Sad Dad Radio Hour

The guys return with a listener-requested episode diving into Eminem's breakthrough 1999 album The Slim Shady LP. They discuss just how potently offensive this record still is decades later, the magic of Dr. Dre's production, the best MCs of all time, sticking nine-inch nails through eyelids and more.

The guys are back with a very special Halloween episode breaking down the Devil's Reject himself, Mr. Rob Zombie. Discussed are his early days with White Zombie, his knack for synthesizing new trends in alternative music into his own creations, and whether or not the fellas should invest in a laser tag facility.

The guys continue their exercise in list making and engage in some horse trading to try to get this unwieldy thing under control. Discussed are entry-level electronic music for indie rock fans, how much credit to give legendary artists making just-okay work, and why everyone can agree on Flockaveli.

The guys return with an episode on a classic entry in the Sad Dad Canon, Bon Iver's 2007 record For Emma, Forever Ago. They delve into the myth and minutiae of the album's creation, its forward-thinking production, and its wide-ranging impact on indie and the rest of pop music. This one's a doozy.

The guys continue hashing out their list of the best records of their lifetimes, slowly realizing that the project is becoming more complicated than they initially anticipated. They explore who was the odd vote out for certain classic albums, make the case for some single-vote records, and, perhaps most importantly, debate whether Lil Wayne mixtapes are better than his studio albums.

The guys are back with an episode on 1996's Pinkerton by Weezer. Though it's now a legendary album that's influenced many generations of emo and indie artists, it was a commercial bomb on its inital release and remains a thorny, fascinating, sometimes off-putting glimpse into the psyche of frontman Rivers Cuomo. The guys get into what makes Weezer last, how this record would fare being released today, and, most importantly, is Weezer actually any good?

Back by unpopular demand, and in typical dad fashion, the guys apologize for not being there for your birthday party. They also discuss the future for the show and what's been on their mind. Spoiler... it's Pinkerton.

The guys are back after a short hiatus with a new project: compiling everyone's favorite albums released in their lifetimes. In this first part they discuss the finer points of making lists, the state of albums in 2021, and why Joe Pesci and Danny Devito never worked together. Enjoy!

The guys are once again traveling back to 1993 and this time around tackling the Counting Crows' classic debut "August and Everything After." Helping transition alt-rock out of grunge and into a crunchier new form, the band became a radio staple and low-key pop culture icons. Covering everything from Adam Duritz's dreadlocks to the band's appearance on the Shrek 2 soundtrack, the guys try to get to the bottom of what makes this unlikely group so compelling all these years later.

The guys are back discussing 1993's 'Super Star Carwash' which finds the Goo Goo Dolls in transition from their noisier punk roots to the alt-rock radio titans they would become, and they ask the important questions like "are they actually mom rock?" and "is this album actually bad?"

The guys look at an overview of classic rocker Bob Seger's career, and ask the important questions like whether he's the premier rock and roll poet of nostalgia and regret, if he belongs in the same class as his heartland rocker peers like Springsteen and Petty, and perhaps most importantly, what is the conversion rate between Miller High Lifes and Silver bullets?

For their 50th episode, the dads are back with their first album review in a while to tackle Bright Eyes' 2007 country-rock classic "Cassadaga." An album packaged with a secret decoder on the outside, and containing 12 lush, fully-produced songs on the inside, Cassadaga sees Connor Oberst on Sad-Dad-trope trajectory from alternative prodigy weirdo to folk-country, and the hosts have some thoughts...

The guys are back with a freeform episode talking about what they've been listening to during the pandemic, some of the big music "narratives" of the last few months, the best stoner albums of all time, and why we keep giving Weezer chances they don't deserve.

Recorded last summer, but finally seeing the light of day, this episode finds the guys trying to unpack the long, cosmic legacy of the pseudo-genre "Space Rap." Tackling classics from "Planet Rock" to "Intergalactic" to "Baby Pluto," they trace the evolution of sci-fi themes in hip-hop, and ask the big questions like "It's just about drugs right?" Enjoy!

