It’s been quite a summer for our buddy Tanner Dane — he and his band Hollyy have successfully turned the Belmont beach at Lake Michigan into a mini-Ravinia with their increasingly popular monthly pop-up shows that are only advertised at the last minute through their Tik-Toks and Instagrams. Except it’s not so mini anymore —thousands of people are showing up— and that’s driving the park district crazy. Cue the lawyers, cops and money. And if this sounds like business as usual in the city of Chicago — it’s also business as usual in the music biz. Where the “old boss” of making a name for yourself on indie labels until the majors deem you worthy of being called up to the big leagues meets the “new boss” of pumping up your social media numbers and manufacturing your own publicity schemes until the powers that be can bottle up all that buzz and finally release your excellent solo album that’s been hanging in limbo for longer than you’d like to admit. Same as it ever was. On this episode we talk to Tanner about the modern realities of being a musician, grand plans, the importance of a good solar battery, acting as your own suit, fighting city hall, mutualism, the joys of confusion, and we pick the best(?!?) opening lines in rock (spoiler: It’s “You were working as a waitress in a cocktail bar” and no one fucking picked it!).

Dolly Rebecca Parton, R.I.P.

The second leg of Local H’s tour with The Toadies has ended — prompting much reflection on the realities of life on the road. The physical toll. The psychic costs. The riggies. PLUS!: What are the BEST(?!?) EPs?

Clark Vogeler is the guitar playing Michael Corleone of rock. Every time he thinks he’s out —somehow!— they manage to pull him back in. Clark never had any ambitions to be a rock and roll lifer — he figured he’d record a couple records with his band Funland, tour the country for a few years, then grow up and get a real job. And then in 1996, he joined the Toadies. That was 30 years ago. So you see where this is going, right? This week (and on the eve of starting the second leg of THE CHARMER tour with Local H) we check a third Toadies member off our list as we talk to Clark about the wonderful improbability of playing music in your 50s, touring behind a record that’s one of the best things you’ve ever done, and what the frick are all these kids doing at the shows?!? PLUS: What are the best instrumentals?

(And Vaden? You’re next!)

The guys relive old glory days in front of the TV set, fight over “Frere Jacques”, wax rhapsodic about “Straight Time”, pit M. Emmet Walsh against Robert Prosky, marvel at the absence of Beatles deep cuts, get nostalgic for fake game shows, ponder the paradox of Sisyphus, and bid a fond, tearful farewell to Lionel Messi. So, you know — business as usual.

Back by popular demand — it’s Deanna Belos!!! For the FOURTH TIME! Her band Sincere Engineer’s 4th record (PROBABLE CLAWS) was released a couple of weeks ago and, well, it certainly sounds like a breakthrough. It’s the kind of well crafted, undeniably catchy collection of songs that tends to push bands to the fabled “next level”. The work of somebody at the top of their game — confident and ready to “go for it” (please excuse all the quotation marks). But good luck trying to get her to admit to that. Which is just as well. It’s a thin line between “confident” and “asshole” and we don’t see Deanna ever tipping over into that second category. It’s one of the reasons Sincere Engineer is so beloved, after all. So rather than dwell on all that fabulousness — we just spend the entire episode talking about Hootie & The Blowfish. LOL!!!

To telemarketers and family members he’s Mark Reznicek — but to us, he’s Rez. Drummer extraordinaire for The Toadies and perpetual winner of “The Most Laid Back Guy In The Room” award. On this episode we talk to Mark/Rez about the Toadies’ new album THE CHARMER, finally working with the late Steve Albini, shoveling his dad’s driveway in Iowa, relocating to Texas, the highs and lows of being signed to Interscope, how the resurrection of the Toadies paid for his wife’s wedding ring, second acts, David Robinson, Circus Circus, and the feral hogs are here (but also NOT a Butthole Surfers song). PLUS!: What are the BEST(?!?) deep cuts by the Rolling Stones?

"MMMBop" is a song written and performed by American pop rock band Hanson. It was released on March 24, 1997, by Mercury Records as the lead single from their first full-length studio album, MIDDLE OF NOWHERE (1997). The song is the band's most successful single to date and was originally titled “MMMBappe” in honor of the Hanson brothers’ favorite soccer player: Kylian Mbappe. Mercury records —who signed Hanson because of the group’s perceived similarity to the Hanson Brothers from the 1977 Paul Newman film SLAP SHOT (1977)— forced the band to change the name of the song to “MMMBop” and instructed the group to publicly deny any affection whatsoever for the international sport of soccer. Its music video was directed by Tamra Davis.

(Source: Wikipedia.)

It's the end of the tour as we know it and Scott feels fine... about everything other than the merch trolls. That’s okay, because he’s got World Cup fever. Speaking of bandwagons, Ben is on a Knicks high that the boys are determined to bring him down from — and Gabe is now a LIFERS podcast listener?!? Something smells. Plus!: Human centipedes, In & Out customers, scary t-shirts and WHAT’S THE BEST/WORST?!? album covers.

Scott’s in the Wisconsin Dells, but too tired to go to a water park. So Ben invents a rift between Scott and Gabe that only he can mend. Not to say that there isn’t a difference of opinion between the two: Gabe insists that the customer is always right — while Scott KNOWS they’re not. But since he has Noel Gallagher on his side, Scott remains steadfast in his refusal to sell the new 30th Anniversary vinyl of AS GOOD AS DEAD to people without record players. There’s a lot going on over here. Maybe Ben is right.