Home Audio

Do stories grow? Pretty obviously – anybody who has ever heard a joke being passed on from one person to another knows that they can grow, they can change. Can stories reproduce? Well, yes. Not spontaneously, obviously – they tend to need people as vectors. We are the media in which they reproduce; we are their petri dishes… Stories grow, sometimes they shrink. And they reproduce – they inspire other stories. And, of course, if they do not change, stories die.


It has been four years since the Indigo Girls released a new studio album. On June 2nd, they released the much-anticipated One Lost Day, and immediately shot up to my fave albums from them. Amy Ray and Emily Sailers have created a landscape of truly original sounds and stories ranging from stark intimacy to bombastic pop and grind.

Here’s their Folkadelphia Session from April 12th, 2015 delivering the new love song Elizabeth and their hit Closer To Fine.

Check out their tour dates here.

The Weeknd just dropped an 18-minute Beauty Behind the Madness sampler, and along with hits “Earned It (Fifty Shades of Grey)” and “Can’t Feel My Face,” there’s also a preview of “Losers,” “In the Night,” the Lana Del Rey duet “Prisoner,” and “Angel_”. He’s going to be massive.

Guilty Simpson may have worked with hip-hop production luminaries from as far afield as California, New York and the UK, but his roots are forever in his hometown of Detroit.

It was fellow Detroit native J Dilla who gave Guilty his debut, on “Strapped” from Jaylib’s Champion Sound (2003), and “As Serious as Your Life,” a Four Tet remix. At Dilla’s request, Guilty joined the Stones Throw fold, releasing his debut solo album Ode To The Ghetto in 2008, which established him as one of Stones Throw’s flagship artists.

Two years later, Guilty returned with producer Madlib for OJ Simpson (Stones Throw, 2010), which Pitchfork heralded as “cohesive, focused, and flat-out fun… one of the best hip-hop records of the year.”

After a collaboration with the late Sean Price and producer Black Milk as Random Axe, and another with producer Apollo Brown, Guilty’s next appearance on Stones Throw was shorter but no less pivotal – a guest verse on “Fitta Happier” by Geoff Barrow’s hip-hop production super-group Quakers. Time spent with Quakers co-founder Katalyst in Australia yielded an artistic chemistry between the MC and producer, and led directly to Guilty’s third album for Stones Throw.

Detroit’s Son distils the essence of what made Ode To The Ghetto an underground classic. With the subject of life in the Motor City placed front and center, Guilty’s uncompromising rhymes fit seamlessly with Katalyst’s hard-hitting beats. The raps are every bit as gritty as on Ode or OJ, but there’s also a little light relief on tracks such as “Smoking,” probably about as close as Guilty will get to a summer anthem.

This is the Detroit MC on his best form, rapping over beats perfectly tailored to his rough baritone. Guilty Simpson has always been skillful at combining hardcore rap with thought-provoking observations about the world around him, and it’s this talent that comes to the fore on Detroit’s Son.


Here are some AWESOME musical answering machine messages brought to you by the good people at Radio Shack.

1. 21st Century Funk (0:16)
2. Rappin (0:17)
3. Soft Contemporary (0:17)
4. Jazz (0:17)
5. Jamaican (0:16)
6. Vaudeville (0:16)

Record your own message with these B-side instrumentals.
7. 21st Century Funk Instrumental (0:17)
8. Rappin Instrumental (0:17)
9. Soft Contemporary Instrumental(0:17)

*To download mp3s, right click (control click on mac) and choose “save target as”

In 1987, I had just graduated high school and moved from San Jose to Long Beach, CA for college. I chose Long Beach State because I assumed it would be a party school since it had ‘beach’ in the name. My parents helped me move all my belongings which were my clothes, 2 turntables, a mixer, speakers, an amp and probably around 10 crates of records. I was into hip hop, but wore vintage clothes from thrift stores and had a mushroom haircut so wasn’t really accepted by the other college students who never understood me. So I was a loner who pretty much stayed in my dorm room and made music all the time. I remember saving my money once I got there and eventually bought a 4-track recorder and a Casio drum machine that had 4 pads, each with a split second of sample time. I got the drum machine used for like $300 and was very excited. Next step was to find a rapper so I put an ad in the paper. I said my influences were Schoolly D, Just Ice, Scott La Rock, and Ultramagnetic MCs. ‘Hardcore rap.’ That’s how I found Spunky Spunk Dogg, a Cholo rapper from Long Beach. A few years later when Snoop Doggy Dogg came outta Long Beach, I wondered if he knew Spunky Spunk Dogg, but that’s another story. Spunky had more tattoos than I had ever seen on a human, especially for 1988 and I was always kinda afraid of rolling with him cuz I didn’t really know his background, but he always treated me with respect and admiration. I made the beats and did the cuts. This recording is the only one I have with him from back then and we performed outside at the backyard of a BBQ on a Sunday afternoon for an audience of around 15-20 people. We did around 5 or 6 original songs we had made and 1 cover and for the cover, we chose the biggest rap song in LA at the time. My turntable kept skipping as it wasn’t a 1200 and nobody even really cheered. I don’t even recall people really paying attention, but we were having fun and it was our first and last show together as a group. This was in the summer of ’88, and soon after, I moved back to San Jose, where I eventually met Charizma and started all over again. — PBW 8/14/2015

You’d think it would be difficult for Brian Wilson to pick his favorite Beach Boys song, but he’s decisive: It’s “God Only Knows.” In this conversation on World Cafe, he also says that while he loves the new Wilson biopic Love & Mercy (out Friday), there are parts that were hard for him to watch.

The full conversation is at the audio link above. You’ll also hear music from Wilson’s new solo album, No Pier Pressure, plus extraordinary exclusive live performances of Beach Boys classics.