Podcast appearances and mentions of Natalie Merchant

I'm always in motion, but I'm not going anywhere. I'm still the opposite of Ben when I think about it. He's everywhere and all at once, and so busy, and the scurrying barely stops. I mean, I almost wonder if Ben is real when I stop to think about it. I never see him. I feel like I imagine I hear him as much as actually hearing him, but yeah, the proof of him was definitely on display for a time. And the echo of him sure seems real. I feel like he and I have worked a pretty good system on this place now too — he's probably more likely to be fully enjoying the run of the joint when I'm out. So I'm trying to go out more. But I also know I'm going nowhere very quickly.Bought a copy of Gravity's Rainbow from a secondhand store, and I take it with me most places. It's good. I mean, I am reading it, I do like it, I do get it, and all that. But it's also a book most people you meet have no fucking idea about, or the idea they have is it's too big for them, so I am able to bullshit about it with just about anyone. It's the Ulysses for Generation X. Basically. I must remember to tell a bunch of people that, and with the conviction that's my own idea too.Hannah was in my dream last night. And I've had the dream before. About once a week I'd say at present. I run to her at the tree. I get there in time, but I call her Anna, she shakes her head as if to say that's not her name, so the query cannot be for her. And I wake with her in the air, the rope around her neck. It's got me drinking breakfast beers, at least when I have leftovers. I shouldn't drink before lunchtime, or even before dinner time, but at least I'm too embarrassed to take my car anywhere, so I'm not in danger of driving again. Instead I load up my Discman with this great new album, Rocket by Primitive Radio Gods. No one knows it, which is exactly why I love it. At best, people seem to know the single, Standing Outside a Broken Phone Booth with Money In My Hand. Feels like a metaphor to me. Or just a scene I'm constantly walking right through. I first heard it in the movie Cable Guy, and it was perfect, if not that noticeable to many. But how could you not notice and love that song when it's riding on a sample of B.B. King's How Blue Can You Get? Only thing about relentlessly listening to this song is it's not all that great for my mood. I start thinking about whether I'm gonna bump into Joolz, or Anna for that matter. Or that fucking girl that was with Esther and Liz. I mean I don't think she knows I even exist, but yeah, I would say something now. I know I could. I'd ask her about Gravity's Rainbow. Show her my book, which is so well-thumbed. Could even make out it was new to me, and it's my constant re-reading that's made it look all old and nearly ruined. Slick. I'm'a do that for sure. Will and Glen want me to go record shopping with them, so I walk along with my Primitive Radio Gods, and I listen to Phone Booth three times, then skip it forward to Who Say, which is basically a different band, even though it's actually the same one guy making all of the music. Sounds like Supergroove or something. I like it. But I'm telling myself I love it, just so I can have something no one else holds on to. Album of the Year I'm deciding. No one will pick this. But I am. Inside the store, Will's got all these old prog-rock records for a buck each, Genesis and King Crimson and CAN. He holds them up one by one, for me to say yes or no to.The Lamb Lies Down On Broadway. Genesis. “Yes.”In The Court of the Crimson King. King Crimson. “Yes.”Tago Mago. CAN. “Yes.”Tales From Topographic Oceans. By the band Yes. “No.”Well it gets a laugh from Glen. But then, “You're a fucking snob, Jimmy. Wannabe fucking snob.”“I'm not a snob, I just think Yes is the fucking pits. And Jon Anderson sounds like a frog. I mean, fuckssake, if you're gonna buy that you might as well buy a Rush album.”“They're only a buck,” Will says. “So I think I'll just get it anyway, eh.”“Fine. What would I know,” I say. “Indeed”, Glen says”. And he's laughing.“Well,” I say, “I would know that if you're going to get anything from 1973, it better not be a fucking Yes record, and it absolutely should be a Thomas Pynchon novel.” I'm reaching for Rainbow from my backpack, and Will has his hand reverse-cupped across his forehead. Glen is just laughing even harder. “Fuck up about that fucking book,” Glen adds. “Just because you can't read,” I say.“I can read a room though,” Glen bats straight back. Can't lie. This lands. I think he can even see that I'm wounded. Slightly. “Fuck man,” I'm searching, buying time. “Fucking hell you dick, I mean shit, my fucking girlfriend killed herself.”“Oh yeah,” Glen says. “But do you need to tell everyone you meet this instantly. And also, where is the evidence of this mate? I mean, tragic fucking story, but seriously, it's like you kinda turned it on to suit, there's no photos of you, no one to back you up on this. I am not saying it's not sad as hell. It is. But there's a weird angle too, if you're grafting yourself to the story a little more than is true.”“Cunt!” I had nothing. That was it. I walked straight out of the store, and straight into Joolz. Head down, and angry. Me, that is. I just ploughed into her, and of course, I say sorry. She looks up, deer frozen for a second. “Joolz!” I say. She pulls free from my very loose grip, my hands on her shoulders, apologising, gently holding her to make sure she's steady. But nah. She's having none of this. She shakes her head, as if I've got the wrong person, puts her head down and walks fast. I take three steps after her then stop. “Bitch,” I shout. And then instantly feel like a fucking dick. At the bar, I'm lining up a beer and a bourbon. Americans call it a Boilermaker. I call it necessary. I hit most of the beer in one big slug. Then down the shot. Then back to neck the end of the beer. How is this happening to me. Why am I going everywhere and nowhere all at once and never? How am I the rocket falling in my own story? “You look glum?”“Thanks,” I say. “At least I'm doing something right, I suppose. Like, I feel like I should look glum.”I know she's paid to talk to me, but still. The barmaid says, “What's that book you got there? Is that gonna cheer you up, or is that what's making you sad? It looks,” she pauses, “huge!”It's on the tip of my tongue to say thanks for noticing, but I'd only fuck it up. “Gravity's Rainbow by Thomas Pynchon,” I say. No insight, no joke, no nothing. Just title and author. “Oh, I've heard of that,” she says. And I don't believe her. “Want another combo,” she adds, gesturing to the two glasses. “Tell me about the book,” and she's already turning her back to refill the bourbon shot.“It's pretty dense, right. But it has a real humour to it, also a real metaphysical fatalism.”“A meta-what-now?”“If they get you asking the wrong questions, then they don't have to worry about the answers.”“So that's a wrong question then?”“No no, sorry, that's pretty much a line from the book. I mean not verbatim, but close to it.”“So you're a sad guy, but a smart guy. Reckon you can actually explain to me what the book is about there, smart guy?”“Classic paranoid countercultural stuff, high brow, low brow, the works. It's a book about everything. And nothing.”“Well,” she says, putting the pint down next to the shot of bourbon, “It should really be called Rainbow's Gravity shouldn't it? I mean that's the pot of gold weighing it down, eh?”“Oh my fucking god. It's about rockets. That's the space rocket's arc. The rainbow. It's a metaphor. It's not really about density. The only density in the book is what you're bringing to it. And it sounds like you're bringing a lot!” As soon as I've said it, I think about how I botched every aspect of that. I'm a boring, rude cunt, and I cannot flirt. What the fuck was that?“Hey, sad cunt? Drink your drinks and fuck off, okay?”“Look, my girlfriend, she, um, she ah she took her life…”“Is that because the only other option was having you being a patronising jerk to her? I don't believe you. And I'm not going to serve you. You're done. Finish that and piss right off okay. And I'll tell my partner about you. So fucking watch it.”The bourbon goes down easily and immediately, but I take one swig of the beer and it just feels off. Not the actual taste, but I can't be here. I push the stool back, and it clatters to the floor, my feet vaguely caught in it, I nearly lose my balance. “Get walking there, class act,” the barmaid serves a different kind of shot. “Look, I'm sorry,” I say. And I'm already walking.“You sure are,” she says. All but spitting the words at my back. I've turned and walked, and I'm not looking back. I stand outside and count the coins from my pocket into my hand, and then back into the other hand. I take the Primitive Radio Gods CD out from the Discman and file it in the case, and put it back in my bag, and grab Natalie Merchant's Tigerlily. I can't hear that Broken Phone Booth song again anytime soon. I'm basically standing there as if I'm in the song. As if the song is me. My life. My mood. The sum of it all. And I need to keep moving. I kick at nothing, as I walk the streets wondering where to go. And yeah, I skip straight to Carnival.Sounds Good! is a reader-supported publication. To receive new posts and support my work, consider becoming a free or paid subscriber.Thanks for reading Sounds Good! ! This post is public so feel free to share it.Start writing today. Use the button below to create a Substack of your own Get full access to Sounds Good! at simonsweetman.substack.com/subscribe

Artist and returning '93-'94 champion A.J. Belmont is here to talk about 10,000 Maniacs and their final album with Natalie Merchant, MTV Unplugged from 1993. Check out his art at belmont_aj@instagram.com and www.abelmont.com

This week the price is right, but the vibe is wrong. We're just trying to check out some records and Natalie Merchant won't shut the hell up. Trouble me no further, Natalie, because the night belongs to me. Hey! SUPPRESSION SWING! Give ‘em what they want!

