Down On High: Examining the Records That Made Us: Recent Episodes
Tyler S & Greg H
Millennial song writers discuss the albums that shaped them - examining the artistic intent, history, and environment of their release. Tyler and Greg compare albums as these artists change, contextualizing these records as lifelong musicians.
In light of the possible upcoming war with Iran on Israel's behalf, we are taking a look at Green Day's American Idiot. On the surface, it may seem like a criticism of American culture through the lens of the "War on Terror," but we find even more depth -- it's a critique on behalf of those whose live's were subjugated and used up by the war machine over seas and the suburban malaise at home. It's not making fun of American's and their love for cheeseburgers and guns; it's about an interminable cycle of loss in meaning, where the myth of patriotism did not deliver. Why did we do this? What was this for? Seemingly little. All the while, those who did not want this were called weak and gay. "You don't support the troops?" Arguably, Green Day and other protesters supported the troops more meaningfully than America did, as it owned its citizens through aggressive recruitment, tour after tour -- and the death of hope -- stop loss. Let's not do this again.
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In this episode, we discuss the mythology of misery around Bright Eyes and Conor Oberst, as he surprises us with his showing up as "okay" to the Palace Theatre in St. Paul on April 4, 2025. Okay is by no means a low bar, considering the show was top form Bright Eyes. Truly. It was an incredible show that shook our expectations, and we're thrilled to share what we learned.
Setlist:
- Bells and Whistles
- El Capitan
- Gold Mine Gutted
- We Are Nowhere and It's Now
- Loose Leaves
- Persona Non Grata
- Mariana Trench
- I Won't Ever Be Happy Again
- Method Acting
- Trains Still Run On Time
- First Day of My Life
- Old Soul Song (for the New World Order)
- Clairaudients (Kill or Be Killed)
- Happy Accident
- Tiny Suicides
- Rainbow Overpass
- Shell Games
- Tin Soldier Boy
- One For You, One for Me
Encore
- At The Bottom of Everything
- Devil Town
- Let's Not Shit Ourselves (to Love and to Be Loved)
We are proud to present one song each from the bands we below to, releasing music this year.
Tyler Stoering belongs to the band Wild Residence, which released its first full length record, Fevers and Dreams, on December 12th, 2024.
Wild Residence - Work
Greg Hutto started a new project with John Thorstad, titled Third Coast, with the intent of growing their project with new members and new ideas. The first release is a demo single, January 1st, 2025.
Third Coast - That Ambivalence
Find both of our projects on Spotify, Apple Music, and YouTube
Highlights for 2024 include:
Jack White - Old Scratch Blues
Mini Trees - Burn Out
Chappell Roan - Pink Pony Club
Hana Eid - Taller Than Me
Sabrina Carpenter - Please Please Please
Courteeners - Where Are We Now?
Bright Eyes - All Threes (feat. Cat Power)
Sea Girls - I Want You To Know Me
Charli xcx - Girl, so confusing featuring lorde
Everything Everything - The End of the Contender
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The finale in our four part series on Beyonce's post Destiny's Child solo career.
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For this episode, we are talking about the project between Bon Iver's Justin Vernon and the members of Collections of Colonies of Bees, Volcano Choir. The first record was developed asynchronously, and the next record is where they agreed they became a real band.
We are starting a new series on Beyonce, leading up to her latest release, Cowboy Carter. This is not exactly in our wheelhouse, but we respect the queen, and we're here to bow down to greatness.
The full album name is
The Idler Wheel Is Wiser Than the Driver of the Screw and Whipping Cords Will Serve You More Than Ropes Will Ever Do
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This week we discuss Metallica's rockumentary, Some Kind of Monster. Filmed during the production of 2003's St. Anger, the documentary explores the bands trials through recording a fraught process. Alcholism, ego, therapy, opportunists, death, reconciliation, new people in, old people out, and more.
While we aren't the biggest Metallica fans or metalheads, this is an interesting view into the creative process -- the human element of band dynamics. We give our take as we relate to the marriage that is a band.
Guns N Roses ruled in the 80s, breaking up and falling apart in the 90s. Axl Rose kept the project going with all new musicians, producing perhaps the most expensive album of all time -- 2008's Chinese Democracy. Estimated to cost $13 million dollars, Chinese Democracy is a bloated album that reveals a lot about the headspace and futility of Axl Rose. Since the album released, Guns N Roses has gotten back together to tour, releasing singles along the way -- including Absurd, Hardskool, Perhaps, and The General. These songs aren't great, but if they keep the tours moving, there are fans to please.
This week we are look at the indie Canadian electro pop duo, Metric, featuring Emily Haines and James Shaw also of Broken Social Scene. The two albums we will be reviewing are 2007's Grow Up and Blow Away and 2009's Fantasies. Interestingly, Grow Up and Blow Away was the band's 3rd record when it released in 2007, but it was recorded and shelved 7 years earlier. This makes for an interested contrast between that record and the fourth released record, Fantasties. The latter album is near perfect, and we absolutely loved it.
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After a full year of podcast episodes, we are selecting 10 songs from 10 artists we covered this year to serve as extra credits -- songs outside of the podcast format of 2000s music.
Daft Punk - Touch
Bright Eyes - Stray Dog Freedom
Oasis - The Masterplan
St. Vincent - Birth In Reverse
The Shins - Simple Song
Sufjan Stevens - Too Much
Brendan Benson - Garbage Day
Foo Fighters - Rescued
Bon Iver - AUATC [Ate Up All Their Cake]
Bon Iver - PDLIF [Please Don't Live In Fear]
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Join us for our final episode in the Strokes retrospective, Meet Me In The Bathroom Part 5, Future Present Past EP and The New Abnormal.
Written with help by ChatGPT:
In the fourth installment of our retrospective podcast series on The Strokes, we shift our focus to the side project of their frontman, Julian Casablancas – The Voidz. In this episode, we delve into the experimental sounds of The Voidz, exploring their two albums, "Tyranny" and "Virtue."
"Tyranny," the band's debut release, takes us on a through a cacophony of genres, blending elements of punk, new wave, and psychedelic rock. Casablancas and The Voidz challenge conventional musical norms, delivering a raw and unfiltered experience.
