Podcasts about Townes Van Zandt

Con Swamp Dogg, Aaron Frazer, Trish Toledo (Feat.Thee Sinseers), Durand Jones & The Indications, The Magnolians, Townes Van Zandt, Don Williams and Emmylou Harris, Sarah Calderwood, Frank McPeake and Son, Ed Sheeran, The Byrds, Cecilia, Manzanita, Julio Iglesias, Mocedades, Amaía Romero.

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.

Trigger warning: This episode delves into “Tecumseh Valley” by Townes Van Zandt, a song that discusses the suicide of one of its characters. Listener discretion is advised. ALL-BUMMER SUMMER continues on THE STORY SONG PODCAST! Join your hosts for their review of the 1968 country music classic, “Tecumseh Valley,” written and performed by singer/songwriter Townes Van Zandt.  “Tecumseh Valley” by Townes Van Zandt (from the album For the Sake of the Song) is available on Apple Music, YouTube Music, Amazon Music, Tidal, Pandora, Spotify, or wherever you listen to music. “Tecumseh Valley” by Townes Van Zandt (from the album Our Mother the Mountain) is available on Apple Music, YouTube Music, Amazon Music, Tidal, Pandora, Spotify, or wherever you listen to music. Continue the conversation; follow THE STORY SONG PODCAST on social media. Follow us on Bluesky (@storysongpodcast.bsky.social), Instagram (storysongpodcast), Facebook (thestorysongpodcast), Threads (storysongpodcast), GoodPods, and Podchaser. Learn more about your ad choices. Visit megaphone.fm/adchoices

This week on The Watering Hole, we're joined by rising Texas singer-songwriter Hank Weaver. Originally from Bells, Texas, and now based in San Marcos, Hank has quickly become one of the most exciting young voices in the Texas and Red Dirt music scene. Drawing inspiration from legends like Guy Clark, Steve Earle, Todd Snider, and Townes Van Zandt, he's built a reputation for honest songwriting and authentic storytelling.We dive into Hank's journey into music, his time cutting his teeth playing legendary Texas venues, the stories behind the songs on his debut album Me and My Blues, and what it's been like carving out his own path in today's Texas country scene. We also talk songwriting, musical influences, life on the road, and what's next as his career continues to grow.If you're a fan of authentic Texas country, great songwriting, and discovering the next generation of artists keeping the tradition alive, this is an episode you won't want to miss.

Townes Van Zandt's life touched mine only tangentially until recently. I first heard of Van Zandt through Nanci Griffith's cover of his song “Tecumseh Valley.” Like many Van Zandt ballads, it tells a tragic and beautifully melodic story about a woman named Caroline. “Techumseh Valley” is about a life, a time, and a place far from the life I've led. Yet, it's a song I'll never forget. Although Van Zandt never became a big name in the music world during his career, it is because of the depth, emotion, and poignancy of songs like “Tecumseh Valley” that the singer and songwriter is remembered and celebrated today, almost thirty years after his death. There are two more Van Zandt songs that have really touched me. They are “If I Needed You” and “Pancho and Lefty.” I'm covering “Pancho and Lefty” here. “If I Needed You” will arrive in the near future. Thanks for listening. Chapters (00:00:07) - A Little Something About Pancho

Townes Van Zandt's life touched mine only tangentially until recently. I first heard of Van Zandt through Nanci Griffith's cover of his song “Tecumseh Valley.” Like many Van Zandt ballads, it tells a tragic and beautifully melodic story about a woman named Caroline. “Techumseh Valley” is about a life, a time, and a place far from the life I've led. Yet, it's a song I'll never forget. Although Van Zandt never became a big name in the music world during his career, it is because of the depth, emotion, and poignancy of songs like “Tecumseh Valley” that the singer and songwriter is remembered and celebrated today, almost thirty years after his death. There are two more Van Zandt songs that have really touched me. They are “If I Needed You” and “Pancho and Lefty.” I'm covering “Pancho and Lefty” here. “If I Needed You” will arrive in the near future. Thanks for listening. Chapters (00:00:07) - A Little Something About Pancho

Steinar Albrigtsen trenger jo strengt tatt egentlig ingen introduksjon, verken i hjembyen Tromsø eller i resten av landet. Uansett er det verdt å minne om at vi her har å gjøre med en av våre aller største. Han har turnert med Merle Haggard, spilt sammen med Johnny Cash, møtt Townes Van Zandt og blitt invitert på middag av Peter Criss i KISS. Mannen bugner over av gode historier og anekdoter og leverte virkelig varene da han – endelig og omsider – kom til oss og gjestet podkasten vår. For en mann! Ta vel imot ham.

Townes Van Zandt's life touched mine only tangentially until recently. I first heard of Van Zandt through Nanci Griffith's cover of his song “Tecumseh Valley.” Like many Van Zandt ballads, it tells a tragic and beautifully melodic story about a woman named Caroline. “Techumseh Valley” is about a life, a time, and a place far from the life I've led. Yet, it's a song I'll never forget. Although Van Zandt never became a big name in the music world during his career, it is because of the depth, emotion, and poignancy of songs like “Tecumseh Valley” that the singer and songwriter is remembered and celebrated today, almost thirty years after his death. There are two more Van Zandt songs that have really touched me. They are “If I Needed You” and “Pancho and Lefty.” I'm covering “Pancho and Lefty” here. “If I Needed You” will arrive in the near future. Thanks for listening. Chapters (00:00:07) - Pancho the Bandit

Townes Van Zandt's life touched mine only tangentially until recently. I first heard of Van Zandt through Nanci Griffith's cover of his song “Tecumseh Valley.” Like many Van Zandt ballads, it tells a tragic and beautifully melodic story about a woman named Caroline. “Techumseh Valley” is about a life, a time, and a place far from the life I've led. Yet, it's a song I'll never forget. Although Van Zandt never became a big name in the music world during his career, it is because of the depth, emotion, and poignancy of songs like “Tecumseh Valley” that the singer and songwriter is remembered and celebrated today, almost thirty years after his death. There are two more Van Zandt songs that have really touched me. They are “If I Needed You” and “Pancho and Lefty.” I'm covering “Pancho and Lefty” here. “If I Needed You” will arrive in the near future. Thanks for listening. Chapters (00:00:07) - Pancho the Bandit

Metal and Country have more in common than you think. Like the void.The darkness at the center of Townes Van Zandt is the same consuming abyss that fuels Xasthur. Jordan Day knows that better than anyone. A metal guitarist at first, he's now dedicated his art to old school, outlaw country plunging into the depths of the soul. His newest Learning to be Empty includes features from metal fiddle player Charlie Anderson and comes out on bluegrass/metal fusionist Panopticon's label. We talked to him about the record below.

Tied Down Fest, Knicks in the Finals, and Townes Van Zandt's fourth studio album, recorded in NYC. What more can you ask for? Also, did you know that Jakob Dylan's dad played music too?

