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Speaker 1: Hey, discos, need a little more Disgraceland in your life,

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Speaker 1: just to touch to get you through. Yeah me too.

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Speaker 1: This is the podcast that comes after the podcast. Welcome

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Speaker 1: to Disgraceland, the after Party. Welcome to the Disgraceland bonus episode,

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Speaker 1: a little thing we like to call the after Party.

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Speaker 1: This is the show after the show, the party after

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Speaker 1: the party, the bridge to get you from one full

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Speaker 1: episode of Disgraceland to the other. It's the backyard to

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Speaker 1: dig into the dirt where our mission is to uncover

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Speaker 1: the truth, to confront the myth, and to reclaim the

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Speaker 1: story for music history. On this bonus episode, Dave Gahan

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Speaker 1: from Depeche Mode died and came back to life, and

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Speaker 1: what he saw afterward has us asking where do rock

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Speaker 1: stars go when they die? The near death experiences of

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Speaker 1: the Depeche Mode frontman and other rock stars, plus your voicemails, texts, emails, comments, dms,

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Speaker 1: and as always, a whole lot of rosie. This is

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Speaker 1: the podcast for the musically obsessed, the outsiders, the independent

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Speaker 1: thinkers who knows that the best history is the history

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Speaker 1: that gets buried. Disgraceland is where I tell the stories

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Speaker 1: they didn't want told. The kind that you'll end up

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Speaker 1: telling someone else. All right, disc goes, Let's get into it.

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Speaker 1: Where do rock stars go when they die? They don't

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Speaker 1: go to heaven where the angels fly. In this week's

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Speaker 1: episode of Disgraceland on Depeche Mode, part of the story

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Speaker 1: focuses on the near death experience of singer Dave Kahan

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Speaker 1: and the time his heart stopped for two minutes after

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Speaker 1: injecting a speedball in nineteen ninety six. Dave survived. And

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Speaker 1: I love d stories. That's near death experience, So I

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Speaker 1: love this story. I love nd stories near death experience stories,

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Speaker 1: because it's the greatest trick in storytelling at play. Where

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Speaker 1: you tease, where you tease the audience with the answer

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Speaker 1: to a question that is just they just they have

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Speaker 1: to have the answer. They can't not have it. And

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Speaker 1: this is the greatest question of all what comes next?

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Speaker 1: I read a book on near death experiences once by

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Speaker 1: a neurosurgeon, A neurosurgeon who claims to have had an NDE.

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Speaker 1: Excuse me himself. He suffered from a coma and he

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Speaker 1: came back, and he gave a scientific explanation of what

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Speaker 1: he believes happened to him and where he went while

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Speaker 1: he was clinically dead and before he returned, and he too,

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Speaker 1: this neurosurgeon, like Dave Kahan, like I said, was clinically

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Speaker 1: dead for a moment. Now, Dave Kahn told enemy in

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Speaker 1: twenty thirteen that when he died, he was floating above

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Speaker 1: his own body in the hospital room and looking down

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Speaker 1: at his former self while paramedics went about trying to

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Speaker 1: save his life. He said that these seconds of death

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Speaker 1: that he experienced for him anyways, they moved like hours,

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Speaker 1: time moved slow. He also said that he was screaming,

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Speaker 1: but nothing was happening, and he believes this was his

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Speaker 1: soul screaming out. And then came darkness, complete, all encompassing darkness,

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Speaker 1: and just this blackness. This is the important part. It

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Speaker 1: was frightening until Dave was eventually thrust back into his

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Speaker 1: body before waking up alive. Now in the book Proof

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Speaker 1: of Heaven, a Neurosurgeon's Journey into the afterlife, doctor even Alexander,

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Speaker 1: this is the neurosurgeon I was talking about earlier. He

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Speaker 1: went further in his near death experience than Dave Gahan.

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Speaker 1: His time of unconsciousness lasted longer than the Depeche mode

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Speaker 1: Frontman's and Doctor Alexander was in a coma for a

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Speaker 1: full seven days, and he describes his time on the

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Speaker 1: other side as a place of unconditional love, a place

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Speaker 1: where love permeates every element of your being, of being

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Speaker 1: tapped into a universal consciousness, where telepathic communication between other

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Speaker 1: souls is possible, where rich, vibrant colors dance with a

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Speaker 1: divine light, a portal of sorts, okay, a gateway to,

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Speaker 1: as he describes it, the all knowing, loving Creator. Should

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Speaker 1: be noted by the way that Doctor Alexander was an atheist,

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Speaker 1: I believe before he wrote this book, and he doesn't

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Speaker 1: go into spirituality or religion or faith very much at all.

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Speaker 1: That's not what this book is. It's again, it's very

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Speaker 1: scientific take on his experience describes. He describes the afterlife

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Speaker 1: as a place where one soul continues to learn and

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Speaker 1: grow and where everything is guided by the constant, overwhelming

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Speaker 1: sensation of connectedness and love. That sounds fucking awesome, But

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Speaker 1: it also sounds a little bit different than Dave Gahan

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Speaker 1: from Depeche Mode's experience. He was experiencing an all encompassing,

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Speaker 1: frightening blackness. Now I don't really know how doctor even

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Speaker 1: Alexander lived his life. From what I remember from the

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Speaker 1: book and I read it, I don't remember how many

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Speaker 1: years ago. It wasn't that long ago. From what I remember,

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Speaker 1: he led a pretty normal life as not only as

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Speaker 1: a doctor, but as a father, a husband, or brother,

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Speaker 1: a son, and his time in his coma was marked

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Speaker 1: by family members who visited him were caring for him.

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Speaker 1: These are all the signs of a man who not

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Speaker 1: only was loved, but who also most likely put a

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Speaker 1: lot of love into the world. And my point is

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Speaker 1: that we can probably assume that the doctor here didn't

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Speaker 1: live a life of depeche mode debauchery and leave a

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Speaker 1: trail of emotional hardship and personal relationship casualties along the way,

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Speaker 1: as most rock stars do. And maybe this is why

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Speaker 1: his afterlife experience the Doctors was so different from the

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Speaker 1: rock stars, from Dave gah Hans, And then again, maybe

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Speaker 1: he just wanted to sell a lot of books. I

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Speaker 1: don't know. People say a lot of things, Okay, even doctors,

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Speaker 1: but especially musicians. I just watched a video last night

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Speaker 1: of Robbie Williams, by the Way, claiming that he'd had

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Speaker 1: sex with a reptile or with a woman who turned

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Speaker 1: into a reptile in the middle of sex. I shit

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Speaker 1: you not, He's dead serious. I've talked about this before.

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Speaker 1: John Lennon. You know, we all love John Lennon. You know,

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Speaker 1: man of I don't need to qualify who John Lennon was.

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Speaker 1: We all know who John Lennon was. Right, but online

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Speaker 1: and went on a New York news program in nineteen

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Speaker 1: seventy four and detailed told a story, in detail and

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Speaker 1: in all seriousness to his fellow New Yorkers about the

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Speaker 1: UFO that he saw flying over his fifty Second Street apartment. Okay,

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Speaker 1: rockstars could say crazy shit. Keith Richards claims that he

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Speaker 1: snorted the ashes of his cremated father. Quincy Jones said

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Speaker 1: that Paul McCartney was the worst bass player he ever heard.

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Speaker 1: He also claimed Marlon Brando had sex with a mailbox.

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Speaker 1: By the way, in the exclusive section of this after

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Speaker 1: party episode, Zeth and I are going to dive into

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Speaker 1: the wild wild comments from the last interviews that Quincy

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Speaker 1: Jones gave before he died. All the outlandish stories that

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Speaker 1: Quincy told go to disgraylanmdpod dot com to become an

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Speaker 1: all access member of disgraysand and you'll get our take

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Speaker 1: on this Quincy Jones madness by unlocking this exclusive content

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Speaker 1: and more. Back to our story. However, where was I

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Speaker 1: yes the outlandish things that rockstars say. Quincy Jones said

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Speaker 1: like like I mentioned the Paul McCartney sucked all right,

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Speaker 1: Billy Corgan says that he once encountered a shape shifter.

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Speaker 1: Demi Lovado believes that her extraordinary vocal talent is derived

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Speaker 1: from extraterrestrial origins. Grimes says that she was raised by NHS.

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Speaker 1: Not to be confused with NDEs and hes. That's what

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Speaker 1: we're talking about here, That's what Grimes is talking about.

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Speaker 1: And hes are non human entities. Aliens, tall whites or

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Speaker 1: the grays or ultraterrestrials or shape shifters are fucking reptile people,

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Speaker 1: non human entities. This is who Grimes believes raised her. Okay, listen,

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Speaker 1: who am I to judge? What do we actually know? Anyways,

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Speaker 1: The more I learn, the less I know. That's how

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Speaker 1: I feel. That's how I feel these days. The more

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Speaker 1: I learn, the less I know. So who am I

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Speaker 1: to tell Dave Gahan that he didn't die? Or to

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Speaker 1: tell a neurosurgeon again, a literal brain surgeon that he

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Speaker 1: doesn't know what he's talking about. Now, there have been

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Speaker 1: other rock stars who have claimed to have died, and

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Speaker 1: not one of them describes their experiences as being one

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Speaker 1: of love and connectedness, like the good doctor here, not

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Speaker 1: that I've seen anyways. I'm talking about real rock stars,

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Speaker 1: not nice guys who play in jazz bands with their

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Speaker 1: local pastors on the weekend. Not guys. You know who

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Speaker 1: I'm talking about, rock stars, Okay, Depeche fucking Modes front

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Speaker 1: man Nicki six, Okay, all of the real rock star

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Speaker 1: near death experience descriptions that I've read a line closer

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Speaker 1: to Dave Gahan's description of fear and darkness. When Nicki

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Speaker 1: six died, he described the incident as being painful. When

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Speaker 1: Phil Enselmo of Pantera when he died, as he claims,

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Speaker 1: his near death experience was a time spent in a

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Speaker 1: black void. And there are others. You get the gist. Fear, pain,

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Speaker 1: a black void. These life after death rock star experiences,

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Speaker 1: at least compared to the experience again of the neurosurgeon,

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Speaker 1: and frankly countless other accounts by non rock stars of

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Speaker 1: NBES these experiences that the rock stars detail, they sound

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Speaker 1: hellish compared to a state of connectedness and love, which

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Speaker 1: sounds heavenly. Maybe that's by design. I'm not saying it is.

