Podcasts about Capitol Records

Trumpet virtuoso Wayne Bergeron, one of the most respected and sought-after musicians in the world, joins Ira for an engaging conversation ahead of his appearance with the Jazz Vegas Orchestra in Myron's at The Smith Center on June 17. In this fascinating episode, Wayne reveals the unexpected path that led him to the trumpet—even though it wasn't his first instrument—and how a surprising act of vandalism helped shape his future. He discusses why he wasn't a natural musician, his early desire to play in a rock band, and the influential band directors who helped guide his career. Wayne also shares how his admiration for legendary trumpeter Maynard Ferguson eventually led to joining Ferguson's band, what he learned from the iconic performer, and why he immediately slipped into “fanboy mode” when they first met. He offers behind-the-scenes stories about recording at Capitol Records, explains why Michael Bublé is a seasoned veteran despite his age, and discusses the unique pressures of performing—revealing why he feels completely calm as a studio sideman but still gets nervous when stepping into the spotlight as a featured artist. From career-defining moments to lessons learned from music legends, this episode offers an entertaining and insightful look at one of today's premier trumpet players and the remarkable journey that brought him to the top. (Also Watch Full Podcast Video)

Show #1153 Some More History 01. The Dynatones - History Is Made At Night (4:04) (Chopped & Channeled, Ricter Records, 1991) 02. King King - A Long History Of Love (7:17) (Standing In The Shadows, Manhaton Records, 2013) 03. Al Anderson - No Place In History (3:29) (Pay Before You Pump, Imprint Records, 1996) 04. The McNaMarr Project - History (5:02) (Holla and Moan, self-release, 2019) 05. Propellerheads - History Repeating (ft. Shirley Bassey) (4:02) (Decksandrumsandrockandroll, Wall Of Sound Records, 1998) 06. Jeau James - Is This History (4:40) (Fated, LordVinyl/Forty Below Records, 2023) 07. DownTown Mystic - History (2:50) (Mystic Highway, Sha-La Music, 2025) 08. Chris O'Leary Band - History (6:13) (Waiting For The Phone To Ring, VizzTone/Fidellis Records, 2012) 09. Take The 55 - Long Black Veil (4:39) (Rhythm Secrets, self-release, 2026) 10. The Band - Long Black Veil (3:01) (Music From Big Pink, Capitol Records, 1968) 11. Lefty Frizzell - Long Black Veil (3:03) (45 RPM Single, Columbia Records, 1959) 12. Johnny Rivers - Long Black Veil (2:24) (The Sensational Johnny Rivers, Capitol Records, 1964) 13. Harry Manx - Long Black Veil (4:41) (Johnny's Blues - A Tribute to Johnny Cash, NorthernBlues Music, 2003) 14. Johnny Cash & Joni Mitchell - Long Black Veil (2:44) (The Johnny Cash Show 1969, from YouTube video) 15. The Chieftains (ft. Mick Jagger) - Long Black Veil (3:33) (The Long Black Veil, RCA Victor, 1995) 16. 7er Jungs - Long Black Veil (2:19) (An International Underground Tribute to the Man in Black, Rebellion Records, 2005) 17. Marijohn Wilkin - My Long Black Veil (3:22) (...And The Answer Is, Bear Family Records, 1994) 18. Trevor B. Power Band - Puddles Of Blood (5:47) (Two Crows, Farm 189 Records, 2026) 19. The Name Droppers - Talk Dirty (3:35) (Let's Live Together, Horizon Music Group, 2026) 20. Guy Davis - Deep Sea Diver (1:54) (Fight On! True Blues Vol. 2, Yellow Dog Records, 2026) 21. Alvin Youngblood Hart - If The Blues Was Money (3:43) (Fight On! True Blues Vol. 2, Yellow Dog Records, 2026) 22. Corey Harris - What's That I Smell (2:50) (Fight On! True Blues Vol. 2, Yellow Dog Records, 2026) 23. Scott Henderson - Milk Bone (5:45) (Dog Party, Mesa Records, 1994) Bandana Blues is and will always be a labor of love. Please help Spinner deal with the costs of hosting & bandwidth. Visit www.bandanablues.com and hit the tipjar. Any amount is much appreciated, no matter how small. Thank you.

Welcome to Public Broadcast, the brand new podcast feed from Public Record Online, brought to you by listeners like you and our sponsor, Hello Merch. Formerly known as WASTOIDS, Public Record is your home for art, culture and music—not optimized for the algorithm, but optimized for care, preservation, and archiving. This week: Sean Lennon. The son of John Lennon and Yoko Ono, Sean is a lifelong musician himself. In the ‘90s, he was signed to the Beastie Boys adventurous Grand Royal Records, which released his debut, 1998's Into the Sun. He followed it up in 2006 with Friendly Fire, released on Capitol Records, and he's played in a dizzying array of bands and projects, including Cibo Matto, The Ghost of a Saber Tooth Tiger, Mystical Weapons, and his mom's band, the Plastic Ono Band. He's also in a group with Les Claypool called The Claypool Lennon Delirium, with Primus bassist Les Claypool. They're out on the road now, a traveling circus of rock music that features Primus, The Frog Brigade, and the Claypool Lennon Delirium, which means Les is playing three sets a night, and Sean is playing two—as he's sitting in with the Frog Brigade in addition to his project with Les. Their new album is called The Great Parrot Ox and the Golden Age of Empathy, a psychedelic pop opus that's also a concept album about the role of humanity in the age of AI. Ahead of the tour rolling through Phoenix on June 30th, we caught up with Sean to talk technology, his mother's art and the squares who still don't get it, and whether or not he has any plans to celebrate the 20th anniversary of his album Friendly Fire…but first…are we merely meat machines? Let's dive in and discuss. You can find a full transcript of this chat at publicrecord.online, where you can also scope our other shows, interviews, news reports, and more. 

pWotD Episode 3319: Peabo Bryson Welcome to popular Wiki of the Day, spotlighting Wikipedia's most visited pages, giving you a peek into what the world is curious about today.With 318,908 views on Wednesday, 3 June 2026 our article of the day is Peabo Bryson.Robert Peapo "Peabo" Bryson ( PEE-boh; April 13, 1951 – June 2, 2026) was an American singer and songwriter. After collaborating with singers Luther Vandross and Cissy Houston on his debut album Peabo (1976), he signed to Capitol Records and released the 1978 albums Reaching for the Sky and Crosswinds, which were certified Gold by the Recording Industry Association of America (RIAA). He later released the collaborative projects We're the Best of Friends (1979) with Natalie Cole and Born to Love (1983) with Roberta Flack, the latter of which included the hit single "Tonight, I Celebrate My Love".In 1984, he signed to Elektra Records and released the single "If Ever You're in My Arms Again", which spent several weeks atop the adult contemporary chart. During this period, he earned several top ten albums on the U. S. Billboard R&B albums chart, with Can You Stop the Rain (1991) topping the chart. Bryson also contributed to several Disney animated feature soundtracks collaborating with Celine Dion on "Beauty and the Beast", and Regina Belle on "A Whole New World", with the latter becoming the first song from an animated feature film to top the Billboard Hot 100. Bryson was a winner of two Grammy Awards, both attributed to his Disney duets.This recording reflects the Wikipedia text as of 03:18 UTC on Thursday, 4 June 2026.For the full current version of the article, see Peabo Bryson on Wikipedia.This podcast uses content from Wikipedia under the Creative Commons Attribution-ShareAlike License.Visit our archives at wikioftheday.com and subscribe to stay updated on new episodes.Follow us on Mastodon at @wikioftheday@masto.ai.Also check out Curmudgeon's Corner, a current events podcast.Until next time, I'm neural Jasmine.

We've done vocalists before, but never devoted an episode to the Chairman of the Board. Now we have, so that's off the bucket list. Listen as the boys discusses five of fantastic Mr. Frank's platters, and opine where newbies should get to know this cultural shibboleth. Frank Sinatra - SWING AND DANCE WITH FRANK SINATRA, IN THE WEE SMALL HOURS, CLOSE TO YOU, I REMEMBER TOMMY, FRANCIS ALBERT SINATRA AND ANTONIO CARLOS JOBIM.

