By Dave Swanson - Summit FM Contributor

Formed in the late 1990s, Coldplay rapidly ascended the rails of pop music success. Over their first two albums, 'Parachutes,' in 2000, and 'A Rush Of Blood To The Head,' in 2002, they were winning fans all over the globe. Songs like 'Yellow,' 'Sparks,' and 'Clocks' all scored big at radio, and sold well as singles, especially in their native England. Meanwhile, both of those albums continued to sell, building up their fan base with 'A Rush Of Blood To The Head' hitting the number one spot in the UK, and Top 10 U.S.

So when it came time for album three, they went ahead and started recording, business as usual, but soon realized they weren't where they were supposed to be. "We realized that we'd been working quite disparately," singer Chris Martin said in an interview to promote the album. "So we went to a small rehearsal space in North London, and we all got a great buzz off playing together, and we realized that it seemed like we'd gone wrong as it didn't feel as exciting as this, so we went back into another studio and started over."

This led the band to the decision that they wanted to shake things up a bit with their sound. Like the first two albums, the band worked with producer Ken Nelson, but this time also brought in Danton Supple, who had previously lent a hand to mixing their second LP. Supple was a very hip and respected producer in the UK, having worked with a wide variety of acts ranging from Pet Shop Boys and Morrissey to Suede and U2, so it seemed a natural and wise move to bring him in deeper.

On 'X & Y' they brought in more electronic influences, evident on songs like 'Speed Of Sound,' but left plenty of room for a more signature sound like the ballad ‘The Hardest Part.' The band continued to take inspiration from the likes of U2, The Smiths, and mid-period Echo & the Bunnymen, which along with a soft spot for soft pop, basically makes up the Coldplay sound.

The band's idea to shake things up a bit proved a good move, as the album topped the American charts, their first to do so. As the band soon moves in on the 25^th anniversary of their debut, 'X & Y' remains a key moment in their evolution.

By Marc Lee Shannon - Summit FM Feel Better-ER Host

Since I was a 14-year-old skinny, lonely kid, who dreamed of being a basketball player for the Lakers or Celtics, but unfortunately lacked the talent to back it up, I have had one steady, unwavering friend.

The Guitar.

It took me to high school dances, with my shag haircut and bell-bottom jeans that covered my silver spray-painted platform shoes completely. It stood by, plugged in, and tuned up, as I played for the first time in front of friends, and new hopeful fans, of my rock and roll dream. It comforted me with an unfamiliar confidence that a kid from a divorced Catholic family had never known before.

For the first time, I had a warm sense that I could be somebody in a nobody town; I could find a way up and out into the world, where, for once, I could gain positive attention and maybe, just maybe, finally learn to like myself a little.

Later, that friend took me to school, a music school I barely qualified for in LA, and in the years to follow, watched as I became a 2^nd string Hollywood session musician. He was there with me as I played in bands with major label record deals, and along the way, also developed a substance use problem that, together with some mental health issues, just kept growing past my 20s, 30s, and beyond.

Even after I came back to Ohio, and found my way to the corporate world, with the success symbols of the big house, fine foreign cars, and the ease of never having to worry about the right side of the menu at a restaurant, that friend watched as I could not fix my addiction stumbles on my own. Finally, in my mid-50s, that faithful pal was there when I hit the bricks at the bottom of the well of lost hope, and entered a detox facility.

I was going to be okay, but it was treatment, and a community of believers that tossed me the lifesaver, put me in the boat, and rescued me from the sea of despair.

That was ten years ago, on June 2, 2014.

It was to be some time before I would begin a string of continuous recovery, but that old friend was constantly there with me as a sidecar of support, urging me to play on.

The Guitar.

It was never in the plan to use that friend for anything but musical ambitions, but it turned out that the universe, higher power, fate, or whatever you want to name that magic wand of complete restorative transformation, was using that friend to put me back in the game like a Texas Leaguer hit in the 9^th inning: an unlikely curveball, and a complete surprise.

