The Beastie Boys – “So What’cha Want” & “Gratitude”

“So What’cha Want” - Michael Diamond, Adam Horovitz, Adam Yauch Copyright 1992 Brooklyn Dust Music (ASCAP). “Gratitude” - Michael Diamond, Adam Horovitz, Adam Yauch & Tom Cushman Copyright 1992 Brooklyn Dust Music (ASCAP) and PolyGram International Music Publishing, Inc.

The Beastie Boys’ trajectory is one of the most unique in music history, moving from underground punk, to the “frat-rap” superstardom of Licensed to Ill, to socially-conscious stars of both hip-hop and alternative rock. In this episode, we explore the pivotal moment when the band faced an artistic crisis following the commercial failure of Paul’s Boutique. Severing ties with Def Jam and moving to Los Angeles, the trio—Mike D, MCA, and Ad-Rock—found absolute creative freedom in their own L.A. studio. With the help of Mario Caldato Jr. and Money Mark, they began to blend their hip-hop roots with live funk, punk, and rock, resulting in the 1992 triumph, Check Your Head.

We’ll do a track-by-track breakdown of “So What’cha Want” and “Gratitude,” revealing the secrets behind their signature sounds. We’ll see how the Hammond organ and distorted karaoke vocals created the atmosphere of “So What’cha Want,” and how Adam Yauch’s (MCA) spiritual journey influenced the heavy, fuzz-drenched riff of “Gratitude.” The episode concludes with a poignant look at the band’s legacy following Yauch’s passing in 2012, celebrating a group that proved innovation often comes from looking back at your roots while moving fearlessly forward.

“So What’cha Want” – Michael Diamond, Adam Horovitz, Adam Yauch Copyright 1992 Brooklyn Dust Music (ASCAP).

“Gratitude” – Michael Diamond, Adam Horovitz, Adam Yauch & Tom Cushman Copyright 1992 Brooklyn Dust Music (ASCAP) and PolyGram International Music Publishing, Inc.

TRANSCRIPT:

You have found your way to the I’m in Love with that Song podcast, one of the many shows in the Pantheon family of podcasts. My name is Brad Page, and on each edition of the show, I pick a song and we examine it together, exploring the twists and turns that make it a great song. I want this show to be accessible to everyone, so we don’t get super technical or get deep into music theory. This is a show for anyone who loves music.

Now, I usually keep the personal stuff to a minimum on this show, but my wife, Heidi, has a birthday coming up this month—June of 2026. I’m not going to tell you how old she is, that wouldn’t be polite, but suffice to say it’s a milestone birthday. So, I thought this time we’ll tackle one of her favorite bands—and I like these guys, too. And few bands in history have had the trajectory of these guys; from punks to party-boy rappers to socially conscious artists, and along the way, absolute innovators in the use of sampling and video. This time out, we’re taking a look at the Beastie Boys, and not one, but two great songs: “So What’cha Want” and “Gratitude.”


The story of the Beastie Boys begins in New York City in 1979 with a punk band called The Young Aborigines, which included a drummer named Mike Diamond and a young woman, Kate Schellenbach, on percussion. They banged around New York City playing in the underground scene to moderate success. A friend of theirs, Adam Yauch, was learning to play bass and he would show up at their rehearsals just to hang out. When The Young Aborigines’ bass player left in 1981, Adam Yauch joined the band as his replacement. Mike Diamond also moved to the front as vocalist, and Kate Schellenbach became the drummer, and the band rebranded themselves as the Beastie Boys.

Not long after renaming themselves Beastie Boys, their guitar player left, and he was replaced by Adam Horovitz. They also grew enamored of the new sound of hip-hop and rap coming out of the city, and they started integrating more and more of that sound into what they were doing. That resulted in the release of their single in 1983 called “Cooky Puss,” which is essentially a novelty song.

[Music: “Cooky Puss“]

And the move towards hip-hop meant a bigger reliance on drum machines. That, and their new “frat-rap” image, didn’t leave much room for Kate Schellenbach, and she was squeezed out of the group. But that established the Beastie Boys trio that would go on to bigger and better things: Mike Diamond, or Mike D; Adam Yauch, who picked up the moniker MCA; and Adam, Ad-Rock, Horovitz.

