November 3, 2025 • 21 mins
On this episode of Songs That Don't Suck, Mark dives into the overuse of nostalgic songs in TV and film, asking when it’s clever versus just lazy. Plus, five killer new tracks you’ve probably never heard — and should.
To check out this week’s songs on your platform of choice head to the website Songs That Don’t Suck
Connect with Songs That Don’t Suck ~ Instagram | BlueSky
Mark as Played
Transcript
Episode Transcript
Available transcripts are automatically generated. Complete accuracy is not guaranteed.
(00:38):
Welcome to Songs that Don't Suckwith your host Mark Bradbourne.
What is up, friend? Welcome to songs that don't
suck. My name is Mark, and I'm here
each and every week, giving you the best of what I can sift out
of the cornucopia of shit that is most new music.
(01:01):
Yeah, it's my opinion, but that's why you're here.
You're here for my opinion and that's what you're going to get
in spades today. If you are a first time
listener, welcome. Yeah, I'm really friendly, I
promise. I'm glad you're here for my long
time listeners. Thanks for sticking with me.
I love you guys. You know that.
(01:22):
So before we get into those new music tracks that I have found
for this week, stop me If you'veheard this riff before, have you
ever been watching a new movie or TV show or whatever and you
have that moment of are they really using this song again?
I mean, there's a moment. And by moment, I mean my entire
(01:45):
childhood where music was something that we discovered on
the radio or somebody shared it with us.
And we lived with that song for a while, maybe for a long while.
It showed up at our dances, at our parties.
And now when we're watching stuff on TV or in the movie
theaters and we hear that track drop, we're like, oh, they're
(02:06):
just recycling my youth. And it doesn't matter when the
movie is set, it can just feel awkward because there's this
weird, persistent, sometimes comforting and sometimes
annoying phenomenon of old songsbeing reused over and over again
in movies and television. And there's a question like,
when does that reuse just becomelazy versus smart storytelling?
(02:29):
Because there is a difference and it does work.
But what happens is these productions drop a familiar
track, one that rings a bell, and then it instantly sets a
mood or an era or an emotional tone.
And for Gen. Xers and probably older
millennials, many of these songswere the soundtracks of our
first dates. Maybe it was our first car,
(02:52):
first heartbreak, some sort of trauma.
Who knows? And then when they show up
again, you know, they might makeus smile or we might groan.
It just depends what emotion or memory is tied to that song.
So here's a few reasons why I think we're seeing this right.
It can be described, I think, asan instant emotional shorthand.
(03:14):
So like, when you hear Etta James's At last, you're going to
know that the scene is probably going to be shot in slow motion.
There's going to be some swooning, a big reveal of some
kind. Like you don't have to do any
extra exposition. The song is going to set it for
us. There is a safe bet in
familiarity when the viewer recognizes the song.
(03:36):
We already check in emotionally,like before the scene even
really hits the full gear. We know what's happening.
You know it's a a sound cue for certain things, right?
You know, we have a montage of joy.
Oh, let's queue up Walking on Sunshine, which is shown up in
at least 38 films and TV's. That's nuts.
(04:01):
And then I'm going to say Vietnam War.
And you're immediately going to think fortunate, son, because
that's just how it works for us.When we hear this, we have
become the nostalgia economy, ifyou will.
Like, we hear this song and it dredges up memories and it's a
(04:22):
mix of comfort and cringe. So when does it cross the line
between clever and cliche? Well, these are all cliches, so
think of any movie that has a party in it.
There's a very good chance that you're going to hear This Is How
We Do It from Montel Jordan, which was released in 1995.
(04:47):
The other one that you probably might hear is Salt and Peppers
Push It. Those two each show up in 50 or
more movies and television shows.
Fade Into You is another good one by Mazzy Star.
It's appeared in over 40 TV's and film, you know, episodes and
(05:08):
it's dreamy alt rock, right? And I remember my freshman year
of college listening to this on tape because I have not
converted to C DS yet. And, you know, now if it's like,
if it's being used, it's this Moody montage and I'm there
listening to it and I'm like, oh, really?
