On December 1st, The Plus Four released an EP. However, that band is actually a trick, a sly slight of hand from Paul ‘Trip’ Ryan of SUPER 8. All songs on the EP were written, performed, recorded, and produced by Mr. Ryan. The music incorporates love of The Beatles, a sweet nod to Donovan, early ’60s melody and melancholy, and an unflinching focus on pop songwriting. The music of the 1960s stands as a testament to a revolutionary era, marked by social upheaval, cultural shifts, and artistic innovation. Drawing inspiration from this golden age of music allows contemporary artists such as ‘Trip’ to tap into a rich reservoir of creativity, blending nostalgia with modern sensibilities.
The ability to take influence of the past and build on to it is a testament to enduring impact on the evolution of the music being made by Mr. Ryan. From innovative approaches to sound and studio techniques to timeless songwriting and eclectic influences, music of the 1960s and 1970s continues to provide a rich tapestry for artists and musicians to draw inspiration. As indie musicians continue to forge their own paths in the ever-changing whirlwind of the music industry, the bands and musicians of the past remain a guiding light, a source of encouragement to embrace experimentation, celebrate diversity, and pursue artistic independence. The spirit of The Beatles, The Rolling Stones, The Who, The Kinks, The Animals, The Searchers, Donovan and The Dave Clark Five lives on in the independent music scene via innovative artists like Paul ‘Trip’ Ryan. He holds a sacred testament to the timeless and transcendent nature of music that is catchy and thoughtful.
Remember that when the beat leads you to sway, clap and hum with a smile on your face — even if the lyrics are telling you terrible things can happen to all of us — it is because of the undeniable gravity of the pop hook. And, Trip is a master of the pop hook. Sometimes looking back allows us to move forward.
The elusive secret of the pop hook lies in its ability to transcend the boundaries of musical genres and captivate the listener’s attention with infectious melodies. Trip’s music, and especially this EP, stands in the present while looking back over his shoulder to a past that still sounds fresh and meaningful. A pop hook is that magical element that makes a song unforgettable, a snippet of sound that embeds itself in the listener’s mind and refuses to let go. It’s the sonic glue that binds the entire composition together, creating a memorable and often addictive experience. And that magic is the stock and trade of Paul Ryan.
At its core, a pop hook is a concise and catchy musical phrase that serves as the focal point of a song. It can manifest as a catchy vocal melody, an irresistible chord progression, or a combination of both in most of Trip’s songs. The secret lies in its simplicity and universality, making it accessible to a broad audience. Whether it’s the sing-along chorus or the infectious riff of a guitar, the pop hook has the power to resonate with listeners across diverse musical tastes.
The elusive nature of the pop hook is in its ability to strike a delicate balance between familiarity and novelty. It draws upon musical conventions and structures that are recognizable to the listener, providing a sense of comfort and predictability. Yet, at the same time, it introduces a unique twist or unexpected element that sets it apart from the mundane, ensuring that it stands out in the crowded landscape of popular music. This ability to hold these competing ideas together at the same time is a gift that Trip was blessed to possess.
The pop hooks of Paul Ryan whether we call him ‘Trip,’ ‘Super 8’ or ‘The Plus Four’, possess a magical quality that transcends cultural and linguistic barriers. It communicates directly with the listener’s emotions, creating an instant connection that transcends words. You want to sway, hum, and nod your head. The simplicity of a well-crafted pop hook allows it to become a universal language of emotion, enabling it to resonate with people around the world or across the years. Trip’s music is a carefully crafted combination of simplicity and uniqueness that transcends genres and cultures, leaving an indelible mark on the listener’s musical memory. As long as there are ears to listen, Trip’s quest for the perfect pop hook will continue to inspire anyone interested in great pop music regardless of the label we put on it or the time period in which it is generated.
In Rock and Roll, there exists many unique narratives —tales of talent, turmoil, and tragic consequences—that often define the legacies of musicians who left an indelible mark on the music industry. How often have we read about the passing of Jimi Hendrix, Hank Williams, Kurt Cobain, Janis Joplin, Cliff Burton, Duane Allman, and Prince? So many artists left this mortal coil far too young due to tragedy. Doug Hopkins, the enigmatic guitarist, and songwriter of Gin Blossoms, is one such figure whose life, music, and untimely death encapsulate the tragedy of the passing of the rock and roll spirit.
Born on April 11, 1961, in Seattle, Washington, Douglas Hopkins manifested an early affinity for the guitar. Raised in a household resonating with the melodies of The Beatles, The Rolling Stones, and The Kinks, he quickly developed an ear for catchy hooks and poignant lyrics that would later become the hallmark of his own songwriting. His innate musical talent, combined with a restless spirit, drove him to form Gin Blossoms in late 1987 in the fertile musical grounds of Tempe, Arizona. The band began with Bassist Bill Leen, singer and guitarist Jesse Valenzuela, Guitarist Richard Taylor, and percussionist and drummer Chris McCann. The early years were treacherous and tumultuous leading to many personnel changes, performance difficulties, and problems in recording. The band’s independent debut “Dusted” was released in 1989 which led to interest from A&M Records.
The Gin Blossoms threw themselves into recording and playing with a feverish intensity. The band’s lineup eventually solidified with Hopkins, Robin Wilson (vocals and guitar) replacing Taylor, Jesse Valenzuela (transitioning from lead to rhythm guitar), Bill Leen (bass), and Phillip Rhodes (drums). This group of players was especially interested in the thriving college rock scene of the time but focused less attention on being heavy and was more interested in powerful rhythm and melody. Hopkins, the primary songwriter, possessed a unique ability to distill complex emotions into catchy, radio-friendly tunes. The band’s jangly guitars, infectious melodies, harmonies, and introspective lyrics set them apart in an era dominated by grunge and hard-edged alternative rock.
Hopkins’ gift for crafting songs that were both musically and emotionally resonant became evident in the band’s breakthrough album, “New Miserable Experience” (released in 1992 after he was already out of the band). The record spawned hits from Hopkins’ pen such as “Hey Jealousy” and “Found Out About You,” which catapulted The Gin Blossoms into mainstream success. However, behind the veneer of their infectious sound lay the darker undercurrents of Hopkins’ personal struggles.
The lyrical content of many of Hopkins’ songs on “New Miserable Experience” hinted at the internal battles he faced. “Hey Jealousy,” with its catchy hooks and sing-along chorus, belied the pain and frustration of unrequited love. This dichotomy between upbeat melodies and melancholic lyrics became a trademark of the Gin Blossoms’ sound, reflecting the deep personal inner turmoil that haunted Hopkins.
Hopkins’ battles with addiction and depression intensified, painting a stark contrast to the upbeat melodies he crafted. As the band recorded New Miserable Experience the tensions around the recording effort weighed heavily on Hopkins and only accelerated his struggles with alcoholism and mental health. The pressures of delivering an album, coupled with the weight of personal demons, strained his relationships within the band. Despite his pivotal role in the creation of their signature sound, tensions reached a breaking point, leading to Hopkins’ departure from Gin Blossoms in 1992 as the band finished recording their breakthrough album.
The aftermath of Hopkins’ departure marked a turning point for both the guitarist and the band. The Gin Blossoms continued their journey without him, achieving further success with subsequent albums. Meanwhile, Hopkins grappled with the demons but his reach exceeded his grasp. Despite contributing briefly to other musical projects, notably The Chimeras, he struggled to find his footing in an industry that had once embraced him. His brief attempt to launch another project met with challenges, most of his own making, only further exacerbating his sense of isolation and despair. The tragic denouement of Doug Hopkins’ life unfolded on December 5, 1993, when he took his own life at the age of 32.
In the years that followed, the band faced a series of personal and professional setbacks in part due to the tensions that surrounded Hopkins. His death cast a somber shadow over the legacy of Gin Blossoms, forever linking his name to the melancholy melodies that defined the band’s sound. The circumstances surrounding his suicide raised poignant questions about the toll of artistic brilliance, mental health, and the sometimes-cruel whims of the music industry.
