Musik – Nederländerna – Nya podcasts
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Verhalen uit de popgeschiedenis van de afgelopen 100 jaar
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Garth Hudson was born Eric Hudson on August 2, 1937, in Windsor, Ontario, Canada. Raised in a musically inclined family, Hudson’s childhood was steeped in the rich traditions of classical and folk music. His mother, Olive, was a church organist and pianist who instilled in him a deep appreciation for the intricacies of music, while his father, Fred, was a farm inspector who also played various instruments. This combination of structured musical education and organic familial creativity provided the fertile ground for Hudson’s burgeoning talent. From an early age, Hudson showed an innate curiosity about music, mastering the piano by the age of nine and quickly moving on to instruments like the accordion and saxophone. Hudson’s formal musical education began at the University of Western Ontario, where he studied music theory and performance. There, he delved into a wide range of genres, including classical, jazz, and rhythm and blues. This eclectic mix of influences would later define his style, as he found ways to merge these seemingly disparate elements into a cohesive sound. His classical training, in particular, gave him a strong technical foundation, but it was his love for improvisation and experimentation that truly set him apart. By the time he graduated, Hudson was not just a musician but a visionary who saw music as a boundless art form. Garth Hudson’s professional music career began in the early 1960s, a time when rock and roll was still evolving and defining its identity. His talent and reputation as a versatile musician soon brought him into the orbit of Ronnie Hawkins, a rockabilly star who had gained prominence for his high-energy performances. Hudson joined Hawkins’ backing band, The Hawks, as their organist and saxophonist, a move that marked a significant departure from his classical and jazz roots. This transition was not without challenges; for Hudson, rock and roll represented a new and less formal musical landscape, one that demanded innovation and adaptability. To justify his decision to his conservative, music-loving parents, Hudson negotiated an unusually high salary for his role in The Hawks and insisted on purchasing a Lowrey organ. This instrument, which was less commonly used in rock and roll than the popular Hammond organ, would become central to Hudson’s distinctive sound. The Lowrey’s capabilities for orchestral textures and tonal versatility allowed him to experiment with new approaches to arrangement and improvisation, creating a sound that would later define The Band’s identity. Hudson’s time with The Hawks was formative, not only for him but also for the group as a whole. While performing in clubs across Canada and the United States, The Hawks began to develop a reputation for their tight musicianship and dynamic performances. Hudson’s contributions were key to this success. His ability to seamlessly blend genres—infusing rock with elements of classical music, jazz, and rhythm and blues—gave the group a unique edge that set them apart from other acts of the time. In 1964, The Hawks parted ways with Ronnie Hawkins, seeking greater creative freedom. This decision marked the beginning of their transformation into one of the most influential bands in music history. Hudson, along with Levon Helm, Robbie Robertson, Rick Danko, and Richard Manuel, formed their own group. Initially known as Levon and the Hawks, they soon gained recognition for their innovative sound and artistic vision. The group’s collaboration with Bob Dylan in the mid-1960s was a turning point. Dylan, then transitioning from acoustic folk to electric rock, faced backlash from fans who viewed his shift as a betrayal of folk traditions. The Hawks became Dylan’s backing band during this controversial period, and their electrifying performances helped redefine the boundaries of folk and rock music. Hudson’s role was particularly significant; his ability to craft lush, multi-layered arrangements provided the perfect backdrop for Dylan’s poetic lyrics and unconventional melodies. The partnership with Dylan also solidified The Hawks’ reputation as groundbreaking artists. They toured extensively, and the experience further honed Hudson’s skills as a performer and arranger. His contributions during this era were not just technical but also deeply creative, as he pushed the limits of what rock music could achieve.
