1 00:00:02,320 --> 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 chick. Come morning, Give it a chance, Give it 3 00:00:07,080 --> 00:00:09,680 Speaker 1: a chance, give it a chance, give it a chance. 4 00:00:09,720 --> 00:00:11,239 Speaker 1: Come morning, and give it a chi you want to 5 00:00:11,240 --> 00:00:13,760 Speaker 1: give it a chance, give it a chance, give it 6 00:00:13,800 --> 00:00:21,600 Speaker 1: a chance. Just oka, my man. I actually so, I 7 00:00:21,640 --> 00:00:24,000 Speaker 1: was just a little to pull the curtain back. 8 00:00:24,079 --> 00:00:24,279 Speaker 2: I was. 9 00:00:24,520 --> 00:00:26,960 Speaker 1: I was like, I'm running late, I am am finishing 10 00:00:26,960 --> 00:00:29,240 Speaker 1: a call. And I finished that call and I was like, oh, wait, 11 00:00:29,320 --> 00:00:30,400 Speaker 1: what song do I have? 12 00:00:31,680 --> 00:00:32,440 Speaker 2: Do you have one? 13 00:00:32,680 --> 00:00:37,560 Speaker 1: Oh? Yeah, okay, I actually like have I have actually 14 00:00:37,560 --> 00:00:39,760 Speaker 1: a few. I don't know what to do because I 15 00:00:39,800 --> 00:00:42,919 Speaker 1: have a few on the dock that I think all 16 00:00:43,080 --> 00:00:45,720 Speaker 1: like a lot of these are in the same category. 17 00:00:46,240 --> 00:00:48,360 Speaker 1: And I was thinking, maybe I do a little you 18 00:00:48,479 --> 00:00:52,720 Speaker 1: choose it's the adventure. Okay, I'm gonna put you head 19 00:00:52,760 --> 00:00:56,320 Speaker 1: to head, wow, and you're gonna pick which of these 20 00:00:56,360 --> 00:01:00,000 Speaker 1: songs you think resonates as a worse song that you 21 00:01:00,080 --> 00:01:02,400 Speaker 1: would want, that you don't want almost you don't you 22 00:01:02,520 --> 00:01:03,680 Speaker 1: the one you like least? 23 00:01:04,640 --> 00:01:05,000 Speaker 2: Okay? 24 00:01:05,680 --> 00:01:09,840 Speaker 1: And to me, both of these symbolize are maybe not 25 00:01:09,840 --> 00:01:13,280 Speaker 1: the right the exact symbol, but like they symbolize the 26 00:01:13,360 --> 00:01:16,319 Speaker 1: downfall of bands that I actually really liked. 27 00:01:16,240 --> 00:01:17,920 Speaker 2: Oh, very specific category. 28 00:01:17,959 --> 00:01:20,039 Speaker 1: Okay, okay, And I don't know if you if you 29 00:01:20,080 --> 00:01:21,800 Speaker 1: share it, and whether you share it or not. I 30 00:01:21,840 --> 00:01:23,840 Speaker 1: want to see which one of these. 31 00:01:23,959 --> 00:01:26,559 Speaker 2: I love this, this category, actually, this is good. 32 00:01:26,800 --> 00:01:28,760 Speaker 1: Okay, your choices. 33 00:01:29,000 --> 00:01:30,360 Speaker 2: I just close my eyes. 34 00:01:30,400 --> 00:01:30,840 Speaker 1: I don't know why. 35 00:01:30,880 --> 00:01:33,040 Speaker 2: I want to go into a prayerful, meditative space. 36 00:01:34,120 --> 00:01:36,640 Speaker 1: Beverly Hills by Weezer or Hella good Bye No Doubt. 37 00:01:37,280 --> 00:01:43,520 Speaker 2: Okay, so I definitely was more. I have way more 38 00:01:44,840 --> 00:01:48,880 Speaker 2: personal pizza coming, so I have to go. No, I 39 00:01:48,920 --> 00:01:53,520 Speaker 2: have way more. I have way more of a personal 40 00:01:54,200 --> 00:01:57,400 Speaker 2: connection to Weezer than No Doubt. Yeah, I mean I'm 41 00:01:57,400 --> 00:02:00,400 Speaker 2: a misogynist, ultimately, it is what it is. Yeah, No, 42 00:02:00,720 --> 00:02:04,520 Speaker 2: I just you know, I love Spiderwebs, but I don't 43 00:02:04,520 --> 00:02:06,680 Speaker 2: really No Doubt it's not really you know, don't speak 44 00:02:06,760 --> 00:02:08,840 Speaker 2: is great, But that wasn't really my where my bread 45 00:02:08,840 --> 00:02:11,480 Speaker 2: got buttered? I think I say that every yep. But anyway, 46 00:02:11,800 --> 00:02:14,880 Speaker 2: I feel like Weezer was like Weezer, you know, they 47 00:02:14,880 --> 00:02:17,320 Speaker 2: were dead red in the middle for me for a while. 48 00:02:19,160 --> 00:02:21,280 Speaker 2: Maybe that's too close to the bone. Maybe we should 49 00:02:21,360 --> 00:02:25,080 Speaker 2: do No Doubt specifically for that reason. Beautiful it it 50 00:02:25,160 --> 00:02:26,639 Speaker 2: can always come back to Weeze. 51 00:02:26,800 --> 00:02:30,480 Speaker 1: It's your journey, it's mine journey. I would say that 52 00:02:30,680 --> 00:02:33,200 Speaker 1: in some ways, I think Beverly Hills is more hated, 53 00:02:33,200 --> 00:02:34,600 Speaker 1: but I think Hella Good is worse. 54 00:02:34,960 --> 00:02:38,040 Speaker 2: Well, what's weird about Weezer in this? Maybe we'll just 55 00:02:38,080 --> 00:02:41,760 Speaker 2: do a little capsule ninety seconds on this. Yeah, I mean, 56 00:02:41,800 --> 00:02:44,720 Speaker 2: it's why there was that Snel skit about it the people, 57 00:02:44,800 --> 00:02:47,480 Speaker 2: which is so funny and so niche and so crazy 58 00:02:47,520 --> 00:02:50,440 Speaker 2: that that was something that aired on you know, national television, 59 00:02:50,440 --> 00:02:52,000 Speaker 2: on the premiere sketch. It's amazing that. 60 00:02:52,000 --> 00:02:55,200 Speaker 1: They did years or more after like the albums they're 61 00:02:55,200 --> 00:02:56,560 Speaker 1: talking about even came out. 62 00:02:56,480 --> 00:02:58,440 Speaker 2: And it wasn't like they were the musical guest. It 63 00:02:58,639 --> 00:03:02,280 Speaker 2: just was like, it's so funny. But you know, to 64 00:03:02,320 --> 00:03:06,880 Speaker 2: say Beverly Hills is reviled by the people, by Weezer fans, 65 00:03:07,000 --> 00:03:10,560 Speaker 2: it's only accurate about a certain demographic and percentage. And 66 00:03:10,600 --> 00:03:12,920 Speaker 2: what I wonder is if that demographic and percentage has 67 00:03:12,919 --> 00:03:17,280 Speaker 2: actually become superseded, like by the people that came in 68 00:03:18,200 --> 00:03:21,840 Speaker 2: Beverly Hills forward, you know what I mean. There's Weezer's 69 00:03:21,840 --> 00:03:24,320 Speaker 2: playing like you know, it's like they're on tour with 70 00:03:24,400 --> 00:03:28,560 Speaker 2: Green Day and Fallout Boy playing City Field. It's not like, so, 71 00:03:28,639 --> 00:03:30,760 Speaker 2: whatever's going on with Weezer. They did like that tour 72 00:03:30,880 --> 00:03:33,560 Speaker 2: this summer that where like Modest Mouse was opening for 73 00:03:33,639 --> 00:03:35,240 Speaker 2: them on some kind of tour. 74 00:03:35,440 --> 00:03:37,800 Speaker 1: I saw them in Utah. It was Pixies opening up 75 00:03:37,840 --> 00:03:38,640 Speaker 1: for Weezer. 76 00:03:38,680 --> 00:03:41,840 Speaker 2: I was like that, that's right, Yes, that's what it was. Yes, yes, 77 00:03:42,240 --> 00:03:45,920 Speaker 2: And so I feel like that's not all people who 78 00:03:46,000 --> 00:03:51,000 Speaker 2: loved Pinkerton, you know, that's definitely something that's something has shifted. 79 00:03:51,440 --> 00:03:54,240 Speaker 2: And for someone like me that was kind of like 80 00:03:54,400 --> 00:03:56,440 Speaker 2: I was even and maybe this just makes me sound 81 00:03:56,440 --> 00:03:58,440 Speaker 2: like a garden variety snob. I actually would love to 82 00:03:58,720 --> 00:04:02,400 Speaker 2: indicates people that what I there's so it's so the opposite. 