Podcast appearances and mentions of Neil Young

Mannheim, 23 mars 1819 cinq heures de l'après-midi. Dans cette ville du grand-duché de Bade, un des 38 États de l'Allemagne non encore unifiée, l'homme de lettres August von Kotzebue s'apprête à recevoir des amis pour un dîner. On introduit auprès de lui un jeune étudiant en théologie, Karl Ludwig Sand, qui lui donne immédiatement un coup de poignard dans le cœur… Pour ce quatrième volet de la série d'été « Un meurtre, une société », Antonin Dubois, maître de conférences à l'université de Lorraine, replace ce meurtre dans le contexte de la politisation patriotique et révolutionnaire des étudiants allemands d'avant 1848. Pour aller plus loin : Daniel Schönpflug, « Restauration et violence politique : l'attentat de Karl Ludwig Sand dans son contexte européen », dans Jean-Claude Caron et Jean-Philippe Luis (dir.), Rien appris, rien oublié ? Les Restaurations dans l'Europe postnapoléonienne (1814-1830), Rennes, Presses universitaires de Rennes, 2015, pp. 427-438 ; George S. Williamson, « "Thought Is in Itself a Dangerous Operation": The Campaign Against "Revolutionary Machinations" in Germany, 1819–1828 », German Studies Review, vol. 38, n° 2, 2015, pp. 285-306. Une série de Paroles d'histoire, podcast créé et produit par André Loez, distribué par Binge audio. Contact pub : project@binge.audioMusique de générique : Neil Young, Cortez the Killer.Titre de la série en référence au livre de Bernard Guénée sur 1407. Un podcast créé, animé et produit par André Loez et distribué par Binge Audio. Contact pub : project@binge.audioHébergé par Audiomeans. Visitez audiomeans.fr/politique-de-confidentialite pour plus d'informations.

Album Medusa của diva Annie Lennox chính thức bước sang tuổi 30 vào năm 2025. Tuyển tập ca khúc trong Medusa đã nghĩa lại cover tác phẩm kinh điển qua nhãn quan của diva hàng đầu. Tầm vóc diva nước Anh Anniex Lennox là trụ cột, ca sỹ/nhạc sỹ chính của nhóm nhạc Eurythmics, Anh Quốc cùng với tay guitar kiêm nhạc sỹ Dave Steward. Bộ đôi gặt hái thành công vang dội trong thập niên 1980 nhờ các bản hit như Sweet Dream, Here comes the rain theo trào lưu synth-pop, new wave. Sinh năm 1954 tại Aberdeen, Scotland (Anh), bà tạo ấn tượng mạnh nhờ phong cách nổi loạn: tóc ngắn, nhuộm màu cam, mắt tô chì đen lạnh lùng. Sau thành công của nhóm Eurythmics, Annie Lennox tách ra hát solo bằng album kinh điển Diva (1992). Abum này được giới phê bình và khán giả đón nhận nồng nhiệt với nhiều bản hit như Why (Tại sao), Walking on broken glass (Bước trên thủy tinh vỡ). Nhờ chất giọng contralto, Annie có dấu riêng bản sắc giọng và ca khúc đậm chất thơ với nhà sản xuất Stephen Lipson. Các ca khúc gắn tới tên tuổi bà được chăm chút kỹ lưỡng từ giai điệu, ca từ, phối khí. Đáng chú ý  Annie Lennox là đồng tác giả sáng tác nhiều ca khúc trong album Diva. Album Medusa gây tranh cãi Medusa, album solo thứ hai trong sự nghiệp của nữ diva Scotland, sản xuất năm 1995 lại tạo nên tranh luận trái chiều. Toàn bộ album hát lại (cover) các tác phẩm kinh điển của Neil Young, Bob Marley, Al Green. Hình bìa album, Annie Lennox hóa thân thành quái vật Medusa có sức mạnh “hóa đá” người nghe. Tờ AllMusic cho rằng Annie Lennox chọn đôi giày quá rộng và quá sức của diva, nên chăng tập trung vào một thể loại có thế mạnh. Tờ Rollingstone ưu ái hơn với album Medusa, cho rằng nỗ lực của Annie Lennox ngang ngửa album solo đầu tay Diva. Ca khúc mở màn và đinh nhất của album là No More I love you (Em không còn yêu anh) hát lại của nhóm Lover Speaks. Bản gốc của nhóm nhạc Anh chỉ lọt vào hạng 58 bảng xếp hạng Anh Quốc, nên rất ít tiếng tăm. Nhờ bàn tay phù thủy nhà sản xuất Stephen, bản cover có cấu trúc rõ nét và mạch lạc. Diva thể hiện lối hát liêu trai cùng chất giọng đặc trưng. Bà đẩy được cao trào bản nhạc, luyến láy và tạo được bản sắc cá nhân. Lớp phối khí dày và chất giọng diva bay bổng trong bản cover mà khán giả quên hẳn bản gốc. Ca khúc leo lên hạng nhì bảng xếp hạng Anh và giành giải Grammy 1995 – Trình diễn pop xuất sắc nhất. Ví dụ này cho thấy sự độc đáo trong cách làm mới ca khúc nhờ khai thác giai điệu cốt lõi và thế mạnh của ca sỹ thể hiện. Thành công thương mại Album gặt hái thành công thương mại đáng kể nhờ bản hit No more I love you. Album đứng thứ 11 trong bảng xếp hạng Billboard 200 album bán chạy nhất tại Mỹ cùng năm. Con dao hai lưỡi của No more I love you khiến cho các đĩa đơn tiếp theo trong album bị đặt lên bàn cân. Đĩa đơn thứ hai, A Whiter Shade of Pale, hát lại bản gốc nhóm rock Anh, Procol Harum năm 1967. Bản nhạc gốc có giai điệu khá hấp dẫn với ca từ khó hiểu với nhiều tầng lớp ẩn dụ văn học. Đại ý tình cảm nam nữ phát sinh sau khi đã say men trong bữa tiệc đêm hè. Bản phối tao nhã nhờ tiếng keyboard nền nã làm nền chắc chắn cho giọng ca Annie. Một tác phẩm khác được bà hát lại, Take me to the river (Đưa em tới con sông) của Al Green. Bản nhạc gốc được thể hiện theo thể loại R&B và soul còn diva kịch tính hơn với chất pop/rock. Trong Don't let it bring you down (Đừng để điều đó khiến bạn thất vọng), nhà sản xuất đem tới hơi thở mới cho bản gốc của nam rocker Neil Young. Phần intro (mở bài) có giai điệu rất bắt tai và phần kết thúc có độ ngân nga kéo dài. Chất giọng nữ cao của Annie làm chủ được cuộc chơi, phơi bày được giai điệu cuốn hút nhất. Kỹ thuật và bản năng âm nhạc Đề cập tới phổ âm nhạc rất rộng trong album, Annie chia sẻ : “Album tuyển chọn những bài hát tôi bị thu hút bởi nhiều lý do. Tôi không chọn dựa trên chủ đề hay nội dung cụ thể mà chỉ là bản năng âm nhạc hơn là sự tính toán. Tôi rất biết ơn cơ hội này vì sản phẩm này thực sự là lao động nghệ thuật đích thực.” Giải thích của Annie cho thấy bản năng nghệ thuật mạnh mẽ của bà kết hợp cùng kỹ thuật đỉnh cao. Thách thức của tác phẩm kinh điển của nhóm pop/rock thập niên 1960,70 như The Clash, Temptation, Paul Simon không làm nản lòng Annie. Tuy là album cover, nữ diva biết cách phiên dịch ngôn ngữ và giai điệu âm nhạc theo bản sắc của riêng bà. Tờ Metro Weekly cho rằng bà thâu tóm được giai điệu chủ đạo bài hát và thể hiện chất giọng đặc biệt của mình trên nền giai điệu cô đọng đó. Bản nhạc Train in vain hay I can't get next to you là món ăn mới lạ cho những khán giả quen thuộc công thức gốc nhờ tiết tấu beat mạnh mẽ và guitar Tây Ban Nha. Không thể phủ nhận vai trò nhà sản xuất Stephen trong việc chế biến “bữa tiệc” âm thanh phong phú trong Downtown Lights hay The Thin Line Between Love and Hate (Ranh giới giữa yêu và hận thù). Đĩa đơn thứ ba của album, Waiting in vain (Chờ đợi vô vọng) là thành công khác của album. Annie thể hiện bản tình ca rất nền nã, lắng đọng trên giai điệu guitar so với bản nhạc raggage gốc của Bob Marley. Nếu đặt các bản gốc và bản cover cạnh nhau, khán giả mới cảm nhận sự khác biệt và mức độ sáng tạo đỉnh cao. Cho dù làm mới ở mức độ nào, người nghe nhận ra chất giọng và lối thể hiện dấu ấn cá nhân của Annie Lennox. Bản phối mới có sự đầu tư kỹ lưỡng , tính toán tỷ mỉ sao thể hiện ý đồ của nữ diva. Ba thập kỷ trôi qua, album Medusa (1995) được đánh giá là một trong các sản phẩm xuất sắc trong sự nghiệp solo của diva Annie Lennox. Tuyển tập ca khúc trong Medusa định nghĩa lại một cách hoàn hảo thế nào là hát lại những bản nhạc kinh điển. Không nhiều nghệ sỹ xuất sắc hơn Annie Lennox, làm mới toàn diện, chắt chiu linh hồn bài hát gốc. Quan trọng nhất, nữ điva thể hiện bản sắc cá nhân nổi bật. (Theo All Music, Metro Weekly, Rollingstone, Wikipedia)

