In case you missed it rerun from 2016. Back in 2011, two pop songs dropped with the same patriotic title: "Made in America." But the similarities pretty much end there. Toby Keith's country smash and Jay Z, Kanye West and Frank Ocean's soulful hip hop anthem have little in common except a firm conviction that each song knows what it really means to be American. Five years later, these tracks have a lot to tell us about the role music plays in shaping our national identity, and begs the question: does music truly bring us together? Music Discussed Toby Keith - Made In America Jay Z and Kanye West ft. Frank Ocean - Made in America Sisqo - Thong Song Usher - Yeah! Beyoncé - Daddy Lessons Jimmie Rodgers - Blue Yodel No. 9 Bob Wills and the Texas Playboys - Ida Red Likes to Boogie Learn more about your ad choices. Visit podcastchoices.com/adchoices

In hip-hop, what draws us to an artist is not just the content of their lyrics but how they deliver them. Along with tapping your foot to the rhythm, understanding something called “flow” is essential to understanding hip-hop as a whole. In this episode of Switched On Pop, we interview genre icon DJ Jazzy Jeff on the concept of flow: what it is, how it applies to all music – not just hip-hop – and how any rapper’s flow can be analyzed under his guidelines. Taking his word for it, we put our magnifying glasses on to look at the bars of our favorite rappers, from Megan thee Stallion to Babytron. Songs Discussed: The Notorious B.I.G. - Big Poppa Mary J. Blige - Family Affair A Tribe Called Quest - The Hop Danger Mouse, Black Thought - Aquamarine BabyTron - Crocs & Wock’  RXKNephew - Take Three JID - Better Days (feat. Johnta Austin) Megan Thee Stallion - Not Nice Megan Thee Stallion - Cocky Af Learn more about your ad choices. Visit podcastchoices.com/adchoices

For the first time in 2023, a rap song is at number one on Billboard's Hot 100: Doja Cat's “Paint the Town Red.” It’s her second number one single after the disco inspired “Say So.” But the ubiquitous and lighthearted bop didn’t accurately reflect Doja’s divisive persona, an extremely online meme lord, and sometimes troll, with a history of riling up internet controversy.  Doja Cat recently called out her fans for their parasocial obsessiveness, losing 250k instagram followers in the process. Simultaneously, religious conservatives have accused her of Satanism for her playful use of illuminati imagery at her 27th birthday bash. But rather than recoil, Doja Cat is clapping back at criticism by embracing the devil.  On “Paint the Town Red” she’s following the playbook of Lil Nas X’s “Montero (Call Me By Your Name)” and Sam Smith and Kim Petras’ “Unholy,” all of which use demonic imagery to spark religious controversy while also commenting on artists’ indiscretions and the hellish nature of the attention economy. In her satanic suite — “Paint The Town Red,” “Demon,” and “Attention” — Doja Cat’s turns online flame wars into musical gold.  More Listen to The Allusionist with Helen Zaltzman, the best and funniest podcast about language Read the history of the loon sample on Pitchfork by Philip Sherburne Songs Discussed: Doja Cat - Paint The Town Red Vanilla Ice - Ice Ice Baby Lil Nas X - MONTERO (Call Me By Your Name) Sam Smith - Unholy (feat. Kim Petras) Doja Cat - Say So Doja Cat - Kiss Me More (feat. SZA) Doja Cat - Woman Doja Cat - Demons Daddy Yankee - Gasolina Kelis - Milkshake Kendrick Lamar - HUMBLE. Bernard Herrmann - A Narrative for String Orchestra (From "Psycho") [Arr. J. Mauceri] John Williams - Main Title/John Williams/Jaws - From The "Jaws" Soundtrack Lil Nas X - MONTERO (Call Me By Your Name) Doja Cat - Attention 808 State - Pacific 202 Nicki Minaj - Anaconda Calvin Harris - Prayers Up (feat. Travis Scott & A-Trak) Dionne Warwick - Walk on By Doja Cat - Paint The Town Red - Slowed Down & Sped Up Doja Cat - Vegas (From the Original Motion Picture Soundtrack ELVIS) Beyoncé - Naughty Girl Learn more about your ad choices. Visit podcastchoices.com/adchoices

