Podcasts about Heavy metal

This week Tom & Zeus review the latest Off The Soundboard KISS release, KISS Off The Soundboard, Donington 1996." This album is KISS' 3rd album released in the Off The Soundboard series and this one is from the "Reunion Tour" and features the four original members, Ace Frehley, Gene Simmons, Paul Stanley and Peter Criss. This is SIOL's 5th live album review. The guy's breakdown the album, the tracks and of course Paul Stanley's stage banter as well. They list their top 5 favorite tracks and rank the cover (we know) and album against the 4 live albums by KISS that were previously reviewed. This episode also could have been called mid-summer KISS Festivus, you'll wanna hear why.  For all things Shout It Out Loudcast check out our amazing website by clicking below: www.ShoutItOutLoudcast.com Interested in more Shout It Out Loudcast content?  Care to help us out?  Come join us on Patreon by clicking below: SIOL Patreon Shop At Our Amazon Store by clicking below: Shout It Out Loudcast Amazon Store Please go to Klick Tee Shop for all your Shout It Out Loudcast Merchandise by clicking below:SIOL Merchandise at Klick Tee Shop Please Email us comments or suggestions by clicking below:ShoutItOutLoudcast@Gmail.com Please subscribe to us and give us a 5 Star (Child) review on the following places below:iTunesPodchaserStitcheriHeart RadioSpotify  Please follow us and like our social media pages clicking below:TwitterFacebook PageFacebook Group Page Shout It Out LoudcastersInstagramYouTube Please check out our sponsor FusionTech Data & Electric for all your data and electrical needs by clicking below:FusionTech Data And Electric Proud Member of the Pantheon Podcast click below to see the website:Pantheon Podcast Network

This week Tom & Zeus welcome brothers Paul Janik, Jr., John Janik & their friend, Chris "The Wallet" Haick from Gene Simmons Moneybag Sodas. Gene Simmons Moneybag Sodas is Gene's venture in the soda market. The sodas are made with pure cane sugar, natural flavorings and natural colorings. There are five flavors, cola, diet cola, ginger ale, cream and root beer. Gene teamed with life long KISS fans, the Janik brothers and their friend "The Wallet" to create "Soda Royalty" for people with "Expensive Taste!" The guys have a fun discussion about their product, how they teamed up with Gene and of course, their own individual KISStory! They share their personal stories about Gene Simmons, the business man and what he's really like when he's not on stage and in front of a camera. Another unique interview done SIOL style with some great guys with a great product! "Oh Yeah!" For all things Shout It Out Loudcast check out our amazing website by clicking below: www.ShoutItOutLoudcast.com Interested in more Shout It Out Loudcast content?  Care to help us out?  Come join us on Patreon by clicking below: SIOL Patreon Shop At Our Amazon Store by clicking below: Shout It Out Loudcast Amazon Store Please go to Klick Tee Shop for all your Shout It Out Loudcast Merchandise by clicking below:SIOL Merchandise at Klick Tee Shop Please Email us comments or suggestions by clicking below:ShoutItOutLoudcast@Gmail.com Please subscribe to us and give us a 5 Star (Child) review on the following places below:iTunesPodchaserStitcheriHeart RadioSpotify  Please follow us and like our social media pages clicking below:TwitterFacebook PageFacebook Group Page Shout It Out LoudcastersInstagramYouTube Please check out our sponsor FusionTech Data & Electric for all your data and electrical needs by clicking below:FusionTech Data And Electric Proud Member of the Pantheon Podcast click below to see the website:Pantheon Podcast Network

Who says Heavy Metal isn't educational??!! Yes, the lyrical content has delved into social and political issues over the years. But they've also had us listeners reaching for the dictionary and introduced a number of phrases and expressions. So this time 'round we share a (very condensed) list of said words and expressions that first came to our attention thru the Power of Metal! We're so "stoked"! In our "News, Views and Tunes", we hit the live front and crank new and used from Toxik, Bell Witch, (Scars Of) Atrophy and Hatriot. Halloween comes early as we introduced Montreal's The Occult in our "Indie Spotlight". Horns Up and Stay Healthy!!   This Episode is sponsored by Trve Kvlt Coffee. Summon the coffee demons to possess yourself a cup today! Follow us on Twitter and Instagram

EP 546 With Tesla's Jeff Keith

EP 546 With Tesla's Jeff Keith

This week Tom & Zeus bring back SIOL's favorite bootlegger, Roy Damm to break down, discuss and yes, identify who he believes is the person behind all the unseen KISS video footage that has taken the KISS Army by storm, the mysterious, Sam Loomis. The guys ask Roy to share his thoughts on the whole KISS drama created by these, mostly never before seen footage. Roy also talks about his long term relationship with Curt Gooch, the so-called KISS buyers group and the man that he identifies as Sam Loomis. As expected, Roy does not pull any punches and speaks HIS truth. This is a must listen to episode KISS Army! For all things Shout It Out Loudcast check out our amazing website by clicking below: www.ShoutItOutLoudcast.com Interested in more Shout It Out Loudcast content?  Care to help us out?  Come join us on Patreon by clicking below: SIOL Patreon Shop At Our Amazon Store by clicking below: Shout It Out Loudcast Amazon Store Please go to Klick Tee Shop for all your Shout It Out Loudcast Merchandise by clicking below:SIOL Merchandise at Klick Tee Shop Please Email us comments or suggestions by clicking below:ShoutItOutLoudcast@Gmail.com Please subscribe to us and give us a 5 Star (Child) review on the following places below:iTunesPodchaserStitcheriHeart RadioSpotify  Please follow us and like our social media pages clicking below:TwitterFacebook PageFacebook Group Page Shout It Out LoudcastersInstagramYouTube Please check out our sponsor FusionTech Data & Electric for all your data and electrical needs by clicking below:FusionTech Data And Electric Proud Member of the Pantheon Podcast click below to see the website:Pantheon Podcast Network

We're proud to have a sponsor like RareVinyl.com to not only support our show but to offer our listeners the high quality records, CDs, singles, programs, etc they crave.  With over 250,000 items in stock the collection is overwhelming and the quality is incredible.  But how do they find all these treasures?  Through their crack team of Record Buyers who sift through record collections to unearth the true treasures the hardcore fan can't live without.  Sometimes an overlooked 7 inch record can be worth $1,000 and sometimes the highest selling records of all time aren't worth much at all.  Mike Wenban, Record Buyer at RareVinyl.com joins us to share how you can identify those rare and hard to find records which drive collectors wild.Be sure to visit www.rarevinyl.com or www.eil.com and use code podcast to earn 10% off every purchase you make.  Ugly American Werewolf in London WebsiteRareVinyl.com    Eil.comYouTubeTwitterInstagramwww.pantheonpodcasts.com

Adam and Michael explore Wizard's reaction to Marc Silvestri leaving Image, the greatest character transformations in X-Men comics and tons of comic book crossovers. Plus Spawn gets the HEAVY METAL treatment, more Heroes Reborn news, an update on the unproduced Gen 13 video game and so much more! ★ Support this podcast on Patreon ★

There's nothing like some good conflict in order to inspire creativity.  After reading another article in Revolver magazine, Kenneth Dean and Chris revisit some of heavy metal's greatest feuds.  From Megadeth to Metallica, Ramone to Ramone, bandmates being at odds with each other is nothing new.  It sometimes has even gone farther than just a fist fight.  And listen to the end os the guys give you their BIG 4 Solo Albums. So sit back, relax, turn it up to 11 and let the debate begin.

For this mid-week episode  Brett discusses  Bay City Thrashers Testament  and they're 1990 release Souls Of Black......    #testament #heavymetal #thrashmetal #bayareathrash #keepitmetal #stayevil  Merch- http://tee.pub/lic/evilneverdiespodcast  YouTube- https://www.youtube.com/channel/UCX8-43Xy5rv1bluVgTM5hRQ

Cyrus loves playing classical guitar and taking lessons from his eccentric teacher, Raeya. But when Raeya goes missing, Cyrus's search transports him to a land ruled by heavy metal music, where he'll battle the evil troll Gremulon… and shred his socks off!Listen ad free with Wondery+ Kids. Join Wondery+ Kids for exclusives, binges, early access, and ad free listening. wondery.com/shows/little-stories-everywhere.Support us by supporting our sponsors!See Privacy Policy at https://art19.com/privacy and California Privacy Notice at https://art19.com/privacy#do-not-sell-my-info.

Bakko & Gene's plans get a curveball, and they have to pivot from the original planned show for EP 3.  So the guitars never leave the laps resulting in some impromptu jamming.  Along the way sampling a Wisonsin lager. Sharing stories about getting tricked into going to Wisconsin. George Lynch's Nu Metal phase. Football. PuppyMonkeyBaby. Cancel culture has an enemy in Disturbd. And Alex Alt from the Slydog Podcast tries to end Gene's undefeated record in Random Rocker. Pantheon Podcasts  Podcasts for music lovers.Disciples of the Watch Podcast | A show about Hard Rock and Heavy Metal music and news, both Independent and the ‘Big Time' bands! (dotwpod.com)Sly Dog Music-Cast (podbean.com)

On this episode, avid Motörhead fan Mike Ward tells his fascinating story of how a chance meeting with Fast Eddie Clarke ended up with him going for a cuppa around his house and helping out his band. Presented by Howard H Smith. See Privacy Policy at https://art19.com/privacy and California Privacy Notice at https://art19.com/privacy#do-not-sell-my-info.

