Backwards Beats Podcast

Surrealistic Pillow - Jefferson Airplane (#471)

In this episode of Backwards Beats, Dan and Carl dive into Surrealistic Pillow (1967) by Jefferson Airplane, ranked #471 on Rolling Stone’s Greatest Albums list. They explore how the album defined the San Francisco sound, the role of Grace Slick in reshaping the band’s identity, and Jerry Garcia’s surprising influence as “musical and spiritual advisor.” The conversation blends deep analysis, fun tangents, and reflections on the counterculture movement that shaped the record.
Key Points
Surrealistic Pillow marked Jefferson Airplane’s breakthrough and cemented them in the Summer of Love era.
Grace Slick brought two of the band’s biggest hits, “Somebody to Love” and “White Rabbit”, from her previous group The Great Society.
Jerry Garcia contributed guitar parts and guidance, inspiring the album’s title.
The record blends folk, rock, blues, and early psychedelia, showcasing a wide stylistic range.
Discussion of mono vs stereo cuts reveals different listening experiences, with White Rabbit favored in mono.
Music Referenced
Jefferson Airplane Takes Off by Jefferson Airplane
Flight Log by Jefferson Airplane
Somebody to Love by The Great Society
White Rabbit by The Great Society
Magic Bus by The Who
I Want Candy by The Strangeloves
The Boys of Summer by Don Henley
Don't Stop Believin' by Journey
Never Going Back Again by Fleetwood Mac
Hearts and Bones by Paul Simon
Extreme
They Reminisce Over You by Pete Rock & C.L. Smooth
The Honeysuckle Breeze by Tom Scott
Rickie Lee Jones
Paul Butterfield
Sara by Stevie Nicks
Janis Joplin
Nine Inch Nails
Trent Reznor
Jesus and Mary Chain
Right Here Right Now by Jesus Jones
Where It's At by Beck
Moonlight Drive by The Doors
Riders on the Storm by The Doors
Watermelon Man by Herbie Hancock
Law & Order Theme
Crosby, Stills, Nash & Young
Join us next week when we cover 400 Degreez by Juvenile.

Ctrl - Sza (#472)

In this episode of Backwards Beats, Dan and Carl dive into CTRL by SZA, ranked #472 on Rolling Stone’s 500 Greatest Albums of All Time. They explore SZA’s groundbreaking debut, her unique blend of R&B, hip hop, and neo-soul, and the bold themes of vulnerability, sexuality, and self-discovery that run through the record. Along the way, they discuss standout tracks, production details, and cultural impact, with plenty of humor, side tangents, and even a campaign to “buy Sesame Street.”
 
Music Referenced
Travis Scott
Kendrick Lamar
Rihanna
Beyonce
Nicki Minaj
Anderson Paak
Billie Eilish
Questlove
Pharrell
Frank Ocean
Chance the Rapper
Alessia Cara
Drake
Lil’ Kim
Let's Get Dirty by Redman
Wu-Tang Clan
Jane Says by Jane's Addiction
Drew Barrymore
Who Knew by Pink
Love on the Weekend by John Mayer
Circles by Post Malone
FutureSex/LoveSounds by Justin Timberlake
Suit and Tie by Justin Timberlake
Timbaland
Random Access Memories by Daft Punk
Get Lucky by Daft Punk
Nile Rodgers
SWV
Erykah Badu
Ariana Grande
Shakira
Celine Dion
Domi and JD Beck
Tower of Power
Gary Clark Jr.
The Black Keys
Join us next week when we cover Surrealistic Pillow by Jefferson Airplane.

Barrio Fino - Daddy Yankee (#473)

In this episode of Backwards Beats, Dan and Carl dive into Daddy Yankee’s landmark 2004 album Barrio Fino. Widely credited with bringing reggaetón into the global spotlight, the record features the smash hit Gasolina and helped shape the sound of Latin music for years to come. Dan reflects on the challenges of listening to the full 21-track project as a non-Spanish speaker, the dominance of the soca rhythm throughout, and how the album’s rapid-fire delivery can feel overwhelming. The hosts also contextualize the album within the early 2000s music scene and its lasting cultural impact.
Key Points
Barrio Fino (2004) established Daddy Yankee as the “King of Reggaetón.”
The breakout single Gasolina became an international anthem and a defining track of the genre.
Heavy use of the soca rhythm and drum machine programming gives the album a consistent—but sometimes repetitive—feel.
Dan discusses how Spanish’s syllable-timed rhythm can make verses feel faster to non-native listeners, comparing it to Eminem’s rapid-fire delivery in Rap God.
Legacy: Barrio Fino paved the way for reggaetón’s global dominance and set the stage for Daddy Yankee’s later successes, including Despacito with Luis Fonsi.
Music Referenced
Rap God by Eminem
Godzilla by Eminem
Despacito by Luis Fonsi
Andy Montañez
Don Omar
Zion & Lennox
Wisin & Yandel
Join us next week when we dive deep into SZA's iconic album CTRL.

