Jackson Browne

"On his third album, Jackson Browne returned to the themes of his debut record (love, loss, identity, apocalypse) and, amazingly, delved even deeper into them. "For a Dancer," a meditation on death like the first album's "Song for Adam," is a more eloquent eulogy; "Farther On" extends the "moving on" point of "Looking Into You"; "Before the Deluge" is a glimpse beyond the apocalypse evoked on "My Opening Farewell" and the second album's "For Everyman." If Browne had seemed to question everything in his first records, here he even questioned himself. "For me some words come easy, but I know that they don't mean that much," he sang on the opening track, "Late for the Sky," and added in "Farther On," "I'm not sure what I'm trying to say." Yet his seeming uncertainty and self-doubt reflected the size and complexity of the problems he was addressing in these songs, and few had ever explored such territory, much less mapped it so well. "The Late Show," the album's thematic center, doubted but ultimately affirmed the nature of relationships, while by the end, "After the Deluge," if "only a few survived," the human race continued nonetheless. It was a lot to put into a pop music album, but Browne stretched the limits of what could be found in what he called "the beauty in songs," just as Bob Dylan had a decade before." - William Ruhlmann, All Music See acast.com/privacy for privacy and opt-out information.

"On his third album, Jackson Browne returned to the themes of his debut record (love, loss, identity, apocalypse) and, amazingly, delved even deeper into them. "For a Dancer," a meditation on death like the first album's "Song for Adam," is a more eloquent eulogy; "Farther On" extends the "moving on" point of "Looking Into You"; "Before the Deluge" is a glimpse beyond the apocalypse evoked on "My Opening Farewell" and the second album's "For Everyman." If Browne had seemed to question everything in his first records, here he even questioned himself. "For me some words come easy, but I know that they don't mean that much," he sang on the opening track, "Late for the Sky," and added in "Farther On," "I'm not sure what I'm trying to say." Yet his seeming uncertainty and self-doubt reflected the size and complexity of the problems he was addressing in these songs, and few had ever explored such territory, much less mapped it so well. "The Late Show," the album's thematic center, doubted but ultimately affirmed the nature of relationships, while by the end, "After the Deluge," if "only a few survived," the human race continued nonetheless. It was a lot to put into a pop music album, but Browne stretched the limits of what could be found in what he called "the beauty in songs," just as Bob Dylan had a decade before." - William Ruhlmann, All Music See <a href="https://acast.com/privacy" rel="noopener noreferrer nofollow" target="_blank">acast.com/privacy</a> for privacy and opt-out information.

Jackson Browne - Late For The Sky | #017

"The Allman Brothers came first, but Lynyrd Skynyrd epitomized Southern rock. The Allmans were exceptionally gifted musicians, as much bluesmen as rockers. Skynyrd was nothing but rockers, and they were Southern rockers to the bone. This didn't just mean that they were rednecks, but that they brought it all together -- the blues, country, garage rock, Southern poetry -- in a way that sounded more like the South than even the Allmans. And a large portion of that derives from their hard, lean edge, which was nowhere more apparent than on their debut album, Pronounced Leh-Nerd Skin-Nerd. Produced by Al Kooper, there are few records that sound this raw and uncompromising, especially records by debut bands. Then again, few bands sound this confident and fully formed with their first record. Perhaps the record is stronger because it's only eight songs, so there isn't a wasted moment, but that doesn't discount the sheer strength of each song. Consider the opening juxtaposition of the rollicking "I Ain't the One" with the heartbreaking "Tuesday's Gone." Two songs couldn't be more opposed, yet Skynyrd sounds equally convincing on both. If that's all the record did, it would still be fondly regarded, but it wouldn't have been influential. The genius of Skynyrd is that they un-self-consciously blended album-oriented hard rock, blues, country, and garage rock, turning it all into a distinctive sound that sounds familiar but thoroughly unique. On top of that, there's the highly individual voice of Ronnie Van Zant, a songwriter who isn't afraid to be nakedly sentimental, spin tales of the South, or to twist macho conventions with humor. And, lest we forget, while he does this, the band rocks like a motherf*cker. It's the birth of a great band that birthed an entire genre with this album." - Stephen Thomas Erlewine, All Music See acast.com/privacy for privacy and opt-out information.

"The Allman Brothers came first, but Lynyrd Skynyrd epitomized Southern rock. The Allmans were exceptionally gifted musicians, as much bluesmen as rockers. Skynyrd was nothing but rockers, and they were Southern rockers to the bone. This didn't just mean that they were rednecks, but that they brought it all together -- the blues, country, garage rock, Southern poetry -- in a way that sounded more like the South than even the Allmans. And a large portion of that derives from their hard, lean edge, which was nowhere more apparent than on their debut album, Pronounced Leh-Nerd Skin-Nerd. Produced by Al Kooper, there are few records that sound this raw and uncompromising, especially records by debut bands. Then again, few bands sound this confident and fully formed with their first record. Perhaps the record is stronger because it's only eight songs, so there isn't a wasted moment, but that doesn't discount the sheer strength of each song. Consider the opening juxtaposition of the rollicking "I Ain't the One" with the heartbreaking "Tuesday's Gone." Two songs couldn't be more opposed, yet Skynyrd sounds equally convincing on both. If that's all the record did, it would still be fondly regarded, but it wouldn't have been influential. The genius of Skynyrd is that they un-self-consciously blended album-oriented hard rock, blues, country, and garage rock, turning it all into a distinctive sound that sounds familiar but thoroughly unique. On top of that, there's the highly individual voice of Ronnie Van Zant, a songwriter who isn't afraid to be nakedly sentimental, spin tales of the South, or to twist macho conventions with humor. And, lest we forget, while he does this, the band rocks like a motherf*cker. It's the birth of a great band that birthed an entire genre with this album." - Stephen Thomas Erlewine, All Music See <a href="https://acast.com/privacy" rel="noopener noreferrer nofollow" target="_blank">acast.com/privacy</a> for privacy and opt-out information.

Lynyrd Skynyrd - (Pronounced 'Lĕh-'nérd 'Skin-'nérd) | #016

John's Gumbo

"Dr. John's Gumbo bridged the gap between post-hippie rock and early rock &amp; roll, blues, and R&amp;B, offering a selection of classic New Orleans R&amp;B, including "Tipitina" and "Junko Partner," updated with a gritty, funky beat. There aren't as many psychedelic flourishes as there were on his first two albums, but the ones that are present enhance his sweeping vision of American roots music. And that sly fusion of styles makes Dr. John's Gumbo one of Dr. John's finest albums." - Stephen Thomas Erlewine, All Music See acast.com/privacy for privacy and opt-out information.