83 00:04:02,440 --> 00:04:07,000 Speaker 2: I'm like, so it's almost ignorance, a good snobbery. But 84 00:04:07,760 --> 00:04:10,120 Speaker 2: I definitely like I was somebody who like even the 85 00:04:10,200 --> 00:04:13,120 Speaker 2: Green album. When I got that, I was like, I 86 00:04:13,200 --> 00:04:15,360 Speaker 2: really tried to give that a chance, and the songs 87 00:04:15,480 --> 00:04:18,920 Speaker 2: are they're they're perfect in their way, but it was 88 00:04:18,960 --> 00:04:22,880 Speaker 2: like the spinal column had been removed or something, and 89 00:04:22,960 --> 00:04:27,279 Speaker 2: so anything from that point forward it's really like almost 90 00:04:27,360 --> 00:04:31,000 Speaker 2: like a Frankenstein monster. So anyway, I feel like like 91 00:04:31,040 --> 00:04:33,039 Speaker 2: it looks like Weezer, it sounds like Weezer, but the 92 00:04:33,040 --> 00:04:36,800 Speaker 2: thing that animated it for me was a bit zombified 93 00:04:36,920 --> 00:04:39,480 Speaker 2: in some way. I should probably shut up because also 94 00:04:39,520 --> 00:04:43,719 Speaker 2: there's there's some every once in a while I get 95 00:04:43,760 --> 00:04:45,960 Speaker 2: like I have the opportunity to do things like write 96 00:04:46,600 --> 00:04:49,560 Speaker 2: lyrics that might be for somebody else, and you know, 97 00:04:49,760 --> 00:04:52,040 Speaker 2: listen Rivers. If you ever want anythings, let me know. 98 00:04:52,240 --> 00:04:59,120 Speaker 2: But he's and he's incredible. He's actually like his melodic sensibility, 99 00:04:59,200 --> 00:05:02,040 Speaker 2: his construction, that's what makes it all the more frustrating. 100 00:05:02,440 --> 00:05:05,040 Speaker 1: But we're not here for now. 101 00:05:05,240 --> 00:05:08,799 Speaker 2: It's nice to have a little capsule inside. It's like Russian. 102 00:05:09,040 --> 00:05:11,240 Speaker 2: Can we say Russian nesting dolls? Anymore? Nesting dolls? I 103 00:05:11,240 --> 00:05:12,880 Speaker 2: don't know if you're supposed to say Ussian nesting dolls, 104 00:05:12,920 --> 00:05:19,560 Speaker 2: but I'll say of you know, boo boo change and 105 00:05:19,600 --> 00:05:23,719 Speaker 2: I think it's time to pivot to the real innermost doll. 106 00:05:24,520 --> 00:05:28,120 Speaker 1: I don't typically do this, but I'm going to give 107 00:05:28,160 --> 00:05:31,239 Speaker 1: you the opening lyric to this song. 108 00:05:31,720 --> 00:05:34,839 Speaker 2: Her lyrics are the problem often for me, but yes, yeah, 109 00:05:35,240 --> 00:05:36,919 Speaker 2: really hard on chancey terms. 110 00:05:37,000 --> 00:05:38,279 Speaker 1: I'm going to hit you with this lyric and then 111 00:05:38,320 --> 00:05:40,360 Speaker 1: We're going to go listen to the song Oh God. 112 00:05:40,520 --> 00:05:44,080 Speaker 1: It's an opening lyric to the song the waves keep 113 00:05:44,120 --> 00:05:55,039 Speaker 1: on crashing on me for some reason. Enjoy questioner. 114 00:05:57,600 --> 00:05:59,600 Speaker 2: You know what's funny sometimes, Casey, is when we come 115 00:05:59,640 --> 00:06:05,160 Speaker 2: out of the break. I experienced so much joy watching 116 00:06:05,279 --> 00:06:09,039 Speaker 2: you listening, and I also have this more where I 117 00:06:09,080 --> 00:06:12,480 Speaker 2: have to remember the entire purpose of this in every 118 00:06:12,560 --> 00:06:16,000 Speaker 2: app is to give it a Chancey. I come, there's 119 00:06:16,040 --> 00:06:18,680 Speaker 2: a part of my brain and this is maybe something. 120 00:06:18,760 --> 00:06:20,520 Speaker 2: You know, this is good for me. It's holding up 121 00:06:20,560 --> 00:06:22,719 Speaker 2: a mirror to some of the uglier aspects of my 122 00:06:22,760 --> 00:06:25,599 Speaker 2: spiritual condition. There's a part of my brain that wants 123 00:06:25,640 --> 00:06:30,120 Speaker 2: to come out right away and evaporate any chance of 124 00:06:30,160 --> 00:06:31,880 Speaker 2: a chancy. But that's not what we're here to do. 125 00:06:32,320 --> 00:06:32,600 Speaker 2: I know. 126 00:06:32,640 --> 00:06:35,680 Speaker 1: I while I listen, I actually think of more things 127 00:06:35,720 --> 00:06:40,000 Speaker 1: I dislike than I do like. And you're right, but I, 128 00:06:40,080 --> 00:06:41,839 Speaker 1: you know, I have some things to give it a Chancey. 129 00:06:42,000 --> 00:06:44,080 Speaker 1: I will set the scene and say that this is 130 00:06:44,320 --> 00:06:44,600 Speaker 1: for me. 131 00:06:44,720 --> 00:06:46,440 Speaker 2: Was a dance to this song with your mom. But 132 00:06:46,520 --> 00:06:50,279 Speaker 2: you're sorry. 133 00:06:51,600 --> 00:06:53,760 Speaker 1: I also I forgot to say this in the last 134 00:06:53,760 --> 00:06:57,359 Speaker 1: episode really quick. So last episode was Rascal Flats My wish. 135 00:06:57,360 --> 00:06:59,000 Speaker 1: It was a song that I danced with my mom. 136 00:06:59,080 --> 00:07:00,640 Speaker 2: Just to remind you said it might have been two 137 00:07:00,680 --> 00:07:01,240 Speaker 2: episodes ago. 138 00:07:01,320 --> 00:07:03,760 Speaker 1: Oh yeah, you're right, it was two episodes ago. It 139 00:07:03,800 --> 00:07:06,880 Speaker 1: was too And anyway, the thing I wanted to say 140 00:07:07,080 --> 00:07:11,280 Speaker 1: was that recently I asked my mom about the song. 141 00:07:11,400 --> 00:07:13,240 Speaker 1: I was like, you remember the song that we danced too? 142 00:07:13,440 --> 00:07:15,280 Speaker 1: And she was like, no, what song was it? I 143 00:07:15,320 --> 00:07:17,440 Speaker 1: was like, Rascal Flats my wish and she was like, 144 00:07:17,560 --> 00:07:19,400 Speaker 1: I don't know what does that song? How's it go? 145 00:07:19,880 --> 00:07:23,440 Speaker 1: And I was like, wow, So she doesn't even remember 146 00:07:23,480 --> 00:07:25,680 Speaker 1: the name of the band, the song how it goes? 147 00:07:26,160 --> 00:07:28,080 Speaker 1: She admitted that she got it on a list. 148 00:07:28,760 --> 00:07:31,600 Speaker 2: That's really amazing. She's like, I'm said, don't put my thoughts. 149 00:07:33,680 --> 00:07:35,400 Speaker 2: That's beautiful. I kind of love that. 150 00:07:35,840 --> 00:07:38,040 Speaker 1: So this is very different. This is not was not 151 00:07:38,080 --> 00:07:39,840 Speaker 1: a part of my wedding at all. And I will 152 00:07:39,840 --> 00:07:41,560 Speaker 1: say though I was a big, no doubt fan in 153 00:07:41,600 --> 00:07:43,800 Speaker 1: the same way that I did like Weezer, Tragic Kingdom 154 00:07:43,880 --> 00:07:46,960 Speaker 1: was big. I even like some songs off their second album, 155 00:07:47,000 --> 00:07:49,320 Speaker 1: which was like, there's a song called new and there 156 00:07:49,440 --> 00:07:51,800 Speaker 1: I love to Soak in your old bathwater. That song 157 00:07:51,880 --> 00:07:52,840 Speaker 1: I don't never remember. 158 00:07:52,600 --> 00:07:55,720 Speaker 2: This new I'm thinking of underneath it all? Is that 159 00:07:56,040 --> 00:07:56,880 Speaker 2: her on this. 160 00:07:57,000 --> 00:07:59,320 Speaker 1: That's on this album, that's no doubt. I think it's on. 161 00:07:59,440 --> 00:08:01,080 Speaker 1: I think it's on, which I think is like their 162 00:08:01,120 --> 00:08:03,800 Speaker 1: third album. The other thing that's really interesting is just 163 00:08:03,840 --> 00:08:06,640 Speaker 1: to give you context, like their first album and some 164 00:08:06,720 --> 00:08:10,320 Speaker 1: of their second was every song co written by Eric Stefani, 165 00:08:10,360 --> 00:08:13,200 Speaker 1: her brother, who didn't want to be in the like 166 00:08:13,760 --> 00:08:17,560 Speaker 1: in the band, like didn't want to be on I 167 00:08:17,560 --> 00:08:20,480 Speaker 1: don't know, mean like on stage or something. But he 168 00:08:20,520 --> 00:08:22,520 Speaker 1: wrote like all those songs. 