The Summit FM, Author at The Summit FM

By Dave Swanson - Summit FM Contributor

Released in May of 1966, the Beach Boys 'Pet Sounds' is the greatest album ever made.

Oh, do you want more details than that? Okay, sure.

Everything that would become "the 1960s" came to a boiling point in 1966. From the advent of a character named Bob Dylan at the start of the decade, through to the arrival of the Beatles on US soil in 1964, everything in pop music and pop culture was on course to a Technicolor explosion. From literature and films to fashion and music, it was youth-driven and highly aware of its surroundings. Messages coming in from overseas and the homeland, it was clear the 60s would not be a retread of the 50s.

For the sake of argument, it started with the Beats, the wild and woolly poets of the 1950s who saw life as an adventure of mind, body, and spirit. A new landscape was being painted within the pages of their books and words in their poetry, and those tuned in were looking for the new. The Beach Boys began as a modest enough proposal with three brothers who loved singing harmony, got together with a cousin and friend to form a rock and roll band. Equally inspired by Chuck Berry as they were by the vocals of the Four Freshmen, elder brother Brian Wilson would mold that combination into some of the greatest pop music ever created. Still teenagers, things began taking off. Long story short, they made a record, 'Surfin',' and their father, who was vaguely associated with the music business, helped get them a deal with Capitol Records.

The hits started coming. In their first four years, they landed 13 singles in the US Top 20, including 8 in the Top 10 and 2 number ones. They had a simple appeal, and yet with one listen, you knew this was not ordinary pop music. Brian was creating highly sophisticated melodies and arrangements for these deceptively simple songs. As with most artists, Brian became frustrated with the stagnation of the music and wanted to explore. Due to a breakdown from nervous exhaustion, Brian opted to stay home and not tour with the band. Instead, he spent his time creating in the studio, preparing tracks for the guys to work on when they returned home.

This peaked with 'California Girls,' a beautiful, surging pop song that proved Brian correct in time well spent in the studio. It was another hit. He kept working toward a new goal. Inspired by the ebb and flow of the Beatles 'Rubber Soul' album, Brian wanted to make an album that good. "It was definitely a challenge for me," Brian later said. "I saw every cut very artistically interesting and stimulating."

Working with the famous 'Wrecking Crew, a group of studio players in Los Angeles, he created the album 'Pet Sounds.' Released on May 16, 1966, it was not exactly like any previous Beach Boys album, or any album by any other artist for that matter. When the band first heard the material, they were surprised. None of the obvious cornerstones of the band were there. No songs about cars, surfin', or teenage revelry, instead, the lyrics were mature, introspective and much more adult. Brian had hooked up with lyricist Tony Asher for work on the album. Famously, the most vocal against the new approach was singer Mike Love who thought they should "stick to the formula," arguing the new songs to be too somber, and that people wouldn't get them. Though the singles from the album would both hit the Top 10, a brilliant take on the folk standard 'Sloop John B,' and the Brian classic "'Wouldn't It Be Nice,' the record company started to get nervous that there was nothing left for more singles and the album was dead in the water. In fact, they had such a sour view of the LP, instead of promoting it properly, they rushed to release 'The Best Of The Beach Boys' a mere two months later, trying to salvage BB sales for the year.

In the United Kingdom, however, a different tale was unfolding, as the music press and musician peers of the band were all lining up with praise for this modern masterpiece. From the Hollies to the Beatles and beyond, it was unanimous, the Beach Boys had raised the pop music stakes with 'Pet Sounds.' Paul McCartney has stated on several occasions that it was 'Pet Sounds' that inspired the Fab Four to dive headfirst into what would become 'Sgt. Pepper's Lonely Hearts Club Band,' which was released a little over a year later.

In between, in October 1966, to be exact, Brian wrote and recorded a single that not only smashed any doubt of his artistic promise but was also a massive hit. Though 'Good Vibrations' was not a part of 'Pet Sounds,' it was the arrow pointing to where he was headed, which is another story for another day! As for 'Pet Sounds' itself, it truly is a masterpiece.