Album Medusa của diva Annie Lennox chính thức bước sang tuổi 30 vào năm 2025. Tuyển tập ca khúc trong Medusa đã nghĩa lại cover tác phẩm kinh điển qua nhãn quan của diva hàng đầu. Tầm vóc diva nước Anh Anniex Lennox là trụ cột, ca sỹ/nhạc sỹ chính của nhóm nhạc Eurythmics, Anh Quốc cùng với tay guitar kiêm nhạc sỹ Dave Steward. Bộ đôi gặt hái thành công vang dội trong thập niên 1980 nhờ các bản hit như Sweet Dream, Here comes the rain theo trào lưu synth-pop, new wave. Sinh năm 1954 tại Aberdeen, Scotland (Anh), bà tạo ấn tượng mạnh nhờ phong cách nổi loạn: tóc ngắn, nhuộm màu cam, mắt tô chì đen lạnh lùng. Sau thành công của nhóm Eurythmics, Annie Lennox tách ra hát solo bằng album kinh điển Diva (1992). Abum này được giới phê bình và khán giả đón nhận nồng nhiệt với nhiều bản hit như Why (Tại sao), Walking on broken glass (Bước trên thủy tinh vỡ). Nhờ chất giọng contralto, Annie có dấu riêng bản sắc giọng và ca khúc đậm chất thơ với nhà sản xuất Stephen Lipson. Các ca khúc gắn tới tên tuổi bà được chăm chút kỹ lưỡng từ giai điệu, ca từ, phối khí. Đáng chú ý  Annie Lennox là đồng tác giả sáng tác nhiều ca khúc trong album Diva. Album Medusa gây tranh cãi Medusa, album solo thứ hai trong sự nghiệp của nữ diva Scotland, sản xuất năm 1995 lại tạo nên tranh luận trái chiều. Toàn bộ album hát lại (cover) các tác phẩm kinh điển của Neil Young, Bob Marley, Al Green. Hình bìa album, Annie Lennox hóa thân thành quái vật Medusa có sức mạnh “hóa đá” người nghe. Tờ AllMusic cho rằng Annie Lennox chọn đôi giày quá rộng và quá sức của diva, nên chăng tập trung vào một thể loại có thế mạnh. Tờ Rollingstone ưu ái hơn với album Medusa, cho rằng nỗ lực của Annie Lennox ngang ngửa album solo đầu tay Diva. Ca khúc mở màn và đinh nhất của album là No More I love you (Em không còn yêu anh) hát lại của nhóm Lover Speaks. Bản gốc của nhóm nhạc Anh chỉ lọt vào hạng 58 bảng xếp hạng Anh Quốc, nên rất ít tiếng tăm. Nhờ bàn tay phù thủy nhà sản xuất Stephen, bản cover có cấu trúc rõ nét và mạch lạc. Diva thể hiện lối hát liêu trai cùng chất giọng đặc trưng. Bà đẩy được cao trào bản nhạc, luyến láy và tạo được bản sắc cá nhân. Lớp phối khí dày và chất giọng diva bay bổng trong bản cover mà khán giả quên hẳn bản gốc. Ca khúc leo lên hạng nhì bảng xếp hạng Anh và giành giải Grammy 1995 – Trình diễn pop xuất sắc nhất. Ví dụ này cho thấy sự độc đáo trong cách làm mới ca khúc nhờ khai thác giai điệu cốt lõi và thế mạnh của ca sỹ thể hiện. Thành công thương mại Album gặt hái thành công thương mại đáng kể nhờ bản hit No more I love you. Album đứng thứ 11 trong bảng xếp hạng Billboard 200 album bán chạy nhất tại Mỹ cùng năm. Con dao hai lưỡi của No more I love you khiến cho các đĩa đơn tiếp theo trong album bị đặt lên bàn cân. Đĩa đơn thứ hai, A Whiter Shade of Pale, hát lại bản gốc nhóm rock Anh, Procol Harum năm 1967. Bản nhạc gốc có giai điệu khá hấp dẫn với ca từ khó hiểu với nhiều tầng lớp ẩn dụ văn học. Đại ý tình cảm nam nữ phát sinh sau khi đã say men trong bữa tiệc đêm hè. Bản phối tao nhã nhờ tiếng keyboard nền nã làm nền chắc chắn cho giọng ca Annie. Một tác phẩm khác được bà hát lại, Take me to the river (Đưa em tới con sông) của Al Green. Bản nhạc gốc được thể hiện theo thể loại R&B và soul còn diva kịch tính hơn với chất pop/rock. Trong Don't let it bring you down (Đừng để điều đó khiến bạn thất vọng), nhà sản xuất đem tới hơi thở mới cho bản gốc của nam rocker Neil Young. Phần intro (mở bài) có giai điệu rất bắt tai và phần kết thúc có độ ngân nga kéo dài. Chất giọng nữ cao của Annie làm chủ được cuộc chơi, phơi bày được giai điệu cuốn hút nhất. Kỹ thuật và bản năng âm nhạc Đề cập tới phổ âm nhạc rất rộng trong album, Annie chia sẻ : “Album tuyển chọn những bài hát tôi bị thu hút bởi nhiều lý do. Tôi không chọn dựa trên chủ đề hay nội dung cụ thể mà chỉ là bản năng âm nhạc hơn là sự tính toán. Tôi rất biết ơn cơ hội này vì sản phẩm này thực sự là lao động nghệ thuật đích thực.” Giải thích của Annie cho thấy bản năng nghệ thuật mạnh mẽ của bà kết hợp cùng kỹ thuật đỉnh cao. Thách thức của tác phẩm kinh điển của nhóm pop/rock thập niên 1960,70 như The Clash, Temptation, Paul Simon không làm nản lòng Annie. Tuy là album cover, nữ diva biết cách phiên dịch ngôn ngữ và giai điệu âm nhạc theo bản sắc của riêng bà. Tờ Metro Weekly cho rằng bà thâu tóm được giai điệu chủ đạo bài hát và thể hiện chất giọng đặc biệt của mình trên nền giai điệu cô đọng đó. Bản nhạc Train in vain hay I can't get next to you là món ăn mới lạ cho những khán giả quen thuộc công thức gốc nhờ tiết tấu beat mạnh mẽ và guitar Tây Ban Nha. Không thể phủ nhận vai trò nhà sản xuất Stephen trong việc chế biến “bữa tiệc” âm thanh phong phú trong Downtown Lights hay The Thin Line Between Love and Hate (Ranh giới giữa yêu và hận thù). Đĩa đơn thứ ba của album, Waiting in vain (Chờ đợi vô vọng) là thành công khác của album. Annie thể hiện bản tình ca rất nền nã, lắng đọng trên giai điệu guitar so với bản nhạc raggage gốc của Bob Marley. Nếu đặt các bản gốc và bản cover cạnh nhau, khán giả mới cảm nhận sự khác biệt và mức độ sáng tạo đỉnh cao. Cho dù làm mới ở mức độ nào, người nghe nhận ra chất giọng và lối thể hiện dấu ấn cá nhân của Annie Lennox. Bản phối mới có sự đầu tư kỹ lưỡng , tính toán tỷ mỉ sao thể hiện ý đồ của nữ diva. Ba thập kỷ trôi qua, album Medusa (1995) được đánh giá là một trong các sản phẩm xuất sắc trong sự nghiệp solo của diva Annie Lennox. Tuyển tập ca khúc trong Medusa định nghĩa lại một cách hoàn hảo thế nào là hát lại những bản nhạc kinh điển. Không nhiều nghệ sỹ xuất sắc hơn Annie Lennox, làm mới toàn diện, chắt chiu linh hồn bài hát gốc. Quan trọng nhất, nữ điva thể hiện bản sắc cá nhân nổi bật. (Theo All Music, Metro Weekly, Rollingstone, Wikipedia)

The Grateful Deadcast visits the set for the Grateful Dead Movie, aka the Dead's five “retirement” shows at Winterland in 1974, with heads who attended. This bonus episode is a re-run of the 2nd half of Deadcast Season 9, episode 8.Guests: Donna Jean Godchaux-MacKay, Ron Rakow, Ned Lagin, David Grisman, , Steve Brown, Richie Pechner, Jerry Pompili, Jim Sullivan, Gary Lambert, Geoff Gould, Joan Brown, Michael Parrish, Corry Arnold, Strider Brown, Jay Kerley, Rita Fiedler, Rene Tinner, Lee Ranaldo, Gregory Barette, Ron Long, Brian AndersonSee Privacy Policy at https://art19.com/privacy and California Privacy Notice at https://art19.com/privacy#do-not-sell-my-info.

Hoy en La Gran Travesía viajamos hasta el año 1979 con un programa especial donde podréis escuchar a Joy Division, Supertramp, Sugar Hill Gang, Bauhaus, Pink Floyd, Status Quo, Pretenders, Motorhead, Sister Sledge, Def Leppard, The Clash, Iron Maiden, Dead Kennedys, Boomtown Rats, Neil Young... y muchos más. También recordaros que ya podéis comprar La gran travesía del rock, un libro interactivo. Jimi y Janis, dos periodistas musicales, vienen de 2027, un mundo distópico y delirante donde el reguetón tiene (casi) todo el poder... pero ellos dos, deciden alistarse al GLP para viajar en el tiempo, salvar el rock, rescatar sus archivos ocultos y combatir la dictadura troyana del FPR. ✨ El libro ya está en diversas tiendas, Amazon, Fnac y también en La Montaña Mágica, por ejemplo https://www.amazon.es/GRAN-TRAVES%C3%8DA-DEL-ROCK-autoestopista/dp/8419924938 ▶️ Y ya sabéis, si os gusta el programa y os apetece, podéis apoyarnos y colaborar con nosotros por el simple precio de una cerveza al mes, desde el botón azul de iVoox, y así, además podéis acceder a todo el archivo histórico exclusivo. Muchas gracias también a todos los mecenas y patrocinadores por vuestro apoyo: Andreea Deea, Samuel Sánchez, Igor Gómez Tomás, Matías Ruiz Molina, Eduardo Villaverde Vidal, Víctor Fernández Martínez, Rami, Leo Giménez, Gin1975, Alberto Velasco, Poncho C, Francisco Quintana, Gastón Nicora, Con,, Dotakon, Tete García, Jose Angel Tremiño, Marco Landeta Vacas, Oscar García Muñoz, Raquel Parrondo, Javier Gonzar, Poncho C, Nacho, Javito, Alberto, Pilar Escudero, Blas, Moy, Dani Pérez, Santi Oliva, Vicente DC,, Leticia, JBSabe, Flor, Melomanic, Arturo Soriano, Gemma Codina, Raquel Jiménez, Pedro, SGD, Raul Andres, Tomás Pérez, Pablo Pineda, Quim Goday, Enfermerator, María Arán, Joaquín, Horns Up, Victor Bravo, Fonune, Eulogiko, Francisco González, Marcos Paris, Vlado 74, Daniel A, Redneckman, Elliott SF, Sementalex, Miguel Angel Torres, Suibne, Noyatan, Iván Menéndez, Niksisley y a los mecenas anónimos.

Welcome back to All One Song, a Neil Young podcast presented by Aquarium Drunkard Transmissions. This week is going to be slightly different. This week, we're talking about a song that was not written by Neil Young. Nevertheless, it's a song that is very much a part of the Shakey multiverse: Danny Whitten's “I Don't Want To Talk About It,” which appeared on Crazy Horse's debut LP in 1970. Danny Whitten, of course, was one of Neil's key collaborators and musical soul mates before his untimely death in late 1972. A little while later that decade, Rod Stewart took “I Don't Want To Talk About It” to the top of the charts. But it's Whitten's version that remains definitive. Here to guide us through the impossibly lonesome landscapes of “I Don't Want To Talk About It” is singer-songwriter Rosali Middleman—or just Rosali if you prefer. She's been a longtime fixture over at Aquarium Drunkard. But even though we've loved pretty much everything she's done, she somehow seems to get better with each new album. Her latest release, Bite Down on Merge Records, may well be her best effort yet. And that's saying something! It's packed with exceptionally well-crafted songs that feel as if you've known them your whole life. An instant classic, as they say.   Bite Down is Rosali's second album with the Omaha-based Mowed Sound, which features David Nance, James Schroeder and Kevin Donahue. As we speak here in August 2025, Rosali and Mowed Sound are touring the USA, and I strongly encourage you to go see them. They're a terrific live act … and there are definitely plenty of Crazy Horse vibes, as we discuss. Looking for a digital music platform that feels more like a record shop? ⁠⁠⁠⁠Qobuz⁠⁠⁠⁠ is the high quality music streaming & download platform for music enthusiasts and audiophiles, offering unique editorial, exclusive artist interviews, expertly curated playlists, liner notes, and more. With Qobuz Club, subscribers can connect and share music discoveries with a community of fellow music lovers. And for those who like to own their music, the Qobuz Download Store lets you browse and download albums in Hi-Res and CD quality. Give ⁠⁠⁠⁠Qobuz⁠⁠⁠⁠ a try now with an extended 30-day free trial.