When Jimmy Buffett died on the first day of September, 2023, musicians from Paul McCartney to Pitbull mourned the death of the "Margaritaville" singer. This surprised Nate and Charlie, because frankly, they had never listened deeply to Buffett's work before, and viewed him more as a branding genius than a great musician. How wrong were your faithful podcast hosts. Jimmy Buffett was no novelty act or one-hit wonder. He found a precise combination of yearning lyrics, hip modulations, and singable melodies that produced a collection of songs that questioned the fantasy of Island Life as much as they celebrated it. Journey with us across the seas of Buffett's artistry as we listen for everything we might have missed about this unique musical icon. Songs Discussed Jimmy Buffett - Margaritaville, Cheeseburger in Paradise, Why Don't We Get Drunk, Come Monday, Fins, A Pirate Looks at 40, My Gummie Just Kicked In Harry Belafonte - Will His Love Be Like His Rum? Learn more about your ad choices. Visit podcastchoices.com/adchoices

In case you missed it, Beyoncé’s new album Renaissance is one of her most ambitious albums yet. On this week’s episode of Switched On Pop, we discuss Renaissance with beloved guest Sam Sanders, host of the new Vulture podcast Into It. In Sanders’ words: “it’s trying to do a lot” – but in the best way. The album incorporates seemingly every decade of contemporary popular dance music from Chic’s “Good Times” to Right Said Fred’s “I’m Too Sexy.” Much of the early discourse surrounding the album was marred by a confusing controversy over a small sample (we try to resolve the issue musicologically) – but the references on Renaissance are worth listening closely to, acting as a guide through essential dance music. The album is an homage to the black and queer innovators of dance; with samples and interpolations of songs both niche and mainstream flying by, like a DJ set curated by house music pioneers.  On Renaissance, Beyoncé goes out of her way to cite, credit and compensate her influences, resulting in a triumph of musical curation. Just look at “Alien Superstar”: the song credits twenty-four people, largely due to Beyoncé’s musical nods, rather than an exercise in boardroom style songwriting. Sanders says “the liner notes themselves are showing you that this woman and her team have a PhD in music history.” Listen to Switched On Pop to hear how Renaissance honors dance music innovators and finds new modes of expression in the genre.  Subscribe to Into It with Sam Sanders Listen on Apple Podcasts: https://bit.ly/3vE4jqf Listen on Spotify: https://bit.ly/3bB7Vmf Listen elsewhere: https://bit.ly/3BI0Nz0 Learn more about your ad choices. Visit podcastchoices.com/adchoices

Everyone seems to be getting Olivia Rodrigo wrong. She's one of the few pop stars who has made it big in the current era of fragmented music streaming, but so much of the narrative has been about whose songs she's stealing from, whether it be Taylor Swift, Elvis Costello or Paramore. Rodrigo's new album Guts arrives next Friday: while we wait patiently, we take a close listen to her new singles "vampire" and "bad idea right?" to subvert the narrative. These songs show that she isn't stealing from pop music, but rather uses a deep repertoire of musical predecessors to write very crafty music. Songs discussed: Olivia Rodrigo – vampire Olivia Rodrigo – bad idea right? Olivia Rodrigo – driver's license Olivia Rodrigo – brutal Elvis Costello & The Attractions – Pump It Up Olivia Rodrigo – good 4 u Paramore – Misery Business Olivia Rodrigo – deja vu Taylor Swift – Cruel Summer Radiohead – Creep Scala & Kolacny Brothers – Creep Lana del Rey – Get Free David Bowie – Space Oddity Elvis Presley – That's When Your Heartaches Begin Roy Orbison – Oh, Pretty Woman Talking Heads – And She Was The Breeders – Cannonball Liz Phair – Supernova Wet Leg – Chaise Longue The Beatles – Twist And Shout Rage Against The Machine – Killing In The Name Learn more about your ad choices. Visit podcastchoices.com/adchoices