By 1984, the trio had hooked up with two names who would play a big part in launching them into stardom: Russell Simmons and Rick Rubin, the men behind Def Jam Records. Working with Rick Rubin in his NYU dorm room throughout 1986, they crafted their debut album, Licensed to Ill, released in November 1986. It was a smash hit. It was the first rap album to reach number one on the Billboard 200 album chart, and it held that spot for seven weeks. It was one of Columbia Records’ fastest-selling debut albums.

But that success brought with it some issues to grapple with. First, looking back on it today, it does raise some eyebrows when you consider that the first number-one rap album was made by some affluent white kids. You can’t get around it; there certainly are elements of cultural appropriation and white privilege that have to be wrestled with. And then there were unintended consequences at the time that had an effect on the band. Their frat-rap image was meant to be tongue-in-cheek, but a big part of their audience took it more seriously. Sure, it might have been ironic misogyny, but it was misogyny nonetheless, and that really started bothering the three of them.

Eventually, the relationship between the Beastie Boys and Rubin and Simmons soured, and they severed ties with them and the record label and moved to Los Angeles. They signed a new contract with Capitol Records with the hopes of growing past their obnoxious image. They began working with the production team known as The Dust Brothers on what would become Paul’s Boutique, their second album and an absolute masterpiece of the genre.

[Music: “Shake Your Rump“]

This was in the days before legal restrictions on sampling and copyright enforcement, and it was an absolute free-for-all for the Beasties and The Dust Brothers. This album is incredibly dense with samples—some authorized, many not. It’s a mind-blowing technical achievement, and it’s considered by many to be the absolute peak of sample-based production.

[Music: “Hey Ladies“]

Unfortunately, the album was a commercial failure—a flop. The record company was not happy, and after a series of high-profile lawsuits that resulted in restraints and high costs for clearing samples, it meant that densely layered samples in productions like Paul’s Boutique were just no longer legally or financially viable. So, the Beastie Boys faced an existential and artistic crisis. And after the commercial failure of Paul’s Boutique, it seemed like Capitol Records couldn’t care less about the Beastie Boys. At first, that was depressing, but the guys discovered that the label’s lack of interest actually gave them almost complete creative freedom.

Without unlimited samples to rely on, the Beastie Boys reverted back to their roots and focused on playing their instruments. They built their own little studio in L.A. and brought in Mario Caldato Jr. as their engineer and producer. The band would spend many an afternoon record shopping and crate digging with Caldato, and then they’d spend all night listening to those records, soaking in the grooves and the rhythms of James Brown, Sly Stone, The Meters, and many others. They would jam for hours, putting those late-night listening sessions into action. And the final piece of the puzzle fell into place when they were joined by Mark Ramos Nishita, known as Money Mark, whose clavinet and Hammond organ playing added whole new textures to their jams.

The combination of their performances with selectively, carefully chosen samples resulted in their third album, Check Your Head, released on April 21, 1991. It was a genre-defying mix of hip-hop, alternative rock, and funk. The album generated five big singles and sold double-platinum. It was a commercial and critical triumph and resurrected the Beastie Boys’ career.

We’re going to take a closer look at two songs from this album, which represent both of their approaches to their sound and production: on one, their judicious use of sampling technology, and on the other, their proficiency at creating killer tracks using their own instruments. First, we’ll take a look at track seven on the album, “So What’cha Want,” a song built off a sample from a 1973 song, “I’ve Been Watching You,” by a Chicago band called Southside Movement.

[Music: “I’ve Been Watching You“]

They originally planned to use a sample of this song’s groove, probably something like this:

[Music: Clean groove loop]

But after working on it for a while, they decided to ditch the sample and recreate the groove with their own instruments. So most of what you’re hearing is the Beastie Boys’ own performance. The song opens with some noise and maybe some studio chatter. Then Money Mark kicks things off with some Hammond organ licks played through a Leslie rotating speaker; that’s what gives the organ its shimmering, watery sound.

That leads right into the first verse. Each of the Beastie Boys takes a turn at the mic, starting with Ad-Rock handling the first four lines. Another one of the interesting things about this track was the way the vocals were recorded. Rather than use your typical expensive studio mics, they recorded their vocals using cheap karaoke microphones. These mics were lo-fi, and they drove them far into the red, creating a heavily distorted sound that really accentuated their aggressive vocal delivery. Let’s isolate Ad-Rock’s vocal take to hear just how trashy these vocals sound—and I mean trashy in the best possible way.

