How revolutions in recording technology remade the sound of the popular song. Studio technology has evolved from Edison's massive and unwieldy acoustic horn to an infinite array of possibilities that fit on the smartphone in your hand. In Episode 3 of Rearranged, we explore the revolutions in the sound of the popular song that accompanied revolutions in how we record sound. Guests: Brandon Shaw McKnight (Charles P. Harris) is a Baltimore-based actor, singer, and director. https://bshawmcknight.art/ Charles Cronin is a lawyer, musician, and historical musicologist in Los Angeles. He has taught at Claremont Graduate University and George Washington University, and he helped build GWU's extremely handy Music Copyright Infringement Resource. https://blogs.law.gwu.edu/mcir/authors-and-contributors/ Susan Schmidt Horning is an associate professor of history at St. John's College in Queens, New York. https://www.stjohns.edu/academics/faculty/susan-schmidt-horning John Morrison is a writer, producer, and DJ in Philadelphia. https://www.johnmorrison215.com/ Thanks to: Brandon Shaw McKnight Charles Cronin Susan Schmidt Horning John Morrison The theme music and other scoring music for Rearranged was written and recorded by Lawrence Lanahan. Music discussed: “After the Ball,” Charles P. Harris, 1892. King Oliver and his Creole Jazz Band, Classics Records, 1992. https://www.discogs.com/release/11895715-King-Oliver-And-His-Creole-Jazz-Band-1923 Bessie Smith: Downhearted Blues, Original 1923-1924 recordings, Naxos, 2003. https://www.naxos.com/CatalogueDetail/?id=8.120660 “Every Breath I Take,” Gene Pitney, Musicor, 1962. https://www.discogs.com/release/6077743-Gene-Pitney-Every-Breath-I-Take- It Takes a Nation of Millions to Hold Us Back, Public Enemy, Def Jam, 1988. https://defjamshop.com/products/public-enemy-it-takes-a-nation-of-millions-to-hold-us-back-lp SWP: Southwest Psychedelphia, John Morrison, 2020. https://johnmorrison215.bandcamp.com/album/swp-southwest-psychedelphia