Podcast appearances and mentions of Joni Mitchell

Travis Carlton is an active working bass player in Los Angeles who's played with a lot of folks including Steve Perry, Robben Ford, Christopher Cross, Joe Bonnamassa, Sara Barellies, Steve Gadd, Mark Lettieri, Andy Timmons, and Don Randi, the last four of whom have been guests on this podcast. And his dad is Larry Carlton, the celebrated guitarist who has played with Steely Dan and Joni Mitchell, and who did the Hill St. Blues theme song, among many other things.My featured song is “Moon Shot”, one of my recent singles. Spotify link.—------------------------------------Top 1% of all podcasts with Listeners in 200 countries!Click here for Start HereClick here for All Episodes Click here for Guest List Click here for Guest TestimonialsClick here for PillarsClick here for Robert's Project Grand SlamClick here to Subscribe Click here to receive our Email UpdatesClick here to Rate and Review the podcast—----------------------------------------ROBERT''S LATEST RELEASE:"MA PETITE FLEUR STRING QUARTETCLICK HERE FOR ALL LINKS—-----------------------------------ROBERT'S RECENT RELEASE:“THE BUZZ” - Ft. Darius de Haas (vocals) and Dave Eggar (Celo). Short, Sweet and Totally DifferentCLICK HERE FOR OFFICIAL VIDEOCLICK HERE FOR ALL LINKS—--------------------------------------Audio production:Jimmy RavenscroftKymera FilmsConnect with the Follow Your Dream Podcast:Website - www.followyourdreampodcast.comFollow Robert's band, Project Grand Slam, and his music:Website - www.projectgrandslam.com

Lizzy McAlpine opens up about her 4th album Angel alongside collaborators Mason Stoops and Taylor Mackall. Recorded live at Power Station at Berklee NYC.  Songs Discussed Lizzy McAlpine "Anybody's Fool" Lizzy McAlpine "A Car Wash and a New Pair of Pants" Nick Drake "One of These Things First" Lizzy McAlpine "Two Elevens" Adam Guettel "Through the Mountain" Lizzy McAlpine "Our Strange Ways" Joni Mitchell "Hejira" Lizzy McAlpine "Soldier of the Road" Lizzy McAlpine "Peach" Learn more about your ad choices. Visit podcastchoices.com/adchoices

Lizzy McAlpine joins Senior Writer Angie Martoccio in the Rolling Stone Studio at our New York office to break down her new album ‘Angel,' meeting her hero Joni Mitchell, and making peace with her “Ceilings” days and early TikTok fame. She goes deep on her new songs, from collaborating with Fleet Foxes' Robin Pecknold to crediting Nick Drake on “A Car Wash and a New Pair of Pants,” and discusses how her Broadway debut (in the 2025 production of 'Floyd Collins'), helped the album come to fruition. Watch the interview and dive into the making of ‘Angel.' Learn more about your ad choices. Visit podcastchoices.com/adchoices

Chaka Khan's unmistakeable voice and musical versatility have made her one of the most influential musicians of the past six decades, with an estimated 70 million records sold. Whether fronting the band Rufus or performing as a solo artist, she's moved effortlessly between funk, soul, jazz, and pop, creating era-defining hits including I'm Every Woman, Ain't Nobody and I Feel For You. She grew up in Chicago, in an artistic family where she was surrounded by music. As a teenager, she became involved with the Affro-Arts Theater, where she was given the Yoruba name Chaka, and a political awakening led her to join the Black Panther Party. By her late teens, she had joined Rufus, whose breakthrough hit Tell Me Something Good launched the band to international success and marked the beginning of her recording career. She has since won 11 Grammy Awards, including a Lifetime Achievement Award in 2026, been inducted into the Rock & Roll Hall of Fame, and collaborated with some of music's modern greats, including Stevie Wonder, Miles Davis, Joni Mitchell and Prince. Chaka lives on a farm in Georgia, surrounded by family.DISC ONE: What Is and What Should Never Be - Led Zeppelin DISC TWO: Good Times - Aretha Franklin DISC THREE: Tomaas - Miles Davis DISC FOUR: California - Joni Mitchell DISC FIVE: Tell Me Something Good - Rufus, Chaka Khan DISC SIX: A Woman in a Man's World - Chaka Khan DISC SEVEN: Cool Water - Joni Mitchell (duet with Willie Nelson) DISC EIGHT: Precious Is Your Name - Richard Smallwood featuring Chaka Khan BOOK CHOICE: The Prophet by Kahlil Gibran LUXURY ITEM: A gigantic sandalwood and oud candle CASTAWAY'S FAVOURITE: Precious Is Your Name - Richard Smallwood featuring Chaka Khan Presenter: Lauren Laverne Producer: Hannah Hufford & Tim BanoDesert Island Discs has cast away other music legends to the island over the years including Nile Rogers and Cher. Chaka Khan's records have been chosen by previous castaways including Simon Pegg and David Harewood. You can hear their programmes if you search through BBC Sounds or our own Desert Island Discs website.

“I started writing poems and singing them over instrumental songs I'd made, and I realized that the melody was coming to me as I read them, and I was like, ‘Oh, there's music in the words!,” says Alex Cameron, recalling how he first discovered his preferred method of songwriting. “The lyric had the melody in it. I didn't have to come up with the melody and think about which words would fit, I just had to press record and sing the words while listening to the music and the melody's in there. That's why I love writing words first.” In episode 144 of the LSQ podcast, the Australian singer-songwriter discusses his impressive fifth studio album, Late To Set, an elevated showcase for his signature style of brooding, witty, character-driven songcraft. Cameron shares insights into his creative philosophies and the evolution of his approach to music. He also reflects on the artists he loved as a kid: Buddy Holly, Nina Simone, Dire Straits, Outkast, Aphex Twin, Lou Reed, Joni Mitchell, the Strokes and more. Alex is on tour in North America in September, and opening for The Strokes in Europe in October. Get tickets here.

Shawn Colvin was in the spotlight from the age of 10 playing her parents' parties, singing in bars at college, acting off-Broadway and joining country swing bands before making 12 solo albums. She's touring the UK and Ireland from late September and looks back on it all with us from her home in Austin, Texas. Lots of great moments here, these among them … … growing up on hymns, Pete Seeger and the Kingston Trio with a Dad who tried to get stoned at a Judy Collins gig … being a spoons-playing singing waitress with Maria Muldaur in an off-Broadway musical … playing four sets a night of Dylan, Joni Mitchell and Simon & Garfunkel for tips and beer on the Illinois bar circuit … acting in the Simpsons and Larry Sanders … life in dance halls in country swing bands … her part in “the great ‘80s Urban Cowboy Scare” … how to connect with festival crowds when it's raining … the Richard Thompson glass bowl requests system … and covers she never tires of playing – Joan Baez, U2, Gnarls Barkley.Shawn Colvin tickets here: https://tix.to/ShawnUK26Help 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.

ITribute Palooza, Week,  Episode #2 - We speak with Dennis O'Brien and Jim Cerceo, leaders of the Laurel Canyon Collective, an amazing tribute to the music of Jackson Browne, Joni Mitchell, Eagles, Crosby, Stills & Nash, and more.  We recap their recent 2 night stand at The Venue in Aurora, IL.

Cassandra Wilson, een met een Grammy bekroonde jazz-zangeres en songwriter die geworteld was in de blues-traditie van haar geboortestaat Mississippi en uitgroeide tot een van de meest onderscheidende stemmen van haar generatie, is op 2 september 2026 overleden in Jackson, Mississippi. Ze werd 70 jaar oud. Met haar lage, rokerige stem bracht ze een verfijnde romantiek in klassiekers uit het *Great American Songbook*, maar ze vertolkte ook nummers van artiesten als Joni Mitchell, Van Morrison, Neil Young en de bluesmuzikant Robert Johnson uit Mississippi. In deze TORcast enkele hoogtepunten uit het oeuvre van Cassandra Wilson: Blue Skies Hellhound On My Trail Strange Fruit St. James Infimary The Weight Waters Of March A Day In The Life Of A Fool You Go To My Head Crazy If Loving You Is Wrong Shelter From The Storm Harvest Moon Black Crow Time After Time

"It's the city that produced Joni Mitchell, The Weeknd, and… Justin Bieber. And it was home to Meghan Markle, prior to her royal life, while filming Suits – but don't hold that against them. Nestled along the shores of Lake Ontario —or should that be Lake America?— the beautiful, shimmering metropolis of Toronto is Canada's answer to New York City. Undeniably cosmopolitan, it's the vast forest of gleaming, glassy skyscrapers that constantly impel you to look up, when you're strolling the streets. I'd heard mixed reviews about Toronto, or Toronno as the locals insist on calling it, but despite its big-city stripes, there's a friendliness and charm more accustomed to a small town." Read Mike's full article here. LISTEN ABOVESee omnystudio.com/listener for privacy information.

