Podcasts about Geffen Records

From games of chicken on private planes to one member surviving a private plane crash, the Eagles as a group very narrowly survived themselves. During their early days, they dosed out on Peyote and reimagined and reconfigured a new FM sound for the ages that would result in unimaginable success and excess. When their debut record was released on Geffen Records in 1972, America couldn't have been more ready for their breezy, countrified Southern California sound. Yet something else came with their that heady, golden age of California in the 1970s, that era of endless cocaine, groupies, money, and excess beyond anyone's wildest dreams. As the Eagles would soon learn, that “peaceful easy feeling” they were peddling wasn't built to last. For the full list of contributors, visit disgracelandpod.com This episode was originally published on March 8, 2022. To listen to Disgraceland ad free and get access to a monthly exclusive episode, weekly bonus content and more, become a Disgraceland All Access member at disgracelandpod.com/membership. Sign up for our newsletter and get the inside dirt on events, merch and other awesomeness - GET THE NEWSLETTER Follow Jake and DISGRACELAND: Instagram YouTube X (formerly Twitter)  Facebook Fan Group TikTok To learn more about listener data and our privacy practices visit: https://www.audacyinc.com/privacy-policy Learn more about your ad choices. Visit https://podcastchoices.com/adchoices

This week on The Cobain 50, we share one last bonus episode before we hit the final stretch of albums on Kurt Cobain’s top albums list. Ray Farrell may not be a familiar name to most, but he’s worked with many of the artists and labels we’ve talked about on the list: from SST and Rough Trade to Geffen Records, Sonic Youth to Wipers, Farrell has been through it all. He shares with us stories from his time in the industry, as well as some memories of talking records with Kurt himself. Hosts: Dusty Henry and Martin DouglasAudio producers: Matt Martin and Roddy NikpourPodcast manager: Isabel KhaliliEditorial director: Larry Mizell Jr.Support the podcast: kexp.org/cobainSee omnystudio.com/listener for privacy information.

fWotD Episode 2877: All-American Bitch Welcome to Featured Wiki of the Day, your daily dose of knowledge from Wikipedia’s finest articles.The featured article for Friday, 21 March 2025 is All-American Bitch."All-American Bitch" (stylized in all lowercase) is a 2023 song by American singer Olivia Rodrigo from her second studio album, Guts. Rodrigo wrote the song with its producer, Dan Nigro. It became available as the album's first track on September 8, 2023, when the album was released by Geffen Records. "All-American Bitch" begins as a folk and folk-pop song and transitions into pop-punk during the chorus, incorporating influences of punk, rock, grunge, and pop rock. Lyrically, it is a satirical song and explores Rodrigo's concerns about society's double standards and contradictory expectations for women.Music critics believe "All-American Bitch" was a successful opening track and appealed to Generation Z. They described Rodrigo's vocal performance in the verses as angelic and compared the song to the work of other rock artists. In the United States, "All-American Bitch" debuted at number 13 on the Billboard Hot 100. The song reached the top 10 in Australia, Ireland, and New Zealand, receiving a platinum certification in Australia and Brazil and gold in Canada and New Zealand."All-American Bitch" was promoted with a rehearsal video and a Vevo Live performance in an abandoned theater. Rodrigo also performed the song on Saturday Night Live, where she stabbed a red-colored cake at a tea party and splattered a white-colored cake on her face; the performance received positive reviews from critics. She included the song on the set list of her 2024–2025 concert tour, the Guts World Tour.This recording reflects the Wikipedia text as of 00:55 UTC on Friday, 21 March 2025.For the full current version of the article, see All-American Bitch 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 generative Kajal.

Vision Quest was released in theaters February 15, 1985. Based on a book that was hot in the young adult space, it featured a young Matthew Modine as Loudon Swain - a high school wrestler from Spokane, Washington who is looking to accomplish something big in his life. While the movie had limited appeal beyond teenagers (it only grossed $13 million), cable TV and video rental stores gave the movie continued life among teenagers for many years. A big reason it continued to draw 80s teens and carry such strong nostalgia today is the soundtrack. Put together by John Kalodner for Geffen Records, it featured some of the hottest pop and rock artists of the day and sold over 1 million copies in the US. Madonna, who was hot off her Like A Virgin Tour, contributes two songs - the unreleased as a single in the US Gambler and mega hit Crazy For You - and she had a cameo in the film singing them both. Journey offered Only The Young from the Frontiers sessions and the video, like Crazy For You, featured scenes from the film, helping the singles sell big numbers. Those two songs along with Red Rider's Lunatic Fringe set the tone for the film and make the songs and movie so intertwined. Some songs from bands like The Style Council, Don Henley and Dio might be overlooked as background music to certain scenes, songs like Change by John Waite (written by the legend Holly Knight) and Lunatic Fringe really keep you energized and engaged in Loudon's quest to drop 22 pounds and beat the unbeatable Shute on the wrestling mat. You have the tender Crazy For You for the romantic scenes, Journey for the training scenes and lots of rock and pop royalty. Even great songs by Berlin, Quarterflash and REO Speedwagon were left off the soundtrack but appear in the movie, including some solid work by Tangerine Dream. Maybe we like this film because as two former teenage boys, we could relate to what this guy was going through. But we continue to like the soundtrack because it had killer songs (with a couple of clunkers) that stand the test of time and play a huge role in the film. Check out our new website: Ugly American Werewolf in London Website Visit our sponsor RareVinyl.com and use the code UGLY to save 10%! Twitter Threads Instagram YouTube LInkTree www.pantheonpodcasts.com Learn more about your ad choices. Visit megaphone.fm/adchoices

Vision Quest was released in theaters February 15, 1985. Based on a book that was hot in the young adult space, it featured a young Matthew Modine as Loudon Swain - a high school wrestler from Spokane, Washington who is looking to accomplish something big in his life. While the movie had limited appeal beyond teenagers (it only grossed $13 million), cable TV and video rental stores gave the movie continued life among teenagers for many years. A big reason it continued to draw 80s teens and carry such strong nostalgia today is the soundtrack. Put together by John Kalodner for Geffen Records, it featured some of the hottest pop and rock artists of the day and sold over 1 million copies in the US. Madonna, who was hot off her Like A Virgin Tour, contributes two songs - the unreleased as a single in the US Gambler and mega hit Crazy For You - and she had a cameo in the film singing them both. Journey offered Only The Young from the Frontiers sessions and the video, like Crazy For You, featured scenes from the film, helping the singles sell big numbers. Those two songs along with Red Rider's Lunatic Fringe set the tone for the film and make the songs and movie so intertwined. Some songs from bands like The Style Council, Don Henley and Dio might be overlooked as background music to certain scenes, songs like Change by John Waite (written by the legend Holly Knight) and Lunatic Fringe really keep you energized and engaged in Loudon's quest to drop 22 pounds and beat the unbeatable Shute on the wrestling mat. You have the tender Crazy For You for the romantic scenes, Journey for the training scenes and lots of rock and pop royalty. Even great songs by Berlin, Quarterflash and REO Speedwagon were left off the soundtrack but appear in the movie, including some solid work by Tangerine Dream. Maybe we like this film because as two former teenage boys, we could relate to what this guy was going through. But we continue to like the soundtrack because it had killer songs (with a couple of clunkers) that stand the test of time and play a huge role in the film. Check out our new website: Ugly American Werewolf in London Website Visit our sponsor RareVinyl.com and use the code UGLY to save 10%! Twitter Threads Instagram YouTube LInkTree www.pantheonpodcasts.com Learn more about your ad choices. Visit megaphone.fm/adchoices

We enter the Guns N' Roses Herpeverse via the band's second album G N' R Lies which contains songs recorded both before and after their historic Ape Tit debut. Initially released as a Geffen Records pacifier until the unpredictable band's next LP, Lies is an undervalued dudless wonder that bookends the group's opening volley toward global ambassadorship.

Daniel House of CZ Records had a pivotal role in the Seattle music scene of the 1980s and early 1990s, including his work with Skin Yard, his time as a key employee at Sub Pop Records, and working with influential bands like Nirvana, Melvins, Soundgarden, the "Deep Six" compilation and lots more. Topics Include: Introduction of Daniel House and CZ Records New Skin Yard seven-inch box set announced History of Ten Minute Warning band Formation of Skin Yard with Jack Endino Forming the seven-inch box set idea Deep Six compilation's initial release discussed UMen added to Deep Six compilation Chris Hanzsek starts CZ Records then transitions out Deep Six compilation initially sells poorly Daniel House takes over CZ Records operations A&M Records purchases Deep Six compilation masters Working simultaneously at Sub Pop and CZ Records Creation of Sub Pop's direct-to-retail store network House builds Sub Pop's international distribution connections Nirvana's Mexican Seafood track on Teriyaki Asthma Confrontation with Geffen Records over Nirvana tracks Missing songs on Bleach cassette recall story Sub Pop focusing marketing efforts on Mudhoney Early Seattle scene was small and intimate Current Skin Yard Select box set details Pink and red vinyl pressing information Production quality control issues at pressing plant Discussion of box set pricing and production costs Interview wrap up Order "Skin Yard Select" box set here. Commercial-Free & High Resolution version of this podcast is available at: www.Patreon.com/VinylGuide Listen on Apple: https://apple.co/2Y6ORU0 Listen on Spotify: https://spoti.fi/36qhlc8

A dope mix from Sydney's Jazz Funk Bootleg Don, DJ CMAN, one of the original selectors from our musical family since 2009. CMAN takes us on a journey through funk, soul, jazz, hip-hop party recorded live at the Soul of Sydney 13th Birthday Party, this set is a celebration of everything that has made these iconic parties legendary. From dance-floor jazz grooves to modern edits and bootlegs. DJ CMAN take you on a journey through the sounds that define Soul of Sydney. This is more than music—it's a movement. SOUL OF SYDNEY's resident vibe creator DJ CMAN laying down a dope 1-hour selection of heavy FUNK, SOUL & JAZZY HIP HOP REMIXEs, EDITS & BOOTLEGS to close out the 13th Birthday celebration last month for podcast episode #418. Be sure to check out DJ CMAN's for dope mixes, remixes and edits which he has become so well known for around the world. Check out more of his stuff here. https://soundcloud.com/djcmanmusic Track List / 1. War - Galaxy 2000** (1977, MCA Records) 2. Arrested Development - Mama's Always On Stage** (1992, Chrysalis Records) 3. Junior Wells X CMAN - Mama's Finally Off Stage ... Junior's Bluebreak (CMAN Edit)** (Edit, Release Details Unknown) 4. p-rallel, Jords - One Time** (2023, PLATOON) 5. dialE - AOT** (Details Unknown) 6. Common X George Benson - Go** (Mashup, Common's "Go" (2005, Geffen Records), George Benson Track Uncredited) 7. George Benson - On Broadway (Mikeandtess Edit 4 Mix)** (Original: 1978, Warner Bros.; Edit, Unofficial Release) 8. Jodie Abacus - Good Feeling (CMAN Edit)** (Edit, Original: 2017, Label Unknown) 9. Hidden Jazz Quartett Feat. Omar - High Heels (Lack Of Afro Remix)** (2014, Agogo Records) 10. Nina Simone - See Line Woman** (1964, Philips Records) 11. Theophilus London - Calypso Blues (Nat King Cole Cover)** (2011, Reprise Records) 12. The Bamboos - Ride On Time** (2006, Tru Thoughts) 13. DJ Nu-Mark, The Traffic - Hot In Herre** (2019, Hot Plate Records) 14. Nat King Cole - Day In - Day Out (Cut Chemist Mix)** (2005, Capitol Records – Verve Remixed 3) 15. Big Daddy Kane X Chic - Good Times** (Mashup, Details Unknown) 16. Michael Jackson x James Brown - Wanna Get Up And Start Being A Sex Machine** (Mashup, Details Unknown) 17. Legacy - I'm So Glad (CMAN Edit)** (Edit, Release Details Unknown) 18. Stevie Wonder - Happy Birthday** (1980, Motown) 19. Harry Belafonte - Jump In The Line** (1961, RCA Victor) 20.James Brown - Feel Good (Pays Bass Disco Mix)** (Edit, Original: 1972, Polydor) 21. Janet - All For You (Remix)** (2001, Virgin Records; Remix, Unofficial Release) 22. Blackstreet X Cameo - No Diggity (Word!)** (Mashup, Original Tracks: 1996 Interscope & 1986 Atlanta Artists/PolyGram) 23. Cameo - Candy** (1986, Atlanta Artists/PolyGram) 24. Monie Love - Don't Funk Wid The Mo** (1990, Warner Bros. Records) 25. Robson Jorge & Lincoln Olivetti - Aleluia** (1982, Som Livre) 26. Sharon Redd - Can You Handle It** (1980, Prelude Records) 27. Salif Keita - Madan (Petko Afrobeat Edit)** (Edit, Original: 2002, Universal Music) 28. Kanye West - Gold Digger** (2005, Roc-A-Fella Records) 29. Tems + Foxy Brown ft. Blackstreet - Free Mind** (Mashup, Original Tems: 2020, Leading Vibes LLC) 30. Black Thought, Juls, Worlasi, Kofi Mole - Focus** (2023, Details Unknown) 31. Big Pun - Still Not A Player** (1998, Loud Records) 32. Gospel Gods Got A Blend (Big Pun "Playa" Sample)** (Blend/Mashup, Details Unknown) 33. Black Men United - U Will Know** (1994, MCA Records) 34. Billy Stewart - Summertime** (1966, Chess Records) 35. Louis Prima - Buono Sera** (1956, Capitol Records)

Episode 123- Join host Troy Saunders as he chats the vocal powerhouse singer, writer and arranger Jacci McGhee!!Best known for her belted-out duet with Keith Sweat on the hit song of the 1980s, “Make It Last Forever,” Jacci has returned, from a self-admitted dark place, to her passion and gift of singing. Actually, Jacci began her reappearance on the music scene in 2015 with step-out vocals alongside Dominique, on DJ Jay Salter's international EDM hit, “Angel of Mine” (Soul Remix). Once the song took off on the streaming sites, momentum began to build.It continued to escalate with the booking of a modeling job through a chance encounter at a local New York coffee. “The owner of a gourmet popcorn line approached me and asked me if I would do a print ad for him in a food magazine,” she said. “It became my first modeling job.” Afterward, she was a bitten by the acting bug, co-starring in a short film on teen suicide with Marc John Jefferies, the actor best known for film and TV productions: “Power”; “Get Rich or Die Tryin'” and “Losing Isaiah,” to name a fewMcGhee's music career was spawned by her duet with Sweat on the R&B chart-topper “Make It Last Forever” and lead vocals on Salt-N-Pepa's hit “Expression.” Immediately afterward, she was signed to MCA, now Geffen Records, releasing a top 10 R&B single, “It Hurts Me.” With corporate shake-ups, she got lost in the fray. But bounced back as the successor to Sandra St. Victor, taking over as lead vocalist for urban alternative band The Family Stand, on their “Connected” album.Following the dissolution of the band, she steered her vocal talents to opportunities to sing jingles for ad campaigns while raising a family. Her reconnections with DJ Jay Salter resulted in the 2017 Christmas pop single, “Every Day Is A Holiday.”In 2017, the New York native used her vocal and comedic chops to host R&B Live showcases in Charlotte, N.C., and Philadelphia, and later worked alongside Talent The Comedian, in collaborative routines.However, the family took priority. Upon her return to New York, the mother of three took a hiatus from music to immediately step into the role of caregiver for her fourteen-year-old daughter, Madison, who was diagnosed with Juvenile Diabetes.A woman of great faith, Jacci said it was a spiritual experience that encouraged her to return to singing. “The Most High touched my spirit and told me to move forward and sing again,” she said. That decision resulted in a return collaboration with a friend and former producer, DECLARE. Together, they composed the new single “If This World Were Mine” with an accompanying video, directed by her son, Kamrin, a filmmaker and graduate of the arts from Fairleigh Dickinson University. Her daughter also makes a cameo.In 2022, Jacci released ‘Riches of the World' - a high-octane cautionary pop record with an equally electric music video - in addition to a Remix with legendary hip-hop artist Chubb Rock the following year.In the summer of 2023, the re-release of the expanded edition of Jacci McGhee's self-titled debut album (1992) hit all streaming platforms. Jacci's 2023 single ‘Time and Time' would also go on to chart highly on the UK Amazon charts. A year later, in the summer of 2024, Jacci debuted her latest single 'Slow Down,' produced by Father MC, with music composed by Rockwilder. Her latest single 'No More', produced by Producer Declare, is set to release November 8th. This single paves the way for her forthcoming EP Jacci's Closet, releasing January 2025“I've got butterflies in my stomach because it's all new to me. But it just feels like it's my time and I'm ready.”— Jacci McGheeListen and subscribe to the BAAS Entertainment Podcast on Spotify, Amazon Music, Apple Podcasts, Google Podcasts, Deezer, iHeartRadio, Pandora, Podchaser, Pocket Casts and TuneIn. “Hey, Alexa. Play the BAAS Entertainment Podcast.”

