By Dave Swanson - Summit FM Contributor

Chappell Roan has appeared, seemingly out of nowhere, with a debut album that is catching fire more and more every day, hence the appearance in the 'Essentials' series. Our own Brad Savage always has one eye on the future, one on the past, and one on the used record bin, but I digress. The sound of Rise and Fall of a Midwest Princess, the debut LP from Chappell Roan, has been described as "campy pop," as it combines elements of pop music's glorious past with nods to synth-pop, disco, a dash of country, and a few fragments of pop/rock mixed in.

Unafraid to lay it all on the line, Chappell has strong ties to the LGBTQ community and has been championed for her "journey of self-discovery" and for "embracing her sexual identity." "This job allows me to be whoever I want, because there are no boundaries," she said in an interview, also stating that a large part of her image and style was inspired by drag queens.

Born Kayleigh Rose Amstutz, she has been immersed in music as far back as she can remember. Like many from the new generation, she got her start on YouTube with an original composition titled "Die You," which ultimately caught the attention of Atlantic Records. They signed Roan and released the EP School Nights, followed by the single "Pink Pony Club." Following that release, she was suddenly dropped from Atlantic. Fear not, as Island Records were waiting in the wings to release her debut full-length, Rise and Fall of a Midwest Princess, in the fall of 2023 to seemingly universal acclaim.

Born in 1998 in Willard, Missouri, Roan knew her path to follow her dream would take her out of her Midwest roots, but she still incorporates those roots into her identity. "I always wanted to tie my project back here," she stated in a promo video for the album. "Even though I felt like I didn't belong, I have to honor this place that raised me, no matter how I feel about it. It's just always going to be a part of me."

The decidedly retro-'80s pop music vibe has drawn many people to Roan. "Good Luck, Babe" sounds like a long-lost hit from a John Hughes film, while "Super Graphic Ultra-Modern Girl" and "Hot to Go!" certainly have every dance floor, of any given gender, bouncing to the electro-dance beat pulsing along. There are elements of everyone from Madonna, Josie Cotton, and Cyndi Lauper to a brief touch of Kate Bush and Annie Lennox popping up here and there.

So if you like your pop music with many retro references, dig in. She's just getting started. Will she be in it for the long haul? Will the fans still be there when all is said and done? Will she gain a place at the table next to the mega stars of yesteryear? Will she end up in the "where are they now" file? Stay tuned, and in the meantime, enjoy!

By Matt Anthony - Summit FM Digital Media Specialist

Don’t cut yourself. Don’t cut yourself. Don’t cut yourself.

I found myself mumbling this mantra with more repetition than The Beatles at the end of “Hey Jude.” I tried to recall everything I had watched on YouTube earlier during my morning stationary bike ride. But I was freaking myself out, and the dichotomy of trying to ‘be good to myself’ while risking a trip to the ER was perhaps more than I could handle that early in the day. Even Animals by Pink Floyd wasn’t helping.

Shaving with cartridge razors was hurting my wallet. And from what I’d been reading, those expensive little plastic thingies were also bad for landfills. So, after perusing one of the many articles urging you to rethink what you do and how you do it, I became intrigued by the suggestion of ‘stepping back in time and shaving like your grandfather used to,’ all in the spirit of helping the planet.

I admit that shaving with a safety razor, or ‘wet shaving,’ has become somewhat of an obsession lately. Razors are like tattoos: once you get one, you want another. Six months ago, I knew nothing about these instruments except that they looked like something you’d find at either The Bomb Shelter or a barbershop museum. I have a vague memory of my father shaving in the bathroom with a ‘butterfly razor,’ a one-piece unit that, when twisted at the handle, would split the top of the razor apart, revealing the location where the blade would reside. Single, individual blades always sort of frightened me anyway.

But I was doing it! And I didn’t perish! Somehow, during that maiden voyage into wet shaving, I managed to avoid a bloody catastrophe. I stared at myself in the mirror, moving slowly and methodically as #geofatboy had instructed me on YouTube, carefully gliding my first two-piece closed-comb beauty, a gorgeous rose-gold German-made Muhle R89, across my virgin whiskers.

