Backwards Beats Podcast

In this episode of the Backwards Beats Podcast, Carl and Dan dive into David Bowie’s 1980 landmark album, Scary Monsters (and Super Creeps). Positioned at #443 on Rolling Stone’s "500 Greatest Albums of All Time" list, this record serves as the critical bridge between Bowie’s experimental Berlin Trilogy and his impending 80s pop superstardom. The hosts explore the album's aggressive energy, its iconic sequel to "Space Oddity," and the incredible musicianship of legendary contributors like Robert Fripp and Pete Townshend. Key Points   The 1980 Transition: How Scary Monsters consolidated Bowie's avant-garde artistry with the emerging New Wave and Post-Punk sounds of the decade.    Closing the Major Tom Chapter: A deep dive into "Ashes to Ashes," its role as a darker sequel to "Space Oddity," and the story behind its groundbreaking (and expensive) music video.    Legendary Collaborators: Analyzing the "f***ed up carnival" guitar work of Robert Fripp and the wine-fueled, high-energy session with Pete Townshend.    Production & Fidelity: A comparison between the original release and the 2017 remaster, highlighting how modern engineering brought new life and separation to the album's dense textures.    Dystopian Themes: Exploring the Cold War anxiety, surveillance narratives, and manic energy that permeates tracks like "Scream Like a Baby" and "It's No Game."    The Final Verdict: Carl and Dan weigh the album's massive influence against its musical consistency, ultimately debating whether it truly deserves its spot in the Top 500. Music References  Mark Ronson    Brian Eno    Tony Visconti    Carlos Alomar    Robert Fripp    King Crimson    Roy Bittan    Nine Inch Nails    Blur    Gary Neuman    Daddy Yankee    Jack White    Close to the Edge by Yes    Yes    Sweet Child O' Mine by Guns N' Roses    Guns N' Roses    Miranda Lambert    Joy Division    Iggy Pop    Dancing with Myself by Billy Idol    Billy Idol    Psycho Killer by Talking Heads    Talking Heads    David Byrne    Raspberry Beret by Prince    When Doves Cry by Prince    Purple Rain by Prince    Vogue by Madonna    Madonna    Morrissey    The Smiths    The Beach Boys    Kingdom Come by Tom Verlaine    Tom Verlaine    Television    Phil Spector    Any Way You Want It by Dave Clark Five    Dave Clark Five    Any Way You Want It by Kiss    Kiss    Any Way You Want It by Journey    Journey    Pete Townshend    Under Pressure by Queen    Queen    Ram by Paul McCartney    Paul McCartney    Breakfast in America by Supertramp    Supertramp    ELO    Somi by Snarky Puppy    Snarky Puppy    Metropole Orkest    Jay Jennings    Bobby Sparks    Jean-Luc Ponty    Walk Off the Earth    New Kids on the Block Join us next week for Beauty Behind the Madness by The Weeknd.

In this episode of the Backwards Beats podcast, hosts Carl and Dan dive into Fiona Apple’s 2005 release, Extraordinary Machine. Ranked at #444 on Rolling Stone’s 500 Greatest Albums of All Time list, the album is a midpoint in Apple’s career, marked by a notorious production history and a shift toward more idiosyncratic, orchestral arrangements. The hosts explore the "Free Fiona" campaign, the influence of classical training on her songwriting, and the contributions of legendary drummers Questlove, Abe Laboriel Jr., and Jim Keltner. Before the deep dive, Carl and Dan share their experience seeing Snarky Puppy at the Warner Theater in Washington, D.C. Key Points The "Free Fiona" Saga: Discussion of the album's troubled production, from the initial orchestral sessions with Jon Brion to the label-mandated re-recordings with Mike Elizondo, and the subsequent fan campaign that led to its eventual release. Vocal Mastery and Artistry: An analysis of Fiona Apple’s alto range, her "killer annunciation," and her cynical, disdainful storytelling that sets her apart from her 90s contemporaries. The Final Verdict: While both hosts highly recommend the album for its variety and technical brilliance, they ultimately agree that it might not earn a spot in their own Top 500, suggesting her debut album, Title, might be a stronger contender for that distinction. In Their Ears: Carl recommends the shreddy violin work of Jean-Luc Ponty (Enigmatic Ocean), while Dan suggests Duke Ellington's tribute album, ...And His Mother Called Him Bill. Music References saw me by Snarky Puppy Metropolitan Orchist Alanis Morrisette Billy holiday Nina Simone Lana Del Rey Eddie Vetter Chris Isaac Amy Mann Questlove the roots D'Anjalo Erica Baadu in the meantime by spacehog spacehog Abe Laboriel Jr. Abe Laboriel Paul McCartney Kenny logins Jeff Piccaro Chester Thompson the climb by no doubt no doubt Bonnie Raitt Cheryl Crow Brian May Anna Molly by Incubus Incubus the Alabama song by the doors the doors Tom Wait Florence the Machine back from black by Amy Winehouse Amy Winehouse Sigur Ros the Joshua Tree by U2 Running to Stand Still by U2 U2 please, please by James Brown James Brown please, please by Sabrina Carpenter Sabrina Carpenter Aja by Steely Dan Josie by Steely Dan Steely Dan Joe Walsh Vulfpec Genesis Rush Inigmatic Ocean by John Luke Ponte John Luke Ponte Van Halen Mark and Terry and his mother called him Bill by Duke Ellington daydream by Duke Ellington Duke Ellington Billy Strayhorn Join us next week for scary Monsters and Super Creeps by David Bowie .

In this episode of the Backwards Beats podcast, hosts Carl and Dan take on the "chewy" and virtuosic 1972 masterpiece Close to the Edge by progressive rock legends, Yes. Ranked at #445 on Rolling Stone’s 500 Greatest Albums of All Time list, this three-track epic is a masterclass in musical ambition, featuring complex symphonic movements, spiritual themes, and world-class musicianship. The duo breaks down the album's demanding structure, its diverse influences ranging from Sibelius to Eastern philosophy, and why it remains a definitive "alpha album" that set the bar for the entire prog-rock genre. Key Points The Virtuosic Lineup: Deep dive into the "classic" lineup featuring Jon Anderson’s ethereal vocals, Steve Howe’s eclectic guitar styles, Rick Wakeman’s keyboard wizardry, and the legendary rhythm section of Chris Squire and Bill Bruford. Bruford’s Swan Song: Insight into why drummer Bill Bruford left the band for King Crimson immediately after these grueling sessions, feeling he had reached the apex of what he could contribute to the Yes sound. Spiritual and Classical Roots: How the lyrics were influenced by Herman Hesse’s Siddhartha and the compositional structure was inspired by the symphonies of Jean Sibelius. Technical Highlights: Analysis of Chris Squire’s aggressive "lead bass" tone, Rick Wakeman’s recording of a real pipe organ in a London church, and the "Siberian Khatru" riffs that later inspired Red Hot Chili Peppers guitarist John Frusciante. Music References Simon & Garfunkel Cream Rush Genesis Emerson, Lake & Palmer Locomotive Breath by Jethro Tull Jethro Tull Symphony No. 6 by Sibelius Symphony No. 7 by Sibelius Sibelius Wes Montgomery Allan Holdsworth Kansas Marillion The Beach Boys AC/DC Grateful Dead Symphony No. 9 by Beethoven Ode to Joy by Beethoven Beethoven Snarky Puppy The Mars Volta Scorpions Devo Brother Louie by The Stories The Stories Higher Ground by Stevie Wonder Stevie Wonder The Mamas & the Papas The Monkees Nate Smith Christian McBride The Fearless Flyers Pink Floyd Stravinsky Bo Diddley Steve Vai Robert Fripp John Frusciante Blood Sugar Sex Magik by Red Hot Chili Peppers Stadium Arcadium by Red Hot Chili Peppers Red Hot Chili Peppers Taylor Swift Bad Bunny The Weeknd Bonnie Raitt Linda Ronstadt Wicked Garden by Stone Temple Pilots Plush by Stone Temple Pilots Stone Temple Pilots Brandon Boyd Incubus Scott Weiland Wolfgang Van Halen Van Halen Join us next week for Extraordinary Machine by Fiona Apple .

In this episode, Carl and Dan explore the meditative and spiritual soundscapes of Alice Coltrane’s 1971 landmark album, Journey in Satchidananda. Currently sitting at #446 on Rolling Stone’s 500 Greatest Albums of All Time list, the record marks Alice’s profound shift toward Eastern philosophy and avant-garde jazz. The hosts break down the album’s unique instrumentation—from the hypnotic drone of the tamboura to Alice’s pioneering use of the harp—while reflecting on her legacy as a spiritual leader and the "Love Supreme" connection to her late husband, John Coltrane. Key Points The Spiritual Influence: A look at the role of Swami Satchidananda, the yoga guru who opened Woodstock and inspired the album’s title and devotional atmosphere. Sonic Architecture: Discussion on the album's distinct sound palette, including Pharoah Sanders' "unhinged" saxophone, the rhythmic "chewiness" of the hand percussion, and the contested frequency zones of the bass. The 1971 Time Capsule: A "Week in Music" throwback featuring the release of Carole King’s Tapestry, Miles Davis’s A Tribute to Jack Johnson, and a bizarre anecdote about Keith Richards and silk drapes. The Verdict: While both hosts find the album "enjoyable plus," they debate whether its historical significance outweighs its musical "essentialness" on a finite top 500 list. Music References They're All Gonna Laugh at You! by Adam Sandler The Goat by Adam Sandler Avishai Cohen Stony End by Barbra Streisand Barbra Streisand Bill Evans Billy Cobham Captain & Tennille Tapestry by Carole King Will You Love Me Tomorrow by Carole King (You Make Me Feel Like) A Natural Woman by Carole King Carole King Cecil McBee Charlie Haden Dave Brubeck Changes by David Bowie David Bowie Davy Jones Dinah Washington Ella Fitzgerald Elvin Jones 200 Motels by Frank Zappa Frank Zappa Freddie Hubbard Ginger Baker James Brown Jesse Gentry A Love Supreme by John Coltrane Expression by John Coltrane Stellar Regions by John Coltrane John Coltrane John Deacon John McLaughlin Joni Mitchell Keith Jarrett Keith Richards Laura Nyro Hello, Dolly! by Louis Armstrong Louis Armstrong Maruja McCoy Tiner Mick Jagger A Tribute to Jack Johnson by Miles Davis Kind of Blue by Miles Davis Right Off by Miles Davis Yesternow by Miles Davis So What by Miles Davis All Blues by Miles Davis Blue in Green by Miles Davis Miles Davis Sunny by Pat Martino Pat Martino Paul McCartney Pharoah Sanders Queen Radiohead Randy Newman Ron Carter Sugar Ray The Beatles The Doobie Brothers The Monkees Thievery Corporation The Bum Bum Song by Tom Green Tom Green Tulsi Reynolds Wayne Shorter Woody Shaw Next Week: The journey into prog-rock with Close to the Edge by Yes.

In this episode of the Backwards Beats Podcast, Karl Carter Fanstil and Dan "Hotsnakes" Woodard dive into Bad Bunny's 2018 debut studio album, X 100PRE. Ranking at #447 on Rolling Stone's 500 Greatest Albums of All Time, this record marked the global arrival of Benito Antonio Martínez Ocasio. The hosts discuss the album's diverse production that stretches far beyond simple genre labels. From his SoundCloud beginnings as a supermarket bagger to his collaborations with global superstars like Drake and Ricky Martin, the duo explores how this "sad boy" trap record redefined the landscape of Latin music and cemented Bad Bunny as a charismatic force in both music and pop culture. Key Points Genre Fluidity: While often pigeonholed as reggaeton, the hosts argue that the album is a hip-hop and trap masterpiece at its core, blending elements of rock, synth-pop, and Dembow into a "diverse sampler pack" of sounds. The Language Barrier: Karl and Dan offer an earnest perspective on reviewing a lyrically-driven album as non-Spanish speakers, discussing the challenge of missing out on the "linchpin" of wordplay while still being captivated by Bad Bunny’s authoritative vocal delivery. Standout Production: Deep dives into tracks like the 80s-influenced "Otra Noche en Miami" (reminiscent of a Michael Mann film), the aggressive low-fi keyboards of "Quién Tú Eres," and the unexpected 2-minute "fire" break in "La Romana." Charisma and Craft: A look at Bad Bunny’s unique "swagger" and ability to hold the listener's attention, even through "one-note melodies," as well as his surprising versatility—ranging from WWE wrestling rings to late-night TV. Thematic Depth: Discussion of the album's more serious undertones, including the domestic violence narrative in "Solo de Mí" and the tribute to Puerto Rican resilience in "Estamos Bien." Guest Features: The impact of high-profile collaborators, including Ricky Martin’s uncredited vocals on "Caro" and Drake’s legitimizing appearance on the album closer, "Mía." Music References fractured mirror by Ace Frehley I like it by Cardi B Diplo El Alpha Mia by Drake Drake Kendrick Lamar daddy Yankee Kara by Ricky Martin Ricky Martin Evanescence Amy Lee no one knows by Queen's of the Stone Age Queen's of the Stone Age Courtney Love Billy Corrigan Heart shaped Box by Nirvana Nirvana Sonic Youth Kim Gordon James Gatson use me by Bill Withers Bill Withers I Will Survive by Gloria Gainer Gloria Gainer Let's Get It On by Marvin Gaye Marvin Gaye Watts 103rd Street Rhythm Band Paul McCartney Herbie Hancock Beck DiAngelo Clyde's Stubblefield Gene Simmons Music From The Elder by Kiss Kiss Camilo M83 Fred Everything journey inwords by L.T.J. Bukem L.T.J. Bukem the great radio controversy by Tesla Tesla Jeff Keith black crowes Alice Coltrane love supreme by John Coltrane John Coltrane Selena Peaches Carmina Beranna by Carl Orff Carl Orff Taylor Swift Join us next week when we explore Close to the Edge by Yes.

