Stilson’s Themed Music Hour on Music Planet Radio

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Stilson’s Themed Music Hour on Music Planet Radio Songs you know and songs you should know by theme on musicplanetradio online app alexa Thurs. 8pm

Stilson's Themed Music Hour: An Auditory Adventure in the Digital Age

"Stilson's Themed Music Hour" is not merely another radio program; it represents a meticulously crafted weekly internet broadcast that has rapidly captivated audiences across both local and national landscapes. Hosted by the multi-talented Stilson Greene, this show distinguishes itself through a unique thematic approach, tra

nsforming what might otherwise be passive listening into an immersive "auditory adventure".The program has earned a reputation as "appointment radio," a designation that speaks volumes about its compelling content and its ability to encourage listeners to actively set aside time to tune in. In an era increasingly dominated by on-demand content, the consistent description of "Stilson's Themed Music Hour" as "appointment radio" signals a significant strategic triumph. This distinction suggests a successful creation of a unique, high-value, and community-driven listening experience that transcends typical background entertainment. The reason for this success lies in the show's ability to offer something irreplaceable—a unique blend of careful curation, a distinct atmosphere, and the compelling personality of its host. This combination cannot be replicated by algorithmic playlists or casual listening. The program fosters a sense of shared anticipation and connection, as listeners intentionally schedule their time to participate in this live experience. This approach provides more than just music; it offers a curated journey or event that listeners do not wish to miss, a powerful differentiator in today's fragmented media market. Why It Resonates: Acclaim and Community Engagement

"Stilson's Themed Music Hour" has garnered significant acclaim, establishing itself as a beloved broadcast that resonates deeply with audiences and even earns the respect of prominent musicians.Its popularity extends beyond local listeners, reaching a national audience, a testament to its broad appeal and unique content. A key indicator of its influence is the public endorsement from a roster of well-known artists. Esteemed musicians such as Lyle Lovett, Graham Parker, Chris Hillman, John Gorka, Del Amitri, and Jackson Browne have openly expressed their fondness for the show on social media, highlighting its quality and unique platform. This level of organic, peer-to-peer endorsement from within the music industry speaks volumes about the show's credibility and its ability to offer a truly valuable listening experience. More than just entertainment, the show is described as a "weekly auditory adventure" that aims to "transport and inspire listeners, reigniting their love for music," suggesting a deeper, more profound impact on its audience. The public endorsements from established musicians are not merely testimonials but a powerful form of organic validation that significantly enhances the show's credibility and reach, positioning it as a respected platform within the music industry itself. Artists are often discerning about where their work is showcased or what media they endorse. Their public expression of "fondness" suggests that Stilson's show offers a unique and valuable platform for musical appreciation and discovery, even for those within the industry. This organic, peer-to-peer validation from respected figures lends immense credibility, authenticity, and prestige, which can attract both new listeners and potentially more artists, creating a positive feedback loop for the show's growth and reputation. It positions Stilson Greene as a tastemaker whose curation resonates even with professional musicians.

Happy birthday to the Big Boss around here, all the best Cerphe. Rock on!
23/07/2025

Happy birthday to the Big Boss around here, all the best Cerphe. Rock on!

Thursday 8pm ET only on Music Planet Radio (musicplanetradio.com) we investigate the Murder Ballad and the troubadours w...
22/07/2025

Thursday 8pm ET only on Music Planet Radio (musicplanetradio.com) we investigate the Murder Ballad and the troubadours who tell the stories. You’ll hear Nick Cave, Johnny Cash, Taylor Swift, Blitzen Trapper, Merle Haggard, Bobby Darin, and many more. It’s the Brit Box of radio for the night. Sponsors: Priority 1 Plumbing & Drain Services & Loudoun Now.

21/07/2025

We may not RUN SILENT but we do RUN DEEP only on Music Planet Radio. Video created by Barista Labs. https://www.baristalabs.io

One of the best debut albums ever, still sounds big and new. Fantastic!
19/07/2025

One of the best debut albums ever, still sounds big and new. Fantastic!

ON THIS DATE (42 YEARS AGO)
July 19, 1983: Big Country: The Crossing is released.
# ALL THINGS MUSIC PLUS+ 4/5
# Allmusic 4/5 stars
# Rolling Stone (see original review below)

LISTEN/BUY
https://amzn.to/44NSKxG

The Crossing is the debut album by Big Country, released on July 19, 1983. It reached #18 on the Billboard 200 Top Albums chart, bolstered by two Billboard Hot 100 singles - "In a Big Country" ( #17) and "Fields of Fire" ( #52).

"The Crossing" by Big Country helped the band gain widespread attention, becoming one of the defining records of the era. The album's unique blend of passionate, widescreen rock with Celtic-tinged guitar sounds and anthemic vocals set it apart from many other releases of the time.

Big Country was a Scottish band formed in 1981 by Stuart Adamson, who had previously been a member of the post-punk group The Skids. With the addition of Bruce Watson on guitar, Tony Butler on bass, and Mark Brzezicki on drums, they crafted a distinctive sound that drew inspiration from their Scottish roots.

The two singles from "The Crossing," "Fields of Fire" and "In a Big Country," became massive hits and helped catapult the band to fame. These songs were characterized by their soaring melodies, uplifting lyrics, and energetic performances, showcasing the band's ability to create powerful and emotionally charged rock music.

