whispered pleas. Fully Numan-esque and gripping, this industrial anthem is a rock-solid testament to a direction Numan has whole-heartedly embraced over the past sixteen years. He shows us he has this genre fully mastered and ready for our listening pleasure. The abrupt end leaves us aching for more.

Dead Sun Rising
Numan uses his signature vocals against a deeply satisfying electronic backdrop. There is no one on this planet that could pull off an electronic ballad as successfully as Gary Numan. It is the perfect melding of lyrics, vocals, and synthesizers that captures the soul and transports it to another dimension.

When the Sky Bleeds, He Will Come
Numan and company use everything but the kitchen sink to deliver this masterpiece. Left to the devices of mere mortals, this song would result in listening confusion; in Gary and Ade’s more than capable hands, it is an extraordinary testament to pushing music to its limits and successfully achieving perfection.

For the Rest Of My Life
Don’t let the title/lyrics fool you. This is no tender love song. It borders on an obsessiveness that is both scary yet oddly compelling. It is similar to approaching an accident scene on the highway, and not being able to avert your eyes. In fact, it makes the listener want to hit the “replay” button; not only to hear it again, but to validate the message.

Not the Love We Dream Of
The stark piano notes that open this song are gorgeous. Enter Gary Numan’s voice, and what we end up with is a slightly off-kilter and purposeful story woven of disappointment and sadness. Who can’t relate to the melancholic message delivered here? We have all made mistakes that have devastated us. Numan and company put context to those feelings so we can unleash the demons within.

The Fall
Gary advises us how to deal with being shattered, even telling us point blank that the world still goes on even if we cannot. This is a perfect song to play when things are falling apart in our lives, if only for the rhythm, which makes it impossible to sit still long enough to feel sorrow.

We Are the Lost
The powerful and driving drumbeat that opens this track and anchors it throughout is a welcome diversion from the keyboards that usually take the limelight. Coupled with a Middle Eastern flair that Numan has previously and successfully brought into his music, this song resonates down into the listener’s toes. The textures are rich and colorful, like an open market full of hand-woven cloth displays.

For The Rest Of My Life (Reprise)
Like a path winding its way through a dark forest, we are gently guided to a clearing where Gary awaits us to remind us of the lost love he introduced us to earlier in our journey.

Into Battle
This track is a cacophony of sounds that starts out somewhat reminiscent of wind chimes in a stormy summer garden. But don’t be lulled into submission. The seemingly harmless wind chimes morph into the cadence and timber of something destructive and sinister. Even if you are on your guard, you are not going to be ready for the abrupt end. Signifying eternity, perhaps?

Not the Love We Dream Of (Piano Version)
Again, we are treated to the stark piano notes winding through the introduction to this song. Slowed down and purposeful, almost funereal, we are reminded of mortality, mistakes, and failed missions. It is definitely a song of introspection, but with the change-up in tone and tempo midway through, Numan informs us musically that there is definitely light at the end of the tunnel.

Dead Sun Rising (Early Version)
This version feels like it is played at a slower speed. Numan’s vocals are the focus with the lush accompaniment of electronica there merely to support the master as he works his craft. It is a delightfully welcome version of the title track, and the perfect close to a perfect CD.

Well done, Gary. You are a perfectionist, and our lives are enriched because of it.

Visit Gary Numan’s website: http://www.numan.co.uk/

“The Fall” official full-length promotional video via YouTube user GaryNumanOfficial:

“The Fall” live by Gary Numan – via YouTube user GaryNumanOfficial:

The Secret Life of Numanoids ~ Part Ten

Please do not copy any portion of this article without the express written consent of the original author. Requests for permission may be left in the form of a comment on https://raveandroll.wordpress.com.

Matt Jessup (UK) 

I have come to know Matt through FaceBook. He belongs to the legions of lifelong Gary Numan fans, discovering and falling hard for the unique look and sound Numan brought to the world at the very end of the 70s. Matt was kind enough to share his journey with us in his own words.

He writes:
I’ve followed Gary Numan since 1979. Unfortunately, I missed the Touring Principle tour, but was more than fortunate to see Teletour 80. I also consider myself one of the select few who actually witnessed the Wembley Farewell concert live. It was musical history in the making and I still can’t get over I was there. It was staggering!

I was drawn to Numan by his 1st appearance performing “Are ‘Friends’ Electric?” on Top Of The Pops. My jaw hit the floor and I made everyone shut up so I could hear it. At that time, there was too much agro going on with anarchy, punks and skinheads fighting and all the sh*t music it brought (some of which I quite like now, strangely). I hated it, and Numan was a breath of fresh air. And, with me being a keyboard player, after seeing the word JP4 on Telekon, I went down to the music shop and bought one. I never looked back.

