One day in September 1976, fueled by cocaine, peppers, and milk, David Bowie entered a Los Angeles recording studio, and then emerged a couple months later remembering nothing about what had just happened. Discord & Rhyme is here to fill in the blanks for you: He spent those two months recording Station to Station, a transitional album between his funk and experimental art rock periods that may be his all-time greatest work. The only album from Bowie’s Thin White Duke persona is only six songs long, but they’re so colorful and dense that Producer Mike and co-hosts John, Rich, and Ben spend nearly two hours talking about them. There’s so much going on in this music that it could fill a movie or book (and Ben even wrote one about him), but for today, a really enthusiastic podcast episode will suffice. And unlike your television set, there is no evidence that your podcatcher of choice will try to eat you!
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This week, Dan, Mike, and Rich take a break from the usual state-of-the-art Discord & Rhyme studio, dust off the four-track, and head down to the basement with a case of beer for a no-frills chat about Guided by Voices. After percolating as 37-year-old school teacher Robert Pollard’s side hustle for over a decade, GBV (as we refer to them for 99% of the episode) suddenly found themselves on the radar of hip indie-rock tastemakers. 1994’s Bee Thousand captures this turning point for the band with a gloriously messy patchwork of 20 home-recorded songs that incorporate influences of what Pollard calls the Four P’s of Rock: prog, psych, pop, and punk. Jam along with us to these lo-fi anthems, and try to not pull a muscle while imitating Pollard’s signature stage kicks.
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Frank Zappa is an awfully difficult man to summarize. He recorded dozens of dozens of albums with numerous different bands in countless different genres. He was a relentless innovator, never sticking with one style for long and always pushing forward into completely new musical territory, whether he thought his audience would be willing to follow him or not. Where do you even start discussing a man whose work consistently defies categorization and lacks a single album that stands as a “representative” work? Well, when all else fails, start at the beginning! On this episode, Phil is leading the Frank Zappa superfan contingent of Discord And Rhyme (consisting of John, Dan, and Mike) through a discussion of Frank Zappa’s wildly innovative 1966 debut double album, Freak Out!. Come for the doo-wop, stay for the musique concrète.
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Can you hear those towering walls of amped-up guitars in our latest episode, accompanied by aching lyrics you can barely hear? That’s because we’ve loaded it with Sugar! After pioneering alternative rock in the hardcore punk band Hüsker Dü, frontman and guitarist Bob Mould briefly went solo, then formed a new power trio named after a stray packet of sugar that caught his eye while eating at a Waffle House. (This naming convention would not be repeated until the 2000 Hootie & the Blowfish covers album Scattered, Smothered and Covered.) Sugar’s high-decibel, disarmingly sincere brand of power pop has always made the band Will’s preferred branch of the Mouldverse, and this week he’s joined by Ben, Will, and special guest Scott Floman to discuss their 1992 masterpiece Copper Blue.
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Elle King is a tough, scrappy, incredibly talented musician who doesn’t get nearly as much attention as she should. Rather than being dismissed as a “one-hit wonder,” which has unfairly (and inaccurately) already happened, she should be appreciated as a versatile artist who can rock your face off with enormous guitars and drums one minute, then turn around and break your heart with a banjo ballad the next. Today we’re here to tell you why her enormous voice, her gift for both melody and lyrics, and her love of really loud percussion are very much worth your time.
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Hey, hey, it’s Discord & Rhyme! If, as alleged, the Monkees were a fake band, you’d never know it from listening to their 1967 album Headquarters - on which they wrote (most of) the songs and played (most of) the instruments. On this episode, Ben leads a discussion about this fascinating and fun anomaly in the career of the Pre-Fab Four. He’s joined by Mickey, Peter, and Mike — oops, we mean by Amanda, Dan, and Rich.
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It’s our third holiday episode, so why not sit comfortably and talk about a third Moody Blues album? By 1972, The Moody Blues had successfully transitioned their sound from the ’60s to the ’70s without losing their ability to generate top-5 charting albums in both the U.S. and the U.K., but they were also on the verge of total burnout that would lead to them taking a six-year hiatus between new studio albums. Seventh Sojourn is the last entry in the band’s core period before they went on break, and it has some of the band’s very best material despite not having any poetry or a single second of Mellotron. Come listen to John, Rich, Amanda, and Phil indulge themselves with an album they know and love from the podcast’s unofficial mascot band, and especially listen for when Amanda confesses to the single hottest take in the history of Moody Blues podcasting.
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On her junior album Homogenic, Björk (pronounced “Bjerk”) dumped the playful genre-bending of her earlier albums for a consistent palette of strings and volcano-like, almost proto-dubstep beats, and the result is almost universally considered the pièce de résistance of her career. But even more than that, the album is a mature, unique expression of Björk’s inner life, at a time when the press often treated her as more a quirky headline in a swan dress and less a human being. Well, Discord & Rhyme will have none of that! Returning guest Shivam Bhatt has a limitless ability to gush over Björk, and he joins Rich, John, and Mike for an episode best described as “groveling at the feet of a deity.” There are so many things we love about Björk, from her truly outside the box lyricism to her absolutely otherworldly voice, and we hope this episode conveys the unpredictable joy of getting to know her music.
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Sly & the Family Stone was in many ways the quintessential American band (and John’s pick as the greatest American band), a rags-to-riches-to-rags story of a San Francisco group that rose from obscurity to worldwide popularity and acclaim, only to implode from intraband conflicts and the excesses of fame. The 1973 album Fresh captures the band right before collapse, after it had survived a transformation from an optimistic 60s psychedelic soul act to a top-notch 70s cocaine funk act, and it’s both an excellent album in its own right and a fascinating prism through which to examine the band’s career as a whole. Join John (host), Rich (moderator), Phil, and Ben as they examine an album adored by George Clinton, Miles Davis, and Brian Eno alike, and an album that even makes "Qué Será, Será" sound cool.
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The song “Black Sabbath” on the album Black Sabbath by the band Black Sabbath is one of the rare occasions where the beginning of a new genre can be traced to one specific moment. We’re here to present the case that this is one of the most important records ever made, without which there would be no Iron Maiden, no Judas Priest, no Metallica, and no Def Leppard, and nobody wants to live in that world. Not only is it one of rock’s most influential albums, it still holds up incredibly well after 50 years. Just listen to that opening riff and try to say that isn’t one of the coolest things you’ve ever heard.
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