When Folk went Electric, a lot credit goes to Roger McGuinn and the Byrds! They also were among the first to move to Laurel Canyon along with the Beach Boys, Joni Mitchell, Frank Zappa, members of Buffalo Springfield and a lot more. There was a lot of magic being created in those hills. This was the time of The British Invasion, but the Canyon gave Americans, and Brits alike, a place to hang. Dig in and enjoy the lifestyle, the sounds and the magic of Laurel Canyon. There's a documentary, Echo In The Canyon, hosted by Jakob Dylan, which highlights the impact of that time period in Rock & Roll, as well as the place's significance in music, culture and art. This episode was completely inspired by seeing the documentary on Netflix. Learn more about your ad choices. Visit megaphone.fm/adchoices

On this episode of Vinyl Community Podcasts, host Sam St. John (Americana Sam) sits down with Nashville multi-instrumentalist Matt Glassmeyer for a fascinating conversation about improvisation, analog recording, musical creativity, and his new supergroup Slow Accordion. Featuring Glassmeyer alongside Oliver Wood of The Wood Brothers, bassist Ted Pecchio, and drummer Mark Rautabaugh, Slow Accordion brings four distinctive musical personalities together for an exploratory instrumental project built around improvisation. Matt takes Sam inside the formation of the group, explaining how four musicians who had crossed paths in different ways entered the studio without a rigid roadmap and discovered their sound by simply listening and reacting to one another. The conversation also dives deep into the making of Slow Accordion's self-titled debut, released by Royal Potato Family Records. Recorded in Glassmeyer's home studio using just four microphones and a four-track tape machine, the album embraces a raw, lo-fi analog approach where limitations become part of the creative process. Matt discusses why watching the tape physically roll while recording changes the way musicians perform, why fewer options can actually produce better results, and what modern recording may have lost in the age of unlimited digital takes. From there, Sam and Matt explore the larger history and philosophy of musical improvisation—from jazz and blues to fusion, jam bands, Americana, old-time music, and experimental sounds. They discuss everyone from Cecil Taylor and Keith Jarrett to Chick Corea, Weather Report, Frank Zappa, Joni Mitchell, and Bob Dylan, while questioning how useful genre labels really are when artists refuse to stay inside clearly defined musical boundaries. They also look ahead to Slow Accordion's live performances, where the group is learning how to recreate the spontaneity and space of its studio sessions in front of an audience. And then there's the description that may capture Slow Accordion better than any genre ever could: “the anti-AI summer soundtrack we all need.” In a world increasingly dominated by computers, algorithms, and artificial intelligence, Slow Accordion represents four musicians in a room, playing together in real time, recording to tape, making mistakes, reacting to each other, and trying to create something that exists only in that particular moment. It's an insightful conversation about improvisation, analog recording, vinyl, technology, artistic expression, and the very human act of making music. For fans of vinyl records, jazz, Americana, experimental music, The Wood Brothers, analog recording, improvisational music, or discovering artists outside the mainstream, this is an episode you won't want to miss! Vinyl Community Podcasts — podcasts for, by, and about members of the Vinyl Community.  

How can the same words mean something entirely different when sung by the same person decades later? This week on The Songs That Made Us, Gunter explores Joni Mitchell's “Both Sides Now” and the extraordinary transformation of a song written by a young woman in the 1960s and revisited by the artist more than three decades later.The lyrics hadn't fundamentally changed.Joni had. Through the evolution of Both Sides Now, Gunter examines the psychology of aging, wisdom, autobiographical memory and life review—and why something that can sound precocious when expressed in youth may sound profoundly wise after it has been lived.  The episode explores the song's movement through clouds, love and life, each viewed first through enchantment and then through experience and uncertainty. Rather than resolving those contradictions, Mitchell leaves them standing beside one another.Psychologically, that matters.The ability to hold seemingly contradictory emotions—to recognize beauty alongside disappointment, love alongside loss and certainty alongside doubt—can represent something deeper than simply becoming older.It can represent wisdom.The episode also explores reminiscence and life review, the relationship between music and autobiographical memory, and the fascinating idea that revisiting a song decades later can become something resembling a longitudinal study of the self.And Both Sides Now offers another remarkable possibility: music can encode autobiographical memory twice.We remember who we were when a song first mattered to us. Then, years later, we discover what that same song means to the person we've become.In This EpisodeThe evolution of Both Sides Now from the 1960s to 2000How age and experience change our perception of the same wordsJoni Mitchell's changing voice and perspectiveClouds, love and life: the song's three-part structureReminiscence and psychological life reviewHow music becomes connected to autobiographical memoryHolding positive and negative emotions simultaneouslyWhy uncertainty can represent wisdom rather than defeatThe cultural and gender significance of the songHow listeners complete the meaning Mitchell deliberately leaves unresolvedHearing our younger and older selves through the same piece of musicChapter HighlightsIntroduction: Both Sides Now and the Meaning of TimeJoni Mitchell's Changing Voice and PerspectiveThe Song's Biographical and Psychological OriginsCultural Impact in the 1960sClouds, Love and Life: From Enchantment to DisenchantmentReminiscence, Life Review and Psychological DevelopmentHolding Contradictory FeelingsWhen “I Don't Know” Becomes Wisdom1968 and the Song's Cultural MomentGender and the Song's Cultural AfterlifeWhy Mitchell Leaves the Song UnfinishedMusic as a Longitudinal Study of the SelfAging, Memory and UncertaintyReflections for the ListenerGratitudeWe want to extend a huge thank you to our listeners in Pittsburg and Philadelphia for bringing Pennsylvania up to #3 on the Top 10 USA listeners list. And to our Global Listeners, we extend our gratitude to our listeners in Pristina (preesh-tee-nuh) for bringing Kosovo (koh-soh-vah) to #20 for the first time! And to our listeners in Reykjavik (ray-kya-veek) for moving Iceland up to #18! CONGRATULATIONS!! you made the Top Listeners List.Become a supporter of this podcast: https://www.spreaker.com/podcast/inspire-change-with-gunter--3633478/support.PatreonIf this episode resonates with you and you'd like to go deeper into practical exercises and guided reflection, Gunter offers extended self-development resources and exercises through our Patreon community: www.patreon.com/inspirechangeSponsorDistil UnionThis episode of Inspire Change with Gunter is brought to you by Distil Union, creators of beautifully designed, functional everyday carry accessories that help bring organization, simplicity, and intention into your daily life.Distil Union blends craftsmanship with thoughtful design to help you carry what matters most — without the clutter.

Brian Dolzani is a contemporary singer/songwriter that possesses an old soul. A listen to his music makes that point abundantly clear.  So too, the fact that he lists any number of ‘60s and ‘70s songwriters as prime influences — Bob Dylan, Neil Young, Cat Stevens, Crosby, Stills and Nash, to Joni Mitchell, James Taylor, and Credence Clearwater Revival, among them — suggests that his roots reside in a great storytelling tradition. Like his forebears, Brian is all about to creating a connection to his audiences through the expression of innermost emotion. In the process, he shares a sound that's vibrant, engaging and enticing, and, like his heroes, flush with both meaning and magic. It's little wonder then that his work has been described as “musical medicine for the soul” by the Lonesome Noise blog, or that the Americana bible No Depression one declared “Dolzani's melancholy musings are remarkably affecting,” while also praising his melodies as “eternally engaging, and, on more than one occasion, even soothing and seductive.” “For me, writing songs is something that's very personal,” Brian himself says. “Over the years, I've come to discover myself through making music.” https://www.briandolzani.com/homeFor tickets to see him at FTC click link below:https://fairfieldtheatre.org/events/stageone/brian-dolzani-as-the-loner_e659

