For the 40th anniversary of The Jesus and Mary Chain’s landmark debut album, Psychocandy, we take a detailed look at how it was made. Growing up in East Kilbride, Scotland, brothers William and Jim Reid had their lives changed by punk and both made plans to start their own bands. When they had trouble finding like-minded musicians in their town, they realized they could pool their resources and start a band together. After their father was made redundant from his job at a factory, he gave them a gift of 300 pounds, which they used to buy a Portastudio 4-track machine. Recording the songs they were writing allowed them to find the sound of the band that they were looking for. By 1984, they had recruited Douglas Hart on bass and Murray Dalglish on drums and were sending around a demo tape to try and get gigs. Their tape was passed on to Bobby Gillespie, who loved it and connected them with Alan McGee of Creation Records. After seeing them live, McGee signed them to a deal and they released their first single, “Upside Down,” in 1984. The single, along with their notorious live performances, generated a lot of interest and they ended up signing a deal with a subsidiary of Warner Music Group, called Blanco y Negro. At this point, Bobby Gillespie replaced Murray Dalglish on drums and they released their follow-up single, “Never Understand,” in early 1985. Their full-length debut album, Psychocandy, was eventually released in late 1985. 

In this episode, Jim Reid describes the impetus for starting a band with his brother William and how they would spend hours talking about music and envisioning the type of band that could start a cultural revolution. He describes how they were of a shared mind in those early days and how they would each write songs and flipped a coin to ultimately decide that Jim would become the lead singer. William Reid talks about his punk-inspired approach to guitar and how a chance purchase of a used Shin-ei fuzz pedal from a neighbor kid gave him the sound he was looking for. By blending feedback and noise with 60s-inspired pop, the Reid brothers found their unique sound and went to great lengths to protect it from being watered down by the record company. From being emboldened to experiment by engineer John Loder, to the chaos of their early live gigs, to the standup drumming style of Bobby Gillespie, to swapping shifts in the studio with Ministry, to creating an album where every song could be a single, to punk music as the missing ingredient in their lives, to their shared confidence in making a record that would stand the test of time, we’ll hear the stories of how the album came together.

In celebration of Sharon Van Etten’s breakthrough third album, Tramp, we take a detailed look at how it was made. Growing up in New Jersey, Sharon Van Etten studied music by learning several instruments and singing in the choir. After graduating high school, she went to Middle Tennessee State University to study recording. Though she started writing songs around the year 2000, she didn’t perform or release music until 2005 when she moved back to New Jersey. Later she moved to New York and started working for Ba Da Bing Records. She signed to the Language of Stone label and released her debut album, Because I Was in Love in 2009. Her next record, Epic, was released in 2010 and included the song “Love More,” which was recorded for the Shaking Through documentary series. After a group of musicians, including Aaron Dessner of The National and Justin Vernon of Bon Iver, covered the song “Love More,” Sharon reached out to them to see if they’d be interested in collaborating. She began recording songs with Aaron Dessner in his garage studio in Brooklyn. Her third album, Tramp, was eventually released in 2012.

In this episode, Sharon Van Etten describes this pivotal moment in her career when she was gaining confidence as an artist and learning how to collaborate with other musicians. She talks about how Aaron Dessner’s garage studio offered a her a place of refuge during a time when she was living between sublets and keeping her belongings in her car. In the garage studio, they were able to spend the course of a year building up her songs from minimal demos into fully fleshed out arrangements. Aaron Dessner describes his first time producing for another artist and how he was immediately struck by Sharon’s voice and musical mind. He talks about the music culture in Brooklyn at the time where he would be able to call in friends and collaborators to come over and record whenever they had time. This allowed them to have a community of voices, string arrangements and a full band sound for the record, which was new for Sharon’s music at the time. From touring with The National, to excavating songs from a hard drive, to bringing in friends like Bryan Devendorf, Zach Condon, Jenn Wasner, Julianna Barwick, Matt Barrick and more, to learning to deal with anxiety and crowds, to taking inspiration from Patti Smith’s Just Kids, to a turning point moment for both Sharon as an artist and Aaron as a producer, we’ll hear the stories around how the record came together.

Subscribe to ⁠Fela Kuti: Fear No Man.⁠

Can a song save a life? Change a law? Topple a president? Get you killed?

In Fela Kuti: Fear No Man, Jad Abumrad—creator of Radiolab, More Perfect, and Dolly Parton’s America—tells the story of one of the great political awakenings in music: how a classically trained 'colonial boy’ traveled to America, in search of Africa, only to return to Nigeria and transform his sound into a battering ram against the state—creating a new musical language of resistance called Afrobeat.

