Podcasts about Music history

This week is special as we go full Wu-Tang Clan and speak to the Captain of the Dons, The Original Cappa Slappa himself - Cappadonna is in the house!

We had the pleasure of interviewing The National Parks over Zoom video! Folk-influenced male/female indie pop band The National Parks has released the official music video for their latest single, “Live Til We Die,” off their recently released album, A Mix For The End Of The World – Part 1. The fun and colorful visual, directed by Cameron Gade with cinematographer Spencer Goff, sees the Provo, UT-based quartet take a step back in time to a 1980s-style late night talk show. On the heels of the album's release earlier this month, The National Parks successfully launched their very own curated festival experience, Superbloom Music Festival, on Saturday, October 9th . The first-ever event took place under the stars near Zion National Park at Sand Hollow Resort in Southern Utah in front of a soldout crowd of nearly 2,000. Created by the band as a celebration of life and music set amid a beautiful location, Superbloom featured performances from Yoke Lore, Joseph, Joshua James, Ellee Duke, Brother. and Arbour Season before The National Parks closed out the day-long extravaganza. A Mix For The End Of The World – Part 1, released October 8th, marks the first half of the independent band's two-part digital-only project, which will see Part 2 released in early 2022. The 8-track collection, recorded at June Audio and produced and mixed by their longtime collaborator Scott Wiley, also features the singles “Headlights,” “Summer Bird” and “UFO,” the latter of which was recently featured on Ones To Watch's Now Playing playlist. A Mix For The End Of The World follows The National Parks' critically acclaimed 2020 album Wildflower and continues to showcase the band's sonic evolution and lead vocalist/guitarist Brady Parks' deep and heartfelt songwriting. Since emerging in 2013 with their introductory album Young, The National Parks — Brady Parks [guitar, vocals], Sydney Macfarlane [keys, vocals], Cam Brannelly [drums] and Megan Parks [violin] — have quietly grown into an independent phenomenon with roots embedded in blissful pop, cinematic electronics, organic orchestration, and rock energy. The four-piece has racked up over 150 million total streams, sold out headlining shows across the country, toured with Andy Grammer, Peter Bjorn and John and WILD, and performed at KAABOO Del Mar, SXSW and CMJ. We want to hear from you! Please email Tera@BringinitBackwards.com. www.BringinitBackwards.com #podcast #interview #bringinbackpod #TheNationalParks #zoom Listen & Subscribe to BiB Follow our podcast on Instagram and Twitter!

As we reach the end of the Stock Aitken Waterman-produced singles from 1986, we hear for one last time from Phil Fearon, about his remake of "Ain't Nothing But A House Party", and Youth and June Montana from Brilliant about their cover version of "The End Of The World". We also learn about the record company dramas both acts encountered shortly after their time with SAW came to an end. Dee Lewis joins us again to discuss the second Mondo Kane single, "An Everlasting Love In An Ever-Changing World", ghosting vocals as a backing singer and her solo career. And then we kick off SAW's 1987 hits with "Something In My House" by Dead Or Alive, which would end up being the band's last substantial success in the UK. Naturally, there were dramas and — explicit language warning! — also an extended mix with some obsenities thrown in for good measure.

We give thanks to Dead Heads and use listener-submitted stories to tell to the Heads' history from the Haight-Ashbury to Shakedown Street, with Bill Walton, DeadBase founder Mike Dolgushkin, sociologist Rebecca Adams, Steve Silberman, & and many new friends.GUESTS: Bill Walton, Rebecca Adams, Steve Silberman, Mike Dolgushkin, Adam Brown