What, in the name of Gillette, can we possibly learn about ‘gratitude’ by scraping a single Feather blade across our cheeks and neckline? (Or our legs and underarms?) Yes, I certainly wanted to play my part in not dumping pricey, disposable plastic waste into the garbage universe. But what I have discovered in the past six months is that this every-other-day necessity, an act that many of us do robotically and without much thought, can be a lesson in ‘intentional gratitude.’

“It’s an instrument that can be used every day for us to stay present,” says Anita Avedian of Brainz magazine and a licensed family therapist.

Of course, those who practice Zen are already tasked with the challenge of trying to live and practice in the present moment. But as I pedaled away in the basement, trying to acquaint myself with terms like ‘going against the grain,’ ‘BBS’ (‘baby-bottom-smooth!’), and ‘staying at a 30% angle,’ I began to view this sometimes-daily act of ritual boredom as a way to be intentionally good…to myself! And, in the spirit of Zen, if I’m good to myself, perhaps that intentional act could be projected onto others.

Does gratitude fall into categories like ‘active’ and ‘passive’? I had been driving around the week before, with Living Colour’s Time’s Up blasting from the tinny speakers in our 2012 vehicle, running that question through my mind. I knew that I had been lackadaisical regarding a more active strategy for demonstrating gratitude for what others had done for me.

But a few people close to me often pose the question, “What are you doing for you?” So, in the spirit of discovery, was I being intentional enough…with myself?

At times, after sitting meditation, I’ll think about my intent for the day. Can I please try not to be in a bad mood? Will I gratefully show something to someone else, something I may be familiar with, in a teaching moment? More importantly, will I intentionally try to do good for another without regard for reciprocation?

But later in the morning, it hit me. While preparing my coffee, I suddenly realized why I enjoy making it so much and why I want to derive enjoyment from its taste: because I try to prepare it with intent. Learning how to roast the beans with greater skill, being fixated on arriving at the optimal grind, and, probably most importantly, allowing the time each morning to carefully dribble the correct amount of water onto the beans during the pour-over—thereby doing justice to the person or family who cultivated it, as well as the person who packaged it and shipped it—so that I could benefit from it.

It's the same with shaving, I think. Rather than haphazardly sliding a mass-produced, five-bladed, budget-busting, uninteresting piece of plastic around my face while thinking of 17 other things at the same time, I set aside 15-20 minutes every other day—with intent—to give something to myself. And this art form, in a sense, can both pamper my sometimes-frazzled psychological and spiritual nerves and, at the same time, honor those who came before me.

More importantly, I believe that giving thoughtful, intentional gratitude for this new interest (okay, ‘obsession,’ I admit it) can teach me about doing other things with ‘intent.’ The right amount of pre-shave lotion, adding the correct amount of Proraso with an eyedropper of 7 ml of water, and then carefully working the brush inside the bowl so that it actually starts to resemble ‘shaving cream.’ Allowing that cream to sit and work its magic with patience before loading up the razor.

Oh, and these razors! The classic Merkur 37-C has been made in Germany for decades, and its feel and balance in the hand are perfection! The longer handle helps newbies like me maintain the proper angle. The sleek Henson AL-13, a lighter, aerodynamic looker from our Canadian friends north of the border, will silently and crisply take care of a three-day growth with laser efficiency. And, last night, with The Stones’ Voodoo Lounge cascading through the house, I used my Edwin Jagger DE89, a precision-weighted, handcrafted work of art from Sheffield in the United Kingdom. My current budget won’t allow for an American-made Rex Ambassador, so for the time being, I believe this finely honed specimen from the north of England may, in fact, be my favorite so far.

Yes, ‘works of art’ can cost a few coins, and there is definitely a small investment upfront. But these razors are meant to last! Some older gents pass them on to family members as heirlooms. (Did I mention that you can get a 50-pack of Feather blades from Japan for 15 bucks?)

And the crème de la crème? Treating one’s face to a soothing aftershave balm as well as an aftershave lotion. In the case of the latter, from an Italian company that has been around since 1948. When I emerge from the bathroom after shaving, Donna will sometimes say, “Wow, you smell like a man!”