169 00:08:22,840 --> 00:08:24,560 Speaker 2: I didn't know first, like yeah. 170 00:08:24,360 --> 00:08:26,760 Speaker 1: All those songs he like it was heavy handed in 171 00:08:27,200 --> 00:08:29,320 Speaker 1: and then he was like, oh, I like departed from 172 00:08:29,320 --> 00:08:30,920 Speaker 1: the band. He's not in the music videos. Then they 173 00:08:30,960 --> 00:08:33,560 Speaker 1: blew up. I don't know what he went into or 174 00:08:33,600 --> 00:08:36,480 Speaker 1: I don't know, like a big Eric Stefani you know, 175 00:08:36,640 --> 00:08:39,520 Speaker 1: biopic yet have you seen a. 176 00:08:39,440 --> 00:08:40,240 Speaker 2: Picture of him? 177 00:08:40,720 --> 00:08:40,960 Speaker 1: No? 178 00:08:41,640 --> 00:08:43,240 Speaker 2: So do you think that could be like a Tyler 179 00:08:43,320 --> 00:08:43,880 Speaker 2: Durdon thing? 180 00:08:44,679 --> 00:08:46,559 Speaker 1: Oh wow? So who is I'm. 181 00:08:46,640 --> 00:08:50,920 Speaker 2: Like, mister Robot, Sorry I'm dropping spoilers. No Eric Stefani, 182 00:08:52,440 --> 00:08:54,160 Speaker 2: but Eric Stefani Tyler Durdon. 183 00:08:54,440 --> 00:08:54,480 Speaker 1: No. 184 00:08:54,600 --> 00:08:57,160 Speaker 2: What I mean is is it real that she has 185 00:08:57,200 --> 00:08:59,240 Speaker 2: a brother or is she the brother. 186 00:08:59,600 --> 00:09:02,199 Speaker 1: That's a If that's true, then she I give her 187 00:09:02,559 --> 00:09:04,840 Speaker 1: a lot of credit because that's really it's incredible. 188 00:09:05,000 --> 00:09:07,480 Speaker 2: That's the biggest chancey. I would give her all day. 189 00:09:07,559 --> 00:09:10,880 Speaker 2: I'd be like, yo, honestly super respect for either having 190 00:09:10,920 --> 00:09:15,280 Speaker 2: some sort of disassociated I know, brother, or for inventing 191 00:09:15,320 --> 00:09:18,120 Speaker 2: a brother for songwriting purposes and a narrative. 192 00:09:18,720 --> 00:09:21,160 Speaker 1: I don't know, but I guess. 193 00:09:21,040 --> 00:09:25,480 Speaker 2: You give right now you're thinking about from this when 194 00:09:25,559 --> 00:09:26,559 Speaker 2: I don't know where to go. 195 00:09:27,360 --> 00:09:30,480 Speaker 1: But the Tyler Dirdan of the band whoever was wrote 196 00:09:30,520 --> 00:09:36,160 Speaker 1: these beautiful songs in my opinion, like Spiderwebs, Sunday Morning obviously, Don't. 197 00:09:35,880 --> 00:09:39,120 Speaker 2: Speak, that's on Project Kingdom too. Damn. Yeah, that was 198 00:09:39,160 --> 00:09:40,560 Speaker 2: a big, big record. 199 00:09:40,920 --> 00:09:43,359 Speaker 1: There's another one too that that's another. 200 00:09:43,200 --> 00:09:45,319 Speaker 2: Sit Just a Girl. That was the first song, right, 201 00:09:45,360 --> 00:09:46,280 Speaker 2: I'm just just a girl. 202 00:09:46,320 --> 00:09:48,600 Speaker 1: That's I'm sorry. Yeah, thanks, just a Girl. So that's 203 00:09:48,600 --> 00:09:52,640 Speaker 1: like four pretty big song like you, yeah, like to 204 00:09:52,840 --> 00:09:56,000 Speaker 1: at least two to three. Yeah, Spiderwebs, just a Girl, 205 00:09:56,040 --> 00:09:59,280 Speaker 1: and Don't Speak were massive hits, yes, and then there 206 00:09:59,360 --> 00:10:01,400 Speaker 1: was maybe another song and then they had another one. 207 00:10:01,880 --> 00:10:03,480 Speaker 1: Then this album came out and it was such a 208 00:10:03,520 --> 00:10:06,280 Speaker 1: departure for me, like even just the production of it, 209 00:10:06,679 --> 00:10:08,800 Speaker 1: and in some ways it led to what I like, 210 00:10:08,880 --> 00:10:12,040 Speaker 1: which was some of her solo stuff like Halla Back Girl, 211 00:10:12,760 --> 00:10:16,360 Speaker 1: It's really fun. That's the Neptunes totally. Yeah, this song 212 00:10:16,440 --> 00:10:18,840 Speaker 1: I looked up was produced by this guy who did 213 00:10:18,960 --> 00:10:23,040 Speaker 1: a ton of York. He also produced Nothing Compares to 214 00:10:23,080 --> 00:10:26,920 Speaker 1: You by Shane O'Connor. He also did that song Everyone's 215 00:10:27,040 --> 00:10:28,760 Speaker 1: Everybody's Free to wear sunscreen. 216 00:10:29,600 --> 00:10:31,320 Speaker 2: Oh yeah, yeah, I don't. 217 00:10:32,280 --> 00:10:35,920 Speaker 1: Yeah, he produced Venus as a Boy. It's so quiet 218 00:10:36,120 --> 00:10:39,959 Speaker 1: army of me behavior like army of. 219 00:10:39,960 --> 00:10:43,640 Speaker 2: Me, and I can hear that. I can. I can't 220 00:10:43,720 --> 00:10:46,000 Speaker 2: hear the other things you said really, which is funny, 221 00:10:46,000 --> 00:10:48,800 Speaker 2: but I can not. All producers only produce one way. 222 00:10:48,840 --> 00:10:51,880 Speaker 1: Also, but yeah, but I would almost say, like if 223 00:10:51,920 --> 00:10:54,240 Speaker 1: I had known that, and I didn't know the band 224 00:10:54,240 --> 00:10:56,080 Speaker 1: at all, I would maybe go into this a little different. 225 00:10:56,120 --> 00:10:57,840 Speaker 1: But it doesn't have any of that kind of B 226 00:10:57,880 --> 00:11:02,520 Speaker 1: York cool factor that like this song is really I 227 00:11:02,520 --> 00:11:05,520 Speaker 1: don't know, it's too simple in a kind of like 228 00:11:05,559 --> 00:11:07,440 Speaker 1: they're trying to have this clubby thing and they went 229 00:11:07,760 --> 00:11:08,880 Speaker 1: to pop simple. 230 00:11:09,760 --> 00:11:12,240 Speaker 2: I think, so are we starting with anti chancy or chancy? 231 00:11:12,520 --> 00:11:14,760 Speaker 1: Well? My chancey is that I think if it was 232 00:11:14,800 --> 00:11:18,360 Speaker 1: reframed for me like, oh, you know No Doubt featuring 233 00:11:18,400 --> 00:11:19,959 Speaker 1: and if this guy was some sort of DJ, I 234 00:11:20,040 --> 00:11:21,600 Speaker 1: might be like, Okay, this is a department. This is 235 00:11:21,600 --> 00:11:24,000 Speaker 1: different right as they came out being like we're no Doubt, 236 00:11:24,120 --> 00:11:26,480 Speaker 1: you know us and this is our new sound. 237 00:11:26,720 --> 00:11:29,560 Speaker 2: Right, Which is interesting because part of what we were 238 00:11:29,559 --> 00:11:32,679 Speaker 2: talking about with Ed Shearon is like the courage involved 239 00:11:32,760 --> 00:11:35,440 Speaker 2: in being like I think, and I think this is 240 00:11:35,480 --> 00:11:37,800 Speaker 2: maybe an indicative of and I don't even know that 241 00:11:37,800 --> 00:11:39,640 Speaker 2: it's comparative between the two. You could out, you could 242 00:11:39,640 --> 00:11:43,760 Speaker 2: apply it in any context. At that level, it's like 243 00:11:43,840 --> 00:11:48,120 Speaker 2: both courageous but also it's part of So you mentioned 244 00:11:48,160 --> 00:11:50,640 Speaker 2: Madonna a couple episodes ago. I think about your your 245 00:11:50,640 --> 00:11:53,720 Speaker 2: mom listening to her the immaculate collection in the car. 246 00:11:54,080 --> 00:11:59,199 Speaker 2: I feel like, what, there's there's an eternal abate, abait 247 00:11:59,360 --> 00:12:02,360 Speaker 2: debate about stuff like this. Which is this an eternal abate? 