Podcasts about drums

Is Steely Dan's Gaucho more perfect than Aja? Maybe even ... too perfect? Two years in the studio. The greatest session musicians alive asked to play take after take after take until it was exactly right. And sometimes that STILL wasn't enough for Donald Fagen and Walter Becker.On today's episode of You'll Hear It, jazz pianists Peter Martin and Adam Maness are breaking down the 1980 album track by track: the jazz harmony hiding inside those smooth grooves, the abstract poetry of the lyrics, and the insane stories behind how this thing got made. Including the $150,000 drum machine invented specifically for this record, the interview quote that cost them a third of a song, and the drum track that took 85 takes and 35 tape edits to piece together.And after all that, we didn't get another Steely Dan record for 20 years.Was it worth it?Read about the simple mistake that would haunt Steely Dan for 44 years in this week's edition of the You'll Read It newsletter: https://youllhearit.com/newsletterWatch our FULL breakdown of Steely Dan's Aja: https://youtu.be/G10mYohR6T400:00 - Steely Dan's Gaucho: A Monument to Perfect01:15 - "Babylon Sisters"11:00 - What Makes Steely Dan Genius13:35 - The Precision of Purdie's Drums on Babylon Sisters16:10 - Abstract Lyrics19:35 - "Hey Nineteen"22:25 - Pristine Rhodes25:25 - Isolated Vocal Stems on "Hey Nineteen"33:00 - "Glamour Profession"38:55 - The Mingus Influence40:10 - "Gaucho"43:20 - The Keith Jarrett Lawsuit48:50 - Gaucho Chorus Deep Dive54:10 - "Time Out Of Mind"57:50 - Monument to Perfectionism (Lead Boots)1:01:35 - Perfectionism and Jazz1:05:05 - Is Gaucho More Perfect Than Aja?1:06:25 - "My Rival"1:10:40 - Bowie / Steely Dan Side-By-Side1:14:00 - Too Fussy?1:19:05 - Open Studio Plays "Glamour Profession"

Jazzdrum‑Playlist (Volgorde: van vroeg → modern) 1. Gene Krupa – “Sing, Sing, Sing” (Benny Goodman, 1937) De oerdonder van de swingdrums—Krupa maakt de toms en jungle‑feel wereldberoemd. 2. Baby Dodds – “Spooky Drums” (1946) Een solo-opname die laat horen hoe vroeg-jazzdrummers kleur, ritme en improvisatie benaderden. 3. Max Roach – “Cherokee” (met Charlie Parker, 1945) Razendsnelle bebop en totaal vernieuwend ride‑cymbalspel. 4. Art Blakey – “Moanin'” (1958) Blakey's “press roll thunder” en soulvolle drive: hét hard‑bop geluid. 5. Philly Joe Jones – “Two Bass Hit” (Miles Davis, 1958) Super strakke rudiments, dynamische fills, en meesterlijke controle. 6. Elvin Jones – “A Love Supreme: Pt II – Resolution” (John Coltrane, 1965) Golvende, spirituele storm aan polyritmiek. Volgens kenners één van de meest invloedrijke drumopnames ooit. 7. Tony Williams – “Seven Steps to Heaven” (Miles Davis, 1963) Williams was 17 (!) en revolutionair in drive, vrijheid en cymbal‑articulatie. 8. Roy Haynes – “Snap Crackle” (1962) Zijn bijna elektronische “snap & crackle” stijl komt hier volledig tot recht. 9. Billy Cobham – “Stratus” (1973) Kracht, snelheid, precisie: Cobham zet een nieuwe standaard voor fusiondrums. 10. Steve Gadd – Intro van 50 Ways To Leave Your Lover 11. Steve Gadd – “Foam Home” (Steve Gadd Band – 70-Strong, 2015) Legendarische precisie, frasevorming en groove—drummer's favorite. 12. Peter Weissink – Up Jumped Spring (Keys and Beats – 2024) Als toetje: de ‘huisdrummer’ en organisator van de Tor-JazzJamsessions: Peter Weissink en zijn muzikale companen John Hondorp en Sebatian Altekamp op hammond en piano. Drums en slagwerk vormen de ritmische motor van jazz. Van de vroege “trap sets” in New Orleans tot de complexe metriek van het modern jazz‑drummen: elke periode bracht nieuwe technieken, geluiden en muzikale rollen. 1. Vroege jazz & New Orleans (1900–1920) De moderne drumkit ontstond in New Orleans toen slagwerkers verschillende percussie-instrumenten combineerden tot één set (o.a. bass drum, snare en bekkens). Kenmerken Tweeledige rol: ritme én kleur Veel marching band‑invloeden Gebruik van vroege “rudiments” en eenvoudige ritmiek Belangrijke drummers Baby Dodds — pionier van het improvisatorische drumwerk Zutty Singleton — populair door zijn werk met Louis Armstrong 2. Swing Era & Big Bands (1930–1940) Met de opkomst van bigbands werd de drummer een tijd-keeper die de dansbare “swing feel” moest dragen. Kenmerken Focus op steady hi-hat en basdrum Grote orkesten → meer kracht en consistentie nodig Drumsoli worden een showelement Belangrijke drummers Gene Krupa — maakte de tom-toms beroemd, enorme showman Chick Webb — krachtig, invloedrijk swingdrummer Jo Jones — verplaatste de “time” van basdrum naar ride-bekken, een mijlpaal 3. Bebop (jaren 40) Bebop zette de drummer in een interactieve, minder voorspelbare rol. De muziek werd sneller, complexer en meer op improvisatie gericht. Kenmerken Ride-cymbal wordt het hoofdritme-instrument “Dropping bombs”: accenten op de basdrum Veel vrijheid en communicatie met solisten Belangrijke drummers Kenny Clarke — grondlegger van moderne bebop-drums Max Roach — melodisch drummen, polyritmiek Art Blakey — dynamisch en krachtig, bekend van Jazz Messengers 4. Hard Bop & Soul Jazz (jaren 50–60) De groove werd zwaarder en aardser, beïnvloed door gospel en blues. Kenmerken Sterkere backbeat Meer emotionele spanning Interactie met blazers en piano Belangrijke drummers Art Blakey (opnieuw) — echte hard bop‑architect Philly Joe Jones — strak, fel, met prachtige rudimental frases Elvin Jones — revolutionaire, golvende “drum‑storm” rond Coltrane 5. Modal Jazz en Post-Bop (jaren 60) De ritmische vrijheid neemt toe; drummers bewegen zich losser rond de beat. Kenmerken Minder voorspelbare patronen Veel gebruik van textuur en ruimte Accent verschuift van swing naar flow en kleur Belangrijke drummers Tony Williams — enorm vernieuwend op jonge leeftijd, bij Miles Davis Jack DeJohnette — lyrisch, open, breed geluid Roy Haynes — “snap, crackle”, lichte en springerige stijl 6. Jazz Fusion (jaren 70) Elektrische instrumenten en rockinvloeden brengen nieuwe energie. Kenmerken Krachtiger spel, rock‑dynamiek Complexe maatsoorten Gebruik van elektronische drums en percussie Belangrijke drummers Billy Cobham — stormachtig, technisch extreem sterk Lenny White — pionier bij Return to Forever Harvey Mason — funk‑jazz, strakke groove 7. Contemporary Jazz (jaren 80–heden) Hedendaagse drummers mengen jazz met wereldmuziek, hip-hop, elektronica, en nog veel meer. Kenmerken Hybride setups en elektronica Complexe metriek (bijv. 7/8, 11/8) Mix van jazz, pop, funk, hip-hop en indie-invloeden Belangrijke drummers Brian Blade — muzikaal, gevoelig, dynamisch Jeff “Tain” Watts — krachtige post-bop energie Mark Guiliana — pionier van elektrojazz en “future groove” Terri Lyne Carrington — veelzijdig, grensverleggend

