Monthly Archives-2020 (part 1)

Here are various segments published on PodCloud1

       (Working Backwards from June to January 2020)



Mission Re-Listen: Talking Heads-Speaking In Tongues (1983) –


Mission: Re-Listen is PodCloud1’s Prime Rewind!

Each month we’re re-listening to a classic album that was released that same month.

Speaking In Tongues by Talking Heads (Released in June of 1983)

When Talking Heads released the album Remain In Light in 1980, it was a game-changer in many ways. Originally the band helped pioneer the new wave movement with a mix of quirky punk and art rock combined with an avant-garde artistic presentation. But the songs on Remain In Light were heavily influenced by Afrobeat polyrhythms, disco and funk. During the recording sessions, the band brought in outside musicians, particularly percussionists, to help create these more complex compositions. In order to perform this new material in concert, the band more than doubled its size expanding to nine musicians.

Although the album and supporting tours were highly successful, it was obvious that Talking Heads were no longer the same band that played on the cramped stage at CBGB’s. Tensions started to form within the band. It was reflected in the songwriting credits on the back of the Remain In Light album. Instead of the individual members names being listed, the words “all songs by David Byrne, Brian Eno and Talking Heads” appeared. Tina Weymouth believed that this was done at Byrne’s request when, in reality, Brian Eno had planted the idea with David. Weymouth began bad-mouthing Byrne and Eno in the press. Eno further fanned the flames by telling the press that he predicted that the band would soon break up. Although he would continue to work with Byrne, Eno’s days as the “fifth Talking Head” were over.

After releasing four albums in barely the same number of years, Talking Heads needed a break. They went on hiatus for nearly three years. During this time each of the members released solo projects. David Byrne continued his collaboration with Eno. They further explored the world music direction of Remain In Light with the album My Life In The Bush Of Ghosts as well as a musical score for a dance performance titled The Catherine Wheel. Tina Weymouth and Chris Franz formed the Tom Tom Club-a splinter group that brought a hip hop influence to the new Talking Heads’ sound. Likewise, Jerry Harrison released his first solo album The Red And The Black.

In the meantime, Sire Records released a live album The Name Of This Band Is Talking Heads that documented the transformation of the band’s sound. The group also officially parted ways with Brian Eno who would go on to produce albums with U2. The expanded band toured occasionally during this period as well. But, with more activity occurring away from the band than within it, rumors of a break-up continued to circulate.

Surrounded by these circumstances, the band began work on its next album. But this time, they’d be on their own with Brian Eno no longer in the studio to guide them. Would they continue in the direction of their last album? Would they return to the smaller new wave sound of their origins? Or would they implode and break up?

Enjoy this classic album re-listen of Speaking In Tongues by Talking Heads which includes extended versions of five songs that originally appeared only on the cassette version of the album.

1. Burning Down The House
2. Making Flippy Floppy (extended version)
3. Girlfriend Is Better (extended version)
4. Slippery People (extended version)
5. I Get Wild/Wild Gravity (extended version)
6. Swamp
7. Moon Rocks (extended version)
8. Pull Up The Roots
9. This Must Be The Place (Naive Melody)


(click player for Speaking In Tongues by Talking Heads)



Speaking In Tongues, the fifth studio album by Talking Heads, was released on June 1, 1983 by Sire Records. It became the band’s commercial breakthrough producing their sole US top-ten hit “Burning Down The House”. The album is the group’s highest-charting album of the US Billboard 200. It also crossed over to the dance charts where it peaked at number two for six weeks.

During a three year hiatus, the individual members of Talking Heads pursued side projects with Tina Weymouth and Chris Franz forming The Tom Tom Club. They recorded the album at Compass Point Studios in the Bahamas. This location became a base of operations for Talking Heads as they began work on their next record.

At different times throughout 1982, the group flew to the Bahamas to work on new songs. These sessions found the quartet at a creative crossroads. “We spent so many years trying to be original” said Weymouth, “that we didn’t know how to be original anymore.” But this challenge gave the group a reaffirmed sense of purpose.


They teamed up with a Caribbean keyboard player name Wally Badarou who had worked previously with Grace Jones. The band began recording basic tracks following the same formula that they had employed with Remain In Light. Find a groove and stick to it elaborating on one theme. This meant that the band couldn’t rely on things like sudden key changes or different melodies to keep the listener’s interest.

Instead they would find interesting grooves and textures that could bear the weight of so many repetitions with little or no variation. Byrne would describe the tracks as “more trance-like, somewhat transcendent, ecstatic even-more akin to African music or gospel or disco.” Although the new songs were still constructed using the loop-based techniques that Eno had taught the band, this time they utilized the talent of session musicians, including members of their touring big band, to breathe life into the compositions.

During the recording the music, Byrne would sing a wordless scat vocal melody over the musical grooves. He then brought these rough mixes back to New York to work on lyrics. Searching for words, he would type pages and pages of random phrases like “making flippy floppy” which sounded funky to his ear. Other phrases included “who took the money away” and “stop making sense”.

He took inspiration from moon rocks brought back on Apollo missions and UFO incidents as well as the role of the devil in shaping people’s actions. He explored the concept of home-literally and figuratively with phrases like “home is where I want to be but I guess I’m already there.” Gradually Byrne arranged and re-arranged these non-linear phrases to fit the melodies the band had recorded giving them new meaning. In fact, the title of the album was inspired by this process of turning gibberish into meaning.


As the songs continued to take shape, work began on the album’s cover. The band reached out to artist Robert Rauschenberg who designed a complex assemblage clear and tinted parts made of moving plastic. The idea was to create a record that was a work of art in packaging as well as music. But it proved to difficult to mass produce Rauschenberg’s vision. Finally, a company who printed on bread bags figured out a way to construct what the artist wanted. However, the process was time consuming and the packaging wasn’t ready when the songs were completed. But the delay did give Byrne and Harrison time to fiddle with the remixing.

Warner Brothers decided that the Rauschenberg cover would raise the price of the album too much. It would be released later as a special edition. It would eventually win a Grammy for album design. To meet the scheduled release date, Byrne created a quickie cover. He used four photographs of a chair he’d tipped over and placed them on each corner of a square bordering a large blue swirl. The spacing of the letters created interesting typography.


During this period, Byrne called a meeting of the band to show them drawings of a set for the supporting concert tour. It included moving risers, projection screens, props and a big suit. Inspired by Japanese Kabuki theater costumes, it would become the iconic costume that is associated with Byrne. It was decided that the shows would be recorded and filmed to document the spectacle.

The album was finally released on June 1, 1983. It was well received by critics and fans alike. Rolling Stone said “Talking Heads first studio release in three years is the album that finally obliterates the thin line separating arty white pop music and deep black funk. Picking up where their 1980 Afro-punk fusion Remain In Light left off, this LP consummates the Heads’ marriage of art school intellect and dance-floor soul.” Another review stated “Speaking In Tongues gives new meaning to the word crossover. The real art here is the incorporation of disparate elements from pop, punk and R&B into a coherent celebratory dance that dissolves notions of color and genre in smiles and sweat. A new model for great party albums to come.”

A video for the first single from the album, “Burning Down The House”, became a staple on MTV helping the song become a hit. It even aired on black radio stations which was unheard of at that time. The second single was “This Must Be The Place (Naive Melody)”. The video featured the extended Heads’ band as one big family watching home videos and then going downstairs to rock out. Although the concept sounds corny, the racial harmony depicted in the video was out of step with the reality of the country at that time. The song has gone on to be one of the most popular Talking Heads songs of all time.

Director Jonathan Demme’s concert film of the Speaking In Tongues tour was titled Stop Making Sense. Documenting the theatrics of the stage performance with no interviews, audience shots or embellishments, it set a new standard for concert films going forward. Instead of montages of strumming guitars and beating drums, Demme featured long shots of the musicians allowing the audience to get to know each player as if they were a character in a film. The movie and accompanying soundtrack continued the successful run of Speaking In Tongues.

Talking Heads would ride this wave of popularity to become one of the biggest bands of the decade. In 1989 the album was ranked number 54 on Rolling Stone magazine’s list of the “100 best albums of the 1980s”. They had found a way to open up the dense textures originally developed with Brian Eno. In the process, they grew as artists, musicians and producers as their ideas came to fruition. With Speaking In Tongues, Talking Heads were rewarded with their most popular album yet.





Ear Drops #5 (June) –

It’s A Soundboard Slice Of PodCloud1’s Six Decade Deep Playlist

Every wonder what happens between each of our hosted shows? This soundboard series answers that musical question. It’s like you hit the PodCloud1 button on your media player.

Music by The Black Keys, Modest Mouse, Santana, Oasis, Social Distortion, MGMT, Soul Coughing, The Allman Brothers Band, Midnight Oil, Violent Femmes, The Steve Miller Band, Soul Coughing and Paul Revere & The Raiders.

Tune in to PodCloud1! It’s Radio-The Way it was Meant to Be!


(click player for Ear Drops-June 2020)





Garage Rock (Midnight Max Mix)-

Midnight Max Is Rockin’ The Garage!

Come with Midnight Max as he’s social distanced to his garage and does some exploring into Garage Rock. Willie Nile starts the show and Max takes a trip around the garage with Little Steven, Soraia, and New York Dolls. Trek across the garage map to Europe for selections by Jonny and the Primates, The Libertines and Peter Murphy. Return to The States to jam with Love, Butch Walker, Nils Lofgren and The Doughboys.

Max Makes The Mix Happen All From His Garage!


(click player for Garage Rock-The Midnight Max Mix)





70’s Deep Tracks – vol 70 (series finale)-


It’s The Final Episode Of PodCloud1’s 70’s Deep Tracks!

If we say we’ve saved the best for last, PodCloud1 listeners know we’re lying because all 70 episodes have been fantastic! But we do have one more hot rockin’ pod of great classic jams from the 70s as we say farewell.

Music from Be Bop Deluxe, Mott The Hoople, Robin Trower, Grand Funk Railroad, The James Gang, Argent and Free. A live twin-spin by Rick Derringer. Deep tracks from The New Riders Of The Purple Sage and Canned Heat. Plus a set from Crosby, Stills, Nash & Young that features them solo and finishes by bringing their beautiful harmonies together.

All 70 episodes of 70’s Deep Tracks will live on forever in the PodCloud1 monthly archives 

Enjoy One Last Pod Of Deep Tracks From The 70s.

(click player for 70’s Deep Tracks-Volume 70)





Live From The Archives -Vol. 48 –

It’s A Mix Pulled Straight From The Concert Stages Of The 70s!

Our popular soundboard series 70’s Deep Tracks ends its run this month after 70 episodes and Live From The Archives pays tribute. Host PeeperD goes deep into the archives with concert cuts from some of the biggest artists at the height of their game.

Music from The Rolling Stones, Pink Floyd, Led Zeppelin, Rush, Jethro Tull, Yes, Heart, Blue Oyster Cult and the Electric Light Orchestra. Experience what concert-going was like in the golden age of rock-the era of wine skins, firecrackers, air horns and thick clouds of smoke enveloping the hall. This pod will give you a contact high!

Fire Up The Lava Lamps. It’s Like A Bonus Episode Of 70’s Deep Tracks. Enjoy!


(click player for Live From The Archives-Volume 48)






MisterMusic’s Taste of Indie Episode 2


MisterMusic returns with the second episode of a 4-part series exploring the Indie Music Scene.

Indie pop, Indie rock, Indie folk…whatever it may be, find out the bands that have been rattling around MisterMusic’s brain for the past couple years!

Episode 2 Features: Westerman, Honeymoan, LaFille, Far Caspian and more.

If you have 56 minutes…you’ll discover some cool stuff!

(click player for Taste Of Indie ep. 2)




Sonic Slight of Hand (PeeperD Pod) –


During Troubled Times The Power Of Music Can Be Just Like Magic

PeeperD displays some sonic sleight of hand as he pulls some cool songs out of his magic hat for this pod. New music made in quarantine by The Rolling Stones and the team of Marcus Mumford and Major Lazer.

Songs from The New Pornographers, Urge Overkill, Violent Femmes, Lyle Lovett, Ned’s Atomic Dustbin and Leona Naess. A track from a side project by ex-New Order bassist Peter Hook. Robert Plant and Jimmy Page make solo appearances. Plus a classic cover by Manfred Mann’s Earth Band. Backing tracks from Jean Michel Jarre.

