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

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

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

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

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Speaker 1: give it a chance, Give it a chance. Just I'm

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Speaker 1: pumped for today's song. I do this thing sometimes before

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Speaker 1: we start recording, where I'll tell them no, I'm telling them, Okay.

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Speaker 1: I look at a list of songs, these that I have,

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Speaker 1: and then I think, like, what am I feeling like?

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Speaker 1: Which one do I want to talk about? And of

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Speaker 1: course this is give it a chancy, where we take

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Speaker 1: a song and we give it a chancy and we

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Speaker 1: talk about the pros and cons of that song and

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Speaker 1: how our feelings and sometimes we tell stories about our moms.

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Speaker 2: Well, that was a really robust comprehensive. That was good.

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Speaker 1: You're all I do is robust. Everything I do is robust,

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Speaker 1: robustus robusts a bus. So today's song is it interesting one?

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Speaker 1: For a lot of reasons. I don't think we've done

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Speaker 1: this genre. And this artist spans decades.

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Speaker 2: Jean Luke Picard Uss Enterprise.

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Speaker 1: That's who it is. This band has probably like a

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Speaker 1: lot of hits, but also some some would say, a

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Speaker 1: lot of shits, but I wouldn't call them misses because

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Speaker 1: they're hits. But I think a lot of people like

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Speaker 1: it's a band that some people hate.

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Speaker 2: Yes, I have no idea. What I'm sure?

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Speaker 1: Do you want to take a guest jeans?

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Speaker 2: Is the guest jeans that tell about maybe Peak Era?

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Speaker 1: Oh?

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Speaker 2: Oh?

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Speaker 1: Actually yeah, Peak Era? But maybe you want to take

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Speaker 1: a gap jeans?

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Speaker 2: Oh?

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Speaker 1: Is it?

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Speaker 2: Wait a minute, gap jeans? Oh? Is it? Is it Aerosmith?

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Speaker 1: Yeah?

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Speaker 2: Do you remember that this kind of a bobo in

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Speaker 2: black and white?

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Speaker 1: Yes? And if you had to guess what arrow Smith's song?

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Speaker 1: If you have to guess jeans, what Arrowsmith's song? What

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Speaker 1: would it? Beans?

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Speaker 2: Well, the chancers know that I'm a bit of a

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Speaker 2: nineties baba myself. Is it going to be the cops

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Speaker 2: are coming again? Is it going to be? I'm gonna

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Speaker 2: guess if we're in Gap Jeans.

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Speaker 1: Era, Okay, is it going to be?

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Speaker 2: It's not going to be Pink It's.

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Speaker 1: Fag Oh no, it's fig Everybody at home they see

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Speaker 1: the title of this episode and they know and they

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Speaker 1: all went, he got it.

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Speaker 2: Oh no, what.

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Speaker 1: Was the last time you heard pink? It's been one

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Speaker 1: week since we both did it too.

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Speaker 2: It's been probably since I've heard it in full. Yeah,

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Speaker 2: it might, this might sound crazy, It's possible. We're about

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Speaker 2: to do it in full, front to back for the

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Speaker 2: first intentional time ever. Wow, because this was a little late.

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Speaker 2: This is late nineties, mid to late nineties.

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Speaker 1: I'll look it up. But yeah, it feels ninety seven.

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Speaker 2: I'm feeling ninety sad. And do you know that song? No?

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Speaker 2: Is that a real one sound Garden? Now he says,

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Speaker 2: I'm feeling minnesotaa oh, galliforon yeah or he reverses those

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Speaker 2: I don't know, And then feeling Minnesota was of course

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Speaker 2: in Indian in the nineties with Steve Bee shemings. I

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Speaker 2: think he might No, Tree, I was getting that in

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Speaker 2: Tree's lounge. Confused anyway, Sorry, ninety seven I nailed it

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Speaker 2: ninety seven, Yeah, I was in nineties.

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Speaker 1: I've been good at that. Today we were listening to

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Speaker 1: music for my daughter's sake, and I put on Bobby

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Speaker 1: Darren Across the Sea Along the Sea. Yeah, yeah, under

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Speaker 1: the sea.

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Speaker 2: What is it under the sea? Is it it under

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Speaker 2: the sea? Or is that the Little.

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Speaker 1: Mermaid among among the Sea?

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Speaker 2: That song down the Sea.

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Speaker 1: Nope, not that one. Okay, it goes beyond the sea

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Speaker 1: somewhere waiting for me.

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Speaker 2: Oh yeah, yeah, yeah, yeah yeah.

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Speaker 1: What did you think she loved it? I mean she

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Speaker 1: she definitely dug it. She liked the horns in it

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Speaker 1: and the part that's like you know that, and I

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Speaker 1: guess nineteen fifty nine and I got it right. So

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Speaker 1: that's two times today. I got the I got the

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Speaker 1: year right.

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Speaker 2: You're on a roll, chancer, head chancer, but.

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Speaker 1: We're not talking about beyond the sea. We're talking about

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Speaker 1: beyond the pink. Here we are, Okay, I love it.

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Speaker 1: Go to chancey, see it back in a second. Okay, dooksters, Okay, okay, okay,

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Speaker 1: what's your initial thoughts?

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Speaker 2: I can tell you. I'm going to start with the

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Speaker 2: places where I can give it a chancey and perhaps

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Speaker 2: contextualize personally. The first music I really got into that

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Speaker 2: was like not received from my mom or my dad

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Speaker 2: or my older siblings, and maybe there's a little bit

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Speaker 2: of older siblings in this, but I don't think I

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Speaker 2: knew it yet. Was like late eighties strip metal, Hollywood

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Speaker 2: rock music. It was big, big, big, big love story

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Speaker 2: for me, as like a fourth grader with like a

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Speaker 2: Columbia House subscription. You'd get like twelve cassettes for a penny.

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Speaker 2: There's like nineteen eighty nine.

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Speaker 1: And they look like superheroes here, they looked.

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Speaker 2: You just nailed it. That is exactly right. Like the

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Speaker 2: eighty six Mets, poison guns and Roses all could have

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Speaker 2: been like the Avengers.

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Speaker 1: And the X Men or some wrestling. I think wrestling is.

