I just found out about a great new music podcast, Sound Opinions, in which two very knowledgeable taste-makers bring a lot of insight to an hour-long discussion about music. Their range is wide and their taste is informed. On the most recent show, they discuss music with economist Paul Krugman, who notes that given the dire state of the world economy he needs music more than ever. Other discussions cover the music of Bob Dylan, R.E.M., Neil Young, and others.

Here’s a link to the page about their recent show with Brian Eno. Eno, it should be noted, is not in the studio with them — they’re in the U.S., and he’s speaking with them from England — but these guys are so natural, so comfortable, that it sounds like they’re all sitting together talking over tea. In this particular interview, Eno is given just credit as an early pioneer of important musical trends (new wave; sampling; spoken word over music; ambient music; using the synthesizer as an instrument; and many more), and is asked smart questions about how he chooses collaborators (David Bowie; David Byrne with or without Talking Heads; Robert Fripp; Devo; Bryan Ferry with or without Roxy Music; as well as a couple of bands I don’t care about, such as U2 and Coldplay). The interview is played against the backdrop of music they discuss, from Eno’s vast repertoire, in such a way that every bit creates a new and better understanding of connections and influences across his 40-year career. (In the process, teaching me something new about “America is Waiting,” a song of his with David Byrne that I’ve been listening to with great appreciation for 30 years.) If you’re at all interested in music — and musical trends — of the past 40 years, I highly recommend this interview.

R.E.M. broke up recently, and not a moment too soon. Now there’s a new anthology album, which I won’t be buying, but which includes this beautiful and haunting song clearly inspired by the mid-60’s, Pet Sounds and Smile era of the Beach Boys. If I can’t have any more Beach Boys sounds from then, I’m happy to have discovered this, just now.

Today, 44 years late, Capitol Records released The Beach Boys’ SMiLE, or at least as close an approximation as we’ll ever receive. As this 5-disc set proves, there will never be a definitive version (and you are free to assemble your own — from the outtakes and alternate versions on these discs; from Brian Wilson’s solo effort at the album several years ago; from “Smiley Smile,” the album released instead, back in 1967, made up of tracks from these sessions; and from various Beach Boys albums in all those intervening years, on which several of the songs, “Surf’s Up” most significantly, appeared.

I’m glad to have this disc, and I’m not alone.  “Surf’s Up,” “Cabin Essence,” “Heroes and Villains” and “Good Vibrations” are brilliant pop music, each thrilling and unique. I’m glad to have the music — and I’m hoping that what’s left of the Beach Boys can leave it at that. There’s a rumored “reunion” tour in the works, as though a tour without the late Carl Wilson, whose beautiful choir boy voice led most of these best songs, would actually be in some sense the Beach Boys.  I’ve barely recovered from the last time I saw just Brian play live (and I’m still trying to forget it); attempting to recreate the Beach Boys without Carl would be adding insult to injury. Instead, I’d rather stay focused on this wonderful new release, and plumbing all enjoyment I’m sure it’s going to deliver me.

Thirteen years ago, David Byrne’s performance on the show Sessions at West 54th Street proved definitively how much he didn’t need the other people from Talking Heads. This video of “Making Flippy Floppy” serves as Exhibit A. The band is electrifying: I think the backup singer is terrific, in energy, look, enthusiasm, and vocal colors, and the keyboardist brings several good new textures to the song, but then, every member sounds great. On a personal note, I have to say that David Byrne’s dance moves here speak directly to my soul. I encourage you to watch the entire video — including the final minute where he explains to host Chris Douridas his thinking behind the choice of those clothes. To this day, David Byrne is always thinking.

Is this a music video or a commercial? (Cue the Razzles commercial:  “Is it a candy or a gum?”) Both. (Like Razzles, because if you swallowed them, they had better not be purely gum.) But either way, I love this because it’s fun. With this spot — a promo for season two of a not-terribly-inspired HBO “comedy” — they’re turning Luis Guzman, an actor I’ve always enjoyed, into a cult celebrity. If only the show were ever this clever. But I’m glad to have this.

It’s one of the best music mash-ups I’ve seen, in which Stevie Wonder’s “Superstitious,” interwoven with Metallica’s “Sad but True,” gives us “Sad but Superstitious.” (Extra points go to the video for incorporating a cameo appearance by Grover.)

I look forward to the attendant dance craze in which each of us is asked to “Rotate Your Owl.”

Remember the recent show by Echo and the Bunnymen that left my friend seething? Sounds like something similar happened with Kings of Leon, but at least the band members had the good manners to apologize for their singer.

There’s a new Planet of the Apes movie coming out. We can only hope that it’s half as much fun as this.

Y’know, I’m second to no one in my admiration for Brian Eno’s artistic talents, both musical and visual, but to imply in some way that on his new album he’s created a new form is, well, too much. He’s not the first to approach spoken word as though it’s musical, or to match it with music.

Eno says in the liner notes to “Drums Between the Bells”: “I hope this record will signal the beginning of a new way for poets to think about their work, and for audiences to think about poetry.”

I can’t imagine what this “new way” might mean, given:  Steve Reich’s Come Out (1966), Gil Scott-Heron’s The Revolution Will Not be Televised (1971), or, well, my own stuff, which I recorded six years ago or so and will one day get around to putting up on iTunes. These are all examples of spoken word (poetry) set against music. Eno’s new album is spoken word (poetry) set against music. How revolutionary.