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.

For the 15th anniversary of Manchester Orchestra’s second album, Mean Everything to Nothing, we take a detailed look at how it was made. The band started in 2004 as an outlet for Andy Hull’s songwriting that he was doing as a teenager growing up in Atlanta, Georgia. Hull connected with bassist Jonathan Corley and drummer Jeremiah Edmond and self-released their first EP in 2005. Keyboardist Chris Freeman joined the band and their debut album, I’m Like a Virgin Losing a Child was released in 2006 on their own label. They got the attention of Canvasback Recordings, who signed them to a deal and re-released the album one year later. Guitarist Robert McDowell ended up joining the band and they began working on their second album, with Joe Chiccarelli producing. Mean Everything to Nothing was eventually released in 2009.

In this episode, Andy Hull reflects on the pressure he felt suddenly being on a major label and working with a big name producer. Expectations for the band were high and he describes his ambition to rise above the sophomore slump and deliver a great record. Inspired by Weezer’s Pinkerton, he talks about wanting to make an emotionally raw sounding record that reflected his turbulent personal life at this time as he was getting married and wrestling with his faith and his Christian upbringing. The resulting album made for a cathartic experience that provided a deep and long lasting connection with their audience. From shredded vocal chords to writing autobiographically and not overthinking lyrics to panic attacks on tour to reinterpreting the hymn “Come Thou Fount” to a meltdown after losing a hundred dollar bill, we’ll hear the stories around how the record came together.

For the 25th anniversary of American Football (Self-Titled), we take a detailed look at how it was made. The origins of American Football began with Mike Kinsella’s band Cap’n Jazz, who were hugely influential in the punk scene in the Chicago suburbs. Steve Holmes went to high school with Kinsella and was inspired to learn guitar after watching Cap’n Jazz perform. Kinsella and Holmes became close friends and ended up going to college together and were roommates at the University of Illinois in Champaign. During college, Kinsella briefly joined a band with Steve Lamos called The One Up Downstairs. When that band broke up, Holmes and Lamos began jamming together and when Kinsella heard their practice tapes, he asked if he could join. The three of them ended up forming American Football in 1997. Their friends, Matt Lunsford and Darcie Knight were just getting their label Polyvinyl going in nearby Danville and they offered to release a three song EP in 1998. By the time they were graduating, they had enough songs for a full-length album, but the band was breaking up as Holmes and Kinsella were moving back to Chicago. Polyvinyl offered to release an album anyway so they booked time at Private Studios with local engineer, Brendan Gamble. The American Football (Self-Titled) album was eventually released in 1999.

In this episode, Steve Holmes describes the guitar style he developed with Kinsella that was based on alternate tunings and shifting time signatures, inspired by music they were listening to at the time like Steve Reich, Nick Drake, The Sea and Cake and Red House Painters. Mike Kinsella talks about switching from drums to guitar and writing lyrics inspired by the few romantic relationships he had up to that point. His lyrics came from a diary and were heavily influenced by the melodramatic lyricism of bands like The Cure, Depeche Mode and The Sundays. Steve Lamos discusses his musical upbringing and deep love of jazz, which found its way into the American Football sound with his trumpet playing and compositional approach to the drums. The three of them describe the unique sound they found together and the unlikely story about how even though the band broke up early on, the album still managed to reach people years after it was a released. From recording the week after graduation to constantly having to borrow guitars, amps and tuners to embracing repetitive patterns and avoiding traditional verse chorus structures to singing through paper towel rolls during recording to lyrics about relationships ending and the transition into adulthood to the album cover of the now iconic American Football house, we’ll hear the stories around how the record came together.

In celebration of the new Deluxe Edtion of Long After Dark, the fifth studio album by Tom Petty and the Heartbreakers, we take a detailed look at how it was made. After Tom Petty connected with Mike Campbell and Benmont Tench to form Mudcrutch in Gainesville, Florida in 1970, they ended up relocating to Los Angeles. There they were able to sign a deal with Shelter Records, but Mudcrutch broke up soon after, leaving Petty under contract as a solo artist. Campbell and Tench began playing in a band with fellow Floridians, Ron Blair and Stan Lynch and they reconnected with Petty to form Tom Petty and the Heartbreakers. Their self-titled debut album was released in 1976 with You’re Gonna Get It following in 1978, and they built up a following in the UK especially. For their third album, they teamed up with producer Jimmy Iovine and spent many months recording what became Damn the Torpedoes. The album ended up being a breakthrough for the band, giving them mainstream success for the first time. They continued working with Iovine for their fourth album, Hard Promises. At this point, Ron Blair left the band so they brought in Howie Epstein on bass. They began working on their fifth album, which was produced by Iovine again. Long After Dark was eventually released in 1982.