OK. And the other one, like I said,
(05:28):
fortunate son. Any kind of Vietnam War movie,
it's going to show up. And it's interesting because,
according to reports, it's associated with Vietnam War
movies so strongly that it is basically just a trope at this
point. You hear that opening riff and
you know there's going to be a chopper, there's going to be a
jungle, and there's some sort ofconflict that is about to occur.
(05:52):
And these songs are not just blips on a soundtrack, right?
They carry history, they carry memory, They are our personal
time machines. And when a director drops one
without any nuance whatsoever, it feels a little bit like
cheating. Now, when it is strong
storytelling and clever, it's intentional, right?
(06:13):
And it gives a wink to the audience and it gives a layer of
meaning. My favorite example is Ready
Player One. But that book is marinated in
nostalgia and that movie just reflects it.
But the the songs they picked were really, really good.
If you haven't seen that movie, check it out.
If you haven't read the book or listened to the audio book,
(06:34):
check that out too. But there's fatigue, right?
Every sex montage, it's like, oh, let's play, let's get it on.
Every wedding, Etta James is at last.
So we start to anticipate these beats.
We see the queue coming and thatexpectation, that intuition, it
(06:57):
really sucks the surprise right out of the room.
And there is something to be said for authenticity.
If you're making a film that is set present day 2025 and you
drop a 1983 alt rock track just because the studio owns the
rights and it's cheap, Does it serve the story or is it really
just nostalgia mining? You know we'd live through the
(07:21):
time when those songs were new and it matters and it's just
lazy, right? Have some effort, fuck, hire me
and I will pick out songs for you of the day and age and I
guarantee you your movie will bebetter for it.
And you know when you think about like, what's going on
nowadays, right? Streaming, massive song
libraries being sold daily, Cheap licensing tools.
(07:44):
Maybe film and TV might dig deeper, we'll hear some lesser
known tracks instead of like theobvious hits and the tropes.
Or maybe they'll just double down because the hits honestly
still work. Because familiarity is
comforting, but saturation is its own kind of boredom, and I
(08:06):
have a moment where I miss the days when movie soundtracks
turned us on to new artists. Three of my favorites, Reality
Bites, great soundtrack. Empire Records, great
soundtrack. And Garden State.
I remember Garden State specifically for the band Remy
0. Nowhere on my radar until I
(08:26):
heard that soundtrack and I got really into those guys.
The other really great resource for new music many, many years
ago, the first like three or Four Seasons of Grey's Anatomy.
Oddly enough, whoever was doing the music picking for that show,
fucking A+ because there was some great bands and there's a
(08:50):
great playlist that sit out there on Spotify that you can
find and it has all of the songsthat they would feature in the
episodes. Fun fact though, is a band
called the Ames Era that appeared on Grey's Anatomy, one
of my bands open for them when they played an Akron.
So there will be a moment, I think, where Hollywood decides
(09:13):
to stop rebooting and remaking old movies and reusing these
old, old songs. And my hope is that we'll get
some creative folks who are, youknow, take risks and try new
things. But until then, there's such
risk aversion in Hollywood that we're just going to get the same
old recycled shit. So with that, let's not listen
(09:36):
to the same old recycled shit and get into some new music for
this week, shall we? The first song this week is no
more Second Chances by Winton Existing.
New music from our friends in Winton existing is always
welcome and I really dig this track.
I heard it earlier this year at their most recent show, I guess
(09:58):
in Cleveland and really liked itthen and really excited when I
heard that it had been released.I really appreciate the riff in
this song because it works both as kind of this gentle, almost
psychedelic theme in the verses and then it gets heavy and
aggressive. Like the dynamics between those
two moments are so good in this song and live honestly is even
(10:22):
more impressive. There's lots of little sneaky
elements like sprinkled throughout this track, some
really cool drum flourishes. I love when existence drummer,
he's so good, super bass, like super tasty bass lines.