#1 Record - Big Star (#474)

In this episode of the Backwards Beats Podcast, Dan and Carl dig into Big Star’s #1 Record—an album that didn’t live up to its title in sales but grew into one of the most influential records in rock history. Released in 1972 and largely overlooked at the time, #1 Record went on to inspire generations of power pop, indie, and alternative bands. The guys explore how Alex Chilton, Chris Bell, Andy Hummel, and Jody Stephens fused British Invasion pop with Southern rock charm and pristine studio production at Ardent Records. Along the way, they highlight Big Star’s incredible harmonies, clever songwriting, and the album’s surprising legacy despite its initial commercial failure.
Key Points
Big Star Origins – Formed in Memphis in 1971 by Alex Chilton (formerly of The Box Tops), Chris Bell, Andy Hummel, and Jody Stephens. Chilton’s background includes the teenage hit “The Letter,” while Bell’s songwriting shaped the band’s signature melodic power pop sound.
Commercial Struggles – Despite critical acclaim, #1 Record initially sold only about 10,000 copies due to poor distribution and promotion, leading to internal band tensions and Bell’s departure.
Production & Sound – Recorded at Ardent Studios with surprisingly polished sound for 1972, blending British Invasion influences (The Beatles, The Byrds, The Kinks) with American Southern rock and early power pop. The result feels ahead of its time and sonically tight compared to many contemporaries.
Musical Influences & Legacy – The album foreshadows elements of Tom Petty, R.E.M., The Replacements (who even wrote a song called “Alex Chilton”), and countless indie rock acts. References throughout the discussion include Elton John, Bread, Todd Rundgren, Crosby Stills & Nash, The Zombies, and even future nods toward ’80s rock and grunge.
Music Referenced
Rocket Man by Elton John
Bread
Right Here Right Now by Jesus Jones
#1 Record by Big Star
Feel by Big Star
The Ballad of El Goodo by Big Star
In the Street by Big Star
Thirteen by Big Star
Don't Lie to Me by Big Star
India Song by Big Star
When My Baby's Beside Me by Big Star
My Life is Right by Big Star
Give Me Another Chance by Big Star
The Letter by The Box Tops
Eric Gales
Abbey Road by The Beatles
Let It Be by The Beatles
A Hard Day's Night by The Beatles
The End by The Beatles
Across the Universe by The Beatles
Turn! Turn! Turn! by The Byrds
The Zombies
Todd Rundgren
Crosby Stills Nash & Young
In My Dreams by Dokken
Plush by Stone Temple Pilots
Go All the Way by Raspberries
Fox on the Run by Sweet
Ballroom Blitz by Sweet
Songs About Jane by Maroon 5
Sunday Morning by Maroon 5
Dirty Work by Steely Dan
Tom Petty
Cheap Trick
Garbage
Elliott Smith
ZZ Top
Ted Nugent
Smokin' by Boston
Lido Shuffle by Boz Scaggs
The Doors
Rock the Casbah by The Clash
London Calling by The Clash
Life's Been Good by Joe Walsh
I Can't Go for That (No Can Do) by Hall & Oates
Fuck You by CeeLo Green
To Be with You by Mr. Big
You Are So Beautiful by Joe Cocker
Alex Chilton by The Replacements

Sheryl Crow - Sheryl Crow (#475)

