Dan and Carl dive deep into Laura Nyro’s Eli and the Thirteenth Confession, the 1968 album sitting at #463 on Rolling Stone’s list of the 500 Greatest Albums of All Time. Known for her blend of pop, jazz, gospel, and soul—and her influence on artists like Elton John and The 5th Dimension—Nyro’s work is both ambitious and divisive. The hosts unpack her fearless songwriting, theatrical delivery, and chaotic arrangements while wrestling with whether the record truly earns its critical acclaim. Along the way, they highlight standout musicians like bassist Chuck Rainey and arranger Charlie Calello, compare the album’s structure to a Broadway production, and even drop in a few of their signature fake ads. Key Points Artist Background: Laura Nyro was a Bronx-born prodigy who taught herself piano, began composing at eight, and wrote hits later covered by major artists including The 5th Dimension, Barbra Streisand, and Blood, Sweat & Tears. Album Context: Released in 1968, Eli and the Thirteenth Confession blends pop, gospel, soul, and musical theater influences. Despite critical acclaim, it wasn’t a commercial hit and peaked at #181 on the Billboard 200. Production Notes: Co-produced and arranged by Charlie Calello, featuring elite session players like Chuck Rainey and Zoot Sims. The album’s lush instrumentation and complex arrangements hint at a conductor’s precision. Signature Tracks: “Eli’s Comin’” (later a hit for Three Dog Night), “Sweet Blindness” (covered by The 5th Dimension), and “Stone Soul Picnic.” Critical Take: While Nyro’s ambition and musicianship are undeniable, Dan and Carl ultimately agree that Eli and the Thirteenth Confession doesn’t belong on the Rolling Stone Top 500. It’s inventive, but overindulgent and uneven in execution. Music Referenced Wedding Bell Blues by The 5th Dimension Sweet Blindness by The 5th Dimension Stone Soul Picnic by The 5th Dimension Stoney End by Barbra Streisand And When I Die by Blood, Sweat & Tears The Four Seasons Engelbert Humperdinck Neil Diamond Emily by Frank Sinatra Bruce Springsteen Elton John Nina Simone Eli’s Comin by The Three Dog Night Joy To The World by The Three Dog Night Rare Earth Saturday in the Park by Chicago Aretha Franklin Here, My Dear by Marvin Gaye Carol King Quincy Jones Chuck Rainey Zoot Sims Charlie Calello Still Live by Keith Jarrett Jack DeJohnette Gary Peacock Oscar Peterson Bob James Neon by John Mayer Harry Styles Lu by Peggy Lipton Kanye West Gracie Lawrence Jacob Jeffries Vulfpeck Emily by The Singers Unlimited Try to Remember by The Singers Unlimited Join us next week when we cover The Guilded Palace of Sin by The Flying Burrito Brothers.

Dan and Carl dive into 3 + 3, the 1973 soul-funk classic by The Isley Brothers—album #464 on Rolling Stone’s 500 Greatest Albums of All Time. This episode explores the band’s transformation from their doo-wop roots to a fully self-contained funk powerhouse. From iconic covers like “Summer Breeze” and “Listen to the Music” to original gems like “That Lady” and “What It Comes Down To,” the hosts unpack the musicianship, harmonies, and sonic evolution that made this record a defining statement for the group. Expect laughs, deep dives into theory, and the usual mix of heartfelt appreciation and comedic tangents that make Backwards Beats a must-listen. Key Points Album Context: Released in 1973, 3 + 3 marked The Isley Brothers’ creative rebirth, blending soul, funk, and gospel influences while debuting their expanded six-member lineup. Recording & Influences: Recorded at The Record Plant in Los Angeles, during the same era Stevie Wonder was working on Innervisions. The interplay between these artists helped define 1970s R&B sound design. Signature Sound: Features the legendary guitar tone of Ernie Isley—fuzzed-out, sustained, and way ahead of its time. Musicianship: The Isley Brothers’ self-contained approach shines—tight rhythm section, rich harmonies, and inventive chord work. Dan and Carl break down progressions, vocal textures, and clever rhythmic layering. Legacy: The album’s versatility—balancing hits, covers, and musical sophistication—cements it as a timeless entry in funk and soul history. Verdict: A unanimous “Would You Hit It? Absolutely.” Dan and Carl both praise the album’s cohesion, groove, and staying power. Music Referenced Footsteps in the Dark by The Isley Brothers Innervisions by Stevie Wonder Songs in the Key of Life by Stevie Wonder Please Please Me by The Beatles Twist and Shout by The Beatles Rolling Stones Don't Let Me Be Lonely Tonight by James Taylor Dreams to Remember by Otis Redding You Are So Beautiful by Joe Cocker Let's Stay Together by Al Green Tell Me Something Good by Rufus Listen to the Music by The Doobie Brothers Queen of Hearts by Juice Newton Sunshine by Juice Newton Sunshine by Jonathan Edwards Summer Breeze by Seals and Crofts Reminiscing by Little River Band Boston Toto Gorillaz Sparks Big Girls Don’t Cry by Frankie Valli and the Four Seasons Sherry by Frankie Valli and the Four Seasons Fly by Michael Mayo Giant Steps by Michael Mayo Fore by Michael Mayo Nate Smith 💿 Next week: Eli and the Thirteenth Confession by Laura Nyro.🕺 Salt your melons, and keep those grooves alive.

