In 1973, before their ascent to rock superstardom with Fleetwood Mac, Lindsey Buckingham and Stevie Nicks were just two young lovers making music in Los Angeles. Their debut album, Buckingham Nicks, though commercially unsuccessful at the time, would prove to be the catalyst that changed their lives. When Mick Fleetwood happened to walk into Sound City Studios and overheard Buckingham's masterful guitar work, he knew he'd found what his band desperately needed given the departure of their guitarist Peter Green. Fleetwood invited Buckingham to join the group, and Buckingham agreed on one condition: his musical and romantic partner, Stevie Nicks, would come too. This fateful meeting would birth the legendary lineup that created Fleetwood Mac and Rumours, albums that would define a generation. Yet all this time, the band's origin story, captured in Buckingham Nicks, has remained locked away in aging vinyl archives – until now. Grammy-winning guitarist Madison Cunningham and virtuoso multi-instrumentalist Andrew Bird have breathed new life into this historic recording with their interpretation, Cunningham Bird. Cunningham, celebrated for her sophisticated fingerpicking and intricate compositions, joins forces with Bird, whose distinctive violin work and plaintive vocals have earned him critical acclaim. Their reimagining of this pivotal album offers fresh insight into both Fleetwood Mac's enduring influence and the rocky romance that sparked their success. I sat down with the duo to discuss their approach to this legendary material and what drew them to resurrect these long-lost songs. Switched On Pop spoke with Madison Cunningham and Andrew Bird about how they adapted Buckingham Nicks into Cunningham Bird Learn more about your ad choices. Visit <a href="https://podcastchoices.com/adchoices">podcastchoices.com/adchoices</a>

<description>In 1973, before their ascent to rock superstardom with Fleetwood Mac, Lindsey Buckingham and Stevie Nicks were just two young lovers making music in Los Angeles. Their debut album, Buckingham Nicks, though commercially unsuccessful at the time, would prove to be the catalyst that changed their lives. When Mick Fleetwood happened to walk into Sound City Studios and overheard Buckingham's masterful guitar work, he knew he'd found what his band desperately needed given the departure of their guitarist Peter Green. Fleetwood invited Buckingham to join the group, and Buckingham agreed on one condition: his musical and romantic partner, Stevie Nicks, would come too. This fateful meeting would birth the legendary lineup that created Fleetwood Mac and Rumours, albums that would define a generation.

Yet all this time, the band's origin story, captured in Buckingham Nicks, has remained locked away in aging vinyl archives – until now. Grammy-winning guitarist Madison Cunningham and virtuoso multi-instrumentalist Andrew Bird have breathed new life into this historic recording with their interpretation, Cunningham Bird. Cunningham, celebrated for her sophisticated fingerpicking and intricate compositions, joins forces with Bird, whose distinctive violin work and plaintive vocals have earned him critical acclaim.

Their reimagining of this pivotal album offers fresh insight into both Fleetwood Mac's enduring influence and the rocky romance that sparked their success. I sat down with the duo to discuss their approach to this legendary material and what drew them to resurrect these long-lost songs. Switched On Pop spoke with Madison Cunningham and Andrew Bird about how they adapted Buckingham Nicks into Cunningham Bird
Learn more about your ad choices. Visit podcastchoices.com/adchoices</description>

Madison Cunningham and Andrew Bird revive Buckingham Nicks on Cunningham Bird

In 1973, before their ascent to rock superstardom with Fleetwood Mac, Lindsey Buckingham and Stevie Nicks were just two young lovers making music in Los Angeles. Their debut album, Buckingham Nicks, though commercially unsuccessful at the time, would prove to be the catalyst that changed their lives. When Mick Fleetwood happened to walk into Sound City Studios and overheard Buckingham's masterful guitar work, he knew he'd found what his band desperately needed given the departure of their guitarist Peter Green. Fleetwood invited Buckingham to join the group, and Buckingham agreed on one condition: his musical and romantic partner, Stevie Nicks, would come too. This fateful meeting would birth the legendary lineup that created Fleetwood Mac and Rumours, albums that would define a generation.