For years, the world’s biggest stars made pilgrimages to Nigeria to experience Fela’s Shrine, the epicenter of his musical revolution. But when the mix of art and activism got too hot, the state pulled out its guns, and literally opened fire.

Fela Kuti: Fear No Man is an uncategorizable mix of oral history, musicology, deep dive journalism, and cutting edge sound design that takes listeners deep inside Fela’s life, music, and legacy.

Drawing from over 200 interviews with Fela Kuti’s family, friends, as well as scholars, activists, and luminaries like Burna Boy, Paul McCartney, Questlove, Santigold, and former President Barack Obama (just to name a few), Fela Kuti: Fear No Man journeys deep into the soul of Afrobeat to explore the transformative power of art and the role artists can play in this current moment of global unrest.

An Audible Original presented by Audible and Higher Ground. Produced by Western Sound and Talkhouse.

©2025 Higher Ground, LLC (P)2025 Audible Originals, LLC.

In celebration of Peter, Bjorn and John’s breakthrough third album, 'Writer’s Block,' we take a detailed look at how it was made. When Peter Morén and Björn Yttling started playing music together in high school, they bonded over a shared love of guitar rock. When they moved to Stockholm after high school, they met John Eriksson, who was a trained percussionist, playing in a percussion ensemble. They eventually asked him if he would consider playing drums with them in a pop band and the trio, Peter Bjorn and John, was born. In 2001, they self-released their first EP with a self-titled album following in 2002. They jumped between Swedish labels Beat That! Records to Planekonomi and released their second album, 'Falling Out' in 2004. At this point, they considered ending the band, but decided to make one more album and record it themselves with Yttling producing. 'Writer’s Block' was eventually released in 2006.

In this episode, Peter Morén reflects on connecting with Yttling early on and how their sound evolved over the years. Morén shares how he originally approached guitar by using multiple chords and leaving little space until Eriksson encouraged him to play less. Björn Yttling describes his role as the producer and how the recording space he had at that time was not conducive to recording a full band. Despite the constraints of having no budget and only a couple of microphones, they were able to capture a unique sound by relying heavily on minimal drum arrangements, percussion overdubs and extensive use of a Space Echo. John Eriksson discusses his naive approach to the drums and how the relaxed recording atmosphere helped them to try new things with this album. With Morén and Yttling encouraging him to write and sing for the first time, Eriksson was able to add another dimension to the album with his own attempts at writing pop songs. From using a drum kit found in a trash heap, to relying on whistling instead of recording synth lines, to making the drum lines sample-able, to how hip hop artists like Drake, Kanye West and Kendrick Lamar would go on to rap over beats from the album, to being in their late twenties and feeling like the band had run its course, to the unexpected global success of “Young Folks”, we’ll hear the stories of how the record came together.

For the 20th anniversary of the Smog album, A River Ain’t Too Much to Love, we take a detailed look at how it was made. Bill Callahan began recording music under the name Smog in 1988 and releasing music on his own label, Disaster. After signing with Drag City early on, he released a series of albums in the 1990s and continued into the early 2000s. At this point, he was living in Chicago and wanted a change of scenery. After moving to Austin, Texas, he began writing songs for his 11th album. He decided to abandon the Smog name and start using his real name, but Drag City asked him to wait until the next record before making that change. After a two week tour with Jim White on drums and Connie Lovatt on bass, the three of them immediately went into Willie Nelson’s studio, Pedernales, to begin recording the album. A River Ain’t Too Much to Love was eventually released in 2005.

In this episode, Bill Callahan reflects on this period of his life when he was in his late thirties and felt like he wanted to settle down. By moving to Austin and buying a house with a yard, he found himself spending a lot more time in nature, which greatly impacted the songs he was writing. Despite having writer’s block initially, his songwriting opened up when he bought a nylon string guitar and taught himself fingerpicking for the first time. This new approach to guitar playing really shaped the song arrangements and how his vocal would come across. Callahan describes how this transitional time in his life inspired him to give up the Smog name and start using his own name to reflect his newfound approach to making music. From the leap of moving somewhere without knowing anyone, to recording as a power trio, to the importance of a good title or central image, to taking inspiration from Mickey Newbury and Johnny Cash, to key overdubs by Joanna Newsom and Thor Harris, to a recording malfunction that lead to barely audible bass, to the lacking nature of waltz time, to a clear sound like a river, we’ll hear the stories of how the record came together.

