Podcasts about Jeff Buckley

On this episode of Songs of Our Lives, it's John Thayer! John's been on an incredible run as of late, from his solo record, “Winds Gate,” to the collaboration with Ben Seratan, and now, a new album with his partner, Lea Thomas as Miyaxx. We get into all of that before sinking into King Tubby, Bobby McFerrin, Alice Coltrane, Jeff Buckley, Cyndi Lauper, Raffi, Karen Dalton, and plenty more!Listen to all of John's picks HERE“Hold Your Ego Out Like A Sun”“Sunbeam of No Illusion”“Winds Gate”John's WebsiteSongs of Our Lives is a podcast series hosted by Brad Rose of Foxy Digitalis that explores the music that's made us and left a certain mark. Whether it's a song we associate with our most important moments, something that makes us cry, the things we love that nobody else does, or our favorite lyrics, we all have our own personal soundtrack. Join Foxy Digitalis on Patreon for extra questions and conversation in each episode (+ a whole lot more!)Follow Foxy Digitalis:WebsitePatreonInstagramThe Jewel GardenSong ListRaffi “Apples & Bananas”Cyndi Lauper “Time After Time”Bobby McFerrin “Don't Worry Be Happy”Aphex Twin “Avril 14th”Alice Coltrane “Journey In Satchidananda”Phil Collins “Sussudio”Jeff Buckley “Lover, You Should've Come Over”Karen Dalton “Something On Your Mind”Rage Against the Machine “Killing in the Name”Pharoah Sanders “The Creator Has a Master Plan”King Tubby's Meet the Rockers Uptown “Keep on Dubbing”Dead Prez “Hip Hop”Ben E. King “Stand By Me”

On this episode of The Bandwich Tapes, I sit down with singer-songwriter David Mead for a wide-ranging conversation about singing, record-making, fatherhood, and the changing place of music in our culture.David takes me back to his earliest experiences as a singer, from hearing his mother sing around the house to studying with vocal teacher Norris Brandstrom. Those lessons began to make sense when David heard Jeff Buckley and discovered how classical vocal technique could open the door to a more adventurous, expressive way of singing.We also get inside the making of January San Fernando. David explains how working with musicians such as Larry Goldings and Val McCallum helped him relinquish some creative control, trust the instincts of the people in the room, and recognize the energy that can live in an early take.  He also shares news of another record made with the same core group of musicians.Some of the most meaningful parts of our conversation are about family. David reflects on how becoming a husband and father changed his relationship with ambition, identity, mortality, and creative work. We close by discussing his beautiful version of Michael Jackson's “Human Nature,” the childhood memory behind it, and how a low-pressure recording project became the album Indiana.Key TakeawaysDavid is grateful that he learned to sing, play guitar, and write songs before music became inseparable from today's constant flow of digital content.Vocal teacher Norris Brandstrom helped him understand that singing and speaking are extensions of the same natural process.Hearing Jeff Buckley gave David a contemporary context for the classical vocal technique he had previously resisted.While making January San Fernando, David deliberately gave musicians such as Larry Goldings and Val McCallum room to follow their own instincts.He prefers the energy and discovery of early studio takes, especially when working with musicians who have not spent too much time studying the songs.Fatherhood helped David separate his love of music from the pressure to define himself through a recording career.His version of “Human Nature” grew from a powerful childhood memory and the creative freedom surrounding the making of Indiana.Music from the EpisodeNashville - David MeadBedtime Story - David MeadIndiana - David MeadHuman Nature - David MeadAbout the PodcastThe Bandwich Tapes is a podcast about music, creativity, and the people who devote their lives to making sound. I sit down with musicians, songwriters, composers, producers, engineers, and other creative artists to explore their work, their influences, and the experiences that continue to shape them.Connect with the ShowQuestions, comments, or guest suggestions:contact@thebandwichtapes.com

A sense of melancholy hangs over the music of songwriters whose lives were tragically short – Nick Drake, Jeff Buckley, Eva Cassidy, Judee Sill - and we're left knowing very little about them. Jamie Fisher, writer and New York Times researcher, discovered Elliott Smith 12 years after he'd died and contacted 40 of his friends and fellow musicians to build a picture of him for her memoir Nobody Broke Your Heart. She looks back here at his background and ascent from the Portland club circuit to the Oscars, and touches on … … the emotional impact of first hearing his music walking round Central Park in Lockdown … “goofy, stubborn, wildly smart, addictively listenable” … early life in Omaha and Texas (and the telling tattoo on his arm) … the shy collegiate kid reading Dostoevsky who thought promotion was “distasteful” … how a singer-writer broke through in Portland during the Grunge boom … rejected stage-names - Johnny Panic, Elliott Stillwater-Rotter - and the pivotal moment when Steven became ‘Elliott' .. his sense of humour – “a garbage truck passed him and he said, ‘there's my ride!'” … the archive of unreleased recordings she'd heard … the Oscars appearance and signing to DreamWorks and Nirvana's PR … the root of his eventual unhappiness … “he would have been more shielded if he'd been in a band” … and his expanding legacy and adoption by Gen-Z. Order ‘Nobody Broke Your Heart' here: https://www.roughtrade.com/product/jamie-fisher/nobody-broke-your-heart-an-intimate-biography-of-elliott-smithHelp us to keep The Longest Continuous Conversation In Rock'n'Roll going: https://www.patreon.com/wordinyourear Hosted on Acast. See acast.com/privacy for more information.

A sense of melancholy hangs over the music of songwriters whose lives were tragically short – Nick Drake, Jeff Buckley, Eva Cassidy, Judee Sill - and we're left knowing very little about them. Jamie Fisher, writer and New York Times researcher, discovered Elliott Smith 12 years after he'd died and contacted 40 of his friends and fellow musicians to build a picture of him for her memoir Nobody Broke Your Heart. She looks back here at his background and ascent from the Portland club circuit to the Oscars, and touches on … … the emotional impact of first hearing his music walking round Central Park in Lockdown … “goofy, stubborn, wildly smart, addictively listenable” … early life in Omaha and Texas (and the telling tattoo on his arm) … the shy collegiate kid reading Dostoevsky who thought promotion was “distasteful” … how a singer-writer broke through in Portland during the Grunge boom … rejected stage-names - Johnny Panic, Elliott Stillwater-Rotter - and the pivotal moment when Steven became ‘Elliott' .. his sense of humour – “a garbage truck passed him and he said, ‘there's my ride!'” … the archive of unreleased recordings she'd heard … the Oscars appearance and signing to DreamWorks and Nirvana's PR … the root of his eventual unhappiness … “he would have been more shielded if he'd been in a band” … and his expanding legacy and adoption by Gen-Z. Order ‘Nobody Broke Your Heart' here: https://www.roughtrade.com/product/jamie-fisher/nobody-broke-your-heart-an-intimate-biography-of-elliott-smithHelp us to keep The Longest Continuous Conversation In Rock'n'Roll going: https://www.patreon.com/wordinyourear Hosted on Acast. See acast.com/privacy for more information.

A sense of melancholy hangs over the music of songwriters whose lives were tragically short – Nick Drake, Jeff Buckley, Eva Cassidy, Judee Sill - and we're left knowing very little about them. Jamie Fisher, writer and New York Times researcher, discovered Elliott Smith 12 years after he'd died and contacted 40 of his friends and fellow musicians to build a picture of him for her memoir Nobody Broke Your Heart. She looks back here at his background and ascent from the Portland club circuit to the Oscars, and touches on … … the emotional impact of first hearing his music walking round Central Park in Lockdown … “goofy, stubborn, wildly smart, addictively listenable” … early life in Omaha and Texas (and the telling tattoo on his arm) … the shy collegiate kid reading Dostoevsky who thought promotion was “distasteful” … how a singer-writer broke through in Portland during the Grunge boom … rejected stage-names - Johnny Panic, Elliott Stillwater-Rotter - and the pivotal moment when Steven became ‘Elliott' .. his sense of humour – “a garbage truck passed him and he said, ‘there's my ride!'” … the archive of unreleased recordings she'd heard … the Oscars appearance and signing to DreamWorks and Nirvana's PR … the root of his eventual unhappiness … “he would have been more shielded if he'd been in a band” … and his expanding legacy and adoption by Gen-Z. Order ‘Nobody Broke Your Heart' here: https://www.roughtrade.com/product/jamie-fisher/nobody-broke-your-heart-an-intimate-biography-of-elliott-smithHelp us to keep The Longest Continuous Conversation In Rock'n'Roll going: https://www.patreon.com/wordinyourear Hosted on Acast. See acast.com/privacy for more information.

Jakso 279. MUSAMUSA palaa kesätauolta studioon. Luvassa keskustelua ajankohtaisista aiheista sekä elokuun kuukauden levyn paljastaminen ja yhtyeen haastattelu.

