June 17, 2025 • 31 mins
Released in 1966 by Philips Records, Wild Is the Wind is one of Nina Simone’s most emotionally potent and artistically rich albums. A collection of outtakes from previous sessions, the album transcends its piecemeal origins to form a hauntingly cohesive statement on love, longing, and personal turmoil. Simone’s vocal delivery is raw and deeply expressive, gliding effortlessly from tender vulnerability to defiant strength.
The title track, “Wild Is the Wind,” is a masterclass in interpretation—Simone stretches the song into a slow-burning, sensual lament, transforming it into one of her signature performances. Other highlights include “Four Women,” a powerful narrative exploring the intersecting identities of Black womanhood, and “Lilac Wine,” a delicate, dreamlike ballad.
Blending elements of jazz, classical, folk, and blues, Wild Is the Wind showcases Simone’s genre-defying artistry and her unmatched ability to convey complex emotional landscapes. It remains one of her most acclaimed and enduring works, celebrated for both its political consciousness and its poetic beauty.
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SPEAKER_05 (00:00):
It's just the normal noises in here.
SPEAKER_00 (00:14):
This is Polyphonic Press, the podcast where two
music fans pick a classic albumcompletely at random.
Using the patented random albumgenerator, they are given an
album to review from a curatedlist of over 1,000 classic
releases spanning multiplegenres.
And now onto the show.
(00:34):
Here are your hosts, Jeremy Boydand John Van Dyke.
SPEAKER_03 (00:46):
Alright, well, hey, uh, welcome to Polyphonic Press.
I'm Jeremy Boyd.
I'm John Van Dyke.
And uh let's not waste any time.
We've got the patented randomalbum generator right in front
of us here.
Uh so let's hit the button andsee what album we're gonna be
listening to this week.
And the album we're gonna belistening to is Nina Simone,
(01:07):
Wild is the Wind.
Okay.
Alright, so here's a uhdescription of the album.
It says released in 1966 byPhillips Records Records, Wild
Is the Wind is one of NinaSimone's most emotionally potent
and artistically rich albums.
A collection of outtakes fromprevious sessions, the album
transcends its uh piecemealorigins to form a hauntingly
(01:30):
cohesive statement on love,longing, and per personal
turmoil.
Simone's vocal delivery is a ris raw and deeply expressive,
gliding effortlessly from tendervulnerability to defiant
strength.
The title track, Wild is theWind, is a masterclass in
interpol interpretation.
Simone stretches the song into aslow burning sensual lament,
(01:54):
transforming it into one of hersignature performances.
Other highlights include FourWomen, a powerful narrative
exploiting exploring theintersecting identities of black
womanhood and Lilac Wine, adelicate dream-like ballad.
Blending elements of jazz,classical, folk, and blues, Wild
(02:15):
as the Wind showcases Simone'sgenre-defying artistry and her
unmatched ability to conveycomplex emotional landscapes.
It remains one of her mostacclaimed and enduring works,
celebrated for both itspolitical consciousness and its
poetic beauty.
Alright, so this uh yeah, it wasreleased on the uh six 16th of
(02:36):
September 1966, and uh thegenres are jazz, blues, folk,
and RB.
Uh released on Phillips Recordsand produced by Hal Mooney.
And there's 11 songs on thealbum, and side one and side two
split uh for the first fivesongs and then the other uh six
(02:57):
um on the second half.
So the album starts with I LoveYour Lovin' Ways, and side one
ends with That's All I Ask.
So if you're listening along,which we encourage you to do,
and we've linked the album inthe show notes to both Spotify
and Apple Music.
So if you want to pause afterthat to that song, we'll take a
break halfway through to discussthe album at the halfway point.
(03:21):
And uh we also want to encourageyou to check out uh check out
our Patreon.
Uh you can go to patreon.comslash polyphonic press.
You can uh get these episodesthe day before they go live, and
you can get a shout out duringthese episodes and even pick an
album for us to review.
So lots of cool stuff overthere.
(03:41):
Um but without further ado, uh,here we go.
Here is the first song on thealbum, I Love Your Lovin' Ways.
(04:03):
Okay, and ending uh side onewith That's All I Ask.
Um yeah, this is uh this is apretty amazing.
I had knew the name Nina SimoneNina Simone before.
Didn't know anything about her.
Um I I was just sort of vaguelyfamiliar with her.
(04:29):
Yeah, this is I'm yeah, she'sgot an amazing um I don't know,
there's like a like a wisdom orsomething in it in her voice.
Like she's like this this sortof all-knowing sort of figure.
It's like, okay, everything'sgonna be okay.
We're just I'm just gonna yeah,things are kind of rough right
now, but hey, uh like a calmingsort of I don't know, I get that
(04:53):
kind of sense from her.
Um but yeah, I mean she's got avery like a interesting, unique
voice.
Um and uh and uh like I f uhthis album I feel like and it
obviously it was made up ofouttakes from her some of her
previous albums, but it's sortof um it it sort of runs the
(05:17):
gamut in terms of uh uh genres,but it doesn't nothing feels out
of place.
SPEAKER_04 (05:23):
No.
The the first song even likejust seems to be I mean, I don't
know if she considered it sortof a throwaway or anything like
that, but it was you know, I waskind of surprised.
I'd never heard her do stufflike that.
Like uh It's like a blue sort ofWell it's it's almost rock and
roll.
(05:43):
It sounded almost more likesomething that uh um Edda James
would do or something like that.
And I was a little bit surprisedto hear Nina Simone do it.
And I was like, oh okay, wellshe can hold her own there.
That's pretty good.
Um yeah, but yeah, the otherones um getting into it where
she's obviously getting a littlemore serious.
Yeah, four women.
(06:05):
Um that was pretty uh you know,basically just sort of
describing four different womenwho've, you know, not exactly
had the best lives.
And she doesn't even have toreally go elaborate into it.
She just like has like a coupleof lines about each one of them,
and it's just somehow enoughpowerful enough to actually sort
of convey the emotion of the thefigure.
SPEAKER_03 (06:29):
Yeah, it's sort of like you she trusts the listener
to fill in the gaps.
And and it and she makes it easyto do that.
You know.
Um and she actually did sheYeah, she wrote that song too.
Um you know, so uh I think it'sthe only one on the album she
(06:50):
actually did write herself.
So the instrumentation is great,um and it fits in well, and and
it's it is sort of that thatthing of the of the that we were
talking about on that that notthe last Elvis album that we
did, but the one before, whereit was more like orchestration
and and not necessarily a band.
(07:13):
But but the first one was that.
The first one was a little mores not simple, but um a little
more just sort of spontaneous, Iguess.