"Dr. John's Gumbo bridged the gap between post-hippie rock and early rock &amp; roll, blues, and R&amp;B, offering a selection of classic New Orleans R&amp;B, including "Tipitina" and "Junko Partner," updated with a gritty, funky beat. There aren't as many psychedelic flourishes as there were on his first two albums, but the ones that are present enhance his sweeping vision of American roots music. And that sly fusion of styles makes Dr. John's Gumbo one of Dr. John's finest albums." - Stephen Thomas Erlewine, All Music See <a href="https://acast.com/privacy" rel="noopener noreferrer nofollow" target="_blank">acast.com/privacy</a> for privacy and opt-out information.

Dr. John - Dr. John's Gumbo | #015

"The Band's first album, Music from Big Pink, seemed to come out of nowhere, with its ramshackle musical blend and songs of rural tragedy. The Band, the group's second album, was a more deliberate and even more accomplished effort, partially because the players had become a more cohesive unit, and partially because guitarist Robbie Robertson had taken over the songwriting, writing or co-writing all 12 songs. Though a Canadian, Robertson focused on a series of American archetypes from the union worker in "King Harvest (Has Surely Come)" and the retired sailor in "Rockin' Chair" to, most famously, the Confederate Civil War observer Virgil Cane in "The Night They Drove Old Dixie Down." The album effectively mixed the kind of mournful songs that had dominated Music from Big Pink, here including "Whispering Pines" and "When You Awake" (both co-written by Richard Manuel), with rollicking up-tempo numbers like "Rag Mama Rag" and "Up on Cripple Creek" (both sung by Levon Helm and released as singles, with "Up on Cripple Creek" making the Top 40). As had been true of the first album, it was The Band's sound that stood out the most, from Helm's (and occasionally Manuel's) propulsive drumming to Robertson's distinctive guitar fills and the endlessly inventive keyboard textures of Garth Hudson, all topped by the rough, expressive singing of Manuel, Helm, and Rick Danko that mixed leads with harmonies. The arrangements were simultaneously loose and assured, giving the songs a timeless appeal, while the lyrics continued to paint portraits of 19th century rural life (especially Southern life, as references to Tennessee and Virginia made clear), its sometimes less savory aspects treated with warmth and humor." - William Ruhlmann, All Music See acast.com/privacy for privacy and opt-out information.

"The Band's first album, Music from Big Pink, seemed to come out of nowhere, with its ramshackle musical blend and songs of rural tragedy. The Band, the group's second album, was a more deliberate and even more accomplished effort, partially because the players had become a more cohesive unit, and partially because guitarist Robbie Robertson had taken over the songwriting, writing or co-writing all 12 songs. Though a Canadian, Robertson focused on a series of American archetypes from the union worker in "King Harvest (Has Surely Come)" and the retired sailor in "Rockin' Chair" to, most famously, the Confederate Civil War observer Virgil Cane in "The Night They Drove Old Dixie Down." The album effectively mixed the kind of mournful songs that had dominated Music from Big Pink, here including "Whispering Pines" and "When You Awake" (both co-written by Richard Manuel), with rollicking up-tempo numbers like "Rag Mama Rag" and "Up on Cripple Creek" (both sung by Levon Helm and released as singles, with "Up on Cripple Creek" making the Top 40). As had been true of the first album, it was The Band's sound that stood out the most, from Helm's (and occasionally Manuel's) propulsive drumming to Robertson's distinctive guitar fills and the endlessly inventive keyboard textures of Garth Hudson, all topped by the rough, expressive singing of Manuel, Helm, and Rick Danko that mixed leads with harmonies. The arrangements were simultaneously loose and assured, giving the songs a timeless appeal, while the lyrics continued to paint portraits of 19th century rural life (especially Southern life, as references to Tennessee and Virginia made clear), its sometimes less savory aspects treated with warmth and humor." - William Ruhlmann, All Music See <a href="https://acast.com/privacy" rel="noopener noreferrer nofollow" target="_blank">acast.com/privacy</a> for privacy and opt-out information.

The Band - The Band | #014

Linda Thompson

"In 1974, Richard Thompson and the former Linda Peters released their first album together, and I Want to See the Bright Lights Tonight was nothing short of a masterpiece, the starkly beautiful refinement of the promise of Thompson's solo debut, Henry the Human Fly. In Linda Thompson, Richard found a superb collaborator and a world-class vocalist; Linda possessed a voice as clear and rich as Sandy Denny's, but with a strength that could easily support Richard's often weighty material, and she proved capable of tackling anything presented to her, from the delicately mournful "Has He Got a Friend for Me" to the gleeful cynicism of "The Little Beggar Girl." And while Richard had already made clear that he was a songwriter to be reckoned with, on I Want to See the Bright Lights Tonight he went from strength to strength. While the album's mood is decidedly darker than anything he'd recorded before, the sorrow of "Withered and Died," "The End of the Rainbow," and "The Great Valerio" spoke not of self-pity but of the contemplation of life's cruelties by a man who, at 25, had already been witness to more than his share. And though Thompson didn't give himself a guitar showcase quite like "Roll Over Vaughn Williams" on Henry the Human Fly, the brilliant solos that punctuated many of the songs were manna from heaven for any guitar enthusiast. While I Want to See the Bright Lights Tonight may be the darkest music of Richard &amp; Linda Thompson's career, in this chronicle of pain and longing they were able to forge music of striking and unmistakable beauty; if the lyrics often ponder the high stakes of our fate in this life, the music offered a glimpse of the joys that make the struggle worthwhile." - Mark Deming, All Music See acast.com/privacy for privacy and opt-out information.

"In 1974, Richard Thompson and the former Linda Peters released their first album together, and I Want to See the Bright Lights Tonight was nothing short of a masterpiece, the starkly beautiful refinement of the promise of Thompson's solo debut, Henry the Human Fly. In Linda Thompson, Richard found a superb collaborator and a world-class vocalist; Linda possessed a voice as clear and rich as Sandy Denny's, but with a strength that could easily support Richard's often weighty material, and she proved capable of tackling anything presented to her, from the delicately mournful "Has He Got a Friend for Me" to the gleeful cynicism of "The Little Beggar Girl." And while Richard had already made clear that he was a songwriter to be reckoned with, on I Want to See the Bright Lights Tonight he went from strength to strength. While the album's mood is decidedly darker than anything he'd recorded before, the sorrow of "Withered and Died," "The End of the Rainbow," and "The Great Valerio" spoke not of self-pity but of the contemplation of life's cruelties by a man who, at 25, had already been witness to more than his share. And though Thompson didn't give himself a guitar showcase quite like "Roll Over Vaughn Williams" on Henry the Human Fly, the brilliant solos that punctuated many of the songs were manna from heaven for any guitar enthusiast. While I Want to See the Bright Lights Tonight may be the darkest music of Richard &amp; Linda Thompson's career, in this chronicle of pain and longing they were able to forge music of striking and unmistakable beauty; if the lyrics often ponder the high stakes of our fate in this life, the music offered a glimpse of the joys that make the struggle worthwhile." - Mark Deming, All Music See <a href="https://acast.com/privacy" rel="noopener noreferrer nofollow" target="_blank">acast.com/privacy</a> for privacy and opt-out information.