The guys make their triumphant return with an episode that fell between the cracks on Third Eye Blind's incomparable 1997 self-titled debut. An album that is arguably better track-for-track than any record Led Zeppelin ever released, it dominated rock radio in the years before the millennium ended and defined perfect pop-rock for a generation of listeners. Brimming with sex, drugs, and undeniable hooks, it's an all-time classic that maybe shouldn't be thought about too hard, but they go for it anyway. Crack open a Miller Lite and enjoy!

In the latest episode, the dads tackle Todd Snider's East Nashville Skyline, his 4th Oh Boy Records release. It's a collection of bold, sometimes unsettling, often funny songs about death, suicide, going to jail & growing old. Told in only the way Todd Snider can, with wry wit, unabashed honesty & a unique perspective. They're the kind of songs that make you laugh while hitting you in the gut. Produced by Todd Snider & long time friend & band member Will Kimbrough, Todd touches on alcohol, pills, as well as "Iron" Mike Tyson's entourage. So, sit back, relax, and crack a cold one as they talk shop.

In the latest episode, the Dads pay tribute to the late, great John Prine. Specially they examine Prine's eponymous debut album with Atlantic Records in 1971. The legendary songwriter started off his prolific career on dare, and didn’t slow down until his recent death from the COVID. I mean shit, this dude beat cancer and still kept chugging along. Despite never reaching the mainstream success of his peers, Prine inspired a myriad of musician, from Conor Oberst to Jason Isbell. The man was able to deliver heartfelt, humorous, and eye opening social commentary without condescension or superiority. Above all, Prine just seemed like a really good dude, and he will surely be missed.

In the latest episode, the dads talk about Cloud Nothings' 2012 album—- Attack on Memory. Based in Cleveland, Ohio, the band started in 2009 in Dylan Baldi’s parents’ basement as one of several “fake” MySpace bands. However, over the years, the act slowly gained a following after being invited to open for Woods and Real Estate. Not long after, the Dylan was signed to Carpark Records as a one man band. The record we look at today was their third release, but the first Cloud Nothings album to feature frontman Dylan Baldi’s live band as full time members. It was also recorded with producer/engineer Steve Albini at Electrical Audio, so that’s pretty rad. These changes resulted in a heavier and darker sounding album than the previous power pop tracks that the band was known for. The dads also get off topic and talk about Creed and the Corona Virus.

In the latest episodes, the guys look at Minnesotan indie-rock band, Cloud Cult. Lead by Craig Minowa, founder of Earthology Records, the band originated in 1995 as a solo project before evolving into the group we now know today. Specifically, we will be looking at their 2005 release, Advice From the Happy Hippopotamus. It’s a 25 track album that is as eccentric as its name will lead you to believe, as the band grapples with mortality and loss of a childlike innocence. Take care of yourselves and wash your damn hands.

In the latest episode, the dads talk about Deja Entendu by the Long Island emo legends—Brand New. Now, before we go any further, let’s be clear, Jesse Lacey is not a good dude. In fact, in the words of one of his victims, “JESSE LACEY IS A PIECE OF SHIT.” Full stop. However, with that being said, Deja Entendu was released back in 2003 when the dads were just boys, so this record (for better or worse) was on heavy rotation during their formative years. Thus, in typically sad dad fashion, they attempt to figure out what makes this album apart of the genre as a whole. So sit back, relax, and wash your damn hands as they discuss Deja Entendu.

In the latest episode of the show, the dads dig into Joy Division's Closer. Released in the summer of 1980, the album was the final studio album by the Manchester, English rock band. If you didn't know, the album has been considered the "crown jewel" of post-punk, as frontman Ian Curtis reveals an introspective look at his life prior to his untimely death. It's dark, claustrophobic, and hauntingly beautiful as Curtis invites the listener into his word. It's what Hot Topic wishes it was. Socks are optional.