 We loved talking with Ryan Dart about his new album “Love Don't Break you” AVAILABLEEVERYWHERE! We even got to see the vinyl before it was released, and yes, we totally geeked out over it!   We chatted about his start as a music engineer and how he became a fulltime musician, how he uses music to process all of the things in his life, and his greatest addiction—songwriting!  Ryan Dart is a Colorado-based Americana songwriter, farmer, and father whose new album, If Love Don't Break You,released May 1, 2026. Rooted in love, loss, and hard-earned wisdom, Dart's music reflects a life shaped by the land and the road, drawing influence from Dylan, Cash, Townes Van Zandt, Tom Waits, and classic rhythm and blues. Raised below the poverty line in western Arkansas, he brings lived experience and emotional honesty to every song. Featuring an all-star cast including Richard Bowden, Nate Barnes, and members of Elephant Revival, If Love Don't Break You is Dart's most personal and fully realized work to date.    Be sure to check Ryan out here:  FB: Ryan Dart  IG: Ryandartmusic  YouTube: dartryandart  Website: Ryandartmusic.com  

Welcome to our bi-monthly ENCORE PRESENTATION of classic REVOLUTIONS PER MOVIE episodes from the vault! Today, as we frustratingly say goodbye (for now) to Stephen Colbert on Late Night, I bring you the sweetest and most honest discussion from The Late Show With Stephen Colbert writer & performer, the legendary Brian Stack. Not only did we discuss his love and passion for Townes Van Zandt (whose documentary he chose to discuss), but he was also really open about his time at Late Night With Conan O'Brien and his transition to working on Colbert's show, offering a fascinating glimpse into the world of late-night.Hope to see you again soon, Dr. Frankenstein's Monster!(Episode 104 originally aired on July 17th, 2025).This week, I am joined by one of the greatest late-night writers & performers of all time, BRIAN STACK (Late Night With Conan O'Brien, The Late Show with Stephen Colbert), who picked a beloved music documentary to discuss: Be Here To Love Me - A Film About Townes Van Zandt.We discuss the differences between working on Conan and Stephen's shows, the last-minute panic of doing a late night show, my experience performing on Conan, accidental mistakes turning into magic, how many of Brian's characters are tragically musical, band banter, the melancholy edge of the best comedy, how musicians who write the best sad songs are often the funniest people, the creation of the band Slipnutz, how Townes' music came into both our lives later in life, songs that tear you heart out, being a musician's musician, The Stooges, Aimee Mann, Dave Alvin, The Chelsea Hotel being the headquarters of Zandt's record label, how Townes is his own storyteller in this documentary, self-destructive tendencies in comedy and music, Dylan and Townes relationship, our Chris Elliott obsessions, being under-heard and misunderstood, Steve Shelley of Sonic Youth trying to help Townes make a record, the documentary Heartworn Highways, Neko Case, Mick Jagger's country accent, writing songs in your dreams and so much more.So let's laugh through the pain on this week's episode of Revolutions Per Movie.BRIAN STACK:https://teamcoco.com/celebs/brian-stackREVOLUTIONS PER MOVIE:Host Chris Slusarenko (Eyelids, Guided By Voices, owner of Clinton Street Video rental store) is joined by actors, musicians, comedians, writers & directors who each week pick out their favorite music documentary, musical, music-themed fiction film, or music videos to discuss. Fun, weird, and insightful, Revolutions Per Movie is your deep dive into our life-long obsessions where music and film collide.Revolutions Per Movie releases new episodes every Thursday on any podcast app, and additional, exclusive bonus episodes every Sunday on our Patreon (over 125 bonus episodes are available and counting). If you like the show, please consider subscribing, rating, and reviewing it on your favorite podcast app. Thanks!PATREON:The show is also a completely independent affair, so the best way to support it is at patreon.com/revolutionspermovie. By joining, you can get weekly bonus episodes and series such as A Very Opinionated Look At Urgh! A Music War & What Makes The Midnight So Special?, A Devotees Look At New Wave Theater, Exploring The Axis: The Oral History Of Frontier Records With Lisa Fancher, Dips On Chips w/ Jeff McDonald of Redd Kross, physical goods such as a limited edition 7" Flexidisc, and other exclusive goods that I send out to you for supporting the show. It helps the show to keep going and is greatly appreciated!TIP JAR:ko-fi.com/revolutionspermovieSOCIALS:@revolutionspermovieBlueSky: @revpermovieTHEME by Eyelids 'My Caved In Mind'www.musicofeyelids.bandcamp.com ARTWORK by Jeff T. Owenshttps://linktr.ee/mymetalhand Hosted on Acast. See acast.com/privacy for more information.

Americana, Roots, Folk, Blues and Country music.40 BEST SINGER SONGWRITER ALBUMS. (PART 3 0F 3)Episode includes Tim Hardin, Townes Van Zandt, Vashi Bunyan, John Stewart and Michael Chapman.(Part 1, 227 Part 2, 232)

Singer-songwriter Michael Weston King picks tracks from across his career, a conversation bookended by his new solo album Nothing Can Hurt Me Anymore, shaped by the Southport attacks of summer 2024 and the loss of his granddaughter, Bebe. King recalls Fragile Friends, who put out singles through Probe Records in early 80s Liverpool. After their split he found country music and formed The Good Sons, touring and recording with Townes Van Zandt. Solo albums followed, including collaborations with Jackie Leven, and with Chris Hillman and Herb Pederson. With his wife Lou Dalgleish he formed My Darling Clementine, enjoying critical success, their most recent project recording Elvis Costello songs with Steve Nieve.

Legendary songwriter, performer, and actor Steve Earle joins Andy Frasco on the show this week for an interview that spans his entire career. This deep dive touches on him running away from home as a kid, doing drugs at a young age, being a recovering addict, and his role as a parent to a son with special needs. Steve Earle is one of the great orators of our time, and that is on display during this world-saving interview. He also talks about opening for Bob Dylan and his friendship with his hero, Townes Van Zandt. They even get into his love of New York Yankees baseball and Premier League Soccer.

Hoy en La Gran Travesía podréis escuchar a Snow Patrol, Tom Waits, Aretha Franklin, Mamas and the Papas, Eagles, Stone Temple Pilots, The Struts, Townes Van Zandt, Terence Trent D´ Arby... y muchos más. ▶️ Y ya sabéis, si os gusta el programa y os apetece, podéis apoyarnos y colaborar con nosotros por el simple precio de una cerveza al mes, desde el botón azul de iVoox, y así, además podéis acceder a todo el archivo histórico exclusivo. Muchas gracias también a todos los mecenas y patrocinadores por vuestro apoyo: Juan Antonio Méndez Benítez, Antonio Vicente Álvarez, Aida Borrallo, Eduardo Gutiérrez, Rafa Navarro, José Carlos Lozano, Ikatza, Cabe1961, Guillermo Esteban, Diego Román, Raquel, Sergio Rodríguez Rojas, Javier, Jose Antonio Moral, Juanito, Octavio Oliva, Andreea Deea, Igor Gómez Tomás, Matías Ruiz Molina, Eduardo Villaverde Vidal, Víctor Fernández Martínez, Rami, Leo Giménez, Alberto Velasco, Poncho C, Francisco Quintana, Con, Tete García, Marco Landeta Vacas, Oscar García Muñoz, Raquel Parrondo, Nacho, Alberto, Moy, Dani Pérez, Santi Oliva, Vicente DC, Leticia, Melomanic, Arturo Soriano, Gemma Codina, Raquel Jiménez, Pedro, SGD, Raul Andres, Tomás Pérez, Pablo Pineda, Quim Goday, Enfermerator, Joaquín, Horns Up, Victor Bravo, Fonune, Francisco González, Marcos Paris, Daniel A, Redneckman, Elliott SF, Sementalex, Miguel Angel Torres, Suibne, Noyatan, Iván Menéndez, Niksisley y a los mecenas anónimos.

