BBC Radio Ulster is the BBC's regional radio station for Northern Ireland. … Read Full Bio ↴BBC Radio Ulster is the BBC's regional radio station for Northern Ireland. Originally a regional variation of Radio 4, it was established as a full-time service in 1975, and broadcasts talk, music and variety programming.
Highlights likely to be of interest to last.fm users include Blas Ceoil for Irish traditional music and Across The Line, on Monday evenings featuring mostly local, mostly unsigned rock, folk and indie acts; and on Friday evenings electronica and dance.
("Ulster" is obviously inaccurate, but is unlikely to be changed.)
Highlights likely to be of interest to last.fm users include Blas Ceoil for Irish traditional music and Across The Line, on Monday evenings featuring mostly local, mostly unsigned rock, folk and indie acts; and on Friday evenings electronica and dance.
("Ulster" is obviously inaccurate, but is unlikely to be changed.)
More Genres
No Artists Found
More Artists
Load All
No Albums Found
More Albums
Load All
No Tracks Found
Genre not found
Artist not found
Album not found
Search results not found
Song not found
Dracula by Bram Stoker: Episode 2
BBC Radio Ulster Lyrics
No lyrics text found for this track.
The lyrics are frequently found in the comments by searching or by filtering for lyric videos
The lyrics are frequently found in the comments by searching or by filtering for lyric videos
Pontius
@FlipSideCT "Stones Heads" YES YES!! Love it!!
I grew up as a stones/blues loving teenager in Philadelphia in the early to mid 1980s... needless to say, during those years in that city.... the music i was passionate about was definately NOT popular. Thankfully there was a small group of us hardcore Stone Heads lol and we weathered the "lost years" between Undercover of the Night and Steel Wherls...those hazy years of Mick n Keith taking shots at each other in the press...keef getting punched by Chuck....Micks bizarre unrealistic "Lets Work"....ughh.
Then we all went to Vet Stadium in 89 to see our heroes...and boy oh boy did they KILL IT!!
Anyway again- thank you, great work. Im a bit of a stones historian, i own every album up until 1982 on vinyl as well as most of the singles. Love all the tidbits you peppered throughout your mini-doc...the Anita Drama...Brian fading away...the rise of the Glimmer Twins....
In my humble opinion...i absolutely worship the Stone releases beginning with Out of Our Heads...i even highly enjoy Their Satanics.....
But the golden 5- Beggars, Let it Bleed, Get yer Ya Yas...STICKY FINGERS (yes!) and Exile....i believe they are five of the best albums ever released during the Rock Era. Period.
BUT goats head and black n blue are brilliant too!!
Dude im gonna start your black n blue doc tmrw!!
Also great work discussing the instruments and amps used... christ, u kill it man!!
Ty again !!!! Cant wait to see what you do next
Geoffrey Donaldson
I think the Stone’s version of “Love in Vain” is beautiful—perhaps because it was one of the first versions I’d heard. I moved into a hippie tenement in Victoria, BC, in ‘72, where Robert Johnson’s King of the Delta Blues Singers was on heavy rotation. So we listened to Beggar’s Banquet, Let it Bleed, Get Yer Ya-Yas Out, Hendrix’s Are You Experienced and Electric Ladyland, Willie Dixon, Freddy King, Albert King and BB King, Johnny Winter and, naturally, Robert Johnson. We dropped a lot of acid, smoked a lot of pot and drank hordes of beer and whiskey (the tradition of my peeps—to thin the Celtic blood). And we got into the groove of our record collection very intensely. Half our house was American draft dodgers and deserters, Black, White and “Indian.” They loved their Blues (not so much Stompin’ Tom Connors). Hippies were flocking to the West Coast and, as Vietnam wore on, to British Columbia. (It was tied with the largest single out-migration of Americans to British North America, the American Rebellion—as we Canadians calls it—about 100,000 souls to which girlfriends and wives were eventually added). I actually ended up living in an old hippie enclave on a Gulf Island where I recorded my album almost half a century later. The early 70s was a cool era which I’ll forever remember as the time I discovered Robert Johnson. I can’t count the number of times I’ve covered “Love in Vain” and some others since then. I worked most of my life in tree-planting and logging camps where I performed around campfires and bunkhouse rooms. The loggers made me get rid of my banjo, though.
When I first came to BC from Ontario, I’d been guitarless since I left the Spanish Guitar my dad bought for my mother in Franco’s Spain (I played harmonica during this itinerant period), but I got a brick-shithouse Framus in Vic and got down to Robert Johnson. Over the years I listened to so many versions of “Love in Vain” I can’t even count—and most were influenced by the Stones’ version. But it’s not authentically Robert Johnson: it omits the two-chord. Almost every cover does (that’s why I think the Stones’ version is most influential).
So when I got too old for the woods anymore, a couple friends produced and album of my stuff, covers and originals. Naturally I decided to cover “Love in Vain”, but I determined to do it at one time authentically with the two-chord—but also to do it my way. I thought about this everyday for six months and realized that, of all the versions I’d heard, the only missing approach was tempo.
The engineer and co-producer I knew would have problems with 50 BPM—so I said I wanted to do it at 40 BPM. I knew they’d freak out (they did) but that they’d “compromise” at 50 BPM. Thus we recorded it with my stepson’s National steel resonator, a standup bass player, the engineer’s electric piano that was intended to be a scratch track for the bass intro, but which we decide to keep, and I did an electric track with the Tele whilst I sang with my corroded windbags. Everybody I ever met who’s heard my cover remarks how surprised I got away with “making it my own” in this way—really, about the slow tempo (I’m pretty sure it remains the slowest ever).