In this episode, hosts Carl and Dan dive into Episode 448 of their journey through Rolling Stone's 500 Greatest Albums: Otis Redding’s 1966 masterpiece, Complete and Unbelievable: The Otis Redding Dictionary of Soul. The duo explores Redding's rise from a van driver in Macon, Georgia, to a global soul icon, detailing the electric atmosphere of Stax Studios and the unparalleled synergy of his backing band, Booker T. & the M.G.'s. From his recovery from vocal surgery to his daring reimagining of contemporary hits, this episode break downs why Otis Redding remains the definitive voice of soul. Key Points The Rise of a Legend: A look at Otis Redding’s humble beginnings in Georgia, his breakthrough recording session at Stax, and his rapid ascent to stardom in Europe’s "Mod" culture. The Stax Connection: Discussion on the incredible talent of the house band, Booker T. & the M.G.'s (Steve Cropper, Duck Dunn, Al Jackson Jr.), and the surprising contributions of a young Isaac Hayes on piano. Creative Resilience: How a period of recovery from vocal polyps led to a prolific songwriting phase influenced by the complexity of The Beatles. Track Highlights: "Fa-Fa-Fa-Fa-Fa (Sad Song)": The accidental origin of the iconic vocal hook. "Try a Little Tenderness": Analyzing the masterful emotional build-up and its status as a 182-million-stream powerhouse. "Tennessee Waltz": Redding’s ability to "method act" through a song, transforming a country standard into a soul classic. "Day Tripper": A candid critique of Otis's funky, if polarizing, take on the Beatles. Production & Mixing: A deep dive into the album's inconsistent engineering, debating why one of history's greatest vocalists was occasionally buried in the mix. Legacy at 26: Reflection on the gravity and wisdom in Redding’s voice, despite his tragic passing at a young age. Music References Aretha Franklin James Brown Celine Dion Drake ZZ Top Tom Jones Ted Nugent Bonnie Raitt Wu-Tang Clan Patsy Cline Bernard Purdie Little Richard Lil Dicky Johnny Jenkins and the Pine Toppers Booker T. & the M.G.'s Donald "Duck" Dunn Steve Cropper Al Jackson Jr. Sgt. Pepper's Lonely Hearts Club Band by The Beatles A Day in the Life by The Beatles Day Tripper by The Beatles The Beatles The Mar-Keys Memphis Horns Theme from Shaft by Isaac Hayes Isaac Hayes I'm a Believer by Smash Mouth Smash Mouth Soul Man by David Porter Hold On, I'm Comin' by David Porter David Porter Dreamlover by Mariah Carey Mariah Carey Gettin' Jiggy wit It by Will Smith Will Smith Notorious B.I.G. Albert King Eurythmics Bobby McFerrin Love Potion No. 9 by The Clovers The Clovers Harry Styles Dave Garibaldi Marvin Gaye Patti Page Creep by Radiohead Radiohead You Are So Beautiful by Joe Cocker Joe Cocker In the Midnight Hour by Wilson Pickett Wilson Pickett The Gap Band Cameo Smells Like Teen Spirit by Dave Grohl Dave Grohl The Seed (2.0) by The Roots The Roots Questlove Cody Chesnutt J Dilla Everybody Needs Somebody to Love by Solomon Burke Solomon Burke Al Green Pusherman by Curtis Mayfield Curtis Mayfield Lauryn Hill Wyclef Jean Burna Boy Random Access Memories by Daft Punk Daft Punk Oasis Kraftwerk Continuum by John Mayer Gravity by John Mayer John Mayer Inside and Out by Feist Feist Chuck Willis LTJ Bukem Sam Cooke Clarity of Cowl by Vulfpeck Back Pocket by Vulfpeck 1612 by Vulfpeck A Matter of Time by Vulfpeck Vulfpeck Rosanna by Toto Toto Snarky Puppy Woody Goss Theo Katzman Joe Dart Jack Stratton Cory Wong The Fearless Flyers Antwaun Stanley Joey Dosik Rachael Price Lake Street Dive Jacob Jeffries Spirits Having Flown by Bee Gees Tragedy by Bee Gees Too Much Heaven by Bee Gees Reaching Out by Bee Gees Islands in the Stream by Bee Gees Bee Gees Chris Stapleton Miranda Lambert Justin Timberlake John Lennon George Harrison Blind Melon Crosby, Stills, Nash

In this episode of the Backwards Beats Podcast, hosts Dan Woodard and Carl Carter-Feansil dive into the gritty, analog world of The White Stripes' 2003 masterpiece, Elephant. Ranking at #449 on Rolling Stone's "500 Greatest Albums of All Time" list, this record stands as the definitive statement of the garage rock revival. The duo explores the DIY ethos that defined Jack and Meg White, the legendary gear behind their "bass-less" yet massive sound, and the cultural phenomenon of "Seven Nation Army"—a track that has transcended the band to become a global sports anthem. From the blues-drenched "Ball and Biscuit" to the unexpected piano-pop of "I Want to Be the Boy to Warm Your Mother's Heart," the episode unpacks how two people, an 8-track tape machine, and a handful of vintage Silvertones changed the face of modern rock. Key Points * The Global Anthem: A deep dive into "Seven Nation Army," including its origin as a misheard "Salvation Army" and the technical wizardry of the DigiTech Whammy pedal that created the world's most recognizable non-bass bass line. * Analog Integrity: Why recording on 8-track analog tape at London's Toe Rag Studios was essential to capturing the raw, "red and white" aesthetic of the band. * The Drumming Debate: A candid discussion on Meg White’s drumming style—debating whether her "primitive" approach was a limitation or the perfect, restrained heartbeat the songs required. Music References Nirvana Rush Dave Grohl Prince Mono Neon Songs for the Deaf by Queens of the Stone Age Queens of the Stone Age Led Zeppelin 2 by Led Zeppelin What Is and What Should Never Be by Led Zeppelin Led Zeppelin Son House Burke Backrack Hal David I Don't Know What to Do with Myself by Dusty Springfield Dusty Springfield Fever by Peggy Lee Peggy Lee The Who Jethro Tull Queen A Love Supreme by John Coltrane John Coltrane Bitches Brew by Miles Davis Miles Davis Elvin Jones Jewel No Rain by Blind Melon Blind Melon Mick Jagger Muddy Waters BB King Gimmie Gimmie Gimmie by Black Flag Black Flag Abba all the young dudes by Mott the Hoople Mott the Hoople David Bowie Captain and Tenille Luther Vandross Sabrina Carpenter real life by Kinga Glyk unfollower by Kinga Glyk Kinga Glyk The Wow Signal by Muse Unraveling by Muse Muse Pet Shop Boys

Carl and Dan dive into the 1971 album Ram by Paul and Linda McCartney. Sitting at #450 on Rolling Stone's "500 Greatest Albums of All Time" list, this record marks a pivotal transition for Paul as he navigates the messy dissolution of the Beatles while forging a new creative partnership with Linda. The hosts explore the album's New York recording sessions, its shift from DIY solo work to professional collaboration, and its journey from being panned by critics to its modern status as a "godfather of indie pop." Key Points Transitioning from the Beatles: The album was recorded amidst legal battles to dissolve the Beatles, moving the creative energy from London to New York City. The Secret Auditions: Seeking a collaborative sound, Paul held blind auditions for session musicians—including legendary guitarist Hugh McCracken and future Wings drummer Denny Seiwell—to avoid any "Beatles bias." Linda's Creative Heart: More than just a collaborator, Linda's background as a prominent rock photographer and her presence at their Scottish farm provided the thematic and emotional core of the record. The Final Verdict: Does the album belong, on the list based on its own merrits, or is it given a boost from Paul's legacy? Music References McCartney by Paul McCartney Band on the Run by Paul McCartney Abby Road by the Beatles Sergeant Pepper by the Beatles The Quarrymen Wings Foo Fighters How do you sleep by John Lennon Imagine by John Lennon Instant Karma by John Lennon Power to the People by John Lennon John Lennon Eric Clapton Jimmy Hendrix Janice Joplin Rolling Stones Yoko-ona Dave Spinoza Huma Kraken Danny Sewell New York Philharmonic George Martin George Harrison Kiss All the Time, Disco Occasionally by Harry Styles Harry Styles Flaming Lips Willow Smith Donald Glover Steely Dan Donald Fagan Billy Joel Roberta Flack BB King Paul Simon James Taylor Carly Simon Andy Gibb The Four Seasons Frankie Valley Jimmy Buffett Harry Nielsen Elvis David Bowie Iggy Pop Little Feet Steve Miller Beach Boys Brian Wilson Phil Spector a night at the opera by Queen Queen Big Bottom by Spinal Tap Spinal Tap Tears for Fierce The Main Squeeze David Guetta Morrissey Going up the country by Canned Heat Elvis Costello Mark Ronson ELO Supertramp Franz Ferdinand Speaking of Tongues by Talking Heads Stop Making Sense by Talking Heads Frank Zappa Counting Croes Who Do You Call When The Police Murder? What songs do you sing for a building burning bright? by A World Wondered Full the corner by A World Wondered Full A World Wondered Full Ringo Starr Join us next week when we dive into the album Elephant by White Stripes.

In this milestone 50th "proper" episode (63rd overall), Dan Woodard and Carl Carter delve into album #451 on Rolling Stone’s 500 Greatest Albums of All Time: Roberta Flack’s 1969 debut, First Take. The hosts explore the incredible pedigree of the classically trained, Arlington-raised prodigy who was discovered in the D.C. jazz scene. They discuss the album's legendary 10-hour recording session, the "masterclass in dynamics" provided by Flack and bassist Ron Carter, and how these eight covers—ranging from protest songs to folk ballads—defined a new standard for sophisticated adult contemporary music. Key Points The "First Take" Magic: The album was reportedly recorded in just 10 hours with no overdubbing, capturing an organic, intimate "smoky jazz club" atmosphere that the hosts argue is best experienced on vinyl or high-quality monitors. A Powerhouse Backing Band: Exceptional praise is given to bassist Ron Carter, whose restraint and movement set the tone for the entire record, alongside subtle but effective orchestral arrangements by William S. Fischer. Vocal Mastery and Restraint: The hosts analyze Flack’s unique vocal style—characterized by perfect pitch, clear enunciation, and a deliberate lack of vibrato used as a tool for building intensity rather than a constant crutch. Social and Political Depth: Discussion highlights the heavy themes within the tracklist, including the anti-war/anti-racism protest of "Compared to What" and the civil rights indictment found in the Spanish-language "Angelitos Negros." The Hits and the Standards: While "The First Time Ever I Saw Your Face" is recognized as the global standard that eventually hit #1, the hosts identify "I Told Jesus" and the groovy "Tried and Died" (a Donny Hathaway contribution) as the album's high-water marks. D.C. Roots: The episode pays homage to Flack's local ties to the DMV area, from her scholarship at Howard University to her nights performing at Mr. Henry’s on Capitol Hill while working as a school teacher. Music References Fuji's Wyclef Can Nina Simone Sarah Vaughan The Ronnets Ron Carter Live at the Plugged Nickel by Miles Davis All Blues by Miles Davis Miles Davis Chet Baker George Benson Paul Desmond Gill Evans Donnie Hathaway Nora Jones Col. Bruce Hampton & The Aquarium Rescue Unit by Col. Bruce Hampton & The Aquarium Rescue Unit Col. Bruce Hampton & The Aquarium Rescue Unit Aquarium Rescue Unit Jimmy Herring widespread panic grateful dead Jacob Collier Chuck LeVell Alman brothers Band Eric Clapton John Mayer Government Mule Warren Haynes Jeff Sype Manuel Alvarez Macastie Nancy Sinatra Sycamore trees by Jimmy Scott Jimmy Scott David Lynch Angelo Badalamenti White Rabbit by Grace Slick Grace Slick Songs of Leonard Cohen by Leonard Cohen Hey, that's no way to say goodbye by Leonard Cohen Hallelujah by Leonard Cohen Leonard Cohen angel in the morning by Juice Newton Juice Newton the boxer by Simon and Garfunkel Simon and Garfunkel Carol King Hallelujah by Jeff Buckley Jeff Buckley Peggy Seaver Johnny Cash Paul McCartney Carly Simon Robert Palmer Al Green Ballad of the sad young men by Keith Jarrett Keith Jarrett Ballad of the sad young men by Boz Scaggs Boz Scaggs Wezer Not Strong Enough by Boy Genius Boy Genius Phoebe Bridges Julian Bakers Black Mitty Mr. Bungle Green Day The Beatles Pentatonix Anderson Pax Georgia on my mind by Ray Charles Ray Charles Moon dance by Van Morrison Van Morrison muddy waters Join us next week when we cover RAM by Paul and Linda McCartney.