Yet all this time, the band's origin story, captured in Buckingham Nicks, has remained locked away in aging vinyl archives – until now. Grammy-winning guitarist Madison Cunningham and virtuoso multi-instrumentalist Andrew Bird have breathed new life into this historic recording with their interpretation, Cunningham Bird. Cunningham, celebrated for her sophisticated fingerpicking and intricate compositions, joins forces with Bird, whose distinctive violin work and plaintive vocals have earned him critical acclaim.

Their reimagining of this pivotal album offers fresh insight into both Fleetwood Mac's enduring influence and the rocky romance that sparked their success. I sat down with the duo to discuss their approach to this legendary material and what drew them to resurrect these long-lost songs. Switched On Pop spoke with Madison Cunningham and Andrew Bird about how they adapted Buckingham Nicks into Cunningham Bird
Learn more about your ad choices. Visit podcastchoices.com/adchoices

Fleetwood Mac perfected turning drama into hits

A musical "freak," to us here at Switched On Pop, is an artist who is unique, non-conforming, and always manages to surprise. We're living in some freaky times right now, so there's no better way to honor that than to listen to pop's freakiest artists. The past few weeks have seen new releases from Lady Gaga, Tyler, the Creator, and The Cure – the latter releasing their first new album in sixteen years. This episode of Switched On Pop, we unpack these songs and get to the bottom of their freakiness. Songs discussed:<ul>
<li>Lady Gaga – Disease</li>
<li>Tyler, The Creator – Noid</li>
<li>The Cure – Alone</li>
</ul> More<ul>
<li>Subscribe to Jesse Cannon <a href="https://musicmarketingtrends.beehiiv.com/">Music Marketing Trends</a> newsletter</li>
<li>Follow Jesse Cannon Musformation <a href="https://www.youtube.com/channel/UC0a-qcXVlh4Teya-EiEz-GA">YouTube channel</a>
</li>
</ul> Learn more about your ad choices. Visit <a href="https://podcastchoices.com/adchoices">podcastchoices.com/adchoices</a>

<description>A musical "freak," to us here at Switched On Pop, is an artist who is unique, non-conforming, and always manages to surprise. We're living in some freaky times right now, so there's no better way to honor that than to listen to pop's freakiest artists. The past few weeks have seen new releases from Lady Gaga, Tyler, the Creator, and The Cure – the latter releasing their first new album in sixteen years. This episode of Switched On Pop, we unpack these songs and get to the bottom of their freakiness.

Songs discussed:

Lady Gaga – Disease

Tyler, The Creator – Noid

The Cure – Alone


More

Subscribe to Jesse Cannon Music Marketing Trends newsletter

Follow Jesse Cannon Musformation YouTube channel



Learn more about your ad choices. Visit podcastchoices.com/adchoices</description>

Pop music's freakiest artists have all returned with new music

A musical "freak," to us here at Switched On Pop, is an artist who is unique, non-conforming, and always manages to surprise. We're living in some freaky times right now, so there's no better way to honor that than to listen to pop's freakiest artists. The past few weeks have seen new releases from Lady Gaga, Tyler, the Creator, and The Cure – the latter releasing their first new album in sixteen years. This episode of Switched On Pop, we unpack these songs and get to the bottom of their freakiness.

Songs discussed:

Lady Gaga – Disease

Tyler, The Creator – Noid

The Cure – Alone


More

Subscribe to Jesse Cannon Music Marketing Trends newsletter

Follow Jesse Cannon Musformation YouTube channel



Learn more about your ad choices. Visit podcastchoices.com/adchoices

Still Freaky After All These Years: Gaga, Tyler, The Cure

Over the summer, the culture was shaken by the biggest rap beef this decade, between Drake and Kendrick Lamar. From “First Person Shooter” to “Not Like Us,” hip-hop listeners hung on each rapper’s every word and rebuttal, and for the first time in years, the genre felt exciting.Months after the beef had “ended,” Lamar released a track on Instagram dubbed “Watch the Party Die,” in which he lamented that hip-hop, in its current state, has lost its way and – as the title suggests – needs to die. It’s interesting, coming from Lamar, the supposed winner of the beef, and begs the question: is hip-hop dead? On this episode of Switched On Pop, engineer Brandon McFarland takes us on a journey over the course of history, to answer the question: can hip-hop ever truly die? And if this form of it is not sustainable, what’s next?  Tracklist:Drake - First Person Shooter ft. J. ColeFuture, Metro Boomin, Kendrick Lamar - Like ThatDrake - Push UpsKendrick Lamar - EuphoriaDrake - Family MattersKendrick Lamar - meet the grahamsKendrick Lamar - Not Like UsKendrick Lamar - Watch The Party DieGlass Animals - Heat WavesDesiigner - PandaMigos - VersacePublic Enemy - Bring The NoiseTHE CARTERS - APESHITAriana Grande - 34+35Kendrick Lamar - AlrightJay-Z - D.O.A.Cher - BelieveT-Pain - I'm SprungLil Wayne - Lollipop ft. StaticKanye West - HeartlessDrake - OverTravis Scott - Mamacita ft. Rich Homie Quan, Young ThugLil Yachty - PolandDRAM feat. Lil Yachty - BroccoliCharlie XCX - 360Too $hort - Oakland CaliforniaGeto Boys - Damn It Feels Good to Be a GangstaGeto Boys - Mind Playing Tricks On MeBlondie - RapturePlayboi Carti - MagnoliaPlayboi Carti - Rockstar MadeLil Uzi Vert - New PatekLil Uzi Vert - Suicide DoorsLil Uzi Vert - XO Tour Llif3Juice WRLD - Lucid Dreams (Forget Me)Future - Fuck Up Some CommasTyler, The Creator – Stickytisakorean - LET ME HEAR YOU SCREAMTravis Porter ft. Tyga - Ayy LadiesAgusFortnite2008, Stiffy &amp; DJ Smokey – COF COF Learn more about your ad choices. Visit <a href="https://podcastchoices.com/adchoices">podcastchoices.com/adchoices</a>

<description>Over the summer, the culture was shaken by the biggest rap beef this decade, between Drake and Kendrick Lamar. From “First Person Shooter” to “Not Like Us,” hip-hop listeners hung on each rapper’s every word and rebuttal, and for the first time in years, the genre felt exciting.
Months after the beef had “ended,” Lamar released a track on Instagram dubbed “Watch the Party Die,” in which he lamented that hip-hop, in its current state, has lost its way and – as the title suggests – needs to die. It’s interesting, coming from Lamar, the supposed winner of the beef, and begs the question: is hip-hop dead? 
On this episode of Switched On Pop, engineer Brandon McFarland takes us on a journey over the course of history, to answer the question: can hip-hop ever truly die? And if this form of it is not sustainable, what’s next? 

Tracklist:
Drake - First Person Shooter ft. J. Cole
Future, Metro Boomin, Kendrick Lamar - Like That
Drake - Push Ups
Kendrick Lamar - Euphoria
Drake - Family Matters
Kendrick Lamar - meet the grahams
Kendrick Lamar - Not Like Us
Kendrick Lamar - Watch The Party Die
Glass Animals - Heat Waves
Desiigner - Panda
Migos - Versace
Public Enemy - Bring The Noise
THE CARTERS - APESHIT
Ariana Grande - 34+35
Kendrick Lamar - Alright
Jay-Z - D.O.A.
Cher - Believe
T-Pain - I'm Sprung
Lil Wayne - Lollipop ft. Static
Kanye West - Heartless
Drake - Over
Travis Scott - Mamacita ft. Rich Homie Quan, Young Thug
Lil Yachty - Poland
DRAM feat. Lil Yachty - Broccoli
Charlie XCX - 360
Too $hort - Oakland California
Geto Boys - Damn It Feels Good to Be a Gangsta
Geto Boys - Mind Playing Tricks On Me
Blondie - Rapture
Playboi Carti - Magnolia
Playboi Carti - Rockstar Made
Lil Uzi Vert - New Patek
Lil Uzi Vert - Suicide Doors
Lil Uzi Vert - XO Tour Llif3
Juice WRLD - Lucid Dreams (Forget Me)
Future - Fuck Up Some Commas
Tyler, The Creator – Sticky
tisakorean - LET ME HEAR YOU SCREAM
Travis Porter ft. Tyga - Ayy Ladies
AgusFortnite2008, Stiffy &amp; DJ Smokey – COF COF
Learn more about your ad choices. Visit podcastchoices.com/adchoices</description>