On this episode of The Bandwich Tapes, I sit down with singer-songwriter Ryan Dart for a conversation that goes far beyond music, into growth, healing, and what it really means to live honestly as an artist.We start with Ryan's songwriting process, which is less of a routine and more of a way of life. Whether he's hiking, sitting in a restaurant, or wrapping up the day, writing has become a daily practice, one that serves as both therapy and a way to process the world around him.From there, we rewind to his early years, growing up in rural Arkansas, surrounded by music from artists like Bob Dylan, Johnny Cash, and Townes Van Zandt. That foundation shaped not only his sound but also his approach to storytelling and songwriting.Ryan shares his unique journey through the music industry, working as a producer, engineer, tour manager, and guitar tech, including time on major tours with bands like The Who, Aerosmith, and Van Halen. Seeing the industry from every angle could have pushed him away from music, but instead, it clarified his purpose.We spend a lot of time discussing something at the center of this episode: growth through hardship. Ryan opens up about going through a divorce, rebuilding his life, and how that process completely reshaped his songwriting. Rather than rushing to document heartbreak, he allowed time and healing to transform those experiences into something deeper and more honest.That same honesty carries into a conversation about sobriety, self-awareness, and learning to let go of people-pleasing. Ryan talks about how removing those layers has opened his creativity in ways he never had access to before, and how writing from a place of truth has changed everything.We also get into the practical side of his current creative life, recording his new album in Colorado, committing to writing and releasing a new song every week, and building a body of work that reflects who he is right now.This is a conversation about starting over, trusting the process, and creating from a place that's real.Key TakeawaysRyan Dart approaches songwriting as a daily practice rooted in observation and emotion.His early influences—from Bob Dylan to Johnny Cash—shaped his storytelling voice.Working behind the scenes in the music industry gave him a full perspective on the business.Growth through divorce and personal reflection led to a completely new songwriting voice.Sobriety and self-awareness have opened up a deeper level of creativity.Letting go of people-pleasing has allowed him to write more honestly.His weekly songwriting project is building both discipline and a large creative catalog.Music from the EpisodeIf Love Don't Break You - Ryan DartDirt Road Woman - Ryan DartDancin' On Your Porch - Ryan DartAbout the PodcastThe Bandwich Tapes is my chance to sit down with musicians, songwriters, and creative artists for thoughtful conversations about their craft, their journey, and the experiences that shape the music we hear.Connect with the ShowEmail: contact@thebandwichtapes.com

Let's talk about Townes Van Zandt's self-titled album. Not sad. Just hopeless. Text your friends and tell them you love them. RIP Bo Lueders. RIP Andy Kaufman.

Los Angeles, California's J MAU & THE KISS OFF emerge from what they lovingly call their “beloved hellhole” with their debut single “Poison,” out March 25. Founded in 2025 by Justin “J Mau” Maurer, longtime punk lifer and founder of Clorox Girls, Suspect Parts, L.A. Drugz, and Maniac, the project finds Maurer turning toward something darker and dustier without losing the bite that's always defined him. “Poison” is a cinematic honky tonk murder ballad filtered through decades of West Coast punk history. It's the first glimpse of a songwriter who's always followed the feeling, even when it led somewhere uncomfortable. Maurer's story isn't mythology. It's messy and real. A CODA raised between Los Angeles and Bainbridge Island by a single Deaf mother, American Sign Language was his first language. Punk became his second. After surviving a turbulent childhood and helping put his abusive father in jail as a teenager, Maurer found autonomy in the underground. By fifteen he was booking shows and touring. By twenty he was releasing records and circling the globe with Clorox Girls. Along the way he built a parallel career as one of the country's most respected ASL interpreters, working alongside prominent political figures like Michelle Obama, Bernie Sanders, Elizabeth Warren, Gavin Newsom, Kamala Harris, and Joe Biden, stage interpreting for punk legends like Alice Bag and The Avengers, interpreting Deaf actor Troy Kotsur's historic 2022 Academy Award acceptance speech, and appearing with Kotsur on Curb Your Enthusiasm. His life has always moved between worlds. After stints living in Madrid, London, and Baja California, and in the wake of a divorce that leveled him, Maurer found himself flat on his back in an East Hollywood apartment, cowboy boots still on, old country records spinning. Hank Williams. Buck Owens. Merle Haggard. Gram Parsons. Kris Kristofferson. Townes Van Zandt. He finally understood it. “Real country music is poetry,” Maurer says. “It's about failure, heartbreak, and the tragic human condition. Music to laugh and cry and live and die by.” That rock-bottom clarity led him to write “Poison.” Recorded at Savannah Studios in Boyle Heights with Ignacio “Iggy” Gonzalez and backed by Patrick “Butterworth” Vasquez and Kevin “Quake” Milner, the track moves like a slow-burning reckoning. Acoustic strum, restrained rhythm, and a haunted vocal that feels equal parts confession and warning. From his window in Pico Union, Maurer could hear children playing at the elementary school across the street. Listening to old country compilations full of doomed protagonists, he imagined himself as a man on the run whose days were numbered, watching that schoolyard and knowing he might never see it again. That's where the line came from: “When will you see the children play / You never will again.” The refrain doesn't comfort you. It circles back like a hard truth you can't shake: “It's got a way / That poison's got a way / It's got a say / It's got the final say.” The single arrives with an 8mm-shot video co-directed by Maurer's former MANIAC bandmate Zache Davis and Marta Ribate Gracia-Davis. Grainy, sun-bleached, and edited with a careful hand, it plays like a spaghetti western fever dream, a corrido where the protagonist must confront how he'll be remembered before the end comes calling. The artwork, designed by longtime collaborator Matthew “Snake” Davis, leans into vintage flash tattoo skulls and silent-film menace. J MAU & THE KISS OFF OnlineINSTAGRAM| SPOTIFY| BANDCAMP| FACEBOOK| YOUTUBE Checkout my YouTube Channel with long form interviews from the Subversives | the History of Lowest of the Low. https://www.youtube.com/playlist?list=PL9d1VSeOHYuxFWKuRdmn9j8UTW6AHwS_fAlso my Weekly Tour Vlog is up an live on the YouTubeshttps://www.youtube.com/playlist?list=PL9d1VSeOHYuwphwhc4zd0VgY66f1OUQZp Pledge monthly with Patreon https://www.patreon.com/apologueShop Apologue products at http://apologue.ca/shopCheck out new Four Square Here: https://distrokid.com/hyperfollow/foursquare/brighton-beach-ephttps://distrokid.com/hyperfollow/foursquare/seven-oh-sevenhttps://distrokid.com/hyperfollow/foursquare/industry-at-home–21st-anniversary-remix-remasteredhttps://distrokid.com/hyperfollow/foursquare/when-weeks-were-weekends

Country songwriter Townes Van Zandt was an incredible talent who toiled in obscurity. Most of his albums never sold more than a few thousand copies. Like his idol, Hank Williams, he was willing to push aside everything to chase the muse – everything but the bottle. And like Hank Williams, Townes Van Zandt's legend would only grow greater after his death. This episode was originally published on January 23, 2025. To listen to Disgraceland ad free and get access to exclusive weekly bonus content and more, become a Disgraceland All Access member at ⁠⁠disgracelandpod.com/membership⁠⁠ Sign up for our newsletter and get the inside dirt on events, merch and other awesomeness - GET THE NEWSLETTER Follow Jake and DISGRACELAND: Instagram YouTube X (formerly Twitter) Facebook Fan Group TikTok See omnystudio.com/listener for privacy information.

Country songwriter Townes Van Zandt was an incredible talent who toiled in obscurity. Most of his albums never sold more than a few thousand copies. Like his idol, Hank Williams, he was willing to push aside everything to chase the muse – everything but the bottle. And like Hank Williams, Townes Van Zandt's legend would only grow greater after his death. This episode was originally published on January 23, 2025. To listen to Disgraceland ad free and get access to exclusive weekly bonus content and more, become a Disgraceland All Access member at ⁠⁠disgracelandpod.com/membership⁠⁠ Sign up for our newsletter and get the inside dirt on events, merch and other awesomeness - GET THE NEWSLETTER Follow Jake and DISGRACELAND: Instagram YouTube X (formerly Twitter)  Facebook Fan Group TikTok To learn more about listener data and our privacy practices visit: https://www.audacyinc.com/privacy-policy Learn more about your ad choices. Visit https://podcastchoices.com/adchoices

