1 00:00:02,279 --> 00:00:04,840 Speaker 1: Give it a chance, Give it a chance, Give it 2 00:00:04,880 --> 00:00:07,040 Speaker 1: a chance. Come morning, Give it a chance. Give it 3 00:00:07,040 --> 00:00:09,680 Speaker 1: a chance, Give it a chance, Give it a chance, 4 00:00:09,720 --> 00:00:11,400 Speaker 1: come morning. Give it a chick. You want to give 5 00:00:11,440 --> 00:00:14,280 Speaker 1: it a chance, Give it a chance, give it a chance. 6 00:00:14,400 --> 00:00:15,240 Speaker 1: Just give it a ch. 7 00:00:18,120 --> 00:00:20,880 Speaker 2: Hi Hi. 8 00:00:22,440 --> 00:00:25,720 Speaker 1: What our listeners don't know is that we record this 9 00:00:25,840 --> 00:00:28,680 Speaker 1: on zoom and I usually make the link and I 10 00:00:28,760 --> 00:00:31,520 Speaker 1: have to admit you and imagine if we had a 11 00:00:31,560 --> 00:00:33,160 Speaker 1: whole episode where I didn't. 12 00:00:34,080 --> 00:00:39,960 Speaker 2: Ah, why would you do this? I hate you? 13 00:00:40,960 --> 00:00:41,800 Speaker 1: Ah? 14 00:00:42,720 --> 00:00:46,760 Speaker 2: The truth comes out on epp. Six hundred and nineteen. 15 00:00:47,440 --> 00:00:48,199 Speaker 2: What app is this? 16 00:00:48,680 --> 00:00:52,000 Speaker 1: I have no idea. I think also, we've been doing 17 00:00:52,000 --> 00:00:54,400 Speaker 1: this thing. We've been recording them in advance, and then 18 00:00:54,440 --> 00:00:55,640 Speaker 1: I think we'll just kind of pick. 19 00:00:55,800 --> 00:00:57,880 Speaker 2: I don't tell them all our seeky's. 20 00:00:58,560 --> 00:01:01,040 Speaker 1: I'm telling them all. We were courd on zoom. I 21 00:01:01,080 --> 00:01:01,880 Speaker 1: don't like you. 22 00:01:02,080 --> 00:01:03,840 Speaker 2: We don't know what number it is. 23 00:01:04,040 --> 00:01:05,319 Speaker 1: We were going out of order. 24 00:01:05,720 --> 00:01:09,559 Speaker 2: He's made of ai garble slop. They're not even real. 25 00:01:10,120 --> 00:01:12,160 Speaker 2: The ny Mets are my favorite squadron. 26 00:01:13,560 --> 00:01:18,040 Speaker 1: That's right. I'm excited because this is a category or 27 00:01:18,080 --> 00:01:20,240 Speaker 1: a genre of music that we don't always do. Is 28 00:01:20,280 --> 00:01:25,240 Speaker 1: for this episode and actually actually all to pull the curtain. 29 00:01:27,920 --> 00:01:29,319 Speaker 1: I actually do want to do this, some of that, 30 00:01:29,560 --> 00:01:32,600 Speaker 1: but to pull the curtain the kurt back, and I 31 00:01:32,600 --> 00:01:34,800 Speaker 1: don't mean Cobaine, pull the curt back a little bit 32 00:01:34,800 --> 00:01:38,759 Speaker 1: more rest in peace. Well, I had a song and 33 00:01:38,800 --> 00:01:42,960 Speaker 1: then you were like okay, me like, yeah, I'd love 34 00:01:43,000 --> 00:01:48,880 Speaker 1: to fucking pull that one down a notch rest in 35 00:01:48,920 --> 00:01:58,440 Speaker 1: pieces of crap. But in the interim, in the time 36 00:01:58,440 --> 00:02:01,040 Speaker 1: that I waited, So I'm a little sick, so it 37 00:02:01,120 --> 00:02:03,080 Speaker 1: might be a little basice, I'm sorry. 38 00:02:03,840 --> 00:02:11,160 Speaker 2: Everywhere it's is Basi, Jo Justice. 39 00:02:12,280 --> 00:02:15,560 Speaker 1: I'm you big, I'm everywhere. 40 00:02:15,600 --> 00:02:21,760 Speaker 2: It was bekist On alright, I'm sorry. 41 00:02:19,840 --> 00:02:25,480 Speaker 1: Yes, wow. I think that's like four tangents trying. I 42 00:02:25,600 --> 00:02:26,680 Speaker 1: picked a different. 43 00:02:27,840 --> 00:02:30,639 Speaker 2: E M Warlord. 44 00:02:32,320 --> 00:02:39,960 Speaker 1: Joe, alright, Basis, if you're still listening, it's a song 45 00:02:40,000 --> 00:02:42,799 Speaker 1: than what I had, a different song than I picked. 46 00:02:43,280 --> 00:02:45,519 Speaker 1: And this song I've been wanting to do for a while. 47 00:02:45,560 --> 00:02:49,040 Speaker 1: It's been on my lisp and I'm very excited for 48 00:02:49,120 --> 00:02:52,520 Speaker 1: it because it's a silly one and as a genre 49 00:02:52,520 --> 00:02:58,200 Speaker 1: that we don't always do. And famous father. 50 00:02:58,800 --> 00:03:02,200 Speaker 2: The singer is a famous father, famous father. All right, 51 00:03:02,320 --> 00:03:03,360 Speaker 2: the singer is a. 52 00:03:03,280 --> 00:03:10,000 Speaker 1: Famous father, a famous father father musician of a father. Oh, 53 00:03:10,720 --> 00:03:17,320 Speaker 1: I have a musician father musician of a musician child. 54 00:03:17,440 --> 00:03:20,560 Speaker 2: Musician who's now an adult. I would imagine the child, okay, child, 55 00:03:20,680 --> 00:03:25,600 Speaker 2: now you know, you know the current The child in 56 00:03:25,639 --> 00:03:28,600 Speaker 2: the equation is not currently a child in twenty twenty five. 57 00:03:29,120 --> 00:03:31,240 Speaker 1: I want everyone to know. Everyone probably thinks I come 58 00:03:31,320 --> 00:03:34,119 Speaker 1: up with these hints months of advance. 59 00:03:34,520 --> 00:03:38,600 Speaker 2: Ah, all right, so the father famous father of a 60 00:03:38,640 --> 00:03:42,240 Speaker 2: famous adult child. Bob Dylan. 61 00:03:43,200 --> 00:03:46,000 Speaker 1: Ooh, you think i'd be doing one headlight or no, 62 00:03:46,080 --> 00:03:49,000 Speaker 1: you'd think i'd be doing Bob Dylan Bob Dylan song. 63 00:03:49,000 --> 00:03:51,200 Speaker 1: We were talking right now, we were talking. You're right, 64 00:03:51,320 --> 00:03:55,160 Speaker 1: you're right, you're right, it's not but it's okay. I 65 00:03:55,200 --> 00:03:56,080 Speaker 1: will say that. 66 00:03:56,640 --> 00:03:59,160 Speaker 2: Oh, Billy Ray cyrus ake, you break your heart. 67 00:03:59,520 --> 00:04:02,560 Speaker 1: Yes, my dude, that was so good. 68 00:04:02,680 --> 00:04:07,200 Speaker 2: You're so good at it. People don't talk about it enough. People, 69 00:04:07,760 --> 00:04:09,520 Speaker 2: people don't talk about it enough. 70 00:04:10,600 --> 00:04:12,320 Speaker 1: Are you so good? I don't think I could ever 71 00:04:12,400 --> 00:04:12,800 Speaker 1: get these. 72 00:04:12,920 --> 00:04:13,280 Speaker 3: You have to. 73 00:04:13,360 --> 00:04:15,760 Speaker 1: You have to do one so and give me hinties 74 00:04:15,920 --> 00:04:17,240 Speaker 1: and then I want to see if I could do it. 75 00:04:17,279 --> 00:04:18,480 Speaker 1: Because you I don't know. 76 00:04:18,400 --> 00:04:20,080 Speaker 2: Why you're so right now on the spot. 77 00:04:20,160 --> 00:04:22,960 Speaker 1: You're always like ugh, is it Bob Dylan? 78 00:04:23,040 --> 00:04:23,160 Speaker 2: No? 79 00:04:23,520 --> 00:04:25,960 Speaker 1: Is it Billy Ray Silos Aggy Breaky Heart? 80 00:04:27,120 --> 00:04:31,320 Speaker 2: The second the second famous father that we all know. Yeah, 81 00:04:31,600 --> 00:04:34,000 Speaker 2: first Bob Dylan, Then is Billy ray Sier. 82 00:04:34,320 --> 00:04:38,039 Speaker 1: I completely missed Achy Breaky Heart in My Youth came 83 00:04:38,080 --> 00:04:41,000 Speaker 1: out nineteen ninety. I was five years young. 84 00:04:41,040 --> 00:04:44,480 Speaker 2: Are you really Yeah, it's ninety Oh. 85 00:04:44,360 --> 00:04:46,599 Speaker 1: It's ninety two. Actually I'm wrong. I lied to you. 86 00:04:47,000 --> 00:04:50,360 Speaker 2: Sounds right to meet because I feel like there might 87 00:04:50,480 --> 00:04:52,960 Speaker 2: be well, you know, it's amazing. On the on the 88 00:04:53,000 --> 00:04:57,240 Speaker 2: streaming platform of my choice, it says there is a 89 00:04:57,520 --> 00:05:03,960 Speaker 2: twentieth Century Master album for Billy ray Cyrus. What in 90 00:05:04,040 --> 00:05:09,080 Speaker 2: the world, wow, could have possibly prompted? Like what other 91 00:05:09,320 --> 00:05:10,160 Speaker 2: song is there? 