Podcasts about Steely Dan

This podcast is sponsored by Earn Haus.  More information at www.EarnHaus.com/Bobandtom The BOB & TOM Show — August 28, 20266:00 Hour 6:00 Pumpkin Spice — Pat6:04 Coffee shop serving pumpkin spice coffee6:13 Fart Room6:24 Joe Theisman discussion6:25 Kristi is trimming her bangs on the air6:30 “Letter-Jaws” theme when talking about Kristi's husband6:32 Picture of man on a penny-farthing wearing skin-tight clothes6:34 Letter — Grilled cheese with strawberry jelly6:36 Tom's coffee shop story6:37 Letter — Go Cowboys! No pizza order in our name — The wrong Hut6:38 Kristi does not have a joint checking account with husband6:50 Letter — Reindeer story in Norway6:53 “Maxing” is my new hated word — Tom6:53 Josh ordered a Jason mask planter that had a fake plant in it 7:05 Letter — Loved Dolly Parton, thanks for the interview7:06 Sports7:10 Tom had a 48-star flag — it was legitimate7:24 “After the Lovin'” — Englebert Humperdinck7:25 Englebert has a new album of rock song covers7:29 “Beth” — Englebert Humperdinck7:30 “Coming Home” — Englebert Humperdinck7:34 “Faithfully” — Englebert Humperdinck7:36 Josh likes Englebert7:50 Caitlin Clark's shoes — Chick7:51 Swimming record — longest duration under ice water was 1 hour, 29 minutes7:53 Josh has done the cold plunge 8:03 In studio — Jess8:04 “Feel Like Making Love” — Englebert Humperdinck8:07 Failed to Mention News — Jeff8:10 Scented soap — Tom's cigarette joke8:30 Tupac discussion8:31 Second-grade teacher has a fart corner for students8:33 Everyone here crop dusts — Jess8:34 Steely Dan song — “Holy Man”8:47 Today in History 9:04 Jess's air-fried cookies9:22 Man super-glued his urethra shut to stop incontinence9:34 Zoom — Gill Moore from Triumph, drummer9:51 Man reunited with his backpack from 1963 7:00 Hour8:00 Hour9:00 Hour Learn more about your ad choices. Visit podcastchoices.com/adchoices

Step into the vibrant Guitar Hero world of music and innovation with this week's encore episode of Takin' a Walk, where host Buzz Knight engages in a captivating encore conversation with the legendary Jeff Skunk Baxter. Known for his iconic work with Steely Dan and the Doobie Brothers, Baxter's journey is as eclectic as it is inspiring. From his early days in the bustling Boston music scene to becoming a pivotal figure in the sound of the 70s and 80s, Baxter shares his unique experiences that shaped his career. Buzz Knight dives deep into the music history that surrounds this remarkable artist, exploring the intersection of creativity and technology that defines Baxter’s unusual dual career as a defense consultant. As the episode unfolds, listeners will be treated to inside stories that showcase Baxter's guitar mastery and his collaborations with legendary artists, including the unforgettable Jimi Hendrix. With a focus on the chemistry within bands and the etiquette of musicianship, Baxter recounts his transition from a session player to a full-time member of the Doobie Brothers, revealing the classic rock stories that have influenced generations. But this episode is more than just a trip down memory lane; it’s a profound exploration of music and resilience. Baxter reflects on the healing power of music, emphasizing its emotional impact on people and the deep connections it fosters. His insights into how music can serve as a form of emotional healing resonate throughout the conversation, making this episode a must-listen for anyone interested in the profound effects of sound and creativity. Join Buzz Knight for an inspiring journey filled with inside music stories and the wisdom of a true change agent in both music and technology. Whether you’re a fan of iconic musicians or simply curious about the intersection of art and science, this episode of Takin' a Walk promises to deliver unforgettable moments and enlightening discussions. Tune in to hear how Jeff Skunk Baxter's life and career embody the essence of music history and the creative spirit that continues to inspire us all. Support the show: https://takinawalk.com/See omnystudio.com/listener for privacy information.

If you support us on Patreon, you may know that we have been doing Aftershows weekly for many years. We are releasing Aftershows from the past (two years old) on Fridays for everyone's enjoyment. https://www.youtube.com/live/s6YzeDxVQPI Graphic Bot Nudity Aftershow We've got a Jeopardy game inspired by the band Steely Dan from listener Adrian—but wait! It's not what you're thinking. If you have an idea for a game we can play in the Aftershow, email it to us at playeronepodcast@gmail.com! Thanks for your support!

Erica in her element, playing a baker's dozen smooth rock tunes of the 70's & 80's that are a hallmark of the format. Steely Dan, Kenny Loggins, Al Jarreau, The Doobie Brothers, and more...

Introducing the Band: Your hosts Scot Bertram (@ScotBertram) and Jeff Blehar (@EsotericCD) with guest Eli Lake. Eli is a columnist for The Free Press, contributing editor at Commentary, and host of Breaking History. You can follow him on Twitter/x @EliLake. Eli's Music Pick: Steely Dan In what is likely the last of our past episodes to be completely re-recorded, we present a totally new edition of our look at the music and career of Steely Dan. Jeff long has despised the sound of his microphone on the original show (our version of a Katy Lied-esque mishap), which also was recorded in a back-up studio. It makes sense to get something on tape that will stand the test of time.  There may not be a more unlikely story in rock history than Steely Dan, more specifically the braintrust of Donald Fagen and Walter Becker. Michael McDonald, who provided backing vocals for the band later in its career, wrote that Fagen had the "physique of an 80-year-old woman" and Becker gave off the distinct vibe of a "lab technician working on some nefarious government experiment." These two guys, who famously didn't even like the idea of being in a conventional rock band, somehow became one of the most distinctive and enduring acts of the 1970s. They took the sounds of jazz, R&B, soul, blues, pop, and rock, ran them through a filter of studio perfectionism and darkly funny songwriting, and came out with something that sounded like nobody else. And somehow, against all odds, some of the most musically complicated songs of their era became radio staples.  The Steely Dan story is also a story of constant reinvention. From the sly pop-rock of Can't Buy a Thrill and Countdown to Ecstasy, through the increasingly ambitious Pretzel Logic, Katy Lied, and The Royal Scam, Becker and Fagen gradually turned the recording studio into their own musical laboratory. Then came Aja, the masterpiece that may be the ultimate expression of their obsession with precision, groove, and impeccable musicianship. The term “Yacht Rock” might as well have been born right then and there. Gaucho pushed that approach even further, even as the band's perfectionism and internal tensions reached a breaking point.  We dig into the music, the personalities, the bizarre characters, the legendary studio sessions, and the songs that make Steely Dan so endlessly rewarding. Because beneath all the perfectionism and complexity, Steely Dan always understood one fundamental thing: A great song still needs a great groove. Hosted by Simplecast, an AdsWizz company. See pcm.adswizz.com for information about our collection and use of personal data for advertising.

This week's guest is NEW YACHT CITY, a band that plays Yacht Rock! On this episode we chat with Manish Nag the lead singer and keyboardist! If you love Steely Dan, Toto, Christopher Cross, The Doobies, Ambrosia and more you will love this band! Check them out for a fun time that you and your friends will always remember!  For more info on shows, ticket info, merch and  the band check out their website!  https://www.newyacht.city/#showshttps://www.newyacht.city/#band! 

HAWK ROCK SUMMER ends here with a quick Hawk Rock Taste of some of the bonuses you get on the Hawk Patreon! Classic Albums! Where Geoff Garlock and Jason Gore go deep on a Classic Rock STAPLE, Greg Lemonsour-style.This week, Hawk Rock Summer wraps with a deep dive into the 1977 classic many Dads would fight you over, "Aja" by Steely Dan!NEXT WEEK! SERIES SEVEN PREMIERE! Rekha Shankar (Dropout, Smartypants, Game Changer) returns to 108.9 The Hawk! Keep The Transmitter PoweredListen to every free episode of 108.9 The Hawk and Hawk Rock Talk at 1089thehawk.com.Support the station at patreon.com/1089thehawk.Tell your friends! Hosted on Acast. See acast.com/privacy for more information.

