Podcasts about jukebox zeroes

R&B singer/songwriter Mariah Carey enjoyed a prolonged period of critical and commercial success throughout the 90s, during which she enjoyed multiple Billboard Hot 100 hits and sold millions upon millions of records. The 00s on the other hand were a brief stumbling point for the legendary performer; her involvement in the 2001 box office bomb Glitter and its subsequent soundtrack made her a polarizing and controversial figure, and coupled with the media's reaction to a public mental breakdown she had been going through, it nearly destroyed her career if not for 2005's mega-comeback The Emancipation of Mimi. Though she would recover her reputation, the failure of Glitter continued to be a yoke around her neck years later.On a new season of Jukebox Zeroes, Lilz and Patrick welcome Scott Kurland back to the podcast to talk about the soundtrack to Glitter, and Mariah Carey in general. Join them for some frank discussion about retrospective guilt, mental health awareness, reckoning with behaviors back during the 00s, and Mystikal's weird pride in soiling his under-drawers.#weresadnowLocal Music Feature: Christina Jones - Free, Completely Free

On this very special(?) episode of Jukebox Zeroes, Lilz and Patrick with special return guest Aimee Hauthaway have opted to close out season 5 by listening to Sex And Violins by Rednex.You know, Rednex?The "Cotton Eye Joe" guys?Why are they doing this?Isn't that the question of the day.#AreWeNormalNow?#GoinTrunky#SeeYouNextSeasonNew England Music Feature: Christians & Lions - "Is To As Are To"

Christian Rock. A phenomenon in which the iconically American genre of music is used as a tool for evangelizing, preaching, or otherwise sharing christian religious beliefs. Though christianity had long opposed the "devil music" that was rock and roll, sometime around the late 1960s and early 1970s, former hippies who had turned to Christ discovered that they could use rock music as a means of spreading their gospel. Though many old guard christians considered it abhorrent, and conflicting to their values, christian rock gradually spread among the faithful, and even enjoyed a surge of mainstream commercial success in the 1990s via acts like Creed, Relient K, P.O.D., DC Talk, Jars of Clay, and many more.It's a phenomenon that many millennials and gen Z'ers grew up with, largely through the influence of religious parents or peers. Some embraced religion whole-heartedly through it, but for many among us...we still don't get it.With that level of ill-preparedness in mind, on this episode of Jukebox Zeroes, Lilz and Patrick welcome Ashley Rogers and Shane Smith to the pod. Both return guests had grown up with christian rock as an everpresent force in their youth, and are glad to educate Lilz and Patrick in the ways of excessively earnest guys rocking out for Jeebus. Join them for a round-table discussion of random christian rock songs and artists, to exorcise some long dormant demons of their childhood, and make fun of Doug TenNapel.Seriously, fuck that guy.#werenormalnowLocal Music Feature: The Revenants - "Why Is God A Goddamn Jerk"

Fresh after the release of Pink Floyd's mega-selling concept record The Wall, Roger Waters had plans to release a companion piece record to accompany the film adaptation of the famed album. The project was to be titled Spare Bricks, and consist of songs written for The Wall that didn't make the final draft, but Waters abruptly switched directions with the arrival of the Falkland Islands conflict. Waters already was no fan of then prime minister Margaret Thatcher, but this latest development lit an even bigger anti-war fire in his belly, and he set to work on new, more political material.Pink Floyd had already been experiencing internal tensions since Waters assumed total creative control over the group, and those simmering tensions finally boiled over with the production of the record, now named The Final Cut. Upon its release, most critical outlets would offer up mixed to negative reviews, while the band's guitarist David Gilmour would state that the songs on the record weren't good enough for their own release. Not long after The Final Cut, Waters would exit the band amidst a ruinous lawsuit.On this episode of Jukebox Zeroes, Lilz and Patrick are joined by return guest Nate Nemitz to discuss The Final Cut, an album that would subsequently be the final Pink Floyd record to feature Roger Waters. Join them for a frank discussion on solo projects, the politics of the 1980s, and absolutely no comparisons to modern events whatsoever.#werenormalnowLocal Music Feature: Matt Drohan - "Thirteen"

Meet Ronnie Radke. Formerly the lead singer of the legendary metalcore act Escape The Fate, his tenure in the group was cut short after assault charges landed him in prison, and expelled from the band. Undaunted, Radke would form his own project upon leaving jail, known as Falling In Reverse, which followed a similar metalcore style as Escape had, but the central creative process was entirely Radke's. Though he would go on to attract a sizeable audience of metalcore fans with his music, he would become infamous for some truly scummy behavior, having been accused of sexual assault multiple times, consistently getting into fights with fans and critics, and more recently becoming an outspoken denouncer of cancel culture.And wouldn't you know it? In all this time, a truly detestable record came out of it too. In 2013, coming off of the success of Falling In Reverse's 2011 debut The Drug In Me Is You, Radke followed things up with Fashionably Late, a record that he declared to be the best music he'd ever written, with a heavy focus on uplifting and inspirational material. What critics and fans saw it as however, was an uncoordinated mess filled with questionable genre fusion, un-dynamic production, lyrics too misogynistic even for a stereotypically misogynistic genre as metalcore, and a disgusting amount of Radke's own inflated sense of ego.On this episode of Jukebox Zeroes, we're joined by Jacob Russell of the Let's Play crew TheStrawhatNO!, for a frank and distressing listen to Fashionably Late. In which some metalcore demons of indiscretion are exorcised, closet skeletons are unearthed, and Lilz and Patrick wonder if they've somehow stumbled onto an album worse than the Steven Seagal one.#MowTheSausagesLocal Music Feature - Lockette - "The Mess"

In 2001 several revolutionary albums stood nominated for Album Of The Year at that year's Grammy Awards. Important records by Radiohead (Kid A), Eminem (The Marshall Mathers LP), and Beck (Midnite Vultures), all of which would go on to great acclaim and influence to new generations of musicians who discovered them. The conventional wisdom was that one of these three albums would take home the grand prize of the evening, but events played out very differently, and would contribute to increasingly disdainful public opinion towards the award.The Grammies already had a long and storied history of nominating "wrong" artists and albums for "Best Of The Year" awards that would earn widespread criticism among fans and critics. It happened when Jethro Tull took "Best Hard Rock/Metal Recording" by Metallica, it happened when Eric Clapton took "Best Rock Song" from Nirvana, and it happened once again when cerebral jazz-rockers and boomer institution Steely Dan took "Album Of The Year" with their 8th studio recording "Two Against Nature".On this episode of Jukebox Zeroes, songwriter and synth-wizard Steve Borek of Telelectrix joins Lilz and Patrick to discuss the controversy and listen to the yacht rock staple's 2000 record. Join us for frank discussions on timelessness, old guard thinking, and be thoroughly skeeved out by the various songs about underage girls.#wearenormalnowLocal Music Feature: The Heartsleeves - "Simple Machine"

