Podcasts to Boost Your Playlist Game

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Podcasts to Boost Your Playlist Game

Whether your music listening is via online platforms, vinyl or even cassette, you can use podcasts to boost your playlist game. Get the commentary on the industry, its insiders and how they craft their tracks from a vast library on offer. Or, explore new genres, find the tracks that resonate and then get drawn into their backstory.

There are decades of music history to be found, listened to and deciphered, from the BBC's 'Desert Island Discs' to the huge hit 'Song Exploder' which due to its success, has now become a Netflix series. Below is a list of a few of the best, to get your lug-holes tuned into and feed your music curiosity.

SONG EXPLODER

Listen Here - Song Exploder

Hosted and produced by Hrishikesh Hirway since 2014, his podcast guests are invited to take apart their songs piece by piece and tell the story of how they were created. The journey involves breaking down the sounds and ideas involved in the writing and recording. Recent guests have included Yusuf/Cat Stevens and Grammy award winner PJ Morton.

SWITCHED ON POP

We've all had good and bad 'Ear Worms' sending us loco at some point and there's no denying certain tracks get stuck in your head! If you are interested in why certain songs have these hooks which draw you in or you can't shake, musicologist Nate Sloan and songwriter Charlie Harding are here to explain. Recent treats include The Weeknd ' Blinding Lights' and Adrian Younge's new project.

DISSECT

Something to really get your teeth into, podcast Dissect is a mix up of episodes and mini-series podcasts that explore individual albums, track by track. Series can run up to 12-13 episodes and the track detail takes in comparisons and history. Recents featured artists have included Kendrick Lamar, Lauren Hill and Frank Ocean. The current series is diving into Beyonce's 'Black is King'.

ROLLING STONE: MUSIC NOW

When is comes to pedigree and heritage, Rolling Stone is up there. If you are a music legend, there are a handful of publications you will bother to get out of bed for. Rolling Stone, is certainly one of them. Taking you inside the biggest stories in the industry and securing interviews with all the top artists of music history, from Rock 'n' Roll to Hip-Hop, not stone left unturned.

ALL SONGS CONSIDERED

The various hosts of All Songs Considered, include Bob Boilen and Rob Hilton, giving you their personal recommendations for your listening pleasure. The experience compares to chatting at the pub, and swapping ideas with your best friends. Laid back and charming the focus is on new music and brings interviews with emerging artists and musing over historical figures from the industry.

QUESTLOVE SUPREME

This podcast series is about secrets, passions and personal projects. The themes drive the conversation for the fabulous Questlove and Team Supreme. Using fun and irreverence to entertain and educate their audience, the episodes are a joy of easy listening. They can certainly draw the names, and have put their interview skills to the likes of Michelle Obama, Chris Rock, Chaka Khan and Steve Miller.

LOST NOTES - 1980

A collection of the greatest music stories never told. This season the poet and cultural critic Hanif Abdurraqib resides over the podcast and explores a single year: 1980 - the brilliant, awkward and sometimes heartbreaking opening to a monumental decade in popular music. David Bowie got divorced. Lou Reed got married. Ian Curtis died before Joy Division got to touch down for a U.S. Tour. By the end of the year, John Lennon’s death would signal the end of a rock n’ roll era. This gripping series includes the work of Stevie Wonder, Ian Curtis and Grace Jones.

THE THISTLE & SHAMROCK

If your tastes are more on the Folk or Celtic tip, Fiona Richie is your gal. Her podcast show takes you through the history of the genre whilst indulging you in performances and personal playlists. Music from old favourites and new comers are entwined with spoken word artists and interviews with acclaimed authors and award winning composers.

DESERT ISLAND DISCS

The original music podcast, and still arguably the best. Created during World War 2 by Roy Plumley, the show has interviewed heads of state, music and acting legends, world renowned scientists, plus sporting and every-day heroes. The archive is vast and awash with choices, which are easy to source in the 'Collections' area.

The format is simple – a guest is invited to choose eight discs, a book and a luxury to take with them as they’re castaway on a mythical desert island. They’re given the complete works of Shakespeare and the Bible or religious book of their choice. During the interview, guests explain their choices and discuss key moments in their lives, people and events that have influenced and inspired them and brought them to where they are today.

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17
Mar

What is Music Without Collaborations?