We sat down with the members of Perth, this heavy Minnesota band is hitting the road on their latest album' Revenant”, we talk about the process for recording and writing, their live shows, what's next for this energetic band and where can people find out more. https://ffm.bio/perthbandmnYou can find more conversations, food reviews, live music and events on our website https://lacrosselocal.com.

My guest today is actor, comedian, and author, Dan Fogler. Dan has starred in movies such as Balls of Fury and the Fantastic Beasts series of movies. More recently, he stars in The Offer and his Moon Lake anthology for Heavy Metal is being adapted into an animated TV series. We talk about his acting […]

Brett and Carl have cocktails and talk about all kinds of things ! #freeforall #heavymetal #horror #absolutlime #drunkenramblings

When @GWAR launched their whiskey collaboration last year, Fred feared for his life, as he tasted their whiskey. If he didn't like it, they may have eaten him and sent his corpse to Antarctica. But he was spared. Their second batch with Catoctin Creek is out now, and he reviews it before the mighty BERSERKER BLÓTHAR, BÄLSÄC THE JAWS 'O DEATH and JIZMAK DA GUSHA. Will he survive this round?Merch, including official The Fred Minnick Show Glencairn: https://shop.podcastone.com/collections/the-fred-minnick-showBecome a YouTube Member: https://www.youtube.com/channel/UCyE_GJtYr3yowks2iv1o4jg/joinGlencairn provides glassware The Fred Minnick Show: https://www.glencairnwhiskyglass.com/The American Spirits Council of Tasters: https://ascotawards.comOFFICIAL THEME SONGThe Fred Minnick Show intro features Moon Tooth's “Awe At All Angles”, available now on Pure Noise Record. Listen to the full song at https://fanlink.to/aweatallangles.FOLLOW FREDhtps://www.instagram.com/fredminnick/https://twitter.com/FredMinnick https://www.youtube.com/channel/UCyE_GJtYr3yowks2iv1o4jg https://www.facebook.com/fred.minnick/Buy Fred's Bookshttps://www.amazon.com/dp/0760351724/ref=as_sl_pc_qf_sp_asin_til?tag=httpwwwfredmi-20&linkCode=w00&linkId=7cf6556bbccd99181248b3ae598a9c5b&creativeASIN=0760351724Subscribe to Fred's Podcastshttps://podcasts.apple.com/us/podcast/the-fred-minnick-show-podcast/id1490483021 https://bourbonpursuit.com/all-podcasts/Disclosure Statement: https://www.fredminnick.com/disclosures/

Turning 64 today is one of the greatest voices in hard rock and metal, Iron Maiden's BRUCE DICKINSON! He's achieved incredible musical success since the early 80s and has accomplished an impressive amount of other things too. To find out more about these and to pay tribute to the 'Air Raid Siren' we hear from Steve from the 'Uncle Steve's Iron Maiden Zone' podcast!  

This week Tom & Zeus review the latest Off The Soundboard KISS release, KISS Off The Soundboard, Donington 1996." This album is KISS' 3rd album released in the Off The Soundboard series and this one is from the "Reunion Tour" and features the four original members, Ace Frehley, Gene Simmons, Paul Stanley and Peter Criss. This is SIOL's 5th live album review. The guy's breakdown the album, the tracks and of course Paul Stanley's stage banter as well. They list their top 5 favorite tracks and rank the cover (we know) and album against the 4 live albums by KISS that were previously reviewed. This episode also could have been called mid-summer KISS Festivus, you'll wanna hear why.  For all things Shout It Out Loudcast check out our amazing website by clicking below: www.ShoutItOutLoudcast.com Interested in more Shout It Out Loudcast content?  Care to help us out?  Come join us on Patreon by clicking below: SIOL Patreon Shop At Our Amazon Store by clicking below: Shout It Out Loudcast Amazon Store Please go to Klick Tee Shop for all your Shout It Out Loudcast Merchandise by clicking below:SIOL Merchandise at Klick Tee Shop Please Email us comments or suggestions by clicking below:ShoutItOutLoudcast@Gmail.com Please subscribe to us and give us a 5 Star (Child) review on the following places below:iTunesPodchaserStitcheriHeart RadioSpotify  Please follow us and like our social media pages clicking below:TwitterFacebook PageFacebook Group Page Shout It Out LoudcastersInstagramYouTube Please check out our sponsor FusionTech Data & Electric for all your data and electrical needs by clicking below:FusionTech Data And Electric Proud Member of the Pantheon Podcast click below to see the website:Pantheon Podcast Network

Horns Up for Satoshi!! WOW- what an interview! My blood is pumping after watching Annonymal's video of the song “As Government Dies” Anonymal - As Government Dies - Lyric Video If you like kick-arse music you are in for a wild ride!  Annonymal is a modern heavy metal band that is creating a pro-bitcoin movement through heavy music. The band doesn't reveal its identity as all the musicians play with Guy Fawkes masks. Please watch their video and consider sending some sats to support the project via this link at Geyser https://geyser.fund/project/anonymal   Follow on Twitter: @Annonymal_btc  

Rich Embury's R3TROGRAD3 returns to CRANK IT LOUD with more brand NEW Hard Rock and Heavy Metal from Sammy Hagar and the Circle / Dragonland / David Lee Roth / Blind Guardian / Witchery / Ugly Kid Joe / Cabal / The Cult / House Of Lords / A Rising Force / Lacuna Coil / […]

Mount Rushmore, you all know it. Here at DBP we know metal and all it's subgenres. We go through the list and using our super collective brains figure out what LiveWire has decided are the best four bands of each genre. And yes, even the ones we got "wrong", were right. --- This episode is sponsored by · Anchor: The easiest way to make a podcast. https://anchor.fm/app

EP 545 With Bill O'Leary

DiskussionIn den 70er-Jahren explodierte die populäre Musik geradezu. Stars und Pioniere von David Bowie bis Pink Floyd, Stevie Wonder bis Bob Marley, Fleetwood Mac bis Black Sabbath und Can erfanden oder vollendeten schillernden Glam- und ätherischen Progrock, komplexen Soul und klassischen Reggae, eleganten Westcoast-Pop, finsteren Heavy Metal und hypnotischen Krautrock. Was war das für eine Zeit, die diese Goldene Ära ermöglichte? Und was ist davon übriggeblieben? Bernd Lechler diskutiert mit Jens Balzer - Buchautor und Musikkritiker für Die Zeit und Deutschlandradio, Andreas Borcholte - Musikredakteur und Kolumnist beim Spiegel, Birgit Fuß - langjährige Redakteurin der deutschen Ausgabe des Rolling Stone

It's summer preview time! Mike and Matt give early impressions of the following: Bastard!! Heavy Metal, Dark Fantasy Black Summoner Call of the Night Engage Kiss Harem in the Labyrinth of Another World Lucifer and the Biscuit Hammer Lycoris Recoil My Isekai Life My Stepmom's Daughter Is My Ex Parallel World Pharmacy Smile of the Arsnotoria The Yakuza's Guide to Babysitting Uncle from Another World Vermeil in Gold Yurei Deco

EP 545 With Bill O'Leary

This is the one where Rudy talks about the advantages of using metals in phosphate, algae, and bacteria prevention & treatment.  Take our 2-minute listener survey! Help us to provide you with more of the content you want to hear. Take our quick 2-minute survey!CPO Certification Classes Attend your CPO class with Rudy Stankowitz!the 'How to Get Rid of Algae' handbook The most comprehensive guide on algae prevention and remediation you will ever own. Online Pool Classes The difference between you and your competition is what you know!Support the show

