WEBVTT - Common Man Hour 1

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<v Speaker 1>Common man, common man. Stops here. Lakers.

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<v Speaker 2>An M as empty as the reservoirs in Los Angeles.

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<v Speaker 1>Nets.

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<v Speaker 2>Cut down by Nico Medved next April in Detroit after

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<v Speaker 2>the Gophers win the 84-team March Madness tournament.

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<v Speaker 1>Mavericks. Traded their fat superstar even though they knew going

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<v Speaker 1>in that everything is bigger in Texas. Rockets.

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<v Speaker 2>Elon bought the franchise because he needed them to propel

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<v Speaker 2>this flying car.

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<v Speaker 1>Spurs. They're only of the moment. 76ers. 67.

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<v Speaker 3>Knicks.

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<v Speaker 2>Can be remedied by placing a tiny piece of toilet

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<v Speaker 2>or tissue paper on them.

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<v Speaker 1>Celtics.

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<v Speaker 2>That's exactly what common and meat sauce do prior to

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<v Speaker 2>flop sweat and tear shows.

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<v Speaker 1>Raptors. Extinct. Cavaliers.

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<v Speaker 2>Describes their collective attitude in regard to winning basketball games.

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<v Speaker 1>Pacers.

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<v Speaker 2>Weird bubble-like car produced by AMC in the 70s and

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<v Speaker 2>appeared to.

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<v Speaker 1>Be made of nothing but glass.

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<v Speaker 4>Pistons.

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<v Speaker 1>With the advent of electric cars, they're becoming obsolete.

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<v Speaker 3>Hawks!

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<v Speaker 2>What Meat Sauce says when someone asks, hey, whose blue

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<v Speaker 2>shoes are those?

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<v Speaker 1>Hornets!

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<v Speaker 2>The insect is far more interesting than the basketball team.

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<v Speaker 2>Even though their brains are the size of two grains

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<v Speaker 2>of sand, they can somehow construct a waterproof, thermodynamic nest.

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<v Speaker 2>Google them immediately after this dead list. Heat!

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<v Speaker 1>It's not the heat as much as it is the humidity. Magic!

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<v Speaker 1>Sleight of hand meant to fool dumb, gullible people.

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<v Speaker 5>Wizards!

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<v Speaker 2>Prosthetic genitalia once used by Ontario Smith in an attempt

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<v Speaker 2>to pass a drug test.

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<v Speaker 1>Nuggets! The upcoming season will be like the nearby mountains. Rocky. Thunder.

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<v Speaker 2>It can sometimes startle you and it's kind of cool

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<v Speaker 2>but poses no real threat.

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<v Speaker 5>Jazz.

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<v Speaker 2>Add about five more Z's to their name because you'll

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<v Speaker 2>fall asleep on watching the club.

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<v Speaker 1>Trailblazers. Impounded. Clippers.

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<v Speaker 2>Kelsas had to buy a new one after it started

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<v Speaker 2>smoking and blew a fuse after she tried to shave

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<v Speaker 2>meat sauce's back. Suds. Larry Mandela guy kept trying and

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<v Speaker 2>trying and trying but couldn't produce one.

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<v Speaker 1>Pelicans!

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<v Speaker 2>Arrested by the Louisiana Department of Fish and Wildlife for

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<v Speaker 2>poaching when it was discovered that the big, ugly buckets

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<v Speaker 2>that hang from their beaks were actually purchased at Cabela's.

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<v Speaker 1>Grizzlies!

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<v Speaker 2>Fittingly, it's the plural form of how crime scenes are

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<v Speaker 2>often described.

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<v Speaker 1>Warriors!

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<v Speaker 2>Will be the warriors when they see the Timberwolves on

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<v Speaker 2>the schedule.

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<v Speaker 1>They're all dead! They're all dead, each and every one

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<v Speaker 1>of them. That's your dead list. That's your only beginning.

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<v Speaker 1>That's your... That's your first.

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<v Speaker 2>Step towards a national basketball association title. All we have

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<v Speaker 2>to do is worry about rebounding and get the rotations right.

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<v Speaker 6>And we're going to win it all.

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<v Speaker 1>That's what I always love that one.

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<v Speaker 2>Um, another NBA season is upon us. It actually started yesterday. Um,

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<v Speaker 2>but the, uh, the, uh, the Timberwolves are in action

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<v Speaker 2>for the, uh, their lid, their season lid lifter when they, um,

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<v Speaker 2>travel to Miami to take on the, um, It's not

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<v Speaker 2>the heat, it's really the humidity.

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<v Speaker 1>You've heard that before, right?

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<v Speaker 2>They should have been called themselves the Miami Humidity.

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<v Speaker 6>It would be a way better name. The Miami Humidity.

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<v Speaker 1>So there you go.

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<v Speaker 2>Another season starts with only the beginning.

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<v Speaker 6>My guess is another season will end with sad eyes. But,

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<v Speaker 6>you know, hold on, wait.

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<v Speaker 7>Ah, you know what?

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<v Speaker 1>This year's going to be different.

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<v Speaker 2>Because remember, two years ago, we got to the door. No,

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<v Speaker 2>three years ago, we got to the door. Then it

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<v Speaker 2>was two years ago, we knocked on the door. Last year,

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<v Speaker 2>we thought we were going to kick it in, and

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<v Speaker 2>we did, and we got kicked out of the playoffs

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<v Speaker 2>in the semifinals.

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<v Speaker 6>That's why we made all sorts of changes. Nas Reed, Dunzo.

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<v Speaker 1>Orange Julius. Orange Julius, Dunzo.

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<v Speaker 2>Did we, did we, Rob Dillingham, Dunzo, and we've replenished

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<v Speaker 2>the roster with the greatest point guard in the history

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<v Speaker 2>of the NBA. Nobody creates like he does, Melo Ball,

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<v Speaker 2>pairing him with Anthony Edwards for maybe the best backcourt

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<v Speaker 2>in the history of the NBA. What would be, do

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<v Speaker 2>you know, Tenneby, to this point, you're not a, you're

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<v Speaker 2>not a basketball guy, so it's probably a mute point.

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<v Speaker 2>For me to ask you this question, I wonder what

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<v Speaker 2>the best backcourt in the history of the NBA is.

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<v Speaker 1>Any backcourt with Michael Jordan in it?

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<v Speaker 2>Yeah. Can you Google that and see if that's what

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<v Speaker 2>it says?

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<v Speaker 1>If they say like, who was in his backcourt with him?

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<v Speaker 6>Was it, my memory's bad.

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<v Speaker 4>Well, yeah, like Steve Kerr and B.J.

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<v Speaker 1>Armstrong. Steve Kerr was.

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<v Speaker 6>A really good three-point shooter, if I'm not mistaken.

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<v Speaker 2>There's always lists of this and lists of that. And

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<v Speaker 2>this is list radio. It's our favorite thing to do.

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<v Speaker 2>Do they give you a definitive answer or just give

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<v Speaker 2>you several?

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<v Speaker 1>I mean, it's people's opinion, right? Well, I get that.

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<v Speaker 6>Well, this is AI, isn't it? I mean, AI is

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<v Speaker 6>really not even, I.

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<v Speaker 1>Have a sporting news column from 2021. Okay. Ranking the

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<v Speaker 1>top 10. Backwards. Let's go with that. We'll consider that

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<v Speaker 1>the Bible of a backwards. Let me go 10 to one.

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<v Speaker 4>Let's call it the Bible of backwards. Chris Paul and

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<v Speaker 4>James Harden for the Rockets.

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<v Speaker 2>That was good, especially my favorite part is when Harden

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<v Speaker 2>would just stand there in front of the defender. and

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<v Speaker 2>just dribble back and forth, one hand to the next

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<v Speaker 2>at the top of the key, and the other players

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<v Speaker 2>are standing with their hands on their hips because they

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<v Speaker 2>know there's no reason to cut to the basket or

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<v Speaker 2>anything because James is going to wait until it gets

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<v Speaker 2>down to five seconds, then he's going to try to

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<v Speaker 2>do some spinning, whirling, dervish kind of a move to

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<v Speaker 2>get to the basket. He's going to have the ball

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<v Speaker 2>poked away, and it's going to be a fast break

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<v Speaker 2>the other way.

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<v Speaker 6>That was a great backcourt. I loved watching him do that.

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<v Speaker 4>Number nine, Kobe Bryant and Derek Fisher, Lakers. Number eight,

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<v Speaker 4>Michael Jordan and Ron Harper, Bulls.

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<v Speaker 1>Number seven. Jordan and Harper for the Bulls.

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<v Speaker 2>Yep.

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<v Speaker 1>Okay, that was what number?

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<v Speaker 6>Number seven.

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<v Speaker 1>Walt Frazier and Earl Monroe, the Knicks.

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<v Speaker 2>You know what they called Earl Monroe? We should have

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<v Speaker 2>saved this bit for.

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<v Speaker 1>Could have killed an entire segment. Yeah, this is... Oh,

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<v Speaker 1>we just saved it for 130, yeah. Yeah. Earl the

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<v Speaker 1>Pearl Monroe was what they called him. Or did they

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<v Speaker 1>call him... I think they call him.

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<v Speaker 6>Earl the Worm Monroe is what they called him.

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<v Speaker 1>Let's say this is a good, you know, Lisk Radio.

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<v Speaker 2>Is my favorite radio. It's because it's for lazy hosts.

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<v Speaker 1>Let's take a break.

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<v Speaker 2>When we return, the legendary Brian Oak will join us.

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<v Speaker 2>It's another edition of Rock Talk Until 1. 5-3-4, 1 o'clock, 1-20-ish.

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<v Speaker 2>Head coach of the soon-to-be big game world champion Minnesota Vikings.

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<v Speaker 1>It's been a while since we heard from him. He'll

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<v Speaker 1>talk at 1-20, and then the.

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<v Speaker 6>Legendary Mark Rosen will join us at 2.

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<v Speaker 1>That and so much more here on the Comic Man Problem.

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<v Speaker 5>Coming up next, Brian O joins the common man for

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<v Speaker 5>rock talk on the fan.

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<v Speaker 1>From the 1-800-ASK-GARY Traffic Center.

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<v Speaker 7>This report is sponsored by Ponchero's Mexican Grill.

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<v Speaker 3>Traffic's still heavy northbound side of 169 heading up from

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<v Speaker 3>Old Shakopee Road to Highwood Drive with road work going

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<v Speaker 3>on in the right lane. 494 is quiet, so is 94.

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<v Speaker 3>And no significant complaints right now on 35W. I'm Deb Snyder,

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<v Speaker 3>and that's your latest total traffic.

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<v Speaker 7>At Ponchero's, you get rewarded for eating burritos. Download the

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<v Speaker 7>Ponchero's app. Earn points towards delicious rewards.

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<v Speaker 4>We got your shot at tickets to the Wild vs.

