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The recording and covers of this track from David Bowie's album of the same name.

Stuck On Repeat - "Heroes"


'Heroes' is a track on an album of the same name written by David Bowie and Brian Eno in 1977. The track was recorded in Berlin with Tony Visconte in Hansa Recording Studios.

The studio was in close proximity to the Berlin Wall, complete with a watchtower manned by armed guards during the time of east and west division. Recording artists often commented that this added a subconscious element to the sessions at the studio. Bowie apparently referred to studio two as 'The big hall by the wall'.

The song is given life by guitarist Carlos Alomar and the sustained and sparse guitar playing of Robert Fripp who played on the original recording, and later re-visited the song during a King Crimson performance in Berlin in 2016.

The track was recorded before the lyrics were written, and an in-depth look at production of the original track with Tony Visconte and Erin Tonkon was included in a BBC Four production about music moguls.

The lyrics of 'Heroes' seem to be influenced by the consequences of the Berlin wall and are about danger and division, where natural human emotion has to take on an unnecessarily heroic element to exist, along with the abandonment of care about the consequences. A decade later, Bowie performed the song during a concert in front of the Reichstag in Germany, a powerful and emotional moment which apparently reached people on both sides of the wall.

The playlist concludes with the track V-2 Schneider which was the B-side for the single release and intended as a tribute to the influence of Kraftwerk's Florin Schneider during Bowie's creative period in Berlin.

This playlist is in tribute to the people who are no longer with us, a world that has changed, and most of all, the transition of a somewhat bleak theme into an uplifting anthem of unity and hope.

Jukebox
By Matt Sheen MMXXI - See video playlist for references
Videos shared by DokStation, KingCrimsonVEVO, Motörhead Official, DepecheModeVEVO, earMUSIC, Blondie, Concert On The Lake, Peter Gabriel, David Bowie, DavidBowieVEVO, American Composers Orchestra.

Edward Van Halen


Van Halen were a straight-ahead Californian rock band and started out in the late seventies with Eddie Van Halen, his brother Alex on drums, David Lee Roth on vocals, and Michael Anthony on bass. They had the right mix of great musicianship and showmanship, with an underlying sense of humour.

They knew how to combine well crafted rock with appealing imagery, and were at the beginnings of an American rock/metal trend for the party attitude with a touch of glam metal - all served up by the likes of MTV during the eighties. This gave the band wide appeal and Van Halen were a huge success commercially.

Band members came and went over time, and there were various issues, but one thing remained consistent - Eddie Van Halen and his instantly recognizable guitar style.

The featured playlist is a tribute to the guitar playing of Eddie Van Halen. He may be with us no longer, but his musical influence continues on. Tracks are from the original line-up and include the fresh sounds from the first album Van Halen (1978), the later mainstream hits with the big keyboard sound of Jump and Hot For Teacher, followed by the riff driven Panama (featuring sound effects from Eddie's Lamborgini) from the album 1984, and a live performance of Unchained from the less party-like album Fair Warning (1981).

There are two tracks from Diver Down (1982) which present another aspect of the band. Little Guitars features an acoustic flamenco intro and a scaled-down mini Les Paul guitar. This is followed by Big Bad Bill featuring Eddie's father, Jan, on clarinet.

The playlist concludes with Eddie's uncredited guitar solo, recorded for Quincy Jones during his production of the Michael Jackson's rock influenced track Beat It for the album Thriller (1982).

Jukebox
By Matt Sheen MMXXI - See video playlist for references
Videos shared by Rhino/Warner Records, VHTelevision, andrewragford89, VanHalen765, Epic Records, Billboard

Bob Marley


Time for a little positive vibration from the man who journeyed from Nine Mile to Trenchtown, and from Wailing Rudeboys to the Wailers and beyond. If you've never looked beyond the great, but over-played radio hits I Shot the Sheriff or No Woman No Cry it's time to discover some of the other hits and great tracks and take in some of the sublime yet revolutionary Tuff Gong experience that is Bob Marley.

Jukebox

Meet Elvis


This playlist features just one track - In The Ghetto, a song written by Mac Davis in the sixties and released by Elvis Presley in 1969. The song portrays a story of life that has been relevant since it was written. It relates to society today and this playlist connects the song, the song writer, and goes on to give an insight into the media life of Elvis through press interviews and the experiences of others.