My favorite albums will always be what I consider the “Fab 5:” Tubeway Army, Replicas,  The Pleasure Principle, Telekon, and Dance. They are time machines for me. I can tell who, what, where, and when, and in some cases, can still smell her perfume. Perfect memories to perfect music. I also adore Sacrifice.

I have many, many favorite tracks: “Metal,” “Exhibition,” “Subway”…too many to list.

My most exciting moments include Dad saying “yes” to the request of £15 to go to Wembley (that included coach there and back), and finding out Gary was using the sounds I sent him for The Pleasure Principle 2009. Also, every concert I attended, it was exciting meeting up beforehand, when Gary was at the height of fame. Southampton was a sea of black and red, and I still have the red belt harness I wore to Wembley.

I can’t actually say “I love Gary Numan” because that would make me gay – ha! I always wished I looked like him, though – great eyes. I can express my love for him only one way, by declaring his sheer brilliance, which comes down to his lyrics and the way his voice fits the words. The sounds. As I said before, his lyrics can drop you to your knees and the synth lines just lift you right up. A classic example is Andy Gray’s mix of “Prayer for the Unborn.” It’s a fact that at Troxy last year, the intro and the way “Down In The Park”  kicked in actually brought tears to my eyes. It was so massive. And in that instant, I was back watching him come out in that car on Teletour. Then, I was back in the room, and my son Josh, 21 looked at me nodding and said, “Oooh yeah…Numan’s still got it.”

I met Gary Numan in 1986. We chatted for 45 minutes. No illusions were shattered; “Numan” went offstage and I chatted to “Gary Webb,” if that makes sense. Now, I would dearly love for my 2 sons to meet Gary and shake the hand of the man who has shaped 30 years of my life. They are really up for that.

The Numan experience taught me song writing and sound creation. They were great years that brought great friends, and the most loyal fan base I’ve ever known.

Machinery Strange Dreams by Matt Jessup via YouTube user DarkAngelOne:

Me, I Disconnect From You (Gary Numan)
cover by Matt Jessup via YouTube user emjay946:

Are ‘Friends’ Electric? (Gary Numan)piano cover by Matt Jessup via YouTube user emjay946:

by Matt Jessup via YouTube user DarkAngelOne:

The Secret Life of Numanoids ~ Part Nine

Please do not copy any portion of this article without the express written consent of the original author. Requests for permission may be left in the form of a comment on https://raveandroll.wordpress.com.

Stephen Numan (Scotland)

What better way to show your love and admiration for someone than to take their surname as your own? I have been privileged with meeting Stephen Numan, who kindly agreed to share his secret life as a Numanoid on Rave and Roll. His story is a fascinating one, so sit back and enjoy.

Stephen writes:

There is history behind this. My mom divorced our abusive father when I was around four or five. My surname then was McAllister. When she got her divorce, she reverted to her maiden name of Boyle. She remarried many years later, and as a courtesy to my step-dad, I took on his surname of Nobbs. I took his name because he was great for my mom, and loved her and all us kids so much. Sometime later, I realized I wanted to take on the surname of Numan. I will explain later.

I have been a fan since first seeing Gary on The Old Grey Whistle Test back, I think, in 1978. What drew me to him was the projected persona: alien-like, emotionless, staring grey eyes, the eyeliner and make-up, and the utter loneliness I heard in his voice and lyrics.

Gary Numan’s music means EVERYTHING to me. I was 12 or 13 when I first heard his music. As a depressed loner at that time, I was searching for a hero, a figure I could look up to and possibly relate to. I saw that figure in Numan. I heard in his music and lyrics all the alienation and rejection I had felt throughout my childhood.

Now then, my favorite album – tricky – I would have to say Telekon, with The Pleasure Principle a close second. My fave song – EASY – “A Prayer for the Unborn” – just because of the story it tells about Gary and Gemma’s loss.

My fave Numan moment – his first live gig in Glasgow back in the day – it was amazing to see my hero on stage. I was in tears and utterly hysterical – oh the freedom of youth!

I think it’s obvious now my fave way to express my love for him; I changed my surname by deed poll 6 years ago. When I stayed in South Africa for 25 years, I imported ALL of his albums, singles and 12-inch singles. I had so many, I used to place them upon my living room walls as homage to the great man. I came back for a holiday in 1984 to see him on The Berserker Tour – great gig – I returned to SA with the album and a few 12-inch singles. I then painted the cover of Berserker on my living room wall – 10 foot by 10 foot, draped it in blue curtains with blue lighting from below – it looked awesome!

