It’s Only Rock and Roll: An interview with Don DiMuccio, host of the podcast about the genre that changed music forever
As soon as I heard about the podcast “It’s Only Rock and Roll,” I knew there would be some great stories hiding just under the sound waves behind the scenes waiting for me to discover. I reached out to the host of the show, Don DiMuccio, to talk about what he’s learned on the show, and from working in the music industry.
Angelina Singer (Motif): How did you start podcasting and what or who inspired you to go for it?
Don DiMuccio: A short time before this past New Year’s, the legendary broadcaster Don Imus passed away. I had been a fan of his show for decades and the thing I liked about him (besides his brutal honesty and no-nonsense approach) was that he would share some new song or artist that he heard with the listeners. Or he’d bring on an author who wrote a book that interested him, and again would share it with his audience, and pass on his passion for it. And I suddenly realized, that style of terrestrial radio, where you can make a direct connection with your listeners, is a thing of the past for the most part. But it’s still alive online in podcasting.
I knew I wanted to be a part of it – the thing is I’m not a public speaker. But I do have a deep reverence (some say obsession) for all things rock & roll. So I figured as long as I did a show about what I love, I’ll learn the technical stuff as I go and hopefully get more comfortable talking off the cuff with each ensuing episode. So far so good, but I’ll leave that for others to determine.
AS: Did you have previous professional experience in a similar field that led you to this?
DD: Straight out of high school graduation, in 1989 I formed the blues/roots-rock band Black & White (BlackAndWhiteBand.com) for which I’m still the drummer and handle all of the business, promotion and bookings. So doing that taught me more about life than any college could have. In the middle of that, I tried my hand at another “music-related dream job,” writing a CD-review column for Motif on and off for a decade (motifri.com/author/dondimuccio). And it was those two experiences (along with a short 3-day stint at a Westerly AM radio station in the mid 1990s) that made me want to bring what I’ve learned into broadcasting.
AS: What are some struggles you’ve had or issues you’ve run into in the process of building your audience following?
DD: Obviously getting the word out is the hardest part of having a successful podcast in this age where the Internet is glutted with everything from singing cats to people dancing to Beyoncé in their bedroom. I’ve been relying heavily on social media to promote the show, and target fan club pages related to a specific artist or topic that I’m covering on a given episode.
AS: Who is the coolest or most famous guest you’ve had on the show?
DD: Before I answer, let me briefly go over the format of the “It’s Only Rock And Roll Podcast.” Each episode generally contains a celebrity interview of someone in the rock industry (musician, producer, photographer, etc). And to always keep my roots close at hand, I use a different local/regional musician, club-owner, disc jockey, etc. as my co-host, who like myself has worked in the circuit.
That said, I’m still basking in the glow of having had the legendary Linda Ronstadt on the show a few weeks back. She has always been in my personal Top 5 female rock & roll singers, along with Janis Joplin, Chrissie Hynde, Joan Jett and Stevie Nicks. I couldn’t believe how accommodating, friendly and downright sweet she was. Here’s one of the biggest names in music history taking the time to speak with me? And she was so generous with her time. It’s always great when you meet your heroes and they surpass your expectations (I’ve had the opposite experience over the years and it’s no fun).
AS: Tell me the most hilariously weird and random conversation or thing that happened during your podcast.
DD: OK, here’s the thing – I want the show to sound as professional as possible. I’ve heard some podcasts recorded on someone’s cell phone, which can be irritatingly hard to listen to. So the hardest part so far has been getting participants to log in remotely using the particular setup I found sounds the best. Sometimes the artists are comfortable with using a computer beyond the basics. So I try my best to simplify the process (which basically consists of them clicking a provided link on a computer that has some form of microphone capabilities, and voila – we’re connected!)
