I like to create music for people in my generation - those folks who feel lost between the Gen-Xers and the Millennials. Sometimes, I make electronic music under the name RomHeadTech.

Think of all your favorite acts that started in the ‘80s that your friends all call ‘80s bands; except those bands kept right on going through the ‘90s, and maybe even through this very day. We’re talking about the music that sound-tracked your teenage years!

I also have a less-electronic, more traditional instrument-based project called Start the Tape. We use guitars (electric and acoustic), mandolins, violins, and just a touch of a synth foundation to create sounds for a forgotten cohort!

Last week, we enjoyed the “plugged-in” presence of of , and his exclusive, one-of-a-kind concert recordings:

Next week, join us for the return of (Steve) of !

Steven’s song #1 sent to Brad: Depeche Mode, “Suffer Well,” 2005

Steven’s rationale: Quite possibly my favorite song of all time, it’s up there with their “Never Let Me Down Again” (1987). This song is, for me, a juxtaposition of what Depeche Mode usually means to most people (they earned their nickname, Depressed Mode!) - despite its name, I feel it’s actually a positive song. It’s reminding us that lousy things will happen, but we can try to make the best of life. Endurance will get us through!

The song also comes after Depeche Mode’s “imperial period,” which many argue ended with the release of The Singles 86>98. I don’t buy into the whole “imperial period” thing, though - bands routinely release great albums deep into their careers, and Depeche Mode have been no exception.

“Playing the Angel,” released in late 2005, is a great example: Discerning listeners will hear where it throws back to their early years. The album’s tagline, “Pain and suffering in various tempos,” is a cheeky nod to the throes of Depeche Mode fans who, as Martin Gore would say around 2023, are “a little bit in love with their sadness.”

Yes, as odd as it sounds, it is possible to be a little bit in love with my own sadness because the sadness points to something better. Suffer well for now, and reap the rewards in the future.

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Brad’s song #1 sent to Steven: Blind Zero, “Lowstreetsidewalksequence,” 2000

Steven’s response: This is going to be more fun than I imagined! Brad, I delivered you a video featuring a sequence of events taking place on a town sidewalk, and you deliver to me this deliciously alt-rock track called “Lowstreetsidewalksequence.” Well played!

This is an awesome song! I am not familiar with Blind Zero, but I’m sure going to be now. “Lowstreetsidewalksequence” sounds like the kind of song that would have been played on my favorite radio station, 99X in Atlanta, during their shows spotlighting lesser-known acts. I would have been into these guys from first listen. Sadly, 99X had started going the route of endless repeats of Dave Matthews Band and Limp Bizkit by 2000, so great stuff like “Lowstreetsidewalksequence” got squeezed out.

So, Blind Zero hail from Portugal. I’m seriously digging the outro, the guitar, tone and playing style and everything! It’s a great ending to a fun song. I am going to find this album and listen to the whole thing. If I heard these guys were coming to town on a tour with Failure, I’d be there and it would be a good time!

Brad’s rationale: Steven’s not gonna like me much after this, but I was left kinda grasping at tag straws! Emily Lazar is our link! She mastered this 2000 album by Blind Zero, and she also mastered Steven’s Depeche Mode album track, 5 years later!

Ground Zero with

Nuno Babo of has Blind Zero’s integer…or, so it would appear!

When I looked up Blind Zero, I noticed they were from Porto, Portugal. “Hey, I know somebody from there!” I said to myself. It took me a couple minutes before it hit me: “Noon!” One of my best buds on Substack, and a native of Porto, Portugal, , with one of my favorite ‘Stack titles extant, !

Because he’s such a nice guy, and impossibly patient with me, I asked if I could call him “Noon” for short (as “Nuno” is so hard to pronounce for this Texan!)….he said “yes”! Sometimes, I call him the Noon-Meister, but I digress..…often!

Here’s his candid take on Blind Zero (I wonder if they ever considered calling themselves Sightless Cipher):

Nuno: The thing is, I never seemed to like them. I certainly remember them! To me, Blind Zero sounds like a second-tier alternative band. Kind of “Nickelbackish,” in a way. Too close to Pearl Jam and Eddie Vedder mannerisms for their own good.

Apart from the more popular Portuguese music, which would be a distant cousin of the German Schlager movement [that features sentimental, highly melodic popular music]—David “Knightrider” Hasselhoff is a great proponent of that particular genre!!!). I guess you have to respect a Portuguese band that veers towards the heavier side of music. I’m familiar with Andrea Berg, myself. She is an interesting artist and quite easy on the eyes, if I might add.

Maybe at the time, I was into way heavier bands, who knows?? I can recall hearing Blind Zero, and a song called “Big Brother,” from 1995:

They once played a concert suspended on wires 10 meters above the ground, as a publicity stunt at a Porto shopping mall—since extinct and the building repurposed, though I don’t believe they were responsible for that!!!👇

Miguel Guedes, Blind Zero’s lead singer, is an outspoken supporter of soccer team, FC Porto https://www.fcporto.pt/en/, and he even moonlights as a sports commentator on one of our national TV channels!👇

He is also a director, of sorts, attached to our Porto City Hall, that supervises Copyright licensing and control of music played in public spaces and royalties generated thereafter….something like that. Come to think of it, for a guy that doesn’t even like the band, I sure know a thing or two! I attend a sort of Metal Music Festival he organized several years ago.

In sum, he is still very much an active person in the Portuguese music scene. Even if, as mentioned before, everything that is not the traditional Portuguese music has an extremely hard time getting airplay—at least in the traditional sense of the word, meaning radio and television.

An interview with Miguel about Blind Zero, with English subtitles:

⭐Thank you, Nuno, for your terrific presentation on Porto, Schlager, and Blind Zero! ‘Tis much appreciated!👏

Steven’s song #2: Fear Factory, “Zero Signal,” 1995

Brad’s response: A Zero sum outcome from band name, Blind Zero, to song title for Fear Factory: “Zero Signal.”

Steven’s rationale: Immediately when there’s a “Z” in something, I jump straight to it. In this case, we have Zero, and of course, the first song that came to mind was Smashing Pumpkins’ “Zero,” but Billy Corgan kind of annoys me these days, and it’s a little too on-the-nose. Everyone who lived through ‘90s alternative knows “Zero.”

So here’s Fear Factory’s “Zero Signal,” instead. This track should open up numerous rabbit holes, which is a huge part of the fun here, right? I first heard this on the incredible Mortal Kombat movie soundtrack (the 1995 one), which served as my gateway into so many different genres.

There are a few Fear Factory records that I enjoy, especially the sci-fi-themed ones, but “Zero Signal” is my favorite track. Thirty years later (how has it been 30+ years since 1995?!), it even inspired part of my own track, “Carbon Protocol” (another shameless plug - 3:58 to 4:32):

I’m not usually one to enjoy screaming vocals, but something about “Zero Signal” just grabs me. Maybe it’s because by the time you get to the concluding “I AM SO NUMB,” the listener really has no choice but to feel numb! It’s an industrial metal onslaught, but lets the listener down gently.

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Brad’s song #2: The Chameleons, “Up the Down Escalator,” 1983

Steven’s response: Our dear engineer, Colin Richardson, thank you for having such a varied and eclectic work product that allowed us to link Fear Factory with The Chameleons! I hoped my choice of “Zero Signal” would open up a rabbit hole and indeed, we have shunted from an industrial metal heavy hitter to an awesome post-punk classic.

I’m very familiar with The Chameleons, but not enough to be able to name songs or records. “Up the Down Elevator” is a song I’ve heard before [from their 1983 debut album, Script of the Bridge]. They’re a band that slots right into my wheelhouse of all-time favorites. Always enjoyed what I’ve heard from them, but just never took the time to do a deep-dive. Maybe I should change that?

I’ll add them to my list with Blind Zero. And, that actually should sound pretty rad together. Score 10 points for Brad for causing me to deep-dive on two out of two selections so far!

Brad’s rationale: Colin Richardson co-produced this EP with The Chameleons. Richardson was also the producer on the 1995 Demanufacture album by Fear Factory.

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Steven’s song #3: Poe, “Dolphin,” 1995

Brad’s response: Poe is a gal named Annie Decatur Danielewski. Not sure what Steven is linking with back to my song.

Steven’s rationale: Tagging on lyrical themes here, linking “you either swim or you drown” with “Maybe it is time I learn how to swim.” Poe vanished after her 2001 album, Haunted, except for some guest appearances with Conjure One - which makes this an unintentional link back to Fear Factory!

And, an appearance on the Alan Wake soundtrack, and one highly-overpriced vinyl single release. That aside, her two-album releases were both lovely. “Dolphin” came from the Hello record which has a ton of guests in the liner notes, so there’s plenty of places to go from here.

I heard her “Angry Johnny” on the radio way back in 1995, but didn’t actually own Hello until some years later. Poe opened for Depeche Mode on their 2001 tour, and it was enough of a performance to think it would have been fun to see her on the club circuit. She has (had? who knows...) been tied up in legal drama with her record label (Modern/Atlantic Records worldwide), and despite years of teases, there’s been very little new since Haunted was released on Halloween in 2000.

“Dolphin” was used by one of my classmates in an 11th grade AP English project in which we were required to dissect a song and list out all the various literary devices that had been used in the song. It was actually way more fun than it sounds!

Brad’s song #3: Todd Rundgren, Hall & Oates, Stevie Nicks, Rick Derringer, “Hello, It’s Me,” “Hang On Sloopy,” “She’s Gone,” “Just One Victory,” 1978, Live at the Roxy

Steven’s response: This is not an easy link! I tried to go down a Dave Jerden/David Byrne/Brian Eno path, but had no success. I then tried a Stevie Nicks/Rick Derringer path to even less success. I even went, in the end, it’s possible to make the connection through Guns N’ Roses drummer, Matt Sorum - he played on Poe’s Hello album, toured with Alice Cooper, Joe Perry, and Johnny Depp (he’ll pop up again in just a bit) in Hollywood Vampires; Joe Perry is in some band called Aerosmith, which also includes Steven Tyler who... is linked to Todd Rundgren because they were sweet on the same lady! See hints here:

Look, here’s where a ton of you are going to drop off, but I’m a transparent kinda guy. Go get your pitchforks and torches, I’ll wait. Have that burly fella in the back bring a stake and some rope, you’ll need it. You ready?

I really strongly dislike Stevie Nicks, and I’m not a Hall & Oates fan, either. In fact, when H&O toured with Tears for Fears back in 2017, my wife (quick shameless plug: whom you can hear on a cover of “Shout” at startthetape.bandcamp.com) and I left between sets. All that said, this was still a fun listen, but I’m grasping at straws here!

What’s the REAL link, Brad? You did tell me this was the only documented time two of these performed together, and I believe that’s Nicks/Derringer. But I can’t find a common link between the two outside of this performance. There may be something in the Vanilla Sky soundtrack, too...this one’s gonna bug me.

Brad’s rationale: Poe’s ‘95 Hello album was on Modern Records (distributed by Atlantic Records), which Paul Fishkin founded with Danny Goldberg and Stevie Nicks in 1978, about a year before Fishkin left Bearsville Records (distributed by Warner Bros.) after having spent the decade as a key exec there.

In this audio (with still photo from the night), it’s quite likely Fishkin (and Goldberg) were in Hollywood’s Roxy Theatre that night; Fishkin was nearing the end of his Bearsville association (with Todd being a label stalwart), and would soon begin his association with the newly-formed Modern Records, with Stevie Nicks being their initial signee.

Steven’s song #4: The Cure, “Endsong,” 2024

Steven’s rationale: The path here is not too difficult to make, and it really was just an excuse for me to bookend with Depeche Mode and The Cure. Thanks for accommodating!

We get to The Cure by way of Rundgren > Byrne > Eno > Bowie > Reeves Gabrels, guitarist extraordinaire. One of my favorite memories was going down to The Family Wash in Nashville, TN (shown above), and watching Reeves Gabrels play. He was phenomenal then and (another unpopular opinion alert!), he’s phenomenal in The Cure (since he joined in 2012). He’s also got some solo records and some releases with his Imaginary Friends band.

And “Endsong”—I could write an entire essay on this one song. Probably will at some point. The whole Songs of a Lost World record is top-notch and captures the entirety of The Cure’s sound. Plus it’s called “Endsong,” and it ends my selections in this wonderfully magnificent game!

Brad’s song #4: David Bowie, “The Wild-Eyed Boy From Freecloud,” 1969

The Tony Visconti (who produced) orchestra-arrangement version (with Wakeman on mellotron and electric harpsichord):

Brad’s rationale: From Genius.com, The Cure’s Robert Smith shared that “Endsong” was inspired by a night sky that reminded him of stargazing with his father as Apollo 11 landed on the moon:

I remembered the feeling of, like, ‘I didn’t believe it’. I grew up in the glorious 30 years from the end of the Second World War – the world that I was born into was getting incrementally better every year. It just seemed that the world was on an upward trajectory and the moon landing was part of that. And around the time I turned 16 in ’75, it seemed like the world sort of stalled and it’s been travelling down ever since.

Steven’s response: And of course, Reeves Gabrels serves as a direct link here, too. I saw David Bowie on what ended up being his final tour, in a majestic show performed at Madison Square Garden in New York. He was amazing. He toyed with us, cheered with us, and probably cried with us a little bit. The setlist was fantastic.

I remember, leading up to the show, being a little sad that Reeves Gabrels was not touring with him any longer, but that sadness was gone the instant Bowie stepped out on the stage. “Life on Mars?” was played that night, which of course originally included Rick Wakeman, who also played on the Space Oddity album. “The Wild-Eyed Boy From Freecloud” is a great closer on this Tune Tag.

The world would have done well with more David Bowie.

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Good friend, Max Freedman of mentioned, in a recent comment section, something about playing me some Björk songs to listen to, and then giving my first reaction. My first reaction to that was something like, “Gee, Max, what’d I ever do to you? Why ya wanna do me like that?”

Undeterred, Max persisted, and here we are! But, I’m happy to take one (or five) for the team! This 1st-reaction format has worked well on these pages before, and all parties lived to tell the tales! F’rinstance, there were these:

Teeing Up Our Björk-fest!

Brad: I’ve only ever heard a snippet or two of Björk on TV, most likely an award show or two….enough to know she’s “not my cuppa…”! So, I’m excited to be schooled by Max in what I perceive is the relatively “heavy lift,” if not fine art, of pure Björk-fandom!

Song #1 Chosen by Max: “Venus as a Boy,” 1993 (click here to view on YouTube; playback on other websites has been disabled by YT). Also, here’s a Spotify link:

Brad’s 1st impression: For her “Venus as a Boy,” I’m bemused by the title, and wonder if, now, he’s got arms, bless him. “He believes in beauty” is a cool lyric, which ultimately leads us to why/how she equates his visage/likeness to Venus. Latter-day Björk, in what little I’ve heard, seemed to have lapsed into the histrionically bizarre vocalizations that, to me, were so off-putting, they made her attraction to Sears off-the-rack waterfowl suits look positively middle-American by comparison! Here, her vocals are petite and demure, and downright sweet. And, listenable and likeable.

🎵“S’wan-derful….S’marvelous….”🎵

The melody doesn’t seem to be carried by anything at all except her voice. The strings I’m hearing, as well as the unusual percussion throughout (and electric piano flourishes), seem only as suitable background accompaniment, and not as a vehicle to propel the song or buoy Björk at all. Plus, there seems to be a decided Japanese influence to her look, the decor, as well as, faintly, the song.

Max’s response:

It sounds like you overall enjoyed “Venus as a Boy”! I chose this as the first Björk track since, for starters, it’s from her 1993 debut album, aptly titled Debut. I also chose it because it’s often considered one of her very best songs, and among those songs, it’s probably her most accessible track. I love it, of course, but it might not make my Top 10 Björk songs. Top 20, absolutely. But Top 10…we’ll get there soon.

In any case, you read the room right as to why she chose Venus as a metaphor for the object of her desire. Regarding her vocals, as time has passed, she’s increasingly embraced her idiosyncrasies and chased her muse regardless of what people think, and that’s mostly made her music continually brilliant, but I agree with you that her singing on “Venus” is among her most digestible.

Sweet for sure, though I think she holds some of the notes on the chorus for too long, and too powerfully, to be seen as petite and demure, even if there’s an intentional innocence to her lyricism. I say “intentional” because she was in her mid-to-late 20s when writing this song. She wasn’t that young, so she, to lightly paraphrase Britney Spears, was not that innocent, and she’s always been way smarter than your average person. Listenable and likable, absolutely!

Above: This is outside Harpa, a massive music venue in Reykjavik, Iceland where Björk has played many times, and the fact that there’s a statue in the photo might loosely evoke the Venus De Milo, which feels appropriate here.

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Max’s Song #2: “Army of Me,” a 1995 single

Brad’s 1st impression: Man, she’s a tough nut to crack! Looking forward to your “secrets” of enjoying her and her music, Max!

A seemingly rapid acceleration into the avant and dreamlike fantasy for this video…in just 2 years from her debut! I wonder if that was her idea, the label’s, or the video director who might’ve been told to “go nuts”! I’ll listen again, as I was halfway through the video and got distracted by the visuals! Driving what might be the first Über, Björk also had Ernest Borgnine as a dentist….a curious casting choice.

Hey, I Got Distracted!🤷‍♂️

That’s a reference to an Academy Award telecast, likely in the late-’70s or early-’80s: Chevy Chase was hosting, and during some “bit,” a huge, hairy ape-hand prop came sliding in from the wings (being pushed by stagehands, doubtless), to hand Chevy the next award envelope. King Kong, the movie, had recently been released. As the arm slowly retracted back to its backstage “home,” Chevy turned to the audience and announced, “Ladies and gentlemen….Ernest Borgnine!” For those younger than this century, Borgnine was a large, barrel-chested, awfully-hairy actor for much of the middle part of the 20th century!

Again, the music: Industrial/mechanical sounding, she’s got the melody completely by herself, as her only backing and accompaniment is a bass-y synth and a banging drum sound. I’m really anxious and curious to hear just what the “pleasure quotient” is when listening to this, Max! Tough to sing along to, and marginally danceable, I reckon. Next!

Max’s response:

The pleasure quotient for me is everything about this song. The way the music comes crashing in with the industrial opening sound. The thunder-boom before the clanging drums and the Nine Inch Nails-like bassline. The way Björk at once exercises restraint yet conveys her budding anger during the verses, and the way she releases her rage like a firestorm in the chorus. Speaking of which, I love the misplaced, yet somehow perfect, synth brass in the chorus. It’s like a Bond theme infused into a hard rock song.

Whereas “Venus as a Boy” wouldn’t quite make my Top 10 despite my loving it, “Army of Me” almost certainly would. And it would be tons of fun at karaoke! I also love showing people the video because it’s just so ridiculous — “what might be the first Über” is a hilarious and perfect way of describing it, Brad! I’ve seen this video many times, yet couldn’t exactly tell you the plot of it, and that depth of surrealism feels fundamentally Björk.

One time, I was showing my partner the video, and one of their housemates at the time walked through the living room as we were watching and asked us, “Who’s this?” When I said Björk, the housemate said “of course” and we all laughed!