Julian, Madeline, and Emilio wrap up their cycle of Musicians on Film by diving into the filmography of Tom Waits, once dubbed a "performer, singer, actor, magician, spirit guide, changeling" by the great Neil Young. Joined by Madeline's dad Richard, the trio kick off the conversation by discussing Waits' starring role in Jim Jarmusch's "Down By Law", and ponder the similarities between his character Zack and his well-known boozy troubadour persona. The group then pivots to Francis Ford Coppola's campy classic "Bram Stoker's Dracula", and agree that Waits' interpretation of R. M. Renfield is the necessary constant in such a sprawling film. And although our subject only appears in one of the six vignettes that make up Joel and Ethan Coen's "The Ballad of Buster Scruggs", the conversation would not be complete without taking the time to appreciate Waits' magnetism as the prospector in "All Gold Canyon".Subscribe to Richard's Substack for pieces on politics, satire, anger, and more at substack.com/@mcmongrelIf you enjoy our podcast, please rate and review us on your podcast platform of choice. This really helps us find new listeners and continue to grow!Follow us on IG and TikTok @sleeplesscinematicpodSend us an email at sleeplesscinematicpod@gmail.comOn Letterboxd? Follow Julian at julian_barthold and Madeline at patronessofcats

Given Mr Young's insane amount of releases in recent years, I suspect this maybe one fans have skipped. You shouldn't. In a banner year for live performances from Young (Glastonbury etc), this attendant studio album is one of the most ramshackle he's ever made, but its full of idiosyncrasy and Young in the now. Unusually specific personal lyrics, churning garage rockers and several gentle ballads, that show he has lost none of his ability to craft melodies and songs as pretty as Helpless or Harvest Moon.

We have the sensation that a general gravity is pulling us toward a highway. Ashtrays and lamps and pillows are sliding in the direction of the Hollywood Bowl. Soon we are being pulled down a special kind of highway that has truckstops and rest areas. When we stop, we turn, and to our astonishment, there are huge crowds that look at us as they wait for Neil Young and the Chrome Hearts to emerge from the men's bathroom. While they wait, there are songs about the Earth and a shouting man who is wearing a suit like a southern preacher. He doesn't make sense. He says, "The Earth is Alive!"

The Smashing Pumpkins were one of the most successful bands of the 1990s, both commercially and critically.  Their 30 million album sales worldwide makes a strong case for their importance to the alternative rock movement.  The band was formed in Chicago by guitarist James Iha, bassist D'arcy Wretzky, percussionist Jimmy Chamberlin, and frontman/guitarist Billy Corgan.  Corgan writes much of their material and has been the sole member to be continuously present in the group since their formation.In 1995, Billy Corgan wrote about 56 songs and wanted to creat a double album.  His vision was for Mellon Collie and the Infinite Sadness to be "The Wall for Generation X."  The album was intended to be a conceptual piece portraying the cycle of life and death.  The band brought in Flood and Alan Moulder to co-produce the album.  Flood had the band change its routine for this album, having the group start recording in the rehearsal space rather than the studio in order to better capture their live sound.  He also required the band to set aside time in each day for just jamming and song writing in order to keep the process from becoming a grind.The result of this effort was both a critical and commercial success.  "Mellon Collie and the Infinite Sadness" debuted at number 1 on the US Billboard 200, the only Smashing Pumpkins album to do so thus far.  The 28 songs spanning two CD's, and three vinyl LP's earned the band nominations in seven categories at the Grammy Awards, and the band won the Grammy for Best Hard Rock Performance with Vocal for the single "Bullet with Butterfly Wings."Lynch brings us this smashing multi-album for today's podcast. 1979The second single from the album features loops and samples, more of a synth-pop sound than had been present previously in Smashing Pumpkin songs.  According to Corgan, this song was the last of the 56 songs he wrote for the album.  The lyrics paint a picture of the transition from youth to adulthood, waiting for something to happen just around the corner.Bullet with Butterfly WingsThe lead single from the album was the band's first top 40 hit in the United States, reaching number 22 on the Billboard Hot 100.  Musically this track has a more grunge vibe than alt rock.  The lyrics are a somewhat overly dramatic portrayal of the pain that comes from being a rock star and the downsides of fame.ZeroThe shortest song on the album relates to a feeling of apathy, and being let down by emotions and spirituality.  "Intoxicated with the madness, I'm in love with my sadness."  Corrigan's signature look is a black shirt with the word "ZERO" printed on the front.Tonight, TonightThe symphonic orchestration of this song shows some of the diversity of the tracks on this album.  The inspiration for this song is Corgan's departure from Chicago to pursue his dreams, leaving an abusive childhood behind.  The Chicago Symphony Orchestra participated in the recording with a 30-piece string section.  This song went to number 36 on the US Billboard Hot 100, and number 7 on the UK Singles chart. STAFF PICKS:Downtown by Neil YoungRob open this week's staff picks with a grunge piece from the Godfather of Grunge.  Members of the band Pearl Jam provide the backing instrumentation for this song and the album "Mirror Ball."  The lyrics reference Led Zeppelin, Jimmy Page, and hippies doing the Charleston and the Limbo.Lump by The Presidents of the United States of AmericaWayne's staff pick is about a woman who is on the singer's mind like a lump of cancer in his brain.  Clocking in at about 2 minutes, this is more of a punk song than alt rock or grunge.Hard as a Rock by AC/DCGregg brings us the first and most successful single from AC/DC's thirteenth studio album "Ballbreaker."  This album marks the return of drummer Phil Rudd to the band for the first time since 1983.  This song has a more blues-oriented sound than the heavy metal sound more typical of their well-known songs from the 80's.   LEI (Laugh/Entertainment/Instrumental)  TRACK:Main Theme from the motion picture "Strange Days"This science fiction film noir movie starring Ralph Fiennes and Angela Bassett takes us out of this week's podcast.   Thanks for listening to “What the Riff?!?NXTGen”NOTE: To adjust the loudness of the music or voices, you may adjust the balance on your device. VOICES are stronger in the LEFT channel, and MUSIC is stronger on the RIGHT channel.Please follow us on Facebook https://www.facebook.com/whattheriffpodcast/, and message or email us with what you'd like to hear, what you think of the show, and any rock-worthy memes we can share.Of course we'd love for you to rate the show in your podcast platform!**NOTE: What the Riff?!?NXTGen 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.

Château royal de Blois, le 23 décembre 1588. Le puissant Henri de Lorraine, « le Balafré », duc de Guise, chef de file des catholiques contestant l'autorité du roi Henri III, tombe dans l'embuscade que celui-ci lui a tendue : huit hommes de sa garde personnelle, les « Quarante-cinq », l'assaillent et le percent de coups de poignards. Pour le troisième épisode de la série d'été « Un meurtre, une société », Caroline Callard, directrice d'études à l'EHESS, nous replonge dans les raisons et les effets de cette violence d'État au temps des guerres de religion. Pour aller plus loin : Yves-Marie Bercé, « Les coups de majesté des rois de France, 1588, 1617, 1661 » Une série de Paroles d'histoire, podcast créé et produit par André Loez, distribué par Binge audio. Contact pub : project@binge.audioMusique de générique : Neil Young, Cortez the Killer.Titre de la série en référence au livre de Bernard Guénée sur 1407. Un podcast créé, animé et produit par André Loez et distribué par Binge Audio. Contact pub : project@binge.audioHébergé par Audiomeans. Visitez audiomeans.fr/politique-de-confidentialite pour plus d'informations.

En Vas Por Ahí Oliendo A Verano, Alba Vicente trae un cartel para chuparse los dedos: el del Prestoso Fest, un festival en el corazón de Asturias para disfrutar entre el 7 y el 9 de agosto de la música de Baiuca, Maestro Espada, Hinds o Biznaga. Precisamente con estos últimos hablamos, además de con el director del evento, Juan Gama. David García despega hacia las islas más curiosas que hay en nuestro planeta: Tashirojima, la isla japonesa donde viven más gatos que humanos; Xochimilco, donde miles de muñecas cuelgan de los árboles; y Sark, un estado feudal en pleno canal de la Mancha y, sí, en pleno 2025.En 'Caras Duras', Mara Gómez nos refresca con tres portadas con vistas al mar. Descubrimos los secretos e historias detrás de las carátulas de "On the beach" (Neil Young), "SOS" (SZA) y "Un día en el mundo", de Vetusta Morla, e incluso hablamos con uno de los propios artífices de estas creaciones marítimas.Escuchar audio

En 'Caras Duras', Mara Gómez nos refresca con tres portadas con vistas al mar. Descubrimos los secretos e historias detrás de las carátulas de "On the beach" (Neil Young), "SOS" (SZA) y "Un día en el mundo", de Vetusta Morla, e incluso hablamos con uno de los propios artífices de estas creaciones marítimas.Escuchar audio

Welcome back to another episode of Trve. Cvlt. Pop! a pop music podcast.Since Gaz was off for a few weeks, we missed out on all the stuff he had been listening to recently, so it felt like a good time to catch up on that (plus a few from Steve as well). We chat Pulp, Turnstile, Neil Young and the Chrome Hearts, Loyle Carner, Tyler the Creator, Public Enemy, Hotline TNT, Haim, The High and Mighty, Freddie Gibbs and The Alchemist, Liam Finn, Little Simz, Skinhead & Jim Legxacy.We also chat about Coldplay vs the cheating CEO, Skepta vs. Joyner Lucas and there is a trip back to the glory of the mid-90's reggae revival with a lost pop banger by Shabba Ranks and Maxi Priest. SHABBA!

The Good Ol' Grateful Deadcast is thrilled beyond all audible frequencies to begin its 12th season by welcoming Dan Healy, the Grateful Dead's in-house sound wizard for most of their career, for tales from three decades in pursuit of high and higher fidelity.Guest: Dan HealySee Privacy Policy at https://art19.com/privacy and California Privacy Notice at https://art19.com/privacy#do-not-sell-my-info.