Back in the Tin Pan Alley (and Brill Building) days there were song-pluggers, and there were vocalists, and never the twain met, but this symbiotic relationship formed the successful division of labor for the great American capitalist record business. Whether they be based in NY, LA, or Nashville successful songwriters rarely had hits recording their own material. Hard to believe that it took Willie Nelson so many years to be recognized as his own best interpreter. Of course, that now seems ludicrous, given Willie's status as “national treasure”.  Tony Bennett, Frank Sinatra and the like had their go-to writers and arrangers, Phil Spector, Don Kirschner and others kept their stable of regular creatives like Carole King and Gerry Goffin in little cubicles laboring to churn out dozens of standards weekly for their employer's contracted recording artists.  But, just like any actor worth his salt in Hollywood will tell you: “without good writing, you ain't got shit”Two of Country Music's most covered songwriters are being honored here today, singing for you in their own voices: Guy Clark, doing “That Old Time Feeling”, and Harlan Howard performing “Heartaches by the Number.” These are craftsmen, whose practical, raw boned approach to their art yielded glittering treasures. HARLAND HOWARD (1927-2002)Harland Howard wrote over 4000 songs, 100 of which made the top ten Country charts. He was inducted into the Nashville Songwriters and Country Music Halls of Fame. There are tribute albums of his songs by Buck Owens, Waylon Jennings and Wille Nelson. He wrote I Fall to Pieces for Patsy Cline, Busted, made famous by Ray Charles, and the monster hit - I got a Tiger by the Tail for Buck Owens. Here he is singing Heartaches by the Number, which a cursory dip into YouTube reveals covers by Ray Price, Dwight Yoakam, Guy Mitchell, Leon Russell, Paul Carrack and Kitty Wells, among others. There are no frills here, but I contend that hearing the voice of the man who created the song is a more personal experience, like someone reading you their diary.GUY CLARK (1941-2016)The ultimate example of an unsung (pun intended) man of influence is “Old No. 1,” the luthier's luthier, Guy Clark. His Texas home-workshop was the Austin epicenter of the Outlaw Country Movement that transformed Country Music. Watch the scene from the documentary Heartworn HIghway with Steve Earle and Rodney Crowell sitting around Guy's kitchen table, trading songs. Townes Van Zandt may have been the most elusive doomed romantic poet of that group, but it was Guy they studied with and trusted - the one they could depend on, the Zen Master of song.And, what songs! They are like short stories, full of vivid characters, evocative dialogue, and carefully observed detail. Songs like Desperadoes Waiting for a Train, L.A. Freeway, My Favorite Picture of You (for his late wife Susanna - the magnetic beauty patiently putting up with the Outlaw's shenanigans). Today, he favors us with That Old Time Feeling, a tune that insinuates itself into your consciousness through a stream of unforgettable images. 

Steve Earle is rock and roll, he is country, and Earle has deep roots in early Americana all the way back to Guy Clarke, Townes Van Zandt, and Rodney Crowell, among many. A songwriter first, I found him with his "Guitar Town" release back in 1986.  Listened to the second album, the Springsteen-esque "Exit 0", a lot, and when 1988's "Copperhead Road" album came out, we turned it up loud. With this episode, I wanted to listen to his older music and talk about artistry, rebellion, and political themes that the three-time Grammy winner has embraced through 20 albums with themes of social justice, addiction recovery, and political, anti-war views. A newly-invited member to the Grand Ole Opery (who would have ever thought that would happen back in 1987), we also listen to some of what is a whole lot of great cover songs. Let's go.

Steve Earle is one of America's greatest living songwriters. His career spans decades, and he is widely respected as an incredible artist by so many musicians. His first album Guitar Town got his career started 40 years ago. It reflects the influence of other great artists like Guy Clark, and Townes Van Zandt who were huge inspirations for him. 

Send a textIn this week's Music of the Mountains, we're featuring country singer-songwriter Alma Russ, traveling from her home state of North Carolina to perform at the Gold Hill General Store on Friday, March 6th, at 7:30 p.m.! Narratives are the most compelling part of music to Alma Russ. The Florida-born musician spent summers with her family on her greatgrandmother's property in Sylva, North Carolina, and Appalachian folk music inspired her most.“When I was, like, 12, I got into singing Scotch-Irish murder ballads,” Russ recalls about her musical upbringing. “In high school, I got more into country music, the great songwriters like John Prine and Townes Van Zandt and people like that, and I decided I wanted to write songs.” Stay tuned to learn more! Support the showThank you for listening to The Mountain-Ear Podcast, featuring news and culture from peak to peak! Additional pages are linked below.If you want to be involved in the podcast or paper, contact: Barbara Hardt, our editor-in-chef, at info@themountainear.com Tyler Hickman, podcast host, at tyler@themountainear.com Jamie Lammers, podcast host, at media@themountainear.com General inquiries: frontdesk@themountainear.com Head to our website for all of the latest news. Subscribe online and use the coupon code PODCAST for a 10% discount for all new subscribers. Submit local events to promote them in the paper and on our website. Find us on Facebook @mtnear and Instagram @mtn.ear Listen and watch on YouTube today. Share this podcast by scrolling to the bottom of our website home page or by heading to our main hub on Buzzsprout.Thank you for listening!

We're back and we're discussing "Our Mother The Mountain," Townes Van Zandt's second studio album and probably his goofiest release. We hate ICE. We love BD Wong and Wayne's World.

You may have noticed a trend on social media the past few years of people praising something as "absolute cinema." Wrestling seems to be no different, as internet cinephiles are quick to scream "absolute cinema" at Roman Reigns staring at Jey Uso or Seth Rollins making a face. On this episode, Andrew and returning guest Paul Wedding will discuss some actual cinema, namely songs from movies. They could be songs made specifically for the movie's soundtrack, songs that are just in the movie and come from somewhere else, or film score. Artists played include Aimee Mann, Quincy Jones, Townes Van Zandt, Moby, Motörhead, Carly Simon, Roy Orbison, Geto Boys, and many more. Grab some popcorn and put your cellphones on silent, we're going to the movies!Theme song: "Hemispheres" by Silent PartnerBluesky: @MusicoftheMat / @justandrewAll VOW podcasts, articles, previews, and reviews: VoicesofWrestling.comJoin the VOW Discord to discuss Music of the Mat and other shows/topics: VoicesofWrestling.com/DiscordDonate to Music of the Mat and other VOW podcasts: VoicesofWrestling.com/DonateAdvertising Inquiries: https://redcircle.com/brandsPrivacy & Opt-Out: https://redcircle.com/privacy

listen without inserted ads at www.patreon.com/dopeypodcastsend emails and voicemails to dopeypodcast@gmail.comOn this Dopey Wednesday!  We get super spiritual about fear, gratitude and love! We read spotify comments which were super sweet. And then we dive deep with legendary actor and recovering addict Ned Van Zandt. Ned takes us from snorting heroin with Andy Warhol superstars in 1978, to living at the Chelsea Hotel the exact week Sid Vicious and Nancy Spungen moved in, to fronting Sid heroin and eating at Burger King with him the day after Nancy's murder. He shares his belief about who really killed Nancy, his years shooting heroin and meth, multiple relapses, jail, and finally finding lasting recovery.Ned also talks about being Townes Van Zandt's cousin, his acclaimed one-man show “Delle Valley: A True Tale of Sex, Drugs, Rock & Roll and Redemption,” and now running the Upper West Side sober living house Transcend NYC.All this and MUCH MORE on The Wednesday Dose!   Hosted by Simplecast, an AdsWizz company. See pcm.adswizz.com for information about our collection and use of personal data for advertising.

Bassist Dave Jacques is on the show today. Dave was John Prine's bass player for nearly thirty years. That's not just a gig - that's a musical marriage! That's knowing when to play, when not to play, when to push a lyric forward, and when to just lay the hell out of the way and let the song do its thing. This will be a 2-part conversation and Part 2 will come out one week from today.If you know John Prine's music, you know that the bass is doing a lot of quiet heavy lifting. Those songs don't survive flashiness. They survive feel, restraint, and humor, and Dave understood that instinctively. He helped build the foundation under some of the most beloved songs in the American songbook, and he did it without ever getting in the way.What's remarkable is that Dave brought that same sensibility everywhere else he went. Whether it was Emmylou Harris, Buddy Miller, Townes Van Zandt, or countless other sessions and tours, he always sounded like himself — but somehow also exactly right for the artist.In this conversation, we talk a lot about his years with John Prine — what he learned from standing next to and playing with night after night, one of the greatest songwriters ever, not to mention endless hours in a car with him.I've had the pleasure of knowing and playing with Dave on quite a few sessions here in Nashville, and he was also crazy enough to join my band The Volcano Brothers, so if you find yourslef in Nahsville, come see us! You can also find Dave playing with a host of great musicians around town, my favorite being Kenny Vaughan's Imperial Blues Hour.You can get the latest on Dave and his projects over at davejacquesonbass.comEnjoy my conversation with Dave Jacques!This season is brought to you by our main sponsors Larivée Guitars, Audeze, Izotope, FabFilter, and Chase Bliss. Hosted on Acast. See acast.com/privacy for more information.

