Bob Boilen

In 1988, a determined Bob Boilen started showing up on NPR's doorstep every day, looking for a way to contribute his skills in music and broadcasting to the network. His persistence paid off, and within a few weeks he was hired, on a temporary basis, to work for All Things Considered. Less than a year later, Boilen was directing the show and continued to do so for the next 18 years.

Significant listener interest in the music being played on All Things Considered, along with his and NPR's vast music collections, gave Boilen the idea to start All Songs Considered. "It was obvious to me that listeners of NPR were also lovers of music, but what also became obvious by 1999 was that the web was going to be the place to discover new music and that we wanted to be the premiere site for music discovery." The show launched in 2000, with Boilen as its host.

Before coming to NPR, Boilen found many ways to share his passion for music. From 1982 to 1986 he worked for Baltimore's Impossible Theater, where he held many posts, including composer, technician, and recording engineer. Boilen became part of music history in 1983 with the Impossible Theater production Whiz Bang, a History of Sound. In it, Boilen became one of the first composers to use audio sampling — in this case, sounds from nature and the industrial revolution. He was interviewed about Whiz Bang by Susan Stamberg on All Things Considered.

In 1985, the Washington City Paper voted Boilen 'Performance Artist of the Year.' An electronic musician, he received a grant from the Washington D.C. Commission on the Arts and Humanities to work on electronic music and performance.

After Impossible Theater, Boilen worked as a producer for a television station in Washington, D.C. He produced several projects, including a music video show. In 1997, he started producing an online show called Science Live for the Discovery Channel. He also put out two albums with his psychedelic band, Tiny Desk Unit, during the late 1970s and early 1980s. Boilen still composes and performs music and posts it for free on his website BobBoilen.info. He performs contradance music and has a podcast of contradance music that he produces with his son Julian.

Boilen's first book, Your Song Changed My Life, was published in April 2016 by HarperCollins.

Benjamin Booker has a deeply tender voice that, at times, can feel like a whisper But it always cuts to the heart. "Believe," his opening number at the Tiny Desk has a yearning for something to hold on to, something to understand. It's a timeless desire which can be about the personal or the political.

For Laura Burhenn, 2016 was a tough year and she wasn't alone. We lost David Bowie, Leonard Cohen, Prince (and so many more beloved artists).

ALA.NI's voice is as much a vibe as a conveyer of ideas, of words and thought. For me, it's evocative of love and heart. This video and the song ALA.NI sings illustrates my point. But I'll let ALA.NI tell more in the magnificent note she wrote to me. She has a lot to get out and is obviously passionate about it:

"The message that I wished to convey in the making of this video is...

"LOVE IS LOVE IS LOVE IS LOVE.

"Take it where you can get it, cause lord knows we need as much of it right now in this mad, mad world.

Guest DJ: Weaves

Nov 1, 2017

On first hearing the Gracie And Rachel song "Only a Child," I was struck by the tension and the mystery, both musically and lyrically: "I'm moving my mouth but I don't say a word/My ears are open but nothing is heard/I'm only a child, only a child."

Here is one of the seminal underground records of the late 1960s: The band is Pearls Before Swine, and the album is called One Nation Underground.

We have, nearly five years after the debut release of Woman, new music from Rhye and word of a new album, due next year on Loma Vista. (Given the recent tour announcement that has them hitting the road in February, it's probably safe to say that the album will come not too long after the new year.)

Gaelynn Lea is a violinist, a public speaker and an advocate for people with disabilities. She was born with brittle bone disease and that shapes the way she plays the violin, holding it upright, more like a cello than the traditional method under the chin.

Sego's music is frenetic, agitated and immediate. In a new video for the song, "Whatever Forever," the band speaks to the anesthetized frenzy of the-day-to-day.

The heart of "Capable" from The Wild Reeds is spelled out in these lyrics by Sharon Silva: "You're capable of so much more/Than these people give you credit for/And you just need to show it."

MGMT, the psych-pop duo behind one of the decade's best earworms, is back with its first new music in four years. "Little Dark Age" is the title track to their 2018 album, a pulsing, synthesized meditation on the age of anxiety over a world coming apart.

I think Randy Newman is a national treasure. If he was just a funny guy making music, I'd be OK with that, but his wit is sardonic, satirical and politically on point. Mixing politics and humor with music is usually about the punchline, and his punchlines even make the singer smile.

Randy Newman paints lasting portraits of places and people, all the while poking fun and highlighting injustice, stupidity, power and humanity and he's been doing it for half a century. Here are the opening lines to his recently released song "Putin":

Landlady's music is more than sonic exploration, it's an adventure. The Brooklyn-based band's songs are the initial creation of leader Adam Schatz, who observes the world with fresh, almost alien eyes. The songs can feel a bit drugged-out – a bit high and full of curiosity – but never overly intoxicated or out-of-touch.

A man in a black cape holds a sitar like a guitar all while singing a dreamy tale about wanting to be a dog. Well actually a "dawg."

Welcome the world of Dawg Yawp, the musical concoction of Rob Keenan and Tyler Randall, where drones and toy pianos are likely to collide with heavy metal electronics and a well-placed melody.

Note: NPR's First Listen audio comes down after the album is released. However, you can still listen with the Spotify or Apple Music playlist at the bottom of the page.

One look at (and listen to) the cross-dressing, Asian rock band SsingSsing and you would hardly think they're singing music inspired by traditional Korean folk. But SsingSsing isn't like any other band I've ever seen or heard.

The first time I saw the soulful singer Moses Sumney was in a church in Iceland. The Los Angeles-based singer was laying down loops with his guitar, and the sounds that day made and the songs that he sang had me eager to hear an entire album from this talented man.

Lookman Adekunle Salami, who writes and records as L.A. Salami, is a storyteller and a poet. His songs are deliberate meanderings on the mundane and the poignancy in everyday life. And in the way Bob Dylan took his guitar and harmonica to accompany his rarely repeating ramblings, L.A Salami embraces a similar aesthetic, albeit as a black Englishman instead of a white Minnesotan.

When I listened blindly to nearly a thousand songs while attempting to make my schedule of bands to see at this year's SXSW music festival, one of the few tracks that leapt to the top was "Arizona" by Frances Cone. I wasn't alone. NPR Music's Stephen Thompson also singled out this now Brooklyn-based band for the way it wraps its storytelling in a catchy, pop parcel.

Last week, All Songs Considered host Bob Boilen and I took note of an article from The Guardian examining something within music that's uniquely byzantine: the practice of giving guest artists credits in song titles. You've no doubt seen some variation of it — "Song Title (feat. An Artist)." It's something that should be fairly straightforward, no? Well, no.

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