21: Carpenters

Support the Official Release You can listen to Vacationer’s Cherish on: Apple Music Spotify Or purchase the LP on: Amazon Music Notes Chomps, our meat stick of choice. “I Need NOURISHMENT” (start ~1:13) Vacationer LPs prior to Cherish: 2012’s Gone 2014’s Relief (Michael’s article) 2018’s Mindset (Episode 14) 2019’s Wavelengths Michael mentioned Mindset’s “Companionship” is coincidentally positioned as a narrative “lead in” for Cherish. Official Cherish documentary, from which we referenced many times throughout the record, including… Kenny: “I was listening to a ton of Bill Evans while making this record” Kenny: “What matters to me is being up here making inarguably beautiful music” Kenny: “If there’s anything that I want to improve on myself it’s really showing the people that I appreciate how much I appreciate them, and that’s kind of the story of this record.” Producing Credits thus far: Gone & Relief Matthew Young Grant Wheeler Mindset Principle Producer: Daniel Schlett Co-Producers: Includes Matthew Young, Grant Wheeler, and Kenny Vasoli Wavelengths Kenny Vasoli (though notably and arguably this is a Vacationer record in name only, and feels more as an instrumental-only side project) Cherish Kenny Vasoli (first “true” Vacationer record as the sole producer!) Michael found the Cherish’s warm, soft art direction to be reminiscent of the color grading used in Spike Jonze’s Her. Feng Shui AT-LP120, what appears to Marc’s eyes to be the turntable model featured in the album art (which just so happens to also be his personal turntable, as well). The LP Environments - new concepts in stereo sound • Disk 1 (a small collection of ambient nature sounds) is featured prominently in Cherish’s album art and happens to sport a cover design strikingly similar to Cherish’s, hmmmm… Last Bison’s Quill, whose production ethos Michael found similar to Cherish (that being, “blemishes” and all were included) Carpenters, which Marc & Michael noticed had some similarities to Cherish (similar short length, similar message in the last track, similarly intimate). See their discussion at length on that record in Episode 21. Kenny’s Tweet, including a clip from the “Love & Mercy” biopic on Brian Wilson and Kenny saying “Writing lyrics for the new songs…” “I can’t go back in time! We’re not surfers, we never have been, and real surfers don’t dig our music anyway. Okay, I can’t write about summer, and fun and summer and summer and fun and cars! I got different stuff inside me, I gotta get it out.” Paul Dano, the actor bringing life to “past” Brian in the clip Marc found “Entertainment” fit a similar narrative and instrumental role that Father John Misty’s “Leaving LA” did on Pure Comedy. Check out our full discussion on that record in Episode 12. Brett & Kate McKay’s “Twenty Lessons From Twenty Years of Marriage”, which Michael found had similar ethos to “Comforter”. Art ♫︎

Support the Official Release You can listen to Carpenters’ self-titled 1971 release on: Apple Music Spotify Or purchase the LP on: Amazon Music Notes Carpenters’ discography up to their self-titled: 1969’s Ticket to Ride 1970’s Close to You Carpenters’ Christmas Portrait, which we discussed at length in Episode 18. Eagles’ Desperado, which Michael wrote on at length here. The Beatles’ self-titled, most commonly referred to as simply The White Album. Marc mused off-hand that Carpenters’ strikingly simple album art reminded him of The White Album’s cover art. Craig Braun—credited for the design of Carpenters’ iconic typographic logo—is most well known for his work on the The Rolling Stones’ “Tongue and Lips” logo. Michael mused that Carpenters’ logo reminded him of Lucasfilm’s logo, which similarly showcases typographic symmetry. Richard’s ridiculous shirt in the LP’s gatefold. Despite his love of the record, Michael said Lord Huron’s Strange Trails sometimes drags (mentioned when noting how brisk and easy Carpenters is for any given listen). Listen to Episode 2 for a full deep-dive. John Bettis, who shares in songwriting credit with Richard throughout the album. Gerry Rafferdy, Randy Newman, and Devendra Banhart to Marc’s ears all had similar