Join us as we spend a lot of time talking about For The Children in Boston, and a little bit of time talking about Townes Van Zandt's 1968 debut studio album. Also: traumatic brain injuries, misplaced nostalgia for the early 2000s, and Hannibal Buress bits. Keep going, friends. Your stories are not yet written.

For over a decade, the windows in the KUTX booth and the front of the Hole In the Wall have gazed at each other from across the street. Generations of musicians and music lovers have storied memories of the 51-year-old venue, whether you were there to see Townes Van Zandt’s regular performances or Lucinda Williams […] The post Half Dream: “Fly” [Recorded Live at the Hole In the Wall] appeared first on KUT & KUTX Studios -- Podcasts.

Goood Morning! Today we had DR KIIS in to answer all your medical questions! We spoke to this listener who had a booty call for a year and then he got blocked! So we called her up live on air to see if she'd maybe go back to him? We bought in someone from the teams past and dug deep into their history together! Annnd it's Brooklyn's birthday! See you tomorrow! See omnystudio.com/listener for privacy information.

Ryan Bingham never knew until he was an adult that his path would take him into music full time, much less that he would become an international star, nor did he dream of eventually reaching millions more people in film and television. He did not play guitar with much skill until his early twenties. However, he wrote one of his most enduring hits while woodshedding on guitar and harmonica, “Southside of Heaven”. His musical foundation goes back to early exposure to a great record collection and the influence of his father and uncle, especially: as a boy, he was gifted a trove of LPs from the likes of Townes Van Zandt, Guy Clark, Joey Lee, Terry Allen, and The Flatlanders, and you can hear bits and pieces of all those artists' sensibilities and approaches in his music from the jump. As Bingham said in our interview, “I still got vinyl. My family had a bar back in the 60s and 70s in New Mexico called the Halfway Bar. And my uncle saved all the vinyl records out of there from those days. And he ended up giving them to me. And that was really the music I grew up on. I remember living with him at a time and, you know, him showing me how to clean the records with the brush and on the turntable. And I was really, you know, 10, 11 years old and just fascinated with the artwork on that. I remember he had like, Commander Cody and the Lost Planet Airman was live at the Armadillo World Headquarters and all that Jim Franklin art, you know, and all those albums. It was just, I loved all that stuff. So I still got those records and play them all the time.” Ryan Bingham Currently working on a new album scheduled for release in 2026, Ryan Bingham is testing out a number of his new songs on the road, which is where he spoke with my friend Jeff Williams and myself when he played Charlotte recently, in October. In our conversation, we talked about everything from those early days where he was striving to simply have a better job than manual labor, key figures in his career like Marc Ford and Charlie Sexton, pivotal moments like joining My Morning Jacket, Wilco and Bob Dylan on stage, to playing with his current band The Texas Gentlemen, and a whole lot more, including his new song “The Lucky Ones” and excerpts from his latest live album, Ryan Bingham and The Texas Gentlemen Live at Red Rocks as well. Songs heard in this episode:“Southside Of Heaven” by Ryan Bingham and The Texas Gentlemen, from Live at Red Rocks“Jingle and Go” by Ryan Bingham and The Texas Gentlemen, from Live at Red Rocks“The Lucky Ones” by Ryan Bingham and The Texas Gentlemen, excerpt, excerpt“Bread & Water” by Ryan Bingham and The Texas Gentlemen, from Live at Red RocksThanks to my friend Jeff Williams for inspiring me to pursue interviewing Ryan Bingham, and for joining us in our conversation. Thanks also to the team at Sacks & Co. in Nashville for helping to coordinate with Ryan Bingham's team and pave the way for this episode. Thanks to Jaclyn Anthony for producing the radio adaptations of this series on public radio WNCW, where we worked with Joshua Meng who wrote and performed our theme songs. Please take a moment and give us a top rating and where you can, a review. It makes a big impact on the ranking and therefore the visibility of this series to all the other music fans who also follow podcasts. This is Southern Songs and Stories: the music of the South and the artists who make it. - Joe Kendrick

Indie rock legend Evan Dando joins me in episode 130 to talk about The Lemonheads' excellent new album, Love Chant — their first LP of originals in twenty years. We also discuss the Townes Van Zandt covers album he's currently working on, his recently released memoir, Rumors of My Demise, and we delve into important creative influences past and present: Sylvia Plath, the Replacements, Big Star, Love, the mentorship he received from Dinosaur Jr.'s J Mascis, and more. Dando also answers a couple of fun guest questions submitted by our pals Adam Green (who co-wrote the song “Wild Thing” from the new album) and Ben Lee. 