In 1998, legendary heavy metal act Guns N' Roses would enter the studio to produce a new studio album; their first record of original material since 1991's Use Your Illusion I & II, and their first studio release ever since 1993's cover record The Spaghetti Incident?. This record, which would be dubbed Chinese Democracy, was intended for a 1999 release date.It would not see release until about 9 years later.The stories behind Chinese Democracy's numerous release date foibles are varied and many, ranging from lineup changes, legal issues, frontman Axl Rose's own obsessive sense of perfectionism, and even an incident involving the soda company Dr. Pepper. But amidst all the hype and comparisons to vaporware, it's easy to forget there's still an album to be heard. An album full of confusing fusions with industrial music and nu-metal, confusingly overblown songwriting from Rose himself, and a confusing man named Buckethead.On this episode of Jukebox Zeroes, Lilz and Patrick are joined by David Rosen of the Piecing It Together podcast to dig into Chinese Democracy; a record whose protracted production time is the stuff of legends, and is still to this day the most expensive rock record ever produced....wait, didn't we already do this one?#WeAreNormalNowLocal Music Feature: Mt. Metal - "I'll Never Forget (Heavy Metal)"

Before famed musician Steven Seagal committed his musical genius upon the world, you may be surprised to learn that he also was an actor in action films like Under Siege, Hard To Kill, Above The Law, and On Deadly Ground. You may also learn that he was formerly a Navy SEAL, a CIA agent, and an Aikido master. (You will likely know this because he's made mention of it any and all chances he gets.)It's shocking, but all true! Before the subject of reality TV show Steven Seagal: Lawman decided he had blues he needed to let free, he had a long and storied career in direct-to-home-video show business, but thank goodness he settled into music. Otherwise we might have been denied his opus, 2005's Songs From The Crystal Cave. A mish-mash of middling white guy blues, confusing spiritual themes, and some of the clumsiest takes on world fusion you may ever hear in your life.On this episode of Jukebox Zeroes, Lilz and Pat are joined by Mario Boiardi of Horsehands and The Band Dennis for a deep dive into the dojo, and a tortured listening of Songs From The Crystal Cave in its entirety.#WeAreNormalNow#LookIntoMyEyes

The 1995 motion picture Batman Forever marked the 3rd entry in the first cinematic universe of the titular DC Comics superhero. While previous entries had been directed by Tim Burton, Forever found Burton in a producing role instead, with directorial duties falling to Joel Schumacher. In contrast to the dark and macabre direction Burton took the film series, Schumacher found inspiration in the camp 1960s Batman TV show, to mixed critical reviews, but major commercial success.The film would go down as a blemish on the Batman franchise among fans, who along with its ill-fated sequel Batman & Robin did not appreciate the more light-hearted takes on the caped crusader. Nowadays it's best remembered as a low point for the comic book franchise, but also for its unassuming soundtrack, which just so happened to contain two of the most enduring pop songs of the 1990s: "Hold Me, Thrill Me, Kiss Me, Kill Me" by U2, and "Kiss From A Rose" by Seal.For two songs iconic to the decade to be connected to an otherwise mediocre soundtrack for an objectively bad superhero movie is a novelty in and of itself. That's why we're digging into this OST anomaly on a new episode of Jukebox Zeroes. Joining Lilz and Pat is streamer and author Danesha Artis, as the trio are swallowed up into 90s oblivion, and a never-ending chasm filled with Nick Cave saying "Daddy-O" way too much.#WeAreNormalNowLocal Music Feature: Collapser - "A Ghost & The Sea"

In 1967, The Beatles released their 8th studio album Sgt. Pepper's Lonely Heart's Club Band, a record that has been considered one of the greatest albums of all time. Heavily influenced by The Beach Boys' record Pet Sounds a year earlier, Sgt. Pepper was renowned for its' innovative style of production, adept fusion of multiple styles of music, and has been credited with bridging the gap between contemporary pop/rock and high art. It has gone down as a highly influential album, and routinely reaches the top 10 of retrospective "Greatest Of All Time" lists by music magazines.Fast-forward to 1978; The Beatles had been broken up for a decade, and producer Robert Stigwood (Who had also produced Grease and Saturday Night Fever) decided that modern audiences needed to be re-introduced to the band. He went about this by teaming up with Peter Frampton and The Bee Gees to adapt an off-Broadway stage musical that utilized Beatles music for the silver screen. This film was titled Sgt. Pepper's Lonely Hearts Club Band, featured Frampton and the Bee Gees in starring roles, and cameos from the likes of George Burns, Alice Cooper, Steve Martin, and many more.And it was a complete and total clusterfuck.On this episode of Jukebox Zeroes, Lilz and Patrick (Joined by special guest Franco Micale) decide there's no way to fully understand the thoroughly awful insanity that is the 1978 soundtrack to the Sgt. Pepper's Lonely Hearts Club Band film without watching the film itself. Join them for a bewildered and befuddled recap filled with soft-rock covers of Beatles songs, insipid settings, and acting ranging from wooden to intensely hammy.#WeAreNormalNowLocal Music Feature: Forhill - "Luna"

The final installment of End Times-Friend Times and we get personal with our friends from Jukebox Zeroes. We discuss two albums that influenced us, whether that be musically, aesthetically, or inspirationally. The range is big; from new wave to classic rock to electronica to mall goth to indie. Lilz and Pat add extra depth given the fact that they are actual musicians and can speak to how their albums influenced their sounds. Jokes and stories are told and we all get to know each other a bit more. Get all the best bad album reviews from Jukebox Zeroes! Want to support your favorite beer drinkin' babes? Check out our Patreon!Lookin' to rep our swag? Check out our merch store, available at TeePublic!

Okay. Funny story.Originally we set out to give a fair critical and retrospective shake to Middle Of Nowhere, the 1997 full-length debut from Tulsa, Oklahoma act Hanson. The record most famous for the pop rock mega-hit "MMM Bop", it was a critical smash and a commercial powerhouse that sold over 10 million albums worldwide, but somehow never quite translated to artistic credibility down the line for the then teenaged band.On this episode of Jukebox Zeroes, Lilz and Patrick, along with previous guests and fan favorites Ashleigh and Maggie of Rock Candy, originally sought out to stand up for Hanson and their abilities to write their own music, perform their own instruments, and take in influences well beyond their years.That was the original plan.Then we discovered some truly heinous controversial shit.So instead enjoy this episode of random nonsense rooted around the slim pretense of listening to Middle Of Nowhere and critiquing it.Frasier have mercy on us all.#WeAreNormalNowLocal Music Feature: Eli & The Mammoth - "Such A Great Fool"