inflections or delivery to Richard. Paul Williams and his original performance of “Rainy Days and Mondays”, which caught Michael’s ire since to his ears Paul’s delivery had an unusual cadence and timing that failed to properly match the backing instrumental. The Beatles’ “Yellow Submarine”. Fun song, terrible anchor for a Jimmy Buffett concert. Lord Huron’s Vide Noir & Tame Impala’s Lonerism Michael felt both rode the fine line of being almost too over-baked, but were able to stick the landing and make it work. “Groupie (Superstar)” by Delaney & Bonnie, which while performed adequately, Marc & Michael both felt didn’t capture the track’s core essence like Carpenters did. “Superstar”’s backing instrumentals were performed by none other than the Wrecking Crew, famous collection of studio musicians who performed for the likes of Sonny & Cher, The Mamas & The Papas, and of course the Beach Boys on Pet Sounds. Don’t lie, you love that scene from Tommy Boy, too. Abbey Road’s Side 2 Medley, arguably the most well known rock medley in history. Lonesome Dove, the miniseries Michael mentioned on the show and has been trying to get me to watch for years. The Zombies’ Odessey and Oracle, which Marc felt “Druscilla Penny” could slip right into. Henry Menchini, highly regarded as one of the greatest film composers in history. Go home, Apple Music, you’re drunk. 1970’s Lovers and Other Strangers, featuring the original recording of “For All We Know” by Robb Royer and Jimmy Griffin. Michael found Fighting Shadows by Jefferson Bethke and Jon Tyson to share similar themes in its use of “shadows” as Randy Sparks’ use in “(A Place To) Hide Away”. In “For All We Know”, Michael found it shared some lyrical connections with Fleet Foxes’ “Montezuma”. Lord Huron’s Lonesome Dreams, a record Michael similarly finds to be extremely familiar, comforting, and extremely easy to listen to start to finish. References Karen’s performance on “Superstar” was recorded in a single take: the first one. The Wrecking Crew getting their name from the grey hairs at the company that felt “Rock ‘n Roll” would ruin the industry. Carpenters were indeed the first to record Sometimes. The instrumental recording Michael referenced was released in 1972, a year after Carpenters’ performance on their self-titled. “Sunday Firesides: Be Someone’s Atmospheric Getaway” on Dying Breed, which Michael said exactly described the way Carpenters makes him feel; Carpenters is an emotionally warm sonic getaway. “What are you telling your partner? Well as far as I can tell if you live with someone [prior to the commitment of marriage] here’s what you’re saying to each other: ‘you’re the best I can manage at the moment’.” Dr. Jordan B. Peterson in “Here’s Why You Shouldn’t Live With Your Significant Other Before Marriage” Art ♫︎

Support the Official Release You can listen to Jimmy Buffett’s Changes In Latitudes, Changes In Attitudes on: Apple Music Spotify Or purchase Changes In Latitudes, Changes In Attitudes on: Amazon Music Links Michael’s writeup on Jimmy Buffett’s A1A mentioned during the show. Kenny Chesney, the other artist that was on heavy rotation during family vacations while growing up. Only you can stop ruining songs by mindlessly repeating them: “Don’t Stop Believin’” by Journey, among the heaviest played Journey tracks and one which Michael famously detests as a result. “Yesterday” by The Beatles, among the heaviest played Beatles tracks and one which Marc famously detests as a result. Steve Goodman’s “Banana Republics” Jimmy Buffett’s autobiography A Pirate Looks at Fifty, which Michael references throughout the episode. “Johnathan Baham, songwriter of Lovely Cruise”, the BuffettNews.com forum discussion of the mysterious songwriter mentioned on the show. “In the Shelter”’s many appearances 1971’s High Cumberland Jubilee 1977’s Changes In Latitudes, Changes In Attitudes 2003’s Meet Me in Margaritaville Jesse Winchester’s “Biloxi” The Toledo Blade front-page interview with Fingers Taylor on his departure from the band. References “Key West is like an old dirty carpet; you shake it out and everything falls to the bottom. Everybody from the whole East Coast wound