The impact of Doug Hopkins’ musical contributions endures, as his songs remain staples of ’90s alternative rock playlists as well as being used in television programs and movies. The Gin Blossoms, despite the internal conflicts that led to his departure, continue to honor his memory by performing his compositions. The bitter irony of his posthumous influence is a testament to the enduring power of his songwriting.
In the years following his death, retrospectives on Doug Hopkins’ life and career have attempted to unravel the complex layers of his persona. Interviews with bandmates, friends, and family shed light on the dichotomy of a man who could craft infectious pop gems while battling inner demons. The story that emerges is one of a troubled genius whose artistry became inseparable from his personal struggles.
The story of Doug Hopkins serves as a cautionary tale about the harsh realities that can accompany artistic brilliance. His life was a tumultuous symphony of highs and lows, and his music remains a poignant reminder of the fragile line that separates creativity from despair. As Gin Blossoms continues to perform, the ghost of Doug Hopkins lingers in the chords of “Hey Jealousy” and the haunting refrains of “Found Out About You,” immortalizing a songwriter whose melodies transcended the boundaries of time and tragedy.
Your Tuesday Afternoon Alternative is still on hiatus as we move from ArtStreet to the Roger Glass Performing Arts Center. Let’s be honest, moving sucks. It is simply awful. Moving is often considered one of life’s most daunting tasks, a process laden with stress, exhaustion, and emotional upheaval. The mere thought of packing up one’s life — or in this case an entire radio station — and relocating to a new place can send shivers down the spine of even the most resilient among us. Several factors contribute to the universally acknowledged sentiment that moving is an awful experience.
Firstly, the physical exertion involved in moving is undeniable. From the moment one begins to sift through CDs, vinyl records, and cassettes (yup, we have some of those), rolling up posters, and packing away fragile equipment so it can safely be moved is daunting. It does not feel unlike going through belongings, deciding what to keep and what to discard, to the arduous task of packing fragile items with the utmost care, the process demands a considerable amount of physical energy. Lifting heavy boxes (damn, these records are heavy!), navigating through narrow hallways (you have seen the pictures of the station), and loading and unloading furniture can take a toll on the body, leaving movers fatigued and drained. And remember all of the equipment is incredibly sensitive and expensive! “Do not drop anything!” is a repeated refrain.
Moreover, the emotional toll of moving cannot be overstated. Leaving behind familiar surroundings, our Artstreet friends, and changing the routines can evoke a profound sense of loss and nostalgia. The attachment to a place goes beyond the physical structure of a house; it encompasses memories, experiences, and a sense of belonging. Saying goodbye to all of this can be emotionally wrenching, leading to a mix of sadness, anxiety, and apprehension about the unknown that lies ahead for the station. I wrote about this and stand behind those ideas and memories. Leaving a space that was home for over 20 years is simply not easy.
The logistical challenges add another layer of complexity to the moving process. Coordinating timelines, arranging transportation, and dealing with unforeseen hiccups can turn a seemingly straightforward relocation into a logistical nightmare. The pressure to ensure that every item arrives intact at the new station destination in a brand new building, coupled with the need to settle into an unfamiliar environment quickly, amplifies the stress associated with moving. Of course, we want to be preparing a radio show today instead of moving an incredibly sensitive studio board!
Sure, moving is an inherently challenging and unpleasant experience due to the physical, emotional, and logistical demands it places on us. The disruption of established routines, the strain on relationships, and the overall upheaval of one’s life make moving a universally dreaded endeavor. We can’t even listen to the station unless we set up a laptop or bring in a radio because studio speakers were among the first to get disconnected. While it may signify a new beginning and the prospect of fresh opportunities, the process itself is undoubtedly an arduous journey that tests one’s resilience, adaptability, and good nature.
Perhaps this is just a long meandering path to say, YTAA will not be on this week. Moving is going forward and we are making progress, just a bit slower than any of us would like. We will be back broadcasting the show as soon as possible. Automation has taken over the radio station and during December we are broadcasting indie holiday music! Enjoy and see you real soon!
The holiday season is traditionally accompanied by the familiar sounds of sleigh bells, cheerful choirs, and iconic tunes from well-established artists. However, for those with an inclination towards alternative and independent music, the indie rock genre offers a refreshing twist to the festive soundtrack. On November 21st, Tom Gilliam and I celebrated our 13th annual YTAA Indie Holiday show. We played music from Dolph Chaney, The Popravinas, The Ramones, The Pogues, Darling West, Heather Redman, Fitz and The Tantrums, My Morning Jacket, Van Plating, Olivia Frances, The Surfajettes, Best Coast, Trey Stone and The Ringers, Calexico, Librarians with Hickeys, Debra Devi, Fountains of Wayne, The Decemberists, Joey Ramone, Bad Religion, Heartless Bastards, The Killers, and Dayton’s own Escape Velocity among others over three hours. I wanted to publicly thank Tom Gilliam of the excellent Dayton-based band Ghost Town Silence, for doing this special show with me for over a decade. I wondered what is it about independent music that allows for the creation of exciting new holiday music. So, if you will indulge me as we enter the holiday season, I will delve into the world of indie rock holiday songs, exploring the charm and uniqueness they bring to the season.
Taking a break from tradition can be a healthy and positive experience. Indie rock holiday songs provide a welcome departure from the conventional jingles and carols that dominate the airwaves during the festive season. Unlike the predictability of traditional holiday music, indie rock artists infuse their creativity into the lyrics and melodies, offering a fresh and sometimes irreverent take on the holiday spirit. The departure from traditional sounds allows listeners to experience the season with a new perspective, embracing the diversity that indie rock brings to the table.
One of the hallmarks of indie rock is its ability to convey complex emotions through music, expressing complex emotions — that special sense of being hit “in the feels” can be a moment of self-reflection. While traditional holiday songs often focus on joy and celebration, indie rock holiday tunes explore a broader spectrum of feelings associated with the season. From the melancholic reflections on solitude during the holidays to the bittersweet nostalgia of past celebrations, indie rock captures the multifaceted nature of the holiday experience. Artists like Sufjan Stevens, The Shins, Debra Devi, and Heartless Bastards weave intricate narratives that resonate with those who may find the holiday season to be a mix of joy and introspection. The Decemberists’ reinterpretation of Big Star’s Jesus Christ, from their album 3rd released in 1974, illustrates this approach quite clearly. The band’s official video incorporates the idea of a Yule Log experience into the music video.
Indie rock holiday songs showcase a range of perspectives on the holidays, reflecting the diversity of experiences within the indie rock community. One of the great aspects of alternative and independent music is the opening to diverse perspectives on the holidays. These songs often touch upon themes like non-traditional celebrations, unconventional family dynamics, and the challenges of navigating societal expectations during the festive season. The narratives presented in indie rock holiday songs provide a sense of relatability for listeners who may not find their own experiences mirrored in more mainstream holiday music. The 2016 original holiday song, “I Feel It In My Bones” from The Killers’ alternative holiday album “Don’t Waste Your Wishes” takes a dark, almost sinister interpretation of Santa Claus.
Indie rock, by its very nature, is a genre that thrives on experimentation and innovation. The best characteristic of an independent song is the surprise you discover when you hear it. Dolph Chaney’s excellent “Jingle Bells” set to Van Halen’s “Panama” is a complete surprise as well as a delight! Big Stir Records has released several fantastic indie holiday songs as part of their Yuletide Wave. When applied to holiday music, the willingness to explore and recreate results in a rich tapestry of unique soundscapes in which to capture the seasonal vibe. From the indie alt-country and folk-infused sounds of Trey Stones and The Ringers’ “Santa, Please Bring Me a Guitar” to the rock and roll vibes of The Ramones “Merry Christmas (I Don’t Want to Fight Tonight),” these songs reimagine the sonic landscape of the holidays. The infusion of indie rock elements into holiday music introduces listeners to a sonic experience that goes beyond the traditional, breathing new life into the seasonal soundscape.