In this episode of Backwards Beats, Dan and Carl journey into the rhythmic heart of Nigeria with King Sunny Adé’s landmark compilation The Best of the Classic Years. The hosts unpack how juju music’s hypnotic grooves and layered percussion shaped one of Africa’s most enduring musical legacies. From the celebratory pulse of “Sunny Ti De” to the sprawling “Synchro System,” they explore how Adé fused tradition and modernity—bridging Yoruba roots and global reach. Listeners will discover how Adé’s early innovations—talking drums, pedal steel guitars, and lush vocal harmonies—laid the groundwork for generations of African and world music artists. The conversation also dives into the album’s cultural resonance, its role in Nigeria’s post-independence sound, and the seamless flow that makes The Best of the Classic Years a timeless listen. Key Points Juju Origins: The episode opens with a primer on juju music—its Yoruba roots, call-and-response vocals, and rhythmic layering. Cultural Context: Dan and Carl highlight how Nigeria’s post-independence energy fueled a new musical identity blending tradition and technology. King Sunny Adé’s Innovation: Discussion of Adé’s use of multiple guitars, talking drums, and modern instruments like the pedal steel to redefine juju. Track Highlights: Deep dives into “Sunny Ti De,” “Synchro System,” and “Ogun Party” showcase Adé’s mix of spiritual themes, celebration, and technical brilliance. Sound & Structure: Breakdown of Adé’s medley approach—extended, evolving grooves instead of radio-length singles. Legacy: Reflection on how The Best of the Classic Years cemented Adé’s title as the “King of Juju” and influenced modern Afrobeat and world fusion sounds. Backwards Beats Verdict: The hosts share what makes this compilation essential listening for anyone exploring global classics beyond the Western canon. Music Referenced Ebenezer Obey Fela Kuti Bob Marley Join us next week when we cover 3+3 by The Isley Brothers.

In this episode of Backwards Beats, Dan and Carl dive into Black Uhuru’s 1981 masterpiece Red — the album that carried reggae into a new decade following Bob Marley’s passing. The duo explores how Michael Rose, Puma Jones, and Duckie Simpson, supported by legendary rhythm section Sly & Robbie, shaped a sound that fused roots reggae, dub experimentation, and modern production. With tight grooves, deep social commentary, and forward-thinking arrangements, Red defined a new era of conscious Jamaican music. Key Points Background & Lineup:Originated in Kingston’s Waterhouse district; lineup solidified with Michael Rose, Puma Jones, and Duckie Simpson.The name Uhuru means “freedom” in Swahili. Sly & Robbie’s Influence:Though not official members, drummer Sly Dunbar and bassist Robbie Shakespeare drove the band’s evolution—modernizing reggae’s sound with synth drums, dub textures, and rhythmic precision. Cultural Moment:Released just months before Bob Marley’s death, Red filled the leadership gap in global reggae, blending political consciousness with sleek 1980s production. Sound & Craft:The album balances tight, modern arrangements with deep spiritual and political lyrics. Layered guitars, female harmonies, and dub effects create a textured yet spacious mix. Music Referenced Love Crisis by Black Uhuru Sinsemilla by Black Uhuru Bob Marley Steel Pulse Hear My Dear by Marvin Gaye Cake Lenny Kravitz Frankie Valli The Jacksons Whip It by Devo Family Dinner Volume One by Snarky Puppy Amour T’es Là by Snarky Puppy Something by Snarky Puppy Lalah Hathaway Magda Giannikou Pain to Power by Maruja Leaving Babylon by 311 Inner Light Spectrum by 311 Hit the Road Jack by Ray Charles The Clash Dub Trio Soulive Real Big Fish Material Girl by Madonna Walk off the Earth Join us next week when we break down The Best of the Classic Years by King Sunny Ade