In this episode, Carl and Dan tackle the monumental 50-song Anthology by Diana Ross and the Supremes, currently ranked #452 on Rolling Stone’s 500 Greatest Albums of All Time. The duo traces the group's journey from their 1959 origins as "The Primettes" in Detroit's Brewster-Douglass housing projects to their status as Motown’s most commercially successful act. They explore the evolution of Diana Ross’s signature vocal style, the tragic trajectory of founding member Florence Ballard, and the hit-making machinery of the Holland-Dozier-Holland production team. Key Points The Detroit Roots: A look at the group’s early connection to The Primes (who became The Temptations) and their start in the federally funded housing projects of Detroit. Blueprint of the Motown Sound: Deep dives into iconic "no-skip" tracks like "Where Did Our Love Go," "Baby Love," and "Stop! In the Name of Love," highlighting the sophisticated songwriting and "chorus-first" structures. Sonic Evolution: Comparing the early, thin doo-wop sounds of "I Want a Guy" to the richer, more experimental psychedelic-pop textures found in "Reflections." Legacy and Resilience: Examining the shifting lineups of the Supremes and how they managed to maintain a consistent identity through various musical eras. Music References The Primettes The Primes The Temptations Shakira Fine Line by Harry Styles Gwen Stefani Paramore Hayley Williams Edie Brickell and New Bohemians Blues Traveler Patti LaBelle and the Bluebelles The Ronettes Ronnie Spector Aqualung by Jethro Tull Locomotive Breath by Jethro Tull Aqualung by Jethro Tull Walk Like a Man by Frankie Valli Can't Take My Eyes Off You by Frankie Valli I Will Survive by Gloria Gaynor Red Hot Chili Peppers Blink-182 Green Day Taylor Swift Ed Sheeran Lorde Calendar Girl by Neil Sedaka Breaking Up Is Hard to Do by Neil Sedaka Laughter in the Rain by Neil Sedaka Bad Blood by Neil Sedaka Elvis Presley Frank Sinatra Connie Francis A Hard Day's Night by The Beatles Across the Universe by The Beatles Elton John Love Will Keep Us Together by Captain & Tennille Hello, I Must Be Going! by Phil Collins You Can't Hurry Love by Phil Collins In the Air Tonight by Phil Collins Take Me Home by Phil Collins Another Day in Paradise by Phil Collins Against All Odds by Phil Collins Valerie by Mark Ronson Valerie by Amy Winehouse The Walk by Mayer Hawthorne Stevie Nicks Madness by Muse Janet by Janet Jackson If by Janet Jackson That's the Way Love Goes by Janet Jackson Gasolina by Daddy Yankee You're the Inspiration by Chicago Peter Cetera David Foster Jason Isbell Poison by Bel Biv DeVoe J Dilla Tony! Toni! Toné! Soul for Real Keith Sweat Arrested Development Bobby Brown Real Seduction Real Love by Mary J. Blige Boyz II Men Blackstar by David Bowie Ziggy Stardust by David Bowie Low by David Bowie Let's Dance by David Bowie Young Americans by David Bowie Tis a Pity She Was a Whore by David Bowie Changes by David Bowie Heroes by David Bowie Fame by David Bowie Across the Universe by David Bowie Reach Out I'll Be There by The Four Tops HB Barnum Butthole Surfers Duffy Postmodern Jukebox Chicago Transit Authority Florence Ballard Mary Wilson Cindy Birdsong Barbara Martin Paul Williams Eddie Kendricks David Ruffin Lamont Dozier Brian Holland Eddie Holland Earl Van Dyke Jack Ashford Ice-T Freddie Gorman Howard Greenfield Berry Gordy Motley Crue Bad Bunny Scott Bradlee Duke Ellington Benny Goodman Cherry Poppin' Daddies My Morning Jacket Join us next week when we dive into First Take by Roberta Flack.

Dan and Carl dive into Pretty Hate Machine, the 1989 debut from Nine Inch Nails. Ranked #453 on Rolling Stone’s 500 Greatest Albums list, this record helped define the industrial sound that would dominate the ’90s. Dan revisits the album with decades of context, while Carl hears most of it for the first time—bringing a fresh perspective to an album that blends synth-pop textures, hip-hop-inspired sampling, metal aggression, and raw emotional vulnerability. From the explosive opener “Head Like a Hole” to the brooding balladry of “Something I Can Never Have,” we break down the production, themes, influences, and legacy of a debut that still feels urgent. Key Points Industrial Blueprint: A fusion of synth-pop, electronic sampling, and heavy guitars that helped push industrial music into the mainstream. “Head Like a Hole”: A late addition to the album that became its defining track—anti-establishment, hook-heavy, and built on layered digital production. Production Deep Dive: Recorded largely by Reznor himself in Cleveland studio downtime; contributions from producer Flood add polish and space. Sampling & Hip-Hop Influence: Drum programming and break-style techniques show early crossover energy between electronic and hip-hop approaches. Music Referenced Metallica Fugazi Paula Abdul Jane’s Addiction Depeche Mode Ministry Gary Numan Talking Heads Prince Devo Miley Cyrus The Joshua Tree by U2 Acthung Baby by U2 Mysterious Ways by U2 Real Real Real by Jesus Jones Same Deep Water as You by The Cure Physical by Adam and the Ants Tainted Love by Soft Cell Blondie Join us next week when we cover Anthology by Dianna Ross and the Supremes.

This week on Backwards Beats, we dive into Ege Bamyasi by Can the 1972 release that helped define krautrock (aka “cosmic rock”) and quietly influenced decades of music to come. Recorded in Cologne using minimal gear and maximum experimentation, the album blends hypnotic grooves, tape-era production tricks, improvisation, and unconventional song structures. With vocalist Damo Suzuki delivering abstract, mantra-like vocals, and drummer Jaki Liebezeit locking into impossibly tight yet fluid rhythms, Ege Bamyasi feels both locked-in and untethered. From the near-10-minute opener “Pinch” to the explosive pulse of “Vitamin C,” this record balances jam-band spontaneity with razor-sharp rhythmic precision. It’s weird. It’s groovy. It’s decades ahead of its time. Ranked #454 on Rolling Stone Magazine’s 500 Greatest Albums of All Time list, this is a record that rewards deep listening. Key Points Minimal Recording Setup – Much of the album was tracked on basic equipment in a makeshift studio, yet the production feels spacious, intentional, and modern. No Traditional Frontman – The band operated as a collective with no clear leader. Vocals function more as texture and rhythm than narrative centerpiece. Rhythm as the Engine – Drummer Jaki Liebezeit (the “human metronome”) delivers grooves that are steady, elastic, and hypnotic. His playing drives nearly every standout moment on the record. Music Referenced Monster Movie by Can Alan Evans Soulive Jeff Piccaro Edgar Winder's group Zappa Fuego by fish Stash by fish King Gizzard & the Lizard Wizard Graduation by Kanye West Drunk Hot Girls by Kanye West Radiohead Led Zeppelin Low Rider by War Why Can't We Be Friends by War Snarky Puppy bitches brew by Miles Davis Touch Me by The Doors Jim Morrison headhunters by Herbie Hancock heavy by Collective Soul TV on the Radio Blind Melon breaking the girl by chili peppers violent fems Soul Coughing Danger Mouse sea low Jeremy by Pearl Jam Tommy manual Victor Wooten Bob James ACDC Tamipala Uber Jam by John Scofield Adam Dich James Brown Curtis Mayfield Buddy Rich Jack White Join us next, for Pretty Hatemachine by Nine Inch Nails.

Dan and Carl explore Bo Diddley / Go Bo Diddley – Two On One, diving into the foundational sound that helped shape rock and roll. The conversation focuses on Bo Diddley’s signature rhythm, his influence on generations of artists, and how these early recordings balance innovation with repetition. The hosts examine the historical context of late-1950s rock, the role of Chess Records, and how Bo Diddley’s approach to groove, performance, and songwriting helped define the language of rock music that followed. Key Points The “Bo Diddley beat” as a defining rhythmic innovation and its roots in Afro-Cuban and blues traditions. How Bo Diddley’s minimalist songwriting and emphasis on rhythm over melody set him apart from contemporaries. Discussion of Chess Records’ role in shaping early rock and roll and amplifying crossover artists. The influence of Bo Diddley’s sound on later rock, punk, and pop artists who adopted or adapted the rhythm. Highlights and standout tracks that showcase the raw energy and performance-driven nature of the recordings. Conversation around repetition versus innovation — when the formula works and when it feels limiting. Placement of Bo Diddley within the broader evolution of rock history and why these recordings remain historically significant even when viewed through a modern listening lens. Music Referenced Go Bo Diddley by Bo Diddley Bo Diddley by Bo Diddley Buddy Holly The Rolling Stones The Beatles George Thorogood Muddy Waters Chuck Berry Join us next week when we cover Ege Bamyasi by Can.

Music is a fantastic vehicle for communication, both verbal and nonverbal. Music can cause joy or invoke anger. Music can stand as a rallying cry. In this Sidetrax episode, we dive into songs of civil disobedience.   #civildisobedience #resist #protestsongs

Dan and Carl dig into Al Green’s Greatest Hits (1975)—a deceptively “easy” entry on Rolling Stone’s 500 Greatest Albums of All Time list (#456). What starts as a discussion of timeless soul classics quickly turns into a deeper look at Al Green’s singular vocal style, the Hi Records sound, and the musicianship that makes these songs feel effortless while being anything but. Along the way, they explore Green’s gospel roots, his peak creative run in the early ’70s, and the complicated personal history that sits behind some of the most romantic music ever recorded. Key Points Why a greatest hits album still earns its place on the RS 500 list—and why almost any Al Green album could have qualified Al Green’s background: gospel foundations, melismatic vocals, and the influence of church call-and-response The Hi Records sound: Willie Mitchell’s production, the Hi Rhythm Section, and a groove-first, behind-the-beat feel A candid discussion of Al Green’s personal controversies, accountability, and later shift toward gospel and ministry Why this music feels eternal—less about theory or charts, more about feel, tone, and restraint Music Referenced Love Symbol by Prince Damn You by Prince D'Angelo Maxwell Erica Badu Otis Reading Steve Perry Luther Vandross Tower of Power Willie Mitchell I Can’t Get Next to You by Temptations The Brecker Bros. by Brecker Brothers Randy Brecker Michael Brecker Blood Sweat and Tears David Sandborn Don Grownick Bob Mann Will Lee Harvey Mason Trisha’s Mood by Ruby Ruschen Join us next week when we celebrate Bo Diddly and Go Bo Diddly by Bo Diddly

In Episode 56 of Backwards Beats, Dan and Carl dive into Sinéad O’Connor’s 1990 breakthrough album I Do Not Want What I Haven’t Got, ranked #457 on Rolling Stone Magazine’s 500 Greatest Albums of All Time list. The hosts explore O’Connor’s uncompromising artistry, emotional directness, and complex relationship with fame, while unpacking the musical and cultural impact of her most famous recording, “Nothing Compares 2 U.” Along the way, they examine her vocal technique, production choices, and fearless creative risks, including the album’s striking a cappella title track. The conversation balances historical context, music theory, and personal reflection, highlighting why this record remains both challenging and deeply influential. Music Referenced The Lion and the Cobra by Sinéad O'Connor Nothing Compares to You by Prince Nothing Compares to You by Chris Cornell Smooth Criminal by Alien Ant Farm Live Action by Nate Smith Layla Hathaway Christian McBride Red Hot Chili Peppers Stone Temple Pilots Alice in Chains Plea by Flea Al Green Jefferson Airplane Eddie Vedder Join us next week when we hop into Al Green's Greatest Hits.