And there's this really beautiful moment towards the, I
guess towards the end, let's call it the climax of the song
(10:44):
where it's just like this four part harmony that they're doing
and then it drops back in and the riff just rips your face
off. So take a listen.
This is the latest from Winton existing.
It is no more second chances. The second song this week is a
(11:42):
Ozona from Carnival. I kind of went down a rabbit
hole looking for new prog rock this week for some reason and I
found a few. This one really stood out to me.
It gives me a very oddly satisfying combination of
Incubus and Tulle. Vocally you will hear it shift
back and forth, but to me the melodic structures that are
(12:03):
going on definitely give me a very strong Tool influence.
This is the second release off their new album, which is coming
out next year in 2026. And it's wonderfully heavy.
Big fat, you know, hooky choruses.
Technically. It's very interesting as you
listen to it and re listen to it.
(12:24):
A lot of stuff going on and it'sall the the aspects of what I
want in prog rock, honestly. And sometimes it's really hard
to find. It's such a such a niche genre
that if you were a prog rock fan, it's it's difficult.
The bridge, really interestinglyin this song, is an entire
second movement which is really nice to have.
(12:46):
It allows the listener to have this moment of a reset and
reflection. So check out a little bit of a
Ozona from Carnival. The third song this week is
(13:41):
Ghouls from Sitting on Saturn. OK, this one is probably
inspired a bit from the celebration of Halloween we did
recently, so I think it was in the right mood for this song for
sure. But there's a really interesting
thing to hear, and there's an element of this song that
mirrors one of my favorite bandsthat is in a completely
(14:02):
different genre than these guys,Iron Maiden.
They aren't a metal band, despite some of the elements
that exist in this song. They are a high energy indie
rock band, right? Punk, ska, little bit of
everything. But there's a gallop that runs
through this song that feels oh so familiar to my ears.
And honestly, some of the guitarwork feels a bit like it came
(14:25):
off of the Power Slave album. It.
If you're an Iron Maiden fan, golisten to this and tell me I'm
wrong. And there's this wonderfully
ghoulish keyboard line, pun intended, that exists.
And it's it's beautiful. It's like a beautiful texture.
This one's definitely 1 you wantto include in your next
(14:46):
Halloween playlist, but honestly, I think it works year
round. This great song.
So check out Ghouls from Sittingon Saturn.
(15:35):
The four song this week is Explosions in the Sky from
Cadaver. Do you like Styx?
Because it was the first thing that I thought of when I heard
this song. I don't know if it's because of
the keys or maybe it's the vocals.
Could be the riff, could be the big bombastic chorus, could be
(15:57):
the big guitar solos. And it's weird because their
name, to me, screamed like it was going to be death metal.
You know, dark death metal at that, with Cadaver.
It's Cadaver with AK, by the way.
But I was pleasantly surprised. I, you know, back back to the
kind of the top of the episode, the whole topic.
This is one of those songs that would be great in a film.
(16:18):
I think it sets such a mood. So shit, check it out.
This is Explosions in the Sky from Cadaver.
(17:10):
The 5th song this week is Waiting On You by Scarlett.
Sometimes as I was listening to this I really felt a strong 60s
influence. But updated right?
There's a bounce to it, the tambourine, the guitar riff,
it's all there and it's just an overall killer vibe in this
(17:31):
track. Loved it.
There's this laid back feel in the vocal, which is a really
cool juxtaposition to the overall balance of the song.
There's a really cool melody line that is buried and I don't
know if it's a guitar or keyboard, but whatever it is,
give it like, you know, definitely listen for it.
You'll you'll hear it kind of peek in and out.
It's a really cool texture tone.And let's talk tempo for a
(17:56):
minute, because if you're payingattention, this song constantly
hits the accelerator, which is weird for a song because usually
when you record it, maybe you'reon a click or your drummer has
an amazing time. But this is very intentional.
