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

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

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Speaker 2: Give it a chance, Give it a chance, Give.

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Speaker 3: It a chance.

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Speaker 2: Morning, give it a You want to give it a chance,

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Speaker 2: Give it a chance, give it a chance. Just give it.

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Speaker 2: We have a hot one, keV. I'm nervous about this one.

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Speaker 1: I can't wait. Let me see if I can cool

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Speaker 1: it down.

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Speaker 3: Welcome to give it a Chancey, I'm nervous about this one.

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Speaker 2: What's interesting is I think our.

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Speaker 1: Socio political perspective, what's the deal.

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Speaker 3: Bro the soco path political? Now, No, I think the

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Speaker 3: whole audience knows what the song is. You don't because

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Speaker 3: I think the episodes are the song. So that's kind

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Speaker 3: of fun that there's a secret that you don't have.

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Speaker 1: Casey's got a secret. I wonder if that song.

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Speaker 2: So this is a really it's a fun one. It's

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Speaker 2: a weird one.

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Speaker 3: You're not gonna expect it not you know it's three

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Speaker 3: blind mice.

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Speaker 2: No, No, it's not that.

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Speaker 3: No, this one is. It's fun. Like, here's the thing,

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Speaker 3: it's there's a there we've never done this before. It's

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Speaker 3: a TV show theme.

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Speaker 1: Oh okay, those were the days and you know who

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Speaker 1: you are that.

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Speaker 4: Oh yeah, oh yeah, isn't that Entourage?

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Speaker 2: That's still very good? That one?

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Speaker 3: Honestly, that's in line with what this is, and I

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Speaker 3: think that one would be good.

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Speaker 2: The difference is beloved, A beloved show.

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Speaker 1: Tony Morrison, Oprah Winfrey, beloved. Oh no, beloved. Okay, okay, okay.

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Speaker 3: This show is beloved. It critically acclaimed. It's everyone loves it.

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Speaker 3: I oh is it?

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Speaker 1: Wait a minute, okay, I got an idea. Hit me,

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Speaker 1: oh under the bed sound with the mood in you.

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Speaker 3: Said it, he did it, he did it, But will

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Speaker 3: he give it?

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Speaker 1: I don't want to get wet. I gotta give it

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Speaker 1: a change. See.

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Speaker 3: So I love the Sourprians. I've watched it, I think

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Speaker 3: four times all the way through. I've watched and I

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Speaker 3: actually the first time I watched it, I think was

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Speaker 3: like in twenty thirteen, so it's within a decade. I've

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Speaker 3: watched it four times all the way through. It's like

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Speaker 3: two hundred hours of your life.

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Speaker 2: Throw me in briz.

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Speaker 3: I I don't think I the modern era. You could

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Speaker 3: skip the intro, which you really kind of couldn't do

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Speaker 3: with like if you watched on DVD, which is the

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Speaker 3: first time I.

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Speaker 1: Watched BO you definitely couldn't.

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Speaker 2: Yeah yeah, oh yeah, live you definitely couldn't.

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Speaker 3: But if I watched on DVD, I'd have to like

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Speaker 3: get the controller and fast forward. But now you just

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Speaker 3: hit skip intro, which the kids don't even know what

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Speaker 3: it was like back in our day.

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Speaker 1: No dude, I had to walk up and down the

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Speaker 1: DVD both sides of the hill, snowing in the DVD

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Speaker 1: digital snow on a VHS.

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Speaker 3: So this is the Sopranos opening credits. Unbelievable choice, obiz

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Speaker 3: Moan called I just I found the I actually I

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Speaker 3: went on YouTube and I found that the Sopranos opening credits.

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Speaker 1: Theme Sopranos Woke Up this morning by Dominic Houser.

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Speaker 2: All right, enjoy everyone.

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Speaker 3: Mine ended, so mine ended too. But when I was

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Speaker 3: reading the lyrics along, they said there's a full version.

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Speaker 1: I was just looking at the same thing.

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Speaker 2: Yep, I'm okay with just doing that the traditional Oh.

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Speaker 1: My god, there's so much more going on.

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Speaker 2: Is the band called Alabama three.

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Speaker 1: Written by Alabama three, produced and arranged by Dominic howse

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Speaker 1: is what I have?

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Speaker 2: So that's Doogie Houser's brother. Yes, yes, so Doogie Hauser.

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Speaker 1: It make says Dominic would have been working on a Sopranis.

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Speaker 2: But Doogie, he's smart. That kid so.

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Speaker 1: An insult to me if he was still here in

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Speaker 1: twenty years.

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Speaker 3: I love that if Dougie Hauser, who was like a

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Speaker 3: child that became a doctor who is like a genius,

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Speaker 3: and his brother just was just like I made the Sopranos.

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Speaker 1: Thing, Goodwill Hauser starring Sopranis Houser stupid.

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Speaker 3: Sorry, it's it's really fascinating this song because I really

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Speaker 3: do think I could give it a chance.

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Speaker 2: He even though I've heard this so much and I

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Speaker 2: doubt don't.

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Speaker 3: Like it, like on everything, everything about it on paper,

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Speaker 3: I don't like. It's like there's these weird beeps and

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Speaker 3: boops and there's like like you know what I mean,

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Speaker 3: like just the whole thing, like none of it, none

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Speaker 3: of it makes sense, like you got a.

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Speaker 2: Blue moon in your eye?

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Speaker 3: Like what, like what does it have to do with

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Speaker 3: the show? Like, but it does fit the show, Yes

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Speaker 3: it does. I don't know, like it's just of an era.

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Speaker 3: It's it really like it all the things I don't

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Speaker 3: like they put into one song.

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Speaker 2: But as I'm listening to it I'm playing the high hat.

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Speaker 3: There's that part where the guitar goes bab boo boo,

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Speaker 3: Like I remember that so well from watching.

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Speaker 1: I mean, it sounds like to me, you have backed

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Speaker 1: into the chancy, and that's okay. Sometimes we have to

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Speaker 1: find our way in through. As led Zepp once said

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Speaker 1: in Through the Endoor, you know what I mean. But

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Speaker 1: that being said, this isn't about poop. This is about

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Speaker 1: sopranis junior. And to me what it is you said

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Speaker 1: it was of a time and a place, and it

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Speaker 1: certainly is. One of the things that it makes me

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Speaker 1: think of is I'm a Leonard Cohen fan, and there's

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Speaker 1: this great Leonard Cohen you know, Hallelujah has now become

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Speaker 1: like you know, Shrek sings it. It's canonical, like everyone

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Speaker 1: who's ever been on any singing program sings that song,

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Speaker 1: which is really odd if you think about the source,

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Speaker 1: because he was like a pretty legitimately idiosyncratic, weird songwriter

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Speaker 1: and guy. But one of the things that he did

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Speaker 1: that was kind of like I think, lengthened his career

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Speaker 1: and was like part of his not final act because

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Speaker 1: he had that whole thing in the with around Hallelujah.

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Speaker 1: But in the nineties he did the soundtrack for Natural

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Speaker 1: Born Killers, and it was like he did a bunch

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Speaker 1: or or rather I don't think he did that. I

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Speaker 1: think that might have been the first. I'm not sure

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Speaker 1: about this. Trent Reznor might have been involved with that,

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Speaker 1: But what I know is the songs that were on it.

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Speaker 1: There were like these songs from that whatever record of

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Speaker 1: his came out in that time. It might have been

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Speaker 1: called The Future Leonard Cohen. But there's this like a

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Speaker 1: song called Democracy. There's these songs that have this kind

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Speaker 1: of like low speaking and the lyrics are He's you know,

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Speaker 1: they're dark, they're very rich lyrically, but they're like they're heavy.