Bruce riffs on the debut studio album from Natalie Merchant “Tigerlily” from July 1995 (San Andreas Fault / Wonder / Jealousy / Carnival). STAFF PICKS: Waydown by Catherine Wheel — Lynch Wynona's Big Brown Beaver by Primus — Rob I Walked by Wanderlust — Wayne   ENTERTAINMENT TRACK: Main Theme from the motion picture "Apollo 13" **(NOTE: What the Riff?!? does not own the rights to any of these songs and we neither sell, nor profit from them. We share them so you can learn about them and purchase them for your own collections.)

After some technical difficulties, we have a 10,000 Maniacs episode to upload! Our second stop in Obscure Jangle Pop Month takes place in 80s Upstate NY, where the Natalie Merchant-led janglers try and re-evoke the spirit and sound of classic 60s beat music for a college rock audience. Does it hold up? Let's talk In My Tribe!

Start Artist Song Time Album Year 1 Other Lives NN 12_02_2025 0:02:12 Other Lives What’s It Gonna Take 3:30 Volume V 2025 2 Kalandra NN 12_02_2025 0:06:08 Kalandra Till The End 3:30 Mørketid 2025 3 Benedicte Maurseth NN 12_02_2025 0:10:00 Benedicte Maurseth Nysnø over reinlav 7:49 Mirra 2025 4 Cafuné NN 12_02_2025 0:18:18 Cafuné Cafuné 5:36 Tra le corde dei racconti 2025 5 Fuzy Lights NN 12_02_2025 0:24:19 Fuzzy Lights The Promise 6:07 Fen Creatures 2025 6 Mediæval Bæbes NN 12_02_2025 0:30:45 Mediæval Bæbes January 3:36 December 2025 7 Deposed King NN 12_02_2025 0:34:39 Deposed King Daymare 6:45 Letters to a Distant Past 2025 8 Anna Von Hausswolff NN 12_02_2025 0:41:55 Anna von Hausswolff Unconditional Love 6:34 Iconoclasts 2025 9 Midlake NN 12_02_2025 0:48:50 Midlake The Ghouls 3:52 A Bridge To Far 2025 10 Azam Ali NN 12_02_2025 0:53:08 Azam Ali Song to the Siren 3:29 Synesthesia 2025 11 Lunatic Soul NN 12_02_2025 0:57:04 Lunatic Soul Good Memories Don’t Want to Die 4:40 The World Under Unsun 2025 Volume V by Other Lives favorite track What’s It Gonna Take Hailing from Stillwater, OK, the band began as a trio of multi-instrumentalists, and now includes 5 members. The music is dense and lush, heavily orchestrated, simply gorgeous chamber folk music with alt- and post-rock leanings. Mørketid by KALANDRA This EP from Norwegian folktronica band, Kalandra, includes new songs, plus their last single release. They remain true to their Nordic sound, with their light and airy vocalist being the singular identifying element of the band. Mirra by Benedicte Maurseth favorite track Nysnø over reinlav Norwegian folk/jazz/ambient hardanger fiddle player offers this gem, exploring the environment of reindeer. Indeed, it features the sounds of a reindeer herd (the title is an almost-lost Hardanger word for when reindeer run about in circular patterns). The result is hypnotic and entrancing. Not on Bandcamp Cafuné “Tra le corde dei racconti” 2025 This sublime Italian sextet offer a modern slant to medieval and renaissance styled music, utilizing both acoustic and electric instruments. They combine guitars, flute, harp, keyboards, bass, and drums, with a stellar female vocalist. There are originals here, as well as reworkings of traditional tunes. Best played as a whole, to illustrate what you'll hear, I'm choosing the opener as my favourite track. Favourite Track: Cafuné Fen Creatures by Fuzzy Lights favorite track The Promise The fifth album for this Cambridge quintet is a fine example of what can happen when you blend psych, folk, drone, and post rock. Female lead vocalist, scratchy violin, guitars, bass, drums, and electronics comprise the makeup of the band. All together, the songs are ominous, dark and eerie, just the kind of thing I love to hear. December by Mediæval Bæbes favorite track January This is an old-fashioned “single” format, a two song release, with the promise of an upcoming full release. As always, superb vocals and musicianship from these women and their guests. The two pieces are decidedly wintery, with the title track being more upbeat in mood. Letters to a Distant Past by Deposed King favorite track Daymare Classically influenced atmospheric and cinematic rock with smatterings of folk, psych, post rock, and some heaviness from time to time, this Hungarian duo deliver once again. This release is best played from start to finish, but I will use Daymare as my favourite track to pique your interest. ICONOCLASTS by Anna von Hausswolff favorite track Unconditional Love feat. Maria von Hausswolff Stunning new release , this one delves deeply into the destruction of idols. It also examines the destruction from personal relationships, with the freedom of resurrection after the depths have been plumbed. Indeed, there is a guest appearance from a true iconoclast, Iggy Pop, on one poignant tune. Her signature dense pipe organ is still here, with plenty of orchestration, plus she adds vocals throughout, with her daughter contributing as well, on my favourite track of the release, A Bridge To Far by MIDLAKE favorite track The Ghouls Midlake are back with another stellar release. They bring their indie alt-rock dreaminess in full force, with some whispers into jazz territory at times. The overall feel is warm and dreamy, with flute and piano flourishes, and a sense of distance, as though listening from a spot down the hall from where the band is playing. Synesthesia by Azam Ali favorite track Song to the Siren Perennial favourite of mine, Azam Ali also brings a new full release of her always sublime music. This one brings plenty of world and electronica, also folk and trance music. It explores feelings of disconnectedness (as during the pandemic), yet still conveying a sense of belonging to the spiritual. She does two cover tunes, one by Natalie Merchant, and this one, my sentimental favourite of the release, Tim Buckley's Song to the Siren The World Under Unsun (24-bit HD audio) by Lunatic Soul favorite track Good Memories Don’t Want to Die The eighth and final in a series of solo releases by Mariusz Duda (on all instruments and vocals), bringing the cycle full circle. He examines complex toxic relationships, rejects them, and finds peace, while retaining what good there was, through introspection and, ultimately forgiveness. There is plenty of forcefulness, but, as one might expect, the delicacy (and harp sounds) of Good Memories Don't Want to Die, is my favourite track.

Send us a textThis week on the podcast Azam stops by the discuss her new music, Synesthesia, immigrating tot he US, living through war, menopause, and more. *****It is a song of destruction, of fire consuming everything in its path, yet within that annihilation lies the threshold of renewal, and the promise of something new,” explains internationally beloved singer/songwriter/producer AZAM ALI about her new single “To Pieces,” which is released today, September 4, 2025 via COP International. Taken from her upcoming album Synesthesia which will be released on November 14, 2025, “To Pieces” is a gorgeously aural landscape of echoing strings, cinematic keyboard washes, and tribal percussions, with Azam's ethereal vocals floating above it all like a luminescent spectre.   Deeply layered both musically and lyrically, her sixth solo album Synesthesia is an escape from this tumultuous world, but not without the impact of the cultural and political upheaval. Named after the sensory phenomenon that allows individuals to experience the senses in a different way such as tasting colors or feeling sounds, “synesthesia” is a concept that runs throughout the album. The title track's accelerating beat contrasts with Azam's wispy vocals, generating a neural response that is comforting yet daunting. “This song is very special for me because I tried to capture what the sense of synesthesia that I experience is, the way my senses sometimes overlap, blending sound, color, and texture into a single, immersive perception.” The gauzy and delicate “Autumn of Goodbye” offers a softer and radiant ambiance with Azam holding onto the final moments before letting go (Walk with me / Under the sky / And offer me / The stars / On the way down). Synesthesia also offers two eye-opening covers: Tim Buckley's “Song to the Siren” and Natalie Merchant's “This House Is On Fire.” The former is a moody take on the original, highlighting Azam's octave jumping vocal prowess, while the latter transforms Merchant's languid calypso beat into a propulsive song with Middle Eastern flourishes.  “My music is an invitation to step beyond the confines of time, place, and the fragile vessel of flesh into a universe without borders,” Azam explains. “I want the listener to feel carried into the vastness of the ethereal, where freedom breathes, and every note reveals our part in a greater design. In this realm, we are no longer solitary beings, but shining stars drawn together into galaxies, each tone a reminder that we are participants in a cosmic symphony far larger than ourselves.”  ******If you would like to contact the show about being a guest, please email us at Dauna@bettertopodcast.comUpcoming guests can be found: https://dmneedom.com/upcoming-guest Follow us on Social MediaInstagram: https://www.instagram.com/author_d.m.needom/Facebook: https://www.facebook.com/bettertopodcastwithdmneedomIntro and Outro music compliments of Fast Suzi©2025 Better To...Podcast with D. M. NeedomSupport the show

