Monthly Archives-2020 (part 2)

Here are various segments published on PodCloud1

    (Working Backwards from December to July 2020)



Greatest Guitar Solos of All Time #9 (Thanksgiving Special) –

It’s a Seven-Decade Search for The Greatest Guitar Solos of All Time!

We’re nearing the end of our search for the Greatest Guitar Solos of All Time. In honor of Thanksgiving, we’re opening up the playlist by suspending the rules. Just for this special holiday episode, the guitarist does NOT have to be in the Rock & Roll Hall of Fame. That should make things interesting.

This installment features Tom Morello (Rage Against The Machine), Billy Corgan (The Smashing Pumpkins), Martin Barre (Jethro Tull), Tom Johnston (The Doobie Brothers), Dean DeLeo (Stone Temple Pilots), Steve Lukather (The Tubes) and Jerry Cantrell (Alice In Chains). Plus Tom Verlaine, Ronnie Montrose, Todd Rundgren and Robin Trower.

“By-the-rules” performances by Carlos Santana and Jimmy Page fill out this special holiday treat. Happy Thanksgiving from PodCloud1!

It’s a special no-rules edition of The Greatest Guitar Solos of All Time!

(click player for The Greatest Guitar Solos Of All Time Vol.9)




Happy! (November PeeperD Pod)-

A Pod For When You’re Happy And You Know It

We can’t quite identify what it is but something has changed and we’re happy about it. PeeperD presents a pod full of songs of celebration, victory and saying goodbye…and good riddance!

Music from U2, Pharrell Williams, Bill Withers, Del Amitri, Oingo Boingo, Katrina & The Waves, The Byrds and The Youngbloods. New solo works by Andy Bell of Ride and David Shaw from The Revivalists. Deep tracks from Eulogies and Garvy J & The Secret Pocket.

Join PeeperD For Some Good Musical Vibes!

(click player for Happy! The November PeeperD Pod)




Atmospheres vol. 51 –


Volume 51-Age Of Infinity

This edition of Atmospheres explores the premise that everything is happening at the same time all the time. Music by Lightwave, ISHQ, Forrest Smithson, Csillagkod, Tec and Bryon Metcalf & Mark Seelig. Drift away and ponder the infinite!

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

(click player for Atmospheres-Volume 51)








Radio Hannibal- 21 –

Radio Hannibal Is PodCloud1’s Joy Bringer

In our first hosted pod after the election, Radio Hannibal invites you to join him in a sonic celebration. Music from R.E.M., Ray Charles, Harry Styles, The Shins, Santana, Scandal featuring Patty Smyth, Manfred Mann’s Earth Band and Steam. Plus Radio Hannibal phones in a set about staying in touch with Ariel Pink, Chris Montez and Dayglow.

Bringing A Divided Country Together Through Great Music-PodCloud1!

(click player for Radio Hannibal-Episode 21)




MisterMusic’ Taste of Indie-episode 4 –

MisterMusic hosts the last of his four-part series exploring the Indie Music Scene.

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

Episode 4 features: Berwanger, Marlin’s Dreaming, Sugarloaf Beach, Willie J. Healey, Temples of Youth, Knifey, Woods, The Deathray Davies, Dope Lemon, Youth XL, Glass Vaults, Sonntag, Jay Som, Great Mountain Fire, and Lawn.

You haven’t heard of them?  Well, you may add them to your playlists after this pod!

(click player for ep.4)


This ends my return to PODCLOUD1. It was a blast getting a few more episodes over the computer-airwaves for old times sake.
ManyThanks to those who were brave enough to check out some new music with my 4 part Taste of Indie series.
Keep your groove going-don’t lose that beat.  cheers! ~MisterMusic



Left Of The Dial: College Radio 80s-vol. 20 –

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 mix of big names and forgotten rarities from all over the decade!

We go heavy on the “big names” part of our mission statement with this pod. Featuring The Cure, Peter Gabriel, XTC, Echo & The Bunnymen, R.E.M., Depeche Mode, Love & Rockets and The Pretenders. Music by 80s favorites Husker Du, Martha & The Muffins, The Mission UK, Dinosaur Jr. and Love Tractor.

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. 20)



Greatest Guitar Solos of All Time #7-


It’s a Seven-Decade Search for The Greatest Guitar Solos of All Time!

It’s PodCloud1’s new Soundboard series that explores the Greatest Guitar Solos of All Time. To help narrow things down a bit, there are two ground rules-the guitarist (or band) must be in the Rock & Roll Hall of Fame and only studio recordings please!

This installment features Ernie Isley (The Isley Brothers), Roger Fisher (Heart), Slash (Guns N’ Roses) and Jimmy Page (Led Zeppelin). A legendary team-up between The Beatles and Eric Clapton. A cool rarity from the vaults by Paul Butterfield’s Blues Band featuring the guitar work of Mike Bloomfield. Plus performances by Frank Zappa, Buddy Guy and Eddie Cochran.

You’ll probably want to turn this one up before hitting play!

(click player for The Greatest Guitar Solos Of All Time #7)



Mission: Re-Listen-Van Morrison-Astral Weeks (1968) –


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

Each month we’re re-listening to a classic album that was released that same month.
Astral Weeks by Van Morrison (Released in November of 1968)

Van Morrison first broke on to the international music scene in 1964 when he answered an ad for musicians to play at a new R&B club at The Maritime Hotel in Belfast, Ireland. He formed a new band out of the remaining players of a group called The Gamblers. This new band took the name Them from the fifties horror film. Their strong R&B performances quickly became the thing of legend with the band playing without a setlist and Morrison ad libbing songs creating them on the spot.

The band was signed to Decca Records recording two albums and releasing 10 singles including the hits “Here Comes The Night” and “Baby, Please Don’t Go”. But it was their version of the garage band classic “Gloria” that would become a rock standard. Depending on his mood, Morrison would extend this song up to 20 minutes in concert.

Building on the success of their singles in the U.S., and riding on the back of the British Invasion, Them undertook a two month tour of America in 1966 that included a three week residency at the Whisky a Go-Go in Los Angeles. Toward the end of the tour, the band became involved in a dispute with their label over revenue. With their work visas expiring, the band returned to Ireland dejected. They broke up a short time later.

But Van Morrison had other plans. Bert Berns, Them’s producer, persuaded Morrison to return to New York to record solo for a new label he was forming called Bang Records. During a two day recording session, Morrison recorded eight songs that were originally intended to be used as four singles. Instead, these songs were released as the album Blowin’ Your Mind! without Morrison being consulted.

However, from these early sessions emerged the song “Brown Eyed Girl”. It was released as a single in June of 1967 reaching number ten on the U.S. Charts. Following the death of Bert Berns later that year, Morrison became involved in a contract dispute with Berns’ widow that prevented him from performing on stage or recording in the New York area.

Morrison moved to Boston to try and find his professional footing. But he had trouble finding concert bookings which quickly led to financial problems. Van fell into a state of depression and considered returning to Belfast. Eventually he started to get a few gigs in small clubs and coffee houses. After catching him live, reps from Warner Brothers Records bought out his contract with Bang Records and signed him to a record deal. In order to earn his freedom, Morrison recorded 31 songs in one session to fulfill a clause in his original contract with Bang. Many of the songs were nonsensical and were not used by Bang. These have become known as the “revenge songs” by Morrison.

Morrison was finally free to pursue his vision. He’d been performing a cycle of songs in several clubs around Boston that was very different than his one hit “Brown Eyed Girl”. Many who had heard the new songs described them as “mystical”. But no one suspected what was about to happen when struggling artist Van Morrison entered a recording studio in the fall of 1968. One of rock music’s greatest and most important records was about to be created.

Enjoy this classic album re-listen of Astral Weeks by Van Morrison

1. Astral Weeks
2. Beside You
3. Sweet Thing
4. Cyprus Avenue
5. The Way Young Lovers Do
6. Madame George
7. Ballerina
8. Slim Slow Slider

(click player for Astral Weeks by Van Morrison)


Astral Weeks is the second studio album by Northern Irish singer-songwriter Van Morrison. It was released in November of 1968 by Warner Brothers records. The album blended folk, blues, jazz and classical styles in what was a radical departure from Morrison’s previous pop hits such as “Brown Eyed Girl”.

The lyrics and cover art portrayed the symbolism equating earthly love and heaven that would often be featured in the singer’s subsequent records. His lyrics have been described as impressionistic, hypnotic and modernist, while the record has been categorized as a song cycle or concept album.

Astral Weeks did not originally receive promotion from Morrison’s record label and was not an immediate success with consumers or critics. Its standing eventually improved greatly, with praise given to Morrison’s arrangements and songwriting.

The album has been viewed as one of rock’s greatest and most important records. It was placed on numerous widely circulated lists of the best albums of all time and had an enduring effect on both listeners and musicians.

At the beginning of 1968, Van Morrison became involved in a contract dispute with Bang Records that kept him away from any recording activity. This occurred after the sudden death of the label’s founder Bert Berns who was discovered dead in a New York hotel room on December 30th, 1967. Prior to Berns’s death, he and Morrison had experienced some creative difficulties. Berns had been pushing Morrison in a more pop-oriented direction, while Morrison wanted to explore newer musical terrain.

Berns’s widow, Ilene Berns, held Morrison and this conflict responsible for her husband’s death. Following Berns’s death, Ilene Berns inherited the contracts of Bang Records. Legally bound to the label, Morrison was not only kept out of the studio, but also found himself unable to find performing work in New York as most clubs refrained from booking him, fearing reprisals. Bert Berns was notorious for his connections to organized crime, and those connections still impacted artists trying to leave Bang Records like Morrison and Neil Diamond even after Berns’s death.

Ilene Berns then discovered that her late husband had previously been remiss in filing the appropriate paperwork to keep Morrison (still a British citizen) in New York, and contacted the INS in an attempt to have Morrison deported. However, Morrison managed to stay in the U.S. when his girlfriend Janet Rigsbee agreed to marry him.

Once married, Morrison and Rigsbee moved to Cambridge, Massachusetts, where he found work performing in local clubs. Morrison began performing with a small electric combo doing blues numbers, songs from Blowin’ Your Mind! and from Morrison’s Them band days. Two of the musicians soon left but Morrison retained the bassist, Tom Kielbania, a student at the Berklee School of Music.

Morrison decided to try an acoustic sound. He and Kielbania began performing shows in coffee houses in the Boston area as an acoustic duo with Morrison playing guitar and Kielbania on upright bass. Before this, Morrison had primarily recorded and performed with electric musicians. The acoustic medium would provide him “greater vocal improvisation and a freer, folkier feel”.

Later, Kielbania invited jazz-trained flautist John Payne to join them. The trio of Payne, Kielbania, and Morrison continued performing for four months during which they began to develop the template for Astral Weeks.

It was around this time that Warner Brothers Records approached Morrison hoping to sign him. Presumably, their interest focused on his prior success with “Brown Eyed Girl”, not on Morrison’s current acoustic work. Regardless, their interest allowed Morrison to return to the recording studio.

Noted producer Lewis Merenstein received a call from Warner Bros. to see Morrison in Boston, and related how eight or nine producers had gone to hear Morrison, thinking they were going to hear “Brown Eyed Girl” only to find that “it was another person with the same voice”. Merenstein first heard Morrison play at Ace Recording studio and recalled that when Morrison played the song “Astral Weeks” for him, “I started crying. It just vibrated in my soul, and I knew that I wanted to work with that sound.”

With his legal matters resolved, Morrison entered Century Sound Studios in New York for three sessions starting at the end of September of 1968. Merenstein, who had a background in jazz, was quoted as saying “Morrison was not an aficionado of jazz when I met him. R&B and soul, yes; but jazz, no.”

For the Astral Weeks recording sessions, Merenstein first contacted veteran bassist Richard Davis. Perhaps best known for his work with Eric Dolphy, Davis essentially served as the session leader, and it was through Davis that Merenstein recruited guitarist Jay Berliner, percussionist Warren Smith Jr., and drummer Connie Kay. All of these musicians had strong backgrounds in jazz, as Berliner had worked closely with Charles Mingus and Kay was part of the Modern Jazz Quartet.

Morrison was still working with Kielbania and Payne, but for these sessions, they were essentially replaced. According to Kielbania, “I got to show all the bass lines to Richard Davis. He embellished a lot of them, but I gave him the feeling.”

Davis proved, perhaps, to be the most pivotal instrumentalist during these sessions. “If you listen to the album, every tune is led by Richard and everybody followed Richard and Van’s voice,” says Merenstein. “I knew if I brought Richard in, he would put the bottom on to support what Van wanted to do vocally, or acoustically. Then you get Jay playing those beautiful counter-lines to Van.”

Davis was not impressed by Morrison, but not out of disdain or any preconceived notions, but rather because Morrison’s professional comportment generally did not meet Davis’s expectations. “No prep, no meeting,” recalls Davis. “He was remote from us, ’cause he came in and went into a booth… And that’s where he stayed, isolated in a booth. I don’t think he ever introduced himself to us, nor we to him… And he seemed very shy…”

Drummer Connie Kay later told Rolling Stone that he approached Morrison and asked “what he wanted me to play, and he said to play whatever I felt like playing. We more or less sat there and jammed.”

The live tracks for the sessions were performed by Morrison on vocals and acoustic guitar in a separate vocal booth with the other musicians playing together on upright bass, lead acoustic guitar, vibes, flute, and drums.

For the Astral Weeks sessions, apparently they did not employ any lead sheets, or at least none were distributed to the musicians. “What stood out in my mind was the fact that he allowed us to stretch out,” recalls Berliner. “We were used to playing to charts, but Van just played us the songs on his guitar and then told us to go ahead and play exactly what we felt.” Berliner actually had great appreciation for the freedom given to him and the band; something few, if any, of them were used to. “I played a lot of classical guitar on those sessions and it was very unusual to play classical guitar in that context,” says Berliner.

The first session was held in the evening on September 25th, 1968. It produced four recordings that made it to the album. Only three had initially been intended for inclusion: “Cyprus Avenue”, “Madame George”, and “Beside You”.

Although not scheduled to play, Payne still attended the first session and listened as another flautist played his parts. To this day, nobody recalls the name of this flautist and he is not included in the album credits. When Morrison tried to squeeze in one last tune during the end of that first session, Payne spoke up and pleaded to Merenstein to permit him to participate. Payne was then allowed to play on what became the title track of the album-”Astral Weeks”- the fourth song produced from this initial session. For the remainder of the sessions, John Payne played on every song.

The next session occurred early in the morning of October 1st. But it was the wrong time of day for jazz musicians to create and only “The Way Young Lovers Do” from this session would make the album. That is the reason for the different “lounge-jazz sound” on this track.

