Level 2 Fall Risk Official Playlist

Partially curated by brewer, Jason Stacy, and co-founder, Josh Goodridge.

  1. Rage Against the Machine – Bombtrack
  2. Beastie Boys – Benny & the Jets
  3. System of a Down – Bounce
  4. Nirvana – Lake of Fire (from Unplugged)
  5. Grateful Dead – U.S. Blues
  6. Pink Floyd – Comfortably Numb (Live from Delicate Sound of Thunder)
  7. Butthole Surfers – Pepper
  8. Led Zeppelin – Immigrant Song
  9. Red Hot Chili Peppers – Suck My Kiss
  10. Queens of the Stone Age – Auto Pilot
  11. Ween – Bananas and Blow
  12. Sublime – Scarlet Begonias
  13. Alice In Chains – Brother
  14. Crosby, Stills, Nash, & Young – Carry On
  15. Mumford & Sons – Roll Away Your Stone

Listen to the playlist on Spotify (you must create a free account if you don’t already have one): http://spoti.fi/2F9Zdcl

Sticke It Up Your Alt Official Playlist


  1. Sex Pistols– Holidays in the Sun
  2. Genesis — Land of Confusion
  3. Leonard Cohen – First We Take Manhattan
  4. Nena — 99 Luftballoons
  5. Rational Youth — Dancing on the Berlin Wall
  6. Ramones — Born to Die in Berlin
  7. David Bowie– Heroes
  8. Scorpions — Wind of Change
  9. Black Rebel Motorcycle Club – Berlin
  10. U2 — Zoo Station
  11. Iggy Pop – The Passenger
  12. Alphaville – Forever Young
  13. Ozzy– No More Tears
  14. Bloc party – Kreuzberg
  15. Neil Young — Rockin’ in the Free World
  16. Lou Reed – Berlin
  17. Marlene Dietrich — Ich hab noch einen koffer in Berlin

Listen to the playlist on Spotify (you must create a free account if you don’t already have one): https://open.spotify.com/user/reporter26/playlist/34SylSGfujMzqOFVDOibUx

Anythony’s Pacification Official Playlist

Featured Artist:  Type O Negative

  1. Dead Again
  2. Love You to Death
  3. The Profit of Doom
  4. Red Water (Christmas Mourning)
  5. World Coming Down
  6. Can’t Lose You
  7. Cinnamon Girl
  8. Pyretta Blaze
  9. Drunk In Paris
  10. Anesthesia
  11. The Glorious Liberation of the People’s Technocratic Republic of Vinnland by the Combined Forces of the United Territories of Europa
  12. Day Tripper / If I Needed Someone / I Want You (She’s So Heavy)


Listen to the playlist on Spotify (you must create a free account if you don’t already have one):https://open.spotify.com/user/reporter26/playlist/2YUoS1LhcAOvPrrfcJaxqo

Giddy Goat Coffee Milk Stout Official Playlist

  1. Descendants – Coffee Mug
  2. Fear Factory – Edgecrusher
  3. Refused – Deadly Rhythm
  4. The Dresden Dolls – Girl Anachronism
  5. Minutemen – The Glory of Man
  6. Faith No More – Got That Feeling
  7. Finch – Worms of the Earth
  8. Intronaut – Pleasant Surprise
  9. Devo – Jerkin’ Back ‘n’ Forth
  10. Norma Jean – Vertebraille:  Choke That Thief Called Dependence
  11. Daniel Johnston – Devil Town
  12. Clap Your Hands Say Yeah – Satan Said Dance
  13. The Mars Volta – Wax Simulacra
  14. Red Fang – Prehistoric Dog
  15. Mastodon – The Wolf is Loose
  16. Ministry – Just One Fix
  17. White Zombie – Super-Charger Heaven
  18. Danzig – Long Way Back From Hell


Listen to the playlist on Spotify (you must create a free account if you don’t already have one):https://open.spotify.com/user/reporter26/playlist/7xYHmI0l3XVMjYIqOjgzI7

CampusWerks Vignoles IPA Official Playlist

Much like the beer, most of these songs were done in some form of collaboration.


  1. Nine Inch Nails – Less Than
  2. The Heads – Damage I’ve Done (feat. Johnette Napolitano)
  3. Filter & The Crystal Method – (Can’t You) Trip Like I Do
  4. Lommi and Dave Grohl – Goodbye Lament
  5. Failure – Saturday Saviour
  6. Sevendust – Licking Cream (feat. Skin)
  7. A Perfect Circle – The Outsider (Apocalypse Mix)
  8. Florence + The Machine – Seven Devils
  9. Karen O, Trent Reznor & Atticus Ross – Immigrant Song
  10. Crystal Castles – Not in Love (feat. Robert Smith)
  11. Deftones – Passenger (feat. Maynard James Keenan)
  12. God Lives Underwater – Rearrange
  13. Hybrid – Choke
  14. Kavinsky & Lovefoxxx – Nightcall