It starts about 125 beats a minute.
It ends closer to 150 beats a minute.
(18:17):
It's a fun ride. I was like the first time I
listened, I was like, I was not expecting that.
You know, sometimes songs will go into a double time or
whatever. That's not what's happening
here. They are definitely accelerating
the song and it's, it's really cool.
It's almost like, you know, I'm waiting for you and I wish you
would fucking hurry up. And that's what they were trying
(18:38):
to get across. And I, I don't know if that's
what they were doing or not, butthat's the way I interpreted it.
So check out Waiting for You from Scarlet sometimes.
(19:37):
That is it for this week. Go to songsthatdontsuck.net.
There is a widget that I built on the home page where you can
link out to all the songs that Ihave talked about in this
episode and in all the past episodes.
And it goes to all the seven major streaming platforms.
So wherever you listen to music,you can find these songs.
(19:58):
They're in their entirety. You can also interact with the
show there. You can send me messages and
recommend me bands and songs that I should hear.
There's a newsletter that gets you access to the Live Music
archive. It is a free benefit for those
who really want to embrace the 18% culture.
(20:19):
There's merch. I highly recommend the I Listen
to Songs That Don't Suck T-shirtbecause that T-shirt is
guaranteed to fire up a conversation.
The number of times I get comments when I wear that shirt
in public is off the charts. You can also get earplugs on a
discount from Loop. I get no benefit from this, but
you know me. I love to protect your hearing.
(20:41):
So go and get some earplugs for the next time you go and see a
live show. Don't forget to like, review and
subscribe to the podcast on yourpreferred platform.
You can do that on every platform.
You can maybe do one of those things or do multiples.
Do them all and tell your friends about the podcast
because that is the best way to advertise it.
(21:03):
Thanks again for listening and as always, go out and support
these artists. Thanks for listening, and until
next week, keep searching for and listening to songs that
don't suck.
Welcome to Songs that Don't Suckwith your host Mark Bradbourne.
What is up, friend? Welcome to songs that don't
suck. My name is Mark, and I'm here
each and every week, giving you the best of what I can sift out
of the cornucopia of shit that is most new music.
(01:01):
Yeah, it's my opinion, but that's why you're here.
You're here for my opinion and that's what you're going to get
in spades today. If you are a first time
listener, welcome. Yeah, I'm really friendly, I
promise. I'm glad you're here for my long
time listeners. Thanks for sticking with me.
I love you guys. You know that.
(01:22):
So before we get into those new music tracks that I have found
for this week, stop me If you'veheard this riff before, have you
ever been watching a new movie or TV show or whatever and you
have that moment of are they really using this song again?
I mean, there's a moment. And by moment, I mean my entire
(01:45):
childhood where music was something that we discovered on
the radio or somebody shared it with us.
And we lived with that song for a while, maybe for a long while.
It showed up at our dances, at our parties.
And now when we're watching stuff on TV or in the movie
theaters and we hear that track drop, we're like, oh, they're
(02:06):
just recycling my youth. And it doesn't matter when the
movie is set, it can just feel awkward because there's this
weird, persistent, sometimes comforting and sometimes
annoying phenomenon of old songsbeing reused over and over again
in movies and television. And there's a question like,
when does that reuse just becomelazy versus smart storytelling?
(02:29):
Because there is a difference and it does work.
But what happens is these productions drop a familiar
track, one that rings a bell, and then it instantly sets a
mood or an era or an emotional tone.
And for Gen. Xers and probably older
millennials, many of these songswere the soundtracks of our
first dates. Maybe it was our first car,
(02:52):
first heartbreak, some sort of trauma.
Who knows? And then when they show up
again, you know, they might makeus smile or we might groan.
It just depends what emotion or memory is tied to that song.
So here's a few reasons why I think we're seeing this right.
It can be described, I think, asan instant emotional shorthand.
(03:14):
So like, when you hear Etta James's At last, you're going to
know that the scene is probably going to be shot in slow motion.