But it’s got the two-chord. And the Stones’ doesn’t.
So there, you British Invaders. Piss off!
daubreyjaneweirdsley
As a London teenager who came of age in the mid-60's, the Stones who I saw many times sound tracked my counterculture life. Although I love early Stones the greatest period was between 1966/1974. The Rolling Stones were sensual/sinister/iconic/political/ironic/camp. "Let It Bleed is the Stones as they ought to be remembered; emperors while they still had the clothes, hollow men before the tappers' hammer, princes of darkness before the lights came up"
Rolling Stones Midnight Rambler Live - Forest National (Brussels, Belgium) Oct 17, 1973. - The sublime instrumental twin guitar break that kicks off two minutes into Midnight Rambler, is one of the greatest in rock 'n' roll history. Complimented by Keith Richards monstrous, burn your house down rhythm guitar slashes, Mick Taylor enters serious neo-psychedelic blues - third eye - guitar territory; his serpentine leads weave their narcotic spell around your cerebral cortex, on this urban voodoo, meets Brecht of a song, Taylor proves he was one of the greatest most inspired guitar players of the 60's/70's. For five short years the Stones, with Taylor proved that they were the greatest rock 'n' roll band in the world
The Stones are like a spine that runs down the back of rock 'n' roll history, unimpeachable bohemian rhythm kings. They are the spirit of rock 'n' roll, its death and one of its greatest beginnings. They are to rock 'n' roll as Wilde, Muddy Waters, Beardsley, Chuck Berry, Baudelaire, Jimmy Reed, Rimbaud are to the art of a life lived.
After all these years of let downs, disappointments/flawed albums perceived betrayals - outlaw millionaires - they have become the greatest rock 'n' roll circus and most beloved jukebox in the world. And yet they still represent that old Dylan trope that "To live outside the law you must be honest".
Or as Turner - Jagger's alter ego - says in the Cammell/Roeg masterpiece 'Performance,' "The only performance that makes it, that makes it all the way is the one that achieves madness.”
By the way LOVE you site, but your comment on the first part of your documentary about the Stones/Let It Bleed, psychedelia and Satanic Majesties is completely wrong. For fans who lived through that period both in the UK and the US we absolutely adored Satanic Majesties; it was the critics(not all, ask Robert Christgau/Jon Savage - who loved the album - to name but two) who perceived the Stones as nothing more than a rather exceptional rebellious rhythm & blues band and resented it when the Stones decided to try something new/experimental, so their comments became faux received wisdom handed down through the decades which many sheep duly followed. Happily the tide has already turned and many critics/fans think Satanic Majesties is one of the greatest psychedelic albums of '67, far more psychedelic for example than Sgt Peppers/The Dead/Airplane/Doors and closer in spirit and sound to Syd Barrett's Pink Floyd psychedelic masterpiece Piper at The Gates of Dawn. The remastered vinyl edition of Majesties is sonically absolutely fantastic.
Auto Problematic
There are no words to describe this man's work product. This is an amazing documentary considering its all DIY with no help (that we know of) from the band or label or anything. I consider myself pretty knowledgeable on the Stones but there are so many nuggets of information that I was totally unaware of. Amazing. This is like finding a different version of the Zapruder film that actually shows who killed Kennedy or something. Mind blowing stuff!
FlipSideCT
lol.....very cool comments that you dug this. Great to hear that. All by myself, a fan for the fans. Got tired of folks not knowing what the fans want to hear....something deeper and not 15 min long. So I took the dive into this. Check out the other docs I have, and just worked on Black and Blue pt1. cheers
Jude Wessel
I’ve watched all the documentaries you’ve made flip side, and I hope you know how much us fans appreciate them! They’re just so easy to immerse yourself in and get lost in, hope you cover as many different as you feel deserve it. Maybe even some of the solo albums with interesting stories 👀 anyways thanks a bunch man 🤘
FlipSideCT
Wow, thank you! So glad you are digging in and enjoying! I am really feeling the appreciation. No EGO involved here, I just need the balance of knowing the folks enjoy it to the time I put in. I would love to do as much as I can at this point. I recently listened to Keith Crosseyed Heart solo and really enjoying this one.....but in time for a doc.
Adrian Beaumont
Thanks for your labour of love on this incredible stones album. So much appreciated man . Bless you
FlipSideCT
appreciated and glad to be of a turn on. thanks for the support!!
monica acinom
What a thoughtful documentary this is! The in-depth commentary on each song is both analytical and celebratory simultaneously. I’d love a doc like this on Exile on Main Street
FlipSideCT
Hi MA, thank you for your comments. glad you picked up on the efforts here. There are many professional EXILE docs out there already, I think it would be very repetitious, other then my own breakdown of the songs. Black and Blue is being worked on as I type. cheers steve
MyXxx77
@FlipSideCT Not to get too far ahead of things but are there plans to make a similar doc about the recording sessions that resulted in the Some Girls, Tattoo You and Emotional Rescue albums?
FlipSideCT
@MyXxx77 no problem to ask....I would love to....and teach folks that do not know how great they are. I just need to get time to organize these thoughts and projects. It takes at least 100+ hours of work. A true Stones fan should appreciate every album.