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Speaker 1: They're almost like biblical or like the Torah or something,

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Speaker 1: but heavy on the kind of like blood and guts

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Speaker 1: of that kind of thing. And in that context with

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Speaker 1: that movie, it felt very it was really additive in

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Speaker 1: the same that it kind of felt like a commentary

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Speaker 1: that was being made on the kind of like sliding

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Speaker 1: out of control of society, you know, and like through

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Speaker 1: these two characters and the media fascination with them and

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Speaker 1: everything something about Leonard Cohen, and it's this genre it's

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Speaker 1: this kind of like really almost like goofy sounding. There's

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Speaker 1: great stories about him in this period of time too,

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Speaker 1: where like he goes in and there's a crack band

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Speaker 1: like people who worked on like, you know, fucking thriller

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Speaker 1: and stuff or whatever. They're like assemble to work on

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Speaker 1: a Leonard Cohen song, and like they play and it's

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Speaker 1: just amazing. I actually met a guy who was a

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Speaker 1: guitarist in there that became a record producer later, and

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Speaker 1: he said like Leonard would then go out to the

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Speaker 1: car and be like, yeah, that was great, but I

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Speaker 1: kind of hear it more like this and literally just

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Speaker 1: play it on his little cassio like stupid little like

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Speaker 1: five cent drum beats and like two two finger keyboard

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Speaker 1: piano stuff, and they'd be like, well, if that's how

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Speaker 1: you want to record it, go ahead and record it

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Speaker 1: that way, which then prompted that conversation with like I

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Speaker 1: think it's Clive Davis where he says like, Leonard, I

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Speaker 1: know you're great, but I don't know if you're any good,

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Speaker 1: you know, like, and that's kind of like but that

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Speaker 1: thing when I heard this now, I've never made the

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Speaker 1: connection before. It's in keeping and it's like crash Test

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Speaker 1: Dummies are kind of like some weird pop offshoot of that,

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Speaker 1: like super low voice saying like weird kind of stuff.

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Speaker 3: Lou Reed got into that too, like he was always

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Speaker 3: kind of like the speaky, but then his voice got.

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Speaker 2: Lower, even like Bob Dylan got lower at.

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Speaker 1: A point, well he got like, yeah, it's almost like

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Speaker 1: lower and like scratchy. He got like real scratchy.

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Speaker 3: Yeah, but you're talking about once there was this Yeah,

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Speaker 3: it's almost like what's that called, like a baritone or whatever,

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Speaker 3: like that really deep or bass voice.

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Speaker 2: And Johnny Cash, little Johnny Cash, a.

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Speaker 1: Little Johnny Cash and that morphine that was like a

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Speaker 1: New England band, that stuff. And it makes me think

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Speaker 1: in this context that Johnny Cash thing is a great pull,

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Speaker 1: cause it's this kind of like the Torah or like

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Speaker 1: the Book of Revelation from the New Time. It's this

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Speaker 1: kind of like you know, woke up this morning, got yourself.

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Speaker 1: It's those Wild West shit mixed with this like biblical heaviness,

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Speaker 1: like a storm clouds coming kind of thing. And in

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Speaker 1: the context of the Sopranos, which I feel like one

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Speaker 1: of the core concerns of that show, to talk about

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Speaker 1: The chosen One is this guy who feels like he's

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Speaker 1: assumed this mantle, but he's aware that he's like a

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Speaker 1: little too late. It's like the Mafia in nineteen ninety

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Speaker 1: eight or whatever and not nineteen forty or or twenty

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Speaker 1: or fifty five or whatever, and like all the riches

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Speaker 1: and whatever, the spoils of war that come with that

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Speaker 1: and the pressures. He's also like a guy living in

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Speaker 1: like suburban New Jersey, right, Like it's diminished. He's not

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Speaker 1: Gary Cooper. It's not the wild West. He's not like

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Speaker 1: the guy in the movie in the fifties or whatever.

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Speaker 2: Yeah, the truth is, it's so hard to do this.

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Speaker 3: Like what other song would be the intro, Right, it's

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Speaker 3: irreplaceable because.

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Speaker 1: It's thinking of like the most instate.

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Speaker 5: Walk like a man actually, like maybe the juxtaposition of

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Speaker 5: like a sixties crooner or fifties like you know, rock

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Speaker 5: and roll like kind of is that But I don't know.

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Speaker 3: Yeah, I like that this choice in a way, even

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Speaker 3: though I don't like this song.

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Speaker 1: Well yeah, one hundred yeah, like to be with C. C.

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Speaker 1: Peniston flypened. That's great, that's good because he's finally you

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Speaker 1: know what I mean?

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Speaker 2: He's like he's the boss.

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Speaker 1: He become boss.

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Speaker 2: It could have been a siler.

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Speaker 1: Sorry, it could have been Springsteeny, you know with the jersey,

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Speaker 1: that's good. You know what would they use something from Nebraska?

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Speaker 1: And I tell you how heavy inside it is, you

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Speaker 1: know what I mean? It's so good?

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Speaker 3: Come on, you want in a million? You've got to

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Speaker 3: burn to shine. I don't like this song. I mean

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Speaker 3: I'm giving it a chance, but it's really hard for

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Speaker 3: me to do it. Like I keep going, I keep

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Speaker 3: like eyeing the lyrics and none of it really makes sense.

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Speaker 3: Like a few lines make sense, which is like, you

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Speaker 3: know your papa never told you right from wrong. That's

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Speaker 3: you know, you know, things ain't been the same since

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Speaker 3: the Blues walked into town.

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Speaker 1: It's just really I mean, when was that. Maybe that's

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Speaker 1: a puberty thing, you know what I mean, like the

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Speaker 1: innocent children. I don't know, I'm just taking a little

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Speaker 1: stretch since the Blues walking into town. I mean, the

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Speaker 1: minute you have the kind of awareness that the world

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Speaker 1: is a more complicated place than you thought it was.

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Speaker 2: Do you think the woke is like the modern woke,

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Speaker 2: like woke up this morning?

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Speaker 1: Yeah, he was predicting he was predicting woke culture. And then,

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Speaker 1: by the way, if you are sort of like woke

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Speaker 1: herb listening to this, like just never come around. He

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Speaker 1: never kiss me now, no matter what you do in

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Speaker 1: the street, when you see me and say, oh, it's

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Speaker 1: kept chancy o, it's case chancy don't kiss me, don't

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Speaker 1: kiss us. Because I'm close to the edge.

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Speaker 3: So I don't know how I feel about it, because

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Speaker 3: I get the nostalgia for like, or it's not even nostalgia.

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Speaker 3: I get the it's so related. It's intertwined with a

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Speaker 3: show that I really like the show. Every time I

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Speaker 3: watch it, I like it more and more. I see

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Speaker 3: new things.

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Speaker 2: I love it.

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Speaker 3: Like, I start talking differently when I watch the show.

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Speaker 3: Yeah you know what I mean, Like I'm meaner to

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Speaker 3: my wife.

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Speaker 1: Cool. Yeah, yeah, honestly, that's the coolest shit you've said

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Speaker 1: in all these epps.

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Speaker 2: No, I'm not, I'm not. I'm not.

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Speaker 1: It's not true. It's not true. It's not true.

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Speaker 3: I am like a little bit more like like I

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Speaker 3: will start being like, oh, like when things you know,

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Speaker 3: like I really do it does it is infectious in

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Speaker 3: this way, I don't know, I feel you. So when

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Speaker 3: the song comes on or like let's say, like I'm

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Speaker 3: scrolling at through Instagram and there's like a joke about

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Speaker 3: that song or like using it in the meme or something,

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Speaker 3: I will be like, oh, the Sopranos, Like it's so cool.

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Speaker 2: Yeah, totally, Like it's like it's like chocolate.

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Speaker 1: That's definitely that's nice think about chocolate, you know what

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Speaker 1: I mean.

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Speaker 3: Yeah, it's just I guess in that sue, it's like

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Speaker 3: Sopranos is like chocolate, and like and maybe like the

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Speaker 3: song is like something I don't like but has chocolate

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Speaker 3: in it, and yeah, it reminds me of how good

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Speaker 3: chocolate is.

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Speaker 1: Trying to think of something I don't like that has

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Speaker 1: chocolate in it.

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Speaker 2: Maybe a mola Oh I could.

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Speaker 1: See that of depending on the moley and no disrespect

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Speaker 1: in tend or no disrespect or like.

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Speaker 2: You know, like you ever have like really cheap chocolate.

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Speaker 1: Yeah, all the time. I'm broke, so yeah.