I’m a diehard Numan fan; always have been, and always will be. Obviously, I don’t like every track, and yet I love his ballads. “Don’t Call My Name” is truly heart-wrenching.

I have never met him, which makes me sad, and yet, maybe it’s meant to be that way. “Idolize at a distance.”

Whenever I need inspiration, whenever I need to be lifted from depression, whenever I need reminding of all that is and was great in my life – I play Gary Numan. Whenever I buy a new car or mp3 player – I ALWAYS play Numan on it first.

“Sleep By Windows” by Gary Numan via YouTube user themachman19691:

“A Prayer For The Unborn” by Gary Numan via YouTube user TheTelekon:

The Secret Life of Numanoids ~ Part Eight

Please do not copy any portion of this article without the express written consent of the original author. Requests for permission may be left in the form of a comment on https://raveandroll.wordpress.com.

Nik Sylvian (FaceBook persona)

The 80s decade spawned a lifetime of brilliant music that has lived long into the 21st century. Some of the more tenacious artists have made it to the present, still creating vital and brilliant music. Of course, Gary Numan is one such lesson in creative survival, and he is in good company along with artists like Peter Murphy, Bryan Ferry, Simple Minds, David Bowie, and Japan, to name a few.

Speaking of Japan, Numanoid Nik Sylvian also happens to be a deeply committed fan of David Sylvian. Both Gary Numan and David Sylvian were non-conforming pioneers during the most exciting musical decade in modern history, so it stands to reason Nik would be drawn to both of them. Let’s take a closer look at Nik’s fascination with Numan.

Nik has been a fan of Gary Numan’s for the past 30 years. There was something about Numan’s music that caught Nik’s ear three decades ago. When asked specifically what that “something” was, Nik responds, “Gary Numan talking about the future and how it would be like.”

When you love an artist, it’s very difficult to nail down a favorite creation. When asked to name a favorite album, a fan will instinctively answer, “All of them.” Nik is straightforward with his response, however, stating that “Telekon” is his favorite Gary Numan album. He quickly adds, “Also, I Assassin.”

Similarly, Nik points to “Are ‘Friends’ Electric?” as his prefered Numan single, but again adds, “And also, I Assassin.” There may be a trend here!

Exciting Numan moments for Nik include seeing Gary perform on Top of the Pops and The Old Grey Whistle Test. He’s in good company with many other long-term Numanoids who hold those same precious visions close to their hearts. As a final thought on Gary Numan, Nik shares, “He’s simply the best.” I know there are many people out there that would agree.

“Are ‘Friends’ Electric?” by Gary Numan – via YouTube user dashproductions:

“I Assassin” by Gary Numan – via YouTube user GaryNumanAlbums:

The Secret Life of Numanoids ~ Part Seven

Please do not copy any portion of this article without the express written consent of the original author. Requests for permission may be left in the form of a comment on https://raveandroll.wordpress.com.

Mark Kemp ~ UK

For the seventh installment of the series, Mark took the challenge to share his story about being a Numanoid with gusto. His enthusiasm for Gary Numan is genuine and infectious, and needs no further introduction from me.

Mark writes:
Gary Numan; a name that has not been far from my mind since the age of 12. Like most fans, it started one Thursday night watching “Top of the Pops.” The sound, the image….mesmerizing. I bought the single (AFE) but couldn’t afford Replicas, so I had to borrow it and tape it. My “Grease Soundtrack” cassette sounded far better with Numan taped over it!! (Piss off Travolta).

I had discovered “real” music. My Saturdays from then on consisted of looking through music magazines for anything I could find relating to Gary. I sometimes spent my entire pocket money on a magazine that contained one small picture of Gary no bigger than about 4 centimeters square!

I never made it to his first tour, but managed to see him on the Teletour, which to a young lad was mind-blowing. I AM IN THE SAME ROOM AS GARY NUMAN !!!!!! Been on every tour since then, the exception being the Wembley “final” concerts. London might as well have been the moon for a lad from up north with little money. The “holy grail” of a front row seat at a Numan gig was a long time coming. It finally came on the “Metal Rhythm” tour.

I believed that I had grown up a bit when it came to being a Numan fan. I was wrong. I was in fucking awe of the man. He stood just a few feet away and I had never even dreamt of getting this close to my hero. I held my hand out to him and mouthed, “COME HERE.” He mouthed back to me, “NO YOU COME HERE” knowing full well that I couldn’t get up on the stage. He was teasing me! He waited about 10 minutes, then he bent over and shook my hand. Yep, that was GARY NUMAN shaking MY hand!! I quickly handed him a pen and my tour programme, which he signed; I even had time to take his picture signing it.

