While we’re fans of several of the Morrison Hotel Gallery’s shows, their latest exhibit, CBGB: The Age of Punk, is one close to our musical interests here at the pod. With works from artists and photographers like Lynn Goldsmith, Chris Stein, and Mick Rock of the scene’s greatest icons, from The Ramones to Sonic Youth, the gritty, raw energy of ’70s and ’80s Bowery is sure to excite and inspire the punks in all of us to go out and make some noise.
CBGB: The Age of Punk will be on display at the gallery’s three locations (New York, Los Angeles, and Maui) from May 18 to June 17. For more information, visit www.morrisonhotelgallery.com
Whether you’re planning on checking out the show or not, we rounded up our favorite episodes on the era here to transport you back to 315 Bowery for an hour or so. The time machine lust is very real.
Episode 4: Tom Tom Club – Tom Tom Club
Episode 9: Television – Marquee Moon
Episode 10: Tom Petty and the Heartbreakers – Tom Petty and the Heartbreakers (fun fact, they played CB’s in their early days!)
Episode 2.5: Blondie – Parallel Lines
Episode 2.7: Patti Smith Group – Easter
Episode 2.9: Lou Reed – “Street Hassle”
Thrilled to join Crispin Kott and Mike Katz to discuss their new book, Rock & Roll Explorer Guide to New York City at Rough Trade NYC. Come join us to talk about music, New York, and the history between the two. More details here.
Exciting to be included in this Financial Times article about women in the male-dominated world of music podcasts.
Your friendly millennial torchbearers talked to Quiet Lunch about the pod, New York, and why rock and roll isn’t dying among those under 40. Check out the full interview here.
A New World Record – Electric Light Orchestra – United Artists – 1976
Get out your cargo shorts and fire up the grill, because this week we’re going back to Dad Rock territory with ELO’s landmark 1976 album A New World Record. Often thought of as the best representation of ELO’s sound — and the pinnacle of Jeff Lynne’s arrangement, writing and production — this set of songs draws from a bevy of richly melodic influences, from the Beatles to the Beach Boys to ‘50s street corner doo-wop to possibly even John Cale.
With such perennially loved sounds baked into its foundation, what makes A New World Record sound dated to modern ears? How could arrangements and orchestrations of such timeless origin be connected so deeply to one decade? Is it possible, in 2018, to genuinely love this album for what it is, with no trace of irony? Join us for a discussion about that, musical legacies and evolution, and song connections — and maybe, if you listen closely, you’ll hear a dad joke or two.
Listen to A New World Record: iTunes | Spotify | YouTube
Episode notes and postscript corrections
- Hello, and welcome to another episode with your sensitive and feels-feeling hosts!
- We are highkey passionate the concepts of legacies, preserving history and learning from it, keeping stories and traditions alive, and, as millennials, carrying the torch. As always, we would love to talk to you about how we, as millennials, can carry the torch.
- We’ve discussed the broad landscape of music that came out in this same time period on several occasions. For more historical context or further discussions, check out our episodes on Television’s Marquee Moon, Tom Petty & the Heartbreakers’ self-titled debut, Jackson Browne’s Running on Empty, Rolling Stones’ Some Girls, Blondie’s Parallel Lines, and/or Patti Smith’s Easters.
- Seriously, though, when is the last time Jeff Lynne was seen without his sunglasses?
- Take: “Dated” doesn’t always necessarily mean bad or unenjoyable.
- And we don’t care if it’s not cool, among millennials especially, to like ELO. We super don’t care. We know we are not cool.
- Shoutout to Kelly Groucutt and Bev Bevan for being underrated groove champs on this album.
- “Tightrope” is really just a Beatles song with classical embellishments. Don’t be like this guy and tell us we’re drunk for thinking there’s a connection.
- It’s also a great ~welcome to the album song~
- We are highkey here for all of Grace Spelman’s music nerd playlists, but Welcome to the Album, a playlist comprised solely of excellent opening tracks, is truly fantastic.