You see, these days, I am certified as an OhioMAS Peer supporter and a recovery coach. That friend, the guitar, now goes with me when I visit the detox wards, the behavior health treatment centers, the presentation halls, and the banquet centers, where people gather to hear my story of a path to discovery along the road to recovery. It is the songs, and the readings, from my book Sober Chronicles, that help me help others who are saying for the first time, “Please. Help. Me,” in those notes played on the fingerboard, that are shaped by a voice of experience that I share and pay back to those that came before and so willingly and gracefully helped me stand up after so many falls. It is that guitar that lifts the head, and maybe the spirit of the soul, that has tried everything, and lost faith in a future life different than they were certain to occupy.

That gracious friend who has helped me through so many days of despair and desperation, has now turned into the facilitator of a life only dreamed of, but always desired, by that 14-year-old kid from West Akron, who had a tough start, but now is redeemed in the songs of hope, played on a six-string miracle worker that rarely fails to turn a head and lift a heart.

The end of the story may still be out there. But I have a feeling it will be told...Guitar in Hand.

By Dave Swanson - Summit FM Contributor

"I was so proud of it," Pete Yorn told Spin about his debut album,'Musicforthemorningafter.' "I remember when I was making it, I felt like I didn’t compromise anything." Yorn released his debut album back in 2001, and the album has not only aged gracefully over the past twenty plus years, but sounds fresher than ever.

The singer/songwriter path may not have been the flavor of the day when first released, but that has added to the lasting strength here. Yorn not only wrote the songs and co-produced, but played all the instruments as well…a sometimes tricky path, but if navigated properly is perfect for the artists vision. Everyone from Paul McCartney to Todd Rundgren, Prince to Emitt Rhodes are proof of that. The trick, so often, is to make it sound like a band. Yorn succeeds, and then some.

Yorn had signed with Columbia Records and got to work with producer friend Walt Vincent, but the label wanted some outside hands in the mix, and producer Brad Wood, a well-respected man behind the board for a laundry list of indie rockers. Wood just kind of lent his hand to the proceeding already rolling, and the input of all three did the trick.

The album kicks off with the complete conviction of 'Life on a Chain,' which sets the bar pretty high for the rest of the album. Songs like 'Black,' 'Strange Condition,' and 'For Nancy ('Cos It Already Is)' all have a thick 'alternative' vibe running, from the school of Britpop back through to early R.E.M., with a nod to 60s folk rock and brought up to 2001 reality, which Yorn confirmed.

"I love Britpop so much, like the Smiths, Oasis, the Cure, Stone Roses, Ride, Blur all that stuff,” he said. "I was also, at the time, a huge fan of roots-rock Americana, the Band, Neil Young, Beach Boys, Bruce [Springsteen] of course." All these influences gave the album the edge it needed. Call it what you want, but it's a rock and roll record!

Quieter moments like 'June' and 'EZ' sit next to the kinetic indie pop of 'Closet,' and the moody, semi psychedelia of 'Simonize,' adding to the album's variety which, of course, adds to the lasting appeal of the album, which is, perhaps, why it was certified Gold. Yorn created something special here without question.

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

After a few early singles, U2 made themselves known on a larger scale with their incredible debut album, 'Boy,’ in the fall of 1980. From the first shimmering notes of 'I Will Follow,' it was clear there was more going on here than your average 'rock' band. Despite using the same tools: guitar, bass, drums, and vocals, these four young Irishmen had rapidly developed a sound of their own. Taking inspiration from various 'post punk' bands, as well as more traditional classic rock, U2 set their sights on the world.

A sophomore effort, 'October,' saw the light of day a year later, in late 1981. It followed much the same path as the debut but to slightly lesser return. In between 'October' and the next effort, they released a key non-LP single, 'A Celebration.' The single, though not radically different, did provide a slightly modified take on the U2 sound. Production once again came from Steve Lillywhite, who had handled the first two albums, and would continue, on some level, to be involved with the band for years to come. 'A Celebration' had a more brash, less ethereal style overall, a bit more ragged and raw. They would take this approach with them as they worked on 'War.'

One noticeable change right off was in the sound of the Edge's guitar. On 'War' it became a bit harsher, more forceful and less involved with effects. "I'm bringing what I did on the album ‘War’ to its ultimate conclusion," guitarist the Edge said in a 1983 interview, "trying really, really clean sounds. I think it should be interesting." Vocalist Bono was quick to state the band's approach on the new album. "We made a very conscious decision not to mellow out our sound," he said. "We didn't say this is a punk rock group, but we said this is an aggressive rock and roll group, and we're sick and tired of all the sideshows where people talk about everything but the music, they see us in some social context, but I'd like them to just listen to the music for a while because that's why we're here."

