Podcast appearances and mentions of Neil Young

Everlast joins the Bonfire live in studio and brings his guitar. He talks about writing different types of songs now that he's lived a life past House Of Pain and has been through some things. Everlast got divorced and opens up about his heart problem that almost killed him. He says a section of his fans really want him to make another rap album and he will once he's ready. | Find out how he was let down by Neil Young. | Everlast aka Whitey Ford sings two songs for the guys and tries to make Jay cry with the second one. Everlast "Embers To Ashes" is available anywhere you get your music! *To hear his performance on the Bonfire and the full show go to www.siriusxm.com/bonfire to learn more! FOLLOW THE CREW ON SOCIAL MEDIA: @thebonfiresxm @louisjohnson @christinemevans @bigjayoakerson @robertkellylive @louwitzkee @jjbwolf Subscribe to SiriusXM Podcasts+ to listen to new episodes of The Bonfire ad-free and a whole week early. Start a free trial now on Apple Podcasts or by visiting siriusxm.com/podcastsplus. Hosted by Simplecast, an AdsWizz company. See https://pcm.adswizz.com for information about our collection and use of personal data for advertising.

The man who made sweet, soft, harmonious music with Stephen Stills and Neil Young was actually a crazy rock ‘n’ roll animal. Listen to hear how David Crosby wound up addicted, escaped authorities, and went on the lam. To see the full list of contributors, see the show notes at ⁠⁠⁠⁠www.disgracelandpod.com⁠⁠⁠⁠. This previously exclusive episode was originally published on May 22, 2025. To listen to Disgraceland ad free and get access to a monthly exclusive episode, weekly bonus content and more, become a Disgraceland All Access member at disgracelandpod.com/membership. Sign up for our newsletter and get the inside dirt on events, merch and other awesomeness - ⁠⁠⁠⁠GET THE NEWSLETTER⁠⁠⁠⁠ Follow Jake and DISGRACELAND: ⁠⁠⁠⁠Instagram⁠⁠⁠⁠ ⁠⁠⁠⁠YouTube⁠⁠⁠⁠ ⁠⁠⁠⁠X⁠⁠⁠⁠ (formerly Twitter) ⁠⁠⁠⁠Facebook Fan Group⁠⁠⁠⁠ ⁠⁠⁠⁠TikTok See omnystudio.com/listener for privacy information.

OMC, Ramones, Pistones, los Petersellers, Bruce Springsteen, Patti Smith, Al Stewart, Neil Young, Linda Ronstadt & Dolly Parton & Emmylou Harris, Al Dual, Alex Ferrán, Tony Wells y Farmacia de Guardia.

Ce 10 septembre, Marjorie Hache clôture la semaine de Pop-Rock Station avec The Velvet Underground, Motörhead, Suede, Kavinsky, The Runaways, The Cramps, The Black Keys, Placebo, Aerosmith, Neil Young, The Stooges, Jeff Buckley, Andrew W.K. ou encore The Doors. L'animatrice souligne le 40e anniversaire de Matthew Followill, guitariste de Kings of Leon, en diffusant "Molly's Chambers", le titre qui a propulsé le groupe hors des frontières américaines en 2003. Beck dévoile l'ambiance folk d'americana de "Ride Lonesome". Simple Minds signe son grand retour avec "Beginner Boys", tandis que les Français de 7 Weeks et l'étoile montante Beabadoobee s'ajoutent à la programmation. La primeur de la soirée met en lumière le trio féminin punk-rock montréalais Les Shirley, qui offre le percutant morceau "Bad News", annonciateur de leur troisième disque "Hail Mary". L'album de la semaine referme l'exploration de "Thank You", le premier disque solo de Mike D. L'ancien membre des Beastie Boys se dévoile aujourd'hui à travers l'électrique "Here We Are". Enfin, la reprise du jour s'annonce musclée : The Cramps s'approprient "Jailhouse Rock", l'incontournable tube d'Elvis Presley, pour en livrer une version psycho-rock fiévreuse et déjantée. The Velvet Underground - Sunday Morning Beck - Ride Lonesome Kings Of Leon - Molly's Chambers Guns N' Roses - It's So Easy Motörhead - Overkill Ten Years After - I Woke Up This Morning Suede - Animal Nitrate Mike D - Here We Are Prince - Girls & Boys Kavinsky - Nightcall The Runaways - Cherry Bomb Simple Minds - Beginner Boys Cramps - Jailhouse Rock The Black Keys - Lonely Boy Placebo - Nancy Boy 7Weeks - Shape Me Aerosmith - Dream On Suicidal Tendencies - How Will I Laugh Tomorrow Beabadoobee - Sun Has Set Neil Young - Harvest Jeff Buckley - Grace Les Shirley - Bad News The Stooges - No Fun Andrew W.K. - Party Hard The Doors - Alabama Song (Whisky Bar) The Cure - From The Edge Of The Deep Green Sea Hébergé par Audiomeans. Visitez audiomeans.fr/politique-de-confidentialite pour plus d'informations.

This episode of Live On 4 Legs is all about celebrations. While every episode is a celebration of Pearl Jam and their history, sometimes we need to take a pause and celebrate ourselves for being able to do what we do for as long as we've been able to do it. So this episode marks the celebration of the podcast's eighth birthday, and also the 40th birthday of host Randy Sobel. To honor that, we are covering the Toronto 2022 show that also happened on Randy's birthday, September, 8. This episode will feature lots of great stories about the day and surroundings, but the show that night was massive and gets undervalued in the grand scheme of the 2022 tour year. One of the things every one hopes to witness at a Pearl Jam show is something that can't or hasn't been replicated many times before. This show is special because some of those stand out moments such as a tribute to the death of Queen Elizabeth with a performance of The Beatles' Her Majesty packaged together with All Those Yesterdays. Canadian friends were shouted out during this show, ones still with us like Neil Young where a mention of him before I Got Shit led to the rare Cinnamon Girl tag on the backend, and ones no longer with us like Neil Peart and the late Gord Downie, who was referenced throughout the night. All of that, and tons of high energy in the building with a big time crowd for Toronto's 18th Pearl Jam show. Check out this fun episode where we'll get in a Tom Green reference, and introduce you all to Randy's most dumb, expensive thing he's bought at a show... that is subsequently the greatest thing on this Earth. Become a Guest Producer On The Pod! - https://docs.google.com/forms/d/e/1FAIpQLScdVXXa9OgtGmdH-6Sx-c45OuLwaGH8fFETgaKre_AM-psuRQ/viewform Visit the Concertpedia - liveon4legs.com Contact the Show - liveon4legspodcast@gmail.com Donate To The Show - patreon.com/liveon4legs

“Sanctuary Park” de The Jayhawks es nuestro disco favorito de hoy, un álbum donde Gary Louris y sus compañeros nos ofrecen una lección magistral de lo que mejor saben hacer. Cuarenta años después de su debut la banda de Minnesota vuelve a deslumbrar con una colección de canciones capaces de convertirse en compañeras de camino.(Foto del podcast por Steve Cohen; The Jayhawks)Playlist;THE JAYHAWKS “Keeping our heads above water”THE JAYHAWKS “American midnight”THE JAYHAWKS “It’ll be alright tonight”TEENAGE FANCLUB “Day in the sun”THE GOODS “Summer’s almost gone”ROBYN HITCHCOCK “I am this thing”STEVE WYNN “Make it right”TWISTED TEENS “Javelina”ADAM AMRAM “On the corner”NEIL YOUNG and THE CHROME HEARTS “Casting me away from you”Versión y Original; NEIL YOUNG and COMRIE SMITH “Casting me away from you” (1965)ELI PAPERBOY REED “Like we used to”A.J. FULLERTON “All the wrong choices”TERRY LEE HALE “Hearts”Escuchar audio

Cassandra Wilson, een met een Grammy bekroonde jazz-zangeres en songwriter die geworteld was in de blues-traditie van haar geboortestaat Mississippi en uitgroeide tot een van de meest onderscheidende stemmen van haar generatie, is op 2 september 2026 overleden in Jackson, Mississippi. Ze werd 70 jaar oud. Met haar lage, rokerige stem bracht ze een verfijnde romantiek in klassiekers uit het *Great American Songbook*, maar ze vertolkte ook nummers van artiesten als Joni Mitchell, Van Morrison, Neil Young en de bluesmuzikant Robert Johnson uit Mississippi. In deze TORcast enkele hoogtepunten uit het oeuvre van Cassandra Wilson: Blue Skies Hellhound On My Trail Strange Fruit St. James Infimary The Weight Waters Of March A Day In The Life Of A Fool You Go To My Head Crazy If Loving You Is Wrong Shelter From The Storm Harvest Moon Black Crow Time After Time

Hey Vintage Sand fans! Hope the summer was relaxing, fun, and adventurous. An offbeat recommendation to begin—even if you're not a fan, as a film lover you must see the first half hour of this summer's "Minions and Monsters", which pays gentle comic tribute to the entire history of film from Muybridge's experiments through "Citizen Kane", name-checking the Lumieres, Méliès, Chaplin, Keaton, and Lloyd, and riffing like "Singin' in the Rain" and "Babylon" on the impact of the arrival of sound in Hollywood. Love or hate the little yellow guys, here are some filmmakers who truly love film and film history! For the sixth time in the history of the podcast, Team Vintage Sand returns to one of its most popular formats: the Hidden Gems episode. As we did in episodes 11, 30, 40, 53, and 64 (take notes—there will be a quiz), we each choose one film to discuss that we feel has been underappreciated and overlooked by the madding crowd yearning to see anything besides a prequel, sequel, spinoff, or reboot. This time around, by pure coincidence, the episode features three films that are relatively similar in their lightness of tone, though only one might be described as a pure comedy, albeit a dark one. That would be Michael's pick, Lawrence Kasdan's "I Love You to Death" from 1990. Featuring an unbelievable cast including Kevin Kline (fresh off his Oscar win for "A Fish Called Wanda"), the sublime Tracey Ullman in her first big-screen performance, as well as Joan Plowright (who steals the film), River Phoenix, Keanu Reeves and William Hurt, the film puts a black comedy twist on the real-life story of a pizzeria-owning, philandering husband, and his wife, who makes repeated and increasingly violent unsuccessful attempts to kill him. John shines the spotlight on "The Nice Guys", the 2016 action comedy by Shane Black starring Ryan Gosling and a heavyset, Bronx-accented Russell Crowe. The film features a stellar supporting cast including Keith David, Margaret Qualley, Kim Basinger, and a wonderful performance by Angourie Rice as Gosling's daughter. Set in LA in 1977, it is a compendium of every noirish LA film ever made, from "Chinatown" to "Lebowski" to "Boogie Nights" to "Pulp Fiction" to "The Long Goodbye". As always with Black, the writing can be clunky and the tonal shifts are sometimes awkward. But the film is more than worthwhile for every priceless moment that Gosling and Crowe are together on screen; they are probably the best buddy pair featured in Black's long list of buddy action comedies. I focus on the film that brought an abrupt end to the roll Alan Rudolph was on in the mid-80's, from which the Altman disciple and wannabe never really recovered: 1987's "Made in Heaven". The story of a romance (featuring Tim Hutton and Kelly McGillis) kindled in the Afterlife but which extends from this world to the next, the film, like another 1987 release "The Princess Bride", unironically and sweetly makes the case for the power of True Love, even over death. How you feel about that idea will largely determine your reaction to Rudolph's film; there are plot holes as wide as the Pearly Gates themselves, and some questionable writing here and there. But the other thing the film has going for it is its focus on music, especially the concluding song “We've Never Danced”, written by Neil Young (who has a cameo) and sung by the wondrous Martha Davis, the lead singer of early-80's faves The Motels. So please enjoy visiting and/or revisiting these films, check out that opening of the Minions film, and celebrate the new school year by recommitting to your love of film and seeing movies in theaters. And whatever the rest of 2026 brings us in the world of film, count on Team Vintage Sand to be your trusty sherpas for the journey.