Little wonder as to why. Kicking off with 'Wouldn't It Be Nice,' arguably one of Wilson's finest compositions, it wrapped the innocence of the early Beach Boys in adult idealism. 'You Still Believe In Me' is a plaintive ballad sung from the other side of teenagedom, while 'That's Not Me' was self-awareness 101. Not a little Deuce Coupe in sight as the loftier observations and checkpoints stood ground. 'Don't Talk, Put Your Head On My Shoulder' and 'I'm Waiting For The Day' are more examples of this new approach. 'Let's Go Away For Awhile' beams in as if from some island on another world. 'Here Today' and 'I Just Wasn't Made For These Times' are among the best songs Brian Wilson ever wrote, and 'God Only Knows' and 'Caroline, No' are among the best songs ever written, period!

Musically, the entire album is an adventure of sound. Sure, guitars, bass, drums, and keyboards are present, but let's not forget bass harmonica, violins, viola, cello, flutes, sax, vibraphone, timpani, and various other percussion (including a bicycle bell and a water jug). Then there are the highly sophisticated vocals, all arranged by Brian, who was only 23 years old at the time.

The songs, the arrangements, and the production, all by Wilson, were, and remain, a thing of wonder. Listening to this album countless times over the decades has yet to diminish its power. If I start to listen, I will always finish it. It is one of the greatest examples of pop music as pop art that could have only happened in 1966. In 1965, we didn't know enough, and by 1967, we knew too much, so to speak. It was that golden moment for those creatively ahead of the pack.

Now, here in 2025, it has become a common thought that this album is a landmark in pop music, with every accolade in the book being lobbed at it and sticking. This was not always the case. Aside from the aforementioned rush release of that 'Best Of' LP, Capitol tried to re-release 'Pet Sounds' in 1972 when it was included as a bonus LP, issued with the then-new LP 'Carl & The Passions - So Tough.' It truly wasn't until the CD age that critics and other musicians started to acknowledge what an amazing LP this was. Ultimately, it would replace 'Sgt Pepper' on the usual round of 'best of all time' lists for years to come, to this day, it often still finds a home atop that list.

So then, is it the greatest album ever made? Ask me now and I will say, of course it is. There is no other album quite like it. It possesses a magic all its own. Another day I may choose 'Face To Face' by the Kinks,' Revolver' by the Beatles, or perhaps 'Love's Forever Changes.' Then again, 'Country Life' by Roxy Music is great, ditto Eno - 'Here Come The Warm Jets.' I'm saying there is so much great music out there that so many people have yet to explore, what are you waiting for?!

It is with deep sadness that we share news of singer-songwriter Jill Sobule's sudden passing yesterday, Thursday, May 1st.

Many of you were present for what we now know was one of her final performances when she graced our studio on Tuesday, April 22nd. That afternoon, Jill brought her characteristic wit, warmth, and musical brilliance to our intimate gathering, uplifting us all.

Just ten days after sharing her gifts with our Summit community, Jill has tragically left us due to what reports describe as a "freak accident," resulting in a house fire. As we await further details from the ongoing investigation, we wanted to reach out to those who shared in that one-of-a-kind Studio C performance to honor the connection we all experienced with this remarkable artist.

“Jill Sobule was kind, funny, and open with her clever words and songs for over 30 years. What a gift to The Summit to have hosted one of her final interviews. It’s a reminder to be present and cherish every moment, take time to reflect, and do what you can to share kindness and connection," said Summit FM Program Director, Brad Savage. "Music reflects the human condition. It’s powerful and important. The music in our lives is how we understand the world around us. I’m glad Jill’s songs brought The Summit FM community closer together.”

The included photos capture moments from what was a truly memorable performance. We invite you to hold these memories close, along with Jill's family and friends, in your thoughts during this difficult time. Her music and spirit touched countless lives, including our Summit FM community, and will continue to resonate through her memorable catalog of songs.

To honor Jill's legacy, please tune in tonight, May 2nd, at 6:00 p.m. for a special tribute broadcast featuring the exclusive performance recorded here at The Summit FM last week.

With gratitude for the music,

The Summit FM Team

Released on April 25, 2025, Heart of Gold: The Songs of Neil Young is a new tribute album that reimagines Neil Young’s iconic catalog through the voices of contemporary artists.