“That's how I would picture fascists: this never-satisfied, dissonant climb to nothing… to ruin.” — David Baerwald Earlier this month, the historian James M. Scott came on the show to talk about those three deadly days in August 1945 when the Americans dropped two nuclear bombs on Japan. Today we return to that war in the skies above Japan. Only with a fictional twist. Behind this fiction, however, is the kind of family saga that few novelists have either the nerve or imagination to invent. It concerns three generations of the Baerwalds. In the Thirties, a German Jewish organic chemist called Ernst Baerwald worked for (of all people) I.G. Farben, the company that manufactured the gas used at Auschwitz. A sophisticated Japanophile, Baerwald was Farben's man in Tokyo, where he hobnobbed with a member of the royal family. American intelligence turned Ernst Baerwald into a spy, using his intimate knowledge of Japan in their firebombing of Tokyo. In exchange, Baerwald fled to the United States with his wife and son Hans, who became a leading authority on 20th century Japanese politics. Hans' son, David Baerwald, meanwhile, became a platinum-selling musician who has worked with Joni Mitchell, Bob Dylan, Rickie Lee Jones, Sheryl Crow, and Bruce Springsteen. Growing up in California, David knew little about Ernst. But seven years ago, while clearing out the family home after the Los Angeles fires, he discovered his grandfather's diaries, photographs, and letters. He found a 1943 speech to the American Intelligence School proving that Ernst, a German Jew who loved Japan, knew the details of the Tokyo firebombing in which 140,000 people died, two years before it happened. “I have no qualifications as a historian,” David Baerwald confesses. So what followed was The Fire Agent, a 624-page novel loosely imagined around his grandfather's enigmatic life. But what David brought to this epic was a lyricist's skill in the kind of musical composition that enabled him to keep characters in play like sections of an orchestra. No wonder then that The Fire Agent is one of the most acclaimed literary debuts of the year. And no wonder that, in our age of looming fascism, The Fire Agent reads as more than just history. Five Takeaways •       Papers Found in a Fire. The novel began, appropriately, in flames: during a Los Angeles fire at an old family home, Baerwald discovered his grandfather's papers — among them a 1943 speech delivered at the American Intelligence School in San Francisco, proving that Ernst Baerwald was deeply involved in, or at least privy to, the planning of the Tokyo firebombing two years before the bombs fell in March 1945. The shock was moral as much as archival: everything David knew of his grandfather was how much he loved Japan and hated what happened to it. The contradiction became an obsession, the obsession became an investigation — of one family, and of the joining of industry and fascism in three countries — and the investigation became a novel, because “I have no qualifications as a historian” and a novel allows some jokes to carry the tragedy's weight.•       The Man Who Knew Where the Gas Was. Ernst Baerwald, the family's “dye seller,” was nothing so modest: dyestuffs being slang for organic chemistry, he was Asia director of the chemical cartel that supplied IG Farben — the conglomerate that built a work camp at Auschwitz — a violinist mentor to Prince Takamatsu, and a German Jew too valuable to fire until far too late. He helped build Tokyo's natural gas distribution system after the Kanto earthquake, which meant he knew every depot, fuel store, and pumping station in the city he loved — knowledge that made this dual enemy alien mysteriously trusted by American intelligence. His OSS box is nearly empty; the OSS Society's verdict was “he was a commie.” Behind him stands the Philanthropin — the Frankfurt school of the Jewish Enlightenment his father Hermann ran — which raised Ernst antifascist before fascism existed: “before he was a German, before he was an American, before he was a lover of Japan, he was a hater of tyranny.”•       “So We Firebombed the Civilians.” The moral reckoning at the book's heart: 140,000 killed in Tokyo, sixty-five more cities burned — while the industrial strip from Tokyo to Yokohama was deliberately spared, because America wanted it intact to rebuild the Japanese economy after the war. Baerwald calls the firebombing “an atrocity of unspeakable terms” and, following Gar Alperovitz, questions the necessity of the atomic bombs — a message to the Soviets more than a strategy against Japan. His father, scheduled for the invasion that never came, felt lifelong relief at Hiroshima — one of many things father and son never discussed. “Why do fathers and sons have problems? A lot of reasons.” The writing became a posthumous reconciliation: “I understand more of my father than I ever did when he was alive. I've forgiven him a lot.” The next book is about him — the UCLA Japan scholar who lost his security clearance to McCarthyism for being insufficiently anti-communist about China.•       From Boomtown to The Fire Agent. What a songwriter brings to a 624-page epic: reliability — a working lyricist learns he can “write a page on demand” — and orchestration, since composing instrumental music means keeping track of characters the way you track an orchestra, knowing what each instrument cannot play. Baerwald's formation was the émigré Los Angeles of a breakfast joint on the Pacific Coast Highway where his surf crew gathered mornings — the same tables once shared by Duke Kahanamoku, Bertolt Brecht, and Stravinsky, in the Santa Monica neighborhood of Thomas Mann, on the street where James Dean later lived. Brecht was always his favorite lyricist, a secret he kept: in Los Angeles, admit you want to write songs like Brecht and “they lock you up in a padded room.” The German Jewish musical tradition that fled to his hometown now flows, a generation on, back into prose.•       The Music of Fascism. The novel's present-tense purpose: fascist movements “have a very limited vocabulary,” and sometimes it's easier to hear how stupid it is from the mouths of foreigners. The mechanisms — how such movements are funded, how they function, what they do with total power — were identical in Germany, Japan, and Italy, and the contemporary echoes are “impossible to avoid. They're identical.” All three countries ended as rubble. In Japan, where prime minister Takaichi stands in the lineage of Kishi Nobusuke and Nanking denial persists, the conservatives will object; Baerwald hopes to spark debates. And asked what neo-fascism sounds like, he composed it: Kundera's kitsch — the child in the field, the tear on the cheek, “sanitized absurdities because the truth is so bloody awful” — rendered as a music-box melody gradually tortured by Ligeti dissonance, resolving into the Shepard tone: an audio illusion of endless ascent that never arrives. “That's how I would picture fascists: this never-satisfied, dissonant climb to nothing… to ruin.” About the Guest David Baerwald is an award-winning singer-songwriter, composer, and recording artist, best known fo...

Newport Folk Festival is famous for the unexpected. You never quite know who might walk onstage.This year, Dave Matthews made his first-ever Newport appearance, joining a long tradition of unforgettable surprises that has included James Taylor, Paul Simon, Joni Mitchell, Dolly Parton and more.In this episode of Americana Curious, Ben Fanning and Zach Schultz pull back the curtain on what really happens at Newport Folk Festival—the surprise guests, spontaneous collaborations, intimate aftershows, and the community of music lovers that makes Newport unlike any other festival.You'll hear what it was like when Dave Matthews suddenly appeared, why some of the world's biggest artists treat Newport differently, and why the festival sells out before a single artist is announced.Plus, Ben and Zach share some of their favorite Newport moments and explain why the real magic may not be the artists onstage at all—it's the people who come back year after year.Follow Americana Curious for more stories behind the artists, songs, and moments that make Americana music special.

Number 9, number 9. Yes, it's our ninth episode of Tales Vinyl Tells, from 2020, Covid time and an election year. I'm Brian and I'll be sharing some more LP cuts from the 60s & 70s today and will grab a few from elsewhere, so buckle up . Today we have Tom Petty and the Heartbreakers, Joni Mitchell, Jim Morrison and The Doors, Bob Dylan and many more songs that you might remember or might not. My album collection's history was told in previous episode. You might want to listen to all of the previous podcasts if you want the truth. Thanks to my longtime friend, David D, these 50+ year old LPs have been saved. Some are pristine, some are scratchy, but all are signs of those times. Enjoy as we hear today's Tales Vinyl Tells. Thanks for listening today. My email is talesvinyltells@gmail.com. You can hear a Tales Vinyl Tells radio program when it streams live on RadioFreeNashville.org and here.  We do that at 5 PM central time Wednesdays. The program can also be played and downloaded anytime at podbean.com, Apple podcasts, Google podcasts, iHeart podcasts, Player FM podcasts, Listen Notes podcasts and many other podcast places. And of course you can count on hearing the Tales on studiomillswellness.com/tales-vinyl-tells anytime. PLAYLIST: 9.1 What About Me?-Quicksilver Messenger Service 9.2 At The Chime of the City Clock-Nick Drake 9.3 All That You Dream-Little Feat 9.4 Brown Eyes-Fleetwood Mac with Peter Green 9.5 You Ain't Goin' Nowhere-Dylan/Byrds 9.6 What Am I Living For?-Mark Almond 9.7 Listen to Her Heart-Tom Petty and the Heartbreakers 9.8 Roadhouse Blues-Doors 9.9 Trouble Child/Twisted-Joni Mitchell/Cheech/Chong 9.10 Solid Air-John Martyn (not on radio edit) 9.11 Feelin' Good-Nina Simone