What is music without collaborations? We all know the collaborations that have shaped our musical tastes, Lennon and McCartney, Dr Dre and Snoop Dogg, Kenny Rogers and Dolly Parton. Even the Strauss brothers worked together on classical orchestral pieces in the late 1800's. The choices are infinite and across all music genres. Whether in the writing or the production, two heads can be better than one. Dr Dre and Snoop Dog - Music Collaborators Within the industry, the 'business' side is also benefitting from collaborating. Last summer, we were delighted to announce the strategic alliance between Jeeni and California-based AmplifyX, the only FINRA and SEC compliant platform that allows investors to build a portfolio by directly funding musicians. The alliance was arranged by Kelli Richards, Jeeni Managing Director USA, who was mentored by Steve Jobs at Apple where she launched and managed the Apple Music and Entertainment division. This alliance gave a major advantage to Jeeni in the USA, our most important global territory in terms of artists and revenues. We gained access to more rising stars along with their followers and fanbases, with mutually advantageous joint promotions and publicity. The partnership will officially kicked off with a global streamed concert, featuring our 10 most popular artists from both sides of the Atlantic, and will be co-branded between Jeeni and AmplifyX. Co-founder of AmplifyX, Bobby Kamaris said, “Our companies run in an adjacent space helping independent artists, and our philosophies and motives are very very close. What you guys at Jeeni have done in putting it together and launching is actually incredible.” Adam Cowherd - CEO of AmplifyX CEO of AmplifyX Adam Cowherd added, "Did you know that artists take home only 12% of the $43 billion spent on music annually, according to Citigroup? [1] The hip-hop artist Russ put it perfectly when he said, 'The music business isn’t set up for the artists to get rich. It’s set up for everyone else to get rich off the artists.' [2] When the mechanics of the music industry are broken down, we see just how many hands are in the pot: record labels, managers, producers, booking agents, and streaming platforms. A report by Ernst & Young highlighted the post-tax payouts of streaming revenue and identified that record labels are taking nearly 75% of the payout. [3] Why are artists today signing with record labels?" Founding Director Shena Mitchell adds, "Working with AmplifyX, is an exciting opportunity for Jeeni to develop strong relations with USA partners. AmplifyX is focused on building a new framework to fund independent artists with their unique platform for artists to raise capital from nontraditional sources. Our visions are entirely complementary and aligned." Jeeni, is the social music platform that brings artists closer to their fans, and shares revenue ethically. Become a member and build your showcase to promote your work and earn from it, or join as a fan and know that your money is going to the people who are entertaining you with their talents. www.jeeni.com www.amplifyx.com

12
Mar

Kings of Leon Post Teasers of New Material

It's been 4 years since the Nashville rock legends have released any official new material, but this week sees them releasing snippets of new singles. The Kings of Leon have so far posted three teasers of new material over the holidays, which have fans eagerly awaiting their arrival on 7 January 2021. 'Walls' was their last album, which sold over 77,000 units in it's first week. In March 2020, the band shared a live recording of a new song, 'Going Nowhere' The performance was recorded in their hometown of Nashville and featured only frontman Caleb Followill, on acoustic guitar. It's been a long wait for their fans. The first post was a snippet of the new single, 'Must Catch the Bandit' on 25 December with all the signature sounds of previous Kings mega-hits. “Blame it on the holiday ‘cheer’, but I just feel like sharing,” bassist Jared Followill tweeted on Christmas Day (December 25). @kingsofleon then tweeted ‘the w8 is nearly over’ TEN MONTHS ago. Enough.” https://www.instagram.com/kingsofleon/ On New Year's Day, the second teaser was released, 'Feel The Way You Do' and today, third track 'Dancing in Your Head' has just dropped. These two tracks have a mellow sound with some thoughtful melodies and riffs. The video clips are all be black and white so far, sitting within simple frames and bold graphic type. 'Must catch The Bandit' has already clocked up over 145k views. In June 2020, the Kings of Leon were due to headline the Finsbury Park Festival, their first London performance since 2017, but as with all the summer festivals, the pandemic cause another postponement. Announcing the cancellation in May, promoter Festival Republic said they were 'working hard' with Kings Of Leon to arrange a new show. There are five more days to the official release date of this highly anticipated eighth album, so can we expect a new track each day - let's hope so?! www.jeeni.com

