Results for '70s
Mike Heidorn of Uncle Tupelo
You can trace alternative country's roots to the 1960's when rock musicians such as Gram Parsons, The Byrds and the Flatlanders began dabbling with and reinvigorating country music. It was part of a wider investigation of American roots music in rock, a move toward more“authentic”styles. These rockers looked to country greats like Hank Williams, The Carter Family, Johnny Cash and Merle Haggard for inspiration — Bob Dylan famously collaborated with Cash on "Girl From the North Country." In the '70s and early '80s, a new generation of punk rockers started digging into traditional country for inspiration, including X, The Mekons, Rank & File, Jason and the Scorchers and the Long Ryders. Then third wave of alt country hit in the late '80s and early '90s, led by The Jayhawks out of Minneapolis and Uncle Tupelo, the trio of Jay Farrar, Jeff Tweedy and Mike Heidorn, out of Belleville, Illinois, just outside St. Louis. Uncle Tupelo's debut album,“No Depression,”took its name from a Carter Family song, "No Depression in Heaven," and it's one of many the key albums in defining the alt-country movement of this era. We have this band to thank for groups like Farrar's Son Volt, Tweedy's Wilco, Ryan Adams' Whiskeytown, the Drive-By-Truckers and the Old 97's …and not to mention No Depression Magazine. Legacy Recordings recently reissued No Depression, complete with some never before released demo tracks from 1987 to 1989. And to talk about it, Jim and Greg are joined by Uncle Tupelo's founding drummer Mike Heidorn.Go to episode 442
Jim and Greg have admired Lindsey Buckingham's solo albums for years, but during a stop on Fleetwood Mac's recent tour, the guitarist was willing to indulge all of our burning questions about the band. Jim was out of town, so Greg took the reigns on this one and covered everything from his unique guitar style, to the Buckingham/Nicks years to the effects of all that '70s drug excess. Lindsey reveals that in today's music environment, the band would've never lasted and credits the label with letting them tweak and reconfigure before hitting it big. He also talks about his ability to compartmentalize his relationship with Stevie Nicks and the work. Rumours is either the mark of insanity or courage! Lindsey also agrees with Greg that Tusk is the stepchild of the band's catalog, and you can either fault or credit him for that. And on the Stevie front…you‘d think their dynamic would’ve flatlined by now, but he admits that although married with children, he's still writing songs about her!Go to episode 402
Even now, 31 years after the release of "Rapture," one is impressed by how cool a rapping Debbie Harry sounds. The Blondie lead singer was always ahead of the curve sonically, incorporating R&B, reggae, and, gasp, disco into her songs. During her visit to the show, Debbie talks to Jim and Greg about these varied influences, and what the scene was like in downtown New York in the '70s and '80s. We certainly have Blondie to thank for bringing a little dance back to the punk mix. And the up-tempo sounds continue on the band's latest release Panic of Girls.Go to episode 322
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
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
1977 - The Year Punk Broke
In the second and final installment of our series 1977: The Year Punk Broke, Jim and Greg explore the punk movement stateside with music writer Ira Robbins. Ira founded the music magazine Trouser Press in 1974. As a music journalist in New York, he was a fixture of the CBGBs scene, regularly "taking [his] life in his hands" to go to second avenue and hear bands like the Ramones, the Dictators, the Dead Boys, and Television play divey clubs. Whereas punk enjoyed a rapid rise in the U.K. in 1977, Ira describes the New York scene as more of a slow simmer. Fans gradually migrated from clubs like Max's Kansas City, where glam acts like The New York Dolls ruled, to clubs like CBGBs where a younger, rawer set of performers was defining the punk look and sound. Though the Ramones, with their simple song structures and leather jackets became emblematic of New York punk, Ira remembers a diverse scene. The Dead Boys, Television, and The Talking Heads may not have sounded the same, but in economically-depressed 70s-era New York, they shared an attitude that "life sucked, it's probably not going to get better, but so what."