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<v Speaker 4>Islanders game on October 29th. Just use the iHeartRadio app

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<v Speaker 4>to send us a talkback and tell us what your

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<v Speaker 4>Minnesota Wild hot take is for the season. Winners will

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<v Speaker 4>be randomly selected all day. Get the full details at kfn.com.

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<v Speaker 4>Keyword contest.

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<v Speaker 1>A couple of 1314 past Common Man program.

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<v Speaker 2>A number of text messages come into the Bradshaw and

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<v Speaker 2>Bryant KFA text line before we begin Rock Talk. One

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<v Speaker 2>here says, I'm feeling another unpaid tease. There's no chance

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<v Speaker 2>you guys remember to get back to the list of

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<v Speaker 2>top 10 backcourts in NBA history at 130.

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<v Speaker 1>And maybe that's for the best. Lazy radio. He's right.

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<v Speaker 2>We probably never will get to it. We said we

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<v Speaker 2>would and we probably won't. It's possible we could. If

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<v Speaker 2>we did, it would just be like, We would have

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<v Speaker 2>just bumped into it.

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<v Speaker 1>Oh, yeah, that's right.

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<v Speaker 6>We were supposed to do this. So he's probably right.

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<v Speaker 4>I'll set myself like an alarm on my phone to

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<v Speaker 4>remind us.

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<v Speaker 1>We'll be bored by then. Well, that's it.

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<v Speaker 2>That's the reason we radio garden and we don't architect

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<v Speaker 2>because we.

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<v Speaker 1>Don't know what's flying out of our mouths. That's the

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<v Speaker 1>legendary Brian Oak. Welcome to the studio.

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<v Speaker 8>I couldn't be happier to be here today on this

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<v Speaker 8>gorgeous Wednesday afternoon.

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<v Speaker 1>You have to confirm or deny something. Please, anything. I'm

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<v Speaker 1>an open book.

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<v Speaker 6>I've heard you have a podcast.

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<v Speaker 1>I do. You do?

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<v Speaker 8>In fact, I was racing over here because today's ran

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<v Speaker 8>a little long.

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<v Speaker 1>I do.

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<v Speaker 8>It's called The Brian Oaks Show. Not the most inventive name,

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<v Speaker 8>but you know, after all those years in radio, I

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<v Speaker 8>thought if people want to find out where I am,

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<v Speaker 8>you know, I could give you a clever name, but let's...

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<v Speaker 8>Let's go to the real meat of the matter.

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<v Speaker 1>So, yeah, it's a podcast.

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<v Speaker 8>I recorded episode 613 earlier today. Some high drama in

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<v Speaker 8>the world of high art. The Minnesota Opera Orchestra is

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<v Speaker 8>looking at an impending strike because they don't make much

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<v Speaker 8>money to begin with. All they want is a cost

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<v Speaker 8>of living increase. And after four years of a stagnant wage,

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<v Speaker 8>it's a very similar story to one I heard a

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<v Speaker 8>long time, a lot of years in radio at very

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<v Speaker 8>stagnant wage. They are now the powers that be told

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<v Speaker 8>them that there's no appetite for raising their salaries. And

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<v Speaker 8>despite the fact the resources are there, we're talking about

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<v Speaker 8>a modest amount of money And it really, we kind

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<v Speaker 8>of spoke about that intersection of art and commerce where

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<v Speaker 8>if we don't put value into these things, these things

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<v Speaker 8>will go away.

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<v Speaker 1>Which ensemble is this?

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<v Speaker 8>This is the Minneapolis Opera Orchestra. Now, many of the

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<v Speaker 8>members also, they have multiple gigs. This is not a

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<v Speaker 8>gig that's going to pay you enough to pay the

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<v Speaker 8>bills year-round.

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<v Speaker 2>Kind of like being a part of the Minnesota Orchestra, right?

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<v Speaker 1>Yeah, exactly.

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<v Speaker 8>Or the SPCO or, you know, all these different orchestras.

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<v Speaker 8>Or the Guthrie has their own orchestra.

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<v Speaker 2>Yeah.

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<v Speaker 8>And so the people who are in this community, this

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<v Speaker 8>is literally the culmination of a life's work. You've got

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<v Speaker 8>the very best people at doing what they do that

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<v Speaker 8>are available for this project, and they should be fairly compensated.

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<v Speaker 8>They're actually not asking for anything outrageous. It's a much

0:10:55.160 --> 0:10:57.309
<v Speaker 8>deeper story, and we dive all the way into it

0:10:57.390 --> 0:10:59.510
<v Speaker 8>on the new episode of the podcast, which we'll publish

0:10:59.570 --> 0:11:00.650
<v Speaker 8>first thing tomorrow morning.

0:11:00.950 --> 0:11:03.510
<v Speaker 2>They're not making enough money that they could play a

0:11:03.530 --> 0:11:06.310
<v Speaker 2>rendition of Money for Nothing and Your Chicks for Free.

0:11:06.429 --> 0:11:09.100
<v Speaker 8>Well, now, interestingly enough, the woman we had on today,

0:11:09.220 --> 0:11:12.160
<v Speaker 8>she is part of a couple of cool string collaborations.

0:11:12.220 --> 0:11:15.680
<v Speaker 8>In fact, you remember when Snoop Dogg performed at halftime

0:11:15.720 --> 0:11:16.500
<v Speaker 8>here in the Twin Cities?

0:11:16.540 --> 0:11:18.120
<v Speaker 2>One of the greatest performances I've ever seen.

0:11:18.179 --> 0:11:19.420
<v Speaker 1>Well, and so here's the deal.

0:11:19.440 --> 0:11:22.150
<v Speaker 8>There was all of that big orchestra that walked out

0:11:22.190 --> 0:11:24.050
<v Speaker 8>around him at one point and was playing all around

0:11:24.090 --> 0:11:27.329
<v Speaker 8>him and moving everywhere. She set up, coordinated, and ran

0:11:27.370 --> 0:11:31.010
<v Speaker 8>that entire thing. She's fascinating. Rebecca Ahrens is her name.

0:11:31.070 --> 0:11:35.170
<v Speaker 8>She's a cellist, and she's played with all the big

0:11:35.240 --> 0:11:38.280
<v Speaker 8>rock stars. Anybody who's ever wanted orchestrations that have come through,

0:11:38.380 --> 0:11:41.740
<v Speaker 8>things like that, any kind of orchestral, string quartet, whatever.

0:11:42.100 --> 0:11:44.240
<v Speaker 8>We spent a lot of time talking about the fact

0:11:44.280 --> 0:11:47.020
<v Speaker 8>that Eleanor Rigby... It was really probably the first proper

0:11:47.120 --> 0:11:50.430
<v Speaker 8>pop song in that sense that didn't have any instrumentation

0:11:50.690 --> 0:11:54.650
<v Speaker 8>but a chamber quartet. And as a cellist, it's near

0:11:54.690 --> 0:11:57.090
<v Speaker 8>and dear to her heart. But we dove deep on

0:11:57.110 --> 0:11:59.570
<v Speaker 8>some music that I wouldn't normally listen to and learned

0:11:59.610 --> 0:12:02.189
<v Speaker 8>a lot about the community. For people who don't ever

0:12:02.250 --> 0:12:06.420
<v Speaker 8>go to the opera or the orchestra, there is a surprisingly,

0:12:06.480 --> 0:12:08.600
<v Speaker 8>not just here, but around the country and really around

0:12:08.620 --> 0:12:11.579
<v Speaker 8>the world, robust rendition of Did you see any footage

0:12:11.660 --> 0:12:14.820
<v Speaker 8>of the protests in Paris where there was a 400-piece

0:12:14.900 --> 0:12:18.890
<v Speaker 8>orchestra playing while they were getting tear gassed? They didn't

0:12:18.950 --> 0:12:20.750
<v Speaker 8>break ranks and they kept playing their songs.

0:12:20.850 --> 0:12:22.630
<v Speaker 1>Oh, come on. You can look it up right now.

0:12:22.650 --> 0:12:25.990
<v Speaker 1>400-piece orchestra. Sort of like they kept playing there on

0:12:26.010 --> 0:12:27.270
<v Speaker 1>the Titanic. Exactly.

0:12:27.290 --> 0:12:28.350
<v Speaker 6>The band continued to play.

0:12:28.390 --> 0:12:30.080
<v Speaker 1>Because what's the point? The band plays on.

0:12:30.270 --> 0:12:33.240
<v Speaker 8>Exactly. And so, I mean, the whole episode speaks to...

0:12:33.059 --> 0:12:34.339
<v Speaker 8>The marching band refused to yield.

0:12:34.600 --> 0:12:35.339
<v Speaker 1>Yeah, exactly.

0:12:36.460 --> 0:12:38.819
<v Speaker 8>The power of music in our lives and what it

0:12:38.880 --> 0:12:41.179
<v Speaker 8>means to the people who create that music, whether we're

0:12:41.200 --> 0:12:44.320
<v Speaker 8>talking about some three-piece indie band still banging it out

0:12:44.340 --> 0:12:47.069
<v Speaker 8>in their garage. This matters more to them than anything else.

0:12:47.110 --> 0:12:49.729
<v Speaker 8>So think about people whose whole lives have been devoted

0:12:49.770 --> 0:12:52.230
<v Speaker 8>to a particular instrument, then learning to play in a

0:12:52.250 --> 0:12:55.870
<v Speaker 8>proper ensemble, then something as complex as an opera where

0:12:55.929 --> 0:12:59.420
<v Speaker 8>you've got singers, you've got costumers, you've got a whole chorus,

0:12:59.460 --> 0:13:03.620
<v Speaker 8>you've got this massive, beautiful orchestra, you've got all the staging,

0:13:03.640 --> 0:13:05.740
<v Speaker 8>the art direction, all of it. And so you put

0:13:05.780 --> 0:13:08.640
<v Speaker 8>all that together, and for there to not be some value,

0:13:09.080 --> 0:13:12.590
<v Speaker 8>and the thing is, the opera company has the resources.

0:13:12.990 --> 0:13:15.700
<v Speaker 8>They just don't want to part with them. They're a nonprofit.

0:13:16.960 --> 0:13:20.719
<v Speaker 2>Do me a favor. Can you Google what does the,

0:13:21.980 --> 0:13:23.300
<v Speaker 2>is it called the first chair?

0:13:23.580 --> 0:13:23.780
<v Speaker 7>Yeah.

0:13:24.700 --> 0:13:28.000
<v Speaker 1>And does every instrument have their own first chair?

0:13:28.059 --> 0:13:30.240
<v Speaker 8>I can't speak to every instrument. I do know I

0:13:30.420 --> 0:13:32.360
<v Speaker 8>took viola for four years growing up.