This playlist remembers Mac Davis (1942-2020)

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Winter Dance Party 1959


1959 Winter Dance Party Rock n Roll Tour

The Winter Dance Party Playlist is based on the lineup that toured the Midwest in the USA during the cold winter of 1959. This was a transistion period marking the emergence of rock 'n roll from R&B, rockabilly, and country music. Sadly, this particular tour also marks the last time some of those involved in this transition would appear in person. A plane crash in the snow covered fields of Clear Lake, Iowa took the lives of many of those performing on the tour, which was around half-way through (the tour continued without them).

Buddy Holly was only twenty-two years old at the time of this tour and had been recording for three years. Ritchie Valens was seventeen and had been recording for around eight months. "The Big Bopper" was twenty-eight and had moved into performing a year earlier after working in radio and as a songwriter. All died in the accident.

Dion and the Belmonts were also on the tour after signing with Laurie Records in early 1958 as a Doo-wop vocal group. Johnny Sardo was a guest on the tour and was known for his song "Fake Out" at the time.

A few tracks from other young stars who were also around (but not on the tour) are included, such as a sixteen year old Fabian Forte.

Jukebox

Review

AC/DC

Dirty Deeds Done Dirt Cheap (1976)

I had no idea who AC/DC were when I bought the album in 1976. I went by the look of the cover art (as I often did in those days). The censored faces, the mix of different people and ages, the motel in the background, and retro feel suggested there were real-life stories here - some of which may be a little seedy or dodgy. As it turned out, the album cover (the international version created by the now defunct Hipgnosis) and the title reflected the music well.

Straight-forward, riff driven rock 'n' roll is cleanly played and the production is close to a live sound. The guitar work is solid from both of the Young brothers (Malcolm and Angus), drums and bass are extremely tight, and the lyrics are well phrased and accented by lead singer, Bon Scott.

Each song has a story to tell, and some of the lyrics (written by Scott) are seedy, raw, and about sexual conquest and less than perfect lives. The nine songs are based around the kind of humour and attitudes a down-to-earth rocker might have. Some critics have commented that the lyrics encourage sexual objectification and anti-social behaviour - but as always, it depends on how the rock 'n roll attitude is personally interpreted.

The album also features a rarity for AC/DC. 'Ride On' is a laid-back and reflective track about the ups and downs of life. As Bon Scott sings the line about a one way ticket that's going the wrong way, he probably echoes a sentiment many can relate to in life.

After discovering Dirty Deeds, I went back one album and listened to High Voltage (also released in 1976), and then onwards to Let There be Rock (1977) which established and defined AC/DC's own musical style further, and included the first use of their iconic band logo (designed by Gerard Huerta). These two albums seemed to capture some of the same spirit as Dirty Deeds.

Things changed after the death of lead singer Bon Scott in February 1980. The huge success of Back In Black released in July of the same year (featuring new vocalist Brian Johnson) meant AC/DC had to evolve, as they were subsequently a bigger and more commercial machine. The sound became more produced, the songs more anthemic, and everything was visually supported by slick, heavy metal style imagery - a little different to the seedy storytelling and the lighter side captured by Dirty Deeds.

As the prophetic song 'Ain't No Fun' says, waiting around to be a millionaire might not have been much fun, but the time was well spent - Dirty Deeds Done Dirt Cheap is a great rock 'n' roll album.

PLAY AC/DC Dirty Deeds Done Dirt Cheap

Jukebox

By Matt Sheen July MMXX

Shared by AC/DC, Columbia

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Review

Duke Ellington

Far East Suite (1966)

In 1963, Duke Ellington and his Famous Orchestra left the States for a diplomatic tour (supported by the American government) of what was then generally called the Far East. This was a new experience for all of them and one that would lead to the creation of the album Far East Suite. The tour included West Asia with visits to Syria (Damacus), Jordan (Amman), Iran (Tehran), and Iraq (Baghdad), and also covered South Asia with visits to Afganistan (Kabul), India and Sri Lanka (known as Ceylon at the time). There was a return trip a year later to East Asia and Japan in particular (1964).

Ellington and his musicians were inspired by how different things were culturally, environmentally, and musically. On return, Ellington worked with his long-time collaborator Billy Stayhorn and arranged new and previous compositions to capture his far eastern experiences.

