Monday, October 11, 2004
Heart
Jupiters Darling
My earliest memory of Heart was when their song Barracuda came on the radio in the summer of 1978 (I think) and Jim Shirley, the neighbor kid, said, “This is a cool song.” Jim was never into music too much so it really stood out. He was right and all summer Heart was on the radio. Mike Abendroth and I went to see Heart play the Music Hall and they were exciting and energized. We left the show pumped up! By the early ‘80’s, thanks to over-exposure on the radio, I had heard enough of the band Heart and thought I could live without hearing them again... until now.
After an extended hiatus, and an exceptional acoustic duet album that snuck past most folks in the late ‘90’s, Ann and Nancy Wilson are back with their hybrid Led Zeppelin vein of rock. This album is six songs too long but it is a damn good record. Traditional “rock” fans could very easily forget that this is a band that was well past its prime: this record is fresh and brings back everything that made Heart interesting back in the late ‘70’s without sounding like a Nostalgia Act.
Don’t let my rating fool you, a good record is, well, good. And if we are honest with ourselves, when was the last time you actually heard a “good album?” By that I mean, from start to finish it’s good: what it isn’t is three good songs surrounded by filler tracks. The packaging is especially good and the band is back doing what they go best, rock.
Friday, January 18, 2008
Album Review: Heart, Jupiter's Darling
Monday, October 11, 2004
Heart
Jupiters Darling
My earliest memory of Heart was when their song Barracuda came on the radio in the summer of 1978 (I think) and Jim Shirley, the neighbor kid, said, “This is a cool song.” Jim was never into music too much so it really stood out. He was right and all summer Heart was on the radio. Mike Abendroth and I went to see Heart play the Music Hall and they were exciting and energized. We left the show pumped up! By the early ‘80’s, thanks to over-exposure on the radio, I had heard enough of the band Heart and thought I could live without hearing them again... until now.
After an extended hiatus, and an exceptional acoustic duet album that snuck past most folks in the late ‘90’s, Ann and Nancy Wilson are back with their hybrid Led Zeppelin vein of rock. This album is six songs too long but it is a damn good record. Traditional “rock” fans could very easily forget that this is a band that was well past its prime: this record is fresh and brings back everything that made Heart interesting back in the late ‘70’s without sounding like a Nostalgia Act.
Don’t let my rating fool you, a good record is, well, good. And if we are honest with ourselves, when was the last time you actually heard a “good album?” By that I mean, from start to finish it’s good: what it isn’t is three good songs surrounded by filler tracks. The packaging is especially good and the band is back doing what they go best, rock.
Heart
Jupiters Darling
My earliest memory of Heart was when their song Barracuda came on the radio in the summer of 1978 (I think) and Jim Shirley, the neighbor kid, said, “This is a cool song.” Jim was never into music too much so it really stood out. He was right and all summer Heart was on the radio. Mike Abendroth and I went to see Heart play the Music Hall and they were exciting and energized. We left the show pumped up! By the early ‘80’s, thanks to over-exposure on the radio, I had heard enough of the band Heart and thought I could live without hearing them again... until now.
After an extended hiatus, and an exceptional acoustic duet album that snuck past most folks in the late ‘90’s, Ann and Nancy Wilson are back with their hybrid Led Zeppelin vein of rock. This album is six songs too long but it is a damn good record. Traditional “rock” fans could very easily forget that this is a band that was well past its prime: this record is fresh and brings back everything that made Heart interesting back in the late ‘70’s without sounding like a Nostalgia Act.
Don’t let my rating fool you, a good record is, well, good. And if we are honest with ourselves, when was the last time you actually heard a “good album?” By that I mean, from start to finish it’s good: what it isn’t is three good songs surrounded by filler tracks. The packaging is especially good and the band is back doing what they go best, rock.
Album Review: Putumayo's Blue Lounge
Putumayo's Blues Lounge
Monday, October 04, 2004
The Putumayo Recording Label
As the sheer number of album releases each year balloons over 30,000 titles the music listener finds it harder and harder to wade through this avalanche to find music they want to hear.
One of the surefire methods to find success is to find a trusted label where the label’s integrity for releasing good music is such that the listener is willing to try an unknown artist simply because of the recording label their music appears one. Some of the well-known examples of this include; Windham Hill, Subpop, Stiff, American Gramophone and in a very modern sense, Saddle Creek Records.