0:13:32.500 --> 0:13:35.520
<v Speaker 2>See what the first chair violin, it seems that's the

0:13:35.570 --> 0:13:36.350
<v Speaker 2>most popular.

0:13:36.500 --> 0:13:38.550
<v Speaker 8>But there was a first chair viola for sure. And

0:13:38.590 --> 0:13:40.429
<v Speaker 8>a first chair cellist. So I know it for sure

0:13:40.470 --> 0:13:43.130
<v Speaker 8>applies to the string instruments. In the flugelhorn or the

0:13:43.190 --> 0:13:45.229
<v Speaker 8>French horn, is there a first chair? I'm guessing yes,

0:13:45.270 --> 0:13:45.730
<v Speaker 8>but I don't know.

0:13:45.750 --> 0:13:48.010
<v Speaker 2>Let's find out what the first chair generally makes. I

0:13:48.050 --> 0:13:49.989
<v Speaker 2>suppose the bigger the orchestra.

0:13:50.290 --> 0:13:50.650
<v Speaker 1>Correct.

0:13:51.210 --> 0:13:53.689
<v Speaker 2>If you're with the Philharmonic, you probably make more than

0:13:53.730 --> 0:13:54.989
<v Speaker 2>if you're at the Glencoe.

0:13:55.130 --> 0:13:56.390
<v Speaker 1>Without question.

0:13:56.470 --> 0:13:57.090
<v Speaker 5>You do.

0:13:57.190 --> 0:13:58.910
<v Speaker 8>And again, so I don't know if there's, I mean,

0:13:58.929 --> 0:14:00.550
<v Speaker 8>there probably is a pay scale, but a lot of

0:14:00.590 --> 0:14:03.920
<v Speaker 8>times for that first chair. They will have featured international

0:14:04.020 --> 0:14:07.520
<v Speaker 8>celebrities or superstars, but they're certainly to be first chair

0:14:07.559 --> 0:14:09.819
<v Speaker 8>in an orchestra for people who don't know means that

0:14:09.880 --> 0:14:12.720
<v Speaker 8>you are the premier player. You are the best player

0:14:13.200 --> 0:14:15.120
<v Speaker 8>in high school. It was just a matter of turning

0:14:15.140 --> 0:14:17.770
<v Speaker 8>in your practice records and being pretty good, but there's

0:14:17.850 --> 0:14:21.410
<v Speaker 8>absolutely a hierarchy of the quality of players. The thing is,

0:14:21.550 --> 0:14:23.470
<v Speaker 8>even if you're eighth chair, you have to know what

0:14:23.490 --> 0:14:26.030
<v Speaker 8>you're doing. You, you are a, you are an orchestra

0:14:26.090 --> 0:14:28.930
<v Speaker 8>quality performer, but first chair is always definitely a feather

0:14:28.960 --> 0:14:29.280
<v Speaker 8>in the cap.

0:14:29.300 --> 0:14:32.200
<v Speaker 4>So, There's a wide range here, according to the AI overview,

0:14:32.240 --> 0:14:34.760
<v Speaker 4>from $ 40, 000 a year to.

0:14:34.500 --> 0:14:35.180
<v Speaker 1>$ 600, 000 per year.

0:14:35.200 --> 0:14:40.660
<v Speaker 4>Depends heavily on the orchestra size, budget, location. With top-tier

0:14:40.700 --> 0:14:44.940
<v Speaker 4>symphonies paying concert masters $ 300, 000.

0:14:43.980 --> 0:14:45.080
<v Speaker 1>To $ 650, 000 plus.

0:14:45.300 --> 0:14:49.360
<v Speaker 8>Now, but let's be clear that that is the highest compensated.

0:14:48.700 --> 0:14:51.260
<v Speaker 1>Role in the orchestra. Well, yeah, but that's good money.

0:14:51.540 --> 0:14:54.420
<v Speaker 8>Well, if you're at that tier, but again, the competition

0:14:54.460 --> 0:14:55.940
<v Speaker 8>is freakishly fierce, and.

0:14:55.900 --> 0:14:57.660
<v Speaker 1>There's only a handful of people who are making those

0:14:57.740 --> 0:14:59.780
<v Speaker 1>big dollars. Well, no, I get that. But still, I

0:14:59.800 --> 0:15:01.220
<v Speaker 1>was just curious to what they were making.

0:15:01.260 --> 0:15:03.620
<v Speaker 8>If you're a first chair violin, you're making some money.

0:15:03.660 --> 0:15:08.140
<v Speaker 8>So anyway, it's standard management versus artist arguments. But it

0:15:08.210 --> 0:15:10.590
<v Speaker 8>is coming to a head. And their first performance is

0:15:10.620 --> 0:15:12.730
<v Speaker 8>scheduled for Halloween night. That gives them a week and

0:15:12.750 --> 0:15:13.350
<v Speaker 8>a half to get.

0:15:13.250 --> 0:15:13.830
<v Speaker 1>It figured out.

0:15:13.970 --> 0:15:18.690
<v Speaker 2>Speaking of creating music, this was from Variety. I subscribed

0:15:18.710 --> 0:15:20.330
<v Speaker 2>to a number of different publications.

0:15:20.950 --> 0:15:22.790
<v Speaker 1>Variety is a good one, by the way, for anything.

0:15:22.950 --> 0:15:27.229
<v Speaker 1>in the entertainment world. Yeah, I do fish wrap east, west, athletic,

0:15:27.310 --> 0:15:28.930
<v Speaker 1>lick my whip, and variety.

0:15:29.510 --> 0:15:33.830
<v Speaker 2>And this story says, Spotify's quest to curb the chaos

0:15:34.250 --> 0:15:38.680
<v Speaker 2>IA-generated music has brought onto the platform has prompted it

0:15:38.720 --> 0:15:44.740
<v Speaker 2>to remove 50 million AI slop tracks. From users' recommendations

0:15:44.780 --> 0:15:46.700
<v Speaker 2>this year, a new figure shared Tuesday as part of

0:15:46.740 --> 0:15:51.380
<v Speaker 2>the company's public insights into how it's navigating the AI era.

0:15:51.400 --> 0:15:53.320
<v Speaker 2>The disclosure came in a post on its For the

0:15:53.380 --> 0:15:55.860
<v Speaker 2>Record blog where Spotify laid out the efforts it's taken

0:15:56.320 --> 0:15:58.580
<v Speaker 2>since it promised to push back against various forms of

0:15:58.600 --> 0:16:04.600
<v Speaker 2>AI slop and spam that have proliferated across the streaming service.

0:16:05.000 --> 0:16:09.090
<v Speaker 1>The 50 million tracks the streamer removed... From recommendations, we're.

0:16:09.010 --> 0:16:12.270
<v Speaker 2>In addition to more than the 75 million tracks Spotify

0:16:12.310 --> 0:16:14.450
<v Speaker 2>pulled completely after being flagged as spam.

0:16:15.440 --> 0:16:17.620
<v Speaker 1>Though tracks comprise.

0:16:18.020 --> 0:16:20.560
<v Speaker 6>The 50 million figure have not been removed from the platform.

0:16:20.600 --> 0:16:23.570
<v Speaker 2>According to Spotify, the 50 million AI generated tracks are

0:16:23.590 --> 0:16:26.170
<v Speaker 2>still available, but a user would have to actively seek

0:16:26.210 --> 0:16:29.750
<v Speaker 2>them out to find them. since they aren't recommended algorithmically

0:16:30.320 --> 0:16:31.240
<v Speaker 2>or editorially.

0:16:31.260 --> 0:16:33.960
<v Speaker 1>So what is this spam and trash?

0:16:34.700 --> 0:16:38.360
<v Speaker 8>This is the biggest story in the music business right now.

0:16:38.500 --> 0:16:41.140
<v Speaker 8>So AI, we all know, is coming along, and it's

0:16:41.160 --> 0:16:44.790
<v Speaker 8>getting more convincing literally by the day. And there are

0:16:44.830 --> 0:16:47.130
<v Speaker 8>various use of AIs. Like you and I could sit

0:16:47.170 --> 0:16:49.630
<v Speaker 8>down after we're done with Rock Talk, enter some prompts

0:16:49.670 --> 0:16:52.490
<v Speaker 8>into our favorite chat client, and come up with something

0:16:52.510 --> 0:16:54.610
<v Speaker 8>that literally sounds like it was made in a studio,

0:16:54.630 --> 0:16:59.180
<v Speaker 8>a unique melody, great orchestration, production, whatever kind of prompts

0:16:59.220 --> 0:17:01.000
<v Speaker 8>we put in, and it would need some fine tuning

0:17:01.040 --> 0:17:04.380
<v Speaker 8>and tweaking, but a perfectly acceptable song to the uninitiated.

0:17:04.640 --> 0:17:07.720
<v Speaker 8>They'd have no idea that no artists were involved, no

0:17:07.840 --> 0:17:10.740
<v Speaker 8>producers were involved, that we literally just came on the computer.

0:17:11.400 --> 0:17:12.700
<v Speaker 1>Think about those numbers you just said.

0:17:13.160 --> 0:17:16.010
<v Speaker 8>People have been doing exactly that, and music's been getting

0:17:16.050 --> 0:17:20.410
<v Speaker 8>better and better. 75 million of them were simply removed

0:17:20.470 --> 0:17:23.500
<v Speaker 8>from the platform altogether because people were just flooding it.

0:17:23.850 --> 0:17:26.530
<v Speaker 8>All you have to do, if you get one chance hit, well,

0:17:26.550 --> 0:17:29.149
<v Speaker 8>we can go much deeper into this story. There's a

0:17:29.190 --> 0:17:31.390
<v Speaker 8>lot there, but they got pulled, and we should go

0:17:31.430 --> 0:17:32.709
<v Speaker 8>talk a little bit more about it on.

0:17:32.670 --> 0:17:34.010
<v Speaker 1>The other side of the break because.

0:17:34.450 --> 0:17:38.350
<v Speaker 8>There are proper uses of AI in music creation. What

0:17:38.390 --> 0:17:40.560
<v Speaker 8>they're trying to do is, as you said, get the

0:17:40.670 --> 0:17:41.840
<v Speaker 8>AI slop out of there.

0:17:41.880 --> 0:17:45.280
<v Speaker 1>Remember, I heart guaranteed human. Well, and that's only going

0:17:45.300 --> 0:17:46.460
<v Speaker 1>to become more important.

0:17:46.500 --> 0:17:50.060
<v Speaker 8>So they better be careful about statements that big and

0:17:50.080 --> 0:17:50.780
<v Speaker 8>that they stick to.

0:17:50.820 --> 0:17:53.949
<v Speaker 2>As we go to break and pick up where we

0:17:53.970 --> 0:17:58.710
<v Speaker 2>left off, this text message says, AI music has ruined music.

0:17:58.930 --> 0:18:01.010
<v Speaker 6>People actually listen and enjoy it.