Todd Rundgren has a long and storied history of musical innovation throughout his storied career. In addition to producing a slew of famed records from Meat Loaf, XTC, and The New York Dolls among others, Rundgren is responsible for pioneering the notion of the one-man band via his music, producing and performing every facet of his projects. This has extended to his embrace of new technology, having created several of the first interactive records to have ever existed.In spite of their revolutionary technology, these records were not always well-received. Two in particular from the 1990s, though featuring innovative CD-ROM features to be played on a Windows PC, were largely lambasted by critics as having strayed too far away from Rundgren's signature sound. These records; 1993's No World Order, and 1995's The Individualist are routinely ranked by fans and critics at the bottom of Rundgren's extended discography, and would be his final studio release until 2004.On a new episode of Jukebox Zeroes, Lilz and Patrick are joined by Lilz' own brother Glenn Martin to give a listen to The Individualist, a record the siblings Martin have a strange familiarity and history with. Join them for all manner of discussion regarding Rundgren's over-abundance of ideas, and unfortunate rap sections.#WeAreNormalNow#ShutUp!Local Music Feature: John Powhida International Airport - "Vaguely Like Rock & Roll"

For the first decade of their career, Judas Priest was best known as a prototypical innovator of the then fledgling genre of heavy metal, heralded as pioneers by those in the scene, but largely unknown to wider audiences. That all changed by the 1980s, when the band shot to major commercial success on the backs of songs like "You've Got Another Thing Comin'", "Breaking The Law", and "Living After Midnight." Over time the band would go down in metal history as one of the all-time greatest, with a legacy of millions of records sold.This legacy was not always secure however; after the comparatively lesser success of their 1984 record Defenders Of The Faith, the band decided they needed to lean in a more commercial direction. Taking cues from the popular if widely mocked glam metal movement of the era, Judas Priest traded their humble New Wave of British Metal sound in for one decked out with synths, drum machines, and more simplistic songs about partying and romance. This record was 1986's Turbo, which while not a commercial flop disappeared from the charts as quickly as it arrived, while leaving a sour taste in the mouths of their fanbase.On a new episode of Jukebox Zeroes, Lilz and Patrick are joined by Ryan Davison of Froggy & The Friendship (The composer of our theme music!) and Judas Priest mega-fan. Join the three of them as they dig into Turbo and decide for themselves whether it was deserving of the scorn it received from 80s metalheads.#WeAreNormalNow#RobHalfordTheCrowLocal Music Feature: Froggy & The Friendship - "Fake It"

Before conquering the world of disco music in the 1970s, The Bee Gees were better known for their blend of soft rock/easy listening throughout the UK. In their formative years in the 1960s the group maintained a comfortable grip on the UK Singles chart, with high-ranking singles like "I've Gotta Get A Message To You", "To Love Somebody", and "I Started A Joke."This commercial dominance very nearly came crashing down in 1969, with the release of their sixth studio record; the double album Odessa. Almost certainly inspired by the success of records like Sgt. Pepper's Lonely Hearts Club Band and Pet Sounds, Odessa leaned heavily into realms of baroque, progressive rock, chamber music, and orchestral pop, all the while jumping across other genres with reckless abandon. At the time of its release it was a commercial flop and made critics shrug their shoulders, while the production led to some of the Gibb brothers' most furious arguments, which even led to the temporary absence of lead vocalist Robin Gibb.Nowadays Odessa is considered an unheralded work of genius, but we'll be the judge of that. On this episode of Jukebox Zeroes, Lilz and Patrick welcome the arrival of Season 5 with the return of Tyler Kent as their special guest. Join them through a whimsical journey through Odessa, to determine whether or not it was a misunderstood classic, or a bloated mess of pretentiousness and clashing egos.#WeAreNormalNow#DudeWheresMyBoatLocal Music Feature: Squirrel Flower - "Roadkill"

As with most acts who experienced their greatest triumphs in the 1960s and 1970s, the Beach Boys stumbled embarrassingly and ungracefully into the 1980s and beyond. The lushly orchestrated and deeply emotional chamber pop of Brian Wilson was long in the rear view mirror, as the group's former lead songwriter and arranger found himself detached further and further from the rest of the Beach Boys, undergoing infamous and controversial psychological therapy.Away from Wilson's leadership, band vocalist and frequent song co-writer Mike Love would steer the group further towards singularly commercial ventures. To this day the Beach Boys exist as little more than an oldies nostalgia act, but for a brief moment in the 1980s the band would experience cultural relevancy again, by way of their #1 single "Kokomo", which was written for the soundtrack to the Tom Cruise romantic comedy Cocktail. Its success would lead to its inclusion on Still Cruisin', an album released in 1989 that presented itself as a new studio release, but was made up primarily of songs previously released on film soundtracks, including tracks that had been recorded as far back as the 1960s.Though Still Cruisin' was a modest commercial success on the back of "Kokomo", critics were unimpressed with the conceit and even less so with the meager new songs written for it, and saw through its facade as little more than a naked cash-in. But what do WE think about it? That's what we're going to find out on this episode of Jukebox Zeroes. Join Lilz and Patrick as they cap off Season 4 with return guest Jon Sasor, and a listen to Still Cruisin', a hollow shell of a Beach Boys record that has Mike Love's commercially-focused stink all over it.Oh, and Patrick sorts out his vampire business. Or does he...Local Music Feature: Clamb - "Eggs in the Mainstream"

UK act The Prodigy made a name for themselves in the 1990s through their distinct style of electronic music, which introduced raucous punk rock energy to the subgenres of hardcore techno and rave music, and also introduce the world to the sound of big beat music. In spite of their success in the 90s however, the group stumbled entering the 00s, debuting an infamous single in 2002, "Baby's Got A Temper", which was roundly rejected by critics and fans.Sensing a need to switch directions, Prodigy brainchild Liam Howlett scrapped the forthcoming album that he'd originally planned to put "Baby's Got A Temper" on and started from scratch with an album produced alone and entirely in the Propellerheads Reason software program. This album was titled Always Outnumbered, Never Outgunned and stunned fans upon its release in 2004, standing out as the first ever Prodigy record to contain no contributions from longtime vocalists Keith Flint or Maxim Reality.Critics continued to be unimpressed, citing Outnumbered as being uninspired and making no effort to build upon the group's already existing sound. Years after its release the album was quickly disavowed by Howlett himself, and fans to this day consider it a lower tier release in The Prodigy's catalog.On this episode of Jukebox Zeroes we're going to do some critique of our own, as we are rejoined by previous guest mynameisblueskye to reconsider Always Outnumbered, Never Outgunned.Local Music Feature: Ava Vex - These Walls