248 00:12:02,679 --> 00:12:08,080 Speaker 2: Which is like, is Madonna was Madonna? David Bowie, people 249 00:12:08,120 --> 00:12:12,240 Speaker 2: like that shape shifters formal stylistic shape shifters, not literal, 250 00:12:12,400 --> 00:12:14,320 Speaker 2: not like you know, you should check look us up. 251 00:12:14,400 --> 00:12:17,280 Speaker 2: David Ike. The ramp shape shifters. Yea, yeah, not like that. 252 00:12:17,600 --> 00:12:21,959 Speaker 2: But there's people, and I guess I'm more in this 253 00:12:22,000 --> 00:12:25,600 Speaker 2: category who see that as a kind of like they 254 00:12:25,640 --> 00:12:29,120 Speaker 2: were like ahead of curves, right, or they were like 255 00:12:29,880 --> 00:12:33,199 Speaker 2: almost like they could see a wheel that was about 256 00:12:33,240 --> 00:12:35,880 Speaker 2: to turn. And then there's the other argument that's like 257 00:12:36,120 --> 00:12:40,080 Speaker 2: they took things that were already percolating in underground environments 258 00:12:40,160 --> 00:12:43,160 Speaker 2: and sort of like co opted them through the lens 259 00:12:43,200 --> 00:12:47,800 Speaker 2: of their kind of established privilege. Both are probably kind 260 00:12:47,800 --> 00:12:49,560 Speaker 2: of true because you got to be like looking for 261 00:12:49,600 --> 00:12:52,360 Speaker 2: stuff like that to find it. And then also you 262 00:12:52,400 --> 00:12:56,520 Speaker 2: can't help if you're Madonna already or David Bowie already, Well, 263 00:12:57,000 --> 00:12:59,240 Speaker 2: there you go. You're already up there, you're already. It's 264 00:12:59,280 --> 00:13:02,320 Speaker 2: not like you can't. They're they're people who are interested 265 00:13:02,360 --> 00:13:06,640 Speaker 2: in art and creativity and things that are exciting to them, 266 00:13:06,880 --> 00:13:09,320 Speaker 2: and they're also already super famous people trying to make 267 00:13:09,400 --> 00:13:13,240 Speaker 2: new stuff. So something like this, to me, it's like 268 00:13:14,040 --> 00:13:16,920 Speaker 2: there is a courage involved in being like, I'm this 269 00:13:17,080 --> 00:13:19,080 Speaker 2: kind of artist, but now I'm going to make this 270 00:13:19,240 --> 00:13:22,640 Speaker 2: kind of record. It indicates a kind of curiosity and 271 00:13:22,720 --> 00:13:26,440 Speaker 2: a kind of aesthetic chancey that they're trying to give 272 00:13:26,840 --> 00:13:30,120 Speaker 2: to something different. It also indicates kind of what happens 273 00:13:30,200 --> 00:13:33,040 Speaker 2: in like the feeding frenzy of the music industry, which 274 00:13:33,080 --> 00:13:36,240 Speaker 2: is like, all right, that's not cool anymore. It's like 275 00:13:36,320 --> 00:13:39,600 Speaker 2: Metallica shaving their head and being like, let's make reload 276 00:13:40,080 --> 00:13:40,600 Speaker 2: right right. 277 00:13:40,920 --> 00:13:43,600 Speaker 1: But this doesn't feel like that so much. This feels 278 00:13:43,679 --> 00:13:45,800 Speaker 1: like they aren't they want They wanted to go in 279 00:13:45,840 --> 00:13:48,559 Speaker 1: this direction, which I give them credit for that that 280 00:13:48,960 --> 00:13:52,360 Speaker 1: this feels intentional, like they wanted to try something more pop, 281 00:13:52,800 --> 00:13:54,920 Speaker 1: like I think that this was something that maybe Quinn 282 00:13:55,040 --> 00:13:57,800 Speaker 1: was influenced by and wanted to time, and so it 283 00:13:57,840 --> 00:14:00,800 Speaker 1: doesn't feel like they're they're trying to up with something. 284 00:14:01,480 --> 00:14:03,000 Speaker 1: I think they were trying to push their own limits, 285 00:14:03,000 --> 00:14:04,640 Speaker 1: which I give them a lot. That's the chancey I 286 00:14:04,679 --> 00:14:07,800 Speaker 1: give them credit for. My issue is that I think 287 00:14:07,840 --> 00:14:10,240 Speaker 1: if they weren't, no doubt an established band and this 288 00:14:10,440 --> 00:14:12,960 Speaker 1: was their first song, I don't think it would hit radio. 289 00:14:13,360 --> 00:14:15,760 Speaker 1: I will say that it's incredibly catchy. You feel in 290 00:14:15,800 --> 00:14:18,360 Speaker 1: hello good, like that's really that's a really catchy chorus. 291 00:14:18,360 --> 00:14:20,520 Speaker 1: The problem is that they they do it one hundred 292 00:14:20,560 --> 00:14:23,640 Speaker 1: times and it's like it no longer has it actually 293 00:14:23,760 --> 00:14:26,040 Speaker 1: as a chancey Thank god, it's kind of wacky, but 294 00:14:26,120 --> 00:14:28,840 Speaker 1: that that kind of bridge, that instrumental. 295 00:14:28,440 --> 00:14:31,680 Speaker 2: But like that was almost like something that would be 296 00:14:31,720 --> 00:14:33,760 Speaker 2: in like a daft punk song or something, or like 297 00:14:33,840 --> 00:14:37,600 Speaker 2: a band like Hot Chip or something like that. Yeah, damn. 298 00:14:38,320 --> 00:14:40,200 Speaker 2: And then I feel like what was funny about the 299 00:14:40,200 --> 00:14:44,200 Speaker 2: bridge was that that that weird sort of it was 300 00:14:44,280 --> 00:14:47,920 Speaker 2: like a late nineties or the two thousands whenever this 301 00:14:47,960 --> 00:14:52,680 Speaker 2: record came out, like filtration of like a yacht rock thing. Yeah, 302 00:14:52,760 --> 00:14:55,760 Speaker 2: then they go to that funny it's like they're they're 303 00:14:56,000 --> 00:14:58,200 Speaker 2: dueling banjos. The next thing is like a little two 304 00:14:58,840 --> 00:15:02,440 Speaker 2: lead and that that part I actually authentically was like, whoa, 305 00:15:02,640 --> 00:15:04,920 Speaker 2: that's if you gave me a hundred thoughts about what 306 00:15:05,000 --> 00:15:07,640 Speaker 2: the next half of that was, and I love that. 307 00:15:08,120 --> 00:15:10,960 Speaker 1: Yes, that's I was so when that came on. At first, 308 00:15:10,960 --> 00:15:12,160 Speaker 1: I was like what the hell is this? But then 309 00:15:12,160 --> 00:15:14,480 Speaker 1: I was like, no, it's like really refreshing because it's 310 00:15:14,520 --> 00:15:19,280 Speaker 1: so repetitive, like Dan Dan yes, you know, like it's 311 00:15:19,360 --> 00:15:20,120 Speaker 1: just I. 312 00:15:20,000 --> 00:15:25,720 Speaker 2: Can't sound like a Mario video game. Yeah yeah, and. 313 00:15:25,720 --> 00:15:27,640 Speaker 1: Did it and did it undone, like they was trying 314 00:15:27,640 --> 00:15:30,200 Speaker 1: to squeeze one hundred notes into like one little leave. 315 00:15:44,200 --> 00:15:47,640 Speaker 2: I think what you just were talking about, though, is 316 00:15:47,680 --> 00:15:53,480 Speaker 2: a stylistic, aesthetic crystallization representation of what my kind of 317 00:15:53,560 --> 00:15:56,920 Speaker 2: issue is with Gwen Stefani. I know this is no 318 00:15:56,960 --> 00:15:59,240 Speaker 2: doubt she's one of four I'm not I don't mean 319 00:15:59,280 --> 00:16:02,680 Speaker 2: to unfair, but as the figurehead, as the kind of 320 00:16:02,800 --> 00:16:07,080 Speaker 2: breakout celebrity of the band, the identifier, it's like, you know, 321 00:16:07,920 --> 00:16:12,080 Speaker 2: you know, it is what it is. There's this almost weird, 322 00:16:12,120 --> 00:16:15,320 Speaker 2: like Gwyneth Paltrow thing for me about her, where she's 323 00:16:15,400 --> 00:16:18,120 Speaker 2: like all of the markings of a kind of like 324 00:16:18,280 --> 00:16:24,880 Speaker 2: traditionally charismatic, attractive person, you know, figure whatever someone would. 