Podcasts about musically

We Are Eternal returns to Sofa Beats with another release, continuing the exploration of dancefloor music at the intersection of mid-tempo trance and tribal folk rhythms and melodies. This release is an attempt to bridge the future with the ancient and forgotten past. Kronos draws inspiration from the distant, fog-covered past and the forgotten cycles of humanity whose remnants are beginning to resurface in the collective memory. The track evokes visions of ancient advanced civilizations — before Egypt, before Atlantis, Lemuria, and Mu — and seeks to reconnect us with the lost wisdom of our predecessors. Musically, Kronos is a powerful psychedelic roller infused with swirling sequences and an otherworldly atmosphere, merging the worlds of chilgressive and deep melodic downtempo. A Native American flute opens the portal, while haunting, mysterious vocals and hypnotic hang drum rhythms guide the listener into the forgotten past. Minimalist yet driving percussion steadily builds toward the drop, where epic leads and enigmatic melodies unfold. WAE's signature talking FM synths bring the composition to a cinematic and powerful conclusion. Roots to Cosmos reminds us that in order to reach higher cosmic knowledge and transcendental realms, we must remain grounded and rooted in reality. Exploring our heritage and honoring the wisdom preserved within pre-Christian traditions opens pathways to cosmic consciousness. Faster, also strong and stompy, the track features more intricate percussion woven together with glitchy cosmic phrases and immersive sound design. Massive melodic psytech leads carry the listener deeper into the cosmic realm, while acoustic and organic instruments maintain a connection to the material world. The drop introduces an unexpected melodic turn, revealing yet another layer of the journey. In the grand finale, an epic folk violin ensemble brings forward an ethno-Slavic atmosphere — a reflection of Piotr's personal heritage as the musician behind We Are Eternal. A massive acid lead then ties the entire experience together, bringing this epic ride to its final culmination. Those tracks are designed for deep festival and club dance floors with the intention to connect us with high knowledge of the ancient past.

On this episode of MSRcast, Cary the Metal Geek and Sean the Metal Pigeon kick things off with the latest metal news, including the highly anticipated reunion show from Edguy, upcoming live streams from Hellfest, rumors of a 2027 tour from Faith No More, thoughts on A Screaming Life by Kim Thayil, and news that Mike Mangini has joined Godsmack. They also discuss the newly announced 2026 tour from Sleep. Musically, the crew spotlights new tracks from Radiant Black with "Through the Valley of Decay" and Atavistia with "Old Gods Awaken." Later, they share the albums currently dominating their playlists, including releases from Gravety, Tarja, Vanden Plas, Seven Metal Sins, and Sleeping Pulse. For the main topic, MSRcast launches the first-ever Metal World Cup, a 32-country single-elimination tournament to determine which nation produces the best metal. Using criteria such as historical influence, legendary bands, consistency, subgenre diversity, and global impact, the hosts debate each matchup and begin narrowing the field in a battle for international metal supremacy. Tune in and see if your country has what it takes to claim the crown!

Ep. 184: We're thrilled to be joined once again by Stuart Dredge, Music Ally's head of insight, as we chat about our June 2026 Insight Report. This one is the International Issue (https://musically.com/category/reports/) and is the result of spending 12 months speaking to local experts who know how to break artists in each territory. It's packed with on-the-ground insight and marketing advice. We've picked out three key global issues from the last 12 months to discuss here:Trend 1: Transition to video-first discovery and "seamless funnels"Trend 2: Decentralisation of live music and infrastructure challengesTrend 3: Localised marketing: sincerity over stardomYou can also hear more of Stu 'n' Joe each week on The Price of Music: https://tpom.uk------

Around the RAM offices, vinyl is King. The CD is our silver medalist. And finally, the cassette is still a thing in metallic lives. So this week we're discussing all things cassette. Do we still collect and how many do we still have? Our first and faves. And our mix tape making abilities. Don't hit the FF button in this episode. In our "News, Views and Tunes", we take in our first "Black Flag" gig and the Manitoba Metalfest. Musically, we crank the aforementioned Black Flag, Jello Biafra, Gatecreeper, Nocturnal Departure, Septic Death, Black Death, Eternal and we introduce Italy's Propaganda Of Terror in our "Indie Spotlight". Horns Up!!