We have been around since 2017 and in this episode we are celebrating our 9th Anniversary of bringing our thoughts and meaningless opinions to the masses by ranking the 9s.  WE NEED YOUR HELP!! It's quick, easy, and free - Please consider doing one or all of the following to help grow our audience: Leave Us A Five Star Review in one of the following places: Apple Podcast Podchaser Spotify Connect with us  Email us growinuprock@gmail.com Contact Form  Like and Follow Us on FaceBook Follow Us on Twitter Leave Us A Review On Podchaser Join The Growin' Up Rock Loud Minority Facebook Group Do You Spotify? Then Follow us and Give Our Playlist a listen. We update it regularly with kick ass rock n roll Spotify Playlist Buy and Support Music From The Artist We Discuss On This Episode Growin' Up Rock Amazon Store Pantheon Podcast Network Music in this Episode Provided by the Following: Prince, Zan/Cody, Kix, Aerosmith, 99 Crimes, Toto, WASP, Gunshine, Steely Dan, BulletBoys, Bon Jovi, King's Crowd, Tygers of Pan Tang Crank It Up New Music Spotlight Crank It Up Spotlight - Zan / Cody  - “DAMN” If you dig what you are hearing, go pick up the album or some merch., and support these artists. A Special THANK YOU to Restrayned for the Killer Show Intro and transition music!! Restrayned Website Learn more about your ad choices. Visit megaphone.fm/adchoices

The second half of our look at 1976 - a banner year for music.  This time, the boys look at more of their favourites of the “Class of ‘76” and plug in a dynamite playlist to go with it!  The conclusion of a romp through one of music's finest years! We know you're going to love it.  References: Stevie Wonder, Songs in the Key of Life, “Isn't she lovely”, “Sir Duke”, Andy Williams, R&B, Rhythm & Blues, The Eagles, Hotel California, “Life in the Fast Lane”, “New Kid in Town”, “Victim of Love”, Joe Walsh, Led Zeppelin, “Presence”, “The Song Remains the Same”, Achilles Last Stand,  Moroccan influence, “Nobody's Fault but Mine”, “For your life”, “Candy Store Rock”, Peter Grant, The Ramones, The Ramones, “Beat on the Brat”, “Blitzkrieg Bop”, “I Wanna be your Boyfriend”, Spin magazine, Rolling Stone, "500 Greatest Albums of All Time", Music from the Penguin Cafe, Penguin Cafe Orchestra, 1001 Albums You Must Hear Before You Die, Simon Jeffes, Station to Station, David Bowie, The Thin White Duke, Kether, Malkuth, “Golden Years”, “TVC15”, Howzat, Sherbet, Hurstville Civic Centre, Bo Diddley, Cold Chisel, “Summer Love”, The Doors, High Voltage, AC/DC, “T.N.T.”, “It's a Long Way to the Top”, “High Voltage”, “Can I Sit Next to you Girl?”, Daceyville Police Boys Club, Dirty Deeds Done Dirt Cheap, “Jailbreak”, Ol' 55, Take It Greasy, "On the Prowl", Frankie J Holden (FJ), Wilbur Wilde, Supernaut, “I like it both ways”, Ian “Molly” Meldrum, Alan Parsons Project, Tales of Mystery and Imagination, Billy Joel, Turnstiles, Bob Dylan, Hard Rain, Bryan Ferry, Let's Stick Together, ELO (Electric Light Orchestra), A New World Record, Tom Petty & the Heartbreakers, Genesis, A Trick of the Tail, Jeff Beck, Wired, Jethro Tull, Too Old to Rock 'n' Roll: Too Young to Die, Joe Walsh, You Can't Argue with a Sick Mind, Linda Ronstadt, Hasten Down the Wind, Lou Reed, Coney Island Baby, Pavlov's Dog, At the Sound of the Bell, Queen, A Day at the Races, Rod Stewart, A Night on the Town, Steely Dan, The Royal Scam, Steve Miller Band, Fly Like an Eagle, Warren Zevon, ABBA, Arrival, Wings, Wings Over America  Playlist - The music & artists we discussed during this episodeFlutist Reacts to Jethro TullSend us a message, so we know what you're thinking!

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.

Agradece a este podcast tantas horas de entretenimiento y disfruta de episodios exclusivos como éste. ¡Apóyale en iVoox! Un nuevo monográfico en nuestro podcast dedicado en esta ocasión al guitarrista Steve Khan. Repasamos algunos pasajes de su discografía propia y sus colaboraciones junto a conocidos artistas como Michael Franks, Kirk Whalum, Bob James, Kenny Loggins, Steely Dan, Harvey Mason, Alexander Zonjic, The Brecker Brothers y Gabriela Anders.Escucha este episodio completo y accede a todo el contenido exclusivo de Cloud Jazz Smooth Jazz. Descubre antes que nadie los nuevos episodios, y participa en la comunidad exclusiva de oyentes en https://go.ivoox.com/sq/27170

Gary Daly of China Crisis joins us this week to discuss the band's wild history. They began as an artier synthpop band - not quite as hooky as Human League, but not as adventurous as Japan. On their third album they began working with off-and-on collaborator Walter Becker of Steely Dan and they morphed into something entirely different. This pairing, odd as it sounds, worked wonders and separated China Crisis from their peers. Maybe chart toppers weren't in their future, but a career of high quality was. Gary connects these dots for us and also discusses their future plans which, in the short-term, include touring the US with the Lost 80s Live tour that kicks off in a couple weeks. Gary's as much a comedian as he is a musician, you'll love this!  www.chinacrisismusic.com www.patreon.com/c/thehustlepod

Summer may be winding down, but that doesn't mean the breezy vibes are going away as today, Frizz and Bob set sail and dive into Steely Dan's amazing Aja. And, to help celebrate, Frizz enjoys a classy canned cocktail, and Bob gets JACKED on a cheap canned cocktail. 

This week, we're looking back on Rob's 2023 conversation with the hilarious Bert Kreischer. The comedian joined Rob Lowe to talk Steely Dan, comedy, and adult male friendships. Make sure to subscribe to the show on YouTube at YouTube.com/@LiterallyWithRobLowe! Got a question for Rob? Call our voicemail at 323-570-4551. Your question could get featured on the show! Hosted by Simplecast, an AdsWizz company. See pcm.adswizz.com for information about our collection and use of personal data for advertising.

