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The Black Keys – Delta Kream

I have been grooving to the new The Black Keys album, Delta Kream, since it came out. I liked it enough that I picked it up on wax and what a revelation the LP is: the vinyl is analog heaven. The sound of the LP is absolutely nasty – some serious endless boogie. The guitars are deep and guttural. The drums are nice and loud and the vocals add sweetens to the mix. This is the Keys at their finest.

The album celebrates the band’s roots & features songs by R.L. Burnside & Junior Kimbrough. The opening track is the blues standard “Crawling King Snake” (a hit for John Lee Hooker, but the Keys take a Junior Kimbrough approach).

It is great to hear the Keys after all their success, return to their roots. This is highly recommended on vinyl. The vinyl mix is thick and tasty – it reminds me of soft caramel.

Ryan Adams – Wednesdays

Ryan Adams has been one of my top 10 recording artists since I discovered Whiskeytown on the endcap of Target in the summer of 1997 – so nearly a quarter of century – more than half of my adult life. I listened to Demolition on repeat burying my mother. My daughter and I sang along to “When Stars Go Blue” when I drove her to and from dance class and it was her first concert (we saw many more together). We reprised “When Stars Go Blue” for the father/daughter dance at her wedding. I was a fan of Ryan Adams.

In 2019 a scandal broke: seven women (including Phoebe Bridgers and Ryan’s ex-wife Mandy Moore) came forward with sexual misconduct allegations against him, including exchanging sexually explicit photographs with an underage fan. Shit – I always assumed he was an asshole, but a sexual predator – that took the air out of my fandom – dare I say it broke my fanboy heart.

2019 was going to be a big year for Adams – three albums were to be released. But the scandal put the kibosh on that. The FBI investigation into the underage claims was closed in the fall of 2019 without Adams being charged, but the stuff with the adult women is pretty undeniable. It was going to be hard to continue to be a fan.

Adams went silent. As best I know Adams didn’t address the accusations against him directly, but he eventually posted on Instagram:

“Believe Women. Believe Truth. But never give up on being part of solutions, and healing. I’ve lost friends who have passed away in this time of self reflection and silence. I can’t be like that. There’s been too much that mattered.”

Not much of an apology. He kept a low profile for awhile. Like a lot of musicians he posted lots of cool solo at-home performances during lockdown. In December 2020, Adams surprise-released one of the planned 2019 albums: Wednesdays.

Was it time to forgive and become a fan again? The album was first released on streaming services and wouldn’t be released physical for several months – so I wasn’t tempted to pay him. I gave it a few listens and it didn’t move me – not sure if it was the music or my attitude towards Adams.

Several months have passed since its release and I am ready to give Wednesdays another chance. It is now available on vinyl and I need to make a decision: am I in or out on Ryan Adams?

Listening to it with forgiving ears I am a struck by how quiet and unassuming an album it is, but there is something there. I like the album enough and have warmed up to a post scandal Adams that I recently bought the vinyl.

Although it was created pre-scandal, it seems to me like the right collection of songs at the right time. Allmusic was not so kind:

“With their spare arrangements and threadbare melodies, the songs collectively create an impression of a singer/songwriter who feels quite sorry for himself, but not necessarily sorry for anything he may or may not have done.”


This is one sad album. Adams morns loss after loss: romances, friendships, death, etc. Despite the downer themes, the album is not a downer because of the beauty of the music. The songs are gorgeously arranged. There are no innovations here, just classic Americana Ryan Adams: strumming acoustic guitars, Dylanesque organ fills (courtesy of Benmont” Tench), Emmylou Harris backing vocals, tasteful strings, a little pedal steel, harmonica, etc. I assume Don Was’ production brought out the best in Adams – the recording sounds great.

Wednesdays is not an Adams masterpiece, but still a very good album. I am ready to get back into Ryan Adams (Big Colors is scheduled for June 11, 2021).

Happy 80th Birthday Bob: My Favorite Dylan Albums

One of my favorite music writers, Steven Hyden, posted his ranking of Dylan’s studio albums to celebrate Dylan becoming an octogenarian. That inspired me to write a less ambitious post: my favorite Dylan albums. These are not in order – I can’t do that as my feelings change like the weather about each of these. Thus, I have listed them chronologically. I am not saying these are Dylan’s greatest albums, merely my favorites.