It's the Edinburgh Fringe Festival 2026 series Elaine chats with Broadway star Grace McLean about her new show Penelope which is currently running at this years Edinburgh Fringe Festival. PENELOPE UNDERBELLY COWGATE 5-30 AUGUST 15:45 (65 MINS) PENELOPE “A myth reimagined through longing, love and lockdown, this bold new musical comes to Edinburgh Fringe direct from New York City” Penelope, a striking new concert-theatre musical starring its co-creator and Broadway star Grace McLean (Suffs, Alice By Heart, Natasha, Pierre & the Great Comet of 1812), comes to Underbelly Cowgate this summer following a celebrated development journey across the United States. Blending contemporary sound with ancient myth, Penelope retells the story of Odysseus' wife from Homer's Odyssey, not as a passive figure of loyalty, but as a vivid, complex woman navigating isolation, desire and resilience. Set across a single day of waiting, the show is by turns heartbreaking and sharply funny, with a distinctive musical language described as “Philip Glass meets Joni Mitchell.” The piece began life as a concept album written during the COVID-19 lockdown in 2020, when composer and lyricist Alex Bechtel (Poor Judge, The Appointment) found himself separated from his partner and drawn to Penelope's enduring story of distance and devotion. In collaboration with performer Grace McLean and director Eva Steinmetz (Poor Judge, The Appointment), the work has since evolved into a 65-minute musical for one performer and a three-piece band. rigor + ruckus produce. With its urgent emotional core, inventive score and magnetic central performance, Penelope offers a fresh, deeply human perspective on one of mythology's most enduring figures, a story of waiting, wanting, and reclaiming your own narrative. The musical has recently been awarded a prestigious 2026 Richard Rodgers Award for Musical Theatre. Plans are underway to premiere the show in New York. Tickets - https://www.edfringe.com/tickets/whats-on/penelope OUR WEBSITE - www.persistentandnasty.co.uk IPA GUIDES: HIPA GUIDES Equity Toolkit: Link Stellar Quines: Link Persistent Pal & Nasty Hero - Pals and Hero Membership Email – persistentandnasty@gmail.com Instagram - @persistentandnasty Twitter - @PersistentNasty Coffee Morning Eventbrite - Coffee Morning Tickets LINKTREE - LINKTR.EE Resources Samaritans - Rape Crisis Scotland - Rape Crisis UK ArtsMinds - BAPAM Freelancers Make Theatre Work Stonewall UK - Trevor Project - Mermaids UK Switchboard LGBT+ - GATE PLANNED PARENTHOOD DONATE - DONATE ABORTION SUPPORT NETWORK UK - ASN.COM- DONATE

This weeks program features tuneage from Vanilla Fudge, King Crimson, XTC, Joni Mitchell, Billy Joel, David Bowie, Talking heads, Savoy Brown, Fleetwood mac, Lou Reed, Paul Simon, Them, Ten Years After, Rolling Stones, Dion, Laura Nyro, Creedence Clearwater Revival, and Deep Purple. We also paid tribute to Woodstock on it's 57th Anniversary..

Ella Williams from Squirrel Flower is here to discuss Say a Prayer to the Gods of Getting Going, not having a real home, living in many different cities, and the joys of transience, when relationships are complicated by the city of Cleveland, which can be depicted in song or on the comedic TV show 30 Rock, playing a show where Lee Harvey Oswald was arrested, when ghosts steal your CDs, finding musical inspiration in the book Women Who Run with the Wolves and in the work of Joni Mitchell, highways and marginalization, volume and balance, frenetic motion and stark stillness, writing new songs, playing shows soon, other future plans, and much more.EVERY OTHER COMPLETE KREATIVE KONTROL EPISODE IS ONLY ACCESSIBLE TO PATREON SUPPORTERS STARTING AT $6/MONTH. This one is fine, but if you haven't already, please subscribe now on Patreon so you never miss full episodes. Thanks!Thanks to Blackbyrd Myoozik, the Bookshelf, Planet Bean Coffee, and Grandad's Donuts. Support Y.E.S.S., Pride Centre of Edmonton, and Letters Charity. Follow vish online.Related episodes/links:Win You've Changed Records by Fiver and G̱amksimoon in August 2026!Ep. #1063: RatboysEp. #1045: The BethsEp. #1034: Sean Wilentz on Bob Dylan's ‘Through The Open Window'Ep. #875: Ann PowersEp. #700: SpoonSupport this show http://supporter.acast.com/kreative-kontrol. Hosted on Acast. See acast.com/privacy for more information.

Margaret Glaspy compares the experience she was having on Instagram to being lightly punched in the gut, over and over, for a very long time. Like it's not like being hit hard, just a little tap of something negative with each update you read, each comparison made, each distancing away from actual humanity and toward the simulated reality the platform presents. So she quit social media. Which was hard because it was an actual addiction. And then she wrote and recorded her new album, I Am Both, which just came out. It's a remarkable work as Margaret leaned on her own mind, her own thoughts and memories and experiences. The California-raised, Brooklyn-based musician was inspired by the clear voice and perspective of heroes like Bob Dylan, Joni Mitchell, and John Steinbeck. It's a candid interview that just might inspire you to make a big change of your own. Thank you to all our listeners who support the show as monthly members of Maximum Fun. Check out our I'm Glad You're Here and Depresh Mode merchandise at the brand new merch website MaxFunStore.com! Hey, remember, you're part of Depresh Mode and we want to hear what you want to hear about. What guests and issues would you like to have covered in a future episode? Write us at depreshmode@maximumfun.org. Depresh Mode is on BlueSky, Instagram, Substack, and you can join our Preshies Facebook group.  Help is available right away. The National Suicide Prevention Lifeline: 988 or 1-800-273-8255, 1-800-273-TALK Crisis Text Line: Text HOME to 741741. International suicide hotline numbers available here: https://www.opencounseling.com/suicide-hotlines Help support this show and unlock bonus content! Become a member at https://maximumfun.org/joindepresh

Something for everyone! With Special Guest, Rebecca Barnard! MELBOURNE: See Rebecca Barnard sing Joni Mitchell - 12 September Thinking Music Make Believe! Link to the Answer Wikipedia More about the show - www.nearly.com.au/somehow-related-podcast-with-glenn-robbins-and-dave-oneil/ Somehow Related is produced by Nearly Media. Original theme music by Kit Warhurst. Artwork created by Stacy Gougoulis. Looking for another podcast? The Debrief with Dave O'Neil - Dave's other podcasts with comedians after gigs. The Junkees with Dave O'Neil & Kitty Flanagan - The sweet and salty roundabout! Junk food abounds!Support on Lenny.fm: https://www.lenny.fm/See omnystudio.com/listener for privacy information.

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.

Pauline Black was seen singing Leonard Cohen and Joni Mitchell songs in Coventry folk clubs and recruited by a local reggae band. Then converted to ska and joined the Selecter - back on tour this summer and with a box-set of live recordings, ‘The Selecter at the BBC'. She looks back here at … … their first gig with Madness for 47 years in Brighton – “very red fezzy!” … her Sliding Doors moment supporting Bert Jansch ... discovering the Pioneers, Prince Buster and the Skatalites through white skinheads in Coventry … the famous 2-Tone Brighton Beach photo of 1979 with the Specials and Madness … “there were three looks for a black girl singer back then – Tina Turner, the I-Threes Earth Mother … or invent something new. So I invented the Rude Girl” … seeing Pentangle playing the theme from ‘Take Three Girls' in 1971 and then the MC5 and Arthur Brown with his “papier-mâché brain” … training as a bio-chemist and radiographer – “there isn't an orifice I haven't inspected” … the first Selecter gig – “flares, safari suits and me in pink spandex trousers like the girls from Chic” .. how Jerry Dammers created the cartoon 2-Tone look and the night radio played the first single … and “a black man with a gun and a stage invasion” on the BBC's Pebble Mill. Order copies of ‘The Selecter At The BBC: The Complete Recordings 1979-1981' here: https://theselecter.lnk.to/AtTheBBC Tickets here: https://theselecter.net/live-dates/Help 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.

Pauline Black was seen singing Leonard Cohen and Joni Mitchell songs in Coventry folk clubs and recruited by a local reggae band. Then converted to ska and joined the Selecter - back on tour this summer and with a box-set of live recordings, ‘The Selecter at the BBC'. She looks back here at … … their first gig with Madness for 47 years in Brighton – “very red fezzy!” … her Sliding Doors moment supporting Bert Jansch ... discovering the Pioneers, Prince Buster and the Skatalites through white skinheads in Coventry … the famous 2-Tone Brighton Beach photo of 1979 with the Specials and Madness … “there were three looks for a black girl singer back then – Tina Turner, the I-Threes Earth Mother … or invent something new. So I invented the Rude Girl” … seeing Pentangle playing the theme from ‘Take Three Girls' in 1971 and then the MC5 and Arthur Brown with his “papier-mâché brain” … training as a bio-chemist and radiographer – “there isn't an orifice I haven't inspected” … the first Selecter gig – “flares, safari suits and me in pink spandex trousers like the girls from Chic” .. how Jerry Dammers created the cartoon 2-Tone look and the night radio played the first single … and “a black man with a gun and a stage invasion” on the BBC's Pebble Mill. Order copies of ‘The Selecter At The BBC: The Complete Recordings 1979-1981' here: https://theselecter.lnk.to/AtTheBBC Tickets here: https://theselecter.net/live-dates/Help 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.