Richard & Linda Thompson - I Want To See The Bright Lights Tonight | #013

"If Lovey captured Evan Dando as he found his signature blend of punk-pop, jangle pop, and folk-rock, It's a Shame About Ray is where he perfected that style. Breezing by in under half an hour, the album is a simple collection of sunny melodies and hooks, delivered with typical nonchalance by Dando. None of the songs are about anything major, nor do they have astonishingly original melodies, but that's part of their charm -- they're immediately accessible and thoroughly catchy. Dando's laid-back observations of middle-class outcasts are minor gems. The heartbroken title track or "Confetti," the crushes of "Bit Part in Your Life," the love letter to substances "My Drug Buddy," or the wonderful "Alison's Starting to Happen," where a girl finds herself as she discovers punk rock, capture the laconic rhythms of suburbia, and his warm, friendly voice, which is offset by Juliana Hatfield's harmonies, gives the songs an emotional resonance. It's a Shame About Ray was later re-released with a competent punk-pop remake of Simon &amp; Garfunkel's "Mrs. Robinson" added as a bonus track. As Dando approached stardom, the album was repressed again with the title of "My Drug Buddy" truncated to "Buddy." It was later restored to its original title." -  Stephen Thomas Erlewine, All Music See acast.com/privacy for privacy and opt-out information.

"If Lovey captured Evan Dando as he found his signature blend of punk-pop, jangle pop, and folk-rock, It's a Shame About Ray is where he perfected that style. Breezing by in under half an hour, the album is a simple collection of sunny melodies and hooks, delivered with typical nonchalance by Dando. None of the songs are about anything major, nor do they have astonishingly original melodies, but that's part of their charm -- they're immediately accessible and thoroughly catchy. Dando's laid-back observations of middle-class outcasts are minor gems. The heartbroken title track or "Confetti," the crushes of "Bit Part in Your Life," the love letter to substances "My Drug Buddy," or the wonderful "Alison's Starting to Happen," where a girl finds herself as she discovers punk rock, capture the laconic rhythms of suburbia, and his warm, friendly voice, which is offset by Juliana Hatfield's harmonies, gives the songs an emotional resonance. It's a Shame About Ray was later re-released with a competent punk-pop remake of Simon &amp; Garfunkel's "Mrs. Robinson" added as a bonus track. As Dando approached stardom, the album was repressed again with the title of "My Drug Buddy" truncated to "Buddy." It was later restored to its original title." -  Stephen Thomas Erlewine, All Music See <a href="https://acast.com/privacy" rel="noopener noreferrer nofollow" target="_blank">acast.com/privacy</a> for privacy and opt-out information.

The Lemonheads - It's A Shame About Ray  | #012

"Fiona Apple demonstrates considerable talent on her debut album, Tidal, but it is unformed, unfocused talent. Her voice is surprisingly rich and supple for a teenager, and her jazzy, sophisticated piano playing also belies her age. Given the right material, such talents could have flourished, but she has concentrated on her own compositions, which are nowhere near as impressive as her musicianship. Most of Tidal is comprised of confessional singer/songwriter material, and while they strive to say something deep and important, much of the lyrics settle for clichés. Apple does have a handful of impressive songs on Tidal, like the haunting "Shadowboxer" and "Sullen Girl," but the gap between her performing talents and songwriting skills is too large to make the album anything more than a promising, and very intriguing, debut."  - Stephen Thomas Erlewine, All Music  See acast.com/privacy for privacy and opt-out information.

"Fiona Apple demonstrates considerable talent on her debut album, Tidal, but it is unformed, unfocused talent. Her voice is surprisingly rich and supple for a teenager, and her jazzy, sophisticated piano playing also belies her age. Given the right material, such talents could have flourished, but she has concentrated on her own compositions, which are nowhere near as impressive as her musicianship. Most of Tidal is comprised of confessional singer/songwriter material, and while they strive to say something deep and important, much of the lyrics settle for clichés. Apple does have a handful of impressive songs on Tidal, like the haunting "Shadowboxer" and "Sullen Girl," but the gap between her performing talents and songwriting skills is too large to make the album anything more than a promising, and very intriguing, debut." - Stephen Thomas Erlewine, All Music See <a href="https://acast.com/privacy" rel="noopener noreferrer nofollow" target="_blank">acast.com/privacy</a> for privacy and opt-out information.

Fiona Apple - Tidal | #011

In this episode we review Ramones' self-titled debut album. The album contains the classics Blitzkrieg Bop, 53rd &amp; 3rd, and Judy Is A Punk.  See acast.com/privacy for privacy and opt-out information.

In this episode we review Ramones' self-titled debut album. The album contains the classics Blitzkrieg Bop, 53rd &amp; 3rd, and Judy Is A Punk. See <a href="https://acast.com/privacy" rel="noopener noreferrer nofollow" target="_blank">acast.com/privacy</a> for privacy and opt-out information.

Ramones - Ramones | #010

"Alice Cooper's third album, Love It to Death, can be pinpointed as the release when everything began to come together for the band. Their first couple of albums (Pretties for You and Easy Action) were both largely psychedelic/acid rock affairs and bore little comparison to the band's eventual rip-roaring, teenage-anthem direction. The main reason for the quintet's change was that the eventually legendary producer Bob Ezrin was on board for the first time and helped the Coopers focus their songwriting and sound, while they also perfected their trashy, violent, and theatrical stage show and image. One of the band's most instantly identifiable anthems, "I'm Eighteen," was what made the album a hit, as well as another classic, "Is It My Body." But like Alice Cooper's other albums from the early '70s, it was an incredibly consistent listen from beginning to end. The garage rocker "Caught in a Dream" as well as the ass-kicking "Long Way to Go" and a pair of epics -- the Doors-esque "Black Juju" and the eerie "Ballad of Dwight Fry" -- showed that Alice was easily in league with other high-energy Detroit bands of the era (MC5, Stooges). Love It to Death was the first of a string of classic releases from the original Alice Cooper group." - Greg Prato, All Music See acast.com/privacy for privacy and opt-out information.