This week Tom & Zeus welcome back AEW Wrestling Superstar, lead singer of Fozzy & host of the Talk is Jericho Podcast, Le Champion himself, Chris Jericho and his Non Makeup KISS inspired band, Kuarantine to Shout It Out Loudcast! Kuarantine consists of 5 awesome musicians with their own careers who joined together to celebrate their love of Non-Makeup KISS music. Jericho is joined by the killer duo guitar attack of Joe McGuinness (Klassik 78) & Charlie Parra del Riego (Kobra And The Lotus), bassist extraordinaire and funny man, PJ Farley (Trixter) and the kick ass drummer, Kent Slucher (Luke Bryan). Kuarantine was formed during the pandemic and has released 4 singles of KISS songs to date, No, No, No, Heart of Chrome, Love's A Deadly Weapon and Silver Spoon. The songs have climbed the rock charts and surpassed KISS' own charts during that era. The guys discuss all things Non-Makeup KISS, the songs, the era and the bond that connects the band because of this specific era. They breakdown their break out performance at Creatures Fest and what's in store for Kuarantine. As usual this SIOL conversation is filled with insults, laughs and more. The guys get honest about about this era of KISS and their KISStory. So don't miss this unique episode or you will skidmark your knickers! For all things Shout It Out Loudcast check out our amazing website by clicking below: www.ShoutItOutLoudcast.com Interested in more Shout It Out Loudcast content?  Care to help us out?  Come join us on Patreon by clicking below: SIOL Patreon Shop At Our Amazon Store by clicking below: Shout It Out Loudcast Amazon Store Please go to Klick Tee Shop for all your Shout It Out Loudcast Merchandise by clicking below:SIOL Merchandise at Klick Tee Shop Please Email us comments or suggestions by clicking below:ShoutItOutLoudcast@Gmail.com Please subscribe to us and give us a 5 Star (Child) review on the following places below:iTunesPodchaserStitcheriHeart RadioSpotify  Please follow us and like our social media pages clicking below:TwitterFacebook PageFacebook Group Page Shout It Out LoudcastersInstagramYouTube Please check out our sponsor FusionTech Data & Electric for all your data and electrical needs by clicking below:FusionTech Data And Electric Proud Member of the Pantheon Podcast click below to see the website:Pantheon Podcast Network

1987 in lined up perfectly for Whitesnake in North America.  MTV was pushing bands like Bon Jovi, Motley Crue and Def Leppard and hard rock was all over the charts.  Bring in a seasoned veteran like David Coverdale, A&R legend John Kalodner and the muscle of David Geffen and you get 10 million copies sold in North America!With fiery guitar magic from John Sykes, Coverdales sometimes rasping yet smooth vocals made this a juggernaut.  But did you know Coverdale fired everyone and brought a whole new all star team for the tour?  The videos were epic and featured perhaps the greatest video vixen of all time, Tawny Kitaen.  The trilogy of Still of the Night, Here I Go Again (#1 US) and Is This Love (#2 US) videos are the stuff rock n roll dreams of the 80s were made of.To walk through this 80s classic we've enlisted Sonny "Hollywood" Pooni of Growin' Up Rock Podcast and Album Review Crew with Tom & Zeus of Shout It Out Loudcast.  Sonny knows his stuff, bought the record the first day it came out, saw Whitesnake on that tour and more.  We reminisce and crack wise with Sonny on a record that we all lived through in the 80s. Ugly American Werewolf in London WebsiteGrowin' Up Rock WebsiteYouTubeTwitterInstagramwww.pantheonpodcasts.com

Join Josh, Jason, David and Adrian as they sit down and discuss the top 50 greatest heavy metal albums of all time! We are discussing numbers 40 - 36 on the list: # 40: Helloween - Keeper of The Seven Keys Part 1 # 39: Mastodon - Leviathan # 38: King Diamond - Abigail  # 37: Motorhead - Ace of Spades # 36: Judas Priest - Sad Wings of Destiny Check out all of our podcasts over at: Spotify: https://open.spotify.com/show/0KGi0WI... iTunes: https://podcasts.apple.com/il/podcast... Or most of your favorite podcasting applications Check us out live every Saturday on YouTube at 8:45PM CST at https://www.youtube.com/channel/UCjeL... UPCOMING CONTENT: Squid Game (Netflix) - Out Now! Star Trek Discovery Season 4 (Paramount Plus) - Out Now! The Wheel Of Time (Amazon) - Out Now! The Witcher Season 2 (Netflix) - Out Now! The Book of Boba Fett (Disney Plus) - Out Now! House Of The Dragon (HBO) - 2022 Like what you hear, check out our backlog of content as we have reviewed the following shows: Star Trek: Discovery The Boys Hunters Star Trek: Picard The Witcher The Mandalorian Loki Game of Thrones Obi Wan Kenobi

JR Rife - Author, Rocker, Theologian, and Modern Viking - engages in a variety of topics, ranging from Biblical to Heavy Metal to anthropology in this eclectic podcast.https://t.me/s/trvenorthhttps://t.me/whisky_churchhttps://www.facebook.com/RevRife/https://jrife.academia.edu/

#AllegraPescatore #Interviews #BooktubeAllegra Pescatore joins the podcast. Allegra and I have a serious conversation. Serious. *removessarcasm ahem. Allegra and I talk co writing, the fact that Allegra has co written many books. We talk about heavy metal concerts and why Allegra could go to one in her condition, and we just in general goof off. It was a fun chat.Allegra PescatoreBooksPlot Mom DiscordPlot Mom Youtube: FacebookTwitterPatreonServicesAdvertising Services - Let me create your advertising for your next book or campaign. If you're a creative wondering how to create your advertising for your next project, I can create video, audio, written and graphics. Let me help you get your story, and your best story, out there.Available Now:Alice Won? - Available now. Alice escaped the asylum and pursues the Queen of Hearts to the Greek Labyrinth in the underworld, there she must engage in a game of croquet unlike any other, against Jason of the Argonauts. Illustrated by Kenzie Carr, written by yours truly, come to wonderland Dec. 1st, where the real games begin.Support And Subscribe:Buy my MerchBuy Me A CoffeeNewsletterPatreonTwitchYoutube

Join Josh, Jason, David and Adrian as they sit down and discuss the top 50 greatest heavy metal albums of all time! We are discussing numbers 45 - 41 on the list: # 45: At The Gates - Slaughter of the Soul #44: Sepultura - Beneath the Remains #43: Dream Theater - Images and Words #42: Venom - Welcome To Hell #41: Metallica - ...And Justice For All Check out all of our podcasts over at: Spotify: https://open.spotify.com/show/0KGi0WI... iTunes: https://podcasts.apple.com/il/podcast... Or most of your favorite podcasting applications Check us out live every Saturday on YouTube at 8:45PM CST at https://www.youtube.com/channel/UCjeL... UPCOMING CONTENT: Squid Game (Netflix) - Out Now! Star Trek Discovery Season 4 (Paramount Plus) - Out Now! The Wheel Of Time (Amazon) - Out Now! The Witcher Season 2 (Netflix) - Out Now! The Book of Boba Fett (Disney Plus) - Out Now! House Of The Dragon (HBO) - 2022 Like what you hear, check out our backlog of content as we have reviewed the following shows: Star Trek: Discovery The Boys Hunters Star Trek: Picard The Witcher The Mandalorian Loki Game of Thrones Obi Wan Kenobi

THIS WEEK: Remembering Star Trek's Nichelle Nichols, RWBY x Justice League, CW's ‘The Flash' ending at season 9, Heavy Metal Magazine's IP plans, and much more!

For this mid-week episode Brett talks with Rocky and Isaac from San Antonio, Texas based metal band Plague! #plaguetx #texasmetal #supportlocal #heavymetal #hornsup #stayevil   Merch: www.PlagueTX.comFacebook: www.Facebook.com/PlagueTXInstagram: www.instagram.com/plague_txTwitter: twitter.com/Plague_TXYoutube: www.youtube.com/channel/UCLrjaPqYYLM4kwIMEPZVKPwApple Music: https://music.apple.com/us/album/beautiful-agony-single/1628377238Spotify: https://open.spotify.com/artist/5iM6YCLwD9uWF6zlFgQN1l?si=ewqiISa4TfCR48tyhnKB6gTidal: tidal.com/browse/album/232534630Deezer: https://deezer.page.link/dRTcYvGnZ47fSjMZ9

A long anticipated episode, Adam and crew delve into the history and culture of black metal, enlisting the help of metalhead Psyop Resistor. The crew explains how they came to find intrigue in the genre, and then dive into some of their favorite and most evil albums of the canon. FULL EPISODE SOUNDTRACK: (Psyop's pick) Vothana "Vi Muon Tra Thuo" (Adam's pick)Torgeist "Devoted to Satan" (Psyop's pick)Hate Forest "Elder Race" Boyd Rice "An Eye for an Eye" (Adam's pick) Abruptum "Feci Factum Sanguine Gladios Made Fieri Factus" (Psyop's pick)Arizmenda "Beyond the Shadows of Emptiness & Nothingness (Adam's pick) Nuit Noire "Brume Nocturne" Metallica "Bleeding Me" LINKS: Psyop Resistor at Twitter: @sanrio_pilled Lés Legions Noires at Dennis Cooper Blog Nuit Noire interview Abruptum interview

Update on Ryan and Michael, live performances of new music --- Support this podcast: https://anchor.fm/insidethesound/support

Host Nate Wilcox asks Howie about the accomplishments that made HR and his band legendary and the decisions that kept them out of the American music mainstream.Buy the book and support the podcast.Download this episode.Have a question or a suggestion for a topic or person for Nate to interview? Email letitrollpodcast@gmail.comFollow us on Twitter.Follow us on Facebook.Let It Roll is proud to be part of Pantheon Podcasts.