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Speaker 2: Bigd thousand percents, like hul Cogan and the Ultimate Warrior

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Speaker 2: and the Macho Man and all of that.

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Speaker 1: They're all the same vibe when you think about it.

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Speaker 2: They are all the same.

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Speaker 1: Baseball players too, for sure. Although the baseball players like

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Speaker 1: also looked like firefighters, you know what I mean.

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Speaker 2: Like totally it depended who they were, like that's right, yeah,

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Speaker 2: Like Wally Bachman on the Mets absolutely looked like my

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Speaker 2: friend Tommy Lapere's dad, who was a fireman. Like that's

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Speaker 2: one hundred percent. But also Dwight Gooden and Darryl Strawberry

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Speaker 2: looked like you know, they could have been like celebrities

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Speaker 2: and some other arena you know. But anyway that being said,

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Speaker 2: all of them, you nailed it. They were basically superheroes

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Speaker 2: and Aerosmith and led Zeppelin came to me as like

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Speaker 2: the first maybe awareness I had that there was like

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Speaker 2: generational components to styles of music like Guns N' Roses,

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Speaker 2: Kind and Motley Crue. Clearly liked these bands, you know,

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Speaker 2: And I think I got like a cassette of Aerosmith's

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Speaker 2: greatest hits, and this at that time was like dream

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Speaker 2: on sweet emotion.

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Speaker 1: There are so I mean, if you want to talk

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Speaker 1: about it, they have hits from like like every decade

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Speaker 1: or four of the first you know, certainly four decades

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Speaker 1: of their career or something like seventies.

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Speaker 2: Nineties, and in all three of those like major major passages.

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Speaker 2: And then I don't know as much about.

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Speaker 1: Two thousands and since, but I bet you they snuck

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Speaker 1: one in.

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Speaker 2: They definitely probably did. And part of the language you

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Speaker 2: just used is we'll get sneaking when and we'll get

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Speaker 2: there later. But yeah, one of the things that I

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Speaker 2: will say, so I've I was at times, especially formative

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Speaker 2: times in my life, I think I owned greatest hits,

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Speaker 2: and then I definitely owned permanent vacation pump and get

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Speaker 2: a grip on cassette. This is like late eighties, early nineties.

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Speaker 2: What I think as a present I have a lot

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Speaker 2: of thoughts about Aerosmith, but as a Stephen Tyler and

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Speaker 2: specific but as a present listener, what is undeniable. I'm

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Speaker 2: not going to talk about the delivery just yet, and

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Speaker 2: I'm certainly not going to get into the lyrics, but

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Speaker 2: what I will say is this is a very dynamic

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Speaker 2: and accomplished and of rock singer who has been what

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Speaker 2: is oft imitated by whole genres of people in the

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Speaker 2: time since and what is the secret weapon of many

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Speaker 2: of the best mid especially I would say maybe even

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Speaker 2: going back as far as dream On, this is also

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Speaker 2: a band for all their butt head rock tendencies, tendencies

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Speaker 2: who had clearly spent some time internalizing the Beatles and

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Speaker 2: the chorus to this song, the back half of the

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Speaker 2: chorus to this song is so it's incredible, and it's

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Speaker 2: straight up pure magical mystery tour Strawberry that era Beatles melody,

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Speaker 2: chord construction, and so is the bridge, which is a

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Speaker 2: guitar solo which incorporates chords and key change stuff that

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Speaker 2: is not in the rest of the song, and it's

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Speaker 2: so aware of itself that Joe Perry kind of uses

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Speaker 2: this like what's it called like leslie this like spinning

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Speaker 2: effect sometimes, yes, exactly, and it's that and that is

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Speaker 2: a Beatles thing wing and those things for this listener

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Speaker 2: are very satisfying. I'm divorcing the content what's being said.

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Speaker 2: We'll get to when we stop giving it a chancey,

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Speaker 2: but I will say, really lyrical, melodic, kind of lovely

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Speaker 2: guitar solo. He's a very good guitarist, very accomplished singer.

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Speaker 2: It's kind of cool that the bass is tuned way

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Speaker 2: down because when he hits that very bottom note that

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Speaker 2: he's hitting, it's definitely lower than cool. It's a cool

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Speaker 2: approach thing, and it sounds like it was recorded. The

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Speaker 2: drums have that big ambient sound that kind of like

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Speaker 2: influenced rock music. In the wake of Steve Albini making

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Speaker 2: like a number one album Servana. You didn't think I could,

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Speaker 2: but you could hear that the big whack. It's like

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Speaker 2: John Bonham esque.

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Speaker 1: It's loud. It's loud in the mix.

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Speaker 2: Yeah, an ambient sounding just like natural the mix.

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Speaker 1: The mix is real when you think the mix is

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Speaker 1: really good and it starts with harmonica, which is like

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Speaker 1: you know of the time the Blues Traveler thing like

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Speaker 1: it's but it's a it's like the villain do hear everything? Yeah,

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Speaker 1: you're right about that Beatles and even the lyric, And

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Speaker 1: I actually think for a song that's so sexually innuendo charged,

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Speaker 1: having the lyric that that says, and I think everything

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Speaker 1: is going to be all right no matter what we

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Speaker 1: do tonight. Yeah, it's actually really nice, Like it's actually

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Speaker 1: it give them a lot of credit for it. And

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Speaker 1: and that Beatles harmony is so it's actually channeling Beatles

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Speaker 1: and your Robert Plans totally and at the same time

191
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Speaker 1: it connects it. So it's connecting those two things really successfully. Yes,

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Speaker 1: you know this song. You know, I think a lot

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Speaker 1: of people like cringe at this song for some obvious reasons,

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Speaker 1: but also just for the time and all that stuff.

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Speaker 1: But if I hated this song and I heard that

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Speaker 1: harmony in that moment, I'd go, oh, okay, that's actually

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Speaker 1: really interesting.

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Speaker 2: It's very musical and cool. And one of the things

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Speaker 2: that happens, which I noticed the third pass through, is

200
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Speaker 2: actually they cross each other at the note. There's one

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Speaker 2: note that's in unison, and then the harmony, which was

202
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Speaker 2: under all of a sudden is over like through that note,

203
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Speaker 2: which is which is a cool thing.

