Uriah Heep were never critical darlings, but for a brief period in the early seventies, they were making some absolutely killer fantasy-tinged rock. Phil has always had a soft spot for 1972’s Demons And Wizards, which is probably the best example of what could happen when this band was truly firing on all cylinders. He, along with Dan and Mike, makes the case for why this album should be a staple of any respectable early seventies hard rock collection.

Slint are a true one-of-a-kind band - they showed up seemingly out of nowhere, singlehandedly defined an entire genre on a single album, and disappeared before that album was even released. What happened? Why is Spiderland so influential? And, beyond its influence - does the album still hold up today? Phil certainly thinks so - in his opinion, its grandeur has been frequently imitated, but never duplicated. He, along with Mike, Rich, and Dan, are here to talk about just what makes this album so special.

Crosby, Stills & Nash weren’t the first so-called “supergroup,” but they may have been the first to eclipse the fame of each of the bands the members came from. David Crosby (hailing from the Byrds), Stephen Stills (hailing from Buffalo Springfield), and Graham Nash (hailing from the Hollies) came together to create a group that was completely unique. While the group would become more famous with the addition of Neil Young for 1970’s Deja Vu, their 1969 self-titled LP remains the group’s masterpiece. Phil, who has a lifelong love of the works of Crosby, Stills, and Nash, is joined by Amanda and Ben to discuss just what makes their 1969 debut LP such an enduring masterpiece.

Wipe that illegal smile off your face! Phil has been immersed in the music of John Prine for his entire life, and he’s brought along John and Ben to discuss the Maywood, IL, singer/songwriter, who unfortunately was one of the earliest victims of the COVID-19 pandemic. When Prine recorded his 1971 debut, industry execs saw him as a Midwestern rube, to the point of posing him on top of a hay bale on the album cover, even though hay bales are in short supply in the Chicago suburbs. But he’s a witty, intelligent, insightful, and empathetic songwriter with the ability to make listeners laugh and cry in the space of a single line, and his songs have been covered by legends including Johnny Cash and Bonnie Raitt. Prine’s passing led to a surge of interest in his music, to the point where this album charted higher in the spring of 2020 than it ever had in the previous five decades, so if he’s has flown under your radar to this point, this episode is a great opportunity to learn all about a true genius of American folk music.

Phish are a band who tend to inspire extreme reactions. Their particular blend of progressive rock, funk, pop, and extended improvisation has attracted what may be the most dedicated fanbase in the world, but there seems to be a never ending supply of people who use the band as a punchline. Phil falls firmly into the “love them” category - he’s listened to hundreds of shows and counts Phish among his all-time favorite bands. He’s extremely excited to be discussing A Live One - the album that served as the world’s introduction to the sound of live Phish - with Dan and Rich.

Can’s music is part of the DNA of an incredible variety of music - from indie rock, to new wave, to electronica, to ambient, and most points in between. Despite this, Can are not well known outside of music geeks like the Discord and Rhyme crew. They have long been one of Phil’s very favorite bands, though, and he’s here to talk about perhaps the band’s greatest album, 1971’s Tago Mago, along with John and Mike. Together, they’ll demonstrate that while the voyage into the world of Can can be a somewhat difficult trip, it’s a trip very much worth taking.

Pearl Jam might have had the most ambiguous relationship with fame of any major rock band. In the early nineties, they were arguably the biggest rock band in the world, but the group gave few interviews, made no music videos, and were difficult to see live due to their ongoing refusal to work with Ticketmaster. 1994’s Vitalogy captures the band in the midst of this era - struggling with the pressures of fame and trying hard to assert their independence from the drudgery of corporate rock. Vitalogy, despite its inconsistency, remains Phil’s favorite Pearl Jam episode, and he’s here to tell Dan and Rich exactly why he thinks it’s the most interesting Pearl Jam album - an album well worth listening to even if you never cared for the group’s earlier work.

The phrase “so-and-so band needs no introduction” is incredibly overused, but if there’s a single band for whom the phrase holds true... it’s the Beatles. However, if there are two bands that it holds true for, it’s the Beatles and the Rolling Stones. Many associate the Stones with “good old-fashioned rock and roll,” but that isn’t really true. Sure, the band has been locked into its trademark style for several decades now, but in the ’60s, they were far more creative than they were often given credit for. And they never ventured further afield than they did on 1967’s Their Satanic Majesties Request, a bizarre, stoned, trippy, psychedelic album, filled top to bottom with strange sounds, experimental song structures, and tons and tons of just-plain-weirdness. Fans and critics hated it and the band quickly moved on, never attempting anything in this style ever again and generally pretending that the album doesn’t exist. Is the album really that bad, though? Phil sure doesn’t think so, and he’s here to make the case to Rich, John, and Dan that it’s a detour in the Stones discography well worth taking.