pWotD Episode 2757: If I Could Turn Back Time 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 448,296 views on Monday, 18 November 2024 our article of the day is If I Could Turn Back Time."If I Could Turn Back Time" is a song performed by American singer and actress Cher from her 1989 nineteenth studio album, Heart of Stone. It was released as the album's lead single in June 1989, by Geffen Records. The song was written specifically for Cher by Diane Warren, who produced it in collaboration with Guy Roche. Cher was unmoved by a demo of the song sung by Warren, but Roche insisted she record it. The lyrics talk about the feelings of remorse due to bad deeds and the willingness to reverse time to make things right."If I Could Turn Back Time" is a pop rock and soft rock song that features instrumentation from guitars, piano and drums. The song received mostly positive reviews from music critics, who applauded its overall production and Cher's vocal performance, with some considering it to be a highlight of the album. Commercially, the song peaked at number three on the Billboard Hot 100 and became Cher's first number-one hit in Australia. It also reached the top 10 of the record charts in Belgium, Canada, Ireland, Netherlands, New Zealand, and the United Kingdom.The accompanying music video for "If I Could Turn Back Time", directed by Marty Callner, was shot on board of the battleship USS Missouri and portrays Cher performing for the ship's crew, wearing a leather thong that revealed her tattooed buttocks and straddling a cannon. Military personnel condemned the video, while some family groups protested against its broadcast, because they deemed it offensive for the Navy and controversial. Following these protests, MTV was forced to air the video after the 9pm watershed."If I Could Turn Back Time" has been performed on seven of Cher's concert tours, most recently on the Here We Go Again Tour in 2018–2020, and at the 1989 MTV Video Music Awards. The song has been covered by a number of artists and has also been featured on the soundtrack of Deadpool 2 (2018), among others.This recording reflects the Wikipedia text as of 21:10 UTC on Tuesday, 19 November 2024.For the full current version of the article, see If I Could Turn Back Time 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 Joanna.

Join us for our NEW Sunday Replay Series! Each Sunday, we bring back your favorite interviews in the order in which they were originally published, allowing you to relive the best moments and stories from past episodes. Todd Poole, the lead singer of Roxy Blue, came by the studio to talk about the band's beginnings, how they just barely missed the mainstream due to the grunge movement in the early 90s, getting signed by Geffen Records, opening for Spinal Tap, and much more! Roxy Blue's Facebook: https://www.facebook.com/OfficialRoxyBlue     HOW TO SUPPORT THE PODCAST If you find it in your heart to donate to the cause and help fuel the podcast you can do so through our new Venmo and CashApp. Your support is greatly appreciated and will help shine a brighter spotlight on the great Memphis Music Community. Venmo - @‌therhythmsectionpod CashApp - $therhythmsectionpod Thanks for tuning in and supporting the Rhythm Section Podcast.  

After leaving for two albums Joe Perry returned to Aerosmith for 1985's Done with Mirrors, which also saw the band moving to Geffen Records. The band was clean and sober, but the album didn't click with the public. In order to change that Bruce Fairbairn, the producer behind Bon Jovi's Slippery When Wet, was brought in, as well as an army of writers to make Permanent Vacation in 1987. The pattern was repeated with Pump in 1989, which solidified the band's comeback, and on Get a Grip from 1991. The latter became the band's best selling album, but was filled with even busier production, more guests and more outside writers. For better or worse it solidified the direction Aerosmith would take for the rest of their career. Donate to the podcast through Patreon... https://www.patreon.com/ericwincentsen P.O. Box 1932 Superior, AZ 85173.

April 1989: The world was a strange mix of excess and transition. On one side, the neon-drenched MTV era was still riding high, with hair metal bands like Poison, Motley Crüe, and Def Leppard dominating the charts with their polished, radio-friendly anthems. Power ballads and arena rock were inescapable, and rock fans were tuned in to Bon Jovi and Guns N' Roses. Yet, beneath the surface, change was brewing. Bands like Jane's Addiction and Soundgarden were slowly carving out a new, grittier sound that would soon transform the entire landscape.Amid this backdrop, Blue Murder made their entrance—not as another Sunset Strip glam act, but as a hard-hitting supergroup led by a guitar hero who had already proven himself with Thin Lizzy and Whitesnake. John Sykes wasn't looking to jump on the hair metal bandwagon. Instead, with Blue Murder, he aimed to bring the technical brilliance of the '70s into the late '80s, blending his bluesy, virtuoso guitar work with heavy grooves and intricate song structures. Sykes, along with legendary drummer Carmine Appice and fretless bass wizard Tony Franklin, formed a trio that drew on the legacy of hard rock and metal titans, delivering something deeper and more ambitious than most of their glam metal contemporaries.Yet, for all their talent, Blue Murder wasn't about writing catchy three-minute radio singles. Their self-titled debut album was a blend of towering guitar riffs, thunderous drums, and epic song structures that leaned closer to the ‘70s hard rock tradition of Led Zeppelin and Deep Purple than the bubblegum metal that filled the charts. But in 1989, as hair metal ruled the airwaves and grunge was lurking around the corner, Blue Murder stood out—ambitious, raw, and musically masterful.The Road to Blue MurderJohn Sykes had already proven his chops with Whitesnake's 1987 album, a monster hit that spawned chart-topping singles and dominated MTV. But creative tensions with Whitesnake's leader, David Coverdale, led to Sykes' unceremonious departure just as the band was at the peak of its commercial success. Undeterred, Sykes began writing material for what would eventually become Blue Murder, determined to put together a powerhouse group that could rival his previous success.At first, Sykes wasn't planning to be the frontman. The band initially brought in some big-name vocalists to handle lead duties. Ray Gillen of Black Sabbath and Badlands fame was the first to join the lineup, contributing vocals to some early demos. But Gillen left after just a few months, reportedly due to creative differences. The next contender was Tony Martin, another former Black Sabbath singer, but he, too, didn't stick around for long. After several auditions and some disagreements with the label Geffen Records, the A&R team suggested that Sykes himself take over lead vocals. Despite being known more for his guitar work, Sykes stepped up, and his voice turned out to be a perfect match for the band's sound—gritty, soulful, and powerful.With legendary drummer Carmine Appice, who had played with the likes of Jeff Beck and Vanilla Fudge, and fretless bass virtuoso Tony Franklin, fresh off his stint with The Firm alongside Jimmy Page and Paul Rodgers, Blue Murder had a lineup that was nothing short of rock royalty. The result was a self-titled debut that combined technical brilliance with bluesy hard rock, reflecting Sykes' desire to channel the spirit of '70s heavyweights like Led Zeppelin and Deep Purple, rather than chasing the more formulaic sound of the late-'80s hair metal scene.Building the Sound: A Guitarist as a FrontmanFor a guy who wasn't originally a vocalist, Sykes delivered some serious vocal prowess on Blue Murder. He was filling big shoes, considering he had just played alongside David Coverdale, one of rock's great frontmen. And while the album isn't a complete departure from Whitesnake's bluesy, hard-hitting rock, it's more expansive, both musically and lyrically.The standout track, “Valley of the Kings,” showcases the epic grandeur Blue Murder was going for. Co-written by Black Sabbath's Tony Martin, the song combines powerful riffs, intricate solos, and a historical theme that was rare in the pop-metal scene of the time. This track had a “late '80s Sabbath” feel, blending hard rock with doom-like weight, something that set the band apart from the typical hair metal crowd.Tracks like “Jelly Roll” and “Out of Love” demonstrate the band's diversity—moving between blues-infused swagger and heartfelt ballads, all carried by Sykes' smooth yet powerful vocals and, of course, his signature guitar tone. The hosts also discussed how “Out of Love,” a lesser-known power ballad, was one of those hidden gems deserving far more attention than it ever received.The Legacy of Blue MurderThough the album charted respectably (peaking at #69 on the Billboard 200), it didn't make the impact that Whitesnake's 1987 album did. Part of the issue was the changing musical landscape. By 1989, the glam metal scene was beginning to saturate, and the introspective rawness of grunge was on the horizon. Blue Murder, with its complex musicianship and Sykes' ambitious songwriting, may have been too sophisticated for an audience that was more accustomed to quick-hit rock anthems.But for those in the know, Blue Murder became a cult classic. Its combination of blistering guitar work, thunderous drums, and intricate bass lines made it a musician's album—a performance record. For fans of technical prowess and intricate song structures, Blue Murder was a band worth rediscovering.What Could Have BeenDespite the talent and the potential, Blue Murder never achieved the commercial success many expected. Tensions with their label, Geffen Records, didn't help. Sykes believed Geffen was trying to sabotage the band in hopes he'd rejoin Whitesnake. Whether or not that's true, it's clear that Blue Murder didn't get the marketing push it deserved.After a follow-up album in 1993 (Nothing But Trouble), Blue Murder faded into the background, overshadowed by the grunge explosion. However, Sykes continued to be a respected figure in the hard rock and metal scenes, even though he never reached the heights of Whitesnake's success again.A Call to Revisit a Lost MasterpieceSo why does Blue Murder still resonate with those who know it? It's a record that transcends the pop-metal limitations of its time. If you're a fan of Thin Lizzy, Whitesnake, or just killer guitar work, this album is well worth revisiting. And for those who missed it the first time around, now's the perfect time to dive into one of the best-kept secrets of late '80s metal.Take a listen, let it transport you back to 1989, and then wonder how this gem flew under the radar.Songs in this Episode* Intro - Blue Murder * 22:17 - Black-Hearted Woman * 27:14 - Out of Love * 31:53 - Ptolemy * 37:59 - Billy * 39:04 - It's Too Late (demo w/ Ray Gillen on lead vocals) * Outro - Valley of the KingsMake Your Voice Heard!In our quest to explore the depths of 90s Rock, we rely on you, our listeners. Your suggestions drive our show – be it an underrated classic or a forgotten gem. By joining our DMO Union on Patreon, you help us stay independent and ad-free and gain the power to vote on and choose the albums we dive into each year. Together, let's unearth the treasures of 90s Rock, one listener-powered episode at a time.Suggest an Album → | Support the Mission → This is a public episode. If you'd like to discuss this with other subscribers or get access to bonus episodes, visit digmeout.substack.com/subscribe

Welcome to the Dean Von Music Podcast Show, coming to you live from Las Vegas, Nevada!

Welcome to the Dean Von Music Podcast Show, coming to you live from Las Vegas, Nevada!

Louis Armstrong, Wild Man Fischer, Irving Berlin and Lucinda Williams all started out as buskers and Cary Baker's ‘Down On The Corner' traces the romance and influence of street players from Ancient Rome via Chicago's Maxwell Street to Elvis Costello outside the CBS conference and beyond. Cary, David and Mark chuck coins in the conversational hat, among them …  … the turban and rollerblades stagewear of Harry Perry aka “the Skating Sikh”.… Blind Arvella Gray who took up busking because of a gun battle. … the sight of Bongo Joe on his daily commute (a moped loaded with steel drums).   … what Mick Jagger learnt from Ramblin' Jack Elliott. … Ted Hawkins' journey from Venice Beach to Geffen Records. … the time Cary met Moondog dressed as a Viking and why he was a symbol of old New York. … how Billy Bragg learnt festival crowd control playing street corners. … Madeleine Peyroux, aged 15, playing Paris subways. … Jesse Fuller, father of the one-man band. … do buskers now make it via Instagram? … the only gig where you can play the same song repeatedly. … and when is busking just noise pollution? Order Cary Baker's Down On The Corner here:https://www.amazon.co.uk/Down-Corner-Adventures-Busking-Street/dp/1916829104Find out more about how to help us to keep the conversation going: https://www.patreon.com/wordinyourear Get bonus content on Patreon Hosted on Acast. See acast.com/privacy for more information.

Louis Armstrong, Wild Man Fischer, Irving Berlin and Lucinda Williams all started out as buskers and Cary Baker's ‘Down On The Corner' traces the romance and influence of street players from Ancient Rome via Chicago's Maxwell Street to Elvis Costello outside the CBS conference and beyond. Cary, David and Mark chuck coins in the conversational hat, among them …  … the turban and rollerblades stagewear of Harry Perry aka “the Skating Sikh”.… Blind Arvella Gray who took up busking because of a gun battle. … the sight of Bongo Joe on his daily commute (a moped loaded with steel drums).   … what Mick Jagger learnt from Ramblin' Jack Elliott. … Ted Hawkins' journey from Venice Beach to Geffen Records. … the time Cary met Moondog dressed as a Viking and why he was a symbol of old New York. … how Billy Bragg learnt festival crowd control playing street corners. … Madeleine Peyroux, aged 15, playing Paris subways. … Jesse Fuller, father of the one-man band. … do buskers now make it via Instagram? … the only gig where you can play the same song repeatedly. … and when is busking just noise pollution? Order Cary Baker's Down On The Corner here:https://www.amazon.co.uk/Down-Corner-Adventures-Busking-Street/dp/1916829104Find out more about how to help us to keep the conversation going: https://www.patreon.com/wordinyourear Get bonus content on Patreon Hosted on Acast. See acast.com/privacy for more information.

Louis Armstrong, Wild Man Fischer, Irving Berlin and Lucinda Williams all started out as buskers and Cary Baker's ‘Down On The Corner' traces the romance and influence of street players from Ancient Rome via Chicago's Maxwell Street to Elvis Costello outside the CBS conference and beyond. Cary, David and Mark chuck coins in the conversational hat, among them …  … the turban and rollerblades stagewear of Harry Perry aka “the Skating Sikh”.… Blind Arvella Gray who took up busking because of a gun battle. … the sight of Bongo Joe on his daily commute (a moped loaded with steel drums).   … what Mick Jagger learnt from Ramblin' Jack Elliott. … Ted Hawkins' journey from Venice Beach to Geffen Records. … the time Cary met Moondog dressed as a Viking and why he was a symbol of old New York. … how Billy Bragg learnt festival crowd control playing street corners. … Madeleine Peyroux, aged 15, playing Paris subways. … Jesse Fuller, father of the one-man band. … do buskers now make it via Instagram? … the only gig where you can play the same song repeatedly. … and when is busking just noise pollution? Order Cary Baker's Down On The Corner here:https://www.amazon.co.uk/Down-Corner-Adventures-Busking-Street/dp/1916829104Find out more about how to help us to keep the conversation going: https://www.patreon.com/wordinyourear Get bonus content on Patreon Hosted on Acast. See acast.com/privacy for more information.

Michael Alago in conversation with David Eastaugh https://www.michaelalago.com/ https://www.amazon.co.uk/Am-Michael-Alago-Breathing-Metallica/dp/1617137251 https://www.youtube.com/watch?v=pgTBj2Zbr0w Musician, nightlife impresario, record label executive, photographer, and author, Michael Alago takes readers through this amazing journey that is his life. Alago grew up in Brooklyn, New York, in a large, spirited, and devoted Puerto Rican family. Through his early passion for music, art, theater, and photography, he soon found himself rubbing elbows with many downtown NYC scene makers, from Stiv Bators to Jean Michel Basquiat, Cherry Vanilla and Wayne County to Deborah Harry and Robert Mapplethorpe. As an underage teenager going to Max's Kansas City, CBGB, and various art galleries, Alago also began running The Dead Boys fan club. A few years later, he became the assistant music director for legendary nightclubs the Ritz and the Red Parrot. At age twenty-four, he began a storied career as an A&R executive at Elektra Records that started with signing Metallica in the summer of 1984, changing the entire landscape of rock 'n' roll and heavy metal. Alago continued to work in A&R for both Palm Pictures and Geffen Records. He was thrilled to executive-produce albums by Cyndi Lauper, Public Image Ltd, White Zombie, and Nina Simone. 