Chris Pierce was born and raised in Pasadena, California and he's been working diligently in music since the mid-1990s, which by this point nearly makes him a journeyman. His new album, 'Songs for the Heavy Hearted' is his 12 - depending on how you count live albums and other releases. It's a warm mix of Laurel Canyon folk and Ben E. King-style soul, and, like the rest of his music, it is built on a foundation of spreading the gospel of human kindness and social justice in equal measure. He is a bit of a joyful warrior, and he has earned his wisdom in the best manner anyone does, which is through, struggle, triumph and persistence. As for challenges, Pierce suffered hearing loss courtesy of an illness at the age of 15 but regained enough of it to pursue a career in music. He is also living proof that enduring racism need not leave one bitter. As for triumphs, his profile got a boost not so long ago after receiving an invitation to open for Neil Young on a run of west coast tour dates in 2023. I first discovered Chris Pierce's music at one of those Neil Young shows and I immediately sent him an invitation to join me here on Independent's Day. That invitation languished in an unused inbox for fully three years until he recently found it and reached out to say that he would be happy to be a guest on Independent's Day. Not as half as happy as I am to have him. Better late than never.

TVC 747.3: Ed welcomes back Charlotte Stewart, the actress known around the world as Miss Beadle on Little House on the Prairie and as Betty Briggs on Twin Peaks. Charlotte will join Alison Arngrim, Dean Butler, and many other members of the Little House cast at the huge Little House on the Prairie 50th anniversary cast reunion that will take place Sept. 11-12-13 at the historic Grand Ole Opry in Nashville, Tennessee. The weekend will include a special Friday night cast appearance plus, if you sign up for a VIP package, you'll have access to a special backstage tour of Studio A at the Grand Ole Opry (where Hee Haw and other TV series were filmed), plus other exclusive perks. For tickets and more information, go to LittleHouseonthePrairieCastReunions.com. Topics this segment include Charlotte learned her craft as an actress while studying at the Pasadena Playhouse; how her memoir, Little House in the Hollywood Hills, was the first book written by an adult cast member of Little House; why she retired from acting a few years ago; plus a few memories of hanging out with musicians Neil Young and David Crosby, both in the 1960s and beyond.

Hear "American Girl" or "Born in the U.S.A." and, like it or not, chances are you begin to hum along. The soundtrack of grocery stores, pool halls, bowling alleys, flea markets, chain restaurants, drug stores, and political rallies--heartland rock, while beloved by some and derided by others, is inescapable even today. As rollicking as the music it describes, acclaimed music critic Erin Osmon's Won't Back Down: Heartland Rock and the Fight for America (W. W. Norton & Company, 2026) tells the story of the origins, chart-topping development, and tangled legacy of heartland rock, the music that ruled the airwaves of the 1980s and remains instantly recognizable to millions. Spinning an entertaining and eye-opening account, Osmon delves into the complicated afterlife of heartland rock's classic albums and songs, including Bruce Springsteen's "Born to Run," Bob Seger's "Against the Wind," John Mellencamp's "Small Town," and Tom Petty's "I Won't Back Down." She demonstrates the centrality of often-overlooked women like Melissa Etheridge, Bonnie Raitt, and Lucinda Williams--explaining how some of the most popular music of the time was made beyond its white-male stereotypes. She traces the genre's connections to country and Americana, and reveals how legendary figures like Prince were inspired by and expanded heartland rock. And she shows how its success revitalized the careers of figures like Bob Dylan and Neil Young. Through it all, she explores the '80s cultural developments that fostered the genre--such as the rise of MTV and the switch to CDs--and argues that the music played a vital role in opposition to '80s conservatism and in support of LGBTQ rights, labor issues, and the environmental movement. A fair-minded critic with an ear for a great behind-the-scenes story, Osmon makes clear that at its best, heartland rock connected with millions of overlooked people longing to be heard. Erin Osmon is a music journalist, critic, and author of books on John Prine and Jason Molina. Her writing appears in the Los Angeles Times, New York Times, Rolling Stone, and others. She won the Deems Taylor/Virgil Thompson Award for album notes in 2023 and several LA Press Club Southern California Journalism awards. She lives in Nashville. Erin Osmon's website and Instagram. Bradley Morgan is a media arts professional in Chicago and author of U2's The Joshua Tree: Planting Roots in Mythic America (Backbeat Books, 2021), Frank Zappa's America (LSU Press, 2025), and U2: Until the End of the World (Gemini Books, 2025). He manages partnerships on behalf of CHIRP Radio 107.1 FM and is the director of its music film festival. Bradley on Facebook and Bluesky. Learn more about your ad choices. Visit megaphone.fm/adchoices Support our show by becoming a premium member! https://newbooksnetwork.supportingcast.fm/new-books-network

Hear "American Girl" or "Born in the U.S.A." and, like it or not, chances are you begin to hum along. The soundtrack of grocery stores, pool halls, bowling alleys, flea markets, chain restaurants, drug stores, and political rallies--heartland rock, while beloved by some and derided by others, is inescapable even today. As rollicking as the music it describes, acclaimed music critic Erin Osmon's Won't Back Down: Heartland Rock and the Fight for America (W. W. Norton & Company, 2026) tells the story of the origins, chart-topping development, and tangled legacy of heartland rock, the music that ruled the airwaves of the 1980s and remains instantly recognizable to millions. Spinning an entertaining and eye-opening account, Osmon delves into the complicated afterlife of heartland rock's classic albums and songs, including Bruce Springsteen's "Born to Run," Bob Seger's "Against the Wind," John Mellencamp's "Small Town," and Tom Petty's "I Won't Back Down." She demonstrates the centrality of often-overlooked women like Melissa Etheridge, Bonnie Raitt, and Lucinda Williams--explaining how some of the most popular music of the time was made beyond its white-male stereotypes. She traces the genre's connections to country and Americana, and reveals how legendary figures like Prince were inspired by and expanded heartland rock. And she shows how its success revitalized the careers of figures like Bob Dylan and Neil Young. Through it all, she explores the '80s cultural developments that fostered the genre--such as the rise of MTV and the switch to CDs--and argues that the music played a vital role in opposition to '80s conservatism and in support of LGBTQ rights, labor issues, and the environmental movement. A fair-minded critic with an ear for a great behind-the-scenes story, Osmon makes clear that at its best, heartland rock connected with millions of overlooked people longing to be heard. Erin Osmon is a music journalist, critic, and author of books on John Prine and Jason Molina. Her writing appears in the Los Angeles Times, New York Times, Rolling Stone, and others. She won the Deems Taylor/Virgil Thompson Award for album notes in 2023 and several LA Press Club Southern California Journalism awards. She lives in Nashville. Erin Osmon's website and Instagram. Bradley Morgan is a media arts professional in Chicago and author of U2's The Joshua Tree: Planting Roots in Mythic America (Backbeat Books, 2021), Frank Zappa's America (LSU Press, 2025), and U2: Until the End of the World (Gemini Books, 2025). He manages partnerships on behalf of CHIRP Radio 107.1 FM and is the director of its music film festival. Bradley on Facebook and Bluesky. Learn more about your ad choices. Visit megaphone.fm/adchoices Support our show by becoming a premium member! https://newbooksnetwork.supportingcast.fm/american-studies

Hear "American Girl" or "Born in the U.S.A." and, like it or not, chances are you begin to hum along. The soundtrack of grocery stores, pool halls, bowling alleys, flea markets, chain restaurants, drug stores, and political rallies--heartland rock, while beloved by some and derided by others, is inescapable even today. As rollicking as the music it describes, acclaimed music critic Erin Osmon's Won't Back Down: Heartland Rock and the Fight for America (W. W. Norton & Company, 2026) tells the story of the origins, chart-topping development, and tangled legacy of heartland rock, the music that ruled the airwaves of the 1980s and remains instantly recognizable to millions. Spinning an entertaining and eye-opening account, Osmon delves into the complicated afterlife of heartland rock's classic albums and songs, including Bruce Springsteen's "Born to Run," Bob Seger's "Against the Wind," John Mellencamp's "Small Town," and Tom Petty's "I Won't Back Down." She demonstrates the centrality of often-overlooked women like Melissa Etheridge, Bonnie Raitt, and Lucinda Williams--explaining how some of the most popular music of the time was made beyond its white-male stereotypes. She traces the genre's connections to country and Americana, and reveals how legendary figures like Prince were inspired by and expanded heartland rock. And she shows how its success revitalized the careers of figures like Bob Dylan and Neil Young. Through it all, she explores the '80s cultural developments that fostered the genre--such as the rise of MTV and the switch to CDs--and argues that the music played a vital role in opposition to '80s conservatism and in support of LGBTQ rights, labor issues, and the environmental movement. A fair-minded critic with an ear for a great behind-the-scenes story, Osmon makes clear that at its best, heartland rock connected with millions of overlooked people longing to be heard. Erin Osmon is a music journalist, critic, and author of books on John Prine and Jason Molina. Her writing appears in the Los Angeles Times, New York Times, Rolling Stone, and others. She won the Deems Taylor/Virgil Thompson Award for album notes in 2023 and several LA Press Club Southern California Journalism awards. She lives in Nashville. Erin Osmon's website and Instagram. Bradley Morgan is a media arts professional in Chicago and author of U2's The Joshua Tree: Planting Roots in Mythic America (Backbeat Books, 2021), Frank Zappa's America (LSU Press, 2025), and U2: Until the End of the World (Gemini Books, 2025). He manages partnerships on behalf of CHIRP Radio 107.1 FM and is the director of its music film festival. Bradley on Facebook and Bluesky. Learn more about your ad choices. Visit megaphone.fm/adchoices Support our show by becoming a premium member! https://newbooksnetwork.supportingcast.fm/music

Hear "American Girl" or "Born in the U.S.A." and, like it or not, chances are you begin to hum along. The soundtrack of grocery stores, pool halls, bowling alleys, flea markets, chain restaurants, drug stores, and political rallies--heartland rock, while beloved by some and derided by others, is inescapable even today. As rollicking as the music it describes, acclaimed music critic Erin Osmon's Won't Back Down: Heartland Rock and the Fight for America (W. W. Norton & Company, 2026) tells the story of the origins, chart-topping development, and tangled legacy of heartland rock, the music that ruled the airwaves of the 1980s and remains instantly recognizable to millions. Spinning an entertaining and eye-opening account, Osmon delves into the complicated afterlife of heartland rock's classic albums and songs, including Bruce Springsteen's "Born to Run," Bob Seger's "Against the Wind," John Mellencamp's "Small Town," and Tom Petty's "I Won't Back Down." She demonstrates the centrality of often-overlooked women like Melissa Etheridge, Bonnie Raitt, and Lucinda Williams--explaining how some of the most popular music of the time was made beyond its white-male stereotypes. She traces the genre's connections to country and Americana, and reveals how legendary figures like Prince were inspired by and expanded heartland rock. And she shows how its success revitalized the careers of figures like Bob Dylan and Neil Young. Through it all, she explores the '80s cultural developments that fostered the genre--such as the rise of MTV and the switch to CDs--and argues that the music played a vital role in opposition to '80s conservatism and in support of LGBTQ rights, labor issues, and the environmental movement. A fair-minded critic with an ear for a great behind-the-scenes story, Osmon makes clear that at its best, heartland rock connected with millions of overlooked people longing to be heard. Erin Osmon is a music journalist, critic, and author of books on John Prine and Jason Molina. Her writing appears in the Los Angeles Times, New York Times, Rolling Stone, and others. She won the Deems Taylor/Virgil Thompson Award for album notes in 2023 and several LA Press Club Southern California Journalism awards. She lives in Nashville. Erin Osmon's website and Instagram. Bradley Morgan is a media arts professional in Chicago and author of U2's The Joshua Tree: Planting Roots in Mythic America (Backbeat Books, 2021), Frank Zappa's America (LSU Press, 2025), and U2: Until the End of the World (Gemini Books, 2025). He manages partnerships on behalf of CHIRP Radio 107.1 FM and is the director of its music film festival. Bradley on Facebook and Bluesky.Support our show by becoming a premium member! https://newbooksnetwork.supportingcast.fm/popular-culture Hosted by Simplecast, an AdsWizz company. See pcm.adswizz.com for information about our collection and use of personal data for advertising.