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Speaker 1: And it's also very like and your bird can sing beatles.

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Speaker 2: Right, yes, yes, yes, that's right, that's right, And so

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Speaker 2: that stuff. I can give that a chancy all day.

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Speaker 2: That's very yeah, specific to this Chancellor's particular peccadillos, but

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Speaker 2: the peccadillos maybe where focus on how the chance he

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Speaker 2: falls apart after of course we take this little breakster

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Speaker 2: do now.

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Speaker 1: So a lot of really fun stuff with this song

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Speaker 1: that I forgot. I haven't heard it since you know

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Speaker 1: it probably came out, but when it did come out,

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Speaker 1: my brother bought this album, which the one with like

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Speaker 1: a robot on it. Yes, yes, yes, it's called just

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Speaker 1: Push Play.

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Speaker 2: We gotta do it anyway jes bush By, I remember that.

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Speaker 1: Yeah, so yeah, and and and my brother had every

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Speaker 1: Arroosmith CD like like you mentioned, Get a Grip Big Ones,

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Speaker 1: which I think.

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Speaker 2: Was that was that was one of the many hits packages.

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Speaker 1: And them all. So so we were excited for this

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Speaker 1: album and I listened to this a lot. I also

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Speaker 1: watched the music video, and I just want to we

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Speaker 1: don't talk about the music videos all the time, but

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Speaker 1: it's ahead of its time. It's like all this it's

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Speaker 1: kind of like a like early deep fake where like

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Speaker 1: head on like a skelling in and like the guitar

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Speaker 1: player blacking on his name Joe Perry, Joe Perry, that's right,

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Speaker 1: he's on like a it's like a centaur at a

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Speaker 1: part like oh yes, yes, And this is actually really fun.

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Speaker 1: I'm glad I brought it up because there's you know,

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Speaker 1: on like YouTube, it'll show you like what's been watched

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Speaker 1: the most. It'll have like a little mountain. So there's

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Speaker 1: a part where there's a model in it who has

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Speaker 1: a nip slip and that's been the most star.

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Speaker 2: We are such funny, such a predictable set of animals.

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Speaker 2: That's really funny.

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Speaker 1: Yeah, so that's a little that's a little easter egg

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Speaker 1: for y'all. Yeah. Now I think are we do we

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Speaker 1: want to talk piccadillas?

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Speaker 2: If you have I gave I know that I which

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Speaker 2: we went back and forth. If there's anything else that

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Speaker 2: you would like to give a chancey, I know that's

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Speaker 2: about all I got. But if there's something else that

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Speaker 2: you want to you know, offer that perspective.

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Speaker 1: This is not a piccadillo, but I do think that

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Speaker 1: it comes very close sonically, not just the sound of

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Speaker 1: the guitar, but the notes to Cracker Low.

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Speaker 2: Damn as you know, the rhythm, the actual tempo and rhythm,

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Speaker 2: and there's something in the swing that is an all

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Speaker 2: great song.

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Speaker 1: With you go, that'd be low right, a great tune.

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Speaker 1: If you haven't heard that, that's not going to make

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Speaker 1: this podcast now.

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Speaker 2: I would give that a chance all week.

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Speaker 1: But if you know that song, maybe you heard that

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Speaker 1: that the riff in it and this song is is

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Speaker 1: very similar. It's I had to like I was singing

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Speaker 1: along to that while listening to Pink.

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Speaker 2: Well right, this is like a bit more of like

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Speaker 2: a major key kind of blues influenced version of that,

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Speaker 2: which is a more kind of like minor key skewing,

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Speaker 2: slightly more like I don't know which one call it

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Speaker 2: depressive or something.

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Speaker 1: I love it. It's like a low and Pink. Can

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Speaker 1: you share this thing?

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Speaker 2: Low Low Pink? They have a single actually with Lady

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Speaker 2: Gaga Low Pink. But that being said, Low Pink, Yeah,

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Speaker 2: I do think that's that's a good call.

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Speaker 1: I think it is.

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Speaker 2: Really it's in the swing of it too, that's very specific.

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Speaker 2: I wonder that could be one of those things. What's

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Speaker 2: the story where like uh Adam Doritz tried to sign

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Speaker 2: Len Steal My Sunshine to like an imprint Counting Crows

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Speaker 2: must have had with their major label deal and Lynn

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Speaker 2: said no. So Counting Crows wrote Hanging Around, which is

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Speaker 2: basically Steal My Sunshine by Lynn, and had what a story? Really,

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Speaker 2: I'm really good at stories. I didn't know that I'm

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Speaker 2: a business man.

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Speaker 1: That is fascinating because I've known both those songs my

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Speaker 1: whole life and I've never I mean, I wouldn't put

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Speaker 1: them next to each other as the same, but now

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Speaker 1: that you're saying it, it is very similar.

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Speaker 2: Yes, wow mm hmmm.

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Speaker 1: See, people aren't really getting trinkets from this from this,

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Speaker 1: from listen to this. They listen to this and they

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Speaker 1: get to take home anecdotes and trinkets.

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Speaker 2: Anecdotes and trinkets, which is definitely that's my favorite. Mountain

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Speaker 2: Goats record anecdotes and drinkets.

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Speaker 1: What's your favorite? I have the lyrics up, what's your

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Speaker 1: what lyric do you hate the most? And which and

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Speaker 1: using pink? And which is your favorite.

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Speaker 2: Pink using pink? Which do I hate the most? Like?

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Speaker 1: For instance, like my favorite lyric is probably the one

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Speaker 1: that I mentioned earlier, which is and I think everything

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Speaker 1: is going to be all right, but I want you,

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Speaker 1: I want to mean, I mean like because they say

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Speaker 1: pink so much, and I want to know what your

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Speaker 1: pink lyric is favorite and least favorite.

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Speaker 2: I mean least Favorite's hard to pull apart here because

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Speaker 2: I really do have a lot of problems across the

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Speaker 2: board on several levels. Maybe i'd like at least when

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Speaker 2: he embraces his inner poet and he's like trying to

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Speaker 2: actually like in this like kind of like tongue in

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Speaker 2: cheek or elsewhere, butta being trying to do things that

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Speaker 2: are like, you know, like he's trying to like this

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Speaker 2: thing about the deco umbrella. Yes, hate it, hate it,

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Speaker 2: hate it, hate it a lot. Hate the one about

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Speaker 2: my favorite crayon. Don't like that either.