During his 18-year career as a musician, Don Van Vliet, better known by the moniker of Captain Beefheart, never experienced major levels of commercial success. Despite the cult following that he commanded, and an eventual long and storied legacy of innovation and influence upon future art and progressive rock acts, he and his famed Magic Band backing group were always struggling to get by financially. Their records were critical marvels, but were slim on sales.As the 70s progressed, Beefheart made multiple attempts to allay this lack of commercial success by gradually tempering his signature sound back. This meant less abrasive, frenzied, and surreal arrangements and lyrics, and more relaxed tempos, standard rhythms and simple love songs. These attempts would not bring Beefheart the mainstream clout he desired, but would turn off his cult following, and alienate the Magic Band themselves.In 1974, a particular nadir was reached with the release of the record Unconditionally Guaranteed, which traded the experimentation of beloved albums like Trout Mask Replica and Safe As Milk for generic, un-challenging, over-simplified 70s blues rock. Critics shunned it, fans detested it, and the Magic Band would quit shortly after the album's release in a huff. Even Beefheart himself would disavow the record, encouraging fans to get a refund if they bought it.Will we feel the same way? That's what we aim to find out on a new Jukebox Zeroes, in which Lilz and Patrick welcome return guest Tim Howd of The Only Humans. Join them as they go track-by-track, trying to find the signature weirdness and scrappy charm missing from Unconditionally Guaranteed.Local Music Feature: Fiddlehead - Heart to Heart

As the 1990s came to a close, so too went the commercial viability of Britpop music. What was once a sales juggernaut in the UK and a well-regarded if obscure staple of alternative rock in the US gradually began to die out as musical tastes changed with the times. Blur, one of the biggest acts of this movement, took the opportunity to disappear for a little while, with lead singer Damon Albarn engaging in the highly successful collaboration Gorillaz, while the other members of the band explored other ventures.Blur would eventually regroup to record a new album; Think Tank, which would see release in 2003, and dove headlong into experimentation, distancing themselves from their classic Britpop sound, and delving in areas of hip-hop, worldbeat, dub, and electronic fusion. Think Tank would be a critical boon for Blur, who received high praise for the record, but their commercial fortunes suffered, and interpersonal tensions with recording and touring that occured within Blur's ranks would taint the record for Albarn and company, who broke up shortly after.To this day Think Tank has been dismissed by Albarn himself, and is regularly thought of as a lower-tier record in Blur's canon, but we're not so sure about that. On this episode of Jukebox Zeroes, Lilz and Pat welcome Kylie Wilson, the host of the ESC Pulse podcast, to the program. The three of them team up to attempt to find some solace in Think Tank's challenging listen.Local Music Feature: Arlen - "Rescue Me"

2020 saw the release of nu-metal C-listers Trapt's 8th studio record Shadow Work, amidst an intense atmosphere of intense internet mockery and scorn. As far back as 2017, the band's frontman Chris Taylor Brown had developed a vitriolic presence on Trapt's various social media outlets, attracting controversy by claiming institutional racism doesn't exist, joking about sexual assault, and outright bullying users unprovoked, among many other things. This persona was jacked up to ridiculous extremes during the height of the COVID-19 pandemic in 2020, and almost certainly influenced Shadow Work's lack of sales, which only amounted to around 600 copies in its first week of release.But is it at all possible that there's something more to Shadow Work, hiding just below the surface? Could there be some hidden treasure amidst all the controversy and furor?No.This album is absolutely putrid, and we refuse to pretend otherwise.Join Lilz & Patrick on a new Jukebox Zeroes, along with return guest Aimee Hauthaway, as they take every opportunity to tear Chris Taylor Brown's "legacy" to shreds, while pretending to impartially listen to the post-grunge garbage fire that is Shadow Work.Local Music Feature: Surfliner - "Pocono Bay"

This week, we welcome Lilz Martin (of Jukebox Zeroes and Hell is a Musical fame) to go for a walk outside today. Join us to see what we find, today. Warning: it’s almost definitely animal abuse. No animal escapes, be it muskrat, snake, bird, cat, dog, fox, or bear! So skip the horror of watching the movie and listen to us have an impromptu therapy session!

In 1989, 70s piano rock crooner Billy Joel released his eleventh studio record Storm Front, which sold well and rendered seven Billboard singles, but was roundly rejected by critics. It would take Joel four years after Storm Front to put out a follow-up album, four years filled with behind-the-scenes turmoil in Joel's private life, multiple embezzlement lawsuits directed towards members of Joel's team, bouts with depression and anxiety, and a rising sense of middle-aged existential dread.These experiences would color the material on Billy Joel's twelfth record River of Dreams, which in addition to containing markedly more serious, insular, and dark material than had been on previous records, would signal Joel's exit from pop music songwriting. Critics and fans were sharply divided upon its release, and in spite of its commercial success River of Dreams generated a great deal of controversy between people who couldn't decide if the album was a grand finale on Joel's storied career, or a glorified mid-life crisis.That's what we're here to find out. On this episode of Jukebox Zeroes, Lilz and Patrick herald the long-awaited return of frequent guest Scott Kurland to dive deep beneath the surface of River of Dreams. Will the trio unearth buried treasure and wonders aplenty underneath the waves? Or come down with a violent case of the 90s soft rock bends in the briny murk?Local Music Feature: Beauty Is The End - Kiss Them

The singer/musician/actor Elvis Presley may be best known by the moniker of "The King Of Rock n' Roll", but his discography is by no means perfect. In the 1970s, during the twilight of Elvis' career, his manager Col. Tom Parker (A figure already infamous with a reputation for exploiting the singer for all he was worth) compiled a record titled "Having Fun With Elvis Onstage", seeking to put out an Elvis record in which his parent label RCA would not make any money off it. (RCA would find out about it anyway and put it out themselves)The record was a baffling mixture of stage banter, anecdotes, and jokes normally intended for the pauses in between songs. Removed of their proper context the whole record seemed like a blathering, incoherent mess. Though the record charted on Billboard, it was roundly lambasted by critics, and almost certainly pissed off a lot of Elvis fans.On this episode of Jukebox Zeroes, Lilz & Patrick take on one of the oddest challenges they've ever faced: Reviewing a record that's roundly despised in a historical context, while technically not having any music on it. Nate Nemitz of Must Watch Movies joins them for all the action, as nonsensical stories, unprovoked crowd reactions, and Presley's own inaudible mush-mouth abound.Local Music Feature: Clamb - Triangular Fÿord

The singer/musician/actor Elvis Presley may be best known by the moniker of "The King Of Rock n' Roll", but his discography is by no means perfect. In the 1970s, during the twilight of Elvis' career, his manager Col. Tom Parker (A figure already infamous with a reputation for exploiting the singer for all he was worth) compiled a record titled "Having Fun With Elvis Onstage", seeking to put out an Elvis record in which his parent label RCA would not make any money off it. (RCA would find out about it anyway and put it out themselves)The record was a baffling mixture of stage banter, anecdotes, and jokes normally intended for the pauses in between songs. Removed of their proper context the whole record seemed like a blathering, incoherent mess. Though the record charted on Billboard, it was roundly lambasted by critics, and almost certainly pissed off a lot of Elvis fans.On this episode of Jukebox Zeroes, Lilz & Patrick take on one of the oddest challenges they've ever faced: Reviewing a record that's roundly despised in a historical context, while technically not having any music on it. Nate Nemitz of Must Watch Movies joins them for all the action, as nonsensical stories, unprovoked crowd reactions, and Presley's own inaudible mush-mouth abound.Local Music Feature: Clamb - Triangular Fÿord