In the first episode of season three, the Dads are on the road to find out about one of the pillars of the Sad Dad genre with Cat Stevens' Tea for the Tillerman. Released in 1970 by British folk rocker, Cat Stevens, the album asks hard hitting questions about parenthood, children, and oddly specific boats. Plus, the album was ranked on Rolling Stone's "500 Albums to Hear Before You Die," so its got that going for it--which is nice. Go ahead, grab a beverage and put your feet up... It's sure to be...wait for it... the cat's meow. Get it?! Meow?

In the final episode of season two, the dads discuss some of their favorite albums from 2019. We're talking about music from Purple Mountains, Sufjan Stevens, and more. It’s a “Hurricane Party” for sure! That's really it. I mean, what else do you want? A cookie? Maaaaan, we are all about some animal crackers—you know what I’m sayin?

In the last album of the season, the guy cover literally, one of the best albums of all time-- Modest Mouse’s The Lonesome Crowded West. Released in 1997 on Up Records, the band met with producer, Calvin Johnson, at Moon Studios where for seventeen consecutive days they recorded, before holding a second, smaller session with Phil Elk in Seattle. During these recordings, the band refined the sonic landscape it debuted just one year prior with their first studio album—This Is a Long Drive for Someone with Nothing to Think About. And while that release was a breakthrough with the public eye, the band truly garnered a following with this album, as it would come to define modern indie rock. And the record, while not explicitly autobiographical, provides insight into the throughs and dwelling of Isaac Brock as he muses over malls, Montana, and modern religion.

In the latest episode, the Dads discuss one of the most intoxicated bands in the history of rock n' roll-- The Replacements. The Minneapolis alt. rockers released Tim, their major label debut on Sire Records, in the fall of 85. Produced by Tommy Ramone, the band blasts its way through roughly 40 minutes of some of the best tunes from this side of the Mississippi... whatever side that is. Paul Westerberg, Chris Mars, and the Stinson brothers deliver eleven tracks that are filled with heart-on-the-sleeve adolescent rock. So kick back, crack a brew, and listen to our dumbasses talk about one of the best "Sad Dad" albums of all time. So being your own lampshade, as this episode is sure to be a hootenanny!

In episode seventeen of season two, the Dads go a little bit mad with the first ever Mad Dad Radio Hour. In it, they discuss the Misfits' Twelve Hits From Hell. Originally recorded in 1980, the album was soon scrapped, and parts of it were reverse Frankensteined into various EPs and singles. However, the original recordings almost saw the light of day back in 2001, and even went as far as to producing physical copies that were sent to stores, but band members Glenn Danzig and Jerry Only called off production and the album was scrapped for a second time. On the project, Danzig pummels his audience's puny face with power chords and songs about ghouls, ghosts, and goth girls. Hell, (get it--hell!) it even has songs about haunted hotels, vampires, and spoOOOOOoooooky dungeons. Thus, it's a perfect album to play at Halloween.

With Fall officially here, the guys examine Left and Leaving by Winnipeg mega-stars, The Weakerthans. It really is the perfect fall weather album. If you didn't know, the Weakerthan’s are fronted by John K. Sampson, who left his job as bassist for punk rockers, Propaghandi, to play much more introspective and emotional music. "Left and Leaving" sounds pretty much exactly how you’d expect a Canadian indie-rock album called “Left and Leaving” to sound. The lyrics are evocative, the melodies capture a certain cold-weather nostalgia, and the result is the kind of record that makes you enjoy being lonely. So sit back and relax, as we go over some crisp indie tunes.

In episode fifteen of season two, the guys discuss the Pixies’ 1989 record— Doolittle. Which in the words of journalist Ben Sisario, Doolittle is “one of the most violent pop albums ever recorded, if not in body count then in the starkness of its calamities.” And obviously, said dude is not wrong, The guys are talkin' Old Testament brutalities alongside guns, eyeball slicin' and people being crushed to death by tons of sludge from New Jersey. Yet, despite all its death and destruction, it’s an album that’s been enjoyed by decades upon decades of music fanatics thanks to some delicious pop tunes. Hell, modern music would be where it is now without the gigantic influence the Pixies had.