"Alice Cooper's third album, Love It to Death, can be pinpointed as the release when everything began to come together for the band. Their first couple of albums (Pretties for You and Easy Action) were both largely psychedelic/acid rock affairs and bore little comparison to the band's eventual rip-roaring, teenage-anthem direction. The main reason for the quintet's change was that the eventually legendary producer Bob Ezrin was on board for the first time and helped the Coopers focus their songwriting and sound, while they also perfected their trashy, violent, and theatrical stage show and image. One of the band's most instantly identifiable anthems, "I'm Eighteen," was what made the album a hit, as well as another classic, "Is It My Body." But like Alice Cooper's other albums from the early '70s, it was an incredibly consistent listen from beginning to end. The garage rocker "Caught in a Dream" as well as the ass-kicking "Long Way to Go" and a pair of epics -- the Doors-esque "Black Juju" and the eerie "Ballad of Dwight Fry" -- showed that Alice was easily in league with other high-energy Detroit bands of the era (MC5, Stooges). Love It to Death was the first of a string of classic releases from the original Alice Cooper group." - Greg Prato, All Music See <a href="https://acast.com/privacy" rel="noopener noreferrer nofollow" target="_blank">acast.com/privacy</a> for privacy and opt-out information.

Alice Cooper - Love It To Death | #009

"It’s not quite right to say that the Go-Go’s' 1981 debut, Beauty and the Beat, is where new wave caught hold in the U.S., but it’s not quite wrong, either. Prior to this, there had certainly been new wave hits -- Blondie had been reaching the Top Ten for two years running -- but the Go-Go’s ushered in the era of big, bright stylish pop, spending six weeks at the top of the U.S. charts and generating two singles that defined the era: the cool groove of “Our Lips Are Sealed” and the exuberant “We Got the Beat.” So big were these two hits that they sometimes suggested that Beauty and the Beat was a hits-and-filler record, an impression escalated by the boost the Go-Go’s received from the just-launched MTV, yet that’s hardly the case. Beauty and the Beat is sharp, clever, and catchy, explicitly drawing from the well of pre-Beatles ‘60s pop -- girl group harmonies, to be sure, but surf-rock echoes throughout -- but filtering it through the nervy energy of punk. With the assistance of Rob Freeman, producer Richard Gottehrer -- a veteran of the Strangeloves (“I Want Candy”) who also wrote the girl group standard “My Boyfriend’s Back” -- sanded down the band’s rougher edges, keeping the emphasis on the hooks and harmonies but giving the Go-Go’s enough kick and jangle that at times the group resembles nothing less than early R.E.M., particularly on “How Much More” and “Tonite.” But this isn’t Murmur; there is nothing murky about Beauty and the Beat at all -- this is infectiously cheerful pop, so hooky it’s sometimes easy to overlook how well-written these tunes are, but it’s the sturdiness of the songs that makes Beauty and the Beat a new wave classic." - Stephen Thomas Erlewine, All Music See acast.com/privacy for privacy and opt-out information.

"It’s not quite right to say that the Go-Go’s' 1981 debut, Beauty and the Beat, is where new wave caught hold in the U.S., but it’s not quite wrong, either. Prior to this, there had certainly been new wave hits -- Blondie had been reaching the Top Ten for two years running -- but the Go-Go’s ushered in the era of big, bright stylish pop, spending six weeks at the top of the U.S. charts and generating two singles that defined the era: the cool groove of “Our Lips Are Sealed” and the exuberant “We Got the Beat.” So big were these two hits that they sometimes suggested that Beauty and the Beat was a hits-and-filler record, an impression escalated by the boost the Go-Go’s received from the just-launched MTV, yet that’s hardly the case. Beauty and the Beat is sharp, clever, and catchy, explicitly drawing from the well of pre-Beatles ‘60s pop -- girl group harmonies, to be sure, but surf-rock echoes throughout -- but filtering it through the nervy energy of punk. With the assistance of Rob Freeman, producer Richard Gottehrer -- a veteran of the Strangeloves (“I Want Candy”) who also wrote the girl group standard “My Boyfriend’s Back” -- sanded down the band’s rougher edges, keeping the emphasis on the hooks and harmonies but giving the Go-Go’s enough kick and jangle that at times the group resembles nothing less than early R.E.M., particularly on “How Much More” and “Tonite.” But this isn’t Murmur; there is nothing murky about Beauty and the Beat at all -- this is infectiously cheerful pop, so hooky it’s sometimes easy to overlook how well-written these tunes are, but it’s the sturdiness of the songs that makes Beauty and the Beat a new wave classic." - Stephen Thomas Erlewine, All Music See <a href="https://acast.com/privacy" rel="noopener noreferrer nofollow" target="_blank">acast.com/privacy</a> for privacy and opt-out information.

The Go-Go's - Beauty & The Beat | #008

Polyphonic Press is a podcast dedicated to exploring classic albums. Every week, Jeremy Boyd and Jon VanDyk will pick an an album at random that has either had an impact on the artist's career, or has changed the musical landscape in a big way, and analyze it track-by-track. See acast.com/privacy for privacy and opt-out information.

"Fronted by the husband-and-wife team of Win Butler and Régine Chassagne, the Arcade Fire's emotional debut -- rendered even more poignant by the dedications to recently departed family members contained in its liner notes -- is brave, empowering, and dusted with something that many of the indie rock genre's more contrived acts desperately lack: an element of real danger. Funeral's mourners -- specifically Butler and Chassagne -- inhabit the same post-apocalyptic world as London Suede's Dog Man Star; they are broken, beaten, and ferociously romantic, reveling in the brutal beauty of their surroundings like a heathen Adam &amp; Eve. "Neighborhood #1 (Tunnels)," the first of four metaphorical forays into the geography of the soul, follows a pair of young lovers who meet in the middle of the town through tunnels that connect to their bedrooms. Over a soaring piano lead that's effectively doubled by distorted guitar, they reach a Lord of the Flies-tinged utopia where they can't even remember their names or the faces of their weeping parents. Butler sings like a lion-tamer whose whip grows shorter with each and every lash. He can barely contain himself, and when he lets loose it's both melodic and primal, like Berlin-era Bowie. "Neighborhood #2 (Laïka)" examines suicidal desperation through an angular Gang of Four prism; the hypnotic wash of strings and subtle meter changes of "Neighborhood #4 (7 Kettles)" winsomely capture the mundane doings of day-to-day existence; and "Neighborhood #3 (Power Out)," Funeral's victorious soul-thumping core, is a goose bump-inducing rallying cry centered around the notion that "the power's out in the heart of man, take it from your heart and put it in your hand." Arcade Fire are not bereft of whimsy. "Crown of Love" is like a wedding cake dropped in slow motion, utilizing a Johnny Mandel-style string section and a sweet, soda-pop-stand chorus to provide solace to a jilted lover yearning for a way back into the fold, and "Haiti" relies on a sunny island melody to explore the complexities of Chassagne's mercurial homeland. However, it's the sheer power and scope of cuts like "Wake Up" -- featuring all 15 musicians singing in unison -- and the mesmerizing, early-Roxy Music pulse of "Rebellion (Lies)" that make Funeral the remarkable achievement that it is. These are songs that pump blood back into the heart as fast and furiously as it's draining from the sleeve on which it beats, and by the time Chassagne dissects her love of riding "In the Backseat" with the radio on, despite her desperate fear of driving, Funeral's singular thread is finally revealed; love does conquer all, especially love for the cathartic power of music." - James Christopher Monger, All Music See acast.com/privacy for privacy and opt-out information.