Produced by Cinema Music Group and Killphonic Records, this compilation features a diverse lineup including Fiona Apple, Eddie Vedder, Brandi Carlile, Mumford & Sons, Sharon Van Etten, and The Lumineers. Each artist offers a unique interpretation, breathing new life into Young’s timeless songs.

The album opens with Brandi Carlile’s poignant rendition of “Philadelphia,” setting an introspective tone. Fiona Apple delivers a soulful version of the title track, “Heart of Gold,” while Mumford & Sons bring a fresh energy to “Harvest.”

Eddie Vedder’s live performance of “The Needle and the Damage Done” captures the raw emotion of the original, and Stephen Marley infuses “Old Man” with reggae rhythms. Other standout tracks include Sharon Van Etten’s “Here We Are in the Years” and The Doobie Brothers’ collaboration with Allison Russell on “Comes a Time.” Courtney Barnett’s take on “Lotta Love” and Chris Pierce’s rendition of “Southern Man” further showcase the album’s range and depth.

Beyond its artistic achievements, the album serves a philanthropic purpose. All proceeds benefit The Bridge School in Hillsborough, California, an institution co-founded by Neil Young and his late wife Pegi to support children with severe speech and physical disabilities.

Heart of Gold: The Songs of Neil Young is available in various formats, including a limited edition white 180-gram vinyl.This collection not only honors Young’s enduring legacy but also introduces his work to new audiences through the lens of today’s artists.

Track Listing:

Brandi Carlile - “Philadelphia”
Fiona Apple - “Heart of Gold”
Mumford & Sons - “Harvest”
Eddie Vedder - “Needle and The Damage Done”
Courtney Barnett - “Lotta Love”
Stephen Marley - “Old Man”
Sharon Van Etten - “Here We Are In The Years”
Lumineers - “Sugar Mountain”
The Doobie Brothers with Allison Russell - “Comes A Time”
Steve Earle - “Long May You Run”
Rodney Crowell - “Mr. Soul”
Chris Pierce - “Southern Man”

ORDER "HEART OF GOLD: THE SONGS OF NEIL YOUNG" HERE

By Dave Swanson - Summit FM Contributor

Some things fall apart and, in the process, allow new things to grow. Such was the case with pop sensations Fine Young Cannibals. After a run of success and some fantastic records, bassist David Steele and guitarist Andy Cox had left the Beat, also known as the English Beat in America, due to power pop kingpins from L.A., The Beat.

The Beat fused ska and pop with a punk energy and scored a handful of hits throughout three classic albums. Four of their first five singles hit the Top 10 in the UK, while songs like 'Twist and Crawl,' 'Tears of a Clown' and 'Save It for Later' would all become college radio favorites in the U.S.

By 1983, the band was falling apart, with leaders Dave Wakeling and Ranking Roger exiting to form General Public. Meanwhile, Cox and Steele assembled their own combo, along with vocalist Roland Gift, becoming Fine Young Cannibals. Taking an energetic dance-pop approach, they scored modest hits from their self-titled debut LP, released in 1985, with 'Johnny Come Home' and a cover of the Elvis classic 'Suspicious Minds.' FYC was off and running with an unmistakably fresh sound, perfect for the era.

It would be another few years before they released a follow-up, but that would be their shining moment. 'The Raw and the Cooked' was issued in January of 1989. The album was divided into the "raw" and the "cooked" motif for each side of the LP. A total of five songs were released as singles. 'I'm Not Satisfied,' 'I'm Not The Man I Used To Be,' 'Don't Look Back,' and 'Good Things' all scored hits in England, but it was 'She Drives Me Crazy' that would become a worldwide smash. It, along with 'Good Thing,' hit the number one spot on the US Billboard charts and carried the LP to the top. These were feel-good songs that truly connected with an audience, genuine pop music with roots winding back to Motown, 60s pop, and beyond, with just a hint of the ska they came from with the Beat. A cover of the Buzzcocks 'Ever Fallen In Love With' had previously been a part of the soundtrack to the 1987 film,' Something Wild,' which was also included.

FYC's take on pop music struck a definitive chord for the times. "The dance-music thing is like the punk of the Eighties," Cox told Rolling Stone, "or rock & roll in the Fifties. It seems to be the most vibrant part of modern music."