That said, back to Linda Ronstadt — the week we scheduled her interview her Wi-Fi was on the fritz and she was expecting a tech to come out in a few days. She offered to postpone, but we soldiered on. Her connection held up for 90% of it, but one entire segment had to be scrapped due to audio dropouts (and it was an interesting topic, too – ain’t that always the way).
Other than those technical issues, I had a remote co-host from Sarasota, Florida, and we got interrupted by a previously unscheduled tropical storm/hurricane out there that kept knocking out his power. That was fun.
AS: What are your personal favorite bands or artists?
DD: At the tender age of 8, I “discovered” The Beatles in 1979 and it affected my life almost immediately. Simultaneously I took up the drums and I knew then (and told everyone who would listen) that I’d be in music one way or another. And that grew when I started seeing concerts – my first being in May 1980 sitting front row center at the Ocean State Theater (known today as PPAC) to see Bob Dylan during his Born-Again Christian phase. And I could list so many more, but it’s easier to put it this way: I love the entire rock era, from 1948-1998 (things went a little off the rails after the millennium, in my humble opinion). I’ve seen everyone from Neil Diamond and Simon & Garfunkel, to Ozzy and Anthrax. And I have a deep respect for all of it.
AS: Do you have any advice for someone looking to break into the podcasting world?
DD: Since I’ve only been doing it for like 16 minutes, I don’t think I’m in a position to give sagely advice to anyone looking to podcast. That said, if you wanna know what I did – first listen to as many shows as you can. I’ve been a fan of radio since I was 8, so I know what types of shows appealed to me when I was growing up. Older readers might remember syndicated radio programs like “Reeling In The Years,” “Flashback,” “Rockline,” “King Biscuit Flower Hour,” “ In the Studio with Red Beard” — all of which inspired me.
Here’s what not to do – don’t get hung up on the technology and the equipment. It’s tempting to think “an expensive microphone equals a better sound,” but that’s not necessarily the case. Do the research, find the equipment that works for you within your budget, and spend the extra money on promotion.
Huge thanks to Don for answering my questions, and for this cool inside look at what makes a podcast tick! If you want to take a listen to “It’s Only Rock and Roll”, you can find it on Facebook here: facebook.com/ItsOnlyRockAndRollPodcast
Local Pop Punk Band Familiar Spaces Reassures Listeners They’re Not Alone with “Everyone in Search of an Exit”: Their latest EP tackles the struggle of feeling stuck and beaten down by life while taking the often non- linear journey back to progress Photo credit: Madison Peck
If you’ve ever felt like you don’t know what you’re doing with your life, or that maybe you’ve messed up too many times to make your way back to a good future, Familiar Spaces has your back – because they’ve been there too. Like a personal diary entry of emotional upheaval, their newest EP, Everyone in Search of an Exit, is an auditory self-help collection of anthems geared toward making that shift from discomfort and back to a place of peace. In the words of the band, this EP is “a record about recovery, and tracing steps back to progress.” Sonically, all five songs are very cohesive, and they hit the same notes both thematically and emotionally.
Familiar Spaces consists of vocalist/bassist Mike Aylward and guitarist/bassist Evan Lamanna. In the studio, they are often accompanied by Joey Demers on drums. And together, they make music that speaks to the soul, with heavy moments punctuated by various shades and nuances of the alternative genre.
“Not Like it Used to Be” opens up sounding a lot like a folk tune, with acoustic guitar and a subtle droning in the background, but then quickly shifts into typical pop-punk territory with the addition of the drums and articulated lead-guitar phrasing. The lyrics mourn the loss of a relationship (be it a friendship, or a romance) as they say: “I’m not strong on my own anymore / I need some progress / and in my eyes I fell behind / and now I’m asking you to wait.” This song also seems to be grieving the death of opportunities, or what could’ve been (professionally, developmentally, really anything). As a relatively recent college graduate who is still searching for direction, I really relate to these lyrics and the way they beautifully highlight feeling alone and unable to move forward in life while everyone else around you does. It’s heartbreakingly relatable, and a beautiful piece of music overall.
