By Dave Swanson - Summit FM Contributor

From his first LP back in 1973, Bruce Springsteen proved himself a powerhouse of rock and roll, both onstage and on record. Seemingly with each release, he would raise the stakes, and summon the fire, as he rose above the 'swamps of Jersey.' By 1975, the masses had noticed this force of nature via a little album called 'Born To Run,' followed swiftly by 'Darkness On The Edge Of Town,' and the sprawling double set, 'The River.' More and more fans collected at every turn, from clubs to theaters to arenas. It was at this point that Bruce sort of hit the brakes to reflect.

In 1982 following the success of 'The River,' Springsteen retreated to a quiet setting of a small house in New Jersey, armed with an acoustic guitar and a four-track tape recorder, to record the sublime album 'Nebraska,' an album to this day, he considers his "masterpiece." The album sold well, especially considering its stylistic departure and downbeat aura. So Bruce's next move was up for debate at the time. Though he had a long run of classic albums that sold well, he had only had one 'hit' single in 'Hungry Heart' from 'The River.' Keep in mind, 'Born To Run,' 'Badlands,' 'Prove It All Night,' and all the others, all failed to even hit the Top 20, so while he was a very successful artist, he had yet to crash that other gate into 'the big time.'

"Wave that flag, wave it wide and high" - Hunter/Garcia, 1973

Instead of continuing the darker, more intimate tone of ‘Nebraska’, Springsteen decided to throw caution to the wind and aim for the multi-platinum ring, eyeing a residence in the stadiums of the world. With his seventh album, 'Born In The USA,' he did just that.

Let's get right to the facts, shall we!?

'Born In The USA' was released June 4, 1984. It hit Number one in eleven different countries, settling for number two in several others. It scored platinum status across the globe, except for Portugal and Spain, where it only went 'Gold,' and 'Diamond' in Canada, as their rating system differs. All seven singles released from the album hit the top ten in America, and elsewhere, also hitting the platinum mark. At least four of the album tracks would be considered Springsteen staples to this day…'Glory Days,' 'Dancing In The Dark,' 'I'm On Fire,' and the title tune.

The album is a conflict of sorts in that many of the lyrics are housed in uncertainty, disillusionment, personal struggles, and personal conflicts, while the music is of a more celebratory, upbeat nature. Case in point is the title track. This has to be one of the most misunderstood, or most ignored, lyrics of all time. The triumphant glossy nature of the arrangement and production mask the desperate lyric, which ultimately, does the entire song a terrible disservice. The lyric tells the tale of a Vietnam vet returning home to find a world that is beyond difficult to navigate. Haunted by his days in battle, he tries to understand his place in the world, and the world's place in him. Listen to the original demo version, later released on the 'Tracks' collection. It is a haunting, spine chilling recording, more at home on 'Nebraska,' that puts the lyric front and center…no fanfare, no flag waving. It is arguably Springsteen's finest moment.

"The idea of critical patriotism, which is essential to the country moving forward," Springsteen said in a 2021 interview. "'Born In The USA,' was misinterpreted on a variety of different levels because it basically put forth the idea that you can love and feel a part of the same country that you can be deeply critical of and feel disappointed by." That meaning flew high above the reach of many who bought, and loved, the record. The seeds were sown after Springsteen had performed a benefit in the summer of '81 for Vietnam veterans, in Los Angeles, and met with vets.

That being said, the 80's music was, in its own way, a covid-like disaster for those artists from the previous decade or two, who didn't know where to turn in the age of MTV, shiny synthesizers, and fashionable hair do's and don'ts. Bruce got out with less damage than most. Interesting to note, he never seemed to need a headband before, or since this album. The good time vibe template is everywhere on the album. 'Glory Days' and 'Dancing In The Dark,' are pure 80s pop machine hits, with the production all glossy and sparkling. It was a long way from the rough and tumble sound of ‘Badlands,’ or the pure drive of ‘For You.’

By anyone's standards, the album was huge, and put Springsteen high in the charts, on the cover of magazines, and into sold out stadiums. It also sealed his reputation as one of the major rock and rollers of all time. Springsteen has always been somewhat contradictory. "I always kept one foot in sort of the blue-collar world, and one foot in the counter culture, and I never truly belonged completely in either of them," he stated in a podcast he shared with President Barack Obama.