One Great Song Can Make Everything Feel Alright. That’s Magic!

(click player for PeeperD’s Sonic Sleight Of Hand)




Atmospheres- vol. 48 –


Volume 48-Beauty Of Simple Things

The changing of the seasons isn’t a date on on a calendar. It’s a feeling we all experience deep in our souls. Atmospheres celebrates this with a mix of music by Marconi Union, Rudy Adrian, Iluiteq, Janne Hanhisuanto, Ian Boddy, Ascendant and Miles Richmond & Peter Grenader. Tune in to the rhythm of life expressed in song!

Atmospheres is a soundboard series that explores the space between the notes…and the space between your ears.

(click player for Atmospheres-Volume 48)





Radio Hannibal-Episode 15 –


Radio Hannibal Puts On His Cowboy Hat!

It’s a pod full of guitars, Cadillacs and hillbilly music as Radio Hannibal goes back to the country. Tunes by Dwight Yoakam, Buck Owens, Marcus King and the late John Prine.

New music from Baxter Dury, The Killers and The Pretenders. David Johansen, Pete Yorn and The Hollies fill out the mix. Plus a classic by Del Shannon. Come still a spell and enjoy a pod of great tunes.

PodCloud1 is trying to make it hard for you to leave the house. 

(click player for Radio Hannibal-Episode 15)




QuaranTunes (Music For Social Distancing) volume 3 –


The Comfort Of Music Has Never Been So Important.

With the coronavirus pandemic leaving much of society sequestered in their homes, PodCloud1 presents volume three of a soundboard series centered around social distancing.

This soundboard is about being home alone. Music from Peter Gabriel, Traffic, Stephen Stills, Best Coast, Jason Isbell & The 400 Unit, The Cavedogs, Sam Phillips, Two Door Cinema Club, Susan Tedeschi, Clarence Carter and Led Zeppelin. Angus & Julia Stone lament about sleeping alone. Kraftwerk pays tribute to our portal to the world-the home computer.

PodCloud1-Keeping Us Together While We’re Apart!

(click player for QuaranTunes-Volume 3)





Left Of The Dial: College Radio 80s-vol. 14 –


In the 80s, the great music was happening on the left side of the dial where all of the college radio stations were located!

PodCloud1’s soundboard series that salutes the great college radio playlists of the 80s returns with a great mix of big names and forgotten rarities from all over the decade!

Re-live the music that made the 80s great! Songs from Dinosaur Jr., Meat Puppets, OMD, Split Enz, Husker Du, The Chameleons, Blancmange, Lloyd Cole, The db’s, Killing Joke, Aztec Camera, Let’s Active and The Chills. Plus a solo track by David J of Love & Rockets.

Just like music lovers did in the 80s, venture over to the left side of the dial. You’ll be glad you did!


(click player for Left Of The Dial:College Radio 80s-Vol. 14)





Live From The Archives- vol. 47 (John Prine) –

It’s A Live Salute To A Great Singer, Songwriter And Storyteller!

Join host PeeperD as he salutes the recently-departed John Prine. Featuring selections pulled from five decades of great performances by “The Mailman From Maywood”. This rich pod includes duets with Steve Goodman, Iris DeMent and Bonnie Raitt. Enjoy humorous lyrics about love, life, social commentary and bittersweet tales of life.

Experience one of the most influential songwriters of his generation!


(click player for Live From The Archives-Volume 47)






Mission Re-Listen: Moby-Play (1999) –


Mission: Re-Listen is PodCloud1’s Prime Rewind!

Each month we’re re-listening to a classic album that was released that same month.

Play by Moby (Released in May of 1999)

Moby is an American musician, songwriter, singer, producer, and animal rights activist. He has sold 20 million records worldwide. He was considered to be among the most important dance music figures of the early 1990s helping bring dance music to a mainstream audience both in the UK and the United States. His 1991 single “Go” was his mainstream breakthrough reaching No. 10 in the UK. Between 1992 and 1997 he scored eight top 10 hits on the Billboard Dance Club Songschart.

However the second half of the 1990s saw Moby in career turmoil after years of being a successful techno wunderkind. In 1996, he released an album called Animal Rights which deviated from the electronica style that had made him so popular. It was a dark, eclectic, guitar-fueled record built around the punk and metal records that he loved as a teenager. But it proved to be a critical and commercial disaster that alienated much of his fan base. It left Moby considering quitting music altogether and going back to school to study architecture. “I was opening for Soundgarden and getting shit thrown at me every night onstage”, he explained. “I did my own tour and was playing to roughly fifty people a night.”

Moby started work on what was to be his final album in August of 1997 as he planned on ending his musical career. However, he wanted to go out on his own terms. Moby wanted to make one more record returning to his original style of music. But he couldn’t have imagined that the resulting album would not only change the trajectory of his career but the course of the music industry as well.

Enjoy this classic album re-listen of Play by Moby.

1. Honey
2. Find My Baby
3. Porcelain
4. Why Does My Heart Feel So Bad?
5. South Side
6. Rushing
7. Bodyrock
8. Natural Blues
9. Machete
10. 7
11. Run On
12. Down Slow
13. If Things Were Perfect
14. Everloving
15. Inside
16. Guitar Flute & String
17. The Sky Is Broken
18. My Weakness

(click player for Play by Moby)


Play, the fifth studio album by American electronica musician Moby, was released on May 17, 1999. While some of his earlier work garnered some critical and commercial attention within the electronic dance music scene, Play was both a critical success and a mainstream commercial phenomenon. It topped numerous album charts months after its release and was certified platinum in more than 20 countries. The album introduced Moby to a worldwide audience through a large number of hit singles that helped the album dominate worldwide charts for two years. Its seventh single, “South Side”, featuring Gwen Stefani, remains his only one to appear on the US Billboard Hot 100, reaching No. 14. Play eventually became the biggest-selling electronica album of all time, with over 12 million copies sold worldwide.

Initially the record received little recognition upon its release. But it became an unexpected global hit in 2000 due to an ingenious marketing strategy. Traditionally, rock musicians’ refusal to license their songs for commercial applications was a considered part of their artistic integrity. But Moby didn’t see the world in those terms. He licensed each track from Play to films, TV shows and commercials. Not only did this strategy revive the album’s fortunes but it also introduced his music to an entirely new audience. People who would have never sought out his music on their own were asking “who did that song”.

Recording of the album began in mid-1997 at Moby’s home studio on Mott Street in Manhattan. But he put it on hold several times to complete touring obligations. Play was also delayed due to Moby’s dissatisfaction with the initial mix of the album that he had produced at home. A second mix was completed in an outside studio before attempts in two other studios displayed similar results. After returning home and producing a mix by himself, Moby felt happy with it. In the end, Moby said that he had “wasted a lot of time and money”.


Play has been described as primarily a downtempo album. Moby’s approach featured many live recordings and “found sound” (a colloquial term for field recordings), and the result was an organic downtempo masterpiece. Incorporating elements of rock and roll, soul, and hip-hop into his modern electronic beats, Moby’s Play perfectly distilled what was happening musically around the world.

The album was particularly notable for its extensive use of samples from field recordings collected by Alan Lomax on the 1993 box set Sounds of the South: A Musical Journey from the Georgia Sea Islands to the Mississippi Delta. Moby was introduced to the collection through a friend who loaned him the CDs. Most of the samples were short and constantly repeated throughout the songs. For example, “Honey” used a sample from Bessie Jones that consisted of a conjunction of four verses that was repeated over twenty times. In the liner notes for the album, Moby gave “special thanks to the Lomaxes and all of the archivists and music historians whose field recordings made this record possible.”

Moby recalled a moment from March 1999, after Play had been mixed and sequenced, where he sat on the grass in Roosevelt Park: “I was sitting by the little tire swings that had been chewed apart by the pit bulls […] thinking to myself, ‘When this record comes out, it will be the end of my career. I should start thinking about what else I can do.’” At that point, he considered returning to school to become an architect.

When he finished recording, there was no sign that the album would perform any differently than the disappointing Animal Rights. Moby shopped the record to every major label, from Warner Bros. to Sony to RCA, and was rejected every time. After V2 finally picked it up, his publicist sent the record to journalists, many of whom declined to listen to it. According to Moby’s manager, their original goal was to sell 250,000 copies, which was what Moby’s biggest-selling album at the time Everything Is Wrong had sold.

When Play was released on May 17, 1999, it underperformed commercially. In the United Kingdom, it debuted at number 33 on the UK Albums Chart, but sales declined in the weeks immediately following its debut and the album spent only five further weeks inside the charts for the remainder of the year. Moby stated, “First show that I did on the tour for Play was in the basement of the Virgin Megastore in Union Square. Literally playing music while people were waiting in line buying CDs. Maybe forty people came.” The album received little airplay from radio stations or television networks such as MTV.

While this lack of airplay further damaged the album’s commercial prospects, Moby and his record label soon found another approach to increasing public exposure of the album, by way of licensing its songs to films, TV shows, and commercials. Volkswagen, Baileys Irish Cream and American Express were just a few of the companies that utilized Moby’s music in their ads. According to Moby, the goal behind the licensing of Play “was simply to get people to hear the music,” adding, “Most of the licenses weren’t particularly lucrative, but they enabled people to hear the music because otherwise the record wasn’t being heard.”

The licensing approach proved successful in increasing exposure to Play, and subsequently radio and MTV airplay for the album’s songs began to pick up. On January 15, 2000, the album re-entered the UK charts, slowly climbing positions and finally reaching number one three months later on April 15, 2000, spending five weeks at the top. It stayed on the chart for the remainder of the year achieving an overall total of 81 weeks which made it the fifth best-selling album of 2000 in the UK, as well as the year’s best-selling independent album. By October, Play had attained platinum certifications in seventeen countries and topped the charts in seven. Despite reaching only number 38 on the Billboard 200, over two million copies were sold in the United States, with the album enjoying steady sales for months and constant popularity.

Moby described this popularity by saying “In 2000, almost a year after it came out, my manager called me to tell me that Play was number one in the UK, and had beat out Santana’s Supernatural. I was like, ‘But the record came out 10 months ago.’ That’s when I knew, all of a sudden, that things were different. Then it was number one in France, in Australia, in Germany—it just kept piling on. The week Play was released, it sold, worldwide around 6,000 copies. Eleven months after Play was released, it was selling 150,000 copies a week. And then all of a sudden movie stars started coming to my concerts and I started getting invited to fancy parties and suddenly the journalists who wouldn’t return my publicist’s calls were talking about doing cover stories. It was a really odd phenomenon.”

Play also found its major strengths on the support of its impressive string of eight hit singles, an unprecedented feat for an electronica album. Seven of those singles were UK top 40 hits—”Honey”, the first single, was already in the market in August 1998, nearly ten months before the release of the actual album. The final single choice was “Find My Baby”, which appeared on some national charts three and a half years after. The result of the marketing strategy was that the album, after an unremarkable debut, stayed on the charts for several years and broke all sales projections for a record by Moby and for the dance music scene which was not considered a dominant commercial genre in the US in the 1990s.

Although many reviewers initially refused to even listen to the album, critical praise eventually arrived. Reviewing for The Village Voice in 1999, Robert Christgau said the album’s sampled recordings would not “shout anywhere near as loud and clear” without Moby’s “ministrations—his grooves, his pacing, his textures, his harmonies, sometimes his tunes, and mostly his grooves, which honor not just dance music but the entire rock tradition it’s part of.” He deemed the album “no more focused” than Moby’s previous “brilliant messes” but still “one of those records whose drive to beauty should move anybody who just likes, well, music itself.”

Another review said “Play showed Moby balancing his sublime early sound with the breakbeat techno evolution of the ’90s”. Rolling Stone said “the ebb and flow of eighteen concise, contrasting cuts writes a story about Moby’s beautifully conflicted interior world while giving the outside planet beats and tunes on which to groove.” Entertainment Weekly said Moby’s graceful soundscapes filter out the original recordings’ antiquated sound and “make the singers’ heartache and hope seem fresh again.” Spin Magazine said “Play was the high-water mark for populist electronica” and a “millennial roots and blues masterwork”, while another review noted its incorporation of such disparate musical influences as early blues, African-American folk music, gospel, hip hop, disco and techno, “all within the context of his own distinctly melodic ambient stylings.”

