The Opus

A good album leaves a mark on you, but traditionally, that impact lasts as long as the album itself. It starts, you hear a bunch of great songs you love, and then it's over. Maybe it put you in a better mood? Or perhaps it even gave you some time to think about things? Whatever the case, when the record stops, all too often the influence goes along with it. What makes an album like Bitches Brew so special is that the influence doesn’t die when you pick the needle up. Instead, it continues to expand out infinitely in all directions. An album like this is more than just a collection of great songs, it's a whole universe of influence, one that continues to grow and shape culture, even decades after its release. Join host Andy Bothwell in Columbia's Studio B, where he wraps up Season 8 of The Opus alongside journalist and engineer from ThePudding.com, Matt Daniels; Techno musician Black Asteroid; Jazz innovators The Bad Plus; and touring machine Andy Frasco of Andy Frasco and the UN. Together, they ex

Fifty years later, there's something about Bitches Brew that still feels strange, wild, and unfamiliar. There's a magic in Miles Davis' cauldron that binds the ingredients to create a potion that is somehow greater than the sum of its exceptional parts. There's an almost indefinable something that somehow elevates the album to new heights -- and that mystery ingredient is what makes the brew so special. Today, The Opus attempts to chase that "something" in the second part of its Bitches Brew season. Join host Andy Bothwell in Columbia's Studio B, where he presides over an equally talented crew that includes: musician and professor Mark Gould (Julliard/New York Trumpet Ensemble); bassist and composer Ben Williams (Kamasi Washington/Pat Metheny); Sound on Sound columnist and author of Miles Beyond: Electric Explorations of Miles Davis 1967-1991 Paul Tingen; Brainfeeder artist and Berklee School of music Faculty Daedelus; and composer and author of 33 1/3: Bitches Brew George Grella.

Jazz can often be seen as a genre that challenges listeners, but one of the greatest jazz records of all time -- Miles Davis’ Bitches Brew -- was born out a need to challenge the genre, to push back on the establishment, and to break down old conventions and notions about what jazz could be. Davis saw the future of music coming fast, and it was in funk and rock. If he didn’t catch up, he and jazz would get left in the dust. What resulted from this future forward approach would not only change the genre, but launch Davis from the dark basements of jazz fame to the main stages of stardom. This season, The Opus has booked some time at Columbia's Studio B, where host Andy Bothwell has dialed things back to August 1969. His first night's guests include: Deantoni Parks (The Mars Volta/Technoself), Daedelus (Brainfeeder/Berklee College of Music), Loren Schoenberg (Julliard/National Museum Of Jazz), and writer George Grella. Together, they discuss the importance of challenging music like Bitches Brew and deta

The Opus has yet to leave the Bridge. Although Bridge Over Troubled Water was the swan song of Simon & Garfunkel, it was really only the beginning of their enduring legacy. Since then, countless musicians and artists alike have followed in their footsteps to myriad results. In this surprise, bonus episode of Season 7, host Andy Bothwell speaks to a trio of eclectic musicians who have all crossed the proverbial bridge. First up is David Draiman of Disturbed, who discusses the band's unlikely cover of "Sound Of Silence". Next is CJ Camerieri of Y Music/Bon Iver, who happened to perform "The Boxer" with Paul Simon on the night Muhammed Ali died. And finally Har Mar Superstar shares how his "cover" of "Bridge Over Troubled Water" got him banned for life from the Steele County Fair in Owatonna, Minnesota. In celebration of the album's 50th anniversary, stream a selection of Simon & Garfunkel's best tracks via all major streaming services. You can also enter to wi

The Opus has reached the end of the Bridge. A lot is made of the fact that Bridge Over Troubled Water was Simon & Garfunkel’s final album. Even 50 years later, fans and historians see the album as the end of the era, when it's so much more than that. Bridge Over Troubled Water wasn’t the end of a road, but a mile marker on a very long highway, full of surprising and exciting twists and turns. It's a portrait not of conflict, but a crucible of honest creative confrontation. On the Season 7 finale of The Opus, host Andy Bothwell speaks to musicians Nick Thorburn (Islands/Unicorns) and Mattiel on the importance of creative conflict, in addition to CJ Camerieri (Y Music/Bon Iver) on what it's like to be in the studio with Paul Simon. He also speaks with writer Jordon Hoffman (The Guardian/Vanity Fair) and Jay Sweet (Newport Folk Fest) about the impact of Bridge Over Troubled Water at the time of its release, and the way it has shaped American culture ever since. In celebration of the album's 5

