My new 5-song EP "Keep Breathing" is here! Thanks to those who've already listened, purchased and enjoyed it. Heart-on-sleeve indiepop folk rock songs about burnout, broken friendships, infamous streets and loss of faith. Enjoy! A selection of links here: album.link/keep-breathing

TODAY at 4 PM Central / 10 PM UTC: It's the Indie Music Party Jukebox on Twitch! twitch.tv/unclefunkbeard We've got awesome handpicked songs from the Indie Music Showcase vault plus the top ten songs from last week. Come hang out in the live chat with cool people! New to the Jukebox: @BerniceMarsala / @ConnollyTunes @BlueFlameKidd / @Nine4West @CaptChemical @CrookedSpine39 @decembercats @DrtyAnimal @Gomesongs @JakeSommermusic @JimFranceMusic @KandR_MUSIC @NoSinInEden @onlythehost / @JackGryphon @soorploom @wontsayrabbit Staying in rotation: @_Truckdog_ / @MickeyGuitar95 @AmplitudeFreak @BeahmVon @bigbaldbenmusic @devilstaratom @Harrietbhere @mkallen1978 @SeanFaust @ThePixiePost @unclefunkbeard

just updated my monthly indie playlist DIG NewMusic, and hope you enjoy 50 brilliant songs by independent/DIY bands/artists for #November2026 🥳 🔊enjoy listening on Spotify/YouTube: dignewmusic.blogspot.com/202… your next fav songs are here🙌

The Killie legend @paska29 commentating on the Milan derby is a nice surprise on the beeb tonight. Sorry Pasca, it's the Rossoneri for me 😛

1/3 On 30 October 1986, Prince locked out Sunset Sound Studio 3 in Hollywood for an all-night session that produced “Good Love,” a key track from the brief Camille era. This was two days after he tracked “Rebirth of the Flesh” and “Rockhard in a Funky Place,” and three days before “If I Was Your Girlfriend.” The Revolution had recently disbanded. Prince was based in Los Angeles, booking Sunset Sound for long stretches, working under the androgynous Camille alter ego that used pitch-shifted vocals. The song was assembled for the aborted Camille album (compiled around 5 November (x-apple-data-detectors://embedded-result/570)) and later appeared in Crystal Ball configurations before being dropped from Sign O’ the Times. It eventually surfaced on the 1988 Bright Lights, Big City soundtrack (the first time Prince contributed an unreleased original to a film he did not star in) and in a different edit on the 1998 Crystal Ball set. Studio 3 and the Working Environment: Sunset Sound Studio 3 was Prince’s preferred Los Angeles room from roughly 1981–1987. The control room measured about 21’ × 16’ × 10’; the main performance area was 38’ × 18’ × 12’, with a smaller piano room (Steinway Model B), isolation booths, and a vocal booth. The centerpiece was the custom API/DeMedio console (32 inputs, 24-channel monitor, 8-bus, API 550A (x-apple-data-detectors://embedded-result/1287) EQs), which Prince liked enough that a version was later built for his Galpin Boulevard home studio and eventually moved to Paisley Park Studio B. Multitrack recording used Studer A-800-series 24-track machines. Monitoring was typically via the Augspurger-designed JBL arrays, with NS-10s or Auratones for nearfield checks. Effects available included the AMS RMX-16 reverb, various delays, and the usual complement of outboard (compressors such as the Urei LA-2A, which Prince and his engineers favored for vocals). Sessions were usually lockouts; Prince preferred working late into the night and often finished entire songs in a single long day. According to Duane Tudahl’s session chronicle, the 30 October booking for “Good Love” ran approximately 4 p.m. to 7 a.m. (x-apple-data-detectors://embedded-result/2045), with tracking, overdubs, vocals, and mixing. Work continued on Halloween (31 October (x-apple-data-detectors://embedded-result/2137)) for additional vocal overdubs and mixes, with a probable instrumental mix on 1 November (x-apple-data-detectors://embedded-result/2226). Engineers were Susan Rogers and Coke Johnson. #PrinceOnThisDay

Neil Young - Only Love Can Break Your Heart So much pain in a deceptively comforting melody. The gentlest of waltzes, a hard-won lesson at its core. Nash and Joni inspired it, but it’s for anyone who’s ever been hurt. 1970.

