Results for '60s
The guest this week is Joe Boyd. Boyd recently wrote a book, White Bicycles: Making Music in the 1960s, about his experiences as a producer, manager and club owner in London during that psychedelic era. Jim describes Boyd as one of rock's most fascinating behind-the-scenes characters. He has worked with Pink Floyd, The Incredible String Band, Fairport Convention and Bob Dylan just to name a few.
As an American living in England in the '60s, one of the ways Boyd made a name for himself was through his club UFO. The venue only lasted less than a year, but Boyd explains that those few months in 1967 were remarkable. UFO wasn‘t anything more than a basement, but it featured light shows, films and“happenings,”and was home base to Pink Floyd. The title of Boyd’s book gets its name from track "My White Bicycle," by Tomorrow, one of the many bands to perform at UFO. The song is about the free white bicycles that were passed around in Amsterdam at that time, and Boyd explains that by the end of 1967, most of those bicycles were stolen and re-painted. The result is a“heavy-handed metaphor”for the changing times according to the author.
One of Boyd's major contributions to music is that he is credited with“discovering”Nick Drake. During a meeting with John Cale, Boyd played some of Drake's music, and immediately Cale wanted a meeting with the rising talent. The next day, Cale abandoned his studio date with singer Nico and told Boyd that he wanted to record Drake by that afternoon. The music they made that day and in the years before Drake's tragic death propelled him into this romantic, cult status that grew even bigger after his song "Pink Moon," was used in a Volkswagen commercial.Go to episode 73
One of rock's most influential and interesting figures is former 13th Floor Elevators frontman Roky Erickson. After performing with the psychedelic band in the '60s and as a solo artist in the '80s, the singer's mental and physical health took a severe decline. But in the past couple of years, Roky's sights have improved, and Jim and Greg took this opportunity to celebrate his legacy. During this you'll hear their discussion with Keven McAlester, the director of the film biography You're Gonna Miss Me. McAlester spoke to Jim and Greg after a special screening of the film at Chicago's Music Box Theatre.
Jim and Greg highlight two of their favorite Roky Erickson tracks from different points in his career. The first is a 13th Floor Elevators song called "Reverberation Doubt," which Jim explains is an example of how psychedelic the band was. The song was not only influenced by psychedelic drugs, but it conveys the experience of using them. Jim discusses the term“synesthesia,”which refers the drugs' ability to allow you to actually see musical notes, and“Reverberation Doubt”has a similar effect. As he states, it gives you the "sense that the entire world is vibrating."
The second is a solo track from a later period in Roky's career. "Red Temple Prayer (Two-Headed Dog)" was recorded after Roky came out of Rusk State Mental Hospital in Texas, and wasn't in very good shape. But, musically he was very productive, and became one of the American artists to really lay the groundwork for punk music. Roky's songwriting at this time was influenced greatly by horror movies, and the title of this song gives a sense of where his mental state was. Greg describes“Two-Headed Dog”as a brutal, but wonderfully hard-hitting song.
