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We play just five songs from an artist's catalog - from all the albums, the singles, the live albums. The music game is called "Play Me 5".
Five songs that do two things:
1. Give a representation of the artist - the musician - the band - the singer.
2. Find songs that reveal a bit of the magic of the performance or the musicians. Or both.
Can that work? I don't know. That's the idea and intent. Can we hear a band or performer in five songs, and find the reason - a bit of the understanding - as to why they are who they are and why they matter in the rock and roll continuum?
That’s it. Let's go. We are going to start with Bob Seger.
Why does Seger, a journeyman rock and roll singer from Ann Arbor, Michigan, and by extension, Detroit, hold a place in rock and roll history? Five songs. It's not enough, but that's the rule. Agree or disagree as you please. Just turn up the rock and roll as you do.
Hear all the archived episodes and find our social media and email links on the website: rockpopandroll.com
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More known as a party band than they were rock royalty, the J. Geils Band is still a rock band of the era that gets tossed aside, despite a decade of incendiary live shows and more hits than some may recall. One of my favorites. Played them loud. Learned some history too. I seriously rocked the “Blow Your Face Out” live cassette in my $2,000 brown Buick Skylark back in 1986.
It’s really not just that the J. Geils Band is not in the Rock and Roll Hall of Fame. But they probably aren't getting in. Yet the bridge they made - from the last 60s blues band era to the time of Seger, Springsteen, Petty, and U2 blowing up - was integral in rock and roll. Their live show. The R&B fused with rock and roll. The way they hit the stage, took no prisoners, and then blew out of town. That matters. That's their legacy. That was their time. It was a band more than the perceived one-time splash of "Centerfold" and "Freeze Frame". The J. Geils Band were road dogs. They were also a bunch of guys who reintroduced a whole lot of people to songs that were forgotten before they recaptured them. And they had hits well before they were able to fuse the new wave with the old rock, and did it more seamlessly than lots of others who tried.
Take a bouncing ride on this podcast. We dig into the reasons why this band from Boston, one in a long line of great rock and roll, from The Standells to Aerosmith to the Cars - made in that town, matters.
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Saknas det avsnitt?
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John Waite was in The Babys, out front of two pop hits that both peaked at No. 13 on the Billboard Hot 100, ("Isn't It Time" and "Everytime I Think of You") His solo career started with a really good but forgotten 1982 debut album Ignition, which produced the single "Change". It didn’t chart on Billboard's Hot 100 during its initial release (June 1982) but was #16 rock track on AOR radio stations and was produced by the great Bob Clearmountain. And Patty Smyth sings background vocals on "Change"
But it was the album No Brakes that gave him his career a real path to moving forward. "Missing You" went to No. 1 on the US Billboard Hot 100 singles chart and the album was a top 10 record.
We spend our time digging into his often-overlooked career. A guy with a distinctive voice that rocks.
“Perched perfectly between anthemic mainstream rock and sleek post-new wave pop, it was a minor miracle -- a flawlessly written, classicist pop song, delivered with a stylish, MTV-ready flair. It deservedly became not just a number one hit, but one of those records that everybody knows” -- Stephen Thomas Erlwine / allmusic.com
Waite had two more singles from No Brakes, including "Tears" which was a #8 hit on the Billboard Mainstream Rock chart and #37 top 40. His next album had a single, "Every Step of the Way" that got radio play (#4 rock charts and #25 top 40 and would be his last top 40 hit.
He did join former Babys bandmates Jonathan Cain and Ricky Phillips, along with Neal Schon and drummer Deen Castronovo from Journey, to form Bad English and the 1989 ballad "When I See You Smile" went to No. 1 on Billboard's Hot 100 and the album sold nearly two million copies. I didn't love that band, but I've always had a spot for John Waite in my rocker heart.
He kept going after the band broke up. But he keeps going. Waite is not always the first thought as a terrific rock band frontman - but he was - and is. He is still on the road. A singer who fronts a band like someone who wants to be there. Who has been there. He’s 72 years old. He’s on tour as I recorded this, with dates booked well into 2024. One who is worth mentioning if you talk about great rock and roll frontmen of the past, for like 50 years. He’s a rock and roll lifer still working. There is honor in that.
