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...AND WE'RE BACK! Just in time, too, as the podcast world has likely been on the edge of its collective seat wondering just what exactly our tremendous trio thinks of The Replacements for, lo, the past 16 months, give or take. Here's your no-spoils spoiler alert: Mike is thoroughly confused, Kevin is patiently informative, and Arianne is kindly and good-natured about the whole thing.
Before we get right down to a discussion about The Replacements' 1984 album Let It Be, we recount the peaks and valleys we've experienced during the course of our extended hiatus and talk about our current curiosities and resentments. Cue this episode up for the long drive to your least favorite relative's house or listen to it while you're stuck in the drive-thru line at Taco John's.
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For many centuries, the best examples of “gothic rock” were the thousands upon thousands of bricks that filled out the medieval castles and cathedrals of Europe. Then in 1980, the English band Bauhaus released their first album, In the Flat Field, effectively laying a cornerstone of a new movement in music and art. In this episode of the Rush Strutter Zep Magik podcast, we peer through this dark prism of post-punk pomp, discussing the influences that gave rise to Bauhaus and intricacies of their efforts on this particular work. Arianne shares memories of life as a grade-school goth kid, Kevin offers tips on the art of building a proper Spotify station, and Mike melts down yet again while discussing cable news and the decline of meaningful discussion.
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Fehlende Folgen?
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From the Crimean War to the Prehistoric era and across the universe to the planet of Dune, we plunge our needles into each and every groove of Iron Maiden’s 1983 metal manifesto, Piece of Mind. Side quests in this congenial confab include tangents and musings about X-Ray Spex, Dag Nasty, The Getup Kids, Warren Zevon, and The Who (not to be confused with Mongolian metal band The Hu). It’s a landmark episode for Arianne, who marks a year since their first appearance on the show and subsequently invokes the State Comptroller Atkins rule for a crucial cut from Piece of Mind.
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How many sparks does it take to ignite a prairie fire? We don’t answer that particular question this episode, but we do immerse ourselves in the sonic ocean of Angst In My Pants, the 1982 offering by the influential synth-pop band, Sparks. In our discussion, we look at the history of the Mael brothers and the broad appeal of their music to big-name acts including glam gods The Darkness. Arianne also provides a tutorial on the phenomenon of vocaloids, and we collectively bemoan the various and sundry drawbacks of circus peanuts.
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We’re going off the rails this episode, as Arianne tees up Blizzard of Ozz as our topical somethingburger. We look at Ozzy’s solo debut from almost every conceivable angle, from the wizardry of guitar virtuoso Randy Rhoads to Sharon Osbourne's Mandela Effect-like reminiscences of the album's recording to the controversial 2002 re-release of Blizzard featuring stand-ins by Robert Trujillo and Mike Bordin. Side quests on this Crazy Train include Mike’s remarks about Flann O’Brien’s novel The Third Policeman, Kevin’s Gretsch, and everyone's favorite warlock, Aleister Crowley.
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It’s Arianne’s first show as a bona fide co-host and in this episode, we’re serving up two platters piled high with tangible vandalism! In our first official episode as a trio, we tackle Led Zeppelin’s storied double album Physical Graffiti, sifting through its uncanny collection of uncredited cover tunes, outtakes, calypso music, and high school breakup fare. In the midst of the alarums and excursions, we also bump and grind against a host of ancillary topics including automobile-themed double entendre, Colorado weather, Municipal Waste, Green Day, The Alan Parsons Project, and Rax Roast Beef.
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From the sunny shores of Hawthorne, California to the sands of distant Melmac, Rush Strutter Zep Magik traces the roots and legacy of Pet Sounds by The Beach Boys. Arguably Brian Wilson’s most consequential work, we discuss the importance of Pet Sounds relative to the overarching mosaic of popular culture with a nod to its impact on our own respective lives. Our chat includes a track-by-track analysis that is intentionally bereft of the kind of formulaic filler phrases and clichéd expressions that dominate cable news and stand-up comedy routines. Mike Love probably won’t like this episode, but it’s approved by the real State Comptroller Atkins, and that ain’t hay.