Well it’s time to add another label to this distinguished list. The Putumayo Label was started when it’s founder fell in love with World Music. In addition to have exceptionally high musical standards for their compilations Putumayo’s albums also feature distinctive, attractive album artwork.
While I cannot recommend every title from this label, simply because I haven’t developed an appreciation for music from all corners of the world, their latest release, Blues Lounge, is yet another fine example of melding modern blues with cutting edge music sure to fire the interest of even the most casual blues fan. Admittedly this is not for purists as the title indicates it is a combination of blues and pseudo-lounge music. Relaxing yet stimulating.
Probably the most high profile act on this sampler is modern hipster Moby. Like so many bands in the ‘60’s Moby’s spent some time mining the American Blues genre for inspiration. This track, Run On, is very hip gospel tinged track that shows where the blues can be taken.
The track by Gare Du Nord relies heavily on the Robert Johnson song, Come On In My Kitchen. After a brief intro Du Nord takes the track in a new direction that is at once wonderful and true to the roots.
Often times modern blues recordings add nothing to the body of the art form but are merely archeological in their pursuit. This disc, ten tracks in all, breathes a modern sensibility into the blues and show a path that could capture the ears of old fans and bring in new fans to the fold. Very interesting and like EVERYTHING on the Putumayo label, exceptionally well done.
Monday, October 04, 2004
The Putumayo Recording Label
As the sheer number of album releases each year balloons over 30,000 titles the music listener finds it harder and harder to wade through this avalanche to find music they want to hear.
One of the surefire methods to find success is to find a trusted label where the label’s integrity for releasing good music is such that the listener is willing to try an unknown artist simply because of the recording label their music appears one. Some of the well-known examples of this include; Windham Hill, Subpop, Stiff, American Gramophone and in a very modern sense, Saddle Creek Records.
Well it’s time to add another label to this distinguished list. The Putumayo Label was started when it’s founder fell in love with World Music. In addition to have exceptionally high musical standards for their compilations Putumayo’s albums also feature distinctive, attractive album artwork.
While I cannot recommend every title from this label, simply because I haven’t developed an appreciation for music from all corners of the world, their latest release, Blues Lounge, is yet another fine example of melding modern blues with cutting edge music sure to fire the interest of even the most casual blues fan. Admittedly this is not for purists as the title indicates it is a combination of blues and pseudo-lounge music. Relaxing yet stimulating.
Probably the most high profile act on this sampler is modern hipster Moby. Like so many bands in the ‘60’s Moby’s spent some time mining the American Blues genre for inspiration. This track, Run On, is very hip gospel tinged track that shows where the blues can be taken.
The track by Gare Du Nord relies heavily on the Robert Johnson song, Come On In My Kitchen. After a brief intro Du Nord takes the track in a new direction that is at once wonderful and true to the roots.
Often times modern blues recordings add nothing to the body of the art form but are merely archeological in their pursuit. This disc, ten tracks in all, breathes a modern sensibility into the blues and show a path that could capture the ears of old fans and bring in new fans to the fold. Very interesting and like EVERYTHING on the Putumayo label, exceptionally well done.
Album Review: Ian Moore, Luminaria
Ian Moore
Wednesday, September 08, 2004
Artist: Ian Moore
Title: Luminaria
I gotta admit, I never connected with any of Moore’s earlier releases. It wasn’t due to a lack of trying. I listened ‘till my ears bleed and while the talent was evident I just never, ‘got it.’ Pte, the bass player of Indigenous, bleed, ‘Ian Moore’ from his pores one summer and was convinced that only Jimi Hendrix was better. Hmmm. I didn’t get it.
On his latest effort, Moore is clearly leaving behind his Austin Twang-bar king days and wagering his entire career on the ability to move into a new genre. In other words, when Moore tours back into Omaha on September 24th (Sokol Underground) do not expect to hear any blues whammy stuff.
Instead, The All New’ Moore will be performing some exceptionally well-written pop songs as heard on his latest album, Luminaira. But why pop music? I would guess the move is strategic. The blues-rock guitar playing monster category has been slipping further and further down in sales and popularity. While a ‘hot’ selling blues record may see as many as 30,000 units sold, a well done pop record should sell 3X that number or more: volume and money! Evidently at still a young age Moore had peaked and had started looking around for new mountains to climb. Good for him!
Like most ‘pop’ music, Moore’s latest sound is hard to categorize. That means you’re going to have to hear it to understand it. I would suggest taking the time to visit Moore’s website (www.IanMoore.com) to hear it. There is a Paul McCartney sense of arrangement to the sonic landscapes and shades that Moore’s creates with.