Despite their continued success and musical evolution over the years, Big Country never quite replicated the magic of their debut album. Stuart Adamson's untimely death in 2001 marked a tragic end to the band's career, leaving behind a legacy of memorable music that still resonates with fans of '80s rock.

"The Crossing" remains a timeless classic that exemplifies the spirit and sound of the '80s, and its impact on the rock music landscape cannot be overstated. It continues to be celebrated for its passionate and anthemic approach, making it a key album in the history of rock music.
__________

ORIGINAL ROLLING STONE REVIEW

Here's a big-noise guitar band from Britain that blows the k***s off all the synth-pop diddlers and fake-funk frauds who are cluttering up the charts these days. Big Country mops up the fops with an air-raid guitar sound that's unlike anything else around, anywhere, and if their debut album promises more than the four musicians can quite deliver at this stage in their young career, what it does deliver – especially on the Top Ten U.K. hit "Fields of Fire," one of the great, resounding anthems of this or any other year–is sufficiently scintillating to preclude any extended critical carps about the group's occasional lack of focus. At this point, the big picture is clear enough.

Like the Irish band U2 (with whom they share young, guitar-wise producer Steve Lillywhite), Big Country has no use for synthesizers, and their extraordinary twin-guitar sound should make The Crossing a must-own item for rock die-hards. Generally dispensing with power chords, the group's two lead guitarists, Scotsmen Stuart Adamson (formerly of the Skids) and Bruce Watson, whip up skirling, bagpipelike single-string riffs that, on such crackling tracks as "Fields of Fire," "In a Big Country" and the grandly martial "Harvest Home," are a nonstop, spine-tingling delight. The slightly out-of-kilter guitar lines intertwine into a trebly alarm that has all the galvanic urgency of an ambulance careening down a darkened city street–it's really something to hear.

There's more, too. Adding oomph down below is the muscular rhythm section of bassist Tony Butler and drummer Mark Brzezicki (both were featured on Pete Townshend's last two solo albums, and Butler appeared on the Pretenders' "Back on the Chain Gang" single). Brzezicki, in particular, is more than just a sideman, adding both mainline whomp and wailing fills on all the best tracks. The group's vocal sound (all four members sing) is identifiably human–a refreshing concept–and though Adamson's leads sometimes lack nuance; one suspects he'll get the hang of it. At his full-throated best, he already approximates some of the arena-reaching, emotional power of a young Bruce Springsteen, and that'll do for starters.

If The Crossing were all blast and bellow, it would still be a gripping LP. But several of the ten songs here–all blessedly free of the cheap, received decadence that disfigures so much current Anglo pop–are lyrically stirring in their own right. The brotherly, against-the-trend optimism of "In a Big Country" ("...that's a desperate way to look/For someone who is still a child") is mightily appealing in an era of witless gloom mongering, and the tenderness of the conception of "Chance," a tale of mismarried youth ("...you played chance with a lifetime's romance/And the price was far too long"), is unusual for a band of such hard musical instincts. Even when they address the common helplessness felt in the face of impending nuclear apocalypse in "1000 Stars" ("It's not between you and me/But we are losing"), Big Country aims for the heart, not mere pop hyperbole.

The Crossing is not without flaws: the tone setups cause the guitars to lapse into murk at times, subverting the power of the playing, and the lyrics are occasionally so private–or so poorly thought out–as to be inscrutable. But the big sound is truly unique, and the best songs speak to real subjects. I can't wait to hear them live. (RS 404)
~ Kurt Loder (September 15, 1983)

TRACKS:
All songs written by Stuart Adamson, Mark Brzezicki, Tony Butler, Bruce Watson except as indicated.
Side one
1. "In a Big Country" – 4:44
2. "Inwards" – 4:36
3. "Chance" – 4:26
4. "1000 Stars" – 3:50
5. "The Storm" – 6:19

Side two
1. "Harvest Home" – 4:19
2. "Lost Patrol" – 4:52
3. "Close Action" – 4:15
4. "Fields of Fire (400 Miles)" – 3:31
5. "Porrohman" – 7:52

A damn good follow.
19/07/2025

A damn good follow.

I LOVE when my posts are shared on Facebook. PLEASE share from my posts - it helps us attract more music lovers like us. Copy & pasting is great but I love it when you share. THANKS!!!

Thanks for listening to the show tonight with our theme of Lies, Gossip and Rumours. Here’s the playlist. After the show...
18/07/2025

Thanks for listening to the show tonight with our theme of Lies, Gossip and Rumours. Here’s the playlist. After the show Cerphe wrapped with Lies, Lies by the Castways, Fleetwood Mac’s Little Lies, Chris Isaak’s Lie to Me, and Eurythmics Woukd I Lie To You. He wrapped it tight. Next week, Murder Ballads.

Tonight 8pm ET our theme is Lies, Gossip and Rumors only on Music Planet Radio (musicplanetradio.com). You’ll hear Rober...
17/07/2025

Tonight 8pm ET our theme is Lies, Gossip and Rumors only on Music Planet Radio (musicplanetradio.com). You’ll hear Robert Palmer, The Rolling Stones, Nils Lofgren with Grin, Rod Stewart, Adele, Trio (Dolly, Emmylou, Linda), THE BAND, Elvis, Marvin Gaye and many more. Sponsored by Priority 1 Plumbing & Drain Services and Loudoun Now.

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