In Episode 40 of Backwards Beats, Dan and Carl unpack Maxwell’s BLACKsummers’night (2009) — the smooth, soulful comeback that reignited his career after an eight-year hiatus. They trace Maxwell’s journey from his neo-soul beginnings in the ’90s to the carefully crafted emotional world of this album, exploring how he redefined R&B’s sound in a digital era. The hosts dive into the record’s warmth, live instrumentation, and deeply intimate production style while reflecting on its place in both Maxwell’s trilogy and the wider soul landscape. Key Points BLACKsummers’night marked Maxwell’s return after 2001’s Now and introduced the first part of his planned trilogy. Discussion of the album’s standout tracks, including “Pretty Wings,” “Bad Habits,” and “Cold.” Analysis of Maxwell’s emphasis on analog sound, organic grooves, and live performance energy in a time dominated by electronic R&B. Comparison of Maxwell’s style and evolution to contemporaries like D’Angelo, Erykah Badu, and Prince. Reflection on the themes of heartbreak, self-awareness, and romantic vulnerability that define the record. Exploration of how the album’s emotional pacing and sequencing mirror the arc of a relationship. Final verdict in “Would You Hit It?” — where Dan and Carl decide if BLACKsummers’night still hits as hard today as it did in 2009. Music Referenced blackSUMMERS'night by Maxwell Purple Rain by Prince Little Red Corvette by Prince Damn U by Prince I Would Die 4 U by Prince Red by Black Uhuru Don't Speak by No Doubt The Roots Hard Times by John Legend Breakout by Soulive Steady Groovin' by Soulive Flurries by Soulive Corey Glover Living Colour Here, My Dear by Marvin Gaye Erykah Badu 5 by Lenny Kravitz Anderson .Paak SZA Chaos Miranda Lambert Adele D'Angelo Join us next week when we dive into the album Red by Black Uhuru.

In this episode of Backwards Beats, Dan and Carl explore Some Girls by The Rolling Stones, a landmark 1978 release that revitalized the band during the disco and punk era. The discussion covers how the Stones adapted to the changing musical landscape, the unique blend of styles on the album, and why Some Girls remains one of their best-selling and most beloved works. From Jagger’s embrace of disco on “Miss You” to the raw rock energy of “Respectable” and the soulful vulnerability of “Beast of Burden,” the hosts dig into the stories and sounds that defined this late-career classic. Key Points Some Girls was released in 1978, at a time when punk and disco were reshaping popular music. The album marked Ronnie Wood’s first full contribution as an official band member. Tracks like “Miss You” showed the Stones successfully pulling from disco influences, while “Shattered” and “Respectable” responded to punk’s urgency. “Far Away Eyes” highlighted their continued use of country elements in surprising ways. “Before They Make Me Run” gave Keith Richards a spotlight as lead vocalist, reflecting his personal struggles at the time. The band’s ability to adapt to shifting trends while keeping their core identity intact helped cement Some Girls as a late-career triumph. Music Referenced Black and Blue by The Rolling Stones Exile on Main Street by The Rolling Stones Sticky Fingers by The Rolling Stones Sugar Blue Ian McLagan Mel Collins Simon Kirke The Bum Bum Song by Tom Green How Bizarre by OMC Changes by David Bowie Genie in a Bottle by Christina John Melon Camp Hip to be Square by Huey Lewis Jamiroquai Join us next week when we review BLACKsummer'snight by Maxwell.

In this episode of Backwards Beats, Dan and Carl welcome special guest Nate Danciger for a deep dive into Manu Chao’s groundbreaking 1998 album Clandestino, ranked on Rolling Stone Magazine’s 500 Greatest Albums of All Time. With Nate’s Spanish-language expertise and historical insight, the trio explore the album’s multilingual lyrics, global street sound, and political urgency. From immigration and activism to reggae grooves and playful samples, Clandestino is both a personal journey and a universal statement. Though it started quietly, the record went on to sell over 5 million copies and remains a touchstone for global music lovers. Key Points Guest Feature: Nate Danciger brings Spanish fluency and cultural context, enriching the analysis of lyrics, themes, and wordplay. Artist Background: Manu Chao (born José-Manuel Thomas Arthur Chao in Paris, 1961) was raised by Spanish anti-Franco parents in exile. His immigrant roots shaped his worldview and art. Musical Style: A raw, loop-driven blend of reggae, ska, Latin rhythms, French chanson, and field recordings, evoking the sound of a traveling busker. Multilingual Lyrics: Primarily Spanish, with French, Portuguese, and English tracks. Chao often rhymes across languages, making his songs accessible even without full translation. Themes: Immigration and displacement (Clandestino). Political corruption and systemic lies (Mentira, Luna y Sol). Climate change and environmental justice (Kyoto Protocol references). Street life, resilience, and wanderlust (Desaparecido, Mama Call). Satirical and playful breaks (Bongo Bong, Welcome to Tijuana). Political Edge: Strong ties to the Zapatista movement and revolutionary ideals, with samples of speeches demanding food, shelter, and justice. Album Impact: Initially under-promoted, the album later entered the French Top 10, stayed there for years, and reached five million global sales. Music Referenced Próxima Estación Esperanza by Manu Chao Mano Negra The Clash Pixies G. Love and Special Sauce Bob Marley Blood Sugar Sex Magik by Red Hot Chili Peppers One Hot Minute by Red Hot Chili Peppers Walkabout by Red Hot Chili Peppers Funkadelic Jimi Hendrix Tell Me Is It True by UB40 Red Red Wine by UB40 Can't Help Falling in Love by UB40 Baby I Love Your Way by Big Mountain Anthem by Black Uhuru Bull in the Pen by Black Uhuru Africa by Toto Whip It by Devo Funeral by Arcade Fire Haiti by Arcade Fire Join us next week when we explore the well loved album Some Girls by The Rolling Stones