As we transition to their sophomore effort, "Virtue," the record is more conventional and politically influenced. Yet Casablancas returns to the instinct of writing meandering songs about meandering feelings.
Join Greg, Tyler, and me as we dissect the sonic landscapes crafted by The Voidz, analyzing the evolution of their sound and the impact of these albums on the broader alternative music scene. From the gritty experimentation of "Tyranny" to the polished eclecticism of "Virtue," our discussion aims to unravel the intricacies of The Voidz's discography, shedding light on the unique artistic expression brought forth by Julian Casablancas and his musical collaborators.
In Part 3 of our retrospective of The Strokes, we are checking out the fourth and fifth studio albums, Angles and Comedown Machine.
In Part 2 of our retrospective of The Strokes, we are checking out the third studio album, First Impressions of Earth, and the lead singer's solo project, Phrazes for the Young, by Julian Casablancas.
Welcome to "Down On High," where we venture into the sonic landscapes of the 2000s, unraveling the threads of musical history that shaped the era. In our latest retrospective series, "Meet Me In The Bathroom: The Strokes Retrospective," hosts Greg and Tyler guide you through the influential discography of one of the decade's defining bands. Join us as we dissect the cultural impact, creative evolution, and lasting legacy of The Strokes, a band that not only dominated the airwaves but also redefined the sound of a generation.
In the inaugural episode, Part 1 of our series, we turn our attention to The Strokes' early years, focusing on their groundbreaking first two records: "Is This It" and "Room On Fire." Explore the raw and infectious energy that propelled The Strokes to the forefront of the early 2000s rock scene with their debut album, "Is This It." From the iconic cover art to the garage-rock sound that became a hallmark, we analyze the cultural significance of this album. Transitioning seamlessly to their sophomore release, "Room On Fire," we delve into the band's musical evolution, dissecting the nuances of experimentation while preserving the essence that made The Strokes an enduring force in the world of music. Join Greg and Tyler as they unravel the stories behind the tracks, explore the creative process, and reflect on the critical reception of these two pivotal albums in "Meet Me In The Bathroom."
- signed, ChatGPT on behalf of Down On High
This week we are looking at musical episodes of tv from the 2000s. All three of these episodes have been listed as some of the best musical episodes in television history. All of them speak to themes of unspoken feelings. The adage, "When you can't say it, sing it!" applies here.
We are looking at the Scrubs episode Season 6 Episode 6 "My Musical." In this episode, the doctors of Scrubs are treating a patient who perceives everyone to be singing. She has an aneurism that must be corrected. Meanwhile, we are treated to expository songs from the doctors, about the diagnostic value of still, bromance, a new mother who wants to return to work but feels like she'd be judged, and Dr. Elliot's dilemma -- whether to let JD move in with her to her new house, or to be honest about wanting her own place.
Next we reviewed Buffy's musical episode, Season 6 Episode Episode 7, "Once More With Feeling." In this episode, a demon is summoned that makes everyone in town sing their feelings, even when they intend to withhold them. Despite the danger that if they don't stop this, people will implode, the characters are motivated to end this so they don't continue to reveal what they had been hiding -- Buffy is resentful that her friends resurrected her unknowingly pulling her out of heaven, Spike loves Buffy but is struggling with feeling used, Anya and Xander are looking forward to their marriage but also terrified that things will change. This episode is high effort and high production, and it's often the very top of the list for musical episodes.
Lastly we have an episode of Futurama, Season 5 Episode 16, "The Devil's Hands Are Idle Playthings." In this episode, main character Fry wants to woo his coworker Lela, but he doesn't believe he has the talent to make the meaningful music she inspires in his mind real. He's learning an instrument and is struggling. He makes a deal with a devil robot that he will swap his hands for a random set of more talented hands. He lucks out and randomly gets the devils hands. The devil wants them back and will engage in chicanery to do it. But in the mean time, Fry becomes a famous musician and is able to put on the show he means to for Lela.
Duster is an American band that emerged in the 1990s, known for their distinctive style of slowcore and lo-fi music. Comprising Clay Parton, Canaan Dove Amber, and Jason Albertini, the band gained recognition for their minimalist and atmospheric sound, characterized by hushed vocals, reverb-drenched guitar work, and a deliberate, melancholic tempo. Duster's music often evokes a sense of introspection and dreamy ambience, making them a notable presence in the indie and underground music scene.
We are reviewing Duster's records from their original period, 1998's Stratosphere and 2000's Contemporary Movement. This band is streamed above many well known acts, which to us begs the question, Why? A big part of it is TikTok resurgence, but there may be more to it.
Bon Iver, the musical project led by American singer-songwriter Justin Vernon, has earned widespread acclaim for their blend of folk, indie, and electronic elements. Justin Vernon's falsetto vocals and inscrutable yet unique lyrics have become hallmarks of Bon Iver's presentation. The project's debut album, "For Emma, Forever Ago," released in 2007, was recorded in a remote Wisconsin cabin during a bitterly cold winter, lending to its own mythology. We have done an episode on Bon Iver's earlier, more conventional work, and we are returning now to the projects more novel later catelog. Be warned, this is Greg's favorite band, but for good reason.
"22, A Million," released in 2016, marked a departure from the more traditional folk sound of their earlier work. This album embraced a more experimental and abstract approach, with glitchy electronic effects and auto-tuned vocals. The song titles featured symbols and numbers, adding to the album's cryptic and enigmatic nature. "i,i," released in 2019, was a return to a more accessible sound while still incorporating electronic elements. It felt like a culmination of Bon Iver's musical journey, bringing together the introspection of "For Emma, Forever Ago," the experimentation of "22, A Million," and the warmth of their self-titled album.
Oasis is a British rock band formed in Manchester in 1991, known for their significant influence during the Britpop movement of the 1990s. The band was composed of members Liam and Noel Gallagher, Paul "Bonehead" Arthurs, Paul "Guigsy" McGuigan, and Tony McCarroll initially. Oasis gained fame with their debut album "Definitely Maybe" in 1994, and their music was characterized by the distinctive voices of the Gallagher brothers and anthemic sound.