As for why I picked this song for you, Brad: It’s from Post, Björk’s 1995 sophomore LP that ranks at #289 on Rolling Stone’s list of the “500 Greatest Albums of All Time.” Most folks consider it her second-best album, and I agree. “Army of Me” kicks it off and demonstrates that Björk was going for something very different than on Debut, an album that “Venus as a Boy” exemplifies.

Post has no thematic or sonic through-line other than Björk trying a bunch of sounds and telling a lot of stories from her real and imagined lives and, miraculously, maintaining a consistent, compelling perspective along the way. It’s where the free-spirited Björk we know today really begins, and I always tell Björk newcomers to start here.

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Max’s Song Choice #3: “Jóga,” 1997

Brad’s 1st impression: Another striking video for “Jóga,” I’m wondering if any of these were singles (This one was the first off Homogenic….just checked!). While I’m having trouble really “clinging” to her music on its own, I do find it helpful to have riveting videos accompanying her music (I get distracted so easily….what am I? 5?!?!)

Again, I’m awestruck by the melody she’s singing with a string section (does she ever employ horns, I wonder? Or, even traditional rock-oriented instrumentation/arrangements?) playing almost counterpoint to what she’s doing. They might be in the same key, but those strings just seem to be meandering all around the chart, as she’s singing what she’s singing. I also am starting to wonder if any of her songs get the cover treatment by anyone (and what her demos sound like)!

And, what was her radio airplay like on alt-rock stations? Not that anyone would think in these terms, but, for those of us raised during the rock era, would she be, say, Gen-Z’s Joni Mitchell….a unique vocal style coupled with rarely-heard, even exotic, arrangements?

I’m just looking up the Discogs page for this, her 3rd album (on Elektra Records, WEA worldwide!), Homogenic, 1997. I’m also just noticing that she’s employing then-65-year-old Eumir Deodato (known by just Deodato to many Americans) as an orchestrator/conductor/arranger….not on “Jóga,” but on a small handful of the album’s other tracks! Deodato produced Kool & The Gang’s hits, “Celebration,” and “Ladies Night” around 1980, was nominated for three Grammy Awards, and won the Grammy for Best Pop Instrumental Performance in 1974 for “Also Sprach Zarathustra (2001).”

Max’s response:

It seems like you liked this one, too! And that means a lot to me — this is my favorite Björk song, and Homogenic is my favorite Björk album. It’s most Björk fans’ favorite album by her, and it’s #202 on Rolling Stone’s Greatest Albums of All Time list.

Like you, I’m in awe of “Jóga,” and I say that as someone who’s listened to it several hundred times. I love how the melancholic yet not weepy strings sweep in at the start. I adore the vocal control and clarity that Björk presents from the jump. Her high notes and intense vibrato in the chorus get me every time!

The gradual introduction of electronic elements that explode like volcanoes after the second chorus, shortly after the synth bass and strings swell in intensity and tension — what a cathartic release! I’m listening to “Jóga” as I type this, and it’s still moving me as though I’ve never heard it before. It’s the pinnacle of an album on which every song is earth-rattling, effusive, visceral, and essentially Björk.

I also love that, whereas the somber arrangement and melody might suggest tragedy, “Jóga” is Björk’s ode to a dear friend. That’s what she means by “The riddle gets solved / And you push me up to / This state of emergency / How beautiful to be.” In classic Björk sense, it’s a deeply human and moving sentiment even if it’s a bit abstract.

I love that you loved the video, Brad, because Björk has no shortage of incredible visuals to accompany her singles. This video is breathtaking, and yet it’s one of my least favorite of hers, just because she has so many other groundbreaking music videos that could stand as works of their own even without the music: “All Is Full of Love,” “Pagan Poetry,” “Stonemilker.” Also, since the music video version of “Jóga” is about two minutes shorter than the album version, it does the full track’s perfection a little injustice.

I know very little about Björk’s demos, but in 2023, Björk released a song, “Oral” (featuring the daring pop treasure Rosalía and some production from well-kept secret Sega Bodega), that was just a reworked demo from the Homogenic era, so listening to that might answer your question. As for charts, Björk has only ever graced the Billboard Hot 100 twice, and has never impacted the alt-rock charts, but her first six albums all sold over 100,000 copies in the U.S., so something was working for her commercially in the pre-streaming era. I think that something may have been college radio [Brad: That sounds spot-on, Max!].

I had no idea who Eumir Deodato was before reading your response, Brad, but Wikipedia tells me he and Björk are friends. It’s cool to know that someone from her actual life who’s also an esteemed hotshot contributed to her music!

Brad: And, Deodato’s career spans all the way back to the ‘70s, where folks like me remember his prodigious contributions! I was not expecting that particular element!

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Brad’s thoughts on #4, “Hidden Place,” 2001

Brad’s 1st impression: For “Hidden Place,” yet another video which seems to come awfully close to upstaging Björk’s song and performance. The song opens with some more synth sounds, and what sounds like tape manipulation of a sort. I’ve yet to look up any of her lyrics and read along; I’m not sure how much that would help. I’m guessing her lyrics would be as obtuse and “out there” as her music appears to be happily leaning.

I did detect come rather traditional-sounding lyrics about her fella, but sometimes her Icelandic accent seems to affect her elocution, and lyric-deciphering, then, is made challenging, at the very least. Back to the video, is there any discussion, I wonder, at Björk Central HQ, if these eye-catching and, granted, unique and fascinating videos will/could/are purposefully rendered to keep folks’ attention focused/tuned in?

Are Björk’s people ever concerned that viewers will be just be transfixed on “Ooh, look! She’s got Gummy Worms crawling into her nose?” and losing focus/interest on the song? Is there/could there ever be a Björk music video where “extra curricular” special effects are tossed aside, and she’s left standing or sitting oh, I dunno, just singing?

Max’s response:

As amazing as Björk’s videos consistently are — she really is a visionary of the form — to me, there’s no chance of them upstaging her music. Yes, “Hidden Place” is more muted than the previous songs I’ve sent you, but it’s from 2001’s Vespertine, her fourth album and among the LPs generally considered her best (I agree). “Pagan Poetry” is my favorite song on the album, but I chose “Hidden Place” because it’s more accessible and also top-tier.

What you’re hearing as tape manipulation might be digital, based on the electronic artists credited with programming on “Hidden Place” (which Björk produced). Among others: Guy Sigsworth, Imogen Heap’s partner in Frou Frou, and a co-writer of Madonna’s essential Music cut, “What It Feels Like for a Girl.” Matmos a.k.a. Martin Schmidt and Drew Daniel, are a life-and-music-couple who make some of the most playful electronic songs out there.

I have to discuss “Pagan Poetry” to address your thoughts on whether there could be a Björk video where she’s just singing and your point that the lyrics on “Hidden Place” lean traditionally love-centric. Vespertine is a notoriously sexual album, very explicitly so at times, and “Hidden Place” is just a warm-up. It’s Vespertine’s opener, and its more tame lyrics — on the next track, “Cocoon,” Björk sings about waking up with her then-partner still inside her — set the stage for what’s to come.

“Pagan Poetry” has the most sexually explicit video in Björk’s discography, but at one point, the video actually is just Björk singing, with her breasts entirely exposed and…well, I won’t spoil what the twist is. I appreciate that she’s always one step ahead of any critiques.

I spilled a lot of ink on Vespertine earlier this year for ’s , as part of ORR’s Best of 2001 series.

Björkupine Tree

Song #5: “Lionsong,” 2015 (YouTube has designated this video as “Restricted,” so click here to view it on YouTube).

Brad’s thoughts on #5

Brad’s 1st impression: Bjork opens “Lionsong” double-tracked in what sounds like fairly discordant harmonies. On the video side, we’re (I’m guessing here….I feel like I know Bjork borderline intimately by now) made to believe we’re visiting her most recent gyno appointment, but this is really a pulsating micro-view of her (or somebody’s) fluttering vocal cords, dressed, apparently, in a fitted corset…the vocal anatomy, in reality, as seen by the magic of videostroboscopy.

In fact, some time into the video, they’ve superimposed that vocal cord image onto her breasts; perhaps that pesky “good taste” notion kept Team Bjork from pasting it over her “more southerly lady parts” (which, I imagine, would’ve altered the tune’s title to “Loinsong”)! Here’s a nurse-type person actually performing one of these with the tiny endoscope sent through her nasal passages, all while she simultaneously narrates! We see you, Bjork! We’re actually going inside the going inside the making of your video!

“Maybe he’ll come out of this loving me”: There’s been a couple other similarly “normal” declarations of affection by The Divine Ms. B in our handful of songs provided by Max, but, I’m happy to be able to…finally…discern these lyrics clearly. Maybe, over time, could her Icelandic “accent” have smoothed out a tad? Did her people ever encourage her to take elocution lessons?

This started me thinking about where she’s been living for most of her adult musical life? Did she ever live in L.A. (or NYC, for that matter)? From what little I discovered (I’m sure there’s a definitive answer out there; I just stopped when I found out she put her remote southern Iceland home up for sale in 2015).

This giddy headline from the April 8, 2015 Daily Mail (UK): “Own Björk’s Hidden Place! Singer puts her isolated Icelandic abode up for sale... with an asking price of JUST £140,000” (approximately $214,000 in 2015 U.S. dollars). I’m not sure if she, then, moved away from Iceland, or simply bought a new place elsewhere in her home country.

Max’s response:

It’s easy to feel like you know Björk pretty intimately by now! I get that. From her lyrics to her videos, she exposes herself quite a bit, and I love that about her. As for “Lionsong” vs “Loinsong,” on the album art for Vulnicura, the album to which “Lionsong” belongs, the outfit Björk is wearing is unsubtly vaginal. So, loins, I suppose.

I also suppose you’re right that Björk’s vocals have gotten easier to understand over time. I often forget that she’s among the many artists who have gotten surgery for vocal cord polyps, but in her case, the surgery doesn’t seem to have radically changed her voice (that’s common with other artists who undergo this surgery), though maybe it’s part of why her diction sounds a touch clearer in her later work.

As for where Björk lives these days, she has a home in Brooklyn and another in Iceland, though maybe not the one she put up for sale in 2015. Regardless, her Icelandic heritage is core to her identity and artistic style. She’s the country’s biggest cultural export.

I chose “Lionsong” to show you, Brad, since it’s one of my favorite tracks from Vulnicura, which is in my top three Björk albums. It comes four albums after Vespertine, and 2004’s Medúlla took me a very, very long time to appreciate; 2007’s Volta is underrated yet still a lower-tier Björk album; and 2011’s Biophilia is just not my jam. I couldn’t risk throwing any of these LPs’ tracks into this five-song introduction to Björk! And her two albums after Vulnicura, 2017’s Utopia (which I love) and 2022’s Fossora (which I like), aren’t good starting points.

“Stonemilker,” Vulnicura’s opener (“Lionsong” is its second track), is my favorite Vulnicura song, but it’s not tremendously different from anything on Homogenic, unlike “Lionsong.” My first-ever Substack post was about why Vulnicura is a must-listen:

Lavender Sound

Björk Hit The Reset Button 10 Years Ago And We All Needed It

In a December 2016 open letter to the media, Björk — who has completely earned the honorific “Queen of Experimental Pop” — railed against sexist double standards in music journalism. “Women in music are allowed to be singer-songwriters singing about their boyfriends,” she…

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2 years ago · 4 likes · Max Freedman

I’m not taming no animal!

Brad’s wrap-up

On her 2015 Vulnicura album (with “Lionsong”), I notice Discogs describes her sound/genre as “Modern Classical” and “Experimental.” I get that last one, but I wonder how she would feel about that classification!…Or, more to the point, “Modern Classical!” For her ‘93 debut, they had “Experimental,” but added “House,” “Deep House,” and “Synth-pop.”

I really appreciate Max’s time and patience with me on this, as, hopefully, we shed some light on better understanding the creative and provocative music, art, and talent of Björk. It’s never the goal to get someone to “like” another artist and their music, IMO, but in sharing someone else’s enjoyment of an artist’s music, we might be better able to “warm” to that artist’s gifts, and appreciate their music from a new perspective.

I’m especially grateful, because I knew she had to be more than just that swan outfit (designed by Marjan Pejoski) she wore on the 2001 Academy Awards red carpet!

Max’s response:

I think Björk would welcome every descriptor you’ve named! They apply to her with varying degrees of accuracy across her discography, but there’s absolutely a moment for each.

I’d like to think we’ve educated the masses on Björk with this post. If I’ve made even one person become a new fan, my job here is done. And in showing you that she’s more than just her swan (though it is iconic), I’ve accomplished what I came here for. Thanks for having me, Brad!

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⭐Max recently commissioned FRONT ROW & BACKSTAGE to pull together this rare and informative look at two ‘70s-era gay-forward major-label rock’n’rollers:

Lavender Sound

PT. 1: Glitter'n'Glum: Tom Robinson and Jobriath Meet at the Gay Crossroads of Rock & Role

Two notes from Lavender Sound editor-in-chief Max Freedman…

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10 months ago · 15 likes · 12 comments · Brad Kyle

🔥Hot off the presses: This special collab between Max and on her truly unique ‘Stack! Together they shine a musical spotlight on recent female artists! Like Max’s , Emm’s ‘Stack is well worth gracing your inbox via subscription!

Emm as in Music

Five for Friday: Come learn my mantra

Hey everybody!!! I’m your Femme, Emm and this is Five for Friday, that thing I do where I mash a bunch of songs together in a playlist that supports some kind of theme or story or summat, often with the help of musicstasck friends! (Like you, if you are game…

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3 days ago · 17 likes · 2 comments · Emm as in Music and Max Freedman

For a truly riveting read (from one of my favorites, and a MusicStack rising star, in no uncertain terms), dig into this from of (and subscribe!):

Best Music of All Time

Every Björk Studio Album, Ranked from Worst to Best

No artist of her generation has treated reinvention so casually, as if it were a simple, reflexive habit, as Björk…

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8 months ago · 35 likes · 30 comments · Matt Fish

Welcome, of ! It’s great to have you for your first Tune Tag!

The Tale of the Tapes: Stephen is Weird Wired!

When I was young and working with bands and venues, I began the habit of taking my Sony TC D5 stereo cassette recorder along at shows I worked at, or was writing about. In some cases, friendly sound engineers would let me connect directly to a line feed from the mixing console, and sometimes I just set up a stereo mic!

I never intended commercial use of the recordings, which is why most have never been heard before. Newspapers and magazines in the ‘70s, ‘80s, and ‘90s didn’t have websites, so there was never anyplace to stream songs from the shows.

Late last year, I pulled the D5 out of storage to digitize one tape: I wanted my family to hear me introducing B.B. King onstage, on my birthday (!) at a Jazz Festival I was working as a Stage Manager! I digitized a few other tapes and realized that the recordings were too important to just allow to turn to dust in my garage.

I’m working my way through the painstaking and laborious process of digitizing more than 100 performances across three decades. My intention is to bring artists long passed back to life for audiences, and to memorialize these significant performances for posterity.

Last week, we welcomed into the Tune Tag arena for his first!

Next week, we’ll enjoy the company of Steven for his debut!

Tune Tag Loves the Exclusive! Stephen Answers the Call…and Then Some!!😱

Brad, thanks for allowing me to play Tune Tag exclusively from the archive of the live concerts that I recorded over the years! I’ve created exclusive mixes for our Tune Tag, and virtually all of the recordings in our game have never been heard publicly before - there’s some rare stuff in the mix!

Stephen’s song #1 sent to Brad: Devo, “Freedom of Choice,” 1980

Stephen’s rationale: I’ll start with one of my favorite bands, and one of my favorite tunes: Devo, “Freedom of Choice.” I recorded the show on Wednesday, June 25, 1980, at the Theatre de Verdure on the beach in Nice, France: 47 minutes of the Nice show, stereo audience mix.

Here’s the link to the Substack article about the show I recorded:

Aggrovox

DEVO in Nice, France 1980

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6 months ago · 4 likes · 2 comments · stephen pedroff

Interestingly, the Nice recording I made includes 70% of the set list on their current “Mutate, Don’t Stagnate Tour.” The recent set lists I researched on the band don’t include two of their big hits on this tour, “Satisfaction,” and “Secret Agent Man.” So, I added them to our Tune Tag mix! This is an audience recording - meaning it’s a great ‘you were there’ experience, complete with crowd noise (yelling is yelling, even in French, mon dieu) and the tape is best with a good pair of earbuds or headphones – I think it even sounds pretty good on an iPhone speaker (the ultimate test today, lol)!

I recorded this show and many others when I was an exchange student at the University of Nice. I brought along, for my semester abroad, a Sony TC D5 professional stereo cassette field recorder (similar to one shown above), a Nikon Super 8 film camera (loaned to me by my graduate advisor in the English dept. at UC-Santa Barbara, CA), a Nikon 35mm SLR camera, and a selection of mics.

This recording is special to me because I met Gerry Casale (shown in above array) after the show, and he invited me to “get on the bus” to travel to the next tour date with the band (along with my not inconsiderable media equipment, lol). I was in school, so like an idiot, I declined: “I’d love to, but I have class in the morning.” I have been kicking myself ever since. At least I had the good sense to record this show!

Brad’s song #1 sent to Stephen: First Choice, “Armed & Extremely Dangerous,” 1973

Stephen’s response: Brad, is the band’s name too simple for your tag? Are you taking it easy on me? The all-female group from Philadelphia, First Choice, is a rare example from the Disco era of a band exploring themes of empowering women and calling out misogyny.

Recorded at Philly’s Sigma Sound (and produced by Norman Harris and Stan Watson for Philly Groove/Bell Records), both First Choice and Devo enjoy a Sigma relationship! Devo’s connection to Sigma runs through David Bowie — who famously helped Devo secure their Warner Brothers record deal. Bowie recorded his ninth studio album, Young Americans, at Sigma Sound, in 1974. Bowie went to Sigma chasing the Philly Sound, and the sessions became one of the most celebrated studio pilgrimages in rock history.

The Sigma connection happens for Devo when Bowie introduces them to his longtime producer, Ken Scott, who then produces Devo’s Duty Now for the Future in 1979.

Either way, the through-line is clear: First Choice recorded at Sigma; Bowie recorded at Sigma. And the producer Devo chose, because of Bowie, was the man who had shaped Bowie’s sound in the years just before that Sigma chapter. It’s a once-removed tag. I hope that counts.

Bowie recording Young Americans at Sigma Sound Recording, late 1974 (Harry Maslin, Tony Visconti, Bowie, producers):

The story of Sigma Sound Recording told through the studio’s archives at Drexel University:

Brad’s rationale: Freedom of First Choice! From the First Choice album’s Discogs page: “This LP was entirely mixed by the legendary Tom Moulton (though not credited). He mixed the whole LP and was very upset because his name was supposed to be on there.”

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Stephen’s song #2: B. B. King, “Let the Good Times Roll,” Live, Sunday, July 20, 1980, at the Nice (France) Jazz Festival on the Jardin stage:

Stephen’s rationale: Brad, I’m tagging your Sigma Sound Recording-produced tune another exclusive live recording that very few people have heard: It’s a B.B. King concert I recorded at the Nice Jazz Festival 46 years ago. You tell me if the tag is legit…

In 1973, B.B. King recorded “To Know You Is to Love You” at Sigma Sound Recording with considerable involvement of the MFSB house band (particularly the horn section). B.B.’s experience with the MFSB horns compels him to add a horn section to his band and marks a turning point in B.B. King’s touring setup. He kept the horn section until the end of his career, and the high-energy reason is on display at the festival.