Send us a textMusic journalist, podcaster and photographer Jeremy Shatan drops in on YMAAA to introduce Al to Holly Miranda's 2018 album Mutual Horse. Jeremy talks about how his exploration of Miranda's music began with a New York Times article that he read, and how it led him to follow her career ever since. He explains why he thinks Mutual Horse is Miranda's best album and why it is a favorite in his collection. Jeremy also talks about how he developed broad musical tastes and why he started blogging and doing his Discover Music with AnEarful podcast.On this episode, Al made a reference to the first episode of Discover Music with AnEarful, in which Jeremy explains how he became a musical obsession. If you're not familiar with Jeremy's podcast, this is a great place to start. https://podcasts.apple.com/us/podcast/episode-1-5-how-i-got-here/id1588981051?i=1000537666517Jeremy mentioned the New York Times article that catalyzed his Holly Miranda fandom. You can read it here: https://www.nytimes.com/2009/03/14/arts/music/14mira.html.Through the first 197 episodes of YMAAA, neither of Al's horses had anything to contribute to the show. On this one, at 54:40, Fynn makes his YMAAA debut.To check out Jeremy's Substack, go to anearful.substack.com.His Spotify playlists are available at https://open.spotify.com/user/jshatan.Jeremy's photography website: jeremy-shatan@pixels.comJeremy has not one, but two Instagram accounts!For music: @anearfulmusicFor photography: @murgatroydYou can also follow Jeremy on these other social media platforms…@AnEarful on Facebook, Tiktok and X@AnEarfulTV on YouTubeThe first episode of Bonus Tracks—YMAAA's subscriber-only podcast series—is now available at patreon.com/youmealbum. More monthly episodes, posts and other good stuff are soon to come. Please consider subscribing! Your support will make it possible for Al to keep this podcast going.To keep up with You, Me and An Album, please give the show a follow on Instagram at @youmealbum.1:09 Jeremy joins the show1:35 Jeremy explains how he first got interested in Holly Miranda's music7:34 Al talks about his observations regarding Miranda's on-stage charisma8:53 Jeremy notes Miranda's progression across her first three albums17:29 Jeremy appreciates the way that Miranda puts an album together19:01 Hearing some of the tracks live ahead of time got Jeremy excited about buying Mutual Horse21:18 “Wherever You Are” made a great first impression on Jeremy23:42 Al and Jeremy talk about Mutual Horse's sonic variety, particularly in the album's middle section29:40 Jeremy and Al discuss Miranda's collaboration with Kyp Malone on “Exquisite”31:54 Jeremy and Al talk about Miranda's Neil Young cover and some of her other cover songs35:58 Jeremy explains how the tracks on the latter part of the album relate to the death of Miranda's mother41:41 Jeremy has gained a new perspective on the grind of the recording industry50:08 Jeremy talks about getting to know Miranda personally55:37 Jeremy explains how Miranda wound up writing and contributing to the theme song for Discover Music with AnEarful56:50 Jeremy shares how he developed such a broad range of musical interests and how he keeps up with new music1:10:09 Jeremy talks about the value of admitting your musical ignoranceSupport the show

Welcome back to All One Song: A Neil Young Podcast. We're spending the summer talking to some great musicians and writers about their one favorite Neil Young song. Or at least one of their favorite songs. Last week, our guest was Steve Shelley of Sonic Youth — and of course, the conversation went deep into Steve's memories of Sonic Youth's tour with Neil and Crazy Horse in 1991, when both bands were bringing incredible waves of feedback to the masses across North America. An exciting time! For Neil, the tour resulted in a fairly traditional live album, the classic double-disc Weld. But that wasn't all. Inspired partly by what he heard Sonic Youth doing, Young also put together Arc, one of — if not the — most avant-garde pieces of music Young has ever created. Basically, it's a 35-minute noise collage consisting of the elongated and improvised endings of various songs that he and the Horse played in early 91. It's the sound of amplifiers pushed to their limits, of things falling apart in ragged, glorious fashion. It's an expressway to yr skull, as Sonic Youth put it. Here this week to examine the mysteries and magic of Arc is Ilyas Ahmed. The Portland, OR-based musician has been making consistently fascinating music for well over two decades now, whether all on his own or in close collaboration with fellow travelers like Grouper, Jefre Cantu-Ledesma, Golden Retriever, Dania Shihab and many more. He also serves as guitarist in Grails, an awesomely uncategorizable collective that just put out one of the 2025's best records — the appropriately named Miracle Music. No matter what Ilyas does, it's always infused with a sense of curiosity, adventure and imagination. Our conversation about Arc goes in a bunch of different directions — it's a rich text, as the academics like to say. So let's get into it … Looking for a digital music platform that feels more like a record shop? ⁠⁠⁠Qobuz⁠⁠⁠ is the high quality music streaming & download platform for music enthusiasts and audiophiles, offering unique editorial, exclusive artist interviews, expertly curated playlists, liner notes, and more. With Qobuz Club, subscribers can connect and share music discoveries with a community of fellow music lovers. And for those who like to own their music, the Qobuz Download Store lets you browse and download albums in Hi-Res and CD quality. Give ⁠⁠⁠Qobuz⁠⁠⁠ a try now with an extended 30-day free trial.

Comedy Writer Mike Gibbons | Ozzy, Colbert, & Clint | The Life Gorgeous DESCRIPTION:Gibby is home! Mike Gibbons joins Kilby for some summer fun including Gibby's love of Ozzy Osbourne, Neil Young and The Allman Brothers. They also discuss the Stephen Colbert situation and then Kilby remembers the old CBS Late Movie and has scheduling ideas. Plus, they talk slow-paced movies in this fast-paced podcast. Let's Do It! Learn more about your ad choices. Visit megaphone.fm/adchoices

Cathédrale de Cantorbéry, en Angleterre, 29 décembre 1170. L'archevêque Thomas Becket, plus haut prélat du royaume, est frappé à mort par quatre hommes d'armes qui l'ont poursuivi. Pour le second volet de la série d'été « Un meurtre, une société », Fanny Madeline, maîtresse de conférences en histoire médiévale à l'université Panthéon-Sorbonne, décrypte les enjeux de cette mort violente à relier aux affrontements entre Église et pouvoirs séculiers initiés par la « réforme grégorienne ». Pour aller plus loin : Lloyd de Beer, Naomi Speakman, Thomas Becket: murder and the making of a saint, British Museum, 2021 Une série de Paroles d'histoire, podcast créé et produit par André Loez, distribué par Binge audio. Contact pub : project@binge.audioMusique de générique : Neil Young, Cortez the Killer.Titre de la série en référence au livre de Bernard Guénée sur 1407.Un podcast créé, animé et produit par André Loez et distribué par Binge Audio. Contact pub : project@binge.audioDistribué par Audiomeans. Visitez audiomeans.fr/politique-de-confidentialite pour plus d'informations.

On this week's show, we catch up on a smokin' boatload o' new-ish singles and pour one out for the late Ozzy Osbourne. All this & much, much less! Debts No Honest Man Can Pay is a podcast that thinks it's a radio show...because it used to be one. The show started in 2003 at WHFR-FM (Dearborn, MI), moved to WGWG-FM (Boiling Springs, NC) in 2006 & Plaza Midwood Community Radio (Charlotte, NC) in 2012, with a brief pit-stop at WLFM-FM (Appleton, WI) in 2004. It phoenixed into a podcast in 2020, thanks to the fine and fabulously furious folks at NRM Streamcast. 

What's Peter doing in the bathroom with a shard of porcelain stuck in his foot? And why are there bloody footprints everywhere? And more importantly, is it the same foot from which he accidentally squirted a blister over a nun's habit?Elsewhere, Luke has been to see Neil Young live, reopening last month's very lively debate about ol' Shakey, there's more Drumeo chat, and we marvel at the depths of cringe Drake is able to plumb. Oh, and we may have yet another new player flying into the Battery Daddy...Email us at hello@lukeandpeteshow.com or you can get in touch on X, Threads or Instagram if character-restricted messaging takes your fancy.***Please take the time to rate and review us on Apple, Spotify or wherever you get your pods. It means a great deal to the show and will make it easier for other potential listeners to find us. Thanks!*** Hosted on Acast. See acast.com/privacy for more information.

Welcome back to ⁠All One Song⁠, A Neil Young Podcast presented by Aquarium Drunkard. We're spending the summer talking to a few of our favorite artists and writers about their favorite Neil Young song. This week, we've got someone very special: Steve Shelley of Sonic Youth. Steve spent about 25 years behind the drum kit for Sonic Youth as the band radically redefined and reimagined rock and roll. He's easily one of the greatest drummers of the past four decades, as heard on such classics as Sister, Daydream Nation, Washing Machine, Murray Street, and beyond. His style is explosive, sensitive and always imaginative. Steve is so much fun to listen to, in pretty much any context.   Since Sonic Youth called it quits, Steve has kept incredibly busy, not only managing the ever-expanding SY archives, but also playing with his former bandmates Lee Ranaldo and Thurston Moore, Can vocalist Malcolm Mooney, Bush Tetras, Tape Hiss and the forthcoming Orcutt / Shelley / Miller LP coming out on Silver Current Records later this year. We've heard this one already and it is absolutely fantastic. Steve also currently is handling drumming duties for the killer Winged Wheel. For those of you seeing Neil at Bethel Woods in upstate New York on August 24 this year, be sure to get there a little early. Winged Wheel will be warming things up on a separate stage, which is sure to be amazing. Now, the topic has already come up in previous episodes — Sonic Youth's early 1991 tour with Neil Young & Crazy Horse, which saw both bands bringing their ear-shredding, feedback-laced sound to arenas across North America. Steve goes deep into that never-to-be-repeated moment in time plenty over the course of our discussion. But we also talk plenty about Steve's All One Song selection, "Vampire Blues." A song that just so happens to have inspired the name of Steve's record label, too. "Vampire Blues" was released in the summer of 1974 on the classic Ditch LP On The Beach. A seedy, bluesy shuffle, it seems to be sung from the point of view of an oil tycoon of some sort; though it doesn't really sound like it at first, this is one of Neil's ecological songs. He barely ever played it live at first, but he's revived it in the past decade or so; it showed up most recently in solo electric guise on the Coastal soundtrack. Looking for a digital music platform that feels more like a record shop? ⁠⁠⁠Qobuz⁠⁠⁠ is the high quality music streaming & download platform for music enthusiasts and audiophiles, offering unique editorial, exclusive artist interviews, expertly curated playlists, liner notes, and more. With Qobuz Club, subscribers can connect and share music discoveries with a community of fellow music lovers. And for those who like to own their music, the Qobuz Download Store lets you browse and download albums in Hi-Res and CD quality. Give ⁠⁠⁠Qobuz⁠⁠⁠ a try now with an extended 30-day free trial.

This is part 2 of my conversation with legendary engineer/producer Mark Howard. This episode picks up right where we left off, as we continue discussing sessions with Bob Dylan, Neil Young, and get into Tom Waits and Iggy Pop. Be sure to listen to Part 1 first and then dive into this one!Mark doesn't have a website, but he is quite active on social media, so you can find him there. Enjoy Part 2!This season is brought to you by our main sponsors Larivée Guitars, Audeze, Izotope, Fabfilter, and Chase Bliss. Hosted on Acast. See acast.com/privacy for more information.