A petición de nuestros oyentes vamos a sumergirnos en el álbum Get a Grip (1993), el undécimo de Aerosmith. Este disco multiplatino fue el último que lanzarían con Geffen Records. Ricardo Portman nos cuenta su historia. Escucharemos Intro, Eat the Rich, Get a Grip, Fever, Livin’ On The Edge, Flesh, Walk On Down, Shut Up and dance, Cryin', Gotta Love It, Crazy, Line Up, Amazing y Boogie Man + Bonus track. Recuerden que nuestros programas los pueden escuchar también en: Nuestra web https://ecosdelvinilo.com/ Radio M7 (Córdoba) lunes 18:00 y sábados 17:00. Distancia Radio (Córdoba) jueves y sábados 19:00 Radio Free Rock (Cartagena) viernes 18:00. Radio Hierbabuena (Lima, Perú) jueves 20:00 (hora Perú)

Welcome back to Making Bank. In today's episode, we have Mastin Kipp, who is an American entrepreneur, bestselling author, and renowned public speaker. Creator of Functional Life Coaching, he has toured with Oprah's Life Class and appeared on her Emmy award-winning show, Super Soul Sunday, as a leader in the next generation of spiritual thinkers. His bestselling book, "Daily Love," and his forthcoming book, "Claim Your Power," have been featured in outlets like Well+Good, Huffington Post, and on networks such as Fox News, ABC, and CBS News.   (2:30) Background Story Mastin Kipp, known for questioning rules from an early age, became a senior VP at Geffen Records by his early twenties. Following setbacks involving drugs and a breakup, he found himself strung out on cocaine. At his lowest, he decided to seek the same sense of well-being without drugs, leading to his successful journey as a transformational leader and coach.   (8:07) Self-Focus Vs Serving The main impediment to entrepreneurial growth is self-focus. Obsessing over metrics like followers or email opens distracts from serving others. Challenges are inevitable, but expecting to avoid them is unrealistic. Finding purpose brings meaning to pain, shifting focus from self to service.   (14:39) Purpose And Healing There's a superstition that discussing negative things can harm a business, but it's false. Everyone has internal blocks, often from trauma. Entrepreneurs may seek to escape trauma through success, but unresolved issues persist. True growth comes from addressing these blocks, leading to purpose and healing.   (18:55) Limiting Blocks To overcome limiting blocks, first identify the core belief driving your emotions, which is often tied to feelings of inadequacy. Examine what you believe something means, as this can reveal underlying trauma. Understanding these beliefs helps address and overcome your blocks.   (22:22) Claim Your Power To overcome trauma and claim your power, consider using a well-developed framework that has been refined through high-end retreats and seminars. This approach helps identify and address the blocks holding you back, enabling you to heal and grow.   (24:20) Daily Habits While the morning is crucial, a powerful start actually begins with protecting your bedtime and establishing a consistent nighttime routine. Ensure you get quality sleep by winding down with calming activities, avoiding screens, and setting a regular sleep schedule. A well-rested night sets the stage for a productive and focused morning.   (27:46) Final Advice When you connect with something larger than yourself and offer your gift in service, you embark on a transformative journey. Past trauma may be holding you back, but understanding it without self-judgment can help you move forward. Embrace the process and recognize that true greatness involves facing and overcoming these challenges.   Tags: @mastinkipp

Welcome back to Making Bank. In today's episode, we have Mastin Kipp, who is an American entrepreneur, bestselling author, and renowned public speaker. Creator of Functional Life Coaching, he has toured with Oprah's Life Class and appeared on her Emmy award-winning show, Super Soul Sunday, as a leader in the next generation of spiritual thinkers. His bestselling book, "Daily Love," and his forthcoming book, "Claim Your Power," have been featured in outlets like Well+Good, Huffington Post, and on networks such as Fox News, ABC, and CBS News.   (2:30) Background Story Mastin Kipp, known for questioning rules from an early age, became a senior VP at Geffen Records by his early twenties. Following setbacks involving drugs and a breakup, he found himself strung out on cocaine. At his lowest, he decided to seek the same sense of well-being without drugs, leading to his successful journey as a transformational leader and coach.   (8:07) Self-Focus Vs Serving The main impediment to entrepreneurial growth is self-focus. Obsessing over metrics like followers or email opens distracts from serving others. Challenges are inevitable, but expecting to avoid them is unrealistic. Finding purpose brings meaning to pain, shifting focus from self to service.   (14:39) Purpose And Healing There's a superstition that discussing negative things can harm a business, but it's false. Everyone has internal blocks, often from trauma. Entrepreneurs may seek to escape trauma through success, but unresolved issues persist. True growth comes from addressing these blocks, leading to purpose and healing.   (18:55) Limiting Blocks To overcome limiting blocks, first identify the core belief driving your emotions, which is often tied to feelings of inadequacy. Examine what you believe something means, as this can reveal underlying trauma. Understanding these beliefs helps address and overcome your blocks.   (22:22) Claim Your Power To overcome trauma and claim your power, consider using a well-developed framework that has been refined through high-end retreats and seminars. This approach helps identify and address the blocks holding you back, enabling you to heal and grow.   (24:20) Daily Habits While the morning is crucial, a powerful start actually begins with protecting your bedtime and establishing a consistent nighttime routine. Ensure you get quality sleep by winding down with calming activities, avoiding screens, and setting a regular sleep schedule. A well-rested night sets the stage for a productive and focused morning.   (27:46) Final Advice When you connect with something larger than yourself and offer your gift in service, you embark on a transformative journey. Past trauma may be holding you back, but understanding it without self-judgment can help you move forward. Embrace the process and recognize that true greatness involves facing and overcoming these challenges.   Tags: @mastinkipp

Welcome back to Making Bank. In today's episode, we have Mastin Kipp, who is an American entrepreneur, bestselling author, and renowned public speaker. Creator of Functional Life Coaching, he has toured with Oprah's Life Class and appeared on her Emmy award-winning show, Super Soul Sunday, as a leader in the next generation of spiritual thinkers. His bestselling book, "Daily Love," and his forthcoming book, "Claim Your Power," have been featured in outlets like Well+Good, Huffington Post, and on networks such as Fox News, ABC, and CBS News.   (2:30) Background Story Mastin Kipp, known for questioning rules from an early age, became a senior VP at Geffen Records by his early twenties. Following setbacks involving drugs and a breakup, he found himself strung out on cocaine. At his lowest, he decided to seek the same sense of well-being without drugs, leading to his successful journey as a transformational leader and coach.   (8:07) Self-Focus Vs Serving The main impediment to entrepreneurial growth is self-focus. Obsessing over metrics like followers or email opens distracts from serving others. Challenges are inevitable, but expecting to avoid them is unrealistic. Finding purpose brings meaning to pain, shifting focus from self to service.   (14:39) Purpose And Healing There's a superstition that discussing negative things can harm a business, but it's false. Everyone has internal blocks, often from trauma. Entrepreneurs may seek to escape trauma through success, but unresolved issues persist. True growth comes from addressing these blocks, leading to purpose and healing.   (18:55) Limiting Blocks To overcome limiting blocks, first identify the core belief driving your emotions, which is often tied to feelings of inadequacy. Examine what you believe something means, as this can reveal underlying trauma. Understanding these beliefs helps address and overcome your blocks.   (22:22) Claim Your Power To overcome trauma and claim your power, consider using a well-developed framework that has been refined through high-end retreats and seminars. This approach helps identify and address the blocks holding you back, enabling you to heal and grow.   (24:20) Daily Habits While the morning is crucial, a powerful start actually begins with protecting your bedtime and establishing a consistent nighttime routine. Ensure you get quality sleep by winding down with calming activities, avoiding screens, and setting a regular sleep schedule. A well-rested night sets the stage for a productive and focused morning.   (27:46) Final Advice When you connect with something larger than yourself and offer your gift in service, you embark on a transformative journey. Past trauma may be holding you back, but understanding it without self-judgment can help you move forward. Embrace the process and recognize that true greatness involves facing and overcoming these challenges.   Tags: @mastinkipp

Welcome back to Making Bank. In today's episode, we have Mastin Kipp, who is an American entrepreneur, bestselling author, and renowned public speaker. Creator of Functional Life Coaching, he has toured with Oprah's Life Class and appeared on her Emmy award-winning show, Super Soul Sunday, as a leader in the next generation of spiritual thinkers. His bestselling book, "Daily Love," and his forthcoming book, "Claim Your Power," have been featured in outlets like Well+Good, Huffington Post, and on networks such as Fox News, ABC, and CBS News.   (2:30) Background Story Mastin Kipp, known for questioning rules from an early age, became a senior VP at Geffen Records by his early twenties. Following setbacks involving drugs and a breakup, he found himself strung out on cocaine. At his lowest, he decided to seek the same sense of well-being without drugs, leading to his successful journey as a transformational leader and coach.   (8:07) Self-Focus Vs Serving The main impediment to entrepreneurial growth is self-focus. Obsessing over metrics like followers or email opens distracts from serving others. Challenges are inevitable, but expecting to avoid them is unrealistic. Finding purpose brings meaning to pain, shifting focus from self to service.   (14:39) Purpose And Healing There's a superstition that discussing negative things can harm a business, but it's false. Everyone has internal blocks, often from trauma. Entrepreneurs may seek to escape trauma through success, but unresolved issues persist. True growth comes from addressing these blocks, leading to purpose and healing.   (18:55) Limiting Blocks To overcome limiting blocks, first identify the core belief driving your emotions, which is often tied to feelings of inadequacy. Examine what you believe something means, as this can reveal underlying trauma. Understanding these beliefs helps address and overcome your blocks.   (22:22) Claim Your Power To overcome trauma and claim your power, consider using a well-developed framework that has been refined through high-end retreats and seminars. This approach helps identify and address the blocks holding you back, enabling you to heal and grow.   (24:20) Daily Habits While the morning is crucial, a powerful start actually begins with protecting your bedtime and establishing a consistent nighttime routine. Ensure you get quality sleep by winding down with calming activities, avoiding screens, and setting a regular sleep schedule. A well-rested night sets the stage for a productive and focused morning.   (27:46) Final Advice When you connect with something larger than yourself and offer your gift in service, you embark on a transformative journey. Past trauma may be holding you back, but understanding it without self-judgment can help you move forward. Embrace the process and recognize that true greatness involves facing and overcoming these challenges.   Tags: @mastinkipp

In this episode, Bill chats with Kevin Palmer of the band Trust Company. Kevin shares his journey from picking up his first guitar to seeing Guns N' Roses and Skid Row at the Birmingham Speedway, which ignited his passion for music. He talks about balancing a day job with his musical aspirations, driving long distances from Montgomery for gigs, and collaborating with other bands to play shows. Kevin also discusses the challenges of renting rooms for local shows, the relentless road hustle, and the excitement of getting noticed by Geffen Records. Discover why they had to change their name from 41 Down to Trust Company before their first major release. We dive into the thrill of Warped Tour, the disappointment of missing Ozzfest, and the highs of touring with Puddle of Mud. Kevin opens up about their hit single "Downfall" and its explosive success, as well as the controversy surrounding the Blue Ridge Rock Festival. The conversation also touches on mental health battles, the importance of kindness, and their experiences with Danny Wimmer Presents at Welcome to Rockville and Inkcarceration. Join us for these stories and much more! #TrustCompany #MusicJourney #GunsNRoses #SkidRow #MontgomeryMusicScene #GeffenRecords #WarpedTour #PuddleOfMudd #MentalHealth #DannyWimmerPresents #RockMusic #BandLife NOTE: Everything said here, and on every episode of all of our shows are 100% the opinions of the hosts. Nothing is stated as fact. Do your own research to see if their opinions are true or not. Please SUBSCRIBE, click the notification bell, leave a comment or a like, and share this episode!

“Horror Through Her Eyes" is an empowering bi-weekly podcast celebrating horror works of art from a female perspective. Join in for reviews of the most intriguing films, books, television shows and more as “The Taminator” and the “Amateur Destroyer” explore the world of horror beyond gender stereotypes. In today's episode we reviewed The House of the Devil (2009) (chosen by our lovely guest, Jay of the Dead!). Homework for next episode: Watch season one of the series “From”! We'll be covering the first few episodes on part 1 of this new installment of the “Show Queens” series! 00:00:00 - Intro 00:03:54 - Haunting Headlines 00:20:48 - Fright Bites 00:47:09 - Echoes From The Abyss 01:00:06 - Movie Review  03:32:47 - Monstrous Mention 03:54:21 - Outro   Our Socials:  Horror Through Her Eyes -  Email: horrorthroughhereyes@yahoo.com  FB Group: https://www.facebook.com/groups/652782216942180  Instagram: https://www.instagram.com/horror_through_her_eyes_pod/  Threads: https://www.threads.net/@horror_through_her_eyes_pod  TikTok: https://www.tiktok.com/@horrorthroughhereyespod  Letterboxd: https://letterboxd.com/HorrorHerEyes/  YouTube: https://www.youtube.com/@horrorthroughhereyespod  Tammy -  FB: https://www.facebook.com/Tammom3  Instagram: https://www.instagram.com/taminatortammyturner  TikTok: https://www.tiktok.com/@therealtaminator  Letterboxd: https://letterboxd.com/taminator/  Jessica -  FB: https://www.facebook.com/jessicalylynnschmitty Instagram: https://www.instagram.com/amateur.destroyer/  Threads: https://www.threads.net/@amateur.destroyer TikTok: https://www.tiktok.com/@amateur.destroyer  Letterboxd: https://letterboxd.com/Ashy_Slashy/  Our “Monstrous Mention” for this episode is JAY OF THE DEAD! Jay of the Dead's New Horror Movies Podcast: Website: https://www.newhorrormovies.com/  Twitter: https://twitter.com/horroravengers (@HorrorAvengers) YouTube: https://www.youtube.com/channel/UCYsFNIZK4ToTtyFQbAZyE8A  Horror Movie Weekly Podcast: Website: https://horrormovieweekly.com/  Twitter: https://twitter.com/horror_weekly (@horror_weekly)  Movie Podcast Weekly: Website: https://moviepodcastweekly.com/  Twitter: https://twitter.com/moviecastweekly (@MovieCastWeekly)  Considering the Cinema:  Website: https://www.consideringthecinema.com/  Twitter: https://x.com/considercinema?lang=en (@considercinema)  J-Flexx: Live to Trade (Another Day): https://www.youtube.com/watch?v=tAvzVbLTzdk  Music: Intro:  Come Out And Play by Darren Curtis | https://www.darrencurtismusic.com/  Music promoted by https://www.chosic.com/free-music/all/  Haunting Headlines:  Witch By The Sea by Darren Curtis | https://www.darrencurtismusic.com/  Music promoted by https://www.chosic.com/free-music/all/  Creative Commons CC BY 3.0 https://creativecommons.org/licenses/by/3.0/  Fright Bites:  Spooky Ride by Twin Musicom | http://www.twinmusicom.org/  Music promoted by https://www.chosic.com/free-music/all/  Creative Commons CC BY 4.0 https://creativecommons.org/licenses/by/4.0/  Echoes From the Abyss:  Labyrinth of Lost Dreams by Darren Curtis | https://www.darrencurtismusic.com/  Music promoted on https://www.chosic.com/free-music/all/ Creative Commons Attribution 3.0 Unported (CC BY 3.0) https://creativecommons.org/licenses/by/3.0/    Trailer: https://www.youtube.com/watch?v=qNvSIzYJcCQ  Outro:  https://www.youtube.com/watch?v=JHYIGy1dyd8  Music video by The Fixx performing One Thing Leads To Another. (C) 2004 Geffen Records

SPECIAL SUMMER EPISODE: A Conversation w/ Ann Powers, author of Traveling: On the Path of Joni MitchellFor Part Two of our celebration of Joni Mitchell, the great ANN POWERS, esteemed rock writer and NPR music critic, joins Mark for a conversation about her brilliant new book Traveling: On the Path of Joni Mitchell. Topics include: the question of critical enthusiasm, Ann Beattie, Don DeLillo & Don Henley, Joni's plug into the pulse of the culture, Joan Didion and Play It As It Lays, Roberta Flack, Miles Davis, Art Nouveau and Don Juan's Reckless Daughter, Joni's evolving obsession with rhythm (and percussionists), Los Lobos, Chaka Khan, Prince's song for Joni, the Jazz Fusion scene of the mid-1970s, Jaco Pastorius, Brandi Carlisle and the Joni Jams, Taylor Swift and a celebration of the studio nerd, the underrated Larry Klein, Joni's relationship with the press, Joni's live performances, Michelle Mercer, and what moment in music Ann would travel in a time machine. Plus, a passionate reappraisal of Joni's four 1980s albums on Geffen Records and the value of meeting (and not!) your musical heroes. Special thank you to Dey Street Books and Mr. Brian Ulicky for his assistance with this conversation.Order Ann's book at your local independent bookstore here!

