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This "behind the song" episode is all about another SPITBALL classic, Lord Loves a Workin' Man. Marco talks with SPITBALL's rhythm section - Chris Orcutt (drums) and Mike Webb (bass) about the origins of this lurid, muscular instrumental and ask the big questions, like "is this a rockabilly song?" We also talk about the joys of playing at The Continental, and some of our most loyal (and fascinating) fans. The big announcement is also revealed - the remaining members of Spitball will sell and distribute a CD and digital tracks from the LOHO sessions, after carefully mastering it. All proceeds will go to a charity in Molly's name. We'll keep you updated about the progress of this project in future episodes. This episode includes a never-heard before recording from a CBGB's show as well as the LOHO version.

This "behind the song" episode is all about SPITBALL's cover of Bill Wither's Use Me (often called Use Me Up by mistake). Marco talks with SPITBALL's "engine room" - Chris Orcutt (drums) and Mike Webb (bass) about what makes a great rhythm section and what makes a bad one. We ramble about the pains of aggressive self-promotion, and about that other Fab Four that Peter Jackson made a documentary about. This episode includes a never-heard before recording from a CBGB's show.

This "behind the song" episode is all about a SPITBALL classic, Ska'd for Life. This is the first time our listeners will hear both a live CBGBs version as well as a studio version of the track, made at LOHO Studios. LOHO has recorded music for artists such as Ryan Adams, Blues Traveler, Rosanne Cash, The Heroine Sheiks, The Everly Brothers, Art Garfunkel, John Mayer, O.A.R., Lindsay Lohan, Joan Jett, Speedsters and Dopers, Gina Gershon, Yo La Tengo, Billy Squier, Patti Smith, Phish, and Joey Ramone. NOTE: This will be the last episode that includes Molly's answers - the next ones will turn a new page in the story of this informal reunion, with Chris Orcutt (drums) and Mike Webb (bass) and some surprise guests.

SERIES UPDATE: We some terribly sad news to share with our listeners. SPITBALL's glorious singer and guitarist Molly Fitch passed away. With her family's blessing, we are going to continue publishing our interviews with her, and leave the next episodes intact as a document of Molly's thoughts about life, music and life in New York. This "behind the song" episode is all about two of SPITBALL's instrumentals, Hairdryer and Home Cookin' and includes a never-heard before recordings from their very first CBGB's show. Marco speaks with Molly Fitch (vocals/guitar), Chris Orcutt (drums) and Mike Webb (bass), about the hysterical origins of these two tracks, and the bombastic crowd at their shows.

SERIES UPDATE: We some terribly sad news to share with our listeners. SPITBALL's glorious singer and guitarist Molly Fitch passed away last week, and we are just at a complete loss. With her family's blessing, we are going to continue publishing our interviews with her, and leave the next episodes intact as a last document of Molly's thoughts about life, music and life in New York. This "behind the song" episode is all about SPITBALL's cover of Donovan's Sunshine Superman, and includes a never-heard before recording from their very first CBGB's show.

SONGBIRD Season Two continues with a double-decker "behind the song" episode, all about Raychel and Gun/Parkside. We ask the big questions, like "Is Raychel our Sweet Jane?" and dig into SPITBALL's nimble, loose style. At any given moment you understand that we rehearsed like crazy and none of this is by chance.   Marco speaks with Molly Fitch (vocals/guitar), Chris Orcutt (drums) and Mike Webb (bass), about everything from the rougher parts of Brooklyn and falling asleep on the D train, to how it was considered an insult to be compared to Bruce Springsteen if you were part of that quirky 90's downtown music scene. This episode includes never-heard before live recordings of Raychel and Gun/Parkside from their very first CBGB's show.

SONGBIRD returns with a long-awaited Season Two! We jump right into a "behind the song" episode, all about Spitball's signature song "Coney Island Surfing". Decades before Marco became Martin Ruby, he was the tenor sax player in this scrappy pack of knuckleheads, and he explores the surf-punk band's origin story, speaking with Molly Fitch (vocals/guitar), Chris Orcutt (drums) and Mike Webb (bass). Can you guess who narrowly avoided a fight with the uber-singer/songwriter Jeff Buckley in a rehearsal space? You guessed right. We also get to hear a never-heard before live recording of "Coney Island Surfing" from their very first CBGB's show, and revisit the downtown NY music scene of the 90s.