You'll also hear a montage of covers from the tribute album Where the Pyramid Meets the Eye:
- R.E.M., "I Walked with a Zombie"
- ZZ Top, "Reverberation"
- T-Bone Burnett, "Nothing in Return"
- Butthole Surfers, "Earthquake"
- Julian Cope, "I Have Always Been Here Before"
The Alabama Shakes
The Alabama Shakes have only just released one full-length album and its members are only their early 20s, but already they are receiving a staggering amount of praise. Their fans include critics as well as Patterson Hood of the Drive-By Truckers and Jack White. Jim and Greg think they deserve every accolade they get for successfully bringing back and updating that great soul and rock sound of the south in the '60s and '70s. The quartet includes lead singer Brittany Howard, guitarist Heath Fogg, bassist Zac Cockrell, and drummer Steve Johnson, plus touring keyboard player Ben Tanner. And Brittany and Heath explain to our hosts that they have diverse musical tastes, but are certainly very influenced by the Muscle Shoals sound. Another key to loving the Alabama Shakes? Brittany's voice, of which she's too modest.Go to episode 333
In preparation for this week's guest, Steve Wynn, Jim and Greg do a little primer on the Paisley Underground music scene that developed in California in the 1980s. Jim plays a song by one of the seminal bands of this scene, The 3 O'Clock, whose very psychedelic name was inspired by Tom Wolfe's assertion in "The Electric Kool-Aid Acid Test" that if one drops acid in the early evening, the high of the trip will occur at 3:00 a.m. The 3 O'Clock was helmed by Michael Quercio, a musician who started as a punk rocker. After discovering psychedelic rock, however, his sound, and his look, began to change. It was Cuercio's affinity for the music of the '60s, as well as the brightly colored paisley clothes, that gave this scene its name. While the name did not do the music justice, the influence of the Paisley Underground on contemporary bands like Oasis and The Secret Machines is undeniable.
It may surprise to listeners who are only familiar with "Walk Like an Egyptian," but The Bangles were also pioneers of the Paisley Underground. Their original sound, with its three- and four-part harmonies and sing-songy melodies, paralleled that of The Mamas and the Papas and The Byrds. Lead singer Susanna Hoffs continues to work in this genre; she and '90s indie pop star Matthew Sweet just released a 1960s covers album featuring songs by The Left Banke, The Beach Boys and The Who.
Greg points out that the Paisley Underground sound was not a homogenous one — in fact, what bonded these bands was a punk sensibility that welcomed other musical styles. Unlike many other punk bands at the time, these acts didn't see why they had to conform to a strict policy of three-minute, Ramones-style songs. And what's more punk rock than non-conformity? One band that went above and beyond its punk and psychedelic influences was The Long Ryders. They took more of a country approach and can be seen as pioneers of the alternative country scene that now houses bands like Uncle Tupelo, Son Volt, and The Bottle Rockets.
The Rain Parade is the next Paisley Underground band up for discussion. While the members of The Rain Parade never saw the major label success like their peers in The Bangles or The 3 O'Clock (who were signed to Prince's Paisley Park label), many went on to work on successful projects. David Robeck formed the band Mazzy Star, which had an alternative hit single with "Fade Into You" in 1993 and Matt Piucci went on to work with Crazy Horse. The remaining bandmates reincarnated themselves as Viva Saturn.
Greg plays a song featuring this week's guest, Steve Wynn. His band The Dream Syndicate was a group that both Jim and Greg became fans of in the early '80s. They emerged in LA as one of the pioneers of the Paisley Underground sound. Steve then released a number of solo records and has spent the last few years with his most recent band, The Miracle 3. Steve and his band members, Linda Pitmon, Dave DeCastro and Kirk Swan, joined Jim and Greg for an interview and performance at the Chicago Recording Company.
The Dream Syndicate never made it into the 1990s, but its innovative sound continued to influence artists. While other LA bands at the time, like Black Flag, Social Distortion and Bad Religion, were making post-punk and punk music with a really hard edge, The Dream Syndicate stuck to a swirlier, psychedelic pop sound. For this reason, Jim and Greg explain, no matter how many solo projects he embarks on, our guest will most likely always be remembered as the lead singer of The Dream Syndicate.
After playing a track from Days of Wine and Roses, which Greg calls one of the masterpieces of the Paisley Underground era, our host asks Steve about the chemistry between two guitarists. In this case, Steve's partner in guitar is Kirk Swan, who was in another innovative '80s indie pop band, Dumptruck, Steve responds that the basic formula of guitar, drums, and bass is simple, but never gets old. He points to bands like Neil Young and Crazy Horse and Television as examples.