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Speaker 1: I agree, But that's a surprising one. And another one

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Speaker 1: that I think I would normally hate, but I'm like, Okay,

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Speaker 1: I'm going to get into it. I'm gonna give it

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Speaker 1: a chance. He is pink, it's lagger red but not quiet.

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Speaker 2: It's funny. Well that one's actually like that's like so stupid.

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Speaker 2: It's great.

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Speaker 1: It's at the end of the song. Yeah, that's that

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Speaker 1: gets my favorite pink.

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Speaker 2: You know what, that's funny, that's true. It's the last

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Speaker 2: thing he says, and it might be the stupidest one. Yeah,

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Speaker 2: it's funny. He like crests to the worst one. It's

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Speaker 2: not the worst because it's the grossest. It's the worst

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Speaker 2: because it's the stupidest. That's really true. I dig it.

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Speaker 2: I don't know. It's hard for me to pick. I

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Speaker 2: guess I had to pick. They're all gross, but my

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Speaker 2: least favorite one might be the deco umbrella because that

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Speaker 2: has pretensions of like cultural knowledge and that I'm like,

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Speaker 2: don't don't try to be all things to all people. Here,

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Speaker 2: to homie, You're just yeah, it's just gross. Just be

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Speaker 2: gross and we would find later. That's part of my

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Speaker 2: problem with the song. In retrospecty he's kind of been

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Speaker 2: outed as a pretty just to the surprise of no one,

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Speaker 2: like a pretty egregiously gross dude, which.

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Speaker 1: I think he's telling you, Yeah, yeah, yeah, was it

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Speaker 1: not When he said pink as the being on your cherry, that's.

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Speaker 2: Insane And for some reason I thought it was pink

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Speaker 2: as the being on your chandler.

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Speaker 1: Wait when did you think that the last you know,

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Speaker 1: When I was.

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Speaker 2: Reading it, I was like my brain Chandler n wow,

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Speaker 2: and also che maybe because the ch thing Chandler, Cherry.

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Speaker 1: How's the bing on your Chandler.

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Speaker 2: You gotta do Sandler gotta be Yeah, I think like

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Speaker 2: you're lunch lady Sandler.

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Speaker 1: That's it. I was trying to find it. That's good.

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Speaker 2: You can say something about like pink. You're in Trub's

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Speaker 2: Reprimander because the pink not green lights on Solo Mander

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Speaker 2: geck go, he goes, I love, he has the measure.

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Speaker 2: You're like pink because a bank with Sanender.

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Speaker 1: Wow, you're dropping bars.

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Speaker 2: Big shouts to Santander for supporting this pod from day one.

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Speaker 1: Day one, Santander actually reminds me that we have to

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Speaker 1: take a break and from our sponsors, which is not Santander.

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Speaker 1: It's actually.

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Speaker 2: As oh, I want one thing. I think we'd be

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Speaker 2: remiss to not cover. Have you seen the thing where

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Speaker 2: he's being interviewed by David I was gonna say, bowie,

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Speaker 2: David Lee Roth and he's speaking through the lyric process.

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Speaker 2: I think it's David Lee Roth. Maybe it's Stern and

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Speaker 2: maybe someone's made a meme where they put it David

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Speaker 2: Lee Roth on it. But he's walking through the writing

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Speaker 2: of this of this song, he puts his glasses on

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Speaker 2: to read the words from a notebook, and he's like

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Speaker 2: looking and he's explaining the innuendo as if.

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Speaker 1: Like we didn't get it, come on funny.

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Speaker 2: But the fact that he puts his glasses on is

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Speaker 2: pretty deco umbrella of him. Like he's being like, I'm

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Speaker 2: an rudite, you know, and he wants to that, you know,

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Speaker 2: all about like that he needs firs in these glasses.

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Speaker 2: But secondly, like I look smart when I wear them,

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Speaker 2: and also like Pang is my favorite Nephi. I don't

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Speaker 2: think you can say that, but yeah, I you should

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Speaker 2: watch that Chancers if you don't know that it's really

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Speaker 2: it's insane. He's a tough Prior to him being outed

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Speaker 2: as world class scumbag, it was also like he's been

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Speaker 2: a tough guy to root for for quite a while.

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Speaker 2: I feel like even Joe Perry is sort of like

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Speaker 2: on the record, it's like a Jagger Richard's thing or

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Speaker 2: but like Joe, that one seems really legitimately like bereft

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Speaker 2: of any warmth at this point, they're like, you know,

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Speaker 2: golden handcuffs, business partners who But Joe Perry's really like,

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Speaker 2: I hate this guy. This guy's just the worst. And

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Speaker 2: you know, if this if someone came in. I have

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Speaker 2: a running bit with my daughter about like what would

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Speaker 2: She basically thinks it's funny to imagine the Smith's presenting

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Speaker 2: their music to Marrow and then Marsy writing the words

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Speaker 2: to Smith's songs. This is her bit I've started.

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Speaker 1: No, She's like, no, there was Smith's word.

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Speaker 2: Thing that would come on a lot early in the

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Speaker 2: pandemic when we're just like walking around or driving around,

391
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Speaker 2: just like spending time going to like different outdoor places

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Speaker 2: cemetery gates, because we would go to this park here

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Speaker 2: that's Greenwood Cemetery. That's like an open, very beautiful like

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Speaker 2: kind of place you can trails and stuff like that.

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Speaker 2: A lot of famous people are buried there. I guess

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Speaker 2: I was gonna say lived there, Yeah, but she and

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Speaker 2: it would that. The running bit is always like the

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Speaker 2: Smith's write this really beautiful, dynamic piece of music, and

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Speaker 2: they are constantly deflated when Marsy comes in and he

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Speaker 2: says whatever insane bullshit Marsy says and all the songs

401
00:21:46,280 --> 00:21:48,879
Speaker 2: and it's an ever bit because it's like you present,

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Speaker 2: Heaven knows them miserable now as music, and this is

403
00:21:52,320 --> 00:21:54,920
Speaker 2: gonna be our number one hit. It's so buoyant, it's airy,

404
00:21:55,080 --> 00:21:57,119
Speaker 2: it's and then he comes in and he's I was

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Speaker 2: happy in the haze. It's fun to think about Aerosmith

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Speaker 2: writing whatever this music was and then him coming in

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Speaker 2: and being like, I'm gonna riff on pink for a

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Speaker 2: while and see if you could keep up, you.