'Born In The USA' was, in that same sense, Bruce straddling those types of lines, and coming through it all as the victor. 'Born In The USA' remains one of the most iconic albums from the 1980s, with the songs outliving their time on the charts, and never leaving their place in the hearts of the fans

By Dave Swanson - Summit FM Contributor

Back in 1980, the music landscape was full of all sorts of sounds from punk to post-punk to new wave, disco hangover, heavy metal, roots rock, you name it. It was into that landscape that the debut album by Kevin Moore, 'Rainmaker,' landed. Released on the Parliament related label, Chocolate City (a division of Casablanca), the album went nowhere!  Moore's follow-up wouldn't arrive until the middle of the following decade.

Moore was busy as a session player and songwriter, so his return to the spotlight took a while, and when it happened, the world found a new blues hero in a guy called Keb' Mo', a distillation of his proper name. Moore had already been in the business a while at this point, most notably playing with fellow musical traveler Papa John Creach. He played on several LP's by Creach, and co-wrote some songs with him. Of those songs, one, 'Git Fiddler,' ended up on the million selling album 'Red Octopus,' by Jefferson Starship, a band Creach also played with at the time.

By the time the 90s were at his doorstep, he had a decision to make. He had studied electronics for a year, and was hired for an entry-level job with Roland Electronics, however, after a serious self-examination, he never reported for work, and decided it was a life of music he was meant for after all. So, in 1994, Moore, or Keb'Mo' was ready to start anew. He signed to Epic Records, who released his debut offering, in June of 1994, on the blues imprint O'Keh,' a classic label from the past. It wasn’t long after its release that the critics started raving about this 'new' talent on the scene. In addition to 11 original compositions on the earthy blues album, Mo’ included two songs by the blues legend of them all, Robert Johnson. Having been playing guitar since the age of 12, learned on a 1963 Silvertone acoustic from Sears, Mo’ had by this point developed his less is more style.

“I found lots of it that was clever and wasn’t hard to do,” he told Blues Blast magazine. “It was just gettin’ in there and findin’ a part that works – and play it well. I had no desire to go out and rip it – although I appreciate what folks like that do.” He claimed his most significant influence was the great Taj Mahal, who he saw in concert as a teenager. Though he had a solid grasp on the roots and history of the blues, his 1994 LP was a very contemporary work. Coincidence, or something in the water, the Keb' Mo' LP hit stores a few months after the classic, much revered 'American Recordings' from Johnny Cash. It was the right album at the right time.

All Music Guide called it an "edgy, ambitious collection of gritty country blues," stating that "Keb' Mo' pushes into new directions, without losing touch of the tradition that makes the blues the breathing, vital art form it is. His gutsy guitar playing and impassioned vocals, as well as his surprisingly accomplished songwriting, make Keb' Mo' a debut to cherish."

The album helped Keb' Mo' develop an audience which has seen him through a career well into its fourth decade, carrying with him several Grammy Awards, high numbers on the blues charts, and a well-respected body of work. There is something timeless about the 1994 album that rings very true 30 years after its release. Enjoy!

By Matt Anthony - Summit FM Digital Media Specialist

Before you had too much, 
Come back in focus again. 

• “Jigsaw Falling Into Place” – Radiohead 

It was an exceptional day for a marriage ceremony. The afternoon was brilliantly sunny. The congregation appeared to be expertly coiffured in every way. My nephew and his gorgeous bride had ordered up the perfect day to kick off their life together. I, and everyone else on the guest-list, would not have had it any other way. There was much for which to be grateful. 

Weddings. Graduations. Vacations. The gratitude found during these momentous events seem to shine forth with a bit more luminosity. They’re easier to see. (And the highlights make for rapid-fire social-media posts and magnanimous photo ops!) 

But what happens after the confetti is swept away, after the suitcases are stacked again in the basement or the garage. When the luster of the event diminishes, how deeply do we need to look for the much more nuanced radiance of the ‘everyday’? 

When I was working through my motorcycle training class, our instructor (‘Augie’, a short, compact, likeable, big-voiced man who could flick a 900-pound machine at slow-speed through orange cones with pinpoint accuracy!) would say to us, “Anyone can ride a bike on a straight line. Throw some curves and obstacles in the way, and that’s where the rubber hits the road.” 