Season 2 will dig into the story of Spitball, an unsigned surf-punk act that was part of the downtown NY music scene in the mid-90s. With never-heard before live recordings from CBGB's shows, and some studio work - this band epitomizes a naive, reckless energy that just has to be heard. They wrote surf tangos, and Joey Ramone loved them. Decades before Marco became Martin Ruby, he was the tenor sax player in this scrappy band of knuckleheads, along with Molly Mulholland, Chris Orcutt and Mike Webb, and eventually Vince Karlen. If you want to get exclusive updates about Season 2 as it is produced, become a member at https://www.bittersweetpeople.com

In our Season 1 finale, Marco explores the final liner notes for Heaven Get Behind Me, where thanks are given - and we find ourselves in an unexpected tribute to a dear friend. Felix McTeigue was a revered singer-songwriter, and singlehandedly got Marco in front of a microphone, many years ago. The idea to cover one of Felix's songs for the last episode of Season 1 evolved into a complicated, deeply challenging project. The result just has to be heard. We end with a few words about the plan for season 2, promising stories of meatloaf specials, Coney Island surfing and Marlon Brando.

In our second liner notes episode we talk through that maddening balancing act of conceiving and producing videos for the music we create. On the one hand, commerce, on the other that desire to make something rare and authentic.

In our first liner notes episode we unravel the story behind the album cover, and listen to some of the instruments used, comparing two very similar guitars that were built 100 years apart.  Then, we explore the history of invented instruments and microtonal music through the work of composer Harry Partch and the imaginative productions of Hal Willner - and how they influenced Heaven Get Behind Me.

In our final behind-the-song episode of Season 1, we go deep into the bible, and an alternate life to understand what inspired Wallflower's Surprise, track 11 from Heaven Get Behind Me. As always, we hear the demo version as well as the finished track.

How did this track become the official single from Heaven Get Behind Me? Is Shangri-La like Santa for adults? Why do people miss Kodachrome? The answers to these questions and three different demos play a part in our latest behind-the-song episode.

If we know we are going to die, what choices do we make – about how and when we meet this moment. Will we go kicking and screaming, or will we find some grace? And who gets to decide, us or someone that cares about us –maybe more than we do.   We talk through these questions in our latest behind-the-song episode, as we listen to two different demos as well as the final version of “Mascara” track 9 from Heaven Get Behind Me.

Can you manufacture a vulnerable performance? How did the idioms "whistling past the graveyard" and "potters field" originate? What is blind rain? The answers to these questions are part the latest behind-the-song episode, as we listen to the demo and final version of "Stone Blind Rain" track 8 from Heaven Get Behind Me.

Can a terrible person write a great song? Can they sing it? These questions - along with the search for an ancient instrument, a chance meeting with a Russian DJ, a crash course in the music of goth-rock legend David Eugene Edwards and a hilarious Ebay experience - inspired "Way Up There (Don't Say a Word)" track 7 from Heaven Get Behind Me.  In this latest "behind the song" episode we talk about rewriting lullabies as well as the process of trying out different instruments and arrangements. This time we discuss two very different demo versions before we hear the final mastered version of the track.

What is the life of an expat? Can they ever really go home? These questions - along with a screenplay about the Book of Enoch - inspired "Sebastapol" (track 6 from Heaven Get Behind Me). In this latest "behind the song" episode we have our first interview, with Eve North who performed a guest vocal on this track. We talk about themes of loss, vocal styles, curated Spotify playlists and much more. As always, we listen to the demo version as well as the final mastered version of the track.

What does it take to break a person? Can they be saved? How does it feel to seek revenge on the world? These are the questions that inspired The Letter Reader, track 5 from Heaven Get Behind Me. In this "behind the song" episode we talk about prison, in its many forms. We also discuss the influence of filmmaker Robert Bresson on the themes and characters that inhabit this track. As always, we listen to the demo version as well as the final mastered version of the track.

What is your favorite breakup song? In this SONGBIRD "behind the song" episode, we talk about divorce and other major life events - how they shape us, how we navigate them and somehow move on. "California Divorce" is at the center of this conversation, track five from Heaven Get Behind Me. We listen to the demo version as well as the final mastered version of the track.

In SONGBIRD's latest "behind the song" episode, we tackle the story behind Long Tall Man (track four from Heaven Get behind Me). Inspired by Ry Cooder's score for Paris, Texas (by way of a Blind Willie Johnson cover) and a documentary about Townes Van Zandt - this song is pure minimalism. We talk through the obstacles in the songwriting process, listen to the demo version, examine the technical choices, then we hear the final mastered version of the track.