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WEBSITE: rockpopandroll.com
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On this episode, take a tour with us - to the early 80’s - to Scandal, as we drop into the short history of the band that released an EP that was a scattering blast of five songs - including “Goodbye To You” and “Love Has Got A Line”. At the time, it was the best-selling EP in the history of Columbia Records. But did I ever really listen to, back in 1982 or 84 or 87 or whenever, all the five songs? Maybe.
Around this time, in 1982, Pat Benatar was coming towards the end of her best run. Scandal had that vibe - rock and roll crunch with a new wave-ish bite. Early 80’s production and the couple hits were all about the chorus making your hips move and your head nod.
Scandal threw five variations of their sound out there to see what's stuck. And did it with 80's killer keyboard playing, guitars-and-drums of the time, and a powerhouse singer out front.
Patty Smyth went solo in 1987 with her debut album. The first of two hits on it, "Never Enough" (the album's title track), was written by The Hooters’ Rob Hyman and Eric Bazilian (there are a surprising amount of Hooters connections to other artist's music of the era).
Rick Chertoff, who produced both The Hooters and Cyndi Lauper's debut megasmash album is involved too. Baby Grand, a pre-Hooters lineup, recorded an earlier version of "Never Enough".
Smyth said the album "was never supposed to be a solo record; it was meant to be a record by 'Scandal Featuring Patty Smyth'.”
So we listen to the EP. Let's dig into “The Warrior” album, and hear some of what we like - and don’t so much - with Smyth’s solo records. Still, at the essence of it all is a great rock and roll voice, some drops of rock and pop candy, and a whole bunch more to like than what was heard just on the radio.
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WEBSITE: rockpopandroll.com
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Henry Lee Summer latched on to the sound of pop and rock radio in the 80s and rode that bad boy to a couple of late-decade hits, and a handful of good, heartland rock and roll albums.
But in his home state - Indiana - Summer was more than couple nice radio hits and a handful of albums. Weird that he could be, maybe? Really not. His story is like a lot of local-but-more-music heroes. Cleveland and Providence and Pittsburgh and Toronto. Artists like Donnie Iris, Kim Mitchell, John Cafferty, and Joe Grushecky.
Henry Lee Summer mined the sound of late 80’s rock and roll with his own little twist, influenced by Top 40 AM radio hooks, and, in the best way, a product of live sets in the smoke and noise and chaos of a live rock and roll club. His is the sound of the Midwest. The studio recordings - most of them - shined up for presentation to the masses, and the live shows greased and gritted for the faithful.
And he played great shows. Evenings that turned revival-ish. A shared act of live, loud, shakin' crowd-into-it rock and roll. Henry Lee, well beyond most of his hit-making days, brought the goods, man. His last hit was the early 90s. I saw him making it rock in a live setting be fantastic ten years past that.
And then he wasn't. And now he is again.
I loved seeing Henry Lee live. Here's an episode driven by a hope to share how great that act was without overselling it. Because in the end, Henry Lee Summer had a handful of hits on the radio. Nothing more than that - unless you saw him live. Then it makes more sense: the straining-to-be-loose studio albums that never quite were roughed up enough (other than the second major label release - "I've Got Everything") as he chased the right mix of hanging on and totally in the groove. That balance was what he harnessed on stage.
So these are my stories of discovery and the way one musician nothing much to most music fans, found a way to mean something more where he was and when he could. Maybe this one is a little more personal than usual. I'm OK with that. I hope you are too. Enjoy the listen.
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I thought it might be simple. Who were some of my favorite roots rock bands from the 1980’s and 90’s? And why? This episode turned into a deep dive into what still feels like it was only skimming along the surface of a genre that was hot for about five years and before fading back into where it was before, into a mostly forgotten sub-genre that I still love.
"Roots Rock" was a name that was branded on a sound that came of age in the mid-'80s. Some guitar rawness. Some harmonies. Roots rock had twang and guitars and drums. Garage-ish rock. There was definitely a crossover with the sound called heartland rock. There was, however, a rawness that made it more roots than heartland.
Heartland rock was a name used in the 1970s to describe Midwestern arena rock. The Mount Rushmore of 80s heartland rock? Arguably - but correctly - Bruce Springsteen, Bob Seger, and Tom Petty, John Mellencamp. Could also include bands like REO if you wanted. Maybe Cheap Trick? Michael Stanley Band for sure. How was it all the same? How not?