Bringing It All Back Home (1965)

I fully appreciate Dylan’s folk era, but when he went electric that was something special – next level shit. This is part one, of the greatest hat trick in pop/rock history. This is when Bob Dylan became BOB DYLAN!

Highway 61 Revisited (1965)

If someone had never listened to Dylan before, asked for a one album recommendation, this would be the one. If they could only listen to only one song it should be “Like a Rolling Stone” from this album. Number two, on the way to the hat trick.

Blonde on Blonde (1966)

There are days I would say this is my favorite Dylan album. The final piece of the trifecta. Bob headed to Nashville with keyboardist Al Kooper and guitarist Robbie Robertson, got the Nashville A-Team stoned and made his psychedelic masterpiece before promptly checking out.

Nashville Skyline (1969)

And at the height of the psychedelic/rock/hippie/Woodstock era what does he do? Makes a blatantly country album. It was so unhip, that it was hip. And that voice – it doesn’t even sound like Dylan at first, but the more you listen, it does (Dylan claims the voice is due to the fact he had quit smoking). Extra special to me is that my wife and I used “Lay Lady Lay” as our first dance at our wedding. Bonus points: Dylan’s most delightful album cover.

Planet Waves (1974)

Dylan temporarily left Columbia to join artist friendly David Geffen at Asylum. Dylan is supported on the album by longtime collaborators The Band, with whom he embarked on a major reunion tour following its release. With a successful tour and a host of publicity, Planet Waves was a hit, enjoying a brief stay at No. 1 on the charts – a first for Dylan. As close and as important as the Dylan and The Band relationship is, there is not much released studio material and this is the only proper studio album of this configuration.

Blood on the Tracks (1975)

On the days that Blonde on Blonde is not my favorite album this one is. The songs have been linked to tensions in Dylan’s personal life, including his estrangement from his then-wife Sara. One of their children, Jakob Dylan, has described the songs as “my parents talking.” It is considered a masterpiece of confessional singer-songwriter craft – although Dylan denies it is autobiographical. Recorded in NYC and Minneapolis it is sonically, one of Dylan’s best sounding albums.

Desire (1976)

The foundation album for the Rolling Thunder Revue. I love that many of the songs feature backing vocals by Emmylou Harris and Ronee Blakley. Most of the album was co-written by Jacques Levy and is composed of lengthy story-songs. Scarlet Rivera’s violin is a prominent feature.

Street-Legal (1978)

This is the first Dylan album I purchased in real time. I bought it in the summer of 1978 in Alaska. At first I was disappointed, it did not seem to match the greatness of his back catalog. But over time I have learned to love it. The album was a departure for Dylan, who uses a large pop-rock band including female backing vocalists. It was a nice set up for what comes next.

Bob Dylan at Budokan (1979)

This album is decried as Dylan’s Vegas act, I love it. Brilliant arrangements of a cross section of the Dylan catalog. Like Street Legal it features a large pop-rock band including female backing vocalists.

Slow Train Coming (1979)

Of all the changes in Bob’s career, the most outrageous was becoming a born-again Christian. But he did it with such panache that I forgave him. The album is the funkiest of Dylan’s albums thanks to recording in Muscle Shoals with Jerry Wexler and Barry Beckett producing. Mark Knopfler’s guitar is a key component.

Saved (1980)

Dylan doubled down on his follow up to Slow Train Coming. The cover art lets you know what you are in for – this is a blatantly evangelical Christian music. Jesus brought out the best in Bob: it is the most passionate vocals of his career.

Infidels (1983)

After three Christian albums, this was Dylan’s return to secular music and critics and fans collectively sighed “thank God!” Instrumentally the album sounds great. It was produced by Dire Straits’ Mark Knopfler, the second guitarist was former Stone Mick Taylor and the rhythm section is reggae’s Sly & Robbie. Famously one of Dylan’s greatest songs was left off the album: “Blind Willie McTell” which was later released on The Bootleg Series Vol 1-3 (1991)

Empire Burlesque (1985)

This album has a strong 80s aesthetic, but don’t let that scare you away. Self-produced and accompanied by studio musicians and Tom Petty’s Heartbreakers this is a great album. Strong songwriting, an impassioned Dylan vocal performance and I dig the 80s arrangements. My only complaint is that on some songs the 80s drum effects are eye-rollers. I experienced my first Dylan show after this album in the summer of 1986 – that show will get its own blog post someday.

