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Dave's Side One

Art of Listening Records

Talk about music, vinyl, classic rock, classic jazz, and whatever else comes to mind. Hosted by one of the founders of Art of Listening Records - Dave Gwilliam.

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S1 · E234
Today · 5 min
Suddenly, Eddie Money Was Everywhere
Do you remember when an artist could seem to appear on the radio almost overnight? In this episode of Dave’s Side One, Dave goes back to Eddie Money’s 1977 debut. At first, nobody in Dave’s circle really knew who Eddie Money was. Then the songs were suddenly on the radio—and “Two Tickets to Paradise” became more than something Dave heard. The band Dave was playing in learned to cover it. That changed the song. Listening to a record is one experience; learning somebody else’s song forces you inside the arrangement. Where does the change happen? What is the guitar really doing? How do the parts fit together? Eddie Money went from a new voice on the radio to part of Dave’s own musical life, and the debut album became a listening staple. Same song. Different memories: hearing it, buying it, learning it and playing it. Side One Spin: What song did you understand differently after you tried to play it?
S1 · E233
Yesterday · 5 min
The Album I Owned on Cassette First
Sometimes the format through which we discover an album becomes part of the album itself. In this episode of Dave’s Side One, Dave returns to The Doobie Brothers’ Takin’ It to the Streets—but the record on the turntable is not the copy that owns the memory. Dave had the album on cassette first, and Side One, Cut One—“Wheels of Fortune”—became an obsession. He loved the riffs, rewound the tape and went back to the beginning again and again. Later, he bought the vinyl LP. It should have been the upgrade. Instead, it only reached the turntable a couple of times because Dave kept returning to the cassette. The history remembers Takin’ It to the Streets as an important transition for The Doobie Brothers. Dave remembers a cassette deck, a rewind button and one opening track. Sometimes the best copy isn’t the cleanest pressing. It’s the copy attached to the ritual. Side One Spin: What album is permanently connected in your memory to the format on which you first heard it?
S1 · E232
Tuesday · 6 min
The Friend Who Taught Me How to Hear Aerosmith
Sometimes the person who changes the way you hear a record becomes part of the record forever. In this episode of Dave’s Side One, Dave begins a week of "Dave's Memory Lane" — The Records That Take Me Back — with Aerosmith’s Rocks. Dave already liked Aerosmith when he first heard Rocks at a friend’s house. His friend was different: he was obsessed. He knew every nuance of the record and kept pointing out riffs, fills, changes and little moments until Dave began hearing the album differently too. A couple of years later, Aerosmith came to Salt Lake City in 1978. Dave had fourth-row floor seats—and had to sell them because he couldn’t get off work. The bill also included AC/DC. The concert was missed. The listening lesson stayed. Sometimes somebody doesn’t merely introduce us to an album. They teach us how to listen to it. Side One Spin: Who taught you how to hear one of your favorite records?
S1 · E231
Monday · 6 min
Your Record Collection Should Tell Your Story
If someone could see only five records from your collection, would they learn anything about you? In today's episode of Dave’s Side One, Dave closes Week 10 — The Art of Listening by turning the experiment away from price, condition, sequencing and discovery and toward the person standing in front of the shelf. Using Chicago VI as a personal anchor, Dave asks what makes a collection more than an inventory. Records can remember stores, concerts, friends, old stereos, mistakes, discoveries and different versions of ourselves. Their value is not only what they are worth or how highly they rank. Sometimes the important question is why that particular record is still there. Dave introduces The Five-Record Autobiography: Choose five records that explain your musical life. Not the five greatest albums ever. Not the five rarest. Five honest records. For each one, finish the sentence: “This record is here because…” The best collection is not the one everybody else envies. It’s the one nobody else could have built. Side One Spin: Which five records would tell me who you are?
S1 · E231
Sunday · 5 min
Listen to the Record Nobody Talks About
What happens when the masterpiece becomes a doorway instead of the entire catalog? In Episode this episode of Dave’s Side One, Dave uses Blue Öyster Cult’s Spectres to introduce a simple catalog-discovery exercise: move one album over. The famous album is often the right place to begin. The problem comes when consensus turns one record into the complete answer for an artist. Dave introduces The Catalog Neighbor Test: Choose an artist you know. Pick the album you think of as the landmark. Then move exactly one studio album forward or backward. Play that record from beginning to end. Don’t ask whether it is better than the masterpiece. Ask what it reveals about the artist that the famous album does not. Spectres follows Agents of Fortune, but the point is not to crown a winner. It is to hear the version of Blue Öyster Cult that existed in the neighboring moment. A masterpiece should make a catalog bigger, not smaller. Side One Spin: What overlooked album sits right next to an artist’s masterpiece?