My Music with Graham Coath — Anna May (not Anime!)This week Graham sits down with Anna May — Connecticut-born, sometimes-San Diego-based singer–songwriter — for a wide-ranging conversation about voice, vulnerability and finding your lane when you don't fit neatly into one genre. Anna grew up on a diet of female storytellers (Natalie Merchant, Tori Amos, Alanis Morissette), 90s alt, dad's country (The Mavericks, Dwight Yoakam) and a childhood of jazz rooms—and it all threads through her work.She talks candidly about writing lyrics first (often as poems), letting the voice improvise live so no song lands the same way twice, and recording one-take magic with engineer Steve Rizzo in Rhode Island. We touch on k.d. lang (“Constant Craving”, “The Air That I Breathe”), unexpected covers (yes, Ozzy Osbourne), social media's darker edges, boundaries, and how a bruising breakup became a healing body of songs. There's even a New England vs California detour, a Billy Bragg nod, and a Groove Armada truth bomb: “If everybody looked the same, we'd get tired of looking at each other.”

The United States may have an official day of gratitude every November with Thanksgiving, but for many of us, most every day could be a day of appreciation. A sincere "thank you" is rewarding for everyone: It feels good to say it and it feels good to hear it. However, appreciation can be complicated and "thank you" may come with a twist. Sometimes we're grateful (in hindsight, at least) for the lessons we've learned from difficult people. Sometimes we feel generalized happiness for family and/or friends. Sometimes we're just thankful to no one in particular that we're happy for no reason in particular. And of course sometimes expressions of gratitude are just a cover for dark feelings. In this episode of "How We Heard It" your hosts sift through an array of old and new songs that directly or indirectly express gratitude. Artists include Ariana Grande, Harry Styles, The Kinks, Sly and the Family Stone, The Beatles, Big Star, Natalie Merchant, Taylor Swift, Bob Hope, Elton John, Louis Armstrong, Rihanna, Gwen Stefani, The Beach Boys, Backstreet Boys, Alanis Morissette, James Taylor, Small Faces, Kool & the Gang, U2, Spice Girls, Boyz II Men and many more. Thanks for listening!

(2024) National pumpkin day. Entetainment from 1969. Erie canal opened, Gunfight at OK Corral was fought, Stonehenge donated to British People, Todays birthdays - Hamalia Jackson, Bob Hoskins, Jaclyn Smith, Pat Sajak, Rita Wilson, Dylan McDermott, Natalie Merchant, Keith Urban, Seth MacFalane, Jon Heder. Hattie McDaniel died.Intro - Pour some sugar on me - Def Leppard      http://defleppard.com/Pumpkin song - Mary Lu WalkerI can't get next to you - The TemptationsThe ways to love a man - Tammy WynetteBirthdays - In da club - 50 Cent     http://50cent.com/I will move on up a little higher - Mahalia JacksonCharlies Angels TV themeWheel for Fortune opening 1980'sBeacause the night - 10,000 ManiacsI wanna kiss a girl - Keith UrbanAlmost like being in love - Seth MacFarlandExit - In my dreams - Dokken      http://dokken.net/Follow Jeff Stampka on facebook and cooolmedia.com

I DON'T GET IT is the ironically named podcast which features the open-minded musings of two middle-aged curmudgeons (Noah Tarnow and Bill Scurry) who love pop culture, talking about a hot topic of the week. Noah and Bill are ingested by a large language model and are distilled into men whom the newest AI sensation rejected as being unsuitable. @noahandbillshow.bluesky.social -- @billscurry.bluesky.social -- @noahtarnow.bluesky.social This week's theme: "Sister Tilly” by Natalie Merchant. New episodes every Monday morning on Youtube, Spotify, Soundcloud, iTunes, and GooglePlay!

We pay a visit to the year 1995 to talk about some of the music that was released that year. Anthony gives us the lowdown on the metal and prog scene at the time; Stephanie shares stories from her time at Virgin Records; Rob catches us up on the electronic scene, Alan fills us in on what a few legacy acts are getting up to at this point in their career; and the whole gang talks about the battle for radio supremacy between the two big BritPop bands. During the discussion we cover albums by Oasis, Blur, Pulp, Prince, Pink Floyd, Aimee Mann, Matthew Sweet, The Chemical Brothers, and Shaggy, debuts by Garbage, Natalie Merchant, Jill Sobule, and The Foo Fighters, and the juggernaut that was Jagged Little Pill.  As always, follow along with this exploration of 1995 with our handy-dandy Spotify Playlist! These are some of our faves -- what about yours? Is there an album from 1995 that you love that we didn't mention? Drop us a line and let us know at modernmusicology1@gmail.com or just leave a comment on our socials or whatever podcast platform you're listening to us.  Find us on Facebook: https://www.facebook.com/ModernMusicology  Check us out on Instagram: https://www.instagram.com/modernmusicologypodcast/  Follow us on Twitter: https://twitter.com/ModrnMusicology  Subscribe to our YouTube Channel: https://www.youtube.com/channel/UCk-MlcGy5u3fK1j4bVty1Kw  Modern Musicology is part of the ESO Podcast Network. https://esonetwork.com/  Find more about us: Rob Levy: https://kdhx.org/shows/show/juxtaposition  Stephanie Seymour: www.therearebirds.com   R. Alan Siler: www.kozmiccreative.com   Anthony Williams: https://watchers4d.podbean.com/

Welcome back to Drummers on Drumming. This is another installment of Big Fat Five—the series where I sit down with my favorite drummers and ask them to break down the five records that shaped how they approach the kit. Lately I've been fortunate to have guests who've already appeared in other drummers' Big Fat Fives, and today's guest is one of them: Terry Silverlight. Terry's career is so deep and wide-ranging that I almost don't even want to start listing artists. His discography is massive — you can check it out on his website HERE and he's still extremely active today. He was already recording at 14 on his brother Barry Miles' record, and he hasn't slowed down since. Along the way he's worked with everyone from George Benson to Roberta Flack to Natalie Merchant, just to name a few. This episode doesn't veer from the Big Fat Five format, but Terry interleaves the records that shaped him with the way music has been ingrained in his life from day one. I mention this at the top of our chat, but it's worth saying again here — the through-line of music in Terry's story is undeniable. Toward the end, I also ask him about a session that came up in Aaron Steele's episode a while back, when Aaron brought up Terry's work with the band Change. If you haven't heard that one, go back and check it out — Aaron's a young legend in his own right. - Get Your Copy of the Drummers on Drumming Book Today!

Welcome to PTBN Pop's Video Jukebox Song of The Day! Every weekday will be featuring a live watch of a great and memorable music video. On today's episode, Andy Atherton is watching “Carnival” by Natalie Merchant from 1995. The YouTube link for the video is below so you can watch along! https://www.youtube.com/watch?v=VQ_Wqtnlv4U

Be Here Now under MAHARAJJI'S blanket as Baba Here Love, Goddess Sunshine, and Noah Hoffeld discuss Noah's personal retreats with Ram Dass, Noah's musical journey, helping others, balance, stepping back from the melodrama, and more. All of it is applied to our spiritual awakening happening NOW.“My life is a creative act--like a painting, or a concerto.” - Ram DassNoah Hoffeld bridges the worlds of creativity and spiritual practice as the cellist with Krishna Das and a devoted student of Ram Dass. This Juilliard-trained cellist and meditation teacher is known for his soulful playing and deep commitment to guiding others on the spiritual path.From 2016 until his teacher's passing, Noah was a personal student of Ram Dass, and while on retreat on Maui with RD in 2016, he met and played with world renowned chant singer Krishna Das, becoming a member of his band. Equally at home in concert halls and sacred spaces, Noah has been featured in performance with artists such as Pete Seeger and Natalie Merchant, on Grammy-winning and Billboard #1 albums like Piano Piano 2 by Jeremiah Fraites of the Lumineers, and in films like The Skeleton Twins with Bill Hader and Kristin Wiig. Personal projects include Bodhiheart: Love Rules with pianist Wells Hanley and Arjun Bruggeman and Mark Egan of KD's band, and Genoa Strings: KK's Theme with Genevieve Walker, violinist in the band. Their full EP will be released this winter. Noah's work as a producer includes the album Anubhav by Nina Rao, and his own LP of songs Mobile Home, coproduced with Mark Plati (Bowie, Prince, etc), called the "deeply spiritual album Bowie forgot to make" (JW Vibe). He produced Mantra Brothers' Invoke, a collaboration with his brother, artist Jeremy Hoffeld.Noah is dedicated to supporting seekers on their journey through mentoring and by sharing the wisdom of Ram Dass, along with the tools that help us truly be here now. His teaching weaves together Eastern wisdom traditions with practical approaches for modern life, whether you're new to spiritual practice or deepening an existing path. He works through workshops, one-on-one sessions and his online community, Living the Path, inviting connection with all who feel called to explore gateways to loving awareness.livingthepath.comnoahhoffeld.comFollow on IG and Youtube @ramdassloveHere we are!!!