Jim and Greg each choose a favorite track from the New York scene. Greg goes with the Talking Heads' "Don't Worry About the Government" from the band's self-titled debut. More than any other band, the Talking Heads epitomized New York punk's diversity. Their first gig may have been opening for the Ramones, but Greg contends the band's sound was more dance than punk. Still, Byrne's narrator in this song - a stressed, neurotic government bureaucrat - taps into the anxiety of the punk era. Jims goes with the ultimate American punk anthem, Richard Hell's "Blank Generation." The story goes that U.K. punk impresario Malcolm McLaren saw Hell perform the song in the U.S., then returned home and advised The Sex Pistols to write something "just like it, but your own."Go to episode 351
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
U2 recently debuted a song from the forthcoming Spider-Man: Turn Off the Dark musical. Reeve Carney, the actor playing Peter Parker, performed "Boy Falls from the Sky" on Good Morning America. And the Irish rockers played their own version in concert this week. Jim and Greg couldn't help wonder how a bunch of Dublin art-punks became stadium giants and now Broadway darlings.
Jim and Greg discuss U2's unique place in music history. With 12 albums, 22 Grammys and over 150 million records sold, very few rock bands from the '70s and '80s are at their level. And they are still selling out stadiums around the world. But they didn‘t begin on such a large scale. Jim and Greg trace U2’s journey to this blockbuster point and discuss the band's different artistic phases and career highs and lows. They agree that Achtung Baby is U2's masterpiece, and can't stomach some of the righteousness and bombast of records like The Unforgettable Fire and The Joshua Tree. But each has a unique favorite. Jim chooses to highlight "An Cat Dubh" from the 1980 album Boy, and Greg plays "Your Blue Room" from the 1995 Brian Eno-produced album Passengers: Original Soundtracks 1.Go to episode 254
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
Jim and Greg recently experienced the launch of U2's new arena tour. While neither believe that music is at its best in a stadium, Greg admits that the band has mastered the art of spectacle. Jim was happy to hear a number of songs from U2's latest album No Line on the Horizon, but wouldn't recommend anyone pay over $200 to see the show.
The concert got our hosts thinking about U2's place in music history. Very few rock bands from the '70s and '80s can still sell out stadiums around the world. But they didn‘t begin at such a large scale. Jim and Greg trace U2’s journey to this blockbuster point and discuss the band's different artistic phases and career highs and lows. They agree that Achtung Baby is U2's masterpiece, and can't stomach some of the righteousness and bombast of records like The Unforgettable Fire and The Joshua Tree. But each has a unique favorite. Jim chooses to highlight An Cat Dubh from the 1980 album Boy, and Greg plays "Your Blue Room" from the 1995 Brian Eno produced album Passengers: Original Soundtracks 1.Go to episode 199
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
The Scissor Sisters Ta-Dah
Next up is the sophomore effort from The Scissor Sisters, Ta-Dah. It's a common misconception that this quintet hails from the U.K. While they have received most of their success across the pond, this gender-bending pop group actually hails from New York City. Scissor Sisters had hits the first time around with singles like "Take Your Mama" and "Comfortably Numb," but the question was whether their schtick was too schticky to last. Greg, for one, really enjoyed Ta-Dah. He thinks that the music is fun and upbeat and perfect for singles play on your iPod. But he thought Jake Shears' (get it? "Shears!") falsetto was difficult to take for an entire album and can only give Ta-Dah a Burn It. Jim liked the album a bit more than Greg. He described it as an amalgam of the best glam, pop, and disco music that you would've heard on '70s AM radio. However, like Greg, he only recommends listeners Burn It.
The Hold Steady Boys and Girls in America
Next up is the third release from New York rock group The Hold Steady. Boys and Girls in America continues the band's streak of "bar band" music, but our hosts disagree about this record's big musical influences. Greg hears a lot of AC/DC and '70s hard rock in the songs, but Jim really only hears one thing: Bruce Springsteen. As Sound Opinions listeners know, for Jim, this is not good. He calls The Hold Steady's music“lousy,”and finds their blue-collar lyrics really put-upon. Greg doesn't think that Jim is giving head songwriter Craig Finn enough credit. He finds his storytelling smart and very believable. Boys and Girls in America gets a Trash It from Jim and a Buy It from Greg.