Steve Shaw In-StudioCottonwood Gunners for Vic4Vets InitiativeFundraiser for "Got Your Six Support Dogs"American Roots band Cottonwood Gunners in partnership with Affton MO venue 9 Mile Garden, are presenting their third annual veteran's benefit on Saturday, November 15 from noon to 4:00 pm. A fun day - in the wake of the Veteran's Day holiday - of music, drink specials, dogs, 50/50 raffles and more! 100% of all money raised will go to Got Your Six Support Dogs. GOT YOUR SIX SERVICE DOGS TESTIMONIAL - PARKER NAHRGANG As a part of Cottonwood Gunners veteran celebration, we honor our friend Parker Nahrgang and his wonderful support dog Eddie. A corporal in the US Marine Corps, Parker was deployed twice to Afghanistan – in 2012 and again in 2013. He was a part of the MWSS-273 (Marine Wing Support Squadron) where he spent the majority of his time in the Forward Operating Base (FOB) Edinburgh, Afghanistan. We have gotten to know Parker well and are not only amazed by his bravery, but also his willingness to say "yes" to the service of our country along with his humbleness. Eddie was a graduate of Got Your Six PTSD Support Dogs and never fails to impress us as well – he is indeed on-watch at all times! It's this first-hand knowledge of the profound difference that GY6 makes in veterans' lives that inspired us for this year's fund raise Parker's first deployment occurred less than three months after his daughter was born. Two years later during his second deployment, his son was born – but at least he was able to video call for the birth. During Parker's two Afghanistan deployments, he was faced with countless traumatic events that were nothing short of soul-crushing. Words can seldom describe what leaving a safe and loving home for a combat zone is truly like. It's an internal struggle that many veterans have faced overseas. In Parker's words, "Quite honestly, I don’t believe there are any words in existence that could adequately describe the experiences we face overseas." But the nature of war does not allow for the time to process or grieve. This Marine was able to make it out on the other side okay, and he says, "I can say beyond a shadow of a doubt Got Your Six PTSD Support Dogs gave me my life back." After exiting the Marine Corps, the trauma Parker had been bottling up for years was very evident. He became an emotionless shell of a man. Logically, he knew that he "loved" his family, but all the emotions that he "should" have felt didn't exist. Heart-brokenly and simply put, he didn’t care about his son, his daughter, or his wife. The emotional connection to them was nonexistent - they seemed like complete strangers to him. This is the horrible reality to living with PTSD. Add to that the PTSD symptoms of depression, anxiety, anger, nightmares and so much more including the inability to sleep with about 1-3 hours total a night and rarely longer than 30-minute stints. In Parker's words, "Countless veterans have experienced the same turmoil and suffering I have. Many of which still haven’t received the help they need. Unfortunately, the VA leaves many of us behind... If it were not for the overwhelming generosity of GY6 and those who support their efforts, my life and many others like mine, would be completely different. I like to imagine our souls are like big puzzles, and PTSD destroys that puzzle. But every person at GY6 selflessly takes their own pieces… pieces of their own heart and soul… and gives them to these dogs, it's with those pieces I was finally able to start putting mine back together. I cannot say it enough... Got Your six changed my life, the lives of many others before me, and continue to change the lives of those who came after me. I will never be able to repay GY6 for what they did for me. My hope is to inspire generosity in others so that GY6 can continue their mission, saving lives for many years to come." Speaking on from when after he came home from war and stuck in a terrible cycle of PTSD symptoms of depression, anxiety, anger, nightmares, and sleeplessness, "After a while, and thanks to a persistent wife, I started seeking mental health help. But nothing ever fully worked for me. Some medications would take the edge off my symptoms, but the struggles were still there controlling every aspect of my life. At one point I was on 9 medications that barely scratched the surface. One of the hardest things I had to hear was my doctor saying "Parker, I am sorry... I honestly do not know what to do". I was devastated... I had been holding onto hope that the suffering was temporary. But after years of holding on to that hope, trying countless GOT YOUR SIX SERVICE DOGS TESTIMONIAL - PARKER NAHRGANG medications, countless therapy sessions, countless doctors, and THEN to hear your doctor say we're out of options… Then, by what I can only describe as "an act of God" my wife encountered Got Your Six PTSD Support Dogs. During this encounter they immediately welcomed her with open arms, encouraging her, and began pursuing to helping me. GY6 informed me that it would likely be 1-2 years before they would have a dog ready for me. It takes time to train these dogs, and I just needed to breath, and wait. But after about 5 or 6 months, once again, by what I can only call a direct act of God, GY6 had more dogs pass their training than expected. That’s when I received a call from Nicole Lanahan (founder of GY6), and she asked me if I was ready. I attended their Service Animal training and therapy retreat for 10 days, which was the start of my life changing. The people I met and built relationships with was unbelievable, these connections were something I hadn't felt in years. I finally had a community of other veterans that were in the exact same boat as me, it was a place of belonging. We were not alone anymore, GY6 was holding us together, supporting us, and giving us a priceless gift. I want to help you understand what these dogs like Eddie do…and what he did that first night. At some point in the night during a nightmare he had crawled on me, nudging me, comforting me, he was sensing every time there was a nightmare about to happen and he would wake me "just enough" to not fully wake me, but stop the nightmare from happening, he stood watch, remaining vigilant throughout the night protecting me. Cottonwood Gunners Uniquely Midwestern, American Grit Cottonwood Gunners is a uniquely midwestern American roots ensemble from Saint Louis, Missouri whose spirited and clever compositions are inspired by a remarkable passion for their country and their state and whose members met in the blues bars of Saint Louis’ historic Soulard district. Portraying a fiery brand of songwriting that is reminiscent and influenced by the likes of Johnny Cash, Bob Dylan and Townes Van Zandt, the Cottonwood Gunner unique brand fuses Americana, Outlaw Country, and Electric Folk. Their rare songwriting craftsmanship is highlighted by the brilliant fiddle and mandolin playing of Brian Elder (Trans-Siberian Orchestra) and multi-instrumentalist Mark Hrabovsky (Mike Zito Band, Wack-a-doo, Suave Octopus) blended with the catchy melody and rhythms of cousins Steve Fowler’s bass (Still Free) and Steve Shaw’s guitar (Freeze the Hopper). The Cottonwood Gunner musicality and lyrical content focus on family and life of the Midwest and, combined with smart versions of classic American covers contributes to unforgettable live shows of unquestionable excitement, sentiment, and fun. Their set will make you want to dance, laugh, cry, salute Old Glory and pray to God! All four members have been hailed in their own right as published songwriters to rave reviews across the globe with a combined fourteen full length recordings and countless tours through over 100 cities and towns in the Midwest and throughout the world as part of USO tours. Driven by the patriotic lineage of veterans in their families and love of country, family and the Great Midwest, don’t miss the opportunity to experience Cottonwood Gunners! Contact and Social Media Phone/Hotline 314-226-9038 Facebook: https://www.facebook.com/cottonwoodgunners Video: Cottonwood Gunners You Tube Channel Music: Stream Cottonwood Gunners music | Listen to songs, albums, playlists for free on SoundCloud Epilogue Cottonwood Gunners is proud of their patriotic lineage and salute all members of the military and first responders. The band has contributed its time and efforts to benefit Backstoppers, Fisher House, Got Your Six Support Dogs, Disabled American Veterans, VFW Post 4223, Project Healing Waters, Veterans of Foreign Wars, St. Louis Firefighter Association, Mission Continues, Wounded Warriors and Vietnam Veterans of America. To request an interview or support for your school or organization or to book the band, Call 314-226-9038 or email cottonwoodgunners@gmail.comSee omnystudio.com/listener for privacy information.

Hello friends! High school English and Creative Writing teacher turned singer-songwriter, Matthew Payne is my guest for episode 1518! Matthew has just released his debut EP, "Coyote Howlin Blues" recorded live at Cedar Creek with engineer André Moran and available wherever you stream or download your jams. He's playing tonight, Tuesday, October 7th at Batch in Austin, TX and tomorrow, Wednesday, October 8th at The Dosey Doe in The Woodlands, TX. Go to thisismatthewpayne.net for show dates and info, merch, and more. We have a great conversation about teaching English and Creative Writing for over two decades and switching gears to professional musician, his love of Townes Van Zandt, recording "Coyote Howlin Boues" live in the studio in one day, what he got from teaching, being a dad, playing gigs, writing songs, and much more.I had a great time getting to know Matthew. I'm sure you will too. Let's get down! Follow us on Instagram, TikTok, X, Facebook, Spotify, Apple Podcasts, or anywhere you pod. Send someone the gift of Johnny with Cameo.   If you feel so inclined. Venmo: venmo.com/John-Goudie-1  Paypal: paypal.me/johnnygoudie

Dans cet épisode de La voix est livre, Nicolas Carreau reçoit Julien Delmaire pour son roman La joie de l'ennemi, inspiré par la musique de Townes Van Zandt et l'univers du western. L'écrivain évoque ses personnages marginaux, ses précédents ouvrages et son goût pour les âmes fracassées. L'émission nous ouvre aussi la bibliothèque de l'éditeur Manuel Kerkason et les coups de cœur littéraires des chroniqueurs. Un voyage intense au cœur de la littérature contemporaine.

Episode 331: Hayes Carll is such an admired veteran of the Texas songwriting tradition that his visage is painted on a sign along with Townes Van Zandt at the Old Quarter Cafe in Galveston. Over ten albums, he's matched cleverness with insight and tenderness with roadhouse rock and roll. In this self-effacing interview, Carll talks about his apprentice years at that storied bar, his adjustments after being signed to a Music Row label, and his vulnerable new album We're Only Human. 