Fifteen minutes of grateful intent combined with appropriate tune-age. Sounds like a pretty decent way to help save the planet. Or, as #geofatboy would say on YouTube, “Have a great shave, have a great day!”

By Dave Swanson - Summit FM Contributor

Oh my, the 1980s. Radio, video... boogie with a suitcase. We got the beat of a Mexican radio gaga. It was a lot to take in. And that’s just the tunes. Never mind the follicles—here's A Flock of Seagulls.

Yes, sad to say, hair reigned supreme from the over-poofed and primped styles of the early part of the decade to the MHO (maximum hairspray overdose) of the later years. Many times, it masked an inferior product, padding questionable sounds with distracting scissor wizardry. Other times, it was simply a questionable foray into, um, fashion—yeah, fashion. Oh my, the 1980s. Enough ridicule, as the band in the spotlight here could have easily done without such hair-raising antics. The debut album from A Flock of Seagulls had the tunes to back it up and stand on its own merits.

One might find it odd, but the roots (no pun intended) of A Flock of Seagulls date back to the progressive rock era. The duo that produced the band’s debut album was each part of significant forces of that era. Mike Howlett was an Australian musician who landed in London in the mid-1970s, joining the legendary band Gong in 1973. After a four-year run with them, he formed the short-lived band Strontium 90, which included Sting, Andy Summers, and Stewart Copeland before they became the Police. Meanwhile, the other man behind the board on some of the A Flock of Seagulls sessions was none other than Bill Nelson of Be Bop Deluxe fame. Following Be Bop's disbanding, Nelson dove headfirst into the new wave currently happening, especially the frantic energy of bands like XTC. He formed his own take on the style under the name Red Noise before making a run of solo albums all informed by the 'modern music' he had, in part, helped shape with Be Bop Deluxe. Howlett would go on to produce significant bands like OMD, Gang of Four, the Alarm, and Joan Armatrading, among others, while Nelson has maintained a strong solo career for decades.

With all that behind them, A Flock of Seagulls took flight, straight out of Liverpool, England, releasing their debut single, "(It's Not Me) Talking," in the spring of 1981. The Nelson-produced 7" was released on his own Cocteau label prior to the band signing with major Jive Records. It set the stage for what this band was all about: modern, catchy, futuristic pop music for the new decade. Though encased in the new technology and gloss available, the songs were simple and informed by rock and pop’s past. A follow-up single, "Telecommunication," was issued that fall and became a college radio hit of sorts in the US, with Nelson’s sharp and striking production making a great-sounding record over the airwaves. Mind you, this all happened before most had any idea of who this band was or what they looked like—an all that would change with single number three and their arrival on MTV.

When "I Ran (So Far Away)" hit MTV, it became a mini sensation, making the Top 10 in America. The first of the Howlett-produced tracks, his style was a bit more spacious and cinematic, which only aided the visual aspect as the video gained heavy rotation. The next single, "Space Age Love Song," followed a similar path but failed to crack the Top 20. Other album tracks such as "Modern Love Is Automatic," "Don't Ask Me," and "Messages" kept things alive via college radio, but it was the visual aspect of the band that truly sold them to the mass market. Though ultimately kind of a curse they could never shake, their exaggerated style, primarily of singer/keyboardist Mike Score, certainly got them attention. We wouldn’t be talking about them or their music if they didn’t have the songs to make it all work.

Though they may have had loftier ideas when they began, the songs were catchy, enjoyable, and can still bring a smile and a foot-tap 40-plus years later. That’s what good pop music is supposed to do, and there is no shame in 'pop music' when it’s done right. For "I Ran" to sit alongside the likes of "Love Grows Where My Rosemary Goes," "Indian Giver," "Knock Three Times," and so on is no simple task—and it does so just fine.

