1 00:00:00,200 --> 00:00:02,720 Speaker 1: Welcome to five hundred Greatest Songs, a podcast based on 2 00:00:02,800 --> 00:00:08,960 Speaker 1: Rolling Stones, hugely popular, influential and sometimes controversialist. I'm Britney Spanis. 3 00:00:08,640 --> 00:00:11,039 Speaker 2: And I'm Rob Sheffield, and we're here to shed light 4 00:00:11,080 --> 00:00:14,400 Speaker 2: on the greatest songs ever made and discover what makes 5 00:00:14,400 --> 00:00:15,120 Speaker 2: them so great. 6 00:00:15,720 --> 00:00:17,920 Speaker 1: So today we have a great song that kind of 7 00:00:18,000 --> 00:00:20,720 Speaker 1: exemplifies some of the changes that have happened between the 8 00:00:20,760 --> 00:00:23,520 Speaker 1: original list and the new one. We'll be discussing Hown 9 00:00:23,560 --> 00:00:26,480 Speaker 1: Dog by Big Mamma Thornton. And this song was not 10 00:00:26,520 --> 00:00:29,280 Speaker 1: on the original list. The version that was on the 11 00:00:29,320 --> 00:00:32,680 Speaker 1: original list was Elvis Presley's version, the version that a 12 00:00:32,720 --> 00:00:35,400 Speaker 1: lot of people may be most familiar with or heard first, 13 00:00:35,840 --> 00:00:38,720 Speaker 1: and it ranked it number nineteen on the original list, 14 00:00:38,800 --> 00:00:41,520 Speaker 1: and it's the highest ranking song to not appear on 15 00:00:41,720 --> 00:00:44,320 Speaker 1: the twenty twenty one list at all. And now we 16 00:00:44,360 --> 00:00:47,640 Speaker 1: have Big Mamma Thornton's the nineteen fifty three recording of 17 00:00:47,680 --> 00:00:51,720 Speaker 1: it clocks in at number three eighteen for its debut 18 00:00:51,880 --> 00:00:54,960 Speaker 1: on the five hundred Greatest Songs. So this is a 19 00:00:55,040 --> 00:00:58,080 Speaker 1: change that's pretty reflective of a lot of public sentiment 20 00:00:58,080 --> 00:01:01,920 Speaker 1: around Elvis, very specifically. Right, there's a lot of changes 21 00:01:02,040 --> 00:01:05,319 Speaker 1: in our own our experience of Elvis as listeners, our 22 00:01:05,360 --> 00:01:09,160 Speaker 1: experience of Elvis a as a icon has changed dramatically 23 00:01:09,200 --> 00:01:12,080 Speaker 1: since the list first came out, and I think by 24 00:01:12,160 --> 00:01:15,959 Speaker 1: twenty twenty one, Prior to, of course, the two movies 25 00:01:16,040 --> 00:01:19,160 Speaker 1: made about his life, We've come Back and come out 26 00:01:19,160 --> 00:01:22,479 Speaker 1: in recent years, have changed public perception in different ways. 27 00:01:22,680 --> 00:01:25,039 Speaker 1: The kind of the legacy of Elvis was dwindling, and 28 00:01:25,080 --> 00:01:28,560 Speaker 1: I think people just weren't as interested in the songs 29 00:01:28,600 --> 00:01:31,959 Speaker 1: that he popularized that were made originally by black artists 30 00:01:32,000 --> 00:01:36,080 Speaker 1: and found those versions to be better and different. 31 00:01:35,880 --> 00:01:39,200 Speaker 2: The twenty twenty list, the fifties pioneers got lost on 32 00:01:39,200 --> 00:01:42,640 Speaker 2: that list. They didn't have a lot of expertise or 33 00:01:42,680 --> 00:01:45,839 Speaker 2: a lot of enthusiasm for music from the fifties, So 34 00:01:45,840 --> 00:01:49,000 Speaker 2: so many of the fifties pioneers who were huge on 35 00:01:49,040 --> 00:01:53,600 Speaker 2: the previous list really got slept on for the later version. 