In Episode 32 of Backwards Beats, Dan and Carl dive into the self-titled 1996 album Sheryl Crow, ranked #475 on Rolling Stone Magazine's 500 Greatest Albums of All Time. This sophomore record marked a decisive turn for Crow as a producer, songwriter, and artist determined to define herself beyond the massive success of Tuesday Night Music Club. The duo explores the album’s gritty production, thematic depth, and impressive musical range—highlighting Crow’s defiant vocals, smart arrangements, and her evolution as a bandleader.
From radio staples like "If It Makes You Happy" and "Everyday Is a Winding Road" to overlooked gems like "Home" and "Love Is a Good Thing," this episode blends music theory, and production analysis.. Along the way, the hosts unpack artistic independence, unexpected harmony choices, and why Crow deserves more respect in both pop and rock circles.
Key Points
Sheryl Crow (1996) is her second studio album and a bold departure from the collaborative feel of Tuesday Night Music Club.
Dan and Carl dig into the production choices—especially Crow’s use of distorted Wurlitzers, dry vocal doubles, and male background vocals that add gravitas.
Special attention to vocal technique—Dan breaks down how Crow uses melody, harmony, and tone to define character and mood across tracks.
Music Referenced
I Just Can't Stop Loving You by Michael Jackson
Celine Dion
Prince
Stevie Wonder
Don Henley
Rod Stewart
Sting
Continuum by John Mayer
Selena
Bonnie Raitt
Miranda Lambert
St. Vincent
Heart Like a Wheel by Linda Ronstadt
You're No Good by Linda Ronstadt
Amy Mann
Cowboy Junkies
One of These Nights by The Eagles
Billy Preston
Let It Be by The Beatles
Abbey Road by The Beatles
We Like It Here by Snarky Puppy
Jay Dilla
Jolene by Dolly Parton
Chris Stapleton
Cake
For What It's Worth by Buffalo Springfield
Jimi Hendrix
Creedence Clearwater Revival
Nirvana
Beck
Foo Fighters
John Scofield
Where Is My Mind by The Pixies
Don't You (Forget About Me) by Simple Minds
The Rolling Stones
Kevin Gilbert
David Baerwald
Bill Bottrell
Neil Finn
Join us next week when we dig into #1 Record by Big Star.

Kimono My House - Sparks (#476)

This week on Backwards Beats, Dan and Carl tackle Sparks’ 1974 glam-rock carnival ride, Kimono My House — ranked #476 on Rolling Stone Magazine’s 500 Greatest Albums of All Time. This album introduced many to the chaotic genius of Ron and Russell Mael, the brothers behind Sparks, and inspired artists from Björk to Beck. With theatrical falsetto vocals, hyperactive arrangements, and lyrics that blend wit and weirdness, Sparks bring both musical chops and flamboyant absurdity. But does that make for an album worth revisiting? Carl and Dan try to make sense of the madness.
Key Points
Musical Style:
Operatic falsetto vocals, chaotic but tight arrangements, tongue-in-cheek lyricism.
Compared to Queen, ABBA, Zappa, Supertramp, and musical theater.
Dense mixes, cinematic flair, and eccentricity dialed to 11.
Highlights:
“This Town Ain’t Big Enough for the Both of Us” – cinematic, gunshots, soaring falsetto.
“Amateur Hour” – rhythmic complexity, sex humor, and character-driven lyrics.
“Thank God It’s Not Christmas” – punk-ish energy, standout descending scale hook.
“Asetmañana Monsieur” – fan favorite; Beatles-style harmony meets aggressive groove.
Lyrical Themes:
Absurdist humor, theatrical personas, failed suicide pacts (“Here in Heaven”), narcissism, Einstein fan fiction (“Talent Is an Asset”), and the occasional circus motif.
Music Referenced
Come On-a My House by Rosemary Clooney
Steve Winwood
Spencer Davis Group
Bjork
Faith No More
Queen
Cheap Trick
Depeche Mode
Erasure
Duran Duran
Beck
Franz Ferdinand
Jello Biafra
Dead Kennedys
The Darkness
Love Gun by Kiss
Neighborhood #1 (Tunnels) by Arcade Fire
Frank Zappa
ABBA
One Night in Bangkok by Murray Head
Snarky Puppy
Supertramp
Coheed and Cambria
Blackstar by David Bowie
Life on Mars? by David Bowie
Fame by David Bowie
Billion Dollar Babies by Alice Cooper
Hello Hooray by Alice Cooper
Elected by Alice Cooper
Electric Light Orchestra
Sheryl Crow by Sheryl Crow
All I Wanna Do by Sheryl Crow
If It Makes You Happy by Sheryl Crow
Everyday Is a Winding Road by Sheryl Crow
Michael Bublé
Join us next week when we cover the album Sheryl Crowe by Sheryl Crowe

Moanin' in the Moonlight - Howlin' Wolf (#477)