Lindsey Buckingham Seeds We Sow
'70s rock act Fleetwood Mac continues to tour today, but longtime member Lindsey Buckingham still makes room to record on his own. And that can be taken literally-Seeds We Sow is essentially a one-man-band record full of lush orchestrations, guitar and percussion. But, in contrast to the beautiful songs are the dark and weird lyrics. Greg hears that not all is right with Buckingham, but plenty is right with Seeds We Sow. He says Buy It. Jim is the first to admit he is not a Fleetwood Mac fan. For him there was too much rock excess. But he loves that Buckingham lets his freak flag fly solo, and is a convert on this album. He agrees, double Buy It.
Brian Eno The Ship
If you‘ve ever listened to Sound Opinions, you’ve learned one thing – Jim loves himself some Brian Eno. Eno has worn many hats over his long career, starting as a member of Roxy Music, collaborating with artists like David Bowie, and producing commercial successes for U2, Talking Heads, and Coldplay. His own solo output has varied wildly in style, recording pop albums in the '70s and basically inventing ambient music. His latest work, The Ship, is a concept album about the Titanic and the slaughter of World War I. Greg says Eno is finally merging his pop and ambient music, resulting in one of his best albums yet. He's freed himself from traditional song structures and rhythms to create cinematic images filled with orchestral synthesizer colors. Greg gives it a Buy It, impressed that Eno is still coming up with new ways to express himself. In a shocking turn of events, Jim is less impressed. He thinks that Eno's voice is the strongest tool in his arsenal, yet here he's burying it under the mix and fussing with Vocoders. Jim loves some ambient Eno, but feels he's done it better than on The Ship. But Jim says the doo-wop inflected cover of The Velvet Underground's "I'm Set Free" is amazing, earning The Ship a Try It rating.
Jay Z Kingdom Come
This week Jay Z releases his tenth album, American Gangster. Inspired by the movie of the same name, the current king of hip hop (and possibly of all time), brings another dose of gangsta stories told with his trademark flow. In 2003, the rapper“retired,”and then un-retired. His return album, Kingdom Come, was a major disappointment to Jim and Greg, but Greg for one is pleased with what he's hearing on American Gangster. The stories are nothing new, but Greg loves the way Jay-Z crafts them. He is also returning to the '70s blaxploitation sound that infused one of his best albums, The Blueprint. While the mogul certainly doesn't need any cash, Greg gives this album a Buy It. Jim is less enthused. He loves the production, and was shocked to hear great beats from Sean“Diddy”Combs, but the lyrics are too much of a hurdle for him to get over. He wishes Jay Z's ideas were as complex and nuanced as those in the movie American Gangster and only gives the record a Try It.
The Feelies Here Before
Going back to New Jersey, Jim and Greg next review the new album by The Feelies. As Greg explains, they don‘t rush anything. The band started in the late ’70s and has only produced five studio albums. But Here Before is worth the wait. Jim has a soft spot for The Feelies, but that actually makes him a tougher critic. He initially found this release a little sleepy, but grew to appreciate its small pleasures. Greg oddly recommends this new album as an introduction to new listeners. It's a survey of the high points of their career. Here Before gets a double Buy It.
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.
