Dr. J’s Desert Island Albums: Murmur

How often has someone asked what are your top ten albums in your record collection? Or how many of us have had one of those bar conversations where we are hypothetically trapped on a desert island with only ten records? A desert island album is meant to be a fun concept often discussed among music fans. It refers to an album that someone would choose to have with them if they were stranded on a desert island, again just hypothetically speaking — because no one is really trapped anywhere. An album in the desert island collection is considered a person’s absolute favorite, one they could listen to repeatedly and never tire of, making their isolation on the desert island more bearable, and more manageable until they are rescued. At least in my positive interpretation, there is a rescue. It’s essentially a way of asking someone to identify their all-time favorite or most cherished album. One of these perfect records, for Dr. J, is R.E.M.’s first full-length album, Murmur.

In the pantheon of groundbreaking albums that have defined the trajectory of rock ‘n’ roll, R.E.M.’s “Murmur” stands as an enigmatic and transcendent work of art that effortlessly marries the esoteric with the accessible. Released in April of 1983, this debut offering from the Athens, Georgia quartet would forever alter the landscape of alternative and college rock, and for me, it remains a timeless, perfect masterpiece that continues to inspire generations of musicians. The jangling guitar sound of The Byrds is given an almost Southern gothic interpretation with this record.

“Murmur” isn’t an album that immediately reveals its treasures. Like hidden treasure waiting to be discovered, it beckons the listener with an unassuming demeanor and cryptic allure which makes the music discovery all the more compelling. The first listen is akin to wandering through a dense forest, each track shrouded in a veil of mystery. Yet, beneath this initial enigma lies an astonishing depth and an artistic vision that is nothing short of revolutionary at the height of over-produced ’80s pop music.

Michael Stipe’s distinctive vocal delivery, at once cryptic and poignant, serves as the perfect vehicle for R.E.M.’s lyrics, which often veer into the surreal and enigmatic. On tracks like “Radio Free Europe” and “Talk About the Passion,” Stipe’s emotive and unintelligible murmurs become an instrument in themselves, adding layers of intrigue to the music. The lyrics are open to interpretation, inviting listeners to find their own meaning in the cryptic verses and enigmatic imagery. Debates among fans over exactly what Stipe was singing prior to the time of Google search and Wikipedia were a source of contention and heated arguments.

R.E.M.’s musical prowess shines through in the jangly, chiming guitar work and arpeggios of Peter Buck, the melodic propulsive bass lines of Mike Mills, and the steady, unrelenting percussion of Bill Berry. The band’s unique brand of folk-rock, post-punk, and jangle pop coalesce into a sound that is distinctly their own. It’s a sound that is both melancholic and uplifting, introspective and anthemic at the same time.

“Murmur” is an album that rewards repeated listens, a requirement of a desert island album. With each spin, new layers are unveiled, and the songs reveal their intricate beauty. Tracks like “Perfect Circle” and “Pilgrimage” showcase the band’s ability to craft songs that are simultaneously ethereal and grounded. The album’s sequencing is masterful, with each song flowing seamlessly into the next, creating a cohesive and immersive listening experience. The entire album carries a consistency that is remarkable. There are no jarring transitions from song to song, the flow across the entire album is seamless. Imagine the movement from “Radio Free Europe” to “Pilgrimage” to “Laughing” and then “Talk About the Passion” which then leads into “Moral Kiosk” and side one finishes with “Perfect Circle.”

One can’t discuss “Murmur” without mentioning the album’s iconic cover art, featuring a blurred image of the band against a backdrop of kudzu vines. This image perfectly encapsulates the album’s mysterious and elusive nature, inviting listeners to delve deeper into its sonic labyrinth.

In retrospect, “Murmur” marked the birth of the alternative rock movement, influencing countless bands that followed in R.E.M.’s wake. Its impact on the music industry cannot be overstated, and its enduring appeal is a testament to its timelessness. This album defies easy categorization, transcending genres and expectations, and it remains an essential piece of rock ‘n’ roll history.