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Speaker 1: Know what I mean, going back to your childhood. If

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Speaker 1: Axel Rose decided to, if Axel Rose decided to, like,

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Speaker 1: you know, stop being wild, I think like the band

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Speaker 1: would be like bummed. I think like these bands want

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Speaker 1: the larger than life presence and they want everything that

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Speaker 1: comes along with that. And I think, like, I don't know,

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Speaker 1: I think there's something too. It's not like I encourage

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Speaker 1: people to be like assholes about it, but you do

417
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Speaker 1: want your you know, you do want something out of

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Speaker 1: your lead singer in this genre.

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Speaker 2: Totally you like. And I think that was also a

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Speaker 2: construct that in a weird way, Aerosmith kind of pretty

421
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Speaker 2: early on. I wouldn't say they they weren't like you're rolling.

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00:22:57,160 --> 00:23:02,560
Speaker 2: Stones are probably like the foundation text for this behaviorally,

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00:23:03,480 --> 00:23:06,040
Speaker 2: and then it's kind of like led Zeppelin and Aerosmith

424
00:23:06,400 --> 00:23:09,800
Speaker 2: are like right there pretty early on, like within five

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Speaker 2: years seven years of the Stones, because Aerosmith's like seventy

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Speaker 2: four seventy five, led Zeppelin's right before that. Ozzie's in

427
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Speaker 2: there a bit, but they were like a little.

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Speaker 1: Darker the who were breaking their instruments.

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Speaker 2: They were, But if you think about the who, you don't.

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Speaker 2: I don't think the who, And I'm sure they have

431
00:23:25,840 --> 00:23:28,720
Speaker 2: plenty of stories and did plenty of things, but you

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Speaker 2: don't think about the who in the same kind of

433
00:23:31,440 --> 00:23:33,280
Speaker 2: like Bacchanalian or whatever.

434
00:23:33,600 --> 00:23:36,360
Speaker 1: Like I know, you don't Roger what's his name, Roger.

435
00:23:36,240 --> 00:23:40,040
Speaker 2: Roger Daltry, who looks like a centaur just standing up

436
00:23:40,080 --> 00:23:42,159
Speaker 2: normally in that period of time, there's something.

437
00:23:42,280 --> 00:23:47,600
Speaker 1: Centaur everted centaur. Yeah, yeah, he shed his horse, but yeah,

438
00:23:47,640 --> 00:23:49,680
Speaker 1: I know, yeah, he doesn't seem like a wildman.

439
00:23:49,760 --> 00:23:50,160
Speaker 2: But who?

440
00:23:50,280 --> 00:23:52,920
Speaker 1: So was it the other what? There was u what's

441
00:23:52,960 --> 00:23:54,720
Speaker 1: his name? Who was destroying the instruments.

442
00:23:55,720 --> 00:23:58,399
Speaker 2: But I feel like that's to me, there's two things.

443
00:23:58,640 --> 00:24:01,520
Speaker 2: That thing was definitely like rock and roll and like

444
00:24:01,720 --> 00:24:04,240
Speaker 2: kind of like rebellion and like a pantomime of a

445
00:24:04,359 --> 00:24:07,080
Speaker 2: kind of violence. You know that that's like part of

446
00:24:07,160 --> 00:24:09,200
Speaker 2: the thing. The thing with the guy with people like

447
00:24:09,320 --> 00:24:14,200
Speaker 2: Keith Jagger, Keith Jagger, Mick Jagger, Keith Richards, Stephen Tyler,

448
00:24:14,320 --> 00:24:17,840
Speaker 2: Joe Perry, certainly led Zeppelin, and then yes, definitely Axel

449
00:24:17,960 --> 00:24:20,639
Speaker 2: Rose and all of those people, is that that was

450
00:24:20,680 --> 00:24:24,960
Speaker 2: a bit more like there was like more sleas sexuality

451
00:24:25,119 --> 00:24:28,040
Speaker 2: put way up front and a kind of like yeah,

452
00:24:28,160 --> 00:24:30,879
Speaker 2: like almost like what's it like dionysis or something like

453
00:24:31,040 --> 00:24:34,480
Speaker 2: God of excess thing. And I think what's interesting is

454
00:24:34,520 --> 00:24:36,840
Speaker 2: like everyone talks about it. Oh, there's like everyone people

455
00:24:36,960 --> 00:24:39,600
Speaker 2: will say music people. I feel like there's this conversation

456
00:24:39,640 --> 00:24:43,120
Speaker 2: about like you can basically break every artist down too.

457
00:24:43,160 --> 00:24:44,560
Speaker 2: Are they Beatles or Stones?

458
00:24:44,920 --> 00:24:45,080
Speaker 1: You know?

459
00:24:45,240 --> 00:24:47,800
Speaker 2: Like cool and that's kind of a fun thing to do.

460
00:24:47,880 --> 00:24:49,680
Speaker 2: I think it's also fun to do it like across

461
00:24:50,119 --> 00:24:54,800
Speaker 2: genres like Kendrick Lamar is the Beatles, you know, and

462
00:24:54,880 --> 00:24:58,000
Speaker 2: then like maybe like I don't know, Lil John is

463
00:24:58,119 --> 00:25:01,280
Speaker 2: the Stones, not Little John, Lil Wayne Wayne is the Stones.

464
00:25:01,640 --> 00:25:04,560
Speaker 2: Something I think like to me, that's about like the

465
00:25:04,680 --> 00:25:05,760
Speaker 2: space they embody.

466
00:25:06,000 --> 00:25:08,440
Speaker 1: Whether that's fair or Litill John is definitely the stones.

467
00:25:08,560 --> 00:25:10,520
Speaker 2: Litil John is definitely the stones. But also you know,

468
00:25:10,680 --> 00:25:17,520
Speaker 2: like Nirvana is beetles, and maybe Guns and Roses are stones.

