Podcast appearances and mentions of Paul Simon

Nolan Wells friends to sue Al Sharpton for defamation, Eli Zaret in studio as the Detroit Tigers falter, Jason Arday & his plagiarism, Thomas Markle breaks his silence, Island Boy boxing match, and Miley Cyrus is a bully. Kacey Musgraves decided to perform on a giant sparkling testicle sack. Eli Zaret joins the show today to declare the Detroit Tigers finished for the second time this season, Riley Greene's future, Jason Benetti's 16th job, the Detroit Lions victorious in preseason Game 2, more early injuries, Deshaun Watson back with the Cleveland Browns, never-ending WNBA drama, Cathy Engelbert on the hot seat, Michigan's new in-stadium ads, Utah accuses Freddie Whittingham of tampering, the travels of Jake Rogers and much more. RIP John C. Dvorak again. It turns out Brian Hickerson gets high now and then. Mia Terrazas is spilling details of being Hayden Panettiere neighbor. Real House wife, Diana Jenkins, was not very helpful in Hayden's life. Some people are saying Room 23 is a menu for the famous. Lindsay Clancy murdered her children and TikTok is investigating. Her lawyer is so hot right now. Karen Solomon is a fugitive after murdering her husband in Massachusetts. Was Paula Abdul ever in a plane crash or what? University of Cambridge Professor, Jason Arday, lied a lot and committed suicide when he got busted. White Supremacy is to blame. He also hated Paul Simon. Now, pay his family money for the racism. Stephen A. Smith is not admired by The National Association of Black Journalists. Al Sharpton is facing a defamation lawsuit from Nolan Wells' friends. Nancy Grace is backtracking by pulling her videos. Don Lemon was really rooting for Meghan Markle. Netflix has more content in waiting. The very hint of Markle acting again is so poorly received that the offer has been withdrawn. If you see their kids in public, please post their faces on the internet. Thomas Markle has broken his silence and confirms that Meghan Markle is a terrible daughter. Reminder that she won the Best Podcast Award. Wendy Williams looks "great" these days. One of the Island Boys lost a boxing match to a very little opponent. Miley Cyrus bullied Jordan Pruitt at Disney. Honey Boo Boo's sister Pumpkin is gross and drops her OnlyFans income. Crystal Hefner was brainwashed by Hugh. She totally nailed a 91-year-old. Asylum seekers need to be taught what rape is in the UK. Reminder that you CAN mutilate little girl's genitals right here in Michigan. Merch is available if you want to rep the show. Word of mouth, brah. If you'd like to help support the show… consider subscribing to our YouTube Channel, Facebook, Instagram and Twitter (Drew Lane, Marc Fellhauer, Trudi Daniels, Jim Bentley, BranDon, and Roberto).

To celebrate the 40 year anniversary of Paul Simon's beloved 1986 album Graceland, Chris DeMakes is joined by producer and co-host Chris Fafalios to explore every aspect of the record's most well-known track, “You Can Call Me Al.” In what has to be the most joyous song ever written about a midlife crisis, Paul enlisted the help of a wide array of South African musicians to create one of the most unique pop gems of the 80s. In this episode, Chris and Chris dive into every lyric and musical choice, including one of the most memorable two bars of bass in music history.  Chris DeMakes A Podcast is brought to you by DistroKid, the ultimate partner for taking your music to the next level. Get 30% off your first YEAR with DistroKid by signing up at ⁠http://distrokid.com/vip/demakes For bonus episode of The After Party podcast, an extensive back catalog of past After Party episodes, early ad-free releases of new episodes of Chris DeMakes A Podcast, full video versions of episodes, and MUCH more, head to the Patreon at ⁠http://www.ChrisDeMakes.com Follow Chris DeMakes A Podcast on Instagram: ⁠https://www.instagram.com/chrisdemakesapodcast/⁠ Join the Chris DeMakes A Podcast community on Facebook: ⁠https://www.facebook.com/groups/2643961642526928/⁠ Learn more about your ad choices. Visit megaphone.fm/adchoices

Newport Folk Festival is famous for the unexpected. You never quite know who might walk onstage.This year, Dave Matthews made his first-ever Newport appearance, joining a long tradition of unforgettable surprises that has included James Taylor, Paul Simon, Joni Mitchell, Dolly Parton and more.In this episode of Americana Curious, Ben Fanning and Zach Schultz pull back the curtain on what really happens at Newport Folk Festival—the surprise guests, spontaneous collaborations, intimate aftershows, and the community of music lovers that makes Newport unlike any other festival.You'll hear what it was like when Dave Matthews suddenly appeared, why some of the world's biggest artists treat Newport differently, and why the festival sells out before a single artist is announced.Plus, Ben and Zach share some of their favorite Newport moments and explain why the real magic may not be the artists onstage at all—it's the people who come back year after year.Follow Americana Curious for more stories behind the artists, songs, and moments that make Americana music special.

Forty years ago, Paul Simon released one of the most unlikely blockbuster albums of the 1980s. Graceland arrived on Aug. 25, 1986, blending Simon's unmistakable songwriting with South African rhythms, zydeco, gospel harmonies and a completely new way of building songs. The result was an album that sounded unlike almost anything else on the radio — and somehow became one of the defining records of the decade. In this episode of Stuck in the '80s, we go track by track through Graceland, from “The Boy in the Bubble” and “Diamonds on the Soles of Her Shoes” to “You Can Call Me Al” and the title track. We also look at the album's controversial origins during apartheid, the musicians who helped shape its sound, its Grammy-winning success and why it still feels so timeless 40 years later. Plus, we ask the bigger question: Where does Paul Simon rank among the greatest songwriters of our lifetime? And don't forget: Stuck in the '80s is sailing again with The '80s Cruise. Join us at sea with some of the biggest stars of the decade, live music, trivia and plenty of '80s insanity. Use promo code STUCK when booking to receive $250 in onboard cabin credit. Hosted by Simplecast, an AdsWizz company. See pcm.adswizz.com for information about our collection and use of personal data for advertising.

At the start of Russia's war on Ukraine, Moscow's naval blockade threatened the food supply for an estimated 70 million people. A deal was ultimately reached that kept agricultural shipments moving through the Black Sea. But now that deal has broken down, and even commercial ships are increasingly under attack. Martin Griffiths, the former UN Under-Secretary-General for Humanitarian Affairs and Emergency Relief Coordinator, led the task force that helped broker the last grain deal. He joins the show to discuss.  Also on today's show: Singer/songwriter Paul Simon (from the archive); Atlantic staff writer Michael Powell    Learn more about your ad choices. Visit podcastchoices.com/adchoices

Forty years ago this month, Paul Simon released Graceland, an album that became one of the defining records of his career, and one of the most celebrated and debated albums of its era. The record would go on to sell millions of copies and win the Grammy for Album of the Year. It would also generate enormous controversy over Simon's decision to record in apartheid South Africa during a cultural boycott. Music historian Ashley Kahn tells the whole complicated story in his new book, Days of Miracle and Wonder: Paul Simon and the Trials and Triumphs of Graceland. Here Ashley talks about his career, the making of Graceland, Paul Simon's unusual creative process, and the complicated cultural and political questions that have followed the album for forty years. www.third-story.com https://www.wbgo.org/podcast/art-of-the-story/2026-08-19/ashley-kahn-on-the-miracles-and-wonder-of-paul-simons-graceland https://leosidran.substack.com/  

In the mid-1980s, Paul Simon was looking for a way forward. What he found, beginning with a cassette of South African Township Jive, would become ‘Graceland,' an enormously successful album, a political landmark, and the center of a fierce argument about art, politics, and apartheid. In his new book, ‘Days of Miracle and Wonder: Paul Simon and the Trials and Triumphs of Graceland.'