Jason Fraley interviews 10,000 Maniacs founding bass player Steven Gustafson as the band rocks Rams Head in Annapolis, Maryland in a pair of sold-out shows this Saturday and Sunday for the Annapolis Songwriters Festival. They discuss the band's journey from recording hits like “These Are Days” and their MTV Unplugged cover of “Because the Night,” before replacing lead singer Natalie Merchant with Mary Ramsey for three more decades of music with a new album on the way. (Theme Music: Scott Buckley's "Clarion")

When something bad happens to you, how do you grieve it without getting stuck in suffering? -Halley Elwell Imagine being 11 years old when your face suddenly begins to change. Tumors form on your jaw, and the diagnosis is an incurable condition called Neurofibromatosis. This is the story of singer/songwriter Halley Elwell www.halswellmusic.com. Raised off the grid in Maine by an artist mom, she was told to ignore what was happening to her face and to live her life. She runs free in the woods around her neighborhood, learns to sing old Irish songs, plays piano, and dives into community theatre. In this episode of The Story Behind Her Success, we learn how Halley held onto her light, despite adversity, to become an accomplished singer, songwriter, and advocate for those with facial differences. The secret ingredient? Creativity. Describing her voice, a Maine music critic said: “Imagine Rickie Lee Jones recording with Norah Jones and Natalie Merchant and you'll have an idea of how Elwell's music sounds.” Her latest album and podcast series have the same name: Spontaneous Mutation. Both artistic efforts explore the narratives around facial differences. In science, a spontaneous mutation is a genetic change with no known cause. Halley takes this concept one step further with words, voice, and heart: “When you have an incurable condition, you can't be fixed. But there are different lenses to look through, and that has freed me.” For 25 minutes of inspiration (and the chance to hear Halley's gorgeous voice), just hit that download button. Check out her podcast series here: spontaneousmutation.podbean.com.

Kerouac's Road: The Beat of a Nation explores how the legacy of Jack Kerouac's iconic novel On the Road reflects in today's America. The film interweaves stories of modern-day “on-the-roaders” who share connections to Kerouac's life, alongside those influenced by him or knew and loved him. Featured participants include Josh Brolin, W. Kamau Bell, Natalie Merchant, Matt Dillon, Jay McInerney and Joyce Johnson. On the Road remains as relevant today as it was in the 1950s, but both the book and Kerouac himself have never been explored in this way before. While based on the American road, On the Road inspired people globally to get out of where they are and engage in the world around them. In an era defined by screens and constant connectivity we can all still learn from the book and Kerouac's journey, and what it means to engage in real time with the path we're on.The documentary features Michael Imperioli, W. Kamau Bell, Josh Brolin, Matt Dillon, Natalie Merchant, Ann Charters, David Amram, Jay McInerney, Kim Jones, Jean-Christophe Cloutier, Joyce Johnson, Diana Langley, Tenaj Melendras, Faustino Melendras, Amir Staten, Angel Staten, and Karlynne Staten. Become a supporter of this podcast: https://www.spreaker.com/podcast/arroe-collins-like-it-s-live--4113802/support.

On today's all new episode of the cast, we look at the plethora of female singer-songwriters that dominated on the Billboard Modern Rock Tracks back in the day, and talk about at how their influence paved the way for future singer-songwriters to set the tone and edge for what was to come down the road. We discuss at how Sarah McLachlan got her start on the chart, and how she spearheaded the female revolution with the creation of the Lilith Fair in the late 90's that ushered in a renaissance and a breath of creative fresh air that dominated for most of the 90's. We mention other artists including Natalie Merchant, Fiona Apple, Tori Amos, Alanis Morissette, and even Sheryl Crow who dominated in a big way on this chart before she crossed over and had success on the pop chart. We also talk about the shifting tides of music, and how radio programmers instituted sexist policies that eliminated all female singer-songwriters from alternative radio for most of the late 90's and all of the 2000's before slowly coming back in the 2010's. I also play you a lsong from Boston's Til' Tuesday and their huge hit "Voices Carry".

Kerouac's Road: The Beat of a Nation explores how the legacy of Jack Kerouac's iconic novel On the Road reflects in today's America. The film interweaves stories of modern-day “on-the-roaders” who share connections to Kerouac's life, alongside those influenced by him or knew and loved him. Featured participants include Josh Brolin, W. Kamau Bell, Natalie Merchant, Matt Dillon, Jay McInerney and Joyce Johnson. On the Road remains as relevant today as it was in the 1950s, but both the book and Kerouac himself have never been explored in this way before. While based on the American road, On the Road inspired people globally to get out of where they are and engage in the world around them. In an era defined by screens and constant connectivity we can all still learn from the book and Kerouac's journey, and what it means to engage in real time with the path we're on.The documentary features Michael Imperioli, W. Kamau Bell, Josh Brolin, Matt Dillon, Natalie Merchant, Ann Charters, David Amram, Jay McInerney, Kim Jones, Jean-Christophe Cloutier, Joyce Johnson, Diana Langley, Tenaj Melendras, Faustino Melendras, Amir Staten, Angel Staten, and Karlynne Staten. Become a supporter of this podcast: https://www.spreaker.com/podcast/arroe-collins-unplugged-totally-uncut--994165/support.

The Industry Relations Podcast is now available on your favorite podcast player! Overview In this special episode of Industry Relations, Rob and Greg take a break from real estate to talk about one of their shared passions: music. They explore the most transformative artists and bands across genres from the 70s through today. Their conversation dives deep into the cultural impact of acts like Nirvana, Depeche Mode, NWA, and Metallica, and whether artists like Kanye West, Jay-Z, or Eminem changed the landscape or simply excelled within it. Key Takeaways What Makes an Artist Transformative – Rob and Greg define “transformative” as artists who changed culture or shifted their genre's direction. Rock, Pop, and Hair Metal – From The Police and Joy Division to Motley Crue and Metallica, they debate which bands truly left a mark. New Wave and Synth Pop – A back-and-forth on whether bands like Depeche Mode, Erasure, and Eurythmics defined the New Wave era. The Rise of Hip-Hop – Analysis of Public Enemy, NWA, and Biggie's role in changing rap's tone—from political to gangsta to materialistic. Female Singers and Torch Artists – Greg shares his appreciation for female vocalists, from Tori Amos and Natalie Merchant to Billie Holiday and Aretha Franklin. Jazz, EDM, and Modern Music – A look at how genres like jazz and electronica evolved—and why Rob thinks music hasn't really changed since the 2000s. Cultural Identity and Music in High School – Reflections on how music once defined high school social groups and why today's digital world may be missing that connection.   Connect with Rob and Greg Rob's Website  Greg's Website    Watch us on YouTube   Our Sponsors: Cotality  Notorious VIP The Giant Steps Job Board    Production and Editing Services by Sunbound Studios  

Miss Heard celebrates Season 6, Episode 304 with 1000 Maniac's cover of “Because the Night.” That's right…it's a cover! You will learn who wrote and sang this hit years before and who Natalie Merchant used to date that brought politics into his band. You can listen to all our episodes at our website at: https://pod.co/miss-heard-song-lyrics Or iTunes, Stitcher, Spotify and many more platforms under Podcast name “Miss Heard Song Lyrics” Please consider supporting our little podcast via Patreon at https://www.patreon.com/MissHeardSongLyrics or via PayPal at https://www.paypal.com/paypalme/MissHeardSongLyrics #missheardsonglyrics #missheardsongs #missheardlyrics #misheardsonglyrics #podcastinavan #vanpodcast #1000Maniacs #BecausetheNight #BruceSpringsteein #PattiSmith #NatalieMerchant #OrkinMan   https://www.youtube.com/watch?v=_AQByCFr0gs&list=RD_AQByCFr0gs&start_radio=1 https://en.wikipedia.org/wiki/Orkin#:~:text=The%20Orkin%20Man%20icon%20originated,on%2Dthe%2Djob%20use. https://en.wikipedia.org/wiki/Because_the_Night https://en.wikipedia.org/wiki/10,000_Maniacs https://en.wikipedia.org/wiki/Natalie_Merchant

