#toyah radio

[toyahinterviews]

ABSOLUTE 80s WITH CHRIS MARTIN 22.6.2023

CHRIS MARTIN: You're joining us again for “My Absolute 80s”. I'm stoked beyond belief to say that Toyah is my guest this week. Toyah, welcome TOYAH: Thank you so much. It's really good to be here CHRIS: Is this a kimono you're wearing? It’s beautiful! TOYAH: It is really beautiful. I bought it about four years ago. I used to live in Menton on the border of France and Italy. It was on a street stall and it was so out of place four years ago and now it's totally in fashion. I'm really glad I have it CHRIS: Lovely silky green floral thing. You look absolutely fantastic. This show in front of us ... If you're joining us for the first time on "Absolute 80s" every song you hear - Toyah picked them. Every single one for the next hour     This is the joy of the show for me, getting a glimpse inside our favourite artist's musical tastes and also to talk about their lives in the 80s. Toyah, shall we begin with song number one? I'm going go for the rather chipper Depeche Mode. “Just Can't Get Enough”. It is a party starter, isn't it? TOYAH: It is a party starter but the thing about Depeche Mode is they always have quite a serious angle within their songs and within their videos. They're so amazing live. I've only ever watched DVDs of them live. I've never managed to get to see them actually live   I have so much respect for everything they've done, especially in the 80s. They were one of the first bands to hire their own stadiums and play in America. They didn't think anyone would come and the whole of America came. That really was the beginning of their megastardom. So I adore everything about Depeche Mode DEPECHE MODE Just Can't Get Enough   CHRIS: That was back in 1981. What's going on in your head? Where does that take you back to? TOYAH: Well, I ruled the world in 1981. The most successful female singer of the year and in 1982, because of that, I won Best Female Singer at what was the Brit Awards back then. It was an incredible year for me. All my dreams came true. I had my first Top Of The Pops     I was touring pretty much non-stop. I can remember doing a performance on Top Of The Pops, which always went out live, and having a little prop plane waiting at a private airport. Flying over to Belgium and doing a TV the next day and flying back   It was a remarkable time and it was a very different time. Culturally and technically. We didn't have mobile stones. We relied on everything working on dates being set in the calendar and just turning up. There was no way of taking a plane over to Munich to do a show that we could check in on the way. We just arrived there. We did these enormous festivals and came back. It was very exciting. Very, very young. We were full of energy. We ruled the world 

CHRIS: I love the stories of Live Aid where they had the countdown clocks - obviously there was so many acts to get through quickly. Everyone had to be regimented. “Don't start “Bat Out Of Hell” with three minutes to go whatever you do”

TOYAH: I beg for those countdown clocks because even on festivals today, they say "you've only got 45 minutes, you've got to be off". And if they haven't put a countdown clock on the stage you can't look at your watch while singing to 30 000 people. It's rude (Martin laughs). We rely so much on basic things CHRIS: I wonder if you could just go on the mic and say "anyone got the time? I have no idea where we are right now" TOYAH: Oh, I've done that! (Martin laughs) I often work with backing bands I've never worked with before. You run onstage. Everyone has learned your arrangements. You go, this is a “Echo Beach!” and they start playing “It’s A Mystery” and you think oh, my God! What setlist are they using?! I had that three weeks ago. I had to turn to the bass player and say "could you tell me what song you're doing next?" It does happen! CHRIS: Oh, my goodness me! OK, song number two. Let's stay in the early part of the decade. I'm enjoying this a lot already. Duran Duran, "The Reflex" TOYAH: Whooo (excited) DURAN DURAN The Reflex   CHRIS: Duran Duran. Were they one of those bands that you looked at their style and went "it doesn't matter what you release. You just look amazing. You're going to be successful"? TOYAH: We're all Birmingham people. I had a show called “Look! Here!” at Pebble Mill and gave Duran Duran their first TV appearance. I was a presenter on this show and became a very famous singer while I still had this series. So I gave Duran Duran their first TV appearance with “Planet Earth”. They were bloody beautiful back then! They were just so stunningly beautiful   But what none of us realised was they would take the leap from, what was the normal number one circuit in rock, your Hammersmith Apollo's, all of those big theatres - they would take the leap into stadiums. They did it and they just have never looked back and they deserve every moment of success. They're great songwriters, they are a really good team. That team has stayed together. And they're lovely people CHRIS: Next song we are up to Liverpool, Echo and The Bunnymen. Have you got particularly fond memories of the band or of Liverpool itself? TOYAH: I don't know the band. I've never met the band or worked or been on the bill with the band. But “The Killing Moon” is an absolute cultural classic. Again, I have so much respect for the longevity of this band. Their audience is totally dedicated and they're winning new audience all the time   Some of my most exciting experiences as a live performer have been at Liverpool. I remember once turning up to do an interview for Radio City and we couldn't get to the station because there were crowds everywhere. I actually wound down my window in the car and I said “we're trying to get to such and such street”, but we can't. What's going on?" and the whole crowd turned around and said “we're waiting for you!” (Chris laughs)     They closed the streets, there was thousands of them. I had to be led by firemen through this crowd into a building, up onto the balcony and I had to go out on the balcony and wave to everyone so that the streets might clear and the traffic could continue to move around Liverpool

ECHO & THE BUNNYMEN The Killing Moon   CHRIS: Toyah was just regaling us with stories of being mobbed in Liverpool. Echo and The Bunnymen. That song - it's an exercise in space, isn't it? TOYAH: People often talk about the simplicity of the right ingredients. The Rolling Stones has it. Every song that they've ever released is on the surface simplistic but actually it's brilliant. You've only got the necessary ingredients to make a Michelin star meal and “The Killing Moon” is one of those songs   It has everything that is needed and nothing more. But also what is very classic about it is the video. The video is something that helps you remember the song. It's about space and surrealism and it's absolutely perfect CHRIS: Speaking of space surrealism and a fantastic video - should we go to David Bowie's “Ashes to Ashes” next? TOYAH: When I first heard this, the sound design of the song is so amazing. And then Bowie was very clever on the video to use the biggest cult people in London at the time, which was Steve Strange and all of the new romantics that were important. Everyone on that video was an absolute trend leader in London at the time   It’s a beautiful video and this is what Bowie was very clever at. The song itself refers back to “Major Tom”, which was his first major hit. (The lyrics) “Ground Control to Major Tom”, (in) “Space Oddity” (1969) It was such a clever link. Clever song. I've been in love with it ever since. It's a song that takes me right back to the 80s more than any other song DAVID BOWIE Ashes To Ashes   CHRIS: There’s a sort of thread to the songs you’ve chosen. Pop but there's a darkness to them. Tthat is a real sweet spot for me in music where the darkness lies in pop. The minor chords, the threat   There is a brightness too though, to some of your choices. I think this next one is a bit of marketing genius from Prince. It was released about a week and a half before Valentine's Day. Did you know that? TOYAH: No, I had no idea at all! CHRIS: “Kiss”. Clever swine! TOYAH: I believe that he didn't like this song. I believe that he felt it was too obvious. But my theory is that sometimes the most obvious is the cleverest. And as you say this was released just before Valentine's Day The glorious thing about this song is everyone wants to dance to it. Whether you're a heavy metaller, or you're a new romantic - everyone wants to dance to this song. Prince may have believed it wasn't the best song he ever wrote but it's one of the most memorable he ever wrote   It's just so simple. “All I want is your kiss”. It’s one word, and it even has only one syllable. I'm a lyricist. How do you make a word like kiss work? It's on the downbeat, it's just kiss. It's simple. It's a brilliant piece of songwriting PRINCE Kiss     CHRIS: We’ve talked about what it’s like to be Toyah in respects of presenting and songwriting and the many facets to your life. I have to say your voice has been echoing through my house more than I expected this year. My little boy, who's four, has found “Brum”! (below) (Toyah laughs) I sat down with him thinking I’ve not watched this in years. Wait a minute! They know that voice!  

