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

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

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

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Speaker 1: a chance, come morning, give it a Do you want

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

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Speaker 1: it a chance. Just give.

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Speaker 2: Why do I look so grainy?

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Speaker 1: Can you hear me? Yeah? You do look granny, But

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Speaker 1: I don't know. It's kind of fun vintage.

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Speaker 2: What's happening? Wait? Hold on, I see what's happening here?

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Speaker 1: Yeah? I like that song.

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Speaker 2: I know you do. I'm safe to see.

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Speaker 1: It's greatness.

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Speaker 2: But it's strange. I don't think he says.

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Speaker 1: That before I knew any context of the movie. There's

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Speaker 1: a line at the end where he goes and I'm

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Speaker 1: gonna need that boat, and I like Lisa and I

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Speaker 1: like died laughing at how funny that is.

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Speaker 2: It's so good? Is this better? Can you hear me?

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Speaker 1: Now? That's a lin? That's a lin?

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Speaker 2: Oh?

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Speaker 1: I know, I know. And Lisa also, it took Lisa

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Speaker 1: a long time to understand when there's a part where

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Speaker 1: he goes, well, come to think of it, Yeah, welcome.

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Speaker 1: The song is called welcome, and he drops well, come

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Speaker 1: to think of it. And it took her. She was like, oh,

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Speaker 1: get it well, come to think of it, and I

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Speaker 1: was like, yeah, I got it the first time I listened.

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Speaker 1: I like rap, I get rap, rap gets me.

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Speaker 2: I see what's happened in here.

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Speaker 1: Yeah. Anyway, that's not what we're doing. We're not doing

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Speaker 1: that song today. That's not what we're doing.

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Speaker 2: Are you sure?

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Speaker 1: I am for sure because I think I I think

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Speaker 1: I can. Wow you did you did chance Me by

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Speaker 1: Nirvana early Nirvana drop in the app.

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Speaker 2: I haven't been to therapy lately, so I gotta get

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Speaker 2: it in somewhere.

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Speaker 1: So we're doing something different today. Okay, we are going

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Speaker 1: to I'm going to give you the artist and you

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Speaker 1: get to pick the song.

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Speaker 2: Whoa, that's right, okay.

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Speaker 1: And I've been waiting. I've been wanting to do this

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Speaker 1: for a while and I never know what song, and

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Speaker 1: I also wanted to space it out. We're doing Creed Baby,

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Speaker 1: which is like they're having like a renaissance, like people

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Speaker 1: are like loving Creed again, especially like I think there's

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Speaker 1: like a friddy like thing of like Creed rules and

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Speaker 1: it's like a it's like sort of a memification in

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Speaker 1: a way that's like getting them business again andation of

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Speaker 1: Lauren Hill. Yes, and that's their new Creed.

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Speaker 2: Oh Jesus Christ, and that is you know. I do

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Speaker 2: mean that with all respect because I know Creed and

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Speaker 2: the Lord and Savor are on intimate terms.

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Speaker 1: Do you want me to give you some hits? I

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Speaker 1: think we should do it.

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Speaker 2: I know, I know, I know the following hits.

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Speaker 1: Okay, hit me.

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Speaker 2: I know there's a song called My Sacrifice is title.

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Speaker 2: That's the only part of that song I could recall,

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Speaker 2: right now, same same. I definitely know, I know well

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Speaker 2: where the arms were over.

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Speaker 1: Yeah, I know that that was Eddie Vedder doing it

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Speaker 1: though for the record.

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Speaker 2: Well, listen, isn't this guy doing like a kind of

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Speaker 2: fifth generation Eddie ved And then I definitely know there's

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Speaker 2: another one that's called.

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Speaker 1: Fifth generation is funny. It's like it's like with SKA,

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Speaker 1: where it's like he's like, fifth wave better.

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Speaker 2: Yeah, because first wave better would have been first Stone

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Speaker 2: Temple Pilot's single Wyland. They got killed when they came

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Speaker 2: out because no, no, no.

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Speaker 1: You're saying wild it was too better. Yeah, okay better yeah,

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Speaker 1: second wave first, first wave is better?

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Speaker 2: Yeah first yeah, vet well, vetter is better. It depends

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Speaker 2: how you define waves. Then we'll get into the song.

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Speaker 2: First vetter is better, and then it's like maybe first

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Speaker 2: so then maybe like second wave vetter is Wiland singing

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Speaker 2: Plush where the Dogs, Yeah, that's definitely. And then but

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Speaker 2: then Wyland, I feel like, goes away from it pretty quickly. Yes,

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Speaker 2: he has to. And then I feel like at times

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Speaker 2: I think there's a hint of Bed in there. There's

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Speaker 2: like it's like a little sprinkling of Rosemarye.

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Speaker 1: So that let's call that third wave, all right? So maybe, yeah,

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Speaker 1: maybe Creed is fourth way of Bed.

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Speaker 2: Yeah, it might be all right. So Okay, I'm gonna

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Speaker 2: go with the other Creed songs that I know for

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Speaker 2: sure are There's Arms Wide Open. And then there's the

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Speaker 2: one Yeah, Higher, Higher, can you take Me? Where the

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Speaker 2: guitarist breaks the guitar in the video that like you know,

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Speaker 2: Cobainian or Pete Townsend, like he just snaps it in half,

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Speaker 2: Like oh, it's worth watching. I'm gonna go with because

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Speaker 2: it's the one I know the least. I kind of

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Speaker 2: want to pick my sacrifice because I feel like it's

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Speaker 2: the one I don't know at all.

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Speaker 1: The other one that I know is what if? What if?

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Speaker 1: What if? It's called what if I don't know that.

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Speaker 2: One at all?

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Speaker 1: Maybe we should do that one, and I don't know

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Speaker 1: that might be too easy for me because I remember

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Speaker 1: that part. There's one song called one Last Breath, which

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Speaker 1: it's it's like on the it's like the top of this.

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Speaker 2: Wait wait, there's another one that goes now I'm six.

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Speaker 1: Feet Yeah, that one's good. I like that one. Maybe

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Speaker 1: they should Yeah, that's a good one.

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Speaker 2: Maybe we should do that one.

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Speaker 1: Yeah, should we do.

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Speaker 2: A verse and chorus of all of them? No, that's

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Speaker 2: like a lightning round, like.

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Speaker 1: A crazy breath. Okay, yeah, okay, that's.

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Speaker 2: One last breath, So maybe we should do one Last Breath.

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Speaker 1: So yeah, that's the that's the top song too.

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Speaker 2: Let's do that top song. Yeah, because that song I

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Speaker 2: think the lyric now I'm six feet from I can't

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Speaker 2: even sing it without.

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Speaker 1: Yeah. Yeah, it's got that nickelback quality of like Scott

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Speaker 1: never made it other ones.