SPEAKER_04 (07:25):
Well yeah, the first one was more of like a a blues
band back in her um the but butthe other ones like they're it's
obviously more of a productionsound going forward, but it's
not too much or anything likethat.
I mean it it's more of a jazzproduction anyway, and you know,
it's it's actually there's anorchestration, but it seems to
be fairly pared back, and it'sback in the mix too.
(07:48):
And you can hear the the bassand and the drum and the and the
uh you know, and and and they'reas jazz is in a lot of senses,
uh not necessarily freeformjazz, but in you know, sort of a
pop jazz sense.
The uh pop drum and the bass islike sort of subdued anyway, and
(08:10):
basically it just sort ofcarries along and and and
accompanies the voice, ordefinitely the voice is the the
thing that everybody paysattention to in this and
everything just compliments it.
SPEAKER_03 (08:22):
Absolutely.
Yeah.
Yeah, no, it's it's very obviouslike it's well um well balanced,
well mixed.
Um and I I don't know, I wasgonna see who oh, it doesn't
really say who's playing on it.
I'm well it that's the thing, isit it's made up of it was
recording musicians, mostly.
(08:42):
Yeah, it was well I was it wasgonna say it was it was made up
of uh like recordings andouttakes from other sessions.
So I'm sure there's so manypeople that played it.
Yeah, it was recorded between1964 and and 65.
SPEAKER_04 (08:58):
Um Yeah, no, it's uh And apparently she released
about ten albums betweensixty-four and sixty-seven, so
there could be like fivedifferent albums she pulled from
from this one.
SPEAKER_03 (09:10):
Yeah, exactly.
It's hard to know what's fromwhat.
Yeah, exactly.
SPEAKER_04 (09:14):
But that's why it seems so varied, but oddly
enough it it all fits together,and maybe it's just the way she
carries it might just be hervoice, it might just be just the
way that she sort of I don'twant to say composes a song
because well she did the one.
But I guess the way she likechooses her music and stuff like
(09:36):
that is it kind of fits reallywell, and this is like
considered a classic album andit's it's almost like a
collection of B-sides.
SPEAKER_03 (09:46):
Yeah.
But like but at the same time,like if you didn't know anything
if you didn't know going into itthat it was made up of outtakes,
you wouldn't know.
You would yeah, you wouldn'tthink anything of it.
Like there's nothing so far,there's nothing jarring, um, and
nothing like nothing feels outof place or anything like that.
(10:09):
And yeah, it just i like for meI'm sort of kind of getting just
lost in in the emotion of hervoice.
Um which is rare for me when I'mlistening to music.
I'm not like I I don't enjoypeople's vocals, but I I I tend
(10:30):
to more pay attention to themusic.
That's just sort of what mybrain goes to.
And maybe on the second or thirdtime I'll pay attention to the
to the vocalist.
But with the with her, it's likeI'm sort of the music is uh not
secondary, but it's like it'slike you said, it's it's it's
(10:51):
lifting her up and it'ssupporting her.
And and her voice is the thething that I'm paying the most
attention to.
SPEAKER_04 (11:02):
But yeah, you find that with a lot of like jazz
singers like um you know, withuh like um Oh, names aren't
coming to me.
Uh Ella Fitzgerald or uh umwho's the other really big one.
Um Billy Holiday.
Same sort of thing.
They seem to seem to concentratemore on like the uh their voices
(11:25):
as opposed to actually reallywhat's going on around them.
But but what's going on aroundthem is not to be ignored, but
it's it's there mostly to sortof prop up the voice.
SPEAKER_03 (11:37):
And yeah, it's it's not like um like Miles Davis or
John Coltrane where it's likeit's all about the music.
This is more like this is it'ssimilar, it is still jazz, but
it's not like crazy, likeimprovised freeform stuff.
SPEAKER_04 (11:55):
No, this isn't freeform jazz, it's not a jazz
fusion, it's it's it'sconsidered sort of a pop jazz,
but it's but it's always beenkind of a little bit outside of
the pop realm.
It's a little more sophisticatedthan that.
But it's it's more of a popformat, is what I mean.
And a pop format doesn't meannecessarily throw away, it's
(12:17):
just a different format, and itcan be absolutely every bit as
legitimate as anything else outthere.
SPEAKER_03 (12:24):
Exactly, exactly, yeah.
And uh and when this album wasreleased, like it was it was a
pretty significant hit right offthe bat.
Like it wasn't something that uhwas a slow burn, at least in in
terms of like criticalreception.
Uh so the album was a Billboardmagazine special merit pick on
(12:49):
release, with the reviewercommenting, Simone sets up an
exceptional romantic mood thatoffers top listening delight.
And the song for women wasreleased as a single and gained
intention.
Uh and uh yeah, there's wellI'll get to that in a little bit
when we get to the uh the someof the facts that I found, but
(13:12):
the song for women was actuallybanned um from some radio
stations.
SPEAKER_04 (13:18):
Go figure.
I mean, there's nothing reallycontroversial about it unless
you're like a piece of crap.
So it says more about thestations banning it than it says
about Nina.
SPEAKER_03 (13:32):
And uh Yeah, it's uh looking back not to get
political, because this isn'treally a political show, but
it's funny looking back at theabsurdity of like it's poop
people took that stuff soseriously back then, but now you
look at it as and it'sridiculous.
(13:53):
It's like why would you beagainst black people just
existing?
And but uh a lot of that stuffis still happening um wouldn't
with with black people and witha lot of other sort of uh
groups.
And uh it's funny, it's that oldsaying is the more things
change, the more they stay thesame.
SPEAKER_04 (14:13):
Oh, I know.
And yet somehow things as theyage, they start to look a little
ridiculous.
Um even as you're amidst theother thing, which is when
people start talking about it'slike good grief it's 2025, why
are we still having thisconversation?
SPEAKER_03 (14:30):
Yeah, it's uh and it's you know it's important to
have art that is um commentingon on what's happening in the
world at the moment.
And you know, at the risk of ofsort of dating the art, uh I
think it's important, but itdoesn't really it's it is it's
(14:52):
not like well maybe sometimes itdoes, but like I don't think
it's sort of a snapshot of whatwas happening at the time, you
know?
Yeah.
SPEAKER_04 (15:02):
Well, I think it was uh Joe Strummer said that the
most important thing most impyeah, the most important thing
that a a musician can do is tobe of their time.
More so than to be timeless, Ithink.
Um To be of your time I meanit's fine if something ages a
little bit.
I mean sometimes that that givesit sort of a retro you know,
(15:23):
appeal later on down the road,but to be of your time is to
sort of uh like I don't know ifI always agree with that, but I
I but I understand it.
SPEAKER_03 (15:34):
That uh Yeah, I I I don't I don't agree with it in
terms of like like jumping on atrend and trying trying to
follow trends.