TOYAH: (puts on the narrative voice of “Brum”) “It’s a big day in the city! Brum brum brum!” (Chris laughs) I loved doing that series! It was created by Anne Wood and she went on to create “Teletubbies”. I was the narrator at the top of “Teletubbies” as well. I love doing voiceovers. I enjoy it so much! CHRIS: I enjoy it. I've never had any designs on being an actor in my life. But if someone says "be this type of person, be this character" - you can just have fun in 30 second bursts. Just pretending and playing. It is pure joy, isn't it? It's escapism TOYAH: I absolutely adore acting. It's something I could never ever walk away from. I love working with camera and the whole family of a crew. It's very rewarding and very intense, but you lose yourself in it     It's exactly the same experience for me in front of the microphone on stage. It's the only moment where no one can send me an email. No one can phone me. No one can ask me a favour. It's my time and I really love it CHRIS: As somebody, who was quite young in the 80s, I would love to hear your perspective on George Michael and him going solo after Wham! Obviously artists do this all the time. Did you look at him and think yeah, he's got every ounce of star quality. He cannot be anything other than an enormous success ... or was there any doubt? TOYAH: It's a very good question because  Wham! was a very beautiful boy band with Michael and Andrew. They were fantastic at what they did. I slightly regret that I never appreciated Wham! because I was a punk rocker - but I do now. We were encouraged to take the mickey out of each other. I reviewed Wham! on one of their last gigs for Radio One at Hammersmith Odeon. I was a great show. It was really a beautiful show     Halfway through it the curtains closed and George came out through the curtains and sang “Careless Whisper”. It blew me away. Because at that point you knew he was going to be a world superstar. That was my review. I said “Careless Whisper” is the song that's going to make him a solo artist. As time went on, as the 80s moved into the 90s he started to do the most extraordinary work. But he also started to become very uncomfortable with his fame     I was one of these people that wish that he could have appreciated how unique and how brilliant his songwriting and his voice was. I remember Frank Sinatra doing an open letter to him saying “George, take yourself seriously. You are utterly unique”. And now we don't have him anymore. I'm actually heartbroken because he was just so special     GEORGE MICHAEL Faith     CHRIS: He’s having a great pop career and then just to rock it with an acoustic ... That's just perfect. And looking like that when he did it as well!       TOYAH: He’s the most perfect man!     CHRIS: He is. To another front man. I know more than a couple of people who absolutely swoon over Michael Hutchence, INXS TOYAH: They were kind of the love child of Prince meets Keith Moon (Chris laughs) Everything was based on beat and rhythmic syllables around that beat and the extraordinary beauty of Michael Hutchence. I feel really protective towards his legacy because he is no longer here to talk for himself. But the songs and the band were utterly amazing. And by all accounts he was a beautiful human being. A wonderful human being that came under attack in public life for his extraordinary beauty   There’s a story that Helena Christiansen (his girlfriend at the time) tells about a taxi driver getting out of the taxi and punching his lights out for no reason at all. Now, what you have to remember with really famous beautiful men, they're a threat to every other man on the planet who wants to spread their seed     Michael Hutchence had to stick up for himself the whole time. He did it like a poet. He did it like (John) Keats, he did it with words. I think he's a remarkable human being from history that we must never forget INXS Need You Tonight

CHRIS: If you've just tuned in and you've thought this music tonight has been absolutely incredible ... well ... you can thank Toyah for every single song choice. Toyah has joined me for "My Absolute 80s" but also taken on  - there's some bravery in this, Toyah - taking on Grace Jones', “Slave To The Rhythm” (above) and executing it brilliantly, I must say TOYAH: Thank you. There is a history to this. My long-term writing partner wrote the original version of  “Slave To The Rhythm”. It was then picked up by Trevor Horn and his writing team. Trevor then recorded it with Grace Jones. In between all of that happening, I was the demo singer on the demo that went to Holly Johnson for Frankie Goes To Hollywood to do the song and Holly turned it down   So 40 odd years on Simon Darlow and I were in the studio. We've had massive success with the last album “Posh Pop” and we said let's do “Slave To The Rhythm”. We do realise that we're covering a song that is an absolute classic by Grace Jones and Trevor Horn. We’re fully aware of that, and full of respect for it     Our version is myself, Simon Darlow and the legendary guitarist Robert Fripp, who I'm married to. Robert Fripp has come on board and we've completely reinvented the album “In The Court Of The Crimson Queen”

TOYAH Slave To The Rhythm   CHRIS: Toyah, you've been watching my smile while we've been talking. It has been utter joy doing this with you. Thank you so much. We are finishing up with one final song. A little word on R.E.M’s “The One I Love” to wrap up TOYAH: I'm very lucky to call R.E.M friends. The drummer Bill Rieflin was a long-time friend of myself and Robert. I've made three albums with him. We used to follow him and R.E.M on the road. They’re great friends, Peter Buck and Michael Stipe. Absolutely gorgeous man. These are people in my heart R.E.M The One I Love   LISTEN to the interview HERE

#toyah #toyah willcox #toyahwillcox #toyah 2023 #toyah2023 #toyahradio #toyah radio #toyah interview #toyahinterview

[kevinjmann]

UKI - Episode 334

UKI: Episode 334 is now here on Mixcloud

This episode is featuring:

1. 22 HERTZ - Gravity

2. Tula Music LIVS - See Me

3. Jett Jano - Feels

4. Michael Delphin - I’ll Be Waiting

5. Dimitri von Büren - I Know It's You!

6. Cristina Cherry - Girl Of Your Dream

7. LASTRY - Look At Me Now

8. Barang - Speechless

9. I Ya Toyah - Panic Room (The Anix Remix)

10. Paxus - I'm Coming Home

11. 11th Story - The Logical Song

12. Marc Mata - I Am Sold

13. Phil Leech - The Band - My Art Car

14. EvenBlue - Violet Hue

15. Project Earthbridge - United We Stand As One

Broadcast on

Sword Radio UK - www.swordradiouk.com - Thursday 9pm

KrystalRadio Station - www.krystalradio.net - Friday 7pm

Pop Radio UK - www.popradiouk.co.uk - Monday 8pm , Tuesday 8pm and Wednesday 8pm

Bunka Radio (Columbia) - https://www.bunkaradio.com/ - Monday 1am

Charlie Mason Radio (USA) - www.charliemasonradio.com - Tuesday 10pm

YOUR LOCAL INDEPENDENT AND UNSIGNED MUSICIANS - PLEASE BUY THEIR MUSIC - KEEP THE SCENE ALIVE!