We listen to bands that made an impact both on the roots rock genre and on me. It is not an all-inclusive list of everyone and every band that fit or that I listened to. Instead, it is a selection of music that was on the radio, or maybe not, and we talk about why it was or wasn't. But these are certainly bands and music that slid into my cassette player in the 1979 Buick Skylark a whole lot of times.
Band like:CrackerDel FuegosBodeansRainmakersJohn HiattSteve EarleV-RoysLong Ryders
It is an epic podcast. More than an hour’s worth of bands and artists and tracks for listeners to dig into more deeply. Turn it up.
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A band named Truth and Salvage Co. was formed in 2005, made a couple of albums, and broke up only to return in 2022 with a lost album that was released - again - with a sound that it should have always had.
Late in 2022, the band came back, finding a nice way to revisit a career that sputtered and eventually splintered.
It was 2009 when Black Crowes Chris Robinson signed the group to his label and gave them the opening slot on his band's tour that year. The band released its debut album (produced by Robinson) on May 2010. I loved that album.
That album captured the words, the heart, and the intelligence of a powerfully relaxed band. It is fair to say it was a band that played rock and roll with an arms-around-each other attitude and a nod to their influences while still working to forge their own sound.
Truth and Salvage Co. created uplifting, pounding, loose, build-and-release rock and roll. This is their short story, recounted because of an album Atoms Form - that is really good.
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Rock hits but not Top 40 hits? What’s that really mean? We take a listen to some great throwbacks to a time when rock radio was more than day-after-day classic rock, same song, repeat cycle that it is today. Go back to when album rock stations (and for a brief time, Rock40 stations) made the radio a place for listeners to find a little bit of variety - and get surprised - with their rock and roll. We hear songs that were hits on rock radio but not top 40, and one track that was a top 40 hit and oddly ignored by the rock stations.
In the process, we talk about what the Rock40 format was, how AOR made it possible to hear more than just the same two songs from Cheap Trick, and why we all should relish being able to have heard radio that took chances.
Jump into today’s podcast for a batch of songs that were on rock stations of the 1980s that were not top 40 hits but made an impact on listeners - like me - back in that decade. Let's take a trip and rip into some of them - in a good way.
#CharlieSexton #Boston #johnkilzer #webbwilder #austin #neworleans #aor #rock40 #mitchryder #godfathers #radio
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Located alongside the Tennessee River, Muscle Shoals, Alabama, and the studios there helped create some of the most important and resonant songs in rock and roll.
On this episode, we look back at bit of the history of the Muscle Shoals sound, a trio of FAME Studio house bands, including the great "Swampers", and how Detroit's Bob Seger fused their sound with his heartland rock to produce some underappreciated but great songs - and one song ("Old Time Rock and Roll") that has been played way too much, burned deeply into our music brains, but whose story - from writing to the final version - is a wild one.
We listen to a few Seger and Muscle Shoals Studios and Fame Studios tunes, hear some sublimely elegant Bob deep cuts, and have a blast rediscovering some of the famous and forgotten songs that came out of Muscle Shoals, Alabama.
#muscleshoals #rolling stones #otisreddiing #wilsonpickett #bobseger #cher #osmonds #sweetsoulmusic
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Pat Todd has been called the most sincere rock and roll singer/songwriter on the planet.
His first group, the LA-based Lazy Cowgirls, called it quits in 2004 after nearly 25 years together. Pat Todd, raised in Indiana, formed a new band, the Rankoutsiders.
In them, I hear Jason and The Scorchers, the Georgia Satellites in their prime, cowpunk, and gassed up the guitars with bang-bang-bang drums, all driven in 5th gear.
How had I not heard of Pat Todd until 2022?
I have no idea. But now I have and find a need to share it with my rock and roll compatriots. So turn it up and let's rock together. Maybe it's a new find for you too. Giving you an artist and a band that takes total inspiration in sounds and chord changes from 50 years ago - Berry riffs and Sweet Jane chord changes - and twists them enough to make them work now.
Wanna hear a band recorded in a room together and sounding alive? Let's go. There is nothing cute about them unless you call harmonica and acoustic guitar cute. The sound of Faces and Stones, garage rock, Louie Louie messiness, and FU brashness.
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The passing of Jerry Lee Lewis signifies the passing of one of the few remaining architects of rock and roll. That piano and that voice, recorded in a way that sounds like dim light, beers, AM radio rock and roll, cigarette smoke, and always the underlying idea that a fight might break out. He made music filled with gospel roots, country music, piano boogie woogie, fire, preaching, loving, sexing, and edge-of-explosion rock and roll.
