Cory Henry is a remarkably gifted multi-instrumentalist. Growing up in the church, he started playing the Hammond B3 organ at age 2 and played his first gig at Apollo theater in NYC at age 6. As a professional musician he’s played along side Bruce Springsteen, Boyz II Men, The Roots, Kirk Franklin and many others including the acclaimed group Snarky Puppy which earned 3 Grammys during his tenure playing keys. Now he leads his band Cory Henry & The Funk Apostles who are releasing an album on Oct 30th called Something To Say, which features all of Henry’s gifts, but especially his voice in an album that makes you want to get up and dance as much as it makes you want to take action. 

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Shawn Mendes, BTS, Alicia Keys, 24kGoldn, Dua Lipa, Justin Bieber & Chance The Rapper are all in the Hot 100 with songs that attempt to cope with the state of the world. What do they tell us about the sound of popular music and our collective psyche? Charlie is joined by writer, critic and friend of the podcast, Lauren Michele Jackson to offer a meteorological reading of music in late 2020.

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Read Aja Romano's article "With 'Dynamite,' BTS beat the US music industry at its own cheap game" on Vox.com

SONGS DISCUSSED

Shawn Mendes - Wonder

Alicia Keys - Underdog

Hamilton - My Shot

Dua Lipa - Break My Heart

INXS - Need You Tonight

BTS - Dynamite

Justin Bieber - Holy ft. Chance The Rapper

24kgolden - Mood ft. iann dior

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There is a type of country song that loves flawed characters lost on a winding journey ... likely down a dit road. One of the best songwriters in this style is acclaimed artist Brandy Clark. Her credits include a whose-who of country music—Kacey Musgraves, Reba McEntire, Darius Rucker, Lean Rimes—and her albums have received overwhelming critical acclaim. And her debut record, 12 Stories, earned her a 2015 Grammy nomination for Best New Artist.

We spoke with Brandy about her new album Your Life Is A Record, which asks what if your life’s journey fit on one LP. The songs are honest, and buck the all too familiar pop-country clichés. Clark writes songs about anti-heroes who make imperfect choices (“Who You Thought I Was,” “The Past Is The Past.”) All together her songs portray one whole life. 

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Keith Urban is a legend of country. He’s been releasing hit records for two decades now. Each album he describes as a portrait of his life in that moment. On his latest work, The Speed Of Now Part 1, has Urban disregarding country convention (as he’s known to do), and collaborating with a diverse roster of musicians who contribute an eclectic array of sounds funk guitar, breakbeat drums and even EDM style programming. The result is less straight ahead country and more the unique sound of Keith Urban. In this conversation, we discuss his music, how he stays creative, and why he believes music can still be a uniting force.

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Mickey Guyton spent a decade of fits and starts trying to make a career in country music. But now in recent months she’s having a country music moment releasing vulnerable songs that use her experiences of rejection, exclusion and racism as inspiration. Charlie speaks with Guyton about her breakout songs “What Are You Gonna Tell Her?” and “Black Like Me,” as well as what it took for her to make it onto one of country musics most beloved stages, the American Country Music Awards.

Songs Discussed

Mickey Guyton - What Are You Gonna Tell Her

Dolly Parton, Kenny Rogers - Islands In the Stream

Dolly Parton - Coat of Many Colors

Mickey Guyton - Safe (Acoustic)

Mickey Guyton - Heartbreak Song

Mickey Guyton - Why Baby Why

Mickey Guyton - Better Than You Left Me

Mickey Guyton - Black Like Me

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Howard and Guy Lawrence, the brothers behind Disclosure, found global acclaim in 2012 with their song “Latch” ft. Sam Smith which blended house and dubstep in a doo-wop time signature. Since, they have collaborated with many of pop’s most sought after vocalists (The Weeknd, Lore and Khalid to name a few) in an ever evolving vision of dance music. On their latest album release, “Energy,” Disclosure channels sounds and samples from the global south. Listen to find out how they make the energy flow. 