In episode fourteen of the second season, the guys attempt to break down Sir Elton John's Tumbleweed Connection. Released in 1970, Bernie Taupin and Elton explore a loose concept album over America's western frontier. As the dynamic duo "come down in time" to the late-nineteenth-century, they discuss guns, sons, and soldiers. Yeeee-oooo... it's a rootin' tootin', sarsaparilla sippin' one heck of a time. So pour yourself some country comfort, stick some straw between your teeth, and spend an hour with us as we figure out what makes this album a "Sad Dad" classic.

The guys are back to talk about one of the most mysterious voices in indie rock with (Sandy) Alex G’s DSU. Since his early days on MySpace, YouTube and Bandcamp, Alex Giannascoli has been a student of the Sad Dad canon; however, while most artists simply pay tribute to their influences, Alex pushes the envelope and reaches new sonic boundaries on each project he releases. Dream State University, more commonly referred to as DSU, was no exception when it came out on Orchid Tapes (home of Soccer Mommy and Ricky Eat Acid) in 2014. On the project Alex G. muses about life in his early twenties, as he gives listeners a peek into the world surrounding him via his home recordings.

In the latest episode, the Dads discuss what could easily be argued as the best album of 2014 with Sun Kil Moon’s Benji. Frontman Mark Kozelek is no stranger to the indie rock scene due to his years with the Red House Painters, solo material, side projects, and cover albums (we’re looking at you Tiny Cities). Yet, despite the success of his previous works, Benji was an important milestone which relaunched Mark’s career in the public eye. The album serves as a continuation of his first foray into stream-of-conscious lyrics that were heavily featured on his previous album--Among the Leaves. On this album in particular, Mark returns to his Ohio roots and explores his fragile family tree. It’s an album filled with death and despair, as Mark reflects upon the recent passing of his second cousin, Clarissa, and the history of his hometown.

Today, the guys are "shining a light" on one of critics' favorite indie rock albums to come out of the early aughts with Wolf Parade’s studio debut-- Apologies to the Queen Mary. Released in 2005 on Sub-Pop records, and produced by none other than Modest Mouse’s own Isaac Brock--the Victoria, B.C. band crafts a sonic ruckus that summons a fusion of indie pop and prog. rock. In fact, in the words of Sub-Pop’s own press release, they make “music that sounded like burnt toast, or like two pinball machines in a slow motion bareback horserace." So, sit back, relax, and enjoy.

In the tenth episode of season two, the Duke Boys are at it again as they break down Everclear's So Much For the Afterglow. Released in 1997, the Portland based act, headed by Art Alexakis, was trying to prove that they were no one hit wonder after their previous album-- Sparkle and Fade. Briefly produced by Jim Rondinelli (Weezer's Pinkerton and Wilco's Being There) who was quickly replaced, and after having the original draft of the album deem "half baked" by the label, the band returned to the studio and crafted their most successful album to date. The rest, as we say, is history.

In the ninth episode of season two, the guys discuss Galaxie 500's 1989 record-- On Fire. The Harvard indie rock band released this project just one year after their 1988 debut, “Today” (which Thurston Moore dubbed "the guitar record of 1988"). With the help of their producer, Kramer, this album in particular double downs on dazed and dreamyness of their first album with great results despite the interpersonal drama that always haunted the band. In fact, if you didn't know, Pitchfork ranked it as the 6th best album of the 1980s. Needless to say, it’s an album with a great history. So sit back, and relax.

In episode eight of the second season, the Sad Dad Radio Hour discusses the tragic history of Jason Molina with Songs: Ohia’s “The Lioness”. Originally released on Secretly Canadian back in 2000, Molina’s voice delivers a powerful sermon over love and work. In addition, on this particular project, Jason’s unique delivery is bolstered by relatively sparse instrumentation provided by the members of Arab Strap. Needless to say, the albums is powerful, haunting, and unique as the man that made it.