This summer saw the biggest rap beef in decades. But what does that mean for the future of hip-hop?

Over the summer, the culture was shaken by the biggest rap beef this decade, between Drake and Kendrick Lamar. From “First Person Shooter” to “Not Like Us,” hip-hop listeners hung on each rapper’s every word and rebuttal, and for the first time in years, the genre felt exciting.
Months after the beef had “ended,” Lamar released a track on Instagram dubbed “Watch the Party Die,” in which he lamented that hip-hop, in its current state, has lost its way and – as the title suggests – needs to die. It’s interesting, coming from Lamar, the supposed winner of the beef, and begs the question: is hip-hop dead? 
On this episode of Switched On Pop, engineer Brandon McFarland takes us on a journey over the course of history, to answer the question: can hip-hop ever truly die? And if this form of it is not sustainable, what’s next? 

Tracklist:
Drake - First Person Shooter ft. J. Cole
Future, Metro Boomin, Kendrick Lamar - Like That
Drake - Push Ups
Kendrick Lamar - Euphoria
Drake - Family Matters
Kendrick Lamar - meet the grahams
Kendrick Lamar - Not Like Us
Kendrick Lamar - Watch The Party Die
Glass Animals - Heat Waves
Desiigner - Panda
Migos - Versace
Public Enemy - Bring The Noise
THE CARTERS - APESHIT
Ariana Grande - 34+35
Kendrick Lamar - Alright
Jay-Z - D.O.A.
Cher - Believe
T-Pain - I'm Sprung
Lil Wayne - Lollipop ft. Static
Kanye West - Heartless
Drake - Over
Travis Scott - Mamacita ft. Rich Homie Quan, Young Thug
Lil Yachty - Poland
DRAM feat. Lil Yachty - Broccoli
Charlie XCX - 360
Too $hort - Oakland California
Geto Boys - Damn It Feels Good to Be a Gangsta
Geto Boys - Mind Playing Tricks On Me
Blondie - Rapture
Playboi Carti - Magnolia
Playboi Carti - Rockstar Made
Lil Uzi Vert - New Patek
Lil Uzi Vert - Suicide Doors
Lil Uzi Vert - XO Tour Llif3
Juice WRLD - Lucid Dreams (Forget Me)
Future - Fuck Up Some Commas
Tyler, The Creator – Sticky
tisakorean - LET ME HEAR YOU SCREAM
Travis Porter ft. Tyga - Ayy Ladies
AgusFortnite2008, Stiffy & DJ Smokey – COF COF
Learn more about your ad choices. Visit podcastchoices.com/adchoices

Did Kendrick Lamar kill hip-hop?

It’s the spookiest time of the year; Halloween is right around the corner. But unlike the winter holidays like Christmas and Hanukkah, Halloween seems to lack a defining canon of scary music. There’s, of course, “Monster Mash,” and “Ghostbusters,” but those songs aren’t actually bone-chilling. Is there a way to make music scary? In a live show from The Dalton School in New York City, Nate and Charlie try to unpack that very question, dissecting some of the scariest songs of all time to create their own spine-tingling, hair-raising Halloween anthem. Songs discussed:<ul>
<li>Bobby “Boris” Pickett – Monster Mash</li>
<li>Michael Jackson – Thriller</li>
<li>Ray Parker Jr. – Ghostbusters</li>
<li>Bernard Hermann – The Murder (From Psycho)</li>
<li>John Williams – Main Title (Theme From Jaws)</li>
<li>John Carpenter – Halloween, Main Title</li>
<li>Cannibal Corpse – Scourge of Iron</li>
</ul> Learn more about your ad choices. Visit <a href="https://podcastchoices.com/adchoices">podcastchoices.com/adchoices</a>