The Opus is halfway across the Bridge. What does Alex Jones, Beyoncé's Lemonade, and Simon and Garfunkel have in common? More than you think! In 1969, the two bards were asked to make a TV special to debut 1970's Bridge over Troubled Water. Rather than opting for the traditional approach -- think: Elvis Presley's 1968 comeback special -- they created a visual album. Ring a bell? Songs Of America, directed by Charles Grodin (yes, that Charles Grodin), was an experimental, non-linear, collage of live footage, behind-the-scenes shots, and proto-music videos set to news footage from the turbulent 60's. The result cost them their lead sponsor, pissed off a million Americans, and even lead to death threats if you can believe that. Host Andy Bothwell speaks to culture reporter Steve Marsh (GQ/Esquire/Pitchfork) on what caused this film to illicit such a strong reaction from America. He also connects with Bon Iver's design team and video directors Eric Carlson and Aaron Anderson, who weighin on th

The Opus is crossing a bridge into its seventh season. All good things come to an end, and that is certainly the case for Simon and Garfunkel. With 1970's Bridge Over Troubled Water, Paul Simon and Art Garfunkel sewed a button to their timeless collaboration. At the time, though, the album wasn't exactly the ideal swan song for critics, who were mixed on the release, contending that the collection of songs didn't live up to its predecessor, 1968's Bookends. History prevailed, though. Bridge Over Troubled Water went on to win Album of the Year at the 1971 Grammys, taking home both Record and Song of the Year for its title track. What's more, the album went on to become one of the highest-selling albums of all time. Since then, tracks like "The Only Living Boy in New York", "Baby Driver", and "Cecilia" have all become permanent fixtures in pop culture. That was then and this is now. In the season seven premiere of The Opus, host Andy Bothwell traces the footsteps of t

The Opus has one more lesson about The Clash. The same curiosity that drove the English rockers to discover new genres of music also drove them to understand and empathize with the struggles going on far from their homes. That call for political action, of course, is all over London Calling -- right down to its title. Yet the reason why generation after generation continues to answer their call stems from the songwriting itself. These aren't just any ol' political anthems; they're catchy rock songs, the likes of which have crossed borders and cultures for decades. In the third and final episode of our London Calling series, host Andy Bothwell attempts to explain these cross-cultural transmissions. Once more, he's aided by a rotating panel of guests, specifically Spoon’s Britt Daniel, Killing Joke’s Jaz Coleman, AJJ’s Sean Bonette and Ben Gallaty, Worriers’ Lauren Denitzio, Let Fury Have the Hour author Antonio D'Ambrosio, journalist Robert Evans, and filmmaker Joseph Patel. In celebration

The Opus can't fail with The Clash. The diversity of influences on London Calling go way beyond reggae and dub. In fact, they go deeper than the music itself. This is an album that gets its hands dirty by digging right into the culture that wound up influencing the four English rockers. Is this cultural appropriation? If not, how did they manage to pull it off? And what can musicians today learn from their approach to making music? The Opus attempts to answer these questions as it continues to unpack the iconic double album. In the second episode of our London Calling series, host Andy Bothwell is joined by Spoon's Britt Daniel, Texas country legend Joe Ely, Houston rapper Fat Tony, South Florida Genreless musician Yeek, British LGBTQ activist and Big Joanie drummer Cardine Taylor-Stone, Head of Design for MOMA PS1 Vance Wallenstein, and filmmaker Joseph Patel. What are you waiting for? Join 'em aboard this train in vain above. In celebration of the 40th anniversary of London Calling, revisit a se

The Opus is getting lost in the supermarket for its sixth season. The Clash were at a crossroads in 1979. The first wave of punk rock ended a year prior when the Sex Pistols called it quits, leaving the movement to explore new avenues, from New Wave to hardcore, and the band to wonder, What are we gonna do now? The answer was London Calling. As Margaret Thatcher continued to remake Britain by looking into the past, so did The Clash, and the English rockers opened up all the rock 'n' roll doors their fellow punk colleagues had slammed over the last decade. They brushed up on their history, they let their sound travel overseas, they started writing narratives. By doing so, they defied any kind of label for themselves, starting a rebellion in the process, and one that The Opus plans to follow. In the first episode of our London Calling series, host Andy Bothwell is joined by Lee "Scratch" Perry, Against Me!’s Laura Jane Grace, L7’s Donita Sparks, writer Dan Reilly (Rolling Stone/Spin/Entertainmen

