On his follow up to 2018’s The Optimist, Ryan Porter and his friends the West Coast Get Down are once again swinging for the fences and bring jazz into the spotlight for a whole new generation. Rehearsed and recorded in five-hour bursts in multiple locations, Force For Good is a fearless step forward into the future of American jazz that celebrates America’s greatest art form even as it challenges what came before it. Join us as we discuss Porter’s seemingly limitless talent, the normalization of jazz in the popular culture, and much more.
Empire of the Sun brought all the costumes, set props, and backup dancers you know and love for three-night, completely sold-out stop at The Showbox in Seattle, all in celebration of the 10th anniversary of their debut album Walking on a Dream.
On his latest album as Fruit Bats, Eric Johnson is looking back at dark times almost fondness, taking joy in the even the smallest of steps towards a brighter future that awaits.
Gold Past Life — his first LP on Merge Records — signifies the start of a new era for the lauded singer/songwriter. The end of the road he started out on with 2014’s EDJ, it’s songs are overflowing with harmonies, hooks, and, most importantly, heart. A life-affirming slice of pure pop perfection, it is Johnson’s finest work to date and one of the few albums you NEED to hear in 2019.
Van Halen’s 5150 was a turning point for the legendary party rockers for more than one reason. The replacing of original front man David Lee Roth with rocker Sammy Hagar was what was driving headlines, but the real news was in the music. Revved up, radio-friendly, and raring to go, this “new” Van Halen supplemented often questionable machismo with synths, honest-to-god pop hooks, and, most radically: Feelings.
Washington Post Pop Critic Chris Richards and Broke Royals’ Philip Basnight are joining us as we reconsider one of the most divisive albums of Van Halen’s career, reveal it’s secrets, and more.
From the album cover right down to the final spastic notes, Van Halen's (Van Hagar's?) 5150 is a master class on everything thing that it took to be trashy, cheezy and borderline awful in the 80's. It also somehow they managed to pull it all together despite itself record that, while itdemands your devil horns in the air despite it's assy shell.
For longtime fans of the band, this record was pretty much the end. David Lee Roth hit the road after 1984, and the news that the badn would carry on without him infuriated said fans, espesically when they found out who with.
For folks like me though, who had barely experienced the Van Halen of old, this newer, sleeker Van Hagar was just what the doctor ordered. Sammy Hagar who was familiar to anyone who had MTV at the time thanks to his megahit "I Can't Drive 55" brought a sort of California sleaze to the band that was a sharp contrast to David Lee Roth's Vegas showmanship.
The band sounded greasier than it ever had before. Sure, the record had its future-classic-bombs like "Love Walks In" (which is apparently about aliens...not metaphorical aliens but ACTUAL aliens) and "Why Can't This Be Love". But it also gave the world some absolutely EPIC guitar workouts on songs like "Good Enough", "Best of Both Worlds" and "Get Up" and arguably, thanks to Eddie Van Halens newly invented Floyd Rose locking tremelo system, some of the most innovative work of the bands career.
So is it bad? Oh hell yes it's bad. But it's bad in the very best ways. An album like this takes you right back to that point in your life where music, good or bad, was just beginning to get awesome for you. All the clichés that you'd later pick out, all the horrible cringe worthy lyrics, they just didn't matter. All that mattered was that Van Halen was blasting out of you speakers, scaring the neighbors and turning you into a much cooler person, which is about all you could really ask for from rock and roll those days. All you could ask for, and all you needed.