Generally when people refer to the 90s MC Vanilla Ice, it's in the context of a joke or mockery. Born Robert Van Winkle, the Miami/Dallas-based rapper achieved unheard of commercial success on the back of his mega-hit "Ice Ice Baby", and in doing so marked the occasion of the first ever rap song to top of the Billboard Hot 100 charts. Furthermore alongside MC Hammer, Vanilla was one of several pop-rappers to help mainstream the then burgeoning genre, and in a sense paved the way for the genre's future success. Often these important milestones are forgotten in the grand scheme of music history, and should be recognized for their significance along with Ice himself....too bad his music kind of blows.All the historical importance in the world can't forgive some terribly aged 90s white dork hip-hop, as Lilz and Patrick soon discover on an all new episode of Jukebox Zeroes. Joined by the industrial-grade snark of Matt Fanale (Caustic / Klack) the three of them discover that some nostalgia simply cannot be reckoned with, as they face Vanilla Ice head on by listening to his mega-selling full-length debut To The Extreme.Local Music Feature: Transdusk - "Deathblow Automatic"

Pink Floyd's 1979 album The Wall was a theatrical progressive rock album based upon lead songwriter Roger Waters' own feelings of alienation, isolation, and mental anguish. It has gone on to be one of the highest selling records of all time, made major hits out of tracks like "Hey You" and "Another Brick In The Wall (Pt. 2)", and has been cited for helping define the concept album.It's considered a very good album by a lot of people.In 1982, the story behind The Wall was adapted into an experimental film directed by Alan Parker.37 years later, The Nostalgia Critic's The Wall was released to YouTube. A parody of the feature film, it was written and performed by internet reviewer Doug Walker under his moniker The Nostalgia Critic, with internet musician Rob Scallon arranging and performing the backing tracks. It was presented as a love letter to both the album and its movie version, but was roundly criticized for being cynical, snide, and nasty in its humor, as well as failing to do the proper research necessary for clever satire.It and its soundtrack are considered very bad by a lot of people.On a new Jukebox Zeroes, for some reason Lilz and Patrick decided to listen to Nostalgia Critic's The Wall for themselves, with assistance from Jenna Sokalski of the Twitch series Weird Crushes, and the podcast Geeks vs Nerds.It did not go so well.Local Music Feature: Agitation Trips - "Institutions"#ZeroScience#JukeboxZeroes#MusicPodcast#OddPodSquad#PodernFamily#TheNostalgiaCritic#PinkFloyd#TheWall#IAmEmpty

Emmet Otter's Jug-Band Christmas was a holiday-appropriate joint production between the Jim Henson Company and the CBC in Toronto. The TV special was a Muppet-driven adaptation of the 1971 children's book of the same name, and featured original songs written by legendary songwriter and frequent Henson collaborator Paul Williams. It aired in 1977 to major critical praise, and has gone down as a beloved progenitor to the far more successful Muppet Movie two years later.On this episode of Hell Is A Musical, Lilz and Scott unearth this much-loved piece of Muppet history, and remain thoroughly perplexed by it. Joining them is Lilz' Jukebox Zeroes co-host and singer-songwriter Patrick S. Barry, for an episode full of Gift Of The Magi-references, Frank Oz abuse, and an important lesson about the non-denominational magic of Captain Winter....with Lilz & Scott!

The Christmas Music Roundup is back!And this time it's personal...Last year we did not do a Christmas Music Roundup, as we have previously established as an annual occasion. (See episode #40: Christmas In The Stars for more) To round out 2020, a time that will surely go down as a lost year, we're bringing it back for more! On this episode of Jukebox Zeroes, Lilz & Patrick go guestless for an aimless and meandering discussion on underwhelming Christmas music. There shall be no holliness or jolliness to be found. Only riffing on Michael Bublé for not being horny enough for Santa Claus.

On a very special, very different episode of Jukebox Zeroes, Lilz & Patrick are joined by Derek Paul of punk-metal act Crowfeeder, and the metal podcast From Corners Unknown for a rousing discussion on one of the most enduring pieces of American music nostalgia: The Woodstock Festival. Join us for a more educational sort of episode, in which we discuss the highs and lows of this institution of boomer culture. From the original hippy-fest of 1969, to the unimpressive 1979 anniversary concert, to the spontaneously grassroots 1989 festival, to the 1994 mud-fest, to the dudebro riots and bonfires of 1999.

From their Detroit beginnings in the late 1980s, it seems like horrorcore rap pioneers Insane Clown Posse have never gotten a fair shake from critics or the media. Despite helping trailblaze mid-Western hip-hop, earning a cult legion of fans over the years, and finding major success via their chaotic and rapturous live shows, the duo of Violent J and Shaggy 2 Dope have been little more than a punchline to the majority of reviewers, and have only just recently begun to receive reappraisal, over 15 studio records in.We at Jukebox Zeroes refuse to buy into the surface-level mockery however, and want to make our own assessment. On this episode Lilz & Patrick are re-joined by Jim Schultz (Rounding out our Old Men Yell At Cloud crossover month: "Old Men Yell At Lilz") to learn from Insane Clown Posse as outsiders looking in. And to get the best possible experience, it stands to reason that we'd want to review an album considered their greatest, thus we dive into a record beloved among fans, and one of several that helped put the duo on the map; 1997's The Great Milenko.Local Music Feature: Solo Sexx - "Love Sexx & Danger"#ZeroScience#JukeboxZeroes#MusicPodcast#OddPodSquad#PodernFamily#InsaneClownPosse#HeeHeeHeeHeeHaHaHaHa

From their beginnings in the 1980s U2 have maintained a reputation for their earnest and serious-minded pop rock, often tackling social issues, spiritual mattesr, and their Irish background in their new wave-inflected songs. In the 1990s however, the band experienced a career rebirth in embracing a more ironic and detached image, with a dance-inspired sound to match, achieving major commercial success on the backs of albums like Achtung Baby and Zooropa.For many however, this shift away from their classic sound would reach a tipping point in 1997 with the release of their 9th record, Pop. The album was not a commercial or critical failure initially, but left a lot of fans and reviewers confused and baffled by this latest effort, which many believed couldn't reach a proper balance between rock and electronic. This, coupled with a turbulent production timeline, as well as a tour controversial for its technical failures sullied Pop's reputation, and to this day it's still regarded as one of U2's weakest efforts.On this episode of Jukebox Zeroes we begin the first of a two-part crossover month we're dubbing "Old Men Yell At Lilz Month". Lilz and Patrick are joined by Christopher G. Brown of Nickelbackin' and Old Men Yell At Cloud (of course) to dig into U2's Pop for themselves, and decide whether it should have gotten a fairer shake.Local Music Feature: Left Hand Does - "Rock Walker"#ZeroScience#JukeboxZeroes#MusicPodcast#OddPodSquad#PodernFamily#U2#RockHardBonking

It's the most wonderful time of the year - HALLOWEEN! And we are once again doing our classic Halloween playlist, but this time, not alone. We bring in Pat and Lilz from the podcast Jukebox Zeroes for the fun. Join us for in depth conversations about great Halloween songs, aquariums, delicious thematic beers, the true meaning of Halloween, mourn the continued loss of lime skittles, and so much more! Ashleigh finally discusses her beef with Ghost and Maggie likes ska. Everyone drinks too much, but we still have on point hot takes about tunes that will really zazz up your spoopy playlist!We have merch! Check out the Rock Candy Teespring Store now!Want to support your favorite beer drinkin' babes? Check out our Patreon!Listen to all the great podcasts over on the Pantheon Network!