Today's guest mellows me out while also thinking about new revenue streams. Welcome David Motamed from The Royal Arctic Institute to the show. Mo, as his friends call him, has a long career in music mixed with a long career as a liver specialist; in medicine, not Silence of the Lambs kinda stuff.He started playing bass with his long-time friend and collaborator Lyle Hysen and wound up with him in the band Das Damen. He's also played in Cell and with Tim Foljahn in Two Dollar Guitar. Through these bands he was also able to play with other artists like Arthur Lee and Townes Van Zandt. While playing music, he also decided he needed to have a “real job” so he studied medicine and is now a liver specialist at Mount Sinai hospital! He stepped away from music for a while to work and raise his family. But he couldn't stay away; not if Lyle had anything to do with it. So, Mo is the bassist for the band The Royal Arctic Institute, who have recently released a new album, which is self-titled just to make things easier on me. Non-scientific tests have shown that their music reduces (my) road rage by 108%. So pick it up on bandcamp; there are physical copied available. Keep an eye on nice restaurants in your area because they will probably be playing somewhere close by on upcoming tours. Check out theroyalarctic.com for info and links. Follow @theroyalai on Instagram. Follow us @PerformanceAnx on socials. Merch is found at performanceanx.threadless.com We have a special Spinal Tap logo up now. You can also just send money purportedly for coffee at ko-fi.com/performanceanxiety. And welcome David Motamed of The Royal Arctic Institute on Performance Anxiety on the Pantheon Podcast Network. Learn more about your ad choices. Visit megaphone.fm/adchoices

Americana, Roots, Folk, Blues and Country music.40 BEST SINGER SONGWRITER ALBUMS. (PART 3 0F 3)Episode includes Tim Hardin, Townes Van Zandt, Vashi Bunyan, John Stewart and Michael Chapman.(Part 1, 227 Part 2, 232)

In this episode of Americana Podcast: The 51st State, host Robert Earl Keen heads into the heart of Red Dirt country with none other than Evan Felker, frontman of the Turnpike Troubadours and one of the most compelling songwriters in modern Americana. From the dusty backroads of Oklahoma to the national stage, Felker has built a legacy rooted in grit, grace, and lyrical honesty. His songs, shaped by weathered landscapes and worn-in truths, echo the spirit of legends like Woody Guthrie and Townes Van Zandt, but his voice, and his vision, are unmistakably his own. Together, Robert and Evan talk about Turnpike's celebrated return, the unpredictable path of creativity, and the quiet power of staying true to where you come from. It's a conversation full of craft, conviction, and the kind of insight only earned by living the life behind the lyrics. Episodes and Bonus content available on YOUTUBE!https://www.youtube.com/@robertearlkeenofficial Donate to the show!https://tiptopjar.com/americanapodcastInstagram@robertearlkeen1Have questions or suggestions? Emailcreatedirector@robertearlkeen.com

I've been around of while.  I've seen and heard hundreds, if not thousands, of live music performances.  Everything from my first concert in 1965 for The Righteous Brothers in St. Louis  to Loretta Lynn at the Ryman Auditorium inNashville, Tennessee. I've been present in locked fado clubs in Lisbon and Porto, Portugal witnessing some of the most profound and emotional music ever performed.    I've sat mere steps away from Guy Clark and Verlon Thompson, Rodney Crowell, Bonnie Raitt, John Fullbright, Steve Earle…. On and on.  I know myself to have been in the presence of folks at the pinnacle of so-called American Roots Music. I felt no less inspired and awed on a Monday night in KansasCity with about 50 other folks listening to an 18 year old lyrical master from Ft. Worth Texas and his partner in music for the evening, Abe Partridge of Mobile, Alabama.Jack started performing original songs at age nine and hasshared the stage with artists like Ray Wylie Hubbard and Wynonna Judd. His mature and heart wrenching lyrics, soulful voice and master guitar skills  pay homage to country music and blues influences. Inspired by legends like Townes Van Zandt, Guy Clark, and Johnny Cash, yet with a voice and point of view all his own, Jack is on track to have career thatwill only mature and flourish in the coming decades.  Do not miss an opportunity to see and support him.We had a bumpy start trying to make the phone connection for this conversation but we finally got it together.  Enjoy my first interview with Jack Barksdale…. I hope to speak to him again someday and wish him nothing but the best.   

This week, I am joined by one of the greatest late-night writers & performers of all time, BRIAN STACK (Late Night With Conan O'Brien, The Late Show with Stephen Colbert), who picked a beloved music documentary to discuss: Be Here To Love Me - A Film About Townes Van Zandt.We discuss the differences between working on Conan and Stephen's shows, the last-minute panic of doing a late night show, my experience performing on Conan, accidental mistakes turning into magic, how many of Brian's characters are tragically musical, band banter, the melancholy edge of the best comedy, how musicians who write the best sad songs are often the funniest people, the creation of the band Slipnutz, how Townes' music came into both our lives later in life, songs that tear you heart out, being a musician's musician, The Stooges, Aimee Mann, Dave Alvin, The Chelsea Hotel being the headquarters of Zandt's record label, how Townes is his own storyteller in this documentary, self-destructive tendencies in comedy and music, Dylan and Townes relationship, our Chris Elliott obsessions, being under-heard and misunderstood, Steve Shelley of Sonic Youth trying to help Townes make a record, the documentary Heartworn Highways, Neko Case, Mick Jagger's country accent, writing songs in your dreams and so much more.So let's laugh through the pain on this week's episode of Revolutions Per Movie.BRIAN STACK:https://teamcoco.com/celebs/brian-stackREVOLUTIONS PER MOVIE:Host Chris Slusarenko (Eyelids, Guided By Voices, owner of Clinton Street Video rental store) is joined by actors, musicians, comedians, writers & directors who each week pick out their favorite music documentary, musical, music-themed fiction film or music videos to discuss. Fun, weird, and insightful, Revolutions Per Movie is your deep dive into our life-long obsessions where music and film collide.The show is also a completely independent affair, so the best way to support it is through our Patreon at patreon.com/revolutionspermovie. By joining, you can get weekly bonus episodes, physical goods such as Flexidiscs, and other exclusive goods.Revolutions Per Movies releases new episodes every Thursday on any podcast app, and additional, exclusive bonus episodes every Sunday on our Patreon. If you like the show, please consider subscribing, rating, and reviewing it on your favorite podcast app. Thanks!SOCIALS:@revolutionspermovieBlueSky: @revpermovieTHEME by Eyelids 'My Caved In Mind'www.musicofeyelids.bandcamp.com ARTWORK by Jeff T. Owenshttps://linktr.ee/mymetalhand Hosted on Acast. See acast.com/privacy for more information.

Send us a textWelcome to Guess the Year! This is an interactive, competitive podcast series where you will be able to play along and compete against your fellow listeners. Here is how the scoring works:10 points: Get the year dead on!7 points: 1-2 years off4 points: 3-5 years off1 point: 6-10 years offGuesses can be emailed to drandrewmay@gmail.com or texted using the link at the top of the show notes (please leave your name).I will read your scores out before the next episode, along with the scores of your fellow listeners! Please email your guesses to Andrew no later than 12pm EST on the day the next episode posts if you want them read out on the episode (e.g., if an episode releases on Monday, then I need your guesses by 12pm EST on Wednesday; if an episode releases on Friday, then I need your guesses by 12 pm EST on Monday). Note: If you don't get your scores in on time, they will still be added to the overall scores I am keeping. So they will count for the final scores - in other words, you can catch up if you get behind, you just won't have your scores read out on the released episode. All I need is your guesses (e.g., Song 1 - 19xx, Song 2 - 20xx, Song 3 - 19xx, etc.). Please be honest with your guesses! Best of luck!!The answers to today's ten songs can be found below. If you are playing along, don't scroll down until you have made your guesses. .....Have you made your guesses yet? If so, you can scroll down and look at the answers......Okay, answers coming. Don't peek if you haven't made your guesses yet!.....Intro song: How Deep Is Your Love by Bee Gees (1977)Song 1: Unwritten by Natasha Bedingfield (2004)Song 2: Rump Shaker by Wreckx-n-Effect (1992)Song 3: Take Control by Weezer (2002)Song 4: High Five Anxiety by Nerf Herder (2002)Song 5: Welcome Home (Sanitorium) by Metallica (1986)Song 6: Rake by Townes Van Zandt (1970)Song 7: Sunless Saturday by Fishbone (1991)Song 8: Bette Davis Eyes by Kim Carnes (1981)Song 9: Sneakin' Sally Through the Alley by Robert Palmer (1974)Song 10: So Fresh, So Clean by OutKast (2000)

