Monthly Archives-2016

Here are various segments published on PodCloud1

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(Working Backwards from December 2016)

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PeeperD’s Highlights of 2016-

Join PeeperD as he takes a look back at some of his favorite albums of 2016.

Featuring music from Doyle Bramhall II, St. Paul & The Broken Bones, Bon Iver, Frightened Rabbit, The Boxer Rebellion, David Bowie, Jim James, The Strumbellas, Glen Hansard and Sturgill Simpson.

These records may not have cracked the popular charts. But that’s not what we’re about at Podcloud1.

End your year with some exciting new musical discoveries!

(click player for PeeperD’s Highlights of the Year)

 

 

 

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PodCloud1 Christmas Party-

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It’s the day of the Podcloud1 Christmas Party!

PeeperD and Jamie have one more show to record before the party can really start. But that proves to be more difficult than expected.

A holiday-flavored pod featuring music from Nick Lowe, Death Cab For Cutie, Natalie Merchant, Chris Stamey, KT Tunstall, The Winter Experiment and Sun 60. Plus a live Christmas cut from the concert archives by Elton John. The recently-departed Sharon Jones closes out the show with a great version of Silent Night.

It’s holiday radio at it’s finest! Happy Holidays.

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(click player for PodCloud1 Christmas Party)

 

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Whodunnit  vol. 4 –

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PeeperD returns with another edition of WhoDunnit-the show where you may know the song but not the artist performing it.

Featuring songs originally popularized by Jimi Hendrix, Guns N’ Roses, Tears For Fears, Patti Smith, George Harrison, The Who and Nine Inch Nails.

Let’s see if you can identify the performers covering these hits.

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(click player for Whodunnit vol. 4)

 

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 70’s Deep Tracks – vol. 31 –

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These are forgotten tracks that will take you back to the days when FM radio was truly an art form. And, likely never be played on today’s preset definition of what is “Classic Rock”.

 70’s Deep Tracks – the return of album rock…Podcloud1 style!

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Volume 31 explores the live album craze of the 70’s with cuts from some of the most popular.

Including, Peter Frampton, Bob Seger & The Silver Bullet Band, Kiss, Cheap Trick, Humble Pie, Todd Rundgren and The J. Geils Band.

This is when the concert industry was coming of age !

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(click player for 70’s Deep Tracks vol. 31)

 


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Stars Are Out Tonight –

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While astronomers cast their eye to the heavens for stargazing,
Podcloud1 can find Stars in the music vault.

Musical help provided by: The Rolling Stones, Coldplay, Little Eva & Big Dee Irwin,
Muse, David Bowie, The Coasts, The Cranberries, and Moby.

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(click player for Stars Are Out Tonight)

 

 

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Holiday Shopping Guide –

 

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PeeperD previews several new classic rock box sets and collections out for the holiday season.

Rare recordings from some of the biggest names in classic rock like The Beatles, Led Zeppelin, Bruce Springsteen, The Rolling Stones,
David Bowie, Pink Floyd, The Band, Eric Clapton, Van Morrison and Bob Dylan.

It’s required listening as you make your holiday shopping list!

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(click player for Holiday Shopping Guide)

 

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Focus On: Roxy Music (the early years) –

 

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English rock band Roxy Music was highly influential as pioneers of the more experimental, musically sophisticated elements of glam, and significantly influenced early English punk music.

They also provided a model for many new wave acts and the experimental electronic groups of the early 80s. The group was distinguished by their visual and musical sophistication and their preoccupation with style and glamour. Lead singer Bryan Ferry and co-founding member Brian Eno have also had influential solo careers, the latter becoming one of the most significant record producers and collaborators of the late 20th century.

Join host PeeperD as he focuses on the band’s early years between 1970 and 1976 when they were known as “rock’s most adventuresome band”.

This special double-sized pod will take you from the group’s formation through the end of what critics call “their golden period”.
You’ll hear chart singles from from each of their five studio albums released during this period.

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(click player to Focus On: Roxy Music)

 

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Turning On The Heat –

 

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MisterMusic turns on the heat with this mix featuring new music from Pale Honey,
Liima, Hooten Tennis Club, and Black Honey.
Plus classics from Bob Mould, Paul Simon, The Refreshments, and Angus & Julia Stone.

As the season moves into winter…PodCloud1 keeps the rock-fires stoked !

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(click player for Turning On The Heat)

 

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70’s Deep Tracks volume 30 –

 

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These are forgotten tracks that will take you back to the days when FM radio was truly an art form. And, likely never be played on today’s preset definition of what is “Classic Rock”.

 70’s Deep Tracks – the return of album rock…Podcloud1 style!

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The heavier side of the 70s is represented with tracks from Led Zeppelin, Black Sabbath, Deep Purple, Van Halen and Ted Nugent.   Deep tracks from Queen and Styx. Plus a track from a 1978 solo album from Pink Floyd’s David Gilmour.

Let us entertain you!

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(click player for 70’s Deep Tracks vol. 30)

 

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Baby, You’re Strange –
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Podcloud1 explores Strange Things and Strange People in this Soundboard.

Featuring: Icehouse, David Byrne and Brian Eno, White Lies, Langhorne Slim & The Law,
Echo & The Bunnymen, Pete Yorn, World Party, Boy & Bear, and Depeche Mode.

Enjoy! ~

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Whodunnit vol. 3 –

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WhoDunnit features hit tunes that are not performed by the original artist.

Volume 3 has songs popularized by Led Zeppelin, Peter Gabriel, Jerry Lee Lewis,
The Police, The Kinks, Huey Lewis & The News, New Order and Barry White.

Join host PeeperD and try to figure out who’s performing these great tunes.

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(click player for Whodunnit vol. 3)

 

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Never Too Late To Rock –

 

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Host PeeperD returns with a tasty mix of audio delights.

New music from Ian Hunter, The Pretenders and Van Morrison. Hits from Paul Westerberg, The Black Keys, David Gilmour and The Isley Brothers.
Plus a 60s nugget from The Blues Project. More background instrumentals from the swingin’ sixties tops off this goody bag of gratification.

It’s never too late to rock when you’re listening to Podcloud1. We’re “Radio on Demand!”

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(click player for Never To Late To Rock)

 

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The Sixties – vol. 16 –

 

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It’s another entry in Podcloud1’s soundboard series that captures the sounds of the sixties.

Volume 16 features: Stevie Wonder, The Beatles, Procol Harum, The Monkees, Jay & The Techniques, The Buckinghams, Tommy James & The Shondells, The Turtles,
Arthur Conley, The Association, Sam & Dave, The Five Americans and Paul Revere & The Raiders.

A lot of music on this one to keep you groovin’.

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(click player for The Sixties vol. 16 )

 

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Crisp Air & Cool Tunes –

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Join MisterMusic for an autumn pod of cool tunes.

Featuring the latest by Kings of Leon, White Lies, and The Deltahorse.
Classics pulled from the vault by Dave Edmunds, Red Rider, and Sugar.
Plus, an entry from Nova Scotia’s Wintersleep.

The air is getting crisp as the season changes, but PodCloud1 keeps the airwaves warm with great tunes!

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(click player for Crisp Air & Cool Tunes)

 

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Focus On: The Black Keys –

 

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The Black Keys are an American rock band consisting of guitarist/vocalist Dan Auerbach and drummer Patrick Carney.

Friends since childhood, Auerbach and Carney founded the group after dropping out of college. The duo rose to prominence through the indie scene recording music in basements and self-producing their records. Their sound is inspired by raw blues rock drawing heavily from Junior Kimbrough, Howlin’ Wolf and Robert Johnson. The group’s commercial breakthrough came in 2010 with the album “Brothers”, which along with its popular single “Tighten Up”, won three Grammy Awards. Their 2011 follow-up “El Camino” peaked at number two on the Billboard 200 chart, with the album and its hit single “Lonely Boy”, winning three more Grammys. In 2014, their eighth album, “Turn Blue”, became their first number-one record in the U.S., Canada, and Australia. 164,000 copies were sold in the US alone in its first week. In 2015, “Turn Blue” was nominated for Grammy Awards for Best Rock Album with the single “Fever” being nominated for Best Rock Song and Best Rock Performance.

This pod contains selections from several of The Black Keys’ albums from across their 15-year career.

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Bio:

Guitarist/vocalist Dan Auerbach and drummer Patrick Carney first met when they were eight or nine years old while living in the same neighborhood of Akron, Ohio. Auerbach and Carney both come from musical backgrounds. Auerbach is the cousin of guitarist Robert Quine, a “veteran of New York’s avant-rock scene.” Carney, on the other hand, is the nephew of saxophonist Ralph Carney, who has performed with artists like Tom Waits, The B-52’s, Elvis Costello, Les Claypool, and Medeski, Martin & Wood, among others.

While attending Akron’s Firestone High School, they became friends, though they were part of different crowds—Auerbach was captain of the high school soccer team, while Carney was a social outcast. Encouraged by their brothers, the duo began jamming together in 1996, as Auerbach was learning guitar at the time and Carney owned a four-track-recorder and a drum set. After graduating, both briefly attended the University of Akron before dropping out.

Auerbach attempted to make a living by performing at small bars in town with his band The Barnburners. But he soon realized he would not be able to book shows in other cities without a demo. To record one, he asked Carney for help, who agreed to provide recording equipment and allow his basement to be used if Auerbach recruited the other musicians. However, none of Auerbach’s backing band showed up on the recording date. Instead, Carney and Auerbach jammed, eventually leading to the duo forming a band in mid-2001.

Together, they recorded a six-song demo consisting of old blues rip-offs and ad-libbed lyrics. After sending the demo to a dozen record labels, they accepted an offer in 2002 from a small indie label in L.A. called Alive, as it was the only label that would sign the group without seeing them first. The band took its name from a schizophrenic artist named Alfred McMoore that the pair knew. He would leave incoherent messages on their answering machines referring to their fathers as “black keys” such as “D flat” when he was upset with them.

On March 20, 2002, the duo played their first live show at Cleveland’s Beachland Ballroom and Tavern to an audience of approximately eight people. Not deterred, the two went to work on their debut album. They began recording in Carney’s basement on an old 8-track tape recorder because they could play it in the car. The cheap equipment gave the recordings a grainy, lo-fi sound, almost as if it had been made in the 1960s. Compared to other recordings, it sounded unprofessional but, in turn, had a sense of authenticity that impressed critics. Released in May of 2002, three months after they signed to Alive, the record was called “The Big Come Up”. It was a mix of eight original tracks and five covers-several of them blues tracks from the likes of Muddy Waters, Junior Kimbrough and R.L. Burnside. A cover of The Beatles “She Said, She Said” was released as a single. The album only sold 139,000 copies and the two did not make much money so they had trouble financing a tour to support it. They raised money by taking jobs mowing lawns for their landlord. Carney and Auerbach spent their early tour days driving themselves from show to show in a 1994 Chrysler van they nicknamed the “Gray Ghost”.

Although “The Big Come Up” sold poorly, it gained a cult following, attracting attention from critics which eventually landed the group a record deal with Fat Possum Records. Within days of the signing, the Black Keys had completed their second album, “Thickfreakness”. It was recorded in Carney’s basement in a single 14-hour session in December of 2002. This approach was necessitated because the group had spent its small advance from Fat Possum on rent. It continued the band’s raw, heavy blues-influenced garage rock sound. The album was released on April 8, 2003 and was well-received by music critics. The record spawned three singles: “Set You Free”, “Hard Row”, and a cover of Richard Berry’s “Have Love, Will Travel”.

The success of the album, along with the growing notoriety of the similar-sounding group The White Stripes, raised awareness of The Black Keys as an indie-rock blues band. The group toured extensively throughout 2003, playing its first dates outside of the United States. They opened concerts for Sleater-Kinney, Beck and Dashboard Confessional. In March 2003, the band played at one of its first music festivals, South By Southwest in Austin, Texas, after driving for nearly 24 hours from Akron.

While on the road, Auerbach began writing material for the band’s next album. But the furious pace they had been keeping eventually caught up with the group and a European leg of the tour had to be cancelled due to exhaustion. When the duo returned home, they discovered that Carney’s landlord had sold his house where they had recorded their previous albums.

In August, the group made its national television debut on Late Night With Conan O’Brien. In September, the Black Keys released a split-EP with The Six Parts Seven featuring three new songs. During the year, the duo received a lucrative offer to license one of their songs for use in an English mayonnaise commercial. However, they rejected the offer for fear of being perceived as sell-outs and alienating their fan base. Their grass-roots approach was working. At the end of the year, Time Magazine named “Thickfreakness” as the third-best album of 2003.

As 2004 began, the band was forced to find a new recording location. So they rented space in an abandoned tire factory in their hometown of Akron, created a makeshift studio and began recording.The Black Keys released an EP titled “The Moan” in January of 2004, featuring the song “Have Love Will Travel”. Although they were critical darlings, the group found itself struggling to sell records or gain radio airplay, and they were not making much money either. Frustrated with their lack of success, the band relented and decided to begin licensing their music, beginning with the song “Set You Free” in a Nissan automobile commercial. It was the first of an eventual 300-plus song placements in television shows, films, TV commercials, and video games. The group continued to raise their profile by playing several music festivals in the first half of the 2004, including Coachella and Bonnaroo.