A live recording from The Big Romance about a 2008 Sub Pop-released classic album of the 2000s. Listen on Apple | Android | Patreon | Pocketcasts | CastBox | Stitcher | Spotify | RSS Feed | Podlink Step into a world of misty melodies and cavernous echoes with Seattle band Fleet Foxes' landmark debut – a defining record of the late-2000s indie folk revival. Led by Robin Pecknold, the album blends the lush, pastoral harmonies of the 1960s with a haunting baroque-pop sensibility and lyrical themes rooted in nature, tradition, and introspection. Like the Bruegel painting on its cover, every track reveals a dense, beautiful world that evokes a timeless – almost mythic Americana sound. This podcast episode is a live recording from our listening party in The Big Romance in April, with guest journalist and Fleet Foxes fan Aoife Barry. Our next Listening Party is Smashing Pumpkins later this month and it's sold out. Listen Closely: Fleet Foxes – Fleet Foxes (2008) A Nialler9 listening party, hosted by Niall Byrne with guest Aoife Barry. Before the album Niall: Hello everyone, how are you? Welcome to the Listen Closely album listening party. I'm Niall, and this is Aoife Barry. Aoife: Hello. Niall: We're here tonight because Aoife picked this album, as she has before. You picked Jeff Buckley last year. Aoife: Yeah, and we ended up doing three of them. Niall: We did, we went to Cork. We did two here and then we went to Cork to talk about Jeff Buckley. And you were at the My Bloody Valentine listening party last year as well, back in October. Aoife: It must have been October, yeah. Niall: Well, obviously we're here for a very different album tonight: Fleet Foxes by Fleet Foxes, from 2008. As you heard there, we played a bit of the Sun Giant EP by the band, which came out a few months before this album, because we want to give the album its full due. They're a little different, and we'll talk about that. But yeah, you picked the record. Aoife: I did. I obviously must like it. And it's such an incredible record. Is there anybody here who hasn't heard it? That's really exciting, if so. I'm excited for you to hear it. You got a sneak peek there of what the vibe is going to be. I picked it because I love this record, but I also had a funny story about how I first heard them. Back in 2008, when this record came out, I'd read about this band called Fleet Foxes in a music magazine. I don't even think I'd heard a song yet, this is back in the day. And I was on holidays in Berlin, and in the tiny little hostel we were staying in, they had a sign up on the wall: "Who's playing tonight? Fleet Foxes, Café Zapata." I said to my boyfriend, "I think that's a band I read about in the magazine, will we go see them?" And he was like, "Grand." So we went, and they were unbelievable. It was so good. Beach House were supporting them. So it was 2008 smacking you in the face. Niall: Come on. Aoife: And I took photos, which I found. I have photos. Artifacts. One is terrible, the other one's not so terrible, taken on one of those little Canon digital cameras. And I still have the ticket, I kept the ticket, I'm one of those hoarders who keeps all their gig tickets. But it was so good: the venue they played in had a dragon that breathed fire out every fifteen minutes. Niall: So they'd be playing and this dragon… Aoife: I'm not even exaggerating. Fire would just shoot out of this mechanical dragon. It was so Berlin. And Fleet Foxes were so stunning, and Beach House were so stunning. I love Crosby, Stills, Nash & Young, I love all those harmony vibes, I wish I was born in the seventies, sadly I was not. So I fell in love with them immediately, and I've been a big fan ever since. Although I'll say I probably dipped a little bit around the Crack-Up era, their third album, but then I saw them when Shore came out, their most recent album, and fell right back in love with them. Niall: We're going to talk about all the albums that come afterwards, but we'll start with this one, because this is presumably your favourite, or one of them. Aoife: Shore is up there as well for me, but yeah. Niall: So what was it about Fleet Foxes at the time? For context: in 2008 there was quite a lot of this kind of music around. We previously did Bon Iver's For Emma, Forever Ago as a listening party, and the funny thing, which I only found out when we did this, is that they have the same origin story in a way. Both songwriters went to a cabin in the woods to pour their heart out and write the songs. Aoife: I think Justin Vernon just got there first in terms of the marketing. Niall: So they must have pulled back on talking about it too much, because it's basically the same thing. They never really talked about Robin Pecknold's writing process in those terms. Aoife: For Emma was such a massive moment, everybody was obsessed with this guy who broke up with a girl and went to a cabin and wrote a record about it. It was the ur indie-folk album. Niall: What was really appealing about Fleet Foxes is that they were so young, between about twenty-two and twenty-seven, and Robin Pecknold was twenty-one when he wrote the record. Which is frankly offensive, you shouldn't be allowed to be so talented at twenty-one. Aoife: I know. And they were clearly these people from Seattle, which we associate with grunge, and then it becomes this place where they're bringing out all the pastoral, outdoorsy, mountain-and-sea vibes of the Washington area. They're obviously really influenced by the seventies too, by Crosby, Stills, Nash & Young, by Laurel Canyon, but also by Appalachian folk. There's a real purity to what they're doing. The harmonies are unbelievable, there's even a bit of a gospel feeling. So these young guys made this album that was being called an iconic American record on release. The Guardian called it a landmark American album, something like that. And that's special, because you don't get that many records immediately being called landmark. Niall: It was a very exciting time for music around then. I actually brought some records. We mentioned Beach House and Teen Dream earlier, that's a bit later, 2010. I wanted to do a listening party for that at some point, that'd be good craic. Around that time you had Animal Collective and Panda Bear, Person Pitch was right there, that was the apex for that very experimental scene. A few years later we had Sufjan, our very first listening party. And Bon Iver, of course. There's also stuff like Neutral Milk Hotel very much of that vibe. Aoife: I've noticed people covering Neutral Milk Hotel more now. Niall: I think when we got to it, it was on its second go-round, and now it's getting a third, which is great. It's a great record. So, the band were from Seattle, they had a bit of the scruffy flannel-shirt look, but obviously didn't sound like that. The album was written in the woods, in the cabin, brought to the band, and recorded with Phil Ek. Aoife: Who did a lot of stuff with Built to Spill. Niall: Yeah, and he worked with The Shins, and Modest Mouse, a really long history. Aoife: Are The Shins from Seattle as well? Niall: I think they might be. Band of Horses is another one. So they recorded it themselves with Phil Ek, paid for it all themselves, and then the local major independent label Sub Pop came calling. Obviously known for a lot of grunge traditionally, but they'd clearly been releasing this kind of music around then too, The Shins had been on the label for a few years, Band of Horses. When it came to it, they signed to Sub Pop. Apparently there was a bidding war. Aoife: They'd become quite popular on MySpace. Anybody remember MySpace? Every time I do one of these I feel older and older, mentioning the top eight, the randomers you'd put in your top eight. Word could spread quite quickly once you got popular on MySpace. Niall: What I thought was really interesting, that I discovered when I was researching, is that recording the album was actually a total pain for them. They didn't have much money, so they ended up recording a lot of it in their houses, or in Robin Pecknold's family home. And he re-did all the vocals right before they mastered the record, because he'd been sick during the initial sessions and his voice wasn't in great shape. They recorded it all in one go, scrapped that, did another version, and kept moving the running order around. I'm always fascinated by albums where the creation was a total pain and they had no idea it would even work out. Robin Pecknold actually said, "I hope nobody cares about this album, because I just want to move on to the next one." And then it becomes this iconic record. Aoife: Isn't every artist sick of their album by the time it's done? You're like, "my paintings." Yeah. Niall: 2008 was an interesting time for it to land. The album draws on the Beach Boys and Brian Wilson, Crosby, Stills, Nash & Young, Nick Drake, Simon & Garfunkel, Fairport Convention, Judee Sill, very much old-timey or sixties folk and pastoral stuff. And in 2008 there's a financial crash. The album was worked on before that, but it was released into that environment, and a lot of this music seemed to catch. When things go bad, we retreat, we dream, we listen to music that's maybe the opposite of what we're feeling. There was a gentleness, an unhurriedness to it that resonated. Aoife: Grizzly Bear is another band from that time. When Jay-Z and Beyoncé went to see Grizzly Bear in Brooklyn, that was kind of where all the indie music peaked. Niall: And the other part of it, which I was involved in, was the MP3 blogs, that's where you'd hear this music. Especially the American and Canadian stuff, no one was promoting it over here yet, so you'd be months ahead. You'd hear Fleet Foxes in these MP3 formats. That was a mad period, it showed how the internet could collapse geography, a song could spread really quickly on the blogs. And in an American context, this came out post-Bush, with the Obama era coming in, a more hopeful tone. You had the Lehman Brothers crash, these global pressures, and then these hopeful times too. It's interesting to wonder whether these albums are a reaction to it, or whether they appeal to us because we want nice, happy things. I feel like Fleet Foxes have so much emotional depth: there's yearning, sadness, hope, nostalgia. Aoife: I loved Yellow House by Grizzly Bear, their first record, a complex, complicated, almost jazzy thing that sounded beautiful but had a lot going on. We weren't going for simplistic music, but we wanted music that gave us depth and beauty. Is art a solution to the world collapsing? Niall: We could be answering that in 2026. We live in a cursed timeline, as I keep saying. That's all I'm going to say. But what else happened in 2008 in the wider circle of music? Portishead returned with Third. TV on the Radio released Dear Science. MGMT released Oracular Spectacular, 'Kids' and all that. Cut Copy released In Ghost Colours, Indie Sleaze night on Saturday, folks, come on. Kanye put out 808s & Heartbreak, that was November that year. Rihanna was at the peak of her powers. Aoife: Katy Perry appeared that year. And 'American Boy'. Niall: 'American Boy', still one of the best pop songs, fire. Iron & Wine was the other one I forgot to mention. So it was a really vibrant, varied year. As you heard, there's the Sun Giant EP too. Aoife: The thing about that is it came out before the album, but was recorded after. The album was done, in the bag. Niall: They decided to go into the studio and record Sun Giant, a collection of songs intended to sell on tour. It ended up being quite popular, and for a lot of people it was their first time discovering Fleet Foxes. Aoife: It wasn't like The Coronas' 'San Diego Song', their summer-holiday anthem, or anything like that. But it came out before the album, and then the album arrives. Niall: So what was the reaction at the time? Was it immediate? Aoife: Things happened really quickly. In January that year they got all the MySpace attention, and by June the album was coming out. Really, really quick. There was so much chatter about them, which is partly why I'd seen the name, and a music blog like yours would have seen it too, and known they were one of the big bands. In a way that's harder now. Niall: These days you see bands like Geese getting a lot of attention because they use companies that help them go viral. You didn't really have that then. Now you'd dress yourself up in some gimmick, polka dots, whatever, and go viral all over the internet for it. I couldn't imagine these lads doing that. Aoife: No. But maybe in a way they were cosplaying living in the forest, on the Puget Sound. Niall: Anyway, when the album came out, people loved them, and it really hit it off. Because they sound so seventies, your parents would love the records and you'd love the records. There's almost a lullaby quality to the folk stuff too. The music is applicable to anybody of any generation, and there's something lovely about nostalgic music that reminds you of a better time. To finish on that point: I think there's something very mysterious about Fleet Foxes, they feel out of time. They're these young, scruffy lads with the beards, but there's a mystery to them. They didn't come across as the hipster end of things, they weren't leaning into anything. They were presented as the kind of band that wouldn't have had phones, would have lived off-grid, which is funny because they were a MySpace band. They're the most un-MySpace band you can imagine. Surprise people, do something a bit different, don't be exactly what people want you to be, and they'll love you for it. And then your songs are unbelievable too, soaring and stunning. Can we talk for a second about the cover? It's an original painting from 1559 by Pieter Bruegel the Elder, Netherlandish Proverbs. It depicts a densely populated Flemish village scene illustrating 126 folk proverbs. There's a lot there. Some on this side are cut off, but for example, this woman here, she's putting the blue cloak on her husband, meaning she deceives him. This guy is casting roses before swine, wasting effort on the unworthy. And right at the top there's a man running through a field with his arse on fire, chasing pigs, "he who eats fire craps sparks," do not be surprised at the outcome if you attempt a dangerous venture. There are 126 of those. Aoife: The interesting thing is that the band managed to get permission to use it. Really unusual to be allowed use it as commercial artwork. Niall: And apparently the museum that holds the artwork were delighted. A lot of stars aligned for them. It's an iconic cover because it's so different from what anybody else was doing, clearly of a particular period, and it has that Where's Wally quality. I have a quote about it. Robin said: "We were trying to figure out what we wanted to do, and my brother had been working some stuff out, when I saw this Bruegel painting in a book my girlfriend had. I liked that it had a really intriguing meaning, there's a story to each little scene, which felt fitting for the record. It was dense but unified, not a collage. It has a Where's Waldo quality, something you could look at for a long time on a vinyl sleeve and keep finding new little things. It was very easy to get the museum in Berlin that has it to say yes, they were super excited the band wanted to use it, and put it in their newsletter. When you open it up, on the inside there's a Paisley pattern traced from the back of a book that Skyler's mum got me. We wanted two very different feelings." So, what to look out for when we press play very shortly? Aoife: When I was going back to this, I had it in my head that every song was one of these big songs, because there are so many big moments. But actually there are two