In this episode of Backwards Beats, Dan and Carl head to New Orleans to break down Juvenile’s game-changing 1998 album 400 Degreez. From the bounce-driven streets of the Magnolia Projects to Cash Money’s breakthrough into the national spotlight, this record reshaped the sound of hip-hop at the turn of the millennium. The duo unpacks Juvenile’s rise, the production genius of Mannie Fresh, and the cultural weight of singles like “Ha” and “Back That Azz Up.” Key Points Juvenile’s early career and how he connected with Cash Money Records. The unique cadence and impact of “Ha” — and how Jay-Z jumped on the remix. Mannie Fresh’s minimalist, bounce-inspired production style. The mainstream success of “Back That Azz Up” and its role in bringing Southern rap nationwide. How 400 Degreez cemented Cash Money’s reputation and paved the way for artists like Lil Wayne. The album’s lasting influence on Southern hip-hop and its legacy in music history. Music Referenced Solja Rags by Juvenile Being Myself by Juvenile Solja Rags by Juvenile Mannie Fresh Ha (Remix) by Jay-Z B.G. Lil Wayne Turk Get It How U Live! by Hot Boys Big Tymers DJ Jubilee Luxury: Cococure by Maxwell Oye Como Va by Tito Puente André 3000 Join us next week when we go international and discuss Manu Chao's Clandestino.

In this episode of Backwards Beats, Dan and Carl dive into Surrealistic Pillow (1967) by Jefferson Airplane, ranked #471 on Rolling Stone’s Greatest Albums list. They explore how the album defined the San Francisco sound, the role of Grace Slick in reshaping the band’s identity, and Jerry Garcia’s surprising influence as “musical and spiritual advisor.” The conversation blends deep analysis, fun tangents, and reflections on the counterculture movement that shaped the record. Key Points Surrealistic Pillow marked Jefferson Airplane’s breakthrough and cemented them in the Summer of Love era. Grace Slick brought two of the band’s biggest hits, “Somebody to Love” and “White Rabbit”, from her previous group The Great Society. Jerry Garcia contributed guitar parts and guidance, inspiring the album’s title. The record blends folk, rock, blues, and early psychedelia, showcasing a wide stylistic range. Discussion of mono vs stereo cuts reveals different listening experiences, with White Rabbit favored in mono. Music Referenced Jefferson Airplane Takes Off by Jefferson Airplane Flight Log by Jefferson Airplane Somebody to Love by The Great Society White Rabbit by The Great Society Magic Bus by The Who I Want Candy by The Strangeloves The Boys of Summer by Don Henley Don't Stop Believin' by Journey Never Going Back Again by Fleetwood Mac Hearts and Bones by Paul Simon Extreme They Reminisce Over You by Pete Rock & C.L. Smooth The Honeysuckle Breeze by Tom Scott Rickie Lee Jones Paul Butterfield Sara by Stevie Nicks Janis Joplin Nine Inch Nails Trent Reznor Jesus and Mary Chain Right Here Right Now by Jesus Jones Where It's At by Beck Moonlight Drive by The Doors Riders on the Storm by The Doors Watermelon Man by Herbie Hancock Law & Order Theme Crosby, Stills, Nash & Young Join us next week when we cover 400 Degreez by Juvenile.

In this episode of Backwards Beats, Dan and Carl dive into CTRL by SZA, ranked #472 on Rolling Stone’s 500 Greatest Albums of All Time. They explore SZA’s groundbreaking debut, her unique blend of R&B, hip hop, and neo-soul, and the bold themes of vulnerability, sexuality, and self-discovery that run through the record. Along the way, they discuss standout tracks, production details, and cultural impact, with plenty of humor, side tangents, and even a campaign to “buy Sesame Street.”   Music Referenced Travis Scott Kendrick Lamar Rihanna Beyonce Nicki Minaj Anderson Paak Billie Eilish Questlove Pharrell Frank Ocean Chance the Rapper Alessia Cara Drake Lil’ Kim Let's Get Dirty by Redman Wu-Tang Clan Jane Says by Jane's Addiction Drew Barrymore Who Knew by Pink Love on the Weekend by John Mayer Circles by Post Malone FutureSex/LoveSounds by Justin Timberlake Suit and Tie by Justin Timberlake Timbaland Random Access Memories by Daft Punk Get Lucky by Daft Punk Nile Rodgers SWV Erykah Badu Ariana Grande Shakira Celine Dion Domi and JD Beck Tower of Power Gary Clark Jr. The Black Keys Join us next week when we cover Surrealistic Pillow by Jefferson Airplane.