There's going to be some swooning, a big reveal of some
kind. Like you don't have to do any
extra exposition. The song is going to set it for
us. There is a safe bet in
familiarity when the viewer recognizes the song.
(03:36):
We already check in emotionally,like before the scene even
really hits the full gear. We know what's happening.
You know it's a a sound cue for certain things, right?
You know, we have a montage of joy.
Oh, let's queue up Walking on Sunshine, which is shown up in
at least 38 films and TV's. That's nuts.
(04:01):
And then I'm going to say Vietnam War.
And you're immediately going to think fortunate, son, because
that's just how it works for us.When we hear this, we have
become the nostalgia economy, ifyou will.
Like, we hear this song and it dredges up memories and it's a
(04:22):
mix of comfort and cringe. So when does it cross the line
between clever and cliche? Well, these are all cliches, so
think of any movie that has a party in it.
There's a very good chance that you're going to hear This Is How
We Do It from Montel Jordan, which was released in 1995.
(04:47):
The other one that you probably might hear is Salt and Peppers
Push It. Those two each show up in 50 or
more movies and television shows.
Fade Into You is another good one by Mazzy Star.
It's appeared in over 40 TV's and film, you know, episodes and
(05:08):
it's dreamy alt rock, right? And I remember my freshman year
of college listening to this on tape because I have not
converted to C DS yet. And, you know, now if it's like,
if it's being used, it's this Moody montage and I'm there
listening to it and I'm like, oh, really?
OK. And the other one, like I said,
(05:28):
fortunate son. Any kind of Vietnam War movie,
it's going to show up. And it's interesting because,
according to reports, it's associated with Vietnam War
movies so strongly that it is basically just a trope at this
point. You hear that opening riff and
you know there's going to be a chopper, there's going to be a
jungle, and there's some sort ofconflict that is about to occur.
(05:52):
And these songs are not just blips on a soundtrack, right?
They carry history, they carry memory, They are our personal
time machines. And when a director drops one
without any nuance whatsoever, it feels a little bit like
cheating. Now, when it is strong
storytelling and clever, it's intentional, right?
(06:13):
And it gives a wink to the audience and it gives a layer of
meaning. My favorite example is Ready
Player One. But that book is marinated in
nostalgia and that movie just reflects it.
But the the songs they picked were really, really good.
If you haven't seen that movie, check it out.
If you haven't read the book or listened to the audio book,
(06:34):
check that out too. But there's fatigue, right?
Every sex montage, it's like, oh, let's play, let's get it on.
Every wedding, Etta James is at last.
So we start to anticipate these beats.
We see the queue coming and thatexpectation, that intuition, it
(06:57):
really sucks the surprise right out of the room.
And there is something to be said for authenticity.
If you're making a film that is set present day 2025 and you
drop a 1983 alt rock track just because the studio owns the
rights and it's cheap, Does it serve the story or is it really
just nostalgia mining? You know we'd live through the
(07:21):
time when those songs were new and it matters and it's just
lazy, right? Have some effort, fuck, hire me
and I will pick out songs for you of the day and age and I
guarantee you your movie will bebetter for it.
And you know when you think about like, what's going on
nowadays, right? Streaming, massive song
libraries being sold daily, Cheap licensing tools.
(07:44):
Maybe film and TV might dig deeper, we'll hear some lesser
known tracks instead of like theobvious hits and the tropes.
Or maybe they'll just double down because the hits honestly
still work. Because familiarity is
comforting, but saturation is its own kind of boredom, and I
(08:06):
have a moment where I miss the days when movie soundtracks
turned us on to new artists. Three of my favorites, Reality
Bites, great soundtrack. Empire Records, great
soundtrack. And Garden State.
I remember Garden State specifically for the band Remy
0. Nowhere on my radar until I
(08:26):
heard that soundtrack and I got really into those guys.
The other really great resource for new music many, many years
ago, the first like three or Four Seasons of Grey's Anatomy.