0:18:01.250 --> 0:18:03.470
<v Speaker 1>And we'll go deeper on that on the other side

0:18:03.490 --> 0:18:03.840
<v Speaker 1>of the break.

0:18:03.859 --> 0:18:04.290
<v Speaker 6>Let's do it.

0:18:04.300 --> 0:18:06.859
<v Speaker 2>It's Rock Talk here on a Wednesday afternoon with Common

0:18:06.900 --> 0:18:08.380
<v Speaker 2>Tenneby and Brian Oak right here on The Fan.

0:18:09.859 --> 0:18:18.170
<v Speaker 9>Brian Oak returns for more Rock Talk with the Common

0:18:18.210 --> 0:18:20.090
<v Speaker 9>Man next on The Fan.

0:18:20.130 --> 0:18:20.830
<v Speaker 2>The Fan.

0:18:21.950 --> 0:18:27.270
<v Speaker 5>Minnesota Vikings, Indianapolis Colts. Sunday, October 25th on the audio

0:18:27.310 --> 0:18:28.830
<v Speaker 5>home for Vikings football.

0:18:28.850 --> 0:18:29.550
<v Speaker 2>FM 100.3 KFAN.

0:18:29.570 --> 0:18:30.230
<v Speaker 5>The Fan.

0:18:30.270 --> 0:18:38.530
<v Speaker 1>Powered by Hy-Vee. Open the free iHeartRadio app, search Halloween,

0:18:38.650 --> 0:18:42.280
<v Speaker 1>and listen now. Hey, it's Meat Sauce here. to Target

0:18:42.300 --> 0:18:46.580
<v Speaker 1>Center on October 23rd. I beg your pardon, I never

0:18:46.619 --> 0:18:49.639
<v Speaker 1>promised you a rose garden. Tickets are on sale now.

0:18:49.660 --> 0:18:51.570
<v Speaker 4>Get the complete details on all of our upcoming shows

0:18:51.630 --> 0:18:53.770
<v Speaker 4>on the concert page at kfn.com, keyword calendar.

0:18:54.330 --> 0:18:55.490
<v Speaker 1>Double 13, 14, past.

0:18:55.290 --> 0:18:58.149
<v Speaker 2>Time comedies tend to be Brian Oak here as well.

0:18:58.350 --> 0:18:59.810
<v Speaker 1>So where were we when we lost our hero?

0:18:59.830 --> 0:19:02.760
<v Speaker 8>Well, what we're talking about, so AI music. Spotify has

0:19:02.820 --> 0:19:06.219
<v Speaker 8>yanked a full 75 million songs off their platform that

0:19:06.240 --> 0:19:09.840
<v Speaker 8>were flagged as spam or AI slop. And now, just

0:19:09.880 --> 0:19:13.699
<v Speaker 8>this week, have taken another 50 million songs that were

0:19:13.760 --> 0:19:17.330
<v Speaker 8>AI generated. They haven't removed them from the platform. But

0:19:17.369 --> 0:19:19.449
<v Speaker 8>what they have done is stop making them show up

0:19:19.650 --> 0:19:23.750
<v Speaker 8>in your algorithm or your recommendations. Anybody who streams music anyway...

0:19:23.950 --> 0:19:25.550
<v Speaker 8>Even as you were telling me, Common, you a lot

0:19:25.570 --> 0:19:27.970
<v Speaker 8>of times will go through YouTube. That little thing on

0:19:28.010 --> 0:19:30.429
<v Speaker 8>the side of recommended and what's coming up next is

0:19:30.470 --> 0:19:33.100
<v Speaker 8>sort of informed by a similar algorithm. Oh, this is

0:19:33.119 --> 0:19:35.060
<v Speaker 8>what you're listening to. This is what you're into. We're

0:19:35.080 --> 0:19:37.140
<v Speaker 8>going to recommend things to you that we think you'll like.

0:19:37.960 --> 0:19:40.439
<v Speaker 8>And they said over the course of six months, they

0:19:40.480 --> 0:19:42.590
<v Speaker 8>were seeing so many of a certain type of song

0:19:42.700 --> 0:19:45.890
<v Speaker 8>flagged that they decided this was something they had to do.

0:19:45.990 --> 0:19:48.469
<v Speaker 8>So those first 75 million, they're just gone. They were

0:19:48.510 --> 0:19:53.520
<v Speaker 8>complete spam, complete slackers. non-existent, not worthwhile. This next 50,

0:19:53.520 --> 0:19:56.120
<v Speaker 8>they've decided they're going to keep them on. 50 million,

0:19:56.160 --> 0:19:59.230
<v Speaker 8>by the way. Think about that many songs. We're talking

0:19:59.230 --> 0:20:02.670
<v Speaker 8>125 million songs. But this next 50, they're going to

0:20:02.690 --> 0:20:04.550
<v Speaker 8>stay on the platform, but they will no longer show

0:20:04.590 --> 0:20:07.650
<v Speaker 8>up in your algorithms. or be recommended to you, you

0:20:07.710 --> 0:20:09.449
<v Speaker 8>can still listen to them, but you will have to

0:20:09.670 --> 0:20:12.629
<v Speaker 8>actively find them. And their concern, I think, gets to

0:20:12.670 --> 0:20:14.590
<v Speaker 8>the core of what we're all about here, right? I mean,

0:20:14.609 --> 0:20:18.780
<v Speaker 8>we're already in an era where artists aren't being fairly compensated. 83%,

0:20:18.780 --> 0:20:21.960
<v Speaker 8>I believe, of the market is based on streaming in

0:20:21.980 --> 0:20:24.720
<v Speaker 8>the music industry now. So even if you still buy

0:20:24.859 --> 0:20:28.980
<v Speaker 8>albums or you listen through other venues, you buy physical media, whatever,

0:20:29.520 --> 0:20:32.540
<v Speaker 8>streaming still dominates it. So this matters. And although it's

0:20:32.580 --> 0:20:35.640
<v Speaker 8>not a great option for artists, Spotify... is the number

0:20:35.740 --> 0:20:39.560
<v Speaker 8>one hub, right? I mean, that's where everybody goes. And

0:20:39.720 --> 0:20:41.949
<v Speaker 8>even though they're not being fairly compensated, at least it's

0:20:41.990 --> 0:20:44.250
<v Speaker 8>a marketplace. At least it's an arena where they can

0:20:44.310 --> 0:20:47.190
<v Speaker 8>present their stuff. And if they're getting lost in an

0:20:47.390 --> 0:20:51.720
<v Speaker 8>absolute sea, a tidal wave of this, even they themselves,

0:20:51.760 --> 0:20:54.660
<v Speaker 8>Spotify calls it AI slop, because that's what it is.

0:20:55.380 --> 0:20:56.780
<v Speaker 8>I mean it when I say that you and I

0:20:56.820 --> 0:20:59.360
<v Speaker 8>could sit down right here after we get done here,

0:21:00.160 --> 0:21:02.149
<v Speaker 8>after you get back to going over the top 10

0:21:02.150 --> 0:21:05.330
<v Speaker 8>backcourts in the history of the NBA, we could sit

0:21:05.369 --> 0:21:07.590
<v Speaker 8>down and type in the prompts that we would like

0:21:07.630 --> 0:21:10.930
<v Speaker 8>to use, come up with a professional quality sounding song,

0:21:10.950 --> 0:21:13.409
<v Speaker 8>whether it's any good or not, doesn't matter, slap it

0:21:13.450 --> 0:21:17.060
<v Speaker 8>up on Spotify, and instantly, you and I are a band,

0:21:17.080 --> 0:21:19.380
<v Speaker 8>the Commonwealth Brothers, whatever you want to do it, you know,

0:21:19.480 --> 0:21:23.520
<v Speaker 8>or Common and Friends, whoever. There's nothing wrong with that.

0:21:23.560 --> 0:21:24.300
<v Speaker 8>There's nothing illegal with it.

0:21:24.300 --> 0:21:27.040
<v Speaker 1>Matt and I call ourselves the Brothers Drip. We were

0:21:27.080 --> 0:21:28.060
<v Speaker 1>the Drip.

0:21:27.720 --> 0:21:29.540
<v Speaker 2>Brothers, but then we wanted to change it up, so

0:21:29.560 --> 0:21:30.879
<v Speaker 2>now we're the Brothers Drip.

0:21:31.800 --> 0:21:35.899
<v Speaker 8>See, at a very philosophical and fundamental level, this matters

0:21:35.960 --> 0:21:38.659
<v Speaker 8>because real artists spend their life doing it, right? It

0:21:38.700 --> 0:21:40.180
<v Speaker 8>kind of speaks to that thing we were talking about

0:21:40.220 --> 0:21:42.500
<v Speaker 8>with the orchestra. This is who they are. This is

0:21:42.540 --> 0:21:45.830
<v Speaker 8>their craft. This was created from a human mind, and

0:21:45.880 --> 0:21:50.149
<v Speaker 8>as talented and as fast and as... potentially amazing as

0:21:50.230 --> 0:21:53.109
<v Speaker 8>ai can do this it's not the same thing and

0:21:53.190 --> 0:21:55.770
<v Speaker 8>so we are kind of i don't want to call

0:21:55.790 --> 0:21:58.369
<v Speaker 8>it a spiritual war but more of a philosophical crux

0:21:58.410 --> 0:22:00.130
<v Speaker 8>of what do we want the future to look like

0:22:00.210 --> 0:22:03.330
<v Speaker 8>what does our entertainment mean to us and a huge

0:22:03.410 --> 0:22:06.410
<v Speaker 8>body like spotify has said we're going to try to

0:22:06.490 --> 0:22:09.690
<v Speaker 8>maintain this as a safest space as possible for real

0:22:09.730 --> 0:22:11.630
<v Speaker 8>life human artists Jerry.

0:22:12.060 --> 0:22:18.639
<v Speaker 2>Who's listening in Phoenix, Phoenix, Arizona, all the way to Tacoma, Philadelphia, Atlanta, LA,

0:22:18.840 --> 0:22:19.180
<v Speaker 2>he says.

0:22:19.240 --> 0:22:21.250
<v Speaker 1>Don't forget to let Brian Oak talk about the good

0:22:21.310 --> 0:22:23.510
<v Speaker 1>things AI is doing in music. It's true.