Jim asks Steve about why he continues on in this business after so many years. As Steve jokes on his website, this new album is one of several“comebacks,”but music is not such an easy life to come back to. After being pegged the“new Springsteen,”Steve and the band had somewhat of a difficult time. He explains how that hurt the band (and indirectly how he hurt Jim one drunken night). Thankfully they both came out on the other side.Go to episode 21
British import Lily Allen is Jim and Greg's guest this week. The hosts have been fans of the 21-year-old for over a year, however her album Alright, Still, was just released in the U.S. While Lily is now launching a full-blown American invasion with major label backing and major press and appearances, she started with more humble means. The singer/songwriter initially drew buzz after posting some songs on her MySpace.com page.
While her career is grassroots, Lily's upbringing still has star power. Her father is British comedian and personality Keith Allen, and she spent many of her family vacations with Uncle Joe. (That's Joe Strummer to you and me). In fact, the singer can boast that she has performed at Wembley with The Clash before she was old enough to buy herself a pint.
Jim and Greg are drawn to Lily's sound, which is a pastiche of pop, reggae, ska and even a bit of '60s“space-age bachelor pad”music. But, it's her lyrics that really“slay”them. Lily writes about everything from an average life in London to a failed relationship with a great deal of honesty, humor, and most of all, attitude. Listen to her performances of hits "LDN" and "Smile," and check out these exclusive bonus tracks.Go to episode 65
This week Jim and Greg talk with legendary '60s singer/songwriter Donovan. In honor of his 40th anniversary in the music business, Donovan has written an autobiography, released a box set, and set out on tour. A contemporary of Bob Dylan and The Beatles, Donovan was acclaimed for his finger-picking style, which he garnered from The Carter Family and demonstrates for our hosts.
Jim and Greg also want to know about the sex, drugs, and rock and roll in Donovan's life. Specifically, they discuss his experience being busted for drugs in 1966. His arresting officer, Sgt. Pilcher, later targeted fellow British rockers Keith Richards, Mick Jagger, Brian Jones and John Lennon.
Another part of the Donovan mythology involves the origin of his song "Mellow Yellow." As Jim points out, many people believe that Donovan was alluding to the ability to get high by smoking banana peels. While Donovan does not refute this idea, which was tried out by Country Joe McDonald, he also admits that part of the song's imagery was taken from a“marital device”he saw advertised in a magazine. In his book, Donovan also suggests that Andy Warhol may have been inspired by the "electrical banana."
Jim and Greg also ask Donovan about covers of his songs. They play for him the Butthole Surfers' rendition of "Hurdy Gurdy Man." Other notable covers include Hüsker Dü's "Sunshine Superman," Eartha Kitt's "Hurdy Gurdy Man," and My Morning Jacket's "Wear Your Love Like Heaven."Go to episode 7
Jim and Greg are joined by the members of Best Coast. The indie trio, named for lead singer Bethany Cosentino's beloved California region, has a unique combination of shoegaze rock and '60s throwback harmonies reminiscent of the Beach Boys and the Mamas and the Papas. Their debut Crazy for You was a surprise hit for an indie release-reaching the Billboard Top 40. Cosentino talks to Jim and Greg about her own musical roots (Dad performed with 70's rock band War), rock heroes (Stevie Nicks) and personal writing style. She's joined by band mates Bobb Bruno on guitars and Ali Koehler, formerly of The Vivian Girls, on drums for a live performance in the studio.Go to episode 258
Richard Thompson is a rock survivor, and with each decade comes a new successful era—whether it's Fairport Convention in the 1960's, with Linda Thompson in the '70s or as a solo artist. (You can check out producer, Joe Boyd, talking about Thompson & Fairport Convention here.) In fact, he's one of only a handful of artists, along the likes of Bob Dylan and Neil Young, who have sustained a high level of artistic intensity and integrity since the '60s. And to further set him apart, he's one of few guitar heroes from that generation without an obvious debt to the blues. Instead, you'll hear blends of Eastern tones, jazz, Scottish balladry and Celtic folk. Jim and Greg agree he's one of the most underrated guitarists and songwriters in folk history and would urge acts like Mumford & Sons to“Listen and Learn.”The first step would be to study his live performance, which includes a gem from the "Capitolyears," the yet to be released "Fergus Lang," and the Richard and Linda classic "I Want to See the Bright Lights Tonight." Plus, check out the bonus track, Greg's request, "Dimming of the Day," which may be his most beautiful love song to date.Go to episode 446