In this episode of Backwards Beats, Dan and Carl dive into Daddy Yankee’s landmark 2004 album Barrio Fino. Widely credited with bringing reggaetón into the global spotlight, the record features the smash hit Gasolina and helped shape the sound of Latin music for years to come. Dan reflects on the challenges of listening to the full 21-track project as a non-Spanish speaker, the dominance of the soca rhythm throughout, and how the album’s rapid-fire delivery can feel overwhelming. The hosts also contextualize the album within the early 2000s music scene and its lasting cultural impact. Key Points Barrio Fino (2004) established Daddy Yankee as the “King of Reggaetón.” The breakout single Gasolina became an international anthem and a defining track of the genre. Heavy use of the soca rhythm and drum machine programming gives the album a consistent—but sometimes repetitive—feel. Dan discusses how Spanish’s syllable-timed rhythm can make verses feel faster to non-native listeners, comparing it to Eminem’s rapid-fire delivery in Rap God. Legacy: Barrio Fino paved the way for reggaetón’s global dominance and set the stage for Daddy Yankee’s later successes, including Despacito with Luis Fonsi. Music Referenced Rap God by Eminem Godzilla by Eminem Despacito by Luis Fonsi Andy Montañez Don Omar Zion & Lennox Wisin & Yandel Join us next week when we dive deep into SZA's iconic album CTRL.

In this episode of the Backwards Beats Podcast, Dan and Carl dig into Big Star’s #1 Record—an album that didn’t live up to its title in sales but grew into one of the most influential records in rock history. Released in 1972 and largely overlooked at the time, #1 Record went on to inspire generations of power pop, indie, and alternative bands. The guys explore how Alex Chilton, Chris Bell, Andy Hummel, and Jody Stephens fused British Invasion pop with Southern rock charm and pristine studio production at Ardent Records. Along the way, they highlight Big Star’s incredible harmonies, clever songwriting, and the album’s surprising legacy despite its initial commercial failure. Key Points Big Star Origins – Formed in Memphis in 1971 by Alex Chilton (formerly of The Box Tops), Chris Bell, Andy Hummel, and Jody Stephens. Chilton’s background includes the teenage hit “The Letter,” while Bell’s songwriting shaped the band’s signature melodic power pop sound. Commercial Struggles – Despite critical acclaim, #1 Record initially sold only about 10,000 copies due to poor distribution and promotion, leading to internal band tensions and Bell’s departure. Production & Sound – Recorded at Ardent Studios with surprisingly polished sound for 1972, blending British Invasion influences (The Beatles, The Byrds, The Kinks) with American Southern rock and early power pop. The result feels ahead of its time and sonically tight compared to many contemporaries. Musical Influences & Legacy – The album foreshadows elements of Tom Petty, R.E.M., The Replacements (who even wrote a song called “Alex Chilton”), and countless indie rock acts. References throughout the discussion include Elton John, Bread, Todd Rundgren, Crosby Stills & Nash, The Zombies, and even future nods toward ’80s rock and grunge. Music Referenced Rocket Man by Elton John Bread Right Here Right Now by Jesus Jones #1 Record by Big Star Feel by Big Star The Ballad of El Goodo by Big Star In the Street by Big Star Thirteen by Big Star Don't Lie to Me by Big Star India Song by Big Star When My Baby's Beside Me by Big Star My Life is Right by Big Star Give Me Another Chance by Big Star The Letter by The Box Tops Eric Gales Abbey Road by The Beatles Let It Be by The Beatles A Hard Day's Night by The Beatles The End by The Beatles Across the Universe by The Beatles Turn! Turn! Turn! by The Byrds The Zombies Todd Rundgren Crosby Stills Nash & Young In My Dreams by Dokken Plush by Stone Temple Pilots Go All the Way by Raspberries Fox on the Run by Sweet Ballroom Blitz by Sweet Songs About Jane by Maroon 5 Sunday Morning by Maroon 5 Dirty Work by Steely Dan Tom Petty Cheap Trick Garbage Elliott Smith ZZ Top Ted Nugent Smokin' by Boston Lido Shuffle by Boz Scaggs The Doors Rock the Casbah by The Clash London Calling by The Clash Life's Been Good by Joe Walsh I Can't Go for That (No Can Do) by Hall & Oates Fuck You by CeeLo Green To Be with You by Mr. Big You Are So Beautiful by Joe Cocker Alex Chilton by The Replacements