In April of 1980 Iron Maiden released their debut studio album. Recorded at Kingsway Studio the previous December, the album is a shot across the bow for heavy music. With breakneck speeds, ferocious riffs, anthemic melodies, and the dulcet tones of original singer Paul Di'Anno, the album heralded the arrival of The British New Wave of Heavy Metal. Let's talk Iron Maiden, Iron Maiden!

Programa completo de Más de uno con Rubén Bartolomé y Begoña Gómez de la Fuente. Tras el repaso a la actualidad, analizamos los asuntos destacados de la jornada en tertulia con John Müller, Ignacio Varela y Pilar Gómez. A continuación, Rubén Bartolomé entrevista a la ministra de Educación, Pilar Alegría. En la segunda parte, hablamos con  Begoña Gómez de la Fuente, Arturo Téllez, Javier Ruiz y Paloma Gallego sobre la microfauna e insectos que tenemos en casa. También, Josemi nos pone al día de su veraneo y con J.F León repasamos parte de la historia del Heavy Metal. Nuestro psicólogo, Roberto Aguado, nos explica qué es la fatiga emocional; cuáles son sus síntomas y cómo superarla. Por último, en el curso de 'Entiende a tu hijo', Irene Ramírez nos cuenta en qué consiste un nuevo puesto de trabajo que se ha inventado: el enplanner. 

J.F León nos trae en su sección a Mariano Muniesa, periodista especializado en heavy metal y autor del libro ‘Eso no estaba en mi libro de Historia de Heavy' con el que hablamos sobre cómo es y ha sido pertenecer a este grupo de aficionados.

Hell Bent For Metal is back after a break due to illness, and kicks it off by inviting Connie Sgarbossa from SeeYouSpaceCowboy to talk about being out in the scene, as well as breaking down stigmas about mental illness and addiction.This episode's Camp Classic is the shred-tastic 'Blood On Your Hands' by Arch Enemy. And perhaps understandably, given what's happening in LGBTQ+ news right now, this one's far from cheerful, and leads to a long discussion about the worrying state of affairs happening around us.Plus this week's visit to the Hate Crew Gaybar sees Darwin by Red Sun Atacama, From Without by Zetra, and Páthos by Conjurer go into the jukebox.(CW: descriptions of anti LGBTQ+ hate)

Hey Listener, pack your bag, but don't worry we're going to stop at a Walmart, because this week on WYI? Your host talks to 3 former band members about touring. Ethan Middendorf and Ryan Sprangen of Late Start Podcast and Carmen Belperio of VVither sit down to talk about what touring in a band is like. Topics this week include: Ryan tries to ruin the episode before it starts. Being alone vs working on a team. Today's Last Tragedy (TLT). The Mayor of Toledo. Why you should listen to Late Start. Word choice is important. The bass is the mule of the band. Forming the band. Touring means you get to visit different Walmarts. How do you determine the fashion of your band? Sometimes your “manager” doesn't really book your shows. If you can build LEGO sets then you can build some bunks. A book bag of warm beer. What did you pack to go on tour? Where do you shower on the road? “Buy anything, but tequila”. Always keep your weed and gun in a safe. Bulls need their sleep. Driving to the military base. You never know where you'll end up on tour. The porno is great in Portland this time of year. If you're going to draw a weiner, remember to add some veins. No S E X in the V A N. No, not that Sandy Hook. Pooping on the road…not literally. Working in the Late Start tagline. What is an average day like on tour? Waking up and figuring out where you're at? The divide between drivers and passengers. Killing time during the day. The dark back roads. Ryan's the angel, Ethan's the devil, and Carmen is the super devil. Pre Show prep. What's it like to host a live podcast? Who's hosting this show? When people are loose, their wallets get loose. After show Tetris. Do you plan to tour again? Remember to enjoy the adventure.

This week Tom & Zeus review KISS: Story Of Their Songs which just debuted on the REELZ network. The REELZ station has series called, Story Of Their Songs, which explores songs of a band that help define them. For KISS, they examine three songs that helped KISS establish themselves as one of the greatest rock bands ever. For KISS, the series selects 3 KISS songs and then they have special guests breakdown the tracks in between videos, interviews with the band and a narrator who gives a general information about the band's history. This episode has many familiar faces such as Eddie Trunk, Dee Snider, Martin Popoff and more. However, it also includes Steve Vai, Joe Bonamassa, Ken Sharp, Marty Friedman, Anton Fig, Producer Michael James Jackson, Riki Rachtman, Engineer Jay Messina, Art Director Dennis Woloch and more. The boys discuss the one hour episode and debate the three songs chosen by REELZ as quintessential songs in KISS' career. They then rank the documentary against the previously reviewed KISS documentaries on SIOL. So tune and make sure you look out for Tom's real time reaction to newest product that will go in the SIOL Hall of Fame.  For all things Shout It Out Loudcast check out our amazing website by clicking below: www.ShoutItOutLoudcast.com Interested in more Shout It Out Loudcast content?  Care to help us out?  Come join us on Patreon by clicking below: SIOL Patreon Shop At Our Amazon Store by clicking below: Shout It Out Loudcast Amazon Store Please go to Klick Tee Shop for all your Shout It Out Loudcast Merchandise by clicking below:SIOL Merchandise at Klick Tee Shop Please Email us comments or suggestions by clicking below:ShoutItOutLoudcast@Gmail.com Please subscribe to us and give us a 5 Star (Child) review on the following places below:iTunesPodchaserStitcheriHeart RadioSpotify  Please follow us and like our social media pages clicking below:TwitterFacebook PageFacebook Group Page Shout It Out LoudcastersInstagramYouTube Please check out our sponsor FusionTech Data & Electric for all your data and electrical needs by clicking below:FusionTech Data And Electric Proud Member of the Pantheon Podcast click below to see the website:Pantheon Podcast Network