Recording for the new album was finished in May. “Rubber Factory” was released in September 2004 and became the group’s first record to chart on the U.S. Billboard 200 reaching number 143. The album received critical acclaim and was named one of the year’s best albums by Entertainment Weekly and The New Yorker. Two singles were released, “10 A.M. Automatic” and the double A-side “Till I Get My Way/Girl Is On My Mind”. The duo promoted the album with tours in North America, Europe, and Australia. In 2005, the band released their first live video album, “Live”, recorded at The Metro Theater in Sydney, Australia in early March. In July, they played at the Lollapalooza music festival.

At the same time, the duo recorded a tribute EP of Junior Kimbrough’s music titled “Chulahoma”. Its title is a reference to the location of a juke joint owned by Kimbrough called “Junior’s Place”. This EP was the band’s last record with Fat Possum Records. It was eventually released in May of 2006. Having fulfilled their two-album contract, the band signed with the major label Nonesuch Records. Also in May, the group released its second live album, “Live in Austin, TX”-also known as “Thickfreakness in Austin”-which had been originally recorded in 2003. The group’s music appeared in several television commercials over the course of the year for such companies as Sony, Nissan, and Victoria’s Secret.

Despite having the resources of a major record label available to them, the group elected to return to recording in Carney’s basement for its fourth studio album, “Magic Potion” which was released in September. It was the first album comprised of all original songs. Three singles were issued: “You’re The One”, “Your Touch”, and “Just Got To Be”. In support of the record, the band embarked on its largest tour to that point, performing in large theaters and 1,000-seat venues. The Black Keys also recorded covers of “The Wicked Messenger” for the soundtrack of the film “I’m Not There” and “If You Ever Slip” for “The Hottest State” soundtrack.

In 2007, producer Danger Mouse began working on a record for Ike Turner and asked the Black Keys to write a few songs for the project. The collaboration ultimately fell through, and Turner later died in December. But the duo decided to turn the material they had written into their next album asking Danger Mouse to produce. The sessions saw the band transitioning away from their “homemade” philosophy to record-making. Not only was it the first time that the band completed an album in a professional studio, but it was also the first time they hired an outside producer. Danger Mouse augmented the band’s sound with instrumental flourishes and more polished production values.

Released on April 1, 2008, “Attack & Release” debuted at number 14 on the Billboard 200. Four singles were released: “Strange Times”, “I Got Mine”, Oceans And Streams”, and “Same Old Thing”. “Strange Times” was featured in the video games Grand Theft Auto IV and NASCAR 09. “I Got Mine” was used as the theme song for Canadian police drama TV series The Bridge. The song was ranked at number 23 on Rolling Stone’s list of the “100 Best Singles of 2008”. In November, they toured through Europe while the concert video “Live At The Crystal Ballroom” was released.

Tensions grew within the band in 2009. Auerbach found it increasingly difficult to communicate with Carney due to his dislike for his wife. Auerbach said, “I really hated her from the start and didn’t want anything to do with her.” In February, Auerbach released his debut solo album, “Keep It Hid” with backing from the band The Fast Five who he’d met earlier at the Austin City Limits Music Festival. Carney, who claimed Auerbach did not tell him about the side project, felt betrayed. He subsequently formed the indie band Drummer, with whom he played bass guitar. The group released its debut album “Feel Good Together” in September of 2009.

The Black Keys reconciled later in the year. In June, they performed at the 2nd Annual Roots Picnic on the Festival Pier in Philadelphia. They also joined the 9th annual Independent Music Awards judging panel to assist independent musicians’ careers. “Blakroc”, a collaborative album featuring the Black Keys and several hip-hop artists including Mos Def, Ludacris, RZA and others was released on Black Friday. Auerbach said on the official Blakroc site, “Pat and I have been preparing for this record since we were 16.”

Auerbach and Carney moved to Nashville in 2010, where they established a studio downtown. The group’s sixth album, “Brothers”, was released in May of 2010. Recorded primarily at Muscle Shoals Sound Studio, the album was produced by the Black Keys and Mark Neill, and was mixed by Tchad Blake. The song “Tighten Up”, the only track from the album produced by Danger Mouse, preceded the album as the lead single. It became their most successful single to that point, spending 10 weeks at number one on the Alternate Songs chart and becoming the group’s first single on the Billboard Hot 100 peaking at number 87. The song eventually reached gold status.

“Brothers” sold over 73,000 copies in the US in its first week and peaked at number three on the Billboard 200, their best performance on the chart to that point. In total, the record sold 1.5 million copies worldwide and it was certified double-platinum in Canada, platinum in the US, and gold in the UK. The band continued to gain exposure through continued song licensing, so much so that they were Warner Bros. Records’ most-licensed band of the year. Rolling Stone placed “Brothers” at number two on its list of the best albums of 2010 and “Everlasting Light” at number 11 on the list of the year’s best songs. Spin named the Black Keys the “Artist of the Year” for 2010. On January 8, 2011, the band appeared as the musical guest on Saturday Night Live. At the 53rd Grammy Awards, “Brothers” and its songs won awards in three of the five categories for which they were nominated including Best Alternative Music Album.

The band’s sudden success proved overwhelming, as they found themselves booking additional promotional commitments and facing demand for more touring dates. In January 2011, the group canceled concerts in Australia, New Zealand, and Europe, citing exhaustion, thus clearing out most of their schedule into April. The desire to record another album soon after “Brothers” also led to the decision.  Meanwhile, the album’s second single, “Howlin’ For You”, was a successful follow-up, achieving gold status in the US. The group continued to make appearances at American music festivals throughout the year, playing at Bonnaroo, Kanrocksas, and Outside Lands.

The Black Keys recorded their seventh studio album, “El Camino”, from March to May of 2011. Splitting time between touring and recording, the band spent 41 days at Easy Eye Sound Studio, which was opened in 2010 by Auerbach in the duo’s new hometown of Nashville. For the album, Danger Mouse reprised his role as producer and also contributed as a co-writer on all 11 songs. After struggling to translate the slower songs from “Brothers” to a live setting, the band decided to write more uptempo tracks for “El Camino”. The record drew from popular genres from the 1950s–1970s, including rock and roll, glam, rockabilly, surf, and soul. The band cited several retro acts as musical influences on the album, including The Clash, The Cramps, T. Rex, The Ramones, The Beatles, Sweet, The Cars and Johnny Burnette.

“Lonely Boy” was released in October as the album’s lead single, accompanied by a popular one-shot music video of a man dancing and lip-syncing. Reaching number 64 on the Billboard Hot 100, the song became the group’s best-charting single in several countries. It was certified nine-times platinum in Canada, triple platinum in Australia, platinum in New Zealand, and gold in Denmark. The band returned to Saturday Night Live as a musical guest on December 3, 2011. “El Camino” was released three days later to wide critical acclaim.

In the US, the album debuted at number two on the Billboard 200 and sold 206,000 copies in its first week, the highest single-week sales and (to that point) charting position the group had achieved in the country. Many publications, such as Rolling Stone and Time ranked “El Camino” among the best albums of the year, despite its late release. The album was certified double-platinum in Australia, Canada, and New Zealand; platinum in the US, UK, and Ireland; and gold in Belgium, the Netherlands, and France.

In 2012, the group began the first headlining arena tour of its career, the “El Camino Tour”, playing dates in Europe and North America. After tickets went on sale, their show at Madison Square Garden sold out in 15 minutes. Just as it did on its previous tour, the group added bassist Gus Seyffert and keyboardist/guitarist John Wood as touring musicians in order to perform songs as close to their studio arrangements as possible. The album’s second single, “Gold On The Ceiling”, like its predecessor, went to number one on the Alternative Songs chart and was certified platinum in Australia and Canada. The group headlined several music festivals throughout the year, including Coachella and Lollapalooza. At the 2013 Grammys, “El Camino” and “Lonely Boy” were nominated in five categories and were winners in three; the album won Best Rock Album, while “Lonely Boy” won Best Rock Performance and Best Rock Song.

For their eighth studio album, the band once again collaborated with Danger Mouse, who co-produced and co-wrote the songs. It was recorded primarily at Sunset Sound in Hollywood, California, from July to August 2013, with additional recording in early 2014 at The Key Club in Benton Harbor, Michigan, and Auerbach’s Easy Eye Sound in Nashville. The album was announced in March 2014 via Mike Tyson’s Twitter account, with a link to a cryptic teaser video on YouTube featuring a hypnotist.

“True Blue” was released in May. It had a psychedelic rock and soul vibe with a more melancholy tone, largely in part due to Auerbach dealing with his divorce during the recording sessions. The first single, “Fever” was released in March, while a second single, “Turn Blue”, followed in April. The album debuted at number one in the US and Australia, the band’s first record to top the album charts in either country; 164,000 copies were sold in the US in its first week. The group embarked on a world tour in May 2014 to support the album, with Cage The Elephant, Jake Bugg, and St. Vincent all separately opening for them. In 2015, “Turn Blue” was Grammy nominated for Best Rock Album, Best Rock Song and Best Rock Performance.

While on vacation, drummer Patrick Carney suffered a dislocated and broken shoulder in a swimming accident. The Black Keys cancelled a European tour followed by performances in Australia, New Zealand and Japan. Dan Auerbach decided to make productive use of the hiatus by launching a new side project called “The Arcs”. The band was comprised of many of the musicians Auerbach had worked with on his producing projects for Ray LaMontagne, Lana Del Ray, Dr. John and others. They made their debut with a 7” vinyl single, “Stay In My Corner”, released in May. The full-length album “Yours, Dreamily”, was recorded in a handful of freewheeling sessions lasting less than two weeks. It was released in September of 2015. The band hit the road during the last part of 2015. As fate would have it, they were playing at a nearby venue on the night of the Bataclan Theater Massacre in Paris. The Arcs started 2016 with an appearance at Coachella. They are currently playing the summer festival circuit highlighted by an appearance at Lollapalooza.

In March of 2016, Auerbach and Carney inducted Steve Miller into the Rock & Roll Hall Of Fame. However, the event will be remembered more for Miller’s caustic post-ceremony remarks than for The Black Keys’ induction speech. The Black Keys are making occasional one-off appearances at various festivals. But, with Auerbach occupied by The Arcs, there are, at present, no plans to return to the studio in the near future.

 

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70’s Deep Tracks vol. 29 –

 

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These are forgotten tracks that will take you back to the days when FM radio was truly an art form. And, likely never be played on today’s preset definition of what is “Classic Rock”.

 70’s Deep Tracks – the return of album rock…Podcloud1 style!

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Take a listen to the power pop movement of the 70s.

Great cuts from The Flamin’ Groovies, The Tourists, The Dwight Twiley Band, The Raspberries, The Rubinoos, Fotomaker, The Headboys, The Sports and The Marc Tanner Band.

Turn It Up !

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 Inside Out –

 

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On this soundboard, we’ll turn you inside and out ~

Featuring music by: John Lennon, R.E.M., Joe Jackson, The Coral, INXS, The Moody Blues, Love & Rockets, and The Wallflowers.

You’ll return to a more stable condition when it’s over.

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Autumnal Equinox Energy Mix –

 

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Say goodbye to summer with PeeperD’s Autumnal Equinox Energy Mix.

New sounds from Father John Misty, Amos Lee and Aaron Neville. Hits from The Clash, Yeah Yeah Yeahs and Catherine Wheel.
Plus a live track from the last night of The Tragically Hip’s recently concluded tour.
Background sounds with a lounge-chill vibe from the leader of Poi Dog Pondering-Frank Orrall.
Top it off with a marching band salute to Ozzy Osbourne and this pod will have some powerful mind-altering effects.
Bystanders will say “I’ll have what they’re listening to!”

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Focus On: The Clash / Joe Strummer –

 

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The Clash were an English punk rock band that was part of the original wave of 70s British punk.

Their politicized lyrics, musical experimentation, and rebellious attitude had a far-reaching influence on rock. Incorporating elements of reggae, dub, funk, ska and rockabilly, The Clash were one of the first bands to create a sound based on a melting pot philosophy of music. With lyrics charged by a left-wing political ideology, they’re credited with pioneering the advocacy of radical politics in punk rock. Unlike many of their nihilist punk peers, The Clash aligned themselves with many liberation movements around the globe which expanded their influence worldwide.

Because of their cross-cultural approach, The Clash inspired many musicians who were only loosely associated, if at all, with punk.

Although the band broke up in 1986, their legacy has continued to grow over the years. In January of 2003, shortly after the death of lead singer Joe Strummer, they were inducted into the Rock & Roll Hall Of Fame. In 2004, Rolling Stone ranked The Clash at number 28 on its list of the 100 greatest artists of all time with three of their records ending up on the list of the 500 greatest albums.

This special 2 part Focus On features the music of The Clash in part one, and if your scroll down Joe Strummer’s solo career in part two.