up at the end of the road in Key West at one point or another.” Jimmy Buffett quoting friend P.J. O’Rourke in the Delaney “I Have Found Me A Home” video interviews “The pavement runs out at the little village of Tambor, and we stop for cold drinks. Where the pavement ends and the dust begins is also the place where the time warp takes over. It has been only two days since we were opening Christmas presents in Palm Beach, but now we are bouncing along a dirt road in another world. When you are traveling on a trip like this in the right frame of mind, time and space will change. Things that seemed absolutely necessary two days ago slip from your mind. You find yourself looking out the window of the plane, boat, or car and daydreaming about going native. Time becomes something to be used, not saved. Many years ago, when I first experienced this feeling, I wrote a song about it called ‘Changes In Latitudes, Changes In Attitudes.’ It worked then, and it’s working now, as we drive west to the ocean in the land of pura vida.” Jimmy Buffett’s autobiography, A Pirate Looks at Fifty “As we drive to the airport the next morning [in Guadeloupe], we talk about the sentimentality we both seem to hold about the places we came from. Kino is a world traveler, but he is still attached to his roots in Guadeloupe. That kind of connection to the land is also a very Southern trait. I too move around the globe in an almost constant state of motion, but when I think of home, I think about Pascagoula and the eastern shore of Mobile Bay, not Long Island or Florida. Home is where you come from. It is not where you live at the present time, and though I doubt I will ever live in Alabama again, I will always think of it as home.” Jimmy Buffett’s autobiography, A Pirate Looks at Fifty Taylor is proud of the musical achievements of Buffett and the Coral Reefer Band, particularly the first three albums, but he feels that somewhere along the line their leader became more interested in making money and using gimmicks onstage than in making quality music. “We had a lot of fun, but we were always negotiating for more money and of course he’s never been one to let go of that stuff,” Taylor said. “I had some issues with him over money and a retirement fund, which we never had, although he did put a little something together for us eventually.” The concerts began to lose their appeal for Taylor. “It had all gotten to be a rote deal. The same old crap, the same show biz stuff, dancing girls and exploding props, this that and the other. I was tired of that. He’s a big-time businessman now and I think that’s what he really enjoys the most. Music is secondary. And music has always been the most important thing to me.” Fingers Taylor in his interview with the Toledo Blade “Life is a journey that’s measured not in miles or years but in experiences, and the route your life takes is built not of roads but of songs. How far is it from Key West to Miami? To some it is 147 miles. To me, it is about eleven songs.” Jimmy Buffett’s autobiography, A Pirate Looks at Fifty Art ♫︎

Support the Official Release You can listen to Band of Horses’ Infinite Arms on: Apple Music Spotify Or purchase Infinite Arms on: Amazon Music Links Marvis Pro, the iOS music player Michael mentioned using to see his play counts. Vacationer’s Relief, the only album that came close to Infinite Arms’s play count number in Michael’s library. You can read Michael’s previous review on the record here. Michael mentioned having a Fracture print of Infinite Arms, which is a picture printed directly on glass for a minimal, sleek presentation. This is his current collection. Sun Kil Moon’s Benji, the album Marc claimed to be a perfect foil to the easily digestible and repeatable Infinite Arms. You can listen to our previous discussion on the record in Episode 8. Band of Horses’ new lineup during Infinite Arms, and would remain unchanged for years—the first “true” Band of Horses lineup: Benjamin Bridwell Creighton Barret Ryan Monroe Bill Reynolds Tyler Ramsey The star at the center of the pivot point in the album art is Polaris (more commonly known as the “North Star”). The star seems to stand