This playlist is 91% vinyl friendly. Near perfect. Philips, The Tina Century Bluetooth Turntable room.. A £350-£400 retro look to blend in with your wood panelling room, it reminds me of a car grill from the 1960s. Built-in speakers with deep (how low can you go) bass and crystal-clear highs. Any track marked * has been given either a tiny or a slightly larger 41 Rooms tweak/edit/chop and the occasional tune might sound a bit dodgy, quality-wise. On top of that, the switch between different decades and production values never helps in the mix here. Lyric of Playlist 154 Tim Hardin’s lyric and song title. 00.00 (Intro) THE FLAMINGOS – Stars (Edit) – Unreleased demo – 1983. Episode #1 for info. 00.41 NEW ORDER – Dreams Never End (John Peel session: 16.2.81) – The Peel Sessions 12″ EP – Strange Fruit – 1987 Diary for Jan 16, ’81 says ‘Karl W round. NEW ORDER JOHN PEEL…‘ Those caps signal something special and the journey had begun at Heaven, London a week earlier. Two good mates called Karl were there, though I hadn’t realised the one at my house listening to the first broadcast of the session was a Carl. 03.45 THE TEARDROP EXPLODES – Second Head – Kilimanjaro, LP – Mercury – 1980 Listening to this album now it’s got a bit of a bubbly and bouncy feel. Judging by a set list suggested for the Manchester Poly night’ that followed ours/mine it doesn’t look like Second Head made into our night here. Packed with Kilimanjaro tracks though. 06.55 TOM PETTY and THE HEARTBREAKERS – I Need To Know – 7″ – Shelter – 1978 Still with a fair amount of ‘rock’ in my world at this point in time, for some reason I thought I’d had a 12″ of this but that would have been a bit daft. At just 2mins 22 plus, a fiery new wave feel that could have made it as an Elvis Costello tune. 09.17 FORMAL SPPEEDWEAR – Who Needs Spain Ball – Punch Card, LP – Melodic – 2026 “Who Needs Spain Ball?”. ‘On the surface, the single functions as a highly accessible, synth-forward New Wave track featuring the record's biggest, most infectious pop chorus. However, the title and the song’s inner mechanics are intentionally surreal, designed to “pull the rug” out from under the listener‘. – Apologies, I forgot the source. An early Talking Heads vibe going on? They’re pulling the rug even more with their merch – with the band’s name the only lettering… album t-shirts! 12.28 BIG JOANIE – It’s You – Sistahs, LP – The Daydream Library Series – 2018 So post punk! 14.48 EGOSLAVIA – Twist Face – Self-titled, (mini) LP – 9 1/2 x 16″ Records – 1982 Not that many will have debated it but I’ve always pronounced this band as ‘Egoslayvia’ and it’s only just dawned on me it was likely ‘Egoslahvia’. Better late… and a band I was introduced to by a US guy who dropped in on John Peel’s radio show somewhere in the ’80s. Very unusual for Peely to have anyone else in the studio with him but his guest was picking tracks from three or so US bands that Peely had never heard of, something that irritated the latter, slightly. 20.08 BIFFER BONKER – 4 Prong, Fucked Up, 2 Potato Thing – Biffer Bonker Is…Unabashed, download album only – ? – 2026 Anyone with a decades long history of Bedford, UK’s musical landscape stretching back to punk bands of the mid to late 70s will have knowledge of Biffer in a former life or three fronting a wealth of different bands but his present world view is available here, with something from the man for me currently getting waylaid by various postal services. ‘No god is required… ‘ Ain’t that the truth and if there isn’t a lyric sheet involved somewhere I might be requesting one :), as he’ll be back here at some point. He’s also the man who introduced me to Click Click via an early demo tape of theirs somewhere around 1984. 23.17 BROKEN SPINDLES – To Die, For Death – Fulfilled / Complete, LP – Saddle Creek – 2004 Content with having spun Induction on an earlier show, and as it turns out, rightly guessing on the album’s diversity I hadn’t been rushing to grab the physical vinyl… but here we are! One Joel Peterson, from Omaha, Nebraska. 25.35 TARWATER – 20 Miles Up – Silur, LP – Kitty-Yo – 1986 From the US to Germany and there’s a far wider breadth to this duos ‘catalogue’ than the two tracks now spun on 41 Rooms would suggest. 29.35 RIPPLE – I Don’t Know What It Is But It Sure Is Funky – 7″ – GRC – 1973 I don’t know about I Don’t Know… but with no UK release it’s unlikely our mainstream radio of the time spun this, though maybe a DJ or two down the Pilgrims or in the Anglers (Inn) Lair across the road could have. I have strong memories of hearing Willie Henderson’s Dance Master at the latter. 32.53 MARY KENT – Lost Generation – 7″ – CBS – 1969 It’s a slower, darker take than the version the song’s writer, Jim(my) Webb put out himself a year later and though Mary’s intro needed red carding for the show her version has some gravitas and feels ‘worthier’ now than it may have done to the UK’s record buyers back in 1969… what with the Vietnam war being… yep, somewhere else. The intro brings to my mind Common Sense’s Resurrection ’95. 36.57 LADY BLACKBIRD vs CROOKED MAN – Whatever His Name (Pt 1) * – Crooked Spirituals Remixes, 12″ – Foundation – 2025 She’s rightly got her soul audience but I much prefer her vocals set against some electronic goings on, as with the already 41 Rooms’ spun Athletes Of God and some remixing bods, including here, Crooked Man. They seem to give her vocals more of an edge for me. 42.18 ROBERTO RODRIGUEZ (feat. MAX C) – About This Love (Crazy P Remix) (Dub) * – 12″ – Compost Black Label – 2009 The vocals are incidental but the track just keeps building, dropping, shifting. A head-nod-a-thon of slight unease. 45.42 CLICK CLICK – Stay Out Of The Water – 12″ b-side – Rorschach Testing – 1985 Great times in the summer and autumn of ’85. Our RT label is off and running with a party at Winkles (Bedford), a P(roduction) and D(istribution) deal with Rough Trade, 500 copies of the initial yellow and blue sleeved 12″ pressing head straight to the US off the back of A-side (Sweet Stuff) getting CC Single Of The Week in Sounds and with spins on John Peel’s radio show there are one-off gigs in London, Brighton and Northampton and rehearsals are sounding great. Gig poster for 28.11.84. Part of a Rorschach Testing ad, The Catalogue #29, Aug ’85. 49.24 SIMPLE MINDS – Premonition (John Peel session: 7.1.80) – Silver Box, 5CD – Virgin – 2004 Having already seen them on the OGWT (live from Hurrah’s New York) and live at the Marquee the previous month I must have heard this session but for whatever reason I definitely didn’t record it. A ropey photo below of mine from London’s Hammersmith Palais, 26.8.80. 54.28 THE FALL – Dktr. Faustus * – Bend Sinister, LP – Beggars Banquet – 1986 It’s about time Mark E Smith (RIP) and his gang made it back here… so they have. 00.01.00 ECHO and THE BUNNYMEN – I Bagsy Yours (John Peel session: 22.8.79) – The Peel Sessions 12″ EP – 1988 This show’s third Peel session track of the era and the song renamed Monkeys in time to nestle next to the track Crocodiles months later on their debut album. I’m with ‘Bagsy’, though. Even us southerners used the term back then, though it might be best to not remember how it was being used here. 01.02.47 THE MOVE – I Can Hear The Grass Grow – 7″ – Deram – 1967 ‘An early, proto-psychedelic freakbeat masterpiece‘ in some modern day circles but a fab bit of wild pop back then. As the years rolled on though, the ‘weedier’ (sadly) Roy Wood’s guitar interjections have sounded. 01.05.52 PETULA CLARK – The Other Man’s Grass (Is Always Greener) – 7″ – Pye – 1967 Husband and wife writers, Tony Hatch and Jackie Trent (or in this particular case, Jackie Trent and Tony Hatch :)), with their key and tempo changing swirler giving ‘Our Pet’ her last Top 20 hit. So idiosyncratic it never got covered by anyone else or maybe offered as an exclusive to Petula? Either way, I bet Trent (no mean singer herself) forwarded a guide vocal version and I’d have been interested in hearing that. And it’s taken me a week to realise I’ve placed two songs next to each with ‘Grass’ in the title. Very unintentional but spooky and true. 01.08.49 BROOKE COMBE – Tears Won’t Lie * – 7″ – Fontana – 2026 I reckon Northern soul’s younger followers will dance and some older purists will very likely pick at the production but Combe and co-writer, James Skelly have nailed it, and if this song had been recorded in the mid 1960s – and maybe on the label this 7″ now pays homage to (with say Kiki Dee?) – there’d be an even bigger price tag on it than this barely out of the 2026 pressing plant £18 7′ already commands. Also, all involved in the Combe camp will have been as meticulous on the look for the dancers in the video as was MT Jones for his I Don’t Understand. Paying homage can be tough stuff. 01.11.19 TERRY CALLIER – Ordinary Joe – 7″ – Cadet – 1972 Terry and producer, Charles Stepney with a ‘skipping along the road’ feel. An even more expensive buy than the above… and I have neither. 01.15.17 CHAIRMEN OF THE BOARD – Give Me Just A Little More Time – 7″ – Invictus – 1970 INV 501. Did Invictus kick off their UK releases with a homage to Tamla Motown’s UK singles catalogue. Five years earlier the latter had also started with (TMG) 501, via The Supremes’ Stop In The Name Of Love. 01.17.57 JACKIE WILSON – I Get The Sweetest Feeling – 7″ – Brunswick – 1968 1968 for Jackie but the mid ’70s for me. Putnoe, Bedford… sunshine… Gill H… 01.20.49 THE CONTROLLERS – Somebody’s Gotta Win, Somebody’s Gotta Loose (7″ version) – 7″ – Juana – 1977 I didn’t knowingly hear this til maybe twenty years ago. With the amount of music that bypasses us, is it possible I’ve never heard the greatest song I could ever hear? 01.24.42 UMBRA MOON – Don’t Let Me Down – Download only – 2024 This Australian girl is seemingly taking longer to break out than I would have imagined but though stylistically aside of my normal listening, this is a gem. 01.28.02 SHAWN PHILLIPS – Solitude – 7″ b-side – Columbia – 1965 With my copy bought for this side alone, there are few artists I’ve come across who have been both super jaunty and deeper than deep in the songwriting department and 41 Rooms can be with Shawn in both moods. 01.30.48 JOHN and BEVERLEY MARTYN – Primrose Hill – 7″ – Warner Brothers – 1970 In 1970 approximately 1% of the American population had a passport, so aside thinking (at best) Primrose Hill maybe had some Civil War battle reference for them they were going to struggle to warm to this London landmark being referenced, even though somebody at Warners US – as opposed to their UK counterpoints – thought this Carole King-like tune had legs as a single. Sadly, they were wrong, with the promo 7″ likely more common than the stock copy. 01.33.40 TIM HARDIN – You Upset The Grace Of Living When You Lie – 7″ promo only – Verve Forecast – 1967 Yep, lyric and title of show 154 goes to… though at 1min 45 it’s nearly over by the time he’s got through singing the line. A ragged, slightly altered take of the song was part of Hardin’s performance at Woodstock but his set only got to make it to an official release of the festival in 2019. 01.35.22 JOSE FELICIANO – Dirty Work – For My Love… Mother Music, LP – RCA – 1974 It’s likely I’d be outnumbered with my thinking here but Jose’s passion makes Steely Dan’s own recorded version, sung by their then main vocalist, David Palmer, sound lack lustre. 01.38.08 VANGELIS – He-O – Earth, LP – Vertigo – 1973 Back in Vangelis’ big years I only got around to wanting his 1976 single, Pulstar but then hearing the Beatfanatics Balearic Boogie Remix of Let It Happen in 2007 led me backwards to this album and it’s the vocals (of one Robert Fitoussi) on both tracks that seem to make the difference for me. 01.42.05 STEVIE WONDER – Pastime Paradise * – Songs In The Key Of Life, 2LP – Tamla Motown – 1976 I bought the album at the time but my youthful ignorance didn’t fully take in the scale of Stevie’s accomplishment and looking now at the full tracklisting there were only six tracks I regularly played, with Pastime Paradise being one of them. The American buyers who took Songs… to No 1 in the Billboard album charts will have delved deeper. 01.45.21 KOICHI OZAKI – Petal Of The Cherry Blossom * – Novo Tempo / Koichi Ozaki: Novo Tempo Meets Eurasian Suite Vol. 2, 12″ – Eurasian Suite – 2004 If I could dip into the whole of the soul/(acid)jazz/beats etc etc world of the Japanese from the ’90s onwards there’d be a basket full of great tunes I’ve yet to hear. So little time… 01.51.22 KEITH JARRETT (TRIO) – Dancing – Changeless, LP – ECM Records – 1989 ‘Original material which is deeply subversive (though also respectfully aware) of the whole tradition of jazz as a system of improvisation on ‘the changes’… On Changeless, there are no chord progressions at all; the trio improvises each section in a single key, somewhat in the manner of an Indian raga‘. – The Penguin Guide to Jazz. ‘These pieces – not written, rehearsed, thought out, sketched, or arranged – ‘came up’ in the middle of four distinctly different concerts. Process is swifter and more accurate than thought.‘ – Keith Jarrett’s album liner notes (edited). Show 155 arrives Sept 6. Dec x The post Post Punk Plus Podcast Playlist 154 – Original upload 2.8.26 appeared first on 41Rooms.