HEAR THIS; you are not going to listen to this disc one time and completely appreciate the depth and texture that is packed into this recording. As a matter of fact, if you can’t spend time with this recording you probably shouldn’t invest any time into the effort. On the other hand, and there’s always another hand, this is probably an album that, given time could quite possibly open up all new frontiers of interest. It’s a passionate recording that revels layer upon layer with repeated listening.
Wednesday, September 08, 2004
Artist: Ian Moore
Title: Luminaria
I gotta admit, I never connected with any of Moore’s earlier releases. It wasn’t due to a lack of trying. I listened ‘till my ears bleed and while the talent was evident I just never, ‘got it.’ Pte, the bass player of Indigenous, bleed, ‘Ian Moore’ from his pores one summer and was convinced that only Jimi Hendrix was better. Hmmm. I didn’t get it.
On his latest effort, Moore is clearly leaving behind his Austin Twang-bar king days and wagering his entire career on the ability to move into a new genre. In other words, when Moore tours back into Omaha on September 24th (Sokol Underground) do not expect to hear any blues whammy stuff.
Instead, The All New’ Moore will be performing some exceptionally well-written pop songs as heard on his latest album, Luminaira. But why pop music? I would guess the move is strategic. The blues-rock guitar playing monster category has been slipping further and further down in sales and popularity. While a ‘hot’ selling blues record may see as many as 30,000 units sold, a well done pop record should sell 3X that number or more: volume and money! Evidently at still a young age Moore had peaked and had started looking around for new mountains to climb. Good for him!
Like most ‘pop’ music, Moore’s latest sound is hard to categorize. That means you’re going to have to hear it to understand it. I would suggest taking the time to visit Moore’s website (www.IanMoore.com) to hear it. There is a Paul McCartney sense of arrangement to the sonic landscapes and shades that Moore’s creates with.
HEAR THIS; you are not going to listen to this disc one time and completely appreciate the depth and texture that is packed into this recording. As a matter of fact, if you can’t spend time with this recording you probably shouldn’t invest any time into the effort. On the other hand, and there’s always another hand, this is probably an album that, given time could quite possibly open up all new frontiers of interest. It’s a passionate recording that revels layer upon layer with repeated listening.
Album Review: Joe Bonamassa, Had to Cry Today
Thursday, August 26, 2004
Artist: Joe Bonamassa
Title: Had to Cry Today
The national success of Joe Bonamassa can, to some extent, be credited Eastern Nebraska’s growing presence on the national music scene. While much of our area’s acclaim can be attributed to Robb Nansel and the bands on the Saddle Creek Record label, the area’s commitment to live music, and specifically blues based music, is now beginning to bear fruit. True fans know this seed was planted in Lincoln’s Zoo Bar and has since flourished in Omaha.
The integral relationships of radio, print & retail intertwining with the avid fans in the Omaha Blues Society has created a scene that has a proven ability to catapult an artist onto the national stage. Certainly Omaha’s thrust is not self-sustaining but it sure can get some folks to pay attention.
Like Indigenous before him, Joe Bonamassa is the beneficiary of Omaha’s love affair with his Brit-based blistering electric blues. Regular readers of this column will note the Joe’s previous album was my ‘Blues Album of the Year’ in ’03. So it was with eager anticipation that I threw on his latest effort.
He’s clearly changed direction a bit; more rock and less blues. Within this genre I hear no player that supercedes Bonamassa’s ability to drive home a great electric riff striking to the heart of the sound without over-playing or being cliche. ‘Joemaha’ left the ego at the door to write a smattering of the songs that blend with songs written by others. To put a sharper point on it, this album is not a collection of songs strung together: instead it a one piece of art that is composed of eleven tracks, much the way I remember my favorite albums being done.
While "great" is few and far between, there are three, and you can quote me on this, GREAT songs on this incredibly strong album including the seventh track, When She Dances. A slow ballad that is virtually guitar free, Bonamassa’s ability to vocally emote an emotion in song is locked in here. Gregg Allman like in his delivery Joe should have a commercial hit here. (Will radio “get” it? Not unless they pay someone too much money to tell them it’s good.)
To my blues ear, the fourth track, Reconsider Baby, a cover of Lowell Fulsom, is the near perfect ‘sound’ that most modern electric blues fans crave; soaring solos in a minor key with extended vocal notes and very B. B. King like. ANY fan of the late Stevie Ray Vaughan will immediately get this song.