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When we listen closely to the Fifth, we hear a testament to self-expression and determination. Which means that we get to decide how to honor this symphony today, whether that means taking a break from Beethoven to commission new works from underrepresented composers, bringing new audiences into the fold by staging concerts in communities outside of the concert hall, or re-writing Beethoven’s works to make them reflect our present moment. 

Featuring:

Anthony McGill, Clarinet

Andrea Moore, Musicologist

Deborah Borda, CEO and President

David Lang, Composer

Jaap van Sweden, Conductor

Leelanee Sterett, Horn

Sherry Sylar, Oboe

Music Featured:

Carlos Simon, Loop

Tania Léon, Stride

David Lang, Prisoner of the State

Recoding of Beethoven Symphony 5 by the New York Philharmonic conducted by Jaap van Sweden used by permission from Decca Gold.

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Before Beethoven’s time, classical music culture looked and sounded quite different. When Mozart premiered his Symphony 31 in the late 1700s, it was standard for audiences to clap, cheer, and yell “da capo!” (Italian for “from the beginning!”) in the middle of a performance. After Beethoven’s Fifth Symphony debuted in the early 1800s, these norms changed — both because the rising industrial merchant class took ownership of concert halls and because of shifts in the music itself.

As we explored in episodes I and II of the Switched On Pop podcast series The 5th, the musical complexity of Beethoven’s symphony required a different kind of listening. The Fifth’s four-note opening theme occurs and recurs in variations throughout the symphony, slowly shifting from minor to major keys and mirroring Beethoven’s experience with deafness. The Fifth’s creative rule-breaking — subverting the classical sonata form in the first movement, for example — requires close listening to fully grasp. Over time, these norms crystallized into a set of etiquette rules (e.g., “don’t clap mid-piece”) to enhance the new listening experience. In the third episode of The 5th, we explore how Beethoven’s symphony was used to generate the strict culture of classical music — and the politics that undergird those norms of behavior.

Music Discussed

Recording of The New York Philharmonic performing Beethoven’s Symphony No. 5 conducted by Jaap van Zweden used by permission from Decca Gold.

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In the first movement of his famous symphony, Beethoven sets up a battle between hope and despair. The dark side of that spectrum is represented by the anguished opening notes of the first movement: DUN DUN DUNNN. Over the course of the next three movements, Beethoven keeps trying to overcome his dark fate with bright major melodies, and keeps getting defeated.

With each high and low, we begin to understand that this battle isn't just about major and minor keys, it's about the will to live in the face of adversity. How do you perform such an emotional rollercoaster? We talk to the members of the New York Philharmonic about what it's like to sound a symphony whose stakes are life and death.

Jaap van Zweden, Conductor

Leelanee Sterrett, Horn

Kyle Zerna, Percussion

Frank Huang, Violin

Anthony McGill, Clarinet

Sherry Sylar, Oboe

Recording of The New York Philharmonic performing Beethoven’s Symphony No. 5 conducted by Jaap van Zweden used by permission from Decca Gold.

Hear new episodes of our four-part miniseries The 5th every Tuesday and Friday starting September 8th.

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You know Beethoven’s Fifth Symphony. You’ve heard it in films, advertisements, parodied in Saturday morning cartoons and disco-ized in Saturday Night Fever. The Fifth Symphony is a given, so much so that it blends into the background. You know this piece, but how well? Of all the symphonies of the bewigged classical "greats," why is this one still stuck in our heads over two centuries later?

To answer these questions, we’re giving Beethoven’s famous symphony the same treatment we give to pop songs. And we’re doing so with the help of an orchestra that’s been performing this piece since 1842, the New York Philharmonic.

In Movement I, we hear how the famous opening notes of the symphony aren't just melody: they’re the main character in a drama that will unfold over four movements.

Featuring:

Frank Huang, Violin

Anthony McGill, Clarinet

Sherry Sylar, Oboe

Recording of The New York Philharmonic performing Beethoven’s Symphony No. 5 conducted by Jaap van Zweden used by permission from Decca Gold.

New episodes of our four-part miniseries The 5th drop every Tuesday and Friday starting September 8th.

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