“Murmur” is not just an album; it’s a sonic journey, a poetic exploration of the human condition, and a testament to the power of music to transcend boundaries. It’s an album that deserves a place of honor in every music lover’s collection, and it continues to whisper its secrets to those willing to listen. If you were to find yourself in need of a recommendation for a desert island record, “Murmur” deserves to be considered. In the annals of rock history, “Murmur” will forever be celebrated as a work of art that changed the game, and its brilliance only grows more apparent with the passage of time.

Matt Moran & The Palominos in Dayton!

This past Tuesday it was a real pleasure to have Matt Moran, Dan Moran, Jonas Walker, and James Gedda in the YTAA studio and then have the opportunity to go to The Hidden Gem Music Club and see them play a fantastic show. The concert was ably opened by James Gedda. His baritone and alt-country swagger reminds a listener of Dave Alvin crossed with Darius Rucker with just a pinch of Sturgill Simpson. Gedda’s humor and authentic sensibility set the perfect mood for the night. Give a listen to his excellent music!

Then Matt Moran & The Palominos kicked the night into the stratosphere! An incredible set of songs that featured tunes from Matt Moran’s excellent Heartache Kid and Heartache Kid Acoustic records. The band was tighter than a fused bolt. Across a sonic theater that included a high-energy cover of ‘Atlantic City,’ the band barrelled like a runaway train going downhill. To say that the band demonstrated the kind of chemistry that a group would sell their soul to possess is an understatement.

The harmonies between Matt and Dan Moran had that blood harmony that is only held by brothers who not only grew up together but know where all the bodies are buried and hold the secrets of one another close to their hearts. Speaking of Dan Moran, his bass runs were impressive and yet never overwhelmed the songs. If bass is the secret weapon in music, then Dan is the guard of the armory.

I would be remiss if I did not mention the incredible work behind the drum kit. Jonas Walker added the right amount of percussion, fills, and sways to every song regardless of the tempo. His enthusiasm was infectious while bobbing his head, smiling, and adding the occasional yelp and scream but only when it added spice to the song.

Matt’s voice is an all too rare gift. Even when he is singing a song written about characters he created from his fertile imagination about a restaurant that he regularly drove by but could not go in because the reality might not match the story written in one’s mind – ‘Break Her Heart‘ – you would swear that he was singing about a heartbreak that he could only have experienced himself to be able to draw upon such emotion.

If you are unfamiliar with Matt Moran & The Palominos, then you have some musical homework. Don’t worry, you are going to love it. Matt is on Twitter, Instagram, Facebook, and Bandcamp. Plus his own site.

Video of The Day: Chris Stamey – She Might Look My Way

From the new album The Great Escape. Music legend Chris Stamey shows appreciation for the music of the 1960s and 1970s music performance shows such as Upbeat, Shindig, Hullabaloo, and Glenn O’Brien’s TV Party.

‘She Might Look My Way’ is by Alex Chilton and Tommy Hoehn. The Video was shot by Julia Stamey, with lighting by Mark Hanley, at the venerable Cat’s Cradle, Carrboro, NC. You might recognize some music luminaries in the video such as Mitch Easter (the drummer on the recording as well), Matt McMichaels (guitar), and Robert Sledge (bass). Alejandro Escovedo plays the host. Track produced by Terry Manning and Chris Stamey.

From Chris: “She Might Look My Way” “When I was a kid, I fell in love with the sound of records. I was 17 in 1972 when I got a copy of #1 Record by Big Star, and I thought it had about the most magical sound of them all. So I decided one summer afternoon that, hey, I’d just call the studio listed on the back and ask them how they did it! The woman who answered the phone at Ardent in Memphis put me on hold, and I can only imagine now that some laughter ensued all round the office at the audacity and absurdity of my question! But they put engineer/producer Terry Manning on the line, and lo and behold, as my head reeled, he ever so kindly took the time to tell teenage me all about the nitty gritty, the mics and guitars and amps and gizmos.”

“I had no idea then that Terry had worked on Led Zep III, classic Staples Singers tracks, and was soon to helm ZZ Top megahits. I just knew he was one of the Ardent wizards. And I was so grateful to have him pull the curtain back just a little.”