Mike D takes the mic for the next four lines. And then MCA steps up to the mic for the last four lines before the chorus. There’s a couple of driving chords underneath there—I’m assuming that’s a heavily distorted organ. That takes us into the first chorus, which is led by Ad-Rock with MCA and Mike D backing him up.

Couple of things on this next section: Ad-Rock has overdubbed a nasty little guitar part. There’s nothing fancy here; this is all attitude. Then there’s a vocal sample—this is a Biz Markie line sampled from the song “Just Rhymin’ with Biz” by Big Daddy Kane. So let’s hear that section.

And that brings us to the next verse. Mike D starts us off this time. Before we continue with the verses, let’s focus on the instrumentation for a minute. Let’s start with Mike D’s drums. These drums sound like they were recorded pretty simply—I’m guessing just a few mics—but they sound big and aggressive. Now let’s hear the bass and the guitar together. Both of these tracks, guitar and bass, are heavily overdriven, distorted.

All right, let’s pick up that verse where MCA comes in. You probably noticed that Ad-Rock has added something a little extra to his guitar part there. Let’s get back to the verse as Ad-Rock takes over the mic. The next lines are back to Mike D. Let’s hear a bit of his vocal track. That squeal there is actually from the guitar. After that short break, we hear the Biz Markie sample one more time.

Let’s go back and bring up the organ part. And you can also hear another part in there, kind of a drone or pedal tone that swells up—it might even be played backwards. I’m not sure, but that’s always an effective way to get that kind of sound. After that comes a short section where they’re mixing in some of their own samples. Let’s just hear that sample track for a second.

All right, let’s pick it back up. And that will take us into another verse, starting with MCA. And here comes Ad-Rock. And one more verse from Mike D. And then we get one final verse from MCA, which has my favorite line in the song: “I’m as cool as a cucumber in a bowl of hot sauce.” It’s pretty good. Let’s hear MCA’s vocal.

There’s another instrumental section here. This time let’s bring up Money Mark’s Hammond organ again.

That’s the Beastie Boys with “So What’cha Want.” But we’re not done yet. Let’s pause for a quick breather here and then we’ll be right back with more Beastie Boys.

Let’s take a look at another track from the same album, Check Your Head. Track number four on this album is a song called “Gratitude.” It was released as a single in October of 1992, and it was primarily targeted at modern rock or alternative rock radio. And it’s one of the best examples of the Beastie Boys playing as a band. There’s no significant samples; it’s not based on any pre-existing track. It’s just the boys showing that they can rock hard.

Lyrically, the song shows the band’s move towards more socially conscious themes. The lyrics were inspired by Buddhist philosophy: mindfulness, being present, and the daily practice of gratitude. MCA, Adam Yauch, was a practicing Buddhist by this time. So, though the song is actually sung by Ad-Rock, Adam Horovitz, I would bet that MCA was a driving force behind this song. His bass playing is certainly a driving force in this track. It’s the lynchpin; it’s the riff that carries this song forward and sonically overwhelms this track in a good way. The song begins with the sound of what I think is a detuned bass before that fuzzed-out bass part kicks off.

At the core of that bass sound is a fuzz box. There seems to be a little bit of debate around which fuzz pedal he used. If the video for the song is to be believed, MCA is playing a Fender Precision Bass—and for everything you ever wanted to know about the Fender P-Bass, go back a few episodes and listen to our special episode dedicated to that specific instrument. In the video, he’s playing a Precision with a pick through a Univox Super-Fuzz pedal. Most people seem to think that’s right, but I’ve seen other people say that they’ve had better luck duplicating that sound using other pedals. But either way, this is one of the gnarliest bass tones you are ever going to hear.

I love the crack of that snare drum there. Once again, Mike D is playing a simple but rock-solid drumbeat, with the drums miked up and recorded to sound very live. Let’s listen to his drum track for a bit. Let’s back it up and play it through to the first verse. You’ll also hear some conga drums on this song; those were played by James Bradley Jr.

Okay, so Ad-Rock comes in with his guitar and his vocal on the first verse. First, let’s hear that guitar part. And now let’s hear Ad-Rock’s vocal. “Good times gone and you miss them / What’s gone wrong in your system?” He’s double-tracked his vocals here.