Xmas Spectacular 2011
Holiday music maven Andy Cirzan joins Jim and Greg every Christmas to share a new collection of unique tunes for the season. By day Andy runs Jam Productions in Chicago. By night he searches through record stores, dustbins and basements to find gems for his annual compilation. And he shares a few favorites during this episode. Andy describes the first set as poppin' soul music from the '60s and '70s. Then he brings in the straight ahead uptempo jazz featuring songs from his 2011 compilation "Swingin' Snowflakes: Jingle Jangle Jazz Party." Finally, we go off into the wild blue yonder and get some truly weird and wonderful Christmas songs.Go to episode 316
Holiday music maven Andy Cirzan visits Sound Opinions every December to share with Jim and Greg a new collection of unique tunes for the season. From the weird to the wonderful, these are not your standard Christmas carols. By day Andy runs Jam Productions in Chicago. By night he searches through record stores, dustbins and basements to find gems for Sound Opinions and his annual compilation. This edition is called Santa Soul. You‘ll be treated to holiday soul comps of yesteryear. These are killer Xmas dusties from the ’60s and '70s -tracks by well-known artists like James Brown, as well as groovy underground acts. So light up the yule log and let the soul party begin! Cheers from everyone at Sound Opinions!Go to episode 368
During this episode Jim and Greg wrap up our series on Bob Dylan and bring it up to "Modern Times". How, you may ask, can they gloss over the '70s and '80s so cavalierly? Trust that it was difficult to narrow down Dylan's entire canon to three episodes. And it's important to note that Dylan is one of those rare artists who emerged in the '60s and was still making great, new music into his sixties. So that's why our hosts decided to bring it up to Act III: 1989-2006. Dylan was in amazing form live and released a string of impressive albums including Oh Mercy, Time Out of Mind and Modern Times. He collaborated with producer Daniel Lanois and also worked with Jim and Greg's guest this week, engineer Mark Howard. Howard gives us a sneak peek into what it's like to record with Dylan.
As always Jim and Greg like to round out these features by highlighting significant tracks. Greg chooses an unreleased version of "Mississippi," later put out on The Bootleg Series Vol. 8. A highly produced version appears on 2001's Love and Theft, but Greg prefers the more stripped down recording, calling the performance fascinating. And he notes that Dylan draws from older material for inspiration just like he did when he was starting out as a folkie.
Jim admits that he prefers Dylan live during these years. But "Ain't Talkin'" from Modern Times in 2006 is perfectly simple and spooky–just a fiddle, percussion and that signature voice. This is a song Dylan couldn't have given justice in his younger days.Go to episode 288
The Dawn of Metal
At this point in the show Jim and Greg take a trip back to The Dawn of Metal. Heavy Metal isn't always taken seriously, but it warrants critical, even scholarly analysis. Before there was Metallica or Guns N' Roses, there was a group of rockers that birthed the genre. Jim and Greg trace the history, primarily back to England in the late '60s. Here are the bands the credit with giving us the metal we know and love today.
- Blue Cheer
- Led Zeppelin
- Black Sabbath
- Deep Purple
- Uriah Heep
- Judas Priest
Fans of this early metal period will be happy to know that many of these bands are still rocking out live.Go to episode 422
classic album dissections
The Beach Boys Pet Sounds
On May 16, 1966, The Beach Boys released their 11th studio album, Pet Sounds. It was a relative commercial failure for what was the biggest American band of the '60s. However in the ensuing 50 years, the album's stature grew. Today, its influence pervades to the point that it is almost universally acknowledged as one of the greatest albums ever released in the rock era. With Beach Boys mastermind Brian Wilson taking the album on tour again this summer, Jim and Greg feel it's the perfect time to give Pet Sounds a Classic Album Dissection.