I feel like ‘gratitude’ can be looked at in the same way. Sitting back in a comfy chair with a beverage in hand, on the deck of a rented house facing the ocean makes being ‘thankful’ a bit easier. But where do we find it in the everyday, when the search may be more difficult and not as easy to locate? 

“I don't need anything special, none of that stuff,
I'm a stowaway in your heart and that's enough. 

• "Stowaway In Your Heart" – Lucinda Williams  

That smoke is going to clear. And while it may reveal an unimpeded view of reality, it also showcases ‘opportunity’. Lately, the real test in this quest for me is coming to the realization that being grateful sometimes requires effort. And putting in the work to being thankful means that those opportunities for realizing what you already have can be shrouded by concentrating too much on the larger events that seem to define this life we lead. Any diligent music-lover knows that finding a gem amongst stacks of vinyl sometimes requires patience and effort. And isn’t that a wondrous feeling when you finally find it? 

By Chad Miller - Summit FM Music Director

What's everyone been listening to out there? There's been an AVALANCHE of great new songs coming at us to start the new year, as per usual, with STILL more to come! Easily the most exciting time of the year in our world of music, that I get to sort through and play them for you on the radio. 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' most especially 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

The post 'Nevermind' world of music in the mid-1990s truly was the wild wild west. It seemed at the time, that any new band, regardless of genre, was being run up the flagpole to see who would salute. This was a world where, at least temporarily, Beck, Butthole Surfers, Spin Doctors, Candllebox, and Hootie & the Blowfish would all be tagged 'alternative' simply because they weren't Poison or GNR.

This would change in short order as more and more people heard these, and countless other acts, only to realize none of them had anything in common! Out of all the new bands on the scene in this era, the one who made the most impact in terms of record sales and airplay was hands down Hootie & the Blowfish. Their debut album, 'Cracked Rear View' was everywhere that year, and beyond, going on to sell an astonishing 20 million copies, making it one of the best-selling debut albums of all time.

Released July 5, 1994, it hit number one on the charts, and was on radio more than it was off, with hits like 'Let Her Cry' and 'Only Wanna Be With You,' both of which seemed tailor made for the soundtrack of middle America. Coming on the heels of grunge, the sound put forth by Hootie & Co. was a far cry from the angst covered despair dished out by the flannel kids, something that would work in the favor of the band.

"Grunge was so full of anger and despair, that was tough for us when we were starting," recalled band leader Darius Rucker, in a recent interview about the album. "Even when we got our deal with Atlantic, one of the big guys at Atlantic went to the president and told him they couldn't put ‘Cracked Rear View’ out. If we put this out we'll be the laughing stock of music."

The band stayed true to themselves, and their own vision. "We had already staked our niche. We had already been playing for nine years before we got our record deal, we already had our following." Though out of step with the world of grunge, they weren't miles away from someone like R.E.M., a band that had a strong influence on them to begin with. "That jangly guitar we use definitely comes from Peter Buck’s guitar," Rucker told Billboard. "It was rock’n’roll, but it wasn’t metal. It was something we could do."

Guitarist Mark Bryan drew another line back to R.E.M. adding, "Not only did they inspire us musically, but they inspired us on the business side as well, because they did the same thing. That fit with the way we were writing together anyway because everybody was bringing stuff in. We’ve split our publishing right down the middle from the very beginning. Nobody knew whose songs were going to be the hits."

Produced by Don Gehman, best known for his work with John Mellencamp, as well as R.E.M., the album had a sonic kick ready for radio, without sounding overly processed, retaining that warm fuzzy glow. Three of the five singles released from the album made the Top 10, while concerts routinely sold out. All this from one of the more unassuming bands to spring forth from the 90s music explosion, and who had the last laugh at anyone who thought they had a dumb name and didn't fit in. Sometimes, not fitting in is the key to success!

By Dave Swanson - Summit FM Contributor

This is a love letter to Love 'Forever Changes'

Some albums are hits right out of the gate, others take a while to build an audience before breaking big. Then, there are those albums that linger for decades, every once in a while, new ears discover it, and it sinks in so profoundly, the new converts spread the word. The cycle repeats and continues. That was the case for the album 'Forever Changes’ by the group Love.

