Show Notes
Disco didn't suck. And the Turntable welcomed its first guest to prove it. Paul Burke was THERE (by which we mean Wembley Market). Tone and (regular) Paul were giddy with excitement. Please try listening.
More from The Twilight Turntable
Inside the mind of Mark Hollis we go as Tone sets Paul Talk Talk's 1986 album as homework. Over a year in the making. More experimental than their earlier output and more poppy than their future work. Plenty of respected musicians who were afforded "spontaneity and freedom" to create a "very textured arrangement". What will Paul make of it all? To find out...please try listening.
Mercurial and influential, Television's 1977 album gets a spin on the Turntable. Avant-garde? Certainly. Prog? Possibly. Punk? Not on your Nelly. Which of Tone's favourite bands led him to discover Tom Verlaine and friends? What was the deal with nicking members of Blondie? And how much will Paul enjoy all this glorious madness? For the answers...please try listening.
A very special episode as we welcome author David to the show. Together, we look at his new book - You Won't See Me - which documents the Beatles' ill-fated visit to the Philippines in 1966. It was just a couple of weeks before the release of Revolver. But why was their live set so markedly different from their studio work? What was the story of the then-biggest pop concert in history? And what were the consequences of the band's supposed snub of Imelda Marcos. To find out...please try listen...
In the words of Jayne Middlemiss on Top of the Pops, "Mel, Shaz, Nicki and Nat are gonna sing for wuh". What will Paul make of Tone's offering? Why were there so many producers on the album? How did media attention and intra-group relationships affect the band's trajectory? And what was the All Saints-related incident that prompted Madonna to drop William Orbit (RIP)? For the answers to at least several of these questions...please try listening.
Tone offers up Belle & Sebastian's 1996 album for consideration at The Turntable. What will Paul make of the inner workings of Stuart Murdoch's mind? How did Murdoch's chronic fatigue syndrome affect the music? And what kind of 'pop' is it anyway: 'baroque', 'chamber', 'twee'? To find out the answers to at least some of these questions...please try listening.