This episode is about what happens when sounds and people meet and mix. A lot of what we talk about takes place away from North America and Europe, but we end up circling back to a primary question in this season of the podcast: how did Westerners use the sounds of others to perceive the world, “The West,” and themselves?Our first example is one of those historical stories that is so, well, weird you have to wonder if it is actually fiction. In the early years of the seventeenth century Chinese officials discovered a thousand year-old stone pillar (or “steele”) near the city of Xi'an in Western China, along the old east-west trade route known as “the Silk Road.” It was inscribed both in Chinese and Syriac, a form of Aramiac in which many early Christian texts are transmitted. Recently arrived Jesuit missionaries were quick to pick up on this find, because it supported their claim that Christianity had a long history in China. They also transmitted the news back to Rome. Then the fun starts. The great Jesuit scholar Athanasius Kircher, famous among other things for his collection of interesting objects and texts from around the world, used what he read about the stone to speculate about the intonation of the Chinese language (and China's relationship to ancient Egypt!). A few decades later a minor German clergyman in then very provincial Berlin read Kircher's account and proposed the idea that in China people sang all the time (as if they were in an opera) instead of speaking. Our point is that conclusions about far-away places don't have to be true to be interesting.Our second postcard was inspired by a TikTok meme. At the time we recorded the show, sea shanties were everywhere on the internet, thanks mainly to the music-video sharing app ability to amplify strange (we would say interesting!) sound objects: the app can act as a kind of digital version of Kircher's collection of curiosities. This got us thinking about where sea shanties, and other seafaring songs come from.And so we found ourselves talking about whaling ships. As Chris points out, whalers, which were really floating factories, were a kind of Silk Road on the water, thanks to their global routes and diverse crews. They also remind us that music history, economic history, exploration, and extraction often run along the same tracks. The sea shanty meme was good fun (for most listeners!). But sea shanties, and other songs from the riches of maritime history, are more than just curiosities. They offer vital sonic clues about big processes, fascinating moments, and human experience in global history.Key TakeawaysHistorical misunderstandings can be interesting in their own right: take the story of how the discovery of an ancient monument in China led one European to speculate that Chinese people sang all the time as if they were in an opera. Behind this odd idea is a story of someone struggling to make sense of new historical evidence.Whaling ships and other workhorses of the maritime trade were both “floating factories” and fascinating soundscapes. The music passed down from them (including the recent TikTok sea shanty craze) offer clues about these soundscapes, and the ways that music history and the histories of economics (especially the history of working people) travel on the same tracks.ResourcesDaniel Chua and Alexander Rehding's Alien Listening: Voyager's Golden Record and Music from Earth got us thinking about how it can be illuminating to speculate about how other people--OK, they're talking about space aliens--make sense of sound.Bathsheba Demuth's Floating Coast: An Environmental History of the Bering Strait is a must read on the entanglements of ecology and economy. The author is a former dog-sled musher.We're very inspired by Peter Linbaugh and Markus Rediker's The Many-Headed Hydra: Sailors, Slaves, Commoners, and the Hidden History of the Revolutionary Atlantic, which profoundly shapes our thinking about labor and maritime trade.Check out the podcast Time to Eat the Dogs for thought-provoking stories about science, exploration, and “life at the extreme” presented by the historian Michael Robinson.All of the books mentioned in the episode can be found in our Sounding History Goodreads discussion group. Join the conversation!

Before you enter the (bright pink) fantasy world of Cinderella, learn more about the opera and its composer with Dr. Kristi Brown-Montesano, Chair of Music History at the Colburn Conservatory of Music and a LA Opera Connects affiliated scholar. This pre-show talk gives you the ins and outs of Rossini's life, his magical opera, and the characters of Cinderella.

In Rock 'n' Roll Never Dies, the Skyros Quartet examines the relationship between classical music and rock 'n' roll. In the history segment, Sarah rocks out to Beethoven's Grosse Fugue and discusses the elements of rock that Beethoven wrote in 1826. Next, Brandon, (who plays violin in Skyros and a band called Keltoi, in addition to being an award-winning Irish fiddler and singer, and a fantastic composer), offers advice on collaborative composition and rehearsal in small group settings like a folk band. In our guest interview, Sarah and Justin are joined by Mic Vredenburgh, a cellist and good friend, who spent several years touring in a rock band. Finally, the members of Skyros share their favorite non-classical musicians and music genres in the Skyros Chat.Support the show (http://www.chambermusicguild.org/thecounterpointclub/donate/)

We had the pleasure of interviewing AVATAR over Zoom video/audio! The heavy metal 'n' roll dark madcap visionaries collectively known as AVATAR are ambitious, Swedish rock sorcerers of the highest order. They smash the boundaries between the band, theater troupe, and cinematic masterminds with a series of celebrated albums and videos, and the immersive world of Avatar Country, a fantastical land where metal rules supreme. In keeping with their customary larger-than-life-ness, the band is back with not one but TWO brand new songs.Avatar have shared the official music video for "Going Hunting," directed once again by Johan Carlén, and fan track "Barren Cloth Mother." The black and white, animated visual for "Going Hunting" features a giant insect as its protagonist, faceless men in suits, the band performing, and much more in its storyline. It's a glorious and cinematic visual, which is expected from the band. The band has also announced its signing with a new label. They are now part of the Thirty Tigers roster and have launched their own Black Waltz Records imprint. We want to hear from you! Please email Tera@BringinitBackwards.com.www.BringinitBackwards.com#podcast #interview #bringinbackpod #AVATAR #zoomListen & Subscribe to BiBFollow our podcast on Instagram and Twitter! 

LIYF : Non Commercial, Non Corporate, Comedy & Commentary. Broadcast and Streaming Live Tuesdays and Thursdays @5 pm on Progressive KNSJ 89.1 FM. Featuring: Chris Clobber Music and News, Comment  "Gay Rights Progress". Sarah Cannon , Music History; Ask Sarah "Isle of Lesbos" Diane Jean From Madre Grande :Living Green "Tea Tree".