Send a text--- Portuguese DJ & Producer SYLVA DRUMS host this amazing Afro Tech House show.Every month the show will deliver Rhythmic melodic beats that will get you dancing.Powered by the Club Sabroso Radio NetworkFollow IG/FB: @CLUBSABROSORADIO24/7 Live Stream at: WWW.CLUBSABROSORADIO.COM

Eveen the Eviscerator is skilled, discreet, professional, and here for your most pressing needs in the ancient city of Tal Abisi. Her guild is strong, her blades are sharp, and her rules are simple. Those sworn to the Matron of Assassins—resurrected from death and wiped of their memories—have only three unbreakable vows.First, the contract must be just. Second, even the most powerful assassin may only kill the contracted. The third and the simplest: once you accept a job, you must carry it out. And if you stray? There's hell to pay--literally. When the Festival of the Clockwork King turns the city upside down, Eveen's newest mission brings her face-to-face with a past she isn't supposed to remember and a vow she can't forget.In this reading, we meet the undead assassin Eveen as she readies to set out on a job. Gliding high above Tal Abisi from rooftop to rooftop, she surveys the night Festival of the Clockwork King--where careful readers will catch glimpses of a mashup of New Orleans Mardi Gras, Carriacou Shakespeare Mas, Trinidad Canboulay, allusions to Lord Blakie's "Steelband Clash"--and more. Phenderson Djéli Clark is the award-winning and Hugo, Nebula, World Fantasy, and Sturgeon nominated author of the Abeni's Song series and A Master of Djinn, and the novellas The Dead Cat Tail Assassins, Ring Shout, The Black God's Drums, and The Haunting of Tram Car 015. His short stories have appeared in venues such as Tor.com and anthologies including, Hidden Youth and Black Boy Joy.

In which FiG let's us know his thoughts on this one from juuuust before Jerry's coma    One Feel Like A Stranger ; Friend Of The Devil ; Mama Tried ; Big River ; Loser ; Cassidy ; West L.A. Fadeaway ; Let It Grow Two Bertha ; Man Smart (Woman Smarter) ; Ship Of Fools ; Smokestack Lightnin' ; He's Gone ; Drums ; Space ; I Need A Miracle ; Stella Blue ; Good Lovin' Encore The Mighty Quinn (Quinn The Eskimo) 

In 2016, Les Claypool had some time away from Primus and invited Sean Lennon to Rancho Relaxo; Sean had guested on some Primus encores during their 2015 summer tour and jammed backstage with Les, where a connection was born. They fished, drank pinot, discussed nuggets from newspapers and periodicals, in the process birthing The Claypool Lennon Delirium. We get into the details of how these two got together and give an album overview of Monolith of Phobos, a proggy/psychedelic album name if there ever was one. Get involvedInstagramFacebookEmailBurn your money 

Performance and Works used with permission from the artist and venue. Mixing jazz, blues and funk with a healthy dose of the Hammond B3, the Pittsburgh based Norside produces a sound best described as Rust Belt Funk. Whether they're playing alongside contemporaries such as The New Mastersounds and Bar Kays, or pushing boundaries with the Steeltown Horns, Norside embodies the commitment to giving the Hammond B3 room to breathe and pushing musical boundaries. For this performance, they're joined by pre-eminent Northeast Ohio trumpeter Tommy Lehman. By this point in the program, Tommy needs no introduction but he travels extensively both as a member of Alla Boara and The Admirables and as the leader of multiple groups under his own name. Featuring Tommy Lehman on Trumpet, Skip Sanders on the Hammond B3, Steve Ippolito on Drums and Glenn Strother on Guitar, and from a March 13th, 2025 performance, it's Norside featuring Tommy Lehman…Live at the Bop Stop.

All four of the rhythm section instruments (Piano, Guitar, Bass and Drums) get covered in a very thorough way during this converation with Anthony Susi.Anthony is a proficient rhythm section player, veteran band director, adjudicator and composer - and brings his expertise to the show to help you improve your rhythm section!Support the Show HereTo gain access to all show notes and audio files please Subscribe to the podcast and consider supporting the show on Patreon - using the button at the top of thegrowingbanddirector.comOur mission is to share practical  advice and explore topics that will help every band director, no matter your experience level, as well as music education students who are working to join us in the coming years.Connect with us with comments or ideasFollow the show:Podcast website : Thegrowingbanddirector.comOn Youtube The Growing Band Director Facebook-The Growing Band Director Podcast GroupInstagram @thegrowingbanddirectorTik Tok @thegrowingbanddirectorIf you like what you hear please:Leave a Five Star Review and Share us with another band director!

Mit Ausgabe 06/26 der Club Business Radio Show liefert Maik Pahlsmeyer ein grooviges Tech-House-Set, das ganz klar auf Flow, Rhythmus und Tanzfläche ausgelegt ist. Weniger Druck, mehr Groove – aber mit konstantem Drive. Der Fokus dieser Session liegt auf rollenden Basslines, knackigen Drums und einer organischen Entwicklung, die das Set über die gesamte Stunde lebendig hält. Ein Sound, der gleichermaßen für Club, Warm-up oder späte Abendstunden funktioniert. Im Mix zu hören sind unter anderem Tracks von Victor Alvarez, LouLou Players, Seph Martin, M.O.G. und weiteren Artists aus dem internationalen Tech-House-Umfeld. Die Sendung wurde am Freitag ab 21 Uhr auf Radio Bielefeld und Radio Gütersloh ausgestrahlt und ist jetzt auf SoundCloud zum Nachhören verfügbar.

+++music only+++music only+++music only+++ Mit Ausgabe 06/26 der Club Business Radio Show liefert Maik Pahlsmeyer ein grooviges Tech-House-Set, das ganz klar auf Flow, Rhythmus und Tanzfläche ausgelegt ist. Weniger Druck, mehr Groove – aber mit konstantem Drive. Der Fokus dieser Session liegt auf rollenden Basslines, knackigen Drums und einer organischen Entwicklung, die das Set über die gesamte Stunde lebendig hält. Ein Sound, der gleichermaßen für Club, Warm-up oder späte Abendstunden funktioniert. Im Mix zu hören sind unter anderem Tracks von Victor Alvarez, LouLou Players, Seph Martin, M.O.G. und weiteren Artists aus dem internationalen Tech-House-Umfeld. Die Sendung wurde am Freitag ab 21 Uhr auf Radio Bielefeld und Radio Gütersloh ausgestrahlt und ist jetzt auf SoundCloud zum Nachhören verfügbar.