325 00:16:25,640 --> 00:16:28,360 Speaker 2: But it's like this song, right, this is as a 326 00:16:28,400 --> 00:16:31,160 Speaker 2: lot of music is, and it's great, thankful for it. 327 00:16:31,280 --> 00:16:34,080 Speaker 2: This is ultimately a body song. It's it's a sex song. 328 00:16:35,920 --> 00:16:39,040 Speaker 2: If you read the lyrics, she's effectively saying, like dancing 329 00:16:39,160 --> 00:16:41,840 Speaker 2: as if this is as old as like whatever blues 330 00:16:41,920 --> 00:16:44,960 Speaker 2: rock and roll. It's like dancing is basically like a 331 00:16:45,000 --> 00:16:48,840 Speaker 2: stand in for sex. That's what has been happening for 332 00:16:48,880 --> 00:16:50,480 Speaker 2: as long as you know, definitely as long as the 333 00:16:50,480 --> 00:16:52,880 Speaker 2: Beatles and Twist and Shout and Elvis before that, and 334 00:16:52,960 --> 00:16:55,480 Speaker 2: Chuck Berry before that, and the Blues Singers before that, 335 00:16:55,840 --> 00:16:58,160 Speaker 2: and also some of the lyrics indicate that directly. The 336 00:16:58,240 --> 00:17:01,080 Speaker 2: thing is there's always it's been something kind of too 337 00:17:01,120 --> 00:17:07,640 Speaker 2: dimensional to me about how she goes about embodying that, 338 00:17:07,720 --> 00:17:09,520 Speaker 2: and not just that, but like all of the things, 339 00:17:09,560 --> 00:17:11,080 Speaker 2: Like I do think this is a song where a 340 00:17:11,080 --> 00:17:13,960 Speaker 2: band wants to push itself out, but I also think 341 00:17:14,000 --> 00:17:16,440 Speaker 2: there is something about and certainly later with some of 342 00:17:16,440 --> 00:17:18,439 Speaker 2: the stuff she actually kind of got into trouble with 343 00:17:19,200 --> 00:17:21,720 Speaker 2: at some point, with like the Harajuku Girls and that 344 00:17:21,800 --> 00:17:24,680 Speaker 2: kind of stuff, there was a little bit of appropriation, yes, 345 00:17:25,480 --> 00:17:28,720 Speaker 2: And I think there's something about it that's a little 346 00:17:28,760 --> 00:17:31,639 Speaker 2: like maybe it's like everything is a copy of a 347 00:17:31,640 --> 00:17:33,760 Speaker 2: copy of a copy, and after you make enough copies, 348 00:17:33,840 --> 00:17:35,720 Speaker 2: things get a little like blood of their color, a 349 00:17:35,760 --> 00:17:39,240 Speaker 2: little degraded. But like there's something about her that feels 350 00:17:40,760 --> 00:17:44,000 Speaker 2: not totally it's a little like, uh yeah, like the 351 00:17:44,040 --> 00:17:46,399 Speaker 2: stuffing's been removed. There's some it's like it looks like 352 00:17:46,440 --> 00:17:48,159 Speaker 2: what it's supposed to look like. I don't mean that 353 00:17:48,240 --> 00:17:50,439 Speaker 2: literally exclusively about the way she looks. I mean like 354 00:17:50,520 --> 00:17:53,720 Speaker 2: the thing, the art, the yeah, the art, the packaging, 355 00:17:53,840 --> 00:17:56,159 Speaker 2: but there's something in it that's just missing. And I 356 00:17:56,160 --> 00:17:59,199 Speaker 2: think part of what it is is like the stuff 357 00:17:59,240 --> 00:18:04,000 Speaker 2: that's being said, it's like it doesn't inspire any kind 358 00:18:04,040 --> 00:18:06,560 Speaker 2: of It's like, this would be cool in the background 359 00:18:06,560 --> 00:18:09,360 Speaker 2: of any environment you could think of being in in 360 00:18:09,400 --> 00:18:14,320 Speaker 2: the background, like a supermarket, like a loud party where 361 00:18:14,359 --> 00:18:16,240 Speaker 2: you couldn't even really tell what the music was, but 362 00:18:16,280 --> 00:18:18,199 Speaker 2: there was like something on you could feel them, and 363 00:18:18,240 --> 00:18:22,560 Speaker 2: that's maybe enough, Maybe that's enough. But she's not. I've 364 00:18:22,600 --> 00:18:26,080 Speaker 2: never found her to be as like there's always something. 365 00:18:26,119 --> 00:18:28,399 Speaker 2: I'm like, I gotta like squint a little bit to 366 00:18:28,920 --> 00:18:30,720 Speaker 2: find what's compelling about her. 367 00:18:31,320 --> 00:18:35,679 Speaker 1: While I agree, I don't care with her for some reason, 368 00:18:35,720 --> 00:18:37,600 Speaker 1: and I don't know why. It's it's not that I 369 00:18:37,640 --> 00:18:41,240 Speaker 1: ever thought that she even was the main contributor to 370 00:18:41,320 --> 00:18:43,879 Speaker 1: a lot of like the lyrics and stuff, because you know, 371 00:18:43,920 --> 00:18:46,040 Speaker 1: I know how bands work sometimes, and I think like 372 00:18:46,440 --> 00:18:48,119 Speaker 1: she went, I mean, like it's a bummer that she 373 00:18:48,240 --> 00:18:50,800 Speaker 1: went from, you know, like some of the lyrics of 374 00:18:50,880 --> 00:18:54,360 Speaker 1: Don't Speak being so specific and just sections that are 375 00:18:54,400 --> 00:18:56,879 Speaker 1: like as we die, both you and I with my 376 00:18:56,960 --> 00:18:59,240 Speaker 1: head in my hands, I sit and cry like cool 377 00:18:59,280 --> 00:19:01,760 Speaker 1: like you know, uh, like little things that are like 378 00:19:01,840 --> 00:19:04,119 Speaker 1: kind of personal, like I love that song and I 379 00:19:04,760 --> 00:19:07,040 Speaker 1: like a lot of it, and I like the character 380 00:19:07,080 --> 00:19:09,440 Speaker 1: of the band, and I think, like that's my bigger issue. 381 00:19:09,440 --> 00:19:11,760 Speaker 1: But I will say going back to like the sort 382 00:19:11,760 --> 00:19:16,760 Speaker 1: of plastic y vibe of her solo stuff like uh huh, 383 00:19:16,800 --> 00:19:20,080 Speaker 1: that's my this is shit has bananas like that to me, 384 00:19:20,160 --> 00:19:23,840 Speaker 1: I don't mind for some reason because like fun, yeah, 385 00:19:24,080 --> 00:19:26,560 Speaker 1: and it's and it's like I'm not looking for more. 386 00:19:26,920 --> 00:19:29,000 Speaker 1: I stopped looking. Maybe it was maybe this was the 387 00:19:29,040 --> 00:19:31,280 Speaker 1: transition that got me there, but I stopped looking for 388 00:19:32,160 --> 00:19:35,359 Speaker 1: more from her. But I agree that like her later 389 00:19:35,640 --> 00:19:37,560 Speaker 1: half of like even just her stuff on the Voice 390 00:19:37,680 --> 00:19:42,480 Speaker 1: or like she's with that guy like Cowboy and the Voice, 391 00:19:43,000 --> 00:19:46,600 Speaker 1: little Shelton, rich rich cowboy from the Voice, she was with. 392 00:19:46,640 --> 00:19:48,960 Speaker 2: Young Sheldon, the rich cowboy from the Voice. 393 00:19:49,240 --> 00:19:54,000 Speaker 1: Yeah, yeah, the rich cowboy from the Voice. I don't know. Yeah, 394 00:19:54,000 --> 00:19:56,000 Speaker 1: maybe I don't know what it was. Maybe this was 395 00:19:56,040 --> 00:19:58,399 Speaker 1: like the thing or where it's like I and I 396 00:19:58,440 --> 00:20:02,200 Speaker 1: also don't mind when there is sort of a figurehead 397 00:20:03,040 --> 00:20:06,959 Speaker 1: that is I don't know, like I don't mind a 398 00:20:07,200 --> 00:20:11,600 Speaker 1: puppet sometimes right, Like I don't know, I don't know. 399 00:20:11,840 --> 00:20:14,679 Speaker 1: For some reason for me, she pulls off puppet, especially 400 00:20:14,720 --> 00:20:19,240 Speaker 1: in that later section, and like, honestly, aside from Bananas Hell, 401 00:20:20,240 --> 00:20:24,400 Speaker 1: keep calling Hella good, hollow Back, hallow Back Girl. Yeah, yeah, 402 00:20:24,560 --> 00:20:28,400 Speaker 1: there was one other song that was like T Talk 403 00:20:28,600 --> 00:20:31,879 Speaker 1: tick you know that, Like it was another hops I 404 00:20:31,880 --> 00:20:34,920 Speaker 1: don't know what you what you're waiting for. It's it's 405 00:20:34,920 --> 00:20:37,080 Speaker 1: a kind of like another pop song that didn't do that. 406 00:20:37,200 --> 00:20:40,639 Speaker 1: It wasn't that big, right, Remember they also like after 407 00:20:40,680 --> 00:20:44,120 Speaker 1: all this, they did that Talk Talk cover It's My Life. 408 00:20:44,200 --> 00:20:46,840 Speaker 2: Oh yeah, that was a huge, huge hit and. 409 00:20:46,720 --> 00:20:50,000 Speaker 1: That was later too that I actually think that they 410 00:20:50,040 --> 00:20:51,359 Speaker 1: put that on their greatest hits. 411 00:20:51,920 --> 00:20:53,720 Speaker 2: You know what's funny about that actually though, So this 412 00:20:53,760 --> 00:20:56,680 Speaker 2: is going to be a super parenthetical thing that has 413 00:20:56,720 --> 00:20:58,760 