Oh Mercy (1989)

Daniel Lanois was on a roll in the 80s: U2, Peter Gabriel, Robbie Robertson, and the Neville Brothers all had hits with him. His brand of Cajun/Arcadian atmospheric ambient soul was the perfect match for Dylan.

Time Out of Mind (1997)

Although Dylan hated working with Lanois, they got together again to create this masterpiece. Dylan had been given up for dead after a dreadful 90s and he had lost his muse – forced to get by on a couple of albums of folk and Delta blues covers. This was a comeback of epic proportions. Yet another Dylan album that on any given day would be my favorite. In my original review I said: “On Time Out Of Mind Dylan sings the blues. It is Dylan’s unique take on the blues: weary and regretful. When Dylan presented Lanois with songs, Dylan said the songs were about “the dread realities of life.” Lanois recently recalled the songs “had regret and hope, beauty and optimism. A lot of life experience. They were so complex.”

Love and Theft (2001)

I distinctly recall this album’s release day: 9/11/01. It was solace in a crazy time. It was a worthy follow up to Time Out of Mind and proof Dylan was back.

The Bootleg Series Vol. 8: Tell Tale Signs: Rare and Unreleased 1989–2006 (2008)

I played this album on an endless loop on a college visit road trip with my daughter. We drove from Minneapolis to Cincinnati (12 hours) and she slept most of the way – so I had plenty of time to soak up this 38 track album. The album spans the recording sessions for Oh Mercy, World Gone Wrong, Time Out of Mind, and Modern Times as well as several soundtrack contributions and previously unreleased live tracks from 1989 through 2006. I love the Dylan/Lanois partnership (Oh Mercy and Time Out of Mind) and there is plenty of material from those sessions to enjoy on the album.

The Bootleg Series Vol. 13: Trouble No More 1979–1981 (2017)

The legend of the Christian phase was that Dylan was performing the most impassioned live gigs of his career. Unfortunately, I never saw him during this period. In my review I said: “Trouble No More takes a deep dive over eight CDs and one DVD of the Christian era. Six CDs of live material and two of unreleased and rare material. As much as I have loved Slow Train Coming, Saved and Shot of Love, it is otherworldly to hear that material live. And like most eras of Dylan’s career, he left amazing material off the albums. Bootleg Vol. 13 is a treasure chest of previously hidden gold (unreleased songs and live cuts) from his Christian period.”

Rough and Rowdy Ways (2020)

If Dylan never records again, this will be a great finish. When the first singles came out early in the pandemic it was a similar gift as Love and Theft on 9/11. In my original review I said: “At 79 Bob Dylan remains relevant as ever on his 39th studio album. After an 8-year dalliance with the Sinatra songbook, he returns with an inspiring collection of new original material. It is yet another masterpiece in his catalog – an amazing feat.”

Well, there you go, my favorite Dylan albums. If you have not figured it out by now I am a huge Dylan fan – so much so that our son’s middle name is Dylan. If pressed to give you just five it would be (in no order – as stated earlier my favorite Dylan album depends on my mood and the day of the week):

  • Highway 61 Revisited (1965)
  • Blonde on Blonde (1966)
  • Blood on the Tracks (1975)
  • Time Out of Mind (1997)
  • Rough and Rowdy Ways (2020)

Primary Rig

Clockwise: Schiit Vali 2 augmented with a with a vintage Amperex ECC88 tube (headphone amp), Massdrop Sennheiser HD 6XX , Headphones, Bluesound Node 2i streamer, and Croft Phono Integrated (amp)

This is not much of a post, but given I mostly post about music, I thought I would share how I listen. 90% of my serious listening is on headphones with the source material being Tidal streaming via my Bluesound Node 2i. I still love my records and CDs, but streaming is so damn convenient. And with high resolution, streaming sounds great too! My primary rig is in the photo above with links to more details about each piece of equipment. Love to see what you all listen through.

Prince – The Truth

RSD Drops 2021 June 12th, 2021

My son recently asked me about my take on the Prince release that will part of this year’s Record Store Day. I had seen it on the list, but I had not checked it out. When I did, I realized it was part of the 1998 release Crystal Ball which is in my CD collection.