"Heathen Chemistry" is one of Oasis' albums released in 2002, showcasing an experimental approach and a more collaborative songwriting process. "Don't Believe The Truth," released in 2005, continued this evolution with a raw and refreshing sound. These albums demonstrated the band's ability to adapt while maintaining their rock 'n' roll spirit.
Mark Knopfler is a British musician, singer-songwriter, and guitarist known for his distinctive guitar playing and his role as the lead vocalist and guitarist for the classic rock staple, Dire Straits. The band is best known for the classic song Sultans of Swing and the album Brothers In Arms, featuring Money For Nothing with Sting.
"Sailing to Philadelphia" is one of Mark Knopfler's solo albums released in 2000. The album features a fusion of folk, rock, and country elements and showcases Knopfler's knack for crafting vivid narratives through his lyrics. The title track, "Sailing to Philadelphia," is a collaboration with James Taylor and is a standout piece on the record. The album also delves into historical themes.
"Shangri-La" is another solo album by Mark Knopfler, released in 2004. Most interesting of all, there is a track inspired by the cut throat quotes of the "founder" of McDonald's, Ray Kroc.
Cat Power is the stage name of American singer-songwriter, musician, and actress Chan Marshall. Born on January 21, 1972, in Atlanta, Georgia, she adopted the name Cat Power for her musical endeavors. Marshall is known for her minimalist style, sparse guitar and piano playing, and breathy vocals. She has produced a variety of work in the indie rock, folk, and blues genres.
"You Are Free" is the sixth album by Cat Power, released in 2003. The album features 14 tracks and includes guest appearances by musicians such as Eddie Vedder of Pearl Jam and Dave Grohl of Foo Fighters. "You Are Free" received critical acclaim for its raw sound and emotional depth, and it includes songs like "I Don't Blame You," "Good Woman," and "Free."
"The Greatest" is another album by Cat Power, released in 2006. It consists of 12 tracks and was recorded in Memphis with a band of veteran session musicians. The album showcases a soulful sound, influenced by the musical heritage of Memphis. "The Greatest" received widespread acclaim from critics and won the Shortlist Music Prize in 2006. The title track "The Greatest" and "Lived in Bars" are among the notable songs on the album.
This episode, we are discussing indie darling Sufjan Stevens. Described as a god fearing Elliot Smith type, Stevens has a delicate nature with an interest in the divinities. We are reviewing Seven Swans first -- a record in between his two state-based projects, featuring a gathering of recordings with a theological bent. The record features recordings across a time period a little over half a decade. It's beloved by many, but we find it weak and meandering.
However, the next record, Illinois, or sometimes called Illinoise, is full of a ton of great songs. This record is replete with interstitial filler, but top heavy over 23 tracks with some great all-timers. This is a well known quantity -- but we just had to dive in.
Songs inspired by 9/11
Where Were You (When the World Stopped Turning) - Alan Jackson
Skylines and Turnstiles - My Chemical Romance
Hole in the World - Eagles
Illume - Fleetwood Mac
Let's Roll - Neil Young
Songs inspired by the War On Terror era
Courtesy of the Red, White, and Blue (The Angry American) - Toby Keith
Not Ready to Make Nice - The [Dixie] Chicks
When the President Talks To God - Bright Eyes
Let's Impeach the President - Neil Young
Why (feat. Anthony Hamilton) - Jadakiss
American Idiot - Green Day
Where Is The Love? - Back Eyed Peas
Johnny Cash was a living legend who had been forgotten after a very difficult personal time, relapsing in the 80s. Famed producer Rick Rubin invited Johnny Cash to come be a part of Rubin's American Recordings series. This week we are looking at Cash's American III and IV, featuring mostly covers, some re-recordings, and one return-to-form new song. Releasing a year before his death in 2003, American IV features the iconic cover of Nine Inch Nail's Hurt, which Trent Reznor would later say belonged to Cash going forward. Some of these covers make sense, some seem like they shouldn't but work anyway, and some are absolute flops. But there is some vital work here.
This week we are looking at Justin Timberlake's 2000s records, Justified and FutureSex/LoveSounds. Justified was Justin's coming out as a solo artist, largely produced by both Timbaland and The Neptunes (Pharrell and company). Finding a cohesive sound and direction was rough on this record. While the Neptunes are hit makers, the album as a whole was aimless -- better suited as a Micheal Jackson record that he had already passed up. For the next record, the Neptunes would not be returning, due to contractual reasons. Timbaland helped Justin "bring sexy back". This record is both more coherent in its approach and less consistent in its delivery. Still, some of the best pop songs from the 2000s can be found in these records.
This week, we look at the video game cultural juggernaut, Grand Theft Auto -- specifically, Vice City, as it's the most aesthetically distinct. There are a few key elements that make GTA Vice City a compelling caricature of the of Miami in the 80s, and the soundtrack is essential.
We picked a smattering of highlights across Vice City's robust radio stations, from era defining genres like new wave, synth pop, classic hip-hop and more. These artists and songs are truly iconic.
Wave 103 - Flock of Seagulls: I Ran
V-Rock - Judas Priest: You've Got Another Thing
Emotion 98.3 - Toto: Africa
Flash FM - Yes: Owner of a Lonely Heart
Flash FM - Hall & Oates: Out Of Touch
Radio Espantoso - Deodato: Super Strut
Wildstyle Pirate Radio - Run DMC: Rock Box
Wave 103 - Tears For Fears: Pale Shelter
Emotion 98.3 - Foreigner: Waiting For a Girl Like You
Flash FM - The Outfield: Your Love
Flash FM - Bryan Adams: Run to You
Wave 103 - Nena: 99 Luftballoons
Emotion 98.3 - REO Speedwagon: Keep on Loving You
This week we are looking at avant-garde artist, Bjork. Medulla is project of all vocals, including the "instruments." There are moments where the tracks are as convincing as a typically recorded song. The follow up Volta has features and Timbaland on production for some tracks. The album is explicitly more political, too. Bjork is not for everyone -- it's heady stuff. But some moments are more accessible, Join us as we try and parse through the signal and noise.