The third and final session, in the evening on October 15th, produced three more recordings that completed the album-“Sweet Thing”, “Ballerina” and “Slim Slow Slider”. Davis expressed to Rolling Stone that there was a “certain feel about a seven-to-ten o’ clock session” and that “the ambience of that time of day was all through everything we played”.

The search for an album closer consumed a considerable amount of time of the third session. They attempted (and rejected) a number of songs until Morrison suggested “Slim Slow Slider”. “I don’t think we’d ever done [it] live,” recalls Payne. “[Morrison] had a book full of songs… I don’t know why he decided to do it…And we were first doing it with the drums, with Richard Davis and Connie Kay and the guitar player and the vibe player and me and Van-all of us were playing. Then I started playing soprano sax on the thing, and Lew said, ‘OK, I wanna try it again. Start again. And I want just the bass, the soprano sax, and Van.'”

It was a successful take, but it also came with a very long coda, prompting Merenstein to make a large cut during the editing process. Many of the tracks on Astral Weeks would be subjected to edits (mainly to tighten the performances), but the one on “Slim Slow Slider” was easily the most substantial. “I would estimate three, five minutes of instrumental stuff,” says Payne. “We went through stages [until] we got to be avant-garde kind of weird, which is what you hear after the splice-all that weird stuff we’re playing-but there was a whole progression to that.” According to Merenstein, before he cut it, the coda “was a long, long ending that went nowhere, that just carried on from minute to minute…If it had [some] relativity to the tune itself, I would have left it there.”

The recording engineer for the album, Brooks Arthur, remembered the sessions in 2009: “A cloud came along, and it was called the Van Morrison sessions. We all hopped upon that cloud, and the cloud took us away for awhile, and we made this album, and we landed when it was done.”

Morrison’s impression of the sessions was “The songs came together very well in the studio. Some of the tracks were first takes. [But] the musicians were really together. Those type of guys play what you’re gonna do before you do it, that’s how good they are.”

Irish painter Cecil McCartney influenced the title of Astral Weeks. Morrison related how “A friend of mine had drawings in his flat of astral projection. I was at his house when I was working on a song which began, ‘If I venture down the slipstream’ and that’s why I called it ‘Astral Weeks’.” “It was a painting,” McCartney corrects. “There were several paintings in the studio at the time. Van looked at the painting and it suggested astral traveling to him.”

The album cover photograph of Van Morrison was taken by Joel Brodsky, best known for his Young Lions photoshoot with Jim Morrison. The squared circle in the cover photo is described as portraying “the mystic symbol of the union of opposites; the sacred marriage of heaven and earth”.

Astral Weeks had poetic, stream-of-consciousness lyrics that evoked emotions and images instead of coherent, intellectual ideas and narratives. NPR has called it a folk rock album-“perhaps the seminal album of the folk-rock genre”. The Rock & Roll Hall of Fame online biography of Morrison described the music as trance-like folk jazz set to “impressionistic, free-flowing” lyrics. Another critic viewed the music as an amalgam of folk, blues, jazz, and classical music that is unlike rock.

Although usually described as a song cycle rather than a concept album, the songs do, when considered in their totality, seem to link together as one long song, forming an “intangible narrative of unreachable worlds” and delivered with what one writer calls “a masterpiece of virtuoso singing”.

The album has meditative songs that combine themes of nostalgia, drama, and Morrison’s personal mysticism and are performed in a blue-eyed soul style. This form of symbolism would eventually become a staple of Morrison’s songs, equating earthly love and heaven, or as close as a living being can approach it.

Astral Weeks sold poorly when it was first released in 1968. The album became a somewhat popular cult import in the United States, while in the United Kingdom it was largely overlooked by critics.

The British magazine Beat Instrumental published a negative review of the record, finding Morrison’s songs monotonous and unoriginal. New Music Express regarded it as a pale imitation of the guitarist Jose Feliciano’s 1968 Feliciano! album which was one of the year’s best-selling records.

With the exception of Astral Weeks‘ title track, they felt the compositions were indistinguishable and “suffer from being stuck in the same groove throughout”. The American magazine, Stereo Review, panned it as a “free-verse mind bender of an album”, plagued by nonsensical lyrics and incoherent singing from Morrison, especially on “Madame George”.

In 1969, Greil Marcus reviewed the album positively in Rolling Stone, saying that Morrison’s lyrics were thoughtful and deeply intellectual, “in terms of the myths and metaphors that exist within the world of rock and roll”. He believed both the music and lyrics captured the spirit of Bob Dylan’s 1967 album John Wesley Harding, while calling Astral Weeks a “unique and timeless” record.

Rolling Stone later named it the album of the year. Melody Maker also called it one of the year’s best records, featuring Morrison’s “small harsh voice” backed by an attractive musical combo that “verges on genius” during “Madame George”.

Astral Weeks‘ critical standing greatly improved over time as it is now considered one of rock’s greatest records and a culturally significant work. One critic summed it up nicely calling it “Morrison’s ‘most beautiful and intense album’, the foundation for his ‘legend’, and a work that continues to captivate musicians and listeners.”

Lester Bangs said its anguished feeling resonated with him on first listen, calling it “the rock record with the most significance in my life so far … a record about people stunned by life, completely overwhelmed, stalled in their skins, their ages and selves, paralyzed by the enormity of what in one moment of vision they can comprehend.”

Irish musician Glen Hansard said it made him think about life with a greater depth of feeling, “with a greater sense of fear and horror and desire than you ever imagined.”

Another critic credited Morrison for fully realizing his ambition to “create without pop’s constraints” on Astral Weeks. “Its reputation among critics was justified because “unlike any record before or since,” it “encompasses the passion and tenderness that have always mixed in the best postwar popular music”.

In his 1975 biography of Morrison, Ritchie York wrote, “It was almost as if Van Morrison, elusive at any time, had deliberately created an album of music which would indefinitely withstand the vulgarity of music industry image-making. Later they might say that other albums were reminiscent of Astral Weeks, but they could never claim that Astral Weeks was like anything else.”

Astral Weeks has appeared in all-time best album polls worldwide, and according to Acclaimed Music, it is the 15th most ranked record in critics’ all-time lists. In 1978, it was voted the 4th best album of all time in a poll of 50 prominent American and English rock critics. It was also ranked second greatest by Mojo in 1995, 19th by Rolling Stone in 2003, maintaining the rating in a 2012 revised list, and 3rd by The Times.

In 1998, it was voted the 9th greatest album of all time in a “Music of the Millennium” poll. In 2000, Q placed the record at number 6 on its list of the 100 Greatest British Albums Ever. Time included Astral Weeks in its 2006 list of the “All-TIME 100 Albums”. When Astral Weeks was voted the best Irish album of all time in 2009, Niall Stokes wrote in Hot Press, “It’s an extraordinary work, packed with marvelously evocative songs that are rooted in Belfast but which deliver a powerful and lasting universal poetic resonance.” The album was also included in the book 1001 Albums You Must Hear Before You Die.

In 2001, the album was certified gold by the RIAA, having shipped 500,000 copies in the U.S. Music historian Andrew Ford said the album’s commercial performance, much like its musical aesthetic, is similar to classical music: “Neither instant nor evanescent: Astral Weeks will sell as many copies this year as it did in 1968 and has every year in between”

In November of 2008, Van Morrison performed two concerts at the Hollywood Bowl in Los Angeles, playing the entire Astral Weeks album. The band featured Jay Berliner who played on the original album. Morrison toured performing the album live throughout most of 2009, with Rolling Stone calling these concerts “some of the most inspired performances of his whole career”.

When asked by Rolling Stone why he was performing the album again live after forty years, Morrison replied: “It received no promotion, from Warner Bros.—that’s why I never got to play the songs live. I had always wanted to play the record live and fully orchestrated—that is what this is all about. I always like live recording and I like listening to live records too. I’m not too fond of being in a studio—it’s too contrived and too confining. I like the freedom of live, in-the-moment sound.”

As for the songs on the original album, Morrison told the Los Angeles Times “the songs are poetic stories, so the meaning is the same as always—timeless and unchanging. The songs are works of fiction that will inherently have a different meaning for different people. People take from it whatever their disposition to take from it is.”


In The Midnight Hour (Midnight Max Mix) –


Max Is Back At The Barn In His Own Time Zone-The Midnight Hour!

It’s a spooky night in the studio and Midnight Max digs deep into a list of his personal favorites. Hear from Steve Earle, Johnny Thunders and Nils Lofgren. Max goes back farther with The Allman Brothers, The Marc Tanner Band and a solo number from Ronnie Montrose. Listen to some serious guitar picking by Kenny Wayne Shepherd, a great cover tune by Dropkick Murphys and a quick trip to the Eighties with The Who and The Replacements.

Join Max for the Midnight Hour as he rounds out the month of Rocktober on Podcloud1!

(click player for In The Midnight Hour-The Midnight Max Mix)




Ear Drops October –


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 Beatles, Talking Heads, The Charlatans, Jethro Tull, Rhett Miller, Yuck, Black Rebel Motorcycle Club, Phoenix, The Average White Band, NRBQ, Big Ass Truck, Michael McDermott and The Soundtrack Of Our Lives. A live cut from our concert archives by The Rolling Stones. Plus some brotherly love by Stevie Ray & Jimmy Vaughan.

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

(click player for Ear Drops-October 2020)




Live From The Archives #53 –


Alternative Country Artists Take The Stage

Grab your cowboy hat because we’re heading to the country. PeeperD presents a pod of cool concert cuts from a diverse selection of alternative country artists.

Music by Jason Isbell & The 400 Unit, Emmylou Harris, Steve Earle, Alejandro Escovedo, Drive-By Truckers, Alison Krauss & Union Station, The Mavericks, Dave Alvin, Jay Farrar, Joe Ely and Blue Mountain. Plus a 2010 performance from the recently-departed Justin Townes Earle.

There’s Only One Thing Better Than Music-It’s Live Music!

(click player for Live From The Archives-Volume 53)




PeeperD’s Turntables Of Terror 2020 –


A Halloween Tradition Returns To PodCloud1

Join guest host Lord Pumpkinspice for a Halloween scavenger hunt set to music. But the path goes through the dark woods to the old graveyard and up to the top of haunted hill. The first one to get all of the items on the list will get a big surprise! We’ve put together a spooky set list to accompany you on your journey.

Terrifying tunes by Los Straightjackets, Elle King, Turkuaz, Gnarls Barkley, The Minus 5, Ghoultown, Kenny & The Fiends, The Monsters, Shovels And Rope, Terry Gale, Ervinna & The Stylers, Parker Milsap, Martha Reeves & The Vandellas, The Last Word and The Tombstone Three.

Visit the song index on the PodCloud1 top banner for a complete list of the songs played on this year’s show.

Happy Halloween From Your Fiendish Friends At PodCloud1!

(click player for PeeperD’s Turntables Of Terror 2020)




Halloween Party (Spooktacular Soundboard) –


Welcome To The PodCloud1 Halloween Party

At PodCloud1, we’ve saved the best Spooktacular Soundboard for last! Our Halloween Party is a mix full of mayhem with enough vampires, werewolves, monsters, witches and ghosts to make you run like hell.

Seasonal scares from Alice Cooper, Black Sabbath, AC/DC, Blue Oyster Cult, The Doors, INXS, Pink Floyd, Fleetwood Mac. Santana, Uriah Heep, The J Geils Band and John Lennon. It’s a trip to hell and back again!

Check out all of our other Spooktacular Soundboards on the PodCloud1 home page.

A Set List So Scary We Have To Warn You In Advance-Not For The Faint Of Heart!


(click player for Halloween Party)



Jam Jar #5-(Halloween Covers) –

We’re Adding Some Pumpkin To Our Jam For Halloween!

Just in time for Halloween host PeeperD presents a mix of cool cover songs as some your favorite jam bands put on their musical costumes. With no concerts scheduled for Halloween, this pod supplies the musical thrills you’re craving.

Seasonal songs by Phish and The String Cheese Incident will get you in the holiday mood. Gov’t Mule and Soulive cover The Beatles. The Dave Matthews Band pays tribute to Sly & The Family Stone. Electron lights one up with Pink Floyd. Turkuaz brings the Hot Chocolate. .moe does Jimmy Cliff proud. Blues Traveler covers Sublime. Plus a classic 1978 Red Rocks performance by the Grateful Dead as they sing about werewolves.

Happy Halloween From PodCloud1’s Jam Jar!

(click player for Jam Jar-Show 5)



Greatest Guitar Solos of All Time #6 –

It’s a Seven-Decade Search for The Greatest Guitar Solos of All Time!

It’s PodCloud1’s new Soundboard series that explores the Greatest Guitar Solos of All Time. To help narrow things down a bit, there are two ground rules-the guitarist (or band) must be in the Rock & Roll Hall of Fame and only studio recordings please!

This installment features The Edge (U2), Phil Manzanera (Roxy Music), David Gilmour (Pink Floyd), Adrian Belew (Talking Heads), Mick Taylor (The Rolling Stones), Jeff Baxter (Steely Dan), John Frusciante (Red Hot Chili Peppers) and Lindsey Buckingham (Fleetwood Mac). Elvis’ guitarist Scotty Moore is just too much! Plus performances by Jeff Beck and Eric Clapton.

The Fretboard Fireworks just keep coming with this Soundboard Series!

(click player for The Greatest Guitar Solos Of All Time #6)



Run For Your Life (PeeperD Pod) –

We’re Running For Our Life On The PeeperD Pod

Between the upcoming Halloween holiday and real life, there’s a lot to be scared of this year. Join host PeeperD as he runs to safety with a pod of songs about running.

New music by The Smashing Pumpkins, Turkuaz and Drive-By Truckers. Songs from The Killers, David Bowie, Talking Heads, The Beatles, The Strumbellas, CCR and Lenny Kravitz. An alt-90s gem by MC 900 ft. Jesus. A deep track from Jo Jo Gunne. Plus an Eddie Van Halen tribute. It’s a musical sprint to safety on the October edition of the PeeperD Pod.

You Can Run But You Can’t Hide During The Scary Season On PodCloud1!

(click player for Run For Your Life-The October PeeperD Pod)




Curse Of The Werewolf Soundboard (Halloween) –

A Halloween Full Moon Brings Out The Curse Of The Werewolf

PodCloud1’s second Spooktacular Soundboard will have you howling at the full moon! Terrifying tunes by Howlin’ Wolf, The Tragically Hip, The Fleshtones, Warren Zevon, Duran Duran, Southern Culture On The Skids, A-ha, Bad Company. The Frantics, Round Robin, JJ & The Pillars, The Pine Leaf Boys, Johnny Eager, Flow Tribe, The Five Man Electrical Band, The Flatrakkers and Carl Bonede & The Gemtones.