Aigai, nord de la Grèce, l'ancienne capitale du royaume de Macédoine, en octobre 336 avant notre ère. Le roi Philippe II, au sommet de sa puissance, marie une de ses filles. Et là, c'est le drame… Dans ce premier épisode de la série d'été « Un meurtre, une société », Thierry Lucas, docteur en histoire grecque, décrypte les causes et la portée de l'assassinat de Philippe II par un membre de son entourage, Pausanias. Pour aller plus loin : Miltiade Hatzopoulos, La mort de Philippe II, une étude des sources, Brepols, 2020. Une série de Paroles d'histoire, podcast créé et produit par André Loez, distribué par Binge audio. Contact pub : project@binge.audioMusique de générique : Neil Young, Cortez the Killer.Titre de la série en référence au livre de Bernard Guénée sur 1407.Un podcast créé, animé et produit par André Loez et distribué par Binge Audio. Contact pub : project@binge.audioDistribué par Audiomeans. Visitez audiomeans.fr/politique-de-confidentialite pour plus d'informations.

Lacy J Dalton Meets Gothic Author Alistair Cross Lacy J Dalton Meets Gothic Author Alistair Cross Alistair Cross Early Life and Influences: Born in the western United States, Cross began writing at a young age, inspired by horror novels and movies. His literary influences include authors such as Stephen King, Dean Koontz, John Saul, Tamara Thorne, Ira Levin, and William Peter Blatty. Early Career: Cross' first novel, a collaboration titled "Beautiful Monster," was published in 2012 under the pseudonym Jared S. Anderson. He was first published by Damnation Books in 2012. Collaboration with Tamara Thorne: In 2012, Cross partnered with international bestselling author Tamara Thorne. As "Thorne & Cross," they co-authored the successful Gothic series, The Ravencrest Saga, starting with "The Ghosts of Ravencrest" in 2014. Their collaborative novel, "The Cliffhouse Haunting," became an Amazon bestseller. They have also worked on other projects together, including "Grandma's Rack". Solo Work: Cross' debut solo novel, "The Crimson Corset," a vampire-themed horror story, quickly became a bestseller and received positive reviews from notable authors like Chelsea Quinn Yarbro and Jay Bonansinga. This novel is the first book in The Vampires of Crimson Cove series. "Haunted Nights LIVE!" Radio Show: In 2014, Cross and Thorne started an internet radio show called "Thorne & Cross: Haunted Nights LIVE!", featuring interviews with renowned figures in the horror genre, including authors, paranormal investigators, and discussions of ghost stories. The show has featured guests like Anne Rice, Charlaine Harris, Jeff Lindsay, and Christopher Moore. Current Projects: As of recent accounts, Alistair Cross is continuing to work on both solo novels and new collaborations with Tamara Thorne. He is also noted as the author of dark fiction.  Note: Information regarding hobbies and "turn-ons" listed in some sources (playing with fire, conquering ant colonies, bloodletting, etc.) may be intended for humorous effect and should be interpreted with caution.  LACY J. DALTON BIOGRAPHY Lacy J. Dalton (born Jill Lynne Byrem on October 13, 1946 in Bloomsburg, Pennsylvania), is an American country singer and songwriter with a career that has spanned many decades and touched the hearts of millions of music fans. In March 2017 Lacy J Dalton was inducted into the North American Country Music Association International Hall of Fame, and in 2022 she was awarded a Lifetime Career Achievement Award from the Josie Music Awards, the largest independent music awards show in the country.   She's one of the most instantly recognizable voices in music – the woman People Magazine called “Country's Bonnie Raitt.” From the first time Lacy J Dalton caught the public's ear, that soulful delivery, full of texture and grit, has been a mainstay of Country Music. When you sit to listen to a Lacy J Dalton album, you find yourself pulled in by the very power and heart of this vocalist, because she's not merely performing a ten-song set, she's bringing each and every tune to life. It's as if they were all written especially for her.   Prior to recording with Harbor Records in 1978 as Jill Croston, she like many before her, held many jobs to survive and support her family. As a truck stop waitress and singer, she would wait tables and then take the stage to sing a few songs. In June 1979, Lacy J Dalton was signed by Columbia Records and quickly rose to national prominence with Crazy Blue Eyes, which she wrote with her longest friend, Mary McFadden, and which raced to #7 on the Billboard Country Charts.  Her hard work and dedication paid off in 1979 when she was awarded the Academy of Country Music's Top New Female Vocalist of the Year.   Lacy's success was powered not just by the artist's recordings, but by a stage show that truly electrified audiences. She quickly became one of the few women who could successfully open a show for the likes of Hank Williams, Jr., Willie Nelson, Merle Haggard or Charlie Daniels. Not only could she do it, but she left audiences across the country hollering for more. Her signature song 16th Avenue, became the Anthem for Nashville songwriters.  Her other hit records are legendary million-airplay cuts and include Crazy Blue Eyes, Takin' It Easy, Everybody Makes Mistakes, Hillbilly Girl with the Blues, Hard Times, and the worldwide hit Black Coffee.   In addition to her Top New Female Vocalist award, she also brought home numerous Grammy nominations and 3 prestigious, back to back (1979, 1980, 1981) Bay Area Music Awards for Best Country-Folk Recordings. Lacy appeared on those shows with the likes of Neil Young, The Grateful Dead, Grace Slick and the Jefferson Airplane.   Lacy's collaboration with Willie Nelson on his platinum Half Nelson CD was a high spot for her. Lacy is the only woman featured on that recording (which included singing legends Ray Charles, Neil Diamond, Merle Haggard, Julio Iglesias, George Jones, Leon Russell, Carlos Santana, Mel Tillis, Hank Williams Sr., and Neil Young), and was awarded a Platinum Record for it. She also received a Gold Record from Hank Williams Jr. in 1985 for her support performances throughout his Five-0 Tour, where she opened for him at a time when it was unusual for a woman to do so. Her career includes accomplishments in music, film and radio.  In music, they range from her instantly recognizable charted hit songs to her notable duets recorded with George Jones, Willie Nelson, Bobby Bare, Glen Campbell, Eddie Rabbit, David Allen Coe and many others. Her film debut was in the motion picture Take This Job And Shove It, and her acting has also included live stage and theater performances. Until recently, Lacy J Dalton also hosted a weekly radio show called Mustang Matters.  Podcasts of past shows are available to listeners on the internet at www.americamatters.us   Following a successful career in country music, Lacy decided to draw on all her musical experiences including country, rock and folk, and cross over into the Americana genre.  This blend of musical styles allows her to express herself in a way that demonstrates all the facets of who she is as a singer/songwriter.  She became an independent artist and formed her own label called Song Dog Records.  Under this label, she has released three albums to date.  The first was Wild Horse Crossing in 1999, followed by the Last Wild Place Anthology which went #1 on the World Independent Chart, and a year later went #1 on the American Western Music Chart. Then Allison Eastwood, Clint Eastwood's daughter, used the hit song Slip Away from the Anthology CD on the sound track of her independent film, Don't Tell. In 2010 Lacy also released a tribute to Hank Williams Sr. entitled Here's To Hank.   Today, Lacy continues to record new music and perform live shows whenever possible.  She tours mainly west of the Mississippi and loves small boutique venues and old theaters with great sound quality and warm, receptive audiences she can really connect with.  She recently recorded some electrifying new music for an EP that was released in January 2019.  When hearing the signature song Scarecrow, her good friend Reverend Barbara Ann Fletcher remarked “that song makes you a whole new you, and it makes me a whole new me.”  And that's exactly the response Lacy was hoping for.  In 2024 Lacy released an album titled For The Black Sheep, a collection of songs with meaningful lyrics and messages of unity and acceptance for all of us.   In addition to her musical career, Lacy has been involved in various service projects through several charitable organizations – namely, the Let ‘em Run Foundation, William James Associates Arts in Corrections, and Rotary International. 

The boys order up a side of toxic masculinity with a dusting of 70s orchestral schmaltz, wonder if Neil Young just needed a Roomba, and use the scientific method to conduct an autopsy on the corpse of his domestically challenged ballad, “A Man Needs a Maid.” News items and digressions include Jane's Addiction lawsuits and multitasking Moms.

On this week's show we spend quality time with new records from Vandoliers, HAIM, S.G. Goodman & Durand Jones & The Indications, and wish first-time cell phone owner Jack White a very happy 50th birthday. All this & much, much less! Debts No Honest Man Can Pay is a podcast that thinks it's a radio show...because it used to be one. The show started in 2003 at WHFR-FM (Dearborn, MI), moved to WGWG-FM (Boiling Springs, NC) in 2006 & Plaza Midwood Community Radio (Charlotte, NC) in 2012, with a brief pit-stop at WLFM-FM (Appleton, WI) in 2004. It phoenixed into a podcast in 2020, thanks to the fine and fabulously furious folks at NRM Streamcast. 

Welcome back to All One Song, A Neil Young Podcast presented by Aquarium Drunkard. We're spending the summer talking to a few of our favorite artists and writers about their favorite Neil Young song.  This week, you're getting two fantastic guests for the price of one: Meg Baird and Charlie Saufley. Meg first came to my attention thanks to her work with the innovative Philadelphia psych-folk collective Espers, and since then she's created a pretty much flawless solo career — her most recent record, 2023's Furling, is a perfect showcase for her pristine guitar work and beautiful vocals. Charlie Saufley co-produced that record with Meg and the duo also played in Heron Oblivion with Ethan Miller and Noel Von Harmonson — a group that only managed one studio record during their existence, but that's ok. That one studio record was awesome. Charley also played in the Bay Area psychedelic rock group Assemble Head in Sunburst Sound; he's a killer guitarist, and — like Meg — is a serious Neil head. That last fact should be apparent in the tune Meg and Charlie selected for their All One Song appearance: “Interstate.” This brilliantly moody number is a strong candidate for the best Neil Young song that barely anyone knows about. Though you probably know about it if you're here. Neil debuted “Interstate” onstage in 1985 with the International Harvesters. But like so many of his strongest songs during that era, it was set aside for reasons that only Shakey can fathom. A few years later, producer David Briggs convinced him to cut the song with Crazy Horse during the Ragged Glory sessions. It's an incredibly haunting performance, with skeletal acoustic guitars and high, lonesome Horse harmonies. But Neil still wasn't feeling it —we guess “Farmer John” needed to be heard! Finally in 1996, that Ragged Glory performance was released on the Big Time CD single and as a vinyl only bonus track on Broken Arrow. These days, you can get it on the recent “Smell The Horse” edition of Ragged Glory. So yeah, it's a long, twisted story, as is the case with a lot of things in the Neil Young world. But “Interstate” deserves a place in the pantheon of Neil classics, regardless of its relative obscurity. It's this kind of song that turns a casual fan into, well, an obsessive, promising that there's always more buried treasure lurking in the Shakey archives. Looking for a digital music platform that feels more like a record shop? ⁠⁠Qobuz⁠⁠ is the high quality music streaming & download platform for music enthusiasts and audiophiles, offering unique editorial, exclusive artist interviews, expertly curated playlists, liner notes, and more. With Qobuz Club, subscribers can connect and share music discoveries with a community of fellow music lovers. And for those who like to own their music, the Qobuz Download Store lets you browse and download albums in Hi-Res and CD quality. Give ⁠⁠Qobuz⁠⁠ a try now with an extended 30-day free trial.