“Decades and many sessions later, meeting at a NYC concert, we picked up the conversation again. Both loving a forgotten song, ‘She Might Look My Way,’ that I’d later played regularly at CBGB with Big Star’s Alex Chilton—and even recorded with him at Todd Rundgren’s studio for Elektra Records, although it was never released by the label. At that point I’d already started a bare-bones studio version of it myself, with Mitch Easter on drums, so I handed the tapes off to Terry. He dialed in his wizardry once again, in the Bahamas, and filled it with that same brand of Memphis magic: harmonies, guitars, Mellotron. It was the very last thing ever mixed at the famous Compass Point Studios, and that, too, seemed kind of magical. I loved it. We even talked about starting a band together then, but geography got in the way.”

“So when I was finishing up my new record, The Great Escape, as a reality check I kept referencing this track, which had also never been released. I finally realized that it belonged in here with the newer tracks, that it was in a way a keystone for the rest. I didn’t write it, Alex did that, with Tommy Hoehn. But I’m so pleased to have it on board.”

Pride Rocks!

There is a real challenge in our community that is all too often ignored. According to recent research, suicide is the second leading cause of death among young people aged 10 to 24. Lesbian, gay, bisexual, transgender, queer, and questioning youth (LGBTQ+) are significantly at increased risk. LGBTQ+ youth are more than four times as likely to attempt suicide than their peers.

The National Conference for Community & Justice of Greater Dayton (NCCJ) is organizing a fantastic event on May 13, 2023, to raise public awareness of these issues and create a welcoming and supportive space for all members of our community. The event is called Pride Rocks! and it will bring people together over food, music, friendship, and more.

This event includes music, community participation and involvement, and healthy ways to educate one another on suicide prevention. In partnership with the Dayton Metro Library, Equitas Health, the Hope Collective Church, Mental Health and Recovery Board of Clark, Champaign, and Green Counties in Ohio, Montgomery County ADAMHS, and Ohio Naturally, the NCCJ is creating a free and open public event to build solidarity and health in the Dayton region.

You can learn more about Pride Rocks! by reaching out to NCCJ Dayton at info@nccjgreaterdayton.org or calling 937-222-6225 to request information

Bottlecap Mountain is on the show today!

One of Dr. J’s favorite bands, Bottlecap Mountain, will be in Dayton on Tuesday, March 28, 2023, and that is a cause for celebration.

After a visit to Your Tuesday Afternoon Alternative for an interview and some live acoustic songs during our second hour they will play a set at Blind Bob’s in Dayton tonight!

Imagine a great indie pop rock band with a side of funk and a Replacements meet Uncle Tupelo vibe. This is a band that has no problem stepping into various genres and styles — Folk, Indie, Americana, Rock, or even Power Pop — with a sense of humor and sly social commentary served with a side of melody.

Do not let the band’s playfulness disguise the lyrically rich storytelling and musicianship that they can demonstrate in a single song like ‘Canoe’ or ‘Dream On, Come On’. The bass lines, keyboard, and slashing guitar on ‘AstralFunk’ show how the band can make a slinky funky tune that will carry you along. “Resurrection Blues’ has a powerful pull that recalls Folk and Americana at their most urgent. And this band rocks! ‘My Little Demon’ is an honestly heavy, bluesy confection that urges all of us to soulful reflection.

Their latest album is a well-made affair while keeping a whimsical look at the subjects of everyday life. They are tight, and not afraid of crunchy guitars, bubbly bass, and a keyboard foundation which is a real pleasure. In fact, one of the strengths of the band is the ability to move from quiet to loud or vice versa without being jarring or precious. The vocals on the record are nothing short of perfect. This is a record to be played loudly and often.

Come see the Austin, Texas quartet play songs from their sixth album ‘O! Fantastik Melancholy’ at Blind Bob’s tonight!

Show time with Nicholas Johnson

We were fortunate to be able to see a knock-your-socks-off set at Blind Bob’s in Dayton from Nicholas Johnson who is finishing up a punishing schedule of shows in support of his latest record, Shady Pines Vol. 2.

Coming to town with The Pinkerton Raid and joined by hometown heroes, Age Nowhere – he played one heck of a show featuring music from not only the new record but the excellent Back Upstate and Shady Pines Vol. 1!

Before the show, we spoke with him about the tour and we were amazed that he not only played the classic one show a night but also played multiple shows on the same day in different towns. However, you would never know the demanding itinerary for the tour from his performance. He was energetic and charismatic which drew the crowd into the experience because of his enthusiasm.