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Speaker 2: My own, Yeah, which brings us right.

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Speaker 1: This got a little better too, yeah yeah, Nick, yeah, Nick, Well,

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Speaker 1: very quickly before we actually listened to the song, that's

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Speaker 1: that reminds me of a very stupid but effective on

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Speaker 1: stage joke.

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Speaker 2: Bad Books used when we were on tour for our

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Speaker 2: second record. It was the same time the Lumineers were

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Speaker 2: like blowing up. And it happened that we played a

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Speaker 2: few places where, like I think we were on the

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Speaker 2: Austin City Limits Festival, and we played right before the Lumineers,

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Speaker 2: And then we played the next day or something or

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Speaker 2: two days later in Atlanta in the small room at

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Speaker 2: a venue where they were playing like the huge room

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Speaker 2: of it, and we just kept saying we you were

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Speaker 2: the Lumineers. And I was introducing myself and he was

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Speaker 2: introducing himself as Lou was Mini.

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Speaker 1: It's is still I think that joke.

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Speaker 2: Well, thank you, and you're a professional comic, so I'll

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Speaker 2: take it.

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Speaker 1: Yes, and I need to I qualify all jokes.

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Speaker 2: I see what's happened in I see who's Lou?

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Speaker 1: That's so funny. Sorry, I like the lum Okay, sorry,

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Speaker 1: I want to do it all day.

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Speaker 2: You know, I'll stop, I'll stop. I see he's Lou.

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Speaker 1: That's what you played when opening in a different room

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Speaker 1: for the Lumineers.

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Speaker 2: Well that wasn't even out yet when linden Man was

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Speaker 2: barely a glint in Obama's eye.

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Speaker 1: All right, and without Firth. Here's Creed one Last Breath.

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Speaker 2: I'm six speed wrong here, and I'm figuring.

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Speaker 1: All right, all right, there's more going on.

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Speaker 2: I'm glad I'm listening to this song in the Year

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Speaker 2: of Our Lord twenty twenty five, because I feel like

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Speaker 2: there's actually separated from peak Creed and where I was

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Speaker 2: with respect to my own like musical whether it's development

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Speaker 2: or the opposite whatever, as a as a fan and

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Speaker 2: me and like writing my own music. Whatever I thought

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Speaker 2: about Creed at that point was pretty I was not

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Speaker 2: a fan. Yep. There's more going on to give that

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Speaker 2: a chance to than I think I would have been

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Speaker 2: able to give it in two thousand and like two

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Speaker 2: or something like that. Whenever this was out. When was

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Speaker 2: this out? Two thousand oh two one one eleven, twenty eleven,

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Speaker 2: twenty the release date eleven twenty Wow, wait, it was

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Speaker 2: the greatest hits in two thousand and one? When did

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Speaker 2: Creed come out?

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Speaker 1: I can't be that, can't that can't be. I have

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Speaker 1: song with two thousand and one as well. I can't

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Speaker 1: say that can't be. Maybe it's just also on that

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Speaker 1: and but the song yeah, so yeah, I feel very

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Speaker 1: similar my first thought is that opening guitar riff. It

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Speaker 1: must have been the go to to learn guitar for

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Speaker 1: like a long time, you know what I mean, Like

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Speaker 1: it was like, oh, totally I kid brought that to

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Speaker 1: his teacher or the teacher was like, you got to

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Speaker 1: learn the intro to the Creed song, right, like that

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Speaker 1: kind of fingerstyle, Like it's it feels like an exercise

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Speaker 1: you learn. Like it doesn't sound that great, but it's

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Speaker 1: like technical and like kind of like tricky to play.

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Speaker 2: That is you rpeggiate a D chord? Yeah, and a

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Speaker 2: hammer on there's a hammer on in there. Yeah, yeah,

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Speaker 2: that's totally true. That makes sense.

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Speaker 1: That's thing, you know, that's fun. I like that chord

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Speaker 1: where it's like it's like hole mind now that's.

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Speaker 2: That's second chord. So I want to say it is

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Speaker 2: an F sharp seven, I think, but it's Beatles. Shit, dude,

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Speaker 2: He's going from a major to a seven to a

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Speaker 2: minor and I'm a stucker for that. Look, if I'm

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Speaker 2: gonna give props to you know, my holy trend when

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Speaker 2: they use it, I can't bust on Creed when they

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Speaker 2: do the same. Canna bust No, I can't be like, oh,

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Speaker 2: it's so cool when Elliott does Beatles stuff. Basically, Creed

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Speaker 2: just did an Elliott thing in a Creed song. That's

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Speaker 2: gotta be where it's Samson. That was little Matthew David's.

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Speaker 1: So I yeah, I very much. Oh so. Also, I

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Speaker 1: want to say that there's a bunch of times where

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Speaker 1: I've thought he was pure Ved, but he's got a

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Speaker 1: lot of Wilin. He's some of the range, like like

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Speaker 1: Ved has got a Veed doesn't can't go as high

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Speaker 1: as why and and uh Creed Ken, what's the Scott stap?

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Speaker 2: Scott's stap?

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Speaker 1: He could he could hit really high notes like in

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Speaker 1: a in a wild way. He's wilin And.

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Speaker 2: I definitely he's definitely Wilin out. I think that you're

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Speaker 2: right to point out it's funny because he set sounds

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Speaker 2: like it sounds like I've always associated my my like

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Speaker 2: my association with his vocal performance is that it sounds

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Speaker 2: like he's really almost struggling, you know what I mean, Like.

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Speaker 1: It's like it's like like.

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Speaker 2: Yeah, exactly. And and I don't know if you've seen

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Speaker 2: not to jump, not to cross streets, you never seen

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Speaker 2: somebody do it, and not a kid.

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Speaker 1: Not a ton, not a ton of adults, but maybe

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Speaker 1: maybe like as a as an adult with adults, not

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Speaker 1: a ton. I've been in a room. I have seen it.

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Speaker 2: Yeah, I definitely haven't like watched a ton of adults

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Speaker 2: do a coc No. I was gonna say, I you've

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Speaker 2: seen the thing where a puddle of mud a contemporary

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Speaker 2: band of creeds Nirvana, dude, and that is actually like

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Speaker 2: really rough. That's what they do about a girl. Yes,

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Speaker 2: and he's like he's really struggling and yeah, but he's

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Speaker 2: it's and it actually is like it kind of hurts

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Speaker 2: yea to watch him do it. You're like, god, dude,

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Speaker 2: don't do that, like James just king.

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Speaker 1: It's like just lower.

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Speaker 2: Yeah, And I empathized with the thing, you know, evil

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Speaker 2: and you and I like went in and when we

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Speaker 2: launched this podcast, you and I went in and did

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Speaker 2: like a morning radio interview to start things with Elvis,

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Speaker 2: and I remember being like that was so much more.