This week we are looking at Daft Punk, French house EDM duo, obscured in robotic futuristic garb and robot helms. Discovery is a fun, euphoric record with well known singles and some hidden gems. Less appreciated, Human After All is a darker, less inviting project -- but one we enjoyed all the more.
This week we are looking at the pop mega star, Katy Perry. Hitting the scene at large in 2008 with her record One Of The Boys, Katy Perry made the transition from christian singer-songwriter to rock-informed pop music, pointing toward the future of EDM influenced pop.
Katy Perry would find her lane with her out of this world hit record, Teenage Dream, featuring more hit singles on one album -- re released as Teenage Dream The Complete Confection - than most artists have over a few records. The presence of Katy Perry in the late 2000s is unavoidable.
This week, Tyler and Greg discuss the movie soundtracks of two movies -- 2007's Into The Wild and 2010's Scott Pilgrim vs. The World.
Screenplay written and directed by actor Sean Penn, Into the Wild is a telling of the true story of Christopher McCandless - an American adventurer who spent two years living nomadically and then months in the Alaskan wilderness with minimal supplies. McCandless would die of starvation, leaving behind diaries with writerly details that John Krakauer adapted into a novel.
The soundtrack to this film is entirely performed and partly written by Pearl Jam's Eddie Veder. The music here is more acoustic, folksy, and autumnal. Going acoustic was not uncharted from 90s grunge heroes, but this was new for Eddie Veder in particular. His particular warble and new weathered sound fits quite well with the ethos of the film.
Scott Pilgrim vs. The World is a comic book adaptation, directed by music loving director Edgar Wright, where Scott Pilgrim must defeat Romona Flowers's seven evil exes in order to have his own chance at wooing her. The film is oddball -- so much so that it was hard to market and commercially failed. Yet now it's a cult hit.
The soundtrack features a fair bit of music from Beck, as he wrote the songs the band in the movie would play as their own. Those songs are largely garage rock romps that really hit. The soundtrack is a mix of non-diegetic and diegetic songs from Metric, Frank Black, Broken Social Scene, and more.
This week, we are reviewing Paramore. Recently the band has enjoyed a resurgence, making headlines for Hayley Williams political statements made at live shows. While Paramore has embraced more dance and pop as of late, they started as a punk rock band, signed by Fall Out Boy label, Fueled By Ramen.
The albums we are reviewing are 2007's sophomore record, Riot!, and 2009's Brand New Eyes. While these albums on the whole do not stand the test of time according to our metrics, there are certainly gems here.
Tyler and Greg recently saw the Yeah Yeah Yeahs live at the Armory in Minneapolis, Minnesota. The band, comprised of New York natives Karen O, Nick Zinner, and Brian Chase, is touring for their most recent record, 2022's Cool It Down. That record is an 8 track masterpiece, according to the experts here at Down On High. Their live show was filled with rockstar antics, confetti, giant beach balls, and hits after hits. Featuring tracks from all five of their albums, this show suggests seeing them now is the best time to see them.
The Decemberists are a folk, sometimes folk-rock band, from Portland. In 2005 they signed with major record label, Capital Records, and followed the next year with the critically acclaimed album, The Crane Wife. This record was partly inspired by a Japanese folk story about a greedy lover.
Their next full-length album came in 2009, where Colin Meloy penned a musical play titled The Hazards of Love. This concept album rocks harder than the previous, drenched in folklore imagery. The story, simply told, is about two lovers -- William and Margret -- fighting against the disapproval of the William's forest Queen mother, who blames Margret for her other son's death. She sends a villain after them, and they escape, just to drown and revel in the peace away from the hazards of love, as it were.... or something like that. It's a lot to parse.
Rhianna, thanks in part to her beauty line, Fenty, is the second wealthiest woman in music. Her album sales are just behind Madonna. Getting her start in girl group akin to Destiny's Child, Rhianna was plucked out of obscurity and made into one of the greatest selling artists of all time. Good Girl Gone Band is a grab bag of different experiments for who she could be as an artist, and Rated R is the crystallization of her particular sound. The lows are severely underwhelming, but the few highs are all-timers.
For those that know of him, many see Brendan Benson as the Paul to Jack White's John in the Raconteurs. The dual frontman "super group", as they don't care to be called, features the pop sensibilities of Detroit peer, Brendan Benson.
Benson has had his own music career for quite a while. His first record in 1999, titled One Mississippi, was enjoyable but a commercial flop. Given another chance, 2002's Lapalco sold three times as many records. That was enough to earn Brendan Benson a seat at the producer's table, crafting 2005's Alternative To Love.
In this episode, we see that Brendan has what it takes to write near perfect songs. But he doesn't quite stick the landing, track after track. It can be a frustration. Yet there's something to be said about those particular moments, as we examine what it may be like to be in Brendan's position in the early 2000s.
In this episode, Greg and Tyler explore the beginnings of Linkin Park, delving into the band's first two studio albums: Hybrid Theory (2000) and Meteora (2003). We examine the history behind these iconic records and discuss the impact they've had on the music landscape - particularly their blend of hard edged misery and hip hop elements.
Linkin Park formed in 1996, originally under the name Xero, and with a unique blend of alternative rock, nu metal, and rap. We discuss the creative process behind Hybrid Theory, which became the best-selling debut album of the 21st century, with over 30 million copies sold worldwide. Then, we dive into the development and success of Meteora, which continued to build on the band's distinctive sound and sold over 27 million copies worldwide.
Of particular interest, we discuss what makes Mike Shinoda a producer both of and ahead of his time. And how Chester Bennington was the final ingredient that made it all work.
This week, Tyler and Greg get together in-person to discuss The Black Keys, and their 2008 and 2010 albums, Attack & Release and Brothers respectively.
The Black Keys are a Nashville-based, Akron, Ohio-founded blues rock duo, featuring Dan Auerbach on guitar and vocals, and Patrick Carney on drums. Attack & Release is the band's fifth studio album, produced by Danger Mouse. It started a trend toward a more energetic, largely more welcoming sound -- something a bit more fun and less constrained by the tropes of the blues that the duo dealt in.