At the end of 1999, Play was voted the year’s best album in the Pazz & Jop poll published in The Village Voice. Christgau, the poll’s supervisor, ranked it second best on his own year-end list. The following year, the album was nominated for Best Alternative Music Performance at the 42nd Grammy Awards. Since then, it has frequently been named one of the greatest albums of all-time; according to Acclaimed Music, it is the 316th most ranked record on critics’ all-time lists. NPR named Play one of the 300 most important American records of the 20th century, as determined by the network’s news and cultural programming staff, prominent critics, and scholars. It was also ranked number 341 on Rolling Stone’s 2003 and 2012 lists of the 500 greatest albums of all time, and in 2005, a panel of recording industry pundits assembled by Channel 4 voted Play the 63rd-best album ever. The album was also included in the book 1001 Albums You Must Hear Before You Die.


In October 2000, a compilation album entitled Play: The B Sides was released, consisting of tracks released as B-sides on the album’s singles. A DVD titled Play: The DVD was later released in July 2001 as a companion to Play, featuring most of the accompanying music videos for the album’s singles, an 88-minute megamix of all the remixes created for the album accompanied by visuals, a performance on Later… with Jools Holland, a tour diary shot by Moby titled Give an Idiot a Camcorder, a DVD-ROM component where users were able to remix two of Moby’s songs, and a bonus CD containing the aforementioned megamix. The package was later nominated for a Grammy Award for Best Long Form Music Video.

Play‘s success changed the music industry. According to Wired magazine, the songs on Play—which became the first album ever to have all of its tracks licensed for use in films, television shows or commercials—”have been sold hundreds of times… a licensing venture so staggeringly lucrative that the album was a financial success months before it reached its multi-platinum sales total.”

Although some still disparage the album, it redefined the concept of “commercial.” Club exposure would never take a CD to such levels, and no way could these anonymously sung tracks crack any hit-based radio format. So Moby’s handlers swamped the mass market through the side door, placing swatches of all 18 songs on movie and TV soundtracks and in ads. FM radio exposure followed. Because of this, the album has become so famous and familiar in the same way that Beethoven’s Ninth does to a casual music listener. Little bits of Play have seeped into the public’s consciousness-even those who don’t consider themselves fans of rock music.



Ear Drops #4 (May) –


It’s A Soundboard Slice Of PodCloud1’s Six Decade Deep Playlist

Every wonder what happens between each of our hosted shows? This soundboard series answers that musical question. It’s like you hit the PodCloud1 button on your media player.

Music by Foo Fighters, Peter Gabriel, Thin Lizzy, James, Tom Waits, Yeah Yeah Yeah’s, Los Lobos, Poi Dog Pondering, The Tragically Hip, Cream, The Rolling Stones and Electric Light Orchestra. Plus a concert cut from our live archives by Pink Floyd.

Tune in to PodCloud1! It’s Radio-The Way it was Meant to Be!


(click player for Ear Drops-May 2020)





Too Much Time On My Hands (Midnight Max Mix) –


Join Midnight Max For His Rock Down Lockdown!

Coming to you from his remote studio closet, Midnight Max gives you a virtual tour of the British Isles with selections from Stealers Wheel, U2, Thin Lizzy, The Average White Band and Frank Turner.

New music by Not UR Girlfrenz and The Underground Thieves. Max rocks your isolation with Husker Du, Muck And The Mires, Rich Kids and Foo Fighters. Then he wraps it all up tight with a special closer by those wonderful folks at Playing For Change-a 50th anniversary re-working of Max’s most-loved classic rock & roll tune.

Max May Not Be At The PodCloud1 Studios But He’s Still Bringing The Heat!


(click player for Midnight Max Mix-Too Much Time On My Hands)




70’s Deep Tracks-vol. 69 –

It’s The Penultimate Edition Of 70’s Deep Tracks!

With only two pods remaining, 70’s Deep Tracks delivers a mix inspired by the days when FM radio was an art form. You can scan the dial all you want. You won’t find any of these deep tracks on your local classic rock station. Enjoy the kind of diverse mix that’s made 70’s Deep Tracks a listener favorite for many years.

Music from Bad Company, J. Geils Band, Edgar Winter Group, Golden Earring, ZZ Top, Joe Walsh, The Guess Who, Foghat, Dave Mason, Jesse Colin Young, JD Souther and Walter Egan. Plus a track by Skyhooks that inspired the show-Living in the 70s!

Next month is the Final Episode of 70’s Deep Tracks-Don’t Miss It! 


(click player for 70’s Deep Tracks-Volume 69)






PeeperD’s New Music Express 2020 –


Join PeeperD For A Ride On The New Music Express

Every April PeeperD presents a pod of music filled with fresh sounds from our new releases bin. Take a listen to the latest releases by The Killers, Morrissey, The Pretenders, Noel Gallagher’s High Flying Birds, Lucinda Williams, Drive-By Truckers, Wire, Sea Wolf, Paul Weller, The Lone Bellow, Waxahatchee and The Airborne Toxic Event. Plus a song of positivity by Andy Frasco & The U.N.

This Pod Of Fresh New Sounds Is Like The First Warm Day Of Spring For Your Ears!


(click player for PeeperD’s New Music Express 2020)




Reggae Mix #29 –

PodCloud1’s Reggae Mix-Music For The Struggle Of The People!

Our reggae-infused soundboard is back with a timely pod about the struggles of carrying the heavy load. Music from Delroy Wilson, The Abyssinians, Wailing Souls, Ijahman, The Mighty Diamonds, Identity, Andrew Tosh, UB40, Linton Kwesi Johnson, Nina Soul, Doreen Shaffer, Reggae Cowboys and Cecil Campbell.

Jah Heavy Load Indeed!

(click player for Reggae Mix-Volume 29)





MisterMusic’s Taste Of Indie-Episode 1


MisterMusic returns to PodCloud1 as host of a new 4-part series exploring the Indie Music Scene.

Indie pop, Indie rock, Indie folk…whatever it may be, find out the bands that have been rattling around MisterMusic’s brain for the past couple years!

Episode 1 features: Ten Fe’, Peter, Bjorn & John, Swimming Tapes, Trace Mountains and more.

(click player for Taste Of Indie ep.1)





QuaranTunes(Music For Social Distancing)  Volume 2 –


QuaranTunes Is For Everyone Who’s Helping Flatten The Curve!

With the coronavirus pandemic leaving much of society sequestered in their homes, PodCloud1 presents volume two of a soundboard series centered around social distancing.

Songs of solitude by The Rolling Stones, Hozier, Bob Dylan, Steve Earle & The Dukes, Vance Joy, ALO, Gang Of Four, Lake Street Dive, Joy Division, George Thorogood & The Destroyers, The Marshall Tucker Band and Journey. A blues classic from the archives by Sonny Boy Williamson. Willie Nelson covers a Fats Domino hit. Plus a rarity from The Electric Soft Parade.

In Times Like These, Music Makes Us Feel It’s Gonna Be Alright!

(click player for QuaranTunes-Volume 2)





Live From The Archives #46-David Byrne Plays Talking Heads-


It’s A Double-Sized Special Featuring The Solo Career Of David Byrne

Join host PeeperD for not one but two pods of concert cuts from the former Talking Heads frontman-David Byrne. Enjoy a deep dive into our archives for this career-spanning listen.

Part one follows the solo career of David Byrne from his first tour after the Heads’ break-up to his most recent Broadway smash American Utopia. Enjoy several post-Talking Heads hits. Plus a electronic version of Psycho Killer performed in a skinless bodysuit.

Part two features David Byrne re-inventing the music of his old band in new and exciting ways. Highlights include a selection from his appearance at Carnegie Hall with Caetono Veloso.

Experience the genius of David Byrne with two deep pods drawn from the massive PodCloud1 concert archives.



(click player for Live From The Archives-David Byrne Solo)






(click player for Live From The Archives-David Byrne Plays Talking Heads)




Left Of The Dial: College Radio 80s  Vol. 13 –

In the 80s, the great music was happening on the left side of the dial where all of the college radio stations were located!

PodCloud1’s soundboard series that salutes the great college radio playlists of the 80s returns with a great mix of big names and forgotten rarities from all over the decade!

This edition of LOTD goes deep and quirky with music from Camper Van Beethoven, Sonic Youth, The Dead Milkmen, Suzanne Vega, The Gun Club, Love Tractor, The Del Fuegos, Green On Red, The Plimsouls, Red Lorry Yellow Lorry, The Three O’Clock, Dramarama and The Sound.

Just like music lovers did in the 80s, venture over to the left side of the dial. You’ll be glad you did!

(click player for Left Of The Dial: College Radio 80s-Volume 13)





Radio Hannibal-Episode 14-


Radio Hannibal Invites You To Catch His Disease!

A pod of Radio Hannibal is just what the doctor ordered as we embraces our new social distancing reality. Hannibal keeps the great music coming with a mix of humor that’s so important these days.

New music from The Weeknd, Glass Animals and Caamp. Timely tunes by The Mavericks, Ben Lee, George Harrison, New Order, Daft Punk and The Sleepy Jackson. A classic from The Spinners. Plus a musical remembrance of Adam Schlesinger from Fountains Of Wayne. Cool music is something we all could use a little more of these days!

Coming To You From An Undisclosed Location Which Could Be His Basement!

(click player for Radio Hannibal-Episode 14)




Ear Drops #3 (April)-


It’s A Soundboard Slice Of PodCloud1’s Six Decade Deep Playlist

Every wonder what happens between each of our hosted shows? This soundboard series answers that musical question. It’s like you hit the PodCloud1 button on your media player.

Music from REM, Franz Ferdinand, The Decemberists, Beck, Blind Faith, Jethro Tull, The Killers, Jimi Hendrix, The Lightning Seeds, Depeche Mode, The Yardbirds, Blancmange, Portugal The Man and The White Stripes. Plus a concert cut from our live archives by Bruce Springsteen & The E-Street Band.

Tune in to PodCloud1! It’s Radio-The Way it was Meant to Be!


(click player for Ear Drops-April 2020)




Mission: Re-Listen-The Church-Starfish (1988) –


Mission: Re-Listen is PodCloud1’s Prime Rewind!

Each month we’re re-listening to a classic album that was released that same month.

Starfish by The Church (Released in April of 1988)

The Church is an alternative rock band from Sydney, Australia formed in 1980. The founding members were Steve Kilby on lead vocals and bass, Petter Koppes and Marty Willson-Piper on guitars and Nick Ward on drums. But Ward was replaced early on during the studio sessions for their first record by Richard Ploog. Their debut album Of Skins And Heart was released in 1981 delivering the radio hit “The Unguarded Moment”. Based on this early success, the band was signed to major labels in Australia, Europe and the U.S. Their first album was re-released with a slightly altered track listing under the title The Church.

Success was fleeting however as their U.S. label, dissatisfied with their follow-up record, dropped the band without releasing the album. This put a major dent in their international success. The label demanded that The Church write more radio-friendly material but the band refused. In an attempt to move forward, The Church signed on for a concert tour of the UK as the opening act for Duran Duran. However, after eight gigs, the band pulled out feeling that audiences were unsympathetic to their music. Whatever the reason, The Church was developing a reputation as being strong-willed and difficult.

In May of 1983, the group released their third album, Seance, which explored a darker sound that employed more keyboards, synthesizers and a string section. Internationally, the album sold poorly as the general public considered it dark and cryptic.

In 1984, The Church decided to forgo recording a full album releasing two EPs instead. The atmosphere was lighter and less gloomy. The band signed with Warner Brothers Records in the U.S. who repackaged the two EPs into a single album titled Remote Luxury. They toured the U.S. in October and November and while venues in larger cities saw audiences of a thousand people, other gigs had as few as 50. The tour went poorly and the band lost thousands of dollars each week. Additionally, the critical perception was that The Church’s creativity was declining as they were unable to repeat the commercial success of their early days. The start of 1985 saw the band members spending time apart as Steve Kilby began recording singles on his own.

Things began to look up when the group released their next album Heyday. It yielded their first hit in nearly two years, “Already Yesterday”. Although the record was warmly received by critics, it didn’t sell very well. During a promotional tour for Heyday, Willson-Piper suddenly quit after rising in-band tensions forcing them to perform as a three-piece. Willson-Piper returned after a week to finish the tour. But plans to release a double live album from that tour were scrapped when the group was dropped by their Australian label due to poor sales.