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Bio –

Joe Strummer was born John Graham Mellor in Ankara, Turkey, in August of 1952. His father was a British foreign service diplomat so the family spent much time moving from place to place. John spent parts of his childhood in Cairo, Mexico City and Bonn. At the age of nine, his parents sent him to boarding school at the City of London Freeman’s School. He rarely saw them again during the next seven years.

Mellor developed a love of rock music listening to records by Little Richard and The Beach Boys, as well as the work of folk-singer Woody Guthrie. After finishing his time in boarding school, he moved to London and then, eventually, Wales, where he became the vocalist for the band The Vultures. For the next year, he was the band’s part-time singer and rhythm guitarist while working a day gig as a gravedigger to support himself. In 1974, the band fell apart and Mellor moved back to London where he did street performances before forming another band called The 101ers. They were named after the address of their flat on Walterton Road. The band played many gigs in London pubs performing covers of popular American R&B and blues songs. In 1975, he adopted the stage name of Joe Strummer inspired by his rudimentary strumming skills on the ukulele as a busker in the London Underground.

In 1976, the then-unknown Sex Pistols opened for The 101ers. Strummer was very impressed by them. At the same time, Mick Jones was the guitar player in the proto-punk band London SS, which had rehearsed for much of 1975 without ever playing a live show and recording only a demo single. They were managed by Bernard Rhodes, an associate of Malcolm McLaren who was the manager of the Sex Pistols. Because of this connection, Jones and his bandmates became friendly with Glen Matlock and Steve Jones of the Pistols. London SS broke up in early 1976. Soon afterwards, Jones saw the Sex Pistols perform for the first time and it was a life-changing moment for him. Jones reached out to bassist Paul Simonon, who had previously auditioned for London SS, suggesting he join the new band he was putting together. Soon Jones, Simonon, guitarist Keith Levene and whoever they could find to play drums were rehearsing. Eventually Terry Chimes was asked to audition for the new band as a drummer and got the job. But the group was still in search of a lead singer.

Jones and Levene had seen Strummer perform with The 101ers and were impressed. At their manager’s urging, they approached him about joining the band. Strummer, for his own part, was ready to make a switch from the pub rock scene ever since he’d seen the Sex Pistols’ performance. On May 30th, Manager Bernard Rhodes and Levene met Strummer after a 101ers gig and invited him back to the band’s rehearsal space. They offered him the job. Strummer agreed to join them. “Once we had Joe on board”, Paul Simonon said, “it all started to come together”.

After briefly dubbing themselves The Weak Heartdrops and The Psychotic Negatives, the name The Clash was settled on, originally coined by Simonon. After rehearsing with Strummer for less than a month, The Clash made their debut on July 4, 1976 opening for the Sex Pistols. The band hurried to make it on-stage before their revivals The Damned. They were another London SS spinoff who eventually made their own debut two days later. After the performance, The Clash would not play in front of an audience again for another five weeks as their manager insisted they get much tighter.

The Clash rehearsed intensely with Jones and Strummer sharing most of the writing duties. “Joe would give me the words and I would make a song out of them” said Jones describing their song writing process. Soon the band began recording. In August, they returned to the stage with several gigs that caught the attention of the music press. During this time, Levene was fired and, a few months later, Chimes quit. Pressing on, The Clash toured that December with a stand-in drummer in support of the Sex Pistols’ Anarchy Tour.

By the start of 1977, punk had become a major media phenomenon in the UK. On January 25th, The Clash signed to CBS Records for £100,000, a remarkable amount for a band that had played a total of about 30 gigs and almost none as a headliner. The group found themselves having to justify the deal to both the music press and to fans who accused them of selling out to the establishment.

The Clash entered the studio bringing Terry Chimes back as drummer for the recording sessions. The band’s first single, “White Riot”, was released in March of 1977 and reached number 34 on the British charts. Their debut album simply titled “The Clash” was released the following month. It was filled with fiery punk tracks and the album climbed to number 12 in the UK. CBS refused to release it in the U.S. because they believed that its raw, barely produced sound would make it unsalable. However, after the UK original became the best-selling import album of the year in the U.S., a North American version with a modified track order was released in early 1979.

Terry Chimes, whose career ambitions didn’t include playing in a punk rock band, left the group soon after the sessions. The Clash auditioned numerous drummers finally settling on Topper Headon. He was an excellent musician that could also play piano, bass and guitar. Now a four-piece, the band set out on the “White Riot” tour in May headlining a lineup that included The Buzzcocks, The Slits and The Prefects. That same month, CBS released “Remote Control” as the debut LP’s second single.

Topper Headon’s first recording with the band was the single “Complete Control” which was co-produced by famed reggae artist Lee “Scratch” Perry. It was released in September of 1977 rising to number 28 on the British charts. The next single, “Clash City Rockers”, came out in February of 1978. “ White Man In Hammersmith Palais” came out in June surprising listeners with its ska rhythm and arrangement.

Before The Clash began recording their second album, CBS requested they adopt a cleaner sound in order to reach American audiences. Sandy Perlman, known for his work with Blue Oyster Cult, was hired to produce the record. Although some listeners complained about the relatively mainstream production style, “Give “Em Enough Rope” received largely positive reviews upon its November release. But it was not the American breakthrough CBS had hoped for reaching only number 128 on the Billboard charts. The first UK single, “Tommy Gun”, rose to number 19 which was the highest chart position for a Clash single to date. In support of the album, the band toured the UK followed by its first successful tour of North America in February of 1979.

In August and September, The Clash recorded “London Calling”, a double album which was a mix of punk, reggae, ska, rockabilly and traditional rock with more polished production. It is regarded as one of the greatest rock albums ever recorded. Its final track, a relatively straightforward rock number sung by Mick Jones called “Train In Vain”, was included at the last minute and so did not appear in the track listing on the cover. It became the group’s first U.S. top 40 hit peaking at number 23 on the Billboard chart. At the same time in the UK, the song “London Calling” was released as a single which quickly rose to number 11.

Released in December of 1979, “London Calling” hit number 9 on the British charts. In the U.S., where it was issued a month later, it reached number 27. The cover art of the record was inspired by Elvis Presley’s self-titled 1956 debut LP. It became one of the best known album covers in the history of rock. During this time, The Clash became known as “the only band that matters”.

The band planned to record and release a new single every month during 1980. But CBS balked at this idea and so the band eventually came out with only one single-an original reggae tune, “Bank Robber”, in August. But in December, they released a 3-LP, 36 song album titled “Sandinista!”. It again reflected The Clash’s broad range of musical tastes including reggae dub styles and rap. Produced by the band with the participation of Jamaican reggae artist Mikey dread, “Sandinista!” was their most controversial album to date, both politically and musically. Critics were divided. Many hailed the album as containing several great Clash songs while others felt it was bloated and cluttered with nonsensical “filler” songs. Despite the controversy, “Sandinista!” fared well in America charting at number 24.

In early 1981, The Clash came out with a single, “This Is A Radio Clash”, that further demonstrated their ability to mix diverse influences such as dub and hip-hop. In September, they began work on their fifth album, originally planned as a 2-LP set with the working title of “Rat Patrol From Fort Bragg”. Mick Jones produced one cut but the other members were dissatisfied. So production duties were handed over to the renown Glyn Johns with the album re-conceived as a single LP.

“Combat Rock” was released in May of 1982. It contained two “radio friendly” tracks that would change the fortunes of the band forever. The lead-off single, “Should I Stay Or Should I Go”, and the follow-up, “Rock The Casbah”, both received heavy airplay on AOR radio stations as well as MTV. “Rock The Casbah” went on to become the band’s biggest U.S. hit ever charting at number 8. The album itself was their most successful hitting number 2 in the UK and number 7 in the U.S.

In the wake of the success of “Combat Rock”, The Clash began to implode. Topper Headon was asked to leave just before the album’s release due to his heroin addiction. Terry Chimes was brought back to cover for a few months. But the loss of Headon, who was well-liked by others, exposed growing friction within the group.

In the public eye, The Clash were exploding, playing larger gigs such as opening for The Who on a leg of their final tour in the U.S. This tour included a much-bootlegged show at New York’s Shea Stadium. But while The Clash’s profile continued to rise, internal tensions were increasing as well. In early 1983, Chimes again left the band after the “Combat Rock” tour because of in-fighting and turmoil. A disastrous appearance at the US Festival ended with the band brawling with the security staff. This show would be Jones’ last with The Clash. In September of 1983, he was fired. Two guitarist were brought in the replace Jones as well as a new drummer. Management announced that a new album would be released early in the next year. The reconstituted band played its first live shows in January of 1984 auditioning a batch of new songs.

The recording sessions for the new album were chaotic with manager Bernard Rhodes and Strummer working with a group of studio musicians. The new band began auditioning new material in concert. After a concert in Athens, Strummer went to Spain to clear his mind. While he was abroad, CBS released the first single from the upcoming album, “This Is England”, to mostly negative reviews. Strummer was angered and lost interest in the project leaving Rhodes to finish the record. Much of the album that came out later that year was drastically re-engineered by Rhodes with drum machines, synths and football-style chants added to Strummer’s original tracks. “Cut The Crap” was disowned by Strummer and, in early 1986, The Clash disbanded.

Part Two: Joe Strummer after The Clash 

This pod contains songs from Joe Strummer’s solo career including several selections with his group The Mescaleros.

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Bio –

After The Clash disbanded, Strummer contacted Jones in an effort to reform the band. Jones, however, had already formed a new band, Big Audio Dynamite, and was interested in moving forward with that project. With Jones committed to B.A.D., Strummer moved on to various solo projects and screen acting work. Simonon formed a band called Havana 3AM. Headon recorded a solo album before once again spiraling into drug abuse. Chimes went on to drum with a succession of different acts.

In 1986, Joe Strummer worked on several songs for the film “Sid And Nancy”. He also contributed songs and production to Big Audio Dynamite’s second album “No. 10, Upping Street”. In 1987, he starred in a film titled “Straight To Hell” which also featured the London-Irish folk/punk band The Pogues both as actors and contributors to the soundtrack. Strummer joined The Pogues for a tour in 1987/88 filling in for ailing guitarist Philip Chevron. This tour would be the first of several collaborations that he would have with the band.

In 1989, Joe Strummer produced a solo record with the band The Latino Rockabilly War titled “Earthquake Island”. It was a commercial and critical flop resulting in the loss of his contract with Sony Records. Meanwhile, Strummer was asked by The Pogues to produce their next album. The album was titled “Hell’s Ditch” and it came out in 1990. The next year, he replaced lead singer Shane MacGowan, who had departed to pursue a solo career, for the band’s upcoming tour.

During this period, Strummer began working with other bands. He played piano on the 1995 UK hit “Just The One” by The Levellers. He also appeared on the Black Grape single “England’s Irie”. In 1997, he began working with Lee “Scratch” Perry on remixed dub versions of Clash and 101ers material. In 1998, he made an appearance on the TV show South Park and the accompanying album “Chef Aid: The South Park Album”.

In the mid-to-late 1990s, Strummer gathered top-flight musicians into a backing band he called The Mescaleros. The band signed with Mercury Records and released their first album in 1999 called “Rock Art And The X-Ray Style”. A tour of England, Europe and North America soon followed with set lists that included several Clash fan favorites. In 1999, Strummer, Jones and Simonon co-operated in compiling the live Clash album “From Here To Eternity” and the video documentary “From Here To Eternity”.

In 2001, the Mescaleros released their follow-up “Global A Go-Go” with a 21-date tour in support of the album. Around this time, Joe Strummer became involved with the Anti-Nazi League and Rock Against Racism campaigns. He also gave his support to the Rock Against The Rich series of concerts organized by the anarchist organization Class War. On November 15th, 2002, Strummer and his band played a benefit show for striking fire fighters in London. Mick Jones, who was in the audience, joined the band onstage. This performance marked the first time the two had played together live since 1983.

Joe Strummer died suddenly on December 22, 2002 at his home in Somerset due to an undiagnosed congenital heart defect. Shortly before his death, he and U2’s Bono had been working on a song titled “46664” for Nelson Mandela as part of a campaign against AIDS in Africa. As a tribute, Mick Jones later recorded a version of this song performing both the vocals and guitar parts. It has yet to be released.

In January of 2003, The Clash were inducted into the Rock & Roll Hall Of Fame as “one of the most overtly political, explosive and exciting bands in rock history”. At the time of his death, Strummer was working on another Mescaleros album which was released posthumously in October of 2003 under the title “Streetcore”.

In the years since his passing, numerous tribute songs have been written and memorial concerts have been organized to salute the legacy of Joe Strummer. Rolling Stone has named “London Calling” as the best album of the 1980s-even though it was released in 1979.

During his time, Joe Strummer was instrumental in creating Future Forests (now known as the Carbon Neutral Company) which is dedicated to planting trees in various places around the world to combat global warming. In conjunction with his estate, Fender has released the “Joe Strummer Tribute Telecaster”, which features the “road worn” finish of his 1966 Telecaster. In his memory, Strummer’s friends and family have established the Strummerville foundation for the promotion of new music. The foundation holds an annual festival of the same name in an effort to give exposure to new artists.