Dig into the captivating yet tumultuous story of Salty Dog, a band that carved out a niche in the 80s metal scene with a sound that defied easy categorization. Hailing from the vibrant streets of Los Angeles in the late 1980s, Salty Dog was an act that managed to blend the raw energy of hard rock, the soulful depth of blues, and a hint of the emerging grunge movement into their music. Despite securing a deal with the prestigious Geffen Records and releasing their sole album, Every Dog Has Its Day, in 1990, the band's journey was anything but smooth.Excited to see this album in the spotlight? Help us keep our podcast ad-free and available for others to discover by supporting us on Patreon!The tale of Salty Dog is marked by several challenges, from the tumultuous lineup changes to the struggles they faced in the production of their music videos. Perhaps most notably, the band's potential was hampered by the heroin addiction that plagued their frontman, highlighting the personal battles that can deeply affect a band's trajectory. Nonetheless, Every Dog Has Its Day remains a testament to their unique sound, characterized by gritty guitar work, soulful vocals, and a distinct blues influence that set them apart from their contemporaries.This episode takes a closer look at the diverse influences that shaped Salty Dog's sound. From the legendary riffs of Led Zeppelin to the unmistakable hard rock edge of AC/DC, the band drew inspiration from a wide array of sources. Yet, Salty Dog stood apart from the mainstream 80s metal bands, with vocal styles that ranged from the raspy undertones often associated with hair metal to the high-pitched screeches reminiscent of Guns N' Roses' Axl Rose. The guitar work showcased a broad spectrum, from introspective bluesy slides to the high-energy pinch harmonics often found in metal.Salty Dog's story is more than just a narrative of music and personal struggles; it's a reflection of the broader challenges and transformations within the metal genre during a pivotal time. Their journey encapsulates the transition from the dominance of metal and hard rock to the rise of grunge in the early 90s, highlighting the volatile nature of the music industry and the personal demons that often accompany fame.Through Chip's firsthand experiences and insights, along with an in-depth analysis of Every Dog Has Its Day, we aim to uncover the enduring legacy of Salty Dog. While they may have released just one official album, their story is emblematic of the spirit and turmoil of the 80s metal scene, offering a poignant reminder of the challenges bands face in pursuit of their dreams.Songs in this Episode* 00:00 - "Keep Me Down" * 24:28 - "Come Along" * 25:22 - "Cat's Got Nine" * 27:27 - "Where The Sun Don't Shine" * 30:19 -"Heave Hard (She Comes Easy) * 35:19 - "Lonesome Fool" * 35:53 - "Lonesome Fool" * 38:00 - "Nothing But a Dream" * 42:23 - "Come Along" * 50:25 - "Spoonful" * 56:44 - "Sacrifice Me" * 1:12:55 - "Come Along"Make Your Metal Voice Heard!In our quest to explore the depths of 80s metal, we rely on you, our listeners. Your suggestions drive our show – be it an underrated classic or a forgotten gem. By joining our DMO Union on Patreon, you help us stay independent and ad-free and gain the power to vote on and choose the albums we dive into each year. Let's unearth the treasures of 80s Metal, one listener-powered episode at a time.Suggest an Album → | Support the Mission → This is a public episode. If you'd like to discuss this with other subscribers or get access to bonus episodes, visit digmeout.substack.com/subscribe

Again we skip the Grapes and go directly to the Rock. Former record exec from Capitol Records, Steve Meyer, and Part II speaking about the great Al Coury, Vice President of Capitol Records, co-fouder of RSO Records, and founder of Network Records that eventually led him to Geffen Records. It's another week of Rock talk. Next week we're back on track with the Ontario Wine Industry!

Today we skip the Grapes and go directly to the Rock. Former record exec from Capitol Records, Steve Meyer, speaks with me about the great Al Coury, Vice President of Capitol Records, co-fouder of RSO Records, and founder of Network Records that eventually led him to Geffen Records. Al worked with everyone from Frank Sinatra to Guns'N'Roses - who else can claim that?? 

In this episode, we're delighted to talk with industry legend, Thom Panunzio. Getting his start as an assistant at NYC's Record Plant, Thom went on to work in every facet of the music business. He's produced, mixed, and engineered albums for Tom Petty, Bob Dylan, Joan Jett, Ozzy Osbourne, Bruce Springsteen, Patti Smith, Alice Cooper, and Aerosmith just to name a few. He helped design The Hit Factory in NYC, A&M Studios in LA, and the Thom Thom Club in Santa Monica, and was the Executive VP for Universal Music and head of A&R at Geffen Records for many years. Thom talks with John and Stewart about his time on staff at the Record Plant, his favorite mixing desks, his reluctant entrance into the world of A&R,  and how the industry and technology has changed over the course of his almost 50 year career. 

Frank Monteleone boasts a remarkable 17-year journey as a creative producer. His production career took root in Off-Broadway theater, and in 2005, he founded Full Armor Films, a dynamic development and production company based in New Orleans. Full Armor Films has provided production services to esteemed clients like ESPN, Geffen Records, and L'Oréal, along with post-production services for industry giants like Warner Bros. and Relativity Media. Frank has elevated Full Armor Films into a burgeoning development hub dedicated to film and television.  Presently, Frank is executive producing the films "Barron's Cove,” starring Brittany Snow and Garrett Hedlund, "Fog of War," starring Mira Sorvino and John Cusack, and is in production for one of the only Louisiana-based independent films to obtain a SAG-AFTRA interim agreement during the strike titled, "Average Joe." Pre-production began July 2023, and principal photography begins October 2, 2023.  Frank is a family member and partial co-owner of the legendary luxury Hotel Monteleone in the French Quarter of New Orleans. Combining his love for both the hotel and filmmaking, Full Armor Films is currently in development for a project surrounding the hotel. Frank's notable acting credits include the Warner Bros. feature film "Focus," where he shared the screen with Will Smith, the Marvel series "Cloak & Dagger," and the compelling legal drama "Bull" on CBS. His versatility is evident in a spectrum of roles, from the brooding drama of "The Secrets We Keep" to the intense "Lonewolf: Manhunt" on CBS, as well as a recurring role on OWN's highly acclaimed "Queen Sugar." In 2022, he also graced the screen alongside Terrence Howard and Malcolm McDowell in the period drama "The Walk."  His co-creation and production of the series "AVENUES," licensed by Lionsgate and currently available on Tubi, stands as a testament to his creative vision. Notable projects also include the award-winning documentary "Hotel Al," which aired on PBS, and the recently released feature film "American Reject," featuring talents such as Annaleigh Ashford, Billy Ray Cyrus, and his wife, Kathleen Elizabeth Monteleone. Want to watch: YouTube Meisterkhan Pod (Please Subscribe)

Barbra Streisand [00:20] "The Christmas Song" Seasons Greetings from Barbra Streisand... and Friends Columbia Special Products CSS 1075 1969 Babs takes things in a particularly saccharine direction, but I suppose not every version can be the Nat King Cole Trio. Rockpile [04:25] "Heart" Seconds of Pleasure Columbia JC 36886 1980 The iconic album from the band that until this point has backed solo efforts from Nick Lowe and Dave Edmunds knock it out of the park on their only release as Rockpile. Guitarist Billy Bremnar steps up to take the lead vocals on this snappy number. Pavement [07:00] "Frontwards" The Secret History, Volume 1 (1990-1992) Matador OLE-1064-1 2015 A compilation from a few years ago of early Pavement material. This one is a live version of one of my favorite Pavement songs, performed at Brixton Academy in London on December 14, 1992. Years later Los Campesinos! would win my musical heart with their version of this song (https://youtu.be/DnEa4ES7ep4?si=WeB_oCdOz73gNL0E). The Fresh & Onlys [10:21] "Do You Believe in Destiny" Secrets Walls Sacred Bones Records SBR-056 2011 Always love that big spacey sound Wymond Miles brings with his guitar. Peter Gabriel [14:53] "Shock the Monkey" Security Geffen Records XGHS 2011 1982 If you ask Peter Gabriel what this album is titled, he will likely say "Peter Gabriel", like his previous 3 solo efforts. If you ask Geffen Records what this album is called, they will say "Security". The more you know. The Seeds [20:16] "Can't Seem to Make You Mine" The Seeds GNP Crescendo GNP 2023 1966 A top notch side 1, track 1 from these garage rock progenitors featuring the one and only Sky Saxon (https://www.youtube.com/watch?v=HQWVHvjdfZw). Eigenlicht [23:19] "There Lies Already the Shadow of Annihilation" Self-Annihilating Consciousness Gilead Media Relic94 2018 Blackened metal from up Olympia WA way. A brief intro into this epic album. If it sounds like something that you might be interested in, definitely check out this release. The Who [25:13] "Odorono/Tattoo" Sell Out Decca DL 74950 1967 The third studio album from The Who and easily my favorite Who album. I made this one a twofer to give you, the listener, a better feel for the album. Bernard Gunther [33:08] "Face Slapping" Sensory Awakening: Relaxation Esalen Institute 1968 Evidently there is a follow-up record for this... Sensory Awakening: Couples. Yowza. Mitch Miller and the Gang [35:32] "Singin' in the Rain/All I Do Is Dream of You/Toot, Toot, Tootsie! (Goodbye)" Sentimental Sing Along with Mitch Columbia CS 8251 1960 Not sure about the last part of that medley, but the first two are solid selections from the titular film. Luna [38:57] "(Walkin' Thru' the) Sleepy City" A Sentimental Education Double Feature Records LP-DBL-0013 2017 A fine collection of covers from one of my favorite bands. This Jagger/Richards number orignally appeared on the Stones compilation album Metamorphosis (https://youtu.be/fRDtVsAvM-8?si=wyGkrescNCIU4vWd). The Parting Gifts also do a great Spector-esque cover (https://youtu.be/P903W_tJNi0?si=Fyw8WEIcJidDI4Ga). Frank Sinatra [42:42] "September Song" September of My Years Reprise Records FS 1014 1965 Frank handles this Weill number pretty well. For my money, the Lou Reed version (https://youtu.be/dHVqWRxpqXk?si=Jop71rSbI5jTlzXF) that appears on the Hal Willner project "September Song: The Music of Kurt Weill". Serana-Maneesh [48:22] "Drain Cosmetics" Serena-Maneesh Playlouderecordings PLAYR 4LP 2006 Another great side one, track one. Some mid-aighties shoegaze goodness out of Norway. Saw them perform an amazing at the Bottom of the Hill on this tour. Kermit the Frog [52:03] "Green" The Sesame Street Record Columbia CR 21530 1970 Sing it,œœ Kermie. Rosanne Cash [54:27] "Seven Year Ache" Seven Year Ache Columbia JC 36965 1981 This song has been stuck in my brain since it was first released, due in large part due to the synth lines courtesy of Booker T Jones. This was a number one album on the country charts for Rosanne, and made it to number 26 on the Billboard 200 that year. _Music behind the DJ: "Make the World Go Away" by Lawrence Welk

Actor Frank Monteleone Interview | The Rising Tide of NOLA Hollywood Filmmaking at the Intersection of Faith Frank Monteleone boasts a remarkable 17-year journey as a creative producer. His production career took root in Off-Broadway theater, and in 2005, he founded Full Armor Films, a dynamic development and production company based in New Orleans. Full Armor Films has provided production services to esteemed clients like ESPN, Geffen Records, and L'Oréal, along with post-production services for industry giants like Warner Bros. and Relativity Media. Frank has elevated Full Armor Films into a burgeoning development hub dedicated to film and television.    Presently, Frank is executive producing the films "Barron's Cove,” starring Brittany Snow and Garrett Hedlund, "Fog of War," starring Mira Sorvino and John Cusack, and is in production for one of the only Louisiana-based independent films to obtain a SAG-AFTRA interim agreement during the strike titled, "Average Joe." Pre-production began July 2023, and principal photography begins October 2, 2023.    Frank is a family member and partial co-owner of the legendary luxury Hotel Monteleone in the French Quarter of New Orleans. Combining his love for both the hotel and filmmaking, Full Armor Films is currently in development for a project surrounding the hotel.   As a New Orleans native, he is leading the charge in establishing a multifaceted studio and production facility in the heart of New Orleans, partnering with industry stalwarts Wolper Organization and Keller Williams. Frank hopes to continue to stimulate the New Orleans economy by keeping production in New Orleans, as well as attracting other independent filmmakers to the burgeoning local creative community by lowering the bar for entry, including campaigning for tax credits. He is at the helm of working with the city to develop a property to include a school, training facility for film, operational studio, and sound stages run by students.   Connect with us on our website for more amazing conversations! www.brettallanshow.com Got some feedback? Let us know! openmicguest@gmail.com Follow us on social media! IG https://www.instagram.com/brettallanshow/ FB https://www.facebook.com/thebrettallanshow/ Twitter https://twitter.com/brettallanshow Consider giving us a kind rating and review on Apple Podcasts! https://podcasts.apple.com/us/podcast/id1486122533?mt=2&ls=1 Learn more about your ad choices. Visit megaphone.fm/adchoices

Appetite for Destruction (1987) es el álbum debut de la banda estadounidense de hard rock Guns N' Roses, fue publicado por la compañía discográfica Geffen Records el 21 de julio de 1987, tras su autoeditado Live ?!*@ Like a Suicide. Alcanzó el éxito masivo en todo el mundo de forma explosiva posterior a su lanzamiento. Asimismo, Appetite for Destruction es el álbum debut más vendido en toda la historia musical, con más de 30 millones de copias vendidas en todo el mundo.

Join showbiz visionaries Walid and Kavita as they celebrate a milestone in Kavita's daughter Lara Raj's career: her music debut as a key member of the new global girl group, KATSEYE, formed through Geffen Records in collaboration with HYBE x Universal Music Group for 'The Debut: Dream Academy.' Lara joins talents including Manon, Sophia, Daniela, Megan, and Yoonchae.The rigorous journey to KATSEYE involved a year-long boot camp akin to K-Pop industry standards, followed by 2 and a half months of performance missions, narrowing 20 girls down to the final 6 based on public votes. Witness Lara's journey from social media discovery to intensive training in Hollywood and South Korea, leading to her inclusion in KATSEYE. Experience the behind-the-scenes process required to become the next pop sensation.In pop culture, Walid updates Kavita on the resolution of the SAG Strike, awaiting approval from SAG members, signaling the end of the strike period.WATCH THIS EPISODE:youtube.com/@LightsCameraConversationFOLLOW US AND LET'S CHAT:instagram.com/lightscameraconversationtiktok.com/@lightscameraconversationDISCLAIMER: The content in this podcast episode is provided for general informational purposes only. By listening to our episode, you understand that no information contained in this episode should be construed as advice from LIGHTS CAMERA CONVERSATION (LCC) or the individual author, hosts, or guests, nor is it intended to be a substitute for research on any subject matter. Reference to any specific product or entity does not constitute an endorsement or recommendation by LCC. The views expressed by guests are their own and their appearance on the program does not imply an endorsement of them or any entity they represent. LCC expressly disclaims any and all liability or responsibility for any direct, indirect, incidental, special, consequential or other damages arising out of any individual's use of, reference to, or inability to use this podcast or the information we presented in this podcast.