Since The Church had greater sales overseas than in Australia, they decided to record their next record abroad. They signed a deal with the U.S. label Arista Records which many in the industry thought was an unusual move given the label’s reputation for pop music. But that was nothing compared to what came next. The head-strong alternative band would be traveling to L.A. to work with producers Greg Ladanyi and Waddy Wachtel who’s resumes included recordings by Jackson Browne, Warren Zevon and Don Henley. This pairing seemed like a disaster-in-the-making with the future of The Church hanging in the balance.

Enjoy This Classic Album Re-Listen of Starfish by The Church

1. Destination
2. Under The Milky Way
3. Blood Money
4. Lost
5. North, South, East, West
6. Spark
7. Antenna
8. Reptile
9. A New Season
10. Hotel Womb

(click player for Starfish by The Church)


Starfish, the fifth album by The Church, was released in April of 1988. It is considered the Australian band’s international breakthrough record selling over 600,000 copies in the U.S. alone. It is also their most commercially successful release reaching the top 50 in the U.S. and number 11 in Australia. The album was awarded a gold record in December of 1992 by the Recording Industry Association of America.

Much of the album’s success was due to the enormous popularity of it’s first single, “Under The Milky Way”, which was released a couple of months prior to the record. It charted in the U.S. Billboard Hot 100 peaking at number 23 and at number two on the Mainstream Rock Tracks chart. The single was accompanied by nearly-five minute music video which received extensive airtime on music television programs around the world. In 1989, the song won an ARIA Award (Australia’s version of the Grammys) for “Single Of The Year”. It also was featured in a 1989 episode of the TV show Miami Vice and later in the 2001 film Donnie Darko. In 2006, it was performed by the Melbourne Symphony Orchestra at the opening ceremonies of the 2006 Commonwealth Games. “Under The Milky Way” has become The Church’s signature track. Back in 1987, its success led to significant exposure for the then relatively underground Australian act.

When The Church signed with Arista Records, the american label wanted to bring the Australian band over to the U.S. to record its next album. The label wanted to pair the band with the production team of Greg Ladanyl and Waddy Wachtel. Ladanyl started his career as an assistant engineer on Linda Rondstat’s Hasten Down The Wind album. His first engineering credit was on Jackson Browne’s Running On Empty.

Around 1980, he expanded into production by elevating his engineering duties to a point where it had much to do with the production of the record. Several successful albums by Warren Zevon, Jackson Browne and Don Henley helped build his reputation. Waddy Watchel was an in-demand session and touring musician who played with many of the same artists. He first worked with Ladanyl on the Hasten Down The Wind sessions. By the middle of the 80s, both Ladanyl and Wachtel had been associated with numerous hit albums reaching the top tier of pop and rock music production.

But working with The Church would turn out to be a whole different type of challenge for the production team. As Steve Kilby put it, “it was the Australian hippies versus West Coast guys who knew the way they liked to do things. We were a bit more undisciplined than they would have liked”. Personality clashes occurred as the two sides argued over everything from guitar sounds and song structures to work ethic. Under pressure from Ladanyl and Wachtel, Kilby took vocal lessons. Although he objected at the time, he later described the experience as valuable.

Leaving familiar surroundings to record in California also created a great deal of stress for the band causing them to feel out of place. Kilby described the situation and how it influenced their song writing. “The Church came to L.A.”, he said, “and really reacted against the place because none of us liked it. I hated where I was living. I hated driving this horrible little red car around on the wrong side of the road. I hated that there was no one walking on the streets and I missed my home. All the billboards, conversations I’d overhear, TV shows, everything that was happening to us was going into the music”. Songs such as “North, South, East and West”, “Lost”, “Reptile” and “Destination” are examples of the influence of the group’s new temporary home.

The group wanted to capture the atmosphere of a live performance. This resulted in four weeks of grueling rehearsals that focused on capturing the band’s core sound. The sound was bright, spacious and uncluttered. It was a stark departure from the layered orchestrations of their last album. However the band was not happy with the results. Willson-Piper was quoted as saying “that trying to record in a live atmosphere lacked a real gig’s sense of being there”. Each of the members thought the results sounded bare and simplistic.

Although the recording process may have been strange and unpleasant for the band, it certainly paid off creatively. Kilby’s agitation with the process and his time in L.A. is very obvious in the lyrics of the album’s opening track “Destination”. “In the space between our cities a storm is slowly forming. Something eating up our days I feel it every morning”. Another track that reflects his homesickness is “Lost”. “If you’re alone and feeling blue everyone in Persia probably feels like that too.”

As a counterpoint to these lyrics of emotional distance, the band delivered beautiful arrangements with shimmering guitar sounds. This is most evident on the six and twelve-string guitar interplay on the album’s single “Under The Milky Way”. It is still, to this day, one of the most haunting and elegant songs ever to make the top 40. In his typically contrarian manner, Kilby didn’t like the song. “It’s not really about anything at all. I just wanted to create an atmosphere and I didn’t even put a lot of thought into that. History has given it something that it never really had”.

The rest of side one of the album included the quietly threatening “Blood Money” and the confident charge of “North, South, East and West”. Willson-Piper took the vocal lead on side two’s opener “Spark” while Koppes handled singing duties on the soaring “A New Season”. In fact, Starfish marked an increasingly collaborative effort from all members of the band. Side two also contained the album’s second single “Reptile” which featured an irresistible riff, throbbing bassline and skittering percussion. Many music historians have credited this song as a springboard for the shoegazer movement of the 90s.

When the album was released in April of 1988, it was warmly received by critics. The L.A. Times said “the pairing of Australia’s opaque, moody Church with straight-ahead American production team of Greg Ladanyi and Waddy Wachtel seemed like a desperate attempt by the band to get a hit after years of struggling. Yet, surprisingly, there’s no sense of compromise on Starfish. The dense, shimmering, exquisite guitar pop that has built the quartet a sturdy cult following is here in all it’s neo-psychedelic glory.” Another wrote “if sometimes too clean around the corners in comparison to their previous albums, Starfish set up the band’s well-desrved breakthrough in the States”.

As “Under The Milky Way” began to climb the charts, The Church began a nine-month tour to promote the album performing 94 shows across the U.S., the UK and Australia. For some of the dates they were paired with Peter Murphy, the former lead singer of Bauhaus. Murphy was displeased at being relegated to the status of opening act due to the success of “Under The Milky Way” on the Billboard Charts. Another touring partner was Tom Verlaine of Television. He was quite supportive of the band joining them each night during their encore for a three-way guitar duel.

Although The Church continue to record and tour, Starfish marked the peak of their commercial success. The album achieved gold status in December of 1992. In 2008, “Under The Milky Way” was voted the best Australian song of the last 20 years by the readers of The Australian. Many of the songs on Starfish have seen heavy rotation in the band’s live sets over the years. The album is also considered a favorite amongst the band’s fans.

More importantly, the psychedelic aura of the album would influence guitar-oriented new wave and Brit-pop bands in the late 80s and early 90s like Primal Scream, The Stone Roses, Ride, Slowdive and My Bloody Valentine. Starfish served not only as The Church’s portal to worldwide acknowledgment but also as a blueprint of a musical style that would later evolve into the shoegazer movement. It is because of this influence that The Church’s Starfish holds such a prominent place in the history of 80s music.



A Foolish Soundboard 2  (April Fools Day)-


A Pod Of Songs About Fools And The Things They Do!

It’s the sequel to PodCloud1’s popular A Foolish Soundboard. Enjoy a brand new batch of tunes highlighting fools and the things they do! Just in time for April Fool’s Day!

Music from The Beatles, Grateful Dead, The Rolling Stones, Aretha Franklin, Tom Petty & The Heartbreakers, Bonnie Raitt, Southside Johnny & The Asbury Jukes, Haircut 100, World Party, Boz Scaggs, The Tams, Foghat, Ann Peebles, The James Hunter Six, Cochise and Patsy Cline & The Jordonaires. There’s a lot of foolishness going on in this pod! Be young, be foolish, be happy!

Songs of foolish behavior drawn from a library that goes six decades deep!

(click player for A Foolish Soundboard 2)




Madness Of March  (Midnight Max #13)-


Come Shelter In Place With Midnight Max

Join Midnight Max as he mixes great music with some social distancing. Max picks out new tunes by The Weeklings, Dirty Shirley and the first new music from The Psychedelic Furs in 19 years!

Max also visits, from a distance, with Tom Petty & The Heartbreakers, Bob Dylan, Golden Smog and Kaiser Chiefs. He sets you up for a nice home stay with The Small Faces, Brent James and The Vintage Youth and The Church. Max rounds out the show with some tasty blues by Stormy Monday.

Don’t miss the Midnight Max Mix’s remote broadcast as he starts his social isolation!

(click player for Midnight Max Mix #13-Madness of March)




QuaranTunes  (Music For Social Distancing)  Volume 1 –


Extraordinary Times Require An Extraordinary Soundboard 

With the coronavirus pandemic leaving much of society sequestered in their homes, PodCloud1 rises to the occasion with a pod of songs centered around social distancing.

Songs from Tom Petty & The Heartbreakers, Jack White, Alice In Chains, Pete Yorn, Simon & Garfunkel, Leon Bridges, Nirvana, Roy Orbison, Neil Young, The Freddy Jones Band, Leona Ness and Tommy James & The Shondells.

The Police sing about maintaining a safe distance. Billy Idol keeps his spirits up. The Georgia Satellites tell you what to do with you hands. Styx has too much time on theirs.

The less time spent in public, the less chance of spreading the virus. But many people are finding themselves working from home, limiting their activities and, as a result, having more time to fill. We’re hoping that this pod will help fill that void and give you a momentary musical break in your day!

In Times Like These, Music Is A Great Way To Feed Your Soul!

(click player for QuaranTunes Volume 1)





70’s Deep Tracks- vol. 68 –

It’s One Of The Final Editions Of 70’s Deep Tracks!

With only a few pods remaining 70’s Deep Tracks explores the softer side of the 70s. Music from Cat Stevens, James Taylor, Carly Simon, Jackson Browne, Jim Croce, Dan Fogelberg, Loggins & Messina, Poco and America. Former-Byrd Chris Hillman spreads his wings. Carole King from her landmark “Tapestry” album. Solo music from Paul Simon and Art Garfunkel. Plus a rarity by Nicolette Larson.


(click player for 70’s Deep Tracks-Volume 68)





Fresh Catch (March)-

PeeperD Presents Some Of The Freshest Songs In Our Library!

Join host PeeperD for a pod full of fresh new sounds. Some of these tracks may soon become the next big hit and you’ll be able to say you heard it here first!

New songs from Cold War Kids, Lovelytheband, Saint Motel, Mt. Joy, Grouplove, Caamp, Donna Missal, The Wood Brothers, Taylor Janzen, Bakar and Martha Wash.

Brendan Benson takes a break from The Raconteurs with a song from his new solo album. Ed O’Brien steps out from Radiohead. Plus a track by The Dirty Knobs-a new band led by former Tom Petty & The Heartbreakers guitarist Mike Campbell.

We’re putting the ear worms on the hook to catch your attention!


(click player for Fresh Catch-March 2020)



Atmospheres- vol. 47 –

Volume 47-Journey Through The Ambient Groove

A pod highlighted by two selections from the soundtrack to James Hood’s visual meditation Mesmerica. An original bedroom rocker by Kruder & Dorfmeister. Global Dance Project gets in the Krishnamurti Groove. Selections from TUU, Jenny Devivo, Kensuke Shiina, Sapian and Villa Brazillia fill out the mix. Trance-inducing rhythms tuned to the prime frequency. Energizing and relaxing at the same time.

Atmospheres is a soundboard series that explores the space between the notes…and the space between your ears!


(click player for Atmospheres-Volume 47)






Head Above Water (PeeperD Pod)-


Hold On Because This Pod Is Filling Up With Great Music!

PeeperD and Jaime will keep your head above water as they update you on the latest happenings at PodCloud1. It’s a pod full of Irish-flavors just in time for St. Patty’s Day. Music from The Frames, Dolores O’Riordan, Thin Lizzy and Van Morrison represent for the Emerald Isle.

But that’s not all! New songs by Pearl Jam, Cage The Elephant and Jason Isbell & The 400 Unit. Tracks from David Byrne, Peter Gabriel, Camper Van Beethoven plus The Lightning Seeds sing about the life of our studio cat-Riley. Meg Myers covers a Kate Bush classic. All this and a 60’s garage rock gem by The Seeds. Grab an Irish Coffee and push that play button!

