In this solo Sidetrax episode, Dan pulls back the curtain on the brutal, agonizing ten-year journey behind one of the most famous songs in human history: Leonard Cohen’s "Hallelujah." We trace its roots from Cohen’s deep personal and professional collapse in the late 1970s following his disastrous collaboration with Phil Spector and the painful end of his relationship with Suzanne.
Beyond the history, this episode goes deep into the music itself. Dan breaks down the actual song structure, explores the ancient myth of King David's lyre, and analyzes the specific musical harmony to see if we can finally decode what Cohen meant by "the secret chord."
 

It's that time again! Carl rolled the 20 sided die and pulled none other than David Bowie's Album Scary Monsters (And Super Creeps). What song will he choose to butcher this time? Listen to find out this on this weeks Sidetrack episode!

Music is a powerful method of communication. In our second installment of Civil Disobedience, we cover Social Satire and Environmental Protest songs. From Woody Guthrie to Buffalo Springfield, the Temptations to the Pixies. There's something for everyone! Name a podcast that will cover Marvin Gaye and Metallica in the same episode!
Also check out part 1 from earlier this year!

In this Sidetracks episode of Backwards Beats, Carl tries to convince Dan that Reel Big Fish was not just a fad in the 90's but a staple of Ska music and successor of both punk and reggae.  

This week, we are coming to you LIVE from a packed room at Atwater’s in Catonsville, MD! Recorded in front of a live audience, this episode dives headfirst into an album omission that leaves us absolutely floorboards-level shocked.
We’re covering Boston's 1976 self-titled debut album. Here’s the absolute kicker: it is completely omitted from the Rolling Stone 500 Greatest Albums list.
How does one of the most flawless, massive-selling, and sonic-shifting debut records in rock history get left off the canon entirely? Dan and Carl get the story straight, breaking down the massive gap between the "five-man rock band" myth on the back cover and the mad-scientist reality of a guy tinkering away in a Massachusetts basement. Plus, we pull some brave audience members right out of the crowd and onto the microphones to help us read two completely unhinged live parody advertisements.
 
The Ultimate Basement Tape: How a Polaroid engineer with an MIT degree used his day-job salary to build a DIY tracking lab and record almost every single instrument himself.
The Great Studio Smoke Screen: The absurd corporate fake-out where producer John Boylan shipped a dummy band to LA just to keep label executives from realizing Tom Scholz was cutting the final masters in his basement.
The Snake Through the Window: Moving a million-dollar sound from a Watertown basement to a 24-track tape via a cable slung through a basement window.
A Perfect Side A / Side B: Why every single one of these eight tracks is still a structural anchor for classic rock radio fifty years later.
The List Snub: We air out our grievances. In a musical landscape being overtaken by punk and disco, Boston saved mainstream guitar rock with an album that cost just $28,000 to make. Why does the rock establishment still treat it like "corporate rock" instead of a DIY masterpiece?
Audience Participation: We bring Atwater's crowd members up to the stage to read our latest late-night television parody ads with zero prior rehearsal.

