Adam Howard

The New Yorker Radio Hour is a co-production of WNYC Studios and The New Yorker. Our theme music was composed and performed by Meryl Garbus of Tune Arts, with additional music by Louis Mitchell.

The New Yorker Radio Hour is a co-production of WNYC Studios and The New Yorker. Our theme music was composed and performed by Meryl Garbus of Tune Arts, with additional music by Louis Mitchell.

The New Yorker Radio Hour is a co-production of WNYC Studios and The New Yorker. Our theme music was composed and performed by Meryl Garbus of Tune Arts, with additional music by Louis Mitchell.

This episode was produced by Max Balton, Adam Howard, David Krasnow, Jeffrey Masters, Louis Mitchell, Jared Paul, and Ursula Sommer, with guidance from Emily Botin and assistance from Michael May, David Gable, Alex Barish, and Alejandra Deckett.

This episode was produced by Max Balton, Adam Howard, David Krasnow, Jeffrey Masters, Louis Mitchell, Jared Paul, and Ursula Sommer, with guidance from Emily Botin and assistance from Michael May, David Gable, Alex Barish, and Alejandra Deckett.

This episode was produced by Max Balton, Adam Howard, David Krasnow, Jeffrey Masters, Louis Mitchell, Jared Paul, and Ursula Sommer, with guidance from Emily Botin and assistance from Michael May, David Gable, Alex Barish, and Alejandra Deckett.

We had help this week from Aaron Dalton.

We had help this week from Aaron Dalton.

We had help this week from Aaron Dalton.

The New Yorker Radio Hour is supported in part by the Cherena Endowment Fund.

The New Yorker Radio Hour is supported in part by the Cherena Endowment Fund.

The New Yorker Radio Hour is supported in part by the Cherena Endowment Fund.

James, this evening runs the risk of being an episode in the Chris Farley show. I don't know if you remember Chris Farley on Saturday Night Live, when he would have people he admired on, he would just say, do you remember when you wrote Fire and Rain? And say, that was great. And I could go through everything you've done and simply stand here and sweat and say, that was great.

James, this evening runs the risk of being an episode in the Chris Farley show. I don't know if you remember Chris Farley on Saturday Night Live, when he would have people he admired on, he would just say, do you remember when you wrote Fire and Rain? And say, that was great. And I could go through everything you've done and simply stand here and sweat and say, that was great.

James, this evening runs the risk of being an episode in the Chris Farley show. I don't know if you remember Chris Farley on Saturday Night Live, when he would have people he admired on, he would just say, do you remember when you wrote Fire and Rain? And say, that was great. And I could go through everything you've done and simply stand here and sweat and say, that was great.

But I will try at least to find out why it's all been so great. Thinking about your music, one of the things that's always sort of stunned me about it is when you first appeared, you had a distinctive way of playing the guitar, which wasn't like anybody else. It's distinctive kind of voicings. And you had an amazing harmonic language.

But I will try at least to find out why it's all been so great. Thinking about your music, one of the things that's always sort of stunned me about it is when you first appeared, you had a distinctive way of playing the guitar, which wasn't like anybody else. It's distinctive kind of voicings. And you had an amazing harmonic language.

But I will try at least to find out why it's all been so great. Thinking about your music, one of the things that's always sort of stunned me about it is when you first appeared, you had a distinctive way of playing the guitar, which wasn't like anybody else. It's distinctive kind of voicings. And you had an amazing harmonic language.

You know, I always think when I go through your sheet music and see that a wonderful song like Don't Let Me Be Lonely Tonight starts with an E minor ninth chord. and then goes to a major seventh chord. Those weren't the C, A minor, F, G progressions of pop music at the time. Did you study music? How was it that the language of music came to be the language you speak so naturally?

You know, I always think when I go through your sheet music and see that a wonderful song like Don't Let Me Be Lonely Tonight starts with an E minor ninth chord. and then goes to a major seventh chord. Those weren't the C, A minor, F, G progressions of pop music at the time. Did you study music? How was it that the language of music came to be the language you speak so naturally?