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Speaker 1: I'm just asking questions here again, Where do rock stars

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Speaker 1: go when they die? They don't go to heaven where

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Speaker 1: the angels fly. I'm paraphrasing the Met Puppets lyric that

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Speaker 1: Kurt Cobain saying back in the early nineties. The real

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Speaker 1: lyric is where do bad folks go when they die?

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Speaker 1: They don't go to heaven where the angels fly. They

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Speaker 1: go to a lake of fire and Fry see him

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Speaker 1: again on the fourth of July. And you know what,

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Speaker 1: I believe what the me Puppets are saying here. I

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Speaker 1: believe that there is some sort of grand sorting of

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Speaker 1: souls after all of whatever the hell this is, and

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Speaker 1: that what we do here in this life matters. And

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Speaker 1: I've always believed that, even when I didn't know that,

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Speaker 1: I believe that. I still believed that, and I've acted accordingly,

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Speaker 1: which isn't to say that I've always acted with love.

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Speaker 1: I haven't. To paraphrase Fiona Apple, the next rock star

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Speaker 1: that I'm going to write about I've been a bad

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Speaker 1: bad boy, but a lot of us have, All of

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Speaker 1: us have, but nothing compared to how our rock stars

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Speaker 1: have acted. Rock Stars, like the rest of us, are

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Speaker 1: complicated souls. They're capable of good and bad in equal

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Speaker 1: measures sometimes but for whom selfishness and sociopathy and pride.

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Speaker 1: For the rock stars, these are more like job requirements

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Speaker 1: than personality flaws. Not so much quote unquote sins, but

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Speaker 1: rather tools to ply their trade, is what I'm getting at. Okay,

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Speaker 1: all that bad behavior to manifest life experiences here and

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Speaker 1: now that are filled with drama, crime, evil in murder, rape, arson, cannibalism, Those,

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Speaker 1: of course, are the worst of the worst. That's the

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Speaker 1: worst of the behavior from our rock stars. But then

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Speaker 1: there's the garden variety rockstar narcissism and dickishness that leads

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Speaker 1: a trail of emotional chaos, in wreckage that the rock

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Speaker 1: star then unconsciously minds experiences, transgressive dark experiences that they

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Speaker 1: use to create with dark events from their own lives,

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Speaker 1: brought about by their own free will, real pain, pain

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Speaker 1: that they bring upon others, oftentimes no different than us.

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Speaker 1: In some cases, who among us hasn't broken someone's heart right,

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Speaker 1: Who among us hasn't unknowingly slighted someone else, made them

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Speaker 1: feel small, brought pain into the world. We all do it, okay,

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Speaker 1: But the rock star, the rock star, some of them anyway,

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Speaker 1: the real rock star is capable of bringing about a

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Speaker 1: different kind of pain, And like everything in the rock

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Speaker 1: star's life, the pain is bigger and that pain brings

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Speaker 1: big results. Again, it's the well they draw upon to

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Speaker 1: write their songs, to create. And here's the irony. To

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Speaker 1: create is to love. Creation the act of bringing something

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Speaker 1: into the world, something that is going to bring joy

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Speaker 1: to somebody else, like a song or an album or

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Speaker 1: a live music experience. To create those things, it's an

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Speaker 1: act of love. So what I'm saying, I guess is

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Speaker 1: where do rock stars go when they die? Should they

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Speaker 1: go to heaven where the angels fly, where the brain

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Speaker 1: surgeons go? At least I don't know. All I know

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Speaker 1: is Dave Gahan wrote the song Personal Jesus. And when

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Speaker 1: my poor Greek Orthodox mother walked into our living room

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Speaker 1: and found the sixteen year old me watching that video

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Speaker 1: with the imagery of slinky Dave Gahan, shirtless streading around

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Speaker 1: a dusty Mexican Sam peckinpass set with those lyrics, your

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Speaker 1: own personal Jesus, reach out and touch me. She was pissed.

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Speaker 1: It pained her, no doubt, to watch her son, her

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Speaker 1: sixteen year old son, being taken in by what, to

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Speaker 1: her was again, no doubt, some symbol of the anti

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Speaker 1: Christ right there in her living room. Call father Carris,

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Speaker 1: all right, let's exercise this bitch. But does this mean

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Speaker 1: Dave Gahan should go to hell? Does it mean he

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Speaker 1: is going to hell? I have no idea, man, this

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Speaker 1: is not for me, my mother or father Caros to decide.

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Speaker 1: But still to quote Dave Gahan, frightening darkness. Okay, that's

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Speaker 1: what he saw, frightening darkness, quite different from what the

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Speaker 1: neurosurgeon saw. Does that mean anything? Again, I don't know.

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Speaker 1: None of us know anything, Like I said, the more

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Speaker 1: I learn, the less I know. I don't know what

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Speaker 1: any of this adds up to. But it is fun

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Speaker 1: to talk about, and it's the exact type of thing

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Speaker 1: that we'd be talking about at the house party after

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Speaker 1: the gig. At the after party. Did Dave Gahan die

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Speaker 1: and go back to life? He thinks, so did Nikki six.

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Speaker 1: Nikki six says a lot of shit, did Marlon Brando

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Speaker 1: have sex with a mailbox? Like Quinn Jones says? Did

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Speaker 1: Billy Corgan really see a shape shifter? Again? These are

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Speaker 1: the hard hitting series questions that we ask here in

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Speaker 1: Disgrace Lands after party and sometimes get the answer, at

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Speaker 1: least try to. You can answer them too, but you

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Speaker 1: got to call me to do that. Six one seven

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Speaker 1: nine oh six six six three eight, Leave me a

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Speaker 1: voicemail or send me a text. I got a big

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Speaker 1: question coming in next week's episode. How did Foo Fighters

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Speaker 1: drummer Taylor Hawkins die? Taylor did not come back from

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Speaker 1: the dead, unfortunately, he died tragically in a Colombian hotel

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Speaker 1: and we still don't know how. For real, there's still

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Speaker 1: no official cause of death. It's been four years since

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Speaker 1: one of the most famous drummers on the planet died

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Speaker 1: and we still don't have an official cause of death. Nothing,

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Speaker 1: not a zilch. Why not? What's the deal? Well, I'm

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Speaker 1: going to tell you what I think is going on

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Speaker 1: in that episode next week, and when I'm done, i'd

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Speaker 1: like your opinion on the cause of Taylor Hawkins's death.

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Speaker 1: How did he die? I want to know what you think,

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Speaker 1: so get your calls, texts six one seven nine oh

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Speaker 1: six six six three eight, get him into me, DM

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Speaker 1: me at Disgrace Lampod on Instagram, Facebook, TikTok x, and

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Speaker 1: email me Disgrace Lampod at gmail dot com. Coming up Sunday,

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Speaker 1: our rewind episode Okay for this week is our classic

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Speaker 1: episode on Selena. Okay, we do have an official cause

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Speaker 1: of death for Selena, and it was heartbreaking and entirely unnecessary,

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Speaker 1: and this tragedy has become one of the classic true

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Speaker 1: crime stories from music history. You haven't heard. If you

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Speaker 1: have heard it but you haven't heard us tell it,

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Speaker 1: then I invite you to fire up your podcast app

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Speaker 1: this Sunday while you're out by the grill, or you're

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Speaker 1: in your garden, you're making breakfast in the kitchen for

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Speaker 1: your family, whatever you're doing, just pop in your earbuds

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Speaker 1: and spin through Disgraceland in the Tragic Tale of Selena

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Speaker 1: with us. All right next week, like I said, Next Tuesday,

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Speaker 1: our new episode on the Foo Fighters, and coming up

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Speaker 1: next right here in the after party right after this,

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Speaker 1: your voicemails, text, dms and more from last week's Question

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Speaker 1: of the Week. So don't go anywhere all right, Wi

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Speaker 1: Harry said it best from Blondie. I'm in the phone booth.

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Speaker 1: It's the one across the hall. You got me hanging

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Speaker 1: on the telephone six one seven nine oh six sixty

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Speaker 1: six three eight. Let's check out D in the two

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Speaker 1: one four.

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Speaker 2: Hey, Jake, It's D from Dallas, Texas And I just

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Speaker 2: listened to your show, your Disgrace Plan episode on Depeche Mode,

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Speaker 2: and you were asking for suggestions of covers, and you

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Speaker 2: have to check out Tim Dracula's version of Iris by

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Speaker 2: the Goo Goo Dolls. I'm sure you've heard it, because

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Speaker 2: you're such a hold, such a well rounded cultural kind

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Speaker 2: of guy.

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Speaker 3: But if you haven't, you've got to listen to it.

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Speaker 3: So out of the norm, out of character for everything

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Speaker 3: that they usually do. But it's freakin' awesome and the

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Speaker 3: first time I heard it it made me cry.

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Speaker 2: Give it a listen, all.

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Speaker 1: Right, D. I'll see your Kim Dracula Goo Goo Dolls

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Speaker 1: Iris and I will raise you a megadeth anarchy in

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Speaker 1: the UK by the Sex Pistols cover. Check that out.

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Speaker 1: I checked out the Kim Dracula cover of Google Dolls,

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Speaker 1: and I gotta say I liked it better than the

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Speaker 1: Goo Goo Dolls version of Iris, which is fucking everywhere

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Speaker 1: these days. That song, it's everywhere, it's everywhere, and I

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Speaker 1: don't love that song to begin with, but at least

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Speaker 1: this one's more interesting. Thank you D appreciate you D

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Speaker 1: in the two one four, And this is a nice

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Speaker 1: intro to Daniel in the seven oh seven. Let's hear

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Speaker 1: from Daniel.