By Dave Swanson - Summit FM Contributor

Indie rock heroes Spoon, led by the duo of singer/guitarist Brit Daniel and drummer Jim Eno, had been steadily ascending the rails of success since the release of their debut album, 'Telephono' back in 1996. Jumping briefly to major label distribution, the band swam back into indie waters in 200, signing with Merge Records, a catch all, well respected label. for the next several years, the band's reputation grew and they had become a mainstay in the indie world. Their sound was a solid mix of familiar and new with albums like 'Kill The Moonlight' and 'Girls Can Tell' but it was their sixth LP that seemed to solidify them as a true force,

Released in the summer of 2007, 'Ga Ga  Ga Ga Ga' was one of those records that seemd to jump forth from nowhere straight into the spotlight, something that even caught band leader Britt Daniel by surprise. "I don't know what happened," he said in an interview. "We were on Saturday Night Live and I had just moved to Portland. I was at the grocery store, they actually sold records at the grocery store, and I remember going to my grocery store and seeing that this ('Ga Ga Ga Ga Ga') was the number one record and it blew my mind."

Clean up on isle four aside, it meant that these guys had arrived and if not fully inside the mainstream, close enough to get a view. A lot of work went into the album. "We take a long time to record," Daniel recalled,' "only ten songs made it onto the album, over five months, that's two songs a month and after we'd been doing it for months, and I could tell we still had months to go. At that point it feels like, Ive been doing it forever and I'm going to be doing it forever."

The album kicks off nicely with the dynamic 'Don't Make Me A Target,' probably one of the band's finest moments. It was, however, the first single from the album, 'The Underdog,' that sets things into motion. It is simply undeniable with its ultra-catchy hook and dynamic horn section adding to the layers of sound. It was an alt radio hit and remains one of their best loved songs, sounding for a moment like the Libertines crashed into Herb Alpert. 'The Ghost of You Lingers' and 'Finer Feelings were other highlights, while the album's second single, 'Don't You Evah' was later re-issued as an entire ep, featuring seven different mixes of the song.

The album was produced by the band, along with Jon Brion, a guy with a great pop sensibility. With lyrics that ranger from personal, to social and from angry to uplifiting, the band seems to connect with its fans in both sonic and lyrical terrain. The band carry on still creating their own take on pop music, and for many, that first peak was this album.

By Chad Miller - Summit FM Music Director

What's everyone been listening to out there? So much new music coming at us, so little time... However, these songs that might fly under the radar to most are what I've been diggin' these past few weeks!

Like what you hear? Please email me at chad@thesummit.fm and let me know what you think!

By Dave Swanson - Summit FM Contributor

Let us rewind back to the olden days when radio was a genuine force of power and influence. No, seriously! Way back before anyone's Tik had even thought about Toking, radio had a significant presence on the musical landscape. From the 1960s through the early 80s in particular, radio not only made bands famous, but made bands become bands. Growing up listening to your favortie radio station, hearing all these different sounds pouring through the speakers, and, different stations run by different programmers in different cities led to different acts becoming popular in some cities while ramining virtually unknown in others. Regional hits were very common. A record may have caught fire in Detroit or Cleveland but went unheard in San Fransisco or Arizona.

From the late 70s through the early 90s, KROQ in Los Angeles was the arbiter of taste, style and hipness. Thanks in large part to legendary dj and scene maker Rodney Bingenheimer, K-Roq was the first station to play such acts as Ramones, Blondie, Depeche Mode, Devo, Oasis and on and on, Growing up in southern California at the time  with KROQ as the soundtrack influenced countless young musicians to take the jump to forming a band and trying to 'make it.' The variety of music they played also gave listeners the idea that anything was fair game. A band like Depeche Mode could sell out a stadium in L.A. where they were struggling to fill arenas elsewhere, and bands like the Specials and Madness were big stars out west but practically unknown throughout the rest of America outside of college radio. The retro Ska sounds of those bands, and many others, caught on big time in L.A. and new bands were incorporating that sound into their own style. From the Untouchables on through to Rancid, the ska/reggae vibe had snuck in.

Formed in 1986, No Doubt were caught up in the style, building a local following and working on their high energy live shows before ultimately beginning work on their debut album in 1990 with their eyes on the independent label scene. As the band kept working, a little album called 'Nevermind' was released and suddenly anything loud and 'grungy' was the place to be. While No Doubt were a far cry from the flannel wrapped angst of the grunge brigade, the outside world was changing and soon enough the 'alternative' music avalanche had begun. This was good news for No Doubt who were snapped up by Interscope Records who released their self-titled debut album in 1992. 