“In the Open” addresses that worry of saying or being too much and messing up everything. A great anthem for over-thinkers like myself, Aylward sings, “I remember all of my mistakes / and let them sink into my conscience and they hold me there / until I can’t take a breath.” A very poetic and real way of depicting a panic attack, I really appreciate the visibility this band is giving to mental health. Pretty guitar harmonics and resonant strumming mixes nicely with the string section in the background, which lends an ethereal feel to the song.
“Happy Enough” is a very energetic song, which brings some ironic energy to lyrics like “buried alive under all my aspirations / I am not the man I promised I would be.” Exploring the sensation of numbness and fear of losing what you have in the name of finding something better, this song depicts the very real struggle that everyone faces at one time or another. Similar to the other songs on this EP, it features a mix of bright acoustic with heavier guitar, and even a post-hardcore-inspired drumming after the bridge, likely representing a heartbeat. It’s also got some lovely instrumental dynamics, with the last chorus feeling much lighter and brighter, with just a hint of darkness lingering.
“You” features a droning that sounds identical to the one in Taylor Swift’s song “epiphany.” It’s probably a coincidence, but I found it to be very mesmerizing, and her song about her grandfather fighting in the war colored my perception of this song filled with a similar desperation. The melody in the second verse after the buildup halfway through is also cognizant of “Second Chance” by Shinedown, which thematically, just so happens to work really well with this overall struggle of feeling inadequate. Lyrics like “it all fell apart again / you’re not yourself / you’re not the same” and “it takes a lot to heal an empty heart” are thought-provoking and deep.
“Everyone in Search of an Exit” is the title track, and probably my favorite on this EP. It explores the uncanny feeling of being trapped in your own emotions and habits, wondering if there’s any way to improve what seems so deeply ingrained already. “I’ve been looking for some peace of mind / so I’m making my peace with these demons” is a really mature way of looking at things — realizing that maybe the escape, after all, is changing your perception of the things that haunt you. But by far, the lyrics I most relate to are “I’m wondering if there’s color beyond the gray / I’m tired of making myself sick from stressing out this way.” It’s so liberating to hear that I’m not alone in that particular struggle, and I’m sure other people relate as well. Sonically, this song is probably the closest to pop that this band will get, but there are still layered guitars and dynamic cymbal crashes that highlight the emotion of the piece, making the whole thing feel warm and welcoming.
This band is definitely doing something new and different — both topically and thematically — and I can honestly say that this EP is super uplifting and bright. Thank you, Familiar Spaces, for providing a place where over-thinkers and type-A personalities can curl up with a hot mug of tea and feel right at home.
Listen to Familiar Spaces on YouTube here: youtube.com/channel/UCsT4KC8yrxPxKmuH5_Ci25w and Spotify here: open.spotify.com/album/0WHNFb8ABdBpmTwOH1d90J?si=3ekXNeDkRwqtRfnX1XS8Ug Emo Pop Band Hello, Atlantic Sets Cynical Thoughts to Bright Melodies with “Aroma”: This musical duo is challenging listeners to change their tune about existential frustrations
The breathy and clear techno chords opening this track definitely surprised me, given that the premise of this song is lyrically a bit depressing without the musical context. But the paradoxical mix of the bright with the dark, and joy with despair, brings a unique flair to this duo’s newest release.
Fronted by vocalist and guitarist Ian Dillon and supported by bassist Eric Sparfven, Hello, Atlantic is one of Rhode Island’s most inventive bands to hit the local sound waves. With a discography sounding similar to that of acts like Panic! At The Disco, My Chemical Romance, and Grayscale in energy and tone, “Aroma” is a step away from those vibes with a much greater emphasis on techno beats and vocal effects over the guitars and the more typical pop punk sonic tropes previously emphasized.