Part of that style in the underground at the time was the rise of house music. "I don't really like house music, because I find it quite inhuman," adds Gift. Cox described the approach to 'The Raw and the Cooked,' calling it "thirty years' worth of pop music in thirty minutes."

Their success in America even surprised the band, partly due to the multi-racial aspect of FYC. "In America, because of the size of the country, and there is a black economy, black people can make things for black people and sell them to black people," noted singer Roland Gift in a 1989 interview. "They can have a whole economy that doesn't even involve white people at all, and white people can do the same. The fears that stop people mixing are allowed to fester and grow."

'The Raw and the Cooked' went on to be nominated for a Grammy for 'Album of the Year' and did win a Brit Award for best album. It routinely pops up on 'Best albums of the 80s' lists and still receives airplay. It was all too much, however, as it was not only the band's sophomore effort but also their last. Pressure from the label and management to repeat the huge success of the LP toppled the band, which split in 1992.

By Dave Swanson - Summit FM Contributor

Many moons ago, there was a combo known as the Tourists. They were a stellar power pop/new wave-styled band led by pop maestro/ace songwriter Peet Coombs. They released two very fine albums at the tail end of the 1970s, and they were gone. No massive success, just a modest hit single, a cover of the Dusty Springfield gem 'I Only Want to Be With You.' The band dissolved, and for the most part, leader Coombs was never heard from again. Two other members, however, were in the process of making themselves a worldwide sensation.

Guitarist Dave Stewart and singer Annie Lennox moved forward to form Eurythmics, releasing their debut LP, 'In the Garden', in 1981. Produced by famed German producer Conny Plank, best known for his work with countless underground rock acts from Germany in the 1970s, the album was not a hit, but it did provide a solid springboard. By the release of the second album, the world was ready, and so were Eurythmics.

Issued in 1983, 'Sweet Dreams Are Made Of This' became a worldwide phenomenon as the title track became a number one hit, the video causing a sensation, and the album bringing in an audience for a new era. Eurythmics kept building on that success throughout the decade, hit upon hit, until finally, by decade's end, the internal tensions and general music biz stress had gotten the best of them. It was initially announced as a hiatus, but for Lennox and Stewart, it was a much-needed break from the world they had built.

Stewart carried on doing various studio projects and session work while Lennox was gearing up for her next step, a bit tentatively. "For two years I didn't do anything," she said in a 1992 interview. Then I thought, after all, I'm a musician, I'm a singer, I'm able to write songs. It sort of affirms who I am. It's caught up with my identity, my sense of self."

The result would be her solo debut, 'Diva,' issued in April 1992.

The album went a long way in forging new paths for Lennox as a confident leader in song and life. The first single, 'Why,' was released a month before the LP. It managed to achieve the top 20 around the world. The following singles, 'Walking on Broken Glass' and 'Little Bird', would follow the same basic pattern. While none were huge hits, they all provided a perfect introduction to Annie as a solo artist and are all classics in her catalog. She put heart and soul in the spotlight, maintaining and expanding on her identity when she could have easily become a cliché. Her merger of modern production and vintage vibes, with her commanding soulful vocals, worked in Eurythmics and was fully displayed here.

Reflecting on her work with Stewart, she said, "When I was writing, when he wasn't there, I definitely understood how well that partnership worked, I mean I always did anyhow, so much so that I didn't even think I could write a record without Dave. That was just unthinkable." She soon dealt with that anxiety and produced 'Diva,' an album that rose to the occasion and helped establish her as a force for years. ‘Diva’ and Annie herself are certainly essential!

By Dave Swanson - Summit FM Contributor

Released in 1971, ‘L.A. Woman,’ the Doors’ sixth and final album (for all intents and purposes) still stands among their most significant works. This was not the sound of a band on its final ride but rather a rejuvenated force to be reckoned with in the coming decade. Sadly, that was never to be, as Jim Morrison died shortly after the album’s release. The music, however, has more than withstood the test of the decades that have come and gone.

As the 1960s progressed to the 1970s, the band had been in some disarray, with Morrison facing legal troubles and changing times. Where would the Doors fit in?