#radio #uk #independentmusic #independentartist #ukindependent #indieartists #unsigned #ukindie #spotify #independent

[parkerbombshell]

[hedgehogglovepuppet]

For many young people, Britain in the late 1970s was a place without hope. Unemployment was high. The value of the pound was low and, despite the feminist activity of the early 1970s, the most many girls aspired to was to marry well and look good. Female role models were hard to find - especially in music. Then punk happened. Women could dress how they liked, behave how they wanted and develop their own sound without being manipulated by the mostly male gatekeepers of the record industry. Young women who didn’t fit the traditional mould of femininity found a new tribe in punk. A place where they could finally be themselves. But the movement attracted fear and aggression. And few made much money from the short-lived scene. Sue MacGregor brings together five female punk pioneers. Gaye Black, bass player in The Adverts, was described as the first female punk star. But the industry focus on her looks caused animosity in the band. Toyah Willcox, an aggressive tomboy, found her emotional rebellion in punk and appeared in Derek Jarman’s cult punk film Jubilee. Gina Birch of The Raincoats played her first gig in November 1977 a few weeks after forming her all-female band. Tessa Pollitt abandoned her A levels to join all girl punk band, The Slits. Vivien Goldman was in the The Flying Lizards and Features Editor of Sounds.

The Reunion: Women of Punk (45 mins ~ BBC Radio 4 ~ 2017)

#female fronted bands #women in punk #riot grrrl #the slits #the raincoats #vivien goldman #toyah willcox #that's sue macgregor in the centre of the pic btw. vivien goldman hasn't had a head transplant :) #she was interviewed from new york so wasn't physically present #interview #radio #link

[vmonteiro23a]

40 YEARS AGO: The Lambrettas - "Decent Town"

40 YEARS AGO: The Lambrettas – “Decent Town”

40 YEARS AGO: The Lambrettas – “Decent Town” “August 28, 1981 THE LAMBRETTAS have a new 12″ EP out called “Decent Town” on Rocket Records.The title track is from their album “Ambience.” Other tracks are “Total Strangers” and live versions of “Da-a-a-a-a-nce” and “Young Girls” both recorded live in Holland from a radio broadcast. The group now has Steve Bray, former Toyah drummer sitting in…

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[slashertempo]

Toyah will always be my favorite musical memory from when I was a kid. She was a turning pint, when I found out there was more than just ‘what’s on the radio’.  You younglings have it made, everything is more available these days, but I’m glad. Because you get to see things like this, we can share memories and be closer connected. And now Toyah and her husband Robert Fripp (yes, THAT Robert Fripp) make wacky videos on YouTube, please indulge yourselves, you will thank me, I promise..!! ‘Urgh! A Music War’ was a pretty huge film for me when I was a kid and that’s where I first found Toyah Wilcox and her wonderful style. It was odd music, it was an outlet to something I wasn’t getting on the radio, and I was pretty excited about it. Then there came a subscription TV service in Los Angeles in the early 80′s called ‘OnTV’ and they had a weekly show called ‘Rock of The 80′s’  I saw bands like PIL and Oingo Boingo there. I was so excited about new things, and hearing it all. I still get that excited about music. I need to write about it, share stories with you all. It’s all on the tip of my tongue, but it’s just not there, yet. I’m 52 years old, and I still don’t know what I want to be, only that it’s music involved...

[records2]

・ABBA / TOP OF THE POPS 1981 UK BBC TRANSCRIPTION SERVICE PROGRAMME RADIOSHOW #893 SHOW 15TH DECEMBER 1981 ・very famous as it ABBA performing in London on the BBC PROGRAMME TOP OF THE POPS 15th December 1981 to promote their new single One Of Us from the highly acclaimed The Visitors album. ・very rare UK BBC transcription radio show transcription1981 vinyl issue by various artists. ・This release hasn't contributed in discogs. ・ ・nd230 #abba #abbafans #swedishpop #theclash #elviscostello #toyah #fashion #radioshow #vinylcollectionpost #vinylporn #record #vinyljunkie #japan #japanesevinyl #rarelps #recordcollector #recordcollection #45rpm #fortyfive #7inch #japanese45 #dj #instavinyl #rarerecord #vinyllover #music #Discogs #iloveDiscogs #NotInDiscogs https://www.instagram.com/p/CCToRYzHh1w/?igshid=1a2al6bf7apph

#893 #abba #abbafans #swedishpop #theclash #elviscostello #toyah #fashion #radioshow #vinylcollectionpost #vinylporn #record #vinyljunkie #japan #japanesevinyl #rarelps #recordcollector #recordcollection #45rpm #fortyfive #7inch #japanese45 #dj #instavinyl #rarerecord #vinyllover #music #discogs #ilovediscogs #notindiscogs

[oceanlyricss]