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Speaker 4: Hey, Jake, this is Daniel from seven oh seven, California,

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Speaker 4: specific Northwest. So my selection for the best cover song

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Speaker 4: is going to be meg Death's version of These Boots,

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Speaker 4: the nineteen sixty six song by Nancy Sinatra, the original

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Speaker 4: one we all know, we all love, we're pretty familiar with,

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Speaker 4: so Megadath, of course we imagined it in a metal fashion,

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Speaker 4: which included spicing up and changing the lyrics a bit

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Speaker 4: in addition to everything else. So this leads to a

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Speaker 4: little bit of a story because the songwriter, Lee Hazelwood,

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Speaker 4: apparently was not having it, and he said no permission,

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Speaker 4: no go. Misstine fought it in court, said hey, if

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Speaker 4: manages it's satire, it's irony, it's comedy. But it wasn't going.

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Speaker 4: So their response was in subsequent releases of the Megadath album.

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Speaker 4: They just bleeped out some of the lyrics, but that

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Speaker 4: was pretty much obnoxious and unlistenable. So the third solution

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Speaker 4: it was to simply release their metal version of the

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Speaker 4: song originally but with Nancy Sinatra slash Lee Hazelwood's actual

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Speaker 4: lyrics of the song. I don't know legally how that

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Speaker 4: all works, but apparently that's settled it, and so now

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Speaker 4: we just have the straightforward metal version of these boots,

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Speaker 4: all right, So we'll wrap it up now. But one

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Speaker 4: last note is that this dovetails with last week's question

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Speaker 4: about memoirs and autobiographies, for which I will say the

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Speaker 4: book Mustaine by Dave Mustain himself is a absolutely great read,

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Speaker 4: So thank you, love you.

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Speaker 1: All, Daniel. I have never heard the Megadesth version of

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Speaker 1: the Nancy Sinatra song, but like I just mentioned, I

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Speaker 1: do or I did at least really dig the MEGADESK

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Speaker 1: cover of the Sex Pistols Anarchy in the UK, and

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Speaker 1: I'm not embarrassed to admit that that was the first

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Speaker 1: version of that song that I heard as a young boy,

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Speaker 1: and I quickly though, went to the sex Pistols and

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Speaker 1: that is the classic version. Obviously, it's better than the

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Speaker 1: Guns and Roses. It's better than any any attempt at

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Speaker 1: that song. Nothing compares to the Sex Pistols version. Thanks

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Speaker 1: for you called, Daniel, appreciate you all right, Let's go Sean,

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Speaker 1: Let's bring us to the nine to five.

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Speaker 5: Hey, Frand just regarding the Robin or Hall of Fame

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Speaker 5: do Over or Fresh Dart list, I gotta say I

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Speaker 5: like where your head's at. Don't agree with every pick.

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Speaker 5: I do heavily agree with Jay Gilesbandt however they should

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Speaker 5: be in already. But I for myself, I think I

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Speaker 5: would consider any Hall of Fame illegitimate if it didn't

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Speaker 5: have the Pixies, I mean influence. It's no secret that

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Speaker 5: two of the Pixies' biggest fans are kirkle Baited David Alburn.

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Speaker 5: They talk about them all the time. Were used to counterculture,

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Speaker 5: I mean arguably their two biggest mainstream moments came in

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Speaker 5: the form of movie soundtracks, both which were entirely about

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Speaker 5: counterculture and pub Up the Volume and Fight Club. So yeah,

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Speaker 5: any hall that I would want to be a part

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Speaker 5: of definitely has to include the Pixies. Pixies, Pixies, Pixies

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Speaker 5: right on, great content, piece.

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Speaker 1: Okay, guys, I don't know how many messages and voicemails

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Speaker 1: we got about the Pixies and Jay Giles band. I

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Speaker 1: mentioned Jay Ales Band last week that they should be

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Speaker 1: part of our Disgrace and rock and Roll Hall of Fame,

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Speaker 1: and they are. I think we just inducted them, and

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Speaker 1: I think they're being from Boston prompted the Pixies' responses

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Speaker 1: as well, which I absolutely agree with. The Pixie should

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Speaker 1: be in the real rock and Roll Hall of Fame

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Speaker 1: full stop. And you bring up a really good point,

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Speaker 1: like we know about the Nirvana influence, we sometimes I

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Speaker 1: sometimes forget about the Blur influence which you mentioned. You

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Speaker 1: mentioned both of those nine oh five, but also the

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Speaker 1: cultural argument because of the movie soundtrack piece is huge

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Speaker 1: as well, and it goes to show just how influential

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Speaker 1: and important that band is. And I don't know if

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Speaker 1: have they ever been nominated. That's something I'm going to

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Speaker 1: find out they should be maybe maybe I don't know

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Speaker 1: if this happens if you get nominated for the Rock

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Speaker 1: and Roll Hall of Fame and if you're like Susan

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Speaker 1: Lucci and you just miss it for you know, five

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Speaker 1: years in a row or whatever. They just stop nominating you.

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Speaker 1: I don't know if that happened to the Pixies or not.

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Speaker 1: If it did, it's a damn shame. I'll look into

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Speaker 1: it for you. I have a report back next week

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Speaker 1: nine oh five. And everyone else who recommended the Pixies

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Speaker 1: seven one four, seven one four Sean go to the

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Speaker 1: seven one four.

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Speaker 4: Hey, Jake is junior seven to one four. Cover songs,

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Speaker 4: first one comes to mind.

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Speaker 5: So many great ones out there, but.

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Speaker 4: One of my favorite Mojo Nixon's cover of the Smith

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Speaker 4: Girlfriend in a COMA freaking fun cover.

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Speaker 6: I you haven't heard it.

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Speaker 5: I hope you enjoy it.

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Speaker 6: Alrip Mojo Nixon, and you're doing a great job.

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Speaker 2: Jay.

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Speaker 4: Keep doing what you're doing.

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Speaker 1: Brother.

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Speaker 5: I'll talk to you later. Bye.

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Speaker 1: Mojo Nixon, Girlfriend Na Cooma by the Smiths. No, I

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Speaker 1: have never heard that, but I'm interested, man, I am interested.

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Speaker 1: We've been having a lot of fun with the smith lately.

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Speaker 2: Uh.

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Speaker 1: In our video podcast, this film should be played loud.

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Speaker 1: We have a category that we get to now every

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Speaker 1: in every episode, which quote from this movie should be

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Speaker 1: a Smith song title? And we we pulled a couple

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Speaker 1: of great ones out of high fidelity, which you will

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Speaker 1: hear next week when we release the next episode of

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Speaker 1: this film should be played loud. You gotta be a

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Speaker 1: Patreon member though, to check that out. Go to disgrace

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Speaker 1: sampod dot com to sign up six one seven nine

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Speaker 1: six six six three eight seven one four. Thanks for

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Speaker 1: the Mojo Nixon message again, let's do Let's go to

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Speaker 1: the nine to two to oh readings.

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Speaker 6: Fellow dis goes, I'm down low in the nine tow

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Speaker 6: to oh. I drive all day fixing vending machines, and

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Speaker 6: while I'm doing that, I love to listen to the

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Speaker 6: Spraceland and hollywood Land, and Jake brought up unlikely remix. Okay,

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Speaker 6: the og only cash We've heard fair enough. Here's one

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Speaker 6: that's not necessarily unlikely. But the first time I heard

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Speaker 6: war Pigs was Faith No More's War Pigs. And then

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Speaker 6: when I heard your original Black Sabbath, I like Faith

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Speaker 6: No More is better. And it comes down to production

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Speaker 6: artisan skill. But you know what, sometimes the first time

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Speaker 6: you hear specific song at the time, you like it

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Speaker 6: to bed no shades at the Sabbath. All I gotta

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Speaker 6: say is rock and Roll of Fizza signing off evermore, Yo, I.

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Speaker 1: Hear you I hear you, but I think the free

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Speaker 1: on or whatever it is they got coursing through the

424
00:25:43,320 --> 00:25:46,439
Speaker 1: vending machines might be might be influencing you. There's no

425
00:25:46,480 --> 00:25:48,440
Speaker 1: free on inventing machines. I know that, But I'm trying

426
00:25:48,440 --> 00:25:51,159
Speaker 1: to make a point that Faith and War's version of

427
00:25:51,160 --> 00:25:55,680
Speaker 1: Warpigs is not gooder than Black Sabbath. But that's your opinion, man.

428
00:25:55,680 --> 00:25:58,480
Speaker 1: That's just like your opinion, man, and your You are

429
00:25:59,240 --> 00:26:02,800
Speaker 1: entitled to that, and I get it. I totally get it.

430
00:26:02,920 --> 00:26:07,439
Speaker 1: Sometimes your point is completely valid. Sometimes the first version

431
00:26:07,480 --> 00:26:10,600
Speaker 1: of the song that you hear is the best version

432
00:26:10,800 --> 00:26:13,879
Speaker 1: of it, okay, like little Latin Loop de Lou, you know,

433
00:26:14,520 --> 00:26:19,000
Speaker 1: for Barry and High Fidelity, it's the Righteus Brothers Righteous

434
00:26:19,000 --> 00:26:22,200
Speaker 1: Brothers version, or is it the Issi Brothers. I can't remember,

435
00:26:22,400 --> 00:26:25,280
Speaker 1: whatever it is. It's not Mitch Ryder and the fucking

436
00:26:25,400 --> 00:26:33,920
Speaker 1: Detroit Wheels, as as Dick was well told anyhow, on

437
00:26:34,000 --> 00:26:36,840
Speaker 1: Faith no more in their cover songs easy like Sunday Morning,

438
00:26:37,480 --> 00:26:42,480
Speaker 1: fantastic like Warpigs. We had this ongoing argument my best friend,

439
00:26:42,560 --> 00:26:44,320
Speaker 1: one of my best friends grown up Dutch and I

440
00:26:45,000 --> 00:26:47,159
Speaker 1: when we were kids, on how a song should be

441
00:26:47,160 --> 00:26:49,359
Speaker 1: covered and he believed that the faith No More approach

442
00:26:49,480 --> 00:26:52,199
Speaker 1: was the writer approach, like he tried to treat it

443
00:26:52,240 --> 00:26:57,080
Speaker 1: like a recreation of the original, which I just believe

444
00:26:57,160 --> 00:26:59,520
Speaker 1: is completely false still to this day and Dutch Now,

445
00:26:59,560 --> 00:27:01,480
Speaker 1: I talk to a microphone for a living, so I

446
00:27:01,480 --> 00:27:06,119
Speaker 1: think I think I can better make my point. I

447
00:27:06,160 --> 00:27:08,720
Speaker 1: think the way to do it is to at least

448
00:27:08,760 --> 00:27:12,040
Speaker 1: the covers that I respond to the most strongly are

449
00:27:12,080 --> 00:27:17,040
Speaker 1: the ones that are interpretations of the original, where the

450
00:27:17,040 --> 00:27:21,280
Speaker 1: person covering the song interprets it and brings their own

451
00:27:21,359 --> 00:27:26,480
Speaker 1: musical point of view and style to what we're hearing. That's,

452
00:27:26,680 --> 00:27:28,600
Speaker 1: you know, that's what I love. Like it goes back.