still in long exposure photography while the rest of the northern hemisphere stars spin around it due to the North Star being in a (mostly) direct line with the Earth’s rotational axis with respect to the North Pole. Christopher Wilson, the Photographer for Infinite Arms’s cover art and all the band’s album art up to that point. (information courtesy of the Albums app on iOS). Michael’s insane graph of “vibrancy”/”energy” by track number Infinite Arms was nominated for “Best Alternative Music Album” for the 53rd Grammy Awards in 2011, the same year Arcade Fire famously secured Album of the Year with The Suburbs. You can read Marc’s thoughts on The Suburbs here. Marc found “Factory” to share similarities with Paul McCartney and Wings’s “Let Me Roll It” off 1973’s Band on the Run and Vacationer’s “Turning” off 2018’s Mindset. You can read Marc’s review of Band on the Run here or listen to our discussion on Mindset in Episode 14. “Factory” utilizes both a Memotron and Theremin. The Theremin also appeared in Lord Huron’s “Love Like Ghosts” & “Way Out There” off 2015’s Strange Trails, and you can listen to our previous discussion on that record in Episode 2. Michael’s writeup on Jimmy Buffett’s A1A mentioned during the show can be found here, the finest publication on the site thus far. The Last Bison’s Quill, a record Michael felt was similar to “Compliments” since they both are high in character and charm in large part because of their imperfections. Grizzly Bear’s Yellow House, the record Marc felt similarly leaned into “everything & the kitchen sink” production. Eagles, a classic rock band Michael could very easily see playing “Laredo” ChrisCorradi’s comment on the “bullet in my Kai Lorenzo” lyric on genius.com “Band Of Horses Survived… Barely”, The SPIN interview Marc mentioned where Ben touches on his then-recent separation with his spouse. “Grumpy Old Men” (the 1993 film) and “Old City Bar” by Trans-Siberian Orchestra both evoked similar feelings and visuals in Michael as “Blue Beard”. The Explorer’s Club, a classic rock & roll and classic pop-influenced band that Marc found strikingly similar to Band of Horses’ experiments in “Blue Beard” and “Dilly”. “I need more cowbell!” Long in the Tooth and Repo Records referenced in the show are Marc’s favorite record haunts in the Philly area. Support your local music stores! Marc kept saying “Dilly” was very “70’s” but meant to say “60’s” (oops). Ludo’s “Good Will Hunting by Myself”, the song Michael mentioned takes the stereotypical “I’m better off without you, anyway” attitude from pop breakup songs and cranks it up to a comical extreme. Admiral Fallow, the band Michael mentioned was also sometimes similarly “rough” in vocal delivery like in “Evening Kitchen” and also works because of those edges. Arcade Fire’s “We Used To Wait”—which explicitly and intentionally makes the audience “wait” for a final chorus that never again returns—Michael cheekily claimed to be the antithesis to the infinitely repeating chorus in “Older”. “Basement Shows” (also known as “House Shows”), a staple of Philadelphia college life. “Are You My Neightbor?”, a deep cut Marc made to the classic VeggieTales episode. Yes, this was a real thing. Grizzly Bear’s “Colorado”, a song Marc found just as boring as “Neighbor”. Yes Michael, I will put it down there. The Arcade Fire lyric Marc was flopping around trying to remember is “Took a drive into the sprawl / To find the house where we used to stay”, where their usage of “house” instead of “home” is meant to communicate emotional distance and lack of attachment to the physical place they grew up. Please use a good podcast player! Rooibos tea is best tea. Premium Steap and August Tea are incredible tea suppliers and are “Marc & Michael Approved”. Don’t just drink Lipton and say our tea tastes like soap, anonymous coworker of Michael’s. References Listed in order of reference on the show. “We actually started with a tonne of songs—about twenty-five or so—so we didn’t even know which ones would make it, or which ones were good or bad really. So you don’t really know until you’re recording them, because we weren’t really playing a lot of them live, so