As the 1960s progressed, the group now known as Levon and the Hawks underwent a transformation that would forever change the course of music history. After their time touring with Bob Dylan, the band settled in Woodstock, New York, and began focusing on their own sound and identity. They rented a house they nicknamed "Big Pink," located in West Saugerties, a setting that would become legendary in the annals of rock music. It was in this home that the group began recording a series of informal sessions with Dylan, which later became known as The Basement Tapes. These sessions not only solidified their chemistry as a band but also laid the groundwork for what would become their defining sound. In 1968, The Band released their debut album, Music from Big Pink. The album was a seismic moment in the world of rock music, standing in stark contrast to the psychedelic trends of the time. Instead of relying on elaborate studio effects and flamboyant instrumentation, The Band emphasized organic, roots-driven music that drew from American folk, blues, gospel, and country traditions. Garth Hudson’s contributions to the album were immense, as his mastery of the Lowrey organ and other instruments added depth, warmth, and complexity to the tracks. One of the standout songs on Music from Big Pink was "Chest Fever," which opens with an unforgettable organ solo that showcases Hudson’s improvisational brilliance. His ability to weave classical influences into a rock framework was unparalleled, and the song became a signature piece for The Band. Other tracks, such as "The Weight," further demonstrated the group’s knack for storytelling and intricate arrangements, with Hudson’s work often serving as the glue that held the diverse elements together. By the time they released their self-titled second album in 1969, The Band had firmly established themselves as one of the most innovative and respected acts in music. The album, often referred to as The Brown Album, featured songs like "Up on Cripple Creek" and "The Night They Drove Old Dixie Down," both of which became iconic. Hudson’s contributions on this album were as pivotal as ever. His use of the clavinet on "Up on Cripple Creek," processed through a wah-wah pedal, created a funky, swampy sound that was groundbreaking at the time. Hudson’s role in The Band went beyond his technical prowess. He was often referred to as the "teacher" of the group, a nod to his extensive musical knowledge and his role in arranging and shaping their songs. He was the band’s secret weapon, the quiet genius whose contributions elevated their work to an entirely new level. His ability to incorporate a vast array of influences—ranging from classical fugues to gospel hymns—into their music gave The Band a timeless quality that continues to resonate with listeners. While Hudson’s contributions to The Band’s studio recordings were monumental, his live performances were equally captivating. The group’s concerts were known for their raw energy and emotional intensity, and Hudson’s improvisational skills often took center stage. His extended organ solos, particularly during songs like "The Genetic Method," became legendary, leaving audiences in awe of his technical mastery and creative vision. By the early 1970s, The Band had cemented their status as trailblazers in the music world. They released several more acclaimed albums, including Stage Fright and Cahoots, each of which featured Hudson’s innovative arrangements and multi-instrumental talents. However, the pressures of fame, relentless touring, and internal tensions began to take their toll on the group. In 1976, The Band decided to disband, and they marked the occasion with a farewell concert at San Francisco’s Winterland Ballroom. This event, known as The Last Waltz, was a star-studded affair that featured performances by some of the biggest names in music, including Bob Dylan, Eric Clapton, and Joni Mitchell. Martin Scorsese captured the concert in a documentary film of the same name, which remains one of the most celebrated concert films of all time. Hudson’s performance during The Last Waltz was a testament to his enduring brilliance, as he delivered powerful renditions of his signature pieces and collaborated with the event’s many guest artists. After The Band’s farewell concert in 1976, Garth Hudson embarked on a new chapter in his career. While The Band would reunite in the 1980s without Robbie Robertson, Hudson’s focus shifted toward collaborations, solo projects, and a continued exploration of his unique musical sensibilities. Freed from the structure of a full-time band, Hudson immersed himself in a wide range of creative endeavors that showcased his versatility and deep understanding of music. Hudson’s collaborations were as diverse as his musical influences. He worked with an array of artists across genres, lending his distinctive sound to projects that spanned rock, folk, jazz, and experimental music. One of his most notable collaborations was with Leonard Cohen, whose poetic lyricism found a perfect complement in Hudson’s atmospheric arrangements. Similarly, he contributed to projects by Van Morrison, showcasing his ability to adapt his organ and piano skills to a wide variety of musical contexts. During the 1980s and 1990s, Hudson’s reputation as a session musician and arranger grew. He became a sought-after collaborator, valued for his ability to enhance any recording with his intricate arrangements and instrumental expertise. His work with the Irish rock band The Call on their critically acclaimed album Reconciled is often cited as a -
Pushing the boundaries with some different instruments and arrangements.