For the 20th anniversary of the debut Clap Your Hands Say Yeah album, we take a detailed look at how it was made. After Alec Ounsworth began recording demos of the songs he was writing, he connected with musicians he met while attending Connecticut College. The band was officially formed in 2004 and included Ounsworth, Lee Sargent, Tyler Sargent, Sean Greenhalgh and Robbie Guertin. As the rest of the band relocated to New York, Ounsworth remained in his hometown of Philadelphia and commuted for rehearsals and shows. They started recording an EP that they were intending to shop around to labels. While continuing to work on new songs, the EP evolved into a full-length album that they recorded in spurts when they could get studio time. Clap Your Hands Say Yeah (Self-Titled) was eventually self-released in 2005.

In this episode, Ounsworth describes his songwriting process for the album and how his demos grew into the full band arrangements. He lays out his vision for the album and how he was hyper focused on adding overdubs, interludes and song segues to create a more impactful listening experience. By releasing and distributing the album themselves, he describes the value he put on being independent at that time. In addition, he talks about the discomfort he felt when the band started gaining a lot of attention, partially due to a Pitchfork review of the album. From being labeled “blog rock,” to developing his unconventional vocal style, to writing about romantic relationships and the prospect of success, to taking inspiration from artists like Brian Eno, Tom Waits, Wire, The Magnetic Fields and David Bowie, to the value of doing it yourself and remaining independent, we’ll hear the stories of how the record came together.

For the 45th anniversary of The Feelies’ classic debut album, Crazy Rhythms, we take a detailed look at how it was made. After the band formed as The Outkids in Haledon, New Jersey in 1976, Glenn Mercer, Bill Million and Dave Weckerman started playing with brothers Keith Clayton and Vinnie DeNunzio. They changed their name to The Feelies as they started playing gigs around New York City. At an audition night at CBGBs, they connected with sound engineer Mark Abel, who introduced them to manager Terry Ork. They began to get booked regularly and receive some press just as DeNunzio decided to leave the band. After placing an ad for a new drummer, they brought in Anton Fier, who had just relocated to New York from Clevenland. Weckerman also left around this time so the band lineup was solidified as a four piece. Rough Trade offered to release their debut single, which came out in 1979. For their debut album, they wanted to find a label that would allow them to produce. After signing with Stiff Records, they began recording at Vanguard Studios with Mark Abel co-producing. Crazy Rhythms was eventually released in 1980.

In this episode, Glenn Mercer and Bill Million recall connecting as teenagers in suburban New Jersey over a shared love of the Stooges. Mercer describes arranging their songs around the drums and percussion parts, while bringing a nervous energy and quirkiness to his vocals and lyrics. Million talks about how their early experiences with recording helped them realize the necessity of producing themselves and how they waited for the right record deal that would give them a proper recording budget. They describe their joy of discovery in the studio and their process for coming up with spontaneous parts as they were eager to treat the studio as an instrument. From finding the right clean guitar sound to standing out in the New York punk scene to embracing the suburbs to the 1950s-inspired look of the band to taking inspiration from contemporaries like Jonathan Richman, Brian Eno, Mo Tucker, and Steve Reich to percussion played with random objects to making music on their own terms for nearly 50 years, we’ll hear the stories of how the record came together.

For the 15th anniversary of the second Titus Andronicus album, The Monitor, we take a detailed look at how it was made. After Patrick Stickles founded Titus Andronicus in Glen Rock, New Jersey in 2005, he worked with a rotating group of musicians, many of whom he had known in high school. By the time they were ready to record their first album, the lineup had coalesced around Stickles, Liam Betson, Dan Tews, Ian Graetzer and Ian Dykstra. The New Jersey label, Troubleman Unlimited, agreed to put out their debut album and pay for studio time with producer Kevin McMahon, who they had worked with on their early recordings. The Airing of Grievances was released in 2008 and was an unexpected success. XL Recordings became interested in signing the band and agreed to rerelease their debut album in 2009. Around this time, Eric Harm took over on drums, while Stickles moved to Somerville, Massachusetts and began writing the songs that would make up their second album. Using their advance from XL, they booked a month in Kevin McMahon’s studio and began recording the album. The Monitor was eventually released in 2010.