Speaker 2: nothing to do with anything. There's a record producer named 414 00:20:58,840 --> 00:21:00,959 Speaker 2: Rob Schnaff. He's made it bych of great records, by 415 00:21:00,960 --> 00:21:02,720 Speaker 2: a bunch of people, and we have had the opportunity 416 00:21:02,760 --> 00:21:05,119 Speaker 2: to work together a handful of times, and he one 417 00:21:05,160 --> 00:21:08,480 Speaker 2: of the first things he ever did. He worked he 418 00:21:08,560 --> 00:21:10,720 Speaker 2: was a studio assistant at a bunch of places in 419 00:21:11,000 --> 00:21:13,159 Speaker 2: Los Angeles and then he was he got asked to 420 00:21:13,200 --> 00:21:17,840 Speaker 2: work on Swallow This Live by Poison Now Live records 421 00:21:17,920 --> 00:21:20,480 Speaker 2: and greatest hits records, especially in this era of the 422 00:21:20,560 --> 00:21:23,399 Speaker 2: music industry, they're kind of cousins. It's usually something someone's 423 00:21:23,440 --> 00:21:26,879 Speaker 2: doing as a contractual obligation to speed getting out of 424 00:21:27,000 --> 00:21:29,439 Speaker 2: their contract. It's like, oh, well, if I give you 425 00:21:29,440 --> 00:21:31,199 Speaker 2: the greatest hits record and a live record, I'm two 426 00:21:31,240 --> 00:21:34,639 Speaker 2: records further up the thing. I didn't know that, yeah, totally. 427 00:21:34,720 --> 00:21:37,840 Speaker 2: And that's why, like that Radiohead, the last Radiohead record 428 00:21:37,920 --> 00:21:41,280 Speaker 2: on Capitol was a greatest hits record or something. 429 00:21:41,920 --> 00:21:44,400 Speaker 1: I didn't know they had one exactly. I don't think 430 00:21:44,440 --> 00:21:46,359 Speaker 1: they why they put out a lot of B side 431 00:21:46,400 --> 00:21:48,720 Speaker 1: stuff too, like Ansiac and stuff like that. 432 00:21:49,119 --> 00:21:51,439 Speaker 2: No, I think that might have actually just been like 433 00:21:51,520 --> 00:21:55,200 Speaker 2: a mark of ambition. I think Amesiac they were literally like, Hey, 434 00:21:55,240 --> 00:21:57,320 Speaker 2: we have a record we think is as good as 435 00:21:57,400 --> 00:21:59,359 Speaker 2: this other record we just put out. Let's just do 436 00:21:59,400 --> 00:22:00,400 Speaker 2: it six months later. 437 00:22:00,440 --> 00:22:02,760 Speaker 1: Because I thought they made all those songs for Kid 438 00:22:02,760 --> 00:22:04,359 Speaker 1: A and they had all these extra songs and they 439 00:22:04,400 --> 00:22:06,360 Speaker 1: were like, this is all kid and then they were like, oh, 440 00:22:06,400 --> 00:22:08,920 Speaker 1: we should still use these they're good. Maybe we're just saying 441 00:22:08,880 --> 00:22:10,720 Speaker 1: the same thing. I didn't know if it was also 442 00:22:10,880 --> 00:22:12,840 Speaker 1: like a it was a tool to be like and 443 00:22:12,840 --> 00:22:13,840 Speaker 1: it certainly didn't hurt. 444 00:22:13,920 --> 00:22:15,840 Speaker 2: I'm sure if they were able to get that to count, 445 00:22:15,920 --> 00:22:19,760 Speaker 2: but this this swallowed this live thing. So Rob's a 446 00:22:19,800 --> 00:22:23,160 Speaker 2: young ascendant. He's kind of like a foot in the door. 447 00:22:24,040 --> 00:22:27,040 Speaker 2: One of his jobs was on it literal tape machine, 448 00:22:27,080 --> 00:22:31,960 Speaker 2: taping together one C. C. Deville guitar solo to put 449 00:22:32,000 --> 00:22:34,560 Speaker 2: on the record from all of the ones he did 450 00:22:34,640 --> 00:22:37,439 Speaker 2: every night on tour, like he had to find like 451 00:22:37,720 --> 00:22:40,240 Speaker 2: and he said that was actually like a particular circle 452 00:22:40,280 --> 00:22:40,640 Speaker 2: of hell. 453 00:22:41,800 --> 00:22:43,040 Speaker 1: Why did he need to do it because they were 454 00:22:43,040 --> 00:22:45,200 Speaker 1: all kind of they all they wanted bad Spot. 455 00:22:45,280 --> 00:22:48,280 Speaker 2: They wanted Yeah, they kind of wanted to have one 456 00:22:48,560 --> 00:22:50,200 Speaker 2: of his guitar. So you know every of those kinds 457 00:22:50,240 --> 00:22:52,320 Speaker 2: of shows, it's like the guitars, we get a guitar solo, 458 00:22:52,359 --> 00:22:54,679 Speaker 2: the drummer, we get a drum solo. Tommy Lee's up 459 00:22:54,680 --> 00:22:57,639 Speaker 2: in something rotating in Motley Crue in the air. And 460 00:22:57,680 --> 00:23:00,880 Speaker 2: so he had to like listen to six of them 461 00:23:00,960 --> 00:23:04,480 Speaker 2: and put together a three minute guitar solo from like 462 00:23:04,560 --> 00:23:07,040 Speaker 2: the best pieces. And this is pre pro tools, pre 463 00:23:07,119 --> 00:23:08,919 Speaker 2: any of that. You're doing it on tape anyway. The 464 00:23:09,000 --> 00:23:11,200 Speaker 2: reason is that I bring this up is to say. 465 00:23:11,880 --> 00:23:14,080 Speaker 2: One of the things that would happen with these records, 466 00:23:14,080 --> 00:23:15,720 Speaker 2: and you said it yesterday, I didn't think of it. 467 00:23:16,560 --> 00:23:18,879 Speaker 2: You would. They would always write like a new song. 468 00:23:19,200 --> 00:23:23,399 Speaker 2: It would be like Alive from this, you know whatever, 469 00:23:23,480 --> 00:23:26,600 Speaker 2: Flesh and Blood tour plus one studio track, you know, 470 00:23:26,800 --> 00:23:30,280 Speaker 2: like get And there's a story about that where I 471 00:23:30,280 --> 00:23:32,720 Speaker 2: guess Brett Michaels and you know, sorry Brett Michaels, but 472 00:23:32,840 --> 00:23:35,680 Speaker 2: he said to Rob, what do you think of this lyric? 473 00:23:36,119 --> 00:23:38,679 Speaker 2: And Rob was like what what? What is it? And 474 00:23:38,720 --> 00:23:41,560 Speaker 2: he was like, my love for you is like the 475 00:23:41,680 --> 00:23:49,400 Speaker 2: river of a dried up stream or something. Rob was like, well, 476 00:23:50,160 --> 00:23:52,520 Speaker 2: it doesn't really make a lot of sense to me. 477 00:23:53,680 --> 00:23:55,800 Speaker 2: He's like, no, you just don't get it. I think 478 00:23:55,840 --> 00:24:00,000 Speaker 2: it made it. Oh yeah, anyway, so I have at 479 00:24:00,080 --> 00:24:03,560 Speaker 2: that moment none unless you're like Rick Ruben. I guess 480 00:24:03,720 --> 00:24:06,399 Speaker 2: if you're Rick Rubin, you might be like, nah, you 481 00:24:06,440 --> 00:24:08,879 Speaker 2: can't say that, you know, or somebody like maybe Phil 482 00:24:08,960 --> 00:24:12,040 Speaker 2: Spector might have pulled a gun on But if you're 483 00:24:12,080 --> 00:24:13,919 Speaker 2: like at a you know, you're just trying to You're like, 484 00:24:13,960 --> 00:24:18,040 Speaker 2: I guess I'm working for poison now. Anyway. That's just 485 00:24:18,080 --> 00:24:20,359 Speaker 2: to say I guess it's not crazy that they would 486 00:24:20,359 --> 00:24:22,640 Speaker 2: have put that talk Talk cover like done it expressly 487 00:24:22,800 --> 00:24:24,760 Speaker 2: for greate Sis record. I kind of forgot that was 488 00:24:24,800 --> 00:24:27,200 Speaker 2: like a feature of those kinds of things. 489 00:24:27,320 --> 00:24:29,440 Speaker 1: To buy it because you already have the album. Yes, 490 00:24:29,640 --> 00:24:30,879 Speaker 1: so it's like another incentive. 491 00:24:31,560 --> 00:24:33,679 Speaker 2: That's all they wanted was, you know, eighteen more bucks. 492 00:24:33,880 --> 00:24:36,600 Speaker 2: Going back to what we were saying, though I know 493 00:24:36,680 --> 00:24:40,200 Speaker 2: where we're I've written a real chancey no chancy line 494 00:24:40,200 --> 00:24:43,320 Speaker 2: this whole time. What I what I think what you're 495 00:24:43,320 --> 00:24:47,200 Speaker 2: saying too about? Maybe this is like too much what's 496 00:24:47,240 --> 00:24:51,440 Speaker 2: the word, like a stuff that exists outside the song itself, 497 00:24:51,800 --> 00:24:53,960 Speaker 2: like but that's part of how my brain works sometimes. 