 

 

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The Other Side of Summer –

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As September rolls along, MisterMusic hosts this pod on
the other side of summer.

Featuring new tunes from The Radio Dept., Local Natives, Year of Suns, and MIYNT.
Plus a few classics by Tom Petty & the Heartbreakers, Pete Townshend, and Elvis Costello fill out the episode.

As we reflect on a record breaking hot summer, this one proves why PodCloud1 is the ”One for Great Music” for every season.

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70’s Deep Tracks vol. 28 –

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These are forgotten tracks that will take you back to the days when FM radio was truly an art form. And, likely never be played on today’s preset definition of what is “Classic Rock”.

 70’s Deep Tracks – the return of album rock…Podcloud1 style!

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It’s another look at the southern rock phenomena of the 70s.

Music from Lynyrd Skynyrd, The Outlaws, Little Feat, The Atlanta Rhythm Section and The Marshall Tucker Band. Featuring the classic Macon sound of The Allman Brothers. Plus a solo turn from Dickey Betts with his band The Great Southern.
The sound of Dixie was riding high in the 70s!

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Sleep Tight –

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PodCloud1 presents a soundboard that sings the praises of “Sleep“.

That’s the theme, but don’t worry, we’re not letting you doze off here.

Featuring: The Postal Service, Warren Zevon, The Beatles, Barenaked Ladies, Fiona Apple, The Romantics, The Smithereens, The Pretenders, and R.E.M.

You’ll be tapping your toes while you count sheep to this one!

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Whodunnit Vol. 2 –

 

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PeeperD returns with the show that asks the musical question: Whodunnit?

Volume 2 features great songs originally popularized by Joni Mitchell, INXS, The Eagles, Tom Waits, Bruce Springsteen, Fleetwood Mac and The Bobby Fuller Four.
But in this show they’re not performed by the original artist.

See if you can figure out who the artists are covering these hits.

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After listening, visit the index page (top menu) for a full listing of the artists appearing on  the show.  Let’s see what kind of musical detective you are!

 

 

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Vacation Day –

 

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Hit the road with PeeperD on his summer vacation day.

Great new music from Radiohead and Michael Kiwanuka. Featuring a playlist that includes Fountains Of Wayne, Paul Simon, The Decemberists, Doves and Temple Of The Dog.  Plus a classic from the sixties by Otis Redding.

This pod is the perfect soundtrack for a mind holiday!

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70’s Deep Tracks  vol. 27 –

 

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These are forgotten tracks that will take you back to the days when FM radio was truly an art form. And, likely never be played on today’s preset definition of what is “Classic Rock”.

 70’s Deep Tracks – the return of album rock…Podcloud1 style!

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It’s the softer side of the 70s with an emphasis on acoustic music.

Featuring The Eagles, Crosby Stills, Nash & Young, America, Fleetwood Mac, Dan Fogelberg, The Steve Miller Band, Firefall and Pure Prairie League.

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End of Summer –

 

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It’s almost the end of summer…but that’s no reason to slow down the Rockin’ !

MisterMusic is your host for this pod featuring recent music by
Silversun Pickups, and Yuck. New stuff by Elephant Stone, and White Lies.
Slide back in time with the smooth sounds of Player and The Psychedelic Furs.
Plus, Love & Rockets and David Essex rock us a little.

This pod has something for everyone!

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Focus On: The Decemberists –

 

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The Decemberists are an American indie folk rock band

led by singer/songwriter Colin Meloy.  Drawing on his degree in creative writing, the group crafts theatrical, hyper-literate songs that range from upbeat pop to instrumentally lush ballads.
Their influences range from late 60s British folk acts like Fairport Convention and Pentangle to early 80s college rockers such as Morrissey, R.E.M., The Waterboys and XTC. Their sound often employs instruments like the accordion, hurdy gurdy, Hammond organ, Wurlitzer organ, and upright bass. In its lyrics, the band favors a storytelling approach conveying tales that often focus on historical incidents and/or folklore from around the world.
In addition to their distinctive sound, The Decemberists are also well known for their eclectic live shows. The band stages whimsical reenactments of sea battles and other centuries-old events, typically of regional interest, or acts out songs with members of the crowd. Audience participation is often a part of each performance which has made them one of the most popular touring acts today.
The band’s 2011 album “The King Is Dead” sold an impressive 94,000 copies in its first week taking the top spot on the Billboard 200. The single “Down By the Water” was nominated for a Grammy for Best Rock Song. Despite their indie status operating outside mainstream culture, The Decemberists have become one of the most popular acts in music today.

This pod contains several selections from many of The Decemberists’ albums and EPs.

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Bio:
Born in Helena, Montana, Colin Meloy started his musical career as part of the alternative band Tarkio that released two albums in the late 90s. At the end of the decade, he broke off to pursue his craft as a singer/songwriter. Meloy moved to Portland, Oregon where he met bassist Nate Query and keyboardist/accordionist Jenny Conlee who played together in the band Calobo. The three hit it off and began making music, eventually scoring a silent film together.

While playing a solo show prior to meeting Query, Meloy met multi-instrumentalist Chris Funk. Funk was a fan of Tarkio and eventually played pedal steel on the first two Decemberists releases before joining the band full-time. Rounding out the original lineup was the band’s first drummer, Ezra Holbrook. Meloy had a degree in creative writing and began fashioning a hybrid of literate lyrics and wide-ranging pop music. Underscoring this literary approach, the band took its name from an 1825 revolt in Imperial Russia.

The group spent the turn of the century honing its sound and writing material that they began recording later that year. This resulted in the self-released EP “5 Songs” in 2001. The band played for several hours in a hotel the night before to raise the money needed to record in the studio the next day. This EP originally served as a demo tape and the five songs on it were recorded in under two hours.

The Decemberists signed with Hush Records and went to work on their debut full-length recording. “Castaways And Cutouts” was released in May of 2002 to mostly positive reviews. The album’s cover was designed by the Portland artist Carson Ellis, the long-time girlfriend (and now wife) of Colin Meloy. This would start a trend as she has created the artwork for each of the band’s subsequent albums.

After the record’s release, the group moved over to the Kill Rock Stars record label and began work on its follow-up. Drummer Ezra Holbrook was replaced by Rachel Blumberg during the recording sessions. Meanwhile, the new label re-released the band’s debut to a wider audience. In September of 2003, the group released their second album “Her Majesty The Decemberists”.
In March of 2004, the band released “The Tain”, an eighteen-and-a-half minute single track in five parts based on the Irish mythological epic “Tain Bo Cuailnge”. It was recorded with assistance from Chris Walla from Death Cab For Cutie. An accompanying music video for the track was made entirely from silhouette crepe paper stop motion animation.

In the summer of that year, the Decemberists rented Prescott Church in northeast Portland for one month to record their next full-length. Chris Walla continued his collaboration serving as producer for the sessions. To facilitate the creative process and avoid writer’s block, band members filled a bike helmet with slips of paper listing strategies and ideas to try out.
The album was released in March of 2005 with the title “Picaresque” which was taken from a form of satirical prose that depicted the humorous adventures of a low-born, roguish hero living by his wits in a corrupt society. The single “Sixteen Military Wives” spread the band’s sound to a larger audience with the album reaching number five on the Billboard Heatseekers chart.
In December of that year, Meloy revealed that the band had signed to Capitol Records, and planned to begin recording their major label debut with producers Tucker Martine and Chris Walla in April 2006. This move surprised longtime fans who feared that the label wouldn’t appreciate a quirky band known to perform in period Civil War outfits. During this period, drummer John Moen joined the group, completing the lineup that remains to this day.
The band’s first album on Capitol, “The Crane Wife”, was released in October and was accompanied by an appearance the same day on Late Night With Conan O’Brien, during which the band performed the single “O Valencia!”. The month following the album’s release, the band encouraged fans to create a music video for the single using footage of the band in front of a green screen.
The album’s theme was loosely based on a Japanese folk tale with a crisp production style that took The Decemberists sound to a new sonic level. They embarked on a tour supporting the album which was titled “The Rout Of The Patagons”. At the end of 2006, “The Crane Wife” was voted NPR listeners’ favorite album of the year. It remains one of the Decemberists’ most critically acclaimed records of their catalog.
In July 2007, the band embarked on a five-date tour with a full orchestral accompaniment, pairing them with ensembles in Los Angeles, Philadelphia and Chicago. However later that fall, the band announced the cancellation of the remainder of their tour citing the ill health of a band member.
In October of 2008 the band began releasing a series of singles called “Always the Bridesmaid”; a volume was released every month until the end of the year. The band also took up a limited tour in support of the singles. Meloy then began work on his most ambitious recording yet. He set out to write a song inspired by an EP from English folk artist Anne Briggs. But, with his creative juices flowing, the project eventually developed into an entire rock opera containing 17 songs all contributing to a unified narrative.

“The Hazards Of Love” was released in March of 2009. It told the love story of a woman named Margaret who falls in love with a shape-shifting boreal forest dweller named William. Lavender Diamond’s Becky Stark and My Brightest Diamond’s Shara Worden delivered the lead vocals for the female characters, while My Morning Jacket’s Jim James, Robyn Hitchcock and The Spinanes’ Rebecca Gates appeared in supporting roles.

The album entered the U.S. charts at number 14 selling 19,000 copies in its first week. The original plan was for the album to be a staged musical. However, the story was “unstageable” in such a format so the band decided to play the entire album start to finish at each concert on the spring tour.

In August 2009, the Decemberists played a show in Pittsburgh, PA where the band members performed a skit where they ran up and down the aisles participating in a fictitious battle at Fort Pitt. The next month, they played a “lottery show”, originally billed as a “by request” show, at Terminal 5 in New York City. The setlist was composed of songs drawn from a large bingo turner kept on stage. The Decemberists also contributed the song “Sleepless” to the AIDS benefit album “Dark Was The Night”, which was produced by the Red Hot Organization.
During their European tour in the winter of 2010, the band performed ”The Mariner’s Revenge Song” at the conclusion of each date. The audience was encouraged to scream as if they were being consumed by a whale mentioned in the track’s narrative while the band pretended to die on stage.
Later in September of 2010, the band opened the first day of the Bumbershoot Arts and Music Festival in Seattle, WA. There, they announced that they were wrapping up recording of a new album and debuted three of its tracks. “Down by the Water,” a track from the new album, was released via the band’s official site in November.
“The King Is Dead” was released in January of 2011, with Peter Buck of R.E.M. contributing instrumentation to three of its songs. Colin Meloy later affirmed that R.E.M. had been an inspiration during the writing and recording of some of the album’s material. It debuted at number one on the Billboard 200 in the U.S. upon its release, the first time a Decemberists album would achieve this. As compared to the band’s previous work, “The King Is Dead” was more influenced by traditionally American genres including country, blues and Americana.
The Decemberists’ “Popes of Pendarvia World Tour” in support of the album included engagements throughout the U.S., Canada, and Europe. During the tour, it was announced on that Jenny Conlee had been diagnosed with breast cancer and would miss most of the band’s remaining tour dates while receiving treatment and recovering. Conlee would later make a full recovery after her cancer went into remission. Meloy announced during the tour that the group would take a multi-year hiatus once the touring cycle was over.
In August, an eight-song set was released on iTunes featuring six previously released tracks and two new covers: Leonard Cohen’s “Hey, That’s No Way To Say Goodbye” and the Fruit Bats’ “When U Love Somebody.”
To cap off this period of activity, the band released the follow-up outtake EP “Long Live The King” in November, 2011, as well as a live album from their last tour titled “We All Raise Our Voices To The Air” in March of 2012.
In addition, the band recorded a song for The Hunger Games soundtrack, called “One Engine” which was released in March, 2012.
While on hiatus, the group’s only activity as The Decemberists was a cameo appearance on The Simpsons, in which the band was presented as the hip, new music teachers of Springfield Elementary. As well, the episode’s theme music was performed with their signature folk flair.

During a solo tour in 2013, Meloy announced that the Decemberists would end their hiatus and begin working on a new album within the next year. The hiatus officially concluded on March 5, 2014, with the announcement of two headlining shows at Portland’s Crystal Ballroom, the band’s first shows in three years, where they played their debut album, “Castaways And Cutouts”, in its entirety.

In November of 2014, “Make You Better”, the band’s first single off the new album, was released, and on January 20, 2015, the group’s seventh studio album, “What A Terrible World, What A Beautiful World”, was released. To commemorate both the new album and the band’s success as a whole, the day was officially declared “Decemberists Day” in the group’s hometown of Portland, Oregon.
In support of the album, the band embarked on a European tour which included dates in Ireland, the UK, The Netherlands, Belgium, Switzerland, Germany, and Italy with a North American tour to follow in March. In October of 2015, The Decemberists released the EP “Florasongs” which contained the single “Why Would I Now”.

The band is currently touring the U.S, and Canadian festival circuit during the summer highlighted by a show at the ‘Rocky Mtn Folks Festival’ this month.