92 00:05:11,160 --> 00:05:14,400 Speaker 1: I don't know, because George Lucas probably did it. 93 00:05:14,440 --> 00:05:17,520 Speaker 2: Maybe it's Actually it's funny. It says the best of 94 00:05:17,600 --> 00:05:22,120 Speaker 2: Billy Ray Cyrus, the Millennium Collection twentieth Century Masters. But 95 00:05:22,240 --> 00:05:28,159 Speaker 2: the picture is jar jar Bink really surpasing solo. Yeah, 96 00:05:29,000 --> 00:05:34,120 Speaker 2: it's one Bink, which was the original title of One Headlight. Yeah. 97 00:05:34,320 --> 00:05:36,760 Speaker 2: See they're coming to get me, dude, They're fucking coming 98 00:05:36,800 --> 00:05:40,039 Speaker 2: and get me. Finally for all my transgressions. Oh you guys, 99 00:05:40,080 --> 00:05:40,600 Speaker 2: can't hear the. 100 00:05:40,560 --> 00:05:43,919 Speaker 1: Cirrus, the storm, the Billy Ray Sirens. 101 00:05:44,120 --> 00:05:46,760 Speaker 2: Billy Ray Sirens. That was a good show on the 102 00:05:46,839 --> 00:05:50,360 Speaker 2: USA Network in the early early odds. 103 00:05:50,880 --> 00:05:53,120 Speaker 1: So I started to play so this came up. The 104 00:05:53,120 --> 00:05:56,640 Speaker 1: song also was recommended to me by somebody who was like, oh, 105 00:05:56,640 --> 00:05:59,320 Speaker 1: that's like an overplayed country song or like it's but 106 00:05:59,440 --> 00:06:01,200 Speaker 1: I don't know, I know it to be a song. 107 00:06:01,400 --> 00:06:03,120 Speaker 2: You really don't know what have you ever heard it? 108 00:06:03,400 --> 00:06:05,240 Speaker 1: I know the chorus, I could, I could sing it. 109 00:06:05,279 --> 00:06:07,960 Speaker 1: I've made up dummy lyrics to it, like don't kiss me, 110 00:06:08,160 --> 00:06:10,720 Speaker 1: but you know, like I've done that, you know, But 111 00:06:10,800 --> 00:06:13,960 Speaker 1: I don't know if I like, I've ever sat with it. 112 00:06:14,839 --> 00:06:17,640 Speaker 2: Okay, I've never had lunch, you're about to sit with it. 113 00:06:18,240 --> 00:06:20,680 Speaker 2: You've never dined on achy breaky Heart? 114 00:06:21,360 --> 00:06:25,000 Speaker 1: True. So the song, I'm going to watch the video. 115 00:06:25,120 --> 00:06:26,920 Speaker 1: I'm gonna do you know, I do the video. I 116 00:06:26,960 --> 00:06:27,920 Speaker 1: watched like two seconds. 117 00:06:27,920 --> 00:06:28,800 Speaker 2: I'm always too different. 118 00:06:29,240 --> 00:06:31,080 Speaker 1: I have to do this. I have to do this 119 00:06:31,120 --> 00:06:33,599 Speaker 1: one because I watched two seconds of the video and 120 00:06:33,640 --> 00:06:35,279 Speaker 1: he's like getting out of a limo and like there's 121 00:06:35,279 --> 00:06:37,240 Speaker 1: like a crowd of people. I'm like, what song did 122 00:06:37,240 --> 00:06:39,839 Speaker 1: he have before? Breaky heart. But you know the country, 123 00:06:39,880 --> 00:06:41,400 Speaker 1: the country world is different. 124 00:06:41,600 --> 00:06:42,840 Speaker 2: I don't. That's a good question. 125 00:06:43,400 --> 00:06:46,480 Speaker 1: I'm excited to get into it. We've been joking around enough. 126 00:06:46,520 --> 00:06:48,040 Speaker 1: It's serious from here on out. 127 00:06:48,400 --> 00:07:03,520 Speaker 4: No more grab ass, fight me, somebody shit, Okay, set. 128 00:07:03,320 --> 00:07:07,200 Speaker 1: The scene for me and for our listeners, because that, 129 00:07:07,360 --> 00:07:13,760 Speaker 1: to me feels like Wham goes Country. Because I was 130 00:07:13,800 --> 00:07:16,600 Speaker 1: watching the video and he's got like white sneakers and 131 00:07:16,680 --> 00:07:19,040 Speaker 1: tight jeans and like like an open shirt. He like 132 00:07:19,080 --> 00:07:21,280 Speaker 1: it kind of feels like very George Michael. He's like 133 00:07:21,400 --> 00:07:23,880 Speaker 1: dancing around, was playing guitars. 134 00:07:23,960 --> 00:07:25,920 Speaker 2: Looks like George Michael actually a little bit. 135 00:07:26,720 --> 00:07:29,120 Speaker 1: And I always kind of thought like that was like 136 00:07:29,240 --> 00:07:32,160 Speaker 1: not like even if even if you were this sort 137 00:07:32,200 --> 00:07:35,040 Speaker 1: of posh country star, you were still like boots and like, 138 00:07:35,440 --> 00:07:38,040 Speaker 1: I'm a man, I drink cold beer. I'll have a truck. 139 00:07:38,120 --> 00:07:40,640 Speaker 1: I live on a dirt road. Like you have to 140 00:07:40,720 --> 00:07:43,480 Speaker 1: still like play the part, and if you don't play 141 00:07:43,520 --> 00:07:48,440 Speaker 1: that part, you're eye out. But he's like dancing arms 142 00:07:48,560 --> 00:07:52,520 Speaker 1: up also, which I love. When this happens the music 143 00:07:52,600 --> 00:07:55,760 Speaker 1: video for the song, the audience knows all the lyrics 144 00:07:55,800 --> 00:07:57,040 Speaker 1: and they're clapping along. 145 00:07:57,240 --> 00:07:58,000 Speaker 2: Oh that's great. 146 00:07:58,440 --> 00:08:00,880 Speaker 1: Like that's the best. It's like it's already a hit. 147 00:08:01,800 --> 00:08:06,640 Speaker 2: Joyful Yeah, yeah, yeah, what's it called. It's like a 148 00:08:07,120 --> 00:08:09,760 Speaker 2: manifesting it like it's a hit in the video, it's 149 00:08:09,760 --> 00:08:11,480 Speaker 2: going to be a hit in real life. Look at 150 00:08:11,520 --> 00:08:12,600 Speaker 2: these people are enjoying it. 151 00:08:12,640 --> 00:08:14,040 Speaker 1: Manifest Destiny's Child. 152 00:08:17,320 --> 00:08:21,320 Speaker 2: My favorite American band, my favorite American pastime. Dude, Manifest 153 00:08:21,400 --> 00:08:25,480 Speaker 2: Destiny's Child. Yeah, the scene, So set the scene. I mean, 154 00:08:25,640 --> 00:08:27,600 Speaker 2: I like you setting the scene with the video because 155 00:08:27,640 --> 00:08:30,320 Speaker 2: we maybe another since this is a kind of BTS, 156 00:08:30,360 --> 00:08:33,040 Speaker 2: not K pop behind the scenes, this is another BTS, 157 00:08:33,120 --> 00:08:38,760 Speaker 2: kind of little little tidbit for our listeners and viewers. 158 00:08:39,040 --> 00:08:42,240 Speaker 2: We do, we do approach this differently. I tend to 159 00:08:42,480 --> 00:08:46,679 Speaker 2: listen without prejudice, just like George Michael. I tend to 160 00:08:46,920 --> 00:08:51,520 Speaker 2: listen to the streaming platform of my choice and read 161 00:08:51,640 --> 00:08:55,720 Speaker 2: the lyrics while I listen, and Casey tends to watch 162 00:08:55,720 --> 00:08:59,640 Speaker 2: the video and then we kind of convene. That's interesting. 163 00:08:59,640 --> 00:09:01,160 Speaker 2: I think we cover a lot of ground that way. 164 00:09:01,600 --> 00:09:03,719 Speaker 2: That just I'm just saying, it's interesting to me. It's 165 00:09:03,720 --> 00:09:06,240 Speaker 2: interesting to me that you wouldn't fucking do it the 166 00:09:06,240 --> 00:09:09,559 Speaker 2: way I do it. Do they, as your elder. 167 00:09:09,520 --> 00:09:11,200 Speaker 1: Do they have the claps at the end, like the 168 00:09:11,240 --> 00:09:12,360 Speaker 1: audience clapping because in the. 169 00:09:12,559 --> 00:09:15,319 Speaker 2: At the end, oh no, that's amazing. 170 00:09:15,480 --> 00:09:18,000 Speaker 1: No, and it's in the mix, I don't think so. 171 00:09:18,080 --> 00:09:19,719 Speaker 2: At the end of the track there was a kind 172 00:09:19,760 --> 00:09:23,600 Speaker 2: of standard like you know, what's it called tambourine rattle 173 00:09:23,679 --> 00:09:26,560 Speaker 2: and then a big like snare hit like you know, yeah, 174 00:09:26,559 --> 00:09:32,160 Speaker 2: that kind of announce yes, exactly exactly. I mean, what's 175 00:09:32,200 --> 00:09:36,720 Speaker 2: funny is so I forget I do vaguely remember because 176 00:09:36,840 --> 00:09:39,200 Speaker 2: even as like this is such a hit, this is 177 00:09:39,200 --> 00:09:45,480 Speaker 2: such a like a monster chorus, like the production, it's funny, 178 00:09:45,600 --> 00:09:49,400 Speaker 2: it's it's it does for ninety two March ninety two, 179 00:09:49,480 --> 00:09:54,000 Speaker 2: it says this comes out. It does like Veer late eighties. 