This is something we’ve been talking about doing for a long time — in fact, we really thought we’d be debuting the Popdose Podcast over a year ago. It wasn’t until we were finally able to trick our friend Dave Lifton into shuttering his long-running and wildly popular Wings for Wheels series that our plans came together — with the technical savvy necessary to edit our nonsensical jabbering into pure audio entertainment, and a strong enough personality to keep the entire podcast from dissolving into a giggling fit of mom jokes, Dave was the crucial final ingredient we were waiting for all along.
So open up your pod, baby, and let us in — and remember, this is only our debut. Even television classics like According to Jim didn’t enjoy their finest moments until they’d had a little time to hit their stride, and you have no idea what we have in store for you during the coming months. (Note: neither do we.) Like what you hear? Hate it? Drop us a line in the comments and let us know. And now, without further ado…
The Popdose Podcast, Episode 1: Donkey Eatin’ a Pony (1:09:49, 64.9 MB), featuring Jeff Giles, Jason Hare, and Dave Lifton.
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Show Notes
0:00 Intro, including digressions into the end of Guiding Light, and Jason’s ass.
5:05 Jeff Giles discusses ASCAP and BMI demanding fees for 30-second samples on iTunes, plus, how Popdose may be affected.
18:53 Dave Lifton discusses hipsters ironically nostalgic for the ’80s, which leads to digressions into Lionel Richie, J-Stache, his taint and Richard Marx sniffing it, the Michael McDonald/Grizzly Bear collaboration, Jason Lytle covering Billy Joel, Daryl Hall’s expensive house, and Smokey Robinson & George Michael singing “Careless Whisper.”
38:20 Jason Hare credits Terje Fjelde’s awesome Popdose podcast contributions, then discusses Mariah Carey appearing on Oprah and covering Foreigner. Digressions continue into Mariah’s “All I Want for Christmas is You,” Journey, The Saw Lady, and Wing.
54:31 Popdose Endorsements (official title yet to be determined; offer your suggestions in the comments!): Jeff endorses fun. (song clip: “Benson Hedges”)
57:06 Popdose Endorsements: Dave endorses Robbie Fulks (song clip: “Papa Was A Steel-Headed Man”)
58:51 Popdose Endorsements: Jason endorses the Damnwells and Tragedy: An All-Metal Tribute to the Bee Gees (song clip: “Stayin’ Alive)
1:02:00 Outro: Jeff highlights his interview with Zach Curd of Desktop (song: “My Boo,” a Popdose exclusive track)
I always hated it when a recording artist or group would put out a 
(which is highly recommended by me, of course). This takes the ![Reblog this post [with Zemanta]](http://img.zemanta.com/reblog_e.png?x-id=dd96ae72-b7c5-432a-85a5-b35d6482fa00)
But it wasn’t until the close of Obama’s magnificent victory speech, after the pageantry and the big extended-family waveathon … it wasn’t until everyone else had left the stage, and Obama turned back and gave one last salute to the crowd, that I began weeping uncontrollably. A headache I had been nursing all day finally dissipated, and the tension I’d been carrying around for two months … for two years … for eight years, really, finally seemed to melt away.
The interwebs are not very forthcoming about the origins and chart history of Boogie Box High, the nom de guerre of one Andros Georgiou. This, of course, assumes that either origins or chart history exist in the first place, and that they consist of something other than “He’s George Michael’s cousin, and he almost had a hit once.” Imagine the sting of humiliation Georgiou must have felt when he got his record deal, released his oh-so-1987 remake of the Bee Gees’ “Jive Talkin’” as a single, positive that he was sitting on a worldwide smash…and then George Michael’s label, Epic, only allows the song to be released if the single makes no mention of Michael appearing on the track. Which is hilarious when you think about it – who the hell else could it possibly be? By the way, Andros, your single will not be released in the US. Tough break, cousin.
However, if there’s one song where George bent over backward to prove he was not the same man he was three years before, it’s “Cowboys and Angels.” For starters, it’s over seven minutes long. To a jazz-waltz beat. And he never sings above a whisper. It couldn’t be less of a George Michael song if it tried — its closest relative is the great Faith track “Kissing a Fool” — which is one of the many things I loved about it in 1990. But mainly, I loved it because it was vaguely describing what I was going through at the time.
