Amanda has been threatening to talk about bluegrass on the podcast for years, and we finally settled on the perfect album to start with: Live!!!! Almost!!! by the Dillards. Half a comedy album and half a virtuoso performance by expert musicians, it’s a fantastic introduction to the genre. It was recorded in front of an audience completely unfamiliar with bluegrass music, so the band chose songs that were catchy and accessible, then made it even more engaging by adding Smothers Brothers-style jokey commentary in between. The result is an interesting and very entertaining live album that stands a good chance of winning over any bluegrass skeptics, and even if it doesn’t, it gives us a chance to explain why we like it.

Beatles For Sale is a relatively obscure album, to the extent that any Beatles album could be called obscure. This album was recorded at a time when the Beatles were creatively exhausted and almost half of it is covers, which is why it’s often dismissed as one of their weaker efforts. But we don’t think that’s fair. It’s not world-changing, that’s true enough, but it doesn’t have to be. They were still writing interesting, exciting originals, and the covers are (mostly) very well chosen and excellently performed. Once you’ve listened closely, you’ll realize that tracks like “Rock and Roll Music,” “Eight Days a Week,” and “Every Little Thing” are absolutely essential to understanding the Beatles, and even the tracks that aren't as important are still tons of fun.

As frequently as we mention King Crimson on this podcast, you’d think we would have done a proper episode on them by now. But we wanted to hold off until we could really do it up right, so this is the premiere of our three-episode series on the greatest pioneers of progressive rock. They didn’t fully invent prog, but they did more to solidify the genre than any group that had come before them, to the point where each song on their debut album spawned a different prog subgenre - so, while this isn’t the first prog album, it might be the most important. Time to get started on this journey, because the cracked brass bells have rung to summon back all us fire witches to discuss The Court of the Crimson King.

Everyone knows by now that Joni Mitchell is one of the most profoundly gifted and driven musicians of the 20th century, and it’s long past time we came back to her here on Discord & Rhyme. Court and Spark is Amanda’s favorite Joni album, and it marks the sweet spot where Mitchell balanced her desire to push boundaries with the need for accessibility. The result is a set of brilliant songs that sound simple enough on the surface, but are secretly full of strange and interesting details. We spent a very happy couple of hours analyzing her brilliant lyrics, deciphering the weird and complicated musical arrangements, and marveling at Joni Mitchell’s genius.

When Discord & Rhyme was young, it seemed that life was so wonderful, a miracle, oh, it was beautiful, magical. We also knew from day one that our podcast was eventually going to talk about Supertramp, and that day has come at last. Amanda and Rich have been immersed in the UK prog-pop band’s music from a very young age, and they’ve recruited Supertramp noobs John and Phil to round out the panel. You may be familiar with their late-’70s album Breakfast in America and its quartet of radio singles, but today we’re talking about their 1974 album Crime of the Century, a musically and psychologically dense song cycle boasting some of the best art-rock production this side of Dark Side of the Moon. Rick Davies and Roger Hodgson had diametrically opposed arranging and songwriting philosophies, which tended to make their albums extremely disjointed, but for this one album, the balance was just bloody well right.

What if you and your friends want to form a punk band, but the instruments you play are the banjo, accordion, and pennywhistle? The Pogues showed us that’s entirely possible, as long as you also have plenty of punk rock attitude, a frontman who can snarl vaguely in tune, and the ability to scream bloody murder at the slightest opportunity. Amanda, Ben, Rich, and special returning guest Sean Rodgers talk about how the Pogues used traditional Irish and British musical forms to tell new stories about ghosts, racehorses, immigration, injustice, loneliness, and the general hopelessness of the human condition, and made you want to get up and dance to all of it.

In 1994, the charts were dominated by the likes of Mariah Carey, Beck, Gin Blossoms, Ace of Base, and Pearl Jam - and then out of left field came elder statesman Tom Petty with a new album that was heartfelt, thoughtful, and beautiful, but could still rock your face off if it wanted to. Petty may have already released his greatest hits album, but Wildflowers showed that he was nowhere near done writing excellent songs. In fact, there were so many that several had to be cut in order to fit it all onto one album. As a result, Wildflowers is kind of a mess - but it’s an emotional, charming, and very interesting mess that we had a great time talking about. Tonight we ride.