The Who

Formed in Shepherd’s Bush, London, England in 1964, The Who evolved out of local youth club band the Detours. Pete Townshend (Peter Dennis Blandford Townshend, 19 May 1945, Chiswick, London, England; guitar/vocals), Roger Daltrey (b. Roger Harry Daltrey, 1 March 1944, Hammersmith, London, England; vocals) and John Entwistle (b. John Alec Entwistle, 9 October 1944, Chiswick, London, England, d. 27 June 2002, Las Vegas, Nevada, USA; bass/vocals) founded this attraction, and having jettisoned Colin Dawson (vocals) and Doug Sandom (drums), recruited Keith Moon (b. Keith John Moon, 23 August 1946, Willesden, London, England, d. 7 September 1978, London, England; drums) as a replacement for the latter. The restructured quartet was adopted by manager/publicist Peter Meadon, who changed their name to the High Numbers, dressed them in stylish clothes and determinedly courted a mod audience. Their sole single, ‘I’m The Face’, proclaimed this allegiance although Meadon shamelessly purloined its melody from Slim Harpo’s ‘Got Love If You Want It’. Two budding film directors, Kit Lambert and Chris Stamp, then assumed management responsibilities and having reverted to their Who sobriquet, the band assiduously began courting controversial publicity. Townshend’s guitar pyrotechnics were especially noteworthy; the instrument was used as an object of rage as he smashed it against floors and amplifiers in simulation of painter Gustav Metzger’s auto-destructive art, although the origins of the act derived from when Townshend accidentally broke the neck of his guitar in a low-ceilinged club to the perverse delight of the crowd. The Who’s in-person violence matched an anti-social attitude and despite a highly successful residency at the famed Marquee club, the Who were shunned by major labels. They eventually secured a contract through Shel Talmy, an independent producer who placed the band with American Decca Records. Their recordings were then sub-contracted through UK subsidiary, Brunswick Records, a perilous arrangement bearing later repercussions. The Who’s first single ‘I Can’t Explain’, released in January 1965, rose to the UK Top 10 on the strength of appearances on television’s Ready, Steady, Go! and Top Of The Pops, the latter transpiring when another act dropped out. Written by Townshend, already the band’s established composer, but modelled on the Kinks, the song’s formal nature surprised those expecting a more explosive performance. Such hopes were answered later in the year by the innovative ‘Anyway, Anyhow, Anywhere’ and the UK number 2 hit ‘My Generation’, the latter of which encapsulated the frustrations of an amphetamine-charged adolescent, both in its stuttered intonation and smash-and-grab instrumental section. This pivotal release, one of the benchmarks of British 60s pop served as the title track to the Who’s debut album, the release of which was delayed to accommodate new Townshend originals at the expense of now passé cover versions. ‘The Kids Are Alright’ and ‘Out In The Street’ articulated a sense of cultural affinity and if the songwriter’s attachment to the mod phenomenon was undoubtedly expedient, the cult held a lasting fascination for him. Despite artistic and commercial success, the Who wished to sever their punitive contract with Talmy. When he refused to renegotiate their terms of contract, the band simply refused to honour it, completing a fourth single, ‘Substitute’, for a new label and production company. The ensuing wrangle was settled out of court, but although the unit achieved their freedom, Talmy retained five percent royalty rights on all recordings made until the end of the decade. The Who continued to enjoy chart success, adeptly switching subject matter from a parochial clique to eccentric characterizations involving transvestism (the UK number 2 hit ‘I’m A Boy’) and masturbation (‘Pictures Of Lily’). Townshend’s decidedly English perceptions initially precluded a sustained international success. A Quick One (1966) and The Who Sell Out (1967), the latter of which was, in part, programmed as a homage to pirate radio, thus proved more acceptable to the UK audience. The Who’s popularity in the USA flourished only in the wake of their strong set at the 1967 Monterey Pop Festival. They returned to the UK Top 10 in the winter of 1967 with the powerful ‘I Can See For Miles’, the track also providing the band with their only US Top hit. Despite their strength as a singles act, however, the band failed to achieve a number 1 hit on either side of the Atlantic. Their burgeoning status in the USA was confirmed in August 1969 with a spellbinding performance on the second day of the Woodstock Festival. They embraced the album market fully the same year with Tommy, an extravagant, semi-autobiographical rock opera which became a staple part of their increasingly in-demand live appearances. The set spawned a major hit in ‘Pinball Wizard’ but, more crucially, established the band as a serious act courting critical respectability. Tommy was later the subject of a film, directed in 1975 by the suitably eccentric Ken Russell, as well as an orchestrated interpretation, recorded in 1972 under the aegis of impresario Lou Reizner. This over-exposure undermined the power of the original, and fixed a musical albatross around its creator’s neck. The propulsive Live At Leeds, released in 1970, was a sturdy concert souvenir (regarded by many as one the best live albums ever recorded), while Townshend created his next project, Lighthouse, but this ambitious work was later aborted, with several of its songs incorporated into the magnificent classic Who’s Next. Here the Who asserted their position as one of rock’s leading attractions by producing an album that contained ‘Baba O’Riley’ and ‘Won’t Get Fooled Again’, two epic anthems destined to form an integral part of the band’s 70s lexicon. The latter reached the UK Top 10 and was the prelude to a series of specifically created singles - ‘Let’s See Action’ (1971), ‘Join Together’ (1972), ‘Relay’ (1973) - which marked time as Townshend completed work on Quadrophenia. This complex concept album was a homage to the mod sub-culture which provided the artist with his first inspiration. Although compared unfavourably with Tommy, the set’s plot and musical content, while stylistically the antithesis of the band’s early outburst, has shown a greater longevity and was the subject of a commercially successful film, featuring future stars Toyah and Sting. Commitments to solo careers undermined the parent unit’s progress during the mid-70s, and 1975’s The Who By Numbers, although a relevant study of the ageing rock star, was deemed low-key in comparison with earlier efforts. Another hiatus ensued, during which the ever self-critical Townshend reassessed his progress in the light of punk. The quartet re-emerged with the confident Who Are You, but its release was sadly overshadowed when, on 7 September 1978, Keith Moon died following an overdose of his Heminevrin medication taken to alleviate alcohol addiction. His madcap behaviour and idiosyncratic, exciting drumming had been an integral part of the Who fabric and rumours of a permanent split abounded. A retrospective film, The Kids Are Alright, enhanced a sense of finality, but the band resumed recording in 1979 having added former Small Faces / Faces drummer Kenney Jones (b. Kenneth Thomas Jones, 16 September 1948, Stepney, London, England) to the line-up. However, any new-found optimism was undermined that year when 11 fans were killed prior to a concert at the Cincinnati Riverfront Colosseum in Ohio during a rush to secure prime vantage points, and neither Face Dances (1981) nor It’s Hard (1982) recaptured previous artistic heights, although the former contained the fiery ‘You Better You Bet’, which restored them to the UK Top 10. A farewell tour was undertaken in 1982-83, with the band announcing their official split on 16 December 1983. Although they did reunite two years later for an appearance at Live Aid, the band members remained estranged until the end of the decade. Townshend’s reluctance to tour - he now suffered from tinnitus - and his much-publicized period of heroin addiction, were major stumbling blocks, but in 1989 he agreed to undertake a series of US dates to celebrate the Who’s 25th anniversary (with Simon Phillips on drums). Townshend, Daltrey and Entwistle were augmented by a large ensemble of supporting musicians for a set indebted to nostalgia, which culminated in Hollywood with an all-star gala rendition of Tommy. As such, the tour confirmed the guitarist’s fears - a request to include material from his concurrent solo album The Iron Man was vetoed. Townshend’s desire to progress and challenge preconceptions has marked the very best of the Who’s extensive and timeless catalogue. In 1993, over 25 years after its original release as an album, a production of Tommy, retitled The Who’s Tommy, was staged on Broadway, and won five Tony Awards. The Who’s star continued to rise in 1994 with the sympathetically packaged Thirty Years Of Maximum R&B CD box set, and was maintained with the reissuedLive At Leeds with many extra tracks added from that memorable gig. The recording recalled a period that showed Townshend’s playing at its most fluid and Daltrey’s vocals strong and effortless. Further reissues in the mid-90s included The Who Sell Out, Who’s Next andA Quick One, all of which were remastered and contained many extra tracks, including the legendary Ready Steady Who EP. From these albums it is clear from where the 90s Britpop bands such as Dodgy, Blur, and Swervedriver derived their ‘Cockney’ rock style. Released three decades too late for most Who fans, 1996’s Live At The Isle Of Wight Festival set demonstrated (as does Live At Leeds) what an astonishing live band the Who were (and are). The quality of the Isle Of Wight concert recording was viewed as a welcome windfall to the band’s (still) considerable following. In June 1996 the Who appeared at London’s Hyde Park, performing Quadrophenia in front of 200, 000 people. Further performances were given in the USA and the UK later that year. The drummer for this latest re-formation was Zak Starkey (b. 13 September 1965, London, England), son of Ringo Starr. The Who’s major tour in 2000 (with Starkey and John ‘Rabbit’ Bundrick) was remarkable. Keith Moon would have been proud of the younger Starkey’s uncanny ability to ‘play in the style of’. Townshend appeared to enjoy playing onstage and relations on and off stage with Daltrey were highly amiable. The music at most concerts was stunning, and belied the ages of the three senior members. Entwistle’s death in June 2002 came as a shock, but Townshend and Daltrey soldiered on and completed a number of subsequent live dates with Pino Paladino filling in on bass. Remarkably, the death of their former partner brought Townshend and Daltrey closer together, and in 2004 they announced they had begun work on a new Who studio album. The resulting Endless Wire owed more to the 70s than the 60s, but it did find both Daltrey and Townshend in excellent shape musically. The Who is unquestionably one of the finest acts of the rock generation. Alongside the Rolling Stones they continue to be spoken of as the greatest rock ‘n’ roll band in the world, and few could disagree. Source Read the full article