I don't think that's what hemeant at all.
No, no, I don't think that'swhat he meant.
I th I I know what he meant islike you know, because all all
you really all there ever is isright now.
(15:54):
You we can plan for the futureand and hope for the best and we
can learn from the past,hopefully you learn from the
past, but all there ever is iswhat's happening right now, like
right now in this moment.
And and I think that's what he'ssaying.
It's like, you know, make yourart for now.
Make your art for what'shappening right now, either in
(16:16):
the world or in your life, makethe art for for right now.
Um, and I think that's exactlywhat she did.
And if it's genuine and it's notand it's not you're not doing it
in the sense of followingtrends, but it's you it's
genuine, even if what you'retalking about isn't maybe isn't
(16:39):
relevant anymore, you can stillgo back and listen to it in a
historical sense.
SPEAKER_04 (16:44):
Absolutely.
SPEAKER_03 (16:45):
Yeah.
SPEAKER_04 (16:45):
And that's sort of part of learning from the past.
It's part of learning from thepast, but also again, as things
turn on, uh go on and you know,for better or for worse, some of
these things stay relevantthrough the time.
Like, you know, I don't thinkanything that uh the Clash put
(17:06):
out has been let's say uh comesoff as being too old-fashioned
as far as anything they said oranything like that.
SPEAKER_03 (17:16):
Yeah, even all the songs that are about like all
the uh thinking about like allthe protest songs in the 60s of
of uh about the Vietnam War,it's like just because the
Vietnam War is over doesn't meanwe don't still have war.
But uh getting back to thisalbum, yeah, I did manage to
find uh some some prettyinteresting facts about the
(17:38):
album.
Like we said, it is made up ofouttakes, uh, but it is one of
her best.
Wild is the wind wasn't wasn'trecorded as a cohesive album.
It is a compilation of unusedtracks from earlier recording
sessions between 1964 and 65.
Despite this, it's widelyconsidered one of Simone's most
(17:59):
emotionally powerful andartistically unified records.
And I think we've alreadydiscussed that.
It's it still works as an album.
SPEAKER_04 (18:08):
And this is the stuff she was, you know, almost
thrown away.
I wonder what stuff she didthrow away.
SPEAKER_03 (18:15):
See, she m she made Wild Wild is the Win her own,
inspiring Future Legends.
Although the title track, uhwhich we haven't listened to
yet, um, although the titletrack was originally w written
for a 1957 film and previouslysung by Johnny Mathis, Simone's
version became definitive.
It later inspired David Bowie,who covered the song on his 1976
(18:40):
album Station to Station, indirect tribute to her
interpretation.
The album highlights Simone'sclassical training.
Uh, on tracks like Black is thecolor of my true love's hair,
Simone uses sparse, almostmeditative piano arrangements
that reveal her background inclassical music.
(19:00):
She originally trained to be aclassical pianist, but but uh
before turning to jazz and bluesdue to her racial barriers.
SPEAKER_04 (19:08):
Which is just so bullshit.
I mean, I'm glad that she thatwe've got this stuff because
it's really, really good.
But uh it's sort of a shame shewasn't able to do what she
actually wanted to do.
SPEAKER_03 (19:21):
Yes, but I think you know, I think a lot of artists
are put in a position of notdoing what they want to do, but
doing what they they're meant todo.
SPEAKER_04 (19:34):
This is true.
SPEAKER_03 (19:35):
You know, I think you know, there's like Bob Dylan
um started making folk music butbecause he couldn't no one
wanted to be in a band with him.
He he wanted to be like a BuddyHolly kind of rock and roll
rockabilly guy.
SPEAKER_04 (19:50):
Yeah, he wanted to yeah, I think he at one point he
even said that he's just like uhyou know as a kid, he just
wanted to be Elvis.
SPEAKER_03 (19:58):
Yeah, and uh and you know, not music but comedy,
George Carlin wanted to be afilm actor and like do do like
maybe do some comedies but alsodo some drama and wanted to sort
of follow that that uh thattrajectory, but he became one of
the most important voices instand-up comedy.
(20:20):
So it's like you're maybe you'reyou're not doing the thing you
wanted to do in the first place,but you were sort of put in a
place of what you were meant todo.
And I think that's her here.
Like her voice not is not areally a classical voice, but
it's a voice that is is muchmore interesting than a than a
(20:40):
classically trained vocal, likeuh doing classical music.
Like this is more interesting tome to listen to.
SPEAKER_04 (20:47):
Yeah, I can sort of understand that.
Um Yeah, I understand whatyou're talking about.
Um I wonder what her voice wouldhave been like is as classical,
but I mean even as a classicalpianist, um clearly she can play
the piano.
SPEAKER_03 (21:02):
So it's just a shame that she wasn't able to yeah,
it's that that door wasn't openfor her.
SPEAKER_04 (21:08):
Exactly.
But yeah, we got this instead,and that this is still really,
really good.
It's just unfortunatecircumstances that sort of
forced it.
SPEAKER_03 (21:19):
Yes, yeah, exactly.
Exactly.
And yeah, the the song for womenwas controversial and banned by
some radio stations.
Uh the song for women tells thestory of four black women, each
shaped by different historicaland social forces.
Due to its frank discussion ofrace and identity, some stations
some stations deemed it tooprovocative and banned it, which
(21:42):
only further solidified itscultural impact.
Of course.
SPEAKER_04 (21:47):
You ban something, it just, you know, make it it it
creates curiosity.
SPEAKER_03 (21:53):
Yeah.
It there's there was um theythey actually have a name for it
now.
It's called the Streisandeffect.
It it comes from uh it's it'sthe more you try to control or
try to get people to not talkabout something, the more
they're gonna talk about it.
(22:13):
And it came from um uh BarbaraStreisand.
She something to do with shedidn't want the paparazzi at her
wedding.
So she told them, Hey, this iswhere my wedding is.
Don't don't go here.
And of course of course, that'sexactly where they went.
SPEAKER_04 (22:33):
Yeah, yeah.
That's uh yeah, that wasn'tsmart.
I'm sorry.
Um, don't tell the paparazziwhat you're gonna do.
Yes, if you don't want themthere.
Exactly.
Yeah, it doesn't matter if youtell them don't come, they're
gonna come.
SPEAKER_03 (22:49):
Yeah, well they're gonna come.
SPEAKER_04 (22:51):
They deem you important enough.
SPEAKER_03 (22:52):
Yeah, exactly.
And so yeah, so like the factthat radio stations banned it.
And anytime anytime you tellanytime you ban a song or a film
or or anything, the more curiouspeople are gonna be about it.
It's like, okay, well, I gottasee it, because I gotta see why
(23:12):
they banned it.