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Speaker 2: That was lovely and fun and crazy as to New

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Speaker 2: York kids for a number of reasons, but also it's

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Speaker 2: really nice to not be there singing at seven point

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Speaker 2: thirty in the morning. I tell you I've not done

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Speaker 2: that as much as like actual famous people have. But

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Speaker 2: I I promise you that is a real bummer, especially

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Speaker 2: if you had to show it the night before and

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Speaker 2: you're up till like three in the morning. You're like,

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Speaker 2: I don't know how the how the fuck am I

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Speaker 2: supposed to sing at eight in the morning in a

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Speaker 2: little so I empathize watching that video, But I always

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Speaker 2: do think like that video is the has become like

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Speaker 2: the emblematic representation of like singer who's like struggling so

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Speaker 2: much it seems like he's shitting in his pants syndrome.

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Speaker 2: And I always thought that a lot about this dude,

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Speaker 2: But maybe you're right. Like this performance the bridge in specific,

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Speaker 2: I have to say the bridge. I was speaking as

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Speaker 2: I do to you out loud on mute while we're

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Speaker 2: listening to these like neither of us can hear what

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Speaker 2: the other is saying. But I was going, like, actually,

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Speaker 2: really like this bridge. Bridge.

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Speaker 1: Yeah, they take they take their time on bridge. It's

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Speaker 1: a bridge to Terabithia.

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Speaker 2: It's a bridge to Terabithia. And what's cool is it's

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Speaker 2: a he's talking about in the song. If I go

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Speaker 2: back and look at the lyrics again, Oh, he talks

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Speaker 2: about the road, not the road. I don't think he's

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Speaker 2: talking about touring, talking about he thinks he's found the

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Speaker 2: road to nowhere. Then later he says, I thought I

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Speaker 2: found the road just somewhere and in the bridge, I'm like, well,

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Speaker 2: definitely on a bridge to Terabithia now, request. Yeah, this

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Speaker 2: guy's are real. I bet he's a real Biden fan

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Speaker 2: with all his infrastructure references.

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Speaker 1: A new character, keV.

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Speaker 2: I don't know who that guy is, a new character,

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Speaker 2: but he's coming back around again because that's what the

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Speaker 2: people love. The sun. No, sorry that was different.

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Speaker 1: No, So yeah, the bridges is I would you know.

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Speaker 1: What's interesting is it's like it's a It's like it's

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Speaker 1: this thing where now I'm like awarding the bridge, but

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Speaker 1: it's not like I really like the bridge. Like it's

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Speaker 1: not like, you know, I'm like giving it like you know,

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Speaker 1: like sometimes like you're like giving something technical points, but

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Speaker 1: you're like, am I really enjoying it? It's not catchy

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Speaker 1: like you know.

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Speaker 2: But no, I couldn't sing it to you right now

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Speaker 2: and we just listened to it.

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Speaker 1: But I do give it points.

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Speaker 2: I do.

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Speaker 1: Yeah, yeah, sad eyes, I don't follow me. But there's

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Speaker 1: something about it that. Yeah. I do.

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Speaker 2: Wait, I could sing it said follow me. Isn't that

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Speaker 2: the first part?

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Speaker 1: Yeah?

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Speaker 2: Yeah, But I don't know anything after that.

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Speaker 1: No, but I remember listening to it as well and

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Speaker 1: being like this guy, they didn't phone it in, right,

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Speaker 1: So I do give it a chancey for not just

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Speaker 1: being like, Okay, here's a bridge that's a solo or

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Speaker 1: something which isn't bad, but like, it's nice that he

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Speaker 1: like they took their time with it.

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Speaker 2: I do think, in fact, I want to. I do

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Speaker 2: see this is where you're really getting into the philosophical

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Speaker 2: crux of what we do at this on this podcast.

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Speaker 2: You're right, you don't want to treat it like it's

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Speaker 2: like when you know, you're three year old hands you

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Speaker 2: a finger painting of, you know, a sunset, and it

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Speaker 2: vaguely resembles a sunset and you're amazed because that's amazing.

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Speaker 2: Cree doesn't need that from us. They are a multi platinum,

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Speaker 2: world renowned, you know, multi decade recording act. They don't

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Speaker 2: need me to oh congratulations, you knew to move the

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Speaker 2: major to a minor to start the bridge, you know. Wow.

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Speaker 2: But I also will say we have listened to a

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Speaker 2: lot of songs out here where the bridge was. I'm

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Speaker 2: pleasantly surprised when an act of this vintage sure does

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Speaker 2: understand structurally, Like to me, it's like the thing I

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Speaker 2: just thought of immediately, which maybe is like held up

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Speaker 2: in my brain is like the uh, the like it's

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Speaker 2: one of the ones I hold up is like a

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Speaker 2: bridge to somewhere. In terms of Scott Stapp would understand

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Speaker 2: a bridge to somewhere, the life is very short and

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Speaker 2: there's no time from uh, we can work it out.

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Speaker 2: When the minor key comes in and all of a

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Speaker 2: sudden we switch from Paul to John and it's like

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Speaker 2: life is very sure. That is so good, and it's

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Speaker 2: like a comple mood change and a complete like whoa.

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Speaker 2: And then when Paul comes back and we're in the

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Speaker 2: major again, you're like, oh, that was so effective. Not

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Speaker 2: every bridge is going to be that bridge, but when

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Speaker 2: someone understands what the bridge is meant to be at

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Speaker 2: the very least, I'm like, that's cool.

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Speaker 1: I think that's cool.

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Speaker 2: You know, I will give them the chance for that.

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Speaker 2: Now you're talking about we're talking about gradations of efficacy.

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Speaker 2: Oh and look, do I think that's is it my

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Speaker 2: favorite bridge? I've ever heard today. No, but is it

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Speaker 2: a bridge that's somewhat effective and understands what a bridge

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Speaker 2: is supposed to do.

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Speaker 1: Yeah, And similarly to the bridge, the anti chance I

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Speaker 1: give this is the is the verses. They don't really

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Speaker 1: do a lot for me, but I think that they

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Speaker 1: The chorus is a really good course undeniable. It's so catchy,

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Speaker 1: it's it's it's a it's a like you even think of,

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Speaker 1: you know, like you know what a good chorus as

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Speaker 1: good as when you're singing the song and you're thinking

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Speaker 1: of the music that's in between, like hold me now.

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Speaker 3: To dang, I'm sitting from the head and I don't

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Speaker 3: thinking you're you're kind of like picturing this this you're

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Speaker 3: thinking of the song, like the the instrumentation you know

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Speaker 3: behind it.

