In this episode we dive into Pearl Jam’s 1998 album Yield and get into a real disagreement over whether it’s a must-listen classic or just a really solid “pretty good” Pearl Jam record.

We talk guitar tones, riffs, the state of the band in the late ’90s, and how Yield fits into the run of Ten, Vs., Vitalogy, No Code and beyond. We also get into the more collaborative songwriting on this record, Jack Irons’ drumming, Brendan O’Brien’s production, and what it means when your co-host calls one of your beloved albums “just okay.”

In this episode:

– Track highlights: “Given to Fly,” “Wishlist,” “Do the Evolution,” “In Hiding,” “Low Light” and more

– Guitar sounds, arrangements and how Yield compares sonically to earlier PJ records

– The band’s history and headspace around 1998 (post–Ticketmaster wars, post–early-grunge fame)

– Our honest argument over whether Yield belongs in the “essential Pearl Jam” tier

Chapters:

00:00 (First Impressions and Overview of Yield)

14:35 (History of Pearl Jam)

47:01 (Making of Yield, and Guitar Demonstrations)

1:18:51 (Produced by Brenden O'Brien)

1:28:57 (Standout Songs)

1:38:40 (Nate Gets His Feelings Hurt)

1:55:55 (Final Thoughts, Wrapup)

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We finish our Pretty Hate Machine discussion this week, and choose the next album! We are staying in the alternative rock landscape of the 90s for one more week. Which grunge band is it? Join our Patreon to hear the full bonus episode.

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In this episode we dive into Nine Inch Nails’ debut Pretty Hate Machine and talk about how the album’s lyrical pain, resentment and breakup energy are baked directly into the music.

We get into Trent Reznor’s one-man-band studio approach, the way he blends industrial noise with pop song structures, and why this record still feels weirdly emotional and human under all the distortion and drum machines. From “Head Like a Hole” to “Something I Can Never Have,” we break down why this isn’t just an angry industrial record—it’s a brutally honest synth-driven singer-songwriter album.

In this episode:

– Track highlights across Pretty Hate Machine (“Head Like a Hole,” “Terrible Lie,” “Down in It,” “Sanctified,” “Something I Can Never Have” and more)

– How the synths, drums, bass and sound design support the lyrics’ obsession, guilt and collapse

– Reznor’s early studio process and what sets this apart from later NIN albums

– Why this record became such an influential bridge between industrial, alt rock and pop

Chapters:

00:00 (First Impressions and Overview of NIN)

23:08 (Making of and Production Style)

1:17:55 (Lyrics and Themes)

1:43:05 (Standout Songs)

1:53:14 (Wrap Up)

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• Escape Hatch Records – label family & collaborations

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How has everyone been holding up after a week of Trout Mask Replica? On today's bonus episode, we finish up a bit of our Trout Mask discussion and pick a much more accessible album for the week ahead! Enjoy, let us know what you think of Brandon's latest pick in the comments.

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To listen to our music visit: blackmarketdub.bandcamp.com

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In this episode we sit down for a first-time listen to Captain Beefheart & His Magic Band’s Trout Mask Replica fully expecting to hate it… and instead realize, almost in real time, that it might be one of the most genius things we’ve ever heard.

We talk about how this album somehow turns total-sounding chaos into tightly composed music, the cult-like conditions the band rehearsed under, and the role Frank Zappa played in capturing it all to tape. We get into the strange rhythmic and harmonic language of the songs, the stories around Don Van Vliet’s control over the band, and how our brains slowly “click over” from “this is noise” to “oh my god this is brilliant.”

In this episode:

– First-time reaction moments as the album unfolds

– Was the Magic Band basically a cult during this era?

– Zappa’s involvement and the infamous marathon rehearsals

– Why tracks like “Frownland,” “Ella Guru,” “Pachuco Cadaver,” “Moonlight on Vermont” and “Veteran’s Day Poppy” go from unlistenable to unforgettable

– Why we now think this is the episode that best represents what Playback is all about

Chapters:

00:00 (Intro and First Impressions)

44:40 (The Cult of Captain Beefheart)

1:16:05 (Writing, Rehearsal, and Recording)

1:50:25 (Standout Songs and Final Thoughts)

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We fill in the blanks with The Misfits from their initial demise in 1983 to today. We touch on why people who don't appreciate Rick Rubin are dumb, other stuff I presume, and we pick our favorite album of the series so far! Not to miss. Join our Patreon to hear this full bonus episode!

For full episodes, bonus video episodes, and more content - please subscribe to our Patreon page:

Patreon.com/Blackmarketdub

To listen to our music visit:

blackmarketdub.bandcamp.com

For vinyl purchases and more:

escapehatchrecords.com

In this episode we dive into The Misfits’ Static Age, the first full-length they ever recorded but the last of the classic-era albums to be officially released.

We talk about the band’s early history, the C.I. Recordings sessions in 1978, and how this entire album sat on the shelf for years while individual songs like “Bullet,” “We Are 138,” “Attitude” and “Hollywood Babylon” leaked out on EPs and compilations. We also break down why Static Age basically works as a greatest-hits set for the Danzig era and how it sets the blueprint for horror punk.

In this episode:

– The story behind the Static Age sessions and why the album wasn’t released at the time

– Track highlights: “Static Age,” “TV Casualty,” “Some Kinda Hate,” “Last Caress,” “Hybrid Moments,” “Teenagers from Mars,” “Angelfuck,” “We Are 138” and more

– How the Misfits mix 50s rock & roll melody with raw punk energy and B-movie / true-crime lyrics

– Where Static Age sits in the Misfits discography and horror punk history

Chapters:

00:00 (Intro)

10:47 (Background on The Misfits)

34:30 (First Impressions of Static Age)

50:00 (The Recording Process and Subsequent Releases)

1:18:23 (Music Analysis)

1:32:48 (Final Thoughts)

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PREVIEW of our bonus discussion of Blackstar. We read an article together about some of the hidden meanings in the artwork, other stuff I can't remember, and we pick our next album for discussion! Full episode on Patreon!

For full episodes, bonus video episodes, and more content - please subscribe to our Patreon page:

Patreon.com/Blackmarketdub

To listen to our music visit:

blackmarketdub.bandcamp.com

For vinyl purchases and more:

escapehatchrecords.com

In this episode we dive into David Bowie’s final studio album Blackstar (★) and talk about what it means to turn your own death into a piece of art.

We look at how Bowie recorded the album in secret with a New York jazz band, released it on his 69th birthday, and died two days later—instantly reframing Blackstar as a deliberate farewell. We talk about the lyrics, the videos, the band, and how this record made us think differently about death, legacy and what it means to say goodbye through music.

In this episode:

– Track highlights: “Blackstar,” “Lazarus,” “Girl Loves Me,” “Dollar Days,” “I Can’t Give Everything Away”

– How the jazz musicians and modern influences (hip-hop, experimental rock, etc.) shape the sound

– The “Lazarus” video, illness, and how much Bowie knew he was making a swan song

– How Blackstar changed the way we think about Bowie and about artists using their last works as a final message

Chapters:

00:00 (Intro)

09:57 (Discussion of the Music)

24:45 (Death Themes)

50:30 (The Band and Other Stuff)

1:13:30 (Standout Songs)

1:34:15 (Final Thoughts)

🔊 Support & follow:

• Patreon – bonus episodes & ad-free audio

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Preview of our bonus Graceland episode! Full video available on our Patreon page.

For full episodes, bonus video episodes, and more content - please subscribe to our Patreon page: Patreon.com/Blackmarketdub

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