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Speaker 1: Give it a chance, give it a chance, give it

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Speaker 1: a chane, good morning, give it a chance, Give it

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Speaker 1: a chance, give it a chance, give it a chance.

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Speaker 1: Good morning, Give it a you want to give it

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Speaker 1: a chance, Give it a chance, give it a chance.

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Speaker 1: Just hey, casey, can you hear me so excited?

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Speaker 2: Always nice to see a faca and two eat too, pruduce. Yes,

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Speaker 2: you gotta beware the IDEs of April, dude. Everybody knows that.

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Speaker 3: And here's today's song. Here we go. Oh, no, are

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Speaker 3: we really doing it? No, it's April fools. I was like,

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Speaker 3: I deserve it.

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Speaker 2: I feel like in my in my on this like

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Speaker 2: that there's like a psychic debt that I owe every

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Speaker 2: musician we've ever done this about.

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Speaker 3: I was actually thinking this morning, like, well, I.

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Speaker 2: Can't speak for you because I think you you're you

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Speaker 2: have a demeanor that I just feel like radiates positivity

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Speaker 2: even when being critical. But I wonder if I've been

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Speaker 2: to sometimes I'm like, am I too mean? When I'm

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Speaker 2: wearing this chance he hat? Somebody wrote to me. I

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Speaker 2: don't know if they write to you. I got a

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Speaker 2: message from somebody that was like, what's your problem with

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Speaker 2: lin Manuel? Maria and I was like, you know, I

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Speaker 2: really should reflect like that's an immensely talented dude, shifted

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Speaker 2: the culture. My daughter loves Hamilton. She can take her

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Speaker 2: leave so far, but she loves like Mawana.

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Speaker 3: She sucks Maui. She's a Mauie stand.

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Speaker 2: She always had this and Vivo, which some of those

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Speaker 2: songs are great, but I'm like, I can't get into

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Speaker 2: the hole in Manuel. Are we doing a lin Manuel

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Speaker 2: song today?

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Speaker 3: No? No, we're not. We're not. Then let's go unless

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Speaker 3: unless did he produce? I could be with anyone. I

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Speaker 3: will tell you you drop an incredible verse.

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Speaker 2: I actually don't want to say there's something that he

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Speaker 2: won anywhere everyone prim Manuel.

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Speaker 3: I could just one thing.

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Speaker 2: I would say, there's something about, uh, you can't look.

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Speaker 2: There's things I could give or take a chance about

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Speaker 2: about my own stuff for sure. And and there's something.

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Speaker 1: I thought maybe one day we would do an episode

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Speaker 1: with like one of your songs and a song I

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Speaker 1: made to like it, actually.

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Speaker 3: Should do that, but maybe we should bring in a guest.

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Speaker 1: Yeah for that, Yeah, like that's what we should do,

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Speaker 1: Like Scott stab or Lynn.

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Speaker 2: We can access Lynn, Like I feel like we should

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Speaker 2: bring in somebody whose song we were maybe potentially a

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Speaker 2: little bit more unkind to and have them watch one

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Speaker 2: of my songs and you could subject yourself to it too,

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Speaker 2: and have them be like this loser with his buck

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Speaker 2: teeth and his baby.

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Speaker 3: You know, maybe they'd say, maybe.

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Speaker 1: Today's episode would be good artists for today's episode.

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Speaker 3: Oh no, is it somebody we know? Nope, but he's

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Speaker 3: been mentioned on the podcast and okay, this will give

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Speaker 3: it away him instantly. But he's in your your blunt rotation.

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Speaker 3: He's is it James Blunt? Yes, it is.

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Speaker 2: And just if I can remember my blunt rotation, my

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Speaker 2: dream blunt rotation, if I remember correctly, was James Blunt

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Speaker 2: uh huh, Emily Blunt, uh huh. And I don't know

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Speaker 2: if I remember the third one, the blunt father. Is

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Speaker 2: that somebody from WWE? I mean, I don't know who

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Speaker 2: my third blunt person was, or maybe it was just

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Speaker 2: the two of them.

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Speaker 1: I think it was just the two of them. There

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Speaker 1: might have just been somebody else. I'm sure you probably

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Speaker 1: had some.

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Speaker 2: Like crazy yeah, yeah, yeah, like a cool thing, probably

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Speaker 2: a cool thing that I said, you know, it was

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Speaker 2: probably them and like Dick Cheney.

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Speaker 1: Yes, I bet you it was it was probably no,

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Speaker 1: it was probably Poseidon.

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Speaker 2: It might have been Boseidon. Yeah, that actually, honestly, that's

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Speaker 2: pretty good blunt rotation. You've got music, you've got a thespian,

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Speaker 2: and then you've got the fucking god of the oshes.

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Speaker 1: Also, by the way, it's it's your beautiful. Of course,

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Speaker 1: it's gotta beautiful.

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Speaker 3: It's just fucking hi.

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Speaker 1: So this has been on my list for a while

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Speaker 1: because I do think that this is one that it

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Speaker 1: really was like a polarizing song when it came out.

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Speaker 3: Obviously it charted, I mean, it was an enormously successful song,

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Speaker 3: huge hit, but it was also parodied. It was did

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Speaker 3: weird al do one? That's a good question.

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Speaker 2: That's actually a badge of honor. That is not a yeah,

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Speaker 2: that's not a if that did happen? Good for James Blunt,

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Speaker 2: who I'm sure by all accounts, seems like a pretty lovely.

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Speaker 3: Yes, did weird al do one? I don't see one.

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Speaker 2: I thought you were saying we'd Oh, you're saying yes,

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Speaker 2: James Blunt, Yeah, it's nice.

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Speaker 1: Yeah, Actually I did find one that I don't know

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Speaker 1: if it's weird now, but it's your Pitofaul.

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Speaker 3: Yeah, this is a big al. This is a different things.

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Speaker 1: Weird like it looks like too like low quality and

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Speaker 1: it's like it's on is it? Is it fan compilation

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Speaker 1: of weird AL songs like but weird it might not

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Speaker 1: be so busterfied. Yeah, you're pitiful. It doesn't look like No,

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Speaker 1: it's not weird Al. It's just a person it's saying

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Speaker 1: it's a weird it's a weird Al Yankovic version.

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Speaker 2: Oh like it's it's inspired by yes, yes, yes, yes yes?

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Speaker 3: What is that called a pastiche? A pastiche? Yeah, sure, pastiche.

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Speaker 3: Yeah that was all that.

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Speaker 2: Pastiche De Ambrosio was my roommate in a freshman year.

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Speaker 2: For it's all right, Sorry, I gotta pull it in.

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Speaker 2: Usually when I'm this far off by six minutes, we're

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Speaker 2: gonna have Yeah, I'm gonna be great today, I tell

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Speaker 2: you this. So I actually I haven't talked to Channa

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Speaker 2: in a men piece. I need to get back on

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Speaker 2: the horse, you know. And by the way, sponsor for

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Speaker 2: today is better Health.