Season 9 kicks off with an epic 2-part conversation with engineer/producer Mark Howard. Mark has been behind the console for some of the greatest and most sonically interesting albums of the past 40 years - Emmylou Harris “Wrecking Ball”, Dylan's “Time Out Of Mind”, Willie Nelson's “Teatro”, Chris Whitley, Neil Young, Tom Waits, Lucinda WIlliams and many more. While he is most often associated with Daniel Lanois as his engineer, Mark has gone off on his own to become one of the most respected producers in the business. It's quite a run for yet another kid from Hamilton, Ontario whose career kicked off creating the sonics for The Neville Brothers classic “Yellow Moon” and went on from there. We get into some of his many projects, and talk about some of the interesting locations that he and Lanois set up shop in over the years. There's some fascinating stories here and quite a few of them I'd never heard before, even as a total music nerd. This was a hefty conversation, so it's broken into 2 parts. Part 2 will come out 1 week from today.Mark doesn't have a website, but he is quite active on social media, so you can find him there. Be sure to check out his 2 books and look for the new documentary film about his incredible career. Enjoy Part 1!This season is brought to you by our main sponsors Larivée Guitars, Audeze, Izotope, Fabfilter, and Chase Bliss. Hosted on Acast. See acast.com/privacy for more information.

When you talk about iconic Australian singer-songwriters, it doesn't take long before Richard Clapton's name comes up. For over five decades, Richard has been one of Australia's true rock poets — the kind of artist whose songs become part of people's lives, the soundtrack to long road trips, beach holidays, and nostalgic nights on the back deck with a cold beer in hand.Born on Sydney's north shore, Richard grew up like a lot of kids — dreaming of music that took him beyond suburbia. In the late 60s and early 70s, Richard packed up and headed for Europe, guitar slung over his shoulder, busking in the streets and absorbing the counterculture that was blooming across the continent. When he returned, Richard brought with him a suitcase full of songs and stories that reflected not just his travels but the changing face of Australia itself. In '73, he released his debut single Last Train to Marseilles. But it was his '75 album Girls on the Avenue that really made people sit up and listen. The title track turned Richard Clapton into a household name almost overnight.Through the mid-to-late '70s, Richard released a string of albums that are now regarded as cornerstones of classic Australian rock music. Richard carved out a loyal audience that followed him from smoky inner-city pubs to big festival stages. His songs were — and still are — snapshots of the Australian psyche: romantic but real, hopeful but tinged with a knowing sadness.But Richard didn't just write for himself. He became a sort of elder statesman for the Aussie rock scene, helping to mentor up-and-coming acts that would soon become legends themselves. Bands like INXS, Cold Chisel, and Mental As Anything all found a kindred spirit in Richard, whose lyrics and attitude proved you could write songs about Australian life that were poetic, gritty, and universal all at once. He even produced INXS's second album, helping shape the band's early sound before they broke big internationally.If you've ever seen Richard Clapton live, you'll know that he's the real deal. His voice — warm, slightly weathered, and instantly recognisable — carries the weight of decades on the road and in the studio. He has that easy rapport with an audience that only comes from years of standing on a stage, guitar in hand, telling stories through song. For many Australians, his gigs are like a reunion with an old friend — everyone singing along to Girls on the Avenue or swaying to Deep Water as if no time has passed at all.What makes Clapton's story so compelling is that he never really chased fame for fame's sake. He's always seemed more interested in writing the next great song than chasing trends. And yet, he's ended up as one of the true pillars of Australian rock, a fact recognised when he was inducted into the ARIA Hall of Fame in 1999.Today, well into his seventies, Richard Clapton is still out there doing what he loves most — writing songs, recording new music, and hitting the road to play to crowds who still know every word. In recent years, he's released new albums like Harlequin Nights and Music Is Love (1966–1970), a tribute to the songs and artists that shaped him, from Bob Dylan to Neil Young. His autobiography, The Best Years of Our Lives, published in 2015, pulls back the curtain on decades of wild gigs, unforgettable characters, and the hard-won wisdom that comes from surviving the ups and downs of the music industry.And yet, for all the tours, albums, and accolades, it's the songs that matter most. Ask any fan what Richard Clapton means to them, and you'll likely hear a story about summer days driving up the coast or seeing him live for the first time.In an industry that's constantly changing, Richard Clapton stands as a reminder that great music is timeless. Singer-songwriter, rock poet, mentor, and living legend Richard Clapton joins us here to share his stoires. Check the website for gigs near you.

A rock icon sets out to save music with a strange yellow gadget that almost no one understood.Neil Young's iPod KillerIf you're new to the show (thanks Apple Podcasts!) here are some favorite episodes to get you started:Freedom House Ambulance ServiceOne-Nil to the ArsenalGuerrilla Public Service ReduxTowers of SilenceThe House that Came in the MailThe Real Book Subscribe to SiriusXM Podcasts+ to listen to new episodes of 99% Invisible ad-free and a whole week early. Start a free trial now on Apple Podcasts or by visiting siriusxm.com/podcastsplus.

Will and Craig discuss new releases by Comet Gain, Frankie Cosmos, and Half Man Half Biscuit, plus live reports and bonus songs.

Cuti continúa repasando las canciones con perros como protagonistas. Suenan Pink Floyd, Cat Stevens, Neil Young, Ennio Morricone o Juan Perro.

Seleccionamos discos favoritos editados -o presentados aquí abajo- en la primera mitad de 2025.Playlist;(sintonía) HAMBURG SPINNERS “Heisser schlitten (Hamburg Spinners im Schwarzwald)NERVOUS EATERS “No more idols”MING CITY ROCKERS “I’d like to assist you but my head is too small” (Clementine)AUTOMATIC LOVERS “Boston brats”BUTRÓN Rata” (¡Mentira! EP)LOS IDIOTAS “La navaja” (En las sombras se mueven mucho mejor)ILEGALES “El mundo contra ti” (Joven y arrogante)LAS CHINCHETAS “Manual de conducta y apariencia” (Manual de conducta y apariencia EP)LOS RETUMBES “Bomba de humo” (Violentos torpedos de realidad)BLOODSHOT BILL “Pizza pie” (3 songs about pizza)MFC CHICKEN “Chicken is the answer” (Milk chicken)GEOFF PALMER “Exit wounds” (Kodak flash EP)CYANIDE PILLS “Falling for you”PRIVATE FUNCTION “Gamma Ray” (A bunch of songs)MURAT AKTÜRK “Seher vakti” (Vagabondage)EARLY JAMES “Steely knives” (Medium raw)THE LIMIÑANAS feat PENNY “Faded” (Faded)DEAN WAREHAM “Yesterday’s hero” (That’s the price of loving me)NEIL YOUNG and THE CHROME HEARTS “Talking to the trees” (Talking to the trees)ANGELA HOODOO “Fugitivo” (Outlaw girls)Escuchar audio

Welcome back to All One Song, A Neil Young Podcast presented by Aquarium Drunkard Transmissions. We're spending the summer talking to a few of our favorite artists and writers about their favorite Neil Young song.  Our guest this week is Jeff Parker, best known as the guitarist for the long-running Chicago post-rock group Tortoise. Jeff  has been on a serious hot streak of late. He's released awesome, entirely solo records like Slight Freedom and Forfolks, along with great albums with the New Breed. He's collabed with heavy hitters like Daniel Villareal and Makaya McKraven. He's been an invaluable part of the Big Ego label's session player roster, contributing to great records by Psychic Temple, Dave Easley and Maria Elena Silva. And Jeff is the leader of one of the most exciting improv groups working today — the ETA quartet, featuring Parker, drummer Jay Bellerose, bassist Anna Butterss and saxophonist Josh Johnson. Their second LP, The Way Out of Easy, was one of the very best records of 2024. Oh and did we mention that there's a brand new Tortoise album on the way later this year? Jeff is a busy dude, to say the least. Now Jeff might not seem like the most obvious All One Song guest — his and Neil's styles feel miles apart. At least at first! But as we get into in our conversation, Jeff has found some serious inspiration in Young's unique approach to the acoustic guitar. And the acoustic guitar is central to the song he selected to talk about: “The Needle and the Damage Done.” This haunting solo number from 1972's Harvest remains one of Neil's signature tunes. It's a song that even the most casual of fans knows by heart. But Jeff's perspective on this warhorse opened it back up — and hopefully it'll do the same for you.  Looking for a digital music platform that feels more like a record shop? ⁠Qobuz⁠ is the high quality music streaming & download platform for music enthusiasts and audiophiles, offering unique editorial, exclusive artist interviews, expertly curated playlists, liner notes, and more. With Qobuz Club, subscribers can connect and share music discoveries with a community of fellow music lovers. And for those who like to own their music, the Qobuz Download Store lets you browse and download albums in Hi-Res and CD quality. Give ⁠Qobuz⁠ a try now with an extended 30-day free trial.