In this episode, drummer Stan Lynch describes where the band was at in this period when they had achieved their dream of success and were trying to figure out where to go next musically. Lead guitarist Mike Campbell explains his collaboration process with Petty for several songs where he would present a fleshed out demo for Petty to write lyrics to. Adria Petty describes being 8 years old when this record came out and shares her memories of this time when her father was writing from darker and more personal place than before. Producer and archivist Ryan Ulyate talks about the country leaning outtakes from these sessions and how Petty left high quality material off the record as he focused on structuring a cohesive album. With Long After Dark (Deluxe Edition), we get a chance to hear an alternative direction for the album that presages the more acoustic songs that Petty would embrace in his later career. From a dark and edgy sound to the record to Petty viewing songwriting as a job to experimenting musically with drum loops and synthesizers to engineer Shelly Yakus being an unsung hero to the band coming to the end of their work with Jimmy Iovine to welcoming the new format of MTV with the “You Got Lucky” video, we’ll hear the stories of how the record came together.

Intro/Outro Music:

“When Love Knocks You Down” by The Tisburys

Episode produced, edited and mixed by Dan Nordheim

Additional mixing and mastering by Jeremy Whitwam

For the 30th anniversary of The Cranberries’ second album, NO NEED TO ARGUE, we take a detailed look at how it was made. After forming in Limerick, Ireland in 1989, with a different lead singer named Niall Quinn, the band initially took on the name The Cranberry Saw Us. When Quinn decided to leave the band, he recommended Dolores O’Riordan as a potential replacement. O’Riordan wrote lyrics and added vocals to their demo tape and when the band heard what she brought to the songs, they immediately hired her. On the strength of their demo, they signed a contract with Island Records and began working on their debut album. At first, they started recording with a local engineer in Limerick, but couldn’t capture the sound they were looking for. They had the idea of contacting one of their favorite producers, Stephen Street, who agreed to record their debut album. EVERYBODY ELSE ID DOING IT, SO WHY CAN'T WE? was released in 1993 and failed to make waves at first, but luckily took off when MTV started playing the video for “Linger.” When the album became a hit, the band toured relentlessly and worked on new material during soundchecks. They reunited with Stephen Street to begin recording songs for their second album. NO NEED TO ARGUE was eventually released in the fall of 1994.

In this episode, Cranberries drummer Fergal Lawler describes how the band managed to get tighter as a unit during this period, while O’Riordan was gaining confidence as the frontwoman. Producer, Stephen Street, shares his memories of first working with them when they were nervous teenagers from a small town but how they were suddenly transformed by the attention the band had gotten worldwide. Street and Lawler describe the magic they were able to find working together in the studio and how Street managed to capture the band at their best. With O’Riordan’s tragic passing in 2018, Lawler and Street reflect on her incredible talent and the legacy she left behind. From the delayed success of the first album to a shared love of The Smiths to a ski accident in the middle of recording to lyrics inspired by a turning point in Dolores’s personal life to a dispute over production credits to embracing a grunge sound for “Zombie,” we’ll hear the stories of how the record came together.

For the 30th anniversary of Superchunk’s fourth album, FOOLISH, we take a detailed look at how it was made. After Superchunk got their start in Chapel Hill, North Carolina in 1989, they were becoming known for their catchy punk anthems and busy touring schedule. Mac McCaughan and Laura Ballance had been a couple and formed Merge Records initially as a way to release their early singles, while releasing their full-length albums on Matador Records. Around the time of their third album, ON THE MOUTH, McCaughan and Ballance ended their romantic relationship, causing tension and uncertainty about the future of the band, as well as Merge. The inner-band turmoil impacted the songs they were writing, as McCaughan wrote lyrics from a vulnerable place while they also worked to expand their sound, incorporating more dynamics, new guitar textures and slower tempos. They booked studio time at Pachyderm Studios in Cannon Falls, Minnesota with Brian Paulson, who they had wanted to work with after hearing records he made with Slint and Unrest. Their breakneck three-day session resulted in FOOLISH, eventually released in 1994.

In this episode, Mac McCaughan describes his intention to do something different musically with this record and how he was incorporating more clean guitar tones and space than ever before. Laura Ballance talks about hearing McCaughan’s lyrics for the first time in the studio and how she felt attacked as she interpreted them as being about her or about their relationship. Jim Wilbur gives his perspective on this tumultuous time in the band’s history, but how they were able to remain collaborative as a unit and write many songs quickly. From treating the band like a job to losing a day in the studio to writing on acoustic guitars to an ambitious and tense video shoot to the story behind the album cover to a breakup record with some of Superchunk’s most enduring songs, we’ll hear the stories of how the album came together.