This week, Dan and Carl dig into the dark, gritty, and groundbreaking Moanin’ in the Moonlight by Howlin’ Wolf — ranked #477 on Rolling Stone Magazine's 500 Greatest Albums of All Time. With a growl like gravel and a presence like thunder, Howlin’ Wolf’s debut album isn't just blues — it's the blueprint for rock ‘n’ roll.
Originally released in 1958 as a compilation of previously recorded singles, this 12-track, 30-minute album is a masterclass in raw expression. The guys explore everything from the origins of the electric blues to bizarre recording choices, and even a few unexpected grooves that feel downright Dilla-esque.
Whether you’re a blues head or a first-time listener, you’ll hear this album — and the blues — with new ears.
🎧 Key Points
Who Was Howlin’ Wolf?Born Chester Arthur Burnett, the man behind the howl was a towering force — literally. At 6'3" and 275 lbs, his presence and voice were larger than life. The guys dig into his history, including his time in the military, his discovery by Ike Turner, and his pivotal move to Chicago and Chess Records.
Format Breakdown & Song StructuresDan and Carl give listeners a crash course in blues forms — 12-bar, one-chord vamps, and even a possible D.C. Shuffle — making this episode perfect for blues newbies and music theory nerds alike.
Influence & LegacyFrom The Rolling Stones to Led Zeppelin to The Black Keys, Howlin’ Wolf’s fingerprints are all over modern music — legally or otherwise. His influence extends beyond the music into stage presence, vocal delivery, and raw emotional honesty.
Music Referenced
Muddy Waters
Phil Spector
Floyd Jones
Johnny Shines
Sunny Boy Williams
Robert Johnson
Son House
Willie Johnson
Junior Parker
Willie Steele
Ike Turner
James Brown
Herbert Sumlin
Willie Dixon
Otis Spann
Jody Williams
The Rolling Stones
The Lemon Song by Led Zeppelin
How Many More Times by Led Zeppelin
Smokestack Lightning by The Yardbirds
Smokestack Lightning by Manfred Mann
Jay Dee (J Dilla)
George Benson
Wolfman Jack
Richard Dreyfus
Stevie Ray Vaughan
Frank Yonay
John Popper
Bob Dylan
Steven Tyler
Alanis Morissette
Royals by Lorde
Tove Lo
Devil's Haircut by Beck
Arcade Fire
 
Join us next week when we cover Kimono My House by Sparks

The Kinks - Something Else (#478)

In this episode, Dan and Carl dive into Something Else by The Kinks, #478 on Rolling Stone Magazine’s 500 Greatest Albums of All Time list. Released in 1967 (UK) and early 1968 (US), this album shows The Kinks moving from garage rock into baroque pop, British folk, and psychedelic sounds, with Ray Davies taking complete creative control. The hosts explore sibling tension, touring bans, Beatles comparisons, wild harmonic shifts, and why Spotify’s album cataloging drives them nuts.
Key Points
🎙️ Album Context: Released during The Kinks’ U.S. touring ban, Something Else reflects a more introspective, studio-based approach. Ray Davies wrote nearly the whole album, while Dave Davies contributed two standout tracks.
🇬🇧 Baroque Pop Influences: The hosts examine the album’s baroque elements—like harpsichord, vocal doubling, and experimental song structures—while noting its British charm and post-Beatles vibe.
🧠 Music Theory Deep Dive: “No Return” earns high praise for its unpredictable harmonic shifts and jazzy, Latin-inspired structure. We dissect modulations, tritones, and non-functional harmony with excitement.
🤡 Death of a Clown: Dave Davies’ top-three UK hit gets analyzed lyrically and emotionally—an introspective, Dylan-esque track about the exhaustion of touring.
🔊 Production Woes & Wins: The mix across the album varies wildly. Dan and Carl debate whether production inconsistency hurts or helps the listening experience.
🍻 Pub Rock Energy: “Harry Rag” becomes a surprise favorite—a rowdy drinking song that combines Cockney energy with expert handclaps and tongue-in-cheek lyrics.
Music Referenced
You Really Got Me by The Kinks
Lola by The Kinks
Tomorrow Never Knows by The Beatles
Strawberry Fields by The Beatles
Lady Madonna by The Beatles
Oasis
The Stooges
Bob Dylan
The Doors
The Zombies
The Point by Harry Nilsson
Coconut by Harry Nilsson
Simon and Garfunkel
Nirvana
Foo Fighters
Eminem
Cream
The Who
Brian Wilson
Synchronicity by The Police
Synchronicity II by The Police
The Dark Side of the Moon by Pink Floyd
Wish You Were Here by Pink Floyd
Animals by Pink Floyd
The Wall by Pink Floyd
Physical Graffiti by Led Zeppelin
Houses of the Holy by Led Zeppelin
Thriller by Michael Jackson
Rumours by Fleetwood Mac
Harry Styles
Englishman in New York by Sting
Shaggy
Jim Morrison
Donald Fagen
Cake
Join us next week when we cover Moanin' in the Moonlight by Howlin' Wolf

Amor Prohibido - Selena (#479)