LIYF : Non Commercial, Non Corporate, Comedy & Commentary. Broadcast and Streaming Live Tuesdays and Thursdays @5 pm on Progressive KNSJ 89.1 FM. Featuring: Chris Clobber Music and News, Comment  "Support YWCA"   . Sarah Cannon , Music History; Ask Sarah "Good Food Bad?" Diane Jean : Madre Grande Vibrations.

This week we chop it over one of the best hip hop records ever - a personal favourite, 1998's Mos Def and Talib Kweli Are Black Star album by Black Star

Back in the early ‘80s, Brooklynite Alisha Ann Itkin was pretty much your average American teenager. Outgoing yet a bit timid onstage, she shined as a cheerleader, and scored roles in school plays and functions. Oh, and she was also an outstanding vocalist who began training at the age of 8 with the support of her parents, Lillian and Al.As fate would have it, a demo of hers recorded with a rock band called The Babysitters landed in the lap of then Vanguard Records engineer and producer, Mark Berry, already established with his work on landmark records such as Carly Simon's “You're So Vain,” and Man Parrish's “Hip Hop (Be Bop)”.Berry chose Alisha to lay vocals on a track written by Rick Tarbox, featuring lyrics that seemed somewhat racy for a girl her age. Alisha's performance, however, embodied feelings of desire to full effect, coupled by an extravagant reverb-filled production that signaled a new era in Dance music.Recorded in the summer of 1983, and released in early 1984, “All Night Passion” was played in virtually every club in New York City, crossing the Atlantic with ease. Four decades later, it still withstands the test of time as one of the era's best freestyle jams.Show TracklistingCabaret (Alisha - Extract from "Alisha - The Rise of an '80s Icon" documentary)If You Read My Mind Demo (Alisha - Extract from "Alisha - The Rise of an '80s Icon" documentary)You're So Vain (Carly Simon)Hip Hop (Be Bop) (Man Parrish)All Night Passion - Album Version (Alisha)All Night Passion - Extended Remix (Alisha)(You Wanna Be A) Superstar (Alisha)Host and Producer: Diego MartinezExecutive Producer: Nicholas "NickFresh" PuzoAudio Engineer: Adam Fogel Follow us on social media: @choonspod

Hi Folks!  We continue our November tradition by talking about Arlo Guthrie's version of 'City of New Orleans'.  Originally penned by Steve Goodman, Arlo took this song and made it his own.  Appearing on Arlo's 1972 album 'Hobo's Lullaby', 'City of New Orleans' would be the highest charting song of Arlo's career.  We talk about Steve Goodman's, Arlo Guthrie's and Willie Nelson's version of this song.  We also discuss trains, America and what we are thankful for this year.  How does Willie's version sound like Jimmy Buffett? Tune in and find out! Thanks for listening!Intro/Outro Music:Upbeat Forever by Kevin MacLeodLink: https://incompetech.filmmusic.io/song/5011-upbeat-foreverLicense: http://creativecommons.org/licenses/by/4.0/

What a mixed bag of SAW-produced singles we have in this episode, including the fifth and final PWL release by Princess, a Latin-flavoured tune by music legend Georgie Fame, the second single by pop/rock singer Jeb Million ("Speed Up My Heartbeat") and a novelty tune for TV puppet Roland Rat. Yes, really. Princess and her brother, Don Heslop, join us one last time to discuss "In The Heat Of A Passionate Moment" and the fallout from the breakdown of their working relationship with Supreme Records and PWL. You might think you know the story — prepare to hear a completely different (and at times shocking) perspective. We also hear from a reluctant Mike Stock about Roland Rat's "Living Legend" and mixmaster Pete Hammond makes his first appearance to talk about one of his earliest jobs at PWL, working on Georgie Fame's "Samba". 

We are beyond honored to welcome former Grateful Dead vocalist Donna Jean Godchaux-MacKay herself to hear the wondrous story of how she went from Alabama to the top of the charts before fate led her to San Francisco, Keith Godchaux, and the Grateful Dead.GUEST: Donna Jean Godchaux-MacKay

In this podcast, Dr. Kristi Brown-Montesano, Chair of Music History and Literature at the Colburn Conservatory of Music, explores the careers and influences of Rossini and Wagner up to 1850 in the context of European opera cultures of that time. This recording was created as part of LA Opera Connects' Scholar Series on Rossini's La Cenerentola and Wagner's Tannhäuser.