Better grab your wolfbane and silver bullets because this pod is guaranteed to attract werewolves!
It’s Another Of Our Spooktacular Soundboards Celebrating Halloween


(click player for Curse Of The Werewolf)




Radio Hannibal- 20 –


Radio Hannibal Is PodCloud1’s October Surprise!

Much more pleasant than whatever evil Trump is planning, our October surprise is a great mix of songs hand-crafted by Radio Hannibal. Featuring new music from Bruce Springsteen, Joan Osborne and Roisin Murphy. Songs by Neil Young, Lynyrd Skynyrd, Yaz, Rodney Crowell, Eddie Cochran, George McCrae fill out the mix. A classic from The Pipkins. Plus an theme for the coming days by Patti Smith.

This Is What Rockin’ In The Free World Is All About-Don’t Forget To Vote!


(click player for Radio Hannibal-Episode 20)


This Full Moon Is Blue Soundboard-(Halloween) –


This Halloween Is A Once In A Blue Moon Holiday!

The full moon falls on Halloween and this year it’s blue! It’s just what you’d expect from 2020! PodCloud1 says indulge your lunar proclivities and we’ll supply the soundtrack.

Our first Soundboard of the season is as full as the moon! Waxing and waning, crescent or full. It’s a pod of songs about the moon and the effect it has on us. Music by Beck, Nathaniel Rateliff & The Night Sweats, R.E.M., Norah Jones, George Harrison, Jenny Lewis, Black Pumas, Van Morrison, Lord Huron, The Waterboys, Echo & The Bunnymen, CCR and Thin Lizzy. Classic tracks by Frank Sinatra and The Capris fill out the mix.

Dancing In The Moonlight. It’s Got You In A Spotlight!

(click player for This Full Moon Is Blue)


Left Of The Dial: College Radio 80s-vol. 19-


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 mix of big names and forgotten rarities from all over the decade!

It’s a pod full of the bands that 80s college radio loved! Camper Van Beethoven, The Long Ryders, Split Enz, Midnight Oil, The Del-Lords, Simple Minds, The Dead Milkmen, Translator, The Beat Farmers, Killing Joke, The Undertones, OMD and The Chameleons. Colin Newman of Wire goes solo. Plus some garage rock from The Sting-Rays and The Fleshtones.

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. 19)


Greatest Guitar Solos #5 –


It’s a Seven-Decade Search for The Greatest Guitar Solos of All Time!

It’s PodCloud1’s new Soundboard series that explores the Greatest Guitar Solos of All Time. To help narrow things down a bit, there are two ground rules-the guitarist (or band) must be in the Rock & Roll Hall of Fame and only studio recordings please!

This installment features Mark Knopfler (Dire Straits), Jimmy Page (Led Zeppelin), Billy Gibbons (ZZ Top), Steve Cropper (Rod Stewart), Robbie Robertson (The Band), Kurt Cobain (Nirvana), Keith Richards (The Rolling Stones) and the twin guitar sound of Duane Allman & Dickey Betts (The Allman Brothers Band). Plus performances by Stevie Ray Vaughan, T-Bone Walker, Jimi Hendrix and Les Paul.

There’s new Fret board Fireworks every few weeks with this Soundboard series!

(click player for The Greatest Guitar Solos Of All Time #5)





Mission: Re-Listen-Poi Dog Pondering-Pomegranate (1995) –


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

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

Pomegranate by Poi Dog Pondering (Released in October of 1995)

The story of Poi Dog Pondering has had many chapters. It started in Hawaii back in 1984 with founder and mainstay Frank Orrall. Using his brother’s cassette 4-track recorder, he made up songs, recorded them and assembled them into homemade cassette albums, and sold them on consignment at a local record store under the name Poi Dog Pondering.

Orrall began playing his music out on the streets of Waikiki, adding multi-instrumentalist Dave “Max” Crawford and violinist/vocalist Susan Voelz. But forming a band in the middle of the Pacific Ocean made it unlikely that Poi Dog Pondering would get the attention of a record label. So the three sold their belongings for airline tickets and flew to California. They bought an old GMC Suburban truck, loaded the instruments and sleeping bags in the back and set off on a trip across the U.S., making gas and food money by street playing.

The trio traveled across the country playing on street corners and in front of college coffee houses. In 1988, they were offered a contract by Texas Hotel Records. They relocated to Austin, Texas to record because they had met some of the best musicians there during their travels and they wanted them in the band. After releasing an EP, they started to create a buzz that interested several record labels. They signed with Columbia and very quickly had a manager, booking agent and a tour van. Poi Dog Pondering criss-crossed the country too many times to count over the next few years. They also released three albums during this period that started to receive airplay on college radio.

After several years of touring, everyone was getting worn down. Sony was also growing disenchanted. PDP was not the next big thing they were hoping for. They released the band from their contract in 1993. Rather than sign with another label, the band decided to go fully independent and start their own.

They also decided to move their home base to Chicago. “I never intended to stay in Austin as long as I did” remembers Frank Orrall. “I really went there to record the first record. But we wound up loving it and stayed for five years. But what I really wanted to experience was living in a big city. An International city. New York and San Francisco were great, but way too expensive for an artist’s wage. Max and I really liked Chicago from visiting there on PDP tours. So we loaded up a U-haul with our instruments and clothes and drove to Chicago. The city was filled with new adventures to unfold. We knew we had arrived in, for us, a shiny new city at the right time for us. We were stoked and ready to go.”

Max moved in with friends he’d made from the band’s performances at the club Lounge Ax. Frank rented a studio on the south side in Pilsen and went to work. He was starting out fresh in Chicago. “I didn’t bring any half-finished songs up from Austin,” he said. “I wrote from scratch. And, I went deep. I’ve always written from personal experience. But, this time, I wanted to explore deeper and reveal more and make the songs more intimate. I was meeting with a Jungian analyst who came out of the music and theater world who was really helping me reach into the subconscious. This was where the lyrics and bare bones for the new songs started to appear.”

Meanwhile, Frank and Max began the work of rebuilding the band. The folks from Lounge Ax introduced the duo to a lot of amazing musicians and artists. Under the title “Frank & Dave”, the two began a monthly residency at Lounge Ax. They used those shows to try out new songs and play with different musicians around town. During this time, they hooked up with guitarist Dag Juhlin and Paul Mertens (sax, flute, clarinet). They hit it off immediately and the core of the new band was forming.

Orrall wanted a tight rhythm section so he began frequenting reggae and jazz clubs where he found percussionist Leddie Garcia and bassist Rob Amster. Dag Juhlin brought in drummer Steve Goulding to round out the rhythm section. It was all coming together according to Juhlin. “Despite delivering a trio of excellent records, Poi Dog was freed from a Sony contract which seemed to bum everyone out for about five minutes”, he recalled. “The do-it-yourself ethos, of which there is no greater champion than Frank Orrall, took hold. The band decided to embrace our newfound independence and unsuckle ourselves from the corporate teat. We had songs, our lineup was gelling, and, dammit, we wanted to record an album. We’d do it ourselves!”

The album that Poi Dog Pondering would go on to record would turn out to be the high point in their career. The process of writing and recording this new batch of songs would change the sound of the band forever.

Enjoy this classic album re-listen of Pomegranate by Poi Dog Pondering

1. Pomegranate
2. Catacombs
3. Complicated
4. The Chain
5. Big Constellation
6. Sandra At The Beach
7. Diamonds And Buttermilk
8. Shu Zulu Za
9. God’s Gallipoli
10. The Shake Of Big Hands
11. Al Le Luia

(click player for Pomegranate by Poi Dog Pondering)


Pomegranate is the fourth full-length studio album by the group Poi Dog Pondering. It was released on October 25th, 1995 on the band’s own Pomegranate Records. After three records on Columbia/Sony Records, including a promising final album Volo Volo, the group was released from their contract. When this happened, outsiders thought that marked the end of an extraordinarily promising group. However it was just a temporary hiatus as Frank Orrall reinvented his band starting with a new home in Chicago and a new group of musicians.

Orrall’s studio on Chicago’s south side would quickly become the engine room for the new PDP. Several rehearsals at the space started to shape the sound of this new band. Orrall had created a bunch of song ideas that, although evolving, were ready to record. “I wanted to make a personal record”, recalled Orrall. “I had a strong concept for the album’s songs as we went into the studio. Pomegranate-the ‘apple’ of the garden of eden story-as a metaphor. True life and living is what happens outside of the garden of eden. It all happens in the non-perfect world. The world of beauty, sensuality and strife and the impermanence of life that makes it all so wondrous. The idea was that none of life should be taken for granted. Live and love it all. Sensuality. Spirituality.”

Soon after arriving in Chicago, Orrall met producer Martin Stebbing who himself had just relocated from London. After hearing the band at Lounge Ax, Stebbing invited them to Battery Studios on the south side to demo a few songs with the simple invitation “just bring some wine. We’ll light some candles and record some music for the fun of it”. PDP knew they’d found their man to make records with.

Orrall didn’t want to go into a traditional recording studio to record this new album. So the band bought some ADAT recorders and Stebbing made up recording cables by hand with a soldering gun and pliers. They rented an empty basketball gym in the Cabrini Green area of central Chicago and moved in. They brought in bed rolls and chairs and set up a make shift kitchen. They plastered pictures, lyrics, song lists and notes all over the walls. “I remember moving some gear and furniture into the derelict gym that would be our studio on Larrabee Street”, recalls Paul Mertens. “Feeling like a kid who was trying to make a race car out of a cardboard box in the rain”.

The band went to work, often running around the clock in shifts with Frank, Max, Stebbing and engineer Scott Ramsayer trading recording duties. “It was an incredible time for the band”, said Dag Juhlin. “We were being fueled by the support and acceptance of the fans while trying to honor the legacy of previous versions of the band while forging our own.”

When Frank Orrall first moved to Chicago, he lived with a woman named Brigid Murphy who came out of the performance art world. She proved to be a kindred spirit who became a great sounding board for the performance aspect of the band. She inspired a lot of ideas for stage design and how to convey on stage which would come in handy as the group would begin to play larger venues.

But that was not the only influence she brought to the band. “Brigid had a serious bout with cancer, almost right after we moved in together”, recalled Orrall. “This really intensified life for us in those early 90’s years. It brought a lot of richness and meaning to our lives and our creative work. We felt thankful for life, and simultaneously a bit beat up by it. The song ‘God’s Gallipoli’ came out of this period”.

Pomegranate is a collection of songs that has its roots in sadness and looking death square in the eyes. But ultimately it’s a record about triumph and life. “We hammered those songs out piece by piece in that funky space”, said Paul Mertens describing the recording process. “We knew we had a record and that it was gonna be amazing”.

The band was listening to a lot of Nick Drake albums during the recording sessions which inspired them to add more orchestral elements to the emerging sound. They met the Parallax string quartet and had them join Paul, Max and Susan to record the orchestrations on the album. This did more than just deliver a lush and layered quality to the new songs. The band was so pleased with the result that, going forward, this orchestration would become a part of their new trademark sound.

Orrall wanted what he described as “really big vocals” for the new songs. He mentioned the vocals on Talking Heads’ Remain In Light album as an example of what he was going for. Poi Dog had worked with Jerry Harrison for their previous album Volo Volo. During the sessions, Harrison had flown in a friend of his, Arlene Newsom, to record on the song “Jack Ass Ginger”. The band reached out to Newsom and she brought fellow singer Kornell Hargrove to join her. “We recorded them”, said Orrall, “and they sounded great. We asked them join right there. As they are church singers, I was worried that they might not like some of the lyrics like “Diamonds and Buttermilk” and “God’s Gallipoli”. But they were all in”.

Just like the band itself, he recording sessions were unconventional. “I remember the night we were recording ‘Shu Zulu Za’ and we weren’t getting a feel for it”, recalled vocalist Robert Cornelius. “Initially Frank and I were in the sound booth and it wasn’t clicking. Frank and Martin (Stebbing) and I talked about it. There was something primal about this song, and the goal was to get that on the record. So we went into the live room and started singing to each other. We were making progress, but we still weren’t there. So Martin turned off the lights, Frank and I stripped down some and crawled around on the floor in the dark with our microphones in our hands and stalked each other as we sang, and we got the final take we wanted. It is still one of the coolest things I have ever done, and I think it is what made the song. I still get that image in my head when we are performing the song live. I was new to the studio, but that was such a theatrical moment. One if my favorite memories.”

When the basic tracks were all recorded, the band moved next door into War Zone Studios to mix it. “We knew we were making something good”, said Orrall. “We gave ourselves lots of time to mix it. We were incorporating electronic elements and nature sounds into the music. We enlisted Dance Music producer Matt Warren to add some synth and loop muscle to ‘Complicated’. Our engineer, Scott Ramsayer, put a nice phat synth solo on ‘Diamonds and Buttermilk’. My love of Manchester bands and visits to Chicago House clubs were adding sparkles to the mix”.

Orrall’s fascination with House Music also had an influence on the band’s stage performance. One night he spotted an amazing dance troop called “House-O-Matics” and was blown away. The band had already booked the legendary Vic Theater for a multi-night release party for the new record. Orrall approached the troop’s leader Ronnie Sloan and asked them if they’d join the band for these shows. This was the start of a collaboration that is still going on today.

When the songs were finally completed, Orrall reflected on the process by saying “I felt we got back that something we lost during the last days of the Sony years. Our autonomy. Self rule. Integrity. We were now free to follow our intuition.” The band opted not to sign with another record label ever again. Instead, they formed their own independent label called Platetectonic Music which they have recorded under ever since. For Pomegranate‘s artwork, the group wanted something special. They mocked up several different designs. But ultimately they went with a hand-pressed vintage print process limited to only 10,000 numbered copies.

The album was released on October 25th, 1995. Orrall and the rest of the band were pleased with the results. “Looking back on Pomegranate, it’s a really good record”, he said. There is a blending of a lot of elements on it. Each song is its own thing, but it works as a whole. It was hand made with heart and solid earnest effort”.

Critics agreed. One called it “a collection of groovy, danceable numberes propelled by Orrall’s dramtic voice and overly poetic lyricism. Pomegranate manages to recapture both the fun-loving spirit and accomplished musicianship that made Poi Dog such a delight at the start”. Another described the news sound of the band. “Electronic instruments-including vintage 70s synthesizers-digital samples, lush orchestration and horns flavor the tracks. The sound that results has progressed light years away from the group’s street band days”.