"Fronted by the husband-and-wife team of Win Butler and Régine Chassagne, the Arcade Fire's emotional debut -- rendered even more poignant by the dedications to recently departed family members contained in its liner notes -- is brave, empowering, and dusted with something that many of the indie rock genre's more contrived acts desperately lack: an element of real danger. Funeral's mourners -- specifically Butler and Chassagne -- inhabit the same post-apocalyptic world as London Suede's Dog Man Star; they are broken, beaten, and ferociously romantic, reveling in the brutal beauty of their surroundings like a heathen Adam &amp; Eve. "Neighborhood #1 (Tunnels)," the first of four metaphorical forays into the geography of the soul, follows a pair of young lovers who meet in the middle of the town through tunnels that connect to their bedrooms. Over a soaring piano lead that's effectively doubled by distorted guitar, they reach a Lord of the Flies-tinged utopia where they can't even remember their names or the faces of their weeping parents. Butler sings like a lion-tamer whose whip grows shorter with each and every lash. He can barely contain himself, and when he lets loose it's both melodic and primal, like Berlin-era Bowie. "Neighborhood #2 (Laïka)" examines suicidal desperation through an angular Gang of Four prism; the hypnotic wash of strings and subtle meter changes of "Neighborhood #4 (7 Kettles)" winsomely capture the mundane doings of day-to-day existence; and "Neighborhood #3 (Power Out)," Funeral's victorious soul-thumping core, is a goose bump-inducing rallying cry centered around the notion that "the power's out in the heart of man, take it from your heart and put it in your hand." Arcade Fire are not bereft of whimsy. "Crown of Love" is like a wedding cake dropped in slow motion, utilizing a Johnny Mandel-style string section and a sweet, soda-pop-stand chorus to provide solace to a jilted lover yearning for a way back into the fold, and "Haiti" relies on a sunny island melody to explore the complexities of Chassagne's mercurial homeland. However, it's the sheer power and scope of cuts like "Wake Up" -- featuring all 15 musicians singing in unison -- and the mesmerizing, early-Roxy Music pulse of "Rebellion (Lies)" that make Funeral the remarkable achievement that it is. These are songs that pump blood back into the heart as fast and furiously as it's draining from the sleeve on which it beats, and by the time Chassagne dissects her love of riding "In the Backseat" with the radio on, despite her desperate fear of driving, Funeral's singular thread is finally revealed; love does conquer all, especially love for the cathartic power of music." - James Christopher Monger, All Music See <a href="https://acast.com/privacy" rel="noopener noreferrer nofollow" target="_blank">acast.com/privacy</a> for privacy and opt-out information.

Arcade Fire - Funeral | #007

Dave Brubeck

"Dave Brubeck's defining masterpiece, Time Out is one of the most rhythmically innovative albums in jazz history, the first to consciously explore time signatures outside of the standard 4/4 beat or 3/4 waltz time. It was a risky move -- Brubeck's record company wasn't keen on releasing such an arty project, and many critics initially roasted him for tampering with jazz's rhythmic foundation. But for once, public taste was more advanced than that of the critics. Buoyed by a hit single in altoist Paul Desmond's ubiquitous "Take Five," Time Out became an unexpectedly huge success, and still ranks as one of the most popular jazz albums ever. That's a testament to Brubeck and Desmond's abilities as composers, because Time Out is full of challenges both subtle and overt -- it's just that they're not jarring. Brubeck's classic "Blue Rondo à la Turk" blends jazz with classical form and Turkish folk rhythms, while "Take Five," despite its overexposure, really is a masterpiece; listen to how well Desmond's solo phrasing fits the 5/4 meter, and how much Joe Morello's drum solo bends time without getting lost. The other selections are richly melodic as well, and even when the meters are even, the group sets up shifting polyrhythmic counterpoints that nod to African and Eastern musics. Some have come to disdain Time Out as its become increasingly synonymous with upscale coffeehouse ambience, but as someone once said of Shakespeare, it's really very good in spite of the people who like it. It doesn't just sound sophisticated -- it really is sophisticated music, which lends itself to cerebral appreciation, yet never stops swinging. Countless other musicians built on its pioneering experiments, yet it's amazingly accessible for all its advanced thinking, a rare feat in any art form. This belongs in even the most rudimentary jazz collection." - Steve Huey, All Music See acast.com/privacy for privacy and opt-out information.

"Dave Brubeck's defining masterpiece, Time Out is one of the most rhythmically innovative albums in jazz history, the first to consciously explore time signatures outside of the standard 4/4 beat or 3/4 waltz time. It was a risky move -- Brubeck's record company wasn't keen on releasing such an arty project, and many critics initially roasted him for tampering with jazz's rhythmic foundation. But for once, public taste was more advanced than that of the critics. Buoyed by a hit single in altoist Paul Desmond's ubiquitous "Take Five," Time Out became an unexpectedly huge success, and still ranks as one of the most popular jazz albums ever. That's a testament to Brubeck and Desmond's abilities as composers, because Time Out is full of challenges both subtle and overt -- it's just that they're not jarring. Brubeck's classic "Blue Rondo à la Turk" blends jazz with classical form and Turkish folk rhythms, while "Take Five," despite its overexposure, really is a masterpiece; listen to how well Desmond's solo phrasing fits the 5/4 meter, and how much Joe Morello's drum solo bends time without getting lost. The other selections are richly melodic as well, and even when the meters are even, the group sets up shifting polyrhythmic counterpoints that nod to African and Eastern musics. Some have come to disdain Time Out as its become increasingly synonymous with upscale coffeehouse ambience, but as someone once said of Shakespeare, it's really very good in spite of the people who like it. It doesn't just sound sophisticated -- it really is sophisticated music, which lends itself to cerebral appreciation, yet never stops swinging. Countless other musicians built on its pioneering experiments, yet it's amazingly accessible for all its advanced thinking, a rare feat in any art form. This belongs in even the most rudimentary jazz collection." - Steve Huey, All Music See <a href="https://acast.com/privacy" rel="noopener noreferrer nofollow" target="_blank">acast.com/privacy</a> for privacy and opt-out information.