Per Record Store Day site:

The Truth is widely regarded as one of Prince’s most underappreciated hidden gems. Originally released as an accompaniment to the 1998 triple album Crystal Ball, which marked the first time that Prince released an album totally independently, The Truth was also the first Prince album to be labeled “acoustic,” though it does contain electronic instruments and elements, and it gave listeners an unprecedented chance to hear his songwriting and voice in a stripped-down presentation. This release as part of RSD Drops marks the first time The Truth is available on vinyl, with gorgeous, foil-embossed artwork designed by Prince’s long-time art director Steve Parke.

I am a Prince fan, but not an obsessive. I have most of Prince’s official albums, but he released so much material that a lot of it’s not that familiar to me (even stuff I own). I am more familiar with the packaging of Crystal Ball than the music. The Truth album is a worthy candidate for my “Lost on the shelves” posts – this is a new release to my ears.

Packaging: “The Truth,” the song, was originally released as a mail order CD single via Prince’s fan club. There was a plan to release The Truth as an album, but label trouble resulted in the album getting shelved.

The original 1998 CD

Eventually, it was included as a bonus CD with a three CD set Crystal Ball. Crystal Ball was in a clear plastic round box. This packaging was kind of cool to look at, but not very practical. It did not file easily on a typical CD shelf and it was challenging to pull an individual CD out of the package to play it.

History: Originally Prince had a album concept called Crystal Ball. The concept was abandoned and many of those songs ended up on Sign O’ The Times. The Crystal Ball that ultimately got released as a “box set” was a collection of outtakes and songs from Prince’s vault. The Truth was thrown in as a bonus and ironically was a more thought-out album vs. the hodgepodge that is Crystal Ball.

The Music: The shorthand take on The Truth is that it is Prince’s acoustic album. It certainly leans acoustic, but it does have some electronic instruments.

The album opens with “The Truth” that has a Tracy Chapman “Give Me One Reason” vibe, but with stranger lyrics and odd vocals – in a good way.

“Don’t Play Me” has a singer songwriter feel. Lyrically, Prince is direct and mysterious at the same time.

After two sparse acoustic songs (augmented with some electronics), Prince gets lush. “Circle of Amour” is a gorgeous ballad recounting a kinky high school memory.

“3rd Eye” is acoustic guitar and bad ass electric bass. Prince explores religious themes. Prince offers some self-help:

“In self-pity so dark
This shitty and stark
Realization is all that will soothe
Ultimately the only one
That can save you is you
Your God is inside and for that God you will do
Whatever it takes
If nothing else is true
The only one that can save you is you, yeah

Some trivia: the “This shitty and stark” line is the last time Prince cussed on record.

“Dionne” is lushly arranged and has a Broadway show tune feel.

“Man In A Uniform” is a kinky novelty song, but in Prince’s hands it is funky AF.

“Animal Kingdom” is a vegan anthem and sonically is as weird as you would expect.

“The Other Side Of The Pillow” is an acoustic blues with the epic lyric: “Cool as the other side of the pillow.”

“Fascination” has a jazzy Doobie Brothers vibe.

“One Of Your Tears” is a heartbreak song where Prince coos: “Sometimes I want to die and come back as one of your tears.”

“Comeback” is about the ultimate loss.

The album ends with “Welcome 2 The Dawn (Acoustic Version)” which is a brilliant ending – it is the kind of song you would play for the end credits of a movie. It is the strongest song on an album of good songs.

This truly is a hidden gem in the tsunami that is Prince’s catalog. It is totally Prince, but another side of his brilliant star. It is not quite like anything else in his catalog, it’s wonderfully oddball. So glad to have been reminded of its existence by Record Store Day. It is not one of his greatest albums, but it is a fascinating footnote to his genius.

P.S. Sonically this is a great sounding record. Super clean and intimate sounding. Proof a CD can sound fantastic.

Check out @catchgroove

@catchgroove on Twitter
@catchgroove on Instagram

I have been posting fewer blog posts lately in favor of Instagram and Twitter. Some of this is laziness, but also I get more traction on those platforms.

My approach on Instagram is short takes on what I am listening to, drinking and eating with a photo. Pre Covid I would highlight activities like concerts and sporting events.

My approach on Twitter is to embrace the medium and give even a shorter take on the same stuff I would post on Instagram.

If you like this blog consider following @catchgroove on Instagram and Twitter. Thanks.