Producer/bassist Jim Reilley will most likely be remembered as a founding member (along with musical partner Reese Campbell) of seminal folk rock band The New Dylans. Founded in 1986,the band barnstormed the US throughout the 90's and won critical praise from Rolling Stone (who called their songs “offbeat classics”) and virtually every other major music publication and major newspaper. The Village Voice placed the band in the top 5 Ep's of 1986 in their prestigious Pazz and Jop Poll. The band won the hearts and minds of many fans in the then burgeoning AAA American radio format and had several feature spots on important tastemaking radio shows including NPR's All Things Considered, Idiot's Delight with Vin Scelsa, Partridge Family Imp Danny Bonaduce's WLUP show, Mountain Stage, WXPN's World Café and Acoustic Café. Michael Stipe of R.E.M. proclaimed The New Dylans his favorite band of 1986 and Natalie Merchant (of 10,000 Maniacs) would often jump onstage and sing with the band.After 10 years of solid touring often over 175 dates a year sharing stages with many luminaries including (R&R Hall Of Famers) The Band, Reilley moved to Nashville to sign a writing and production deal with Curb Records. As a songwriter, Reilley had over 60 songs recorded by such artists as Hal Ketchum, Sam Bush, Vince Gill, Lauren Daigle, Hillary Scott, Claudia Church, Leann Rimes, Cowboy Crush, Jana Kramer, Jack Ingram, Lila McCann, Carly Pearce, John Cowsill, Vicki Peterson (The Bangles), Tim O'Brien and had a European hit with Danish Rock legend Peter Belli. In his career, Reilley has produced or made music with Sheryl Crow, Pam Tillis, Lee Brice, Levon Helm, Ethan Hawke, John Osborne, Brothers Osborne, The Fleshtones, Pure Prairie League, Leann Rimes, Rodney Crowell, Shawn Colvin, Rodney Atkins, Cowboy Jack Clement, Lucinda Williams, Ryan Adams & The Cardinals, Uncle Tupelo, Kathleen Edwards, Mary Gauthier, Superdrag, Gillian Welch, Prince's  New Power Generation, Linda Hargrove, Harlan Howard, Jim Lauderdale, Hillary Scott, Jenna Von Oy, Tommy Womack, Carly Pearce, Jana Kramer, Linda Davis, Vince Gill, Cheetah Chrome of The Dead Boys, Vicki Peterson (The Bangles), The Mavericks, Jack Ingram, Tiffany, NRBQ, Patty Larkin, Dave Van Ronk, Leah Andreone, Diamond Rio, Hank Williams Jr, Jett Williams, Shel Silverstein, Townes Van Zandt, Richie Havens, Al Perkins, The Story, Kasey Chambers, Del McCoury Band, Minton Sparks, Joy Lynn White, Sam Bush, David Mead, Daniel Tashian, members of The Jayhawks, Wilco, Genesis, Cheap Trick, Buckcherry, The Milk Carton Kids, Lake Street Dive, Blondie, John Mellencamp, Foo Fighters, Tom Petty & The Heartbreakers, The Doobie Brothers, Counting Crows, The Wallflowers, Joe Perry Band, The Black Crowes, Old Crow Medicine Show, The Bangles, Ben Folds, Alabama Shakes, Jack White band, Ten Years After, The Black Keys, The Band, The Beach Boys, 10,000 Maniacs, R.E.M. and more.www.producerjimreilley.com"Still on the Run" - https://www.fbrmusic.com/Host - Trey MitchellIG - treymitchellphotography IG - feeding_the_senses_unsensoredFB - facebook.com/profile.php?id=100074368084848Threads - www.threads.net/@treymitchellphotographySponsorship Information/Guest Suggestions  -  ftsunashville@gmail.com

Kerouac's Road: The Beat of a Nation debuted at the Tribeca Festival in New York City last night

Kerouac's Road: The Beat of a Nation debuted at the Tribeca Festival in New York City last night

This week's guest is Billy Martin ... a world-renowned drummer, educator, visual artist, producer, and author. He has collaborated with some of the best, including (but certainly not limited to) John Scofield, John Zorn, Iggy Pop, Natalie Merchant, Flea and many more. Still, many people know him best for his work with Medeski, Martin & Wood, alongside John Medeski and Chris Wood. If you enjoy this episode, please go check out Billy's interview with Mike Dawson on the Drum Candy podcast titled “Improvising and Cultivating a Creative Mindset”. I recently re-watched his anti-instructional film, Life on Drums, and I can't recommend it enough. It's essentially a series of conversations between Martin and his first drum teacher, Allen Herman. These discussions delve into topics such as soloing, time, tone, phrasing, free playing, and so much more. Interspersed throughout are some pretty rad solo and duet performances…all filmed with a cinematic aesthetic. So check that out if that interests you.  Right off the bat, we dive into the topic of soloing — something Billy encourages all drummers to do first thing when they sit behind the kit (even if just for five minutes), before jumping into the records that shaped him into the remarkable musician he is today. BILLY'S CHOICES: Artist - Peter ToshAlbum - Legalize ItRelease Year - 1976Key Track - "Legalize it"Drummer - Carlton "Santa" Davis, Carlton Barrett - Artist - Stevie WonderAlbum - Talking BookRelease Year - 1972Key Track - "Superstition"Drummer - Stevie Wonder - Artist - Dr. JohnAlbum - Gris GrisRelease Year - 1968Key Track - "Mama Roux"Drummer - John Boudreaux - Artist - John ColtraneAlbum - Interstellar SpaceRelease Year - 1974Key Track - "Jupiter Variation"Drummer - Rashied Ali - Artist - Charles MingusAlbum - Mingus Ah UmRelease Year - 1959Key Track - "Better Git It In Your Soul"Drummer - Dannie Richmond - Artist - Lil' KimAlbum - Hard CoreRelease Year - 1996Key Track - "Queen Bitch" Artist - Wu-Tang ClanAlbum - Enter The Wu-Tang (36 Chambers)Release Year - 1993Key Track - "Wu-Tang: 7th Chamber - Part II - Conclusion"Drummer - RZA (producer / beat maker) --- Get Your Copy of the Drummers on Drumming Book Today!

Knox Chandler's career has spanned for over four decades including long stints as a member of The Psychedelic Furs, Siouxsie and the Banshees and the Cyndi Lauper band, extraordinary experiences in recording and performing live around the world. Chandler's also performed, recorded, arranged and produced, working with acts such as REM, Depeche Mode, Grace Jones, Marianne Faithful, Natalie Merchant, Tricky, The Creatures, Dave Gahan Paper Monsters and The Golden Palominos etc. Knox spent a decade residing in Berlin, Germany, while he explored sound-scaping.  He developed a technique he calls “Soundribbons, which he recorded and performed in its own right as well as applying it to different genres and mediums . He composed, recorded, toured, produced, and wrote string arrangements for Herbert Grönemeyer, Jesper Munk, Pure Reason Revolution, The Still, TAU, Miss Kenichi and the Sun, Mars William's Albert Ayler Xmas, Rita Redshoes, Them There, The Night, etc. While living in Germany received a Post Graduate certification in education and was the head of the guitar department at BIMM College. Chandler returned to the States to be near family and now resides in the New Haven Connecticut area. The Sound is the solo debut of much-travelled musician / producer / arranger / painter Knox Chandler. This project is a musical / visual memoir depicting the shift in his surroundings from the urban to the rural, specifically the Connecticut shoreline off the Long Island Sound and the impact of this dramatic change of environment on his consciousness and the art-work that leads to.   At The Sound ‘s core is Chandler's “Soundribbon” style of meditative, powerfully cinematic instrumental performance on guitar, accompanied by upright bass and percussion which comprises the audio component of the release. The visual portion is a book of paintings, photographs, sketches and written meditations, interpreting nature through technology. The blending of these mediums is Knox's attempt to make the diaristic intent of his music explicit. The Sound is being released on Knox's new label Blue Elastic on May 30. The album is available on digital download and on streaming platforms on its own, or the book comes with a download code. https://knoxchandler.bandcamp.com/ https://knoxchandlermusic.com/ https://www.facebook.com/knox.chandler.3/ https://www.instagram.com/knoxchandler/     C-Level Pete Francis Tickets : https://www.ticketweb.com/event/peter-francis-of-dispatch-the-winchester-tickets/14338833?utm_source=AllEvents.in&utm_medium=event-discovery-platform&utm_campaign=lakewood-events  