Due to a great deal of pressure, emotional turmoil, and mental health issues, Brian Wilson quit the Beach Boys as a touring entity at the end of 1964. While the rest of the band was on the road, Wilson spent ten months in the studio crafting one of the most intricate and expensive pop records ever made. Working with the famed session musicians of the Wrecking Crew, Wilson took a classical composer's approach, layering instrument upon instrument to create lush, unique timbres. He collaborated with Madison Avenue writer Tony Asher on heartbreakingly earnest lyrics about his struggles to find his place in the world. The audience, the label, and his own bandmates didn't quite know what to make of Pet Sounds when it came out. But artists from The Beatles to R.E.M. to Radiohead picked up on its brilliance and modeled their own music on Wilson's ingenious arrangements. God only knows what rock would be today without Pet Sounds.Go to episode 546
Neil Young Rust Never Sleeps
For our 300th episode, Jim and Greg wanted to do a Classic Album Dissection of one of their favorite records of all time: Rust Never Sleeps by Neil Young. The 1979 release was mostly recorded live during Young's 1978 tour, save some overdubs. As Jim and Greg discuss, it was in large part a response to the emerging punk music. How does a classic rocker from the '60s grow and evolve? This is how. As Young sings in "My My, Hey Hey (Out of the Blue)," "It's better to burn out, than to fade away."
That song bookends the album, with the middle tracks broken into an acoustic section and an electric one. Jim remarks how brave it was for Young to come out with nothing but an acoustic guitar. He particularly loves the song "Pocahontas," which makes reference to the Native American icon in addition to the Hollywood icon Marlon Brando. Greg chooses to highlight the hard-stomping electric "Powderfinger," which attempts to reconcile America's complicated identity.Go to episode 300
With Tortoise joining them in the studio this week, Jim and Greg take a moment to give a primer on the post-rock movement. Like virtually all genre labels,“post-rock”is a term rejected by most of the artists associated with it. It generally refers to a set of mostly instrumental bands in the 1990s who used non-traditional instrumentation and a collage-like approach to blending genres. Jim and Greg trace the origins of the movement to German krautrock, experimental '60s jazz-rock bands, and dub reggae. There were major post-rock acts across the globe, including in the UK (Stereolab), Montreal (Godspeed You! Black Emperor), and especially in Chicago. From Tortoise to Gastr Del Sol to The Denison/Kimball Trio, Chicago's scene fostered an eclectic experimentation with styles.Go to episode 557
Jenny Lewis The Voyager
It has been 6 years since California folk-rock siren Jenny Lewis released her last solo album, and Jim and Greg have been chomping at the bit to see what her most recent release has to offer. The former child actress turned indie songstress lived through some turbulent stresses during that time, including the death of her estranged father, a bout of insomnia and the break-up of her band, the power pop group Rilo Kiley. All of this made its way onto The Voyager, a slow syrupy overflow of calming soundscape reminiscent of California's late 60's/early 70's Laurel Canyon sound. Greg was taken by its deceptive smoothness. His only critique points toward the balmy sweetness of the music. However, that sound provides a great foil to the complicated lyrics. He says Buy It. Jim agrees, though he's less of a fan of Lewis' obvious inspiration (Fleetwood Mac to name one). But, he describes the album as brave and seconds the Buy It.
Brazilian Girls New York City
After seeing Brazilian Girls wow crowds at Lollapalooza, Jim and Greg wanted to review the latest album from the international quartet called New York City. Jim compares the group to Stereolab, with influences in '60s lounge music, as well as German krautrock, but explains they are more danceable. He loves lead singer Sabina Sciubba's on-stage and on-record persona which is part Nico, part Jane Birkin and part Astrud Gilberto. He gives the album a Buy It. Greg is less enthused. He finds the album to be pleasant, but less up-tempo than previous efforts. He wishes they had more to say and thinks it's just merely background music. He gives it a Try It.