- A friendly reminder that at the end of the day, all of the songs have been written. Originality comes when you incorporate past influences and build upon them to make something new and unique. All good art is stealing, and appropriation is the sincerest form of robbery.
- Shoutout to the Traveling Wilburys. Again. We love those guys.
- Telephone songs are so cool in that times change, but sad phone calls have stayed relevant.
- Shoutout to songs that namecheck influences.
- Question: What would “Rockaria!” sound like if it got “Genius of Love”-d tho? Or if “Genius of Love” got Jeff Lynne-d?
- “Yerffej Ennyl.” Bruh.
- @ people who grew up with great expectations for the 21st century: we are sorry. We wish we had robots and stuff like that, too.
- Yeethoven (pronounced YAY-to-ven, sorry) is an absolutely brilliant orchestral mash-up project by the Young Music Foundation that saw their debut orchestra performing Beethoven interspersed with tracks from Kanye West’s Yeezus. Trust us, it’s fascinating to hear the similarities and see how classical music is very much still relevant in modern music today.
- It was such a banger that they did it again with songs from The Life of Pablo and it slammed.
- (Carrie hardcore stans for appreciating Kanye West as an extremely talented producer and musician, if you’re new here.)
- Here’s more about how the band used a Moog in a really awesome, early-adaptive way.
- This video of James Jamerson basslines, animated, from our fave millennial funk torchbearers Vulfpeck is DOPE.
- SOIP = summer of infinite possibilities. Any song that evokes a feeling of infinite, electric, so-young-and-alive feelings — no matter your age — is a SOIP song.
- Shoutout to Fanny, again, for those slamming backing “higher and higher” vocals!
- Seriously, someone please make us a mash-up of “Livin’ Thing” and “Love Train.” HOW does one not exist already?
- Will we somehow find a relevant way to shoutout Christine McVie in every podcast episode? Stay tuned to find out.
- If anyone can find us OG versions of “Above the Clouds” and “Do Ya” by The Move, we would really, really love that.
- Gonna go ahead and file “Do Ya” under “Songs You’d Have To Have Your Head Buried In The Sand To Have Never Heard Before”
- We promise we’re going to do an episode on the Wilburys at some point. Swear.
- End of the night songs are great songs. Check out our Tom Petty and the Heartbreakers episode or our T. Rex episode to hear more what we have to say about them.
- As always, hit up our master playlist on Spotify for all the songs we mentioned today in one place.
Favorite track(s): So Fine and Livin’ Thing (Carly) | Tightrope and Livin’ Thing (Carrie)
Least favorite track: Rockaria! (Carly) | Shangri-La (Carrie)
- Jeff Lynne – Vocals, lead, rhythm, and slide guitars, percussion, Wurlitzer EP200 electric piano
- Bev Bevan – Drums, Minimoog drum, percussion, backing vocals
- Richard Tandy – Wurlitzer EP200 electric piano, Minimoog synthesizer, Micromoog synthesizer, SLM Concert Spectrum, Electra x320 guitar, Hohner clavinet, Yamaha C7 grand piano, Mellotron M400, Maestro phase shifter, percussion, backing vocals, Systech flanger
- Kelly Groucutt – Vocals, bass guitar, percussion, backing vocals
- Mik Kaminski – Violin, Maestro echoplex, Univox univibe
- Hugh McDowell – Cello, Systech phaser, Mu-Tron III, Mu-Tron phasor, Maestro echoplex
- Melvyn Gale – Cello, Maestro echoplex
- Mary Thomas – operatic vocals
- Patti Quatro – uncredited backing vocals
- Brie Brandt – uncredited backing vocals
- Addie Lee – uncredited backing vocals
Jeff Lynne’s ELO: Wembley or Bust trailer | 2017
“Livin’ Thing” live at Glastonbury | 2016
Saturday Sessions: Jeff Lynne joins CBS This Morning | CBS (2015)
“Tightrope” live on Zoom Tour | 2001
“Tightrope” music video | 1976
“Livin’ Thing” music video | 1976
Classics Album Interviews: Jeff Lynne on ELO’s A New World Record (radio interview) | BBC (August 1990)
Jeff Lynne and George Harrison Play Banjos | Date unknown, but appears to be from a documentary on George Harrison. Reach out if you know which one it is!