Send us a textIn this episode, we explore the multifaceted nature of courage and its transformative power in our lives. Through powerful stories and important insights, we examine how courage manifests not just in grand gestures, but in the everyday choices that ultimately shape who we become.The episode begins by challenging listeners to consider the fears that often hold us back—fear of uncertainty, judgment, failure, and even our own potential. These fears can keep us silent and immobilized, preventing us from finding our authentic voice and creating meaningful change.Through four real stories, the episode illustrates different dimensions of courage:Speaking Truth to Power: Oliver Wendell Holmes Sr.'s decades-long battle against the medical establishment in the 1800s demonstrates the courage to stand by one's convictions, even when facing ridicule and rejection. His persistence in advocating for hand washing and sterilization eventually saved countless mothers. Facing Adversity: A candid conversation with a firefighter reveals the courage required to confront mental health challenges in a profession that often discourages emotional vulnerability. His story illustrates how acknowledging personal struggles and seeking help during difficult times can be one of the most courageous acts.Reimagining Possibilities: Andrea Proske's extraordinary journey from hotel manager at age 27 to Olympic gold medalist in rowing at 35 exemplifies the courage to reimagine what's possible for our lives, regardless of our starting point. Everyday Courage: We're reminded that courage often happens in quiet moments when no one is watching—when we choose self-compassion over self-criticism, set boundaries that honor our wellbeing, or take the first small step toward meaningful change.Courage isn't the absence of fear—it's taking meaningful action despite that fear. It happens in those pivotal moments when we choose alignment with our deepest values over comfort, prioritize truth over acceptance, and dare to reimagine what's possible.Episode Credits:Music from the 10000 Maniacs and the brilliant Natalie Merchant can be found hereNatalie Merchat's WebsiteMusical backdrop from fireman story from popular TV series White Lotus and it can here Oliver Wendall Holmes Sr. info can be found hereYou can find out information about the writer Jack Kerouac here and all his booksOlympic gold medal commentary for 2020 Tokyo Olympics hereYou can also connect with the inspiring Andrea Proske and find her website here.LinkedIn  Instagram Twitter 'X' Connect with Andy VasilyLinkedIn   TwitterDisclaimer for this Podcast- A note from the heart: This podcast was created with one mission—to illuminate paths toward better mental, emotional, and social well-being. Every episode is crafted not for profit, but to inspire positive change in listeners' lives and in our shared world. From the start, it has always been meant to serve people in ways that educates and informs.

Our old pal Danny Haloosim, AKA KCHUNG radio's DJ Danny Halo joins us to talk all sorts of shit about all kinds of crap! Including George Santos, the assassination of Pope Francis, Sinbad, Tori Amos, and MANY 90's one hit wonders. 

Long regarded as one of the world's premier musicians, David Sancious is pleased to announce the release of tracks from his upcoming album, “The Ghost of Jim Crow.” The full version of the first track, "Why Must It Be So,” is now available. Rock & Roll Hall of Fame Inductee David Sancious has recorded and performed on keyboards and guitar and toured with various Grammy Award-winning artists. David is an original member of Bruce Springsteen's E Street Band. Peter Gabriel, Sting, Bruce Springsteen, Eric Clapton, Jeff Beck, Santana, Natalie Merchant, Yousou Ndour, Erika Badu, Aretha Franklin, Seal and others have used David's talents as pianists, synthesists, guitarists, arrangers, and producers on recording sessions and concert tours, playing an eclectic and diverse range of music. After several years of playing keyboards and guitar in Jazz, R&B, and Rock Bands in the Jersey Shore area, David met Bruce Springsteen at the entrance to a club where Bruce was organizing a jam session. This led to an invitation to join a new band that Bruce was putting together. This eventually became Bruce Springsteen & the E Street Band (named after the street David lived on). After recording three albums and touring the country with Bruce, David left to form the group Tone and recorded several albums. In May, he will tour with Will Calhoun, the drummer for Living Colour, on the Open Secret project throughout the Northeast US.   Want to watch: YouTube Meisterkhan Pod (Please Subscribe)

Grammy Award-winner Dan Zanes is a unique force in American music, blending sea shanties, early rock 'n' roll, folk, and soul into a sound that resonates with kids and adults alike. For over 20 years, he has toured the world with his band, Dan Zanes and Friends, sharing a joyful, handmade mix of social music. His critically-acclaimed work has appeared on Sesame Street, Playhouse Disney, and Nickelodeon, and he's collaborated with artists like Philip Glass, Lou Reed, and Natalie Merchant. Zanes' musical journey began in the 1980s with The Del Fuegos, but after becoming a father in the 1990s, he pivoted to creating music for families, releasing the hit album Rocket Ship Beach. With his wife, Claudia Zanes, he has also pioneered sensory-friendly performances, and together they've created the beloved Dan Zanes House Partysongbook. Zanes is also an advocate for anti-racism and co-founded a group focused on white anti-racist dialogue.MusicThe Del Fuegos "I Always Call Her Back"Dan Zanes and Friends "All Around The Kitchen"Produced and Hosted by Steev Riccardo

On this episode of Any Man With a Microphone, we discuss the influential women of ‘90s music, celebrating the voices that shaped the decade.  From the raw power of L7 and Sleater-Kinney to the alt-rock brilliance of Garbage, Natalie Merchant, and Juliana Hatfield, we explore the impact these artists had on the era's sound and culture. Join us as we reminisce about the trailblazers, the anthems, and the lasting legacy of ‘90s women in music.  Others discussed: Liz Phair, Veruca Salt, Letters to Cleo, PJ Harvey, Sheryl Crow, Fiona Apple, Alanis Morissette, and many more!

This season we discuss over 300 albums of the 1990s selected from https://besteveralbums.com. The show starts at (1:41). The Six Singles segment starts at (7:00). This episode covers the following albums: Natalie Merchant - Tigerlily (39:28), Rancid - ...And Out Come The Wolves (1:01:30), Tricky - Maxinquaye (1:18:18), and Radiohead - The Bends (1:38:15).

Well, we've reached the end (at least for now) of the Raised Catholic podcast. This week I'll share some grace-filled moments from this four-year journey, my encouragement to you to say 'yes' to where God is leading you, and where I and this community are headed. Thanks so much for listening and for all of your support - it is truly appreciated. If you'd like to connect with me, ⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠find me on Instagram⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠, ⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠at my website⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠, or ⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠on Substack⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠. If you'd like to ⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠help support this podcast financially⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠, there's a way to do just that ⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠on my page at buymeacoffee.com⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠! Thanks for sharing, subscribing, rating, and reviewing, as this helps our community to grow. Thanks as always to my friend, Peter Vaughan-Vail, for providing the beautiful harp music you hear in this and every episode. Here are some resources I hope will help you to engage with this week's topic in a deeper way for yourself: 1. Raised Catholic 127: The Great Tapestry of God - transcript with link to episode 2. Raised Catholic 132: Be Not Afraid - Rome Edition - transcript with link to episode 3. Raised Catholic 197: How to Discern when it's Done - transcript with link to episode 4. Raised Catholic 155: Retreat Takeaways - Bells, Time, and Open Hands - transcript with link to episode 5. Reopening information from the Notre Dame Cathedral website 6. Song: Be Not Afraid, by Peace Together Choir 7. Song: Kind and Generous, by Natalie Merchant