While I'm still on hiatus, I invited questions from listeners. This is an hour-long podcast answering some of them. (Another hour-long Q&A for Patreon backers only will go up next week). Tilt Araiza has assisted invaluably by doing a first-pass edit, and will hopefully be doing so from now on. Check out Tilt's irregular podcasts at http://www.podnose.com/jaffa-cakes-for-proust and http://sitcomclub.com/ There is a Mixcloud of the music excerpted here which can be found at https://www.mixcloud.com/AndrewHickey/500-songs-supplemental-qa-edition/ Click below for a transcript: Hello and welcome to the Q&A  episode I'm doing while I'm working on creating a backlog. I'm making good progress on that, and still hoping and expecting to have episode 151 up some time in early August, though I don't have an exact date yet. I was quite surprised by the response to my request for questions, both at the amount of it and at where it came from. I initially expected to get a fair few comments on the main podcast, and a handful on the Patreon, and then I could do a reasonable-length Q&A podcast from the former and a shorter one from the latter. Instead, I only got a couple of questions on the main episode, but so many on the Patreon that I had to stop people asking only a day or so after posting the request for questions. So instead of doing one reasonable length podcast and one shorter one, I'm actually doing two longer ones. What I'm going to do is do all the questions asked publicly, plus all the questions that have been asked multiple times, in this one, then next week I'm going to put up the more niche questions just for Patreon backers. However, I'm not going to answer *all* of the questions. I got so many questions so quickly that there's not space to answer them all, and several of them were along the lines of "is artist X going to get an episode?" which is a question I generally don't answer -- though I will answer a couple of those if there's something interesting to say about them. But also, there are some I've not answered for another reason. As you may have noticed, I have a somewhat odd worldview, and look at the world from a different angle from most people sometimes. Now there were several questions where someone asked something that seems like a perfectly reasonable question, but contains a whole lot of hidden assumptions that that person hadn't even considered -- about music history, or about the process of writing and researching, or something else. Now, to answer that kind of question at all often means unpacking those hidden assumptions, which can sometimes make for an interesting answer -- after all, a lot of the podcast so far has been me telling people that what they thought they knew about music history was wrong -- but when it's a question being asked by an individual and you answer that way, it can sometimes, frankly, make you look like a horribly unpleasant person, or even a bully. "Don't you even know the most basic things about historical research? I do! You fool! Hey everyone else listening, this person thinks you do research in *this* way, but everyone knows you do it *that* way!" Now, that is never how I would intend such answers to come across -- nobody can be blamed for not knowing what they don't know -- but there are some questions where no matter how I phrased the answer, it came across sounding like that. I'll try to hold those over for future Q&A episodes if I can think of ways of unpicking the answers in such a way that I'm not being unconscionably rude to people who were asking perfectly reasonable questions. Some of the answers that follow might still sound a bit like that to be honest, but if you asked a question and my answer sounds like that to you, please know that it wasn't meant to. There's a lot to get through, so let's begin: Steve from Canada asks: “Which influential artist or group has been the most challenging to get information on in the last 50 podcasts? We know there has been a lot written about the Beatles, Beach Boys, Motown as an entity, the Monkees and the Rolling Stones, but you mentioned in a tweet that there's very little about some bands like the Turtles, who are an interesting story. I had never heard of Dino Valenti before this broadcast – but he appeared a lot in the last batch – so it got me curious. [Excerpt: The Move, “Useless Information”] In the last fifty episodes there's not been a single one that's made it to the podcast where it was at all difficult to get information. The problem with many of them is that there's *too much* information out there, rather than there not being enough. No matter how many books one reads on the Beatles, one can never read more than a fraction of them, and there's huge amounts of writing on the Rolling Stones, on Hendrix, on the Doors, on the Byrds... and when you're writing about those people, you *know* that you're going to miss out something or get something wrong, because there's one more book out there you haven't read which proves that one of the stories you're telling is false. This is one of the reasons the episodes have got so much longer, and taken so much more time. That wasn't the case in the first hundred episodes -- there were a lot of artists I covered there, like Gene and Eunice, or the Chords, or Jesse Belvin, or Vince Taylor who there's very little information about. And there are some coming up who there's far less information about than people in the last fifty episodes. But every episode since the Beatles has had a surfeit of information. There is one exception -- I wanted to do a full episode on "Rescue Me" by Fontella Bass, because it would be an interesting lens through which to look at how Chess coped with the change in Black musical styles in the sixties. But there was so little information available about her I ended up relegating it to a Patreon bonus episode, because she makes those earlier artists look well-documented. Which leads nicely into the next question. Nora Tillman asks "Forgive this question if you've answered it before: is there literally a list somewhere with 500 songs you've chosen? Has the list changed since you first composed it? Also, when did you first conceive of this list?" [Excerpt: John Reed and the D'Oyly Carte Opera Company, "As Someday it May Happen"] Many people have asked this question, or variations upon it. The answer is yes and no. I made a list when I started that had roughly two hundred songs I knew needed to be on there, plus about the same number again of artists who needed to be covered but whose precise songs I hadn't decided on. To make the initial list I pulled a list out of my own head, and then I also checked a couple of other five-hundred-song lists -- the ones put out by Rolling Stone magazine and the Rock and Roll Hall of Fame -- not because I wanted to use their lists; I have very little time for rock critical orthodoxy, as most of my listeners will likely have realised by now, but because I wanted to double-check that I hadn't missed anything obvious out, and that if I was missing something off their lists, I knew *why* I was missing it. To take a ludicrous example, I wouldn't want to get to the end of the 1960s and have someone say "Wait a minute, what about the Beatles?" and think "I *knew* I'd forgotten something!" Then, at the start of each fifty-episode season, I put together a more rigorous list of the fifty songs coming up, in order. Those lists *can* still change with the research -- for example, very early on in the research for the podcast, I discovered that even though I was completely unfamiliar with "Ko Ko Mo" by Gene and Eunice, it was a hugely important and influential record at the time, and so I swapped that in for another song. Or more recently, I initially intended to have the Doors only have one episode, but when I realised how much I was having to include in that episode I decided to give them a second one. And sometimes things happen the other way -- I planned to do full episodes on Jackie Shane and Fontella Bass, but for both of them I couldn't find enough information to get a decent episode done, so they ended up being moved to Patreon episodes. But generally speaking that fifty-song list for a year's episodes is going to remain largely unchanged. I know where I'm going, I know what most of the major beats of the story are, but I'm giving myself enough flexibility to deviate if I find something I need to include. Connected with this, Rob Johnson asks how I can be confident I'll get back to some stories in later episodes. Well, like I say, I have a pretty much absolute idea of what I'm going to do in the next year, and there are a lot of individual episodes where I know the structure of the episode long before we get to it. As an example here... I don't want to give too much away, and I'm generally not going to be answering questions about "will artist X be appearing?", but Rob also asked about one artist. I can tell you that that artist is one who will not be getting a full episode -- and I already said in the Patreon episode about that artist that they won't -- but as I also said in that episode they *will* get a significant amount of time in another episode, which I now know is going to be 180, which will also deal with another artist from the same state with the same forename, even though it's actually about two English bands. I've had the structure of that episode planned out since literally before I started writing episode one. On the other hand, episode 190 is a song that wasn't originally going to be included at all. I was going to do a 1967 song by the same artist, but then found out that a fact I'd been going to use was disputed, which meant that track didn't need to be covered, but the artist still did, to finish off a story I'd started in a previous episode. Patrick asks:"I am currently in the middle of reading 1971: Never a Dull Moment by David Hepworth and I'm aware that Apple TV have produced a documentary on how music changed that year as well and I was wondering what your opinion on that subject matter? I imagine you will be going into some detail on future podcasts, but until recently I never knew people considered 1971 as a year that brought about those changes." [Excerpt: Rod Stewart, "Angel"] I've not yet read Hepworth's book, but that it's named after an album which came out in 1972 (which is the album that track we just heard came from) says something about how the idea that any one year can in itself be a turning point for music is a little overstated -- and the Apple documentary is based on Hepworth's book, so it's not really multiple people making that argument. Now, as it happens, 1971 is one of the break points for the podcast -- episodes 200 and 201 are both records from July 1971, and both records that one could argue were in their own way signifiers of turning points in rock music history. And as with 1967 it's going to have more than its fair share of records, as it bridges the gap of two seasons. But I think one could make similar arguments for many, many years, and 1971 is  not one of the most compelling cases. I can't say more before I read Hepworth's book, which won't be for a few months yet. I'm instinctively dubious of these "this year was the big year that changed everything" narratives, but Hepworth's a knowledgeable enough writer that I wouldn't want to dismiss his thesis without even reading the book. Roger Pannell asks I'm a fairly recent joiner-in too so you may have answered this before. What is the theme tune to the podcast please. [Excerpt: The Boswell Sisters, “Rock and Roll”] The theme song to the podcast is "Rock and Roll" by the Boswell Sisters. The version I use is not actually the version that was released as a single, but a very similar performance that was used in the film Transatlantic Merry-Go-Round in 1931. I chose it in part because it may well be the first ever record to contain the phrase "rock and roll" (though as I've said many times there's no first anything, and there are certainly many records which talk about rocking and/or rolling -- just none I know of with that phrase) so it evokes rock and roll history, partly because the recording is out of copyright, and partly just because I like the Boswell Sisters. Several people asked questions along the lines of this one from Christopher Burnett "Just curious if there's any future episodes planned on any non-UK or non-North American songs? The bonus episodes on the Mops and Kyu Sakamoto were fascinating." [Excerpt: Kyu Sakamoto, "Sukiyaki"] Sadly, there won't be as many episodes on musicians from outside the UK and North America as I'd like. The focus of the podcast is going to be firmly on British, American, Irish, and Canadian musicians, with a handful from other Anglophone countries like Australia and Jamaica. There *are* going to be a small number of episodes on non-Anglophone musicians, but very few. Sadly, any work of history which engages with injustices still replicates some of those injustices, and one of the big injustices in rock history is that most rock musicians have been very insular, and there has been very little influence from outside the Anglophone world, which means that I can't talk much about influential records made by musicians from elsewhere.  