In this episode, I sit down with drummer Kim Trammell for an honest, wide-ranging conversation about groove, identity, longevity, and finding your way back to joy in music. Kim is an intensely musical player whose feel, touch, and sound are unmistakable, and this conversation traces her path from early classical training to decades of professional drumming in Memphis and beyond. We talk about how her background in piano and orchestral percussion shaped her approach to the drum set, why timpani was such a formative instrument for her, and how classical technique translated naturally into tone, touch, and control on the kit.Kim shares her early musical story, starting with Suzuki piano at a young age, followed by rudimental snare drum training and a strong classical percussion education at the University of Memphis. She explains how she never took formal drum set lessons, instead transferring everything she learned in orchestral percussion into real-world playing situations. We talk about the importance of sound production, the influence of Fred Hinger's timpani approach, and why understanding how to pull sound from an instrument matters more than simply hitting it.A significant chapter of the conversation centers on Kim's years playing professionally in Memphis, including formative experiences on Beale Street and a pivotal five-year house gig at a casino in Tunica, Mississippi. Kim describes playing eight hours a day across constantly changing genres, learning how to truly listen, and developing pocket by following seasoned musicians who demanded restraint, patience, and deep time feel. She reflects on how those experiences reshaped her sense of groove, taught her how to place notes behind the beat, and forever changed how she hears music.We also dive into Kim's decision to step away from full-time performing and pursue a second career as a massage therapist. She speaks candidly about burnout, the physical toll of decades of drumming, and the emotional cost of turning music into a constant source of income. Kim explains how studying body mechanics and healing work transformed her relationship to her own body and helped her rediscover music as a source of joy rather than obligation. We talk about posture, self-care, and why musicians so often neglect their bodies until something breaks.The conversation turns deeply personal as Kim and I discuss sobriety, presence, and self-forgiveness. Kim shares her long journey of choosing sobriety, recognizing unhealthy patterns, and reclaiming clarity, health, and emotional honesty. We talk about how the music industry can normalize destructive habits, why change is frightening but necessary, and how being fully present is one of the greatest gifts musicians can give themselves and others.We also explore Kim's perspective on social media, identity, and self-worth. She reflects on joining Instagram later in life, why she shares music without chasing validation, and the dangers of tying personal value to views, likes, and algorithms. Kim speaks powerfully about separating self-worth from musical ability, encouraging younger musicians to protect their mental health and remember that music is something they do, not who they are.We close by talking about groove, pocket, bass, and drum relationships, favorite drummers, Memphis's rich musical legacy, and the importance of honoring the song above all else. This is a thoughtful, vulnerable, and profoundly human conversation about music, healing, and staying connected to what matters most.Thank you for listening. If you have questions, feedback, or ideas for the show, please email me at brad@thebandwichtapes.com.The theme song, "Playcation", was written by Mark Mundy.

Dingen ein eigenes Leben zu geben – das ist Rogiers Ding. Pommes hat mich vor ein paar Wochen angeschrieben und gefragt, ob ich Rogier De Nijs kennen würde. Nein, sagte ich. Den müsste ich mir ansehen, das sei der Hammer. Und wenn Pommes das sagt, tue ich das natürlich auch. Im ersten Moment war ich etwas irritiert: Kunstinstallationen aus Plastikmüll? Was hat das mit Drums zu tun? Aber ein weiterer Blick enthüllte, dass das Ganze von Rogier kommt – selbst studierter Drummer, Komponist und vor allem: Künstler. Und der Plastikmüll ist für ihn nur das Vehikel, mit dem er seine Ideen zum Leben erweckt. Das Interview brachte noch viel mehr zutage: Nicht nur, dass eine echte Lebenskrise dazu führte, darüber nachzudenken, was er selbst machen will, und dass die erschütternden Bilder von toten Vögeln mit Bäuchen voller Plastik ihn zur Beschäftigung mit Plastikmüll brachten. Vielmehr geht es ihm mittlerweile darum, Dinge, die als Wegwerfprodukt gedacht sind, mit Leben zu füllen und sie zum Star seiner Shows zu machen. Es ist einfach nur spannend, Rogier in seinem gebrochenen Deutsch zuzuhören und sich selbst Gedanken darüber zu machen, wie man vielleicht selbst etwas in den Mittelpunkt rücken kann, das zumindest für einen selbst Bedeutung hat. Klingt alles etwas verkopft. Dann hört euch nicht nur den Podcast an, sondern auch die CDs von Rogier, denn die grooven einfach nur wie Tier. Patreon ist endlich online: https://patreon.com/TrommelTalk_EinfachSchlagzeug?utm_medium=unknown&utm_source=join_link&utm_campaign=creatorshare_creator&utm_content=copyLink Also hoffe ich zumindest. Ihr findet die Seite bei Patreon unter „Trommel Talk – Einfach Schlagzeug“: https://www.patreon.com/posts/hallo-zum-talk-148862844?utm_medium=clipboard_copy&utm_source=copyLink&utm_campaign=postshare_creator&utm_content=join_link Rogier findet ihr bei Instagram hier:https://www.instagram.com/rogierdenijs/ Und im Internet hier: https://www.rogierdenijs.com/nl/ Ich freue mich tierisch, wenn du auf der Seite von Einfach Schlagzeug mal vorbeischaust: https://einfachschlagzeug.de/ Kapitelmarker 00:09 - Start 01:48 - Mal anders anfangen 21:02 - Schnellfragerunde 23:58 - Am Anfang war die Bass Drum 28:05 - Von der Magensäure Band zum Konservatorium 36:06 - Freiheit zur Kunst

We would LOVE to hear what you think. Please drop a line.In this episode host duo Infinite and Brick sit down with musician Michael Koehl Jr., better known as the Blackbelt Drummer. A Marine Corps veteran, skilled drum instructor, and jujitsu instructor, Michael brings a rich tapestry of discipline, artistry, and resilience to the kit. As a husband and father, his perspective on music, life, and legacy adds a deeply human heartbeat to the conversation.What to expect:An inside look at Michael's journey from the Marines to the drumkit, and the discipline that ties both worlds togetherA masterclass in rhythm, groove, and technique from a seasoned drummer and instructorStories from the road, the studio, and the dojo that reveal how martial arts and music shape performance and presenceCandid discussions about balance—family, vocation, and pursuing passion at the highest levelDynamic conversation that blends artistry, leadership, and personal growthWhether you're a musician, a martial artist, a fitness enthusiast, or simply curious about how diverse life experiences fuse into creative momentum, this episode promises energy, insight, and a few provocative riffs from the Blackbelt Drummer himself.Guest: Michael Koehl Jr. (The Blackbelt Drummer)Hosts: Infinite and BrickFormat: Interview + live drill-down on craft, mindset, and mentorshipTune in for a powerful blend of music, discipline, and story—and leave inspired to swing harder in your own life.Support the show

All of their 6 year old friends waiting to play too!