The B.B. King recording is a mixing board tape (a ‘board tape’) – recorded directly from the AUX-send of the audience PA-send. Five or six acts per night from 5pm to midnight, and for those ten days, the Garden stage at the festival was “mine.” I was busy during the performances, and as a result, the levels were “set it and forget it,” which worked about 90% of the time. I hope the listener will forgive any weaknesses in the recording.

By the way, that’s me on the recording introducing the band in my bad French. The Festival promoter, George Wein (above), knew it was my birthday and wanted to give me a gift by allowing me to introduce B.B. onstage that night! It was both thrilling and terrifying (you can hear it in my voice at the beginning of the recording)!

Aggrovox

I Introduced B.B. King Onstage on My Birthday

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8 months ago · 2 likes · stephen pedroff

Mr. Wein may, in fact, be the most important figure in post-war Jazz in the world. When he invented the jazz festival format with the Newport Jazz Festival in 1954 (with original financial backing from Elaine Lorillard and her husband Louis Lorillard), he likely did more to secure the artform’s enduring history and global footprint than anyone before or since. He was also a very humble man, and he genuinely cared about jazz, and more importantly, about the musicians.

The images I edited into the video of B.B. King’s performance are my snapshots from the event. The first half of the eight-minute clip in the video is solely B.B.’s intro – his “walk-on music,” and the first tune of the show follows, “Let the Good Times Roll.” I was curious, so I timed it out – B.B.’s intro that night lasted nearly 20 minutes of the 50-minute set! I edited the intro heavily for listeners here, including only a few “sections” in the video – it’s still eight minutes long!

💪Upgrade your sub for All-Access!💖

Brad’s song #2: Bonerama, “Good Times, Bad Times,” 2019

Stephen’s response: Brad, you sent me Bonerama playing Zeppelin through three trombones. I appreciate the nod to the horns in B.B.’s band! Now, I want to send you back to where Zeppelin came from: Manchester, England. Free Trade Hall, 1962. The American Folk Blues Festival rolls into the UK with T-Bone Walker, Memphis Slim, Willie Dixon — and John Lee Hooker headlining.

In the crowd: Mick Jagger, Keith Richards, and a teenage Jimmy Page, all on what Page would later call “a pilgrimage.” In a 2008 interview with Rolling Stone, Page explained exactly what he took home from that night and others like it: “‘Boogie Chillen,’ by John Lee Hooker — that’s a riff. But you take it, absorb it and apply your own character, so it comes out another way.”

“Good Times, Bad Times” is one of the ways it came out. For more on that Manchester night and what it did to Page, Jagger and Richards, Guitar Player told the story well earlier this year.

Stephen’s song #3: John Lee Hooker, Santa Barbara concert, live, 1984 (“Sweet Sixteen” and others)

Stephen’s rationale: “We couldn’t believe real blues artists were going to appear in our country,” said Jimmy Page of the experience seeing John Lee Hooker and others at The American Folk Blues Festival!

Hooker jamming with The Rolling Stones, and Eric Clapton in 1989 – witness the enduring influence of John Lee Hooker on Rock’n’Roll. Once again, I’m giving Tune Tag fans an exclusive, never-before heard recording! This John Lee Hooker performance is from September 14, 1984, at Casa de la Raza, the Chicano community center in Santa Barbara, California — a converted cement warehouse on the lower Eastside.

Thanks to the Santa Barbara Blues Society, one of the most active in the U.S. at the time, over 300 people were packed into the 90 by 25-foot main hall, with the band at one end on a small riser, the heads of the crowd at solar-plexus level. The sightlines were, to be honest, pretty crap. But the two-story brick and cement building rocked!

Aggrovox

John Lee Hooker: Boom Boom

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5 months ago · 33 likes · 16 comments · stephen pedroff

Brad’s song #3: Toad the Wet Sprocket, “All I Want,” 1991, live on MTV

Steven’s response: Brad, thanks for bringing it back home for me! Back to my hometown, and back to one of the best musicians of my generation to come from Santa Barbara! In response, I’m going to offer a tag that’s at least a two-fer: A Santa Barbara connection, and a musical connection.

The first time I heard Toad the Wet Sprocket’s Glen Phillips (shown above) perform, it was a solo performance at a backyard party on the Riviera. If I’m correct, it was a 4th of July party in ’91. Glen looked like a teenager (no offense), but I think he was 20 by then – and the set coincided with the band’s 3rd album release, Fear (Columbia Records, 1991).

It’s been 35 years, but I remember hearing Glen’s solo performance of “Walk on the Ocean,” “Way Away,” and “Come Back Down.” You can hear it for yourself at the archive of an album release party at this link. Glen describes this August 29, 1991 show as a “new release party.” I remember it became invitation-only because it grew unruly over the years and we all assumed the neighbors complained. That may also be the reason that Glen was solo. A terrific, written 2019 interview with Glen Phillips (click here).

Brad’s rationale: I hear Santa Barbara (where John Lee Hooker played in Stephen’s video above), and I can only think of one of my favorite ‘90s bands, Santa Barbara’s own Toad the Wet Sprocket, and one of my favorite songs…certainly my favorite of theirs, and I once had a compilation VHS of several of their best songs!

I found this (above) solo perf of Glen Phillips for you, Stephen, from 2016. The band shared songwriting credits for all the Toad songs, but it was Glen (who wrote most of the songs’ lyrics) who wrote “All I Want” in 1991, when he was 20!

On the song’s content, singer Phillips told Songfacts’ Dan MacIntosh, in 2014: “It’s very much about how fleeting any kind of epiphany is. It’s all about the moment passing very, very quickly and how there’s a desire to hold onto it. That would be a constant, but it comes and it goes, and it goes very quickly.”

Stephen’s song #4: Elvis Costello, “All These Things” by Allan Toussaint, “Mystery Dance,” “Shipbuilding” co-written by Elvis, and “What’s So Funny About Peace Love and Understanding” written by Nick Lowe, 1982, live in Santa Barbara

Stephen’s rationale: I’m keeping it local with my tag, Brad: An exclusive Tune Tag edit of Elvis Costello’s Santa Barbara County Bowl four-song encore from the Imperial Bedroom tour. Not featured on the Tune Tag mix, but from the same performance, the recording captures Elvis covering the O’Jays’ “Back Stabbers,” a signature Sigma Sound act and song – there’s a round-skipping three-fer!

I can’t tag this Elvis Costello performance without diving deep into The Attractions, often called the best backing band in rock history. All three, Steve Nieve (keyboards), Pete Thomas (drums), and Bruce Thomas (bass, no relation to Pete), deserve individual recognition. But I promised a two-fer, a musical connection to go along with the geographic tag!

Attractions drummer Pete Thomas (above in 1984) is the focus of the musical tag. Tom Waits called him “one of the best drummers alive,” and he played drums for Works Progress Administration (WPA) on their self-titled album (shown below), and was a founding member of WPA, alongside Glen Phillips and Luke Bulla (shown here)!👇

Glen wrote six of the tracks on that 2009 album:

Brad’s song #4: Brinsley Schwarz, “(What’s So Funny ‘Bout) Peace, Love, and Understanding,” 1974, Live on TV

Stephen’s response: Keeping it OG with the man responsible for Elvis’ breakout hit: “Peace, Love and Understanding” was released in ’74 by Brinsley Schwarz, and it was written by Mr. Nick Lowe. The members: Lowe on bass (and doing most of the songwriting), Brinsley Schwarz on guitar, Bob Andrews on keyboards, and Billy Rankin on drums, and later joined by Ian Gomm on guitar and vocals.

Lowe reportedly wrote the song as a tongue-in-cheek jab at the hippie culture of the early-’70s. Brinsley Schwarz is also the source of the lifelong Lowe/Costello collaboration. In ‘73, an 18- or 19-year-young Declan Patrick MacManus (the future Elvis Costello), was a fan and occasional roadie for Brinsley Schwarz.

Brad’s rationale: In a song closely associated with Mr. Costello, we’re linking Elvis, live, back to the original, written by Nick Lowe, and performing here on live British TV with Brinsley Schwarz in 1974.

Stephen’s song #5: Elvis Costello, “Shipbuilding,” Live, 1983

Stephen’s rationale: Brinsley Schwarz (the man) described it this way: “Elvis — or Declan, as I knew him — used to come see Brinsley Schwarz (the band) whenever we played in the Liverpool area. We’d see him at these shows because he looked so distinctive and he was nearly always on his own.

“One day we were playing at the Cavern Club in Liverpool. We were in the pub across the road called The Grapes. We were in there and Declan walked in and he and I... we have differing stories about it: I claim that I approached him and said, ‘Let me buy you a drink,’ and he reckons that he approached me. But, that’s where we met the first time.”

👉The Stereogum interview with Nick Lowe

I was supposed to see Nick as the opening act for the first Elvis Costello show I attended in 1978, but he was a no-show. He apparently thought the gig that night was in Los Angeles, so he went out to dinner not realizing it’s a 2-hour drive to Santa Barbara!

Mink DeVille filled in for Lowe that night, and I wrote about the Elvis Costello County Bowl show (and more), here:

Aggrovox

Elvis Costello Live from the Santa Barbara Bowl

Full transparency, when I recorded this Elvis Costello concert in 1982 I was a fan, but it was this live performance that woke me to the incredible depth of his musical abilities…

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6 months ago · 3 likes · 6 comments · stephen pedroff

I compare the Elvis at the Santa Barbara County Bowl (in 1982) to the artist we saw four years earlier at Robertson Gymnasium on the University of Santa Barbara campus. The article above includes the full set-list from the show, and streams “Shabby Doll,” “Long Honeymoon,” and “Tears Before Bedtime” – all debuted on the album the tour supported, Imperial Bedroom.

When we hear Brinsley Schwarz doing “Peace, Love, and Understanding,” it’s in its original context — Nick Lowe singing his own composition, years before he went on to produce Costello’s records and before Costello’s famous cover turned it into the anthem it became. It’s the source recording, and it’s a direct document of where the whole Elvis Costello/Nick Lowe creative relationship began. There’s also a lovely irony that Lowe wrote it as a somewhat tongue-in-cheek dig at hippie idealism, yet it ended up being received entirely sincerely — which is why Costello’s anthem version works so powerfully.

A Special Message From Stephen

I can’t think of a better experience to end our Tune Tag collab on than the song that ends my magical recording of that night in 1982 at the County Bowl. I can’t thank you enough, Brad, for the chance to follow so many fascinating rock ‘n’ roll research rabbit-holes during our round of Tune Tag!

I hope our readers find some value in the efforts made to preserve and memorialize these old tapes. If you’re interested, Tune Tag readers, in following the Aggrovox ‘Stack, I have 96 more performances still to digitize!

With fitting timing coinciding with our final tags, the new (old) Nakamichi cassette deck I recently purchased arrived in May from Joe’s Guitar Shack in Oregon. I plan to put it to good use soon!

Thanks again to everyone who listened, and I hope you’ll consider tuning into some of these great performances in the future at Aggrovox: Peter Tosh, Les McCann, Marvin Gaye, Jeff Beck, Fats Domino, Dave Brubeck, Dizzy Gillespie, Randy Newman, Taj Majal, Bonnie Raitt, Joe Cocker, and many more! Digitizing to commence immediately!

Or, as soon as I figure out how the Nakamichi manual adjustable azimuth thingy works!

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⚡“Dan’s Pace”: Quik✒Notes On Notes🎶, by Dan👇of The Rainbow Rx

“T.M.I.”: It may not have been the most popular song while I was in pharmacy school in the early- to mid-‘90s, but Duran Duran’s “Too Much Information” (1993) certainly could have served as the theme song for those years.

“Too Much Information” didn’t initially please me that much. It seemed whiny and a little grating. But eventually, my fellow future pharmacists and I started quoting it to each other when we were spending yet another Saturday night in the library studying. “How do they expect us to learn this? It’s too much information!” We didn’t realize it then, but a defining song of our college years had been born!

So much was it wrapped up in our collective college experience that when we had a class T-shirt made with the word “PHARMACIST” down the back, each letter in the word describing a phrase that described the toils and tribulations of pharmacy school, most of which were tailored to our specific experiences at University of Iowa. The “T”, naturally, stood for “Too much information.”

As you can see, that shirt has miraculously followed me around for over 30 years now. I would never wear it (mostly because I could never fit into it!), but I will also never part with it.

This Saturday, August 29, FRONT ROW & BACKSTAGE: of Lavender Sound,👇feeds me 5 Björk songs,👇and I give my first impressions,👇with running commentary from us both!👇👇👇

GIG BUZZ!

I’m Steve, and a lifelong resident of Los Angeles. Music is one of my great passions: I was raised on the British Invasion bands and The Beach Boys. I love jazz, and punk and progressive rock!

Welcome, , to your first Tune Tag! Musically, we sound like 2 peas in a pod!

Steve continues: I also enjoy jazz fusion, classical, reggae, ska, lounge music and some indie and classic rock. Old country and some blues are good on occasion. Oldies, rockabilly and old school hip-hop are OK, sometimes. Pop, post-1982 country, and EDM don’t exist in my world.

I’m not really a prolific writer. I moved over from Medium to Substack mainly to experience the wealth of opinion and experiences here. I’ll post a few stories here and there, but I’m more into long-form writing. I’ve written a book, and am in the middle of another one, now.

Steve Crane

My Favorite Live Albums

There is nothing like being in the room when a group of great musicians lock in together and transcend their individual limitations to make truly memorable art. They seem to go into a place that is suspended from time, where nothing else exists but the music…

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a year ago · 3 likes · 2 comments · Steve Crane

Last week, we enjoyed the musical company of of Track Ten for his Tune Tag debut!

Next week, join us for an exclusive one-of-a-kind Tune Tag, featuring , with live recordings from his voluminous archives!

Steve’s song #1 sent to Brad: Brian Blade and The Fellowship Band, “He Died Fighting,” 2014

Steve’s rationale: In 2014, I was diagnosed with Stage 4 throat cancer. It came out of left field - I had no symptoms. My doctor told me, “We are going to try to kill the cancer without quite killing you”! I was given massive doses of radiation every weekday for four months. I felt nothing at first, but after 3-4 weeks I started getting seriously sick, and it kept getting worse and worse. By the end, I was barely alive.

My daily regimen started with throwing up blood for a while, then filling a gallon jug of water, grabbing my Kindle and iPod and trying to make it out to the palapa behind my pond at the far end of my backyard. I’d sit out there until it was time to slowly make it to my car to drive the mile to that day’s treatment.

As the days went on, it became almost impossible to walk the 100 feet to my pond. I’d finally get there, and feel as if I were in a fight for my life. I forced myself to do the same thing every day, and I somehow drove to treatment every afternoon.

Of all the music I listened to each day, two albums rose to the top: One was Wasted Years by the hardcore punk supergroup, OFF! (pictured above). The band was formed in 2010 by vocalist, Keith Morris and guitarist Dimitri Coats following a failed Circle Jerks session that Dimitri was assisting in.

Their original line-up included drummer (and former Team Alva pro skateboarder, late-’80s to early-’90s), Mario Rubalcaba, and bassist Steven Shane McDonald. McDonald, also longtime bassist with Redd Kross, co-authored a book, Now You’re One of Us, with of , with whom Brad did a recent “1st Reaction” post of Redd Kross songs:

The other album could not have come from a farther end of the musical spectrum: It is the beautifully melodic Jazz/Americana album by Brian Blade and the Fellowship Band, called Landmarks.

After getting fired-up angry at the cancer by the 17 - one minute tracks on the OFF! album, I would switch gears and listen to Landmarks.

⭐Get to know Brian Blade from an interview during an artist-in-residence appearance at Wayne State U. in Detroit from 2024:

The song “He Died Fighting” always got to me. It made me know, deep down, that I was not going to die; I was fighting and maybe I wasn’t winning, but dammit, cancer was not going to beat me! I still can’t listen to this song without welling up in a tear. After all these years, it still just hits me that way.

Of course, I could have probably picked “Void You Out” by OFF! too. But, that one makes me wish I could still jump into a mosh pit!

⭐New York Times music critic, Jon Pareles, sat down with Joni Mitchell and Brian Blade in June 2013 for a wide-ranging, free-wheeling 90-minute interview. Jump ahead to about the 5:00 mark to avoid announcements and introductions, and get right down to Joni and Brian:

Brad’s response: Joining Blue Note Records in 2011, Don Was was working A&R at the label when Blade and his Fellowship Band recorded this Landmarks album. I went back to 1981 and Don Was’s entry into the record biz, with his Was (Not Was) business partner/stage-brother, David (Weiss) Was, and their debut, self-titled album.👇

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Brad’s song #1: Was (Not Was), “Out Come the Freaks,” 1981

Steve’s response: This song threw me for a loop! It’s a disco song and I have no relationship with that kind of music at all! But, I did know that Don Was, from that band, had been a music producer and is now the President of Blue Note Records, which released Landmarks. So I figured it would give me some fertile ground to mine for a song, and it did. I found a great one!

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Steve’s song #2: Iggy Pop, “Candy,” 1990

Steve’s rationale: Produced by Don Was. Despite it being a radio song, I always really liked it. Iggy is one of my favorite all-time artists, and Kate’s singing with the B-52’s is legendary. I saw them separately last year and they are both still killing it, live. I also figured it would give Brad quite a few choices for his next pick!

Brad’s response: Kate Pierson of the B-52s guests. Steve picked up on the Don Was connection, as ‘twas Was who produced this Iggy slab. Hmmm…..Must be more clever and sneaky going forward, methinks!

This, from an idea by and inspiration from , about the “Candy” song (written by Iggy), and how partners were chosen: “The initial narrator is a man (Pop) who grieves a lost love,” relays the AP’s Kira Billik, in a 1990 review. “Following the first chorus, the perspective of the woman (Pierson) is heard. She expresses, unbeknownst to the man, that she misses him too.” According to Pop, the lyrics refer to a teenage girlfriend, Betsy:

I was looking back on my relationship with her, and I thought ‘Let’s be fair. Let the girl have her say.’ I wanted a girl who would sing with a small-town voice, and Kate has a little twang in her voice that sounds slightly rural and naive.—Tod McCoy, Cox News Service

The song was offered first to Chrissie Hynde. She said (in UK’s The Guardian, August 6, 2023), “we didn’t pull that off. And I always regretted that, because Iggy was always my number one when I was growing up. And then he wrote this song and he sent it to me. It was handwritten and everything. I don’t know what I did to turn him off the idea, but then I never heard from him. And he ended up doing the song with Kate Pierson.”

Bonus Ig! From the same Brick By Brick album, Iggy on Dave from 1990, singing “Home” (w/brief interview):

That time I met young Mister Pop:

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Brad’s song #2: The Pop, “You Oughta Know,” 1977

Steve’s response: Again, he surprised me! I was not familiar with The Pop, despite the fact that they were from 1977, the all-important year of punk rock, and from my own L.A.-area backyard! I had to assume Brad’s correlation was the word “Pop,” because I couldn’t find any other connection between them and Iggy.