498 00:24:54,440 --> 00:24:58,080 Speaker 2: She became such a cultural figure and kind of like 499 00:24:58,240 --> 00:25:01,480 Speaker 2: a figure that was kind of like a emblematic of 500 00:25:01,520 --> 00:25:05,520 Speaker 2: a kind of like moment in really a kind of 501 00:25:05,560 --> 00:25:08,560 Speaker 2: like pop feminism, like a girl boss kind of thing. 502 00:25:08,640 --> 00:25:11,760 Speaker 2: And now, who the hell am I to have any 503 00:25:12,080 --> 00:25:15,480 Speaker 2: perspective or opinion about that? Perhaps she was every bit 504 00:25:15,680 --> 00:25:20,520 Speaker 2: that for a generation of young women and female identifying people. 505 00:25:20,560 --> 00:25:25,480 Speaker 2: And if that's the case, then I I sind people like, 506 00:25:25,560 --> 00:25:29,080 Speaker 2: that's not for me to say to me, that's part 507 00:25:29,119 --> 00:25:31,879 Speaker 2: of you're talking Like why I think it mattered to 508 00:25:32,040 --> 00:25:34,560 Speaker 2: me was that I was kind of looking at that 509 00:25:35,400 --> 00:25:39,280 Speaker 2: and feeling like there wasn't really much there. Yeah, and 510 00:25:39,359 --> 00:25:40,840 Speaker 2: so I was kind of like, well, that's kind of 511 00:25:40,880 --> 00:25:43,639 Speaker 2: a bummer, and I'm not everyone's gonna be Shinead O'Connor, 512 00:25:43,680 --> 00:25:46,800 Speaker 2: and not everybody's gonna be you know, Kathleen Hannah or 513 00:25:46,880 --> 00:25:49,960 Speaker 2: from Quit or something. But there was something about she 514 00:25:50,200 --> 00:25:52,760 Speaker 2: kind of came from, Oh. 515 00:25:52,560 --> 00:25:54,959 Speaker 1: You're right, You're so right, You're maybe that's it too, 516 00:25:55,080 --> 00:25:57,840 Speaker 1: You're right because just a girl really is this anthem 517 00:25:58,000 --> 00:26:01,280 Speaker 1: of like almost it's very punk rock for a band 518 00:26:01,320 --> 00:26:03,640 Speaker 1: that sort of like was had punk rock and ska 519 00:26:03,760 --> 00:26:07,080 Speaker 1: ethos and like, you know, really home a truly homegrown 520 00:26:07,160 --> 00:26:10,000 Speaker 1: band that like toured a lot in a small bus, 521 00:26:10,040 --> 00:26:13,120 Speaker 1: like was a real band, not an industry plant. No 522 00:26:13,240 --> 00:26:14,480 Speaker 1: put out this message. 523 00:26:15,119 --> 00:26:17,040 Speaker 2: Props them for that too, and then for. 524 00:26:17,200 --> 00:26:19,080 Speaker 1: Yeah, I guess it is I never really put this together, 525 00:26:19,080 --> 00:26:21,800 Speaker 1: but you're right, And then to become so plastic and 526 00:26:22,320 --> 00:26:25,200 Speaker 1: everyone's you're right, the squinting is like, but maybe there's 527 00:26:25,240 --> 00:26:27,040 Speaker 1: maybe it's still just a girl in. 528 00:26:27,760 --> 00:26:31,159 Speaker 2: The yes, yes, yes, yes, but I'm also not the 529 00:26:31,200 --> 00:26:34,000 Speaker 2: target demo and also maybe I'm not equipped to maker. 530 00:26:34,119 --> 00:26:39,000 Speaker 2: That's my that was my experience, my experience this song. 531 00:26:39,920 --> 00:26:43,040 Speaker 2: If it was on somewhere and you were like at 532 00:26:43,040 --> 00:26:46,480 Speaker 2: someone's wedding, you'd be dancing, you'd have a fine time. 533 00:26:56,680 --> 00:26:58,840 Speaker 1: Do you think that in the right context the song 534 00:26:58,840 --> 00:27:01,080 Speaker 1: could still work? And even honestly, like like I said 535 00:27:01,320 --> 00:27:04,000 Speaker 1: when I give you the two choices, I haven't listened 536 00:27:04,000 --> 00:27:05,760 Speaker 1: to either song in a long time, and I was like, I, 537 00:27:05,800 --> 00:27:09,000 Speaker 1: actually I remember disliking Hella good. I still joke about 538 00:27:09,000 --> 00:27:11,159 Speaker 1: it with Lisa about the waves keep on crashing on 539 00:27:11,280 --> 00:27:12,159 Speaker 1: me for some reason. 540 00:27:12,400 --> 00:27:15,120 Speaker 2: That's insane. Yeah, that's an also sorry in that same 541 00:27:15,160 --> 00:27:16,280 Speaker 2: finish your thought. 542 00:27:16,280 --> 00:27:18,600 Speaker 1: Oh but like when I put this on and it 543 00:27:18,640 --> 00:27:20,200 Speaker 1: started playing, I was like, oh wait, did I pick 544 00:27:20,240 --> 00:27:21,720 Speaker 1: a song that actually is good? 545 00:27:22,240 --> 00:27:25,200 Speaker 2: It's all of these songs are kind of good. That's 546 00:27:25,240 --> 00:27:27,960 Speaker 2: the purpose of this whole thing. There are songs that 547 00:27:28,040 --> 00:27:32,720 Speaker 2: they're I think, what's cool about well? And you know music, 548 00:27:32,800 --> 00:27:35,439 Speaker 2: this maybe invalidates us doing this at all, music and 549 00:27:35,600 --> 00:27:39,080 Speaker 2: art and any other thing. It's totally subjective, and that's 550 00:27:39,119 --> 00:27:41,879 Speaker 2: part of what this discussion is. Every time is like 551 00:27:42,000 --> 00:27:44,000 Speaker 2: moving around and that's kind of what I love about it. 552 00:27:44,440 --> 00:27:46,840 Speaker 2: But there is stuff this song does have, Like there 553 00:27:46,880 --> 00:27:50,000 Speaker 2: are cool rhythmic qualities to it. It's very the production 554 00:27:50,160 --> 00:27:52,760 Speaker 2: is cool. There's also parts of the production though. It's 555 00:27:52,800 --> 00:27:54,800 Speaker 2: interesting to hear that he comes from like that York 556 00:27:55,880 --> 00:27:58,439 Speaker 2: world and works with people like that. I've worked with 557 00:27:58,440 --> 00:28:00,639 Speaker 2: people like that. There are the moments where there is 558 00:28:00,720 --> 00:28:03,080 Speaker 2: this stuff happening that's like a little like here's some 559 00:28:03,160 --> 00:28:06,000 Speaker 2: spaceship sounds and she whispered, and I was like, what 560 00:28:06,040 --> 00:28:08,720 Speaker 2: did she say? That's supposed to be, Like, maybe there's 561 00:28:08,720 --> 00:28:11,040 Speaker 2: something super sexy that could sit at that moment, but 562 00:28:11,119 --> 00:28:12,320 Speaker 2: I didn't like butts. 563 00:28:12,880 --> 00:28:16,080 Speaker 1: Yeah, that's super sexy like butts. 564 00:28:18,000 --> 00:28:20,560 Speaker 2: But yeah, I do feel like there was a little 565 00:28:20,600 --> 00:28:24,639 Speaker 2: bit of arbitrariness to where some of that stuff was employed, 566 00:28:24,800 --> 00:28:27,439 Speaker 2: whereas in something like the Byork songs you mentioned, it 567 00:28:27,480 --> 00:28:30,960 Speaker 2: feels not arbitrary at all and aggregating in this way 568 00:28:31,000 --> 00:28:34,119 Speaker 2: that's cool as hell and builds a world. This definitely 569 00:28:34,119 --> 00:28:36,640 Speaker 2: feels a little bit like somebody who's a tourist in 570 00:28:36,680 --> 00:28:41,240 Speaker 2: that world to me, but it is super catchy. I 571 00:28:41,280 --> 00:28:43,160 Speaker 2: agree about the chorus. There was a thing when we 572 00:28:43,160 --> 00:28:45,880 Speaker 2: were on mut where I was like, wow, every chorus 573 00:28:46,000 --> 00:28:49,080 Speaker 2: after the second chorus is a doubled chorus, like that's 574 00:28:49,120 --> 00:28:52,080 Speaker 2: a lot. It actually felt like the song was dragging 575 00:28:52,120 --> 00:28:55,280 Speaker 2: and it's a dance pop song that's all sugar, and 576 00:28:55,280 --> 00:28:57,560 Speaker 2: that's kind of hard to do, like for a song 577 00:28:57,680 --> 00:29:00,240 Speaker 2: like that's a slow to feel like it's drag and 578 00:29:00,280 --> 00:29:03,520 Speaker 2: you're like, oh, that's not good, right, But I did 579 00:29:03,640 --> 00:29:06,440 Speaker 2: want to just say one last in my inco eight ramblings. 