Backwards Beats Podcast

Bon Iver - For Emma, Forever Ago (#461)

Episode 46 dives deep into For Emma, Forever Ago by Bon Iver — an album born from heartbreak, illness, and isolation in a Wisconsin cabin that has since become modern indie folklore. Dan and Carl unpack the myth and the reality behind Justin Vernon’s retreat, his shift into the Bon Iver moniker, and how a small self-released record snowballed into a career-defining breakthrough.
The guys also weave in their trademark sidebars: regional listener stats, sausage and kielbasa taxonomy, chicken-butchering trauma, and seasonal talk of Advent calendars and questionable Christmas songs. It’s all here.
 
The Best Christmas Song in the Universe
An Old Fashoned Christmas (Daddy's Home)
 
Drip by Tigran Hamasyan
YouTube
 
Key Points
The album comes from Justin Vernon’s period of illness, heartbreak, and reclusion in his father’s hunting cabin — the “cabin myth” that helped shape its legacy.
Bon Iver’s name stems from a French phrase meaning “good winter,” pulled from the TV show Northern Exposure.
“Lump Sum,” “The Wolves (Act I and II),” and “re: Stacks” emerge as standout cuts — with strong arguments for the latter two as the album’s emotional high points.
“Skinny Love,” while the commercial hit, isn’t necessarily the musical centerpiece.
Billie Eilish has cited “Creature Fear” as an influence, specifically inspiring a melody in when the party’s over.
The album operates as a loose concept arc: descent, confrontation, collapse, clarity, and release.
Music Referenced
When the Party Is Over by Billie Eilish
Phineas
One direction
My Morning Jacket
Jim James
Jacob Collier
Hey Ho by the Lumineers
That lady by The Isley Brothers
Who's that lady by The Isley Brothers
Porcelain by Red Hot Chili Peppers
Coldplay
Chris Martin
into the wild by Eddie Vetter
Every breath you take by The Police
If you love somebody, set them free by Sting
Beirut
Nine Inch Nails
St. Vincent
Miley Cyrus

The Flying Burrito Brothers- A Gilded Palace of Sin (#462)

In this episode, Dan and Carl dive deep into The Gilded Palace of Sin — the 1969 debut from The Flying Burrito Brothers, ranked #462 on Rolling Stone’s 500 Greatest Albums of All Time. Formed by Gram Parsons and Chris Hillman after leaving The Byrds, this record pioneered the fusion of country, rock, and soul — laying the foundation for Americana and alt-country decades before those genres had names.
Through witty banter, historical context, and musical analysis, the hosts unpack the album’s cosmic twang, its groundbreaking use of pedal steel, and the strange brilliance of songs like “Hot Burrito #1” and “Sin City.” Along the way, they explore Gram Parsons’ ties to The Rolling Stones, the LA country-rock scene, and the tension between parody and sincerity in a record that shaped future giants like The Eagles, Linda Ronstadt, and Emmylou Harris.
Key Points
Origins & Context
Formed in Los Angeles by Gram Parsons and Chris Hillman after their departure from The Byrds.
Recorded at A&M Studios (later Jim Henson Studios) in late 1968 and released in February 1969.
Featured the legendary Sneaky Pete Kleinow on pedal steel, also known for his animation work on Gumby and Star Wars.
Blended country, blues, soul, R&B, and psychedelic influences into what Parsons called “cosmic American music.”
Signature Sound
Prominent use of fuzzed-out pedal steel guitar and unconventional mixing choices (hard-panned vocals and instruments).
Juxtaposes authentic country stylings with experimental textures and R&B harmonies.
Introduced a sonic palette that inspired countless artists in the 1970s country-rock boom.
Legacy
Though initially a commercial failure, The Gilded Palace of Sin became a touchstone for country-rock and Americana.
Influenced artists like The Eagles, Poco, and Emmylou Harris.
Gram Parsons’ vision and tragic early death cemented his status as one of rock’s mythic figures.
Music Referenced
Sweetheart of the Rodeo by The Byrds
Gram Parsons
Chris Hillman
Sneaky Pete Kleinow
Chris Etheridge
Michael Clarke
Fast Eddie Ho
John Corneal
International Submarine Band
Keith Richards
Exile on Main St. by The Rolling Stones
Honky Tonk Women by The Rolling Stones
Lou Reed
Stephen Stills
Crosby, Stills & Nash
Otis Redding
The Temptations
The Everly Brothers
Hank Williams
Merle Haggard
George Jones
City of New Orleans by Arlo Guthrie
Do Right Woman, Do Right Man by Aretha Franklin
Dark End of the Street by Aretha Franklin
Dark End of the Street by James Carr
Heart Like a Wheel by Linda Ronstadt
Faithless Love by Linda Ronstadt
Dark End of the Street by Linda Ronstadt
Willie Nelson
Ry Cooder
Joni Mitchell
Stevie Wonder
Emmylou Harris
Take It to the Limit by The Eagles
Poco
The Desert Rose Band
Biding My Time by Tom Petty
Johnny Cash
Procol Harum
Little Feat
Little River Band
Bernie Leadon
Damon Albarn
Synkronized by Jamiroquai
Canned Heat by Jamiroquai
The Light For Days by Jacob Collier
Join us next week when we dive into the Hipster's dream... For Emma, Forever Ago by Bon Iver