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Speaker 3: No, what's that? Is that what it's called? I don't

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Speaker 3: know what Janet is under, but yeah, I think that

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Speaker 3: is one. Yeah, they're not our sponsor.

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Speaker 1: But yeah, so I'm going to watch the YouTube video. Okay,

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Speaker 1: it's it's now. There's an updated one in four k.

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Speaker 1: So I'm pretty pumped for that.

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Speaker 2: I think you have to handle the video and I'm

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Speaker 2: just going to listen to it on the streaming platform

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Speaker 2: of my choice. Beautiful, I'm going to listen to the

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Speaker 2: explicit verse.

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Speaker 3: Oh, okay, I go listen. Yeah, beautiful, Yeah, beautiful.

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Speaker 1: True Okay, Wilmer Wowserama, this is this is a tricky

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Speaker 1: one for us. I could tell immediately from when we

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Speaker 1: were listening and making eyes.

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Speaker 3: At each other. I know, well, I was making eyes

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Speaker 3: because you're beautiful. Oh it's true.

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Speaker 2: Well, I could start in neither chancy nor anti chance.

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Speaker 2: I could start with a with an anecdote, personal anecdote.

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Speaker 2: Let's start without airing anybody's Yeah, let's starting it. Yeah,

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Speaker 2: me all right, without anecmy skywalk now without sorry with.

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Speaker 1: I'm in terminal and I need an anecdote. I'm poison

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Speaker 1: This is better I'm poisoned than I need an anecdote.

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Speaker 2: Well, I don't know if this will help her hurt

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Speaker 2: with with your pre existing conditch. And by the way,

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Speaker 2: one of our sponsors today is Metropolis Health or No

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Speaker 2: so Venom Poisoned Yes and Venom starring Tom Hardy, one

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Speaker 2: of No Okay.

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Speaker 3: So, the producer I believe of this song is Tom

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Speaker 3: Rothrock Zech correct. Let me look here, good name for

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Speaker 3: a for a producer he was.

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Speaker 2: He was the producer, producer and mixing engineer now Tom Rothrock.

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Speaker 3: Prior to what did This Come out?

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Speaker 2: Two thousand and six two thousand and four, Tom Rothrock

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Speaker 2: was the partner of Rob Schnaff and they owned Bongload

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Speaker 2: Records together, which put out the first beck EP, amongst

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Speaker 2: other kind of weird fun stonery, you know, kind of

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Speaker 2: art damaged rock music in the mid nineties. They worked

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Speaker 2: together on a lot of stuff, including and We're getting

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Speaker 2: to it twelve minutes in I believe Mike City, suns

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Speaker 2: by Heat Miser, and at least either or XO Figure

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Speaker 2: eight by Elliot Smith. For reasons that are not mine

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Speaker 2: to discuss on the pod, that partnership changes. Rob goes

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Speaker 2: on to make records with people like Kurt Vile, Cap Power.

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Speaker 3: X, the Forever punk band from Los Ange Angelus.

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Speaker 2: I'm sure there's a million other people who are like

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Speaker 2: for some reason, I'm not thinking about the top of

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Speaker 2: my head that Rob has made.

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Speaker 3: Like very cool Bulldozer music.

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Speaker 2: Bye, he made two Kevin records, Yes, but I wouldn't

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Speaker 2: put myself in the upper annals of his. He may

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Speaker 2: put Your Ghost to Rest.

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Speaker 3: Also, Oh, I didn't realize that.

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Speaker 2: Yeah, put your Ghost to Rest and Bulldozer and some

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Speaker 2: singles too. We've probably and he actually we just recorded

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Speaker 2: a song he mixed five some of Nothing's Real. We've

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Speaker 2: been collaborators on and off for like.

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Speaker 3: Eighteen to twenty years.

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Speaker 2: Now.

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Speaker 3: I'm a big fan. He's great. Rob did that.

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Speaker 2: Tom has done other things, including You're Beautiful by James Blunt,

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Speaker 2: which is inarguably a bigger, more successful single than anything

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Speaker 2: that they did together prior with the possible exception of

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Speaker 2: I Guess Loser by Beck. But that was like a

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Speaker 2: different kind of single than this was in a way.

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Speaker 2: I mean, that's still around, and you could argue, inarguably

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Speaker 2: the cultural imprint of Beck that starts with that song

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Speaker 2: is of a different caliber and order than the James

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Speaker 2: Blunt experience. But I pointed out to say, interesting thing

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Speaker 2: where the roads splits, and I definitely think there's a

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Speaker 2: surface level like well, Elliott's I'm sure James Blunt was

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Speaker 2: a huge Elliot Smith fan, and it's like he's a

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Speaker 2: singer songwriter quote unquote, he played acoustic guitar, his songs

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Speaker 2: were but it's like, to me, they're not even the

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Speaker 2: same kind of music in any way besides this, So

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Speaker 2: that's just a little thing I was thinking. I was like,

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Speaker 2: I hadn't thought of that in twenty years. I'm like, oh, right,

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Speaker 2: this was the dude that used to work on all

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Speaker 2: that Elliott stuff with Rob. Anyway, there's my anecdotis to

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Speaker 2: start us.

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Speaker 1: Down, No, I like that, and it's that is that's

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Speaker 1: enlightening because we've talked about this. But you know, you

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Speaker 1: could be a you could be a Beatles or a

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Speaker 1: Rolling Stones and go completely different directions, right, and you know,

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Speaker 1: you could have a four piece band and not sound

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Speaker 1: like any of those, you know. And and just because

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Speaker 1: it's it sounds like it looks like it's a similar

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Speaker 1: genre doesn't mean it's it's indicative of that what came

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Speaker 1: before and totally and that's really interesting with this because

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Speaker 1: on paper, yeah, like it's it looks like it's an

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Speaker 1: Elliott Smith kind of thing, but it's really lacking a

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Speaker 1: lot for me.

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Speaker 2: Well, what I think with that with sorry, I just

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Speaker 2: without turning this into a you know, fucking Casey is

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Speaker 2: subjected to what Janet has to get every two weeks

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Speaker 2: on the rig, which is Kevin just unspooling about Elliott Smith.

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Speaker 2: But I'll just briefly say what I think this kind

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Speaker 2: of music, over the arc of my life as a

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Speaker 2: listener has proved for me is that the it's not

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Speaker 2: it's less about what James Blunt is lacking in a

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Speaker 2: way than it is about what makes people like Elliott

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Speaker 2: Smith exceptional. Because to me, what James Blunt and I

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Speaker 2: want to kick it back to you because you're about to,

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Speaker 2: but what I leave we're about to go in a

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Speaker 2: similar direction with this is like what I think is

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Speaker 2: why I personally, as a person who is a singer

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Speaker 2: who sings the songs he writes, or a singer songwriter,

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Speaker 2: It's why I've always bristled at that genre description. It's

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Speaker 2: because this is what fucking people are thinking of when

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Speaker 2: you say someone's a singer songwriter. There's like twelve great

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Speaker 2: ones who've ever been called that, and then there's like

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Speaker 2: a thout a million things that are like guy that

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Speaker 2: are fucking mad. That's what inspired Matthew David is it is.