 

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The Sixties vol. 15 –

 

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This edition of our sixties soundboard series takes a look at the early part of the decade.

Featuring music from Elvis Presley, Jackie Wilson, Chubby Checker, Martha & The Vandellas, The Kingsmen, Lonnie Mack, Jimmy Soul, The Jaynettes, Trini Lopez, Chantays and Bobby Vee.
Experience a time when rock was young!

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Make It Rain –

 

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Here’s a soundboard that features songs about the ‘Rain’.
With entries by The Beatles, Counting Crows, Creedence Clearwater Revival, The Cure,Travis, Supertramp, Eurythmics, and Blind Melon.

This Rain mix will wash away your blahs!

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Fresh Catch – volume 5 –

 

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It’s back! volume 5 of our series exploring new releases of merit.

Hosts PeeperD and MisterMusic are keeping things current, featuring new music by DMA’s, The Temper Trap, Nahko and Medicine For The People, Stone Roses, Red Hot Chili Peppers, The Revivalists, and Glass Animals.

Turn on your ears to some fresh catches!

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Summer Cooker –

 

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PeeperD presents a sizzling summer cooker so full of goodies it defies the laws of physics!

Featuring new music from The Stone Roses and St. Paul & The Broken Bones. Plus classic tracks from Stevie Wonder, Kate Bush, Willie Nelson, Jesse Malin and Talking Heads.
Backing tracks by former Heads’ front-man David Byrne. Plus a few great moments from the hipster film “High Fidelity”.

This pod is as hot as the summer sun without the harmful radiation!

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July Jam –

 

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Join your host MisterMusic as he keeps July groovin’ with some musical jams.

Featuring new material from The Boxer Rebellion.  Revved up numbers from PJ Harvey & Gordon Gano, and Snow Patrol. Some hip swinging by Tom Tom Club, and he blows the dust off a couple early 80’s classics by Santana, Delbert McClinton, and Men At Work.

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Focus On: Talking Heads (Eno Collaborations ’78-’82) –

 

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Talking Heads were one of the most celebrated bands of the 70s and 80s.

Integrating elements of punk, art rock, funk, dance, and world music with avant-garde sensibilities…and the anxious stage persona of singer David Byrne, Talking Heads helped to pioneer new wave music.
On this special expanded edition of Focus On, PeeperD takes a closer look at a very specific time in the career of Talking Heads-a five-year period starting in 1978 when the band began to collaborate with composer, musician and producer Brian Eno.
Eno’s unusual style meshed well with the group’s artistic sensibilities…and together they began to explore an increasingly diverse range of musical directions.

The three albums that their partnership produced would change the history of rock music forever.

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Bio:
The collaboration of Talking Heads  and producer Brian Eno began in 1978.  While recording the album “More Songs About Buildings and Food” in the Bahamas, the band experimented with different sounds from post-punk to new wave, from psychedelic funk to funk rock.
The band decided to cover Al Green’s “Take Me To The River”, and with Eno’s production style making notes delay or echo, it became the first top 30 hit and pushed the album to gold-record status. The quirky new wave band had broken through to the mainstream.

During the recording of the next album “Fear of Music” in 1979 the basic tracks were recorded in two days with Eno.  Eno was instrumental in the band’s recording techniques and solo tracking. The album sleeve was created by member Jerry Harrison as all black, embossed with diamond plate metal flooring.  The single “Life During Wartime” about two popular New York underground clubs in the late 70s (CBGB and The Mudd Club) is told from the point of view of someone involved in clandestine activities in the U.S. during some sort of civil unrest or dystopian environment.

Between albums, Byrne began working on the collaborative album with Brian Eno called “My Life In The Bush of Ghosts“.  In 1980 during the recording of “Remain In Light” the band experimented with African rhythms and added 5 touring musicians to expand to a 9 member band.
The first single “Once In A Lifetime” became a top twenty hit, and the supporting tour for Remain In Light propelled it into the critics ‘best of’ lists for the year.

During a three year hiatus after the world tour, the individual members explored some time off, but stayed active with side-projects. Byrne worked with the Twyla Tharp Dance Group, Harrison worked on a solo album, and Chris Frantz & Tina Weymouth experimented with r&b, hip-hop and dance beats forming the Tom Tom Club.

In 1982 the band released a 2 disc live album “The Name of the Band is Talking Heads” showcasing both the original lineup from 77-79 and the expanded touring band from 80-81.

 

 

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70’s Deep Tracks  vol. 26 –

 

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These are forgotten tracks that will take you back to the days when FM radio was truly an art form. And, likely never be played on today’s preset definition of what is “Classic Rock”.

 70’s Deep Tracks – the return of album rock…Podcloud1 style!

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This pod is a sample of what made FM radio great in the 70s!

Music from heavy-hitters Rush, The Who, Foghat and the Jeff Beck Group. Solo Beatle sounds from George Harrison. Plus the deepest of deep tracks from Pacific Gas & Light and Frijid Pink.

Rock on!

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Nighttime –

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Here’s a soundboard that features songs about the ‘night’.

The eclectic mix features: The Kills, Steve Winwood, The Strokes, Cults, Bob Seger, Little Green Cars, and Patti Smith.

Listening in the dark is not required!

 

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Jake The Intern –

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Part radio play and part music show, the latest PeeperD pod is a unique listening experience.

Join Podcloud1’s new summer intern Jake on his first day meeting some of the station’s personalities.
New music from The Monkees and The Strumbellas highlight a set that includes songs from REM, Phish, The Flaming Lips, Richard Thompson and Simple Minds. Plus a swinging 60s summer celebration from The Love Generation.

If you ever wondered what it’s like to work at Podcloud1, this pod gives you that glimpse behind the scenes.

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After you listen to the featured pod, you can experience a different take of the show. Just the PeeperD show & music is available as a separate download, if you just want to hear all the tunes the way you’re accustom.

 

Just PeeperD and Music:

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The Sixties  Volume 14-

 

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This edition of our soundboard series focuses on the year 1968.

Featuring hits from Eric Burdon & The Animals, John Fred & His Playboy Band, Jose Feliciano and The 1910 Fruitgum Company.  Soulful sounds from Marvin Gaye, Aretha Franklin, The Fifth Dimension, Stevie Wonder and James Brown.
Plus instrumental classics from Hugh Masekela and Cliff Nobles.

It’s Groovy~

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Focus On: Grant Lee Buffalo /Grant Lee Phillips

 

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Heralded by critics and championed by their musical peers, the ’90s alternative/roots rock trio Grant Lee Buffalo seemed destined for greatness. Rooted in a haunting, lo-fi vision of americana and folk rock, the band featured the strong songwriting talents of leader Grant Lee Phillips. Their sound was a distinctive arrangement of mysterious melodies and striking dynamics. After breaking on the music scene with the hit single “Fuzzy”, the band developed and expanded their signature sound over the course of four classic albums. But they were born at the wrong time and radio passed them by. Frustrated by lack of sales and record company pressure, Phillips ended the band in 1999 in favor of a solo career. Since then, he has recorded nine solo albums including his latest “The Narrows” which was released earlier this year.

This edition of Focus On contains two parts.
Part one examines the music of Grant Lee Buffalo. The second part features samples of several recordings from leader Grant Lee Phillips’ solo career.

 

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Bio:

Singer/guitarist/songwriter Grant Lee Phillips was born in 1963 and raised in Stockton, California. Equally influenced by rock and country music, he began playing guitar and writing songs in his teenage years. Prior to his 20th birthday, Phillips relocated to Los Angeles, where he roofed houses during the day, attended film school at night, and reserved the weekends for music. By the end of the ’80s, he had formed the neo-psychedelic outfit Shiva Burlesque issuing a pair of critically acclaimed but commercially overlooked releases before splitting up.
Phillips recruited Shiva’s drummer Joey Peters and multi-instrumentalist Paul Kimble for a new project. Utilizing a backlog of songs unused by Shiva, the new group first went under several different names (including the Machine Elves and Mouth of Rasputin) before settling on Grant Lee Buffalo. The newly named outfit landed a weekly residence at West Hollywood’s Cafe Largo in the early ’90s, as they honed their songs and live show, while building up a substantial following in the process.
The trio sent a demo tape to the Singles Only label headed by Husker Du/Sugar frontman Bob Mould, who in turn issued the song “Fuzzy” as a single in 1992. By this time, the buzz surrounding the band had spread to other record labels, as Slash Records signed the trio.
They recorded eleven songs at San Francisco’s Brilliant Studios. The studio itself was housed in a century-old steel foundry. The wide open acoustics and spookiness of the space sparked the band’s creativity allowing them to capture the dynamic aspects of their music that would have been impossible in a garage-turned-studio. Because the three musicians had already recorded two LPs together as Shiva Burlesque, they had a distinct advantage over other bands making their first trip to the studio. Phillips had a marvelous voice, wrote fine and evocative songs and the remaining members were able to tap into the mysterious melodic structures of the songs. Paul Kimble served as producer and engineer for these recordings creating a trademark sound for which the band became known. It included overdriven acoustic 12-string guitars, melodic distorted bass, tribal drums and old world instruments such as pump organs and parlor pianos.
In 1993, Grant Lee Buffalo released their full-length debut which was also titled “Fuzzy”. Critics were impressed with how confident and solidly crafted the album sounded. It’s songs were stark as well as explosive running the gamut from majestic to cacophonous. Critics, hipsters and peers loved the album equally. REM’s Michael Stipe called it “the best album of the year hands down”. It stands as the group’s most satisfying of their short-lived career.
The group supported the album with nearly a year of solid touring opening for artists such as Cracker, Pearl Jam and Paul Westerberg while headlining small gigs throughout the world. During this time, the band began to write new songs which they refined during sound checks. Instead of taking time off from their grueling schedule, the trio went directly back into the studio. In December of 1993, they returned to Brilliant Studios to begin work on their follow-up album. Phillips’ writing was influenced by the different places they had traveled over the previous year. While overdubbing in L.A., the city was hit with one of the most destructive earthquakes in history on January 17, 1994. Phillips and his wife lost their home in the desert which was located a mere 20 miles from the quake’s epicenter. Much of this event inspired the writing of the song “Mockingbirds” which would eventually become the single from the album.
In September of 1994, Grant Lee Buffalo’s second album, “Mighty Joe Moon” was released. Critics noted that the sound had been stripped back giving the songs a more “rural” feel. It would eventually become the band’s most popular album in the U.S. as “Mockingbirds” gained airplay on radio and TV. Filled with beautiful melodies, rich lyrics and an incredibly big sound for just three guys, “Mighty Joe Moon” was considered by many to be a masterpiece of weird American folk-rock.
Grant Lee Buffalo set out on a headlining tour of America just as the album was released. With a growing public profile, the shows became more exotic with an arsenal of amplifiers, velvet curtains and even a chandelier. During this time, a long form video was released featuring live performances, bizarre spoken word segments and dreamlike vignettes by the band members. It perfectly captured the spirit of this charged period in the group’s history.
Sadly though, Grant Lee Buffalo’s sound was exactly the opposite of the music that was invading the radio waves at the time. Despite landing a prestigious gig opening for R.E.M. on the group’s first arena tour in five years, and Phillips being recognized as Male Vocalist of the Year by Rolling Stone magazine, the album failed to break the band commercially. It remains today a criminally underrated and under-appreciated gem of the mid 90s music scene.

Grant Lee Buffalo spent a good part of 1995 on the road opening for R.E.M. and The Cranberries. Phillips continued to write while on tour and occasionally the three members would find a moment to work through new material. The group was eager to return to the studio to work on a new record. In the summer of that year, they returned home to L.A. And Phillips began recording home demos for the other members to absorb for the next few months. After a few weeks of rehearsals, the band entered Cherokee Studios in Hollywood during November.

These sessions focused more on the possibilities of the studio. Phillips was still writing fine songs and his voice was as compelling as ever. But the new arrangements were becoming more ambitious and the lyrics were often more meticulous. The relative simplicity of the earlier albums was being replaced by a more-layered sound that weighed down the sessions. At the same time, there was a growing concern within the record label that more attention needed to be paid to producing a radio single. All of these factors created an atmosphere that started to fracture the group’s morale.

“Copperopolis”, the third studio album from Grant Lee Buffalo, was finally released in June of 1996. While the group was clearly still capable of making good music together, some critics sensed they were starting to reach the end of their possibilities. This album proved to be the last from the original lineup as Paul Kimble left the band after the supporting tour. While the music they made on these sessions is often beautiful, it doesn’t reach the creative heights of the previous two albums.

Phillips and Peters teamed with producer Paul Fox to move forward with the recording of the fourth and final Grant Lee Buffalo album. The sessions featured a host of guest musicians like Robyn Hitchcock, Jon Brion and Michael Stipe. With Kimble gone, some of the band’s appealingly messy ambition was reigned in resulting in a brighter, sharper sound that focused on Phillips’ songwriting. The result was their most consistent record to date. Without Kimble at the helm, the remaining duo had to sink or swim which actually freed them from their established patterns. These sessions allowed them both explore and re-invent themselves creatively.

