Skip to main content

Podcastaway.

I spent much of today editing the latest episode of our More Than Mostly Comedy Podcast - the first new instalment since 2015 - so we can release it later this week.

The new episode is exciting for many reasons. Firstly, it's good to be back. Secondly, it features conversations we recorded together yet apart during lockdown, which - thanks to the wonders of modern technology - sound like we're in the same room. And thirdly, it's the first episode to consist of interviews recorded live onstage. See? Three reasons = many.

Considering it's our first live interview and the first time we attempted capturing the recording in a challenging gig setting, I'm exceptionally pleased with it. Even without the caveats, it sounds relaxed and is an interesting listen. It helps that both interviewees - Norman Lovett and Kate Robbins - are easy to talk to and have done so many fascinating things. We couldn't have wished for two better subjects to kick-off our live content.

As for the excellent audio quality, that's entirely thanks to our exceptional soundman Billy, who managed to pull off a difficult job effortlessly (though he probably wouldn't agree, as he had a tough night tech-wise); there's no way we could have captured it so clearly without him. All I did was tighten up the content. As for our intro and outro, we recorded them last night via webcam while using our trusty old Zoom recorders at each end to capture each voice separately. Then all we needed to do was line the audio up. This technical advance means we need never meet again (which is quite useful in the current circumstances); love it.

Us, recording the links for our new MTMC podcast episode last night.


Popular posts from this blog

Not The Bayeux One.

The Carole King album Tapestry has been my 'getting-ready-in-the-morning' soundtrack for the past few weeks.  It's been a favourite album ever since I was a student, which makes for a pleasantly gentle way to usher in the start of a day. I've always been a fan of a well-crafted song, which is something of a Carole King hallmark, ever since she started writing with her first husband in the early Sixties. Tapestry may be an unimaginative choice for a favourite LP, as it suggests I haven't delved that far into her career, but it's still an undoubted classic; anything with '(You Make Me Feel Like A) Natural Woman', 'Will You Still Love Me Tomorrow?' and 'You've Got A Friend' on it can't really fail; if nothing else, it proves she likes writing songs with long titles.  Next month, she's set to perform the album live in its entirety for the first time at a gig in Hyde Park, which I would have loved to have gone to, if it weren...

Shakerpuppetmaker.

Have Parker from Thunderbirds and Noel Gallagher ever been seen in the same room? The resemblance is uncanny. So much so, I think something’s afoot. If my suspicions are correct, I've stumbled across a secret that will blow the music and puppet industry wide apart. In the mid-60s / mid-90s at least. It doesn’t take long to see the signposts. There’s the similarity between the name of Oasis’ first single, Supersonic, and Supermarianation, Gerry Anderson’s puppetry technique. The Gallagher brothers would often wear Parkas . Live Forever was clearly a reference to Captain Scarlet and Standing on the Shoulder of Giants to the size difference between Noel and his bandmates. The more you think about it, the more brazen it gets. It’s fishier than Area 51, Paul is Dead and JFK's assassination put together. The only glitch to the theory is scale . According to Wikipedia, Anderson’s marionettes were 1’10” and Gallagher is 5’8”. How does he maintain an illusion of avera...

'...I'm Gonna Look at You 'til My Eyes Go Blind."

Over the past week or two, I’ve been on a bit of a Sheryl Crow kick, largely thanks to rediscovering her cover of one of my most-liked Bob Dylan songs. She has one of my favourite female voices, yet despite this, I only own one CD and that’s just a single (her '97 release ‘Hard to Make a Stand’); on that basis, you can only imagine how much of her back catalogue I’d own if I hated her (it would fall into minus-figures). Dylan, conversely, takes up more of my collection than anyone else, save The Beatles and Paul McCartney’s solo work. He’s one of those artists who, when you get him, you really get him - and once I’d tuned into his style as a student, I'd time and again be blown away by his lyrics; he’ll have more jaw-dropping imagery in one track than other people fit in a whole career. These days, I mostly listen to music in the morning when getting ready, and more often than not, this will consist of a suggested YouTube playlist when I’m in the bath, r...