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Speaker 2: Yeah.

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Speaker 1: I also at the very top right, they do this

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Speaker 1: whole verse and then there's this sort of anti climax thing,

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Speaker 1: like you think it's gonna cut hidden hard. They kind

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Speaker 1: of swell to.

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Speaker 2: Hold now, yep, yep, hold no now, I'm holding in

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Speaker 2: me now and y'all hold in.

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Speaker 1: Or whatever the.

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Speaker 2: Ship street from the you know, I'm thinking now when

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Speaker 2: he says he's thinking, no, but I do know what

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00:18:58,760 --> 00:19:01,000
Speaker 2: you mean that, like the subtle tease this, like the

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Speaker 2: half stare step before like really jumping out over the abits.

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Speaker 2: I do think they go to that well though. For me,

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Speaker 2: I love we're weaving seamlessly between chance and anti chance,

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Speaker 2: and I think that might be where the pot is

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Speaker 2: at its strongest. I don't think it has to be

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Speaker 2: so binary. And now we'll say the chance, and now

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Speaker 2: we'll say the anti chance. We just go, you know,

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Speaker 2: wherever we're led. I know what you're saying. I do

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Speaker 2: like that. I do think it's subtle. I will say,

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Speaker 2: for me, it does make the very ending diminishing returns.

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Speaker 2: I would be happy if the song ended after the

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Speaker 2: last chorus, after the ain't so far down?

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Speaker 1: Yeah, yeah, Then there's this extra little.

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Speaker 2: We're out, We're out. That's it when it comes back

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Speaker 2: with that half first verse and then he gets to

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Speaker 2: go like shay for whatever. The last part is this

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Speaker 2: little axle thing at the very end. I'm like, yeah,

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Speaker 2: I didn't need that, but this is that's the kind

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Speaker 2: of stuff these dudes can't avoid. It's like in the axle.

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Speaker 1: Stuff is so true, like it's funny. He really is

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Speaker 1: an amalgamation the axel ayay, Like I do that in

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Speaker 1: my house. I do that all the time in this house,

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Speaker 1: in this house, like that with my daughter and wife.

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Speaker 1: If I'm saying even if it's just like if it's

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Speaker 1: just like you know, like I see what's happening, hey

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Speaker 1: oh yeah, like you have to do the axle. Like

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Speaker 1: I've taught Mari this to my daughter. This thing, I

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Speaker 1: call it big finish. So when she's singing a song

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Speaker 1: and it's the ending of it, I'll be like, do

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Speaker 1: a big finish, and so she'll do like, you know,

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Speaker 1: like baby shy.

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Speaker 2: Oh, that's so awesome.

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Speaker 1: But it's the axle. It's it's it's so true. Actually

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Speaker 1: there's like not enough Axel. Well maybe there's too much.

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Speaker 1: There's axel right now, is Taylor?

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Speaker 2: Well, you know what's funny is what Axel and what

385
00:20:57,240 --> 00:21:00,359
Speaker 2: that cohort was doing when they were doing that stuff.

386
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Speaker 2: I feel like is actually what is usually represented in

387
00:21:06,000 --> 00:21:10,000
Speaker 2: like yet kind of R and B or like certain

388
00:21:10,080 --> 00:21:14,600
Speaker 2: kinds of pop singing. Like look, Mariah Carry and Axel

389
00:21:14,720 --> 00:21:21,800
Speaker 2: Rose right presentationally uh, genre definition wise really different, but

390
00:21:22,080 --> 00:21:26,320
Speaker 2: both singers. The hallmark thing is this like excessive, Like

391
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Speaker 2: I think the free is the term mellissma like these

392
00:21:30,200 --> 00:21:34,000
Speaker 2: like like trills that are like you know, and I

393
00:21:34,040 --> 00:21:37,880
Speaker 2: think that's one of the things that you know, it's

394
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Speaker 2: I feel like they were some of those West Coast,

395
00:21:41,160 --> 00:21:43,159
Speaker 2: you know, sunset strip bands were going for that, and

396
00:21:43,200 --> 00:21:45,480
Speaker 2: I think they they thought it was like a reference

397
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Speaker 2: to like Robert Plant or Freddie Mercury or something.

398
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Speaker 1: Because actually big time plant plants plants all over that stuff.

399
00:21:52,400 --> 00:21:54,959
Speaker 1: But I can't definitely right about R and B if

400
00:21:54,960 --> 00:21:57,080
Speaker 1: you go back to like a rutha Franklin and like.

401
00:21:57,119 --> 00:21:59,320
Speaker 2: And all the way through all the way to now

402
00:22:01,359 --> 00:22:05,800
Speaker 2: and then a lot of these like runs like that

403
00:22:05,880 --> 00:22:09,639
Speaker 2: kind of and and Axel did a lot of that.

404
00:22:09,640 --> 00:22:13,359
Speaker 2: But I also think was also meant I think he thought,

405
00:22:13,400 --> 00:22:15,280
Speaker 2: and it's funny to bring him up in these context

406
00:22:15,359 --> 00:22:18,080
Speaker 2: because I think, and I'm sorry, look, we can't listen

407
00:22:18,119 --> 00:22:19,800
Speaker 2: to a band like Creta to not go here a

408
00:22:19,800 --> 00:22:23,639
Speaker 2: little bit, so just fucking bear with it. Yeah, But

409
00:22:23,720 --> 00:22:27,400
Speaker 2: I feel like someone something like Creed this is a

410
00:22:27,440 --> 00:22:33,879
Speaker 2: band who came up listening to probably in relatively equal measure,

411
00:22:35,280 --> 00:22:43,000
Speaker 2: like pre proto butt rock stuff and then grunge, right,

412
00:22:43,480 --> 00:22:46,760
Speaker 2: so you kind of get like they there's a thing

413
00:22:46,840 --> 00:22:50,760
Speaker 2: if you were a rock band after grunge, you had

414
00:22:50,840 --> 00:22:54,840
Speaker 2: to like this tempo is pretty like pop grungey. The

415
00:22:54,920 --> 00:22:58,280
Speaker 2: kind of energy of it's pretty like umbrooding dog. But

416
00:22:58,400 --> 00:23:02,120
Speaker 2: there's this other thing that's prey like sort of like

417
00:23:02,960 --> 00:23:06,919
Speaker 2: messianic and broie about it that fits more with like

418
00:23:07,000 --> 00:23:09,200
Speaker 2: the power ballads of those.

419
00:23:09,119 --> 00:23:13,399
Speaker 1: Eighties bands, Aerosmith, like the Gunners.