The Take is now on Patreon: www.patreon.com/kermodeandmayo Become a Vanguardista or an Ultra Vanguardista to get video episodes of Take Two every week, plus member-only chat rooms, polls and submissions to influence the show, behind-the-scenes photos and videos, the monthly Redactor's Roundup newsletter, and access to a new fortnightly LIVE show - a raucous, unfiltered lunchtime special with the Good Doctors, new features, and live chat so you can heckle, vote, and have your questions read out in real time. Our special guest this week is Johnny Flynn, who stars in & Sons—A dysfunctional family drama with a twist. His character Richard is one of three long suffering sons to Billy Nighy's A.N. Dyer, a mega-successful novelist turned alcoholic recluse and personal disaster zone. Johnny chats to Simon about the movie, its unusual filmmaking process, and working alongside Nighy, Imelda Staunton, George McKay and Noah Jupe as part of its all-star ensemble cast. Plus we hear a little about his upcoming performances as Paul Simon in South-African-set drama The Road Home, as a beleaguered sheriff in western A Prayer For The Dying, as Dostoevsky in The Idiots, and as Lucuis Malfoy (i.e. Jason Isaacs) in Harry Potter. I do wish someone would give this lad a bit of work, he must be desperate for something to get his teeth into… Mark reviews & Sons, as well as two more of the week's most exciting titles. First up, Coyote vs Acme, a live action animation hybrid that sees Looney Tunes' murderous canine Wile E. Coyote return to the screen in a meta legal drama with the suppliers of his ever-malfunctioning gadgets. Plus, Teenage Sex and Death at Camp Miasma (one film not two), a meta-slasher starring Gillian Anderson in which a film director becomes obsessed with casting her ‘final girl' in a classic horror sequel. The most Mark film evz? We'll find out. All that plus the Laughter Lift, the return of Simon after Sanjeev's super subbing last week, and of course your witty, erudite and delightful correspondence. Keep the postbag full please gang! You can find out more about Medi Cinema and donate here: https://www.medicinema.org.uk You can contact the show by emailing correspondence@kermodeandmayo.com or you can find us on social media, @KermodeandMayo. A Sony Music Entertainment production. Find more great podcasts from Sony Music Entertainment at sonymusic.com/podcasts and follow us @sonypodcasts To advertise on this show contact: podcastadsales@sonymusic.com EXCLUSIVE NordVPN Deal ➼ https://nordvpn.com/take Try it risk-free now with a 30-day money-back guarantee! Our Christmas Movie Spectacular is back! It's in Bristol this year on Sunday 6th December. Don't miss it! Here's the link for tickets: https://www.fane.co.uk/kermode-and-mayo Timecodes: 00:06:25 Coyote vs Acme Review 00:14:25 Box Office Top Ten 00:26:58 Johnny Flynn interview 00:42:43 & Sons review 00:59:09 Teenage Sex and Death at Camp Miasma review Learn more about your ad choices. Visit podcastchoices.com/adchoices

Forty years ago, Paul Simon released "Graceland," an album that became a massive hit, reshaped his career, introduced millions of listeners to South African music, and sparked a fierce debate over whether he had crossed a political and cultural line to make it. Ashley Kahn was there for part of that story, working on the Graceland tour and later serving as tour manager for Ladysmith Black Mambazo. His new book, "Days of Miracle and Wonder: Paul Simon and the Trials and Triumphs of Graceland," is about the making, controversy, and legacy of one of the most remarkable albums of the last half-century. Ashley Kahn, music historian & professor at NYU's Clive Davis Institute of Recorded Music, joins Ian Hoch to chat about it.

On today's show, Ian Hoch makes the case that younger Democrats should be bold enough to yank away the levers of power without also pushing stupid ideas that will keep Americans far far away from them Then, Ian has on Jed Lipinski, the host of the "Gone South" Audacy original podcast, to talk about the myths, power, and complicated history that still shape the South today, Ashley Kahn, Music historian & professor at NYU's Clive Davis Institute of Recorded Music, to look back at the making, controversy, and remarkable legacy of Paul Simon's Graceland.

Ashley Kahn was sitting on a terrace in Italy as we talked about his love letter to Paul Simon and the album Graceland, Days of Miracle and Wonder. I couldn't help getting distracted by the fabulous view (an inner sigh as I sat inside at my desk on a beautiful day) but then I realized that his view — his perspective — was something I could internalize and share. Ashley's deep dive into the history of the hit album Graceland — one of my favorites! — made me rethink music history. Our talk was as interesting to me as the beats of the songs and lingered long after the mic turned off, just like Paul Simon's music. ** Want more? Become a part of my community! Sign up for Zibby's Highlights, which includes a free weekly newsletter, event livestreams, most anticipated book lists, personal essays, and a new essay platform with stories from all of you about what chapters you're in (inspired by my upcoming book Between Chapters: How I Started Over, Took Some Chances, and Found the Plot, 9/22/26). And follow me on Instagram @zibbyowens. But really, keep listening here. If you love my show, please tell a friend! Hosted on Acast. See acast.com/privacy for more information.

#1,121 - Ashley Kahn Ashley Kahn, author of Days of Miracle and Wonder: Paul Simon and the Trial and Triumph of Graceland joins The Paul Leslie Hour for a fast-paced interview about his new book! Graceland was released August 25, 1986 and would become Paul Simon's most successful and bestselling album with more than 16 million copies sold. It remains influential, often cited and let's not forget... continuously played and enjoyed. Ashley Kahn has had a unique vantage point when the album was being made and has examined the material. Kahn has interviewed many people who played a role in creating Graceland. August 2026 marks the 40th anniversary of that landmark and culturally relevant album. And available now is Ashley Kahn's riveting new book: Days of Miracle and Wonder: Paul Simon and the Trial and Triumph of Graceland. This episode of The Paul Leslie Hour may result in your listening to Paul Simon's Graceland another time. You may hear something you never noticed... or a lyric may strike you just a tad differently. And, you'll certainly want to read Kahn's exciting new book. It's all here, right on The Paul Leslie Hour. The Paul Leslie Hour is a talk show dedicated to “Helping People Tell Their Stories.” Some of the most iconic people of all time drop in to chat. Frequent topics include Arts, Entertainment and Culture.