Join us for an inspiring conversation with singer-songwriter and guitarist Patti Spadaro. Patti shares her journey from the iconic clubs of Los Angeles to her current roots in Pennsylvania, discussing her music, teaching, and passion for empowerment. We delve into her latest single, "Glass Shatters," and explore how her soulful blend of rock, blues, and jam-band styles creates a space for connection and transformation.PATTI SPADARO brings a hopeful outlook to her introspective and heartfelt songwriting. Her guitar style has a soulful, fluid, jam-band feel. She loves to improvise, stretch out during live shows, and reach for musical magic. "Its all about the music and making a connection", says Patti, "bringing people together, letting loose, and being in the here and now".  Her band's live shows create a space where the music opens up into something huge... the whole is greater than the sum of the parts. The music cuts through the everyday and connects right to the core. While living in Los Angeles, Patti released 3 albums and played LA's iconic clubs. She toured up and down the west coast & throughout the southwestern US. Her roots called Patti back to PA to raise a family.  She has two daughters, released 2 more albums, and is continuing to record and perform. Patti also teaches college courses in yoga, meditation, and Mindfulness in Music.Glass Shatters is an inspiring tribute to the strength and resilience of women. It honors our historic first female Vice President, and our continuing quest to break glass ceilings everywhere.  Five women vocalists come together to sing, harmonize and complement each other, with soulful lead guitar work by Spadaro. “When I left PA to attend Musician's Institute in the early 1990's, I was one of 3 women guitar students, in a sea of 700 guys." says Patti. “It wasn't easy being in such a minority. Society has come a long way, but there is still plenty of progress to be made.”  Glass Shatters features Pittsburgh musicians and singers: Patti Spadaro (guitar/vocals), Anne Celedonia (keys/vocals), Cherylann Hawk, Jill Simmons & Alison McTavish (backing vocals), Eric Kurtzrock (drummer/recording engineer), and Ryan Black (bass).THE PATTI SPADARO BAND weave organic grooves with catchy original tunes and spur-of-the moment jamming.  "I like to combine improvisation with good solid song writing" says Patti. "I love to get people up and dancing. Music can open minds and inspire, it can bring people together, even make a difference in the world. It's also a whole lot of fun."  BRINGING ME BACK features drummers Eric Kurtzrock & Jim Donovan (Rusted Root), keyboardist Skip Sanders (The Clarks, Bill Deasy), and Jill Simmons singing harmony (Brown Eyed Women). The album features impressive musicianship and songs that reach deep. Songs about discovering what matters most. Standing up and living life from that place. A place of integrity and love; freedom, joy and passion. WOMEN ON TOP - add Jill Simmons, Cherylann Hawk, Alison McTavish and Andrea Pearl's lead vocals and beautiful harmonies to the mix.  See our Women On Top page for more.Bonnie Raitt, Natalie Merchant, Tedeschi/Trucks, The Grateful Dead, John Mayer, Phish, Little Feat, The Allman Brothers, Michael Franti, Sara Bareilles, Dave Matthews Band, Counting Crows and many more. Patti performs & records with many bands/musicians in the greater Pittsburgh PA area, including: Cherylann Hawk, Bill Toms & Hard Rain, Jill Simmons, Eric Kurtzrock, Pittsburgh Women of the Blues, theCAUSE, The Sun Champs, Lisa Mackney (Dark Star Orchestra), Jim Donovan (Rusted Root), Danny Gochnour & Joffo Simmons (The Houserockers), Alison McTavish (Love Crumbs), SamJAMwich, Steve "pUNK" Cunningham, Mike Tony, Mike "Foot" Hoernig & John “JB” Bigham, Joe Monroe (Ghosthounds), Ms. Freddye, T. Mitchell Bell, Cheryl Rinovato & Stevee Wellons (Soulful Femme), Joe Pinchotti III (Charles Wesley Godwin), Janelle Burdell, Andrea Pearl, Dan Baker, Al&Al, Lindsay Dragan, Ven Kelly, Matt Locy and more.  Patti's opened for many artists, including Melvin Seals and JGB. Patti was the lead guitarist for the ZOOKEEPERS for several years. They recorded two albums together, played many shows in Los Angeles, and toured the western U.S. extensively. The Zookeepers were named one of L.A.'s best bands by KTLA-TV, and performed on "Good Day L.A." and other TV shows. Both of their CDs received radio airplay all over the west coast. Patti opened for guitar legend Eddie Van Halen in Hollywood, and for Little Feat at the El Rey Theatre. She recorded and performed with award winning commercial producer Sherby, and singer/songwriter Roger Len Smith. She recorded "A Step Down From Luxuy", The Mystrals' first CD and toured the southwestern US with them. The Mystrals singer won "Best Vocalist" in the L.A. Music Awards.  Patti is a graduate of Musician's Institute, where she studied with world renown jazz/fusion guitarist Scott Henderson of Chick Corea's band, and blues/roots-rock guitarist Keith Wyatt of the Blasters. She's also worked as a guitar teacher.Patti began her musical journey at 11 years old, playing a beat-up acoustic hand-me-down. Growing up in PA, she soon discovered electric guitar and spent hours learning riffs from her guitar heroes including The Grateful Dead, The Allman Brothers & Stevie Ray Vaughn.  After getting her degree in Physics from Drexel University, she moved to Los Angeles to attend Musician's Institute.https://www.pattispadaro.comBecome a supporter of this podcast: https://www.spreaker.com/podcast/i-am-refocused-radio--2671113/support.

Tawny and Lisa talk about dry months and dry challenges. For folks considering getting sober, they're a great way to take an intentional look at your drinking. They share ideas to set yourself up for success: grab an accountability buddy, stock your fridge with yummy NA drinks, and journal to reflect. But most of all, be gentle with yourself!   Music Minute features Monster Mash, Macy Gray, Pink, Natalie Merchant, and Taylor Swift. Check out author Hilary Sheinbaum's Going Dry and The Dry Challenge Check out Fcking Sober podcast  Pre-order The Sobriety Deck  Order Tawny's book, DRY HUMPING: A Guide to Dating, Relating, and Hooking Up Without the Booze Sign up for "Beyond Liquid Courage" Order Tawny's new NA drink, (parentheses) Purchase Lisa's memoir, Girl Walks Out of a Bar   

You better believe what you're seeing! It's another episode of THE STORY SONG PODCAST! Join your hosts on a house call as they review 1995's “Wonder” by Natalie Merchant. We'll challenge your balance as we discuss NPR names, how to become a cult leader, and 9,999 maniacs plus a Merchant. So follow your destiny, and have some patience because as far as we see, we can offer no explanation for you to not listen to this episode of THE STORY SONG PODCAST. You'll make your way.  “Wonder” by Natalie Merchant (from the album Tigerlily) is available on Apple Music, YouTube Music, Amazon Music, Tidal, Pandora, Spotify, or wherever you listen to music. Continue the conversation; follow THE STORY SONG PODCAST on social media. Follow us on Instagram (storysongpodcast), and Facebook (thestorysongpodcast), Threads (storysongpodcast), GoodPods, and Podchaser. Learn more about your ad choices. Visit megaphone.fm/adchoices

For decades—literally since Woodstock—female musicians had battled music-industry perceptions that amassing too many of them, on the radio or on the road, was bad for business. And yet, by the '90s, women were vital to the rise of alt-rock and hip-hop on the charts: from Suzanne Vega to Queen Latifah, Tracy Chapman to Sheryl Crow, Natalie Merchant to Missy Elliott. Sarah McLachlan harnessed this energy into an all-woman tour she dubbed Lilith Fair. Its string of sellouts from 1997 to '99 affirmed women's clout in the decade of grunge-and-gangsta. But the festival was also criticized for its narrow focus and for branding “women's music” as a genre. More than two decades later, Hit Parade assesses the legacy of Lilith on the charts and on the road—how its performers, attendees and musical descendants are helping to ensure the future is female. Podcast production by Benjamin Frisch and Kevin Bendis. Learn more about your ad choices. Visit megaphone.fm/adchoices

For decades—literally since Woodstock—female musicians had battled music-industry perceptions that amassing too many of them, on the radio or on the road, was bad for business. And yet, by the '90s, women were vital to the rise of alt-rock and hip-hop on the charts: from Suzanne Vega to Queen Latifah, Tracy Chapman to Sheryl Crow, Natalie Merchant to Missy Elliott.Sarah McLachlan harnessed this energy into an all-woman tour she dubbed Lilith Fair. Its string of sellouts from 1997 to '99 affirmed women's clout in the decade of grunge-and-gangsta. But the festival was also criticized for its narrow focus and for branding “women's music” as a genre. More than two decades later, Hit Parade assesses the legacy of Lilith on the charts and on the road—how its performers, attendees and musical descendants are helping to ensure the future is female.Podcast production by Benjamin Frisch and Kevin Bendis. Hosted on Acast. See acast.com/privacy for more information.

For decades—literally since Woodstock—female musicians had battled music-industry perceptions that amassing too many of them, on the radio or on the road, was bad for business. And yet, by the '90s, women were vital to the rise of alt-rock and hip-hop on the charts: from Suzanne Vega to Queen Latifah, Tracy Chapman to Sheryl Crow, Natalie Merchant to Missy Elliott.Sarah McLachlan harnessed this energy into an all-woman tour she dubbed Lilith Fair. Its string of sellouts from 1997 to '99 affirmed women's clout in the decade of grunge-and-gangsta. But the festival was also criticized for its narrow focus and for branding “women's music” as a genre. More than two decades later, Hit Parade assesses the legacy of Lilith on the charts and on the road—how its performers, attendees and musical descendants are helping to ensure the future is female.Podcast production by Benjamin Frisch and Kevin Bendis. Hosted on Acast. See acast.com/privacy for more information.