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Speaker 1: It's because because I actually give a lot of other

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Speaker 1: bands that I don't even like more credit than this.

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Speaker 1: I you know, I give Train, who we covered in

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Speaker 1: the past, and.

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Speaker 3: We like Tylo Junior. Dude.

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Speaker 1: Yeah, I think his lyricism blows James Blunt You're beautiful

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Speaker 1: out of.

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Speaker 3: The water, like a chance hot Anti.

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Speaker 1: But it's so coffee shop open mic, like first like yeah,

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Speaker 1: I look.

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Speaker 3: In your eye, I said goodbye.

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Speaker 1: It's like it's just like the first it's and without

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Speaker 1: like a longer part to that, like that's the that's

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Speaker 1: the end, that's that's half of an entire verse of

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Speaker 1: those lyrics like what a waste of like you're saying nothing,

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Speaker 1: you know, And it's like the video is actually even

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Speaker 1: like more compelling. I mean, it's bizarre, and I think

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Speaker 1: I don't know, like so I really kind of want

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Speaker 1: to get to the bottom of how part of it

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Speaker 1: is that it's just so accessible that's why it does

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Speaker 1: so well.

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Speaker 3: It's so simple.

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Speaker 1: It's like there's really not there's no ambiguity with it

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Speaker 1: at all.

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Speaker 3: And I think that there's a ton of you know, young.

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Speaker 1: Listeners and old listeners that just want something really simple

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Speaker 1: that has nothing to do with you know, the world

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Speaker 1: or politics or anything like that, just wants something just

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Speaker 1: to throw on. It's it's dentist waiting room music, and

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Speaker 1: I think there's a lot of world that wants this.

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Speaker 1: But beyond that, I mean, we talk about the like

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Speaker 1: we talk about bridges a lot. This one's really bad.

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Speaker 3: It's just it changes slightly and he goes.

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Speaker 1: No no no no no no no nah, and then

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Speaker 1: it goes right back to the chorus.

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Speaker 3: Yeah beautiful.

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Speaker 2: Well, listen, you just said so much that I would

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Speaker 2: love to like either ditto or iterate on it.

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Speaker 3: We can go no you really? People, Please, people, please

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Speaker 3: look up Matthew David's on you Tube.

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Speaker 1: There's an episode where number I think it's episode like

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Speaker 1: we did this five part series in my old apartment

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Speaker 1: and Kevin's playing himself and I'm playing Matthew Davids. It's

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Speaker 1: number five typeing like Matthew David's vlog Kevin done five

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Speaker 1: or something.

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Speaker 3: I on your song.

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Speaker 2: It's the fun dude. It's bringing schnapfbag into it. I

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Speaker 2: remember showing him that wow and he was like, like

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Speaker 2: belly laughing, like when just the things you're doing.

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Speaker 3: Anyway, I won't people should watch it. But no, first

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Speaker 3: of all, we can go with the bridge.

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Speaker 2: We can start structurally and then go back to the

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Speaker 2: superstructural thing you were talking about.

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Speaker 3: It's a cheat. The bridge is a cheat.

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Speaker 2: And I say that as a person who I really

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Speaker 2: I think there are I love. There's a particular kind

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Speaker 2: of bridge that I actually really love that's kind of

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Speaker 2: unde employed in like what is now kind of like

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Speaker 2: modern song structure, which is like I'm into like a

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Speaker 2: really short bridge sometimes like I'm thinking of and again,

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Speaker 2: sorry I recognize, but if you use words like exceptional

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Speaker 2: and ideal, there's a reason why I'm thinking of like

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Speaker 2: the bridge in Baby Britain Elliott Smith's song on x SO.

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Speaker 2: It's literally like it's like he kind of cycles through

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Speaker 2: one chord progression, maybe one of each chord as as

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Speaker 2: this melody builds, and then it breaks out into an

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Speaker 2: instrumental section over the chorus chords. But the bridge itself

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Speaker 2: might be ten seconds long into that instrumental and is

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Speaker 2: the instrument is the instrumentals over the chorus chords, like

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Speaker 2: he's playing piano melody over the chorus.

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Speaker 3: Chords, but it's great and it's well employed.

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Speaker 2: And then of course there's excellent like long bridges that

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Speaker 2: are really like like suspension bridges that are really really

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Speaker 2: strong and well executed. This is neither. It's a short bridge.

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Speaker 2: And also, by the way, I'm a big fan of

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Speaker 2: like the bridge that's not a bridge at all, the like,

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Speaker 2: here's the guitar solo played, here's the vocal line played

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Speaker 2: on guitar over That's cool with me too, if that's

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Speaker 2: the next right thing. This is kind of like the

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Speaker 2: worst of all worlds where it's just like he just

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Speaker 2: took and it actually in a way that's funny. I'm

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Speaker 2: like contradicting my off Momentarily. I do these songwriting workshops,

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Speaker 2: and there is one thing when you're trying to like

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Speaker 2: people who are just kind of figuring out how to

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Speaker 2: approach structure. Sometimes I am like, well, yo, if your

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Speaker 2: song is in the key of C, super like easy

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Speaker 2: cheat codes, just like write your first ten songs. Is like,

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Speaker 2: so all right, if you decide the verse is starting

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Speaker 2: on C, great, then let's make the chorus start on

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Speaker 2: F and then let's make the bridge start on a

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Speaker 2: minor you've used the same four chords, but you just

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Speaker 2: spin the cycle and now you've got three distinct parts

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Speaker 2: out of those four chords. That's really great and sometimes

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Speaker 2: like wonderful songs can be written that way. But even

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Speaker 2: that's not what this is. In a weird way, this

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Speaker 2: actually starts, I think, on the same chord as the chorus,

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Speaker 2: but he goes up to the minor instead of to

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Speaker 2: the major, and he does that maybe like two or

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Speaker 2: three times and just goes like like you said, like yea,

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Speaker 2: by then we're back.

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Speaker 3: To the course and there was dynamic shift. No, he's

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Speaker 3: like a nothing nothing salad like like.

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Speaker 1: I like, I wouldn't even mind if like things more

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Speaker 1: things cut out or built up, But it's just the arrangement.

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Speaker 2: Bring away the yeah, actually like bring away the drums

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Speaker 2: there and that part becomes fifty percent more interesting. Yeah, like,

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Speaker 2: oh that's cool. They like dropped and now we like

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Speaker 2: build back into the course. Anyway, I agree with you

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Speaker 2: structurally about that, And yes, this is what I think

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Speaker 2: of when I think of which now maybe like dated

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Speaker 2: antiquated stuff, but like sort of Starbucks core is like

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Speaker 2: and I think what's interesting is you sort of.