Pauline Black was seen singing Leonard Cohen and Joni Mitchell songs in Coventry folk clubs and recruited by a local reggae band. Then converted to ska and joined the Selecter - back on tour this summer and with a box-set of live recordings, ‘The Selecter at the BBC'. She looks back here at … … their first gig with Madness for 47 years in Brighton – “very red fezzy!” … her Sliding Doors moment supporting Bert Jansch ... discovering the Pioneers, Prince Buster and the Skatalites through white skinheads in Coventry … the famous 2-Tone Brighton Beach photo of 1979 with the Specials and Madness … “there were three looks for a black girl singer back then – Tina Turner, the I-Threes Earth Mother … or invent something new. So I invented the Rude Girl” … seeing Pentangle playing the theme from ‘Take Three Girls' in 1971 and then the MC5 and Arthur Brown with his “papier-mâché brain” … training as a bio-chemist and radiographer – “there isn't an orifice I haven't inspected” … the first Selecter gig – “flares, safari suits and me in pink spandex trousers like the girls from Chic” .. how Jerry Dammers created the cartoon 2-Tone look and the night radio played the first single … and “a black man with a gun and a stage invasion” on the BBC's Pebble Mill. Order copies of ‘The Selecter At The BBC: The Complete Recordings 1979-1981' here: https://theselecter.lnk.to/AtTheBBC Tickets here: https://theselecter.net/live-dates/Help 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.

No se puede atrapar el viento, pero podemos traerte la brisa del mar. Invocamos al frescor del verano en esta colección de canciones.Playlist:(sintonía) FLEETWOOD MAC “Albatross”DONOVAN “Catch the wind”THE BEACH BOYS “The warmth of the sun”OTIS REDDING “Sittin’ on the dock of the Bay” (demo, take 1)JONI MITCHELL “Carey”NICK DRAKE “Pink Moon”FRANK SINATRA “Summer wind”SEALS and CROFTS “Summer breeze”DON COSTA “The breeze and I”MARTIN DENNY “Trade winds”TONY JOE WHITE “Homemade ice cream”JIMI HENDRIX “The wind cries Mary”CHUCK PROPHET “Summertime thing”RAY COLLINS HOT CLUB “The breeze”NOLAN STRONG and THE DIABLOS “The wind”LOU REED “Ocean” (demo 1971)THE OZARK MOUNTAIN DAREDEVILS “Giving it all to the wind”Escuchar audio

Join me as I talk to Caitlin Cary about her life, Whiskeytown, solo career, visual art and so much more. Really enjoyable chat.https://www.caitlincary.com

Celebrating TWENTY YEARS of podcasting with part 1 of my conversation with Phil Stacey about choosing 10 artists to listen to for the rest of your life if you were stranded on a desert island.  Show notes: Started this show in August 2006! Instead of Desert Island Discs, we each chose 10 artists that we'd be limited to hearing on a desert island Mixing up genres Jay: I ruled out a lot of classic rock acts that I've listened to all my life Limiting artists to music that came out under their name, not in other groups This magical island has killer WiFi Phil's honorable mentions: Bowie, Phish, Ella Fitzgerald, Drive-By Truckers, Tom Petty, Pearl Jam, Billie Holliday, Talking Heads, The Who, Joni Mitchell, Kinks, Pretenders, Nirvana, Sleater-Kinney Jay's HMs: Kinks, Pavement, Pixies, QOTSA, Afghan Whigs, Peter Gabriel, XTC, James Brown, PJ, Spoon, Superchunk, Tragically Hip, Yo La Tengo, Sloan, Elvis Costello Island picks Jay and Phil: Neil Young So much NY material out there Neil has a varied catalog of styles  Phil: The Beatles, naturally Incredibly influential and wide-ranging catalog in a handful of years Jay: Going outside the box with Fugazi Total DIY operation, only charged $5 per concert and album Only played non-traditional venues like school gyms and small clubs Phil: Not a jazz aficionado, but John Coltrane makes the cut Drugs are bad, mmkay? Jay: Drive-By Truckers have close to 30 years of hard-driving rock, alt-country and everything in between Not much in the way of popular attention Phil: He loves the modern jam band stylings of Goose Jay and Phil: The massive legacy of Prince The best Super Bowl halftime performance Prince could do everything well Phil: The Grateful Dead built a huge following under the radar Survived decades of trends and change They're still popular 30 years after they stopped making music Jay: The collected works of Parliament-Funkadelic They were two different bands with a rotating roster that eventually merged Combined rock with funk and soul George Clinton and a cast of thousands Phil: The mighty Led Zeppelin Embraced different sounds There are still Zep albums that are underplayed Jay: Bowie's chameleonic career Is Madonna the most successful female artist of all time? Incredible string of great albums from the '70s to the '80s To be continued Completely Conspicuous is available through Apple Podcasts. Subscribe and write a review! The opening and closing theme of Completely Conspicuous is "Theme to Big F'in Pants" by Jay Breitling. Voiceover work is courtesy of James Gralian.

Le Hibou is a place of near mythical status in the Ottawa music community. A tiny coffee house on Sussex Drive where the likes of Neil Young, Gordon Lightfoot, Joni Mitchell and Leonard Cohen played. In this encore episode, Robyn Bresnahan hears memories from those who were there in its heyday and explores whether Le Hibou could ever rise again.

David Baerwald is a famous songwriter who's worked with artists like Joni Mitchell and Sheryl Crow. But when he uncovered a family history filled with spies, music, and wartime secrets … David went from notes to novels and wrote a sweeping historical debut. The Fire Agent fictionalizes the story of Ernst Baerwald, David's real grandfather. In 1900, Ernst was recruited to become a spy. His work took him across two continents and through two world wars, and his life became an adventure involving Japanese gangsters, the fight against fascism and numerous pivotal moments in history. This week, David tells Mattea Roach about espionage in the 1900s, his love of Japan and how the novel brought his family back together. Liked this conversation? Keep listening:Anarchists have bigger hearts than you think Emma Donoghue boards a train destined for disaster Check us out on Instagram @cbcbooks and TikTok @cbcbooks

We are back together in person and recording from an actual cocktail bar!!! Because we find ourselves in sunny San Diego, Rachel came up with the idea to form a beach playlist featuring one song from each Taylor Swift album. We take turns debating and stealing songs from each other that fit the vibe. Did we get it right? Let us know! Our song of the week follows Taylor Swift and Travis Kelce getting married at Madison Square Garden, so we naturally reflect on how Taylor has matured in her confidence as a celebrity. She looks to other stars before her like Britney Spears, Joni Mitchell, and Stevie Nicks as inspiration for this song. Of course, Taylor has covered this topic several times throughout her discography, but The Lucky One marks one of the earliest times we've heard her reflect on her level of fame and what lessons she was learning at the time of writing this song. Share with us your thoughts on today's episode by sending an email to swiftandswigspodcast@gmail.com.​Leave us a written review on the Apple Podcasts app!Follow and rate our podcast on Spotify! Check out our "new shit" playlist on Spotify: ⁠⁠⁠⁠⁠⁠⁠⁠⁠https://open.spotify.com/playlist/5LOn9LRJ8lnvnCbpl6fKVG?si=68ca3032d3aa470b⁠⁠⁠⁠⁠⁠⁠⁠⁠

Rock n roll books usually follow a predictable path, but these five books go somewhere completely different. Today's show explores some of rock's most unusual reads, featuring Robyn Hitchcock, Peter Wolf, a forgotten Beatle, a CIA-recruited hair-metal drummer, and one author's deeply personal journey through the music and life of Joni Mitchell.Support the showemail Big Rick at:info@rocktalkstudio.com

With a soaring voice that evokes folk legends Joni Mitchell, Joan Baez and more, Kansas City singer-songwriter Kirstie Lynn has a new EP that reflects on “blazing up, blazing out (and) blazing through” as a DIY musician. “Blazing Prairie Star” is out July 24.