Ad-Rock is going to play what is basically a two-note guitar solo. Can’t get much simpler than that, but you add that wah-wah pedal in and it’s pretty funky. Second verse—there’s only two verses in this song—and this one has the line that really cuts to the chase: “What you think that the world owes you?” and that’s followed by “What’s going to set you free? Look inside and you’ll see.” Let’s hear that vocal track.

The guitar is going to lay out for the rest of the song, and Money Mark’s going to take over on the organ. But first, let’s hear a little of those congas. All right, let’s go back to the final mix. Now here comes an organ break by Money Mark. Let’s solo that organ part for a little bit. Now let’s go back and hear that in the final mix, and then we’ll play it through to the end of the song. And there’s some cowbell in there now, too.

“Gratitude” by the Beastie Boys.

After the success of Check Your Head, the band had a long run of commercial success and critical acclaim. The follow-up album, Ill Communication, sold even better and contained one of their biggest songs, “Sabotage.” More albums followed, as did their social activism. Adam Yauch in particular was deeply committed to his causes, including human rights and Tibetan freedom.

But in 2009, Yauch was diagnosed with cancer. He fought the good fight but lost his battle with cancer on May 4, 2012. He was 47 years old. Mike D and Ad-Rock confirmed the end of the Beastie Boys and have stated unequivocally that they would never perform or record as the Beastie Boys again out of respect for their fallen bandmate.

But as we’ve said so often on this show, all of this music is still out there, still there to be appreciated and discovered. It’s up to us to keep the music alive.

As for Kate Schellenbach, though she got the short end of the stick when she was squeezed out of the band, she became the drummer for Luscious Jackson, who the Beastie Boys would sign to their label. So they did her right in the end.

I want to thank you for taking part in this episode and for joining me to wish a happy birthday to my wife, Heidi, who’s really the one that makes this whole show possible. I’ll be back here in two weeks with another new episode. Remember to subscribe or follow the show so you never miss an episode. And if you’d like to catch up on any of our previous episodes, they can all be found on our website, lovethatsongpodcast.com. Keep in touch with me and your fellow listeners on our Facebook page—just search for the I’m in Love with that Song podcast, you’ll find us there. Or you can send an email to lovethatsongpodcast@gmail.com. We are part of the Pantheon Podcast Network, home to a ton of other music-related podcasts, so be sure to check out some of the other shows. That is it for this episode. Happy birthday, Heidi, and I will see the rest of you next time.

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Matthew Sweet – “Divine Intervention”

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"Divine Intervention" (Matthew Sweet) Copyright 1990 EMI Blackwood Music, Inc/Charm Trap Music

One of our greatest singer/songwriters, Matthew Sweet, suffered a stroke recently. He’s facing some tough times ahead, but this isn’t the first challenge he’s faced. Things were not going Matthew Sweet’s way in 1990; his first two albums flopped, and his marriage fell apart.  His 3rd album was make-or-break, do-or-die.  If this one failed, he may never get to do another record.  So he & his producer went back to basics, recording a batch of guitar-oriented songs that sound both retro and refreshingly new.  The album that became known as Girlfriend saved his career and has become a true classic.  On this episode, we explore the album’s brilliant opener, “Divine Intervention”. Let’s hope he rebounds as well this time.

Please donate to support Matthew’s recovery here:
https://www.gofundme.com/f/support-matthew-sweets-stroke-recovery?utm_campaign=pd_ss_icons&utm_medium=customer&utm_source=copy_link&attribution_id=sl%3Ab8c56669-0388-4ae5-b3ac-5f0bb6d84d1f

“Divine Intervention” (Matthew Sweet) Copyright 1990 EMI Blackwood Music, Inc/Charm Trap Music

PREVIEW:

TRANSCRIPT:

How are you? How have you been? Good to have you back with us on the “I’m In Love With That Song” podcast. I’m Brad Page, coming to you on the Pantheon network of podcasts, with another exploration of one of my favorite songs. We keep the music theory and technical jargon to a minimum here, so whether you’re a musician, an avid listener, or just a fan of the song, everybody’s welcome here.

On this edition of the podcast, we’re delving into a song from one of the greatest albums of the 1990’s, and it still sounds as fresh today as the day it was recorded. It’s an indispensable part of my record collection.  For many people, the album “Girlfriend” is Matthew Sweet’s masterpiece. Join me as we explore the song that opens this classic album, “Divine Intervention”.