This week, it's Jim's turn to bring a track he can't live without to play in the desert island jukebox. He selects the song "Can't Stand the Midwest" by Dow Jones & The Industrials. The Indiana band came up in the emerging punk scene in the late '70s and early '80s, however Jim didn‘t discover them until fairly recently when their music was reissued. While the band never found huge fame, their fast and dynamic songs could sustain Jim on a desert island for quite a while. He chose“Can’t Stand the Midwest”to highlight, because although Jim has called the Midwest home for a number of years now, it can sometimes make even him a little stir crazy.Go to episode 582
Like much of the TV-watching public, Jim enjoyed binge-watching the Netflix horror series "Stranger Things." The show hearkens back to many pop cultural touchstones of the '70s and '80s – including in its music. Jim notes that the synth-based score takes inspiration from the soundtrack work of the German band Tangerine Dream, a key act in the psychedelic krautrock movement. Jim's favorite Tangerine Dream score is for the 1977 William Friedkin film Sorcerer. He says the soundtrack perfectly matches the movie's dark, tense jungle setting. So as a dual nod to Stranger Things and Tangerine Dream, Jim nominates "Betrayal," the main theme from Sorcerer, to the Desert Island Jukebox.Go to episode 561
As a nod to Peaches‘ irreverent, gender-bending ways, Greg digs deep down in his music collection for this week’s Desert Island Jukebox pick. He chooses a track by '70s and '80s model/pop star/diva Grace Jones. Before Peaches, or even Madonna, shocked and awed people with their controversial lyrics and style, Grace Jones was crossing lines between genders and musical genres. She was beautiful, but also masculine. Her music was rock, but also disco. So, like David Bowie, Jones had audiences questioning the idea of identity. But it wasn't until she collaborated with Island Records founder Chris Blackwell and his Compass Point house band that she made music that could be taken seriously. Greg chooses to play her cover of Joy Division's song "She's Lost Control." In her version, Jones assumes the role of the woman on the verge of a losing her mind. And after listening to the song, you may find that this role wasn't such a stretch.Go to episode 34
While Jim was home sick last week he gave some thought to great songs about fevers. He came up with "Burning For You," by Blue Öyster Cult and decided to add it to the Desert Island Jukebox this week. Jim describes Blue Öyster Cult as the thinking man's heavy metal band of the '70s. In fact, the lyrics to this song were written by rock critic Richard Meltzer. There are a number of interpretations, but for Jim it was the perfect antidote to his ills.Go to episode 118
What better way to end a show about the music of Canada than bringing a track by a Canadian band to the desert island? This week, Jim chose the song "Hyper Faster" by the stoner metal band Sheavy. Sheavey was a band that came out of Newfoundland in the early '90s. They are recognized most for blending hard rock in the tradition of '70s bands like Black Sabbath and Deep Purple, with '90s flavored psychedelia. While the group sort of lost their way when their leader Ren Squires left in 2004, this 2000 song is peak Sheavy and a perfectly Canadian choice to bring to the desert island.Go to episode 572
Valentine's Day Emergency
Jim and Greg open up the Rock Doctors' clinic for the next segment. They take an appointment with two listeners for a Valentine's Day emergency. Andrew and Kelli are a young couple from Chicago with only one major relationship problem: music. While Andrew is music obsessive, always on the search for something new and underground, Kelli is happy sticking with her favorite radio favorites. And as Andrew points out, for the most part his girlfriend's music is stuck in that dreaded decade: the 70s. Kelli admits to a fondness for bar music like Boston, Styx and Journey, but is open to new stuff as long as it's upbeat and fun. She finds a lot of her boyfriend's tastes (Wilco, Radiohead) to be too cerebral and boring. So, it's Jim and Greg's task to find something they will both enjoy.
Greg prescribes The Latest by Cheap Trick. He knows a lot of people dismiss this band for being cheesy, but he stands behind their smart lyrics, progressive compositions and terrific drumming. It seems like The Latest should be the perfect remedy, however neither Andrew nor Kelli are tremendously fond of it. Surprisingly, this record is even too cheesy for Kelli. And while Andrew admires the band for rocking out so hard for so long, he won't be attending any Cheap Trick shows anytime soon.
Jim prescribes the self-titled debut by La Roux. He loves the British duo's smart electronic pop. Jim didn't see anything like La Roux on either Kelli or Andrew's chart, but thinks radical treatment is necessary. He's right; the couple loves the record. Kelli got her dose of dance music, and Andrew got his artiness. And they won't have to break-up over rock anytime soon.Go to episode 219
Time now for The Rock Doctors to open up the clinic. Every so often Jim and Greg like to give back, so to speak, and help some listeners with an ailment of a musical variety. Whether someone is allergic to hip hop or addicted to jam bands, our hosts hope they can provide the right musical prescription. Heck, they've even taken an appointment with Nobel Prize winning economist Paul Krugman.