In Episode 32 of Backwards Beats, Dan and Carl dive into the self-titled 1996 album Sheryl Crow, ranked #475 on Rolling Stone Magazine's 500 Greatest Albums of All Time. This sophomore record marked a decisive turn for Crow as a producer, songwriter, and artist determined to define herself beyond the massive success of Tuesday Night Music Club. The duo explores the album’s gritty production, thematic depth, and impressive musical range—highlighting Crow’s defiant vocals, smart arrangements, and her evolution as a bandleader. From radio staples like "If It Makes You Happy" and "Everyday Is a Winding Road" to overlooked gems like "Home" and "Love Is a Good Thing," this episode blends music theory, and production analysis.. Along the way, the hosts unpack artistic independence, unexpected harmony choices, and why Crow deserves more respect in both pop and rock circles. Key Points Sheryl Crow (1996) is her second studio album and a bold departure from the collaborative feel of Tuesday Night Music Club. Dan and Carl dig into the production choices—especially Crow’s use of distorted Wurlitzers, dry vocal doubles, and male background vocals that add gravitas. Special attention to vocal technique—Dan breaks down how Crow uses melody, harmony, and tone to define character and mood across tracks. Music Referenced I Just Can't Stop Loving You by Michael Jackson Celine Dion Prince Stevie Wonder Don Henley Rod Stewart Sting Continuum by John Mayer Selena Bonnie Raitt Miranda Lambert St. Vincent Heart Like a Wheel by Linda Ronstadt You're No Good by Linda Ronstadt Amy Mann Cowboy Junkies One of These Nights by The Eagles Billy Preston Let It Be by The Beatles Abbey Road by The Beatles We Like It Here by Snarky Puppy Jay Dilla Jolene by Dolly Parton Chris Stapleton Cake For What It's Worth by Buffalo Springfield Jimi Hendrix Creedence Clearwater Revival Nirvana Beck Foo Fighters John Scofield Where Is My Mind by The Pixies Don't You (Forget About Me) by Simple Minds The Rolling Stones Kevin Gilbert David Baerwald Bill Bottrell Neil Finn Join us next week when we dig into #1 Record by Big Star.

This week on Backwards Beats, Dan and Carl tackle Sparks’ 1974 glam-rock carnival ride, Kimono My House — ranked #476 on Rolling Stone Magazine’s 500 Greatest Albums of All Time. This album introduced many to the chaotic genius of Ron and Russell Mael, the brothers behind Sparks, and inspired artists from Björk to Beck. With theatrical falsetto vocals, hyperactive arrangements, and lyrics that blend wit and weirdness, Sparks bring both musical chops and flamboyant absurdity. But does that make for an album worth revisiting? Carl and Dan try to make sense of the madness. Key Points Musical Style: Operatic falsetto vocals, chaotic but tight arrangements, tongue-in-cheek lyricism. Compared to Queen, ABBA, Zappa, Supertramp, and musical theater. Dense mixes, cinematic flair, and eccentricity dialed to 11. Highlights: “This Town Ain’t Big Enough for the Both of Us” – cinematic, gunshots, soaring falsetto. “Amateur Hour” – rhythmic complexity, sex humor, and character-driven lyrics. “Thank God It’s Not Christmas” – punk-ish energy, standout descending scale hook. “Asetmañana Monsieur” – fan favorite; Beatles-style harmony meets aggressive groove. Lyrical Themes: Absurdist humor, theatrical personas, failed suicide pacts (“Here in Heaven”), narcissism, Einstein fan fiction (“Talent Is an Asset”), and the occasional circus motif. Music Referenced Come On-a My House by Rosemary Clooney Steve Winwood Spencer Davis Group Bjork Faith No More Queen Cheap Trick Depeche Mode Erasure Duran Duran Beck Franz Ferdinand Jello Biafra Dead Kennedys The Darkness Love Gun by Kiss Neighborhood #1 (Tunnels) by Arcade Fire Frank Zappa ABBA One Night in Bangkok by Murray Head Snarky Puppy Supertramp Coheed and Cambria Blackstar by David Bowie Life on Mars? by David Bowie Fame by David Bowie Billion Dollar Babies by Alice Cooper Hello Hooray by Alice Cooper Elected by Alice Cooper Electric Light Orchestra Sheryl Crow by Sheryl Crow All I Wanna Do by Sheryl Crow If It Makes You Happy by Sheryl Crow Everyday Is a Winding Road by Sheryl Crow Michael Bublé Join us next week when we cover the album Sheryl Crowe by Sheryl Crowe

This week, Dan and Carl dig into the dark, gritty, and groundbreaking Moanin’ in the Moonlight by Howlin’ Wolf — ranked #477 on Rolling Stone Magazine's 500 Greatest Albums of All Time. With a growl like gravel and a presence like thunder, Howlin’ Wolf’s debut album isn't just blues — it's the blueprint for rock ‘n’ roll. Originally released in 1958 as a compilation of previously recorded singles, this 12-track, 30-minute album is a masterclass in raw expression. The guys explore everything from the origins of the electric blues to bizarre recording choices, and even a few unexpected grooves that feel downright Dilla-esque. Whether you’re a blues head or a first-time listener, you’ll hear this album — and the blues — with new ears. 🎧 Key Points Who Was Howlin’ Wolf?Born Chester Arthur Burnett, the man behind the howl was a towering force — literally. At 6'3" and 275 lbs, his presence and voice were larger than life. The guys dig into his history, including his time in the military, his discovery by Ike Turner, and his pivotal move to Chicago and Chess Records. Format Breakdown & Song StructuresDan and Carl give listeners a crash course in blues forms — 12-bar, one-chord vamps, and even a possible D.C. Shuffle — making this episode perfect for blues newbies and music theory nerds alike. Influence & LegacyFrom The Rolling Stones to Led Zeppelin to The Black Keys, Howlin’ Wolf’s fingerprints are all over modern music — legally or otherwise. His influence extends beyond the music into stage presence, vocal delivery, and raw emotional honesty. Music Referenced Muddy Waters Phil Spector Floyd Jones Johnny Shines Sunny Boy Williams Robert Johnson Son House Willie Johnson Junior Parker Willie Steele Ike Turner James Brown Herbert Sumlin Willie Dixon Otis Spann Jody Williams The Rolling Stones The Lemon Song by Led Zeppelin How Many More Times by Led Zeppelin Smokestack Lightning by The Yardbirds Smokestack Lightning by Manfred Mann Jay Dee (J Dilla) George Benson Wolfman Jack Richard Dreyfus Stevie Ray Vaughan Frank Yonay John Popper Bob Dylan Steven Tyler Alanis Morissette Royals by Lorde Tove Lo Devil's Haircut by Beck Arcade Fire   Join us next week when we cover Kimono My House by Sparks