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

Interview with John Leon of The Royal Arctic Institute. John returns for the third time to talk about The Royal Arctic Institute's new self titled album.  The Royal Arctic Institute is a cinematic instrumental post-jazz group from New York City. They have been recording and releasing records since 2017. Since forming in 2016, the band has been a revolving door of different musicians comprising several different lineups. The current lineup is composed of drummer Lyle Hysen (Das Damen, Arthur Lee), guitarists John Leon (Roky Erickson, Summer Wardrobe, Abra Moore) and Chris Robertson (Elk City, James Mastro), and bassist David Motamed (Das Damen, Two Dollar Guitar, Arthur Lee, Townes Van Zandt). The band name is a reference to the fantasy trilogy His Dark Materials by Philip Pullman. All four members of the Royal Arctic Institute have spent decades playing in various ensembles, working as studio musicians, backing musicians, and touring musicians. This self-titled fourth full-length recording from The Royal Arctic Institute is the first to include guitarist Chris Robertson. According to the band, Robertson is a crucial addition to the group, as he provides an added dimension to The Royal Arctic Institute sound and creative process, particularly because this debuts the group as a two guitar quintet. The decision to present this new album as a self-titled record is tightly connected to the band's excitement about their current musical direction. The new album also marks the first time The Royal Arctic Institute is working with Ray Ketchum of Magic Door Recording. Ketchum, often noted for his engineering and recording work on the last handful of Guided by Voices albums, helped steer the band towards an approach which allowed for a rich and fully developed sonic experience. Ketchum's keen and well attuned ear in the studio made it possible for The Royal Arctic Institute to focus more on the nuances they had been developing on previous releases, something apparent on “Twigs Of Cries, Feathers Of Sobs.” As guitarist John Leon points out:         https://www.theroyalarctic.com/

There is something that happens when two particular voices blend together that transcends all understanding or logic. And, when those voices share the same DNA, the magnetic pull is such that they become one voice. We've heard that family blend many times: The Everlys, The Wilsons, The Gibbs, The Andrew Sisters, etc. The list goes on.One of the most uncanny examples of this phenomenon belongs to Charlie and Ira Louvin, those titans of Country and Gospel music. When they sing with religious devotion, such as they do here in The River of Jordan - you can hear God and his miracles working in every keening, harmonic fifth. The other song presented today features Robert Plant and Alison Krauss, - a pair of folks about as far from siblings as you can get, but whose vocal cords also combine miraculously.THE LOUVINSThe first time I heard of Ira and Charlie Louvin was through Emmylou Harris's 1975 version of If I Could Only Win Your Love, and I had to know from whence this other-worldly sound originated. Like a hound on the scent, I tracked down several recordings from the brothers, and sat open mouthed as song after song cut through me. The Louvins, whose birth name was Loudermilk (cousins to the noted songwriter), had a contentious relationship, owing to Ira's drunken temperament and womanizing. Charlie contemplated going solo, but Ira's early demise, at 41, in a drunken car crash, made the decision permanent. Ira usually takes the high harmony, but they had the ability to switch mid way through a song so that it was often hard to tell who was covering which part.  Truly one of the all time great sibling singing duos. ALISON KRAUSS AND ROBERT PLANTA musical marriage made in heaven that no fiction writer could have invented, Robert Plant and Alison Krauss came together in one of the most celestial combos ever. The Led Zeppelin frontman, renowned for his soaring falsetto, melds with the rawboned steadiness of bluegrass's sweetheart in an eclectic stew of influences that somehow create a single entity. Today's featured song, Please Read the Letter, nestled among cuts by the Everlys, Gene Clark, Mel Tillis, and Townes Van Zandt was written by Plant and his Zeppelin brother, Jimmie Page, and is added seamlessly to the mix.The resulting album, Raising Sand, produced by the curatorial genius T-Bone Burnett, was released in 2007, and swept the Grammies and Americana Music Awards, taking its place in the pantheon of beautiful enigmas.  

This week, we are joined by musician, producer, composer, and filmmaker Brendan Canty (Fugazi, Rites Of Spring, The Messethics), who chose the wildly unexpected outlaw country documentary HEARTWORN HIGHWAYS to discuss. We also get to discuss the importance of his bands Rites Of Spring & Fugazi, Chris seeing Fugazi in a hippie cafeteria on their first tour, playing videogames with Elliott Smith, Brendan's Burn to Shine series that featured bands playing songs in a condemned house that was going to be burned down, Jem Cohen's film with Elliott Smith, the making of the Rites Of Spring LP, the gang mentality of bands, how his latest score is as if Greg Sage of The Wipers had used an orchestra, how growing up in the 80s country music was seen as the enemy, 70s Country's anti-establishment vibe, Townes Van Zandt, Guy Clarke, David Allen Coe, Brendan's youth on CB radio, Willie Nelson being turned away from being in this film, talented nerds, what it was like recording the Fugazi records at the Inner Ear Studio, Les Blank, big box VHS tapes, Key & Peele parodying Brendans' music and so much more!So put on that bejeweled belt buckle and let's tip our hat on this week's episode of Revolutions Per Movie!!!BRENDAN CANTY:@Brendancantythemessthetics.bandcamp.com/album/the-messthetics-and-james-brandon-lewisREVOLUTIONS PER MOVIE:Host Chris Slusarenko (Eyelids, Guided By Voices, owner of Clinton Street Video rental store) is joined by actors, musicians, comedians, writers & directors who each week pick out their favorite music documentary, musical, music-themed fiction film or music videos to discuss. Fun, weird, and insightful, Revolutions Per Movie is your deep dive into our life-long obsessions where music and film collide.The show is also a completely independent affair, so the best way to support it is through our Patreon at patreon.com/revolutionspermovie. By joining, you can get weekly bonus episodes, physical goods such as Flexidiscs, and other exclusive goods.Revolutions Per Movies releases new episodes every Thursday on any podcast app, and additional, exclusive bonus episodes every Sunday on our Patreon. If you like the show, please consider subscribing, rating, and reviewing it on your favorite podcast app. Thanks!SOCIALS:@revolutionspermovieBlueSky: @revpermovieTHEME by Eyelids 'My Caved In Mind'www.musicofeyelids.bandcamp.comARTWORK by Jeff T. Owenshttps://linktr.ee/mymetalhand Click here to get EXCLUSIVE BONUS WEEKLY Revolutions Per Movie content on our Patreon Hosted on Acast. See acast.com/privacy for more information.

Songwriter, blues guitarist and singer Chris Smither joins me on the show today. I had the pleasure of meeting Chris and playing with him this past summer at a festival, and he really was a force of nature. He had an incredible groove between his guitar lines and his powerful foot, all brought together with a voice that has developed so much character over the years it just oozes out of him. Chris grew up in New Orleans, but as you'll hear, doesn't totally identify musically with his hometown. He's spent most of his career based out of the Massachusetts area, and developed his style and sound in the folk clubs of Boston and Cambridge. His songwriting style owes as much to others from that era and scene as it does to blues songwriters like Lightnin' Hopkins, Mississippi John Hurt and Skip James. He manages to pull something off which I think is difficult and very unique - he's developed a style of songwriting that seems to be right out of that era of the classic folk/blues tradition, but without being even the slightest bit derivative of those artists that came before him. He wrote the songs “Love Me Like A Man” and “I Feel The Same” that became staples in Bonnie Raitt's career and repertoire, not to mention Diana Krall also cutting “Love Me Like A Man”. His recording career began in 1971 with the album “I'm a Stranger, Too!” at which time he was label-mates with Townes Van Zandt. He's been a prolific artist ever sonce then, with a few personal low times where he shied away from making new records. But since the 90's he's been extremely consistent with a new record every year or two. His latest is called “All About The Bones” and is one of his best. Chris is one of those rare artists that just seems to keep getting better, even into his 80's. I had a great conversation with him from his home on a rare break from the road, and we had a chance to dig into all of his history and record-making process. You can keep up with Chris and all his latest news and extensive touring over at smither.com - please enjoy my conversation with Chris Smither!This season is brought to you by our sponsors Larivée Guitars and Fishman AmplificationYou can join our Patreon here to get all episodes ad-free, as well as access to all early episodesThe show's website can be found at www.makersandshakerspodcast.com Get ad-free episodes and access to all early episodes by subscribing to Patreon. Hosted on Acast. See acast.com/privacy for more information.