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Speaker 2: And then so then you're like, oh, this reminds me

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Speaker 2: of like when you have good chocolate.

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Speaker 1: Yeah, yeah that's great. Yeah, well what I think I

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Speaker 1: think that was the molay is good, The cheap chocolate's good.

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Speaker 1: What I think it's it's like something like this becomes

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Speaker 1: impossible to extract from its cultural context and the thing

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Speaker 1: to which it's tied. Like I don't know who the

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Speaker 1: hell is ever going to hear this song. That would

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Speaker 1: be fascinating actually to find the person who doesn't know

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Speaker 1: the sopranos, who just encounters this.

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Speaker 2: Song that is so funny. Has that happened right?

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Speaker 1: Like in my mind, it's like they're in Baton Rouge

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Speaker 1: in some bars somewhere and someone put this comes on

286
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Speaker 1: the jukebox and stuff. This is kind of like this

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Speaker 1: like got like a deep kind of funk to it.

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Speaker 1: What is this? Yeah, Like I kind of I dig

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Speaker 1: the thing this guy's.

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Speaker 3: Saying, yeah, robot drums and blues and weird chirps it.

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Speaker 1: I liked it at the end. That really does tie

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Speaker 1: it to a time and a place. I liked it

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Speaker 1: at the end. It ends, this version of it anyway,

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Speaker 1: ends with that like what want yes? Yes. So that's

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00:14:25,600 --> 00:14:30,680
Speaker 1: so like we were trying that time late nineties. Let's

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Speaker 1: incorporate this sort of like gesture towards because that was

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Speaker 1: that moment where it's so funny to think about this. Now,

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Speaker 1: there was a legitimate moment where like American music press

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Speaker 1: things like Rolling Stone and Spin at that time, you know,

300
00:14:46,200 --> 00:14:49,720
Speaker 1: they were really genuinely like can there was this considering

301
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Speaker 1: of like will trip hop become the next big thing?

302
00:14:54,360 --> 00:14:56,840
Speaker 1: And like Moby had that song and fat Boy Slim

303
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Speaker 1: at a moment, and like the Prodigy was a thing.

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Speaker 1: But there was the sense of like it was like

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00:15:01,560 --> 00:15:04,080
Speaker 1: almost is that going to be like the next grunge

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Speaker 1: or the next like where like some of that stuff sells,

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Speaker 1: is gonna sell like ten million records and become the

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Speaker 1: next five years of popular culture? And it was like no,

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Speaker 1: but but.

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Speaker 3: The turntable not only was in the trip hop, but

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Speaker 3: like you know, you have like your Lincoln Parks that

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00:15:18,920 --> 00:15:22,120
Speaker 3: had like a turntable players like three eleven and yes,

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00:15:22,240 --> 00:15:25,440
Speaker 3: that rap rock thing really brought turntables. And then this

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Speaker 3: I think that's what's referencing as well.

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Speaker 1: Yes, totally got yourself. There's something about his vocal delivery

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Speaker 1: and the like it's it's a little it is like

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Speaker 1: minor key and dark quote unquote dark, and like to me,

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Speaker 1: there's something about this song that's like a little So

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Speaker 1: I'm like flittering back and forth between Chancey and no Chancy. Okay,

320
00:16:03,280 --> 00:16:06,480
Speaker 1: there is something about the song. I do see now

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00:16:06,600 --> 00:16:09,880
Speaker 1: it's rooted and yes, it is that gesturing towards both

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00:16:09,880 --> 00:16:11,680
Speaker 1: the trip hop thing of the moment and also like

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Speaker 1: definitely the rap rock thing and this like weird Leonard

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00:16:15,280 --> 00:16:18,120
Speaker 1: Cohen thing that was in that was and like, but

325
00:16:18,240 --> 00:16:21,080
Speaker 1: there's also this thing about it that's kind of like

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00:16:21,880 --> 00:16:25,640
Speaker 1: self consciously dark in a way that's a little funny.

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00:16:25,680 --> 00:16:29,400
Speaker 1: Like it's almost like you play a minor chord on

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00:16:29,440 --> 00:16:32,320
Speaker 1: an instrument or a you know, synth pad or something,

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00:16:32,360 --> 00:16:35,360
Speaker 1: and then you start like singing about certain things that

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00:16:35,600 --> 00:16:39,360
Speaker 1: go well with the minor chord, Like this whole thing

331
00:16:39,520 --> 00:16:41,600
Speaker 1: all of these lyrics are like it's almost like is

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00:16:41,640 --> 00:16:45,200
Speaker 1: this about a werewolf? Is this about like the devil?

333
00:16:46,160 --> 00:16:49,280
Speaker 1: You know, Like it's a little self consciously kind of

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00:16:49,320 --> 00:16:52,160
Speaker 1: like negative. Now, it also worked for them because it

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00:16:52,160 --> 00:16:55,880
Speaker 1: became connected to arguably the best, the highest regarded television

336
00:16:55,920 --> 00:16:58,680
Speaker 1: show in the history of the medium. It's one of them.

337
00:16:59,040 --> 00:17:01,640
Speaker 1: You know, I wonder if what's this band.

338
00:17:01,440 --> 00:17:04,280
Speaker 2: Called Alabama three.

339
00:17:03,960 --> 00:17:08,040
Speaker 1: Alabama three Little three. I wonder if they, I mean,

340
00:17:08,080 --> 00:17:09,920
Speaker 1: what else happened with Alabama three?

341
00:17:10,280 --> 00:17:12,960
Speaker 2: This is the rem brands. I'll be there for you, right.

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00:17:13,119 --> 00:17:16,760
Speaker 1: That's actually the closest I wonder if that's the closest correlative.

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00:17:17,040 --> 00:17:19,920
Speaker 1: Like I'm trying to think if there's another that's that's

344
00:17:19,920 --> 00:17:23,560
Speaker 1: an excellent poll. That's maybe the only other one of

345
00:17:23,680 --> 00:17:26,639
Speaker 1: this stature, because everything else is more.

346
00:17:26,520 --> 00:17:29,480
Speaker 3: Like the Yeah, nothing's that big, right, Like so even

347
00:17:29,560 --> 00:17:31,840
Speaker 3: like you're not the boss of me now, like they

348
00:17:31,920 --> 00:17:34,320
Speaker 3: might be giants on Malcolm in the Middle.

349
00:17:34,560 --> 00:17:37,480
Speaker 1: Wow, I have an embarrassing admission to make. I totally

350
00:17:37,520 --> 00:17:39,320
Speaker 1: forgot that was there. They might be giants.

351
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Speaker 3: It doesn't really sound like a lot of their stuff.

352
00:17:41,600 --> 00:17:43,880
Speaker 3: And in fact, like that's another example of like that's

353
00:17:43,920 --> 00:17:47,520
Speaker 3: the shortened version and it's a much longer song, right,

354
00:17:47,680 --> 00:17:49,879
Speaker 3: but the show's not big enough and the song's not

355
00:17:49,920 --> 00:17:51,760
Speaker 3: big enough. I mean, it's iconic in a way, but

356
00:17:51,840 --> 00:17:54,400
Speaker 3: as much as any theme song is, right if you've

357
00:17:54,400 --> 00:17:56,080
Speaker 3: watched the show, now, this is.

358
00:17:56,040 --> 00:17:59,840
Speaker 1: Like cultural sature, like Sopranos in the front the Friends,

359
00:18:00,119 --> 00:18:04,280
Speaker 1: The Friends Friends is like, you know, sopranos in the Friends.

360
00:18:04,280 --> 00:18:07,000
Speaker 1: It's classic nineteens.

361
00:18:07,480 --> 00:18:10,920
Speaker 3: Yeah, Like I don't know the er theme song don't

362
00:18:10,960 --> 00:18:12,120
Speaker 3: off the top of my head, this is a good

363
00:18:12,160 --> 00:18:15,119
Speaker 3: game doogie howser?

364
00:18:15,240 --> 00:18:18,120
Speaker 2: Is that? Yeah?

365
00:18:18,640 --> 00:18:21,280
Speaker 1: It was like it was like predicting the trip. Yeah yeah.