ELO’s Bev Bevan Talks Rock Hall Induction, Jeff Lynne Rift | Rolling Stone (December 2016)
ELO’s Jeff Lynne: My Life in 15 Songs | Rolling Stone (January 2016)
It’s A Livin’ Thing (Jeff Lynne interview) | The Quietus (June 2015)
ELO’s Jeff Lynne: ‘All those hipsters with beards are copying me!’ | The Guardian (October 2014)
In Defense of ELO | Square Zeros (June 2014)
Jeff Lynne revisits his roots with ELO and classic covers projects | Goldmine Mag (June 2013)
Electric Light Orchestra, “Telephone Line” | American Songwriter (April 2013)
Juju – Siouxsie and the Banshees – Polydor – 1981
In 1981, British rock was in a transitional phase. Punk had, by then, all but completely faded out, and new wave and post-punk were shaping fresh ideas of how rock could sound. It was in this environment that Siouxsie and the Banshees were set to record their fourth album Juju. After going through a lineup change before their previous release, and with guitarist John McGeoch now cemented as an official member, the band was ready to experiment with their sound, to create lyrical and melodic concepts that would mesh together cohesively as one work. The band created and molded the songs for Juju while on tour, working the songs out live and letting them take the dark, theatrical, romantic shape that would give the album its singular sound, the final product of which would help define the subset of post-punk that would come to be known as “goth rock.”
In this episode, we discuss this move from punk to post-punk, detail the Banshees’ stylistic choices and conceptual soundscapes, and (surprise) have a conversation about feminism and punk rock.
Listen to Juju: iTunes | Spotify | YouTube
Episode notes and postscript corrections
- Hello, and welcome to our first post-punk/goth rock episode!
- Siouxsie and the Banshees use a ton of romantic imagery in their lyrics. We highly recommend following along and checking out the lyrics to each song here.
- Shoutout to Budgie for hitting those drums for his life, henny!!!!
- @ VH1: We are full of fun facts and available to host a revival of Pop-Up Video. We’re cheap. Call us.
- Hello, we’re never not on our feminist-soapbox bullshit, and Siouxsie and the Banshees are no exception.
- See our further reading notes below for two woke as hell essays about the intersection of punk and feminist identity.
- Siouxsie’s stylized look totally comes out of a stylized ‘60s girl group aesthetic — except she’s the one in charge, and you can tell she’s a totally unfuckwithable baddie.
- Revisit our episode and our liner notes on Blondie’s Parallel Lines. We had A LOT to say about the way female artists created and controlled their own images — and the way that got twisted and co-opted by the media and their legacies.
- Friendly reminder, though, that women can be smart and stylish at the same time!!! Women are complex creatures!!!
- Be sure to follow our master soundtrack on Spotify for all the song references we’re dropping, from Brian Eno to Sonic Youth.
- Shoutout to “Monitor” containing, like, three different meanings in one song. Words! They’re fun!
- Is Sonic Youth the Kevin Bacon of rock and roll? Hit us up and tell us what you think, because we’ve talked about them in three episodes now, so.
- We’re never not talking about how songs that were accepted in decades past would come off as problematic today. “Head Cut,” banger as it is, is definitely one of them.