Toeing the line between alternative rock and third-wave disco, “Aroma” boasts an emphasis on Motown- inspired rhythms, beats and styles. Sonically, it’s very rich and upbeat, building a tense contrast with the overall message of the song, which, according to the band, is “a cynical take on life and existence. Nothing matters in the grand scheme of things. We’re all gonna explode in outer space, so do what you’d like.”
That message comes through very clearly in the chorus, during which Ian sings: “It’s anarchy, and blasphemy, cleanse it with gasoline.” Functioning as a commentary about the world as a whole and the state of uncertainty that is so prevalent these days, I find this song to be a powerfully accurate portrayal of the human condition. I especially enjoyed the poeticism of taking something destructive (gasoline) and transforming it into a sort of anointing oil in the lyrical narrative. Additionally, I found the opening verse to be especially relatable: “Do you wanna be happy / ‘cause you don’t know who you wanna be / and you don’t remember anything.” Everyone feels like they don’t belong at least one time or another, and if you’re anything like me still trying to find your place in the world, these lyrics are super relatable.
From the musical side of things, I definitely appreciated the ambient build of the drone-like shadowy riffs floating in and out of the background. It’s an immersive experience that makes the listener feel instantly heard and understood. The vocal melody is also extremely catchy with easy-to-replicate phrasing that will stick in anyone’s head for days on end. There are also many layers hiding in between the dynamic mix of the song, some of which are very subtle but no less important – very much like the layered styles of techno-pop music as heard in the full Waterparks discography, or the most recent Paramore album. Coincidentally, all these acts have taken a similar contextual stance on bringing about that provocative mix of happy-sounding musicality with the darker lyrics and ideas. It is that tension that makes listeners feel heard, understood and validated. It’s an interesting vibe for sure, but given the way it still undeniably fits with the band’s back catalogue of songs (which definitely still has these elements present albeit in smaller doses), I have no doubt that the forthcoming releases after this single will be just as captivating.
Hello, Atlantic is probing the deepest insecurities and discomforts of their fans through their music, bringing everyone together in their shared struggles – a truly beautiful thing. You can listen to “Aroma” on September 11, and to stay up-to-date on new music and connect with Ian and Eric, follow their social media profiles @helloatlanticri and their YouTube channel HERE: youtube.com/channel/UCjHEcIhANPJiZjma1Of1bmA/featured
Mountainess Releases Dreamlike New Song About Embracing Your Inner Strength: Emily Goldstein won’t apologize for her poetic track “Attention” – and that’s the best thing about it With the opening notes pulling a distinct power move by featuring just stripped-down vocals, I was thinking this would be a capella upon my first listen – but I was immediately transported somewhere new once the bright piano chords blended with the warmth of Emily Goldsteins’s half-sung, half-spoken raw vocals. Later, she is joined by John Faraone on drums and Anthony Savino on guitar. Reminiscent of Broadway and Sara Bareilles, Mountainess is a force of theatrical whimsy and undeniable confidence set into a high-velocity locomotive sound wave.
Recorded at Big Nice Studio, and with a video designed by fellow Rhode Island native Hope Anderson, this song is a breath of fresh air during a time when everyone is undeniably feeling stifled, frustrated and fed up with the state of the world. The opening is a lovely mix of bright Disney-inspired goodness, and I absolutely love how this song ebbs and flows, with dramatic buildups and dynamic musical developments. First it’s just raw vocals, and then a piano and a haunting horn section join her. It feels like a heroine stomping across a stage going to battle (or perhaps, waging a war within her own mind). Tribal drums mix with bright harmonies in the chorus, and then a guitar arpeggio rhythmically joins the mix. Her vocal layering is ethereal, and is an undeniably complementary companion to the overall piece.