Hear "American Girl" or "Born in the U.S.A." and, like it or not, chances are you begin to hum along. The soundtrack of grocery stores, pool halls, bowling alleys, flea markets, chain restaurants, drug stores, and political rallies--heartland rock, while beloved by some and derided by others, is inescapable even today. As rollicking as the music it describes, acclaimed music critic Erin Osmon's Won't Back Down: Heartland Rock and the Fight for America (W. W. Norton & Company, 2026) tells the story of the origins, chart-topping development, and tangled legacy of heartland rock, the music that ruled the airwaves of the 1980s and remains instantly recognizable to millions. Spinning an entertaining and eye-opening account, Osmon delves into the complicated afterlife of heartland rock's classic albums and songs, including Bruce Springsteen's "Born to Run," Bob Seger's "Against the Wind," John Mellencamp's "Small Town," and Tom Petty's "I Won't Back Down." She demonstrates the centrality of often-overlooked women like Melissa Etheridge, Bonnie Raitt, and Lucinda Williams--explaining how some of the most popular music of the time was made beyond its white-male stereotypes. She traces the genre's connections to country and Americana, and reveals how legendary figures like Prince were inspired by and expanded heartland rock. And she shows how its success revitalized the careers of figures like Bob Dylan and Neil Young. Through it all, she explores the '80s cultural developments that fostered the genre--such as the rise of MTV and the switch to CDs--and argues that the music played a vital role in opposition to '80s conservatism and in support of LGBTQ rights, labor issues, and the environmental movement. A fair-minded critic with an ear for a great behind-the-scenes story, Osmon makes clear that at its best, heartland rock connected with millions of overlooked people longing to be heard. Erin Osmon is a music journalist, critic, and author of books on John Prine and Jason Molina. Her writing appears in the Los Angeles Times, New York Times, Rolling Stone, and others. She won the Deems Taylor/Virgil Thompson Award for album notes in 2023 and several LA Press Club Southern California Journalism awards. She lives in Nashville. Erin Osmon's website and Instagram. Bradley Morgan is a media arts professional in Chicago and author of U2's The Joshua Tree: Planting Roots in Mythic America (Backbeat Books, 2021), Frank Zappa's America (LSU Press, 2025), and U2: Until the End of the World (Gemini Books, 2025). He manages partnerships on behalf of CHIRP Radio 107.1 FM and is the director of its music film festival. Bradley on Facebook and Bluesky.Support our show by becoming a premium member! https://newbooksnetwork.supportingcast.fm/book-of-the-day Hosted by Simplecast, an AdsWizz company. See pcm.adswizz.com for information about our collection and use of personal data for advertising.

It's August and this month we're discussing our favourite songs of 1969, so we've got lots of early synthesizer experiments, funk classics, sunshine pop, proto-punk and full on prog.We've each chosen our 10 favourite songs of the year and sent them over to Colin's wife Helen, who put the playlists together and distributed them so we were each given a playlist of the 20 songs from the other two hosts, along with our own 10. We then ranked the playlists in order of preference and sent them back to Helen, who totalled up the points and worked out the order. She also joined us on the episode to read out the countdown, which we found out as we recorded so all reactions are genuine.Now, admittedly, in parts we're a little bit brutal to some of the songs in the list as we're three separate people with differing music tastes, but please remember that to be in this episode at all the songs have to have been in one of our top 10's of that year.Bands featured in this episode include (In alphabetical order, no spoilers here!) - Aphrodite's Child, The Beach Boys, The Clique, The Cuff Links, Nick Drake, Fleetwood Mac, Golden Earring, George Harrison, Isaac Hayes, Dick Hyman, The Jackson 5, King Crimson, Led Zeppelin, Love, MC5, Nazz, Pentangle, Terry Riley, The Rolling Stones, The Shaggs, Sly & The Family Stone, Edwin Starr, Steppenwolf, The Stooges, Townes Van Zandt, Ruth White, White Noise, The Who, Neil Young & Crazy Horse, & Frank Zappa.Find all songs in alphabetical order here - https://open.spotify.com/playlist/3pCXvj3iBFzajptDkt0rMF?si=8213177994a64704Find our We Dig Music Pollwinners Party playlist (featuring all of the winning songs up until now) here - https://open.spotify.com/playlist/45zfDHo8zm6VqrvoEQSt3z?si=Ivt0oMj6SmitimvumYfFrQIf you want to listen to megalength playlists of all the songs we've individually picked since we started doing best of the year episodes (which need updating but I plan on doing them over the next few months or so), you can listen to Colin's here – https://open.spotify.com/playlist/5x3Vy5Jry2IxG9JNOtabRT?si=HhcVKRCtRhWCK1KucyrDdgIan's here - https://open.spotify.com/playlist/2H0hnxe6WX50QNQdlfRH5T?si=XmEjnRqISNqDwi30p1uLqAand Tracey's here - https://open.spotify.com/playlist/2p3K0n8dKhjHb2nKBSYnKi?si=7a-cyDvSSuugdV1m5md9NwThe playlist of 20 songs from the other two hosts was scored as usual, our favourite song got 20 points, counting down incrementally to our least favourite which got 1 point. The scoring of our own list of 10 is now slightly more complicated in order to give a truer level of points to our own favourites. So rather than them only being able to score as many points as our 10th favourite in the other list, the points in our own list were distributed as follows -1st place - 20 points2nd place - 18 points3rd place – 16 points4th place – 14 points5th place – 12 points6th place – 9 points7th place – 7 points8th place – 5 points9th place – 3 points10th place -1 pointHosts - Ian Clarke, Colin Jackson-Brown & Tracey BGuest starring Helen Jackson-Brown.Playlist compiling/distributing – Helen Jackson-BrownRecorded/Edited/Mixed/Original Music by Colin Jackson-Brown for We Dig PodcastsThanks to Peter Latimer for help with the scoring system.Part of the We Dig Podcasts network along with Free With This Months Issue & Pick A Disc.Bluesky - https://bsky.app/profile/wedigmusic.bsky.socialInstagram - https://www.instagram.com/wedigmusicpcast/Facebook - https://www.facebook.com/wedigpusicpcast/Find our other episodes & podcasts at www.wedigpodcasts.com 

THIS WEEK'S MESSAGE: Today's Fireside is a bit of a ramble around what was coming through for me this morning. The word 'Legacy' came forward and it feels like there's a lot of cycles ending and completing for most of us. I did a card pull for us as well. Focus in on whether you feel pulled toward the number 1, 2 or 3. It's okay if you feel drawn to multiple, just anchor into the number that feels the strongest for you and see what's meant for you in your reading. I feel like each card intertwined together and built off one another which is always so fun to see play out! 2026 PLAYLIST: Each week of 2026, I'm selecting a song that resonates with the message of that particular Fireside Friday. Today's Fireside Song: "Old Man" by Neil Young. Check out the full playlist here: https://open.spotify.com/playlist/41b2woCYZCZXpDc1oCasZk?si=8dcd67ec022c49a9ABOUT: Welcome to a Fireside Friday Recording. Every Friday morning I tap in and pour out messages and words meant to fuel your fire, Fire Starter! These messages are to encourage, empower and activate you deeper in your calling and initiatives that you want to see through. grounding and encouragement every Friday morning. Want to attend live?⁠⁠ ⁠⁠⁠Sign-up here⁠⁠⁠⁠⁠: ⁠⁠⁠⁠https://forms.gle/TTRcWzjtiMhNZR2k6⁠⁠⁠⁠

Concluding the Deadcast's Summer Magic 1985 run, we pull into Maryland for 2 over-the-top shows, explore the band's ‘80s gear, the Dead Heads' ‘80s pipecraft, & the enthralling scene around the Dead.Guests: David Lemieux, Peter Miller, Dennis McNally, Dan English, Nick Paumgarten, Jeffrey Alexander, Christian Crumlish, Nicholas G. Meriwether, David Leopold, Will Backstrom, Andy Perrine, Geoff Mockbee, Harry Clark, Mike SmartSee Privacy Policy at https://art19.com/privacy and California Privacy Notice at https://art19.com/privacy#do-not-sell-my-info.

Brian Dolzani is a contemporary singer/songwriter that possesses an old soul. A listen to his music makes that point abundantly clear.  So too, the fact that he lists any number of ‘60s and ‘70s songwriters as prime influences — Bob Dylan, Neil Young, Cat Stevens, Crosby, Stills and Nash, to Joni Mitchell, James Taylor, and Credence Clearwater Revival, among them — suggests that his roots reside in a great storytelling tradition. Like his forebears, Brian is all about to creating a connection to his audiences through the expression of innermost emotion. In the process, he shares a sound that's vibrant, engaging and enticing, and, like his heroes, flush with both meaning and magic. It's little wonder then that his work has been described as “musical medicine for the soul” by the Lonesome Noise blog, or that the Americana bible No Depression one declared “Dolzani's melancholy musings are remarkably affecting,” while also praising his melodies as “eternally engaging, and, on more than one occasion, even soothing and seductive.” “For me, writing songs is something that's very personal,” Brian himself says. “Over the years, I've come to discover myself through making music.” https://www.briandolzani.com/homeFor tickets to see him at FTC click link below:https://fairfieldtheatre.org/events/stageone/brian-dolzani-as-the-loner_e659

LiveNation's Jimmy Koplik joined Chaz and AJ with the scoop on the just-announced Willie Nelson and Neil Young show at the Hartford HealthCare Amphitheater! Jimmy also heard a great story from a listener whose son scored an A+ on a school paper thanks to Jimmy, and then took on questions from the Tribe about concerts, artists, and some of the best stories from his legendary career.

