I talked to Lindsey Jordan aka Snail Mail about Lush (my favorite album of the year, if you’re new here), sequencing, stanning Television, and some other good stuff for FLOOD Magazine. I managed to even get a Joan Didion ref in there, so check it out.
It is such a privilege to be able to tell someone else’s story, and I am so lucky that I got to do that with this, the first video I story edited and produced for Iris. This is just a scratch in the surface of Dylan Hundley’s story, but I am quite proud of it.
Churning through season 2, y’all:
Episode 7: Easter – Patti Smith | January 19, 2018
Bonus: Guest session on Chris Frantz’s Talking Head Radio Show (WPKN) | January 26, 2018
Episode 8: After The Gold Rush – Neil Young | February 12, 2018
Episode 9: “Street Hassle” – Lou Reed – special mini episode | February 23, 2018
Carly and I took ’77 Music Club from our apartment to Bridgeport, CT for a guest session with the always fun and funky and wonderful Chris Frantz on his monthly WPKN radio show. We had a blast playing and talking about some of our favorite tunes that we’ve covered on the pod so far. ICYMI, listen to the archived interview here.
By 1972, British music had fully renewed itself on the American scene in the form of glam rock. David Bowie, Slade, and Roxy Music were all part of this musical landscape that Marc Bolan and his band T. Rex expanded and exemplified. Glitter, platform boots, sci-fi imagery, and ’50s rock n’ roll roots made this sub-genre exciting, fresh, and new to kids of the ’70s who may not have realized that this was the rock n’ roll of Chuck Berry, Howlin’ Wolf, and Little Richard — just amped up and fuzzed out for the new generation.
T. Rex’s album The Slider made full use of all of these elements to create a vibe that spoke to a new generation of rock fans. The album was the pinnacle of the dreamworld that Marc Bolan created, and it leaves us spellbound more than 40 years later. In this episode, we theorize over some extremely poetic lyrics, attempt to decode Bolan, introduce a new hashtag (#RespectTheSequence), and somehow, somehow connect T. Rex to DJ Khaled.
Last Halloween, my best friend, Carly Jordan, had an idea: what if we turned all the time we spent analyzing every little thing about albums for fun and turn it into a podcast? Every other week, we’d discuss a different album and share our unconventional love of older music; we’d try to bridge a generation gap; we’d try to carry the torch.
After a few months of questioning if it was an appropriate time to release a music podcast, it’s here. In the coming months you’ll hear us talk about a variety of albums, from Betty Davis to Talking Heads to Big Star. But to start, we kicked off with our favorite (obviously) — this little known nugget from Stevie Nicks and Lindsey Buckingham from their days before Fleetwood Mac — because how could we not? Sneak a peak of each post below and be sure to follow (details below) for more.
Two years before joining Fleetwood Mac, Stevie Nicks and Lindsey Buckingham had no idea what lay ahead of them. They were just two kids who wanted to make great music — and they just happened to be in love.
A cult favorite of Fleetwood Mac fans, this album is curiously still only available on vinyl. While bootlegs of the album can be streamed on YouTube, it has never been (officially) released on cassette, CD, or to streaming services like Spotify. This is perhaps part of the attraction to the album — this is music that doesn’t outright present itself; it must be found.
In this episode, we discuss why we both call this album our favorite of all time, what makes it unique, and why it still takes our breath away hundreds of listens later.
If you couldn’t guess from her lyrics, you would immediately be able to tell from the eloquence, candor, and unabashed honesty of Carly Simon’s speech that, if you hadn’t yet read her memoir “Boys in the Trees,” you were in for a ride.
Simon brought her new book to life Wednesday night in discussion with author and journalist Sheila Weller, who had previously written about Simon in her 2008 biography “Girls Like Us: Carole King, Joni Mitchell, Carly Simon — and the Journey of a Generation.”
“Few women writers in any genre write as passionately about love as you do,” Weller noted. Simon is part of a small group of female rock stars who have paved the way for women today, spending the past forty years writing, singing, and talking publicly about love — and sex — openly, freely, and with a refusal to let society shame them. “Boys in the Trees” is an extension of that, picking up where her lyrics left off.
“I am not a person who lets go of the past easily,” Simon said. But there’s no bitterness or regret when she reflects on it, from a childhood marred by a debilitating stammer and family secrets to a storybook marriage dreamed of with ex-husband James Taylor crumbling under the strain of his drug addiction.
Nor was there any salaciousness when Simon spoke at length about the famous men in her life, including Warren Beatty and Mick Jagger, as well as Taylor, leaving the audience hanging onto every velvety smooth word. Rather, Simon’s seduction of an audience lies in her ability to speak and write from a sensitive, vulnerable, and deeply caring woman’s perspective.
Every word, every description drips with poetic romanticism. Chemistry with Mick Jagger while recording “You’re So Vain” was like “trying to stay within a pink gravity that was starting to loosen its silky grip on me.” She likens her relationship with Taylor to music, like they were a perfect fourth, the reedy tone of his voice piercing through her husk. Even after the end of their marriage, he still has a place in her heart, she said, as if her body contains a part of his DNA. Her biggest revelation: “I’ve stopped trying to stop loving. The parts that were loving are still in me. They’re still there.”
Although “Boys in the Trees” is largely about her relationships with men, there’s more to it than that.
“Pay attention to who you like. You can imitate them — you’ll get your own voice,” Simon advised young women. No, “Boys in the Trees” isn’t a story just about the boys. It’s a story about how one woman stopped emulating other voices and eventually found her own.