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Speaker 1: Said they're just to real quick to unpack that go

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Speaker 1: because I think a lot of people know, but like

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Speaker 1: some people don't. There was a time where like Starbucks

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Speaker 1: was a taste maker and was putting records at the

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Speaker 1: front when you check out, you would see artists. A

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Speaker 1: friend of ours, Ingrid Michaelson, is that kind of artist.

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Speaker 2: I bought her record in a Starbucks and listened to

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Speaker 2: it for a twenty hour drive. Yeah, happily, by the way,

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Speaker 2: but she was her and Me without You and the

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Speaker 2: only two CDs I had. But I brought hers in

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Speaker 2: a Starbucks in like New Mexico.

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Speaker 3: Or and she it was like that.

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Speaker 1: It was like Gray's Anatomy, Like she had a song

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Speaker 1: on the scrubs stuff. So it's like stuff like that

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Speaker 1: could make an artist a Starbucks, like your your CD

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Speaker 1: at Starbucks break You. And that's like there's a genre that.

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Speaker 3: Fits into it.

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Speaker 1: That's like, that's why it's like outside of a singer songwriter,

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Speaker 1: another genre that like fits that as like coffee shop

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Speaker 1: you know, listening or whatever, you know, which.

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Speaker 2: They have a station on on serious XM radio. That's like,

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Speaker 2: and I say all this, by the way, because I

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Speaker 2: am a songwriter who uses the acoustic guitar a lot

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Speaker 2: so write songs and features it as an instrument. A

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Speaker 2: lot of his recordings, some of my recording skew louder,

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Speaker 2: some of them don't. When I put out Put Your

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Speaker 2: Ghost to Wrists, we absolutely pitched songs from that to

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Speaker 2: Coffeehouse on serious. We had I think a few places

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Speaker 2: copies of that record in Starbucks. That's the thing too,

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Speaker 2: Like you could go in and sometimes you'd find like

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Speaker 2: a rylo Kylie record or Shin's records. They're like I'm

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Speaker 2: wide awake, It's morning by Bride, Like there was like

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Speaker 2: indie rock stuff that touched up against singer song and.

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Speaker 1: A could a modest mouse record there, Like I could

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Speaker 1: definitely see some some stuff that like went pop. That's yes,

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Speaker 1: kind of started from a I'm pretty sure you could

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Speaker 1: buy Basement on the Hill in there when that record

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Speaker 1: came out posthumously, which is funny because that's like a

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Speaker 1: very weird, sort of schizophrenic record, But that's that one.

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Speaker 1: The timing was right that it was like, let's have

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Speaker 1: an Elliott Smith record in Starbucks, but it's typically a

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Speaker 1: Nora Jones, yes, and those artists, by the way, ingrid

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Speaker 1: Nora Jones they're like superior. But what I kind of

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Speaker 1: mean is like, and you nailed it in the initial thing.

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Speaker 1: It's almost like a flavor more than it is like

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Speaker 1: something concrete. There's something about this is what I so

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Speaker 1: the reason why on fucking Friends the joke about Phoebe

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Speaker 1: in the coffee shop playing her songs or whatever, this

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Speaker 1: is like it's like a particular kind of like.

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Speaker 2: Milk toast inane. Yeah, like there's there's what I was

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Speaker 2: thinking about the lyrics too. It's like, to me, you're right,

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Speaker 2: there's nothing here. Why this song's huge is because there

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Speaker 2: was he The chorus is undeniable. It's simplicity works in

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Speaker 2: its favor, and who doesn't. It's a it's a slam dunk,

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00:21:25,359 --> 00:21:29,359
Speaker 2: like you're beautiful, You're beautiful? Like who doesn't want to

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Speaker 2: hear that as an object of desire or affection? Who

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Speaker 2: doesn't want to hear that as a person pining after

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Speaker 2: someone in an unrequited way? But what I was thinking

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Speaker 2: was interesting as I read through the lyrics again, and

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Speaker 2: this might veer into chancy. I wonder if this is

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Speaker 2: like a grossly misunderstood song from a lyrical perspective, on

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Speaker 2: the order of like every breath you take or something

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Speaker 2: like that. So in the video, our protagonist removes the

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Speaker 2: contents of his pockets, takes off as half his clothing,

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Speaker 2: which is also like eye candy for whatever you know.

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Speaker 2: People are like, oh, cool guy with blue eyes and

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Speaker 2: no shirt on. But like, he then jumps off the

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Speaker 2: side of a boat, which made me laugh because it

404
00:22:14,600 --> 00:22:16,439
Speaker 2: reminded me of If you don't know this, please look up.

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00:22:16,480 --> 00:22:19,880
Speaker 2: The video is stranged by guns n' Roses, where Axel Rose.

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Speaker 2: They spent like seven million dollars on this video in

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Speaker 2: nineteen ninety one, and Axel like jumps off a fucking

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Speaker 2: boat and swims with dolphins and shit, it's really worth

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Speaker 2: your time. But oh, I hadn't seen it. I hadn't

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Speaker 2: thought of it in a minute. It's the last video

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Speaker 2: from the two user Illusion records. It might have even

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Speaker 2: been like ninety three because those records had a long life.

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Speaker 2: But anyway, reading through this again, I'm like, is this

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Speaker 2: I don't end trigger warning? Is this a song about suicide?

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Speaker 2: Is what I'm thinking as I'm reading this, And I'll

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Speaker 2: tell you listeners why he sees this person and he's like,

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Speaker 2: she's beautiful, she's an angel. She smiled at me, but

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Speaker 2: she was with another man. But I won't lose sleep

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Speaker 2: on that, because I've got a plan.

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Speaker 3: Ooh. And then the song. You think the plan.

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Speaker 2: Might be about how he's going to win her away

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00:23:06,800 --> 00:23:10,760
Speaker 2: from the other but throughout the song he's saying things

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Speaker 2: like I don't think I'll ever see her again. We

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Speaker 2: shared a moment that will last till the end. I

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Speaker 2: laughed at that because I was like, till the end

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Speaker 2: of what she's not gonna remember dog? And then I'm

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Speaker 2: like to the end of the song. But then I'm like, yo,

428
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Speaker 2: he's got a plan. He's emptied the contents of his

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Speaker 2: pockets out onto this boat where we see no other people,

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Speaker 2: and he jumps off the side of it's like an

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Speaker 2: ocean liner. It's like a giant thing into the middle

432
00:23:32,280 --> 00:23:35,400
Speaker 2: of the ocean. Half Naked's gotta be cold. Unless he's

433
00:23:35,400 --> 00:23:38,119
Speaker 2: an Olympic swimmer, James is going to be in trouble.