Laura Nyro - Eli and the Thirteenth Confession (#463)

Dan and Carl dive deep into Laura Nyro’s Eli and the Thirteenth Confession, the 1968 album sitting at #463 on Rolling Stone’s list of the 500 Greatest Albums of All Time. Known for her blend of pop, jazz, gospel, and soul—and her influence on artists like Elton John and The 5th Dimension—Nyro’s work is both ambitious and divisive. The hosts unpack her fearless songwriting, theatrical delivery, and chaotic arrangements while wrestling with whether the record truly earns its critical acclaim. Along the way, they highlight standout musicians like bassist Chuck Rainey and arranger Charlie Calello, compare the album’s structure to a Broadway production, and even drop in a few of their signature fake ads.
Key Points
Artist Background: Laura Nyro was a Bronx-born prodigy who taught herself piano, began composing at eight, and wrote hits later covered by major artists including The 5th Dimension, Barbra Streisand, and Blood, Sweat & Tears.
Album Context: Released in 1968, Eli and the Thirteenth Confession blends pop, gospel, soul, and musical theater influences. Despite critical acclaim, it wasn’t a commercial hit and peaked at #181 on the Billboard 200.
Production Notes: Co-produced and arranged by Charlie Calello, featuring elite session players like Chuck Rainey and Zoot Sims. The album’s lush instrumentation and complex arrangements hint at a conductor’s precision.
Signature Tracks: “Eli’s Comin’” (later a hit for Three Dog Night), “Sweet Blindness” (covered by The 5th Dimension), and “Stone Soul Picnic.”
Critical Take: While Nyro’s ambition and musicianship are undeniable, Dan and Carl ultimately agree that Eli and the Thirteenth Confession doesn’t belong on the Rolling Stone Top 500. It’s inventive, but overindulgent and uneven in execution.
Music Referenced
Wedding Bell Blues by The 5th Dimension
Sweet Blindness by The 5th Dimension
Stone Soul Picnic by The 5th Dimension
Stoney End by Barbra Streisand
And When I Die by Blood, Sweat & Tears
The Four Seasons
Engelbert Humperdinck
Neil Diamond
Emily by Frank Sinatra
Bruce Springsteen
Elton John
Nina Simone
Eli’s Comin by The Three Dog Night
Joy To The World by The Three Dog Night
Rare Earth
Saturday in the Park by Chicago
Aretha Franklin
Here, My Dear by Marvin Gaye
Carol King
Quincy Jones
Chuck Rainey
Zoot Sims
Charlie Calello
Still Live by Keith Jarrett
Jack DeJohnette
Gary Peacock
Oscar Peterson
Bob James
Neon by John Mayer
Harry Styles
Lu by Peggy Lipton
Kanye West
Gracie Lawrence
Jacob Jeffries
Vulfpeck
Emily by The Singers Unlimited
Try to Remember by The Singers Unlimited
Join us next week when we cover The Guilded Palace of Sin by The Flying Burrito Brothers.

The Isley Brothers - 3+3 (#464)

