Backwards Beats Podcast

Music is a fantastic vehicle for communication, both verbal and nonverbal. Music can cause joy or invoke anger. Music can stand as a rallying cry. In this Sidetrax episode, we dive into songs of civil disobedience.   #civildisobedience #resist #protestsongs

Dan and Carl dig into Al Green’s Greatest Hits (1975)—a deceptively “easy” entry on Rolling Stone’s 500 Greatest Albums of All Time list (#456). What starts as a discussion of timeless soul classics quickly turns into a deeper look at Al Green’s singular vocal style, the Hi Records sound, and the musicianship that makes these songs feel effortless while being anything but. Along the way, they explore Green’s gospel roots, his peak creative run in the early ’70s, and the complicated personal history that sits behind some of the most romantic music ever recorded. Key Points Why a greatest hits album still earns its place on the RS 500 list—and why almost any Al Green album could have qualified Al Green’s background: gospel foundations, melismatic vocals, and the influence of church call-and-response The Hi Records sound: Willie Mitchell’s production, the Hi Rhythm Section, and a groove-first, behind-the-beat feel A candid discussion of Al Green’s personal controversies, accountability, and later shift toward gospel and ministry Why this music feels eternal—less about theory or charts, more about feel, tone, and restraint Music Referenced Love Symbol by Prince Damn You by Prince D'Angelo Maxwell Erica Badu Otis Reading Steve Perry Luther Vandross Tower of Power Willie Mitchell I Can’t Get Next to You by Temptations The Brecker Bros. by Brecker Brothers Randy Brecker Michael Brecker Blood Sweat and Tears David Sandborn Don Grownick Bob Mann Will Lee Harvey Mason Trisha’s Mood by Ruby Ruschen Join us next week when we celebrate Bo Diddly and Go Bo Diddly by Bo Diddly

In Episode 56 of Backwards Beats, Dan and Carl dive into Sinéad O’Connor’s 1990 breakthrough album I Do Not Want What I Haven’t Got, ranked #457 on Rolling Stone Magazine’s 500 Greatest Albums of All Time list. The hosts explore O’Connor’s uncompromising artistry, emotional directness, and complex relationship with fame, while unpacking the musical and cultural impact of her most famous recording, “Nothing Compares 2 U.” Along the way, they examine her vocal technique, production choices, and fearless creative risks, including the album’s striking a cappella title track. The conversation balances historical context, music theory, and personal reflection, highlighting why this record remains both challenging and deeply influential. Music Referenced The Lion and the Cobra by Sinéad O'Connor Nothing Compares to You by Prince Nothing Compares to You by Chris Cornell Smooth Criminal by Alien Ant Farm Live Action by Nate Smith Layla Hathaway Christian McBride Red Hot Chili Peppers Stone Temple Pilots Alice in Chains Plea by Flea Al Green Jefferson Airplane Eddie Vedder Join us next week when we hop into Al Green's Greatest Hits.

In this episode of the Backwards Beats Podcast, Carl and Dandive into album #458 on Rolling Stone’s 500 Greatest Albums of All Time list: Jason Isbell’s 2013 masterpiece, Southeastern. The duo explores Isbell’s journey from his roots in Alabama to his tenure with the Drive-By Truckers and his eventual path to sobriety, which served as the catalyst for this deeply personal record. Featuring guest commentary on vocal techniques from director Julia Cowles, the episode breaks down the album’s shifts from haunting folk narratives to gritty Americana. Music Referenced Decoration Day by Drive-by Truckers the Dirty South by Drive-by Truckers Blessing and a Curse by Drive-by Truckers outfit by Drive-by Truckers Chris Stapleton Brandy Carlisle John Prine Sturgill Simpson The Oak Ridge Boys Amanda Shires Kim Richie All My Life by Foo Fighters Bob Dylan Winona Judd Trisha Yearwood Brooks and Dunn Who Wants to Live Forever by Freddie Mercury Norwegian Wood by The Beatles Scarecrow by John Mellencamp Pink Houses by John Mellencamp Leonard Cohen Tom Waits Breakfast in Bed by Dusty Springfield Wish You Were Here by Pink Floyd Yesterday's Wine by Willie Nelson The 400 Unit Miranda Lambert Sheryl Crow Michael Jackson Laura Nyro Richard Thompson Linda Thompson Daddy Yankee Snarky Puppy Prince Join us next week as we discuss I Do Not Want What I Haven't Got by Sinead O'Connor.