I have met Gary on 4 occasions, the best being at the first convention held in London where I had my picture taken with him. My Numan collection still grows: rare records, concert recordings, more pictures, thanks to the wonderful eBay. Favourite song? Still CARS. After all this time I have never got bored of it. Album? Again, The Pleasure Principle is an outstanding piece of work that still sounds relevant even today: “Noise Noise,” “The Machman,” “Every Day I Die,” “This Is My House,” “We Are So Fragile,” “I Die You Die,” “Complex,” “I Dream Of Wires,” “My Shadow In Vain,” “Tracks,” and “Cry The Clock Said.”

Amazing talent. I will always prefer Gary’s older material, but the new stuff is still good; just not as good.

“Noise Noise” by Gary Numan via YouTube user patrickingham21:

“My Shadow In Vain” by Gary Numan via YouTube user dashproductions:

The Secret Life of Numanoids ~ Part Six

Please do not copy any portion of this article without the express written consent of the original author. Requests for permission may be left in the form of a comment on https://raveandroll.wordpress.com.


I met Caz a while ago through mutual friends on YouTube and MySpace where there is a large network of Numanoids. I have really had the pleasure of getting to know her better since we met up again on FaceBook.

Caz epitomizes what it means to be a loyal Numanoid. From her, I have learned that it’s OK to not be in love with everything that Numan does. What does matter is respect for the human being behind the stage personna, along with undying loyalty.

When asked how long she’s been a fan, I was not surprised to learn Caz has been Numanoid for over 31 years.

Caz answers the question, “What drew you to Gary Numan?” with, “Seeing him perform Are ‘Friends’ Electric? on the Old Grey Whistle Test programme.”

One word suffices when asked, “What does Numan’s music mean to you?” Caz responds automatically and plainly, “Everything. It’s there for me in good times and bad.”

Me: Can you name a favorite album?
Caz: OMG!! I can’t answer that!

Me: What about favorite songs—what would they be?
Caz: “Blue Eyes,” “Every Day I Die”…need I go on?

Me: Tell me about your most exciting Gary Numan moment.
Caz: Meeting him at the Last Great Warbirds Airshow.

Caz cites her photography as a way to express her love for Gary Numan. I have also seen pictures where Caz dresses up in full make-up and clothing resembling Numan’s Dance album cover in order to host live a show featuring Zara Band who play Numan’s music. In fact, here’s a video of her in action:

When asked if she has any other thoughts to share, Caz says wistfully, “May the God live forever, and I’d like to meet him once again.”

Amen to that!

“Blue Eyes” by Gary Numan/Tubeway Army via YouTube user garycee:

“Every Day I Die” by Gary Numan/Tubeway Army via YouTube user PatrickIngham21:

Marsbar Playlist ~ 10-16-2016

October 16, 2016

bigmars1David Marsden streaming live via the Internet. Join the fun and get some interesting (and always entertaining) information at the forum on Marsden Global.

Be sure to catch David and an eclectic collection of guest DJs streaming 24/7 on NYTheSpirit.com. Experience music unique to David Marsden and his tenure at CFNY-FM–music that defines not only an era, but a lifetime.

Typically, David presents a live show from 8PM until midnight on Saturday and Sunday nights; but, you just never know when he’ll pop in during the week.

Here’s the complete list, thanks to ever-cheerful and efficient late night assistance from JerusalemSlim:

Al Kooper – I Can’t Quit Her
Alphaville – Forever Young
Aphrodite’s Child – Marie Jolie
Badfinger – Carry On Till Tomorrow
Beth Hart and Joe Bonamassa – I’ll Take Care Of You
Big Audio Dynamite – Medicine Show
B-Movie – Switch On Switch Off (S.o.r. mix)
Blackmore’s Night – Diamonds And Rust
Bob Dylan – Lay Lady Lay
Boomtown Rats – Dave
Buddy Holly – True Love Ways
Clash – Jimmy Jazz
Colourbox – Arena
David Gilmour – Faces Of Stone
Dee Long – Good Night Universe
Donovan – Sunshine Superman
Dr. Draw – Danny Boy
Dream Academy – Life In A Northern Town
Electric Light Orchestra – Eldorado Overture
Elton John – Funeral For A Friend/Love Lies Bleeding
Enya – And Winter Came…
Frank Zappa – Watermelon In Easter Hay
Jags – Last Picture Show
Japan – Rhodesia
Jean Michel Jarre & Vangelis – Metallic Rain
Jeff Beck Group – Blues Deluxe
Jeff Buckley – Hallelujah
John and Beverley Martin – Stormbringer
John Cale/Brian Eno – Spinning Away
Leonard Cohen – You Want It Darker
Madness – Yesterday’s Men
Mark Knopfler – Lights Of Taormina
Midge Ure – If I Was
Mike Batt – Don’t Let Me Be Misunderstood
Nick Cave – I’m Your Man
Pink Floyd – Atom Heart Mother
Porcupine Tree – The Start Of Something Beautiful
Pretenders – Don’t Get Me Wrong (partial)
Raine Maida – Not Done Yet
Rick Wakeman – Anne Boleyn ‘The Day Thou Gavest Lord Hath Ended’
Rob Stuart – A Beautiful Thing
Slave to the SQUAREwave – Casino
Soft Cell – Tainted Love
Steve Hillage – Radio
Willy Deville – Across The Borderline


