The Opus podcast

The Opus

Consequence Podcast Network

Consequence of Sound and Sony bring you an exploration of legendary albums and their ongoing legacy. Join host Jill Hopkins as she examines how masterpieces continue to evolve: shaping lives, shaking rafters, and ingraining itself into our culture. Maybe you’re a longtime fan who wants to go deeper. Maybe you’re a first-time listener curious to hear more – either way, you’re in the right place.

66 Episodes

  • The Opus podcast

    Ten: The Final Show of Pearl Jam's First Tour Heralded Future Stardom

    24:41

    Pearl Jam bassist Jeff Ament once stated that "essentially Ten was just an excuse to tour." The band clearly just wanted some material to play on the road, as their first tour kicked off just after they'd completed mixing sessions for their debut album; the record wasn't even released yet. The tour -- PJ's only with drummer Matt Chamberlain -- was a short one focusing on the East Coast and Midwest. It wrapped up in Chicago at the famed Cabaret Metro with a concert that is still legendary among Pearl Jam fans. After that Metro gig on July 21st, 1991, the band took a break as they prepared for the release of Ten. The album arrived a month later on August 27th, and by September, Pearl Jam returned for a world tour as one of the newly crowned kings of '90s rock. In this episode of Consequence Podcast Network and Sony’s The Opus: Ten, we go back to The Metro to relive that final show of Pearl Jam's first tour so we can see a band on the brink of decades-long stardom. Joining host Jill Hopkins on this trip back in time is none other than The Metro's founder, Joe Shanahan. Subscribe now to stay up-to-date on future seasons of The Opus. Also, make sure to support our show and the Consequence Podcast Network by picking up an official Opus hoodie or T-shirt at the Consequence Shop.
  • The Opus podcast

    The Best Songs on Pearl Jam's Ten Aren't the Singles

    31:54

    Ten yielded (no pun intended, Pearl Jam fans) three enduring hit singles: "Alive," "Even Flow," and "Jeremy." But here on Consequence Podcast Network and Sony’s The Opus, we focus on the legacy of the entire album -- and the real meat of Ten is on the non-single tracks. The band has opened shows with the record's final track, "Release," ever since the original Ten tour. "Oceans" features some of the most unusual percussion arrangements on any hard rock track of the era. And the label wanted to release "Black" as a single, but the band refused. On Episode 3 of The Opus: Ten, we dig into the songs we haven't been hearing on the radio over the last 30 years, and find out why they've become so beloved to Pearl Jam's legions of fans. Listen now, and make sure you subscribe to keep up with all episodes of Season 16 of The Opus. Also, show your love of our show by picking up an official Opus hoodie or T-shirt at the Consequence Shop. Original music by Tony Piazza.
  • The Opus podcast

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  • The Opus podcast

    Ten: Jeff Ament's Art Helped Define Pearl Jam

    19:36

    While Season 16 of the Consequence Podcast Network and Sony’s The Opus focuses on the unparalleled musical legacy Ten, it's important to note of Pearl Jam has been defined as much by their visuals as their sound. On Episode 2, we explore how bassist Jeff Ament not only contributed to the band's sonics, but their imagery as well. Subscribe now so you can listen to all episodes of Season 16 of The Opus. Also, pick yourself up one of our official Opus hoodies or T-shirts at the Consequence Shop. Original music by Tony Piazza.
  • The Opus podcast

    Ten: Pearl Jam Is Alive Because of an Unlikely Series of Events

    28:50

    The series of events that had to happen to have Ten even exist is wild. Jeff Ament and Stone Gossard were in Green River, but they broke up. Then, they were in a pysch-garage band called Mother Love Bone, whose singer, Andrew Wood, died right before their first album was released. The two of them, and a couple of members of Soundgarden put out a tribute album for Andrew, and this singer they’d heard about from Jack Irons, - the drummer from the Red Hot Chili Peppers - guested on one of the tracks. He’d gotten a copy of some demos Stone and Jeff were working on, wrote lyrics for it, sang over it, and sent it back. The guys liked it, so they hired him to sing in their new band. That song was “Hunger Strike”, that tribute was Temple of the Dog, that guest singer was Eddie Vedder, and that new band was Pearl Jam. This is all only scratching the surface of the strange series of events that had to occur for Ten to come into existence. In this debut episode of The Opus: Pearl Jam's Ten, host Jill Hopkins is joined by The Gaslight Anthem's Brian Fallon, AllMusic's Stephen Thomas Erlewine, and Museum of Pop Culture curator Jacob McMurray to trace the unlikely origins of one of the biggest bands of all time. Subscribe now so you can check out all episodes of Season 16 of The Opus. Also, grab yourself an official Opus hoodie or T-Shirt at the Consequence Shop. Original music by Tony Piazza.
  • The Opus podcast