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Mario Brouwer praat in NEW VIBES ONLY met artiesten over hun pas uitgebrachte project. Kom meer te weten over de inspiratie achter de muziek en de creative processen. Hoe zijn bepaalde samenwerkingen tot stand gekomen en waarom zeggen ze bepaalde dingen in hun tracks.
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This is ANCHRs Away, the podcast where we take the titles of popular or, our favorite songs and let them guide our convos. Hosted by Rachel, the entrepreneurial founder of music magazine ANCHR, and Amnesty, founder of The Versa Collective, a Mindset Mentorship. We talk shit, give our younger selves advice and make 'Wreck-ommendations’ of new songs that we’re loving. Join us to hear us tell stories that are almost unbelievable (but 100% true as far as we can remember), reminisce about music that made us as crazy as we are. and dig into the 90% of our brains that are every lyric we've loved.
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Welcome to eightone81, a podcast about the best music videos ever. Benjamin Light (aka James Taylor) and Marco Sparks explore the signature music videos from the launch of MTV to 9/11, looking back at an art form that no longer holds the sway it once did. We’ll talk about the artists, the music, the videos, the culture, and how things have changed since the heyday of the medium.
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A Free Format show from oldies and beyond! Recorded live from my Oceanfront Studios on the beautiful beach of Hilton Head Island, South Carolina.
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Married couple Andrew and Kat break down all the latest and greatest guitar, pedal and amp releases. The catch? Kat is new to the gear world and will try to convince Andrew not to buy more equipment while he teaches her about the community and convince her why they NEED to buy more!
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Members of the band The Wise Man's Fear discussing some music and a lot of whatever nonsense you can think of.
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Zonder je eigen podcast doe je eigenlijk niet meer mee tegenwoordig! Nee hoor, we hadden dit al heel lang op onze wensenlijst staan om zo af en toe onze gesprekken (al dan niet muziek gerelateerd) eens vast te leggen. En te delen met wie daar dan ook maar naar zou willen luisteren. De release van de eerste FunkBrother EP was een mooie gelegenheid om daar dan ook maar eens mee te beginnen! Tune in en luister mee naar Ruard en Sander oftewel: Team FunkBrother!
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Welkom bij Het Hiphop Journaal, een DJ collectief bestaande uit De Manager, Johannes IV en Bowie. Wij zijn drie ontzettende liefhebbers van Nederlandstalige hiphop die de krachten en hiphop-expertise hebben gebundeld. We brengen je de beste classics en de hardste newschool bangers. Van Opgezwolle tot The Opposites, via Kraantje Pappie, Winne en Jiggy Dje terug naar Extince, Brainpower en Osdorp Posse. En natuurlijk vergeten we ook Ronnie Flex, Kevin, Josylvio, Mula B en Jonna Fraser niet; kortom, verwacht een bloemlezing uit het heden, verleden en de toekomst van de hiphop des vaderlands!
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The Album Club with Matt and Francis, the fortnightly show that's like a book club, but with music instead.
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Sejam bem vindos e bem vindas a rádio!