S1 · E229
Saturday · 5 min
Buy a Record You’ve Never Heard Of
What happens when you buy curiosity instead of something from a want list? In this episode of Dave’s Side One, Dave uses Beck, Bogert & Appice for an Art of Listening experiment built around record-store discovery. Want lists are useful. Reviews, ratings and streaming previews are useful too. But knowing almost everything before buying a record can remove one of the great pleasures of browsing: the possibility that the first real encounter happens at home when the needle drops. Dave introduces The Blind-Buy Test: Set a small discovery budget — $10 or $15. Go into a record store - in person or on-line. Buy one record you did not plan to buy. No phone research in the aisle. Use the cover, credits, label, names you recognize and your own instinct. Then take it home and play the whole album. The experiment does not fail if the record does not become a favorite. If it introduces one musician, one producer, one song or one record to hear next, it opened a door. Side One Spin: What’s the greatest record you ever bought completely blind?
S1 · E228
Friday · 5 min
The Imperfect Copy Test
Can an imperfect copy still be a great listening copy? In this episode of Dave’s Side One, Dave uses Dave Mason’s It’s Like You Never Left to separate grading a record from listening to one. Collectors naturally see condition first: ring wear, split seams, writing, scuffs and surface marks. Those details matter when a record is being bought, sold or graded. But once the needle drops, the question changes. Does the condition prevent the music from communicating — or are we still thinking about flaws we can no longer hear? Dave introduces The Imperfect Copy Test: Find the roughest-looking record you own that still plays properly. Put it on. Sit where you cannot see the jacket — close your eyes if you have to. Give it five minutes. Are you still thinking about condition? Or did the music take over? Grade honestly. Buy the condition that works for you. Listen generously. Side One Spin: What’s the roughest-looking record in your collection that you still love to play?
S1 · E127
September 3 · 5 min
Read the Back Cover Before You Drop the Needle
Your next favorite record may already be hiding in the credits of one you own. In this episode of Dave’s Side One, Dave uses Steely Dan’s Aja for the next Art of Listening experiment: read the back cover before you drop the needle. Before recommendation algorithms, listeners could follow musicians, producers, engineers, studios and arrangers from one record to another. Aja is an ideal example because one album can send a listener in dozens of directions through the people who helped make it. Dave introduces The Credits Test: Play a record you already know. Wait until one musical detail catches your attention. Then read the credits and identify the person responsible. Follow that person to one other album. One sound. One name. One new record. The track list tells you what you’re about to hear. The credits can tell you where to go next. Side One Spin: What musician, producer or engineer did you discover because you read the credits?
S1 · E226
September 2 · 6 min
When the Song Becomes a Performance
When does a song stop being a fixed recording and become a performance? In today's episode of Dave’s Side One, Dave continues The Art of Listening with The Allman Brothers Band’s At Fillmore East. A familiar studio recording can become the version of a song we carry in our heads: the guitar enters here, the solo lasts this long, the ending happens there. But a great live performance reminds us that the recording is only one possibility. Dave listens for the conversation inside the band — guitars, bass, organ and drums reacting to one another — and asks why extended performances work when the musicians use the extra time to develop tension, make choices and go somewhere. The Studio vs. Live Test: Play a studio version of a song. Then play a great live version. Don’t ask which is better. Ask what changed: tempo, dynamics, arrangement, solos, interaction and ending. Then ask what those changes did to the feeling of the song. The song may be the map. The performance is the trip. Side One Spin: What live version made the studio version feel incomplete afterward?
S1 · E225
September 1 · 7 min
The $5 Record Can Be Better Than the $50 Record
What is a record really worth once the needle drops? In this episode of Dave’s Side One, Dave begins a new week of challenges — The Art of Listening by separating market value from musical value. Using Creedence Clearwater Revival’s Cosmo’s Factory, Dave asks a simple question: if one copy costs $5 and another costs $50, is the expensive record ten times better to listen to? Condition, pressing, scarcity and demand all matter when we buy and sell records. But once the music starts, they answer a different question. Dave introduces The $5 Record Test: Pull one inexpensive record you genuinely love. Then pull one record that is worth considerably more. Play both without checking prices, sales history or collector information. Which one makes you want to stay in the room? Which one makes you reach for Side Two? A record does not know what you paid for it. Side One Spin: What’s the cheapest record in your collection that you would absolutely hate to lose?
S1 · E224
August 31 · 7 min
The Side I’d Play for a Skeptic
You get one side of one album. No greatest-hits package. No custom playlist. Just one side to make the case for a band. In this episode of Dave’s Side One, Dave closes Why Album Sides Matter with Side Two of Styx’s Equinox and introduces The Conversion Test: Can the listener enter? Does the side expand their idea of the band? Does it reveal something distinctive? And when the side ends, do they want to continue? A great conversion side does not explain everything. It does something more useful. It creates curiosity. Side One Spin: What one album side would you use to convince someone to give your favorite band another chance?
S1 · E223
August 30 · 6 min
The Side That Changed Direction
Sometimes Side Two does more than continue an album. It changes the rules. In this episode of Dave’s Side One, Dave uses Rush’s 2112 to explore a record built around two very different listening experiences. Side One asks for immersion in an extended long-form suite. Then the record flips. Side Two resets the format and moves through individual songs. Dave introduces The Direction-Change Test: Does Side One fully commit? Does the flip create a natural reset? Does Side Two establish its new rules? And does the whole record still connect? A great direction change doesn’t make an album feel divided. It makes the album feel broader. Side One Spin: What album changes direction after the flip and still works?