According to jazz critic Stanley Dance (who wrote the sleeve notes for the album), Ellington didn't attempt to copy what he'd heard during the trip, or tried to introduce new musical instruments or ideas. Instead, he interpreted the overall mood and tone and incorporated a far eastern feel that would be suited to his own musicians.

The resulting works were recorded in Studio A at RCA Victor's Studios in New York (also used by Elvis in 1956 - see Scotty Moore's site for pictures of the studio), and the album was released in 1966.

The first track is Tourist Point of View. The eastern feel begins to creep in over the clattering cymbal work and the scene is set in terms of where we are historically, and a gives us a taste of what's to come.

Next is Bluebird of Delhi featuring the clarinet of Jimmy Hilton. Some passages sound bird-like, and they should, as he copied the song of a particular bird he heard while touring the east.

Isfahan (a track named after the capital of the Isfahan Province in Iran) is a laid-back track that has a melancholic feel and was written before the tour. Depk is a rhythmical, dance inspired journey to the next track, Mount Harissa, which features piano from Ellington and is named after an elevated area situated to the north of Beirut in Lebanon.

Blue Pepper is the outstanding track. This piece struts along and throws out eastern vibes left and right as Johnny Hodges brings in a piercing solo over the top of it all. John Lamb (bass) and Rufus Jones (drums) have a big sound and their energy and sheer gusto gives everything a lift.

The following track, Arga (the site of the Taj Mahal in Uttar Pradesh, India), encapsulates drama and tells a story through the baritone sax of Harry Carney. The notes are rich as Carney controls and expresses his playing through the song which finishes on a single held note. The track Amad returns to a stronger eastern theme and features Lawrence Brown on trombone.

The final destination is East Asia. Ad Lib Nippon was inspired by a trip to Japan in 1964. There are four sections and Ellington composed it with his clarinet/sax player, Jimmy Hamilton. The different sections feature Ellington on piano and the clarinet of Hamilton.

Duke Ellington knew what he wanted to express for this album and took the time to make the music an interpretation rather than an imitation. After listening to the Far East Suite (which was late on in Ellington's career), you become aware of just how great these musicians were - not only technically, but how they played with feeling and could play off each other under the direction of Ellington.

Some say Jazz is not their cup of tea. But it can be. It's usually down to finding the right style to suit your own taste. Try a little jazz with a swing from the far east - see what you think.

PLAY Duke Ellington Far East Suite

Jukebox

By Matt Sheen January MMXXI

Label Bluebird/RCA Shared as a YouTube Playlist. Sources include sleeve notes by British jazz writer Stanley Dance (1910-1999) - author of 'The World of Swing'.

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5 star playlists

Five Star Playlists & Shows ★★★★★


Links to external channels and platforms
PLAY Sounds Over Soho

We spent some time digging through new releases and vintage recordings (mostly on vinyl) in independent records stores in the Soho area of London. The diversity of the music discovered was amazing, so we decided to share our experience. The result is Sounds Over Soho, which is now available as a Spotify Playlist. If you'd like to find out more, there's an accompanying article featuring the Soho area, the record stores featured, and the magic of music on vinyl... Why shop at high street record stores?

PLAY Defected Radio Show

The Defected Radio Show from Defected Records hosted by DJ and broadcaster Rimarkable. House, techno, funk and soul with on-the-ground club knowledge from NYC and the San Francisco Bay Area.

PLAY Pop Tart's Mixed Bag

Soho Radio - Pop Tart's Mixed Bag features American consumerism mesmerizingly juxtaposed with diverse genres of music from the likes of The Bodies Obtained, Toby Tobias, LOOKMOM, Mercy Killings and more.

PLAY Ultimate 2000s Indie Music

The Ultimate 2000s Indie Music YouTube playlist from Doogie features over 200 tracks compiled from official sources. A complete snapshot of the times featuring artists such as Badly Drawn Boy, Oasis, Stereophonics, Manic Street Preachers, Coldplay, The White Stripes, Feeder, and many other artists who had new releases, tours and festival appearances during the 2000s.

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Shared Music


★webstar offers a curated resource for shared third-party music and music video. Discover new artists, revisit classic tracks, and experience shared collections of great music presented in a garish retro-jukebox theme.

Artists and collections are deliberately presented in random order to allow for an element of discovery, and feature mostly older releases or new artists from alternative and non-mainstream genres.

There's just too much...

Trying to remember what was around all those years ago? Want to find new music or artists you haven't heard before?