Though confident and energetic sounding, the album sank without a trace. The band were ready to roll into album number two, but the label was less engaged, feeling the first album tanked and that was the end of the story. So, with the label being non-committal, the band headed back to indie mindset and recorded another batch of songs in their home studio, figuring nothing would happen anyway. Interscope reluctantly released the album, titled 'The Beacon Street Collection,' in early 1995 and much to the surprise of everyone, sold over 100,000 copies, three times as many as their debut. "With our frustrations we decided, “F--k it! We're gonna go make our own record," drummer Adrian Young told Headliner magazine. "We're going to sell fun and we're going to put it out for the local fans, and for us.”

The music scene was moving fast, radio and MTV were still a force and a band like No Doubt seemed ripe for stardom. Though they may have had early roots in the sounds of ska, it was always a ska-lite, and they were just as much, if not more, in debt to commercial pop music in general, being only a stone’s throw from the likes of Cyndi Lauper, Madonna and Debbie Gibson. Singer Gwen Stefani had the image and style to pull off playing the pop star role, and she did just that by the time of their massive breakthrough, 'Tragic Kingdom.'

Released in the fall of '95, 'Tragic Kingdom' pulled out all stops going on to become a mega hit which has remained the band's 'go to' album. It started out slow, however, entering the Billboard charts at a less than stellar #175, it would take nearly a year but it ended up in the number one spot by years' end. A total of seven singles were issued from the album with 'Just A Girl' being the big smash. Others like 'Don't Speak,' 'Spiderwebs' and 'Excuse Me Mr.' all helped keep the LP in the charts, while endless press and media blitzing put No Doubt in the hot property category. Though the band had already been around for nearly a decade by the time 'Tragic Kingdom' hit big, it was for the best said Young. "If our first record was as successful as 'Tragic Kingdom' we would have been younger – in our early 20s. I don't know if we could have handled it as well."

Producer Matthew Wilder (of 'Break My Stride' fame) would go on to work with the likes of Christina Aguilera, Kelly Clarkson and Miley Cyrus. Though their next three albums would all hit the Top 10, none ever matched the fever pitch of 'Tragic Kingdom,' which was truly a case of right time, right place, right band.

By Dave Swanson - Summit FM Contributor

"I felt like I was going f***ing crazy," Radiohead guitarist Ed O'Brian told Q Magazine looking back on the time period just before writing what would become 'Kid A.' "Every time I picked up a guitar I just got the horrors. I would start writing a song, stop after 16 bars, hide it away in a drawer, look at it again, tear it up, destroy it... I was sinking down and down."

Before the Beatles, Bob Dylan and kindred spirits set up shop, pop music was a much simpler game. People wrote songs, people sang them, record labels signed them, the public bought them, or didn't. Some acts were markedly better than others and some were noticeably more involved than others. Frank Sinatra, for example, is often and rightfully credited with the concept of the 'concept' album. He produced several thematic albums that not only stood a cut above, but have survived the sell by date. By the mid-60s, pop music had become an art form, not just a catchy jingle...not that there's anything wrong with 'just a catchy jingle' mind you, but the idea of rock/pop acts creating art was new at the time.

From 'Pet Sounds' to 'Close To The Edge' to 'Sandinista' and beyond, rock and rollers were always trying to one up each other, and themselves. Of course, in the process they could easily alienate casual fans, confuse critics and, perhaps, confuse themselves when crawling a bit too far out on that limb. The other option was, of course, to keep delivering the same goods that got them to that place of being able to branch out. A place Radiohead found themselves in at the dawn of the 2000s.

Following the huge critical and commercial success of 'OK Computer,' Radiohead were somewhat at crossroads artistically. "I was fed up with all the prog-rock analogies," said guitarist Ed O'Brian, "particularly because I hate all that music anyway. I thought the only way that we could do the antithesis to OK Computer was to get rid of all the effects, have really nice-sounding guitars and do something really snappy." At the same time, singer Thom Yorke immersed himself in the music being released by the Warp label, who specialized in groundbreaking electronic sounds, acts like Autechre and Aphex Twin, trying to find new inspiration to incorporate into the Radiohead sound. This was decidedly at odds with O'Brian's back to the roots concept.