PeeperD & Jaime Make A Big Announcement In This Pod. Don’t Miss It!


(click player for Head Above Water-The PeeperD Pod)






Left Of The Dial: College Radio 80s  Vol. 12 –

In the 80s, the great music was happening on the left side of the dial where all of the college radio stations were located!

PodCloud1’s soundboard series that salutes the great college radio playlists of the 80s returns with a great mix of big names and forgotten rarities from all over the decade!

It’s a mix pulled right from the CMJ charts of the 80s. Music from The Cure, Depeche Mode, Love & Rockets, Thompson Twins, New Order and The Cult lead off a hit-packed pod. Experience the wall-of-sound production of ABC. The unique sound of Kate Bush. Adam Ant moving on from his early days. The Jesus & Mary Chain creating with noise. David Sylvian’s early band Japan. Plus the haunting Siouxsie & The Banshees. This is what the 80s sounded like on college radio stations.

Just like music lovers did in the 80s, venture over to the left side of the dial. You’ll be glad you did!

(click player for Left Of The Dial: College Radio 80s-Volume 12)




Ear Drops #2 (March) –

It’s A Soundboard Slice Of PodCloud1’s Six Decade Deep Playlist

Ever wonder what happens between each of our hosted shows? This soundboard series answers that musical question. It’s like you hit the PodCloud1 button on your media player.

Music from The Who, Radiohead, The Smashing Pumpkins, Neil Young, Kings Of Leon, The Cure, Roxy Music, Toad The Wet Sprocket, Maggie Rogers, The Pretenders, Gomez, The Style Council and Big Head Todd & The Monsters.

Tune in to PodCloud1! It’s Radio-The Way it was Meant to Be!


(click player for Ear Drops-March 2020)






Van Morrison (St. Patty’s Day Soundboard)-

It’s A Soundboard Celebration Of Van The Man!

With March being the month of the Irish, it seemed appropriate to take a listen to the man they call The Belfast Cowboy-Van Morrison. This special Shamrock N’ Roll Soundboard features songs that highlight Van’s Celtic roots including a duet with The Chieftains. Enjoy hits, rarities and alternate versions in a mix drawn from all across Morrison’s rich and lengthy career.

This pod is the perfect companion to our St. Patty’s Day Soundboard!


(click player for Van Morrison-A Shamrock N’ Roll Soundboard)






St. Patty’s Day Soundboard –


Celebrate St. Patty’s Day With PodCloud1

It’s a visit to the vaults as PodCloud1 presents a seasonal soundboard with highlights pulled from several of our previous St. Patty’s Day pods.

Music from The Dropkick Murphys, The Real McKenzies, Barleyjuice, The Prodigals, Circle J, The Pubcrawlers, Kilmaine Saints, The Tossers, Rum Rebellion, The Mighty Regis, Young Dubliners, The Skels, Sir Reg, The Mahones, Mr. Irish Bastard, Firkin, The Mighty Regis, The Porters and Auld Corn Brigade. Plus a duet by Van Morrison and The Chieftains.

Download this pod and take it with you. It’s the perfect soundtrack for your St. Patty’s Day pub-crawl!

Want more? Visit our monthly archives for other Irish-flavored mixes. 


(click player for St. Patty’s Day Soundboard 2020)





Radio Hannibal- Episode 13 –


It’s A Musical Stew With Irish Flavors & Spanish Seasoning

Radio Hannibal cooks up a pod full of sonic seasonings. It starts with a taste of Ireland courtesy of The Pogues just in time for St. Patty’s Day . Add a dash of Spain with songs from The Clash and The New Pornographers. Finish with a track by Abba that promises to keep you dancing.

But there’s more treats in the musical pantry. Other ingredients include new songs by Best Coast, Tame Impala and Gorillaz. Tracks from Foo Fighters, The Kinks, Scissor Sisters and The Dictators top off the mix.

Radio Hannibal May Not Sing On Key But He Has The Recipe For A Great Mix!


(click player for Radio Hannibal-Episode 13)




Mission: Re-Listen-Nine Inch Nails-The Downward Spiral (1994)-


Mission: Re-Listen is PodCloud1’s Prime Rewind!

Each month we’re re-listening to a classic album that was released that same month.

The Downward Spiral by Nine Inch Nails (Released in March of 1994)

Nine Inch Nails exploded on the music scene with their 1989 debut album Pretty Hate Machine. It was the project of Trent Reznor who worked as an assistant engineer at a recording studio in Cleveland, Ohio. This situation gave him free access to the studios in between bookings. As a singer, songwriter, multi-instrumentalist and producer, Reznor formulated a unique sound that was a mix of industrial rock and pop dance. During this time he recorded several demo songs. These demos eventually became Reznor’s debut album which was released under the name Nine Inch Nails. It spent 113 weeks on the Billboard 200 becoming one of the first independently released recordings to attain platinum status.

Three music videos were created in promotion of the album and received airplay on MTV. This exposure expanded awareness of Nine Inch Nails to a national audience. In 1990, Reznor organized a group of supporting musicians that allowed him to perform live. The group toured North America as an opening act for artists like Peter Murphy and The Jesus And Mary Chain. The band quickly became known for their aggressive stage presence with Reznor often smashing his equipment on stage. Riding this wave of early success, the band embarked on a world tour that continued through the first Lollapalooza festival in 1991.

After a poor reception by European audiences while opening for Guns N’ Roses, the band returned to America amid pressure from its label to produce a follow-up to Pretty Hate Machine. Reznor pushed back criticizing the labeling of Nine Inch Nails as a commercially-oriented band. He demanded that his label terminate his contract but they ignored his pleas. Reznor began secretly recording under various names to avoid record company interference. He eventually signed a record deal with Interscope Records and created his own label Nothing Records.

In 1992, Trent Reznor relocated to 10050 Cielo Drive in Los Angeles. The house was the site of the 1969 Tate murders where Charles Manson’s family murdered actress Sharon Tate and four of her friends. The house was turned into a studio as Reznor bought a large mixing console and two tape machines. He named the studio “Le Pig” after the message that was scrawled on the front door with Tate’s blood by her murderers. Using his touring band’s sound as an influence, Reznor recorded Broken, an EP that reached the top 10 on the Billboard 200. It earned him two Grammy Awards. Three controversial videos were also created in support of the EP which further added to the group’s dark bondage and torture mystique.

As he toured supporting the brand new material from the Broken EP, Reznor began living and recording full-time at Le Pig working on a follow-up free of restrictions from his record label. He’d already started developing some concepts during the European leg of the Lollapalooza tour. Motivated by a “negative vibe” felt by the band when they were at a European hotel, Reznor began formulating a profile of a fictional character whose life was psychologically wounded. This profile soon became a concept about the album’s themes which, in turn, started producing lyrical ideas. As these ideas began to coalesce into songs, no one could imagine that the resulting album would change the definition of popular music forever.

Enjoy This Classic Album Re-Listen of The Downward Spiral by Nine Inch Nails

1. Mr. Self Destruct
2. Piggy
3. Heresy
4. March Of The Pigs
5. Closer
6. Ruiner
7. The Becoming
8. I Do Not Want This
9. Big Man With A Gun
10. A Warm Place
11. Eraser
12. Reptile
13. The Downward Spiral
14. Hurt

(click player for The Downward Spiral by Nine Inch Nails)


The Downward Spiral, released in March of 1994, was the second full-length studio record by Nine Inch Nails. It was a concept album detailing the destruction of a man from the beginning of his downward spiral to his death by suicide. In contrast to the band’s first album, Pretty Hate Machine, which was influenced by synth-pop, this album debuted a new sound that featured elements of industrial rock, techno, dance, electronic and heavy metal music. The record spawned two singles, “March Of The Pigs” and “Closer” which were accompanied by highly-controversial music videos. Two other songs, “Piggy” and “Hurt”, were issued to radio without a commercial single release.

The album was an instant commercial success. Upon its release, it debuted at number two on the Billboard 200 selling nearly 119,000 copies in its first week. It established Nine Inch Nails as a force in the 90’s music scene with a unique sound that was widely imitated. It also made Trent Reznor a celebrity as he experienced overnight stardom. However, Reznor was uncomfortable with the media hype and success. He interpreted the album as “the truth fulfilling itself” as he experienced the same personal and social issues presented in the album after its release. Already wrestling with social anxiety disorder and depression, he struggled with alcohol and drug abuse during the recording of the record. This continued through the creation of Nine Inch Nails’ next album The Fragile. Reznor finally completed rehabilitation from drugs in 2001.

Although he wasn’t sure of its musical direction, Reznor wanted the new album’s sound to diverge from Broken with an emphasis on mood, texture, restraint and subtlety. The concept and lyrics had been percolating since the 1991 Lollapalooza tour. But Reznor found additional inspiration in David Bowie’s Low as well as Pink Floyd’s The Wall which was a concept album featuring themes of abuse, isolation and mental instability.

Reznor collaborated with former Jane’s Addiction and Porno For Pyros drummer Stephen Perkins and Nine Inch Nails drummer Chris Vrenna. They played drum tracks that were recorded live in the studio and then rendered into looped samples. Reznor took a similar approach to recording guitar parts. He would record 20-minute long sessions of himself playing guitar and then select small portions which he would edit into samples. Then he would process the samples with effects to create original sounds. Using computer-based programs, Reznor would then build songs from these original samples. These skeletal song structures would then allow the band to create an arrangement.

Progressive rock guitarist Adrian Belew was brought in to contribute guitar parts. He was told “to play freely, think on reacting to melodies, concentrate on rhythm and to use noise.” Reznor regularly used noise and distortion to create his sound with song arrangements that did not follow the traditional verse-chorus form. He utilized a wide range of sonic textures and moods to illustrate the mental unraveling of the central character. His singing followed a similar pattern frequently moving from whispers to screams. Flood, known for engineering and producing U2 and Depeche Mode albums, was employed as co-producer on the album. Although he’d worked with Reznor on previous projects, this became his last collaboration due to creative differences.

After the completion of the recording process in late 1993, Reznor moved out of Le Pig. The house was demolished shortly after. As the album entered the mixing and mastering stage, the sessions moved to both The Record Plant and A&M Studios with Alan Moulder taking on the production duties. This would mark the start of a partnership that would continue for several albums.

The album was a semi-autobiographical concept album with an overarching plot that follows the protagonist’s descent into madness in his own inner world through a metaphorical “downward spiral” dealing with religion, dehumanization, violence, disease, society, drugs, sex, and finally, suicide. Its release date was delayed several times due to the pace of recording. Reznor experienced writer’s block as he taught himself to write songs that did not resemble what he’d done on his previous albums. The record label was growing concerned with the lack of progress. But Reznor was following a vision that he had in his head and would not comprise just to complete the project by some arbitrary release date. A focus group of early listeners called it “commercial suicide”. But Reznor didn’t care as profit was not his goal. He was determined that the finished product he would deliver to Interscope Records would be complete and faithful to his vision. Even he, though, thought it’s commercial potential was limited.

The mixed media work of artist Russell Mills became the record’s album cover and accompanying artwork. “Given the nature of the lyrics and the power of the music I was working with”, he explained, “I felt justified in attempting to make works that alluded to the apparently contradictory imagery of pain and healing.” The first piece of Russell’s was titled “Wound”. It was made of plaster, acrylics, oils, rusted metals, insects, moths, blood, wax, varnishes and surgical bandaging on a wooden panel. It became the cover of the album. Subsequent works in his series served as artwork for various singles and other releases associated with the record.

The Downward Spiral was finally completed and released on March 8, 1994. To everyone’s surprise, it was an instant success. Music critics and audiences praised The Downward Spiral for its ground-breaking abrasive and eclectic sound as well as the dark themes and concept of the destruction of a man. Although the New York Times found the music to be highly abrasive, they asserted that “unlike other electro-industrial groups, Nine Inch Nails writes full-fledged tunes with stronger use of melodies rather than riffs.” Rolling Stone likened the album to cyperpunk fiction. Entertainment Weekly commented “Reznor’s pet topics (sex, power, S&M, hatred, transcendence) are all here, wrapped in hooks that hit your psyche with the force of a blowtorch.”