Formed in 1965 by Arthur Lee, Love were a fixture on the Los Angeles club scene, playing alongside other like-minded combos such as The Doors, The Byrds, The Turtles, and so on. Each had their own take on rock and roll music, though probably the least well known of that list, something about Love had them standing as tall, if not taller than the others. Something about Arthur Lee's vision of the music was a cut above. Love's music was folk, rock, R&B, and jazz, all rolled together. Sometimes gentle and beautiful, other times savage and aggressive. They were also one of the first multi-racial bands on the scene.

Released in early 1966, their debut, simply titled 'Love,' was a gritty yet pretty take on folk rock. With a dash of Rolling Stones swagger, and a bit of Dylan coolness, Love reshaped to mold of 'folk rock.' The second album, ‘De Capo,’ was released in November of the same year, and by then their style had expanded to include more varied influences and experimentation, including the19 minute side long raver, 'Revelation.'

Their ultimate masterpiece would arrive one year later in the fall of 1967. 'Forever Changes' is, in many ways, the perfect ending to the wild ride that was 1967. The music, the culture and everything else moved so quickly back then, that year in particular. The rise and death of the hippie, the Monterey Pop Festival, ‘Sgt. Pepper's Lonely Hearts Club Band,’ swiftly changing fashions, and a pop culture that embraced it all, so much so, that is would seep into everyday culture in a flash. Suddenly Campbell's Soup and cola advertising turned psychedelic overnight, shows like ‘Laugh-In’ hit the airwaves with an anything goes mindset. The world truly did turn Technicolor, seemingly overnight. Interesting footnote, the original plan for the album was to be produced by Elektra head Bruce Botnik (also Doors’ producer), along with Neil Young who, at the time, was having issues with Buffalo Springfield, and Botnik thought this would be a good distraction for Young.

With the glow from the embers of the Summer Of Love still burning, 'Forever Changes’ arrived. Informed by the psychedelic flash, but not drowned in it, Love took their own path through that era, and ended up with a much more solid, less cliche offering, and a stronger musical statement than most of the others who were somewhat smothered by the acidic glow.

'Forever Changes' begins with one of the most beautiful 'pop' songs of all time. 'Alone Again, Or' was written by band member Bryan MacLean, whose contributions to the writing were few, but very potent. Covered by everyone from UFO to the Damned, 'Alone Again Or' is a perfect opener for the album with its lush strings, horns, and beautiful acoustic guitar driving the song. With vocal harmonies to the fore, it sets the mood, and we are suddenly in another world.

'A House Is Not a Motel,' 'Andmoreagain,' and 'The Daily Planet' follow, each bringing something new to the table, yet fitting like pieces in this most perfect puzzle. 'Old Man'(another MacLean song) is a beautiful ballad, while 'The Red Telephone' is baroque pop at its finest, as the harpsichord and strings shine. And, it's not just the music here, the lyrics are a thing all their own. It is poetic word painting, telling a tale of the times in a way that really had no peer. Lee was never a Dylan rip-off or obscure storyteller, but the way he uses language was a triumph of thought provoking beauty.

Tijuana Brass style horns color 'Maybe the People Would Be the Times or Between Clark and Hilldale' as it clips along at a brisk pace. 'Live And Let Live' features one of the more aggressive guitar solos on the album while 'The Good Humor Man He Sees Everything Like This' brings a jazz influenced vocal over brass and strings. 'Bummer In The Summer', the penultimate track here, fits in as almost an introduction to the finale. Not that it is by any means a 'concept' album, but there is something special about the pacing and order of the songs, that makes it feel like a whole piece, to be listened to in one sitting, as opposed to just a batch of songs.

The final track, 'You Set The Scene,' is one of the true grand statements of 'pop' music. With few peers, it is simply a masterpiece.

"This is the time and life that I am living
And I'll face each day with a smile
For the time that I've been given's such a little while
And the things that I must do consist of more than style
There are places that I am going.
This is the only thing that I am sure of
And that's all that lives is gonna die
And there'll always be some people here to wonder why
And for every happy hello, there will be goodbye
There'll be time for you to put yourself on"

Lyrical beauty like this simply can't help but bring a tear of joy and or sadness.

The band are joined, on certain tracks, by Wrecking Crew mainstays like Carol Kaye, Don Randi, Hal Blaine, and Billy Strange, which only adds to the total L.A. vibe of the LP. It is all played out with such conviction and beauty, and makes you realize again, this was an era of experimentation; anything was possible when it came to music and art. It's an era long gone, yet it lives on every time I listen to this album. Arthur Lee was only 22 years old when he wrote and recorded the album.