420
00:23:13,600 --> 00:23:17,840
Speaker 2: The Gunners, Sure, and so I do think there's like

421
00:23:18,520 --> 00:23:22,120
Speaker 2: but I do think that like funny seventh chord thing

422
00:23:22,440 --> 00:23:27,640
Speaker 2: that's totally a like there's a little bit of Nirvana

423
00:23:27,760 --> 00:23:31,679
Speaker 2: and that there's what there is is Beatles information and

424
00:23:31,880 --> 00:23:34,800
Speaker 2: in a little fragment of that, and I think that

425
00:23:34,920 --> 00:23:38,680
Speaker 2: stuff did come in more through like Chris Cornell, Kurt Cobain,

426
00:23:38,840 --> 00:23:41,720
Speaker 2: those people were like acknowledging even a little bit of

427
00:23:41,760 --> 00:23:45,560
Speaker 2: some of Stone. Temple Pilots has like a beatlesy Beatles

428
00:23:45,640 --> 00:23:47,040
Speaker 2: Zeppelin hybrid thing.

429
00:23:47,119 --> 00:23:51,159
Speaker 1: They're doing so right, and like the guitar tones are

430
00:23:51,200 --> 00:23:55,600
Speaker 1: really interesting too, right, Like so did Kurt use a strat.

431
00:23:55,720 --> 00:24:00,360
Speaker 2: I've seen thetures he plays a strat at that MTVS

432
00:24:00,400 --> 00:24:02,800
Speaker 2: where they like play lithium and then Dave they had

433
00:24:02,840 --> 00:24:04,639
Speaker 2: like a fight with guns n' roses or whatever. But

434
00:24:04,680 --> 00:24:08,240
Speaker 2: he was mostly he was a You mostly see him

435
00:24:08,240 --> 00:24:14,960
Speaker 2: playing either jazz Masters, Mustangs, Jaguars or that hybrid Mustang.

436
00:24:15,280 --> 00:24:16,680
Speaker 2: He made a guitar that.

437
00:24:16,680 --> 00:24:19,680
Speaker 1: Was like yeah, yeah, like yeah, I forgot that. They

438
00:24:19,720 --> 00:24:24,080
Speaker 1: called it like jag Stang, surf master or something. I

439
00:24:24,119 --> 00:24:28,040
Speaker 1: forget jazz stang. Yeah yeah. But for for this stuff,

440
00:24:28,080 --> 00:24:31,320
Speaker 1: it's like it's so that like PRS, you know, like

441
00:24:31,359 --> 00:24:34,639
Speaker 1: it's totally like this, and and what you lose is

442
00:24:34,680 --> 00:24:35,320
Speaker 1: like a little.

443
00:24:35,160 --> 00:24:36,639
Speaker 2: Less poly in places.

444
00:24:37,040 --> 00:24:39,880
Speaker 1: Yeah, and you get you get so much of Zeppelin

445
00:24:40,000 --> 00:24:42,840
Speaker 1: from that, but you lose any kind of jangle.

446
00:24:42,880 --> 00:24:47,240
Speaker 2: The twang, the jangle, and I love totally. And that's

447
00:24:47,240 --> 00:24:50,399
Speaker 2: also there's a there's something about uh. I think he

448
00:24:50,440 --> 00:24:53,040
Speaker 2: played a telly sometimes too, and there's like a little

449
00:24:54,119 --> 00:24:58,800
Speaker 2: there's a sharpness in that that becomes dulled and rounded

450
00:24:59,320 --> 00:25:01,679
Speaker 2: in this even when the distorted guitar kicks. And I

451
00:25:01,720 --> 00:25:05,120
Speaker 2: will say I missed this is a little I mean

452
00:25:05,240 --> 00:25:07,800
Speaker 2: not really not to anyone who actually knows music theory,

453
00:25:07,800 --> 00:25:09,360
Speaker 2: they'd be like, what the fuck do you think you are?

454
00:25:09,440 --> 00:25:14,480
Speaker 2: This is like fractional theory thing. I missed the expression

455
00:25:14,840 --> 00:25:17,800
Speaker 2: of that seventh chord when the choruses get big, because

456
00:25:17,800 --> 00:25:20,199
Speaker 2: he just plays the power chord. He doesn't hit that

457
00:25:20,359 --> 00:25:24,000
Speaker 2: seventh note in it. That makes it cool. I was

458
00:25:24,000 --> 00:25:26,080
Speaker 2: always because when I when it first happened, because I

459
00:25:26,119 --> 00:25:28,840
Speaker 2: remember the big choruses to this song. So when we

460
00:25:28,880 --> 00:25:32,320
Speaker 2: first heard that chord in the down chorus, I was like, ooh,

461
00:25:32,400 --> 00:25:35,040
Speaker 2: I don't remember this. That's cool. And the reason I

462
00:25:35,080 --> 00:25:37,960
Speaker 2: didn't remember it is because it went away when the

463
00:25:38,000 --> 00:25:41,360
Speaker 2: song gets loud, it's suggested, but it's not like overt

464
00:25:41,960 --> 00:25:45,720
Speaker 2: but like you know, like sorry, I almost just got

465
00:25:45,760 --> 00:25:48,760
Speaker 2: us so lost a joke that would have been for

466
00:25:48,920 --> 00:25:49,840
Speaker 2: no one.

467
00:25:49,880 --> 00:25:51,480
Speaker 1: Literally, you gotta do it.

468
00:25:51,520 --> 00:25:54,480
Speaker 2: My friend would, doesn't My friend Rob Sukhan, who was

469
00:25:54,520 --> 00:25:57,240
Speaker 2: the singer in the band Kofax, who's a legend, and

470
00:25:57,400 --> 00:26:00,440
Speaker 2: to me, if I encourage everyone to go Efects was

471
00:26:00,480 --> 00:26:03,919
Speaker 2: a great unsung band from early two thousands. Fans of

472
00:26:04,080 --> 00:26:08,000
Speaker 2: Spoon you would love this band, great, great, great. But

473
00:26:08,080 --> 00:26:09,760
Speaker 2: he would always talk about I think there was an

474
00:26:09,840 --> 00:26:13,760
Speaker 2: R and B singer called Gerard Gerard Lavere or something

475
00:26:13,800 --> 00:26:16,600
Speaker 2: like a French gard V E R T. But he

476
00:26:16,640 --> 00:26:19,520
Speaker 2: would say, you know, it's like I'm trying to give

477
00:26:19,520 --> 00:26:21,679
Speaker 2: it a little bit of that Gerard Lavert when he

478
00:26:21,720 --> 00:26:24,560
Speaker 2: was trying to express himself vocally, And that's what I

479
00:26:24,600 --> 00:26:28,960
Speaker 2: was just going to say about the expression, not the implication,

480
00:26:29,359 --> 00:26:31,639
Speaker 2: not explicit thing. And I was going to say it

481
00:26:31,680 --> 00:26:35,080
Speaker 2: like Gerard Lavert and then realize and now I've done

482
00:26:35,119 --> 00:26:37,840
Speaker 2: it for ninety seconds. So the pot I'm so sorry.