The Counting Crows have started their Complete Sweets Tour where they of course are promoting their new album Butter Miracle The Complete Sweets. Before they make a stop in St. Augustine July 19th they were nice enough to stop by the show. David Immergluck who has been featured on every Counting Crows album since the beginning stopped by to talk about his career. Immy and Doc talk about getting into music, hearing his brother's band practice, meeting Adam Duritz for the first time, recording August and Everything After, recording Accidentally in Love, getting compliments from Neil Young and getting to play with Santana! Meanwhile on the rest of the show Mike and Doc decide to make another podcast called Talko Bell for about 3 minutes until they realize it already exists. Introduction: 0:00:21 Birthday Suit: 15:01 Ripped From the Headlines: 18:57 Shoutouts: 33:46 David Immergluck Interview: 37:43 Mike C Top 3: 1:16:09 Birthday Suit 2: 1:31:20 Birthday Suit 3: 1:33:41

Send us a textWelcome to Guess the Year! This is an interactive, competitive podcast series where you will be able to play along and compete against your fellow listeners. Here is how the scoring works:10 points: Get the year dead on!7 points: 1-2 years off4 points: 3-5 years off1 point: 6-10 years offGuesses can be emailed to drandrewmay@gmail.com or texted using the link at the top of the show notes (please leave your name).I will read your scores out before the next episode, along with the scores of your fellow listeners! Please email your guesses to Andrew no later than 12pm EST on the day the next episode posts if you want them read out on the episode (e.g., if an episode releases on Monday, then I need your guesses by 12pm EST on Wednesday; if an episode releases on Friday, then I need your guesses by 12 pm EST on Monday). Note: If you don't get your scores in on time, they will still be added to the overall scores I am keeping. So they will count for the final scores - in other words, you can catch up if you get behind, you just won't have your scores read out on the released episode. All I need is your guesses (e.g., Song 1 - 19xx, Song 2 - 20xx, Song 3 - 19xx, etc.). Please be honest with your guesses! Best of luck!!The answers to today's ten songs can be found below. If you are playing along, don't scroll down until you have made your guesses. .....Have you made your guesses yet? If so, you can scroll down and look at the answers......Okay, answers coming. Don't peek if you haven't made your guesses yet!.....Intro song: The Man by Taylor Swift (2019)Song 1: Working For the Weekend by Loverboy (1981)Song 2: Jerusalem by Sinead O'Connor (1987)Song 3: Orphans by Beck (2008)Song 4: I Will by Alison Krauss & Tony Furtado (1992)Song 5: Albuquerque by Neil Young (1975)Song 6: Bad Reputation by Joan Jett & the Blackhearts (1980)Song 7: Fake Frowns by Death Cab for Cutie (1998)Song 8: Wide Eyed Fool by Bettie Serveert (2003)Song 9: Fake Empire by The National (2007)Song 10: La vie en rose by Edith Piaf (1947)

It's a Top of the Rock showdown: Tom Petty takes on Neil Young and things get heated. We assign each other the car we spiritually are—make, model, and year—and celebrate the sweet, sugary triumph of Operation Donut Drop.

We covered the self-titled debut album from Crosby, Stills & Nash in episode 137.  Deja Vu is considered the second Crosby, Stills & Nash album, but it is actually the first album by Crosby, Stills, Nash & Young, with Canadian songwriter Neil Young turning the trio into a quartet.While the album continues to feature the signature harmonies associated with Crosby, Stills & Nash, it has a harder, more rocking edge to it. Some of this is undoubtedly due to the addition of Neil Young to the album, but it also reflects the challenges the group members were facing.  Both Stephen Stills and Graham Nash had gone through break-ups in their relationships, and David Crosby tragically had lost his girlfriend Christine Hinton in a car accident.The album was highly anticipated, generating $2 million in pre-sales before its release.  It became a gold record only 14 days after release, and was on the Billboard 200 album chart for 88 weeks.  Contemporary critics provided mixed reviews, but the album has only grown in stature over time, with many reviews considering it amongst the top albums ever produced.  Deja Vu was inducted into the Grammy Hall of fame in 2012.After its release, each of the principal members of the group would record solo albums, and the success of Deja Vu contributed to the individual success of these four solo projects.Crosby, Stills & Nash (and sometimes Young) would continue to produce albums over the decades with their last collaboration occurring in 2015.  The death of David Crosby in 2023 ended the possibility of full reunions.Wayne brings us this soft rock singer-songwriter live album for this week's podcast. Carry OnThe opening track to the album was penned by Stephen Stills who also provides lead vocals.  It is a medley of two songs edited together with a jam session connector, and came together surprisingly fast during a time when most songs were taking a long time to finish.  The lyrics encourage the band members to keep going through times of struggle in relationships both within and outside the band.Teach Your ChildrenGraham Nash wrote this song in 1968 when he was with The Hollies, but had not recorded it with that group at the time.  Nash has associated the song with a photograph exhibit showing a child playing with a toy hand grenade, and the lyrics encourage parents to be careful in how they teach their children.  Neil Young does not play on this song, but the steel guitar is provided by Jerry Garcia of the Grateful Dead. WoodstockUnlike the other tracks on this album, this song was not written by any of the band members, but was penned by Joni Mitchell.  Mitchell had not attended the Woodstock festival, but was inspired to write this song told from the perspective of a concert goer after hearing her then-boyfriend Graham Nash relay the account.  It has become a signature song for the group and a staple of the 60's counter-culture.  Our HouseGraham Nash wrote this song as a description of a day spent with then-girlfriend Joni Mitchell and her two cats in their Laurel Canyon home.  The song was written in an hour on Mitchel's piano.  It went to number 30 on the Billboard Hot 100.  ENTERTAINMENT TRACK:Theme from the motion Picture "Patton"This epic starring George C. Scott was playing in the theaters in 1970.  It won seven Academy awards, including Best Picture. STAFF PICKS:Let It Be by The BeatlesLynch starts the staff picks with a song inspired by a dream.  Paul McCartney's mother, Mary Patricia McCartney, died of cancer with Paul was 14.  In the dream, his mother encourages her son by saying, "It's all right, just let it be."  This single and title song from the final Beatles album debuted at number 6 on the Billboard Hot 100 before topping those charts.Cecilia by Simon & GarfunkelRob brings us the third single from the fifth and final album by Simon & Garfunkel, "Bridge Over Troubled Water."  It was developed in a late night jam when the duo and friends were banging on a piano bench and recording the sound with a tape recorder.  The lyrics depict the heartbreak of a boy delivered from Cecilia his unfaithful lover.The Rapper by The JaggerzBruce features the most successful single from the band whose guitarist and primary songwriter would go on to be Donny Iris.  The song is a warning to the ladies not to be taken in by a smooth talking man telling them lies.  It went to number 2 on the charts.Superlungs My Supergirl by Terry ReidWayne's closes out the staff picks with a cover originally written by Donovan about a 14-year old groupie.  Terry Reid was Jimmy Page's first pick to be lead singer of Led Zeppelin, but was unavailable at the time due to his touring schedule with Cream and the Rolling Stones.  Reid would acquire the nickname of Superlungs. NOVELTY TRACK:Pineapple and the Monkey by The FacesThis instrumental from The Faces debut album takes us out for this week.  Thanks for listening to “What the Riff?!?” NOTE: To adjust the loudness of the music or voices, you may adjust the balance on your device. VOICES are stronger in the LEFT channel, and MUSIC is stronger on the RIGHT channel.Please follow us on Facebook https://www.facebook.com/whattheriffpodcast/, and message or email us with what you'd like to hear, what you think of the show, and any rock-worthy memes we can share.Of course we'd love for you to rate the show in your podcast platform!**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.

Six String Hayride Classic Country Podcast, Episode 59, The Steve Cropper Episode. The Son of Missouri farmers falls in love with the Guitar Playing of Chet Atkins and Chuck Berry and becomes a cornerstone of STAX Records in Memphis. Steve Cropper becomes the guitarist, arranger, producer, and songwriter for American Classics like Green Onions, In The Midnight Hour, Knock on Wood, 634-5789, and Sitting On The Dock Of The Bay. Steve Cropper and future Willie Nelson Collaborator, Booker T Jones, help failed Country Fiddle Player, Jim Stewart, and his music savvy sister, Estelle Axton, build Soulsville USA, the Legendary STAX Records in Memphis. Cropper becomes a great guitarist and songwriter, collaborating with Booker T Jones, Otis Redding, Sam and Dave, Wilson Pickett, Alabama, Bob Weir, Levon Helm, Wynonna Judd, Dolly Parton, John Prine, Jeff Beck, Lucinda Williams, Neil Young, and The Blues Brothers. Cropper is a guitarist, producer, and songwriter in demand by the greats in ALL types of Music. He is Country Music's BFF and groovy next door neighbor, someone you have heard a lot and someone you should know. Chris and Jim talk about Cropper's life and work, give a good Memphis Dry Rub Recipe, and much suggested listening from Cropper's amazing body of work in Soul, Country, Rock, and Beyond. Lots of "Rawhide" and "Orange Whips" for everyone and all the usual Hayride Fun.

A 40th anniversary special with two of its presenters (Hepworth and Ellen) and old pal and TV critic Boyd Hilton who watched on the day aged 18 (“young, pretentious, idiotic”) and reviews the new BBC documentary. We look back at … … the ways Live Aid changed television – “not about music but spectacle and scale”. … would the idea of staging it have ever come about in the world of social media? … being in the room for the Geldof F-Bomb. … Ian Astbury smoking on live TV, the concrete mausoleum of the old Wembley Stadium, Concorde, Status Quo and other things that now seem so 1985. … how Live Aid was the death of the New Romantics – “they don't work in daylight” – and why Boy George turned it down. … the footage set to the Cars' video, the emotional pivot of the day, and the interview with the Ethiopian girl Birhan Woldu in the new documentary. … how the thin sound of '80s acts like the Style Council and Ultravox didn't have the impact of old-school guitar/bass/drums. … was Live Aid the first live televised rock concert event? …and fragments of our fading memories – the U2 drama, Adam Ant, Sade, the lost link to Ian Botham, Billy Connolly in tears, acts unwisely playing new singles, Noel Edmonds' helicopter shuttle, the BBC insisting it “mustn't feel like a Telethon” – and all achieved without mobile phones. Plus the return of Oasis, the BBC's tangle with Neil Young at Glastonbury and the fall-out from the Bob Vylan broadcast. … and a few Glastonbury moments - Rod Stewart's cocktail-dress cabaret girls and the 1975's Matt Healy stumbling on with a fag and a pint of Guinness.Find out more about how to help us to keep the conversation going: https://www.patreon.com/wordinyourear Hosted on Acast. See acast.com/privacy for more information.

durée : 00:54:10 - Very Good Trip - par : Michka Assayas - Pour la première fois, Neil Young a accepté la diffusion en exclusivité de quelques titres de son nouvel album. Vous aimez ce podcast ? Pour écouter tous les autres épisodes sans limite, rendez-vous sur Radio France.

A 40th anniversary special with two of its presenters (Hepworth and Ellen) and old pal and TV critic Boyd Hilton who watched on the day aged 18 (“young, pretentious, idiotic”) and reviews the new BBC documentary. We look back at … … the ways Live Aid changed television – “not about music but spectacle and scale”. … would the idea of staging it have ever come about in the world of social media? … being in the room for the Geldof F-Bomb. … Ian Astbury smoking on live TV, the concrete mausoleum of the old Wembley Stadium, Concorde, Status Quo and other things that now seem so 1985. … how Live Aid was the death of the New Romantics – “they don't work in daylight” – and why Boy George turned it down. … the footage set to the Cars' video, the emotional pivot of the day, and the interview with the Ethiopian girl Birhan Woldu in the new documentary. … how the thin sound of '80s acts like the Style Council and Ultravox didn't have the impact of old-school guitar/bass/drums. … was Live Aid the first live televised rock concert event? …and fragments of our fading memories – the U2 drama, Adam Ant, Sade, the lost link to Ian Botham, Billy Connolly in tears, acts unwisely playing new singles, Noel Edmonds' helicopter shuttle, the BBC insisting it “mustn't feel like a Telethon” – and all achieved without mobile phones. Plus the return of Oasis, the BBC's tangle with Neil Young at Glastonbury and the fall-out from the Bob Vylan broadcast. … and a few Glastonbury moments - Rod Stewart's cocktail-dress cabaret girls and the 1975's Matt Healy stumbling on with a fag and a pint of Guinness.Find out more about how to help us to keep the conversation going: https://www.patreon.com/wordinyourear Hosted on Acast. See acast.com/privacy for more information.