Indie rock holiday songs offer a delightful departure from the familiar tunes that dominate the airwaves during the festive season. By expressing complex emotions, presenting diverse perspectives, and exploring unique soundscapes, indie rock artists contribute a distinct flavor to the holiday music repertoire. The unconventional jingles and alternative carols provide an avenue for listeners to connect with the holiday spirit in ways that resonate with the ever-evolving nature of contemporary music. So, this holiday season, consider expanding your playlist to include indie rock gems that bring a touch of creativity and innovation to the festive sounds we hear this time of year.
In the era of 90s alternative rock, The Pursuit of Happiness emerged as a jangly powerpop force, weaving tales of love, longing, and the tumultuous journey through a conflicted maze of human emotions. Among their repertoire of hits, “She’s So Young” stands as a beautiful jangly gem, capturing the essence of youthful passion and the bittersweet symphony of burgeoning adulthood versus the slow realization of growing older.
Released as a single in the same year as their debut album in 1989 as part of their Todd Rundgren-produced debut album “Love Junk.” The song from the Edmonton, Alberta band should have earned them much more critical acclaim and a much larger fan base across the world. Several decades later, this stunning melodic arrangement should have become an even more celebrated piece of music. Although the album was certified platinum in Canada, the band did not have similar success in the United States. Penned by band leader and lead singer Moe Berg in 1985, “She’s So Young” delves into the complexities of infatuation, desire, jealousy over the illusion of having everything figured out, and the rollercoaster of emotions that accompany the discovery of love in its most youthful, unadulterated form.
The track opens with an immediate vocal and jangly guitar riff that sets the stage for a sonic journey into the heart of lust, anxiety, and angst. Berg’s vocals, tinged with a perfect blend of vulnerability and raw passion, draw listeners into the narrative. As the lyrics unfold, a story of confused and unrequited love takes shape, encapsulating the universal experience of yearning for the unattainable and possibly unattainable for good reason.
Berg’s lyrical prowess shines through in lines like “Like the wisdom of ages, Will flow from her tongue, This is the delusion of the young, She says she’ll lead with her heart, But her heart really doesn’t know at all, I’ll get no satisfaction out of seeing her fall.” Here, he masterfully captures the paradox of youth—a time when the intensity of emotions often outweighs the depth of understanding. The song becomes a vessel for exploring the inherent contradictions of adolescence, where the naivety of youth coexists with the profoundness of burgeoning desires.
(Image credit: Jim Steinfeldt/Michael Ochs Archives/Getty Images)
The melodic cadence of “She’s So Young” mirrors the unpredictability of young love, seamlessly shifting between moments of exuberance and introspection. The instrumentation, marked by catchy hooks and a rhythm section that propels the narrative forward, mirrors the emotional turbulence of the song’s protagonist. It’s a musical engine where the energy of youth converges with the introspection of maturity, creating a sonic space that resonates across generations.
The chorus, a resounding declaration of unrequited love, encapsulates the universal theme of yearning that underpins the track. In fact, the original version of the song began with the chorus instead of the first verse. When re-recording the song for “Love Junk,” the band changed the order to build more tension in the song. Yet, the infectious chorus is power pop bliss: “She’s so young, She’s got the answers, She doesn’t need to question herself like I do” becomes a rallying cry for anyone who has experienced the all-consuming nature of a crush—an emotion that transcends time and space as it moves beyond rational understanding.
Beyond its musical allure, “She’s So Young” invites listeners to reflect on the transient nature of youth and the fleeting beauty of innocence. The song becomes a vessel for nostalgia, a sonic time capsule that transports the audience back to the moments of their own youthful infatuations. In this sense, The Pursuit of Happiness achieves a rare feat—capturing a specific moment in time while crafting a narrative that remains universally relatable.
While the song’s thematic elements resonate on a personal level, it also taps into the broader cultural landscape of the late 80s and early 90s. The alternative rock scene was undergoing a transformative phase, with bands like The Pursuit of Happiness contributing to the evolution of the genre. “She’s So Young” exemplifies the era’s preoccupation with introspective lyrics and a departure from the bombast of ’80s glam rock.
Decades after its release, “She’s So Young” endures as a song of authentic storytelling and infectious melodies. Its influence reverberates. “She’s So Young” stands as a compelling song that celebrates the complexities of human emotion, a reminder that the pursuit of happiness often involves navigating the labyrinth of love, loss, and the eternal quest for connection. This song remains a shining gem and a clear eyes wide-open statement of a collective memory of those who have embarked on the tumultuous yet beautiful journey of growing up.
In music, few phenomena encapsulate the intersection of homage, innovation, and reinterpretation as effectively as cover songs. These musical tributes, where an artist reinvents and reinterprets an existing piece of work, have been an integral part of the musical landscape for decades. Right now I am embarking on a journey through the annals of cover songs reading Ray Padgett’s “Cover Me: The Stories Behind The Greatest Cover Songs of All Time,” it becomes evident that these renditions are not mere replicas but windows into the soul of the artist, revealing layers of influence, creativity, and the timeless allure of the songs that resonate across generations. Sure, not every cover song works but when they do, its magic.
The roots of cover songs are deeply entwined with the evolution of popular music. In the early days of the industry, covers were often straightforward reproductions of popular tunes, serving as a means for artists to capitalize on the success of others. Pat Boone’s early career demonstrates this most clearly. However, as music evolved, so did the approach to cover songs. We have championed the idea that a cover song, when approached with artistic intent, has the potential to transcend its origins and become a unique piece of art in its own right; and to that end, we regularly share songs on Your Tuesday Afternoon Alternative with the tongue-in-cheek label #YourCovered.
One of the defining characteristics of a memorable cover is the ability of the artist to infuse the song with their own distinct style and personality. This is where the magic of reinterpretation comes into play. Trouser Press, with its keen eye for artistic innovation, has always celebrated cover songs that go beyond mere imitation, offering a fresh perspective that breathes new life into familiar melodies.
Consider Johnny Cash’s iconic cover of Nine Inch Nails’ “Hurt.” Don’t we all appreciate the pure and devastating raw emotion and vulnerability that Cash injected into the song, transforming it into a haunting meditation on his own mortality near the end of his days. The juxtaposition of Cash’s weathered voice against the industrial soundscape of the original creates a poignant contrast, turning the cover into a soul-stirring reflection on the passage of time and the weight of a life well-lived while still yearning to accomplish more before you leave. Most recently, Hello June’s cover of “Take Me Home Country Roads” — like Cash with “Hurt,” strip the song to its essence so that we can pause, if only for a few moments, and drink in the unadulterated emotion of the song.
We at YTAA commend artists who take bold creative risks with cover songs, pushing the boundaries of genre and style. Take, for instance, Jeff Buckley’s ethereal rendition of Leonard Cohen’s “Hallelujah.” We should laud Buckley’s decision to strip down the song to its honest bare essentials, allowing his haunting vocals and sparse instrumentation to convey a sense of intimacy and vulnerability. In this case, the cover transcends the original, becoming an iconic piece that stands as a testament to Buckley’s artistic prowess.
We also recognize the power of cover songs as a means of introducing audiences to different genres and eras of music. When a contemporary artist takes on a classic from a bygone era, it serves as a bridge between generations, fostering a deeper appreciation for the rich tapestry of musical history. Celebrated artists can pay homage to their influences while introducing these timeless tunes to new audiences. I immediately think of Uncle Tupelo’s version of “Sin City.”
Uncle Tupelo’s cover of “Sin City” by The Flying Burrito Brothers is a testament to the band’s ability to bridge the gap between generations and genres, infusing a classic country-rock tune with their distinct alt-country sensibilities. Released as part of the “I Got Drunk” single released in 1990, Uncle Tupelo’s interpretation of “Sin City” pays homage to the roots of country music while adding a layer of grit and authenticity that defines their unique sound.
At the core of Uncle Tupelo’s cover is an evident reverence for The Flying Burrito Brothers’ original version. “Sin City” was a defining track on The Flying Burrito Brothers’ seminal 1969 album “The Gilded Palace of Sin,” co-written by Gram Parsons and Chris Hillman. The song, with its poignant lyrics and twangy guitar riffs, became an emblematic piece of the country-rock movement of the late ’60s and early ’70s.
