Bob Boilen

In 1988, a determined Bob Boilen started showing up on NPR's doorstep every day, looking for a way to contribute his skills in music and broadcasting to the network. His persistence paid off, and within a few weeks he was hired, on a temporary basis, to work for All Things Considered. Less than a year later, Boilen was directing the show and continued to do so for the next 18 years.

Significant listener interest in the music being played on All Things Considered, along with his and NPR's vast music collections, gave Boilen the idea to start All Songs Considered. "It was obvious to me that listeners of NPR were also lovers of music, but what also became obvious by 1999 was that the web was going to be the place to discover new music and that we wanted to be the premiere site for music discovery." The show launched in 2000, with Boilen as its host.

Before coming to NPR, Boilen found many ways to share his passion for music. From 1982 to 1986 he worked for Baltimore's Impossible Theater, where he held many posts, including composer, technician, and recording engineer. Boilen became part of music history in 1983 with the Impossible Theater production Whiz Bang, a History of Sound. In it, Boilen became one of the first composers to use audio sampling — in this case, sounds from nature and the industrial revolution. He was interviewed about Whiz Bang by Susan Stamberg on All Things Considered.

In 1985, the Washington City Paper voted Boilen 'Performance Artist of the Year.' An electronic musician, he received a grant from the Washington D.C. Commission on the Arts and Humanities to work on electronic music and performance.

After Impossible Theater, Boilen worked as a producer for a television station in Washington, D.C. He produced several projects, including a music video show. In 1997, he started producing an online show called Science Live for the Discovery Channel. He also put out two albums with his psychedelic band, Tiny Desk Unit, during the late 1970s and early 1980s. Boilen still composes and performs music and posts it for free on his website BobBoilen.info. He performs contradance music and has a podcast of contradance music that he produces with his son Julian.

Longtime NPR fans may remember another contribution Boilen made to NPR. He composed the original theme music for NPR's Talk of the Nation.

When I first imagined Mucca Pazza at the Tiny Desk, I honestly had no idea how the Chicago band's 23 members would fit in — in the literal sense of the term. To load-test this performance, we actually gathered a gaggle of interns behind my desk and began to stack people on cabinets, step-stools and, of course, desks.

Is there a single song that sounds like romance to you? My mom might pick Sinatra singing "Fly Me To The Moon." For someone growing up in the '50s it might be "I Only Have Eyes For You" sung by The Flamingos.

It might be easy to dismiss a music project from actor John Reilly, but that would be a huge mistake: Reilly is a fine singer, especially when he gets a hold of old-time material, and his guitar work provides a perfect foundation for these church and porch tunes from America's past.

This week on All Songs Considered, we start the show with new music Bob's been waiting for two years to hear: the great first single from Courtney Barnett's debut full-length album. Don't miss the video for "Pedestrian at Best" off her album Sometimes I Sit and Think, And Sometimes I Just Sit.

Paperhaus is my kind of guitar band, with power in the lyricism instead of just the chords. Its music can be jarring and jagged, but Paperhaus can also sound dreamy the way groups like Television could, with lilt and grit. These are long songs that take twists and turns of the variety you might find in a prog-rock band. But Paperhaus is more pop than prog, with excursions that serve the music rather than the musicians themselves.

The visual: A clown past her prime. The words: "Put me on a pedestal and I'll only disappoint you."

I was in Nashville, standing in line at a food/music festival, when this guy behind me hears my voice, recognizes me and says, "Hey, Bob Boilen! Bobby Bare Jr. here. I've been hoping to play your desk." Truth be told, I'd been hoping to make that happen, too. And so the deal was sealed over a pork bun. Thirty minutes later, at the same festival, Bare was on stage with his dad, the country legend Bobby Bare Sr., and Kings Of Leon. That's Nashville for you.

I've basically stopped going to concerts. For me, this is kind of like I've stopped eating or sleeping. If you're looking for me these days, you can find me at my computer, watching musicians play their heart out for a chance to perform at NPR's Tiny Desk. After six busy weeks, the Tiny Desk Concert Contest eligibility period is now closed, and we've moved on to the next stage: judging.

It's easy to listen to Asaf Avidan and not know if you're listening to a female singer from long ago or a guy singing 21st-century pop songs. Avidan is a bestselling 34-year-old singer from Israel who is little known in the U.S. This record, Gold Shadow, is likely to change that. On his first official release in North America, Avidan has written a batch of killer songs that make use of one of the most compelling and unusual voices I've ever heard.

The songs of Elliott Smith are widely revered — especially by those who came of age in the '90s — but a new generation of listeners is only beginning to discover him. Seth Avett & Jessica Lea Mayfield Sing Elliott Smith is likely to expose new fans to the great singer-songwriter. Smith released five albums in his lifetime and died in 2003 from two stab wounds to the chest; he'd left a suicide note. His songs, which often dealt with depression and desperation, were beautiful and frequently quiet.

Before Rubblebucket played its Tiny Desk Concert, its members asked if they could bring a confetti cannon. And, though I said no — dear coworkers, I really do care about you — the band still brought a fun mix of brass and brash to the Tiny Desk.

