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Lyt når som helst, hvor som helst 

Pushkin Industries

Music and storytelling meet on Broken Record, where artists across genres and generations sit down to explore the joy, chaos, and vulnerability of creating—and what it means to devote a life to music. From legendary icons to groundbreaking new voices, each episode captures artists in conversation sharing the inspirations and experiences that shape their craft.

Broken Record with Rick Rubin, Malcolm Gladwell, Bruce Headlam and Justin Richmond

Tom Morello arrived in Los Angeles from Libertyville, Illinois, in the mid-1980s with a Harvard political science degree in his pocket and a guitar slung across his back, determined to become the next great guitarist on the scene.
 
Instead, he found himself locked out of the glam-rock world that had taken over the Sunset Strip. By day, he worked as a secretary to a state senator; by night, he played clubs, searching for a way in.
 
Then, in 1991, Morello co-founded Rage Against the Machine with Zack de la Rocha—and everything changed. The band fused hip-hop, punk, metal, and politics into something entirely new, becoming one of the biggest rock bands of the 1990s.
 
Rage has been on and off over the past 25 years, but Morello has rarely stood still. He formed Audioslave, recorded folk protest songs as The Nightwatchman, toured as a member of Bruce Springsteen’s E Street Band, and collaborated with artists ranging from Chuck D and B-Real to Johnny Cash.
 
Now, for the first time in his decades-long career, Morello has made a true solo album. Everyone Gets Everything They Want combines high-energy rock with social consciousness—and features his 15-year-old son, Roman, as a collaborator throughout.
 
On today’s episode, Justin Richmond talks with Tom Morello about making Everyone Gets Everything They Want and the long road that led him there. Morello tells the story of his early years in Los Angeles, the divide between the Eastside and the Sunset Strip, his time with the E Street Band, and much more.

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Tom Morello

David Porter's story goes well beyond writing songs and releasing albums for Stax Records. His recent memoir, The Soul Man, tells how he and his partner Isaac Hayes helped invent a sound rich and enduring enough to define American music from the 1960s to today. Together they wrote and produced hits for Sam & Dave, Johnnie Taylor, and dozens of other artists, and in the process built what became known as the Stax sound, a sound Porter still describes as the pursuit of pure emotional connection.
 
Porter grew up on a dead-end street in Memphis that also produced Maurice White of Earth, Wind & Fire and members of the Bar-Kays. He started out singing in church before eventually singing and producing music for Stax. He never learned to read music. None of the great names at Stax did. Instead, they built songs by ear, in the room, together, a process Porter calls “head arrangements,” and it became the foundation for some of the greatest songs in the history of R&B.
 
Today, Bruce Headlam sits down with David Porter to talk about how he and Isaac Hayes built a signature sound to set themselves apart from Motown, Burt Bacharach and Hal David. He also recalls the writing session that turned a bathroom joke into Sam & Dave's "Hold On, I'm Coming," and the incredible story of how Otis Redding went from an artist's personal driver to a Stax superstar.
 
You can hear a playlist of some of our favorite songs from David Porter HERE.

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David Porter

Travis Barker grew up in Fontana, California, and was gifted his first drum kit at the age of four from his mother, who made him promise before she died that he would never stop playing. This was just before he started high school and though he spent his early years dabbling with skateboarding and other interests, he always came back to the drums. After graduating, he moved to Laguna Beach and spent his mornings collecting garbage and his nights playing gigs with punk bands until a touring slot with the Aquabats put him on the same bill as Blink-182, and through happenstance, in the band.
 
What followed was one of the great runs in pop-punk history. Enema of the State and Take Off Your Pants and Jacket sold over 35 million copies worldwide, and Barker’s drumming redefined what a punk or alternative drummer could sound like in the mainstream.
 
On today’s episode, Justin Richmond sits down with Travis Barker to discuss his dedication to his craft, his love of the Misfits and Ramones; and how nightly jams with Billie Joe Armstrong and Mike Dirnt of Green Day led to the Blink side project Box Car Racer.
 
Travis Barker’s documentary “Love Louder Than Fear” is streaming now on Hulu/Disney+
 
You can hear a playlist of some of our favorite songs from Travis Barker HERE.