Performance and Works used with permission from the artist and venue. Abstract Sounds are a 6-piece alternative jazz fusion band, centered around saxophonist Jevaughn Bogard dedicated to living at the intersection of jazz soul, bass and funk. Dancing shoes are required for this performance, which features Patrick Duke Graney on Percussion, Frank Alouishus on Keys and Trumpet, Ashton Thomas on Drums, Aaron Grayer on Bass, Robert Morrow on Keys and Jevaugh Bogard on sax, and from a March 21st, 2025 performance it's Abstract Sounds…Live at the Bop Stop.

EPISODIO 291.Temporada 7-21.EPISODIO PATROCINADO POR:CBM Clases de batería Madrid. https://clasesdebateriamadrid.com/ .Superdrummer Academy.www.simonefolcarelli.com .COMUNIDAD DEL CBM de Iñigo Iribarne:http://Clasesbateriaonline.com .EL MÉSTODO. ​​https://t.me/unmetodoalmes/ .MÚSICA RECOMENDADA por Simone.Violet Grohl: ​​https://open.spotify.com/intl-es/track/3yuaDt5vOxrQD06LrAQPj9?si=a12cb0744bbe4078 .HERRAMIENTA RECOMENDADA por Iñigo. ACE Studio, herramienta IA de sonido: https://acestudio.ai/es/ .TOP TRI.Simone:Gabriel Staznik: https://www.instagram.com/gabrielstaznik/ . Andy James:https://www.instagram.com/andyjamesdrums/ . Drums by David: https://www.instagram.com/drumsbydavid/.Iñigo:Przemek Smaczny: https://www.instagram.com/mr._tasty_drummer/ . Dennis Vanhöfen: https://www.instagram.com/kira.kyoto/ . John Camps: https://www.instagram.com/john_camps/ .Síguenos en: FB: https://www.facebook.com/Drumless-el-Podcast-101614758071997 .INSTAGRAM: https://www.instagram.com/drumlesspodcast/ .TELEGRAM: https://t.me/drumlesspodcast .ABEL:https://www.instagram.com/kustomdk/ .SIMONE:https://www.simonefolcarelli.com .http://clasesdebateriaonline.com .IÑIGO:http://inigoiribarne.com .https://Clasesdebateriamadrid.com .https://www.twitch.tv/inigobatera .https://www.ellibrodelascorcheas.com  .http://Clasesbateriaonline.com  .http://insidethegrooveof.com/ .BUY US A COFFEEPaypal: https://www.paypal.me/inigoiribarne .Bizum: 606424669 . 

Daxx Nielsen joins The Jim on Base Show for a fun, wide-ranging conversation about carving out his own lane as the drummer for Cheap Trick while also building a respected career as a sought-after studio & touring musician.We talk about growing up around rock legends, working with artists like Eddie Vedder and Brandi Carlile, and the realities of being labeled “nepotism” — and how Daxx has earned his reputation behind the kit on his own terms!Subscribe & stay connected: 

This week on the Roach Koach Podcast we take a listen to one of the “Bands to Watch 2004”, and dive into the sophomore album by Earshot, appropriately titled Two. Topics this episode include:-A singer who plays guitar??-Drums by Chas Stumbo-Humble brag concerts-“Nu-metal oak”-Incredibly depressing lyrics-The top song on your Zune-The Winter Soldier-And Canon Talk, where Lorin and Matt decide if Earshot deserve a place in the Nu-Metal Canon. Take a listen!The Crack, the Butt Rock Bracket is here on the Roach Koach Patreon! Subscribe today! Rate, review, and follow Roach Koach on Apple Podcasts and Spotify! We'd appreciate it! Questions about the show? Have album recommendations? Just want to say hi? We'd love to hear from you! Contact the show @RoachKoach on Twitter, Roach Koach on Facebook , Roach Koach on Instagram, or send an email to RoachKoachPodcast at Gmail. Follow the show on Youtube and TikTok! Find every episode of Roach Koach and order your Roach Koach T-shirt at Roach Koach dot com.

Send me a text and please visit www.livefrommydrumroom.com Celebrating the 50th Anniversary of the Rolling Stones "Black And Blue," released in April 1976. In this episode, I do a deep dive into this often overlooked, but without a doubt, classic Rolling Stones record, including an analysis of Charlie's playing, his gear (drums and cymbals) and more! So come along for the ride and please subscribe! Live From My Drum Room T-shirts and Hoodies are now available! 100% of the proceeds go toward my PAS scholarship. Visit https://livefrommydrumroom.com for details! Live From My Drum Room With John DeChristopher! is a series of conversations with legendary drummers and Music Industry icons, hosted by drummer and music industry veteran, John DeChristopher, drawing from his five decades in the Music Industry. Created in 2020, and ranked BEST Drum Podcast, "Live From My Drum Room With John DeChristopher!" gives the audience an insider's view that only John can offer. And no drummers are harmed on any shows! Please subscribe! https://livefrommydrumroom.comwww.youtube.com/c/JohnDeChristopherLiveFromMyDrumRoom

In this episode, I sit down with drummer David Northrup for a deep and wide-ranging conversation about groove, longevity, and serving the song. David has built an incredible career by doing precisely that, whether he's playing traditional country, blues, soul, or roots-based music. We start by talking about his current work with Joe Nichols, why it's such a musical and personal fit, and what it means to work for an artist who values authenticity, consistency, and real country music. David shares stories from the road and explains why being a good human is just as important as being a great drummer.We spend time digging into David's early musical influences growing up in central New York, where constant exposure to Motown, singer-songwriter records, pop radio, and classic albums shaped his musical instincts. David talks about learning by listening, studying album credits, and developing a deep appreciation for feel and style long before social media or online tutorials existed. He reflects on how that environment taught him to truly listen, absorb, and respect the music rather than chase trends.David walks through his path to becoming a professional drummer, from starting in school band programs to a pivotal moment when he saw Chuck Mangione perform while in college. That experience helped him realize music was the path he needed to take seriously. We talk about the importance of mentors, including teachers who challenged him when he wasn't ready and supported him when he was, and how discipline, fundamentals, and humility played a massive role in his development.We dive deep into David's years in Nashville, including his first five years building connections, studio work, and eventually landing his long-running gig with Travis Tritt. David explains how Nashville truly is a five-year town, why patience matters, and how preparation and professionalism keep you working once you get the call. We also talk about his deep admiration for drummers like Carlos Vega, Jeff Porcaro, Steve Jordan, Russ Kunkel, and others, and why groove, taste, and feel will always matter more than flash.A significant highlight of the conversation is David's time touring with Boz Scaggs. He shares what it was like to step into such an iconic musical legacy, learn to play with conviction at very low volumes, and work alongside world-class musicians night after night. We talk about why playing the room matters, how restraint can be more complicated than power, and why those lessons apply to every drummer at every level.We also spend time talking about David's solo record Shapes, including how it came together over many years, the musicians involved, and why recording live, organic performances was central to the album's sound. David explains his philosophy of making music that's groove-focused, accessible, and enjoyable for listeners beyond just musicians. We close by discussing teaching, clinics, the importance of shuffle feel, regional time concepts, and the soft skills that help musicians not just get gigs but keep them. It's an honest, thoughtful conversation packed with wisdom for musicians and music lovers alike.To learn more about David, visit his website. Music from the Episode:All Blues (David Northrup)Smooth (David Northrup)Bayou Chicken (David Northrup)Salty Crackers (David Northrup)Thank you for listening. If you have questions, feedback, or ideas for the show, please email me at brad@thebandwichtapes.com.