Later in the year, the Nine Inch Nails live band embarked on the Self Destruct tour in support of the album. The stage set-up consisted of dirty curtains which were pulled up and down for visuals shown during songs. The tour debuted the band’s grungy and messy image in which they would come out in ragged clothes slathered in corn starch. The concerts were violent and chaotic with band members often injuring themselves. They would frequently destroy their instruments at the end of concerts, attack each other and stage-dive into the crowd.

The tour included a set at the rain-soaked Woodstock ’94 festival that was broadcast on pay-per-view and seen in over 24 million homes. In an historic wild and mud-covered performance, Nine Inch Nails stole the show from their popular contemporaries. The legendary set was widely proclaimed causing their fan base to swell as tales of the show spread. Entertainment Weekly said “Reznor unstrings rock to its horrifying, meldramatic core-an experience as draining as it is exhilarating.” Although Reznor disliked the concert due to its technical deficiencies, it was a turning point for NIN. The band received considerable mainstream success after Woodstock. This allowed them the freedom to perform with significantly higher production values and the addition of various theatrical visual elements.

The Downward Spiral was certified quadruple platinum by the RIAA in 1998. It is considered as one of the most important albums of the 1990s as well as Reznor’s greatest work. The recording has been listed on several publications’ best album lists over the years. In 2003, Rolling Stone ranked it at number 201 of the 500 Greatest Albums of All Time and their accompanying description summed things up nicely. “Holing up in the one-time home of Manson-family victim Sharon Tate, Trent Reznor made an overpowering meditation on NIN’s central theme: control.” They gave it five out of five stars calling it “a powerful statement and one of the landmark albums of the nineties.” Appreciating its bleak and aggressive style, Q named it as one of the 50 Heaviest Albums Of All Time. Nine Inch Nails received several honors including Grammy nominations for Best Alternative Performance for The Downward Spiral and Best Rock Song for “Hurt”.

The success of The Downward Spiral cemented Nine Inch Nails as one of the top musical forces of the 90s. It influenced both music fans and fellow musicians with many bands making albums that imitated the sound. The album changed the perception of popular music from that of songs heard on the radio to albums with cover art.

Nine Inch Nails have gone on to sell over 20 million records and have been nominated for 13 Grammy Awards. Since 2005, Nine Inch Nails concerts have often employed thematic visual elements, extensive use of special effects, and elaborate light shows. Trent Reznor, along with Atticus Ross, has scored soundtracks to several major motion pictures. In 1997, Time Magazine named him one of the most influential people and Spin described him as “the most vital artist in music.” Nine Inch Nails was nominated for induction into the Rock & Roll Hall Of Fame in 2014 and 2015. Later this year they will finally be inducted. But the success of The Downward Spiral was the moment the band first broke through into mainstream consciousness.



Leap Day (Soundboard) –

PodCloud1 Wishes A Merry Leap Day To All!

Dress up in your finest yellow and blue and join PodCloud1 as we celebrate the day of Leap! It’s a soundboard full of jumping and leaping that would make Leap Day William proud.

Music from David Bowie, Bruce Springsteen & The E-Street Band, Trombone Shorty, House Of Pain, The Flaming’ Groovies, Aztec Camera, The Cave Singers, Dr. John, Montrose, U-Roy, Harry Belafonte, Harry Nilsson and Rufus Thomas. Greensky Bluegrass delivers a song named after this holiday that only occurs every four years! Plus Tom Waits has a theory that could turn the world off it’s axis.

Nothing is impossible on Leap Day!


(click player for Leap Year Soundboard)




Ear Drops #1 (February) –


It’s A Soundboard Slice Of PodCloud1’s Six Decade Deep Playlist

Every wonder what happens between each of our hosted shows? This soundboard series answers that musical question. It’s like you hit the PodCloud1 button on your media player.

Music from Rush, Dinosaur Jr. Arcade Fire, The Stone Roses, Red Hot Chili Peppers, The Zombies, Sniff N’ The Tears, Morrissey, Led Zeppelin, Van Morrison, Ray LaMontagne, The Ocean Blue, The Blues Magoos and Bel Canto.

Tune in to PodCloud1! It’s Radio-The Way it was Meant to Be!


(click player for Ear Drops-February 2020)





Live From The Archives- Vol. 45 –


Live From The Archives Presents Three Of The Biggest Names of The 80s!

Join host PeeperD as he shares some “mini-sets” pulled from our massive concert archives. Featuring music from 1983 concerts by The Police during their Synchronicity Tour and Echo & The Bunnymen from The Royal Albert Hall. Plus Morrissey live at London’s Earls Court.

These Slices of the Show will let you feel the energy of actually being there!


(click player for Live From The Archives-Volume 45)





Music Of Mardi Gras-Volume 8 (Soundboard)-


It’s The Return Of A PodCloud1 Mardi Gras Tradition!

We’re havin’ a party just in time for Fat Tuesday! Enjoy a hot and funky slice of music from the Big Easy. This year we remember the great Dr. John with several selections.

Music from Big Sam’s Funky Nation, John Boutte, New Orleans Nightcrawlers, The Subdudes and Bonerama. The Neville Brothers get feverish with a track from our live archives. Papa Grows Funk goes old school. Holly Bendtsen & Amasa Miller sing about goin’ down to the jazz fest. Dumpstaphunk teams up with Art Neville, Trombone Shorty and The Rebirth Brass Band. Buckwheat Zydeco & His Ils Son Partis Band bring a cajun flavor to the mix. There’s a lot going on in this year’s musical jambalaya.

Bon Ton Roulet! Let the good times roll!


(click player for Music Of Mardi Gras-Volume 8)


Enjoy Music Of Mardi Gras Volumes 1-7 To Keep The Party Going!
Visit Each Year’s February Section Of The PodCloud1 Monthly Archives.



Cat’rwalling (Midnight Max #12)-

Come Cat’rwallin’ With Midnight Max On His Latest Venture With The Mix

Midnight Max is wailing as his studio space gets squeezed, but he brings you a great mix with screamers by The Cherry Poppin’ Daddies, Grand Funk Railroad and Nick Curran and the Lowlifes. Step back in time for some blues with Savoy Brown, Big Joe Turner and The Colin Dussault Blues Project. Catch some new releases by The Growlers and The Black Lips. Settle in with a few covers by Stone Temple Pilots and The Bangles, while rounding out the set with Nirvana and Natalie Merchant.

Max is back and cat’rwallin’ away with his February edition of The Midnight Max Mix!


(click player for Midnight Max Mix-Volume 12)




70s Deep Tracks Vol. 67-

70’s Deep Tracks Takes A Listen To The Back Of The Decade!

This pod explores the energy of the emerging punk and new wave movement with songs by Elvis Costello, The Police, Joe Jackson, The Cars, Graham Parker & The Rumor, Cheap Trick, Nick Lowe and Dave Edmunds.

Throwback sounds from Rachel Sweet and Southside Johnny & The Asbury Jukes. Ian Hunter returns to the top of the charts. Eddie Money’s debut album. The Beatles naughty twin The Knack sing about good girls. Plus Garland Jeffreys, Nils Lofgren and John Hiatt bring their singer-songwriter vibe to the mix.

As the decade was coming to a close, the music was changing. Enjoy the new wave!


(click player for 70’s Deep Tracks-Volume 67)




PeeperD’s Sexy Love Pod (2020)-


PodCloud1’s Super-Sexy Salute To Valentine’s Day Returns!

Join your tunesmith of titillation PeeperD as he lays down a mix of sensual songs guaranteed to raise your temperature. Music from Marvin Gaye, Norah Jones, Deee-Lite, Amy Winehouse, Robert Palmer, Madeleine Peyroux, Poi Dog Pondering, ZZ Top and Rod Stewart anchor this sexy setlist.

An 80s club classic from Animotion. Terence Trent D’Arby delivers a supermodel sandwich. Joe Cocker offers some wardrobe suggestions. Joss Stone wants some contact. Plus Prince has got a horny toad. This pod is the perfect background music for dancing the forbidden polka!

It’s Assault With A Friendly Weapon On PodCloud1!

(click player for PeeperD’s SexyLovePod 2020)





Left Of The Dial: College Radio 80s  Vol. 11 –

In the 80s, the great music was happening on the left side of the dial where all of the college radio stations were located!

PodCloud1’s soundboard series that salutes the great college radio playlists of the 80s returns with a great mix of big names and forgotten rarities from all over the decade!

This pod is a mix of big names and underground artists. Sting, Talking Heads, Simple Minds and Roxy Music headline the setlist. New sounds from post-Clash Mick Jones’ Big Audio Dynamite. A side project from Duran Duran called Acadia. The early days of the Red Hot Chili Peppers. Plus music from X, The Long Ryders, Guadalcanal Diary, The Beat Farmers and The Miracle Workers.

Just like music lovers did in the 80s, venture over to the left side of the dial. You’ll be glad you did!


(click player for Left Of The Dial: College Radio 80s-Volume 11)




Radio Hannibal-Episode 12-

It May Be Winter But Radio Hannibal Is Firing It Up!

A tasty new pod delivered straight to your ears by PodCloud1’s resident rastaman. New music by Destroyer and Pinegrove. Songs from The Rolling Stones, Okkervil River, The Go-Betweens, Black Pumas, Cockney Rebel, The Smashing Pumpkins. An unearthed 90’s nugget by the Josh Joplin Group. A 60’s classic from April Stevens. Arlo Guthrie brings in a couple of keys. Plus Radio Hannibal celebrates the growing legal weed movement! Join him as we all sing “legalize it!”

Spark up this pod and let the music set you free!


(click player for Radio Hannibal-Episode 12)





Mission: Re-Listen- U2-War (1983) –

Mission: Re-Listen is PodCloud1’s Prime Rewind!

Each month we’re re-listening to a classic album that was released that same month.

(War by U2-Released in February of 1983)

U2 is an Irish rock band from Dublin, formed in 1976. The group consists of Bono (lead vocals and rhythm guitar), The Edge (lead guitar, keyboards, and backing vocals), Adam Clayton (bass guitar), and Larry Mullen Jr. (drums and percussion). In May of 1980, U2 released “11 O’Clock Tick Tock”, their first international single and their debut on Island Records. But it failed to chart. It was produced by in-demand producer Martin Hannett who was known for his critically-acclaimed work with Joy Division. Hannett was slated to produce the band’s debut album. However, the experience of working with him had not been a happy one for U2, and the idea of him producing the album was dropped by Island Records after the band’s objections.

Producer Steve Lillywhite was sent a copy of the band’s first release by Island to gauge his interest in working with the band. After seeing U2 perform live, Lillywhite agreed to produce their single “A Day Without Me”. Although the song failed to chart, the band found they could work amicably with him and agreed to have him produce their debut studio album.

From July to September 1980, U2 recorded the album at Windmill Lane Studios, drawing from their nearly 40-song repertoire at the time. Lillywhite employed unorthodox production techniques. But the band found him to be very encouraging and creative. Bono called Lillywhite “such a breath of fresh air”, while The Edge said he “had a great way of pulling the best out of everybody”.

Released in October 1980, Boy received generally positive reviews. The album peaked at number 52 in the UK and number 63 in the U.S. It included the band’s first song to receive airplay on U.S. radio, the single “I Will Follow”, which reached number 20 on the Top Tracks rock chart. Boy’s release was followed by U2’s first tour of continental Europe and the US. Despite being unpolished, these early live performances demonstrated the band’s potential, as critics complimented their ambition and Bono’s exuberance.

U2 faced several challenges in writing their second album, October. During the American leg of the Boy tour, Bono’s briefcase containing in-progress lyrics and musical ideas was lost backstage at a nightclub in Portland. The band had very little time to write new music while on tour. In July, they began a two-month recording session at Windmill Lane Studios largely unprepared, forcing Bono to quickly improvise lyrics. Lillywhite, reprising his role as producer, called the sessions “completely chaotic and mad”.

October’s lead single, “Fire”, was released in July and was U2’s first song to chart in the UK. Despite garnering the band an appearance on Top Of The Pops, the single fell off the charts afterwards. On August 16th, 1981, the group opened for Thin Lizzy at the inaugural Slane Concert. But the show did not go well with The Edge calling it “one of the worst shows U2 ever played in their lives”.

Adding to this period of self-doubt, Bono’s, The Edge’s, and Mullen’s involvement in a charismatic Christian group led them to question the relationship between their religious faith and the lifestyle of a rock band. Bono and The Edge even considered quitting U2 due to their perceived spiritual conflicts.