Each member of a chamber ensemble plays a unique and vital role. The Skyros Quartet explores competitive situations with musical colleagues and how to handle these situations with respect and grace. In the history segment, Willie looks at instances when well-known composers could have demonstrated more sportsmanship towards other composers. Next, all four members of Skyros offer reflections and advice on how to demonstrate good sportsmanship to your musical colleagues. Sarah and Willie are joined by our special guest, Naumburg International Piano Competition winner Anthony Molinaro, who shares his thoughts on competition and parallels between athleticism and music. In the chat, Skyros shares personal stories about their experiences in competitive situations with colleagues.Support the show (http://www.chambermusicguild.org/thecounterpointclub/donate/)

This week,  we are talking all about literal queens. We are discussing six prominent female political leaders and the role they have played in pop culture even leading up to today.  Society has a habit of changing powerful women into objects of adoration or scorn, and these women, Cleopatra,  Theodora, Mary I, Esther, Catherine the Great, and Marie Antoinette are no exception. We briefly discuss their lives, their legacies, and the lasting impact the media's opinion of them made on our history.  Be prepared to change your mind about a lot of misconceptions and ideas you may have had! 

We mark the death on November 8, 1833 – 188 years ago today – of the Austrian pianist, composer, and Benedictine monk, Maximilian Stadler. Born on August 4, 1748, in the Austrian city of Melk, Abbé Stadler died in his adopted home city of Vienna. Witnesses to History We contemplate “witnesses to history,” who I'm going to categorize as “chroniclers” and “bystanders”. “Chroniclers” would be those individuals who, advertently or inadvertently, were witness to historical events which they then reported, firsthand.  For example, John “Jack” Silas Reed (1887-1920). Reed was an American journalist, poet, and communist activist. A prominent World War One war correspondent, Reed was in Petrograd (St. Petersburg) immediately before during and after the Russian Revolution, which he witnessed as a member of the revolutionary inner circle. His book, Ten Days That Shook the World (published in 1919) remains, despite Reed's parochial political leanings, a riveting, firsthand account of the October Revolution. Then there's the American journalist and war correspondent William Shirer (1904-1993). As the European bureau chief for CBS, Shirer was headquartered in Vienna and was a firsthand witness to the “Anschluss”, the Nazi “annexation” of Austria on March 11, 1938. He reported the Munich agreement and Hitler's occupation of […] The post Music History Monday: Maximilian Stadler: Witness to History first appeared on Robert Greenberg.

Ready to talk about victory today? I know I am. This is one of the most encouraging and uplifting hymns I've done so far. I don't think it is quite as popular of a hymn, and I've never given it much thought before, so I was surprised by how much it inspired me this week. I hope you'll enjoy listening to Faith Is the Victory.Support the show (http://paypal.me/HymnTalkPod)

This story brings together a mid-winter ice storm, the southeast shore of Lake Mendota in Madison, ice skating, and a series of photographs that became a record album cover. Dean Robbins takes us back in time to a cold February photo session on the bleak frozen lake. Writer Dean Robbins and producer Steve Gotcher bring us the story. (This story originally aired on January 18, 2019.)

Hi Folks!  For this episode we cover Alanis Morisset's album 'Jagged Little Pill'.  This album marked a stylistic change for Morisset's sound, trading in commercial pop for a harder grunge sound. The songs feature deeply personal lyrics and Alanis' unique vocal style. 'Jagged Little Pill' would go on to be Morisset's most popular album. Thanks for listening!Intro/Outro:Upbeat Forever by Kevin MacLeodLink: https://incompetech.filmmusic.io/song/5011-upbeat-foreverLicense: http://creativecommons.org/licenses/by/4.0/

We had the pleasure of interviewing Chelsea Cutler over Zoom video!  Platinum Certified singer, songwriter, and producer Chelsea Cutler recently released her sophomore album, When I Close My Eyes.When I Close My Eyes also features her recently released singles, “Calling All Angels” feat. Quinn XCII, “You Can Have It,” and “Walking Away,” Together, the songs have amassed over 12 million combined Spotify streams to date. This exciting new chapter follows Chelsea's critically acclaimed 2020 debut album, How To Be Human, 2021 brent ii EP with Jeremy Zucker, and a slew of widely praised collaborations over the past year, including “Stay Next To Me” with Quinn XCII, “Little Things” with Louis The Child and Quinn XCII, “Crying Over You” with The Band CAMINO, and “Crazier Things” with Noah Kahan. ABOUT CHELSEA CUTLERInstantly-relatable lyrics and handcrafted lo-fi soundscapes have established Chelsea Cutler as a quiet, yet disruptive, force for popular music. Within two short years, the singer, songwriter, and producer went from bedroom-constructed uploads to 750 million-plus cumulative streams. In 2017, her breakthrough single “Your Shirt” paved the way for her debut EP, Snow In October. Leaving college shortly after, she hit the road alongside Quinn XCII at the top of 2018 before kicking off a prolific string of releases, including the independently released mixtapes Sleeping with Roses and Sleeping with Roses. Signing to Republic Records in 2019, she uncovered undeniable chemistry with Jeremy Zucker on the collaborative brent EP, which spawned the platinum single “you were good to me.” Honing her style further, she unveiled her 2020 debut album, How To Be Human, featuring the breakout single “Sad Tonight.” In 2021, she reteamed with Zucker on the brent ii EP and notched another fan favorite anthem with “this is how you fall in love.”We want to hear from you! Please email Tera@BringinitBackwards.com. www.BringinitBackwards.com #podcast #interview #bringinbackpod #ChelseaCutler #zoom Listen & Subscribe to BiB Follow our podcast on Instagram and Twitter! 