Maria Schneider Orchestra – Data Lords

Maria Schneider Orchestra – Data Lords on ArtistShare

I heard a lot of positive hype on this album in 2020, but not being familiar enough with Schneider’s work I was reluctant to lay out $25 for a hi-res download. My typical purchase of music (mostly vinyl and occasionally downloads and CDs) is predicated on my being very familiar with the artist or being able to test drive the album on a streaming service. This album wasn’t on streaming services, so I forgot about it.

I recently won a 24-BIT/96HZ FLAC version of Data Lords in a contest from the website All About Jazz. I have had a chance to listen to it and it lives up to the hype. It is an instrumental concept album. Per Maria Schneider:

“…I feel my life greatly impacted by two very polarized worlds: the digital world, and the organic world. While one world clamors desperately for our constant attention, the other really doesn’t need any of us at all. …Feeling both of these opposite worlds represented in my recent music, I have decided to make this a two-album release reflecting these two polar extremes.”

I did some research on Schneider and now I understand why she would not issue her work on a streaming service. She finds the streaming services and labels (along with the various digital Goliaths) as anathema. In an article/interview she states:

“The way the music streaming economy works is [based on] how many times people listen to a piece of music and everybody is paid according to a play. So now everybody starts making their music shorter, so they can get more plays and what’s really absurd about it is somebody like me is making a record that costs hundreds of thousands of dollars and if I agree to have my music on a streaming site I’m being paid the exact same rate as a kid who makes a record in his bedroom.”

I understand the frustration, but because of her stance, fewer people are hearing her music. There are few artists who can avoid the streaming services and labels and Schneider appears to be one of them. But point taken – record labels and streaming services suck for creators.

Per a piece on NPR Schneider was inspired by her work with David Bowie – the song “Sue” from Blackstar. Data Lords uses some of the same jazz musicians that Blackstar did. In an email to Bowie she said:

“I felt like someone twisted my head so far to the right, it snapped off. What have you done to me?!” Bowie’s reply was short and sweet: “my work here is done!!”

But what about the music? This an epic big band/jazz orchestra (18 pieces). The first half of the album is the “digital world” and the second half is the “natural world. Both halves are beautiful. The digital world half is aggressive and in your face – in Schneider’s words: clamoring desperately for our constant attention (thanks Mr. Bowie). The natural world half is pastoral and conventionally beautiful (from what I have read, Schneider’s wheelhouse).

It is hard to categorize music, but I would easily categorize this as jazz. It is orchestral – given the size of “the band” and the elaborate arrangements. The ensemble has mostly traditional jazz instrumentation: horns and more horns and a conventional rhythm section of piano, bass and drums. A guitar and one odd ball: an accordion.

The album is exquisitely recorded. The 24-BIT/96HZ FLAC is warm and easy to listen to.

Having had a chance to hear the album, I wouldn’t hesitate to pay. Available at ArtistsShare as a download or CD.

The band:

Steve Wilson – alto/soprano/clarinet/flute/alto flute
Dave Pietro – alto/clarinet/piccolo/flute/alto flute
Rich Perry – tenor
Donny McCaslin – tenor/flute
Scott Robinson – baritone/Bb, bass & contra-bass clarinets/muson
Tony Kadleck – trumpet/flügelhorn
Greg Gisbert – trumpet/flügelhorn
Nadje Noordhuis – trumpet/flügelhorn
Mike Rodriguez – trumpet/flügelhorn
Keith O’Quinn – trombone
Ryan Keberle – trombone
Marshall Gilkes – trombone
George Flynn – bass trombone
Gary Versace – accordion
Ben Monder – guitar
Frank Kimbrough – piano
Jay Anderson – bass
Johnathan Blake – drums/percussion

Steven Wilson – The Future Bites

I don’t know how Steven Wilson and Porcupine Tree escaped my attention over the last 25 years. Seems like something I should have noticed. I saw this album upon release and ignored it – I did wonder about it as it seemed to be getting some hype. I recently listened to a podcast with Wilson, and he was so interesting that I was compelled to check out the new album. Once I heard the interview it jogged my memory that he is well regarded as remixer (both stereo and surround) of choice for various classic rock acts and audiophiles (a side hustle). His remix of the Jethro Tull catalog is amazing.