The third GREAT song on this album, The River, is not a Springsteen cover. Opening with National Steel guitar plucking, Bonamassa quickly winds this song into a fresh blast that harkens to the sound that made Brit-Rock in the late ‘60’s so cool.
What Bonamassa understands, and what separates him from other blues players, is pacing. His albums are jam packed with sonic texture and the listener is not subjected to the “same song” for thirty minutes. While Joe’s guitar playing is quite capable of ‘blowing the doors off any old jalopy’ instead he chooses to employ clever licks, breathing space, and good taste.
This is an excellent record that could very well break this artist onto the next stage that his career so richly deserves. WEAR YOUR LOCAL COLORS AND BUY IT TODAY!
Artist: Joe Bonamassa
Title: Had to Cry Today
The national success of Joe Bonamassa can, to some extent, be credited Eastern Nebraska’s growing presence on the national music scene. While much of our area’s acclaim can be attributed to Robb Nansel and the bands on the Saddle Creek Record label, the area’s commitment to live music, and specifically blues based music, is now beginning to bear fruit. True fans know this seed was planted in Lincoln’s Zoo Bar and has since flourished in Omaha.
The integral relationships of radio, print & retail intertwining with the avid fans in the Omaha Blues Society has created a scene that has a proven ability to catapult an artist onto the national stage. Certainly Omaha’s thrust is not self-sustaining but it sure can get some folks to pay attention.
Like Indigenous before him, Joe Bonamassa is the beneficiary of Omaha’s love affair with his Brit-based blistering electric blues. Regular readers of this column will note the Joe’s previous album was my ‘Blues Album of the Year’ in ’03. So it was with eager anticipation that I threw on his latest effort.
He’s clearly changed direction a bit; more rock and less blues. Within this genre I hear no player that supercedes Bonamassa’s ability to drive home a great electric riff striking to the heart of the sound without over-playing or being cliche. ‘Joemaha’ left the ego at the door to write a smattering of the songs that blend with songs written by others. To put a sharper point on it, this album is not a collection of songs strung together: instead it a one piece of art that is composed of eleven tracks, much the way I remember my favorite albums being done.
While "great" is few and far between, there are three, and you can quote me on this, GREAT songs on this incredibly strong album including the seventh track, When She Dances. A slow ballad that is virtually guitar free, Bonamassa’s ability to vocally emote an emotion in song is locked in here. Gregg Allman like in his delivery Joe should have a commercial hit here. (Will radio “get” it? Not unless they pay someone too much money to tell them it’s good.)
To my blues ear, the fourth track, Reconsider Baby, a cover of Lowell Fulsom, is the near perfect ‘sound’ that most modern electric blues fans crave; soaring solos in a minor key with extended vocal notes and very B. B. King like. ANY fan of the late Stevie Ray Vaughan will immediately get this song.
The third GREAT song on this album, The River, is not a Springsteen cover. Opening with National Steel guitar plucking, Bonamassa quickly winds this song into a fresh blast that harkens to the sound that made Brit-Rock in the late ‘60’s so cool.
What Bonamassa understands, and what separates him from other blues players, is pacing. His albums are jam packed with sonic texture and the listener is not subjected to the “same song” for thirty minutes. While Joe’s guitar playing is quite capable of ‘blowing the doors off any old jalopy’ instead he chooses to employ clever licks, breathing space, and good taste.
This is an excellent record that could very well break this artist onto the next stage that his career so richly deserves. WEAR YOUR LOCAL COLORS AND BUY IT TODAY!
RL Burnside - A Bothered Mind
Thursday, August 12, 2004
Artist: R. L. Burnside
Title: A Bothered Mind
This is an exceptionally interesting album. Harkening from the great South, Burnside once again blends his Mississippi delta blues with modern Electronica to create a special music that will make most Blues purists will cringe before capturing their imaginations. This experimental blend is not new: Moby has tried it in the past. Burnside’s adventurous blood is also apparent on his previous album ‘Ass Pocket of Whisky’ recorded with Indie Rocker’s Jon Spencer’s Blues Explosion.
This is the best example to date of this effort to blend the old with the new. At this point I need to flop in the line, ‘Something old, something new, something borrowed and something blue.’ In this case this bromide applies totally!