tracks that are pretty much acoustic, so it's interesting to notice how they go from the big sound to the small. And for me they're a real emotion-and-feeling band, so notice how you feel listening to it. I always feel this swell of emotion with Fleet Foxes, I was walking down the road listening to Shore and I was like, my God. So lean back and feel into the emotions they're bringing you. And listen to the lyrics if you can make them out, because they're so out of time, all about pack horses and this amazing imagery. Robin Pecknold said he didn't write about a lot of personal stuff because he didn't have enough life experience yet, so instead he wrote these beautifully poetic narratives about pastoral and rural life. So I'd say the lyrics and the feelings are the two things. Niall: Track two, 'White Winter Hymnal', is probably the biggest one, watch out for that. And a few other people thanked and cited as influences, for some extra context: Brian Wilson, Joanna Newsom, Bob Dylan, Noah Lennox and all the lads from Animal Collective, Levon Helm and Robbie Robertson of The Band, Blitzen Trapper, who they toured with at the time and who were bigger than them then. For some reason Joni Mitchell and Neil Young are listed together, which is fair enough. Marvin Gaye, Damien Jurado, Paul Simon and John Lennon listed together. Townes Van Zandt, a legend. Vashti Bunyan, and Van Morrison. There's a nice quote from Robin Pecknold I'll read afterwards. Let's just open it up and listen. I'll play it at full volume, it's about thirty-nine minutes, two sides. Close your eyes, whatever you want to do, vibe away in your own way. [The album plays: Fleet Foxes – Fleet Foxes, 39 minutes.] After the album Niall: It's quite an economical album, isn't it? It doesn't stick around long, thirty-nine minutes. Aoife: I like an economical album. It's also one of the first fairly short records we've done here. Niall: That's part of why I was thinking about Sun Giant in that context too. I'm going to read a bit from the liner notes, because for an album that's very much about feelings, with only a few direct songs, some of what's written here is interesting: "My first memory has always been of me and my mom on a cold grey day down at some beach in Washington, along the Puget Sound somewhere near Seattle. I would be around two or three years old, and we were with a friend of mine from the neighbourhood and his mom, walking among the driftwood looking for crabs. Even now I can remember the smell and temperature of the air, the feeling of the sand and the swaying tall grass. I can even remember looking over at my friend and how his face looked when he smiled back at me. Another memory I'll sometimes recall as my first is dressing up in the dead of summer as Jack London, with tennis rackets on my feet and wearing my dad's hiking pack, after seeing Disney's terrible version of White Fang. Or the memory of stealing my neighbour's Big Wheel and riding it halfway down the block before getting caught and having to turn around defeated. Or wearing a fireman's outfit while washing my parents' car, or eating an orange popsicle from the ice cream truck. These have always been some of my most distinct and persistent memories of childhood. So it came as a disappointment when, one day as a teenager, I opened up a photo album and found pictures of each and every one of these memories. I didn't have a single memory that didn't belong to, or somehow grow from, those pictures my parents had. I guess I've seen all these photographs at some point, forgotten they were just photographs, and over time made them into my most tangible memories. That's scary to me in a way. This leads me to something weird about the power music has: its transportability. Any time I hear a song or record that meant a lot to me at a certain moment, I'm instantly taken back to that place in full detail. Whenever I hear 'Feel Flows' by the Beach Boys, I'm taken straight to the back of my parents' car on the way to my grandparents' place, with Surf's Up in my Walkman and the Cascade Mountains going by in the window. Any song off Radiohead's Kid A brings back the airport near Seattle, from when we were on the way to Colorado for a wedding and Kid A was the only record I brought or wanted to bring. 'Crayon Angels' by Judee Sill is the whole winter of last year. And Brian Wilson's solo version of 'Surf's Up' takes me back to driving my parents' car around town alone at sixteen, windows down at night. I can't ascribe exact memories to songs by The Microphones, Joni Mitchell, Built to Spill, Dungen, Harry Nilsson and so many others, and it's a form of recall I can actually trust, there's no visual element to complicate things, no chance of a planted memory that wasn't actually supposed to be there. Maybe I should be concerned that I'm alone in almost all of these memories, but I guess I was just a private kid, and music was a private experience for me. Music activates a certain mental freedom in a way nothing else can, and that is so empowering. You can call it escapism if you like, but I see it as connecting to a deeper human feeling than the one found in the day-to-day world." Aoife: That's lovely. It's a nice addendum. And he was only twenty-one. Niall: For some reason it's signed "Warren Gamaliel Bancroft Winnipeg Harding," Warren G. Harding being the 29th president of the United States. I don't know why, he thought it was funny. Dated April 6th, 2008, Chicago, Illinois. So, any particular highlights, anything that stood out? Aoife: I was reminded how much I love 'Blue Ridge Mountains', the second-to-last song. I just love those four- and five-part harmonies so much. There's something that really gets me about beautiful harmonies stacked on each other that sound so natural. My dad was really into Neil Young and all of that era, my mum's really into Simon & Garfunkel, so I feel like I came out of the womb going, this is the music I love. Niall: There was another one I meant to mention. Aoife: I'm really bad at remembering song names, which isn't great for an arts journalist. They go in one ear and out the other. Niall: 'He Doesn't Know Why'. Aoife: That was it. I always forget the name of that one, and it's an absolute banger. It's quite a direct song, the last one on the first side. Niall: He mentions his brother Sean in 'Blue Ridge Mountains', which is interesting. And Oliver James is his younger brother, that's the last song. Aoife: His sister is Aja, after the Steely Dan album. The parents were really into them. Niall: It holds up so well. The harmonies and vocals sound incredible, there are those beautiful little flourishes, a flute on one of the tracks, the guitar is stunning, lovely little bass lines. I love the way Robin Pecknold and the band hear music. There's a really good Song Exploder episode with him talking about a song from Crack-Up, and the way he thinks about translating his thoughts and emotions into music is so illuminating. He has a beautiful melodic flow that's really similar to the flow of water and nature. There are so many nature references, it's almost parody there are so many. Aoife: You could do a Portlandia sketch about it. "Power of nature, man." "Come down from the mountain, you've been gone too long." Niall: In terms of the line-up: alongside Robin Pecknold on vocals there was Skyler Skjelset on lead guitar, his best friend from Nathan Hale High School, later joined by Casey Wescott, Christian Wargo on bass, and Nicholas Peterson on drums, who left after this album. Aoife: And who came in as the drummer? Niall: A man who's been a main character in one of these listening parties himself: Josh Tillman, Father John Misty, played drums with them. Aoife: For how long? Niall: Only a year or two, pretty short. As I said, main character, he was making his own record. Any Father John Misty fans? He writes really good songs and he's handsome, so we all love him, but he's also a bit of a pain, and he didn't get on very well with Robin Pecknold, which isn't surprising. When I was looking back at the Pitchfork interview they did in 2008, a few months after the album came out, it was a big joint interview with Robin and Josh Tillman, and Tillman is answering the questions at the start. That's confidence. Do you want to hear a quote from what Robin Pecknold said? I've written it in my little notebook, so old-school, that's the only way I remember these things. In a 2020 Reddit AMA, Pecknold said that on that tour, the Helplessness Blues tour, Tillman was supposed to bring out his own record, but his label said he could only release it after the tour. So he was on tour thinking, "I want to bring out my own record, I'm tired of Fleet Foxes." Pecknold said he "had to endure being around a lot of substance abuse, sabotaged shows, general ill treatment and shit-talking, all while paying him for songs he didn't have anything to do with. It sucked." And then Tillman left the band. Whereas in that Pitchfork interview he'd said, "I love playing in this band, these are all my friends, I'm having the best time, I'm sorry if that's a corny quote, but that's the best thing about this experience right now." Aoife: So he was lying through his teeth. I think he's the kind of person who really has to be a solo artist, too iconic a personality. You wouldn't want to wrangle him out of bed to get to the next show. Niall: Too big a price. You mentioned Pitchfork, the album was number one on their end-of-year list in 2008, and they listed Sun Giant alongside it, breaking the traditional conventions of end-of-year lists. What they said was: listing Fleet Foxes' debut album and EP together may be awkward, but it just feels right, they're two sides of a coin that equally express the band's mastery, "a catch-all Americana that takes a wide slice of our popular music spectrum and pulls it through a reverse prism to create a gorgeous and focused sound of the band's own. The threads of Brian Wilson's coastal pop, Appalachian folk, modern indie rock, Grateful Dead jams and other influences are masterfully synthesised in the band's harmonies." Robin Pecknold's sense of dynamics, they said, flows like a river, wild and free but logical, filling what needs to be filled and moving on. I swear I didn't rip that off Pitchfork, I came up with something similar on my own. Aoife: Very good. Niall: It was Uncut's album of the year too. But more than anything, and this is a strange accolade, the album was ranked number 36 on Rolling Stone's list of the greatest stoner albums. Aoife: I don't think Robin Pecknold was a stoner. It doesn't really fit. He's a reader. Niall: So what came after? Helplessness Blues, which is really difficult to say, in 2011, then Crack-Up in 2017, then Shore in 2020. Big long gaps, some personnel changes. And Robin Pecknold, as we've established, is a very literary guy, he went to Columbia to do an undergrad in English literature, because he'd left high school early and gone to a community college, and he really wanted that college experience. So that was part of the break. He's also had difficult times, he's spoken about mental health issues and suicidal ideation, many tough experiences that contributed to the gaps too. They haven't released anything since 2020, and he does a lot of cover events. There are two live records. He's actually playing a gig tonight, I think, where he covers Judee Sill. Any Judee Sill fans? Aoife: Oh my gosh, she's amazing. Nobody ever knows Judee Sill. If you listen to anything, listen to Heart Food, it's iconic. He loves her, mentions her on this record. She's the one who does 'The Kiss', people might have seen her perform it on the Old Grey Whistle Test, it's on YouTube. She had a really tragic life. Niall: One of those I've been meaning to listen to properly for years. She only has two records, so it's easy to get into. There's a documentary about her as well, which I haven't seen. Aoife: She's one of those ill-fated seventies musicians, really religious imagery, did a lot of drugs, really interesting. Niall: Did you get to see them again after your first foray in Berlin? Aoife: I saw them when they toured, though it's really bad when you can't remember what you were doing in the 2010s. Niall: Did anybody see them at that Dublin gig, the outdoor one in 2022? Wasn't it amazing. They've played here a fair bit: Vicar Street in 2008, Electric Picnic 2009, The Marquee in Cork 2011, the Iveagh Gardens in 2017. I don't know if I've missed any, maybe you can tell me. So if you were to pick, is there any further listening or reading you'd suggest to somebody, not necessarily Fleet Foxes? Aoife: Some of it is obvious. As I said, I'd definitely check out Judee Sill, because if you really like Fleet Foxes you'd really vibe with her. And he mentions Harry Nilsson, also unbelievable, more well known than Judee Sill, did the cover of 'Everybody's Talkin''. I'd also mention a guy people would have known at one point but isn't very well known now: Richard Swift. He sadly passed away a couple of years ago. He was friends with Robin Pecknold, a hugely talented musician who struggled with addiction. He has an amazing double album from around 2005 or 2006 that's brilliant, and a record called The Hex, which is referenced on 'Sunblind' on Shore, that's the song where Robin name-checks a lot of musicians he loves, like Elliott Smith, David Berman and Richard Swift. It's such a beautiful record for finding new people to listen to, and it's lovely to hear a musician pay tribute to musicians he loves. The imagery is him talking about this beautiful day where he'll go for a swim and listen to all these beautiful bands, an ecstatic kind of song. So check out all of those records, but Richard Swift deserves more fans, and The Hex is really, really good. Niall: Good shout. What we'll do now is play a tune, and then maybe give Sun Giant another go if you want to stick around. Our next listening party is on the 27th of May, and it's an indie-rock album very close to my heart: Broken Social Scene's You Forgot It in People. I've been wanting to do this one on record for a long time. They're playing here later in the year, but I want to give this record its flowers, it's incredible. My niece has just turned seventeen and I bought her a copy, because it's an anthemic record for a seventeen-year-old. I can't believe that band are still going, which is kind of mad, but it's hard to underline what Broken Social Scene meant to a certain segment of indie. Aoife: And there's four hundred of them on stage. They're from Canada, and we were all like, my God, these people are the best. Niall: For me it's the MP3 times again, we'll talk about this next month. I heard about them through the music blogs, and then I got to see them in the Button Factory, which was the Temple Bar Music Centre at the time. It was one of the first things I ever wrote about, back in 2005. A transcendental experience. Aoife: They're so good live. Niall: I once DJ'd in Galway after one of their gigs, and one of the members of the band, I'll leave him nameless, came over and turned off the decks while I was DJing. Aoife: On purpose? Niall: He was that drunk. I can't remember what I was playing, but I was like, great, DJing after Broken Social Scene and then a band member ruins it. I don't think he liked it. No, I think he was just really drunk and thought it was funny. Thumbs down to him. In a way it's surprising a man like that has managed to persist in a band with so many members. Anyway, I digress. We'll talk about it next month, May 27th. Aoife: I cannot wait. I've been listening to it a lot lately again, it's fantastic. Niall: Thank you for being here. Let's play a bit of this and see what happens. Thanks for being here, appreciate it.