Dave Brubeck Quartet - Time Out | #006

"The album that essentially kick-started the U.K. glam rock craze, Electric Warrior completes T. Rex's transformation from hippie folk-rockers into flamboyant avatars of trashy rock &amp; roll. There are a few vestiges of those early days remaining in the acoustic-driven ballads, but Electric Warrior spends most of its time in a swinging, hip-shaking groove powered by Marc Bolan's warm electric guitar. The music recalls not just the catchy simplicity of early rock &amp; roll, but also the implicit sexuality -- except that here, Bolan gleefully hauls it to the surface, singing out loud what was once only communicated through the shimmying beat. He takes obvious delight in turning teenage bubblegum rock into campy sleaze, not to mention filling it with pseudo-psychedelic hippie poetry. In fact, Bolan sounds just as obsessed with the heavens as he does with sex, whether he's singing about spiritual mysticism or begging a flying saucer to take him away. It's all done with the same theatrical flair, but Tony Visconti's spacious, echoing production makes it surprisingly convincing. Still, the real reason Electric Warrior stands the test of time so well -- despite its intended disposability -- is that it revels so freely in its own absurdity and willful lack of substance. Not taking himself at all seriously, Bolan is free to pursue whatever silly wordplay, cosmic fantasies, or non sequitur imagery he feels like; his abandonment of any pretense to art becomes, ironically, a statement in itself. Bolan's lack of pomposity, back-to-basics songwriting, and elaborate theatrics went on to influence everything from hard rock to punk to new wave. But in the end, it's that sense of playfulness, combined with a raft of irresistible hooks, that keeps Electric Warrior such an infectious, invigorating listen today." - Steve Huey, All Music See acast.com/privacy for privacy and opt-out information.

"The album that essentially kick-started the U.K. glam rock craze, Electric Warrior completes T. Rex's transformation from hippie folk-rockers into flamboyant avatars of trashy rock &amp; roll. There are a few vestiges of those early days remaining in the acoustic-driven ballads, but Electric Warrior spends most of its time in a swinging, hip-shaking groove powered by Marc Bolan's warm electric guitar. The music recalls not just the catchy simplicity of early rock &amp; roll, but also the implicit sexuality -- except that here, Bolan gleefully hauls it to the surface, singing out loud what was once only communicated through the shimmying beat. He takes obvious delight in turning teenage bubblegum rock into campy sleaze, not to mention filling it with pseudo-psychedelic hippie poetry. In fact, Bolan sounds just as obsessed with the heavens as he does with sex, whether he's singing about spiritual mysticism or begging a flying saucer to take him away. It's all done with the same theatrical flair, but Tony Visconti's spacious, echoing production makes it surprisingly convincing. Still, the real reason Electric Warrior stands the test of time so well -- despite its intended disposability -- is that it revels so freely in its own absurdity and willful lack of substance. Not taking himself at all seriously, Bolan is free to pursue whatever silly wordplay, cosmic fantasies, or non sequitur imagery he feels like; his abandonment of any pretense to art becomes, ironically, a statement in itself. Bolan's lack of pomposity, back-to-basics songwriting, and elaborate theatrics went on to influence everything from hard rock to punk to new wave. But in the end, it's that sense of playfulness, combined with a raft of irresistible hooks, that keeps Electric Warrior such an infectious, invigorating listen today." - Steve Huey, All Music See <a href="https://acast.com/privacy" rel="noopener noreferrer nofollow" target="_blank">acast.com/privacy</a> for privacy and opt-out information.

T. Rex - Electric Warrior | #005

Joni Mitchell

"Joni Mitchell's Hejira is the last in an astonishingly long run of top-notch studio albums dating back to her debut. Some vestiges of her old style remain here; "Song for Sharon" utilizes the static, pithy vocal harmonies from Ladies of the Canyon's "Woodstock," "Refuge of the Roads" features woodwind touches reminiscent of those in "Barangrill" from For the Roses, and "Coyote" is a fast guitar-strummed number that has precedents as far back as Clouds' "Chelsea Morning." But by and large, this release is the most overtly jazz-oriented of her career up to this point -- hip and cool, but never smug or icy. "Blue Motel Room" in particular is a prototypic slow jazz-club combo number, appropriately smooth, smoky, and languorous. "Coyote," "Black Crow," and the title track are by contrast energetically restless fast-tempo selections. The rest of the songs here cleverly explore variants on mid- to slow-tempo approaches. None of these cuts are traditionally tuneful in the manner of Mitchell's older folk efforts; the effect here is one of subtle rolls and ridges on a green meadow rather than the outgoing beauty of a flower garden. Mitchell's verses, many concerned with character portraits, are among the most polished of her career; the most striking of these studies are that of the decrepit Delta crooner of "Furry Sings the Blues" and the ambivalent speaker of "Song to Sharon," who has difficulty choosing between commitment and freedom. Arrangements are sparse, yet surprisingly varied, the most striking of which is the kaleidoscopically pointillistic one used on "Amelia." Performances are excellent, with special kudos reserved for Jaco Pastorius' melodic bass playing on "Refuge of the Roads" and the title cut. This excellent album is a rewarding listen." - David Cleary, All Music See acast.com/privacy for privacy and opt-out information.