434
00:23:38,560 --> 00:23:42,000
Speaker 2: And then the very end of the song, by the way,

435
00:23:42,040 --> 00:23:44,720
Speaker 2: the lyrics on the streaming platform of my choice for

436
00:23:44,760 --> 00:23:47,920
Speaker 2: the bridge say ba la la na ba la la

437
00:23:48,359 --> 00:23:50,760
Speaker 2: na ba la la na nah.

438
00:23:50,880 --> 00:23:53,040
Speaker 3: Oh, that actually makes it a lot better. That's makes

439
00:23:53,040 --> 00:23:55,560
Speaker 3: a lot of sense, and then he says at the

440
00:23:55,680 --> 00:23:58,480
Speaker 3: very end, there must be an angel with a smile

441
00:23:58,520 --> 00:24:01,480
Speaker 3: on her face when she thought up that I should

442
00:24:01,480 --> 00:24:04,400
Speaker 3: be with you. But it's time to face the truth.

443
00:24:04,880 --> 00:24:07,000
Speaker 3: I will never be with you. Now.

444
00:24:07,040 --> 00:24:10,879
Speaker 2: Maybe I'm stretching here, but something about the video, the

445
00:24:10,960 --> 00:24:13,919
Speaker 2: choice of the visual in the video. I'm gonna anti

446
00:24:14,040 --> 00:24:16,280
Speaker 2: chance zag on myself for a moment about the video

447
00:24:16,320 --> 00:24:18,960
Speaker 2: and just say it's effectively a remake of Yellow by

448
00:24:18,960 --> 00:24:22,080
Speaker 2: cold Play, which came out fucking two years before this

449
00:24:22,240 --> 00:24:22,720
Speaker 2: or whatever.

450
00:24:25,440 --> 00:24:26,160
Speaker 3: But I do.

451
00:24:26,040 --> 00:24:29,159
Speaker 2: Wonder as I read through it, and again I'm all

452
00:24:29,160 --> 00:24:30,760
Speaker 2: over the place because I really don't like the song,

453
00:24:30,760 --> 00:24:32,520
Speaker 2: but there's an anti chance moment in there too. I

454
00:24:32,600 --> 00:24:35,120
Speaker 2: kind of hate the fucking swear, not because I don't

455
00:24:35,280 --> 00:24:38,240
Speaker 2: swearing's fine, but this is such a milk toast song.

456
00:24:38,760 --> 00:24:41,159
Speaker 2: And I've been accused of this actually too. I remember,

457
00:24:41,200 --> 00:24:43,560
Speaker 2: like you remember the critical things that are said about you.

458
00:24:43,600 --> 00:24:46,359
Speaker 2: I feel like the Village Voice once said about like

459
00:24:47,240 --> 00:24:49,199
Speaker 2: songs of mine that were a bit more in a

460
00:24:49,520 --> 00:24:52,760
Speaker 2: folk rock vein, like the swearing is meant to like

461
00:24:53,480 --> 00:24:55,560
Speaker 2: almost like I was trying to like rough something up

462
00:24:55,600 --> 00:24:59,720
Speaker 2: that wasn't rough and maybe that's true. Maybe I'm deserving

463
00:24:59,720 --> 00:25:02,080
Speaker 2: of that criticism. I've always felt like it was an

464
00:25:02,440 --> 00:25:04,600
Speaker 2: Maybe he feels the same. It was like an aspect

465
00:25:04,640 --> 00:25:07,719
Speaker 2: of what's the word, like ernest expression? To me, this

466
00:25:07,760 --> 00:25:10,600
Speaker 2: one feels so incongruous and unearned.

467
00:25:10,720 --> 00:25:11,520
Speaker 3: Yeah, he does it.

468
00:25:11,600 --> 00:25:14,119
Speaker 1: I like a well placed curse in a song that

469
00:25:14,320 --> 00:25:17,480
Speaker 1: it's a typical. We mentioned them before, like Rylo Kylie,

470
00:25:17,520 --> 00:25:19,840
Speaker 1: like a Jenny Lewis drops a great f bomb here

471
00:25:19,880 --> 00:25:22,480
Speaker 1: and there. Yeah, it's always kind of it's kind of fun.

472
00:25:22,520 --> 00:25:24,240
Speaker 1: It does rough it up in a way.

473
00:25:24,280 --> 00:25:27,919
Speaker 2: But Isaac Brock does that in some way. Connor and

474
00:25:27,960 --> 00:25:30,679
Speaker 2: Elliott do that in some ways that I think are effective.

475
00:25:30,800 --> 00:25:34,240
Speaker 1: But yeah, yeah, but this doesn't this also, Yeah, it

476
00:25:34,240 --> 00:25:38,080
Speaker 1: doesn't seem earned. But can I respond to the to

477
00:25:38,119 --> 00:25:42,360
Speaker 1: the possible all of it and themselves?

478
00:25:43,160 --> 00:25:45,040
Speaker 3: Yeah, my stiff. I wasn't supposed to say the S

479
00:25:45,119 --> 00:25:47,440
Speaker 3: word trigger warning S word, but.

480
00:25:48,000 --> 00:25:51,919
Speaker 1: I think the uh, the angel thing remind me of

481
00:25:51,920 --> 00:25:54,119
Speaker 1: that too. You keep talking about I see an angel,

482
00:25:54,160 --> 00:25:56,840
Speaker 1: but then I'm like, oh, wait, because is he already dead?

483
00:25:58,240 --> 00:26:01,640
Speaker 2: I don't know, so maybe anti chancing because we're also

484
00:26:01,720 --> 00:26:04,440
Speaker 2: like whatever you were going for here, it wasn't clear.

485
00:26:04,320 --> 00:26:20,360
Speaker 1: We're searching, we're really searching for chances. So I found

486
00:26:20,440 --> 00:26:22,199
Speaker 1: it at the bottom of this. I think you're on

487
00:26:22,200 --> 00:26:25,959
Speaker 1: the same thing for for lyrics, the genius thing at

488
00:26:25,960 --> 00:26:29,440
Speaker 1: the bottom it's he was on Oprah and Blunt told

489
00:26:29,480 --> 00:26:32,400
Speaker 1: Oprah it's about seeing my ex girlfriend on the subway

490
00:26:32,440 --> 00:26:35,560
Speaker 1: in London with her new man who I didn't know existed.

491
00:26:35,840 --> 00:26:38,320
Speaker 1: She and I caught eyes and lived a lifetime in

492
00:26:38,359 --> 00:26:41,360
Speaker 1: that moment. Oh my God, do anything about it?

493
00:26:41,840 --> 00:26:46,679
Speaker 2: Oh well, listen, God bless James. You know that to

494
00:26:46,760 --> 00:26:49,000
Speaker 2: me also indicates like when we were talking before about

495
00:26:49,000 --> 00:26:55,639
Speaker 2: like the difference between you know, like Beck and James Blunt.

496
00:26:56,200 --> 00:26:57,920
Speaker 2: I don't remember. We got to look this up. I'd

497
00:26:57,960 --> 00:27:00,000
Speaker 2: love to see it. If they did Loser on Oprah,

498
00:27:00,080 --> 00:27:00,840
Speaker 2: that would be awesome.