once they’re recorded you’re like, ‘Okay, this actually sounds like a real song, and this one sounds like a joke’—we’re just taking the piss out of some soul song or something, you know? So we kinda learned as we went, like, ‘Oh wow, is what the record sounds like’.” “Band Of Horses Interview”, CLASH “‘We have this time off before we gotta go back out on the road again—let’s just go do it ourselves. We’ll get another engineer… We think we know what the songs sound like—let’s just go for it’. And so we were like, “This is actually really fun”. That’s when we really discovered we don’t have to beat each other up on this, we can just have fun with it and enjoy the process.” “Band Of Horses Interview”, CLASH “I did stretch myself pretty much to being broke, at the same time we didn’t have to worry about anybody even coming in and hearing mixes or anything, we could really take our time with it.” “Band Of Horses Interview”, CLASH “It’s the first time the line-up hasn’t been this revolving door. With this record it’s a real band that I’m part of. No one’s going anywhere, everyone’s contributing to the songwriting process and this is our coming-out party.” “Band of Horses: Infinite Arms Q&A with Ben Bridwell, Uncut Magazine (archive)” “… But that’s the best part about it—the fact that it is a mystery. People get the lyrics wrong—I do that all the time with my favorite songs. You read the lyrics five years later, or hear it differently, and you’re like, ‘Oh, I always kinda sang something to that effect when I was singing along, but I didn’t really realize what they were talking about’, you know? In a way it’s like little hints come around and the mystery kinda reveals itself, but the fact that people don’t really know is my favorite part, because that’s what I appreciate about songs as well.” “Band Of Horses Interview”, CLASH [With Regards to “Factory”] “I was listening to a lot of Nick Drake and was really enamored by the string arrangements in his songs. Also, I was trying to make it a bit dramatic sounding in a Bittersweet Symphony kinda way.” “Track-byTrack: Band of Horses’ Infinite Arms”, THE SKINNY “I was actually out writing songs for the new record, and I had some crazy stuff going on. That song just kind of ended up tapping me on the shoulder. Even though some of it is a bit maybe too autobiographical for my own tastes, a lot of it dances around subjects like all my songs do. I try not to be too specific.” “Infinite Arms: A conversation with Band of Horses’ Ben Bridwell”, Mike Ragogna of HuffPost Entertainment “We got to the point where we were touring so much that nowhere was really home. So I figured, at least if I’m gonna come home after these long stretches of traveling, it would nice to be around my family; my parents, and my brother and sister are having babies. So it was like, when I come home, at least I’m close enough so I get to see them at least twice a year compared to like maybe once a year.” “Band Of Horses Interview”, CLASH “This song [‘Infinite Arms’] deals a lot with the major theme of the record, and being the title track that’s maybe a little obvious, but this is one I’m not quite ready to unveil the mask on. But I can tell you that it almost didn’t make the record.” “Track-byTrack: Band of Horses’ Infinite Arms”, THE SKINNY “We went bonkers with Infinite Arms, because we could. It was a challenge to see what we could do, but we also overcooked some shit.” “Band of Horses: Mystery Riders”, Magnet Magazine Art ♫︎

Support the Official Release You can listen to Carpenters’ Christmas Portrait on: Apple Music Spotify Or purchase Christmas Portrait on: Amazon Music Links Carpenters’ “Superstar”, featured in this classic car ride karaoke scene from Tommy Boy. Episode 3: “The Christmas Draft”, where Marc drafts “Merry Christmas Darling” & discusses at length with Michael & Aimee. Check it out for a more thorough discussion on the track. Brian Wilson & The Beach Boys Brian Wilson (self-titled, 1988). Certain segments and tracks on this record strongly resemble Richard’s on tracks like “It Came Upon A Midnight Clear”. That’s Why God Made the Radio (2012), which Michael felt too strongly resembled