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Tito Jackson: A Life of Music, Family, and Legacy Tito Jackson, born Toriano Adaryll Jackson on October 15, 1953, was an American musician, singer, and one of the founding members of the legendary music group The Jackson 5. While often overshadowed by the towering legacy of his younger brother Michael Jackson, Tito's contributions to the Jackson family’s success and his influence on American music cannot be understated. From his beginnings in Gary, Indiana, to his decades-long career as a performer, Tito carved out his own niche in the entertainment industry, blending rhythm and blues with pop, and maintaining a steady presence in the music world even in the face of his family’s many challenges. Tito Jackson passed away in September 2024, at the age of 70, after a quiet battle with illness. While his passing marks the end of an era, his legacy, much like his brothers’, will live on for generations to come. Early Life and Musical Beginnings Tito Jackson was born into a large, musically gifted family as the third of Joseph and Katherine Jackson’s nine children. The Jackson household was always filled with music. His mother, Katherine, was a devout Jehovah’s Witness and an aspiring country singer, while his father Joe worked as a crane operator but held deep ambitions of turning his children into professional musicians. Tito and his brothers grew up in a modest home in Gary, Indiana, where they experienced both love and discipline. Tito's first brush with music came when he secretly began playing his father’s guitar. One day, Joe caught him in the act, but instead of reprimanding his son, he recognized his talent and bought Tito his own guitar. It was a moment that would change the trajectory of Tito’s life. Tito, along with his brothers Jackie, Jermaine, Marlon, and Michael, began performing together in the early 1960s. The brothers, soon to be known as The Jackson 5, would practice for hours in their home, mastering their dance moves, harmonies, and stage presence. It wasn’t long before they began performing at local talent shows and gaining attention for their electrifying performances. The Jackson 5 Era By 1966, The Jackson 5 were winning major talent competitions, and their big break came in 1969 when they signed with Motown Records under the direction of the legendary Berry Gordy. Their first four singles—“I Want You Back,” “ABC,” “The Love You Save,” and “I’ll Be There”—all reached No. 1 on the Billboard Hot 100, a record-breaking streak that established them as one of the most successful groups of the time. Tito played rhythm guitar in the band, while his brothers handled most of the lead vocals, particularly Michael. Though his contributions were often behind the scenes, Tito's guitar work provided the steady foundation that allowed the group’s melodies to shine. The Jackson 5's signature blend of pop, soul, and R&B catapulted them to international fame. Tito’s stage presence, though more reserved than his brothers, was crucial to their overall chemistry. The 1970s were the golden years for The Jackson 5, as they became international pop icons. Tito’s relationship with his brothers was the heart of the group’s success, and though Michael would eventually go on to become a global superstar on his own, The Jackson 5 laid the foundation for that meteoric rise. Transition to The Jacksons By the mid-1970s, tensions between the Jackson family and Motown Records led to the group leaving the label and signing with Epic Records. Because Motown owned the rights to the name "The Jackson 5," the group was forced to rebrand themselves as The Jacksons. This new phase allowed the group to exercise more creative control over their music, with Tito and his brothers contributing to songwriting and production for the first time. Tito’s influence was most felt in this era, as he took on a greater role in the creative process. Albums like Destiny (1978) and Triumph (1980) showcased the group’s evolving sound, blending funk, disco, and soul. While Michael continued to stand out as the group's star, Tito’s musicianship remained a vital component of their success. In 1984, The Jacksons reunited for the Victory Tour, which would be their final tour as a full group. After the tour, Michael focused on his solo career, while the other brothers, including Tito, began to explore different projects. Solo Career and Later Ventures Unlike his brothers Michael and Jermaine, Tito did not immediately pursue a solo career after The Jacksons disbanded. He chose instead to focus on other business ventures and raising his three sons—Taj, Taryll, and TJ Jackson—who would later form their own group, 3T, in the 1990s. Tito played a significant role in mentoring his sons, passing on the Jackson family legacy of music. Tito eventually embarked on his solo career in the 2000s, releasing his debut solo album, "I Gotta Play" in 2003. The album was a blend of blues, R&B, and pop, showcasing Tito’s smooth vocals and guitar skills. Although his solo work did not reach the heights of his brothers’ success, it allowed Tito to carve out a distinct identity as a musician. In the late 2000s and 2010s, Tito often joined his brothers for reunion tours and performances. The Unity Tour in 2012, featuring Tito, Jermaine, Jackie, and