Uncle Tupelo, known for their role in shaping the alternative country (alt-country) genre, took on the challenge of reinterpreting this classic with a keen understanding of its historical significance. The result is a cover that pays homage to the roots of country music while injecting it with the raw energy and authenticity that characterized Uncle Tupelo’s approach to their craft.
The cover opens with a stripped-down arrangement, featuring acoustic guitars that echo the simplicity of the original. However, Uncle Tupelo adds their own signature touch by incorporating a raw, unpolished quality to the recording. The vocals, delivered with a sense of earnestness by Jay Farrar and Jeff Tweedy, convey a genuine connection to the song’s themes of disillusionment and the pitfalls of city life.
What distinguishes Uncle Tupelo’s version is the infusion of alt-country elements, seamlessly blending the traditional with the contemporary. The band’s choice to incorporate elements of rock, punk, and folk into the cover reflects their commitment to pushing the boundaries of the country genre. The twangy guitars are accompanied by a slightly distorted edge, providing a sonic element that captures the spirit of both eras—the original release and Uncle Tupelo’s early ’90s alternative country movement.
In true Uncle Tupelo fashion, the cover of “Sin City” is not merely a replication but an evolution. The band’s interpretation of the lyrics, sung with a sense of urgency, brings a renewed relevance to the timeless themes of the song. Uncle Tupelo’s cover serves as a bridge between the past and the present, showcasing the enduring power of well-crafted songs to resonate across generations. Uncle Tupelo’s cover of “Sin City” is a masterful tribute that highlights their ability to honor musical heritage while imprinting it with their own unique sonic identity. By infusing a classic Flying Burrito Brothers track with the raw energy and authenticity of alt-country, Uncle Tupelo pays homage to the roots of country music while paving the way for the evolution of the genre.
Another exemplary case is Amy Winehouse’s rendition of the jazz standard “Valerie,” originally by The Zutons (from their excellent 2006 album Tired of Hanging Around). I would commend Winehouse for infusing the song with her signature blend of soul and jazz, breathing new life into a classic and introducing it to a generation unfamiliar with its origins. In this way, cover songs become a form of musical education, connecting the dots between the past and the present.
Music critics would be quick to point out that not all cover songs are created equal. The success of a cover lies not only in the artist’s ability to reinterpret the material but also in their sincerity and authenticity. While YTAA champions artists who approach cover songs with genuine respect for the source material, eschewing mere mimicry in favor of a creative dialogue with the original work.
For instance, when The White Stripes tackled Dolly Parton’s “Jolene,” Jack White’s decision to bring a raw, bluesy edge to the classic country tune has been questioned by some. Is that sincerity in White’s delivery or simply his delivering the song in an almost sarcastic frame. We need to recognize that the most intriguing cover is not an attempt to overshadow the original but rather create a heartfelt homage that pays tribute to the timeless appeal of Parton’s songwriting.
In exploring the world of cover songs, the instances where artists use covers as a canvas for their own experimentation and subversion can be thrilling. Artists who challenge conventions and push the boundaries of genre, and cover songs offer a unique platform for such creative exploration. Consider Devo’s deconstruction of The Rolling Stones’ “Satisfaction.” We should revel in the avant-garde approach that Devo took, turning the iconic rock anthem into a quirky, electronic experiment. This kind of cover embodies the ethos of celebrating artists who fearlessly venture into uncharted territory, reshaping familiar tunes into something entirely unexpected in a way that is real from the perspective of the artist.
Cover songs can also carry socio-political significance. In times of social change, artists often turn to covers as a means of expressing solidarity, protest, or reflection. Cover songs that serve as a commentary on the zeitgeist, amplifying the voices of those who seek to inspire change through music can also be a powerful approach.
An exemplary case is Tracy Chapman’s rendition of Ben E. King’s “Stand By Me” during the “Freedom Now” concert in 1988. I want to highlight the powerful symbolism in Chapman’s choice of cover, turning a classic love song into a poignant anthem for justice and equality. In this instance, the cover becomes a vehicle for social commentary, aligning with a tradition of celebrating artists who use their platform to address pressing issues.
As we delve into the expansive realm of cover songs, it becomes evident that a commitment to artistic integrity and innovation would recognize the myriad ways in which artists breathe new life into existing material. From soul-stirring reinterpretations that tug at the heartstrings to avant-garde experiments that defy genre conventions, cover songs offer a canvas for artistic expression that resonates with Trouser Press’s dedication to celebrating the ever-evolving landscape of music.
Perhaps the allure of cover songs lies in their ability to transcend the boundaries of time, genre, and generation. Whether it’s a contemporary artist paying homage to their musical roots or a groundbreaking reimagining that challenges preconceived notions, cover songs continue to captivate audiences and serve as a testament to the enduring power of musical reinterpretation. We need to turn a discerning eye toward the nuances of artistic expression and recognize cover songs as a dynamic and integral part of the ever-evolving narrative of popular music.
As the holiday season wraps the world in its embrace, certain songs emerge as timeless classics that capture the essence of the Christmas season. One such masterpiece is “Fairytale of New York” by The Pogues, a ballad that has become synonymous with the festive spirit. Released in 1987, this iconic track has not only stood the test of time but has also woven itself into the fabric of holiday and seasonal celebrations around the globe. As we celebrate the music and spirit of Shane MacGowan, now seems a perfect time to revisit this evocative song.
At its core, “Fairytale of New York” is a love story set against the backdrop of a dark, gritty, and realistic Christmas in New York City. The Pogues, known for their fusion of traditional Irish folk and punk rock, bring a unique energy to the song, infusing it with equal parts melancholy and exuberance. The haunting accordion and tin whistle melodies, along with Shane MacGowan’s distinctive gravelly vocals, set the tone for a narrative that is as raw and painful as it is heartwarming and full of optimism.
Shane MacGowan’s voice has a distinctive tone, characterized by its raw authenticity and unconventional beauty. What sets MacGowan apart is not just his vocal range or technical prowess, but the sheer emotive power, a sense of brokenness embedded in his delivery. His gravelly, almost weathered voice possesses a rare ability to convey a myriad of emotions, from gritty defiance to heartfelt vulnerability. MacGowan’s vocal style is deeply rooted in his Irish heritage, channeling a feeling of being vulnerable, powerful, and carefree all at the same time. It carries the weight of experience and authenticity, echoing the struggles and joys of life.
It’s in the imperfections of his voice that MacGowan finds his uniqueness. The rough edges and unpolished quality lend a genuine and unfiltered quality to his singing. Whether he’s belting out energetic punk anthems or delivering poignant ballads, there’s an undeniable sincerity in every note.
MacGowan’s voice is inseparable from his lyrical strength. His storytelling prowess comes alive directly through his vocal delivery, turning each song into a vivid narrative. It sounds like each word is spit out from a hole deep inside himself. The words matter especially because of how much he feels them. The combination of his distinct vocal timbre and poetic lyricism creates a musical experience that is both timeless and unmistakably his own. Shane MacGowan’s voice is a testament to the notion that true artistry often lies in the embracing of individuality and authenticity rather than perfection.
The song’s opening lines immediately transport listeners to a cold, harsh Christmas Eve in the ‘Big Apple,’ with MacGowan’s vivid storytelling painting a picture of a city that is frustrating, enchanting, drenched in drink, and unforgiving. Kirsty MacColl’s response to MacGowan’s verses adds sonic depth and emotion, creating a duet that feels authentic and emotionally charged. Her tone cast again MacGowan’s almost growl fuse the vocals with sweet and unsavory in the same moment. The characters in the song, who appear to have seen better days together in the past, convey an unrelinquished sense of resilience and hope despite their struggles. One wonders if they continued to be together after the song ends. The narrative of the song creates a feeling that they should go their separate ways while knowing that deep in their hearts they will always care for one another.
What sets “Fairytale of New York” apart is its ability to encapsulate the bittersweet nature of the holiday season. It acknowledges the hardships and challenges that many face during this time while simultaneously celebrating the enduring power of love and the warmth that comes with it. The lyrics capture a spectrum of emotions, from nostalgia and regret to optimism and love, making it a song that resonates with a wide audience.