This weeks program features tuneage from Earth Opera, Steely Dan, Tradewinds, Stones, Beatles, Animals, Electric Prunes, Lovin' Spoonful, Grass Roots, Supremes, Martha & The Vandellas, McKendrie Spring, Seatrain, It's A Beautiful DaySimon & Garfunkel and Jethro Tull.

In dieser Bonusfolge wird's persönlich, denn wir sprechen über Linus' erklärte Lieblingsband Steely Dan. Gegründet wurde diese 1972 von zwei nerdigen Jazz-Fans (oder ist das eine Tautologie?). Nerdig wird es auch in dieser Folge ein bisschen, denn wir haben uns mit Rainer Appel, seines Zeichens Sänger und Schlagzeuger der Steely-Dan-Tribute-Band "Home at Last", geballte Steely-Dan-Kompetenz eingeladen. Wir tauchen also ganz tief ein in die Welt von Walter Becker und Donald Fagen, und wenn wir uns ab und zu auch mal darin verlieren, bitten wir um Nachsicht; immerhin spielen wir zwischendurch die beste Musik der Welt! Rainers Band findet ihr hier, und über diesen Link kommt ihr direkt zum YouTube-Kanal. Das im Podcast erwähnte Pointer-Sisters-Cover von "Dirty Work" könnt ihr euch hier anhören, und hier findet ihr eine Gegenüberstellung von Steely Dans "Gaucho" mit Keith Jarretts Stück "Long As You Know You're Living Yours".

Jon Finn Group, Berklee College of Music, Kato Tsumoto, Fallout Shelter August 14, Skunk Baxter, Jimi Hendrix, Terry Kath, Carlos Santana, No Static, Steely Dan, Chuck Berry and the Mills Brothers. Great fun and perfection on guitar. Hosted by Simplecast, an AdsWizz company. See pcm.adswizz.com for information about our collection and use of personal data for advertising.

This week on Classic Vinyl Podcast, Justin is joined by his son Austin to listen to and review Steely Dan and their popular 1973 hit song Reeling In The Years. Give it a listen and let us know what you think. 

Send me a text and please visit www.livefrommydrumroom.com My guest is veteran session and touring drummer, Michael White. We do a deep-dive into Michael's incredible 40 plus year career including Curtis Mayfield, Steely Dan, George Duke, George Benson, Frankie Beverly & Maze, Luther Vandross, Vanessa Williams and over 60 movie and film credits. Michael stresses the importance of not just "getting the gig" but "getting called back" and much more! So come along for the ride with Michael White! Live From My Drum Room!® T-shirts and Hoodies are now available! 100% of the proceeds go toward my PAS scholarship. Visit https://livefrommydrumroom.com for details!     Live From My Drum Room With John DeChristopher! is a series of conversations with legendary drummers and Music Industry icons, hosted by drummer and music industry veteran, John DeChristopher, drawing from his five decades in the Music Industry. Created in 2020, and ranked BEST Drum Podcast, "Live From My Drum Room With John DeChristopher!" gives the audience an insider's view that only John can offer. And no drummers are harmed on any shows! Please subscribe!https://livefrommydrumroom.comwww.youtube.com/c/JohnDeChristopherLiveFromMyDrumRoom

“Yacht rock” as a term dates to the early 2000s, but the music it describes lives squarely in the late 1970s and early 80s. We're talking the smooth sounds of summer, a little bit jazz, a touch of funk, a generous dollop of soulful crooning, all undercut by rock instrumentation by some of the grooviest white guys in the biz. You don't have to be on a boat to enjoy yacht rock. It's the perfect summer soundtrack no matter where you are. So join the Great Pop Culture Debate for one of our 2026 Summer Specials as we say ALL ABOARD and attempt to name the best Yacht Rock Song of all time.Songs discussed: “Africa” by TOTO, “Peg” by Steely Dan, “How Long” by Ace, “Ride Like the Wind” by Christopher Cross, “This Is It” by Kenny Loggins, “Steal Away” by Robbie Dupree, “Lido Shuffle” by Boz Scaggs, “All Out of Love” by Air Supply, “What a Fool Believes” by The Doobie Brothers, “Escape (The Pina Colada Song)” by Rupert Holmes, “Baker Street” by Gerry Rafferty, “Saturday in the Park” by Chicago, “Can't Fight This Feeling” by REO Speedwagon, “I Keep Forgettin'” by Michael McDonald, “You Make My Dreams (Come True)” by Hall & Oates, “Baby Come Back” by PlayerJoin host Eric Rezsnyak and GPCD Panelists Derek Mekita, Jonny Minogue, and Kate Racculia as they discuss and debate 16 of the smoothest jazz-rock jams from the 70s and 80s.For the warm-up to this episode, in which we discuss additional yacht-rock gems that didn't make the bracket, become a Patreon supporter of the podcast today. IG: https://www.instagram.com/greatpopculturedebate/Bluesky: https://bsky.app/profile/gpcd.bsky.socialWebsite: https://www.greatpopculturedebate.com/Patreon: https://www.patreon.com/greatpopculturedebateEPISODE CREDITS:Host: Eric RezsnyakPanelists: Derek Mekita, Jonny Minogue, Kate RacculiaProducer: Bob ErlenbackEditor: Bob ErlenbackIntro/Outro Music: "Dance to My Tune" by Marc Torch#yachtrock #yacht #70smusic #80smusic #jazz #softrock #jazzrockfusion #toto #chicago #kennyloggins #doobiebrothers #michaelmcdonald #reospeedwagon #steelydan #christophercross #gerryrafferty #hallandoates #bozscaggs #podcast #popculture #debate #bestof #podcasts #music #movies #film #books #comics #television #tv #lgbtq #lgbt #nostalgia #geek #nerd #culture #greatestSee Privacy Policy at https://art19.com/privacy and California Privacy Notice at https://art19.com/privacy#do-not-sell-my-info.