180 00:09:54,760 --> 00:09:57,040 Speaker 2: It has more in common to me with the DNA 181 00:09:57,160 --> 00:10:01,040 Speaker 2: of like the sort of like a sunsets drip ballads 182 00:10:01,200 --> 00:10:03,679 Speaker 2: of that time, or like or even something like like 183 00:10:03,720 --> 00:10:06,240 Speaker 2: I think you know we're like bands like Winger and 184 00:10:06,280 --> 00:10:09,680 Speaker 2: Warrant and Cinderella and Poison and all of that stuff. 185 00:10:09,880 --> 00:10:13,840 Speaker 2: They all skid row. They all had like one song 186 00:10:14,240 --> 00:10:16,360 Speaker 2: that was like I feel like a lot of them 187 00:10:16,360 --> 00:10:17,840 Speaker 2: had They all have those songs that had like the 188 00:10:17,880 --> 00:10:20,240 Speaker 2: great big gated snare drum, and it was like kind 189 00:10:20,240 --> 00:10:22,440 Speaker 2: of almost like Heaven by Brian Adams, like a big 190 00:10:22,520 --> 00:10:24,760 Speaker 2: ballad but with a yustle power ballad. 191 00:10:24,960 --> 00:10:25,839 Speaker 1: Totally yeah. 192 00:10:25,880 --> 00:10:27,680 Speaker 2: But then they I think a bunch of them, like 193 00:10:27,720 --> 00:10:31,280 Speaker 2: Great White obviously Black Crows who are different than that, 194 00:10:31,320 --> 00:10:33,800 Speaker 2: but sort of traded a little bit on the shared 195 00:10:33,880 --> 00:10:36,480 Speaker 2: DNA they had with some of those like Zeppelin esque 196 00:10:36,640 --> 00:10:40,880 Speaker 2: bands and Stones obviously as bands, but like there was 197 00:10:40,960 --> 00:10:42,960 Speaker 2: also a little bit of a like you know, Once 198 00:10:43,000 --> 00:10:45,760 Speaker 2: Bitten Twice Shy, that Great White song which was a cover. 199 00:10:45,880 --> 00:10:48,520 Speaker 2: There's a little moment where some of these bands wanted 200 00:10:48,559 --> 00:10:51,480 Speaker 2: to have like a little country DNA, even like Guns n' 201 00:10:51,600 --> 00:10:55,200 Speaker 2: Roses on Sure GNR Lives or like there's a Stone 202 00:10:55,320 --> 00:10:58,679 Speaker 2: esy thing that has a touch of country. 203 00:10:58,200 --> 00:11:00,040 Speaker 1: Right Aerosmith, right, like. 204 00:11:00,360 --> 00:11:05,839 Speaker 2: Aerosmith exactly like American rock that nods towards So this achey, 205 00:11:05,880 --> 00:11:09,760 Speaker 2: breaky Heart is like a twang setting or two away 206 00:11:09,800 --> 00:11:12,240 Speaker 2: from it could have been like a Cinderella song. It 207 00:11:12,280 --> 00:11:15,520 Speaker 2: could have been like there, Cinderella is like sleazy Stones 208 00:11:15,920 --> 00:11:19,439 Speaker 2: homage when like that eighth note piano thing comes in 209 00:11:19,559 --> 00:11:22,640 Speaker 2: ding ping dingdingdingdingding, like that stuff. I'm like this is 210 00:11:23,280 --> 00:11:26,240 Speaker 2: it almost like predicts what's gonna happen in twenty five 211 00:11:26,320 --> 00:11:29,240 Speaker 2: years where all of these styles of music, like the 212 00:11:29,360 --> 00:11:32,600 Speaker 2: verse in a country song is like a hip hop verse, yes, 213 00:11:32,800 --> 00:11:37,680 Speaker 2: with like like a like a big rock chorus, and 214 00:11:37,720 --> 00:11:39,960 Speaker 2: then like the country part is either like the dress 215 00:11:40,040 --> 00:11:43,720 Speaker 2: code or the vocal setting or like the content like 216 00:11:43,800 --> 00:11:46,599 Speaker 2: I'm singing about great American stuff. 217 00:11:46,240 --> 00:11:48,400 Speaker 1: Old Town Road even yeah. 218 00:11:48,280 --> 00:11:50,600 Speaker 2: Exactly, and then like right the ways that kind. 219 00:11:50,440 --> 00:11:52,880 Speaker 1: Of he's on this, He's on the remix Billy Ray 220 00:11:52,920 --> 00:11:55,120 Speaker 1: Cyrus is on the Civil Town Road, which is kind 221 00:11:55,120 --> 00:11:55,959 Speaker 1: of full circle. 222 00:11:55,760 --> 00:12:01,400 Speaker 2: Which was his reintroduction as a non Miley's Dad entity 223 00:12:01,640 --> 00:12:04,200 Speaker 2: into the zeitgeist. Like I remember being like like that 224 00:12:04,320 --> 00:12:08,360 Speaker 2: was very knowing of whoever connected those people and of 225 00:12:08,400 --> 00:12:09,920 Speaker 2: Lil nas X to be like, oh, you know, it 226 00:12:09,920 --> 00:12:12,600 Speaker 2: would be funny for this country song as if or 227 00:12:12,679 --> 00:12:15,640 Speaker 2: cool or whatever is if I had Billy Ray Cyrus 228 00:12:15,679 --> 00:12:16,040 Speaker 2: on it. 229 00:12:16,040 --> 00:12:19,360 Speaker 1: It was credibility too. It was credibility for the country world. 230 00:12:19,400 --> 00:12:20,880 Speaker 1: Because as much as like. 231 00:12:21,000 --> 00:12:23,440 Speaker 2: Credibility too is the sequel to credibility. 232 00:12:23,240 --> 00:12:28,640 Speaker 1: Ability, Yeah, as much as he seems as an outsider 233 00:12:28,679 --> 00:12:31,440 Speaker 1: of country, he does seem like he's not country, like 234 00:12:31,520 --> 00:12:34,560 Speaker 1: it seems like he's pop country at a time that 235 00:12:35,320 --> 00:12:38,240 Speaker 1: I thought maybe they'd be more authenticity. But also this 236 00:12:38,280 --> 00:12:40,760 Speaker 1: is two years after I got friends in Low Place 237 00:12:40,800 --> 00:12:44,079 Speaker 1: totally and it's like this similar DNA. It's very you know, 238 00:12:44,160 --> 00:12:46,400 Speaker 1: it's very similar. So it's it's I could see that 239 00:12:46,679 --> 00:12:49,440 Speaker 1: they just accepted it all because that's fun country. They're not, 240 00:12:49,679 --> 00:12:51,960 Speaker 1: you know, it's like, let's have fun, make you break 241 00:12:51,960 --> 00:12:56,120 Speaker 1: your hardest fun. So he is in. He lends his 242 00:12:56,160 --> 00:12:59,679 Speaker 1: credibility to little nas X. That song's huge, and. 243 00:12:59,640 --> 00:13:02,880 Speaker 2: Then well nas X is of course stamping him as 244 00:13:02,960 --> 00:13:06,040 Speaker 2: like someone that like a sixteen year old kid was 245 00:13:06,160 --> 00:13:09,760 Speaker 2: is like who's that guy? What's that? Or you know whatever? Yeah, 246 00:13:09,920 --> 00:13:13,680 Speaker 2: I mean it's funny. My memories of that of him, 247 00:13:14,080 --> 00:13:16,720 Speaker 2: it's like it's like a very fat, fuzzy almost a 248 00:13:16,800 --> 00:13:21,000 Speaker 2: fazzy from the Muppet's a very fuzzy memory of Billy 249 00:13:21,040 --> 00:13:23,240 Speaker 2: Ray Cyrus On the American Do you remember the American 250 00:13:23,360 --> 00:13:25,520 Speaker 2: Music Awards? Do those still exist? I don't know if 251 00:13:25,559 --> 00:13:26,280 Speaker 2: that's still a thing. 252 00:13:26,520 --> 00:13:27,320 Speaker 1: American music. 253 00:13:27,600 --> 00:13:30,679 Speaker 2: It was like the Golden Globes. Okay, it was kind 254 00:13:30,679 --> 00:13:33,120 Speaker 2: of like the Golden Globes to the Oscars, like the 255 00:13:33,160 --> 00:13:35,559 Speaker 2: American Music Awards to the Grammys. 256 00:13:35,679 --> 00:13:37,920 Speaker 1: Yeah, yeah, yes, or and like. 257 00:13:37,880 --> 00:13:41,679 Speaker 2: A little more fun, a little looser, certain things that 258 00:13:41,679 --> 00:13:45,000 Speaker 2: were like a little like less stiff might have been. 259 00:13:45,040 --> 00:13:46,640 Speaker 2: You know, like that's a place that like a band 260 00:13:46,720 --> 00:13:48,920 Speaker 2: like Guns and Roses would win a bunch of awards, 261 00:13:48,920 --> 00:13:50,920 Speaker 2: but they'd not even be nominated at the great you 262 00:13:50,920 --> 00:13:52,160 Speaker 2: know what I mean, like, yeah, kind of thing. 