"If you're going to make a different-sounding record," O'Brian said, "you have to change the methodology. And it's scary - everyone feels insecure. I'm a guitarist and suddenly it's like, well, there are no guitars on this track, or no drums. Jonny, me, Coz, and Phil had to get our heads round that. It was a test of the band, I think. Would we survive with our egos intact?" Yorke came to the conclusion that, "To be honest, yes, we could have done that," he told Rolling Stone. "And three weeks down the line, it would have been a f***ing nightmare. We would have hated it."

The progression of the band had been swift, from the dyed blonde angst and 'chunka chunka' guitar of 'Creep' through the haunting acoustic textures on 'The Bends, a beautiful album, ultimately checking all the boxes on 'OK Computer,' which sold into the the millions, though, according to Q, the band now views that album as "overrated and several minutes too long." 

So Radiohead opted to take a new road with 'Kid A,' initially confusing fans and critics, some of whom called it a "commercial suicide note," as they picked apart it's obvious atempt at creating something that could be seen as decidedly obscure. The Guardian going as far as to say it was "self-consciously awkward and bloody-minded, the noise made by a band trying so hard to make a 'difficult' album that they felt it beneath them to write any songs." 'Everything in Its Right Place,' 'How to Disappear Completely' and 'Optimistic' are all good examples of the new direction the band opted for on 'Kid A.'

Whether it was the lingering excitement from 'OK Computer' or something in the water, no one told the record buying public, as the album shot to number one in Canada, Ireland, Scotland, New Zealand, England and America! It remains one of the band's most cherished titles in their catalog and one of the most unconventional albums to ever be classified as a hit. Years later, many notable publications have even listed it on their respective 'Greatest Albums of All Time' lists. While no singles were released from the album, much material was record during these sessions, so much, in fact, that the follow-up album, 'Amnesiac,' was comprised of material from these sessions, though taken in a different direction. Radiohead have proved themselves to be an essential component to the rock landscape over the past 30 plus years, and 'Kid A,' as off the beaten path as it may have been at the time, has also proved itself an essential listen

By Dave Swanson - Summit FM Contributor

Hold on a moment. The Summit FM and Metallica? No, that is not a misprint and yes your rafters will shake and your neighbors will tremble, but that's alright, honest! ‘Ride The Lightning’ turns 40 this year.

Heavy Metal is a peculiar beast to say the least. The legions of metal fans are among the most loyal on the planet. Seriously, those people are dedicated to their cause. Up The Irons! People may try to make other cases, but for the sake of brevity, heavy metal began with Black Sabbath. Anything that came before of a heavynature - Cream, Grand Funk Railroad, Led Zeppelin, Blue Cheer or Iron Butterfly were better tagged as hard rock. They all displayed characteristics that the metal crew would adopt and carry further but it was Black Sabbath that really established the sonic template of harsher, yes 'metallic' guitar sounds, married to a general vibe of evil, doused with witchcraft, horror, chaos and other darker topics in the lyrics. The sound of that first Black Sabbath record (1970) was unlike anything that came before with that whole 'devil's third' chord progression in the opening track, it was totally unique at the time.

There were bands like Sir Lord Baltimore, Judas Priest, Scoripons and Budgie early on. Throughout the 1970s there were many hard rock bands from Thin Lizzy and Aerosmith to Deep Purple and AC/DC but again, all really not 'Metal.' At the same time that punk was starting to brew up, a band appeared who played rock and roll at full volume and aggression, at breakneck speed. They were called Motorhead and were formed by Lemmy Kilminsterafter being kicked out of Hawkwind following a drug bust. Not that Hawkwind were anti-drugs, but they preferred psychedelics where Lemmy was busted for amphetamines.  Motorhead was a power trio unlike any other and though they were definitively hard rock and roll, they metal contingent loved 'em. They inspired countless young musicians to jump into the fire and form their own band as each would try to play faster, louder and meaner than the previous. At the same time, the energy and brevity of punk was not lost on this crowd as they would incorporate some of that DIY defiant attitude to their sound.

