For the third episode, we are looking at Jack White's first major side project, the Raconteurs. While Jack wouldn't embrace the label of side project or super group, the Raconteurs were a departure from what people knew of Jack White. With fellow singer/songwriter Brendan Benson, and the bass and drummer from The Greenhorns, Jack Lawrence and Patrick Keeler respectively, The Raconteurs created a  rounded, refreshing project over the course of many years culminating in a 10 track album. 

After a year of touring, Jack would return to the White Stripes for another album -- what would be the last album. 2007's Icky Thump is both a return to the fundamentals of the White Stripes and a departure into the strange, all at once.  Jack and Meg had really turned over every stone in their little room to great effect.

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Jack White rose to legendary musician status via his breakthrough band, The White Stripes. Coming out as a blues rock, punk aesthetic garage rock band with child-like drummer Meg White, The White Stripes paved the way for a lot of acts to come. As their success grew, Jack White branched out into other projects, including the classic rock inspired "super group" The Raconteurs, and Led Zeppelin-spirit revival, hard as nails "super group," The Dead Weather. As Jack gained momentum elsewhere, The White Stripes came to an end, leaving room for Jack White to explore a solo career. Throughout his solo career, he started honing his comfort material -- country, blues, and fuzz rock -- moving toward new grounds with experimental noise, high tech production, and unexpected plot twists.

Tyler, being a conseur of pop and knower of all things music, and Greg, a Jack White super fan, have a lot to say on Jack White, including a plethora of insights and context into the creation of this music, the cultural impact of Jack White and his embedded philosophies, and the growth of self and artist.

This week's episode features special guest Angela, as we discuss Bon Iver. The music of Justin Vernon's project has been wrapped up in mythology, conjuring imagery of a man in the wilderness, removed from society and human connection, making an album wrought with deep suffering. In reality, 2007's For Emma, Forever Ago was made in a hunting cabin in Wisconsin -- a culmination of unfortunate struggles with band and romantic break ups, physical ailment, and gambling addiction. However it came to be, this album skyrocketed Vernon's career as an indie folk darling with mainstay Skinny Love. From there, an EP with a song that inspired Kanye West to write a song with Justin, feature him on multiple songs across three albums, and call him the other greatest living musician (besides Kayne, of course). The second album, Bon Iver, Bon Iver, a reflection on places and sense of place, is full of easy listening adult contemporary music, straight out of the late 80s. Holocene and Calgary were effective songs for Bon Iver, and after touring for years, Justin would go radio silent, not releasing an album for 5 years. Overwhelmed by the attention, he needed a break. Join our discussion.

This next episode captures the peak of White Stripes fame and adoration, with the albums Elephant (2003) and Get Behind Me Satan (2005). Elephant was often accused of saving rock and roll, with flying guitar solos, incredible production, and top notch song writing -- the ubiquity of Seven Nation Army is undeniable. Two years later, the much anticipated Get Behind Me Satan released. It started with a fake out in the form of Blue Orchid, a power rocker near Seven Nation Army heights. But the rest of the album featured acoustic guitars, Steinway piano, marimba, mandolin, and folksy sincerity. It was a tortured process for the White Stripes, but there's a lot to mine here.

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Jack White rose to legendary musician status via his breakthrough band, The White Stripes. Coming out as a blues rock, punk aesthetic garage rock band with child-like drummer Meg White, The White Stripes paved the way for a lot of acts to come. As their success grew, Jack White branched out into other projects, including the classic rock inspired "super group" The Raconteurs, and Led Zeppelin-spirit revival, hard as nails "super group," The Dead Weather. As Jack gained momentum elsewhere, The White Stripes came to an end, leaving room for Jack White to explore a solo career. Throughout his solo career, he started honing his comfort material -- country, blues, and fuzz rock -- moving toward new grounds with experimental noise, high tech production, and unexpected plot twists.

Tyler, being a conseur of pop and knower of all things music, and Greg, a Jack White super fan, have a lot to say on Jack White, including a plethora of insights and context into the creation of this music, the cultural impact of Jack White and his embedded philosophies, and the growth of self and artist.

John Mayer gives a lot of people the ick. We couldn't really articulate why leading up to this episode, so we thought we'd invite a special guest, Angela. She helps share her intuition and insights about the John Mayer ick factor as we listen to Continuum (2006) and Battle Studies (2009). 