In this episode of the Backwards Beats Podcast, Carl and Dandive into album #458 on Rolling Stone’s 500 Greatest Albums of All Time list: Jason Isbell’s 2013 masterpiece, Southeastern. The duo explores Isbell’s journey from his roots in Alabama to his tenure with the Drive-By Truckers and his eventual path to sobriety, which served as the catalyst for this deeply personal record. Featuring guest commentary on vocal techniques from director Julia Cowles, the episode breaks down the album’s shifts from haunting folk narratives to gritty Americana. Music Referenced Decoration Day by Drive-by Truckers the Dirty South by Drive-by Truckers Blessing and a Curse by Drive-by Truckers outfit by Drive-by Truckers Chris Stapleton Brandy Carlisle John Prine Sturgill Simpson The Oak Ridge Boys Amanda Shires Kim Richie All My Life by Foo Fighters Bob Dylan Winona Judd Trisha Yearwood Brooks and Dunn Who Wants to Live Forever by Freddie Mercury Norwegian Wood by The Beatles Scarecrow by John Mellencamp Pink Houses by John Mellencamp Leonard Cohen Tom Waits Breakfast in Bed by Dusty Springfield Wish You Were Here by Pink Floyd Yesterday's Wine by Willie Nelson The 400 Unit Miranda Lambert Sheryl Crow Michael Jackson Laura Nyro Richard Thompson Linda Thompson Daddy Yankee Snarky Puppy Prince Join us next week as we discuss I Do Not Want What I Haven't Got by Sinead O'Connor.

In this episode of Backwards Beats, Dan and Carl dive into Kid Cudi’s 2009 debut Man on the Moon: The End of Day, album #459 on Rolling Stone’s 500 Greatest Albums list. They unpack why this record mattered at the time, how Cudi became one of the architects of “emo rap,” and whether the album’s mix of vulnerability, psychedelia, and pop-rap ambition still holds up. Along the way they debate Kanye’s influence, Cudi’s limitations as a vocalist, and whether the album works better as a full narrative arc than as a collection of individual tracks. Key Points Kid Cudi’s origin story: from Cleveland to MySpace virality, then getting pulled into Kanye West’s orbit and co-writing on 808s & Heartbreak The album as a concept record, tracing insecurity, fame, drugs, and identity across a clear narrative arc “Emo rap” as a turning point in hip-hop, with Cudi as one of its key founders Genre-bending production with synths, indie influences, and lush soundscapes that often outshine Cudi’s vocals A split verdict: big ideas and cultural impact versus uneven performances and melodrama Why the album works best when heard front-to-back, even if not every song stands on its own Music Referenced Man on the Moon: The End of Day by Kid Cudi A Kid Named Cudi by Kid Cudi Day ’n’ Nite by Kid Cudi Pursuit of Happiness by Kid Cudi Heart of a Lion by Kid Cudi Make Her Say by Kid Cudi 808s & Heartbreak by Kanye West Graduation by Kanye West The College Dropout by Kanye West Donda by Kanye West Heartless by Kanye West Paranoid by Kanye West MGMT Common Poker Face by Lady Gaga Blame It by Jamie Foxx Blame It by T-Pain Red Hot Chili Peppers Chris Martin Apologize by OneRepublic Bon Iver Melodrama by Lorde Glass Houses by Billy Joel You May Be Right by Billy Joel Sometimes a Fantasy by Billy Joel From Chaos by 311 Aja by Steely Dan Southeastern by Jason Isbell Join us next week when we explore Southeastern by Jason Isbell! #

In Episode 53 of Backwards Beats, Dan and Carl kick off Season Three by diving into Lorde’s Melodrama—album #460 on Rolling Stone’s 500 Greatest Albums of All Time list. The conversation frames Melodrama as both a breakup record and a loose concept album, tracing the emotional arc of a single house party from start to finish. Along the way, they unpack Lorde’s rapid rise, her relationship with pop stardom, and how this album cemented her voice as one of the defining sounds of modern pop. The episode balances context and critique, looking closely at Lorde’s songwriting, vocal choices, and the heavily electronic production shaped by Jack Antonoff. Dan and Carl debate what works, what dates the record, and why Melodrama still holds cultural weight nearly a decade after its release. Music Referenced Melodrama by Lorde Pure Heroine by Lorde Royals by Lorde In the Air Tonight by Phil Collins Sober by Tool Life on Mars by David Bowie Taylor Swift Arcade Fire Bjork Ellie Golding happier than ever by Billie Eilish Jagged Little Pill by Alanis Morissette one week by Barenaked Ladies Walk Off the Earth The Beatles The Rolling Stones The Who Deep Purple Yes Rush Van Halen ABBA James Taylor James Brown Bootsie Collins Marvin Gaye Black Album by Metallica Use Your Illusion by Guns N' Roses Nevermind by Nirvana Blood Sugar Sex Magik by Red Hot Chili Peppers Pink Join us next week when we dive into The Man on the Moon: The End of the Day by Kid Cudi

This special Year in Music Highlights episode of Backwards Beats is a curated reaction show built from our 10 most popular episodes of the year. For each episode, we selected one standout moment the clip that generated the strongest response, and then reflect back on what we learned. Join us as we reflect on our journey through podcasting in 2025. The highlights come from episodes covering: Arcade Fire (Funeral), Sheryl Crow, Selena, Lady Gaga, Bonnie Raitt, Muddy Waters, John Mayer, Harry Styles, and LTJ Bukem. This episode works as: • A best-of entry point for new listeners • A recap of the year’s most engaging musical conversations • A behind-the-scenes look at how we actually listen to records This episode captures the core of what Backwards Beats is about! Albums Discussed: -- Funeral by Arcade Fire -- Born This Way by Lady Gaga -- Continuum by John Mayer -- Nick of Time by Bonnie Raitt -- Sheryl Crow by Sheryl Crow -- Amor Prohibido by Selena -- The Journey Inward by LTJ Bukem -- FIne Line by Harry Styles -- Muddy Waters Anthology

In this Sidetrax Episode, Dan is flying solo digs in to Ace Frehley's amazing contributions to the original 6 KISS records. This episode features a cover of the song Fractured Mirror.   Go over to our Patreon for the full - uncut episode at https://patreon.com/backwardsbeatspodcast.

It's that time again! Carl will roll for his fate and create a cover off one of the albums reviewed in season 2! Come check out his process and hear what his silly mind comes up with in this exclusive Sidetrack season short!

In this Side Tracks episode of Backwards Beats, Dan and Carl tear into Too Much Stereo (2000) by The Urge—a band they both respect but feel never got the recognition their musicianship deserved. They explore the group’s blend of ska, rock, punk, reggae, and 80s–90s alt flavors, and break down why this record is so energetic, so well-played, and unfairly overlooked. Between deep dives into bass lines, vocal technique, and production choices, they also wander into some unhinged tangents (including what you can hide inside a turkey), plus plenty of 311 references and genre-nerd enthusiasm. Key Points Album Background – Too Much Stereo dropped in 2000 on Immortal Records; polished, high-energy, genre-blending, and arguably one album too late for the scene shift. The Urge’s Sound – A fusion of ska horns, rock aggression, punk energy, reggae undercurrents, and 80s-tinged melodic instincts. Musicianship Spotlight – Bass: Carl Grable’s playing is the standout of the entire album as fluid, melodic, precise, loaded with tension notes, but always tasteful. Drums: Creative fills, tight pocket, and fearless choices that somehow work. Vocals: Steve Ewing’s delivery is distinct, articulate, bold, and genre-fluid. Arrangement: Strong dynamic layering, bright verse/chorus contrast, and thoughtful instrumentation throughout. Themes – Why this band didn’t blow up despite having the chops. The late-90s/early-2000s shift that buried bands like this. The tension between brilliant musicianship and commercial timing. Verdict – Dan and Carl both agree: the album absolutely holds up, deserves more attention, and delivers banger after banger with zero filler. Music Referenced Receiving the Gift of Flavor by The Urge Master of Styles by The Urge Galvanized by The Urge Beautiful Disaster by 311 Less than Jake Goldfinger Incubus Korn Rearranged by Limp Bizkit Glorified G by Pearl Jam Supermassive Black Hole by Muse One Week by Barenaked Ladies Karma Police by Radiohead Paranoid Android by Radiohead Red Hot Chili Peppers Blues Traveler Brand New Heavies Pepper by Butthole Surfers Damaged by Black Flag Pictures of Nectar by Phish Journey Faith No More Mike Patton Avett Brothers Snarky Puppy Tower of Power The Heavy Metal Horns Nelly Kiss Linkin Park Foo Fighters INXS The Cult King's X

Dan and Carl dive into Discipline by King Crimson for a Convince Me! episode. Dan brings the 1981 reinvention-era Crimson to Carl, who’s heard of the band more than he’s actually heard the band. What follows is a deeply nerdy, musically technical, and surprisingly heartfelt discussion about prog rock, mis-buying albums as teenagers, King Diamond confusion, interlocking guitar madness, Adrian Belew’s vocal chops, Fripp’s strict musical geometry, and why this seven-track album still hits like a brick of ideas. They break down each song, calling out rhythmic trickery, Chapman Stick wizardry, Talking Heads DNA, Zappa-esque spoken-word chaos, unexpectedly gorgeous balladry, and the political undercurrent inside “Thela Hun Ginjeet.” Carl even makes a compelling case that the entire record functions as a narrative arc. By the end, Carl is fully convinced: Discipline outperforms a chunk of the official Rolling Stone list. Key Points Album Setup: Dan chose Discipline as a non-500-list entry he suspected Carl would appreciate due to Carl’s love of complex, groove-heavy music. King Crimson Primer: Quick history lesson — original late-60s/70s Crimson, the Red era, the 1980 breakup, and the 1981 rebirth with Fripp, Belew, Levin, and Bruford. Why This Era Matters: This lineup shifted from mystical/psychedelic prog to interlocking rhythmic systems, polyrhythms, and angular art-rock. Musicianship: High-level execution across all instruments, especially the dual-guitar architecture and Levin’s Stick work. Production Notes: For 1981, the album sounds crisp, detailed, and roomy; the only minor nitpick is the lower-end punch by modern standards. Carl’s Verdict: Strong yes — he’d buy it, he’ll revisit it, and it outshines many albums on the official list. Music Referenced Discipline by King Crimson Red by King Crimson In the Court of the Crimson King by King Crimson Beat by King Crimson Three of a Perfect Pair by King Crimson King Diamond Jefferson Airplane Talking Heads Frank Zappa David Bowie Steve Vai Fear and Innoculum by Tool Chocolate Chip Trip by Tool 46 & 2 by Tool Mars Valta Tony Levin S.C.I.E.N.C.E. by Incubus Money by Pink Floyd

In this Sidetrax episode of Backwards Beats, Dan and Carl explore the pull of songs built on 6/8 and other six-based feels. They break down why this meter hits differently, how it shapes emotion and groove, and why it shows up everywhere from soul classics to modern pop. The discussion moves from music theory basics to a curated tour of standout tracks across decades, plus a few surprises, fake sponsors, and a live listening reaction. Key Points How 6/8 differs from 3/4 and 4/4, and why the “feel” matters more than the notation. Why the six-feel creates sway, momentum, and emotional weight. Historical roots in church music, blues, and early soul. Why shuffle feels, triplet feels, and swing blur into the same rhythmic family as 6/8. Examples where the meter is ambiguous but the feel is undeniable (Toto, Dave Matthews Band, System of a Down, A Perfect Circle). Live reaction to Led Zeppelin’s Since I’ve Been Loving You from The Song Remains the Same. The 6/8 connection back to blues and gospel as the foundation for countless modern ballads. Sidetrax flavor: fake sponsors, foraging paranoia, and Dan and Carl being Dan and Carl. Extended version with music clips available on Patreon. Music Referenced Iron Maiden House of the Rising Sun by The Animals I've been loving you so long by Otis Redding Dreams to remember by Otis Redding Richie Valens Symphony No. 9 in D Minor, OP. 125 "Choral": II. Scherezo. Molto vivace - Presto Chicago Transit and Authority Colour My World by Chicago O'Darlin' by The Beatles Norwegian Wood by The Beatles Bella Flek and the Flek tones Johnny C Quadrophenia by The Who Love, Reign O'er Me by The Who Eminence Front by The Who Blood, Sugar, Sex, Magik by Red Hot Chili Peppers Breaking the Girl by Red Hot Chili Peppers Give it Away by Red Hot Chili Peppers Under The Bridge by Red Hot Chili Peppers Porcelain by Red Hot Chili Peppers Never Tear Us Apart by INXS Hallelujah by Jeff Buckley Kiss from Rose by Seal One more try by George Michael kissing a fool by George Michael Untitled (How Does It Feel) by D'Angelo Dangerous Woman by Ariana Grande Lose control by Teddy Swims Wildflowers & Wine by Marcus King Stay Awhile by Edie Brickell Picture Perfect Morning by Edie Brickell The Song Remains the Same by Led Zeppelin Since I've Been Loving You - (Live at MSG 1973)[Remaster] by Led Zeppelin The Hollow by A Perfect Circle Rosanna by Toto Hold the Line by Toto Drive In, Drive Out by Dave Matthews Band Satellite by Dave Matthews Band Fine Line by Harry Styles Harry's House by Harry Styles She by Harry Styles Sometimes salvation by the black crow's