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Steve’s song #3: Slim Pickens, “Desperados Waiting for a Train,” 1977

Steve’s rationale: Same Recording Studio? I was trying hard to find something I could use — went through bandmembers, photographers and Producers, found nothing. Considered linking to Ray Davies and The Kinks because The Pop covered his “I Need You,” but thought that was too much of a stretch.

Then I started researching the recording studio where the song was made, and bingo (3 L.A.-area studios were used for the Pickens album, including Studio Sound in Studio City in The Valley). There were quite a few great songs I could use including some excellent jazz fusion. But, toward the end of the list I landed on a really cool and funny song by the actor, Slim Pickens. Yeah, I know it’s a novelty song. Maybe it’s a weak choice, but I don’t care. It makes me smile!

“The off-the-wall record of the YEAR” - Rolling Stone (on Discogs’ Slim Pickens/“Desperados” page). Here’s a brief interview with Guy Clark, composer (in 1973) of “Desperados Waiting for a Train,” and his songwriting process:

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Brad’s song #3: Steve Forbert, “Romeo’s Tune,” 1979

Brad’s rationale: Slim to “Slim”: Slim Pickens to Forbert’s album, Jackrabbit Slim, & Steve Forbert, Live, 1979:

Steve’s response: “Romeo’s Tune” yielded a treasure trove of great opportunities: It was recorded at Quadrafonic Sound Studio in Nashville. Harvest by Neil Young and Christmas in Prison by John Prine were both recorded there, and I could have happily used either. But something made me go deeper.

I noticed that a guy named Don Puluse (above, circa ‘60s; below, quite recently) was the Mixer of this album. When I looked into his background, it turned out that he was a major record producer in the 70’s. In fact, he was employed at CBS Studios/New York, 1965-1983. He’s produced albums by CBS recording artists like Miles Davis, Bob Dylan and Jaco Pastorius! All big-time favorites!

I could have picked any number of songs, but then I saw my fourth song smiling at me (just below)!! I can’t say that I like Mahavishnu better than Dylan and Miles, but it is the best kind of shredding music. This band was amazing. I also have to say that I figured it would make it harder for Brad to find a good tag.

But being the professional he is, the one he came back with blew my mind. I honestly don’t know the correlation and can’t wait to see it!

Steve’s song #4: Mahavishnu Orchestra, “Meeting of the Spirits,” live in Germany, 1972

Brad’s song #4: Pato Banton with Sting, “Spirits in the Material World,” 1995

Brad’s rationale: Combining the titles, we get “Meeting of the Spirits in the Material World”! Written by Sting for his Police, it was the opening track for their 1981 album Ghost in the Machine. Released as a single in 1981 and reaching #12 in the UK, it got to #11 in the U.S. in early ‘82.

Steve: This was a lot of fun. Thanks, Brad! Brad: You’re most welcome, Steve! It was a blast getting to know you!

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⚡“Dan’s Pace”: Quik✒Notes On Notes🎶, by Dan👇of The Rainbow Rx

I wasn’t really expecting a new Carly Simon album in the year of our Lord 2026. I was under the impression that the 83-year-old Simon really didn’t have the voice for which she was famous. Age had taken its toll, and it just wasn’t the same. Add the fact that although I would call myself a fan of her music, I haven’t loved everything she’s done. I wasn’t expecting the new music to be very good.

I couldn’t have been more wrong.

Comes In Waves is Carly Simon’s 24th album, and her first album of original songs in 18 years. And what I said about the voice? Forget I said it, because her voice has held up magnificently! The album itself is a little quirky, but quintessential Carly. If I had to pick an early favorite, the honor has to go to the album closer, “Do It Anyway,” which would sound at home on any of her ‘70s albums:

I have such a fondness for all my octogenarian favorites still producing new music (, Barbra Streisand, Cher, and now Carly Simon), but heaven help me if I’m in my 80s and still working!

GIG BUZZ!

& Her Band, Live in New York City, 8/29!

Welcome of TrackTen for his first Tune Tag!

Eric: I’m very excited to announce that my new collaborative collection, “Hit Material,” will be going live on August 31st, and running throughout the fall!

My first collection, “Resurrection,” was all about comebacks, but this new one centers on how our relationship to music has changed with each format, from vinyl all the way through streaming!

I was completely thrilled when Brad agreed to write the entry on the Vinyl Era, so I hope you’ll consider subscribing to TrackTen so you can read it as soon as it’s out!

Brad: I was flattered and thrilled that Eric asked me to give an overview of the LP era, the years when the vinyl LP ruled the earth (1948-1985)! He asked me to offer my opinion of what I thought was the “Definitive Album” of the Vinyl Era! Well, I’ve made my decision (with my reasons and rationale)! You’ll want to be sure you’re subscribed to Eric’s TrackTen for the entire “Hit Material” collab collection, and my Vinyl Era chapter! You may will be surprised!

Track Ten

Vol. 2: Hit Material

Track Ten Vol. 2: Hit Material explores how the medium on which music is released directly influences both its sound and our relationship to it. Tracing the eras of vinyl, cassettes, CDs, digital dow…

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3 months ago · 3 likes

I’m Eric, a pop music-obsessive and the author behind the TrackTen newsletter where I publish a weekly column tracking what’s trending on the charts and why.

I also love writing longer essays analyzing key moments from pop’s past and present, whether that’s Elton John’s many comebacks over the years or the parallels between Beyoncé and Madonna’s careers.

I recently wrapped up publishing a collection of guest essays called “Resurrection” (which I mentioned above), which traces some of the biggest comeback moments in pop history and why they matter. Brad asked me for a photo [Brad: Tune Tag loves exclusives…Eric came through! Thank you, bruh!]. ☝Here I am, above, in my natural habitat (aka being camera-shy and repping concert merch, this one from Lorde)!

Last week, we hosted the excellent for his debut Tune Tag:

And, next week, we’ll welcome the colorful and multi-talented self-described “So Cal Punk Rock Dude,” , for his Tune Tag debut!

Eric’s song #1 sent to Brad: Charli XCX feat. Lorde, “Girl, So Confusing,” 2024

Eric’s rationale: Brad was kind enough to invite me to FR&B, so I figured it was only fair to bring a bit of Track Ten energy to the party!

Charli and Lorde are two of my north stars as a pop and alt-pop fan. If you follow contemporary music, you probably know a bit about Brat Summer, but the story behind this track is that Charli wrote it about Lorde without naming her, describing her tangled up feelings of friendship, jealousy, and competition for her indie pop peer.

Lorde made the surprising move of writing her own verse, laying bare her vulnerabilities, all over the original electronic beat. Two of the pop greats of the last 15 years on one track—it continues to blow my mind!

It started here, in June 2024, from Brat:

This just in from Eric:

Track Ten

how charli xcx created the pop star playbook that's defined the last decade

It was 2016, nearly two years after Charli XCX’s breakout album SUCKER. “Boom Clap” had become a solo top ten in the US, and her label was rolling out the red carpet as they prepared to release the l…

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a month ago · 24 likes · 12 comments · Eric

Brad’s song #1 sent to Eric: Cavetown, “Boys Will Be Bugs,” 2018

Eric’s response: I pretty much ignored the title and lyrics off the bat, and started digging into writers, producers, engineers. I went down a rabbit-hole looking into Jesse Cannon, who mastered the track, finding his Reddit AMA. When that didn’t lead anywhere, I looked at what was a bit more obvious: A lyrical and title flip on my pick - Charli sings, “it’s so confusing sometimes to be a girl,” and Cavetown responds,

What’s it like in a female world?

I bet it’s just so much better.

Meet Robin Daniel Skinner, born in Oxford, England on December 15, 1998 (singer/songwriter, record producer, YouTuber):

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Eric’s song #2: Rex Orange County feat. Tyler, The Creator, “Open a Window,” 2022

Click here to view the Rex Orange County and Tyler, The Creator’s “Open a Window” video on YouTube.

Eric’s rationale: I enjoyed diving into Cavetown (new to me!) and found out he got his start on YouTube, including making some covers like this one of Rex Orange County’s (aka Alexander O’Connor) “Best Friend”:

Click here to view the Cavetown/“Best Friend” video on YouTube (who has labelled the video “restricted,” and won’t allow it to play off the YT website).

I went with a Rex song that includes another artist I love, Tyler, The Creator - the collaboration is a bit unexpected (they’ve actually done two songs together), but I like the combo of their voices with the production.

Brad’s song #2: Zuider Zee, “Listen to the Words,” 1975

Eric’s response: Can Brad read my thoughts? “Why don’t you ever listen to the words?” seems like a joke that I overthought the first one!! Zuider Zee is all new to me - happy to have some great discoveries through this game!

My thought here is that Brad is drawing a connection between the “orange” in the artist names - Rex Orange County from my song with Richard Orange being the lead singer, guitarist, and songwriter of Zuider Zee (long “i,” long “e”).

Brad’s rationale: I see “Orange,” and I immediately think of Richard, composer of “Listen to the Words,” and awfully proud to have Richard as a longtime FRONT ROW & BACKSTAGE subscriber!

Eric, I’ve told this story maybe once before, but in 1975, when the self-titled Zuider Zee album was released on Columbia Records (produced by Leland Russell), I was 20, and Music Director of the U of Houston FM-campus radio station, KUHF (with a daily afternoon, 3-hour on-air shift).

Enjoying the album at home, I wrote to Richard (there must’ve been a management/P.O. Box address on the back), and he wrote back (in orange ink!), and I reckon we communicated several times in the following months, back in the day when postage stamps were not only a thing, but only a dime!

Richard shared some Zuider Zee history with Bill Kopp of Goldmine Magazine, in its September 21, 2018 issue, and he gave answers to questions I didn’t think to ask him 51 years ago(!):

“Orange isn’t sure what plans– if any – CBS/Columbia had for his group. ‘I remember thinking, ‘Well, we’re with the largest record company in the business, so that’s got to mean something,’ he says. He does recall playing a gig at Alex Cooley’s Electric Ballroom in Atlanta, opening for Canterbury, England progressive group Caravan.

“After the show, he met label executive Terry Powell. Powell presented him with a pre-release copy of Wish You Were Here [released to the public on September 12, 1975, above] by one of the label’s biggest acts: Pink Floyd. “Now I realize what it meant: ‘Welcome to the Machine.’ The irony was lost on me at first, but it wasn’t lost on me later on.”

Goldmine’s Kopp continues: “Orange and his band ended up disappointed with their experience with Columbia: ‘We expected so much and then we got so little,’ he says, noting that after sending the band back to the studio to remix ‘Listen to the Words’ for a single release, the label decided against releasing that – or any other single – from the Zuider Zee LP.

“And the fallout from that decision reverberated in some troubling directions. ‘Certain criteria had to be met as far as getting airplay,’ Orange says. ‘If you had a new [album] release, you had to have a single, too.’ He recalls the band doing radio interviews, only to be told afterward, ‘We won’t be playing this interview until we get the single.’

“Moreover, when the band visited record shops for in-store appearances, they found themselves in a situation right out of This is Spinal Tap. ‘We’d be assigned to go to the store to sign records,’ he says, still incredulous at the memory, ‘and they wouldn’t have any!’”

Eric’s song #3: The 1975, “Chocolate,” 2013

Brad’s response: Nice. Eric matched the Zuider Zee release year with the name of this “Chocolate” band. I like that in an Eric!

Eric’s rationale: I decided to take a different tack for my third pick, and zero in on the year that “Listen to the Words” was released, 1975. It ended up feeling like too much of a stretch to just pick a favorite that was released that year - I would’ve gone with something from KC & The Sunshine Band’s self-titled album, likely “That’s the Way (I Like It),” or maybe Springsteen’s “Born to Run.”

Instead, I’ll give Brad a bit more of a hint, and emphasize the year by choosing a song by one of my favorite bands, The 1975. They have so many good songs to choose from, but for now, I’ll go with one of their earliest hits, “Chocolate.”

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Brad’s song #3: Mark Knopfler, “Why Aye Man,” 2002

Eric’s response: Another new to me song! I’m not hearing too many obvious sonic connections, so I started digging through the writers, producers, session players, and more, but no overlap there. I then started wondering about the artists’ UK lineage. While Knopfler was born in Scotland and The 1975 formed in Cheshire, both of these songs talk a bit about disaffected young men in small town England - an interesting point of comparison if that’s what Brad had in mind!

Brad’s rationale: Matty Healy is the lead singer of The 1975. Tim Healy is his father. Tim Healy is also an actor, known for Auf Wiedersehen, Pet (1983), Boys from the Bush (1991) and A Kind of Living (1988).

He also played the role of Billy’s father in the original London stage production of Billy Elliot The Musical. Together with Jimmy Nail, another actor from Newcastle-upon-Tyne, Tim Healy is credited for backing vocals on the song “Why Aye Man,” on Mark Knopfler’s 2002 album, The Ragpicker's Dream!

Matty and the Genesis of a Comedy Career

From Simon Hattenstone, in the November 11, 2016 The Guardian (UK): “From the age of four, [Matty] played drums with his father. His parents were friendly with any number of musicians, who would encourage young Matty. ‘My dad’s mates were in bands: Brian Johnson from AC/DC, Rick Wakeman, Mark Knopfler and Jeff Lynne, who’s an absolute genius.

“‘I’ve got a funny story about [Lynne]: My mum and I went to his house with a friend called Phil Collinson, who’s a producer. We introduced Phil to Jeff, and he kept asking him, ‘How’s your dad doing?’ and Phil kept saying, ‘Yeah, he’s fine.’ ‘Is he still living in Switzerland?’ ‘No, he still lives in Coventry.’ And Jeff Lynne took me over to the side and he said, ‘Is he Phil Collins’ son?’ I said, ‘No, his name’s Phil Collinson.’ Then he said, ‘Thank fuck, because I hate Phil Collins!’”

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Eric’s song #4: Rosalía feat. Bjork and Yves Tumor, “Berghain,” 2025 (EXPLICIT LYRICS)

Eric’s rationale: Let’s keep with the thematic route for my last pick, “Berghain,” the lead single from Rosalía’s massively ambitious 2025 album, Lux (Columbia/CBS/Sony Records worldwide). The song features some great collaborators and a ridiculously impressive vocal performance over churning orchestration by The London Symphony Orchestra.

Inspired by Hildegard of Bingen and Vimala (see interview video below), the song opens with a series of verses in German: “Seine Angst ist meine Angst / Seine Wut ist meine Wut / Seine Liebe ist meine Liebe / Sein Blut ist mein Blut” (“His fear is my fear / His anger is my anger / His love is my love / His blood is my blood”), per 10/27/25 NME; they introduce Rosalía’s solo verses. Later, she is vocally joined by Björk and Yves Tumor.

The reason I’m picking it, though, is because it’s another case of a European artist making their way over to Germany, and using the German language to tell a story. While Knopfler’s is about economic migration, Rosalía’s is about losing herself in the famous nightclub after heartbreak.

Brad’s song #4: Libera, “Libera,” 2005

Brad’s rationale: Replace adults dressed in black, singing in German, Spanish, and English, with adolescent boys dressed in white, singing in Latin? Poof!

Eric’s response: Operatic vocals in falsetto? A great complement to my pick to close us out on. Bravo, Brad!

Brad: I’ve sung in church and school choirs growing up, as well as a few as an adult, self-taught. I don’t read music (except for a few years playing accordion, ages 7-10); it’s all by ear. I was lead singer (and flutist) for Brimstone, a 6-piece rock cover band out of my Houston high school in the early-’70s.

I first heard about and heard Libera in the first couple of years of this century. With contemporary accompaniment (+ organ with drums) and original songs with a generally standard pop-based, non-liturgical song-form, I found them to be an appealing listening experience, and of course, gifted singers who were fun to listen to!

Through the years, Libera has provided choral backing to a number of artists, including Aled Jones, Björk, Luciano Pavarotti, José Carreras, Neil Diamond, Cliff Richard, and Michael Crawford.

Cut to the evening of December 26, 2007: I was watching the annual Kennedy Center Honors on CBS-TV (the ceremony was held and taped on December 2). Diana Ross, Martin Scorsese, Steve Martin, and Leon Fleisher were gathered to be properly feted before a crowded Kennedy Center in Washington, DC.

The Beach Boys’ Brian Wilson was also slated to be honored, and I certainly wanted to see one of my life heroes (for songwriting and harmony singing) being celebrated! When it was announced that Brian would be next, “right after these messages,” I went to the kitchen to putter around for the 3 minutes it took for the commercials to be exhausted.

Still in the kitchen, I heard the announcer’s first words coming out of commercial: “Ladies and gentlemen….Libera!”

A new generation of Libera lads wow Simon and company in this recent Britain’s Got Talent, in what appears to be a segment never aired. “God Only Knows” how that could’ve happened!

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⚡“Dan’s Pace”: Quik✒Notes On Notes🎶, by Dan👇of The Rainbow Rx

I’ve never been a huge Ariana Grande fan. Sure, I know a handful of her hits and better-known songs, but I’ve never really listened to an Ariana Grande album in full before. Enter my 25-year-old co-worker, who is an Ariana Grande stan. He and I have bonded over music and I’ve converted him into, if not a Madonna fan, at least a Confessions II fan. He has been eagerly awaiting Ariana’s new album, petal (Republic Records, produced by Grande, Ilya, and Max Martin), since it was announced, and I, being a good friend, have been excited right alongside him.

The album was released about 10 days ago, and while it’s definitely not going to supplant Confessions II in the race for my Album of the Year (let’s be honest, nothing will), it’s a solid effort with some standout songs. One of those is the album opener “kiss me,” which does everything the first song on an album should do: It defines what the album is about and whets your appetite for what is to come:

I can tell I’ll be spending a lot of time with this album as summer prepares to give up the ghost, and I have a cross-generational friendship to thank for it.

GIG BUZZ!

Special FRONT ROW & BACKSTAGE Contributor (and longtime subscriber), the multi-talented Jay Asher, joins with JK Jones in an entertaining Acoustic Music Series show in the L.A. area, August 22 (see below)! Also, check out Jay’s special tribute to the Bacharach/David songwriting team he did for us coupla years ago!👇

🕯Guess who’s ONE!🎂Happy Anny, Ken! Happy to share a ‘Stack Birthday with our buddy! FR&B-ers, Ken’s got the Canadian provinces covered with fantabulous music commentary, analysis and features!👇Please consider subscribing!

Maple Mixtape

Maple Mixtape Anniversary!

One year ago, I decided to share my love of Canadian artists of the 80s with all of you lovely people here on Substack…

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a month ago · 23 likes · 22 comments · Maple Mixtape 🇨🇦 and Maple Mixtape 90s Edition 🇨🇦

Welcome to Tune Tag, (Nav) of M’s Substack!

Nowadays, I’m telling those stories as well as pontificating on artists who are all part of my musical DNA with my recurring Through the Haze series (see the link to my latest on the ‘70s band, Sea Level, below).

I’ve also written a book, The Mañana Method (above), and, as a special offer to your FRONT ROW & BACKSTAGE readers, Brad, copies are available from me at a much “friendlier” rate than Barnes & Noble can give your readers! Books can be purchased from Nav using Nav's e-mail address! mimamoma.nav@yahoo.com

M’s Substack

Through the Haze #66 Sea Level

Lamar Williams, Chuck Leavell, Jaimoe and Jimmy Nalls…

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a month ago · 16 likes · 10 comments · M D Navalinski

Last week, we had fun meeting Ari of for his first Tune Tag:

Next week, we’ll meet another Tune Tag newbie, of Track Ten, and we’ll get an early peek at a special collab he and I are working on!