A prehistoric shark tooth found on a New Jersey beach gives us a clue about just how HUGE these ancient predators were — can you guess the size? Plus, “Whimsical Wayne” called in with some ZZ Top trivia as Chaz and AJ paid tribute to drummer Frank Beard, who passed away yesterday. (0:00)A toddler refused to buckle up, stood in their seat, and caused an entire flight to turn around and cancel — stranding everyone until the next day. So what's the appropriate punishment? Chaz and AJ's child-hating experts AJ and Ruth weigh in. (10:12)Live Nation concert legend Jimmy Koplik called in to talk about ZZ Top drummer Frank Beard's passing, the band's decision to continue their tour, and some great stories from his years working with the band. Jimmy also had more details on the just-announced Willie Nelson and Neil Young show at the Hartford HealthCare Amphitheater in Bridgeport on September 22 — including the password for tomorrow's presale! (17:22)Chaz and AJ spoke with John Mazzei, the shoeless runner who has completed SIX marathons completely barefoot! Why does he do it, how does he train, and what does running 26.2 miles with nothing between your feet and the pavement actually feel like? (27:14)It was another therapeutic session as Chaz and AJ invited the Tribe to vent about the little things that drive them absolutely INSANE — from loud mufflers and unanswered texts to sticks of butter and the way shorter men act around taller women. And somehow, AJ STILL didn't get a chance to share his own petty pet peeve… maybe next week! (33:26)Comedian TJ Miller called in while he was in town for a show and got into everything from mechanical bulls to peanut butter to why he no longer plays a booger. And, of course, TJ busted out one of his famous voices! (48:32)

The Shadows were the strongest brand in British pop, adored and widely imitated. When they went out of fashion, no-one wanted them to change. Bob Stanley salutes their enormous influence and creation of the guitar hero and unravels their rapid post-Beatles decline in his superb new book, ‘The Shadows: the Definitive Story'. And talks to us here about … … Hank and Bruce arriving in London aged 15 when the 2i's coffee bar was a labour exchange and a social club … entering a talent contest won by a Malayan opera singer … the magic of cowboy culture transported to British suburbia and their four cartoonish stage names … meeting Jacques Tati at the Paris Olympia and being asked to write a song for his upcoming movie … the rapid post-Beatles crash – bow-ties, panto and Cliff announcing his Christianity … “being thrown through a mangle twice a night by Arthur Askey in Stockton-on-Tees is not why they joined the music business” … getting Hipgnosis to design their album sleeve while stuck playing Batley Variety Club … the return of instrumentals with Albatross and the Good, the Bad and the Ugly … when Hank was asked to join the Move .. the Swedish vogue for “barbed wire groups” … and Neil Young's ‘From Hank to Hendrix' – which everyone assumed was about Hank Williams. Order copies of Bob's book here: https://tr.ee/rSilFTJwfOHelp us to keep The Longest Continuous Conversation In Rock'n'Roll going: https://www.patreon.com/wordinyourear Hosted on Acast. See acast.com/privacy for more information.

The Shadows were the strongest brand in British pop, adored and widely imitated. When they went out of fashion, no-one wanted them to change. Bob Stanley salutes their enormous influence and creation of the guitar hero and unravels their rapid post-Beatles decline in his superb new book, ‘The Shadows: the Definitive Story'. And talks to us here about … … Hank and Bruce arriving in London aged 15 when the 2i's coffee bar was a labour exchange and a social club … entering a talent contest won by a Malayan opera singer … the magic of cowboy culture transported to British suburbia and their four cartoonish stage names … meeting Jacques Tati at the Paris Olympia and being asked to write a song for his upcoming movie … the rapid post-Beatles crash – bow-ties, panto and Cliff announcing his Christianity … “being thrown through a mangle twice a night by Arthur Askey in Stockton-on-Tees is not why they joined the music business” … getting Hipgnosis to design their album sleeve while stuck playing Batley Variety Club … the return of instrumentals with Albatross and the Good, the Bad and the Ugly … when Hank was asked to join the Move .. the Swedish vogue for “barbed wire groups” … and Neil Young's ‘From Hank to Hendrix' – which everyone assumed was about Hank Williams. Order copies of Bob's book here: https://tr.ee/rSilFTJwfOHelp us to keep The Longest Continuous Conversation In Rock'n'Roll going: https://www.patreon.com/wordinyourear Hosted on Acast. See acast.com/privacy for more information.

The Shadows were the strongest brand in British pop, adored and widely imitated. When they went out of fashion, no-one wanted them to change. Bob Stanley salutes their enormous influence and creation of the guitar hero and unravels their rapid post-Beatles decline in his superb new book, ‘The Shadows: the Definitive Story'. And talks to us here about … … Hank and Bruce arriving in London aged 15 when the 2i's coffee bar was a labour exchange and a social club … entering a talent contest won by a Malayan opera singer … the magic of cowboy culture transported to British suburbia and their four cartoonish stage names … meeting Jacques Tati at the Paris Olympia and being asked to write a song for his upcoming movie … the rapid post-Beatles crash – bow-ties, panto and Cliff announcing his Christianity … “being thrown through a mangle twice a night by Arthur Askey in Stockton-on-Tees is not why they joined the music business” … getting Hipgnosis to design their album sleeve while stuck playing Batley Variety Club … the return of instrumentals with Albatross and the Good, the Bad and the Ugly … when Hank was asked to join the Move .. the Swedish vogue for “barbed wire groups” … and Neil Young's ‘From Hank to Hendrix' – which everyone assumed was about Hank Williams. Order copies of Bob's book here: https://tr.ee/rSilFTJwfOHelp us to keep The Longest Continuous Conversation In Rock'n'Roll going: https://www.patreon.com/wordinyourear Hosted on Acast. See acast.com/privacy for more information.

The Grateful Dead made their only visit to the land of chocolate on a rainy night in summer 1985, a pivotal show for different reasons for lighting crew member Dan English and longtime Dead Head photographer Bob MinkinGuests: David Lemieux, Dennis McNally, Dan English, Bob Minkin, Hawk, Dave Leopold, John Leopold, James Williamson, DNA, Johnny Dwork, Andy Perrine, Tom Storrer, Joe Noce, Joe StevanoffSee Privacy Policy at https://art19.com/privacy and California Privacy Notice at https://art19.com/privacy#do-not-sell-my-info.

Friend of the show (and occasional villain) NATHAN GELGUD returns to the Best Show. Tom and Nathan catch up and discuss the upcoming new collection No Concessions, from his ongoing series Reel Politik (published by Drawn and Quarterly), Nathan's Zoom class How To Think Like A Cartoonist (happening Tuesdays from September 15th through October 20th of this year via Los Angeles Review of Books), the Knicks, and more! Tom kicks off the show with a call from a notorious long-term troll airing his grievances over being "shadow banned" from the chat. Hear the dramatic confrontation play out! Tom also reiterates and spells out his plan to take over the band Smash Mouth (including changing the name of the band)! Otherwise Tom takes a call about Neil Young, a call from an actual US Senate candidate, and more! BEST SHOW GARAGE SALE - NOW ONLINE!Shop classic Best Show merch including shirts, vinyl, CDs & DVDs, posters, stickers, and more!https://bestshowstore.comSUPPORT THE BEST SHOW ON PATREON! WEEKLY BONUS EPISODES & VIDEO EPISODES!https://www.patreon.com/TheBestShowWATCH THE BEST SHOW LIVE EVERY TUESDAY NIGHT 6PM PT ON TWITCHhttps://www.twitch.tv/bestshow4lifeFOLLOW THE BEST SHOW:https://twitter.com/bestshow4lifehttps://instagram.com/bestshow4lifehttps://tiktok.com/@bestshow4lifehttps://www.youtube.com/bestshow4lifeTHE BEST SHOW IS A FOREVER DOG PODCASThttps://thebestshow.nethttps://foreverdogpodcasts.com/podcasts/the-best-showHEARD IT ON THE BEST SHOW PLAYLISThttps://open.spotify.com/playlist/2XIpICdeecaBIC2kBLUpKL?si=07ccc339d9d84267See Privacy Policy at https://art19.com/privacy and California Privacy Notice at https://art19.com/privacy#do-not-sell-my-info.

The news slapped on the conversational barbecue and served with a side of old hokum. This week's mixed grill includes … … our favourite story in the whole of popular music! … Lisa Marie Presley & Michael Jackson, Neil Young & Daryl Hannah and other weird celebrity weddings … how Glen Hansard got hired for the Commitments … “Everybody has a plan ‘til they're punched in the face” … Linda Thompson and the million reasons singers hate listening to their old albums … the fabulous life and times of Vicki Wickham in the days when 24 year-olds ran the business … Luke Combs, Nate Bargatze and the rising appeal of Mr Nice Guy … how David Bowie recorded … Mick Jagger's only marriage … “Kingsley Amis Introduces Us To Pop Stars!” and other doomed TV ideas Help us to keep The Longest Continuous Conversation In Rock'n'Roll going: https://www.patreon.com/wordinyourear Hosted on Acast. See acast.com/privacy for more information.

The news slapped on the conversational barbecue and served with a side of old hokum. This week's mixed grill includes … … our favourite story in the whole of popular music! … Lisa Marie Presley & Michael Jackson, Neil Young & Daryl Hannah and other weird celebrity weddings … how Glen Hansard got hired for the Commitments … “Everybody has a plan ‘til they're punched in the face” … Linda Thompson and the million reasons singers hate listening to their old albums … the fabulous life and times of Vicki Wickham in the days when 24 year-olds ran the business … Luke Combs, Nate Bargatze and the rising appeal of Mr Nice Guy … how David Bowie recorded … Mick Jagger's only marriage … “Kingsley Amis Introduces Us To Pop Stars!” and other doomed TV ideas Help us to keep The Longest Continuous Conversation In Rock'n'Roll going: https://www.patreon.com/wordinyourear Hosted on Acast. See acast.com/privacy for more information.

The news slapped on the conversational barbecue and served with a side of old hokum. This week's mixed grill includes … … our favourite story in the whole of popular music! … Lisa Marie Presley & Michael Jackson, Neil Young & Daryl Hannah and other weird celebrity weddings … how Glen Hansard got hired for the Commitments … “Everybody has a plan ‘til they're punched in the face” … Linda Thompson and the million reasons singers hate listening to their old albums … the fabulous life and times of Vicki Wickham in the days when 24 year-olds ran the business … Luke Combs, Nate Bargatze and the rising appeal of Mr Nice Guy … how David Bowie recorded … Mick Jagger's only marriage … “Kingsley Amis Introduces Us To Pop Stars!” and other doomed TV ideas Help us to keep The Longest Continuous Conversation In Rock'n'Roll going: https://www.patreon.com/wordinyourear Hosted on Acast. See acast.com/privacy for more information.