On this episode, McIntyre talks with one of the presenters for the Echoes of Creation Conference, Michael Mani. Michael J Mani is a Grammy Award Winning Composer and Record Producer. Classically trained as a pianist, his career began in San Francisco working with multi platinum music producers Walter Afanasief and Narada Michael Walden. Mani excelled at song production and composition and was soon working with top artists such as  Mariah Carey and Whitney Houston. He continued to climb the ladder of the Bay Area music session scene and rose to the top of the commercial composition scoring market, working with top ad agencies and video game developers such as  Foot Cone and Belding,  Sega and EA Sports.   In early 2000 he collaborated with SANTANA and won a Grammy Award for his work on the SuperNatural Album featuring Eric Clapton. Mani then discovered  young singing sensation Tori Kelly and signed her to a record deal with Geffen Records.   This led to him moving  to Los Angeles and a publishing deal with EMI Music.He quickly excelled as  an in house writer / producer, which led to collaborations with with top artists  such as J-Lo, Kesha, Tech N9NE, SANTANA, Lady Gaga,  Tori Kelly and The Backstreet Boys. In 2015 he started The JAM Studios in North Hollywood.  It was here he discovered  and started developing latin singing / rapping sensation Becky G!  He was able to secure  a record deal for her and production deal with RCA Records and super  producer Dr Luke. Today Becky G has grown to become the top female latin Artist in the world surpassing 3 billion streams and downloads! Mani is currently living in Los Angeles and continues to be in high demand for his album production mastery, and expertise penning top compositions and scores for TV and Film. Check out more about Michael Mani at: https://mikemani.com/     Please send us any questions or comments about this episode to info@themichaelmcintyre.com. We'd love to hear from you.   Get your tickets for The Echoes of Creation Conference: https://echoesofcreation.life/   You can register for McIntyre's Next Level Life and Next Level Experience by visiting https://themichaelmcintyre.com/   Sing up now for your MBA: http://go.themichaelmcintyre.com/mba/     Check out the trailer for the first MBA Productions' ACCELERATOR: https://vimeo.com/user103164344/review/810986162/e8a07b3630   Get your copy of McIntyre latest book, NEXT LEVEL LIFE.   Check out the other shows from KB PODCAST PRODUCTIONS: Kingdom Bringer Podcast with Darin Eubanks Super-Natural Living with Beth Packard Cindy Stewart Podcast Kingdom Master Mind Podcast with Ann McDonald Fan the Flame Podcast with Scott Tilley   Podcast music from HOOKSOUNDS.COM

Don't tell my guest from Episode No. 29 (as he is a hater through and through), but -- but -- it's the Tony Gonzalez episode!That' right. Rollin' along towards the big podcasting c-note, here we are at Episode No. 88, and I couldn't be more stoked to say that my guest is none other than the esteemed three-peat-appearance, Sammy Sanchez.The first time Sammy joined the podcast (Episode No. 44), we ran through a few of his favorite albums; the second time around (20 episodes later), we devoured the Tom Waits library.I asked Sammy back for a third time, and the catalog we landed on was none other than that of Mr. Beckenstein McBeck-McHugh. Or, as some folks refer to him: Beck.And what a treat it was!Neither of us liked some things. Both of us liked a considerable amount. And we differed a bit on favorites and deplorables.Ric Ocasek voice "If you're curious..." here're those albums:Golden Feelings (1994)Stereopathic Soulmanure (1994)Mellow Gold (1994)One Foot in the Grave (1994)Odelay (1996)Mutations (1998)Midnite Vultures (1999)Sea Change (2002)Guero (2005)The Information (2006)Modern Guilt (2008)Morning Phase (2014)Colors (2017)Hyperspace (2019)Aside from Beck's studio work, we talked music-listening habits, YouTubers, social-media platforms, and we of course took a healthy King Gizzard & the Lizard Wizard detour.It was great fun to chat, and a good visit as always with Mr. Sanchez.copyright disclaimer: The audio samples in this episode are not mine. They are from a tune called, "Broken Drum" off of Beck's 2005 effort, Guero, c/o Geffen Records.

Chris Gates joins us on the show to talk about his role playing with Austin Texas punk legends Big Boys, whose influential legacy lives on to this day. We also talk the short lived but very cool band Poison 13, and get into the buzz that got Junkyard signed to Geffen Records. Music The Charms "So Pretty"(theme song) Big Boys "Fun Fun Fun" Big Boys "Advice" Big Boys "Funk Off" Produced and Hosted by Steev Riccardo twistedrico@gmail.com Support the podcast: patreon.com/twistedrico #BigBoys

Loren Molinare started his rock n roll journey in Lansing Michigan in the early 70's and has been going hard ever since. Trials and tribulations, ups and downs, deals that came and went, but the perseverance has kept the rock n roll dream alive. Although there are other bands named The Dogs, the one that was there at the beginning of punk rock was the one from Lansing and their story is not done yet. Loren was part of the big deal Little Caesar got from Geffen Records in the late 80's that didn't end well, but still brings the blues infused rock with his comrades in that unit as well. More recently, he finds himself playing with the rejuvenated Cruzados, who have deep LA roots with their own brand of Motorcycle Rock. Its a great story, one you want to listen to... Music The Charms "So Pretty"(theme song) The Dogs w/ Frank Meyer "Under The Coast" The Dogs "Slash Your Face" Contact: Steev Riccardo twistedrico@gmail.com Support the podcast: patreon.com/twistedrico  #Thedogs #LittelCaesar #Cruzados

This talented songwriter signed to Geffen Records as a senior in high school, and has headlined Red Rocks.

The Crush from John Hiatt's Warming up to the Ice Age released in 1985, his last album on Geffen Records. Learn more about your ad choices. Visit megaphone.fm/adchoices

In this episode, John joins Dom Harrison, a.k.a. YUNGBLUD and producer Mati Schwartz to talk about how they wrote, recorded and produced Dom's debut album, ‘21st Century Liability'. Digging into the very first tracks that the pair worked on together, Dom and Mati share the story of how their relationship began, looking back at the early rejection and tough love moment that kicked Dom into action, and forming the Yungblud sound as we know it today. As well as talking through the evolution of his tracks, including playing unheard sections and old vocal takes, we're treated to thoughts on the importance of individuality in music, and the huge impact that comes with really knowing what you want to say. Listen to find out one of the best excuses for buying more guitars, how simple hi-hats can make a song bounce, and what happens when you bump into Chris Martin naked in a steam room.  Tracks discussed: I Love You Will You Marry Me, Anarchist, Polygraph Eyes,  LINKS TO EVERYTHING TAPE NOTES   linktr.ee/tapenotes  Listen to ‘21st Century Liability' here. Locomotion Recordings, Geffen Records, Interscope Intro Music - Sunshine Buddy, Laurel Collective GEAR MENTIONS Waves CLA Vocals UAD Compressors Logic Compressor Addictive Drums Gibson B25 1964 Fender Strat 1963 Martin Guitars OUR GEAR https://linktr.ee/tapenotes_ourgear HELP SUPPORT THE SHOW If you'd like to help support the show you can donate as little or as much as you'd like here, (we really appreciate your contributions :)  Donate Or you can join us on Patreon, where among many things you can access full length videos of most new episodes, ad-free episodes and detailed gear list breakdowns. KEEP UP TO DATE For behind the scenes photos and the latest updates, make sure to follow us on:  Instagram: @tapenotes  Twitter: @tapenotes  Facebook: @tapenotespodcast   YouTube: Tape Notes Podcast Discord: Tape Notes Patreon: Tape Notes To let us know the artists you'd like to hear, Tweet us, slide into our DMs, send us an email or even a letter. We'd love to hear!  Visit our website to join our mailing list: www.tapenotes.co.uk TAPE NOTES TEAM Will Brown - Executive Producer, Engineer & Editor Tim Adam-Smith - Executive Producer Will Lyons - Editor Videographer - Herbie Elton-Rowley Guy Nicholls - Production Assistant Learn more about your ad choices. Visit megaphone.fm/adchoices

Today my guest is Rhonda Christensen!  Rhonda dives into her career as a Record Rep for Geffen Records.  She has promoted for every genra known to man!  Rhonda worked with Miranda Lambert on her first album, Beck, Counting Crows...the list goes on!  After many years of hard work and dedication, Rhonda also talks about how she made the big decision to retire from the music world and start her own personal training business!  Rhonda also loves the beach & fashion...and we couldn't help but to take a quick trip to Hawaii where she tells us a funny beach story!  We get Wicked Salty!  Follow Rhonda @workoutrhonda on Instagram, Rhonda Christensen on Facebook & rcpersonalfitness.com Follow Jen @wickedsaltylife on Instagram & Facebook, and wickedsalty.com       

Christina (Rood) Calio - Co-Founder Co-Founder Popins  Go to www.thejasoncavnessexperience.com for the full episode and other episodes of The Jason Cavness Experience on your favorite platforms.  Sponsor CavnessHR delivers HR companies with 49 or fewer people with our HR platform and by providing you access to your own HRBP.  www.CavnessHR.com Christina's Bio Christina lives in Seattle with her husband, artist Joie Calio (7Horse, dada). They have two daughters, living in Seattle and Los Angeles. A graduate of the University of Washington, Christina started her career in LA leading international marketing and sales at Geffen Records from 1986-2000, touring with bands from Guns N' Roses to Nirvana. In 2000 she took a position at Microsoft leading music business development first at Windows and then at MSN, Zune, and Xbox as the music industry transitioned from a physical music business (CDs) to digital (MP3s). In 2017-2018 she left Microsoft to found Calio Music, advising businesses and artists at the intersection of music and technology; and worked at Fender to launch Fender Play, a subscription for online guitar lessons. Today, she is the Co-Founder of AR/VR startup Popins www.popins.io and supports three non-profits in Seattle  We talked about the following and other items Popins The Music Industry Entrepreneurship Non Profits  Christina's Social Media Christina's Linkedin: https://www.linkedin.com/in/christinacalio/ Christina's Instagram: https://www.instagram.com/christinamcalio/ Christina's Twitter: https://twitter.com/ccalio  Christina's FB: https://www.facebook.com/christina.calio Christina's Email: Email: christina@popins.io Company Website: www.popins.io Company Instagram: https://www.instagram.com/popinsdotio/ Company Twitter: https://twitter.com/popinsdotio/ Christina's Advice  I would say just keep going and keep a sense of humor. There are a lot of sticky situations that we all find each other in and someone told me once, I think it was wedding advice. Try to find something to laugh about. That and music, don't forget music if you're down.