In this special episode, I sit down with San Diego artist and songwriter Eric Neilson, whose soulful sound blends the influence of John Mayer, Dave Matthews Band, and Jeff Buckley into something uniquely his own. Originally from the East Coast, Eric found his way to San Diego through his time in the military before making the leap to pursue music full-time.We dive into Eric's journey—from serving in the military to building a career as an independent artist and performer. He shares how his life experiences, songwriting, and love for authentic musicianship have shaped both his music and his creative identity.We also pull back the curtain on his creative process, exploring the artists who inspired him, his approach to writing honest and emotionally driven songs, and how he balances performing, recording, and collaborating with others. Eric opens up about the challenges of pursuing music independently, the lessons he's learned along the way, and what continues to fuel his passion for creating.This episode is about more than just music—it's about resilience, purpose, and the courage to build a creative life on your own terms. Whether you're an artist, musician, or someone chasing a dream, Eric's story is one you won't want to miss.

Produção independente, música pop do Japão, trilhas sonoras de anime, synths, ska para animar os dias tristes, confusão de Nick Drake com Jeff Buckley, as recomendações musicais de Johnny Knoxville, explorar o mundo do folk e porradaria musical de qualidade feita por jovencitos foram alguns dos assuntos deste episódio do Troca Fitas, onde recebemos Natasha Durski, que está preparando o novo disco de seu projeto Feralkat!Abertura por ⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠Aletrix⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠Apoio: ⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠Mutante Radio

This week on Who's Your Band?, Jeffrey Paul, Sean Morton, and Adam Holz debate one of rock's greatest questions: Which cover songs are actually better than the originals? From Joe Cocker and Jimi Hendrix to Nirvana, Chris Stapleton, Jeff Buckley, and more, the guys count down their favorites while also discussing the current concert ticket slowdown, "Blue Dot Fever," Van Halen rumors, and plenty of classic rock stories along the way. Whether you agree or disagree, this is one music debate every fan will want to join!

Folktronica songwriter Ásgeir didn't plan on becoming a singer. When he was younger, all he wanted to do was to make music with his garage band. He only found himself singing in front of a microphone because “somebody had to do it.”  As he grew into his musical identity, Ásgeir immersed himself in the music of his vocal heroes, including Jeff Buckley, Jónsi of Sigur Rós, and Justin Vernon of Bon Iver. Their ethereal falsetto tones influenced his own approach to singing and a new Icelandic star was born. Ásgeir's first record, titled Dýrð í dauðaþögn, became the best-selling debut album in Iceland to date in 2012, beating the debuts of Björk and Sigur Rós. Since then, he's been singing his songs mostly in English, often with lyrics borrowed from the poetry of his father, Einar Georg Einarsson. In his fifth studio album, Julia, Ásgeir takes the pen in his own hands for the first time, interpreting his life experiences from a singular lens. He plays some songs from that record and reflects on their inception. (- Sırma Munyar) 1. Smoke 2. Ferris Wheel 3. Sugar Clouds Hosted by Simplecast, an AdsWizz company. See pcm.adswizz.com for information about our collection and use of personal data for advertising.

Heute gibt sich jeder von uns wieder 2 Stücke Kulturgut. Eine neue Form von Glück und Schwermut in Vollendung. Habt Ihr vorher noch nie so gehört. Spotify Playlist 26 (mit den sensationellen Songs aus unserem Podcast)  Achtung: Die Liste enthält natürlich nur die auf Spotify verfügbaren Titel. Wie wir aber alle wissen, gibt es noch ein Musikuniversum jenseits von Streaming. Facebook (mit News aus der Rockmusik und allem, was glücklich macht) YouTube (der ganze Rest) Anregungen, Ideen? Dann schreibt uns doch mal - wmruv2021@gmail.com  Dieser Podcast wird vermarktet von der Podcastbude.www.podcastbu.de - Full-Service-Podcast-Agentur - Konzeption, Produktion, Vermarktung, Distribution und Hosting.Du möchtest deinen Podcast auch kostenlos hosten und damit Geld verdienen?Dann schaue auf www.kostenlos-hosten.de und informiere dich.Dort erhältst du alle Informationen zu unseren kostenlosen Podcast-Hosting-Angeboten. kostenlos-hosten.de ist ein Produkt der Podcastbude. (00:00) Kapitel 1

Max Norton is the podcast this fortnight to talk about Live at Sin-é by Jeff Buckley! Host: Matt LathamGuests: Max Norton------------Listen to The Spotify Hall of Fame PlaylistEmail: Pick A DiscFollow us on:Bluesky | Instagram | FacebookPick A Disc(Ord) Discord ServerListen to We Dig Podcasts Shows: @wedigpodcasts | LinktreeLogo designed by: Dan Owen

Jeff Buckley released his only studio album, Grace, at the height of grunge rock. But it didn’t sound like grunge. It sounded like nothing else out there. It defied categorization. It was full of originals and covers, some complex and cerebral, others straight-up pop. From the pissed-off punk takes to the Eastern-influenced meditations, the constant was Jeff’s voice. A voice unlike any other. A voice that could do anything. A voice that was singing out loud on May 29, 1997, when Jeff Buckley, just 30 years old, waded into the Wolf River in Memphis…and never came back. For a full list of contributors, see the show notes at disgracelandpod.com. This episode was originally published on June 6, 2023.See omnystudio.com/listener for privacy information.

Subscribe to Greg Fitzsimmons: https://bit.ly/subGregFitz This week on Sunday Papers, Greg and Mike discuss a woman who paid for her World Cup trip by selling foot photos, a self-driving toilet from China, Carlos Mencia's tax arrest, Trump's algae-filled reflecting pool, and a minor league baseball team forfeiting Pride Night. Greg also tells the unbelievable story of a brutal private gig in Reno that was interrupted when a woman started choking in the audience, while Mike finally watches the Jeff Buckley documentary and shares stories about legendary sitcom director James Burrows. Plus: Knicks fever, New York subway rage, robot toilets, White Claws, Father's Day trivia, Tom Dreeson, and the weekly Caption Contest. Sponsors Try Quo free and get 20% off your first six months:https://quo.com/papers Subscribe for more Sunday Papers every week #SundayPapers #GregFitzsimmons #MikeGibbons #CarlosMencia #JeffBuckley #Knicks #ComedyPodcast This show is produced by Gotham Production Studios and part of the Gotham Network. https://www.gothamproductionstudios.com/studios/ Follow Greg Fitzsimmons: Facebook: https://facebook.com/FitzdogRadio Instagram: https://instagram.com/gregfitzsimmons Twitter: https://twitter.com/gregfitzshow Official Website: http://gregfitzsimmons.com Tour Dates: https://bit.ly/GregFitzTour Merch: https://bit.ly/GregFitzMerch “Dear Mrs. Fitzsimmons” Book: https://amzn.to/2Z2bB82 “Life on Stage” Comedy Special: https://bit.ly/GregFitzSpecial Listen to Greg Fitzsimmons: Fitzdog Radio: https://bit.ly/FitzdogRadio Sunday Papers: http://bit.ly/SundayPapersPod Childish: http://childishpod.com Watch more Greg Fitzsimmons: Latest Uploads: https://bit.ly/latestGregFitz Fitzdog Radio: https://bit.ly/radioGregFitz Sunday Papers: https://bit.ly/sundayGregFitz Stand Up Comedy: https://bit.ly/comedyGregFitz Popular Videos: https://bit.ly/popGregFitz About Greg Fitzsimmons: Mixing an incisive wit with scathing sarcasm, Greg Fitzsimmons is an accomplished stand-up, an Emmy Award winning writer, and a host on TV, radio and his own podcasts. Greg is host of the popular “FitzDog Radio” podcast (https://bit.ly/FitzdogRadio), as well as “Sunday Papers” with co-host Mike Gibbons (http://bit.ly/SundayPapersPod) and “Childish” with co-host Alison Rosen (http://childishpod.com). A regular with Conan O'Brien and Jimmy Kimmel, Greg also frequents “The Joe Rogan Experience,” “Lights Out with David Spade,” and has made more than 50 visits to “The Howard Stern Show.” Howard gave Greg his own show on Sirius/XM which lasted more than 10 years. Greg's one-hour standup special, “Life On Stage,” was named a Top 10 Comedy Release by LA Weekly. The special premiered on Comedy Central and is now available on Amazon Prime, as a DVD, or a download (https://bit.ly/GregFitzSpecial). Greg's 2011 book, Dear Mrs. Fitzsimmons (https://amzn.to/2Z2bB82), climbed the best-seller charts and garnered outstanding reviews from NPR and Vanity Fair. Greg appeared in the Netflix series “Santa Clarita Diet,” the Emmy-winning FX series “Louie,” spent five years as a panelist on VH1's “Best Week Ever,” was a reoccurring panelist on “Chelsea Lately,” and starred in two half-hour stand-up specials on Comedy Central. Greg wrote and appeared on the Judd Apatow HBO series “Crashing.” Writing credits include HBO's “Lucky Louie,” “Cedric the Entertainer Presents,” “Politically Incorrect with Bill Maher,” “The Man Show” and many others. On his mantle beside the four Daytime Emmys he won as a writer and producer on “The Ellen DeGeneres Show” sit “The Jury Award for Best Comedian” from The HBO Comedy Arts Festival and a Cable Ace Award for hosting the MTV game show "Idiot Savants." Learn more about your ad choices. Visit megaphone.fm/adchoices

One song can pull you back to a room you haven't seen in 30 years, and that same song can push you into the studio with a totally different kind of courage. Nathan Terborg and Ty Nathan Clark go all-in on the music that formed their taste and still shapes their creative process, from early mixtapes and older-sibling tape raids to the ritual of Tower Records, used CD bins, and the album art that taught us as much as any design class.We trade stories about the records that became emotional landmarks, the soundtracks that acted like secret portals to new bands, and the way certain albums become permanent studio companions. Ty shares how the Basquiat film soundtrack helped reroute his path as an artist, and we dig into the very real chain reaction of influence, like Jeff Buckley inspiring Thom Yorke's approach on Radiohead's work. Along the way we hit The Crow soundtrack, OK Computer awe, deep-cut favorites, and a few “no shame” listens that still surprise people.Then we bring it back to craft: how to build a studio playlist with intention, how to match music to the energy you need, and why silence can be the most powerful tool when you're trying to hear what the work is asking for. If you've ever wondered how music and creativity connect at a practical level, this one is a blueprint you can actually use.If it resonates, subscribe to Just Make Art Podcast, share it with an artist friend, and leave a review so more people can find it. What album changes the way you make work?Send us a message - we would love to hear from you! Make sure to follow us on Instagram here:@justmakeartpodcast   @tynathanclark   @nathanterborgWatch the Video Episode on Youtube or Spotify,https://www.youtube.com/@JustMakeArtPodcast

Buckley's prep for the Trinity Ball, his first ever European show, involved drinking tea, eating Mikado biscuits and watching The Late Late Show

Dave McArthur welcomes guest host Nate Wolf to drink Last Goodbye cocktails and discuss whether the 1994 album Grace by Jeff Buckley is a classic. And whether Jeff Buckley is only famous because he died.

