Pantheon - Podcasts for Music Lovers

Following the unprecedented success of Rumours, Fleetwood Mac found themselves at a crossroads: deliver a safe sequel or redefine their sound. Driven by Lindsey Buckingham’s obsession with the burgeoning punk and New Wave scenes, the band spent a then-unheard-of $1.4 million to create Tusk, a lo-fi, experimental double album recorded in upgraded studios and tiled bathrooms alike. While the industry initially labeled the project a failure compared to its predecessor, time has vindicated the record as a brave artistic pivot. At the heart of this transition stands “Sara.”

We’ll peel back the layers of the track’s amalgamation of inspirations. The episode investigates the delicate, sweeping drum patterns of Mick Fleetwood, the "Ice Cream Changes" chord structure, and the deeply private stories buried in the mix—including Stevie Nicks’ complicated fallout with her best friend and her secret history with the Eagles’ Don Henley. By isolating vocal tracks and exploring the instrumental performances, this episode demonstrates how Fleetwood Mac turned personal turmoil into a song that continues to strike a heartbeat in millions of listeners.

"Sara" (Words & Music by Stevie Nicks, Copyright 1979 Welsh Witch Music, administered by Sony/ATV Music Publishing)

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Ronnie James Dio joining Black Sabbath really gave the band a shot in the arm. After declining returns with Ozzy in the late 70s, Ronnie's emergence as a singer and a songwriter helped push 1980's Heaven and Hell to platinum status in the US. The band and record company were eager to recapture the magic of Heaven and Hell but founding drummer Bill Ward had to replaced by American drummer Vinnie Appice, who stayed available during the Heaven and Hell Tour just in case Bill wasn't able to play.

They loved the success of Heaven and Hell so much, it seems, that they tracked Mob Rules very similarly to H&H. They come charging out of the gate with Turn Up the Night (as opposed to Neon Knights), they go back tp doom Sabbath with the Sign of the Southern Cross (not dissimilar to Children of the Sea) and end with the epic title track (E5150, or in Latin EVIL, is really the intro to Mob Rules in our book). But it's all great Sabbath thanks to the soaring vocals of Ronnie James Dio, the groovy bass lines of Geezer Butler and some extraordinary work by The Riff-Master - Tonny Iommi. It fit perfectly with the H&H material and maybe Tony got some inspiration from the young lads in Iron Maiden as producer Martin Birch had just worked on Maiden's sophomore release Killers.

The second side might not be as strong but the urgency and spectacular groove of Falling Off the Edge of the World galloping along to Ronnie's powerful and emotional vocals make it all time great Sabbath track. Though they would put this lineup back together for Dehumanizer in 1992 and again as Heaven and Hell in the 2000s, this would prove to be their only release during their heyday. The follow up live album Live Evil showed what an incredible lineup this was and it's sad to think it ended for cliched reasons but that's rock n roll. We celebrate Mob Rules and a killer Black Sabbath lineup as it turns 45.

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This week Tom & Zeus review the newly released live album from KISS, "KISS Destroys Anaheim '76."

KISS' concert at Anaheim Stadium on August 20, 1976 is legendary. This was a highly sought after bootleg, so when it was announced that this concert would get an "official" release, it was highly anticipated.

The album features the original four members on the Destroyer tour in all their glory. Once again the legendary Eddie Kramer was brought in to produce this live album.

Did they album live up to the hype? How does it sound? How was the packaging of the album? Were the guys able to be positive about the album?

This is SIOL's 14th live album review. The guy's breakdown the album, the tracks and of course Paul Stanley's outrageous stage banter as well. They list their top 5 favorite tracks and rank the cover and the album against the other live albums by KISS that were previously reviewed.

So tune into the #1 Ranked KISS podcast for some authentic reaction and analysis or Paul Stanley will throw a baseball at you!

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Turn it up! Another edition of PANDA Open Format Remixes is loaded with club-ready remixes, edits and throwbacks — giving DJs fresh takes on familiar tracks.

This episode features remixes of music from Blackstreet, Akon, Marvin Gaye, Dr. Dre, Sheck Wes, G-Eazy, Surf Mesa, Shaggy, Third Eye Blind and The Weeknd.

TRACKS FEATURED:

• “No Diggity” — Blackstreet (Mayeda Remix)• “Bonanza (Belly Dancer)” — Akon (DJ Stevie J Remix)• “Let’s Get It On” — Marvin Gaye (Promo Only Jan 2005)• “Still D.R.E.” — Dr. Dre (Beatbreaker Remix)• “Mo Bamba” — Sheck Wes (Dennis Blaze Remix)• “Pretty Girls” — G-Eazy (Audiorokk Hype Edit)• “ily (i love you baby)” — Surf Mesa ft. Emilee (ARTY Mix)• “It Wasn’t Me” — Shaggy ft. Rik Rok (Club Killers Remix)• “Semi-Charmed Life” — Third Eye Blind (Mark Roberts)• “Die For You” — The Weeknd (Club Killers Booty Bass Remix)

PANDA Open Format Remixes — familiar songs, fresh mixes, built for the club.

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Glen Matlock has seen a lot, and he pours it all out on his new solo album, Consequences Coming. Glen steps into our virtual studio to discuss his solo career and the amazing band he's assembled. But no chat with Glen would be complete without us asking about The Sex Pistols, what life was like working with Vivienne Westwood at her shop, SEX, and what his favorite song is to play as the touring bass man in Blondie.
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