Dan and Carl dive into 3 + 3, the 1973 soul-funk classic by The Isley Brothers—album #464 on Rolling Stone’s 500 Greatest Albums of All Time. This episode explores the band’s transformation from their doo-wop roots to a fully self-contained funk powerhouse. From iconic covers like “Summer Breeze” and “Listen to the Music” to original gems like “That Lady” and “What It Comes Down To,” the hosts unpack the musicianship, harmonies, and sonic evolution that made this record a defining statement for the group. Expect laughs, deep dives into theory, and the usual mix of heartfelt appreciation and comedic tangents that make Backwards Beats a must-listen.
Key Points
Album Context: Released in 1973, 3 + 3 marked The Isley Brothers’ creative rebirth, blending soul, funk, and gospel influences while debuting their expanded six-member lineup.
Recording & Influences: Recorded at The Record Plant in Los Angeles, during the same era Stevie Wonder was working on Innervisions. The interplay between these artists helped define 1970s R&B sound design.
Signature Sound: Features the legendary guitar tone of Ernie Isley—fuzzed-out, sustained, and way ahead of its time.
Musicianship: The Isley Brothers’ self-contained approach shines—tight rhythm section, rich harmonies, and inventive chord work. Dan and Carl break down progressions, vocal textures, and clever rhythmic layering.
Legacy: The album’s versatility—balancing hits, covers, and musical sophistication—cements it as a timeless entry in funk and soul history.
Verdict: A unanimous “Would You Hit It? Absolutely.” Dan and Carl both praise the album’s cohesion, groove, and staying power.
Music Referenced
Footsteps in the Dark by The Isley Brothers
Innervisions by Stevie Wonder
Songs in the Key of Life by Stevie Wonder
Please Please Me by The Beatles
Twist and Shout by The Beatles
Rolling Stones
Don't Let Me Be Lonely Tonight by James Taylor
Dreams to Remember by Otis Redding
You Are So Beautiful by Joe Cocker
Let's Stay Together by Al Green
Tell Me Something Good by Rufus
Listen to the Music by The Doobie Brothers
Queen of Hearts by Juice Newton
Sunshine by Juice Newton
Sunshine by Jonathan Edwards
Summer Breeze by Seals and Crofts
Reminiscing by Little River Band
Boston
Toto
Gorillaz
Sparks
Big Girls Don’t Cry by Frankie Valli and the Four Seasons
Sherry by Frankie Valli and the Four Seasons
Fly by Michael Mayo
Giant Steps by Michael Mayo
Fore by Michael Mayo
Nate Smith
💿 Next week: Eli and the Thirteenth Confession by Laura Nyro.🕺 Salt your melons, and keep those grooves alive.

King Sunny Ade - The Best of the Classic Years (#465)

In this episode of Backwards Beats, Dan and Carl journey into the rhythmic heart of Nigeria with King Sunny Adé’s landmark compilation The Best of the Classic Years. The hosts unpack how juju music’s hypnotic grooves and layered percussion shaped one of Africa’s most enduring musical legacies. From the celebratory pulse of “Sunny Ti De” to the sprawling “Synchro System,” they explore how Adé fused tradition and modernity—bridging Yoruba roots and global reach.
Listeners will discover how Adé’s early innovations—talking drums, pedal steel guitars, and lush vocal harmonies—laid the groundwork for generations of African and world music artists. The conversation also dives into the album’s cultural resonance, its role in Nigeria’s post-independence sound, and the seamless flow that makes The Best of the Classic Years a timeless listen.
Key Points
Juju Origins: The episode opens with a primer on juju music—its Yoruba roots, call-and-response vocals, and rhythmic layering.
Cultural Context: Dan and Carl highlight how Nigeria’s post-independence energy fueled a new musical identity blending tradition and technology.
King Sunny Adé’s Innovation: Discussion of Adé’s use of multiple guitars, talking drums, and modern instruments like the pedal steel to redefine juju.
Track Highlights: Deep dives into “Sunny Ti De,” “Synchro System,” and “Ogun Party” showcase Adé’s mix of spiritual themes, celebration, and technical brilliance.
Sound & Structure: Breakdown of Adé’s medley approach—extended, evolving grooves instead of radio-length singles.
Legacy: Reflection on how The Best of the Classic Years cemented Adé’s title as the “King of Juju” and influenced modern Afrobeat and world fusion sounds.
Backwards Beats Verdict: The hosts share what makes this compilation essential listening for anyone exploring global classics beyond the Western canon.
Music Referenced
Ebenezer Obey
Fela Kuti
Bob Marley
Join us next week when we cover 3+3 by The Isley Brothers.