Part 2 of my conversation with guest Phil Stacey as we discuss our favorite American artists. Show notes: Jay's take after seeing Goose Took us a while to get into the show Phil's #6: Phish took over the jam band crown from the Dead Jay briefly met Trey Anastasio at UNH before they got famous Goose hasn't been accepted by the entire jam band audience Jay's #6: Originally had Van Halen ranked higher, but dropped them because of the Hagar years Combined Eddie VH's revolutionary guitar work with DLR's showmanship Eddie inspired a generation of guitarists and Dave inspired a generation of hard rock singers Phil's #5: Steely Dan spits in the face of being called "yacht rock" Went from a live act to a studio perfectionist act to a live act again Fagen and Becker were demanding taskmasters Jay's #5: The imperfect perfection of the Replacements They self-sabotaged whenever things were about to break for them Never got to see them live Phil's #4 and Jay's #3: The singular genius of Jimi Hendrix Hugely influential guitarist and performer Must have blown a lot of minds when he was around Jay's #4: Pixies were a major influence on the alternative rock sound that shaped the '90s The band's first stint (1986-93) was epic Introduced weirdness into indie rock Still touring behind their classic material but making new music as well Phil's #3 and Jay's #10: Talking Heads were art school kids who became big Part of the CBGB scene of the '70s that went in a lot of different directions Explored a lot of sounds and influences Phil's #2: The Allman Brothers Band invented and transcended Southern rock Persevered through deaths and changing trends Jay's #2: No arguing with the greatness of Prince Hundreds of hours of unreleased music Was super talented at multiple instruments Was Prince the best all-around musician of the 20th century? Phil's #1: Duh, it's the Dead Inspired an entire subculture There are literally hundreds of Dead cover bands Jay's #1: The pride of Athens, GA, R.E.M. Helped create the "college rock" scene that grew into alternative rock Blew up in the early '90s Distinct career phases Michael Shannon and Jason Narducy have been covering R.E.M. albums in their entirety the last three years To be continued Completely Conspicuous is available through Apple Podcasts. Subscribe and write a review! The opening and closing theme of Completely Conspicuous is "Theme to Big F'in Pants" by Jay Breitling. Voiceover work is courtesy of James Gralian.

Episode 543 lands on National Fortune Cookie Day, and guest co-host Freddy Vinehill-Cliffe of NUGEN Audio opens by demystifying how your masters actually translate across streaming. You learn that MasterCheck lets you audition one master against every platform before release day blindsides you, because you should still submit a single master everywhere, not a separate file per service. From there you dig into possible reasons why Spotify felt so flat for so long, the crucial difference between data compression and dynamic compression as a way to tame your audio, and how compression ratios shape the result. Then Freddy flips to the gigging life: guitar and vocals in Thank, bass in the gleefully unappealing Solderer, touring Europe and the UK on DIY tours he’s been booking since 2014. You’ll chew on his theory that drummers can fake their way through a set more easily than anyone else, the cover-band mentality (Tommy Igoe’s gospel: he’ll teach you to play other people’s music, not your originals), and playing for the nerds who clock every groove (like the white-knuckle eleven-beat break in Steely Dan’s Josie). The throughline is reading the room, even when it’s the wrong room: sometimes the crowd’s on mushrooms, sometimes you just throw them a party regardless, and either way you Always Be Performing. 00:00:00 Gig Gab 543 – Monday, July 20th, 2026 July 20th: National Fortune Cookie Day Guest co-host: Freddy Vinehill-Cliffe of NUGEN Audio 00:01:56 NUGEN's MasterCheck plugin Still submit one master to all platforms, but MasterCheck helps you ensure that your one master sounds good everywhere 00:05:04 Why did Spotify sound so flat for so long? Spotify is normalized to -14 LUFS 00:07:24 Data compression vs. Dynamic compression Dynamic compression is a way of taming the audio Auphonic Waves NS1 00:15:14 Compression Ratios 00:18:44 SPONSOR: Claude.ai – Ready to tackle bigger problems? Sign up for Claude today, which includes access to Claude Cowork, too, when you visit https://Claude.ai/giggab 00:20:17 Freddy, the gigging musicians Guitarist and vocalist in a band called, Thank Plays Bass in Solderer, deliberately unappealing Touring regularly throughout Europe & UK 00:24:17 DIY Booking of Tours Freddy has been booking DIY tours since 2014 00:27:45 Dave's gigging schedule 00:31:15 Freddy's theory about drummers Drummers can fake it more easily! 00:36:30 Wedding bands … that aren't wedding bands 00:37:31 Cover band mentality Tommy Igoe: I'm not going to teach you how to play in your original band, I'm going to teach you how to play other people's thing Playing for nerds The 11-beat break in Josie 00:47:35 Unexpected grooves and parts 00:50:52 Realizing the audience is the wrong audience Mushrooms help the audience! 00:59:44 Special offer from NUGEN – 30% off of a bunch of plugins for the next few weeks! Stereoizer Stereoplacer Monofilter Paragon ST 01:06:43 Gig Gab 543 Outtro Follow NUGEN @nugenaudio Follow Freddy Vinehill-Cliffe: @loudnesswardraftdodger @fsvc____ @thankleeds Contact Gig Gab! @GigGabPodcast on Instagram feedback@giggabpodcast.com Sign Up for the Gig Gab Mailing List The post The Wrong Audience Is Still an Audience: Freddy Vinehill-Cliffe on the Gigging Life – Gig Gab 543 appeared first on Gig Gab.

Where would Donald Fagen and Walter Becker have ended up if not for the cream of the crop musicians that they tortured, uh I mean produced on those incredibly perfect Steely Dan records? Nowhere fast. The Steely Dan all-stars should have their own movie! The best we can do here is give them their own episode, and reach out to the greatest if not the coolest Steely Dan fan we know, the surprisingly delightful Oscar Jordan. We get back into our top ten list, with All-Stars 5-1 highlighted here in Top Ten Steely Dan All-Stars Part 2. If you missed all the fun we had in Part 1, start here first:https://podcasts.apple.com/us/podcast/episode-729-top-ten-steely-dan-all-stars-part-1-w-oscar-jordan/id573735994?i=1000776581201The official Top Ten Steely Dan All-Stars playlist is chocked full of great musical moments from The Dan and otherwise, 27 songs and over 2 hours long, featuring every song heard in Parts 1 & 2. As Oscar says, bring a diaper.https://open.spotify.com/playlist/1A53zghA9OCCCiy3XQqoQq?si=2da30e3a77c145b7We've lowered our prices, but not our standards over at the ATTT Patreon! Those who are kindly contributing $2 a month are receiving an exclusive monthly Emergency Pod episode featuring our favorite guests and utilizing our patent-pending improv format in which we miraculously pull a playlist out of thin air with no preparation! Emergency Pod 29 is out now, featuring the legendary Rick Torres! Find out more at https://www.patreon.com/c/alltimetoptenWe're having a blast chatting about music over on the ATTT Facebook Group. Join us and start a conversation about music! https://www.facebook.com/groups/940749894391295The official ATTT1000 In Reverse playlist is here, featuring our list of the 1,000 Greatest Songs We've Ever Heard, presented in reverse order - from 1 - 1,000. Follow along here:https://open.spotify.com/playlist/6dlj1XfYJdciz6GIORYWkM?si=74d675e86ba342f8

There are many things to love about Steely Dan - the acerbic cleverness of their lyrics, their commitment to sonic perfection, and of course, the incredible musicianship from their unbelievably talented motley crew of session cats - really the best to ever do it. We want to give those players some love in our latest episode. The fabulous Oscar Jordan joins the pod one last time in Top Ten Steely Dan All Stars, our countdown of the best musicians who played with Donald and Walter, as we highlight their musical contributions to projects outside of their work in Steely Dan. Part 1 and picks 10-6 is here!Oscar Jordan has his incredibly gifted hands in all kinds of projects right now. Follow Oscar on Instagram to keep up with him:https://www.instagram.com/oscarjordan3rd/We've lowered our prices, but not our standards over at the ATTT Patreon! Those who are kindly contributing $2 a month are receiving an exclusive monthly Emergency Pod episode featuring our favorite guests and utilizing our patent-pending improv format in which we miraculously pull a playlist out of thin air with no preparation! Emergency Pod 29 is out now, featuring the legendary Rick Torres! Find out more at https://www.patreon.com/c/alltimetoptenWe're having a blast chatting about music over on the ATTT Facebook Group. Join us and start a conversation about music! https://www.facebook.com/groups/940749894391295The official ATTT1000 In Reverse playlist is here, featuring our list of the 1,000 Greatest Songs We've Ever Heard, presented in reverse order - from 1 - 1,000. Follow along here:https://open.spotify.com/playlist/6dlj1XfYJdciz6GIORYWkM?si=74d675e86ba342f8