In Episode 496 of the Reformed Brotherhood, Tony Arsenal and Jesse Schwamb open with a rich discussion on the theology of congregational singing — including the Trinity Psalter Hymnal, the Getty's Sing!, and why psalm-singing belongs at the heart of Christian worship. The main event, however, is the first installment of their study of the Parable of the Talents (Matthew 25:14–30). Tony and Jesse argue that this parable is widely misread as a lesson in personal productivity or spiritual gift deployment, when in fact its center of gravity is entirely eschatological and theological: the wicked servant's failure is not financial incompetence — it is a catastrophic misunderstanding of who the master is, and therefore, who he himself is as a servant of that master. Key Takeaways The parable is eschatological, not motivational. Situated in Matthew 25 as the second of three eschatological parables in the Olivet Discourse, the Parable of the Talents answers the disciples' question about the sign of Christ's coming — not a general lesson about using your abilities for God. "Talents" refers to an enormous monetary sum, not personal giftedness. A single talent represented roughly 20 years of a laborer's wages. Even the least-endowed servant received an immense, unearned gift — which makes the wicked servant's inaction all the more indefensible. The wicked servant's problem is theological, not financial. He doesn't bury the talent out of ignorance or fear alone — he actively mischaracterizes the master as exploitative and unjust. His failure is a failure of theology: he does not know who his master is. The commendation "Well done, good and faithful servant" is the basic reward of every believer, not a tiered prize for the most productive. The five-talent and two-talent servants receive identical commendations, suggesting the measure is proportional faithfulness, not absolute output. Faithful stewardship is active, not passive. Both faithful servants are marked by immediacy and energetic engagement. The parable does not explain how they doubled their talents because the mechanics are not the point — their disposition of active, risk-taking faithfulness is. The parable resists works-righteousness readings. Whether one is Augustine or an anonymous deathbed convert, every justified believer enters into the same joy of the master. The parable is not a theology of graduated heavenly rewards but a distinction between those who understand their master and those who do not. The talents represent the stewardship of the Gospel and the Kingdom itself. The master entrusting his servants with his property is a picture of Christ entrusting the church with the message of salvation — ownership remains with the master, the servants are stewards, not proprietors. Key Concepts The Wicked Servant's Problem Is Who He Thinks the Master Is The most common misreading of this parable locates the wicked servant's failure in laziness or timidity — he was simply too afraid to act. But Tony Arsenal argues compellingly that the servant's own words expose something far more serious. He says, "I knew you to be a hard man, reaping where you did not sow." This is not a confession of fear; it is an accusation. The servant has constructed a theology of his master as an exploitative, unjust overseer who doesn't deserve a return. What he catastrophically misses is that the very possession of 20 years' worth of wages — an unearned, unimaginable gift — is the master sowing into him. His refusal to act is, at its root, a refusal to acknowledge the master's generosity and authority. This is the parable's most penetrating theological edge. "Well Done" Is for Every Believer, Not Just the Most Productive One of the episode's most pastorally significant observations is Tony's argument that the commendation "Well done, good and faithful servant — enter into the joy of your master" is not reserved for spiritual high-achievers. Because the five-talent and two-talent servants receive word-for-word identical commendations despite wildly different absolute returns, the logical entailment is that the one-talent servant, had he been faithful, would have received the same words. This means the commendation is not calibrated to productivity — it is the basic inheritance of every believer who enters glory. The soul-winner and the deathbed convert, Augustine and the unknown faithful, all hear the same welcome. The parable is therefore not teaching a graduated hierarchy of heavenly reward, but a binary distinction: those who know their master and act accordingly, and those who do not. The Parable Cannot Be Detached from Its Eschatological Context Jesse Schwamb is careful to anchor the parable in its literary and theological context: this is the second of three eschatological parables in Matthew 25, all part of the Olivet Discourse, all delivered in direct response to the disciples' question about the sign of Christ's return and the end of the age. Detaching the Parable of the Talents from that frame — and reading it instead as a general productivity principle or a theology of spiritual gifts — drains it of what Jesse calls its "gravity." The master going away and returning after a long time is a direct image of the ascended Christ and his parousia. The servants' task during the interval is not self-improvement or career stewardship — it is watchful, active discipleship in the time between the first and second comings. Everything in the parable, including the staggering sums of money, is calibrated to that eschatological frame. Memorable Quotes The real difference is that the former servants understood that their master had trusted them with a task and expected something of them, and the unfaithful, wicked, lazy servant had a total misunderstanding of who the master was — and therefore what his role as the master's servant was. That's the point of this parable. — Tony Arsenal Well done, good and faithful servant — that's not a special commendation that only the most amazing Christian servants get. That's the basic commendation that every Christian who enters into glory will receive. Whether you have been the most productive soul-winner in the world... you're going to receive the same commendation as the person who dies, and on their deathbed the last thing that they think is, 'I trust Jesus.' — Tony Arsenal God's measure of faithfulness is proportional, not absolute. The two-talent servant is not judged by the five-talent standard. He is judged by what he received. — Jesse Schwamb Full Transcript [00:00:08] Tony Arsenal: that's not a special commendation that only the most amazing Christian servants get, right? That's the basic commendation that every Christian who enters into glory will receive. Whether you have been the most productive soul-winner in the world, whether you are the most, you know, the most sanctified Christian who's ever lived, whether you are, the most amazing person and millions of people have come to faith because of your ministry, you're going to receive the same commendation as the person who dies, and on their deathbed the last thing that they think is, I trust Jesus." Right. And they've produced no converts, no ministry, and maybe no one even knows that they were justified, because in their final moments before the lights went out, they trusted in Jesus, right? They hear the same well done, good and faithful servant when they enter into glory. Welcome to episode 496 of the Reformed Brotherhood. I'm Jesse.  And I'm Tony, and this is the podcast with ears to hear. Hey, brother.  [00:01:19] Jesse Schwamb: Hey, brother.  [00:01:21] Parable Teaser [00:01:21] Jesse Schwamb: You know, the parables just keep coming for us, like we've said. And on this episode, to, just to tee it up, to whet everybody's appetites, we've got three servants, one absent master, an uncomfortable amount of money. What could go wrong? Yeah. As it turns out, quite a bit, especially if you're the kind of person who responds to divine generosity by finding the nearest shovel. So we're gonna get to all of that in this, what I call, this now sandwich of eschatological parables or teachings of Jesus in Matthew 25. So hopefully you're curious, hopefully you're stoked. But you can go put your thumb right in the scriptures there, because you're gonna meet us there very, very, very, very shortly. But first we got business. It's always the business we must do, the part of the podcast where we affirm with something or deny against something. And as always, I'm really curious what you have, and now I understand you have a list, or you're keeping a list. So- I do ... never again will there be something like that falls to the cutting room floor, brothers and sisters. Tony is always gonna have for us whatever was- ... what came to his brilliant mind as an affirmation or denial at any point, day or night.  [00:02:29] Tony Arsenal: Yeah. Yeah. Do you, Jesse, do you ever have... I know the answer to this question is going to be yes- Yeah. That's good ... but I'm gonna ask it- All right ... mostly for rhetorical effect here. This is good podcasting.  [00:02:38] Psalm 67B Praise [00:02:38] Tony Arsenal: Do you have, do you have those situations where, like, the, the so- a song hits you, and it's just, like, the right combination of words, but also the right combination of, like, musicality?  [00:02:49] Jesse Schwamb: For sure.  [00:02:50] Tony Arsenal: Where it just, like, it just, it just feels- For sure like, right and good in every part of your being. So- All the time, yep ... I, I'm affirming, um, th- this is like the most Presbyterian thing ever. I'm affirming the, the arrangement in the Trinity, uh, psalter hymnal for Psalm 67B. Now, I'm not gonna try to sing it for you, but I wanna read the words, because obviously it's, it's a paraphrase of a psalm. So, like, that's the first thing. Like, people, like, calm down. Like, it's okay to sing paraphrases. It's okay to sing. No one is actually singing the Hebrew psalms. Right. Amen. So, like, just calm down a little bit. Amen. Uh, there is a place for us to dedicate specific focus to psalms and songs that are from the psalms, but that can be something like Better Is One Day. Like, that's a song from a psalm. Anyway, that's a whole different, that's a whole different thing. Yes, I'm affirming psalm singing. Uh, yes, I'm denying overly rigid understandings of what that is. But here's the words for Psalm 67, Setting B. That's important It's, "O God, show mercy to us and bless us with your grace and cause to shine upon us the brightness of your face, so that the whole world over may truly know your way and so that your salvation all nations see displayed. O God, let peoples praise you. Let all the peoples praise. Let nations come rejoicing and songs of gladness rise, raise." Then, um, stanza two, "For you will judge the peoples with perfect equity. To nations of the whole Earth a governor you'll be. O God, let the peoples praise you. Let all the peoples praise. The Earth has brought its bounty throughout its harvest days.  [00:04:24] Why Sing Psalms [00:04:24] Tony Arsenal: Since God our God will bless us, yes, God will blessing send, that all the Earth may fear Him to its remotest end." Now, there are lots of really great, uh, theologically sound, edifying hymns and worship choruses, but there's just something about the Psalms, right? It's inspired- Um- ... it's perfect. Again, like I said, nobody is singing the actual Hebrew Psalms, or even, I shouldn't say nobody, most people are not singing, like, the Psalms from the ESV, right? These are almost all paraphrases. They're, they're translations. But there's just something about the Psalms that I have grown so much to appreciate since joining a Presbyterian church. That's not to say other traditions don't sing Psalms in their own right, and again, like, we would sing Better Is One Day and other songs that were based on Psalms. Um, even, like, real direct translations or real direct versions of Psalms, like Better Is One Day or Create In Me A Clean Heart, there's all sorts of them. But there's just something about singing the Psalms, and this particular musical setting, it's triumphant, but not in the, like, fanfare kind of triumphant. Do you know what I mean, Jesse? Like- Mm-hmm ... it's, it's a triumphant melody, and it has, like, really interesting rises and falls and... So I, I'm gonna probably try to put this at the end of the episode. So listen. Hopefully I'll get the whole thing. Let me just, let me just do this. Hold on a second. It's just gorgeous. It's just beautiful. So I, I, I don't know what it was this morning. Uh, it's, I wasn't, like, promo- particularly emotional. It didn't, like, make me cry. Yeah. But all of that's fine. Like, I've been brought to tears in worship before, and that's, that's all good and well. There was just something about it that resonated, and I was like, "This is just good." Like, this is just good music. It's good singing. Something about hearing, uh, the whole congregation singing together. Like, it was just beautiful. It was just a beautiful moment. So if you are not in a psalm-singing church, first of all, why aren't you in a psalm-singing church? Uh, no worship leader on Earth, no, no person who is worth... Uh, when I say worship leader, I mean the person who's responsible for leading musical worship. No one who's leading worshipful music, worshipful? Worship music, if you approach them and say, "I would like to sing more songs that are based on the Psalms," if they say, "We don't wanna sing Psalms here," then you just go somewhere else. Like, someone who tells you, like, "We don't wanna s- we don't wanna sing God's Word," that doesn't make any sense to me.  [00:06:56] Jesse Schwamb: Right.  [00:06:56] Tony Arsenal: Um, now again, like, there's a way to do it. Sometimes musically they're challenging, especially if you're singing out of something like the hymnal. But again, there are plenty of really good modern style songs and hymn style songs that are either based on the Psalms or are paraphrases, very similar to what you get in the, in the Trinity Psalter Hymnal. Or most, most people who are leading in musical worship are competent enough to just sort of take the sheet music and figure out how to do it on guitar or figure out how to play it on piano. Um, they're not that difficult. So you will be edified if you do this. Your church will be edified. There's probably a lot of people out there responsible for musical worship that actually would really like to do this, and they're kind of probably, like, just waiting for that nudge, so you may even be benefiting them. But yeah, this, this psalm is beautiful. It's just a gorgeous arrangement, and it's, it's perfect, inspired words. Really was a, just a, a balm to my soul this morning.  [00:07:51] Jesse Schwamb: I love it. And o- of course, a lot of that is still happening, which is such a glorious gift to the church. The couple of times that I've had the privilege of writing music for my own church has been right from the scriptures, and for me recently that was, like, Ephesians 1 and Psalm 16. And that's mainly because, like, as a lyricist, I'm not that creative, and I'd rather go direct to the source. And all those end up being a paraphrase, like you said, anyway. Es- especially if you wanna get turn of phrase or if you wanna have a little bit of rhyming, which is always a beautiful thing. I love the Psalter, and my, my hot take on that is I sometimes find that I like, I don't wanna call them, like, the alternate, but, like, the other secondary arrangements-  Yeah and  lyrics better. I don't know why. I don't think that's purposeful, of course. It's probably just my taste. But I always find them to be, like, super fire. I, I don't know why. The, the B and C versions always kinda grab me, especially if... And here's another thing that I appreciate about the Psalter, as you know, is sometimes those B or C versions will be written in an alternate key or a minor key. Yeah. And that's even more awesome, because there's not a lot of, let's say, like, cla- I don't wanna say classic. Classic slash contemporary, uh, Christian music or wors- quote-unquote worship music that's written in minor keys. But it's good to lament, as we've talked about before. So- Yeah ... you're gonna get that full breath and scope in the Psalter there. [00:09:06] Tony Arsenal: Yeah.  [00:09:07] Beyond Music Styles [00:09:07] Tony Arsenal: A- and, you know, maybe let me put in one more little plug here. Um- I am not one of those people that is gonna say that there's like a particular style of music that's more godly than another. I've heard people try to make arguments that there's like certain kinds of rhythms or certain kinds of like beats that are- Right either, either more godly or somehow demonic or less godly. Um, I think there might be an argument to be made that some styles of worship are not suited well for congregational singing, so they may not be appropriate for like a, a congregational worship service. Like, you're probably not gonna go in and do a lot of hip hop and have the congregation be able to like stick with you. Right. That doesn't mean that you can't worship God through that or that it somehow is less like intrinsically beautiful. But, um, there are a lot of Let me just put it this way. In modern contemporary Western Christianity, uh, there's a lot of songs that are basically just the same thing musically. You know, you'll find, um, if you go to, like, YouTube, and, and maybe, like, be careful, 'cause sometimes some of these are, they're funny but they're a little bit crass. But if you look up, like, a video about how, like, every song is Pachel Bell's Canon. Right. Right? Every song follows the same basic arrangement of chords, and this gets even more pronounced when you're talking about modern worship music or contemporary mu- worship music, because it's designed to be able to be very simple and very easily played. Um, a lot of times worship directors are not super classically trained. Um, you think of, like, the youth pastor with the guitar around the campfire. Like, those kinds of songs have to be easy, 'cause they're not, like, classically trained guitar players. They probably picked up a chord book and figured out how to play a couple easy songs like Jesus, Lover of My Soul and things like that. That's how I learned how to play guitar. That's the extent of my skills, so I'm not, I'm not banging on that person. Um, but there are a lot, there's a lot more to music. Um, there's a lot more to singing, and there's a lot more to choral music than, you know, GCDC kind of like worship courses. Uh, and singing something like the Psalter, or even just singing out of a good hymnal- Right will actually expand your musical horizons. And there's something to be said about the creativity of our God being reflected in the creativity of His people that I do think we miss out on when we are locked into really simplistic worship styles. Um, again, like, I interpret Psalms, hymns, and spiritual songs to mean, like, sing in the vernacular of the people. Um, and I, you know, that's a different episode. We can talk about that sometime. But th- that, that requires the songs to be singable, and I think sometimes, uh, sometimes some of the song- some of the Psalters, some of the songs in the Psalter hymnals, and sometimes hymnals in general, are very difficult to sing. And so I think a congregation, the people leading in music need to be thoughtful of that. But I think you would do well to, like, open your horizons a little bit to something a little bit more challenging and a little bit off the beaten path. Like, this melody, I don't know the chords behind it. It may not be anything crazy, but that, like, musicality and that, that sort of, like, melody is not a typical... And this might be why it resonated with me. It's not a typical kind of melody you're gonna find in contemporary music. Um, it's, it's very different. It's older. It's more classically styled. The, it's, it's meant to sort of bring you up to these crescendos in ways that modern music is not necessarily. So enough about that. I don't know a lot about music theory, so I might be totally wrong and, and- ... people might be rolling their eyes. But I, I do think that there's something to it. Like, a lot of the older hymns- utilize chord progressions and melodies and harmonies and things like that that we're just not used to. You're not gonna get that listening to, you know, even something like, like the more musical kind, uh, more technically proficient music like something like Bethel or Hillsong, which is at times musically very good. Uh, I don't know that I would recommend listening to it, but the music is actually, like, technically very good in some instances. Uh, even there you're not gonna find a lot of this stuff. So instead of going there for, like, really nice sounding musical worship, just go to something like the Trinity Psalter app. You know, for $10 on a- on your iPhone you can sing with it. Um, yeah, enough about that. I, I, I could talk about how great the Psalms are and how great psalm singing is for an entire episode. We should do that episode- We should ... when we're done with the parables, 'cause I know we've done a lot of episodes on, like, uh, on, on, like, the regulative principle and- Right I, I think we're still both in the same spot that, like- Right ... exclusive psalmody is probably not where we would land. Right. But I think I'm coming to the conviction that the psalms should have a much greater portion of our worship diet, uh- Hmm ... than they do in most churches. Um, and I really only came to that conviction when I was in a church where psalm singing was the norm. Uh, I know that we try to have at least one s- one canonical psalm for every single worship service. Usually there's multiple, but, um, even in a, a, a setting where we normally wouldn't be so focused on that, we still try to have at least one, and it's been a, a really huge edifying thing to my soul.  [00:14:06] Jesse Schwamb: Yeah. I absolutely love that. You'll find no complaint from me on that. I think that that's a good reminder for all of us.  [00:14:13] Tony Arsenal: Yeah.  [00:14:14] Book Sing Recommendation [00:14:14] Tony Arsenal: Jesse, what do you have?  [00:14:15] Jesse Schwamb: Well, it's, we're not gonna stop this conversation, just so you know. Because we don't sync up on these things ever, but it just so happens that I'm affirming with a book that it's a really simple primer on congregational singing-  There you go that has  long been on my list and overdue to read, and I am coming in hot with a recommendation for this, and that is the book entitled Sing! How Worship Transforms Your Life, Family, and Church by Keith and Kristyn Getty. And really, it covers so many of the things that you already talked about. I, I think at the foremost, it's a reminder that God cares whether in what we sing, but he does not mind how well we sing. Yes. But it is, like, the, this... What's true is that our voices might not be of a professional standard, but they are of a confessional standard. Yeah. And so it is incumbent upon every Christian to sing. And if you need just, like, a little bit of inspiration, so to speak, or a reminder of why that's important, I highly commend this book to you. In fact, in the back they have what's called, like, these bonus tracks. It's like four or five separate chapters that they've written just to particular people in the church, pastors, laypeople, musicians, even the people that help produce the sound. I found that bit to be so lovely and pastoral. It, it's gentle, the tone is encouraging, but it is also strong, and I appreciate that. So a lot of it is some of the themes that we've just talked about, but my conviction grows all the time of just how important congregational singing is, and how everything you just said, the music, the liturgy that we bring forward- has to be of a deliberate kind to strengthen that exercise, to make it easy, so to speak. And that does come into practical things like if you look at the psalter, and I, I don't... I have it on my phone, but I don't know where my phone is, so I was gonna look at the one you were referencing. My guess is it's, it's in probably a key with a couple of sharps in it, because those are the ones that are easiest to sing. So even little things like that matter. What you hear on the radio often is, or radio? People still listen to the radio? What you hear, like, in, like, contemporary music, like, often is not necessarily for congregational singing just in its key, and, and that's okay. And so even in my own church, we transpose things to make it reasonable and approachable. But what I think was, like, the critical question put forward in this book that I absolutely loved as a great reminder was: how did the congregation sing? It's very interesting that they kind of bring forward this thesis that that's how you should be judging your music. How did the congregation sing? And I think if we started asking that, it might slightly tweak or maybe change altogether, to your point, the methods and the practices that we use when we undergo worship by way or through music. So this is really great. It's easily readable, and it's for everybody, and it, there's a chapter on family worship as well, how to bring singing into your home and music into your home all the time as an act of worship so that when you get to the Lord's Day, your kids are like, "Yeah, this is our jam." Uh, especially maybe even recognizing some of the pieces of music and be excited about that. So there was a lot that made me think about here. It's fantastic. And to your point, Tony, I would say the Gettys, especially in, like, "Christ Alone," some of the other things, this is probably the closest to what you're talking about, where they've taken and imported kind of the classical hymn structures-  [00:17:26] Tony Arsenal: Yeah [00:17:27] Jesse Schwamb: but modernized a little bit just the language while without sacrificing any of the theological richness or the musicality that draws your ear to those beautiful rising and falling melodies, the swelling of the vocal there, without, like, distracting from anything that's going on there. It's not emotionalism- Yeah but it certainly is filled with the emotion of what it means to be a Christian and to sing in response as an act of praise to God.  [00:17:50] Tony Arsenal: Yeah.  [00:17:52] Family Worship Singing [00:17:52] Tony Arsenal: Yeah, I mean, I can't underscore enough the importance of congregational singing. We, we've, we've actually talked about, about it in context of, like, how important it is for the men of the congregation to sing, which is something I, I really appreciate about my congregation, is, is the m- the men just go all out. Like, people are, like- Love it ... nobody is, nobody is ashamed of the fact that they squawk on a note that they're not used to or anything like that. And where this really pays out, um, at least in our congregation, but I'd, I'd be willing to bet if you go to any congregation where the, where the men particularly are passionate and active in musical worship, right? Um, I think where this plays out is you see the children very quickly picking up those songs and learning them and singing them. And the, the favorite part of my day, this is gon- any parent of toddlers is gonna be like, "What are you talking about?" Bedtime is one of my favorite times of day, not just because it means that, like, in a little while I'm gonna get a little peace and quiet. Like, that's part of it, too, but there are two songs that we sing almost every single night, and Augie leads them, which is really great. He always wants to start, and he always wants to sing, and it's the Doxology and the Gloria Patri. And these are songs that he has just picked up from being in the congregation, and, you know, I, I don't remember consciously teaching him any of these songs. And now, now Adeline, who is, uh, my two-year-old daughter, almost two, she's starting to pick those songs up, and she's starting to sing them, and she recognizes them, and she responds very differently to those songs than she does to other songs. Um, it's funny because I don't, I don't know where she got this. Neither my wife nor I are particularly, uh, charismatic, emotive people. Like, we don't raise our hands when we're singing, but she, she does. She, she, when we start singing- My girl ... the Gloria Patri or the Doxology, her hand is in the air, and she's looking at the sky, and she's waving her hands around. Yeah. And, um, she recognizes that those songs have a different place than a Miss Rachel song. She doesn't put her hands in the air and wave and look up at the ceiling when Miss Rachel comes on or when Baby Shark comes on. She knows those songs. She can sing those songs. Um, but she doesn't- Respond to those in the same way. And that is a direct result of the fact that congregational singing is an important thing in the life of our church and in the life of our family. And I think a book like Sing, I haven't read it, but I've heard very good things about it, and the, the Gettys are rock solid, like- Right ... theologically. Yes. Musically. They're, they're well within our Reformed tradition, at least broadly speaking. Um, and, and they have a, they have one of the strongest sort of theologies of praise music that you're gonna find. Mm-hmm. It's not quite like a liturgiology or something like that, but it's, it's, it's a theology of praise worship, praise and worship music. Right. Um, and that's not something that's super common, right? There's a lot of theology of liturgy. There's a lot of practical theology on liturgy. Um, the Gettys have developed a really unique kind of place in things in that they've really developed this idea that congregational singing has a specific theological import, and they've developed it in a way that's approachable. So yeah, I haven't read it and I sh- I probably should, but it, it sounds like a really great book. And, um, I c- just can't underscore it enough. And- Maybe this is my little plug. Like, uh, family worship is really tough, and it's not something I've mastered. Like, we don't, we, we don't have a regular rhythm. But what we do have is we have a consistent, uh, we consistently pray at night before bed, and we consistently sing one or both of those songs. And that by itself, like, the kids are learning and they are, they're absorbing that by osmosis. Um, they're picking up the phrasing, right? Augie can tell you who the three persons of the Trinity are, and that's partially 'cause we do catechism questions, but it's also partially, and I would actually argue probably more, because of the Trinitarian structure of those two songs. Right. He's picked up the language of the Father, the Spirit, and the Son from the Gloria Patri and from the doxology in ways that probably I wouldn't have been able to teach him otherwise. So yeah. Anyway, I, I just co-opted your affirmation. But, um, but yeah. I'm here for it. Congregational worship, family worship, singing, uh, to our Lord is commanded, and it's commanded for our good- Right and for his, his benefit and his blessing. Um, and so any book that is, is solid and will help you do that, I, I'm wholeheartedly behind.  [00:22:17] Jesse Schwamb: Yeah. This is... All that is fire. This is fire.  [00:22:19] Reclaim Congregational Song [00:22:19] Jesse Schwamb: God designed our psyche for singing, and we're probably, uh, I would say contractually obligated since Reformed is in the name of the title of the podcast- to remind ourselves and everybody else that one of the things the Reformation did was reclaim the singing of God's word by his own people. Yes. Taking it out of that performatory space back into literally the voice boxes of the people who are sitting in worship together. So sometimes we might have to do that again. You know, there is a little bit, I think, of... There, there is in some places, not everywhere, this kind of tilting of that time of worship through music to be vouchsafed or relegated to those who are, uh, let's say, like, the most, like, talented in doing that, and somehow we participate merely by observing or by- Yeah just, uh, you know, being an audience spectator of that, and that's totally backwards. So I get it. The thing is- We're all singers. We may not all be very good singers, but we're all created to be singers nonetheless. This is what the Bible tells us. So we need to lean into that. We need to invest in that. Yeah. And so I, I like, of course, what you're doing with, uh, your kids because you're not only teaching them to sing, and this makes me so happy, but you're teaching them to love singing to the Lord. Yeah. And so that is, I think, what a lot of our congregations miss, is sometimes we do it, and I'm among them often, but grudgingly. And so to get to a place where we come excited that our reasonable response, our reasonable preparation on the Lord's day is to sing together, to hear that gospel message in melody in the ear of our... You know, the voice of our neighbor in our own ear is a wild thing. It's just, like, un- unheard of. And it's like, uh, we gotta stop, right? It's one of those things also that, like- ... we've, we've talked about how it's just kind of otherworldly. Not, not only in the sense that it gives us this really kind of foundational sense of God's, you know, kind of transcendence, of what it means to participate in the worship of someone who is transcendent because it is all these voices together, but also this is something that rarely happens in any other way, especially in the Western culture anymore. This coming together to express and to participate in something where we're all reading literally from the same sheet music is just an entirely different experience, increasingly relegated to this kind of experience. So we, we must protect it, not only because God says that we ought to, but also because, again, it is, it is our reasonable response. Yeah. And it is something, like you've just said, that brings Him glory and is certainly for our good. So, uh, this is the Singcast, so everybody- ... everybody get to it. You can make your own music. God has commanded us to sing. So the sooner we just understand, like, hey, it's, it's... You know. Uh, but... And the last thing I'll say is this is one of those things that's, like, practice too. A- and I get it. Like, you may say, like, "Listen, I can only hit two notes, and that's all I'm gonna hit no matter what the music is." Well, then belt the two notes, and also know that, like, the more you practice that kind of thing, honestly, the better that you'll get and the more comfortable that you'll become. The voice is an instrument like any other instrument that takes, like, a little bit of practice and a little bit of work. But even that can cause, I think, great benefits and build a little bit of confidence. But just the example of singing and doing it from a heart that is keen to worship God and that is filled with passion to respond to Him with gratitude and, you know, adoration is really the key thing. And so I, I'd rather have a entire group full of worshipers that are singing off-key but, like, with just resounding passion than to have this performance of just a handful of voices because they feel like they're the most capable to do it. Yeah. I think we'd, we'd rather have everybody else, and to hear the congregation mixed as one of those instruments. So sing. Yeah.  [00:26:05] Everyone Can Sing [00:26:05] Tony Arsenal: Yeah, and y- you and I have made the point in the past, too, like- I, I don't think, uh, maybe I'm wrong. Uh, we are a top 50 healthcare podcast, so maybe some doctor- I'm sure you're correct ... is gonna... Right. Like, I don't think being tone deaf is actually a physical condition. Like- Mm. I, I mean, I, I mean, obviously, like, some people have hearing problems, and that means they have trouble singing. I hear what you're saying. But, like, the people who are like, "Well, I j- I just can't sing. I'm just not capable of that," uh, like, I think the, the physical conditions that would make you incapable of singing are not usually what people are talking about. Like- Right. Yeah ... you know, some people have, like, vocal fold disorders or they have hearing problems, and I guess maybe, like, if perfect pitch is a thing, which it, it is. Like, perfect pitch is a... I don't know what causes it, but some people are born with perfect pitch. I suppose in theory that means some people must be born with, like, the opposite of perfect pitch. But I think most people who say, like, "Well, I just, I'm just tone deaf. I can't carry a tone," that, that's probably not true. Like, it just means you need practice. Um, and some people's voices, like physically, their bodies are more, more designed by God to produce a pleasant sound than other people. But I, I think actually just about anybody with a little bit of practice, and mostly I think this is probably just the confidence to actually sing and a little bit of practice to learn how your body works, like how your voice works, um, could probably get to a point where singing is not only very relatively comfortable and easy, but it's something that is pleasant and is not overly challenging. This is actually something that I think we've lost in the church. We should... This, I mean, this is about to come the episode, but, um- ... something we've lost in the church when we have sort of changed from a true genuine congregational singing model, which was the norm- And I've heard people make arguments about the importance of hymnals, and I, I agree with those arguments, although I know some people have moved them into almost like a realm of, like, divine mandate- Right that you have to use hymnals because it trains people to teach. But we have lost something with both the sort of commercialization of worship music and the pro- like making it a professional thing, and we've lost congregational singing. The, the people in the church throughout history have learned to sing. Many of them have learned to read, learned the scriptures, learned theology, not in the seminary and not in the monastery, but in the pew as they sing God's word and as they sing- Right ... the great theological hymns of, of the church. There's so much you can learn through that process that I just think we've lost. And I think going back to something like a hymnal or the Trinity Psalter Hymnal or whatever, whatever standard music your church is gonna use, and I mean standard music. Like, whether this is a collection of worship choruses that has been curated for the church or it's a published hymnal or something like that, going back to something like that teaches the church how to sing. And I don't remember who wrote it, but the trellis and the vine, like the worship that we sing, I know Mike Horton makes this point. The worship that we sing is the tre- is the trellis that the vine of our wor- of our- Yes ... faith grows on, right? That's true. Like, what the, what the church lex credendi, lex orandi. Like, the church, what the church prays, the church believes. What the church sings, the church believes. So all of that to say, like, the, the importance of congregational singing can't be under-emphasized, and it's... I, I mean, I don't know that I would I don't know that most theologists say technically s- like, congregational singing is an element of worship, but praising the Lord through song certainly is. Yes. It's, it's evidence. Um, and, and so I think that's definitely something that the church has lost in general. Um, and I know there are churches... I- it's funny, when Ashley and I were between churches, uh, very briefly after, um, our previous church closed down, um, we went to a local sort of, like, high, high, uh, production, seeker-sensitive church, very Steven Furtick-esque, and we only lasted, like, 10 minutes in this, in this service. We went in and the production value was great, and the music sounded great, but we couldn't hear ourselves, we couldn't sing- Right ... and it was very performative, and we just left. We were only there for a few minutes, and we left. And I think that's something we've lost as we've sort of migrated worship to almost, like, a professional class. So yeah, bring it back to the pews. Bring it back to your- Bring it back ... bring it back to your house, bring it back to your kid's bedroom when you're tucking them in. Everywhere. Bring it back to the car on the way to work, in the bus. Right. Like, just let's everywhere we go, let's sing and worship the Lord. [00:30:30] Jesse Schwamb: Yeah, that's right.  [00:30:31] Train Your Voice [00:30:31] Jesse Schwamb: Uh, so as a final thing, let me compound your hot take and say that I agree with you, that I... And I think professionals would as well, and I'm gonna stand on a resource that I'm gonna recommend to everybody here in a second, that in fact the Getty say, "If you can speak, you can sing." And there are a f- a few conditions that would prevent you from doing that, of course. And even there, they wanna explore opportunities for you, for instance, signing, for instance, to ensure that you can participate in worship. Uh, the hot take is I do think that because the instrument that God has given us in the vocal cords is exactly that, that it can be trained, and that actually most people can sing. And if you're serious about that, if you think, "You know what? I'd like to be able to do that. How can I explore that?" Here's a book for you. It's called Set Your Voice Free by Roger Love. The full title is How to Get the Singing or Speaking Voice You Want. Roger Love is, like, this amazing behind-the-scenes vocal coach. He has coached, like, a ton of really talented recording artists, and this is his very contention in the book, is that everybody can sing. It's really about how much or little work you wanna put into it. And in fact, this book comes with, like, these exercises that you can listen to and then record yourself. And then he, from a distance basically, can give you some pointers based on allowing you to kinda evaluate what you hear in your own recording back. So if you really are the kind of person that's like, "Listen, I, I dare you. I cannot sing," I would challenge you, I would double dog dare you to get this book, Set Your Voice Free, and if you're really serious about wanting to try and see if it can make a difference, I, I think it can. And I've, I myself have enjoyed this book, gone back to it many times, use it in my own work and practice because I found it to be helpful. So there you go. Sing, sing, and sing again.  [00:32:06] Tony Arsenal: Yeah.  [00:32:07] Singing Apps and Practice [00:32:07] Tony Arsenal: And if you're not a reader, first of all, why are you listening to the podcast? But second of all, if for some reason you're not a reader I'm, I'm joking. I'm sure there are people that are listening to the podcast who are not readers. That was, like, a super smug thing to say. How dare you. I'm sorry about that. How dare you. Um, if for some reason you don't wanna read that book or you're not a reader, um, y- you can do something as simple as looking up Yousician on your Yousician, Y-O-U- Yeah ... S-I, like the word musician, but U instead of, like, Y-O-U instead of, uh, musician. Um, there are plenty of apps out there. I just, I mention Yousician just because I've used that on, like, a free trial basis with some guitar teaching, and it's a reputable source. They also have a vocal module. So, like, if you wanna learn to sing, there are plenty of resources out there who can help you train your voice. A- and it- Again, I'm not a doctor, I'm not a vocal coach, I'm not a professional singer. I'm not even that great of a singer, and I, I probably could be a better singer if I wanted to devote the time to it. Um, it doesn't take much to, to be able- Right ... to become a competent singer. Um, I think most of us, you pick up one s- just like I learned guitar, you pick one or two songs that you really like and you wanna learn, and you learn to sing those songs, and then those skills will develop over time. So enough about that, Jesse. We've got, speaking of talents- ... we've got some talents to talk about. There it is. Boom, bazinga. Baza-bazom. I'm  [00:33:27] Jesse Schwamb: back. There it is. Yeah, so- I was excited  [00:33:31] Tony Arsenal: about that one ...  [00:33:32] Jesse Schwamb: that, that was really good. And, and we should just h- honor everyone. That's it.  [00:33:37] Tony Arsenal: That's it. Tip your waiters and waitresses, folks. It  [00:33:39] Jesse Schwamb: was so good. We're here all week.  [00:33:41] Parable Context Setup [00:33:41] Jesse Schwamb: So we're in Matthew 25, uh, verses 14 through 28, and this is at least gonna be a two-parter for us. This goes by the name you might be familiar of, which is The Parable of the Talents. But before we get to it, just a quick reminder that we've been speaking about this parable, not like in a special way, but hopefully in the more contextual sense. So this is the second of three eschatological parables in Matthew 25. So the first was The 10 Virgins, which we went through. We're in The Talents, and then we're coming up to everybody's favorite, The Sheep and the Goats. All three are part of this Olivet Discourse, which is, of course, Jesus' final teaching block before his Passion. And I think it h- behooves us so that we do not get distracted from, like, the center of gravity of this thing, that this is delivered in response to the disciples' question about the sign of his coming and the age to come. Because I've heard so many, like, little talks, maybe homilies is more the right word, on this particular parable that lack gravity. So little gravity that basically NASA could train their astronauts in it. So we wanna stay away from that and I think get into, like, the, the proper context. So Tony, do you have it in front of you by any chance? And would  [00:34:50] Tony Arsenal: you- I do. I do, yeah. Yeah. Read it for us? I'll read it here.  [00:34:52] Reading the Parable [00:34:52] Tony Arsenal: So this is, uh, starting in, uh, Matthew 25 verse 14, and I'm gonna read down through, uh, the end of verse 30 here. So it, it reads here, "For it will be like a man going on a journey, who called his servants and entrusted them, entrusted to them his property. To one he gave five talents, to another two, and to another one, to each according to his ability. Then he went away. He who had received the five talents went at once and traded with them, and he made five talents more. So also he who had the two talents made two talents more. But he who had received the one talent went and dug in the ground and hid his master's money. Now after a long time, the master of those servants came and settled accounts with them. And he who had received the five talents came forward bringing five talents more, saying, 'Master, you delivered to me five talents. Here I have made five talents more.' His master said to him, 'Well done, good and faithful servant. You have been faithful over a little. I will set you over much. Enter into the joy of your master.' And he also who had the two talents came forward, saying, "Master, you delivered to me two talents. Here I have made two talents more." His master said to him, "Well done, good and faithful servant. You have been faithful over a little. I will set you over much. Enter into the joy of your master." He also who had received one talent came forward, saying, "Master, I knew you to be a hard man, reaping where you did not sow, and gathering where you scattered no seed. So I was afraid, and I went and hid your talent in the ground. Here, you have what is yours." But his master answered him, "You wicked and slothful servant. You knew that I reap where I have not sown and gather where I scattered no seed? Then you ought to have invested my money with the bankers, and at my coming, I should have received what was my own with interest. So take the talent from him who gave it, who give it to him who has 10 talents. For to everyone who has will more be given, and he will have an abundance. For, uh, but from the one who has not, even what he has will be taken away. And cast the worthless servant into the outer darkness in that place where there will be weeping and gnashing of teeth."  [00:36:56] Watchfulness and Stewardship [00:36:56] Jesse Schwamb: So it starts with that amazing connective, which we really spoke about in the last episode, in verse four- 14, starting with four. So it's tying, like we said, this parable directly to verse 13, which we know is in the, the parable of the ten virgins. But it's this idea of watchfulness. "Watch therefore, for you know neither the day nor the hour." So th- I think this is the point we really drove last time, that we really felt highly convicted about, that this parable is not like a detached economic lesson, but it's really like an expedition, exposition, not expedition- ... of what watchful discipleship actually looks like during the interval of the master's absence. Like, that's the whole setup here. So it's starting with this idea of like the master goes away, but here we have these slaves or these servants who are entrusted. And to me, again, that's like such a linchpin in this whole thing, 'cause it's, it's carrying the sense that of course, like, he's handing over stewardship. It's a deposit held on another's behal- I love this parable because it has some banking language in it. It's, it's a deposit held on another's behalf, and that's like the key covenant concept of the entire thing. Ownership remains with the master. The servants are stewards. They're not proprietors. And that language, I think, really anticipates, like, the entire New Testament theology of stewardship, which is developed by Paul. So like when Paul writes in 1 Corinthians, "This is how one should regard us, as servants of Christ and stewards of the mysteries of God. Moreover, it is required of stewards that they be found faithful." So like all of that, that's like just one verse for me. Like, that's an incredible setup.  [00:38:27] Tony Arsenal: Yeah.  [00:38:28] Common Misreadings [00:38:28] Tony Arsenal: Yeah, and you know, I think it bears saying, too, um, I wanna be careful how I say this because I don't wanna impugn, uh, poor motives or anything like that on, on the, the people that I'm about to speak to. And I say this a little bit tongue in cheek, but also I say this as someone who used to be deeply involved in youth ministry. There's kind of like a, a youth ministry, um- international version of the Bible, I guess, if you wanna put it that way, where, like, there are certain, certain passages and parables that s- for some reason seem really prone to misapplication- Sure in, in some context. And I would say, like, youth ministry is the one I have in mind. Like, um, one of them is, like, in Matthew 18 where it's like, "Where two or three are gathered in my name, there I am in the midst of them." Like, that's a, that's a statement about God's, God's presence in the judgment of the church and excommunicating an un- like, a, an unrepentant, uh, person who identifies with Christ. And, and ironically here, maybe not ironically, but, like, casting them into the outer darkness of excommunication, which is representative of casting them out into the actual inner darkness of damnation. Right. Like, th- there's a, there's a misapplication of that, that like, well, you know, like, if only a couple people came to youth group tonight, like, it's still worth meeting because where two or three are gathered, there I am in the midst of them. Um, this, this parable has a very similar kind of misapplication that is maybe a, a little bit less of a misapplication. Like, I think there is something to say in this parable about the fact that God entrusts us with abilities, talents, treasure, t- our time. Like, He's entrusted us with resources, and He does expect us to use those resources, uh, in a way that is honoring to Him and beneficial for the, for the gospel and for the kingdom. Um, that's true in a broad sense, but I don't think actually that this is what that... But, like, that's not what this passage- Mm ... is teaching. Right. I think I, I kinda joked last time, but, like, I've heard more than one sermon that draws the parallel between the word talent here and our talents in terms of, like, our spiritual gifts or our ability to play guitar or, like, to bounce a basketball and, like, thr- like, throw a free throw. Like, that's not the kinda talent we're talking about here. So I wanna, I wanna sorta, like, point that out just to sort of exclude that from the conversation. Yes, God gifts His people, and He expects His people to use those gifts for His glory and for their own benefit. Um, but that's not what this parable is talking about. This is a parable about the fact that God has entrusted the kingdom of heaven on Earth to His people.  [00:41:08] Jesse Schwamb: That's right.  [00:41:08] Tony Arsenal: And He expects His people to make use of that in a way that expands the kingdom and also in a way that does not... And this is, this is, I actually think, the main point of the parable. In a way that properly understands the nature of the king. The, the punchline or the main point of the parable here, it, just to sort of, like, I don't know, give away the ending or, like, unbury the lead, I don't know, whatever that is. The point of this parable- It's not that, like, it's a really good thing to double what God has resourced you with. The point of the parable, the reason that, just like the, um, just like it wasn't the virgins falling asleep in the last parable that was the problem because everybody fell asleep, in this instance, uh, the amount of money or the amount of return on investment that the servants produce is not the point of the parable. That's not the real difference between them. The real difference is that the former servants understood that their master had trusted them with a task and expected something of them, and the, the unfaithful, wicked, lazy servant had a total misunderstanding of who the master was- Right ... and therefore what his role as the master's servant was. That's the point of this parable, and I think, this is the last thing I'll say before I, I, I take a breath here. There's a lot of people that would look at this parable and might read some sort of works righteousness or, um, and this is more understandable and I think has a place within the Reformed tradition, although I don't necessarily hold this view. But would look at this as sort of like a theology which would, would argue that we receive some sort of enhanced rewards in heaven based on our faithfulness. There's plenty of good, faithful Reformed Bible teachers that would hold that position. I actually think whether or not that's true, this is still also not what this passage is getting at. [00:43:00] Jesse Schwamb: I, I totally agree with you there.  [00:43:02] Talents as Huge Wealth [00:43:02] Jesse Schwamb: I, I think one of the reasons that we know that is because we can look at some of these details and let the details speak to us about the magnitude in their representation, why they're given. So of course, whenever the scripture gives us detail, especially in a context like a parable, it can be helpful of cour- of course not to overanalyze them, but to respect their place in the context of the story, and that's why verse 15 I think is so important. So to one he gave five talents, to another two, to another one, to each according to his ability, then he went away. Now, this, this varies slightly, but there's a lot of, I think, very common historicity here that points us to understanding, like, the talents as a unit of monetary weight, and there is some discrepancy about its exact weight. But what we can say for sure is this: that we're talking about, as I teased at the beginning, a huge sum of money. So in other words, like, this is a gift from God himself. It's a divine gift. Yeah. It's something that's not earned. It's something that's given and something that's entrusted. So in the first-century Roman world, a talent was roughly equivalent to, like, 6,000 denarii, depending on who you talk to, which would mean that a single talent represented approximately, like, 20 years on average of a laborer's wages. So the sums then here we're talking about are staggering even at the lowest one. So the five-talent servant is receiving essentially approximately equivalent of a century's wages, and the one-talent servant is receiving 20 years' worth. There's no such thing as a small gift in Christ's economy, I think is the point here, and even the least endowment is immense beyond our reckoning. Yeah. So the distribution also is deliberately unequal. It's five, one, two, and the text doesn't offer any apology for this inequality. The master distributes to each according to his ability, which as I say that, I realize that could probably be its own episode, that we could talk about what that even means. Yeah. But he is matching and entrusting to capacity, and that's not arbitrary. Of course, that's wise and personal, and even the Greek here for this idea of capacity or power suggests the master knows his servants intimately and calibrates the stewardship accordingly. But nonetheless, it proves the point you're making here, which is not just about, like, well, do you have some kind of innate ability that's above average that God has endowed you with here? That's not even what we're talking about. Again, the whole point of this is to answer the question eschatologically about what the end means and when the time is coming and what good discipleship looks like. And so in that way, we understand then these talents to be these divinely appointed and massively generous gifts of God, essentially, like you said, the stewarding of the gospel in the story of salvation itself unto his people, and then to make something of that, so to speak, by the power of the Holy Spirit that earns a return for the kingdom, that is all empowered by God, that is under the volition of the person, uh, the Christian who says, "As a disciple, it is my responsibility to steward these gifts." That is really what we're after. So we do kind of get in this place where when you take this and say, "Well, what are you doing with," let's say- your home, if you have a nice home, are you being hospitable enough? If you have, let's say, a good singing voice by talent, are you using that to make sure that you're on the, quote-unquote, "praise and worship team," is not, like, entirely wrong, but it's not right either- Yeah to use this passage- Yeah ... for that purpose. There's a bigger theme here. There is, there's a much stronger and widescale framework that God is drawing us to and examine, and it's about the stewardship of the church itself.  [00:46:30] Tony Arsenal: Yes. Yeah, yeah, yeah.  [00:46:31] The Foolish Servant Exposed [00:46:31] Tony Arsenal: That's really key, and this is what struck me as, as you were speaking about that, is like we see in so many of the kinda like, uh, like the chump in the parable. Like, there's- Yeah ... a lot of these parables have like a chump- Right ... where like you're looking at and you're like, nothing about what you've decided to do makes any sense. We're talking about people who've been given, in the first case, 100 years worth of, worth of wages. Right. Right? Any one of these people, and again, we're talking about a timeframe where, like, you could just take that money and run and, like, nobody's gonna find you. There's no digital trail on any of this, right? If I stole, if I stole 100 years worth of labor from my manager or from my, my employer, they would find me, right? That's not the situation we're talking about. So even the chump who decided, "I'm not gonna do anything with this," he could've just take- taken off with the money and had 20 years worth of labor. Right. Just 20 years worth of wages. Right. This is a, this is a sum of money that makes all f- all three of these servants unimaginably wealthy instantly, right? The point of this is, in part, that the final servant has no idea the amazing blessing and responsibility that he's been given. And again, I come back to this. It's not because he is dumb or because he is, um, somehow less competent in a strict sense, right? It, it's so funny to me, like, we also gloss over the fact that, like, the guy who has five talents, he's got 100 years worth of money, 100 years worth of wages. Right. And he just goes and gets 100 more. Like- Right he just goes and trades and- Right ... comes up with 100 years worth of wages that he brings back. Like, that's, in itself is, like, phenomenally, amazingly outrageous. We ran into this too with the, um, the parable of the unmerciful servant, right? We've, we've got one guy who's got this unimaginable debt, like, like, thousands of years worth of, uh, worth of wages that he could never make up, and he thinks he's gonna somehow come up with it if you just give him enough time. It's kind of like the opposite here. This guy's got this unimaginable amount of instant wealth, and he just buries it in the ground. First of all, how much... We're also talking about an era where money was a physical, entirely physical.  [00:48:53] Jesse Schwamb: Right.  [00:48:53] Tony Arsenal: There were no, there were no digital banks. Like- No zeros and ones most of our money exists as ones and zeros in a computer program right now. Right. Like, in reality, like- Right ... my money doesn't exist. We don't have, like, a physical gold standard anymore in America. Jesse could probably s- I'm probably making dumb things up right now. No, that's that's- Like, it used- Right on to be that, like, every dollar that the United States government printed had, like, a piece of gold sitting at Fort Knox- Yes ... uh, like backing it up, but we just don't have that anymore. Most of the money that exists in our system is entirely imaginary. It's an entirely, like, made-up digital currency way before, like, Bitcoin was a thing. That's not the case in this timeframe. This dude who buried 20 years worth of money in the ground, that's a significant amount of labor in and of itself- Right ... to even be able to do that. So we're not talking about, like... And I think this is the thing we miss when we, when we read the word talents, and one, when we obscure it and we, like, we misappropriate the word talent to mean, like, abilities, 'cause it, that's a convenient, like, illustration tool. We're talking about a huge sum of probably gold or silver that this dude just buries in the ground, and then, like, digs it up when the master comes back.  [00:50:01] Jesse Schwamb: Right.  [00:50:01] Tony Arsenal: And I think, like- When we don't realize how much money this is, we miss the force of the master's like, "You stupid, dumb, wicked, slothful servant." Like, if you had even taken this money to the bank and done the least imaginable- Yes ... effort. Exactly. Like, if you had done anything at all, like how mu- how difficult, granted more difficult back in this age than it is now, but like if you had even done something as simple requiring as little labor as possible and just brought this to the bank and let them collect interest on it, we'd still be talking about a huge return. [00:50:35] Jesse Schwamb: That's right.  [00:50:36] Tony Arsenal: And he doesn't even do that, and that's, that's the point. There's the people who do, and they gloss over this. The parable totally glosses over the amazing effort and work that it must have taken to take 100 years worth of la- of wages and turn it into 200 years worth of wages. Right. Or to take 40 years worth of wages and turn it into 80 years worth of wages. That's an amazing, probably almost miraculous return on, on investment. Whatever they did is amazing, and the parable's like, "Yeah, they did that." They just took it to the traders and they brought back five more talents. Like, it's nothing. And then this idiot, and I say idiot in like the most like, like exegetically sound, idios, like, like foolish idiot person. [00:51:20] Jesse Schwamb: Right.  [00:51:20] Tony Arsenal: This idiot just buries it in the ground and doesn't even bother to bring it to the bank where he's gonna get some return on it. This is the picture of the fool who does not make use of the means of salvation. This is the picture of the fool who refuses to receive Christ as savior, who refuses to make use of the benefit and blessing of salvation that is available to all who will trust in Christ and turn to him. This is the same picture as the idiot virgins who didn't buy enough oil and just fell asleep when they knew that the bridegroom was coming, right? Right. It's not that they fell asleep, it's that they didn't do the most obvious, simple,