Why did they ban this?
It's gotta be like it just itjust tickles that that curia
curi curious part of the brain.
Yeah.
So it and it has the oppositeeffect of of what you wanted.
And uh so it the and numberfive, it was actually her final
studio album for PhillipsRecords.
(23:33):
Uh Wild is the Wind marked theend of Simone's prolific and
politically charged period withPhillips, during which uh she
released seven albums in justthree years, 1964 to 67.
Uh, she would later sign withRCE, where her music would
become even more explicitlyactivist in tone.
Okay.
(23:53):
Um, so yeah, so those are someuh interesting facts about the
album.
But uh, I guess we'll get backinto the uh the rest of the
album.
Um uh but before we do that,let's hear from our friends over
at the Pick a Disc podcast.
Um so check that out.
SPEAKER_01 (24:12):
Do you like music?
Do you like podcasts?
Chances are you like musicpodcasts.
Take this one, for example, Picka Disc, where every fortnight a
guest comes on to talk about analbum for whatever reason they
want to.
Sometimes I like it, sometimesperhaps even something else
other than just like it.
Just listen to the podcast andfind out.
We talk about the album, we talkabout the songs, we talk about
the artists, we talk abouttangent things that are slightly
related, and sometimes wedeviate off tangent.
(24:34):
But don't worry, we'll alwaysbring it back in the end.
But you can find us on all yoursocial medias and all the
podcast apps for search of apicked disc.
You can also find us on the partof the Weedy Podcast Network
under link tree slash weedypodcast.
And until then, happy listeningto all those discs that you are
picking.
Goodbye.
SPEAKER_02 (24:53):
We'll now take a few seconds before we begin side
two.
Thank you.
SPEAKER_03 (25:02):
Alright, and uh ending the album with either way
I lose.
Uh yeah, this is um I don'treally know what else to say.
I mean, this is an an incrediblealbum.
Um it uh it it like if you likeI was saying before, like if if
you didn't know that it wasrecorded over a period of three
(25:25):
years and made up of outtakesfrom from different albums and
different um sessions and maybeeven different studios, you
wouldn't really think anythingof it.
It's still a cohesive piece onits own, um, which is pretty
amazing that it all the sort ofpieces fell into place like
that.
SPEAKER_04 (25:44):
Um Yeah, it's it's almost like uh like I don't know
if this is necessarily the wayit was intended, but it almost
seems like when they wereproducing the other albums that
came along, and then you know,one song they were gonna put on
the album, they're like, No,let's wait and put it on this
other album.
SPEAKER_03 (26:02):
Yeah, it's almost like it was planned all along.
SPEAKER_04 (26:04):
Like Yeah, it's just like we'll take the best stuff
from these other sessions, andthen you know, a few day years
down the road, we're just gonnaunleash this thing on the world.
SPEAKER_03 (26:14):
Yeah, yeah, exactly.
Um yeah, it it's uh there's noum there's no bad songs here.
I mean, it's um every song isinteresting, every song is
different, but it's interesting.
Um yeah, I I I I really don'tknow what else to say.
(26:36):
I really don't have anycriticism.
Um you know, uh even Wild is theWind, which is seven minutes
long, I didn't feel it didn'tfeel seven minutes like it I d
well was not bored at all.
SPEAKER_04 (26:52):
Um, it's a good song.
Um it it I mean it felt sort oflong to me, but not in a bad
way.
It was it was it it kept it itit kept your attention because
it's just you know, Nina's voicedoing what it does.
Um and just uh simple pianoaccompaniment with it.
(27:16):
And I think yeah, that's one ofthe live tracks.
Which it's funny, y if youdidn't know it was a live track,
you wouldn't know.
SPEAKER_03 (27:23):
No, yeah, yeah, exactly.
SPEAKER_04 (27:25):
Yeah, it just sounds like another track on the album
and something like that.
I don't know if whether theyedited out the applause or
something like that.
I have no idea.
SPEAKER_03 (27:34):
Yeah, yeah, they must have, yeah.
SPEAKER_04 (27:36):
Or whether they, you know, had everything live or had
the whole band live, like goinginto a board or something where
they didn't pick up the audienceat all or something like that.
I have no idea.
SPEAKER_03 (27:47):
Yeah, it could have been, yeah.
Yeah, I mean it's um yeah, Idon't I don't uh I I can't think
of anything bad.
Um what would be uh what wouldbe your your uh three highlights
on the album?
SPEAKER_04 (28:04):
I liked uh Break Down and Let It All Out.
I thought that was good.
Um Four Women still a reallygood highlight.
Um there's so many other ones onthere, but I think I'm gonna
have to pick uh I'm gonna gowith I Love Your Love and Ways
just because it was just alittle bit different from the
rest of the album, and it's justI was surprised that she did
(28:25):
that sort of thing and she didit well, so yeah, I'm gonna pick
that.
SPEAKER_03 (28:29):
Yeah, I I mean I think I would go with um Oh man.
Uh I think I would go with uhyeah, Breakdown and Let It All
Out was yeah, that was a reallygood song.
Um Yeah, I think four women, uhjust it's it that definitely
stands out to me.
(28:50):
Um and uh Oh man.
Uh I think I think the titletrack, I think I could go with
Wild is the Wind.
Um yeah.
SPEAKER_04 (29:01):
This honestly, I could have picked any of them,
really.
Um yeah, Lilac Wine was anotherreally good one.
Uh Black is the color of my truelove's hair.
Yeah, there's not like you saidbefore, there's not really a bad
song on the album.
It's uh for for an album of whatseem to be throwaways, it's
there's not a throwaway.
(29:22):
Really?
SPEAKER_03 (29:23):
Yeah.
Um yeah, it's it's it's prettyuh pretty incredible.
Uh so I think I know the answer,but uh would you listen to this
again?
SPEAKER_04 (29:34):
Yeah, I'd probably listen to this again.
SPEAKER_03 (29:36):
Yeah, yeah, I would too.
SPEAKER_04 (29:38):
Whether immediately or not?
Probably not, but I definitelywould listen to it again at some
point.
SPEAKER_03 (29:44):
Yeah, no, it's it's one of those things where I I
think we sort sort of have thecaveat of Well, yeah, I would
listen to it if I'm in the moodto listen to it.
But I can see myself and I I Ithink that's true, but I can
also see myself being in themood to listen to it pretty
frequently.
Like it's not something I couldjust put on all the time, but
(30:07):
it's also not something thatit's like, oh, I'm not I'm
rarely in the mood to hear it.
It's sort of in between.
Yeah.
Um yeah, so I guess we'll uh endthe episode there.
Uh thank you so much forlistening if you made it this
far.