483
00:26:37,640 --> 00:26:40,040
Speaker 1: I got on. That's what we need. That's the behind

484
00:26:40,040 --> 00:26:42,600
Speaker 1: the scenes that I think people clamor for.

485
00:26:43,000 --> 00:26:47,359
Speaker 2: Yeah, yeah, totally, but no, I think that it's funny

486
00:26:47,400 --> 00:26:49,800
Speaker 2: even when that tone kicks in and it's like, this

487
00:26:50,000 --> 00:26:52,840
Speaker 2: is to tell you, the sharpness is here, the bigness

488
00:26:52,880 --> 00:26:57,200
Speaker 2: is here. It's a little it's not it doesn't really

489
00:26:57,280 --> 00:26:59,520
Speaker 2: go there because of what you're talking about. There's like

490
00:26:59,600 --> 00:27:01,800
Speaker 2: a round. That's probably also why it was such a

491
00:27:01,800 --> 00:27:07,840
Speaker 2: big That roundedness usually helps things get big mass consumption wise,

492
00:27:08,160 --> 00:27:11,840
Speaker 2: Like you know, even with Nirvana, never Mind's guitar tones

493
00:27:12,119 --> 00:27:15,359
Speaker 2: are a lot rounder than in Uteros. In uters is

494
00:27:15,400 --> 00:27:18,040
Speaker 2: like someone's playing like a fucking buzzsaw next to your head.

495
00:27:18,160 --> 00:27:20,800
Speaker 1: So yeah, and I kind of think like there's so

496
00:27:20,920 --> 00:27:23,280
Speaker 1: much charming character in it that this is lacking. And

497
00:27:23,320 --> 00:27:25,159
Speaker 1: we talk about this a lot like, of course this

498
00:27:25,280 --> 00:27:29,280
Speaker 1: is like a really polished, beautiful sounding song, but like

499
00:27:29,320 --> 00:27:32,000
Speaker 1: it loses a lot of character for me. And I

500
00:27:32,080 --> 00:27:35,680
Speaker 1: remember like coming up, like playing music you can't help

501
00:27:35,720 --> 00:27:38,800
Speaker 1: but like have friends that also play music, but they're

502
00:27:38,880 --> 00:27:43,119
Speaker 1: just like they're aesthetic. Is is so different from your

503
00:27:43,160 --> 00:27:44,800
Speaker 1: own right, And I'm not saying why it's better than

504
00:27:44,800 --> 00:27:46,959
Speaker 1: the other, because I think like there are a lot

505
00:27:47,000 --> 00:27:50,879
Speaker 1: of people who want to become musicians professionally and like

506
00:27:50,960 --> 00:27:55,159
Speaker 1: want to have the best sounding gear. But to me,

507
00:27:55,280 --> 00:27:57,840
Speaker 1: whenever I would like go to like a sam ash

508
00:27:58,240 --> 00:28:00,600
Speaker 1: or like you know, music Town or whatever, like I

509
00:28:00,640 --> 00:28:03,719
Speaker 1: would plug in to like with like a And now

510
00:28:03,760 --> 00:28:05,320
Speaker 1: I've come around on some of it because there's a

511
00:28:05,320 --> 00:28:07,280
Speaker 1: way to do it, but like those like I remember

512
00:28:07,359 --> 00:28:08,480
Speaker 1: like I'm going to try that out, Like what this

513
00:28:08,640 --> 00:28:12,080
Speaker 1: like really expensive guitar sounds like and it seems just

514
00:28:12,160 --> 00:28:16,000
Speaker 1: so clean in a way that's like it's just soulless.

515
00:28:16,040 --> 00:28:18,840
Speaker 1: And then when you play like a used strat that

516
00:28:18,840 --> 00:28:21,600
Speaker 1: they're selling for like seven hundred bucks, which is like

517
00:28:21,600 --> 00:28:24,720
Speaker 1: a good one because it's like American or something, You're like, oh,

518
00:28:24,800 --> 00:28:28,400
Speaker 1: this is closer to like I could already hear totally

519
00:28:28,520 --> 00:28:31,919
Speaker 1: bands that I like that used this and like, I,

520
00:28:32,119 --> 00:28:34,360
Speaker 1: you know, try out a song that I know by

521
00:28:34,400 --> 00:28:36,600
Speaker 1: them or you know, and and same with like I

522
00:28:36,600 --> 00:28:39,560
Speaker 1: played drums for a long time, and I like people

523
00:28:39,560 --> 00:28:43,280
Speaker 1: would tune their drums to make them sound like perfect,

524
00:28:43,400 --> 00:28:45,880
Speaker 1: and I like, like, I understand that too, but I

525
00:28:45,960 --> 00:28:49,120
Speaker 1: was like, how can I deaden them sound like a

526
00:28:49,160 --> 00:28:52,000
Speaker 1: little like Ringo, a little bit like the Police or

527
00:28:52,040 --> 00:28:55,280
Speaker 1: something like. I wanted them to sound so different than

528
00:28:55,320 --> 00:28:57,200
Speaker 1: what I think what you were supposed to make them

529
00:28:57,240 --> 00:28:59,760
Speaker 1: sound like. I wouldn't want them to resonate so much

530
00:28:59,840 --> 00:29:02,800
Speaker 1: like it was just it was a really coming up

531
00:29:02,920 --> 00:29:04,440
Speaker 1: you're just like and so when you hear a band

532
00:29:04,480 --> 00:29:06,680
Speaker 1: like Creed and all those things are like at the

533
00:29:06,720 --> 00:29:11,080
Speaker 1: top level, totally the best equipment, it loses this character.

534
00:29:11,160 --> 00:29:11,360
Speaker 1: For me.