366
00:18:21,520 --> 00:18:24,199
Speaker 3: Oh so before we go too far away from the influences,

367
00:18:24,240 --> 00:18:25,879
Speaker 3: I have an influence on this that I think was

368
00:18:25,920 --> 00:18:29,040
Speaker 3: the maybe like right around this time that I didn't

369
00:18:29,080 --> 00:18:31,879
Speaker 3: realize but really channels it for me. And this is

370
00:18:31,920 --> 00:18:35,600
Speaker 3: one that I actually could do as a chancey. But

371
00:18:35,880 --> 00:18:37,879
Speaker 3: I think I'm going to spoil those beans now and

372
00:18:37,920 --> 00:18:38,480
Speaker 3: talk about.

373
00:18:38,320 --> 00:18:39,320
Speaker 2: A little bit. But ready for this.

374
00:18:39,520 --> 00:18:43,160
Speaker 1: Spoil the beans. Yes, then you really might know what

375
00:18:43,280 --> 00:18:43,880
Speaker 1: it's like.

376
00:18:45,520 --> 00:18:48,640
Speaker 2: To have the blues everlast.

377
00:18:48,800 --> 00:18:50,919
Speaker 1: For the people that couldn't see that, which is everybody

378
00:18:50,920 --> 00:18:53,439
Speaker 1: except me. Like the way you backed up off the

379
00:18:53,480 --> 00:18:55,520
Speaker 1: mic and you kind of did this thing like you

380
00:18:55,560 --> 00:18:58,439
Speaker 1: approached the mic like slithering your shoulders a little bit

381
00:18:58,480 --> 00:19:00,879
Speaker 1: and you got like a little deeper into yourself. That

382
00:19:01,040 --> 00:19:01,760
Speaker 1: was really good.

383
00:19:01,840 --> 00:19:04,200
Speaker 2: Yeah yeah right, But isn't that the same vibe?

384
00:19:04,200 --> 00:19:07,080
Speaker 6: Like I knew a gun named taxon he did do Jackson,

385
00:19:07,160 --> 00:19:09,600
Speaker 6: then he knows the deal, all right, Like that's this,

386
00:19:09,840 --> 00:19:13,119
Speaker 6: that's like with it, we'll gook this morning, got myself

387
00:19:13,240 --> 00:19:14,040
Speaker 6: a gun.

388
00:19:14,520 --> 00:19:16,520
Speaker 1: Like no, And not only is it that is so

389
00:19:16,720 --> 00:19:21,320
Speaker 1: dead on, it's also like that is a d minor.

390
00:19:22,240 --> 00:19:26,399
Speaker 1: Oh wow, he hit that he played that D minor

391
00:19:26,440 --> 00:19:28,960
Speaker 1: cord and he was like, my brother once died. He

392
00:19:29,040 --> 00:19:32,400
Speaker 1: was twenty nine. He was grab o game, he was.

393
00:19:34,560 --> 00:19:35,440
Speaker 2: He once died.

394
00:19:35,760 --> 00:19:40,560
Speaker 1: Yeahs the camp flash off the build man and gone insane. Yeah,

395
00:19:41,480 --> 00:19:43,879
Speaker 1: Papa gonna die at the end of the night because

396
00:19:43,880 --> 00:19:45,800
Speaker 1: I played D mine. You know.

397
00:19:46,840 --> 00:19:49,200
Speaker 2: Well, also like with with with that one, that one

398
00:19:49,240 --> 00:19:49,880
Speaker 2: at least.

399
00:19:49,800 --> 00:19:52,679
Speaker 1: Like I think they were bringing in another song. Now

400
00:19:53,160 --> 00:19:54,120
Speaker 1: this is a crossover ep.

401
00:19:54,400 --> 00:19:59,399
Speaker 2: It is it? Everlast? Uh might know what it's like?

402
00:19:59,480 --> 00:20:01,160
Speaker 2: Whatever at least has a chorus.

403
00:20:01,480 --> 00:20:03,720
Speaker 1: This oh as you were saying, like Everlast might know

404
00:20:03,800 --> 00:20:06,760
Speaker 1: what it's like, I don't know. Yeah, yeah, then you

405
00:20:06,880 --> 00:20:07,400
Speaker 1: really might.

406
00:20:07,960 --> 00:20:10,359
Speaker 3: This doesn't have a chorus, Like, it keeps feeling like

407
00:20:10,400 --> 00:20:12,960
Speaker 3: it's gonna go. It's like it's almost like you know, you're.

408
00:20:12,760 --> 00:20:15,840
Speaker 6: Poorn under the bands with the blue moon in your eyes,

409
00:20:15,880 --> 00:20:18,399
Speaker 6: and then it's just like so yeah, well good, like

410
00:20:18,440 --> 00:20:21,000
Speaker 6: it's right back and like never I keep waiting for

411
00:20:21,160 --> 00:20:24,080
Speaker 6: like a chorus, but it keeps being like it's just like, yeah, it.

412
00:20:24,040 --> 00:20:28,159
Speaker 1: Has I think it would call if you asked Alabama

413
00:20:28,160 --> 00:20:32,960
Speaker 1: three and Dominick Houser Nice whether or not I think

414
00:20:32,960 --> 00:20:34,719
Speaker 1: they would say the chorus is when the other thing

415
00:20:34,760 --> 00:20:37,200
Speaker 1: that makes me think of the the Leonard Cohen thing

416
00:20:37,320 --> 00:20:40,520
Speaker 1: is like, as a fan of his, one of the

417
00:20:40,560 --> 00:20:45,000
Speaker 1: barriers to fandom, is it he basically is like, listen,

418
00:20:45,040 --> 00:20:48,200
Speaker 1: if I'm gonna write great songs, and I'm gonna write

419
00:20:48,320 --> 00:20:52,960
Speaker 1: perhaps the best lyrics ever in like pop music, but

420
00:20:53,040 --> 00:20:57,240
Speaker 1: what I'm going to do is sing speak them at

421
00:20:57,280 --> 00:21:00,640
Speaker 1: this like what is that word? Souppoke crot like super

422
00:21:00,720 --> 00:21:06,840
Speaker 1: low kind of level over basically shitty cassio performances. But

423
00:21:06,920 --> 00:21:13,399
Speaker 1: I'll put heavily reverbed choirs of like gospel singing in

424
00:21:13,440 --> 00:21:14,159
Speaker 1: the background.

425
00:21:14,240 --> 00:21:16,080
Speaker 2: Now, I gotta check this out. That sounds exciting.

426
00:21:16,480 --> 00:21:18,920
Speaker 1: I will make you have to hurdle. And I'll make

427
00:21:18,920 --> 00:21:21,560
Speaker 1: every song six minutes long with eleven verses, and I

428
00:21:21,600 --> 00:21:24,640
Speaker 1: will you will have to hurdle that to get into

429
00:21:24,680 --> 00:21:27,000
Speaker 1: my music. After like a certain point, is he doing

430
00:21:27,040 --> 00:21:30,320
Speaker 1: Cory's He sometimes has Cory's yea, So he does verses

431
00:21:30,320 --> 00:21:35,840
Speaker 1: and he does Cory's sometimes that's here, that's a crazy yeah.

432
00:21:35,880 --> 00:21:36,480
Speaker 1: But in this.

433
00:21:36,400 --> 00:21:38,440
Speaker 3: Way he does low, he does he does a lot.

434
00:21:38,480 --> 00:21:40,160
Speaker 3: He does a baritone.

435
00:21:40,680 --> 00:21:43,120
Speaker 1: When you got to hear his version, it's it's insane.

436
00:21:43,320 --> 00:21:46,520
Speaker 1: If you hear that version. You're like, actually, like it

437
00:21:46,560 --> 00:21:46,800
Speaker 1: is on.

438
00:21:46,960 --> 00:21:49,080
Speaker 2: I know the original, So you're saying he made he

439
00:21:49,119 --> 00:21:50,520
Speaker 2: made a new version of it. Are you talking about it?

440
00:21:50,520 --> 00:21:52,960
Speaker 1: No, I'm saying, like the eighty four whatever it was

441
00:21:53,000 --> 00:21:56,280
Speaker 1: on that Various Positions album, it's pretty like he's not

442
00:21:56,359 --> 00:21:59,840
Speaker 1: like going up there. He's like huh yeah, oh.