Consequence of Sound and Sony are proud to present the sixth season of The Opus. Past seasons have explored the legacy of iconic albums by Bob Dylan (Blood on the Tracks), The Jimi Hendrix Experience (Electric Ladyland), Jeff Buckley (Grace), Willie Nelson (Red Headed Stranger), and Ozzy Osbourne (Blizzard of Ozz). This time, we're answering the cry of the only band that matters, The Clash, and their landmark release London Calling. Host Andy Bothwell, a.k.a. Astronautalis, will begin picking up the pieces of the Paul Simonon's bass when episode one arrives December 5th.  The band was in uncertain territory leading into London Calling. After parting ways with their former manager and being forced to relocate to a new rehearsal space, lead songwriters Mick Jones and Joe Strummer were hit with a year-long bout of writer's block. Even on their previous record, they'd begun veering away from the punk they'd helped popularize towards more rock 'n roll sounds. By embracing styles as varied a

The Opus is out of the Blizzard and on Capitol Hill. Long before he was a teddy bear on reality TV, Ozzy Osbourne was seen as a demon through the eyes of many Americans. In fact, throughout the '80s, the Prince of Darkness was the subject of two separate court cases involving his music. Both "Suicide Solution" and "Mr. Crowley" drew ire from parents and politicians, who were no doubt fueled by the fear and rage of America's rampant Satanic Panic. This brought Ozzy into the sights of Tipper Gore and her Parents Music Resource Center. Host Andy Bothwell concludes his journey through 1980's Blizzard of Ozz by heading to America's capital with a team of experts. Today, he's joined by legendary pop culture writer Chuck Klosterman and The Columbine Effect author Beth Winegarner. Together, they discuss how Ozzy's battles during this time shaped first amendment rights for artists forever, how the war against censorship continues with social media, and how science sides with the

The Opus is in the thick of the Blizzard now. Tracing the influence of Ozzy Osbourne leads to some strange and wonderful places -- far beyond the confines of hard rock. From sports arenas to new hip-hop anthems, the Prince of Darkness has a reach that knows no limits. Host Andy Bothwell continues his journey through 1980's Blizzard of Ozz, but he's not alone. Today, he's joined by a motley crew that includes guitar god Zakk Wylde, musician Steve Brodsky (formerly of Converge), Portland Mercury writer Robert Ham, and, yes, Minor League Baseball executive Fillup Guiry. Together, they discuss how Blizzard of Ozz was a gateway drug into metal, how all great grunge musicians were 16 when it dropped, and how it wound up on the mixing boards for the likes of Post Malone, Trick Daddy, and Lil Jon. Next year marks the 40th anniversary of Ozzy Osbourne’s groundbreaking debut album, Blizzard of Oz. To celebrate, you can preview or stream music from Ozzy Osbourne here. Bonus: We’re also giving away his new ca

Warning: The Opus is about to get loud. Ozzy Osbourne wasn't always The Prince of Darkness. It was a long and twisted journey in the lead-up to his 1980 solo debut, Blizzard of Ozz, one that found the legendary singer banished, wrecked, and lost without any sense of purpose. He was a broken man. Yet he was hardly abandoned. After being pulled back to life by his future life partner Sharon Arden, Osbourne found himself amidst an unlikely redemption story in his post-Black Sabbath life. That story is where this season of The Opus begins. In the first episode of our Blizzard of Ozz series, host Andy Bothwell is joined by legendary guitarist Zakk Wylde, who's performed alongside Osbourne since 1987, in addition to heavy metal writer Joseph Schafer, who has served as curator for NW Terrorfest. Together, they chart how Osbourne went from toiling away in Los Angeles' Le Park Suite Hotel to finding the classical complexity of Randy Rhoads' guitar work to ultimately creating the blueprint for the futur

The Opus is back for a fifth season from Consequence of Sound and Sony. After exploring the legacies of classic records from Bob Dylan (Blood on the Tracks), The Jimi Hendrix Experience (Electric Ladyland), Jeff Buckley (Grace), and Willie Nelson (Red Headed Stranger), we’re bundling up to enter the storm that is Ozzy Osbourne’s debut solo record, Blizzard of Ozz. Host Andy Bothwell, a.k.a. Astronautalis, will begin to traverse the frozen tundra of metal when episode one drops on October 24th. After being fired from Black Sabbath in 1979, Osbourne feared his career was over. However, with the help of his future wife, Sharon Arden, and the work of guitarist Randy Rhoads, he saw a second chance to become a heavy metal icon. Blizzard of Ozz blew in like a cold wind of change that would shift not just Osbourne’s life, but the genre as a whole, thanks to hit singles “Crazy Train” and “Mr. Crowley”. Over three episodes, a number of musicians, artists, authors, and metal heads will delve into how the record changed