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Travis Barker

Daniel Kessler grew up between London, Paris, and Washington, D.C., listening to his older brother’s early UK rock records. He picked up guitar as a teenager, the same day he quit skateboarding, and after moving to New York in the late ’90s, he set out to find musicians serious enough to start a band. In 1997, that band became Interpol and when their debut Turn on the Bright Lights came out in 2002, it helped define a new wave of New York indie bands, alongside the Strokes and Yeah Yeah Yeahs, and topped Pitchfork’s year-end list.
 
More than two decades later, Kessler remains the musical architect of Interpol, writing the foundation of the band’s songs, often alone on a classical guitar before bringing them to his bandmates. The band has now made eight albums together, and their latest, This Mirror Weighs a Ton, is their first record made in New York in more than a decade. Produced by Andrew Wyatt, it expands Interpol’s familiar sound with more experimental textures—and features Kessler singing for the first time since Turn on the Bright Lights.
 
On today’s episode, Leah Rose talks with Daniel Kessler about making the new album, the early days when Interpol played to almost nobody, a chance encounter with David Bowie before a show at Hammerstein Ballroom, and the creative routines—guitar, coffee, and films—that have kept him writing for nearly three decades.
 
You can hear a playlist of some of our favorite songs from Daniel Kessler & Interpol HERE.

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Interpol's Daniel Kessler

Brittany Howard has never been the type to do things quietly. Whether it was fronting Alabama Shakes with a voice that could fill a room and level it in the same breath, or striking out on her own with two solo records that pulled her sound in wilder and more personal directions, she's spent the last decade refusing to stay in one place for long.
 
Now she's back with her bandmates—Zac Cockrell and Heath Fogg— for a new Alabama Shakes album, I Must Be Dreaming, their first in 11 years. And on today's episode, Brittany sits down with Justin Richmond to talk about what it took to get the band back together after a long break and what the new album sounds like on the other side of it.
 
You can hear a playlist of some of our favorite songs from Brittany Howard and The Alabama Shakes HERE.

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Alabama Shakes' Brittany Howard

In Revisionist History's new season The Staten Island Problem, senior producer Ben Naddaff-Hafrey investigates the story of what was, at the time, the biggest secession movement in the U.S. since the Civil War. The Staten Island Problem reconstructs the battle for New York City amidst the turbulent early 1990s—the rise of Rudy Giuliani, the peak of the homicide rate, young Donald Trump, and the first Black mayor of New York—all through the prism of the city’s Forgotten Borough. At the height of the secession movement, the Wu-Tang Clan formed on Staten Island. Here’s a tour of early 1990s hip-hop and the hidden history of the group.
 
Find more episodes of Revisionist History: The Staten Island Problem wherever you get podcasts.

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Wu-Tang v. Shaolin | From Revisionist History: The Staten Island Problem

Harvey Mason Jr. grew up steeped in music. His father, Harvey Mason Sr., was half of Herbie Hancock's Headhunters rhythm section and played on countless sessions through the '70s and '80s. After a brief detour through college basketball, Harvey Mason Jr. built his own life in music, starting where a lot of careers do: writing jingles. From there he assembled a production and songwriting résumé that includes Aretha Franklin, Michael Jackson, Justin Bieber, and Beyoncé, along with film work spanning Dreamgirls, Straight Outta Compton, Pitch Perfect, and the recent Michael Jackson biopic.
 
Then, in January 2020, his path took an unexpected turn. The Recording Academy, the organization behind the Grammy Awards, installed him as interim and eventually full-time CEO. He stepped into the job at a moment of institutional crisis and set about remaking it from the inside: expanding membership, eliminating secret voting committees, and pushing the organization to be more diverse, transparent, and reflective of modern music.
 
On today's episode, Justin Richmond sits down with Harvey Mason Jr. to trace that arc, from ASU to jingle sessions to the studio where Michael Jackson made Invincible, and on to running one of the music industry's most powerful institutions.

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Harvey Mason Jr.

My friend W. Kamau Bell has a new show out, Who's With Me?. Known for having conversations about the issues that divide, enrage, and confuse us, Kamau sits down with someone he admires to give them their flowers, ask his most burning questions, and invite his guest to give him and his audience homework on how to make the world a better place.
 
