Discord and Rhyme: An Album Podcast Discord and Rhyme

For our annual Moody Blues episode, we’re traveling back to the beginning (sort of) and finally discussing Days of Future Passed. Although the band themselves dismissed this idea, this album is clearly one of the starting points of progressive rock, and it’s certainly one of the earliest concept albums. It’s unique not just in the Moody Blues’ discography but in all of popular music, and we had a fantastic time discussing all the reasons why it’s still so beautiful, moving, effective, and entertaining 57 years after it was first released.

Get ready for some classic Americana, brought to you by four Canadians (and one American), discussed by four Americans (including one living in Canada). Because Neil Young and Joni Mitchell weren't enough, Ben goes back to the frozen north for the Band's 1968 debut album, Music From Big Pink. Ben discusses why he loves the Band and Music From Big Pink, joined by Amanda, Dan, and Mike.

R.E.M. spent the decade after Murmur growing steadily more successful, their popularity cresting with the 1991 #1 album Out of Time and its inescapable hit single “Losing My Religion.” But instead of going on an exhausting world tour like most bands would, R.E.M. went right back into the studio and recorded Automatic for the People, an album that defies rock star excess at nearly every turn. You probably know “Everybody Hurts” and “Man on the Moon,” which are still radio standards to this day, and with good reason. But even those songs were much more downcast and introspective than one would expect from a band at the height of their popularity. Automatic for the People is the sound of R.E.M. entering their thirties and taking stock of their place in both music and the world, and though it may take some time to sink in, John, Phil, Rich, and special guest Jeff Blehar all consider it one of their best albums. So join us for part 2 of a band that cannot be contained by one episode, and calluswhenyoutrytowakeherup.

We’ve held off on R.E.M. for a while, because the Athens, Ga., quartet is just such a heavyweight in the rock canon. They’re so huge, in fact, that they merit two episodes: one for the mumbly, Byrdsy alt-rock troubadours of the ‘80s, and one for the slightly less mumbly arena rock titans of the ‘90s and onward. We’re starting off with their 1983 debut Murmur, which fueled the rise of college radio with songs that were strangely out of time (so to speak) with the trends of the ‘80s. The compositions on Murmur are so hazy and oblique that they almost resist analysis, and that’s before you even consider Michael Stipe’s lyrics. But John, Mike, Phil, and Ben are willing to give it their best shot, so join them as they embark on a long-delayed pilgrimage west of the fields to discuss one of this podcast’s favorite bands.

Rich, Mike, and Amanda answer a bonanza of questions from listeners. Topics include retro prog, great live albums and not-so-great live shows, fantasy supergroups, synesthesia, our favorite recent releases, and no fewer than three questions about the Moody Blues. Listen through to the end for a special request to listeners!

Peter Gabriel is a favorite artist of many of us here at Discord & Rhyme, but we’ve saved him for our own 138th Episode Spectacular. Peter Gabriel III (aka Melt, so called because half of Gabriel’s face on the album cover looks like a melting candle) isn’t just John’s favorite Peter Gabriel album; it’s an album that made him reconsider (in a favorable light) the entirety of popular music in the 1980s and the concept of using the production studio to create entirely new sounds, and John leads a very enthusiastic discussion on an album that we love very much. Join John, Amanda, Rich, and Mike as we gush over an album that transformed solo Peter Gabriel into something greater than “the guy who used to sing for Genesis”; a dark noisy hellscape frontier of an album full of burglars, assassins, and not one cymbal anywhere.