0:22:23.650 --> 0:22:25.949
<v Speaker 8>Is AI doing good things in music? What would there

0:22:25.970 --> 0:22:27.110
<v Speaker 8>be that would be good? This is not my area

0:22:27.150 --> 0:22:30.820
<v Speaker 8>of expertise, but AI can... When you go through, if

0:22:30.859 --> 0:22:32.780
<v Speaker 8>you want to clean things up, there's all kinds of

0:22:32.820 --> 0:22:35.280
<v Speaker 8>studio tools. You don't listen to a single song on

0:22:35.300 --> 0:22:38.430
<v Speaker 8>the radio or anywhere that hasn't been cleaned up with

0:22:38.470 --> 0:22:40.770
<v Speaker 8>studio work, right? I mean, unless you're really into the

0:22:40.830 --> 0:22:43.869
<v Speaker 8>raw stuff or you're listening to old folky stuff. Anything

0:22:43.890 --> 0:22:46.280
<v Speaker 8>with a pop or rock element in the last, I'd

0:22:46.380 --> 0:22:50.220
<v Speaker 8>pick it, 25, 30 years. Studio items like Pro Tools

0:22:50.260 --> 0:22:52.169
<v Speaker 8>and things like that, you just sharpen it up.

0:22:52.220 --> 0:22:53.740
<v Speaker 1>You clean it up. You tighten it up.

0:22:53.900 --> 0:22:56.440
<v Speaker 8>Even after it's been played beautifully, you still need to

0:22:56.480 --> 0:22:59.780
<v Speaker 8>have it have that sound or that cohesiveness. AI can

0:22:59.800 --> 0:23:02.900
<v Speaker 8>do that instantaneously. So there are– and he probably knows

0:23:02.940 --> 0:23:04.800
<v Speaker 8>more about it than I do, but I do know

0:23:04.840 --> 0:23:07.810
<v Speaker 8>that there are people– One of the other things Spotify

0:23:07.830 --> 0:23:10.290
<v Speaker 8>is doing is they are simply saying, this is an

0:23:10.410 --> 0:23:12.429
<v Speaker 8>AI artist so that you know for a fact that

0:23:12.470 --> 0:23:15.870
<v Speaker 8>you're dealing with something made entirely with AI. Or when

0:23:15.910 --> 0:23:20.090
<v Speaker 8>they can, they are marking songs as AI-assisted. Now, that

0:23:20.130 --> 0:23:22.129
<v Speaker 8>means it was still written by a real human being,

0:23:22.190 --> 0:23:24.900
<v Speaker 8>that it was performed by a real human being, hopefully

0:23:24.960 --> 0:23:27.780
<v Speaker 8>produced by a real human being. But there are AI

0:23:27.840 --> 0:23:29.879
<v Speaker 8>tools in place that I would not be qualified to

0:23:29.940 --> 0:23:31.900
<v Speaker 8>speak on, but I've heard other people refer to them,

0:23:32.320 --> 0:23:34.879
<v Speaker 8>that absolutely can do a lot of that work in

0:23:34.900 --> 0:23:37.900
<v Speaker 8>a much shorter period of time. And again, I would

0:23:37.960 --> 0:23:40.480
<v Speaker 8>love to have someone on to talk about the positives

0:23:40.550 --> 0:23:43.109
<v Speaker 8>of it because there are positives. But if we're starting

0:23:43.130 --> 0:23:45.590
<v Speaker 8>from absolute scratch and you and I can put songs

0:23:45.650 --> 0:23:47.510
<v Speaker 8>up there, we have no business doing it.

0:23:47.510 --> 0:23:49.070
<v Speaker 1>Well, that's where the line is.

0:23:49.190 --> 0:23:53.550
<v Speaker 2>Here's a text message that says, I have no musical ability. However,

0:23:53.770 --> 0:23:56.060
<v Speaker 2>using AI, I make some music that I really enjoy.

0:23:56.520 --> 0:23:59.480
<v Speaker 2>What's to say that not all AI generated music is slop?

0:23:59.580 --> 0:24:01.860
<v Speaker 2>Some of it, in my case, is something I can

0:24:01.900 --> 0:24:02.850
<v Speaker 2>produce and be proud of.

0:24:03.280 --> 0:24:04.399
<v Speaker 1>But you're not producing it.

0:24:05.240 --> 0:24:08.639
<v Speaker 8>You were literally typing a handful of prompts into a

0:24:08.680 --> 0:24:12.359
<v Speaker 8>computer that has the amalgamated musical experience and knowledge of

0:24:12.400 --> 0:24:14.820
<v Speaker 8>the entirety of the human race. And so what you're

0:24:14.859 --> 0:24:19.709
<v Speaker 8>doing is, unless you are writing some of the parts

0:24:19.930 --> 0:24:22.890
<v Speaker 8>or telling it the chord progression you want, even then

0:24:22.950 --> 0:24:25.270
<v Speaker 8>I can start to understand it. But if you're literally

0:24:25.310 --> 0:24:28.430
<v Speaker 8>just typing in verbal prompts, you didn't produce it. You

0:24:28.510 --> 0:24:30.990
<v Speaker 8>didn't create it. You may create something that you've enjoyed.

0:24:31.510 --> 0:24:34.310
<v Speaker 8>The end product might be something you like, but this

0:24:34.369 --> 0:24:36.580
<v Speaker 8>is the crux of it. You did not create it.

0:24:37.340 --> 0:24:39.439
<v Speaker 8>It is an amalgam of those who came before you.

0:24:39.720 --> 0:24:42.379
<v Speaker 8>And again, musicians do that, but they still sit down

0:24:42.780 --> 0:24:45.119
<v Speaker 8>and they go through the blood, sweat, and tears of writing,

0:24:45.200 --> 0:24:48.419
<v Speaker 8>of performing, of producing, of all the other things that

0:24:48.460 --> 0:24:51.910
<v Speaker 8>go into making an actual creation, a genuine... What is art,

0:24:52.030 --> 0:24:54.270
<v Speaker 8>I guess, is the question we're asking, and that's heavy,

0:24:54.310 --> 0:24:55.889
<v Speaker 8>but here it is in the public marketplace.

0:24:55.910 --> 0:24:58.890
<v Speaker 2>I have another question that's totally, really, I think, unrelated,

0:24:58.910 --> 0:25:03.260
<v Speaker 2>but when you'll... I'll play a song, and on the

0:25:03.300 --> 0:25:05.359
<v Speaker 2>heading it will say, you know, the song, it'll be

0:25:05.420 --> 0:25:06.119
<v Speaker 2>a Beatles song, 1970.

0:25:06.119 --> 0:25:07.520
<v Speaker 1>And it will.

0:25:07.400 --> 0:25:11.290
<v Speaker 2>Say remastered in 2000. So what do they mean by remastered?

0:25:11.310 --> 0:25:12.930
<v Speaker 2>They go in and clean it up like you're saying?

0:25:12.950 --> 0:25:13.570
<v Speaker 1>They do, in fact.

0:25:13.609 --> 0:25:18.170
<v Speaker 8>Like, so sometimes when in an era where something came out, right,

0:25:18.470 --> 0:25:21.380
<v Speaker 8>so they'll go back to the original tracks, the original masters.

0:25:21.820 --> 0:25:24.739
<v Speaker 8>And sometimes that means we need to bring the vocals out.

0:25:24.800 --> 0:25:27.480
<v Speaker 8>Everyone's always complained for 30 years that the vocals were buried.

0:25:27.510 --> 0:25:28.570
<v Speaker 1>You can't understand the words, right?

0:25:28.590 --> 0:25:28.949
<v Speaker 5>Yeah.

0:25:29.010 --> 0:25:29.230
<v Speaker 7>Right.

0:25:29.290 --> 0:25:32.690
<v Speaker 8>And remastering can take as many different forms as there

0:25:32.730 --> 0:25:35.930
<v Speaker 8>are creative ideas and different artists out there. But what

0:25:35.950 --> 0:25:37.980
<v Speaker 8>they do is they come back and they try to,

0:25:38.140 --> 0:25:40.580
<v Speaker 8>oftentimes working with the artist or the people who would

0:25:40.619 --> 0:25:44.619
<v Speaker 8>know best, they will try to make it a definitive,

0:25:44.690 --> 0:25:48.100
<v Speaker 8>by modern ears, a definitive version of what they really

0:25:48.140 --> 0:25:50.300
<v Speaker 8>wanted that song to sound like, but at the time

0:25:50.380 --> 0:25:55.460
<v Speaker 8>didn't because they didn't realize it, or studio or technological limitations.

0:25:55.800 --> 0:25:59.400
<v Speaker 8>But yeah, no, great legendary albums get remastered on the regular,

0:25:59.740 --> 0:26:01.870
<v Speaker 8>and it's to punch them up and also to take

0:26:01.910 --> 0:26:06.530
<v Speaker 8>advantage of The nature of audio equipment has changed radically,

0:26:06.770 --> 0:26:08.550
<v Speaker 8>and sometimes things sound better.

0:26:08.570 --> 0:26:10.510
<v Speaker 1>Four tracks, eight tracks, everything has changed.

0:26:10.530 --> 0:26:12.130
<v Speaker 8>Maybe it was in mono, now we want to release

0:26:12.230 --> 0:26:15.590
<v Speaker 8>a stereo version, or sometimes vice versa. So a remaster

0:26:15.630 --> 0:26:18.129
<v Speaker 8>just means somebody who knows what they're doing, with the

0:26:18.170 --> 0:26:21.120
<v Speaker 8>approval of whoever owns the music, went back in to

0:26:21.180 --> 0:26:26.760
<v Speaker 8>make either thicker, rounder, juicier, better, cleaner productions of these

0:26:26.820 --> 0:26:29.419
<v Speaker 8>songs that are already legendary, but now... You've got what

0:26:29.480 --> 0:26:32.440
<v Speaker 8>is considered, at least for now, the definitive version. Because

0:26:32.460 --> 0:26:34.360
<v Speaker 8>there are things that have been remastered more than once.

0:26:34.740 --> 0:26:38.290
<v Speaker 1>Here's a couple of emails. I'll just... A text message.

0:26:38.350 --> 0:26:42.630
<v Speaker 1>I'll read this one. Yeah. Because it kind of sums

0:26:42.690 --> 0:26:43.970
<v Speaker 1>up some of the others. But it says.

0:26:44.800 --> 0:26:46.699
<v Speaker 2>Why should I care if a song I enjoy is

0:26:46.740 --> 0:26:48.970
<v Speaker 2>created by real people or AI? If I like it,

0:26:48.970 --> 0:26:49.869
<v Speaker 2>I'm going to listen to it.

0:26:49.890 --> 0:26:50.350
<v Speaker 1>You can.

0:26:50.670 --> 0:26:53.030
<v Speaker 8>Nobody is saying that. And this is the crux of

0:26:53.090 --> 0:26:55.530
<v Speaker 8>it right here. What do we consider art and where

0:26:55.650 --> 0:26:59.090
<v Speaker 8>are our personal priorities? That's why this is, when I

0:26:59.150 --> 0:27:02.209
<v Speaker 8>say that it's sort of a battle of philosophies or

0:27:02.290 --> 0:27:05.060
<v Speaker 8>even a spiritual battle, I don't think there's anything wrong

0:27:05.100 --> 0:27:08.280
<v Speaker 8>with that. I like absolutely inane pop music. I like

0:27:08.420 --> 0:27:10.740
<v Speaker 8>all kinds of complex, deep, difficult stuff.