S1 · E222
August 29 · 7 min
The Side With No Weak Track
What does “no weak tracks” actually mean? Does every song need to be equally brilliant? Dave doesn't think so. In this episode of Dave’s Side One, Side One of Elton John's Goodbye Yellow Brick Road provides the test: “Funeral for a Friend / Love Lies Bleeding” “Candle in the Wind” “Bennie and the Jets” Three tracks. Three different jobs. Dave introduces The No-Weak-Track Test: Does every song earn its place? Does every song add something different? Does removing one weaken the side? And would you simply let the whole thing play? A great album side isn't a ranking. It's a relationship between songs. Side One Spin: What album side contains nothing you'd remove?
S1 · E221
August 28 · 6 min
The Greatest Album Flip
What happens in the few seconds between Side One and Side Two? On vinyl, the answer is: A lot. In this episode of Dave’s Side One, Dave uses The Beatles’ Abbey Road to explore the physical and musical architecture of the album flip. Side One ends with “I Want You (She’s So Heavy).” Then: Silence. The listener turns the record over. Side Two begins with “Here Comes the Sun.” That change in weight, mood, and emotional temperature makes the physical flip feel like part of the album itself. Dave introduces The Flip Test: End. Pause. Reopen. Transform. Side One Spin: What album has your favorite Side One closer / Side Two opener combination?
S1 · E220
August 27 · 7 min
The Side-Long Journey
What makes a side-long musical journey work? In today's episode of Dave’s Side One, Dave turns to Side Two of Chicago’s Chicago II and “Ballet for a Girl in Buchannon.” The key isn’t the running time. It’s what the music does with that time. Dave introduces The Suite Test: Does the piece establish a theme? Does it change shape? Does staying with it pay off? And when familiar ideas return, do they mean more because of everything we’ve experienced in between? A great extended album side doesn’t simply last. It travels. Side One Spin: What suite or extended album side completely pulls you in?
S1 · E219
August 26 · 6 min
When Side Two Is Better
Side One has one advantage: It gets to introduce the album. Side Two has another: It gets to use everything Side One already established. In this episode of Dave’s Side One, Dave uses Queen’s A Night at the Opera to explore the four jobs of a great second side: Reopen. Escalate. Deliver. Finish. From “The Prophet’s Song” through “God Save the Queen,” the second side keeps changing shape before arriving at one of rock’s most famous late-album payoffs. The argument is not that Side One failed. It’s that sometimes the second side simply carries the bigger reward. Side One Spin: What album has a Side Two you prefer to Side One?
S1 · E218
August 25 · 7 min
Why Album Sides Matter #1 - Pink Floyd — The Dark Side of the Moon
This week of of Dave's Side One begins with a question that's hiding in the name of the show: What makes a great Side One? Using Pink Floyd's The Dark Side of the Moon, Dave ignores the album's enormous reputation and concentrates on the five tracks that originally occupied its first side. The result is The Side One Test: Does the side invite you in? Does it take you somewhere? Does it leave you somewhere different? And when the music stops, does it make you want to flip the record? Because a perfect Side One isn't merely half an album. It gives you a reason to need the other half. Side One Spin: What's your perfect Side One?
S1 · E217
August 24 · 8 min
Listen to the Record, Not Just the Song
Do you love the song? Or do you love one particular recording of it? This episode closes out the week of Dave’s Side One: Seven Things to Listen For. Using Journey's “People and Places,” Dave separates the listening experience into four layers: Material. Performance. Arrangement. Sound. The material can travel from performer to performer. But the voices, instrumental choices, interaction, dynamics, space and recorded sound turn that material into a specific record. This episode also brings together every previous exercise—from drums and arrangement to rhythm-section chemistry and silence. The point of active listening isn't to tear music apart. It's to hear more when we put everything back together. Side One Spin: What song belongs, in your mind, to one particular recording?
S1 · E216
August 23 · 7 min
The Space Between the Notes
What happens when musicians choose not to fill every empty space? This episode of Dave’s Side One continues Seven Things to Listen For with Jay Ferguson’s Real Life Ain’t This Way. Dave listens for four kinds of space: CLEAR — removing clutter, FRAME — giving an important part room, BUILD — holding something back so its entrance matters, TRUST — allowing the song to exist without constant decoration. A pause is not nothing. A missing instrument is not always an omission. Sometimes restraint is the arrangement. Side One Spin: What record gets stronger because the musicians know when not to play?
S1 · E215
August 22 · 7 min
When the Rhythm Section Locks In
What makes a rhythm section truly lock? It is not enough to have a great bass player. It is not enough to have a great drummer. The relationship between them is the real instrument. In today's episode of Dave’s Side One, Dave uses Tower of Power's Live and in Living Color for the next Seven Things to Listen For exercise. Listen for: POCKET RESPOND HOLD FREE Do bass and drums share the same center? Do they react to each other? Does the relationship remain intact when the music changes? And what does that stability allow the rest of the band to do? A locked rhythm section does more than create groove. It creates freedom. Side One Spin: What album has your favorite bass-and-drums partnership?

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