In this episode of Backwards Beats, Dan and Carl dive into Kid Cudi’s 2009 debut Man on the Moon: The End of Day, album #459 on Rolling Stone’s 500 Greatest Albums list. They unpack why this record mattered at the time, how Cudi became one of the architects of “emo rap,” and whether the album’s mix of vulnerability, psychedelia, and pop-rap ambition still holds up. Along the way they debate Kanye’s influence, Cudi’s limitations as a vocalist, and whether the album works better as a full narrative arc than as a collection of individual tracks. Key Points Kid Cudi’s origin story: from Cleveland to MySpace virality, then getting pulled into Kanye West’s orbit and co-writing on 808s & Heartbreak The album as a concept record, tracing insecurity, fame, drugs, and identity across a clear narrative arc “Emo rap” as a turning point in hip-hop, with Cudi as one of its key founders Genre-bending production with synths, indie influences, and lush soundscapes that often outshine Cudi’s vocals A split verdict: big ideas and cultural impact versus uneven performances and melodrama Why the album works best when heard front-to-back, even if not every song stands on its own Music Referenced Man on the Moon: The End of Day by Kid Cudi A Kid Named Cudi by Kid Cudi Day ’n’ Nite by Kid Cudi Pursuit of Happiness by Kid Cudi Heart of a Lion by Kid Cudi Make Her Say by Kid Cudi 808s & Heartbreak by Kanye West Graduation by Kanye West The College Dropout by Kanye West Donda by Kanye West Heartless by Kanye West Paranoid by Kanye West MGMT Common Poker Face by Lady Gaga Blame It by Jamie Foxx Blame It by T-Pain Red Hot Chili Peppers Chris Martin Apologize by OneRepublic Bon Iver Melodrama by Lorde Glass Houses by Billy Joel You May Be Right by Billy Joel Sometimes a Fantasy by Billy Joel From Chaos by 311 Aja by Steely Dan Southeastern by Jason Isbell Join us next week when we explore Southeastern by Jason Isbell! #

In Episode 53 of Backwards Beats, Dan and Carl kick off Season Three by diving into Lorde’s Melodrama—album #460 on Rolling Stone’s 500 Greatest Albums of All Time list. The conversation frames Melodrama as both a breakup record and a loose concept album, tracing the emotional arc of a single house party from start to finish. Along the way, they unpack Lorde’s rapid rise, her relationship with pop stardom, and how this album cemented her voice as one of the defining sounds of modern pop. The episode balances context and critique, looking closely at Lorde’s songwriting, vocal choices, and the heavily electronic production shaped by Jack Antonoff. Dan and Carl debate what works, what dates the record, and why Melodrama still holds cultural weight nearly a decade after its release. Music Referenced Melodrama by Lorde Pure Heroine by Lorde Royals by Lorde In the Air Tonight by Phil Collins Sober by Tool Life on Mars by David Bowie Taylor Swift Arcade Fire Bjork Ellie Golding happier than ever by Billie Eilish Jagged Little Pill by Alanis Morissette one week by Barenaked Ladies Walk Off the Earth The Beatles The Rolling Stones The Who Deep Purple Yes Rush Van Halen ABBA James Taylor James Brown Bootsie Collins Marvin Gaye Black Album by Metallica Use Your Illusion by Guns N' Roses Nevermind by Nirvana Blood Sugar Sex Magik by Red Hot Chili Peppers Pink Join us next week when we dive into The Man on the Moon: The End of the Day by Kid Cudi

This special Year in Music Highlights episode of Backwards Beats is a curated reaction show built from our 10 most popular episodes of the year. For each episode, we selected one standout moment the clip that generated the strongest response, and then reflect back on what we learned. Join us as we reflect on our journey through podcasting in 2025. The highlights come from episodes covering: Arcade Fire (Funeral), Sheryl Crow, Selena, Lady Gaga, Bonnie Raitt, Muddy Waters, John Mayer, Harry Styles, and LTJ Bukem. This episode works as: • A best-of entry point for new listeners • A recap of the year’s most engaging musical conversations • A behind-the-scenes look at how we actually listen to records This episode captures the core of what Backwards Beats is about! Albums Discussed: -- Funeral by Arcade Fire -- Born This Way by Lady Gaga -- Continuum by John Mayer -- Nick of Time by Bonnie Raitt -- Sheryl Crow by Sheryl Crow -- Amor Prohibido by Selena -- The Journey Inward by LTJ Bukem -- FIne Line by Harry Styles -- Muddy Waters Anthology

In this Sidetrax Episode, Dan is flying solo digs in to Ace Frehley's amazing contributions to the original 6 KISS records. This episode features a cover of the song Fractured Mirror.   Go over to our Patreon for the full - uncut episode at https://patreon.com/backwardsbeatspodcast.