I've been doing this long enough to say that it's kind of a big deal to hear a song that stops you dead in your tracks. A song so urgent, fresh and timely that you remember where you were and what you were doing when you first heard it. Well, Reckoning by the Havana-by-way-of-Nashville based Sweet Lizzy Project is such a song. In this episode, SLP singer/songwriter Lisset Diaz makes her annual appearance to discuss how this powerhouse of a song came together—and so much more. Reckoning is a blistering take on Lisset's native Cuba; it is a raw, honest song that takes no prisoners. Musically it hits hard—loud, crunching guitars barely hold Lisset's soaring vocals. Lyrically it hits even harder; it is a direct hit against the existing Cuban regime and all those who think they know what truly ills the country. This is also my first interview with Lisset since the passing of legendary Mavericks' frontman Raul Malo, who discovered the band in Havana nearly 10 years ago and brought them to the States. This episode is as emotional, honest and direct as any I've ever done…perhaps more so than any other. So strap yourself in and hold on as Lisset Diaz joins me again.

Denver, Colorado punk collective Dead Pioneers return with their fierce third studio album, Wagon Burner. Set for release on 26 June 2026 via Hassle Records, the project builds upon the momentum of their 2023 self-titled debut and 2025's acclaimed PO$T AMERICAN. Fronted by Indigenous visual performance artist and activist Gregg Deal, Dead Pioneers' continue to blend the raw fury of hardcore punk with biting spoken-word commentary, channelling the contemporary Indigenous experience, historical trauma, and political resistance.While their previous work relied heavily on targeted individual statements, Wagon Burner represents a more unified, collaborative writing effort by the full band. Musically, it is their heaviest and hardest record to date, yet it remains intensely accessible, striking a delicate balance between abrasive noise-punk melee and viciously catchy hooks.HEAVY caught up with Deal to find out more, asking him how he is feeling about the album close to release date."Honestly, there's a lot of emotions," he measured. "I kind of go through peaks and valleys. I'm excited about it, and then I'm not sure. We do these releases, and sometimes they do really well. And sometimes they're not doing as well as I'd like, and so it gets in my head. I'm excited about it, but it's been a bit of a mind F."Spoken word and narrative pieces play a major role in the feel and message of the album, with Deal agreeing that there was much thought put into getting even the smallest of details correct."Yeah, I think so," he nodded. "We actually recorded so much that we have enough for another half a record. We have enough for like an EP, and so we're trying to pick and choose. We want a narrative and a sound that can live in that space. We came into this record trying to be as articulate as possible, but also not pulling any punches from everything that has been happening, everything that is happening in the United States.And so it is meant to be political, social and cultural. We're trying to find a medium in there with that, because it's a lot of heavy stuff. So the humour that has existed in other places is a little bit more subtle on this one, but it's still there. We definitely are trying to curate something that makes sense audibly and in the information that exists lyrically."In the full interview, Gregg talks more about the musical side of Wagon Burner and how it differs to Dead Pioneers' first two albums. We run through the themes that permeate through the album and their connection to Gregg personally.The constant battle against oppression in all forms is discussed, along with the impact bands such as Dead Pioneers have on the global landscape through their music. Gregg ran us through some of the spoken word pieces and elaborated on their meaning, diving deeper into the guest artists and why they were chosen.Gregg also detailed the genesis of the band and how it has evolved over the years, plus more.Become a supporter of this podcast: https://www.spreaker.com/podcast/heavy-music-interviews--2687660/support.

This episode of Across The Margin : The Podcast features an interview with Bill Morrison who has been called the poet laureate of lost films (New York Times, 9/21/2021), as he often makes films that re-frame long-forgotten moving images. He has premiered feature-length documentary films at the New York, Sundance, Telluride and Venice film festivals. In 2021 Morrison became a member of the documentary branch of the Academy of Motion Pictures Arts and Sciences. His found footage opus Decasia (2002) was the first film of the 21st century to be named to the Library of Congress' National Film Registry. Dawson City: Frozen Time (2016) was included on over 100 critics' lists of the best films of the year and was later listed as one of the best films of its decade by the Associated Press, Los Angeles Times, and Vanity Fair, among others. His most recent film, Incident (2023) won the Best Short Film Award from International Documentary Association in 2023, the Cinema Eye Honors for Outstanding Nonfiction Short, and was nominated for an Academy Award in Documentary Short in 2025. His film, The Great Flood (2013) — the focus of this episode — was recognized with the Smithsonian Ingenuity Award for historical scholarship.The Mississippi River Flood of 1927 was the most destructive river flood in American history. In the spring of 1927, the river broke out of its banks in 145 places and inundated 27,000 square miles to a depth of up to 30 feet. Part of its enduring legacy was the mass exodus of displaced sharecroppers. Musically, the “Great Migration” of rural southern blacks to Northern cities saw the Delta Blues electrified and reinterpreted as the Chicago Blues, Rhythm and Blues, and Rock and Roll. Using minimal text and no spoken dialog, filmmaker Bill Morrison and composer / guitarist Bill Frisell have created with The Great Flood a powerful portrait of a seminal moment in American history through a collection of silent images matched to a searing original soundtrack. Hosted on Acast. See acast.com/privacy for more information.

We're not exactly spring chickens around here anymore. Retirement from our "money jobs" will be here sooner than later. So what are going to do with all our free time? Maybe start a fanzine. How about volunteering with our local indie promoter? For you tech types, how about gear restoration? There's so much a dedicated Metalhead can do for the betterment of Metaldom. We hope this episode gives you some cool suggestions. In our "News, Views and Tunes", we get into some more Gear Talk and our "Free Comic Book Day". Musically, we crank some Nunslaughter, Sadistic Intent, Genocide Pact, MainEEaxe, Killer, Get The Most, Demon Spell, Runn Amucks and we introduce Italy's Phantom Menace (!) in our "Indie Spotlight". Horns Up!!

"The field recording spoke to me of slow, gentle and happy co-existence, across cultures, across generations and between people and nature. Musically the track is built around a short rhythmic motif extracted from the original source; this set the pace, the root tone and the overall feel of the piece."Rabat soundwalk reimagined by Thom Cuschieri.

The vocalist is the face and voice of a musical group. The Wonderful World of Heavy Metal have a gazilion frontpersons that are both super talented and are quite the characters. This week we figured we would once again call upon the fantastic "High Infidelity" flick and present our "Top 5" of Metal vocalists. We share some legendary names. And have a few dark horses too. In our "News, Views and Tunes", we checked off a Bucket List concert and discuss Nicko McBrain's wrasslin niece. Musically, we crank some Bathory, The Exploited, Necrophagia, Bitch, Sortilege, Mortuary, Putred, Rotheads, The Whatevermen and we introduce Arizona 80s rocker Show 'N Tell in our "Indie Spotlight". Raise your voices and Horns Up!!

What if the music we grow up around shapes more than just our memories?In this reflective solo episode, Carla Ward explores the powerful role music plays in childhood development, emotional regulation, identity formation, and the environments we create for children. From Linda Ronstadt and Carole King to Cher, Madonna, and the Spice Girls, Carla reflects on the soundtrack of her own childhood and asks an important question:What are children absorbing from the music around them today?This episode dives into:music as part of the learning environmentemotional associations and memoryidentity and self-expressionnervous system regulationclassroom atmosphere and intentionalitywhy music is far more than background noiseWhether you are an educator, parent, or someone reflecting on your own childhood soundtrack, this conversation will leave you thinking differently about the songs shaping children's worlds.RESEARCH & REFERENCESSaarikallio, S., & Erkkilä, J. — The Role of Music in Adolescents' Mood Regulation https://journals.sagepub.com/doi/10.1177/0305735607068889 Effects of the Educational Use of Music on Children's Emotional Development https://www.researchgate.net/publication/350545306_Effects_of_the_Educational_Use_of_Music_on_3-to_12-Year-Old_Children's_Emotional_Development_A_Systematic_Review North, A. C., Hargreaves, D. J. — Music and Adolescent Identity https://www.researchgate.net/publication/232523022_Musical_Preference_and_Taste_in_Childhood_and_Adolescence Janata, P. — The Neural Architecture of Music-Evoked Autobiographical Memories https://pmc.ncbi.nlm.nih.gov/articles/PMC2758676/ Routledge, C. — Research on nostalgia and psychological connectedness https://www.psychologytoday.com/us/basics/nostalgiaSUBSCRIBE & REVIEWIf you loved this episode, please take a moment to subscribe and leave a review. Your support helps us reach more ECEs who are in the thick of it!. Thanks for tuning in to The Everything ECE.  See you next week! shape their early years.CONNECT WITH CARLAThe ECE Latte LoungeEmail Newsletter: ⁠⁠Click Here⁠Website: carlatheece.comInstagram: @carlatheece