0:27:10.820 --> 0:27:15.200
<v Speaker 1>I like the whole Enjoy it.

0:27:15.650 --> 0:27:21.000
<v Speaker 8>That's the ultimate final test of art evaluation.

0:27:21.320 --> 0:27:23.840
<v Speaker 1>Do you enjoy it? There's no right or wrong answer.

0:27:23.859 --> 0:27:27.240
<v Speaker 2>But a provider of music, somebody who provides music and say, we.

0:27:27.180 --> 0:27:30.410
<v Speaker 1>Don't want, you just have to find that elsewhere.

0:27:30.430 --> 0:27:30.690
<v Speaker 5>Correct.

0:27:30.970 --> 0:27:32.489
<v Speaker 1>We're not going to go out of our way to

0:27:32.550 --> 0:27:33.159
<v Speaker 1>recommend it.

0:27:33.190 --> 0:27:35.330
<v Speaker 8>We're not going to add it to the algorithm because

0:27:35.369 --> 0:27:38.780
<v Speaker 8>Spotify as a company has decided that the meat and

0:27:38.820 --> 0:27:41.340
<v Speaker 8>potatoes of what they do and somebody there still believes

0:27:41.380 --> 0:27:45.010
<v Speaker 8>it's important enough that we're talking about human created music.

0:27:45.050 --> 0:27:47.390
<v Speaker 8>Because if you alienate all the people who've spent their

0:27:47.450 --> 0:27:50.449
<v Speaker 8>life creating music. this music that they've put on the platform, well,

0:27:50.470 --> 0:27:52.409
<v Speaker 8>they're not going to want to be there anymore. And

0:27:52.430 --> 0:27:54.980
<v Speaker 8>I promise you, Spotify can read the writing on the

0:27:55.020 --> 0:27:58.060
<v Speaker 8>wall no matter how popular it is. They cannot subsist

0:27:58.460 --> 0:27:59.859
<v Speaker 8>based strictly on AI music.

0:27:59.940 --> 0:28:01.920
<v Speaker 6>And this might be a strained analogy, but we have

0:28:01.960 --> 0:28:02.600
<v Speaker 6>a K-102.

0:28:04.070 --> 0:28:05.970
<v Speaker 2>And I still can never figure out if we're playing

0:28:06.070 --> 0:28:09.449
<v Speaker 2>yesterday's country, today's country, or tomorrow's country, but we're playing country.

0:28:09.670 --> 0:28:11.229
<v Speaker 2>But what if I said, well, I want to hear

0:28:11.250 --> 0:28:13.360
<v Speaker 2>a Jimi Hendrix song on that? Well, you're not going

0:28:13.390 --> 0:28:15.220
<v Speaker 2>to because it's a country station. So if I don't

0:28:15.280 --> 0:28:17.800
<v Speaker 2>want to have AI-created music.

0:28:17.619 --> 0:28:21.840
<v Speaker 6>On my audio platform or whatever they call it, then.

0:28:21.740 --> 0:28:22.980
<v Speaker 1>I don't have to do that. And if you want

0:28:23.020 --> 0:28:25.260
<v Speaker 1>to seek that out, go ahead and find it, enjoy it.

0:28:26.180 --> 0:28:29.280
<v Speaker 2>But it's a Spotify doesn't have to feel they don't

0:28:29.340 --> 0:28:30.649
<v Speaker 2>have to if they don't want to.

0:28:30.869 --> 0:28:34.050
<v Speaker 8>And again, it does boil down to the individual experience.

0:28:34.109 --> 0:28:37.570
<v Speaker 8>If you if you've heard AI music that you're like, wow,

0:28:37.630 --> 0:28:38.610
<v Speaker 8>that's a great tune.

0:28:38.630 --> 0:28:39.330
<v Speaker 1>What a great hook.

0:28:39.630 --> 0:28:41.670
<v Speaker 8>And I'm not surprised that AI has gotten so good

0:28:41.750 --> 0:28:44.400
<v Speaker 8>at it because, again, millions of songs, the AI only

0:28:44.420 --> 0:28:47.060
<v Speaker 8>gets smarter and more accomplished every time you utilize it.

0:28:48.160 --> 0:28:52.000
<v Speaker 8>It's also pulling from every piece of recorded music ever

0:28:53.240 --> 0:28:54.200
<v Speaker 8>laid down, ever tracked.

0:28:54.240 --> 0:28:55.240
<v Speaker 1>It's all in there.

0:28:55.580 --> 0:28:57.650
<v Speaker 8>So, of course, AI is going to do a good job,

0:28:57.830 --> 0:28:59.970
<v Speaker 8>and especially when it figures out what people like, it's

0:28:59.990 --> 0:29:03.030
<v Speaker 8>going to keep heading towards that direction. There's nothing wrong

0:29:03.090 --> 0:29:05.790
<v Speaker 8>with you enjoying it. That's not where the crux of

0:29:05.830 --> 0:29:06.890
<v Speaker 8>this conversation is at.

0:29:07.210 --> 0:29:07.830
<v Speaker 1>Where it's at is.

0:29:09.290 --> 0:29:12.350
<v Speaker 8>What does it mean to have a human creator versus

0:29:12.390 --> 0:29:14.880
<v Speaker 8>something that's just an amalgam of all that music? Is

0:29:14.930 --> 0:29:18.600
<v Speaker 8>it stolen? Does it have any soul? Is it real music?

0:29:18.620 --> 0:29:20.320
<v Speaker 8>And that's up to the individual to decide.

0:29:20.360 --> 0:29:22.740
<v Speaker 2>As we get ready for Rock Rank, I think this

0:29:22.840 --> 0:29:26.680
<v Speaker 2>text message basically sums up the conversation. You don't have

0:29:26.700 --> 0:29:29.620
<v Speaker 2>to like AI produced music, but you have to respect it.

0:29:29.660 --> 0:29:32.340
<v Speaker 1>I disagree. You don't even have to respect it.

0:29:32.360 --> 0:29:35.830
<v Speaker 8>But that was a good one. I like it. But

0:29:36.070 --> 0:29:38.590
<v Speaker 8>I do have to respect that guy's opinion. Look, if

0:29:38.670 --> 0:29:41.840
<v Speaker 8>you found some AI. stuff that you dig, crank it.

0:29:42.260 --> 0:29:44.880
<v Speaker 8>Roll the windows down. Drive over the speed limit. Let

0:29:44.940 --> 0:29:47.360
<v Speaker 8>that thing fly. If that's what gets you going, if

0:29:47.400 --> 0:29:50.020
<v Speaker 8>that pushes the big red button in your head, that's

0:29:50.060 --> 0:29:52.580
<v Speaker 8>all for you. But we're talking about something deeper and

0:29:52.620 --> 0:29:55.320
<v Speaker 8>I think more profound here. as opposed to enjoying an

0:29:55.360 --> 0:29:59.220
<v Speaker 8>individual effort. And that is, what is music? What is art?

0:29:59.420 --> 0:30:02.690
<v Speaker 8>And what do we want to enjoy and promote and

0:30:02.750 --> 0:30:06.070
<v Speaker 8>encourage as we move into an ever weirder future? Because

0:30:06.110 --> 0:30:08.230
<v Speaker 8>if you think AI has made the world weird right

0:30:08.270 --> 0:30:11.540
<v Speaker 8>now with how quickly it's moving, Five years from now,

0:30:11.860 --> 0:30:14.780
<v Speaker 8>I believe that American life is going to be unrecognizable

0:30:14.800 --> 0:30:16.940
<v Speaker 8>compared to what it is right now. Not just on

0:30:16.960 --> 0:30:22.200
<v Speaker 8>the musical front. It's going to change literally everything and way, way, way.

0:30:22.260 --> 0:30:25.300
<v Speaker 8>And that's not me being conspiracy theory tinfoil hat guy.

0:30:25.740 --> 0:30:28.060
<v Speaker 8>We're not going to recognize the world we live in

0:30:28.200 --> 0:30:28.820
<v Speaker 8>in five years.

0:30:28.880 --> 0:30:31.120
<v Speaker 6>It's not going to affect me living in Tensleep, Wyoming.

0:30:31.300 --> 0:30:34.310
<v Speaker 1>Well, that's true. That's true. Well, you say that. It

0:30:34.330 --> 0:30:36.630
<v Speaker 1>ain't going to affect me intensely. What about the armies

0:30:36.690 --> 0:30:39.230
<v Speaker 1>of robot dogs, AI? Stop it now.

0:30:39.290 --> 0:30:40.190
<v Speaker 6>Don't scare me anymore.

0:30:40.210 --> 0:30:45.370
<v Speaker 1>The AI robot dogs that roam the wasteland. Exactly. It's coming.

0:30:45.550 --> 0:30:49.300
<v Speaker 1>It's time now for... Rock Rant.

0:30:49.380 --> 0:30:49.880
<v Speaker 2>Thanks, gang.

0:30:51.340 --> 0:30:55.260
<v Speaker 1>Rock Rant. Rock Rant. Rock rank. Now watch who really

0:30:55.280 --> 0:30:57.840
<v Speaker 1>gets angry. Rock rank. Rock rank.

0:30:57.860 --> 0:30:59.540
<v Speaker 2>I don't know if it's anger just really into it,

0:30:59.550 --> 0:31:01.010
<v Speaker 2>but it's time now for rock rank. What do we

0:31:01.050 --> 0:31:02.130
<v Speaker 2>have this week, Tenabee?

0:31:02.150 --> 0:31:05.870
<v Speaker 4>Well, obviously, we've all heard about the term one-hit wonders.

0:31:06.410 --> 0:31:08.110
<v Speaker 4>We're going to try a different take on it. We're

0:31:08.130 --> 0:31:11.030
<v Speaker 4>going to do one-album wonders. So I got a band

0:31:11.050 --> 0:31:14.490
<v Speaker 4>or an artist that exploded for one great album and

0:31:14.530 --> 0:31:18.170
<v Speaker 4>then disappeared or just were complete flops after that. What

0:31:18.210 --> 0:31:20.310
<v Speaker 4>were the best five one-album wonders?

0:31:20.470 --> 0:31:21.150
<v Speaker 1>Just real quick.

0:31:21.280 --> 0:31:21.390
<v Speaker 7>Yeah.

0:31:22.720 --> 0:31:25.680
<v Speaker 2>I couldn't even think of one just because I just, well,

0:31:25.700 --> 0:31:26.980
<v Speaker 2>I'm wondering, you know.

0:31:27.630 --> 0:31:30.750
<v Speaker 1>I finally, though, came up with two. Okay.

0:31:30.830 --> 0:31:33.170
<v Speaker 2>And it's only two that I can come up with.