Uh be sure to check out check usout at polyphonicpress.com.
You can get all the episodesthat we've done so far and uh
(30:27):
different uh updates andeverything there.
And uh you can also if you're uhthe if it's your first time uh
listening you can uh be sure tofollow us on whatever podcast
platform you're listening on anduh you can leave us a rating and
review because it helps uhpeople discover the show and uh
tell your friends about us andeverything like that and um yeah
(30:49):
I think that just about does it.
Uh I'm Jeremy Boyd and I'm JohnVan Dyke.
Take it easy
It's just the normal noises in here.
SPEAKER_00 (00:14):
This is Polyphonic Press, the podcast where two
music fans pick a classic albumcompletely at random.
Using the patented random albumgenerator, they are given an
album to review from a curatedlist of over 1,000 classic
releases spanning multiplegenres.
And now onto the show.
(00:34):
Here are your hosts, Jeremy Boydand John Van Dyke.
SPEAKER_03 (00:46):
Alright, well, hey, uh, welcome to Polyphonic Press.
I'm Jeremy Boyd.
I'm John Van Dyke.
And uh let's not waste any time.
We've got the patented randomalbum generator right in front
of us here.
Uh so let's hit the button andsee what album we're gonna be
listening to this week.
And the album we're gonna belistening to is Nina Simone,
(01:07):
Wild is the Wind.
Okay.
Alright, so here's a uhdescription of the album.
It says released in 1966 byPhillips Records Records, Wild
Is the Wind is one of NinaSimone's most emotionally potent
and artistically rich albums.
A collection of outtakes fromprevious sessions, the album
transcends its uh piecemealorigins to form a hauntingly
(01:30):
cohesive statement on love,longing, and per personal
turmoil.
Simone's vocal delivery is a ris raw and deeply expressive,
gliding effortlessly from tendervulnerability to defiant
strength.
The title track, Wild is theWind, is a masterclass in
interpol interpretation.
Simone stretches the song into aslow burning sensual lament,
(01:54):
transforming it into one of hersignature performances.
Other highlights include FourWomen, a powerful narrative
exploiting exploring theintersecting identities of black
womanhood and Lilac Wine, adelicate dream-like ballad.
Blending elements of jazz,classical, folk, and blues, Wild
(02:15):
as the Wind showcases Simone'sgenre-defying artistry and her
unmatched ability to conveycomplex emotional landscapes.
It remains one of her mostacclaimed and enduring works,
celebrated for both itspolitical consciousness and its
poetic beauty.
Alright, so this uh yeah, it wasreleased on the uh six 16th of
(02:36):
September 1966, and uh thegenres are jazz, blues, folk,
and RB.
Uh released on Phillips Recordsand produced by Hal Mooney.
And there's 11 songs on thealbum, and side one and side two
split uh for the first fivesongs and then the other uh six
(02:57):
um on the second half.
So the album starts with I LoveYour Lovin' Ways, and side one
ends with That's All I Ask.
So if you're listening along,which we encourage you to do,
and we've linked the album inthe show notes to both Spotify
and Apple Music.
So if you want to pause afterthat to that song, we'll take a
break halfway through to discussthe album at the halfway point.
(03:21):
And uh we also want to encourageyou to check out uh check out
our Patreon.
Uh you can go to patreon.comslash polyphonic press.
You can uh get these episodesthe day before they go live, and
you can get a shout out duringthese episodes and even pick an
album for us to review.
So lots of cool stuff overthere.
(03:41):
Um but without further ado, uh,here we go.
Here is the first song on thealbum, I Love Your Lovin' Ways.
(04:03):
Okay, and ending uh side onewith That's All I Ask.
Um yeah, this is uh this is apretty amazing.
I had knew the name Nina SimoneNina Simone before.
Didn't know anything about her.
Um I I was just sort of vaguelyfamiliar with her.
(04:29):
Yeah, this is I'm yeah, she'sgot an amazing um I don't know,
there's like a like a wisdom orsomething in it in her voice.
Like she's like this this sortof all-knowing sort of figure.
It's like, okay, everything'sgonna be okay.
We're just I'm just gonna yeah,things are kind of rough right
now, but hey, uh like a calmingsort of I don't know, I get that
(04:53):
kind of sense from her.
Um but yeah, I mean she's got avery like a interesting, unique
voice.
Um and uh and uh like I f uhthis album I feel like and it
obviously it was made up ofouttakes from her some of her
previous albums, but it's sortof um it it sort of runs the
(05:17):
gamut in terms of uh uh genres,but it doesn't nothing feels out
of place.
SPEAKER_04 (05:23):
No.
The the first song even likejust seems to be I mean, I don't
know if she considered it sortof a throwaway or anything like
that, but it was you know, I waskind of surprised.
I'd never heard her do stufflike that.
Like uh It's like a blue sort ofWell it's it's almost rock and
roll.
(05:43):
It sounded almost more likesomething that uh um Edda James
would do or something like that.
And I was a little bit surprisedto hear Nina Simone do it.
And I was like, oh okay, wellshe can hold her own there.
That's pretty good.
Um yeah, but yeah, the otherones um getting into it where
she's obviously getting a littlemore serious.
Yeah, four women.
(06:05):
Um that was pretty uh you know,basically just sort of
describing four different womenwho've, you know, not exactly
had the best lives.
And she doesn't even have toreally go elaborate into it.
She just like has like a coupleof lines about each one of them,
and it's just somehow enoughpowerful enough to actually sort
of convey the emotion of the thefigure.
SPEAKER_03 (06:29):
Yeah, it's sort of like you she trusts the listener
to fill in the gaps.
And and it and she makes it easyto do that.
You know.
Um and she actually did sheYeah, she wrote that song too.
Um you know, so uh I think it'sthe only one on the album she
(06:50):
actually did write herself.
So the instrumentation is great,um and it fits in well, and and
it's it is sort of that thatthing of the of the that we were
talking about on that that notthe last Elvis album that we
did, but the one before, whereit was more like orchestration
and and not necessarily a band.
(07:13):
But but the first one was that.
The first one was a little mores not simple, but um a little
more just sort of spontaneous, Iguess.
SPEAKER_04 (07:25):
Well yeah, the first one was more of like a a blues
band back in her um the but butthe other ones like they're it's
obviously more of a productionsound going forward, but it's
not too much or anything likethat.
I mean it it's more of a jazzproduction anyway, and you know,
it's it's actually there's anorchestration, but it seems to
be fairly pared back, and it'sback in the mix too.
(07:48):
And you can hear the the bassand and the drum and the and the
uh you know, and and and they'reas jazz is in a lot of senses,
uh not necessarily freeformjazz, but in you know, sort of a
pop jazz sense.