(00:00:00) The Jayhawks - Tomorrow the Green Grass / 1995 (00:29:53) Jeff Buckley - Grace / 1994 (01:07:47) Girl Talk - Feed the Animals 2008

This week we're talking Kelley Stoltz, who has been making amazing DIY pop out of San Francisco for over 25 years for such labels as Sub Pop, Third Man and John Dwyer's Castle Face. His latest is If You Don't Know Me, Buy Now! and is his first of possibly three albums out this year. In addition to his own music, Kelley also spent time as an auxiliary member of Echo & The Bunnymen and Robyn Hitchcock's band, and also produces other artists' albums (Sonny and The Sunsets, Thee Oh Sees).   We talked about how his new album works could work as an entry point for the uninitiated, and how he thinks he's only truly found his own sound in the last decade. We also talked about his time living in New York City in the '90s where one of his jobs was sorting Jeff Buckley's fan mail, his path to home recording, the unique sounds of the Ebow, how he went from being a Echo & The Bunnymen superfan -- who had his own tribute band that include Pavement's Spiral Stairs -- to being an actual member of the Bunnymen, and how he ended up playing in Robyn Hitchcock's band. Plus: five records he thinks everyone should own and lots more. 

Irish singer-songwriter Mark Geary left Ireland with a one-way ticket to New York and a heart full of hope over twenty years ago. There, in Sin-é cafe, Mark honed his craft and sang alongside the best of them, including the late Jeff Buckley. Time Out NY said, “His delicate songs about love and defiance recall Richard Thompson and John Lennon.” Geary has featured on bills with musicians as diverse as Glen Hansard, John Prine, Joe Strummer, Elvis Costello, The Pretenders, Coldplay and The Frames amongst others, plus extensive headlining tours in Europe, the US and Switzerland. He has composed the full score for three films - Loggerheads (2005), Steel City (2006) and Sons of Perdition (2010) - and has had many songs featured in films and TV programmes. In 2022, he completed a sell-out month-long residency in the new Little Whelan's in Dublin where, with his band, he welcomed special guests each week and personally curated the shows. 2023 saw Geary tour the north and central regions of Italy as well as Ireland, selling out Whelan's (upstairs), Couglan's, Phil Grimes (Co. Waterford) and Castle St. (Co. Mayo). His latest album, In The Time Of Locusts, was released in February 2024, and was recorded in his cottage in the forest with the help of Ruth O' Mahony Brady, Glen Hansard, Dave Hingerty, Dave and Karl Odlum. Following his acclaimed 2024 album, In The Time of Locusts (4 stars, The Irish Times), Antebellum is an intimate six-track EP bound with tender acoustic instrumentation and the familiar warmth of Geary's sincere vocals and reflective lyricism. Recalling, vulnerability and enduring hope, the EP reflects Geary's creative response to one of Ireland's stormiest New Year's on record. He says, “I stared out to a January of rain and cold and thought, ‘I need to get back to my desk'. If I stayed watching the news, or in a cycle of streaming shows, I'd crumble. I threw out my telly and set up a writing room by my bed. Tuned all my guitars and would jump out of bed and sing. These songs are what came of it: Fear, regret, love, romance, terror, and the weather forecast.” Navigating moments of reposeful contemplation to passages of trepidation, Geary reflects on the human condition within a more concentrated run time, where each track emerges as a resonant meditation on fear, love, regret, and hope. With six studio albums, three live albums and what will be his second ever EP release with Antebellum, writing, touring and live performance remain Geary' s lifeblood. Treating Antebellum with trademark Geary honesty, his lyrics slice right through to the core, revealing a life laid bare of human emotional frailty, failed relationships, tenderness, hurt, making amends, desire and parting. His treasured guitar collection is always close at hand, each set up in a different tuning and ready to capture any emotion.

This week on the Who Deserves to be Inducted into the Rock and Roll Hall of Fame Podcast, we look at the case for putting Jeff Buckley into the Hall.For more music history, subscribe to my Spotify Channel or subscribe to the audio version of my music history podcasts, wherever you get your podcasts fromALL MUSIC HISTORY TODAY PODCAST NETWORK LINKS - https://allmylinks.com/musichistorytodayChapters:00:00 Intro 00:17 Jeff Buckley History07:14 Jeff Buckley Commercial Success08:12 Jeff Buckley Awards10:35 Who Jeff Buckley Influenced15:14 Why Jeff Buckley Should Be Inducted19:02 Why Jeff Buckley Shouldn't Be Inducted24:10 Outro

Adam picked the soundtrack of his childhood for his first rerun episode. Jim wrote three sentences for his rerun episode. Dan's intro was 90 seconds. Adam's Behind The Scenes Ted Talk goes on for over three unbearable minutes but the good news is that two members of Schoolhouse Rock creator Bob Dorough's 1996 band, Paul Gutierrez and Frank Meyer, who couldn't make it when we originally recorded this episode kindly sent us their picks for favorite SHR toon!Originally released July 28, 2022HEY! What's your most-loved and least favorite Schoolhouse Rock song!? The gang takes a look at their five favorite tunes from the iconic 1970s educational television cartoons of their youth. Adam dreamed up the idea to do our first top five episode, focusing on Multiplication, Grammar and America from the series' Golden Era, 1973-1976. Our first-ever 1970s-era show is crammed with fun facts, interjections, bootlegs and contests SHR royalty Aralee Dorough (voice on "My Hero Zero" and daughter of creator Bob Dorough) even kindly weighs in with her favorite! Please tell us in the comments how YOU would rank tonight's tunes on Instagram, Facebook, Threads and Bluesky  @wewillrankyoupod !FILE UNDER/SPOILERS:ABC, American Rock, animation, Blind Melon, Jeff Buckley, cartoons, Conjunction Junction, darn that's the end, Blossom Dearie, Bob Dorough, De La Soul, education, Elbow Room, Figure Eight, Fireworks, flute, Grammar Rock, The Great American Melting Pot, Hamilton, I'm Just a Bill, Interjections!, jazz, Lolly, Lolly, Lolly, Get Your Adverbs Here, manifest destiny, Essra Mohawk, Mother Necessity, Multiplication Rock, No More Kings, A Noun is a Person, Place, or Thing, Preamble, rats, Ready or Not, Here I Come, Rufus Xavier Sarsaparilla, Saturday morning cartoons, Schoolhouse Rock, Jack Sheldon, The Shot Heard Round the World, Sufferin' Till Suffrage, Three is a Magic Number, Unpack Your Adjectives, Verb: That's What's Happening, WOW,  1970s.  US: http://www.WeWillRankYouPod.comNEW! Host tips: Venmo @wewillrankyoupodwewillrankyoupod@gmail.comhttp://www.facebook.com/WeWillRankYouPodhttp://www.instagram.com/WeWillRankYouPodhttp://www.threads.com/WeWillRankYouPodhttp://www.YourOlderBrother.com (Sam's music page)http://www.YerDoinGreat.com (Adam's music page)https://open.spotify.com/playlist/4OFTIda46Di4HkS0CDvM7L (Dan's top 100 songs of 2020)THEM: https://www.schoolhouserock.tv

Subscribe to Greg Fitzsimmons: https://bit.ly/subGregFitz Greg Fitzsimmons and Mike Gibbons are back with another Sunday Papers. Mike finally finishes Stoner and has some thoughts, Greg gets emotional over a Jeff Buckley documentary, and the guys dive into mountain lion encounters, Tom Jones family lore, Trump's proposed dollar bill, alligators with permanent erections, a dog that somehow fired a shotgun, the upcoming UFC event at the White House, and much more. Plus: Boston stories, Disney Bucks, celebrity gossip, ethical dilemmas, Terry Fox, Stonewall, George Foreman memories, and a fresh batch of Onion headlines and listener-submitted funnies. Sponsor Links Quo Try Quo for free plus 20% off your first six months: https://quo.com/papers This show is produced by Gotham Production Studios and part of the Gotham Network. https://www.gothamproductionstudios.com/studios/ Follow Greg Fitzsimmons: Facebook: https://facebook.com/FitzdogRadio Instagram: https://instagram.com/gregfitzsimmons Twitter: https://twitter.com/gregfitzshow Official Website: http://gregfitzsimmons.com Tour Dates: https://bit.ly/GregFitzTour Merch: https://bit.ly/GregFitzMerch “Dear Mrs. Fitzsimmons” Book: https://amzn.to/2Z2bB82 “Life on Stage” Comedy Special: https://bit.ly/GregFitzSpecial Listen to Greg Fitzsimmons: Fitzdog Radio: https://bit.ly/FitzdogRadio Sunday Papers: http://bit.ly/SundayPapersPod Childish: http://childishpod.com Watch more Greg Fitzsimmons: Latest Uploads: https://bit.ly/latestGregFitz Fitzdog Radio: https://bit.ly/radioGregFitz Sunday Papers: https://bit.ly/sundayGregFitz Stand Up Comedy: https://bit.ly/comedyGregFitz Popular Videos: https://bit.ly/popGregFitz About Greg Fitzsimmons: Mixing an incisive wit with scathing sarcasm, Greg Fitzsimmons is an accomplished stand-up, an Emmy Award winning writer, and a host on TV, radio and his own podcasts. Greg is host of the popular “FitzDog Radio” podcast (https://bit.ly/FitzdogRadio), as well as “Sunday Papers” with co-host Mike Gibbons (http://bit.ly/SundayPapersPod) and “Childish” with co-host Alison Rosen (http://childishpod.com). A regular with Conan O'Brien and Jimmy Kimmel, Greg also frequents “The Joe Rogan Experience,” “Lights Out with David Spade,” and has made more than 50 visits to “The Howard Stern Show.” Howard gave Greg his own show on Sirius/XM which lasted more than 10 years. Greg's one-hour standup special, “Life On Stage,” was named a Top 10 Comedy Release by LA Weekly. The special premiered on Comedy Central and is now available on Amazon Prime, as a DVD, or a download (https://bit.ly/GregFitzSpecial). Greg's 2011 book, Dear Mrs. Fitzsimmons (https://amzn.to/2Z2bB82), climbed the best-seller charts and garnered outstanding reviews from NPR and Vanity Fair. Greg appeared in the Netflix series “Santa Clarita Diet,” the Emmy-winning FX series “Louie,” spent five years as a panelist on VH1's “Best Week Ever,” was a reoccurring panelist on “Chelsea Lately,” and starred in two half-hour stand-up specials on Comedy Central. Greg wrote and appeared on the Judd Apatow HBO series “Crashing.” Writing credits include HBO's “Lucky Louie,” “Cedric the Entertainer Presents,” “Politically Incorrect with Bill Maher,” “The Man Show” and many others. On his mantle beside the four Daytime Emmys he won as a writer and producer on “The Ellen DeGeneres Show” sit “The Jury Award for Best Comedian” from The HBO Comedy Arts Festival and a Cable Ace Award for hosting the MTV game show "Idiot Savants." Learn more about your ad choices. Visit megaphone.fm/adchoices

"Too young to hold on/ And too old to just break free and run" - Stine deelt een levenswijsheid van zanger en muzikant Jeff Buckley.