INGESTED UK technical death metal juggernauts - Denigration  full-length, released on May 8th through Metal Blade Records.INGESTED Presents “Oaths Betrayed” Lyric Video; Denigration Full-Length Out Today On Metal Blade Records + Chaos & Carnage Tour Underway!The band comments, “‘Oaths Betrayed' takes the language of faith, war, and destiny and turns it against the systems that abuse those ideas. The lyrics are about promises written in blood and enforced with steel; oaths that were supposed to protect but ended up binding people to suffering. It's a world where idols are pissed on, scriptures are burned, and yet people still march ‘through ruins to claim what's mine' because truth is the only thing left worth carrying. It's the sound of realizing that the divine has abandoned you, and deciding you'll carve your own laws into bone. “This song almost didn't make the cut, and now it's one of the tracks we reach for first. Musically, it hits that high-tempo, groove-driven, 2010s-era death metal energy, spiked with breakdowns that feel like the floor cracking open. It's urgent, almost martial at times, with riffs that march more than they sprint. Lyn's lyrical contribution here adds a different edge, more confrontational, more fixated on personal agency in the middle of collapse. ‘Oaths Betrayed' feels like a rallying cry in the second half of the record.”Denigration includes guest appearances by John Gallagher of Dying Fetus on “Watch You Fold,” Damonteal Harris of PeelingFlesh on “Merciless Reflection,” Skyler Conder of Cell on “Dragged Apart,” and Kyle Medina of Bodysnatcher on “Dredge The Dark,” further amplifying the record's scope and intensityProduced by Nico Beninato at The Arch Studios in Southport, UK, Denigration captures INGESTED at their sharpest and most forward-thinking. The album's visual identity is equally striking, featuring artwork by Giannis Nakos of Remedy Art Design, whose detailed, eerie imagery reflects the record's thematic depth and ferocious tone Denigration is available digitally, on CD, and on vinyl in the following color variants: Monopile Electric Blue Smoke (US)Hot Pink and Purple Smoke (US)Red Marbled (EU – Ltd.500)Purple With Red And White Highlights (EU – Ltd. 300)Clear Turquoise Blue w/ Red + Neonpink Splatter (EU – Ltd. 300)Hot Pink w/ Purple Amoeba (Band UK Exclusive – Ltd. 300) Find orders at metalblade.com/ingested and the INGESTED webpage at ingested.co.uk. Denigration Track Listing;1. Dragged Apart (Feat. Skyler Conder of Cell)2. Merciless Reflection (Feat. Damonteal Harris of PeelingFlesh)3. Watch You Fold (Feat. John Gallagher of Dying Fetus)4. Stitch By Stitch5. We Are All Inherently Evil6. Dredge The Dark (Feat. Kyle Medina of Bodysnatcher)7. Oaths Betrayed8. Beaten Beyond The Veil9. Steel Toe Truth10. Cold Sun INGESTED is currently on tour in the US as part of the Chaos & Carnage Tour alongside Thy Art Is Murder, Carnifex, Bodysnatcher, 200 Stab Wounds, Gates To Hell, and Bodybox. In July/August, the band will return to Canadian stages as part of the Canadian Heritage Tour with Angelmaker and Disfiguring The Goddess. Tickets are on sale now. See all confirmed dates below.Click Here to Subscribe to The Adventures of Pipeman for PERKS, BONUS Content & FREE GIVEWAYS! Take some zany and serious journeys with The Pipeman aka Dean K. Piper, CST on The Adventures of Pipeman also known as Pipeman Radio syndicated globally “Where Who Knows And Anything Goes.”   Would you like to be a sponsor of the show?Would you like to have your business, products, services, merch, programs, books, music or any other professional or artistic endeavors promoted on the show?Would you like to be interviewed as a professional or music guest on The Adventures of Pipeman, Positively Pipeman and/or Pipeman in the Pit?Would you like to host your own Radio Show, Streaming TV Show, or Podcast?  PipemanRadio Podcasts are heard on Pipeman Radio, Talk 4 Media, iHeartRadio, Pandora, Amazon Music, Audible, Spotify, Apple Podcasts, and over 100 other podcast outlets where you listen to Podcasts.The following are the different podcasts to Follow, Listen, Download, Subscribe:  The Adventures of PipemanPipeman RadioPipeman in the Pit – Music Interviews & FestivalsPipeman – The Wandering JewPositively Pipeman – Empowerment, Inspiration, Motivation, Self-Help, Business, Spiritual & Health & WellnessClick Here to Subscribe for PERKS, BONUS Content & FREE GIVEWAYS!Follow @pipemanradio on all socials & Pipeman Radio Requests & Info at www.linktr.ee/pipemanradioStream The Adventures of Pipeman daily & live Mondays, Tuesdays, Wednesdays at 1PM ET on W4CY Radio & Talk 4 TV. Download, Rate & Review the Podcast at The Adventures of Pipeman, Pipeman Radio, Talk 4 Media, iHeartRadio, Apple Podcasts, YouTube & All Podcast Apps.

INGESTED UK technical death metal juggernauts - Denigration  full-length, released on May 8th through Metal Blade Records.INGESTED Presents “Oaths Betrayed” Lyric Video; Denigration Full-Length Out Today On Metal Blade Records + Chaos & Carnage Tour Underway!The band comments, “‘Oaths Betrayed' takes the language of faith, war, and destiny and turns it against the systems that abuse those ideas. The lyrics are about promises written in blood and enforced with steel; oaths that were supposed to protect but ended up binding people to suffering. It's a world where idols are pissed on, scriptures are burned, and yet people still march ‘through ruins to claim what's mine' because truth is the only thing left worth carrying. It's the sound of realizing that the divine has abandoned you, and deciding you'll carve your own laws into bone. “This song almost didn't make the cut, and now it's one of the tracks we reach for first. Musically, it hits that high-tempo, groove-driven, 2010s-era death metal energy, spiked with breakdowns that feel like the floor cracking open. It's urgent, almost martial at times, with riffs that march more than they sprint. Lyn's lyrical contribution here adds a different edge, more confrontational, more fixated on personal agency in the middle of collapse. ‘Oaths Betrayed' feels like a rallying cry in the second half of the record.”Denigration includes guest appearances by John Gallagher of Dying Fetus on “Watch You Fold,” Damonteal Harris of PeelingFlesh on “Merciless Reflection,” Skyler Conder of Cell on “Dragged Apart,” and Kyle Medina of Bodysnatcher on “Dredge The Dark,” further amplifying the record's scope and intensityProduced by Nico Beninato at The Arch Studios in Southport, UK, Denigration captures INGESTED at their sharpest and most forward-thinking. The album's visual identity is equally striking, featuring artwork by Giannis Nakos of Remedy Art Design, whose detailed, eerie imagery reflects the record's thematic depth and ferocious tone Denigration is available digitally, on CD, and on vinyl in the following color variants: Monopile Electric Blue Smoke (US)Hot Pink and Purple Smoke (US)Red Marbled (EU – Ltd.500)Purple With Red And White Highlights (EU – Ltd. 300)Clear Turquoise Blue w/ Red + Neonpink Splatter (EU – Ltd. 300)Hot Pink w/ Purple Amoeba (Band UK Exclusive – Ltd. 300) Find orders at metalblade.com/ingested and the INGESTED webpage at ingested.co.uk. Denigration Track Listing;1. Dragged Apart (Feat. Skyler Conder of Cell)2. Merciless Reflection (Feat. Damonteal Harris of PeelingFlesh)3. Watch You Fold (Feat. John Gallagher of Dying Fetus)4. Stitch By Stitch5. We Are All Inherently Evil6. Dredge The Dark (Feat. Kyle Medina of Bodysnatcher)7. Oaths Betrayed8. Beaten Beyond The Veil9. Steel Toe Truth10. Cold Sun INGESTED is currently on tour in the US as part of the Chaos & Carnage Tour alongside Thy Art Is Murder, Carnifex, Bodysnatcher, 200 Stab Wounds, Gates To Hell, and Bodybox. In July/August, the band will return to Canadian stages as part of the Canadian Heritage Tour with Angelmaker and Disfiguring The Goddess. Tickets are on sale now. See all confirmed dates below.Click Here to Subscribe to Pipeman in the Pit for PERKS, BONUS Content & FREE GIVEWAYS!  Pipeman in the Pit is a music, festival, and interview segment of The Adventures of Pipeman Radio Show (#pipemanradio) and from The King of All Festivals while on The Pipeman Radio Tour. Pipeman in the Pit features all kinds of music and interviews with bands & music artists especially in the genres of Heavy Metal, Rock, Hard Rock, Classic Rock, Punk Rock, Goth, Industrial, Alternative, Thrash Metal & Indie Music. Pipeman in the Pit also features press coverage of events, concerts, & music festivals.   Pipeman Productions is an artist management company that sponsors the show introducing new local & national talent showcasing new artists & indie artists.Then there is The Pipeman Radio Tour where Pipeman travels the country and world doing press coverage for Major Business Events, Conferences, Conventions, Music Festivals, Concerts, Award Shows, and Red Carpets. One of the top publicists in music has named Pipeman the “King of All Festivals.” So join the Pipeman as he brings “The Pipeman Radio Tour” to life right before your ears and eyes.Would you like to be a sponsor of the show?Would you like to have your business, products, services, merch, programs, books, music or any other professional or artistic endeavors promoted on the show?Would you like to be interviewed as a professional or music guest on The Adventures of Pipeman, Positively Pipeman and/or Pipeman in the Pit?Would you like to host your own Radio Show, Streaming TV Show, or Podcast?    PipemanRadio Podcasts are heard on Pipeman Radio, Talk 4 Media, iHeartRadio, Pandora, Amazon Music, Audible, Spotify, Apple Podcasts, and over 100 other podcast outlets where you listen to Podcasts.  The following are the different podcasts to Follow, Listen, Download, Subscribe: ·         The Adventures of PipemanPipeman RadioPipeman in the Pit – Music Interviews & FestivalsPipeman – The Wandering JewPositively Pipeman – Empowerment, Inspiration, Motivation, Self-Help, Business, Spiritual & Health & WellnessBecome a supporter of this podcast: https://www.spreaker.com/podcast/pipeman-in-the-pit--2287932/support.Click Here to Subscribe for PERKS, BONUS Content & FREE GIVEWAYS!Follow @pipemanradio on all socials &  Pipeman Radio Requests & Info at www.linktr.ee/pipemanradioStream The Adventures of Pipeman daily & live Mondays, Tuesdays, Wednesdays at 1PM ET on W4CY Radio & Talk 4 TV. Download, Rate & Review the Podcast at The Adventures of Pipeman, Pipeman Radio, Talk 4 Media, iHeartRadio, Apple Podcasts, YouTube & All Podcast Apps.

NWOBHM legends Iron Maiden recently got tapped to go into the Rock n Roll Hall Of Fame. So with Bruce and the Boyz on the minds of Metalheads the world over, we figure it's a great time to discuss one of their classic albums. "Somewhere In Time" recently turned 40. So we decided now was the time to feature the effort in our ongoing "40th Anniversary Album Spotlight". We go over the "this and thats" and do a track by track deep dive. In our "News, Views and Tunes", we discuss Maiden in the HOF and the Morotti/Suffocation sitch. Musically, we crank Blitzkreig, Satan, Thunderstick, Tailgunner, Witchburner, Atomic Aggressor, Helvetets Port, Brainwash Victims and we introduce Italy's Alcatrax in our "Indie Spotlight". Horns Up!! 

This episode is basically what happens when two people start talking and forget the cameras are rolling

Guest Review - Michael Storm appeared on Political Cadence with Maxx Payne"I had a great time visiting with Phil and Lisa. The casual but organized conversation was open and honest and fair and important. So many conversations are lopsided or just not worth participating in and it's refreshing to just talk and share thoughts and be in the moment while meeting some new and interesting people."August 1980Steve Howe -Lead GuitarTrevor Horn - Lead VocalsGeoff Downs - KeyboardsChris Squire - “Base guitar”10th Studio albumReached no. 2 on UK chartsNo Jon Anderson, no Rick WakemanTrevor Horn - from The Buggles (Video Killed the Radio Star) on vocals. Trevor Horn replaced Wakeman.Jon Anderson is not on this album - Jon tended to bring his family and nanny on tour to great expense, and this grated on the band.The album was more of a new wave transition from albums like songs from topographic oceans, but it is also heavier than other Yes albums.Yes might have been the greatest example of a classic rock band trying to survives the new wave.Roger Dean designed the album cover, who was responsible for most of Yes' covers.Machine Messiah - opening reminds me of Sabotage, then goes into “Big Bottom” riff - Ascends to a very light keyboard track as Jon Anderson's voice surfaces. - 3:19 Lyrical Passage is great "Friends make their way into systems of chance (echo "friends make their way of escape into systems of chance") - Escape to freedom I need to be there - Waiting and watching the tables are turning" - The whole passage is lyrically perfect, with the echoes and call backs - - Pink Floyd sound at 5:24 mark (Tear Down the Wall”) Orchestral composition - very serene chant towards end “Machine Messiah take me into the fire” - Ends as it begins. I assumed it was John Anderson when I listened for the first time.Man in a White Car - Very brief interlude- Chimes at beginning - “Man in a White Car” are the only lyrics. It is supposed to be a call to Gary Neuman's “Cars”.Does it Really Happen - Funky rhythm at the beginning, good drumming (Jungle Boogey) - Reminds me in parts of a song called "It Can Happen" from 90125 - “Live for Pleasure, Live for fun”. - Around 5:15 it becomes a completely different instrumental, almost with a disco beat. - long fade out, which I am not a huge fan of. - Chris Squire's vocals were strong on this. Why didn't he sing more on Yes albums?Into The Lens - “I am a camera” - “Camera Camera” - Like the guitar at about the 4:00 mark. - Too much keyboard for me. - "Memories How they Fade so fast" was such a wilting, strange lyrical beginning - But “I am a camera” was a pretty lame lyric. “Camera, camera”. Musically, it had strong moments, but I found it's transitions kind of disorienting. But “Monitor” by Siouxsie and the Banshees did this better.Run Through The Light - Could not help but think of The Police and Sting during the “Run Into The Light” part - Some guitar shredding during the last minute of the song, garnished by keyboard.Tempus Fugit - Literally means ‘Time Flies' - Might have inspired Tommy Shaw/Styxx - The harmonies and rapidity of the lyrics are off the hook. “The Way That You answer with ‘Yes'! - It might just be the “Yes” song, almost reminds me of a super hero for some reason, with love as the protagonist. - I love the fast crawling of the baseline. It us a great song.Yeah Uh Huh Social Stuff:Yeah Uh Huh on Linktr.eehttps://linktr.ee/yeahuhhuhpodYeah Uh Huh on TikTok  / yeahuhhuhpod  Yeah Uh Huh on Facebook  / yeahuhhuhpod  Yeah Uh Huh on Twitter  / yeahuhhuhpod  Yeah Uh Huh on Spotifyhttps://open.spotify.com/show/7pS9l71...Yeah Uh Huh on Apple Podcastshttps://podcasts.apple.com/us/podcast...Yeah Uh Huh Website:https://yeah-uh-huh.wixsite.com/yeahu...Yeah Uh Huh WebsiteHome | YeahUhHuhPod (yeah-uh-huh.wixsite.com)Yeah-Uh-Huh on YoutubeYeah Uh-Huh -YouTubeYeah Uh Huh on Apple Podcastshttps://podcasts.apple.com/us/podcast...

Episode 24 of On The Record with Brian Wise and Michael Mackenzie opens not in a record shop or a green room, but in the unglamorous reality of domestic collapse: Brian's gas hot water service fails, leaving him hunting for a plumber and waiting five days for resolution. Musically, the emotional high point is a warm, informed appreciation of David Byrne.  The hosts tip their hats to Byrne's wider career, including his work with Brian Eno, particularly ** My Life in the Bush of Ghosts **, and note his recent appearance at Jazz Fest. Show Notes Legends | Official Trailer | Netflix  Shetland On Iview  Talking Heads - Road to Nowhere (Official Video) Brian Eno -- David Byrne - My Life In The Bush Of Ghosts - A1 - America Is Waiting  Brian Eno -- David Byrne - My Life In The Bush Of Ghosts - A4 - Help Me Somebody  David Byrne with Choir! Choir! Choir! - Heroes  Talking Heads – Psycho Killer (Official 4K Remastered Video, Live 1983)  The Waterboys - Fisherman's Blues (High Quality) Chris Franklin Doco on Spectrum's I'll Be Gone “Someday I'll Have Money”

Most players hit a wall the same way, cycling through the same licks, searching for something new, and ending up lost in endless videos.Here's a better way.In this video, we break out of that loop by using a simple, lifelong skill:take a song you love, learn the melody, and learn how to harmonize it.No tabs. No shortcuts. No spoon-feeding.This is how you build real musical independence, and actually start growing every time you pick up the guitar.Support the show

The Daily Shower Thoughts podcast is produced by Klassic Studios. [Promo] Check out the Daily Dad Jokes podcast here: https://dailydadjokespodcast.com/ [Promo] Like the soothing background music and Amalia's smooth calming voice? Then check out "Terra Vitae: A Daily Guided Meditation Podcast" here at our show page [Promo] The Daily Facts Podcast. Get smarter in less than 10 minutes a day. Pod links here Daily Facts website. [Promo] The Daily Life Pro Tips Podcast. Improve your life in less than 10 minutes a day. Pod links here Daily Life Pro Tips website. [Promo] Check out the Get Happy Headlines podcast by my friends, Stella and Mickey. It's a podcast dedicated to bringing you family friendly uplifting stories from around the world. Give it a listen, I know you will like it. Pod links here Get Happy Headlines website. Shower thoughts are sourced from reddit.com/r/showerthoughts Shower Thought credits: ToastMaster0011, memorablemango, mikehoncheaux, SupremoZanne, Epicgamestar303, TheDangOofMan, Adjacentfancet, namanama101, PutMeInAHeadlock, rsmcarthur, Zotetheoat, kingc-ro, Fluryman, Pinkietastic1, cody14141, blueteeblue, horkyboi_avery, DanielTheKidd, ContactIcy3963, , GiveTracerOrIThrow, Katiari, BlizzPenguin, medium-rare-chicken, OldTimeyMedicine, pufballcat, filmhamster, AllDressedJalapenos, krum81 Podcast links: Spotify: https://open.spotify.com/show/3ZNciemLzVXc60uwnTRx2e Apple Podcasts: https://podcasts.apple.com/us/podcast/daily-shower-thoughts/id1634359309 Stitcher: https://www.stitcher.com/podcast/daily-dad-jokes/daily-shower-thoughts iHeart: https://iheart.com/podcast/99340139/ Amazon Music: https://music.amazon.com/podcasts/a5a434e9-da18-46a7-a434-0437ec49e1d2/daily-shower-thoughts Website: https://cms.megaphone.fm/channel/dailyshowerthoughts Social media links Facebook: https://www.facebook.com/DailyShowerThoughtsPodcast/ Twitter: https://twitter.com/DailyShowerPod Instagram: https://www.instagram.com/DailyShowerThoughtsPodcast/ TikTok: https://www.tiktok.com/@dailyshowerthoughtspod Learn more about your ad choices. Visit megaphone.fm/adchoices

Believe it or not, the classic Judas Priest album "Turbo" recently celebrated its 40th Bday! This is an interesting album in the whole JP discography. Fans were split as the band experimented with more modern sounds and images in an effort to look more "80s". So its a great time to feature "Turbo" in our "40th Anniversay Album Spotlight Series". We do a track by track deep dive. And share how we discovered the record, the controversial 80s overhaul and if JP could truly be considered NWOBHM. Luv it or hate it, you no doubt have a strong opinion of it. Musically, we crank some D.R.I., Pig Destroyer, Vreid, Temple of Void, Sinner, Savage, Turbo (the Polish band) and we feature British bangers Olympus in our "Indie Spotlight". Horns Up!!