This movement was tagged the New Wave Of British Heavy Metal, a scene that would prove to be highly significant for years to come, inspiring  countless bands to up the ante. Iron Maiden, Saxon, Angel Witch and countless others emerged and took the underground by storm and in the process, even influencing metal pioneers Black Sabbath to streamline their sound and infuse more energy, making for their finest album in years, ‘Heaven And Hell.’ Eventually, that influence made its way back to America, inspiring another batch of bands. Call it thrash, speed or punk metal, this next generation were higher octane with bands like Exodus, Slayer and, of course, Metallica. Originally buzzing around the Los Angeles rock scene of the early 80s, they found themselves at odd with the crop of bands like Ratt, Motley Crue etc. They heard about a happening metal scene eight hours north in San Francisco, so they found a new home. Underground metal fans had their own network of communication. long before the internet. The common practice of swapping demo tapes of new bands was at a fever pitch and Metallica's 'No Life Til Leather' was the most talked about at the time.

That tape found its way into the hands of many fans as well as a guy named John Zazula, who ran Megaforce Records out of New York. Soon, Metallica headed east to meet with Zazula, ultimately signing to Megaforce who released their debut album, the underground classic 'Kill 'Em All,' in the summer of 1983. The album became an instant favorite on the underground scene, launching Metallica to the head of the list of most talked about metal bands as they toured across the land. Almost a year to the fate from their debut, Megaforce issued their second offering, 'Ride The Lightning.' Whatever promises that were made with 'Kill 'Em All' were more than fulfilled with 'Ride The Lightning' as the band sounded more confident, powerful and heavier.

The album begins with an almost classical style acoustic guitar intro before lumping off the cliff into the fastest and fiercest riff they had yet to deliver. ‘Fight Fire With Fire’ is payed at breakneck speed and with Armageddon inspired lyrics spat out as the band hammers away. One thing they had in place that set them apart was precision, the riffs, solos and rhythms were fast but all played with a savage precision. As each song is rolled out its clear the band were moving on from the pure thrash of their debut. Songs here were longer, more complex, more dramatic and more demanding on band and listener. The production was tighter and emphasized the heaviness and power over just speed.

The album is loaded with what would become Metallica classics like 'Creeping Death,' 'For Whom The Bell Tolls,’Trapped Under Ice' and the title cut. The band had someone truly special in bassist Cliff Burton, who was arguably the most talented and inventive musician in the band. He would tragically be killed in a bus accident a mere two years later. Within a short time following its release, the major labels came calling and the band would eventually sign with Elektra Records, following up 'Ride' with what may be their signature release, 'Master of Puppets.'

From that point out, it seemed like heavy metal ruled the remainder of the decade in one form or another and though 'metal' was a term many bands were labeled with, it was an immense canyon between the likes of Poison, Winger, etc and Metallica, Slayer and so on. Metallica would go on to become not only the most successfulheavy metal band ever, but one of the most succesful bands ever, selling millions of records, concert tickets and t-shirts over their career, which carries on to this day.

So what makes 'Ride The Lightning' essential you ask? Why is this station, better known for a 'kinder, gentler' soundtrack to your day, playing this nearly hour long metal assault? You'd have to ask program director Brad Savage for the behind the scenes choice. I'm not a real metal guy, but I can appreciate certain bands and albums for sure and I'll back him up on this choice. If, however, in the future, you hear a Motorhead album being played, that's all on me. 

'Ride The Lightning' is, to my mind, the best thing Metallica ever did. It was everything the first album promised, then magnified into a total powerhouse of heaviness. Mega success would come in 1991 with the self-titled 'black album,' but this is where it all initially came together and the reason people are still talking aboutMetallica forty some years after they began. So when these songs come blasting out of your radio, app, device or fillings, turn it up and shake those cobwebs out. You can always listen to James Taylor later, though you might want to have that condition checked out.

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- Passion Works mission statement 

Check out Passion Works, an all-inclusive collaborative art studio in uptown Athens, Ohio. 

Passion Works began in 1998 in the small corner of a workshop, supported by a grant from the Ohio Arts Council. In 2009, the studio relocated to their current place of residence, whose vibrant exterior is instantly noticeable amongst the greys and browns of the surrounding area. Nine years after their move, Passion Works became a 501(c)(3) non-profit arts organization. 