I know this station is, in large part, about current music, and that is wonderful. I am always looking for new artists, songs, and albums, but in all honesty, an album like this couldn't, and never will, happen again. It was so much of its time, and in its own way transcends all those decades since its release. The world no longer has time for art. Technology, cheap entertainment, and wading in shallow pools is the order of these times. Hopefully that will change at some point, I mean, one can still dream!

It is with utmost sincerity, that I will say this truly is a masterpiece and one of the greatest albums ever made. Essential doesn't even begin to describe it.

By Dave Swanson - Summit FM Contributor

It’s hard to believe that 45 years have passed since The Knack first blasted out of radios everywhere with their solid gold hit, ‘My  Sharona.’ Released June 18, 1979, the authoritative drum beat, and magically simple guitar riff, was an instant fixture on both FM and AM radio. As the '70s drew to a close, The Knack was simply unavoidable. Eventually that over-saturation would drown them, but for a brief shining moment, they were on top. Contrary to legend, however, they were no overnight-success story.

Loathed by critics, and written off as a novelty act, The Knack was a genuine rock 'n' roll band. The Los Angeles music scene of the late '70s was overflowing with energy, attitude, and great bands. Things were moving fast, and by 1978, the landscape of punk outfits like the Germs, The Bags, and The Weirdos was starting to give way to the likes of The Plimsouls, The Beat, and The Knack.

In the early part of the decade, guitarist and singer Doug Fieger fronted a band called Sky, that recorded two albums for RCA. Those albums went nowhere, and by 1974, the group had fallen apart. While his former bandmates moved back home to Detroit, Fieger decided to stay in Los Angeles. Over the next few years, he would meet like-minded, musicians, all seasoned players, who would become The Knack. Riding alongside Fieger were drummer Bruce Gary, bassist Prescott Niles, and guitarist Berton Averre. In 1977, Fieger was inspired by the new music scene, and ready to record his new songs. He shopped the demos around to no takers, but The Knack was born!

Throughout 1978, The Knack endlessly played the L.A. club scene, including triumphant residences at the Whisky and the Troubadour. Eventually, record companies came calling. "I was aware of them, as everybody else in L.A. was," said producer Mike Chapman, in the documentary ‘Getting the Knack,’ "because there was lines of kids around the block to go see them at their shows." The large fan base they had built up happened to include people like Tom Petty, Stephen Stills, and Bruce Springsteen, all of whom would jam with The Knack, at the Troubadour. "Bruce Springsteen gets up onstage with us on a Friday night, and on Monday, we have 14 record offers," Fieger memorably quipped.

With the offers rolling in, the band signed to Capitol Records. "I was sold the first time I saw them," said Bruce Ravid, the man who signed them. Capitol was the home of The Beatles, and comparisons would dog The Knack from there forward. (Coincidentally, Capitol had previously signed another band called the Knack in 1967. That group released a couple singles, but had nothing to do with Fieger and company.)

In early 1979, the band entered the studio with producer Mike Chapman, a well-respected figure who, along with writing partner Nicky Chinn, penned countless hits for the likes of Sweet, Suzi Quatro, and others. Recently on top, after producing Blondie’s breakthrough, ‘Parallel Lines,’ Chapman proved the perfect choice for The Knack. A mere two weeks in the studio, and their debut was wrapped up! "I don't think we did two takes on any song," Fieger said. "What we had to do was make the record quickly," added Chapman, "because to labor over it would have taken that spontaneity out of it."

Once ‘Get the Knack’ arrived on June 11, 1979, it didn't take long for radio stations to zero in on ‘My Sharona.’ The insistent drum beat alone was one big hook, but once the guitar riff moves in, the track evolves into a massive ear worm. Soon, ‘My Sharona’ was emanating from nearly every radio across America. It hit the top of the Billboard chart in the summer of 1979, and stayed there six straight weeks, going gold in just thirteen days. The album followed suit, holding Billboard's top spot for five weeks until Led Zeppelin's ‘In Through the Out Door’ finally knocked it off.