While Attack & Release was the necessary first step, it was Brothers that proved them capable of radio adoption. Featuring the hit single Tighten Up, the band would continue toward El Camino and other massively adopted records. Brothers itself was a revelation for the band, albeit with one fit still stubbornly stuck behind them in their olds blues-isms laden home. Nonetheless, these are both great albums by a band that has grown a lot and earned their credibility by cutting their teeth in the industry for over two decades.
After the September 11 attacks, several songs were banned from being played on the radio by Clear Channel, now iHeart Radio, due to their lyrical content or perceived association with the terrorist attacks.
One of the most notable songs that was banned was "Imagine" by John Lennon. The song was banned because it was seen as too pacifist and too critical of the United States government's response to the attacks.
Over time, most of these bans were lifted, and the songs were once again played on the radio and TV. No one seemed to know what to do, but in retrospect, many of the excluded songs were done so brashly. Of 164 songs banned songs, we chose to talk about these:
- AC/DC, "Safe in New York City"
- Louis Armstrong, "What A Wonderful World"
- Bush, "Speed Kills"
- Blue Oyster Cult, "Burnin’ For You"
- Slipknot, "Wait and Bleed"
- Billy Joel, "Only the Good Die Young"
- Korn, "Falling Away From Me"
- U2, "Sunday Bloody Sunday"
- Savage Garden, "Crash and Burn"
- all of Rage Against the Machine
"Britney" is the third studio album by Spears, released in 2001. The album features a mix of pop and R&B tracks, with themes centered around growing up and out, often toiling in the awkward I'm Not a Girl, But Not Yet a Woman phase of Britney's life. This album was a pseudo-companion to the film starting Britney, Crossroads, a coming of age road trip film. The lead single, "I'm a Slave 4 U," was a hit and marked a departure from Spears' earlier teen pop image and made the sexuality on display more overt in the music. The album received mixed reviews from music critics but was commercially successful, selling over four million copies in the United States and over ten million copies worldwide.
"In the Zone" is the fourth studio album released in 2003. This marked a further departure from Spears' earlier pop-forward approach. The sexual come ons hit in full stride here, despite Britney's insistence in interviews that her art is motivated by a love of fun and dance. But we are no prudes, and we have nothing to moralize. Unfortunately, this is just an even less interesting or well-constructed record. If nothing else, this record has Toxic -- perhaps the best song on offer in Britney's oeuvre.
All in all, the Britney Spears story is a once in culture type of history. She's an incredible performer. While her way too prolonged conservatorship is the center point of discussion these days, it's worth taking a look back even further to see how she became one of the biggest stars of all time.
In this week's podcast episode, Tyler and Greg provide a comprehensive analysis of Interpol's debut and sophomore albums: 2002's Turn On The Bright Lights and 2004's Antics. We delve into the elements that contributed to the band's defining sound and the impact these records had on the indie rock scene. We'll discuss the atmospheric sound that characterizes Interpol's style. Gain insight into the themes, standout tracks, and the lasting influence of these albums.
This week, we return to our roots, revisiting Bright Eyes just a little over a year since our first episode. While the first episode reviewed a double release, --2005's I'm Wide Awake, It's Morning and Digital Ash in a Digital Urn -- we are reviewing two albums that are as opposed to each other but from different times in that decade. 2006's Noise Floor is a collection of "B-sides and rarities." Despite being a grab bag, this record has meaningful standouts for Conor Oberst, Mike Mogis and company. It is emblematic of the bedroom records era of Bright Eyes, soaked in mundane, personal mellodrama. 2007's Casadaga leans further into lush country and folk production. Closer to I'm Wide Awake, It's Morning yet eclipsed by that album's legacy, Casadaga is a gem to rediscover.
This week we discuss the soundtracks to Sam Rami's Spider-Man 2 & 3. Spider-Man 2002 was a huge hit and proved that comic book movies could be culturally ubiquitous. As we know now, they're inescapable. Nonetheless, Spider-Man 1's breakout track Hero by Chad Kroger of Nickelback paved the way for Sony to treat the Spider-Man films as an opportunity to feature and uplift artists in the zeitgeist.
The tracklists are as follows:
Spider-Man 2 Soundtrack
- "Vindicated" (Dashboard Confessional)
- "Ordinary" (Train)
- "Did You" (Hoobastank)
- "Hold On" (Jet)
- "Gifts and Curses" (Yellowcard)
- "Woman" (Maroon 5)
- "This Photograph Is Proof (I Know You Know)" (Taking Back Sunday)
- "Give It Up" (Midtown)
- "Lucky You" (Lostprophets)
- "Who I Am" (Smile Empty Soul)
- "The Night That the Lights Went Out in NYC" (The Ataris)
- "We Are" (Ana)
- "Someone to Die For" (Jimmy Gnecco featuring Brian May)
- "Spidey Suite" (Danny Elfman)
- "Doc Ock Suite" (Danny Elfman)
Spider-Man 3 Soundtrack
- "Signal Fire" (Snow Patrol)
- "Move Away" (The Killers)
- "Sealings" (Yeah Yeah Yeahs)
- "Pleased to Meet You" (Wolfmother)
- "Red River" (The Walkmen)
- "Stay Free" (Black Mountain)
- "The Supreme Being Teaches Spider-Man How to Be in Love" (The Flaming Lips)
- "Scared of Myself" (Simon Dawes)
- "The Twist" (Chubby Checker)
- "Sightlines" (Rogue Wave)
- "Summer Day" (Coconut Records)
- "Falling Star" (Jet)
- "Portrait of a Summer Thief” (Sounds Under Radio)
- "A Letter from St. Jude" (The WYO's)
- "Small Parts" (The Oohlas)
This week we are reviewing Dave Grohl's band, The Foo Fighters. They've been running for a long time -- since shortly after the end of Nirvana and through recent tours. We are looking at two of their albums from the 2000s, including 2002's One By One and 2005's In Your Honor. It's hard to stand outside of the legacy of Kurt Cobain, but The Foo Fighters have stood their own ground and proven themselves capable as great, true rock songsmiths. Not everything is as good as the singles, but there are gems to be heard.