What does excellence sound like? In this episode of Vinyl Riffs with Sean Gaillard (shared here on Leadership Liner Notes), I revisit Steely Dan's "Aja," an album often celebrated for its remarkable musicianship and meticulous craftsmanship. While some hear perfectionism, I hear something deeper: a group of extraordinary collaborators committed to creating a masterpiece together. As I reflect on a season marked by both meaningful opportunities and unexpected disappointments, "Aja" reminds me that excellence isn't about flawless performance or immediate recognition. It's about showing up, honoring your craft, trusting your collaborators, and continuing to pursue your best work even when the applause is quiet. Join me as I explore the breathtaking instrumental passage that continues to stop me in my tracks, the leadership lessons hidden within the grooves of this classic album, and why masterpieces are never created alone. Whether you're leading a school, a team, an organization, or simply navigating your own journey, "Aja" offers a timeless reminder that rejection doesn't lower the standard. It simply invites us back to the work. Keep Spinning. Keep Grooving. Keep Believing. What about this episode inspired you? Please share and tag me on Instagram @smgaillard or LinkedIn at Sean Gaillard.    Please be sure to subscribe to this episode and share a positive comment. It does help.  Hosted by Simplecast, an AdsWizz company. See https://pcm.adswizz.com for information about our collection and use of personal data for advertising.

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: Come On Eileen by Dexys Midnight Runners & the Emerald Express (1982)Song 1: We Built This City by Starship (1985)Song 2: Magic by The Cars (1984)Song 3: Mountain Music by Alabama (1982)Song 4: Glamour Profession by Steely Dan (1980)Song 5: Wishing Well by Terence Trent D'Arby (1987)Song 6: Walk This Way by Run-D.M.C. (1986)Song 7: Sharp Dressed Man by ZZ Top (1983)Song 8: Don't Change by INXS (1982)Song 9: Skulls by Misfits (1982)Song 10: Can't Go Back by Fleetwood Mac (1982)

"When you listen to Van Halen or Extreme or Steely Dan you expect a great guitar solo. The point of this show is to offer some examples of totally unexpected solos. These are solos in a song or a genre or by an artists that it seems to be coming out of nowhere. "

On this episode of Reelin'... The Featured Five Theme is Life, Liberty, and The Pursuit of Happiness: Celebrating America's Independence... Also, music from a singer who's been out of the public eye for 16 years! I'll tell you why... What Tom Petty & The Heartbreakers' tune was inspired by a quote from Janis Joplin?... What song by Wings is named after Paul McCartney's old Labrador Retriever?... A song that John Sebastian wrote on a dreary November day when he was feeling depressed... New music from Jesse Welles, The James Hunter Six, and Johnny Marr... Deep cuts from Free, Bob Mould, 10,000 Maniacs, Kalapana, The Only Ones, My Morning Jacket, Steely Dan, and more! For more info on the show, visit reelinwithryan.com

Edición especial de nuestro podcast dedicada al fallecido compositor y arreglista Johnny Mandel. Repasamos algunas de su más celebres creaciones, así como sus trabajos junto a Roy Ayers, Lee Ritenour, Natalie Cole, Michael Jackson, Quincy Jones, James Ingram & Patti Austin, Dave Koz & Johnny Mathis, Chet Baker, Steely Dan, David Sanborn y Grady Tate.

NEW FOR JUNE 15, 2026 A show a day will do ya . . . Fool's Potion - The Best Radio You Have Never Heard Vol. 534 1. Whammer Jammer / Give It To Me (live) - J. Geils Band 2. Death To My Hometown / Clampdown (live) - Bruce Springsteen and The E Street Band 3. Wooden Ships (live) - Steely Dan w/ David Crosby 4. Bridge Of Sighs - Robin Trower 5. Two On Won (alt) - Led Zeppelin 6. Batteries Not Included (live) - Jethro Tull 7. White Shadow (live) - Peter Gabriel 8. Great Fire / Dear God / Big Day (live unplugged) - XTC 9. Life On Mars (live unplugged) - David Bowie and Mike Garson 10. I Don't Like Mondays - Tori Amos 11. King Of Pain (live) - The Police 12. Monkey Gone To Heaven (live unplugged) - Pixies 13. The Flavor Of Metal - Death Cab For Cutie 14. All The Children Sing - Todd Rundgren 15. The Endless Enigma (live) - Keith Emerson Tribute feat. Marc Bonilla and Rachel Flowers et al 16. The Musical Box (live) - Genesis 17. Overture / 1921 / Amazing Journey / Sparks (live) - The Who The Best Radio You Have Never Heard. Your double musical shot. Accept No Substitute. Click to leave comments on the Facebook page.

En esta edición especial de nuestro podcast recordamos la figura del bajista Anthony Jackson, un músico fallecido en octubre de 2025. Hacemos un repaso de algunos de sus trabajos junto a otros artistas: Chaka Khan, Lee Ritenour, Jorge Dalto, Tania Maria, Steely Dan, Pat Metheny, Harvey Mason, Lalo Schifrin, Eric Gale y Till Brönner.

In this episode of Seeing Them Live, Charles sits down with Ben Daughtry and Jonathan Palmer of Love Jones — the Louisville-born, LA-based band that has been crafting their unique blend of lounge, soul, pop, and sharp-witted storytelling for over three decades. The conversation kicks off with a shared love of live music, as both Ben and Jonathan trace their concert-going roots back to the same unlikely starting point: Van Halen. Ben recalls sneaking into a show at 14, way too young to be there, watching a then-unknown Van Halen open for Black Sabbath and feeling like "a bomb going off." Jonathan recounts his own Van Halen baptism at Freedom Hall in Louisville on the Women and Children First Invasion Tour — complete with $7.50 festival seating and his mother taking notes in the stands. From there, the episode becomes a wide-ranging tour through decades of live music obsession. The guys swap stories about Ted Nugent crowd surges, jumping on stage with GWAR in New Orleans, playing congas with Tool at an early Lollapalooza, and watching Rage Against the Machine move 60,000 people. Jonathan shares privileged industry moments — seeing The Rolling Stones at a 600-capacity room in New York alongside Daniel Craig, Rachel Weisz, and Questlove, and catching Nine-Inch Nails at The Troubadour when they felt "too big for the building." The conversation is fueled by genuine enthusiasm, with each story triggering another in a kind of joyful avalanche of rock and roll memory. The second half of the episode turns to the band's own story — from their residency at Largo on Fairfax, where David Bowie once sat quietly in a booth and Tool's crew became regulars, to their unexpected appearance on The Tonight Show with Jimmy Fallon celebrating the 25th anniversary of their debut album Here's to the Losers. Charles and the guys dig into the Cocktail Nation moment of the '90s, the making of their new album The Greatest Show on Earth — written during COVID jam sessions in a Louisville warehouse with crickets chirping and trains passing — and the cinematic, Gil Evans-influenced sound that ties its six expansive tracks together. The episode closes with the band expressing hope to get back on the road, a shout-out to their partnership with Whiskey Thief Distillery, and a tease of possible activity around the 30th anniversary of the film Swingers, on whose soundtrack Love Jones famously appeared. BANDS: Adele, B-52s, Beastie Boys, Big Bad Voodoo Daddy, Black Sabbath, Chicago, Combustible Edison, Devo, Earth Wind & Fire, Fishbone, Foo Fighters, GWAR, James Brown, Led Zeppelin, Love Jones, Metallica, Metric, Molly Hatchet, Morphine, Nine Inch Nails, Oasis, Rage Against the Machine, Red Hot Chili Peppers, Rolling Stones, Sea and Cake, Steely Dan, Supertramp, Ted Nugent, The Cars, The Cocktails, Tool, Tortoise, Van Halen, ZZ Top. VENUES:  Comiskey Park (Chicago), Freedom Hall (Louisville), Largo (Los Angeles), Largo on Fairfax (Los Angeles), Lollapalooza, Metro (Chicago), Racket (New York City), Rose Bowl (Pasadena), Soldier Field (Chicago), The Troubadour (Los Angeles). PATREON:https://www.patreon.com/SeeingThemLivePlease help us defer the cost of producing this podcast by making a donation on Patreon.WEBSITE - BECOME A GUEST:https://seeingthemlive.com/Visit the Seeing Them Live website and click on the link to fill out a form so we can consider you as a guest on the show.INSTAGRAM:https://www.instagram.com/seeingthemlive/FACEBOOK:https://www.facebook.com/profile.php?id=61550090670708