Carl and Dan dive into the 2007 "comeback" album that shifted the landscape of pop production but left our hosts feeling colder than a "hot as ice" synth line. Recorded during one of the most publicized and turbulent periods of Britney’s personal life, Blackout is often cited by critics as a pioneering masterclass in dark electro-pop. However, the team questions its placement on the Rolling Stone Top 500 list, critiquing its sterile production, lack of vocal dynamics, and the "Xanax-infused" energy that permeates the tracks. From the iconic "It's Britney, bitch" opener to the deep-cut fan favorites, the guys peel back the layers of vocal fry and saw-wave synths to see if there's any heart left in the machine.
Key Points
The "Comeback": A look back at the tabloid-heavy era of 2007, the infamous VMA performance, and how Britney's personal turmoil influenced the "minimalist and dry" production style of the album.  
Production Over Persona: The hosts discuss the shift toward producer-driven pop, comparing the work of Danja and Bloodshy & Avant to the more successful industrial-pop sounds of Justin Timberlake and Timbaland.  
Season 3 Wrap-Up: Celebrating the end of the season and their successful live show, plus a preview of the upcoming "Sidetrax" break featuring album assignments like Real Big Fish and Jane’s Addiction.  
In Your Ears: Carl highlights the "low-brow" grunge-surf energy of Viagra Boys, while Dan finds his groove again with the melodic drumming of Benny Greb.
Music References
future sex love sounds by Justin Timberlake  
sexyback by Justin Timberlake  
christine agulara  
rung hustling  
max martin  
my prerogative by bobby brown  
bobby brown  
Madonna  
Janet Jackson  
justin bieber  
scary pockets  
Neptunes  
Timberland  
lady Gaga  
Charlie XCX  
the weekend  
Nelly fertado  
blue Monday by orgy  
orgy  
Tyler the creator  
Jimmy Cliff  
boys to men  
Fergie  
will i am  
prince  
the clutch  
Bruno Mars  
bury a friend by Billie Eilish  
Billie Eilish  
happy together by the turtles  
the turtles  
Thundercat  
hear my dear by Marvin Gaye  
Marvin Gaye  
Boston by Boston  
Boston  
turn the radio off by real big fish  
real big fish  
nothing shocking by James addiction  
James addiction  
Dave Navarro  
one hot minute by chili peppers  
blood sugar sex magic by chili peppers  
chili peppers  
sports by Viagra boys  
Viagra boys  
moving parts live by Benny grab  
grebfruit by Benny grab  
Benny grab  
Nate Smith  
s os by Rihanna  
Rihanna  
jock jams
Join us next week for the release of our LIVE episode!

In this episode of the Backwards Beats Podcast, hosts Carl and Dan take a deep dive into album #442 on Rolling Stone’s "500 Greatest Albums of All Time" list: Beauty Behind the Madness, The Weeknd’s 2015 breakthrough. The duo explores Able Tesfaye's journey from anonymous YouTube uploader to global superstar, dissecting the "dark pop" aesthetics that defined an era. While acknowledging the album's astronomical streaming success and chart-topping hits, Carl and Dan offer a critical look at whether the 14-producer project maintains enough cohesion to justify its place among the all-time greats.
Key Points
The Origin Story: A look at Able Tesfaye’s "misfit mattress" departure from Scarborough and his early partnership with producer Jeremy Rose.
Rolling Stone Debate: The hosts question the criteria for the Top 500 list, debating whether billion-plus streaming numbers correlate with superlative album quality.
Music References
One Week by Barenaked Ladies
Billie Jean by Michael Jackson
Prince
R. Kelly
Frank Ocean
Kanye West
walk off the earth
Billie Eilish
Lorde
the ink spots
Here my dear by Marvin Gaye
Marvin Gaye
Bruno Mars
Adam Levine
Justin Timberlake
Jagged Little Pill by Alanis Morissette
Alanis Morissette
Rick Rubin
Soul Dog
Me So Horny by 2 Live Crew
2 Live Crew
Gin and Juice by Snoop Dogg
Snoop Dogg
Gin and Juice by The Gourds
The Gourds
Peaches & Cream by Beck
Milk & Honey by Beck
Beck
A Taste of Honey by Herb Alpert
Herb Alpert
Billie Joel
Shameless by Garth Brooks
Garth Brooks
She by Harry Styles
Harry Styles
Stevie Wonder
You Belong to the City by Glenn Frey
Glenn Frey
Hard Times by Paramore
Paramore
Dynasty by Kiss
Hard Times by Kiss
Kiss
Lana Del Rey
California Gurls by Katy Perry
Katy Perry
I Feel Good by Pitbull
Pitbull
Robocop by Jacuzzi Fire
Jacuzzi Fire
Fugazi
Rift by Phish
A Picture of Nectar by Phish
Phish
David Bowie
Join us next week for ... Blackout by Britney Spears.