Nav’s song #1 sent to Brad: Emitt Rhodes, “With My Face On The Floor,” 1970

Nav’s rationale: First tag--let’s go retro, to the early-‘70s after Emitt Rhodes dismantled his regionally popular The Merry-Go-Round for a shot at solo success. His Beatle-esque songwriting talent produced two pop singles during those Merry-Go-Round days: “Live” and “You’re a Very Lovely Woman.” Both charted, yet failed to set Billboard’s Hot 100 on fire.

Brad: Emmit Rhodes, 17, on guitar and singing lead with The Merry-Go-Round on his original, “You’re a Very Lovely Woman” on Dick Clark’s American Bandstand, October 7, 1967:

In an amazing career-legitimacy break for Rhodes, Linda Ronstadt recorded his song, released it as a single on Capitol Records, and performed it on ABC-TV’s The Johnny Cash Show (taped at Nashville’s Ryman Auditorium, with a February 17, 1971 air date, one week before Rhodes’ 21st birthday)!

The ABC camera crew does no one any favors here, keeping her backing band in virtually complete darkness, but, you’ve got some all-stars here: Future Eagles Glenn Frey and Don Henley, and manager/producer/guitarist, John Boylan, now 85.

No more than two months after this TV appearance, Ronstadt and Boylan were key in recruiting Randy Meisner from Rick Nelson’s Stone Canyon Band, as well as Bernie Leadon from the Flying Burrito Brothers to form a new band, Eagles. They were signed by David Geffen to his management firm and to his new label, Asylum Records. Lest you think Johnny Cash was less than hip, joining Linda on this episode were James Taylor and Neil Young!

Back to Nav: Rhodes was quickly snatched up by ABC/Dunhill Records, and invested his $5,000 signing bonus towards building his own recording studio in his parents’ garage.

True to the adage, “There’s no place like home,” he spent the next months crafting twelve tracks as a one-man band: engineering, producing, and playing all instruments. Rhodes then added multiple layers of “vocal Emetts” onto an 8-track machine, in much the same manner Paul McCartney chose for his “Bowl of Cherries” 1970 self-titled debut Apple album.

Comparing the two solo ventures, I’ve always felt Rhodes’ ambitious effort superior to Sir Paul’s, which yours truly has always considered a disappointing cathartic exercise, intent on cutting his ties with the Fab Four. While McCartney had Apple revenue and label familiarity working for his marketing machine, ABC/Dunhill did little to promote Rhodes’ masterpiece with the support it deserved.

So, here we have the lead-off cut, “Face on the Floor,” catchy, short’n’sweet and oozing with hum-ability.

Here are two fellow Substackers, each with a piece on Emitt Rhodes…one from 6 years ago, and one from a year ago: The first one, from , and the one below it, from :

News from Esotouric's Secret Los Angeles

Farewell to Emitt Rhodes, the home recording wizard of Hawthorne, California

Gentle reader…

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6 years ago · 1 like · Esotouric's Secret Los Angeles

Kristan Reed's Music Mountain

REVIEW: Emitt Rhodes—Emitt Rhodes (1970)

Another in my ongoing quest for the ultimate buried treasures is the debut album by Californian singer-songwriting prodigy Emitt Rhodes. Having already proven himself as a songwriting talent in Byrdsian LA band The Merry Go-Round aged 17, he evidently decided he could damned well do all of it better himself. He had a point, possessing the kind of multi…

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a year ago · 1 like · Kristan Reed's Music Mountain

Brad’s song #1 sent to Nav: The Palace Guard, “Falling Sugar,” 1966

Nav’s response: Even with “newbie” status here at Tune Tag, this was a fairly easy one to pick out: Emitt Rhodes set the beat as drummer for The Palace Guard until, disgruntled by management shenanigans, he moved on in ‘65, roughly a year before “Falling Sugar” hit the airwaves (so, he doesn’t appear on this video).

This catchy mop-toppish toe tapper, brimming with youthful energy, achieved regional attention, perhaps due to Dr. Google’s citing the term “Falling Sugar” as a metaphor for tumbling down or overwhelming collapse of feelings/thoughts.

One may ponder why the five uniformed band members are seen in the video smiling and tapping their toes whilst lamenting the loss of a special love. Perhaps those Beach Boy-style “ooh”s accompanying the bridge helped chase away their melancholy vibe. As I tapped my toes in old-age fervor, I couldn’t help but be somewhat distracted by their cheesy outfits/uniforms someone dressed them up in. Just sayin’…

Brad’s rationale: Emmit Rhodes was The Palace Guard’s drummer for about a year, before spinning off and forming The Merry-Go-Round.

One More Ride on The Merry-Go-Round

Emitt Rhodes sings lead here, fronting A&M Records signees, The Merry-Go-Round, with A&M head, Herb Alpert (now 91), on trumpet, accompanying.

In early 1968, Rhodes, his group, and Alpert recorded a version of The Beach Boys’ “California Girls” that was included in Alpert’s Beat of the Brass special that first aired on CBS-TV on April 22, 1968. The song was never commercially released.

This extremely rare audio was recorded during that Beat of the Brass television broadcast in 1968, using the 1966 vintage tape recorder pictured in the video (this may be your best opportunity to hear how The Beatles might’ve sounded covering The Beach Boys; fervent Fab Four fan, Rhodes, gives it his best Liverpudlian accent, here!):

And, finally….Emmit and The Merry-Go-Round sync their way through about half of their “Live” hit, and are then introduced by The Dating Game’s host, Jim Lange, as Rhodes and two of the other three M-G-R members vie to win a date with a lovely gal! “And, heeeeeere they are!”

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Nav’s song #2: Paul Revere & The Raiders, “Hungry” (T.V. Special, 1967)

Brad’s response: Hmmm…..Is Nav matching TV performances of ‘60s bands?

They’re synching to their recorded track here (quite obviously, and with no pretense in pretending they’re not!), so searching for who played on the session and who produced is on the table, which, to me, is intriguing! I’m guessing Terry Melcher is involved, somehow!

“Hungry” was written by Rock Hall of Fame (Ahmet Ertegun Award) and Songwriters Hall of Fame inductees, Barry Mann and wife, Cynthia Weil (see above). And, as my memory suspected, Columbia Records staff producer, Terry Melcher, produced.

Wiki: In contrast with the Raiders’ previous Top 10 hit, the guitar-driven “Kicks“, the single “Hungry” has bassist Phil Volk playing the main riff.^[4] The creation of the bass line in “Hungry” was complex. It required that the bass part be recorded 3 times, then overdubbed. The components had to be synchronized: first, a normal bass line.

That was followed by a line that was an octave higher and the last track was recorded as a fuzz bass, which was created by turning up an amplifier full blast, as using bass pedals wasn’t available in those years.^[5] The result was what author and Rolling Stone critic Dave Marsh calls, “...the center of the performance...a lethal bass line”.^[6] Lead singer Mark Lindsay plays tambourine on the record.

Dick Clark plays “Hungry” for his dancing horde on a 1966 American Bandstand TV show. He actually mentions Captain Beefheart and the Magic Band, as, apparently, the good Captain will be calling in! Welcome to ‘66 Bizarro World!

“Hungry” co-writer, Barry Mann, offered FRONT ROW & BACKSTAGE Special Contributors, singer/songwriters, Stephen Michael Schwartz and Jay Asher, some flattering encouragement in the late-’70s, for their “Only Everyday” songwriting collaboration. Read about it, and hear the rare, exclusive demo, sung by Clint Holmes, who got to #2 on the Billboard Top 100 in June 1973 with the Vance/Pockriss song, “Playground in My Mind”:

Nav’s rationale: “I always did like a man in a uniform.”—Mae West, screen vixen.

Imagine, for a moment, that costumes/uniforms were necessary attire for rock bands to achieve success. I cannot picture Roger McGuinn or David Crosby burning through “Eight Miles High” with beaks and feathers, nor can I imagine Zombies Colin Blunstone, Rod Argent or Chris White wobbling on the stage playing “Time of the Season” or “She’s Not There,” dolled up in theatrical flesh makeup and tattered dress!

Still, bands like Devo, KISS, Gary Puckett’s Union Gap, and (lord help us!) The Village People punched their ticket to fame based, in part, upon costumery! And, then there was Paul Revere and the Raiders: In 1967, just fourteen years of age and fully under the spell of rock’n’rolI, I attended an all-age show at the local Smith Center to take in Paul Revere and the Raiders!

Three bucks a ticket, then through the doors where we found ourselves amidst a sea of giddy, perfume-drenched high school girls and their dates! As we wormed our way up to the rail, the lights dimmed, and amidst an outburst of squeaks’n’squeals, the Raiders hit the stage. Finding them gussied up in a light-blue color scheme, tri-corner hats and colonial-style coats, ruffled shirts and boots, my first thoughts were ‘douchie,’ followed by, “What in the hell am I doing here?”.

Drum and organ kicked into “Hungry,” and just like that my negativity gave way to awe. The next hour’s barrage of hits, including “Kicks,” The Monkees’ “Not Your Stepping Stone,” “Steppin’ Out,” “Just Like Me,” and, as the evening came to a close, the garage-band-National Anthem, “Louie Louie,” before bidding adieu with “Good Thing.”

Funny how a kick-ass show can make you forget all about how silly The Palace Guard looked! The Raiders earned their “Get Out of Jail Free” card that night from yours truly.

Brad’s song #2: Danny Wilde, “Any Man’s Hunger,” 1988

Nav’s response: Listening to Brad’s delightful curveball, I found myself pondering: “Why does ‘Wilde’ sound so darn familiar?” Coming up blank, I turned shamelessly to Dr. Wikipedia. There he is—Danny Wilde, one half of The Rembrandts (below, some 30 years hence)!

To me, “Any Man’s Hunger” (produced by Pat Moran, and recorded at Rockfield Studios in Wales, summer of ‘87) is “joy of rockin’-out’ music”—the airy summertime tune which makes you roll down your car window and sing like an out-of-tune knucklehead! It reminds me a great deal of what I liked best about Johnny Cougar Mellencamp and The BoDeans: Hummable tunes brimming with pleasant chiming guitar and snap drum beat.

Phil Solem and Wilde’s most profitable claim to fame was 1990’s “I’ll Be There for You”/Rembrandts hit—that upbeat poppy earworm theme from NBC-TV’s Friends which pocketed them a nifty estimated five million dollars for 3:08 of crooning.

“I’ll Be There For You” was written by David Crane, Marta Kauffman, Michael Skloff, Allee Willis, and Solem and Wilde.

And then, this happened:

Their luck was similar to that of my next choice, John Sebastian, Mr. Lovin’ Spoonful, who cashed in big-time, as well, for his TV theme song, “Welcome Back (Kotter).”

As long as Friends and Kotter remain in syndication, these two cash cows should continue helping to pay the bills for Messrs. Wilde, Solem and Sebastian.

Brad’s rationale: So many ways to go with Barry Mann and Cynthia Weil as songwriters of “Hungry,” but I opted for one of my all-time faves, Danny Wilde, with the title track from his 1988 album, the tummy-rumbling Any Man’s Hunger.

5 Yrs?😱High time for All-Access!⭐

Nav’s song #3: The Doors, “Roadhouse Blues,” 1970

Nav’s rationale: And just like that, John Sebastian takes us from Brad’s #2 (Danny Wilde’s “Any Man’s Hunger”), into Nav’s Rationale #3, based upon ye olde residual check-recipient angle. In 2023, former Lovin’ Spoonful leader John Sebastian sold his entire song catalogue, including all his Lovin’ Spoonful compositions to AMR Songs (an independent music publishing and rights management company) for an undisclosed amount of well-earned loot.

Since so many readers are familiar with the Lovin’ Spoonful sound, let’s approach #3 with minutia in mind:

Didja Know?

Didja know John not only helped out The Doors by adding the bluesy harmonica line on “Roadhouse Blues” in late 1969 (using the pseudonym, G. Pugliese, to avoid problems with his recording contract), he was also asked by Crosby, Stills, Nash & Young to play harp on their 1970 Déjà Vu album?

Didja know Sebastian showed up at Woodstock in fan mode, but ended up performing an unplanned solo set because there was too much water onstage for Santana to begin their epic (and electric) performance?

Didja know in the early seventies, following his Spoonful days, Sebastian actually made more money by doing the real estate thing than from his music?

Now you are that much wiser…

Brad’s song #3: Les Dudek, “Central Park,” 1978

Nav’s response: Once you climb aboard that taxi to Central Park, Carmine Appice’s thundering drumbeat leads you around the corner where Les Dudek’s Gibson Les Paul greets the listener with a howl that refuses to let up for the next five minutes.

If this is your first dose of Dudek’s incredible stylings, you can legitimately ask why this fella’s talent remains a well-kept secret! Dudek is blessed to have landed a freakin’ all-star crew of back-up studio aces, including Max Gronenthal (aka Max Carl), Mike Finnigan, alternate drummers Jim Keltner and Jeff Porcaro, Robert (Pops) Popwell, and Jack Bruce on background vocals, to the proceedings that make up the Ghost Town Parade album.

You can find a much more fleshed-out history of Dudek by pulling up my Through the Haze # 60 to learn about his visit to Macon with hopes that the Allmans would invite him to step in to assume Duane’s role, only to be denied of that pipe dream.

If Dudek’s fretwork rings familiar, it’s most likely due to his contributions on the Allman’s classic Brothers and Sisters album back in late ’72. Does “Ramblin’ Man” and “Jessica” come to mind? That’s my not-so-subtle cue to proceed to my next song…

Brad’s rationale: Bruce Botnick produced this Les Dudek album in 1978; Botnick was the engineer on The Doors’ Morrison Hotel, with Paul A. Rothchild producing.

Nav’s song #4: Allman Brothers, “Jessica,” 1973

Nine days after this U of Florda performance, Gregg Allman made an appearance on Late Night with David Letterman, January 25, 1982:

From Late Show with David Letterman, air date: February 29, 1996:

Nav’s rationale: The Allman Brothers’ biggest-selling album of their career arrived in late ’72, and featured two songs that stood heads above the rest: “Ramblin’ Man” and the album’s longest and only instrumental cut, “Jessica.” “Jessica,” was co-written by Dickie Betts and Dudek, although only Betts received creative credit, which is a story in itself, but let’s just say Dudek left Macon feeling more than a bit betrayed, pissed off, and befuddled.

The two had gathered for dinner, then broke out a couple of acoustics, and Betts’ songs shared a tune he found frustrating as he was unable to get any further than its bridge. Dudek stepped in to bring the piece together and was rewarded by the opportunity to play “Jessica”s acoustic lead-in to the seven-and-a-half-minute classic in the studio.

As cool as that was, it was Chuck Leavell’s jazzy energetic keyboards, reminiscent of Vince Guaraldi’s Christmas classic, “Linus and Lucy,” which made it memorable.

And who was this mysterious Jessica for whom this masterpiece was inspired? Betts first approached this song as an attempt to pen a jazzy piece that could be played with only two fingers, in honor of the style of acoustic jazz guitarist, Django Reinhardt.

As he toiled, his toddler daughter, Jessica, entered the room and began bouncing around to the melody, inspired by the vibe she was channeling. Simple as that.

And with that, it’s time to bring this delightfully challenging extravaganza to a close, and thank my host and musical wizard, Brad, for this opportunity!

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⚡“Dan’s Pace”: Quik✒Notes On Notes🎶, by Dan👇of The Rainbow Rx

One of my favorite musical finds of 2026 actually came via my 24 year-old daughter. As a kid, she used to listen to everything I listened to, but as she’s matured into adulthood, she has (as expected) forged her own way, musically. That’s not to say that we don’t have some overlap, as is evidenced by this week’s musical pick, Em Beihold’s “Van Gogh.”

Beihold is perhaps best known for her song, “Numb Little Bug,” which went viral on TikTok in 2022. This year, she put out a full-length album, Tales of a Failed Shapeshifter (Republic/UMG Records), above. Featuring quirky songwriting and arrangements, all anchored by Beihold’s distinctive voice, it’s become a favorite of ours this year. The fact that she is a little bit Marina-adjacent certainly helps, as Marina is one of my favorite modern pop stars. “Van Gogh” is all but guaranteed a spot on my year-end best-of list!

So if you like fun, female-based pop music, be sure to check out Tales of a Failed Shapeshifter. Definitely worth a listen.

GIG BUZZ!

Special FRONT ROW & BACKSTAGE Contributor (and longtime subscriber), the multi-talented Jay Asher, joins with JK Jones in an entertaining Acoustic Music Series presentation in the L.A. area, August 22 (see below)! Also, check out Jay’s special tribute to the Bacharach/David songwriting team he did for us coupla years ago!👇

Music above everything!

Overlooked albums, hidden gems, forgotten classics, all about the dark side of the music moon. “I write about albums that slipped through history’s cracks and place them in the right moment, with the right feeling.”—Ari

Last week, we enjoyed the debut of ’s Bob Pomeroy:

And, did you catch our rare Saturday Tune Tag on the 18th, welcoming ’s new album, Maximus Americanus to the world?👇

Next week, join us as we welcome , as we also celebrate the 5th Anniversary of FRONT ROW & BACKSTAGE!

Ari’s song #1 sent to Brad: Pierce Arrow, “Julie Anne (Magnolia Wind),” 1975

Ari’s rationale: It’s always painful for me to realize that the feelings and memories tied to songs aren’t shared by everyone. How is it possible that a song can mean so much to me, while someone else might say it sounds like absolute dog sh**? That’s one of the reasons that pushed me to write about music, to try to explain why and how this or that song matters, to me, and maybe could matter to you.

This record was one of the results of my first true “crate-digging” experience: I was 14, somewhere near the Mediterranean Sea, on a scorching hot afternoon, and my dad gave me some money. I looked for a record store and I found a place, packed with records from bottom to ceiling. I spent the afternoon there, and I came across this record with a cover I found pretty interesting:

I looked it up on YouTube and this was the first song that popped up. I immediately fell in love.

I went back home and put it on my turntable. The record wasn’t pitched like the YouTube version. I was pissed, this wasn’t the song I loved. From that day on, I changed the pitch on my turntable every time I listened to it.

And also, this is a love song. I have a memory tied to someone I loved deeply, and I can remember us singing that song on the beach; we were almost alone and the sun was setting. It was wonderful. The song stayed, but the person went away. But, it’s better to have loved and lost than never to have loved at all, huh? My love for that song stayed.

Brad’s response: Pierce Arrow is virtually unknown by music lovers, and even by many people in the record biz. As such (and because of that anonymity), not much about them can be found on the ‘net. Here’s what we know: Ironically enough, Pierce Arrow had enough “name” musicians (from previous bands) for them to have been referred to as “a supergroup”…loosely, granted, but these weren’t rookie kids. They just never came close to scoring that elusive hit.

They had two albums, in successive years (self-titled in 1977 and, in ‘78, Ali’s album here, Pity the Rich) on the biggest label in the land: Columbia Records (N. America), and CBS/Sony Records in Japan and the EU.