#ChrisStamp #GustavMetzger #KitLambert #PeteTownshend #RogerDaltrey #thewho

[autopsieduneombre]

"Into Your Weaving", extrait de mon album "Alive Somewhere" en angleterre dans l'émission Ghost Wave Radio.

Ghost Wave Radio Show 86: Industrial / EBM / Gothic

In association with Machine Man Records https://www.facebook.com/machinemanrecords/ and Headshot Music https://www.facebook.com/HeadshotMusicUK/

For full track listing and band links, please visit: https://www.facebook.com/GhostWaveRadio/

This show was first broadcast on Sine FM on February 17th 2019.

Bauhaus - The Passion Of Lovers Blinky Blinky Computerband - Nothing Wrong Noisuf-X – Fake Chmcl Str8jckt - Dressed To Kill DreDDup - Designed To Die Mach Fox and I Ya Toyah - Smile That Killed A Country (Code Blue Mix) The Psychic Force - Politics Of Greed (READJUST remix) Autopsie d'une ombre - Into Your Weaving The Venus Fly Trap - Morphine (original version) Front Line Assembly - Spitting Wind (Feat. Chris Connelly) Blinky Blinky Computerband - Birth School Work Death 2K19 Uglyhead - Disembodied Suffering For Kisses - Cold Public Image Limited - This Is Not A Love Song

https://www.mixcloud.com/GhostWaveRadio/ghost-wave-radio-show-86/?fbclid=IwAR04OtnK7K4ShA6YXjDv342PpAlTlu6WvTwLyBCL9q8rl45DOCpENgeroWc

[toyahinterviews]

TOYAH AND ROBERT ON VECTIS RADIO, ISLE OF WIGHT WITH NIK AND KIEREN 18.6.2023

KIEREN THOMSON: We’re in the quite a wet marquee, on Sunday afternoon. Myself and Nick are speaking to the amazing Toyah Willcox and Robert Fripp. Good afternoon TOYAH: Hello! How are you? KIEREN: I'm very well. How are you? TOYAH: We're good! We’re pretty high spirited at the moment, which is fantastic ROBERT: Superb audience. I very much enjoyed playing. I was in the mood to rock out today and I think got the chance to do so TOYAH: Yes, we're a guitar band and the audience totally got it, which was lovely. We saw people, who looked as if they travelled from all over the world. Robert is really big in Japan and (to Robert) you didn't see this but I think most of the front row had come from Japan see you (laughs) ROBERT: Ah! TOYAH: I get to see these things ROBERT: You see, I'm really focused on my wife, the playing and the band. Toyah interacts directly with the audience for me. It would distract me from my counting and the next bars. So I listen to my wife afterwards and she tells me whether we went down or not NIK ATTFIELD: You've always had such an amazing energy on stage. I saw you many years ago and you were such an influence on my young life. I'm so amazed. It's brilliant that you guys are together - TOYAH: That I can still move! (laughs) NIK: No, not at all. It's so brilliant that you're still bringing new things musically etc. You performing together came about because of lockdown? TOYAH: Lockdown was so successful for us with the “Sunday Lunch” brand (on YouTube) Over 111 million people visiting. We're touring the “Sunday Lunch” in October. We’re playing music that we feel plays us. This is music we grew up with. Music we love   We discovered through “Sunday Lunch” that the audience loves it too. So we're going out on the road doing classics that really fire us up. We're having as much a party as the audience is     NIK: Which is amazing, great fun. Do you think if it hadn't been for “Sunday Lunch” you would've ever done this together? 

TOYAH: No

ROBERT: I don’t think so, no

NIK: You’ve got one of the most famous marriages in rock and roll. You've been together a long time and had a lot of time apart, I imagine, travelling the world in your separate careers

TOYAH: I think we’d still be having time apart if it wasn't for lockdown. Robert is on the road at least three times a year. I work mainly UK, some parts of Europe but we're never in the same country

NIK: So a great opportunity to bring you together and see that talent together

ROBERT: (shouts) Yeah! Yeah! Did I sound enthusiastic? Yeah!

NIK: Yeah, absolutely!

KIEREN: You're doing “Paranoid”, “Are You Gonna Go My Way". An amazing track “Rebel Yell”

ROBERT: Oh, there’s a few you haven’t heard yet

TOYAH: “Enter Sandman”, "Kashmir”. We didn't have long enough today  

KIEREN: You've got the tour, the opportunity to do a little bit more. You're playing around the UK. You're excited to do that? TOYAH: Yeah KIEREN: Maybe less wet? TOYAH: Glastonbury next Sunday KIEREN: In a more wet month TOYAH: Yeah, but we're in a tent. Then October is the “Sunday Lunch” tour. So we're optimistic NIK: Thank you so much. It's been such a pleasure to meet you. And we just love you on Vectis Radio TOYAH: Thank you ROBERT: Thank you LISTEN to the interview HERE

#toyah #toyahwillcox #toyah willcox #toyah and robert #toyahandrobert #toyah 2023 #toyah2023 #toyah radio #toyah interview #toyahinterview

[parkerbombshell]