263 00:13:52,200 --> 00:13:55,520 Speaker 1: I can imagine it did like our Sinio host or something. 264 00:13:55,760 --> 00:13:59,079 Speaker 2: I'm sure he did, I know, uh, what's his name? 265 00:13:59,120 --> 00:14:01,559 Speaker 2: Did the year of We Are the World Lionel Richie. 266 00:14:02,000 --> 00:14:03,880 Speaker 1: That's fun. Okay, so it's fun. 267 00:14:03,960 --> 00:14:06,760 Speaker 2: Yes, And then like they would have it was definitely 268 00:14:06,760 --> 00:14:09,080 Speaker 2: like also like where you might see someone like get 269 00:14:09,160 --> 00:14:12,120 Speaker 2: drunk and curse at the you know, like one year, 270 00:14:12,200 --> 00:14:16,680 Speaker 2: like somebody like you know, I think Slash cursed. He 271 00:14:16,760 --> 00:14:20,000 Speaker 2: was clearly like, yeah, you're you're puritanical in that way, 272 00:14:20,000 --> 00:14:23,200 Speaker 2: and that's something also bts kpop and behind the scenes 273 00:14:23,240 --> 00:14:27,280 Speaker 2: that people should know about Basie. He is a puritan 274 00:14:27,920 --> 00:14:30,520 Speaker 2: that's right dressing right now. It was like a cool guy, 275 00:14:30,960 --> 00:14:32,960 Speaker 2: like someone that we could talk to. But honestly, but 276 00:14:33,160 --> 00:14:36,120 Speaker 2: the minute this stops, he laserrates me for my language 277 00:14:36,120 --> 00:14:40,920 Speaker 2: and my life. Choices too, I like buckles on my hat. 278 00:14:40,960 --> 00:14:43,880 Speaker 2: The end of this little stage setting for me, though, 279 00:14:43,960 --> 00:14:46,760 Speaker 2: is that's what I remember him playing this song at 280 00:14:46,760 --> 00:14:49,080 Speaker 2: the AMAS and people having fun and it being kind 281 00:14:49,080 --> 00:14:51,840 Speaker 2: of like a cheesy meal, but people definitely devouring it. 282 00:14:52,680 --> 00:14:56,280 Speaker 2: And I don't know anything about his career before or after. 283 00:14:56,400 --> 00:14:59,440 Speaker 2: I do know it seems like through Miley's ascension, it 284 00:14:59,440 --> 00:15:01,800 Speaker 2: does seem like there was some darkness that came with 285 00:15:01,880 --> 00:15:05,280 Speaker 2: Billy and inevitably it seems like with these people that 286 00:15:05,360 --> 00:15:08,640 Speaker 2: get that famous for one thing, and he was probably 287 00:15:08,640 --> 00:15:10,760 Speaker 2: you know, he seems like maybe there was some delusions 288 00:15:10,760 --> 00:15:13,600 Speaker 2: of grandeur in there. But I do think he might 289 00:15:13,640 --> 00:15:16,720 Speaker 2: have been more of a like traditional country artist beforehand. 290 00:15:16,760 --> 00:15:18,640 Speaker 2: This is a blind spot for me. He might But 291 00:15:18,800 --> 00:15:21,360 Speaker 2: I do think the thing you said about Wham is 292 00:15:21,400 --> 00:15:23,960 Speaker 2: funny because what I without looking at the video, what 293 00:15:24,040 --> 00:15:26,280 Speaker 2: I heard was that thing about like this is like 294 00:15:26,320 --> 00:15:30,000 Speaker 2: two clicks away from like could have been a filler 295 00:15:30,120 --> 00:15:33,480 Speaker 2: song or a The quality of the single is actually 296 00:15:33,480 --> 00:15:35,360 Speaker 2: this is a This is a single, not a filler song, 297 00:15:35,400 --> 00:15:38,200 Speaker 2: but on a hard rock band from the late eighties 298 00:15:38,280 --> 00:15:42,120 Speaker 2: early nineties, this could have been like slightly adjusted to 299 00:15:42,160 --> 00:15:45,200 Speaker 2: be one of their like poppier singles or something. 300 00:15:45,560 --> 00:15:48,200 Speaker 1: Yeah, it's tough though, because it's like I can never 301 00:15:48,320 --> 00:15:53,200 Speaker 1: imagine you know, those hair metal bands singing achy breaky 302 00:15:53,520 --> 00:15:54,400 Speaker 1: heart like. 303 00:15:54,440 --> 00:15:55,640 Speaker 2: Don't know lyrics. 304 00:15:55,800 --> 00:15:58,080 Speaker 1: Yeah, I mean it would be it would have to 305 00:15:58,080 --> 00:16:01,320 Speaker 1: be a real shift of it. But let's go into 306 00:16:01,320 --> 00:16:03,920 Speaker 1: the lyrics a little bit, because you don't know who 307 00:16:04,000 --> 00:16:06,320 Speaker 1: can get away with this. To be honest with you, well, 308 00:16:06,360 --> 00:16:08,920 Speaker 1: I give him points also because it's like it's so 309 00:16:09,280 --> 00:16:12,720 Speaker 1: kind of like corny, but it's like it's self aware 310 00:16:12,800 --> 00:16:14,600 Speaker 1: a little bit, you know what I mean, Like he's 311 00:16:14,880 --> 00:16:16,760 Speaker 1: you could tell he's like having fun. He's not like, 312 00:16:17,080 --> 00:16:20,160 Speaker 1: don't break my achy breaking heart. He's just like, no 313 00:16:20,480 --> 00:16:23,640 Speaker 1: break Come on, guys, Like I had a few drinks. 314 00:16:23,640 --> 00:16:26,920 Speaker 1: We're having fun. I'm a nice guy. I'm having fun. 315 00:16:27,000 --> 00:16:30,120 Speaker 1: I'll take it too serious, you know, because if she 316 00:16:30,200 --> 00:16:32,760 Speaker 1: breaks min I'm gonna die. I'm not really good. 317 00:16:50,840 --> 00:16:52,680 Speaker 2: Well if the heart blows up, though, it might blow 318 00:16:52,760 --> 00:16:55,040 Speaker 2: up and kill this man lyric. 319 00:16:55,080 --> 00:16:58,480 Speaker 1: I realize until listening to this, that's a pretty. That's 320 00:16:58,480 --> 00:16:58,840 Speaker 1: a pretty. 321 00:16:58,960 --> 00:17:04,400 Speaker 3: When I first heard that, like wait, what damn Billy Ray, 322 00:17:08,400 --> 00:17:09,080 Speaker 3: I feel like. 323 00:17:09,760 --> 00:17:13,119 Speaker 2: You know, it's funny. The lyrical what what I'm thinking 324 00:17:13,160 --> 00:17:16,320 Speaker 2: about is like, this is an unformed thought, and what 325 00:17:16,440 --> 00:17:19,359 Speaker 2: better place to share that than on a public facing podcast. 326 00:17:19,720 --> 00:17:24,720 Speaker 2: I do feel like he it's ideally we'd like to think. 327 00:17:24,840 --> 00:17:28,000 Speaker 2: I think the bummer with people who have massive success 328 00:17:28,320 --> 00:17:32,679 Speaker 2: in like a semi novelty kind of way is that 329 00:17:32,720 --> 00:17:35,160 Speaker 2: when you then kind of find out that they do 330 00:17:35,480 --> 00:17:40,600 Speaker 2: take themselves pretty seriously, you're like, oh no, dude, come on, 331 00:17:41,000 --> 00:17:44,359 Speaker 2: you're you're not. This isn't like God only knows, this 332 00:17:44,440 --> 00:17:47,640 Speaker 2: is achy breaky Heart, like just have fun, don't don't 333 00:17:47,680 --> 00:17:49,960 Speaker 2: be dark, don't be dark. And I think he got 334 00:17:50,040 --> 00:17:52,800 Speaker 2: dark a little bit after, but you know that's the story. 335 00:17:52,840 --> 00:17:56,800 Speaker 2: Breaking dark. We've covered that many times, Achy Breaky Dark. 336 00:17:57,080 --> 00:17:59,480 Speaker 2: We have certainly covered that many times on this podcast. 337 00:17:59,520 --> 00:18:02,679 Speaker 2: The the sort of pitfalls of this kind of like 338 00:18:02,800 --> 00:18:07,359 Speaker 2: flash celebrity thing, but no, I do think like lyrically, 339 00:18:07,400 --> 00:18:10,639 Speaker 2: what's funny is I had never paid an ounce of attention. 340 00:18:10,800 --> 00:18:12,560 Speaker 2: I haven't heard this song probably in thirty years, but 341 00:18:12,600 --> 00:18:15,880 Speaker 2: I haven't paid an ounce of attention to the verse lyrics. 