Musically, the arrangement is rich and dynamic, incorporating elements of folk, punk, and traditional Irish music. The orchestration, featuring instruments like the accordion and whistle, gives the song a distinctive Celtic flavor, infusing it with a sense of cultural authenticity. The orchestral crescendo in the instrumental break further elevates the emotional intensity of the song, making it a powerful listening experience.
Despite its sometimes somber tone, “Fairytale of New York” is undeniably a festive anthem. Its staying power can be attributed to its ability to capture the complexities of the holiday season and failed (or is that failing?) relationships making it a song that transcends time and resonates with listeners. As we celebrate the music of Shane MacGowan and the enduring legacy of “Fairytale of New York,” it remains a compelling statement to The Pogues’ artistry and their ability to craft a Christmas classic that is both timeless and unforgettable.
In musical history, certain figures stand out as rebels, challenging conventions and giving voice to the unspoken sentiments of their generation. Shane MacGowan, the enigmatic frontman of The Pogues, was undeniably one such luminary. With his gravelly voice, poetic lyricism, and unapologetic embrace of Irish roots, MacGowan became a defining force in the world of punk and folk fusion. As we celebrate the indomitable spirit of his artistic legacy, it’s essential to delve into the essence of the man who breathed life into timeless anthems of rebellion and romance with a bemused wry smile.
Shane Patrick Lysaght MacGowan was born on December 25, 1957, in Pembury, Kent, to Irish parents. Raised in Tipperary, Ireland, he absorbed the rich tapestry of Irish culture, folklore, and music from an early age. This upbringing would later weave its way into the fabric of The Pogues’ music, shaping the band’s distinctive sound and catapulting them to the forefront of the folk-punk movement in the late ’70s and 1980s.
The Pogues emerged in the early 1980s, a tumultuous period where punk’s raw energy collided with traditional Irish folk, giving birth to a genre-bending sonic landscape. MacGowan, with his unruly hair, torn clothing, and a perpetual cigarette dangling from his lips, embodied the rebellious spirit of the times. His persona was a paradox — a punk poet who found solace in the echoes of Ireland’s past while navigating the gritty reality of London’s streets.
At the heart of MacGowan’s brilliance lay his songwriting. His lyrics were a patchwork of vivid narratives, drawing inspiration from the struggles of the working class, the beauty of love, and the tumultuous history of Ireland. “Fairytale of New York,” arguably The Pogues’ magnum opus, encapsulates this duality. Released in 1987 and included on the excellent “If I Should Fall from Grace with God,” the song is a bittersweet tale of love, dreams, and disappointment, set against a backdrop of an Irish immigrant’s Christmas in New York City. MacGowan’s poignant lyrics, combined with Kirsty MacColl’s haunting vocals, created an enduring masterpiece that transcended genres and resonated across generations. The song is just as powerful today as it was when it was first shared with the world.
MacGowan’s ability to infuse punk’s rawness with traditional Irish folk melodies was a testament to his musical prowess. The Pogues’ sound was a collision of tin whistle, accordion, and mandolin, melding seamlessly with electric guitars and drums. This fusion created an anthemic quality that resonated with audiences far beyond the punk and folk scenes. The band’s discography, including albums like “Rum, Sodomy & the Lash” and “If I Should Fall from Grace with God,” became a sonic pilgrimage for those seeking a rebellious yet nostalgic journey through the Irish soul.
Beyond the music, Shane MacGowan’s stage presence was a spectacle itself. Often appearing disheveled and seemingly unbothered by conventional norms, he commanded attention with an almost hypnotic charisma. His performances were raw, unfiltered, and charged with an energy that mirrored the rebellious heartbeat of punk. Whether he was stumbling across the stage or bellowing lyrics with raw intensity, MacGowan’s presence was a visceral experience that left an indelible mark on anyone fortunate enough to witness it.
However, behind the chaotic exterior and raucous performances, Shane MacGowan grappled with personal demons. Substance abuse, particularly his well-documented struggles with alcohol, became a defining aspect of his narrative. It was a tumultuous dance with self-destruction that added an element of tragedy to his story. Yet, even in the midst of personal battles, MacGowan’s commitment to his craft remained unwavering. His resilience, coupled with an unyielding passion for storytelling through music, showcased the depth of his artistic dedication.
As the years passed, MacGowan’s physical appearance became a visual testament to the toll his lifestyle had taken. The once-youthful firebrand now sported weathered features, a visible testament to the battles fought both on and off the stage. Despite the toll of time and excess, his voice retained its distinctive rasp, a testament to the enduring power of his artistry.
The Pogues disbanded in 1996, marking the end of an era. While the band members pursued individual projects, MacGowan continued to make music and collaborate with various artists. His solo work, including the critically acclaimed “The Snake” album, showcased a more introspective and nuanced side of his songwriting. Even in the absence of The Pogues’ collective energy, MacGowan’s solo endeavors demonstrated his ability to evolve while staying true to his roots.
Shane MacGowan’s impact extends beyond the realm of music. His influence reverberates through the works of countless artists who found inspiration in the collision of punk’s defiance and folk’s storytelling. The Pogues’ legacy, anchored in MacGowan’s vision endures as a testament to the enduring power of musical rebellion and cultural fusion.
In the wake of his passing, the world mourns not just a musician but a poet, a storyteller, and a provocateur. Shane MacGowan’s journey was one of highs and lows, a tumultuous ride through the corridors of creativity and chaos. His legacy, however, is etched into the very fabric of musical history, an indomitable force that continues to inspire those who seek the unbridled spirit of rebellion and the timeless beauty of poetic expression.
In a dimly lit space of my basement home studio, surrounded by an array of vinyl records, cassette tapes along a small wall, stacks of vintage vinyl 45s, piles of CDs, and an eclectic mix of posters from local and underground shows, I sit hunched over a laptop, ready to embark on music discovery. With a cat on my lap and another nearby, I listen to new songs, local music, and pieces of someone’s heart that they have kindly shared with Your Tuesday Afternoon Alternative. This is my sanctuary, the cockpit from which I navigate a vast sea of independent music. As an indie music radio DJ, I’ve made it my mission to curate and broadcast tunes that I believe in, music that resonates beyond the mainstream. There is no shame in loving the music that speaks to you, mainstream or not. But I want to find something new, something unique. Perhaps it is an overwhelming sense of fear of missing out on something incredible, something wonderful that was released and far too few have heard it. Providing a conduit for the amazing music that has gone overlooked has kept me interested in radio for over 19 years at WUDR and for many years prior.
My love affair with indie music began in the smoky corners of obscure spaces, crowded clubs, and hidden venues in Minneapolis in the 1980s. And that interest was heightened in 1983 when I joined KUMM Student Radio at the University of Minnesota at Morris. I had chosen a college a few hours away from home, Herman, Minnesota population 550. My graduation class only had 25 students in it. I was not sure what I wanted to become when I went to college, but I knew one thing quite clearly — I wanted to leave the confines of small-town Minnesota life. The albums that my classmates loved were not my music, they did not feel real and authentic to me. The music that I heard on the few radio stations — mostly country music — did not speak to me nearly as much as the obscure bands and music that I found on late-night TV shows or magazines like The Trouser Press, Cream, and Crawdaddy.
I had a few musically progressive friends and a cousin who was like a brother to me who broadened my music experience. I was exposed to so many unique bands and records by cool friends who introduced me to bands like The Ramones, Big Star, Alice Cooper, R.E.M., early KISS records, The Replacements, The Suburbs, Loud Fast Rules (who later changed their name to Soul Asylum), and Prince. I am still prepared to argue that his first three records were and are brilliant records that fused soul, funk, R&B, pop, and punk. While I enjoyed the British New Wave of Gary Numan and the Romance Wave of Roxy Music, it was Duran Duran who led me to Joy Division, Adam and The Ants, Spandau Ballet, and The Cure. From ‘Planet Earth’ and ‘Girls on Film,’ I found ‘Love Will Tear Us Apart,’ ‘Transmission,’ ‘Ant Music,’ ‘True’ and ‘Boys Don’t Cry’ — I then spent years over Robert Smith’s catalog. I was captivated one late night when David Bowie’s music video for Ashes to Ashes played on some obscure program. It was life-changing and led me to seek out music from Ziggy Stardust in all of his personas and identities.