Electro Wave Show 8th Aug 2019 - W Festival Special

THURSDAY'S (BI-WEEKLY) 11AM-1PM EST 4PM-6PM BST 8AM-10AM PDT Artefaktor Radio AND Bombshell Radio JOIN FORCES! The Electro Wave Show w/ Stuart Calder #electronica, #synthpop, #synthwave, #electronicmusic, #electronicadance #electronica, #electronicmusic, #electropop, #synth-pop Electro Wave Show 8th Aug 2019 - W Festival special Sigue Sigue Sputnik - Love Missile F1-11 (Ultraviolence Mix) Kosheen - Catch Echo And The Bunnymen - The Cutter Tristesse Contemporaine - I Didn't Know China Crisis - Tragedy And Mystery (12" Mix) Spandau Ballet - Chant No.1 (I Don't Need This Pressure On) Mesh - The Fixer Tiny Magnetic Pets - Interview Tiny Magnetic Pets - Semaphore The Human League - Seconds Killing Joke - Love Like Blood (The 86 Remix) Astrasonic - New Angel Signal Aout 43 - Carnaval Rusty Egan Presents - Glorious feat. Midge Ure VNV Nation - When Is The Future Empathy Test - Losing Touch Howard Jones feat BT - The On To Love You Ultranoire - Drowning Man Nick Kershaw -Wouldn't It Be Good? Toyah - Thunder In The Mountains The Stranglers - Golden Brown Rational Youth - This Side Of The Border Vile Electrodes - Proximity Jimmy Sommervile - Smalltown Boy (Reprise) Read the full article

[rocksbackpages]

New for RBP subscribers this week

“Once you strip away the trendy clothes and the music press, what’s left is a person naked in the bedroom, same as everybody else…”

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#ben watt #everything but the girl #tracey thorn #music journalism

[deadcactuswalking]

BLAST TO THE PAST: Reviewing the UK Top 40 from 27th May, 1981

I’mma try something different.

Top 10

So, steady at the top spot is the classic “Stand and Deliver” by Adam and the Ants, the first of the six consecutive non-moving songs. Yep, that’s right, the top ten was just as stagnant in 1981 as it is in 2018. Joy.

“You Drive Me Crazy” by Shakin’ Stevens is not shaking up at all, still at the runner-up spot from last week.

Now here’s something interesting: Starsound. They were a Dutch cover band who had extreme success covering pop songs in little disco melodies, one of which, “Stars on 45” is at number-three here.

At number-four, we have “Chequered Love” by Kim Wilde.

At number-five, we have “Ossie’s Dream (Spurs are on the Way to Wembley)” by Chas & Dave and... the Tottenham-Hotspur 1981 FA Cup finals squad. Football fever was really alive in the 80s, huh?

We also have “Swords of a Thousand Men” by Tenpole Tudor staying in the sixth spot.

Jumping up 16 spots, however, is number-seven, Smokey Robinson’s “Being with You”.

That pulled off REO Speedwagon’s “Keep on Loving You” from its prior space as it ventures down to number-eight.

Also up back into the top 10 is “I Want to be Free” by Toyah, up four spaces to number-nine.

And finally, we have “Bette Davis Eyes” by Kim Carnes, still at number-ten.

Climbers

We do have a few big climbers this week, with “How ‘bout Us” by Champaign leaping 17 spaces up to #11, as well as “Don’t Let it Pass You By” / “Don’t Slow Down” by UB40 going up 19 spots to #17, with “Ain’t No Stopping” by Enigma up 15 spots to #18. “Chariots of Fire” by Vangelis is up nine spots to #25, also, but we do have quite a few fallers as well.

Fallers

“Grey Day” by Madness is down seven spots to #15, as is “When He Shines” by Sheena Easton to #19. “Chi Mai (Theme from Life and Times of David Lloyd George)” has landed 11 spaces down to #20, while “Al No Corrida (I-No-Ko-Ree-Da)” by Quincy Jones is down eight to #22, “Making Your Mind Up” by Bucks Fizz is down 10 to #26, the Killers Live EP by Thin Lizzy is down eight to #27, “Only Crying” by Keith Marshall is down 12 to #29, “Drowing” / “All Out to Get You” by the Beat is down six to #31, “Is Vic There?” by Department S is down seven to #33, “Can’t Get Enough of You” by Eddy Grant is down 11 to #35, “Can You Feel It” by the Jacksons is down 12 to #39 and “Good Thing Going (We’ve Got a Good Thing Going)” by Sugar Minott is down 11 to #40.

Dropouts

Okay, so, obviously, we have limited info on these charts. We don’t know all of the songs that dropped out, however we do have some of them. These include “Attention to Me” by the Nolans from #20, “Bermuda Triangle” by Barry Manilow from #30, “Is that Love” by Squeeze from #40, “Muscle Bound” / “Glow” by Spandau Ballet from #22, “Pocket Calculator” by Kraftwerk from #39, “Don’t Break My Heart Again” by Whitesnake from #31 and “Night Games” by Graham Bonnet from #33. The reason for this absolute massacre in the fallers and dropouts has an easy culprit: the avalanche of new (and maybe returning – again, we don’t know) entries to the top 40, which we will start to review right now.

NEW ARRIVALS (and/or returning entries)

#34 – “Just the Two of Us” – Grover Washington, Jr.

Yep, you read that right – this is the absolute classic “Just the Two of Us”, the intimate funky jazz track that will have much more of a legacy than its Will Smith remake. Just listen to that iconic lead-in piano melody and that delightful strumming of the guitar, providing a perfect backdrop for Washington’s deeper falsetto croon, definitely a lot more stable than a lot of his competitors at the time. Then that beautiful, borderline iconic hook comes in, with that strong bassline and at the final chorus, a choir and some damn impressive cowbell – seriously, can these be used more often? Before the song ends, we have a fantastic climax with choir vocals and a steadily increasing speed pattern in the drums all being the assistance to a grand saxophone solo. The best thing about this track is that despite how sensual it may sound, it is not about sex at all. It is instead about true love, and how there’s no point in being sad or crying. Nothing will come out of it in the end, and if you persevere, you could make anything work. “Just the two of us, we can make it if we try.” I’d say I recommend this, but you’ve heard this.

#32 – “Spellbound” – Siouxsie and the Banshees

A lot of the songs in this new series will be ones I’ve never actually heard before, or have only passively heard once or twice, so it’s nice that I get to hear artists I’ve always heard about but never really sat down and listened to, one of which would be Siouxsie and the Banshees, female-lead post-punk group formed in the late 70s. Now, I love my classic alternative rock, so you’d imagine I’d be all over this, right?

Yes, yes, I am. What, did you think that was a fake out? I love this guitar riff, especially when it’s surrounded by the haunting synths and a... tambourine from the sounds of it, before Siouxsie starts to sing excellently in the intro, prior to a sudden kick to a more upbeat track, with some great strumming and a steady, albeit blocky, drum beat that Siouxsie rides on excellently. Not to mention how catchy and surprisingly rushed the whole thing is, with its abrupt ending. Did it deserve to get the Banshees’ guitarist into Mojo’s 100 greatest guitarists of all time list, like it did? Hell, yes, the guitar work is absolutely fantastic here. Great track, that will probably be in rotation for me for a long time. You could say I’m spellbound by how I’ve been missing out on them... yeah, sorry.