The uh pop drum and the bass islike sort of subdued anyway, and
(08:10):
basically it just sort ofcarries along and and and
accompanies the voice, ordefinitely the voice is the the
thing that everybody paysattention to in this and
everything just compliments it.
SPEAKER_03 (08:22):
Absolutely.
Yeah.
Yeah, no, it's it's very obviouslike it's well um well balanced,
well mixed.
Um and I I don't know, I wasgonna see who oh, it doesn't
really say who's playing on it.
I'm well it that's the thing, isit it's made up of it was
recording musicians, mostly.
(08:42):
Yeah, it was well I was it wasgonna say it was it was made up
of uh like recordings andouttakes from other sessions.
So I'm sure there's so manypeople that played it.
Yeah, it was recorded between1964 and and 65.
SPEAKER_04 (08:58):
Um Yeah, no, it's uh And apparently she released
about ten albums betweensixty-four and sixty-seven, so
there could be like fivedifferent albums she pulled from
from this one.
SPEAKER_03 (09:10):
Yeah, exactly.
It's hard to know what's fromwhat.
Yeah, exactly.
SPEAKER_04 (09:14):
But that's why it seems so varied, but oddly
enough it it all fits together,and maybe it's just the way she
carries it might just be hervoice, it might just be just the
way that she sort of I don'twant to say composes a song
because well she did the one.
But I guess the way she likechooses her music and stuff like
(09:36):
that is it kind of fits reallywell, and this is like
considered a classic album andit's it's almost like a
collection of B-sides.
SPEAKER_03 (09:46):
Yeah.
But like but at the same time,like if you didn't know anything
if you didn't know going into itthat it was made up of outtakes,
you wouldn't know.
You would yeah, you wouldn'tthink anything of it.
Like there's nothing so far,there's nothing jarring, um, and
nothing like nothing feels outof place or anything like that.
(10:09):
And yeah, it just i like for meI'm sort of kind of getting just
lost in in the emotion of hervoice.
Um which is rare for me when I'mlistening to music.
I'm not like I I don't enjoypeople's vocals, but I I I tend
(10:30):
to more pay attention to themusic.
That's just sort of what mybrain goes to.
And maybe on the second or thirdtime I'll pay attention to the
to the vocalist.
But with the with her, it's likeI'm sort of the music is uh not
secondary, but it's like it'slike you said, it's it's it's
(10:51):
lifting her up and it'ssupporting her.
And and her voice is the thething that I'm paying the most
attention to.
SPEAKER_04 (11:02):
But yeah, you find that with a lot of like jazz
singers like um you know, withuh like um Oh, names aren't
coming to me.
Uh Ella Fitzgerald or uh umwho's the other really big one.
Um Billy Holiday.
Same sort of thing.
They seem to seem to concentratemore on like the uh their voices
(11:25):
as opposed to actually reallywhat's going on around them.
But but what's going on aroundthem is not to be ignored, but
it's it's there mostly to sortof prop up the voice.
SPEAKER_03 (11:37):
And yeah, it's it's not like um like Miles Davis or
John Coltrane where it's likeit's all about the music.
This is more like this is it'ssimilar, it is still jazz, but
it's not like crazy, likeimprovised freeform stuff.
SPEAKER_04 (11:55):
No, this isn't freeform jazz, it's not a jazz
fusion, it's it's it'sconsidered sort of a pop jazz,
but it's but it's always beenkind of a little bit outside of
the pop realm.
It's a little more sophisticatedthan that.
But it's it's more of a popformat, is what I mean.
And a pop format doesn't meannecessarily throw away, it's
(12:17):
just a different format, and itcan be absolutely every bit as
legitimate as anything else outthere.
SPEAKER_03 (12:24):
Exactly, exactly, yeah.
And uh and when this album wasreleased, like it was it was a
pretty significant hit right offthe bat.
Like it wasn't something that uhwas a slow burn, at least in in
terms of like criticalreception.
Uh so the album was a Billboardmagazine special merit pick on
(12:49):
release, with the reviewercommenting, Simone sets up an
exceptional romantic mood thatoffers top listening delight.
And the song for women wasreleased as a single and gained
intention.
Uh and uh yeah, there's wellI'll get to that in a little bit
when we get to the uh the someof the facts that I found, but
(13:12):
the song for women was actuallybanned um from some radio
stations.
SPEAKER_04 (13:18):
Go figure.
I mean, there's nothing reallycontroversial about it unless
you're like a piece of crap.
So it says more about thestations banning it than it says
about Nina.
SPEAKER_03 (13:32):
And uh Yeah, it's uh looking back not to get
political, because this isn'treally a political show, but
it's funny looking back at theabsurdity of like it's poop
people took that stuff soseriously back then, but now you
look at it as and it'sridiculous.
(13:53):
It's like why would you beagainst black people just
existing?
And but uh a lot of that stuffis still happening um wouldn't
with with black people and witha lot of other sort of uh
groups.
And uh it's funny, it's that oldsaying is the more things
change, the more they stay thesame.
SPEAKER_04 (14:13):
Oh, I know.
And yet somehow things as theyage, they start to look a little
ridiculous.
Um even as you're amidst theother thing, which is when
people start talking about it'slike good grief it's 2025, why
are we still having thisconversation?
SPEAKER_03 (14:30):
Yeah, it's uh and it's you know it's important to
have art that is um commentingon on what's happening in the
world at the moment.
And you know, at the risk of ofsort of dating the art, uh I
think it's important, but itdoesn't really it's it is it's
(14:52):
not like well maybe sometimes itdoes, but like I don't think
it's sort of a snapshot of whatwas happening at the time, you
know?
Yeah.
SPEAKER_04 (15:02):
Well, I think it was uh Joe Strummer said that the
most important thing most impyeah, the most important thing
that a a musician can do is tobe of their time.
More so than to be timeless, Ithink.
Um To be of your time I meanit's fine if something ages a
little bit.
I mean sometimes that that givesit sort of a retro you know,
(15:23):
appeal later on down the road,but to be of your time is to
sort of uh like I don't know ifI always agree with that, but I
I but I understand it.
SPEAKER_03 (15:34):
That uh Yeah, I I I don't I don't agree with it in
terms of like like jumping on atrend and trying trying to
follow trends.
I don't think that's what hemeant at all.
No, no, I don't think that'swhat he meant.
I th I I know what he meant islike you know, because all all
you really all there ever is isright now.
(15:54):
You we can plan for the futureand and hope for the best and we
can learn from the past,hopefully you learn from the
past, but all there ever is iswhat's happening right now, like
right now in this moment.
And and I think that's what he'ssaying.
It's like, you know, make yourart for now.
Make your art for what'shappening right now, either in
(16:16):
the world or in your life, makethe art for for right now.