Richard’s vocal style (and not in a good way). We listened to Christmas Portrait (Special Edition) from 1984, which is a compilation of select tracks from… Christmas Portrait (original 1978 release) An Old-Fashioned Christmas (1984) Karen’s voice type is contralto, which is a somewhat rare vocal range you might recognize from artists like… Niko Beach House’s Victoria Legrand May Crowning, you know, where songs like “Ave Maria” actually belong. “Is ‘Ave Maria’ really a Christmas song?” by Marc Minter, a senior pastor of First Baptist Church of Diana, TX. The correct answer is, “it’s not.” Michael’s “A Christmas Song” judgements S Tier: Nat “King” Cole So close! Amy Grant (see Episode 3 for the context behind Michael’s “branded by an iron” joke) Honorable Mention: Bing Crosby Clunker: Christina Aguilera Surprisingly Good, But Blows It: Shawn Mendes Just No: Pentatonix Self Important Rubbish: Michael Bublé More on the history behind Merry Christmas Darling The app Michael mentioned is Marvis Pro, one of the finest music players available today “It’s Over 9000!” HBO’s The Last of Us Trailer (Marc was confusing it with the HBO 2023 Lineup trailer) ♫︎

Shuffle Results (Spoilers!) Marc: “Michicant”, off Bon Ivers’ self-titled Michael: “Empty Room”, off Arcade Fire’s The Suburbs Marc: “Who Can I Turn To?”, off Tony Bennett & Bill Evans’ Together Again Michael: “Won’t Want for Love (Margaret In the Taiga”, off The Decemberists’ Hazards of Love Marc: “I Want To Tell You”, off The Beatles’ Revolver Michael: “Quiet Air / Gioia”, off ~Robin Pecknolds’ solo album~ Fleet Foxes’ Shore Marc: “Wake Up Sunshine”, off Chicago’s Chicago II Michael: “Blue Ridge Bazaar”, off River Valley Rangers’ Wide Open Marc: “It Was A Pleasure Then”, off Niko’s Chelsea Girl Michael: “This Changes Everything”, off The Last Bison’s Dorado EP Links Michael’s etched stone slab he calls a laptop, the 15” Mid 2012 MacBook Pro. Naughty Dog’s The Last of Us: Part 1 The iRiver iFP-390T, the old MP3 player our sister & honorable co-host, Aimee, bestowed onto Michael many years ago Bewilderingly in a triangular Toblerone shape. What a wild time that was. Link to high resolution Bon Iver artwork to explore the details discussed on the show Deep Blue, the Chess artificial intelligence that was the first to beat Grant Master Garry Kasperof in a game on February 1996 (though Kasparov did indeed pull through and win the overall match that year) No Dumb Questions, Episode 141: “Weak People Make Bad Times” The Incomparable Episode 173z: “Human Santapede”, the undisputed king of all Christmas music podcast episodes where Tony Bennett & Bill Evans’ Together Again was mentioned. My Brightest Diamond Tim Burton Admiral Fallow Paul McCartney & Wings Marc got the name wrong, that repulsive laboratory-clean band is called Pentatonix. It’s bad. The Last Bison’s first and independently released LP, Quill Marc’s a bozo, “I Want to Tell You” is technically in the A major key and simply features intentionally harsh and dissonant chords in the later-half of the verse progression. Please write in to tell him how wrong he is. George Harrison’s “Something” off The Beatles’ Abbey Road and his double LP, All Things Must Pass Fleet Foxes’ current members, as of November 2022: Robin Pecknold Skyler Skjelset Casey Wescott Morgan Henderson Christian Wargo Christopher Icasiano “Wading In Waist-High Water” guest artist is Uwade Akhere, who apparently did record her part in-person Examples of Chicago “Necedah Oldies” at our Aunt & Uncles’ property: “25 Or 6 To 4” “Saturday Tn the Park” “Feelin’ Stronger Every Day” “Gary needs a new pair of shoes!” Special shoutout to Amos Housworth for his kindness at Philadelphia’s World Cafe Live back during the Süda tour, hope to see you & the band again soon! Trixie & Katia’s UNHhhh Check out our site’s new dark theme! Switch your operating system into “dark mode” to view. In contrast to what’s reported in the aftershow, Marc ended up fixing their previous, subpar typeface by replacing it altogether with Work Sans (and did end up regenerating all previous episode art, after all) B.O.A.T stands for Bust Out Another Thousand”, by Dude Dad ♫︎