Oddly enough, whoever was doing the music picking for that show,
fucking A+ because there was some great bands and there's a
(08:50):
great playlist that sit out there on Spotify that you can
find and it has all of the songsthat they would feature in the
episodes. Fun fact though, is a band
called the Ames Era that appeared on Grey's Anatomy, one
of my bands open for them when they played an Akron.
So there will be a moment, I think, where Hollywood decides
(09:13):
to stop rebooting and remaking old movies and reusing these
old, old songs. And my hope is that we'll get
some creative folks who are, youknow, take risks and try new
things. But until then, there's such
risk aversion in Hollywood that we're just going to get the same
old recycled shit. So with that, let's not listen
(09:36):
to the same old recycled shit and get into some new music for
this week, shall we? The first song this week is no
more Second Chances by Winton Existing.
New music from our friends in Winton existing is always
welcome and I really dig this track.
I heard it earlier this year at their most recent show, I guess
(09:58):
in Cleveland and really liked itthen and really excited when I
heard that it had been released.I really appreciate the riff in
this song because it works both as kind of this gentle, almost
psychedelic theme in the verses and then it gets heavy and
aggressive. Like the dynamics between those
two moments are so good in this song and live honestly is even
(10:22):
more impressive. There's lots of little sneaky
elements like sprinkled throughout this track, some
really cool drum flourishes. I love when existence drummer,
he's so good, super bass, like super tasty bass lines.
And there's this really beautiful moment towards the, I
guess towards the end, let's call it the climax of the song
(10:44):
where it's just like this four part harmony that they're doing
and then it drops back in and the riff just rips your face
off. So take a listen.
This is the latest from Winton existing.
It is no more second chances. The second song this week is a
(11:42):
Ozona from Carnival. I kind of went down a rabbit
hole looking for new prog rock this week for some reason and I
found a few. This one really stood out to me.
It gives me a very oddly satisfying combination of
Incubus and Tulle. Vocally you will hear it shift
back and forth, but to me the melodic structures that are
(12:03):
going on definitely give me a very strong Tool influence.
This is the second release off their new album, which is coming
out next year in 2026. And it's wonderfully heavy.
Big fat, you know, hooky choruses.
Technically. It's very interesting as you
listen to it and re listen to it.
(12:24):
A lot of stuff going on and it'sall the the aspects of what I
want in prog rock, honestly. And sometimes it's really hard
to find. It's such a such a niche genre
that if you were a prog rock fan, it's it's difficult.
The bridge, really interestinglyin this song, is an entire
second movement which is really nice to have.
(12:46):
It allows the listener to have this moment of a reset and
reflection. So check out a little bit of a
Ozona from Carnival. The third song this week is
(13:41):
Ghouls from Sitting on Saturn. OK, this one is probably
inspired a bit from the celebration of Halloween we did
recently, so I think it was in the right mood for this song for
sure. But there's a really interesting
thing to hear, and there's an element of this song that
mirrors one of my favorite bandsthat is in a completely
(14:02):
different genre than these guys,Iron Maiden.
They aren't a metal band, despite some of the elements
that exist in this song. They are a high energy indie
rock band, right? Punk, ska, little bit of
everything. But there's a gallop that runs
through this song that feels oh so familiar to my ears.
And honestly, some of the guitarwork feels a bit like it came
(14:25):
off of the Power Slave album. It.
If you're an Iron Maiden fan, golisten to this and tell me I'm
wrong. And there's this wonderfully
ghoulish keyboard line, pun intended, that exists.
And it's it's beautiful. It's like a beautiful texture.
This one's definitely 1 you wantto include in your next
(14:46):
Halloween playlist, but honestly, I think it works year
round. This great song.
So check out Ghouls from Sittingon Saturn.
(15:35):
The four song this week is Explosions in the Sky from
Cadaver. Do you like Styx?
Because it was the first thing that I thought of when I heard
this song. I don't know if it's because of
the keys or maybe it's the vocals.