469
00:25:17,320 --> 00:25:20,560
Speaker 1: Yeah, or stone temple pilots too. Maybe as a contemporary,

470
00:25:20,800 --> 00:25:23,280
Speaker 1: sure it might be the right, Like that's totally but

471
00:25:23,560 --> 00:25:25,680
Speaker 1: you know, Aerosmith, like we said, like it has some

472
00:25:25,760 --> 00:25:28,640
Speaker 1: Beatles moments here, but they're definitely more stones, no doubt.

473
00:25:28,680 --> 00:25:31,639
Speaker 2: Their magic trick was that they were stones and then

474
00:25:31,720 --> 00:25:34,960
Speaker 2: once in a while would throw in a Beetles passage.

475
00:25:35,080 --> 00:25:38,879
Speaker 2: But behaviorally, sort of energetically, the space they occupy is

476
00:25:38,960 --> 00:25:41,560
Speaker 2: way more stones. And I think you're right because that

477
00:25:41,720 --> 00:25:45,399
Speaker 2: stuff was like good for business, the outsized and for

478
00:25:45,480 --> 00:25:48,080
Speaker 2: some to some extent, for creativity. But what I will

479
00:25:48,160 --> 00:25:50,960
Speaker 2: say is I do think every band has its breaking

480
00:25:51,080 --> 00:25:55,240
Speaker 2: point with that stuff. Sure, and it's usually not always.

481
00:25:55,520 --> 00:25:59,480
Speaker 2: Usually it's as simple as once the wave starts to crest.

482
00:26:00,080 --> 00:26:02,600
Speaker 1: But also cute, it's like not cute anymore, no, And

483
00:26:02,720 --> 00:26:03,439
Speaker 1: sometimes it's not.

484
00:26:03,600 --> 00:26:05,719
Speaker 2: That Like thinking about a band like Guns N' Roses,

485
00:26:05,840 --> 00:26:10,600
Speaker 2: like half that band quit the core band by like

486
00:26:10,760 --> 00:26:15,920
Speaker 2: nineteen ninety three, even it was basically like him, and

487
00:26:16,440 --> 00:26:18,479
Speaker 2: that was kind of it like everybody at one by

488
00:26:18,560 --> 00:26:20,359
Speaker 2: one they'd all been like, I can't do this anymore.

489
00:26:20,359 --> 00:26:21,920
Speaker 2: If you think about the length of time that was,

490
00:26:21,960 --> 00:26:25,320
Speaker 2: that was actually like seven years or something like that, which.

491
00:26:25,200 --> 00:26:28,960
Speaker 1: Is not that long you know, big band, Yeah not

492
00:26:29,160 --> 00:26:29,320
Speaker 1: you know.

493
00:26:29,520 --> 00:26:32,679
Speaker 2: And and so I think an Aerosmith basically broke up

494
00:26:33,000 --> 00:26:35,159
Speaker 2: between like the early eighties and late eighties. And I

495
00:26:35,240 --> 00:26:36,680
Speaker 2: think part of it was that it was just like

496
00:26:36,920 --> 00:26:40,600
Speaker 2: this is and I can't these I hate these people. Yeah,

497
00:26:41,160 --> 00:26:44,000
Speaker 2: and then at some point the reality of his circumstances

498
00:26:44,080 --> 00:26:46,720
Speaker 2: and guns and roses are you know, slash and duff

499
00:26:46,760 --> 00:26:49,000
Speaker 2: for back there. Now there's like an extent to which

500
00:26:49,040 --> 00:26:51,280
Speaker 2: it's like, but I would make so much, which is

501
00:26:51,320 --> 00:26:53,399
Speaker 2: one of the reasons why I think the Smith's thing

502
00:26:53,720 --> 00:26:57,119
Speaker 2: remains that they'll like never reunite. They're kind of like

503
00:26:57,280 --> 00:26:58,000
Speaker 2: one of one.

504
00:26:58,440 --> 00:27:01,920
Speaker 1: So to that degree, at this point, did the Smith's

505
00:27:01,920 --> 00:27:03,760
Speaker 1: basis die recently? He did?

506
00:27:04,040 --> 00:27:07,399
Speaker 2: Yeah, is that I wasn't except the drummer in the

507
00:27:07,440 --> 00:27:09,560
Speaker 2: bassis Mike Joyce and Andy Rourke, but yeah.

508
00:27:09,359 --> 00:27:12,400
Speaker 1: Andy Rourke, Yeah, Yeah, that's another reason. That's like, that's

509
00:27:12,440 --> 00:27:13,960
Speaker 1: a guy that i'd like to see play again. But

510
00:27:14,480 --> 00:27:20,280
Speaker 1: totally those songs. But yeah. Yeah. With Aerosmith though, you know,

511
00:27:20,359 --> 00:27:24,680
Speaker 1: like you mentioned that they had such a big nineties resurgence,

512
00:27:25,560 --> 00:27:29,920
Speaker 1: Like you can't take away from them, like the crazy Amazing.

513
00:27:30,119 --> 00:27:32,000
Speaker 2: Some of their best most successful songs.

514
00:27:32,119 --> 00:27:37,399
Speaker 1: What's thet crazy amazing, crazy amazing, that's it? Yeah, do

515
00:27:37,480 --> 00:27:37,800
Speaker 1: you remember?

516
00:27:38,400 --> 00:27:38,560
Speaker 2: Yeah?

517
00:27:38,640 --> 00:27:39,919
Speaker 1: Yeah, yeah, I go.

518
00:27:40,160 --> 00:27:45,080
Speaker 2: Crazy, cry and crying amazing crazy. Yeah.

519
00:27:46,040 --> 00:27:48,879
Speaker 1: That's great. So that I I mean that that was

520
00:27:48,920 --> 00:27:50,680
Speaker 1: a big part of my childhood. And like, I have

521
00:27:50,760 --> 00:27:53,359
Speaker 1: a friend who I work with who who hates Aerosmith

522
00:27:53,680 --> 00:27:57,160
Speaker 1: and hates those songs, and I can't hate them, even

523
00:27:57,280 --> 00:28:00,359
Speaker 1: Pink Pink. I chose because I I know that, like

524
00:28:00,480 --> 00:28:03,560
Speaker 1: the society kind of hates it and I don't like it,

525
00:28:04,200 --> 00:28:07,560
Speaker 1: but there's something about it. There is I will say that, like,

526
00:28:07,640 --> 00:28:11,080
Speaker 1: there is enough interesting stuff in this that if I

527
00:28:11,240 --> 00:28:13,040
Speaker 1: was at a bar and it came on, I might

528
00:28:13,160 --> 00:28:15,400
Speaker 1: roll my eyes, But I also might hear those things

529
00:28:15,440 --> 00:28:16,440
Speaker 1: that we mentioned that I like.

