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.

Boilen's first book, Your Song Changed My Life, will be published in April 2016 by HarperCollins.

They came, they measured, they built and they plotted. But first, they had to borrow a few things from the NPR office.

Blue Man Group designed new instruments and a small-scale show solely for a one-time performance at the Tiny Desk. Celebrate the group's 25th anniversary with this musical and comical adventure, which you can watch this Monday, Sept. 26, at npr.org/tinydesk.

For the past 25 years I've had this notion that on every successive Leonard Cohen record his voice would get deeper and deeper until one day he'd put out an album so subsonic that you'd just feel it, not hear it. Well, we're close. On this day, Leonard Cohen's 82nd birthday, he's given us a gift: It's dark, it's beautiful and it's deep. "You Want It Darker" is the title track to his soon-to-be-released album, his 14th studio album in his 49-year recording career. The album of nine songs, out Oct. 21, is produced by his son, musician Adam Cohen.

The Americana Music in Nashville is never quite what I think it will be. This week's All Songs starts with Yola Carter, a British singer of mixed race. Next is the white Australian C.W. Stoneking, sounding like blues legend Willie Dixon. The third song on the show is by Marlon Willams, a soulful young New Zealand singer. The common thread as we explore the newest and most promising voices at AmericanaFest is a love of folk, country, roots music, but how that gets interpreted varies, and that's where the fun is.

The Americana Music in Nashville is never quite what I think it will be. This week's All Songs starts with Yola Carter, a British singer of mixed race. Next is the white Australian C.W. Stoneking, sounding like blues legend Willie Dixon. The third song on the show is by Marlon Willams, a soulful young New Zealand singer. The common thread as we explore the newest and most promising voices at AmericanaFest is a love of folk, country, roots music, but how that gets interpreted varies, and that's where the fun is.

There is a magical new film by Bill Morrison, who has has garnered love and accolades for his films that use archival footage to tell new stories.

His work has been shown around the world, recently as part of a mid-career retrospective at the Museum of Modern Art in New York. Along with his use of found footage, Bill Morrison often teams up with modern composers. He's made films using music by Philip Glass, Harry Partch, Vijay Iyer and Bill Frisell which gives you an idea of his reach into both the world of classical, avant-garde and jazz.

There's a new film about Nick Cave & The Bad Seeds directed by Andrew Dominik called One More Time With Feeling. The setting of the film is a recording studio for a performance of songs from Skeleton Tree, the band's 16th studio album. But the backdrop to the film is tragic. In the summer of 2015, Nick Cave's 15-year-old son Arthur fell from a cliff while hallucinating on LSD. The film was made about five months later. Cave has not spoken at any length about his son, and this film is, in a way, his statement and thoughts on Arthur's death.

Here's something I find remarkable: There are only three professionally made recordings of The Beatles playing live in concert. Sure, there are bootleg recordings that don't sound very good. And there's a single-microphone recording from the band's days performing in Hamburg in the early '60s, but that's it.

The band San Fermin plays painstakingly orchestrated folk-rock, performed with two singers at the fore. The deep, dreamy male voice belongs to Allen Tate, who's about to put out his first solo record. But he's not straying too far from San Fermin: That group's mastermind and Tate's longtime friend, Ellis Ludwig-Leone, produced the forthcoming Sleepwalker.

I've missed Lisa Hannigan. Five years ago, the Irish singer-songwriter made an unforgettably beautiful record called Passenger. She came by to play a Tiny Desk concert that year, and then we had to wait for half a decade; it was tough, because I've missed her sad, delicate songs. It turns out the five-year gap wasn't her plan.

There's new music from The Tallest Man On Earth. Though the song, "Rivers" feels familiar, there's an immediacy here, as though singer Kristian Matsson quickly captured a passionate moment in time. The voice is rawer and homespun, with lovely horns and piano accompanying a tale about leaving.

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