An earthquake in western Colombia has killed more than 100 people and caused significant damage. The seven point four magnitude quake's epicentre was in the Choco region between Medellin and Cali - where dozens of buildings have collapsed. We talk to the mayor of Cali, Alejandro Eder.Also in the programme: Police in eastern India have used tear gas and water cannon to disperse thousands of young people protesting against alleged corruption in civil service examinations. And 40 years on from its release, we've been hearing about the singer-songwriter, Paul Simon's controversial album, Graceland, from Ashley Kahn, the former member of the Graceland-tour production team.(Photo: People search through the rubble of a collapsed building following an earthquake in Cali, Colombia, 10 August 2026. Credit Ernesto Guzman JR/EPA/Shutterstock )

August 7, 2026 Today we look at the top songs debuting on the Billboard chart this week back in 1986, 1996, 2006, & 2016. Dustin, Jason, & Tyler welcome Rob back to the table. We discuss 11 songs from this week in music history, with 7 Top 40s, 2 Top 10s, & 1 #1. We have songs from Breaking Benjain, Dae Dae, Paul Simon, Republica, and more. Want to be cool like us and watch the music videos for all the songs? Then here's a convenient playlist that has them all in order of discussion.

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.

As we look back at some of our favorite episodes from the Sound Up! archive during the month of August, we honor the recent passing of beloved singer-songwriter Glen Hansard with a replay of a show from June 2025, when Oscar-winning duo The Swell Season - Hansard and Marketa Irglova—joined Mark and Alan to discuss "Forward," their first album together in 16 years. This episode also featured Alan's review of Paul Simon at the Beacon Theatre and a listener recap of the Kendrick Lamar/SZA tour.  We want to make you part of the conversation. Leave us your comments via text or audio message at connect@sounduppod.com https://www.instagram.com/sounduppod/https://twitter.com/sounduppod Hosted by Simplecast, an AdsWizz company. See pcm.adswizz.com for information about our collection and use of personal data for advertising.

She's 82 but is firing on all cylinders, still crazy after all these years, as Paul Simon sang, well, still crazy enough to believe the world can be changed for the better, that it's her duty to try to make that happen and crazy enough in her youth to try to levitate the Pentagon.   Born into a communist family in Brooklyn, NANCY KURSHAN was involved in Civil Rights and anti-Vietnam War protests while at high school, became, along with Jerry Rubin and Abbie Hoffman, one of the founders of The Yippies, the theatrical protest group whose activities included trying to run a pig for president and all sorts of other countercultural shenanigans.   She travelled to North Vietnam with a women-only group during the war, became involved with The Weather Underground, then in prison reform, worked in social work and youth education for years and hasn't stopped continuing to push against the status quo ever since.   For Nancy's books Levitating the Pentagon and Out of Control  Goodbye to All That - Robin Morgan's polemic on the treatment of women in the counterculture     --- Comrade!   We have chosen not to carry ads here; it simply wouldn't sit right with the spirit of the Bureau. But that does mean we can benefit from your support, in whatever form that takes   If you can contribute to this crazy endeavour, join our Patreon HERE Stephen       #Counterculture #protest #civilrights #peteseeger #HUAC #communistpartyofamerica #anti-vietnamwarprotest #vietnamwar #theweatherunderground #abbiehoffman #jerryrubin #chicago8 #activsim    

This episode of The Other Side of the Bell, featuring trumpet performer, ensemble leader and recording artist CJ Camerieri, is brought to you by Bob Reeves Brass. This episode also appears as a video episode on our YouTube channel, you can find it here: "CJ Camerieri Trumpet Interview" And, find the expanded show notes, transcript and more photos here --- "If you want to have a career in this, you have to know why you're the right person to call, and why you have a skill set that's exactly right for this particular thing. It's hard to make a living at it if they can just hire a different person and pay 'em less." - CJ Camerieri Julliard grad, Grammy winner, collaborator with Bon Iver, Paul Simon, Rufus Wainwright, Sufjan Stevens, Ben Folds, Bruce Hornsby and so many more, CJ Camerieri is the personification of passion: starting piano lessons at 4 years old and never looking back. But it's one thing to be music-obsessed from childhood, it's another to forge a successful, sustainable career in a cutthroat industry. Our conversation today is a fascinating and introspective look into the the business side of music: the back end, the royalties, the songwriting credits, the mindset and the versatility required to succeed and thrive. For CJ, this has meant being adaptable, embracing different styles of music, being open to change and doing things that others may be less interested in. But also, always, doing it for joy, not just a paycheque. You'll rarely meet someone more passionate about trying new things and taking on new challenges. Hence the formation in 2008 of yMusic, "A chamber ensemble with a unique mission: to work on both sides of the classical/popular music divide, without sacrificing rigor, virtuosity, charisma or style." The threads of yMusic are woven throughout our conversation today. Transitioning to a new music scene can reignite your passion, while touring teaches practical lessons about maintaining your craft. CJ will inspire you with his insight and innovation! About CJ Camerieri: Since graduating from The Juilliard School in 2004 with a degree in Classical Trumpet Performance, CJ Camerieri has become an esteemed artist, songwriter, producer, and an indispensable collaborator for some of the most important artists of our time. Camerieri is a two-time Grammy award winner (Best New Artist, 2011 and Best Alternative Album, 2011) and a co-founder of the acclaimed contemporary classical sextet yMusic (who the New Yorker has called "six contemporary classical polymaths who playfully overstep the boundaries of musical genres"). Camerieri has toured the world as a core member of Paul Simon's band since 2013 and with artists such as Bon Iver, Sufjan Stevens, Ben Folds, Plastic Ono Band, and Sting, among many others. He has contributed to over 300 recordings and has commissioned over 100 new works of chamber music featuring the trumpet, including pieces by Andrew Norman, Gabriella Smith, Nico Muhly, Marcos Balter, Ryan Lott, and Missy Mazzoli. In 2021 Camerieri debuted his solo project CARM, which was highlighted by performances on The Colbert Show and Tiny Desk Concert. For Paul Simon's "Farewell Tour" in 2018, Camerieri brought yMusic into Simon's touring band. This resulted in contemporary classical arrangements of the artist's iconic songs being performed in arenas around the world, as well as in featured performances on Saturday Night Live and The Colbert Show. His trio project, Heavy MakeUp, featuring himself, Edie Brickell, and Trever Hagen just released their second full length record on Sony Records. Camerieri is also an accomplished French Horn player, keyboardist, arranger, composer, and improviser—comfortable in all styles and genres of music. In addition, Camerieri has held numerous chairs on Broadway; played principal trumpet with orchestras such as Orpheus, The Knights, and Orchestra of St. Lukes; and has written arrangements for many types of ensembles on countless recordings and performances.   Episode Links: yMusic: https://www.ymusicensemble.com Linktree: linktr.ee/CJ_Camerieri Instagram: @carm_band Bob Reeves Brass Events and Appearances: Bob Reeves Brass pre-owned instruments, find your next treasure! https://trumpetmouthpiece.com/collections/used-instruments   Podcast Credits: "A Room with a View" - composed and performed by Howie Shear Podcast Host - John Snell Cover Photo Credit - Courtesy CJ Camerieri Audio Engineer - Ted Cragg