Ce 18 mai, au rayon des incontournables de Pop-Rock Station, Marjorie Hache convoque Dire Straits, Placebo, Janis Joplin, Cat Power ou encore System of a Down. L'animatrice rend deux poignants hommages à des légendes du rock disparues à cette même date : Chris Cornell avec "Black Hole Sun" de Soundgarden, et Ian Curtis avec le titre "Dead Souls" de Joy Division. S'ajoutent à cette belle sélection The Runaways, Dropkick Murphys, Jeff Buckley et Supergrass. En matière de nouveautés, Massive Attack et Tom Waits ouvrent la marche sur "Boots On The Ground". Jack White dévoile "G.O.D and the Broken Ribs", tandis que The Strokes, l'Australienne Courtney Barnett et les Lambrini Girls complètent le tableau. Le groupe londonien Fat Dog s'illustre également avec l'irrévérencieux "Go Fuck Urself". La primeur de la soirée met en lumière le trio francilien Gurl, qui offre la pépite indépendante "Forecast". L'album de la semaine se penche sur le huitième disque de l'Américain Kevin Morby, "Little Wide Open", dont on découvre aujourd'hui l'extrait "Badlands" inspiré par les vastes paysages du Midwest. Enfin, la reprise du jour s'annonce envoûtante : l'artiste électro-folk islandais Ásgeir s'approprie la célèbre chanson "Heart-Shaped Box" de Nirvana. Massive Attack & Tom Waits - Boots On The Ground Soundgarden - Black Hole Sun Joy Division - Dead Souls Placebo - Song To Say Goodbye The Runaways - Cherry Bomb The Kinks - All Day And All Of The Night Cat Power - Peace And Love Kevin Morby - Badlands Dire Straits - Love Over Gold Dropkick Murphys - Johnny, I Hardly Knew Ya The Beach Boys - Barbara Ann The Strokes - Going Shopping Asgeir - Heart Shaped Box System Of A Down - Lonely Day Courtney Barnett - Wonder Depeche Mode - Policy Of Truth Interpol - Lights Lambrini Girls - Cult Of Celebrity Them - Gloria Jeff Buckley - So Real Gurl - Forecast Janis Joplin - Cry Baby Supergrass - Strange Ones Babylon Zoo - Spaceman Fat Dog - Go Fuck Urself Iron Maiden - Fear Of The DarkHébergé par Audiomeans. Visitez audiomeans.fr/politique-de-confidentialite pour plus d'informations.

Christopher Cross : Sailing La Reprise L'originale Skye : A View To A Kill Duran Duran : A View To A Kill Courtney Barnett : Mantis Golden Earring : Radar Love Brutus : Paradise (Live Brussels) The Tubes : White Punks On Dope Aretha Franklin : Ain't No Way Raye : Nightingale Lane Dolly Parton : I Will Always Love You Jeff Buckley : Grace La Reprise L'original Joshua James : Wild Horses The Rolling Stones : Wild Horses Will Swinton : Better Off Best Rock Albums 1997 Radiohead : Ok Computer The Verve : Urban Hymns Foo Fighters : The Colour And The Shape Blur : Blur Oasis : Be Here Now Chicago : 25 Or 6 To 4 Matador : Hooks Hébergé par Audiomeans. Visitez audiomeans.fr/politique-de-confidentialite pour plus d'informations.

We continue the Demi Moore miniseries with a movie that made many viewers question their values, and made Cass question where she could get a cool backpack/vest/saddlebag combo. As Letterboxd says: "John Gage offers a down-on-his-luck yuppie husband $1 million for the opportunity to spend the night with the man's wife." Would you take the money? We also talk about the Rise of the Golden Idol video game series, music documentaries Little Richard: I Am Everything, It's Never Over, Jeff Buckley and Luther: Never Too Much, Ball of Fire (1941), Julio Torres' Color Theories, Chris Fleming: Live at the Palace, Kimberly Bellflower's John Proctor is the Villain, Saraid de Silva's Amma, Resident Evil 4 and its upcoming movie adaptation. Plus for some reason Jamie delivers a full beat-by-beat recap of Species (1995).

Jonathan, Brad and JM discuss the life and legacy of musician/songwriter Jeff Buckley and the 2025 documentary, "It's Never Over, Jeff Buckley" as well as his debut album Grace. JM's Album Of The Week: Jeff Buckley - Live At L'Olympia Bradford's Book Club: Dopamine Nation: Finding Balance in the Age of Indulgence

We dive into the life and music of Jeff Buckley. Nick shares his personal connection to Jeff Buckley's song "Last Goodbye" and the emotional experience of watching a documentary about the musician's life. The conversation also touches on the hosts' experiences with fame, mystery, and the allure of exploring the places that inspired Jeff Buckley's music. Listen live on the Nova Player. Follow us on Facebook, Instagram & TikTokSee omnystudio.com/listener for privacy information.

Send us Fan MailThe Rock and Roll Hall of Fame always finds a way to start a fight, and the 2026 class is no exception. We jump from concert posters and the closing of Gallery 1988 to a full-on debate about what the Hall is supposed to reward: sales, influence, longevity, cultural disruption, or some messy mix of all four.We break down the 2026 Rock Hall inductees Phil Collins, Billy Idol, Iron Maiden, Joy Division/New Order, Oasis, Sade, Luther Vandross, and Wu-Tang Clan, then pull apart the logic behind the biggest headline: Mariah Carey getting left out again. We lay out the stats, talk through the “rock bias” that still shows up in voting, and ask why pop legends keep getting treated like side quests in a museum that claims to document music history. From there, we dig into influence as a real musical currency, from Iron Maiden's blueprint for modern metal to Joy Division and New Order shaping alternative and electronic rock for decades.The conversation widens to the definition of rock and roll itself, including hip hop's place in the Hall and why Wu-Tang's impact fits the original spirit of rebellion better than a narrow “guitars only” rule. We also get into the practical side of the ceremony: who can actually perform, why some years feel like catch-up years, and which artists we think the Hall keeps missing, especially Jeff Buckley. We wrap with what's exciting right now, including a surge of women-fronted rock and a reminder that defining live moments like Nine Inch Nails at Coachella can be as historic as any induction.If you've got a take, we want it. Subscribe, share this with the friend who always argues about the Rock Hall, and leave a review with who you think got snubbed most.www.TheTouringFanLive.commedia@TheTouringFanLive.Comwww.facebook.com/TheTouringFanLiveInstagram-@TheTouringFanLiveCopyright The Touring Fan Live 2026

When musician Chris Dowd was 19, shortly after graduating from high school, his band Fishbone got signed to Columbia Records. The group was made up of Black teenagers in Los Angeles, who combined several musical genres—funk, punk, ska, metal, reggae—into a new exciting sound in the late 70's. They influenced countless other bands but struggled to find lasting commercial success.This week on the show, Chris talks to Anna Sale about being a teenage rock pioneer who stepped away from the group in 1994. He also discusses his close friendship with the late Jeff Buckley, his trouble with alcoholism after Jeff's death, and what it's been like to rejoin Fishbone and go on tour. Fishbone songs featured in this episode:Skankin' to the BeatUglyAdolescent Regressive BehaviorParty at Ground Zero CubicleLove is LoveLast Call in America (feat. George Clinton) HouseworkWatch Fishbone's 1991 performance on SNL: https://www.dailymotion.com/video/xl7e88 This episode was produced by Cameron Drews and Daisy Rosario. Get more Death, Sex & Money with Slate Plus! Join for exclusive bonus episodes of DSM and ad-free listening on all your favorite Slate podcasts. Subscribe from the Death, Sex & Money show page on Apple Podcasts or Spotify. Or, visit slate.com/dsmplus to get access wherever you listen.If you're new to the show, welcome. We're so glad you're here. Find us and follow us on Instagram and you can find Anna's newsletter at annasale.substack.com. Our email address, where you can reach us with voice memos, pep talks, questions, critiques, is deathsexmoney@slate.com. Hosted on Acast. See acast.com/privacy for more information.

When musician Chris Dowd was 19, shortly after graduating from high school, his band Fishbone got signed to Columbia Records. The group was made up of Black teenagers in Los Angeles, who combined several musical genres—funk, punk, ska, metal, reggae—into a new exciting sound in the late 70's. They influenced countless other bands but struggled to find lasting commercial success.This week on the show, Chris talks to Anna Sale about being a teenage rock pioneer who stepped away from the group in 1994. He also discusses his close friendship with the late Jeff Buckley, his trouble with alcoholism after Jeff's death, and what it's been like to rejoin Fishbone and go on tour. Fishbone songs featured in this episode:Skankin' to the BeatUglyAdolescent Regressive BehaviorParty at Ground Zero CubicleLove is LoveLast Call in America (feat. George Clinton) HouseworkWatch Fishbone's 1991 performance on SNL: https://www.dailymotion.com/video/xl7e88 This episode was produced by Cameron Drews and Daisy Rosario. Get more Death, Sex & Money with Slate Plus! Join for exclusive bonus episodes of DSM and ad-free listening on all your favorite Slate podcasts. Subscribe from the Death, Sex & Money show page on Apple Podcasts or Spotify. Or, visit slate.com/dsmplus to get access wherever you listen.If you're new to the show, welcome. We're so glad you're here. Find us and follow us on Instagram and you can find Anna's newsletter at annasale.substack.com. Our email address, where you can reach us with voice memos, pep talks, questions, critiques, is deathsexmoney@slate.com. Hosted on Acast. See acast.com/privacy for more information.

When musician Chris Dowd was 19, shortly after graduating from high school, his band Fishbone got signed to Columbia Records. The group was made up of Black teenagers in Los Angeles, who combined several musical genres—funk, punk, ska, metal, reggae—into a new exciting sound in the late 70's. They influenced countless other bands but struggled to find lasting commercial success.This week on the show, Chris talks to Anna Sale about being a teenage rock pioneer who stepped away from the group in 1994. He also discusses his close friendship with the late Jeff Buckley, his trouble with alcoholism after Jeff's death, and what it's been like to rejoin Fishbone and go on tour. Fishbone songs featured in this episode:Skankin' to the BeatUglyAdolescent Regressive BehaviorParty at Ground Zero CubicleLove is LoveLast Call in America (feat. George Clinton) HouseworkWatch Fishbone's 1991 performance on SNL: https://www.dailymotion.com/video/xl7e88 This episode was produced by Cameron Drews and Daisy Rosario. Get more Death, Sex & Money with Slate Plus! Join for exclusive bonus episodes of DSM and ad-free listening on all your favorite Slate podcasts. Subscribe from the Death, Sex & Money show page on Apple Podcasts or Spotify. Or, visit slate.com/dsmplus to get access wherever you listen.If you're new to the show, welcome. We're so glad you're here. Find us and follow us on Instagram and you can find Anna's newsletter at annasale.substack.com. Our email address, where you can reach us with voice memos, pep talks, questions, critiques, is deathsexmoney@slate.com. Hosted on Acast. See acast.com/privacy for more information.