499
00:27:01,320 --> 00:27:06,639
Speaker 1: But yeah, I mean, well, another parallel, like I was thinking,

500
00:27:06,720 --> 00:27:10,760
Speaker 1: is like John Mayer, and I think John Mayer can

501
00:27:10,760 --> 00:27:13,520
Speaker 1: write circles around this and it gives and like when

502
00:27:13,560 --> 00:27:16,680
Speaker 1: you compare this to like like I was mentioning train

503
00:27:16,800 --> 00:27:21,359
Speaker 1: before when you or even actually like with Phoebe from Friends,

504
00:27:21,359 --> 00:27:24,240
Speaker 1: like you mentioned she's so much more quirky like her.

505
00:27:24,840 --> 00:27:27,760
Speaker 1: I would take her songs. There's an artist from Staten

506
00:27:27,760 --> 00:27:30,760
Speaker 1: Island that's like a coffee shop sort of artists who are.

507
00:27:31,119 --> 00:27:31,960
Speaker 3: Named Phoebe Blue.

508
00:27:32,000 --> 00:27:34,919
Speaker 1: I don't know if you ever, but no, no, she

509
00:27:35,080 --> 00:27:39,160
Speaker 1: has this mix of things right, like there's a lot

510
00:27:39,160 --> 00:27:41,879
Speaker 1: of good that comes out of of coffee shops. Yeah,

511
00:27:42,119 --> 00:27:45,080
Speaker 1: you'll get you'll get artists that are just so uniquely

512
00:27:45,119 --> 00:27:49,439
Speaker 1: themselves that it's not mainstream.

513
00:27:49,800 --> 00:27:51,320
Speaker 3: It's you know, and it's.

514
00:27:51,119 --> 00:27:53,960
Speaker 1: But it's like, I'm so excited to hear what songs

515
00:27:53,960 --> 00:27:56,000
Speaker 1: she's going to sing next, because first of all, she's

516
00:27:56,000 --> 00:27:59,040
Speaker 1: got the like this this like thick New York accent,

517
00:27:59,160 --> 00:28:01,600
Speaker 1: like in the almost like like a lou read way.

518
00:28:02,359 --> 00:28:07,320
Speaker 1: She approaches songs in such a unique place. She she's

519
00:28:07,320 --> 00:28:10,679
Speaker 1: always like the lyricism is always really cool in avant

520
00:28:10,720 --> 00:28:13,960
Speaker 1: guard and and so like it's it's I would say

521
00:28:13,960 --> 00:28:17,040
Speaker 1: that like the the Phoebe, it's funny, it's two Phoebees.

522
00:28:17,040 --> 00:28:19,960
Speaker 1: The Phoebe from Friends is like it's sort of a

523
00:28:20,000 --> 00:28:24,800
Speaker 1: parody of that of the quirky New York, New York

524
00:28:24,840 --> 00:28:28,440
Speaker 1: singer songwriter that's like at coffee shops. But what and

525
00:28:28,480 --> 00:28:30,879
Speaker 1: whereas like that impression I used to do, like Matthew

526
00:28:30,960 --> 00:28:33,720
Speaker 1: Davids is more like what we're talking about, which is like, yes,

527
00:28:33,800 --> 00:28:36,399
Speaker 1: kind of like every song feels like it's the first

528
00:28:36,440 --> 00:28:38,800
Speaker 1: song they ever wrote and there was like no, you know,

529
00:28:38,880 --> 00:28:40,880
Speaker 1: and that's what that's what this song feels like. It's

530
00:28:40,880 --> 00:28:43,440
Speaker 1: like it's like his first song. He took no notes

531
00:28:43,600 --> 00:28:45,800
Speaker 1: and he like released it and it blew up, and

532
00:28:45,840 --> 00:28:47,480
Speaker 1: then like he didn't learn a lesson and he's like

533
00:28:47,520 --> 00:28:49,320
Speaker 1: always going to write that. I mean, I haven't listened

534
00:28:49,320 --> 00:28:51,160
Speaker 1: to his other material. He may have like.

535
00:28:51,360 --> 00:28:54,719
Speaker 3: Evolved and maybe like maybe this was a keep it

536
00:28:54,880 --> 00:28:57,760
Speaker 3: simple stupid kind of thing, right, which, yeah, that's a

537
00:28:57,840 --> 00:29:00,800
Speaker 3: chance I'll give it. Is it worked and you kept

538
00:29:00,840 --> 00:29:03,720
Speaker 3: it so simple. Yeah, But I think there's a way

539
00:29:03,760 --> 00:29:04,320
Speaker 3: to keep.

540
00:29:04,160 --> 00:29:07,560
Speaker 1: It simple but also keeping of course, there is some

541
00:29:07,640 --> 00:29:09,960
Speaker 1: kind of fingerprint. There's no course there is.

542
00:29:10,040 --> 00:29:13,640
Speaker 2: It's it's fucking I mean, there's a million examples of that.

543
00:29:13,760 --> 00:29:15,200
Speaker 2: I the ones I'm off the top of my head

544
00:29:15,240 --> 00:29:18,480
Speaker 2: are going to be ones that like it's calling on

545
00:29:18,560 --> 00:29:21,120
Speaker 2: the same references I always call on. But there is

546
00:29:21,160 --> 00:29:25,200
Speaker 2: definitely a way to keep it simple and not have

547
00:29:25,320 --> 00:29:29,360
Speaker 2: it be this, you know, whether that's whether that smells

548
00:29:29,400 --> 00:29:32,480
Speaker 2: like teen Spirit, which is four chords over and over again,

549
00:29:32,640 --> 00:29:36,240
Speaker 2: whether that's like I think of I don't know, like

550
00:29:36,800 --> 00:29:39,640
Speaker 2: most actually super successful pop songs.

551
00:29:39,320 --> 00:29:41,520
Speaker 1: Green Day stuff, I mean, but Green Yeah, like they'll

552
00:29:41,520 --> 00:29:45,120
Speaker 1: do so much within the they're like what's simple sounding.

553
00:29:45,680 --> 00:29:48,480
Speaker 2: I would also argue with Green Day there for me,

554
00:29:49,200 --> 00:29:54,880
Speaker 2: their charm has had an inverse arc to their expansion

555
00:29:54,960 --> 00:29:59,320
Speaker 2: and and uh and their expansion and and and like

556
00:29:59,480 --> 00:30:01,840
Speaker 2: embrace of like more complexity.

557
00:30:02,080 --> 00:30:03,960
Speaker 3: Like to me, I was thinking of Green Day a

558
00:30:04,040 --> 00:30:06,920
Speaker 3: song like she or a song like Yeah.