In 2003, amidst a bunch of bleak alternative rock bangers like “Numb” by Linkin Park and “Bring Me To Life” by Evanescence, a rock song stood out on the charts for its fantastic hooks and juvenile sense of humor. “Stacy’s Mom” turned the New Jersey band Fountains of Wayne into MTV mainstays and Grammy nominees. But while they continued to release music, tour the country, and maintain a devoted fanbase, they never reached the same level of fame again. Most people never looked further than the raunchy music video, but Fountains of Wayne released six albums across two decades, each filled with tracks of quirky, clever, and undeniably catchy power pop. And the writer of that song, FOW bassist Adam Schlesinger, had a rich and fascinating career behind the scenes in film, TV, and more. In this episode of Switched on Pop, we explore the history of “Stacy’s Mom”, a perfectly crafted pop song that stands as a testament to the brilliance of a musician whose career was cut tragically short. Learn more about your ad choices. Visit podcastchoices.com/adchoices

Right now, the two biggest records in the country come to us from two of hip-hop’s biggest superstars: Travis Scott and Post Malone. Both artists have been releasing mainstream records for nearly a decade; their records UTOPIA and AUSTIN, respectfully, sit at number one and two on the Billboard 200. But going further than the numbers, these albums signify a shift in these artists’ sounds, moving them out of their usual genres into previously uncharted territory in both of their careers. And as this is Post Malone’s fifth record and Travis Scott’s fourth, we also must ask: what does it mean to be a mid-career artist? Songs discussed: Travis Scott – HYAENA Post Malone – Mourning Travis Scott, Teezo Touchdown – MODERN JAM Post Malone – Chemical Madonna – Borderline Madonna – Ray of Light Madonna – Don’t Tell Me Kendrick Lamar – m.a.a.d. city Kendrick Lamar – For Free? – interlude Travis Scott, Swae Lee, Chief Keef – Nightcrawler Travis Scott, Yung Lean – PARASAIL Travis Scott, Kid Cudi – LOOOVE  Kanye West – I Am A God Gentle Giant – Proclamation Travis Scott, Beyoncé – DELRESTO (ECHOES) Post Malone – White Iverson Post Malone, 21 Savage – rockstar Post Malone – Overdrive Pixies – Where Is My Mind? Semisonic – Closing Time Post Malone – Something Real Learn more about your ad choices. Visit podcastchoices.com/adchoices

Part two of the secret world of song camps looks at the different roles in a songwriting session. There are producers who sit behind a console desk or computer and record, arrange and craft the instrumental and track the vocal. Often they double as engineers who use their technical knowledge to select mics, set up signal chains, and ensure the best recording. Then there is the topliner, a singer who generates melodies on the fly, throwing ideas at the instrumental, looking for the best hooks. Often the top liner is also a songwriter who crafts chords and lyrics to fit the topline melody. And then there is of course the artist who performs the piece.  These roles aren’t always clearly divided - most musicians have multiple skills. But for the sake of understanding how each role is essential to creating a song, we asked four musical luminaries to embody one of these roles and break it down: producer/engineer Alex Tumay, topliner Wolftyla, Songwriter and Walk the Moon frontman Nicholas Petricca and Artist Grace VanderWall. This conversation happened live at the College of Performing Arts at The New School as part of Anti Social Camp 2023, the largest song camp in the world that is working to revive to the NYC songwriting scene.  Learn more about your ad choices. Visit podcastchoices.com/adchoices