530
00:28:16,800 --> 00:28:19,320
Speaker 2: No doubt, and this is a prime example of a

531
00:28:19,440 --> 00:28:23,679
Speaker 2: song to me that if this song, if you removed

532
00:28:24,440 --> 00:28:27,520
Speaker 2: the lyric, kept the melody maybe even but or at

533
00:28:27,600 --> 00:28:30,080
Speaker 2: least that chorus melody. But if you remove the lyric

534
00:28:30,840 --> 00:28:34,480
Speaker 2: and you heard this song as an instrumental and or

535
00:28:34,600 --> 00:28:37,840
Speaker 2: as an instrumental with or as a new song with

536
00:28:38,120 --> 00:28:42,120
Speaker 2: different lyrics. Yeah, it's a legitimately they're a good band.

537
00:28:42,680 --> 00:28:46,600
Speaker 2: Like there's a lot of like legitimately good compelling rock

538
00:28:46,720 --> 00:28:48,960
Speaker 2: music by Aerosmith. I don't think they're quite on that.

539
00:28:49,160 --> 00:28:51,600
Speaker 2: They're not held in the same esteem as like The

540
00:28:51,760 --> 00:28:55,520
Speaker 2: Who or Zeppelin is, or certainly not like Beatles or Stones,

541
00:28:55,600 --> 00:28:58,640
Speaker 2: but they're kind of held in and not. I bet

542
00:28:58,680 --> 00:29:00,600
Speaker 2: a lot of people would put them in the five

543
00:29:00,880 --> 00:29:03,520
Speaker 2: American rock and roll bands of all time.

544
00:29:03,880 --> 00:29:07,240
Speaker 1: I'll say this that, like, hey, we talked about Train.

545
00:29:07,800 --> 00:29:11,320
Speaker 2: They definitely are doing an Aerosmith thing on yes, he Yeah,

546
00:29:11,520 --> 00:29:11,920
Speaker 2: for sure.

547
00:29:12,080 --> 00:29:14,400
Speaker 1: I don't think Train, or at least Drops of Jupiter

548
00:29:14,480 --> 00:29:16,800
Speaker 1: that we've listened to, like, it doesn't have that And

549
00:29:16,920 --> 00:29:18,440
Speaker 1: I think everything's going to be all right no matter

550
00:29:18,480 --> 00:29:20,000
Speaker 1: what we do. It doesn't have that kind of harm

551
00:29:20,000 --> 00:29:22,800
Speaker 1: anything or like anything that changes up like the whole song.

552
00:29:22,880 --> 00:29:24,600
Speaker 1: For me, when that comes in, I'm like, where did

553
00:29:24,640 --> 00:29:25,160
Speaker 1: this come from?

554
00:29:25,320 --> 00:29:27,080
Speaker 2: Well? You know what's interesting, and I know that song

555
00:29:27,240 --> 00:29:29,640
Speaker 2: was this song is twenty six years ago, but maybe

556
00:29:29,680 --> 00:29:31,920
Speaker 2: what I'm saying evidence is twenty seven years ago. It

557
00:29:32,000 --> 00:29:35,880
Speaker 2: evidence is as we've moved further as sometimes one of

558
00:29:35,920 --> 00:29:38,000
Speaker 2: the things I will do is get into a room

559
00:29:38,080 --> 00:29:42,240
Speaker 2: with another artist and write with them for their music, right,

560
00:29:42,680 --> 00:29:44,280
Speaker 2: And one of the things, yeah, I just kind of

561
00:29:44,280 --> 00:29:45,840
Speaker 2: wanted to let people know I love that. Maybe. But

562
00:29:45,960 --> 00:29:48,360
Speaker 2: one of the things that I will do as a

563
00:29:48,520 --> 00:29:53,040
Speaker 2: Beatles and Beatles through yes, Elliott and Nirvana, but Beatles themselves,

564
00:29:53,160 --> 00:29:56,880
Speaker 2: like acolyte to some of those movements, is like, that's

565
00:29:56,920 --> 00:29:59,600
Speaker 2: where my brain goes sometimes with chordal stuff. And what

566
00:29:59,840 --> 00:30:02,320
Speaker 2: is really nuts is that the more that no that

567
00:30:02,400 --> 00:30:03,800
Speaker 2: sounds in the same because we're talking about like the

568
00:30:03,840 --> 00:30:06,000
Speaker 2: literal Beatles, it's like talking about the sun or something.

569
00:30:06,080 --> 00:30:10,800
Speaker 2: But like that thing that they brought harmonically to pop music,

570
00:30:10,800 --> 00:30:12,680
Speaker 2: which is what we're talking about in the back half

571
00:30:12,720 --> 00:30:16,560
Speaker 2: of this chorus, is disappearing in pop music. And when

572
00:30:16,640 --> 00:30:19,520
Speaker 2: you bring that into a room, even just a little

573
00:30:19,640 --> 00:30:22,360
Speaker 2: dash of it, there's always this like, oh wow, that's

574
00:30:22,440 --> 00:30:24,960
Speaker 2: so such a cool progression, and you're like, hey, it's

575
00:30:25,040 --> 00:30:29,360
Speaker 2: literally every Beatles song, half of the pop Nirvana songs,

576
00:30:29,480 --> 00:30:33,680
Speaker 2: and most of Elliott Smith's catalog hit the Two Chords,

577
00:30:34,360 --> 00:30:36,320
Speaker 2: I did it. I mean, I can't stop but I

578
00:30:36,400 --> 00:30:40,200
Speaker 2: won't stop. I'll never fucking stop. But I do think

579
00:30:40,320 --> 00:30:43,680
Speaker 2: that they were close enough to the source of heat

580
00:30:43,760 --> 00:30:46,120
Speaker 2: with that, and it was such a primary color influence

581
00:30:46,200 --> 00:30:49,160
Speaker 2: for them that they still it's still in there, and

582
00:30:49,360 --> 00:30:52,000
Speaker 2: when you hear it, you are like, oh, what a

583
00:30:52,120 --> 00:30:56,760
Speaker 2: wonderful harmonic decision that is quarterly and it's refreshing to you.