Other reviews noticed the changes as well. “Many bands have been described as ‘organic’,” said one, “but Poi Dog wrote the book. The new Poi Dog-the three most crucial original members plus the usual coterie of nine regulars and 18 satellite players-keeps the earthy spirit intact. Orrall has moved to Chicago and discovered sounds more urban and soulful than his former Austin and Honolulu roots afforded him. But those original roots are still deep. The big-city gospel feel of “Complicated” is still buttressed by thick ethnic percussion. The album is still mostly acoustic Poi Dog, from the tender opening tracks “Pomegranate” and “Catacombs” to the wonderment of “Big Constellation”.

Yet another critic noted a change in tone from earlier Poi Dog albums in their review. “Pomegranate, the band’s fourth album, features tunes that probe the heaviest of subjects. Orrall wrote many of the songs while trying to help Brigid Murphy-his girlfriend and a former sax player in the band-survive cancer treatment. Currently, the disease is in remission. But Orrall’s perspective as an artists has been profoundly changed. The song “God’s Gallipoli” is a rambling, techno-fueled romp through the writer’s worried mind. ‘Take me in one swoop God, don’t let me dwindle. It’s hard to think that this is how it ends, stretched out on a bed sheet sorting through a wreckage of regrets’ “.

Musically, as well as lyrically, Pomegranate ranks as Poi Dog Pondering’s most daring effort. Although an independent release, the album sold well and ended up on many critics’ best of the year lists. It is arguably Poi Dog Pondering’s most popular album. It contains many of the songs that are still the core of the band’s set lists some twenty-five years later.

The following year, PDP released an EP titled Electrique Plummagram that gravitated even more towards dance music, with several songs from Pomegranate receiving a remix treatment. In 1997, they debuted the live recording Liquid White Light. This release finally demonstrated the power of the band’s live performances featuring many selections from the Pomegranate album.

For the next several years, PDP developed their orchestration skills culminating in collaborations with the Grant Park Symphony Orchestra and the Chicago Sinfonietta. Band leader Frank Orrall’s interest in electronic music garnered him respect from the Chicago House/Electronic music community and led him to eventually become a member of Thievery Corporation as a percussionist and vocalist.

Pomegranate launched a new incarnation of PDP that has since released six more like-minded studio recordings as well as three live albums. Although the lineup may vary, Frank Orrall and his bandmates continues to thrill live audiences with their multi-media concerts that incorporate music, dance, lighting and video projections.

Orrall sums up the Pomegranate period nicely. “We had been in Chicago for 3 years at that point. We wrote this record in this city. We re-built the band in this city; we recorded this record for this city. It was a nice time in Chicago… lot’s of musical energy; the Smashing Pumpkins, Urge Overkill, Liz Phair, Veruca Salt… etc., Local bands pushing each other forward. Honestly… I felt we were better than all of them. I know that sounds cocky, but you have to understand; when you do what you love, you do it with passion, you believe in your work. And I certainly did, and still do. We have proved our staying power. All those bands are gone now. If you are in it for the right reasons, you don’t lose it.”



Reggae Mix #32- (Tribute To Toots) –

PodCloud1 Pays Tribute To A Father Of Reggae!

This special edition of PodCloud1’s Reggae Mix salutes recently-departed reggae legend Toots Hibbert. His 1968 song Do The Reggay gave a name to the sound. One of the great voices of soul, his passing last month was a loss to the entire music world.

This soundboard explores Toots’ entire career from his earliest recordings to several selections from his 2020 album Got To Be Tough. Many of these songs are classics of the reggae songbook- a testament to how influential Toots was.

We also went into the PodCloud1 concert archives for some unplugged and live cuts. Plus a tasty duet with Bonnie Raitt on one of Toots’ biggest songs.

Thank you for all of the songs and shows Toots! You will be missed.

(click player for Reggae Mix-Volume 32: A Tribute To Toots)





Ear Drops October –

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 Beatles, Talking Heads, The Charlatans, Jethro Tull, Rhett Miller, Yuck, Black Rebel Motorcycle Club, Phoenix, The Average White Band, NRBQ, Big Ass Truck, Michael McDermott and The Soundtrack Of Our Lives. A live cut from our concert archives by The Rolling Stones. Plus some brotherly love by Stevie Ray & Jimmy Vaughan.

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

(click player for Ear Drops-October 2020)



Live From The Archives #52 – 90’s Bands –


Sets From Some Of The Biggest Names Of The Alternative 90s!

Join host PeeperD as he presents three mini-sets from The Smashing Pumpkins, Nine Inch Nails and Soundgarden. Each recorded at the height of their popularity. Hear how these musical giants ruled the alternative music scene of the 90s and are still getting airplay today!

There’s Only One Thing Better Than Music-It’s Live Music!


(click player for Live From The Archives-Volume 52)





Midnight Max’s Dance Party (Midnight Max Mix)-


Midnight Max Is Back At The Barn!

Join Max as he dances his way through his return party. This month Midnight Max features music by The Law, Johnny Winter, Etta James and The Kinks. Jump & Jive to music by Gary Myrick and The Figures, Incubus and new music from The Immediate Family and Kurt Baker. Waltz to the finish with Austin, Texas rocker Alejandro Escavedo and Dire Straits.

Midnight Max is back and dancin’ the night away at The Barn!


(click player for Midnight Max’s Dance Party)




Jam Jar #4- (September) – (2 parts)-

Jam Jar Salutes Another Of Our Founding Members

It’s a double-sized special featuring the music of the Allman Brothers extended family. Join host PeeperD for a mix of live concert cuts and studio tracks by several generations of this influential musical family. We’re adding some peaches to our jam today!

This edition includes live music from Warren Haynes and Gov’t Mule, The Tedeschi Trucks Band, The Allman Betts Band, Jaimoe’s Jasssz Band, The Derek Trucks Band and Chuck Leavell’s Big Band. Album tracks by Gregg Allman and Dickey Betts. A stand-out cut from this year’s reunion concert by The Brothers. Top it off with a classic selection from one of the greatest live albums of all time-Live At The Fillmore East.

This family has influenced jam music as much as the Grateful Dead!


(click player for Jam Jar-Show 4-Part 1)



(click player for Jam Jar-Show 4-Part 2)





Atmospheres-vol. 50-


Volume 50-Reaching A Milestone

PodCloud1 celebrates 50 episodes of Atmospheres with a mix that spans the years. Classic space music by Steve Hillage, Popul Vuh and Heldon. Marconi Union, Biosphere, Rudy Adrian, Jula Takahashi, Retina.It and Aperus join the party. It’s a celebration of celestial proportions!

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


(click player for Atmospheres-Volume 50)






Greatest Guitar Solos #4 –

It’s a Seven-Decade Search for The Greatest Guitar Solos of All Time!

It’s PodCloud1’s Soundboard series that explores the Greatest Guitar Solos of All Time. To help narrow things down a bit, there are two ground rules-the guitarist (or band) must be in the Rock & Roll Hall of Fame and only studio recordings please!

This installment features Pete Townshend (The Who), Steve Howe (Yes), Alex Lifeson (Rush), Steve Hackett (Genesis), Robert Smith (The Cure), Lou Reed (The Velvet Underground), Ron Asheton (The Stooges) Terry Kath (Chicago) and Carlos Santana. Plus a classic performance by Lowman Pauling with The 5 Royales.

Our search continues with this edition of our bi-monthly Soundboard series


(click player for The Greatest Guitar Solos Of All Time #4)





Frolic Room (September PeeperD Pod) –

Welcome To PeeperD’s Frolic Room!

It’s a place where the music’s quakin’ and the hips are shakin’. PeeperD presents a mix that’s designed to move and groove you. C’mon in and leave your troubles at the door.

New music from Bruce Springsteen and Kathleen Edwards. Kings Of Leon, Peter Gabriel, Richard Thompson, Dire Straits, Randall Bramblett, Paul Simon, Grateful Dead and Southern Culture On The Skids fill out the setlist. A funky deep track from Johnny C. Plus a tribute to the late great Toots Hibbert with a cut from the new Toots & The Maytals album Got To Be Tough.

It’s Always Happy Hour At PeeperD’s Frolic Room


(click player for PeeperD’s Frolic Room)




Radio Hannibal- 19 –

September Sounds With Radio Hannibal

Radio Hannibal draws the challenging task of delivering a pod of music on September 11. But he rises to the occasion with a mix that’s designed to bring joy when it’s needed most. That’s why we hire professionals at PodCloud1!

New music by Travis with special guest Susanna Hoffs, The Weeknd and Doves. The Style Council, St. Paul & The Broken Bones, Nick Drake, Matt Maeson and The Sundays add their talents to the mix. Classic tracks from The Kinks and Billy Preston. Ryan Adams provides a big apple tribute to round out the setlist. Some days a pod of great music is all that you need!

Don’t Let Life Take Your Joy. Treat Yourself To Radio Hannibal On PodCloud1.


(click player for Radio Hannibal-Episode 19)




Left Of The Dial: College Radio 80s-vol. 18 –

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!

Great vocalists abound in this installment of Left Of The Dial: College Radio 80s. Stan Ridgeway from Wall Of Voodoo, Peter Murphy, David Byrne and Talking Heads highlight this pod. Plus Red Hot Chili Peppers, X, Pixies, The Clash, The Psychedelic Furs, Public Image Ltd., The The, Shriekback and Gene Loves Jezebel.

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. 18)






Greatest Guitar Solos #3 –


It’s a Seven-Decade Search for The Greatest Guitar Solos of All Time!

It’s PodCloud1’s new Soundboard series that explores the Greatest Guitar Solos of All Time. To help narrow things down a bit, there are two ground rules-the guitarist (or band) must be in the Rock & Roll Hall of Fame and only studio recordings please!

This installment features the three guitar attack of Gary Rossington, Allen Collins and Ed King from Lynyrd Skynyrd. Plus Slash (Guns N’ Roses), Tony Iommi (Black Sabbath), Robby Krieger (The Doors), Ace Frehley (Kiss), James Honeyman-Scott (The Pretenders) and Scotty Moore (Elvis Presley). Eddie Van Halen makes his second appearance in the series. Performances by Chuck Berry, Prince, Frank Zappa and B.B. King round out the mix.

This Soundboard series will have a new episode every few weeks so get ready!


(click player for The Greatest Guitar Solos Of All Time #3)






Holiday Dream Fest – (Labor Day Weekend)

It’s PodCloud1’s Holiday Dream Fest

Since concerts are in short supply right now, PodCloud1 presents a magical festival line-up for your holiday weekend. We dreamt of the bands that we’d want to see. Then we visited our concert archives and put together our own Holiday Dream Fest.

Enjoy legendary performances from four of the biggest bands in rock at the height of their powers and popularity. Whether you’re a music historian or just a fan, you won’t want to miss these shows! Happy holiday weekend from PodCloud1.

Enjoy these concerts all at once or spread them out across your holiday weekend


This is our recommended order for PodCloud1’s Holiday Dream Fest


PeeperD kicks things off with The Who recorded live at Leeds University on Valentine’s Day of 1970. The Who recorded this show and released it as the follow-up to Tommy. It’s been called “the greatest live album ever recorded” and we agree. Experience the energy of The Who at their most powerful.



Radio Hannibal keeps the party rolling with The Rolling Stones. We return to the scene of the crime one year later as The Stones deliver an intimate performance at Leeds University in March of 1971. Recorded one month before the release of Sticky Fingers and featuring several songs from that classic album. The Stones hadn’t played an actual tour of England since 1966 and this would be their last before moving to France for tax purposes.



PeeperD returns with a show by Led Zeppelin from their North American Tour of 1972. Although it was still a year away from its release, Houses Of The Holy is featured prominently throughout this concert. Zeppelin’s is at the top of their game in this show.



We’ve saved the best for last as Midnight Max presents Pink Floyd performing the entire Dark Side Of The Moon from a November 1974 show at Empire Pool at Wembley. Dark Side had been out for a year and a half and was riding high on the charts. The band had been playing the album in concert since early 1972. Over those two years, they refined the music into the classic you’ll hear today.




Mission: Re-Listen-Steely Dan-Aja (1977) –

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

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

Aja by Steely Dan (Released in September of 1977)

The history of Steely Dan is as unique as their music. Back in 1967, Donald Fagen met Walter Becker at Bard College in New York. Fagen heard Becker practicing guitar while passing by a cafe and was impressed enough that he introduced himself and asked Becker if he’d like to be in a band. Discovering that they enjoyed similar music, the two began writing songs together.

The pair began playing in local groups performing mostly cover songs. After Fagen graduated in 1969, the two moved to Brooklyn and tried to peddle their tunes in the famous Brill Building which was considered to be the center of the American music industry that dominated the pop charts in the 1960s. One of their first jobs was the soundtrack of a low budget Richard Pryor film.

They had little success in New York. But their fortunes changed when an associate from the Brill Building, Gary Katz, moved to Los Angeles to become a staff producer for ABC Records. He hired Fagen and Becker as staff writers and they moved to California.

Katz soon realized that their songs were too complex for other ABC artists so he suggested they form their own band. He signed them to ABC as recording artists. They took the name Steely Dan after the steam-powered dildo in William S. Burroughs novel The Naked Lunch.

The band put out their debut album, Can’t Buy A Thrill, in 1972. It contained the hit singles “Do It Again” and “Reeling In The Years” which became staples of 70s FM radio playlists. The next few years saw continued success with the release of the albums Countdown To Ecstasy and Pretzel Logic.

But life was anything but smooth inside the band. Striving for perfection, Becker and Fagen sometimes asked their bandmates to record as many as forty takes of each track. The recording process went on for months. On the tours to support their previous albums, the band had added supporting players to fill out their sound. This introduced the duo to the benefits of working with different session musicians instead of a set group of players.

A rift began to grow between Fagen and Becker and the rest of the band who wanted to tour regularly and play the songs in front of audiences. Fagen and Becker disliked constant touring and wanted to concentrate solely on writing and recording. Discouraged by this and their diminishing roles in the studio, the other band members gradually left. Steely Dan’s last live performance was on July 5th, 1974 at the Santa Monica Civic Auditorium.

From this point on, Becker and Fagen recruited a diverse group of session players for their next couple of albums. 1975’s Katy Lied and 1976’s The Royal Scam were well received by both fans and radio with each achieving gold record status. These albums saw Steely Dan refining their already trademark sound by embracing the rising jazz fusion movement of the 70s.

Few could have imagined what would be on the horizon as Steely Dan began work on their next record, which would forever shift and stretch the boundaries of rock music.