Beginning in the nineties, pop songwriters have traveled to a 13th-century castle in the south of France for what’s come to be known as a “song camp” – a place where songwriters and collaborators can hunker down and spend a week together writing the next big hits. The castle’s owner Miles Copeland, former manager of The Police, brought songwriters to this far-flung location for a dose of creativity, and yielded massive success through the process: artists like Celine Dion, Britney Spears and Miranda Lambert have all benefited from songs stemming from these retreats. Over the last fifteen years, song camps have exploded in popularity from Peter Coquillard’s Bali Invitational, to Rihanna’s $200k LA camp, to the Anti Social Camp: a NYC-based event and the world’s largest songwriting retreat. This episode of Switched On Pop, we take a look at the secret world of song camps, and even manage to be a fly-on-the-wall in a camp with songwriter Nicholas Petricca of Walk The Moon, Julia Cumming of Sunflower Bean, engineer Will Campbell and producer Andrew Maury.  Learn more about your ad choices. Visit podcastchoices.com/adchoices

Recently while scrolling twitter we saw a clip from American Idol of judge Katy Perry admonishing an auditioner on the show to “Enunciate!” The video went viral because of Perry’s incensed reaction, but also because the contestant’s performance of Amy Winehouse’s “Valerie” offered a crystalline example of a popular style of singing that has produced reactions of love and—like for Perry—hate.  It’s a style that features elongated vowels, clipped consonants, and runaway phrasing associated with contemporary singers like Halsey, Jorja Smith, and Shawn Mendes, and like many things in the 21st century it got its name from a tweet—specifically by the user @trackdroppa who boasted in 2009, “Voice so smooth it’s like i’m singing in cursive” In this episode we speak to vocal coaches and journalists to to ask: Where did this cursive style come from? What are the vocal techniques used to create this sound? And why does cursive singing create so much backlash? Songs Discussed Shawn Mendes - Stitches Zooey Deschanel, M. Ward - Winnie the Pooh Mick Jagger - Strange Game Selena Gomez, A$AP Rocky - Good For You Frank Zappa, Moon Zappa - Valley Girl Mark Ronson, Amy Winehouse - Valerie benny blanco, Halsey, Khalid - Eastside  Jorja Smith - Teenage Fantasy Tones And I - Dance Monkey Sia - Cheap Thrills Corinne Bailey Rae - Put Your Records On Blink-182 - All The Small Things SZA - Kill Bill More Ashaala Shanae https://www.themahi.com/founder Jumi Akinfenwa https://www.vice.com/en/contributor/jumi-akinfenwa Learn more about your ad choices. Visit podcastchoices.com/adchoices

This past week, the film Barbie opened nationwide to massive success – and with it came a soundtrack, executive produced by Mark Ronson. Functioning as both a companion to the movie and a stand-alone collection of hits, the album features everyone from Dua Lipa to reggaeton star Karol G to K-Pop group FIFTY FIFTY. This episode of Switched on Pop, we take a look at the singles from the soundtrack and see how well they embody the ethos of Barbie: plastic and all.  Check out our 2021 interview with Mark Ronson (about Ginuwine’s “Pony”) here. We reference “vibe snatching” in this episode. Take a listen to our episode breaking down the phenomenon here. For more on Billie Eilish’s “No Time to Die,” check out our Bond episode from October 2021 here. Songs Discussed:  Dua Lipa – Dance The Night Billie Eilish – What Was I Made For? PinkPantheress – Angel FIFTY FIFTY, Kaliii – Barbie Dreams Janet Jackson – Together Again FIFTY FIFTY – Cupid The Cardigans – Lovefool Charli XCX – Speed Drive Billie Eilish – No Time To Die Aqua – Barbie Girl Nicki Minaj, Ice Spice, Aqua – Barbie World Karol G, Aldo Ranks – WATATI Jul – My World Ludacris, Wiz Khalifa, Jeremih, Cashmere Cat – Party Girls Ava Max – Not Your Barbie Girl Ava Max – My Head & My Heart A Touch Of Class – Around the World (La La La La La) Learn more about your ad choices. Visit podcastchoices.com/adchoices