Using Burnside’s John Lee Hooker style loose barchord style guitar playing over a traditional blues bass & drum line, this album jumps & jives with loops, repetitive phrases, and well placed electronic whirls and twirls to create a heady blues album that is immediately familiar and immediately strange. This is probably the hippest thing I’ve heard all year. However, if there were ever a situation where something is too cool for the room... this could be it!
Blossoming Detroit superstar Kid Rock ‘throws down’ on the track, My Name is Robert Too’ which relies heavily on vocal loops ala’ early 80’s King Crimson. (Seems you can't listen to an album these days without Kid ‘Robert’ Rock guesting on it!) The artist Born is also featured on two tracks on the album; Goin’ Down South, and Someday Baby.
The packaging on the album is a multi-fold album jacket with brightened colors of the artis on a delta gravel road: a depiction of the music inside… kinda old, kinda new, definitely borrowing a modern sound to lay over some very good blues. This album is exceptionally interesting but will probably not appeal to everyone. Check out Homer's in-store listening stations in the month of August ’04 as this disc is featured and worth checking out if only to let you know what CAN be done when a creative mind gets to work on it.
Artist: R. L. Burnside
Title: A Bothered Mind
This is an exceptionally interesting album. Harkening from the great South, Burnside once again blends his Mississippi delta blues with modern Electronica to create a special music that will make most Blues purists will cringe before capturing their imaginations. This experimental blend is not new: Moby has tried it in the past. Burnside’s adventurous blood is also apparent on his previous album ‘Ass Pocket of Whisky’ recorded with Indie Rocker’s Jon Spencer’s Blues Explosion.
This is the best example to date of this effort to blend the old with the new. At this point I need to flop in the line, ‘Something old, something new, something borrowed and something blue.’ In this case this bromide applies totally!
Using Burnside’s John Lee Hooker style loose barchord style guitar playing over a traditional blues bass & drum line, this album jumps & jives with loops, repetitive phrases, and well placed electronic whirls and twirls to create a heady blues album that is immediately familiar and immediately strange. This is probably the hippest thing I’ve heard all year. However, if there were ever a situation where something is too cool for the room... this could be it!
Blossoming Detroit superstar Kid Rock ‘throws down’ on the track, My Name is Robert Too’ which relies heavily on vocal loops ala’ early 80’s King Crimson. (Seems you can't listen to an album these days without Kid ‘Robert’ Rock guesting on it!) The artist Born is also featured on two tracks on the album; Goin’ Down South, and Someday Baby.
The packaging on the album is a multi-fold album jacket with brightened colors of the artis on a delta gravel road: a depiction of the music inside… kinda old, kinda new, definitely borrowing a modern sound to lay over some very good blues. This album is exceptionally interesting but will probably not appeal to everyone. Check out Homer's in-store listening stations in the month of August ’04 as this disc is featured and worth checking out if only to let you know what CAN be done when a creative mind gets to work on it.
The Pandora.coim website - simply fantastic!
Technology Column – Rick Galusha
With greater and greater rapidity the technological advances we see on computers are being applied to cellular telephones. Once ‘just a phone,’ the cell phone is now a music player, an on ramp to the internet, a credit card, a camera and video recorder, a planner, a calculator, a radio (including satellite), a video game, a tv (including cable) a key for real estate lockboxes, an audio/video GPS device and some allow editing on Excel or Word spreadsheets.
It doesn’t take much imagination to foresee that the advance of cellphones spells the death keel for iPods, PDA’s, GPS and other forms of technology. The move is afoot to condense numerous electronic gadgets into one and some advocate that it be the ever evolving cellular. The current cellphone networks play a trump card in the ensuing battle. In a recent product presentation for the Verizon ‘Juke’ phone it was said that Apple sold “one hundred million iPods” and that the Juke was being introduced in order to go after that market. The Motorola Q9 is already out and designed to hold a 32 gig chip for music and video – if you can find a chip that big. Clearly the audio/ visual assets of the new Q are also targeted after the successful iPod.
I’m no tech guru – I’m probably more like you, stumbling across things that friends recommend. Recently a fantastic music related website came to my attention; Pandora.Com. This is a music intense website that allows the listener to steer what’s played on the streaming musical broadcast. What’s more, you can influence the stream by choosing more than one ‘core’ artist to help Pandora’s algorithms pick more songs that may, or may not, appeal to you. As the songs play the listeners is invited to give a ‘thumbs up’ or ‘thumbs down’ vote on a song/ artist. Two thumbs down on an artist and, unless you’ve picked them as a core artist, their music is banned permentatly from the station. So the ability to have some influence over what’s being played makes this site delicious. What adds to the flavor is that the site will inevitably play bands you’ve never heard of and suddenly you’re off on a new musical exploration. Listeners are invited to have numerous ‘radio stations’ on the site (up to 100), for multiple genres of interest, and you’re encouraged to share “your superior station” with that friend whose musical taste simply can’t hold a candle to yours.