If you ever have a chance to see a Nicholas Johnson show. Do it. You will not be disappointed.

Nicholas Johnson in Dayton!

How do you find music?

Today it seems that keeping up with new music is like trying to take a drink from an open fire hydrant. One of the consequences of music streaming and related online tools is the geometric increase in music widely and — most importantly — easily available to us at any time, for any reason. But a single snowflake can be lost in a snowstorm. How do you find music given the wide variety available? Of course, this assumes that people want to find music. One of the possible outcomes of so much music being so accessible is that the experience of music becomes less important to some of us.

The constant torrent of new songs, re-releases, remixes, live recordings, and more can feel like a whirl of glimpses and phrases. While few bands and artists are as prolific as Guided By Voices/ Robert Pollard, there are over 2,000 albums released every week. And that does not measure the backlog of older music and more.

On the show yesterday, we discussed the different tools that we use to try and keep up with music releases. We use a mix of streaming services, music aggregators, emails from song pluggers, magazines, blogs, and newsletters. We also find that social media can be helpful in trying to expand what we play on YTAA. What are people interested in music talking about? What new music are the artists we admire excited about? What are they listening to at the moment?

On YTAA, we are trying to avoid the ‘big’ artists who are on the major record labels or who comprise what Alan Krueger called “The Superstar Economy” in concerts and music releases. The “Winner Take All” assumption of the music industry overlooks thousands of artists who have good qualities that deserve praise, support, attention, etc. Since the beginning of the show in 2004, we have focused on indie, alternative, and local music that we believe deserves more support than it gets. This is just as true today as it was when we started almost 19 years ago.

So, the question remains: What do you do to keep up with new music releases? How do you track down new music? What tools, services, and approaches help you find new music that you love? Send us any thoughts you would like to share at drjytaa at gmail.com.

How do you find music?

Video of the Day: Librarians With Hickeys – ‘Can’t Wait ‘Till Summer’

Those marvelous melodic maestros in Librarians With Hickeys are back at it with a song that speaks the truth about how much we tire of the cold! Bring on the Summer, indeed! This fun music video for “Can’t Wait ‘Till Summer” evokes The Psychedelic Furs, English Beat, and Let’s Active. The band has a gift for borrowing from their influences and creating a sound that is fresh. If you, like us, are a sucker for shimmering, ringing guitars then you need to explore this band’s discography. ‘CWTS’ is the group’s latest single from the terrific album “Handclaps & Tambourines” available and streaming everywhere from the fine folks at Big Stir Records!

Today on YTAA

Tuesdays are our favorite days! Radio day!

Tons of new music. Some indie classics. We love radio day. Today we are spotlighting music from Nicholas Johnson, Kim Ware, Bottlecap Mountain, and Nick Kizirnis!

The set list includes songs from our good pal Nicholas Johnson, High on Stress (from Minneapolis, MN), Kim Ware, Librarians with Hickeys (Ohio by way of Big Stir Records), BAILEN, ODESZA, Panic Pocket, Connections (from Columbus, Ohio), POPSICKO (seriously Big Stir records roster is an impressive lineup of great indie powerpop), Iguana Death Cult, Unkown Mortal Orchestra, ALIENS, The Band of Heathens, Bottlecap Mountain, James, Genevieve Artadi, The Speedways, The 1984 Draft (Dayton, Ohio), M83, The Housemartins, Daughter, Nick Kizirnis (Dayton, Ohio), Phoenix, Beach Bunny, The Connells, Greg Dulli, Achilles Tenderloin, Steady Holiday, Let’s Active, Nicole Yun, The Tisburys and The Replacements.

We will be chatting about some exciting shows on the horizon from Nicholas Johnson, The Pinkerton Raid, Age Nowhere, Bottlecap Mountain, and more happening in our hometown of Dayton, Ohio.

Listen along from 3-6pm on WUDR Flyer Radio

Video of The Day: Nicholas Johnson – New Vampire

Nicholas Johnson has not only released a new incredible record, Shady Pines Vol. 2, but played an incredible record release show at Urban Artifact in Cincinnati that we were able to see! Damn, what a good show. The celebration of new music from Nicholas included stellar sets from The New Old-Fashioned’s David Payne and Kent Montgomery (longtime listeners of the show will know that TNOF is a big fave of YTAA) and The Pinkerton Raid. He is coming back to Dayton on Thursday, March 23rd at Blind Bob’s and you should make plans now to catch that show (again with The Pinkerton Raid and Dayton alt-country heroes, Age Nowhere joining the bill).