Listen to the playlist on Spotify (you must create a free account if you don’t already have one):


Provision Farmhouse Ale Official Playlist

  1. Autolux – Transit Transit
  2. Jim James – Here in Spirit
  3. Spoon – WhisperI’lllistentohearit
  4. Mark Lanegan Band – Beehive
  5. The National – Heavenfaced
  6. The War on Drugs – Red Eyes
  7. Nick Cave & The Bad Seeds – Rings of Saturn
  8. Radiohead – Tinker Tailor Soldier Sailor Rich Man Poor Man Beggar Man Thief
  9. The Naked and Famous – The Sun
  10. Neil Young – Birds
  11. Bonnie “Prince” Billy – For Every Field There’s a Mole
  12. Band of Horses – Lying Under Oak
  13. The Milk Carton Kids – Promised Land
  14. Crosses – Frontiers
  15. TV On The Radio – Tonight
  16. Bon Iver – 00000 Million
  17. Phoenix – Bourgeois


Listen to the playlist on Spotify (you must create a free account if you don’t already have one): https://open.spotify.com/user/triciaburkhardt/playlist/0RUb9ZQ2zZGJKVP8y3tEyN

I can’t help it. With bigger, boozier beers the music tends to become more chill and folk/electro-oriented. Higher gravity beers to me are all about introspection and deeper thinking. It’s about slowing down and taking time. So as I began putting this together it fell into place pretty easily.

While we have many towns around us in the Rolla and St. James area, none of them are very big and most would consider our home a rural area. With that kind of geography comes the privilege of witnessing the four seasons of Missouri in some of the most beautiful settings. This playlist has as much to do with the awe-inspiring beauty of our surroundings as it does the deliciously complex farmhouse ale we made.

Whether in titles, in lyrics, or in metaphors, you’ll find all kinds of ties to the music, the beer and the land. Elements of spirit, animal life, the heavens, the stars, the moon, the sun, the vivid life-sustaining green of plant life that surrounds us. Get lost in it. It’s not that hard if you let it happen.

Even though there are a fair amount of down tempo tracks on here that set the tone for country drives (without alcohol of course) or armchair thinking, that doesn’t mean there aren’t some more up tempo tunes on here. Spoon’s “WhisperI’lllistentohearit” has such a sparse synth intro that then kicks into a pumped up tambourine-tinged rock beat. Then the bass kicks in and the background synths really layer up the complexity – much like this particular beer.

If you haven’t heard the new Mark Lanegan Band record, “Gargoyle,” do yourself a favor. It’s one of his best. And after the untimely passing of Chris Cornell, Lanegan remains one of the survivors of the alt 90s scene, gargled glass voice intact. So with every passing year his work carries even more weight. “Beehive” is one of my favorite tracks from the album. Aside from having a great hook, I suppose there is a loose tie to the farmhouse beer.

When I lived in Rolla, I used to ride my bike in the same 10-mile loop through the country on gravel roads and then back into town. I’ll never forget the day I first put on The National’s “Trouble Will Find Me” for my ride. When I stopped about a third of the way through it for a water break, I glanced through the trees that lined the field along the road where cows were grazing. In the middle of the pasture stood one solitary tree. A beautiful green-leafed oak, full bloom in the middle of summer. The breeze swept across the tall grass in the field all around that tree while “Heavenfaced” played on my headphones as I sipped my water. I couldn’t bring myself to hop immediately back on the bike. I had a moment in the middle of the countryside that was nothing short of spiritual. I’m so grateful for that day, that weather, that tree, and that song. I don’t ride that same loop very often anymore but when I do, that’s always where I stop for a water break so I can say hello to my old friend in the field.

Drinking Note: If you’re having a session at home with Provision and listening to this playlist you should be at least one beer in by the time you get to Radiohead’s “Tinker Tailor…” and it should all start making sense. Thom Yorke’s lazy, sleepy, drunken vocals are absolutely perfect here.

Neil Young’s “Birds” is a bit of a departure from the rest of the songs on here, although I don’t think the decades of difference in sound between it and the other tracks makes an ounce of difference. This is one of my all-time favorite Neil tracks. It’s one of the most beautiful songs he ever wrote. And you can’t help but see the birds in your mind’s eye as you listen.

Credit for the Bonnie “Prince” Billy track goes to my long-time friend and Public House Brand Ambassador for St. Louis, Seth Faucett. He’s as eaten up as I am with music and we’re always geeking out together when I’m crashing at his house if I’m in St. Louis for multiple days spreading the gospel of Public House. There’s nothing better than beer, music and friends. Thanks, Seth.

I LOVE Band of Horses. There could have been a bunch of their songs on here, but “Lying Under Oak” just seemed right.

I’m falling in love with The Milk Carton Kids. They’re musicianship and perfect harmonies are flawless and delicate and unique. “Promised Land” sweetly speaks to what promise is all about. Something to look forward to. Something to guide our decisions. Something that informs our way of being. All that over wonderful guitar work and lullaby vocals. What’s not to like?