Also, in a lot of cases most of the writing about them is in other languages, and I'm shamefully monolingual (I have enough schoolboy French not to embarrass myself, but not enough to read a biography without a dictionary to hand, and that's it). There *will* be quite a few bonus episodes on musicians from non-Anglophone countries though, because this *is* something that I'm very aware of as a flaw, and if I can find ways of bringing the wider story into the podcast I will definitely do so, even if it means changing my plans somewhat, but I'm afraid they'll largely be confined to Patreon bonuses rather than mainline episodes. Ed Cunard asks "Is there a particular set of songs you're not looking forward to because you don't care for them, but intend to dive into due to their importance?" [Excerpt: Jackie Shane, "Don't Play That Song"] There are several, and there already have been some, but I'm not going to say what they are as part of anything to do with the podcast (sometimes I might talk about how much I hate a particular record on my personal Twitter account or something, but I try not to on the podcast's account, and I'm certainly not going to in an episode of the podcast itself). One of the things I try to do with the podcast is to put the case forward as to why records were important, why people liked them at the time, what they got out of them. I can't do that if I make it about my own personal tastes. I know for a fact that there are people who have come away from episodes on records I utterly despise saying "Wow! I never liked that record before, but I do now!" and that to me shows that I have succeeded -- I've widened people's appreciation for music they couldn't appreciate before. Of course, it's impossible to keep my own tastes from showing through totally, but even there people tend to notice much more my like or dislike for certain people rather than for their music, and I don't feel anything like as bad for showing that. So I have a policy generally of just never saying which records in the list I actually like and which I hate. You'll often be able to tell from things I talk about elsewhere, but I don't want anyone to listen to an episode and be prejudiced not only against the artist but against the episode  by knowing going in that I dislike them, and I also don't want anyone to feel like their favourite band is being given short shrift. There are several records coming up that I dislike myself but where I know people are excited about hearing the episode, and the last thing I want to do is have those people who are currently excited go in disappointed before they even hear it. Matt Murch asks: "Do you anticipate tackling the shift in rock toward harder, more seriously conceptual moves in 1969 into 1970, with acts like Led Zeppelin, The Who (again), Bowie, etc. or lighter soul/pop artists such as Donna Summer, Carly Simon or the Carpenters? Also, without giving too much away, is there anything surprising you've found in your research that you're excited to cover? [Excerpt: Robert Plant, "If I Were a Carpenter"] OK, for the first question... I don't want to say exactly who will and won't be covered in future episodes, because when I say "yes, X will be covered" or "no, Y will not be covered", it invites a lot of follow-up discussion along the lines of "why is X in there and not Y?" and I end up having to explain my working, when the episodes themselves are basically me explaining my working. What I will say is this... the attitude I'm taking towards who gets included and who gets excluded is, at least in part, influenced by an idea in cognitive linguistics called prototype theory. According to this theory, categories aren't strictly bounded like in Aristotelian thought -- things don't have strict essences that mean they definitely are or aren't members of categories. But rather, categories have fuzzy boundaries, and there are things at the centre that are the most typical examples of the category, and things at the border that are less typical. For example, a robin is a very "birdy" bird -- it's very near the centre of the category of bird, it has a lot of birdness -- while an ostrich is still a bird, but much less birdy, it's sort of in the fuzzy boundary area. When you ask people to name a bird, they're more likely to name a robin than an ostrich, and if you ask them “is an ostrich a bird?” they take longer to answer than they do when asked about robins. In the same way, a sofa is nearer the centre of the category of "furniture" than a wardrobe is. Now, I am using an exceptionally wide definition of what counts as rock music, but at the same time, in order for it to be a history of rock music, I do have to spend more time in the centre of the concept than around the periphery. My definition would encompass all the artists you name, but I'm pretty sure that everyone would agree that the first three artists you name are much closer to the centre of the concept of "rock music" than the last three. That's not to say anyone on either list is definitely getting covered or is definitely *not* getting covered -- while I have to spend more time in the centre than the periphery, I do have to spend some time on the periphery, and my hope is to cover as many subgenres and styles as I can -- but that should give an idea of how I'm approaching this. As for the second question -- there's relatively little that's surprising that I've uncovered in my research so far, but that's to be expected. The period from about 1965 through about 1975 is the most over-covered period of rock music history, and so the basic facts for almost every act are very, very well known to people with even a casual interest. For the stuff I'm doing in the next year or so, like the songs I've covered for the last year, it's unlikely that anything exciting will come up until very late in the research process, the times when I'm pulling everything together and notice one little detail that's out of place and pull on that thread and find the whole story unravelling. Which may well mean, of course, that there *are* no such surprising things. That's always a possibility in periods where we're looking at things that have been dealt with a million times before, and this next year may largely be me telling stories that have already been told. Which is still of value, because I'm putting them into a larger context of the already-released episodes, but we'll see if anything truly surprising happens. I certainly hope it does. James Kosmicki asks "Google Podcasts doesn't seem to have any of the first 100 episodes - are they listed under a different name perhaps?" [Excerpt: REM, "Disappear"] I get a number of questions like this, about various podcast apps and sites, and I'm afraid my answer is always the same -- there's nothing I can do about this, and it's something you'd have to take up with the site in question. Google Podcasts picks up episodes from the RSS feed I provide, the same as every other site or app. It's using the right feed, that feed has every episode in it, and other sites and apps are working OK with it. In general, I suggest that rather than streaming sites like Google Podcasts or Stitcher or Spotify, where the site acts as a middleman and they serve the podcast to you from their servers, people should use a dedicated podcast app like RadioPublic or Pocketcasts or gPodder, where rather than going from a library of podcast episodes that some third party has stored, you're downloading the files direct from the original server, but I understand that sometimes those apps are more difficult to use, especially for less tech-savvy people. But generally, if an episode is in some way faulty or missing on the 500songs.com webpage, that's something I can do something about. If it's showing up wrong on Spotify or Google Podcasts or Stitcher or whatever, that's a problem at their end. Sorry. Darren Johnson asks "were there any songs that surprised you? Which one made the biggest change between what you thought you knew and what you learned researching it?" [Excerpt: The Turtles, "Goodbye Surprise"] Well, there have been a few, in different ways. The most surprising thing for me actually was in the most recent episode when I discovered the true story behind the "bigger than Jesus" controversy during my reading. That was a story I'd known one way for my entire life -- literally I think I first read about that story when I was six or seven -- and it turned out that not one thing I'd read on the subject had explained what had really happened. But then there are other things like the story of "Ko Ko Mo", which was a record I wasn't even planning on covering at first, but which turned out to be one of the most important records of the fifties. But I actually get surprised relatively little by big-picture things. I'll often discover fun details or new connections between things I hadn't noticed before, but the basic outlines of the story never change that much -- I've been reading about music history literally since I learned how to read, and while I do a deep dive for each episode, it's very rare that I discover anything that totally changes my perspective. There is always a process of reevaluation going on, and a change in the emphases in my thought, so for example when I started the project I knew Johnny Otis would come up a fair bit in the early years, and knew he was a major figure, but was still not giving him the full credit he deserved in my head. The same goes for Jesse Belvin, and as far as background figures go Lester Sill and Milt Gabler. But all of these were people I already knew were important, i just hadn't connected all the dots in my head. I've also come to appreciate some musicians more than I did previously. But there are very few really major surprises, which is probably to be expected -- I got into this already knowing a *LOT*, because otherwise I wouldn't have thought this was a project I could take on. Tracey Germa -- and I'm sorry, I don't know if that's pronounced with a hard or soft G, so my apologies if I mispronounced it -- asks: "Hi Andrew. We love everything about the podcast, but are especially impressed with the way you couch your trigger warnings and how you embed social commentary into your analysis of the music. You have such a kind approach to understanding human experiences and at the same time you don't balk at saying the hard things some folks don't want to hear about their music heroes. So, the question is - where does your social justice/equity/inclusion/suffer no fools side come from? Your family? Your own experiences? School/training?” [Excerpt: Elvis Costello and the Attractions, "Little Triggers"] Well, firstly, I have to say that people do say  this kind of thing to me quite a lot, and I'm grateful when they say it, but I never really feel comfortable with it, because frankly I think I do very close to the absolute minimum, and I get by because of the horribly low expectations our society has for allocishet white men, which means that making even the tiniest effort possible to be a decent human being looks far more impressive by comparison than it actually is. I genuinely think I don't do a very good job of this at all, although I do try, and that's not false modesty there. But to accept the premise of the question for a moment, there are a couple of answers. My parents are both fairly progressive both politically and culturally,  for the time and place where they raised me. They both had strong political convictions, and while they didn't have access to much culture other than what was on TV or in charting records or what have you -- there was no bookshop or record shop in our town, and obviously no Internet back then -- they liked the stuff out of that mix that was forward-thinking, and so was anti-racist, accepting of queerness, and so on. From a very early age, I was listening to things like "Glad to be Gay" by the Tom Robinson Band. So from before I really even understood what those concepts were, I knew that the people I admired thought that homophobia and racism were bad things. I was also bullied a lot at school, because I was autistic and fat and wore glasses and a bunch of other reasons. So I hated bullying and never wanted to be a bully. I get very, very, *very* angry