Polyphonic Press - Classic Album Reviews

This week, the patented random album generator serves up a curveball: an early Elton John record that neither Jeremy nor Jon had ever heard before.
Released in 1970, Tumbleweed Connection is a cinematic, roots-driven concept album steeped in the mythology of the American Old West—written by two guys (Elton John and Bernie Taupin) who had never even set foot in the United States at the time. Ditching the shiny pop formula for a swampy, Americana sound heavily influenced by The Band’s Music from Big Pink, this record proves why the early 70s was a golden era for artists exploring their sound and finding their footing.
In this episode, we discuss:
The Americana Pivot: Exploring the rustic influence of The Band, Leon Russell, and Crosby, Stills & Nash on Elton's early sound.
The State of the Industry: Why a major label today would likely never give an artist the freedom to release a non-commercial, exploratory third album.
The Human Element: A tangent on the future of music and whether AI-generated pop will make audiences crave authentic, "warts and all" art.
Studio Trivia: Elton's use of a massive 97-key Bosendorfer grand piano for a richer lower register, the formation of his legendary 70s rhythm section (Dee Murray and Nigel Olsson), and the track that famously opened the 1975 bank heist classic Dog Day Afternoon.
Our Track Highlights:
Jon’s Picks: Where to Now St. Peter?, Talking Old Soldiers, Amoreena
Jeremy’s Picks: Amoreena, Talking Old Soldiers, Burn Down the Mission
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This week on Polyphonic Press, the random album generator serves up a jazz-rock masterpiece: Steely Dan’s 1977 magnum opus, Aja. Widely considered the artistic peak of Donald Fagen and Walter Becker's studio perfectionism, we dive into its pristine production, complex chord changes, and the revolving door of nearly 40 legendary session musicians brought in to execute their singular vision.
But does this famously slick, audiophile-approved record have enough soul to hold up as one of the greatest albums of all time?
Jeremy finds himself captivated by the sheer level of musicianship, noting how the band manages to craft seven-minute songs like "Deacon Blues" and "Aja" that never feel boring or dragged out. He appreciates that despite the meticulous, pre-Pro Tools editing, the record still feels incredibly organic, praising Becker and Fagen for keeping spontaneous mistakes—like an accidental drum rim click—because they recognized the magic of a great performance.
Jon acknowledges that while Countdown to Ecstasy might be his personal favorite, Aja is an undeniable masterpiece. He dispels the idea that the album is pretentious, arguing that Becker and Fagen's ruthless perfectionism was completely justified by the brilliant, timeless results they achieved. To Jon, the fact that an album pieced together with a totally different band on every track can sound this cohesive is a testament to their genius.
5 Deep-Dive Facts About Aja:
The "Peg" Guitar Solo Gauntlet: The iconic guitar solo on "Peg" was born from a brutal process of elimination. Fagen and Becker rejected solos from six or seven elite studio guitarists (including Robben Ford) before Jay Graydon worked for hours to lay down a heavily engineered solo that somehow sounded perfectly improvised.
The Mystery Tonight Show Saxophonist: The sultry tenor sax solo on "Deacon Blues" was played by Pete Christlieb. The band had no idea who he was—they simply heard him playing in the background band on Johnny Carson's Tonight Show and demanded their producer track him down.
Steve Gadd's One-Take Masterpiece: Legendary session drummer Steve Gadd sight-read the intricate chart for the eight-minute title track and nailed the blistering solo in a single take. They even left in a mistake at the 4:57 mark where Gadd accidentally hit a drum rim because it fit the chaotic groove so perfectly.
Six Drummers for Seven Songs: To capture the precise rhythmic feel for every individual composition, the band used a revolving door of nearly 40 session musicians, including six different drummers. Bernard Purdie, for instance, brought his famous "Purdie Shuffle" to the track "Home at Last" after telling the band a standard shuffle wouldn't do it justice.
The Guessed Album Title: Donald Fagen named the album after a South Korean woman who married his high school acquaintance's brother. He loved the romantic sound of the name, but later admitted he completely guessed at the spelling ("Aja"), having no idea how she actually wrote it.
Host Highlights:
Jon's Picks: Josie, Peg, Home at Last
Jeremy's Picks: Home at Last, Peg, Josie (A rare unanimous vote!)