In 1964, Louis Armstrong knocked the Beatles off the top of the charts with his recording of “Hello, Dolly!” becoming, at age 62, the oldest artist to ever hit number one on the Billboard Hot 100. Sixty years later, Louis Armstrong remains a beloved cultural figure, his oft-imitated voice still instantly recognizable. But Armstrong is more than a source of levity — his artistry and innovations when he made his first recordings a century ago in 1923 set the template for the modern pop star. On this centennial episode, hear Armstrong as you’ve never heard him: a defiant, pathbreaking musician whose voice resonates in every hit record.  Songs Discussed Louis Armstrong - Hello, Dolly! King Oliver's Creole Jazz Band - Dippermouth Blues Fletcher Henderson & His Orchestra - Sugar Foot Stomp Louis Armstrong & His Hot Seven - Potato Head Blues, West End Blues, Big Butter And Egg Man, Heebie Jeebies Louis Armstrong - Ain't Misbehavin', Dinah, I'm a Ding Dong Daddy (From Dumas), Black And Blue, Swing That Music Bing Crosby, The Mills Brothers - Dinah The Boswell Sisters - Heebie Jeebies Ella Fitzgerald - Mack The Knife - Live At The Deutschlandhalle, Berlin, 1960 Joey Ramone - What a Wonderful World Ghostface Killah - The Forest Jon Batiste - What A Wonderful World More Read Terry Teachout’s brilliant biography of Armstrong, Pops Visit the Louis Armstrong House Museum in Queens, NY Listen to Lil Hardin Armstrong’s 1968 interview with Chris Albertson for Riverside Records Learn more about your ad choices. Visit podcastchoices.com/adchoices

Taylor Swift is currently the most streamed artist in the world as she’s commandeered the media as she embarks on her Eras tour around the globe. It's likely to be the highest grossing tour of all time, crossing $1B in sales. What’s more, she’s just released her 6th studio album since 2020, and her 3rd re-recording of her older material called Taylor’s Versions. She famously got in a spat with the new owner of her master recordings. She decided to take back control with her own hands and voice, creating mostly true-to-the-original updates alongside a smorgasbord of bonus material. First there was Fearless from 2008, then Red from 2012 and now Speak Now the last of her more country leaning albums having originally arrived in 2010. Switched On Pop listens to Speak Now (Taylor’s Version) for whats is and isn’t working musically, how the re-recordings are fairing, and where this ambitious project may go next. Joining the conversation is Lauren Michele Jackson American cultural critic, assistant professor of English and African American studies at Northwestern, author of White Negroes: When Cornrows Were in Vogue ... and Other Thoughts on Cultural Appropriation and a contributing writer to the New Yorker in her review of Taylor Swift’s midnights said “I’ve always maintained that Swift is incapable of writing a bad song.” MORE Pop Pantheon: Checking in on Taylor Swift's Re-Recordings So Far (with Charlie Harding, Larisha Paul & Nora Princiotti) SONGS DISCUSSED Taylor Swift - Fearless, Red, Speak Now, Never Grow Up, The Story Of Us, Sparks Fly, Mine, Mean, Superman, Karma, Better than Revenge, Electric Touch, Castles Crumbling, When Emma Falls in Love, I Can See You, Back, To December, Last Kiss Def Leppard - Pour Some Sugar On Me Gloria Gaynor - I Will Survive  Learn more about your ad choices. Visit podcastchoices.com/adchoices

Us at Switched On Pop are off on vacation, but don't fret – this week we're still bringing you an episode, courtesy of the Vulture podcast Into It with Sam Sanders. If you've openly wondered why concert tickets seemingly have gotten more confusing and expensive, this episode's for you. – Content creator and head of the Beyhive Kalen Allen is more than OK spending four thousand dollars on one ticket for Beyoncé’s Renaissance tour. 2023 feels like a big year for huge stadium tours for artists like Beyoncé, Taylor Swift, Bruce Springsteen, Ed Sheeran and more. But why are tickets so expensive, and how much are fans willing to put up with in order to go? Sam talks with music journalist Nate Rogers about why the touring industry might just be broken and what lawmakers and some artists are trying to do to fix it. Learn more about your ad choices. Visit podcastchoices.com/adchoices