453
00:27:28,640 --> 00:27:32,720
Speaker 1: It's the classic version of like you know, lots of

454
00:27:32,720 --> 00:27:35,840
Speaker 1: people in the early days of pop music would record

455
00:27:35,880 --> 00:27:39,400
Speaker 1: the same songs, lots of people would record Cold Porter songs,

456
00:27:39,440 --> 00:27:42,720
Speaker 1: but you'd want the Ella Fitzgerald version of the Cold

457
00:27:42,800 --> 00:27:45,639
Speaker 1: Porter songbook because you just love the way that she

458
00:27:45,920 --> 00:27:48,720
Speaker 1: made the songs her own, versus I don't know another

459
00:27:49,000 --> 00:27:51,400
Speaker 1: jazz singer. Okay, even if that jazz singer was good,

460
00:27:51,440 --> 00:27:55,320
Speaker 1: you might prefer one's interpretation over the other. And they

461
00:27:55,320 --> 00:27:58,840
Speaker 1: weren't always just sort of recreations anyhow, that's my take

462
00:27:58,880 --> 00:28:01,640
Speaker 1: on it. But what do I know? Appreciate you nine

463
00:28:01,680 --> 00:28:04,399
Speaker 1: two oh check out you've probably heard it, but Charles

464
00:28:04,440 --> 00:28:07,800
Speaker 1: Bradley's version of changes Black Savage changes another great cover

465
00:28:08,000 --> 00:28:11,280
Speaker 1: and an unlikely one at that. All right, let's use

466
00:28:11,280 --> 00:28:14,200
Speaker 1: some text six one seven nine oh six six six

467
00:28:14,400 --> 00:28:18,000
Speaker 1: three eight Caara in the seven o three, Hey, Jake,

468
00:28:18,080 --> 00:28:22,159
Speaker 1: this is Kara. Unlikely cover I heard recently is Radiohead

469
00:28:22,240 --> 00:28:26,040
Speaker 1: Creep covered by Tears for Fears. I need to hear this.

470
00:28:26,960 --> 00:28:29,240
Speaker 1: Thank you for the nice words about our content, Tookara,

471
00:28:29,320 --> 00:28:34,080
Speaker 1: appreciate you, Ali in the five to four to ho Jake.

472
00:28:34,119 --> 00:28:37,840
Speaker 1: As cliche as it is. Other than the Boss Bruce Springsteen,

473
00:28:38,000 --> 00:28:40,760
Speaker 1: I have to say Taylor Swift is the most influential

474
00:28:40,880 --> 00:28:44,160
Speaker 1: musician that I have come across. I discovered her when

475
00:28:44,160 --> 00:28:46,920
Speaker 1: I was ten and she had just released the Fearless album.

476
00:28:46,960 --> 00:28:49,040
Speaker 1: And growing up, she's been the soundtrack in my life,

477
00:28:49,040 --> 00:28:51,280
Speaker 1: from narrating breakups I've been through to dealing with a

478
00:28:51,280 --> 00:28:54,440
Speaker 1: family member with a terminal illness. Her range of topics

479
00:28:54,520 --> 00:28:57,640
Speaker 1: is just aligned so perfectly with my life. She's put

480
00:28:57,640 --> 00:29:00,280
Speaker 1: things in words so beautifully that I wouldn't even have

481
00:29:00,400 --> 00:29:03,240
Speaker 1: imagined I love the show. Keep up the great work. PS.

482
00:29:03,240 --> 00:29:06,880
Speaker 1: Thanks for the T shirt and the poster. Ali, I

483
00:29:07,080 --> 00:29:11,200
Speaker 1: hear you, and it's interesting to hear the perspective of

484
00:29:11,280 --> 00:29:15,400
Speaker 1: somebody who got into Taylor Swift as a ten year

485
00:29:15,400 --> 00:29:19,920
Speaker 1: old and I'm assuming is now an adult and hearing

486
00:29:19,960 --> 00:29:23,120
Speaker 1: how her songs have tracked and stayed with you through

487
00:29:23,720 --> 00:29:26,360
Speaker 1: the sort of narrative of your life. That's pretty fascinating

488
00:29:26,400 --> 00:29:28,800
Speaker 1: and that's a very powerful skill for a pop artist

489
00:29:28,880 --> 00:29:31,720
Speaker 1: to have. I wonder how much of it is intentional

490
00:29:32,400 --> 00:29:34,680
Speaker 1: and how much of it is organic. I would bet

491
00:29:34,720 --> 00:29:36,719
Speaker 1: that it is a healthy mix of the two, with

492
00:29:36,840 --> 00:29:39,200
Speaker 1: most of it being organic. Anyways, five to four h

493
00:29:39,320 --> 00:29:44,000
Speaker 1: I'm happy that you have such a close connection to

494
00:29:44,080 --> 00:29:47,800
Speaker 1: an artist and have for some time. Sounds fantastic. Maybe

495
00:29:47,800 --> 00:29:49,400
Speaker 1: we all be so lucky, and I think most of

496
00:29:49,480 --> 00:29:52,880
Speaker 1: us are now. Is Lisa in the nine oh seven lucky?

497
00:29:53,600 --> 00:29:57,160
Speaker 1: Let's see what Lisa's got to say here? Another deep

498
00:29:57,240 --> 00:30:00,240
Speaker 1: cut on the cover subject. Here another deep cut from

499
00:30:00,240 --> 00:30:03,960
Speaker 1: the late nineties, check out Edwin McCain's cover of James

500
00:30:04,080 --> 00:30:07,040
Speaker 1: Taylor's I've Got to Stop Thinking about That. It's on

501
00:30:07,080 --> 00:30:09,560
Speaker 1: the Misguided Roses album, But I saw him perform it

502
00:30:09,640 --> 00:30:12,960
Speaker 1: in person and it was fantastic. I'll stop now. Lisa

503
00:30:13,000 --> 00:30:14,800
Speaker 1: from the nine oh seven, Lisa, thank you. You don't have

504
00:30:14,840 --> 00:30:18,600
Speaker 1: to stop. This is fantastic. I've never heard of this.

505
00:30:19,400 --> 00:30:23,480
Speaker 1: You know the song the original by James Taylor, and

506
00:30:23,520 --> 00:30:27,400
Speaker 1: I don't really know that much Edwin McCain, so I'm

507
00:30:27,480 --> 00:30:29,760
Speaker 1: kind of stoked to get into this. Thank you, Lisa.

508
00:30:30,960 --> 00:30:33,240
Speaker 1: Tanya in the six four to six where I said, Hey, Jake,

509
00:30:33,360 --> 00:30:35,440
Speaker 1: my number one not in the Rock and Roll Hall

510
00:30:35,440 --> 00:30:38,880
Speaker 1: of Fame but should be is Captain Beefheart aka Don

511
00:30:39,000 --> 00:30:42,760
Speaker 1: Van Vleigh. I'm with you on Jeff Buckley too, and

512
00:30:42,880 --> 00:30:46,400
Speaker 1: Jeff Buckley is only two degrees of separation from Beefhart.

513
00:30:46,520 --> 00:30:51,160
Speaker 1: Guitarist slash songwriter Gary Lucas was in at least two

514
00:30:51,200 --> 00:30:54,719
Speaker 1: iterations of The Magic Band That's beef Heart's band, and

515
00:30:54,800 --> 00:30:59,360
Speaker 1: later on, Jeff Buckley was in Gary Lucas's band Gods

516
00:30:59,400 --> 00:31:04,360
Speaker 1: and Monts before going solo and Gary Gary Lucas wrote

517
00:31:04,400 --> 00:31:08,040
Speaker 1: the music for the songs Grace and Mojo Pin on

518
00:31:08,120 --> 00:31:12,920
Speaker 1: Jeff's debut album and plays on those tracks. Cheers from

519
00:31:12,960 --> 00:31:15,720
Speaker 1: Tanya w in New York City. Full disclosure, I'm friends

520
00:31:15,720 --> 00:31:17,600
Speaker 1: with Gary and maintain his website. But I swear this

521
00:31:17,640 --> 00:31:21,160
Speaker 1: is all true. Tanya. We believe you, We believe you.

522
00:31:22,240 --> 00:31:24,200
Speaker 1: I feel like Beefheart's going to get in on one

523
00:31:24,200 --> 00:31:27,360
Speaker 1: of those the way they put Graham Parsons in what

524
00:31:27,400 --> 00:31:30,400
Speaker 1: do they call that historical consideration or whatever the hell

525
00:31:30,400 --> 00:31:34,640
Speaker 1: it is, And I think Jeff Buckley will get in eventually.

526
00:31:35,240 --> 00:31:37,560
Speaker 1: By the way, anyone see that video recently, the first

527
00:31:37,560 --> 00:31:40,120
Speaker 1: time I've seen it, Juliana Hatfield playing I think it's

528
00:31:40,120 --> 00:31:44,720
Speaker 1: at Axis on Newbury Street in Boston in the nineties,

529
00:31:44,960 --> 00:31:46,800
Speaker 1: and it's the end of her set and she's about

530
00:31:46,840 --> 00:31:49,680
Speaker 1: to go into her encore or something, and Jeff Buckley

531
00:31:49,920 --> 00:31:53,720
Speaker 1: just comes flying from side stage and stage dives into

532
00:31:53,760 --> 00:31:58,680
Speaker 1: the drum set, ending her set. It's magnificent, pretty amazing.