On this week's episode of the Fretboard Journal Podcast, we talk to singer-songwriter Darryl Rahn about his new album (out today on Capitol Records). Darryl shares a look into his recording process, his gear set-up to get that perfect acoustic live sound, his love for his '50s Martin, and more. https://www.instagram.com/darrylrahnmusic/?hl=en Join us at our 2026 Fretboard Summit in Chicago for three days of guitar demos, concerts, workshops and live podcasts with some of our favorite artists: https://fretboardsummit.org This year's Summit has over 80 luthiers and brands showcasing their new and prototype gear! 2026 speakers include Josh Scott (JHS), Mark Stutman (Folkway Music), Chris Martin IV (Martin Guitars), Fender historian Terry Foster, and many other fretted instrument luminaries.  Subscribe to the Fretboard Journal's quarterly print magazine: https://shop.fretboardjournal.com/products/fretboard-journal-annual-subscription We are brought to you by Peghead Nation: https://www.pegheadnation.com  (Get your first month free or $20 off any annual subscription with the promo code FRETBOARD at checkout). Mike & Mike's Guitar Bar: https://mmguitarbar.com

Some songs don't just define a decade — they instantly improve your mood the second they begin playing. Few tracks from the MTV era carry that kind of joyful energy quite like Walking on Sunshine by Katrina and the Waves. This week on the Stuck in the '80s Podcast, Steve sits down with frontwoman Katrina Leskanich for a lively conversation about music, touring and the remarkable twists and turns of her career. The episode begins with Katrina reflecting on her experiences aboard The 80s Cruise, where she not only performed for fans of the MTV generation but also hosted one of the ship's beloved trivia competitions. Spearsy and Katrina discuss the uniquely emotional atmosphere of the cruise, where artists and fans reconnect through the shared soundtrack of their youth. Along the way, Katrina revisits the creation of Walking on Sunshine and reflects on recording with legendary producer Scott Litt at the famous Power Station studio in New York. The conversation explores how the band evolved from London's gritty club scene into international pop success during the height of the MTV era. Katrina also discusses the dramatic transition from struggling musician to major-label artist after signing with Capitol Records and the strange realities of navigating the music industry during the 1980s. Like many artists from the era, she experienced both the excitement and pressure of sudden mainstream success. The interview also revisits Katrina's surprising second chapter as a Eurovision champion after winning the Eurovision Song Contest in 1997 with Love Shine a Light — a career milestone that helped launch her solo career and introduced her music to an entirely new international audience. Toward the end of the episode, Spearsy and Katrina discuss her upcoming appearances on the Lost 80's Live tour and why audiences continue responding so emotionally to the music of the 1980s. Like many great Stuck in the '80s interviews, the conversation becomes less about nostalgia itself and more about the joy, connection and shared memories these songs continue creating decades later. If you love new wave, MTV nostalgia, unforgettable one-hit wonders that deserved to be much bigger and behind-the-scenes stories from one of the most uplifting voices of the decade, this episode belongs in your playlist. The Stuck in the '80s Podcast has spent nearly 20 years celebrating the music, movies, television and pop culture of the greatest decade ever. Support the show on Patreon for bonus episodes, exclusive livestream hangouts, behind-the-scenes content and merch for longtime listeners. And don't forget: Spearsy and Brad will once again be part of The 80s Cruise, the ultimate floating celebration of '80s music and nostalgia. Use promo code STUCK when booking your cabin to receive up to $250 in onboard cabin credit while sailing with fellow Gen X fans and enjoying performances and appearances from many of the decade's biggest artists. Hosted by Simplecast, an AdsWizz company. See pcm.adswizz.com for information about our collection and use of personal data for advertising.

This week on the New Music Business podcast, Ari sits down with Red Leather, the anonymous artist who turned viral TikTok videos into sold-out tours around the world. Known for his signature red hat, Red Leather first started his career by busking on Hollywood Boulevard before exploding online with viral covers and original songs like “The Only Time It Rains in Hollywood.” In this episode, Red Leather breaks down how he used social media to grow his audience from scratch, why he posted 5 videos a day for 100 straight days, how smashing guitars outside Capitol Records landed him a record deal (that he turned down), and why ticket sales matter more than streams or viral moments. He also opens up about sobriety, surviving addiction, touring independently, and eventually partnering with Empire after years of doing everything DIY.Follow Red Leather:Instagram: https://www.instagram.com/redleather/TikTok: https://www.tiktok.com/@redleatherCheck out Ari's Take:https://aristake.com00:04:02 - Intro00:04:36 - The Origin of Red Leather00:06:39 - Sobriety, Addiction & Artistic Vulnerability00:10:11 - Posting 5 Videos a Day for 100 Days00:14:11 - The Viral TikTok That Changed Everything00:20:00 - Smashing Guitars Outside Capitol Records00:25:12 - Why He Turned Down Major Label Deals00:33:28 - Booking Tours Through Instagram DMs00:47:23 - Virality vs Real Fans & Ticket Sales01:01:58 - What “Making It” Means TodayEdited and mixed by Ruben ZarateMusic by Brassroots DistrictProduced by the team at Ari's TakeOrder the THIRD EDITION of How to Make It in the New Music Business: https://book.aristake.com Hosted on Acast. See acast.com/privacy for more information.

Show #1150 Another Monday Show 01. B. Christopher Band - Sad State Of Affairs (5:13) (Four Buckets Of Blues, Guitar One Records, 2026) 02. Dave Thomas - I Know You Through And Through (6:52) (Bridge Street Blues, Blonde On Blonde Records, 2026) 03. Jon Lampley - Dock Of The Bay (3:52) (Notes To Self, self-release, 2026) 04. Ghalia Volt - Burn The House Down (4:16) (Burn The House Down, Ruf Records, 2026) 05. Russ Green - Stone Cold (4:08) (Stone Cold, Overton Music, 2026) 06. Charlie Barath - Cuban Getaway (4:08) (Issaquena Getaway, self-release, 2026) 07. Annie Piper - Cheetah (4:05) (Men Are Like Potato Chips, self-release, 2026) 08. Devon Allman - Peace To The World (3:35) (Blues Summit, Ruf Records, 2025) 09. Curtis Salgado - Precious Time (4:36) (Legacy Rewind: Live In '25, Nola Blue Records, 2026) 10. Reverend Freakchild - Lose These Blues (3:21) (Blues & Spirituals / Hymn Hustler, Treated And Released Records, 2026) 11. John Pagano Band - Fever (3:25) (Single, self-release, 2026) 12. Reckoners - Silver Stallion (4:20) (Where The Hell Am I?, Gitcha Records, 2026) 13. Lee Clayton - Silver Stallion (4:54) (Border Affair, Capitol Records, 1978) 14. Mick Clarke - I Can't Stop Loving You (4:43) (Single, Rockfold Records, 2026) 15. Mark Easton - Take It Or Leave It (5:41) (Dark Horse, self-release, 2026) 16. Bywater Call - No One Else (3:11) (Broken Souvenirs, self-release, 2026) 17. B.B. & the Blues Shacks - I Hope You're Doin' Good (4:48) (Blues Is A Stew, Rhythm Bomb Records, 2026) 18. Bizz Bigsby - Proud (4:23) (Single, self-release, 2026) 19. The Fabulous TruTones - Cheatin' Blues (4:36) (Comin' Back Live, self-release, 2026) 20. Popa Chubby - Transformation (6:01) (Brooklyn Basement Blues, Shanachie Records, 1999) Bandana Blues is and will always be a labor of love. Please help Spinner deal with the costs of hosting & bandwidth. Visit www.bandanablues.com and hit the tipjar. Any amount is much appreciated, no matter how small. Thank you.

International Women's Month Series Liz Heller is a tech and media innovator, investor, and producer whose career has bent culture for four decades. She led artist development at MCA, where she commissioned more than 500 music videos for Tom Petty, Bobby Brown, and Belinda Carlisle. She became President of Island Visual Arts, then Executive Vice President of Capitol Records at the exact moment music, audio, and the internet collided. She produced The Basketball Diaries with Leonardo DiCaprio. She executive produced the Good Will Hunting soundtrack. She built early growth engines for TOMS one-for-one, Product(RED), Microsoft, Intel, and Apple. USA Today called her the godmother of the women's cyber movement in Hollywood. She calls herself a “multi-potentialite,” a word she found after I asked her to list everything she'd done back in the earliest episodes, when I first started The Power of Re:Invention. She sat in her office in New Mexico, started writing, and came up with more than forty things. She had no idea the list was that long. I love that. What I love about this conversation is how clearly “little Liz” foreshadowed all of it. She didn't play house. She played office. She was an entrepreneur before she had the word for it.  Her mother Billie was the blueprint. A true feminist. She worked on the UN doctrine for the Elimination of Discrimination Against Women and took Liz to marches at eight years old. Her father worshipped her mother and licked envelopes for her mailings. That is the household that made Liz.Her operating principle in life was and is simple and it's the whole episode. "If I am not happy doing something, I am absolutely not in the place of my best work."Some of her “tools” to live by:Try it on. Walk into the room acting like you're already the person. She used it on a woman at a top-five company agonizing over a promotion. The woman took the job.Conditions of satisfaction. Write out what would make you 85 to 90 percent happy. If what you have only hits 60, you have your answer.Voyage of discovery. Sit with your iPad for an hour and click wherever curiosity pulls you. Change your algorithm. Her feed is science, innovation, and knowledge because she made it that way. Brilliant, honestly.Her advice for women is the part you need to hear. Don't go where you're not comfortable. Build your own rooms. Build your own board of directors out of your girlfriends. Build the strategy to change it.Connect with Liz:LinkedIn: https://www.linkedin.com/in/lizheller/ memBrain: https://www.membrainllc.com THE RE:INVENTION EXCHANGE - for more Inspired Content, Blogs, Podcasts, RE:INVENTION Virtual Chats, or to buy a copy of my book RE:INVENT YOUR LIFE! WHAT ARE YOU WAITING FOR? by Kathi Sharpe-Ross, visit https://www.thereinventionexchange.comIG: https://www.instagram.com/kathisr_chief_reinventor/ FB: https://www.facebook.com/kathi.sharpeross/ LinkedIn: https://www.linkedin.com/in/kathisharpeross

In the years immediately following the Second World War, the Barton Brothers, an anarchic Catskill comedy duo, began recording humorous macaronic (that is, bilingual) parody songs that relied in no small part on Yiddish theater and radio for raw material. The Bartons' unexpected success—their send-up of Yiddish radio, “Joe & Paul,” was a bona fide hit, however improbable—inspired clarinetist Mickey Katz, based in Los Angeles and working with first-rate studio players, to begin recording his own exceedingly funny Yiddish-mixed-with-English lyrics set to the melodies of current Hit Parade songs. Capitol Records issued (possibly to their own amazement) a steady stream of these Yinglish albums by Katz all through the 1950s and into the ‘60s. These in turn inspired Allan Sherman, a TV gameshow writer/producer, to begin recording his own parodies of standards and folk songs. Though hardly any of Sherman's lyrics had actual Yiddish content, many still had a clearly Jewish inflection that often alluded—phonetically, grammatically, or syntactically—to Yiddish beginnings. Close readings of selected tracks by the Bartons, by Katz, and by Sherman will focus on their language, their music, their delivery, and what made them so influential and so very funny. This lecture originally took place on July 9, 2020. Learn more about your ad choices. Visit megaphone.fm/adchoices Support our show by becoming a premium member! https://newbooksnetwork.supportingcast.fm/new-books-network