The albums opens with the defiant battle sounds of 'Sunday Bloody Sunday,' which sets the tone for what is to follow. With its marching rhythm, it is as if they are off into battle. A brief pivot with 'Seconds,' before they kick into the album's first single, 'New Year's Day,' one of a couple songs that retain some of the, as the band called it, "cinematic sound" of the first two albums. Elsewhere 'Like A Song,' and 'Two Hearts Beat As One,' present variations on this new U2 approach. They bring to the table, not only a harder edge, but a bit of soul inflection and commanding rhythmic foundation, as found on 'Red Light' and 'The Refugee.' This was a refreshing and forward looking U2. "We wanted to make that clear with this LP," adds Bono. "We wanted to make a loud LP!"

The critics were torn. The NME calling much of 'War' "hapless, dated Clash style agit-pop" and declaring it "hog tied and ham-fisted," while Rolling Stone made the Clash comparison with a positive spin, saying. "the songs here stand up against anything on the Clash's 'London Calling' in terms of sheer impact" and praising the band for its "passion and commitment." Critic’s observations aside, the public loved the album, scoring a number one in the UK, and sending it to No. 12 in America, easily making it their highest charting LP to that point, ultimately selling multi-platinum.

The years have been kind to 'War.' It has remained a cornerstone of the U2 catalog since its release back in 1983. For many, it was the first time they heard the band and thus holds a special place in the hearts and minds of many fans. It is not only an essential U2 LP, but an essential LP of the 1980s and alt rock in general.

By Matt Anthony - Summit FM Digital Media Specialist

All the small things
True care, truth brings.

• “All The Small Things” – blink-182

What do you do once the big event is over? Your daughter is finally married. You eventually received the promotion that you deserve. (‘overdue’, as it is!) You’re back from that amazing 10-day vacation. The Black Keys show is over and you’re driving home. Or…that offer you put in on eBay actually did make you the highest bidder!

Now what?

If Facebook has taught us anything, it’s that we have full, unadulterated license to share THE most captivating, joyous events that our lives can muster. In fact, there is tacit approval from the online community to boast until our heart’s content. To spend any time scrolling through your feed is to flex the tendons in your mouse-hand as you click ‘like’ and heart emojis until fatigue makes you shut the screen on your laptop.

But what happens next?

Master Po: Close your eyes. What do you hear?

Young Caine: I hear the water, I hear the birds.

Master Po: Do you hear your own heartbeat?

Young Caine: No.

Master Po: Do you hear the grasshopper that is at your feet?

Young Caine [looking down and seeing the insect] Old man, how is it that you hear these things?

Master Po: Young man, how is it that you do not?

• Kung Fu (TV series)/“The Way of the Tiger, The Sign of the Dragon” - 1972

Donna and I were walking on the Freedom Trail last week in Tallmadge. It was a beautiful day, and it was a busy day. The trail was packed with runners, walkers, recumbent bicyclists, skateboarders, and lots of dogs. Somehow, though, amongst the cacophony, a gentle breeze accelerated briefly and rattled the tops of the trees. They nudged up against each other like wind-chimes, a chorused brushing-together of swishes and swooshes. I stopped and closed my eyes.

“What’s wrong?” Donna asked.

I could feel myself smiling. “Nothing at all,” I replied.

It was the antidote to the tumult of the daily grind. A miniscule, miracle. Like hearing a train whistle as you are about to fall asleep. Like gawking at the way the sunset sneaks through a bedroom window at the Golden Hour, and you fumble with your camera trying to capture it. Or, for me, walking up the steps from the garage after a long day of work and smelling those simple peanut-butter cookies that Donna still makes for me.

On the gratitude-spectrum, these microscopic events flutter in, do their mystical work, and evaporate. And these are only the ones that we notice! While it’s very challenging, I’m doing my level-best to be open to the presence of the ones that, sadly, I miss.