533
00:31:58,760 --> 00:32:03,680
Speaker 1: Jeff was a wild dude, despite what he sounded like. Tanya,

534
00:32:03,760 --> 00:32:06,840
Speaker 1: appreciate the text. You know what I'm seeing here. There's

535
00:32:06,880 --> 00:32:10,960
Speaker 1: a pattern here with the voicemails and text I think

536
00:32:11,000 --> 00:32:14,840
Speaker 1: every voicemail received except one was from dudes, and all

537
00:32:14,840 --> 00:32:17,120
Speaker 1: the texts are from women. What is up with that?

538
00:32:18,560 --> 00:32:21,280
Speaker 1: We need more variety? Come on, switch it up, guys

539
00:32:21,320 --> 00:32:24,440
Speaker 1: for next week? Where am I now? I lost my space.

540
00:32:24,520 --> 00:32:26,120
Speaker 1: We want to go to Flow in the three one

541
00:32:26,240 --> 00:32:29,800
Speaker 1: seven Flow? Where are you at? Flow? Says Yo, It's

542
00:32:29,880 --> 00:32:32,760
Speaker 1: Flow from the three one seven. I'm digging the recommendation

543
00:32:32,960 --> 00:32:37,840
Speaker 1: section Resuscitation. I pulled the trigger on one of Jake's

544
00:32:37,840 --> 00:32:41,440
Speaker 1: book recommendations this week, as he described the book as

545
00:32:41,520 --> 00:32:44,360
Speaker 1: hard to find when I found it. To my surprise,

546
00:32:44,440 --> 00:32:47,720
Speaker 1: I found it on Amazon for seven bucks. The book

547
00:32:47,720 --> 00:32:51,080
Speaker 1: in question is You'll Never Make Love in This Town Again.

548
00:32:52,040 --> 00:32:54,880
Speaker 1: I'm sitting at an airport bar in Indianapolis digging through

549
00:32:54,880 --> 00:32:58,120
Speaker 1: this stellar account of some wild and heinous stories of

550
00:32:58,160 --> 00:33:01,720
Speaker 1: some of rock's most vibrant cares. One foot in the

551
00:33:01,760 --> 00:33:04,480
Speaker 1: gutter and one foot on solid ground always makes for

552
00:33:04,520 --> 00:33:07,760
Speaker 1: a fan fucking tastic read. I got one recommendation for

553
00:33:07,800 --> 00:33:10,280
Speaker 1: the crew at Double Elvis to quell the Oasis is

554
00:33:10,360 --> 00:33:13,480
Speaker 1: just an okay band argument. Dig out your soul. If

555
00:33:13,480 --> 00:33:15,760
Speaker 1: you don't love this record, then you never liked Rock Rome.

556
00:33:15,840 --> 00:33:19,080
Speaker 1: But okay. Much love to all you guys, thanks for

557
00:33:19,160 --> 00:33:23,400
Speaker 1: all your entertaining storytelling. Much love Rock. A roll up Flow,

558
00:33:23,600 --> 00:33:25,880
Speaker 1: and Flow sends in a picture of looks like she's

559
00:33:25,920 --> 00:33:29,880
Speaker 1: working on a pint of something dark. What does that

560
00:33:29,920 --> 00:33:33,840
Speaker 1: look like? Maybe it's guinness, maybe maybe something a little lighter,

561
00:33:33,880 --> 00:33:37,120
Speaker 1: maybe harp And also it looks like you get a

562
00:33:38,040 --> 00:33:41,200
Speaker 1: little neat poor of bourbon. There as a little sidecar,

563
00:33:41,800 --> 00:33:44,000
Speaker 1: and in the middle she has a copy of what

564
00:33:44,120 --> 00:33:48,680
Speaker 1: I'm astounded to see is a hard copy version on

565
00:33:48,840 --> 00:33:51,640
Speaker 1: the bar between her drinks of You'll Never Make Love

566
00:33:51,640 --> 00:33:54,880
Speaker 1: in This Town Again, that she got for seven bucks

567
00:33:54,920 --> 00:33:59,280
Speaker 1: on Amazon. I think I paid like four hundred dollars

568
00:33:59,280 --> 00:34:02,600
Speaker 1: for this book or insane like that. I don't know

569
00:34:02,640 --> 00:34:08,399
Speaker 1: how you got this, but congrats. Of course, I bought

570
00:34:08,400 --> 00:34:12,279
Speaker 1: mine about five years ago. Sometimes that matters. Maybe a

571
00:34:12,320 --> 00:34:15,080
Speaker 1: bunch more were released into the wild. I don't know

572
00:34:15,960 --> 00:34:19,800
Speaker 1: I bought. I found yesterday. I found a copy of

573
00:34:19,840 --> 00:34:25,520
Speaker 1: the Madonna Playboy, which I have long coveted, not because

574
00:34:25,560 --> 00:34:28,840
Speaker 1: of any perverted Madonna reasons, but just because my wife

575
00:34:28,840 --> 00:34:33,880
Speaker 1: and I collect old Playboys. And this is a hard one,

576
00:34:33,960 --> 00:34:36,600
Speaker 1: not just because of Madonna, but it's also hard because

577
00:34:36,600 --> 00:34:40,840
Speaker 1: it's one of the last stapled copies editions, I should say,

578
00:34:41,080 --> 00:34:45,960
Speaker 1: of Playboy. Now. I found it for forty bucks, and

579
00:34:46,840 --> 00:34:50,360
Speaker 1: typically it's about three hundred dollars to find a copy

580
00:34:50,400 --> 00:34:51,719
Speaker 1: on the internet, So I don't know what the hell

581
00:34:51,760 --> 00:34:53,359
Speaker 1: I'm getting into. I don't know what's going to show

582
00:34:53,400 --> 00:34:55,040
Speaker 1: up in my doorstep, and I'm probably gonna have to

583
00:34:55,080 --> 00:34:57,759
Speaker 1: wear like a hazmat suit to open this thing and

584
00:34:57,800 --> 00:35:01,000
Speaker 1: handle it. But we shall see, we shall see. I'm

585
00:35:01,000 --> 00:35:03,719
Speaker 1: off on a tangent here. Let's check in here with

586
00:35:04,120 --> 00:35:05,719
Speaker 1: what do we know? We just talked to Flow in

587
00:35:05,719 --> 00:35:09,320
Speaker 1: the three one seven. Let's let's go to the three

588
00:35:09,600 --> 00:35:14,800
Speaker 1: oh four. Okay, Luke, who I presume is a dude

589
00:35:14,880 --> 00:35:20,160
Speaker 1: from the three four who wrote three nine to four. Luke,

590
00:35:20,200 --> 00:35:22,680
Speaker 1: your area code is the three oh four. I know this.

591
00:35:23,400 --> 00:35:25,279
Speaker 1: How I know it well, I can't tell you, but

592
00:35:25,320 --> 00:35:28,000
Speaker 1: I know it to be a fact. Anyways, Luke Wright said, Hey,

593
00:35:28,000 --> 00:35:31,719
Speaker 1: Concrete Blondes cover of Leonard Cohen's song Everybody Knows is

594
00:35:31,760 --> 00:35:35,200
Speaker 1: an interesting version. It's on the excellent soundtrack from Christian

595
00:35:35,200 --> 00:35:40,560
Speaker 1: Slater's movie Pump Up the Volume. Yes, great cover, unlikely cover,

596
00:35:40,880 --> 00:35:44,680
Speaker 1: great original, great movie. I can't quibble with any of this, Luke,

597
00:35:44,800 --> 00:35:48,200
Speaker 1: except for your area code the three oh four. Now

598
00:35:48,440 --> 00:35:51,800
Speaker 1: Jules in the four two five, Hey, Jake, Jules in

599
00:35:51,800 --> 00:35:53,360
Speaker 1: the four two five, just listen to your bit on

600
00:35:53,440 --> 00:35:56,000
Speaker 1: Beastie Boys. Awesome job and a fan since the start,

601
00:35:56,040 --> 00:35:57,759
Speaker 1: and we just wanted to mention that the Apple TV

602
00:35:58,160 --> 00:35:59,840
Speaker 1: has a great doc on the Beastie Boys not to

603
00:35:59,880 --> 00:36:02,000
Speaker 1: be missed by true fans. Keep them coming. You rule

604
00:36:02,040 --> 00:36:06,240
Speaker 1: your absolutely right, Jewels. Beastie Boy's story in on Apple

605
00:36:06,400 --> 00:36:09,120
Speaker 1: is fantastic and it honestly it made the telling of

606
00:36:09,200 --> 00:36:13,759
Speaker 1: our story really hard because it's tough to You can't

607
00:36:13,760 --> 00:36:15,600
Speaker 1: really who's gonna tell the beast Boys story better than

608
00:36:15,600 --> 00:36:16,120
Speaker 1: the beast Boys.

609
00:36:16,120 --> 00:36:16,480
Speaker 2: Nobody?

610
00:36:16,680 --> 00:36:19,239
Speaker 1: Okay, but we did find some choice nugs, as they

611
00:36:19,280 --> 00:36:20,879
Speaker 1: say in the research, and we were able to put

612
00:36:20,880 --> 00:36:23,400
Speaker 1: something together that I think is pretty original. Hope you

613
00:36:23,480 --> 00:36:25,880
Speaker 1: check that Beastie Boys episode out, guys. If you haven't,

614
00:36:26,040 --> 00:36:29,640
Speaker 1: it's our latest rewind episode. Should be pretty high in

615
00:36:29,640 --> 00:36:32,840
Speaker 1: your feed. Two nine first time Texter, just listen to

616
00:36:32,880 --> 00:36:34,880
Speaker 1: the Hall of Fame discussion. The Black Crows couldn't get

617
00:36:34,920 --> 00:36:37,359
Speaker 1: in to the Hall of Fame either. That's because they

618
00:36:37,360 --> 00:36:39,600
Speaker 1: were all about access and debauchery and giving the middle

619
00:36:39,640 --> 00:36:43,040
Speaker 1: finger to everyone. Did they get in eventually? I think

620
00:36:43,120 --> 00:36:47,359
Speaker 1: they do get in eventually. Should they get in before

621
00:36:47,400 --> 00:36:50,080
Speaker 1: the Pixies? That's a question I'm asking myself now based

622
00:36:50,120 --> 00:36:52,719
Speaker 1: on the input from all of you. Guys, and I

623
00:36:52,719 --> 00:36:54,600
Speaker 1: don't think the Rock and Will Hall of Fame discriminates

624
00:36:54,640 --> 00:37:00,200
Speaker 1: against excess and debauchery. Maybe they do, now no, no,

625
00:37:00,719 --> 00:37:03,040
Speaker 1: they just let outasis in what are we even talking about?