Did we get it right? What are your favorite tracks from Aja? Let us know on the contact page at polyphonicpress.com, and if you want to support the show and vote on which album we review next, head over to patreon.com/polyphonicpress.
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Due to technical difficulties beyond our control, this week's episode will be released tomorrow, Wednesday September 23rd, 2026 instead of our regular Tuesday. We appreciate your patience and will see you tomorrow! 
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This week on Polyphonic Press, the random album generator serves up a 90s indie rock staple: Pavement's 1994 sophomore effort, Crooked Rain, Crooked Rain. Widely considered the record that transformed the band from underground lo-fi heroes to alt-rock defining icons, we dive into its slacker-rock aesthetic, cryptic lyrics, and surprisingly strong songwriting.
But does this DIY darling actually hold up as one of the greatest albums of all time?
Jeremy finds himself vibing with the loose, experimental, 60s-inspired song structures, while Jon isn't entirely convinced, pointing out the unpolished vocals and "demo-like" quality that leaves him wanting a bit more refinement.
In this episode, we also cover 5 deep-dive facts about the album:
The Lollapalooza Feud: How Stephen Malkmus's tongue-in-cheek lyrics on "Range Life" infuriated Billy Corgan and almost got Pavement booted from the Lollapalooza main stage.
Stolen Art: The truth behind the album's chaotic cover—a repurposed collage lifted directly from a 1978 issue of National Geographic.
Silence Kid vs. Silence Kit: The story of how a stray smudge of ink on a handwritten tracklist caused a decades-long debate over the opening track's actual title.
A Rhythmic Shift: How replacing their eccentric, cabbage-tossing original drummer with a museum security guard gave the band the laid-back groove they needed.
Apartment Sessions: Why this MTV breakthrough record was actually recorded in an audio engineer’s bare-bones New York City apartment, surrounded by cereal bowls.
Host Highlights
Jon's Picks: 5-4=Unity, Cut Your Hair, Hit the Plane Down
Jeremy's Picks: Cut Your Hair, Unfair, Range Life
Did we get it right, or are we missing the genius of 90s slacker rock? Let us know what you think at polyphonicpress.com/contact.
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By 1991, the Seattle grunge scene was on the verge of massive mainstream polish, but Mudhoney responded by releasing a fuzzy, defiant, garage-punk record that completely defied expectations. Every Good Boy Deserves Fudge traded the cleaner, heavy sludge of their Pacific Northwest peers for a raw, 60s-inspired mix of blown-out guitars, swirling organs, and garage rock chaos. This week, the Random Album Generator gives us the definitive, stubborn statement from Seattle's garage-punk pioneers, a 14-track journey through fuzz pedals, retro influences, and undeniable sonic swagger.
Inside This Episode:
First Half Reaction: We’re splitting this 14-track fuzzfest down the middle. If you're listening with us, hit pause after track seven, "Broken Hands." Jeremy and Jon react to the chaotic energy of the first half and debate the album's famously unpolished mix. Jeremy admits he initially struggles to connect with the "wall of sound" production, while Jon finds himself drawn to the band's weird, experimental punk choices.
5 Fast Facts: We uncover how this exact record literally saved Sub Pop Records from bankruptcy just months before Nirvana's Nevermind hit, the band's decision to ditch a high-end 24-track studio for a basement lined with egg cartons, the legendary 1960s Stax Records console they used to capture their gritty sound, their active rebellion against the gloomy "grunge" label, and the classic piano-lesson mnemonic that gave the album its name.
Second Half & Final Thoughts: We hit play on the back half of the record, starting with "Who You Drivin' Now?", and everything suddenly clicks into place. Jeremy does a complete 180 as the 1960s garage rock influences like The Sonics and the Nuggets compilations, become undeniable. We discuss why lumping Mudhoney in with heavy, Sabbath-influenced bands like Soundgarden misses the point of their retro, scrappy aesthetic entirely.
The Verdict & Standout Tracks: Before putting the vinyl back on the shelf to close out this Polyphonic Press review, Jeremy and Jon lock in their 3 essential tracks, featuring heavy praise for "Who You Drivin' Now?", the Neil Young-inspired solo on "Broken Hands," and "FuzzGun '91". Does learning the history behind a record completely change how you hear it? (Spoiler: Absolutely).
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