Years ago before the birth of my son, Keiran, my wife Trisha asked me to do a little fixing up to our bedroom before he came along. As home projects tend to do, it became bigger, took more time, and cost more money than planned. As my progress began to slow and I realized it was going to take more than a few weeks, I stopped pushing so hard and decided it would be done whenever it got done. I put on my headphones every night, opened a beer and took my time. I listened to three albums on rotation almost exclusively during what ended up being three months’ worth of work—TV on the Radio’s “Return to Cookie Mountain,” Puscifer’s “’V is for ‘Vagina,’” and the soundtrack for the David Lynch film, “Lost Highway.”

I still don’t know exactly why I became so attached to those albums for that brief period (I mean, they are all great records), but they had a certain introspective nature and as a self-diagnosed introvert/extrovert I tend to do a lot of thinking (or overthinking). And when you’re scraping decades’ worth of old wallpaper off the walls, sanding, painting and staining for what seems like an eternity, on the cusp of the birth of a child in your late twenties, let’s just say the brain becomes a real stew of all kinds of thoughts and feelings. So it was a quiet time. Music, beer and thoughts. I got into this routine about halfway through the project where at the end of each night that I worked on it, I would have a final beer and stand on my porch in the dark, staring at the moon with my headphones on. It was winter. With every sip of beer, an exhale, my breath visible in the air. And I always listened to the song “Tonight” by TV on the Radio. It’s a magical piece of music. It just sounds like exactly what I was looking at: a pale moon in the dark on a crisp, cold night. Another spiritual moment. I recommend trying it yourself. I think you’ll get it. “My mind is like an orchard….”

Finally, Phoenix’s “Bourgeois” closes this one out. I love the way their sound captures the 80s synth vibe – that I’ve had a forever crush on – but still manages to sound fresh and modern. This song is probably one of the best examples of that. And with Provision being a French style of beer, it only made sense that I put these English-singing French dudes on here who rock very … Frenchly. I love the way Thomas Mars belts out the word “Bourgeois” so perfectly. It’s a word I love. I don’t know why. But I love it. The word and the song speak to a foolishly youthful attitude that we’ve all been guilty of and even reveled in at one point or another.

Why would you care for more?
They gave you almost everything
You believed almost anything
Your fire’s a false alarm
They gave you almost everything
You believed almost anything

I hope you enjoy Provision as much as I do. And maybe the music adds a little something to the beer experience. Either way, be safe, be responsible, and be kind to each other. Cheers!

Tap handles at Public House Brewing Company in St.James MO

Farmstand Peach Ale Official Playlist

Presidents of the United States of America—Peaches
Beck—Peaches & Cream
Dandy Warhols—Boys Better
Peaches—Boys Wanna Be Her
Eagles of Death Metal—Flames Go Higher
Cults—Go Outside
Crash Kings—Mountain Men
David Byrne—Neighborhood
Gorillaz—Welcome to the World of the Plastic Beach
BORNS—Electric Love
Flaming Lips—The W.A.N.D.
Foster the People—Don’t Stop (Color on the Walls)
M.I.A.—Paper Planes
MGMT—Time to Pretend
Sublime—Doin’ Time
Playlist on Spotify: https://open.spotify.com/user/triciaburkhardt/playlist/5XbUnoKmSTsmlqPeyB7v73

Alright y’all. Ain’t a lot to say here. Farmstand Peach Ale is a tasty summer treat. And these are some tasty summer jams.

Yeah, I had to put the Presidents of the United States of America on here. I mean, it’s a no-brainer amiright? 311’s Homebrew is pure summer fun. The Beck tune is a little on the nose but it’s a good track in its own right. Peaches is one of the most fantastical artists and interesting people ever so including her was a no-brainer. Her track is multi-purpose cuz it rocks so hard. Seriously, crank that song up.

EODM’s trash-jam “Flames Go Higher” sates your need to shake your hips. Cults bring some good vibes to the table. David Byrne’s “Neighborhood” makes you wanna throw a block party and invite all the people you don’t already know. I love cranking this Gorillaz tune mostly for the guest vocal by Snoop—especially the part where he raps about “rockin’ in the bubble bath.” Something tells me he wrote that line after he struck up his friendship with Martha Stewart.

Flaming Lips bring their trademark hippie anarchy with “The W.A.N.D.” M.I.A.’s “Paper Planes” is so infectious it should be criminal. MGMT and Sublime close out the summer jams with a laid back vibe that just feels right.

It ain’t complicated. Drink that tasty beer and play these tasty jams. Have a great summer y’all.


CampusWerks Series Release Soest Road Circa 1995 Belgian Style Dubbel

A Brewer Born: A Third-Hand Account of the Genesis of Something We’re Pretty Sure Happened

If you want to understand the man, the myth, the legend, the Rolla Beer King, you’ll have to go back in time.