October was released in October 1981. The album received mixed reviews and limited radio play. Although it debuted at number 11 in the UK, it sold poorly elsewhere. The single “Gloria” was U2’s first song to have its music video played on MTV, boosting awareness of the band during the October Tour in markets where the channel was available.

Still, U2 were disappointed by their lack of progress by the end of the October tour. Having run out of money and feeling unsupported by their record label, the group committed to improving. Clayton recalled that “there was a firm resolve to come out of the box fighting with the next record”. U2 decamped to a rented cottage in Howth, where they lived, wrote new songs, and rehearsed for what would be their third album.

Enjoy this classic album re-listen of War by U2

1. Sunday Bloody Sunday
2. Seconds
3. New Year’s Day
4. Like A Song…
5. Drowning Man
6. The Refugee
7. Two Hearts Beat As One
8. Red Light
9. Surrender
10. “40”

(click player for War by U2)

War, the third studio album by U2, was released on February 28th, 1983. It was a big commercial success for the band becoming their first number-one record in the UK knocking Michael Jackson’s Thriller from the top spot. It became U2’s first gold album in the U.S. where it reached the number twelve spot on the charts.

A month before the album came out, “New Year’s Day” was released internationally as the album’s lead single. It reached the top ten in the UK and was the band’s first release to chart on the Billboard Hot 100. In March, “Two Hearts Beat As One” and “Sunday Bloody Sunday” were released as singles in different areas of the world. Reaching number three in the Netherlands, “Sunday Bloody Sunday” was the more successful of the two.

Ironically, War was poorly received by British critics at the time of its release. Over the years, War has garnered critical acclaim along with its commercial success. In 2012, the record was ranked number 223 on Rolling Stone’s list of the 500 Greatest Albums Of All Time.

War is regarded as U2’s first overtly political album. This is due, in part, to songs like “Sunday Bloody Sunday” and “New Year’s Day” as well as the album’s title. Bono was quoted as saying “war seemed to be the motif for 1982,” adding that “everywhere you looked, from the Falklands to the Middle East and South Africa, there was war. By calling the album War we’re giving people a slap in the face and at the same time getting away from the cosy image a lot of people have of U2.”

The sound of the album is harsher than any of the band’s previous work. The Edge employed less delay and echo on his guitar sound which gave every song a sense of urgency. It was intentionally at odds with the trendier synth-pop of the times.

The lyrics also departed from the innocence and spirituality of the first two albums. Topics included the troubles in Northern Ireland, nuclear proliferation, prostitution and Poland’s solidarity movement. “We wanted to take a more dangerous course” said the Edge. “It’s not something that’s safe, so it could backfire. It’s the sort of subject matter that people can really take a dislike to. But we wanted to fly a bit closer to the wind, so I think the title of War is appropriate.”


In the summer of 1982, the members of U2 took a two-week hiatus. While the other band members vacationed and Bono went on his honeymoon, The Edge had several significant creative breakthroughs in his studio which changed the tone of his guitar. From September to November, the group recorded War at Windmill Lane Studios in Dublin. Steve Lillywhite, who had a policy of not working with an artist more than twice, was convinced by the group to return as their producer for a third time.

The album’s opener, “Sunday Bloody Sunday”, is an ardent protest song that describes the horror of 1972’s Bloody Sunday shooting. The song has become a staple of U2’s live shows. It stemmed from a guitar riff and lyric written by The Edge. After Bono reworked the lyrics, the band recorded the song. A startling, militaristic drum pattern by Larry Mullen Jr. soon developed into the song’s hook. A local violinist, Steve Wickham, approached The Edge one morning at a bus stop to ask if U2 had any need for a violin on their next album. In the studio for only half a day, Wickham’s electric violin became the final instrumental contribution to the song.

The album continues with the song “Seconds” which is one of only two U2 tracks ever recorded with The Edge on lead vocals. It’s a song about nuclear proliferation and the possibility that Armageddon could occur by accident. Then comes one of the band’s biggest hits “New Year’s Day”. It has become one of their most played songs in live performances over the years. “Like a Song…” was intended as a message to those who believed that the band was too worthy, sincere and not “punk” enough. “Drowning Man” is the fifth track on the album. Its sound is a departure from the other tracks on War as it is a quiet, atmospheric song heavily influenced by the work of the ComSat Angels.

The second single released from the album was a love song that became a live favorite. “Two Hearts Beats As One” opens with a full of funk groove with Bono singing “I don’t know which side I’m on.” Three of the tracks featured backing vocals by the Coconuts, of Kid Creole and the Coconuts. Steve Lillywhite said, “they just happened to be in Dublin on tour, so we hung out with them and they came in and sang on ‘Surrender’. So it was sort of random – this serious Irish rock band having the Coconuts on their album.”

The studio version of “40” was recorded during the final hours of the recording sessions in November. Bassist Adam Clayton had already left the studio, and the three remaining band members decided they didn’t have a good song to end the album. Bono,The Edge, and Mullen Jr. quickly recorded the song with The Edge playing both the guitar and bass parts. Bono called the song “40” as he based the lyrics from Psalm 40. In live versions of the song,The Edge and Clayton switch roles, as Clayton plays guitar and Edge plays the bass.

Back during the October tour, U2 met Dutch photographer Anton Corbijn who became their principle photographer. He had a major influence on their vision and public image. He shot the cover for War. The album cover depicted the same young child who had appeared on the cover of their debut album, but with his previously innocent expression replaced by a fearful one. The boy on the cover is Peter Rowen. He also appears on the covers of The Best of 1980-1990, Early Demos and many other singles. Bono described the reasoning behind the cover: “Instead of putting tanks and guns on the cover, we’ve put a child’s face. War can also be a mental thing, an emotional thing between loves. It doesn’t have to be a physical thing.”

After completing the album, U2 undertook a short tour of Western Europe in December of 1982. The first month of shows was referred to as the “Pre-War Tour”. It preceded the album’s release and the bulk of the tour, and was meant to showcase and test the new songs in a live setting.

Upon the album’s release, critics in the UK were somewhat negative. New Music Express drew parallels between Boy and War saying “where Boy shone and flowed, War is dull and static. Where Boy produced lucid pellets of fire and imagination, War cranks out blank liberal awareness.”

However, critics in the U.S. were far kinder. Rolling Stone said “Generally, the album’s musical strengths are largely the product of well-honed arrangements and carefully balanced dynamics. Even as The Edge spins increasingly sophisticated guitar lines, he maintains the minimalist bluntness that sparked Boy. And while bassist Adam Clayton and drummer Larry Mullen Jr. have swung to more dance-oriented rhythms, their songs hurtle along with the sort of brusque purposefulness more frequently associated with punk.” Another described the album as “a classic”. Yet another said “U2 have set out to make a big statement on a subject close to the Irishmen’s hearts and they have succeeded.”


War was a commercial success becoming U2’s first number-one album in the UK. The album placed sixth on the Village Voice’s year-end Pazz & Jop critics poll. In 1989, War was ranked number 40 on Rolling Stone’s list of the 100 Greatest Albums of the 80’s. In 2012, the album was ranked number 223 on Rolling Stone’s list of the Greatest Albums of All Time.

On the subsequent 1983 War Tour of Europe, the U.S. and Japan, the band began to play progressively larger venues moving from clubs to halls to arenas. Bono attempted to engage the growing audiences with theatrical, often dangerous antics, climbing scaffoldings and lighting rigs and jumping into the audience. The sight of Bono waving a white flag during performances of “Sunday Bloody Sunday” became the tour’s iconic image.

During the tour, the group established a new tradition by closing concerts with “40”, during which The Edge and Clayton would switch instruments and the band members would leave the stage one-by-one as the crowd continued to sing the refrain “how long to sing this song?”

The band played several dates at large European and American music festivals including a performance at the US Festival on Memorial Day weekend for an audience of 125,000 people. The War Tour was U2’s first profitable tour, grossing about $2 million.

The group’s June 5th concert at Red Rocks Amphitheater, a rain-soaked evening, was singled out by Rolling Stone as one “50 Moments that Changed the History of Rock and Roll”. The show was recorded for the concert video Live At Red Rocks and was one of several concerts from the tour captured on their live album Under A Blood Red Sky. The releases received extensive play on MTV and the radio, expanding the band’s audience and showcasing their energy as a live act.

War was the album the propelled U2 into rock stardom. Besides delivering their third most-played song in concert, “New Year’s Day”, it established the band’s personality mixing their past spirituality with political and social awareness. They would shape this vision with future albums. But War was the album that truly introduced U2 to the world. Amongst a career full of great albums, War is one of their best. It’s also one of the best, and most enduring, recordings of the 80s delivered by the band that was just discovering it was destined for greatness.



Atmospheres Vol.46-

Volume 46-From Earth Below To The Heavens Above

Atmospheres presents a mix of music that travels from the magic caverns beneath the earth to the far expanses of deep space. Featuring the duos of Steve Roach & Robert Rich and Divino & Aeoliah. The Celestial harp of Andreas Vollenweider. A tribute to the recently-departed Gershon Kingsley. Two selections from noted German keyboardist and composer Hans-Joachim Reodelius’ 1981 classic album Lustwandel. Plus an album-side from Klaus Hoffmann-Hoock’s Mind Over Matter.

Atmospheres is a soundboard series that explores the space between the notes…and the space between your ears!


(click player for Atmospheres-Volume 46)





Hanging Around (Midnight Max #11)-

When You Hang Around PodCloud1, You’ll Hear Some Great Music!

Midnight Max delivers his first pod of the New Year as he dances his way through a collection of old tunes and new-found favorites.

Catch new releases from Foo Fighters and Pretty Vicious. Look way back with Small Faces, Foghat and Mountain. Max rounds out the show with Dire Straits, The Replacements, Old 97’s, Alice In Chains and Incubus. Take a look at an artist that we lost this past year, Eddie Money, with something from his outstanding debut album. And, don’t miss Max’s surprise guilty pleasure to close the show.

PodCloud1’s Midnight Max Strikes Again with a Mix that Takes it to The Max!



(click player for Midnight Max Mix 11-Hanging Around)




70’s Deep Tracks-vol. 66 –

Only Five Episodes Left As We Head Ever-Closer To Volume 70!

As 70’s Deep Tracks enters its final year, we’re turning it up to ten! This pod rocks hard with heavyweights Led Zeppelin, David Bowie, Heart and The Who. Prog rock jams from Yes and Genesis. Bob Dylan re-interprets his back catalog with Live at Budokan. Paul McCartney and Wings deliver a great two-track mash-up. Plus the Jefferson Starship rides high. Throw in some Steely Dan and this playlist demonstrates all that was great with FM radio in the 70s!


(click player for 70’s Deep Tracks-Volume 66)



History Repeating: PeeperD’s R&B & Soul Revue –


PeeperD Presents An R&B And Soul Revue That Spans Six Decades!

It’s a pod that highlights artists inspired by the great tradition of soul and R&B music. New sounds from Black Pumas and The Dip. Music by Nathaniel Rateliff & The Night Sweats, Joss Stone, St. Paul & The Broken Bones, Charles Bradley, Black Joe Lewis & The Honeybears, Curtis Harding and JJ Grey & Mofro. Classic tracks from Jackie Wilson, Stevie Wonder and Marvin Gaye. Plus a hip-shaker from Propellerheads with a vocal assist by the great Shirley Bassey. Let the rhythms lift you up with some incredible performances spanning the last 60 years.

PeeperD shares the love with a serving from one of his favorite musical melting pots. You’ll want seconds!


(click player for History Repeating-PeeperD’s R&B and Soul Revue)




Radio Hannibal-Episode 11-

Start The Year With A Great New Pod From Radio Hannibal

Enjoy a Radio Hannibal mix that dives deep into the PodCloud1 vaults. Classic tracks spanning the musical globe from Los Bravos, The Slickers and Jim Croce. Music from R.E.M., Led Zeppelin, Pet Shop Boys, Sublime, The Lumineers and Blondie. A new collaboration from the upcoming EP by Khruangbin and Leon Bridges. Plus a song by Warren Zevon that perfectly captures our feelings about him.

It’s another gem from Radio Hannibal.


(click player for Radio Hannibal-Episode 11)




Left of the Dial: College Radio 80s-Vol. 10-

In the 80s, the great music was happening on the left side of the dial where all of the college radio stations were located!