In her 25 years as a music journalist, Jessica Hopper has profiled the doyennes of modern rock and pop music: Björk, Kacey Musgraves, St. Vincent, Liz Phair, Robyn, and many more. Her reviews run the gamut from the latest Nicki Minaj album and the “mobile shopping mall that is the Vans Warped Tour” to the only album by D.C.'s first all-women punk band, released three decades after they broke up. The new second edition of The First Collection of Criticism by a Living Female Rock Critic expands on the 2015 one. That the provocative (and mostly accurate) title still works six years later points out that rock criticism has even fewer women in it than rock music does. Hopper joins us on the podcast to discuss her writing, from her beginnings as a local Chicago critic to her expansive oral histories of Hole and the women who transformed Rolling Stone in the 1970s. This episode originally aired in 2021.Go beyond the episode:Jessica Hopper's The First Collection of Criticism by a Living Female Rock CriticRead “Building a Mystery,” her oral history of Lilith Fair, and her reflections on Joni Mitchell's Blue, 50 years onListen to her eclectic playlist of music that came out of ChicagoHopper hosted Season 2 of KCRW's Lost Notes podcast, looking at artistic legacies of the likes of The Freeze and Cat PowerTune in every other week to catch interviews with the liveliest voices from literature, the arts, sciences, history, and public affairs; reports on cutting-edge works in progress; long-form narratives; and compelling excerpts from new books. Hosted by Stephanie Bastek.Subscribe: iTunes/Apple • Amazon • Google • Acast • PandoraHave suggestions for projects you'd like us to catch up on, or writers you want to hear from? Send us a note: podcast [at] theamericanscholar [dot] org. And rate us on iTunes! Hosted on Acast. See acast.com/privacy for more information.

Legendary singer Graham Nash still on tour:  ☮️ 56 years ago this summer was Woodstock, only their second show ever as CSNY ❤️ Living with Joni during their first show ✨ Did he realize he was changing music forever

On this episode of The Bandwich Tapes, I sit down with Los Angeles-based singer, songwriter, guitarist, and music director Evan Zee for a conversation that begins with musical connection and quickly opens into something deeper. I first found Evan while researching for another interview, tracing a path from Larry Goldings to Lila Forde and then to Evan. That kind of chain reaction is one of my favorite things about this show, and in this case it led to a conversation about listening, community, faith, family, and the way music can widen a person's heart.We begin by talking about Evan's musical relationship with singer Lila Forde and how their collaboration grew out of church work, friendship, and time spent simply playing together. Evan reflects on the importance of “big ears” as a musician, the kind of listening that goes beyond technique and becomes a way of serving the song, the people around you, and the moment itself. What follows is one of my favorite kinds of conversations: one that starts with music but naturally opens into larger questions about how to live.From there, Evan speaks with real honesty about marriage, fatherhood, and how family life changed his voice, his art, and his sense of purpose. He describes becoming a parent before he felt ready, and how that experience forced him to confront fear, insecurity, and the need for growth in a way that ultimately deepened his artistic expression. It is a thoughtful and moving part of the conversation, and one that gets at something I care deeply about on this podcast: how life itself shapes the music.We also spend time talking about Evan's long history playing in church, from starting as a teenager to later studying at USC, moving to Los Angeles, and navigating his own spiritual unraveling and reconstruction. Today, as music director at a Presbyterian church in Santa Monica, he has built a creative community around intention, trust, and “the hang.” He shares how that environment led to a new record featuring close collaborators including Lila Forde, Misha, Carl McComas-Reichl, Miguel Atwood-Ferguson, Tom Frazier, and Darla, and why he wanted the session to feel playful, immediate, and alive.We close by talking about a powerful live performance in the wake of the Eaton fire, which displaced Evan and his family from their Altadena home, as well as his deep love for Joni Mitchell and the spiritual force he hears in her writing. This episode is about much more than career milestones. It is about listening as a musical value, as a human value, and as a way of moving through the world with greater presence.Key TakeawaysEvan Zee talks about why “big ears” may be one of the most important qualities a musician can have, both on and off the bandstand.He shares how his collaboration with Lila Forde grew out of church work, friendship, and hours of unpaid playing simply for the sake of getting better together.Evan reflects candidly on how marriage and fatherhood reshaped his artistry, deepened his voice, and changed the way he experiences music.He discusses his journey through faith, deconstruction, and a more expansive understanding of music as a spiritual practice.As a music director in Santa Monica, Evan has created a scene built around trust, intention, generosity, and what musicians call “the hang.”He gives insight into a new record built with a close-knit cast of players including Lila Forde, Carl McComas-Reichl, Miguel Atwood-Ferguson, Tom Frazier, Misha, and Darla.We also talk about Joni Mitchell, Pat Metheny, live performance after loss, and the role music can play in grief, healing, and community.Music from the EpisodeWarm and Right - Evan Zee (Live in LA)Never Leave a Moment - Evan ZeeLong Lost Lover - Evan Zee (Live in LA)Love - Evan Zee (Live in LA)About the PodcastThe Bandwich Tapes is a podcast where I sit down with musicians, songwriters, producers, and creative people for thoughtful conversations about craft, career, collaboration, and the experiences that shape a life in music. It is a show about process, humanity, and the stories behind the work.Connect with the Showcontact@thebandwichtapes.com

Gaea Star Crystal Radio Hour #677 is an hour of dynamic, visionary acoustic improvised music from the Gaea Star Band with Mariam Massaro on vocals, Native and double flute, mandolin, ukulele, kalimba, acoustic guitar and Celtic harp, Bob Sherwood on piano and Craig Harris on congas and Native drum. Recorded live at Singing Brook Studio in Worthington, Massachusetts in early July of 2026, today's show begins with the magical “Life Is Good And Sweet And Caring (Most Of The Time)”, a mesmerizing ballad with soaring Native flute and vocals from Mariam and “Precious Moments To Share” is a gorgeous pop/folk number with chiming ukulele and an inspired piano figure topped with Mariam's joyful vocal. “Luminous Light Behind The Clouds” is an austerely beautiful, harmonically modern and inventive neoclassic piece touched with electronics and featuring a mysterious, winding vocal from Mariam and “Feeling The Beauty” is an emotional ballad to the things we value the most deeply set to steady, skipping congas, exotic kalimba and yearningly composed piano that winds themes from Joni Mitchell's “Blue” with rich extrapolations and inventions. “Let's All Call Home” is another powerful, harmonically rich ballad featuring soaring, emotional vocals and Native flute from Mariam above a tapestry of bittersweet minor piano motifs and “Dance With Me Oh Sweet One” is a richly powerful piece full of tempestuous mystery built around Mariam's eldritch mandolin and steady, full-voiced congas. Mariam strums her acoustic guitar for today's powerful closer, the sweet, gently passionate “Even In The Rain”, a rich folk song with powerful contributions from the ensemble. Learn more about Mariam here: http://www.mariammassaro.com

If there's anyone more entertaining than Adam Chester, please tell me so I can book them now! What a fabulous, fun, afternoon ride! Other than a tech glitch (lost internet for 5 min - which caused this to have a Part 1 and Part 2), this was as close to perfection as a sit-down could be. We got current events; he's on vocal rest due to a minor health issue, so Adam performed an instrumental with full virtuoso gusto and talked for a good hour and a quarter, also with total fervor. Shhh, don't tell his ENT. In Part 1, we got Adam's backstory, which manifested into his life's headlines. The author of S'Mother held up his mother (hysterical, dark sight gag), who started him on the keys at 3 and got him an upright at 5. Adam walked us into his son Truman's room to share his first instrument, which he's moved cross-country and from state to state. Nothing like a good show and tell. We got delicious juicy bits about Adam's year or so with Barry White, a decision Adam still questions, his piano teacher, Jeff, his manager, Paul, and his life-changing friend and mentor, Davey Johnstone, who opened the door to Sir Elton, a gig still in action, more than 20 years later, post Elton's retirement, filled with pinch moments and living the dream realities. Adam's stories about it all are precious, humble, moving, and hysterical. We get the beginning of his Joni Mitchell connection in Part 1, picked up and furthered to greater heights in Part 2, along with a fabulous Miley Cyrus story, and my s'mother nag for Adam to start doing his thing at his regular Georgian Hotel gig in Santa Monica on Wednesdays, 6-9 pm, where historically he plays, sans vocals and his ridiculously entertaining banter. Vocal rest be damned! You can't keep the unique genius that is Adam down. One shouldn't! I could not have had more fun, or loved this (both Parts) more! How dare my internet go down before we were through! Sorry, Adam, sorry, ya'll! Adam Chester Live on Game Changers With Vicki Abelson Wed, July 8, 3 pm PT, 6 pm ET Streamed Live on my FB, YouTube & LinkedIn