It's the most wonderful time of the year - HALLOWEEN! And we are once again doing our classic Halloween playlist, but this time, not alone. We bring in Pat and Lilz from the podcast Jukebox Zeroes for the fun. Join us for in depth conversations about great Halloween songs, aquariums, delicious thematic beers, the true meaning of Halloween, mourn the continued loss of lime skittles, and so much more! Ashleigh finally discusses her beef with Ghost and Maggie likes ska. Everyone drinks too much, but we still have on point hot takes about tunes that will really zazz up your spoopy playlist! We have merch! Check out the Rock Candy Teespring Store now! Want to support your favorite beer drinkin’ babes? Check out our Patreon!Listen to all the great podcasts over on the Pantheon Network!

Few could have foreseen a rock group with a penchant for glam-inflected, genre-bending, often progressive songs striking it big during the disco era, but famed UK rockers Queen did just that in 1980. "Another One Bites The Dust" took Freddie Mercury and company's signature sound, and adapted it into a funky, club-friendly style that earned the group their biggest commercial success in America, reaching #1 on the Billboard Hot 100 charts for three weeks, and making a chart hit out of The Game, the record it was attached to.Spurred on by this achievement, and hyper-focused on maintaining this newfound pop clout in the US, Queen responded to The Game's reaction by doubling down on the disco focus of "Another One Bites The Dust". 1982's Hot Space was the result, a record which traded the band's hard, operatic guitar rockers for electronic dance numbers with synthesized arrangements, which took heavy inspiration from the disco group Chic. Though Hot Space rendered a top 20 hit in the US, and contained one of the band's most enduring songs (Tacked on as a last-minute addition from a previous single release) it was widely panned by critics and fans, and would be the last major commercial success Queen had in America before Mercury's passing.On the latest episode of Jukebox Zeroes, Lilz & Patrick welcome back Ashleigh and Maggie of the Rock Candy Podcast. The four of them dig into Hot Space and decide for themselves if it was deserving of the negative reception so many decades later. Join us for rousing discussions on the "disco sucks" movement, petticoats, and Billy Joel's drunken carousing.Local Music Feature: Hands 3 - "Your Hands"#ZeroScience#JukeboxZeroes#MusicPodcast#OddPodSquad#PodernFamily#RockCandy#Queen#PizzaGabriel

It's the most wonderful time of the year - HALLOWEEN! And we are once again doing our classic Halloween playlist, but this time, not alone. We bring in Pat and Lilz from the podcast Jukebox Zeroes for the fun. Join us for in depth conversations about great Halloween songs, aquariums, delicious thematic beers, the true meaning of Halloween, mourn the continued loss of lime skittles, and so much more! Ashleigh finally discusses her beef with Ghost and Maggie likes ska. Everyone drinks too much, but we still have on point hot takes about tunes that will really zazz up your spoopy playlist! We have merch! Check out the Rock Candy Teespring Store now! Want to support your favorite beer drinkin’ babes? Check out our Patreon! Listen to all the great podcasts over on the Pantheon Network!

Ah, nu metal. The runt subgenre of metal that swapped fast tempos and guitar solos for heavy syncopation, rapped vocals, turntables and samples, and a greater influence from Faith No More than Led Zeppelin. Few styles of music have inspired such a wide, contrasting swath of both adoration and revulsion. It's been described as the sound that nearly destroyed metal during its late-90s to mid-00s heyday, while jump-starting the careers of seasoned acts like Korn, Slipknot, Disturbed, Linkin Park, and yes...even Limp Bizkit, and conveying a message of detached anti-social behavior that reached edgy teenage boys primarily.Both Lilz and Patrick have a sordid and embarrassing history with this genre, and on this episode of Jukebox Zeroes they're joined by fellow nu metal survivor, playwright, and fellow podcaster Ashley Rogers (The Is It Transphobic Podcast) to face their past head on. In this, the Nu Metal Roundup, we've compiled a selection of tracks to riff, examine, and generally pick apart, in the hope of exorcising these JNCO-wearing demons.The only stipulation here? No A-listers are allowed. You'll find no Deftones, System Of A Down, or Staind here. Only bands that took off hugely at Ozzfest and Locobazooka, only to immediately fizzle out and be doomed to tour dive bars at the age of 47.And you get to join us!Sorry.Music Feature: PUYA - "Ride" (AKA get on the PUYA train)#ZeroScience#JukeboxZeroes#MusicPodcast#OddPodSquad#PodernFamily#NuMetal#Der

The Washington state-based band Queensryche are revered in the annals of metal history. Not only did they help define the subgenre of progressive metal in its earliest stages, but also gave it two of its most revered records in Operation: Mindcrime (Oft-regarded as one of the greatest concept records of all time) and the mega-selling Empire. (Which featured the massive Billboard hit "Silent Lucidity.")In spite of their esteemed legacy however, the band would reach an incredibly tumultuous splintering by 2012. By then, lead singer Geoff Tate had been exacting a more and more dictatorial level of control over the group, was responsible for some questionable and poorly received artistic choices, and would exhibit more and more irrational and violent behavior towards his fellow band-mates. By a majority vote he was summarily kicked out of the band he helped form, only to slap the remaining members with a lawsuit to attempt to claim the Queensryche name. A judge would ultimately side with the rest of the group, but the lengthy deliberations allowed there to be two bands under the Queensryche name releasing records and performing at the same time.To capitalize upon this and attempt to claim the brand for his own, Tate rushed the 2013 record Frequency Unknown to stores. It featured a slew of session musicians, outside songwriters, and innumerable problems with the sound mixing in the rush to beat his former bandmates to the punch, and received tepid-to-negative reaction from fans and critics, who to this day consider the record to be one of the worst things to bear the Queensryche banner.On the latest episode of Jukebox Zeroes, Lilz & Patrick are re-joined by previous guest Todd Bowes of Downcity Armory to endure Frequency Unknown, the lone record by Geoff Tate's Queensryche-In-Name-Only lineup. Will they find some hidden depths and uncovered gems among the wreckage of poor audio mixing, and Tate's own colossal ego and pettiness?Probably not. But listen anyway!Local Music Feature: Jeb Bush Orchestra - "Space & Time"#ZeroScience#JukeboxZeroes#MusicPodcast#OddPodSquad#PodernFamily#Queensryche#GeoffTate#TrenchFullOfUrine