Black Uhuru - Red (#466)

In this episode of Backwards Beats, Dan and Carl dive into Black Uhuru’s 1981 masterpiece Red — the album that carried reggae into a new decade following Bob Marley’s passing. The duo explores how Michael Rose, Puma Jones, and Duckie Simpson, supported by legendary rhythm section Sly & Robbie, shaped a sound that fused roots reggae, dub experimentation, and modern production. With tight grooves, deep social commentary, and forward-thinking arrangements, Red defined a new era of conscious Jamaican music.
Key Points
Background & Lineup:Originated in Kingston’s Waterhouse district; lineup solidified with Michael Rose, Puma Jones, and Duckie Simpson.The name Uhuru means “freedom” in Swahili.
Sly & Robbie’s Influence:Though not official members, drummer Sly Dunbar and bassist Robbie Shakespeare drove the band’s evolution—modernizing reggae’s sound with synth drums, dub textures, and rhythmic precision.
Cultural Moment:Released just months before Bob Marley’s death, Red filled the leadership gap in global reggae, blending political consciousness with sleek 1980s production.
Sound & Craft:The album balances tight, modern arrangements with deep spiritual and political lyrics. Layered guitars, female harmonies, and dub effects create a textured yet spacious mix.
Music Referenced
Love Crisis by Black Uhuru
Sinsemilla by Black Uhuru
Bob Marley
Steel Pulse
Hear My Dear by Marvin Gaye
Cake
Lenny Kravitz
Frankie Valli
The Jacksons
Whip It by Devo
Family Dinner Volume One by Snarky Puppy
Amour T’es Là by Snarky Puppy
Something by Snarky Puppy
Lalah Hathaway
Magda Giannikou
Pain to Power by Maruja
Leaving Babylon by 311
Inner Light Spectrum by 311
Hit the Road Jack by Ray Charles
The Clash
Dub Trio
Soulive
Real Big Fish
Material Girl by Madonna
Walk off the Earth
Join us next week when we break down The Best of the Classic Years by King Sunny Ade

Maxwell - BLACKsummer'snight (#467)

In Episode 40 of Backwards Beats, Dan and Carl unpack Maxwell’s BLACKsummers’night (2009) — the smooth, soulful comeback that reignited his career after an eight-year hiatus. They trace Maxwell’s journey from his neo-soul beginnings in the ’90s to the carefully crafted emotional world of this album, exploring how he redefined R&B’s sound in a digital era. The hosts dive into the record’s warmth, live instrumentation, and deeply intimate production style while reflecting on its place in both Maxwell’s trilogy and the wider soul landscape.
Key Points
BLACKsummers’night marked Maxwell’s return after 2001’s Now and introduced the first part of his planned trilogy.
Discussion of the album’s standout tracks, including “Pretty Wings,” “Bad Habits,” and “Cold.”
Analysis of Maxwell’s emphasis on analog sound, organic grooves, and live performance energy in a time dominated by electronic R&B.
Comparison of Maxwell’s style and evolution to contemporaries like D’Angelo, Erykah Badu, and Prince.
Reflection on the themes of heartbreak, self-awareness, and romantic vulnerability that define the record.
Exploration of how the album’s emotional pacing and sequencing mirror the arc of a relationship.
Final verdict in “Would You Hit It?” — where Dan and Carl decide if BLACKsummers’night still hits as hard today as it did in 2009.
Music Referenced
blackSUMMERS'night by Maxwell
Purple Rain by Prince
Little Red Corvette by Prince
Damn U by Prince
I Would Die 4 U by Prince
Red by Black Uhuru
Don't Speak by No Doubt
The Roots
Hard Times by John Legend
Breakout by Soulive
Steady Groovin' by Soulive
Flurries by Soulive
Corey Glover
Living Colour
Here, My Dear by Marvin Gaye
Erykah Badu
5 by Lenny Kravitz
Anderson .Paak
SZA
Chaos
Miranda Lambert
Adele
D'Angelo
Join us next week when we dive into the album Red by Black Uhuru.

The Rolling Stones - Some Girls (#468)

In this episode of Backwards Beats, Dan and Carl explore Some Girls by The Rolling Stones, a landmark 1978 release that revitalized the band during the disco and punk era. The discussion covers how the Stones adapted to the changing musical landscape, the unique blend of styles on the album, and why Some Girls remains one of their best-selling and most beloved works. From Jagger’s embrace of disco on “Miss You” to the raw rock energy of “Respectable” and the soulful vulnerability of “Beast of Burden,” the hosts dig into the stories and sounds that defined this late-career classic.
Key Points
Some Girls was released in 1978, at a time when punk and disco were reshaping popular music.
The album marked Ronnie Wood’s first full contribution as an official band member.
Tracks like “Miss You” showed the Stones successfully pulling from disco influences, while “Shattered” and “Respectable” responded to punk’s urgency.
“Far Away Eyes” highlighted their continued use of country elements in surprising ways.
“Before They Make Me Run” gave Keith Richards a spotlight as lead vocalist, reflecting his personal struggles at the time.
The band’s ability to adapt to shifting trends while keeping their core identity intact helped cement Some Girls as a late-career triumph.
Music Referenced
Black and Blue by The Rolling Stones
Exile on Main Street by The Rolling Stones
Sticky Fingers by The Rolling Stones
Sugar Blue
Ian McLagan
Mel Collins
Simon Kirke
The Bum Bum Song by Tom Green
How Bizarre by OMC
Changes by David Bowie
Genie in a Bottle by Christina
John Melon Camp
Hip to be Square by Huey Lewis
Jamiroquai
Join us next week when we review BLACKsummer'snight by Maxwell.