The Future Bites is a concept album performed in a sophisticated pop style that sounds contemporary, but familiar to these classic rock ears. Kind of like if Pink Floyd had been informed by hip hop and electronica. Per Wilson’s website:

The Future Bites deals with two recurring themes of my musical output, identity and technology. It picks apart our 21st century utopia, while also allowing for moments of personal growth and optimism. It’s less a bleak vision of an approaching dystopia, more a curious reading of the here and now”

Steven Wilson

Sonically the album sounds great. Not surprisingly given Wilson’s work as a remix engineer on classic recordings. If you want a little taste, check out the song “12 Things I Forgot” – it is like a long-lost ELO song – pure ear candy. Another great song is “Man Of The People.” In the podcast interview, Wilson said it was his favorite of the album and he envisioned it as Marvin Gaye meets Pink Floyd – pretty spot on.

It is early in the year to make this claim, but this will be on my top-10 for 2021. Looking forward to diving down the Steven Wilson/Porcupine Tree rabbit hole.

John Scofield & Pat Metheny – I Can See Your House From Here (Tone Poet reissue)

180-gram LP
Mastered by Kevin Gray at Cohearent Audio from the original master tape
Plated and pressed at RTI

This is one of my favorite albums from two of my favorite guitarists: John Scofield & Pat Metheny. I Can See Your House From Here is a worthy candidate for the Blue Note Tone Poet series. Per Blue Note:

“The Blue Note Tone Poet Series was born out of Blue Note President Don Was’ admiration for the exceptional audiophile Blue Note LP reissues presented by Music Matters. Was brought Joe Harley (from Music Matters), a.k.a. the “Tone Poet,” on board to curate and supervise a series of reissues from the Blue Note family of labels.”

First, this is an excellent performance by Scofield and Metheny. Second, each of the guitarists brought great compositions to the session. Third, the rhythm section of Steve Swallow (bass guitar) & Bill Stewart (drums) could not be more perfect. Finally, the sonics of the recording are audiophile reference quality. The original CD from 1994 sounded fantastic – this vinyl record sounds even better. In a recent post I said:

“…which sounds better vinyl or digital? I can give you a definitive answer: it depends on the specific recording. How an album was recorded, how it was mastered and how it was transferred to the final state (a vinyl record or a digital file) can make a vinyl record sound better than the digital file and vice versa.”

Spinning at home

This Tone Poet release is a great example of the art of mastering to vinyl. In the hands of an expert artist, the vinyl medium can’t be beat. Unfortunately, it is rare that such care is taken. This version is perfection – all the care was taken, it sounds gorgeous. This will be my go-to vinyl reference recording. Ironically, this vinyl is sourced from digital (in this case, 88.2 kHz/24-bit) as this was originally a digital recording. But even with a digital source, a vinyl craftsman can work their magic. I look forward to listening to more of the Tone Poet catalog.

John Scofield is heard on the left channel and Pat Metheny on the right of this stereo recording. Despite two guitar wizards, this is not a cutting contest, but rather a freewheeling conversion between friends. I have a kind of synesthesia when it comes to music – I can taste certain sounds – this is one of those tasty albums.

It was recorded in one of the greatest Studios – The Power Station in NYC – a piece of art itself.

Although you won’t get the total feel of the audiophile LP, you can still hear the beauty of the performance and compositions on the stream:

New Season of Cocaine & Rhinestones Podcast

I am excited to hear a new season of Cocaine & Rhinestones podcast is coming April 20, 2021. Here is an announcement:

For those of you not familiar with this podcast, it is about country music history. Tyler Mahan Coe is the researcher, writer, and presenter. The 14-episode first season debuted in October 2017. The show was critically acclaimed and popular.

Coe is wonderfully opinionated, but backs it with exhaustive research. This is not a dry reporting of history – Coe is a captivating storyteller. Here is my review from a few years ago.

In season one each episode focused on “some mystery about country music” like: the controversy over Loretta Lynn’s recording of “The Pill”, the meaning of Merle Haggard’s “Okie from Muskogee”, and the musical relationship of the Louvin Brothers. I can’t emphasize how deep Coe gets into a topic – episodes typically are 90 minutes or more. Coe augments episodes with “liner notes, “clarifications and corrections” and sources. I assume season two will follow the same basic format, but Coe has suggested some enhancements. Think of this as an audio documentary vs. a conversational podcast.