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It’s a podcast of extraordinary magnitude as Arianne joins Kevin and Mike for a meticulous dissection of the 2011 album Lulu. This controversial collab between Lou Reed and Metallica has garnered voluminous quantities of scorn and derision in the decade since its release, but our troika revisits the work from our own unique perspectives, sharing our respective interpretations of every facet of this avant-garde objet d'art. From Frank Wedekind to Kazimir Malevich and from crust punk to Jonathan Coulton, this episode pulls together the spheres of history, literature, and music to determine whether Lulu is a sporting case of jinkies and zoinks, or a caustic concoction of milk and Red Bull.
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If you’ve ever found yourself wondering how in the world the 2011 Lou Reed/Metallica album Lulu came into existence, here’s your answer, fish-bulb! This isn’t quite a full episode, so we’ll call it a mini-sode and it’s all about the roots of the aforementioned collaborative endeavor. Included in this discussion (or maybe it’s more along the lines of a monologue) is information about the original author of the Lulu plays, Frank Wedekind, as well as Alban Berg, the composer of the operatic adaptation of the Lulu stories. Interspersed within the narrative are excerpts of ensemble readings from Wedekind’s “Earth Spirit” and a sample of Berg’s Lulu opera, featuring Evelyn Berg. For those who stick it through to the end of the episode, there’s a special, once-in-a-lifetime contest featuring a prize for one lucky listener.
All this is prologue for our next full-length episode in which we will be joined by the illustrious and insightful Arianne for a thorough discussion of the Lulu album itself! Watch for it!
Related, recommended, and required resources for this episode:
The works of Frank Wedekind at Librivox Lulu by Alban Berg at Internet Archive Alban Berg's Lulu and Adorno's commentary - RUINS -
BRAND FREAKIN’ NEW AND NOW ONLINE! Imagine a crisp page of graph paper featuring a perfectly executed, two-circle Venn diagram that depicts the coexistence between euphony and cacophony. Somewhere on the page, we might find a point representing The Shaggs — perhaps mingling in the bulbous hinterland of the extreme left or right of the diagram, or maybe firmly entrenched amongst the meaty layers where the two shapes overlap. In this episode of the Rush Strutter Zep Magik podcast, we take their infamous and/or legendary album “Philosophy of the World” for a spin and, much like the wonky speedometer on an old Looney Tunes cartoon, we find ourselves asking “Is this trip REALLY necessary?” Link. In. Bio.
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Neal Jones, a.k.a. “Nasty Neal” of Without Your Head Horror and Beyond, joins Mike for a very special installment of the Rush Strutter Zep Magik podcast! In this “mini-sode,” we cover a lot of ground, including:
Neal’s extensive experience as a podcaster and online personality, including his work on In Your Head Wrestling Radio, Inside Your Head, and Without Your Head. His evolving body of work in independent horror films, from moderating panel discussions at conventions to experience as an actor and producer. The upcoming online event, Severed Limbs Film Festival 6.Topping it all off, Neal counts down his top five horror soundtracks and scores of all time, discussing what makes each selection special.
Severed Limbs Film Festival 6 is showing on YouTube on July 31, 2021, beginning at 5 PM EDT. For more information, visit withoutyourhead.com, or search “Without Your Head” on Facebook, Twitter, and YouTube!
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The Rush Strutter Zep Magik Podcast is out for Revenge! In this episode, Kevin and Mike take this pivotal Kiss album for a spin, skipping through the conversational daisies with tangents about The Buzzcocks, the work of composer Edvard Grieg, the novel Steppenwolf by Herman Hesse, season two of Too Hot to Handle on Netflix, and, once again, Jürgen Habermas. There’s also a bit of discussion about the unfortunate exit of Eric Carr from the band, as well as a note on Vinnie Vincent’s extremely brief return to the Kiss family. At the end of it all, Kevin unveils his pick for the next episode, setting the table for what might well prove to be the most offbeat RSZM episode thus far.