ThrasherNeil YoungThey were hiding behind hay balesThey were planting in the full moonThey had given all they had for something newBut the light of day was on themThey could see the thrashers comingAnd the water shone like diamonds in the dewAnd I was just getting up, hit the road before it's lightTrying to catch an hour on the sunWhen I saw those thrashers rolling byLooking more than two lanes wideI was feelin' like my day had just begunWhere the eagle glides, descendingThere's an ancient river bendingThrough the timeless gorge of changesWhere sleeplessness awaitsI searched out my companionsWho were lost in crystal canyonsWhen the aimless blade of scienceSlashed the pearly gatesIt was then that I knew I'd had enoughBurned my credit card for fuelHeaded out to where the pavement turns to sandWith a one way ticket to the land of truthAnd my suitcase in my handHow I lost my friends, I still don't understandThey had the best selectionThey were poisoned with protectionThere was nothing that they neededNothing left to findThey were lost in rock formationsOr became park bench mutationsOn the sidewalks and in the stationsThey were waiting, waitingSo I got bored and left them thereThey were just dead weight to meBetter down the road without that loadBrings back the time when I was eight or nineI was watchin' my mama's TVIt was that great Grand Canyon rescue episodeWhere the vulture glides, descendingOn an asphalt highway bendingThrough libraries and museums, galaxies and starsDown the windy halls of friendshipTo the rose clipped by the bullwhipThe motel of lost companionsWaits with heated pool and barBut me I'm not stopping thereGot my own row left to hoeJust another line in the field of timeWhen the thrasher comes, I'll be stuck in the sunLike the dinosaurs in shrinesBut I'll know the time has comeTo give what's mine