While others were getting lost in the polished melodies of chart-toppers, I found solace in the raw, unfiltered sounds of independent artists. It wasn’t just about the music; it was about the stories told through the lyrics, the rebellion against conformity, and the genuine passion that fueled every chord, every snap of the drum, every note that was delivered with passion. These sounds and bands were authentic and real to me. I read a story in a music magazine — Melody Maker, New Music Express, Smash Hits… to be completely honest I do not remember — about a band named after a plane, U2, and that eventually led me to their first album ‘Boy’ and that again, led me to be changed. Now, to be fair I was listening to a seriously concerning amount of Pink Floyd, Nick Drake, Television, and Patti Smith. The gateway of The Ramones led to The Sex Pistols, The Clash, Blondie (especially those early records), and more. While I did enjoy some truly strange fascination for some rock and pop groups, I had records and the usual posters on my bedroom walls of Scandal, Rick Springfield, Journey, Styx, Hall & Oates, and a brief fling with The Eagles’ Hotel California and Long Run (that led me to The Flying Burrito Brothers and Graham Parsons — thanks for sharing your records, mom!).
When I got to college, I decided to take this passion to the airwaves, embracing the role of a sonic designer. Armed with a microphone and a collection of gems that I could not wait to share, I set out to carve a niche for myself in the crowded world of radio, one that would champion the unheard and challenge the established norms. It helped tremendously that bands like R.E.M., U2, Ministry, Depeche Mode, Red Rockers, The Cure, and far more than I have the time (or you dear reader – the interest in reading) to recount here were releasing amazing records in the 1980s. The time period of 1983 to 1988 was not only my college years but an amazingly fertile time for what became known as College Rock then was labeled as Alternative or Post-Punk.
It has not always been easy trying to build bridges with the unknown for me. Being an indie music DJ is more than just spinning records or pushing play or fading sounds in and out; it’s about building bridges between artists and listeners. In a world saturated with predictable playlists, my goal is to be a conduit for the undiscovered. I sift through submissions from garage bands in Brooklyn to folk troubadours in the Pacific Northwest, searching for that spark of authenticity that sets them apart. We have a policy at YTAA, anything shared with us gets a listen. And in those perfect moments when we want to hear a song again, that captures our attention when there are so many records to preview, there is magic in the sound waves.
It’s not always about polished production or catchy hooks; it’s about the genuine emotion that reverberates through the music. Each song is a unique brushstroke on the canvas of the YTAA show, painting a sonic landscape that moves beyond the conventional. The thrill of introducing listeners to a hidden beauty, the adrenaline of playing a track that might just become someone’s favorite song – that’s the heartbeat of our radio station. I cannot express how much joy is experienced when someone requests a song we have played or calls the station to ask who was that amazing musician or band that they heard.
In the sprawling landscape of commercial radio, where playlists are often dictated by corporate interests or worse an inhumane algorithm, maintaining independence is a dance on a tightrope. Yet, this dance is the very essence of the existence of Your Tuesday Afternoon Alternative and my role as a DJ. There’s a certain liberation in knowing that a YTAA playlist is not dictated by market trends or corporate interests. Sometimes it is an accident of happenstance or from a connection on social media. Whatever the reason, it’s a rebellion against the formulaic, an assertion that there’s value in the unconventional, the unknown, the liminal. I would like to believe that we have built a community of listeners who crave the unexplored, and who trust this program to guide them through sonic places and spaces of undiscovered music.
Behind every track played lies a story – the struggle of an indie artist trying to be heard, the triumphs and tribulations of navigating an industry that often favors the polished over the genuine. It’s not just about the music; it’s about the people who create it. It is a privilege to interview artists whose stories are as compelling as their melodies. From the indie folk singer who busked on street corners to fund her first album to the punk rock trio that converted an abandoned warehouse into a recording studio, each narrative adds depth to the sonic tapestry we weave on the airwaves. These stories resonate with our listeners, connecting them to the music in ways that transcend the superficial. These are real experiences told by real people about the authentic music they have made to present some feelings, emotions, and ideas — the search for solidarity and connection through music is important and it should be protected at all costs.
One of the joys of indie radio is the freedom to be unpredictable. While commercial stations follow rigid playlists curated by algorithms, YTAA revels in the spontaneity of crafting a playlist that mirrors the ebb and flow of emotions. From ethereal dream pop to gritty pop-punk anthems, the playlist is a rollercoaster ride that keeps listeners on the edge of their seats wondering what is coming up next. One of the most exciting experiences in music is when we are surprised.
On YTAA we are not afraid to delve into uncharted territories, juxtaposing genres in a way that challenges preconceived notions. A haunting acoustic ballad might be followed by a raucous electronic track, or a looking-back indie classic creating a musical journey that mirrors the unpredictability of life itself. It’s a sonic adventure that invites listeners to step outside their comfort zones and embrace the diversity of the indie music landscape.
As an indie music DJ, my connection with the audience goes beyond the confines of the radio waves. Social media has become a virtual extension of the studio, a platform where listeners can engage in real-time discussions about the music they love. We endeavor to play as many requests that we receive as possible. Sometimes a request can take the show in a different, unplanned direction, and isn’t that an opportunity? The sense of community that has emerged is a testament to the power of indie music to unite diverse souls under a common sonic umbrella. It has been a rare honor to connect with other music fans on Twitter, Instagram, Facebook, and on this page. From virtual album listening parties to live Q&A sessions with artists, the digital realm has allowed us to amplify the sense of camaraderie that defines the indie music scene. It’s not just about broadcasting music; it’s about fostering a community where passion for the unconventional is celebrated.
Navigating the indie wilderness is not without its challenges. Limited resources, the constant struggle for visibility, and the ever-present threat of obscurity are hurdles that indie artists face daily. As a DJ, I’ve witnessed the frustration of talented musicians grappling with a system that often seems designed to favor the established. Yet, it’s precisely these challenges that fuel the fire of the indie spirit. The tenacity of artists who refuse to be silenced, and the resilience of a community that thrives on the fringes – these are the stories that inspire me to keep pushing boundaries and championing the cause of the independent. It is possible that the unknown music can be even more captivating than the known.
As I peer into the future of my journey as an indie music DJ, the horizon is both exciting and uncertain. The music industry is in a state of constant flux, with new platforms and technologies reshaping how people find music. Yet, one thing remains constant – the hunger for authenticity, the craving for sounds that defy the cookie-cutter formulas of mainstream music. I envision a future where indie music continues to be a beacon of diversity and creativity. Whether through virtual concert experiences or immersive audio storytelling, the indie spirit will find new avenues to flourish. My role as a sonic guide will evolve, adapting to the changing currents of technology while staying true to the essence of independent expression. Maybe in some way, I am still the same person who knew that there was exciting and cool music waiting to be discovered, the only question was how to find it. Perhaps now the problem is how to find that music in an oversaturated culture of the moment; the internet is both friend and foe.
In the closing moments of every radio show, as the last notes of an indie anthem fade into the ether, I reflect on the journey that brought me to this point. From the dimly lit venues of my youth to the expansive world of radio waves, it’s been a ride fueled by passion, rebellion, and an unwavering belief in the power of independent music. In the vast sea of sonic possibilities, I continue to navigate the waves, a lone captain on a ship of indie music treasures. As long as there are artists pushing boundaries, as long as there are listeners hungry for the unconventional, the journey will endure. For in the realm of indie music, every note is a declaration of independence, and every DJ is a storyteller weaving tales of sonic rebellion. Now, let’s go listen to some interesting music we have not heard before.
All station photos by Tom Gilliam Photography. Photos used with permission.
Normally, I am busy preparing for a radio show on Tuesday afternoons. Busy typing song titles into a computer that feels both like a friend and a reluctant companion. This Tuesday however, I am not doing any of that prep work because the radio station is preparing to move to its new home.