We dig into his career and find the rockabilly beginnings. The rock and roll detonation. The country hits. The duets and collaborators. And the attitude. Always the attitude. A flawed, brilliant, scarred, self-destructed, monumental life in music.
That was the Killer.
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Bar band swagger.
Like many Minneapolis artists we have been talking about, there were a number of rock and roll bands that paid lots of night-after-night dues in rock clubs and van tours. They too recorded critically-acclaimed, small-label indie albums before eventually landing a big deal. Or not.
Artists - Just like Prince did - heard themselves on top 40 radio stations alongside other cuts from bands playing something different than their core sound, and artists took part of those sounds as their own. Styles weaving into each. Grabbing something from another band and slipping that sound into their own music. Just like Prince did in the 70s and early 80s, growing up on Minneapolis radio. Just like those rock and roll kids did, hearing Prince themselves.
This is the third (and final) part of the series that listens to the sounds of the Twin Cities and why they matter to rock and roll guys like me.
Part 1 - Prince and Minneapolis
Part 2 - The Replacements and Jayhawks
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There are small towns known for a musical signature - a sound that you call the Bakersfield sound or the Muscle Shoals sound. There are sounds and bands and vibes tied to big cities like zydeco drums and street sounds of New Orleans, the funk and gloss of the Motown Sound of Detroit, and the stew of garage rock into new wave that was Boston. Like the swampy soul of Memphis, the sound of the 90’s grunge and alternative rock in Seattle, and the 60’s and 70’s groove and soul with Philadelphia.
There is a significant Minneapolis influence of the americana roots rock sound of the 1980s and into the 90s.
There was a sound of Minneapolis that was not just Prince. What he became was a product of the multicultural melting pot of music that may have been prevalent in other cities, midwest or not. But by some confluence of events and karma, there was a steady flow of bands that rocked and called Minneapolis home
This rock pop and roll podcast is part two of the series on Minneapolis' unique sound and a primer of some of the best and most influential - because of commercial success or integrity - or both. Every city has a thousand musical stories. This is one city and a some of those bands and stories.
Part 1 - Prince and Minneapolis
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This particular podcast episode found its inspiration in one of the Spotify-exclusive Rock Pop and Roll Radio Shows that we've made. They live on Spotify and were created to give me a chance to make an old-school radio show. Listen for 90 minutes to one and hear stories plus the whole song, something we don't do on the podcast. A callback to the great radio of the 70's and 80's.
I was working on a podcast about Minneapolis roots rock/heartland rock bands and how they were oddly influential in the 1980's musical landscape. Then I remembered this Prince Spotify radio show I produced and thought - hey - this is part of the story. How Prince - who music listeners know is from Minnesota - and a bunch of white kids with guitars could exist and, in a sense, inspire each other.
Prince was a mashup of what he heard growing up. That was his secret to crossover success. Filmmaker Philip Priestley, who made a 2008 documentary comparing the careers of Prince and Michael Jackson, said that growing up in Minneapolis helped Prince to create a new sound. "He grew up listening to a lot of radio which was other stuff than black soul music and rhythm and blues," Priestley said. “He was listening to rock -- white rock -- which explains why he was so unique musically. "He fused a black American tradition -- rhythm and blues, soul, funk, jazz -- with white rock."
That's what we peel back here, trying to figure out the connection between it all.
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Take a minute to think about Joan Jett. More than one song. More than just "I Love Rock and Roll", as great as that radio song is. She's called “The Queen of Rock ‘n’ Roll” and “The Godmother of Punk.”
Let's think about the rock and roll in her catalog and the influences she ultimately passed along. In the podcast, we talk about her career and how - somehow - she's may even be a bit undervalued as one of the rock and roll greats.
Jett's self-titled solo debut was released in Europe in 1980. In the US, the is that after the album was rejected by 23 major labels, so Jett and and manager Kenny Laguna formed Blackheart Records and released it independently - started with Laguna's daughter's college savings - sometimes selling the albums out of the trunk of Laguna's car after a show. They eventually made a deal with Casablanca Records head Neil Bogart, and he signed Jett to his new label, Boardwalk Records and re-released the Joan Jett album as Bad Reputation.