A live recording from The Big Romance about a 2008 Sub Pop-released classic album of the 2000s. Listen on Apple | Android | Patreon | Pocketcasts | CastBox | Stitcher | Spotify | RSS Feed | Podlink Step into a world of misty melodies and cavernous echoes with Seattle band Fleet Foxes' landmark debut – a defining record of the late-2000s indie folk revival. Led by Robin Pecknold, the album blends the lush, pastoral harmonies of the 1960s with a haunting baroque-pop sensibility and lyrical themes rooted in nature, tradition, and introspection. Like the Bruegel painting on its cover, every track reveals a dense, beautiful world that evokes a timeless – almost mythic Americana sound. This podcast episode is a live recording from our listening party in The Big Romance in April, with guest journalist and Fleet Foxes fan Aoife Barry. Our next Listening Party is Smashing Pumpkins later this month and it's sold out. Listen Closely: Fleet Foxes – Fleet Foxes (2008) A Nialler9 listening party, hosted by Niall Byrne with guest Aoife Barry. Before the album Niall: Hello everyone, how are you? Welcome to the Listen Closely album listening party. I'm Niall, and this is Aoife Barry. Aoife: Hello. Niall: We're here tonight because Aoife picked this album, as she has before. You picked Jeff Buckley last year. Aoife: Yeah, and we ended up doing three of them. Niall: We did, we went to Cork. We did two here and then we went to Cork to talk about Jeff Buckley. And you were at the My Bloody Valentine listening party last year as well, back in October. Aoife: It must have been October, yeah. Niall: Well, obviously we're here for a very different album tonight: Fleet Foxes by Fleet Foxes, from 2008. As you heard there, we played a bit of the Sun Giant EP by the band, which came out a few months before this album, because we want to give the album its full due. They're a little different, and we'll talk about that. But yeah, you picked the record. Aoife: I did. I obviously must like it. And it's such an incredible record. Is there anybody here who hasn't heard it? That's really exciting, if so. I'm excited for you to hear it. You got a sneak peek there of what the vibe is going to be. I picked it because I love this record, but I also had a funny story about how I first heard them. Back in 2008, when this record came out, I'd read about this band called Fleet Foxes in a music magazine. I don't even think I'd heard a song yet, this is back in the day. And I was on holidays in Berlin, and in the tiny little hostel we were staying in, they had a sign up on the wall: "Who's playing tonight? Fleet Foxes, Café Zapata." I said to my boyfriend, "I think that's a band I read about in the magazine, will we go see them?" And he was like, "Grand." So we went, and they were unbelievable. It was so good. Beach House were supporting them. So it was 2008 smacking you in the face. Niall: Come on. Aoife: And I took photos, which I found. I have photos. Artifacts. One is terrible, the other one's not so terrible, taken on one of those little Canon digital cameras. And I still have the ticket, I kept the ticket, I'm one of those hoarders who keeps all their gig tickets. But it was so good: the venue they played in had a dragon that breathed fire out every fifteen minutes. Niall: So they'd be playing and this dragon… Aoife: I'm not even exaggerating. Fire would just shoot out of this mechanical dragon. It was so Berlin. And Fleet Foxes were so stunning, and Beach House were so stunning. I love Crosby, Stills, Nash & Young, I love all those harmony vibes, I wish I was born in the seventies, sadly I was not. So I fell in love with them immediately, and I've been a big fan ever since. Although I'll say I probably dipped a little bit around the Crack-Up era, their third album, but then I saw them when Shore came out, their most recent album, and fell right back in love with them. Niall: We're going to talk about all the albums that come afterwards, but we'll start with this one, because this is presumably your favourite, or one of them. Aoife: Shore is up there as well for me, but yeah. Niall: So what was it about Fleet Foxes at the time? For context: in 2008 there was quite a lot of this kind of music around. We previously did Bon Iver's For Emma, Forever Ago as a listening party, and the funny thing, which I only found out when we did this, is that they have the same origin story in a way. Both songwriters went to a cabin in the woods to pour their heart out and write the songs. Aoife: I think Justin Vernon just got there first in terms of the marketing. Niall: So they must have pulled back on talking about it too much, because it's basically the same thing. They never really talked about Robin Pecknold's writing process in those terms. Aoife: For Emma was such a massive moment, everybody was obsessed with this guy who broke up with a girl and went to a cabin and wrote a record about it. It was the ur indie-folk album. Niall: What was really appealing about Fleet Foxes is that they were so young, between about twenty-two and twenty-seven, and Robin Pecknold was twenty-one when he wrote the record. Which is frankly offensive, you shouldn't be allowed to be so talented at twenty-one. Aoife: I know. And they were clearly these people from Seattle, which we associate with grunge, and then it becomes this place where they're bringing out all the pastoral, outdoorsy, mountain-and-sea vibes of the Washington area. They're obviously really influenced by the seventies too, by Crosby, Stills, Nash & Young, by Laurel Canyon, but also by Appalachian folk. There's a real purity to what they're doing. The harmonies are unbelievable, there's even a bit of a gospel feeling. So these young guys made this album that was being called an iconic American record on release. The Guardian called it a landmark American album, something like that. And that's special, because you don't get that many records immediately being called landmark. Niall: It was a very exciting time for music around then. I actually brought some records. We mentioned Beach House and Teen Dream earlier, that's a bit later, 2010. I wanted to do a listening party for that at some point, that'd be good craic. Around that time you had Animal Collective and Panda Bear, Person Pitch was right there, that was the apex for that very experimental scene. A few years later we had Sufjan, our very first listening party. And Bon Iver, of course. There's also stuff like Neutral Milk Hotel very much of that vibe. Aoife: I've noticed people covering Neutral Milk Hotel more now. Niall: I think when we got to it, it was on its second go-round, and now it's getting a third, which is great. It's a great record. So, the band were from Seattle, they had a bit of the scruffy flannel-shirt look, but obviously didn't sound like that. The album was written in the woods, in the cabin, brought to the band, and recorded with Phil Ek. Aoife: Who did a lot of stuff with Built to Spill. Niall: Yeah, and he worked with The Shins, and Modest Mouse, a really long history. Aoife: Are The Shins from Seattle as well? Niall: I think they might be. Band of Horses is another one. So they recorded it themselves with Phil Ek, paid for it all themselves, and then the local major independent label Sub Pop came calling. Obviously known for a lot of grunge traditionally, but they'd clearly been releasing this kind of music around then too, The Shins had been on the label for a few years, Band of Horses. When it came to it, they signed to Sub Pop. Apparently there was a bidding war. Aoife: They'd become quite popular on MySpace. Anybody remember MySpace? Every time I do one of these I feel older and older, mentioning the top eight, the randomers you'd put in your top eight. Word could spread quite quickly once you got popular on MySpace. Niall: What I thought was really interesting, that I discovered when I was researching, is that recording the album was actually a total pain for them. They didn't have much money, so they ended up recording a lot of it in their houses, or in Robin Pecknold's family home. And he re-did all the vocals right before they mastered the record, because he'd been sick during the initial sessions and his voice wasn't in great shape. They recorded it all in one go, scrapped that, did another version, and kept moving the running order around. I'm always fascinated by albums where the creation was a total pain and they had no idea it would even work out. Robin Pecknold actually said, "I hope nobody cares about this album, because I just want to move on to the next one." And then it becomes this iconic record. Aoife: Isn't every artist sick of their album by the time it's done? You're like, "my paintings." Yeah. Niall: 2008 was an interesting time for it to land. The album draws on the Beach Boys and Brian Wilson, Crosby, Stills, Nash & Young, Nick Drake, Simon & Garfunkel, Fairport Convention, Judee Sill, very much old-timey or sixties folk and pastoral stuff. And in 2008 there's a financial crash. The album was worked on before that, but it was released into that environment, and a lot of this music seemed to catch. When things go bad, we retreat, we dream, we listen to music that's maybe the opposite of what we're feeling. There was a gentleness, an unhurriedness to it that resonated. Aoife: Grizzly Bear is another band from that time. When Jay-Z and Beyoncé went to see Grizzly Bear in Brooklyn, that was kind of where all the indie music peaked. Niall: And the other part of it, which I was involved in, was the MP3 blogs, that's where you'd hear this music. Especially the American and Canadian stuff, no one was promoting it over here yet, so you'd be months ahead. You'd hear Fleet Foxes in these MP3 formats. That was a mad period, it showed how the internet could collapse geography, a song could spread really quickly on the blogs. And in an American context, this came out post-Bush, with the Obama era coming in, a more hopeful tone. You had the Lehman Brothers crash, these global pressures, and then these hopeful times too. It's interesting to wonder whether these albums are a reaction to it, or whether they appeal to us because we want nice, happy things. I feel like Fleet Foxes have so much emotional depth: there's yearning, sadness, hope, nostalgia. Aoife: I loved Yellow House by Grizzly Bear, their first record, a complex, complicated, almost jazzy thing that sounded beautiful but had a lot going on. We weren't going for simplistic music, but we wanted music that gave us depth and beauty. Is art a solution to the world collapsing? Niall: We could be answering that in 2026. We live in a cursed timeline, as I keep saying. That's all I'm going to say. But what else happened in 2008 in the wider circle of music? Portishead returned with Third. TV on the Radio released Dear Science. MGMT released Oracular Spectacular, 'Kids' and all that. Cut Copy released In Ghost Colours, Indie Sleaze night on Saturday, folks, come on. Kanye put out 808s & Heartbreak, that was November that year. Rihanna was at the peak of her powers. Aoife: Katy Perry appeared that year. And 'American Boy'. Niall: 'American Boy', still one of the best pop songs, fire. Iron & Wine was the other one I forgot to mention. So it was a really vibrant, varied year. As you heard, there's the Sun Giant EP too. Aoife: The thing about that is it came out before the album, but was recorded after. The album was done, in the bag. Niall: They decided to go into the studio and record Sun Giant, a collection of songs intended to sell on tour. It ended up being quite popular, and for a lot of people it was their first time discovering Fleet Foxes. Aoife: It wasn't like The Coronas' 'San Diego Song', their summer-holiday anthem, or anything like that. But it came out before the album, and then the album arrives. Niall: So what was the reaction at the time? Was it immediate? Aoife: Things happened really quickly. In January that year they got all the MySpace attention, and by June the album was coming out. Really, really quick. There was so much chatter about them, which is partly why I'd seen the name, and a music blog like yours would have seen it too, and known they were one of the big bands. In a way that's harder now. Niall: These days you see bands like Geese getting a lot of attention because they use companies that help them go viral. You didn't really have that then. Now you'd dress yourself up in some gimmick, polka dots, whatever, and go viral all over the internet for it. I couldn't imagine these lads doing that. Aoife: No. But maybe in a way they were cosplaying living in the forest, on the Puget Sound. Niall: Anyway, when the album came out, people loved them, and it really hit it off. Because they sound so seventies, your parents would love the records and you'd love the records. There's almost a lullaby quality to the folk stuff too. The music is applicable to anybody of any generation, and there's something lovely about nostalgic music that reminds you of a better time. To finish on that point: I think there's something very mysterious about Fleet Foxes, they feel out of time. They're these young, scruffy lads with the beards, but there's a mystery to them. They didn't come across as the hipster end of things, they weren't leaning into anything. They were presented as the kind of band that wouldn't have had phones, would have lived off-grid, which is funny because they were a MySpace band. They're the most un-MySpace band you can imagine. Surprise people, do something a bit different, don't be exactly what people want you to be, and they'll love you for it. And then your songs are unbelievable too, soaring and stunning. Can we talk for a second about the cover? It's an original painting from 1559 by Pieter Bruegel the Elder, Netherlandish Proverbs. It depicts a densely populated Flemish village scene illustrating 126 folk proverbs. There's a lot there. Some on this side are cut off, but for example, this woman here, she's putting the blue cloak on her husband, meaning she deceives him. This guy is casting roses before swine, wasting effort on the unworthy. And right at the top there's a man running through a field with his arse on fire, chasing pigs, "he who eats fire craps sparks," do not be surprised at the outcome if you attempt a dangerous venture. There are 126 of those. Aoife: The interesting thing is that the band managed to get permission to use it. Really unusual to be allowed use it as commercial artwork. Niall: And apparently the museum that holds the artwork were delighted. A lot of stars aligned for them. It's an iconic cover because it's so different from what anybody else was doing, clearly of a particular period, and it has that Where's Wally quality. I have a quote about it. Robin said: "We were trying to figure out what we wanted to do, and my brother had been working some stuff out, when I saw this Bruegel painting in a book my girlfriend had. I liked that it had a really intriguing meaning, there's a story to each little scene, which felt fitting for the record. It was dense but unified, not a collage. It has a Where's Waldo quality, something you could look at for a long time on a vinyl sleeve and keep finding new little things. It was very easy to get the museum in Berlin that has it to say yes, they were super excited the band wanted to use it, and put it in their newsletter. When you open it up, on the inside there's a Paisley pattern traced from the back of a book that Skyler's mum got me. We wanted two very different feelings." So, what to look out for when we press play very shortly? Aoife: When I was going back to this, I had it in my head that every song was one of these big songs, because there are so many big moments. But actually there are two tracks that are pretty much acoustic, so it's interesting to notice how they go from the big sound to the small. And for me they're a real emotion-and-feeling band, so notice how you feel listening to it. I always feel this swell of emotion with Fleet Foxes, I was walking down the road listening to Shore and I was like, my God. So lean back and feel into the emotions they're bringing you. And listen to the lyrics if you can make them out, because they're so out of time, all about pack horses and this amazing imagery. Robin Pecknold said he didn't write about a lot of personal stuff because he didn't have enough life experience yet, so instead he wrote these beautifully poetic narratives about pastoral and rural life. So I'd say the lyrics and the feelings are the two things. Niall: Track two, 'White Winter Hymnal', is probably the biggest one, watch out for that. And a few other people thanked and cited as influences, for some extra context: Brian Wilson, Joanna Newsom, Bob Dylan, Noah Lennox and all the lads from Animal Collective, Levon Helm and Robbie Robertson of The Band, Blitzen Trapper, who they toured with at the time and who were bigger than them then. For some reason Joni Mitchell and Neil Young are listed together, which is fair enough. Marvin Gaye, Damien Jurado, Paul Simon and John Lennon listed together. Townes Van Zandt, a legend. Vashti Bunyan, and Van Morrison. There's a nice quote from Robin Pecknold I'll read afterwards. Let's just open it up and listen. I'll play it at full volume, it's about thirty-nine minutes, two sides. Close your eyes, whatever you want to do, vibe away in your own way. [The album plays: Fleet Foxes – Fleet Foxes, 39 minutes.] After the album Niall: It's quite an economical album, isn't it? It doesn't stick around long, thirty-nine minutes. Aoife: I like an economical album. It's also one of the first fairly short records we've done here. Niall: That's part of why I was thinking about Sun Giant in that context too. I'm going to read a bit from the liner notes, because for an album that's very much about feelings, with only a few direct songs, some of what's written here is interesting: "My first memory has always been of me and my mom on a cold grey day down at some beach in Washington, along the Puget Sound somewhere near Seattle. I would be around two or three years old, and we were with a friend of mine from the neighbourhood and his mom, walking among the driftwood looking for crabs. Even now I can remember the smell and temperature of the air, the feeling of the sand and the swaying tall grass. I can even remember looking over at my friend and how his face looked when he smiled back at me. Another memory I'll sometimes recall as my first is dressing up in the dead of summer as Jack London, with tennis rackets on my feet and wearing my dad's hiking pack, after seeing Disney's terrible version of White Fang. Or the memory of stealing my neighbour's Big Wheel and riding it halfway down the block before getting caught and having to turn around defeated. Or wearing a fireman's outfit while washing my parents' car, or eating an orange popsicle from the ice cream truck. These have always been some of my most distinct and persistent memories of childhood. So it came as a disappointment when, one day as a teenager, I opened up a photo album and found pictures of each and every one of these memories. I didn't have a single memory that didn't belong to, or somehow grow from, those pictures my parents had. I guess I've seen all these photographs at some point, forgotten they were just photographs, and over time made them into my most tangible memories. That's scary to me in a way. This leads me to something weird about the power music has: its transportability. Any time I hear a song or record that meant a lot to me at a certain moment, I'm instantly taken back to that place in full detail. Whenever I hear 'Feel Flows' by the Beach Boys, I'm taken straight to the back of my parents' car on the way to my grandparents' place, with Surf's Up in my Walkman and the Cascade Mountains going by in the window. Any song off Radiohead's Kid A brings back the airport near Seattle, from when we were on the way to Colorado for a wedding and Kid A was the only record I brought or wanted to bring. 'Crayon Angels' by Judee Sill is the whole winter of last year. And Brian Wilson's solo version of 'Surf's Up' takes me back to driving my parents' car around town alone at sixteen, windows down at night. I can't ascribe exact memories to songs by The Microphones, Joni Mitchell, Built to Spill, Dungen, Harry Nilsson and so many others, and it's a form of recall I can actually trust, there's no visual element to complicate things, no chance of a planted memory that wasn't actually supposed to be there. Maybe I should be concerned that I'm alone in almost all of these memories, but I guess I was just a private kid, and music was a private experience for me. Music activates a certain mental freedom in a way nothing else can, and that is so empowering. You can call it escapism if you like, but I see it as connecting to a deeper human feeling than the one found in the day-to-day world." Aoife: That's lovely. It's a nice addendum. And he was only twenty-one. Niall: For some reason it's signed "Warren Gamaliel Bancroft Winnipeg Harding," Warren G. Harding being the 29th president of the United States. I don't know why, he thought it was funny. Dated April 6th, 2008, Chicago, Illinois. So, any particular highlights, anything that stood out? Aoife: I was reminded how much I love 'Blue Ridge Mountains', the second-to-last song. I just love those four- and five-part harmonies so much. There's something that really gets me about beautiful harmonies stacked on each other that sound so natural. My dad was really into Neil Young and all of that era, my mum's really into Simon & Garfunkel, so I feel like I came out of the womb going, this is the music I love. Niall: There was another one I meant to mention. Aoife: I'm really bad at remembering song names, which isn't great for an arts journalist. They go in one ear and out the other. Niall: 'He Doesn't Know Why'. Aoife: That was it. I always forget the name of that one, and it's an absolute banger. It's quite a direct song, the last one on the first side. Niall: He mentions his brother Sean in 'Blue Ridge Mountains', which is interesting. And Oliver James is his younger brother, that's the last song. Aoife: His sister is Aja, after the Steely Dan album. The parents were really into them. Niall: It holds up so well. The harmonies and vocals sound incredible, there are those beautiful little flourishes, a flute on one of the tracks, the guitar is stunning, lovely little bass lines. I love the way Robin Pecknold and the band hear music. There's a really good Song Exploder episode with him talking about a song from Crack-Up, and the way he thinks about translating his thoughts and emotions into music is so illuminating. He has a beautiful melodic flow that's really similar to the flow of water and nature. There are so many nature references, it's almost parody there are so many. Aoife: You could do a Portlandia sketch about it. "Power of nature, man." "Come down from the mountain, you've been gone too long." Niall: In terms of the line-up: alongside Robin Pecknold on vocals there was Skyler Skjelset on lead guitar, his best friend from Nathan Hale High School, later joined by Casey Wescott, Christian Wargo on bass, and Nicholas Peterson on drums, who left after this album. Aoife: And who came in as the drummer? Niall: A man who's been a main character in one of these listening parties himself: Josh Tillman, Father John Misty, played drums with them. Aoife: For how long? Niall: Only a year or two, pretty short. As I said, main character, he was making his own record. Any Father John Misty fans? He writes really good songs and he's handsome, so we all love him, but he's also a bit of a pain, and he didn't get on very well with Robin Pecknold, which isn't surprising. When I was looking back at the Pitchfork interview they did in 2008, a few months after the album came out, it was a big joint interview with Robin and Josh Tillman, and Tillman is answering the questions at the start. That's confidence. Do you want to hear a quote from what Robin Pecknold said? I've written it in my little notebook, so old-school, that's the only way I remember these things. In a 2020 Reddit AMA, Pecknold said that on that tour, the Helplessness Blues tour, Tillman was supposed to bring out his own record, but his label said he could only release it after the tour. So he was on tour thinking, "I want to bring out my own record, I'm tired of Fleet Foxes." Pecknold said he "had to endure being around a lot of substance abuse, sabotaged shows, general ill treatment and shit-talking, all while paying him for songs he didn't have anything to do with. It sucked." And then Tillman left the band. Whereas in that Pitchfork interview he'd said, "I love playing in this band, these are all my friends, I'm having the best time, I'm sorry if that's a corny quote, but that's the best thing about this experience right now." Aoife: So he was lying through his teeth. I think he's the kind of person who really has to be a solo artist, too iconic a personality. You wouldn't want to wrangle him out of bed to get to the next show. Niall: Too big a price. You mentioned Pitchfork, the album was number one on their end-of-year list in 2008, and they listed Sun Giant alongside it, breaking the traditional conventions of end-of-year lists. What they said was: listing Fleet Foxes' debut album and EP together may be awkward, but it just feels right, they're two sides of a coin that equally express the band's mastery, "a catch-all Americana that takes a wide slice of our popular music spectrum and pulls it through a reverse prism to create a gorgeous and focused sound of the band's own. The threads of Brian Wilson's coastal pop, Appalachian folk, modern indie rock, Grateful Dead jams and other influences are masterfully synthesised in the band's harmonies." Robin Pecknold's sense of dynamics, they said, flows like a river, wild and free but logical, filling what needs to be filled and moving on. I swear I didn't rip that off Pitchfork, I came up with something similar on my own. Aoife: Very good. Niall: It was Uncut's album of the year too. But more than anything, and this is a strange accolade, the album was ranked number 36 on Rolling Stone's list of the greatest stoner albums. Aoife: I don't think Robin Pecknold was a stoner. It doesn't really fit. He's a reader. Niall: So what came after? Helplessness Blues, which is really difficult to say, in 2011, then Crack-Up in 2017, then Shore in 2020. Big long gaps, some personnel changes. And Robin Pecknold, as we've established, is a very literary guy, he went to Columbia to do an undergrad in English literature, because he'd left high school early and gone to a community college, and he really wanted that college experience. So that was part of the break. He's also had difficult times, he's spoken about mental health issues and suicidal ideation, many tough experiences that contributed to the gaps too. They haven't released anything since 2020, and he does a lot of cover events. There are two live records. He's actually playing a gig tonight, I think, where he covers Judee Sill. Any Judee Sill fans? Aoife: Oh my gosh, she's amazing. Nobody ever knows Judee Sill. If you listen to anything, listen to Heart Food, it's iconic. He loves her, mentions her on this record. She's the one who does 'The Kiss', people might have seen her perform it on the Old Grey Whistle Test, it's on YouTube. She had a really tragic life. Niall: One of those I've been meaning to listen to properly for years. She only has two records, so it's easy to get into. There's a documentary about her as well, which I haven't seen. Aoife: She's one of those ill-fated seventies musicians, really religious imagery, did a lot of drugs, really interesting. Niall: Did you get to see them again after your first foray in Berlin? Aoife: I saw them when they toured, though it's really bad when you can't remember what you were doing in the 2010s. Niall: Did anybody see them at that Dublin gig, the outdoor one in 2022? Wasn't it amazing. They've played here a fair bit: Vicar Street in 2008, Electric Picnic 2009, The Marquee in Cork 2011, the Iveagh Gardens in 2017. I don't know if I've missed any, maybe you can tell me. So if you were to pick, is there any further listening or reading you'd suggest to somebody, not necessarily Fleet Foxes? Aoife: Some of it is obvious. As I said, I'd definitely check out Judee Sill, because if you really like Fleet Foxes you'd really vibe with her. And he mentions Harry Nilsson, also unbelievable, more well known than Judee Sill, did the cover of 'Everybody's Talkin''. I'd also mention a guy people would have known at one point but isn't very well known now: Richard Swift. He sadly passed away a couple of years ago. He was friends with Robin Pecknold, a hugely talented musician who struggled with addiction. He has an amazing double album from around 2005 or 2006 that's brilliant, and a record called The Hex, which is referenced on 'Sunblind' on Shore, that's the song where Robin name-checks a lot of musicians he loves, like Elliott Smith, David Berman and Richard Swift. It's such a beautiful record for finding new people to listen to, and it's lovely to hear a musician pay tribute to musicians he loves. The imagery is him talking about this beautiful day where he'll go for a swim and listen to all these beautiful bands, an ecstatic kind of song. So check out all of those records, but Richard Swift deserves more fans, and The Hex is really, really good. Niall: Good shout. What we'll do now is play a tune, and then maybe give Sun Giant another go if you want to stick around. Our next listening party is on the 27th of May, and it's an indie-rock album very close to my heart: Broken Social Scene's You Forgot It in People. I've been wanting to do this one on record for a long time. They're playing here later in the year, but I want to give this record its flowers, it's incredible. My niece has just turned seventeen and I bought her a copy, because it's an anthemic record for a seventeen-year-old. I can't believe that band are still going, which is kind of mad, but it's hard to underline what Broken Social Scene meant to a certain segment of indie. Aoife: And there's four hundred of them on stage. They're from Canada, and we were all like, my God, these people are the best. Niall: For me it's the MP3 times again, we'll talk about this next month. I heard about them through the music blogs, and then I got to see them in the Button Factory, which was the Temple Bar Music Centre at the time. It was one of the first things I ever wrote about, back in 2005. A transcendental experience. Aoife: They're so good live. Niall: I once DJ'd in Galway after one of their gigs, and one of the members of the band, I'll leave him nameless, came over and turned off the decks while I was DJing. Aoife: On purpose? Niall: He was that drunk. I can't remember what I was playing, but I was like, great, DJing after Broken Social Scene and then a band member ruins it. I don't think he liked it. No, I think he was just really drunk and thought it was funny. Thumbs down to him. In a way it's surprising a man like that has managed to persist in a band with so many members. Anyway, I digress. We'll talk about it next month, May 27th. Aoife: I cannot wait. I've been listening to it a lot lately again, it's fantastic. Niall: Thank you for being here. Let's play a bit of this and see what happens. Thanks for being here, appreciate it.