In this pre-performance talk, Dr. Kristi Brown-Montesano, Chair of Music History at the Colburn Conservatory of Music and an LA Opera Connects affiliated scholar, introduces audiences to "Alcina," an opera seria written by George Frideric Handel. Dr. Brown-Montesano discusses the composer, the baroque period and the story of this great work.

Classical violinists are expected to have the skills to play virtuosic repertoire, beautiful melodies, and sight read almost perfectly...so why can't most improvise over simple chord changes? The history is pretty fascinating!Sources: The Decline of Improvisation in Western Art Music: An Interpretation of Change -Robin Moorehttps://www.jstor.org/stable/43873094?seq=1Ferand, Ernst T. “Improvisation in Music History and Education.” Papers of the American Musicological Society, 1940, pp. 115–125. JSTOR, www.jstor.org/stable/43873094. Accessed 4 Dec. 2020.Ivor Keys - Mozart, His Music in His Life-------------------- Recommended listening:Stephanie Grapelli & Django Reinhardt - Minor Swinghttps://www.youtube.com/watch?v=9CDoJFmdFgA

One of the most vocally cohesive groups of its time, The Friends of Distinction—Harry Elston, Barbara Love, Jessica Cleaves, and Floyd Butler—enjoyed considerable success and influence due to their blend of California harmonies and crossover arrangements, qualities that set them apart from their contemporaries.Aided by their manager, NFL legend Jim Brown, the San Diego foursome hit the big time with an irresistible rendition of an already popular song by South African instrumentalist Hugh Masekela, which earned a Grammy nomination one year earlier.Certified gold by the RIAA, “Grazing In The Grass” proved to be somewhat of a challenge to follow for The Friends of Distinction, as their label struggled to promote them across the board. Years later, however, the track would carry a total vibe, a thunderous celebration of nature, love, and life.Show TracklistingHonest I Do (Cell Foster & The Audios)Double Crossing Blues (Johnny Otis Quintette)Grazing In The Grass - Instrumental (Hugh Masekela)Grazing In The Grass (The Friends of Distinction)Grazing In The Grass - Live at the Ed Sullivan Show (The Friends of Distinction)Host and Producer: Diego MartinezExecutive Producer: Nicholas "NickFresh" PuzoAudio Engineer: Adam Fogel Follow us on social media: @choonspod

LIYF : Non Commercial, Non Corporate, Comedy & Commentary. Broadcast and Streaming Live Tuesdays and Thursdays @5 pm on Progressive KNSJ 89.1 FM. Featuring: Chris Clobber Music and News, Comment  "Hate Book?"  Wally Wong "5 Things" . Sarah Cannon , Music History; Ask Sarah "Turnoffs?" Diane Jean : Madre Grande Vibrations Cassandra Wong : Health perk "men an Women's Emotions?" 

LIYF : Non Commercial, Non Corporate, Comedy & Commentary. Broadcast and Streaming Live Tuesdays and Thursdays @5 pm on Progressive KNSJ 89.1 FM. Featuring: Chris Clobber Music and News, Comment  "Amnesty Int."  Wally Wong "5 Things" . Sarah Cannon , Music History; Ask Sarah "Dsting Apps?" Diane Jean : Madre Grande Vibrations Cassandra Wong : Health perk "Emotional? Men or Women?" 

Prepare to embark on a musical journey through Steve's life.  Stops along the way are: rock, metal, progressive rock, new wave, punk rock, grunge, 90s alternative, power pop and current-day alternative. Hear Steve's musical story and such artists as: Kiss, Donna Summer, Rush, Rick Wakeman (Yes), Styx, UFO, Def Leppard, Judas Priest, Sparks, David Bowie, Echo & The Bunnymen, Simple Minds, Stiff Little Fingers, The Rolling Stones, Nirvana, The Charlatans, Beastie Boys, Frank Sinatra, Fountains Of Wayne, Dude York, The Vaccines!   On the Air on Bedford 105.1 FM Radio      * 5pm Friday *      * 10am Sunday *      * 8pm Monday * Stream live at http://209.95.50.189:8178/stream Stream on-demand most recent episodes at https://wbnh1051.podbean.com/category/suburban-underground/ Twitter: @SUBedford1051 Facebook: SuburbanUndergroundRadio Instagram: SuburbanUnderground And available on demand on your favorite podcast app!  