342 00:18:16,760 --> 00:18:19,840 Speaker 2: And I think my primary issue from a Chancy perspective 343 00:18:19,960 --> 00:18:24,520 Speaker 2: is I give him credit for there's a theme he's 344 00:18:24,560 --> 00:18:27,800 Speaker 2: going through parts of his body in the first verse, right, yeah, 345 00:18:27,840 --> 00:18:30,960 Speaker 2: that's funny and silly. But when he gets in the 346 00:18:31,000 --> 00:18:33,560 Speaker 2: second verse, it becomes chaotic. And this is usually what 347 00:18:33,560 --> 00:18:35,680 Speaker 2: happens with these songs, Like the koke might have ran 348 00:18:35,720 --> 00:18:38,399 Speaker 2: out whatever's going on in the writing room for something 349 00:18:38,440 --> 00:18:40,520 Speaker 2: like this. By the second verse, it's like some weird 350 00:18:40,520 --> 00:18:43,359 Speaker 2: blend of like family members and body parts. 351 00:18:43,800 --> 00:18:44,000 Speaker 3: Yeah. 352 00:18:44,280 --> 00:18:47,159 Speaker 2: Yeah, and there's a lyric, if I remember correctly, he 353 00:18:47,160 --> 00:18:52,160 Speaker 2: says something like mice. He says, myself already knows I'm 354 00:18:52,160 --> 00:18:54,879 Speaker 2: not okay, but myself is. I think he says, myself 355 00:18:54,920 --> 00:18:56,680 Speaker 2: already knows I'm not okay. 356 00:18:56,920 --> 00:19:01,760 Speaker 1: That's insane, right, that's second versus my It's also got 357 00:19:01,800 --> 00:19:04,480 Speaker 1: that line that's like you could tell your brother Cliff, 358 00:19:04,800 --> 00:19:09,000 Speaker 1: whose fist can tell my lips? Never liked me anyway, 359 00:19:09,040 --> 00:19:12,640 Speaker 1: but like that's okay, So he punch, but no one's 360 00:19:12,680 --> 00:19:15,199 Speaker 1: ever like you know like that, you know, like you 361 00:19:15,359 --> 00:19:17,560 Speaker 1: have your fist tell my lips, you know what I mean? 362 00:19:17,960 --> 00:19:20,760 Speaker 2: Wait, I think it says that sort of there's two 363 00:19:20,800 --> 00:19:23,600 Speaker 2: things where hands are telling lips. You can tell my 364 00:19:23,720 --> 00:19:27,800 Speaker 2: lips to tell my fingertips. They won't be reached. So 365 00:19:27,880 --> 00:19:29,960 Speaker 2: his lips are speaking to his fingertips. It kind of 366 00:19:30,000 --> 00:19:35,920 Speaker 2: rids with this, Oh, that's good my lips, but fingertip 367 00:19:35,920 --> 00:19:36,480 Speaker 2: would be this. 368 00:19:36,960 --> 00:19:39,080 Speaker 1: That's like you're gonna puke. You put one finger up. 369 00:19:41,640 --> 00:19:43,560 Speaker 1: That's how I about the puke. That's what I just 370 00:19:43,600 --> 00:19:46,960 Speaker 1: put one finger out and find. Yeah, they won't be 371 00:19:47,040 --> 00:19:50,120 Speaker 1: reaching out, do you know more? I can't not. It's 372 00:19:50,119 --> 00:19:52,760 Speaker 1: like that's the that's the genius of the song that 373 00:19:52,840 --> 00:19:55,480 Speaker 1: I will give a credit you. I can't even look 374 00:19:55,480 --> 00:19:58,080 Speaker 1: at the lyrics without doing the melody. 375 00:19:58,480 --> 00:20:00,600 Speaker 2: Yeah, the melody is super catchy. 376 00:20:00,760 --> 00:20:04,800 Speaker 1: It's drunk catchy. It's like you could tell them it's 377 00:20:04,840 --> 00:20:08,600 Speaker 1: a kid's song. Tipsy, it's tipsy, it's tips. I'm actually 378 00:20:08,600 --> 00:20:11,760 Speaker 1: like really coming around to it as the kind of 379 00:20:11,840 --> 00:20:14,480 Speaker 1: song it is, and I actually love the lyrics and 380 00:20:14,520 --> 00:20:17,640 Speaker 1: I love the writing assignment. Lisa and I always talk 381 00:20:17,680 --> 00:20:20,600 Speaker 1: about there was this like era of rap and like 382 00:20:20,640 --> 00:20:27,080 Speaker 1: the twenty tens, like where like you know, two Chains, 383 00:20:27,520 --> 00:20:31,840 Speaker 1: Big Sean. Yeah, they would like beyond these songs, whether 384 00:20:31,920 --> 00:20:35,320 Speaker 1: there'd be like a title and then everyone would write 385 00:20:35,359 --> 00:20:37,720 Speaker 1: versus to that, and it was like a writing assignment. 386 00:20:37,760 --> 00:20:40,760 Speaker 1: It actually started even more so with like the Locks 387 00:20:40,920 --> 00:20:43,040 Speaker 1: and like DMX. There was a song called like twenty 388 00:20:43,040 --> 00:20:45,640 Speaker 1: four Hours to Live and they all had a writing assignment, 389 00:20:45,920 --> 00:20:47,520 Speaker 1: Like it felt like they were like in the studio, 390 00:20:47,520 --> 00:20:49,240 Speaker 1: like all right, everyone go off into your corner and 391 00:20:49,280 --> 00:20:51,120 Speaker 1: it's just like you had twenty four hours to live, 392 00:20:51,119 --> 00:20:54,280 Speaker 1: what would you do? And they all wrote straight and 393 00:20:54,600 --> 00:20:56,720 Speaker 1: and then that like twy tens era, it was like 394 00:20:56,800 --> 00:20:59,119 Speaker 1: songs like a song called Click and they're like, no, 395 00:20:59,160 --> 00:21:01,080 Speaker 1: I'm better than Mike Lick and then they're all right, 396 00:21:01,160 --> 00:21:04,000 Speaker 1: like right towards that I found this town, run this 397 00:21:04,080 --> 00:21:08,720 Speaker 1: town like jay Z and like everyone's just like ten like. 398 00:21:08,720 --> 00:21:12,200 Speaker 2: The ten Crack Commandments, the Biggie song that then becomes 399 00:21:12,240 --> 00:21:15,440 Speaker 2: the Hamilton song, the ten Dual Commandments. Yeah, yeah, it's 400 00:21:15,480 --> 00:21:17,960 Speaker 2: like yeah, writing to a prompt. 401 00:21:17,960 --> 00:21:20,000 Speaker 1: And it's a writing assignment and because sometimes like there 402 00:21:20,080 --> 00:21:22,920 Speaker 1: is actually I learned this thing recently that I'll drop 403 00:21:22,920 --> 00:21:25,560 Speaker 1: on you guys right now. Because we're not part of 404 00:21:25,560 --> 00:21:27,200 Speaker 1: the country culture and we're not really part of the 405 00:21:27,280 --> 00:21:28,840 Speaker 1: rap culture. I wouldn't claim it to be, but I 406 00:21:28,880 --> 00:21:31,600 Speaker 1: always love it. And I feel. 407 00:21:31,320 --> 00:21:33,560 Speaker 2: Like have more. You're better verse than the hip hop. 408 00:21:33,600 --> 00:21:36,119 Speaker 2: You have more hip hop. I feel like knowledge than 409 00:21:36,160 --> 00:21:37,920 Speaker 2: I do broadly. Yeah. 410 00:21:38,119 --> 00:21:41,000 Speaker 1: Yeah, like, and I grew up with a group of 411 00:21:41,040 --> 00:21:43,400 Speaker 1: friends in Staten Island that was like very into hip hop, 412 00:21:43,440 --> 00:21:47,359 Speaker 1: so I'm saying yeah. So the thing that I found 413 00:21:47,400 --> 00:21:51,800 Speaker 1: out recently is that you know how people are always like, hey, 414 00:21:52,320 --> 00:21:55,080 Speaker 1: you know that he's doing this freestyle on the radio station, 415 00:21:55,200 --> 00:21:58,159 Speaker 1: but it's clearly like written and memorized, and people are like, 416 00:21:58,200 --> 00:22:01,280 Speaker 1: that's not a freestyle. That is actually because the origins 417 00:22:01,280 --> 00:22:03,639 Speaker 1: of freestyle is that it's free of a writing style. 418 00:22:04,440 --> 00:22:07,720 Speaker 1: Not that he's coming from off the top of his 419 00:22:07,960 --> 00:22:10,800 Speaker 1: of his dome. It's it's free of a writing style. 420 00:22:10,840 --> 00:22:13,280 Speaker 1: So especially early on, it's like, here's that was the 421 00:22:13,320 --> 00:22:15,720 Speaker 1: writing assignment. So it would be like you know, Sugar 422 00:22:15,800 --> 00:22:17,879 Speaker 1: Ray Gang or whatever, like they would write a song 423 00:22:18,119 --> 00:22:21,639 Speaker 1: that would be like for a certain specific thing. This 424 00:22:21,840 --> 00:22:24,000 Speaker 1: was free of style. Yes, so you could write about 425 00:22:24,000 --> 00:22:26,720 Speaker 1: anything about how great you are about your car, like anything. 426 00:22:26,760 --> 00:22:29,800 Speaker 1: It could just go into it. And so that's the freestyle. 