443
00:21:59,760 --> 00:22:01,720
Speaker 3: Wow, Okay, I got to check that out then because

444
00:22:02,160 --> 00:22:03,879
Speaker 3: I thought i'd heard it. Maybe I'm not thinking of

445
00:22:03,880 --> 00:22:06,359
Speaker 3: it right, But that song has everything you need.

446
00:22:06,600 --> 00:22:09,760
Speaker 1: Like that song well, that song's like honestly bighlightning thing.

447
00:22:09,800 --> 00:22:12,720
Speaker 1: But even that song wasn't even released in America when

448
00:22:12,760 --> 00:22:14,479
Speaker 1: it came out because the label was like, what are

449
00:22:14,600 --> 00:22:16,920
Speaker 1: what is this? What is this arrangement? Who are these

450
00:22:16,920 --> 00:22:19,520
Speaker 1: gospels singing? Like? What is this? It almost sounds like

451
00:22:19,600 --> 00:22:22,639
Speaker 1: he's joking is the thing in this music, but then

452
00:22:22,640 --> 00:22:24,680
Speaker 1: it's deadly serious. And the reason I bring that up

453
00:22:24,720 --> 00:22:29,760
Speaker 1: is I think that Alabama three and Dominic Hauser would

454
00:22:29,760 --> 00:22:32,680
Speaker 1: say that the chorus in this is when it goes

455
00:22:32,720 --> 00:22:37,760
Speaker 1: to that the choir of like singing, gimme shelter level

456
00:22:37,880 --> 00:22:41,600
Speaker 1: gospel singing that's going on is doing that like uh

457
00:22:42,640 --> 00:22:44,520
Speaker 1: woke up this morning? Full moon in your eye thing

458
00:22:44,560 --> 00:22:47,520
Speaker 1: and he kind of does say like he repeats got

459
00:22:47,520 --> 00:22:50,280
Speaker 1: yourself a gun or full moon one of those things.

460
00:22:50,280 --> 00:22:53,160
Speaker 1: There is a moment where that it's like a breakout

461
00:22:53,400 --> 00:22:56,080
Speaker 1: and the what's it called is like going off. I'm

462
00:22:56,080 --> 00:22:56,879
Speaker 1: doing like a gesture.

463
00:22:56,920 --> 00:22:59,640
Speaker 2: It's like a testifying Yes, they're they're.

464
00:22:59,440 --> 00:23:03,439
Speaker 1: Testifying, and he's doing this like, uh, he's kind of

465
00:23:03,480 --> 00:23:06,600
Speaker 1: going for it. Uh in repeating that thing. I don't know.

466
00:23:06,640 --> 00:23:08,879
Speaker 1: I kind of feel like that's the chorus.

467
00:23:10,359 --> 00:23:12,760
Speaker 3: But I mean, I mean, yeah, I know what you mean.

468
00:23:12,760 --> 00:23:14,639
Speaker 3: It feels cory. But now tell me this in a

469
00:23:14,760 --> 00:23:17,240
Speaker 3: music in a music world, in a music wa I'll

470
00:23:17,240 --> 00:23:21,119
Speaker 3: tell you, like it does do the chords change. I

471
00:23:21,160 --> 00:23:23,360
Speaker 3: don't know if there's a chord change in this song

472
00:23:23,359 --> 00:23:24,920
Speaker 3: because it's a bit more of like a I mean,

473
00:23:25,359 --> 00:23:27,200
Speaker 3: there are chords. I'd have to like sit down and

474
00:23:27,280 --> 00:23:27,840
Speaker 3: wrap it out.

475
00:23:27,880 --> 00:23:30,200
Speaker 1: But I do think it's like it's sort of as

476
00:23:30,240 --> 00:23:34,800
Speaker 1: the same chords through the verses and Corey's I think

477
00:23:35,920 --> 00:23:39,600
Speaker 1: we might get blown up for this, yeah and kill me.

478
00:23:39,720 --> 00:23:41,640
Speaker 3: My truth is like I've seen a rich man bag,

479
00:23:41,720 --> 00:23:43,440
Speaker 3: I've seen a good man sin, I've seen a tough

480
00:23:43,440 --> 00:23:44,000
Speaker 3: man cry.

481
00:23:46,040 --> 00:23:49,720
Speaker 1: We're rocking we're going for two chances chances and one

482
00:23:49,760 --> 00:23:51,240
Speaker 1: two chances three JAXA's two.

483
00:23:51,119 --> 00:23:55,120
Speaker 2: Chances one cup a loser win. I've seen a sad

484
00:23:55,160 --> 00:23:57,440
Speaker 2: man grit. I've heard an honest man.

485
00:23:57,359 --> 00:24:01,880
Speaker 1: Lie Wow, profound shit. It's wild if you think about

486
00:24:02,040 --> 00:24:04,320
Speaker 1: let's talk about Everlast for a minute, if you think

487
00:24:04,359 --> 00:24:07,840
Speaker 1: about how, because I mean, I think it's inevitable when

488
00:24:07,840 --> 00:24:10,760
Speaker 1: you're talking about Dominic Hauser to end up on this

489
00:24:10,840 --> 00:24:12,919
Speaker 1: Everlast thing, this has been to deal with like for

490
00:24:13,000 --> 00:24:16,200
Speaker 1: time immemorial, whenever Noam Chopsky talks about this, whenever saw

491
00:24:16,240 --> 00:24:18,520
Speaker 1: him and Rusty as dark about as they always end

492
00:24:18,600 --> 00:24:22,679
Speaker 1: up dealing with this same sort of houser Everlast Nexus,

493
00:24:23,000 --> 00:24:26,360
Speaker 1: I know Salmon Rusky Nexus, Yes, And what I do

494
00:24:26,480 --> 00:24:30,879
Speaker 1: think about that song it's wild, is that he's adopting

495
00:24:31,040 --> 00:24:34,440
Speaker 1: the tenor of like a grizzled blues man, like an

496
00:24:34,480 --> 00:24:37,440
Speaker 1: eighty five year old Delta by you like, man, I've

497
00:24:37,480 --> 00:24:39,399
Speaker 1: seen everything. It's like you were the dude in the

498
00:24:39,440 --> 00:24:42,359
Speaker 1: House of Pain. I'm sure you've seen a lot.

499
00:24:42,480 --> 00:24:46,520
Speaker 3: Yeah, right, Like that's that's him.

500
00:24:46,400 --> 00:24:50,680
Speaker 1: That's no, that's for sure him around. Whitey Ford sings

501
00:24:50,680 --> 00:24:54,040
Speaker 1: The Blues, the album from which what it's like came from.

502
00:24:54,440 --> 00:24:56,359
Speaker 1: I think that's also when he was beefing with a

503
00:24:56,520 --> 00:24:57,639
Speaker 1: nascent Eminem.

504
00:24:58,359 --> 00:25:00,760
Speaker 2: Yes, yeah, for sure, I remember that very well.

505
00:25:00,880 --> 00:25:03,520
Speaker 1: Shots were fired because you couldn't have like I think,

506
00:25:03,520 --> 00:25:06,920
Speaker 1: Eminem on the way up, we're bringing in everybody, Leonard

507
00:25:07,000 --> 00:25:11,760
Speaker 1: co Eminem, Emmy, I saw the stupidest ship the other day,

508
00:25:11,800 --> 00:25:14,440
Speaker 1: by the way. Sorry, As we digressed from digressions, where

509
00:25:14,440 --> 00:25:17,639
Speaker 1: like it was like James Corden was interviewing doctor Dre.

510
00:25:17,920 --> 00:25:19,760
Speaker 1: We could bleep these things out if it's better for us,

511
00:25:19,760 --> 00:25:22,919
Speaker 1: but where he says like he's like, so, let me

512
00:25:22,960 --> 00:25:25,879
Speaker 1: get this straight. The first time you're in the studio

513
00:25:25,920 --> 00:25:29,080
Speaker 1: with Eminem, you right, my name is? What is that like?