This week on Reelin' In The Years... For the Featured Five Theme, we explore the roots of rock 'n' roll... Plus, The ancient empire, missing verse and faulty mixing console behind a Neil Young epic... The Linda Ronstadt hit that began when six encores left her band with nothing else prepared... The road anthem that began as an idea for a Ford commercial... The Guns N' Roses co-founder who traded stadium chaos for a return to basics... New music from Wyatt Flores and Buffalo Traffic Jam... Deep cuts from The Black Crowes, The Call, The Blasters, Rolling Stones, Beth Hart, Flamin' Groovies, and more! For more info on the program, visit reelinwithryan.com

Tim Pope caught the video wave in 1981 and made hundreds of promotional clips, often three or four a week, edited at night and on-air days later. You'll have seen them, singles for the Style Council, The The, Iggy Pop, Hall & Oates and many others. For 15 years he was the man to call – inventive, caffeinated, risk-loving, clubbable – and “nothing was too mad or stupid”. He celebrates that magic age of big budgets and creative freedom in his story-filled memoir ‘I Shoot Rock Stars', just out, and looks back here at … … the video that made his reputation … MTV showing six of his clips in a row … the thrill of Bowie's silhouette as he walked across the Rainbow stage in 1977: “there was so little footage back then, you'd rarely seen people move” … his teenage love of Dusty, ELP, King Crimson and Pink Floyd … shooting seven clips a fortnight and the one time a record label tried to interfere … Neil Young's 2,000-acre Broken Arrow Ranch and the “burning fires of his eyes” … Iggy Pop singing I Wanna Be Your Dog in the John Snow pub in Soho … “German sausages, lumps of lamb, maggots, a whole party”: the Soft Cell clip that caused a walk-out ... “You're a funny little arsehole!”: breaking the ice with Bowie … what he learnt from Mark Hollis of Talk Talk and spending time with his ashes. Order ‘I Shoot Rock Stars' here: https://www.waterstones.com/book/i-shoot-rock-stars/tim-pope/9781035426959Help us to keep The Longest Continuous Conversation In Rock'n'Roll going: https://www.patreon.com/wordinyourear Hosted on Acast. See acast.com/privacy for more information.

Tim Pope caught the video wave in 1981 and made hundreds of promotional clips, often three or four a week, edited at night and on-air days later. You'll have seen them, singles for the Style Council, The The, Iggy Pop, Hall & Oates and many others. For 15 years he was the man to call – inventive, caffeinated, risk-loving, clubbable – and “nothing was too mad or stupid”. He celebrates that magic age of big budgets and creative freedom in his story-filled memoir ‘I Shoot Rock Stars', just out, and looks back here at … … the video that made his reputation … MTV showing six of his clips in a row … the thrill of Bowie's silhouette as he walked across the Rainbow stage in 1977: “there was so little footage back then, you'd rarely seen people move” … his teenage love of Dusty, ELP, King Crimson and Pink Floyd … shooting seven clips a fortnight and the one time a record label tried to interfere … Neil Young's 2,000-acre Broken Arrow Ranch and the “burning fires of his eyes” … Iggy Pop singing I Wanna Be Your Dog in the John Snow pub in Soho … “German sausages, lumps of lamb, maggots, a whole party”: the Soft Cell clip that caused a walk-out ... “You're a funny little arsehole!”: breaking the ice with Bowie … what he learnt from Mark Hollis of Talk Talk and spending time with his ashes. Order ‘I Shoot Rock Stars' here: https://www.waterstones.com/book/i-shoot-rock-stars/tim-pope/9781035426959Help us to keep The Longest Continuous Conversation In Rock'n'Roll going: https://www.patreon.com/wordinyourear Hosted on Acast. See acast.com/privacy for more information.

For Episode 4  of Pink Flamingo Radio, Si and Lawrie chat with MG Boulter,   local legend and troubadour.(with producer Joe keeping us in check!) Mat plays a live exclusive song, Jumble, and talks song writing, the book CD combo Tidelines, touring and more importantly parking while touring!!!   Cornflake – Psychedelic Porn Crumpets (3.37) Look Around – The Nomad (4.51) Fruit Basket – Osaka Monaurail (6.13) No Man Left Behind – Demob Happy (5.31) Avant Gardner – Courtney Barmett (5.12) Sailors – Morton Valance (3.28) Metarie- Brendan Benson (3.27) Dubdope-Hardfloor (5.25) Jumble (live) M.G Boulter (2.25 Sleep - M.G Boulter (3.55) Walk on – Neil Young (2.42) Caribou – Pixies (3.14) Neuroplasticity – The Peep Temple (3.41) Changes – Jimi Hendirx Band Of Gypsies (5.12) Burnin' for You – Blue Őyster Cult (4.31) Stay too long – Plan B (3.43) M G Boulter and  Jenny Sturgeon play the Fisherman Chapel, ticket link below  https://www.songkick.com/concerts/43250788-m-g-boulter-at-fishermens-chapel?utm_source=11593&utm_medium=partner&utm_campaign=event-row-share&utm_content=6784739   the album Wild Convenor comes out on the 21st August, please see the link below to pre-order that https://mgboulter.bandcamp.com/album/wild-convenor-2   For all thing M G Boulter go to https://www.mgboulter.co.uk/ For the book Tidelines go to https://hudsonrecords.co.uk/product/m-g-boulter---tidelines   To keep this bastion of localism and weirdness going please consider joining and donating to the cause through Patreon. Please see the link!! And help keep radio free!!! https://www.patreon.com/sfob   Pink Flamingo Radio presented by Si Gentry & Lawrie Walton and recorded at Ship Full of Bombs Headquarters Produced by Joe Blamey Edited by Si Gentry    

Tim Pope caught the video wave in 1981 and made hundreds of promotional clips, often three or four a week, edited at night and on-air days later. You'll have seen them, singles for the Style Council, The The, Iggy Pop, Hall & Oates and many others. For 15 years he was the man to call – inventive, caffeinated, risk-loving, clubbable – and “nothing was too mad or stupid”. He celebrates that magic age of big budgets and creative freedom in his story-filled memoir ‘I Shoot Rock Stars', just out, and looks back here at … … the video that made his reputation … MTV showing six of his clips in a row … the thrill of Bowie's silhouette as he walked across the Rainbow stage in 1977: “there was so little footage back then, you'd rarely seen people move” … his teenage love of Dusty, ELP, King Crimson and Pink Floyd … shooting seven clips a fortnight and the one time a record label tried to interfere … Neil Young's 2,000-acre Broken Arrow Ranch and the “burning fires of his eyes” … Iggy Pop singing I Wanna Be Your Dog in the John Snow pub in Soho … “German sausages, lumps of lamb, maggots, a whole party”: the Soft Cell clip that caused a walk-out ... “You're a funny little arsehole!”: breaking the ice with Bowie … what he learnt from Mark Hollis of Talk Talk and spending time with his ashes. Order ‘I Shoot Rock Stars' here: https://www.waterstones.com/book/i-shoot-rock-stars/tim-pope/9781035426959Help us to keep The Longest Continuous Conversation In Rock'n'Roll going: https://www.patreon.com/wordinyourear Hosted on Acast. See acast.com/privacy for more information.

We open this week's show by reflecting on the loss of Glen Hansard, an artist who was critical to shaping the sound and spirit of All Songs Considered in its earliest days. We then share some of our favorite new tracks of the week, including a King Princess cover of Neil Young's “Helpless,” cheeky pop from Coco & Clair Clair, a stunning ambient track from Adam Wiltzie and the late composer Jóhann Jóhannsson, and more.NPR Music's Dora Levite joins host Robin Hilton.Support the show with a review on Apple or Spotify wherever you listen to podcasts. Questions, comments, suggestions or feedback of any kind always welcome: allsongs@npr.orgFeatured artists and songs:(00:00) Intro and remembering Glen Hansard(03:24) Coco & Clair Clair: “Coldplay”(08:34) Claudia Isaki: “Origami”(15:30) Slayyyter: “brand new chanel$”(23:17) King Princess: “Helpless”(31:01) Dawuna: “I am a Woman too...”(36:50) Adam Wiltzie & Jóhann Jóhannsson: “White Gloves & Turtlenecks”Support public media with NPR+ and enjoy perks for over 25 podcasts like this one. This show's perks include bonus episodes and sponsor-free listening. Learn more at plus.npr.org.See pcm.adswizz.com for information about our collection and use of personal data for sponsorship and to manage your podcast sponsorship preferences.NPR Privacy Policy

Le Hibou is a place of near mythical status in the Ottawa music community. A tiny coffee house on Sussex Drive where the likes of Neil Young, Gordon Lightfoot, Joni Mitchell and Leonard Cohen played. In this encore episode, Robyn Bresnahan hears memories from those who were there in its heyday and explores whether Le Hibou could ever rise again.