584
00:30:56,880 --> 00:30:59,120
Speaker 2: Probably even in nineteen ninety seven, it was refreshing to

585
00:30:59,200 --> 00:31:01,600
Speaker 2: hear it because that wasn't going on in whatever pop

586
00:31:01,840 --> 00:31:03,800
Speaker 2: was on the radio even at that time.

587
00:31:04,280 --> 00:31:06,840
Speaker 1: I think Gaga might slip something in once in a

588
00:31:06,880 --> 00:31:09,920
Speaker 1: while that's like, that's like an interesting moment like that.

589
00:31:10,400 --> 00:31:13,080
Speaker 2: Yeah, I mean, I'm not saying it's the only path

590
00:31:13,240 --> 00:31:16,040
Speaker 2: to musical spicienic in pop music, but yeah.

591
00:31:15,880 --> 00:31:18,360
Speaker 1: But it's you're right though, it's like, you know, the

592
00:31:18,480 --> 00:31:22,320
Speaker 1: landscape is void of interesting choices and stuff like that,

593
00:31:22,720 --> 00:31:25,080
Speaker 1: and I get why. I get it's like easier and

594
00:31:25,200 --> 00:31:26,000
Speaker 1: it's quicker, and.

595
00:31:26,160 --> 00:31:28,760
Speaker 2: Yeah, that's right, and it's what sounds best in the

596
00:31:28,840 --> 00:31:31,080
Speaker 2: background while people are doing other things.

597
00:31:31,440 --> 00:31:33,840
Speaker 1: And the Beatles were lucky because they were experimental, but

598
00:31:33,960 --> 00:31:36,920
Speaker 1: also they got onto the pop. So it's it's like,

599
00:31:37,400 --> 00:31:40,920
Speaker 1: you know, when there's experimental bands that just drop in

600
00:31:41,040 --> 00:31:43,280
Speaker 1: and for some or you know, they get a big

601
00:31:43,360 --> 00:31:45,400
Speaker 1: hit out of nowhere or something. You know, That's what

602
00:31:45,520 --> 00:31:47,680
Speaker 1: it was for the Beatles, I think, and they were.

603
00:31:47,720 --> 00:31:50,800
Speaker 2: Such the big bang in some ways that they also

604
00:31:50,880 --> 00:31:54,760
Speaker 2: were able to craft pop music in their image, which

605
00:31:54,840 --> 00:31:58,240
Speaker 2: is an extremely rare opportunity. But when you said Gaga,

606
00:31:58,400 --> 00:32:00,040
Speaker 2: and I know we're coming towards the end here, but

607
00:32:00,160 --> 00:32:02,320
Speaker 2: I did want to say, have you seen the thing

608
00:32:02,440 --> 00:32:07,680
Speaker 2: where Kanye West is talking about Gogloyd? It's amazing, that's great.

609
00:32:07,800 --> 00:32:10,040
Speaker 1: Yeah, what does she know about cameras?

610
00:32:10,120 --> 00:32:12,200
Speaker 2: Yeah? What fuck does she know about cameras? I encourage

611
00:32:12,200 --> 00:32:13,120
Speaker 2: you to watch that as well.

612
00:32:13,160 --> 00:32:13,840
Speaker 1: That's a good plan.

613
00:32:14,480 --> 00:32:16,080
Speaker 2: So where do we land on this case? I mean,

614
00:32:16,120 --> 00:32:19,240
Speaker 2: obviously it's gross and also has some really beautiful moments.

615
00:32:19,400 --> 00:32:20,040
Speaker 2: Is that what we're saying.

616
00:32:20,120 --> 00:32:21,600
Speaker 1: I'm not going to choose to put it on, but

617
00:32:21,880 --> 00:32:24,200
Speaker 1: I won't kick it out of bar because I'm not

618
00:32:24,200 --> 00:32:26,200
Speaker 1: going to play it. I'm gonna pay. But if I'm

619
00:32:26,280 --> 00:32:29,000
Speaker 1: like at like a bar, restaurant or something and it

620
00:32:29,040 --> 00:32:31,000
Speaker 1: comes on, I'm not gonna I'm not going to leave

621
00:32:31,040 --> 00:32:31,560
Speaker 1: the restaurant.

622
00:32:31,720 --> 00:32:33,720
Speaker 2: No, and you're not gonna like if Yeah, when you

623
00:32:34,120 --> 00:32:39,160
Speaker 2: not if when you next are with your closest friends

624
00:32:39,320 --> 00:32:42,240
Speaker 2: at Applebee's and it comes on, you.

625
00:32:42,280 --> 00:32:44,040
Speaker 1: Will it's playing. It will play it out and.

626
00:32:44,080 --> 00:32:46,920
Speaker 2: You'll drink the brutus and you'll look at your friends

627
00:32:46,960 --> 00:32:49,520
Speaker 2: and go, you know what the song's about, right, and

628
00:32:49,680 --> 00:32:49,960
Speaker 2: let go.

629
00:32:50,080 --> 00:32:54,400
Speaker 1: No, I'll say crayons. I'm just gonna say that.

630
00:32:54,840 --> 00:32:57,520
Speaker 2: Really, you know it's about crayons.

631
00:32:58,760 --> 00:33:03,480
Speaker 1: Answers, tiny chancers. Thanks for listening, and yeah, we'll do

632
00:33:03,560 --> 00:33:04,800
Speaker 1: it again another time.

633
00:33:05,240 --> 00:33:09,720
Speaker 2: I sure hope so do.

634
00:33:09,840 --> 00:33:10,640
Speaker 1: We both just hit that.

635
00:33:11,320 --> 00:33:12,200
Speaker 2: That was really good.

636
00:33:12,720 --> 00:33:13,040
Speaker 1: Wow,