In this episode, Dan and Carl dive into Something Else by The Kinks, #478 on Rolling Stone Magazine’s 500 Greatest Albums of All Time list. Released in 1967 (UK) and early 1968 (US), this album shows The Kinks moving from garage rock into baroque pop, British folk, and psychedelic sounds, with Ray Davies taking complete creative control. The hosts explore sibling tension, touring bans, Beatles comparisons, wild harmonic shifts, and why Spotify’s album cataloging drives them nuts. Key Points 🎙️ Album Context: Released during The Kinks’ U.S. touring ban, Something Else reflects a more introspective, studio-based approach. Ray Davies wrote nearly the whole album, while Dave Davies contributed two standout tracks. 🇬🇧 Baroque Pop Influences: The hosts examine the album’s baroque elements—like harpsichord, vocal doubling, and experimental song structures—while noting its British charm and post-Beatles vibe. 🧠 Music Theory Deep Dive: “No Return” earns high praise for its unpredictable harmonic shifts and jazzy, Latin-inspired structure. We dissect modulations, tritones, and non-functional harmony with excitement. 🤡 Death of a Clown: Dave Davies’ top-three UK hit gets analyzed lyrically and emotionally—an introspective, Dylan-esque track about the exhaustion of touring. 🔊 Production Woes & Wins: The mix across the album varies wildly. Dan and Carl debate whether production inconsistency hurts or helps the listening experience. 🍻 Pub Rock Energy: “Harry Rag” becomes a surprise favorite—a rowdy drinking song that combines Cockney energy with expert handclaps and tongue-in-cheek lyrics. Music Referenced You Really Got Me by The Kinks Lola by The Kinks Tomorrow Never Knows by The Beatles Strawberry Fields by The Beatles Lady Madonna by The Beatles Oasis The Stooges Bob Dylan The Doors The Zombies The Point by Harry Nilsson Coconut by Harry Nilsson Simon and Garfunkel Nirvana Foo Fighters Eminem Cream The Who Brian Wilson Synchronicity by The Police Synchronicity II by The Police The Dark Side of the Moon by Pink Floyd Wish You Were Here by Pink Floyd Animals by Pink Floyd The Wall by Pink Floyd Physical Graffiti by Led Zeppelin Houses of the Holy by Led Zeppelin Thriller by Michael Jackson Rumours by Fleetwood Mac Harry Styles Englishman in New York by Sting Shaggy Jim Morrison Donald Fagen Cake Join us next week when we cover Moanin' in the Moonlight by Howlin' Wolf

This week, Dan and Carl dive into Amor Prohibido, Selena's 1994 breakthrough and a landmark in Tejano and Latin pop. Positioned at #479 on Rolling Stone Magazine’s 500 Greatest Albums of All Time, the album blends cumbia, pop, and Tejano styles with digital instrumentation and deeply emotional themes—though often delivered through upbeat, danceable grooves. The hosts explore Selena’s unique vocal control, her genre-defining influence, and the tragic story of her life cut short. They wrestle with the album's heavy use of MIDI production, ultimately acknowledging both its cultural context and experimental ambition. Plus, fake sponsors make their return with fiery critiques of Tesla performative activism and reusable toe separators turned tea stirrers. Key Points Selena's Legacy: Rising from a family band in Texas, Selena became one of the most influential Latin artists ever, blending genres like Tejano, cumbia, and pop. Her murder at 23 shocked the world and arguably ended a musical era. Production Style: The album is drenched in early-90s digital production. MIDI horns, synth pads, and drum machines dominate the sound—an aesthetic choice, not a budget constraint, reflecting Tejano trends of the time. Cultural Disconnect: Dan and Carl, as non-Spanish speakers, confront how the album’s sonic brightness masks often heartbreaking lyrical themes. Songs like “Tus Desprecios” (Your Scorn) sound joyful while describing emotional devastation. Selena's Voice: Despite the sterile production, Selena’s performances are captivating. Her control, tone, and emotional delivery cut through every track. Even without understanding the lyrics, the conviction is palpable. Music Referenced Miranda Lambert Bruno Mars Hopelessly Devoted by Olivia Newton John Back on the Chain Gang by The Pretenders The Sign by Ace of Base (What A) Wonderful World by Sam Cooke That's the Way Love Goes by Janet Jackson Emotions by Mariah Carey Have a Heart by Bonnie Raitt Red Red Wine by UB40 John Mayer Pat Benatar Cinderella The Barrio Boyzz My Morning Jacket Join us next week when we cover the album, Something Else by The Kinks