The place was Soest Road in the sleepy little hamlet of Rolla, Missouri. The year was 1995. Or at least we’re pretty sure it was…

A young, innocent, impressionable Joshua Lee Stacy, full of wide-eyed optimism about the world that lay before him was in the throes of discovery. Girls. Music. Beer. There was other stuff too, but those predominantly occupied his idle time. The rise of alternative and grunge music of the day gave him the desire to try his hand at the bass guitar. Amplifiers and effects pedals soon followed. A junkie-like obsession with gadgets and sound manipulation took over. And an endless thirst for expressing oneself with the low end became his daily devotional.

Around the same time he was falling head over heels for the raw, angsty emotion of alternative and grunge, he got his first taste of real beer. Not that fizzy yellow water many of his peers were guzzling. Real beer made with real ingredients and real care by his father. He knew he wasn’t supposed to drink dad’s beer. But who has EVER followed that timeless parent-issued dictum in the history of the world? I defy you to produce one example.

As he retells the story, which I am now relating third-hand (which ensures complete and incontestable accuracy), that first sip of Belgian-style Dubbel ale, brewed by Papa Stacy, had a profound and instant impact on him. The carbonation tickled his tongue, the yeast rattled his brain, and the malt warmed his belly. His hair instantly grew thicker, his eyes brightened, and he now stood approximately one foot taller. His voice dropped one full octave and his once slinky gate became a true baller swag. The heavens opened up, shining a light down on the chosen one, who would carry forward the blessing of beer for the entire world to taste. He spent the rest of the day in a deep, trance-like meditation, contemplating the implications for what would become his life’s calling. One day he would spread the gospel of beer far and wide, forsaking all other vocations and creeds. And the world would be a better place for his sacrifice. He slept the most peaceful dreamless sleep of his life that night. His mind blissfully clear. His destiny manifest.

The following morning he awoke focused and refreshed. While preparing for the day he paused for a moment, grateful for the metaphysical transformation that had taken place with one sip of his father’s magical elixir. He then donned a well-worn flannel shirt and the coolest denim jacket you’ve ever seen in your life, popped the collar, slung his bass guitar over his back – true-rock style – got behind the wheel of his bitchin’ Chevy Corsica, cranked the volume to 11 and blasted “Thunder Kiss ‘65” by White Zombie. Despite the low-grade factory speakers, which caused many crackles, pops and distortions in the playback, he confidently rocked on.

Yes, life was good. And it was all due to Mr. Stacy’s homebrew religious conversion. He was no longer just a beer lover. He had become … something more. His newfound sense of purpose did much more than provide him a roadmap for the frothy path that lay ahead of him. His supreme confidence propelled him to new personal and extracurricular heights. Within mere weeks of his revelation, he led the Rolla High School Bulldog football AND soccer teams to become state champions. He followed these feats by being crowned Homecoming King, before graduating Valedictorian, and being voted by his classmates as “Most Likely to Brew Beer and Kick Ass.” Yearbooks had never breathed life into a prophecy the way Rolla High’s did. And it never did again. His was indeed the last of the great yearbook prophecies.

Upon hearing of the young man’s great successes, he even received an unprecedented congratulatory call from then President Bill Clinton. To this day Mr. Stacy still refuses to recount the intimate hour-long conversation they had, but we do know this: within a matter of minutes after hanging up the phone, the President issued a declaration that the official adult beverage of the White House would no longer be Arkansas mountain hooch, but delicious craft beer.

Mom and Pop were indeed proud. Who knew that this sandy-haired little scamp would achieve such great heights from such humble beginnings? Deep down, they always knew. They always knew.

Once he had learned all the known facts in the world, he went on to form a multi-platinum selling post-progressive-punk act, which was named “Sneath” for obvious reasons. Infamous for his onstage antics, borderline-vulgar hip thrusts, and Rhodes Scholar-turned bad boy attitude, he was instrumental in crafting Billboard Chart topping hits, such as “Balling Degrees,” “Don’t Bogart the Yeast,” and “Lauter Tun Junk Smash,” featured on Sneath’s breakout EP, “Twisted Fits in the Agitarium.” Despite a short stint in a rehabilitation clinic for people whose body chemistry had exceeded safe water to malt ratios, it wasn’t the excesses that brought him down, but the disintegration of his musical baby.