0:31:33.430 --> 0:31:34.990
<v Speaker 2>And I know there's many, but the only ones I

0:31:34.990 --> 0:31:36.630
<v Speaker 2>can come up with, Blind Faith.

0:31:37.410 --> 0:31:39.030
<v Speaker 1>That's on my list. Blind Faith.

0:31:39.050 --> 0:31:39.210
<v Speaker 2>Yep.

0:31:39.670 --> 0:31:43.630
<v Speaker 1>And then Derek and the Dominoes. Also on my list. Layla. Yep.

0:31:43.810 --> 0:31:49.600
<v Speaker 2>And other assorted love songs. It's a spam call coming

0:31:49.620 --> 0:31:50.340
<v Speaker 2>from California.

0:31:50.360 --> 0:31:51.720
<v Speaker 1>Could be the call that changes your life.

0:31:51.760 --> 0:31:53.090
<v Speaker 6>Yeah, it could be.

0:31:53.540 --> 0:31:56.380
<v Speaker 1>Number five. Okay, well, and so here's the thing.

0:31:56.420 --> 0:31:58.650
<v Speaker 8>Before I dive into number five, this is a tricky

0:31:58.770 --> 0:32:01.930
<v Speaker 8>one because most bands, if they're great and they created

0:32:01.970 --> 0:32:06.209
<v Speaker 8>a lasting, noteworthy album... Why wouldn't they make more than one?

0:32:06.330 --> 0:32:09.040
<v Speaker 8>And so most of these are sort of obscure weirdo

0:32:09.080 --> 0:32:12.940
<v Speaker 8>things or supergroups and side projects like you're talking about

0:32:12.980 --> 0:32:15.219
<v Speaker 8>right there that people love so much. They're like, why

0:32:15.380 --> 0:32:18.400
<v Speaker 8>aren't there more of them? And for me, number five,

0:32:18.520 --> 0:32:21.620
<v Speaker 8>and sometimes it's because someone was tragically taken from us

0:32:21.660 --> 0:32:26.020
<v Speaker 8>too soon. Jeff Buckley, young singer, songwriter, son to Tim Buckley,

0:32:26.080 --> 0:32:28.080
<v Speaker 8>long term folky and acoustic hero.

0:32:28.140 --> 0:32:28.760
<v Speaker 1>Rocker guy.

0:32:29.440 --> 0:32:32.940
<v Speaker 8>Jeff Buckley put out an album called Grace in 1994

0:32:32.940 --> 0:32:37.290
<v Speaker 8>that is beautiful and haunting and deep and lovely in

0:32:37.610 --> 0:32:41.370
<v Speaker 8>every regard. Touched everyone who listened to it. And people

0:32:41.410 --> 0:32:44.390
<v Speaker 8>were like, wow, he's not. As good as his dad,

0:32:44.410 --> 0:32:46.650
<v Speaker 8>he's better than his dad. He's going to eclipse him.

0:32:47.190 --> 0:32:50.510
<v Speaker 8>It's going to be absolutely incredible. He put out this

0:32:50.610 --> 0:32:54.310
<v Speaker 8>landmark album that was universally revered, and there was nothing

0:32:54.370 --> 0:32:57.620
<v Speaker 8>but up and big things in his future. Unfortunately, he

0:32:57.650 --> 0:33:00.459
<v Speaker 8>would go swimming and die in the Mississippi River of

0:33:00.520 --> 0:33:03.600
<v Speaker 8>drowning one night after hanging out with some friends and

0:33:03.620 --> 0:33:06.220
<v Speaker 8>jumping into the river. And so Jeff Buckley was a

0:33:06.420 --> 0:33:09.040
<v Speaker 8>one and done with the 1994 album Grace. And if

0:33:09.080 --> 0:33:12.260
<v Speaker 8>you've never listened to it, you absolutely need to listen

0:33:12.300 --> 0:33:12.520
<v Speaker 8>to it.

0:33:13.370 --> 0:33:14.770
<v Speaker 1>Number four.

0:33:14.790 --> 0:33:17.760
<v Speaker 8>Number four for me is a woman who still makes

0:33:17.840 --> 0:33:21.060
<v Speaker 8>music today, but she never managed to put together more

0:33:21.080 --> 0:33:23.140
<v Speaker 8>than one album. She used to be, and I think

0:33:23.240 --> 0:33:25.340
<v Speaker 8>Tana's going to back me up on this one. She

0:33:25.420 --> 0:33:27.420
<v Speaker 8>used to be in a band called the Fugees, and

0:33:27.500 --> 0:33:30.260
<v Speaker 8>she was well regarded with that particular hip hop act.

0:33:30.740 --> 0:33:33.320
<v Speaker 8>And she's got this incredible voice and this unique style.

0:33:33.420 --> 0:33:37.760
<v Speaker 8>She was sort of a modern day singer. Hip-hop-esque Nina

0:33:37.800 --> 0:33:40.400
<v Speaker 8>Simone in terms of her style, in terms of her

0:33:40.440 --> 0:33:44.140
<v Speaker 8>fierce independence, in terms of her proud womanhood, and that

0:33:44.180 --> 0:33:47.550
<v Speaker 8>would be Lauryn Hill. And she put out this landmark album,

0:33:47.660 --> 0:33:50.030
<v Speaker 8>still widely regarded. I work at a record store. We

0:33:50.070 --> 0:33:52.530
<v Speaker 8>can't keep it in stock. It sells out every time

0:33:52.570 --> 0:33:53.170
<v Speaker 8>we get it back in.

0:33:53.190 --> 0:33:53.330
<v Speaker 5>Really?

0:33:53.830 --> 0:33:57.070
<v Speaker 8>The Miseducation of Lauryn Hill by Lauryn Hill. She's a

0:33:57.190 --> 0:33:59.560
<v Speaker 8>one and done only big solo album she ever had.

0:33:59.820 --> 0:34:03.840
<v Speaker 8>And it was it's still widely regarded as an absolute

0:34:03.880 --> 0:34:04.920
<v Speaker 8>masterpiece to this day.

0:34:04.960 --> 0:34:09.540
<v Speaker 1>And we never got another one. Number three. No, go ahead.

0:34:09.860 --> 0:34:13.010
<v Speaker 8>Oh, number three. I'm going with you on Blind Faith.

0:34:14.090 --> 0:34:16.230
<v Speaker 8>What do we got in there? We got Eric Clapton.

0:34:16.690 --> 0:34:20.290
<v Speaker 1>Eric Clapton. Ginger Baker. Steve Winwood. Steve Winwood. Steve Winwood

0:34:20.330 --> 0:34:20.669
<v Speaker 1>in there.

0:34:21.010 --> 0:34:23.370
<v Speaker 8>And this was sort of, it wasn't really a lark,

0:34:23.410 --> 0:34:25.770
<v Speaker 8>but this was an era that, you know, they were

0:34:25.850 --> 0:34:26.529
<v Speaker 8>all doing well.

0:34:26.570 --> 0:34:27.510
<v Speaker 1>They were doing big.

0:34:27.890 --> 0:34:29.850
<v Speaker 8>But thanks to Steve Winwood being there, it was more

0:34:29.930 --> 0:34:32.470
<v Speaker 8>soulful than what the other guys had been doing in Cream.

0:34:32.489 --> 0:34:32.640
<v Speaker 3>Yeah.

0:34:33.070 --> 0:34:35.860
<v Speaker 8>It wasn't nearly as psychedelic, but it was poignant, it

0:34:35.920 --> 0:34:38.640
<v Speaker 8>was deep, and it was all these people basically at

0:34:38.680 --> 0:34:41.460
<v Speaker 8>the height of their powers. And it's just that one,

0:34:41.520 --> 0:34:44.940
<v Speaker 8>the original cover, of course, features the topless young person

0:34:44.980 --> 0:34:47.380
<v Speaker 8>holding a silver plane, and it's got different covers of

0:34:47.420 --> 0:34:50.390
<v Speaker 8>it since then, since that one's been deemed... Well, somewhat

0:34:50.430 --> 0:34:54.430
<v Speaker 8>inappropriate since then. But, I mean, you've heard the record.

0:34:54.469 --> 0:34:55.950
<v Speaker 8>It's a gorgeous, gorgeous record.

0:34:56.050 --> 0:34:56.230
<v Speaker 5>Yeah.

0:34:56.530 --> 0:34:59.029
<v Speaker 2>Someone said, would Jerry Rafferty's City to City qualify? No,

0:34:59.070 --> 0:35:01.589
<v Speaker 2>we're talking about people that has one album. It didn't

0:35:01.610 --> 0:35:03.290
<v Speaker 2>matter if they only had one really big hit album.

0:35:03.310 --> 0:35:05.470
<v Speaker 2>If they just had one album.

0:35:05.590 --> 0:35:07.160
<v Speaker 1>That's what we're talking about. Just one album.

0:35:07.380 --> 0:35:10.020
<v Speaker 8>Although, let's be clear that Jerry Rafferty's City to City

0:35:10.300 --> 0:35:11.860
<v Speaker 8>is by far his best album.

0:35:11.880 --> 0:35:12.620
<v Speaker 1>Oh, yes, absolutely.

0:35:12.739 --> 0:35:13.240
<v Speaker 7>Yeah, yeah.

0:35:13.440 --> 0:35:14.840
<v Speaker 1>But there have been a lot.

0:35:16.190 --> 0:35:19.330
<v Speaker 2>It's happened to a lot of groups where their debut album,

0:35:19.630 --> 0:35:22.070
<v Speaker 2>or maybe their second, usually their debut is brilliant. And

0:35:22.090 --> 0:35:23.330
<v Speaker 2>the record company goes, you've got to come up with

0:35:23.350 --> 0:35:25.670
<v Speaker 2>another one. And then the guy's man goes, we don't

0:35:25.710 --> 0:35:26.570
<v Speaker 2>have any more songs.

0:35:26.610 --> 0:35:28.779
<v Speaker 1>We have 20 years to come up with that one.

0:35:28.820 --> 0:35:31.460
<v Speaker 2>There's 12 on our album, and two of them are good,

0:35:31.480 --> 0:35:32.560
<v Speaker 2>and the other 10 are filler.

0:35:33.080 --> 0:35:34.580
<v Speaker 6>You want another album of filler?

0:35:34.800 --> 0:35:35.000
<v Speaker 2>Right.

0:35:35.200 --> 0:35:36.200
<v Speaker 1>We talked about this before.

0:35:36.460 --> 0:35:38.980
<v Speaker 2>After Frampton did Frampton Comes Alive, the record company said,

0:35:39.000 --> 0:35:41.000
<v Speaker 2>we need another album. He said, I don't have any songs.

0:35:41.360 --> 0:35:44.180
<v Speaker 2>So we rushed into this, wrote.

