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