#30 – “Let’s Jump the Broomstick” – Coast to Coast

So, “Let’s Jump the Broomstick” has been performed by many people, and I don’t care for any of the others here. Will British group act Coast to Coast finally show me how well-written this song is and how elegantly-composed... nah, let’s quit the act. I can’t take any song with “broomstick” in the title seriously, in all honesty, and I don’t think anybody else did, because the damn thing’s impossible to find on Spotify. Hence, I had to resort to YouTube, and yeah, this was not worth the effort it needed to find it. It has a solid guitar riff – mostly because it’s a cover – and everyone performs decently except that singer with no range at all, which wouldn’t be needed if he was so obviously trying to impress us. This is a clumsy effort at retreading their last hit, with was also a classic cover. This is just kind of nondescript, actually. Skip it.

#28 – “More than in Love” – Kate Robbins and Beyond

This is a magically smooth song. With its subtle acoustic guitar strumming, gentle synth melodies and grand horn arrangements that make a lovestruck ballad seem so much more full of life than it has any right to be, you can tell that this isn’t just another soppy and soft 80s cheese-fest like the later years in the decade would offer. Nope, with the choir backing up Kate Robbins’ wide range and A-game delivery as well as just perfectly-fitting vocals overall, this is funnily enough effortless in how much more effort it puts in than other pop ballads. Just listen to the synth tones in the bridge while the choir sings your hearts out. It’s a damn good ballad that I did not expect, especially since I don’t know how this Beyond guy is. Is that the choir? If so, that’s a pretty uneven duet, since Robbins runs away with this majestic track.

#24 – “One Day in Your Life” – Michael Jackson

Now, I like soul. I like ballads. I like MJ, he’s one of the greatest period... but, man, this is dreary and boring. Wow, that sure is a Latin-inflected guitar melody and some pretty nice notes being played, with an incredibly uninteresting string-synth – nobody’s being fooled here – backing up Michael here on the weaksauce hook. His performance is okay, but is ridden with problems I have with young Michael, including over-singing and simply not having much natural charisma. I’m pretty sad that this is the first time I talk about the King of Pop on here, saying that his song sucks, but it sure does, so I’m sorry, MJ, but your song’s bad – albeit mostly because of the production. Oh, and it’s also way too long for that matter. This would be nowhere near as bad if chopped in half.

#23 – “Will You?” – Hazel O’Connor

Who? What? Where? When? Why?

Those were the questions I started and ended the song asking, because I’m still unsure if this is monotonous or one of the best songs I’ve ever heard. Those horns and the steady drum beat support the guitar to make a smooth new wave beat with an urban tinge, while O’Connor sings about spilling tea – “oh, silly me”. Apart from questionable lyrics, this is just kind of a bore for all of the five minutes it goes on for, even if it does develop with some interesting instrumentation and hell, experimentation. If this was two minutes, I’d argue it’s a masterpiece, but with an already repetitive hook and beat, it just can’t hold its own. The worst thing is that there’s a perfect place for it to finish at 2:36, but it starts back up again for some ungodly reason. Just... go away, I like the solo but come on, let the song end. We don’t need it to be this long, and I’m surprised that at its length it didn’t flop entirely, but apparently this got a ton of radio play somehow, with all its quirks and lack of normal construction. This may grow on me, but for now, this is a bit of a sleeper that never hits.

#13 – “All Those Years Ago” – George Harrison

This bassline and guitar melody in the intro isn’t really regarded as an iconic moment in music history, but it definitely should be. Those few notes pack a whole lot of punch, especially when packed by that oddly menacing synth, before George Harrison comes in and uses those elements to make a damn catchy song somewhat reminiscent of an 80s take on Beatles psychedelia, with smooth vocals, a keyboard solo and some beautiful choir backing. It experiments quite a lot with off-beat pitch-shifted vocals as well as guitar licks coming out of bloody nowhere, but it makes a great pop tune throughout all of the chaos, perfectly constructing it into a LEGO tower that will never fall – a timeless achievement that will hopefully be recognised as a solo Beatles highlight at some point, because this is one of my personal favourites. Yes, of course, it’s recommended, it’s a classic.

Conclusion

So, Worst of the Week is easy – that goes to “One Day in Your Life” by Micheal Jackson, with Dishonourable Mention for “Let’s Jump the Broomstick” by Coast to Coast. Best of the Week is definitely more difficult though, however I think “All Those Years Ago” by George Harrison pips everything else at the post, with a tied Honourable Mention going to “Spellbound” and “Just the Two of Us”. I have no clue what will happen next time, so Reviewing the Charts tomorrow, I hope. See ya!

[rockzone]

Gig Guide: 20  - 26 Sep 2017

Wednesday, September 20, R5 at O2 Ritz, Manchester. Young pop-rock band of three brothers and a friend, raised in Colorado but based in Los Angeles. Thursday, September 21, Phil Rudd at Band On The Wall, Manchester. New Zealand-based Australian drummer, best known for his stints with AC/DC. Friday, September 22, Toyah Willcox at Tribeca Bar & Bed, Manchester. 80s post-punk New Wave artist with considerable chart success. Friday, September 22, ELO Again at The Plaza, Stockport. Electric Light Orchestra tribute. Saturday, September 23, Stated Quo at The Spinning Top Bar, Stockport. Status Quo covers band, playing the heavier side of Quo's music. Sunday, September 24, Graham Gouldman & Heart Full Of Songs at The Lowry, Salford. Simple acoustic performances by the 10cc singer/songwriter’s three-piece band. Sunday, September 24, Erja Lyytinen at Band On The Wall, Manchester. Finland's Queen of the slide guitar. Songwriter, storyteller & performer playing Blues, jazz, folk and pop. Tuesday, September 26, Van Zeller at Castle Hotel, Manchester. Bristol based garage rock with soulful vocals. Tuesday, September 26, Andy James atFAC251: The Factory, Manchester.  British rock guitarist. Support from American rock guitarist and songwriter Angel Vivaldi.

* To avoid disappointment, you are advised to check with the venue before travelling to any of the Gigs mentioned above.