In the 1990s, Interscope Records played by its own rules. Most new labels started with big stars, but Interscope had a clean slate. Most labels were scared of rap music, but Interscope leaned in. Co-founded by Jimmy Iovine, a producer, and Ted Field, a film producer, people questioned whether they had the chops to make it.The label has had a hand in some of the most memorable music moments like Death Row Records, the rise of Eminem, and the creation of Beats by Dre headphones. To break down Interscope's success, I brought back Zack O'Malley Greenberg. His book, “Three Kings,” covered Interscope's story. Together, we unpack what's made Interscope such a long-standing player in the music industry.[0:53] The most successful individual label of the past 30 years?[2:40] Key figures in Interscope's come-up story[6:57] Nontraditional way to build a record label [11:07] Death Row Records partnership [16:44] Biggest signing? [19:14] Best business move?[28:07] Darkhorse business move? [33:21] Where will Interscope be in 10 years [36:07] Would Interscope's 90s approach work today?[43:39] Interscope's entrepreneurial challenges today [50:36] Biggest winner in Interscope history?Listen: Apple Podcasts | Spotify | SoundCloud | Stitcher | Overcast | Amazon | Google Podcasts | Pocket Casts | RSSHost: Dan Runcie, @RuncieDan, trapital.coGuests: Zack O'Malley Greenburg, @zogblogThis episode is sponsored by DICE. Learn more about why artists, venues, and promoters love to partner with DICE for their ticketing needs. Visit dice.fmEnjoy this podcast? Rate and review the podcast here! ratethispodcast.com/trapitalTrapital is home for the business of music, media and culture. Learn more by reading Trapital's free memo.TRANSCRIPT[00:00:00] Dan Runcie Intro: Hey, welcome to the Trapital Podcast. I'm your host and the founder of Trapital, Dan Runcie. This podcast is your place to gain insights from the executives in music, media, entertainment, and more, who are taking hip hop culture to the next level.[00:00:27] Dan Runcie Guest Intro: Today's episode is all about Interscope Records. It has been one of the most influential record labels since it was started in 1990. This record label has been home to Dr. Dre, Eminem, 50 Cent, Lady Gaga, Olivia, Rodrigo, and countless other names in between. So we talked about what made Death Row records wanna partner with a company like Interscope and what made Interscope succeed time and time again. So we talk about the business model of being able to sell controversy and why that worked well, especially in the 90s. We also talk about leadership and how important it is to have people at the helm that understand what's needed and how that continued to help Interscope time and time again.We also talk about some of the challenges that Interscope has had and how they're able to navigate that too. And in this episode, very similar to the Cash Money one that we did a couple months ago, Zach and I, that's Zach O'Malley Greenberg, you may know him from his work back when he was at Forbes as the entertainment editor there.And from the books he's written like Three Kings and Empire State of Mind. We talked about a number of things and answered several questions that we talked about in the Cash Money episode as well. What was the biggest signing? What were the best business moves that were made? What was the Dark Horse move?What are the missed opportunities? How did this record label handle transitions? And who is the biggest winner overall from the success of Interscope Records, which is now Interscope Geffen A and M today, one of the umbrella labels under Universal Music Group. This is a really fun episode to do, and we're gonna do more of them.So let us also know if you have any suggestions on other ones you want us to do at the end of the episode, and we'll go from there. Here's our breakdown on Interscope Records. Hope you enjoy it.[00:02:13] Dan Runcie: This episode is a breakdown on one of the most storied record labels of the past few decades, Interscope Records and we're back to break it down with my guy, Zach O'Malley Greenberg. Zach, welcome back, man. [00:02:24] Zack Greenburg: Thanks for having me, as always. [00:02:27] Dan Runcie: Yeah, I knew that this was a topic that was near and dear to you, given the work you covered in the spaces.Well, this is one of the more interesting record labels, but following their work for years. And just to just kick things off, this record label starts 1990, right at the beginning of a new wave for music and since it's come out, would you say that this is the most successful record label, individual record label that we've seen in music since then?[00:02:52] Zack Greenburg: I mean, it's certainly hard to think of another one, that's been more reliably at the top, right? I mean, and I think the thing that really sets Interscope apart is it's not like, you know, the label was made off of just one act or two acts or three acts. They just have a, track record of continuing to find, you know, artists that push the envelope, that, you know, break records and that end up at the top of the music scene and, you know, kind of across genres and eras too.So, you know, and really even across, chief executives, which is I think, pretty unusual. So, I think there's some kind of secret sauce in there and, can't wait to dig into it with you.[00:03:27] Dan Runcie: Yeah, I think it. In terms of the longevity, in terms of the phases they've gone through, whether it's dominating in hip hop, dominating in pop, dominating in rock, they've been able to do it across genres across decades. The one record label that I do think could also be worth mentioning in this respect is Republic Records started a few years after 1995, but I think there's a few things there too as well.The consistency and the ability to do consistent deals, win challenging Bit Wars and get some of the top artists. So I do think it would probably have to be one of those two. But from a timeframe perspective, just all of what Interscope was able to do even before things got started at Republic, do give them a edge.If we're talking past 25 years, that's probably another discussion, but past 30, 32 years, I think Interscope is probably there. I think there's also maybe a case to be made for Columbia or a case to be made for Atlantic as well, but I do think that Interscope, especially just with the way that they went about things a little differently, which we'll get into, but I feel like they have a strong advantage there. [00:04:33] Zack Greenburg: Yeah, for sure. And I think, you know, particularly when it comes to the sort of entrepreneurial spirit, you know, and we've talked about Cash Money and Def Jam and you know, Rockefeller certainly, hip hop, specific record labels that have been uniquely, entrepreneurial, you know, especially given some of their leadership, but like, I think for a label that, you know, kind of delves into pop so much.And of course Interscope obviously, you know, huge home for hip hop too. But to have that entrepreneurial streak, outside of it, mostly hip hop label. I think that's pretty unusual too in some of the things they've done around beats, which we can get into. you know, j just, you know, being almost, you know, like a venture fund or an incubator as much as a record label in some ways. I think that's another way that Interscope has been, you know, really different from the rest. [00:05:16] Dan Runcie: Yeah, for sure. That beats thing, we'll get into that one in a minute. I feel there's so much to dive into there but let's start with the quick backstory. I'm sure a lot of folks already know this, but there are three main figures that were involved with. The beginning of this record label. You have PBIV, you have Ted Fields, and you have John McLay so. Let's first start with Jimmy. So as many of you know, this was someone that was a record producer. It started as that worked with legendary artisan music, whether it was John Lennon, Springsteen, and several others. And with that, he was able to carve out a lane, figure out what works for him. And I know that now the jump from producer to executive may not seem like it's that much, but back in 89 ' 90', there were a lot of question marks around whether or not this record producer guy could run a business, could he be an executive, and make the decisions and call the shots?And there were a lot of things that Jimmy did that may seem conventional, but there were a lot that were seen unconventional. But I do think that him having the partnership with others helped craft Interscope to where it is today. And Ted Fields is one of those first, one of those people where the name comes from.So yeah. Zach, tell us a little bit about Ted and some of his [00:06:28] Zack Greenburg: work before. Yeah, I mean, you know, and it was, this was at this point, over 30 years ago, but, you know, I was five years old. But kind of looking back on it now, I mean, it seems to me the way these things go, like Ted Field was kind of the money guy. Jimmy was the industry guy and you know, Ted Field was one of the heirs of the Marshall Field Fortune, he had been involved in film production and like race cars and all kinds of things that heirs to Fortunes are option involved in, which are maybe not as lucrative as Interscope Records turned out to be. but interesting nonetheless, he was a producer on, revenge of the Nerds and some other really interesting films.but yeah. In 1990, he came along, basically thought of Interscope Records as its division of this film company. and he brought on, he teamed up with Jimmy. I think they were actually introduced by the manager of u2. and, David Geffen was sort of involved in negotiations along the way. And, it was like kind of a who's who of the music world, you know, at kind of the cusp of the 1990s there. And so he came in, he brought on John McClain, to run Interscope at first. So John McClain is like one of these people who's incredibly, he might be the most influential person in music who nobody's ever heard of. And, unless you know, you know, John McClain was, critical in Janet Jackson's success.he's also now become the co-executor of the Michael Jackson estate. you know, really since MJ died, along with John Branca, who's sort of the, public face of it, but, you know, John McClain, if you want to like, try to find a picture of John McClain. I mean, this guy is so, under the radar, but he's so deeply in the mix.I don't really know how he manages to avoid the spotlight quite as much as he does. But, you know, obviously contributes a ton, of expertise, and as a true power player behind the scenes in the music business. So, you know, you kind of, you kind of put that dream team together and then you have sort of the ingredients for, you know, the beginning of, what we now know as Interscope records. [00:08:18] Dan Runcie: Yeah, and I'm glad that you brought up Geffen earlier because when this started, a lot of people looked at Geffen as the model for what this could be, but also how Interscope went about things differently. Geffen's whole thing when he had started Geffen Records was who were the established artists that he could go after?Again, whether it was Elton John or a few other folks that they were able to really secure, because at the time, the thought was you wanna have the proven people on your roster because it's so hard to be able to build that from the ground up. So not only is Jimmy and the team already going into this from people that don't traditionally have strong music experience in terms of running a music company, at least in late eighties, early nineties, but you also have them try to do it completely with new artists and going in from a new perspective.And this was part of one of the things that I think helped set them apart because they lead into genres and aspects of genres that other folks avoided. So of course, in the early days of Interscope, they focused more so on rock music. That's what Jimmy was known for. And you had artists, I think their first hit was Ricoh Suave.They had had some stuff with Marky Mark and the Funky Bunch. So you started to see a little bit of more interesting ways to go about stuff. But then they also had Nine Inch Nails and Marilyn Manson. So you got a vibe for the fact that this wasn't just rock music. They were in many ways going after that shock value like what was the thing that was somewhat controversial, but there was the controversial stuff that did sell and was resonating and they were able to take risks that others weren't, and it worked out to their advantage.[00:09:58] Zack Greenburg: Absolutely. And you know, another executive, who deserves mention is Tom Whaley, who came over from, I think it was, he was at Capital and a and r there. And you know, he was the one who had originally signed Tupac, in I think 1991. So that was like way before Tupac was a mainstream success. He was really getting in early, you know, the seed round of Tupac, if you will. and [00:10:18] Dan Runcie: Digital underground era of Tupac. [00:10:21] Zack Greenburg: Yeah, exactly. So, you know, whereas maybe Geffen was more of like a series B kind of fund, you know, looking for series B and C, kind of sure things, you know, I think Interscope was really willing to get in there early and Right. They didn't really care if, somebody was controversial.And I think, I think Jimmy, I think that was part of his genius, was being able to tell like, you know, we shouldn't shy away from controversy. And in fact, you know, as, as long as it's. Not crossing certain lines. controversy can actually be good for a record label because it generates publicity and, you know, certainly as Jimmy got deeper and deeper in, you know, into the hip hop world, you know, I think, he followed that, strategy pretty closely. [00:11:03] Dan Runcie: Yeah. And I think this speaks to something that worked effectively in business in the nineties as well. There was almost this monetization of pearl clutching, if that makes sense. What is gonna make people actually be like, oh, did so-and-so just say that? And that's why MTV was able to reach heights in the late eighties and early nineties that VH1 necessarily didn't at the time.And that's why Interscope was able to do things, other labels weren't. And then I think similarly, you even look at gaming back in the day. You look at a company like Sega and the types of games they were willing to release on a council like the SEGA Genesis, they were taking risks that Nintendo didn't wanna take.And I think we actually saw Sony continue to do that. So I feel like there was this ethos of that in the nineties from the get-go, and Interscope was willing to go there where others weren't.[00:11:50] Zack Greenburg: Yeah, hundred percent. And, you know, I think it's, also just interesting to know that I think a lot of people look at the Tupac saga and they think about, you know, there's this whole, and we can get into this later, the whole Suge Knight and bailing him out of jail and all that.But, he was already in the Interscope, family, you know, years before that. So[00:12:06] Dan Runcie: Right. [00:12:07] Zack Greenburg: It all kind of comes together. [00:12:08] Dan Runcie: Oh, definitely. And I think with that it's time to talk about what are the most important things that does set the stage for this record label. In general, it's the partnership with Death Row records and signing them to the deal that they did. So it's funny because I think that when a lot of people think of hip hop artists signing deals and getting ownership, we often hear about cash money.We often hear about Master P and No Limit, but Death Row was able to do something quite similar and have that type of relationship with Interscope as well. It was a distribution deal, and for as notorious as Suge Knight is for his bully tactics, and that's probably a light way to put it in terms of how he goes about his business.He was very adamant about what they owned and they were able to use a few hundred thousand dollars investment on their end. Largely gotten from some money that, Suge Knight didn't get that he was owed from a vanilla ice steal and that that becomes a start to death row records. And they sat on the chronic for over a year until they found the right company. And the right company ended up being Interscope to partner with.[00:13:14] YT Clip 2: All I remember is that Dre came in, then plays the chronic. I said, who recorded this for you? He said, me. I said, wow. This guy will define Interscope. [00:13:24] Zack Greenburg: Yeah. and you know, I think that, you know, there's the old story of like, when Jimmy first heard Dre and Snoop together on a track, he's like, these guys are like Mick and Keith just, you know, they're just, just different genre but saw it immediately, right? He saw the, like behind the scenes musical guy, you know?and then the sort of like the forward facing storyteller, the performer. And, he saw formula that worked in rock and that would work in hip hop. And, I think in many ways, You know, Jimmy's genre agnostic, right? It didn't really matter that this was hip hop or that was rock.The point was the formula works and it works in whatever genre you put it forward in. So, at one of my other favorite Jimmy Stories was, I don't remember which song this was, what was it? It was, maybe it was off the chronic or doggy style and that he couldn't get the, radio stations to play it, because it was too obscene or whatever.And so, he just bought like 32nd or 62nd slots, or maybe he bought like, full three minute slots on drive time in LA just terrestrial radio and just played the song and people didn't realize that it was an ad, and they just, they loved the song and they started calling the radio stations requesting it, and that's how they rocketed it to the top.Which, do you remember what song it was? it's, not such, of course, the listeners are gonna be like, oh [00:14:41] Dan Runcie: someone's gonna come back and ping us about it. [00:14:44] Zack Greenburg: But I just, I love that story and it's, just like classic Jimmy Iovine, you know, you know, and it works. and I think also, you know, to your earlier point, like monetizing the pearl clutching, the best way to, get somebody to want something is to tell 'em they can't have it, right?I mean, so whoever's mom is like clutching their pearls, but the kid is like, wait a minute, my mom is freaking out and I can't have this record, like, what is this record that I can't have? Even if they didn't know what it was, you know? and I think in a funny way, like that era, you know, the whole parental advisory sticker, I mean, that became like, you know, like almost a badge of honor, [00:15:18] Dan Runcie: Oh yeah, I was a marketing employee at that point. [00:15:21] Zack Greenburg: Yeah, exactly. and you see that, know, obviously throughout music, but even, to draw parallels, with basketball, which as we get into talk about, beats by Dre, you know, I think there are a ton of them. But like one of the reasons that, Eric Jordan did so well early on was because they were like finding Jordan for wearing them.And this was a big story, you know, he was kind of like breaking the rules by wearing, cuz it, you know, the sneakers they had to be like white in the nba, white sneakers. We could only have a certain percentage with color on them. And like the Jordans were 50% red or something. And, this was like a big problem and, you know, resulting in fines.But Nike decided to just pay the fines and take the publicity. And I think that sort of attitude is, the one that was, you know, adopted by Jimmy and, you know, by Interscope more broadly throughout. [00:16:04] Dan Runcie: Yeah, great story. And I think that speaks a lot to both the blessing and to be honest, in some ways the curse of, Jimmy, what Jimmy's great at, and some of Jimmy's challenges as well, because from a leadership perspective and from the risk taken perspective, he was always willing to go there and spend the money to make the things happen, right?Whether it was taking a less lucrative deal to work with Death Row because you're working with Death Row, what you're able to put out, right? Three other first four albums they put out are classics, you have the chronic, you have Doggy Style, you have the above the Rim soundtrack. They just came so strong.And even that moment when they're able to have that cover on vibe, that is just such an infamous cover of, you know, the three main artists and show together. No one else could really do that, and that's why that does stay as strong as it is. But with that, Jimmy also did get a lot of criticism for overspending and not necessarily having as many checks of balances in place.A lot of people felt that, you know Doug Morris, who, this was a little bit later, but Doug Morris, who was leading Universal at the time, pretty much gave him a green light to do a lot of the things he wanted to do. And I remember in the nineties he had side Tom Jones, which was in many ways a bit antithetical to like how he's been running the business so far to spend the money on an act like that.And then even some of the things later on with Apple Music, and I mean, that's a whole nother conversation, but it's the way that the money was spent, worked well when it worked well. But then things don't work out, everyone has, you know, the criticism ready and some, some businesses that can work well, but in other businesses it can be a little bit challenging.[00:17:47] Zack Greenburg: Right. Yeah. absolutely. And, you know, I think as with many businesses though, if you spend a lot of money and you spend it, you know, intelligently or at least you know, in the right direction, maybe you overspend a little bit. If you spend in the right direction, you know, the rewards accrue to you.And, you know, I don't know if I'm getting too ahead of myself here, but. Just while we're on the topic of controversy, you know, just the whole corporate history of Interscope, it had started off as a, or it eventually was a joint venture between, Time Warner and then Field and Iovine.And in 1995, after all this controversy, with some of the lyrics and, you know, Dolores Tucker, you know, and all this T ime Warner divested, sold it's half of the company to field an Ivy for 150 million bucks. And then year later they just turned around and sold that half for 200 million back to Seagram.And, you know, so they made a tidy little $75, 85 million in like a year, you know, after, having their hand force by this controversy. So, it's just kind of funny how that all works out. [00:18:47] Dan Runcie: Yeah, no, I'm glad you brought that up. But I think we could get into some of the categories now cuz some of this probably fits there with that too. At least, I'd say the biggest signing here, I think the biggest signing, there's a number of them in Interscopes, 30 plus year history, but I think it has to be this Death Row deal.[00:19:02] Zack Greenburg: I think the death row deal, because it kind of paves the way for everybody else. But, I would say though, if there were a single artist that, you know, sort of, if you had to pick one artist to define Interscope, I'd probably go with Eminem. I mean, just in terms of like the overall, the controversy, the evolution, the sales.I mean, you know, just, nobody can touch Eminem from a sales perspective. you know, certainly when it comes to hip hop, over the past, you know, couple decades and, you know, just, all of the, kind of, the good and the bad and everything that came together. I mean, you know, but that doesn't happen unless you have Death Row.It doesn't happen unless you have Dr. Dre. I mean, you know, if you say like, what artist was most critical to Interscope overall, like on a broader kind of like holistic spectrum, I'd probably go with Dre. but as far as assigning, I don't know. It'd be hard to top that in my book. [00:19:53] Dan Runcie: Yeah, I think Eminem is a good counter there because this is kind of like the cash money conversation we had then, right? Do you say that it's Lil Wayne or do you say it's Drake and it actually is Drake from a pure numbers perspective, but obviously Drake doesn't happen without Lil Wayne and the same thing as here with Dre and Eminem and then everything else there.And Eminem is specifically because I think even if you looked at the 2010s, he's still probably up there in terms of the most commercially successful artist. He's already number one of the two thousands. He was already pretty high up from the nineties just given the work that he did in the late two thousands and his. In 2022, his greatest Hits album was the most popular rap album in the UK. And this is a album that's 17 years old, a greatest hits album. And then you just look at the streaming numbers. I'm pretty sure he has two of the three most streamed songs of the two thousands being Lose Yourself and Till I Collapse, which wasn't even like a big single at the time, but ended up being a staple on workout playlist.So yeah, [00:20:57] Zack Greenburg: and he has remained relevant in a way. I mean, I think if you walk down the street and you ask the average, you know, 15 year old, they'll know who Eminem is and they might not know who Dr. Dre is. [00:21:08] Dan Runcie: Which is wild to say, right? [00:21:10] Zack Greenburg: I know, [00:21:11] Dan Runcie: Wild. Yeah, [00:21:12] Zack Greenburg: It's crazy, but I think but I think it 's also true, for better or worse, so, [00:21:17] Dan Runcie: What's the best business move in, Interscopes done?[00:21:20] Zack Greenburg: I think it might be cheating a little bit because it was part Interscope and it was also part Universal more broadly. but I would go with beats, right? Just, you know, by way of background for those who don't know the full story, you know, uh, Jimmy Iovine and Dr. Dre founded Beats in, gosh, what was it, 2008? Something like that. [00:21:36] Dan Runcie: Yep, 08' [00:21:37] Zack Greenburg: But like from the very beginning, you know, the story goes that they're like walking down the beach in Malibu and, Dre has some kind of sneaker deal on the table and he says, you know, Jimmy, should I take this sneaker deal?And Jimmy goes, you know, like, F sneakers, let's sell speakers. And so that's how Beats was born. Is that exactly how it went down, you know, we'll never know, but it's a great story. and You know, to kind of tie it back to what we were talking about earlier with Air Jordan, they really did follow the Air Jordan Playbook in a lot of ways.And, when I wrote my book Three Kings, which was about Dre, Diddy and Jay-Z, the Dre section really focused a lot about, you know, beats and sort of how Dre set up this business and everything with Jimmy. And, you know, I actually went to the former CEO of Best Buy and I said, how did you sort of like, get kids to pay 200 bucks for a pair of headphones when like, they had been paying 200 bucks for sneakers before?And he said, well, we very consciously told our salespeople, when somebody walks in, you've gotta tell them like, you know, you're competing with Jordan not Bose, you know, you're gonna tell that kid like you know, this headphones set is like, more interesting for your wardrobe than that pair of sneakers or, you know, like that's how you're gonna really kind of win and create a category, not just sort of become the, best player in an old category. And, I think that was like the brilliant thing that they did. But the way that they got it to happen was they got full buy-in from Interscope and from the parent company, universal.And actually Universal invested a pretty big chunk of money into Beats. so that, you know, I think gosh, I don't remember exactly what it was, but I think when Apple finally bought them out, in 2014, I think Jimmy and Dre had 25 to 30% each. I think Universal had something like 20%. LeBron had a little bit and, will I am, but, you know, the fact that Universal was bought in, the Interscope was bought in, and that Jimmy was able to get them to put, beats headphones in like every single, I don't remember if it was Interscope video or all universal videos. I think it might've just been Interscope. [00:23:33] Dan Runcie: Yeah, they had 'em in Ineterscope cuz like they had 'em in like Gaga videos and like she would wear them and stuff. [00:23:39] Zack Greenburg: Yeah. And it's like, it's brilliant. Like what a brilliant move. So, you know, off of the two, that, whatever they put into it, intermediate, a lot of that was free, right? They just put in, you know, their own free product placement. They have to do anything and they help build this, you know, build beats into this $3 billion company.and so, you know, I, I don't know how the pie sort of divided, but it ended up being, you know, worth hundreds and hundreds of millions of dollars, to the sort of universal Interscope family. And then, you know, also, you know, hundreds and hundreds of millions of dollars for Jimmy and Dre.So, there are a lot of great signings. I'm sure they made a ton of money off of Eminem and all these other artists, but like, it's really hard to top that one. And, they just really knew how to do it. They really knew how to, I mean, Jimmy, you know, yeah. Again, it's a perfect partnership.Dre is this perfectionist artist and Jimmy is the market critter. And I remember, man, it must have been like 2010 or 2011, I got invited to this like launch of some new Beats thing, for New York media only. And, you know, there were like 30 people there and it was Jimmy and Dre and they were kind of like standing around in this, big conference room.And, you know, Jimmy was just like talking and yacking it up and telling stories and he told the story about the walking down the beach and, you know, sneakers or speakers and Dre's just kind of nodding and, you know, chiming in occasionally, but like, that was their deal. you know, Jimmy, Jimmy was the talker and Andre was the, you know, the, the quiet genius artist.and that was a pretty potent formula. [00:25:10] Dan Runcie: Yeah, that was my answer too. Beats has to be the best deal. All the reasons you mentioned as well. They also saw a huge opportunity with speakers as well because at this point, the predominant way that so many people were listening to music were those cheap white iPhone headphones or the iPod headphones, I should say, at the time that people were listening to.And I remember Jimmy was adamant about how poor the sound quality was coming out of them, especially given how much focus there was in the nineties around surround sound and both speakers and all this stuff. And sound shifted to these very cheap plastic headphones that just came for free in the iPod, cases.So them putting a bit more money into the technology there. Granted, there were other companies that did come through and really expand further, and that's how we're able to have products like the AirPod Pro Maxes, which are now several hundred dollars more than beets ever were because beets was considered to be expensive at that point.And now people will buy those like it's nothing the same way that people will buy Yeezys. Like it's nothing. So that other point about category creation, not just building within an existing area was key there.[00:26:20] Zack Greenburg: Yeah. And I think it's also worth noting, you know, Jimmy clearly looked up to Steve Jobs a lot and, you know, took cues from Steve Jobs creating the iPod, right? I mean, that was a very, like, he created the iPod. It was a music thing that helped basically revive apple and, and get it on the track that it is today.And you know, there, I don't think there's an iPhone if there's no iPod, but, you know, how did they get the iPod to be so sexy? It was like, It was those YouTube U2 commercials with the like, hello, hello to place golf to go, you know, and everybody was dancing and, and the crappy white, you know, earbuds with the, you know, chords and everything.you know, that was like, that was a creation of a category. And you know, I think that Jimmy looked at that and he thought, gosh, you know, I could do something like that. And I think he always thought it would be a great fit for Apple but Steve Jobs, you know, while he was alive, I think he kind of thought he could do it all himself, and he didn't really want to be involved in, you know, in that side of the business.So I think it's why, it wasn't until after Steve was gone that, you know, Apple came in and, and bought beats. But yeah, I remember reporting on that deal when it happened and happened at the worst. I was like, I had just gotten on a flight to like go to Italy for vacation with my wife.and I woke up at 7:00 AM and we landed or whatever, and I had like 70 texts and it, you know, it was like be, while I was over the Atlantic Ocean Beats, had gotten sold to Apple. And that, video came out with Dre saying how he was, you know, the new king of the Forbes list.And, [00:27:54] YT Clip 1: The Forbes list just changed. They need, Hey, it came out like two weeks ago. They need to update the Forbes list, shit just changed in a big what? Oh my understand that. Oh my. The first billionaire in hip hop.Right here from the motherfucking West Coast. Believe it. Oh. [00:28:11] Zack Greenburg: and so I just said to my wife, I was like, honey, we're gonna have to hang out in this airport for a little while before we started our vacation. I was like, you know, trying to put together a story and figure out what happened. but I think that one of the things that people talked about, you know, and at the time everybody's like, that's a crazy amount of money, you know how, you know how like Apple never spends money like this, you know, what's the deal? But a lot of the scuttlebutt was that they kind of like viewed Jimmy and Dre as, you know, maybe not like a replacement Steve Jobs, but almost like a piece of the Steve Jobs Voltron that they were gonna try to recreate, you know, like Tim Cook would, you know, the, would be the brain and the like, Dre and Jimmy would be the heart and somebody else would be the, I don't know, like something like that.They would piece it back together and get these little aspects of Steve and that they thought that Jimmy and Dre could really help out on the marketing side of it. and, you know, I don't know, I know that they had kind of like, there was a period of a few years where they were getting paid to hang around and, do stuff.And, you know, they did some, I think they did some more commercials, promotion, that kind of thing. But I never got the sense that they really were like, all right, you know, apple for life. And I think they kind of just, the thing ran its course, and, you know, they, took the last bit of their cash and off they went to do the next thing but it was interesting at least. that a lot of people really thought that that was kind of like part of the reason why, the deal was for such a big number, you know, that it was almost like an acquihire type of situation. [00:29:36] Dan Runcie: Right, and the other big piece of it was the streaming service that they had created at the time. And Apple wanted to get into streaming. They didn't have a streaming service. They were starting to develop one. So Beats music eventually became Apple Music, and then that's how Jimmy became so integral with [00:29:52] Zack Greenburg: And, I think even by that point, beats already had some really interesting people, I think like t Trenton Resner and so forth who were like deeply involved with it. And I think, you know, part of that was appealing to Apple too. that they felt that, you know, not just that the product existed, but that it, you know, that, the people existed who could kind of like grow it within Apple and, you know, eventually turn it into, into, iTunes like, you know, Apple Music and so forth.[00:30:17] Dan Runcie: Right, which speaks to that partnership in Jimmy's connections, right? He had been working with trend since the nine Inch Nails days. So yeah, all comes full circle. what do you think is the dark horse move or the dark horse thing that Interscope has that doesn't get talked about as much? So mine for this, I actually think it's the longevity that they've had with leadership there because I think that other record labels, this gets talked about a fair amount, but, and it's true for auto scope, I feel like it just doesn't get talked about in that same way.So since 1990, there's been two people that have been the head of it. So you had. Jimmy from what, 89 or 90, the founding until 2014, and then John Janick takes over and he's been there for almost a decade. And then if not more, if you just consider, you know, I think the total time working in the organization.So that's like you think about other organizations too, whether. You look at a team like the Pittsburgh Steelers, there've been two head coaches there since the early nineties. You look at the Green Bay Packers, there's been two quarterbacks that they've had as starters since the early nineties, and those teams have been consistently competitive and you rarely see them getting the first round or the number one draft pick.I think like Mike Tomlin hasn't had a losing season, and in some ways I kind of think about Interscope in that way. Yeah, sure. Every record label's had ups and downs, but these teams that have consistency, especially in an industry like music where there's so much turnover, so many of these other labels that are their competitors can be revolving doors in this way, which can lead to a lot of challenges for people to really be able to execute a strategy. This is one thing that I think has helped their longevity quite a bit.[00:32:01] Zack Greenburg: Yeah, I would say for my dark course, I would say John Janick, specifically, and I think people don't really realize, you know, just like how successful he's been cuz everybody talks about Jimmy. But, you know, first of all, at this point John's been there, I mean, he's been running the show for almost 10 years, which is nearly as long as Jimmy was.And, you know, who knows how much of the time before, Jimmy left in 2014, John was actually really, you know, running things on a day-to-day basis. So, you know, the, just like so many times you see a, visionary founder like Jimmy, leave a company and then, you know, the thing just kind of like Peters out, but, you know, I mean, under John Janick, you know, look at, you know, like Billy Eilish for example. I mean, I think Kendrick Lamar was also under his watch, probably Machine Gun kelly must have been under his watch too. [00:32:51] Dan Runcie: Yep. And then even Olivia, Rodrigo more recently. [00:32:54] Zack Greenburg: I mean, what a huge, you know, like, so that's definitely like on the level of, you know, of the biggest acts that Jimmy was able to bring in.And you know, it's like, you know, even with some of them it was really more Dre than it was Jimmy. So I think that's, you know, yeah, I think John deserves a lot of credit too. you know, and we haven't talked about Lady Gaga, so she's not exactly a dark horse. but, you know, lady Gaga is somebody who came in under Jimmy, but like, jimmy should not get credit for Lady Gaga because Lady gaga was kinda like languishing, you know [00:33:23] Dan Runcie: He was on the bench chilling and then like it was like the Akon's, the one that's like, Hey, what about her? What about [00:33:30] Zack Greenburg: And I remember I interviewed him, for Forbes. This was back in, you know, oh nine or 2010 or something like that. And, and I was like, so tell me the Lady Gaga story. And he said, basically I heard her stuff. And I was like, this is amazing. And I called her up, or I called, I think you called maybe Troy Carter, who was managing her at the time and said, you know, I wanna assign you, to my Interscope imprint.And she's like, I'm already on Interscope. So, so they just kind of like moved her around, within Interscope and, you know, they were able to, you know, that first song Just Dance. a lot of people forget that was like, when that came out. Akon was much bigger than Lady Gaga and, you know, that was at the height of Akon's fame.He's not out there as much now, but he is out, you know, he's all over the world making probably even more money than he was, back then. But, you know, yeah. He was hosting or appearing on SNL with Lonely Island and all those guys and, you know, he's kind of like showing up in the back of just dance, you know?Oh, yeah, you know, doing his Akon thing and, you know, and kind of really helped get her off the ground you know, and then just kind of like, pieced out and Lady Gaga became this incrediblesuperstar. So, you know, I think that's, certainly some serendipity for Interscope there, but, yeah, I wouldn't give Jimmy full credit for that one. [00:34:45] Dan Runcie: Yeah, definitely not Interscope, collectively. Sure they had her on the roster, but yeah, that one has to go to Akon on that one by extension, who himself, you know, clearly worked with Interscope and then just given, cuz we didn't even mention him himself, just that whole run he had from like oh four to what, 08', maybe 2010 if you wanna go a little bit longer. He was everywhere. [00:35:05] Zack Greenburg: yeah, yeah. [00:35:06] Dan Runcie: So of course we talked a lot about consistency. We talked a lot about Janet and the role that he's been able to do there, and I think consistency does naturally lead itself going further. So let's flash forward 10 years, let's go to 2030, 2033. Do we still think that Interscope will be at the level that it is now, where if you look at the market share numbers, it's roughly alternating, right? Around 10% of recorded music may be a little bit less, but I feel like it's like them Republic and then Columbia alternating to some extent. And it all kind of depends on who releases when but do you think that changes? Do you think they're more likely to stay there? Or what do you think 10 years from now [00:35:46] Zack Greenburg: Yeah, I think they're gonna stay, I mean, it's not like, one of these situations where their top artists are leaving or, you know, you're really too concerned about it, or they're kind of in the wrong genre mix. I mean, they're really heavy in hip hop. you know, they have some of the biggest stars out right now.I mean, we already talked about Olivia Rodrigo, Kendrick. Billy Eilish obviously is enormous Machine Gun Kelly, but you know, they have Black Pink. That's huge. Like, that could be a big place for growth [00:36:11] Dan Runcie: You got SZA through the TDE deal, right? [00:36:13] Zack Greenburg: Yeah. yeah. I mean, that's a great point, you know, hard to find anybody, who's having like a bigger moment that says it right now, so, You know, there's a lot.let's say that to go back to the sports analogy, it's not like this is a team of like, you know, 38 year olds who are nearing the end, you know, this is, like a win now team, with plenty of talent in the pipeline. and they've proven that they can keep working the farm system or something to continue the sports metaphor.But, and you know, I mean, John himself is not an old guy. I mean, John is, [00:36:40] Dan Runcie: Mid Forties? [00:36:41] Zack Greenburg: You know, I I forget old he is. Exactly. Yeah, you're talking, you know, where are they gonna be in 2030? I mean, you know, he'll be like in his early fifties and, still I think doing what he's doing, and doing it really well.So, you know. Absolutely. Yeah, I don't really see them fading. And if anything, you know, all it takes is like, You know, like another Monster Billy Eilish album in a given year. you know, and they start to gain even a little more market share. So I think they're in a pretty darn good place. [00:37:09] Dan Runcie: And it's arguably one of the best jobs in the recorded music industry because of the amount of leeway that I think Janet and by extension, the Interscope Geffen a and m umbrella is given relative to a lot of the other labels that are either under Universal or even others under the majors in terms of the decision making, the things that you could do, and when you have that much control based on his relationship with Lucian compared to others, it does make a huge difference. [00:37:37] Zack Greenburg: Yeah. And you know, I think another, another guy who's kind of in the background, who's been in the background, you know, for a really long time there is Steve Berman. He's another executive, who doesn't get you know, like a ton of limelight, but, you know, is kind of like quietly, like, like the cons.He's been kind of the cons area type over the years. and, you know, I think that might be part of the, you know, continuation, the connective tissue between Iovine, and, john Jank as well.[00:38:02] Dan Runcie: Right. Good point, especially just given how important lawyers and they are in terms of the influence direction of this industry. Another thing that I think is interesting, just thinking about the future, is also looking at the past of Interscope and how this record label did start and rise because of this controversy, because of the pro clutching business model.Do you think that could work today? Because I have my skepticism, but what are your thoughts?[00:38:31] Zack Greenburg: I think it depends, you know, what sort of pearl clutching is about, right? I think, know, in, in many ways the world is a nicer place than it was in the nineties. Like, you know, things were kind of a little rough and tumble in the nineties and it wasn't as sensitive a time as it is now.you know, I think, I think in general it's, good that, you know, we're like a little nicer, a little more sensitive, but, you know, in other ways, you know, I think, sometimes perhaps too much. But, you know, I think that, you know, certainly when it comes to music, I don't know, in a like this moment, for whatever reason, music isn't at the.Forefront of the culture wars and the way that it was in the nineties. And you know, instead it's like books in Florida, right? I mean, who knew? But, you know, people aren't really like, kind of, this is not a, like a campaign issue in the same way, that it might have been in the 90s, you're not seeing as many politicians sounding off about it.I mean, I think certainly you're hearing stuff, about, you know, can lyrics be used as evidence in court? you know, which is, can be a really troubling topic. But, you know, I think the sort of focus of that argument is, it's not like in the middle of national campaigns in the way that this was in the 1990s.So, yeah, I think, you know, like Interscope certainly as an experience. walking the line and it's maybe a little bit less of a delicate line, that they need to walk these days for just whatever reasons, with the political headwinds. [00:40:00] Dan Runcie: Yeah, I don't think it would work in the same way because I think the people that do try to create shock value were so desensitized to things compared to when we were the way things were in the nineties. Even for people that weren't that threat to society, but because of how they were depicted, it was easier to do that and still release great music, right?The chronic could be a shock value type of work, but it's still something that is critically acclaimed. That is in the National Registry and Library of Congress and all of these other areas. But now the stuff that creates shock value in music, whether it's even someone that's like more on the personality side, like a dj academics or someone like that will literally just say like, you know, the wildest shit just to go viral or partner with right wing organizations in order to create momentum that still has this area where it lives in somewhere like YouTube, where yes, you can get a following and you can make a living and you know, do things for yourself.But I think there's somewhat of a ceiling to that in terms of how much you can like, create, you know, broader impact and truly monetize the bases and the masses. And some of it even extends to artists as well, like those, I think someone like NBA Young Boy is quite popular and has had a bit of a number of transgressions in his track record, but still I think there's a pretty big gap of, you know, him relative to like some of the other names you mentioned just from some of the exposure and opportunities that he's given that doesn't lend itself to that.So, you know, Interscope in the early nineties probably wouldn't have wanted to try to sign Olivia Rodrigo because it didn't make sense. But it makes perfect sense now just given where things are and where things are going. So you can maybe do it on a niche level, but I think it's hard to have shock value sell in mass quantities and for the mainstream in that same way. [00:41:55] Zack Greenburg: Well, I think it's also just harder to shock people now, right? I mean, you know. [00:41:58] Dan Runcie: Or desensitized [00:42:00] Zack Greenburg: Yeah, exactly. I mean, if you were to put out the chronic today, you know, with, the marijuana leaf on the cover of it, it's like, and you know, and like this has been legal in California for like how long, you know?And certainly in terms of like things you could say or do that would be truly shocking. It's like after Donald Trump has been president in the things, you know, that are kind of, came out of that, it's like, you know, I don't really know many things an artists could do that would be more shocking, you know, and in this sort of like, hilarious, I dunno if it's hilarious, but this, let's say, ironic juxtaposition, you know, you had Eminem, the king of shock value Like making a track against Donald Trump when he was in office, you know, you have the rappers protesting against the politicians, instead of the other way around.So I think we're still, as a society, been kind of turned on our head, you know, by some of the developments of the past. you know, let's say eight years, eight years plus the past decade or so. you know, it's, guess in some ways hard for politicians to be complaining so much about music when, a lot of the obscenity is coming from them. So, [00:43:05] Dan Runcie: Right, and I think too, you were mentioning about how what Congress or what the American government can rally against in how so much of the nineties was. I still remember that infamous cover of Snoop Dogg on the cover of Newsweek, and I forget what the title of the magazine was, but it was something, along the lines of, oh, this is the greatest threat to America, or this is the greatest threat to our country, or something like that someone could probably pick me and find it, or maybe you'll link to in the show notes. And that's what people were able to get riled up around, right? Now, the biggest thing in music that has gotten anyone on a congressional level or congress level riled up is ticketmaster and Live Nation and Taylor Swift's tickets, which just shows how different things are, people used to be riled up about the content. Now this is a way to try to get at big business or whatever the exact complaint is. So, such a different time. [00:43:58] Zack Greenburg: Yeah, yeah, No, I Couldn't agree more.[00:44:01] Dan Runcie: Yeah. So we definitely spoke a lot of praise about the current era of where things are with the Interscope and the work that Janet has done the past decade. If you were in his shoes, would you be doing anything differently? And I do think that he's done a few things. So you mentioned black pink earlier.So there's clearly a way to be able to pivot and move more into music that isn't from the United States. It isn't domestic, and you're able to rise there, clearly done different types of deals from a flexibility perspective. Some artists do have, licensing deals like Olivia Rodrigo will own her masters for the long term just based on what she's shared about the nature of her contract moving forward.But for him himself, I mean, I think there's other IP things that could be interesting, but what does the type of things that Jimmy was able to do back in the late 2010 or late two thousands with beats? Like what could that look like or what could that look like for Interscope [00:44:59] Zack Greenburg: Yeah. You know, I think it's a different time. One of the things that's changed so much is over the past few years, I would say it's like, it's not quite as cool to be rich anymore, you know? I think sort of the Bernie Sanders movement, the sort of like this, right? I remember seeing it at Forbes, you know, when I started out it was like, woo, like I wanna be a billionaire and [00:45:20] Dan Runcie: The Forbes Remix [00:45:22] Zack Greenburg: Right. Exactly. Yeah. I mean, you had, Jay-Z, Diddy, and 50 being like, you know, the Forbes, yeah, they put out this Forbes 1, 2, 3 billionaire remix they called it. But you know, even now, even within the past couple years, you know, certainly, I think the Pandemic really crystallized this.But even before that, you know, with sort of like Bernie and, that whole, you know, movement, There was this kind of questioning of like, should there even be billionaires? And you know, I remember starting to see, people who you had thought, you would've thought would be, you know, jumping to be on the cover of Forbes.Just say like, eh, you know, like, I don't want to be seen as crowing about my wealth. so, you know, I think that's a big cultural change. And that's post beats, right? That's post, you know, Dr. Dre's situation. And, you know, I think that there's certainly a lot of leeway for Interscope still, to be entrepreneurial and they've always done that. But I think the challenge for Interscope or for anyone really is like, how can you be entrepreneurial in a way that is sort of like, you know, not necessarily charitable per se, but has some kind of impact, you know, like some kind of impact investing sort of thing. how can you, like, make money but, you know, drive change at the same time?I think that's sort of like, as we look going forward into the, you know, celebrity earning, you know, celebrity business sphere, I think that's gonna be the big question because it's no longer the thing that's just, it's cool to make a bunch of money on some random app or, you know, selling, some crypto thing as we've seen.And you know, you can get a lot of blowback, people think you're selling out. People think you're greedy people don't think you're selling outta greedy just cause you're doing something business related. But, you know, I think, over the past couple years it's become a lot more like, well, you know, is this something that really helps the world are using your money for good?and so I think whatever it is, if it's gonna be public facing and, you know, and I think. That's the value when you have a stable of celebrities, right, is to do something public facing. It's like, what is this doing, to help the world. So, you know, I think there are a lot of ways to take that, but certainly, you know, I think that's a bigger, bigger and bigger component going forward. [00:47:22] Dan Runcie: This is something that has changed in a relatively quick time span. You even think back to the Obama era and just the Obama presidency and just how music was and how people interacted and thought about music. You look at a album like Watch the Throne In, which I do think was one of the more popular albums from that decade.Granted, I don't think JayZ or Ye are even on the terms or desire to put something like, like that out again. But if they put that out about now, it would not get the same reception. There would be all these think pieces about, oh, here are these two men talking about, you know, their, you know, Hugo watches and there other, other bends and all this stuff.And people would be complaining about that in a way where just as recent as 2011, they were celebrated, like people, like revered so many of the songs. And just the talk about black excellence and wealth and even some of the conversations around Jay-Z himself as a figure, I know you know this well as probably some of the responses you've gotten over the years when you've talked about Empire State of mind and how people react to him, statements he's said and stuff like that.And yeah, we're just in a very different spot and now we're kind of in this space where, Yes, people can have commercial success. People, businesses can do it too. But I think it's especially difficult for companies in music because of so much historical context of how people view the record label as the enemy.People view the record label as this, and then even when the topic of the prices potentially raising for some of these streaming services, the number one thing you often hear from fans is, well, I hope that extra dollar or $2 for a potential raise in the streaming service goes back to the artist. And it's like, yes, you, you do eventually want those things, but we're losing the opportunity to talk about the value that these record labels create because of how media disseminates, right?If you talk about, oh, Olivia Rodrigo has a very favorable record deal. No one wants to hear that. But if there's ever a report, oh, Olivia Rodrigo's upset about, you know, Interscope, that thing would be a news topic for five days. Cuz that's where we are right now.[00:49:27] Zack Greenburg: Yeah. Yeah, for sure. And you know, so to to your point, I mean, you mentioned my book, empire State of Mind, which was this business focused biography I wrote of Jay-Z. it came out in 2011. but you know, It was such a different world back then. And when it came out, you know, their response was basically like, whoa, awesome. Like, this is Jay-Z's blueprint for how to, you know, be a centi millionaire. And this is so cool because now I can apply this to my career, or I can, you know, learn some lessons from him. And, you know, and there was just definitely like a sentiment of people rooting for Jay-Z to become a billionaire, race to a billion, and who's gonna get there first?Is it Jay-Z or Diddy or, you know, whoever. And, you know, and then it happened and Jay-Z you know, crossed the threshold in, I think it was 20, early 2020, something like that. I think late 2019, early 2020 was when we put him in the magazine as a billionaire for Forbes. but even when that, like, by the time that happened, you know, about 10 years later, I put out the billionaire edition of the book. after, you know, let's say, what was it, in 2021, this was 10 years later. It was a totally different story, right? people were like, why is this guy, you know, like, who cares? Like, you know, like he should be giving it all of it back, you know? Why are there billionaires in our society? Something's wrong in society that has billionaires. So, you know, and I think it has gone, that narrative has gone even faster than Jay-Z has kind of evolved into this, like very socially aware, you know, type of philanthropic mogul, you know, people are not even that into the idea of like, oh, I'll make a lot of money so I can give it back, people are like, just, you know, do the good, like do philanthropic stuff, do impact stuff the whole way through and like, don't even try to become a billionaire. So, it really is such a different world, and it's, been fascinating to write about this stuff as these attitudes have changed on a broader societal level for sure. [00:51:25] Dan Runcie: Did you hesitate naming it the Billionaire Edition, knowing like this would change and seeing things over the years?[00:51:32] Zack Greenburg: Well, I had it in mind that it would be a cool thing to do whenever he did become a billionaire, because it was like, it was almost like the realization of a prophecy. It's like, you know, in, in 2011, I sort of like, I'm telling you he's gonna be billionaire and he's telling you, you know, and it's like, okay, here it is.He's a billionaire, you know, and I actually wanted to get like a, gilded cover and do the kind of watch the throne type of thing and you know, like embossed gold and all that stuff. But, it's not the right era. I mean, like, you're saying, it's just not, it's that era anymore.So yeah, I did wonder, like, should I kind of like back off of that narrative. But, you know, to go back to the Jimmy Iovine Interscope conversation, it's like, whether it's good or bad, it starts a conversation and you want the conversation to start, so that people will read the book, you know? And it's not like, a bad thing for me if people think it's bad that Jay-Z's a billionaire, it's just a fact. And even since I put out the Billionaire edition, he's like, more than doubled his net worth, you know, again. So that's just, that's just how he operates. And, you know, that's Jay-Z. [00:52:34] Dan Runcie: Yeah, you had to put out something. So much had changed since when you first put that book out. And this is how, in many ways the. Business model of books works when there is something to be able to add, that's a refresher new forward based on this one. you had to do it. So, yeah. I think it made sense.But to bring this all full circle with Interscope in this conversation, the last thing we'll dive into is who is the biggest winner, artist, executive producer, so on from everything that has happened with Interscope in the past 33 years. [00:53:09] Zack Greenburg: Hmm. it's a great question. I mean, to me it's between Jimmy and Dre. but I would probably go with Jimmy because, you know, Dre was gonna be centimillionaire, you know, music legend no matter what. And although Jimmy had done a lot of great work, you know, in the rock world before then, and I'm sure, you know, was, very adequately compensated.You know, he wasn't sort of like a, an international business superstar in the way that he became as a result of, Interscope. And, you know, Jimmy and Dre both got a lot of money out of it. but I think Jimmy really got a lot more than he would've otherwise. in his, prior iteration of his career and Dre, you know, I mean, Dre has founded a bunch of things, right? And Interscope, you know, obviously he wasn't the founder of Interscope, but, you know, I kind of tied B to Interscope and that whole thing together. So it, Dre had lots of different paths to wealth. and so did Jimmy, but I think Dre had more, and, Jimmy kind of like ultimately got more out of it. [00:54:07] Dan Runcie: Yeah, I think between the two of them, even if Interscope had said no back in 92 or 91, whenever the initial deal was made, I do think that Dre would've likely found a home. Dre and Suge would've found a home. It's still been able to do something similar elsewhere. Maybe it would've made the Tupac thing a little bit more challenging, but I think they still would've figured that out too. [00:54:30] Zack Greenburg: Yeah. [00:54:31] Dan Runcie: I don't think the same would necessarily be true for Jimmy though, because if you don't have them, you don't have this. And a lot of this, I'm sure a lot of people listening to this unlikely watch the Defiant ones or maybe you've seen should do a few interviews. I don't know if a lot of that would work. But I think I'll actually take a different approach. I think the person that probably won the most, just from a situation perspective, I know we've talked about him a fair amount, but I'll say Janet with this one because he didn't build this company himself. But the fact that when it's your time to come up, you have this opportunity to be able to step into, you have this much leeway, this much assets that already work in your favor because we just know how valuable the bat catalogs are.You walk into that position and then that has you then. Then that just makes it much more easy for you to have things set up because we know how a lot of this stuff is, right? People leave record labels all the time, espe