Como se faz um romance? Neste episódio, a colunista do 451 MHz Bruna Beber entrevista a escritora Natércia Pontes, que revela como a recolha de palavras, imagens e histórias ao longo do tempo deu origem a Vida Doçura (Companhia das Letras), seu novo romance. Na conversa, a autora conta que a escrita fragmentada do livro é fruto da combinação de vários elementos, entre eles a relação obsessiva da protagonista Jocasta, uma escritora, com a youtuber Jovana, o luto pela perda da mãe e o desejo de escrever um thriller. A convidada ainda fala da mistura de ficção e realidade, da influência de roqueiros como Jeff Buckley e Kurt Cobain e da tragicomédia que permeia sua escrita. Apoio: Lei Rouanet Assine a Quatro Cinco Um por R$ 10/mês: https://bit.ly/Assine451  Seja um Ouvinte Entusiasta e apoie o 451 MHz: https://bit.ly/Assine451

Lundi 13 avril, Pop-Rock Station lance la semaine avec un mélange de classiques et d'actualités. Ouverture avec Foo Fighters et "Of All People", nouvel extrait de leur album "Your Favourite Toy". Côté classiques, Marjorie Hache nous propose The Bangles, Paul McCartney avec Wings et "Mrs Vandebilt", ainsi que AC/DC. L'album de la semaine met en avant Memorials avec "All Clouds Bring Not Rain", porté par Verity Susman et Matthew Simms. Une esthétique entre rock 60s-70s et post-punk. Autres passages marquants : Infectious Grooves, 16 Horsepower, puis Gorillaz avec "Delirium", issu de leur projet "The Mountain". La séquence cover revisite Nirvana avec "Smells Like Teen Spirit", dans une version produite par Trevor Horn et interprétée par Jack Lukeman. Découverte "Fresh Fresh Fresh" avec Björn Yttling et Bobby Gillespie sur "Strange". Enfin, retour aux fondamentaux avec The Box Tops et Strawberry Switchblades, avant une fin d'émission avec Jack White. Foo Fighters - Of All People The Bangles - Walk Like An Egyptian Wings - Mrs. Vandebilt Green Day - Kill The DJ AC/DC - Rock&Roll Train James Brown - Papa's Got A Brand New Bag Infectious Grooves - Violent & Funky Memorials - In The Weeds Pink Floyd - Run Like Hell 16 Horsepower - Clogger Visage - Fade To Grey Gorillaz - Delirium (Feat. Mark E. Smith) Trevor Horn - Smells Like Teen Spirit (Feat. Jack Lukeman) Cold War Kids - Louder Than Ever Fatboy Slim - Right Here Right Now Motionless In White - Afraid Of The Dark Otis Redding - (Sittin'on) The Dock Of The Bay Jeff Buckley - Last Goodbye Aldous Harding - One Stop Golden Earing - Radar Love (1973 Single Edit) Stereophonics - Have A Nice Day Yttling Jazz & Bobby Gillespie - Strange Weezer - A Little Bit Of Love The Box Tops - The Letter Strawberry Switchblade - Since Yesterday The Revels - Comanche Jack White - G.O.D. And The Broken Ribs Deftones - Pink MaggitHébergé par Audiomeans. Visitez audiomeans.fr/politique-de-confidentialite pour plus d'informations.

Episode 066: Easter has come and gone, leaving nothing but half-eaten chocolate bunnies and some lingering questions about the Great Beyond. In this episode, Geoff, Russ, and Dave dive into the world of Faith—but don't worry, they aren't passing a collection plate. Whether it's a search for meaning or just a really catchy chorus about a higher power, the guys navigate the fine line between the divine and the distorted. While nibbling on leftover candy, the trio breaks down a tracklist that spans the jangly heights of The Byrds, the fuzzy intensity of The Thermals, and the ethereal beauty of Jeff Buckley, alongside 90s anthems from Collective Soul, pop provocations by Madonna, and a healthy dose of punk-rock skepticism from NOFX. It's a Sunday morning session that feels much more like a Saturday night at the pub.   Apple Podcasts Instagram Spotify Playlist Official Site

The guitarist and composer Gary Lucas, acclaimed for his technique, imagination, and fearless commitment to both tradition and innovation from his work with Captain Beefheart, Jeff Buckley, his band Gods & Monsters, scores for silent films, reviving Chinese music, and many other projects presented all around the world, and all rooted in the Blues. The program includes Lucas' 2026 commentary alongside excerpts recorded for the Roulette concert series between 1992 and 2018.

On this episode of SPIN Presents Lipps Service with Scott Lipps, Scott sits down with alternative rock icon Melissa Auf der Maur. Best known for her time in Hole during the Live Through This era and later with The Smashing Pumpkins alongside Billy Corgan, Melissa takes us inside one of the most defining moments in music history — the 1990s alternative explosion. Melissa opens up about playing on Courtney Love's new record, the possibility of a Hole reunion, her decision to step away from music, and her life today in upstate New York. She reflects on growing up in Montreal, her first musical memories, and how she discovered her voice through bass and photography. The conversation dives deep into her relationships with Courtney Love, Billy Corgan, Dave Grohl, and Jeff Buckley, along with firsthand stories from the Nirvana era, the feminist movement in rock, and the raw energy of Hole's early shows. Melissa also discusses her new memoir Even the Good Girls Will Cry, featuring never-before-seen photos and personal stories from inside the 90s alternative scene. Plus — Top 5 Hole songs, Smashing Pumpkins songs, and bass players. #hole #alternative #smashingpumpkins #courtneylove #90s #bass #melissaaufdermaur 0:00 Intro 1:17 Courtney Love's New Record 3:39 Why the Book Now? 6:15 Hole Reunion? 7:24 Life Upstate / Stepping Away from Music 11:10 Growing Up in Montreal 13:52 First Musical Memory / First Record 15:00 Family Background 18:00 Finding the Bass 22:05 Billy Corgan & Courtney Love as Constants 23:00 Smashing Pumpkins Era 24:30 Joining Hole 26:57 First Hole Shows 28:00 Nirvana, Pumpkins & Feminism 34:34 Inside Hole's Dynamic 36:45 Celebrity Skin / Patty Schemel 39:58 Joining The Smashing Pumpkins 42:49 Dave Grohl 45:03 Jeff Buckley 47:00 Hole Reunion (Again) 48:13 Top 5 Hole Songs 51:55 Top 5 Smashing Pumpkins Songs 53:20 Top 5 Bass Players 54:00 The Photo Book Learn more about your ad choices. Visit megaphone.fm/adchoices

On this episode of SPIN Presents Lipps Service with Scott Lipps, Scott sits down with alternative rock icon Melissa Auf der Maur. Best known for her time in Hole during the Live Through This era and later with The Smashing Pumpkins alongside Billy Corgan, Melissa takes us inside one of the most defining moments in music history — the 1990s alternative explosion. Melissa opens up about playing on Courtney Love's new record, the possibility of a Hole reunion, her decision to step away from music, and her life today in upstate New York. She reflects on growing up in Montreal, her first musical memories, and how she discovered her voice through bass and photography. The conversation dives deep into her relationships with Courtney Love, Billy Corgan, Dave Grohl, and Jeff Buckley, along with firsthand stories from the Nirvana era, the feminist movement in rock, and the raw energy of Hole's early shows. Melissa also discusses her new memoir Even the Good Girls Will Cry, featuring never-before-seen photos and personal stories from inside the 90s alternative scene. Plus — Top 5 Hole songs, Smashing Pumpkins songs, and bass players. #hole #alternative #smashingpumpkins #courtneylove #90s #bass #melissaaufdermaur Learn more about your ad choices. Visit megaphone.fm/adchoices

Writer/author Daphne Brooks returns to the show to discuss the tragically brief career of '90s singer/songwriter and sensitive vocal powerhouse, Jeff Buckley. This show is part of ⁠⁠⁠⁠⁠⁠Pantheon Podcasts. Learn more about your ad choices. Visit megaphone.fm/adchoices

In the wake of last week's Rock and Roll Hall of Fame episode, Kevin and the Mayor check out documentaries about two of the nominees: Luther Vandross and Jeff Buckley. (Kevin also stumbled upon a 1985 movie starring Tatum O'Neal and Irene Cara that we suspect has never been seen by anyone else ever.) And we brave the mean streets of Allston, Massachusetts (featuring poorly shoveled sidewalks and drunk college kids) to see a couple of wonderful bands: Foxy Shazam (those glam rock maniacs responsible for the Peacemaker opening theme song) and Descartes a Kant (a Mexican quartet with Devo-style costumes and a super-cool retro-futuristic concept album). Plus: The Mayor is a guest on a couple of other podcasts (The Doctor's Beard and The 42cast) to discuss Doctor Who, Witchblade, and perhaps other nerd stuff. The Mayor on The 42cast! The Mayor on The Doctor's Beard! And our regular links... The Flopcast website! The ESO Network! The Flopcast on Facebook! The Flopcast on Instagram! The Flopcast on Bluesky! The Flopcast on Mastadon! Please rate and review The Flopcast on Apple Podcasts! Email: info@flopcast.net Our music is by The Sponge Awareness Foundation! This week's promo: Legends of the DCU!  