535
00:29:20,760 --> 00:29:23,760
Speaker 2: It's such a great series of observations because what it

536
00:29:23,800 --> 00:29:26,560
Speaker 2: makes me think about is how subjective all of these

537
00:29:26,640 --> 00:29:30,600
Speaker 2: words are, like even should you know, like and I

538
00:29:30,640 --> 00:29:34,520
Speaker 2: think that's funny, like all all joking aside. I think

539
00:29:34,680 --> 00:29:37,560
Speaker 2: one of the reasons for me and only for me,

540
00:29:37,600 --> 00:29:40,480
Speaker 2: and this is ultimately a pretty subjective enterprise all the

541
00:29:40,520 --> 00:29:43,520
Speaker 2: way through what we do here. The reason besides this

542
00:29:43,760 --> 00:29:47,080
Speaker 2: my age my information was when I was coming up

543
00:29:47,080 --> 00:29:49,120
Speaker 2: what was so formative to me. The reason something like

544
00:29:49,240 --> 00:29:52,240
Speaker 2: Nirvana comes up a lot when, especially when we're dealing

545
00:29:52,280 --> 00:29:56,560
Speaker 2: with like rock music, is because there are things that

546
00:29:56,640 --> 00:30:00,600
Speaker 2: establish themselves as kind of like a sort of idea,

547
00:30:00,720 --> 00:30:02,520
Speaker 2: you know what I mean. And and so it's like

548
00:30:02,560 --> 00:30:05,040
Speaker 2: the reason people still talk about like the Beatles, it's

549
00:30:05,080 --> 00:30:07,520
Speaker 2: not just because like Boomers wrote the book, that's part

550
00:30:07,520 --> 00:30:10,720
Speaker 2: of it. It's not just because like we've inherited whatever

551
00:30:10,800 --> 00:30:14,840
Speaker 2: cultural imprint from prior eras where mono culture was so

552
00:30:14,960 --> 00:30:17,680
Speaker 2: much more like the thing than it is now. It's

553
00:30:17,720 --> 00:30:22,000
Speaker 2: also because like those songs are like really fucking great

554
00:30:22,160 --> 00:30:26,520
Speaker 2: songs and and in a way kind of like unassailable.

555
00:30:26,640 --> 00:30:28,400
Speaker 2: A lot of them are, you know. And we've had

556
00:30:28,400 --> 00:30:30,719
Speaker 2: done a time with the Revolution nine. But you know what

557
00:30:30,760 --> 00:30:35,160
Speaker 2: I mean, Also like, yeah, we shit over that bullshit.

558
00:30:35,440 --> 00:30:37,280
Speaker 1: We watched each other poop that was.

559
00:30:37,360 --> 00:30:40,640
Speaker 2: Nice too, like holding hands knee to knee and do shompspectory.

560
00:30:40,920 --> 00:30:44,400
Speaker 2: But look, at the end of what I'm saying here

561
00:30:44,680 --> 00:30:48,040
Speaker 2: is just to say create exists like it or not

562
00:30:48,320 --> 00:30:51,320
Speaker 2: in the shadow of that stuff to a degree, because

563
00:30:51,360 --> 00:30:54,080
Speaker 2: like it comes, it's still they're like it's a cribbing

564
00:30:54,160 --> 00:30:58,120
Speaker 2: from the same playbook, and yeah, like I mean putting

565
00:30:58,160 --> 00:31:01,400
Speaker 2: aside the thought exercise of what read what this song

566
00:31:01,400 --> 00:31:03,760
Speaker 2: would sound like as a Kurt Cobain song, which is

567
00:31:03,760 --> 00:31:05,600
Speaker 2: an impossible thing to think about.

568
00:31:05,640 --> 00:31:07,640
Speaker 1: I think that's some of the most impossible. Like I

569
00:31:07,680 --> 00:31:09,440
Speaker 1: don't think they could possibly cover it.

570
00:31:09,560 --> 00:31:11,640
Speaker 2: But I do think there's a way in which, like

571
00:31:12,240 --> 00:31:16,120
Speaker 2: I don't know, I remember hearing Crooked Rain, Crooked Rain

572
00:31:16,240 --> 00:31:18,600
Speaker 2: by Pavement for the first time at the Staten Island

573
00:31:18,640 --> 00:31:21,520
Speaker 2: Mall on one of those blue like benches that used

574
00:31:21,560 --> 00:31:24,000
Speaker 2: to exist there that were like pockmarked, almost like bus

575
00:31:24,120 --> 00:31:27,920
Speaker 2: stop benches or something, sitting that down with my walkman,

576
00:31:28,160 --> 00:31:30,239
Speaker 2: getting that cassette because I read a review of it

577
00:31:30,280 --> 00:31:33,760
Speaker 2: and listening to it and being like, I couldn't believe

578
00:31:33,800 --> 00:31:35,680
Speaker 2: they were this is gonna sound like such a funny

579
00:31:35,680 --> 00:31:39,000
Speaker 2: thing to say. I couldn't believe they were allowed to

580
00:31:39,160 --> 00:31:42,800
Speaker 2: sound like that. I know, I was even with Nirvana,

581
00:31:42,960 --> 00:31:46,200
Speaker 2: even with Sonic something about that band. I was like,

582
00:31:46,680 --> 00:31:50,040
Speaker 2: this sounds like it's falling apart from the minute they

583
00:31:50,080 --> 00:31:54,920
Speaker 2: start playing, and I loved it. This never feels not

584
00:31:55,000 --> 00:31:57,280
Speaker 2: the creed is trying to sound like Pavement. But what

585
00:31:57,320 --> 00:32:02,120
Speaker 2: I'm saying is, to your point, there's something about rock

586
00:32:02,440 --> 00:32:05,480
Speaker 2: music and this kind of like, yeah, you're talking about.

587
00:32:05,840 --> 00:32:08,120
Speaker 2: What you're really talking about, too, is like the advent

588
00:32:08,200 --> 00:32:10,640
Speaker 2: of things like punk and indie rock or whatever. It

589
00:32:10,760 --> 00:32:13,600
Speaker 2: was like, well we can't afford those instruments, so it

590
00:32:13,720 --> 00:32:16,440
Speaker 2: sounds like this, or it was like, well we can't

591
00:32:16,480 --> 00:32:20,479
Speaker 2: afford that studio and that producer, so it sounds like this,

592
00:32:20,800 --> 00:32:24,080
Speaker 2: And in so doing, they kind of like rescued in

593
00:32:24,120 --> 00:32:28,400
Speaker 2: their ways in their moments what was like dangerous and

594
00:32:28,480 --> 00:32:31,600
Speaker 2: a little shambolic about like rock and roll, which when

595
00:32:31,640 --> 00:32:35,000
Speaker 2: it started sounded like kind of like the Kinks playing

596
00:32:35,000 --> 00:32:38,000
Speaker 2: in that fucking riff. It's like the amp is gonna

597
00:32:38,800 --> 00:32:41,479
Speaker 2: is overdriven and it sounds it's gonna blow up or whatever.

598
00:32:41,760 --> 00:32:43,920
Speaker 2: It's not like I have this great pedal through this

599
00:32:44,000 --> 00:32:45,320
Speaker 2: great boar whatever. Right.