This week, we selected ten songs from the 2000s, all One Hit Wonders. These are songs from artists who broke into the Billboard Top 40 this one time and never again. Some artists on this list did have their own success and even some music worth checking out otherwise.
The songs are:
- Chasing Cars by Snow Patrol
- The Middle by Jimmy Eat World
- Butterfly by Crazy Town
- Stacy's Mom by Fountains of Wayne
- Bad Day by Daniel Powter
- The Reason by Hoobastank
- All the Things She Said by t.A.T.u
8 I Believe in the Thing Called Love by The Darkness - Ocean Avenue by Yellowcard
- You're Beautiful by James Blunt
Wilco, fronted by Jeff Tweedy, is trying to break your heart. In fact, that's the name of the documentary chronicling the labored process of writing, recording, producing, and releasing 2001's Yankee Hotel Foxtrot. Many changes happened during that record, many of which were realized with the release of 2003's A Ghost is Born. This episode, we discuss the trials and tribulations, and what came of them, with early 2000s Wilco records.
This week's episode explores Bob Dylan's revival period in the 2000s, with 2006's Modern Times, and the follow up 2009's Together Through Life.
This podcast, Greg and Tyler take a look back at Albuquerque-based indie darlings, The Shins, fronted by James Mercer. We take a look at their first two records, 2001's Oh, Inverted World and 2003's Chutes Too Narrow.
Annie Clark has been a musician touring with artists for quite a while, including Sufjan Stevens and The Polyphonic Spree. In 2007, she would debut with her album, Marry Me, a folksier take than we would be familiar with in coming years. Her sophmore album, Actor, is a more realized project. This week, we discuss St. Vincent.
Our fearless hosts unpack the music biopic film genre in assessing Walk The Line (Johnny Cash) and I'm Not There (Bob Dylan).
This episode explores the return of the Raconteurs with their third album, Help Us Stranger. We then take a listen through Boarding House Reach, the third solo album by Jack White, a wild departure from the known.
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Jack White rose to legendary musician status via his breakthrough band, The White Stripes. Coming out as a blues rock, punk aesthetic garage rock band with child-like drummer Meg White, The White Stripes paved the way for a lot of acts to come. As their success grew, Jack White branched out into other projects, including the classic rock inspired "super group" The Raconteurs, and Led Zeppelin-spirit revival, hard as nails "super group," The Dead Weather. As Jack gained momentum elsewhere, The White Stripes came to an end, leaving room for Jack White to explore a solo career. Throughout his solo career, he started honing his comfort material -- country, blues, and fuzz rock -- moving toward new grounds with experimental noise, high tech production, and unexpected plot twists.
Tyler, being a conseur of pop and knower of all things music, and Greg, a Jack White super fan, have a lot to say on Jack White, including a plethora of insights and context into the creation of this music, the cultural impact of Jack White and his embedded philosophies, and the growth of self and artist.
This episode, we take a look at the "virtual band", Gorillaz -- their debut and follow up, Gorillaz and Demon Days respectively. This project is headed by Damon Albarn of Blur, with art from Jamie Hewlett. While Blur never really broke in America, the Gorillaz sure did. In this episode we discuss Brit pop, rivalries, the lore of the band, Albarn's unabashed addiction. and more.
This week, we are joined by special guest, Angie.
Radiohead is a band like Nirvana, The White Stripes, Led Zeppelin, and the Pixies -- founding members and pioneers of a very particular space in music. Ok Computer is known as one of the best albums of all time. The band followed up this album by risking alienating their audience with Kid A. They would be rewarded for not taking the easy path and simply reiterating on their own work.
2003's Hail to the Thief was a return to familiar sonic places. There are some tracks that are more esoteric and experimental, but many of the tracks are more straight forward. They allow room for the themes to develop, during a time of political turmoil. Frontman Thom Yorke challenges society to face its disengagement and ambivalence during war and disinformation.
Four years later, Radiohead announced they would be releasing an album with a different distribution model. It was very novel for the time, right before the take off of streaming music. People could offer to pay whatever they'd like for a digital copy of the album, from absolutely nothing to thousands, if the listener had the means and the will. The album was a major success, both critically and commercially. An essential album that even convinces the least interested.
Jack White rose to legendary musician status via his breakthrough band, The White Stripes. Coming out as a blues rock, punk aesthetic garage rock band with child-like drummer Meg White, The White Stripes paved the way for a lot of acts to come. As their success grew, Jack White branched out into other projects, including the classic rock inspired "super group" The Raconteurs, and Led Zeppelin-spirit revival, hard as nails "super group," The Dead Weather. As Jack gained momentum elsewhere, The White Stripes came to an end, leaving room for Jack White to explore a solo career. Throughout his solo career, he started honing his comfort material -- country, blues, and fuzz rock -- moving toward new grounds with experimental noise, high tech production, and unexpected plot twists.
Tyler, being a conseur of pop and knower of all things music, and Greg, a Jack White super fan, have a lot to say on Jack White, including a plethora of insights and context into the creation of this music, the cultural impact of Jack White and his embedded philosophies, and the growth of self and artist.
In this episode, we look at the the follow up to Dead Weather's first album, sophomore drop Sea of Cowards. This album is more or less of the same ilk to the former album, showing iterations of what works and even what doesn't about the group. Nonetheless, this band was known for incredible live shows and electric energy.
The next album we look at is the solo debut of Jack White. Just before 2011's Blunderbuss was released, the White Stripes announced they would not be coming back. This meant that Jack White was no longer tied to band with self-imposed limitations -- he was the conductor, and fully able to expand his ideas. It would become clear that there is a difference between a song written as Jack White for the White Stripes, and the songs Jack would write in the studio with studio musicians. Jack would be criticized for leaving his Little Room, but this moment was earned time and time again, and the album has some of Jack's best moments.
Jack White rose to legendary musician status via his breakthrough band, The White Stripes. Coming out as a blues rock, punk aesthetic garage rock band with child-like drummer Meg White, The White Stripes paved the way for a lot of acts to come. As their success grew, Jack White branched out into other projects, including the classic rock inspired "super group" The Raconteurs, and Led Zeppelin-spirit revival, hard as nails "super group," The Dead Weather. As Jack gained momentum elsewhere, The White Stripes came to an end, leaving room for Jack White to explore a solo career. Throughout his solo career, he started honing his comfort material -- country, blues, and fuzz rock -- moving toward new grounds with experimental noise, high tech production, and unexpected plot twists.