In the years immediately following the Second World War, the Barton Brothers, an anarchic Catskill comedy duo, began recording humorous macaronic (that is, bilingual) parody songs that relied in no small part on Yiddish theater and radio for raw material. The Bartons' unexpected success—their send-up of Yiddish radio, “Joe & Paul,” was a bona fide hit, however improbable—inspired clarinetist Mickey Katz, based in Los Angeles and working with first-rate studio players, to begin recording his own exceedingly funny Yiddish-mixed-with-English lyrics set to the melodies of current Hit Parade songs. Capitol Records issued (possibly to their own amazement) a steady stream of these Yinglish albums by Katz all through the 1950s and into the ‘60s. These in turn inspired Allan Sherman, a TV gameshow writer/producer, to begin recording his own parodies of standards and folk songs. Though hardly any of Sherman's lyrics had actual Yiddish content, many still had a clearly Jewish inflection that often alluded—phonetically, grammatically, or syntactically—to Yiddish beginnings. Close readings of selected tracks by the Bartons, by Katz, and by Sherman will focus on their language, their music, their delivery, and what made them so influential and so very funny. This lecture originally took place on July 9, 2020. Learn more about your ad choices. Visit megaphone.fm/adchoices Support our show by becoming a premium member! https://newbooksnetwork.supportingcast.fm/jewish-studies

In the years immediately following the Second World War, the Barton Brothers, an anarchic Catskill comedy duo, began recording humorous macaronic (that is, bilingual) parody songs that relied in no small part on Yiddish theater and radio for raw material. The Bartons' unexpected success—their send-up of Yiddish radio, “Joe & Paul,” was a bona fide hit, however improbable—inspired clarinetist Mickey Katz, based in Los Angeles and working with first-rate studio players, to begin recording his own exceedingly funny Yiddish-mixed-with-English lyrics set to the melodies of current Hit Parade songs. Capitol Records issued (possibly to their own amazement) a steady stream of these Yinglish albums by Katz all through the 1950s and into the ‘60s. These in turn inspired Allan Sherman, a TV gameshow writer/producer, to begin recording his own parodies of standards and folk songs. Though hardly any of Sherman's lyrics had actual Yiddish content, many still had a clearly Jewish inflection that often alluded—phonetically, grammatically, or syntactically—to Yiddish beginnings. Close readings of selected tracks by the Bartons, by Katz, and by Sherman will focus on their language, their music, their delivery, and what made them so influential and so very funny. This lecture originally took place on July 9, 2020. Learn more about your ad choices. Visit megaphone.fm/adchoices Support our show by becoming a premium member! https://newbooksnetwork.supportingcast.fm/music

"I Should Be Happy" Singer/keyboardist Anne Richmond Boston showed up on the musical timeline in the late '70s when she joined the Atlanta indie rock outfit The Swimming Pool Q's. Before the goldrush of bands like R.E.M., Soul Asylum, O Positive, Big Dipper and Poi Dog Pondering signing to major labels, The Swimming Pool Q's kind of led the way, inking deals in the mid-'80s with A&M and Capitol Records. They put out five marvelous albums, including Blue Tomorrow and The Deep End, toured with Devo and The Police and garnered a reputation for being a spot-on live act, their brand of idiosyncratic pop filled with jittery rhythms, sterling sax fills, jangling guitars and sonorous vocals. Richmond Boston left the band in 1989 but roared right back with her 1990 debut solo album Big House Of Time. Filled with soaring originals like Dreaming and covers of numbers by Neil Young, John Hiatt and The Lovin' Spoonful, Big House Of Time made a huge splash at college radio. And then? Well, Richmond Boston designed album covers, worked in graphic arts, sang with The Drive By Truckers and Widespread Panic and rejoined the Q's. And that was that. But what about the rumored follow-up to Big House Of Time? Well, it was recorded and sitting on a shelf in a closet in Richmond Boston's house. Titled I Should Be Happy, her sophomore album was worth the wait. A riveting collection that's filled with meditative and melodic numbers, I Should Be Happy is contemplative and moving and finds Richmond Boston tackling the big questions with peerless harmonic grace.  www.annerichmondboston.bandcamp.com www.bombshellradio.com www.stereoembersmagazine.com www.alexgreenbooks.com Threads + BLUESKY + IG: @emberspodcast editor@stereoembersthepodcast.com

Today, we're putting The Tonearm's needle on Michael Graves, a five-time Grammy-winning mastering engineer and the founder of Osiris Studio in Los Angeles.Michael's work is restoration as archaeology—pulling performances off deteriorating tapes, damaged acetates, and obsolete formats, then deciding how much intervention is too much. He's done this for recordings by Hank Williams, Aretha Franklin, Stax songwriters, and field recordings from Cambodia, Sudan, and Mississippi. His most recent Grammy came in 2024 for Written in Their Soul: The Stax Songwriter Demos.The deeper question his work raises is curatorial: where does restoration end and revisionism begin? What gets rescued, and what stays buried?—Dig Deeper• Michael Graves and Osiris Studio:Visit Michael Graves at osirisstudio.com and follow Osiris Studio on InstagramMichael Graves — Osiris Studio: AboutMichael Graves (sound engineer) — Wikipedia• Key Projects Discussed:Written in Their Soul: The Stax Songwriter Demos — 7-CD box set on Craft Recordings (2023), Grammy Award for Best Historical Album (2024)Blondie: Against the Odds: 1974–1982 — box set via Numero Group and UMe (2022)Chris Bell: I Am the Cosmos — definitive reissue on Omnivore Recordings (2017)Chris Bell: The Complete Chris Bell — 6-LP box set, Omnivore Recordings (2017)• Labels:Omnivore RecordingsNumero GroupDust-to-DigitalAnalog AfricaCraft RecordingsRhino Records• Artists and People Referenced:Chris Bell — Big Star co-founder; I Am the Cosmos recorded in the mid-1970sBig Star — Memphis power pop band co-founded by Chris Bell and Alex ChiltonGeoff Emerick — engineer and producer; produced and recorded Chris Bell's post-Big Star sessionsEddie Floyd — Stax recording artist and songwriter; known for "Knock on Wood"Johnny Mercer — American lyricist, songwriter, and Capitol Records co-founder; his archive is held at Georgia State UniversityLeonard Cohen — Canadian singer-songwriter; Graves worked on his personal archive• Institutional Archives and Collections:Johnny Mercer Collection — Georgia State UniversityAlan Lomax and George Pullen Jackson Collection of Sacred Harp Music (1942) — Library of CongressSacred Harp singing — WikipediaStax Records — WikipediaStax Museum of American Soul Music• Professional Organizations:The Recording AcademyAssociation for Recorded Sound Collections (ARSC)Audio Engineering Society (AES)The Dust-to-Digital Foundation (Graves is a board member and technical advisor)• Other References:Mobile Fidelity Sound Lab (MoFi) — audiophile reissue label referenced in the source tape discussionThe Sacred Harp Publishing CompanyGrammy Award for Best Historical Album—Dig into this episode's complete show notes at podcast.thetonearm.com—• Did you enjoy this episode? Please share it with a friend! You can also rate The Tonearm ⭐️⭐️⭐️⭐️⭐️ and leave a review on Apple Podcasts. • Subscribe! Be the first to check out each new episode of The Tonearm in your podcast app of choice. • Looking for more? Visit podcast.thetonearm.com for bonus content, web-only interviews + features, and the Talk Of The Tonearm email newsletter. You can also follow us on Bluesky, Mastodon, YouTube, and LinkedIn. • Be sure to bookmark our online magazine, The Tonearm! → thetonearm.com Hosted on Acast. See acast.com/privacy for more information.