    Cypress Hill’s Weed Rap Changed Cannabis Culture

    17:54

    Season 15 of Consequence Podcast Network and Sony’s The Opus comes to its conclusion on a high point as we explore how Cypress Hill put weed rap on the map. Within a few months of its release, the impact of Cypress Hill and the subject matter of some of the raps therein was apparent. Other rappers started writing songs that expanded more on the glory of marijuana. While we think of Snoop Dogg and Dr. Dre as pioneers in the art of weed rap, it’s often forgotten that Dre once bragged on record about never smoking weed. But, after Cypress Hill lifted their veil of smoke, Dre got to work on an album called The Chronic. And Cypress Hill’s cannabis candidness wasn’t just relegated to their raps, either. The group became outspoken advocates for the legalization of marijuana, ushering in a new era of pot positivity that Cypress Hill are still pushing forward to this very day.
  • The Opus podcast

    Cypress Hill Revolutionized Hip-Hop via Hard Rock and Latin Funk

    21:35

    On the previous episode of Consequence Podcast Network and Sony's The Opus Season 15, we explored the chemistry between the voices of Cypress Hill’s B-Real and Sen Dog. In Episode 3, we look at the unique alchemy of their beats. The place where rock and metal meet has always been a part of Cypress Hill's sonic and cultural identity. Sen Dog's first concert was thrash-metal band Slayer; that band's drummer, Dave Lombardo (who, like Sen, is Cuban-American), was his high-school friend. At the end of "How I Could Just Kill a Man," someone quotes Suicidal Tendencies' "Institutionalized." Cypress Hill's sound had its origins as much in hard rock as it did with Latin funk. The group put their guitar-based influences under every one of their raps. In this episode, host Jill Hopkins and her guests talk about that intersection between rock and hip-hop, and examine how other artists found themselves at the center of the Venn diagram Cypress Hill first drew. Original music by Tony Piazza. Subscribe now so you can keep up on all the new Opus episodes. Also, keep an eye out for a special giveaway in the coming weeks to continue the celebration of the 30th anniversary of Cypress Hill. Also, grab yourself an official Opus hoodie or T-Shirt at the Consequence Shop or using the buy-now buttons below.
  • The Opus podcast

    Cypress Hill’s Chemistry Made for Explosive Hip-Hop

    18:43

    Consequence Podcast Network and Sony’s The Opus Season 15 continues as we explore the unparalleled chemistry between Cypress Hill’s B-Real and Sen Dog. B-Real’s high-pitched, nasal rap style played off the boom of Sen Dog’s authoritative baritone for a sound unlike anyone else. In Episode 2 of The Opus: Cypress Hill, the two rappers discuss finding their voices, while the legendary Chuck D (Public Enemy, Prophets of Rage) heaps praise on the group’s unique sound.
  • The Opus podcast

    Cypress Hill: Southern California Was a Cultural Powder Keg

    17:18

    Season 15 of The Opus, presented by the Consequence Podcast Network and Sony, travels back to the Southern California in which Cypress Hill’s sound exploded onto the scene. The sonic sense of urgency in the hip-hop group's self-titled debut album was a time-and-place thing -- a product of late '80s/early '90s Los Angeles that was swept up in the tension just before the Rodney King verdict and the uprising that followed. Cypress Hill's lyrics and beats were tailor made for the subwoofers in the trunks of the low riders that played them, and would echo around rap's landscape in the years to come. And it served as representative for the Black and brown voices who felt the need to protest as much as they felt the desire to party in the face of a community that would soon be national news. In this first episode of The Opus: Cypress Hill, we venture into Cypress Hill’s Southern California, and the powder keg that made their debut album important, necessary, and seemingly ubiquitous. And who better to give host Jill Hopkins a tour of this era than the members of Cypress Hill themselves, as B-Real, Sen Dog, and DJ Muggs guest on Episode 1.
  • The Opus podcast

    Just As I Am: Bill Withers’ Songs and Booker T. Jones’ Mind Were a Match Made in Soul Heaven

    27:33

    The production on Just As I Am is just as tight as you’d expect an album made with Booker T Jones to be. Bill Withers may have been a rookie singer/songwriter, but the plates on this album were definitely not. In this episode, we speak to folks who help Withers discover and perfect his signature sound. We also discuss the album’s sonic legacy with people whose sound has been influenced by the music Withers, Jones, and company made 50 years ago.
  • The Opus podcast

    Just As I Am Episode 3: Bill Withers' Just as I Am Was Populist Soul for Complicated Times

    22:51

    Amir “Questlove” Thompson, in Rolling Stone in 2015, called Bill Withers the “last African-American Everyman … the closest thing black people have to a Bruce Springsteen.” Withers’ Just As I Am was once referred to as “middlebrow soul.” That is to say, it was easily accessible at a time when music was becoming increasingly complex. In this episode, we find out what it means to be a populist musician when popular music was quickly turning its eye to more complicated compositions.

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