Tyler, being a conseur of pop and knower of all things music, and Greg, a Jack White super fan, have a lot to say on Jack White, including a plethora of insights and context into the creation of this music, the cultural impact of Jack White and his embedded philosophies, and the growth of self and artist.
This episode covers both Jack White projects outside of the White Stripes, The Raconteurs and Dead Weather respectively. The Raconteurs follow-up album, Consolers of the Lonely (2008), was made after the band had toured together and developed their chemistry and as band. This album takes risks, rushing to the finish line for both better and worse.
Next would be the debut of Led Zepplin-esque revival band, centered around sex and death, The Dead Weather. Another super group of sorts, Allison Mosshart of the Kills is on vocals, with Dean Fertita of Queens of the Stone Age on guitar, Jack Lawrence of The Raconteurs/Greenhorns on bass, and Jack White on drums. Jack was originally a drummer, and his chops are insane -- but this was a wild card, totally unexpected. And yet, it works so, so well.
Jack White rose to legendary musician status via his breakthrough band, The White Stripes. Coming out as a blues rock, punk aesthetic garage rock band with child-like drummer Meg White, The White Stripes paved the way for a lot of acts to come. As their success grew, Jack White branched out into other projects, including the classic rock inspired "super group" The Raconteurs, and Led Zeppelin-spirit revival, hard as nails "super group," The Dead Weather. As Jack gained momentum elsewhere, The White Stripes came to an end, leaving room for Jack White to explore a solo career. Throughout his solo career, he started honing his comfort material -- country, blues, and fuzz rock -- moving toward new grounds with experimental noise, high tech production, and unexpected plot twists.
Tyler, being a conseur of pop and knower of all things music, and Greg, a Jack White super fan, have a lot to say on Jack White, including a plethora of insights and context into the creation of this music, the cultural impact of Jack White and his embedded philosophies, and the growth of self and artist.
For the third episode, we are looking at Jack White's first major side project, the Raconteurs. While Jack wouldn't embrace the label of side project or super group, the Raconteurs were a departure from what people knew of Jack White. With fellow singer/songwriter Brendan Benson, and the bass and drummer from The Greenhorns, Jack Lawrence and Patrick Keeler respectively, The Raconteurs created a rounded, refreshing project over the course of many years culminating in a 10 track album.
After a year of touring, Jack would return to the White Stripes for another album -- what would be the last album. 2007's Icky Thump is both a return to the fundamentals of the White Stripes and a departure into the strange, all at once. Jack and Meg had really turned over every stone in their little room to great effect.
Lady Gaga busted on the scene in 2008 with The Fame, where each single soared to the top of the charts. Everyone knows Just Dance, Paparazzi, Poker Face, and LoveGame. This first album was about as sugar loaded as a pop album could be. Whether or not the other tracks land for people, the singles are undeniable.
In 2009, Lady Gaga would follow up with an expansion to the record, titled The Fame Monster. Bad Romance ranks among songs like Hey Ya and Toxic as the most important pop songs of the 2000s, transcending the period altogether. The Fame Monster had a bite and edge to it -- high fashion, unadulterated sexual imagery, toxicity and lust. This album was another level.
This week's episode features special guest Angela, as we discuss Bon Iver. The music of Justin Vernon's project has been wrapped up in mythology, conjuring imagery of a man in the wilderness, removed from society and human connection, making an album wrought with deep suffering. In reality, 2007's For Emma, Forever Ago was made in a hunting cabin in Wisconsin -- a culmination of unfortunate struggles with band and romantic break ups, physical ailment, and gambling addiction. However it came to be, this album skyrocketed Vernon's career as an indie folk darling with mainstay Skinny Love. From there, an EP with a song that inspired Kanye West to write a song with Justin, feature him on multiple songs across three albums, and call him the other greatest living musician (besides Kayne, of course). The second album, Bon Iver, Bon Iver, a reflection on places and sense of place, is full of easy listening adult contemporary music, straight out of the late 80s. Holocene and Calgary were effective songs for Bon Iver, and after touring for years, Justin would go radio silent, not releasing an album for 5 years. Overwhelmed by the attention, he needed a break. Join our discussion.
Jack White rose to legendary musician status via his breakthrough band, The White Stripes. Coming out as a blues rock, punk aesthetic garage rock band with child-like drummer Meg White, The White Stripes paved the way for a lot of acts to come. As their success grew, Jack White branched out into other projects, including the classic rock inspired "super group" The Raconteurs, and Led Zeppelin-spirit revival, hard as nails "super group," The Dead Weather. As Jack gained momentum elsewhere, The White Stripes came to an end, leaving room for Jack White to explore a solo career. Throughout his solo career, he started honing his comfort material -- country, blues, and fuzz rock -- moving toward new grounds with experimental noise, high tech production, and unexpected plot twists.
Tyler, being a conseur of pop and knower of all things music, and Greg, a Jack White super fan, have a lot to say on Jack White, including a plethora of insights and context into the creation of this music, the cultural impact of Jack White and his embedded philosophies, and the growth of self and artist.
This next episode captures the peak of White Stripes fame and adoration, with the albums Elephant (2003) and Get Behind Me Satan (2005). Elephant was often accused of saving rock and roll, with flying guitar solos, incredible production, and top notch song writing -- the ubiquity of Seven Nation Army is undeniable. Two years later, the much anticipated Get Behind Me Satan released. It started with a fake out in the form of Blue Orchid, a power rocker near Seven Nation Army heights. But the rest of the album featured acoustic guitars, Steinway piano, marimba, mandolin, and folksy sincerity. It was a tortured process for the White Stripes, but there's a lot to mine here.
John Mayer gives a lot of people the ick. We couldn't really articulate why leading up to this episode, so we thought we'd invite a special guest, Angela. She helps share her intuition and insights about the John Mayer ick factor as we listen to Continuum (2006) and Battle Studies (2009).