Today, we're putting The Tonearm's needle on Michael Graves, a five-time Grammy-winning mastering engineer and the founder of Osiris Studio in Los Angeles.Michael's work is restoration as archaeology—pulling performances off deteriorating tapes, damaged acetates, and obsolete formats, then deciding how much intervention is too much. He's done this for recordings by Hank Williams, Aretha Franklin, Stax songwriters, and field recordings from Cambodia, Sudan, and Mississippi. His most recent Grammy came in 2024 for Written in Their Soul: The Stax Songwriter Demos.The deeper question his work raises is curatorial: where does restoration end and revisionism begin? What gets rescued, and what stays buried?—Dig Deeper• Michael Graves and Osiris Studio:Visit Michael Graves at osirisstudio.com and follow Osiris Studio on InstagramMichael Graves — Osiris Studio: AboutMichael Graves (sound engineer) — Wikipedia• Key Projects Discussed:Written in Their Soul: The Stax Songwriter Demos — 7-CD box set on Craft Recordings (2023), Grammy Award for Best Historical Album (2024)Blondie: Against the Odds: 1974–1982 — box set via Numero Group and UMe (2022)Chris Bell: I Am the Cosmos — definitive reissue on Omnivore Recordings (2017)Chris Bell: The Complete Chris Bell — 6-LP box set, Omnivore Recordings (2017)• Labels:Omnivore RecordingsNumero GroupDust-to-DigitalAnalog AfricaCraft RecordingsRhino Records• Artists and People Referenced:Chris Bell — Big Star co-founder; I Am the Cosmos recorded in the mid-1970sBig Star — Memphis power pop band co-founded by Chris Bell and Alex ChiltonGeoff Emerick — engineer and producer; produced and recorded Chris Bell's post-Big Star sessionsEddie Floyd — Stax recording artist and songwriter; known for "Knock on Wood"Johnny Mercer — American lyricist, songwriter, and Capitol Records co-founder; his archive is held at Georgia State UniversityLeonard Cohen — Canadian singer-songwriter; Graves worked on his personal archive• Institutional Archives and Collections:Johnny Mercer Collection — Georgia State UniversityAlan Lomax and George Pullen Jackson Collection of Sacred Harp Music (1942) — Library of CongressSacred Harp singing — WikipediaStax Records — WikipediaStax Museum of American Soul Music• Professional Organizations:The Recording AcademyAssociation for Recorded Sound Collections (ARSC)Audio Engineering Society (AES)The Dust-to-Digital Foundation (Graves is a board member and technical advisor)• Other References:Mobile Fidelity Sound Lab (MoFi) — audiophile reissue label referenced in the source tape discussionThe Sacred Harp Publishing CompanyGrammy Award for Best Historical Album—Dig into this episode's complete show notes at podcast.thetonearm.com—• Did you enjoy this episode? Please share it with a friend! You can also rate The Tonearm ⭐️⭐️⭐️⭐️⭐️ and leave a review on Apple Podcasts. • Subscribe! Be the first to check out each new episode of The Tonearm in your podcast app of choice. • Looking for more? Visit podcast.thetonearm.com for bonus content, web-only interviews + features, and the Talk Of The Tonearm email newsletter. You can also follow us on Bluesky, Mastodon, YouTube, and LinkedIn. • Be sure to bookmark our online magazine, The Tonearm! → thetonearm.com Hosted on Acast. See acast.com/privacy for more information.

Patreon Goodies The legendary DJ Will is on the show! A stalwart of the LA thrash scene he was there at the very beginning and we get into it all. The very beginnings of thrash, tape trading and his time as A&R at Metal Blade & Capitol Records. The news is here in all it's blocked nose glory with both KI$$ and Metallica getting a look in. This Is Cold Lake Bollocks. Video Interview Bastardane 

Wim dials in from Ghent to share his take on a stellar soundboard recording of Crowded House live at the Capitol Records Carpark 1991. Tracks featured in full include Weather With You, Tall Trees, Fall At Your Feet, Spellbound, All I Ask & Italian Plastic.Wim gives further insight into learning the Crowdies catalogue with his tribute band 'Woodface' who are working up to a series of special shows to celebrate the Woodface album's 35th anniversary.Check out Woodface's links over here:https://linktr.ee/woodfaceCHtributeEpisode Cover: Four Seasons In One Day by WoodfaceYou can significantly support the continuation of the 240 podcast for a donation of just a couple dollars per month. This goes directly towards covering the monthly cost of buzzsprout hosting fees, riverside video chat platform, editing software & cloud space. Big thank yous if you are in a position to help. Head over here to: http://patreon.com/240neilfinn

This Week Joe is featuring Pianist and Vocalist Nat “King” Cole from his 1992, Capitol Records compilation recording, titled “The Best of The Nat “King” Cole Trio.” 

Send a textKick-off those worn-out shoes, let your hair down and pour yourself some lite roast, because the Bo-Hosts welcome you to: Sammy Sunday Mornings! The "BONUS OTIS" mini-episodes are bite-size and focus on the mellower side of the RedRocker's catalog!In this episode, we celebrate the 50th Anniversary of Sammy's 1st Capitol Records solo album, 1976's Nine on a 10 Scale,  by revisiting the incredibly underrated "Young Girl Blues." It's a straight blues scorcher with Sammy delivering not only a standout vocal, but proving once again that he is an incredible guitar player!So sit down, pour a coffee, put your feet up and enjoy another lazy, hazy, Sammy Sunday!All songs available for purchase on iTunes! We bought it- so should you!Be sure to check out our Sammy Sunday Mornings playlist on Spotify!"What is understood...NEED be discussed"Facebook:https://www.facebook.com/profile.php?id=100085582159917Instagram: https://www.instagram.com/thebogusotisshow/?hl=enConnect with the Bo-Hosts:bogusotisshow@gmail.com

Ah, February! Already one month into the New Year, and we've got so much to share with you! Professional spoken word artist Jim Weiss stops by the studio to spin some yarns and talk shop with Evan. Mr. Weiss has narrated countless stories from Tall Tales to Greek Mythology, and U.S. History to Classic Fables. You've probably heard his version of The Tortoise and the Hare - it's pretty epic!!! Plus, get ready for the most dramatic reading of a cereal box...maybe ever? Speaking of drama: steel your nerves and brace your tastebuds - it's another edition of Feeding Ben Stuff! This time, it's Nichole's turn. Tune in to find out what never-before-heard-of-flavor-combination they invent this time! Then, get ready for a real cool treat!!! Introducing: SNOW ICE CREAM! That's right, we go to our test kitchen (and our backyard) to bring you a wonderful wintertime recipe that's sure to be a new favorite! We have a Grandparent story from Blake in Cary, Illinois and his Grandma, who grew up on a farm in Kansas! And, get ready for one of the original supernatural mysteries as Cryptid Corner explores the treacherous Bermuda Triangle! Plus, we share a few tricks for remembering how many days are in each month. You know, because February! Not to mention hilarious jokes, a mind-bending riddle, and a fantastic favorite sound. So grab a snack, tell a friend, stay curious and, as always, keep it WILD!!!Parents: visit our website to help your kids contribute jokes or favorite sounds, or to send us a message.Timestamps for this episode are available below.00:00 - Episode 19 Intro01:35 - Jim Weiss Spins His Yarns11:58 - Animal Call!12:22 - How Many Days in a Month?15:02 - Riddle Clue15:29 - Favorite Sound16:21 - Call for Submissions!16:48 - Feeding Ben Stuff Part III: Nichole's Turn29:08 - Animal Call Reprise29:57 - Grandparent Stories: Blake's Grandma33:47 - Animal Call Reprise Part II34:28 - Joke Time!35:25 - Snow Ice Cream!40:34 - Animal Call REVEAL41:11 - Cryptid Corner: The Bermuda Triangle46:10 - Riddle Answer46:36 - Preview of Episode 2046:49 - Credits + Calls for Reviews + Word of Mouth!47:22 - Bloopers!***To hear more of Jim Weiss's storytelling, head to:jimweiss.com & welltrainedmind.comAnimal Call samples clips from the Cornell Lab of Ornithology | Macaulay Library, by Allen, Gunn, Johnson, Maia, and Patterson; and "Intergalactic" by The Beastie Boys, © Capitol Records and Beastie Boys, 1999.wildinterest.com

Jason Hollis, artist developer, producer, and owner of Nashville's The Eighth Room, shares how moving to Los Angeles at 17 led to mentorship from Capitol Records executive Tony Zetland and shaped his decades-long career in music. We also discuss why he stepped in to save a historic venue, despite having no prior experience running one, and how that decision led to building The Eighth Room.Follow Jason Hollis:Website (The Eighth Room)Instagram (The Eighth Room)Follow Creatives Prevail:InstagramTikTokWebsiteWe would love to hear from you! Please give us a review, this really helps get others to listen in. Any suggestions on how we can improve? DM us on Instagram or TikTok.Host: Mike ZimmerlichProduced by: Omelette PrevailPost-Production: EarthtoMoiraMusic by: Daphne GreeneTech Specs:Mic and Headphone Setup:Limelight Dynamic Mic (512 Audio / Warm Audio)Vocaster One (Focusrite)MBS9500 Microphone Boom Arm (On-Stage)Pro X2 Headphones (Logitech)Light Setup:Litra Beam (Logitech)Glide Lively Wall Lights (Govee)Squares (Twinkly)Key Light (Elgato)

Here are a couple of ladies who span generations and genres. They can rock, swing, and croon like nobody's business, and are renown for their independence. Wanda Jackson is a founding mother of Rockabilly and still partying at 88; She started recording in 1954, and just recently retired. Although she forged the magical fusion elixir that we call Rockabilly, she has also scored hits in the Gospel and Country genres. Sarah Jarosz, 50+ years younger, studied at the New England Conservatory of Music, but remains pure Texas, like Nanci Griffith or Lyle Lovett - indie Americana artists who fuse country with jazz in an irresistible freshness. She has stated that she relishes expansion, collaboration, and experimentation, with a goal toward “honoring the song” and bringing it to life in the most exciting way possible. Both women are accomplished songwriters as well as vocal interpreters, but today we feature them in the latter position - Wanda, from 1962, keens the vertiginous “Whirlpool”, by Fred Burch and Marijohn Wilken, and Sarah crushes Tom Wait's “Come on Up to the House” with a  funky mandolin.SARAH JAROSZI first heard Sarah Jarosz about 10 years ago on Garrison Keillor's radio show, and was smitten immediately. Her tender, and at the same time fluid voice and funky mandolin charms completely - reminding me of the great John Hartford and how he transformed bluegrass to Newgrass.  She continued after Garrison left with successor Chris Thile, teaming up with Sarah Watkins, another star from that ensemble, and Aoife O'Donovan to form the trio I'm With Her. At 34, no longer a prodigy, she has become a contemporary bluegrass goddess, who keeps expanding her range. Here she essays Tom Wait's Come on up to the House, in which she manages to combine spirituality with sex appeal - brilliant. WANDA JACKSONWhirlpool is like a psychedelic Torch Song. Uncharacteristically, Wanda takes the role of a vulnerable, love damaged damsel instead of the Take No Prisoners, kick-ass Rocker she usually projects. Released on Capitol Records and produced by their A&R exec, Ken Nelson, this cut obviously is swinging for the bleachers of commercial Country appeal, but its weirdness kept it from charting. However, it remains a monument to her range and dramatic power. 