This, from a MicroCat1031 on Reddit: “Pierce Arrow was made up of guys that were ‘with the band’ and top studio musicians. Guitarist, Werner Fritzsching played with Cactus, and bassist Doug Lubahn played on 3 albums with The Doors. Bobby Chouinard played drums for Alice Cooper, and has played on sessions by Cher, Billy Squier, Ted Nugent, and others.

“Robin Batteau (on Columbia in ‘73 for one album with his brother, as Batteaux) and guitarist Jeff Kent were session musicians that both went on to win Grammy awards.”

I found a 37-minute concert video for you, Ari! Hope you enjoy!👇

Brad’s song #1 sent to Ari: Michael Carpenter, “Marcella,” 2011

You gonna say “no” to Brian?

Ari’s response: I first have to say I didn’t know anything ‘bout Michael Carpenter. I don’t know much about The Carpenters either, but at first (when seeing the link), I assumed he was Karen’s brother. Much to my surprise after listening to “Marcella,” I understood he wasn’t. I have to confess, too, that I didn’t know about the original by The Beach Boys.

For a bit of time, I had a hard time listening to bands I heard people falling all over themselves about. As time went by, I eased my mind, but even though my record collection is full of “known albums,” I get happier finding “my own” treasures!

Michael Carpenter appears to be someone who’s really into power pop, as Brad and I are, considering the amount of power-pop sound included in his “Songs of Other People” series. I really liked the songs I listened to, mostly covers that are very “power-popified.”

I also like the idea of covering songs that mean a great deal for him rather than traditional “canon” songs. My guess would be that this is a power pop song because that’s the “thing” that linked us after I posted my article, and also the idea of singing about a girl with an odd name (who the hell has had a friend or girlfriend named Julie-Anne or Marcella??).

Brad’s rationale: Tandyn Almer: He co-wrote “Marcella” with Brian Wilson and Jack Rieley, but somehow never found his name reflected on the song’s writing credits!

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Ari’s song #2: Eagles, “My Man,” 1974

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Welcome, Bob of !

Bob: A music lover from an early age, I had three strokes ten years ago, resulting in cognitive deficits. As part of my recovery, a neuropsychologist told me music engages more regions of the brain than almost anything else, and it can stimulate the brain to grow new neural connections and gray matter.

I started “Bob’s Music Therapy” on Substack as a way to continue my recovery and promote brain wellness through music. Studies show songs with two particular characteristics especially benefit our brains: (1) novelty—unfamiliar songs—as the brain works to process simultaneously new lyrics, melodies, and rhythms, and (2) a tempo of 120-140 beats per minute, triggering release of dopamine and other neurotransmitters that lift our mood.

The brain benefits are enhanced if the songs are encouraging, uplifting or entertaining in some way. So, on my Substack, I spotlight unfamiliar, upbeat and uplifting songs, often by little-known artists. To date, I have showcased over 350 such songs on my weekly Bob’s Music Therapy posts on Substack.

Just recently, a new decade-long study of over 10,000 older adults indicated that daily listening to music reduces Alzheimer’s risk by up to 39%. Since there is no cure, music’s superpower is to provide a dose of real brain protection!

Last week, we enjoyed the company (and terrific commentary) of Joe Hines of :

Next week, join us for the debut Tune Tag for Ari of !

Bob’s song #1 sent to Brad: The Beatles, “From Me to You,” 1963

Bob’s rationale: I was a 12-year old American living in England in 1963 [Brad butts in: “I was 8!”] when full-fledged Beatlemania 1.0 broke out in the UK. Their first “official” British #1 was “From Me to You” (not “Please Please Me,” which was #1 on the unofficial Melody Maker chart). It was the first record I ever bought in England (or anywhere), so I thought the song would be a good way to start our Tune Tag!

Interestingly, a harmonica kicks off the song and supports its catchy hook, and it was also featured in their earlier song, “Love Me Do.” In both songs, it is played by John Lennon, who had only recently been taught how to play it by a young Delbert McClinton, touring in England at the time.

“From Me to You” was released as a U.S. single in 1963, but got little attention. By the time the band went to America in 1964, launching Beatlemania 2.0, the song was mostly overshadowed and forgotten. The song never even appeared on a standard U.S. Beatles album until well after the Beatles broke up. Finally, in 1973, it was included on the double LP compilation, 1962–1966 (commonly known as the “Red Album”).

Thanks to the then-recently launched Telstar satellite, I was able, in England, to watch the Beatles’ appearance on The Ed Sullivan Show, live, with my young British schoolmates, all of whom wondered, “Will our boys be able make it in America?” History says they bloody well did!

Brad’s song #1 sent to Bob: Kenny Lynch, “You Can Never Stop Me Loving You,” 1963

Bob’s response: Given Kenny Lynch’s Lennon-McCartney connection, “You Can Never Stop Me Loving You” is a great choice. Lyrically, my next song—from one of my favorite under-appreciated artists, Bryan Ferry of Roxy Music—echoes Lynch’s last-ditch efforts to keep his troubled relationship alive!

Brad’s rationale: Same year of release (1963) as The Beatles single Bob sent as his first song (“From Me to You”). Kenny Lynch was born on my birth day, 17 years before me (March 18, 1938), in London.👇

From Wiki: Singer-songwriter Roger Greenaway recounted a story about “From Me to You”:

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WELCOME DUSTY WRIGHT of Substack’s Tales & Rants, TO HIS 2nd TUNE TAG, AS WE CELEBRATE THE RELEASE OF HIS NEW ALBUM, MAXIMUS AMERICANUS!

Here’s Dusty’s first Tune Tag appearance from over two years ago! As I look at that musical lineup, what an eclectic collection of legends & those inspired by same!👇

⚡This just in! Just dropped onto YouTube yesterday (July 17!)…..Dusty’s new single, “Right Side of Love” (click here to view it on YouTube, like, and subscribe to Dusty’s channel)!

Dusty, on his new single, plus the album’s credits:

Dusty: I wrote “Right Side of Love” last year for my new album, Maximus Americanus, which was released on June 12th, 2026. It’s about appreciating what you already have rather than what you think you need: “The grass ain’t always greener,” indeed.

Video and animation were created and edited by Said Kanoun for Jellytopsis Productions. Watch & leave a comment!

Dusty Wright - vocals, acoustic guitars
Jonathan K. Bendis - electric guitar
Kevin Mackall - bass
Pete Demeo - drums
Erik Deutsch - piano

Song produced by Graham Stone & Dusty Wright. Recorded by Dusty Wright at The Silo Studio in New Concord, NY. Mixed & mastered by Graham Stone at Stone Studio in Austerlitz, NY. Written by Dusty Wright & David Ogilvy. All rights reserved. BMI.

Dusty’s song #1 sent to Brad: Dusty Wright, “Nowhere Good,” 2026

(If YouTube video above appears blank, click here to view this video on YouTube.)

Dusty’s rationale: Some shameless self-promotion for my new album, my 12th, released on June 12th. This song, as well as the entire album, is an homage to the artists and songs that help define the Americana genre.

Some may hear the Tune Tag connection immediately. Both an homage to a favorite song and to two favorite singer-songwriters. If not, all will be revealed in the very near future. So with that in mind, check out “Nowhere Good”!

Brad’s song #1 sent to Dusty: Rilo Kiley, “The Execution of All Things,” 2002

Dusty’s response: I get the “outlaw” vibe of the song title, and the slightly Americana tone, but the music is definitely indie rock, as is the excellent Rilo Kiley. The title song from their most beloved album is cinematic and majestic.

And, Jenny Lewis is a very cool singer-songwriter in her own right! She just has enough snarl-through-a-smile vocal to deliver the goods. In real life, Jenny and former co-founder Blake Sennett broke up. Doomed, much like the couple in my song. And Lewis threatens to “murder” everything important to her former lover: “…Murder what matters to you and move on to your neighbors and kids/Crush all hopes of happiness with disease ’cause of what you did.”

Brad missed the obvious outlaw-songwriter reference to Townes Van Zandt and “Pancho and Lefty,” and the nod to the song’s structure in the chorus’s opening two measures. And Steve Earle. Earle favored Townes over Dylan and famously said, “Townes Van Zandt is the best songwriter in the whole world, and I’ll stand on Bob Dylan’s coffee table in my cowboy boots and say that.”

But I like where this is heading!

TAG, YOU’RE IT!

Brad’s rationale: Omaha! The first thing I heard in Dusty’s song was “Omaha,” so that’s where I went looking!

Dusty’s song #2: Del Amitri, “Driving With the Brakes On,” 1995

Brad’s response: Guessing Dusty’s taggin’ to the driving being done in our songs so far. First time hearing, and I’m really struck by the message, written by Del Amitri singer, Justin Currie: “Driving with the brakes on (and swimming with your boots on)” as allegories for struggling through a relationship.

The last “punch line” is pretty striking, too: “It’s hard to say you love someone, and it’s hard to say you’re done. But, unless continents collide, nothing’s gonna make me break from her side.” Curiously, this was the last of a dozen songs on the band’s 1995 Twisted album (produced by Al Clay, with mixing by Bob Clearmountain, whose name can be found hovering around the boards on many late-’70s Sire Records albums…plus, he played bass on The Dead Boys’ debut album!). Track placement being what it is (even on CDs, and certainly on LPs, back in the day!), this must’ve been the thought and song they wanted to leave with the listener!

Longtime Brad-readers/Tune Tag-followers will be well aware of my general disinterest in lyrics, preferring to ingest “the whole song” and the sonic experience. Over the decades, if I’ve ever taken the time to dissect a song’s meaning, it’s usually always wrong, and/or the songwriter has chosen to write in such vague, and/or personal and muddled verse, it’s seemed a pointless exercise. But, Mr. Currie, nicely done. You grabbed me immediately!

From a year ago, Currie sits for a UK chat show, and discusses his recent book, and gives an update on his Parkinson’s diagnosis:

Dusty’s rationale: When desperation strips you of everything…well, most music fans would hit Play on “Love Will Tear Us Apart” by Joy Division, and that first came to mind, but this song is just as brutal.

I’d never much paid attention to the lyrics before, so shame on me. Having said that, it is never healthy to become so enamored with another human that you cannot breathe without them. That you would even consider murder. Perhaps that is what true first love is all about. It becomes something that strangles you. It makes you want to murder them for some perceived slight or wrong that can never be fixed. Or can it?

Both songs ooze melancholy and pathos. Both are incredible indie bands that have written evocative, deeply moving songs about the savagery of love. The Colin Hay (Men at Work) version (just below) strips it down to its bare essence, and is a more visceral and mature portrait of love from the vantage of a life lived, a middle-aged man looking back at what might have been.

Songwriting this smart, as Rilo Kiley’s song, stays with you forever. And while both bands were beloved, the main singer/songwriters went solo. Jenny Lewis (above) and Justin Currie each had success in their own right. Listening to both versions, I keep coming back to Colin’s bittersweet take as he absolutely slays this cover (as you can hear below). By the way, both are Scottish. Colin was born in Scotland, but his family relocated to Australia when he was a teenager:

Brad’s response: The former lead singer of Men at Work, and a member of Ringo’s travelling All-Starr Band, Colin Hay seems to also have been taken with Justin Currie’s lyrics and song! Both Hay and Currie have Scottish roots to varying degrees.

Brad’s song #2: George Michael, “Spinning the Wheel,” 1996 (YouTube won’t allow this video to play outside of YouTube. Click here to see it on their site).

Dusty’s response: Promiscuity alert! A very sophisticated ballad of a lover’s warning. Mr. Michael was an immensely talented singer, songwriter, and performer. Sadly, he left his world way too early. I was a huge fan after he left Wham. His music videos only reinforce his impact on culture during the MTV/VH1-era.

Given the time period of the mid-’90s, the narrative laments that his lover is taking “chances” during a time when AIDs was still a code-red alert for everyone. The highly-polished video matches the arrangement’s jazzy touches and vibe and was created by commercial directors, Vaughan Arnell and Anthea Benton (They did quite a few music videos).

This is George moving into a more sophisticated approach to his craft. Both songs are very much products of their time, production-wise, yet they have a timeless, enduring quality. Love songs with toxic partners will always be evergreen. Moreover, George was another artist who went solo and did not miss a beat in terms of success and the release of excellent music. And, before I forget, both feature spinning wheels. You need them if you’re driving with your brakes on! The song was co-written, arranged, and produced by Jon Douglas (below).

Brad’s rationale: If we’re “driving with the brakes on,” we might be “spinning the wheel,” either out of panic, or utility to maybe re-gain control.

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Dusty’s song #3: Roxy Music, “In Every Dream Home A Heartache,” 1973

Brad’s response: “Spinning the Wheel” equals the heartache warbled by Bryan Ferry here?

Dusty’s rationale: Bryan Ferry was the original cool British crooner, waaayyy before George Michael. Check his solo output during and after Roxy. Always in a tux like he stepped out of a James Bond film casino moment. Shaken not stirred.

This song exposes the “plastic” aspect of everything on display in George’s video and the excess pursuit of beauty that has only increased in these days of social media. This live version of one of my favorite Roxy Music ballads features a deceased friend (Sal Maida, 1948-2025) on bass and Brian Eno on synth. Brian left the band to go solo right after this album, to great renown as an indie and ambient music godfather.

Dusty continues: Guitarist Phil Manzanera was a prog-rock guitar hero with his extraordinarily varied solo output and his most recent stint with David Gilmour (Pink Floyd). The theme aligns with all the songs mentioned above, with a slightly more sinister non-human twist. The blow-up doll can easily be replaced by one of the new AI models that some men are buying today. Will this be the future of safe, casual sex?

Brad, with more Maida: About a decade ago, Sal wrote a book entitled, Four Strings, Phony Proof, and 300 45s (foreward by longtime rock scribe, Nuggets anthology album curator, and Group guitarist, Lenny Kaye).

Dusty, with some more little-known info about his late friend, Sal: He worked at NYCD on Amsterdam Avenue on the Upper West Side for a few years alongside guitarist Artie Lamonica of The Shirts, their lead vocalist, Annie Golden (actress, singer), and another CBGB’s alumni band from the original punk days. NYCD was the coolest indie CD shop in NYC. It was run by my friend and fab writer, Sal Nunziato and his partner, Tony. So many stories on that front. Sal Nunziato is perfect for TAG!

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Brad’s song #3: Genesis, “White Mountain,” 1970

Dusty’s response: I love story songs, especially prog-rock story songs. This one, from the 1970 album, Trespass, their 2nd album, is by Genesis and features yet another frontman who went on to solo fame, Peter Gabriel. His contributions to the genre are legendary—both his songs and his staging theatrics.

Having a tough time drawing another connection: Frontperson goes on to solo fame? Check. Both English bands flourished in the same time period? Check. Roxy is kinda proggy, but not full-blown prog rock like Genesis, Yes, ELP, et al. Roxy Music is art-rock mixed with glam rock. Both bands featured amazing guitarists. Check. Genesis had two in their lineup for this album.

Moreover, guitarist Anthony Phillips went on to a very robust career as a solo artist. Mike Rutherford went on to pen numerous chart songs with Mike & The Mechanics. And, when Genesis became a trio, even more hits. This track also features 12-string guitar, an instrument featured on my new album, Maximus Americanus.

Some critics have said this song, written by Mike Rutherford, Anthony Phillips, Peter Gabriel, and Tony Banks, is about the purity (snow mountain) of life and love and the pursuit thereof.

Trespass was also the last album with founding guitarist Anthony Phillips. Roxy Music’s album, For Your Pleasure, was the last album for founding member Brian Eno. Perhaps that’s the connection.

Brad’s rationale: John Anthony, who co-produced (with Roxy Music and Chris Thomas) Roxy’s For Your Pleasure album, produced the 1970 Trespass album by Genesis. That album was recorded in July 1970. Lead singer, Peter Gabriel was 20, as was keyboardist, Tony Banks; guitarist/bassist, Mike Rutherford was 19. Phil Collins (drums) and Steve Hackett (guitar) were still a year away from joining. For Trespass, the guitarist was Anthony Phillips (20), and the drummer was 23-year-old John Mayhew.

Alternate video with animation:

Dusty’s song #4: Smashing Pumpkins, “For Martha,” 1998

Dusty’s rationale: My final song was going to be “Beck’s Bolero” by The Jeff Beck Group. Jeff Beck and Jimmy Page together. Both young virtuosos, like the members of Genesis. Jimmy Page on 12-string rhythm guitar and Beck shredding. The Genesis song featured 12-string guitar as did Beck’s, but I thought that would have been far too easy to connect the dots. Instead I went with this stunningly emotive song…

“FOR MARTHA” - THE SMASHING PUMPKINS

From the 1998 album Adore, Pumpkins frontman Billy Corgan was a huge Genesis fan, and this piano-forward alt-rock ballad is an homage to said band. Written for his mother, who passed away from cancer in 1996, this is another love song, albeit one maternal. A song of longing, loss, and fond memories. The ending features a Mike Rutherford-like guitar solo. Some critics likened the song to one of the suites on my favorite Genesis album, 1973’s Selling England by the Pound.

Brad: Like “Firth of Fifth,” Dusty?

Brad’s song #4: R.E.M., “Losing My Religion,” 1998 (live, Shoreline Amphitheare, San Francisco Bay Area)

Dusty’s response: HUGE fan. I first heard them at my friend Mack’s apartment in NYC back in the early ‘80s. [R.E.M. manager, 1981-1996], Jefferson Holt, was there with a cassette of this new band from Athens, GA. They were the songs that I.R.S. Records would soon release as the August 1982 EP, Chronic Town:

I was a young assistant agent at William Morris, and I wanted to help them get booked on NBC-TV’s Late Night with David Letterman, one of our clients. Jefferson politely declined any help. Regardless, I was hooked, and those first songs by the Athens, Georgia quartet remain very near and dear to me.

This is a killer track and killer take. Peter Buck on mandolin. Mike Mills on acoustic bass. AND Joey Waronker on drums, who replaced Bill Berry (Waronker played drums on the Oasis tour last year). Joey is Lenny Waronker’s son, you know, from Warner Brothers. Plus, Scott McCaughey on acoustic guitar, and Ken Stringfellow on keyboards from The Posies.

Scott played with Peter Buck in the Seattle-based band The Minus 5 and Young Fresh Fellows. The song’s meaning? According to Stipe, the song’s title refers to an old Southern colloquialism that means losing your temper, reaching your breaking point, or running out of patience and civility. Is there another connection I am missing?

Brad’s rationale: This R.E.M. live performance features Joey Waronker on drums, who played drums on the Smashing Pumpkins’ “For Martha” studio track! Joey’s dad, 2025 Rock’n’Roll Hall of Fame inductee, Lenny Waronker, is a veteran record producer, and a longtime A&R exec at both Liberty and Warner Bros. Records, eventually rising to President of Warners for a decade.

Here’s Joey, in a revealing 12-minute interview on his love of drums as a child, his musical influences, and much more! See if you can spot the promo Warner Bros albums (with the round, hot pink promo sticker on the cover!) that Dad brought home that you see Joey pull down off the shelf!

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Here’s a Tune Tag the mighty Brain’n’I did this past May! Clearly, we love working together! And, durned if he didn’t slip in a Radiohead!