626
00:37:03,320 --> 00:37:07,160
Speaker 1: All right? Appreciate it though, two oh nine text us back. Okay, guys,

627
00:37:07,280 --> 00:37:11,160
Speaker 1: great feedback this week as always six one seven nine

628
00:37:11,239 --> 00:37:14,080
Speaker 1: oh six six six three eight. Hit me with uh,

629
00:37:14,080 --> 00:37:17,520
Speaker 1: I don't know anything. You want more unlikely covers who's

630
00:37:17,560 --> 00:37:19,560
Speaker 1: going in the Disgrace Land Rock and Roll Hall of Fame,

631
00:37:19,600 --> 00:37:23,080
Speaker 1: who your nominees are? Let me know who else besides

632
00:37:23,160 --> 00:37:25,760
Speaker 1: the Pixies. Also, I want your theories on how Taylor

633
00:37:25,800 --> 00:37:28,080
Speaker 1: Hawkins died or at least on why there's been no

634
00:37:28,120 --> 00:37:31,200
Speaker 1: official cause of death. Six one seven nine oh six

635
00:37:31,239 --> 00:37:34,640
Speaker 1: sixty six three eight voicemail and text at Disgrace lam

636
00:37:34,760 --> 00:37:38,239
Speaker 1: Pod on Instagram and elsewhere Disgrace lampod at gmail dot

637
00:37:38,280 --> 00:37:40,320
Speaker 1: com on the email. I'll be back in a flash

638
00:37:40,360 --> 00:37:42,319
Speaker 1: with more from you guys, with your emails and your

639
00:37:42,360 --> 00:38:00,399
Speaker 1: direct messages. All right, as we are back. My man

640
00:38:00,480 --> 00:38:06,640
Speaker 1: Bill McClinton over on Instagram writes in hey, part of

641
00:38:06,719 --> 00:38:11,520
Speaker 1: the interruption and with massive amounts of respect, misunderstanding was

642
00:38:11,560 --> 00:38:15,400
Speaker 1: a nineteen eighty Genesis song from their album Duke, not

643
00:38:16,040 --> 00:38:21,719
Speaker 1: a Phil Collins solo effort. Well, shit, Bill, I stand corrected.

644
00:38:22,520 --> 00:38:25,279
Speaker 1: I don't know what the fuck I've been thinking or

645
00:38:25,360 --> 00:38:28,359
Speaker 1: talking about. I listen to that song so much. I

646
00:38:28,520 --> 00:38:33,160
Speaker 1: search up that song so much on Spotify, and I hear,

647
00:38:33,280 --> 00:38:35,920
Speaker 1: I hear, I've been just treating it like a regular

648
00:38:35,960 --> 00:38:39,879
Speaker 1: old Phil Collins song. Fun fact, my other favorite Phil

649
00:38:39,880 --> 00:38:41,960
Speaker 1: Collin song is not a Phil Collin song. It's a

650
00:38:41,960 --> 00:38:44,880
Speaker 1: Philip Bailey song. Okay, trivia question, do you know what

651
00:38:44,920 --> 00:38:46,839
Speaker 1: I'm talking about? Hit me back six one seven nine

652
00:38:46,840 --> 00:38:48,960
Speaker 1: oh sixty six sixty three eight let me know. Also,

653
00:38:49,040 --> 00:38:51,160
Speaker 1: be like Bill, let me know what you might want

654
00:38:51,160 --> 00:38:54,799
Speaker 1: to correct here, anything we get wrong, because sometimes, like

655
00:38:54,840 --> 00:38:59,759
Speaker 1: everybody else, we fuck up. We're imperfect beings, just like

656
00:39:00,160 --> 00:39:02,400
Speaker 1: just like everybody is. All right, let's do this. Email

657
00:39:02,480 --> 00:39:04,640
Speaker 1: just gracempod at gmail dot com. This one comes from

658
00:39:04,680 --> 00:39:07,680
Speaker 1: Tara Baker, subject Whyalon Jennings, Hey Jake, I'm going to

659
00:39:07,880 --> 00:39:11,000
Speaker 1: try all caps to make this short. I have listened

660
00:39:11,040 --> 00:39:13,320
Speaker 1: since pretty much the beginning because I have a raging

661
00:39:13,480 --> 00:39:16,840
Speaker 1: girl hard on for all music, Hollywood and true crimes.

662
00:39:16,840 --> 00:39:19,640
Speaker 1: So your pods check all the boxes. However, I did

663
00:39:19,719 --> 00:39:21,479
Speaker 1: take a break for a while when I fell off

664
00:39:21,520 --> 00:39:23,680
Speaker 1: all podcasts for a bit, you know, just the natural

665
00:39:23,680 --> 00:39:25,719
Speaker 1: ebb and flow of life. I did want to let

666
00:39:25,760 --> 00:39:28,120
Speaker 1: you know that I just listened to the Whyaln Jennings

667
00:39:28,120 --> 00:39:30,480
Speaker 1: episode and this one was near and dear to me

668
00:39:31,080 --> 00:39:34,880
Speaker 1: because he is family. His dad and my grandfather were brothers,

669
00:39:35,239 --> 00:39:37,680
Speaker 1: and my mom grew up in Littlefield, Texas because most

670
00:39:37,719 --> 00:39:41,000
Speaker 1: of the population of the town was just the Jennings family.

671
00:39:41,600 --> 00:39:43,360
Speaker 1: You reminded me of stories that I have heard my

672
00:39:43,560 --> 00:39:46,319
Speaker 1: entire life and just forgot, either from Whalan himself or

673
00:39:46,360 --> 00:39:50,240
Speaker 1: from my mother, my grandfather, aunts, uncles, because the Jennings

674
00:39:50,239 --> 00:39:53,480
Speaker 1: family are talkers. Please note the length of this email.

675
00:39:53,600 --> 00:39:56,319
Speaker 1: Genetics are rough. My mom would tell me about growing

676
00:39:56,360 --> 00:39:58,600
Speaker 1: up with him, sometimes living at their house and Buddy

677
00:39:58,640 --> 00:40:02,240
Speaker 1: Hawley coming over. They treated her like the little sister

678
00:40:02,320 --> 00:40:04,799
Speaker 1: and put Buddy's glasses on her to watch her get

679
00:40:04,800 --> 00:40:06,920
Speaker 1: dizzy and fall, or the time when they got her

680
00:40:06,960 --> 00:40:10,359
Speaker 1: to lick the metal microphone they were using to practice.

681
00:40:10,480 --> 00:40:12,520
Speaker 1: In my life, I've gotten to meet some pretty crazy

682
00:40:12,520 --> 00:40:14,960
Speaker 1: people and hear some pretty crazy stories because of Whylan.

683
00:40:15,239 --> 00:40:17,440
Speaker 1: It has been an amazing existence. And to hear you

684
00:40:17,520 --> 00:40:20,560
Speaker 1: tell this story when so many times he gets overlooked

685
00:40:20,560 --> 00:40:23,919
Speaker 1: for Johnny Cash and William Nelson, understandable because they too

686
00:40:23,960 --> 00:40:26,760
Speaker 1: were insane. To hear you tell this story was perfect.

687
00:40:27,080 --> 00:40:28,960
Speaker 1: Not to mention that you ended it on such a

688
00:40:29,000 --> 00:40:32,360
Speaker 1: beautiful note with his sobriety not his death. It brought

689
00:40:32,400 --> 00:40:34,600
Speaker 1: me to tears. Thank you. I will forever be a

690
00:40:34,600 --> 00:40:37,799
Speaker 1: listener and now a Patreon supporter because you are one

691
00:40:37,800 --> 00:40:41,200
Speaker 1: of the few that I can confirm does the research

692
00:40:41,320 --> 00:40:44,240
Speaker 1: and tells the facts in all of your pods. Please

693
00:40:44,320 --> 00:40:49,120
Speaker 1: keep it going, and again, thank you, rock A Rolla, Tara,

694
00:40:49,360 --> 00:40:53,319
Speaker 1: Tara Huge. I don't know what to say. I mean,

695
00:40:53,360 --> 00:40:55,600
Speaker 1: I responded to you personally, but I'll say it again here.

696
00:40:55,680 --> 00:40:58,600
Speaker 1: Thank you so much. It's an incredible note and very

697
00:40:58,640 --> 00:41:01,759
Speaker 1: generous of you to say you didn't have to go

698
00:41:01,840 --> 00:41:04,560
Speaker 1: out of your way to make us feel validated. Here.

699
00:41:05,160 --> 00:41:09,320
Speaker 1: I'm just I'm happy that we did the Waylan Jennings

700
00:41:09,320 --> 00:41:12,520
Speaker 1: story justice, that we did the Jennings family justice, and

701
00:41:13,040 --> 00:41:16,000
Speaker 1: all props to Zeth Lundy who researched and wrote that

702
00:41:16,120 --> 00:41:19,920
Speaker 1: episode that we produced for you. Happy you dug it.