The other members, fed up with playing second fiddle in the press while Mr. Stacy received all artistic credit, abandoned their leader in middle of their, “Guns, Grist, and Gravy” world tour, resulting in Mr. Stacy’s little-heard solo release, “Stirrin’ My Own Mash,” months later. The departure from the signature thumping bass-lines of Sneath to the novice level banjo playing of “Mash” proved to be a bridge too far for hardcore fans and he was quickly dropped by the record label. It is the one known mistake that he has ever, or will ever make in his kissed-by-the-angels existence. Like Icarus, he flew to close to the sun on banjo strings and fruity esters, becoming light-struck and skunky, before falling back to earth in a billowy cloud of bung dust … poof …

After slipping into reclusion due to the disaster that “Stirrin’ My Own Mash” proved to be, he received a knock on the door from a former bandmate and long-time friend. Aghast at the dumpster fire of a man Mr. Stacy had become, his friend pulled him from the wreckage of months-old Ben & Jerry’s cartons that completely littered the living room floor. He told Mr. Stacy he had ten minutes to change out of his adult onesie pajamas and into something respectable.

They hopped into the car and drove back to the old house on Soest Road. Weeping openly like a child, Mr. Stacy lifted the garage door to reveal his dad’s old homebrew set up, covered in dust and cobwebs. His friend nodded knowingly and said, “It’s time.” Mr. Stacy then grabbed a rag from the tool bench and began to clean up the little homebrew system that had been lost to the ages to commence brewing once more.

Of course good beer is never brewed without good music. So Mr. Stacy’s friend plugged in the otherworldly boombox in the corner, opened the compact disc player and pressed play. No, it wasn’t a Sneath record. It was something of his bandmates own design – a playlist that cut Mr. Stacy to the quick. As the heavy distorted guitar of White Zombie’s “Thunder Kiss ‘65” permeated the air, another small tear came to Mr. Stacy’s eye. With tender loving care, the two men brought the system back to life with water, fire, grain, hops, air, and that precious, precious yeast. That day, they brewed the most glorious Belgian-style Dubbel ever brewed on a tiny system in a dusty American garage. All the while ‘90s jam after ‘90s jam – most of them inspiration for Mr. Stacy’s personal style of playing – filled the room and it is believed added a little magic to the brew kettles. That day, they brewed only for themselves and no one else. But they knew in due time they would go forth into the world and spread their love of beer across the land without pretense. And it was so.

Here we present this open, musical love letter to 1995, awesome songs, cool bass lines, and flimflam origin stories everywhere. And of course to Mr. Stacy.

As always, be safe, be responsible and be kind to each other. A friend, a pint, a session, (and music) is what it’s all about. Cheers!

White Zombie – Thunder Kiss ’65
Primus – Southbound Pachyderm
Beastie Boys – Root Down
Sublime – 40oz to Freedom
Red Hot Chili Peppers – Walkabout
Violent Femmes – Blister in the Sun
Weezer – Say It Ain’t So
Sponge – Molly
Pearl Jam – Not For You
NIN – Sanctified
Tool – Sober
Marilyn Manson – I Put a Spell On You
Pantera – This Love
Filter – Hey Man Nice Shot (Nickel Bag Remix)
Smashing Pumpkins – Bullet with Butterfly Wings
The Beatles – Free As a Bird
Nirvana – Where Did You Sleep Last Night?

Frisco 1501 Historic Lager Official Soundtrack

America, the beautiful. Her landscape was forever changed by the emergence of the locomotive and we decided to pay tribute to a particular engine that now resides in Rolla, Mo., home of our R&D Brewpub. It was only fitting that the musical accompaniment pay tribute – not just to the engine itself – but to the themes of fortunes made, fortunes lost, love, greed, poverty, and the hardscrabble people who worked themselves to the bone to bring the marvel of mass transit to bear.

Some of the selections here are fairly straightforward with imagery of trains across the landscape. Some maybe less so. But when I play it back and enjoy the malt-forward and rustic hop deliciousness that is Frisco 1501 Historic Lager, I can see the train in my mind chugging across the landscape carrying people, cargo and the hope of a great future for a young, optimistic country. It may help to close your eyes a bit while you enjoy the taste, the sound and the total experience of Frisco 1501 Historic Lager.

And now, a bit about the featured artists …

I knew I could find a good balance of new and old for this playlist and still convey all the things I wanted to with it, and “Another Travelin’ Song” by Bright Eyes really nails it for me and sets the tone for the whole listen. Conor Oberst, mastermind behind Bright Eyes, effectively uses an acoustic shuffle that cements the rhythm while leaving enough space for the train-inspired electric. And while the music is upbeat, lyrically the song doesn’t shy away from the frustration of traveling, with dry observations of people in the throes of every kind of experience and emotion – from typical writers block to some of the more unsettling realities of modern life. There’s a lot going on in this track.

Johnny Cash sang a lot about traveling and a lot about trains. “Folsom Prison Blues” really would have been a no-brainer here, but I just didn’t feel like settling for the obvious. But I wanted some Cash on here. So I went with a track some old-school fans may not be familiar with from his American Recordings resurgence brought about by producer Rick Rubin in the late ‘90s/early ‘00s. For some reason Rick Rubin thought that Johnny could reinterpret Soundgarden’s 1991 hit “Rusty Cage” from the seminal classic “Badmotorfinger.” And he was right. Time would prove that the Cash-Rubin team would become quite adept at covering all manner of rock songs in such a way as to render them Johnny’s own. Many consider the greatest example of this is his cover of “Hurt” by Nine Inch Nails. Anyway, like the original, Johnny’s version of Rusty Cage changes tempo and feel in the middle of the song to great effect, and somehow both rhythms just spoke “train” to me and that’s why I chose the track.