In an exclusive interview, Kim Appleby reveals all the details behind Mel & Kim's debut single. From the story of how she and sister Mel were discovered to the song they almost released instead of "Showing Out (Get Fresh At The Weekend)" to exactly what they thought of Stock Aitken Waterman when they met them, Kim shares her memories of and anecdotes about recording one of the most exciting singles in the SAW catalogue, including why the sisters were initially hesitant about the track. The songwriting and production team's first excursion into the burgeoning house sound, "Showing Out" was another major turning point, propelling SAW towards their domination of the UK pop scene. Kim also talks about crafting the duo's image, appearing on Top Of The Pops and how their personalities influenced the songs that SAW wrote for them.

How perfect to talk about rising from the dead on Halloween, am I right? But in all seriousness, it is sweet to spend some time in an atypical time of year celebrating Jesus's resurrection with the most classic Easter hymn ever known to humankind, Christ the Lord Is Risen Today.Support the show (http://paypal.me/HymnTalkPod)

Legacy episodes focus on the enduring impact that Phil Ochs has had on those who knew him, on his fans, and on folk music as a whole. In this episode, I speak to Lee Houskeeper, a very close friend of Phil Ochs, who first met him on the night of his infamous gold suit concert at Carnegie Hall in 1970. Houskeeper is a dazzling storyteller who is sure to keep you invested in what he has to say.

It's time for another bonus book episode! This month we read "The Science of Women in Horror" by Meg Hafdahl & Kelly Florence, the co-hosts of the Horror Rewind Podcast. This book is a great overview of a bunch of horror films and the impact they make on feminism and cinema within the horror genre. We discuss a few of the horror film tropes the book outlines including The Mother, The Final Girl, Sex, Hysteria, The Baby Sitter, Women in a Man's World, and Kick-ass women, and get a chance to dive into some iconic and memorable horror films including  "Jennifer's Body," "Ghostbusters," "GingerSnaps," "Prevenge" and much much more.Purchase "The Science of Women in Horror" hereWant to check out some of our favorite books? Check out our booklist Follow Us on Instagram @morethanamuse.podcast 

On this week's Tune-Up, Benny and Deny are all over the first week of the NBA season! The guys discuss the NBA rules changes, James Harden's struggles and early season sleepers. The guys also discuss Joe Buck revealing that he relieved himself during an NFL broadcast. All that plus This Day in Music History and our Week 8 NFL Picks on the 108th edition of the Tune-Up.

Biography: Inspired by his mentor Frank Feil nearly two decades ago, Rich Ferrara has continued to hone is craft at Lindenhurst High School since 2003.  At the same time, he has continued to record and perform with various bands throughout Long Island.  Most recently, his band Playing Dead will be opening up for Taking Back Sunday for their 2021 holiday shows.  Both of these interests have come full circle in the Music History class that Rich teaches and created the curriculum for at Lindenhurst.   Contact Information:   Email: Rferrara@lufsd.org   The PT Hustle Website Schedule an Appointment with Kyle Rice HET LITE Tool Anywhere Healthcare (code: HET)  

Listen To The River: Kiel Auditorium, October 1973The Deadcast finishes our tour of St. Louis at the Kiel Auditorium in fall 1973, featuring Warlocks-era insider Steve Brown, local heads, the return of musicologist Graeme Boone to go deep into Dead's jams, & a visit from Rich's parents. GUESTS: Sepp Donahower, Tony Dwyer, Steve Brown, Thom Pallazola, Drea Stein, John Ellis, Janne Mahan, Bill Mahan, David Lemieux, Graeme Boone

In this fall-themed episode, the Skyros Quartet explores strange and occult music. In the history lesson, Sarah and Brandon discuss scary music and how composers used innovative techniques to portray these characters. Next, Willie introduces extended techniques, strange methods of playing an instrument to produce sounds that it is not normally intended to make, like creepy noises and otherworldly timbres. Our guest interview  features special and sinister guests from the Guild of Supernatural Composers in a roundtable discussion. And finally, Skyros shares a chat about their favorite examples of movie music and its expressive role in visual storytelling.Support the show (http://www.chambermusicguild.org/thecounterpointclub/donate/)

This week we dive into the Ruff Ryders canon with a superb guest - TV presenter and actress, Joelah Noble brings Eve's 1999 album,‘Let There Be Eve…Ruff Ryders First Lady', to the Crate 808 table. Such a wicked chat touching on Eve, The Roots, Swizz Beats, DMX, Jay-Z, dreams about Puff Daddy and even tongue scrapers

LIYF : Non Commercial, Non Corporate, Comedy & Commentary. Broadcast and Streaming Live Tuesdays and Thursdays @5 pm on Progressive KNSJ 89.1 FM. Featuring: Chris Clobber Music and News, Comment  "Who Gives In?"  Wally Wong "5 Things" . Sarah Cannon , Music History; Ask Sarah "Cancel Culture?" Diane Jean : Madre Grande Vibrations Cassandra Wong : Health perk "Brain Fats?" 