Related, recommended, and required resources for this episode:
Gene and Paul in 1994
Revenge-era outtake in which Gene momentarily loses his mind on Paul.“Unholy”
Official video -
Blasting back to the heyday of the punk movement, Kevin and Mike hop aboard Rocket to Russia, the third studio album by rough and tumble rockers, The Ramones. Featuring prominently in this consummate discourse on pop culture are gratuitous references to the likes of Walt Whitman, Paul McCartney and Wings, The Fairly OddParents, Jack Kerouac, Motörhead, The Gong Show, and Fibber McGee and Molly. And somehow, Jurgen Habermas horns his way into the conversation yet again.
Related, recommended, and required resources for this episode:
“Palisades Park” by Freddy Cannon
Covered by The Ramones on their Brain Drain album, this 1962 hit was written by Chuck Barris, who is best known for hosting TV’s The Gong Show.
“R.A.M.O.N.E.S.” by Motörhead
Live in Dusseldorf, 2004 -
This episode, the guys are joined by Kevin’s BFF, Andy, for a thoroughgoing discourse on “Moving Pictures,” the 1981 multi-platinum composition by Rush. In their preparatory remarks, Kevin and Andy recall wistful afternoons spent riffing on instruments at their local Sam Ash store and Mike recounts how he initially thought "Red Barchetta" was a song about a combine harvester. They plow through the work track by track with a few impromptu guitar demos along the way and sum up their thoughts on this standout work by the Torontonian trio.
Related, recommended, and required resources for this episode:
“Red Barchetta” (Live)
From the Exit Stage Left home video.“YYZ” (Live)
From the 2003 release Rock In Rio -
This time around, Kevin and Mike get into the groove with Liz Phair’s debut album, Exile in Guyville. Before they break it down, Mike suffers the embarrassment of mispronouncing the name of our bestest pal, Arianne, and Kevin proclaims the gospel of Ted Leo. The guys discuss the history and artistry of Exile in Guyville, chatting about the album’s forthright lyricism, its evocative guitar work, and its storied association with Exile on Main Street by the Rolling Stone. As Mike's boxer puppy Delphie frolics in the background, they run through the record track by track, comparing notes about the style and substance of Liz Phair’s first big splash. Before signing off, Mike reveals his pick for the next episode.
Related, recommended, and required resources for this episode:
Brigette Bardot: "Contact!" (1968)
Brigitte Bardot wears a Paco Rabanne dress while surrounded by the kinetic sculptures of Nicolas Schoffer.Liz Phair on 120 Minutes (1994)
Liz discusses Exile in Guyville and how the album cover was developed.Liz Phair: "Never Said" (1994)
Liz Phair's first appearance on The Late Show with David LettermanLiz Phair: "Stratford-On-Guy" (1993)
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Kevin and Mike are joined by RSZM superfan Arianne for a thorough discussion of Prince’s 1984 masterwork, Purple Rain! During the lead-up to their featured confab, Kevin gives props to the Meet My Friends The Friends podcast, Arianne discusses her affection for Dad rock, and Mike runs down some of his favorite Zeppelin influences, including "Mississippi" Fred McDowell. Sharing personal reminiscences and their respective analyses of each track, the trio chats up this multi-platinum pièce de resistance, also touching upon key moments of the film as well as some of the movie's key figures, including Apollonia and Morris Day.
Related, recommended, and required resources for this episode:“Baby I'm A Star” (Live)
Performed in Landover, Maryland in November 1984.Bruno Mars & Morris Day and The Time - Tribute to Prince Performance at the 2017 Grammy Awards
Morris Day on Late Night With David Letterman
Originally aired August 30, 1984.“When Doves Cry”
Official Music Video from 1984. -
It’s a hoedown in the tradition of “Bron-Y-Aur Stomp” as Mike and Kevin enjoy a platter of piping hot Zeppeliny goodness in the form of Led Zeppelin’s tertiary offering, Led Zeppelin III. On the way to the proverbial fireworks factory, Kevin praises the pre-Hagar incarnation of Van Halen and Mike talks up his duct-taped Norma-brand acoustic guitar. The guys plow track by track through LZ3, chatting about the rock, blues, and avant-garde facets of this illustrious pastiche, wrapping the show with an offbeat pick and a special co-host for the next big show.