<description>It’s the spookiest time of the year; Halloween is right around the corner. But unlike the winter holidays like Christmas and Hanukkah, Halloween seems to lack a defining canon of scary music. There’s, of course, “Monster Mash,” and “Ghostbusters,” but those songs aren’t actually bone-chilling. Is there a way to make music scary? In a live show from The Dalton School in New York City, Nate and Charlie try to unpack that very question, dissecting some of the scariest songs of all time to create their own spine-tingling, hair-raising Halloween anthem.

Songs discussed:

Bobby “Boris” Pickett – Monster Mash

Michael Jackson – Thriller

Ray Parker Jr. – Ghostbusters

Bernard Hermann – The Murder (From Psycho)

John Williams – Main Title (Theme From Jaws)

John Carpenter – Halloween, Main Title

Cannibal Corpse – Scourge of Iron


Learn more about your ad choices. Visit podcastchoices.com/adchoices</description>

Nate and Charlie take this spooky opportunity to explore the Halloween canon.

It’s the spookiest time of the year; Halloween is right around the corner. But unlike the winter holidays like Christmas and Hanukkah, Halloween seems to lack a defining canon of scary music. There’s, of course, “Monster Mash,” and “Ghostbusters,” but those songs aren’t actually bone-chilling. Is there a way to make music scary? In a live show from The Dalton School in New York City, Nate and Charlie try to unpack that very question, dissecting some of the scariest songs of all time to create their own spine-tingling, hair-raising Halloween anthem.

Songs discussed:

Bobby “Boris” Pickett – Monster Mash

Michael Jackson – Thriller

Ray Parker Jr. – Ghostbusters

Bernard Hermann – The Murder (From Psycho)

John Williams – Main Title (Theme From Jaws)

John Carpenter – Halloween, Main Title

Cannibal Corpse – Scourge of Iron


Learn more about your ad choices. Visit podcastchoices.com/adchoices

Where are all the scary songs?

Stevie Wonder may be our modern day Mozart. A child prodigy, he joined Motown as a preadolescent where he was marketed as “Little” Stevie Wonder. He wowed audiences with his virtuosic command of the piano, harmonica, drums and of course, vocals. At just 13, he had his first number one hit “Fingertips Part II.” It was an unusual chart topper, featuring a live recording of mostly improvised music with Wonder switching between instruments as the audience cheered him on. But Wonder’s musical potential was far more than a gimmick.  In the 1970s, Wonder broke free from the confines of his initial recording contract, securing his artistic and financial freedom. Between 1971 and 1976, during what is now known as his "classic period," he released five of the most iconic albums in popular music, beginning with Music of My Mind and culminating in Songs in the Key of Life. These albums showcased his musical genius and included timeless songs that have become part of the modern pop canon, touching on themes of love, heartbreak, justice, and spirituality. Few child prodigies fulfill their potential as profoundly as Stevie Wonder. With the help of Wesley Morris, NYT critic and host of the spectacular audio series <a href="https://www.audible.com/pd/The-Wonder-of-Stevie-Audiobook/B0DDZ7YCJ2">The Wonder of Stevie</a>, Switched on Pop looks back on some of Stevie Wonder’s strongest compositions, exploring what makes him our contemporary musical maestro. Songs Discussed:<ul>
<li>Stevie Wonder - "Girl Blue"</li>
<li>Stevie Wonder - "Superwoman (Where Were You When I Needed You)"</li>
<li>Stevie Wonder - "Superstition"</li>
<li>Stevie Wonder - "Golden Lady"</li>
<li>Stevie Wonder - "Isn't She Lovely"</li>
<li>Stevie Wonder - "I Wish"</li>
<li>Stevie Wonder - "Sir Duke"</li>
<li>Stevie Wonder - "As"</li>
</ul> Learn more about your ad choices. Visit <a href="https://podcastchoices.com/adchoices">podcastchoices.com/adchoices</a>