In this episode of the Backwards Beats Podcast, Carl and Dan dive into David Bowie’s 1980 landmark album, Scary Monsters (and Super Creeps). Positioned at #443 on Rolling Stone’s "500 Greatest Albums of All Time" list, this record serves as the critical bridge between Bowie’s experimental Berlin Trilogy and his impending 80s pop superstardom. The hosts explore the album's aggressive energy, its iconic sequel to "Space Oddity," and the incredible musicianship of legendary contributors like Robert Fripp and Pete Townshend.
Key Points  
The 1980 Transition: How Scary Monsters consolidated Bowie's avant-garde artistry with the emerging New Wave and Post-Punk sounds of the decade.   
Closing the Major Tom Chapter: A deep dive into "Ashes to Ashes," its role as a darker sequel to "Space Oddity," and the story behind its groundbreaking (and expensive) music video.   
Legendary Collaborators: Analyzing the "f***ed up carnival" guitar work of Robert Fripp and the wine-fueled, high-energy session with Pete Townshend.   
Production & Fidelity: A comparison between the original release and the 2017 remaster, highlighting how modern engineering brought new life and separation to the album's dense textures.   
Dystopian Themes: Exploring the Cold War anxiety, surveillance narratives, and manic energy that permeates tracks like "Scream Like a Baby" and "It's No Game."   
The Final Verdict: Carl and Dan weigh the album's massive influence against its musical consistency, ultimately debating whether it truly deserves its spot in the Top 500.
Music References 
Mark Ronson   
Brian Eno   
Tony Visconti   
Carlos Alomar   
Robert Fripp   
King Crimson   
Roy Bittan   
Nine Inch Nails   
Blur   
Gary Neuman   
Daddy Yankee   
Jack White   
Close to the Edge by Yes   
Yes   
Sweet Child O' Mine by Guns N' Roses   
Guns N' Roses   
Miranda Lambert   
Joy Division   
Iggy Pop   
Dancing with Myself by Billy Idol   
Billy Idol   
Psycho Killer by Talking Heads   
Talking Heads   
David Byrne   
Raspberry Beret by Prince   
When Doves Cry by Prince   
Purple Rain by Prince   
Vogue by Madonna   
Madonna   
Morrissey   
The Smiths   
The Beach Boys   
Kingdom Come by Tom Verlaine   
Tom Verlaine   
Television   
Phil Spector   
Any Way You Want It by Dave Clark Five   
Dave Clark Five   
Any Way You Want It by Kiss   
Kiss   
Any Way You Want It by Journey   
Journey   
Pete Townshend   
Under Pressure by Queen   
Queen   
Ram by Paul McCartney   
Paul McCartney   
Breakfast in America by Supertramp   
Supertramp   
ELO   
Somi by Snarky Puppy   
Snarky Puppy   
Metropole Orkest   
Jay Jennings   
Bobby Sparks   
Jean-Luc Ponty   
Walk Off the Earth   
New Kids on the Block
Join us next week for Beauty Behind the Madness by The Weeknd.

In this episode of the Backwards Beats podcast, hosts Carl and Dan dive into Fiona Apple’s 2005 release, Extraordinary Machine. Ranked at #444 on Rolling Stone’s 500 Greatest Albums of All Time list, the album is a midpoint in Apple’s career, marked by a notorious production history and a shift toward more idiosyncratic, orchestral arrangements. The hosts explore the "Free Fiona" campaign, the influence of classical training on her songwriting, and the contributions of legendary drummers Questlove, Abe Laboriel Jr., and Jim Keltner. Before the deep dive, Carl and Dan share their experience seeing Snarky Puppy at the Warner Theater in Washington, D.C.
Key Points
The "Free Fiona" Saga: Discussion of the album's troubled production, from the initial orchestral sessions with Jon Brion to the label-mandated re-recordings with Mike Elizondo, and the subsequent fan campaign that led to its eventual release.
Vocal Mastery and Artistry: An analysis of Fiona Apple’s alto range, her "killer annunciation," and her cynical, disdainful storytelling that sets her apart from her 90s contemporaries.
The Final Verdict: While both hosts highly recommend the album for its variety and technical brilliance, they ultimately agree that it might not earn a spot in their own Top 500, suggesting her debut album, Title, might be a stronger contender for that distinction.
In Their Ears: Carl recommends the shreddy violin work of Jean-Luc Ponty (Enigmatic Ocean), while Dan suggests Duke Ellington's tribute album, ...And His Mother Called Him Bill.
Music References
saw me by Snarky Puppy
Metropolitan Orchist
Alanis Morrisette
Billy holiday
Nina Simone
Lana Del Rey
Eddie Vetter
Chris Isaac
Amy Mann
Questlove
the roots
D'Anjalo
Erica Baadu
in the meantime by spacehog
spacehog
Abe Laboriel Jr.
Abe Laboriel
Paul McCartney
Kenny logins
Jeff Piccaro
Chester Thompson
the climb by no doubt
no doubt
Bonnie Raitt
Cheryl Crow
Brian May
Anna Molly by Incubus
Incubus
the Alabama song by the doors
the doors
Tom Wait
Florence the Machine
back from black by Amy Winehouse
Amy Winehouse
Sigur Ros
the Joshua Tree by U2
Running to Stand Still by U2
U2
please, please by James Brown
James Brown
please, please by Sabrina Carpenter
Sabrina Carpenter
Aja by Steely Dan
Josie by Steely Dan
Steely Dan
Joe Walsh
Vulfpec
Genesis
Rush
Inigmatic Ocean by John Luke Ponte
John Luke Ponte
Van Halen
Mark and Terry
and his mother called him Bill by Duke Ellington
daydream by Duke Ellington
Duke Ellington
Billy Strayhorn
Join us next week for scary Monsters and Super Creeps by David Bowie .