Performance and Works used with permission from the artist and venue. Pianist, guitarist and educator Ariel Kasler is a driving force behind the resurgence of jazz and classical music in Northwest Ohio in both his position as the pianist for the Toledo Jazz Orchestra and as the Artistic Director of the Orchard Guitar Festival. As the leader of his own quartet, he performs original jazz compositions and arrangements influenced by Middle Eastern, Jewish, and Israeli music as evidenced on 2015's Above the Sound, the 2022 release Make it Bloom and on this March 23rd, 2025 performance. Featuring Andrew Bishop on Saxophones, Jeff Halsey on Bass, Olman Piedra on Drums and Ariel Kasler on Guitar and Piano, it's the Ariel Kasler Quartet…Live at the Bop Stop.

An archived interview of Rob Hirst with Bern Young, talking about his love of drumming, his influences and thoughts on drum solos.

Drummer Michael Shrieve's story reads like a rock-and-roll fairy tale — the kind of musical journey that blends youthful serendipity with restless creativity, and a lifelong appetite for pushing boundaries. Before he was a name on Santana's classic albums or a Rock & Roll Hall of Famer, he was a kid with sticks and big dreams.Born in California, Shrieve grew up deeply drawn to music. As a teenager he played in his first serious band and gigged around backing rhythm and blues acts — even sitting in with seasoned performers like B.B. King and Etta James.At just 16, a pivotal moment came when he sat in during a jam at San Francisco's famed Fillmore Auditorium. His playing caught someone's ear — Santana's manager Stan Marcum — setting the stage for his astonishing ascent.At 19, Shrieve met Carlos Santana in a studio and was invited to join the band on the spot. It was a leap that would change his life. Almost immediately after joining, Shrieve found himself at the center of one of rock's defining moments: Santana's performance at Woodstock in August 1969. Barely 20 years old, his explosive drum solo on “Soul Sacrifice” became one of the enduring visual and sonic highlights of the event's documentary.Between '69 and '74, Shrieve played on Santana's first seven albums: Santana (1969), Abraxas (1970), Santana III (1971), Caravanserai (1972), Welcome (1973) and Borboletta (1974), plus the live album Lotus (1974).He wasn't just a timekeeper. On Caravanserai he co-produced and co-wrote four tracks, helping guide the band into more experimental, jazz-infused territory. His work helped broaden the possibilities of rock percussion, drawing on influences from jazz greats and Latin rhythms alike.By the mid-'70s, Shrieve was ready to expand his musical palette beyond Santana. He left the band to pursue solo projects and relocated to London. One of his first ventures was Automatic Man , a group that blended rock with progressive and funk elements. He then joined the avant-garde fusion supergroup Go, alongside formidable musicians like Steve Winwood, Stomu Yamashta, Klaus Schulze and Al Di Meola. The band released multiple albums and toured, diving deep into jazz, electronic and world music textures.Throughout the late '70s and '80s Shrieve stayed busy, playing with Hagar Schon Aaronson Shrieve (with Neal Schon and Sammy Hagar) and contributing to albums by artists as diverse as The Rolling Stones (Emotional Rescue, 1980) and Roger Hodgson of Supertramp. He also collaborated on Richard Wahnfried projects with electronic composer Klaus Schulze and recorded his own electronic music.After leaving Santana, Shrieve didn't slow down — he reinvented himself again and again. Beyond rock and fusion bands, he became a composer and session player whose credits include work with Mick Jagger, George Harrison, Pete Townshend, Andy Summers, Jaco Pastorius and many others.He also ventured into film music, composing scores for movies including Tempest and Apollo 13, and continued collaborations with musicians across genres.In 1997 he reunited with former Santana members — Neal Schon, Gregg Rolie, José Areas and Michael Carabello — in Abraxas Pool, a project that revisited and re-imagined elements of the classic Santana sound.Shrieve's contributions were formally recognized when he was inducted into the Rock & Roll Hall of Fame in 1998 for his work with Santana, and later honored with Guitar Center's Lifetime Achievement Award in 2005. He's also been cited by Rolling Stone as one of rock's greatest drummers.In 2016, he briefly reunited with the original Santana lineup for the album Santana IV, again marking his deep connection to the music that made his name.Today, Michael Shrieve remains a vibrant artist. His band Spellbinder, blends jazz and improvisatory rock; he works on ambitious solo projects like Drums of Compassion; and continues to collaborate with forward-thinking musicians across genres.Michael joins us today to share his story.

We might be a little late on this one, but thanks to a massive assist from our buddy Cam over at Drums & Drams, we have a complete review of the 2025 Buffalo Trace Antique collection plus some extras. Join us for this short as we taste and review some of the most sought after whiskeys of 2025: George T. Stagg, William Larue Weller, Thomas Handy Sazerac, Eagle Rare 17, and the brand new Colonel E.H. Taylor Bottled-In-Bond. This was a fun one to record and we hope you enjoy! --------------------------SocialsIG: https://www.instagram.com/themashupkyFB: https://www.facebook.com/themashupkyYouTube: https://www.youtube.com/@themashupkyJoin our community on Patreon: https://www.patreon.com/TheMashUpBourbonPodcastPartnership(s)Visit Bourbonoutfitter.com and enter code THEMASHUP for a special discount or visit bourbonoutfitter.com/THEMASHUPMusic: All the Fixings by Zachariah HickmanThank you so much for listening!

we got kids who don't want to go to school and the people voted in a scandalous woman. Excellent. All your news from Japan. Send us a voice message https://www.speakpipe.com/ChunkMcBeefChest Linktree https://linktr.ee/chunkmcbeefchest

BANGING JOE'S DRUMS by 101.9POR

Episode 100 of The Bandwich Tapes marks a meaningful milestone, not just in numbers, but in intention.What began as a simple idea, having thoughtful conversations with musicians I admire, has grown into a space for deep listening, reflection, and curiosity. Reaching one hundred episodes felt like a moment to pause, look back, and express gratitude to everyone who has chosen to spend time with this show.For this milestone episode, I'm honored to share a conversation with Dame Evelyn Glennie.Dame Evelyn Glennie is one of the most influential and inspiring musicians of our time. A world-renowned percussionist, composer, and advocate for listening, her work has reshaped how many of us understand sound, awareness, and musical perception. Her artistry extends far beyond performance; it invites us to reconsider what it truly means to listen.In this conversation, we explore Evelyn's approach to listening as a full-body experience, the philosophy that guides her musical life, and the curiosity that continues to drive her work. It's a discussion about sound, silence, intention, and the responsibility that comes with being deeply attentive to music, to others, and to the world around us.Sharing this interview as episode one hundred is a privilege, and one I'll carry with me for a long time.Thank you for listening, for supporting the show, and for being part of this journey.Episode 100 drops January 19, 2026.