514
00:25:29,520 --> 00:25:31,879
Speaker 1: And Doctor Jre's like, honestly, I put the beat on

515
00:25:32,040 --> 00:25:35,919
Speaker 1: and he's like, burden, She's like doing the beat and

516
00:25:35,920 --> 00:25:39,000
Speaker 1: then he goes and right away, right away, he just goes, hi,

517
00:25:39,280 --> 00:25:42,679
Speaker 1: my name is, what my name is? Who my name is?

518
00:25:43,240 --> 00:25:49,280
Speaker 1: And James Corden goes no, and look, look it's a

519
00:25:49,440 --> 00:25:52,479
Speaker 1: it's a canonical iconic millions millions these who am I?

520
00:25:52,600 --> 00:25:56,680
Speaker 1: These are super Bowl performers. But something about the self mythologizing,

521
00:25:56,760 --> 00:25:59,400
Speaker 1: like I put the beat on and right away, and

522
00:25:59,400 --> 00:26:03,880
Speaker 1: that's when I knew. I'm like, you know, I opt out.

523
00:26:04,000 --> 00:26:04,760
Speaker 1: This is insane.

524
00:26:04,960 --> 00:26:07,399
Speaker 3: It's like I put the beat on and I swear

525
00:26:07,440 --> 00:26:09,800
Speaker 3: they just went so no one told you life was

526
00:26:09,800 --> 00:26:10,960
Speaker 3: gonna be this way.

527
00:26:11,680 --> 00:26:17,080
Speaker 1: Wow, that's a good mashie. But yo, okay. So the

528
00:26:17,119 --> 00:26:21,879
Speaker 1: thing with Everlasty and slim Shades is is, no, we

529
00:26:21,960 --> 00:26:24,080
Speaker 1: don't have to go further into that, but I do

530
00:26:24,200 --> 00:26:27,440
Speaker 1: think that's interesting, like what's up in the late nineties

531
00:26:27,440 --> 00:26:30,160
Speaker 1: with these dudes. There's also some kind of like what

532
00:26:30,320 --> 00:26:34,600
Speaker 1: is influencing Like Johnny Cash was doing those Rick Rubin

533
00:26:34,680 --> 00:26:38,440
Speaker 1: records around now that's when this starts. So is there

534
00:26:38,520 --> 00:26:41,159
Speaker 1: some kind of like that was that was like cool?

535
00:26:41,400 --> 00:26:43,879
Speaker 1: That was like even on MTV a little bit like

536
00:26:43,880 --> 00:26:46,040
Speaker 1: like one hundred and twenty minutes, those like early Rick

537
00:26:46,119 --> 00:26:48,280
Speaker 1: Rubin Johnny Cash things.

538
00:26:48,320 --> 00:26:50,720
Speaker 3: Is that like in nineteen ninety nine and this is

539
00:26:50,920 --> 00:26:52,520
Speaker 3: this feels very nineteen ninety nine.

540
00:26:52,560 --> 00:26:56,040
Speaker 2: That's when the sopranos that all checks out. That's the thing.

541
00:26:56,080 --> 00:26:58,919
Speaker 3: It's like TV is always going to be like dated

542
00:26:58,960 --> 00:27:02,440
Speaker 3: in certain shows like hold out, hold up forever, you.

543
00:27:02,400 --> 00:27:04,320
Speaker 1: Know, or hold out for more money and hold out

544
00:27:04,359 --> 00:27:08,840
Speaker 1: for more money indication, but like you.

545
00:27:08,800 --> 00:27:10,720
Speaker 3: Know, and then you start to love the datedness, Like

546
00:27:10,760 --> 00:27:13,760
Speaker 3: even as a kid, I loved that Seinfeld felt like

547
00:27:13,880 --> 00:27:16,520
Speaker 3: some of the old episodes felt old, you know, yeah,

548
00:27:16,600 --> 00:27:19,520
Speaker 3: even when even as new ones were coming out. And

549
00:27:19,560 --> 00:27:22,640
Speaker 3: then as I've gotten older, like there's it's fun that

550
00:27:22,720 --> 00:27:23,800
Speaker 3: it looks old.

551
00:27:23,880 --> 00:27:25,440
Speaker 2: And music doesn't.

552
00:27:25,200 --> 00:27:28,920
Speaker 3: Always age the way TV does, which is interesting because

553
00:27:28,960 --> 00:27:33,200
Speaker 3: like TV can look so much more dated and some music,

554
00:27:33,480 --> 00:27:36,480
Speaker 3: I know, but some music is timeless, right like obviously

555
00:27:36,560 --> 00:27:39,080
Speaker 3: like a lot of rock and roll is to a

556
00:27:39,080 --> 00:27:39,760
Speaker 3: certain degree.

557
00:27:40,200 --> 00:27:43,440
Speaker 1: But then again this the question of that I think

558
00:27:43,480 --> 00:27:47,280
Speaker 1: it's so it depends on it's funny, it depends on

559
00:27:47,440 --> 00:27:51,159
Speaker 1: how like long you want to draw the arc, you know,

560
00:27:51,720 --> 00:27:53,800
Speaker 1: And I think even with stuff like you know, this

561
00:27:53,880 --> 00:27:57,680
Speaker 1: is a personal experience story that I that like illustrated

562
00:27:57,680 --> 00:28:02,520
Speaker 1: something to me. Generationally, our band had the opportunity. We've

563
00:28:02,560 --> 00:28:06,360
Speaker 1: had some kind of crazy opportunities to my estimation here

564
00:28:06,400 --> 00:28:08,119
Speaker 1: and there, and some of we've got to do some

565
00:28:08,160 --> 00:28:10,560
Speaker 1: of like these festivals that are like bigger festivals, and

566
00:28:10,560 --> 00:28:13,240
Speaker 1: we had a couple times we did Lollapalouze in Chicago

567
00:28:13,280 --> 00:28:16,040
Speaker 1: and the most recent time was I think in twenty

568
00:28:16,080 --> 00:28:20,679
Speaker 1: seventeen that I played that like as this band, we

569
00:28:20,760 --> 00:28:23,680
Speaker 1: had the opportunity to open the main stage that day,

570
00:28:23,720 --> 00:28:26,399
Speaker 1: and like the headliner was Lord, and like Migos was

571
00:28:26,440 --> 00:28:29,040
Speaker 1: on that state, and so what that meant was like

572
00:28:29,080 --> 00:28:32,280
Speaker 1: a whole bunch of people that were not people who

573
00:28:32,280 --> 00:28:34,439
Speaker 1: gave a shit about our band obviously, but like showed up.

574
00:28:34,720 --> 00:28:37,560
Speaker 1: Let's say there's like fifteen thousand people at one PM

575
00:28:37,640 --> 00:28:40,240
Speaker 1: in a space that will eventually old sixty thousand people

576
00:28:40,280 --> 00:28:43,360
Speaker 1: to watch Lord, but they're there and it's a three

577
00:28:43,360 --> 00:28:45,400
Speaker 1: piece band we're playing As at that point, it was

578
00:28:45,440 --> 00:28:48,000
Speaker 1: on a record called Instigator, and we're playing and like

579
00:28:48,120 --> 00:28:51,560
Speaker 1: I'm watching sixteen year old kids that are there to

580
00:28:51,640 --> 00:28:54,040
Speaker 1: see Migos and Lord and whoever else is going to

581
00:28:54,040 --> 00:28:57,200
Speaker 1: be on that stage, and they're like mock, not mocking.

582
00:28:57,280 --> 00:29:01,120
Speaker 1: They were like enjoying themselves, but they're playing the devil horns, yeah,

583
00:29:01,880 --> 00:29:04,280
Speaker 1: banging their heads. And it was just because like we

584
00:29:04,280 --> 00:29:07,400
Speaker 1: were just three guys playing instruments on stage. There was

585
00:29:07,400 --> 00:29:10,959
Speaker 1: no tracks, there was no like pyrotechnic. It was just

586
00:29:11,000 --> 00:29:13,320
Speaker 1: like we were just like getting up in our mind.