Vulture might have killed the song of the summer back in 2016, but if you’re a member of the LGBTQ+ community, it’s hard to argue against “Padam Padam” by Kylie Minogue. The track, released this May, has taken the queer community by storm, quickly becoming ubiquitous and inescapable – it's hard to even scroll on Twitter without a well-timed meme about the "padam-ic" popping up on the timeline. However, Minogue's song hasn't even cracked the Billboard Hot 100; instead, its status has morphed into that of a "gay anthem," a song widely celebrated inside the community but unable to garner longstanding success outside of it. This episode of Switched on Pop, producer Reanna Cruz tackles a question that the LGBTQ+ community has debated over for decades: what makes a gay anthem? Through talking with everyone from academics to their close friends, the answer takes us from Judy Garland to 1920s cabaret to, of course, "Padam Padam." Songs Discussed: Kylie Minogue – Padam Padam Édith Piaf – Padam padam Kylie Minogue – Supernova Mischa Spoliansky – Das lila Lied (The Lavender Song) Queen – I Want To Break Free Lady Gaga – Born This Way London Philharmonic Choir – Amazing Grace Traditional – God Save The King Queen – We Are The Champions Tom Robinson Band – Glad to be Gay Diana Ross – I'm Coming Out Judy Garland – Alone Together (Live At Carnegie Hall/1961) Countess Luann – Chic C'est La Vie Judy Garland – The Trolley Song Lady Gaga – La Vie En Rose Bronski Beat – Smalltown Boy Village People – Y.M.C.A. Sylvester – You Make Me Feel (Mighty Real) Miquel Brown – So Many Men, So Little Time Depeche Mode – Never Let Me Down Again The Weather Girls – It's Raining Men Gloria Gaynor – I Will Survive Learn more about your ad choices. Visit podcastchoices.com/adchoices

Another installment of Switches Brew the show where you get to hear from the larger team Switched On Pop team and community about what we're listening to old and new. With recommendations from editor Jolie Myers, producer Reanna Cruz, and listeners Micah Salkind and JT. Songs Discussed Saint Levant - Nails BewhY - Adaptation The Pointer Sisters - Dare Me, I'm So Excited, Jump Junior Jack - Stupidisco blink-182 - Man Overboard, What's My Age Again? All The Small THings White Poppy - Orchid Child Odyssey - Native New Yorker Kate Bush - The Morning Fog Spencer Zahn, Dave Harrington, Jeremy Gustin - A Visit To Harry's House Cicada Ensemble - Murmuration Clip Learn more about your ad choices. Visit podcastchoices.com/adchoices

As summer comes upon us, it’s time for some Billboard shake ups. On this week’s edition of Chartbreakers, we’re looking at the recent iterations of the Hot 100 and a trend that has slowly been creeping up in popularity over the past few months: the influx of regional Mexican music. The past two years have seen many songs by Mexican artists making their way onto Billboard, all managing to highlight different scenes and sounds from the different states in Mexico.  We’re joined this week by the cohost of the NPR Music podcast Alt. Latino, Anamaria Sayre, who says that Mexican regional, or simply, regional, is a marketing “bucket term” that encompasses different Latin genres including everything from norteño to corridos, all genres that are comfortably finding a home in the top 20 of the Hot 100 in 2023. Of course, there’s more happening outside of Latin music. Much of the chart has been stagnant since our last iteration of Chartbreakers, but, as always, there’s been some shake ups thanks to the world of the TikTok sped-up remix, the legacy artist, and on some occasions, a mix of both (we’re looking at you, Miguel). Songs Discussed: Eslabon Armado, Peso Pluma – Ella Baila Sola Bizarrap, Peso Pluma – Peso Pluma: Bzrp Music Sessions, Vol. 55 Grupo Frontera, Bad Bunny – un x100to Fuerza Regida – TQM Grupo Frontera, Fuerza Regida – Bebe Dame Los Tigres del Norte – Prisión De Amor Chalino Sanchez, Banda Brava – Alma Enamorada Chalino Sanchez, Los Amables Del Norte – El Crimen De Culiacán Ramon Ayala y Sus Bravos del Norte – Solo Una Patada Grupo Firme, Junior H – Tronando Ligas Banda MS de Sergio Lizárraga – Que Bendición DannyLux – Mi Otra Mitad Natanael Cano – Pacas De Billetes Miguel – Sure Thing FIFTY FIFTY – Cupid Lana del Rey – Say Yes to Heaven Taylor Swift, Ice Spice – Karma (ft. Ice Spice) Learn more about your ad choices. Visit podcastchoices.com/adchoices