Marsbar Playlist ~ 10-15-2016

October 15, 2016

bigmars1David Marsden streaming live via the Internet. Join the fun and get some interesting (and always entertaining) information at the forum on Marsden Global.

Be sure to catch David and an eclectic collection of guest DJs streaming 24/7 on NYTheSpirit.com. Experience music unique to David Marsden and his tenure at CFNY-FM–music that defines not only an era, but a lifetime.

Typically, David presents a live show from 8PM until midnight on Saturday and Sunday nights; but, you just never know when he’ll pop in during the week.

Here’s the complete list, thanks to much-appreciated post-10PM assistance from TheBarron:

69 Eyes – Beneath The Blue
Art Of Noise feat. Duane Eddy – Peter Gunn
Avicii – Waiting For Love
Beloved – Sweet Harmony
Brandon Flowers – I Can Change
Bronski Beat – Smalltown Boy
Chameleons – Swamp Thing
Colin James – Why’d You Lie?
Cowboy Junkies – Sweet Jane
Cut Copy – Lights & Music
David Usher – Black Black Heart
Dee Long – Good Night Universe
Delerium – Lost And Found (Blank And Jones Late Night Remix)
Ellie Goulding – High For This (Kygo Remix)
Empire Of The Sun – We Are The People (Wawa Club Remix-UK edit)
Eric Clapton/Dire Straights – Wonderful Tonight
Heaven 17 – Let Me Go
Holly Johnson – Ascension
Icehouse – Great Southern Land
Motors – Love And Loneliness
NOFX – New Happy Birthday Song
Parade – Go West
Pet Shop Boys – Go West (1992 12” Mix)
Pete Shelley/Richard X – Homosapien (Dub)
Peter Murphy – Final Solution (Club Mix 2)
Peter Schilling – Major Tom
Pink Floyd feat. Stéphane Grapelli – Wish You Were Here
Pink Project – Disco Project
Powder Blues Band – Thirsty Ears
Prince – Rocknroll Loveaffair
Propaganda – The Murder Of Love
Psychedelic Furs – Heartbeat
Queen – Flick Of The Wrist
Redbone – The Witch Queen Of New Orleans
Rob Stuart – A Beautiful Thing
Shiny Toy Guns – Carrie
Sisters Of Mercy – Gimme Shelter
Slave To The SQUAREwave – Johnny 3:16
Sly And The Family Stone – I Want To Take You Higher
Tom Robinson – Atmospherics: Listen To The Radio
Tommy James & The Shondells – Draggin’ The Line
Twenty One Pilots – Heathens
Ultravox – The Voice
War – Slippin’ Into Darkness
Waterboys – Independence Day
Yello – Vicious Games

Marsbar Playlist ~ 10-9-2016

October 9, 2016

bigmars1David Marsden streaming live via the Internet. Join the fun and get some interesting (and always entertaining) information at the forum on Marsden Global.

Be sure to catch David and an eclectic collection of guest DJs streaming 24/7 on NYTheSpirit.com. Experience music unique to David Marsden and his tenure at CFNY-FM–music that defines not only an era, but a lifetime.

Typically, David presents a live show from 8PM until midnight on Saturday and Sunday nights; but, you just never know when he’ll pop in during the week.

Here’s the complete list, including David’s Canadian Thanksgiving Spoken Words and Music hour. David treated us all to an extra hour in honor of the holiday, and for that WE are thankful. Many thanks to TheBarron for handling the post-10PM list.