In this episode, Dave and Chris take a two-for-one deep dive into George Harrison's “Here Comes the Sun” and its lesser-known companion (or sequel?) “Here Comes the Moon.” We explore the songs' origins, lyrics, inspiration, unique musical elements (Moog synthesizer!), Ringo's problems playing the meter changes, and a surprise uncredited co-writer for "Here Comes the Moon." As usual, we mention notable covers — from the Concert for Bangladesh and SNL to versions by Nina Simone, Yusuf/Cat Stevens, Peter Tosh and more — and speculate as to why "Here Comes The Sun" is the most-streamed Beatles song while "Here Comes The Moon" is a hidden gem. Check out the links below to buy the items mentioned in the episode: Abbey Road (anniversary lp)  https://amzn.to/4ykBw9a  Let It Roll (vinyl)  https://amzn.to/4gy0Ge4  George Harrison (vinyl)  https://amzn.to/44WRSHq  our Amazon Storefront  https://a.co/d/02mzfR62    (As an Amazon Associate we earn from qualifying purchases)      Cover Songs mentioned in the episode:    Here Comes the Sun (official video)  https://www.youtube.com/watch?v=KQetemT1sWc  Take 9  https://www.youtube.com/watch?v=oIt8GN2sr4I  Lost guitar solo  https://www.youtube.com/watch?v=mMXDOWRUR7M  Concert for Bangladesh  https://www.youtube.com/watch?v=v5G26sTxMlo&list=RDv5G26sTxMlo&start_radio=1  Paul Simon & George Harrison on SNL November 20,1976  https://www.youtube.com/watch?v=KEgBMTMUanU&list=RDKEgBMTMUanU&start_radio=1  Live in Japan  https://www.youtube.com/watch?v=Q54DO0B2atc&list=RDQ54DO0B2atc&start_radio=1  Richie Havens 1971  https://www.youtube.com/watch?v=P_Kq-2Xs8NY&list=RDP_Kq-2Xs8NY&start_radio=1  Nina Simone 1971  https://www.youtube.com/watch?v=T9gMsdNQSUM&list=RDT9gMsdNQSUM&start_radio=1  Sergio Mendes 1975  https://www.youtube.com/watch?v=dq8qEnTGtWg&list=RDdq8qEnTGtWg&start_radio=1  The Runaways 1980  https://www.youtube.com/watch?v=yubiSnR9Zkk&list=RDyubiSnR9Zkk&start_radio=1  Womack & Womack 1985  https://www.youtube.com/watch?v=f5twzxHZVHE&list=RDf5twzxHZVHE&start_radio=1  Voodoo Glow Skulls 1994  https://www.youtube.com/watch?v=vIPjTtPCls8&list=RDvIPjTtPCls8&start_radio=1  Lou Rawls 1998  https://www.youtube.com/watch?v=jd_YDU1NzFo  Nick Cave 2002 - from I am Sam  https://www.youtube.com/watch?v=uT9YgfdgUVI&list=RDuT9YgfdgUVI&start_radio=1  Travis 2002  https://www.youtube.com/watch?v=Za0ib4r0d5g&list=RDZa0ib4r0d5g&start_radio=1  Joe Brown concert for George 2003  https://www.youtube.com/watch?v=cTwWpkLEHCA&list=RDcTwWpkLEHCA&start_radio=1  John Entwistle 2003 Songs From The Material World (Tribute To George Harrison)  https://www.youtube.com/watch?v=F3e8MotBOoE&t=6s  GeorgeFest version - Perry Ferrell -  https://www.youtube.com/watch?v=ilQuPQF5zSM&list=RDilQuPQF5zSM&start_radio=1  Yo Yo Ma & James Taylor 2021  https://www.youtube.com/watch?v=qgO7BqAeeYk&list=RDqgO7BqAeeYk&start_radio=1  Jon Bon Jovi - 2021  https://www.youtube.com/watch?v=L5b5A8Tr9P0&list=RDL5b5A8Tr9P0&start_radio=1  Yusuf/Cat Stevens 2023  https://www.youtube.com/watch?v=iCF7opEbEw0 George Benson 1969 (Here Comes the Sun/I Want You (She's So Heavy) https://www.youtube.com/watch?v=b6IDWgIjH6I  Peter Tosh Here Comes The Sun monomix  https://www.youtube.com/watch?v=mrNzCP0f30Y  George Benson https://www.youtube.com/watch?v=0aLnb6FBWbI&list=RD0aLnb6FBWbI&start_radio=1 Here Comes The Moon  https://www.youtube.com/watch?v=cu1dvIwk6pc  Here Comes the Moon demo  https://www.youtube.com/watch?v=PhvGr5Db1DU      

1976 was a banner year for music.  Some of the greatest albums of all time were released that year, and Mick & Jeff were there as it happened. This episode, they look at their favourites of the “Class of ‘76” - what was great (and what wasn't!) & why.   In Rock News, the boys check out who's touring, and what aged care arrangements are in place! Their “Album You Must Hear Before You Die” is Paul Simon's “Graceland”, which brought African street music to Western radios and stereos.   A wide-ranging romp through one of music's finest years!  We think you'll love it.   References:  1,001 Albums You Must Hear Before You Die, Robert Dimery, The Eagles, Las Vegas Sphere, Journey, Rod Stewart, AC/DC, Motley Crue, Iron Maiden, Deep Purple, Kansas, Lynyrd Skynyrd, Foreigner, Yes, Graceland, Paul Simon, Ladysmith Black Mambazo, South Africa cultural sanctions, Los Lobos, Steve Berlin, The Rolling Stones, Black and Blue,  Jagger/Richards, The Glimmer Twins, Ron Wood, Harvey Mandel, Wayne Perkins, Billy Preston, “Do You Love Me?”, “I'm Black & Blue from The Rolling Stones”, The Modern Lovers, “The Modern Lovers”, John Cale, “Roadrunner”, “Pablo Picasso”, “Jonathan Richman & The Modern Lovers”, Joan Armatrading, “Joan Armatrading”, “Down to Zero”, “Love and Affection”, Dave Mattacks (Fairport Convention), Kenney Jones (Faces), Boz Scaggs, State Theatre Sydney, Silk Degrees, David Paich, Jeff Porcaro, David Hungate, Toto, “What Can I Say?”, “Lowdown”, “Lido Shuffle”, Peter Frampton, Frampton Comes Alive!, "Show Me the Way", "Baby, I Love Your Way", "Do You Feel Like We Do?”, George Harrison , talk box, Boston, “Boston”, Tom Scholz, "More than a feeling”, Fleetwood Mac, “Rumours”, Lindsey Buckingham, Bob Welch, Mick Fleetwood, “Buckingham Nicks”, Lindsey Buckingham, Stevie Nicks, Bob Dylan, “Desire”, “Blood on the Tracks”, “Hurricane”, “Mozambique”, “Joey”, Rolling Thunder Revue, Emmylou Harris, violinist Scarlett Rivera, guitarist Dave Mason, “Hard Rain”, The Saints, (I'm) Stranded, Bob Geldof, Nick Cave, Fatal Records, EMI, Ed Kuepper, “Also Sprach the King of Euro-Disco", “Thus Spake Zarathustra”,  Playlist (all the artists and music we talk about in this episode)The Queen of Pub ChoirsSend us a message, so we know what you're thinking!