Linktree: ⁠https://linktr.ee/Analytic⁠Join The Normandy For Additional Bonus Audio And Visual Content For All Things Nme+! Join Here: ⁠https://ow.ly/msoH50WCu0K⁠ In this segment of Notorious Mass Effect, Analytic Dreamz provides an in-depth analytical breakdown of Sienna Spiro's breakout single “Die On This Hill,” released October 10, 2025, via Capitol Records—the defining hit from her debut EP Sink Now, Swim Later.Born September 25, 2005, in London, UK, the 20-year-old singer-songwriter boasts a deep alto voice influenced by Etta James, Amy Winehouse, Frank Sinatra, and early-2000s hip-hop. She began songwriting at age 10, went viral on TikTok in 2022 with covers and originals, dropped out of school at 16 to pursue music full-time, and built early momentum with singles like “Maybe” (#75 UK Singles Chart, 2024) and her 2025 EP.Co-written by Spiro with Omer Fedi, Michael Pollack, and Blake Slatkin, the piano-led ballad—sparked by a Bohemian Rhapsody-inspired piano mistake—features cinematic strings by Rob Moose and explores stubborn love, emotional entrapment, and toxic relationships with raw vulnerability and dramatic structure. Live-debuted at KOKO London (September 2025), it earned widespread praise for vocal control and emotional depth.As of January 2026, the track achieved her first UK Top 10 (#9 peak on Official Singles Chart), debuted at #69 on Billboard Hot 100 (week of January 10, climbing), hit Spotify US #23 and Global #47 peaks, amassed 145+ million global streams (over 16 million by November 2025), and contributed to Sink Now, Swim Later surpassing 122 million cumulative streams—driven by TikTok emotional-clip trends and organic virality.Television exposure accelerated crossover: UK debut on Later… with Jools Holland, U.S. performances on The Tonight Show Starring Jimmy Fallon (January 2026), TODAY, and prior The Late Show with Stephen Colbert (via “Maybe”). Support slots with Teddy Swims (North America) and Sam Smith boosted visibility.Her sold-out 2026 North American headline tour, The Visitor Tour, launches March 3–6 at Troubadour (Los Angeles, 2 dates), includes stops at Café Du Nord (San Francisco), Lincoln Hall (Chicago), The Great Hall (Toronto), The Atlantis (Washington, DC), The Foundry (Philadelphia), Brighton Music Hall (Boston), and concludes March 17–18 at Bowery Ballroom (New York, 2 dates)—all 100% sold out across 10 dates.Industry nods include BRIT Awards Critics' Choice shortlist (2026). Analytic Dreamz dissects how “Die On This Hill” transformed TikTok virality into chart success, streaming dominance, TV breakthroughs, and touring demand—positioning Spiro as a soulful, performance-driven rising star with organic, accelerated momentum entering 2026.Join Analytic Dreamz for this no-fluff, data-driven deep dive into one of 2025-2026's most compelling breakout stories. Stream “Die On This Hill” now and stay locked in for more Notorious Mass Effect.Support this podcast at — https://redcircle.com/analytic-dreamz-notorious-mass-effect/donationsPrivacy & Opt-Out: https://redcircle.com/privacy

Show #1135 Winter Blues 01. Bridget Kelly Band - Winter's Coming Blues (Version 1) (4:40) (Winter's Coming, Alpha Sun Records, 2022) 02. Mark 'Nessie' Nesmith - Snow On The Ground (3:09) (A Sinner's Prayer, self-release, 2024) 03. The Mighty Soul Drivers - Cold Cold Night (4:10) (I'll Carry You Home, Hog Heaven Records, 2022) 04. Pat McDougall - Which Way The Cold Wind Blows (5:22) (In The Key Of Sorry, self-release, 2023) 05. Steve Miller Band - Winter Time (3:12) (Book Of Dreams, Capitol Records, 1977) 06. The B. Christopher Band - Ain't That Cold (2:56) (Snapshots From The Second Floor, self-release, 2022) 07. Sean Chambers - In The Winter Time (6:06) (Ten Til Midnight, self-release, 2009) 08. Jimmy Bennett - Snow Sliding (3:37) (Sunday Morning Sessions, Junkyard Dog Productions, 2023) 09. Jeff Pitchell - Out In The Cold (4:04) (Playin' With My Friends, Deguello Records, 2023) 10. Darrell Nulisch - The Snow Is Falling (3:18) (Times Like These, Severn Records, 2003) 11. Ray Charles - The Snow Is Falling (2:53) (78 RPM Shellac, Swing Time Records, 1952) 12. Betty Fox Band - Winter´s Cold (4:24) (Peace In Pieces, self-release, 2020) 13. Angelique Francis - Snow Rage (4:39) (Long River, self-release, 2022) 14. Matthew Patrick & The Damn Good Blues Band - Long Cold Walk (3:31) (Authentico, self-release, 2025) 15. Big Al & The Heavyweights - Too Cold (5:10) (Love One Another, VizzTone Records, 2022) 16. Linsey Alexander - Snowing In Chicago (4:11) (Come Back Baby, Delmark Records, 2014) 17. Mario Rossi Band - Cold Lonely Nights (6:44) (Smoke Burst, self-release, 2023) 18. Jason Ricci & New Blood - Snowflakes And Horses (4:36) (Rocket Number 9, Eclecto Groove Records, 2007) 19. Emma Wilson - Blossom Like Snow (4:51) (Wish Her Well, self-release, 2022) 20. Sonny Boy Williamson II - Nine below zero [1963] (5:40) (The American Folk Blues Festival 1962-1966 Vol.1, Universal Music, 2003)  21. Mick Pini - Snowy Wood (3:30) (Backtrack, self-release, 2021) Bandana Blues is and will always be a labor of love. Please help Spinner deal with the costs of hosting & bandwidth. Visit www.bandanablues.com and hit the tipjar. Any amount is much appreciated, no matter how small. Thank you.

What's your most loved and least favourite song on Cocteau Twins' 1990 album Heaven or Las Vegas? Ranking such a semi-wordless shimmery masterpiece was a strange, wonderful experience. TMI abounds. San Diego's Cocteau coverband, the Mocteau Twins inspired Adam to choose it and the whole band was kind enough to send us their story and favorites!  Available at WeWillRankYouPod.com, Apple, Spotify and Las Vegas. Please tell us how YOU would rank tonight's tunes on Instagram, Facebook and Threads  @wewillrankyoupod !FILE UNDER/SPOILERS:Ambient, baby, Blue Bell Knoll, Kate Bush, Capitol Records, Cherry Coke, Cherry-Coloured Funk, Christmas lights, Cocteau Twins, the Cure, Miley Cyrus, dream pop, electronic, experimental, Fifty-Fifty Clown, Fotzepolitic, 4AD, Elizabeth Fraser, Frou-Frou Foxes in Midsummer Fires, GARLIC FONDUE, harmonies, Robin Guthrie, Heaven For Last Vegans, Heaven or Las Vegas, Iceblink Luck, Jericho, Johnny and the Self Abusers, Las Bagels, London, Lucy Belle, Massive Attack, misheard lyrics, Mocteau Twins, Alanis Morrissette, newborn, pedals, Pitch the Baby, Matt Pond PA, psychedelia, Simon Raymonde, reverb, Ride, Road River and Rail, Chappell Roan, Scotland, September Sound, shoegaze, Simple Minds, the Sundays, swirling, Twickenham, Wolf in the Breast, 1990.US: http://www.WeWillRankYouPod.com wewillrankyoupod@gmail.comNEW! Host tips: Venmo @wewillrankyoupodhttp://www.facebook.com/WeWillRankYouPodhttp://www.instagram.com/WeWillRankYouPodhttps://www.threads.net/@WeWillRankYouPodhttp://www.YerDoinGreat.com (Adam's music page)https://open.spotify.com/user/dancecarbuzz (Dan's playlists)http://www.instagram.com/MocteauTwins

Ay, yo!Life be life-in' right now, and I'm feelin' it; the usual stress of holiday hosting and shopping and scheduling and all the other stuff has my mind crinkled and my right shoulder blade in a knot.It's a lot.Sometimes, though, a little dose of blessing floats your way, and I couldn't be more grateful to share with you that I had the pleasure of meeting (and sitting with) the beautiful and the savvy, the sharp and the hilarious, the talented and ambitious, Kimology!That's right.Kim is a daughter and a sister. She's a flippin' playwright and a singer. You might see her modeling, or you might catch her making short films. She's featuring in videos and on Tech N9ne tracks. She's got her own (The Kimology Show) progrum, and co-hosts another (But Did You Listen to the Album?). And atop all that, she was kind enough to join me for Episode No. 194.Few people know this (and it doesn't matter outside of my sphere), but this is a hard gig to maintain when it comes to the soliciting of strangers, the interview prep, the editing and the uploading.Seldom -- and I do mean seldom -- do I interact with someone so lovely, so prompt, and so willing to come share a piece of this thing I curate. And, boy am I lucky that my algorithmic signals crossed paths with Kim's.We talked about family, growing up, performing, directing, producing, writing, singing, recording, and a ton more.We also talked a little bit about a few of Kim's favorite albums. Those were these:Bad (1987), Michael JacksonBoyz II Men's Cooleyhighharmony (1991)T.E.V.I.N. (1991), Tevin CampbellToni Braxton's self-titled release (1993)Never Say Never (1998), BrandyKim is @iamkimology on Instagram. Both of her shows can be viewed on YouTube, and the But Did You Listen to the Album? podcast has an IG handle as well; it's @bdyltapod. So, please subscribe to both of her situations, and support a lady that's doing good, is good, and will brighten your week.'Preciate you for reading this.copyright disclaimer: Under Section 107 of the Copyright Act of 1976: Allowance is made for "fair use" for purposes such as criticism, comment, news reporting, teaching, scholarship, and research. All those things considered, I do not own the rights to the audio clips contained within this episode. They are snippets of one of the greatest album-opening tracks of all time, "Hot Sauce," by Big John Patton. You can find it leading off his 1986, six-track ripper, Blue John, c/o Blue Note Records and Capitol Records, LLC.