In the heart of the University of Dayton campus, nestled among the hustle and bustle, there exists a sanctuary that transcends the usual boundaries and divisions that we make for ourselves every day. For 22 years, a humble student-run radio station has occupied the same space, etching its mark on the airwaves and the souls of those who have tuned in whether they be students at the University of Dayton or community members looking for something captivating on the airwaves. In 2001, WUDR moved from cramped quarters in Kennedy Union to the then newly opened Artstreet complex creating a harmonious resonance that defies the transience of our ever-evolving world. The Artstreet experiment was untested on campus. It was a living, learning, creative space that playfully yet intentionally used architecture, design, and flexible classroom spaces to encourage applied creativity. WUDR Flyer Radio and Street Sounds Recording Studio shared the end of one of the buildings next to an open amphitheater for outdoor events. Before the radio station added online broadcasting, this came a few years later, the station provided a space for those with a passion for radio broadcasting, indie music enthusiasts, and students applying what they were learning in classes to come together toward a common goal of making radio shows.
While I was not a student for quite some time, I have long explored the role of a radio DJ. After receiving a positive tenure decision from the University of Dayton, I balanced my teaching, writing, and administrative obligations with a hunger to do radio again. For 19 years I tried to passionately advocate for local music balanced with an interest in new music and the development and evolution of indie and alternative music. For almost two decades that interest has animated Your Tuesday Afternoon Alternative. I wrote a personal essay about my sense of doing radio in September.
As I prepare to leave the studio that I have called my second office for 19 years, a wave of nostalgia washes over me. The worn-out carpet beneath my feet bears witness to the countless footsteps of other DJs — student and faculty — that have trodden this path before, each imprint telling a story of passion, dedication, and an unwavering commitment to the art of sound at WUDR. The walls, once adorned with posters of Dayton bands, amazing local shows, a few legendary musicians, and faded memories, seem to whisper tales of late-night broadcasts, whispered confessions, and the transformative power of music.
In an era where change is the only constant, the endurance of this student-run radio station becomes an anthem of constancy, a lighthouse guiding lost ships through the stormy seas of life. The comforting hum of the equipment, the familiar creaks in the chairs, the colors of the ENCO systems alongside the soft glow of the control panel all bear witness to the enduring spirit of a station that has weathered the storms of technological upheaval and the fickle tastes of an ever-evolving audience. The dim light and just barely audible hum of a computer to my right that sends the radio signal to the web is a constant companion.
It’s not just a radio station; it’s a time capsule, preserving the essence of an era long past while evolving with the pulse of the present. The student DJs who have graced this sacred space have become custodians of emotions, weaving the soundtrack of our lives through the carefully selected notes and melodies that have graced the airwaves for over two decades in this space (and over fifty years in total).
The connection between the station and its listeners is not merely a broadcast; it’s an intimate conversation that transcends the limits of physical space. You cannot see the people who are listening. The voices that have resonated through these speakers have been companions during late-night drives, all night cramming before a big test, solace during moments of solitude, and the soundtrack to celebrations and heartbreaks alike. The station has become a confidant, a friend, and a silent witness to the ebbs and flows of our collective experience on and off campus.
As the world around us races forward, this radio station through the various slogans and themes over the years — “rock in the gem city,” “music in all directions,” and “support your local music scene” — remains a constant, a testament to the enduring power of music to bind us across time and space. We come together even though we cannot see each other in that moment when a great song plays. It’s a reminder that, in the transient nature of life, some things are built to last. The 22 years encapsulated in these walls are not just a marker of time but a celebration of the resilience of the human spirit to create, connect, and find solace in the embrace of familiar melodies. Songs mean something beyond the notes, chords, voices… as they remind us what we feel.
In a society that often values the shiny and new, this radio station serves as a poignant reminder that there is beauty in the worn and weathered, in the stories etched into every scuff and scratch. It’s a living testament to the belief that, sometimes, the most profound expressions of art and emotion arise not from the pursuit of the novel but from the nurturing of what already exists.
Live, intimate performances in a radio station hold a profound significance in the realm of music and broadcasting. Unlike large concerts in arenas or stadiums, these intimate sessions offer a unique and up-close experience for both the artist, the DJ, and the audience. The confined space of a radio station creates an atmosphere that fosters a sense of connection, an all too quickly fleeting and personal bond allowing the artist’s emotions and musical nuances to be experienced with unparalleled intimacy. And I have been unbelievably fortunate to have so many guests in the studio.
From the audience’s perspective, the intimacy of a radio station performance offers a rare chance to witness their favorite musicians in an unfiltered setting. It forges a more profound bond between the listener and the artist, creating an environment where the nuances of the performance are not lost in the vastness of a large venue. Live, intimate performances on a radio station bring artists and audiences together in a way that transcends the traditional concert experience. They celebrate the essence of music, fostering a connection that resonates on a deeper level, making these performances invaluable in the rich tapestry of musical expression.
From Thrasher Cadillac to Ghost Town Silence’s Tom Gilliam, who joined me for our annual YTAA Indie Holiday program, several artists in Dayton, the region, and national touring acts have shared their music with our listeners. Incredible songwriter and musician Charlie Jackson made his very first radio interview and performance in the WUDR studio space at Artstreet. Remember his name, a songwriter with that much talent and lyrical richness is perfectly made for a large, national audience. There is not enough patience to list all of the musical acts who have shared their time and music with us but let’s try that perseverance just a touch: The New Old Fashioned, Amber Hargett, Oh Condor, Cricketbows, Brainiac, Age Nowhere, Smug Brothers, The 1984 Draft, K.Carter, Kris N., XL427, Team Void, Matt Moran, Librarians With Hickeys, Rossonian, Bottlecap Mountain, Renaissance, Serin Oh, Motel Faces, Avalon Park, Josh Thrasher, Nicholas Johnson, Nate Peters, Me & Mountains, David Payne, Mike Bankhead, Harold Hensley, Neo American Pioneers, Zack Sliver, Nasty Bingo, Khyrs Blank, The Boxcar Suite, Brian Wells, Trees and Wells, Jennifer Taylor, Sharon A. Lane, Scary Hotel, Jetty Bones, Heather Redman, Sadbox, The Nautical Theme, Tod Weidner, Ike B., Max B. Greene, Tim Gebard, Manray, Mandy Jewel, The Typical Johnsons, Ricky Terrell, Kevin Serey, Windsor Knotts, Kyle Byrum, Dave Zup, Bill Wendell, Paul Monin, Seth Canan and The Carriers, Don Thrasher, Dead Licks, Sam King, Far From Eden, Andrew Hunt, The Paint Splats, Emory Road, Achilles Tenderloin, Curse of Cassandra, Rich Reuter, Nick Kizirnis, Kyleen Downes, Goodnight Goodnight, Charles Hartman, Kurt Lee Wheeler (who traveled from Georgia to be on our show that day), Lisa Gain & The Rusty Silos, Mack McKenzie, Steve Shockley of the Original Lakeside, and so many more. Still here? That is far from a complete list because those are just some of the artists who were in the studio. The magic of the phone call-in provided for so many more artists to share their gifts with all of us.
For the artist, performing live on a radio station provides an opportunity to showcase raw talent and authenticity. Stripped of elaborate productions, the focus shifts to the purity of the music and the artist’s ability to connect with the audience on a personal level. It becomes a platform for artists to experiment, improvise, and unveil new dimensions of their creativity.
As I exit the studio, the faint strains of a timeless song linger in the air, I play The New Old Fashioned – Radio Waves. It is fitting. As David Payne sings, I carry with me the echoes of my 19 years in my second office, resonating not only in the frequencies of the music but in the very fabric of my being. This radio station is more than a collection of songs; it’s a living, breathing entity, a guardian of memories, and a symbol of the enduring power of music to transcend the limitations of time and space. It was home.
WUDR will move to its new space in the Roger Glass Center for the Arts over the next several weeks. We will set up shop in an exciting new space that was specifically designed with the station and student media in mind, but we carry with us the incredible music experiences, history, and warm embrace of a building that was the radio station’s home for 22 years. Here’s to many more.