703
00:41:20,840 --> 00:41:24,239
Speaker 1: All right, let's play new song, old song, real quick,

704
00:41:24,360 --> 00:41:27,359
Speaker 1: new song White Denham Now listen. Not a new band,

705
00:41:27,440 --> 00:41:30,440
Speaker 1: per se, but a new song by them Ruby. I

706
00:41:30,480 --> 00:41:34,680
Speaker 1: love this song. It is fucking great. If you dig

707
00:41:34,719 --> 00:41:38,160
Speaker 1: that Rod Stewart faces vibe, you need something to get

708
00:41:38,320 --> 00:41:40,760
Speaker 1: stoked about the sun and the burghers on the grill

709
00:41:40,880 --> 00:41:43,800
Speaker 1: in the backyard, then this is your jam. Okay, Ruby

710
00:41:43,840 --> 00:41:48,120
Speaker 1: by White Denham Now old song. I'm looking up at

711
00:41:48,120 --> 00:41:50,120
Speaker 1: my wall in the studio here and I've got a

712
00:41:50,200 --> 00:41:53,480
Speaker 1: Rick Dalton poster. Rick Dalton character from Once upon a

713
00:41:53,480 --> 00:41:56,319
Speaker 1: Time in Hollywood, and Once upon a Time in Hollywood

714
00:41:56,680 --> 00:42:00,720
Speaker 1: has reminded me of Paul Revere in The Raiders. Mark Lindsay.

715
00:42:00,920 --> 00:42:03,040
Speaker 1: They take a lot of shit in that movie, okay,

716
00:42:03,560 --> 00:42:06,560
Speaker 1: but Tarantino is celebrating them. Now listen. I'm not going

717
00:42:06,640 --> 00:42:08,600
Speaker 1: to recommend Paul Revere and the Raiders, because you can

718
00:42:08,640 --> 00:42:10,360
Speaker 1: just go to the Once Upon a Time in Hollywood

719
00:42:10,400 --> 00:42:13,359
Speaker 1: soundtrack and you can find a couple great Paul Revere

720
00:42:13,360 --> 00:42:15,720
Speaker 1: and the Raiders songs. But Paul Revere and the Raiders

721
00:42:15,760 --> 00:42:20,439
Speaker 1: remind me of another another band that I do want

722
00:42:20,440 --> 00:42:22,840
Speaker 1: to recommend. They remind me of a band from Boston

723
00:42:22,880 --> 00:42:25,759
Speaker 1: from back in the sixties called The Remains, or as

724
00:42:25,800 --> 00:42:29,520
Speaker 1: I refer to them, Barry and the Remains. Now listen,

725
00:42:30,000 --> 00:42:31,919
Speaker 1: I want you to go to their nineteen sixty six

726
00:42:32,200 --> 00:42:36,279
Speaker 1: self titled debut album and it's all great, but the

727
00:42:36,280 --> 00:42:38,440
Speaker 1: first song you want to play is Don't Look Back.

728
00:42:39,080 --> 00:42:43,560
Speaker 1: This song is tremendous. There's a reason that Boston's The

729
00:42:43,680 --> 00:42:48,400
Speaker 1: Remains were the only band open for the Beatles on

730
00:42:48,440 --> 00:42:52,919
Speaker 1: their tour here in America because they were great. Okay, now,

731
00:42:52,920 --> 00:42:55,000
Speaker 1: we talked a lot about Boston bands that deserve to

732
00:42:55,000 --> 00:42:56,319
Speaker 1: be in the Rock and Roll Hall of Fame. In

733
00:42:56,360 --> 00:43:00,640
Speaker 1: this episode, Pixie's Jake Giles band The Remains deserve to

734
00:43:00,680 --> 00:43:03,160
Speaker 1: be in the Hall of Fame as well. Graham Parsons

735
00:43:03,239 --> 00:43:06,359
Speaker 1: just went in and Barry Tashian, a singer and front

736
00:43:06,400 --> 00:43:09,000
Speaker 1: man for The Remains. After The Remains broke up in

737
00:43:09,040 --> 00:43:11,800
Speaker 1: the sixties, Barry went on to work with Graham Parson

738
00:43:11,880 --> 00:43:15,480
Speaker 1: and was instrumental in working out the harmonies on Graham's

739
00:43:15,560 --> 00:43:20,040
Speaker 1: excellent album GP with Emmy Lou Harris Graham excuse me,

740
00:43:20,120 --> 00:43:22,760
Speaker 1: Barry is as far as I know, he's still around

741
00:43:22,840 --> 00:43:24,520
Speaker 1: and he's a great guy. I've had a privilege of

742
00:43:24,520 --> 00:43:27,520
Speaker 1: meeting him a couple of times he signed my book

743
00:43:28,400 --> 00:43:30,680
Speaker 1: that he wrote on his time about his time on

744
00:43:30,719 --> 00:43:32,919
Speaker 1: tour with the Beatles, But none of that is why

745
00:43:32,960 --> 00:43:37,279
Speaker 1: I'm recommending the song Don't Look Back is incredible and

746
00:43:37,480 --> 00:43:41,080
Speaker 1: this whole album, the self titled Remains Album, is great.

747
00:43:41,280 --> 00:43:44,959
Speaker 1: To check that out, all right. So that there recommendations,

748
00:43:44,960 --> 00:43:46,680
Speaker 1: that's just a taste. You want more. We got more

749
00:43:46,719 --> 00:43:49,319
Speaker 1: recommendations in the Hollywood Land feed with Zeth and I

750
00:43:49,440 --> 00:43:52,280
Speaker 1: in the Rap Party this week, we're talking about great

751
00:43:52,320 --> 00:43:55,480
Speaker 1: songs with the names of actors or actresses in the

752
00:43:55,520 --> 00:43:59,719
Speaker 1: song title Sean Once you grab a little clip of

753
00:43:59,760 --> 00:44:02,440
Speaker 1: that conversation and give the people here a taste of

754
00:44:02,440 --> 00:44:06,280
Speaker 1: what we got going on over in Hollywood Land. Okay,

755
00:44:06,360 --> 00:44:09,760
Speaker 1: I'm gonna start with an obscure one because it's super

756
00:44:09,760 --> 00:44:13,880
Speaker 1: personal to me, and it's Grace Kelly with Wings by Piebald,

757
00:44:14,080 --> 00:44:17,279
Speaker 1: which is a great Boston great pick. People call them

758
00:44:17,280 --> 00:44:19,600
Speaker 1: an emo band. They're a rock band, but they're part

759
00:44:19,640 --> 00:44:22,000
Speaker 1: of the whole emo scene and part of the scene

760
00:44:22,080 --> 00:44:25,360
Speaker 1: that I came up in. And the song is about

761
00:44:25,840 --> 00:44:28,600
Speaker 1: I believe I could be wrong. It's about a girl,

762
00:44:28,680 --> 00:44:31,000
Speaker 1: main Valerie, who we all knew and hung out with

763
00:44:31,160 --> 00:44:35,560
Speaker 1: and Travis from Piebald was romantically involved with her, and

764
00:44:35,600 --> 00:44:39,359
Speaker 1: this is the song that's about her. But it's just

765
00:44:40,440 --> 00:44:43,600
Speaker 1: a great song. It is so, so, so great, and

766
00:44:43,640 --> 00:44:47,480
Speaker 1: it's just about being arrested by the beauty and grace

767
00:44:47,840 --> 00:44:49,799
Speaker 1: of you know, you just see those women in your

768
00:44:49,800 --> 00:44:52,319
Speaker 1: life where you're just like, oh my God, like come

769
00:44:52,360 --> 00:44:55,960
Speaker 1: on man, stop. Yeah, and it's I think it's their

770
00:44:55,960 --> 00:44:57,520
Speaker 1: best song. And they have a lot of great songs

771
00:44:57,560 --> 00:44:59,879
Speaker 1: and they're still playing. Piebald is still playing. They've been around.

772
00:45:01,120 --> 00:45:05,440
Speaker 1: So Grace Kelly with Wings. It's on the excellently named album.

773
00:45:05,480 --> 00:45:07,480
Speaker 1: If it weren't for the Venetian Blinds, it would be

774
00:45:07,600 --> 00:45:12,280
Speaker 1: Curtains for us all, which if anybody wants to taste

775
00:45:12,320 --> 00:45:16,759
Speaker 1: of what like mid to late nineties Boston upstairs at

776
00:45:16,760 --> 00:45:19,319
Speaker 1: the Middle East was like, yeah, that record, will give

777
00:45:19,320 --> 00:45:22,440
Speaker 1: it to you. It's great. So Grace Kelly with Wings,

778
00:45:22,440 --> 00:45:26,239
Speaker 1: that's my first one. A bright guys, that is Hollywood Land.

779
00:45:26,320 --> 00:45:29,000
Speaker 1: Make sure you are subscribed to the Hollywoodland podcast on

780
00:45:29,160 --> 00:45:32,359
Speaker 1: Apple Podcasts or the iHeartRadio app. You're gonna get three

781
00:45:32,400 --> 00:45:35,000
Speaker 1: episodes a week. You're gonna get a classic Hollywood story

782
00:45:35,040 --> 00:45:37,440
Speaker 1: of true crime and excess, and you're also going to

783
00:45:37,520 --> 00:45:42,200
Speaker 1: get mine and Zes's Hollywood based music recommendations in the

784
00:45:42,239 --> 00:45:46,360
Speaker 1: wrap party, along with Zes's excellent take on all things

785
00:45:46,640 --> 00:45:50,359
Speaker 1: Tinseltown and true crime. And there is a third piece

786
00:45:50,360 --> 00:45:52,400
Speaker 1: of content in the Hollywood Land Feed as well the

787
00:45:52,480 --> 00:45:56,160
Speaker 1: Screening Room. In this week, Zeth is preparing us all

788
00:45:56,239 --> 00:45:59,600
Speaker 1: for Drew Barrymore Week that's coming out next week. And

789
00:45:59,640 --> 00:46:01,799
Speaker 1: I bet my talking about Drew Barrymore stories. Those are

790
00:46:01,800 --> 00:46:03,960
Speaker 1: for me and my priest. Okay, I was going to

791
00:46:04,000 --> 00:46:05,839
Speaker 1: talk about him in the exclusive section of this after

792
00:46:05,880 --> 00:46:08,160
Speaker 1: Party with Zeth, but I held back. And you know,