Manu Chao - Clandestino (#469)

In this episode of Backwards Beats, Dan and Carl welcome special guest Nate Danciger for a deep dive into Manu Chao’s groundbreaking 1998 album Clandestino, ranked on Rolling Stone Magazine’s 500 Greatest Albums of All Time. With Nate’s Spanish-language expertise and historical insight, the trio explore the album’s multilingual lyrics, global street sound, and political urgency. From immigration and activism to reggae grooves and playful samples, Clandestino is both a personal journey and a universal statement. Though it started quietly, the record went on to sell over 5 million copies and remains a touchstone for global music lovers.
Key Points
Guest Feature: Nate Danciger brings Spanish fluency and cultural context, enriching the analysis of lyrics, themes, and wordplay.
Artist Background: Manu Chao (born José-Manuel Thomas Arthur Chao in Paris, 1961) was raised by Spanish anti-Franco parents in exile. His immigrant roots shaped his worldview and art.
Musical Style: A raw, loop-driven blend of reggae, ska, Latin rhythms, French chanson, and field recordings, evoking the sound of a traveling busker.
Multilingual Lyrics: Primarily Spanish, with French, Portuguese, and English tracks. Chao often rhymes across languages, making his songs accessible even without full translation.
Themes:
Immigration and displacement (Clandestino).
Political corruption and systemic lies (Mentira, Luna y Sol).
Climate change and environmental justice (Kyoto Protocol references).
Street life, resilience, and wanderlust (Desaparecido, Mama Call).
Satirical and playful breaks (Bongo Bong, Welcome to Tijuana).
Political Edge: Strong ties to the Zapatista movement and revolutionary ideals, with samples of speeches demanding food, shelter, and justice.
Album Impact: Initially under-promoted, the album later entered the French Top 10, stayed there for years, and reached five million global sales.
Music Referenced
Próxima Estación Esperanza by Manu Chao
Mano Negra
The Clash
Pixies
G. Love and Special Sauce
Bob Marley
Blood Sugar Sex Magik by Red Hot Chili Peppers
One Hot Minute by Red Hot Chili Peppers
Walkabout by Red Hot Chili Peppers
Funkadelic
Jimi Hendrix
Tell Me Is It True by UB40
Red Red Wine by UB40
Can't Help Falling in Love by UB40
Baby I Love Your Way by Big Mountain
Anthem by Black Uhuru
Bull in the Pen by Black Uhuru
Africa by Toto
Whip It by Devo
Funeral by Arcade Fire
Haiti by Arcade Fire
Join us next week when we explore the well loved album Some Girls by The Rolling Stones

Juvenile - 400 Degreez (#470)

In this episode of Backwards Beats, Dan and Carl head to New Orleans to break down Juvenile’s game-changing 1998 album 400 Degreez. From the bounce-driven streets of the Magnolia Projects to Cash Money’s breakthrough into the national spotlight, this record reshaped the sound of hip-hop at the turn of the millennium. The duo unpacks Juvenile’s rise, the production genius of Mannie Fresh, and the cultural weight of singles like “Ha” and “Back That Azz Up.”
Key Points
Juvenile’s early career and how he connected with Cash Money Records.
The unique cadence and impact of “Ha” — and how Jay-Z jumped on the remix.
Mannie Fresh’s minimalist, bounce-inspired production style.
The mainstream success of “Back That Azz Up” and its role in bringing Southern rap nationwide.
How 400 Degreez cemented Cash Money’s reputation and paved the way for artists like Lil Wayne.
The album’s lasting influence on Southern hip-hop and its legacy in music history.
Music Referenced
Solja Rags by Juvenile
Being Myself by Juvenile
Solja Rags by Juvenile
Mannie Fresh
Ha (Remix) by Jay-Z
B.G.
Lil Wayne
Turk
Get It How U Live! by Hot Boys
Big Tymers
DJ Jubilee
Luxury: Cococure by Maxwell
Oye Como Va by Tito Puente
André 3000
Join us next week when we go international and discuss Manu Chao's Clandestino.