Umay Acar-Sümer |Writer and Composer of ‘Beowulf the MusicalBio:Umay Acar-Sümer is a Turkish singer and composer based in Hampshire, UK. Having completed an MA in Medieval Studies and MMus in Music Composition at Royal Holloway, Umay draws inspiration from medieval literature and history in her writing. She is the writer and composer of ‘Beowulf the Musical', a two-act musical made up of 35 song based on the medieval epic poem Beowulf. ‘Beowulf the Musical' premiered at the Edinburgh Fringe Festival in 2024 with Umay playing the role of Freawaru; the musical is now set to release an album with many of the original cast and orchestra members reprising their roles. Umay's writing influences include late medieval authors like Geoffrey Chaucer, Sir Thomas Malory and Chrétien de Troyes as well as anonymous poems from the Anglo-Saxon period such as The Wanderer, The Battle of Maldon and The Seafarer. Musically she is inspired by contemporary composers such as Alan Menken, Andrew Lloyd Webber, Lin Manuel Miranda and Anais Mitchell as well as the works of Handel, Verdi, Mozart and Strauss. Umay is currently working on her next musical; a sapphic fairytale about a girl with a magical harp teaming up with a disgraced knight to defeat a dragon.Links:Website:https://umaymakesmusic.wordpress.com/TikTok: https://www.tiktok.com/@umaymakesmusichttps://www.tiktok.com/@beowulfthemusical Facebook:https://www.facebook.com/umayisnotherehttps://www.facebook.com/beowulfthemusicalInstagram:https://www.instagram.com/umayisnotherehttps://www.instagram.com/beowulfthemusical Spotify:https://open.spotify.com/artist/5IrAUtyarBSJGbvzazeBuZ YouTube:https://youtube.com/@umayisnothereTagspodcast for creativescreative podcastpodcast creator interviewsprofessional podcastcreative podcastspodcast host interviewscreative podcast ideasSupport PEG by checking out our Sponsors:Download and use Newsly for free now from www.newsly.me or from the link in the description, and use promo code “GHOST” and receive a 1-month free premium subscription.The best tool for getting podcast guests:https://podmatch.com/signup/phantomelectricghostSubscribe to our Instagram for exclusive content:https://www.instagram.com/expansive_sound_experiments/Subscribe to our YouTube https://youtube.com/@phantomelectricghost?si=rEyT56WQvDsAoRprRSShttps://anchor.fm/s/3b31908/podcast/rssSubstackhttps://substack.com/@phantomelectricghost?utm_source=edit-profile-page

Inside this episode with your host, Mitch HamptonMark Winters has had thus far a remarkable run of careers by any estimation. After spending the first part of his life ensconced in the worlds of NASA, aerospace and the sciences he made the dramatic decision in his thirties to become a singer songwriter, one of whose signature songs is explicitly about “what it means to be human”, like the tagline for our podcast. I found Winters a most engaging conversationalist, bringing the good vibes he cherishes to the discussion in as plentiful supply as can be heard in his music.Mr. Winters BioTexas-based rock singer-songwriter Mark Winters is many things; a witty poet, passionate musician, entrepreneur, optimist, family man, and a bonafide rocket scientist. He first picked up a guitar to play a song for his wife on their anniversary. That's when he discovered the joy of connecting with people through music. Mark combines music, poetry, a science background, and love for his community to form his signature sound, “rock with a positive vibe.”His musical roots are in rock, blues rock, and pop, and John Mayer, Tom Petty, and Jason Mraz are significant influences. “My music starts from a place of poetry and creative inspiration, and I use my ‘rocket-scientist brain' to find structures that help me explore that initial burst of inspiration and feeling – like writing haikus, my favorite! My grandmother taught me to express myself through poetry and I'm thankful to her for setting me on this creative and expressive path.”Mark has a degree in Aerospace, Aeronautical, and Astronautical Engineering, and his math and science background guides his musical explorations. He likes taking complex things such as emotions and expressing them in a way that's easy to understand. Balancing his right-brained creativity with his analytical left-brain is part of a life-long journey; music is one more place where he can explore this balance.Since his debut album “Slipstream” in 2019 he's garnered numerous positive reviews, has been placed on hundreds of playlists, and racked up over a million streams worldwide. He's poised to continue this success with his sophomore album, “Boundary Layer.” Boundary Layer showcases the intersection of Mark's scientific mind and his passion for positivity and good works. This album is a tribute to those who have helped Mark break out of life's “normal” boundaries and pursue the person he was meant to be. His goal with this new record is to inspire others to break through barriers in their lives and to use emotional connections and energy to move in the direction they were meant to go. Scientifically, a boundary layer is the place on an object in a moving fluid where things can either start moving or stand still.He and his beloved wife have always had compassion for people in the world and believe it's important to give back to your community. Mark enjoys mentoring entrepreneurs like himself, and donates a lot of his time to philanthropic organizations throughout the Houston area.Each song on his first album is an emotional story about his life's journey's. Slipstream is the stream of air behind any moving object, usually in the context of making the effort of moving behind someone easier for everyone, like birds flying in a v-formation flock. This is the feeling Mark experienced while working with the incredible musicians and producers who helped create the album. “Musically, the songs on SlipStream run the gamut from straight guitar-based classic rock to bluesier jams, pop metal, Beach Boys-type ballads, and psychedelia. There's even a mini-rap in one number.” - The Houston Press#rock #johnmayer #tompetty #guitar #song #blues #rock #folk #lifelonglearning #psychology #math #science #nasa #aerospace #transportation #california #texas #love #romance #marriage #technology #humanity #vocal #acoustic #piano #caroleking #jonimitchell #tinydesk #itsnevertoolate #algebra #computer #internet #socialmedia #algorithm 

Episode 3 of the Parallel Realities Show (the one where I was full of a cold and got everything wrong) Musically, all over the place, brand new Jazz Rock, deep Prog Instrumental cuts being the order of the day, some great personal musical memories and of course plenty of waffle. #happyears NJOY X

Ep. 182: 30 years of running an indie record label is a monumental milestone. We speak to Chris Goss about exactly that – three decades after he co-founded the highly influential jungle / drum and bass label Hospital Records. Chris has lots to say about the "blood, sweat, and tears" required to stay independent for three decades; modern A&R and how Hospital balances a classic "gut feeling" with data; why drum n bass is currently enjoying its most prolonged "hot streak" in history; and the future of the label.Founded in West London in 1996 by Chris Goss and Tony Colman, Hospital didn't start with an aggressive business plan. Today, Hospital stands as - possibly - the largest independent drum n bass label in the world. Hospital records: https://hospitalrecords.com/High Contrast: https://www.youtube.com/watch?v=XoSscshAG-4------

The Daily Shower Thoughts podcast is produced by Klassic Studios. [Promo] Check out the Daily Dad Jokes podcast here: https://dailydadjokespodcast.com/ [Promo] Like the soothing background music and Amalia's smooth calming voice? Then check out "Terra Vitae: A Daily Guided Meditation Podcast" here at our show page [Promo] The Daily Facts Podcast. Get smarter in less than 10 minutes a day. Pod links here Daily Facts website. [Promo] The Daily Life Pro Tips Podcast. Improve your life in less than 10 minutes a day. Pod links here Daily Life Pro Tips website. [Promo] Check out the Get Happy Headlines podcast by my friends, Stella and Mickey. It's a podcast dedicated to bringing you family friendly uplifting stories from around the world. Give it a listen, I know you will like it. Pod links here Get Happy Headlines website. Shower thoughts are sourced from reddit.com/r/showerthoughts Shower Thought credits: MrJeIIoMan, Burning_Toast998, BearFluffy, nlamber5, iwishihadnobones, windtrainexpress, , tpb772000, SadboiMaz, Same_Ad_1273, 50k-runner, Beandealer420, tomerFire, stumped711, lizardan, mcgormack, LieutenantChonkster, Rumcake256, DirtinEvE, , TiredStarling095, GSDFrieden, 339jimmyr, Pinkietastic1, SpaceJackRabbit, The_Cringe_Channel, thesmartass1, the00therjc, target__official Podcast links: Spotify: https://open.spotify.com/show/3ZNciemLzVXc60uwnTRx2e Apple Podcasts: https://podcasts.apple.com/us/podcast/daily-shower-thoughts/id1634359309 Stitcher: https://www.stitcher.com/podcast/daily-dad-jokes/daily-shower-thoughts iHeart: https://iheart.com/podcast/99340139/ Amazon Music: https://music.amazon.com/podcasts/a5a434e9-da18-46a7-a434-0437ec49e1d2/daily-shower-thoughts Website: https://cms.megaphone.fm/channel/dailyshowerthoughts Social media links Facebook: https://www.facebook.com/DailyShowerThoughtsPodcast/ Twitter: https://twitter.com/DailyShowerPod Instagram: https://www.instagram.com/DailyShowerThoughtsPodcast/ TikTok: https://www.tiktok.com/@dailyshowerthoughtspod Learn more about your ad choices. Visit megaphone.fm/adchoices

On episode 208 of March Forth with Mike Bauman, Mike chats with Andrew Paulsen! A native of Toledo, Ohio, Paulsen is a Brooklyn, New York-based filmmaker and songwriter. Musically, Andrew is part of the indie folk rock outfit Paulsen-Shepler with friend Ben Shepler. Together, they released their EP entitled Undertow back in 2022. The Paulsen-Shepler song "On the Long Way Down" off of Undertow was featured in Stephanie Laing's new movie Tow. On the film and TV side, Andrew has also had the chance to develop his skills in screenwriting and film production through various roles on his creative journey. From his early days as an office production assistant for Ryan Murphy Television, to Script Coordinator and eventually writing on FX's American Horror Story, to writing and directing his found footage horror short film entitled Homebody, Andrew's various work experience in entertainment is a testament to what is possible when you chase your dreams. In this episode, Andrew talks with Mike about his early foray into music back home in their native Toledo, following his sister to Los Angeles to chase his dreams in entertainment, how he ended up working on American Horror Story, teaming up with friend Ben Shepler for Paulsen-Shepler, sync licensing and how he got the opportunity for "On the Long Way Down" to be featured in Tow, meeting Rose Byrne, persevering through challenges along his creative journey, relocating to New York City, the courage to chase your dreams, and more. This episode of the podcast also features the aforementioned "On the Long Way Down" from Paulsen-Shepler, available where you get your music! Follow Andrew on Instagram @ajpaulsen. To stay up to date on Andrew's work, visit https://www.ajpaulsen.com/. Follow Mike on Instagram @marchforthpod. To stay up to date on the podcast and learn more about Mike, visit https://linktr.ee/marchforthpod. If you or someone you know needs mental health resources, please visit the following links: https://www.psychologytoday.com/us; https://988lifeline.org/ Thanks for listening! If ya dug the show, like it, share it, tell a friend, subscribe, and above all, keep the faith and be kind to one another.

Ya like jazz? Marcus's third Mobile Suit Gundam entry continues the gang's discussion on the Universal Century and the One Year War, with a grittier, more self-contained narrative than what we discussed in our episode on Unicorn. Musically unique and visually stunning, Thunderbolt gets our praise primarily because it feels less focused on the minutia of Mobile Suit Gundam and more focused on being a war movie: it hits a lot harder this time around thanks to its adult main characters, more terrifying and dramatic combat, and more mature war-centric themes like drug abuse or child soldiers. It's not a winner for everyone—Iris might have thrown in the towel on Gundam as a whole this episode—but the gang has a lot of praise for this short, two-sided ballad where nobody wins in the end. Content warning: SPOILERS, strong language.

Mark Fine returns from Singapore and Stephen J Peak is a no show! Shock! Horror! Gasp! The gossip columnists would dine out on this development, but nothing to see here. No IVO's here, the only orders Mr. Peak is interested in come from Uber Eats. In this episode Anzac Day and the Anzac Appeal round get a robust 360 review. As does the AFL's ARC, Scott Pendlebury and Billy Field. That would be the first time that pair have ever been in the same sentence. Musically, as we use the term loosely, we head to 1992 and dive head first into the ARIA Top 40 for the year, which has Billy Ray Cyrus perched at number 1. Nuff said. Kevin Hillier, Mark Fine, Ken Francis Stephen J Peak (Absent) Post-production by Steve Visscher | Southern Skies Media for Howdy Partners Media | www.howdypartnersmedia.com.au/podcasts © 2026See omnystudio.com/listener for privacy information.

Linktree: ⁠⁠https://linktr.ee/Analytic⁠⁠Join The Normandy For Ad-Free NME, Additional Bonus Audio And Visual Content For All Things Nme+! Join Here:⁠⁠ ⁠⁠https://ow.ly/msoH50WCu0K⁠⁠ Analytic Dreamz breaks down Kehlani's fifth studio album, the self-titled project released on April 24, 2026. This 17-track R&B blockbuster follows the 2024 album Crash and marks a major career moment for the artist. The lead single “Folded” reached number 6 on the Billboard Hot 100, delivering Kehlani's first Top 10 hit along with two Grammy wins for Best R&B Performance and Best R&B Song.The album features an all-star lineup including Cardi B, Usher, Brandy, Clipse, Lil Wayne, Big Sean, Leon Thomas, Lil Jon, T-Pain, and Missy Elliott. Standout collaborations appear on tracks such as “Back and Forth” with Missy Elliott, “No Such Thing” with Clipse sampling The Pharcyde's “Runnin',” “Shoulda Never” with Usher, “Sweet Nuthins” with Leon Thomas, “Anotha Luva” with Lil Wayne, and “Pocket” with Cardi B. Only about five tracks remain fully solo, highlighting a deliberate strategy of heavy features to explore diverse R&B sub-genres.Musically, the project fuses '90s and 2000s R&B influences with modern production, including Jimmy Jam & Terry Lewis-style elements on “I Need You,” rock-infused ballads like “Oooh,” and a gospel-influenced closer “Unlearn.” Themes center on romantic relationships, personal growth at age 30, motherhood, and emotional clarity, delivered through accessible, sing-along narratives designed for broad relatability.Analytic Dreamz examines the marketing rollout, including Spotify partnership, a trailer reveal, and low-cost “Club Kehlani” listening events priced at $4.24 across New York and Los Angeles. The segment explores Kehlani's ambitions for Carnegie Hall orchestral performances, film and TV placements, and her transition into mainstream crossover success as an arena-level R&B headliner.This segment delivers an in-depth analysis of how Kehlani's feature-heavy, nostalgia-driven approach positions the self-titled album as a potential R&B classic and sets the tone for mainstream R&B in 2026. Privacy & Opt-Out: https://redcircle.com/privacy

For this edition of Sessions, we're taking one of the most honest conversations we've ever had on the Radulich in Broadcasting Network and turning it into something heavier, louder, and harder to ignore.Coming out of our discussion on The Boys Season 3, what started as a breakdown of superheroes and spectacle quickly became something else entirely—a raw examination of masculinity, responsibility, and the quiet rules men are expected to live by. Not the version you see on social media. The real one. The one that says: get up, go to work, handle your business, no matter how you feel.“That's What Men Do” isn't a parody. It's not a gimmick. It's a direct translation of that moment—of frustration, of conviction, of lived experience—into a blue-collar Southern rock/metal anthem. Built from the language we actually used on that show, this track leans into repetition, pressure, and identity, capturing the idea that strength is expected, but rarely explained.Musically, we're sitting somewhere between the dusty, grounded storytelling of Cracker and the aggressive, groove-heavy punch of Hellyeah—keeping one foot in alt-country grit and the other in controlled chaos.This is Sessions: where conversation becomes composition.Disclaimer: The following may contain offensive language, adult humor, and/or content that some viewers may find offensive – The views and opinions expressed by any one speaker does not explicitly or necessarily reflect or represent those of Mark Radulich or W2M Network.Mark Radulich and his wacky podcast on all the things:https://linktr.ee/markkind76alsohttps://www.teepublic.com/user/radulich-in-broadcasting-networkFB Messenger: Mark Radulich LCSWTiktok: @markradulichtwitter: @MarkRadulichInstagram: markkind76RIBN Album Playlist: https://suno.com/playlist/91d704c9-d1ea-45a0-9ffe-5069497bad59 

Ep. 181: This is the second episode in a two-part series about the evolution of CMOs – recorded as collective management organisations undergo their most significant transformation in decades. In this episode, Sacem's Director of International, Caroline Champarnaud chats with Julien Dumon, its Director of Digital. They explain how the global infrastructure only works if it ultimately serves creators –whose needs are evolving just as fast as the systems built to support them.They go on to explain how Sacem is redefining its services, tools and philosophy to support modern creators – from digital-native artists to global collaborators – while maintaining fairness, transparency and trust.⁠SACEM: Society of Authors, Composers and Publishers of Music⁠=========Series recap:In the first episode in the series, ⁠⁠David El Sayegh, Deputy CEO of Sacem⁠⁠, discussed how the organisation is defining the future of copyright.In the second episode, ⁠we were joined by Julien Lefebvre⁠, the Head of Innovation and Sacem Lab, to talk about its startup partnerships, and the strategic decision to open up certain proprietary technologies to all creators.In the third episode, we spoke to Caroline and Julien about how CMOs are evolving into interconnected, global infrastructure players: the challenges of global metadata, why international partnerships with organisations like ASCAP and GEMA are more vital than ever, and how Sacem is scaling its systems to match the explosive growth of music streaming in emerging markets.=======This is a Music Ally Co-Labs podcast: ⁠⁠⁠⁠⁠⁠⁠⁠musically.com/music-ally-co-labs⁠⁠⁠⁠. Co-Labs content is created by publishing partners in liaison with the Music Ally Editorial Team. We work closely with partners to ensure that it adheres to Music Ally's high expectations of quality, thoughtfulness, and usefulness.

