Bill and Brian welcome cohost of the Pruning Session podcast (from audiobonsai.com) Moksha Gren to help us talk about Tom Waits' Rain Dogs (1985, Island). The successor to the album where Waits left his balladier days behind him, the experimental Swordfishtrombones, Rain Dogs found universal critical acclaim as it solidified the eclectic music mixed with found sounds and a raspy vocal that Waits became synonymous with. Bill, Brian, and Moksha discuss how they first came to be fans of Toms Waits, the production of the album, and then a track by track review. Along the way, we also find room for a lot about Rod Stewart, how Moksha is raising his kids with the right kind of music, a bit about the state of country music, and more!
Get ready to be sad on this week's Bonus Song Thursday as Brian and Bill welcome back singer-songwriter, musician, and podcaster Brian Rothenbeck (rothenbeck.com) to talk about the Weakerthans' "Virtute the Cat Explains Her Departure" from their 2007 album Reunion Tour. Bill and the Brians share stories about lost pets and Rothenbeck explains why this song makes him cry. Also, in a new ongoing segment, we explore some some yacht rock!
Bill gets to play the "Hey, Brian!" game as Brian returns from touring with his band, the Paper Jets, and welcomes singer-songwriter, musician, and podcaster Brian Rothenbeck (rothenbeck.com) as a guest. In this episode, we discuss the Weakerthans' Reconstruction Site (2003, Epitaph). Their first record with major label distribution behind it, the Weakerthans broke through to a wider audience with their infectious pop hooks, intelligent lyrics, and fantastic guitar tones. As we discuss the album with a track by track analysis, we also talk about sonnets, the difference between a pedal steel and a lap steel, the philosophy of Cream, a theory about pet ownership and relationships with fathers, how to write songs in a single key, rhyming, and more!
Bonus! Song! Thursday! It's what it is! Brian is still away, touring the Northeast with his band The Paper Jets (thepaperjets.com), so Bill enlists the help of his own bandmate, Andrew Kolbenschlag of Small Planet Radio (smallplanetradio.com), to fill in as guest host. Returning from Monday's episode is guest Eric Nelson, guitarist and songwriter for The Lights Beneath (thelightsbeneath.com), to talk a little bit more about Bright Eyes. This time, we focus on the song "Poison Oak" from the 2005 album I'm Wide Awake, It's Morning.
While Brian is out on tour with his band, The Paper Jets, Bill invites friend of the podcast, musician, and songwriter Andrew Kolbenschlag to fill in as guest co-host! Joining us is musician/songwriter Eric Nelson from The Lights Beneath (hear their whole debut album at www.thelightsbeneath.com) to talk about Bright Eyes' Digital Ash in a Digital Urn (Saddle Creak, 2005). Released as a companion to the slightly more commercially successful, folk influenced album I'm Wide Awake, It's Morning, "Digital" took the opposite approach to Conor Oberst's stark, honest lyrics and nestled them amongst computer programming and digital instrumentation. Bill, Andrew, and Eric discuss their reasoning for talking about this album over other Bright Eyes' albums, breathing fetishes, electronic music production, death and drug use as themes on the album, and more as we talk about what makes this album great and then get into a track by track review of it!
It's bonus song Thursday! Bill and Brian discuss a Ryan Adams' version of "Wonderwall" from his 2004 album Love is Hell. Originally recorded and written by 90s British rockers Oasis, Adams turns the song into a haunting ballad. While delving into the music, Brian and Bill also talk about counting in Spanish, a drummer from the Beach Boys, how Beck maybe borrowed a little too liberally from other artists, how Ryan Adams' career lines up with Neil Young's, the Moody Blues, the Pixies, and more!
Brian and Bill sit down to talk about Ryan Adam's first foray away from alt-country and into the world of rock and roll with his appropriately titled album Rock n Roll (2003, Lost Highway). Following the success of his previous album and its single "New York, New York," Adams submitted 5 attempts that his label turned down. As a final "screw you," he made this album as, both a wry nod at their desire for something more marketable and a not-so-subtle response to their request for something less alternative. Bill and Brian talk about what makes this album great despite not changing the face of rock and roll, Brian's college years yearning for a certain girls, how the album neatly separates in to 4 distinct parts, and how the tracklist seems to tell a particular story of a crazy night in NYC.
It's Bonus Song Thursday! And it finally happened. We had a technical glitch and the audio is terrible on this episode. Regardless, we forged ahead and decided to release the episode. Bill and Brian talk about U2's "Who's Gonna Ride Your Wild Horses" from their 1991 album Achtung Baby. We talk about the bands evolution and how intentional it was before reading some listener emails about bands with underated rhythm sections.
This week, Bill and Brian go sans guest to talk about U2's super-massive-megadon hit The Joshua Tree (1987, Island). Recorded after the band had spent years touring the US, alternately falling in love with its ideals and becoming outspoken critics of its international policies, and wanting to create something bigger and better than anything they had done before, U2 released this album to massive sales and critical praise. Brian and Bill talk about their personal connections with the music, how the album got made, and a track by track analysis of each song. Along the way, we discuss religion and secularism, Euler's number, how addiction has touched our lives, the legality of immigration, how music can spur community in the face of tragedy, and more!