at cruelty and at abuses of power -- as almost all autistic people do, actually. And then, in my twenties and thirties, for a variety of reasons I ended up having a social circle that was predominantly queer and/or disabled and/or people with mental health difficulties. And when you're around people like that, and you don't want to be a bully, you learn to at least try to take their feelings into consideration, though I slipped up a great deal for a long time, and still don't get everything right. So that's the "social justice" side of things. The other side, the "understanding human experiences" side... well, everyone has done awful things at times, and I would hope that none of us would be judged by our worst behaviours. "Use every man to his desert and who should 'scape whipping?" and all that. But that doesn't mean those worst behaviours aren't bad, and that they don't hurt people, and denying that only compounds the injustice. People are complicated, societies are complicated, and everyone is capable of great good and great evil. In general I tend to avoid a lot of the worst things the musicians I talk about did, because the podcast *is* about the music, but when their behaviour affects the music, or when I would otherwise be in danger of giving a truly inaccurate picture of someone, I have to talk about those things. You can't talk about Jerry Lee Lewis without talking about how his third marriage derailed his career, you can't talk about Sam Cooke without talking about his death, and to treat those subjects honestly you have to talk about the reprehensible sides of their character. Of course, in the case of someone like Lewis, there seems to be little *but* a reprehensible side, while someone like Cooke could be a horrible, horrible person, but even the people he hurt the most also loved him dearly because of his admirable qualities. You *have* to cover both aspects of someone like him if you want to be honest, and if you're not going to be honest why bother trying to do history at all? Lester Dragstedt says (and I apologise if I mispronounced that): "I absolutely love this podcast and the perspective you bring. My only niggle is that the sound samples are mixed so low. When listening to your commentary about a song at voice level my fingers are always at the volume knob to turn up when the song comes in." [Excerpt: Bjork, "It's Oh So Quiet"] This is something that gets raised a lot, but it's not something that's ever going to change. When I started the podcast, I had the music levels higher, and got complaints about that, so I started mixing them lower. I then got complaints about *that*, so I did a poll of my Patreon backers to see what they thought, and by about a sixty-forty margin they wanted the levels to be lower, as they are now, rather than higher as they were earlier. Basically, there seem to be two groups of listeners. One group mostly listens with headphones, and doesn't like it when the music gets louder, because it hurts their ears. The other group mostly listens in their cars, and the music gets lost in the engine noise. That's a gross oversimplification, and there are headphone listeners who want the music louder and car listeners who want the music quieter, but the listenership does seem to split roughly that way, and there are slightly more headphone listeners. Now, it's literally *impossible* for me to please everyone, so I've given up trying with this, and it's *not* going to change. Partly because the majority of my backers voted one way, partly because it's just easier to leave things the way they are rather than mess with them given that no matter what I do someone will be unhappy, and partly because both Tilt when he edits the podcast and I when I listen back and tweak his edit are using headphones, and *we* don't want to hurt our ears either. Eric Peterson asks "if we are basically in 1967 that is when we start seeing Country artists like Johnny Cash and Waylon Jennings - the Man who Survived the Day the Music Died - start to bring more rock songs into their recordings and start to set the ground work in many ways for Country Rock ... how do you envision bringing the role they play in the History of Rock and Roll into the podcast?" [Excerpt: The Del McCoury Band, "Nashville Cats"] I will of course be dealing with country rock as one of the subgenres I discuss -- though there's only one real country-rock track coming up in the next fifty, but there'll be more as I get into the seventies, and there are several artists coming up with at least some country influence. But I won't be looking at straight country musicians like Jennings or Cash except through the lens of rock musicians they inspired -- things like me talking about Johnny Cash briefly in the intro to the "Hey Joe" episode. I think Cocaine and Rhinestones is already doing a better job of covering country music than I ever could, and so those people will only touch the story tangentially. Nili Marcia says: "If one asks a person what's in that room it would not occur to one in 100 to mention the air that fills it. Something so ubiquitous as riff--I don't know what a riff actually is! Will you please define riff, preferably with examples." Now this is something I actually thought I'd explained way back in episode one, and I have a distinct memory of doing so, but I must have cut that part out -- maybe I recorded it so badly that part couldn't be salvaged, which happened sometimes in the early days -- because I just checked and there's no explanation there. I would have come back to this at some point if I hadn't been thinking all along that I'd covered it right at the start, because you're right, it is a term that needs definition. A riff is, simply, a repeated, prominent, instrumental figure. The term started out in jazz, and there it was a term for a phrase that would be passed back and forth between different instruments -- a trumpet might play a phrase, then a saxophone copy it, then back to the trumpet, then back to the saxophone. But quickly it became a term for a repeated figure that becomes the main accompaniment part of a song, over which an instrumentalist might solo or a singer might sing, but which you remember in its own right. A few examples of well-known riffs might include "Smoke on the Water" by Deep Purple: [Excerpt: Deep Purple, "Smoke on the Water"] "I Feel Fine" by the Beatles: [Excerpt: The Beatles, "I Feel Fine"] "Last Train to Clarksville" by the Monkees: [Excerpt: The Monkees, "Last Train to Clarksville"] The bass part in “Under Pressure” by Queen and David Bowie: [Excerpt: Queen and David Bowie, “Under Pressure”] Or the Kingsmen's version of "Louie Louie": [Excerpt: The Kingsmen, "Louie Louie"] Basically, if you can think of a very short, prominent, instrumental idea that gets repeated over and over, that's a riff. Erik Pedersen says "I love the long episodes and I suspect you do too -- thoroughness. of this kind is something few get the opportunity to do -- but have you ever, after having written a long one, decided to cut them significantly? Are there audio outtakes you might string together one day?" [Excerpt: Bing Crosby and Les Paul, "It's Been a Long, Long Time"] I do like *having* done the long episodes, and sometimes I enjoy doing them, but other times I find it frustrating that an episode takes so long, because there are other stories I want to move on to. I'm trying for more of a balance over the next year, and we'll see how that works out. I want to tell the story in the depth it deserves, and the longer episodes allow me to do that, and to experiment with narrative styles and so on, but I also want to get the podcast finished before I die of old age. Almost every episode has stuff that gets cut, but it's usually in the writing or recording stage -- I'll realise a bit of the episode is boring and just skip it while I'm recording, or I'll cut out an anecdote or something because it looks like it's going to be a flabby episode and I want to tighten it up, or sometimes I'll realise that because of my mild speech impediments a sentence is literally unspeakable, and I'll rework it. It's very, very rare that I'll cut anything once it's been recorded, and if I do it's generally because when I listen back after it's been edited I'll realise I'm repeating myself or I made a mistake and need to cut a sentence because I said the wrong name, that sort of thing. I delete all the audio outtakes, but even if I didn't there would be nothing worth releasing. A few odd, out of context sentences, the occasional paragraph just repeating something I'd already said, a handful of actual incorrect facts, and a lot of me burping, or trying to say a difficult name three times in a row, or swearing when the phone rings in the middle of a long section. Lucy Hewitt says "Something that interests me, and that I'm sure you will cover is how listeners consume music and if that has an impact. In my lifetime we've moved from a record player which is fixed in one room to having a music collection with you wherever you go, and from hoping that the song you want to hear might be played on the radio to calling it up whenever you want. Add in the rise of music videos, and MTV, and the way in which people access music has changed a lot over the decades. But has that affected the music itself?" [Excerpt: Bow Wow Wow "C30 C60 C90 Go!"] It absolutely has affected the music itself in all sorts of ways, some of which I've touched on already and some of which I will deal with as we go through the story, though the story I'm telling will end around the time of Napster and so won't involve streaming services and so forth. But every technology change leads to a change in the sound of music in both obvious and non-obvious ways. When AM radio was the most dominant form of broadcasting, there was no point releasing singles in stereo, because at that time there were no stereo AM stations. The records also had to be very compressed, so the sound would cut through the noise and interference. Those records would often be very bass-heavy and have a very full, packed, sound. In the seventies, with the rise of eight-track players, you'd often end up with soft-rock and what would later get termed yacht rock having huge success. That music, which is very ethereal and full of high frequencies, is affected less negatively by some of the problems that came with eight-track players, like the tape stretching slightly. Then post-1974 and the OPEC oil crisis, vinyl became more expensive, which meant that records started being made much thinner, which meant you couldn't cut grooves as deeply, which meant you lost bass response, which again changed the sound of records – and also explains why when CDs came out, people started thinking they sounded better than records, because they *did* sound better than the stuff that was being pressed in the late seventies and early eighties, which was so thin it was almost transparent, even though they sounded nowhere near as good as the heavy vinyl pressings of the fifties and sixties. And then the amount of music one could pack into a CD encouraged longer tracks... A lot of eighties Hi-NRG and dance-pop music, like the records made by Stock, Aitken, and Waterman, has almost no bass but lots of skittering high-end percussion sounds -- tons of synthesised sleighbells and hi-hats and so on -- because a lot of disco equipment had frequency-activated lights, and the more high-end stuff was going on, the more the disco lights flashed... We'll look at a lot of these changes as we go along, but every single new format, every new way of playing an old format, every change in music technology, changes what music gets made quite dramatically. Lucas Hubert asks: “Black Sabbath being around the corner, how do you plan on dealing with Heavy Metal? I feel like for now, what is popular and what has had a big impact in Rock history coincide. But that kind of change with metal, no? (Plus, prog and metal are more based on albums than singles, I think.)” [Excerpt: Black Sabbath, “Sabbath Bloody Sabbath”] I plan on dealing with metal the same way I've been dealing with every other subgenre. We are, yes, getting into a period where influence and commercial success don't correlate quite as firmly as they did in the early years -- though really we've already been there for quite some time. I've done two episodes so far on the Byrds, a group who only had three top-twenty singles in the US and two in the UK, but only did a bonus episode on Herman's Hermits, who had fourteen in the US and seventeen in the UK. I covered Little Richard but didn't cover Pat Boone, even though Boone had the bigger hits with Richard's songs. In every subgenre there are going to be massive influences who had no hits, and people who