The album was titled “Jubilee” and it was released in June of 1998. It was well received and brought the band considerable success with the radio hit “Truly Truly”. Critics called it the most uplifting album of the group’s career and expectations at the label were high. On the road, Grant Lee Buffalo grew to a four-piece with the addition of Bill Bonk and Phil Parlapiano. This allowed the band to re-interpret their catalog which brought a renewed sense of energy to their shows. But the album failed to chart a second single and, after the tour was completed, the label and band agreed to part company. Restless for a new direction, Phillips also parted with Peters and set off on a solo career.

-The Solo Years-

In October of 1999, Phillips headed to Jon Brion’s studio and recorded a handful of new songs, played exclusively by himself. Dubbed “Ladies Love Oracle”, the album was self-released the following year online. Taking a back-to-basics approach, he toured as a solo acoustic act appearing with other major label refugees like Aimee Mann and Robyn Hitchcock.

In 2001, Phillips was asked to guest star on the popular TV show, “The Gilmore Girls”, as a roaming town troubadour. This quickly became a recurring role for several seasons. After landing a new contract with Zoe/Rounder, Phillips issued the excellent “Mobilize” in July of that year. At the same time, a 30-track Grant Lee Buffalo overview was issued in England (where the group had enjoyed more substantial success than in their homeland), entitled “Storm Hymnal: Gems From The Vault of Grant Lee Buffalo”.

In 2004, Phillips released “Virginia Creeper” marking the first time that he had consciously eschewed all electric guitars in favor of a stripped-down, folksy sound. A covers album, “Nineteeneighties”, appeared in 2006, and “Strangelet” arrived one year later. It featured a fuller, more ambitious sound than the previous two releases. One critic said it “established him as a singer and songwriter of the first caliber”.

For his next effort, he assembled a band and spent five days recording 2009’s “Little Moon”. This record was influenced by the positive vibes of new fatherhood. Critics noted that the record was peppered with snapshots of his career to date with several tracks harkening back to the Grant Lee Buffalo days. In May of 2011, Grant Lee Buffalo returned on a limited tour making stops in L.A., Dublin, London, Brussels, Copenhagen and Oslo.

In October 2012, Phillips, who is descended from the Creek and Cherokee Native American tribes, released the album “Walking In The Green Corn” featuring several songs informed by his indigenous heritage. In 2013, Phillips and his family left California to settle in Tennessee. Teaming with a handful of Nashville musicians, he recorded “The Narrows”, released on March 18, 2016 by Yep Roc Records. The record had been teased earlier in the year on Rolling Stone’s list of the 35 most anticipated country albums of 2016. Phillips is currently touring in support of the album.

 

 

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 Kicking Back –

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MisterMusic kicks back and spins some tunes for you to help enjoy the start of summer.

Featuring new music from Pete Yorn, Garbage, and Band of Horses.
Also, classics by The Replacements, Eurythmics, David Sylvian, and M83 fill out this pod.

Enjoy~

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70’s Deep Tracks vol. 25 –

 

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 70’s Deep Tracks – the return of album rock…Podcloud1 style!

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This pod features songs from some of the biggest bands of the 70s…and some that should have been. Music from Bad Company, Jethro Tull, The Moody Blues, Jefferson Starship, The Kinks, Rick Derringer, Be Bop Deluxe and Spooky Tooth.

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Whodunnit  vol. 1 –

 

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On this new show hosted by PeeperD, you’ll hear lots of great songs with which you’re familiar.

But the twist is that they aren’t performed by the original artist. The debut pod of Whodunnit features tunes popularized by Sheryl Crow, Prince, Simon & Garfunkel, Van Morrison, Patti Smith and New Order.   Plus, a selection from the new Grateful Dead tribute album “Day Of The Dead”. It’s your job to figure out whodunnit?

Think you’re up to the task? Let’s find out. It’s a true test of your musical knowledge. 

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Give And Take –

 

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In life there’s a little Give And Take.  And that sums up this soundboard.

All song entries either Give or Take something.
Featuring: Santana, Tracy Chapman, Snow Patrol, Sade, J. Geils Band, Scissor Sisters, Talking Heads and a Motown hit from Kim Weston.

This one is a great example of the eclectic mix of our Soundboards.  Crank It Up!

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Step Out Of Your Mind –

 

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This pod  from PeeperD seamlessly travels across 50 years of rock with stops in each decade.

Featuring Drive-By Truckers, Aerosmith, The Cure and World Party. Plus new music from White Denim, Charles Bradley and Lotus. Also a mind-bending classic from The American Breed.  Background music from the new album from Explosions In The Sky.

This is what we mean when we say Podcloud1 is a melting pot of music. Enjoy!

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Focus On: Drive-By Truckers –

 

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Drive-By Truckers are an alternative country/Southern rock band that originated in Athens, Georgia.

Their sound began as a mix of hard-driving three-guitar rock, ragged twangy vocals and thought-provoking lyrics that examine the dualities of life in the new South. Over the course of their career, they have evolved towards a more thoughtful, low-key style without losing the qualities that make their songs powerful. The Truckers have released numerous records including several live albums that capture the band in its rawest and most energetic form. In fact, their constant touring has greatly contributed to the group’s dedicated following. Drive-By Truckers are one of the most well-respected alternative country rock acts of the last two decades.

This pod features selections from several of Drive-By Truckers’ albums over their 20 year career.

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Bio:

Long-time friends Patterson Hood and Mike Cooley first met growing up in Alabama. They moved to Athens, Georgia in the 80s and, during their college years, played in several bands including the near-famous punk group Adam’s House Cat. After that band broke up, Cooley and Hood launched a few follow-up projects before moving to different cities. They eventually returned to Athens where they formed Drive-By Truckers in 1995. Working with a revolving group of musicians, the band released its debut album “Gangstabilly” in 1998. It hinted at the southern rock revival and clever, insightful lyrics that would become the band’s trademark. It also contained what Hood considered the best song he has ever written “The Living Bubba”.

The next year Drive-By Truckers recorded their second album, “Pizza Deliverance” in five days at Patterson Hood’s House. Around this time, guitarist Rob Malone and drummer Brad Morgan joined the band. After the record’s release, The Truckers began a whirlwind tour featuring 150 dates in as little as six months. A live album, “Alabama Ass Whuppin’”, was recorded in Athens and Atlanta during this tour and later released in 2000. On the road in breaks between gigs, Drive-By Truckers began writing new songs which would eventually end up on their next album, the breakthrough “Southern Rock Opera”.

Released in 2001, the double-disc concept album is a song cycle about 70s Southern rock, particularly the band Lynyrd Skynyrd, that tackles an ambitious range of subject matter in its lyrics. The record is divided into two acts; the first sets the stage by exploring aspects of an unnamed Southern teen’s background growing up as a music fan in an environment where sports stars, not rock stars, were idolized. The second act follows him as he joins his “Skynyrd-styled” dream band, tours the world, and eventually crashes to his death in the same sort of airplane accident that claimed his heroes.

The record helped lay the groundwork for much of the band’s later work with a bruised and jagged sound similar to Neil Young & Crazy Horse. Critics agreed with the “rock opera” portion of the title drawing parallels to the storytelling of “Quadrophenia” and “Tommy”. It was an underground success lifting the band’s status from just another alt-country group to one of the smartest, edgiest, and most talked-about bands in America. Despite the critical praise, The Truckers didn’t have the means to press the necessary copies of the album on their own. So they signed a distribution deal with Lost Highway Records.

Before Drive-By Truckers went on tour to support “Southern Rock Opera”, Rob Malone was replaced by Jason Isbell. During his subsequent five years with the group, Isbell’s songs would become as highly praised as those of Cooley and Hood. In recent years, Jason Isbell has become a star in his own right winning two Grammys and numerous other awards for his solo albums “Southeastern” and “Something More Than Free”.

The Truckers’ time with Lost Highway would be short-lived as they were dropped by the label just as they completed their first album for them. The band jumped over to the Austin-based label New West to release 2003’s “Decoration Day”, which, like its predecessor, received much critical praise. It was another cycle of songs containing characters who are faced with hard decisions about marriage, incest, break-ups, revenge, murder and suicide. But it featured a more mellow, stripped down sound compared to the heavy-hitting southern rock of “SRO”. The album was well received garnering excellent reviews and landing on many publications “best of” lists for that year.

Bassist Earl Hicks left the band in 2003 and was quickly replaced by Shonna Tucker, then the wife of Jason Isbell. This new line-up began recording their next album at FAME Studios in Muscle Shoals, Alabama. In 2004, Drive-By Truckers released their fifth studio record, “The Dirty South”, which was yet another album revolving around tales of Southern small towns and their inhabitants. On the supporting tour, the band recorded two shows at the legendary 40 Watt Club which were released as a live album and DVD the following year. 2004 also saw the release of Patterson Hood’s first solo album titled “Killers And Stars”.

After touring for the next two years, Drive-By Truckers eventually found their way to the Fidelitorium Recording Studio in North Carolina in late 2005. These sessions produced the band’s seventh LP “A Blessing And A Curse” which was released in April of 2006. The band set out to explore new territories trying to shake the “southern rock” label placed on them by critics. The new record was much more influenced by bare-bones British rock of the early 70s. The songs still followed their previously-established themes of navigating through the 21st century South. But, rather than tell one big story, “A Blessing And A Curse” presented 11 smaller stories. Because of this, some critics felt the album was not as ambitious as previous ones. Despite the lukewarm reception, the record peaked at number 50 on the Billboard 200 marking Drive-By Truckers’ highest chart appearance to date.

During the recording sessions, the band reunited with pedal steel guitarist John Neff, who had originally played with them on “Gangstabilly.” Neff’s playing was featured prominently on the new album and, during the next year, he began touring with the band as an unofficial sixth member. In 2007, tensions within the group led to Jason Isbell’s departure in pursuit of a solo career. Shortly after, Hood announced via the band’s website that longtime friend Spooner Oldham would be joining the band playing keyboard for a string of acoustic performances. This stripped-down tour would set the writing mood and style for the band’s next release, 2008’s “Brighter Than Creation’s Dark.”

The new record had much more of a country flavor than its predecessor. Critics hailed it as a gothic masterpiece featuring nineteen tracks that clocked in at close to 75 minutes. Spooner Oldham contributed to the recording of the album, and then toured with the band in support of the record. He was eventually replaced by Jay Gonzalez who became a permanent member of the group. In 2009, The Truckers released a live album and DVD titled “Live From Austin, TX” that marked the first official release featuring Gonzalez on keyboards.

During this period, Drive-By Truckers also worked with other artists. They backed up R&B/Soul singer Bettye LaVette on her 2007 comeback album “The Scene Of The Crime”. The album was nominated for a Grammy Award for Best Contemporary Blues Album and landed on numerous “best of” lists for that year. They also backed Booker T. Jones on his instrumental album “Potato Hole” and then toured with him as “Booker T & The DBT’s”. “Potato Hole” went on to win the Best Pop Instrumental Album award at that year’s Grammys. Patterson Hood also released his second solo album, “Murdering Oscar (And Other Love Songs)”, around this time as well.

After being dropped from New West Records, Drive-By Truckers entered the studio throughout periods of 2009 and emerged with two albums worth of material. After signing with ATO Records, these songs were divided between 2010’s “The Big To Do” and 2011’s “Go-Go Boots”. These two albums brought even greater media attention to the band resulting in guest appearances on late-night TV shows as well as a tour spot opening for Tom Petty & The Heartbreakers.

Meanwhile, New West Records released a compilation of material from the band’s first decade called “Ugly Buildings, Whores, and Politicians: Greatest Hits 1998-2009”. In 2012, Patterson Hood released his third solo album, “Heat Lightning Rumbles In The Distance”. The next year saw the first solo album by Mike Cooley titled “The Fool On Every Corner”.

Shonna Tucker and John Neff left Drive-By Truckers in 2011 and 2012 respectively. Mike Patton replaced Tucker on bass and the group went back to work recording their next album in Athens during late spring of 2013. “English Oceans” was released the next year to generally positive reviews from music critics. It was followed by the 2015 live album “It’s Great To Be Alive!” which was recorded over a three-night run at the Fillmore in San Francisco. The shows marked the 20th anniversary of the band with the album commemorating the event. In March of 2016, Patterson Hood told a Ithaca, NY audience that the band had finished recording their next album which is slated for release in September of this year.

 

 

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Flowing Through –

 

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Join MisterMusic as he Flows Through this mix featuring new tunes by Nothing, and Local Natives.  Plus music by Beck, Islandis, and Half Moon Run keep up the pace nicely.
Including a couple classics by Sting and Icehouse to fill out this eclectic May pod.

Hard to believe we are approaching the halfway point in another year at PodCloud1.

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70’s Deep Tracks vol. 24 –

 

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These are forgotten tracks that will take you back to the days when FM radio was truly an art form. And, likely never be played on today’s preset definition of what is “Classic Rock”.

 70’s Deep Tracks – the return of album rock…Podcloud1 style!

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The kings of the keyboard are featured in volume 24 of our popular series.

