Episode 104: Professor Corey's Music Focus

The Velvet Underground Few rock groups can claim to have broken so much new territory, and maintain such consistent brilliance on record, as the Velvet Underground during their brief lifespan. It was the group's lot to be ahead of, or at least out of step with, their time. The mid-to-late '60s was an era of explosive growth and experimentation in rock, but the Velvets' innovations — which blended the energy of rock with the sonic adventurism of the avant-garde, and introduced a new degree of social realism and sexual kinkiness into rock lyrics — were too abrasive for the mainstream to handle. During their time, the group experienced little commercial success; though they were hugely appreciated by a cult audience and some critics, the larger public treated them with indifference or, occasionally, scorn.

The Velvet Underground's music was too important to languish in obscurity, though; their cult only grew larger and larger in the years following their demise, and continues to mushroom today. By the 1980s, they were acknowledged not just as one of the most important rock bands of the '60s, but one of the best of all time, and one whose immense significance cannot be measured by their relatively modest sales.

Historians often hail the group for their incalculable influence upon the punk and new wave of subsequent years, and while the Velvets were undoubtedly a key touchstone of the movements, to focus upon these elements of their vision is to only get part of the story. The group were uncompromising in their music and lyrics, to be sure, sometimes espousing a bleakness and primitivism that would inspire alienated singers and songwriters of future generations. But their colorful and oft-grim soundscapes were firmly grounded in strong, well-constructed songs that could be as humanistic and compassionate as they were outrageous and confrontational. The member most responsible for these qualities was guitarist, singer, and songwriter Lou Reed, whose sing-speak vocals and gripping narratives have come to define street-savvy rock & roll.

…continue reading (Richie Unterberger)

Episode 103: Professor Corey's Music Focus

Van Halen is an American hard rock band formed in Pasadena, California, in 1972. The band has enjoyed success since the release of its debut album, Van Halen, (1978). As of 2007 Van Halen has sold 80 million albums worldwide and has had the most #1 hits on the Billboard Mainstream Rock chart. According to the Recording Industry Association of America, Van Halen is the 19th best-selling band/artist of all time with sales of over 56 million albums in the United States alone, and is one of five rock bands that have had two albums sell more than 10 million copies in the U.S.  In 1999, the RIAA certified their debut album diamond for ten million in U.S. sales.

In addition to being recognized for success, the band is known for the drama surrounding the exits of former members. The multiple exits of lead singers David Lee Roth, Sammy Hagar and Gary Cherone were surrounded in controversy and mass press coverage, including numerous conflicting press statements between the former singers and the band. Following their 2004 concert tour the band was on a hiatus from the public until September 2007, when new bassist Wolfgang Van Halen's place was confirmed and Roth reunion rumors began to re-surface, both events coinciding with the band's Rock and Roll Hall of Fame induction on March 12, 2007.  After years of speculation, Van Halen began a tour with Roth across North America in 2007 and into 2008. On December 26, 2011, Van Halen announced a tour for 2012, and released their first album in 14 years, A Different Kind of Truth, on February 7.

Episode 102: Professor Corey's Indie Music Focus

R.E.M. mark the point when post-punk turned into alternative rock. When their first single, "Radio Free Europe," was released in 1981, it sparked a back-to-the-garage movement in the American underground. While there were a number of hardcore and punk bands in the U.S. during the early '80s, R.E.M. brought guitar pop back into the underground lexicon. Combining ringing guitar hooks with mumbled, cryptic lyrics and a D.I.Y. aesthetic borrowed from post-punk, the band simultaneously sounded traditional and modern. Though there were no overt innovations in their music, R.E.M. had an identity and sense of purpose that transformed the American underground. Throughout the '80s, they worked relentlessly, releasing records every year and touring constantly, playing both theaters and backwoods dives. Along the way, they inspired countless bands, from the legions of jangle pop groups in the mid-'80s to scores of alternative pop groups in the '90s, who admired their slow climb to stardom. It did take R.E.M. several years to break into the top of the charts, but they had a cult following from the release of their debut EP, Chronic Town, in 1982. Chronic Town established the haunting folk and garage rock that became the band's signature sound, and over the next five years, they continued to expand their music with a series of critically acclaimed albums. By the late '80s, the group's fan base had grown large enough to guarantee strong sales, but the Top Ten success in 1987 of Document and "The One I Love" was unexpected, especially since R.E.M. had only altered their sound slightly. Following Document, R.E.M. slowly became one of the world's most popular bands. After an exhaustive international tour supporting 1988's Green, the band retired from touring for six years and retreated into the studio to produce their most popular records, Out of Time (1991) and Automatic for the People (1992). By the time they returned to performing with the Monster tour in 1995, the band had been acknowledged by critics and musicians as one of the forefathers of the thriving alternative rock movement, and they were rewarded with the most lucrative tour of their career. Toward the late '90s, R.E.M. was an institution, as its influence was felt in new generations of bands.