For the nearly 10 years of their inception, The Clash were responsible for both defining and then expanding the sound of punk rock in the late 70s and early 80s. The songwriting duo of Joe Strummer and Mick Jones were responsible for introducing elements of reggae, hip-hop, new wave, and disco to the genre, as well a recording some of the most beloved punk albums and singles of all time, including albums like London Calling and Sandanista, which are frequently listed as among the greatest rock records ever released.In spite of their success, the band collapsed hard during the mid-80s. During this time their drummer Topper Headon as well as Jones were fired from the band, while Joe Strummer's mental wellness gradually deteriorated, allowing their hubristic manager to take control of the sound of what would be their final album. Far from the back to basics record it was intended to be, 1985's Cut The Crap was a messy deluge of drum machines, tuneless synths, questionable samples, and amateur-level production quality.Welcome to season four of Jukebox Zeroes! In our inaugural episode, Lilz & Patrick dig into Cut The Crap with assistance from return-guest Austin Scholl of post-punk project ThornBrain & Let's Play series TheStrawHatNO!. Join them as they try to find some semblance of good in what was an incredibly depressing bookend to The Clash's legacy.Local Music Feature: ThornBrain - "Electricity"#ZeroScience#JukeboxZeroes#MusicPodcast#OddPodSquad#PodernFamily#TheClash#ILongForThePrairie

Country-pop musician Garth Brooks remains one of the most commercially successful performers of the 90s despite a complete lack of pop chart singles. During the decade he commanded a rabidly devoted legion of fans, hungry for his distinct, then-unheard of blend of country music, which infused the genre with elements of rock and pop music, into a style that is now considered the modern norm.These same fans had to have been utterly perplexed, when in the late-90s he seemed to abruptly abandon his country roots and changed his image into an edgy, wiry rocker in guyliner and a soul patch by the name of Chris Gaines. This, it would turn out, was part of an elaborate marketing ploy for a feature film that Brooks was producing and starring in, which never came to fruition. In preparation for the film however, perhaps to better introduce this odd character to audiences, he released a "Greatest Hits" record under the Gaines moniker titled "In The Life Of Chris Gaines".It was a confusing and vexing ordeal that Brooks' fans rejected, and though In The Life Of Chris Gaines debuted to strong sales, it very quickly left the public consciousness, was buried by Brooks himself, and ultimately served as an embarrassing footnote in his career.Now it's the season 3 finale of Jukebox Zeroes and we're going to weigh in. On this latest episode Lilz & Patrick team up with return guest Cat Verlicco of The Knock-Ups & OTP, and give their thoughts on this bizarre piece of 90s pop culture weirdness.Local Music Feature: Heather Millette - "Home"

The 00s were a rough time for music. New technology revolutionized the way music was listened to, but further severed the gap between the music industry and consumers, controversial subgenres like nu metal, emo, crunk, metalcore, teen pop, and others enjoyed some of their greatest levels of commercial prevalence, and legendary acts like Metallica, Guns N' Roses, and others put out some of their worst material of all time.Should it be any surprise then, that celebutante/reality TV star Paris Hilton would put out a pop record of her own, heavy on club beats and double-entendres, but light on depth and easily forgettable?Probably not.On a new episode of Jukebox Zeroes, Lilz & Patrick welcome back JBZ all-star Aimee Hauthaway to help them make sense of Paris, the lone 2006 effort from Paris Hilton, and hopefully find some semblance of profundity. Join them for tired and bleary rants on poptimism, Rod Stewart, and ponderances just how dang horny this record can get.Local Music Feature: Forhill - "Iris"

Aerosmith experienced a major setback in the late 1970s and much of the 1980s, driven largely by their excessive partying lifestyle, but they bounced back in a big way heading into the 1990s. During this time, they experienced a new and unprecedented level of popularity, releasing numerous multi-million selling records, landing multiple singles on the Billboard charts, and earning a plethora of awards along the way.The band's dogged pursuit of sobriety undoubtedly played a major part, but much of their newfound crossover success could also be attributed to their equally dogged pursuit of merchandising themselves, as well as a new reliance upon outside songwriters to make Steven Tyler and Joe Perry's hard-rock blues more accessible. (Which would lead to accusations of selling out.)Their 12th album, 1997's "Nine Lives" would mark the end of this period of success, and serve as the beginning of the end for the group's pop relevancy up to that point. A combination of interpersonal band turmoil, label-related production issues, and a sometimes clumsy live tour that followed would all come to define Nine Lives, which generated big singles, but very quickly fell off sales charts, earned dismissive reviews, and is now considered Aerosmith's worst record to date.On this episode of Jukebox Zeroes, Lilz and Patrick dig into Nine Lives with the help of actor/musician/haver-of-interesting-musical-opinions Shane Smith. Join them as Patrick and Shane dig for lost treasure in the craggy formations of Nine Lives, while Lilz refuses to get over her visceral hatred of Aerosmith for long enough to play devil's advocate just this once.Local Music Feature: Fifth Business - "Fat Cat"

1969 to 1970 was an odd time in the career of piano-based soft rock crooner Billy Joel. After the breakup of his first band, the psychedelic outfit the Hassles, Joel and fellow Hassles drummer Jon Small would team up to form Attila, who were an oddity of a band at the time, for their unconventional lineup. The band consisted of Small on drums, and Joel on vocals and organ, which was run through a variety of pedals and effects generators, and ultimately produce a bizarre hybrid of psychedelic, acid, noise, and hard rock, even with elements of doom metal beneath.Critics didn't see things the same way however, and the band was soundly mocked for the perceived ridiculousness of their sound, for the bizarre barbarian aesthetic they presented themselves in, and for having a needlessly gruesome debut album cover.But hang on a second...We've been down this road before, haven't we?To celebrate the 50th episode of Jukebox Zeroes, Lilz & Patrick present their first ever "Revenge!" episode, returning once again to Attila's debut record (The first album they ever reviewed on the podcast) to see if it sounds any better so many years later.#JonSmallDidNothingWrong#EatYourFish#JuniorMints

Scott welcomes Pat back for his first solo episode. They're talking about the 1988 Disney classic(?) "Oliver & Company." Scott is enraged by the choice to have Huey Lewis sing the opening song. Pat is tickled to learn that Robert Loggia did 90s Orange Juice Commercials. But most importantly they don't give two damns about the movie. Check it out! Check out the Jukebox Zeroes podcast right here: https://www.spreaker.com/show/jukebox-zeroes Thank you to DJ QUADS FOR THE TRACK USE OF LIVING IN STEREO. Follow us on twitter @wrtrbagelbskt, like us on our facebook page, and you can email the boys at writersbagelbasket@gmail.com with questions, shows or movies to watch, and fan art of the shows they're doing. Don't forget to like us on the Facebook too. Instagram is another way to find us too @writersbagelbasket, follow us it's fun!