For the 10th anniversary of Spoon’s 8th full-length album, They Want My Soul, we take a detailed look at how it was made. After Spoon concluded their remarkable run of records in the early 2000s with 2010’s Transference, they took a much needed break. During this time, Britt Daniel formed Divine Fits with Dan Boeckner, while Jim Eno produced records for other artists. When Spoon got back together, they added new member Alex Fischel on keyboards and opted to work with producers Joe Chiccarelli and Dave Fridmann for the first time. Having that time apart gave them a new perspective on the band as they worked to expand the sound, incorporating more keyboards, hip hop and electronic influences and unique production approaches. The result was They Want My Soul, eventually released in 2014.

In this episode, Britt Daniel describes how he approached songwriting for this album and how he wanted to move away from the “minimalist” label that the band had been given previously. By demoing the songs in a variety of different ways, he describes how the songs evolved in the studio and how producers Joe Chiccarelli and Dave Fridmann helped shape them. Jim Eno talks about the sense of fun that the band had with this record and how they were enjoying trying new approaches, while recommitting to making good music together. Additionally, Alex Fischel describes first being asked to join Divine Fits and how that transitioned into a role in Spoon. With Fischel brought in to the band and with Fridmann’s fingerprints all over the record, they describe how the sound of this album led to the next era of Spoon. From recording in two halves and switching producers midway to Dave Fridmann’s mad scientist approach to mixing to the influence of Dr. Dre’s 2001 album on “Inside Out” to the spontaneous last minute recordings of “Rent I Pay” and “I Just Don’t Understand,” we’ll hear the stories of how the record came together.

For the 30th anniversary of Sunny Day Real Estate’s iconic debut album, DIARY, we take a detailed look at how it was made. After Dan Hoerner and Nate Mendel began playing music together in Seattle in 1992, they asked William Goldsmith to join on drums, despite the fact that he was already playing in three other bands at the time. When Mendel went on tour with another band, they asked Goldsmith’s high school friend Jeremy Enigk to jam with them. Enigk took over lead vocal duties from Hoerner and when Mendel returned, they decided to continue as a four-piece. In 1993, they played what was only their second show as Sunny Day Real Estate when Jonathan Poneman saw them and immediately signed them to a deal with Sub Pop. Embarking on their first cross country tour, they landed in Chicago at Idful Studios to record with producer Brad Wood. Their debut album, DIARY, was eventually released in 1994.

In this episode, Jeremy Enigk, Dan Hoerner and William Goldsmith describe the circumstances of how they first came together and the unique sound they stumbled upon. Goldsmith talks about initially being courted by Hoerner and Mendel after they saw him playing in punk bands around town, and how he learned to adapt his hardcore-influenced drumming style to suit the music they were creating. Hoerner describes taking an experimental approach early on, focusing on drones, feedback and open spaces, contrasting with heavy riffs that were more common in the grunge scene in Seattle at the time. Enigk talks about bringing more of a pop element into the group and how his early acoustic work as a solo artist informed the dynamic music he wanted to create with Sunny Day Real Estate. From the unlikely marriage of a punk band recording with Brad Wood to a grueling tour that led to Enigk’s shredded vocals to taking inspiration from Fugazi, Treepeople, R.E.M., U2 and The Beatles to inserting triumphant hugeness into emotionally heavy songs to a high school relationship that informed the heartbroken lyrics, we’ll hear the stories of how the record came together.

For the past three decades, Deerhoof have been one of the most consistently inventive rock bands around. Their seventh album, The Runners Four, remains a fascinating result of a band obsessively recording themselves in their practice space for many months. After Deerhoof first began as a solo harmonica project by Rob Fisk, drummer Greg Saunier joined only one week later. They signed to Kill Rock Stars and soon after Satomi Matsuzaki moved from Tokyo to San Francisco, she became the lead singer. They released their first two albums, and by 1999, Fisk ended up leaving the band, with guitarist John Dieterich joining later that year. Two additional albums followed and after this point, Chris Cohen came on as second guitarist. As a four-piece, they released Apple O’ and Milk Man before turning their attention to their seventh album. This time around, they decided to embrace taking their time recording in their practice space, with each band member bringing in songs they had written. The result was the ambitious concept album, The Runners Four, which was eventually released in 2005.

In this episode, Satomi Matsuzaki, Greg Saunier, John Dieterich and Chris Cohen, have an honest conversation about what it was like to be a band on the rise in the Bay Area and the pressure they felt to deliver a timeless record. Saunier describes the hours he spent tinkering with the free version of Pro Tools in a windowless practice space and the toll it took on his mental health. Matsuzaki talks about how swapping instruments with Cohen for this album, brought about a different rhythm and freed her up to sing some interesting vocal melodies. Dieterich describes using the then new technology of Line 6 POD amp simulators and how this approach allowed them to record in the practice space setting. Finally, Cohen describes the band members’ interpersonal dynamics during this time and how he ended up leaving the band after this record. From self-mythologizing and writing songs about the band, to recording in the hallway, to embracing classic rock, to the intense relatability of Metallica’s Some Kind of Monster, to a concept album about secret messages, time capsules and the flood, we’ll hear the stories of how the record came together.