There's this old adage of "Opinions are like aholes. Everyone has one and they all stink". So in that spirit, we thought we'd share some of ours this week. As teens, the British tome, Metal Forces, was a fave. Every year the magazine presented their "Reader's Poll" results. And we recently stumbled on the results from '83 in Issue 3. So we figured we'd give them the once over and cast our own ballots. Forty three years late.  In our "News, Views and Tunes", we pay tribute to Ross The Boss. Musically, we crank some Henry Rollins, Trauma, Fulci, Witchslayer, Original Sin, Stormkeep and introduce Austria's Rambow in our "Indie Spotlight". Horns Up!

While Finey explores the culinary delights of Singapore, it's an old school three ring circus and there is no shortage of clowns, that's for sure. There are no safety nets used here. Roll on up under the Big Top (one of Stephen's recently laundered golf polos). Ken performs stunts, both cunning and not so. For Kev, it's the Tightrope and other Leon Russell songs. The grand finale is Stephen 'Danger is my middle name' Peak * and his amazing death defying fire eating and sword swallowing act. That is something to behold -especially as he washes it down with a seven course banquet from Fongs of Brighton - and in the show stopping finale finale with the wave of a sauce smeared chopstick, SJ peak becomes the elephant in the room. Ta Da! And to think the tattooed man missed all this. Musically, it is the purity of rediscovering a 4IP Top 40 chart from February 1968. No bells or whistles required. (*the J is Just for show) Kevin Hillier, Mark Fine (on Singapore assignment), Stephen J Peak, Ken Francis Post-production by Steve Visscher | Southern Skies Media for Howdy Partners Media | www.howdypartnersmedia.com.au/podcasts © 2026See omnystudio.com/listener for privacy information.

David and Brian are a duo. In this episode the duo was on form and we love each other. I promise. We talked about music!

To call Dublin post punk five-piece band Gurriers "outspoken" could refer to a few things. They are unapologetic in their lyrics, hitting home on themes ranging from hypocricy to nihilism, extreme rhetoric, online abuse and desensitisation. Musically, they make you sit up and listen. Their live shows are electrifying, loud and alive. And they practice what they preach, having led the entire contingent of Irish artists at SXSW to pull out of the festival in protest of its sponsorship by the US army amidst its funding of genocide in Palestine and the Middle East in 2024.I caught up with bassist Charlie McCarthy and Pierce O'Callaghan, bassist and drummer in the Gurriers to talk all about their debut album ‘Come and See' (2024), and other things like rafter athletics, empathetic punk rock, SXSW and the surprising role Deftones and cat pictures played in the Gurriers origin story.It was a pleasure chatting with Charlie and Pierce! I hope you enjoy this interview as much as I did. Find their debut album on their Bandcamp page.This interview was recorded just before Gurriers' excellent debut headline Canadian show at The Garrison in Toronto last month. Thank you to the Lakeview Diner for having us!Cover shot: Gurriers (and me) by Nolan McBride @ The Lakeview. 19 March 2026.Touch that dial and tune in live! CFRC 101.9 FM in Kingston or cfrc.ca⁠, Sundays 8-9:30 PM! Full shows in the linked archive for 3 months from broadcast.Like what we do? ⁠Donate⁠ to help keep our 102-year old radio station going!Get in touch with the show: email ⁠yellowbritroad@gmail.com⁠, IG @⁠⁠yellowbritroad⁠⁠.PS: submissions, cc ⁠music@cfrc.ca⁠ if you'd like other CFRC DJs to spin your music on their shows as well.

Here's a taste of our other podcast, The Price Of Music, presented by Steve Lamacq and Stuart Dredge – it's your easy weekly guide to the music biz and how it all works, Like what you hear? Subscribe to TPOM now! https://MusicAlly.lnk.to/TPOMThis week, there's a change to our normal schedule – with a whistlestop tour around the news and then a very special interview with Ashli Todd, owner of the legendary ⁠Spillers Records⁠, the world's oldest record shop (founded in 1894, fact fans!)Ashli takes time out from filing vinyl to chat to us about ⁠Record Store Day 2026⁠, which is taking place on Saturday 18th April. She also talks about the logistical hurdles of running a record store today. She also gives an authoritative answer on whether PJ Harvey should be filed under 'P' or 'H'!Become a ⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠Superfan of the podcast for free – and enjoy the exclusive weekly Lock-in bonus section!⁠⁠⁠⁠ ⁠In this episode...The Ye/Wireless fallout: what are the financial and contractual "cleaning up exercises" facing Festival Republic after headliner Ye (AKA Kanye West) was denied UK entry – resulting in the entire festival's cancellation?Radiohead's Coachella Bunker: the band's new "audiovisual installation" is located in a literal bunker beneath the Coachella festival (and if you visit, they put stickers over your phone cameras)A billion-dollar milestone: Latin American music has topped $1 billion in US label revenue for the first time - but which artists have driven this?Then, Ashli Todd, owner of Spillers Records, joins the show to chat about Record Store Day! (Our extra-special ⁠⁠⁠⁠Patreon Superfans⁠⁠⁠⁠ get the full, unedited interview... including some hearty debate about Simply Red!)RSD reality check: Ashli reveal what it's like to run a record shop during Record Store Day – including the high-stakes gamble of ordering for the big day.Ashli explains how shops cannot return any unsold Record Store Day stock: so if a shop is left with too many unsold titles, it can negate the entire profit margin for the event. CDs are... back: Ashli sees teenagers gravitating toward them as a "retro" and affordable alternative to increasingly expensive vinyl.How sales of popular albums can "fall off a cliff" simply because it's impossible to reorder from the warehouse, due to labels' unwillingness to sit on large quantities of stock.The Jools Holland Effect vs. the TikTok Effect: While the Jools Holland effect on sales has waned, TikTok now has a tangible impact on what (especially younger) customers ask for.We finally settle the argument: does PJ Harvey belong under 'P' or 'H'? A bonus filing complication: Record Store Day filing rules follow the official list order, which is alphabetical by first name. (We're still not 100% clear how this effects PJ Harvey, though.)(If you'd like to know more about the history of Spillers, this interview with Ashli is well worth a read: ⁠https://www.walesonline.co.uk/news/wales-news/story-uks-oldest-record-shop-15805068)⁠===================================As ever, we welcome your feedback, emails and – in particular – any questions you might have about how the music biz works!Email us: ⁠⁠⁠⁠⁠thepriceofmusicpodcast@gmail.com⁠⁠⁠⁠⁠See you next week!Steve and Stuart======TPOM online: ⁠http://tpom.uk/⁠Support The Price of Music on Patreon:⁠⁠⁠⁠⁠https://www.patreon.com/ThePriceofMusic⁠⁠⁠Follow Steve on X - @steve_lamacqFollow Stuart on X - @stuartdredgeFollow The Price of Music on X - @PriceofMusicpodFor sponsorship opportunities, please email - ⁠⁠⁠joe@musically.com

https://blacksheeprecordsmusicllc.comBioWritten by Taylor BerryLAFAYETTE, La. — A lifetime of hard moments and honest reflection comes to thesurface in Blue's debut single, “Summer Nights Goodbye,” arriving March 2026 viaStarlight Media. The Lafayette, Louisiana, songwriter isn't interested in dressing things up. His music is rooted in truth—real experiences, real emotions, and the kind of memories that don'tfade. “Summer Nights Goodbye” leans into that, capturing the quiet, lingering feeling ofloss in a way that feels both personal and familiar, shaped in part by his wife's passing.Recorded at Beaird Music Group in Nashville, the track was brought to life under thedirection of ACM Award-nominated producer Eli Beaird, with engineering by JimDeBlanc. The production is clean and intentional, giving the story space to breathewhile still delivering a sound that sits comfortably within today's country landscape.Blue's writing stands out in its detail. Small, specific moments—things you can see,hear, even smell—bring his songs to life. It's a style he's developed through patienceand persistence, often working through dozens of versions of a track before landing onthe one that feels right.“I just keep going until it sounds like what I hear in my head,” he said. “If it doesn't feelright, I'm not done yet.” That dedication shows in “Summer Nights Goodbye,” a song that doesn't rush its emotions or try to force a moment. Instead, it unfolds naturally, allowing listeners to sitwith it and find their own meaning within it.Early feedback from industry professionals has reinforced Blue's instinct for detail-driven storytelling. During a recent listening session with a Nashville publisher, BeairdMusic Group's Aaron Beaird and Concord Records executive Matt Turner noted thecinematic quality of his writing, pointing to the way small details bring his songs to life.The response offered encouragement to continue refining his voice and approach.Musically, Blue blends elements of pop country with red dirt grit and a touch of soul,creating a sound that feels both grounded and accessible. There are shades of artistslike Morgan Wallen, Tyler Childers and HARDY in his approach, but his focus remainson telling stories that come from a real place.At its core, his music is about connection. Blue writes for people who have been throughsomething—those navigating grief, change or simply trying to make sense of life'sheavier moments. There's a sense of resilience woven throughout his work, even in itsmost emotional points.“Summer Nights Goodbye” marks the beginning of what Blue hopes will be a lastingbody of work—songs people return to, not just when they're looking for something tolisten to, but when they're looking to feel understood.About BlueBlack Sheep Records Music LLC is proud to present Blue, a songwriter from Lafayette,Louisiana, who is changing the face of country music. Operating under one rule—“tellthe truth and let it bleed” Blue creates a sound that blends pop country, redemptionsoul and red dirt grit. Known for his dedication to the craft, he often works throughdozens of versions of a song to get it just right. His music combines the hook-drivenappeal of artists like Morgan Wallen with the honesty of Tyler Childers and HARDY,delivering songs that resonate with listeners who are both broken and strong. With hisdebut single “Summer Nights Goodbye,” released in March 2026 by Starlight Media,Blue is turning personal experience into music that doesn't just tell stories—it makespeople feel them.Become a supporter of this podcast: https://www.spreaker.com/podcast/creator-to-creators-with-meosha-bean--4460322/support.

It's Showtime. Get ready for a powerful pontification of the people's position pertaining to the pleasure provided when the participants perform their professional pursuits in pastures whose proximity precludes the provision of the populace. Gather round because unlike Adelaide in April, the heat is on, the seats are undercover and nothing floats in its own pea, or at least we hope not. Musically, we keep it simple - Simon and Garfunkel. And now here'sssssssssssssssssssssss Don or Kev! Kevin Hillier, Mark Fine, Stephen J Peak, Ken Francis Post-production by Steve Visscher | Southern Skies Media for Howdy Partners Media | www.howdypartnersmedia.com.au/podcasts © 2026See omnystudio.com/listener for privacy information.

From concert tours to real impact  With over 30 years in the entertainment industry, Maria Brunner has worked alongside music's biggest names. Today, she's channeling that experience into purpose as the founder of Musically Fed — turning unused tour catering food into meals for those in need. What began in Scottsdale is now making a global difference. With over 30 years in the entertainment industry, Maria Brunner has worked alongside music's biggest names. Today, she's channeling that experience into purpose as the founder of Musically Fed

Inspired by our Rock n Roll Hall Of Fame discussion last week, we decided to test our Metal. Being trivia buffs, we came up with the idea of Aaron testing Snowy on his knowledge of said HOF. Essentially, Aaron threw out an artist and Snowy had to take an educated guess as to the year they went into the Hall. You'll be able to hear the wheels turning through your device. In our "News, Views and Tunes", we pay tribute to Motorhead's Phil Campbell. Rest In Power!! Musically, we crank some Jello Biafra, Artillery, Repulsion, The Great Kat, Steve Grimmett's Grim Reaper, Persian Risk, Poison Dollys, Blood Oath and we introduce TX thrashers Accuser in our "Indie Spotlight". Horns Up!!