Familiarity, as it will, bred contempt. ‘My Sharona’ came to be seen as a novelty tune of sorts. Given another listen, however, it emerges as one of the sharpest rock 'n' roll records ever – from the riff to the lyric to the production. Averre is certainly one of the most underrated lead guitarists of the era, and his solo is nothing short of stunning. (Sharona, by the way, was indeed an actual person, Sharona Alperin, and the object of Fieger's very real desires. To this day, she remains one of the top realtors in Southern California)

Elsewhere, ‘Get the Knack’ is full of top shelf, hook-laden rockers. "Let Me Out" remains one of the most powerful album openers ever, while "Your Number or Your Name" and "Oh Tara" are pure pop gold, recalling mid-'60s Hollies and Kinks. "She's So Selfish" and "Good Girls Don't," the album's second single, were both full of words that wouldn't fly past radio censors. After reworking a line, The Knack saw "Good Girls Don't" land just shy of the Top 10.

‘Maybe Tonight’ steps away from the hard-edged template, arriving as a beautiful ballad, with slightly psychedelic ornamentation. A revved-up take on the Buddy Holly classic ‘Heartbeat’ was a perfect fit here alongside something like ‘That’s What the Little Girls Do.’ ‘Frustrated’ ends the album on another lusty note, powered by another massive guitar riff and the powerhouse drums of Bruce Gary.

Still, The Knack's seemingly instant rise to the top led some critics to question their authenticity, sincerity, and motives. The assumption was that they were some sort of manufactured group, meant to echo The Beatles, and nothing more. Fieger later admitted to the Fab Four's influence on The Knack, but said the overt musical references were "tongue in cheek. It wasn't meant to be taken seriously." Few knew how long The Knack had paid its dues, or just how little promotion was behind their huge debut. "It's funny, people have accused The Knack of being this big hype and that the record company hyped the band," Fieger once said. "I was told at the time by Capitol Records that they spent $50,000 promoting ‘Get the Knack’ – total."

Meanwhile, even as radio overkill led to general listener fatigue with The Knack, other labels were hoping to leverage their success. "The Knack didn't capitalize on a movement, they created a movement," rock critic Ethan Barborka said. "The whole record industry descended on L.A. after they released ‘Get the Knack’ to find other bands that would be 'the next Knack.'"

Hoping to take back a lost sense of mystique, management decided The Knack shouldn't give interviews – a move that backfired. "The manager at the time, I'll excuse him for his innocence, his non-expertise and his being in way over his head," Niles said. "However, his decisions killed us, and as a result, it pissed a lot of people off."

A ‘Knuke the Knack’ campaign was started by San Francisco artist Hugh Brown. "They were so over-hyped, I thought I'll do something that's kind of obnoxious and kind of funny," Brown said, in the ‘Getting the Knack’ documentary. "Then it just snowballed."

Soon, people were accusing The Knack of being arrogant, while others criticized them as misogynistic because of an abundance of lust-filled lyrics in its songs. And for others, ‘Get the Knack’ was seen as the watered-down conclusion of the fading punk movement from a few years earlier, a safe and sanitized version of something that had recently revitalized rock.

But there was more to The Knack than that, and even Sex Pistols guitarist Steve Jones was a genuine fan. "I've literally played that album a million times, but I couldn't really tell people – 'cause it was kind of uncool, being from the Sex Pistols, and that whole era," Jones said in ‘Getting the Knack’. "I loved that album. I still have a copy of it!"

Despite its’ standing as 1979's biggest single, it also inspired a couple classic parodies – ‘Weird Al’ Yankovic's debut single was ‘My Bologna’ and in the film ‘Next Movie,’ Cheech and Chong paid tribute via ‘My Scrotum.’ ‘My Sharona’ got a brief second life, of sorts, when it was used in the 1994 film ‘Reality Bites.’

The Knack, however, never fully recovered from the backlash. "How could it have changed so much that we were 'the glorious, the wonderful Knack' one minute, and we were this horrible, sell-out, commercial bullshit hype the next minute?" Fieger later mused. "It made me angry."

Their second album, ‘... But the Little Girls Understand’, released in 1980, struggled to hit No. 15, and the third album, the wildly varied ‘Round Trip,’ barely breezed by the charts in 1981.The Knack regrouped a decade later with ‘Serious Fun,’ a sort of no frills rock album, then again in 1998 for the classic return to form, ‘Zoom’ and ‘Normal As The Next Guy’ in 2001, another winner. As great as those last couple albums were, only the diehard fans were paying attention.