Um, and I think that's exactlywhat she did.
And if it's genuine and it's notand it's not you're not doing it
in the sense of followingtrends, but it's you it's
genuine, even if what you'retalking about isn't maybe isn't
(16:39):
relevant anymore, you can stillgo back and listen to it in a
historical sense.
SPEAKER_04 (16:44):
Absolutely.
SPEAKER_03 (16:45):
Yeah.
SPEAKER_04 (16:45):
And that's sort of part of learning from the past.
It's part of learning from thepast, but also again, as things
turn on, uh go on and you know,for better or for worse, some of
these things stay relevantthrough the time.
Like, you know, I don't thinkanything that uh the Clash put
(17:06):
out has been let's say uh comesoff as being too old-fashioned
as far as anything they said oranything like that.
SPEAKER_03 (17:16):
Yeah, even all the songs that are about like all
the uh thinking about like allthe protest songs in the 60s of
of uh about the Vietnam War,it's like just because the
Vietnam War is over doesn't meanwe don't still have war.
But uh getting back to thisalbum, yeah, I did manage to
find uh some some prettyinteresting facts about the
(17:38):
album.
Like we said, it is made up ofouttakes, uh, but it is one of
her best.
Wild is the wind wasn't wasn'trecorded as a cohesive album.
It is a compilation of unusedtracks from earlier recording
sessions between 1964 and 65.
Despite this, it's widelyconsidered one of Simone's most
(17:59):
emotionally powerful andartistically unified records.
And I think we've alreadydiscussed that.
It's it still works as an album.
SPEAKER_04 (18:08):
And this is the stuff she was, you know, almost
thrown away.
I wonder what stuff she didthrow away.
SPEAKER_03 (18:15):
See, she m she made Wild Wild is the Win her own,
inspiring Future Legends.
Although the title track, uhwhich we haven't listened to
yet, um, although the titletrack was originally w written
for a 1957 film and previouslysung by Johnny Mathis, Simone's
version became definitive.
It later inspired David Bowie,who covered the song on his 1976
(18:40):
album Station to Station, indirect tribute to her
interpretation.
The album highlights Simone'sclassical training.
Uh, on tracks like Black is thecolor of my true love's hair,
Simone uses sparse, almostmeditative piano arrangements
that reveal her background inclassical music.
(19:00):
She originally trained to be aclassical pianist, but but uh
before turning to jazz and bluesdue to her racial barriers.
SPEAKER_04 (19:08):
Which is just so bullshit.
I mean, I'm glad that she thatwe've got this stuff because
it's really, really good.
But uh it's sort of a shame shewasn't able to do what she
actually wanted to do.
SPEAKER_03 (19:21):
Yes, but I think you know, I think a lot of artists
are put in a position of notdoing what they want to do, but
doing what they they're meant todo.
SPEAKER_04 (19:34):
This is true.
SPEAKER_03 (19:35):
You know, I think you know, there's like Bob Dylan
um started making folk music butbecause he couldn't no one
wanted to be in a band with him.
He he wanted to be like a BuddyHolly kind of rock and roll
rockabilly guy.
SPEAKER_04 (19:50):
Yeah, he wanted to yeah, I think he at one point he
even said that he's just like uhyou know as a kid, he just
wanted to be Elvis.
SPEAKER_03 (19:58):
Yeah, and uh and you know, not music but comedy,
George Carlin wanted to be afilm actor and like do do like
maybe do some comedies but alsodo some drama and wanted to sort
of follow that that uh thattrajectory, but he became one of
the most important voices instand-up comedy.
(20:20):
So it's like you're maybe you'reyou're not doing the thing you
wanted to do in the first place,but you were sort of put in a
place of what you were meant todo.
And I think that's her here.
Like her voice not is not areally a classical voice, but
it's a voice that is is muchmore interesting than a than a
(20:40):
classically trained vocal, likeuh doing classical music.
Like this is more interesting tome to listen to.
SPEAKER_04 (20:47):
Yeah, I can sort of understand that.
Um Yeah, I understand whatyou're talking about.
Um I wonder what her voice wouldhave been like is as classical,
but I mean even as a classicalpianist, um clearly she can play
the piano.
SPEAKER_03 (21:02):
So it's just a shame that she wasn't able to yeah,
it's that that door wasn't openfor her.
SPEAKER_04 (21:08):
Exactly.
But yeah, we got this instead,and that this is still really,
really good.
It's just unfortunatecircumstances that sort of
forced it.
SPEAKER_03 (21:19):
Yes, yeah, exactly.
Exactly.
And yeah, the the song for womenwas controversial and banned by
some radio stations.
Uh the song for women tells thestory of four black women, each
shaped by different historicaland social forces.
Due to its frank discussion ofrace and identity, some stations
some stations deemed it tooprovocative and banned it, which
(21:42):
only further solidified itscultural impact.
Of course.
SPEAKER_04 (21:47):
You ban something, it just, you know, make it it it
creates curiosity.
SPEAKER_03 (21:53):
Yeah.
It there's there was um theythey actually have a name for it
now.
It's called the Streisandeffect.
It it comes from uh it's it'sthe more you try to control or
try to get people to not talkabout something, the more
they're gonna talk about it.
(22:13):
And it came from um uh BarbaraStreisand.
She something to do with shedidn't want the paparazzi at her
wedding.
So she told them, Hey, this iswhere my wedding is.
Don't don't go here.
And of course of course, that'sexactly where they went.
SPEAKER_04 (22:33):
Yeah, yeah.
That's uh yeah, that wasn'tsmart.
I'm sorry.
Um, don't tell the paparazziwhat you're gonna do.
Yes, if you don't want themthere.
Exactly.
Yeah, it doesn't matter if youtell them don't come, they're
gonna come.
SPEAKER_03 (22:49):
Yeah, well they're gonna come.
SPEAKER_04 (22:51):
They deem you important enough.
SPEAKER_03 (22:52):
Yeah, exactly.
And so yeah, so like the factthat radio stations banned it.
And anytime anytime you tellanytime you ban a song or a film
or or anything, the more curiouspeople are gonna be about it.
It's like, okay, well, I gottasee it, because I gotta see why
(23:12):
they banned it.
Why did they ban this?
It's gotta be like it just itjust tickles that that curia
curi curious part of the brain.
Yeah.
So it and it has the oppositeeffect of of what you wanted.
And uh so it the and numberfive, it was actually her final
studio album for PhillipsRecords.
(23:33):
Uh Wild is the Wind marked theend of Simone's prolific and
politically charged period withPhillips, during which uh she
released seven albums in justthree years, 1964 to 67.
Uh, she would later sign withRCE, where her music would
become even more explicitlyactivist in tone.