“But shade is not the killer of dreams / there is life between the vision and me / spots of sun caught beneath my lashes / still I’d be lying if I didn’t concede / how good it feels when you’re here with me” is just a brief example of the articulate and imaginative lyrics present in this song. Most songs have at least some semblance of poetry in them, but I’d wager this one is jam-packed with much more than most. These words encourage listeners to be real and honest with themselves without hesitation, even embracing the things about them that may seem too loud for society to handle. Whether that is in a relationship, or maybe just within oneself, these lyrics carry an important lesson within their delicate melodies and creative musicality.
My favorite lyrics might be “and for every guy who thought I’d die / without his bland suggestion / to be less or more or something for his dubious affection” is such a mic-drop moment. Attacking mansplainers everywhere, it’s equal parts cheeky and pithy, with a great musical build behind it to drive home the point.
On her official website (mountainessmusic.com), Emily describes herself as “a confessional poet, a peeling bell [sic], a rain cloud, a haunted house — no matter what you hear, Mountainess holds her ground and rarely says sorry.” Those words ring so true in this cinematic journey through finding yourself and not letting anyone or anything hold you back. I can feel her pain and her reality bleeding through these words and every chord in this power-ballad. Like bright sun after a downpour, “Attention” is a song that breaks through difficulties and setbacks with ease. I would heartily recommend this song and the calming aesthetics of the video. I did wonder a bit about the artistic choice to include the cheeky little topless fairies poking in and out of the greenery, but they do certainly add to the overall ethereal whimsy of the song even if their thematic significance wasn’t immediately clear to me. The video is an overall colorful and lovely calm green-scape of berries and clovers deep in a forest – a very satisfying and apropos setting for such a lovely song to take the stage.
Listen to and watch the lyric video for “Attention” here: https://m.youtube.com/watch?v=S0ApqoyKFU8; for information about the artist, go to mountainessmusic.com
The Story Behind the Song about a House: A lyrical comparison of Taylor Swift’s “last great American dynasty” with the real life of “the maddest woman this town has ever seen”
Taylor Swift graced us with her presence back in 2013 by claiming the infamous Watch Hill Mansion as her own. But like many places that have existed (and will exist) long after its current inhabitants are gone, this house has a story – one that makes even the illustrious life of Taylor look dingy and oddly banal in comparison.
It makes perfect sense that the millennial songstress might reflect a bit on one of her favorite abodes as she spends more time in it lately. She mentioned on her social medias that her recently released eighth studio album folklore is largely based on stories she had floating around in her head during self- quarantine, so it’s no wonder that the story of Rebekah Harkness, the previous owner of the mansion, would make the cut.
It’s clear from the lyrics that Taylor definitely did some research while writing my personal favorite song on the record, “the last great american dynasty.” But how accurate was she, really? I set out to find out, and wanted to share my findings with Motif readers.
Rebekah rode up on the afternoon train, it was sunny Her saltbox house on the coast took her mind off St. Louis Bill was the heir to the Standard Oil name and money And the town said, “How did a middle-class divorcée do it?”
So far, all this checks out (assuming the weather that day really was sunny). Rebekah Harkness was married four times in her lifetime; Bill Harkness was her second husband. She was originally from Saint Louis, where she was born and raised by nannies, and then attended finishing school. Some reports say that the lack of emotional closeness with her parents is likely what pushed her into marriage haphazardly (allegedly, she said there was nothing better to do) over the course of her life.
The wedding was charming, if a little gauche There’s only so far new money goes
They picked out a home and called it “Holiday House” Their parties were tasteful, if a little loud The doctor had told him to settle down It must have been her fault his heart gave out
From what I’ve read about these people, Bill Harkness was The Great Gatsby 2.0 with more money than he knew what to do with, and that’s why people questioned how Rebekah (also known as “Betty” – yet another reference to a different song on this album) was able to nab a guy with pockets that deep. So she probably threw it in their faces a bit, making the Holiday House parties a bit extra. This lady was sassy to the highest degree, and definitely didn’t let the naysayers have their day without fighting back somehow.
