Show Notes
Shut up, already. Damn! Prince was one of the most interesting popular artists of the late 20th and early 21st centuries, and Sign o’ the Times from 1987 was the culmination of one of the most interesting periods in a career full of interesting periods. After various circumstances caused him to abandon a double album (Dream Factory), and other circumstances caused him to abandon a single album (Camille) that he didn’t plan to release under his own name, he initially tried to release a triple album before Warner Bros. made him cut it down to a double. Sign o’ the Times (the resulting double album) has its fair share of hits, yet it’s also messy in a way that appeals to many critics and fans but has also left many people puzzled by some of Prince’s decisions. This episode’s panel has three outright fans of the album (John, Mike, and Rich) and one moderate skeptic (Ben), and this combined with the album’s sprawl results in a lengthy but incredibly dense discussion. Prince was somebody who could appeal to many different people for many different reasons, and in this episode we make a case for why he’s worth digging into beyond a handful of ubiquitous radio hits.
More from Discord and Rhyme: An Album Podcast
In this week's Wrecking Crew retrospective, our crew makes a feast out of some puzzling but very fascinating table scraps, including a rowdy, drunken recording session allegedly conducted as a tax write-off for Michael Nesmith, and several songs written by the enigmatic Lee Hazlewood. And just for kicks, we threw in one of the most iconic songs of the '60s as a special bonus track!
Paul Simon, famously short of stature but enormous in talent, is one of the most beloved and acclaimed American songwriters of the past century. He has at least four solo albums that would have made for great podcast episodes, but Amanda picked There Goes Rhymin’ Simon. This is probably not his absolute best album, but it’s incredibly good and serves as an excellent introduction to his solo career. He departed from the folk-rock style of Simon and Garfunkel and expanded on his experimentations with jazz, reggae, and R&B (some of these experiments being more successful than others), always accompanied by his characteristically clever turns of phrase. The result is an album that is widely varied but also sonically consistent, very early-’70s but also timeless, and extremely interesting and fun.
This week, the D&R crew discusses a new batch of tunes featuring our favorite L.A.-area session musicians, including the accidental invention of a silly but awesome production technique, a sick beat that helped lay the groundwork for hip-hop, and a celebrated trumpeteer whose cornball music nearly tears this podcast apart.
In late 1995, Stone Temple Pilots were one of the most popular bands in the United States, but they were still widely disliked by critics. The band responded with Tiny Music... Song From The Vatican Gift Shop, where they forged their own unique identity and branched out to try a bunch of styles far from the 90's grunge music they had long been associated with. Phil has been fascinated by this record for a long time and is thrilled to share his appreciation with Rich and Dan.
Back to the Wrecking Crew! Since "Good Vibrations" got its own showcase as it deserves, this is tracks 2-6, including some of the best sunshine pop and some of the most annoying protest music, all performed expertly by the best musicians in Los Angeles.