This week on All Songs Considered: Our favorite electronic artist, Dan Deacon, is back with another playfully infectious dance party, one he recorded both in the studio and in bathrooms and greenrooms during his most recent tour. Also, NPR Music contributor Katie Presley joins us with a hypnotic groove from the Seattle-based duo THEESatisfaction and a slow-burning jam from New Orleans singer-songwriter Kristin Diable.

Trying to predict a musical future is impossible. I have proof: Bob Dylan is recording songs Frank Sinatra made popular! No one saw this coming and nothing could prepare us for it. It's weird and kind of wonderful. Here's a man clearly in love with the Great American Songbook and despite his restricted vocal he's brave enough to tackle it.

Amason is a Swedish musical pastiche with a lot of names and a lot of talent: Gustav Ejstes (from Dungen), Amanda Bergman (who performs as Idiot Wind), Petter Winnberg and Nils Törnqvist (from Little Majorette) and Pontus Winnberg (from Miike Snow) all contribute voices and sounds. So it's no surprise that Amason's debut feels all over the map. In fact, that's its strength.

I came to know Daniel Lanois through his instrumental collaboration with Brian Eno, Apollo: Atmospheres And Soundtracks, in 1983. I fell in love with Lanois' own music through his singing and the heartfelt, textured songs on albums like 1989's lovely Acadie (with its New Orleans flavor) and 1993's For The Beauty Of Wynona (with its haunting sounds and stories).

One of the greatest, biggest, most enjoyable brass bands has just made its best studio recording. Red Baraat is a beat- and brass-driven affair, with a double-headed Indian drum as its timekeeper and rhythm maker. Sunny Jain plays the dhol, and on Gaadi Of Truth he feeds those rhythms through processing pedals, expanding on the Indian traditions he experienced growing up in his Rochester, N.Y., home. This is the first record I can think of that applies a lot of effects to the sousaphone.

I go to so many shows, and for years I've been taking photos with my phone and posting them on my Instagram account @tinydesk. But a few months into 2014 I bought one of those tiny little mirrorless cameras by Sony. Then I caught the photo bug pretty bad (or good).

I missed another year of TV shows. I missed every single Netflix and HBO series. I did, however, see four times as many movies in 2014 as I did in 2013: four, instead of just one. What I did see once again was a whole lot of live music, 662 performances to be exact. (I count each band as a show or performance.) In a year packed full of concerts, I saw 555 different bands in 144 venues across 16 cities. It turns out I saw exactly the same amount of shows this year as last, which made me laugh ... guess I've hit my ceiling.

In case you missed it, we took a rocket ride to outer space for the holidays. But this week we re-dock at the mother ship Earth to ring in the new year toting a new mix that includes premieres from The Go!

He came so humble, holding his acoustic guitar and wearing his heart on his sleeve. Trey Anastasio isn't new to NPR: Concerts of his have even included "All Things Reconsidered," a variation on the All Things Considered theme.

Searching for Christmas music you've never heard before? Well, Mitchell Kezin is a collector of what he calls "Christmas orphans," those Christmas songs hardly played and mostly unknown. After being a closet collector of Christmas music for years, now he's directed a documentary about obsessive crate-diggers who specialize in rare Christmas music.

She came to the Tiny Desk a little unsure, and left singing "West Memphis" with intensity and passion. Lucinda Williams has a voice like no other, and it shines in these intimate moments.

Williams is on a roll with a new double album, Down Where The Spirit Meets The Bone, which is filled with fresh and beautiful songs — all this from a songwriter known for working at a deliberate pace. Hearing her perform these new songs with her brilliant band was a rare and exciting treat.

In the summer of 1971, I was a camp counselor at a sleep-away camp for a bunch of 5- to 7-year-olds. For those eight weeks, I walked home with about $50. I bought a guitar and began to learn the songs I'd come to love from the recently released Tea for the Tillerman by Cat Stevens.

"Father and Son" touched me most — it's a song about growing old, and about beliefs and conviction. More than 40 years later, that songwriter is performing at my desk with his son standing right behind me. You can never imagine the turns life will take.

Close your eyes and listen, and you might imagine someone who looks a bit like Otis Redding. Open them, and you're likely to see someone who looks more like your neighborhood bank teller.

Want to play a Tiny Desk Concert? Now's your chance: NPR Music and Lagunitas are holding a contest, and the winner gets to perform at my desk here at NPR headquarters in Washington, D.C.

Sam Amidon takes traditional music and makes it his own. He might begin with a traditional murder ballad and then morph it into something of his own, fueled by Bill Frisell's languidly atmospheric guitar, Shahzad Ismaily's minimal but essential percussion and Amidon's own yearning voice. At other times, Amidon weaves his own new tunes into worn, weary, seemingly ageless sagas.

The loudest guy in the world came to the Tiny Desk to perform some of his quietest music. Dinosaur Jr.'s J Mascis, for years a guy who's turned my ears red, showed up armed with just an acoustic guitar. I even had an amp for that guitar all lined up, but he decided to not plug in.

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