Jack White rose to legendary musician status via his breakthrough band, The White Stripes. Coming out as a blues rock, punk aesthetic garage rock band with child-like drummer Meg White, The White Stripes paved the way for a lot of acts to come. As their success grew, Jack White branched out into other projects, including the classic rock inspired "super group" The Raconteurs, and Led Zeppelin-spirit revival, hard as nails "super group," The Dead Weather. As Jack gained momentum elsewhere, The White Stripes came to an end, leaving room for Jack White to explore a solo career. Throughout his solo career, he started honing his comfort material -- country, blues, and fuzz rock -- moving toward new grounds with experimental noise, high tech production, and unexpected plot twists.
Tyler, being a conseur of pop and knower of all things music, and Greg, a Jack White super fan, have a lot to say on Jack White, including a plethora of insights and context into the creation of this music, the cultural impact of Jack White and his embedded philosophies, and the growth of self and artist.
This first episode explores the White Stripes debut albums, from the self titled album, through the bedroom-made sophomore album De Stijl, and the record that put them on the national stage, White Blood Cells, featuring Dead Leaves and The Dirty Ground and Fell In Love with a Girl.
Amy Winehouse was a powerful pop and R&B singer. She tragically passed at the hands of her addiction at 27, with only two albums published. And yet she is revered as one of the best musicians of the 2000s, predating a renaissance in powerful female vocalists like Adele. The album Frank was her debut, playing out like a well put together club album. It's relatively straight forward in its compositions, including some covers. There's a crassness and sass that is truly infectious and unique to Amy's lyrical voice. Winehouse reached another level with her sophomore album, Back to Black, produced by then unknown Mark Ronson. The song Rehab was a huge hit and put her on the map, where the rest of the album followed each song with another worthy edition. This week, Tyler and Greg discuss these albums, and more importantly, the relationships between addiction, tragedy, and creativity. As beloved as she was for her talents, her story is ultimately one of lost potential and enduring pain.
The Killers broke onto the scene with their everlasting hit, Mr. Brightside. Much like Toto's Africa, this song is truly ubiquitous. The Killers' first album, Hot Fuss (2004), is a bit of a stumble as their outing, but it includes some of their best work. The album was followed up by Sam's Town in 2006, featuring greater cohesion with some missed marks. This discussion features insights from Tyler, who's familiarity and connection runs deep, bouncing off of Greg's perspective as a typical, casual listener. Find out what makes these albums meaningful.
In this episode, Tyler and Greg discuss two movies from the 2000s with lauded indie soundtracks.
The first being 2004's Garden State, written and acted in by Zach Braff. The movie is about a man reconnecting with his hometown friends, as he struggles with a sense of connection and meaning, alongside his love interest Natalie Portman. The movie features a wide array of music, serving as a commercial for The Shins with Gold Teeth featured prominently. There's also tracks from early Coldplay, Imogen Heap's project Frou Frou, and more.
Next, Juno -- the smash hit about a young high school girl experiencing an unplanned pregnancy, offering the baby up for adoption, and getting to know the adopting family. Meanwhile, she is still in school, defining her relationship with the father, and facing deeply profound issues. The soundtrack is roughly half Kimya Dawson, a spunky underground folk artist, representative of the mixed maturity of the characters. The second half is made up of psuedo-glam muse pieces that come as recommendations from the adopting father, a professional jingle writer and accused John Lennon wannabe.
This episode discusses the culture significance of the movies, the plot in relation to the audience journey, and the way the music serves these movies and even how it stands on its own.
My Chemical Romance broke on the scene with their sophomore album, 2004's Three Cheers for Sweet Revenge. With their aesthetic on display in the music videos for I'm Not Okay and Helena, they embodied and then defined the emo era. Their follow up album, 2006's The Black Parade, has been recognized as a emo rock staple, with a recent release and as much appreciation as ever, nearly two decades later.
This week we discuss Jenny Lewis, which marks the latest albums we have discussed. We start with Jenny Lewis's first solo album, coming out of her success with indie darling band, Rilo Kiley. Next we discuss 2014's the Voyager, a powerful album that proves to be a highlight among the albums we have discussed.
This week we look at two defining albums from singer songwriter, Ben Gibbard. Death Cab for Cutie has been a long lasting staple as indie music darlings, where the Postal Service was a one off project that has been beloved ever since. Where Death Cab is more typical singer songwriter indie music, Postal service is painfully earnest electro pop.
Beck broke tradition from his dirtbag oddities, releasing Sea Change in 2002 - an earnest yet lush record of ballads. It was very unexpected at the time, but appreciated none-the-less. In 2005, Beck returned to form with Guero, featuring weird white boy raps, ripping guitars, features from Jack White and more. Tyler and Greg discuss what works about these records over a decade later, and ponder on the process.
This week, we examine the deadpan, semi-ironic, nerd rock band of the late 90s and 2000s, CAKE. Coming off the hit track The Distance, Cake releases the album Comfort Eagle in 2001. This album was a solid follow up with a defining track, Short Skirt/Long Jacket. Three years later, they release Pressure Chief, moving towards more dynamic songs, featuring synthesizers galore and abundant sincerity. Let's discuss.
This week we are looking at Kanye West's 808s and Heartbreaks and My Beautiful Dark Twisted Fantasy. 808s was a pivot for Kanye into rap balladry, where MBDTF was a belabored project of vulnerability and collaboration after a fraught period for Kanye. Both of these albums are important in their time and in the history of Kanye West and rap music.
This week we examine three Coldplay albums, starting with the breakout hit A Rush of Blood To The Head, taking a swift look through X&Y, and finishing with the reinvention album, Viva La Vida, or Death and All His Friends. Coldplay started as a coffee shop ballad band, moving their way to stadium champions. It was a quite a journey from humbling beginnings to their reinvention.
This week we examine two Bright Eyes albums that released simultaneously, with markedly different songs and production -- 2005's I'm Wide Awake, It's Morning and Digital Ash in a Digital Urn.
In this episode, we take a look at the Yeah Yeah Yeahs albums, Fever to Tell and Show Your Bones.