Happy Monday, EVERYONE! This week, Eddy and I are geeking out on one of our favorite topics: drum fills. But we aren't just talking about the fastest or choppiest fills; we're talking about the ones that involve PRO-level choices. We break down some absolute genius moments from Aaron Sterling, The RH Factor, Paramore, and Mark Guiliana to figure out exactly why those specific choices elevated the music so perfectly.We also decided to put ourselves in the hot seat. We each brought in a track from our own discographies. Eddy with a Busted track and me with a vintage Simon Says track, to analyze our own decision-making processes in the studio. We realized that whether it's a simple snare hit or a complex linear chop, the best drum fills are rarely about the drumming; they're about the choices. Hope you guys enjoy this deep dive!Enjoy - Mike JSupport the show

In this episode, I sit down with drummer, educator, speaker, and author Rich Redmond, and this conversation goes far beyond the drum set. From the moment we start talking, it's clear that Rich approaches music and life with an uncommon level of purpose, energy, and presence. We talk about why he plays every song like it might be the last one he ever gets to play, how longevity changes your perspective on time, and why being fully present matters just as much offstage as it does behind the kit. Rich reflects on nearly five decades of holding the sticks, what it means to love the work truly, and why every gig still feels like the best day of his life.We dig into Rich's background growing up in Connecticut and Texas, how Texas marching band culture shaped his musical foundation, and why music education in that state continues to produce world-class players. He shares stories from his early training, the classic method books that shaped his hands and mind, and how transcription became a survival skill when he moved to Nashville. Rich breaks down how charting, reading, and preparation quickly opened doors, why the Nashville number system is such a powerful tool, and how learning to create efficient charts can save gigs and careers.A significant focus of the conversation is Rich's belief in using all of your gifts. We talk about his work as an educator, public speaker, author, and podcast host, and how teaching reinforces your own understanding of music, communication, and purpose. Rich explains his CRASH philosophy, commitment, relationships, attitude, skill, and hunger, and how that framework shaped his life, his speaking career, and his approach to helping others succeed, whether they are musicians, students, or corporate audiences. He shares how blending drumming with storytelling keeps audiences engaged, why attention spans are shorter than ever, and how performance can make ideas stick in ways slides never will.We spend time unpacking his long-running work with Jason Aldean, including how studio and live drumming require different mindsets, how records are made efficiently at a high level, and why consistency, trust, and preparation matter more than flash. Rich explains how live drumming is about execution, confidence, and making everyone onstage feel safe, while still delivering energy to the back row. We talk about signature fills, macro rhythms, playing in food groups, and why honoring the record while amplifying the live experience is part of the job.Rich also walks through his teaching philosophy, from Drumtensives and masterclasses to clinics and one-on-one coaching. He explains why reading, time, left-foot independence, stylistic awareness, and charting are non-negotiables, and how meeting students where they are can unlock confidence and growth. We also dive into the soft skills of being a working musician, why being prepared, likable, and open to direction often matters more than chops, and how trust keeps you working long term.We close by talking about health, longevity, curiosity, and why Rich continues to challenge himself creatively through writing, speaking, podcasting, and new musical ideas. It's an inspiring, practical, and honest conversation about building a meaningful career, staying hungry, and using music as a vehicle to lift others along the way.Music from the Episode:Amarillo Sky (Jason Aldean)My Kinda Party (Jason Aldean)The Truth (Jason Aldean)Thank you for listening. If you have questions, feedback, or ideas for the show, please email me at brad@thebandwichtapes.com.

Performance and Works used with permission from the artist and venue. internationally acclaimed drummer and percussionist Bill Ransom, Aretha Franklin, Marion Meadows, Cecil Bridgewater, Diane Reeves, Mary Wilson, and James Newton. This performance features selections from his album Generations, along with some jazz standards. From January 25th, 2025 and featuring Ken LeeGrand on Winds, Kip Reed on Bass, Bill Ransom on Drums and the final Bop Stop appearance from the late, great Phillip Jones II on Piano it's Bill Ransom – Generations Revisited…Live at the Bop Stop.

Derek Champagne interviews Mike Caprari. In addition to being the stars of a highly watched episode of MSNBC's popular tv show The Profit, Mike Caprari is a passionate musician and entrepreneur. Mike is the SVP of Marketing and Co Founder of SJC Custom Drums. His product is played and endorsed by some of the world's top musicians and bands.Mike talks with us about his journey of building his business, his experience on The Profit, learning from mistakes, developing authentic customer relationships, engaging with customers on social media, and building the right team. Learn more at www.sjcdrums.comBusiness Leadership Series Intro and Outro music provided by Just Off Turner: https://music.apple.com/za/album/the-long-walk-back/268386576

This week we're giving the full episode to everyone for free, and we're doing the same next week simply because we care. We're grateful for all our listeners. If you're feeling it, hit that like and share. And for full exclusive access to all our content and more, visit www.patreon.com/theafacts. Thanks for the love and support! ★ Support this podcast on Patreon ★

We continue our Doctor Who re-watch by discussing Series 3's final three episodes in our 17th Deja Brew podcast all whilst I attempt to make this description seem less tortured from the last one. Firstly, in “Utopia”, Captain Jack's return is overshadowed by the return of the Master. Think of the Master as the Tweety Bird to the Doctor's Puddy Tat. Or is that the other way around? Nextly, “The Sound of Drums” finds the newly regenerated Master elected as evil Prime Minister. Harriet Jones must be rolling in her grave. Wait? She's not dead... yet? Lastly “Last of the Time Lords” has Martha traveling the globe to save the Doctor's ass. She then f's off afterwards because she finally got sick of being the rebound companion. A sincere “Thank You” to an underappreciated companion from the Drunktor Whovians.

Send us a textBefore you rush into a new year, pause. There is another way to begin.As we step into a new calendar year, we continue to pull on the thread of Right Relationship because it still has so much to teach us. To help us cross this threshold with intention, curiosity, and care, the luminous Teagan West joins us in this week's episode of The UpLevel Podcast. Teagan is a ritualist, astrologer, mentor, artist, and ancestral healing practitioner living on Haudenosaunee Land, home of the Seneca Nation. Her work lives at the intersection of ancestral reconnection, cultural repair, astrological storytelling, and community ritual. She reminds us that our relationship with the Earth, the sky, our ancestors, and one another is not symbolic. It is alive.In this conversation, we explore how astrology can support us in becoming more right-sized within the greater ecosystem of life, especially as we enter a year marked by transition and possibility. May this conversation help you step into 2026 with clarity, courage, and care for all your relations.In this episode, we explore:What it means to step out of hyper-individualism and into reciprocal relationships with nature, community, ancestors, and unseen forcesInsights into the shift from Earth and Water elements toward Air and Fire, signaling movement, reimagining, and transformation.How to align personal and professional growth with natural rhythms instead of forcing progress according to cultural timelinesUsing astrology not as prediction, but as a tool for reflection, nervous system regulation, and asking better questions about how we live and leadFrom skepticism in New York's fashion world to a vocation rooted in ancestral healing and astrological wisdom, Teagan shares how listening deeply changed her pathAbout Teagan:Teagan West (she/they) is a Ritualist, Astrologer, Mentor, Artist & Ancestral Healing Practitioner from Haudenosaunee (HOH-den-uh-SHOW-nee) Land, home of the Seneca Nation. Her work exists at the intersection of Ancestral Reconnection, Cultural Repair, Astrological Storytelling, and Community Ritual. Teagan is passionate about recovering Animist ways of relating to Earth + Sky as a vital form of decolonial remembrance, reweaving our collective cosmologies through communal vision.Teagan devotes much of her personal time to teaching, lineage stewardship + animist ceremony in her community. She creates ritual tools such as Drums, Rattles, and Ceramic Altar Vessels as a form of embodied Ancestral remembrance. She offers Astrological Readings, Mentorship, and guides Ancestral Lineage Healing in both 1:1 and group spaces. Her Substack is home to weekly readings, teachings + storytelling!Website: thealtarhealing.comSubstack: Altar of Stars https://altarofstars.substack.com/