Hawaiian Concert Guide Podcast Show 702 - Royal Flush Welcome to another inspiring edition of the Hawaiian Concert Guide. Episode 702, titled Royal Flush, is a heartfelt musical journey through aloha for family, love of place, worship, memory, and the unmistakable beauty of Hawaiian harmony. This episode moves gracefully from contemporary Hawaiian recordings into faith-filled expressions, pauses for a fun and nostalgic exotica interlude, and then returns home with classic Hawaiian vocal richness. At the top of the show, we feature a special live interview with Nick and Sam, who are visiting Hilo, Hawaiʻi for the world-renowned Merrie Monarch Festival, the premier celebration of hula and Hawaiian cultural arts. From the vibrant energy of Hilo during festival week to the deep traditions of hula, chant, and storytelling, Nick and Sam share their firsthand experiences attending one of the most significant cultural events in Hawaiʻi. Their perspective offers listeners a glimpse into the atmosphere, excitement, and reverence that define Merrie Monarch. The selections in this episode reflect some of the deepest values found in Hawaiian music: reverence for loved ones, profound attachment to the land, gratitude to God, and the enduring power of mele to preserve both emotion and identity. The result is an episode that feels warm, reflective, and deeply rooted. Featured Tracks 1. E Māma - Kaleo Phillips Album: E Mama Duration: 4:01 Opening the episode is E Māma, a song that immediately establishes an intimate and reverent emotional tone. The title suggests a tribute to mother, and in Hawaiian musical tradition, songs honoring mothers often carry meanings that go beyond a single individual. They can also reflect family lineage, sacrifice, tenderness, and the continuity of aloha across generations. Kaleo Phillips delivers the mele with restraint and sincerity, allowing the song's emotional core to remain front and center. Rather than overwhelming the listener with a dense arrangement, the song appears to rely on warmth, vocal phrasing, and a steady melodic line. That simplicity is part of its strength. Hawaiian music often does its best work when it trusts the story. As an opening track, this selection acts as a gateway into the entire episode. It introduces a theme that echoes through several of the songs that follow: love expressed not through spectacle, but through remembrance, gentleness, and deep personal connection. Theme: Family love, reverence, remembrance Musical character: Gentle, reflective, intimate Why it matters: Sets the emotional and spiritual tone for the full episode 2. Puna Kuʻu Aloha - Christy Leinaʻala Lassiter Album: Ho'i Ke Aloha - EP Duration: 3:57 Puna Kuʻu Aloha is a beautiful example of Hawaiian songwriting rooted in place. In Hawaiian mele, land is never just scenery. It is memory, identity, relationship, and presence. To sing of Puna is to sing of a living place with emotional and cultural meaning. Christy Leinaʻala Lassiter brings grace and emotional clarity to this performance. The phrase kuʻu aloha conveys a deeply personal affection, making the title feel like a love letter to Puna itself. This is one of the distinctive strengths of Hawaiian music: the ability to treat land as beloved, not merely observed. Puna, on Hawaiʻi Island, carries layers of meaning through its lush beauty, dynamic volcanic history, and deep cultural associations. Songs about Puna often hold a sense of longing, beauty, and transformation. This recording fits naturally within that lineage, inviting the listener to hear place as something cherished and alive. Theme: Love of place, emotional geography, identity Musical character: Flowing, melodic, affectionate Why it matters: Reinforces the Hawaiian tradition of connecting aloha with the land 3. Haleakalā - Christy Leinaʻala Lassiter Album: Ho'i Ke Aloha - EP Duration: 3:37 Staying with Christy Leinaʻala Lassiter, Haleakalā shifts the focus from one beloved region to one of Hawaiʻi's most revered natural and spiritual landmarks. Haleakalā is not only a mountain; it is a place layered with story, reverence, and mythic resonance. In Hawaiian tradition, places are often inseparable from the narratives attached to them. Haleakalā is famously associated with Māui, who was said to have lassoed the sun there. Because of that, references to Haleakalā can carry themes of time, light, wonder, and power. A song named for it naturally invites awe. Musically, this piece feels expansive, fitting the majesty of the subject. It broadens the emotional landscape of the episode and deepens the sense that Hawaiian music can hold both personal tenderness and geographic grandeur in the same artistic frame. Theme: Sacred place, wonder, mythic landscape Musical character: Spacious, reverent, elevated Why it matters: Expands the episode from intimate affection into spiritual geography 4. Goodness of God - Gregory Juan Album: Kauluwehi Duration: 3:41 With Goodness of God, the episode moves more directly into the language of testimony and praise. Though widely known in contemporary Christian music, a Hawaiian-oriented rendition invites the listener to hear the song through a different cultural lens. In this context, gratitude becomes more than a lyric theme; it connects naturally with the Hawaiian value of mahalo. Gregory Juan's performance likely resonates because of that fusion. Contemporary worship songs can sometimes feel structurally familiar, but when interpreted with island phrasing, local vocal sensibility, and an ear for relational warmth, they can take on a more grounded and communal feeling. This track serves as an important bridge in the episode. The earlier songs honor people and places. Here, the orientation shifts upward in gratitude toward God. That movement from family and land into faith gives the episode a natural spiritual progression. Theme: Gratitude, testimony, faith Musical character: Worshipful, warm, heartfelt Why it matters: Bridges Hawaiian sensibility with contemporary Christian expression 5. Hawaiʻi Aloha - Kamalei Kawaʻa Album: Mānaiakalani Duration: 4:56 Few songs carry the emotional and cultural significance of Hawaiʻi Aloha. This is one of the most beloved anthems in Hawaiian music, often sung at the close of gatherings as a gesture of unity, affection, and enduring connection to the islands and their people. Kamalei Kawaʻa's inclusion of this song is powerful within the context of Episode 702. After moving through songs of personal love, cherished places, and gratitude to God, this anthem broadens the circle to embrace the whole of Hawaiʻi. It becomes communal rather than only personal. The strength of this song lies not only in melody but in function. It has become a song that people live with, sing together, and use to mark belonging. That sense of shared identity is one of the central treasures of Hawaiian music. Theme: Unity, homeland, shared aloha Musical character: Anthemic, communal, dignified Why it matters: One of the emotional anchors of the entire episode 6. Hoʻomana Ia Iesu (feat. Ka ʻOhana Kawaʻa) - Kamalei Kawaʻa Album: Mānaiakalani Duration: 4:04 Hoʻomana Ia Iesu brings the episode to an explicitly devotional place. The title itself centers worship of Jesus, and the featured participation of Ka ʻOhana Kawaʻa adds a family and community dimension that is especially meaningful in Hawaiian music. Hawaiian Christian music has long occupied an important place in the islands' musical life. What makes songs like this especially compelling is the way they join worship with family, language, and local style. Faith is not presented as abstract doctrine, but as something lived together and sung together. The communal nature of the performance likely enhances its emotional impact. Family voices singing in harmony naturally reinforce the message. In a broader sense, this track reflects one of the recurring motifs of the episode: love becomes fullest when shared. Theme: Worship, family faith, shared devotion Musical character: Reverent, communal, spiritually centered Why it matters: Deepens the episode's faith dimension while preserving a strong Hawaiian identity Exotica Segment 7. Exotica Segment Intro - pik00 Duration: 4:10 This segment intro marks a stylistic transition in the episode. Up to this point, the program has focused on music deeply rooted in Hawaiian identity, language, faith, and place. The Exotica segment steps sideways into a related but distinctly different musical world: one shaped by fantasy, lounge aesthetics, and mid-century tropical imagination. That contrast is part of what makes the segment valuable. It offers not only variety, but also perspective. It reminds listeners that “island music” has often been interpreted and reimagined far beyond Hawaiʻi itself. 8. On the Beach at Waikīkī (mix final) - Les Waikikings Album: Hapa haole with a twist Duration: 2:17 On the Beach at Waikīkī leans into the playful charm of tropical nostalgia. The title alone evokes postcard Hawaiʻi: surf, sand, leisure, and romance. In exotica and hapa-haole-adjacent material, the islands often become a stage for fantasy rather than an expression of local lived culture. That does not make the piece without merit. On the contrary, tracks like this can be delightful, catchy, and historically revealing. They show how Hawaiʻi was imagined internationally and how tropical motifs were translated into entertainment music for broad audiences. Within this episode, the song acts as a light palate cleanser. It introduces a wink of vintage fun before the program returns to more deeply rooted Hawaiian harmony. Theme: Tropical nostalgia, leisure, fantasy Musical character: Breezy, lounge-like, playful Why it matters: Adds historical contrast and tonal variety 9. How dya do - Les Waikikings Album: Hapa haole with a twist Duration: 3:03 How dya do continues the exotica mood with a likely emphasis on upbeat rhythm, polished arrangement, and the stylized “tropical” sound associated with mid-century popular music. These sorts of recordings often present a cheerful, cinematic island atmosphere rather than a culturally grounded one. For listeners of the Hawaiian Concert Guide, that difference is worth noticing. Authentic Hawaiian music often carries place, genealogy, language, and community. Exotica tends to carry mood, escapism, and fantasy. Hearing both in one episode can be educational as well as entertaining. In programming terms, this track keeps the episode lively and prevents the emotional arc from becoming too uniform. It is a well-timed detour before the music returns to classic Hawaiian vocal artistry. Theme: Escapism, retro charm, tropical stylization Musical character: Light, rhythmic, lounge-oriented Why it matters: Helps frame the distinction between Hawaiian music and music inspired by Hawaiʻi Closing Selections: Return to Hawaiian Vocal Depth 10. Ka Loke - Ho'okena Album: Ho'okena 5 Duration: 4:16 The return from exotica to Ho'okena is a return to center. Ka Loke carries the unmistakable richness of Hawaiian group harmony and poetic sensibility. Ho'okena is known for vocal blend, emotional precision, and the ability to let the song breathe. The title, meaning “the rose,” suggests metaphor, beauty, and affection. Hawaiian songwriting frequently uses natural imagery not simply as decoration, but as a means of expressing human feeling. Flowers, winds, rains, mountains, and seas all become emotional language. This track is especially effective late in the episode because it restores a sense of depth and rootedness after the lighter detour of the exotica set. The listener is brought back into the fuller emotional and cultural world of Hawaiian mele. Theme: Beauty, poetic love, emotional symbolism Musical character: Harmonically rich, graceful, classic Why it matters: Re-centers the episode in traditional Hawaiian vocal beauty 11. I Love You - Ho'okena Album: Ho'okena 5 Duration: 4:11 I Love You closes the episode with warmth and universality. While the title is in English, the emotional spirit aligns perfectly with the rest of the program. The entire episode has, in one form or another, been about love: love for mother, love for place, love for God, love expressed in community, and love carried in harmony. Ho'okena's treatment of a song like this likely gives it both accessibility and depth. Their vocal approach can make even a simple phrase feel timeless. That is one of the gifts of strong Hawaiian harmony: it elevates feeling without forcing it. As a final track, this song functions almost like a benediction. It leaves the listener with a sense of peace and completion, gathering together the many emotional strands of the episode into one simple message. Theme: Love, closure, emotional unity Musical character: Gentle, harmonious, reassuring Why it matters: A fitting final statement for an episode built around aloha in many forms Episode Reflection Episode 702, E Māma, is structured with unusual emotional coherence. Even though the tracks come from different artists and include a temporary move into exotica, the overall episode still feels unified. That unity comes from its central themes: affection, reverence, gratitude, and connection. The first portion of the program focuses on intimacy and place. E Māma, Puna Kuʻu Aloha, and Haleakalā all carry a sense of deep regard, whether for family or landscape. From there, the episode opens into spiritual testimony with Goodness of God, then broadens into collective and devotional identity through Hawaiʻi Aloha and Hoʻomana Ia Iesu. The exotica segment introduces contrast and historical perspective, reminding listeners that Hawaiʻi has often been interpreted from afar in ways that are entertaining but not always rooted. That makes the return to Ho'okena especially satisfying. Their closing selections restore the sound of home, depth, and harmony. If there is a single word that best describes this episode, it is aloha. Not merely as a greeting, but as a way of relating: to mother, to beloved places, to God, to family, and to one another. Track List E Māma - Kaleo Phillips - 4:01 Puna Kuʻu Aloha - Christy Leinaʻala Lassiter - 3:57 Haleakalā - Christy Leinaʻala Lassiter - 3:37 Goodness of God - Gregory Juan - 3:41 Hawaiʻi Aloha - Kamalei Kawaʻa - 4:56 Hoʻomana Ia Iesu (feat. Ka ʻOhana Kawaʻa) - Kamalei Kawaʻa - 4:04 Exotica Segment Intro - pik00 - 4:10 On the Beach at Waikīkī (mix final) - Les Waikikings - 2:17 How dya do - Les Waikikings - 3:03 Ka Loke - Ho'okena - 4:16 I Love You - Ho'okena - 4:11 Closing Mahalo for joining us for Hawaiian Concert Guide Podcast Show 702. May these songs encourage you to remember those you love, appreciate the beauty of Hawaiʻi, and carry aloha into the week ahead. A hui hou and malama pono.

Send us Fan MailTim is joined by journalist, writer and broadcaster Samira Ahmed to explore Rubber Soul's 'You Won't See Me'. The conversation explores the song's double meanings, its portrayal of relationship tension, and McCartney's ability to transform personal experience into art. They also discuss the evolving depiction of women in Beatles songs, the broader social changes of the 1960s, and how Rubber Soul captures a band (and a culture) in transition.Musically, they highlight the track's rich harmonies, inventive structure, and standout bass line, as well as its subtle sophistication beneath an apparently simple surface. Along the way, Samira shares insights from her new BFI Film Classics book on A Hard Day's Night.Guest linksBFI Film Classics: A Hard Day's Night, by Samira Ahmed: https://www.bloomsbury.com/uk/hard-days-night-9781839029394/Samira's website: https://samiraahmed.blogSamira's podcast: https://squarewindow.co.ukSamira on Bluesky: https://bsky.app/profile/samiraahmeduk.bsky.socialSamira on X.com: https://x.com/SamiraAhmedUKFollow My Favourite Beatles SongBluesky: https://bsky.app/profile/myfavebeatles.bsky.socialX (Twitter): https://twitter.com/myfavebeatlesFacebook: https://www.facebook.com/MyFavouriteBeatlesSongInstagram: https://www.instagram.com/myfavouritebeatlessongOriginal music by Joe KaneLogo design by Mark Cunningham

The Doors- Waiting For The Sun (Elektra Records) Released -July 3, 1968 Waiting for the Sun (1968), the third album by The Doors, arrived at a moment when the band was already one of the most prominent rock groups in America. Recorded between late 1967 and early 1968 and released on Elektra Records, the album reflects both creative ambition and growing internal strain, particularly as Jim Morrison struggled with heavy drinking and the pressure to produce new material.Musically, the record shows the group's wide stylistic range. Songs like “Hello, I Love You” delivered commercial radio success, while tracks such as “The Unknown Soldier” and “Five to One” explored darker, more experimental and political themes. Robby Krieger's inventive guitar work, Ray Manzarek's distinctive organ textures, and John Densmore's jazz-influenced drumming help maintain the band's unmistakable sound. Despite mixed critical reactions at the time, the album became the band's only U.S. number-one LP and remains an important entry in their catalog. (S5-Ep14)

The nominees for this years Rock n Roll Hall of Fame hopefuls was recently released. Of course, we're squarely behind the mighty Iron Maiden getting their log overdue accolades. But there's also a number of other artists that both nod and shake our heads. So this week we go through the list and play our most comprehensive game of "Should and Will" yet. Namely who we think should go in. And who we think will get the honors this year. Who are your picks? Musically, we crank some new and used from Metal Church, Exciter, Paul DiAnno's Warhorse, Wild Dogs, Warsenal, Cheap Perfume, Howler, Meat Vault and we introduce Swedish metallers Savage Sword in our "Indie Spotlight". Horns Up!! 

Walk with us through hell (wrong album for that pun, I know) as we take a look at a Heavy Metal classic that carries as much weight today in 2026 as it did back in 2004 when it was released.  This week we're covering "Ashes of the Wake" by Lamb of God. Released in 2004 as the United States was at war with Iraq and Afghanistan , this album is a perfect time capsule of what was in the political air.  In many ways a warning of what may be in 2026. Musically, one of the best written albums as well. Mixing influences from across thrash, metal core, and groove, this album would become one of the peaks of the New Wave of American Heavy Metal movement. As always follow us on the stuff Merch Store- http://tee.pub/lic/doEoXMI_oPI Patreon- https://www.patreon.com/Artandjacobdoamerica Website- https://artandjacobdoamerica.com/ Instagram- https://www.instagram.com/artandjacobdoamerica Facebook- https://www.facebook.com/artandjacobdoamerica/  

This week the boys sit down and discuss New Year's Resolutions, Cioppino, baseball, Bad Bunny, Gin + Champagne, Rom coms, and much much more!

Heavy Metallers have traditionally been complete package type people. The tunes rule, of course. But we also enjoy the physical product as a whole. And the album graphics could serve two purposes: for both art and/or promotion. And this week we go deep into the discussion. How 'bout for you. Do the album covers make or break a record for you? In our "News, Views and Tunes", we go over Seb Bach as the new (live) Twisted Sister vocalist and we hit up a local record con. Musically, we crank some Dark Throne, Vitamin X, Portrait, Haggus, Black Lace, Obsession (US), Cyclone and we introduce LA hardcore bashers Broken Focus in our "Indie Spotlight". Horns Up!! 

The '86 Alice Cooper album "Constrictor" is a rather important effort. This album #17 (!) is a comeback album of sorts for Cooper. The shock rocker spent the 80s up to this point battling demons which resulted in some terrible records. This record showcased a clean, reinvigorated Alice. And the result was a masterpiece. And as for RAM, this album was basically our starting point in our Alice fandom. So this week we're giving this platter our "40th Anniversary Album Spotlight Series" treatment. We discuss how we discovered the album, it's importance in our lives and the hired guns behind the music. Like Kip Winger (!!) Then of course we do a track by track deep dive. Alice does indeed live here. In our "News, Views and Tunes", we binged the "Riot Women" BBC TV show. Musically, we crank some Midnight, Betsy (Bitch), Spectral Wound, Lead Injector, First Jason, Tyrant (US), Juggernaut and we introduce Chile's Night Savage in our "Indie Spotlight". Horns Up!!

Exiles in Babylon Conference is coming soon! Join us in Minneapolis, April 30-May 2. Details at www.theologyintheraw.com/exiles26 nobigdyl. is a Christian hip-hop phenom. He's known most for combining concept driven lyricism with eclectic production. Musically he bounces from hard-hitting to ethereal—pulling from trap, jazz, golden era hip hop, underground and beyond to create his own sound. The Dove-Award winning, President Obama Playlisted, NPR Tiny Desk Contest Fan Favorite rapper is a storyteller at heart. His lyrics are part memoir, part stream of consciousness, as he wrestles with concepts such as faith, ego, love, and loss. Songs used with Permission:Stay by indie tribeTribe on the Move by DJ Mykael V and indie tribeimago interlude by nobigdyl. See Privacy Policy at https://art19.com/privacy and California Privacy Notice at https://art19.com/privacy#do-not-sell-my-info.