The amount of online music and media can be overwhelming. Faced with a choice of anything and everything, the mind can go strangely blank.

★webstar aims to provide a starting point, and at the same time, offer a way to support the artists by offering links to official content along with generating traffic and file views for video sharing, streaming, and online stores for the included artists.

Independent

This guide is non-commercial and nothing is monetized. Just music. No user comments, no subscriptions, and as ad free as possible (any adverts appearing are from third-parties).

Nothing to do but select and listen...

Thanks to the artists for sharing, and thanks to you for your curiosity.

tibbar etihw eht wollof

 

The Mighty Weblitzer


The Mighty Weblitzer Jukebox (Diner-Noir Version) is designed to independently disseminate music without the extra propaganda.

Player artwork is based on images of a Wurlitzer 1015 bubbler as designed by industrial designer Paul M. Fuller, first manufactured in 1946.

The jukebox played a part in the discovery of new music and provided a way to revisit great music from the past, played in a space where all could listen and experience it together. That idea is the inspiration behind this collection of curated links.

Jukebox Rabboid and Mildred's Diner

Millie's Diner

Short story by Richard Black

Location: West Hollywood, California USA
Time: 1950s - 1960s

Culinary expert, Barbara Trémie (known as 'Bunny'), was something of a socialite and had connections in the world of entertainment and local politics. In the late 1940s she became a partner in her family's extensive wholesale food enterprise after the death of her father. She found day-to-day office life socially restricting and not exactly exciting. She wanted a more active and social environment to work from.

Bunny decided to buy a diner and use it as a combined office base and social venue, and as a place where she had access to a fully equipped kitchen to keep her first love, cooking and cuisine, close to hand.

She approached friend and advertising executive Freddy Jackson about the project. Freddy loved the idea of a diner as a public relations tool rather than just a business in itself, and the building under consideration in West Hollywood offered great possibilities. As a result, he became a co-owner.

The diner was launched under the name 'Millie's', inspired by a few tenuous similarities with the diner related movie Mildred Pierce released in 1945, starring Joan Crawford. The name was thought to convey a friendly, homely feel, and the movie reference gave a touch of showbiz.

There were two sides to the business - the public drive-in diner was managed by a team provided by the owner of a well-known restaurant chain, who was one of Freddy's clients. The second side was a private luncheon club, which was Bunny and Freddy's domain.

Freddy managed front of house and organized exclusive, member-only sittings in a suite of separate air-conditioned rooms at the rear of the building, previously used as dance studios and accessed by a private courtyard. Bunny's office was situated next to a reception area which was converted into a luxurious lounge and cigar bar.

The spacious and windowless studio, with its partly mirrored walls, sprung flooring, and a small low-level stage at one end, became the luncheon club's dining area, furnished with tables that could be moved to make a dance floor, and newly fitted diner-style booths.

These times also coincided with the popularity of the jukebox, which offered a new and shared musical experience. A brand-new Wurlitzer Jukebox was installed next to the stage along with a matching external speaker system. The old dance piano was replaced with a top-of-the-range Baldwin piano once owned by Bunny's father, and the scene was set.

Millie's Diner interior showing the jukebox and small stage

Privacy, great hosts and a fantastic menu meant the luncheon club quickly became a popular retreat for the rich and famous, particularly those within Bunny's vast social circle.

Thanks to Freddy's relationship with the local media and the importance of his clients' advertising dollars, the press left the place alone. Well-known faces and local celebrities could come and go as they pleased, and relax and indulge themselves without intrusion from the press or public.

At lunchtime, Freddy's VIP patrons could gorge on luxury burgers or other special diner menu items (dishes created by Bunny and prepared by trainee gourmet chefs), then stay and relax for the rest of the afternoon while drinking, smoking, and chatting in the private high-backed booths. A deep red theme, plush upholstery, and low lighting in the windowless dining area gave a cosy night-time feel even during the day, and members could get some elusive time with friends or discreet alone time. They could also just drop in and socialize in the cool air-conditioned cigar bar with the likes of studio managers, agents, music producers, celebrities, and rising stars.

The patrons of the luncheon club had a similar attitude to that of the teenagers in the public diner. It wasn't home, and it wasn't the office. It was a place to relax or do business, an escape from humdrum family life, and a place to network with peers. It was also a retreat for secret affairs with food, alcohol, or other people.