559
00:30:06,680 --> 00:30:10,120
Speaker 2: Like those songs to me, that's and like think of

560
00:30:10,400 --> 00:30:12,600
Speaker 2: I'm thinking of these are all rock songs, and I

561
00:30:12,600 --> 00:30:14,840
Speaker 2: would like for our chance just like it, like think

562
00:30:14,880 --> 00:30:19,600
Speaker 2: about I do think with like a folk rock punk

563
00:30:20,480 --> 00:30:24,200
Speaker 2: simple like the Ramones. I don't know, there's what twenty

564
00:30:24,480 --> 00:30:28,200
Speaker 2: classic Ramone songs that are effectively the same thing over

565
00:30:28,240 --> 00:30:30,920
Speaker 2: and over again, and I kind of could hear them

566
00:30:30,960 --> 00:30:33,320
Speaker 2: at any time and be like, that's awesome.

567
00:30:33,600 --> 00:30:34,160
Speaker 3: You're so right.

568
00:30:34,240 --> 00:30:36,960
Speaker 1: Ramones' is a great parallel because it's it is that is,

569
00:30:37,040 --> 00:30:39,960
Speaker 1: keep it simple, but it's fast and it's provocative. The

570
00:30:40,040 --> 00:30:43,400
Speaker 1: lyricism is it's much cooler, you know.

571
00:30:43,840 --> 00:30:46,160
Speaker 2: Yeah, but in this arena what I'm thinking about too,

572
00:30:46,200 --> 00:30:49,240
Speaker 2: And it's funny you mentioned. Yeah, Like that's the thing too.

573
00:30:49,680 --> 00:30:54,600
Speaker 2: Everything is like you're trying to guard against the bastardization

574
00:30:54,840 --> 00:30:58,280
Speaker 2: of something that is actually cool. And when you're what

575
00:30:58,360 --> 00:31:00,920
Speaker 2: you're talking about, I'm thinking of like this sidewalk Cafe,

576
00:31:00,920 --> 00:31:02,560
Speaker 2: which I don't even know if it's still there in

577
00:31:02,600 --> 00:31:05,800
Speaker 2: the Lower East Side. I'm thinking about like that anti

578
00:31:05,960 --> 00:31:09,120
Speaker 2: folk scene that like eventually spat out the Moldy Peaches,

579
00:31:09,160 --> 00:31:12,080
Speaker 2: which that becomes huge through that Juno movie. But like

580
00:31:13,120 --> 00:31:16,760
Speaker 2: that stuff, and like Jme Jamie Searman, the songwriter I've

581
00:31:16,760 --> 00:31:19,560
Speaker 2: played with a ton over the years, who who I

582
00:31:19,640 --> 00:31:22,080
Speaker 2: think these are? Those were like people who came up

583
00:31:22,120 --> 00:31:24,920
Speaker 2: in that world, the humans from Staten Island. They were

584
00:31:24,920 --> 00:31:28,080
Speaker 2: the first people I ever saw play at the sidewalk,

585
00:31:28,160 --> 00:31:29,760
Speaker 2: Like I went to the Sidewalk Cafe when I was

586
00:31:29,800 --> 00:31:33,160
Speaker 2: like seventeen to see them play. They did that anti

587
00:31:33,240 --> 00:31:35,520
Speaker 2: fi there was a name of the open mic that

588
00:31:35,560 --> 00:31:37,480
Speaker 2: I'll remember after we're done recording, but it was this

589
00:31:37,560 --> 00:31:41,200
Speaker 2: anti folks scene that they did there. That stuff was

590
00:31:41,480 --> 00:31:46,160
Speaker 2: all super quirky's a word, but also I would say

591
00:31:46,160 --> 00:31:48,959
Speaker 2: like idiosyncratic, like it had some it was funny and

592
00:31:49,000 --> 00:31:50,920
Speaker 2: it was chwee, but it also had some like heft

593
00:31:51,040 --> 00:31:51,760
Speaker 2: to it.

594
00:31:51,760 --> 00:31:53,200
Speaker 3: It was it was art.

595
00:31:53,400 --> 00:31:55,800
Speaker 2: They were artists, and I think and some of them

596
00:31:55,800 --> 00:31:59,920
Speaker 2: became like more successful and like in an entertainment arena.

597
00:32:00,240 --> 00:32:02,440
Speaker 2: But that kind of coffee house thing which is almost

598
00:32:02,520 --> 00:32:05,360
Speaker 2: connected to like I don't know, like the folkies and

599
00:32:05,400 --> 00:32:09,000
Speaker 2: the sixties in the lower in the West Village or

600
00:32:09,120 --> 00:32:12,000
Speaker 2: like you know, beat Nicks reading these kind of out

601
00:32:12,080 --> 00:32:16,400
Speaker 2: like that's one thing. Then there's this other thing. And

602
00:32:16,440 --> 00:32:19,920
Speaker 2: the thing that we haven't said explicitly that is to

603
00:32:20,040 --> 00:32:24,880
Speaker 2: me what Matthew David's was, the like the what you

604
00:32:24,960 --> 00:32:28,800
Speaker 2: got exactly about that that made it so fucking funny

605
00:32:28,800 --> 00:32:34,360
Speaker 2: to me? And what this is to a te This

606
00:32:34,560 --> 00:32:41,120
Speaker 2: music suffers maybe above all l all its other sins

607
00:32:41,280 --> 00:32:46,760
Speaker 2: and in comparison with all other genres, it's faux depth.

608
00:32:47,800 --> 00:32:55,200
Speaker 2: It sounds like it's meaningful, emotionally resonant, deep because it's slow,

609
00:32:56,080 --> 00:33:00,680
Speaker 2: because it's it's gentle, because it goes from maje to minor,

610
00:33:01,040 --> 00:33:07,200
Speaker 2: and because it's and that's why I want to look

611
00:33:07,240 --> 00:33:10,080
Speaker 2: for this potential other meaning in the lyrics, because the

612
00:33:10,120 --> 00:33:16,040
Speaker 2: truth is, if it's not there, it's such a banal expression.

613
00:33:16,200 --> 00:33:19,560
Speaker 2: Even the fucking story he told on Oprah Winfrey is

614
00:33:19,640 --> 00:33:22,880
Speaker 2: more interesting than the song. He wrote about the story,

615
00:33:23,320 --> 00:33:25,160
Speaker 2: and I think it's so funny, Like I'm thinking about,

616
00:33:25,200 --> 00:33:27,560
Speaker 2: what's another thing that these people have covered to death

617
00:33:27,960 --> 00:33:31,320
Speaker 2: that's become like the most it's become like a global

618
00:33:31,480 --> 00:33:36,720
Speaker 2: standard is Hallelujah. And in Hallelujah, he's kind of actually

619
00:33:36,800 --> 00:33:40,360
Speaker 2: at times making fun of that in a way in

620
00:33:40,440 --> 00:33:42,960
Speaker 2: that it goes like this, the fourth, the fifth, the

621
00:33:43,000 --> 00:33:47,840
Speaker 2: minor fall, the major lift, like he's actually he's and

622
00:33:47,880 --> 00:33:50,480
Speaker 2: he's And of course what's brilliant about that is it's

623
00:33:50,520 --> 00:33:54,200
Speaker 2: what he's doing literally as he's singing that song that

624
00:33:54,240 --> 00:33:58,720
Speaker 2: has been beaten to death, and yet when I contemplated,

625
00:33:58,880 --> 00:34:02,040
Speaker 2: I'm still like, well that's it's a fucking major accomplishment.