Welcome back to When Words Fail, Music Speaks—the podcast where host James Andrew Cox battles depression with the healing power of song. In today's episode, James sits down with New Jersey‑born singer‑songwriter Greg Amici, a musician who literally sang his way out of a 16‑year silence after a vocal‑cord injury forced him off the stage.Greg shares the story of his early love for vinyl classics—from Steely Dan and The Who to XTC and The Kinks—how those influences shaped his own witty, heart‑on‑sleeve style, and why he calls his breakthrough solo record Tragicomic “lyrics first, tragedy meets comedy.” Listeners will hear behind‑the‑scenes tales of the NJ/NY underground scene, the eye‑opening moment he discovered a polyp on his vocal cord, the long road back to CMJ, and the creative process behind his standout track “Girl Next Door.”From nostalgic debates about Beatles vs. Stones to a lightning‑round of coffee vs. tea, the conversation stays candid, funny, and deeply personal—exactly the kind of musical therapy James promised. Whether you're a DIY artist, a longtime fan, or simply looking for a reminder that music can pull you through the darkest chapters, this episode delivers inspiration, humor, and a fresh look at what it means to keep singing when words fall short.Stay tuned, press play, and let Greg's story remind you: music is the one aspect of life that keeps us wanting to live as long as we can.

From improv stages to some of the most beloved comedies of the last two decades, Wendi McLendon-Covey joins Media Path for a lively, laugh-infused conversation about finding and trusting her voice.Wendi looks back on her Groundlings run where she honed fearless comedic instincts and created characters that would define her career. Though she always knew she wanted to perform, it took time, and a leap of courage for her to fully pursue it. While holding down a full time job, she signed up for a bunny slope Groundlings class called “Fun Shop” and stayed for ten years, moving all the way up to seven years in the main company!.She shares behind-the-scenes Reno 911 deep dish! like how she created “Clementine Johnson” (based on a Groundlings character who was based on her real-life aunt) and the back stories behind iconic moments like the drunk catwalk and her Ill-fated “lottery win.”Wendi's favorite Reno 911 movie iteration is The Search For QAnon which was shot on The Queen Mary during the pandemic. And ghosts being vaccinated by death, the ship was still haunted!A Steely Dan fangirl, Wendi recounts how a storyline revealing her Clementine as a groupie led to an unexpected real-life live show invitation, and an onstage shoutout from Walter Becker! The conversation inevitably turns to The Goldbergs set, where a decade-long run fostered deep bonds among the cast. Wendi reflects on what she misses most, shares what it was like to meet the real Beverly Goldberg, and offers memorable stories about The Goldbergs' beloved George Segal.Now starring in St. Denis Medical, Wendi tells us how she embraced the role of Joyce and reflects on her career's ongoing evolution. She also credits her husband Greg as a constant source of support and encouragement throughout her journey.And we learn how Wendi has lent her impeccable comic skill and timing to some beloved and feel-good favorites in a memorable round of IMDB Roulette!Plus, in a perfect Wendi moment, the episode wraps with a roll call of her eight cats!And in current media recommendations, Lisa and Weezy discuss the Netflix comedy competition series, Funny AF with Kevin Hart.Path Points of Interest:Wendi McLendon-Covey on InstagramWendi McLendon-Covey on WikipediaWendi McLendon-Covey on IMDBSt. Denis MedicalFunny AF with Kevin Hart

Erica in her element, playing a baker's dozen smooth rock tunes of the 70's & 80's that are a hallmark of the format. Steely Dan, Toto, Ray Parker Jr., Doobie Brothers, and more...

NEW FOR JUNE 1, 2026 The great musical pass-thru . . . Evil Archway - The Best Radio You Have Never Heard Vol. 533 1. Like A Hurricane (live) - Neil Young 2. Sprawl II - Arcade Fire 3. Rise - Public Image Limited 4. Third Uncle (live) - 801 5. Closer (live) - Nine Inch Nails 6. Won't Stand Down - Peter Gabriel 7. Won't Back Down - Johnny Cash 8. Catch Me Now I'm Falling - The Kinks 9. I Used To Be A King - Graham Nash 10. Fabulous People - Joe Jackson 11. Glad (live) - Steve Winwood and Eric Clapton 12. Pretzel Logic (live) - Steely Dan w/ Steve Winwood 13. Don't Hate Me (live) - Steven Wilson 14. Funk 15 - Dweezil Zappa 15. Into The Lens - Yes 16. Rough and Twisted - The Rolling Stones 17. Grandelinquent - Klark Kent 18. Journey To The Center Of The Mind - The Amboy Dukes 19. Salesman / Mamma Gets By - Paul McCartney The Best Radio You Have Never Heard. Your musical full house. Accept No Substitute. Click to leave comments on the Facebook page.

On its 50th anniversary, we take a track-by-track look at The Royal Scam, Steely Dan's dark and guitar-driven portrait of ambition, illusion, and failed dreams. From “Kid Charlemagne” to the title track, it's an album where every escape comes with a price.

In 1979, Sister Sledge changed the sound of wedding receptions forever with “We Are Family.” Believe it or not, the Chic-penned banger never made it to No. 1. Steely Dan helped invent Yacht Rock with 1977's jazzy bop “Peg.” (They would have loved it better if it had cracked the Top 10.) And in 1972, Elton John told a timeless tale of a blue-jean baby, a “Tiny Dancer.” Casey Kasem never counted it down.Today on Hit Parade: Chris Molanphy celebrates “near misses”—now-ubiquitous hits that missed the mark on the pop charts, stalling out at No. 2, No. 11, or No. 41. In this episode, Chris zooms in on near-misses from the 1970s, including songs from Paul McCartney, the Spinners, Jackson Browne, Cat Stevens, Diana Ross, and Michael Jackson. Get more Hit Parade with Slate Plus! Join for bonus episodes of "The Bridge" and ad-free listening across all your favorite Slate podcasts. Subscribe directly from the Hit Parade show page on Apple Podcasts or Spotify. Or, visit slate.com/hitparadeplus to get access wherever you listen.Need to set up your Slate Plus feed? If you subscribed through Slate.com, check out our FAQ at slate.com/podcastfaqs for easy instructions. Members subscribed via Apple Podcasts get automatic access—no setup required. Hosted on Acast. See acast.com/privacy for more information.

In 1979, Sister Sledge changed the sound of wedding receptions forever with “We Are Family.” Believe it or not, the Chic-penned banger never made it to No. 1. Steely Dan helped invent Yacht Rock with 1977's jazzy bop “Peg.” (They would have loved it better if it had cracked the Top 10.) And in 1972, Elton John told a timeless tale of a blue-jean baby, a “Tiny Dancer.” Casey Kasem never counted it down.Today on Hit Parade: Chris Molanphy celebrates “near misses”—now-ubiquitous hits that missed the mark on the pop charts, stalling out at No. 2, No. 11, or No. 41. In this episode, Chris zooms in on near-misses from the 1970s, including songs from Paul McCartney, the Spinners, Jackson Browne, Cat Stevens, Diana Ross, and Michael Jackson. Get more Hit Parade with Slate Plus! Join for bonus episodes of "The Bridge" and ad-free listening across all your favorite Slate podcasts. Subscribe directly from the Hit Parade show page on Apple Podcasts or Spotify. Or, visit slate.com/hitparadeplus to get access wherever you listen. Hosted on Acast. See acast.com/privacy for more information.

In 1979, Sister Sledge changed the sound of wedding receptions forever with “We Are Family.” Believe it or not, the Chic-penned banger never made it to No. 1. Steely Dan helped invent Yacht Rock with 1977's jazzy bop “Peg.” (They would have loved it better if it had cracked the Top 10.) And in 1972, Elton John told a timeless tale of a blue-jean baby, a “Tiny Dancer.” Casey Kasem never counted it down.Today on Hit Parade: Chris Molanphy celebrates “near misses”—now-ubiquitous hits that missed the mark on the pop charts, stalling out at No. 2, No. 11, or No. 41. In this episode, Chris zooms in on near-misses from the 1970s, including songs from Paul McCartney, the Spinners, Jackson Browne, Cat Stevens, Diana Ross, and Michael Jackson. Get more Hit Parade with Slate Plus! Join for bonus episodes of "The Bridge" and ad-free listening across all your favorite Slate podcasts. Subscribe directly from the Hit Parade show page on Apple Podcasts or Spotify. Or, visit slate.com/hitparadeplus to get access wherever you listen. Hosted on Acast. See acast.com/privacy for more information.