By Dave Swanson - Summit FM Contributor

Emmylou Harris is an American treasure. Her full tally of contributions to American music is “real, and spectacular,” to quote a phrase. In love with music since childhood, it seemed like destiny she would make that path her home throughout life. Her interest led her into the folk music world of the 1960s. An Army brat, her family ended up in Virginia, by way of Alabama and North Carolina. With the desire for a life in music, in 1967 she ended up in Greenwich Village, folk music's center of the era, and by 1969, she had a manager and her first record deal. Her debut album, ‘Gliding Bird,' was released on the Jubilee label, and sank without a trace, once the label folded.

By this time she was married and with her first child, she started wondering if a life in music was meant to be, it was then fate intervened when she crossed paths with Gram Parsons, who had left behind not only a stint with The Byrds, but with his own Flying Burrito Brothers as well. The country rock pioneer was looking to establish himself as a solo artist, and upon meeting Emmylou, knew he had found his musical soulmate.

The duo recorded two albums together, to great critical acclaim, then Gram succumbed to drug addiction, and Harris was on her own. She had signed a deal with Warner Brothers Records and had established herself as a vocal talent far above the usual. From 1975 through 1993 she issued several albums and continued to command respect from fellow musicians and fans for her vocal abilities. By the mid-90s, however, there was little demand for her brand of country. Wanting to try something new, she was teamed up with hip producer Daniel Lanois, who had his hands on countless 'cool' records of a variety of styles.

Working with everyone from Canadian synth poppers Martha and the Muffins, and Nash The Slash, to legends like Brian Eno, Bob Dylan, and Peter Gabriel, as well as mega hits with U2. His production style was very vast and cinematic, and the thought of what he would do with the sound of Emmylou was intriguing to say the least. One listen to 1995's 'Wrecking Ball' and you know it was a perfect pairing. His spacious warmth added an almost surreal element to her roots conscious approach.

With songs by Lanois and Harris, she also delivered material from Bob Dylan, Steve Earle, Julie Miller, and Lucinda Williams, it all added up to one of her most solid efforts, and though most of the songs were from outside writers, she truly made them her own. One listen to her take on the Jimi Hendrix classic 'May This Be Love,' or the way she transforms Neil Young's 'Wrecking Ball' into her own space in time, tells your ears all they need to know.

The album scored heavy praise from critics around the world, likening it to her own 'American Recordings,' the Rick Rubin produced album that exposed Johnny Cash to a new generation of fans and evaluation. Despite winning a Grammy for 'Best Contemporary Folk Album,' 'Wrecking Ball' failed to set the cash registers alight, barely breaking into the U.S. Top 100. It did considerably better in Europe, even scoring a No. 1 on the UK country charts.

With a vast catalog and colorful musical history, Emmylou Harris remains one of the most loved and respected voices in country, roots, Americana, whatever you wish to call it. From her duets with Gram Parsons, and her own solo catalog from the 1970s, to 'Wrecking Ball,' and the even more experimental 'Red Dirt Girl,' in 2000, she has continued to define and re-define her sound. Much like this album, Emmylou is an essential artist!

By Dave Swanson - Summit FM Contributor

The band behind this week’s ‘Essential’ album, partially defined the path of early 80s guitar-based music, in an era where synthesizers had taken over. R.E.M. had their own ideas about where music in the new decade should be headed. Without taking one thing away from their entire, glorious discography, there is an argument to be made for the first chapter in the R.E.M. fables as being their best. The run of records from 'Chronic Town,’ in 1982, through 'Document,' in 1987, is pretty hard to beat. Over the course of those 6 years, R.E.M. stated their case, delivered the goods, and brought a soundtrack to an unsuspecting music world. Call it 'college rock,' 'alternative,' or whatever you like, somewhere between the influences of Wire, Television, the Byrds, and Moby Grape, the jangle ascending glory of R.E.M. came to light.

Their debut single, 'Radio Free Europe' was issued on the Hibtone label, in 1981, making college radio take notice, followed by IRS Records snapping them up to issue the EP, 'Chronic Town.' Their proper debut full length, 'Murmur,' followed in 1983, and with it, swarms of young, enthusiastic fans and rock critics, hunting for more and more accolades to heap upon this quartet from Athens, Georgia. By 1984, the little world of 'college rock' was bursting at the seams with bands like Husker Du, The Replacements, X, The Bangles, and many more, all upping the ante with new releases. R.E.M. stepped up to the plate and knocked it out of the park with 'Reckoning' that year. 2024 marks its 40^th anniversary!