In this episode of the Backwards Beats podcast, hosts Carl and Dan take on the "chewy" and virtuosic 1972 masterpiece Close to the Edge by progressive rock legends, Yes. Ranked at #445 on Rolling Stone’s 500 Greatest Albums of All Time list, this three-track epic is a masterclass in musical ambition, featuring complex symphonic movements, spiritual themes, and world-class musicianship. The duo breaks down the album's demanding structure, its diverse influences ranging from Sibelius to Eastern philosophy, and why it remains a definitive "alpha album" that set the bar for the entire prog-rock genre.
Key Points
The Virtuosic Lineup: Deep dive into the "classic" lineup featuring Jon Anderson’s ethereal vocals, Steve Howe’s eclectic guitar styles, Rick Wakeman’s keyboard wizardry, and the legendary rhythm section of Chris Squire and Bill Bruford.
Bruford’s Swan Song: Insight into why drummer Bill Bruford left the band for King Crimson immediately after these grueling sessions, feeling he had reached the apex of what he could contribute to the Yes sound.
Spiritual and Classical Roots: How the lyrics were influenced by Herman Hesse’s Siddhartha and the compositional structure was inspired by the symphonies of Jean Sibelius.
Technical Highlights: Analysis of Chris Squire’s aggressive "lead bass" tone, Rick Wakeman’s recording of a real pipe organ in a London church, and the "Siberian Khatru" riffs that later inspired Red Hot Chili Peppers guitarist John Frusciante.
Music References
Simon & Garfunkel
Cream
Rush
Genesis
Emerson, Lake & Palmer
Locomotive Breath by Jethro Tull
Jethro Tull
Symphony No. 6 by Sibelius
Symphony No. 7 by Sibelius
Sibelius
Wes Montgomery
Allan Holdsworth
Kansas
Marillion
The Beach Boys
AC/DC
Grateful Dead
Symphony No. 9 by Beethoven
Ode to Joy by Beethoven
Beethoven
Snarky Puppy
The Mars Volta
Scorpions
Devo
Brother Louie by The Stories
The Stories
Higher Ground by Stevie Wonder
Stevie Wonder
The Mamas & the Papas
The Monkees
Nate Smith
Christian McBride
The Fearless Flyers
Pink Floyd
Stravinsky
Bo Diddley
Steve Vai
Robert Fripp
John Frusciante
Blood Sugar Sex Magik by Red Hot Chili Peppers
Stadium Arcadium by Red Hot Chili Peppers
Red Hot Chili Peppers
Taylor Swift
Bad Bunny
The Weeknd
Bonnie Raitt
Linda Ronstadt
Wicked Garden by Stone Temple Pilots
Plush by Stone Temple Pilots
Stone Temple Pilots
Brandon Boyd
Incubus
Scott Weiland
Wolfgang Van Halen
Van Halen
Join us next week for Extraordinary Machine by Fiona Apple .