A case could easily be made for ‘Get The Knack’ being one of the definitive ‘power pop’ albums. It was everything great about that often misunderstood genre. Fieger died in 2010, at age 57, after a battle with brain and lung cancer, original drummer Bruce Gary passed in 2006, also from cancer.

By Sarah Swirsky - Summit FM Wellness Coordinator

What Can We Learn from Noah Kahan’s Mental Health Journey?

Don't let this darkness fool you
All lights turned off can be turned on

'Call Your Mom' - Noah Kahan

Noah Kahan's lyrics in "Call Your Mom" serve as a poignant reminder that even when life feels bleak, and the lights seem to have gone out, there is always a glimmer of hope waiting to be ignited.

Kahan recently sold-out a show at Blossom Music Center, in Ohio, where over 20,000 fans attended, showcasing the profound impact of music in creating unforgettable moments. Brad Savage, Program Director and On-Air Host at The Summit FM, was also in attendance, sharing that “The Summit was an early champion of Noah's music, going back to his early years on the road as a touring troubadour. We were definitely the first radio outlet in Ohio to support his records. I think his music has really struck a chord with so many listeners because of the raw emotion and feeling of the songs and lyric.”

Indeed, Kahan's raw emotions and heartfelt lyrics resonate deeply with listeners, reflecting his authentic and vulnerable approach to songwriting. Kahan has been candid about his struggles with mental health, openly discussing his battles with anxiety, depression, and the challenges of finding the right mental health care. On Instagram and other platforms, Noah shares details about his mental health journey, aiming to destigmatize these issues and offer support to others facing similar challenges.

 “I can’t remember when it started, but I’ve been dealing with anxiety, depression, and mental health issues my entire life. I’ve been on medication since I was 13 or 14, on and off. I’ve been going to therapy since I was eight years old.”

In an interview with ‘Sounds of Saving,’ Kahan talked about how hard it was to find the right therapist. “It wasn’t until I actually had [deeper] conversations with therapists that I realized that I hadn't really ever had a real conversation with a therapist before”, adding that “A therapist is great, but they are only human, and they can only really do as much as you are willing to do yourself. It's a symbiotic relationship, you must be willing to be vulnerable for them to help you navigate those insecurities."

Writing for Time Magazine, he shared how making music he loved again, returning to therapy, and resuming medication helped him regain control over his mental health. Yet, achieving balance remains an ongoing journey for Kahan. As an artist, he grapples with an "inner rhythm" that associates creativity with a certain level of sadness.  Before antidepressants, he feared losing the "sadness that creates the music,” asking himself “What do I value most? Writing a song or living in a sustainable way?”

Today, Kahan prioritizes harmony between his mental health and creative pursuits. The launch of The Busyhead Project, in May 2023, shows his commitment to supporting others facing similar challenges and combating the stigma surrounding mental illness.

 “When I had the opportunity to become a musician and for my music to be heard by many people, I made it my goal to do that for others if I can. To write lyrics that are honest about my challenges and hopefully help someone be honest about their own. Because I know I desperately needed that when I was a kid.”

Reflection from mental health therapist and Summit Wellness Coordinator Sarah Swirsky, MSW, LSW

Noah Kahan's career and story offer a realistic yet hopeful narrative of resilience and artistry in the face of mental health challenges. By showcasing bravery and vulnerability through openly sharing his personal struggles, Kahan helps de-stigmatize mental health care, embrace vulnerability, and find our own inner balance. 

In the interviews discussed above, Kahan highlights a common struggle among creatives: finding equilibrium between well-being and artistic drive. In a world where artistry is often equated with suffering, Kahan's reflections encourage us to see that true artistry can also thrive when the artist is whole and healthy.

Kahan’s journey also sheds light on another important aspect of mental health care: the common struggles of finding and engaging in accessible and suitable therapy. While the stigmatization of mental health treatment has decreased over the decades, labor shortages in the mental health workforce, and increased demand, have left many Americans struggling to find affordable therapists who possess the necessary expertise, and with whom they feel a personal connection.

While research shows that certain methods (what we call “evidence-based practices”) are crucial for treating specific mental health disorders such as OCD, PTSD, and mood disorders, the primary determinant is the quality of the relationship between client and therapist. A strong connection with a therapist can inspire the vulnerability needed for deeper conversations, but this connection does not always develop with every individual.