This first episode explores the White Stripes debut albums, from the self titled album, through the bedroom-made sophomore album De Stijl, and the record that put them on the national stage, White Blood Cells, featuring Dead Leaves and The Dirty Ground and Fell In Love with a Girl.

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Jack White rose to legendary musician status via his breakthrough band, The White Stripes. Coming out as a blues rock, punk aesthetic garage rock band with child-like drummer Meg White, The White Stripes paved the way for a lot of acts to come. As their success grew, Jack White branched out into other projects, including the classic rock inspired "super group" The Raconteurs, and Led Zeppelin-spirit revival, hard as nails "super group," The Dead Weather. As Jack gained momentum elsewhere, The White Stripes came to an end, leaving room for Jack White to explore a solo career. Throughout his solo career, he started honing his comfort material -- country, blues, and fuzz rock -- moving toward new grounds with experimental noise, high tech production, and unexpected plot twists.

Tyler, being a conseur of pop and knower of all things music, and Greg, a Jack White super fan, have a lot to say on Jack White, including a plethora of insights and context into the creation of this music, the cultural impact of Jack White and his embedded philosophies, and the growth of self and artist.

Amy Winehouse was a powerful pop and R&B singer. She tragically passed at the hands of her addiction at 27, with only two albums published. And yet she is revered as one of the best musicians of the 2000s, predating a renaissance in powerful female vocalists like Adele. The album Frank was her debut, playing out like a well put together club album. It's relatively straight forward in its compositions, including some covers. There's a crassness and sass that is truly infectious and unique to Amy's lyrical voice. Winehouse reached another level with her sophomore album, Back to Black, produced by then unknown Mark Ronson. The song Rehab was a huge hit and put her on the map, where the rest of the album followed each song with another worthy edition. This week, Tyler and Greg discuss these albums, and more importantly, the relationships between addiction, tragedy, and creativity. As beloved as she was for her talents, her story is ultimately one of lost potential and enduring pain. 

The Killers broke onto the scene with their everlasting hit, Mr. Brightside. Much like Toto's Africa, this song is truly ubiquitous. The Killers' first album, Hot Fuss (2004), is a bit of a stumble as their outing, but it includes some of their best work. The album was followed up by Sam's Town in 2006, featuring greater cohesion with some missed marks. This discussion features insights from Tyler, who's familiarity and connection runs deep, bouncing off of Greg's perspective as a typical, casual listener. Find out what makes these albums meaningful.

In this episode, Tyler and Greg discuss two movies from the 2000s with lauded indie soundtracks. 

The first being 2004's Garden State, written and acted in by Zach Braff. The movie is about a man reconnecting with his hometown friends, as he struggles with a sense of connection and meaning, alongside his love interest Natalie Portman. The movie features a wide array of music, serving as a commercial for The Shins with Gold Teeth featured prominently. There's also tracks from early Coldplay, Imogen Heap's project Frou Frou, and more. 

Next, Juno -- the smash hit about a young high school girl experiencing an unplanned pregnancy, offering the baby up for adoption, and getting to know the adopting family. Meanwhile, she is still in school, defining her relationship with the father, and facing deeply profound issues. The soundtrack is roughly half Kimya Dawson, a spunky underground folk artist, representative of the mixed maturity of the characters. The second half is made up of psuedo-glam muse pieces that come as recommendations from the adopting father, a professional jingle writer and accused John Lennon wannabe.

This episode discusses the culture significance of the movies, the plot in relation to the audience journey, and the way the music serves these movies and even how it stands on its own.

My Chemical Romance broke on the scene with their sophomore album, 2004's Three Cheers for Sweet Revenge. With their aesthetic on display in the music videos for I'm Not Okay and Helena, they embodied and then defined the emo era. Their follow up album, 2006's The Black Parade, has been recognized as a emo rock staple, with a recent release and as much appreciation as ever, nearly two decades later.

This week we discuss Jenny Lewis, which marks the latest albums we have discussed. We start with Jenny Lewis's first solo album, coming out of her success with indie darling band, Rilo Kiley. Next we discuss 2014's the Voyager, a powerful album that proves to be a highlight among the albums we have discussed.