Could be the riff, could be the big bombastic chorus, could be
(15:57):
the big guitar solos. And it's weird because their
name, to me, screamed like it was going to be death metal.
You know, dark death metal at that, with Cadaver.
It's Cadaver with AK, by the way.
But I was pleasantly surprised. I, you know, back back to the
kind of the top of the episode, the whole topic.
This is one of those songs that would be great in a film.
(16:18):
I think it sets such a mood. So shit, check it out.
This is Explosions in the Sky from Cadaver.
(17:10):
The 5th song this week is Waiting On You by Scarlett.
Sometimes as I was listening to this I really felt a strong 60s
influence. But updated right?
There's a bounce to it, the tambourine, the guitar riff,
it's all there and it's just an overall killer vibe in this
(17:31):
track. Loved it.
There's this laid back feel in the vocal, which is a really
cool juxtaposition to the overall balance of the song.
There's a really cool melody line that is buried and I don't
know if it's a guitar or keyboard, but whatever it is,
give it like, you know, definitely listen for it.
You'll you'll hear it kind of peek in and out.
It's a really cool texture tone.And let's talk tempo for a
(17:56):
minute, because if you're payingattention, this song constantly
hits the accelerator, which is weird for a song because usually
when you record it, maybe you'reon a click or your drummer has
an amazing time. But this is very intentional.
It starts about 125 beats a minute.
It ends closer to 150 beats a minute.
(18:17):
It's a fun ride. I was like the first time I
listened, I was like, I was not expecting that.
You know, sometimes songs will go into a double time or
whatever. That's not what's happening
here. They are definitely accelerating
the song and it's, it's really cool.
It's almost like, you know, I'm waiting for you and I wish you
would fucking hurry up. And that's what they were trying
(18:38):
to get across. And I, I don't know if that's
what they were doing or not, butthat's the way I interpreted it.
So check out Waiting for You from Scarlet sometimes.
(19:37):
That is it for this week. Go to songsthatdontsuck.net.
There is a widget that I built on the home page where you can
link out to all the songs that Ihave talked about in this
episode and in all the past episodes.
And it goes to all the seven major streaming platforms.
So wherever you listen to music,you can find these songs.
(19:58):
They're in their entirety. You can also interact with the
show there. You can send me messages and
recommend me bands and songs that I should hear.
There's a newsletter that gets you access to the Live Music
archive. It is a free benefit for those
who really want to embrace the 18% culture.
(20:19):
There's merch. I highly recommend the I Listen
to Songs That Don't Suck T-shirtbecause that T-shirt is
guaranteed to fire up a conversation.
The number of times I get comments when I wear that shirt
in public is off the charts. You can also get earplugs on a
discount from Loop. I get no benefit from this, but
you know me. I love to protect your hearing.
(20:41):
So go and get some earplugs for the next time you go and see a
live show. Don't forget to like, review and
subscribe to the podcast on yourpreferred platform.
You can do that on every platform.
You can maybe do one of those things or do multiples.
Do them all and tell your friends about the podcast
because that is the best way to advertise it.
(21:03):
Thanks again for listening and as always, go out and support
these artists. Thanks for listening, and until
next week, keep searching for and listening to songs that
don't suck.
Popular Podcasts
Dateline NBC
Current and classic episodes, featuring compelling true-crime mysteries, powerful documentaries and in-depth investigations. Follow now to get the latest episodes of Dateline NBC completely free, or subscribe to Dateline Premium for ad-free listening and exclusive bonus content: DatelinePremium.com
Stuff You Should Know
If you've ever wanted to know about champagne, satanism, the Stonewall Uprising, chaos theory, LSD, El Nino, true crime and Rosa Parks, then look no further. Josh and Chuck have you covered.
The Breakfast Club
The World's Most Dangerous Morning Show, The Breakfast Club, With DJ Envy, Jess Hilarious, And Charlamagne Tha God!