06
Jun

Never too late for Jeeni!

by Mel Croucher I was a young man living in Stockholm. It was the summer of 1969 and I was flat broke. I had the clothes I stood up in, a diploma in architecture and a kazoo. I was too shy to be a busker, so I invented pay-on-demand live-streamed entertainment. I became a human jukebox. I got me an abandoned cardboard box just about big enough to hide inside, and I cut a horizontal slot near the top for my media input/output. Below the slot I punched eight holes to act as the graphic user interface. The reason there were eight holes was because I only knew eight songs, and I scrawled the song title alongside each hole. The idea was for passers-by to provide me with digital input commands by sticking their finger through the hole of their choice, and I would give them a short rendition of the selected song on my kazoo. As a token of their appreciation they would reward me with loose change dropped through a small vertical slot labelled Thank You in English and Swedish. It was very hot squatting inside that box. So here we are, more than half a century later, and the music industry should be in crisis. As a result of the pandemic, artists and musicians have seen their venues close down, festivals cancelled, tours abandoned, and wary audiences slink off to go online. The new normal for live performers should be that they are well and truly buggered. But I am delighted to say the very opposite is true. The new normal has revealed that the traditional models for the entertainment industry were a hoax. All those record labels, agents, managers, ticketers and merchandisers were a bunch of parasites. Half a century later, the new generation doesn't even need a kazoo and cardboard box to squat in for a live performance. They've got smartphones. And they don't need to rely on passers-by to busk at. They've got a global audience, thanks to utilities like Soundcloud, Tidal and Jeeni. Even on Facebook we have the facility for interminable live broadcasts of self-indulgent shite from the box-room. And I'm not just talking about singers and musicians. The same applies to actors, dancers, poets, voiceovers and kazoo virtuosos. There are more independent artists than ever before who have been able to break into the mainstream without any support from a lousy label, a poncy publisher, a suffocating sponsor, mingy manager or arrogant agent. This is an entertainment revolution, where digital distribution, streaming platforms, social media and online marketing tools have changed the way artists perform their work and reach out to fans. By cutting out all the spongers, an independent artist can suddenly enjoy a number of important advantages. To me, the most important is that they now have 100% complete control over the direction of their music, spoken word and creative work. They also have full control over distribution, marketing, artwork, merchandising, deadlines, gigs, ticketing, prices, schedules - in fact all of those affirmative decisions about their creative vision. But it's not just about control. The new normal means that independent artists can keep 100% of all the profits generated from sales, streams, licencing deals, merchandise, and small change dropped through cardboard slots. The reason they can do this is because without the parasites they own all their own stuff. Independent artists own the master rights to their creative work, which means they also have the freedom to negotiate licensing, streaming and publishing deals, and they don’t have to worry about shyster contracts, expensive lawyers, and signing over their rights. Of course the parasites are not going to give up without a fight. Book agents, publishers, distributors and publicists are still clinging on, years after it became obvious that nobody really needs them now that anyone can self-publish in the digital age. In the music and entertainment industry the leeches will still argue that they are vital, even though they already know they are dead. They will keep trying to treat artists like idiots and tell them they don't have the money for mastering, or production or touring or merchandise. Which is a lie, because if artists don't have to pay the leeches then they will save the money. Artists will also be told that they have a limited network of fans and contacts, whereas organisations and labels have access to big fat fanbases and red hot connections with professionals, promoters, booking agents and media. This is an even bigger lie, demonstrated by the fact that even a no-hoper musician like me has a Facebook network big enough to fill The Royal Albert Hall, including the bogs, with or without social distancing. The biggest problem I can foresee in this brave new world of independent entertainment is lack of discipline. Put simply, if creatives were once prepared to rely on a bunch of parasites and leeches, they must now learn to rely on themselves, and that involves actually getting down to some hard work and doing stuff, irrespective of whether or not they have oodles of native talent. Desperation and hunger is an excellent motivator, so I invite the independent artists and performers of the new normal to get hold of their own electronic cardboard box and give it a go. And above all, don't forget to have fun while you're about it. Mel Croucher is the founder of the UK videogames industry, and writer of the most widely-read, longest-running column in computer journalism. He is the founder director of Jeeni and owns a black T-shirt. Click HERE to visit or return to jeeni.com

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