David Ellefson and Joshua Toomey sit down with Michael Gilbert and Steve Conley of Flotsam and Jetsam, along with John Aquilino of Icon, for a deep dive into the Arizona metal scene. John shares the wild story of Icon being replaced by Poison at Capitol Records, reflecting on the shifting tides of '80s rock. David looks back on Megadeth's move to Phoenix. The guys also revisit the moment Jason Newsted joined Metallica—and why David originally didn't think the pairing would work out.Today's episode is brought to you by Rockabilia.com, Use code: DAVID10 for 10% Off your order. 100% authentic band merch since 1987!Join the Patreon for early access to episodes and Q and A's with the hosts www.patreon.com/tdesFor David Ellefson Stage Played Basses and Merch www.ellefsonemporium.comFollow David on Social Medialinktr.ee/davidellefsonFollow Joshua on Social Medialinktr.ee/talktoomeypodcast #megadeth #bassplayer #thrash #bigfour

In 1963, Capitol Records considered the Beatles “a band who looked and sounded weird with an odd name and no leader” and refused to release their records in America, despite being owned by EMI. As author Andrew Cook points out, “the truth is stranger than fiction”. New correspondence unearthed in his fascinating Capitol Gains maps out the tortuous wranglings of the deal-makers and “pantomime bad guys” behind the greatest and most successful marketing hype in history, all jockeying to take credit and manage their reputations. Some highlights here … … the truth behind Epstein's mythical phone calls … “the more successful the Beatles were, the more Capitol were proving themselves wrong” … why 1966 was the band's “Last Supper” … “from the Battle of Hastings to World War 2 to the Beatles ... it's the winners who rewrite history” … the American 12-track rule and how they repackaged product “to give it more grab” … the Beatles' commercial fate if they'd never been successful in the States … the pitiful (standard) original EMI deal – “18.75 of a penny per group member for every album” … the “Butcher sleeve”: how 750,000 were printed and the fortune lost in “Operation Retrieve”. And the Capitol exec whose kids made $1.5m from copies stashed in his garage … how Epstein was contracted to make 25 per cent of all Beatles monies ‘til 1975 … Bob Dylan's tangential role in the signing of the Beatles to Capitol … and the “cowboy film” that nearly happened. Order Capitol Gains here: https://www.amazon.co.uk/Capitol-Gains-Beatles-Conquered-America/dp/1803997281Help us to keep The Longest Conversation In Rock going: https://www.patreon.com/wordinyourear Hosted on Acast. See acast.com/privacy for more information.

In 1963, Capitol Records considered the Beatles “a band who looked and sounded weird with an odd name and no leader” and refused to release their records in America, despite being owned by EMI. As author Andrew Cook points out, “the truth is stranger than fiction”. New correspondence unearthed in his fascinating Capitol Gains maps out the tortuous wranglings of the deal-makers and “pantomime bad guys” behind the greatest and most successful marketing hype in history, all jockeying to take credit and manage their reputations. Some highlights here … … the truth behind Epstein's mythical phone calls … “the more successful the Beatles were, the more Capitol were proving themselves wrong” … why 1966 was the band's “Last Supper” … “from the Battle of Hastings to World War 2 to the Beatles ... it's the winners who rewrite history” … the American 12-track rule and how they repackaged product “to give it more grab” … the Beatles' commercial fate if they'd never been successful in the States … the pitiful (standard) original EMI deal – “18.75 of a penny per group member for every album” … the “Butcher sleeve”: how 750,000 were printed and the fortune lost in “Operation Retrieve”. And the Capitol exec whose kids made $1.5m from copies stashed in his garage … how Epstein was contracted to make 25 per cent of all Beatles monies ‘til 1975 … Bob Dylan's tangential role in the signing of the Beatles to Capitol … and the “cowboy film” that nearly happened. Order Capitol Gains here: https://www.amazon.co.uk/Capitol-Gains-Beatles-Conquered-America/dp/1803997281Help us to keep The Longest Conversation In Rock going: https://www.patreon.com/wordinyourear Hosted on Acast. See acast.com/privacy for more information.

In 1963, Capitol Records considered the Beatles “a band who looked and sounded weird with an odd name and no leader” and refused to release their records in America, despite being owned by EMI. As author Andrew Cook points out, “the truth is stranger than fiction”. New correspondence unearthed in his fascinating Capitol Gains maps out the tortuous wranglings of the deal-makers and “pantomime bad guys” behind the greatest and most successful marketing hype in history, all jockeying to take credit and manage their reputations. Some highlights here … … the truth behind Epstein's mythical phone calls … “the more successful the Beatles were, the more Capitol were proving themselves wrong” … why 1966 was the band's “Last Supper” … “from the Battle of Hastings to World War 2 to the Beatles ... it's the winners who rewrite history” … the American 12-track rule and how they repackaged product “to give it more grab” … the Beatles' commercial fate if they'd never been successful in the States … the pitiful (standard) original EMI deal – “18.75 of a penny per group member for every album” … the “Butcher sleeve”: how 750,000 were printed and the fortune lost in “Operation Retrieve”. And the Capitol exec whose kids made $1.5m from copies stashed in his garage … how Epstein was contracted to make 25 per cent of all Beatles monies ‘til 1975 … Bob Dylan's tangential role in the signing of the Beatles to Capitol … and the “cowboy film” that nearly happened. Order Capitol Gains here: https://www.amazon.co.uk/Capitol-Gains-Beatles-Conquered-America/dp/1803997281Help us to keep The Longest Conversation In Rock going: https://www.patreon.com/wordinyourear Hosted on Acast. See acast.com/privacy for more information.

In the Rocker Death series, Tessa continue in part 7 with a new lineup of rockers who left us too damn soon. From MS to murder and more, it all starts now. ROCKER LINEUP: Clive Burr, Teresa Nervosa, John Lennon and Felix Pappalardi CREDITS & LINKS  MUSIC COURTESY OF: Fading Point "Gasoline” Alien Manner "Listen Official” Destined to Fail "The Sin is Enough” Liars Handshake "Stockholm” Alien Manner "Green Dragon” Fading Point "Trigger” Destined to Fail "Dead Man's Orgy” CITY SHOUT OUT:

Linktree: ⁠https://linktr.ee/Analytic⁠Join The Normandy For Additional Bonus Audio And Visual Content For All Things Nme+! Join Here: ⁠https://ow.ly/msoH50WCu0K⁠Dive deep into Katy Perry's brand-new standalone single “Bandaids,” dropping November 6, 2025, via Capitol Records—her first release since 2024's 143 album that debuted at #6 on Billboard 200. Analytic Dreamz unpacks the somber artwork showing Perry's scratched, bruised face, signaling raw emotional vulnerability after her summer breakup with Orlando Bloom and the public October reveal of her Paris romance with Justin Trudeau. This segment explores the track's potential ties to heartbreak healing, the ongoing Lifetimes Tour (1.1 million tickets sold through December 2025), and mixed media takes: Billboard highlights strong sales, while Exclaim! calls it a possible distraction from 143's 3/10 critique. With no confirmed album link, Analytic Dreamz analyzes fan buzz on socials, chart prospects for this post-“Woman's World” era, and whether “Bandaids” reignites Teenage Dream magic or stays PR-driven. Essential listening for pop culture analysts tracking Perry's 41-year-old comeback narrative. Support this podcast at — https://redcircle.com/analytic-dreamz-notorious-mass-effect/donationsAdvertising Inquiries: https://redcircle.com/brandsPrivacy & Opt-Out: https://redcircle.com/privacy

Send us a textThis week Jack and I speak with Steve Meyer, former long time National Promotion Director for Capitol Records. Steve has the pleasure of working closely with Bob Seger and his management team as well as four other guys...John,  Paul, George and Ringo - and many, many more. Hearing is believing!

Send us a textJames and Jack have their old friend, former National Promotion Director for Capitol Records, Steve Meyer, back for round two. Steve has even more stories about The Beatles, Elton John, Grand Funk Railroad, Juice Newton and much more...

Send us a textJames and Jack have their final instalment with former National Promotion Director for Capitol Records, Steve Meyer. Steve has even more stories about The Beatles, Elton John, and much more. You can never have enough Steve....

