Musician and luthier Mike Virok (of the Paper Jets and Bordentown Guitar Rescue, bordentownguitarrescue.com, respectively) joins Bill and Brian to discuss some great songs off of some not-so-great albums. In a reprise of the format we introduced back in our "10 Great Songs," we push the limits by adding one more song! We talk about the Hooter's influence over all great music, Father's Day, whether or not one should date a person who has traveled the country for John Mellencamp, the value of Michael Jackson's songwriting, and the difference between Joe Dante and Joe Johnston! Songs by the following artists are discussed on this episode: The Police, Joan Osborne, Boston, Butthole Surfers, John Mellancamp, Michael Jackson, Todd Rundgren, Fleetwood Mac, The Gaslight Anthem, Modest Mouse, and Jimmy Eat World.
It's bonus song Thursday! In our follow up to Monday's Pet Sounds episode, we examine The Beach Boys' (or is it Jesse and The Rippers'?) "Forever" off of their 1970 album Sunflower. Featuring drummer Dennis Wilson's lead vocals after he took pen to paper to craft this song, the song helped bring the band back to minor chart succes and critical good graces. Luthier and musician Mike Virok (a preview of next week's episode) helps Bill and Brian break down the song, figure out how The Beach Boys fit into the annuls of 90s sitcoms, and develop a morning zoo-esque terrestrial radio program!
If we're talking about great albums of music, it's hard to escape the influence of The Beach Boys' Pet Sounds (1966, Capitol). Part of a group of LPs that helped usher in the "age of the albums" (c. 1964-2007), The Beach Boys' 11th studio album in under 4 years heralded a sea change in music fandom and criticism. Eschewing their "fun in the sun" image, band leader Brian Wilson attempted to create something personal and beautiful and musically dense amidst the culture and technology of the mid 60s. Bill and Brian break down this masterpiece of art track by track as they try to share what makes this album great.
The Beach Boys are once again our subject of conversation, this time discussing Brian Wilson's song, "Til I Die," from the Surf's Up album (1971, Brother). Set toward the end of this democratic-to-a-fault LP, "Til I Die," remains a post "Good Vibrations." While it finds Wilson in a dark place, it betrays the perception that he spent the decade "in his room," completely unproductive. Despite his output having slowed considerably, Wilson was still in complete control of his facilities. "Til I Die," is proof-positive.
Brian flies solo this week to talk about one of rock's most misunderstood albums, Smiley Smile (1967, Brother) by The Beach Boys. He attempts to recontextualize the album's importance in music's "back to basics" movement of the late 60s as The Boys transition from their signature lush, orchestral pop into something more primal. And somewhere in there, Brian realizes, quite aggressively, that Sgt. Pepper's might not be quite as good as the rest of the world thinks it is. This and more as he talks about what makes the album great, one track at a time.
While Bill and Brian come in and quickly cover Tip's song, "Let's Ride," from the album Amplified (1999, Arista), things suddenly go awry as the audience is treated to a little bit of the outtakes that don't always make the final cut. We touch on the Grisworld family Christmas and attempt to answer the age old question: Who would you rather go out with, Billy Joel or Phil Colins?
Brian and guest host Jim McGee (from our Neil Young episode) lead a tangent-filled podcast exploring the difference between "rap" and "hip hop," the ins-and-outs of hip hop culture and one thing you NEVER do while DJing a party. "Iron" Mike Bacon is our guest as we explore Q-Tip's opus, The Renaissance (2008, Universal), as always, one track at a time.
Brian, Bill, and special guest Ryan Hanratty forget about the podcast's "fans-not-critics" criteria of content for a little bit as they talk about Green Day's "21 Guns" from the album 21st Century Breakdown (2009, Reprise). Before that though, they have a little bit of an addendum to the GnR episode. We discuss how "21 Guns" was here and gone thanks to the legacy of American Idiot and its smash success. And finally, Ryan points out why that guitar solo may sound a little familiar to you...
Guitarist, singer-songwriter, and videographer Ryan Hanratty of Wolfasaurus Rex, Catch Me If You Can, and Frosted Green Interviews (respectively) travels down from Long Island to discuss Green Day's American Idiot (2004, Reprise) with Brian and Bill. Coming 10 years after the band's breakthrough album Dookie, American Idiot saw Green Day cement their superstardom as they released their hit rock opera. Ryan ends up being the best person to discuss this with because he hit his prime punk rock years of adolescence when this album was released. We break down the 3 acts, debate the use of the "other F word," discuss the political climate of the time, and find out the lewd story behind what is "frosted" and "green." All this and more in our second longest episode yet!