RT @tonydufficy: drop a🔗 to one of your best songs and i'll have a listen this weekend🙏🎶 #playlisting #spotify

WAKEY WAKEY! ⏰ TICKETS R ON SALE RIGHT NOW • MY BIGGEST TOUR EVER • KISS YOU LATER X🏃‍♀️ lnk.to/BrookeCombeEM

Get to know my movie taste! 🎥 fav sci-fi: The Matrix fav comedy: Dumb and Dumber fav horror/thriller: Memento fav action: Terminator 2: Judgement Day fav drama: Trainspotting fav romcom: 500 Days of Summer fav animated: Spirited Away favorite movie overall: Blade Runner

TODAY: it's the Indie Music Showcase! twitch.tv/unclefunkbeard Listen to awesome music from independent artists and hang out in the live chat with the crispy people! The show starts at 4 PM Central / 9 PM UTC. Have trouble converting to your time zone? Follow me on Twitch to get notified automatically and see the show schedule in your local time! Featuring: @AgeofInfernal @akbyr38 @BanastarProject @CynicalOrder @devilstaratom @elliotjbaron @grimallenmusic @Grovesidermusic @Harrietbhere @jay_yarbrough @jezuromusic @MatteMartin2 @MikeLuceyAcoust @onlythehost @popganguk @SkyPatternsBand @soorploom @thepixiepost @valdicaster @Warm_Coat @WZRDShip / @empire_whimsy

#PrinceOnThisDay From Camille to Sign o’ the Times “Housequake” was quickly slotted into the aborted Camille project (an album to be released under the female alter-ego name, with all vocals pitch-shifted). It was planned as the B-side of a “Shockadelica” single, also under the Camille name. When both the single and the Camille album were scrapped, the track moved to the first disc of the triple-album Crystal Ball configuration. Warner Bros. rejected the triple set as too long; Prince pared it down, and “Housequake” became the third track on the first disc of the double album Sign o’ the Times (released March 1987). On the album it is credited to Camille; when it appeared as the B-side of the “U Got the Look” single it was credited to Prince. Additional work followed. Party-style gang vocals (featuring studio regulars including Gilbert Davison, Susan Rogers, Coke Johnson, Todd Herreman, Mike Soltys, and others) were added on 26 October at the same studio. An extended “7 Minutes MoQuake” version, which samples Jesse Johnson’s “Crazay” (featuring Sly Stone), was later prepared. A live version appears in the Sign o’ the Times concert film. Why It Matters: “Housequake” is more than a funky party cut. Recorded in the immediate aftermath of one of the most significant band breakups in Prince’s career, it functions as a declaration of independence: a one-man show of force that is ecstatic rather than bitter. The Camille voice, the hard funk, the hip-hop edge, and the total solo control all pointed forward to the sprawling, shape-shifting Sign o’ the Times era. Engineer Susan Rogers has called it a new idea in dance music for him; Prince himself once noted that while others might beat him at awards shows, “you will not do ‘Housequake.’” The session captures Prince at a classic turning point—alone in the studio he preferred, playing almost everything, inventing a new voice, and turning a personal rupture into a brand-new groove. 2/2

#PrinceOnThisDay On the morning of 18 October 1986—the day after the public announcement that Prince and the Revolution had disbanded—Prince locked himself into Studio 3 at Sunset Sound in Hollywood and cut one of the most purely physical, one-man funk statements of his career. What emerged was “Housequake,” a track that announced both a personal break and a new sonic direction that would help define Sign o’ the Times. The Morning After: The Revolution’s dissolution had been building for months. Tensions rose during the Parade tour (which ended in Japan in early September), and Prince had already moved to fire key members, including Wendy Melvoin and Lisa Coleman. A formal public announcement followed around 17 October. The next day, instead of retreating, Prince went straight into the studio he loved most. Studio 3 at Sunset Sound was booked as a lockout from 10:30 a.m. until 1:30 a.m. Engineers Susan Rogers (Prince’s longtime collaborator) and Coke Johnson were on the desk. Prince produced and played nearly everything himself: drums (or drum machine patterns), bass, guitar, and synthesizers including the Fairlight CMI, Oberheim OB-8, and Prophet VS. The only outside players that day were the horn section—Eric Leeds on saxophone and Atlanta Bliss on trumpet. Building the Quake: Prince started with the drums. The groove shares DNA with the earlier “Shockadelica.” One unconfirmed studio story (recounted in Duane Tudahl’s session history) has Prince about to leave with his bodyguards for food when he heard a rhythmic pattern—possibly the sound of his own shoes on the studio floor. He immediately sat down, told Coke Johnson to roll tape, and captured the beat that opens the track. He layered bass, guitar, and Fairlight elements, then added his lead vocal in the higher, sped-up register that would soon be formalized as the Camille persona. This was among the earliest sustained uses of that voice. The lyrics are pure party command mixed with playful absurdity (“Shut up already! Damn!” / “Who in this house know about the Quake?” / “Green eggs and ham!”), delivered with the energy of someone shaking off the recent past. Leeds later described the horn arrangement: Prince supplied the main line (“ba ba da, dal dal da”), while Leeds created the counter line (“ba da da da da”). The horns give the track its James Brown-style stabs and strut, but the core remains a solo performance. Susan Rogers later recalled that Prince spent an unusually long time on the song—roughly seven hours tracking and overdubbing, then another eight hours editing and mixing the dense layers. She has said this usually signaled a track he considered important or especially enjoyable. In her view, “Housequake” represented a new idea in dance music for him at a moment when his instruments, style, colors, and the people around him were all changing. It also marked some of his earliest and most successful experiments with hip-hop phrasing and attitude while he retained total control of every element. A single C-60 cassette left the session. Prince was already excited enough to play an early version for associates days later. 1/2