427 00:22:30,200 --> 00:22:32,160 Speaker 1: So when people are like, he's not in every styling, 428 00:22:32,359 --> 00:22:33,719 Speaker 1: he's not freestyling, he is. 429 00:22:35,160 --> 00:22:38,440 Speaker 2: I never knew that. That's actually yeah, yeah, it's interesting, 430 00:22:39,040 --> 00:22:41,600 Speaker 2: it makes sense sense, It totally makes sense. It's also 431 00:22:41,680 --> 00:22:46,840 Speaker 2: useful to be reminded that like everything comes like I 432 00:22:46,840 --> 00:22:51,080 Speaker 2: think that sometimes we it might surprise people. It kind 433 00:22:51,080 --> 00:22:52,840 Speaker 2: of surprises me a little bit when you're reminded that 434 00:22:52,920 --> 00:22:55,080 Speaker 2: like there is an orthodoxy to stuff like that, like 435 00:22:55,119 --> 00:22:58,560 Speaker 2: even like rap, like there was like it was like, well, 436 00:22:58,600 --> 00:23:01,320 Speaker 2: there's a style, and there's there's prompts, and we write 437 00:23:01,359 --> 00:23:03,119 Speaker 2: to this, but a freestyle is when we have the 438 00:23:03,119 --> 00:23:05,400 Speaker 2: opportunity to just say whatever comes to us. Like that's 439 00:23:05,480 --> 00:23:08,320 Speaker 2: kind of funny that there is this like methodological approach 440 00:23:08,400 --> 00:23:10,960 Speaker 2: to it that's not just like not everything is like 441 00:23:11,040 --> 00:23:14,640 Speaker 2: free jazz or whatever. There is a like yeah, like 442 00:23:14,640 --> 00:23:18,439 Speaker 2: like bumpers in the bowling alley or whatever. Yeah, it's funny. 443 00:23:18,640 --> 00:23:21,600 Speaker 2: I feel like that is a great call. This This 444 00:23:21,800 --> 00:23:26,000 Speaker 2: is one hundred percent best viewed almost as like someone 445 00:23:26,119 --> 00:23:29,560 Speaker 2: submitted this as a creative writing assignment. Like the teacher 446 00:23:29,680 --> 00:23:31,480 Speaker 2: was like, I want you to write a kind of 447 00:23:31,600 --> 00:23:34,119 Speaker 2: fun country song, and I want you to write it 448 00:23:34,119 --> 00:23:36,760 Speaker 2: about the different parts of the body and what might 449 00:23:36,960 --> 00:23:40,960 Speaker 2: happen if you know your partner left you now, but 450 00:23:41,000 --> 00:23:44,720 Speaker 2: of course no dirty language and no body language to 451 00:23:44,760 --> 00:23:47,040 Speaker 2: figure out. And this was like the gold Star assignment, 452 00:23:47,119 --> 00:23:50,800 Speaker 2: like achy Breaky Heart that's amazing. And you know this 453 00:23:50,880 --> 00:23:52,840 Speaker 2: is how he hits. This is a home run for him. 454 00:23:53,000 --> 00:23:56,720 Speaker 2: He nailed totally, and each ever say he nailed, and 455 00:23:56,880 --> 00:23:57,440 Speaker 2: and it's. 456 00:23:57,359 --> 00:23:59,120 Speaker 1: You know what it is. It's it's it's you doing 457 00:23:59,119 --> 00:24:01,840 Speaker 1: that assignment with your class like those kids, and you're like, 458 00:24:01,840 --> 00:24:03,920 Speaker 1: should we do a bridge? And then that day they're 459 00:24:03,960 --> 00:24:07,320 Speaker 1: like no, and there's no bridge mine. 460 00:24:08,480 --> 00:24:10,440 Speaker 2: And what's funny about how this school I was thinking 461 00:24:10,440 --> 00:24:13,760 Speaker 2: about the bridge with this song, he by doing the thing. 462 00:24:14,000 --> 00:24:18,000 Speaker 2: It's not only a down chorus that second repeated chorus 463 00:24:18,040 --> 00:24:22,880 Speaker 2: before the very end, it's a cappella like everything goes 464 00:24:22,920 --> 00:24:25,720 Speaker 2: away except for the vocal and the harmony. And when 465 00:24:26,240 --> 00:24:28,880 Speaker 2: I mean, I've actually kind of always felt like when 466 00:24:28,920 --> 00:24:31,920 Speaker 2: you do something like that, it's a cheat. It's cheat 467 00:24:32,000 --> 00:24:34,360 Speaker 2: is the wrong word because it sounds negative. It stands 468 00:24:34,400 --> 00:24:37,879 Speaker 2: in as the bridge, Like that is a bridge in 469 00:24:37,920 --> 00:24:40,919 Speaker 2: a sense because in a technical sense, a bridge is 470 00:24:40,920 --> 00:24:43,840 Speaker 2: something that's meant to happen. Although this also gets moved 471 00:24:43,880 --> 00:24:47,880 Speaker 2: around sometimes structurally too, but like once in a song, right, 472 00:24:48,000 --> 00:24:52,320 Speaker 2: it gets us from B back to A or whatever. 473 00:24:53,160 --> 00:24:55,560 Speaker 2: But it's only supposed to show up one time. So 474 00:24:55,600 --> 00:24:58,560 Speaker 2: when you do something like that, you're kind of like 475 00:24:58,800 --> 00:25:02,919 Speaker 2: turning the core into a bridge and it's very effective 476 00:25:03,000 --> 00:25:05,000 Speaker 2: like this, He's like they I kind of think they 477 00:25:05,000 --> 00:25:08,880 Speaker 2: were like, we don't need this chorus is so huge 478 00:25:09,119 --> 00:25:15,240 Speaker 2: and the riff it's so like it's just perfect. So 479 00:25:15,280 --> 00:25:17,480 Speaker 2: it was like standard. 480 00:25:17,840 --> 00:25:19,919 Speaker 1: It would be it would almost hurt the song if 481 00:25:19,960 --> 00:25:22,000 Speaker 1: there was a bridge that took it in a different direction, 482 00:25:22,640 --> 00:25:25,120 Speaker 1: and this like brought it home in a fun way. 483 00:25:25,160 --> 00:25:27,399 Speaker 1: And it does the same trick, which is like a bridge, 484 00:25:27,440 --> 00:25:29,880 Speaker 1: a good bridge should like peak your interest, like as 485 00:25:29,880 --> 00:25:33,040 Speaker 1: you're halfway through, halfway through, and it does that, it's like, 486 00:25:33,119 --> 00:25:35,320 Speaker 1: oh okay, well okay, this switched up. 487 00:25:46,160 --> 00:25:47,720 Speaker 2: And there are a ton of songs I feel like 488 00:25:47,760 --> 00:25:50,879 Speaker 2: too where there's a lot of and by like people 489 00:25:51,080 --> 00:25:54,120 Speaker 2: very different artists than Billie Ray Cyrus. Something I love 490 00:25:54,440 --> 00:25:57,280 Speaker 2: is actually when somebody at the very end of a song, 491 00:25:57,480 --> 00:26:00,640 Speaker 2: when they're going through like their last chorus, or they 492 00:26:00,800 --> 00:26:04,840 Speaker 2: make us one chord change right in that last chorus 493 00:26:04,840 --> 00:26:07,479 Speaker 2: at the very end to extend out the chorus, and 494 00:26:07,520 --> 00:26:11,119 Speaker 2: that chord change kind of tends to be like I 495 00:26:11,119 --> 00:26:12,960 Speaker 2: feel like, if they haven't gone to the minor yet, 496 00:26:13,000 --> 00:26:14,600 Speaker 2: they go to the minor or, if they've gone to 497 00:26:14,640 --> 00:26:17,280 Speaker 2: the miner already. They might go to like the major seven, 498 00:26:17,359 --> 00:26:20,199 Speaker 2: and like there's this little like or the seven, not 499 00:26:20,240 --> 00:26:24,400 Speaker 2: the major seven, and there's this little like tension that happens. 