Cricket's for the birds. It's October (or was October as of pressing) and the only bats that belong within spitting distance of Capitol Records are made in Louisville right in the heart of the ol' U.S. of A. To celebrate the end of another season of America's pastime, somehow currently dominated by Canadians (#2025), T.J. and Tony resurrect Producer Casey's most confusing episode concept: THE BEATLE BATTING ORDER — this time constructing their lineups exclusively from stateside releases. Between mouthfuls of peanuts and Cracker Jacks, we wonder: ⚾️ ❄ Is Paul actually a Mets fan, or is Darryl Strawberry just his dealer? ⚾️

Insights In Sound 189 - Steve Genewick, Audio Engineer S19 E8 From the Beatles to Spinal Tap, his discography reads like the racks of a record store. With more than two decades as part of the legendary team at Capitol Records, he's got great stories to tell and a remarkably down to earth perspective. We sat down for a long-awaited chat with Steve Genewick. Thanks to our friends at Village Studios for their hospitality. 

Escríbele a Sergio Vega: https://www.instagram.com/sergioavega/

"The Gospel According to Capitol Records" - an hour-long salute to the gospel catalog of the Hollywood-based label. Featuring selections by Sallie Martin, Ever-Ready Singers, Voices of Hope, Echoes of Eden of St. Paul Baptist Church, Art Reynolds Singers, Andrews Gospel Singers, and others.

Born and raised in Cincinnati, Ohio, Ave Pildas worked early in his career as a photo stringer for Downbeat Magazine in the Ohio Valley and Pennsylvania in the 1960's, and has been a successful photographer and educator for the past 40 years.    In 1971 Pildas began working as the Art Director at Capitol Records in Hollywood and designed and photographed album covers for the label's recording artists. He launched a career as a freelance photographer and designer soon after, specializing in architectural and corporate photography. His photographs have been exhibited in one man shows at the: Contemporary Arts Center, Cincinnati, Photographers Gallery, London, Janus Gallery, Los Angeles, Gallerie Diaframma, Milan, Cannon Gallery, Amsterdam, Gallerie 38, Zurich and numerous group shows. They have been featured in: The New York Times Magazine, 'ZOOM', 'PHOTO', 'CAMERA', 'photographic' and many publications both in the United States and abroad .    Photographs by Ave Pildas are included in the collections of the Museum of Modern Art, New York; the Bibliotheca National, Paris; the University of Arizona as well as numerous other public and private collections. He is a Professor Emeritus at Otis College of Design.    Pildas created intimate portraits of Jazz greats in live performance, at small clubs and Jazz Festivals in the Midwest, many have never been seen before. Ave currently lives in Santa Monica, CA in the solar powered, zero scaped home and studio he collaborated on with W3 Architects. He is digitally archiving his vintage work, and continues with new projects while inspiring, polishing and guiding young talent. http://www.avepildas.com https://deadbeatclubpress.com/products/ave-pildas-star-struck This podcast is sponsored by the Charcoal Book Club Begin Building your dream photobook library today at https://charcoalbookclub.com APPLY NOW OR SOON: https://www.chicoreview.com/2026 https://www.homecomingbiennial.com/submit https://photowork.foundation/photowork-junior-fellowship/

Send us a textGreg Kimble's story defies the ordinary arc of success. From a Capitol Records artist at 15 to a Vegas headliner at 21 making $25,000 weekly, his early trajectory seemed glamorous—until it nearly destroyed him. When his father showed up unannounced to save him from self-destruction, Greg experienced the first of many spiritual nudges that would ultimately redirect his life toward purpose and impact."Everyone has something inside that is needed and necessary in this world," Greg shares with electric conviction. This belief fuels his work through The Final Percent, a company named after witnessing a total solar eclipse in Wyoming. The metaphor is powerful—at 99% coverage, daylight remains equivalent to 10,000 full moons, but that final 1% creates total transformation. This philosophy now drives his approach to personal development and the 15 international masterminds he leads.What makes this conversation particularly compelling is Greg's raw honesty about family trauma and forgiveness. Rather than perpetuating cycles of violence with his abusive brother, he chose a different path—"Conflict is inevitable. Combat is a choice." This distinction offers listeners a framework for handling their own difficult relationships without compromising their values or peace.Most striking is Greg's challenge about imagination itself. "Both faith and fear are completely made up," he explains, suggesting we have the power to choose which stories we tell ourselves. Why invent worst-case scenarios when we could just as easily imagine positive outcomes? His practical approach to spirituality frames God not as a "genie" but as a partner who provides opportunities that require our action.Are you living a life worth dying for? As Greg points out, no one knows when their time will end—"life hides the game clock." This sobering reality isn't meant to frighten but to galvanize. Stop waiting for perfect conditions, take massive action on your ideas, and show the world who you truly are. Your journey toward purpose begins with a single, courageous step.To Book a FREE DISCOVERY CALL with Dr. Harte, click the link below!https://calendly.com/drharte/free-discovery-call-w-dr-harteSupport the show#thetruthaboutaddiction#sobriety#the12steps#recovery#therapy#mentalhealth#podcasts#emotionalsobriety#soberliving#sobermindset#spirituality#spiritualgrowth#aa#soberlife#mindfulness#wellness#wellnessjourney#personalgrowth#personaldevelopment#sobermovement#recoveroutloud#sobercurious#sobermoms#soberwomen#author#soberauthor#purpose#passion#perspective

When Capitol Records' Next Quiet Riot Vanished Into Thin AirEver wonder what happens when a dream team of rock royalty assembles to create the perfect 80s metal album—only to watch it disappear during the mastering process? Icon's Night of the Crime is the Phoenix-born tragedy that sits at the very top of the “could have, should have been huge” list, featuring Eddie Kramer behind the boards, Ron Nevison on the mix, and Bob Halligan Jr. crafting radio-ready hooks that Kerrang! Magazine would later rank as the third greatest AOR album of all time.In this deep dive, the Dig Me Out crew unpacks one of metal's most fascinating “what if” stories—a Capitol Records release that had everything: sophisticated songwriting with clever half-time dynamics, dual guitar harmonies that rivaled the best AOR bands, and a powerhouse vocalist in Stephen Clifford who could hit impossible octaves while maintaining that essential metal grit. But just as the album was ready for its 1985 MTV conquest, Clifford walked away during mastering, taking Icon's shot at stardom with him and leaving behind a perfectly crafted 40-minute mystery.If you're fascinated by the intersection of professional songcraft and metal authenticity—think Def Leppard's Pyromania meets Journey's sophistication with the edge of early Quiet Riot—this episode reveals why geography, timing, and band chemistry matter as much as talent in the unforgiving world of 80s rock radio.Episode Highlights:0:00 – Tournament Results – How Icon beat Ozzy in a listener poll tie-breaker9:53 – The Eddie Kramer Factor – Why Jimi Hendrix's producer took on a Phoenix metal band12:17 – The Vanishing Singer – Stephen Clifford's mysterious exit during mastering18:05 – Sophisticated Metal Dynamics – Breaking down Icon's clever use of half-time and strategic pauses25:33 – AOR Meets Metal – How Icon straddled the line between commercial appeal and hard rock edge29:10 – Bob Halligan Jr.‘s Hooks – The song doctor's six co-writes that should have been hits38:00 – Perfect Timing Gone Wrong – Why 1985 was Icon's window between Pyromania and Hysteria52:00 – Phoenix Geography Problem – How being 400 miles from the Sunset Strip hurt Icon's chances1:00:34 – Final Ratings – Two “Worthy Albums” and one “Better EP” verdict on this lost classicReady to discover your next obsession in overlooked 80s metal perfection? Subscribe to Dig Me Out for more deep dives into the albums that deserved better, and join the Metal Union at digmeoutpodcast.com to vote on future episodes. Want bonus content and access to our Discord community? Check out dmounion.com for exclusive 70s, 80s, and 2000s rock episodes that keep the discovery going strong. This is a public episode. If you'd like to discuss this with other subscribers or get access to bonus episodes, visit www.digmeoutpodcast.com/subscribe

What does it take to rise from cleaning studios to shaping some of the most iconic records of our time? Trina Shoemaker's story is not just about breaking into the music industry—it's about breaking through it. As the first woman to win a Grammy for Best Engineered Album, Trina paved the way for a generation of female producers and engineers, and she brings her powerful voice and razor-sharp insight to this inspiring and unfiltered conversation. In this episode, Trina shares how she went from mopping floors at Capitol Records to earning Grammy wins for her work with artists like Sheryl Crow and Emmylou Harris. She tells the behind-the-scenes stories of working on Wrecking Ball and how that album helped define the sound of Americana. We explore her years in London learning the art of engineering, her move to New Orleans to join the legendary Kingsway Studio, and the deep musical and personal lessons she learned along the way. Trina also pulls back the curtain on the realities of being a woman in a male-dominated field—how she navigated the industry, demanded respect, and held true to her belief in capturing raw, honest performances. She discusses her approach to vocal production, why she avoids auto-tune, and how crafting backing vocals is one of her secret weapons. Beyond her life in the studio, Trina opens up about her love of writing and her dream of publishing a novel and having actor Will Patton narrate the audiobook. Whether you're a seasoned engineer or just starting out, this episode offers a powerful reminder: authenticity, persistence, and a deep respect for the artist's process will always rise above the noise. Get access to FREE mixing mini-course: https://MixMasterBundle.com My guest today is Trina Shoemaker, who was born in 1965 and raised in Joliet, IL, southwest of Chicago. Over the past three-and-a-half decades, she has produced, recorded and mixed hundreds of records. A four-time Grammy® Award winner and six-time nominee, she is the first woman to win the Grammy® for Best Engineered Album, Non-Classical. Her credits run the gamut from Queens Of The Stone Age, Rodney Crowell, Charley Crockett and Iggy Pop to Sheryl Crow, Brandi Carlile and Tanya Tucker. Although audio engineering is a passion, writing songs and playing musical instruments are not. Instead, while her ears are busy in the studio recording music, her imagination is busy creating characters, narratives, plotlines and dialogues as she travels through the hidden workings of songs. These stories have culminated in the creation of her debut novel, Bury Me Alive In Your Sugar. Trina lives on Mobile Bay in Fairhope, Alabama, with her husband, singer-songwriter Grayson Capps. Thank you to Tyler Bryant for the introduction! THANKS TO OUR SPONSORS! http://UltimateMixingMasterclass.com https://usa.sae.edu/ https://www.izotope.com Use code ROCK10 to get 10% off! https://www.native-instruments.com Use code ROCK10 to get 10% off! https://www.adam-audio.com/ https://www.makebelievestudio.com/mbsi Get your MBSI plugin here! https://RecordingStudioRockstars.com/Academy  https://www.thetoyboxstudio.com/ Listen to the podcast theme song “Skadoosh!” https://solo.to/lijshawmusic Listen to this guest's discography on Spotify: https://open.spotify.com/playlist/7FEgPMG0Zhkx6vdIuU5SUX?si=38dbbb23f1994fae If you love the podcast, then please leave a review: https://RSRockstars.com/Review CLICK HERE FOR COMPLETE SHOW NOTES AT: https://RSRockstars.com/518