Episode 46 dives deep into For Emma, Forever Ago by Bon Iver — an album born from heartbreak, illness, and isolation in a Wisconsin cabin that has since become modern indie folklore. Dan and Carl unpack the myth and the reality behind Justin Vernon’s retreat, his shift into the Bon Iver moniker, and how a small self-released record snowballed into a career-defining breakthrough. The guys also weave in their trademark sidebars: regional listener stats, sausage and kielbasa taxonomy, chicken-butchering trauma, and seasonal talk of Advent calendars and questionable Christmas songs. It’s all here.   The Best Christmas Song in the Universe An Old Fashoned Christmas (Daddy's Home)   Drip by Tigran Hamasyan YouTube   Key Points The album comes from Justin Vernon’s period of illness, heartbreak, and reclusion in his father’s hunting cabin — the “cabin myth” that helped shape its legacy. Bon Iver’s name stems from a French phrase meaning “good winter,” pulled from the TV show Northern Exposure. “Lump Sum,” “The Wolves (Act I and II),” and “re: Stacks” emerge as standout cuts — with strong arguments for the latter two as the album’s emotional high points. “Skinny Love,” while the commercial hit, isn’t necessarily the musical centerpiece. Billie Eilish has cited “Creature Fear” as an influence, specifically inspiring a melody in when the party’s over. The album operates as a loose concept arc: descent, confrontation, collapse, clarity, and release. Music Referenced When the Party Is Over by Billie Eilish Phineas One direction My Morning Jacket Jim James Jacob Collier Hey Ho by the Lumineers That lady by The Isley Brothers Who's that lady by The Isley Brothers Porcelain by Red Hot Chili Peppers Coldplay Chris Martin into the wild by Eddie Vetter Every breath you take by The Police If you love somebody, set them free by Sting Beirut Nine Inch Nails St. Vincent Miley Cyrus

In this episode, Dan and Carl dive deep into The Gilded Palace of Sin — the 1969 debut from The Flying Burrito Brothers, ranked #462 on Rolling Stone’s 500 Greatest Albums of All Time. Formed by Gram Parsons and Chris Hillman after leaving The Byrds, this record pioneered the fusion of country, rock, and soul — laying the foundation for Americana and alt-country decades before those genres had names. Through witty banter, historical context, and musical analysis, the hosts unpack the album’s cosmic twang, its groundbreaking use of pedal steel, and the strange brilliance of songs like “Hot Burrito #1” and “Sin City.” Along the way, they explore Gram Parsons’ ties to The Rolling Stones, the LA country-rock scene, and the tension between parody and sincerity in a record that shaped future giants like The Eagles, Linda Ronstadt, and Emmylou Harris. Key Points Origins & Context Formed in Los Angeles by Gram Parsons and Chris Hillman after their departure from The Byrds. Recorded at A&M Studios (later Jim Henson Studios) in late 1968 and released in February 1969. Featured the legendary Sneaky Pete Kleinow on pedal steel, also known for his animation work on Gumby and Star Wars. Blended country, blues, soul, R&B, and psychedelic influences into what Parsons called “cosmic American music.” Signature Sound Prominent use of fuzzed-out pedal steel guitar and unconventional mixing choices (hard-panned vocals and instruments). Juxtaposes authentic country stylings with experimental textures and R&B harmonies. Introduced a sonic palette that inspired countless artists in the 1970s country-rock boom. Legacy Though initially a commercial failure, The Gilded Palace of Sin became a touchstone for country-rock and Americana. Influenced artists like The Eagles, Poco, and Emmylou Harris. Gram Parsons’ vision and tragic early death cemented his status as one of rock’s mythic figures. Music Referenced Sweetheart of the Rodeo by The Byrds Gram Parsons Chris Hillman Sneaky Pete Kleinow Chris Etheridge Michael Clarke Fast Eddie Ho John Corneal International Submarine Band Keith Richards Exile on Main St. by The Rolling Stones Honky Tonk Women by The Rolling Stones Lou Reed Stephen Stills Crosby, Stills & Nash Otis Redding The Temptations The Everly Brothers Hank Williams Merle Haggard George Jones City of New Orleans by Arlo Guthrie Do Right Woman, Do Right Man by Aretha Franklin Dark End of the Street by Aretha Franklin Dark End of the Street by James Carr Heart Like a Wheel by Linda Ronstadt Faithless Love by Linda Ronstadt Dark End of the Street by Linda Ronstadt Willie Nelson Ry Cooder Joni Mitchell Stevie Wonder Emmylou Harris Take It to the Limit by The Eagles Poco The Desert Rose Band Biding My Time by Tom Petty Johnny Cash Procol Harum Little Feat Little River Band Bernie Leadon Damon Albarn Synkronized by Jamiroquai Canned Heat by Jamiroquai The Light For Days by Jacob Collier Join us next week when we dive into the Hipster's dream... For Emma, Forever Ago by Bon Iver

Dan and Carl dive deep into Laura Nyro’s Eli and the Thirteenth Confession, the 1968 album sitting at #463 on Rolling Stone’s list of the 500 Greatest Albums of All Time. Known for her blend of pop, jazz, gospel, and soul—and her influence on artists like Elton John and The 5th Dimension—Nyro’s work is both ambitious and divisive. The hosts unpack her fearless songwriting, theatrical delivery, and chaotic arrangements while wrestling with whether the record truly earns its critical acclaim. Along the way, they highlight standout musicians like bassist Chuck Rainey and arranger Charlie Calello, compare the album’s structure to a Broadway production, and even drop in a few of their signature fake ads. Key Points Artist Background: Laura Nyro was a Bronx-born prodigy who taught herself piano, began composing at eight, and wrote hits later covered by major artists including The 5th Dimension, Barbra Streisand, and Blood, Sweat & Tears. Album Context: Released in 1968, Eli and the Thirteenth Confession blends pop, gospel, soul, and musical theater influences. Despite critical acclaim, it wasn’t a commercial hit and peaked at #181 on the Billboard 200. Production Notes: Co-produced and arranged by Charlie Calello, featuring elite session players like Chuck Rainey and Zoot Sims. The album’s lush instrumentation and complex arrangements hint at a conductor’s precision. Signature Tracks: “Eli’s Comin’” (later a hit for Three Dog Night), “Sweet Blindness” (covered by The 5th Dimension), and “Stone Soul Picnic.” Critical Take: While Nyro’s ambition and musicianship are undeniable, Dan and Carl ultimately agree that Eli and the Thirteenth Confession doesn’t belong on the Rolling Stone Top 500. It’s inventive, but overindulgent and uneven in execution. Music Referenced Wedding Bell Blues by The 5th Dimension Sweet Blindness by The 5th Dimension Stone Soul Picnic by The 5th Dimension Stoney End by Barbra Streisand And When I Die by Blood, Sweat & Tears The Four Seasons Engelbert Humperdinck Neil Diamond Emily by Frank Sinatra Bruce Springsteen Elton John Nina Simone Eli’s Comin by The Three Dog Night Joy To The World by The Three Dog Night Rare Earth Saturday in the Park by Chicago Aretha Franklin Here, My Dear by Marvin Gaye Carol King Quincy Jones Chuck Rainey Zoot Sims Charlie Calello Still Live by Keith Jarrett Jack DeJohnette Gary Peacock Oscar Peterson Bob James Neon by John Mayer Harry Styles Lu by Peggy Lipton Kanye West Gracie Lawrence Jacob Jeffries Vulfpeck Emily by The Singers Unlimited Try to Remember by The Singers Unlimited Join us next week when we cover The Guilded Palace of Sin by The Flying Burrito Brothers.

Dan and Carl dive into 3 + 3, the 1973 soul-funk classic by The Isley Brothers—album #464 on Rolling Stone’s 500 Greatest Albums of All Time. This episode explores the band’s transformation from their doo-wop roots to a fully self-contained funk powerhouse. From iconic covers like “Summer Breeze” and “Listen to the Music” to original gems like “That Lady” and “What It Comes Down To,” the hosts unpack the musicianship, harmonies, and sonic evolution that made this record a defining statement for the group. Expect laughs, deep dives into theory, and the usual mix of heartfelt appreciation and comedic tangents that make Backwards Beats a must-listen. Key Points Album Context: Released in 1973, 3 + 3 marked The Isley Brothers’ creative rebirth, blending soul, funk, and gospel influences while debuting their expanded six-member lineup. Recording & Influences: Recorded at The Record Plant in Los Angeles, during the same era Stevie Wonder was working on Innervisions. The interplay between these artists helped define 1970s R&B sound design. Signature Sound: Features the legendary guitar tone of Ernie Isley—fuzzed-out, sustained, and way ahead of its time. Musicianship: The Isley Brothers’ self-contained approach shines—tight rhythm section, rich harmonies, and inventive chord work. Dan and Carl break down progressions, vocal textures, and clever rhythmic layering. Legacy: The album’s versatility—balancing hits, covers, and musical sophistication—cements it as a timeless entry in funk and soul history. Verdict: A unanimous “Would You Hit It? Absolutely.” Dan and Carl both praise the album’s cohesion, groove, and staying power. Music Referenced Footsteps in the Dark by The Isley Brothers Innervisions by Stevie Wonder Songs in the Key of Life by Stevie Wonder Please Please Me by The Beatles Twist and Shout by The Beatles Rolling Stones Don't Let Me Be Lonely Tonight by James Taylor Dreams to Remember by Otis Redding You Are So Beautiful by Joe Cocker Let's Stay Together by Al Green Tell Me Something Good by Rufus Listen to the Music by The Doobie Brothers Queen of Hearts by Juice Newton Sunshine by Juice Newton Sunshine by Jonathan Edwards Summer Breeze by Seals and Crofts Reminiscing by Little River Band Boston Toto Gorillaz Sparks Big Girls Don’t Cry by Frankie Valli and the Four Seasons Sherry by Frankie Valli and the Four Seasons Fly by Michael Mayo Giant Steps by Michael Mayo Fore by Michael Mayo Nate Smith 💿 Next week: Eli and the Thirteenth Confession by Laura Nyro. 🕺 Salt your melons, and keep those grooves alive.

In this episode of Backwards Beats, Dan and Carl journey into the rhythmic heart of Nigeria with King Sunny Adé’s landmark compilation The Best of the Classic Years. The hosts unpack how juju music’s hypnotic grooves and layered percussion shaped one of Africa’s most enduring musical legacies. From the celebratory pulse of “Sunny Ti De” to the sprawling “Synchro System,” they explore how Adé fused tradition and modernity—bridging Yoruba roots and global reach. Listeners will discover how Adé’s early innovations—talking drums, pedal steel guitars, and lush vocal harmonies—laid the groundwork for generations of African and world music artists. The conversation also dives into the album’s cultural resonance, its role in Nigeria’s post-independence sound, and the seamless flow that makes The Best of the Classic Years a timeless listen. Key Points Juju Origins: The episode opens with a primer on juju music—its Yoruba roots, call-and-response vocals, and rhythmic layering. Cultural Context: Dan and Carl highlight how Nigeria’s post-independence energy fueled a new musical identity blending tradition and technology. King Sunny Adé’s Innovation: Discussion of Adé’s use of multiple guitars, talking drums, and modern instruments like the pedal steel to redefine juju. Track Highlights: Deep dives into “Sunny Ti De,” “Synchro System,” and “Ogun Party” showcase Adé’s mix of spiritual themes, celebration, and technical brilliance. Sound & Structure: Breakdown of Adé’s medley approach—extended, evolving grooves instead of radio-length singles. Legacy: Reflection on how The Best of the Classic Years cemented Adé’s title as the “King of Juju” and influenced modern Afrobeat and world fusion sounds. Backwards Beats Verdict: The hosts share what makes this compilation essential listening for anyone exploring global classics beyond the Western canon. Music Referenced Ebenezer Obey Fela Kuti Bob Marley Join us next week when we cover 3+3 by The Isley Brothers.