The lead singer and co-architect of the wonderful Wang Chung joined me in London to discuss William Friedkin, the push-pull of art v. commerce, “Dance Hall Days”, creating the score to “To Live And Die In L.A.” before seeing a frame of the film, working with John Kalodner, Geffen Records, band dynamics, his solo works, Bob Dylan, the value of being challenged by art, “Primitif”, the spectrum of perfectionism, producing other artists, fiddling with Fairlights, collaborating with Tony Banks, band-name origins, Miles Davis, self-criticism, Jack's jazz combo, reconnecting with Wang Chung partner Nick Feldman, the impact of “Everybody Have Fun Tonight” and much more. Jack's site https://www.jackhues.com Catch Wang Chung on tour this August & September https://twitter.com/wangchung https://www.wangchung.com Get lots of hott bonus content by going to https://www.patreon.com/CraigAndFriends You'll get ad-free & early versions of these episodes, bonus episodes, Movie Club episodes and more while supporting the show. Donate to the Abortion Support Network https://www.asn.org.uk/fundraising/ Monkeypox Vaccine Info (UK) https://www.gov.uk/government/publications/monkeypox-vaccination-resources/monkeypox-waiting-for-your-vaccination Monkeypox Vaccine Info (USA) https://www.cdc.gov/poxvirus/monkeypox/considerations-for-monkeypox-vaccination.html Protect & Defend Trans Youth Fund https://www.pledge.to/protect-defend-trans-youth-fund#donate Donate to Amnesty International To Aid Ukraine https://tinyurl.com/448f36wu Rubber Child's Transition Assistance GoFundMe https://gofund.me/c2b3cd52 For ways to help fight the fascists and support Black Lives Matter & Black Trans Lives Matter: https://blacklivesmatters.carrd.co https://blacktranslivesmatter.carrd.co