I cannot pick a favorite song from Shady Pines Vol. 2 but the latest video from Mr. Johnson is a standout on the record. New Vampire is lyrically deep and musically rich. The song is propelled with a gravity of its own that explores the idea of how we experience evenings. The rhythms on this song are deceptively seductive. Nicholas does not have to scream to create an inescapable emotional impact. When he sings “The west is calling, the west is falling” — you believe him because you have felt the same way.

To say that he has a gift with a clever turn of phrase is a sincere moment of understatement. Nicholas takes the anomie and alienation that swells around us that feels like we are being pulled under the surface by a current of our own creation and makes it a statement that does not have the hollow ring of melancholy. The words reveal the power and passion of inescapable frenzy and yet surprisingly tantalizing prospect of loneliness of the current age in which we find ourselves:

Premonition and the prophet screams
Rage into the void of a restless dream
Phone screen burns like man makes fire
Ushers in the age of the new vampire

New skin
Paper thin
Don’t you feel the new age dawning
I can feel it move through my bones
All the places I call home
Yeah we crawl into the unknown
Ah the west is calling
The west is calling
The west is falling

Did you know?

Your Tuesday Afternoon Alternative used to be called ‘School of Rock w/ Dr. J’? True story. The program was an outgrowth of classes that Dr. J taught at the University of Dayton on the sociology of popular music, popular music in society, and the history of popular music in the United States. This began in November of 2004 and lasted for a few years until the program was retooled to focus on indie, local, and Dayton, Ohio music and the talented Mrs. Dr. J became a regular part of the program. By 2010, the focus of the show had changed.

Then the program was re-named ‘Your Tuesday Afternoon Alternative’ and featured Dr. J and Mrs. Dr. J (we are truly a married couple) and we did the program together for a few years. Of course, it is important to note that Mrs. Dr. J was making significant contributions to the program behind the scenes. During that time we even featured segments that focused on different ideas near and dear to her heart — ‘Mrs. Dr. J’s Dance Party,’ ‘Dayton Concert Calendar’, and ‘Favorite Song of the Week.’

The School of Rock program was an extension of those classes where Dr. J would investigate a particular song, album, or artist and explore where that sound came from in the classroom. Who influenced a sound that is popular today? Where did that approach originate? These segments — often taking over an hour of the show were efforts to draw clear lineage for music that we played on the show. But no one likes a preachy college professor discussing lines of influence every week. And the show organically moved toward an interest in the amazing music scene in Dayton, Ohio specifically, and the American Midwest more generally. This combined with an interest in alternative, independent, and new and local music.

One of our first programs drew a line from traditional music to folk music to Hank Williams and early country, Appalachian, and bluegrass music to The Byrds (especially Sweetheart of the Rodeo) and Graham Parsons and The Flying Burrito Brothers to The Eagles (who shared a founding member Bernie Leadon) to modern bluegrass and newgrass (notably Sam Bush, Bela Fleck) and alt-country of the Avett Brothers, Whiskeytown, and Uncle Tupelo (a big favorite of ours). These and other bands drew from all of the music that they loved in their formative years — Rockability, Juke Joint, Rock ‘n’ Roll, Punk Rock, Country, Americana, and Folk music among other influences.

While the program no longer explores a single thread of an idea and expanded from a two-hour program to a three-hour show so that there would be time to conduct interviews with bands, artists, and creatives, the interest in finding time to reflect deeply on music is a passion that still drives the radio show today.

YTAA was once the School of Rock w/ Dr. J

What a Night!

On September 16th, Nick Kizirnis, Kyleen Downes, and Isicle played a stellar show for us at Your Tuesday Afternoon Alternative and several classes from the University of Dayton at the Yellow Cab Tavern. It was a fantastic show full of amazing music and spectacular performances! Thank you, Nick, Kyleen, and Isicle! All photos by Tom Gilliam Photography!