Daveed Diggs joins Kamau to discuss his hip-hop career, parenthood, breaking out with Hamilton, and pursuing creative projects with friends. Kamau gives Daveed his flowers for being intentional with the work he selects. From his rap group to his role in the final season of The Boys, to his new film Magic Hour, Daveed busts his ass with projects he believes in.
 
Donate to Cool Hand Series at coolhandseries.org to support bringing the arts into the prison systems.
 
Find new episodes of Who's With Me? with W. Kamau Bell on YouTube or wherever you get podcasts.

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Daveed Diggs on the Need for Artistic Expression | From Who's With Me? with W. Kamau Bell

Melissa Auf der Maur came of age in Montreal's bohemian art scene in the '80s and early '90s, at the very moment that alternative rock was becoming the defining sound of a generation. Through an unlikely chain of events, her band Tinker landed an opening slot for the Smashing Pumpkins, and Billy Corgan, sensing her natural talent on bass, recommended her to Courtney Love. What followed was a turbulent apprenticeship. Auf der Maur joined Hole for the Live Through This tour in 1994, just weeks after the deaths of Kurt Cobain and Hole's prior bassist, Kristen Pfaff. She later toured with the Smashing Pumpkins, released two solo albums, and has since built a life as a musician, photographer, and cultural curator, co-founding Basilica Hudson, a multidisciplinary arts center in New York's Hudson Valley.
 
Melissa Auf der Maur's book, "Even the Good Girls Will Cry" is a bestseller, part rock memoir, part travel diary, and part psychedelic scrapbook. It's a vivid dispatch from the last analog decade that captures that era in all its messy, angsty glory. Auf der Maur writes with the tenderness of a true survivor: about the illness and death of her father, her past relationship with Dave Grohl, and her complicated, deeply human portrait of Courtney Love. Now she's following it with a companion photo book, "My 90's Rock Photographs," drawn from the remarkable archive she shot from inside one of the most photographed moments in music history.
 
On today's episode, Justin Richmond talks to Melissa Auf der Maur about both projects - how her parents encouraged an unconventional life in the arts, how alternative music went mainstream, and how her relationship with Courtney Love has evolved over the years.

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Melissa Auf der Maur

Today we're revisiting a conversation with acclaimed British guitarist Johny Marr. Marr started playing guitar as a young teenager growing up in Manchester. When he turned 15 he dropped out of school and moved to London to join the band Sister Ray.
 
A couple years later he would help form The Smiths with Morrissey, Mike Joyce, and Marr’s friend and bassist, Andy Rourke. After The Smiths broke up in 1987, Marr went on to collaborate with an array of different musicians and play in bands like The Pretenders, The The, and Modest Mouse.
 
On today’s episode Justin Richmond talks to Johnny Marr about his exciting work scoring movies with Pharrell and Hans Zimmer. Marr also recalls the terror he felt performing live in front of stadiums full of fans with The Pretenders on U2’s Joshua Tree tour. And he talks about the time he bought a Fender Stratocaster while hanging out with Oasis’ Noel Gallager. That Strat has nine pickups and it eventually led to him writing one the best songs of his solo career.
 
You can hear a playlist of some of our favorite Johnny Marr songs HERE.

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Rewind: Johnny Marr

This week we're sharing an episode from one of Slate's podcasts called Hit Parade. A decade ago, Rolling Stone magazine called 1984 “Pop’s Greatest Year.” A bold statement…but a lot of critics agree. A confluence of factors—the comeback of dance music, the peak of MTV, the Second British Invasion and the emergence of metal and hip-hop—made the radio a great place to be.
 
Join Chris Molanphy in this episode of Slate's Hit Parade as he dissects eight reasons why 1984 was awesome for pop fans and walks through all 20 of the year’s No. 1 hits: from “Jump” to “Hello,” “Karma Chameleon” to “Caribbean Queen,” “Let’s Go Crazy” to “Like a Virgin.”
 
You can listen and subscribe to the Hit Parade podcast on your favorite podcast player. 

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Introducing Hit Parade from Slate: "What’s 1984 Got to Do with It Edition Part 1"

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