“City of New Orleans” by Arlo Guthrie was an easy choice. We’ve all heard it a million times, but it just feels right on this list. Also, it’s literally about a train ride from Chicago to New Orleans. Americana at its finest – nostalgic and bittersweet.

Like Johnny Cash, Bob Dylan also has plenty of material about trains. But there was something about the jangly rhythm of “Subterranean Homesick Blues” that made sense. The song is lyrically dense and touches on just about everything. It’s been covered and smothered but nothing beats the original. This song is a train that feels like it’s about the come off the rails. The engineer is smiling maniacally and is quite likely under the influence of … something.

Simon and Garfunkel have angelic harmonies. End of story. “Homeward Bound” (not to be confused with the live action Disney movie from back in the day) is a terrific traveling/homesick tune and the reference to the train station doesn’t hurt.

“John Henry,” is said to be based on a real person who may have worked as a “steel-driving man” – a man tasked with hammering a steel drill into rock to make holes for explosives to blast the rock for the construction of railroad tunnel. It’s been retold by many different artists, but it’s hard to beat Harry Belafonte’s smooth, soulful sendup. Close your eyes and listen to a master retelling of this timeless story.

There’s a lot I could say about progressive bluegrass titans Punch Brothers, but it’s much better if you just listen. “Rye Whiskey” is such a fun song and I defy you to keep from tapping your toes when this one comes on. As for trains, nah not really. But the old-timey rhythm makes me happy. As do the cool chord progressions. Thanks Thile & Co.

Patrick Carney’s big, fat, dirty drum sound sets the trudging tone of The Black Keys’ “When the Lights Go Out” to great effect and paves the way for Dan Auerbach’s strung out blues guitar. Recorded in an abandoned tire factory, this particular tune is striking for its unrelenting rhythm. All I can think about is the Frisco 1501 churning its way up an Ozark hill.

If you didn’t get Loretta Lynn’s “Van Lear Rose,” you missed out. She’s a legend. She’s tough as nails but demonstrates an earnest vulnerability on that record. Jack White produced and played on the album. It’s a curious pairing at a casual glance, but somehow the collaboration worked. “High on a Mountain Top” has southern roots bordering on gospel that will have you wanting to clap and sing along.

Monsters of Folk sort of came out of nowhere. A fun play on the “Monsters of Rock” hair band compilations once sold on TV (maybe they still are?), they are a modern supergroup of folk dudes who are each a kind of legend in their own right. Jim James, Mike Mogis, Conor Oberst and M. Ward first toured together and then after much planning and coordinating put out a record in 2009 to great acclaim. The li’l ditty featured here – “Baby Boomer” – has some fun, tongue-in-cheek, semi-scathing lyrics touching on commercialism, hypocrisy, and cool, ‘80s style greed. So you get a little cross generational ribbing set to an innocent, hand clappy, sizzle rhythm. Perfect combo.

Beck is a creative powerhouse. There’s no disputing that. Part of his genius is his uncanny ability to inhabit such an eclectic mix of styles – not as a visitor – but as a native. He’s equally as comfortable laying down ‘70s-style freak-out funk as he is living out his own version of the ‘60s singer-songwriter folk or trash-can-lid-white-boy-hip-hop. In “Farewell Ride,” he uses some carefully chosen pops and clinks –and a little harmonica – to paint a tumbleweed-laden landscape where all I can see is a chain gang driving spike after spike to lay track across the countryside. Extra: someone once set this song to a clip from the Paul Newman classic, “Cool Hand Luke.” It works pretty well. If you’re interested, you can check it out here: https://youtu.be/2z8HqqCyO9E

Split. Lip. Rayfield. What is there to say really? They’re awesome. And “Never Make it Home” conjures up all the right stuff. And that kazoo solo is dope!

I’m pretty sure “Casey Jones” has not a thing to do with trains. But Jerry sings the line “Riding that train high on cocaine.” So, there’s the token train reference. And it works here nicely.

The Statler Brothers, y’all. Country music’s most awarded act. They’re legendary. And so is this song. And I can tell you for a fact there is nothing in this song about trains. But the jingle-jangle feels right and I do like me some Statler Brothers. Also, um, Pulp Fiction. Enjoy.