36 00:01:54,080 --> 00:01:58,440 Speaker 2: People like Little Richard and Chuck Berry and Elvis Presley 37 00:01:58,560 --> 00:02:02,240 Speaker 2: and Sam Cook, they all had a lot less presence 38 00:02:02,440 --> 00:02:04,920 Speaker 2: on the new one, and for whatever reason that the 39 00:02:05,000 --> 00:02:08,800 Speaker 2: voters didn't know or care much about that particular era 40 00:02:08,919 --> 00:02:09,480 Speaker 2: of music. 41 00:02:09,639 --> 00:02:11,680 Speaker 1: Yeah, because I feel like I didn't really even in 42 00:02:11,720 --> 00:02:14,560 Speaker 1: my ballot, and I was very much focused on like 43 00:02:14,880 --> 00:02:17,520 Speaker 1: some of the newer songs or like pop and dance 44 00:02:17,560 --> 00:02:20,040 Speaker 1: songs that came out prior to even the original list 45 00:02:20,120 --> 00:02:22,160 Speaker 1: that didn't make it. But yeah, I feel like I 46 00:02:22,200 --> 00:02:24,560 Speaker 1: didn't really think too much. I guess I sort of 47 00:02:24,560 --> 00:02:27,040 Speaker 1: assumed that those kind of songs that have always been 48 00:02:27,240 --> 00:02:30,560 Speaker 1: sort of the ground zero of the canon and would 49 00:02:30,560 --> 00:02:33,000 Speaker 1: make it. But yeah, it's also like pretty shocking that 50 00:02:33,040 --> 00:02:34,840 Speaker 1: a lot of them sort of weren't a big of 51 00:02:34,880 --> 00:02:37,960 Speaker 1: a part of people's own ballads and thinkings of what 52 00:02:38,000 --> 00:02:39,360 Speaker 1: are the greatest songs of all time. 53 00:02:40,040 --> 00:02:42,200 Speaker 2: Yeah, it's really interesting when you think of like a 54 00:02:42,240 --> 00:02:46,919 Speaker 2: song as classic as big example of long Taul Sally, 55 00:02:47,000 --> 00:02:49,720 Speaker 2: the classic song by Little Richard that was number fifty 56 00:02:49,800 --> 00:02:52,320 Speaker 2: five on the previous version of the list, it didn't 57 00:02:52,320 --> 00:02:54,399 Speaker 2: even make the list this time. Yeah, there are lots 58 00:02:54,400 --> 00:02:56,760 Speaker 2: of songs that were in the top one hundred that 59 00:02:56,840 --> 00:03:01,079 Speaker 2: completely dropped off the list, songs that are really foundational 60 00:03:01,240 --> 00:03:05,680 Speaker 2: for pop music ever since, and those in general got 61 00:03:05,880 --> 00:03:09,200 Speaker 2: slept on and the Elvis songs are definitely part of 62 00:03:09,200 --> 00:03:11,480 Speaker 2: that that. Ray Charles songs are definitely part of that. 63 00:03:11,840 --> 00:03:15,080 Speaker 2: It's just a diminished interest for these voters in that period. 64 00:03:15,360 --> 00:03:18,040 Speaker 1: Yeah. I mean even the fact that the big Mama 65 00:03:18,080 --> 00:03:20,760 Speaker 1: Thorton version comes in so low in coming at three 66 00:03:20,800 --> 00:03:24,560 Speaker 1: eighteen is pre striking that it's not even in the 67 00:03:24,600 --> 00:03:26,320 Speaker 1: top one hundred or doesn't make it there. 68 00:03:26,919 --> 00:03:30,240 Speaker 2: Yeah, I mean there's hardly any Doop on the list. 69 00:03:30,560 --> 00:03:32,520 Speaker 2: Earth Angel isn't on the list, which is kind of 70 00:03:32,520 --> 00:03:33,600 Speaker 2: mind blowing when you think of it. 71 00:03:34,000 --> 00:03:37,200 Speaker 1: Yeah, And I wonder why or when that happened. I 72 00:03:37,240 --> 00:03:41,120 Speaker 1: guess people's interest in sort of sixties rock and roll 73 00:03:41,720 --> 00:03:44,040 Speaker 1: sort of got lost. I feel like there's so much 74 00:03:44,120 --> 00:03:47,480 Speaker 1: of a nostalgia for it. When