The Opus is moseying on outta Texas. Wild horses, weed at the White House, the war in Iraq, and the weird web that ties the world of Willie Nelson’s Red Headed Stranger together. The record that gave Willie his stardom has continued to shape and change the world long after its release. At a time when the world seems to be pulling itself apart, Willie Nelson continues to be a tie that binds—even the most disparate elements. In the Season 4 finale of The Opus, we take a walk in Willie’s boots, and bask in the glorious world he has created since Red Headed Stranger. Host Andy Bothwell, joined by Nathanial Rateliff of Nathanial Rateliff and the Night Sweats, Jack Torrey of The Cactus Blossoms, Carla Bozulich of The Geraldine Fibbers, and Dan Solomon of Texas Monthly Magazine, takes you inside Willie’s world, and shows you just how singular it is. Next year marks the 45th anniversary of Willie Nelson’s breakthrough country outlaw album, Red Headed Stranger. To celebrate, you can preview or stream music from Willie

The Opus is still in Texas. What does Willie Nelson’s Red Headed Stranger have in common with Wilco’s Yankee Hotel Foxtrot? How does that commonality change the course of music history ever? And just how close did Willie Nelson come to slipping into total obscurity. Red Headed Stranger launched an improbable career, created a genre, and changed the world forever. In this installment of The Opus, we get a first-hand look at the massive, culture-shifting changes that came from one pivot, one moment, one record, one man’s faith in his own work. Host Andy Bothwell, along with legendary Texas historian Joe Nick Patoski, takes you through the most pivotal time in Willie Nelson’s life, and just how close we came to never knowing Willie at all. Next year marks the 45th anniversary of Willie Nelson’s breakthrough country outlaw album, Red Headed Stranger. To celebrate, you can preview or stream music from Willie Nelson here. Bonus: We’re giving away a 14-LP Willie Nelson vinyl prize pack!  Advertising Inquiries: https

The Opus is heading to Texas. Willie Nelson has reached that true iconic status in American culture that very few people ever manage to achieve, especially while they're still alive and working. But perhaps the avatar of Willie now looms so large, that we, as a culture, have forgotten all of the brilliant art and work that laid the foundation to support this musical colossus? Sure, you know the hits, but, once Willie hit his stride, he didn’t just write great songs, he made great albums. Albums that changed country music, albums that changed the American cultural landscape forever. In season four of The Opus, we take a deep dive into the album that changed it all for Wille Nelson: his 1975 cinematic masterpiece, Red Headed Stranger. In this season's first episode, host Andy Bothwell is joined by legendary Texas historian Joe Nick Patoski and music writer Rebecca Bengal to discuss the significance of this album and how it went on to shape said American icon. Join us below. Next year marks the 45th anni

Consequence of Sound and Sony have teamed up once again to bring you the fourth season of The Opus, a podcast that examines the evolving legacy of music’s most iconic albums. Beginning September 19th, the series will head South as it revisits one of country's most beloved albums, Willie Nelson’s Red Headed Stranger, with new host Andy Bothwell, aka Astronautalis. Next year sees Nelson's 18th studio record turn 45, making this the perfect time to revisit the classic LP. Given more creative freedom over his music thanks to a new contract and a new label, Nelson returned to the concept album form with Red Headed Stranger. Weaving covers of old standards in with poetic, stripped down originals, he created an outlaw country tale that transcended its genre into the mainstream consciousness. Over three episodes, The Opus will dig into what the record meant then and how it has impacted music now. Taking listeners through this tour of the album's legacy will be Bothwell, The Opus’ new permanent host. “Ever

The Opus completes its journey with the late Jeff Buckley. Jeff Buckley hasn't been alive for 22 years, and yet, he has consistently put out "new" music. Fans can thank Mary Guibert for that. She's head executive of Buckley's estate — and also his mother. Stepping in quickly after his untimely death, she's kept Buckley's voice and vision alive all these years. It's not an easy job — after all, she had to convince seasoned label heads to take her seriously, compartmentalize her grief as a mother to act as an executive, and choose what things are shared with the world and what stays private.  In the season three finale of The Opus, host Carrie Courogen is joined by Guibert, as well as Rolling Stone critic David Browne, to discuss their roles, together and individually, in doing the delicate and difficult work of keeping Buckley's legacy alive.  To celebrate the 25th anniversary of Grace, Jeff Buckley’s proper studio catalogue will be re-released and packaged with rare recordi