"Joni Mitchell's Hejira is the last in an astonishingly long run of top-notch studio albums dating back to her debut. Some vestiges of her old style remain here; "Song for Sharon" utilizes the static, pithy vocal harmonies from Ladies of the Canyon's "Woodstock," "Refuge of the Roads" features woodwind touches reminiscent of those in "Barangrill" from For the Roses, and "Coyote" is a fast guitar-strummed number that has precedents as far back as Clouds' "Chelsea Morning." But by and large, this release is the most overtly jazz-oriented of her career up to this point -- hip and cool, but never smug or icy. "Blue Motel Room" in particular is a prototypic slow jazz-club combo number, appropriately smooth, smoky, and languorous. "Coyote," "Black Crow," and the title track are by contrast energetically restless fast-tempo selections. The rest of the songs here cleverly explore variants on mid- to slow-tempo approaches. None of these cuts are traditionally tuneful in the manner of Mitchell's older folk efforts; the effect here is one of subtle rolls and ridges on a green meadow rather than the outgoing beauty of a flower garden. Mitchell's verses, many concerned with character portraits, are among the most polished of her career; the most striking of these studies are that of the decrepit Delta crooner of "Furry Sings the Blues" and the ambivalent speaker of "Song to Sharon," who has difficulty choosing between commitment and freedom. Arrangements are sparse, yet surprisingly varied, the most striking of which is the kaleidoscopically pointillistic one used on "Amelia." Performances are excellent, with special kudos reserved for Jaco Pastorius' melodic bass playing on "Refuge of the Roads" and the title cut. This excellent album is a rewarding listen." - David Cleary, All Music See <a href="https://acast.com/privacy" rel="noopener noreferrer nofollow" target="_blank">acast.com/privacy</a> for privacy and opt-out information.

Joni Mitchell - Hejira | #004

"Appearing after a blockbuster debut and a sophomore set that was rather disappointing (in comparison), 1968's Lady Soul proved Aretha Franklin, the pop sensation, was no fluke. Her performances were more impassioned than on her debut, and the material just as strong, an inspired blend of covers and originals from the best songwriters in soul and pop music. The opener, "Chain of Fools," became the biggest hit, driven by a chorus of cascading echoes by Franklin and her bedrock backing vocalists, the Sweet Impressions, plus the unforgettable, earthy guitar work of guest Joe South. The album's showpiece, though, was "(You Make Me Feel Like) A Natural Woman," a song written expressly for her by Brill Building pop stalwarts Gerry Goffin and Carole King, based on a title coined by producer Jerry Wexler. One of the landmark performances in pop music, the song floats serenely through the verses until, swept up by Ralph Burns' stirring string arrangement again and again, Franklin opens up on the choruses with one of the most transcendent vocals of her career. And just as she'd previously transformed a soul classic (Otis Redding's "Respect") into a signature piece of her own, Franklin courageously reimagined songs by heavyweights James Brown, Ray Charles, and the Impressions. Brown's "Money Won't Change You" is smooth and kinetic, her testifying constantly reinforced by interjections from the Sweet Inspirations. Curtis Mayfield's "People Get Ready," a 1965 civil-rights anthem and a hit for the Impressions, is taken at a slower pace than the original; after a quiet verse, Franklin lets loose amidst a magisterial brass arrangement by Arif Mardin. Powered by three hit singles (each nested in the upper reaches of the pop Top Ten), Lady Soul became Aretha Franklin's second gold LP and remained on the charts for over a year." - John Bush, All Music  See acast.com/privacy for privacy and opt-out information.

"Appearing after a blockbuster debut and a sophomore set that was rather disappointing (in comparison), 1968's Lady Soul proved Aretha Franklin, the pop sensation, was no fluke. Her performances were more impassioned than on her debut, and the material just as strong, an inspired blend of covers and originals from the best songwriters in soul and pop music. The opener, "Chain of Fools," became the biggest hit, driven by a chorus of cascading echoes by Franklin and her bedrock backing vocalists, the Sweet Impressions, plus the unforgettable, earthy guitar work of guest Joe South. The album's showpiece, though, was "(You Make Me Feel Like) A Natural Woman," a song written expressly for her by Brill Building pop stalwarts Gerry Goffin and Carole King, based on a title coined by producer Jerry Wexler. One of the landmark performances in pop music, the song floats serenely through the verses until, swept up by Ralph Burns' stirring string arrangement again and again, Franklin opens up on the choruses with one of the most transcendent vocals of her career. And just as she'd previously transformed a soul classic (Otis Redding's "Respect") into a signature piece of her own, Franklin courageously reimagined songs by heavyweights James Brown, Ray Charles, and the Impressions. Brown's "Money Won't Change You" is smooth and kinetic, her testifying constantly reinforced by interjections from the Sweet Inspirations. Curtis Mayfield's "People Get Ready," a 1965 civil-rights anthem and a hit for the Impressions, is taken at a slower pace than the original; after a quiet verse, Franklin lets loose amidst a magisterial brass arrangement by Arif Mardin. Powered by three hit singles (each nested in the upper reaches of the pop Top Ten), Lady Soul became Aretha Franklin's second gold LP and remained on the charts for over a year." - John Bush, All Music See <a href="https://acast.com/privacy" rel="noopener noreferrer nofollow" target="_blank">acast.com/privacy</a> for privacy and opt-out information.

Aretha Franklin - Lady Soul | #003

"As the second long-player by the Grateful Dead, Anthem of the Sun (1968) pushed the limits of both the music as well as the medium. General dissatisfaction with their self-titled debut necessitated the search for a methodology to seamlessly juxtapose the more inspired segments of their live performances with the necessary conventions of a single LP. Since issuing their first album, the Dead welcomed lyricist Robert Hunter into the fold -- freeing the performing members to focus on the execution and taking the music to the next level. Another addition was second percussionist Mickey Hart, whose methodical timekeeping would become a staple in the Dead's ability to stop on the proverbial rhythmic dime. Likewise, Tom Constanten (keyboards) added an avant-garde twist to the proceedings with various sonic enhancements that were more akin to John Cage and Karlheinz Stockhausen than anything else coming from the burgeoning Bay Area music scene. Their extended family also began to incorporate folks like Dan Healy -- whose non-musical contributions and innovations ranged from concert PA amplification to meeting the technical challenges that the band presented off the road as well. On this record Healy's involvement cannot be overstated, as the band were essentially given carte blanche and simultaneous on-the-job training with regards to the ins and outs of the still unfamiliar recording process. The idea to create an aural pastiche from numerous sources -- often running simultaneously -- was a radical concept that allowed consumers worldwide to experience a simulated Dead performance firsthand. One significant pattern which began developing saw the band continuing to refine the same material that they were concurrently playing live night after night prior to entering the studio. The extended "That's It for the Other One" suite is nothing short of a psychedelic roller coaster. The wild ride weaves what begins as a typical song into several divergent performances -- taken from tapes of live shows -- ultimately returning to the home base upon occasion, presumably as a built-in reality check. Lyrically, Bob Weir (guitar/vocals) includes references to their 1967 pot bust ("...the heat came 'round and busted me for smiling on a cloudy day") as well as the band's spiritual figurehead Neal Cassidy ("...there was Cowboy Neal at the wheel on a bus to never ever land"). Although this version smokes from tip to smouldering tail, the piece truly developed a persona all its own and became a rip-roaring monster in concert. The tracks "New Potato Caboose" and Weir's admittedly autobiographically titled "Born Cross-Eyed" are fascinatingly intricate side trips that had developed organically during the extended work's on-stage performance life. "Alligator" is a no-nonsense Ron "Pigpen" McKernan workout that motors the second extended sonic collage on Anthem of the Sun. His straight-ahead driving blues ethos careens headlong into the Dead's innate improvisational psychedelia. The results are uniformly brilliant as the band thrash and churn behind his rock-solid lead vocals. Musically, the Dead's instrumental excursions wind in and out of the primary theme, ultimately ending up in the equally frenetic "Caution (Do Not Stop on Tracks)." Although the uninitiated might find the album unnervingly difficult to follow, it obliterated the pretension of the post-Sgt. Pepper's "concept album" while reinventing the musical parameters of the 12" LP medium. [The expanded and remastered edition included in the Golden Road (1965-1973) (2001) box set contains a live performance from August 23, 1968, at the Shrine in Los Angeles. This miniset features an incendiary medley of "Alligator" and "Caution (Do Not Stop on Tracks)" concluding with over four minutes of electronic feedback.]" - indsay Planer, All Music See acast.com/privacy for privacy and opt-out information.