600
00:32:45,840 --> 00:32:48,760
Speaker 1: And the other thing is like there's there's two different schools,

601
00:32:48,800 --> 00:32:51,200
Speaker 1: and you know, it's I feel like we I always

602
00:32:51,240 --> 00:32:53,000
Speaker 1: kind of when I talk about this, it feels like

603
00:32:53,040 --> 00:32:56,360
Speaker 1: I'm going into snooty town. But there's two different I

604
00:32:56,400 --> 00:32:59,600
Speaker 1: think schools of thought, right, and they're both valid, and

605
00:32:59,800 --> 00:33:02,160
Speaker 1: I definitely subscribe to the to the what I'll which

606
00:33:02,200 --> 00:33:03,800
Speaker 1: will be the former, But the first one I think

607
00:33:03,880 --> 00:33:05,800
Speaker 1: is like, I want to be a band that like

608
00:33:06,080 --> 00:33:08,000
Speaker 1: works and tourists, and I want to make the music

609
00:33:08,040 --> 00:33:09,960
Speaker 1: that will make it to the radio. And there's absolutely

610
00:33:10,000 --> 00:33:12,360
Speaker 1: nothing wrong with that, and I think Creed successfully did

611
00:33:12,400 --> 00:33:14,760
Speaker 1: that multiple times over. It's just what they did and

612
00:33:14,800 --> 00:33:16,760
Speaker 1: how they did it totally, and so they want everything

613
00:33:16,800 --> 00:33:18,520
Speaker 1: to be like that. So they don't want to take

614
00:33:18,520 --> 00:33:21,680
Speaker 1: as many risks and they don't want to which it

615
00:33:21,720 --> 00:33:23,640
Speaker 1: makes sense, and they don't want to like their their

616
00:33:23,680 --> 00:33:26,800
Speaker 1: goal is not to surprise themselves or surprise the audience,

617
00:33:27,000 --> 00:33:29,080
Speaker 1: whereas a band like Pavement, like you're saying, there's that

618
00:33:29,160 --> 00:33:31,640
Speaker 1: part on Crooked Rain, the second song Elevate Me later

619
00:33:31,680 --> 00:33:34,440
Speaker 1: where they finish the song and they're all just kind

620
00:33:34,480 --> 00:33:37,320
Speaker 1: of crashing for a while, and then like at a

621
00:33:37,400 --> 00:33:40,840
Speaker 1: time that is not even on time, they come back

622
00:33:40,840 --> 00:33:42,920
Speaker 1: in with the with the like the what if you

623
00:33:42,960 --> 00:33:44,880
Speaker 1: want to call it the riff again, and it's like

624
00:33:45,120 --> 00:33:47,880
Speaker 1: so at that point I had never heard anything like that,

625
00:33:47,920 --> 00:33:50,640
Speaker 1: like on a record, you know, And it feels like

626
00:33:50,680 --> 00:33:54,160
Speaker 1: you're listening to a band live, and it's also chaotic

627
00:33:54,240 --> 00:33:56,880
Speaker 1: and it's falling apart while also coming back together. It's

628
00:33:56,920 --> 00:33:59,160
Speaker 1: like they it's like they it's like it's like, is

629
00:33:59,160 --> 00:34:01,479
Speaker 1: he okay? Is he okay? The surfer okay, he's on

630
00:34:01,560 --> 00:34:03,680
Speaker 1: the board, he's on the way, he caught the wave.

631
00:34:04,080 --> 00:34:07,480
Speaker 1: Like it's like that moment. And I think that it's

632
00:34:07,480 --> 00:34:10,440
Speaker 1: like they're going for surprise and they've they're probably like,

633
00:34:10,520 --> 00:34:13,960
Speaker 1: we've heard, we heard the everything that happened in the eighties,

634
00:34:14,040 --> 00:34:16,360
Speaker 1: Like we don't really need to make that stuff, and

635
00:34:16,400 --> 00:34:18,640
Speaker 1: it doesn't We've heard the stuff that's been made, so like,

636
00:34:18,719 --> 00:34:22,000
Speaker 1: let's try what we do right. And sometimes it's just

637
00:34:22,040 --> 00:34:24,759
Speaker 1: a happy accident or they're just experimenting and having fun

638
00:34:25,280 --> 00:34:28,080
Speaker 1: and they just kept it. But that's totally that those

639
00:34:28,080 --> 00:34:29,719
Speaker 1: are for me, the two schools.

640
00:34:30,080 --> 00:34:32,640
Speaker 2: I think that part of what has gotten harder. I

641
00:34:32,680 --> 00:34:34,880
Speaker 2: think there are actually people who would probably like to

642
00:34:34,920 --> 00:34:40,160
Speaker 2: be more spontaneous or surprising or whatever, and maybe creed

643
00:34:40,239 --> 00:34:42,920
Speaker 2: does exist in some ways to surprise themselves or and

644
00:34:43,239 --> 00:34:45,680
Speaker 2: also taste is a thing and what everybody's like.

645
00:34:45,680 --> 00:34:47,000
Speaker 1: Actually tracks and deep cuts.

646
00:34:47,440 --> 00:34:51,279
Speaker 2: Totally. Yeah, But I do think living in the era

647
00:34:51,360 --> 00:34:54,280
Speaker 2: and my entire life, at least as a recording artist

648
00:34:54,360 --> 00:35:00,160
Speaker 2: in the era of increasingly refined methodology to make recording.

649
00:35:01,040 --> 00:35:07,600
Speaker 2: It's the temptation to like perfect even the imperfections. It's

650
00:35:07,600 --> 00:35:09,440
Speaker 2: so subtle and nuanced now that you can kind of

651
00:35:09,440 --> 00:35:12,279
Speaker 2: like it's really hard to actual respect. You know what,

652
00:35:12,400 --> 00:35:15,240
Speaker 2: fuck it, We're just gonna go in and record and whatever,

653
00:35:15,520 --> 00:35:19,000
Speaker 2: because you can fix it. So I think it's also

654
00:35:19,160 --> 00:35:21,759
Speaker 2: to a degree about like there's a lot of real

655
00:35:21,880 --> 00:35:25,520
Speaker 2: estate between pavement and creed, about like what the mission

656
00:35:25,600 --> 00:35:27,600
Speaker 2: is and what the execution is, and that real estate

657
00:35:27,760 --> 00:35:33,799
Speaker 2: is not only sunny day. But I do think that, yeah,

658
00:35:33,800 --> 00:35:37,120
Speaker 2: it's interesting to sort of play out those different thought exercises.

659
00:35:37,160 --> 00:35:40,480
Speaker 2: At the end, I will say I was pleasantly surprised

660
00:35:40,480 --> 00:35:42,600
Speaker 2: by my time with this song. I will say they

661
00:35:42,600 --> 00:35:44,640
Speaker 2: get a props for trying to write a bridge. I

662
00:35:44,680 --> 00:35:47,000
Speaker 2: will say the chorus is anthemic, and I will say, yes,

663
00:35:47,040 --> 00:35:57,360
Speaker 2: of course, it's also ridiculous in a great many ways.