Before they get to their main appointment of the episode, they run over to the emergency room to take a call from Anne in Philadelphia. Anne is getting married next month and has been racking her brain to come up with a good song for the“Father/Daughter”dance. Problem is, Dad is something of a music expert who likes to dig deep for his wedding selections. But songs like Leadbelly's "Ain't It A Shame" don‘t hit the right emotional chord (and aren’t exactly crowd pleasers).
So, Anne wants to know what Drs. Kot and DeRogatis would recommend? Greg goes first, suggesting "The Way You Look Tonight." Sure, this Oscar-winner could be an obvious choice, but it's the lesser-known version by The Jaguars that Greg prescribes. Jim takes a cue from one of rock's best Dads, Loudon Wainwright III (father to Martha and Rufus and Marshall). His song "Daughter" has the perfect mix of humor and sentimentality.
Jim and Greg call their next two patients in from the waiting room. Doug and Susan have been happily married for 18 years. But they've never been able to get along…musically. Doug is a Presbyterian minister with an indie rock past who remains as passionate as ever about music. He loves jangly pop and expansive Spector-esque production, but doesn't give a lick about lyrics. Susan, he tells our nurse, is stuck in "Classic Rock Hell and '70s Rock Purgatory." She still favors FM rock like Jimmy Buffett and Little Feat, and has little tolerance for Doug's“trash can music”and fondness for“whiny broads.”So the doctors are tasked with finding this couple something new they can listen to together.
Jim begins by recommending a dose of the California quartet Delta Spirit. He couldn‘t resist prescribing Susan a band that actually uses trash cans, but more he thinks the couple will appreciate the group’s emotional and spiritual lyrics. Greg prescribes Arrow by Heartless Bastards. On their 4th release the Ohio group finally has the songs to match the intensity of Erika Wennerstrom's vocals. And they reference much of the classic rock and soul that Susan favors.
So how did the medicine go down? Doug gives a Buy It to Delta Spirit, noting that Matthew Vasquez can really sing. Susan still just hears this as something up Doug's alley. Doug also appreciated Heartless Bastards, but despite Wennerstrom's singing style, not because of it. He's curious to see the band live, but didn‘t fall in love with the record. Susan liked the direction Greg went in more, but again, didn’t find a winner in Heartless Bastards. But both husband and wife enjoyed the process of listening to and critiquing music…and that's all the Doctors can really ask for!
Do you need to consult with the Rock Doctors? Or know someone who does? Fill out a patient form and send it to firstname.lastname@example.org.Go to episode 335
The biopic film Straight Outta Compton debuted this past weekend to a monster box office earning over $56 million. The movie tells the story of the group N.W.A. and how they created the blue print for west coastand gangster rap in the '80s and early '90s. Jim recently saw the film and thought more about the biopic genre in general. He thought that this was a VH1-type film that largely glossed over many of the important truths of the band's history, including Dr. Dre's misogyny in both his lyrics and his actions. Greg agrees that the story of Dee Barnes, a female journalist covering N.W.A who was physically assaulted by Dre, was excluded from the film. Jim ultimately thinks the biopic doesn't work as journalism or biography, but instead acts as a missed opportunity to tell the whole truth of the story.
Two celebrated '70s producers passed away this week: Bob Johnston, longtime Bob Dylan producer, and Billy Sherrill, creator of the countrypolitan genre and producer of George Jones and Tammy Wynette. As an in-house producer for Columbia Records, Johnston produced some of Dylan's most notable albums, including Blonde on Blonde and Nashville Skyline. Johnston also served as the producer for Johnny Cash's At Folsom Prison, which only came about after Johnston's persistent efforts. With a similar determination, Sherrill ignited the careers of country artists like Jones and Wynette with hit songs "He Stopped Loving Her Today" and "Stand By Your Man." However, Greg chooses to honor Sherrill by playing The Staple Singers' "Why Am I Treated So Bad," a track that he produced before entering the country music scene. Sherrill produced songs for early R&B artists when no other producer would, earning him tremendous respect.Go to episode 508
The numbers are in for 2011, and not surprisingly Adele has come out on top. Her album 21 sold over 5 million copies, as did her digital single "Rolling in the Deep." It's this combination of being able to push physical product and digital downloads that makes the British singer so desirable to the music industry. Number two of the year was kind of a surprise to our hosts: Michael Buble's Christmas. Over on the live music side, U2 is the touring winner with worldwide ticket sales totaling $231.9 million.