It's that time again! Carl will roll for his fate and create a cover off one of the albums reviewed in season 2! Come check out his process and hear what his silly mind comes up with in this exclusive Sidetrack season short!

In this Side Tracks episode of Backwards Beats, Dan and Carl tear into Too Much Stereo (2000) by The Urge—a band they both respect but feel never got the recognition their musicianship deserved. They explore the group’s blend of ska, rock, punk, reggae, and 80s–90s alt flavors, and break down why this record is so energetic, so well-played, and unfairly overlooked. Between deep dives into bass lines, vocal technique, and production choices, they also wander into some unhinged tangents (including what you can hide inside a turkey), plus plenty of 311 references and genre-nerd enthusiasm. Key Points Album Background – Too Much Stereo dropped in 2000 on Immortal Records; polished, high-energy, genre-blending, and arguably one album too late for the scene shift. The Urge’s Sound – A fusion of ska horns, rock aggression, punk energy, reggae undercurrents, and 80s-tinged melodic instincts. Musicianship Spotlight – Bass: Carl Grable’s playing is the standout of the entire album as fluid, melodic, precise, loaded with tension notes, but always tasteful. Drums: Creative fills, tight pocket, and fearless choices that somehow work. Vocals: Steve Ewing’s delivery is distinct, articulate, bold, and genre-fluid. Arrangement: Strong dynamic layering, bright verse/chorus contrast, and thoughtful instrumentation throughout. Themes – Why this band didn’t blow up despite having the chops. The late-90s/early-2000s shift that buried bands like this. The tension between brilliant musicianship and commercial timing. Verdict – Dan and Carl both agree: the album absolutely holds up, deserves more attention, and delivers banger after banger with zero filler. Music Referenced Receiving the Gift of Flavor by The Urge Master of Styles by The Urge Galvanized by The Urge Beautiful Disaster by 311 Less than Jake Goldfinger Incubus Korn Rearranged by Limp Bizkit Glorified G by Pearl Jam Supermassive Black Hole by Muse One Week by Barenaked Ladies Karma Police by Radiohead Paranoid Android by Radiohead Red Hot Chili Peppers Blues Traveler Brand New Heavies Pepper by Butthole Surfers Damaged by Black Flag Pictures of Nectar by Phish Journey Faith No More Mike Patton Avett Brothers Snarky Puppy Tower of Power The Heavy Metal Horns Nelly Kiss Linkin Park Foo Fighters INXS The Cult King's X

Dan and Carl dive into Discipline by King Crimson for a Convince Me! episode. Dan brings the 1981 reinvention-era Crimson to Carl, who’s heard of the band more than he’s actually heard the band. What follows is a deeply nerdy, musically technical, and surprisingly heartfelt discussion about prog rock, mis-buying albums as teenagers, King Diamond confusion, interlocking guitar madness, Adrian Belew’s vocal chops, Fripp’s strict musical geometry, and why this seven-track album still hits like a brick of ideas. They break down each song, calling out rhythmic trickery, Chapman Stick wizardry, Talking Heads DNA, Zappa-esque spoken-word chaos, unexpectedly gorgeous balladry, and the political undercurrent inside “Thela Hun Ginjeet.” Carl even makes a compelling case that the entire record functions as a narrative arc. By the end, Carl is fully convinced: Discipline outperforms a chunk of the official Rolling Stone list. Key Points Album Setup: Dan chose Discipline as a non-500-list entry he suspected Carl would appreciate due to Carl’s love of complex, groove-heavy music. King Crimson Primer: Quick history lesson — original late-60s/70s Crimson, the Red era, the 1980 breakup, and the 1981 rebirth with Fripp, Belew, Levin, and Bruford. Why This Era Matters: This lineup shifted from mystical/psychedelic prog to interlocking rhythmic systems, polyrhythms, and angular art-rock. Musicianship: High-level execution across all instruments, especially the dual-guitar architecture and Levin’s Stick work. Production Notes: For 1981, the album sounds crisp, detailed, and roomy; the only minor nitpick is the lower-end punch by modern standards. Carl’s Verdict: Strong yes — he’d buy it, he’ll revisit it, and it outshines many albums on the official list. Music Referenced Discipline by King Crimson Red by King Crimson In the Court of the Crimson King by King Crimson Beat by King Crimson Three of a Perfect Pair by King Crimson King Diamond Jefferson Airplane Talking Heads Frank Zappa David Bowie Steve Vai Fear and Innoculum by Tool Chocolate Chip Trip by Tool 46 & 2 by Tool Mars Valta Tony Levin S.C.I.E.N.C.E. by Incubus Money by Pink Floyd