En este episodio de Observador Paranormal, Juan Manuel Torreblanca (compositor y pianista) conversa con Juan Manuel Torreblanca y Roberto Belmont sobre la sobrenaturalidad de lo creativo: cómo el arte puede sentirse como una fuente externa, cómo los sueños pueden traer letras completas y cómo la sensibilidad musical se relaciona con el trabajo emocional. Hablan de terapia a partir de una carta astral, de la técnica Meisner y del reto de “cerrar” procesos cuando se abren emociones intensas; también de muerte, duelo y música como memoria (incluida una canción pensada para un funeral y la idea de dejar una lista de reproducción para los hijos). El episodio recorre el vínculo entre belleza y verdad en la música, referencias como PJ Harvey, Björk, Tori Amos, Fiona Apple, Jeff Buckley y They Might Be Giants, y termina con una mirada realista a la industria musical, la inspiración como disciplina y el lanzamiento del proyecto Protocolo de Caídas como una obra en actos. CHAPTERS / TIMESTAMPS 00:10 Aviso de contenido sensible 00:29 Presentación del invitado: Juan Manuel Torreblanca 01:57 Encuentro entre tocayos y origen de la conversación 03:20 Componer con la idea de trascender después de la muerte 03:54 “Canción para mi funeral” y la crudeza del demo 05:44 Sensibilidad artística y el costo emocional de volver al pasado 06:13 Técnica Meisner y “cisterna” de emociones 07:26 Herramientas para cerrar procesos emocionales en la actuación 08:38 Miedo, escepticismo y apertura a lo paranormal 09:29 Carta astral, terapia y decisiones creativas 11:14 Mudanzas, vocación y el dilema de irse a otro país 13:46 El misterio como fuente creativa: musas, demonios y sueños 17:35 Letras que se vuelven espejo con el tiempo 18:20 Corte y regreso: identidad, nombres y coincidencias 19:09 Música, doble vida y lista de reproducción para los hijos 20:47 Muerte, duelo y señales: “La chica de Ipanema” 22:25 Trascendencia inmediata, conciertos y frustración en la carrera 24:39 Escuchas colectivas y percepción de la propia obra 26:31 Deseo de giras sin pensamiento mágico ni “manifestación” 27:07 Soundtrack personal: Björk, Tori Amos, Fiona Apple, Jeff Buckley 29:10 Cierre con dinámica de palabras: vida después de la muerte 30:04 Banda antigua y visión lúdica de la astrología 32:11 Virgo: ordenar el caos y perfeccionismo 33:19 Industria musical: corrupción, sistema y dificultad de jugar fuera 33:53 Música como camino espiritual: belleza, disciplina y conexión 35:51 Qué es la música: descubrir belleza, verdad y catarsis 39:09 Ritual, música y energía social 41:52 Canciones nuevas y juegos de coro: pedir una canción que salve 42:56 Redes y lanzamiento por actos de Protocolo de Caídas 44:22 Despedida y cierre del episodio FAQ P: ¿Qué significa “sobrenaturalidad” en este episodio? R: La sensación de que la creatividad toca un misterio real: sueños, intuición, emoción y presencia en el proceso artístico. P: ¿Cómo describe Juan Manuel Torreblanca la inspiración? R: Como algo que a veces viene de uno mismo y a veces parece llegar desde otra fuente, sin necesidad de explicarlo como religión. P: ¿Qué papel juegan los sueños en su composición? R: A veces trae frases o canciones completas que graba y desarrolla al despertar. P: ¿Qué experiencia se menciona sobre carta astral y terapia? R: Que una lectura lo empujó a iniciar terapia en un momento crítico de su vida. P: ¿Cómo se aborda la música como camino espiritual? R: Como una práctica que ordena el caos, conecta con emociones profundas y busca belleza y verdad. The supernatural side of music: Juan Manuel Torreblanca on dreams, astrology, and the creative mystery In this episode of Observador Paranormal, Juan Manuel Torreblanca joins hosts Juan Manuel Torreblanca and Roberto Belmont for a deep, human talk about the unseen mechanics of artistry. They unpack how songwriting can feel like channeling, how dreams can seed lyrics and melodies, and how emotional work (including Meisner repetition) can open powerful inner material that requires conscious “closing” tools afterward. The episode touches on grief, funeral rituals, and leaving music as a message for children, then pivots into the tension between beauty and truth in art, with references to PJ Harvey, Björk, Tori Amos, Fiona Apple, Jeff Buckley, and They Might Be Giants. It closes with a clear-eyed view of the music industry and an update on Torreblanca's release plan for Protocolo de Caídas, structured as acts. CHAPTERS / TIMESTAMPS 00:10 Sensitive-content notice 00:29 Introducing the guest: Juan Manuel Torreblanca 01:57 Two namesakes meet and set the tone 03:20 Writing with the idea of being heard after death 03:54 “Song for my funeral” and the raw phone demo 05:44 Artistic sensitivity and the cost of revisiting the past 06:13 Meisner technique and a “cistern” of emotions 07:26 Tools for closing emotional processes after acting work 08:38 Fear, skepticism, and opening up to the paranormal 09:29 Birth charts, therapy, and creative decisions 11:14 Moving countries, vocation, and the risk of starting over 13:46 The mystery as a creative source: muses, spirits, and dreams 17:35 Lyrics that later mirror real-life patterns 18:20 Break and return: identity, names, and coincidence 19:09 Music, parallel lives, and a playlist for children 20:47 Grief and signs: “The Girl from Ipanema” 22:25 Near-term legacy, live shows, and career frustration 24:39 Group listening sessions and self-perception of the work 26:31 Wanting to tour without “manifestation” narratives 27:07 Personal soundtrack: Björk, Tori Amos, Fiona Apple, Jeff Buckley 29:10 Closing game: life after death 30:04 An old band and a playful view of astrology 32:11 Virgo: ordering chaos and perfectionism 33:19 The music industry: corruption, systems, and constraints 33:53 Music as a spiritual path: beauty, discipline, connection 35:51 What music is: discovering beauty, truth, and catharsis 39:09 Ritual roots and music as social energy 41:52 New songs and the chorus concept: asking for a saving song 42:56 Social links and the act-based rollout of Protocolo de Caídas 44:22 Farewell and episode close A sobrenaturalidade da música: Juan Manuel Torreblanca, sonhos, astrologia e o mistério criativo Neste episódio de Observador Paranormal, Juan Manuel Torreblanca conversa com os apresentadores Juan Manuel Torreblanca e Roberto Belmont sobre o que há de invisível no fazer artístico. Eles exploram como compor pode parecer um tipo de canalização, como sonhos podem originar letras e melodias, e como o trabalho emocional na atuação (incluindo a repetição da técnica Meisner) pode exigir estratégias para “fechar” processos depois. O episódio aborda morte, memória e a ideia de deixar uma seleção de músicas para os filhos, além do contraste entre beleza e verdade na arte, com referências a PJ Harvey, Björk, Tori Amos, Fiona Apple, Jeff Buckley e They Might Be Giants. No final, há uma leitura direta sobre a indústria musical e uma atualização do projeto Protocolo de Caídas, lançado em atos. CHAPTERS / TIMESTAMPS 00:10 Aviso de conteúdo sensível 00:29 Apresentação do convidado: Juan Manuel Torreblanca 01:57 Encontro entre dois homônimos e início da conversa 03:20 Compor pensando em ser ouvido após a morte 03:54 “Canção para o meu funeral” e o demo cru no celular 05:44 Sensibilidade artística e o custo de revisitar o passado 06:13 Técnica Meisner e uma “cisterna” de emoções 07:26 Ferramentas para fechar processos emocionais após atuar 08:38 Medo, ceticismo e abertura ao paranormal 09:29 Mapa astral, terapia e decisões criativas 11:14 Mudar de país, vocação e recomeço 13:46 O mistério como fonte criativa: musas, entidades e sonhos 17:35 Letras que viram espelho de padrões pessoais 18:20 Pausa e retorno: identidade, nomes e coincidência 19:09 Música, vidas em paralelo e seleção para os filhos 20:47 Luto e sinais: “Garota de Ipanema” 22:25 Legado no imediato, shows e frustração na carreira 24:39 Escuta coletiva e percepção da própria obra 26:31 Vontade de fazer turnês sem narrativas de “manifestação” 27:07 Trilha sonora pessoal: Björk, Tori Amos, Fiona Apple, Jeff Buckley 29:10 Dinâmica final: vida após a morte 30:04 Banda antiga e visão lúdica da astrologia 32:11 Virgem: ordenar o caos e perfeccionismo 33:19 Indústria musical: corrupção, sistema e limitações 33:53 Música como caminho espiritual: beleza, disciplina, conexão 35:51 O que é música: descobrir beleza, verdade e catarse 39:09 Raízes rituais e música como energia social 41:52 Músicas novas e o coro: pedir uma canção que salve 42:56 Redes e lançamento em atos de Protocolo de Caídas 44:22 Despedida e encerramento   Hosted by Simplecast, an AdsWizz company. 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The Rock and Roll Hall of Fame has announced this year's nominees. Sarah and Vinnie deep dive the list and share their thoughts on Jeff Buckley to Phil Collins to Pink. Speaking of Billy Idol, ‘Billy Idol Should Be Dead' hits theaters this week. 10 things that happened 10 years ago this week! Plus, a tight game of “When did that happen?”

Hour 1: Jim Carrey may or may not have a clone. Amanda Seyfried doesn't want to be recognized by her bottom, and it inspires the first game of the week. There is SO MUCH to look forward to in March. Vinnie took his kids to see ‘GOAT' - here's what he thought. Daylight Savings is coming. Good news for night owls and bad news for people who work on a morning show… Plus, some men don't mind their manly duties! Hour 2: The SAG awards have rebranded and moved to Netflix. We still didn't watch, but here are the big winners. The Bachelor Mansion show has begun, but Bob wants to talk to Sarah about ‘Traitors' instead. Connor Storrie of ‘Heated Rivalry' took the SNL stage, Harry Styles wiggled at the BRIT Awards, and slurs flew at the BAFTAs. What's the most annoying thing someone can do in your car? Nothing nearly as annoying as the teenage eye roll. Plus, this stuff suddenly becomes more attractive once you're a true adult. (52:37) Hour 3: Bill Gates admits to having affairs with two Russian women. What's up with the Mahjong craze? Pink is taking over for Kelly Clarkson this week, and we can't wait to see her version of Kellyoke. House hushing is the new Marie Kondo-ing. Sometimes the hard way can be really hard, and Vinnie's internet term of the day: Alpine Divorce. (1:36:57) Hour 4: The Rock and Roll Hall of Fame has announced this year's nominees. Sarah and Vinnie deep dive the list and share their thoughts on Jeff Buckley to Phil Collins to Pink. Speaking of Billy Idol, ‘Billy Idol Should Be Dead' hits theaters this week. 10 things that happened 10 years ago this week! Plus, a tight game of “When did that happen?” (2:16:50)

The Tim Conway Jr. Show Hour (2.25) Conway breaks down the hazmat response and FBI investigation sparked by suspicious items found at an Irvine home, plus a high-speed stolen vehicle chase tearing through the Norwalk and Cerritos area. Meanwhile, a local couple turns their kitchen into a buzzing coffee hotspot thanks to a new Los Angeles County program—just as Bellio’s secret about selling food from home comes out! The show also dives into the newly announced Rock and Roll Hall of Fame nominees, including Shakira, The Black Crowes, Jeff Buckley, Billy Idol, and Pink, plus practical tips on keeping ice from flying off your car—and Stef “The Foosh” embraces his serial dating era!See omnystudio.com/listener for privacy information.

1. Sofia Franklyn Is Writing a Memoir About the ‘Call Her Daddy' Fallout (Rolling Stone) (33:44) 2. Lil Dicky and Benny Blanco Have a New Podcast — and Some Thoughts About This Headline (Hollywood Reporter) (47:47) 3. Kim Kardashian Joins Energy Drink Brand Update as Cofounder (WWD) (52:10) 4. Rock & Roll Hall of Fame's 17 Nominees for 2026 Include Shakira, Lauryn Hill, Pink, Jeff Buckley, Phil Collins, New Edition and Wu Tang Clan (Variety) (59:07) 5. ‘Summer House' Franchise Is About To Get Even Bigger As Truly Original Plots Next Steps (Deadline) (1:04:20) The Toast with Jackie (@JackieOshry) and Claudia Oshry (@girlwithnojob) ⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠The Toast Patreon ⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠ ⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠Toast Merch ⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠ ⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠Girl With No Job by Claudia Oshry ⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠ ⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠The Camper & The Counselor⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠ ⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠Lean In Learn more about your ad choices. Visit megaphone.fm/adchoices

We look forward to it every year when they release the nominations for the Rock and Roll Hall of Fame. Well that day has come and we are ready to see who is going to make it. The nominees this year are: Oasis, Mariah Carey, Phil Collins, Shakira, Lauryn Hill, Pink, The Black Crowes, Jeff Buckley, Melissa Etheridge, Billy Idol, INXS, Iron Maiden, Joy Division/New Order, New Edition, Sade, Luther Vandross, and Wu-Tang Clan. Who do we think will make it?See omnystudio.com/listener for privacy information.

Students of classical music know that Johann Sebastian Bach was one of the most important and influential composers of all time…his use of instruments, four-part harmonies, and use of innovative structures in his material were all brilliant… When he was alive, he commanded plenty of respect…but after he died in March 1685, he was almost forgotten…the only reason we talk about him today is that there was a Bach revival in the 19th century…he became a retro hero in the world of classical music… No one knew anything about Robert Johnson when he was alive other than some myths and legends among hardcore fans of Delta Blues…but when his records were reissued in 1961, 23 years after he died, did his reputation explode… Charles Mingus was revered by fellow jazz artists…it was only after he passed away in 1979 that his influence on jazz was celebrated… We can also talk about posthumous praise for Nick Drake, Jeff Buckley, and Elliott Smith…and although Tupac and Biggie were big stars when they were shot, they became even bigger stars in death… I'm going to add another name to this list: Ian Curtis and Joy Division…when Ian took his own life in May 1980, he and the band were so skint that he had to give his dog away because he and his wife couldn't afford to feed him… Today, though, Ian and Joy Division are acknowledged as one of the most important and most influential post-punk bands ever…why?...what was the big deal about Joy Division? And why do they continue to be a big deal?...let's examine this. Learn more about your ad choices. Visit megaphone.fm/adchoices

In this quick update, Andrea shares a dream she had about Ukrainian dissident poet Vasyl Stus, killed in a Russian labor camp in the 1980s, and whose poetry and human rights campaigns helped lay the groundwork for a free Ukraine. In a time of rampant gaslighting, it's never been more important to believe our eyes and ears, and honor our intuition. Pay attention to your dreams; it will help you endure and overcome.   If you're finding moments to rest and binge this holiday season, here are two documentary recommendations: First, Amy Berg's It's Never Over, Jeff Buckley, a haunting intimate tribute to the late musician whose voice and powerful songwriting are otherworldly. For something totally different, check out Murder in Monaco, a chilling true-crime documentary about the murder of mega-banker Edmund Safra. It exposes the Russian-mafia viper den of Monaco. See you at today's Gaslit Nation Salon at 4pm ET. Look for the Zoom link on Patreon.com/Gaslit.