John Meagher, Music Critic and Irish Independent Senior Features Writer, explains why ‘Graceland' was such a groundbreaking album. Simon felt he needed a change of direction in the 1980s so starting experimenting with African rhythms and township music, journeying to South Africa and making ‘Graceland' which went onto sell 40 million copies.

Today on another encore episode of the Rarified Heir Podcast, we are talking to Jason Everly, son of Phil, nephew of Don. Yes, we are talking about The Everly Brothers and all things Everly. Our conversation with Jason happened after a chance listen to Sirius XM satellite radio where we came across Jason's DJ stint on Fifties Gold talking about, what else, his connection to his family's music. That's when it hit us – Jason went to middle school with our host, Josh Mills and more than likely was in our carpool at one point too. We had photographic evidence too – from the Oakwood School yearbook. This conversation had to happen. Thankfully when we reached out to Jason, he was not only receptive to being a guest on the podcast but he was kinda psyched as well. Our chat was a little bit memory lane, a little bit nostalgia and a lot of fun. We learned about the bond Phil and Jason had – playing made up games together and how his Phil let his kids do their thing in the back yard, much to the chagrin of his neighbors. We also learned how his dad was a bit of a taskmaster as well as some insane stories involving Paul Simon, Warren Zevon, Graham Nash, Billy Joel and Paul McCartney who all adored The Everly Brothers. But perhaps our favorite part of the podcast was talking with Jason about his role in a little known Filipino film back in the 90s that he couldn't believe we dug up. Let's just say, it holds a 'special' place in his heart. Moreover, after our episode, we connected a few dots and Jason started his own podcast, Vinyl History which you can check out on YouTube. It's quite the sensation. But before you head over there, check out this episode with Jason Everly. Everyone has a story.

£3 and under bargain bin vinyl found in Brazil, selected and mixed by Ben Gomori featuring music from D-Train, Technotronic, Paul Simon, Don Pablo's Animals, Sinéad O'Connor and more... Next dates: July 25 - Balearic London @ Margate Arts Club + Louie On Sea, Margate Aug 4 - Balearic London @ 528 Ibiza Aug 5 - Balearic London @ Pikes Ibiza Aug 8 - Sisyphos, Berlin Follow me on Instagram Please turn a friend on to Turned On by giving this podcast a 5-star review, reposting it on Mixcloud or SoundCloud or sending it to a friend. Follow me on Songkick to receive alerts when I'm playing near you  Bookings: info@bengomori.com Discover more new music + exclusive premieres on our SoundCloud  Follow the Turned On Spotify playlist, with 1000s of tracks played on this show and in my sets. Turned On is powered by Inflyte – the world's fastest growing music promo platform. Tracklist: Lova - Stairs Into The Azure [Homies] Rune Lindbæk - Mina Musica [Homies] Terry Francis & Ricardo Afonso - Change [Hallucienda]  Ottis Blake - My Inner Jazz Spirit [Jam Box Music Group] Man Power & Rapasa Nyatrapasa  - Battle Hill (Make A Dance Remix) [MAD Records] Wildchild - Can I Get A Ho (Remix) [Signal] The Fog - Been A Long Time (Full Intention Remix) [Full Intention Records] Vibes Kartel - Talk 2 Me Nuh [Swingers]] Cevin Fisher - The Freaks Come Out (Sharp Freaks At Trade Mix) [4 To The Floor] Sam Shure - No Time To Play [Rekids] Future Classic: Deetron feat. Ben Westbeech - Deep In Your Soul (WP Dub) [Running Back] Canine Cracks - Wires & Fires [D.KO Records] 

Alert! Alert! On a brand new episode of The Catered Quiz, comedian & songwriter Kyle Gordon joins the program to answer questions about The Ramones and Paul Simon's Graceland. We also talk about Kyle's show in Milwaukee on October 2nd, Planet of the Bass and Spotted Cow. Watch the music video for Kyle's new song Mr. Jambo. Tickets for Kyle's October 2nd at Falcon Bowl are available for purchase here. For more tour dates and information, visit kylegordonisgreat.com.

Tanglewood season opens with an eclectic line up that hosts Deb & Steve attended, from Jazz at LIncoln Center Orchestra with Wynton Marsalis to Paul Simon to Jerry Garcia's Symphonic Celebration with the Boston Pops to James Taylor on July 4th. Added to the evening line up was the Talks & Walks at the Tent Club featuring Emanuel Ax and moderator, Anthony Fogg. Listen in on an informal conversation about the entertainment-packed week.

Bridget St John in conversation with David Eastaugh English singer-songwriter and guitarist, best known for the three albums she recorded between 1969 and 1972 for John Peel's Dandelion record label. Peel produced her debut album, Ask Me No Questions. She also recorded a large number of BBC Radio and Peel sessions and toured regularly on the British college and festival circuit. St John appeared at leading folk venues in the UK, along with other folk and pop luminaries of the time such as Nick Drake, Paul Simon, and David Bowie, among others. In 1974 she was voted fifth most popular female singer in that year's Melody Maker readers poll. Blessed with a "rich cello-like" vocal style, she is also an accomplished guitar player who credits John Martyn and Michael Chapman as her "musical brothers".

Performance and Works used with permission from the artist and venue. Jamey Haddad holds a singular position in the world of jazz and contemporary music. His musical voice transcends styles and trends, and the universal quality of his playing has attracted many international collaborations with artists including Yo-Yo Ma, Paul Simon, and Sting. Fresh off of a tour with Paul Simon, Jamey returned to Cleveland for a sold out two-night stand that features Peter Slavov on Bass, Northeast Ohio mainstay Chris Coles on Saxophones, Jamey on Percussion and Pittsburgh Guitarist John Shannon. From June 1st, 2025 it's Jamey Haddad...Live at the Bop Stop.

Send us Fan MailWelcome to Guess the Year: 80s Edition! This is an interactive, competitive podcast series where you will be able to play along and compete against your fellow listeners. Here is how the scoring works:10 points: Get the year dead on!7 points: 1 year off6 points: Call bluff correctly4 points: 2 years off1 point: 3 years off0 point: 4 or more years offGuesses can be emailed to drandrewmay@gmail.com or texted using the link at the top of the show notes (please leave your name).I will read your scores out before the next episode, along with the scores of your fellow listeners! Please email your guesses to Andrew no later than 12pm EST on the day the next episode posts if you want them read out on the episode (e.g., if an episode releases on Monday, then I need your guesses by 12pm EST on Wednesday; if an episode releases on Friday, then I need your guesses by 12 pm EST on Monday). Note: If you don't get your scores in on time, they will still be added to the overall scores I am keeping. So they will count for the final scores - in other words, you can catch up if you get behind, you just won't have your scores read out on the released episode. All I need is your guesses (e.g., Song 1 - 198x, Song 2 - call bluff, Song 3 - 198x, etc.). Please be honest with your guesses! Best of luck!!The answers to today's ten songs can be found below. If you are playing along, don't scroll down until you have made your guesses. .....Have you made your guesses yet? If so, you can scroll down and look at the answers......Okay, answers coming. Don't peek if you haven't made your guesses yet!.....Intro song: Ace of Spades by Motorhead (1980)Song 1: Total Eclipse of the Heart by Bonnie Tyler (1983)Song 2: Follow the Leader by Eric B. & Rakim (1988)Song 3: The Boys of Summer by Don Henley (1984)Song 4: Heart of the Matter by Don Henley (1989)Song 5: The Waiting by Tom Petty & the Heartbreakers (1981)Song 6: Right Field by Peter, Paul and Mary (1986)Song 7: Hearts and Bones by Paul Simon (1983)Song 8: Blame it On the Rain by Milli Vanilli (1989)Song 9: Centerfield by John Fogerty (1985)Song 10: The Heart of the Matter by Kenny Rogers (1985)