Support the Official Release You can listen to Lord Huron’s Vide Noir on: Apple Music Spotify Or purchase Vide Noir on: Amazon Music Links Lord Huron’s discography leading up to Vide Noir Mighty - EP (2010) Into the Sun - EP (2010) Lonesome Dreams (2012) Strange Trails (2015) Riverside Theater in Milwaukee, WI Lord Huron’s “Video Postcard” promotional shorts “Fool For Love” music video from 2015’s Strange Trail Vide Noir 2 minute album teaser Vide Noir’s 30 minute album promo “Products of the Universe with Marsha Tanley”, which among many things spoofs shopping channels from the 80’s Vide Noir’s listing on IMDb Mentioned credits Mixer: Dave Fridmann Masterer: Greg Calbi Fortune teller machines (the one we remember was “Zoltar”) Long Lost, Lord Huron’s 2021 follow-up to Vide Noir (don’t worry, we’ll get to it at some point) Direct link to our Episode 2: Strange Trails conversation where Aimee asked where we thought the band would go next for their then-unannounced third LP. Jesca Hoop’s Memories Are Now The Power Of Habit: Why We Do What We Do in Life and Business by Charles Duhigg IMDb’s Vide Noir page Michael’s Easter Egg Hunt “The Night We Met” Official Lyric Video CAPTIONING PROVIDED BY: EMERALD STAR CC SERVICES Flash of the Emerald Star at the very end (watch closely!) “Products of the Universe with Marsha Tanley” “Spiritual Advisor to Ms. Tanley: GEORGE RANGER JOHNSON” “Brain Scratch”, Cowboy Bebop’s 23rd episode Hannah Hillam’s relevant comic References “Balancer’s Eye” is one we created ourselves, making up our own myths as we go. We’re trying to keep it so all that stuff is still around in this world too. You’ll see things that appeared on other records, ideas or names cross over to [Vide Noir]. In movies and literature and comic books, I’ve always liked where there’s connectedness or crossover. We need someone to control the lore and keep tabs on it [laughs]. Inverview with Ben Schneider in Stereogum’s “A Look Inside The Insular World Of Lord Huron”, by Ian Cohen SCHNEIDER: You know, I guess I haven’t had to yet, so I’m not sure, at least with “Strange Trails.” On “Lonesome Dreams” there was kind of a central character named George Ranger Johnson, who is this really underappreciated, prolific author. BLOCK: Who you invented, yeah. SCHNEIDER: Who I invented, yes. But he - yeah, I do kind of miss George. You know, he might pop back up again some time. BLOCK: You haven’t seen the last of him yet? SCHNEIDER: Haven’t seen the last of George Ranger Johnson, no. Interview with Ben Schneider in NPR’s “Lord Huron Wants You To Dance At The Apocalypse”, by Melissa Block Art ♫︎

Support the Official Release You can listen to Grizzly Bear’s Shields on: Apple Music Spotify Or purchase Shields on: Amazon Music Links Grizzly Bear’s discography Yellow House (2006) Veckatimest (2009) Shields (2012) Painted Ruins (2017) “Damn BOI HE THICC” Albums: available now for free on the iOS App Store Mentioned credits: Ben Wilkerson Tousley Richard Diebenkorn Michael H. Brauer Ryan Gilligan Bob Ludwig “That Guy” is Real Estate’s Alex Bleeker, who famously writes a token song per album, such as: “Wonder Years” from 2011’s Days “How Might I Live” from 2014’s Atlas “Diamond Eyes” from 2017’s In Mind Shields: B-Sides Aftershow: The Last of Us Part II. If you haven’t played it, play it. It’s a masterpiece. References Chris Bear and I went to Mexico for a month. It was in Baja, this cute little cheap place. There was no one around, no cell reception. We could focus on doing stuff. We wrote ten songs and were so stoked. Then we brought it to the other two guys and they were like, “We’re not understanding what you’re going for here. This isn’t really our vibe.” We were deflated. The only song from the Mexico sessions that made it was “Yet Again.” Ed Droste, genius.com Art ♫︎