Matthew Sweet was born in 1964 in Nebraska. He played in bands and was writing songs as a teenager, and when he graduated high school, he moved to Athens, Georgia for college, which also happened to be ground zero for the alternative rock scene of REM, the B-52’s, Pylon, all of those great bands. He hooked up with some local bands, and even did some gigs with Michael Stipe from REM. He spent some time playing bass for Lloyd Cole, too. He formed another duo with drummer David Pierc,e and under the name the Buzz of Delight, they released one EP which included a Christmas song that still pops up every now and then.

Columbia Records was impressed and signed him to a solo deal, and he released his first album, “Inside”. The album is very ‘80’s, heavy on the synthesizer, and suffers for the fact that it was worked on by ten different producers. Here’s a song from that album. It’s called “By Herself”.

The record did not sell, and Columbia dropped him. Three years later, he surfaced on A& M Records with a new contract and a new album, “Earth”. This album was a little more cohesive and featured more guitar, including key contributions from Robert Quine and Richard Lloyd. Here’s a song from Earth called “Wind And The Sun”.

Unfortunately, this album wasn’t any more successful than his first, and A&M dropped him too.  Sweet and his wife had married young; he was 19 when they got married, but now the pressure and strain had taken its toll, and she was gone. They divorced in 1989. Having burned through two record labels and one marriage is enough to make anyone reassess their life. He regrouped, and with producer Fred Maher, they started to work on another album. And this time they stripped things back. Inspired by The Beatles’ “White Album” and Fleetwood Mac’s “Tusk”, they wanted an album that felt raw, organic, direct… not necessarily “live”, they were not trying to capture a “live in the studio” band; there are plenty of overdubs, but they were trying to catch complete performances on tape. Most overdubs were performed beginning-to-end without a lot of punch-ins, with one exception: Robert Quine’s guitar solos. Quine was so unpredictable, he never played the same thing twice. So his solos were edited together from multiple takes. But most of the performances on the new album were complete takes, start to finish. Not always perfect, but capturing the feel of a song played by real human beings.

There are two other approaches to this album that contribute to its distinctive and pretty magical sound. One is the heavy use of compression. Pretty much every instrument and vocal was subject to a significant amount of compression. Compression is electronically processing the sound to level it out, increasing the quiet sections while lowering the louder parts. This can be done subtly so that you don’t really notice it, but it results in an even, consistent sound. But you can crank up the compression, producing that distinctive sound that you hear all over this record.

The other thing that makes this album sound the way it does is reverb, or I should say, the complete lack of it. There is no reverb or echo on this album at all. Vocals, drums, instruments, none of it has any reverb at all. At a time when, in the ‘80’s and early ‘90’s, reverb was used on everything to create a big sound, especially on drums, those ridiculously huge drum sounds. This album goes in completely the other direction, avoiding the use of reverb at all. And it’s all the better for it.

“Divine Intervention” is the song that opens the album. It was written by Matthew Sweet, and before we get to the album version, let’s have a taste of the demo. This is Matthew on guitar, vocals & six string bass, and Ivan Julian on lead guitar.

Once they brought it into the studio, they gave it the full band treatment. Basic tracks were laid down with Matthew on electric guitar and Rick Menck on drums. Rick was an indie rock veteran and was playing drums for Velvet Crush. Once the drums and rhythm guitar were done, Matthew Sweet would overdub a bass guitar part vocals and lead guitar, in this case by Richard Lloyd, would come after that. The song opens with a series of short, contrasting sounds. Here’s what we’re hearing there. First, there’s a snippet of the vocals from the chorus played backwards in the right channel. That is immediately followed by a guitar chord that dissolves into feedback in the left channel. This always reminds me of the beginning of “I Feel Fine” by The Beatles.

Next you can hear Rick Menck count off the song. But that’s interrupted by a stray guitar note in the center channel. I’m guessing this is an artifact from Richard Lloyd’s overdubbed guitar. And then Matthew Sweet’s guitar in the left channel kicks off the song proper. There’s also kind of a funny little guitar sting in there from Richard Lloyd.

Let’s go back to the top and hear that whole intro all the way through. You can hear what sounds like some backwards notes in the right channel.

Let’s back it up a bit and play it through the rest of the intro. The other thing you’ve probably noticed by now is the fairly extreme panning with Sweet’s guitar all the way to the left and the drums panned hard right. This was inspired by those old Beatles records. Let’s play the first verse and listen for the stereo placement of all the instruments and the vocals.