Enjoy this classic album re-listen of Aja by Steely Dan

1. Black Cow
2. Aja
3. Deacon Blues
4. Peg
5. Home At Last
6. I Got The News
7. Josie


(click player for Aja by Steely Dan)


Aja, the sixth studio album by the jazz rock band Steely Dan, was released in September of 1977 by ABC Records. It was Steely Dan’s most commercially successful album peaking at number three on the U.S. charts and number five in the UK. The record spawned three hit singles-”Peg”, “Deacon Blues” and “Josie”. It received Grammy nominations for Album of the Year, and Best Pop Performance. Ultimately it won the Grammy Award for Best Engineered Recording that year. It has since appeared frequently on professional rankings of the greatest albums, with critics and audiophiles applauding the album’s high production standards. In fact, Aja became the “go-to” test recording in high-end stereo stores for decades.

At this point in their career, Fagen and Becker had transformed Steely Dan from a legitimate recording and touring band into a songwriting partnership. They wrote the material themselves with production assistance from their producer Gary Katz and engineer Roger Nichols, and aided by a jaw-dropping collection of ace session players. They’d become sonic perfectionists, scrutinizing every overdub until every note was irrevocably in place. But on the pristinely recorded and performed Aja, their attention to detail was taken to bold new heights.

After The Royal Scam’s release in May of 1976, Becker and Fagen went to work writing their most adventurous songs yet. The previous album had featured a rock guitar sound more prominently than on any of their other records. The duo was determined to move away from this more mainstream sound for their next record. Jazz had always been a major influence on both Becker and Fagen. They decided to bring everything they loved about jazz-the song structure, musicianship, ethic and vibe into their trademark sound.

“By the time we did ‘Aja,’ we’d figured out sort of what it was we sort of wanted to do, musically,’ Fagen was quoted as saying. “I think the ‘Aja‘ album has so much great playing in terms of what we were trying to do with combining session players and soloists and so on to produce these little ideal tracks for our songs,” Becker added. “That was sort of the best, most consistent, and most successful example of that.”


The duo spent the last half of 1976 coming up with the melodies and lyrical ideas that would become a suite of seven songs about lust, wanderlust, delusions and the destructive effects of the American Dream. Over the months spent fashioning the album, Fagen and Becker methodically reimagined the sound of their studio-assembled ensemble. There were no big rock & roll singles like “Kid Charlamagne” or “My Old School”. Guitars no longer carried the brunt of the song. They merely provided auxiliary punctuation and effect-less solos. Acoustic piano and electric keyboards were placed at the center of the mix. It was a direct offshoot of jazz fusion.

The songs had complex changes that didn’t provide the easy resolutions that the average rock listener’s ear expected. It gave the songs a sophisticated, decidedly un-rock & roll vibe. But Becker and Fagen also borrowed plenty from contemporary pop, R&B and soul music of the time. They hired players that had defined the sound of records by James Brown, Aretha Franklin and Quincy Jones as well as virtuoso jazz soloists like Larry Carlton, Victor Feldman and Wayne Shorter. The personnel list for Aja reads like virtual “who’s who” of 70s jazz and R&B session musicians like drummers Steve Gadd and Bernard Perdie as well as longtime Steely Dan players like bassist Chuck Rainey and vocalist Michael McDonald.

Many of Aja’s best and most famous parts were actually defined by these players’ independent innovations. Bass player Chuck Rainey recalled that Becker and Fagen had specifically told him not to slap his bass during the sessions for “Peg”. Rainey responded by turning his back to the control room and slapping away. Despite their prejudices, Becker and Fagen liked the sound and Rainey went on to use the technique again in “Josie”.

Then there was drummer Bernard Purdie, one of soul music’s most inimitable drum stylists, who took control of the direction of the recording of “Home At Last”. “They already told me that they didn’t want a shuffle. They didn’t want the Motown, they didn’t want the Chicago”, Purdie explained. “They weren’t sure how and what they wanted, but they did want halftime. And I said ‘fine, let me do the Purdie Shuffle’”. It was precisely what Fagen and Becker hadn’t asked for until they heard it.

Meanwhile, drum prodigy Steve Gadd foiled the duo’s plans for the day by running down the intricate title track of Aja in just one take. His epic, virtuosic solo in the instrumental middle of the song is the beating heart of the album layered over with chunky horn charts from arranger Tom Scott.


Like their hero Duke Ellington, Fagen and Becker needed the identity of individual soloists to create their finished canvas, but within quite specific and refined structural limits. The duo was not as good with people as Ellington, but they didn’t have to be. From the safety of the studio booth, they could just say “try it again” as much as they needed, and scrap the solos they didn’t like after the fact. Producer Gary Katz would break the disappointment to the players by talking to them about baseball, before dropping the news that their solo—which the person had spent hours trying to hammer out—would not make the record.

The ambition of the music and their studio antics weren’t the sole, or perhaps even the main reason, for Steely Dan’s lasting reputation as curmudgeons. Simply put, the narrators of their songs were creeps. On early Dan albums, Fagen and Becker spun autobiographical yarns about intellectually overzealous young men who were bitter beyond their years, both sending up and romanticizing their youthful steady diet of Beat literature, low-grade weed, and worn-out Sonny Rollins LPs. On Aja, those bad and sad men were grown up into shadowy, morose personalities. The album solidified Steely Dan’s obsession with what Fagen would call a “culture of losers” in earnest, with Deacon (of “Deacon Blues”) as the self-appointed superhero of the bunch.


The album opens with “Black Cow” which establishes the ground rules in a slinky opening with a synthesized keyboard twinkle tapping the gas on a silky, jazz-inflected flow. Theoretically the song is a kiss-off to an unfaithful lover. But it’s also just as much about establishing a cadence. On an album that sees work from nearly 40 musicians, Larry Carlton’s guitar and Victor Feldman’s electric piano stand out on this song.

The title track that follows is the one song on Aja that shows the real growth in Becker and Fagen’s songwriting capabilities departing from their previous work. The song is the longest that the duo has ever written. It seems to be about America’s double-edged fascination with the East describing some sort of a dude ranch, military base or imperialist enclave on the shore of an Asian sea. As with many Steely Dan songs, the words leave much unstated. But musically, it contains an interesting arrangement that helps support the lyrics with vaguely Eastern-sounding hooks.

Despite its complexity, and unlike most of the other tracks on the album, “Aja” took a very short time to record due to the session musician’s ability to learn it quickly without rehearsals. Tenor saxaphonist Wayne Shorter’s solo during the instrumental break, along with drummer Steve Gadd’s previously mentioned work, have been considered among their finest work.

Although the album is considered ageless, one thing that makes it very much of its time was its design as two sides of vinyl. The A-side closes with the remarkable “Deacon Blues”. Ostensibly, it’s a song about the jazz musician as a cultural icon. The lyrics talk of drinking scotch all night long, dying behind the wheel and playing what one feels on the saxophone. It was meant to reflect a broken dream of a broken man living a broken life. The song’s protagonist is somewhat autobiographical in nature as it reflected the duo’s early dreams of becoming jazz musicians while living in the suburbs. The line “crawl like a viper through these suburban streets” supports this theory.

The chorus was prompted by Fagen’s observation that “if a college football team like the University of Alabama could have a grandiose name like the ‘Crimson Tide’ then nerds and losers should be entitled to a grandiose name as well”. Fagen said the song’s title was inspired by football player Deacon Jones as they liked the sound of his name.

“Deacon Blues” was recorded at Village Recorders in West L.A. Jazz guitarist Larry Carlton used Fagen’s demos to transcribe the chords into a rhythm section that featured Carlton’s guitar on the song’s opening. Saxophonist Tom Scott wrote the horn arrangements for not only “Deacon Blues” but for all of the songs on Aja, a task that he completed in less than two weeks.

After the song was recorded, Becker and Fagen decided to add a saxophone solo. They asked their producer, Gary Katz, to arrange for Pete Christlieb to record the part. At the time, neither Becker nor Fagen knew Christlieb by name, only by his reputation as a musician on Johnny Carson’s Tonight Show. Christlieb went to the studio and recorded the solo after taping the show one evening.


The B side opens with the single “Peg” which reached number 11 on the U.S. Billboard chart in 1978. With a run of 19 weeks, it’s tied with “Rikki Don’t Lose That Number” and “Hey Nineteen” for being their longest-running chart hit. The song has been described as a “sunny pop” song with layers of jazzy vocal harmonies provided by Michael McDonald. Fagen said the song takes place at a seedy photo shoot in L.A. from the perspective of a jilted boyfriend. The song’s guitar solo was attempted by seven top studio guitarists before Jay Graydon’s version became the keeper. He worked on the song for about six hours before the duo was satisfied.

Next up is “Home At Last”, a clever distillation of a key episode from Homer’s Odyssey. Horns transform a measured gait into a fluid bob with collaborative creation between Fagen’s crisp vocal delivery and Becker’s answering guitar fills during each refrain of the song. “I Got The News” is full of great instrumental performances, particularly from Victor Feldman, that fill the slippery mix of piano and bass which gives the tune its bouncy edge. Michael McDonald’s vocals during the bridge are particularly memorable.

The album closes with the third single “Josie”. The duo wrote an early version of the song well before the recordings for Aja took place. It’s the most conventional rocker on the record. It includes a guitar solo by Becker, one of his few on the album. The lyrics describe the boys of the neighborhood celebrating the return of a fun-loving girl named Josie who may have a shady past and anticipating the debauchery that may ensue.


Recording began in January of 1977 and continued over a six month period in various state-of-the-art studios across New York and L.A. But months of pre-production had already occurred. In the year and a half the duo spent making Aja, they would push their studio expenses into the hundreds of thousands. This was excessive even for a music industry that was at the height of LP sales with mammoth recording budgets.

Donald Fagen has stated that the album was named for a Korean woman who married the brother of one of his high-school friends. The cover photo of the album was taken by Japanese photographer Hideki Fujii and it featured Japanese model and actress Sayoko Yamaguchi. Its stark, uncluttered imagery was meant as an homage to classic jazz albums like those on the Blue Note record label.

Prior to the album’s release, Gary Katz urged the relatively private Fagen and Becker to raise their public profile. This included a meeting with Irving Azoff, known for his work with The Eagles, as a possible manager for the duo. With Azoff’s connections to record stores, and by offering the album at a discounted price, Aja became one of the season’s hottest albums and, by far, Steely Dan’s fastest-selling ever. The album was released in September of 1977. Within three weeks of release, the record had reached the top five of the U.S. albums chart.


Critical reception was as favorable as the commercial response. Rolling Stone said “The conceptual framework of Steely Dan’s music has shifted from the pretext of rock & roll toward a smoother, awesomely clean and calculated mutation of various rock, pop and jazz idioms while their lyrics remain as pleasantly obtuse and cynical as ever”.

Another said “more than any of Steely Dan’s previous albums, Aja exhibits a carefully manipulated isolation from its audience with no pretense of embracing it. What underlies Steely Dan’s music is its extreme intellectual self-consciousness, both in music and lyrics. Give the nature of these times, this may be precisely the quality that makes Walter Becker and Donald Fagen the perfect musical antiheroes for the Seventies”.

The New York Times went even further. “Aja is an idiosyncratically brilliant piece of work. Aja, especially in its title tune, “Black Cow” and “Deacon Blues”, strikes an admirable balance between technique and expression without sacrificing any of the musical ingenuity which has endeared Steely Dan to its faithful fans”.

Fagen and Becker hardly stagnated in the wake of Aja. But the album did ultimately mark the last major piece of the group’s identity falling into place. It’s the album that delivered on all of the implicit ideas in the band’s early years and still stands as one of the most inventive blockbuster rock albums of its decade.

Steely Dan would conclude their golden period by recording one more record, GauchoAja’s sleazier sequel, which shoved the listener’s face up into the libido and cravings of “Josie” and “I Got the News.” On Gaucho, it was coke, heroin, good tequila, dirty dancers from some American Babylon, girls that were too young for them–anything bad. To make that record, Becker and Fagen left Malibu for New York. The even-longer process of stringing together Gaucho took place in the midst of intermittent creative dry spells and Becker’s mounting drug problems. After Gaucho the duo disbanded in 1981. Becker and Fagen were less active throughout most of the next decade as their popularity gradually waned.


When the pair reunited in 1993, Steely Dan toured steadily and released two albums of new material, the first of which, Two Against Nature, earned a Grammy Award for Album of the Year. They have sold more than 40 million albums worldwide and were inducted into the Rock and Roll Hall of Fame in March 2001. VH1 ranked Steely Dan at #82 on their list of the 100 greatest musical artists of all time. Founding member Walter Becker died on September 3, 2017, leaving Donald Fagen as the sole official member.

Aja has frequently appeared on rankings of the greatest albums of all time. In 1991, France’s Rock & Folk included Aja on a list of the 250 best albums released during the magazine’s existence, beginning in 1966. In 1999, it was ranked 59th on the national Israeli newspaper Yedioth Ahronoth‘s “Top 99 Albums of All Time”. In 2003, the album was inducted into the Grammy Hall Of Fame and ranked number 145 on Rolling Stone’s “The 500 Greatest Albums of All Time” list, maintaining the rating in a 2012 revised list.

In 2006, Aja was included in the book 1001 Albums You Must Hear Before You Die. In 2010, the Library of Congress selected Aja for inclusion in the U.S. National Recording Registry based on its cultural, artistic or historical significance. Based on such rankings, the aggregate website Acclaimed Music lists Aja as 98th most acclaimed album of the 1970s and the 315th most acclaimed album in history.

Steely Dan’s uniqueness and mastery of the studio as an instrument exploded into full blown genius with the release of Aja. The opening chords of “Black Cow” immediately announced the intent of Fagen and Becker to create something timeless and highly original. All seven songs are up with their best and routinely make many Dan fan’s top twenty of all time. From the ironic yet strangely touching nostalgia of “Deacon Blues” to the restless seeking of “Home at Last”, to the cynical world weariness of “Peg” to the disturbing yet gorgeous “Josie”, who “prays like a Roman with her eyes on fire”, Aja never fails to delight and fascinate. It’s a must for any serious student of rock history. An album of deep beauty and complexity, Aja thoroughly deserves its reputation as one of the finest albums in the history of rock music.




Ear Drops (Sept.) –

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 My Morning Jacket, The Raconteurs, Pete Townshend, Lou Reed, Patti Smith, The North Mississippi All-Stars, U2, Soul Asylum, Beth Orton, Pink Floyd, Morphine, The Verve, Maria McKee, Son Volt, Menthol and K’s Choice.