In this episode of Backwards Beats, Dan and Carl dive into Black Uhuru’s 1981 masterpiece Red — the album that carried reggae into a new decade following Bob Marley’s passing. The duo explores how Michael Rose, Puma Jones, and Duckie Simpson, supported by legendary rhythm section Sly & Robbie, shaped a sound that fused roots reggae, dub experimentation, and modern production. With tight grooves, deep social commentary, and forward-thinking arrangements, Red defined a new era of conscious Jamaican music. Key Points Background & Lineup: Originated in Kingston’s Waterhouse district; lineup solidified with Michael Rose, Puma Jones, and Duckie Simpson. The name Uhuru means “freedom” in Swahili. Sly & Robbie’s Influence: Though not official members, drummer Sly Dunbar and bassist Robbie Shakespeare drove the band’s evolution—modernizing reggae’s sound with synth drums, dub textures, and rhythmic precision. Cultural Moment: Released just months before Bob Marley’s death, Red filled the leadership gap in global reggae, blending political consciousness with sleek 1980s production. Sound & Craft: The album balances tight, modern arrangements with deep spiritual and political lyrics. Layered guitars, female harmonies, and dub effects create a textured yet spacious mix. Music Referenced Love Crisis by Black Uhuru Sinsemilla by Black Uhuru Bob Marley Steel Pulse Hear My Dear by Marvin Gaye Cake Lenny Kravitz Frankie Valli The Jacksons Whip It by Devo Family Dinner Volume One by Snarky Puppy Amour T’es Là by Snarky Puppy Something by Snarky Puppy Lalah Hathaway Magda Giannikou Pain to Power by Maruja Leaving Babylon by 311 Inner Light Spectrum by 311 Hit the Road Jack by Ray Charles The Clash Dub Trio Soulive Real Big Fish Material Girl by Madonna Walk off the Earth Join us next week when we break down The Best of the Classic Years by King Sunny Ade

In Episode 40 of Backwards Beats, Dan and Carl unpack Maxwell’s BLACKsummers’night (2009) — the smooth, soulful comeback that reignited his career after an eight-year hiatus. They trace Maxwell’s journey from his neo-soul beginnings in the ’90s to the carefully crafted emotional world of this album, exploring how he redefined R&B’s sound in a digital era. The hosts dive into the record’s warmth, live instrumentation, and deeply intimate production style while reflecting on its place in both Maxwell’s trilogy and the wider soul landscape. Key Points BLACKsummers’night marked Maxwell’s return after 2001’s Now and introduced the first part of his planned trilogy. Discussion of the album’s standout tracks, including “Pretty Wings,” “Bad Habits,” and “Cold.” Analysis of Maxwell’s emphasis on analog sound, organic grooves, and live performance energy in a time dominated by electronic R&B. Comparison of Maxwell’s style and evolution to contemporaries like D’Angelo, Erykah Badu, and Prince. Reflection on the themes of heartbreak, self-awareness, and romantic vulnerability that define the record. Exploration of how the album’s emotional pacing and sequencing mirror the arc of a relationship. Final verdict in “Would You Hit It?” — where Dan and Carl decide if BLACKsummers’night still hits as hard today as it did in 2009. Music Referenced blackSUMMERS'night by Maxwell Purple Rain by Prince Little Red Corvette by Prince Damn U by Prince I Would Die 4 U by Prince Red by Black Uhuru Don't Speak by No Doubt The Roots Hard Times by John Legend Breakout by Soulive Steady Groovin' by Soulive Flurries by Soulive Corey Glover Living Colour Here, My Dear by Marvin Gaye Erykah Badu 5 by Lenny Kravitz Anderson .Paak SZA Chaos Miranda Lambert Adele D'Angelo Join us next week when we dive into the album Red by Black Uhuru.

In this episode of Backwards Beats, Dan and Carl explore Some Girls by The Rolling Stones, a landmark 1978 release that revitalized the band during the disco and punk era. The discussion covers how the Stones adapted to the changing musical landscape, the unique blend of styles on the album, and why Some Girls remains one of their best-selling and most beloved works. From Jagger’s embrace of disco on “Miss You” to the raw rock energy of “Respectable” and the soulful vulnerability of “Beast of Burden,” the hosts dig into the stories and sounds that defined this late-career classic. Key Points Some Girls was released in 1978, at a time when punk and disco were reshaping popular music. The album marked Ronnie Wood’s first full contribution as an official band member. Tracks like “Miss You” showed the Stones successfully pulling from disco influences, while “Shattered” and “Respectable” responded to punk’s urgency. “Far Away Eyes” highlighted their continued use of country elements in surprising ways. “Before They Make Me Run” gave Keith Richards a spotlight as lead vocalist, reflecting his personal struggles at the time. The band’s ability to adapt to shifting trends while keeping their core identity intact helped cement Some Girls as a late-career triumph. Music Referenced Black and Blue by The Rolling Stones Exile on Main Street by The Rolling Stones Sticky Fingers by The Rolling Stones Sugar Blue Ian McLagan Mel Collins Simon Kirke The Bum Bum Song by Tom Green How Bizarre by OMC Changes by David Bowie Genie in a Bottle by Christina John Melon Camp Hip to be Square by Huey Lewis Jamiroquai Join us next week when we review BLACKsummer'snight by Maxwell.

In this episode of Backwards Beats, Dan and Carl welcome special guest Nate Danciger for a deep dive into Manu Chao’s groundbreaking 1998 album Clandestino, ranked on Rolling Stone Magazine’s 500 Greatest Albums of All Time. With Nate’s Spanish-language expertise and historical insight, the trio explore the album’s multilingual lyrics, global street sound, and political urgency. From immigration and activism to reggae grooves and playful samples, Clandestino is both a personal journey and a universal statement. Though it started quietly, the record went on to sell over 5 million copies and remains a touchstone for global music lovers. Key Points Guest Feature: Nate Danciger brings Spanish fluency and cultural context, enriching the analysis of lyrics, themes, and wordplay. Artist Background: Manu Chao (born José-Manuel Thomas Arthur Chao in Paris, 1961) was raised by Spanish anti-Franco parents in exile. His immigrant roots shaped his worldview and art. Musical Style: A raw, loop-driven blend of reggae, ska, Latin rhythms, French chanson, and field recordings, evoking the sound of a traveling busker. Multilingual Lyrics: Primarily Spanish, with French, Portuguese, and English tracks. Chao often rhymes across languages, making his songs accessible even without full translation. Themes: Immigration and displacement (Clandestino). Political corruption and systemic lies (Mentira, Luna y Sol). Climate change and environmental justice (Kyoto Protocol references). Street life, resilience, and wanderlust (Desaparecido, Mama Call). Satirical and playful breaks (Bongo Bong, Welcome to Tijuana). Political Edge: Strong ties to the Zapatista movement and revolutionary ideals, with samples of speeches demanding food, shelter, and justice. Album Impact: Initially under-promoted, the album later entered the French Top 10, stayed there for years, and reached five million global sales. Music Referenced Próxima Estación Esperanza by Manu Chao Mano Negra The Clash Pixies G. Love and Special Sauce Bob Marley Blood Sugar Sex Magik by Red Hot Chili Peppers One Hot Minute by Red Hot Chili Peppers Walkabout by Red Hot Chili Peppers Funkadelic Jimi Hendrix Tell Me Is It True by UB40 Red Red Wine by UB40 Can't Help Falling in Love by UB40 Baby I Love Your Way by Big Mountain Anthem by Black Uhuru Bull in the Pen by Black Uhuru Africa by Toto Whip It by Devo Funeral by Arcade Fire Haiti by Arcade Fire Join us next week when we explore the well loved album Some Girls by The Rolling Stones

In this episode of Backwards Beats, Dan and Carl head to New Orleans to break down Juvenile’s game-changing 1998 album 400 Degreez. From the bounce-driven streets of the Magnolia Projects to Cash Money’s breakthrough into the national spotlight, this record reshaped the sound of hip-hop at the turn of the millennium. The duo unpacks Juvenile’s rise, the production genius of Mannie Fresh, and the cultural weight of singles like “Ha” and “Back That Azz Up.” Key Points Juvenile’s early career and how he connected with Cash Money Records. The unique cadence and impact of “Ha” — and how Jay-Z jumped on the remix. Mannie Fresh’s minimalist, bounce-inspired production style. The mainstream success of “Back That Azz Up” and its role in bringing Southern rap nationwide. How 400 Degreez cemented Cash Money’s reputation and paved the way for artists like Lil Wayne. The album’s lasting influence on Southern hip-hop and its legacy in music history. Music Referenced Solja Rags by Juvenile Being Myself by Juvenile Solja Rags by Juvenile Mannie Fresh Ha (Remix) by Jay-Z B.G. Lil Wayne Turk Get It How U Live! by Hot Boys Big Tymers DJ Jubilee Luxury: Cococure by Maxwell Oye Como Va by Tito Puente André 3000 Join us next week when we go international and discuss Manu Chao's Clandestino.

In this episode of Backwards Beats, Dan and Carl dive into Surrealistic Pillow (1967) by Jefferson Airplane, ranked #471 on Rolling Stone’s Greatest Albums list. They explore how the album defined the San Francisco sound, the role of Grace Slick in reshaping the band’s identity, and Jerry Garcia’s surprising influence as “musical and spiritual advisor.” The conversation blends deep analysis, fun tangents, and reflections on the counterculture movement that shaped the record. Key Points Surrealistic Pillow marked Jefferson Airplane’s breakthrough and cemented them in the Summer of Love era. Grace Slick brought two of the band’s biggest hits, “Somebody to Love” and “White Rabbit”, from her previous group The Great Society. Jerry Garcia contributed guitar parts and guidance, inspiring the album’s title. The record blends folk, rock, blues, and early psychedelia, showcasing a wide stylistic range. Discussion of mono vs stereo cuts reveals different listening experiences, with White Rabbit favored in mono. Music Referenced Jefferson Airplane Takes Off by Jefferson Airplane Flight Log by Jefferson Airplane Somebody to Love by The Great Society White Rabbit by The Great Society Magic Bus by The Who I Want Candy by The Strangeloves The Boys of Summer by Don Henley Don't Stop Believin' by Journey Never Going Back Again by Fleetwood Mac Hearts and Bones by Paul Simon Extreme They Reminisce Over You by Pete Rock & C.L. Smooth The Honeysuckle Breeze by Tom Scott Rickie Lee Jones Paul Butterfield Sara by Stevie Nicks Janis Joplin Nine Inch Nails Trent Reznor Jesus and Mary Chain Right Here Right Now by Jesus Jones Where It's At by Beck Moonlight Drive by The Doors Riders on the Storm by The Doors Watermelon Man by Herbie Hancock Law & Order Theme Crosby, Stills, Nash & Young Join us next week when we cover 400 Degreez by Juvenile.

In this episode of Backwards Beats, Dan and Carl dive into CTRL by SZA, ranked #472 on Rolling Stone’s 500 Greatest Albums of All Time. They explore SZA’s groundbreaking debut, her unique blend of R&B, hip hop, and neo-soul, and the bold themes of vulnerability, sexuality, and self-discovery that run through the record. Along the way, they discuss standout tracks, production details, and cultural impact, with plenty of humor, side tangents, and even a campaign to “buy Sesame Street.”   Music Referenced Travis Scott Kendrick Lamar Rihanna Beyonce Nicki Minaj Anderson Paak Billie Eilish Questlove Pharrell Frank Ocean Chance the Rapper Alessia Cara Drake Lil’ Kim Let's Get Dirty by Redman Wu-Tang Clan Jane Says by Jane's Addiction Drew Barrymore Who Knew by Pink Love on the Weekend by John Mayer Circles by Post Malone FutureSex/LoveSounds by Justin Timberlake Suit and Tie by Justin Timberlake Timbaland Random Access Memories by Daft Punk Get Lucky by Daft Punk Nile Rodgers SWV Erykah Badu Ariana Grande Shakira Celine Dion Domi and JD Beck Tower of Power Gary Clark Jr. The Black Keys Join us next week when we cover Surrealistic Pillow by Jefferson Airplane.

In this episode of Backwards Beats, Dan and Carl dive into Daddy Yankee’s landmark 2004 album Barrio Fino. Widely credited with bringing reggaetón into the global spotlight, the record features the smash hit Gasolina and helped shape the sound of Latin music for years to come. Dan reflects on the challenges of listening to the full 21-track project as a non-Spanish speaker, the dominance of the soca rhythm throughout, and how the album’s rapid-fire delivery can feel overwhelming. The hosts also contextualize the album within the early 2000s music scene and its lasting cultural impact. Key Points Barrio Fino (2004) established Daddy Yankee as the “King of Reggaetón.” The breakout single Gasolina became an international anthem and a defining track of the genre. Heavy use of the soca rhythm and drum machine programming gives the album a consistent—but sometimes repetitive—feel. Dan discusses how Spanish’s syllable-timed rhythm can make verses feel faster to non-native listeners, comparing it to Eminem’s rapid-fire delivery in Rap God. Legacy: Barrio Fino paved the way for reggaetón’s global dominance and set the stage for Daddy Yankee’s later successes, including Despacito with Luis Fonsi. Music Referenced Rap God by Eminem Godzilla by Eminem Despacito by Luis Fonsi Andy Montañez Don Omar Zion & Lennox Wisin & Yandel Join us next week when we dive deep into SZA's iconic album CTRL.