Enjoy discovering what makes this Brain musically tick!👇Good friend and October 13, 2026 Tune Tag guest, , squoze all the good-good out of Brain’s brain, recently, to these dazzling results:

Memory Lane Records

The Music That Made Me Vol. 2 – Brain of J-Hawk

Every music fan has a story…

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2 months ago · 19 likes · 10 comments · Memory Lane Records and Brain of J-Hawk (he/him)

Ban(ne)d Preconceptions!

He thinks he knows Radiohead…knows he loves ‘em! Me? None of the above! (This one’s happening today!)

He doesn’t know from ‘70s-era Genesis! I’ve loved them since ‘72! (That one’s coming soon!)

So, this all happened as I imagine most, if not all, communication happened at the early part of this century: Exchanging notes on social media! Brain of J-Hawk (one of my favorite people extant) and I were tossing around collab ideas, or maybe just breeze-shootin’ on fave artists, on Substack’s social media hub, Notes.

I discovered he’d only ever heard ‘80s-era, radio-hit Genesis, and I told him I’ve only ever heard of Radiohead, but (to my conscious memory) had never heard them (but, as we do, had come to the conclusion that “they’re not for me”)!

So, here we are: Coming soon, we’ll be posting a collab where I send him my favorite ‘70s-era Genesis songs, and he reacts to them (and compares/contrasts them with the ‘80s Genesis he knows!), but now, this:

My first impressions of Radiohead, from songs Brain sent me…with commentary from both of us!

Radiohead Song #1: Hit me, Brain, with your best shot!

Brain: Whenever you are ready just give a listen to “Lift.” I don’t want to say anything about it, because I want your honest opinion, then I can fill in some details in my response.

Later, Brain intros “Lift”: This is a song that was recorded during the making of 1997’s OK Computer. It was kept off of the record, because the band felt it was too far in the direction of what they had made prior to OK Computer (e.g. 1995’s The Bends), and they wanted to break away from that. The song would virtually stay buried until their reissue of OK Computer in 2017 (OKNOTOK). I hadn’t heard this song until then and fell in love with it:

Brad, after listening to “Lift”: A medium-tempo song with prominent guitar, the hint of strings (synth?) and the mumbling singer. I get that Thom Yorke is our singing hero, here, in a band I grew to hate a dozen years ago when I frequented karaoke bars virtually nightly, and if “Creep” wasn’t croaked at least 84 times a night by 85 drunks, it sure seemed like it!

Brain is sending his songs one at a time, and he doesn’t know what I’m writing…so, plead with me, now, that he doesn’t send me “Creep”!

With high-concept music videos like this, I always wonder if this is what the songwriter(s) was conjuring when writing the song! If not, does he/she/they have to sign off on the video director’s (or whomever’s) vision?

With only a handful of lyrics I was able to decipher from Yorke’s marble-mouth (and, I admit being helped, only slightly, by the video), this is something about a guy who feels isolated as the world moves by him…a theme we’ve seen before, but, usually outside the confines of a lift (they’re British…I’ll make allowances).

I’m curious: Does/can anyone actually hum along to this song? Can anyone actually call this a “catchy melody”? Or, is it not supposed to be? Was this a single? If my musical POV was whelped in 1964 by seeing The Beatles on The Ed Sullivan Show at age 8 (and, it was), can you grok my melody hunger? Please tell me these guys will harmonize at some point and/or “force” me to sing along or want to sing the song long after the needle has made its inevitable rendezvous with the label!

Brain responds: The fact that Brad is already having trouble with Thom’s vocals is concerning. Out of the five songs I provided him, I thought “Lift” had the cleanest vocals of the five. It’s also one of my favorite performances by Thom. The melody was immediately catchy to me, to the point where it gets stuck in my head on loop (right now it is). I think I might be in trouble here...

Radiohead Song #2: “(Nice Dream),” 1995

After Brad’s first listen: A far more “traditional” and even—gasp—melodic turn, here, with a standard verse/chorus approach, which I appreciated. The angular electric guitar entrance seemed almost “obligatory” (from their POV)….what might happen if Yorke and gang actually fashioned something that resembled a tuneful ballad, unadorned with jarring electric additions that burst through the pleasantry? Could they possibly be bending to what they think their alt audience wants to hear?

I noticed there’s an acoustic rendering available (I’m also curious to see what kind of covers have been done on this song). Let’s see what happens here:

Brad continues: Pretty impressive, and I appreciate Thom’s Scarecrow/straw hair/thatched-roof look, here! And, who wouldn’t be taken by Thom’s thorough immersion into his song (5 people are credited…I’m guessing the band? Might this be Thom’s song and they always slap all names on ‘em?), which had a period of more-impassioned playing 2/3 through (at the point the electric part of the recorded version “felt the need” to intrude).

SecondHandSongs lists 14 covers of “(Nice Dream)” including (curiously) half-a-dozen instrumentals, proving it’s a “pretty song”! Here’s one, Brain….you can’t possibly have heard this!😁

Or, this, a more trad MOR turn…actually a string quartet, of all things! But, having a violin carry most of the weight sends us back to Thom’s guitar strings-approach, fittingly:

Brain responds: This is probably my favorite track off The Bends. It’s euphoric for the first couple of minutes. The song is another example of what I love about Thom’s voice. I do think it’s a preferred taste. The apex of his performance is after the bridge, where the tone gets dark. His vocal fades back into the song. This isn’t a result from producing, it’s all Thom.

It’s interesting to me that Brad asks what if the band “actually fashioned something that resembled a tuneful ballad.” This is pretty much the opposite of what Radiohead wants to be. You don’t get that sense so much at this point of their work, but at the end of the 20th Century, it is emphatically in the opposite direction of tuneful. I think that’s what I’ve come to love about them, is their music always has some form of uncomfortability that keeps me somewhat on edge and doesn’t just melt my being into a complete sense of comfort.

I wasn’t aware of all of the covers. Brad’s right: I had not heard the European Jazz Trio perform it. I think that helps reinforce how good the band is at composition and probably provides Brad’s ear drums a break from Thom’s voice!

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Radiohead Song #3: “Knives Out,” 2001

Brad’s impressions: I enjoyed the tasty guitar playing, but I’m afraid Yorke loses me, on this one anyway, with his lazy, drawling mumbling that doesn’t seem to have more than a 3-note range throughout. I enjoyed the video (having played the “Operation” game with my brother in the ‘60s). I’m really anxious to hear what Brain (and anybody, really) finds redeeming in this song (at least that would warrant multiple listenings).

Brain’s response: I think it’s harder to enjoy this song without knowing where it sits in the sequence of Radiohead’s discography: It’s actually an outlier on ’01’s Amnesiac (and also 2000’s Kid A if you pair the two together). It’s a haunting song that really keeps the same tone throughout. I almost feel like Thom is standing over my shoulder when he sings it. I think I find it redeeming within the context of when it was released.

If it had been released on OK Computer or even 2003’s Hail to the Thief, I may not enjoy it as much. I do really like the fact that the music to this song was influenced by The Smiths. Ed even played the song (before release) for Johnny Marr who was “beyond flattered and quite speechless.” Hopefully that answers Brad’s question on why I find it redeeming!

Brad replies: I really appreciate all that info, Brain! It really does “fill in the blanks” quite a bit! I particularly love your “I almost feel like Thom is standing over my shoulder when he sings it” declaration. So brave and daring, I must say, and a feeling I know I have felt before (when listening to a beloved song), and I’m confident all our readers have, too! Nicely done!

I’m also gonna say that Brain’s been beyond patient and understanding with my first impressions. I know he appreciates that I’m not sugar-coating anything, but I also know he knows me well enough to know I’m not just “criticizing” for the heck of it!

I’m on record (and even some tapes!) as declaring that I love and respect all artists and their creations…at least the fact that they’re doing it! I’m not obligated to like this or that song or artist, and many I haven’t over the years, in all genres and musical eras….that’s a given for us all. But, Brain’s been beyond kind….well, that’s why we dig working together!

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Radiohead Song #4: “A Drunken Punch Up at a Wedding,” 2003

Brad’s first impression: Pretty piano figure, with a softer, better attempt at a trad ballad. An interesting electrified/grinding guitar “zap” throughout. Is that indeed a guitar? I enjoyed the harmonies, too…but, while “pretty” (sorry, R-headers…that may not be your chosen adjective for your fave band!), I’m still missing a real melody I can hang my hat on. Yorke’s falsetto is on display again, and it is quite pleasant-sounding! I’d have to look up the lyrics. I still can’t decipher what it is he’s actually saying!

Brain’s response: Okay, so Brad found Thom’s vocals pleasant! If you know me and the bands I listen to, coherent vocals are rarely a thing (I mean how much flack does Eddie Vedder get?). This is another uncomfortable song, musically, but when you sit down and read the lyrics and then find out Thom’s reasoning for this song, you really start to feel the tension.

Apparently, the band did a show in Oxford prior to 2003. The performance itself was very sentimental to the band. However, someone wrote a scathing review of the show that rubbed Thom the wrong way. Here’s a taste of the lyrics, Brad: “You had to piss on our parade. You had to shred our big day. You had to ruin it for all concerned. In a drunken punch-up at a wedding, yeah.”

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Radiohead Song #5, from Kid A, “The National Anthem,” 2000

Brad’s first impression: The opening bass riff makes them sound like the Red Hot Chili Peppers, IMO! Is that Yorke singing? And, what’s he saying? What’s the point of calling it “The National Anthem”? Bringing in the horns only makes it sound more like pure cacophony. I would wonder what’s the point, short of wanting to tread into Captain Beefheart’s or Weather Report’s territory!

Brain’s response: My approach toward this sequence of songs was to keep moving Brad further into the true inflection point of Radiohead’s career. This song is from Kid A, which is the record that moved the band far away from mainstream and into the abstractness that they wanted to become.

The record is also where Jonny Greenwood shines the brightest: Jonny is a phenomenal guitarist and composer who began to incorporate a lot of new techniques into the band’s recordings during this time (2000). “The National Anthem” is quite simply a car-wreck. Thom and Jonny worked with a horn ensemble to perform free jazz to mirror the style of Charles Mingus’s Town Hall Concert, a 1964 live album:

I’m not surprised that Brad is completely snowed by what the point of this song is. I think that’s what the band was going for. Not only on this song, but the entire album of Kid A. I’ve probably turned Brad completely off to Radiohead by ending the list of songs for him to digest in this fashion. However, in all honesty, I think Thom Yorke would have done the same thing.

Brad’s recent reply: That’s such a perfect ending note, Brain….I love that it’s artist-related…you know I love that! And, I know you know Radiohead and Thom’s music and career well enough that I’d bet dough that your hunch is right…he’d have wanted, nay, demanded that “The National Anthem” be the fitting period exclamation point to put a sonic button on our first of two “1st Impressions”! Thank you, Brain!

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Our Special BIG BRAIN SALE! 25% OFF all items in the FRONT ROW & BACKSTAGE Gift Shoppe! A variety of quality items, all with the exclusive “Brad Backstage in Houston with The Ramones, 1977” business card photo! Drop by the FRONT ROW & BACKSTAGE Gift Shoppe today!

We welcome Joe Hines of for his Tune Tag maiden voyage!

Last week, we enjoyed the talented Tune Taggery of of Radio Amor!

Next week, we’ll be puttin’ our hands together in welcoming Bob of !

Joe’s song #1 sent to Brad: R.E.M., “Fall on Me,” 1986

Joe’s rationale: There is something quietly defiant about this song, which is exactly why it belongs in this game! Michael Stipe called it a “general oppression song” — things falling on us from above, pressing down, and the quiet insistence underneath it all of not letting them crush you. And listen to what the melody does in that chorus — it descends. It literally falls. The music does exactly what the lyric describes, which is the mark of a song that knows exactly what it is.

But, here’s the thing nobody talks about: R.E.M. made the Lifes Rich Pageant album with Don Gehman (above), longtime producer for John Mellencamp, the man who made blue-collar, heartland rock records in Indiana. And, somehow the same set of ears that shaped “Jack and Diane” found a way into the dreamier, more fragile world of R.E.M., and made them sound simultaneously more accessible and more urgent than they ever had before. Don Gehman is the secret of this record. And he’s about to become the secret of this game, too.

I.R.S. Records 1986 Promotional Interview Video with Peter Buck and Mike Mills for Lifes Rich Pageant release:

Brad’s song #1 sent to Joe: River City People, “(What’s Wrong with) Dreaming?”, 1989

Joe’s response: Brad, you found it. Or more precisely — you found him: Don Gehman: The same producer who produced “Fall On Me” also made this record —River City People, a Liverpool folk-rock quartet recorded in Los Angeles, shaped by the same ears that had worked with Mellencamp and R.E.M. That’s not a coincidence of taste. That’s the same hands on the board.

But, the thematic thread runs just as deep. “Fall On Me” is about things descending from above — pressing down, threatening to crush. In “(What’s Wrong With) Dreaming,” the rain comes down hurting, then healing, then washing clean. One song resists what falls. The other surrenders to it and finds something redemptive in the surrender. Two different answers to the same sky.

What’s wrong with dreaming? Apparently nothing. Especially when the dream survives the downpour.

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Hello, His Bee-you-ti-ful Vinyl Lovers!

When you enter ’ Vinyl Room, you’re immediately and warmly greeted by the host’s trademark dazzling “million-dollar-smile,” and a sincere and eager, “Welcome” with a hearty “come on in!” Oh, and of course, his endearing, “Hello, my bee-you-ti-ful vinyl lovers!”

That’s the virtual example. I’m guessing that in real life, Andy and his husband, Stephan, would offer a similarly warm welcome if you rapped on the door of their beautiful London flat!

Now that Andy, with his rapidly-growing Substack entry, , has introduced his wildly-anticipated interview series, “Vital Records,” we’re getting to know a multi-talented, engaging (and delightfully revealing😲) Andy!

Introducing “Inner Grooves”

Speaking of “revealing,” Andy has recently launched the monthly Paid-Only “Inner Grooves” series on The Vinyl Room, where “each episode will highlight one record, one interesting bit of trivia, and one personal story usually kept under wraps.” Paid Subscribers will also receive a post every Wednesday, one of which will be an “Inner Grooves” episode.

“Extroverts like me tend to make a lot of noise to bury what’s painful to remember. As a trained performer, I know exactly how to hide behind the fourth wall. This will essentially be me tearing down that fourth wall and letting you get closer.”

Many of his readers/viewers (myself certainly included) are becoming increasingly eager to discover just what makes this native Argentine tick. Upgrading your subscription will put Andy’s “Inner Grooves” in your inbox once a month!

A recent example of Andy creatively utilizing his acting chops came on December 7, 2025, when he reacted to the 3 unusual and outrageous albums brought in by of Earworms & Song Loops:

The Vinyl Room

Comic Relief: The Teaser

Hello, my beautiful vinyl lovers…

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9 months ago · 18 likes · 26 comments · Andres and Steve Goldberg

Andy, in that episode’s Comment Section replied to my comment with this: “My original plan was to include my reaction video immediately above our video call, all in the same post, but our call ended up being longer than expected (all my fault, I should clarify: Steve was fantastic in all respects, but I lost track of time because of how much I was laughing!).

“So, I then suggested the two-part format to him. He was so accommodating throughout, a real pleasure to work with, as you are (and as you know), and man, we had SO much fun.

“I’d never done a reaction video in my life, so I wanted to get it right. I selected in advance the exact sections I wanted to react to. I had a cheat sheet with the exact time stamps (you can’t see it on camera) and I knew exactly what I would react to and what I would say.

“Basically, it was all acted, and mostly scripted, and I had even rehearsed it in advance. Having said that, I tried to keep it as spontaneous as I could... the laughter is real, of course, purely because every time I listen to those exact sections, I just naturally explode in laughter!😂

“In fact, the ‘they’re serving the fish’ track (‘We’re Going To Miami’) is the one that leaves me in stitches every single time, and if you pay attention, you can see I was trying hard to contain the laughter when I announced the name of the track.”

Aim Us ‘n’ Andy

So, acting (and occasionally singing, as we’ll discover), has played a part in how Andy “sets the table” so graciously for The Vinyl Room, but more clearly, in his “Vital Records” and new “Inner Grooves” series!

But, to really understand today’s creative and captivating Andy, let’s travel back to the previous century, and “grow up with Andy” to see just what powers his unique creativity!

Andy: “I was born in September 1988. I finished secondary school in 2006 and started uni (college or university) in 2007, graduated in late 2012, and packed my bags and moved to London in 2013.

“The bulk of my acting, as well as my first singing years, took place in Buenos Aires.”

“Oh, I knew I was forgetting something! Yes, Mariah Carey got signed (to CBS Records) in 1988, the year I was born, which is kinda wild if you think about it! I’ve often wondered when exactly the famous party where she met Tommy Mottola was, and often fantasized it could/might/should have been around September/October… pretty much as I was coming to the world!

Brad: “Andy, how and when did you start learning you could sing, loved singing, and started singing along with records? But, acting, too…when did all that start for you?” Press Play to listen:

Andy continues: “The acting wasn’t part of my school extracurricular activities but, instead, it was an independently-run local theatre that offered courses and put on stage productions. The people who ran it were actors, and I first bumped into them when they were performing in the local square (some cool promo stunt).

“I was 6 years old and I literally ran towards them. I wanted to do what they were doing. My parents were a bit embarrassed because these actors were relatively well-known in the indie theatre scene. They seemed like superheroes to me at the time, but they were probably younger than I am now!

“They were very sweet and encouraged my parents to enroll me in the kids course, which they did.

“What started off as a kids’ leisure activity, two hours per week with a cute little production at the end of the year, turned into something I was pursuing more professionally. As I grew up, so did the weekly hours I was putting in.

“It all started getting more and more serious and I was having the absolute best time! I became part of a collective, so to speak, and while we were still doing the official yearly courses with the production at the end of the year, our popularity in the local scene grew, probably thanks to how committed we were!

“All of us at the time were convinced we were going to do this more professionally once we finished secondary school (high school). Some of us went to auditions and were featured in small gigs here and there, but we all then gradually took different paths. We were putting in an insane amount of hours between classes, rehearsals, and the shows (several dates per month, for 1-2 months at the end of each year, due to ‘popular demand’). While we were young, wild and free, in hindsight it makes sense we all needed a bit of a break!”

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“5 MINUTES, CAST!” “THANK YOU, 5!”

“Acting, in many ways, is playing pretend until you don’t have to play pretend anymore.”

Most of us have no idea what he went through, especially at that tender age! So, I asked Andy to give us a glimpse into those Buenos Aires days “hitting the boards,” demanding director and all, in that community theatre experience that took him from eager single-digits to emerging post-adolescence:

“Picture a much younger version of myself proudly taking the stage, playing his part, delivering his lines, when the director suddenly shouts, ‘I don’t believe you! Say it like you mean it! Feel it! You’ve got what it takes! Come on!’

“So back to the drawing board it was, and we had to work harder. Get even more immersed in the character. Go through the motions so many times until it felt organic: until every gesture, every word, every glance — until everything happening on stage felt like a direct consequence of what was happening inside, rather than a fabricated performance.

“He showed us so much love and so much rigour. He taught us to believe in the characters we were portraying. He taught us that the acting had to happen inside for it to happen at all. That single lesson, which was actually a recurring one, informed the rest of my acting journey. Bless his heart and soul. Those were the standards. That was the bar. And he wouldn’t settle for less.