0:35:43.580 --> 0:35:47.310
<v Speaker 1>It, came up with, I'm in you. Kind of a

0:35:47.410 --> 0:35:49.250
<v Speaker 1>cheesy love song. It was okay.

0:35:49.350 --> 0:35:51.989
<v Speaker 8>It was successful because he was still coasting on the

0:35:52.030 --> 0:35:53.350
<v Speaker 8>momentum of Comes Alive.

0:35:53.370 --> 0:35:54.190
<v Speaker 1>Correct.

0:35:54.270 --> 0:35:56.630
<v Speaker 8>That story you just told, the history of rock and

0:35:56.650 --> 0:35:59.870
<v Speaker 8>roll and really all popular music is filled with that where...

0:36:00.430 --> 0:36:02.049
<v Speaker 8>We got a hit right here. We need something to

0:36:02.070 --> 0:36:04.450
<v Speaker 8>get these boys back in the studio. And they got

0:36:04.510 --> 0:36:07.140
<v Speaker 8>nothing to record when they get there. And you force it.

0:36:07.200 --> 0:36:09.280
<v Speaker 8>And that's why you got to let art come to you. Unless,

0:36:09.320 --> 0:36:11.719
<v Speaker 8>of course, they'd had AI and they could have cranked

0:36:11.780 --> 0:36:12.740
<v Speaker 8>it out in an afternoon.

0:36:12.920 --> 0:36:15.460
<v Speaker 2>Well, then you look at other artists like Van Morrison

0:36:15.500 --> 0:36:16.640
<v Speaker 2>has 40 or 50 albums.

0:36:16.700 --> 0:36:19.640
<v Speaker 6>And not every album, every single song is pure magic.

0:36:19.680 --> 0:36:21.839
<v Speaker 1>But a dozen of them are. Yeah, it's great stuff.

0:36:22.640 --> 0:36:25.419
<v Speaker 8>He never went through a period where he didn't have

0:36:25.520 --> 0:36:27.580
<v Speaker 8>something to say and something good to write. And some

0:36:27.600 --> 0:36:29.700
<v Speaker 8>people have that kind of gas in the tank, but

0:36:29.739 --> 0:36:30.620
<v Speaker 8>not everybody does.

0:36:31.000 --> 0:36:32.310
<v Speaker 1>Number two.

0:36:32.739 --> 0:36:35.670
<v Speaker 8>Number two for me is one that you already referenced

0:36:35.750 --> 0:36:40.330
<v Speaker 8>as well and pretty close spiritually to the Blind Faith record.

0:36:40.890 --> 0:36:44.350
<v Speaker 8>I don't love any of Eric Clapton's solo stuff. It's fine,

0:36:44.570 --> 0:36:47.130
<v Speaker 8>but I don't love it. But Cream I love. I

0:36:47.190 --> 0:36:49.930
<v Speaker 8>love Blind Faith and Derek and the Dominoes. Layla and

0:36:50.010 --> 0:36:53.259
<v Speaker 8>Other Assorted Love Songs is this peak 1970s album that.

0:36:56.980 --> 0:36:59.560
<v Speaker 8>The 60s were turning into the 70s, and nobody really

0:36:59.600 --> 0:37:02.359
<v Speaker 8>knew what the future was going to look like. But

0:37:02.380 --> 0:37:04.839
<v Speaker 8>there was hard rock elements coming in that would echo

0:37:04.880 --> 0:37:08.310
<v Speaker 8>throughout the 70s. Some of the psychedelia was being left behind.

0:37:08.750 --> 0:37:11.690
<v Speaker 8>There was this spiritual yearning. There was the realization that

0:37:11.730 --> 0:37:13.570
<v Speaker 8>the dream of the summer of love was in the

0:37:13.650 --> 0:37:15.890
<v Speaker 8>rearview mirror, but somehow we were all going to have

0:37:15.930 --> 0:37:18.970
<v Speaker 8>to keep going on. And in Eric Clapton's case, there

0:37:18.989 --> 0:37:21.770
<v Speaker 8>was an abundance of Peruvian marching powder.

0:37:21.790 --> 0:37:23.370
<v Speaker 1>So, uh, cocaine.

0:37:23.390 --> 0:37:28.370
<v Speaker 8>Uh, and, but, but in between there, it's Eric Clapton's masterpiece.

0:37:28.450 --> 0:37:30.069
<v Speaker 8>I think, you know, I can understand why he was

0:37:30.130 --> 0:37:33.160
<v Speaker 8>revered and has been revered for what more than 50,

0:37:33.160 --> 0:37:36.520
<v Speaker 8>60 years now. Um, but I don't think he ever

0:37:36.560 --> 0:37:39.759
<v Speaker 8>did anything as good again after Layla with Derek and

0:37:39.780 --> 0:37:40.300
<v Speaker 8>the dominoes.

0:37:41.380 --> 0:37:45.120
<v Speaker 1>Number one. Your favorite one, album wonder.

0:37:45.400 --> 0:37:48.160
<v Speaker 8>This is going to seem cliche, and to the people

0:37:48.219 --> 0:37:52.339
<v Speaker 8>who don't care, they're not going to care, but this

0:37:52.430 --> 0:37:56.840
<v Speaker 8>is one where context is crucial. Punk rock was starting

0:37:56.860 --> 0:37:59.100
<v Speaker 8>to happen. Rock and roll was starting to fracture. People

0:37:59.140 --> 0:38:02.740
<v Speaker 8>were bored with the 60s and the sort of epic noodling,

0:38:02.780 --> 0:38:06.700
<v Speaker 8>whatever of them. Punk rock came along and there were

0:38:06.719 --> 0:38:08.660
<v Speaker 8>a handful of releases. This may not have been the

0:38:08.739 --> 0:38:11.400
<v Speaker 8>first one, but it's the one that left the biggest

0:38:11.560 --> 0:38:15.520
<v Speaker 8>impact crater in terms of forever changing the direction of music.

0:38:15.800 --> 0:38:17.560
<v Speaker 8>And I don't even really like it that much, but

0:38:17.600 --> 0:38:22.600
<v Speaker 8>I cannot deny that it's absolutely the most impactful one

0:38:22.760 --> 0:38:24.339
<v Speaker 8>album wonder in the history.

0:38:24.020 --> 0:38:24.759
<v Speaker 1>Of rock and roll ever.

0:38:25.140 --> 0:38:27.430
<v Speaker 8>And that is the Sex Pistols, Never Mind the Bollocks,

0:38:27.450 --> 0:38:30.330
<v Speaker 8>Here's the Sex Pistols. At that time, there was nothing

0:38:30.370 --> 0:38:33.109
<v Speaker 8>even close to it, and yes, they were manufactured by

0:38:33.190 --> 0:38:38.310
<v Speaker 8>some scheming producer. They were essentially a snotty British punk

0:38:38.370 --> 0:38:43.020
<v Speaker 8>rock boy band, but their reach was far. The sound

0:38:43.060 --> 0:38:45.299
<v Speaker 8>at the time was exciting. There was not another record

0:38:45.320 --> 0:38:48.020
<v Speaker 8>that had ever sounded like the Sex Pistols, Never Mind

0:38:48.040 --> 0:38:51.380
<v Speaker 8>the Bollocks, and it changed everything.

0:38:51.500 --> 0:38:55.089
<v Speaker 1>It made a Hundreds. That was hundreds?

0:38:55.260 --> 0:38:58.739
<v Speaker 8>Hundreds of bands worldwide say, whoa, if they can do it,

0:38:58.760 --> 0:39:01.900
<v Speaker 8>we can do it. And it really, it kickstarted punk rock.

0:39:02.000 --> 0:39:05.919
<v Speaker 8>It kickstarted post-punk after it was done. It kickstarted indie bands.

0:39:05.940 --> 0:39:08.980
<v Speaker 8>Was that Johnny Rotten? Johnny Rotten, Sid Vicious.

0:39:09.000 --> 0:39:10.939
<v Speaker 1>Sid Vicious. Yeah, yeah. And the other guys whose names

0:39:10.980 --> 0:39:11.620
<v Speaker 1>I always forget.

0:39:11.640 --> 0:39:14.100
<v Speaker 6>Now, do you think his name really was Johnny Rotten?

0:39:14.120 --> 0:39:14.680
<v Speaker 1>It was not.

0:39:14.719 --> 0:39:16.600
<v Speaker 8>His name is John Lydon. And do you think his

0:39:16.640 --> 0:39:19.259
<v Speaker 8>real name was Sid Vicious? It absolutely was not. And

0:39:19.300 --> 0:39:22.860
<v Speaker 8>I forget his real name. The interesting thing, though, in history,

0:39:23.460 --> 0:39:25.610
<v Speaker 8>one of the most important figures in punk rock history,

0:39:25.650 --> 0:39:28.040
<v Speaker 8>John Lydon, has circled all the way back around because

0:39:28.060 --> 0:39:31.810
<v Speaker 8>he's always been a contrarian, kicking against expectations, and is

0:39:31.850 --> 0:39:35.070
<v Speaker 8>now a far-right supporter and still out there making music.

0:39:35.090 --> 0:39:35.850
<v Speaker 6>You do what you do.

0:39:35.989 --> 0:39:36.450
<v Speaker 2>Exactly.

0:39:36.890 --> 0:39:38.549
<v Speaker 1>Always good to have you in. I love it.

0:39:38.710 --> 0:39:40.550
<v Speaker 6>And your podcast can be found.

0:39:40.710 --> 0:39:43.140
<v Speaker 1>Oh, just about anywhere. On the iHeartRadio. That's the place

0:39:43.160 --> 0:39:45.630
<v Speaker 1>you want to go for it. You have 600 and.

0:39:45.620 --> 0:39:49.760
<v Speaker 8>613. Well, the 613th will publish tomorrow. But yeah, 613

0:39:49.760 --> 0:39:51.359
<v Speaker 8>in the can and two more coming every week.

0:39:51.360 --> 0:39:53.360
<v Speaker 6>613, 614. Exactly.

0:39:53.580 --> 0:39:55.759
<v Speaker 1>Thanks, Brian. We'll see you next week. We'll take a break,

0:39:55.800 --> 0:39:56.239
<v Speaker 1>come back.

0:39:56.239 --> 0:39:58.759
<v Speaker 2>534 and then the head coach of the Vikings will

0:39:58.780 --> 0:40:00.520
<v Speaker 2>have his weekly Wednesday news conference.

0:40:00.560 --> 0:40:04.620
<v Speaker 1>And then Rosen at two here on The Fan. The

0:40:04.680 --> 0:40:10.739
<v Speaker 1>common man. There is now a level zero. Weekdays at

0:40:10.870 --> 0:40:15.910
<v Speaker 1>noon on The Fan. From the 1-800-ASK-GARY Traffic Center. This

0:40:15.989 --> 0:40:18.840
<v Speaker 1>report is sponsored by Minnesota Oncology.