That statement and that song - what Joan Jett sang about - "I don't give a damn about…" was what she became. That’s the image she made real. It is her brand. It cements her place as an integral part of the melding of punk rock and rock and roll.
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The continuing story of the the echoing Influence of Tom Petty...and how Mike Campbell has taken that influence and made some magic.
I hear lots of bands than dig for that bit of Petty magic within their sound. The Wild Feathers. American Aquarium. Turnpike Troubadours. Eddie Vedder. Cody Canada. Band of Heathens. Petty left us too early. His influence has stayed. I thought it would but you never know. Some artists just have louder echoes. And now, Heartbeakers guitarist and his band, Mike Campbell and the Dirty Knobs, have an album out - released in early 2022 called External Combustion. Petty fans should rejoice. It rocks, in a Petty and the Heartbreakers way. A good way - with the echoes of the sounds of Torpedoes and Wildflowers.
People hear the Petty songs and think they're basic. Why? Hell, Petty songs and singles were on the radio in a time when radio was king and queen and prince. They got your soul, one hit at a time. When I go to the radio or a Spotify playlist that a fragment of melody, line of lyrics, or chord change that will be a line back to something from Petty - his influence - from a generation of rock and pop stars that were raised on his music.
Mike Campbell and the Dirty Knobs. They have a second album. It’s pretty damn good. Mike has found his voice. It is the voice that helped blend with Tom’s voice for 40 years and it is evident that he was a huge piece of that sound, and the two growing up and writing songs for all those years gave each a part of each other’s musical soul. On External Combustion - his voice is stronger. Crisper. Tweaked a tiny bit higher in the mix. It works.
We listen to Petty's influence in the album, and with other music too. It's a good sound. A sound that deserves to live on.
Hear all the archived episodes and find our social media and email links on the website: rockpopandroll.com
Eddie Vedder interview with Bruce Springsteen - https://youtu.be/PhqKCQXI8s0
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On the weekend we recorded this, Foo Fighters drummer Taylor Hawkins died. He was 50.
People are fans. We aren’t friends. If it feels awful or heart wrenching to fans, know his friends feel it harder and bigger and sadder.
I'm a superfan of what the Foo Fighters represent. The fervor of how they play rock and roll. The satisfaction and pride they seem to feel when they are doing what they do. The Spirit of the Foo Fighters. What he brought to them. The fun. The wow. The fanboy love of rock and roll, played in the pocket and as the engine to the band.
They’ve played all the Queen covers and Rush covers and all the covers tackled from all the bands. The Foos love music and are students of the hazy 70s and rock and pop MTV 80s. They remember where they were when the rock and roll hit the radio the first time. It would come out in a show.
The spirit of the Foo Fighters. It’s different now. Even though they say it’s only rock and roll, it’s not.
We remember a bit of the spirit of Taylor Hawkins and what he brought to the band.
Foo Fighters final show with Taylor Hawkins / Argentina / rockpopandroll.com
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Georgia Satellites are owners of one fluke hit from their self-titled debut album - a Chuck Berry-ish throwback-for-the-80s radio. One song amidst their bucket of barroom rockers. Those songs don’t come around Top 40 too often anymore. The “Once Bitten, Twice Shy” or “Jealous Again” type of songs are outliers. So is "Keep Your Hands to Yourself". It rocketed all the way to #2 on the top 40 singles chart in early 1987. Bon Jovi kept them out of the top spot with "Livin' on a Prayer".
And why do I still think about the band? They really weren't anything new. But they did put together a flash of a career - though the band name lives on with guitarist Rick Richards - with some of the best dueling guitars of the 1980's. Again, we go back to the bar band label. It was an easy label to paste on them – to call the band an 80’s version of the great 70s rockers, The Faces. Hell, they even covered "Every Picture Tells a Story".
They played rock and roll that was a blast of scraping guitars, big drums and a vibe that bridged the decades before the Black Crowes would make a similar move around 1990. The Crowes ended up making a career last - off and on – for 25 years. For the Georgia Satellites? They opened on a couple big tours, played a whole lot of bars and then splintered right around 1990.
What is their legacy? Why a podcast about a retro band than was not around long enough to have a second big hit? That's what we dive into. How the Georgia Satellites predated country radio rock that would come just a bit after their time, and end up as an influence for lots of bands - or at least make those bands believe there was a path to a crunching rock and roll career. Bands like Cross Canadian Ragweed. The Bottle Rockets. Blackberry Smoke. Singer Dan Baird went on to a solo career and formed a couple really good bands, including Dan Baird and Homemade Sin.