Morrison had drastically morphed into a different character. Gone was the sex animal, rock and roll poet meets pin-up. He was replaced by a bearded sage awash in an alcoholic haze. “When he got too drunk, he would become kind of an ass,” according to Doors guitarist Robby Krieger in an interview with the L.A. Times back in 2021. “It got harder and harder to be close with him. He’d have his drinking buddies, and we were always trying to keep them from being together.” As the story goes, Morrison would be out on all-night benders and then show up the next day at the studio to work on material for what would form the album.

Though the blues had always been a huge part of the Doors style and mantra, that vibe was front and center for ‘L.A. Woman,’ as the band was immersed in a more authentic blues path than ever. As sessions began, producer Paul Rothchild threw his hands up, claiming the band had no material worth pursuing. He then walked out on the sessions, leaving the band to work solely with longtime engineer Bruce Botnik. Together, they created a masterpiece. The other half of that story, according to Krieger, plays differently.

“The real reason was that he’d just done Janis Joplin’s album, and then she died,” recalled Krieger. “He felt that something might happen if he produced our album. Rothchild didn’t want to be known as the guy who produced somebody, and then they died.”

From the opening punch of ‘The Changeling,’ you knew this was no drunk fest caught on tape; this was a ‘lean, mean, fighting machine!’ This was followed by the album’s first single, the classic ‘Love Her Madly,’ which missed the US Top Ten but has remained a signature song in the catalog. ‘Been Down So Long’ is straight-up blues, almost to the point of cliché, but Jim and band pull it off, and ditto for the slow groover ‘Cars Hiss By My Window.’

Side one ends on one of the key songs, the title track,’ L.A. Woman.’ It becomes the perfect driving song for nearly eight minutes, even slowing down around the curves before picking up pace again. Morrison’s performance is stellar, and the band is on fire. “What’s so brilliant about Jim on ‘L.A. Woman,’” added drummer John Densmore, “was his idea of writing about our town as a woman. ‘I see your hair’s burning; the hills are filled with fire.’ That’s our fires.”

‘L’America’ kicks off side two in a haze of minor key tension that builds until it bubbles over. In fact, all of side two wanders into strange corners of the room, from the jangle pop of ‘Hyacinth House’ to the gritty blues of ‘Crawling King Snake,’ a John Lee Hooker classic, to the stomping rock and roll of ‘The WASP (Texas Radio and the Big Beat)’ before finally ending on the dreamlike ‘Riders on the Storm.’ Yet another Doors classic on an album loaded with classics! ‘Riders’ may be one of the most identifiable Doors songs, and it can still send a shiver down your spine with that cascading piano–especially on a rainy day.

The album reached number nine and would, in many ways, serve as the band’s epitaph. Although the remaining members released two more albums without Morrison, it wasn’t ‘The Doors.’ ‘L.A. Woman’ would be their final word. Was it their best album? Personally, I would still vote for their first or ‘Strange Days,’ although ‘Morrison Hotel’ is pretty damn great as well. But yes, ‘L.A. Woman’ is definitely up there.

I always return to The Doors’ music for various reasons: it still sounds vibrant and fresh, showcasing a band with purpose. To some, The Doors are overrated and dated; to others, their recordings remain among the finest in rock and roll history. They are arguably one of the greatest American rock and roll bands ever.

The sad part is that in 2025, the band and their music seem taken for granted. It’s a shame, as there was no band like the Doors before them, and there have only been imitators since. Morrison elevated the frontman role to a whole new level while the band created its unique sonic sphere. Go now and immerse yourself in the music of the Doors; there are certainly worse ways to occupy your time.

Membership and Finance Specialist

Position Type: Part-time contractor, hybrid work arrangement
Reports To: General Manager

Position Summary

The Summit FM Membership and Finance Specialist works on the operational and administrative functions related to fundraising and financial activities for the radio station, serving the Akron, Canton, Youngstown, and Athens communities.