If there's anyone more entertaining than Adam Chester, please tell me so I can book them now! What a fabulous, fun, afternoon ride! Other than a tech glitch (lost internet for 5 min - which caused this to have a Part 1 and Part 2), this was as close to perfection as a sit-down could be. We got current events; he's on vocal rest due to a minor health issue, so Adam performed an instrumental with full virtuoso gusto and talked for a good hour and a quarter, also with total fervor. Shhh, don't tell his ENT. In Part 1, we got Adam's backstory, which manifested into his life's headlines. The author of S'Mother held up his mother (hysterical, dark sight gag), who started him on the keys at 3 and got him an upright at 5. Adam walked us into his son Truman's room to share his first instrument, which he's moved cross-country and from state to state. Nothing like a good show and tell. We got delicious juicy bits about Adam's year or so with Barry White, a decision Adam still questions, his piano teacher, Jeff, his manager, Paul, and his life-changing friend and mentor, Davey Johnstone, who opened the door to Sir Elton, a gig still in action, more than 20 years later, post Elton's retirement, filled with pinch moments and living the dream realities. Adam's stories about it all are precious, humble, moving, and hysterical. We get the beginning of his Joni Mitchell connection in Part 1, picked up and furthered to greater heights in Part 2, along with a fabulous Miley Cyrus story, and my s'mother nag for Adam to start doing his thing at his regular Georgian Hotel gig in Santa Monica on Wednesdays, 6-9 pm, where historically he plays, sans vocals and his ridiculously entertaining banter. Vocal rest be damned! You can't keep the unique genius that is Adam down. One shouldn't! I could not have had more fun, or loved this (both Parts) more! How dare my internet go down before we were through! Sorry, Adam, sorry, ya'll! Adam Chester Live on Game Changers With Vicki Abelson Wed, July 8, 3 pm PT, 6 pm ET Streamed Live on my FB, YouTube & LinkedIn

This week the boys sit down and talk about Cypress, Elvis, Janis Joplin, Mariah Carrey, Fiona Apple, Joni Mitchell, Old Town, Whitney Houston, MJ, and much much more!!!

This week on the Bob Dylan Hotline Laura and Rebecca are talking about Bob Dylan's pronouns! In 1978, Bob Dylan told Craig McGregor, "Tangled Up In Blue [was] the first [song] I ever wrote that I felt free enough to change all the... what is it, the tenses around, is that what it is? [...] The he and the she and the I and the you, and the we and the us–I figured it was all the same anyway – I could throw them all in where they floated right – and it works on that level." How does this changing around of pronouns affect how we hear the song? And why does Dylan favour writing in the second person rather than the first? Joni Mitchell has something to say about that. You can listen to Rebecca talk about "Like a Rolling Stone" on the Pod Dylan podcast here.Find the Substack version of Graley Herren's essay on "Sweetheart Like You" here. In case anyone's interested in what I did end up talking about at the conference about Bob Dylan and Masculinity conference, you can watch my talk here. The line from "I Contain Multitudes" about "four pistols and two large knives" is from Shelby Foote's history of the Civil War, as James Adams (bob_notes on Twitter/X) noted here.If you have a question for us, send us a voice memo to bobdylanhotline[at]gmail.com. For anything else get in touch at itsdefinitelydylan[at]gmail.com You can support Definitely Dylan on Patreon or with a one-off donation at buymeacoffee.com/definitelydylan.Book your Bob Dylan Walking Tour of NYC with Rebecca on ramblintours.com.Get your Definitely Dylan baseball cap here.Rebecca's bootleg version is here.

Montreal-born, Nashville-based Allison Russell is a Grammy- and Juno Award-winning singer-songwriter, actor, and human rights advocate. Her new album is called In the Hour of Chaos, and on it, she taps friends and collaborators to help her make sense of a world in chaos, and to find solace in the joy of creating. Allison joins Tom Power to talk about the album and to look back on performing a tribute to Joni Mitchell at the 2026 Juno Awards.

Guy Oseary (@guyoseary) has been spotting talent before anyone else could see it for nearly four decades. Under his leadership at Maverick Records, Maverick sold more than 100 million albums. Guy has managed some of the biggest names in music, including Madonna, the Red Hot Chili Peppers, and U2, and was named Variety's Music Mogul of the Year in 2022. He executive produced Twilight, which became one of the most successful franchises in movie history, generating more than $3.5B. Guy was also an early investor in Vita Coco and co-founded A-Grade Investments and then Sound Ventures, now with nearly $2 billion under management. At A-Grade, his hits included Airbnb, Uber, and Spotify. Sound Ventures launched with less than $100M and has since had 86 exits and 26 IPOs.This episode is brought to you by:Momentous high-quality creatine for cognitive and muscular support: https://livemomentous.com/TimAG1 all-in-one nutritional supplement: DrinkAG1.com/TimTimestamps[00:00:00] Start.[00:02:01] How a West Hollywood balcony became a backstage pass.[00:03:51] A knife on Pico Boulevard and the snap decision to switch schools.[00:05:54] Faking a Beverly Hills address to get inside another world.[00:08:10] Wise Guy Records: a 15-year-old builds a portfolio out of nothing.[00:10:09] Guy's alternative terms when Bernie Brillstein offered $25,000.[00:11:34] The one moment that confirmed Guy was on the right path.[00:12:29] Freddy DeMann enters the picture and Guy proves himself with Ice-T's crew.[00:15:07] A desk at Maverick Records in exchange for no salary.[00:17:08] Chasing Hole and Rage Against the Machine — and losing both.[00:23:34] Candlebox in five minutes: seeing thousands in a room of 30.[00:24:11] Why "magic" beats everything else.[00:26:37] Signing Alanis off a single song, and stopping Muse mid-audition.[00:31:59] The real Alanis story: "Perfect," Joni Mitchell, and a 30-million-selling debut.[00:35:24] What Madonna taught Guy about thinking without walls.[00:38:50] From bands to Twilight: the power of a blank canvas.[00:45:30] How Guy got into investing, and the IdeaLab bet that wiped him out before the crash.[00:54:31] Why Guy is known as a great curator of people.[00:58:32] The three-month window that caught OpenAI and Anthropic.[01:06:07] AI music and the battle to ensure human musicians get paid.[01:09:30] How Spotify solved the problems Napster couldn't overcome.[01:14:50] SpaceX and Bitcoin: the ones that got away.[01:17:32] The rewards, rigors, and responsibilities of back-to-back touring.[01:21:44] Why Guy never stops to celebrate.[01:24:45] Splitting with Ashton Kutcher after 20 years.[01:27:30] Final thoughts on Guy's first podcast.*For show notes and past guests on The Tim Ferriss Show, please visit tim.blog/podcast.For deals from sponsors of The Tim Ferriss Show, please visit tim.blog/podcast-sponsorsSign up for Tim's email newsletter (5-Bullet Friday) at tim.blog/friday.For transcripts of episodes, go to tim.blog/transcripts.Discover Tim's books: tim.blog/books.Follow Tim:Twitter: twitter.com/tferriss Instagram: instagram.com/timferrissYouTube: youtube.com/timferrissFacebook: facebook.com/timferriss LinkedIn: linkedin.com/in/timferrissSee Privacy Policy at https://art19.com/privacy and California Privacy Notice at https://art19.com/privacy#do-not-sell-my-info.

Get ready to be inspired as we dive deep into the world of music with one of its most iconic figures, Judy Collins. In this episode of takin' a walk, host Buzz Knight sits down with the legendary musician to explore her extraordinary journey through over six decades of captivating artistry. At 87 years young, Collins is currently on her 'Sweet Judy Blue Eyes Farewell Tour,' which she passionately describes as a celebration of her life’s work rather than a final goodbye. This heartfelt conversation is filled with music history insights and stories behind songs that have shaped not only her career but also the landscape of American music. Judy Collins shares her love for live performances and the joy she finds in connecting with audiences, reminding us that music is a universal language that transcends time and age. She reflects on her early musical influences, including the soothing sounds of her father's singing, and recounts her first encounters with legendary songwriters like Joni Mitchell and Leonard Cohen. These legendary musicians have not only inspired her but also paved the way for countless indie artists who followed in their footsteps. The episode also delves into her songwriting journey, highlighting the profound impact of her late husband on her music and creativity. Collins discusses her recent album, 'Spellbound', which features entirely self-penned songs that echo her personal experiences and artistic reinvention. This album is a testament to her resilience and passion for music storytelling, showcasing her ability to evolve while staying true to her roots. Throughout the conversation, Judy Collins emphasizes the importance of friendship and social connections in leading a fulfilling life, reminding us that our relationships are as vital as our artistic endeavors. As she looks forward to future projects, including a new album, the episode serves as a beautiful tribute to her enduring legacy and unwavering love for music. Join Buzz Knight on this inspiring journey through music history as he uncovers the creative journeys of one of the most beloved music icons. Whether you’re a fan of classic rock history, jazz music, or simply love musician storytelling, this episode promises to resonate with anyone who appreciates the power of song. Tune in to takin' a walkfor an unforgettable experience filled with inspiring music stories and the magic of legendary songwriters. Support the show: https://takinawalk.com/See omnystudio.com/listener for privacy information.