From the first jangle that kicks off 'Harbourocat' to the last surging chord of 'Little America' it was clear R.E.M. had rapidly become more focused than they were on the classic debut, 'Murmur.' It was the same team of Mitch Easter and Don Dixon, who helped the band develop its sound and style, that was quickly becoming a signature of not only their own, but of many an up-and-coming band trying to go for that sharp, jangly guitar sound that was firmly melodic pop, but with a unique, less obvious take on the genre. ‘Reckoning’ brought a sharper edge in songwriting, performance, and production. 

'Don't Go Back To Rockville,' and 'South Central Rain' were both issued as singles, but made no dent, the latter barely scraping into the Top 100. That being said, both songs, along with 'Pretty Persuasion,' 'Second Guessing,' and '7 Chinese Brothers,' found a place on college radio charts, and helped R.E.M. gain more ground. The album itself made it up to No. 27. Self-assured yet full of wide eyed wonder, it captures the band at a genuine peak. This was rock and roll to be sure, but seemed a world away from the likes of Motley Crue, Ratt, and Quiet Riot, let alone Cyndi Lauper, Prince, or Duran Duran, and yet another world away from 'Thriller,' all ruling the commercial airwaves at the time. At that moment, R.E.M. were arguably kings of the underground, but getting too big for that circle. While many more classics would follow over the years, 'Reckoning' was certainly an early high-water mark, one that still rings out some four decades later.

By Dave Swanson - Summit FM Contributor

The Beatles story is a legend, a living legend, a legend that will live after lots of other living legends have died. Umm, oh wait, that's the Rutles. The Beatles were a pop group from Liverpool, England. Formed in the early 1960s, they would eventually take over the hearts, minds, and souls of an entire generation, and then some. You know, The Beatles!!

Anyway, back to the story at hand. By 1965 The Beatles had released four albums (though the American market would stretch that to eight), each on a significant progression from the previous. The primal urgency of 1963's 'Please Please Me' gave way to a more self-assured sound on 'With The Beatles,' released a mere 8 months later. By the summer of 1964, they were a worldwide phenomenon, and had made their first film, 'A Hard Days Night,' which would also serve as the band’s third LP. On that album, everything came into focus. All songs were self-penned, no covers, and it remains one of their finest, and most solid, albums of their catalog. Another album, 'Beatles For Sale' was on the streets by years' end. It was as much a step forward as it was a step backwards, with six of the fourteen tracks being early rock and roll favorites of the band. That being said, the new Lennon/McCartney songs on the album showed their creative spark was in constant forward motion.

All of which lands us in 1965 and the band's fifth album, and soundtrack to a second film, 'Help!,' and much like the film, the album itself was in full color sonically. When the album was issued in America, it was chopped drastically so as to include incidental music from the film, whereas the original UK LP was a huge step forward. It is, however, interesting to note that the U.S. version of the album contained the first use of a sitar on a Beatles album, granted, as part of the film score, but still worth noting, considering how large that instrument would loom in Beatles lore.

The writing of Lennon and McCartney was quite simply, brilliant throughout. 'You've Got To Hide Your Love Away,' 'Ticket To Ride,' 'I've Just Seen A Face,' 'You're Gonna Lose That Girl,’ and, of course the title song, are all first class Beatles songs. Add to that two ace George songs, 'I Need You' and 'You Like Me Too Much' and a full throttle version of Larry Williams' 'Dizzy Miss Lizzy' ends the album with somewhat of a nod to their roots, from which they were moving on.

From start to end, it stands as one of the band's most solid all around albums. For decades many people have linked 'Rubber Soul' and 'Revolver' as hand in hand albums, in many ways it's actually 'Help!' and 'Rubber Soul' which link up perfectly. The jangling guitars, folk rock inspiration, and more sophisticated arrangements on both lead the way. It’s no surprise then, that the U.S. version of 'Rubber Soul' nabbed a few of the songs from the UK 'Help!' seamlessly. The McCartney signature of 'Yesterday' is also here as is Ringo's take on Buck Owens 'Act Naturally' adding country rock to the Fabs’ repertoire very early on.

