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Released during the Summer of Love, the album landed at a moment when the Bay Area was reshaping American rock music, but Moby Grape did not sound like Jefferson Airplane, the Grateful Dead, or Quicksilver Messenger Service. Instead, at a time when many peers were drifting toward extended jams, they decided to blend folk, blues, country, pop, and psychedelic rock with a dialed-in approach. Wayne Federman returns to discuss an album right up his alley. .

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Distrokid Artist of the Week: King Gizzard & the Lizard Wizard

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Pearl is the second and final solo studio album by Janis Joplin, released three months after her death. It is regarded as the most complete album of her career. Where earlier records captured her powerful live voice and performing style, Pearl presents a focused artist with a clear musical identity. Greg Fitzsimmons returns to talk about the impact one of the most famous members of the unfortunate “27 Club” had on the following generations. 

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Distrokid Artist of the Week: Eva Under Fire

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Catch a Fire is now widely recognized as one of the greatest and most influential reggae albums of all time — a bridge between Jamaican roots music and the wider world. Ian Edwards has become a reggae regular on The 500 and joins Josh to discuss the 1973 classic.

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Distrokid Artist of the Week: Morgan Heritage

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At this point in The Byrds' career, they were already established as pioneers of folk rock through earlier hits like “Mr. Tambourine Man” and “Turn! Turn! Turn!”, but they were hungry to push their sound further. On this album, they blended folk rock with elements of psychedelia, country rock and used studio experimentation like brass accents and reverse tape effects to color their music. Craig Shoemaker discusses the album and career with Josh. 

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Distrokid Artist of the Week: The Long Ryders

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Iggy and the Stooges only had one day to mix the final version of the album, leading to its raw and unpolished sound. Luckily, they had David Bowie to help on that one day. Maria joins Josh to discuss the tracks and the delayed impact their third album had in the ensuing decades. 

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DistroKid Artist Of The Week: The Streetwalkin’ Cheetahs

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Before recording Remain In Light, the Talking Heads and producer Brian Eno sought to dispel the notion that the group was simply a vehicle for frontman David Byrne by emphasizing collective groove, rhythm, and collaborative composition rather than traditional rock ego. Greg Proops talks to Josh to discuss the band and album. 

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DistroKid Artist Of The Week: Bad Suns

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When “Marquee Moon” was released, it baffled some and enthralled others. Television emerged from the 1970s CBGBs scene and was one of the pioneers of the indie college rock sound. Wil Wheaton joins Josh to discuss his favorite tracks on the album and the path that Television paved. 

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DistroKid Artist Of The Week: Geese

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Black Sabbath’s self-titled debut album introduced the world to heavy metal, but it was their second album, “Paranoid” that basically became a “Best Of” album in itself, with some of metal’s most recognised anthems. Jim Norton joins the podcast for the third time and his third Black Sabbath album to discuss all of the iconic tracks. 

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DistroKid Artist Of The Week: Following Days

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Saturday Night Fever: The Original Movie Soundtrack became far more than just the companion album to the movie. It emerged as a cultural phenomenon where genre, commerce, culture, and cinema intersected. Martha Plimpton joins the podcast to discuss the Bee Gees' big presence on the record and the impact it had at the time.

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DistroKid Artist Of The Week: Jane Pow

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This is the Springsteen album where he embraced R&B, jazz-tinged swing, horn sections, extended narratives, and cinematic moods. It makes a bridge between his folk‐inflected beginnings and the grander rock epics to come. Eric Roberts joins Josh to discuss an album that has become a fan-favorite. 

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DistroKid Artist Of The Week: Keaton Simmons

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