PodCloud1’s soundboard series that salutes the great college radio playlists of the 80s returns with a great mix of big names and forgotten rarities from all over the decade!

It’s a mix of artists from all across the decade with music from Cocteau Twins, The Alarm, Tones On Tail, The Smiths, Jane’s Addiction, Big Country, The Mission UK, Butthole Surfers and The Godfathers. Featuring Aimee Mann’s early years with Til Tuesday. Plus Roxy Music’s Bryan Ferry goes solo. A cut from the hard-to-find “Earthquake Weather” by The Clash’s Joe Strummer rounds out the set.

Just like music lovers did in the 80s, venture over to the left side of the dial. You’ll be glad you did!


(click player for Left Of The Dial: College Radio 80s-Volume 10)




Best of 2019 (PeeperD)-


PeeperD Spins Some Of His Favorite Records Of 2019

Join host PeeperD as he highlights some great musical moments from the past year. Selections from albums by Foals, Bon Over, Jesse Malin, Vampire Weekend and Joseph Arthur. Rising stars Charly Bliss, Twin Peaks and Big Thief continued their ascent with strong 2019 recordings.

New sounds from Oso Oso, (Sandy) Alex G, Weyes Blood and The Better Oblivion Community Center. Plus soul and funky vibes from Brittany Howard and Michael Kiwanuka.

The Music Of 2019-A Listen Back To The Year That Was!


(click player for PeeperD’s Best Of 2019)




PodCloud1  Best of the Tens (Soundboard) –

A Musical Flashback Of The Tens

At the end of the decade, PodCloud1 looks back at some of the musical highlights of the decade known as “The Tens”. New artists like Lorde, Alabama Shakes, Father John Misty, Lana Del Rey and Nathaniel Ratliff & The Night Sweats emerged. Names like Wilco, Arcade Fire, Foals, Coldplay, Real Estate, David Byrne, Tame Impala, LCD Soundsystem and Jason Isbell & The 400 Unit grew even bigger in this decade. Plus David Bowie said farewell with one his strongest albums in years.

It’s impossible to sum up a decade’s worth of music in one pod. But this flashback soundboard will definitely stimulate your sensory memory!

This pod is a musical time capsule of the last decade.


(click player for PodCloud1’s 2010s Highlights-Best Of The Tens)





Mission: Re-Listen-Led Zeppelin I (1969) –

Mission: Re-Listen is PodCloud1’s Prime Rewind!

Each month we’re re-listening to a classic album that was released that same month.

Led Zeppelin One (Released in January of 1969)

By 1968, the four-piece English rock band The Yardbirds had already been around for five years and had experienced several personnel changes including four lead guitarists. The latest was Jimmy Page-a popular studio musician who’d joined the group two years earlier. But, by this time, the band was splintering into several different directions. Page wanted to follow the psychedelic blues rock sound of Cream and The Jimi Hendrix Experience. But vocalist Keith Relf and drummer Jim McCarty wished to pursue a style influenced by folk and classical music. Rhythm guitarist Chris Dreja was developing an interest in photography. By March, Relf and McCarty had decided to leave but were persuaded by the other two to stay for one more American tour. They played their final gig on July 7th.

With a tour of Scandinavia scheduled for the late summer, Page saw the opportunity to put together a new lineup and pursue his musical vision. Chris Dreja bowed out to explore a career as a photographer and Page began to audition musicians for his new project. He reached out to high-profile vocalist and guitarist Terry Reid but he declined due to previous commitments. Reid recommended the then-unknown vocalist Robert Plant. Plant, in turn, recommended his childhood friend John Bonham as a drummer. Bassist, keyboardist and arranger, John Paul Jones, who had worked with Page on countless sessions including several with The Yardbirds, approached Page and offered his services.

Rehearsals began in mid-August of 1968. In early September, the foursome embarked on the previously-scheduled Scandinavian tour as The New Yardbirds. While the foursome still played a few songs from The Yardbirds’ catalog, they increasingly brought their renditions of blues classics into the setlist. Upon their return to England, the band entered London’s Olympic Studios on September 25th to begin recording their first album. They also booked shows under The New Yardbirds name at The Marquee Club. But after receiving a cease-and-desist order from Chris Dreja, who claimed he had the legal rights to the name Yardbirds, Page and manager Peter Grant decided to change the band’s name.

On October 19th, they played at Liverpool University in what was billed as the “last-ever appearance of The Yardbirds”. From this point on, the group would be known as Led Zeppelin. The name was taken from a comment made by The Who’s Keith Moon a few years earlier. During a Yardbirds’ studio session in 1966, Moon, Page, Jeff Beck and John Entwistle were discussing the idea of forming a group. Moon joked that “it would probably go over like a lead balloon”. The joke obviously stayed with Page. However the spelling of “lead” was changed to avoid confusion over the pronunciation. The band went back into Olympic Studios in the middle of October to finish their first record. The course of rock music was about to change forever.

Enjoy this classic album re-listen of Led Zeppelin One

1. Good Times Bad Times
2. Babe I’m Gonna Leave You
3. You Shook Me
4. Dazed And Confused
5. Your Times Is Gonna Come
6. Black Mountain Side
7. Communication Breakdown
8. I Can’t Quit You Babe
9. How Many More Times

(click player for Led Zeppelin-One)


Led Zeppelin is the debut album by the English rock band Led Zeppelin. It was released on January 12th, 1969 in the U.S. and March 31st in the UK by Atlantic Records. It contains a mix of original material worked out in the band’s first rehearsals and remakes and rearrangements of classic blues and folk songs. The record demonstrated Jimmy Page’s vision of a fusion of blues and rock. The group’s take on the emerging hard rock sound was immediately commercially successful in both the UK and the U.S., reaching the top ten on the album charts in both countries as well as several others.

Recorded over the span of a few weeks in September and October of 1968, the sessions took place before the group had secured a recording contract. Since the band was paying for the studio time out of its own pockets, the sessions moved very quickly. One reason was that the songs selected for the record had been well-rehearsed and pre-arranged by the band on the New Yardbirds’ Scandinavian tour. Jimmy Page said that the album was recorded and mixed in about 36 hours of studio time. Another advantage of the self-funding was that the band could record exactly what they wanted without any record company interference.

The album was produced by Page and engineered by Glyn Johns who he’d known since they were teenagers. Most of the record was recorded live with overdubs added later. Page used several recording techniques he had learned during his days as a session musician. At a time when most music producers placed microphones directly in front of amplifiers and drums, Page used natural room ambience to enhance the reverb and recording texture. He placed an additional microphone as far as 20 feet away from the amplifier and then recorded the balance between the two.

On the song “You Shook Me”, Page used a “reverse echo” effect that involved hearing the echo before the main sound rather than after it. He achieved this effect by turning the tape over and recording the echo on a spare track. He then turned the tape back over again to get the echo preceding the signal. Because of the live recording approach, some songs had Plant’s vocals bleed onto other tracks. Page later stated that this was a natural side-effect of Plant’s powerful voice but added that the leakage sounded intentional.

The record marked a change in several established industry standards. The Led Zeppelin album was the first to be released in stereo only. Prior to this, albums had been released in separate mono and stereo versions. Many of the songs were longer and not well suited to be released as singles for radio airplay. However, due to the rise in popularity of album-oriented rock stations, many of the album’s songs received exposure becoming classic rock radio staples.

Side one opens with the song “Good Times, Bad Times” which was a commercial-sounding track that was considered to be the group’s debut single. As well as showcasing the band’s heavy new style, it featured a catchy chorus and a variety of guitar overdubs. “Babe, I’m Gonna Leave You” follows it. It was one of the first songs that Page and Plant worked on when they first met. Originally written by Anne Bredon in the 1950s, Page was impressed by Joan Baez’s version from her 1962 album “Joan Baez In Concert”. “You Shook Me” was a Willie Dixon blues song that fit in well with the British blues movement that was going on at the time. “Dazed And Confused” was a song that The Yardbirds had covered regularly in concert in 1968. Their version included a section where Page played his guitar with a violin bow. Led Zeppelin’s recording of the track used different lyrics with Jones and Bonham developing a different arrangement to suit their playing styles. The song became an important part of the group’s live shows becoming a vehicle for group improvisations that could stretch to over 30 minutes in length.

“Your Time Is Gonna Come” opens side two of the record with an organ solo by John Paul Jones before the rest of the band joins in with Page on acoustic and pedal steel guitar. That track crossfades into “Black Mountain Side”, an acoustic instrumental based on a traditional folk song that was regularly performed by The Yardbirds. “Communication Breakdown” was built around a Page riff and was one of the first songs the group worked on. “I Can’t Quit You” was another Willie Dixon cover that was recorded live in the studio. The record closes with “How Many More Times” which was improvised around an old Howlin’ Wolf song “How Many More Years”. The track includes a bolero section similar to Jeff Beck’s “Beck’s Bolero”. That then segues into “Rosie” and “The Hunter” which were improvised during the recording. In the middle section, Page played the guitar with a violin bow similar to “Dazed And Confused”. Two other songs, “Baby Come On Home” and “Sugar Mama”, were recorded during the sessions but left off the album.

The album’s front cover features a black & white photo of the burning Hindenburg zeppelin from 1937. The image refers to the origin of the band’s name. The back cover features a photo of the band taken by ex-Yardbird Chris Dreja. The first UK pressing of the album featured the band name in turquoise. When it was switched to orange later that year, the turquoise-printed sleeve became a collector’s item. The album cover gained further attention when the band was threatened with legal action by aristocrat Eva Von Zeppelin-a relative of the creator of the zeppelin aircraft. To avoid trouble, the band temporarily changed its name to The Nobs for a gig in Von Zeppelin’s native Copenhagen.

In November of 1968, manager Peter Grant secured a $143,000 advance contract with Atlantic Records which was, at the time, the biggest deal of its kind for a new band. Atlantic was a label known for a catalog of mainly blues, soul and jazz artists. But in the late 1960s, it began to take an interest in British progressive rock acts. Record executives signed the band on the strength of their studio recordings. They never actually saw them. Under the terms of the contract, the band had complete autonomy in deciding when they would release albums and tour and they had final say over the contents and design of each album. They would also decide how to promote each release and which tracks to release as singles.

After the record was completed, the band scheduled a tour of North America at the end of the year. To pave the way, Atlantic Records sent a few hundred advance white label copies of the record to key radio stations and reviewers. A positive reaction resulted in the album generating 50,000 advance orders which was unprecedented for an unknown band. The record was released in the US on January 12th, 1969, during their first tour. It peaked at number 10 on the Billboard chart.

Critics, however, were not as impressed with Led Zeppelin’s debut. Rolling Stone magazine said that “the band offered little that its twin-The Jeff Beck Group-didn’t say as well or better three months earlier”. They went on to say “to fill the void created by the demise of Cream, Zeppelin will have to find a producer, editor and some material worthy of their collective talents”. The review called Page “a limited producer” criticizing his writing skills. It also called Robert Plant “as foppish as Rod Stewart, but nowhere near so exciting”.

Press reaction wasn’t entirely negative however. Melody Maker wrote “Jimmy Page triumphs-Led Zeppelin is a gas! Their material does not rely on obvious blues riffs, although when they do play them, they avoid the emaciated feebleness of most so-called British blues bands”.

The band toured relentlessly during the year completing four separate tours of the US and UK. Word of mouth about the energy of their live shows further promoted the record with audiences. Despite the negative reviews, the record was certified gold in the US by July of 1969.

Over the years, the album’s success and influence has been widely acknowledged, even by publications that were initially skeptical. In 2003, Rolling Stone ranked the album at number 29 on the magazine’s list of the 500 Greatest Albums of All Time. In 2004, the album was inducted into the Grammy Hall of Fame. That same year, Q Magazine ranked Led Zeppelin at number 7 on the list of Music That Changed The World. The Rock & Roll Hall of Fame ranked it at 165 on their list of The Definitive 200 Albums.

The release of Led Zeppelin was a significant turning point in the evolution of hard rock and heavy metal. It announced the emergence of a loud and raw new musical genre. The album also began Led Zeppelin’s climb to the status of “the biggest band in the world” during the decade of the 70s. It’s one of those rare recordings that defies immediate classification or description because it’s so obviously a turning point in rock history. Only over the course of time can one truly appreciate it’s significance in the history of rock.