626
00:34:02,160 --> 00:34:05,240
Speaker 3: Every part of that song is Michael Jordan. It's it's impeccable.

627
00:34:06,280 --> 00:34:07,200
Speaker 3: It's also amazing.

628
00:34:07,280 --> 00:34:10,160
Speaker 2: That's that story where him and maybe this is already

629
00:34:10,160 --> 00:34:12,200
Speaker 2: even told in the podcast, the story where Dylan's like,

630
00:34:12,960 --> 00:34:14,880
Speaker 2: I really like that hell you song? How long did

631
00:34:14,880 --> 00:34:17,680
Speaker 2: take you to write that fucking dick? How long did

632
00:34:17,680 --> 00:34:20,840
Speaker 2: it take you to write that? And letters like well, Bob,

633
00:34:20,880 --> 00:34:24,200
Speaker 2: it took me the better part of seven years to

634
00:34:24,239 --> 00:34:27,759
Speaker 2: write that on and off ollow seven years Wow. And

635
00:34:27,800 --> 00:34:29,680
Speaker 2: then like Letter Cohn's like, well, how long did it

636
00:34:29,719 --> 00:34:32,200
Speaker 2: take you to write Knocking on Heaven's Door? It's so profound?

637
00:34:32,200 --> 00:34:35,320
Speaker 2: And Bob's like how long is that song? And Leonard

638
00:34:35,360 --> 00:34:37,280
Speaker 2: co was like, it's like three and a half minutes.

639
00:34:37,280 --> 00:34:39,000
Speaker 2: He's it took me like seven minutes.

640
00:34:39,360 --> 00:34:40,360
Speaker 3: That's so funny.

641
00:34:40,800 --> 00:34:43,319
Speaker 1: I want you to do a side podcast that is

642
00:34:43,520 --> 00:34:48,600
Speaker 1: just Elliett. Sorry Leonard and Bob Dylan, you do both parts.

643
00:34:49,320 --> 00:34:50,520
Speaker 3: You just go back and forth.

644
00:34:50,560 --> 00:34:54,280
Speaker 2: It's like Andrew Scott's One Man Von Yet pay off Broadway.

645
00:34:55,320 --> 00:34:57,000
Speaker 2: They're also a sponsor on this as well. I want

646
00:34:57,040 --> 00:34:59,520
Speaker 2: to give a shout out to Uncle Vanya Andrew Scott.

647
00:35:01,400 --> 00:35:04,520
Speaker 3: So I want to start landing the plane because it's.

648
00:35:04,440 --> 00:35:06,640
Speaker 2: There's a plane that there's a plane that's fixing the

649
00:35:06,719 --> 00:35:08,120
Speaker 2: land on my apartment right now.

650
00:35:08,239 --> 00:35:13,239
Speaker 3: Case you hear that could be the end for old

651
00:35:13,400 --> 00:35:18,239
Speaker 3: k Z I G. Will you have this moment that

652
00:35:18,239 --> 00:35:21,759
Speaker 3: will last till the end with me? Yes? But you're

653
00:35:21,880 --> 00:35:23,400
Speaker 3: fucking high.

654
00:35:24,080 --> 00:35:26,640
Speaker 1: So he didn't talk about it singing because I think

655
00:35:26,640 --> 00:35:30,160
Speaker 1: it's I think vocally like you know, it's my life?

656
00:35:30,280 --> 00:35:34,320
Speaker 1: Is He like, it's that's that doesn't What does.

657
00:35:34,200 --> 00:35:36,160
Speaker 3: That make you think of? What is the first thing

658
00:35:36,680 --> 00:35:38,440
Speaker 3: clear your brain? Do what you just did again and

659
00:35:38,480 --> 00:35:43,600
Speaker 3: tell me what it makes you think. Hey, uh, gollum gollum.

660
00:35:43,320 --> 00:35:47,759
Speaker 2: Is I was gonna say that justin Timberlake, Jimmy Fallon, Oh,

661
00:35:48,200 --> 00:35:51,440
Speaker 2: Gibbs Brothers bit from l Oh Yes.

662
00:35:52,600 --> 00:35:58,520
Speaker 3: Once Australian, it's an Australian thing. Oh, I know Australian people,

663
00:35:58,520 --> 00:35:59,480
Speaker 3: they don't sing like that.

664
00:36:00,080 --> 00:36:02,600
Speaker 1: I like how much Coffee Shop era we talked about

665
00:36:02,960 --> 00:36:06,040
Speaker 1: because it sounds like this do make me appreciate more

666
00:36:06,080 --> 00:36:09,560
Speaker 1: of that of that stuff. Yeah, there is a lot

667
00:36:09,600 --> 00:36:12,920
Speaker 1: of craftsmanship around that and this is like kind of

668
00:36:13,000 --> 00:36:14,040
Speaker 1: lacking a lot of it.

669
00:36:14,840 --> 00:36:15,760
Speaker 3: One hundred percent.

670
00:36:16,280 --> 00:36:18,799
Speaker 2: And I'm maybe this is just going to sound judgmental

671
00:36:18,840 --> 00:36:20,640
Speaker 2: in our as we in our last thirty seconds, but

672
00:36:20,680 --> 00:36:23,000
Speaker 2: to me, it's like, it's interesting that with the capitol

673
00:36:23,160 --> 00:36:27,720
Speaker 2: built by working with a generational artist like Elliott Smith,

674
00:36:27,800 --> 00:36:31,800
Speaker 2: one guy goes on to make music by more radiosyncratic

675
00:36:31,880 --> 00:36:34,360
Speaker 2: people that were interested in that side of that coin,

676
00:36:34,480 --> 00:36:35,839
Speaker 2: and one guy made this.

677
00:36:36,160 --> 00:36:39,160
Speaker 3: Is he out of your blunt rotation? Tom Rothrock?

678
00:36:39,480 --> 00:36:41,280
Speaker 2: I don't want to put him on blast, but honestly,

679
00:36:41,320 --> 00:36:44,359
Speaker 2: in the last twelve I'll say he's ows James Now

680
00:36:44,480 --> 00:36:47,080
Speaker 2: James is in Rothney, He's still in and rap rock,

681
00:36:47,320 --> 00:36:51,600
Speaker 2: Woke Up rock, rock, rock, rock, rap rock and BLOWSTI

682
00:36:51,680 --> 00:36:51,919
Speaker 2: Live