Historically, Bill did pass away from a heart attack, but I thoroughly enjoyed the way Taylor lyrically voices the snide things that unfriendly neighbors probably said about her that aren’t necessarily true, but quite probable. It is this intersection between storytelling and history that hits the sweet spot for those with a taste for local flair and pop trivia aficionados.
And they said There goes the last great American dynasty Who knows, if she never showed up, what could’ve been
There goes the maddest woman this town has ever seen She had a marvelous time ruining everything
The chorus of the song is more creative and poetic, but given what we know about Rebekah Harkness, none of this is all that surprising. Much like Taylor Swift, Rebekah likely attracted a lot of noise and traffic to the area while throwing parties and networking with high-end socialites in the performing arts — her bread and butter. Even though she had money at this point, Rebekah loved entertaining and being the center of attention. Lyrically, I’d wager that Taylor Swift infused some things that have been said about her in the media as well (“Blank Space,” anyone?).
The similarities of the social dynamics between the two women are striking, and my favorite line is undoubtedly “she had a marvelous time ruining everything.” It’s an obvious nod to the Rhode Islanders who weren’t the stoked teenaged girls thrilled to have their favorite pop icon bunking tantalizingly close to home. Despite Swift’s legal permits being filed to put up a chain link fence, locals were still pissed and even instated a “Taylor Swift tax” as a means of coping with the chaos of more traffic and paparazzi flooding the area. Rebekah gave up on the Rhode Island set forever Flew in all her Bitch Pack friends from the city
Filled the pool with champagne and swam with the big names
And blew through the money on the boys and the ballet And losing on card game bets with Dalí
After a while, it makes sense that this rich woman would give up trying to please the locals, and fly in some of her old mischievous friends from finishing school who dubbed themselves “The Bitch Squad.” The first time I heard this song, I was convinced it was just a Swift-ism, showing off her newfound comfort cussing in her songs. So imagine my amusement when I read this was actually an historical fact. As far as the shenanigans mentioned here, it’s hard to find precise accounts, but many sources report similar things of this nature, like putting mineral oil in the punch bowls and filling a fishbowl with scotch (probably not healthy for the fish, but I rest my case).
Ballet was definitely a crucial part of her life, as Rebekah was widely credited with being a big-name philanthropist who funded and ran her own prestigious ballet company, as well as being credited with donating two million dollars to New York Hospital for research and recovery medicine in her will. She did end up poaching dancers from the Robert Joffrey Company, which then ended her company due to some ugly allegations and split artistic decisions. I couldn’t find any specific accounts of Rebekah playing cards with Salvador Dalí, but she definitely demanded to be cremated and kept in one of his fancy urns (which she didn’t even completely fit into, so some of her limbs were allegedly kept separately in a grocery bag).
They say she was seen on occasion Pacing the rocks, staring out at the midnight sea And in a feud with her neighbor She stole his dog and dyed it key lime green Fifty years is a long time Holiday House sat quietly on that beach Free of women with madness, their men and bad habits And then it was bought by me
I am obsessed with the ghostly nature of the bridge section of this song – it’s so haunting, and the way Taylor positions herself squarely in the center of the vacuum Rebekah left at the time of her death is poignantly beautiful and slick. In many ways, it’s almost as if this house has embodied the crazy eccentricities of its occupants, dooming all its future inhabitants to a similar fate.
On a lighter note, media reports say that it was actually a cat that was dyed key-lime green, apparently. The timeline, however, is easy enough to figure out — it was indeed about 50 years since Rebekah’s death in 1982 and Taylor’s purchase of the home in 2013. Point is, Taylor and Rebekah are both eccentric creative types with a petty (yet hilarious) sort of dark side.
To get the full sense of the story, I definitely recommend listening to the song with headphones on and the world turned off. It’s such a masterful piece of storytelling, and if history class was this half this illustrious and glittering, I might’ve actually paid a bit more attention to it.
Listen to the official lyric video of the song HERE: https://www.youtube.com/watch?v=2s5xdY6MCeI