Like a lot of websites, Pandora.com does have a mobile-phone aspect to it so, at least theoretically, you could stream it on your phone and then Bluetooth it over to your car or home stereo. So unlike a lot of music websites, Pandroa.com has a limited aspect of mobility to the website too. Currently Pandora works on only select phones on the AT&T and Sprint networks. At the bottom of the homepage is the ‘mobile’ tab. Also, you can subscribe to Pandora. I can’t imagine this website being around for long enough – it really is wonderful and the perfect at work audio companion – but I wonder how the income stream can support the Ivy League educated executives the website lists.
Under the “Pandora Presents” tab is an educational adjunct to the site. Created by serious musicologists, Pandora.com includes a series of podcasts that range from ‘what’s a trip hop beat’ to ‘the blues scale’ to ‘word choices in lyrics.’ So musicians as well as curiosity seekers can learn more about the ‘how’s’ and ‘why’s’ of how music is really made. These are near college level lectures filled with information and they can be automatically downloaded to your computer.
With greater and greater rapidity the technological advances we see on computers are being applied to cellular telephones. Once ‘just a phone,’ the cell phone is now a music player, an on ramp to the internet, a credit card, a camera and video recorder, a planner, a calculator, a radio (including satellite), a video game, a tv (including cable) a key for real estate lockboxes, an audio/video GPS device and some allow editing on Excel or Word spreadsheets.
It doesn’t take much imagination to foresee that the advance of cellphones spells the death keel for iPods, PDA’s, GPS and other forms of technology. The move is afoot to condense numerous electronic gadgets into one and some advocate that it be the ever evolving cellular. The current cellphone networks play a trump card in the ensuing battle. In a recent product presentation for the Verizon ‘Juke’ phone it was said that Apple sold “one hundred million iPods” and that the Juke was being introduced in order to go after that market. The Motorola Q9 is already out and designed to hold a 32 gig chip for music and video – if you can find a chip that big. Clearly the audio/ visual assets of the new Q are also targeted after the successful iPod.
I’m no tech guru – I’m probably more like you, stumbling across things that friends recommend. Recently a fantastic music related website came to my attention; Pandora.Com. This is a music intense website that allows the listener to steer what’s played on the streaming musical broadcast. What’s more, you can influence the stream by choosing more than one ‘core’ artist to help Pandora’s algorithms pick more songs that may, or may not, appeal to you. As the songs play the listeners is invited to give a ‘thumbs up’ or ‘thumbs down’ vote on a song/ artist. Two thumbs down on an artist and, unless you’ve picked them as a core artist, their music is banned permentatly from the station. So the ability to have some influence over what’s being played makes this site delicious. What adds to the flavor is that the site will inevitably play bands you’ve never heard of and suddenly you’re off on a new musical exploration. Listeners are invited to have numerous ‘radio stations’ on the site (up to 100), for multiple genres of interest, and you’re encouraged to share “your superior station” with that friend whose musical taste simply can’t hold a candle to yours.
Like a lot of websites, Pandora.com does have a mobile-phone aspect to it so, at least theoretically, you could stream it on your phone and then Bluetooth it over to your car or home stereo. So unlike a lot of music websites, Pandroa.com has a limited aspect of mobility to the website too. Currently Pandora works on only select phones on the AT&T and Sprint networks. At the bottom of the homepage is the ‘mobile’ tab. Also, you can subscribe to Pandora. I can’t imagine this website being around for long enough – it really is wonderful and the perfect at work audio companion – but I wonder how the income stream can support the Ivy League educated executives the website lists.
Under the “Pandora Presents” tab is an educational adjunct to the site. Created by serious musicologists, Pandora.com includes a series of podcasts that range from ‘what’s a trip hop beat’ to ‘the blues scale’ to ‘word choices in lyrics.’ So musicians as well as curiosity seekers can learn more about the ‘how’s’ and ‘why’s’ of how music is really made. These are near college level lectures filled with information and they can be automatically downloaded to your computer.
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