In this Sidetrax episode of Backwards Beats, Dan and Carl explore the pull of songs built on 6/8 and other six-based feels. They break down why this meter hits differently, how it shapes emotion and groove, and why it shows up everywhere from soul classics to modern pop. The discussion moves from music theory basics to a curated tour of standout tracks across decades, plus a few surprises, fake sponsors, and a live listening reaction. Key Points How 6/8 differs from 3/4 and 4/4, and why the “feel” matters more than the notation. Why the six-feel creates sway, momentum, and emotional weight. Historical roots in church music, blues, and early soul. Why shuffle feels, triplet feels, and swing blur into the same rhythmic family as 6/8. Examples where the meter is ambiguous but the feel is undeniable (Toto, Dave Matthews Band, System of a Down, A Perfect Circle). Live reaction to Led Zeppelin’s Since I’ve Been Loving You from The Song Remains the Same. The 6/8 connection back to blues and gospel as the foundation for countless modern ballads. Sidetrax flavor: fake sponsors, foraging paranoia, and Dan and Carl being Dan and Carl. Extended version with music clips available on Patreon. Music Referenced Iron Maiden House of the Rising Sun by The Animals I've been loving you so long by Otis Redding Dreams to remember by Otis Redding Richie Valens Symphony No. 9 in D Minor, OP. 125 "Choral": II. Scherezo. Molto vivace - Presto Chicago Transit and Authority Colour My World by Chicago O'Darlin' by The Beatles Norwegian Wood by The Beatles Bella Flek and the Flek tones Johnny C Quadrophenia by The Who Love, Reign O'er Me by The Who Eminence Front by The Who Blood, Sugar, Sex, Magik by Red Hot Chili Peppers Breaking the Girl by Red Hot Chili Peppers Give it Away by Red Hot Chili Peppers Under The Bridge by Red Hot Chili Peppers Porcelain by Red Hot Chili Peppers Never Tear Us Apart by INXS Hallelujah by Jeff Buckley Kiss from Rose by Seal One more try by George Michael kissing a fool by George Michael Untitled (How Does It Feel) by D'Angelo Dangerous Woman by Ariana Grande Lose control by Teddy Swims Wildflowers & Wine by Marcus King Stay Awhile by Edie Brickell Picture Perfect Morning by Edie Brickell The Song Remains the Same by Led Zeppelin Since I've Been Loving You - (Live at MSG 1973)[Remaster] by Led Zeppelin The Hollow by A Perfect Circle Rosanna by Toto Hold the Line by Toto Drive In, Drive Out by Dave Matthews Band Satellite by Dave Matthews Band Fine Line by Harry Styles Harry's House by Harry Styles She by Harry Styles Sometimes salvation by the black crow's