500 00:26:24,400 --> 00:26:26,480 Speaker 2: There's like a there's a moment where it's it's kind 501 00:26:26,480 --> 00:26:29,760 Speaker 2: of a Beatles thing and I definitely not to you know, 502 00:26:30,040 --> 00:26:32,120 Speaker 2: if you're playing bingo at home, you can place your 503 00:26:32,200 --> 00:26:35,200 Speaker 2: chip now. Elliot Smith did this a lot where there's 504 00:26:35,240 --> 00:26:38,000 Speaker 2: a lot of it's like the bridge almost becomes a 505 00:26:38,280 --> 00:26:42,359 Speaker 2: ten second moment of the song towards the end, where 506 00:26:42,600 --> 00:26:46,320 Speaker 2: one subtle shift happens that changes the emotional texture and 507 00:26:46,359 --> 00:26:50,439 Speaker 2: melodic texture and then the plane lands that counts like 508 00:26:50,520 --> 00:26:52,639 Speaker 2: that can be sometimes that's like the best bridge you 509 00:26:52,680 --> 00:26:55,359 Speaker 2: can you can do? Actually is that totally and in 510 00:26:55,359 --> 00:26:57,600 Speaker 2: a way he totally does that with this. So it's 511 00:26:57,640 --> 00:27:02,160 Speaker 2: like take everything out and just have it be that crazy, catchy, 512 00:27:02,720 --> 00:27:06,320 Speaker 2: funny vocal thing right up front. It's also a dare. 513 00:27:06,560 --> 00:27:08,159 Speaker 2: It's kind of a cool thing to do in a 514 00:27:08,160 --> 00:27:11,080 Speaker 2: song that's this like boisterous to like cut everything away 515 00:27:11,119 --> 00:27:14,359 Speaker 2: except you and the fucking background singers for a full 516 00:27:14,480 --> 00:27:18,120 Speaker 2: chorus three minutes into the song. It's not it's kind 517 00:27:18,119 --> 00:27:20,639 Speaker 2: of a cool production choice pop songs. You know. 518 00:27:21,119 --> 00:27:23,560 Speaker 1: I also like to you to your point, Like the 519 00:27:23,600 --> 00:27:27,040 Speaker 1: first chorus it's just his vocal, there's no harmony, and 520 00:27:27,080 --> 00:27:30,280 Speaker 1: then the second chorus that harmony is like that, like 521 00:27:30,320 --> 00:27:31,240 Speaker 1: you know, the one's like. 522 00:27:31,480 --> 00:27:34,359 Speaker 2: No fifth maybe yeah, yeah, yeah? 523 00:27:34,480 --> 00:27:39,120 Speaker 1: Is that what it is? Country style? Like like that 524 00:27:39,119 --> 00:27:41,359 Speaker 1: that like and it's you're kind of like sustaining that 525 00:27:41,400 --> 00:27:46,600 Speaker 1: one note, you know what I mean? Like yes, yes, yeah, right, 526 00:27:46,720 --> 00:27:47,720 Speaker 1: Like it's that kind of thing. 527 00:27:47,760 --> 00:27:52,159 Speaker 2: He's probably singing the root Noe Like I can't like 528 00:27:52,200 --> 00:27:55,080 Speaker 2: whatever the key song is because that works with everything. 529 00:27:55,160 --> 00:27:57,040 Speaker 2: You could just like kind of go like this, I 530 00:27:57,560 --> 00:27:59,879 Speaker 2: possibly I'd have to listen to it again, but yeah, 531 00:28:00,600 --> 00:28:02,960 Speaker 2: I know, I like it almost becomes like. 532 00:28:03,560 --> 00:28:06,760 Speaker 1: Yeah, that band that you know, that guy Clem Snide. 533 00:28:06,880 --> 00:28:11,080 Speaker 1: You probably know him a little bit I do. The 534 00:28:11,119 --> 00:28:14,560 Speaker 1: band is Clem Snide. That guy's like F his first names, 535 00:28:14,560 --> 00:28:21,399 Speaker 1: like F Yeah, Clem Snyde has some fun harmonies that 536 00:28:21,440 --> 00:28:24,359 Speaker 1: are like that, like they touch upon the country stuff 537 00:28:24,440 --> 00:28:26,560 Speaker 1: in a way that's like a little bit more alternative. 538 00:28:27,359 --> 00:28:30,680 Speaker 1: And I totally really appreciate, Like I love a little 539 00:28:30,720 --> 00:28:35,040 Speaker 1: twang when it's done right, it's it's it speaks to me. 540 00:28:35,119 --> 00:28:38,760 Speaker 1: And and you know, I like a lot of country Western, 541 00:28:38,960 --> 00:28:41,680 Speaker 1: old country Western. There's like a lot that I like 542 00:28:41,760 --> 00:28:46,760 Speaker 1: about Elvis and that era. You know, like even like 543 00:28:46,840 --> 00:28:55,480 Speaker 1: the timing of like that, that kind of stuff is 544 00:28:55,600 --> 00:28:59,680 Speaker 1: so cool. It's it's it's, it's it's more. I give 545 00:28:59,720 --> 00:29:01,920 Speaker 1: it more more credit for country Western than rock and 546 00:29:02,000 --> 00:29:04,480 Speaker 1: roll because rock and roll is a little bit more 547 00:29:04,840 --> 00:29:08,640 Speaker 1: backbeat and it's it is soulful, whereas country western's like 548 00:29:08,800 --> 00:29:11,920 Speaker 1: it's it's off, it's in a cool way. And and 549 00:29:11,960 --> 00:29:14,560 Speaker 1: I like, you don't hear a lot of that anymore, 550 00:29:14,640 --> 00:29:19,000 Speaker 1: Like you don't hear those sort of weird syncopations. Yeah, 551 00:29:19,240 --> 00:29:24,840 Speaker 1: maybe actually in like a what's what's the word for it, 552 00:29:24,920 --> 00:29:28,479 Speaker 1: like a reggaetone kind of right, you know, like that 553 00:29:28,600 --> 00:29:31,200 Speaker 1: kind of thing. But it's it's still yeah, very much. 554 00:29:32,080 --> 00:29:35,520 Speaker 2: Yeah, Yeah, I mean I feel like that's the Elvis 555 00:29:35,560 --> 00:29:37,640 Speaker 2: Thing's a good point because I definitely feel like while 556 00:29:37,680 --> 00:29:41,400 Speaker 2: he's in he's kind of credited or you know, obviously 557 00:29:41,760 --> 00:29:45,560 Speaker 2: debated in a in a for for very valid reasons, 558 00:29:45,800 --> 00:29:49,400 Speaker 2: but often as if not the creator of a key 559 00:29:49,520 --> 00:29:53,239 Speaker 2: progenitor of what becomes rock and roll, and like but 560 00:29:53,280 --> 00:29:55,360 Speaker 2: what I think he's there, and that's like he's touring 561 00:29:55,360 --> 00:29:57,440 Speaker 2: with people like Jerry le Lewis and Johnny Cash and 562 00:29:57,480 --> 00:30:01,640 Speaker 2: obviously coming from black soul music, black folk music. Like 563 00:30:02,040 --> 00:30:04,280 Speaker 2: there's this moment with all that stuff where it's like 564 00:30:04,280 --> 00:30:08,240 Speaker 2: the blues country, this stuff is all in this soup 565 00:30:08,480 --> 00:30:11,080 Speaker 2: folk the stuff on that like the anthology of folk music. 566 00:30:11,160 --> 00:30:13,920 Speaker 2: They're all like speaking to each other and it's this 567 00:30:14,120 --> 00:30:16,880 Speaker 2: soup that then kind of gives birth to things like 568 00:30:16,960 --> 00:30:21,840 Speaker 2: Chuck Berry, Little Richard, Elvis Presley, Jered Ley Lewis, which 569 00:30:21,880 --> 00:30:24,480 Speaker 2: then of course gives birth to like the early Beatles, 570 00:30:24,680 --> 00:30:27,120 Speaker 2: and then it's everything kind of goes from the and 571 00:30:27,120 --> 00:30:29,680 Speaker 2: the Stones and all this other stuff. But I feel like, 572 00:30:30,680 --> 00:30:34,800 Speaker 2: to me, what's funny is you can hear in this 573 00:30:34,920 --> 00:30:36,880 Speaker 2: song like one of the things I do feel like 574 00:30:37,840 --> 00:30:40,080 Speaker 2: it's well, sorry to touch on what you feel like, 575 00:30:40,080 --> 00:30:41,760 Speaker 2: my brain's all over the place. What you said about 576 00:30:41,800 --> 00:30:44,600 Speaker 2: the syncopation and that rhythmic it's funny because what's cool 577 00:30:44,600 --> 00:30:48,120 Speaker 2: about that is it's simple. It's simple, but it's dramatic, 578 00:30:48,280 --> 00:30:53,800 Speaker 2: right dun duh, dun dunh. Yeah. Yeah. And I feel 579 00:30:53,840 --> 00:30:56,920 Speaker 2: like the other thing that that sort of country music 580 00:30:57,200 --> 00:30:59,920 Speaker 2: doesn't often Thank Hank Williams, right, is I kind of 581 00:31:00,240 --> 00:31:05,920 Speaker 2: like canonical you know, god teer og country musician, And 582 00:31:06,160 --> 00:31:08,880 Speaker 2: for good reason, those songs are kind of unbeatable at 583 00:31:08,880 --> 00:31:11,520 Speaker 2: a certain way. He's also like a doomed like a 584 00:31:11,560 --> 00:31:15,960 Speaker 2: classic doomed singer songwriter guy like fucking drinks himself to 585 00:31:16,000 --> 00:31:18,240 Speaker 2: death in the back of a car. Was like definitely 586 00:31:18,440 --> 00:31:22,960 Speaker 2: like a really hard, hard living Like I feel like 587 00:31:23,000 --> 00:31:25,520 Speaker 2: his music as a place where very early you hear 588 00:31:25,600 --> 00:31:29,760 Speaker 2: like someone really moving through like the experience of depression, 589 00:31:30,080 --> 00:31:32,000 Speaker 2: like the experience of like what it is to be 590 00:31:32,200 --> 00:31:34,320 Speaker 2: like and trying to make sense of that in this 591 00:31:34,520 --> 00:31:37,440 Speaker 2: in this particular art form that maybe isn't like super 592 00:31:38,440 --> 00:31:41,120 Speaker 2: built for it, or he's building out a wing of 593 00:31:41,160 --> 00:31:43,680 Speaker 2: it that's still being kind of iterated to this day. 594 00:31:44,120 --> 00:31:47,959 Speaker 2: But also that music was at times really fucking funny, 595 00:31:48,160 --> 00:31:50,040 Speaker 2: and sometimes really funny in a way that was almost 596 00:31:50,080 --> 00:31:53,800 Speaker 2: like novelty, like you know, move it on over, slad 597 00:31:53,840 --> 00:31:56,240 Speaker 2: it on over, Like it's like he's moving into the 598 00:31:56,360 --> 00:31:59,880 Speaker 2: literal doghouse with his dog because his wife is kicking 599 00:32:00,160 --> 00:32:02,840 Speaker 2: out those songs like they're like there's an aspect of 600 00:32:02,880 --> 00:32:05,640 Speaker 2: them that are like funny, and this is in that 601 00:32:05,840 --> 00:32:09,320 Speaker 2: tradition he's like doing, they're like writing prompts. It does 602 00:32:09,360 --> 00:32:12,720 Speaker 2: situate him in the country lineage, white sneakers, George Michael 603 00:32:12,760 --> 00:32:15,560 Speaker 2: haircut or not. And what's funny is even when he 604 00:32:15,600 --> 00:32:20,520 Speaker 2: does in the chorus that that is totally something that 605 00:32:20,560 --> 00:32:23,400 Speaker 2: would be in a Hank Williams song. Hank Williams og 606 00:32:24,000 --> 00:32:26,920 Speaker 2: The song itself has more in common with Hank Williams Junior, 607 00:32:27,560 --> 00:32:30,760 Speaker 2: you know, than it does with his dad. Hank Williams 608 00:32:30,840 --> 00:32:34,000 Speaker 2: Junior is like this kind of like it's Monday night football. 609 00:32:34,040 --> 00:32:36,600 Speaker 2: He literally had likes Monday. It's like the Hollday Night 610 00:32:36,680 --> 00:32:37,560 Speaker 2: Football song. 611 00:32:38,480 --> 00:32:42,800 Speaker 1: Will Chris Farley impression that he did, like yes, coming 612 00:32:42,920 --> 00:32:46,600 Speaker 1: over to night Bengals in the jack is going ov. Yeah, 613 00:32:46,680 --> 00:32:50,240 Speaker 1: that sketch, that's that's exactly. That's so funny. Well that's 614 00:32:50,320 --> 00:32:53,320 Speaker 1: him and his nickname. This is very niche for like 615 00:32:53,400 --> 00:32:59,080 Speaker 1: six people listening to this, that's correct that I remember 616 00:32:59,120 --> 00:33:01,960 Speaker 1: that from this, Yeah, from the sketch and that's yeah, 617 00:33:01,960 --> 00:33:05,480 Speaker 1: that's her buddy Chris right Cephas's. 618 00:33:04,800 --> 00:33:08,360 Speaker 2: That's a that's a Staten Island royalty right there, god 619 00:33:08,480 --> 00:33:10,920 Speaker 2: tyr Staten Island dude, Yeah. 620 00:33:10,480 --> 00:33:13,040 Speaker 1: That's so funny. I always thought about that whenever you 621 00:33:13,080 --> 00:33:15,400 Speaker 1: guys called them Cephus, I was always like, is that 622 00:33:15,640 --> 00:33:18,800 Speaker 1: anything to do with bo Cephis? The Chris Farley impression 623 00:33:18,840 --> 00:33:20,080 Speaker 1: of a person. I don't know. 624 00:33:20,640 --> 00:33:23,200 Speaker 2: My understanding of that is that our friend when he 625 00:33:23,280 --> 00:33:25,840 Speaker 2: was like fourteen, was like drinking in a park in 626 00:33:25,920 --> 00:33:29,040 Speaker 2: Staten Island and his neighbor, who was a cop, found 627 00:33:29,320 --> 00:33:31,520 Speaker 2: him in the park and knew he was like thirteen 628 00:33:31,760 --> 00:33:35,360 Speaker 2: or fourteen and was like, Chris, what are you doing. 629 00:33:35,840 --> 00:33:37,760 Speaker 2: I gotta tell your parents. I got to bring you 630 00:33:37,760 --> 00:33:39,120 Speaker 2: you know, I gotta bring you in. I gotta tell 631 00:33:39,120 --> 00:33:41,880 Speaker 2: your parents. And he said, he said, I don't know 632 00:33:41,880 --> 00:33:44,160 Speaker 2: if you just learned this story from the Bible or 633 00:33:44,200 --> 00:33:47,080 Speaker 2: what it was, but he said like basically said like yo, seef, 634 00:33:47,120 --> 00:33:50,040 Speaker 2: this chill out, get off my back or something like that. 635 00:33:50,080 --> 00:33:54,320 Speaker 2: But he called the cop Cephis, and everyone on there 636 00:33:54,600 --> 00:33:58,760 Speaker 2: thought that was fucking great. And then suddenly, so if 637 00:33:58,800 --> 00:34:00,880 Speaker 2: anyone's out there and they want to know, this is 638 00:34:00,920 --> 00:34:04,120 Speaker 2: the o g this is the origin story of Cephis, 639 00:34:04,200 --> 00:34:09,600 Speaker 2: Chris O'Brien, Billy Ray, Civas, Billy Ray Cephis. That's right. 640 00:34:09,880 --> 00:34:13,760 Speaker 2: So ultimately, where do you land to me, it pleasant, 641 00:34:14,160 --> 00:34:17,040 Speaker 2: pleasant experience listening to it. Oh wait, I have an 642 00:34:17,040 --> 00:34:19,879 Speaker 2: important question though, because you watch the video. Was there 643 00:34:19,920 --> 00:34:22,680 Speaker 2: a dance like an achy breaky heart? Do they do 644 00:34:22,800 --> 00:34:27,080 Speaker 2: like a like a like a choreographed dance memory of that. 645 00:34:27,000 --> 00:34:28,680 Speaker 1: He did a dance, he danced, but there was no 646 00:34:28,760 --> 00:34:31,319 Speaker 1: like even like country line dancing. It was just like 647 00:34:31,880 --> 00:34:33,799 Speaker 1: he was just like putting his hands up, shaking his 648 00:34:33,880 --> 00:34:36,480 Speaker 1: hips like it was. Yeah, it was like a mom 649 00:34:36,520 --> 00:34:38,240 Speaker 1: at a wedding, you know what I mean, Like who's 650 00:34:38,320 --> 00:34:40,960 Speaker 1: like you know, like Abby is playing and she's just 651 00:34:41,040 --> 00:34:41,480 Speaker 1: like too. 652 00:34:42,280 --> 00:34:46,320 Speaker 2: It's that's that's the rascal flats. Rascal flats flats. 653 00:34:46,400 --> 00:34:50,400 Speaker 1: Maybe as a callback to seize one, but yeah, that 654 00:34:51,040 --> 00:34:55,320 Speaker 1: I think I land with it feeling great. I really 655 00:34:55,400 --> 00:34:57,759 Speaker 1: kind of enjoy the writing assignment of it, and I 656 00:34:57,760 --> 00:34:58,399 Speaker 1: think it's fun. 657 00:34:58,640 --> 00:35:00,399 Speaker 2: I do you think the second verse, if I had 658 00:35:00,400 --> 00:35:02,759 Speaker 2: to give one one anti. 659 00:35:02,560 --> 00:35:04,120 Speaker 1: Chance he's listening. 660 00:35:04,360 --> 00:35:08,000 Speaker 2: I know, we we love this the second the lyrics, 661 00:35:08,000 --> 00:35:10,319 Speaker 2: But I do have to say the second verse for 662 00:35:10,400 --> 00:35:14,279 Speaker 2: me is a little bit like we were dangling off 663 00:35:14,320 --> 00:35:17,000 Speaker 2: the edge of the cliff a little bit with the 664 00:35:17,760 --> 00:35:20,640 Speaker 2: with your aunt Louise, your brother Cliff, but also myself 665 00:35:20,680 --> 00:35:22,960 Speaker 2: and my mind and my eyes. You could tell my 666 00:35:23,000 --> 00:35:24,960 Speaker 2: eyes to watch out from my mind. 667 00:35:25,520 --> 00:35:28,840 Speaker 1: Is perfect. I think that's perfect. I have no notes. 668 00:35:29,200 --> 00:35:29,600 Speaker 2: It is. 669 00:35:29,840 --> 00:35:31,960 Speaker 1: It is because I've actually said that before. 670 00:35:32,600 --> 00:35:34,920 Speaker 2: You do say that, you say that to last. 671 00:35:35,080 --> 00:35:38,840 Speaker 1: Yeah often, all right. You could tell my fist to 672 00:35:38,920 --> 00:35:42,240 Speaker 1: kiss your lips. You could tell. 673 00:35:42,120 --> 00:35:45,640 Speaker 2: My thumb to tell my baby brother that I think 674 00:35:45,680 --> 00:35:50,520 Speaker 2: that the chances outside, and you guys say all right, 675 00:35:51,360 --> 00:35:54,319 Speaker 2: chancers say good night, come on, I could tell you 676 00:35:54,400 --> 00:35:55,640 Speaker 2: that baby cab 677 00:36:01,040 --> 00:36:01,279 Speaker 1: Check