587
00:29:13,400 --> 00:29:16,640
Speaker 1: It's like cause playing Nirvana or something, and those kids

588
00:29:16,640 --> 00:29:19,000
Speaker 1: are watching it and it's like my dad would like this,

589
00:29:19,000 --> 00:29:21,400
Speaker 1: this is what you like do at a rock show.

590
00:29:22,040 --> 00:29:23,880
Speaker 1: And I'm like, in that moment, I was first of all, like,

591
00:29:23,920 --> 00:29:26,840
Speaker 1: oh my god, you're like actually old. You're like thirty

592
00:29:26,880 --> 00:29:28,680
Speaker 1: eight years old, but you might as well be two

593
00:29:28,880 --> 00:29:32,440
Speaker 1: hundred to these kids, like painting on a on the

594
00:29:32,480 --> 00:29:34,680
Speaker 1: on the walls of a cave or something. And it

595
00:29:34,800 --> 00:29:37,959
Speaker 1: really did make me think like, well, what something like

596
00:29:38,720 --> 00:29:41,800
Speaker 1: I don't hear the Beatles and think of like, oh,

597
00:29:41,840 --> 00:29:45,240
Speaker 1: that's so all these certain things. Oh that's either do

598
00:29:45,400 --> 00:29:48,840
Speaker 1: that or right exactly, Oh that's so nineteen sixty whatever.

599
00:29:48,960 --> 00:29:53,000
Speaker 1: But like, of course fucking sixty years ago. Like I'm

600
00:29:53,040 --> 00:29:54,960
Speaker 1: sure there's kids who were like here that stuff and

601
00:29:55,000 --> 00:29:57,880
Speaker 1: they're like timeless, what are you talking about? This sounds

602
00:29:57,920 --> 00:29:59,960
Speaker 1: like dog shit, you know.

603
00:30:00,200 --> 00:30:02,680
Speaker 3: Or like the children's music, like the Beatles. Probably to

604
00:30:02,720 --> 00:30:04,640
Speaker 3: them sounds like kids' music, which it is.

605
00:30:04,560 --> 00:30:07,520
Speaker 1: And it's become more sophisticated. In fact, the performance you

606
00:30:07,560 --> 00:30:10,440
Speaker 1: could argue in a lot of ways has has has not,

607
00:30:10,880 --> 00:30:13,800
Speaker 1: but the way it's recorded, in the fidelity with which

608
00:30:13,800 --> 00:30:17,440
Speaker 1: it's livered, and that the technological advancements, that's like this

609
00:30:17,440 --> 00:30:19,400
Speaker 1: stuff sounds like it was made on like you know.

610
00:30:19,880 --> 00:30:22,200
Speaker 3: Right, well, there probably is though, like some Billie Eilish

611
00:30:22,360 --> 00:30:25,360
Speaker 3: or someone who's like, especially when it's really simple, when

612
00:30:25,360 --> 00:30:28,600
Speaker 3: it's like piano and vocal, there's you could take a

613
00:30:28,600 --> 00:30:33,080
Speaker 3: piano and vocal from any decade, yes, relativily. And and

614
00:30:33,160 --> 00:30:36,000
Speaker 3: if you told someone this just came out, they'd be like, oh,

615
00:30:36,240 --> 00:30:37,680
Speaker 3: if it's really stripped down.

616
00:30:37,960 --> 00:30:39,000
Speaker 2: But once you.

617
00:30:38,960 --> 00:30:42,000
Speaker 3: Start getting into the textures of drums, like, there's no

618
00:30:42,040 --> 00:30:43,640
Speaker 3: way you could play a Pixie song and be like

619
00:30:43,640 --> 00:30:46,000
Speaker 3: that this came out today. It just feels very the

620
00:30:46,000 --> 00:30:49,040
Speaker 3: way they mike the drums right echo. We like, there's

621
00:30:49,040 --> 00:30:51,360
Speaker 3: certain stuff and like you know eighties bands too, like

622
00:30:51,760 --> 00:30:55,600
Speaker 3: unless someone really knew their their stuff and was recording

623
00:30:55,640 --> 00:30:57,520
Speaker 3: it to sound like that, But then it would have

624
00:30:57,560 --> 00:30:59,720
Speaker 3: to be like a pretty big band in order to

625
00:30:59,760 --> 00:31:02,080
Speaker 3: con like you know, like or Taylor Swift would have

626
00:31:02,120 --> 00:31:04,960
Speaker 3: to be trying to make a song that sounds like that.

627
00:31:05,160 --> 00:31:06,960
Speaker 3: But then I almost feel like it would fade out

628
00:31:07,000 --> 00:31:08,320
Speaker 3: and become really popular.

629
00:31:08,400 --> 00:31:11,800
Speaker 1: Yeah. Well, and also it's impossible to make things, even

630
00:31:11,840 --> 00:31:14,160
Speaker 1: when you are making things that at the time are

631
00:31:14,240 --> 00:31:17,640
Speaker 1: considered to be separated to some degree from the trappings

632
00:31:17,680 --> 00:31:20,680
Speaker 1: of stylistic trappings of the time. If you then listen

633
00:31:20,720 --> 00:31:23,920
Speaker 1: to that twenty years later, you still hear the time

634
00:31:24,120 --> 00:31:27,360
Speaker 1: which it was made. So the timelessness thing, you're actually

635
00:31:27,440 --> 00:31:30,600
Speaker 1: prompting a further thought, which is, like, right, the Beatles

636
00:31:30,600 --> 00:31:33,320
Speaker 1: are timeless because if someone sat down in a room

637
00:31:33,640 --> 00:31:36,920
Speaker 1: and played you, as was evidenced by that classic film

638
00:31:37,000 --> 00:31:40,720
Speaker 1: from a couple of years ago by Danny Boyce, I

639
00:31:40,760 --> 00:31:44,800
Speaker 1: didn't see it. What if the Beatles didn't exist? But

640
00:31:44,960 --> 00:31:47,640
Speaker 1: this idea that like what you're saying with Billie Eilisher

641
00:31:47,800 --> 00:31:51,000
Speaker 1: or whatever, anything like, I do firmly believe if someone

642
00:31:51,080 --> 00:31:54,040
Speaker 1: sits down in a room and performs a song for you,

643
00:31:55,560 --> 00:31:59,080
Speaker 1: there are songs that you're like. The reason they feel

644
00:31:59,080 --> 00:32:01,560
Speaker 1: evergreen is not not only because of the sort of

645
00:32:01,600 --> 00:32:04,800
Speaker 1: like towering figure to whom they're attached. It's because they're actually,

646
00:32:04,800 --> 00:32:09,760
Speaker 1: like really just powerful songs. The document itself is almost

647
00:32:09,800 --> 00:32:13,120
Speaker 1: like a material like Hallelujah actually is a perfect example.

648
00:32:13,920 --> 00:32:17,400
Speaker 1: People aren't like they're not even now. They might not

649
00:32:17,440 --> 00:32:19,840
Speaker 1: even know that it is a Leonard Cohen song. The

650
00:32:19,880 --> 00:32:21,560
Speaker 1: people who are some of the people who are even

651
00:32:21,680 --> 00:32:23,720
Speaker 1: covering it probably don't even know that it's a Leonard

652
00:32:23,720 --> 00:32:26,120
Speaker 1: Cohen song. They certainly don't know like what the core

653
00:32:26,280 --> 00:32:30,480
Speaker 1: recording sounds like, because it becomes a timeless matter of

654
00:32:30,560 --> 00:32:33,320
Speaker 1: public record. And I think the reason we're going down

655
00:32:33,400 --> 00:32:40,120
Speaker 1: this particular to say it might not be true or

656
00:32:40,200 --> 00:32:44,400
Speaker 1: the hounds chancy or not.

657
00:32:45,840 --> 00:32:49,520
Speaker 4: That this song on its standalone merit there is that

658
00:32:50,240 --> 00:33:00,560
Speaker 4: any Boyle slum Dog Million Beatles.

659
00:33:04,880 --> 00:33:07,440
Speaker 3: So ultimately you're you're saying that this this that you

660
00:33:07,480 --> 00:33:09,200
Speaker 3: don't really want to I don't even know if we've

661
00:33:09,240 --> 00:33:10,600
Speaker 3: I don't think we ever do this metric.