This week, Dan and Carl dive into Amor Prohibido, Selena's 1994 breakthrough and a landmark in Tejano and Latin pop. Positioned at #479 on Rolling Stone Magazine’s 500 Greatest Albums of All Time, the album blends cumbia, pop, and Tejano styles with digital instrumentation and deeply emotional themes—though often delivered through upbeat, danceable grooves.
The hosts explore Selena’s unique vocal control, her genre-defining influence, and the tragic story of her life cut short. They wrestle with the album's heavy use of MIDI production, ultimately acknowledging both its cultural context and experimental ambition. Plus, fake sponsors make their return with fiery critiques of Tesla performative activism and reusable toe separators turned tea stirrers.
Key Points
Selena's Legacy: Rising from a family band in Texas, Selena became one of the most influential Latin artists ever, blending genres like Tejano, cumbia, and pop. Her murder at 23 shocked the world and arguably ended a musical era.
Production Style: The album is drenched in early-90s digital production. MIDI horns, synth pads, and drum machines dominate the sound—an aesthetic choice, not a budget constraint, reflecting Tejano trends of the time.
Cultural Disconnect: Dan and Carl, as non-Spanish speakers, confront how the album’s sonic brightness masks often heartbreaking lyrical themes. Songs like “Tus Desprecios” (Your Scorn) sound joyful while describing emotional devastation.
Selena's Voice: Despite the sterile production, Selena’s performances are captivating. Her control, tone, and emotional delivery cut through every track. Even without understanding the lyrics, the conviction is palpable.
Music Referenced
Miranda Lambert
Bruno Mars
Hopelessly Devoted by Olivia Newton John
Back on the Chain Gang by The Pretenders
The Sign by Ace of Base
(What A) Wonderful World by Sam Cooke
That's the Way Love Goes by Janet Jackson
Emotions by Mariah Carey
Have a Heart by Bonnie Raitt
Red Red Wine by UB40
John Mayer
Pat Benatar
Cinderella
The Barrio Boyzz
My Morning Jacket
Join us next week when we cover the album, Something Else by The Kinks

The Weight Of These Wings - Miranda Lambert (#480)

In episode 1, season 2 of Backwards Beats, Dan and Carl dive deep into Miranda Lambert’s emotionally charged double album The Weight of These Wings (2016). Released in the wake of her public divorce from Blake Shelton, this sprawling 24-track project is divided into two thematic discs: The Nerve and The Heart. The hosts explore the album’s sonic risks, lyrical introspection, and Lambert’s evolving artistic voice, praising her fearless honesty while critiquing the occasionally muddy production.
 
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Key Points
🎤 Background & Legacy: Lambert, a Texas native and outlaw-country heir, delivered this album as a post-breakup catharsis, citing it as a “seven stages of grief” journey. The lead single “Vice” went double platinum.
🧠 Disc One – The Nerve:
A stylistic mash-up of country, rock, and experimental pop textures.
High points include “We Should Be Friends” (tight structure, clever writing) and “Vice” (dark, layered, and emotionally raw).
Production is a recurring sore spot—particularly the bottom-heavy mix and gratuitous overdrive on vocals.
Carl and Dan agree Lambert’s performance is consistently strong, but some arrangements suffer from over-ambition.
❤️ Disc Two – The Heart:
A pivot to more traditional country storytelling with refined arrangements.
The production is notably improved, allowing the songwriting to shine.
🥁 Musicianship:
Frequent praise for drummer Matt Chamberlain’s tasteful Tom fills, when not buried in the mix.
Rich instrumentation throughout, though sometimes overcrowded or poorly balanced.
🧠 Final Thoughts:
Lambert proves she’s a powerhouse vocalist and songwriter with wide emotional range.
While The Weight of These Wings could’ve benefitted from tighter editing, it remains a bold and personal work deserving of its place on the list.
Music Referenced
Platinum by Miranda Lambert
Blake Shelton
Dear John by Taylor Swift
Battle Studies by John Mayer
Continuum by John Mayer
Paper Doll by John Mayer
Love on the Weekend by John Mayer
Slow Dancing in a Burning Room by John Mayer
The Beatles
Sonny & Cher
Reba McIntire
Anderson East
Tammy Wynette
Dolly Parton
Sheryl Crow
Edie Brickell
Devil's Haircut by Beck
Garbage
In Bloom by Nirvana
Unwritten by Natasha Bedingfield
Lucille by Kenny Rogers
Me and Bobby McGee by Kris Kristofferson
Me and Bobby McGee by Janis Joplin
Nick of Time by Bonnie Raitt
Melissa Etheridge
The Pixies
You Oughta Know by Alanis Morissette
Courtney Love
Robert Randolph
Guy Clark
Jerry Jeff Walker