Maurie and his dad finally got to see Paul Simon together and spent the night singing along to every word, while Roz gets roasted for looking like a cult leader in a linen shirt. Plus, the gang talks to a listener who's heard all 1,500+ podcast episodes, Mocha discovers a $980 Vancouver solarium rental posing as a bedroom, Roz accidentally spoils Wordle, and Maurie chats with the guy selling garbage collected from Taylor Swift and Travis Kelce's wedding

Hile, Cromrades! Take a final Cyberpunk trip with us to 2019... Or 2049? Herein, we discuss the Bladerunner duology! This one is a big 'un, hope you enjoy it! What road will we embark on for our next season? Only time will tell :)   One Things! Luke: Sammon's 'Future Noir: The Making of Bladerunner' Josh: Guntharp's 'The VCR That Dripped Blood: 50 of the Best, Worst, and Most Bizarre (Non-Franchise) Slasher Films of the 1980s' Jon: Stark's 'Parker' novels!   Questions? Comments? Curses? Call us at (859) 429-CROM! Did you know that we're on Facebook? We're posting photos on the Instagrams! Or, check us out on Apple Podcasts! (or your podcast player of choice!) Legal Mumbo-Jumbo Our episode is freely available on archive.org and is licensed under Creative Commons: By Attribution 3.0. http://creativecommons.org/licenses/by/3.0/ 'Tyrant' theme by Kevin MacLeod (incompetech.com) Licensed under Creative Commons: By Attribution 3.0. Outro: "Mother & Child Reunion" by Paul Simon. Music obtained legally; we hope our discussion of this content makes you want to go out and purchase the work! 

My guests today are Tasha Warren and Dave Eggar. Tasha is a 2x Grammy nominated clarinetist and bass clarinetist, and an international performer who has premiered over 100 works worldwide. She's a member of the American Modern Ensemble, Lansing Symphony and Jackson Symphony Orchestra. Dave Eggar is an amazing cellist who is making his third appearance on this podcast, putting him at the top of my frequent flyer list. What's even more impressive is that each appearance has been in a different context - first in his own right as a world class cellist, then as the cellist and QB of the fabulous string quartet that recorded my recent release, “Ma Petite Fleur String Quartet”, and now with Tasha. Oh, and I should mention that he's got 7 Grammy nominations, he's played with Paul Simon among dozens of top artists, and he was the guy who was responsible for the iconic cello work on Coldplay's massive hit, “Viva La Vida”. Okay I think you get the picture. My featured song is “The Buzz”, my latest single. Spotify link. —------------------------------------ The Follow Your Dream Podcast:Top 1% of all podcasts with Listeners in 200 countries! Click here for Start Here Click here for All Episodes  Click here for Guest List  Click here for Guest Testimonials Click here for Pillars Click here for Robert's Project Grand Slam Click here to Subscribe  Click here to receive our Email Updates Click here to Rate and Review the podcast —---------------------------------------- CONNECT WITH TASHA:www.tashawarrenclarinet.com CONNECT WITH DAVE:www.domomusicgroup.com —------------------------------------ ROBERT'S NEWEST RELEASE:“THE BUZZ” - Ft. Darius de Haas (vocals) and Dave Eggar (Celo). Short, Sweet and Totally Different CLICK HERE FOR OFFICIAL VIDEO CLICK HERE FOR ALL LINKS —-------------------------------------- Audio production: Jimmy RavenscroftKymera Films Connect with the Follow Your Dream Podcast:Website - www.followyourdreampodcast.comFollow Robert's band, Project Grand Slam, and his music:Website - www.projectgrandslam.com    

We continue our series looking at films and albums from the year 1977 with our best entry yet on the film side. The Oscar winner for Best Picture, Annie Hall was Woody Allen's first attempt at a film based in the real world. regardless of what we think of him now, Allen speaks a lot of truths about the realities of dating and relationships throughout this film. Amber and Robert share memories, thoughts, opinions and laughs as they discuss Annie Hall. Send us Fan MailTwitter @dockingbay77podFacebook @dockingbay77podcastdockingbay77podcast@gmail.compatreon.com/dockingbay77podcasthttps://www.youtube.com/@DockingBay77podcast

This week we'll continue with more great songs of the road and the long steel rails, perhaps in time to inspire your summer travel. We'll hear great music from sources as varied as Jimmy Webb, The Delmore Brothers, Paul Simon, Asleep at the Wheel, and lots more. Follow that road … this week on The Sing Out! Radio Magazine. Pete Seeger / “If I Had A Hammer”(excerpt) / Songs of Hope and Struggle / Smithsonian FolkwaysCountry Cooking / “Farewell Blues” / 26 Bluegrass Instrumentals / RounderUtah Phillips / “Daddy, What's a Train?” / Good Enough / PhiloDiane Patterson / “Open Road” / Open Road / Self-producedGordon Lightfoot / “Me and Bobby McGee” / If You Could Read My Mind / RepriseThe Price Sisters / “Get On the Main Highway” / A Heart Never Knows / RebelPaul Simon / “Train in the Distance” / Heart and Bones / LegacyJohn Hartford and the Hartford Stringband / “Keep On Truckin' / Good Old Boys / RounderJimmy Webb / “By the Time I Get to Phoenix” / Ten Easy Pieces / GuardianThe Delmore Brothers / “Freight Train Boogie” / Freight Train Boogie / AceCountry Cooking / “Orange Mt. Special” / 26 Bluegrass Instrumentals / RounderJudy Collins / “Someday Soon” / Who Knows Where the Time Goes / ElektraJohn Reischman & the Jaybirds / “Wellesley Station” / On That Other Green Shore / CorvusRoustabout / “The Race Between the Ford and the Chevrolet” / Roustabout / Yodel-Ay-HeeAsleep at the Wheel / “Choo Choo Ch'Boogie” / Swing Time / SonyHot Buttered Rum / “Leaving Dallas” / Lonesome Panoramic / Self-producedPure Prairie League / “Kansas City Southern” / Two Lane Highway / RCAPete Seeger / “If I Had A Hammer”(excerpt) / Songs of Hope and Struggle / Smithsonian Folkways

durée : 00:24:34 - par : Laurent Valière - « The Capeman » est une comédie musicale dont la musique est composée par Paul Simon, et le livret et les paroles sont de Simon et Derek Walcott. Elle s'inspire de la vie du meurtrier condamné Salvador Agrón . Vous aimez ce podcast ? Pour écouter tous les épisodes sans limite, rendez-vous sur Radio France