* Alan Ovington’s Rock Zone can be heard on Tuesdays at 9pm on 103.6 Tameside Radio and on-line at tamesideradio.com

[dstrachan]

‘LUNCHTIME REVIEW’ - 18th May 2017

Apachelux / Waiting For The Red Light

Susana / Only Summer Knows

Colonel Mustard & the Dijon 5 / Freedom For The Children

The B-52s / 52 Girls

Soundgarden / Black Hole Sun

Toyah / It’s A Mystery

TJ Projekt / Crazy Grls

Paolo Nutini / Iron Sky

Speech Debelle ft. Micachu / Better Days

Kelly Rowland / Commander

Femme / High

The Fabulous Red Diesel / Stand Up

Demist / Faith Remains

Sade / Babyfather

Barbara Pennington / Twenty Four Hours

Mary Kathleen Burke / A Woman’s Heart

George Kennedy / The Only Thing That Looks Good On Me

Nervous Twitch / East Coast Rumble

The Corrs / Radio

#lunchtime review #td1 radio #community radio

[toyahinterviews]

TOYAH AND ROBERT ON BBC RADIO MANCHESTER WITH MIKE SWEENEY 31.5.2023

MIKE: Toyah Willcox and Robert Fripp, one show business' most recognisable couples. They've had some massive hit records. Toyah on her own and Robert Fripp as a member of King Crimson. During lockdown their brilliant "Sunday Lunch" YouTube videos were incredible   They got such a reaction to those videos that they're coming to The Lowry (in Salford, 9.10.2023) to celebrate both of their careers. To find out more, I sat down with Toyah and Robert earlier this week TOYAH: Well, when the dreaded lockdown started we just didn't know what was going on - like everyone else. We're live musicians and performing is our oxygen. Our audience is quite simply our family. We put this jive video out on a sunday lunch (time), about the 9th of April and we got 100,000 replies within five minutes from around the world. New Zealand, Bali, Manila, Hong Kong. It was all from people who were alone We decided that we would just continue posting these "Sunday Lunch" videos, which was very absurd. We don't take ourselves seriously. It grew and grew and grew. We had 111 million visitors to Toyah YouTube channel. And we now feel we want to take this out into a live environment, touring. Myself and Robert Fripp and we just want to share the love now MIKE: Robert, I think we're a similar age. I started in bands in the 60s and you've come through that with King Crimson and then onwards through these decades. We're here now, it's 2023. When you look at your start in rock and roll and where you are now - it just fascinates me what a journey that's been. How do you view it? ROBERT: Well, I view myself strapping on and rocking these rock classics with my wonderful little wife. Very much like the last time I strapped on and rocked out with the League Of Gentlemen in 1965. In between I seem to have been sidetracked into writing music and playing with good musicians this strange material, which has been accepted by some but rejected by most people in the mainstream     So I might as well go back to what I began doing, which is playing great rock songs with my chums. In this case, my bestest is chum in the world, little Willcox TOYAH: I'd like to abbreviate that answer, if I may (Robert and Mike snigger) My husband has ended up working with David Bowie. One of the main guitarists on “Scary Monsters”, on “Heroes”. He's worked with Blondie. He's actually worked with them all and they're all legendary musicians ROBERT: Yeah, but none of them played “Enter Sandman” or “Paranoid” (Toyah laughs) Or “I Want To Be Free”. I mean c’mon!      

MIKE: You will have different musical directions. How do you decide - so it’s a proper team effort - what the actual songs are going to be?

TOYAH: They have to suit who we are. Without a shadow of a doubt we've got to do these versions absolutely brilliantly. We are doing “Enter Sandman” and we are doing “Paranoid” and they have to be Toyah and Robert doing them. So we sit down and I usually start off with a list of songs that I love. I love classic rock. Then Robert listens to it. He says “I  really love that!” And we both develop a passion for the same song and then we work out how we're going to do it. So the tour that we're doing, the Toyah and Robert "Rock Party/Sunday Lunch" tour is a celebration of how incredible heritage rock is and it is breathtaking. We're going to be covering people from David Bowie, because of Robert’s history with David Bowie ...      We're doing my hits as well. But we're also dipping our toes in with Marc Almond “Tainted Love”, Blondie. Many, many other artists that were playing the songs of ROBERT: Metallica's “Enter Sandman” is not one that I would normally expect me to play but this popped up on the "Sunday Lunch", which is actually our highest ever viewing figures. The riffs in the in Metallica are phenomenal so rock out with that MIKE: How are you preparing for that transition from being on YouTube as a couple to being on stage as a couple? TOYAH: Well, we've done five secret gigs already and three of them had to call in extra security. It turned into an absolute riot. The audience got very, very excited. It is a transition. So we're very much going out there with a large band. It's a show band. It's got eight musicians - ROBERT: Yeah, we have two keyboard players, who sing and a wonderful electronic drummer. Two guitarists - TOYAH: Three guitarists - ROBERT: Well, that's when you add me. And if everyone sings and it's been suggested by me that I don't join in the backing vocals on this one - there can be seven people singing and me cheering them on TOYAH: So what we've developed is a very big rock show, which honours - totally by accident - 50% of the songwriters are American, 50% of English. So it's a complete celebration of this kind of heritage rock and we're calling it a "Rock Party". It is absolutely inevitable that Robert's and my humour is going to come on to that stage, but the humour isn't the carrying force. The carrying force is the shared love of music So when we're on the road in October, we're going to use the imagery of "Sunday Lunch" as part of the projection screen production so that the posters are going to keep flashing up. What we've learned is that the posters are what people identify with     Now, if anyone's listening ,who's never seen what we do on social media - there's always a very big colourful poster in the background saying something like "Fripp's Ma Bitch" or "Bollocks". These posters are going to be up on the big screen as we're performing so we're bringing in the visuals of "Sunday Lunch" via media while doing an incredibly live rock show ROBERT: So the question is how to honour the spirit of "Sunday Lunch"? Well, the quick answer is we're going to have fun and we're going to rock out with nothing solemn here whatsoever. We are aiming to give people a good time    

MIKE: Final question to the two of you. I get where you're at, Robert. My wife's my best mate, I adore the woman but she's not in the music business. I often wonder how we’d get on if she was a really successful broadcaster, which is what I do now         You two - you've got to have egos to get to where you are. You really care for one another. That always came over, funnily enough, in the kitchen videos - your affection for one another. But how do you balance that? Robert wants this or Toyah wants this TOYAH: (they both laugh) We typically fight! ROBERT: That's an easy one, Mike. You learn to say “yes, dear” MIKE: Well, there we are. Can I just say it's wonderful talking to the two of you. I remember getting an Island (record company) sampler. I think it might’ve been “You Can All Join In”   - ROBERT: (It was) “Nice Enough To Eat” MIKE: It had “Court Of The Crimson King” on - ROBERT: No, it has “Schizoid Man ” - MIKE: It did! (Toyah cackles) That's when I first discovered you. And then Toyah I've met because of radio various times since the middle of the 80s. It's brilliant talking to the two of you. A great rock and roll city, when you come to Manchester. I hope you realise that TOYAH: We do. Respect   MIKE: You take care, both of you. Robert, thanks for being with us. Toyah, thanks for being with us TOYAH: Pleasure. Thank you, Mike ROBERT: Bless you, Mike Listen to the interview HERE

#toyah #toyah willcox #toyah2023 #toyah 2023 #toyahandrobert #toyah and robert #toyahsundaylunch #toyah sunday lunch #toyah bbc #toyahbbc #toyahradio #toyah radio #robertfripp #robert fripp