Favorite track: Monitor and Spellbound (Carly) | Spellbound (Carrie)
Least favorite track(s): Night Shift (Carly) | Night Shift (Carrie)
- Siouxsie Sioux — vocals, guitar on “Sin in My Heart”
- Steven Severin — bass
- Budgie — drums, percussion
- John McGeoch — guitar
What is Goth Music? A Brief Overview of Goth Subgenres | 2017
Rock Family Trees: Banshees and Other Creatures | 2001
Juju Live Tour | 1981
“Spellbound” music video | 1981
“Arabian Knights” music video | 1981
“Voodoo Dolly” live | 1981
Spellbound: The Story of John McGeoch (radio doc) | Date Unknown
The Story of Goth in 33 Songs | Pitchfork (October 2017)
In Romanticizing Riot Grrrl, We’ve Forgotten the Women of UK Punk That Paved the Way | Noisey (April 2015)
Siouxsie and the Banshees: “We Were Losing Our Minds” | Uncut (October 2014)
Dissecting the Deathly Mystique of Siouxsie and the Banshees | AV Club (July 2013)
Siouxsie and the Banshees: “We Were Losing Our Minds” | Uncut (October 2014)
Juju Re-Release Liner Notes | 2006
The Image of Siouxsie Sioux: Punk and the Politics of Gender | Academic paper (April 1995)
“Street Hassle” – Lou Reed – Arista – 1978
In our second mini episode, we explore the titular track from Lou Reed’s 1978 “comeback” album. This is a song rich in narrative and evocative imagery, running over 11 minutes long and effectively capturing a moment in time in New York City from Reed’s unique perspective. It’s a ghost of a song, the effects of which can still be felt in the city of its setting, even though its events can no longer be experienced.
Here, we parse through the three parts of this song, discuss its historical context, make connections and comparisons to another ’70s New York rock odyssey, consider the impact of Lou Reed’s songwriting on future generations of musicians, and get a little sentimental about the New York of yore, even though we totally weren’t there.
Listen to “Street Hassle”: iTunes | Spotify | YouTube
Episode notes and postscript corrections
- Hi, hello, and welcome to another mini episode! Life comes at you fast, and while we work on a real-length episode and also do all the stuff we do in our professional lives, we thought we’d hit you with this snack-sized bit.
- And, yeah, don’t worry — we’re definitely doing Velvet Underground and/or more solo Lou Reed in the future.
- There’s a lot of background info about Lou and VU that we won’t bore you with here. There’s this cool thing called Google if you want to learn more.
- See our further reading links below to read up on the long, contentious relationship between Lou Reed and Lester Bangs.
- Here’s some science stuff about binaural recording.
- This song is long and intricate AF, so put your headphones on and buckle up.
- Shoutout to Lou for subverting gender norms in the Waltzing Matilda section!
- Turn your volume WAY up and tell us if you agree or disagree with Carly about the beginning of the Street Hassle section sounding reminiscent of Christine McVie.
- The Factory was wild!!! Here’s some more info.
- Pop over to our master playlist on Spotify for a handful of songs to explain that “this song is in a bright major key even though the lyrics are dark!” thing.
- If you want to feel shook at how city life remains still pretty much the same in 2018 as it did in 1978 and as it did in 1903, then you should definitely read this essay, Metropolis and the Mental Life.
- Do we have any artists, currently, who are disciples of Lou Reed? We’re not sure, but we loaded up our master playlist with some influences. And, as always, we’d love to hear what you think.
“Street Hassle” music video | Date unknown, more like a short film soundtracked by the song, but still cool
Live at an unknown location | 2003
Live at the Ritz | 1986
Live at the Capitol Theatre | 1984
Lou Reed: A Life (DeCurtis bio) | 2017
Lou Reed Found His Voice Again on “Street Hassle” | AV Club (October 2016)
Babe, I’m On Fire: The Making of Lou Reed’s Street Hassle | Uncut (October 2016)
Looking Back at Lou Reed’s Famously Contentious Relationship With Rock Critic Lester Bangs | Vulture (October 2016)
What Lou Reed Taught Me | NPR (October 2013)
Q&A: Lou Reed | Rolling Stone (November 1987)
Lou Reed’s Heart of Darkness | Rolling Stone (March 1979)
Street Hassle review | Rolling Stone (April 1978)
“Street Hassle” lyrics | Genius