Move over Nina Totenberg, Jim and Greg have also become legal eagles. Increasingly, music trends are being affected by the courts, and according to Variety, there are a number of cases coming up in 2012 that will impact not just the record industry, but the habits of average fans. Here are a few to keep your eye on:Go to episode 319
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
Whitney Houston is just the latest in a series of deceased musicians who have been made into holograms in order to tour around the world. Other famous holograms include Tupac, Buddy Holly, Liberace and Roy Orbison but this isn't anything new for the entertainment industry. For years, images of Elvis Presley and even Frank Sinatra were shown in concerts singing along with a live band and performers. And while the joke is that death is a great career move, Jim finds it interesting that it is no longer an impediment to touring. Who would you like to see as a hologram or do you think the whole thing is just too weird?
Back in 1972, Aretha Franklin recorded one of the great gospel albums of all time, Amazing Grace. In 2012, Jim and Greg even did a Classic Album Dissection on the live record because it was so good and so iconic. Famous director Sydney Pollack (Tootsie, Out of Africa) filmed the concert back in the '70s and now more than 40 years later, two major film festivals were finally supposed to show the movie. However, Aretha took legal action to block the film festivals from presenting it. Apparently she loves the film but Greg suspects this whole thing has something to do with money. This one may drag on, but Greg and Jim really hope that they sort things out because this is a true piece of musical history.Go to episode 512
Guitarist and Ohio Players frontman Leroy“Sugarfoot”Bonner died of undisclosed causes this week at the age of 69. The group's string of '70s albums for Westbound and Mercury Records, driven by Bonner's lead vocals and electrifying double-neck guitar work, stands as one of the most impressive runs in funk history. Their distinct sound found new life in the in the late '80s and '90s as countless hip hop artists sampled the group's work (a Red Hot Chili Peppers cover of "Love Rollercoaster" on the soundtrack for Beavis and Butthead Do America didn't hurt either). Greg highlights "Skin Tight" as a prime example of Bonner's musical legacy.Go to episode 375
After stops in countries like South Africa, Japan, and Sweden, the Sound Opinions World Tour is trekking on. Jim and Greg hop over to Cuba, inspired by the historic changes in U.S.-Cuban relations announced recently by President Obama. Their guide to Cuba's influential rhythms is Ned Sublette, author of Cuba and Its Music: From the First Drums to the Mambo. Ned tells us that Cuba has been alive with music ever since the sixteenth century. Drawing upon its unique ethnic history, Cuba developed a polyrhythmic style quite different from what emerged in North America. Innovative artists like Arsenio Rodríguez brought Cuban dance music into maturity during World War II. The unshakeable rhythms of the mambo, rumba, and cha-cha-chá filtered into the United States, particularly in the world of jazz – Dizzy Gillespie's collaborations with Chano Pozo changed music forever. Rock ‘n’ roll and the blues also adopted Afro-Cuban flavors. Even after Cuba's isolation following the 1959 revolution, the music never stopped, according to Ned. Nueva trova, for example, a movement led by singer-songwriters like Silvio Rodríguez and Pablo Milanés, began to fuse revolutionary politics and idealism with traditional song forms. Cuban rhythms also provided the basis for the global salsa phenomenon of the '70s. Today music in Cuba thrives in both traditional genres and in modern ones like reggaeton. Though he's not personally a fan of the hit 1997 Buena Vista Social Club album, Ned was happy to see North Americans reengage with Cuban artists. With the political changes underway, he expects to see an even more exciting cultural exchange between Cuban musicians and the rest of the world.Go to episode 482