BEEFHEART TRIES TO GET COMMERCIAL! And fails. Songwriter Austin Aeschliman (Smashy Claw, Ash Lemon & His Sour Grapes, Needlejuice Records) guides through the strange Captain's strangest record… because he’s trying to be normal. How much less crap and band members willing to put up with when you’re not paying them? Has any outsider artist ever really crossed over into the mainstream? If you sanded the rough edges off of Captain Beefheart, would you find anything at all underneath? What are the rules in terms of “finders-keepers” when it comes to a song you left at the end of a tape that was just found in the recording studio? Does anyone - even its creator - actually like this album? And why hasn’t this been used in a TV jingle for Captain Morgan? We will convene the necessary court marshall to truly investigate it all, on this week’s Detours and Outliers.
Sinead O’Connor’s “Throw Down Your Arms”
Glenn Danzig’s “Black Aria” (with Don White)
Dread Zeppelin’s “It’s Not Unusual”
Steve Miller’s “Born 2B Blue”
The Beach Boys’ “Summer In Paradise”
The Beach Boys’ “Love You”
Keith Moon’s “Two Sides Of The Moon” (with Kasey Elkington)
Dee Dee King’s “Standing In The Spotlight”
Lou Reed & Metallica’s “Lulu”
Van Halen’s “III”
Voivod’s “Angel Rat” (with Mhyk Monroe)
Kid Cudi’s “Speedin’ Bullet 2 Heaven” (with Brian Heim)
X’s “Ain’t Love Grand” (with Jenny and Michael Seman)
Lil Wayne’s “Rebirth” (with Bryson Worden)
Chris Cornell’s “Scream” (with Aaron Schilling)
Bruce Springsteen’s “Nebraska” (with Karl Christian Kumpholz)
Village People’s “Renaissance” (with Katie Bowman)
Moby’s “Animal Rights” (with Alf)
Joni Mitchell’s “Both Sides Now” (with Aleeya Wilson)
Neil Young’s “Everybody’s Rockin’”
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