I really like the groove laid down by the bass and drums. Simple, not busy at all. Just very straightforward. Supporting the guitars and vocals and giving them plenty of room to work with.

Let’s listen to the second verse. I always thought it was interesting that, on this album that was born out of commercial failure and the collapse of his marriage, and all the questions and soul searching that would arise out of those feelings, that he would open the album with a song about maybe the biggest question of all: is there a God? And does he really care? This song doesn’t offer any answers. How could it? But it is an honest exploration of his doubts.

Notice how on that chorus that the lead and the backing vocals intentionally don’t sync up.

Next up is a guitar solo from Richard Lloyd. We’ve talked about Richard Lloyd on this podcast a couple of times before.  He was a member of the band Television, which we explored in episode #147, and we covered a song from one of Richard’s solo albums way back on episode #39. I’ve always liked Richard as a player. He can be very creative. He can play with a lot of fury and fire, and he’s not above playing like a real old-fashioned guitar hero when the moment calls for it. This solo has a little bit of all of that in it. Theres a real manic energy to this one. Just for fun, lets listen to the solo on its own and then well go back and hear it in context.

All right, now let’s go back and hear that in the final mix. First, you’ll hear Matthew sweet say the word “All right”, twice. I’m guessing one of these is on the lead vocal track and the other one is on the backing vocal track. That is a cool little bit there where for a couple of seconds they flip the tape around and play it backwards. Creative tricks like these are a great way to throw in something unexpected that shocks the listener out of complacency, breaks the predictability, and helps keep the listener engaged.

Matthew Sweet sings all of the vocals on this album, all the lead and the backing vocals. It was an intentional decision to use only Matthew’s voice on the album. That creates a sense, almost subconsciously, of the album being the singular feelings and expressions of one man. Plus, Sweet is just a great singer and is able to blend his voice together in beautiful swaths of harmony.

There’s a simple but nice little drum fill there by Rick Menck, and that brings us towards the end of the song with a bit here that I’m sure is another nod to The Beatles.

Let’s listen to just a little bit of those vocals there because it’s so great.

You might think they’re going to end it right there, but it’s just a short pause. Then there’s a drum fill and Matthew laughs. And then Richard Lloyd takes flight again. Let’s hear it. There is a simple piano part in the background played by Matthew Sweet. It’s cropped up throughout the song. You can hear it if you listen closely, here in the right channel.

The song, begins to fade out. And again, you might think this is where it all ends, but it’s a false ending. It’s going to fade back up for an encore.

They weren’t trying to be tricky here. They actually thought Richard Lloyd was on such a roll, they wanted to give us another minute or so of his brilliant guitar work.

“Divine Intervention” – Matthew Sweet

The album was released in 1991 by Zoo Entertainment, at the time, a new label formed by the former president of Island Records.

The album cover is almost as famous as the album itself. It features a photo of the actress Tuesday Weld taken sometime in the late 1950’s when she was just 14 years old. Sweet originally wanted to call the album “Nothing Lasts”, but Tuesday Weld didn’t want to be associated with that title, so they changed the name of the album to “Girlfriend”.

The record label marketed the album as if it were Matthew Sweet’s first record, which was probably smart, because this was really a fresh new start for Sweet.  But the strategy worked so well that most people don’t even know or forgot that he had two previous albums before this one.

The album wasn’t a smash hit out of the gate, but it certainly wasn’t a flop either. It sold steadily and eventually went platinum. It’s Matthew Sweet’s most commercially successful album, and it’s a critics’ favorite too. It’s hard to find a bad review of this album. In my opinion, it’s a damn near perfect record.

Thanks for joining me for this edition of the “I’m In Love With That Song” podcast. You can find all of our previous episodes on our website, lovethatsongpodcast.com, or look for us wherever you listen to your favorite podcasts. New episodes of this show come out twice a month on the 1st and the 15th of every month, so I’ll meet you back here soon.

When you have a minute, please leave a review of the show, and you can always drop me a line on Facebook or by email– lovethatsongpodcastmail.com And please support the show by telling your friends about it. Share it with your fellow music junkies.

Were part of the Pantheon Podcast Network, where you’ll find many more music-related podcasts. Check them out if you get a chance, and remember to support the artists you love by buying their music.

If you don’t already have a copy of “Girlfriend”, go buy a copy now– you won’t regret it– and crank up “Divine Intervention” by Matthew Sweet.