580 00:29:06,560 --> 00:29:09,600 Speaker 2: The other thing in that that whole first verse, I mean, 581 00:29:10,440 --> 00:29:13,560 Speaker 2: I really could do twenty minutes on every verse, but 582 00:29:13,600 --> 00:29:16,320 Speaker 2: that you love that first lyric, Your love keeps on 583 00:29:16,360 --> 00:29:19,320 Speaker 2: coming like a thunderbolt. I mean, you know, I don't 584 00:29:19,320 --> 00:29:21,200 Speaker 2: know if the science there checks out, but that's fine. 585 00:29:21,360 --> 00:29:23,680 Speaker 2: But then this lyric that says, come here a little 586 00:29:23,720 --> 00:29:27,160 Speaker 2: closer because I want to see you baby, real close up. 587 00:29:28,040 --> 00:29:31,600 Speaker 2: That's as like a grandma says to her like like 588 00:29:32,400 --> 00:29:34,840 Speaker 2: and it's also kind of doesn't it's a weird thing. 589 00:29:34,920 --> 00:29:37,240 Speaker 2: No one would say that like come here, come a 590 00:29:37,280 --> 00:29:39,880 Speaker 2: little closer. I want to see your real close up. 591 00:29:40,080 --> 00:29:42,000 Speaker 1: It sounds like a drunk guy in a bar who 592 00:29:42,080 --> 00:29:46,760 Speaker 1: wants to fight you here, come here, I want you closer. 593 00:29:47,360 --> 00:29:49,440 Speaker 1: Ian's see you real close up? Is what I want 594 00:29:49,480 --> 00:29:52,080 Speaker 1: to do like it feels like a threat. 595 00:29:52,800 --> 00:29:54,960 Speaker 2: Yeah, so I mean look and also, but I do 596 00:29:55,040 --> 00:29:59,719 Speaker 2: think that's what I'm saying, a performance deserving of standing ovations, 597 00:29:59,760 --> 00:30:02,000 Speaker 2: and who would have thought it'd be the two of us. 598 00:30:02,720 --> 00:30:04,760 Speaker 2: I don't think that's about dancing. I don't think they've 599 00:30:04,880 --> 00:30:07,960 Speaker 2: entered a dance competition. I think we're talking a little 600 00:30:07,960 --> 00:30:11,680 Speaker 2: bit about Saltburn Junior. And then it says, so don't 601 00:30:11,760 --> 00:30:15,440 Speaker 2: wake me if I'm dreaming, which is that's from like 602 00:30:15,480 --> 00:30:17,360 Speaker 2: a Prince song. I mean a lot of people say that, 603 00:30:17,400 --> 00:30:18,960 Speaker 2: but that I was like, what is that from? I 604 00:30:18,960 --> 00:30:20,680 Speaker 2: think that's from a Prince song? 605 00:30:21,000 --> 00:30:22,760 Speaker 1: Jamin Man I mentioned. 606 00:30:22,560 --> 00:30:25,440 Speaker 2: There's that, but there's something like it's from like don't 607 00:30:25,440 --> 00:30:28,280 Speaker 2: Wake Me dreams. Sometimes it snows in April, sometimes the 608 00:30:28,320 --> 00:30:30,760 Speaker 2: skies are gray. It's some print song from that like 609 00:30:30,920 --> 00:30:33,480 Speaker 2: mid eighties era. Because I'm in the mood come on 610 00:30:33,560 --> 00:30:35,440 Speaker 2: and give it up. I don't know if she's talking 611 00:30:35,440 --> 00:30:37,680 Speaker 2: about like give up your greatest moves because I love 612 00:30:37,720 --> 00:30:41,160 Speaker 2: to dance with you. I don't think so saying give 613 00:30:41,160 --> 00:30:44,640 Speaker 2: it up just talking about that Saltburn. So what I 614 00:30:44,680 --> 00:30:47,880 Speaker 2: think is something else. I haven't even seen the movie. 615 00:30:48,120 --> 00:30:50,920 Speaker 2: But what I do think is I don't understand like 616 00:30:51,000 --> 00:30:53,280 Speaker 2: performance deserving of standing ovations. Who would have thought it'd 617 00:30:53,280 --> 00:30:57,320 Speaker 2: be the two of us? Right, But don't wake me 618 00:30:57,440 --> 00:31:01,160 Speaker 2: if I'm dreaming, because so come on and give it up. 619 00:31:01,240 --> 00:31:02,920 Speaker 2: I don't know what that was like. 620 00:31:03,160 --> 00:31:05,600 Speaker 1: It's so good if it's if it is a dream, 621 00:31:05,840 --> 00:31:08,000 Speaker 1: it's so good. Don't wake me up because I'm enjoying 622 00:31:08,040 --> 00:31:08,320 Speaker 1: it so. 623 00:31:08,320 --> 00:31:10,080 Speaker 2: Much as sex stuff. 624 00:31:10,240 --> 00:31:12,400 Speaker 1: Okay, but you know what we haven't talked about is 625 00:31:12,920 --> 00:31:17,480 Speaker 1: Hella Good? You love it, but I don't like it. 626 00:31:17,800 --> 00:31:18,600 Speaker 1: I'm fine with it now. 627 00:31:18,600 --> 00:31:21,640 Speaker 2: And aren't they from southern California? Isn't that supposed to 628 00:31:21,640 --> 00:31:23,880 Speaker 2: be They're trying to show you like their friend they 629 00:31:23,960 --> 00:31:24,880 Speaker 2: know sublime. 630 00:31:25,400 --> 00:31:28,240 Speaker 1: It's so strange that the song is called Hella Good 631 00:31:28,880 --> 00:31:30,840 Speaker 1: and it has nothing to do with like the origin 632 00:31:30,880 --> 00:31:32,760 Speaker 1: of that. Or maybe they're just trying to keep it 633 00:31:32,840 --> 00:31:35,840 Speaker 1: so casual, like if I had sex with someone I 634 00:31:35,880 --> 00:31:38,120 Speaker 1: hope one day, yeah, and they returned to me and 635 00:31:38,160 --> 00:31:43,800 Speaker 1: they went, that was Hella good. I just I mean, 636 00:31:43,920 --> 00:31:45,480 Speaker 1: I don't know. Maybe I could see it. 637 00:31:45,640 --> 00:31:47,440 Speaker 2: Well, I think it would depend on the person in 638 00:31:47,480 --> 00:31:50,000 Speaker 2: the context, But I feel you, no, I don't. 639 00:31:50,080 --> 00:31:51,959 Speaker 1: I mean, it's not just know in the comments, if 640 00:31:52,120 --> 00:31:53,960 Speaker 1: someone's ever turned to you and said that was Hella 641 00:31:54,000 --> 00:31:55,120 Speaker 1: good after if you've. 642 00:31:55,000 --> 00:31:58,040 Speaker 2: Ever turned to someone after salt burn and said. 643 00:32:00,080 --> 00:32:01,320 Speaker 1: Got me feeling Hella good. 644 00:32:01,520 --> 00:32:03,479 Speaker 2: Honestly, I don't know if I was dreaming or not, 645 00:32:03,960 --> 00:32:05,880 Speaker 2: but if I am, don't wake me up. And also 646 00:32:06,040 --> 00:32:07,240 Speaker 2: he's just standing ovacious. 647 00:32:09,720 --> 00:32:11,720 Speaker 1: Well that was Hella good. And I don't think we 648 00:32:11,800 --> 00:32:14,400 Speaker 1: do Beverly Hills, right. I think it's off the table now. 649 00:32:14,720 --> 00:32:16,880 Speaker 2: I don't know. Maybe it comes back in season eight. 650 00:32:17,720 --> 00:32:19,880 Speaker 1: You're right, you know what, You're right. 651 00:32:20,000 --> 00:32:23,400 Speaker 2: That's the best damn champagne I had in my life. 652 00:32:25,080 --> 00:32:27,520 Speaker 1: Well, thank you all for listening. You got us feeling 653 00:32:27,520 --> 00:32:31,000 Speaker 1: hella good by listening, and uh, we'll see you next time. 654 00:32:31,520 --> 00:32:36,080 Speaker 2: That's true. Anything else, keV, No, definitely not. I do 655 00:32:36,200 --> 00:32:37,840 Speaker 2: have to go, though, I have. I'm going to see 656 00:32:37,880 --> 00:32:39,120 Speaker 2: a Mattenee screaming of salt. 657 00:32:39,160 --> 00:32:42,720 Speaker 1: Me man's screaming, screaming of salt. 658 00:32:42,960 --> 00:32:44,520 Speaker 2: Yeah, I'll be yelling throughout the. 659 00:32:44,400 --> 00:32:48,040 Speaker 1: Theater, all right, I'll see on the greatest sens 660 00:32:50,320 --> 00:32:51,720 Speaker 2: Eave me damns.