Jim's Desert Island Jukebox pick for this week is "Mink Dress" by Plasticland. The song is one of many psychedelic tracks found on Children of Nuggets: Original Artyfacts from the Second Psychedelic Era—1976-1996. This Rhino compilation is one of many Nuggets installments, the first being the two-vinyl set compiled by Lenny Kaye in 1972. While there are some gems on the most recent collection, it is pretty much a mess according to Jim, a huge fan of the psychedelic genre. "Mink Dress" is one of the standout tracks. Plasticland was started by Glen Rehse and John Frankovic in Milwaukee in the '80s. Despite their Midwestern roots, Rehse and Frankovic were drawn to the colorful '60s-era British Psychedelia. Their song follows in the tradition of "Arnold Layne" by the Syd Barrett-era Pink Floyd and explores the songwriter's fascination with women's clothing—in this case, a mink dress.Go to episode 3
It is Jim's turn to drop a song into the Desert Island Jukebox, and he wants listeners to hear some "freak folk" that is truly freaky. He chooses to add "The Minotaur's Song," by The Incredible String Band. This '60s folk act played at Woodstock, but, as Jim explains, was too freaky to be included in the movie. Like Bert Jansch, band members Mike Heron and Robin Williamson fused Scottish and Celtic folk music with Eastern European drones and the newer folk of artists like Bob Dylan. The Incredible String Band also had an incredible lifestyle, which also affected their sound. Jim thinks that freak and folk never meshed so well, and that's why he's bringing it with him to the Desert Island.Go to episode 51
Cream bassist Jack Bruce recently passed away at age of 71, and as Jim explains, he played an important part in the '60s English music scene. Bruce had a long career as an underground musician playing jazz, rock and avant-garde music. To pay homage to him, Jim chose a song for the Desert Island Juxebox that was actually not from his time with Cream. Instead, he goes with "Silver Bullet" by the Golden Palominos. Jim had the pleasure of seeing the larger-than-live Bruce perform this track live, and he'll never forget it.Go to episode 467
It's Jim's turn to select a song to take with him to the desert island this week. His DIJ pick was inspired by the two albums reviewed in the show. Amy Winehouse considers herself a modern day Nina Simone, and Timbaland uses a Nina Simone sample in his song "Oh Timbaland." Jim is in favor of referencing the past, but wanted to go back to a band that was able to bring a hip hop attitude to classic '60s soul and jazz much more successfully than Winehouse ever could. That band is Portishead. Portishead came out of England during the 1990s as part of the "trip-hop" movement. While their tenure was short (though word is they are making music again), Jim is still impressed by the group's ability to merge American hip hop with British psychedelia with early soul and R&B. The album he urges listeners to go back to is 1994's Dummy, and the track he wants to add to the Desert Island Jukebox is "Sour Times."Go to episode 71
The Jayhawks were brought up briefly during the Dixie Chicks review, and Jim's Desert Island Jukebox pick also features the Twin Cities rock band. Before they were The Jayhawks, Gary Louris, Marc Perlman and Mark Olson backed up a fellow Minnesota singer named Lori Wray. While Wray has not achieved a lot of success outside of Minneapolis/St. Paul, Jim thinks that her voice surpasses that of Natalie Maines. He explains that she adds a Lulu-like '60s pop sensibility to her singing, making her voice perfect for heartbreak tunes like his DIJ pick, "True Love in a Day."Go to episode 26
Naturally Hawk got Greg jonesing for some Sinatra/Hazelwood. In the '60s arranger and songwriter Lee Hazelwood took Nancy Sinatra under his wing and turned her into a feminist icon. While father Frank wasn't crazy about the relationship, and Greg admits the sound was at times creepy, he really digs tracks like "Some Velvet Morning," and takes it with him this week to the desert island.Go to episode 248
