This Ain’t No Party?! Edition Part 2
27 October 2023 - 1 hour 4 minsHEY! HO! LET’S GO!! Is this chant: (a) a movement of disaffected hipsters, (b) walkup music for a baseball player, or (c) a really catchy bop? How about all of the above?
The legendary New York nightclub CBGB was the birthplace of punk. But it was also the future of pop: the Ramones, Talking Heads, Patti Smith, Blondie. To varying degrees, these acts either became hitmakers, tried to reshape their music for the charts, or influenced generations of future multiplatinum stars.
Honestly? Their music was pretty infectious from the jump, even if it was too advanced for the ’70s hit parade. The music we called punk contained multitudes: the improvisatory jazz-rock of Television. The demented ant...
Building a Herstory Edition Part 2
For decades—literally since Woodstock—female musicians had battled music-industry perceptions that amassing too many of them, on the radio or on the road, was bad for business. And yet, by the ’90s, women were vital to the rise of alt-rock and hip-hop on the charts: from Suzanne Vega to Queen Latifah, Tracy Chapman to Sheryl Crow, Natalie Merchant to Missy Elliott. Sarah McLachlan harnessed this energy into an all-woman tour she dubbed Lilith Fair. Its string of sellouts from 1997 to ’99 affirmed women’s clout in the decade of grunge-and-gangsta. But the festival was also criticized for its narrow focus and for branding “women’s music” as a genre. More than two decades later, Hit Parade assesses the legacy of Lilith on the charts and on the road—how its performers, attendees and musical descendants are helping to ensure the future is female. Podcast production by Benjamin Frisch and Kevin Bendis. Learn more about your ad choices. Visit megaphone.fm/adchoices
48 mins
30 August Finished
Building a Herstory Edition Part 1
For decades—literally since Woodstock—female musicians had battled music-industry perceptions that amassing too many of them, on the radio or on the road, was bad for business. And yet, by the ’90s, women were vital to the rise of alt-rock and hip-hop on the charts: from Suzanne Vega to Queen Latifah, Tracy Chapman to Sheryl Crow, Natalie Merchant to Missy Elliott. Sarah McLachlan harnessed this energy into an all-woman tour she dubbed Lilith Fair. Its string of sellouts from 1997 to ’99 affirmed women’s clout in the decade of grunge-and-gangsta. But the festival was also criticized for its narrow focus and for branding “women’s music” as a genre. More than two decades later, Hit Parade assesses the legacy of Lilith on the charts and on the road—how its performers, attendees and musical descendants are helping to ensure the future is female. Podcast production by Benjamin Frisch and Kevin Bendis. Learn more about your ad choices. Visit megaphone.fm/adchoices
52 mins
10 August Finished
Song(s) of the Summer Edition Part 2
“Summer in the City.” “I Feel the Earth Move.” “Bette Davis Eyes.” “Whoomp! There It Is.” “Get Lucky.” “Espresso.” What do these big summer hits all have in common? None of them was Billboard’s official Song of the Summer. Wait…there’s an official Song of the Summer? Isn’t that something that just happens organically? Every year, it seems everybody has an opinion on this musical national pastime. But the Hot 100 often tells a different story. For every “Light My Fire,” “Bad Girls,” “Crazy in Love,” “California Gurls” or “Call Me Maybe”—a hot-weather hit that unites the charts and the punditry—there are confirmed summer smashes that no one would pick out of a lineup, from Zager and Evans to Iggy Azalea. Join Chris Molanphy as he traces the tangled story of how America came to decide there should be one victorious summer hit to rule them all. And he counts down the best Songs of the Summer by decade. Is it getting “Hot in Herre,” or is it just us…? Podcast production by Kevin Bendis. Learn more about your ad choices. Visit megaphone.fm/adchoices
1 hour 1 min
27 July Finished
Song(s) of the Summer Edition Part 1
“Summer in the City.” “I Feel the Earth Move.” “Bette Davis Eyes.” “Whoomp! There It Is.” “Get Lucky.” “Espresso.” What do these big summer hits all have in common? None of them was Billboard’s official Song of the Summer. Wait…there’s an official Song of the Summer? Isn’t that something that just happens organically? Every year, it seems everybody has an opinion on this musical national pastime. But the Hot 100 often tells a different story. For every “Light My Fire,” “Bad Girls,” “Crazy in Love,” “California Gurls” or “Call Me Maybe”—a hot-weather hit that unites the charts and the punditry—there are confirmed summer smashes that no one would pick out of a lineup, from Zager and Evans to Iggy Azalea. Join Chris Molanphy as he traces the tangled story of how America came to decide there should be one victorious summer hit to rule them all. And he counts down the best Songs of the Summer by decade. Is it getting “Hot in Herre,” or is it just us…? Podcast production by Kevin Bendis. Learn more about your ad choices. Visit megaphone.fm/adchoices
1 hour 2 mins
13 July Finished
I Wanna Rock with Q. Edition Part 2
What does a music producer do? If his name is Quincy Jones, a little bit of everything: conducting, arranging, composing. Assembling teams of ace session musicians. Sometimes, even picking a catchy title and telling an artist to go write a song about it— would “Thriller” have worked as well if it had been called “Starlight”? Quincy Jones was pop’s Renaissance Man, and he could not be limited either by genre or by role. He played in jazz bands…produced teen pop hits…discovered young talent…scored Hollywood films…helped invent Yacht Rock and Yacht Soul…even released hit albums under his own name featuring cavalcades of guest vocalists. And he worked with so! many! legends! Ray Charles, Frank Sinatra, Little Richard, Lesley Gore, Aretha Franklin, Chaka Khan … and all that happened before he even met a former child star named Michael Jackson and helped him produce the best-selling album in history. No wonder only Quincy had the clout to wrangle the superstars for the recording of “We Are the World.” Join Chris Molanphy as he tells the story of the music man who truly did it all and is known affectionately by the letter Q. He made the world a better place for you and me. Podcast production by Kevin Bendis. Host Chris Molanphy Learn more about your ad choices. Visit megaphone.fm/adchoices
55 mins
29 June Finished
I Wanna Rock with Q. Edition Part 1
What does a music producer do? If his name is Quincy Jones, a little bit of everything: conducting, arranging, composing. Assembling teams of ace session musicians. Sometimes, even picking a catchy title and telling an artist to go write a song about it— would “Thriller” have worked as well if it had been called “Starlight”? Quincy Jones was pop’s Renaissance Man, and he could not be limited either by genre or by role. He played in jazz bands…produced teen pop hits…discovered young talent…scored Hollywood films…helped invent Yacht Rock and Yacht Soul…even released hit albums under his own name featuring cavalcades of guest vocalists. And he worked with so! many! legends! Ray Charles, Frank Sinatra, Little Richard, Lesley Gore, Aretha Franklin, Chaka Khan … and all that happened before he even met a former child star named Michael Jackson and helped him produce the best-selling album in history. No wonder only Quincy had the clout to wrangle the superstars for the recording of “We Are the World.” Join Chris Molanphy as he tells the story of the music man who truly did it all and is known affectionately by the letter Q. He made the world a better place for you and me. Podcast production by Kevin Bendis. Host Chris Molanphy Learn more about your ad choices. Visit megaphone.fm/adchoices
50 mins
15 June Finished