Episode 134 – The Metal Maniacs Podcast w/ Jay Ingersoll & Modd This week, we sit down with one of the most unique, prolific, and genuinely unstoppable forces in underground metal: Justin Lawnchair, the mastermind behind The Biscuit Merchant — Ann Arbor's proggy, death-tinged, genre-melting metal project. With 26 full albums (each 45–55 minutes) in the works, recorded entirely by Justin, and no generative AI used at any stage, this project is a testament to pure determination, creativity, and DIY musicianship.The Biscuit Merchant is all about “melting pot metal,” a blend of death metal, thrash, prog, folk, power metal, blues, groove, and whatever else Justin feels like throwing into the cauldron. Nothing is off the table. Nothing is predictable. And that's what makes it magic.We deep dive into the vision, the process, and the absolute madness of building a 26-album alphabetical saga known as Alpha — a project planned since 2009 and still evolving with every riff, rhythm, and solo.

For his second mix in this series, Jeff  recreates his winning set from the 2nd round of the Black Box Denver DNB battle.  "Leading up to this show someone had to drop off the lineup last minute, which gave each contestant 80 minutes. I was stoked to have double the length of the previous battle so I could go a bit deeper. This mix runs through all of the DNB and Jungle Flavors I love with plenty of twists and turns along the way. Much love out to The American Junglist for showcasing my 2025 battle mixes!"  Representing Denver Colorado, please welcome Borrowed Drums for part 2 of the Battle Within. Please enjoy❤️ Back next week -Thomas

In this episode, I sit down with drummer Paul Stewart for a conversation that starts with how music can connect people across oceans and turns into a deep dive on taste, touch, craft, and the long arc of a career. Paul and I talk about how I first discovered his band The Feeling years ago from a CD a friend handed me after a gig, and how that one listen turned into a long-term appreciation for the songs, the playing, and the production. Paul shares why so many musicians connected with that sound, and how their work pulled from both the 70s world of Supertramp, 10CC, Elton John, and Fleetwood Mac, and the deeper 60s roots that fed that era, like The Beatles, The Stones, The Kinks, and The Zombies. We get into drum sound, why that thuddy, dead 70s tone fits their music so well, and how those choices shaped the identity of the recordings.Paul walks me through his origin story, from being hooked on drum sound as a kid, to getting his first kit at 12, to saying yes to every playing opportunity he could find. He tells an incredible story about a middle school teacher who stayed late after school so Paul could get extra time in the drum room, and we zoom out on how mentors, parents, and supportive educators change the course of a life. From there, we talk about preparation, professionalism, and the responsibility you carry in an ensemble, including how the anxiety of being underprepared can be its own lesson in why doing the work matters. Paul also shares a regret he has about not keeping his reading chops sharper, and why playing along with records became his true north as a drummer.We dig into influences from both sides of Paul's musical world, from rock and early Chili Peppers and Rage Against the Machine, to the cassette tapes an uncle sent that opened the door to jazz, funk, fusion, and players like Vinnie Colaiuta, Dave Weckl, and the Tower of Power world. Paul explains how the UK acid jazz scene became a significant pull, and how an acid jazz band at music college eventually evolved into The Feeling. We also talk about what it's like working with major artists outside the band, including how touring logistics can lead to local musicians being hired, and how surreal it can be to play iconic songs with legendary voices while still remembering they're just musicians on stage doing the same job.A meaningful part of our conversation is about performance anxiety, stage fright, and the emotional extremes musicians ride before, during, and after gigs. We talk honestly about confidence, coping, and what it means to choose a healthier path, and we acknowledge that even global superstars can struggle with fear right before walking on stage. Paul and I also reflect on the approaching anniversary of The Feeling's first album, how those songs were originally recorded as a weekend friends project without any expectation of success, and how playing them now carries twenty years of growth, finesse, and perspective while still honoring the original parts that make the songs work. We close with what Paul has been up to recently, including work with Anastacia, Paul Young, The Voice UK, and the broader creative world around the band, and why music remains a powerful source of joy, balance, and hope for people everywhere.Music from the Episode:Never Be Lonely (The Feeling)Everyday and All of the Night (The Feeling)Sun Won't Shine (The Feeling)I Want You Now (The Feeling)Thank you for listening. If you have questions, feedback, or ideas for the show, please email me at brad@thebandwichtapes.com.

Jimmy D'Anda of Bulletboys joins Izzy & Dawson for the very first show of the year and Dawson's first show as official co-host talking about the reunion after the reunion and the measures they are taking to make it work, tells stories from growing up in LA and seeing the who's who of bands before they broke and even teases a story of getting in a fight with a late, great guitar god.....PATREON - https://www.patreron.com/realizzypres...WEBSITE - https://www.izzypresley.comDawson's Links@Dawsangeles - Twitter/Instagram/FacebookIzzy's linkshttps://www.lasvegasguitartradeshow.comhttps://www.sotastick.comhttps://vintageguitarsrus.comhttps://www.beeteramplification.comhttps://www.thesmokinkills.comhttps://www.7thavenuepizza.comhttps://www.lockecustomguitars.com https://valkenburgusa.com https://www.monstersofrockcruise.comMERCH https://official-izzy-presley-store.creator-spring.comhttps://www.teepublic.com/user/official-izzy-presleyCAMEOhttps://www.cameo.com/realizzypresley RAISE YOUR GLASSEShttps://www.amazon.com/RAISE-YOUR-GLA...