Thinking about Amy Winehouse, Jim is reminded of her roots. Clearly she was influenced by singers like Ronnie Spector in the '60s. But the link between that era and this one was British singer Mari Wilson. She revived retro and sported a beehive long before Amy. Partly jazz, partly pop and partly camp, Wilson had a string of hits in the U.K. in the '80s. Health problems have interfered with her success in recent years, but she did have a comeback album in 2005 called Dolled Up. Jim chooses a track from it called "Running On Sand" to add to the Desert Island Jukebox.Go to episode 297
This week, Greg has the legendary Jackie Wilson on his mind. Early in his career, Wilson drew comparisons to Elvis but in fact, you couldn't liken him to anyone. Wilson heavily influenced many artists, namely Michael Jackson and even James Brown with his style, dance moves and vocals. In the '50s, he had an amazing run with big hits but floundered in the '60s. When he came to Chicago to work with record producer Carl Davis, they cut one of Greg's favorite tracks ever, "(Your Love Keeps Lifting Me) Higher and Higher." Greg thinks this is pretty much as perfect as a song can get, and that's why he selected it as his Desert Island Jukebox pick this week.Go to episode 536
Soul Train host and creator Don Cornelius died tragically this week at age 75. Greg remembers the baritone-voiced Chicago native as not just a music pioneer, but a civil rights one. He broadened what we think of as“soul”and brought acts like Curtis Mayfield, David Bowie and Aretha Franklin to audiences of all races and ages. What American Bandstand was to pop culture in the '60s, Soul Train and Cornelius were to the '70s, '80s, and beyond. So to remember Don Cornelius, we play Barry White's 1975 orchestral performance of "You're My First, the Last, My Everything."Go to episode 323
"Stairway to Heaven" is one of the most well-known songs in the history of rock and roll. The 8-minute track is perhaps Led Zeppelin's most iconic number, featuring an opening guitar riff that is legendary in its own right. However, people are now speculating that the band plagiarized the riff. The '60s-era rock group Spirit released a song with a suspiciously similar intro called "Taurus" in 1968, three years before“Stairway.” The late Spirit guitarist Randy Wolfe (otherwise known as Randy California) wrote the song, and two years ago his estate filed an initial federal lawsuit alleging that Zep had ripped him off. In April, a U.S. District Judge ruled that there is sufficient evidence to move forward with the trial later this spring. To get some perspective on the case, Jim and Greg talk with Jeffrey Brown, an intellectual property attorney at Michael Best & Friedrich and former concert promoter and producer.Go to episode 546
Sad news this week: Carl Gardner, the heart and soul of The Coasters, died at age 83. The Coasters were one of the great R&B bands of the '50s and '60s with songs like "Yakety Yak" and "Charlie Brown." Songwriters Lieber and Stoller counted them as their favorite collaborators. To honor Gardner, Jim and Greg play "Young Blood."Go to episode 290
These days it's not unusual for pop stars to simultaneously be topping the charts and filling the court dockets (T.I., Lil Wayne). But it is unusual for a commercial, family-friendly star to have such infamy. Singer/songwriter Bruno Mars has the #1 song in the country, "Grenade," and he's been all over mainstream TV this year with appearances on The Today Show, Saturday Night Live, Ellen and Glee. Now he's pleading guilty to cocaine possession charges, so Jim and Greg are interested to see if this affects his popularity. Our guess? It won't.
After Wilco's first label, Reprise, refused to put out their critically acclaimed 2002 album Yankee Hotel Foxtrot, many people thought they should abandon the major label system. Now, almost a decade later, they're doing it. Wilco is leaving the Warner subsidiaries to form dBpm Records. It will be run by the band's manager, with distribution provided by ANTI-.