Hilary Gardner is a wonderful jazz singer raised in Wasilla, Alaska, but she's says she's a New Yorker at heart. She's a 5x Downbeat Magazine Rising Star Female Vocalist. And she's released four recordings as a leader, one of which, On The Trail, captures the “singing cowboy” era of the 1930s-40s. The album was named Western Album of the Year by the International Western Music Association. She is also a founding member of Duchess, a terrific female vocal trio with Amy Cervini and Melissa Stylianou. Duchess has released 4 albums and has collaborated with the Paul Taylor Dance Company, performing the music of the Andrews Sisters live onstage at Lincoln Center. Hilary has also appeared on Broadway as the live, onstage singer in Twyla Tharp's hit, COME FLY AWAY. And she has performed with Jeff Goldblum and his band at the Café Carlyle and with Michael Feinstein. And she has appeared as a guest soloist with symphonies across the country. My featured song is my reimagined version of Joni Mitchell's reimagined version of Charles Mingus's “The Dry Cleaner From Des Moines”, from my debut album Miles Behind. Spotify link. —------------------------------------ The Follow Your Dream Podcast:Top 1% of all podcasts with Listeners in 200 countries! Click here for Start Here Click here for All Episodes  Click here for Guest List  Click here for Guest Testimonials Click here for Pillars Click here for Robert's Project Grand Slam Click here to Subscribe  Click here to receive our Email Updates Click here to Rate and Review the podcast —---------------------------------------- CONNECT WITH HILARY:www.hilarygardner.com —--------------------------------------- ROBERT'S NEWEST RELEASE:“THE BUZZ” - Ft. Darius de Haas (vocals) and Dave Eggar (Celo). Short, Sweet and Totally Different CLICK HERE FOR OFFICIAL VIDEO CLICK HERE FOR ALL LINKS —-------------------------------------- Audio production: Jimmy RavenscroftKymera FilmsConnect with the Follow Your Dream Podcast:Website - www.followyourdreampodcast.comFollow Robert's band, Project Grand Slam, and his music:Website - www.projectgrandslam.com    

Join us for an unforgettable stroll as we delve into the extraordinary journey of legendary singer-songwriter Tom Rush, a pioneer who has shaped the landscape of American music for over six decades. On this episode of takin' a walk, host Buzz Knight engages in a heartfelt conversation with Rush, whose influence resonates through the melodies of iconic artists like Joni Mitchell and James Taylor, long before they became household names. As we walk through Rush's remarkable career, he shares captivating stories that reveal the essence of a true musical icon. From his humble beginnings in the Boston folk scene while attending Harvard to becoming a beacon for emerging artists, Rush reflects on the accidental introductions of fellow musicians through his albums, showcasing the interconnectedness of the music journey. His latest album, Gardens Old, Flowers New, is hailed as his best work yet, and Rush discusses the inspiration behind it, highlighting the importance of creativity in today’s music industry. As Buzz Knight and Tom Rush navigate the challenges of the modern music scene, they explore the significance of connecting with audiences and the emotional healing that music brings. Their conversation touches on memorable moments from significant events like the Americana Awards and the Newport Folk Festival, providing listeners with music history insights that are both nostalgic and enlightening. This episode is not just a walk down memory lane; it’s a celebration of music and resilience, filled with inspiring stories of artistic reinvention and the unwavering passion that drives legendary musicians like Rush. Tune in for a rich exploration of takin' a walk through the life of a true music legend, where every note tells a story and every step reveals the heart of American music. Whether you’re a fan of indie music, classic rock history, or simply love the art of storytelling in music, this episode promises to inspire and entertain. Join us as we celebrate the music legacy of Tom Rush and the incredible journeys of legendary songwriters who have shaped our lives through their art. Don't miss this captivating episode of takin' a walkwith Buzz Knight!Support the show: https://takinawalk.com/See omnystudio.com/listener for privacy information.

Annahstasia is one of the most exciting singers and songwriters in the modern folk space. Originally courted by major labels in her youth, she found herself drifting away from the bedroom pop and R&B genres where music business execs thought she belonged. Drawn to folkier material, she emerged in the 2020s with a sound that blends the soul jazz of Terry Callier with Nick Drake's hushed chamber folk, her magnificent voice way out front in the mix, sometimes recalling the fullness of singers like Odetta or the jazzy sway of Hejira-era Joni Mitchell.  In March of this year, she released a live album, Live at Glasshaus, recorded at the Brooklyn studio and performance space. Drawing her full discography, Annahstasia and her band re-imagine the material and present in a fresh and intimate way in front of a limited audience of only 100 attendees.  On this week's show, Annahstasia joins us to discuss the spaciousness and quietude required to get into a creative zone, the influence of Terry Callier, blazing her own trail as a self-described “Black girl playing her guitar.” We also get into her earliest memories of listening to her parents CDs, the most frequently cited book on Transmissions, Hazrat Inayat Khan's The Mysticism of Sound and Music, and how creating from the heart puts you in touch with the divine. Learn more about your ad choices. Visit megaphone.fm/adchoices

Join us for an unforgettable stroll as we delve into the extraordinary journey of legendary singer-songwriter Tom Rush, a pioneer who has shaped the landscape of American music for over six decades. On this episode of takin' a walk, host Buzz Knight engages in a heartfelt conversation with Rush, whose influence resonates through the melodies of iconic artists like Joni Mitchell and James Taylor, long before they became household names. As we walk through Rush's remarkable career, he shares captivating stories that reveal the essence of a true musical icon. From his humble beginnings in the Boston folk scene while attending Harvard to becoming a beacon for emerging artists, Rush reflects on the accidental introductions of fellow musicians through his albums, showcasing the interconnectedness of the music journey. His latest album, Gardens Old, Flowers New, is hailed as his best work yet, and Rush discusses the inspiration behind it, highlighting the importance of creativity in today’s music industry. As Buzz Knight and Tom Rush navigate the challenges of the modern music scene, they explore the significance of connecting with audiences and the emotional healing that music brings. Their conversation touches on memorable moments from significant events like the Americana Awards and the Newport Folk Festival, providing listeners with music history insights that are both nostalgic and enlightening. This episode is not just a walk down memory lane; it’s a celebration of music and resilience, filled with inspiring stories of artistic reinvention and the unwavering passion that drives legendary musicians like Rush. Tune in for a rich exploration of takin' a walk through the life of a true music legend, where every note tells a story and every step reveals the heart of American music. Whether you’re a fan of indie music, classic rock history, or simply love the art of storytelling in music, this episode promises to inspire and entertain. Join us as we celebrate the music legacy of Tom Rush and the incredible journeys of legendary songwriters who have shaped our lives through their art. Don't miss this captivating episode of takin' a walkwith Buzz Knight!Support the show: https://takinawalk.com/See omnystudio.com/listener for privacy information.

Brandi Carlile (Returning to Myself, By the Way, I Forgive You, and The Story) is a Grammy-winning singer-songwriter, producer, activist, and author. Brandi joins Armchair Expert to discuss being a feral kid in rural Washington, navigating her father's alcoholism, and being denied baptism by her church as a teenager. Brandi and Dax talk about building a career through relentless hustle, working with Rick Rubin and T Bone Burnett, and bringing Joni Mitchell and Tanya Tucker back to the stage and studio. Brandi explains how marriage equality changed her life, why she holds special respect for elders in the LGBTQ community, and how faith, family, and service continue to shape her worldview.Sign up now in the app or at grubhub.com/plus/golddays to unlock exclusive Gold Days deals.Check Allstate first for a quote that could save you hundreds: https://www.allstate.com/See Privacy Policy at https://art19.com/privacy and California Privacy Notice at https://art19.com/privacy#do-not-sell-my-info.