In the seventh episode of the second season, the guys tackle one of the best albums to come out within the past twenty years with Bright Eye’s 2005 release— I’m Wide Awake It’s Morning. It’s an album that begs to be heard again and again, as Conor Oberst and Company deliver an intimate and introspective take as they explore the struggle of what it means to be human in this beautiful, terrible world that we all find ourselves surrounded by. As Andy Dufraine says in Shawshank Redemption, “there are places in this world that aren't made out of stone. That there's something inside... that they can't get to, that they can't touch. That's yours.” Clearly, this is one of those albums.

The guys are back with their latest release over John Darnielle and The Mountain Goats’ first studio album, Tallahassee. To jump right in, this is a concept album over a couple’s doomed relationship. In fact, the main artist behind the Mountain Goats, John, at one point would say, “The album was about these characters I’d dreamed up a long time ago; their broader story involved an alcohol-soaked trek from California through Nevada and then bottom-crawling across the country until they wound up in northern Florida”. Seriously, album pulls no punches. I mean, after all this album takes place in Tallahassee, and if inland Florida doesn't scream depressing, we don’t know what does.

In the fifth episode of season two, the guys cover Waxahatchee’s 2013 sophomore record-- Cerulean Salt. The album is a stripped back and emotionally exposed indie rock record that was one of the first and finest examples of the indie boom happening in Philadelphia during the 2010’s. Building on her evocative lofi debut, American Weekend, Katie Crutchfield delivered a record that contained all of the emotional gravitas of the previous album, but encapsulates it in a more mature and sophisticated look at how relationships with family, friends, and significant others change as we age.

In the fourth episode of season two, the guys talk about Sad Dad Legends-- Wilco. Headed by frontman, Jeff Tweedy, Summerteeth is their third studio album(not counting a Woody Guthrie tribute of sorts with Billy Bragg). It's the first album where the band’s alt-country tentacles begin reaching towards an expanding psychedelic direction. It’s a mixture of dark lyricism and eclectic instrumentation which was fueled by American Spirits, Diet Coke, and opioids. Its very sad… and it’s very dad. So join us on another hour long adventure as we talk about what Jeff Tweedy describes as the “hyper-sexual nature of Wilco’s music”.

In the third episode of season two, the guys talk about blink 182's third studio album-- Enema of the State. Released in 1999, the project is a soufflé of California Pop-Punk scene of the time. Layered over power chords and palm muting the band’s lyrics combined sincere feelings with sophomoric humor. And while now it might seem like baby’s first pop punk album, each song is a expression of desperation and anxiety, as our hormonal heros fumble their way through life.

In the second episode of season two, the guys talk about the last album that Pitchfork gave a 10/10-- Kanye West’s My Beautiful Dark Twisted Fantasy. Released in 2010, Ye was fresh off of causing controversy at the 2009 VMA after interrupting Taylor Swift's acceptance speech. Middle America was appalled and horrified, and so, in order to regain his composure West and company fly out to Honolulu where they work around the clock crafting a breathtaking, magnum opus. It's sleek. It's opulent. It's one hell of an album.

In the first episode of season two, the guys explore the self-titled debut from folk punk icon, Paul Baribeau. Released in 2004, it was a marquee release for Plan-It-X-Records and a crucial album for the midwest folk punk scene of the 00's. Emotionally raw, decidedly sad, and in many respects, a shockingly honest record.

In the final episode of season one, the guys bring three of their favorite albums from 2018 to the table. From Daughters to Soccer Mommy, Kamasi Washington to Sleep, the Sad Dad Radio Hour yaks on about their likes and dislikes of the various projects. They also look back and touch upon the various trends of the year. So sit back, and enjoy our season one finale.