“There were many other lessons and pointers, perhaps more technical in nature. ‘Careful with the light! Use the space! Fill the stage!’ But that fundamental lesson on letting things happen on the inside first is still the bar against which I judge actors today. Once you see it, you cannot unsee it.

“And, while I never ‘made it big’ as an actor, my colleagues and I had a certain ‘following’ in the local indie theatre scene that went beyond our friends and family.”

The Tell-Tale Heart

“These were all taken during the same monologue, around 2006 (I think!). For that play, we (the group and I) decided we would do a combination of different smaller acts as part of the same show. There were other monologues by other members of the group, as well as short plays (acted by a few of us, say, 3 or 4), all united by a common thread (a bit like an album, if you will). I wish I remembered more details about what the common thread was (something related to passion, confessions, something along those lines, but don’t hold me to it)!

“As you know, my biggest strength was psychological drama, and this show (consisting of mini-plays and mini-acts) needed a big dramatic moment before the interval (intermission), so I gladly agreed to take care of that. I decided to adapt Edgar Allan Poe’s famous short story, ‘The Tell-Tale Heart’ (in Spanish—based on the Spanish translation by Julio Cortázar, one of the finest Argentine writers) for the stage. I think the story is worth reading (link here: https://poemuseum.org/the-tell-tale-heart/). I modernised some of the language to give it a contemporary feel, and summarised some parts to make it all fit nicely in around 15-20 minutes.

“I really invested myself in the story, the situation, and the character. Prepping for it wasn’t psychologically easy, and I remember thinking that, at some point, I was going to go insane (I really had to live that character for a few months), but I knew it was something I couldn’t do superficially. If you’re going to do something like this onstage, the audience has to believe you—there’s no way around it—so I went all in! It was tough, but incredibly enriching. It’s probably the period during which I grew most as an actor. It sounds conceited to say this, but the feedback I got from the audience every night I did that monologue was extraordinary.”

Brad: “I love the on-stage photos you provided above, Andy! There wouldn’t happen to be any actual film footage of you onstage, would there?”🤞

“As for film footage of me acting, I know it exists somewhere, most probably in Argentina. More recent stuff (early ‘00s) is probably in digital form, but God knows where. I’m not in regular contact with those friends anymore (nothing bad, just life), but I’m connected to some of them on social media and I know they are also scattered around, so I don’t think they have easy access to this footage.”

Brad: “Did you ever think of continuing your acting career in London?”

“When I moved to London in 2013, I did a couple more acting courses, mostly to see if I could become part of another group or collective similar to what I was doing in Buenos Aires, but the vibe was different (it could also be culture/age-related).

“I didn’t pursue it further because it was just too much work to try and find a group of people willing and available to commit to the sort of rigorous schedule you need to pull this off, so I gravitated more towards singing instead.”

Enjoy this, the most fun(ny)-filled half-hour I’ve spent with most of my clothes on…my “Phono Phunnies” turn on “The Vinyl Room”! Andy and I…unfettered, unfiltered, and filled with the funny!

The Vinyl Room

Vital Records #23: Phono Phunnies

We all know — and love — music history legend and writer extraordinaire Brad Kyle…

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3 months ago · 18 likes · 53 comments · Andres and Brad Kyle

Plus, get to know Andy, musically, in this wild’n’wooly recent turn Andy took with and his Joy in the Journey’s “Personal Mixtape”:

Joy in the Journey

The Personal Mixtape #3: Andy from The Vinyl Room

For volume two of The Personal Mixtape we welcome Andy who publishes The Vinyl Room. Thanks so much to Andy for joining us…

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3 months ago · 11 likes · 9 comments · Mark Nash and Andres

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Marty: “A couple years ago, I stepped away from my career as a reporter and editor in print and digital journalism after 17 years. I was burned out and needed to rediscover my love of writing and reporting! I still had the itch to write about music, as it has long been a passion of mine. I started publishing Radio Amor in August of ‘24, with the intention of focusing my writing and reporting on music -- past and present -- that is made in Michigan.

“Seeing music and cultural publications receive drastic cuts to their staffing energized me to think about how I could be part of the solution to dwindling arts and culture reporting resources by focusing on music being made in the state I live in and love.

“So far, it’s been a lot of lists, artist profiles, concert and album reviews, and deep dives into the groundbreaking music this state has produced, including Motown, Detroit techno, rap, indie rock, jazz and bluegrass!

“Since I started publishing, I’ve discovered this type of writing is still very much alive on Substack! I can only hope my writing about music being made in the Great Lakes State has been similarly illuminating for my small but loyal audience so far.”

“Oh yeah, PLEASE SUBSCRIBE!”

Marty and I last Tagged two Marches ago!

Marty recently spoke, in a revealing and entertaining video interview with , in , about the 3 albums that caused some “major shifts” in his life:

The Vinyl Room

Vital Records #15: Major Shifts

Hello, my beautiful vinyl lovers…

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7 months ago · 25 likes · 50 comments · Andres and Marty Slagter

Last week, we were pleased to welcome good friend, of Abandoned Albums, to his debut Tune Tag!

Next week, we look forward to welcoming Joe of for his Tag debut!

Marty’s song #1 sent to Brad: The Lowest of the Low, “For the Hand of Magdelena,” 1991

Marty’s rationale: I’ll be honest: I’ve been obsessed with weighing my favorite earworms of all time ever since the brilliant prompted MusicStack with the thought-provoking question about what the ultimate earworm was!

Every second of Canadian indie pop masterminds, Toronto’s The Lowest of the Low’s song, “For the Hand of Magdelena,” fits my definition of a perfect pop song: It’s endlessly listenable and hummable, while every line feels Google-worthy.

The band’s primary songwriter, Ron Hawkins (above), wrote several songs inspired by the Spanish Civil War, explaining that the subject had everything you could possibly want as a songwriter, including heroes, villains, courage, cowardice and treachery.

“For the Hand of Magdelena” is one of them, and is included in a virtual museum dedicated to the Spanish Civil War alongside songs like The Clash’s “Spanish Bombs,” and Manic Street Preachers’ 1998 “If You Tolerate This Your Children Will Be Next.”

In the museum, Hawkins notes that “For the Hand of Magdelena” is the love story between an International Brigade soldier and a madrileña named Magdelena. “Though he feels his boots are ‘planted in the soil of Spain,’ he is repatriated to New York City when the war is lost and he wonders whatever became of her,” Hawkins said.

Beyond the fascinating draw of this life during wartime tale, the song’s pop culture references from Ernest Hemingway to Clark Gable and its infectious rhythm guitar strike the perfect balance of bookish and catchy, making it the perfect earworm for my cochleas.

I was introduced to the song and the band’s landmark 1991 album, Shakespeare My Butt (above) by a guy named Billy, a music sage from my days of poring over music recommendations on LiveJournal, which had a music community I would liken to the one I now benefit from on Substack. I’m forever indebted to Billy for turning me on to some of my favorite artists of all time, including The Lowest of the Low, New Orleans’ “Black Liberace,” singer/keyboardist James Booker, and The Pogues. Thanks Billy!

Brad’s song #1 sent to Marty: Nick Lowe, “Marie Provost,” 1977

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More About Music, Please!

Sharing with you music's most underrated artists and albums. Message for guitar lessons. Find my favourite guitar gear and music products here: https://linktr.ee/Tom.Moloney

By Tom Moloney

Until Spring of 2025, Tom Moloney of More About Music, Please! had little-to-no-idea as to what power pop was, let alone having heard any of its fabulous melodies, glorious harmonies, and the rivetingly catchy songs this rock sub-genre has to offer!

Well, he’s heard ‘em now, and here’s what he thinks!

Here are Tom’s last couple of forays into discovering some of power pop’s best artists & songs:

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Song #1: Liverpool Express, “Smile,” 1976

Tom’s first impressions: “Smile” is a song that looks optimistically to the future. It makes you want to have fun, join in with the singing and move your body. The vocal melody bounces with the beat of the drum, giving it the energy you feel, and adding to the overall excitement of the music.

The pitch lift in the chorus emphasizes this, a classic technique in music that is so effective when used properly. Designing the chorus around the repetition of “smile” is very power pop, a genre famous for its happy-go-lucky themes and lyrics that are easy to sing along to, something “smile” epitomizes.

“Smile” is a song that lifts me to the clouds and puts me in a mood to get outside and find hidden gems in a world I am yet to fully explore.

Billy Kinsley (Bass)
Roger Scott Craig (Piano)
Tony Coates (Vocals / Guitar)
Derek Cashin (Drums)
John Ryan (Drums / Backing Vocals) 1976-1981

Brad: From around ‘76, the band on one of those TV shows where the bands lip-synch their way through, most likely the UK, in this case. Curiously, their 1976 debut album (produced by Hal Carter and Peter Swettenham), Tracks, was released by Warner Bros. Records, worldwide, except the U.S.! Apparently, domestic Warner suits thought they were “too British” (but, not for Spain, Brazil, or Argentina, though)!

🎵Turn it up! Only $5/mo or $35/yr!🎸

Song #2: The Rubinoos, “Nothing A Little Love Won’t Cure,” 1977

Tom: The Rubinoos is a name I’ve been seeing a lot since Brad first introduced me to power pop. Clearly, if you’d asked me about them this time last year, I’d look blankly back asking, “Who are The Rubinoos?” Since then, they’ve become a staple of the music I listen to.

What makes this song sound and feel like a Rubinoos tune rather than just another power pop song is the vocal harmonies. It’d be difficult to find a band that is tighter and more in-sync with their backing vocals.

On “Nothing A Little Love Won’t Cure,” the harmonies are more important than the guitar, bass and drums. They are the highlight of the song and it would have a completely different feel without them.

When listening to “Nothing A Little Love Won’t Cure,” you almost want to sing along with the backing harmonies rather than the lead vocals themselves. It’s a song that gets me excited to hear again, discover more by the band, and check out the entire album it comes from!

Brad: Tom, that would be their👇self-titled 1977 debut album on Beserkley Records:

Before we leave “Nothing a Little Love Won’t Cure,” Tom, here are The Rubinoos, live, from this past March, at the Alameda County Rock’n’Roll Flea Market (Facebook friend, Al Chan, on bass):

25% OFF ALL FR&B and Tune Tag Merch!

Song #3: “Out Of My Heart” by BBMak, 2002

Tom: “Out Of My Heart” feels like a classic love song. It has simple acoustic guitar chords strumming away, whilst the vocals are executed in a way that any boy band of the ‘90s or ‘00s would be proud of.

The song is modern and has that very early 2000s sound. This is something that surprised me when first listening, as I’d always assumed the era of power pop ended by the late ‘70s, but the use of harmonies and constant repetition show the band’s strong influence from music in the 1960s.

It took me just one listen through to know all the lyrics of the chorus, and the melodies had me singing along; that is what power pop is all about!

Brad: From 2019, “Out of My Heart” live at a bar called “8 Track Tapes”: 3 singers, 3-part harmonies, two acoustic guitars, and no drummer:

Song #4: Hanson, “Where’s The Love,” 1997

Tom: The minute “Where’s The Love” started, I was absolutely sold on it! The energy is unmatched, the vocals have a humble confidence, and it is a song I love so much, it ended up in one of my playlists weeks back when Brad first shared the song with me!

Being honest, there is a strong familiarity I have to this song, and I’d suspect it is either a song my older sister would play during my early years, or it was a song my guitar teacher would cover in his band.

“Where’s The Love” can be summed up in two words: energy and excitement. Right from the first guitar strum, it is larger than life. It’s built through layer upon layer of instruments and vocals, that are panned left and right, creating a wall of sound.

Brad: Then, wait ‘til you hear them all grown up, live, and in a far more rock-forward arrangement, Tom (with the key noticeably pitched down, appropriately enough!):

By the way, Tom, “Where’s the Love” was written by Isaac Hanson, Taylor Hanson, Zac Hanson, Sander Salover, and Mark Hudson. Mark was, himself, part of an all-brother trio, The Hudson Brothers (with Bill and Brett), in (mostly) the ‘70s! So, it’s not unusual he found himself, often, in the galaxy of Isaac, Taylor, and Zac, even to the point of co-penning songs, including this one!

Here’s an article I was proud to collab with on, from last year, focusing on The Hudson Brothers’ mixed-medium ‘70s foray into TV and recording:

And, from the song’s Wiki page (returning to this century!): “On June 11, 2021, American pop-punk band, Bowling for Soup, released a cover of the track, being joined by Hanson themselves! The cover was guitarist Chris Burney’s idea. When asked about the track, singer Jaret Reddick said:

Taylor Hanson and I have been friends for a long while. So when Chris threw the idea of ‘Where’s The Love’ into our ‘cover songs to record’ mix, I thought, ‘Never hurts to ask!’ Those guys stay busy! The idea was for Taylor to sing the bridge. You can imagine our surprise when he sent it back with himself, Isaac and Zac all singing on the song! And way above and beyond what we had asked!

Our voices sound so cool together, and hearing them sing over the huge guitars is freakin’ amazing! I have high hopes for this one!

“The music video, animated by Dave Pearson, pays homage to the early Scooby-Doo cartoons”:

✔VOTE FOR YOUR FAVE POWER POP SONG AMONG THESE 5….BELOW!🔥

Song #5: Squeeze, “Is That Love?” 1981

Tom: Like so many power pop songs, “Is That Love?” is straight into high energy and high tempo. It contains melodies that flow smoothly and rise at the end as they wander up the scale.

Where this song differs, the vocals remind me a lot of ‘90s Britpop. They carry attitude, and the singer doesn’t seem to have a care in the world: Maybe an early influence for Oasis and Blur.

“Is That Love?” (written by Chris Difford & Glenn Tilbrook, and produced by Roger Bechirian and Elvis Costello) does, however, contain a lot of cheesy harmonies, clarifying for the listener that this is power pop and not one of the Gallagher brothers. Maybe to be expected, given my background, but for me, the highlight of the song is a very well-written guitar solo. It is a solo that is a little funky and crisp. What I like about it so much is how it feels unique and doesn’t use common patterns, yet is in fact, incredibly simple in its very nature.

Brad: Squeeze and a 2014 “Is That Love” live studio performance:

😱Here ya go, Tom! As a parting gift (and fun little game!) for ya, find our song in this 8-song Squeeze medley from 1981, cheekily-titled, “Squabs on Forty Fab” (a dig at the trend from that year, the “Stars on 45” spate of badly-edited medleys of stars’ hits)!

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One of my favorites of Keith’s recent podcasts: His interview from last Fall with singer/songwriter/recording artist, of (Teaser: 3 of his earliest musical influences? Glen Campbell and his “Rhinestone Cowboy,” and Waylon & Willie!):

Abandoned Albums

Pete Droge

It’s a tricky thing to do a podcast because to cover a career like Pete Droge’s, you’d need at least two hours, and I limit my show to one hour of interview, leaving room to cut in songs. Accordingly, as disappointing as it is, there will inevitably be some gaps in the conversation…

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a year ago · 5 likes · Keith R. Higgons

One of my favorite collabs with Keith, joining him for a Babys “Inside Tracks”:

Last week, we buddied up with of Musings of a Broken Record:

Next week, we’ll be delighted to entertain of Radio Amor!

Keith’s song #1 sent to Brad: The Replacements, “Bastards of Young,” 1985

YouTube has marked this video “restricted.” Click here to see/hear official video on YouTube.

Keith’s rationale: I wanted to start with something easy and friendly, and what better way than doing it with the ‘mats. Brad had already heard my first choice, “Alex Chilton,” so I figured I would drop the “Bastards of Young” bomb on him. A song that should’ve/could’ve/would’ve defined a generation, but given the band’s penchant for self-destruction, that never came to pass.

Rare Westerberg 1986 Radio Interview

From KCRW-89.9 FM/Santa Monica, CA: “In April of 1986, Paul Westerberg was in town to film the now-iconic video for The Replacements’ ‘Bastards of Young.’ While in LA, he and his then-girlfriend, Lori Bizer, met up with Deirdre O’Donohue for beers at the Hyatt Sunset. In a wide-ranging and casually hilarious conversation, the three talk about the making of the video, the Replacements’ reception on commercial radio, and Westerberg’s newfound reputation as ‘the nicest guy in the world.’”

⭐Click here for rare 43-minute Paul Westerberg radio interview, April 1986⭐

Brad’s song #1 song sent to Keith: Genesis, “No Son of Mine,” 1991

Keith’s response: After spending an embarrassingly long time trying to draw the connection between Genesis and The Replacements (there is none that I could find), it suddenly hit me: No son of mine….bastard. I’m guessing the original definition of bastard, a child without parents, was Brad’s reasoning here. [😁👍]

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A friend told me about Substack. I wound up with subscribers, and because I wanted to give them something, I started Musings Of A Broken Record.

Quite often, I get asked about my Substack’s name. It came about when, about a year earlier, I saw an actual broken record lying on the ground near my apartment building. I didn’t want my Substack to just be “Mark’s Substack,” so I came up with the name of my publication purely from needing something on the fly based on the photo I was using!

I have developed an interest in newer music over the past two years. Among my favourites are Sabrina Carpenter, Chappell Roan, The Last Dinner Party, Sam Fender, and Pink Pantheress. I mostly love a lot of older music, though, my tastes being all over the map!

What really fascinates me are artists who never really made it, one-hit wonders, or things such as cut-out bins.

Mark and I last Tagged in July of ‘25:

Last week, we happily welcomed of Jagged Time Lapse:

And, did you catch our special🔥Tune Tag (June Tag🤪WiLd cArD😜) Edition with of Musette last Thursday?👇

Next Tuesday, we’ll open the door for of for his very first Tune Tag!

Mark’s song #1 sent to Brad: Diesel, “Sausalito Summernight,” 1981

Mark’s rationale: I picked this song (written by band members, Mark Boon and Rob Vunderink) to start because it came up in conversation with Brad recently. Also, I’ve been on a Dutch music kick watching episodes of old pop music shows like Nederland Muziekland on YouTube.

This was Dutch rock band Diesel’s only North American hit when it hit the Top 40 of the Hot 100 in 1981. In Canada, it was a bigger smash, topping the RPM charts.

How they came up with “Sausalito Summernight”…it’s in Dutch, but switch on “English subtitles” (it’s 5 minutes):

The band, live, in 2016, with “Sausalito Summernight”:

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Brad’s song #1 sent to Mark: George Duke, “Sausalito,” 2005

Mark’s response: Brad definitely picked this for the title. George Duke is one of those artists who crosses my path, but I haven’t heard much by. This has some cool synths in it that remind me of Stevie Wonder’s late ‘70s output. Great one, Brad!

Brad’s rationale: There are more songs about Sausalito than you might think! Going from a guitar-forward rocker to a keyboard-filled jazzy groove with Mr. Duke’s “Sausalito”! Look for him on the left, tickling the ivories (piano and Fender Rhodes), in this fun-to-watch recorded performance (with Napoleon Murphy Brock on lead vocals, featuring vocalist, Izaline Calister), and the Metropole Orkest, from the conductor, Jules Buckley’s POV (venue: Rehearsal MCO Studio, October 29, 2009, Hilversum the Netherlands):

☝Upgrade your sub for All-Access!🔥

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