Aaron Neville – Respect Yourself
Acoustic Strawbs – You And I (When We Were Young)
BB King/Marty Stewart – Confessin’ The Blues
Beck – Stormbringer
Bee Gees – Holiday
Blackie & The Rodeo Kings – I’d Have To Be A Stone
Cocteau Twins – Know Who You Are At Every Age
Cowboy Junkies – Sweet Jane
David Marsden – Canadian Thanksgiving Spoken Words And Music
Dee Long – Good Night Universe
Depeche Mode – Stranglove (Tim Simenon/Mark Saunders remix)
Eddie Cleanhead Vinson – They Call Me Mr. Cleanhead
Electric Flag – Killing Floor
Elvis Costello – Alison
Enya – Trains And Winter Rains
ERA – Don’t You Forget
Eric Clapton – My Father’s Eyes
Front Line Assembly – Civilization
Genesis – The Carpet Crawlers
Godley & Creme – Snack Attack
Ian McCulloch – Jealous Guy
Jake Bugg – Broken
John Lennon – Imagine
Johnny Cash – Hurt
Justin Hayward – Forever Autumn
Keef Hartley Band – Born To Die
Klaatu – Doctor Marvello
Lou Reed – Perfect Day
Louis Armstrong – What A Wonderful World
Luciano Pavarotti/U2/Passengers – Miss Sarajevo
Magna Carta – Lord Of The Ages
Menahan Street Band/Charles Bradley – Lovin’ You, Baby
Mick Jagger – Sweet Thing
Mighty Wah! – Story Of The Blues Pts. 1&2
Moody Blues – Nights In White Satin
Neil Young – Harvest Moon
Nick Cave & The Bad Seeds feat. Kylie Minogue – Where The Wild Roses Grow
Parliament – Give Up The Funk (Tear The Roof Off The Sucker)
Peter Godwin – Baby’s In The Mountains (extended mix)
Peter Murphy – Cuts You Up
Pink Floyd – More Blues
Pink Floyd – Shine On You Crazy Diamond
Porcupine Tree – Collapse The Light Into Earth
Project Pitchfork – Karma Monster
Rob Stuart – A Beautiful Thing
Slave to the SQUAREwave – My Beautiful One
Snowy White & Peter Green – In The Skies
Stevie Ray Vaughn – Texas Flood
Strange Advance – Worlds Away
Strawbs – Autumn/Heroine’s Theme/Deep Summer’s Sleep/The Winter Long
Talking Heads – And She Was
Tangerine Dream feat. Jon Anderson – Loved By The Sun
Tanita Tikaram – I Love You
Thievery Corporation – Sound The Alarm
Travelling Wilburys – Handle With Care
Twenty One Pilots – Heathens
Van Morrison – When The Leaves Come Falling Down
Van Morrison/Mark Knopfler – Irish heartbeat
Waterwalk – Never Leaving Eden Again
Whitley – More Than Life

Marsbar Playlist ~ 10-8-2016

October 8, 2016

bigmars1David Marsden streaming live via the Internet. Join the fun and get some interesting (and always entertaining) information at the forum on Marsden Global.

Be sure to catch David and an eclectic collection of guest DJs streaming 24/7 on NYTheSpirit.com. Experience music unique to David Marsden and his tenure at CFNY-FM–music that defines not only an era, but a lifetime.

Typically, David presents a live show from 8PM until midnight on Saturday and Sunday nights; but, you just never know when he’ll pop in during the week.

Here’s the complete list, thanks to late night help from JerusalemSlim. No, I did NOT get my days mixed up. TheBarron and JerusalemSlim pulled a switcheroo this weekend, and Barron will be on late night duty tonight (Sunday).

69 Eyes – Gothic Girl
Art Of Noise feat. Tom Jones – Kiss
Bastille – Good Grief
Beatles – Ain’t She Sweet
Big Supreme – Don’t Walk
Blancmange – Blind Vision (12″ mix)
Cranberries – Ode To My Family
Cure – The Caterpillar (Flicker mix)
David Bowie – China Girl (extended remix)
Dee Long – Good Night Universe
Deftones – Drive
Depeche Mode – Route 66
Depeche Mode – Route 66
DJ Champion – No Heaven
Electronic Dream Factory – So, What Of Tomorrow (original version)
Empire Of The Sun – Walking On A Dream
Fall Out Boy – Thnks For Th Mmrs (Lenny B Club remix)
Frankie Goes To Hollywood – Snatch Of Fury (Stay)
Frankie Goes To Hollywood – Welcome To The Pleasuredome
Frankie Knuckles feat. Jamie Principle – Because Of Your Love (Groove Junkies Sexy Spoken Word Dub)
Hooverphonic – Anger Never Dies
Isley Brothers – Shout
John Fred & His Playboy Band – Judy In Disguise
MC 900 Ft Jesus – While The City Sleeps
Members – Radio
Moral Support – Living With Passion
Motels – Total Control
Muse – Uprising (King Cornelius mix)
My Morning Jacket – Look At You
New Order/Depeche Mode – Bizarre Love Triangle/Strangelove (mash-up)
Parachute Club – Rise Up (Extended Dance Version)
Paul Weller – You Do Something To Me
Peter Murphy – All Night Long (extended)
Psychedelic Furs – Sister Europe
Public Service Broadcasting – ROYGBIV
Rick Derringer – Rock & Roll Hootchie Koo
Rob Stuart – A Beautiful Thing
Shiny Toy Guns – Wait For Me
Simple Minds – Waterfront (12″ mix)
Slave To The Squarewave – Casino
Spoons – Nova Heart (Dark Before Dawn mix)
Tubes – What Do You Want From Life
Ultravox – White China
Zee – Confusion (Extended Mix)