…more from Stephen Thomas Erlewine

Episode 101: Professor Corey's Indie Music Focus

Modest Mouse - Issaquah, WA, indie rock trio Modest Mouse was formed in 1993 by vocalist/guitarist Isaac Brock, bassist Eric Judy, and drummer Jeremiah Green. After honing their muscular sound in "The Shed" -- a makeshift practice space built by Brock on the land next to his mother's trailer -- Modest Mouse entered Calvin Johnson's Dub Narcotic Studios to cut their 1994 self-titled debut single, released on Johnson's K Records label. Following a move to the Up label, the trio issued two 1996 LPs, This Is a Long Drive for Someone with Nothing to Think About and Interstate 8. After returning to K, Modest Mouse released The Fruit That Ate Itself in 1997; its follow-up from later that year, The Lonesome Crowded West, was the band's breakthrough, and in the wake of a major-label bidding war, they signed to Sony. The rarities collection Building Nothing out of Something appeared on Up in early 2000, followed later that year by their long-awaited Epic debut, The Moon & Antarctica. In 2001, the band issued the Everywhere and His Nasty Parlor Tricks EP and K released Sad Sappy Sucker, a "lost album" that was intended to be the group's full-length debut back in 1994. Brock kept busy with his Ugly Casanova side project, which delivered Sharpen Your Teeth in 2002. Modest Mouse finally returned in 2004 with Good News for People Who Love Bad News, their best-received record and a Top 40 hit as well. For their next record, Brock enlisted the help of former Smiths guitarist Johnny Marr, who not only added his songwriting and playing skills to We Were Dead Before the Ship Even Sank -- which was released in early 2007 -- but also toured with the band as a member. No One's First and You're Next, an odds and sods collection of songs that included material dating back to the Good News for People Who Love Bad News era, arrived in summer 2009.

Episode 100: Professor Corey's Indie Music Focus

The Shins - A classic guitar pop group almost nine years in the making, Albuquerque, New Mexico's the Shins began in 1997 as the side project of singer/songwriter and guitarist James Mercer's primary band, Flake. Mercer formed Flake in 1992 with drummer Jesse Sandoval, keyboardist Marty Crandall, and bassist Neal Langford; they eventually changed their name to Flake Music, releasing several singles, a well-received album, When You Land Here, It's Time to Return, and touring with friends like Modest Mouse and Califone.

Soon after the release of When You Land Here, Mercer and Sandoval formed the Shins as a change of pace, playing as a duo with Cibo Matto and the American Analog Set. With Mercer as the Shins' primary songwriter, the group developed a more focused, crafted sound than Flake Music's charming, if somewhat rambling, collaborative style. Crandall, as well as Scared of Chaka's Dave Hernandez and Ron Skrasek, filled out the Shins' lineup; however, Hernandez and Skrasek left after a short while, due to the success of their main project. By 1999, Flake Music essentially disbanded and Langford also joined the Shins.

With a couple of 7"s on Omnibus -- 1998's Nature Bears a Vacuum and 2000's When I Goose-Step -- under their belts, the Shins embarked on a tour with Modest Mouse. Sub Pop's Jonathan Poneman caught the San Francisco date of the tour and asked the Shins to contribute a single to the label's Single of the Month Club, which eventually became an offer to release their 2001 single New Slang and their debut album, Oh, Inverted World. The group spent the rest of the year touring with acts such as Preston School of Industry and Red House Painters. The release of singles such as "Know Yr Onion!" and "The Past and the Pending" kept the Shins' success going into 2002, cementing Oh, Inverted World as one of the definitive indie rock albums of the early 2000s and the Shins as one of the style's definitive bands.

By the time the band recorded their second album, Chutes Too Narrow, Langford was replaced on bass by Dave Hernandez (ex-Scared of Chaka). Chutes Too Narrow was released in fall 2003. The Shins' profile increased drastically the next year when actor Zach Braff included several of their songs in his 2004 movie Garden State with one of the main characters going so far as to proclaim that the song "New Slang" would "change your life." Its follow-up, Wincing the Night Away, appeared in January 2007 and sold over a staggering 100,000 copies in its first week. The Shins had never before hit higher than number 86 on the Billboard charts, but the album's sales snagged the guys a debut spot of number two. This was also a record for Sub Pop itself, as the label had only previously peaked at number 79 with the Afghan Whigs' 1996 album Black Love.

In 2008, the band announced that their contract with Sub Pop was up, and that their next album would be released through Mercer's own Aural Apothecary label. The resulting Port of Morrow, which featured an all new backing band that included fellow songwriters Jessica Dobson and Richard Swift, Modest Mouse drummer Joe Plummer, and Yuuki Matthews from the Crystal Skulls, arrived on March 20, 2012. Heather Phares, Rovi