Music from Elton John, Billy Joel, Supertramp, Emerson, Lake & Palmer, Leo Sayer, Billy Preston, Andy Pratt and Steely Dan.

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I’m Dizzy –

 

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Grab on to something… you may get a little lightheaded.

This soundboard features songs that spin, and may cause dizziness.
Featuring U2, Sneaker Pimps, Goo Goo Dolls, Brian Eno & John Cale, XTC,
The Beatles, Blood, Sweat & Tears, and Siouxsie & The Banshees.
Dramamine not included!

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New Music Express Rides Again –

 

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It’s another edition of PeeperD’s New Music Express featuring some of the freshest sounds around.

Sample a diverse mix of catchy new tunes from Fitz & The Tantrums, Frightened Rabbit, Primal Scream, Lucius, Anderson East and Parker Milsap. Plus an advance track by The War On Drugs from the upcoming “Day Of The Dead” tribute album.
Background grooves from Underworld’s new recording.
You’ll be humming these songs for months!

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The Sixties vol. 13 –

 

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This edition of our Sixties Soundboards is a musical time capsule!

It spans the entire decade featuring all of the styles that made the 60s great-rock, soul, country, pop, R&B and British Invasion. Music from Elvis Presley, Ray Charles, Del Shannon, Billy Joe Royal, Jimmy Dean, Chris Kenner, Lee Dorsey, Merrilee Rush & The Turnabouts, Jimmy Jones, James & Bobby Purify, Bobby Rydell, The Dovells and The 1910 Fruitgum Company.

This pod has it all!

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Fresh Spring Pod –

 

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MisterMusic spins the tunes on this Fresh Spring Pod!

Featuring new songs by Ray LaMontagne, Woods, and Nothing But Thieves.
A couple of early 70’s radio staples from James Gang and Dave Mason.
And Paul Simon and The Jesus & Mary Chain fill out the mix.

It’s fresh for the new season!

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Focus On: Foals –

 

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Foals is a five-piece indie rock band from Oxford, England. They have released four studio albums, each of which have gone gold in the UK. They are also considered one of the top live acts, having won the 2013 Q Award for Best Live Act and twice being nominated for the NME Award in the same category. Their sound is a mix of post-punk, minimal techno, new wave and Krautrock. The band has toured internationally and have become a favorite on the festival circuit playing Glastonbury, Coachella and Roskilde. They are considered by many as one of the top indie bands in music today.

This pod contains songs from each of Foals’ four studio albums.

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Bio:

In 2005, the lead singer of the band Youthmovies, Andrew Mears, originally formed the band Foals as a side project. Joining him was drummer Jack Bevan and guitarist Yannis Philippakis from the cult math-rock band The Edmund Fitzgerald. Bass player Walter Gervers and rhythm guitarist Jimmy Smith came from the Oxford band Face Meets Grill. The name Foals is a play on the etymology of Philippakis’ name.

Foals began as a way to protest against the proggier sounds that were popular in Oxford at the time. After releasing the single “Try This On Your Piano” in 2006, Mears left the band to more fully concentrate on Youthmovies. Philippakis took over the lead vocal duties. Edwin Congreave soon joined in on keyboards despite the fact he had never played the instrument before. The full line-up of Foals was now complete and remains constant to this day.

The quintet went to work on perfecting its poppy, jittery, upbeat, math-rock/post-punk sound playing house parties around the area. They were soon signed to Transgressive Records and released the singles “Hummer” and “”Mathletics” in March and August of 2007. Foals was started to generate quite a buzz amongst the critics in the UK music scene.

In June of 2007, they went to New York to record their debut album under the guidance of producer and TV On The Radio guitarist Dave Sitek. The recording process was unorthodox in many ways ranging from drums being recorded in alleyways on cassette recorders and then reprocessed through outboard gear to vocals being sung while moving around the room and brass passages performed by members of Antibalas Afrobeat Orchestra who were directed not to play directly into the microphones. Although the sessions went well, the band members ended up not being happy with the final mix ultimately remixing it themselves.

Foals released “Antidotes” in March of 2008 in the UK and it went on to become a commercial success debuting at number 3 on the UK Album Charts. A month later it was released on Sub Pop in the U.S. with the two earlier singles added to the album. It was a minor success in other countries, charting in Japan, France and the Netherlands.

After extensive touring in support of the album, Foals went to work on their follow-up. In January of 2009, they released three semi-instrumental segments of tracks through their My Space profile giving an insight into the recording process. Throughout the rest of the year, Foals began introducing new songs in their live shows. In May of 2010, the album “Total Life Forever” was released. The recording charted in numerous countries worldwide including number eight on the UK Albums Chart. Critically, it was very well received with many commenting on how the band’s music had matured from their debut album. It closed the year on many music publications “best of” lists and was nominated for the 2011 NME best album of the year.

In early 2011, Foals began working on demos for their next album in Sydney, Australia. Although these sessions didn’t result in any new songs, it did open the band’s eyes in terms of new synthesizers and drum machines that they hadn’t used before. They stockpiled instruments and sound loops for use on the new album. After a few more sessions throughout 2011 and early 2012 in Oxford, the band went to North West London to record with the production duo of Flood and Alan Moulder who were known for their work with Nine Inch Nails, Smashing Pumpkins and My Bloody Valentine. According to reports, the producers secretly recorded the band’s rehearsals in order to capture a more uninhibited sound. In October, Foals announced a UK tour to introduce some of the new material in a live setting.

“Holy Fire” was released in February of 2013. To coincide with the album’s release, Foals embarked on a spring tour of the UK that ended with two shows at the Royal Albert Hall. Tickets sold out so quickly that the group decided to add a matinee show. A concert DVD of these shows was released later in the fall.

After this, the band spent a lot of time touring “Holy Fire” worldwide. The album received generally favorable reviews with NME describing it as “a record that bursts out of the speakers”. It debuted at number two in the UK which was their highest chart position thus far. The lead single “Inhaler” peaked at number 20 on Billboard’s Alternative Songs chart marking the first time any of Foals’ singles appeared on American charts. It was also nominated for the Mercury Prize in 2013.

After the international success of “Holy Fire”, Foals officially embraced that album’s atmospheric post-punk sound over the rawer math-rock tendencies of their earlier LP’s. In 2014, they began work on their fourth studio album with producer James Ford, known for his work with Arctic Monkeys and The Last Shadow Puppets. The band was striving to create it’s loudest, most driving recordings to date.

In June of 2015, a 12-second teaser clip of the band performing aggressively in an empty warehouse was released through their social media. Two days later, it was announced that a new album titled “What Went Down” was to be released in August via a slightly longer video trailer. A week later, the album’s self-titled debut single was introduced on BBC Radio 1 along with the premiere of the music video via YouTube.

The album came out on August 28, 2015. It received largely positive reviews from critics who noted the more aggressive nature of the songs. NME praised the recording saying “Foals has found their fulcrum. Riffs. Massive, heavy cavern riffs, the size of cathedrals. They slam into your eardrums like wrecking balls”. The record debuted at number 3 on the UK Albums Chart and at number 58 on the Billboard 200, making it their highest charting album in the U.S. to date. It ranked as NME’s number 8 album of the year for 2015.

In March of 2016, Foals announced a spring and summer tour across the U.S. and Canada in support of “What Went Down”. On many of these dates, they’ll be teamed with bands like Silversun Pickups, Cage The Elephant and Bear Hands. They have also released a limited edition 7” for Record Store Day in April. It contains the unreleased song “Rain” from the WWD sessions and a cover of the Mark Ronson song “Daffodils.” In the fall, Foals is scheduled to tour South America.

 

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70’s Deep Tracks vol. 23 –

 

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These are forgotten tracks that will take you back to the days when FM radio was truly an art form. And, likely never be played on today’s preset definition of what is “Classic Rock”.

 70’s Deep Tracks – the return of album rock…Podcloud1 style!

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This pod features the progressive rock side of the 70s with music from Pink Floyd, Yes and 10cc. A great team-up of the Edgar Winter Group and guitarist Rick Derringer. Rhythm and horns from the group Chicago. Plus a great unreleased track from The Rolling Stones “Some Girls” album.

Suck in some of these 70s deep tracks!

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For previous volumes of 70’s Deep Tracks check ‘monthly archives’ (on right menu)

 

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Animals-

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It’s a real zoo around here this month at PodCloud1.

Here’s a soundboard featuring lots of animals as the subject matter.
We have Tigers, Eagles, Horses, Wolves, Monkeys, Crocodiles, Dogs, Birds and a Dolphin too.
Quite a musical menagerie !

We’ll leave the clean-up to you. Enjoy!

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Prodigious Pod of Tremendous Tuneage –

 

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PeeperD returns with several musical treats

Including the first new music from classic-era Santana in 45 years.
Vintage cuts from Elvis Costello, The House Of Love and Van Morrison. New entries from The James Hunter Six and The Record Company.
Plus PeeperD reflects on the passing of David Bowie. Background music from English trip-hoppers Morcheeba.

The title of this one tells you all you need to know.

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70’s Deep Tracks vol. 22 –

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Straight from the heart of the 70s, this pod features music from some of the biggest acts of the decade. Songs from Genesis, Kansas, Styx, Heart and Bruce Springsteen & The E-Street Band. Plus little known gems from Sweet, Artful Dodger and Carly Simon.

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Ear Candy –

 

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MisterMusic mixes up a batch of ear candy on this March pod.

Featuring new music from The Dandy Warhols, Damien Jurado, and Andrew Bird.
A couple recent ones from Rayland Baxter, and Dead Heart Bloom.
Plus we re-visit a few old classics from Naked Eyes, Grandaddy, and Ian Hunter.
This pod sounds sweet to your ears!

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Shamrock & Roll (Celtic Rock Soundboard)-

 

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Just in time for St. Patrick’s Day, this pod features a great mix of celtic rock bands.

Music from Dropkick Murphys, Young Dubliners, The Prodigals, Circle J, The Mahones, Firkin, The Real McKenzies, Auld Corn Brigade,
Mr. Irish Bastard and Barleyjuice. Plus a Irish classic from Van Morrison & The Chieftains.

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Focus On: Van Morrison (early years) –

 

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This month’s featured artist is a musical living legend.

Join PeeperD as he hosts a special double-sized edition of Focus On that examines the early years of Van Morrison.

This pod starts with his stint as the lead singer for the 60s band “Them” and continues through a five-album run that rock historians call his “golden period”. You’ll hear many of Morrison’s classic hits from Astral Weeks, Moondance, His Band & The Street Choir, Tupelo Honey and St. Dominic’s Preview. Find out how this enigmatic artist rose to the ranks of rock’s royalty.

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How Does It Feel?

 

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On this soundboard, PodCloud1 features songs that are rough, soft, wet, solid and sharp.  It’s like a tactile mix for your ears.

Featuring music by Pete Townshend, The Style Council, The Commodores, ZZ Top,
Yeah Yeah Yeahs, John Martyn, The Vaccines, and Joe Jackson.

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Cool Grooves –

 

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Join your host MisterMusic as he plays some Cool Grooves to warm the winter days.
Featuring classic numbers by Blur, Loggins & Messina,  Alanis Morissette, Empire of the Sun, Half Moon Run, and Bad Company.
New tunes from Jeff Lynne’s ELO, Suede, and indie duo High Highs fill out the podcast.

Turn it Up!!

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70’s Deep Tracks volume 21-

 

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These are forgotten tracks that will take you back to the days when FM radio was truly an art form. And, likely never be played on today’s preset definition of what is “Classic Rock”.

No “classic rock” station would go this deep. 

From Early Bob Seger to rare singles from Norman Greenbaum and Jamul, this one has it all!  Also featuring music from Ten Years After, Wet Willie, Bachman Turner Overdrive, ZZ Top and The Byrds.

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Sexy Love Pod vol. 3 –

 

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Just in time for Valentine’s Day, it’s volume three of PeeperD’s Sexy Love Pod.
Double-sized for your pleasure, this pod has got only one thing on it’s mind-sex!
It’s a collection of songs spanning over five decades celebrating the act of “getting’ it on”.
From Kings Of Leon to Bull Moose Jackson, this one has it all. Featuring music from Prince, The Rolling Stones, Etta James, ZZ Top, Queen, The Cure, Joan Jett & the Blackhearts, Randy Newman, Neon Trees, T Rex, The Sensational Alex Harvey Band, Nina Simone and Frank Zappa & The Mothers Of Invention.
The deeper you go into this pod, the hotter it gets!

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Focus On: Poi Dog Pondering-

 

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Poi Dog Pondering is an American musical group, noted for its eclectic mix of diverse musical styles, including various forms of acoustic and electronic music.

Although the membership of the group has changed from album to album, the leader is vocalist/guitarist Frank Orrall. Over the years, PDP’s sound has grown from acoustic rock to incorporate elements of soul, funk, house, electronic and orchestral.
The band’s true strength is in its live performances which have helped them build a loyal following around the world.
Poi Dog Pondering has always carved their own path-making music, creating and performing for the love of it.

This pod features selections from several of Poi Dog Pondering’s albums throughout their 30 year career.