Two years ago today, my indiepop song "Don't Belong Here" was released. It's a song about feeling like an outsider and of feeling disconnected/burned out from the fast pace of modern life. It's still one of my favourite things I've ever made 🍁 song.link/Dont-Belong-Here

Week one recap for "Keep Breathing". This is for the song, rather than the whole EP of the same name. I realise that these numbers are achieved on day one for some artists, but mine seem to be more slow-burners. Thanks to everyone who's listened so far. open.spotify.com/track/3CIer…

MONDAY: The Indie Music Showcase returns at 4 PM Central / 9 PM UTC! twitch.tv/unclefunkbeard We've got it all this week: rock, pop, jazz, '80s covers, acoustic folk, blues, new artists, new releases and more. Join all the crispy people in the live chat for a fun time! Featuring: @AgeofInfernal @akbyr38 @BanastarProject @CynicalOrder @devilstaratom @elliotjbaron @grimallenmusic @Grovesidermusic @Harrietbhere @jay_yarbrough @jezuromusic @MatteMartin2 @MikeLuceyAcoust @onlythehost @popganguk @SkyPatternsBand @soorploom @thepixiepost @valdicaster @Warm_Coat @WZRDShip / @empire_whimsy

NAME THAT FAVORITE TRACK! 25 Years Ago Today, @prince released his 24th studio album The Rainbow Children via the NPG Music Club as one long single track. I have spoken publicly regarding how much I love this album and its beautiful esthetic and flow. It is so expertly mixed and big that it simply doesn't sound like anything else. Plus it showed his eclecticism by dabbling in jazz, soul, funk, R&B, and little bit of hip hop (take a load off sweetie darling). While many folks were turned off by the "God voice" that is the narrator of the album, it's not an issue for me. I'm not sure the album would have been able to maintain its theme and storyline that he was trying to tell without it. Although, most folks (including myself) don't fully follow the storyline anyway. Almost, but not fully. The album is mostly Prince on all instruments with exception of John Blackwell making his debut on a Prince album playing drums on most of the tracks, and Larry Graham on bass on The Work Pt. 1 and Last December. The Hornheadz also played on five tracks, with Najee on saxophone and flute on some tracks. Background vocals were also contributed on some songs by Milenia, Kip Blackshire, Morris Hayes, and Femi Jiya. This album sits comfortably in my top 3 albums for Prince which is shocking to some, and it wasn't even one that grew on me. I "got it" right out of the gate. It was grown folks music and I guess I was fully grown. My favorites? That frigging title track is amazing and of course, those funk tracks, 1+1+1 Is 3, Everlasting Now, and Family Name. The latter by the way earned me a shout out from Prince in Atlanta when I was dancing all alone with everyone else seated around me, and Prince yells out, "I see you back there." and pointed right at me. That would also be the night I first got a chance to meet and talk with him. So it goes without saying, this album and the accompanying One Nite Alone tour hold a very special place in my heart. Rainbow Children (10:04) Muse 2 The Pharaoh (4:21) Digital Garden (4:07) The Work Pt. 1 (4:28) Everywhere (2:55) The Sensual Everafter (2:58) Mellow (4:24) 1+1+1 Is 3 (5:17) Deconstruction (2:00) Wedding Feast (0:54) She Loves Me 4 Me (2:50) Family Name (8:17) The Everlasting Now (8:18) Last December (7:58) untitled track (0:38) (uncredited Last December reprise)

It’s Friday and @brookecombe has released another floor filler🔥 Check it out 👇🏻 piped.video/watch?v=jWR0w3… Pre order the album here: brookecombe.fontana-records.…

Anyone else staying up to midnight? This is gonna be epic

MUSIC MONDAYS PRESENTS… SOUNDCLOUD SUNDAY: VOLUME 260 THE TWO-HUNDREDTH & SIXTIETH EDITION OF OUR WEEKLY SOUNDCLOUD PLAYLIST. STREAM: on.soundcloud.com/tNIFajHrUS… CURATED FOR THE UNDERGROUND BY THE UNDERGROUND. SUBMISSIONS OPEN EVERY WEDNESDAY.

FEATURING: @WZRDShip @psalmscapes @thebearandwell @soorploom @DJLoopuz @Cannibino73 @macliciousg @spacerkae1 @prod_Absono @prodflux