In my work as a therapist, I frequently reassure my clients that it is perfectly normal if they do not immediately feel a strong connection with me—forming therapeutic relationships is much like forming friendships. We simply will not connect with every person, so finding the right therapist often involves a challenging process of trial and error. Kahan's insights also emphasize that therapy requires collaboration, with both the therapist and the client actively participating. Success in therapy hinges on honesty and a commitment to "do the work" outside of sessions.

As a therapist myself, I also find it important to recognize that talk-therapy may not be suitable for everyone at all times. We all experience different phases and readiness for change in life. Thankfully, emotional expression can be found in many different forms other than talk-therapy. Art forms such as writing, journaling, drawing, painting, and music, are all wonderful forms to release and express emotions. As Kahan titles his Time Magazine article, “Putting Words to My Mental Health Struggles Saved Me.”

Ultimately, Kahan's story highlights the importance of prioritizing mental health and the benefits of vulnerability and creative expression. Each person may discover solace and healing through various paths, whether it involves artistic outlets, talk therapy for emotional processing, or seeking medical support when needed. Perhaps music can serve as a source of inspiration and courage for us all to embrace vulnerability, and explore our emotional depths.

Sources:

https://www.soundsofsaving.org/news/noah-kahan-interview

https://time.com/collection/time100-voices/6322240/noah-kahan-depersonalization-mental-health/

By Matt Anthony - Summit FM Digital Media Specialist

Hey, angel, come and play
And fly me away
A stroll along the beach
Until you're out of time

• “Sugar Kane” – Sonic Youth

We pulled. We tugged. We rocked the posts back and forth. It was miserably difficult, back-breaking work. Especially for two guys well into ‘AARP-stuff-in-the-mail’ status, but the goal was simple and direct: this fence, comprised of almost a dozen six-foot sections of white plastic-composite, was scheduled to come out of the ground, one way or the other.

Donna’s mother had it installed at some point in the 80’s. But nature had exacted its toll. Two of the sections were almost on the ground after wind-storms, and longevity had detracted from its overall appearance, probably years ago.

It was time.

But this unattractive barrier wasn’t going without a fight. Which is why my brother-in-law (and Rush devotee), Michael, decided to go into the deep recesses of his Subaru and drag out the saw. I stood back and watched the master at work, applying Neil Peart-like precision on every angle of post that dared show its face. Soon after, what was once in existence was now just a pile of debris waiting to be hauled away. And after that? A memory.

The impermanence of this life can be beautiful and unforgiving. It can also induce suffering. We take it for granted that everything will last forever. We want it to last forever. We need it to last forever. And when we are forced to come to the realization that things have a shelf-life…our cars, our fences, ourselves…we invariably veer into panic-mode, trying to find, in some cases, the most elaborate way to keep the ‘present’ humming along, to keep the ‘current’ in its pristine state. But as John Houseman so eloquently put it in the 1973 film ‘The Paper Chase:’ “This is a total delusion on your part.”

All things must pass
None of life's strings can last
So I must be on my way
And face another day.

• “All Things Must Pass” – George Harrison

No, I will not weep over an ugly fence. However, I have wept at the impermanence of this existence, and will probably continue to do so.  And while I have no enlightened answer for any of it, I do find myself in the throes of grasping, clutching briefly at threads of gratitude for the things that were.

A little over two years ago, Donna’s beloved West Highland Terrier, Izzy, arrived at the same spot as this fence: weathered, dishevelled, and leaning in another direction. In a similar fashion, decisions had to be made. Since then, we have grasped on to the memory of Izzy in the form of stories, keeping his favorite cushion nudged up against the wall in the living room where he liked to sit, and occasionally dropping a Tostito on to it, since his passion was following me around with a bag of them.

Earlier in the year, I even bought Donna a small stuffed-animal replica that could sit next to her in the evening. While it helps stir up both memories, and my gratitude-level, I’m struck, also, by the stark slap in the noggin: nothing can stop this transient nature of the present moment. Being thankful for it, in real time, without illusion, is as hard as, well, as hard as a Neil Peart drum solo. Or as difficult as pulling posts out of the ground that have been there since the 1980’s.

I’m now waiting for someone to come by to haul this debris away. I’m also spending the time focusing on how to better come to grips with the perishable nature of this magical, mystical, and sometimes maniacal thing we call ‘life.’ And, as challenging as it is sometimes, I’m doing my best to try to realize my gratefulness for it.