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Bio:
Named in part for a Hawaiian expression meaning “mutt”, Poi Dog Pondering was founded in Hawaii in 1984 by Frank Orrall initially as a solo project. In 1986 Orrall formed the first line-up of PDP with violinist/vocalist Susan Voelz and multi-instrumentalist Dave “Max” Crawford. This core group have been the only constants in the band’s line up throughout its history. This trio performed its first concert at the Honolulu Academy of Arts with projected films of lava eruptions, oceans and other natural environments playing over the band. This tradition of projected imagery along with PDP live performances developed and matured over the years and continues to this day.
In 1987, the band embarked on a yearlong Street Performance Busking tour across North America, playing for gas and food money, while sleeping outdoors all along the way. They eventually settled in Austin, Texas and signed with the label “Texas Hotel”. Through this extensive touring, PDP built up an extensive following. They released a self-titled EP in 1988 and another EP titled Circle Around the Sun the following year. Later that year they released their first full-length album, Poi Dog Pondering, which was a combination of the two EPs. The sound was acoustically-based with folk and roots overtones. Sadly, the album went virtually unnoticed by radio and the record-buying public. But the band did sign with major label Sony/Columbia so the future looked promising.
At the end of 1989, PDP released their second album Wishing Like A Mountain And Thinking Like The Sea. It was a breakthrough album as AOR and college radio stations began to discover the world/jam vibe of their songs. The radio-friendly hooks, tight grooves and polyrhythmic percussion beds translated well to a live setting and very quickly Poi Dog Pondering began opening for bands as they continued to tour in support of the recording.
In 1991, they released their third album, Volo Volo, which moved the band’s sound towards a more polished direction.It contained a minor radio hit with “Be The One” as well as several other songs that would go on to be mainstays in concert such as “Jack Ass Ginger”. But after much disagreement with their label, Columbia dropped the band. Frank Orrall responded by putting the band on hiatus and relocating to Chicago where he began to incorporate orchestral arrangements & elements of electronic, house and soul music into PDP’s style.
The group returned in 1995 with their masterpiece, Pomegranate, which blended these new influences with the already-established sound. The result was a captivating album that ended up on many critics’ best of the year lists. It also separated the band from the now burgeoning jam band movement with an emotional depth rarely found in that genre. The group gravitated even more towards dance music with the 1996 EP Electrique Plummagram.
In 1997, Poi Dog Pondering debuted their own “Plate.Tec.Tonic” label with the live recording Liquid White Light. This release finally demonstrated the power of the band’s live performances featuring many selections from the Pomegranate album. For the next several years, PDP developed their orchestration skills culminating in collaborations with the Grant Park Symphony Orchestra and the Chicago Sinfonietta. Band leader Frank Orrall’s interest in electronic music garnered him respect from the Chicago House/Electronic music community and led him to eventually become a member of Thievery Corporation as a percussionist and vocalist.
All this influenced PDP’s next two albums, 1999’s Natural Thing and 2003’s In Seed Comes Fruit. These recordings saw the band experimenting with song structure rather than traditional “verse/chorus/bridge” song writing. By now, the band was an 11-member ensemble combining elements of blue-eyed soul, pop, funk, rock and techno in a unique and unforgettable blend. Covers of the songs “That’s The Way Love Is” and “Come Together” made their way on to radio playlists during this period.

In 2006, Poi Dog Pondering combined all of its experience together and set out to make a straight up rock and roll record complete with strings and horns. The result was the 2008 album 7. The band chose this title because it was their 7th record and because it felt like a benchmark. The album was all over the map stylistically which was no surprise. But critics called it “Poi Dog’s finest hour since Pomegranate”.
2010’s Audio Love Letter EP was exactly that-a tribute to some of the band’s influences featuring covers of songs from Van Morrison, David Bowie, Steve Marriott and Matt Johnson to name a few. In 2012, Frank Orrall released his first solo album Never Trade These Days.
That same year, PDP filmed and recorded two historic concerts that they later released as a sweeping 4 CD plus DVD movie box set titled Live At Metro Chicago. One night was devoted to the early Austin line-up of the band and the other featured the more groove-oriented Chicago line-up.
The set also included a movie that encapsulated the band’s early history as bohemian street musicians all the way to present day Chicago Orchestral Rock & Soul stalwarts. This past September, Poi Dog Pondering released their latest album Everybody’s Got A Star. They are currently on tour in support of the record.

 

 

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Music of Mardi Gras vol. 4-

 

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PodCloud1’s fourth annual soundboard salute to Mardi Gras.

It’s a Fat Tuesday festival of music from some of the biggest names of the Crescent City! Dr. John, Irma Thomas, Galactic, Professor Longhair, The Meters, Anders Osborne and Deacon John Moore.
Classic Calypso sounds from King Radio. Authentic gumbo from Geno Delafose & French Rockin’ Boogie and Dave Bartholomew & His Orchestra.

Like the natives say, “Bon Ton Roulet!” Let the good times roll!

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The Sixties – vol. 12 –
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This installment of our Sixties Soundboard features music from the year 1969.

Songs from Elvis Presley, The Isley Brothers, Peter, Paul & Mary, Tommy James and The Shondells and Tommy Roe. A motown team-up from Diana Ross & The Supremes and The Temptations.
Rarities from R.B. Graves and Zager & Evans. Plus a song that would become a sports anthem from Steam.
1969 was a very good year!

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Collaborations-

 

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Duets and collaborations in song are a popular vehicle for artists, and the record labels they represent.
PodCloud1 has gathered some collaborative numbers that hit the radio dial over the years in one big mix.
Featuring: David Bowie, Mick Jagger, Stevie Nicks, Tom Petty, Peter, Bjorn, and John,
Chrissie Hynde, UB40, B.B. King, U2, Kate Bush, Peter Gabriel, R.E.M.,Natalie Merchant, Rob Thomas, and Santana.
They aren’t all singing on the same song- that would be a collaboration!!

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Freshly Picked Pod-

 

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Welcome to the first pod of the new year freshly picked by PeeperD and delivered right to your door!

It’s what we do here at Podcloud1-putting some of the freshest sounds right into your ear…like new music from Cage The Elephant and Cold War Kids.
Plus a previously-unreleased studio outtake from the new Bruce Springsteen box set. Modest Mouse, The Stone Roses, The Call and Eleanor McEvoy round out the set.
Capped off with a rock classic from the duo of Eric Clapton and Duane Allman at the height of their powers as Derek & The Dominoes. Background music from Circles Around The Sun.
If this pod’s any indication, it’s going to be a very good year!

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70’s Deep Tracks vol. 20 –

 

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These are forgotten tracks that will take you back to the days when FM radio was truly an art form. And, likely never be played on today’s preset definition of what is “Classic Rock”.

Ian Hunter rose to fame in Mott The Hoople. Hear why in this pod of deep tracks from the golden age of 70s FM radio.
Featuring music from Alice Cooper, Lou Reed, Billy Joel and solo work from ex-Beatle Ringo Starr. Funky tracks from the Average White Band and The Atlanta Rhythm Section. Plus a song from Cheap Trick’s early days round out the show.

This one’s got it all!

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Jump Start January-

 

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MisterMusic hosts a January Pod that will help Jump Start the new year.
Featuring new music by DIIV and Wild Nothing.  Plus tracks from Eddie Money, Sting, and Rockpile.  And an dark-wave classic from Xymox keeps the energy flowing.

Give us 30 minutes to remind you why you love music !

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Focus On: Interpol

 

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Interpol is an American rock band from New York City. Along with other notable groups like The National and The Strokes, they are associated with the New York City indie music scene and was one of the leaders of the post-punk revival of the 2000s. Their sound is generally a mix of staccato bass and rhythmic, harmonized guitar, with a snare heavy mix, drawing comparisons to post-punk bands such as Joy Division and The Chameleons. ‪‬Interpol’s 2002 debut album Turn On The Bright Lights was an enormous success and subsequent records have brought them even greater critical and commercial fame. Through extensive touring and numerous hit singles, Interpol has become one of the more popular bands in today’s indie music scene.

This pod features a sampling of music from all of the studio albums that Interpol has released during their career.

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Bio:

Interpol was formed in 1997 by guitarist Daniel Kessler and drummer Greg Drudy who met while attending New York University. Later, Kessler met bass player Carlos Dengler in a philosophy class and asked him to join them. By sheer coincidence, Kessler ran into vocalist/guitarist Paul Banks in the East Village. They’d previously spent time together in France and quickly discussed collaborating. Having settled on an initial lineup, Interpol became a fully active band in 1998 and began issuing a series of EPs over the next few years.
The band began playing live in early 2000 and regular appearances at New York venues helped endear them to local audiences. Drudy left the group to join the post-hardcore band Hot Cross. Kessler recruited Sam Fogarino, who worked at a vintage clothing store the band frequented, to replace Drudy. This new lineup set off on a brief UK tour highlighted by a radio session for John Peel’s BBC program. This served to expand the band’s audience overseas. They also appeared on a compilation album of Brooklyn-area acts titled This Is Next Year.
In November of 2001, the group started recording songs for what they hoped would be their debut full-length album at Tarquin Studios in Connecticut. Based on the strength of these recordings, Interpol signed with Matador Records in early 2002. Their first release was a self-titled EP which contained re-recorded versions of songs from their earlier self-produced recordings.
The full album was titled Turn On The Bright Lights and it was released in August of that year. It immediately caught fire receiving a score of 81 out of 100 from Metacritic based on 21 reviews, indicating “universal acclaim”. Billboard said “employing layered guitars, probing bass lines, and the occasional synthesizer swoon, Interpol has created an homage to their particular vision of the 80s that stands proudly alongside the best of its idols”.
Upon its release, the record peaked at number 101 on the UK Albums Chart. It spent 73 weeks in the Billboard Independent Albums peaking at number five. The album spawned four singles and was later certified Gold by the RIAA. It is widely regarded as not only one of the best debuts of 2002 but also one of the most influential records of the decade.
The album’s sound drew comparisons to post-punk groups of the late 70s and early 80s, particularly Joy Division, Echo And The Bunnymen and The Smiths.
Powered by this success, Interpol toured extensively for the next few years to support the album, opening for The Cure as part of that band’s Curiosa Festival. They also made numerous television appearances introducing themselves to new audiences around the globe.
The band regrouped in late 2003 to begin sessions for the follow-up album, again decamping to Tarquin Studios to record. In September of 2004, Interpol released the highly-anticipated Antics, which sold 350,000 copies in its first four months. Three songs entered the Top 40 charts in the UK. The album eventually reached gold status in the UK, and later in the U.S.
The group toured again after the release of the album, playing more dates than ever before and at bigger venues. The Antics tour stretched on for almost 18 months, including a number of shows playing as opening acts for U2 and The Cure. However, the band was exhausted and took three months off after touring finished. While on the road, Interpol also released a one-off track titled “Direction” which was written for the soundtrack of HBO’s Six Feet Under.
At the beginning of 2006, Interpol confirmed they were back in the studio working on new material. Later that year, the band signed with major label Capitol Records. In July of 2007, they released their third studio album Our Love To Admire. The album represented a departure for the band, being both the first record they’d recorded in New York City and the first time they included keyboards in the arrangements from the start of the songwriting process. The album received mostly positive critical responses and the single “The Heinrich Maneuver” quickly climbed the indie charts. Interpol began to tour behind the album extensively, beginning with the summer festival circuit throughout the U.S. and Europe. In August, they headlined one of the days of Lollapalooza in Chicago. This touring continued well into 2008.
In early 2009, the band announced on its website that it was working on songs for a fourth album. However, it wasn’t until April of 2010 when they sent an email directing users to a free download of “Lights”, the first officially released song. At this time, Interpol left Capitol Records, citing management changes at the label, and re-signed with Matador. Interpol’s self-titled fourth album was released in September of that year. However, bass player Carlos Dengler had left the group sometime after the album’s completion according to a website announcement.
The band toured in support of the album with a new lineup that included David Pajo on bass and Brandon Curtis on keyboards. Pajo was later replaced by Brad Truax. The band was scheduled to open for U2 on their 360 Tour. But only three shows happened with the rest of the tour being cancelled due to a back injury to U2 lead singer Bono. Interpol went overseas and toured the UK and Ireland for the rest of the year. They eventually did open for U2 on their rescheduled tour throughout the summer of 2011. At the end of the tour, the members of Interpol announced they needed to take a break. They went on a hiatus stating they would all be pursuing separate projects.
Banks embarked on a solo career as Julian Plenti. Fogarino joined forces with Swervedriver’s Adam Franklin to form The Setting Suns. Touring member Curtis formed the group EmptyMansions.
It wasn’t until June of 2014 that Interpol announced that their fifth studio album titled El Pintor would be released later that year. The album’s title, which means “the painter” in spanish, is an anagram of Interpol. It was the group’s first album without bassist Carlos Dengler whose duties were taken over by frontman Paul Banks. The recording received favorable reviews by critics and made its way onto multiple best of the year lists of music magazines. The band embarked on a tour to support the album that is still going on to this day.

 

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