662
00:33:10,840 --> 00:33:13,880
Speaker 1: I like this lets this is good new development.

663
00:33:14,320 --> 00:33:17,760
Speaker 3: I will say that I've by listening to this song

664
00:33:17,840 --> 00:33:19,880
Speaker 3: standalone without the show, which I don't know if I've

665
00:33:19,880 --> 00:33:22,040
Speaker 3: ever done. Also, I do still love that idea that

666
00:33:22,080 --> 00:33:23,920
Speaker 3: it's like on a playlist and some guy works out

667
00:33:23,920 --> 00:33:25,800
Speaker 3: to it and he doesn't know that it's on the Sopranos,

668
00:33:25,840 --> 00:33:26,600
Speaker 3: like he's never seen.

669
00:33:26,440 --> 00:33:28,400
Speaker 1: Surp, Like oh ship, yeah, yeah, I know.

670
00:33:28,400 --> 00:33:30,320
Speaker 2: That's the song that I work out to something you guys.

671
00:33:30,160 --> 00:33:31,760
Speaker 1: Like Alabama three.

672
00:33:33,800 --> 00:33:36,320
Speaker 2: He's asking the TV. He's asking the show.

673
00:33:36,880 --> 00:33:41,840
Speaker 1: Yeah, you driving? You know? You know Alaboa three? You

674
00:33:41,880 --> 00:33:42,360
Speaker 1: know what the hell?

675
00:33:43,520 --> 00:33:44,680
Speaker 2: Toddy? Wait?

676
00:33:44,680 --> 00:33:45,640
Speaker 1: How does TV work?

677
00:33:47,440 --> 00:33:50,800
Speaker 3: So yeah, so ultimately I don't. I still don't think

678
00:33:50,840 --> 00:33:53,160
Speaker 3: it's great. I think there are better theme songs, but

679
00:33:53,200 --> 00:33:56,480
Speaker 3: they're also like you know, like everywhere you look. I

680
00:33:56,480 --> 00:33:58,640
Speaker 3: think it's a great theme song, but I don't. I'm

681
00:33:58,640 --> 00:33:59,640
Speaker 3: not going to put that song on.

682
00:34:00,280 --> 00:34:05,120
Speaker 1: It is never no this, This is definitely I think

683
00:34:05,200 --> 00:34:09,759
Speaker 1: that the chancy given here is first of all, it

684
00:34:09,840 --> 00:34:15,799
Speaker 1: is inextricable or whatever that word is. It's either inextricable

685
00:34:15,880 --> 00:34:21,400
Speaker 1: or inextractable from the thing to which it's become primarily attached.

686
00:34:21,440 --> 00:34:23,759
Speaker 1: But in a way it's like a symbiotic relationship. Like

687
00:34:24,040 --> 00:34:25,719
Speaker 1: you do think of the Sopranos and over hear this

688
00:34:25,760 --> 00:34:27,279
Speaker 1: and it makes you want to watch it. Also the

689
00:34:27,280 --> 00:34:30,160
Speaker 1: Sopranos is made a little bit more of the Sopranos

690
00:34:30,200 --> 00:34:33,279
Speaker 1: by the existence of this song. Weirdly, and there is

691
00:34:33,680 --> 00:34:36,040
Speaker 1: like I don't know how to do that experiment if

692
00:34:36,040 --> 00:34:37,600
Speaker 1: you did remove it and put in like, you know,

693
00:34:37,719 --> 00:34:40,480
Speaker 1: hurt by nine inch Nails or something maybe or closer.

694
00:34:40,680 --> 00:34:43,200
Speaker 1: There's a little bit of not much nails in this too. Actually,

695
00:34:43,239 --> 00:34:44,200
Speaker 1: as we're.

696
00:34:43,840 --> 00:34:47,239
Speaker 2: Right, that's the beats and boops, yes, and the show.

697
00:34:47,320 --> 00:34:50,200
Speaker 3: It could never be like like certain theme songs like

698
00:34:50,320 --> 00:34:53,319
Speaker 3: I mean like Fresh Princes or something like explains the show.

699
00:34:53,560 --> 00:34:54,239
Speaker 2: It could never be.

700
00:34:54,280 --> 00:34:58,560
Speaker 3: Like Sopranos met Sopranos, right, Like, it can never be that,

701
00:34:59,160 --> 00:35:01,840
Speaker 3: so it to be like a standalone song, and I

702
00:35:01,880 --> 00:35:04,480
Speaker 3: think it would be weird if it was anything else.

703
00:35:04,560 --> 00:35:06,480
Speaker 3: It almost I almost like that. This is a hybrid

704
00:35:06,560 --> 00:35:09,719
Speaker 3: of so many genres. Yeah, you know, like it does

705
00:35:09,760 --> 00:35:11,480
Speaker 3: feel like it's of the time, but it doesn't feel

706
00:35:11,520 --> 00:35:11,879
Speaker 3: like it was.

707
00:35:11,840 --> 00:35:14,400
Speaker 2: The most popular thing at the time. No, I like

708
00:35:14,520 --> 00:35:18,319
Speaker 2: that like that. It's not like I'll be you sh

709
00:35:18,680 --> 00:35:20,359
Speaker 2: be you dream up you know what I.

710
00:35:20,239 --> 00:35:23,040
Speaker 1: Mean, Like, oh, that would be amazing. I like it.

711
00:35:23,040 --> 00:35:25,279
Speaker 2: It's not nookie, so I like, you know, I like it.

712
00:35:25,280 --> 00:35:26,440
Speaker 2: It's no, it's.

713
00:35:27,000 --> 00:35:29,919
Speaker 1: It's weird and it represents something that's a little weird too,

714
00:35:30,000 --> 00:35:32,839
Speaker 1: but I like the thing it represents. They're also both

715
00:35:32,920 --> 00:35:37,040
Speaker 1: accessible and sort of you can identify the component parts

716
00:35:37,080 --> 00:35:38,920
Speaker 1: the sopranos is itself, but you can see all the

717
00:35:38,960 --> 00:35:41,319
Speaker 1: things that go into it. And I feel like that's

718
00:35:41,400 --> 00:35:44,399
Speaker 1: true of this song. I don't know. I mean, look,

719
00:35:44,440 --> 00:35:48,000
Speaker 1: will I put this on after we get off this sessh?

720
00:35:48,120 --> 00:35:51,040
Speaker 1: I don't think so, But I will say that when

721
00:35:51,080 --> 00:35:53,319
Speaker 1: it's on. Maybe next time when I go through Sopranis

722
00:35:53,400 --> 00:35:54,720
Speaker 1: for the fourth.

723
00:35:54,440 --> 00:35:56,239
Speaker 2: Time, are you gonna do it?

724
00:35:56,560 --> 00:35:59,600
Speaker 1: I'll probably watch and I'll probably listen, and I'll think, oh,

725
00:35:59,640 --> 00:36:03,200
Speaker 1: you know what, I gave it the chancey once with

726
00:36:03,360 --> 00:36:04,360
Speaker 1: my friend Case.

727
00:36:04,560 --> 00:36:05,920
Speaker 2: And you knew who you.

728
00:36:05,960 --> 00:36:17,000
Speaker 3: Were then those Wranos, and we've been the chances.

729
00:36:18,040 --> 00:36:22,799
Speaker 1: Give us a chancey click chancy at the bottom of

730
00:36:22,800 --> 00:36:23,520
Speaker 1: the screen.

731
00:36:24,760 --> 00:36:31,720
Speaker 2: Memo code chancey for all your Sopranos VHS's. We should stop.

732
00:36:34,360 --> 00:36:36,400
Speaker 2: This could have ended a while ago, but we keep going.

733
00:36:36,600 --> 00:36:38,319
Speaker 1: Yeah, I think we should keep talking about. In fact,

734
00:36:38,320 --> 00:36:40,840
Speaker 1: like I'd like to start a new chancey about like

735
00:36:41,320 --> 00:36:42,680
Speaker 1: my word

736
00:36:48,719 --> 00:36:56,080
Speaker 6: Tell me more, tell me why