I was younger thinking 75 00:03:47,520 --> 00:03:50,839 Speaker 1: about just kind of the popularity of rockabilly and even 76 00:03:50,920 --> 00:03:53,880 Speaker 1: just the look of kind of like fifties kind of 77 00:03:53,920 --> 00:03:57,840 Speaker 1: greaser style was so big, with a lot of artists 78 00:03:57,880 --> 00:04:00,320 Speaker 1: who were emulating that, even if they weren't necessarily making 79 00:04:00,400 --> 00:04:02,560 Speaker 1: music that sounded like that. But I feel like there 80 00:04:02,560 --> 00:04:05,880 Speaker 1: hasn't been as many people kind of bringing in that legacy. 81 00:04:06,320 --> 00:04:10,040 Speaker 2: Yeah, it's wild, how I think, for a lot of 82 00:04:10,960 --> 00:04:14,600 Speaker 2: the stuff from that period is so much great wild 83 00:04:14,720 --> 00:04:18,200 Speaker 2: music from that period that to a large exment was 84 00:04:18,279 --> 00:04:20,919 Speaker 2: out of print and unfindable. Unless you are a hardcore 85 00:04:20,960 --> 00:04:23,800 Speaker 2: collector for many, many years. Yeah, So I think it's 86 00:04:23,839 --> 00:04:26,960 Speaker 2: a cyclical thing where just the sheer abundance of great 87 00:04:27,240 --> 00:04:30,200 Speaker 2: pop music, great R and B, great do wop, great 88 00:04:30,279 --> 00:04:34,039 Speaker 2: rock and roll from that period. It comes and goes, 89 00:04:34,080 --> 00:04:37,960 Speaker 2: but it always circles back around because it's just so intense. Certainly, 90 00:04:38,000 --> 00:04:43,880 Speaker 2: I think Little Richard, Chuck Berry, Buddy Holly, Elvis, Presley, 91 00:04:43,920 --> 00:04:47,800 Speaker 2: Sam Cook. These are artists who their innovations still make 92 00:04:47,920 --> 00:04:51,640 Speaker 2: them a presence in pop music. But so many of 93 00:04:51,680 --> 00:04:55,039 Speaker 2: the more forgotten pioneers from that period, like Big Mama 94 00:04:55,080 --> 00:04:59,640 Speaker 2: Thornton or Roy Brown or Wenoni Harris, I feel like 95 00:04:59,760 --> 00:05:02,880 Speaker 2: they're her biggest public discovery has yet to come. 96 00:05:03,320 --> 00:05:07,520 Speaker 1: Yeah, I feel like we're definitely overdue, and I think 97 00:05:07,800 --> 00:05:11,120 Speaker 1: is still kind of on the way to that. Especially 98 00:05:11,160 --> 00:05:14,680 Speaker 1: the great sort of blues women. I think are very 99 00:05:14,800 --> 00:05:18,440 Speaker 1: much coming into a kind of public reckoning with the 100 00:05:18,480 --> 00:05:21,920 Speaker 1: fact that their memories in their careers are so much 101 00:05:21,960 --> 00:05:25,480 Speaker 1: lost to history. And I mean with Big Mama Thornton's version, 102 00:05:25,520 --> 00:05:28,680 Speaker 1: she had the original take on Leeburn Stoler's song. They 103 00:05:28,680 --> 00:05:32,560 Speaker 1: wrote it because they were introduced to her by Johnny Otis, 104 00:05:32,600 --> 00:05:35,880 Speaker 1: and they wanted to make something that was just as 105 00:05:35,960 --> 00:05:38,640 Speaker 1: gruff as she was that really emulated a lot of 106 00:05:38,920 --> 00:05:40,640 Speaker 1: who she was as a present. She was like this 107 00:05:40,800 --> 00:05:44,719 Speaker 1: really kind of intense kind of person and who had 108 00:05:44,760 --> 00:05:48,480 Speaker 1: this like very like sexual stage performance, who was very 109 00:05:48,520 --> 00:05:51,600 Speaker 1: gender nonconforming in a lot of ways. She didn't really 110 00:05:51,640 --> 00:05:54,200 Speaker 1: adhere to a lot of what people expected of women 111 00:05:54,240 --> 00:05:56,279 Speaker 1: in music at the time, especially black women in music. 