Okay.
(23:53):
Um, so yeah, so those are someuh interesting facts about the
album.
But uh, I guess we'll get backinto the uh the rest of the
album.
Um uh but before we do that,let's hear from our friends over
at the Pick a Disc podcast.
Um so check that out.
SPEAKER_01 (24:12):
Do you like music?
Do you like podcasts?
Chances are you like musicpodcasts.
Take this one, for example, Picka Disc, where every fortnight a
guest comes on to talk about analbum for whatever reason they
want to.
Sometimes I like it, sometimesperhaps even something else
other than just like it.
Just listen to the podcast andfind out.
We talk about the album, we talkabout the songs, we talk about
the artists, we talk abouttangent things that are slightly
related, and sometimes wedeviate off tangent.
(24:34):
But don't worry, we'll alwaysbring it back in the end.
But you can find us on all yoursocial medias and all the
podcast apps for search of apicked disc.
You can also find us on the partof the Weedy Podcast Network
under link tree slash weedypodcast.
And until then, happy listeningto all those discs that you are
picking.
Goodbye.
SPEAKER_02 (24:53):
We'll now take a few seconds before we begin side
two.
Thank you.
SPEAKER_03 (25:02):
Alright, and uh ending the album with either way
I lose.
Uh yeah, this is um I don'treally know what else to say.
I mean, this is an an incrediblealbum.
Um it uh it it like if you likeI was saying before, like if if
you didn't know that it wasrecorded over a period of three
(25:25):
years and made up of outtakesfrom from different albums and
different um sessions and maybeeven different studios, you
wouldn't really think anythingof it.
It's still a cohesive piece onits own, um, which is pretty
amazing that it all the sort ofpieces fell into place like
that.
SPEAKER_04 (25:44):
Um Yeah, it's it's almost like uh like I don't know
if this is necessarily the wayit was intended, but it almost
seems like when they wereproducing the other albums that
came along, and then you know,one song they were gonna put on
the album, they're like, No,let's wait and put it on this
other album.
SPEAKER_03 (26:02):
Yeah, it's almost like it was planned all along.
SPEAKER_04 (26:04):
Like Yeah, it's just like we'll take the best stuff
from these other sessions, andthen you know, a few day years
down the road, we're just gonnaunleash this thing on the world.
SPEAKER_03 (26:14):
Yeah, yeah, exactly.
Um yeah, it it's uh there's noum there's no bad songs here.
I mean, it's um every song isinteresting, every song is
different, but it's interesting.
Um yeah, I I I I really don'tknow what else to say.
(26:36):
I really don't have anycriticism.
Um you know, uh even Wild is theWind, which is seven minutes
long, I didn't feel it didn'tfeel seven minutes like it I d
well was not bored at all.
SPEAKER_04 (26:52):
Um, it's a good song.
Um it it I mean it felt sort oflong to me, but not in a bad
way.
It was it was it it kept it itit kept your attention because
it's just you know, Nina's voicedoing what it does.
Um and just uh simple pianoaccompaniment with it.
(27:16):
And I think yeah, that's one ofthe live tracks.
Which it's funny, y if youdidn't know it was a live track,
you wouldn't know.
SPEAKER_03 (27:23):
No, yeah, yeah, exactly.
SPEAKER_04 (27:25):
Yeah, it just sounds like another track on the album
and something like that.
I don't know if whether theyedited out the applause or
something like that.
I have no idea.
SPEAKER_03 (27:34):
Yeah, yeah, they must have, yeah.
SPEAKER_04 (27:36):
Or whether they, you know, had everything live or had
the whole band live, like goinginto a board or something where
they didn't pick up the audienceat all or something like that.
I have no idea.
SPEAKER_03 (27:47):
Yeah, it could have been, yeah.
Yeah, I mean it's um yeah, Idon't I don't uh I I can't think
of anything bad.
Um what would be uh what wouldbe your your uh three highlights
on the album?
SPEAKER_04 (28:04):
I liked uh Break Down and Let It All Out.
I thought that was good.
Um Four Women still a reallygood highlight.
Um there's so many other ones onthere, but I think I'm gonna
have to pick uh I'm gonna gowith I Love Your Love and Ways
just because it was just alittle bit different from the
rest of the album, and it's justI was surprised that she did
(28:25):
that sort of thing and she didit well, so yeah, I'm gonna pick
that.
SPEAKER_03 (28:29):
Yeah, I I mean I think I would go with um Oh man.
Uh I think I would go with uhyeah, Breakdown and Let It All
Out was yeah, that was a reallygood song.
Um Yeah, I think four women, uhjust it's it that definitely
stands out to me.
(28:50):
Um and uh Oh man.
Uh I think I think the titletrack, I think I could go with
Wild is the Wind.
Um yeah.
SPEAKER_04 (29:01):
This honestly, I could have picked any of them,
really.
Um yeah, Lilac Wine was anotherreally good one.
Uh Black is the color of my truelove's hair.
Yeah, there's not like you saidbefore, there's not really a bad
song on the album.
It's uh for for an album of whatseem to be throwaways, it's
there's not a throwaway.
(29:22):
Really?
SPEAKER_03 (29:23):
Yeah.
Um yeah, it's it's it's prettyuh pretty incredible.
Uh so I think I know the answer,but uh would you listen to this
again?
SPEAKER_04 (29:34):
Yeah, I'd probably listen to this again.
SPEAKER_03 (29:36):
Yeah, yeah, I would too.
SPEAKER_04 (29:38):
Whether immediately or not?
Probably not, but I definitelywould listen to it again at some
point.
SPEAKER_03 (29:44):
Yeah, no, it's it's one of those things where I I
think we sort sort of have thecaveat of Well, yeah, I would
listen to it if I'm in the moodto listen to it.
But I can see myself and I I Ithink that's true, but I can
also see myself being in themood to listen to it pretty
frequently.
Like it's not something I couldjust put on all the time, but
(30:07):
it's also not something thatit's like, oh, I'm not I'm
rarely in the mood to hear it.
It's sort of in between.
Yeah.
Um yeah, so I guess we'll uh endthe episode there.
Uh thank you so much forlistening if you made it this
far.
Uh be sure to check out check usout at polyphonicpress.com.
You can get all the episodesthat we've done so far and uh
(30:27):
different uh updates andeverything there.
And uh you can also if you're uhthe if it's your first time uh
listening you can uh be sure tofollow us on whatever podcast
platform you're listening on anduh you can leave us a rating and
review because it helps uhpeople discover the show and uh
tell your friends about us andeverything like that and um yeah
(30:49):
I think that just about does it.
Uh I'm Jeremy Boyd and I'm JohnVan Dyke.
Take it easy
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