In this episode, Patrick Stickles describes his grand vision of a concept album framed around the American Civil War. He describes his routine at the time where he would stay up late, smoke pot and watch Ken Burns’s Civil War documentary. Stickles talks about how gobsmacked he was by the film and how the words of historical figures like Abraham Lincoln and Walt Whitman inspired him to include their words as a framing device on this record. He also describes this time in his life when he was graduating college and applying to graduate school but deciding to abandon his plans as the band started to become successful. Partially inspired by Bruce Springsteen’s Born to Run, Stickles talks about how he felt like he needed to take advantage of a potentially fleeting moment, where he had a deal with a new label, the attention of the music press, and a growing audience around the world. The result was the big swing of The Monitor, where the band had no qualms about attempting to create a generational touchstone. From the indie rock boom years to casting his friends in reenactment roles to ambitious song suites to incorporating the music of the Civil War to exploring the eternal us vs. them conflict to the continuing saga of mental health to the importance of conviction and raising the stakes, we’ll hear the stories around how the record came together.

Intro/Outro Music:

“The Anniversaries” by The Tisburys, from the album, A Still Life Revisited

Episode produced, edited and mixed by Dan Nordheim

Additional mixing and mastering by Jeremy Whitwam

For the 20th anniversary of Stars’ breakthrough third album, Set Yourself on Fire, we take a detailed look at how it was made. After Torquil Campbell and Chris Seligman grew up together in Toronto, they formed Stars when they were living in New York City. Their first album, Nightsongs, was made with the help of their friends in Metric and several guest singers, including Amy Millan. Deciding to relocate to Montreal, they added Amy Millan and Evan Cranley as full-time members. Their second album, Heart, was released in 2003 by Paper Bag Records and the new label Arts & Crafts, which was co-founded by their friend Kevin Drew of Broken Social Scene. For their ambitious third record, they brought in drummer Pat McGee and producer Tom McFall. Set Yourself on Fire was eventually released in 2004.

In this episode, Torquil Campbell discusses the early days of the band as an outlier in the New York City rock scene and how they found their people when they moved to Montreal. He describes his vision of having both male and female vocalists and how when Amy Millan joined, they could start telling stories from two different sides. Amy Millan discusses her initial reluctance to join the band, but how she was able to cement her place as co-lead singer and develop her songwriting voice. She also describes the alchemy of the relationships in Stars and how despite some romantic turmoil within the band around the time of this album, they’ve remained deeply connected to one another decades later. Evan Cranley talks about his musical partnership with Chris Seligman and how the two of them were able to collaborate to develop song structures in an orchestral pop style. Chris Seligman describes how his background in classical music, his love of string arrangements and his perfectionist tendencies impacted the music they made together. From the vibrant Montreal music scene of the early 2000s to an encounter with a stranger in a bar that led to a house where the songs were written to connecting with Tom McFall in London to a big fight in North Hatley to a mad dash to finish string arrangements at that last minute to personal lyrics about love, death and the band itself, we’ll hear the stories of how the record came together.

For the 20th anniversary of the sixth Bright Eyes album, I’m Wide Awake, It’s Morning, we take a detailed look at how it was made. Conor Oberst began Bright Eyes in 1995 in Omaha, Nebraska as an outlet for his solo material that he had been writing as a teenager. He formed a partnership with Saddle Creek Records, a label founded by his brother Justin Oberst and Mike Mogis and began releasing his albums in 1998, starting with A Collection of Songs Written and Recorded 1995–1997. Later that year, he released Letting Off the Happiness, which marked his first collaboration with Mike Mogis. Fevers and Mirrors was released in 2000 and Lifted or The Story Is in the Soil, Keep Your Ear to the Ground followed in 2002. At this point, Conor moved to New York City and began writing the songs that would make up his next two albums. I’m Wide Awake, It’s Morning and Digital Ash in a Digital Urn were eventually released on the same day in 2005.

In this episode, Conor Oberst describes how moving to a New York as a midwestern transplant gave him a fresh perspective and brought a sense of romanticism to the songs he was writing. He also talks about a political awakening that he experienced after George W. Bush was elected and 9/11 happened. Connecting with musicians in New York inspired him musically as he began incorporating jazz elements and decided to embrace a minimal 70s folk sound for this record. Longtime Bright Eyes producer and band member Mike Mogis describes how they ended up making the record back in Nebraska but invited some new people to the sessions, including musicians from New York like Jesse Harris and Tim Luntzel. He also talks about the stripped down approach they used for this record and how he felt insecure about not relying on the studio tricks they had used for past records. By recording live with a small group of people and making the record in a very short amount of time, he discusses how this change suited the material Conor was writing. From a turbulent plane ride on the way to make the record to a creative burst in Conor’s songwriting to working on two very different records simultaneously to sparse arrangements and musical jokes to the shot in the dark of asking Emmylou Harris to sing backup, we’ll hear the stories of how the album came together.