It's the 150th episode of the Truth About Vintage Amps! How did that happen?  Thanks, as always, for being a part of the world's finest call-in tube amp repair show. Want amp tech Skip Simmons' advice on your DIY guitar amp projects? Join us by sending your voice memo or written questions to podcast@fretboardjournal.com! Include a photo, too.  Some of the topics discussed this week:  1:26 The Esparto fireworks storage facility explosion (link); salvaging organ pedals  6:22 Jason's life updates: Issue 57; Fretboard Summit (link); trail running; watching the 2025 Western States Endurance Run 11:46 Standel amplifier quirks, voltage regulator tubes, Dave's Hot Chicken kale slaw 16:36 Our sponsors: Grez Guitars; Emerald City Guitars and Amplified Parts! Amplified Parts is having a Fourth of July sale right now (act fast) 19:17 The Fretboard Summit Pinewood Derby race 22:03 Honorary sponsor: Tin Can Valley Letterpress (link) 23:10 Recommended reading: Matthew Zapruder's 'Story of a Poem' (Amazon link) 25:22 An Ampeg V4 / V4B bias circuit baffler 28:07 Single-ended amp 101; Stouffer's Hotel cherry chocolate cake 41:19 Channel jumping on a Silvertone 1482 and other amps; Neil Young 46:00 Music recommendation: Round Eye from Shanghai 47:11 Why do these homebrew 5F1 clones have blackened input jacks? 49:31 The Fender 400PS schematic 54:18 Harmony 420 amps, making a pre-amp out of a Heathkit volt meter 1:00:05 The Fretboard Journal's Dumble short film with Ben Harper (YouTube link) 1:01:46 Dave Hill at the 2025 Fretboard Summit! 1:02:34 Redwood cabinets on Gibson Falcons; Lima, Peru's Los Saicos band 1:12:21 A-Z Darts in Sacramento (link) 1:16:04 Getting a mono tube hi-fi for music playback 1:23:56 Listener Yann at Body and Soul Instruments (Instagram); the new Robert Johnson book (Amazon link)  1:25:24 Keeping the 12v DC power supply on old PA amps? Doug Hoffman 1:30:54 How far should I mod this 1980 Fender Deluxe Reverb? 1:37:24 Ishi in Two Worlds (Amazon link) Recorded July 4, 2025.  Want amp tech Skip Simmons' advice on your DIY guitar amp projects? Want to share your top secret family recipe? Need relationship advice? Join us by sending your voice memo or written questions to podcast@fretboardjournal.com! Include a photo, too.  Hosted by amp tech Skip Simmons and co-hosted/produced by Jason Verlinde of the Fretboard Journal.  Don't forget, we have a Patreon page. Support the show, get behind-the-scenes updates and get to the front of the line with your questions. 

Madeline Kenny is a singer, songwriter and multi-instrumentalist based in Oakland, Ca. Her 5th record, Kiss From The Balcony is due out July 18th via Carpark records and is a follow up to her acclaimed release New Reality Mind.  Madeline shares her early relationship with music and why an education spilt between formal piano training and an all-ages punk venue proved to be a rounding experience.   She tells us how she accidentally fell into making her first recording with Chaz Bundick from Tori y Moi and why the neutrality of their relationship played a role in that process. Joe and Madeline discuss the current music landscape and why taking advantage of the NOW is more important to Madeline that chasing the moving target of media consumption.  Madeline tells us how recording Kiss From The Balcony at Tiny Telephone Studio gave her more freedom and dramatic license than previous records and why she is dedicated to performance both in the studio and live. We learn how Madeline feel in love with sideburns, how she came to be in a Neil Young cover band, and she reveals her next cover band project. Madeline Kenny Carpark Tour Stories is now supported by @tandemdrums, maker of Drops drum mutes.  Joe's absolute favorite drummute for live, rehearsal and the studio. visit ⁠⁠⁠⁠⁠⁠⁠Tandem Drums⁠⁠⁠⁠⁠⁠⁠ Please visit and support ⁠⁠⁠⁠⁠⁠⁠⁠Izotope⁠⁠⁠⁠⁠⁠⁠⁠ and ⁠⁠⁠⁠⁠⁠⁠⁠Distrokid⁠⁠⁠⁠⁠⁠⁠⁠ for continued exclusive listener discounts. ⁠⁠⁠⁠⁠⁠⁠⁠Izotope⁠⁠⁠⁠⁠⁠⁠⁠ is the leader in audio repair, mixing and mastering. Ruinous uses ⁠⁠⁠⁠⁠⁠⁠⁠Izotope⁠⁠⁠⁠⁠⁠⁠⁠ and you should too. Trust us. The best way to get your music into the worlds ears is ⁠⁠⁠⁠⁠⁠⁠⁠Distrokid⁠⁠⁠⁠⁠⁠⁠⁠. Artist keep 100% of their royalties and their mobile app is smartly designed, easy to use and perfectly intuitive.

Subscribe to All One Song: A Neil Young Podcast Welcome to the very first episode of All One Song: A Neil Young podcast, presented by Aquarium Drunkard Transmissions. Join liner notes author, musician, and Shakey historian Tyler Wilcox and an array of great musicians and writers discussing their favorite Neil Young song, diving deep into Shakey lore and getting personal about this amazing body of work. It's a series for Neil heads by Neil heads. Our first guest on All One Song should need no introduction for long time Aquarium Drunkard readers. But let's give him one anyway! For the past 15 years or so, ⁠Steve Gunn⁠ has built up one of the strongest, most wide-ranging catalogs in independent music. He's released classic albums on such labels as Three Lobed, Paradise of Bachelors, Matador and more. Steve is a singer-songwriter-guitarist triple threat with a powerful sense of adventure and imagination that's always worth paying attention to, whether he's collaborating with drummer John Truscinski in the ⁠Gunn-Truscinski Duo⁠, creating beautiful soundscapes ⁠with David Moore⁠, or ⁠playing all on his own⁠. Steve's latest album, ⁠Music For Writers⁠, falls into the latter category. Coming out on August 15 on Three Lobed, this is his first completely solo instrumental record — he played all the instruments, building luminous, hypnotic pieces that encourage the listener to slow down and really listen. The songs here aren't just ambient background sounds. They're sonic meditations that take you to some other place.   The solo aspect of Music For Writers dovetails nicely with the Neil Young song that Steve chose for us to discuss: “Will To Love.” This is a unique one in Neil's catalog and a song that's prized by die-hard Shakey fans. Accompanied only by a crackling fire, Neil recorded the basic track at his ranch in the spring of 1976, somewhere in between his European tour with Crazy Horse and the ill-fated Stills-Young Band trip that summer. Then he put it aside, for a few months, only returning to it in December of 76, when he went into Indigo Studios in Malibu to overdub vocals, keyboards, guitars, drums, even vibes, aided and abetted by producer David Briggs. By the time it was released on American Stars n Bars in 1977, “Will To Love” was a ghostly, seven-minute piece of music that's unlike almost anything else he'd done before or anything he's done since. Let's dive in. Find more illuminating podcasts on the ⁠⁠⁠Talkhouse Podcast Network⁠⁠⁠. Visit ⁠⁠⁠talkhouse.com⁠⁠⁠ to read essays, reviews, and more. Follow @talkhouse on ⁠⁠⁠Instagram⁠⁠⁠, ⁠⁠⁠Bluesky⁠⁠⁠, ⁠⁠⁠Twitter (X)⁠⁠⁠, ⁠⁠⁠Threads⁠⁠⁠, and ⁠⁠⁠Facebook⁠⁠⁠.

On this week's show, we celebrate the release of Bruce Springsteen's Tracks II: The Lost Albums box set with our Lost Albums Mix Tape. All this & much, much less! Debts No Honest Man Can Pay is a podcast that thinks it's a radio show...because it used to be one. The show started in 2003 at WHFR-FM (Dearborn, MI), moved to WGWG-FM (Boiling Springs, NC) in 2006 & Plaza Midwood Community Radio (Charlotte, NC) in 2012, with a brief pit-stop at WLFM-FM (Appleton, WI) in 2004. It phoenixed into a podcast in 2020, thanks to the fine and fabulously furious folks at NRM Streamcast. 

Welcome back to All One Song: A Neil Young Podcast, presented by Aquarium Drunkard Transmissions. You may have noticed our awesome theme music. No, you're not hearing some unreleased Neil Young and Crazy Horse rehearsal. You're hearing Coca Leaves and Pearls, the Philadelphia-based Neil tribute band fronted by guitarist Chris Forsyth and featuring John Murray (guitar), Jordan Burgis (bass), and Joey Sullivan (drums). They've been playing primarily Ditch-era Neil tunes at various clubs around the northeast for the past few years, bringing a very Horse-y vibe to the chosen few (you can check out a tasty recording via Archive.org). They're incredible—and Coca Leaves and Pearls was kind of enough to record some killer theme music for All One Song at Jeff Zeigler's Uniform Studios. Now, Chris Forsyth is much more than just the leader of a great Neil Young tribute band, of course. Much more! For more than a decade, he's been one of our favorite guitarists, blending Richard Thompson with Tom Verlaine, Robert Quine with John McLaughlin, Sonny Sharrock with … well, Neil Young. His albums with the Solar Motel Band are modern day classics, and his recent work with the Basic trio has been insanely good. Chris is an extremely tasteful player, but he's also willing to stretch beyond the barriers of tastefulness into the sublime. For his All One Song appearance, Chris selected “Lookout Joe,” which first appeared on Tonight's the Night just about 50 years ago in the summer of 1975. It's a darkly humorous tune that has all the hallmarks of Neil's Ditch era—that seedy swagger, a druggy vibe, Ben Keith's wild pedal steel and backing vocals, and some dangerous guitar work. “Lookout Joe” was recorded with the Stray Gators in late 1972 at Neil's northern California barn, but it's a million miles away from the country rock gloss of Harvest. As we get into in our conversation, “Lookout Joe” sees Neil taking on the changing and challenging times of the 1970s. A weird, dark era! It's a deep cut, but it's a deep cut that's very much worth getting into.  Looking for a digital music platform that feels more like a record shop? ⁠Qobuz⁠ is the high quality music streaming & download platform for music enthusiasts and audiophiles, offering unique editorial, exclusive artist interviews, expertly curated playlists, liner notes, and more. With Qobuz Club, subscribers can connect and share music discoveries with a community of fellow music lovers. And for those who like to own their music, the Qobuz Download Store lets you browse and download albums in Hi-Res and CD quality. Give ⁠Qobuz⁠ a try now with an extended 30-day free trial.