Episode 46 dives deep into For Emma, Forever Ago by Bon Iver — an album born from heartbreak, illness, and isolation in a Wisconsin cabin that has since become modern indie folklore. Dan and Carl unpack the myth and the reality behind Justin Vernon’s retreat, his shift into the Bon Iver moniker, and how a small self-released record snowballed into a career-defining breakthrough. The guys also weave in their trademark sidebars: regional listener stats, sausage and kielbasa taxonomy, chicken-butchering trauma, and seasonal talk of Advent calendars and questionable Christmas songs. It’s all here.   The Best Christmas Song in the Universe An Old Fashoned Christmas (Daddy's Home)   Drip by Tigran Hamasyan YouTube   Key Points The album comes from Justin Vernon’s period of illness, heartbreak, and reclusion in his father’s hunting cabin — the “cabin myth” that helped shape its legacy. Bon Iver’s name stems from a French phrase meaning “good winter,” pulled from the TV show Northern Exposure. “Lump Sum,” “The Wolves (Act I and II),” and “re: Stacks” emerge as standout cuts — with strong arguments for the latter two as the album’s emotional high points. “Skinny Love,” while the commercial hit, isn’t necessarily the musical centerpiece. Billie Eilish has cited “Creature Fear” as an influence, specifically inspiring a melody in when the party’s over. The album operates as a loose concept arc: descent, confrontation, collapse, clarity, and release. Music Referenced When the Party Is Over by Billie Eilish Phineas One direction My Morning Jacket Jim James Jacob Collier Hey Ho by the Lumineers That lady by The Isley Brothers Who's that lady by The Isley Brothers Porcelain by Red Hot Chili Peppers Coldplay Chris Martin into the wild by Eddie Vetter Every breath you take by The Police If you love somebody, set them free by Sting Beirut Nine Inch Nails St. Vincent Miley Cyrus

In this episode, Dan and Carl dive deep into The Gilded Palace of Sin — the 1969 debut from The Flying Burrito Brothers, ranked #462 on Rolling Stone’s 500 Greatest Albums of All Time. Formed by Gram Parsons and Chris Hillman after leaving The Byrds, this record pioneered the fusion of country, rock, and soul — laying the foundation for Americana and alt-country decades before those genres had names. Through witty banter, historical context, and musical analysis, the hosts unpack the album’s cosmic twang, its groundbreaking use of pedal steel, and the strange brilliance of songs like “Hot Burrito #1” and “Sin City.” Along the way, they explore Gram Parsons’ ties to The Rolling Stones, the LA country-rock scene, and the tension between parody and sincerity in a record that shaped future giants like The Eagles, Linda Ronstadt, and Emmylou Harris. Key Points Origins & Context Formed in Los Angeles by Gram Parsons and Chris Hillman after their departure from The Byrds. Recorded at A&M Studios (later Jim Henson Studios) in late 1968 and released in February 1969. Featured the legendary Sneaky Pete Kleinow on pedal steel, also known for his animation work on Gumby and Star Wars. Blended country, blues, soul, R&B, and psychedelic influences into what Parsons called “cosmic American music.” Signature Sound Prominent use of fuzzed-out pedal steel guitar and unconventional mixing choices (hard-panned vocals and instruments). Juxtaposes authentic country stylings with experimental textures and R&B harmonies. Introduced a sonic palette that inspired countless artists in the 1970s country-rock boom. Legacy Though initially a commercial failure, The Gilded Palace of Sin became a touchstone for country-rock and Americana. Influenced artists like The Eagles, Poco, and Emmylou Harris. Gram Parsons’ vision and tragic early death cemented his status as one of rock’s mythic figures. Music Referenced Sweetheart of the Rodeo by The Byrds Gram Parsons Chris Hillman Sneaky Pete Kleinow Chris Etheridge Michael Clarke Fast Eddie Ho John Corneal International Submarine Band Keith Richards Exile on Main St. by The Rolling Stones Honky Tonk Women by The Rolling Stones Lou Reed Stephen Stills Crosby, Stills & Nash Otis Redding The Temptations The Everly Brothers Hank Williams Merle Haggard George Jones City of New Orleans by Arlo Guthrie Do Right Woman, Do Right Man by Aretha Franklin Dark End of the Street by Aretha Franklin Dark End of the Street by James Carr Heart Like a Wheel by Linda Ronstadt Faithless Love by Linda Ronstadt Dark End of the Street by Linda Ronstadt Willie Nelson Ry Cooder Joni Mitchell Stevie Wonder Emmylou Harris Take It to the Limit by The Eagles Poco The Desert Rose Band Biding My Time by Tom Petty Johnny Cash Procol Harum Little Feat Little River Band Bernie Leadon Damon Albarn Synkronized by Jamiroquai Canned Heat by Jamiroquai The Light For Days by Jacob Collier Join us next week when we dive into the Hipster's dream... For Emma, Forever Ago by Bon Iver

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.