LIYF : Non Commercial, Non Corporate, Comedy & Commentary. Broadcast and Streaming Live Tuesdays and Thursdays @5 pm on Progressive KNSJ 89.1 FM. Featuring: Chris Clobber Music and News, Comment  "San Diego Zoo"  Wally Wong "5 Things" . Sarah Cannon , Music History; Ask Sarah "Best Costume?" Diane Jean : Madre Grande Living Green Cassandra Wong : Health perk "Brain Fats?" 

We explore the Grateful Dead's formative early 1966 months in Los Angeles under the patronage of Owsley Stanley, LSD chemist & the band's new sound engineer, featuring Owsley's assistants Tim Scully & Don Douglas, Merry Pranksters, Rosie McGee, & an archival interview with Owsley.GUESTS: Tim Scully, Don Douglas, Rosie McGee, Denise Kaufman, Ken Babbs, Starfinder Stanley, Hawk, David Gans

We had the pleasure of interviewing Paolo Gregoletto of Trivium over Zoom video! Grammy-nominated band TRIVIUM — Matt Heafy [vocals, guitar], Corey Beaulieu [guitar], Paolo Gregoletto [bass], and Alex Bent [drums] — have released their tenth album, titled In The Court Of The Dragon, via longtime label Roadrunner Records. The record was produced and mixed by Josh Wilbur and recorded in the Fall of 2020 at Full Sail University in Orlando.The band has also shared the new song "Feast Of Fire," which is joined by an official music video. The footage was filmed at the band's HQ — The Hangar in Orlando. It was shot by director John Deeb. "There's always that one song you aren't expecting when you begin writing a new album," says Gregoletto about the song and, in turn, sharing an inside look at the band's songwriting process. "It could be a riff written on the spot in the rehearsal space, a lyric that pairs just right with a melody, or in the case of 'Feast Of Fire,' sitting right there in front of us in the middle of a demo that Corey brought in. We were well into pre-production at Full Sail when we all decided that something about the demo we had tracked was good but could be even better. Our producer Josh Wilbur even had in his notes: 'Bridge is special, maybe so special it needs its own song.' We tore the song apart and began again on the spot."He continues, "We went into this album knowing we had time to consider everything and anything that came about during this period, and if need be, we could start again if it didn't feel right given that no touring was on the horizon."Further pulling back the curtain, he says, "I had the words 'Feast Of Fire' written in my running list of notes for lyric ideas that I try to amass before we record. Something about the phrase stuck out to me. It felt like the missing piece of the story we were trying to tell with this album, a climactic moment and a real centerpiece for the narrative."He finishes, "After all these years, I'm still blown away at how a song can really appear out of thin air and take the album to a place you weren't expecting. Those are the moments we are always looking for when making a record."The album cover is an original oil painting by French artist Mathieu Nozieres (@mathieunozieres on Instagram)"While the music of In The Court Of The Dragon was taking shape, we knew we needed epic artwork of the type that you might see on the wall of an important museum from a long dead renaissance master," says Heafy. "After extensive research, we found one of the few living artists who is capable of creating artwork like Caravaggio and Gentileschi — painter Mathieu Nozieres. Mathieu took our song title and created an original oil painting on canvas unlike anything we could have ever imagined. It's so staggeringly breathtaking and epic and it looks like what the song and album sounds like." Last month, Trivium shared the album's title track, "In The Court Of The Dragon," which featured an epic intro composed and orchestrated by Ihsahn (Emperor) and was accompanied by an official short film music video directed by Ryan Mackfall. Loudwire called out the song as "a skillful blend of dynamics. And blast beats just sound really, really good beneath Matt Heafy's soothing clean singing" while Revolver labeled it "epic."We want to hear from you! Please email Tera@BringinitBackwards.com.www.BringinitBackwards.com#podcast #interview #bringinbackpod #PaoloGregoletto #Trivium #zoomListen & Subscribe to BiBFollow our podcast on Instagram and Twitter!