One of their best tours was a triple bill in 1987 with Del Fuegos and Tom Petty. They also opened for Bob Seger in 1986 on his American Storm Tour for their first time on arena stage. Dan Baird has said that Bob made sure they had full house lights, house sound, everything the headliner would get. He knew what an opener needed. He was one for years.
Rolling Stone contributing editor Anthony DeCurtis talks about living in Atlanta in the early 1980s, “The Satellites were like the city's house band.” They made it into America's consciousness, at least for one song and a few years more for fans of the band. They brought it live. Loud. Righteous. I say worth remembering one more time.
They have a new - recorded in 1988 - live album out now that gives us a taste of what made them so good. Lightnin' In A Bottle. Seems like a good time now to rewind and salute a band that was better than they ever got credit for. Of course, if you saw them live, you knew.
I did, and I do.
Hear all the archived episodes and find our social media and email links on the website: rockpopandroll.com
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Huey Lewis and the News were a bar band that was better than a bar band. That’s such a lazy way to describe a band anyway. A bar band is a good thing anyway, right? That means they cut their chops live and can make a crowd - big or small - happy. Lewis and the band just happened to have the songs, the performance chops, and the talent to take that bar band moniker and make it huge. There’s a long history of bar bands who had some fame and a hit or three and have a bit of a legacy. The J. Geils Band comes to mind. Southside Johnny and the Jukes. Georgia Satellites. John Cafferty. I might say the greatest bar bands of all time may be Tom Petty and the Heartbreakers and Springsteen with the E St. Band. So there is no shame there. Lewis and the News where a glossier,-pop-leaning bar band than who had nine top 10 hits over the space of about four years. Later in their career, they turned deeper to soul and Stax and to a version a band leaning into a bit of R&B later in their career, to pretty good results. After that glorious run from about 1982 through 1987, they began that journey, beginning with Small World album. Though it reached #11 on the album chart -and the song "Perfect World" went to #3 on Hot 100, the white-hot radio magic was on it's way out for the band. What happened after the 80’s to Huey Lewis and the News? They continued to release albums. They continued to play live. Hard at Play was the first of those post-80's albums to be released. Though they weren't burning at the levels of the mid 80's any longer, the record produced two top 40 singles with "Couple Days Off" and "It Hit Me Like a Hammer". What came after these? How did they age? What is worth hearing hat we might have missed. That's the podcast. Dig in.
Hear all the archived episodes and find our social media and email links on the website: rockpopandroll.com
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Let's do a little Jackson Browne history: Browne wrote several songs for Nitty Gritty Dirt Band early on - he was briefly a member in 1966 before they were signed. He co-wrote the first Billboard Top 40 hit for the Eagles in 1972 with "Take It Easy". Browne released his debut album in 1972, which had one Top 40 hit, "Doctor, My Eyes" (#8) and another that should have been "Rock Me on the Water" (#48)
With his third album, Late for the Sky, he reached number 14 on the Billboard 200 album chart, and earned a Grammy nomination for Album of the Year. It was his fourth album, The Pretender – produced by Jon Landau - that cracked the top 5 on the album chart with singles "Here Come Those Tears Again" (#23) and "The Pretender" (an FM radio hit). By the time he got to the 1980's, he was ready for some radio hits and some MTV love.
Browne was one of the singer songwriters that bridged the late 60s/early 70 socially conscious singer songwriter with the days of AOR and guitars, loud drums and the rock and roll that ruled a lot of radio in the 80s. His 70s output is underrated and the classic rock stations of today only skim the same few, forgetting a lot of his catalog.
Jackson is one of those musicians who we take for granted a bit, and maybe dismiss when his thoughts, actions, and causes don’t match up politically and socially with with our own. But that doesn’t make him any less great. He is a rock guy who makes an effort to be an artist. And has done it for more than 50 years. Followed his heart. His beliefs. His art. Jackson Browne is important in the telling the story of rock’s history. We talk about his 70s output, what happened in the 90s and beyond, but focus this podcast on Jackson Browne in the 1980's, his golden years of getting played on the radio.
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EMAIL: [email protected] TWITTER: @80srockpopandroll FACEBOOK: @rockpopandrollROB'S INSTAGRAM: @rockrob
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- Visa fler