'Help!' is truly an essential album, and not simply a great Beatles album. It may be taken for granted as historical, but we must pause to note once again the speed at which The Beatles (and most other bands of the 1960s) operated. It was incredible, insane, and inspirational. The recording of the 'Help!' album began in February of 1965, and was on the streets by early August with 'Rubber Soul' just around the corner, released in December of the same year, and 'Revolver' on shelves eight months later. And remember, we're not talking about rushed 'product' of some generic nature, we're talking about THE BEATLES, and landmark recorded works.

The Beatles may still be omnipresent in 2024, but one thing we can't afford is to take their existence for granted. They were, and remain, a once in a lifetime event, one that changed not only the world of music, but the world in general. Never before, and never again.

By Matt Anthony - Summit FM Digital Media Specialist

I could see it on the horizon. A dark, sinister atmospheric ‘lump’ that was advancing, moving quickly towards me. There was no way I was equipped to out-run it. I had been warned of this day. But how was it possible? That pristine Saturday afternoon had offered unparalleled serenity. Just me, a Jeff Buckley tune dancing inside my noggin, abundant sunshine, and the sexy, motorized rumble of a Triumph Bonneville underneath my leather-clad corpus.

But there it was. It looked like the ‘Darth Vader’ of cloud formations. I realized that I could not turn around. It would do no good, anyway, based on the speed of its movement. And since I was unfamiliar with the roadways in that stretch of eastern Ohio, I felt uncomfortable veering off on to a country road.

I had to face the music.

Riding a motorcycle in inclement weather teaches you about your limitations. It makes you respect that natural order of things. It focuses attention on objects that, in a car, would seem non-existent, like maintaining balance and safety through the build-up of pebbles while cornering. Most importantly, it places your definition of ‘riding defensive’ at the top of the pyramid.

It also introduces you to sounds and feelings that reek of unfamiliarity: large drops of precipitation slamming into a plastic face-shield, a loud, wet chorus of 18 tires separating sheaths of water as a truck invades your space going in the opposite direction, and saturated riding gloves and shins, helpless against a cloud-burst’s onslaught.

To this day, I’m flabbergasted at the thought of the speed of this natural phenomenon, and how quickly it enveloped me that day. I would encounter multiple instances like that one later in my riding career. But I’m equally as amazed at my reaction: sheer panic, then resignation, then outright clarity.

Do what you were taught.

“Hey, world, you know you gotta put up a fight.”

• Michael Franti

Facing an adversity can make us grateful for the experience. We may not have asked for it. We may doubt our ability to weather it. And we may not even know if we’re capable of confronting these things, much less experiencing a victory. But an obstacle can be a path to some form of self-discovery that could make us aware of something about ourselves that we didn’t know was even there.

Losing 10 pounds. Finishing a course started long ago. Finally picking up that guitar. These can be daunting challenges that may cause us, time and time again, to shrug off the inclination to actually start the process.

For me, it was riding a motorcycle. I had always wanted to do it, but I was frightened, and I was constantly told that I couldn’t. But while living in St. Louis, I finally decided to sign up for a course. I struggled. I doubted myself. Heck, I even dropped a motorcycle during an exercise! But getting that certificate and driving home afterwards, with that feeling of satisfaction, was exceptionally gratifying.

I experienced the same feeling while stopping for a coffee after my dance with the dark cloud that day. I was intact. I was safe. I had utilized what I had been taught, and I weathered something that I didn’t think was possible. It felt gratifying to say that I had come through on the other side.

But there’s a fundamental truism to always keep in mind: The clouds never stop. While I no longer ride, the confrontations continue. Riding through a torrential storm with nothing or nobody to protect you has been replaced lately with confronting Donna’s cancer, navigating the Alzheimer’s journey, and trying to come to terms with a life and whether it’s been well-lived. Who will we be when the dark cloud leaves? What will we have learned? Can we find gratitude deep inside the experience, knowing that one lesson learned will lead to yet another that needs addressed? Resigning ourselves to the fact, and finding comfort somewhere in it, makes gratitude that much more magnified.