Support the Official Release You can listen to Vacationer’s Mindset on: Apple Music Spotify Or purchase Vacationer on: Amazon Music Links Michael’s review on 2014’s “Relief” Vacationer’s Discography leading up to Mindset Gone (2012) Relief (2014) Phoenix Wolfgang Amadeus Phoenix (2009) Entertainment (2013) Kenny’s other projects The Starting Line Person L “Mindset” Cannabis strain merch Paul McCartney & Wings’ “Let Me Roll It” WALK THE MOON Mumford & Sons LUDO HalLUDOween References “And that’s one of the things that I really enjoyed, was that first time I’d hear him hunting for a chord change and I’d think ‘Man, he’s just gone right off the edge because he’s not ever gonna get close. He’s way out there in some area that’s just–he’ll never get back. And if he’s successful, gets out of there, people are going to say, I’ve lost my tone center, don’t know where the hell I am and stuff. And then, eventually, he’d figure out what it was he wanted to do. A lot of it was just hunting and pecking, the way some of us type.” “Tony Asher Interview”, AlbumLinerNotes.com Art ♫︎

Support the Official Release You can listen to Supertramp’s Breakfast In America on: Apple Music Spotify Or purchase Breakfast In America on: Amazon Music Links I Spy book series by Scholastic Breakfast in America chart position data Supertramp discography leading up to Breakfast In America: Supertramp (1970) Indelibly Stamped (1971) Crime of the Century (1974) Crisis? What Crisis? (1975) Even in the Quietest Moments… (1977) Hello Internet High-level Supertramp biography from AllMusic.com Wurlitzer keyboard Calvin and Hobbes’ “Chocolate Frosted Sugar Bombs” (the beanie arc) Learn about Muzak, listen to Muzak, become one with Muzak Sturgill Simpson’s “Call To Arms” Lord Huron’s “Ghost On the Shore” Similar, but different Supertramp’s “Child Of Vision” compared to Gorillaz’s “Empire Ants” ft. Little Dragon Blondie’s “Heart Of Glass” compared to Arcade Fire’s “Sprawl II (Mountains Byeond Mountains”) Arcade Fire & Debbie Harry of Blondie performing “Heart Of Glass” together then gracefully segueing into “Sprawl II” in Coachella 2014 Gym Class Heroes’ “Cupid’s Chokehold” ft. Patrick Stump References Q: Was the goal going into the sessions to create the kind of record that could be that sort of huge commercial breakthrough for you? A: Well, you know, it was no different to other albums. I was usually the one who chose the songs and tried to create the best 40-minute listening experience. With “Crime of the Century,” it was a much more introverted kind of deep. I don’t know what to call it. It was an introspective journey, maybe. And then with “Breakfast in America,” Rick (Davies), the other songwriter, we wrote separately, and I had to really look at what songs he had and he wasn’t as prolific as I was. I’ve always had 40 or 50 songs in my pocket to choose from. And so, I kind of saw what he had written and then kind of dipped into my bag and chose the songs that matched his and created the best kind of listening journey. ‘Cause that’s how I viewed it. It wasn’t, “What’s the hit on this album?” The song “Breakfast in America,” I wrote that 12 years before I chose it. But it felt like “OK, this is the collection of songs that this song might belong on.” So we included it. And obviously it was a great album title so we chose that. Q: What was the appeal for you of leaving England for America? What brought you over? A: I loved America as a whole but when I landed in California, I thought I’d died and gone to heaven. I was raised in England. I’d been in England for 23 years. And I was really a young, confused man who really needed to kind of reinvent himself. I was doing a lot of experimenting. I’d become a vegetarian. I was looking into spiritual things. And that was not in vogue in England at the time. So it was very hard for me to be either, a vegetarian or interested in spiritual things. But I landed in California and there was a health food store on every corner. It was like “Wow.” Everyone spoke my language. I just loved it. The space and the weather. For a very introverted Englishman, it was wonderful. It was very medicinal. And I kind of started to reinvent myself and reawaken sides of me that had been dormant up until that point. “Interview: Roger Hodgson of Supertramp looks back on ‘Breakfast in America’”, azcentral “In three days with the band, I don’t think I saw Davies and Hodgson converse once, other than to exchange courteous greetings.” Harry Doherty in The Supertramp Book, by Martin Melhuish Art ♫︎