The eye-catching, vibrant nature of the studio is matched, if not exceeded, by that of the art created inside. From painted guitars to intricate animal portraits to their signature Passion Flowers, every masterpiece is uniquely and beautifully crafted. Passion Works takes creative lead from their core artists with developmental differences, while collaborating with individuals of all abilities, creating a highly inclusive place of employment and self-expression. Additionally, much of the art is sustainably created with upcycled materials. 

Passion Works has a variety of artwork available for purchase in-studio or online. The proceeds from the sales are split 60/40% between the artists and the studio. The studio also donates 20% of the sales from specialty Passion Flowers to causes in the local area.

More information about Passion Works and how you can support them can be found at passionworks.org. 

By Matt Anthony - Summit FM Digital Media Specialist

“When the world comes in 
They come, they come 
To build a wall between us 
We know they won’t win” 
“Don’t Dream It’s Over” – Crowded House 

This was supposed to be one of the most satisfying events of my whole week. My Sunday morning walk. I look forward to it like I look forward to Pizza Oven pizza. Or an ear-injection of Green Day. Or that ‘Good morning, handsome!’ chirp that I get from Donna right before breakfast. 

But my head felt like it was going to implode. What was normally a measured, strolling meditation focused on the nature that surrounds me was turning into confusion, apathy, and anger. And while I disagree with the 45^th occupant of the Oval Office on many things, my angst was at boil-stage at the reality of an assassination attempt. 

This anxiety that I felt, though, was not in an embryonic state. I, like many, have felt it for some time.  But the events in Butler, Pennsylvania seemed to propel it into 5^th gear. (much like ‘January 6^th’ did.) My gait quickened and my head throbbed. What in the hell is happening, I mumbled to myself. 

“Remember, Red, hope is a good thing, maybe the best of things, and no good thing ever dies. I will be hoping that this letter finds you, and finds you well.” ― The Shawshank Redemption 

Several posts exist on social media relative to “which movie do you almost always watch when it’s on, even though you’ve seen it multiple times”.  I always include the 1994 classic above. (During filming, both Morgan Freeman and I were in Mansfield at that time, as I worked at Y-105 and WMAN.) But even years later, I continue to evaluate one of the over-arching themes of this epic film: hope. 

Yes, I know. ‘Hope’ is not a plan. And I’m not suggesting that it should be one. I can feel the burning sting of the question from Andy Dufresne himself, as I spill out my thoughts: “How can you be so obtuse?” But it can be a starting point that may evolve into the realization that a change can occur. 

I thought of hope during my walk. And I felt like a microscopic thread of it manifested itself as I made my way past a house several streets down, one normally adorned in MAGA décor. Someone emerged out of a side door carrying a bag of trash. As he deposited it into his refuse container, he spotted me gliding past, and yelled. 

“Beautiful morning for a walk!”  

“Yes, it is.” 

“It’s not always easy 
And life can be deceiving 
I’ll tell you one thing, 
It’s always better when we’re together.” 
“Better Together” – Jack Johnson 

People who hope to lose weight sometimes actually do it. People who hope to be better at learning an instrument sometimes see dramatic results with practice, even after a short time-period. People who hope for positive test-results sometimes get their wish. 

In The Shawshank Redemption, Red ‘hoped to see his friend and shake his hand”. I’m grateful for ‘hope’. I see it sometimes as the only way towards a common-sense dialogue about how people with disparate viewpoints can plant a seed with the goal of agreeing on a shared barometer for measuring ‘good’ and ‘bad’, ‘acceptable’ and ‘unacceptable’, and ‘makes sense’ and ‘doesn’t make sense’.  

It’s a tall order, I know. But I’m content with the concept. And I champion at least trying it. 
I also hope for a cure for Alzheimer’s. 
I hope to be a better caregiver. 
I hope for non-violent solutions. 
I hope for days with less depression and anxiety. 
I hope for reasonable health. 
I hope the Guardians win a World Series in my lifetime. 
I hope to take better photos. 
I hope to appreciate the moment in which I’m living. 

What do you hope for?