Related, recommended, and required resources for this episode:
“Immigrant Song” (Live)
Video featuring live excerpts from the early 1970s.Robert Plant: Bron-Yr-Aur
Live audio from 1970 in which Plant tells the audience about the significance of the place called “Bron-Yr-Aur.”Roy Harper & Jimmy Page
Interviews and performances from Old Grey Whistle Test, 1984."Shake 'em on Down" by Bukka White
The lyrics that inspired "Hats Off to (Roy) Harper" -
At long last, Mike and Kevin engage in spirited discussion regarding Lick It Up, the Kiss LP that launched the “We’re never putting the makeup on again, no way, no how” era! Al Castle, Senior Writer for Pro Wrestling Illustrated joins the guys for this roundtable chat about one of the most consequential flashpoints in the continuum of Kisstory. A grab bag of selections ranging from melodic to banal and from provocative to unabashedly raunchy, Lick It Up offers a good deal of material to debate. Along the way, Mike gives a shoutout to the folks at the "All Our Pretty Songs" podcast, Al touches on his longstanding appreciation for the work of Bon Jovi, and Kevin cracks dad jokes and dismisses comparisons between the late Aristotle Onassis and himself.
Related, recommended, and required resources for this episode:"All Hell's Breakin' Loose"
Official video release.
Lick It Up Tour live footage
Lisbon, Portugal; October 1983.Vinnie Vincent: Metal Tech Guitar Video
Vinnie runs town techniques from the first album by Vinnie Vincent Invasion."Young And Wasted" live
Eric Carr on vocals; from the Animalize Tour, Detroit 1984. -
For this - the tenth full-length episode of Rush Strutter Zep Magik - Kevin and Mike tee up Jailbreak by Thin Lizzy, a true underrated gem of the 1970s hard rock. Kicking things off, the guys run through some unfinished business from the 2112 and Jimmy Page/Chopin shows, and Kevin recounts his recent reacquaintance with Synchronicity by the Police. Mike shares his enthusiasm regarding the triumphant return of the Bayside High and Drunk podcast and offers a shoutout to the good folks at Trojan City Music for quickly repairing his beloved Vintage-brand Greeny/Moore Les Paul after a late-night mishap. A meandering trip through the track listing of Jailbreak reveals that the guys are as close to the state of sympatico as they’ve ever been on a RSZM review as the guys chat about the life and legacy of Phil Lynott, the enduring influence of Thin Lizzy, and noteworthy covers of cuts from this album by Gary Moore and Everclear.
Related, recommended, and required resources for this episode:
“The Boys Are Back In Town” by Everclear
From the Detroit Rock City soundtrack“The Cowboy Song” by Thin Lizzy
Live at the Sydney Opera House (1978)“The Cowboy Song” by Gary Moore and Schott Gorham
Live performance from One Night in Dublin (2005)Phil Lynott: Songs For While I'm Away
Film trailer -
It’s another solo mini-sode with Mike at the helm and this time around, the topic at hand is Jimmy Page’s rendition of Frédéric Chopin’s “Prelude in E Minor, O. 28, N. 4.” This unusual piece - which Page included on his offbeat soundtrack for Charles Bronson’s Death Wish II - became a staple in Page’s live sets from ’83 through ’88, including his appearances at the ARMS concert series, the numbers he contributed to the Willie and the Poor Boys project, his years with The Firm, and his Outrider tour. This episode covers some of the more noteworthy performances of "Prelude," many of which were performed by Page on his Fender Brown B-Bender Telecaster. Also up for discussion are some notes on the life and work of Chopin and a look at how The Firm used a piece from Gustav Holst’s “The Planets” to introduce their live shows during their first tour. Included in the show are samples of work by Chopin and Holst.
Related, recommended, and required resources for this episode:
“A Brief History of Fredric Chopin”
A short biographical sketch for the YouTube pianoTV“The Guitar Show” featuring Jimmy Page
A clip from 1985 in which Jimmy shows off some of his guitars, including his B-Bender“Prelude” by Jimmy Page
Performed at the 1983 ARMS show in London“These Arms of Mine” by Willie and the Poor Boys
The official video featuring Jimmy Page playing his B-Bender - Mehr anzeigen