Good lord people got burned out for real on Mumford and Sons. I can understand why, but upon revisiting their stuff, it’s still good music. It just got overplayed. They shot to fame with a rocket-like trajectory and seemed to leave the earth’s atmosphere and artistically are now stuck just shy of space where they weightlessly orbit the music biz. Until they come back down and complete a mandatory artistic reinvention boot camp, here is Marcus Mumford doing a Dylan song pretty sincerely as part of the “Another Day, Another Time” concert celebrating the music of the Coen Brothers “Inside Llewyn Davis.” If you love music and haven’t seen that movie just do it. I fell in love with it and bought the Criterion Collection. So worth it. Tons of musical talent in the film. Tons of acting talent. And the Coen Brothers once again made a fantastic piece of art that captures a ‘60s-era Greenwich Village folk singer’s painful odyssey towards inevitable quicksand. T Bone Burnett, the Rick Rubin-like shaman of musical preservation, produced the soundtrack and then decided they should put on a concert to celebrate the music highlighted in the film. Not long ago you could have watched the full concert on YouTube but now you have to pay. Because advertising. Because money. Money, money, money. But you can at least see the preview and decide if you want to see the whole thing: https://youtu.be/NyHraeDgZEc. It is a pretty fantastic concert and features a lot of stuff that isn’t in the film. Anyway, Mumford’s haunting rendition of “I Was Young When I Left Home” gave me chills. And in the context of our playlist here, I see this one taking place not on a train – but at the station – as he reflects on a journey that hasn’t gone quite as planned. Can you really go home?

Cracker doesn’t get enough credit or attention in my humble opinion. But they’re a band I really like and respect. They took the country rock thing, stomped it out like a cigarette butt, and just did whatever the hell they wanted to do. It’s a choice that narrowed their audience, but they have some stellar writing and musicianship that deserves respect. “The Golden Age” is really a love song. It’s reflective and introspective. And it’s just a pretty song to listen to. The strings soar. The steel guitar weeps. But what I get most from this song centers more on the theme of nostalgia and the romanticizing of the past that we all tend to do. We always look backward through rose-colored glasses and tell ourselves that that time – whatever it was – was a golden age of sorts. Oh, those were good times. It’ll never be like that again. It isn’t like it used to be. Etc, etc, etc. We hold on to that idyllic view of the past without realizing that right now is a golden age. Right now is the golden age you’ll pine for in the future. You’re going to look back at this exact moment in time and you may not want it back, you may not love every bit of it now, but you’ll remember it more fondly than today’s reality suggests. And you’ll say something predictably wistful like, “It isn’t like it used to be.” And at the core of it, that will hold some literal truth. But maybe you should just try recognizing the fact that you’re living in a golden age right now … whenever now happens to be.

Dave Van Ronk is said to be one of the inspirations for the character Llewyn Davis from the film mentioned two paragraphs up. He’s got an unmistakable voice and his fingers dance dynamically over the fretboard of his guitar in all of his songs. It’s just a true pleasure to listen to Dave Van Ronk. “Green, Green Rocky Road” is certainly a traveling song. Train or not, it found a home on the list here. If you like this, you’ll pretty much like everything he’s done. Check him out.

Close-out tracks are as tough as opening tracks – bookends to a good playlist. I was happy to land on this last one. Some refer to Sister Rosetta Tharpe as the Godmother of Rock & Roll. It’s not hard to see why. She was a talented, flamboyant guitarist who wasn’t afraid to take her music of light out into the darkness of secular clubs. “This Train” was her first big hit. Her career influenced gospel and secular artists alike. For many of us in Missouri who may have grown up attending small country churches, “This Train” will take you back for sure. Even though it traveled near and far, I like to think that the Frisco 1501 found its glory in Rolla, Missouri.

I hope anyone who reads this seeks out these songs if they don’t already have them and of course … enjoys a pint or five of Frisco 1501 Historic Lager!

As always, be safe, be responsible and be kind to each other. The golden age is now. A friend, a pint, a session, is what it’s all about. Cheers!

Listen to the playlist on Spotify (you must have an account – you can sign up for free):

  • Bright Eyes – Another Travelin’ Song
  • Johnny Cash – Rusty Cage
  • Arlo Guthrie – City of New Orleans
  • Bob Dylan – Subterranean Homesick Blues
  • Simon & Garfunkel – Homeward Bound
  • Harry Belafonte – John Henry
  • Punch Brothers – Rye Whiskey
  • The Black Keys – When the Lights Go Out
  • Loretta Lynn – High on a Mountain Top
  • Monsters of Folk – Baby Boomer
  • Beck – Farewell Ride
  • Split Lip Rayfield – Never Make it Home
  • The Grateful Dead – Casey Jones
  • The Statler Brothers – Flowers on the Wall
  • Marcus Mumford – I Was Young When I Left Home
  • Cracker – The Golden Age
  • Dave Van Ronk – Green, Green Rocky Road
  • Rosetta Tharpe – This Train

Mentions of any artists, living or dead, should not be construed as an endorsement by those artists of Public House Brewing Company products. We’re simply big fans. That’s all.


Bartender's hand holding a selection of Public House Brewing Company beers

Playlists for Beer? Open a bottle, pour a glass and press play.