Show Date: 5/28/26Andy and Dan review the album "The Royal Scam" from 1976 by Steely Dan.Sports and Songs Podcast Links:https://www.facebook.com/sportsandsongs1https://twitter.com/SportsandSongs1https://www.instagram.com/sportsandsongs/https://www.sportsandsongspodcast.com/

Bonus episode featuring Robert Palmer, Atlantic Rhythm Section, Steely Dan and more. Learn more about your ad choices. Visit megaphone.fm/adchoices

Comedian Jess Lupini joins us to talk Steely Dan, DQ breakfast treats, and judging a beard contest. Follow us: Instagram, Facebook, Bluesky. Join our Discord. Become a MaxFun member to get all our bonus content.

Part 1 of my conversation with guest Phil Stacey as we discuss our favorite guitar solos. Show notes: Occasional chiming in from CC intern Lily Rolling Stone recently released a top 100 solos list Phil likes the long jammy solos Solos can go along with a riff or go off on crazy tangents Steely Dan used many guitarists Jay used to be into '80s speed guitar Vinnie Vincent went way over the top Charlie Sexton was a guitar prodigy who went on to play in Dylan's band The greatness of early Dire Straits Tough to narrow down our lists Appreciating Billy Idol Eagles bad, Joe Walsh good Terry Kath could rip So many great Jimmy Page solos The vast and weird catalog of Frank Zappa Billy Corgan has many excellent solos Kim Thayil was an unconventional soloist Bowie worked with many great guitarists: Mick Ronson, SRV, Belew, Earl Slick, Reeves Gabrels Townshend's solo on "I Can See for Miles" is simple but intense Fun weirdness from Focus on "Hocus Pocus" Phil's #10 is a tie Roger Hodgson of Supertramp was better known for playing keyboards Many hidden gems in the Who catalog Jay's #10: Josh Homme of Queens of the Stone Age Phil's not a fan of mosh pits To be continued Completely Conspicuous is available through wherever you get podcasts. Subscribe and write a review! The opening and closing theme of Completely Conspicuous is "Theme to Big F'in Pants" by Jay Breitling. Voiceover work is courtesy of James Gralian.

This week, Red and Jodie are joined by Mike from WFOD to go through "The Songs That Piss Us Off." Can a creepy "Herbert the Pervert" kind of song beat a song about peeing and how much it hurts? YOU be the JUDGE!Steely Dan - Everyone's Gone To The MoviesVSFrank Zappa - Why Does It Burn When I Pee?Follow Mike ⁠on Twitter @WFODShowAnd visit his show's website!!Listen to their show HERE.Vote via ⁠⁠⁠⁠Twitter⁠⁠⁠⁠, ⁠⁠⁠⁠Discord OR under the episode description on Spotify.Join the ⁠⁠⁠⁠Patreon⁠⁠⁠⁠Join the ⁠Discord⁠

RVD welcomes MVP to the show just ahead of #AEW Double or Nothing! MVP shares stories about being a producer in WWE, his journey from prison to pro wrestling, wrestling tribalism, #SteelyDan and so much more! Catch Marking Out MVP & Dwayne Swayze! https://www.youtube.com/@markingoutshowofficial Check out their Patreon! https://www.patreon.com/TheMarkingOutShow Check out www.DAMGOODCBD.com Right now, when you buy two months of BlueChew Gold, you get the third for FREE with promo code RVD. Visit www.BlueChew.com for more details and important safety information, and we thank BlueChew for sponsoring the podcast. If you're ever injured, you can check out Morgan & Morgan. Their fee is FREE unless they win. For more information, go to www.ForThePeople.Com/RVD or dial #LAW (#529) from your cell phone. Hosted by Simplecast, an AdsWizz company. See pcm.adswizz.com for information about our collection and use of personal data for advertising.

Listen to the rest of this premium episode by subscribing at patreon.com/knowyourenemy. As always, listeners asked more mailbag questions than we could respond to in one episode, so we continue answering them here for subscribers. In this second round we take up: a playlist of KYE's Straussian-related episodes; (Straussian) esoteric writing versus (French) death of the author and the art of writing (and interpretation); prose style—what it is, why it matters, its relationship to poetry, and the rhythms of Norman Maclean; a "Straussian" reading of Steely Dan; and why liberalism is (mostly) worth defending. Thank you to everyone who attended our live event in NYC on Thursday! We had a great time.  Sources: Leo Strauss, Persecution and the Art of Writing (1952) — Thoughts on Machiavelli (1958) Stanley Rosen, Hermeneutics as Politics (1987) Wallace Stevens, "The Snow Man," Poetry, Oct 1921 Norman Maclean, A River Runs Through It and Other Stories (1976) — The Norman Maclean Reader (2008) Edmund White, Nocturnes for the King of Naples (1978) Marilynne Robinson, Gilead (2004) W.H. Auden, "Friday's Child," (1958) Sam Adler-Bell, "Can Liberalism Stop Being So Darn Liberal?" The New Republic, June 20, 2024.

Nearly perfect albums are a trap and we walked straight into it. We go down a punchy list of 1980s rock staples and actually argue the hard part: what makes a classic rock record feel flawless from top to bottom, and what makes it feel “too polished” even when the songs are huge. From Back In Black to Appetite For Destruction to Purple Rain, we swap favorites, call out the moments where bands start chasing the mainstream, and talk about how producers and the 80s studio sound shaped what we still hear today.Then we hit the headlines with music news that's equal parts heartfelt and nerdy. We talk about Dolly Parton stepping away from her Las Vegas residency for health reasons, the growing wave of big releases and comebacks, and the live music trend that sent us spiraling: metal shows inside caves. If you've ever wondered how acoustics, reflective surfaces, and a room full of bodies change a mix after soundcheck, we break it down in plain English.We also bring the community into the driver's seat with the question of the day: what 70s or 80s artist had a completely unique sound? The crew drops everything from Bowie and Hendrix to Pink Floyd, Steely Dan, Run-DMC, and more. Add current country and rock charts, a quick 2001 time capsule on radio and CDs, and a mailbag on branding and “too polished” artists, and you've got a full hour of music podcast conversation that feels like hanging with real fans. Subscribe, share with a friend, and leave a review, then tell us your one truly unique artist pick.Episode LinksChris Franz: https://jayfranze.com/episode27/Dalila Mya: https://jayfranze.com/episode102/Alyxx: https://jayfranze.com/episode123/Gina Fritz: https://jayfranze.com/episode137/Mark Badolato: https://jayfranze.com/episode140/Stephanie Rabus: https://jayfranze.com/episode149/MacKenzie Leigh: https://jayfranze.com/episode153/Kieran Robertson: Send us Fan MailSupport the showLinksJay Franze: https://jayfranze.com/JFS Countdowns/Playlists: https://jayfranze.com/playlists/ContactContact: https://jayfranze.com/contact/SocialsInstagram: https://www.instagram.com/jayfranzeYouTube: https://youtube.com/@jayfranzeEverywhere: @jayfranzeServicesServices: https://jayfranze.com/services/BooksBooks: https://jayfranze.com/books/MerchandiseMerchandise: https://jayfranze.com/merchandise/SupportSupport: https://jayfranze.com/support/Sponsor the Show: https://jayfranze.com/sponsor/Shout OutsHigh Mountain Breezes Music: https://highmountainbreezesmusic.com/VR Knives: https://www.facebook.com/VRKnives

Let’s get crazy about ‘90s-era B-movies, exploitation films, and French New Wave director Jean-Luc Godard’s theory that to make a great movie, “all you need is a girl and a gun.” Zeth is looking back at Tamra Davis’ 1992 neo noir ‘Guncrazy’ starring Drew Barrymore and James Le Gros. Plus we make a mixtape inspired by the movie including songs by PJ Harvey, Steely Dan, Sloan, and more. Become an All Access member and get ad-free listening by visiting disgracelandpod.com.See omnystudio.com/listener for privacy information.