Key Responsibilities

Maintain donor and membership database records
Process financial transactions, donations, and membership payments
Manage membership renewal cycles and fulfillment
Generate financial and membership reports
Provide donor acknowledgements and tax receipts
Support donor events and community outreach
Assist with member communications and direct mail campaigns

Qualifications

3+ years experience in non-profit operations, public radio, or related field
Associate's degree in Business, Accounting, Finance, or related field (Bachelor's preferred)
Experience with donor management systems or CRM databases
Strong financial record-keeping and data entry skills
Excellent communication and customer service abilities
Ability to work flexible hours as needed

To Apply

Send cover letter and resume to tommy@thesummit.fm

Sales Representative

Position Type: Part-time contractor, commission-based
Reports To: Sales Director

Position Summary

The Summit FM Sales Representative secures business underwriting and corporate sponsorships for the radio station, serving the Akron, Canton, Youngstown, and Athens communities. This role focuses on generating revenue through new business development and account management for The Summit's eclectic music and community service programs.

Key Responsibilities

Prospect and secure business underwriting from regional businesses and organizations
Manage current accounts to ensure timely collection and increase renewal revenue
Target potential corporate sponsorship of music programming and digital assets
Compile personal weekly sales and activities reports
Work remotely with the Sales Director to ensure accurate contract confirmations
Write, approve, and schedule sponsorship announcements
Meet or exceed monthly underwriting sales goals
Collaborate with other station departments including marketing, events, and programming as needed

Qualifications

3-5 years of proven sales experience
Experience in radio advertising sales preferred
Experience in public radio or television considered an asset
Strong sales leadership and interpersonal skills
Excellent organizational, written, and communication abilities
Familiarity with copywriting and database systems
Experience with generating new/active leads
Ability to work independently and as part of a team

To Apply

Send cover letter and resume to laura@thesummit.fm

"Who Believes in Angels?" is a collaborative album released on April 4, 2025, by Elton John and Brandi Carlile. This project marks a significant milestone in both artists' careers, blending John's extensive experience with Carlile's fresh and dynamic artistry. It reflects a harmonious fusion of John's classic style and Carlile's contemporary flair.

Produced by Andrew Watt, the album was recorded in October 2023 at Sunset Sound Studios in Los Angeles over just 20 days. The creative process was intense, with John describing it as "one of the toughest I’ve ever made, but it was also one of the greatest musical experiences of my life." The collaboration features contributions from renowned musicians such as Chad Smith (Red Hot Chili Peppers), Pino Palladino (Nine Inch Nails), and Josh Klinghoffer (Pearl Jam).

The album transitions between ballads, classic rock and roll, pop, and country-infused Americana. Tracks like "The Rose of Laura Nyro" and "Little Richard’s Bible" highlight the duo's ability to honor musical icons while infusing their unique collaborative sound. The title track, "Who Believes in Angels," exemplifies their synergy by combining classic piano melodies with modern synth elements. Lyrically, the album delves into themes of resilience, belonging, and reflection, offering listeners both depth and upliftment.

Critics have heavily praised the album; the Guardian praised it as a "true meeting of minds," highlighting the "energetic tracks" and "heartfelt duets" that define the record. Similarly, The Times described it as a "gutsy, flamboyant tearjerker," noting John's "spirited and youthful" performance at 78.

John and Carlile hosted a special event titled "An Evening with Elton John & Brandi Carlile" to celebrate the album's release at The London Palladium on March 26, 2025. The concert provided fans with an intimate experience of the album's tracks, along with performances of the duo’s individual greatest hits, further highlighting their dynamic chemistry. The extensive promotion for the album also featured John and Carlile performing on The Tonight Show, Saturday Night Live, and more.

"Who Believes in Angels?" is a testament to the enduring friendship and creativity shared by Elton John and Brandi Carlile. The album effortlessly blends their styles, resulting in a nostalgic yet forward-thinking collection.

“Who Believes in Angels?” Track Listing:

The Rose of Laura Nyro
Little Richard’s Bible
Swing for the Fences
Never Too Late
You Without Me
Who Believes in Angels?
The River Man
A Little Light
Someone to Belong To
When This Old World Is Done with Me

By Summit FM Contributor Matt Anthony

I felt like we were breaking some sort of law. My grade-school classmate, Chris, and I were slithering through the upstairs hallways of his parents’ house. Destination: The room of Chris’s older brother, Andy. Underneath the turntable sat a stack of equalizers and power amps, and next to them the largest set of speakers I had ever seen.