From games of chicken on private planes to one member surviving a private plane crash, the Eagles as a group very narrowly survived themselves. During their early days, they dosed out on Peyote and reimagined and reconfigured a new FM sound for the ages that would result in unimaginable success and excess. When their debut record was released on Geffen Records in 1972, America couldn't have been more ready for their breezy, countrified Southern California sound. Yet something else came with their that heady, golden age of California in the 1970s, that era of endless cocaine, groupies, money, and excess beyond anyone's wildest dreams. As the Eagles would soon learn, that “peaceful easy feeling” they were peddling wasn't built to last.To hear all episodes of Disgraceland for free, visit amazon.com/disgraceland. Show notes are available at disgracelandpod.com. Follow us @disgracelandpod on Instagram, Twitter, and Facebook for music news, bonus episodes, and more.See Privacy Policy at https://art19.com/privacy and California Privacy Notice at https://art19.com/privacy#do-not-sell-my-info.

From games of chicken on private planes to one member surviving a private plane crash, the Eagles as a group very narrowly survived themselves. During their early days, they dosed out on Peyote and reimagined and reconfigured a new FM sound for the ages that would result in unimaginable success and excess. When their debut record was released on Geffen Records in 1972, America couldn't have been more ready for their breezy, countrified Southern California sound. Yet something else came with their that heady, golden age of California in the 1970s, that era of endless cocaine, groupies, money, and excess beyond anyone's wildest dreams. As the Eagles would soon learn, that “peaceful easy feeling” they were peddling wasn't built to last. For the full list of contributors, visit ⁠disgracelandpod.com⁠ This episode was originally published on March 8, 2022. To listen to Disgraceland ad free and get access to a monthly exclusive episode, weekly bonus content and more, become a Disgraceland All Access member at ⁠disgracelandpod.com/membership⁠. Sign up for our newsletter and get the inside dirt on events, merch and other awesomeness - ⁠GET THE NEWSLETTER⁠ Follow Jake and DISGRACELAND: ⁠Instagram⁠ ⁠YouTube⁠ ⁠X⁠ (formerly Twitter)  ⁠Facebook Fan Group⁠ ⁠TikTok To learn more about listener data and our privacy practices visit: https://www.audacyinc.com/privacy-policy Learn more about your ad choices. Visit https://podcastchoices.com/adchoices