Marlon, marked the first time The Jacksons performed together since the early 1980s. Tito, who had spent much of his career in the shadow of his more famous siblings, relished the opportunity to connect with fans and revisit the music that had defined his youth. Beyond music, Tito was also a philanthropist. He supported several charities, particularly those related to education, underprivileged children, and the fight against HIV/AIDS, a cause that became important to the Jackson family following the untimely death of their close friend, Ryan White. Personal Life and Challenges Like all of the Jacksons, Tito’s life was not without challenges. He married Delores “Dee Dee” Martes in 1972, and the couple had three sons together before divorcing in 1988. In a tragic turn of events, Dee Dee passed away in 1994 under suspicious circumstances, which Tito and the Jackson family believed was not an accident. Her death remained a mystery for many years, though it never gained the media attention it deserved compared to other Jackson family scandals. Despite his personal struggles, Tito maintained a strong relationship with his brothers and became a stabilizing presence within the often tumultuous Jackson family. Known for his calm and easygoing demeanor, Tito was seen as the “quiet Jackson,” often choosing to stay out of the public eye in comparison to his more headline-grabbing siblings. Tito’s Passing in 2024 The world was saddened by the news of Tito Jackson's passing in September 2024. He had battled illness privately and chose to live his final years out of the spotlight. His death marks the end of an era for the Jackson family and the music industry, as Tito was one of the last surviving members of The Jackson 5’s original lineup. Upon the news of his passing, tributes poured in from across the music world. Fellow musicians, fans, and media outlets remembered Tito for his contributions to both The Jackson 5 and his solo work. His guitar-playing, often understated, had played a pivotal role in shaping the sound of one of the most famous music groups in history. Legacy Tito Jackson’s legacy extends far beyond his work with The Jackson 5. He was a talented musician in his own right, a devoted father, and a pillar of strength within the Jackson family. His contributions to American pop and R&B helped define the sound of a generation, and his mentorship of his children continued the Jackson family tradition of excellence in music. While his fame may never have rivaled that of his brother Michael, Tito will always be remembered as a founding member of one of the most successful musical families of all time. His humility, loyalty, and dedication to his craft have ensured that his legacy will endure. Tito’s passing is not just a loss for his family but for music lovers around the world. His life was one filled with rhythm, harmony, and a deep love for his family, fans, and music. Thanks for listening and remember to like and share wherever you get your podcasts.
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In deze reeks praat ik met de creatievelingen die ooit verborgen zaten in de Belgische underground, daar nog steeds verborgen zitten of er maar halvelings zijn uitgeraakt.
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De metal radioshöw met hart voor hard! Twee uur lang draait Mike Arntz jouw favoriete metalplaten.
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Wat als een rapper en een videogamecomponist elkaar hun favoriete componisten pitchen?
In CLASSICS nemen hiphopartiest sor en anime/videogame-componist Beau Damian elkaar mee in een deep dive langs hun favoriete componisten. Van de OG van ambient tot de Kanye van videogamemuziek. Vanachter hun keyboard proberen ze elkaar te overtuigen met de gekste verhalen over klassiek giants en moderne meesters en laten ze zien hoe hun muziek terugkomt in hun eigen werk en de hits van nu.
Vind je het leuker om met beeld te kijken? Check dan deze afspeellijst (https://www.youtube.com/playlist?list=PL1NDo43jPBgupUImvXxo5qbl6wK-Sukn4) op YouTube en bekijk CLASSICS via het kanaal van NPO Klassiek! -
Teste para nossa nova rádio
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In Entre Nous ontdek je de Franse sound van nu met Astrid en Christian. Astrid Dutrénit is Francaise, woont al meer dan 20 jaar in Nederland. Ze is werkzaam in de media en was TV producent van internationale uitzendingen zoals de Tour de France en het Eurovisiesongfestival in Rotterdam in 2021. Christian Laurman is TV-regisseur van 112 vandaag, Eigen Huis en Tuin, de Formule 1 uitzendingen op Viaplay, voetbal uitzendingen op ESPN en vele andere programma’s, concerten en festivals. Daarnaast is hij DJ en oprichter van JINX Radio. Samen delen ze een passie voor muziek.
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De Feestcast is een gloednieuwe podcastserie door de mannen van Bennie Beenham. In de Feestcast neemt Bennie Beenham je mee in de wereld van carnaval, Oktoberfest, après ski, smartlappen en feestmuziek. Elke aflevering is er een artiest uit het ‘Hollandse muziekgenre’ te gast om met diegene te praten over zijn of haar carrière en de feestwereld in het algemeen. Beluister De Feestcast via een van onderstaande opties, waaronder YouTube en Spotify.
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