In 2025, it is estimated that 60% of men in the UnitedStates with mental health concerns will not seek professional assistance,despite 77% experiencing symptoms associated with common mental healthconditions. According to The Priory Group, approximately 40% of men have neverdiscussed their mental health with anyone. Jason Prinzo is a mental healthadvocate, public speaker, and example of resilience and personaltransformation.Prinzowas born and raised on the west side of Cincinnati. His engagement with mentalhealth began at age five, when a drawing intended to depict his familyunintentionally highlighted challenges occurring within his home life. Thisartwork prompted the attention of both his teacher and school counselor.Unfortunately, these early experiences were only the beginning of traumas thatwould impact much of his adult life. For many years. Prinzo did not fullyrecognize or accept that he was struggling with mental illness. It was onlyduring a period of outward success—when happiness seemed most attainable—thathe came to realize there was an underlying issue.While considered successful by conventional standards,especially given his early circumstances and limited formal education, Mr.Prinzo built an accomplished career in the music industry. He held executivepositions at Warner Bros. and Capitol Records before founding his own marketingand promotion company. His career took him around the globe and affordedopportunities to attend high-profile events such as the Grammy Awards, SuperBowls, and Masters Tournaments—experiences he once considered unattainable.Despite these achievements, he found little joy, as depression, anxiety, anger,and imposter syndrome persisted throughout his daily life. Each morning broughtuncertainty and concern over potentially losing everything he had worked for.Today,as a public speaker, Prinzo openly shares his journey of recovery, aiming tochallenge misconceptions about mental health, foster empathy, promoteself-care, and inspire others to pursue their paths toward healing and growththrough seeking support.For more information: https://www.jasonprinzo.com/Follow: @jasonprinzomh

Linktree: ⁠https://linktr.ee/Analytic⁠Become A Patron Of The Notorious Mass Effect Podcast For Additional Bonus Audio And Visual Content For All Things Nme! Join Our Patreon Here: ⁠https://ow.ly/oPsc50VBOuH⁠Dive into the Notorious Mass Effect podcast with Analytic Dreamz for an in-depth segment on Yeat's “DANGEROUS SUMMER” EP, out August 1, 2025, via Capitol Records. Explore the EP's raw rollout, featuring cover art by Harmony Korine and EDGLRD, and the lead single “I'M YEAT” produced by BNYX. Following Yeat's chart-topping LYFESTYLE (89,000 units, #1 Billboard 200), this EP promises his signature avant-garde sound. Analytic Dreamz breaks down Yeat's rise from Oregon, Coachella 2025 performance, and more. Stream every segment for the latest in music and culture with Analytic Dreamz.Support this podcast at — https://redcircle.com/analytic-dreamz-notorious-mass-effect/donationsAdvertising Inquiries: https://redcircle.com/brandsPrivacy & Opt-Out: https://redcircle.com/privacy

From Britpop to Beanie Babies, 1995 was da bomb! So much so, in fact, that we thought it would be pretty phat if we revisited the albums of the year in a Volume 2 episode. As if! This week's Third Lad, singer/songwriter/guitarist Josh Caterer had a pretty memorable 1995 as well. His Chicago pop-punk band Smoking Popes signed a major label deal with Capitol Records, who re-released their second indie album, Born To Quit. The album featured the alternative smash "Need You Around," which received radio and MTV airplay, as well as a prominent placement in the hit film Clueless. Fast forward 30 years and things are once again heating up for Smoking Popes. They've just released a triumphant new album, Lovely Stuff, and are celebrating three decades of Born To Quit by playing the record live in its entirety this spring. This summer, they will embark on a tour with Bayside. https://smokingpopesmusic.com Josh joined us from a random rest stop somewhere in Florida to chat about '95 albums, the Popes' past, present, and future, hangin' out in Billie Joe Armstrong's basement, getting Morrissey's seal of approval, the pros and cons of sudden fame, faith, Wisconsin, and much more. We're Audi! Learn more about your ad choices. Visit megaphone.fm/adchoices

Drew ArnottTake a walk with me down Fascination Street as I get to know Drew Arnott. In this episode, Drew and I chat about his growing up between Scottland and Canada, and why. Then we do a bit of a deep dive on the unique and rare instrument called The Mellotron. Drew shares some fun and nutty stories about his own Mellotron, and then we get into why he and Darryl Kromm started Strange Advance in the first place. Strange Advance signed a deal with Capitol Records and released TWO albums; having never played a single live show. Drew explains how that is even possible, and why that happened. The first THREE records released by Strange Advance sold GOLD in Canada, and then they stopped making music..... for 33 years. I ask Drew what the heck happened, and he gives me the deets. Strange Advance has released a new record. Thier fourth record, aptly titled 'Strange Advance 4' is out now, and is a banger! Drew graciously agrees to let me play 'Flow My Tears', my favorite track from the new album, and you will understand why that is my fave. Currently, you can catch Strange Advance playing in and around Canada, at various shows and events. Make sure you follow them on social media, specifically Facebook, and check out their website to find out when they will be playing a show near you. 

In today's episode, I interview Steven Ray, a legendary figure in the music and entertainment industry. His expansive career began as a roadie for Sammy Davis Jr. and George Rhodes, and as a production assistant to Quincy Jones. Steven's early work includes contributing to groundbreaking projects such as Michael Jackson's Thriller, We Are the World, The Color Purple, and productions by Frank Sinatra and James Ingram.“Music is frequency. And frequency is healing. When you're in the presence of someone channeling that, it's almost like being in a temple.” - Steven Ray He later became a Senior Executive at Capitol Records and played a pivotal role at Windswept Pacific, where he signed and collaborated with major artists like Mariah Carey, Usher, TLC, Destiny's Child, and Beyoncé, contributing to over 150 million units sold. Steven's creative vision and industry expertise extend beyond music, as the founder of Red River Pictures, producing projects like Broadway's Ghost and the upcoming films Little Rootie Tootie and Son of the South (now streaming).In 2023, Steven co-hosted the Stories in the Room podcast on Thriller and appeared in the documentaries Thriller 40 and The Greatest Night in Pop. Known for his deep relationships and industry savvy, Steven is a sought-after advisor and a visionary in entertainment.We dive into the transformative power of music, spiritual transmission through sound, and the lessons Steven has learned from working with some of the greatest artists of all time, including Michael Jackson.In this episode, we discuss:- The spiritual power of music and how it can transcend the performer- Memorable moments with Michael Jackson and behind-the-scenes magic- The healing role of sound and vibration- The intersection of fame and spiritual awakening- What makes a piece of music timeless and sacred- Insights into intuition in the creative process- How music contributes to cultural transformation in today's worldSteven also shares his advice for the next generation of artists, the importance of studying music, and his thoughts on the evolution of the music industry in this era of social media and mass influence.Don't miss this enlightening conversation with a true industry legend. Tune in to Gateways to Awakening, where we host transformative discussions on wellness, creativity, and spirituality.Learn more about Steven Ray and his work at Stories in the Room, Instagram: @Mr.StevenRay *If you are an aligned wellness brand and would like to advertise your product on this show, please reach out at @therealyasmeentIf this conversation speaks to you, we'd love to hear from you — tag us @Gateways_To_Awakening on Instagram and Facebook to share your reflections. Your reviews on Apple Podcasts mean the world and help others find the show.To stay connected, you can follow my writing on Substack at substack.com/@therealyasmeent, join me on IG @TheRealYasmeenT, or sign up for my newsletter at InnerKnowingSchool.com.

In 1998 it seemed like Josh Caterer had it made. His band, Smoking Popes, had three critically acclaimed albums out. They were signed to Capitol Records. He had married his high school sweetheart. But Josh had also just become a Christian and couldn't reconcile his rock band life with his new evangelical life. So he quit the band. On today's episode hosts Andrew Gill and Dr. Leah Payne talk with Josh Caterer about that decision, how the band got back together, their new album, Lovely Stuff, and their new single, "Allegiance." Do you have a Christian rock story to tell? Leave us a message at (629) 777-6336.If Rock That Doesn't Roll is important to you, support us on Patreon. https://www.patreon.com/rtdr (join via the website, not the iOS app)Or make a one-time donation: https://coff.ee/rtdrIf you can't afford a donation, please tell five friends about the show.You can connect with us on Instagram or by emailing RTDRpod@gmail.comSign up for our Substack to keep up with show developments.Buy RTDR merch here.