In his new book “Major Labels,” journalist and music critic Kelefa Sanneh takes on the history of popular music through seven genres that have defined it: rock, R&B, country, punk, hip-hop, dance and pop. The book not only highlights key artists and events in music's evolution over the last 50 years, but reveals how music is a tool to build and mold identity. In his chapter on punk music, Sanneh shares reflections of the genre's pivotal role in his own coming of age. And while music is often celebrated for bringing people together, Sanneh is pointed in the ways people's cherished music tastes and tensions between “mainstream” vs. “outsider” styles can be more antagonistic than unifying. Sanneh joins us to talk about “Major Labels.”

Listen To The River: Fox Theatre, October 1972We go behind the scenes, into the crowd, around the specially-installed mirror ball, & inside the music at the Dead's 3 legendary 1972 shows at St. Louis's Fox Theatre with promoters Sepp Donahower & Tony Dwyer, musicologist Graeme Boone, & Dead freaks who were there. GUESTS: Tony Dwyer, Sepp Donahower, Bill Weber, Drea Stein, John Ellis, Bob Simmons, Thom Pallazola, Joe Schwab, Mark Slosberg, Starfinder Stanley, Hawk, Graeme Boone, David Lemieux

We had the pleasure of interviewing The Zolas over Zoom video! From of the far-flung shores of British Columbia and two decades late for the cover of Select Magazine, The Zolas prove with Come Back to Life that you can take a step back to move forward.“In our jam space we started fucking around with this nostalgic vibe: like a warped memory of the Britpop music we obsessed over as kids but never got to make. Eventually it seemed obvious we had to follow that feeling and make an album of it. I had just come off a long period of writing pop music for other people [including ‘L.A. Hallucinations' from Carly Rae Jepsen's critically acclaimed album Emotion] and a co-writing trip in Europe [with artists such as Starsailor's James Walsh] and it was a spiritual thing to be in a dank room playing loud with our band again.”Several years since the release of 2016's radio-smashing, Juno-nominated breakthrough Swooner, the group was ready to start a new cycle and a new direction. “We thought it was hilarious to make a Britpop record at a time when nobody but us is listening to that,” Gray muses. “but we have our little clique and that made us more excited to do what we want and say fuck it to how it might be received.”The frontman describes Come Back to Life as a collision between the soundtracks for Danny Boyle's culture-jamming Trainspotting and Baz Luhrmann's radical re-imagining of Romeo + Juliet. “This is the 21st century heir to those soundtracks,” he declares. But for all the swaggeringly self-confident vocals and soaring wonderwall guitars on epics like “Yung Dicaprio” and “Miles Away”, the Zolas aimed for more than carbon copying a classic sound.“There's so many sounds we love that came out of the mid-90s UK; britpop and acid-house and trip-hop all carrying on in parallel scenes.  If felt right to cross-pollinate this album with all of that,” Gray says. “So we'd write simple songs in our jam space and then steal sounds from the Prodigy or Primal Scream or the Happy Mondays or Tricky whenever it felt good.”While Come Back to Life is an unrepentantly joyful sonic love letter to a magical time, the Zolas aren't afraid to get serious on the lyrical side of things.“Honestly every album I've ever written is about nostalgia and the apocalypse and this one's no different” Gray laughs, “but looking at it now these songs feel really specific to our moment in time. It's a cross-section of conversations I've had  and overheard in these past few years. Conversations we've all been a part of whether we like it or not.”Come Back to Life touches on everything from waking up to Canada's appalling treatment of its First Nations (“Wreck Beach/Totem Park”) to global wealth disparity (“I Feel the Transition”) to artists being priced out of the cities they've helped make great (“Bombs Away”).Gray is at his most potently poignant on “PrEP”, which came out of a reddit thread asking users to share their first-hand accounts of the '80s AIDS epidemic. “I've cried at more than a few reddit threads, but never like this. Everybody should read this.”“My dad [playwright John MacLachlan Gray] was in theatre, so in lots of baby photos I'm being held by friends of his I don't recognize,” Gray reminisces. “One day I asked him about them, and it turns out every one of them are gone. They were probably gone within five years of the pictures being taken. Now by some miracle HIV is totally manageable and it pisses me off that we're not all out there celebrating the light at the end of such a long, dark tunnel.”Consider, then, Come Back to Life being inspired by the past on multiple levels, quite rightly making the Zolas thrilled about the band's future.“I'm dead happy just being in this band right now. We love making noise together, we're chasing the same vision, and lyrically I've never felt more on it,” Gray says with a brashness straight from the bucket-hatted heyday of Britpop. “It's nice to have a Kanye moment where you look at your output and go ‘This is the greatest shit that's coming out this year.' As cute Canadians we tend to shy away from feeling ourselves like that but it's the truth.”We want to hear from you! Please email Tera@BringinitBackwards.com.www.BringinitBackwards.com#podcast #interview #bringinbackpod #TheZolas #zoomListen & Subscribe to BiBFollow our podcast on Instagram and Twitter!