Ok. It’s confession time. The rumors are true. I have a life-long love affair with playlists. There, I said it. I feel better.

First, I’m a music nerd. N-E-R-D. I come from a musical family. My mother plays piano and sings. Her parents sang and played guitar and piano at church and even had their own country gospel band way, back in the day. So music is literally in my blood. In my early teen years, something drew me to the drum kit. And I’ve been playing the drums ever since. Along with that, I played trombone in concert, jazz and marching bands throughout my school career.

As a teenager growing up in the early 1990s, my first love affair with music was this new thing called “alternative rock.” Oh, alternative rock. How do I love thee? Let me know count the ways …

I bore witness to the rise of Seattle grunge like Pearl Jam, Soundgarden, Alice In Chains, Nirvana and more. I also lived through the second British invasion in the 90s with bands like Oasis, Pulp, Blur and others. I wholeheartedly embraced all of these new, raw, heavy sounds that took influences from metal, blues and classic rock, and fused them into something completely new. These people weren’t afraid to be very upfront about their feelings. Drop “D” guitar tuning was prevalent, as well as other alternative tunings.

Lyrically, many of these acts wore their heart on their sleeves. It’s no secret that rock music is written most of the time from an adolescent point of view and embraced by the intended audience. Rock has always been the cool, rebellious outlet for necessary for dealing with the complexity of emerging emotions in young adults and I was no exception. The Beach Boys’ “In My Room” pretty much says it all. As a teenager, your room is your refuge. A place where your identity is forged by the music you listen to, the notes you write to girls you like, and a place you can talk to your friends out of earshot of your parents. The place where you can just be yourself.

And I paid my dues in that room: discovering anything new I could get my hands on, watching 120 Minutes on MTV every Sunday night, gladly receiving dubbed cassette tapes from friends with the new stuff they were listening to. Carefully cataloging and organizing my CD collection (CD stands for “Compact Disc” in case anyone has forgotten). Fortunately, I had lots of good friends who were kind enough to keep feeding me new stuff I might like – often in the form of a mixtape. I wanted to return the favor so I voraciously sought out new music to introduce to them. I began to understand fully the impact music has on people, the connections that are made, and the little communities that are built from its foundation. Music is something bigger than all of us.

Somewhere along the way, the arduous process of copying and dubbing new music onto cassettes became about more than just a hodgepodge of songs strewn about on some analog inside a plastic case. I realized that a playlist can tell a story, capture a mood or a season, and in some cases serve as a time capsule, taking you back to the exact time in your life certain songs broke through the ether and imbued some kind of universal truth on you that you carry for the rest of your life.

We’ve all had songs that strike us a certain way at the right time under the right circumstances. They can make you stop what you’re doing and listen again and again – maybe on repeat for hours. And while that can be quite cathartic or meditative, eventually the hypnotic state does eventually wear off. You need more variety. You need other voices. So I wondered, “What if you could extend that feeling that rings completely true with you in the moment across 50-70 minutes with other voices and other instruments or arrangements and keep that feeling intact so you can revisit it again if needed or give it to a friend as a kind of letter of affection or solidarity without saying a word?”

The playlists began to take a little longer to put together. I found myself putting more and more thought into it as time went on. “How does the fade out from song #1 affect the intro to song #2?” I found myself creating little unwritten rules for myself about how I wanted the playlists to work. There should be an arc to the overall playlist. I think of playlist construction much like album construction. It’s important where the upbeat rockers go in relation to the ballad or down tempo songs. It matters. First and last tracks matter a lot. First tracks typically set the tone for the rest of the playlist. The last track is like a final summary statement. “What do I want to leave my listener with?”

Yes, I have a problem. The first step is admitting it.

Throughout my life I’ve created playlists. I’m pretty sure I’ll never stop. For me, music (and I really do appreciate all kinds) is the soundtrack to living. If I’m feeling angry, I’m going to listen to metal, industrial or punkrock. It’s like therapy. If I’m happy, I usually want the biggest, most joyous kind of stuff I can get my hands on. The beauty of a playlist is that you can capture any feeling and live inside it for a while. It’s a bit of escapism I suppose, but everybody needs a bit of that from time to time, right?

So … playlists for beer? Sounds a little strange maybe. I don’t know, maybe not. What I do know is that a lot of time and love and care go into every beer we make. Wrapped up in the creation process are people laughing, talking, and drinking beer – debating styles, ABVs, SRM, IBUs, etc. In the end, the collaborative process produces a beverage that we hope brings a smile to someone’s face.

Know this: beer is a living thing and a playlist is the personification of a beer. It takes on a personality and life of its own. The playlist, along with our label artwork, our stories and our people, make our beer a multi-dimensional being – not just a monolithic box on the shelf of a grocery store. For maximum effect, open a bottle, pour a glass and press play. Listen from start to finish.

Beer, laughter, love, music. What else is there?

Enjoy our beer. Enjoy the music. Enjoy life.