"As the second long-player by the Grateful Dead, Anthem of the Sun (1968) pushed the limits of both the music as well as the medium. General dissatisfaction with their self-titled debut necessitated the search for a methodology to seamlessly juxtapose the more inspired segments of their live performances with the necessary conventions of a single LP. Since issuing their first album, the Dead welcomed lyricist Robert Hunter into the fold -- freeing the performing members to focus on the execution and taking the music to the next level. Another addition was second percussionist Mickey Hart, whose methodical timekeeping would become a staple in the Dead's ability to stop on the proverbial rhythmic dime. Likewise, Tom Constanten (keyboards) added an avant-garde twist to the proceedings with various sonic enhancements that were more akin to John Cage and Karlheinz Stockhausen than anything else coming from the burgeoning Bay Area music scene. Their extended family also began to incorporate folks like Dan Healy -- whose non-musical contributions and innovations ranged from concert PA amplification to meeting the technical challenges that the band presented off the road as well. On this record Healy's involvement cannot be overstated, as the band were essentially given carte blanche and simultaneous on-the-job training with regards to the ins and outs of the still unfamiliar recording process. The idea to create an aural pastiche from numerous sources -- often running simultaneously -- was a radical concept that allowed consumers worldwide to experience a simulated Dead performance firsthand. One significant pattern which began developing saw the band continuing to refine the same material that they were concurrently playing live night after night prior to entering the studio. The extended "That's It for the Other One" suite is nothing short of a psychedelic roller coaster. The wild ride weaves what begins as a typical song into several divergent performances -- taken from tapes of live shows -- ultimately returning to the home base upon occasion, presumably as a built-in reality check. Lyrically, Bob Weir (guitar/vocals) includes references to their 1967 pot bust ("...the heat came 'round and busted me for smiling on a cloudy day") as well as the band's spiritual figurehead Neal Cassidy ("...there was Cowboy Neal at the wheel on a bus to never ever land"). Although this version smokes from tip to smouldering tail, the piece truly developed a persona all its own and became a rip-roaring monster in concert. The tracks "New Potato Caboose" and Weir's admittedly autobiographically titled "Born Cross-Eyed" are fascinatingly intricate side trips that had developed organically during the extended work's on-stage performance life. "Alligator" is a no-nonsense Ron "Pigpen" McKernan workout that motors the second extended sonic collage on Anthem of the Sun. His straight-ahead driving blues ethos careens headlong into the Dead's innate improvisational psychedelia. The results are uniformly brilliant as the band thrash and churn behind his rock-solid lead vocals. Musically, the Dead's instrumental excursions wind in and out of the primary theme, ultimately ending up in the equally frenetic "Caution (Do Not Stop on Tracks)." Although the uninitiated might find the album unnervingly difficult to follow, it obliterated the pretension of the post-Sgt. Pepper's "concept album" while reinventing the musical parameters of the 12" LP medium. [The expanded and remastered edition included in the Golden Road (1965-1973) (2001) box set contains a live performance from August 23, 1968, at the Shrine in Los Angeles. This miniset features an incendiary medley of "Alligator" and "Caution (Do Not Stop on Tracks)" concluding with over four minutes of electronic feedback.]" - indsay Planer, All Music See <a href="https://acast.com/privacy" rel="noopener noreferrer nofollow" target="_blank">acast.com/privacy</a> for privacy and opt-out information.

Grateful Dead - Anthem of the Sun | #002

In this episode, we travel to 1987 and take a look at U2's breakthrough album The Joshua Tree.Listen to The Joshua Tree: https://open.spotify.com/album/5vBZRYu2GLA65nfxBvG1a7 See acast.com/privacy for privacy and opt-out information.

In this episode, we travel to 1987 and take a look at U2's breakthrough album The Joshua Tree.Listen to The Joshua Tree: <a href="https://open.spotify.com/album/5vBZRYu2GLA65nfxBvG1a7" rel="nofollow" target="_blank">https://open.spotify.com/album/5vBZRYu2GLA65nfxBvG1a7</a> See <a href="https://acast.com/privacy" rel="noopener noreferrer nofollow" target="_blank">acast.com/privacy</a> for privacy and opt-out information.

U2 - The Joshua Tree | #001

Polyphonic Press is a podcast dedicated to exploring classic albums. Every week, Join Jeremy Boyd and Jon VanDyk will pick an an album at random that has either had an impact on the artist's career, or has changed the musical landscape in a big way, and analyze it track-by-track. See acast.com/privacy for privacy and opt-out information.

Polyphonic Press is a podcast dedicated to exploring classic albums. Every week, Join Jeremy Boyd and Jon VanDyk will pick an an album at random that has either had an impact on the artist's career, or has changed the musical landscape in a big way, and analyze it track-by-track. See <a href="https://acast.com/privacy" rel="noopener noreferrer nofollow" target="_blank">acast.com/privacy</a> for privacy and opt-out information.

What is Polyphonic Press all about?

Polyphonic Press is a podcast dedicated to exploring classic albums. Every week, Jeremy Boyd and Jon VanDyk will pick an an album at random that has either had an impact on the artist's career, or has changed the musical landscape in a big way, and analyze it track-by-track. See <a href="https://acast.com/privacy" rel="noopener noreferrer nofollow" target="_blank">acast.com/privacy</a> for privacy and opt-out information.

Polyphonic Press - Classic Album Reviews

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