793
00:46:08,239 --> 00:46:12,560
Speaker 1: maybe you want maybe there'll be a Disgraceland event someday

794
00:46:12,760 --> 00:46:14,520
Speaker 1: and maybe you'll get a couple of cocktails in me

795
00:46:14,640 --> 00:46:17,400
Speaker 1: and I'll talk out of school. But that's just you know,

796
00:46:17,520 --> 00:46:19,600
Speaker 1: like I said, I'm not going there. I'm not going there,

797
00:46:19,600 --> 00:46:22,000
Speaker 1: But Zeth is going there with Drew in different ways

798
00:46:22,480 --> 00:46:26,080
Speaker 1: this week coming up in Hollywoodland. Make sure you're subscribed,

799
00:46:26,160 --> 00:46:28,720
Speaker 1: all right. Zeth and I are also talking about Quincy

800
00:46:28,840 --> 00:46:33,479
Speaker 1: Jones and his batshit crazy claims that he made before

801
00:46:33,480 --> 00:46:35,720
Speaker 1: he died. We're doing that right now in the exclusive

802
00:46:35,760 --> 00:46:39,279
Speaker 1: section of this year after Party you want to hear it,

803
00:46:39,320 --> 00:46:42,320
Speaker 1: go to disgracelandpod dot com to become an all access

804
00:46:42,320 --> 00:46:46,400
Speaker 1: member of Disgraceland. Unlock exclusive content like this conversation coming up,

805
00:46:46,440 --> 00:46:50,120
Speaker 1: plus ad free listening. Plus by becoming an all access

806
00:46:50,160 --> 00:46:52,560
Speaker 1: member on Patreon, you're going to get access to our

807
00:46:52,880 --> 00:46:56,240
Speaker 1: video podcast. This film should be played loud this month.

808
00:46:56,360 --> 00:46:59,439
Speaker 1: We taped it last night. It's our conversation on high

809
00:46:59,440 --> 00:47:03,239
Speaker 1: fidelity and all the great music in that film just

810
00:47:03,760 --> 00:47:07,520
Speaker 1: unbelievably cool. What an A plus movie, by the way,

811
00:47:07,840 --> 00:47:09,880
Speaker 1: just a plus. I put it up there with the

812
00:47:09,920 --> 00:47:11,400
Speaker 1: best of the best. And it's not just because of

813
00:47:11,400 --> 00:47:15,200
Speaker 1: the music. That story does not stop. It is non stop.

814
00:47:15,520 --> 00:47:20,040
Speaker 1: You're just locked in. There's constantly something happening that is

815
00:47:20,040 --> 00:47:22,000
Speaker 1: compelling you to want to know what happens next. And

816
00:47:22,040 --> 00:47:24,040
Speaker 1: that's just I mean, it sounds basic, but that's the

817
00:47:24,040 --> 00:47:27,000
Speaker 1: definition of great storytelling. Anyways, this film should be played loud.

818
00:47:27,000 --> 00:47:28,920
Speaker 1: Go to disgrace sampod dot com to sign up so

819
00:47:28,920 --> 00:47:31,200
Speaker 1: you can cop that, just like you can get access

820
00:47:31,239 --> 00:47:34,680
Speaker 1: to this coming conversation right here in the exclusive section

821
00:47:34,800 --> 00:47:37,759
Speaker 1: of the after party. All right, we'll be back right

822
00:47:37,800 --> 00:47:52,800
Speaker 1: after this. All right, guys, we are back let's recap,

823
00:47:52,840 --> 00:47:57,360
Speaker 1: shall we. My goodness, we talked about a lot different artists,

824
00:47:57,400 --> 00:47:59,480
Speaker 1: and in this episode I didn't even mention it's Apop's

825
00:47:59,480 --> 00:48:01,480
Speaker 1: birthday today when I'm recording this, So Happy Birthday. A

826
00:48:01,680 --> 00:48:04,759
Speaker 1: pop Iggy Pop episode. Great episode from the archive. You

827
00:48:04,840 --> 00:48:07,600
Speaker 1: want to check that out that's in there. Talked about

828
00:48:07,680 --> 00:48:09,920
Speaker 1: Nikki six. We have a Nicky six episode. We also

829
00:48:09,960 --> 00:48:12,680
Speaker 1: got a Motley Crue episode. Two episodes, I guess you

830
00:48:12,680 --> 00:48:14,440
Speaker 1: could put it that way on Motley Crue. Those are

831
00:48:14,480 --> 00:48:16,759
Speaker 1: in the archive as well. Fiona Apple and mentioned her,

832
00:48:16,840 --> 00:48:18,399
Speaker 1: but we don't have an episode on her yet. I'm

833
00:48:18,400 --> 00:48:22,000
Speaker 1: going to start researching that next week. Billy Corgan. Should

834
00:48:22,000 --> 00:48:24,520
Speaker 1: I do a Billy Corgan episode, a Smashing Pumpkins episode,

835
00:48:25,280 --> 00:48:28,279
Speaker 1: something about the shape shifter. There's a lot of drugs there.

836
00:48:28,320 --> 00:48:30,399
Speaker 1: With Jimmy Chamberlain and all that. I'm sure I can

837
00:48:30,440 --> 00:48:34,680
Speaker 1: find a way another Smashing Pumpkins story mentioned Blondie, Black Sabbath.

838
00:48:34,760 --> 00:48:37,040
Speaker 1: Get an episode on Blondie. Get an episode on Black Sabbath.

839
00:48:37,080 --> 00:48:39,040
Speaker 1: You know all this anyways, the archive, that's where it's at.

840
00:48:39,320 --> 00:48:41,000
Speaker 1: I get to get out of here. So let's recap

841
00:48:41,160 --> 00:48:43,919
Speaker 1: number one this week. Depeche mode available on your feed

842
00:48:44,000 --> 00:48:46,400
Speaker 1: right now. Number two Selena coming up in the rewind

843
00:48:46,440 --> 00:48:49,160
Speaker 1: slot this weekend on Sunday. Number three. Next week's episode,

844
00:48:49,160 --> 00:48:51,120
Speaker 1: our brand new episode on the Foo Fighters is going

845
00:48:51,200 --> 00:48:54,279
Speaker 1: to have you asking the question how did Taylor Hawkins die?

846
00:48:54,320 --> 00:48:56,160
Speaker 1: Hopefully we're getting some answers. Number four is that that

847
00:48:56,239 --> 00:48:58,080
Speaker 1: is going to give you those Hollywood and crime vibes

848
00:48:58,080 --> 00:49:01,160
Speaker 1: in the Hollywood Land podcast, so make sure you are subscribed.

849
00:49:01,680 --> 00:49:04,000
Speaker 1: You're also going to get my music recommendations over there

850
00:49:04,000 --> 00:49:06,480
Speaker 1: in the Hollywood Land Rap Party. Number five. This film

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00:49:06,480 --> 00:49:08,960
Speaker 1: should be played loud. Our video podcast with our new

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00:49:09,040 --> 00:49:12,640
Speaker 1: episode on high Fidelity is coming next week. Disgrace lamdpod

853
00:49:12,719 --> 00:49:14,919
Speaker 1: dot com to sign up to become an All Access member.

854
00:49:15,040 --> 00:49:17,680
Speaker 1: Number six six one seven nine oh six six sixty

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00:49:17,680 --> 00:49:19,799
Speaker 1: three eight. Your voice keeps us digging into the dark

856
00:49:19,800 --> 00:49:22,120
Speaker 1: corners of music history. So keep calling, keep texting, keep

857
00:49:22,160 --> 00:49:24,040
Speaker 1: your answers coming to this week's question of the week,

858
00:49:24,160 --> 00:49:26,399
Speaker 1: or with whatever else you want to talk about. I'm

859
00:49:26,440 --> 00:49:28,560
Speaker 1: here all right. Number seven. Don't forget disc goes. This

860
00:49:28,600 --> 00:49:31,759
Speaker 1: isn't just content. It's a community, a community of the obsessed.

861
00:49:32,040 --> 00:49:34,560
Speaker 1: No one cares about music. No one cares about books.

862
00:49:34,680 --> 00:49:36,960
Speaker 1: No one cares about records and the crime and crime

863
00:49:37,000 --> 00:49:38,839
Speaker 1: it ties them all together like you do. And well

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00:49:38,920 --> 00:49:42,800
Speaker 1: that's a disgrace, all right. Sometime in May of nineteen

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Speaker 1: ninety six, Dave Gahana Depeche Mode overdosed on a speedball

866
00:49:46,760 --> 00:49:50,040
Speaker 1: at the Sunset Marquis Hotel in Hollywood. And here's what

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Speaker 1: America was listening to on that day, according to the

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Speaker 1: Billboard Charts. Number one The Crossroads Bone Thugs in Harmony

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00:50:01,120 --> 00:50:05,560
Speaker 1: last week one, peak position one weeks on Chart three,

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00:50:06,480 --> 00:50:10,399
Speaker 1: number two. Always Be My Baby Mariah Carey last week

871
00:50:10,440 --> 00:50:13,319
Speaker 1: to peak position one weeks on chart eight, number three.

872
00:50:13,680 --> 00:50:16,480
Speaker 1: Because you love Me, I'm up close and personal. Listen

873
00:50:16,480 --> 00:50:19,200
Speaker 1: to me Dion last week three peak position one weeks

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00:50:19,200 --> 00:50:22,520
Speaker 1: on Chart twelve, number four. Nobody Knows The Tony.

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00:50:22,360 --> 00:50:26,160
Speaker 7: Rich Project last week five reposition two weeks on Chart

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00:50:26,200 --> 00:50:31,600
Speaker 7: twenty four number five, last week four peak positions four

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00:50:31,680 --> 00:50:35,200
Speaker 7: weeks on Shot eleven number six, Given one Reason.

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00:50:35,560 --> 00:50:39,120
Speaker 1: Tracy Chapman last week show peak position six weeks on

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00:50:39,200 --> 00:50:43,120
Speaker 1: Chart eight, number seven. You're the One ever Done last

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00:50:43,120 --> 00:50:48,880
Speaker 1: week position Quit talking and start mixing.

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Speaker 2: Could