In this episode of the Backwards Beats Podcast, Dan and Carl dig into Big Star’s #1 Record—an album that didn’t live up to its title in sales but grew into one of the most influential records in rock history. Released in 1972 and largely overlooked at the time, #1 Record went on to inspire generations of power pop, indie, and alternative bands. The guys explore how Alex Chilton, Chris Bell, Andy Hummel, and Jody Stephens fused British Invasion pop with Southern rock charm and pristine studio production at Ardent Records. Along the way, they highlight Big Star’s incredible harmonies, clever songwriting, and the album’s surprising legacy despite its initial commercial failure. Key Points Big Star Origins – Formed in Memphis in 1971 by Alex Chilton (formerly of The Box Tops), Chris Bell, Andy Hummel, and Jody Stephens. Chilton’s background includes the teenage hit “The Letter,” while Bell’s songwriting shaped the band’s signature melodic power pop sound. Commercial Struggles – Despite critical acclaim, #1 Record initially sold only about 10,000 copies due to poor distribution and promotion, leading to internal band tensions and Bell’s departure. Production & Sound – Recorded at Ardent Studios with surprisingly polished sound for 1972, blending British Invasion influences (The Beatles, The Byrds, The Kinks) with American Southern rock and early power pop. The result feels ahead of its time and sonically tight compared to many contemporaries. Musical Influences & Legacy – The album foreshadows elements of Tom Petty, R.E.M., The Replacements (who even wrote a song called “Alex Chilton”), and countless indie rock acts. References throughout the discussion include Elton John, Bread, Todd Rundgren, Crosby Stills & Nash, The Zombies, and even future nods toward ’80s rock and grunge. Music Referenced Rocket Man by Elton John Bread Right Here Right Now by Jesus Jones #1 Record by Big Star Feel by Big Star The Ballad of El Goodo by Big Star In the Street by Big Star Thirteen by Big Star Don't Lie to Me by Big Star India Song by Big Star When My Baby's Beside Me by Big Star My Life is Right by Big Star Give Me Another Chance by Big Star The Letter by The Box Tops Eric Gales Abbey Road by The Beatles Let It Be by The Beatles A Hard Day's Night by The Beatles The End by The Beatles Across the Universe by The Beatles Turn! Turn! Turn! by The Byrds The Zombies Todd Rundgren Crosby Stills Nash & Young In My Dreams by Dokken Plush by Stone Temple Pilots Go All the Way by Raspberries Fox on the Run by Sweet Ballroom Blitz by Sweet Songs About Jane by Maroon 5 Sunday Morning by Maroon 5 Dirty Work by Steely Dan Tom Petty Cheap Trick Garbage Elliott Smith ZZ Top Ted Nugent Smokin' by Boston Lido Shuffle by Boz Scaggs The Doors Rock the Casbah by The Clash London Calling by The Clash Life's Been Good by Joe Walsh I Can't Go for That (No Can Do) by Hall & Oates Fuck You by CeeLo Green To Be with You by Mr. Big You Are So Beautiful by Joe Cocker Alex Chilton by The Replacements

In Episode 32 of Backwards Beats, Dan and Carl dive into the self-titled 1996 album Sheryl Crow, ranked #475 on Rolling Stone Magazine's 500 Greatest Albums of All Time. This sophomore record marked a decisive turn for Crow as a producer, songwriter, and artist determined to define herself beyond the massive success of Tuesday Night Music Club. The duo explores the album’s gritty production, thematic depth, and impressive musical range—highlighting Crow’s defiant vocals, smart arrangements, and her evolution as a bandleader. From radio staples like "If It Makes You Happy" and "Everyday Is a Winding Road" to overlooked gems like "Home" and "Love Is a Good Thing," this episode blends music theory, and production analysis.. Along the way, the hosts unpack artistic independence, unexpected harmony choices, and why Crow deserves more respect in both pop and rock circles. Key Points Sheryl Crow (1996) is her second studio album and a bold departure from the collaborative feel of Tuesday Night Music Club. Dan and Carl dig into the production choices—especially Crow’s use of distorted Wurlitzers, dry vocal doubles, and male background vocals that add gravitas. Special attention to vocal technique—Dan breaks down how Crow uses melody, harmony, and tone to define character and mood across tracks. Music Referenced I Just Can't Stop Loving You by Michael Jackson Celine Dion Prince Stevie Wonder Don Henley Rod Stewart Sting Continuum by John Mayer Selena Bonnie Raitt Miranda Lambert St. Vincent Heart Like a Wheel by Linda Ronstadt You're No Good by Linda Ronstadt Amy Mann Cowboy Junkies One of These Nights by The Eagles Billy Preston Let It Be by The Beatles Abbey Road by The Beatles We Like It Here by Snarky Puppy Jay Dilla Jolene by Dolly Parton Chris Stapleton Cake For What It's Worth by Buffalo Springfield Jimi Hendrix Creedence Clearwater Revival Nirvana Beck Foo Fighters John Scofield Where Is My Mind by The Pixies Don't You (Forget About Me) by Simple Minds The Rolling Stones Kevin Gilbert David Baerwald Bill Bottrell Neil Finn Join us next week when we dig into #1 Record by Big Star.

This week on Backwards Beats, Dan and Carl tackle Sparks’ 1974 glam-rock carnival ride, Kimono My House — ranked #476 on Rolling Stone Magazine’s 500 Greatest Albums of All Time. This album introduced many to the chaotic genius of Ron and Russell Mael, the brothers behind Sparks, and inspired artists from Björk to Beck. With theatrical falsetto vocals, hyperactive arrangements, and lyrics that blend wit and weirdness, Sparks bring both musical chops and flamboyant absurdity. But does that make for an album worth revisiting? Carl and Dan try to make sense of the madness. Key Points Musical Style: Operatic falsetto vocals, chaotic but tight arrangements, tongue-in-cheek lyricism. Compared to Queen, ABBA, Zappa, Supertramp, and musical theater. Dense mixes, cinematic flair, and eccentricity dialed to 11. Highlights: “This Town Ain’t Big Enough for the Both of Us” – cinematic, gunshots, soaring falsetto. “Amateur Hour” – rhythmic complexity, sex humor, and character-driven lyrics. “Thank God It’s Not Christmas” – punk-ish energy, standout descending scale hook. “Asetmañana Monsieur” – fan favorite; Beatles-style harmony meets aggressive groove. Lyrical Themes: Absurdist humor, theatrical personas, failed suicide pacts (“Here in Heaven”), narcissism, Einstein fan fiction (“Talent Is an Asset”), and the occasional circus motif. Music Referenced Come On-a My House by Rosemary Clooney Steve Winwood Spencer Davis Group Bjork Faith No More Queen Cheap Trick Depeche Mode Erasure Duran Duran Beck Franz Ferdinand Jello Biafra Dead Kennedys The Darkness Love Gun by Kiss Neighborhood #1 (Tunnels) by Arcade Fire Frank Zappa ABBA One Night in Bangkok by Murray Head Snarky Puppy Supertramp Coheed and Cambria Blackstar by David Bowie Life on Mars? by David Bowie Fame by David Bowie Billion Dollar Babies by Alice Cooper Hello Hooray by Alice Cooper Elected by Alice Cooper Electric Light Orchestra Sheryl Crow by Sheryl Crow All I Wanna Do by Sheryl Crow If It Makes You Happy by Sheryl Crow Everyday Is a Winding Road by Sheryl Crow Michael Bublé Join us next week when we cover the album Sheryl Crowe by Sheryl Crowe

This week, Dan and Carl dig into the dark, gritty, and groundbreaking Moanin’ in the Moonlight by Howlin’ Wolf — ranked #477 on Rolling Stone Magazine's 500 Greatest Albums of All Time. With a growl like gravel and a presence like thunder, Howlin’ Wolf’s debut album isn't just blues — it's the blueprint for rock ‘n’ roll. Originally released in 1958 as a compilation of previously recorded singles, this 12-track, 30-minute album is a masterclass in raw expression. The guys explore everything from the origins of the electric blues to bizarre recording choices, and even a few unexpected grooves that feel downright Dilla-esque. Whether you’re a blues head or a first-time listener, you’ll hear this album — and the blues — with new ears. 🎧 Key Points Who Was Howlin’ Wolf? Born Chester Arthur Burnett, the man behind the howl was a towering force — literally. At 6'3" and 275 lbs, his presence and voice were larger than life. The guys dig into his history, including his time in the military, his discovery by Ike Turner, and his pivotal move to Chicago and Chess Records. Format Breakdown & Song Structures Dan and Carl give listeners a crash course in blues forms — 12-bar, one-chord vamps, and even a possible D.C. Shuffle — making this episode perfect for blues newbies and music theory nerds alike. Influence & Legacy From The Rolling Stones to Led Zeppelin to The Black Keys, Howlin’ Wolf’s fingerprints are all over modern music — legally or otherwise. His influence extends beyond the music into stage presence, vocal delivery, and raw emotional honesty. Music Referenced Muddy Waters Phil Spector Floyd Jones Johnny Shines Sunny Boy Williams Robert Johnson Son House Willie Johnson Junior Parker Willie Steele Ike Turner James Brown Herbert Sumlin Willie Dixon Otis Spann Jody Williams The Rolling Stones The Lemon Song by Led Zeppelin How Many More Times by Led Zeppelin Smokestack Lightning by The Yardbirds Smokestack Lightning by Manfred Mann Jay Dee (J Dilla) George Benson Wolfman Jack Richard Dreyfus Stevie Ray Vaughan Frank Yonay John Popper Bob Dylan Steven Tyler Alanis Morissette Royals by Lorde Tove Lo Devil's Haircut by Beck Arcade Fire   Join us next week when we cover Kimono My House by Sparks

In this episode, Dan and Carl dive into Something Else by The Kinks, #478 on Rolling Stone Magazine’s 500 Greatest Albums of All Time list. Released in 1967 (UK) and early 1968 (US), this album shows The Kinks moving from garage rock into baroque pop, British folk, and psychedelic sounds, with Ray Davies taking complete creative control. The hosts explore sibling tension, touring bans, Beatles comparisons, wild harmonic shifts, and why Spotify’s album cataloging drives them nuts. Key Points 🎙️ Album Context: Released during The Kinks’ U.S. touring ban, Something Else reflects a more introspective, studio-based approach. Ray Davies wrote nearly the whole album, while Dave Davies contributed two standout tracks. 🇬🇧 Baroque Pop Influences: The hosts examine the album’s baroque elements—like harpsichord, vocal doubling, and experimental song structures—while noting its British charm and post-Beatles vibe. 🧠 Music Theory Deep Dive: “No Return” earns high praise for its unpredictable harmonic shifts and jazzy, Latin-inspired structure. We dissect modulations, tritones, and non-functional harmony with excitement. 🤡 Death of a Clown: Dave Davies’ top-three UK hit gets analyzed lyrically and emotionally—an introspective, Dylan-esque track about the exhaustion of touring. 🔊 Production Woes & Wins: The mix across the album varies wildly. Dan and Carl debate whether production inconsistency hurts or helps the listening experience. 🍻 Pub Rock Energy: “Harry Rag” becomes a surprise favorite—a rowdy drinking song that combines Cockney energy with expert handclaps and tongue-in-cheek lyrics. Music Referenced You Really Got Me by The Kinks Lola by The Kinks Tomorrow Never Knows by The Beatles Strawberry Fields by The Beatles Lady Madonna by The Beatles Oasis The Stooges Bob Dylan The Doors The Zombies The Point by Harry Nilsson Coconut by Harry Nilsson Simon and Garfunkel Nirvana Foo Fighters Eminem Cream The Who Brian Wilson Synchronicity by The Police Synchronicity II by The Police The Dark Side of the Moon by Pink Floyd Wish You Were Here by Pink Floyd Animals by Pink Floyd The Wall by Pink Floyd Physical Graffiti by Led Zeppelin Houses of the Holy by Led Zeppelin Thriller by Michael Jackson Rumours by Fleetwood Mac Harry Styles Englishman in New York by Sting Shaggy Jim Morrison Donald Fagen Cake Join us next week when we cover Moanin' in the Moonlight by Howlin' Wolf