Eccentric habits, strong views, or exuberant behaviour were accepted as a part of club culture and made things interesting, but Bunny made it known that any form of open discrimination would not be tolerated. This was the only aspect where a clear line was drawn - a tough stance considering the nature of some of the deeply offensive social protocols that were generally accepted at the time.

Because of the nature of the luncheon club and its high-profile clientele, the waiting staff were taken on by recommendation only and consisted of showgirls, athletes, actors, musicians, and performers who wanted to make a little extra cash between jobs, or were friends or relatives of the patrons. This meant there was a pool of professional entertainers on-hand, and Freddy cooked-up a novel idea to make the most of this.

Freddy would assume the role of compère on the tiny stage located next to the jukebox, and the activation of a single spotlight and glittering mirror ball would indicate that it was showtime. Service staff were given an opportunity to perform for the diners, albeit in a subtle and fairly low-key way (usually singers and pianists or small groups of dancers and musicians). Things snowballed, and the result was the popular and now legendary entertainment sessions that occurred at intervals during the afternoons, with the patrons themselves sometimes taking a turn.

Later, Freddy extended proceedings into the evening with private showcases of cabaret acts (some rumoured to be little outrageous or risqué at the time) that were under the wings of some of the patrons, along with a variety of musical duos, solo performers, and comedians who were in the development stage of their careers, or were testing out new songs or routines.

Many of the diner's former staff have praised Bunny and Freddy over the years for giving them an opportunity, and report that working at the diner was an unforgettable experience. Some have since gone on to great things.

Music became a central theme in the local area and at the diner, and the jukebox played a crucial role in the musical transition from the fifties to the sixties. The luncheon club's jukebox was free and played all the time. Record company pluggers provided a constant supply of new releases, and even the stars themselves provided exclusive releases and previews of unreleased music, or pushed other artists they championed. Radio station owners and DJs kept a keen ear on what the jukebox offered and often gave new artists valuable airtime after hearing the latest releases at Millie's Diner.

This on-going social extravaganza finally came to an end in the mid sixties. Freddy sold his financial stake in the business and went into television production. Shortly after Freddy left, Bunny's family wholesale business was merged with a major distributor and involved a move to New Jersey, which led to the sale of the diner. She subsequently went into the lucrative 'heat and serve' ready-meals market with her brother Hector.

Without Bunny's connections and Freddy's protection from press intrusion, the diner became less exclusive, and the new owners eventually converted the luncheon club into a small public venue featuring cabaret and burlesque shows. The public section out front was taken over by a fast food franchise.

The importance of the jukebox also went into decline as recordings, music players and radio development moved with the times and became more affordable and accessible.

A few years later, the venue was sold to a corporate entity and was extensively remodeled and extended. The original building was no longer recognizable, and the diner finally dissolved into history.

Rich Black ★webstar MMXX

 


James M. CainThis story references the character Mildred Pierce (1945) - a fictional character created by the American author and lover of fine cuisine and music James M. Cain. The outside shot of the diner featured here is a montage of three different diners and adapted artwork that includes a movie still (origin unknown) of a building resembling Dolores Drive-in located on Sunset Boulevard and Horn Avenue, West Hollywood (long-since demolished), which was either built by the studio, or set-dressed on location as Mildred's for the 1945 movie 'Mildred Pierce' released by Warner Bros.

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Yes. If you want to bookmark an artist or share a link, you can add the button reference number to this url - webstar.tv/jukebox/ - then add a hash - then the track reference (lower case) - for example #a3. This will take you directly to the link within the page - for example webstar.tv/jukebox/#a3

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Example: webstar.tv/jukebox/#the-cure-collection

Note: As with any regular jukebox, tracks and collections are updated or removed from time to time.

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Music rather than video is the primary consideration (some tracks do not feature video), but the once a video has loaded you can use the playlist icon to view contents, or the arrow icon to go to the next track. You can also view video full screen by using the full screen icon. Full screen gives all the video controls including volume.

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Content

Note: Some local written content is fictional and included as a way to provide links to real historical references and additional playlists.

See shared video policy to view our approach to video sharing.

This virtual bubbler jukebox offers samples from a wide variety of music and artists both old and new, with links to music channels, artist playlists, and official websites. Sometimes quirky, sometimes obscure, the Mighty Weblitzer Jukebox offers a more diverse experience than your regular music resource.

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