Today the guys embark on a magical journey, full of delightful surprises, family-friendly lessons, and unforgettable characters, as we breakdown the “Summer in Abaddon” by Pinback. The album, released by Touch and Go Records in October of 2004, and was one of the many indie rock albums that was released during the in-between-times. The dark forces of illegal downloading had all but prevailed, but the forces of good were coalescing, much like the Rohirrim at the conclusion of The Battle of Hornburg. White people music was making a come back, or so it seemed, thanks to the growing popularity of indie music blogs, and the increased hiring of liberal arts school graduates by car commercial producers. Among that new wave of indie records was this album, Pinback’s third. The album fused math rock precision with pop sensibility, and served as the most refined example of the band’s sound to-date. Alas, the good days do not last forever. Joy is only a momentary absence of sadness, which is the true fabric of existence. Put your children to bed. Calibrate your sadness with alcohol. And follow along as we discuss our next Sad Dad classic.

In this episode, the guys are taking it back to 1972, as they talk about Lou Reed’s Transformer. Two years after quietly walking away from the Velvet Underground, and on the heels of his first solo album which was widely considered to be a commercial flop, Lou (alongside Mick Ronson and David Bowie) delivered Transformer. It’s an album about identity, staged in the heart of New York.

In episode sixteen, the guys try to stay positive while breaking down The Hold Steady's "Stay Positive". Released in 2008, the Craig Finn and co. explore the idea of aging gracefully and what happens to the youth of today after "they [get] a bit older, more adult with more adult problems." There's plenty of “woahs”, “ooohs”, and “sha la las”-- so grab a double whiskey coke (no ice)and kick back as we discuss one massive album and its killer parties.

In episode fifteen, the guys are still mourning the breakup of LVL Up and decide to break down their second album-- Hoodwink'd. Released as a DIY project in 2014 on Double Double Whammy, they explore the pains of their early 20s. Recorded when Mike, David, Nick, and Greg were fresh out of college at SUNY, the group paints a landscape that truly encapsulates the day to day hardships that they would eventually triumph over. While the four-piece New York band recently broke up, their music still lives on in our hearts! Oh yeah, "KRILL FOREVER!!!"

In episode 14, the guys discuss indie rock giants, Death Cab For Cutie's Something About Airplanes. The album, which was released in 1998 as their first studio album, set the tone for a band which become synonymous with the latest iteration of the "quiet guy" archetype that emerged in the early 2000s. At the same time, and perhaps as would be expected, the album can be quite apart from the band's later albums-- particularly Transatlanticism and Plans-- that would propel Death Cab to mega-stardom.

In episode thirteen, the guys break In the Aeroplane Over the Sea by the legendary indie rock group Neutral Milk Hotel. In the words of journalist, Kim Cooper, it’s “weird, beautiful, absorbing, difficult, In the Aeroplane Over the Sea is a surrealist text loosely based on the life, suffering and reincarnation of Anne Frank.” Throw in a two-head boy, a siamese twin, and a flying phonograph--and you got yourself an album. In addition, they talk about the time they met the man himself-- Jeff "Motherfuckin" Mangum. So sit down, and relax; it's sure to be a wild ride as we go up and over each track, trying to figure out what the hell makes this album so special.

In episode twelve, the guys tackle Jason Isbell and the 400 Unit's "The Nashville Sound". The album is the latest release from alt. country royalty-- Jason Isbell and the 400 Unit. If you didn't know, Jason is from the legendary, Muscle Shoals, Alabama. After a stink with the Drive-by Truckers, Isbell left to pursue his solo career with the band, The 400 Unit, comprised mainly of session musicians from his home town. The album comes across as rich, introspective, and at times vulnerable as Jason and the band tackle issues from all spectrums of life. It covers achy ballads, real "classic" country, and even some songs that wouldn't be completely remiss from a conversation about hard rock. So sit back, relax, and enjoy.

In episode eleven, the guys break down Nirvana's MTV Unplugged in New York. Recorded back in 1993, and released just months after Kurt Cobain's passing, this album is a huge part of the band’s mythology and excellent overview of the group’s career and influences. It’s a study in contrasts, often hilarious and achingly sad, a tribute to Cobain’s heroes as well as a confident showcase of his own songwriting prowess. So sit back, relax, and enjoy.