This week, Dan and Carl dive into Amor Prohibido, Selena's 1994 breakthrough and a landmark in Tejano and Latin pop. Positioned at #479 on Rolling Stone Magazine’s 500 Greatest Albums of All Time, the album blends cumbia, pop, and Tejano styles with digital instrumentation and deeply emotional themes—though often delivered through upbeat, danceable grooves. The hosts explore Selena’s unique vocal control, her genre-defining influence, and the tragic story of her life cut short. They wrestle with the album's heavy use of MIDI production, ultimately acknowledging both its cultural context and experimental ambition. Plus, fake sponsors make their return with fiery critiques of Tesla performative activism and reusable toe separators turned tea stirrers. Key Points Selena's Legacy: Rising from a family band in Texas, Selena became one of the most influential Latin artists ever, blending genres like Tejano, cumbia, and pop. Her murder at 23 shocked the world and arguably ended a musical era. Production Style: The album is drenched in early-90s digital production. MIDI horns, synth pads, and drum machines dominate the sound—an aesthetic choice, not a budget constraint, reflecting Tejano trends of the time. Cultural Disconnect: Dan and Carl, as non-Spanish speakers, confront how the album’s sonic brightness masks often heartbreaking lyrical themes. Songs like “Tus Desprecios” (Your Scorn) sound joyful while describing emotional devastation. Selena's Voice: Despite the sterile production, Selena’s performances are captivating. Her control, tone, and emotional delivery cut through every track. Even without understanding the lyrics, the conviction is palpable. Music Referenced Miranda Lambert Bruno Mars Hopelessly Devoted by Olivia Newton John Back on the Chain Gang by The Pretenders The Sign by Ace of Base (What A) Wonderful World by Sam Cooke That's the Way Love Goes by Janet Jackson Emotions by Mariah Carey Have a Heart by Bonnie Raitt Red Red Wine by UB40 John Mayer Pat Benatar Cinderella The Barrio Boyzz My Morning Jacket Join us next week when we cover the album, Something Else by The Kinks

In episode 1, season 2 of Backwards Beats, Dan and Carl dive deep into Miranda Lambert’s emotionally charged double album The Weight of These Wings (2016). Released in the wake of her public divorce from Blake Shelton, this sprawling 24-track project is divided into two thematic discs: The Nerve and The Heart. The hosts explore the album’s sonic risks, lyrical introspection, and Lambert’s evolving artistic voice, praising her fearless honesty while critiquing the occasionally muddy production.   🎧 We also just launched our Patreon — it’s totally free right now, and we’ll be using it as a home for behind-the-scenes content and extra goodies. All content is free! We’re looking to build our community here. Come join the community as our first members only content will be dropping on Thursday. Key Points 🎤 Background & Legacy: Lambert, a Texas native and outlaw-country heir, delivered this album as a post-breakup catharsis, citing it as a “seven stages of grief” journey. The lead single “Vice” went double platinum. 🧠 Disc One – The Nerve: A stylistic mash-up of country, rock, and experimental pop textures. High points include “We Should Be Friends” (tight structure, clever writing) and “Vice” (dark, layered, and emotionally raw). Production is a recurring sore spot—particularly the bottom-heavy mix and gratuitous overdrive on vocals. Carl and Dan agree Lambert’s performance is consistently strong, but some arrangements suffer from over-ambition. ❤️ Disc Two – The Heart: A pivot to more traditional country storytelling with refined arrangements. The production is notably improved, allowing the songwriting to shine. 🥁 Musicianship: Frequent praise for drummer Matt Chamberlain’s tasteful Tom fills, when not buried in the mix. Rich instrumentation throughout, though sometimes overcrowded or poorly balanced. 🧠 Final Thoughts: Lambert proves she’s a powerhouse vocalist and songwriter with wide emotional range. While The Weight of These Wings could’ve benefitted from tighter editing, it remains a bold and personal work deserving of its place on the list. Music Referenced Platinum by Miranda Lambert Blake Shelton Dear John by Taylor Swift Battle Studies by John Mayer Continuum by John Mayer Paper Doll by John Mayer Love on the Weekend by John Mayer Slow Dancing in a Burning Room by John Mayer The Beatles Sonny & Cher Reba McIntire Anderson East Tammy Wynette Dolly Parton Sheryl Crow Edie Brickell Devil's Haircut by Beck Garbage In Bloom by Nirvana Unwritten by Natasha Bedingfield Lucille by Kenny Rogers Me and Bobby McGee by Kris Kristofferson Me and Bobby McGee by Janis Joplin Nick of Time by Bonnie Raitt Melissa Etheridge The Pixies You Oughta Know by Alanis Morissette Courtney Love Robert Randolph Guy Clark Jerry Jeff Walker

In this final episode of our Sidetrax bonus series, Dan takes us deep into the land of fire, ice, and... Beyoncé? Dan’s Icelandic Soundscape is part travelogue, part personal audio diary, and part homemade soundtrack — recorded across 13 days of hiking, kayaking, glacier climbing, and river crossings in one of the most surreal places on Earth. From snorkeling in the Silfra fissure to nearly summiting Rjúpnafell in Þórsmörk, this episode captures the emotional arc of the trip — scored with original music, covers, and reinterpretations of songs by Icelandic artists like Sigur Rós, Björk, and JFDR. There’s also: 🧊 A grocery store that plays The NeverEnding Story theme 🎹 A frozen lagoon echoing with the pulse of “Hyperballad” 🐑 Sheep who do not care about your hike 🌋 And a decision to turn around, not because you fail — but because you understand where you are. We also share a custom Icelandic playlist on Spotify featuring many of the artists referenced in the episode. Find the playlist here.   🎧 Featured Icelandic Artists: Björk Sigur Rós Ólafur Arnalds JFDR Sóley Jóhann Jóhannsson Grýlurnar 📌 Next week: We return to the Rolling Stone Top 500 list with Miranda Lambert’s The Weight of These Wings. Country’s coming. #BackwardsBeats #IcelandicMusic #Björk #SigurRós #TravelPodcast #RollingStone500 #SnorkelingSilfra #GlacierHike #Hyperballad #Jokulsarlon #Sidetrax #MirandaLambert #IcelandSoundtrack #IndiePodcast #MusicAndTravel

In the first ever "Carl's Covers" segment, Carl rolls a 20 sided die to find out which album of season one he'll be choosing a song to attempt to cover in one night while Dan stares at waterfalls halfway across the world. Tune in for pure chaos and a surprise cover song!

  In this "Convince Me" sidetrax episode, Carl challenges Dan with Journey Inwards, the immersive double album from UK drum & bass pioneer LTJ Bukem. Known for his lush atmospheres, jazz-inflected harmonies, and meticulous production, Bukem's 2000 release is both a vibe and a craft lesson. Dan—unfamiliar with the genre—dives into the world of liquid drum & bass, navigating breakbeats, live instrumentation, sampling, and surprising emotional depth. What begins as a daunting 88-minute listen becomes an exploration of sonic therapy, underground electronica, and personal nostalgia. It's ambient, it’s jazzy, it’s jungle—and it sparks an unexpectedly rich conversation about music’s place in running, healing, and the evolution of DJ culture. Key Points LTJ Bukem’s Style: Bukem blends drum & bass, ambient, jazz, and soulful house, creating smooth, spacious tracks with live instrumentation (double bass, flute, Rhodes, cello) and tight programmed drums. A Primer for Electronic Music: Carl pitches this as a "gateway" album into EDM-adjacent sounds—calming, meditative, and sonically pristine. Production & Sampling: Bukem’s meticulous layering includes both digital samples and live players. Dan highlights how his approach resembles treating samples as real instruments. Genre Fluidity: From the Miles Davis-inspired bassline on "Journey Inwards" to the Twin Peaks-esque mixing of "Real Indication", the album floats between jazz, film score ambiance, and club minimalism. Favorite Tracks: "Watercolours" – Standout hit with lush saxophone and chromatic dissonance. "Sunrain" – Dan’s favorite; evokes Sade with vocals and deep groove. "Inner Guidance" – Listener favorite, likened to Crystal Blue Persuasion. "Feel What You Feel" – Dan notes a Pat Metheny with a house groove vibe. Comedic Tangents & Chemistry: As always, the hosts’ banter adds charm—Goldfinger references, vibraphone jokes, Mario Kart comparisons ("Rainbow Road", anyone?), and Carl’s David Ruffin fandom. Music Referenced Billion Dollar Babies by Alice Cooper RJD2 DJ Qbert I Saw You When I Met Her by David Ruffin A Love Supreme by John Coltrane So What by Miles Davis Real Indication by Angelo Badalamenti Jojo Mayer Johnny Rabb Chick Corea Sade Pat Metheny Dieselboy Aphrodite Join us next week for an episode of Carl's Cover? Not sure what that is? Stay tuned.

A Convince Me Sidetrax Episode This week on Backwards Beats, we're on a mid-season break – but not really. Dan kicks off our first ever Convince Me Sidetrax episode by assigning Carl an album he’s never heard and would likely never seek out on his own: Alice Cooper’s 1973 shock rock epic Billion Dollar Babies. Known for theatrical excess, guillotines, and glam-goth energy, this album challenges Carl’s deep-rooted skepticism of makeup-wearing rockers. What unfolds is a surprising deep dive into a shockingly competent – and conceptually ambitious – hard rock record. From dental drills to ragtime pianos, from outrageous lyrics to airtight musicianship, Billion Dollar Babies proves far more complex than its outrageous stage persona suggests. Carl, who comes in expecting clown makeup and chaos, walks away... kinda into it? Key Points 🎭 Concept Album? – While not officially a concept album, Carl and Dan note the thematic cohesion across tracks. Songs like “Unfinished Sweet” and “Raped and Freezin’” paint vivid scenes and explore fame, vanity, and discomfort with theatrical flair. 🧠 Initial Skepticism – Carl admits a strong bias against Alice Cooper’s persona, comparing it to Kiss, Slipknot, and Guar. By the end, he calls parts of the record “brilliant” and confesses that it’s won him over more than expected. 🥁 Standout Track – “Billion Dollar Babies” (the song) is the breakout track for Carl. He describes the drumming as “a non-stop solo” and praises its tight arrangements and aggressive energy. 🤘 Skip Proof? – Carl says it’s not quite a no-skip record, but he’d happily own it on vinyl. Highlights outweigh the few misses (“I Love the Dead,” “Sick Things”). Music Referenced School's Out by Alice Cooper The Wall by Pink Floyd Destroyer by Kiss Alive by Kiss Music from 'The Elder' by Kiss Lou Reed Gwar Slipknot Rob Zombie Ministry Ozzy Osborne Iggy Pop Coheed and Cambria Tool Yes LP ELO David Bowie Krokus To Pimp a Butterfly by Kendrick Lamar   Next week, Dan gets surprised with LTJ Bukem’s Journey Inward in part two!

In this episode of Backwards Beats, Dan and Carl tackle Harry Styles’ 2022 album Harry’s House. But not before they confess to accidentally reviewing the wrong Harry Styles album first — because why make it easy? Along the way, they unpack Harry’s House track by track, dive into Harry’s evolution from One Direction heartthrob to solo superstar, and discover just how many legends quietly contributed to this pop powerhouse. Key Points The Great Mix-Up: Dan and Carl originally reviewed Fine Line by mistake — that episode’s coming later as bonus content. About the Album: Released in 2022, Harry’s House blends synth-pop, 80s callbacks, and modern production across 13 tracks. Production Powerhouse: Produced by Kid Harpoon, Tyler Johnson, and Samuel Witte, with session players like Pino Palladino and surprise guitar work from John Mayer. Standout Tracks: From the quirky funk of Music for a Sushi Restaurant to the emotional gut punch of Matilda, Dan and Carl debate their favorites — and agree surprisingly often. 80s Influence: Expect callbacks to Prince, The Cure, Todd Rundgren, and even a dash of Daft Punk. The Tuna Incident: Carl’s infamous pre-gig sushi disaster resurfaces, because raw fish always comes back to haunt you. Music Referenced Luck of the Draw by Bonnie Raitt Fleetwood Mac Music by 311 Homebrew by 311 311 (The Blue Album) by 311 Down by 311 All Mixed Up by 311 Stop This Train by John Mayer Shania Twain I Can't Go for That by Daryl Hall & John Oates Take Me to the River by Talking Heads Werewolves of London by Warren Zevon All Summer Long by Kid Rock Brothers in Arms by Dire Straits David Crosby Graham Nash Family Dinner - Volume 1 by Snarky Puppy Family Dinner - Volume 2 by Snarky Puppy Something by Snarky Puppy Lalah Hathaway On the Road Again by Willie Nelson Turn the Page by Bob Seger Turn the Page by Metallica Herbie Hancock Prelude to a Kiss by Duke Ellington Walking on Broken Glass by Annie Lennox Here Comes the Rain Again by The Eurythmics Sting Jacob Collier Join us next week for a BONUS episode where we cover the album Billion Dollar Babies by Alice Cooper