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


(click player for Ear Drops-September 2020)




Live From The Archives -vol. 51 (Bruce Springsteen 2 parts) –


A Different Side Of Bruce Springsteen & The E-Street Band

Live From The Archives presents Bruce Springsteen & The E-Street Band in a whole new light! It’s a Double-Sized Special Edition on PodCloud1.

Host PeeperD does a deep dive into our live archives to present a different side of The Boss and his band. Instead of the usual hits, this mix explores songs that don’t get the love they should. Rarities and covers drawn from all across Bruce’s career highlight this special. Plus a few unplugged reinventions of some of Bruce’s biggest hits add to the set list! Guest appearances by Southside Johnny and Tom Morello take it over the top!

Fantastic Live Tracks Spanning Five Decades Of Powerful Concert Performances!


(click player for Live From The Archives-Bruce Springsteen & The E-Street Band-Part 1)




(click player for Live From The Archives-Bruce Springsteen & The E-Street Band-Part 2)






MisterMusic’s Taste of Indie- episode 3 –


MisterMusic returns again with the third installment of his series exploring the Indie Music Scene.

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

Episode 3 features: Beachtape,VAR, Cayucas, Sleepy Gonzales, Moon Duo, The Bilinda Butchers, Toledo, The Brummies, Cape Francis, Hearts Hearts, Human Love, Foreign/National, Kidsmoke and Washed Out.

This one runs a little over an hour..sit back and enjoy!

(click player for ep. 3)





Greatest Guitar Solos #2 –

It’s a Seven-Decade Search for The Greatest Guitar Solos of All Time!

It’s PodCloud1’s new Soundboard series that explores the Greatest Guitar Solos of All Time. To help narrow things down a bit, there are two ground rules-the guitarist (or band) must be in the Rock & Roll Hall of Fame and only studio recordings please!

This installment features Brian May (Queen), Eddie Van Halen (Michael Jackson), Mick Ronson (David Bowie), Ritchie Blackmore (Deep Purple), Mick Taylor (The Rolling Stones), Richie Sambora (Bon Jovi), Joe Perry (Aerosmith) Peter Green (Fleetwood Mac), Duane Allman (The Allman Brothers Band) and Eddie Hazel (Funkadelic). Plus performances by Stevie Ray Vaughan and Carl Perkins.

This Soundboard series will have a new episode every few weeks so get ready!


(click player for The Greatest Guitar Solos Of All Time #2)



Head In The Clouds (Midnight Max Mix) –

Midnight Max Reaches For Some Higher Sounds

With every new Midnight Max Mix, we always have lofty expectations. But this new show finds Max with his Head in the Clouds. The dictionary defines it as “being unaware of what’s going on”. If this pod is what that sounds like, sign us up!

Up among the cumulonimbus, Max discovers the musical magic of Jakob Dylan, Linda Ronstadt and Steve Winwood. A change in the winds reveals Roxy Music, Jethro Tull, Hole, Crack The Sky and The Contrast. Don’t miss new music from The Woggles and the Fleshtones. Plus, in honor of our new Soundboardseries, Max reveals his favorite guitar solo of all time.

We’ve Got Our Head In The Clouds And We’re Not Coming Down!


(click player for Head In The Clouds-The Midnight Max Mix)





Reggae Mix #31 –


PodCloud1’s Reggae Mix Transports You To Jamaica

If you can’t do a summer vacation this year, the latest PodCloud1 Reggae Mix will put you in a good place. Lose yourself in the reggae rhythms with a pod from the golden age.

Selections by Bob Marley, Dennis Brown, Freddie McGregor, Aswad, Burning Spear, Lucky Dube, Eek-A-Mouse, Jacob Miller, Norma Frazer, Inner Circle and Luciano. Plus modern sounds from Ky-Mani Marley and dancehall DJ General Degree.

Reggae Mix Is A Soundtrack For Your Virtual Summer Getaway


(click player for Reggae Mix-Volume 31)





Jam Jar #3 (August) –

Jam Jar Explores The Jam Band Scene

Jam Jar host PeeperD explores the trance & dance side of the jam band scene. Live tracks from Lotus and Dopapod. A new music twin-spin with The Disco Biscuits and Marc Brownstein’s Star Kitchen. Deep funk by Lettuce. Plus a classic album track from Jerry Garcia and Howard Wales.

Strap On Your Dancing Shoes Because This Pod Has Got The Grooves! 


(click player for Jam Jar-Show #3)




Traveling Light (PeeperD Pod) –

Traveling Light Is The Only Way To Fly

PeeperD gives new meaning to traveling light as he releases a mix destined for the heavens with new music from Dawes, The Allman Betts Band and My Morning Jacket.

Songs by World Party, Cracker, John Hiatt, The Wallflowers, Beck, Whiskeytown and The Young Rascals. A 70s deep track from Suzi Quatro. Jerry Garcia guests on a track by Bruce Hornsby & The Range. Plus a gem from the archives by James “Sugar Boy” Crawford & His Cane Cutters. Background tracks by a guitarist who just left us for the great gig in the sky-Peter Green of Fleetwood Mac fame. It’s another edition of the world-renowned PeeperD Pod!

This pod is guaranteed to get you through the dog days of summer


(click player for Traveling Light-The PeeperD Pod)





Left Of The Dial: College Radio 80s-vol. 17 –

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!

The musical walls come tumbling down with this mix! Songs by The Style Council, Oingo Boingo, Luna, Robyn Hitchcock & The Egyptians, Rubber Rodeo, The Reivers, Translator, The Dream Syndicate, Lloyd Cole, The Waterboys, Wire Train, The Jazz Butcher, Polyrock and The Chesterfield Kings.

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. 17)





Greatest Guitar Solos #1 –

It’s a Seven-Decade Search for The Greatest Guitar Solos of All Time!

Welcome to PodCloud1’s new Soundboard series exploring the Greatest Guitar Solos of All Time. To help narrow things down a bit, there are two ground rules-the guitarist (or band) must be in the Rock & Roll Hall of Fame and only studio recordings please!

This opening episode features George Harrison (The Beatles), Marc Bolan (T. Rex), David Gilmour (Pink Floyd), Angus Young (AC/DC), Mike McCready (Pearl Jam), Jonny Greenwood (Radiohead), Cliff Gallup (Gene Vincent & His Blue Caps). Plus performances by Jimi Hendrix, Freddie King, Neil Young, Elmore James, Bonnie Raitt and Albert King.

This Soundboard series will have a new episode every few weeks so get ready!


(click player for The Greatest Guitar Solos Of All Time #1)




Radio Hannibal-18 –


PodCloud1 Celebrates The Return Of Radio Hannibal

Radio Hannibal returns to The Barn for his latest and greatest set of musical treats. New music by H.E.R., Travis and Bakar. Songs from Beck, Neil Diamond, Rodney Crowell, Thin Lizzy, Erykah Badu, Pigbag and John Phillips. Plus a 70s gem by the jazz rock band Chase. Top it off with some “sound” life advice from Radio Hannibal. Live in the moment and bring great tunes with you!

We’re Glad To Have You Back Hannibal. It’s Been Too Long!

(click player for Radio Hannibal-Episode 18)





Mission: Re-Listen-Cracker-Kerosene Hat (1993) –

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

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

Kerosene Hat by Cracker (Released in August of 1993)

By the end of the 1980s, the rock band Camper Van Beethoven was beginning to break big. Formed in 1983, the five-piece blended elements of pop, ska, punk, rock, folk, alternative country and world music with a sardonic wit to create a trademark sound. They rose up through the California Inland Empire punk scene before finding wider acceptance and eventually, an international audience. Their strong iconoclasm and emphasis on do-it-yourself values became an inspiration to the burgeoning indie rock movement of the time. They were described as “a Martian jug band playing Balkan folk-punk”.

After releasing three independent records, the group signed to the major label Virgin Records in 1987. They released two albums and enjoyed chart success with their 1989 cover of Status Quo’s “Pictures Of Matchstick Men” which became a number one hit on Billboard‘s Modern Rock chart. But due to internal tensions, Camper Van Beethoven disbanded the following year.

Lead singer and guitarist David Lowery reached out to guitarist Johnny Hickman. He was a childhood friend and had played with Lowery in an early garage band called The Estonian Gauchos. Together the two started writing songs and recording demos for a new project. Lowery and Hickman left California moving to Richmond, Virginia where they recorded a demo tape that included early versions of songs that would appear on later albums.

The duo eventually settled on the name Cracker for their new project and began to tour locally promoting the new material. They caught the attention of Virgin Records who signed the new band issuing their debut album Cracker in 1992. The album sold over 200,000 copies delivering the radio hit “Teen Angst (What The World Needs Now)” which peaked at number one on Modern Rock Tracks. One critic was quoted as saying “On Cracker, Lowery strips rock down to its muscular essence, avoiding any of the fancy flourishes Camper Van Beethoven used that might have hurt this album of catchy, clever and disarmingly ironic songs”.

Riding the success of a gold record for their debut, Cracker entered the studio in 1992 intending to record their next album completely live to tape. This idea was eventually scrapped. But four live-in-the-studio tracks were released later that year as the Tucson EP. Frustrated by this misfire, the band sought a new recording location away from the distractions of Los Angeles and their record company. They scouted several sites including a Palm Springs home that once belonged to Frank Sinatra.

Eventually they happened upon a derelict soundstage in Pioneertown, California, which was part of an old movie set once used to shoot Western films and TV shows. “It really wasn’t that much of a sound stage”, recalled Johnny Hickman. “It was more of a barn. There were holes in the walls you could see through and it was just a huge, huge barn basically. But it was just big enough to open the doors and drive a mobile recording truck into. So we got all of our equipment and the truck into the barn and shut the door and for the next six weeks proceeded to make our new album”.

The record that came from these sessions would propel Cracker to superstar status as well as generating one of the biggest songs of the 90s.

Enjoy this classic album re-listen of Kerosene Hat by Cracker.

This album originally contained hidden tracks separated from the album by several tracks of silence. Those tracks have been removed and the hidden tracks now appear after the conclusion of the original album.

1. Low
2. Movie Star
3. Get Off This
4. Kerosene Hat
5. Take Me Down To The Infirmary
6. Nostalgia
7. Sweet Potato
8. Sick Of Goodbyes
9. I Want Everything
10. Lonesome Johnny Blues
11. Let’s Go For A Ride
12. Loser

13. Hi-Desert Biker Meth Lab
14. Euro-Trash Girl
15. Take Me (Back) To You

(click player for Kerosene Hat by Cracker)

Kerosene Hat, the second studio album by the American rock band Cracker, was released on August 24th, 1993. It reached number one on Billboard‘s Top Heatseekers Chart and number 59 on the Top 200 Album Chart. The album contains the band’s biggest hit single, “Low”, which helped them gain mainstream success.

After a false start in 1992, Cracker began working on their new album in early 1993 after creating a makeshift recording space in an old California town called Pioneertown. The town had been used as a set to shoot Western films and TV shows in the 1950s. The band set up a mobile recording unit in an old barn and went to work. Recording began on February 25th and lasted approximately six weeks. The weather was rainy and cold and the barn had holes in the walls. So the band salvaged old mattresses and other material from a nearby junkyard to insulate the studio space.


When Lowery’s previous band Camper Van Beethoven broke on to the music scene in the 80s, they were viewed as a weirdly wonderful gaggle of quirk-poppers who had invaded the indie college radio scene. After they splintered in the early 90s, Lowery’s new direction with Cracker was a little more straightforward. But his oddball lyrics maintained CVB’s offbeat spirit. Their minor left-field hit from the debut album “Teen Angst (What The World Needs Now)” turned Burt Bacharach lyrics into an anthem of sexual frustration.

By the time the band was working on their second album, Lowery and Hickman were taking this quirky lyricism to the next level especially in the album’s opening track “Low”. It filtered that CVB spirit through a haze of lyrics that included junkie cosmonauts, brown skies, a million poppies and more chemically altered imagery. With a chorus that referenced “being stoned” numerous times, the band was forced to send a letter to radio stations that swore that the song was not about drugs.

Guitarist Johnny Hickman recalled the origins of the song as “we were sound checking in Portland, all a little bit hungover, and I was just making noise. I started looping that riff over and over and soon David and (bassist) Davy (Faragher) started playing it too. We kept playing it until we had four chords. Then David asked the front-of-house guy to record it. I probably would have forgotten that riff if it had not been recorded”.

Former bassist Davy Faragher picks up the story. “It really came together in Pioneertown with producer Don Smith. We’d built this studio on an old movie soundstage out in the desert. The weather was horribly rainy and cold. I remember Don made us play “Low” over and over, we must have done it 20 times. It was one of the first songs we cut. Don thought it was a great song. But we never imagined it as a single”.

In just a few months, “Low” would be everywhere in the summer of 1993. Terrific as the song is, though, it’s not the only gem on the album. “Get Off This” was the band’s second single after “Low”. It’s a bouncy pop number in the mold of the then-popular Spin Doctors. But with Lowery’s clever turn of a phrase, the tune is far beyond anything that band ever managed. The song was written in response to naysayers who were accusing Cracker of selling out and making music that was more mainstream than CVB. It peaked at number 6 on the Modern Rock Radio charts.

Another song that got radio airplay was “Let’s Go For A Ride”. It’s a balls-out rocker that makes you wish you were barreling down a the highway in a convertible with the tunes cranked up loud. “Sick Of Goodbyes” was co-written by Mark Linkous of the group Sparklehorse. It was later re-recorded and released as a single by that band on their album Good Morning Spider.

“Sweet Potato” was a vintage piece of Cracker swamp-rock with thickly distorted vocals and a muddy, murky guitar tone. On the softer side were songs like “Take Me To The Infirmary” and “I Want Everything”. The country-esque “Lonesome Johnny Blues” hinted at the alt-country direction that Cracker would continue towards with their later albums. The final song on the album proper was a cover of the Grateful Dead’s “Loser”.

Then there’s “Euro-Trash Girl”. It was buried deep in the album’s hidden tracks amongst dozens of three-second blanks that took the CD’s final track number to 99. Written in a New Jersey hotel room, the song tells the story of a lonely American student in Europe who suffers through a series of humiliating experiences. Lowery created the song’s main character and the other band members suggested additional ideas to the story. Having spent time in Europe, Hickman noted “some of these things in the song happened to us, some not”. Even before Kerosene Hat was released, Euro-Trash Girl” had become a live fan favorite. So when the band placed the song among the hidden tracks, the record label protested. It was producer Don Smith’s idea to place the song as track 69.