Every year, Eddy and I do a Christmas episode, but this one turned into something way bigger than we expected. We ended up going deep on what we're calling our grail gear. The sticks, cymbals, snares, and full drum kits that shaped us, inspired us, and flat-out made us fall in love with the drums in the first place. From Joey Jordison's blood-red sticks and Dave Weckl hero worship, to wild discontinued cymbals, one-of-a-kind snares, and the drum kits that literally made us want to play, this episode is pure nostalgia mixed with real perspective on how gear influences creativity.Along the way, we talk about why change feels uncomfortable (even when it's good), how our brains resist new ideas, and why, when it's healthy, obsession often pushes us to practice more, play more, and grow. This episode is for anyone who remembers staring at drum catalogs, trusting the drum shop guy, saving every dollar, and dreaming big. It's a Christmas special, a gear episode, and a reminder of why we started doing this in the first place. A Merry Happy Christmas to you all - Mike JSupport the show

Join Brandon on a journey into some of the worst environmental disasters, from Winona, Texas to the Valley of the Drums, to Point Ruston and then on to one of the worst industrial accidents in U.S. history, the Triangle Shirtwaist Fire.

Bill rambles about drums & donuts, 'Is This Thing On', and tablas. SimpliSafe: This month only, take 50% off any new system at http://www.SimpliSafe.com/BURR

Peter and Cecil close out the year with a classic That Don't Sound Right mailbag episode — and it goes exactly where you'd expect… and nowhere you'd predict. From debating whether a cocktail napkin featuring a nativity scene is usable,  to chasing a mysterious stainless-steel barrel down the highway (spoiler: it's a dryer drum), the hosts dive headfirst into listener-submitted stories, tips, photos, and theories. Listeners weigh in on everything from peanut-butter-and-pickle sandwiches and hypermiling tricks, to rock cairn trail etiquette, salt mines, AirTags on pets, Francine the Lowe's cat, and those household rules that are absolutely non-negotiable. It's a fast-moving, laugh-filled year-end wrap-up that celebrates the community around the show, reflects on the weirdest conversations of the season, and teases what's coming in Season Six. As always, listeners are invited to keep the conversation going and send in their own “that don't sound right” moments.   Connect with us:

The Top 25 songs of 2025 as reported by PANDA's (Professional Adult Nightclub DJ Association 25. "2AM" BigXthaPlug (Mark Roberts remix) 24. "Not Like Us" Kendrick Lamar 23. "Rather Lie" Playboi Carti & The Weeknd 22. "Sticky" Tyler the Creator ft. Gorilla, Sexyy Red, Lil Wayne (Mister Gray remix) 21. "The Largest" BigXthaPlug (Mark Roberts remix) 20. "There She Goes" Cyril, MOONLGHT, The La's 19. "Dance With Me" Ciara & Tyga 18. "Grove St Party" Proppa, Waka Flocka Flame 17. "+57" Karol G, Feid, DFZM, Ovy on the Drums, J Balvin, Maluma, Ryan Castro, Blessd 16. "Blue Strips" Jessie Murph (PT2) (ULTI-reMIX by DJ Volume) 15. "luther" Kendrick Lamar ft SZA (Dj Mike D Mix) 14. "Squabble Up" Kendrick Lamar 13. "Anxiety" Doechii 12. "They Wanna Have Fun" Metro Boomin, Travis Porter, Young Dro, Gucci, J Spinz 11. "Hot Stuff" Blue October 10. "Shake It To the Max (FLY)" MOLIY, Silent Addy, Skillibeng & Shenseea 9. "Outside" Cardi B (Stacy Mier remix) 8. "OMG!" Tiësto, Sexyy Redd 7. "Nookie (Pu$$y)" 21 LIL HAROLD, 21 Savage, Sexyy Red 6. "Fat Juicy & Wet" Sexyy Red, Bruno Mars 5. "Stephanie" Cloonee, Young M.A, InntRaw 4. "Timeless" The Weeknd ft Playboy Carti (Brian Howe remix) 3. "EoO" Bad Bunny (ULTI-reMIX by Beat Thrillerz) 2. "NOKIA" Drake 1. "No Broke Boys" Disco Lines, Tinashe (Avello remix) Learn more about your ad choices. Visit megaphone.fm/adchoices

This week's Deadpod brings us the second set from the band's performance in Long Beach California on December 14, 1980.  This is a fine high-energy set, punctuated by guest appearances by Fora Purim, Airto and Matthew Kelly but full of outstanding renditions of some classic numbers.  I am always pleasantly surprised when I get a 'Must Have Been the Roses' and really enjoy this one. This is followed by a screaming 'Estimated Prophet'. This leads into the heart of the set, a great 'Wheel' going into an amazing Drums/Space then flowing into a otherwordly 'Other One'. This combination is really special. This leads into an emotional 'Stella Blue' then the boys ramp it up again with the rocking set closing 'Around and Around' into 'Good Lovin' .. a 'Brokedown Palace' is a perfect encore after this musical performance..  Grateful Dead Long Beach Arena Long Beach, CA 12/14/1980 - Sunday Two      Cold Rain And Snow [6:31] > Samson And Delilah [6:38] ; It Must Have Been The Roses ; Estimated Prophet [10:44] > The Wheel [8:24] > Drums (2) > The Other One [11:51] > Stella Blue > Around And Around (1) > Good Lovin' Encore      Brokedown Palace  (1) with Matthew Kelly (2) with Flora Purim and Airto  You can listen to this week's Deadpod here:  http://traffic.libsyn.com/deadshow/deadpod121925.mp3   As we travel through this holiday season I hope this finds you and yours healthy, happy and at peace.  my thanks 

Join Brandon on a journey into some of the worse environmental disasters in the use From Winona, Texas to the Valley of the Drums to Point Ruston and then on to one of the worse industrial accidents in US history the Triangle Shirtwaist Fire.

This week on the podcast we welcome Robi Bean, who drummed with Primus for about half of 1986. Although he doesn't appear on any demo tapes, and live footage of his playing with Primus is scarce, Robi played an important part in the formation of many early Primus songs that would become fan favorites, including Tommy The Cat. Robi details how he first worked with Les Claypool in a band called Manx, and how a visit to psychic presaged his later involvement in Primus, and recalls some choice moments with Les and Todd. If you're in the Bay Area, you can catch Robi drumming for numerous blues bands around town, including regular gigs at The Saloon on Grant Avenue: https://thesaloonsf.com/the-bandsGet involvedInstagramFacebookEmailBurn your money 

This week we pick up the second set from the band's performance on November 14th, 1987 in Long Beach California.  A strong opening finds them opening with a nice 'Maggie's Farm' into 'Cumberland Blues'.. Bobby flubs the first line of the vocals but nevertheless a great high energy start. 'Playin' In the Band' follows, while a bit short, this still contains some nice jamming. 'Terrapin Station' is very well sung and leads nicely into drums>space.   Post Drums highlights include a heartfelt 'Stella Blue' and a wonderful closing 'LoveLight'.  'The Mighty Quinn' was always a great encore.   Grateful Dead Long Beach Arena Long Beach, CA 11/14/1987 - Saturday Two      Maggie's Farm [6:19] > Cumberland Blues [4:27] ; Playing In The Band [7:48] > Terrapin Station [12:20] > Drums [6:52#] > Space [3:56] > I Need A Miracle [8:23] > Stella Blue >Throwing Stones [9:00] > Turn On Your Love Light [6:52] Encore      The Mighty Quinn (Quinn The Eskimo) [3:57]   You can listen to this week's Deadpod here:  http://traffic.libsyn.com/deadshow/deadpod120525.mp3