Oscar-winning composer John Barry died last week at age 77. The Guardian claims he's as "pop as the Beatles," and Jim and Greg agree. It's hard to imagine the '60s without Barry's brassy, melodic orchestrations. He was not only the man behind the iconic Bond music, but his compositions were critical to many other films. So to honor Barry, Jim and Greg play the theme to Midnight Cowboy.Go to episode 271
First up in the news, Pepsi is launching a music label in China. This is a strange, but perhaps smart move considering the large, untapped market there. The soda company will produce a "Battle of the Bands" television show to find artists to record. In addition, those artists will be featured in Pepsi ads.
Two sad news items follow. First is the death of Mink DeVille frontman Willy DeVille. DeVille was one of the key artists from the CBGB punk scene. But, he distinguished himself from the Blondies and Ramones with his unique sound. He was more a child of the Brill Building music of the '60s, and actually introduced Jim and Greg to a lot of those influences. To honor DeVille they play his Jack Nitzsche-produced track "Spanish Stroll."
Another recent death is that of director, writer and producer John Hughes. While Hughes isn't necessarily a music figure, Jim and Greg know that he was a huge fan. His musical choices in films like "The Breakfast Club" and "Sixteen Candles" influenced what young people heard, and for many teens it was their first exposure to "alternative" music. In honor of Hughes, Jim and Greg play the original version of "Pretty in Pink," by the Psychedelic Furs.Go to episode 194
It's been a while since Jim and Greg have had an opportunity for a "Bono Rant," but this week U2 made big music industry news. The longtime Irish band has made a deal to hand over the management of its worldwide tours, merchandise sales and website to concert promoter Live Nation. This is a similar deal to the one Madonna inked a few months ago, only U2 will continue to release albums through Universal Music. Jim has to wonder why a band as big as U2 even needs a company like Live Nation, especially because they are so notoriously fan-unfriendly. But, he's more horrified at the prospect of seeing Bono and company performing live in their '60s. As Greg reminds him, geezers on stage are all too common these days.
Live Nation's ties with Ticketmaster will be severed at the end of this year, but the mega-company is making some new deals of its own. The Dave Matthews Band and Ticketmaster have teamed up to offer concertgoers a digital album filled with material from the band's upcoming summer tour. Since the DMB tour basically every year, this may not appear to be such big news, but Jim and Greg were both shocked to see the famously grassroots band get in bed with an evil empire like Ticketmaster. Whatever you think of their music (and it's evident where Jim and Greg stand), they were always an admirable band from a business standpoint…until now.
According to Brandweek, music tour sponsorships have grown 75% since 2003 and will hit $1.04 billion this year. This will come as no surprise to concertgoers who have experienced marketing and ads at every moment of a show. But Greg wonders why ticket prices haven't gone down if sponsorships have been so profitable. Jim is equally dismayed, and both hosts are anxious to see if anyone has the courage to stand up to the brand.Go to episode 123
Jim and Greg have always insisted that rock ‘n’ roll belongs to the world. In our new series, the Sound Opinions World Tour, they prove it by zeroing in on countries that've made big contributions to global rock and pop. Their first stop is the largest exporter of music per capita in the world: Sweden. Swedish DJ and public radio host Stefan Wermelin is our guide through the country's musical history. Stefan explains that in the '50s and '60s, Sweden was a pop music backwater. Musicians churned out cut-rate covers of American and English hits. The '60s hippie“Progg”movement injected some originality and artistic ambition into Swedish music, but things didn't really change until ABBA hit it big with "Waterloo." According to Stefan, ABBA set the template for Swedish success. The band created big hits by co-opting the best bits of global pop music and stitching them together with meticulous production. That tradition of pastiche continues today with Swedish producers like Max Martin, the man behind a hundred-and-one Billboard Top Ten hits (Britney Spears' "…Baby One More Time" and Kelly Clarkson's "Since U Been Gone" among them). But today, Sweden's also experiencing an indie renaissance in genres as varied as death metal, dance music, and Americana. Decades after ABBA, artists like The Knife, Lykke Li, Robyn, Opeth, and First Aid Kit are staging a second Swedish invasion.Go to episode 379