The recording process lasted until the end of March. As the band began the mixing process, they settled on the name Kerosene Hat for the record. According to Lowery, the title came from the band’s early days in Richmond, Virginia. Lowery and Hickman lived in an old dilapidated house whose only source of heat came from two kerosene heaters. To buy more kerosene meant a cold walk to a nearby gas station. So before leaving the house, Lowery would bundle up and put on an old wool hunting cap which he called his kerosene hat. “To this day,” says Lowery, “the smell of kerosene reminds me of the poverty and the wishful hope we had for our music.”

The album was finally released in August of 1993. In the post-Nirvana climate of early 90s alternative music, it was a surprise that Kerosene Hat was so well-received. The album sold almost half a million copies that year and eventually reached platinum status. Spin called it “a ubiquitous signpost of the alternative-as-the-new-mainstream era”. They described “Low” as “the signature song of the Summer of 1993” as rock radio added it in heavy rotation.

Contributing to the song’s success was a noir-ish black& white video which was added to MTV’s Buzz Bin. It featured Lowery sparring with comedian Sandra Bernhard in a boxing ring where he’s eventually knocked out. Director Carlos Grasso claimed that during the shoot Lowery insisted that Bernhard’s punches be real which meant his face was all puffy from the hits by the end of the shoot.

Both Lowery and Hickman realized how unexpected their success was. “We’ve always been a country-roots-rock band”, said Lowery. “We’ve always leaned on American roots stuff, whether it’s soul, blues or country. Fortunately, our sound somehow fit into modern rock radio back when grunge had taken over the whole world”. Hickman adds “we kind of snuck in the back door by being a band that had something to say and were lucky enough to write a catchy three-minute song”.

Kerosene Hat and “Low” bestowed unlikely rock stardom on Lowery and Hickman. They would go on to record numerous albums as Cracker. In 1999, the former members of Camper Van Beethoven reunited and have since made several new records. Lowery splits his time between the two bands with CVB and Cracker frequently touring together. In 2005, the two groups started an annual three-night “Campout” at Pioneertown which has featured appearances by Built To Spill, Neko Case, John Doe as well as sets from the individual members of the bands. In July of 2014, a revival of the Kerosene Hat era Cracker lineup toured China.


To this day, Cracker’s Kerosene Hat still manages to consistently transcend the typical. One reviewer perfectly captured the album’s magic when they wrote “when the music falters a bit, Lowery’s nasal wit keeps the listener engaged. When the lyrics fall a little flat, the band picks up the slack. In the cases when both music and lyrics are on the mark-and there are many-the record achieves something close to greatness”.

Cracker would go on to release other records almost as good. But none that capture the public’s ear as well as Kerosene Hat. “There are two things I’m proud of in my career”, said David Lowery. “One is that Camper’s “Take The Skinheads Bowling” was on one of those big compilations CMJ put out. The other is that we’ve never appeared on any compilations released through Starbucks. You know, you can’t be there and still have a certain edge. That’s a good sign”.




QuaranTunes-Volume 5 –


Music Is A Shared Experience Even When We’re Apart!

PodCloud1 presents the next installment of our soundboard series dedicated to the phenomena of social distancing. These pods are full of themes about shelter and staying safe. They also acknowledge that doing the right thing can sometimes make us lonely and offer some consolation by letting us know we’re not alone.

This edition of QuaranTunes features songs actually made while in quarantine by Barns Courtney, Ray LaMontagne, Benjamin Gibbard (of Death Cab For Cutie), Martha & The Muffins, Glen Hansard and Big Red Machine (Aaron Dessner from The National and Bon Iver’s Justin Vernon) with Michael Stipe.

Plus music from The Cure, Fleetwood Mac, Franz Ferdinand, Tame Impala, The Motels, Men Without Hats, Mike Doughty, Chris Stapleton and Billy Squier. A classic by Jackie Wilson rounds out the mix.

Music gives a soul to the universe, wings to the mind, flight to the imagination and life to everything-just what we need in times like these!


(click player for Quarantunes-Music For Social Distancing-Vol. 5)






Fresh Catch (July)-

Catch The Freshest New Entries In The PodCloud1 Library

PeeperD lays down a mix of fresh sounds and new releases. Music from The Pretenders, Bob Mould, HAIM, Michael Franti & Spearhead, The Jayhawks, Joan Osborne, Dermot Kennedy, Ray LaMontagne, Semisonic, Caamp, Doves, Chuck Prophet, Dennis Lloyd and Beabadoobie. Plus a new never-before released song recorded in the 70s by The Rolling Stones. Warning-this pod is jam-packed with ear worms!

Update Your Summer Playlist With These Soon-To-Be Hits


(click player for Fresh Catch-Summer 2020)






Atmospheres-vol. 49-

Volume 49-Stratospheric Space Guitars

Enjoy a virtual summer vacation to floating worlds and secret spaces. This mix features ambient reverberations for spatially expanded guitars highlighted by several selections from Clive Wright and Jon Durant. Plus six string starscapes from Tony Gerber and David Torn. Experience solitude and serenity with these high summer ambient explorations.

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


(click player for Atmospheres-Volume 49)






Live From The Archives #50-The Black Crowes/CRB/The Magpie Salute-


Music From The Robinson Brothers And The Black Crowes

Live From The Archives is your ticket to what would have been the hottest show of the summer-the reunited Black Crowes! COVID-19 may have cancelled this tour but PodCloud1 has got the next best thing.

Join host PeeperD as he presents a mix of music from Chris and Rich Robinson. Concert cuts from various shows by The Black Crowes, The Chris Robinson Brotherhood and The Magpie Salute. Includes unplugged tracks by Birds Of A Feather and a tasty cover of a Lowell George classic.

Enjoy The Black Crowes in concert from the safety of your home!


(click player for Live From The Archives-Volume 50)






Ear Drops August-


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 Pretenders, Cake, The Who, Bush, David Byrne, Porno For Pyros, Tedeschi Trucks Band, The Psychedelic Furs, Arcade Fire, The Police, Ian McCulloch, The Bottle Rockets, David Gilmour, The Raveonettes, Smashmouth and Big Brother & The Holding Company.

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


(click player for Ear Drops-August 2020)






Take Your Shot-(Midnight Max Mix)-

Midnight Max really mixes it up this month starting with some blues by Keith Richards and the X-Pensive Winos, JJ Jackson and Etta James. Then enjoy some rockin’ soul from Don Covay and Wilson Pickett.

But Max doesn’t stop there as he jumps over to the land of power pop with Nick Lowe, Nick Piunti and Kurt Baker. New music from Elvis Costello and Lucinda Williams. Plus a stroll down memory lane with a Barry McGuire remake. Add in some Jonny Lang and Los Lobos. And, as a reminder that live music still rules, Max puts the cherry on top with a concert treat from The Boss.

Catch it all on the latest episode of The Midnight Max Mix here on Podcloud1!


(click player for Take Your Shot-The Midnight Max Mix)





Inspired By Real Events-(PeeperD Pod)-

Inspired By Real Events With A Dose Of PeeperD Positivity

Join host PeeperD for a pod of social commentary through song. The summer heat of July sparks this set full of flame throwers and fire-starters pulled from the headlines.

New music by Lime Cordiale, Michael McDermott and Black Pumas. Timely tunes from Radiohead, Warren Zevon, Eurythmics, Charles Bradley, Patti Smith, Bruce Cockburn, John Mellencamp and Moon Taxi. Retro spins from David Bowie and The Jefferson Airplane. Backing tracks courtesy of Khruangbin’s new album Mordechai.

PeeperD lays down a mix that seeks to observe not absorb. 


(click player for Inspired By Real Events-The PeeperD Pod)




Jam Jar #2 – (July)


We’re Jamming On PodCloud1!

Join host PeeperD as he opens up another jar of great jams. This pod is pulled straight from the concert stage. Live recordings from recent shows by Circles Around The Sun and Ghost Light. A classic performance from the year 2000 by Phish. Plus Joe Russo’s Almost Dead and Grateful Shred pay homage to the band that started it all.

Jam Jar Is Your Source For Music From All Across The Jam Band Scene

(click player for Jam Jar-Show #2)





Radio Hannibal 17-


Radio Hannibal Explores Our New Reality In His Latest Pod

Living In The USA means something very different this July and Radio Hannibal is feeling it! His new pod is a mix of music made for our modern age.

New music from Bob Dylan, Old 97’s and Local Natives. Songs by Robbie Robertson, Grant Lee Buffalo, Big Star, The Doors, Longwave and The Steve Miller Band. Solo Fleetwood Mac as Lindsey Buckingham and Christine McVie team up for a tasty gem. Plus a classic from Skeeter Davis that contemplates the future.

Time Is Precious! Spend Some Of Yours With Radio Hannibal.


(click player for Radio Hannibal-Episode 17)





Left Of The Dial: College Radio 80s-vol. 16 –

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!

Big name bands and deep archive cuts make this a great trip back in time. Songs from REM, Iggy Pop, Soul Asylum, The Jam, Hoodoo Gurus, The Teardrop Explodes, Icehouse, Gang Of Four, Love Tractor, Adrian Belew and The Undertones. Plus rarities by Hunters & Collectors, Boom Crash Opera and Skyhooks.

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. 16)






Positive Vibrations-

Replenish Your Spirit With Some Positive Vibrations

At PodCloud1, we need to take a break from all that’s going on in the world. If you’re feeling as overwhelmed as we are, this soundboard will be a welcome relief. It’s a hopeful mix that accentuates the positive at a time when we could all use a little of that. When the world is running down, we make the best of what’s still around!

Songs by The Beatles, Green Day, Nada Surf, Foo Fighters, Beck, The Beach Boys, The Police, St. Paul & The Broken Bones, The Kinks, Glen Hansard, Andrew Bird, Chicago, Mondo Cozmo, The Five Stairsteps and the duo of Marvin Gaye & Tammi Terrell. A mash-up of two heart-warming standards by Israel Kamakawiwo’ole. Plus a quarantine collaboration by Grace Potter featuring Marcus King, Jackson Browne and Lucius.

This pod pairs perfectly with a beautiful sunset and a holiday beverage. Tune out the world and re-charge your batteries. Give your spirit a musical treat.


(click player for Positive Vibrations)






Jam Jar (Introductory Holiday Special)-

Enjoy An Introductory Holiday Special Edition Of Jam Jar!

It’s a special meet & greet to introduce our newest monthly show on PodCloud1. Join host PeeperD as he opens up a jar of great jams that includes concert cuts and album tracks from all across the growing jam band scene.

Chase away those U.S. Blues! This special edition features the band that started the whole movement as we take a listen to the extended Grateful Dead family. Live tracks by Dead & Company, Ratdog and Bob Weir & The Wolf Brothers. Studio cuts from Jerry Garcia’s first solo album and one of his collaborations with mandolin giant David Grisman. We fill out the mix with both live and studio selections by the Grateful Dead. Wave that flag, wave it wide and high. Happy 4th of July from PodCloud1!

Episode 1 of Jam Jar is also available on the PodCloud1 Monthly Archives.


(click player for Jam Jar Holiday Special)




Mission: Re-Listen-Golden Earring-Moontan (1973)-

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

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

Moontan by Golden Earring (Released in July of 1973)

In 1961 in The Hague, 13-year-old George Kooymans and his 15-year-old neighbor Rinus Gerritsen formed a band that they eventually named The Golden Earrings. Initially a pop band, they scored their first chart success in 1965 with their debut single “Please Go” which was a hit in the Netherlands. They began to tour extensively throughout the region including Germany, Belgium and the United Kingdom. Two years later Barry Hay joined as the new lead singer, while the band shortened its name to Golden Earrings. The following year they earned their first number one hit in the Netherlands with “Dong Dong Diki Digi Dong”.

During the mid-60s, rock music was transitioning from pop songs to a more album-oriented sound popularized by The Beatles, The Stones and others. After dropping the “s” from their name, Golden Earring adapted their sound with a successful psychedelic album called Eight Miles High in 1969. It featured an 18-minute version of the title track which was a cover of the hit song by The Byrds. The success of this record allowed the band the opportunity to tour the U.S. in 1969 where they would stretch the song to a 45 minute jam in concert.

In 1970, drummer Cesar Zuiderwijk joined the band during recording sessions for a new album. Released in September, the self-titled Golden Earring performed poorly in the U.S. but became a number one hit in the Netherlands. This would be a recurring theme for the group for the next few years. In fact, their 1971 album Seven Tears was not even issued in the U.S. But their popularity continued to rise throughout Europe as they became a popular live act.

The summer of 1972 was a significant time for Golden Earring. Not only did they release their new studio album Together but they were also awarded gold records for both Seven Tears and Eight Miles High. This notoriety caught the attention of The Who who asked the band to be their special guest during a concert in Amsterdam the following month. The success of this show led them to become the opening act for The Who’s entire tour of Europe in late 1972 and early 1973. With this increased exposure, the band eventually signed to The Who’s Track record label which released a compilation of their previous two albums in 1973 under the title Hearing Earring. This record helped Golden Earring break through in England leading to a headlining tour throughout the entire UK.

At this point, Golden Earring had been one of Holland’s top bands for almost a decade and was just now approaching world-wide success. But the struggle to get to this point was taking its toll on the group. They were beginning to burn out due to their constant touring. Golden Earring’s lack of success in the U.S. also made them question their creative direction. Although they’d been introducing some new songs to audiences to during their recent concert performances, they started to doubt the direction they were pursuing. When they entered a studio in North Holland to begin recording their next record, Golden Earring knew they were approaching a crossroad. If this batch of songs didn’t lift them to the next level, they were contemplating breaking up. What happened next would change the fate of the band, as well as FM radio playlists, for decades to come.

Enjoy this classic album re-listen of U.S. version of Moontan by Golden Earring. This session includes two additional songs that originally appeared only on the European version of the album. They appear after the conclusion of the original album.

1. Radar Love
2. Candy’s Going Bad
3. Vanilla Queen
4. Big Tree, Blue Sea
5. Are You Receiving Me

6. Suzy Lunacy (Mental Rock)
7. Just Like Vince Taylor


(click player for Moontan by Golden Earring)


Golden Earring released the album Moontan in July of 1973. It raised the band to an international level of popularity that they had been chasing for years primarily due to the success of the hit single “Radar Love”. It is considered by many to be among the greatest “driving songs” ever due to its lyrics about driving all night, its uptempo beat and its catchy sing-along chorus. Until that time, Dutch and German fans knew Golden Earring as a second-tier pop/psychedelic group dating back to the mid-1960s. But for most listeners in the UK, the United States and Canada, the first exposure to the group would be through “Radar Love”. The song would become Golden Earring’s signature tune. It would also become an enduring radio favorite of the growing album-oriented rock format used by FM radio stations in the seventies.