For decades—literally since Woodstock—female musicians had battled music-industry perceptions that amassing too many of them, on the radio or on the road, was bad for business. And yet, by the '90s, women were vital to the rise of alt-rock and hip-hop on the charts: from Suzanne Vega to Queen Latifah, Tracy Chapman to Sheryl Crow, Natalie Merchant to Missy Elliott. Sarah McLachlan harnessed this energy into an all-woman tour she dubbed Lilith Fair. Its string of sellouts from 1997 to '99 affirmed women's clout in the decade of grunge-and-gangsta. But the festival was also criticized for its narrow focus and for branding “women's music” as a genre. More than two decades later, Hit Parade assesses the legacy of Lilith on the charts and on the road—how its performers, attendees and musical descendants are helping to ensure the future is female. Podcast production by Benjamin Frisch and Kevin Bendis. Learn more about your ad choices. Visit megaphone.fm/adchoices

For decades—literally since Woodstock—female musicians had battled music-industry perceptions that amassing too many of them, on the radio or on the road, was bad for business. And yet, by the '90s, women were vital to the rise of alt-rock and hip-hop on the charts: from Suzanne Vega to Queen Latifah, Tracy Chapman to Sheryl Crow, Natalie Merchant to Missy Elliott.Sarah McLachlan harnessed this energy into an all-woman tour she dubbed Lilith Fair. Its string of sellouts from 1997 to '99 affirmed women's clout in the decade of grunge-and-gangsta. But the festival was also criticized for its narrow focus and for branding “women's music” as a genre. More than two decades later, Hit Parade assesses the legacy of Lilith on the charts and on the road—how its performers, attendees and musical descendants are helping to ensure the future is female.Podcast production by Benjamin Frisch and Kevin Bendis. Hosted on Acast. See acast.com/privacy for more information.

For decades—literally since Woodstock—female musicians had battled music-industry perceptions that amassing too many of them, on the radio or on the road, was bad for business. And yet, by the '90s, women were vital to the rise of alt-rock and hip-hop on the charts: from Suzanne Vega to Queen Latifah, Tracy Chapman to Sheryl Crow, Natalie Merchant to Missy Elliott. Sarah McLachlan harnessed this energy into an all-woman tour she dubbed Lilith Fair. Its string of sellouts from 1997 to '99 affirmed women's clout in the decade of grunge-and-gangsta. But the festival was also criticized for its narrow focus and for branding “women's music” as a genre. More than two decades later, Hit Parade assesses the legacy of Lilith on the charts and on the road—how its performers, attendees and musical descendants are helping to ensure the future is female. Podcast production by Benjamin Frisch and Kevin Bendis. Learn more about your ad choices. Visit megaphone.fm/adchoices

For decades—literally since Woodstock—female musicians had battled music-industry perceptions that amassing too many of them, on the radio or on the road, was bad for business. And yet, by the '90s, women were vital to the rise of alt-rock and hip-hop on the charts: from Suzanne Vega to Queen Latifah, Tracy Chapman to Sheryl Crow, Natalie Merchant to Missy Elliott.Sarah McLachlan harnessed this energy into an all-woman tour she dubbed Lilith Fair. Its string of sellouts from 1997 to '99 affirmed women's clout in the decade of grunge-and-gangsta. But the festival was also criticized for its narrow focus and for branding “women's music” as a genre. More than two decades later, Hit Parade assesses the legacy of Lilith on the charts and on the road—how its performers, attendees and musical descendants are helping to ensure the future is female.Podcast production by Benjamin Frisch and Kevin Bendis. Hosted on Acast. See acast.com/privacy for more information.

For decades—literally since Woodstock—female musicians had battled music-industry perceptions that amassing too many of them, on the radio or on the road, was bad for business. And yet, by the '90s, women were vital to the rise of alt-rock and hip-hop on the charts: from Suzanne Vega to Queen Latifah, Tracy Chapman to Sheryl Crow, Natalie Merchant to Missy Elliott. Sarah McLachlan harnessed this energy into an all-woman tour she dubbed Lilith Fair. Its string of sellouts from 1997 to '99 affirmed women's clout in the decade of grunge-and-gangsta. But the festival was also criticized for its narrow focus and for branding “women's music” as a genre. More than two decades later, Hit Parade assesses the legacy of Lilith on the charts and on the road—how its performers, attendees and musical descendants are helping to ensure the future is female. Podcast production by Benjamin Frisch and Kevin Bendis. Learn more about your ad choices. Visit megaphone.fm/adchoices

For decades—literally since Woodstock—female musicians had battled music-industry perceptions that amassing too many of them, on the radio or on the road, was bad for business. And yet, by the '90s, women were vital to the rise of alt-rock and hip-hop on the charts: from Suzanne Vega to Queen Latifah, Tracy Chapman to Sheryl Crow, Natalie Merchant to Missy Elliott.Sarah McLachlan harnessed this energy into an all-woman tour she dubbed Lilith Fair. Its string of sellouts from 1997 to '99 affirmed women's clout in the decade of grunge-and-gangsta. But the festival was also criticized for its narrow focus and for branding “women's music” as a genre. More than two decades later, Hit Parade assesses the legacy of Lilith on the charts and on the road—how its performers, attendees and musical descendants are helping to ensure the future is female.Podcast production by Benjamin Frisch and Kevin Bendis. Hosted on Acast. See acast.com/privacy for more information.

For decades—literally since Woodstock—female musicians had battled music-industry perceptions that amassing too many of them, on the radio or on the road, was bad for business. And yet, by the '90s, women were vital to the rise of alt-rock and hip-hop on the charts: from Suzanne Vega to Queen Latifah, Tracy Chapman to Sheryl Crow, Natalie Merchant to Missy Elliott. Sarah McLachlan harnessed this energy into an all-woman tour she dubbed Lilith Fair. Its string of sellouts from 1997 to '99 affirmed women's clout in the decade of grunge-and-gangsta. But the festival was also criticized for its narrow focus and for branding “women's music” as a genre. More than two decades later, Hit Parade assesses the legacy of Lilith on the charts and on the road—how its performers, attendees and musical descendants are helping to ensure the future is female. Podcast production by Benjamin Frisch and Kevin Bendis. Learn more about your ad choices. Visit megaphone.fm/adchoices

For decades—literally since Woodstock—female musicians had battled music-industry perceptions that amassing too many of them, on the radio or on the road, was bad for business. And yet, by the '90s, women were vital to the rise of alt-rock and hip-hop on the charts: from Suzanne Vega to Queen Latifah, Tracy Chapman to Sheryl Crow, Natalie Merchant to Missy Elliott. Sarah McLachlan harnessed this energy into an all-woman tour she dubbed Lilith Fair. Its string of sellouts from 1997 to '99 affirmed women's clout in the decade of grunge-and-gangsta. But the festival was also criticized for its narrow focus and for branding “women's music” as a genre. More than two decades later, Hit Parade assesses the legacy of Lilith on the charts and on the road—how its performers, attendees and musical descendants are helping to ensure the future is female. Podcast production by Benjamin Frisch and Kevin Bendis. Learn more about your ad choices. Visit megaphone.fm/adchoices

For decades—literally since Woodstock—female musicians had battled music-industry perceptions that amassing too many of them, on the radio or on the road, was bad for business. And yet, by the '90s, women were vital to the rise of alt-rock and hip-hop on the charts: from Suzanne Vega to Queen Latifah, Tracy Chapman to Sheryl Crow, Natalie Merchant to Missy Elliott.Sarah McLachlan harnessed this energy into an all-woman tour she dubbed Lilith Fair. Its string of sellouts from 1997 to '99 affirmed women's clout in the decade of grunge-and-gangsta. But the festival was also criticized for its narrow focus and for branding “women's music” as a genre. More than two decades later, Hit Parade assesses the legacy of Lilith on the charts and on the road—how its performers, attendees and musical descendants are helping to ensure the future is female.Podcast production by Benjamin Frisch and Kevin Bendis. Hosted on Acast. See acast.com/privacy for more information.

Michael Moore takes his podcast to Grand Central Station where hundreds of Jewish New Yorkers are arrested during a sit-in for peace, demanding that all sides lay down their arms and create a cease-fire in Israel and Gaza. Watch Michael's livestreams from Grand Central Station on his Facebook and Instagram. ******************** GET INVOLVED: Visit Jewish Voice for Peace to find ways to take action! ******************** Music in today's episode: "Because I Could Not Stop For Death" — Natalie Merchant with Susan McKeown & the Chanting House ******************** Episode Underwriters: 1) Moink — Moink brings additive-free, farm-fresh meat right to your door, and supports independent family farmers in the process. Go to https://www.MoinkBox.com/RUMBLE right now and get FREE ground beef for a YEAR. 2) This episode is brought to you by BetterHelp. Give online therapy a try at betterhelp.com/RUMBLE to get 10% off your first month, and get on your way to being your best self. 3) Shopify — Sign up for a one-dollar-per-month trial period at https://www.shopify.com/rumble [all lowercase] and get full access to Shopify's entire suite of features. 4) Babbel — Learn a new language with Babble in just 3 weeks! Get 55% off at www.babble.com/rumble. --- Send in a voice message: https://podcasters.spotify.com/pod/show/rumble-with-michael-moore/message