(open) MIKE MARSHALL, EDGAR MYER, BELA FLEK – “Big Country” PAUL SIMON – “American Tune' THE AVETT BROTHERS – “This Land Is Your Land” BUFFALO SPRINGFIELD – “Fow What It's Worth” WILCO – “Cruel Country” NEKO CASE – “Wayfairing Stranger” PETE SEGER – “We Shall Overcome” ANDRA DAY – “Rise Up” THE IMPRESSIONS – “This Is My Country” JESSE WELLS – “No Kings” MAVIS STAPLES – “Sad And Beautiful World” RUFUS WAINWRIGHT – “Going To A Town” MARVIN GAYE – “What's Going On” THE BAND – ”I Shall Be Released” DAVE ALVIN – “4th of July” RANDY NEWMAN – “Sail Away” THE MENZINGERS – “America (You're Freaking Me Out)” SIMON AND GARFUNKEL – “America” RAY CHARLES – “America The Beautiful” NINA SIMONE – “Here Comes The Sun”

You'd be hard-pressed to find someone else with as much curiosity and vigor at 70 years old about the creation of art as longtime CBS News journalist Anthony Mason. Over his 40+ years with the network, he's shaped an Emmy-winning career around making songwriters of all stripes (from Bruce Springsteen to Phoebe Bridgers) feel comfortable enough to get uncomfortable about their motives, fears and process. And though his CBS schedule hasn't slowed down in the least, he's now launched 'Alchemy with Anthony Mason' — a new long-form interview program on YouTube, featuring conversations with Paul Simon, Nile Rodgers, Hozier and others — as a way of expanding upon the segues and tangents around songwriting that might normally be left on broadcast television's cutting-room floor. Returning to the podcast for his second visit, he discusses today how songwriting is a mechanism for the processing of trauma, and the sentiment of the show's rallying cry, inspired by Wilco's Jeff Tweedy. Watch Alchemy with Anthony Mason on YouTube, sign up for Anthony's newsletter at alchemy.show, and follow the program on Instagram @alchemywithanthony. -- Check out Episode 173 with Anthony from 2023, further back in this feed.

Cindy Pearlman Gaber, senior writer for the New York Times and entertainment columnist for the Las Vegas Review-Journal, joins Bob Sirott to share details about who could possibly be performing at the Taylor and Travis wedding, as well as the recent reunion of Paul Simon and Art Garfunkel. She also talks about John Oliver’s role […]

Tapping the barometer of news to see what's blistering or stormy, which this week includes … … “The Man can't bust our music!”: the crimes and misdemeanours of Clive Davis … the single biggest change in our lifetimes ... when did musicians become ‘artists'? … Johnny Marr's guitar habit … unlimited cash and what we'd spend it on … Madonna smoking at Paris Fashion Week hoping someone would try to stop her … why Dave doesn't own any Arista records … which five Paul Simon songs became film titles? … a Prime Minister who loves ‘Dragon New Warm Mountain I Believe In You' by Big Thief! … 56 year-old takes annual Dark Side of the Moon test: “and I still don't like it!” … are there more registered songwriters or lorry drivers? Plus the biopic boom and birthday guest Andrew Stocks has a senior moment.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.

Tapping the barometer of news to see what's blistering or stormy, which this week includes … … “The Man can't bust our music!”: the crimes and misdemeanours of Clive Davis … the single biggest change in our lifetimes ... when did musicians become ‘artists'? … Johnny Marr's guitar habit … unlimited cash and what we'd spend it on … Madonna smoking at Paris Fashion Week hoping someone would try to stop her … why Dave doesn't own any Arista records … which five Paul Simon songs became film titles? … a Prime Minister who loves ‘Dragon New Warm Mountain I Believe In You' by Big Thief! … 56 year-old takes annual Dark Side of the Moon test: “and I still don't like it!” … are there more registered songwriters or lorry drivers? Plus the biopic boom and birthday guest Andrew Stocks has a senior moment.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.

Tapping the barometer of news to see what's blistering or stormy, which this week includes … … “The Man can't bust our music!”: the crimes and misdemeanours of Clive Davis … the single biggest change in our lifetimes ... when did musicians become ‘artists'? … Johnny Marr's guitar habit … unlimited cash and what we'd spend it on … Madonna smoking at Paris Fashion Week hoping someone would try to stop her … why Dave doesn't own any Arista records … which five Paul Simon songs became film titles? … a Prime Minister who loves ‘Dragon New Warm Mountain I Believe In You' by Big Thief! … 56 year-old takes annual Dark Side of the Moon test: “and I still don't like it!” … are there more registered songwriters or lorry drivers? Plus the biopic boom and birthday guest Andrew Stocks has a senior moment.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.

Tastykakes, Soul Songs and Shining Stars is a rich and passionate record of a life-long obsession with soul music and Rhythm & Blues from music industry stalwart Joe McEwen, legendary A&R man for acts including Elvis Costello, Paul Simon, K.D. Lang, Wilco, Nick Lowe, Built To Spill, Queen Latifah, the Frank Sinatra catalogue, and many others.Tastykakes, Soul Songs and Shining Stars is a labor of love, half a century in the making, for music industry veteran Joe McEwen. A Philadelphia native and legendary A&R executive for Columbia, Sire/Warner Brothers, Verve, and Concord Music Group, McEwen now McEwen gathers a lifetime's worth of encounters, essays, and reveries into one radiant collection-a love letter to the rhythm-and-blues and soul music that shaped him.Its pages are bursting with vivid, compelling, up-front and personal profiles and encounters with a host of important figures: Pops and Mavis Staples, George Clinton, Allen Toussaint, Betty Wright, Michael Jackson, Aretha Franklin, Don Covay, and many more. Alongside these portraits are heartfelt musings spanning the 1960s through the '80s, illuminating the creative processes behind the songs that defined a generation.Interwoven throughout are reflections on basketball, memory, and movement-parallel sources of rhythm, improvisation, and joy. The book culminates in an extended 2024 conversation with esteemed music author and longtime confidant Peter Guralnick (Elvis Presley, Sam Cooke), a fitting finale to a collection that captures the soul of a lifetime in music.Become a supporter of this podcast: https://www.spreaker.com/podcast/arroe-collins-unplugged-totally-uncut--994165/support.