Of all the animated franchises to emerge from the doldrums of the 1980s, Teenage Mutant Ninja Turtles was among the biggest, and certainly one of the most profitable. Their success came largely on the back of their Saturday morning cartoon show, which begat feature films, video games, action figures, and an endless barrage of children's merchandise. The franchise thrives to this day but in the late 80s and early 90s one couldn't walk two steps without tripping over Teenage Mutant Ninja Turtles-branded stuff.So of course it made sense to adapt the adventures of Leonardo, Donatello, Raphael, and Michelangelo into a touring musical stage show...right?Believe it or not this existed. The Coming Out Of Their Shells tour was a multi-city affair which took place in a variety of amphitheaters across North America. Though commercially successful, it was thoroughly mocked and lambasted for being a naked merchandising ploy. One with slipshod costumes and sets, a paper-thin plotline, and a soundtrack that was beyond cheesy.Fortunately we at Jukebox Zeroes like ourselves some cheese. On this episode Lilz & Patrick join up with Byron McNeal, a writer for Nerd Caliber, and co-host of the Weeb Trash Can podcast. The three of them listen to the soundtrack to Coming Out Of Our Shells and decide whether there's deeper meaning under the surface of this profoundly baffling artifact of the 90sLocal Music Feature: Doomer Juice - "Joybubbles"

Zoo time, is she and you time? It happened! That's right, Patrick picked glam-rock darlings Sparks's 1974 release "Kimono My House" for this installment, joined as always by Christopher (the human ottoman), Jim (Beans? Mankey? Dinky-Diamond? idk), and very special guest Lilz Martin (of Jukebox Zeroes, Sawtooth, and Fatigue fame of course). Other topics of discussion include Ol' Man Wingsover's morning constitutional, Maury Povich analytics, bunk beds, and what the next big cash crop will be: pork belly vs. chicken necks. That's it. Belly or necks.

By 2011 there was barely much left of The Misfits, the famed New Jersey band who helped shape the sound of 80s hardcore, and birthed the subgenre of horror punk with their sci-fi and B-movie-themed songs. Longtime frontman Glenn Danzig was long absent, having found greater success as a solo act, and his replacement Michale Graves was also short-lived,. while veteran guitarist Doyle had been fired from the band years ago. The only remaining constant Misfit was longtime bassist Jerry Only, who wrested total control of the band in 2001, performing as lead songwriter and vocalist, where he had previously only been the bassist.This short-lived Jerry Only-fronted iteration of the Misfits produced only one studio full-length in 2011, titled The Devil's Rain. It featured a team with strong punk roots working on it, including members of Black Flag and Murphy's Law, as well as a producer for The Ramones, Reverend Horton Heat, and Biohazard. But in spite of this, The Devil's Rain was poorly received both by fans and critics, who bemoaned its lack of energy and Only's facsimile impression of Glenn Danzig. To this day it's considered the worst of their catalog, and certainly their lowest rated critically.Lilz & Patrick are not punk fans by any stretch, but on this next episode of Jukebox Zeroes they turn to a proper punk expert; Dante Caroselli of punk acts Brociopath and Gas Attack, to help them sift through the ruins of The Devil's Rain and deliver a proper verdict. Join us as Lilz seriously disappoints a lot of her fellow goths, Patrick talks disjointedly about 'nila puddin', and a lot of bad New Jersey accents happen.Local Music Feature: Home Despot - "Surreal Estate"

Scott kicks off AniMAYtion with welcoming Lilz and Patrick from Jukebox Zeroes back to talk about "Animalympics." They discuss everything from animators who add too much detail, to one voice actor trying to dominate the entire TV special, oh and Scott gives everyone nicknames. Check it out! Check out the Jukebox Zeroes podcast right here: https://www.spreaker.com/show/jukebox-zeroes Thank you to DJ QUADS FOR THE TRACK USE OF LIVING IN STEREO. Follow us on twitter @wrtrbagelbskt, like us on our facebook page, and you can email the boys at writersbagelbasket@gmail.com with questions, shows or movies to watch, and fan art of the shows they're doing. Don't forget to like us on the Facebook too. Instagram is another way to find us too @writersbagelbasket, follow us it's fun!

Welcome to our nightmare, Stoppies!It's our first episode of the 2020 MARCH BADNESS TOURNAMENT, where the lowest rated artists from the past decade duke it out to be crowned the worst of the worst. Today's showdown begins with a familiar foe, bane of the pod Eminem and the 2009 edition of his perpetual tired ass comeback routine, Relapse. Facing off against Marshall is the milquetoast mason jar wedding band Imagine Dragons and their 2014 record Smoke + Mirrors, an album distinguished only by the fact that every song featured on it has probably washed over you in a dentist's waiting room at some point. Helping us navigate this miserable matchup are fellow bad music experts Patrick and Lilz of Jukebox Zeroes, who do their best to provide objective critique while we slowly descend into madness.Who will win (or in this case, lose) - the self deprecating, over compensating musical masochism of Eminem or the literal nothingness of Imagine Dragons? All we know is that no matter who wins in March Badness, we all lose.Part of the Pantheon Podcast Network.

Welcome to our nightmare, Stoppies! It's our first episode of the 2020 MARCH BADNESS TOURNAMENT, where the lowest rated artists from the past decade duke it out to be crowned the worst of the worst. Today's showdown begins with a familiar foe, bane of the pod Eminem and the 2009 edition of his perpetual tired ass comeback routine, Relapse. Facing off against Marshall is the milquetoast mason jar wedding band Imagine Dragons and their 2014 record Smoke + Mirrors, an album distinguished only by the fact that every song featured on it has probably washed over you in a dentist's waiting room at some point. Helping us navigate this miserable matchup are fellow bad music experts Patrick and Lilz of Jukebox Zeroes, who do their best to provide objective critique while we slowly descend into madness. Who will win (or in this case, lose) - the self deprecating, over compensating musical masochism of Eminem or the literal nothingness of Imagine Dragons? All we know is that no matter who wins in March Badness, we all lose. Part of the Pantheon Podcast Network.

We've already discussed cover songs we love, but what about cover songs we hate? This week we go on a journey with our friends Pat and Lilz from Jukebox Zeroes to discuss the covers that nobody asked for, but we got anyway. From classic tunes to guilty pleasures, nothing is sacred to these pillars of hubris! Come spend the next hour and a half with us wondering why as we look into a whole lotta coulda, but not a lotta shoulda.Listen to all the great podcasts over on the Pantheon Network!