Neil Young has never followed the rules—and that's exactly what made him a rock legend.In this episode of Booked On Rock, legendary rock journalist and author Sylvie Simmons joins me to discuss the updated and revised edition of her acclaimed biography, Neil Young: Reflections in Broken Glass. We trace Neil's remarkable journey from driving a hearse from Canada to Los Angeles to becoming one of the most influential artists in rock history.We explore Buffalo Springfield, Crazy Horse, Harvest, the emotionally devastating Doom Trilogy, Rust Never Sleeps, Trans, Harvest Moon, his influence on Pearl Jam and the grunge movement, and the stories behind his most daring creative decisions. Sylvie also shares what she learned from interviewing Neil over four decades, including the brand-new Neil Young: Unfiltered interviews featured in this expanded edition.If you're a lifelong Neil Young fan—or you're just discovering one of rock's most uncompromising artists—this is a conversation you won't want to miss. Purchase a copy of Neil Young: Reflections in Broken Glass (Updated and Revised)Visit Sylvie Simmons' website----------

For the full, ad-free, 39-minute podcast, either subscribe to Discograffiti's Patreon at the Private Tier or higher, or just grab the episode as a one-off at the same link: https://www.patreon.com/discograffiti Purchase the full Graham Nash series at a discount: https://www.patreon.com/collection/1635660 Discograffiti is the deep-dive podcast for music obsessives.  In this episode, Graham Nash goes track for track on his second solo classic, Wild Tales, made during a Crosby, Stills, Nash, & Young hiatus several months before their legendary 1974 stadium tour. Discograffiti's Wild Tales: The Graham Nash Interview Series tackles every last release Graham ever had a hand in creating, including CSN/Y, C&N, and his solo career, detailing a history almost too wild to be believed.  Here are just a few of the many things that Graham discusses with Discograffiti in this podcast: The completely nuts true story behind the title track; The overt Neil Young influence that's all over this record; What happened to Graham's father when he was a child, and how it changed his life; What Graham did for his Mom when he experienced his first flush of success; The only song on the record that features CSNY; The emotionally intense conversation with Barbra Streisand that inspired Graham's classic “Another Sleep Song”; And an in-depth deep dive on every song off Graham's classic sophomore solo LP, Wild Tales. CONNECT Join our Soldiers of Sound Facebook Group: https://www.facebook.com/groups/1839109176272153 Patreon:  https://www.patreon.com/discograffiti Podfollow: ⁠⁠https://podfollow.com/1592182331⁠⁠ YouTube Channel: https://www.youtube.com/channel/UClyaQCdvDelj5EiKj6IRLhw Instagram: https://www.instagram.com/discograffitipod/ Facebook: https://www.facebook.com/Discograffiti/ Twitter: https://twitter.com/Discograffiti Order the Digital version of the METAL MACHINE MUZAK 2xLP (feat. Lou Barlow, Cory Hanson, Mark Robinson, & W. Cullen Hart): https://www.patreon.com/discograffiti/shop/197404 Order the $11 Digital version of the MMM 2xLP on Bandcamp: https://discograffiti.bandcamp.com/album/metal-machine-muzak Order the METAL MACHINE MUZAK Double Vinyl + Digital package: https://www.patreon.com/discograffiti/shop/169954 Merch Shop: https://discograffitipod.myspreadshop.com/all Venmo Dave A Tip: @David-Gebroe Web site: http://discograffiti.com/   CONTACT DAVE Email: dave@discograffiti.com Facebook: https://www.facebook.com/hooligandave Instagram:  https://www.instagram.com/davidgebroe/ Twitter: https://twitter.com/DaveGebroe There is no other Patreon in existence where you get more for your money. 4 shows a week is what it takes these days to successfully blot out our unacceptable reality…so do yourself a favor and give it a shot for at least one month to see what I'm talking about.   If you're already a member, please comment below about your experience.   https://www.patreon.com/discograffiti

The Deadcast points to the Saratoga Performing Arts Center in New York, set inside the lush green of a state park & home to some of the wildest Grateful Dead shows of the mid-1980s, with a look at the 1985 parking lot scene.Guests: David Lemieux, David Leopold, Johnny Dwork, DNA, Ken Schneider, Andy Perrine, David Moran, Corry Arnold, Nicholas Meriwether, Annabelle Walsh, Donick CarrySee Privacy Policy at https://art19.com/privacy and California Privacy Notice at https://art19.com/privacy#do-not-sell-my-info.

With his new album, Belladonna Nocturne, out now, legendary producer Daniel Lanois looks back at his entire career. He reflects on his work with Bob Dylan, U2, Neil Young, Peter Gabriel, D'Angelo, and more in an in-depth interview with host Brian Hiatt. Learn more about your ad choices. Visit podcastchoices.com/adchoices

The Joe Rogan Experience is the most listened-to podcast in the world. This episode traces how Joe Rogan — a standup comedian and UFC commentator — built JRE from a loose 2009 experiment with his comedy friends into a media property worth hundreds of millions of dollars to Spotify. Topics covered include the early years and first guests, the comedy world's role in building the show's audience, how a Rogan appearance became the most valuable career move in standup comedy, the first Spotify deal, the Neil Young controversy, why Spotify renewed at a higher number despite the backlash, the Bernie Sanders and Donald Trump appearances, why Kamala Harris didn't appear in 2024, and what JRE's role in the presidential election says about where media influence actually lives right now. Also covers why the show's roots in standup comedy shaped everything about how it sounds and why nobody in traditional media saw it coming until it was too late.Become a supporter of this podcast: https://www.spreaker.com/podcast/daily-comedy-news-with-johnny-mac--4522158/support.Daily Comedy News is hosted by Johnny Mac and releases every weekday. Subscribe on Spotify, Apple Podcasts, or your favorite app. Part of the Caloroga Shark Media network. For transcripts and show notes visit www.dailycomedynews.comDaily Comedy News with Johnny Mac is a daily podcast covering comedians, stand-up comedy, late night television, and the comedy industry. New episodes every morning. Follow on Apple Podcasts, Spotify, or wherever you listen.  Contact John at John@thesharkdeck dot com For Uninterrupted Listening, use the Apple Podcast App and click the banner that says Uninterrupted Listening.  $4.99/month John's Substack about media is free. 

Dale Morningstar from the Dinner is Ruined is here to discuss the band's first new album in 21 years, Like A Tree,Heroic, the first time I saw Dinner is Ruined in 1996 opening an intimate Toronto show for Beck, leaving Toronto for Hamilton, encountering inspiring trees and people, the story behind the making of Gord Downie's Coke Machine Glow, startling Dave Clark/Don Kerr connections, writing songs about Downie and Dale's Bobby Orr interactions, recording Downie's son Lou's band, the story of the final, yet-to-be-released but fully completely finished album by Gord Downie and the Dinner is Ruined, why exactly it hasn't been released yet, horse words and Jim Morrison and the Doors, trying to reach and work with Neil Young, a Dinner is Ruined archival project, upcoming shows, other future plans, and much more.EVERY OTHER COMPLETE KREATIVE KONTROL EPISODE IS ONLY ACCESSIBLE TO PATREON SUPPORTERS STARTING AT $6/MONTH. Enjoy this excerpt and please subscribe now via this link to hear this full episode. Thanks!Thanks to the Bookshelf, Planet Bean Coffee, and Grandad's Donuts.Support Y.E.S.S., Pride Centre of Edmonton, and Letters Charity. Follow vish online.Related episodes/links:Win You've Changed Records by Fiver and G̱amksimoon in July 2026!Ep. #1086: The Sadies & Billy RayEp. #1083: RheostaticsEp. #962: Tom Beaujour & Richard Bienstock on ‘Lollapalooza'Ep. #651: Julie DoironEp. #443: Great Lake SwimmersEp. #294: Don Kerr of CommunismStill Processing: The 2016 ‘Man Machine Poem' TourEp. #272: Gord Downie [Archival; May 2010]Support this show http://supporter.acast.com/kreative-kontrol. Hosted on Acast. See acast.com/privacy for more information.

Set the controls for the heart of 1985 and the Dead's 20th anniversary shows at the Greek Theatre in Berkeley, with a look at the band's very busy year, plus Dead Head adventures aplenty.Guests: Dennis McNally, Len Dell'Amico, Rosie McGee, John Leopold, Dave Leopold, Johnny Dwork, David Lemieux, Nicholas Meriwether, Dave PerlisSee Privacy Policy at https://art19.com/privacy and California Privacy Notice at https://art19.com/privacy#do-not-sell-my-info.

On this week's show, the RCAD crew talks about Neil Young and getting old and hairless. Nick tells Jack to watch Old Henry and also discusses Song Sung Blue. Jack saw Young Washington and Chris saw Minions & Monsters. Indiana Jones: trilogy only or should you continue? Sean Connery and Mel Gibson: actors with one role. Joe Pesci, come back! They end with Lego talk and a Meme Game.Become a Patron at JayandJack.comWrite us an email at RCADCast@gmail.comFollow us on Instagram at RCADCastAnd leave us an iTunes review

On this week’s show, the RCAD crew talks about Neil Young and getting old and hairless. Nick tells Jack to watch Old Henry and also discusses Song Sung Blue. Jack saw Young Washington and Chris saw Minions & Monsters. Indiana Jones: trilogy only or should you continue? Sean Connery and Mel Gibson: actors with one […]

We explore the very high times of the Grateful Dead's 1966, touring Rancho Olompali with Rosie McGee, swan-diving into Owsley's magical banana box of mystery reels, and celebrating the feral young Dead heard on the new July 3rd, 1966 Fillmore Auditorium release.Guests: Rosie McGee, Ron Rakow, Bob Matthews, David Freiberg, David Lemieux, HawkSee Privacy Policy at https://art19.com/privacy and California Privacy Notice at https://art19.com/privacy#do-not-sell-my-info.

The Deadcast explores Steal Your Face's iconic artwork & visits the Grateful Dead's June 1976 return to the road, including a tour of the Dead Head culture that bloomed in their absence.Guests: Richard Loren, John Scher, Ron Rakow, Eugene Dolgoff, Pat Lee, Johnny Dwork, Dave Davis, Rob Bleetstein, John Brackett, Starfinder Stanley, David LemieuxSee Privacy Policy at https://art19.com/privacy and California Privacy Notice at https://art19.com/privacy#do-not-sell-my-info.

The Deadcast tells the dramatic story of when the Hells Angels put ex-Grateful Dead Records president Ron Rakow on trial for walking away from the Dead with $225,000 he believed the band owed him.Guests: Ron Rakow, Steve Brown, Terry Haggerty, John Scher, David Lemeiux See Privacy Policy at https://art19.com/privacy and California Privacy Notice at https://art19.com/privacy#do-not-sell-my-info.