‘Graceland' was an almighty gamble for Paul Simon, a costly, high-risk departure from the music he'd been making and a complex international venture. And a game-changing, worldwide triumph. When Ashley Kahn taught a course about it at New York University, Simon turned up to contribute. His book ‘Days Of Miracle And Wonder' tells the story of what inspired the album, the way it was recorded and the global reaction when it arrived in 1986. We talk to him here about … … the bootleg cassette of township jive that inspired the Graceland project … fraying relations with Art Garfunkel and Carrie Fisher ... his habit of playing unfinished tracks to people – David Byrne, Philip Glass, Neil Diamond – while singing the vocal into their ear … the extraordinary way he apologised for the failure of One Trick Pony … how Bakithi Kumalo's bass solo on You Can Call Me Al is a palindrome – “first half forwards, second half reversed!” … the advice Quincy Jones gave him about South Africa's cultural boycott … the key role of Roy Halee, engineer and long-time creative collaborator ... the Johannesburg sessions that “started with rhythm and worked backwards” … Kind Of Blue, A Love Supreme, other albums that merit a book to themselves … the details you hear in the tracks' last seconds … and the Grammy telecast that cemented the album's US success. Order copies of ‘Days of Miracle And Wonder' here: https://geni.us/DaysofMiracleandWonderHelp 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.

‘Graceland' was an almighty gamble for Paul Simon, a costly, high-risk departure from the music he'd been making and a complex international venture. And a game-changing, worldwide triumph. When Ashley Kahn taught a course about it at New York University, Simon turned up to contribute. His book ‘Days Of Miracle And Wonder' tells the story of what inspired the album, the way it was recorded and the global reaction when it arrived in 1986. We talk to him here about … … the bootleg cassette of township jive that inspired the Graceland project … fraying relations with Art Garfunkel and Carrie Fisher ... his habit of playing unfinished tracks to people – David Byrne, Philip Glass, Neil Diamond – while singing the vocal into their ear … the extraordinary way he apologised for the failure of One Trick Pony … how Bakithi Kumalo's bass solo on You Can Call Me Al is a palindrome – “first half forwards, second half reversed!” … the advice Quincy Jones gave him about South Africa's cultural boycott … the key role of Roy Halee, engineer and long-time creative collaborator ... the Johannesburg sessions that “started with rhythm and worked backwards” … Kind Of Blue, A Love Supreme, other albums that merit a book to themselves … the details you hear in the tracks' last seconds … and the Grammy telecast that cemented the album's US success. Order copies of ‘Days of Miracle And Wonder' here: https://geni.us/DaysofMiracleandWonderHelp 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 more than four decades, Anthony Mason has been one of the most trusted voices in American journalism, bringing curiosity, intelligence, and a steady presence to his reporting for CBS News. As a correspondent and former co-host of CBS This Morning, he's interviewed presidents, cultural icons, and some of the world's most influential artists.Now, Mason is launching a project that feels especially personal. His new series, 'Alchemy,' explores the creative process through intimate, long-form conversations with musicians and artists including Hozier, Paul Simon, and Nile Rodgers. But 'Alchemy' isn't focused on fame, success, or even the work itself. Instead, it asks a deeper question: how does creativity help people transform hardship, uncertainty, and experience into something meaningful?

There is no shortage of books on music and politics, but Anna Harwell Celenza explores an interesting premise in her book On the Record: Music that Changed America (Norton, 2026). Each of the twelve chapters discusses a different instance when music, as Celenza writes, “sparked debates in the halls of Congress.” Arranged basically chronologically, Celenza tackles some of the most powerful and contentious issues in twentieth and twenty-first century American politics. From censorship to copyright law; from the Civil Rights Movement, to foreign policy during Apartheid, Celenza traces the extraordinary moments when music moved Congress, challenged power, and united people around shared ideals. The stories Celenza tells are just as much about music including the intertwined histories of “The Star Spangled Banner” and “Lift Every Voice and Sing” or the making of Paul Simon's album Graceland, as they are about US legislation or American politics. She offers readers a history of America heard through the songs and compositions that changed its course. 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

Send us Fan MailWe bounce between the dark origins of famous songs and the very modern problem of paying premium prices for artists who may not be able to deliver the show you remember. Along the way we argue about Springsteen, tell on ourselves about nostalgia, and try to figure out what “live” even means anymore. • true crime cases that inspired popular songs and why the backstories change the listen • “Nebraska” and the push and pull of separating music from the musician • songs written from the offender's point of view and why artists choose that angle • “Dancing In The Moonlight” as a victim's response to violence and recovery • whether supergroups still work and when they feel like a money machine • summer tour packages, one hit lineups and who is still worth the ticket • backing tracks, lip syncing claims and how to sanity check with live video • legacy band names with no original members and why fans still show up • Paul Simon ticket prices, setlists and the value question for older legends If you like it, shed it. If you like this podcast SHARE it. If you have any ideas or suggestions for the show you can email us at: milkcratesandturntables@gmail.com

The guys discuss 50 Ways To Leave Your Lover by Paul Simon... One of the best songwriters of our generation reduced to a shitty rhyme scheme about cheating on his wife. Bummer.

John Meagher discusses how musicians like Paul Simon, The Beatles and Ry Cooder put world music in the spotlight.

Tim Conway Jr Show Hour 3 (6.5) The World Cup countdown is officially on, and Conway says fans better get ready for sticker shock — with parking prices already looking insane at $150 to $300. Then it is off to the GM Design Center in Pasadena, where the cars of the future are being imagined, customized, and reconfigured. Conway has a few name suggestions for the new Hummer, including the 2026 “F-Off” and the 2027 “F-U.” Plus, Southern California traffic is about to go full nightmare mode. The Angels and Dodgers Freeway Series, Snoop Dogg at F&M Bank Amphitheatre, Qatar vs. El Salvador at BMO Stadium, Rush at the Kia Forum, Mariachi USA fireworks at the Hollywood Bowl, Paul Simon, WeHo Pride, and major freeway lane closures are all hitting at once. Conway also breaks down California’s first “Smart Freeway,” launching on the 15 between Temecula and Murrieta, and how speeding tickets have cost Mark Thompson thousands in car insurance. And in Long Beach, Snoop Dogg kicks off the waterfront amphitheater for 11,000 people — but there is no general on-site parking. Meanwhile, Pasadena residents were told to shelter in place after a mountain lion spent the day roaming the neighborhood before being tranquilized. World Cup countdown, SoCal traffic, traffic nightmare, Snoop Dogg, Long Beach, F&M Bank Amphitheatre, Dodgers, Angels, Freeway Series, WeHo Pride, Hollywood Bowl, BMO Stadium, Kia Forum, smart freeway, 15 Freeway, speeding tickets, car insurance, GM Design Center, Hummer EV, Pasadena mountain lion, viral SoCal news. See omnystudio.com/listener for privacy information.

Emmy award-winning writer Alan Zweibel started out in show business by peddling jokes to Catskills comics at seven bucks a pop, before a chance meeting with Lorne Michaels led to a staff job on the hottest new show on television, “Saturday Night Live.” Alan joined Gilbert and Frank at the George Burns Room at the Friars Club to talk about the earliest days of SNL, co-creating the groundbreaking “It's Garry Shandling's Show” and collaborating with everyone from Gilda Radner to Billy Crystal. Also: Alan heckles Larry David's act, “borrows from” Paul Simon, turns down “Hollywood Squares” and inspires a classic “Seinfeld” episode. PLUS: Totie Fields! Christopher Lee! The subversiveness of “Duck Soup”! Uncle Miltie gets banned! And Gilbert tries (unsuccessfully) to follow The Beatles! Learn more about your ad choices. Visit megaphone.fm/adchoices