In a music industry often dominated by bombastic beats and electronic wizardry, Real Estate has carved a niche for itself with their distinctive brand of indie rock, characterized by dreamy melodies and introspective lyricism. With their latest single, “Water Underground,” from the forthcoming album ‘Daniel’ – the band’s sixth record, the New Jersey-based quintet reaffirms their mastery of crafting serene sonic landscapes that invite listeners to wade into the depths of their introspection.
From the first strum of the guitar, “Water Underground” unfurls like a gentle current, drawing the listener into its tranquil embrace. The opening harmonies, signature to Real Estate’s sound, resonate with a timeless quality that harks back to the heyday of jangle-pop. There’s a certain effortlessness in the way the instrumentation converges, creating a shimmering pool of sound that serves as the perfect canvas for the band’s lyrical exploration. The song is a ripple of melodic grace.
Martin Courtney’s vocals, soft and contemplative, guide us through the submerged depths of emotion. The lyrics, much like a quiet current, weave a narrative that touches upon themes of introspection and self-discovery. “Water Underground” is a lyrical exploration into the recesses of the soul, navigating submerged depths of emotion, and exploring the quietude beneath the surface of our daily lives. The words are poetic yet accessible, inviting the listener to reflect on their own internal challenges.
Real Estate has always excelled in creating intricate yet accessible instrumental textures, and “Water Underground” is no exception. The interplay between Julian Lynch’s intricate guitar work, Matt Kallman’s Keyboards, and Alex Bleeker’s melodic basslines is a testament to the band’s collaborative prowess. The drumming, courtesy of Sammi Niss, provides a steady undercurrent that propels the song forward, like a gentle stream flowing through a serene meadow.
The instrumental breaks showcase Real Estate’s ability to balance complexity with simplicity. The guitar solos, while understated, add a layer of richness to the overall composition. It’s in these moments that the band’s chemistry truly shines, creating a sonic tapestry that envelops the listener in a comforting warmth.
The production of “Water Underground” demonstrates the band’s commitment to melodic clarity. The mix is pristine, allowing each instrument to occupy its own space within the musical spectrum. The production choices echo the thematic elements of the song, providing a sense of clarity amidst the complexities of life. It’s as if the band has distilled their sound to its purest essence, inviting the listener to immerse themselves in the crystal-clear waters of Real Estate’s musical vision.
In a world that often feels turbulent and chaotic, Real Estate’s “Water Underground” offers a respite – a tranquil oasis where one can wade into the soothing waters of introspection. The song is a testament to the band’s ability to evolve while staying true to their sonic roots. Real Estate continues to be a beacon in the indie rock scene, guiding listeners through landscapes of sound that are as comforting as they are thought-provoking.
The video for the song is a tribute to the much-loved ’90s Nickelodeon series ‘The Adventures of Pete & Pete,’ with visual references to specific episodes, and the actors who played ‘The Petes’ themselves, Danny Tamberelli and Michael Maronna, frequently appearing in different roles in the video. This visual love letter to a fantastic series that would probably not be made today because of its elliptical and often surreal storylines was brilliantly directed by Edmond Hawkins. The idea for the music video was a team effort, coming from the fertile imaginations of Tamberelli and Maronna, with ‘Pete & Pete’ creators Chris Viscardi and Will McRobb which undoubtedly explains the incredible attention to detail.
“Water Underground” is not just a single; it’s an invitation to explore the depths within ourselves while we relive some of the fun of a past adventurous television show. Real Estate has once again demonstrated their prowess in crafting music that transcends the ephemeral trends of the industry, leaving the listener with a sense of serenity that lingers long after the final notes have faded away. As we navigate the currents of our own lives, “Water Underground” stands as a reminder that, sometimes, it’s in the quiet depths that we find the most profound revelations.
Once upon a time country music was made with an eye toward capturing authentic experience and real storytelling reigned supreme. David Payne’s latest release, “Best Intentions,” stands as a testament to the genre’s ability to capture the complexities of life. With its poignant yet accessible lyrics, soul-stirring melodies, and raw, unfiltered sound, Payne invites listeners on a profound sonic journey that delves into the depths of human emotion. The music video made to accompany the single deftly captures the feeling of the song.
The song opens with a twangy guitar riff that immediately sets the tone for what’s to come, the guitar lines bounce with a syncopation that reminds the listener of The Buckaroos’ Don Rich. Payne’s vocals, weathered by experience, carry the weight of the narrative, creating a sense of sincerity that resonates with the listener. It’s a classic country setup, but as the lyrics unfold, it becomes evident that “Best Intentions” is not just another run-of-the-mill country song. Instead, it navigates the intricacies of relationships, regrets, and the inevitability of life’s unpredictable twists. Sometimes we all need to step out for just a minute as the song reminds us.
At its core, the song explores the universal theme of good intentions gone awry. Payne’s lyrics paint a vivid picture of a protagonist grappling with the consequences of choices made with the purest of motives. The verses unfold like pages from a personal journal, revealing a depth of self-awareness and vulnerability rarely found in mainstream country music.
The driving rhythm and syncopation are where “Best Intentions” truly shines. A blend of heartfelt sincerity and a touch of melancholy, the refrain captures the essence of the human experience. Payne’s delivery is both soulful and genuine, carrying the weight of the narrative with every note he sings. It’s the kind of song that lingers in the mind, inviting introspection and resonating with those who have faced the complexities of relationships and the bittersweet nature of good intentions. Why do we need time away from those we care about? How does the time get away from us and suddenly — at least to us it seems a surprise — it’s “last call.”
The instrumentation plays a crucial role in shaping the song’s emotional landscape. The twangy guitars and fuzzy bass evoke a sense of nostalgia, paying homage to the traditional country sound, especially Buck Owens and The Buckaroos while infusing a modern edge. The arrangement is masterfully crafted, allowing each instrument to breathe and contribute to the overall sonic palette. Payne’s decision to keep the production stripped down and authentic enhances the song’s emotional impact, creating an intimate connection between the artist and the listener. The video enhances that idea by keeping the visual narrative of Payne in a bar drinking by himself.
It’s worth noting that “Best Intentions” stands out in the country music scene for its refusal to conform to formulaic trends. In an era where many artists prioritize commercial success over artistic integrity, Payne embraces the roots of country music, blending tradition with innovation. The song harkens back to a time when storytelling was at the forefront of the genre, and each note carried the weight of genuine emotion.
One of the most compelling aspects of “Best Intentions” is its ability to transcend the confines of country music and appeal to a broader audience. The themes of love, loss, and redemption are universal, making the song relatable to listeners across genres. Payne’s genuine approach as a storyteller shines through, creating an emotional resonance that extends beyond the boundaries of a single genre. Moreover, the song’s narrative depth opens the door for interpretation, allowing listeners to find their own meaning within the lyrics and the reason that the narrator needs some space to think. Whether reflecting on personal experiences or simply appreciating the artistry of the storytelling, “Best Intentions” invites a level of engagement that goes beyond casual listening.
David Payne’s “Best Intentions” is a standout addition to contemporary country music. Through its authentic storytelling, soul-stirring vocals, driving rhythm, and refusal to conform to industry norms, the song encapsulates the essence of a commitment to celebrating genuine artistic expression. As a sonic journey through the heart of a modern country, “Best Intentions” serves as a reminder of the power of music to connect us all through the shared experiences of the human condition.
Video By Brandon Berry at Broken Tape, LLC. The song was written by M. D. Payne Jr. It was produced, engineered, and mixed by Patrick Himes and David Payne on 2″ analog tape at Reel Love Recording Company in Dayton, Ohio. The song was mastered by Tim Pritchard at Great Horned Audio, Dayton, Ohio. Thanks to Magnaphone Records for releasing this country music gem.
The players: David Payne: Vocals, Acoustic Guitar Patrick Himes: Precision Bass, Percussion Brian Hoeflich: Drums Dan Spaugy: Electric Guitar Matt Spaugy: Tic Tac Bass, Fuzz Bass
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