After angering my father by bringing two used Beatles albums into the house after a garage-sale score, my music worldview was about to be drastically changed even more: on that cool Autumn afternoon, I was introduced to The Who.

They call them seminal moments. You know what I’m talking about. The first time someone paid you to shovel their sidewalk. The first time you engaged in fisticuffs with another kid. The first time your lips pressed on someone else’s.

Mine included the first time I was introduced to distortion.

And there it was, laid out in front of me, courtesy of those enormous speakers. The 4-chord blast at the beginning of ‘I Can’t Explain’. The fuzzy cacophony of ‘My Generation’. The chest-rattling rumble of John Entwistle’s bass during ‘The Real Me’. Sure, The Beatles were great. But this. This was life-altering. This was raw and angry. This broke the boundaries of decency.

I mean, listen to Pete Townshend while standing in front of those Ampeg amps, coaxing that feedback symphony out of them, like a snake charmer with his pungi, dancing with it and serenading it, until he rockets us back into reality with three riffs of relief.

This was better than that first bite of a sausage pie from The Pizza Oven: this was salvation.

History differs in chronicling the genesis of this phenomenon. Some say it was Lightning Hopkins’s fault when he committed the mortal sin of turning up his amp. Some say it was Les Paul’s competitive response to Leo Fender’s invention. (or Fender’s answer to Paul’s intricate fretboard wizardry!) And some say it was just a plain old accident. (Hell, in ‘The Ongoing History of New Music,’ Alan Cross devoted a whole episode to ‘distortion’!)

That Fall day in Canton, Ohio, in that bedroom with the gigantic monitors, would cement my addictive lust for fuzz, growl, and sustain.

No, I’m not a one-trick pony. I’m grateful for all the different styles and genres of music. Everything from Barry Manilow to Pantera. Dolly Parton to XTC. Willie to Waylon to The Waitresses. I’ve been moved by the majesty of Beethoven’s Piano Concerto No. 5, the film noir patina of Miles Davis’s Kind of Blue, and the hypnotic stylings of Ladysmith Black Mambazo.

Ever heard the choir during Divine Liturgy at St. Nicholas Orthodox Church in Mogadore? Life-affirming.

Sure, I can be transfixed by Ralph Mooney sitting in front of a pedal steel guitar. The same way that I can be brought to tears by Karen Carpenter during the Holidays. And Wes Montgomery? Fuhgeddaboudit.

But I knew what buttered my toast. The voluptuous vixen in my life was, and always will be, the over-driven audio signal path.

The Jensen coaxial speakers in my ’71 Olds Cutlass are probably still warm from the workout that the Boston debut inflicted on them back in 1976. I can only surmise the torture they experienced during Zen Arcade on ‘repeat’. And, oh my, those poor Koss headphones, the ones that sat on my cantaloupe-crate of vinyl in the attic. The misery they must have endured on that 100^th playing of Never Mind the Bollocks.

But while I’m thankful for the complete works of distortion art, I’m grateful as well for the magical moments. The magical seminal moments. Brian May’s righteous chord on top of Freddie’s piano roll at the 4:53 mark during ‘Bohemian Rhapsody’. The introductory body-slam salutation from Alice in Chains on Dirt. The luscious grind-core strumming from Adam Jones at 9:20 on “Pneuma’ from Fear Inoculum. And, no, my gratitude does not exist in a vacuum. Check out Momma’s version of “Rockstar’ from inside the mask room of Chicago’s Fantasy Costumes: at the end of the song, almost thirty seconds of glorious, sumptuous, dessert-like sustain!

(Did I mention Jim Chenot and I standing next to a stack of speakers at Nautica, just as Dave Davies unleashed amplified absolution on us at the start of the Kinks show? That chord caved my chest in.)

This day, I light copious amounts of incense to whatever celestial being promulgated the forces of nature to render me helpless to a force bigger than myself, bending my will and my ears to the satisfying, soul-cleansing wonder of the overdriven tube. The saturated reverberation of two drumsticks shattering a Remo drum head. The singular tsunami of noise as one’s hair is being blown back by a wall of delectable sound.