However, there is much more to this album than just “Radar Love”. In many ways, Moontan is a summation of everything the group had learned on their first three albums from the seventies. It presents a similar combination of progressive epics, heavy rockers and songs that combine both elements. But with Moontan, everything is raised to a new level of inspiration and polish.

The tracks that formed the basis of Moontan began their lives on concert stages in 1972 as Golden Earring was touring throughout Europe in support of The Who. Here they began workshopping several of the songs that would eventually end up on the album. One song, “Big Tree, Blue Sea”, originally appeared in a different shorter form on the band’s 1970 self-titled album.

Recording began in early 1973 at a studio in the northern Holland city of Hilversum. Overdubs and mixing took place over the span of several months at the International Broadcast Company’s studios in London. This corresponded to the band’s various tours of England during that same period. The group befriended musician John Fenton who served as their host during their time in England. They often stayed at Fenton’s home in Knightsbridge, eventually living there for a few months. Fenton became a sounding board for the band’s ideas, helping Barry Hay polish up lyrics for the recording sessions.


A common practice at the time was for European bands to release different versions of their albums for the North American market. These releases often contained other songs or a different track order that record labels felt would be more appealing to those audiences. Such is the case with Golden Earring’s Moontan. PodCloud1 is featuring the U.S. version of the album (although our artwork contains the more-controversial European album cover) but we’re also including the two additional songs that appeared on the European release of the album.

When Moontan was released in July of 1973, the version presented in the U.S. and Canada contained only five songs. The album was a true product of the 70’s in the same vein as Pink Floyd’s Dark Side Of The Moon and other prog-rock classics. Using AOR as their guide, the band combined a wide range of different styles such as R&B, hard and progressive rock, and psychedelia to create a masterpiece.

“Radar Love” opened the U.S. version of the album. It’s a relentless rock tune with a left-field instrumental break in which tribal drums duel with a big band-style horn section. Bassist Rinus Gerritsen has admitted that the intro for “Radar Love” was heavily influenced by the sound of the group Santana. The song has been described as a “superbly mesmeric highway rocker with a great hook of a chorus and a delightful reference to Brenda Lee’s 1966 ‘Coming On Strong’.”

When asked about the lyrics of the song, Barry Hay said “One evening I had a few friends over, one of whom was American, and I was brainstorming with them about the form and contents of the story. It had to be something very simple, to which every average person could relate, such as someone in the bathtub and … Everyone started to put in ideas and it when it got too chaotic I kicked them all out of the house and sent them to some nightclub so that I could work in peace. The idea of an ordinary guy in his car began to take shape and when my American house guest got home in the early hours and read the lyrics, he went wild: This is it, brilliant! The ultimate American car song!”


Although “Radar Love” was a great hard-rock song, one might argue that the tune overshadowed some of the other diamonds that make up the remainder of the album. The orchestral “Vanilla Queen” paid homage to Pink Floyd with spacey noises and vocal samples by Marylyn Monroe taken from the movie There’s No Business Like Show Business. This classic builds from pulsating, ominous verses dominated by synthesizer into a hard-rocking chorus and also throws in a stark acoustic guitar midsection before climaxing in a frantic band jam augmented by blaring horns and string section.

Another noteworthy song was “Candy’s Goin’ Bad” which was later released as the album’s second single. It starts off as a thunderous, pounding rocker but transforms midway into a bluesy instrumental mood piece. Side two opened with a re-recorded version of the song “Big Tree, Blue Sea” which was expanded with additional flute arrangements that take it into the same prog-rock category as the music of Caravan, Camel and Jethro Tull. It mixed electronics and flute over a delicate groove which eventually developed into a lengthy hard-rocking guitar workout. The song “Are You Receiving Me” closed the album with an extended jam that featured the driving drum work of Cesar Zuiderwijk in counterpoint to a horn section that backed vocalist Hay as he delivered the song’s title over and over. It made for a dramatic finish to the listening experience.

The European version of the Moontan album contained two different songs instead of the new version of “Big Tree, Blue Sea”. The first was the twangy country-pop song “Suzy Lunacy (Mental Rock)”. It’s a little too poppy and doesn’t gel with the rest of the album. The other was “Just Like Vince Taylor” who was a leather-clad rock & roller from the 50s. Barry Hay has identified Taylor as a big influence when he was a child. It’s a guitar-slinging slice of boogie rock that pays tribute to that bygone era. Although left off of the U.S. version of the album, the band chose the song as the b-side to “Radar Love”. In retrospect, omitting these tracks from the record may have been a good decision as they departed from the cohesive mood of the record’s track order. However, even these tunes benefit from tight arrangements and a spirited, totally committed performance from the group.


When the album was released in the summer of 1973, it originally featured a nude exotic dancer on its cover. This generated much attention internationally particularly in the U.S. Although the first pressing of the record was like the European one, the sleeve was soon redesigned and completely changed to an ear-design cover with an earring. In Spain, the exotic dancer was placed in a bikini as she held blue and white playing cards with the faces of the band members on them. Curiously, in England, the sleeve design was awarded for it’s outstanding look!

Album artwork was not the only controversy regarding the record. Within the band, there were arguments as well regarding which song should be the single. Cesar Zuiderwijk favored “Vanilla Queen” while the remaining members favored “Radar Love”. Because of the disco craze gaining traction in the U.S., “Radar Love” was selected due to its very danceable nature. It was released as a single in August of 1973.

The song was a rarity of the early 70s in that it works both as an extended progressive album track as well as a hit single. At six-and-a-half minutes, it was already the tightest of the album’s cuts. But an unknown radio engineer took the song and edited out the instrumental solos and tightened the open and close to create a single version half the length of the original jam. This allowed the song to cross-over to Top 40 radio causing it to skyrocket up the charts. It hit number 13 on the Billboard Hot 100.

A video for “Radar Love” was shot in the band’s hometown at the Zuiderpark Open Air Theatre located in the neighborhood where they grew up. In this portion of the video, drummer Cesar Zuiderwijk performs a legendary leap over his drum kit which soon became a staple of the group’s concert performances. It also featured the band members driving in a car through Holland at night including a trip through the Schiphol Tunnel.


By October of that year, “Radar Love” had entered the German charts peaking at number 5. That same month, they opened for Lou Reed for two nights at London’s Rainbow Theatre introducing their new songs to a receptive audience. In November, they began a full-length tour of the UK which pushed “Radar Love” to number 7 on the UK Hitlist with over 250,000 copies sold.

The band began 1974 with a tour that took them to several European countries including Germany. In May, “Radar Love” entered the US Billboard Hot 100 and charted for over 30 weeks peaking at number 13. The album was released in the U.S. and Canada in spring. Riding the waves of its success, Golden Earring crossed the ocean for a U.S. tour that was met by enthusiastic audiences. The album debuted on the album charts peaking at number 12 charting for 13 weeks. On August 16, 1974 Golden Earring appeared on the popular TV show Midnight Special where they were introduced by Little Richard.

Moontan achieved gold status on September 20, 1974 in the U.S. for selling over 500,000 copies. Golden Earring returned to the states in the fall for more concert appearances performing with many well-known bands such as Santana, The Doobie Brothers and J. Geils Band. They also headlined several shows of their own concluding with a live appearance on the prestigious Don Kirschner’s Rock Concert. They also performed on The Old Grey Whistle Test later that year.


Golden Earring would continue to record and tour. But they could never quite match the heights achieved on Moontan. They would not have another stateside hit until 1982 with the MTV-ready “Twilight Zone”. However they would go on to perform over 200 concerts a year mainly in their home country of the Netherlands. These energetic concert performances have been recorded on several live albums including a series of acoustic live records under the title The Naked Truth.

The group is still going in 2020. Golden Earring celebrated their 50th anniversary by recording a new track in October of 2019 titled “Say When”. But sadly, we may never enjoy a deluxe re-issue of Moontan. In June of 2019, the New York Times listed the band among the hundreds of artists whose material was reportedly destroyed in the 2008 fire at Universal Studios.

Moontan is Golden Earring’s most successful album and is considered to be the high water mark of their “golden” creative period. In 2008, it was voted the 9th best Dutch pop album ever by the readers of the rock magazine OorMojo ranked it at number 32 of the “40 Most Cosmic Rock Albums of All Time”. “Radar Love” has remained a classic rock staple for almost 50 years. It has been covered over 300 times over the decades including versions by U2, REM, Blue Man Group, Def Leppard and Santana. The song has gone on to be a career-defining moment for the group. It was a fitting highlight to a set of ambitious music created by a band that was entering the most creative stage of a career that has attained incredible longevity. Moontan is a must-listen for anyone interested in 1970s rock at its most adventurous.




Ear Drops July-

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 REM, Elton John, Spoon, Richard Thompson, The Kinks, Frank Black, The The, A Flock Of Seagulls, The Nazz, Widespread Panic, The Stone Roses, Luscious Jackson, The Stone Roses, Jamiroquai, Grant Lee Buffalo and The Castaways.

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


(click player for Ear Drops-July 2020)





Live From The Archives vol. 49-(Alt  90’s)-

Live From The Archives Visits The Alternative 90s!

Join host PeeperD as he remembers the 90s with live performances from some of the biggest bands of the decade. Nirvana, REM, Midnight Oil, U2, The Cranberries, Cracker, Dada, Travis, World Party, Live, James and Son Volt. It’s a pod full of concert cuts that capture these artists at the height of their popularity and creativity. Re-live this great period of music.

There’s Only One Thing Better Than Music-It’s Live Music!


(click player for Live From The Archives-Volume 49)




QuaranTunes (Music For Social Distancing) volume 4 –


It’s The Return Of Our Soundboard Series About Social Distancing

Maintaining a safe distance doesn’t mean we can’t still be together! One of the wonders of music is that it allows us to bridge the gap and share an experience even when we’re apart.

PodCloud1 presents the next installment of a soundboard series dedicated to the phenomena of social distancing. This pod is full of themes about shelter and staying safe. It also acknowledges that doing the right thing can sometimes make us lonely and offers some consolation by letting us know we’re not alone.

Music from The Black Keys, U2, Pink Floyd, The Police, Lone Justice, The Faces, Wilco, The Head & The Heart, Stephen Stills, The Strumbellas, Canned Heat, Three Dog Night and Maurice Williams & The Zodiacs. New songs made in quaratine by Old Crow Medicine Show, Haim and the Drive-By Truckers. Plus a sweet team-up with Bright Eyes and Emmylou Harris!

Don’t put your trust in politicians and con artists. Trust in science. The COVID-19 pandemic is no where near being contained. Wear a mask in public and show respect for each other because we’re truly in this together.


(click player for QuaranTunes-Music For Social Distancing Vol. 4)






Jam Jar-#1-


We’re Opening Up A Jar Of Great Jams On PodCloud1!

It’s the debut episode of a brand new show here on PodCloud1. Join host PeeperD for a mix of live concert cuts and studio tracks by a wide variety of jam bands from all across the scene. Each episode includes a segment we call “kissing our mother” where we pay tribute to the band that gave birth to the whole movement-The Grateful Dead.

This edition includes live music from The String Cheese Incident, ALO and Zero. Collaborations between the Jerry Garcia Band and “big man” Clarence Clemons and Bob Weir and Widespread Panic spice up the mix. Plus a classic Grateful Dead performance from 1989’s summer tour.

Jam Jar Will Appear Monthly On PodCloud1. Add It To Your Calendar!


(click player for Jam Jar 1)





Isolation Breakout -(Midnight Max Mix)-

Midnight Max Is Ending His Isolation & New Jams Are Starting To Flow!

Join Midnight Max as he breaks out new tunes from Pearl Jam, Alice Cooper’s Ryan Roxie and Jessie Wagner. Max also digs back to the 60’s & 70’s with The Dave Clark Five, Big Star and Neil Young. This pod also includes music by Midnight Oil, The Trashed Romeos, Joan Jett & The Blackhearts, The Bees, Mike Campbell and The Cult. Plus a final goodbye to the heart of our soul-the great Bill Withers.

Come along with Max for a breakout musical tour on The Midnight Max Mix!


(click player for Isolation Breakout-The Midnight Max Mix)





Reggae Mix # 30-

PodCloud1’s Reggae Mix Is Back!

Just in time for the arrival of summer and warm sunny days, PodCloud1’s Reggae Mix delivers a pod of crucial riddims for your listening pleasure. Music from Alpha Blondy, Culture, Barrington Levy, Israel Vibration, Ken Boothe, Mikey Dread, Finley Quaye, Twinkle Brothers, Jennifer Levy, Dawn Penn and The Webber Sisters. Featuring a team-up by King Tubby and Lee Scratch Perry. Plus Ras Michael & The Sons of Negus.

Crank Up Your Sound System And Lose Yourself In The Reggae Rhythms!


(click player for Reggae Mix-Volume 30)






World On Fire-(PeeperD Pod)-


Searching For A Musical Way To Stay Centered In A World On Fire

Join host PeeperD as he struggles to navigate a world that’s falling apart by turning to the healing power of music. New music by Nahko & Medicine For The People, Local Natives,  The James Hunter Six and The Indigo Girls. Timely tunes from The Avett Brothers, Mavis & Pops Staples, Primal Scream, Sarah McLachlan, Wilbert Harrison and The Sam Roberts Band. Bono and The Edge rise above and Bob Marley & The Wailers know that every little thing is gonna be alright. Angry and uplifting at the same time!

A socially-conscious pod that searches for the light in the middle of the darkness.


(click player for World On Fire-The PeeperD Pod)





Left Of The Dial: College Radio 80s-vol. 15 –

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!

Songs from The Replacements, Thompson Twins, Madness, 10,000 Maniacs, Adam Ant, The Soft Boys, Wall Of Voodoo, The Motels, Yello, The Wolfgang Press, Midge Ure, The Motors, Galaxy 500, The Dead Milkmen and Mission Of Burma. One listen and you’ll see why college radio was where it was all happening.

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. 15)






Radio Hannibal 16-


The Candyman Is Back In Town!

Radio Hannibal delivers a sugary sweet mix full of musical confections with Echo & The Bunnymen, Iggy Pop and The B-52’s Kate Pierson, Golden Earring and The Archies.

Featuring new music from The Pretenders, Christine & The Queens and Jake Bugg. Lake Street Dive, The White Stripes and Johnny Rivers top things off. Hannibal offers some perspective on enjoying your time in quarantine. Plus a cool seasonal salute by the group War completes this box of sweet treats. Enjoy this sonic sugar high!

This Pod Is The Escape From Reality You’re Looking For!


(click player for Radio Hannibal-Episode 16)