In the song "Touch" from Daft Punk's final studio album, 2013's Random Access Memories, featured artist Paul Williams sings a line that augured the end of an impressive collaboration: "I need something more." With RAM, Daft Punk pulled out all the stops, going the opposite direction of their previous albums, to "give life back to music" and bestow hearts and souls upon their robotic doppelgängers. RAM features almost no samples or programmed digital instruments, instead leaning into extensive collaborations with legendary studio musicians, iconic producers like Nile Rodgers, and modern mavens such as Pharrell. The making of RAM followed the blueprint of classic albums from what Daft Punk called "the golden age" of recording—Fleetwood Mac, the Eagles, Pink Floyd. The duo spent over a million dollars, held five years of studio sessions, and painstakingly crafted each track. The result was a record that helped usher in a retro disco-funk revival across pop music and generated a smash hit in "Get Lucky." The band had perhaps crafted their magnum opus—but did it also represent the conclusion of their epic narrative of the battle between human and machine? Songs Discussed Daft Punk - Give Life Back to Music Daft Punk - Lose Yourself to Dance (feat. Pharrell Williams) Daft Punk - Get Lucky (feat. Pharrell Williams and Nile Rodgers) Daft Punk - Giorgio by Moroder Eagles - Hotel California Daft Punk - Contact The Sherbs - We Ride Tonight Daft Punk - The Prime Time of Your Life Daft Punk, Paul Williams - Touch (feat. Paul Williams) Thomas Bangalter - Mythologies: X. L'Accouchement Learn more about your ad choices. Visit podcastchoices.com/adchoices

Throughout their legendary career, Daft Punk continued to prove that the more robotic their music became, the more human they sounded. This dichotomy came to a head on their third album, aptly titled Human After All. Where their past two records wired their circuits and gave the robots a voice, on Human After All, Thomas Bangalter and Guy-Manuel de Homem-Christo gave Daft Punk sentience. On Human After All robots rock, but they also question their rigid programming. The record's ensuing tour and resulting live album, Alive 2007, furthered the narrative by ushering in a new age of live electronic performance. The impact of these two records range from the development of EDM to everlasting hits like “Technologic.” On episode three of our Listening 2 Daft Punk series, we take a look at these two records, and how both Alive and Human After All imbued the robots with super intelligence. Songs Discussed Daft Punk - Human After All Daft Punk - The Prime Time of Your Life Daft Punk - Robot Rock Breakwater - Release the Beast Daft Punk - Steam Machine Daft Punk - The Brainwasher Black Sabbath - Iron Man Daft Punk - Technologic Daft Punk - Emotion John Williams – Wild Signals Daft Punk – Touch It / Technologic Daft Punk – Oh Yeah Daft Punk – Technologic Busta Rhymes – Touch It Daft Punk – Around the World / Harder Better Faster Stronger Daft Punk – Face to Face / Short Circuit Daft Punk – Da Funk / Daftendirekt Kanye West – Stronger Kanye West – On Sight Daft Punk – Human After All / Together / One More Time / Music Sounds Better With You Learn more about your ad choices. Visit podcastchoices.com/adchoices