Marsbar Playlist ~ 10-2-2016

October 2, 2016

bigmars1David Marsden streaming live via the Internet. Join the fun and get some interesting (and always entertaining) information at the forum on Marsden Global.

Be sure to catch David and an eclectic collection of guest DJs streaming 24/7 on NYTheSpirit.com. Experience music unique to David Marsden and his tenure at CFNY-FM–music that defines not only an era, but a lifetime.

Typically, David presents a live show from 8PM until midnight on Saturday and Sunday nights; but, you just never know when he’ll pop in during the week.

Here’s the complete list, thanks to late-shift assistance from JerusalemSlim:

Al Kooper – I Love You More Than You’ll Ever Know
Aretha Franklin feat. Mavis Staples – Oh Happy Day
Band – The Night They Drove Old Dixie Down
Band feat. Dr. John – Such A Night (Concert Version)
Barclay James Harvest – She Said (live)
B.B. King and Etta James – There’s Something On Your Mind
Beth Hart and Joe Bonamassa – I’ll Take Care Of You
Chicago – Colour My World
Colin James – Freedom
Common and John Legend – Glory
David Bowie – Lazarus
Dee Long – Good Night Universe
Delerium feat. Matthew Sweet – Daylight
Deodato – Also Sprach Zarathustra
Doors – The Changeling
Dr. John – Lay My Burden Down
Elton John – Someone Saved My Life Tonight
Elvis Presley – Black Star
Eric Clapton – My Father’s Eyes (live)
Etta James – You Can Leave Your Hat On
Frank Zappa – Dirty Love
Freddie Mercury – Time (Nile Rodgers 1992 Remix)
Gary Moore – Story Of The Blues
Howard Devoto – The Rainy Season
Jason Collett – Vanderpool Vanderpool
Jefferson Airplane – White Rabbit
John Lee Hooker & Bonnie Raitt – I’m In The Mood
Jools Holland and his Rhythm & Blues Orchestra – When Did You Get Down From Heaven
Jordan John – George & Sylvester (The Funky Nation)
Joywave – Traveling At The Speed Of Light
Koko Taylor/Buddy Guy/Albert King – Born Under A Bad Sign
Kygo feat. Ella Henderson – Here For You
Kygo feat. Parson James – Stole The Show
Leon Russell – This Masquerade
Long John Baldry – Mr. Rubin
Lucas DiPasquale – Speech
Lukas Graham – Mama Said
Nick Cave & The Bad Seeds – God Is In The House
Norah Jones – Carry On
Ozark Mountain Daredevils – Jackie Blue (Re-Recorded)
Peter Gabriel & Kate Bush – Don’t Give Up
Pink Floyd – The Dogs Of War
Rob Stuart – A Beautiful Thing
Rod Stewart – Only A Hobo
Roxy Music – More Than This
Shiny Toy Guns – Carrie
Shiny Toy Guns – Wait For Me
Spirit – Nature’s Way
Taj Mahal – Honky Tonk Women
Ultravox – Vienna

Marsbar Playlist ~ 10-1-2016

October 1, 2016

bigmars1David Marsden streaming live via the Internet. Join the fun and get some interesting (and always entertaining) information at the forum on Marsden Global.

Be sure to catch David and an eclectic collection of guest DJs streaming 24/7 on NYTheSpirit.com. Experience music unique to David Marsden and his tenure at CFNY-FM–music that defines not only an era, but a lifetime.

Typically, David presents a live show from 8PM until midnight on Saturday and Sunday nights; but, you just never know when he’ll pop in during the week.