In episode 1, season 2 of Backwards Beats, Dan and Carl dive deep into Miranda Lambert’s emotionally charged double album The Weight of These Wings (2016). Released in the wake of her public divorce from Blake Shelton, this sprawling 24-track project is divided into two thematic discs: The Nerve and The Heart. The hosts explore the album’s sonic risks, lyrical introspection, and Lambert’s evolving artistic voice, praising her fearless honesty while critiquing the occasionally muddy production.   🎧 We also just launched our Patreon — it’s totally free right now, and we’ll be using it as a home for behind-the-scenes content and extra goodies. All content is free! We’re looking to build our community here. Come join the community as our first members only content will be dropping on Thursday. Key Points 🎤 Background & Legacy: Lambert, a Texas native and outlaw-country heir, delivered this album as a post-breakup catharsis, citing it as a “seven stages of grief” journey. The lead single “Vice” went double platinum. 🧠 Disc One – The Nerve: A stylistic mash-up of country, rock, and experimental pop textures. High points include “We Should Be Friends” (tight structure, clever writing) and “Vice” (dark, layered, and emotionally raw). Production is a recurring sore spot—particularly the bottom-heavy mix and gratuitous overdrive on vocals. Carl and Dan agree Lambert’s performance is consistently strong, but some arrangements suffer from over-ambition. ❤️ Disc Two – The Heart: A pivot to more traditional country storytelling with refined arrangements. The production is notably improved, allowing the songwriting to shine. 🥁 Musicianship: Frequent praise for drummer Matt Chamberlain’s tasteful Tom fills, when not buried in the mix. Rich instrumentation throughout, though sometimes overcrowded or poorly balanced. 🧠 Final Thoughts: Lambert proves she’s a powerhouse vocalist and songwriter with wide emotional range. While The Weight of These Wings could’ve benefitted from tighter editing, it remains a bold and personal work deserving of its place on the list. Music Referenced Platinum by Miranda Lambert Blake Shelton Dear John by Taylor Swift Battle Studies by John Mayer Continuum by John Mayer Paper Doll by John Mayer Love on the Weekend by John Mayer Slow Dancing in a Burning Room by John Mayer The Beatles Sonny & Cher Reba McIntire Anderson East Tammy Wynette Dolly Parton Sheryl Crow Edie Brickell Devil's Haircut by Beck Garbage In Bloom by Nirvana Unwritten by Natasha Bedingfield Lucille by Kenny Rogers Me and Bobby McGee by Kris Kristofferson Me and Bobby McGee by Janis Joplin Nick of Time by Bonnie Raitt Melissa Etheridge The Pixies You Oughta Know by Alanis Morissette Courtney Love Robert Randolph Guy Clark Jerry Jeff Walker

In this final episode of our Sidetrax bonus series, Dan takes us deep into the land of fire, ice, and... Beyoncé? Dan’s Icelandic Soundscape is part travelogue, part personal audio diary, and part homemade soundtrack — recorded across 13 days of hiking, kayaking, glacier climbing, and river crossings in one of the most surreal places on Earth. From snorkeling in the Silfra fissure to nearly summiting Rjúpnafell in Þórsmörk, this episode captures the emotional arc of the trip — scored with original music, covers, and reinterpretations of songs by Icelandic artists like Sigur Rós, Björk, and JFDR. There’s also:🧊 A grocery store that plays The NeverEnding Story theme🎹 A frozen lagoon echoing with the pulse of “Hyperballad”🐑 Sheep who do not care about your hike🌋 And a decision to turn around, not because you fail — but because you understand where you are. We also share a custom Icelandic playlist on Spotify featuring many of the artists referenced in the episode. Find the playlist here.   🎧 Featured Icelandic Artists: Björk Sigur Rós Ólafur Arnalds JFDR Sóley Jóhann Jóhannsson Grýlurnar 📌 Next week: We return to the Rolling Stone Top 500 list with Miranda Lambert’s The Weight of These Wings. Country’s coming. #BackwardsBeats #IcelandicMusic #Björk #SigurRós #TravelPodcast #RollingStone500 #SnorkelingSilfra #GlacierHike #Hyperballad #Jokulsarlon #Sidetrax #MirandaLambert #IcelandSoundtrack #IndiePodcast #MusicAndTravel

In the first ever "Carl's Covers" segment, Carl rolls a 20 sided die to find out which album of season one he'll be choosing a song to attempt to cover in one night while Dan stares at waterfalls halfway across the world. Tune in for pure chaos and a surprise cover song!