<description>Stevie Wonder may be our modern day Mozart. A child prodigy, he joined Motown as a preadolescent where he was marketed as “Little” Stevie Wonder. He wowed audiences with his virtuosic command of the piano, harmonica, drums and of course, vocals. At just 13, he had his first number one hit “Fingertips Part II.” It was an unusual chart topper, featuring a live recording of mostly improvised music with Wonder switching between instruments as the audience cheered him on. But Wonder’s musical potential was far more than a gimmick. 

In the 1970s, Wonder broke free from the confines of his initial recording contract, securing his artistic and financial freedom. Between 1971 and 1976, during what is now known as his "classic period," he released five of the most iconic albums in popular music, beginning with Music of My Mind and culminating in Songs in the Key of Life. These albums showcased his musical genius and included timeless songs that have become part of the modern pop canon, touching on themes of love, heartbreak, justice, and spirituality. Few child prodigies fulfill their potential as profoundly as Stevie Wonder.

With the help of Wesley Morris, NYT critic and host of the spectacular audio series The Wonder of Stevie, Switched on Pop looks back on some of Stevie Wonder’s strongest compositions, exploring what makes him our contemporary musical maestro.

Songs Discussed:

Stevie Wonder - "Girl Blue"

Stevie Wonder - "Superwoman (Where Were You When I Needed You)"

Stevie Wonder - "Superstition"

Stevie Wonder - "Golden Lady"

Stevie Wonder - "Isn't She Lovely"

Stevie Wonder - "I Wish"

Stevie Wonder - "Sir Duke"

Stevie Wonder - "As"


Learn more about your ad choices. Visit podcastchoices.com/adchoices</description>

Wesley Morris shows us the Wonder of Stevie

Stevie Wonder may be our modern day Mozart. A child prodigy, he joined Motown as a preadolescent where he was marketed as “Little” Stevie Wonder. He wowed audiences with his virtuosic command of the piano, harmonica, drums and of course, vocals. At just 13, he had his first number one hit “Fingertips Part II.” It was an unusual chart topper, featuring a live recording of mostly improvised music with Wonder switching between instruments as the audience cheered him on. But Wonder’s musical potential was far more than a gimmick. 

In the 1970s, Wonder broke free from the confines of his initial recording contract, securing his artistic and financial freedom. Between 1971 and 1976, during what is now known as his "classic period," he released five of the most iconic albums in popular music, beginning with Music of My Mind and culminating in Songs in the Key of Life. These albums showcased his musical genius and included timeless songs that have become part of the modern pop canon, touching on themes of love, heartbreak, justice, and spirituality. Few child prodigies fulfill their potential as profoundly as Stevie Wonder.

With the help of Wesley Morris, NYT critic and host of the spectacular audio series The Wonder of Stevie, Switched on Pop looks back on some of Stevie Wonder’s strongest compositions, exploring what makes him our contemporary musical maestro.

Songs Discussed:

Stevie Wonder - "Girl Blue"

Stevie Wonder - "Superwoman (Where Were You When I Needed You)"

Stevie Wonder - "Superstition"

Stevie Wonder - "Golden Lady"

Stevie Wonder - "Isn't She Lovely"

Stevie Wonder - "I Wish"

Stevie Wonder - "Sir Duke"

Stevie Wonder - "As"


Learn more about your ad choices. Visit podcastchoices.com/adchoices

The virtuosity of Stevie Wonder

A podcast all about the making and meaning of popular music. Musicologist Nate Sloan & songwriter Charlie Harding pull back the curtain on how pop hits work magic on our ears & our culture. From Vulture and the Vox Media Podcast Network.

Switched on Pop

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