had lots of hits but didn't really make much of a wider impact on music, and I'll be dealing with the former more than the latter. But also, I'll be dealing most with people who were influential *and* had lots of hits -- if nothing else because while influence and chart success aren't a one-to-one correlation, they're still somewhat correlated. So it's unlikely you'll see me cover your favourite Scandinavian Black Metal band who only released one album of which every copy was burned in a mysterious fire two days after release, but you can expect most of the huge names in metal to be covered. Though even there, simply because of the number of subgenres I'm going to cover, I'm going to miss some big ones. Related to the question about albums, Svennie asks “This might be a bit of a long winded question so just stick with me here. As the music you cover becomes more elaborate, and the albums become bigger in scale, how do you choose a song which you build the story around while also telling the story of that album? I ask this specifically with the White Album in mind, where you've essentially got four albums in one. To that end, what song would you feel defines the White Album?” [Excerpt: The Beatles, “Revolution #9”] Well, you'll see how I cover the White Album in episode one hundred and seventy-two -- we're actually going to have quite a long stretch with no Beatles songs covered because I'm going to backfill a lot of 1967 and then we're getting to the Beatles again towards the end of 1968, but it'll be another big one when we get there. But in the general case... the majority of albums to come still had singles released off them, and a lot of what I'm going to be looking at in the next year or two is still hit singles, even if the singles are by people known as album bands. Other times, a song wasn't a single, but maybe it was covered by someone else -- if I know I'm going to cover a rock band and I also know that one of the soul artists who would do rock covers as album tracks did a version of one of their songs, and I'm going to cover that soul artist, say, then if I do the song that artist covered I can mention it in the episode on the soul singer and tie the two episodes together a bit. In other cases there's a story behind a particular track that's more interesting than other tracks, or the track is itself a cover version of someone else's record, which lets me cover both artists in a single episode, or it's the title track of the album. A lot of people have asked me this question about how I'd deal with albums as we get to the late sixties and early seventies, but looking at the list of the next fifty episodes, there's actually only two where I had to think seriously about which song I chose from an album -- in one case, I chose the title track, in the other case I just chose the first song on the album (though in that case I may end up choosing another song from the same album if I end up finding a way to make that a more interesting episode). The other forty-eight were all very, very obvious choices. Gary Lucy asks “Do you keep up with contemporary music at all? If so, what have you been enjoying in 2022 so far…and if not, what was the most recent “new” album you really got into?” [Excerpt: Stew and the Negro Problem, "On the Stage of a Blank White Page"] I'm afraid I don't. Since I started doing the podcast, pretty much all of my listening time has been spent on going back to much older music, and even before that, when I was listening to then-new music it was generally stuff that was very much inspired by older music, bands like the Lemon Twigs, who probably count as the last new band I really got into with their album Do Hollywood, which came out in 2016 but which I think I heard in 2018. I'm also now of that age where 2018 seems like basically yesterday, and when I keep thinking "what relatively recent albums have I liked?" I think of things like The Reluctant Graveyard by Jeremy Messersmith, which is from 2010, or Ys by Joanna Newsom, which came out in 2006. Not because I haven't bought records released since then, but because my sense of time is so skewed that summer 1994 and summer 1995 feel like epochs apart, hugely different times in every way, but every time from about 2005 to 2020 is just "er... a couple of years ago? Maybe?" So without going through every record I've bought in the last twenty years and looking at the release date I couldn't tell you what still counts as contemporary and what's old enough to vote. I have recently listened a couple of times to an album by a band called Wet Leg, who are fairly new, but other than that I can't say. But probably the most recent albums to become part of my regular listening rotation are two albums which came out simultaneously in 2018 by Stew and the Negro Problem, Notes of a Native Song, which is a song cycle about James Baldwin and race in America, and The Total Bent, which is actually the soundtrack to a stage musical, and which I think many listeners to the podcast might find interesting, and which is what that last song excerpt was taken from. It's basically a riff on the idea of The Jazz Singer, but set in the Civil Rights era, and about a young politically-radical Black Gospel songwriter who writes songs for his conservative preacher father to sing, but who gets persuaded to become a rock and roll performer by a white British record producer who fetishises Black music. It has a *lot* to say about religion, race, and politics in America -- a couple of the song titles, to give you some idea, are "Jesus Ain't Sitting in the Back of the Bus" and "That's Why He's Jesus and You're Not, Whitey". It's a remarkable album, and it deals with enough of the same subjects I've covered here that I think any listeners will find it interesting. Unfortunately, it was released through the CDBaby store, which closed down a few months later, and unlike most albums released through there it doesn't seem to have made its way onto any of the streaming platforms or digital stores other than Apple Music, which rather limits its availability. I hope it comes out again soon. Alec Dann says “I haven't made it to the Sixties yet so pardon if you have covered this: what was the relationship between Sun and Stax in their heyday? Did musicians work in both studios?” [Excerpt: Booker T. and the MGs, "Green Onions"] I've covered this briefly in a couple of the episodes on Stax, but the short version is that Sun was declining just as Stax was picking up. Jim Stewart, who founded Stax, was inspired in part by Sam Phillips, and there was a certain amount of cross-fertilisation, but not that much. Obviously Rufus Thomas recorded for both labels, and there were a few other connections -- Billy Lee Riley, for example, who I did an episode on for his Sun work, also recorded at the Stax studio before going on to be a studio musician in LA, and it was actually at a Billy Lee Riley session that went badly that Booker T and the MGs recorded "Green Onions". Also, Sun had a disc-cutting machine and Stax didn't, so when they wanted to get an acetate cut to play for DJs they'd take it to Sun -- it was actually Scotty Moore, who was working for Sun as a general engineer and producer as well as playing RCA Elvis sessions by 1962, who cut the first acetate copy of "Green Onions". But in general the musicians playing at Stax were largely the next generation of musicians -- people who'd grown up listening to the records Sam Phillips had put out in the very early fifties by Black musicians, and with very little overlap. Roger Stevenson asks "This project is going to take the best part of 7 years to complete. Do you have contingency plans in case of major problems? And please look after yourself - this project is gong to be your legacy." [Excerpt: Bonzo Dog Doodah Band, "Button Up Your Overcoat"] I'm afraid there's not much I can do if major problems come up -- by major problems I'm talking about things that prevent me from making the podcast altogether, like being unable to think or write or talk. By its nature, the podcast is my writing and my research and my voice, and if I can't do those things... well, I can't do them. I *am* trying to build in some slack again -- that's why this month off has happened -- so I can deal with delays and short-term illnesses and other disruptions, but if it becomes impossible to do it becomes impossible to do, and there's nothing more I can do about it. Mark Lipson asks "I'd like to know which episodes you've released have been the most & least popular? And going forward, which episodes do you expect to be the most popular? Just curious to know what music most of your listeners listen to and are interested in." [Excerpt: Sly and the Family Stone, "Somebody's Watching You"] I'm afraid I honestly don't know. Most podcasters have extensive statistical tools available to them, which tell them which episodes are most popular, what demographics are listening to the podcast, where they are in the world, and all that kind of thing. They use that information to sell advertising spots, which is how they make most of their money. You can say "my podcast is mostly listened to by seventy-five year-olds who google for back pain relief -- the perfect demographic for your orthopedic mattresses" or "seven thousand people who downloaded my latest episode also fell for at least one email claiming to be from the wallet inspector last year, so my podcast is listened to by the ideal demographic for cryptocurrency investment". Now, I'm lucky enough to be making enough money from my Patreon supporters' generosity that I don't have to sell advertising, and I hope I never do have to. I said at the very start of the process that I would if it became necessary, but that I hoped to keep it ad-free, and people have frankly been so astonishingly generous I should never have to do ads -- though I do still reserve the right to change my mind if the support drops off. Now, my old podcast host gave me access to that data as standard. But when I had to quickly change providers, I decided that I wasn't going to install any stats packages to keep track of people. I can see a small amount of information about who actually visits the website, because wordpress.com gives you that information – not your identities but just how many people come from which countries, and what sites linked them. But if you're downloading the podcast through a podcast app, or listening through Spotify or Stitcher or wherever, I've deliberately chosen not to access that data. I don't need to know who my audience is, or which episodes they like the most -- and if I did, I have a horrible feeling I'd start trying to tailor the podcast to be more like what the existing listeners like, and by doing so lose the very things that make it unique. Once or twice a month I'll look at the major podcast charts, I check the Patreon every so often to see if there's been a massive change in subscriber numbers, but other than that I decided I'm just not going to spy on my listeners (though pretty much every other link in the chain does, I'm afraid, because these days the entire Internet is based on spying on people). So the only information I have is the auto-generated "most popular episodes" thing that comes up on the front page, which everyone can see, and which shows the episodes people who actually visit the site are listening to most in the last few days, but which doesn't count anything from more than a few days ago, and which doesn't count listens from any other source, and which I put there basically so new listeners can see which ones are popular. At the moment that's showing that the most listened episodes recently are the two most recent full episodes -- "Respect" and "All You Need is Love" -- the most recent of the Pledge Week episodes, episodes one and two, so people are starting at the beginning, and right now there's also the episodes on "Ooby Dooby", "Needles and Pins", "God Only Knows", "She Loves You" and "Hey Joe". But in a couple of days' time those last five will be totally different. And again, that's just the information from people actually visiting the podcast website. I've deliberately chosen not to know what people listening in any other way are doing -- so if you've decided to just stream that bit of the Four Tops episode where I do a bad Bob Dylan impression five thousand times in a row, you can rest assured I have no idea you're doing it and your secret is totally safe. Anyway, that's all I have time for in this episode. In a week or so I'll post a similar-length episode for Patreon backers only, and then a week or two after that the regular podcast will resume, with a story involving folk singers, jazz harmony, angelic visitations and the ghost of James Dean. See you then.