Here’s the complete list, thanks to post-10PM assistance from TheBarron:

999 – Homicide
Art Of Noise feat. Tom Jones – Kiss
Billy Idol – White Wedding
Bob Geldof – This Is The World Calling
Chainsmokers – #Selfie
Chvrches – Zvvl
Cure – Love Song
Dee Long – Good Night Universe
Depeche Mode – Barrel Of A Gun (Underworld Soft Mix)
Echo & The Bunnymen – The Killing Moon
Empire Of The Sun – Without You
Firesign Theater – Station Break
Goldfrapp – Ooh La La
Gowan – A Criminal Mind
Hooverphonic – Anger Never Dies
Hunter Valentine – She Only Loves Me When She’s Wasted
Iggy Pop – Play It Safe
Interview – St. Jean Wires
Johnny Clegg & Juluka – Scatterlings Of Africa
KLF – Last Train To Transcentral (Razormaid mix)
Leonard Cohen – You Want It Darker
Mighty Lemon Drops – Inside Out
Neurotic Wreck – The Rain
New Order – Tutti Frutti
New Pornographers – Use It
Peter Gabriel – Big Time (extended remix)
Peter Murphy – I’ll Fall With Your Knife
Project Pitchfork – Timekiller (And One remix)
Propaganda – Duel (Bittersweet)
Queen – These Are The Days of Our Lives
Rammstein – Sehnsucht
Re-Flex – Politics Of Dancing
Rob Stuart – A Beautiful Thing
Roger Waters – Perfect Sense (Pt. 1 & 2)
Sigue Sigue Sputnik – Love Missile F1-11
Silversun Pickups – Growing Old Is Getting Old
Simply Red – The Air That I Breathe
Stranglers – Always The Sun
Tebey – Old School
Timelords – Doctorin’ The Tardis (12 inch mix)
Touch And Go – Straight To…Number One (Dreamcatcher’s Mix)
Transvision Vamp – Velveteen
Underworld – Rez
Yello – Ocean Club

Marsbar Playlist ~ 9-25-2016

September 25, 2016

bigmars1David Marsden streaming live via the Internet. Join the fun and get some interesting (and always entertaining) information at the forum on Marsden Global.

Be sure to catch David and an eclectic collection of guest DJs streaming 24/7 on NYTheSpirit.com. Experience music unique to David Marsden and his tenure at CFNY-FM–music that defines not only an era, but a lifetime.

Typically, David presents a live show from 8PM until midnight on Saturday and Sunday nights; but, you just never know when he’ll pop in during the week.

Here’s the mostly-complete list, thanks to ever-efficient post-10PM help from JerusalemSlim:

Aaron Neville – Respect Yourself
Beth Hart and Joe Bonamassa – I’ll Take Care Of You
Brandon Flowers – I Can Change
Bravestation – 13th Floor
Brian Eno – Here He Comes
Bruce Springsteen – The Ghost Of Tom Joad
Chris De Burgh – Spanish Train
City Boy – The Violin
Cranberries – Ode To My Family
David Bowie – Life On Mars?
David Bowie & Annie Lennox – Under Pressure (Live)
David Marsden – Delacroix Computer Systems
Dee Long – Good Night Universe
Delerium – Metaphor
Dr. John – Goin’ Back To New Orleans
Dylans – Planet Love
Fashion – Love Shadow
Father John Misty – Nancy From Now On
Fujiya & Miyagi – Vagaries Of Fashion
Jake Bugg – Broken
James Bay – Let It Go
Jools Holland And Huey (Fun Lovin’ Criminals) – Fly Me To The Moon
Kinks – Lost & Found
KLF – Last Train To Transcentral (Razormaid mix)
Leonard Cohen – You Want It Darker (x2)
Leon Russell – A Song For You
Marianne Faithfull – The Blue Millionaire (Long 12 inch)
Moby – Why Does My Heart Feel So Bad
Norah Jones – Bessie Smith
Pink Floyd – Grantchester Meadows
Pink Floyd – Wish You Were Here (remix)
Prince – Purple Rain
Psychedelic Furs – President Gas
Rare Bird – Sympathy
Rob Stuart – A Beautiful Thing
Robbie Robertson – Somewhere Down The Crazy River
Rolling Stones – Fool To Cry
Rough Trade – Crime Of Passion
Slave To The SQUAREwave – Healing Hands
Strawbs – Queen Of Dreams
T. Rex – Rock On
Tangerine Dream – Snow On Angel’s Feather
The The – Kingdom Of Rain
Thomas Dolby – One Of Our Submarines
Tim Curry & The Rocky Horror Picture Show – Sweet Transvestite
Touch and Go – Straight … To Number One
Troggs – Love Is All Around