112 00:05:56,360 --> 00:05:59,520 Speaker 1: And there's so much to her that was just like powerful. 113 00:05:59,560 --> 00:06:01,359 Speaker 1: And they want to song that she could really growl on, 114 00:06:01,760 --> 00:06:03,799 Speaker 1: which I love, And I was like reading a story 115 00:06:04,000 --> 00:06:06,200 Speaker 1: that she wasn't performing it that way at first on 116 00:06:06,240 --> 00:06:08,880 Speaker 1: the recording, and so they were kind of like scared 117 00:06:08,920 --> 00:06:11,880 Speaker 1: to tell her to do it more like this way 118 00:06:11,920 --> 00:06:13,599 Speaker 1: that they had intended the song to be sung, So 119 00:06:13,640 --> 00:06:15,360 Speaker 1: one of them had to like do an imitation of 120 00:06:15,400 --> 00:06:17,600 Speaker 1: it to like get her to understand that. They're like, 121 00:06:17,640 --> 00:06:19,039 Speaker 1: we want you to growl more. We want you to 122 00:06:19,080 --> 00:06:21,320 Speaker 1: like not do like the like kind of like pretty 123 00:06:21,360 --> 00:06:24,200 Speaker 1: voice like you know, performance on it, which I love 124 00:06:24,240 --> 00:06:26,400 Speaker 1: that they kind of had to to do their own 125 00:06:26,480 --> 00:06:27,720 Speaker 1: kind of take on it, which I want to hear, 126 00:06:28,120 --> 00:06:31,320 Speaker 1: like Leehburn Stoller's kind of imitation of Big Mama Thornton 127 00:06:31,440 --> 00:06:33,680 Speaker 1: doing it. 128 00:06:33,680 --> 00:06:36,279 Speaker 2: It was funny, and she had so many great songs 129 00:06:36,480 --> 00:06:38,920 Speaker 2: that are ripe for rediscovery. And I think once people hear, 130 00:06:39,080 --> 00:06:42,000 Speaker 2: you know, Willie May's Blues or just Can't help Myself, 131 00:06:42,920 --> 00:06:44,599 Speaker 2: people are going to hear there's a lot more to 132 00:06:44,640 --> 00:06:48,480 Speaker 2: Willie May Thornton, Big Mama Thornton than they previously realized. 133 00:06:48,720 --> 00:06:51,360 Speaker 1: Yeah, I mean, and there's such like a clear through 134 00:06:51,400 --> 00:06:54,039 Speaker 1: line of I mean, like even just beyond of course 135 00:06:54,200 --> 00:06:55,640 Speaker 1: R and B to rock and roll, and like Hot 136 00:06:55,720 --> 00:06:58,480 Speaker 1: Dog being so much the bridge between black R and 137 00:06:58,480 --> 00:07:01,000 Speaker 1: B and early rock and roll before Romans, but just 138 00:07:01,040 --> 00:07:03,480 Speaker 1: like thinking of the history of black women in music 139 00:07:03,520 --> 00:07:05,960 Speaker 1: and how there's like such a through line even from 140 00:07:06,160 --> 00:07:08,800 Speaker 1: Big Mama Thornton to you know, a lot of like 141 00:07:08,960 --> 00:07:11,960 Speaker 1: motown girl groups to like seventies kind of you know, 142 00:07:12,000 --> 00:07:15,040 Speaker 1: I think of like Betty Davis and of Donna Summer 143 00:07:15,080 --> 00:07:19,480 Speaker 1: and kind of like the sexuality that they really just 144 00:07:19,520 --> 00:07:21,480 Speaker 1: like emanated in their songs and their vocals and were 145 00:07:21,480 --> 00:07:24,239 Speaker 1: able to do so seamlessly, and kind of the rawness 146 00:07:24,240 --> 00:07:26,080 Speaker 1: of Tina Turner of course is so much a part 147 00:07:26,080 --> 00:07:28,160 Speaker 1: of that. And you get to someone like Beyonce, who 148 00:07:28,240 --> 00:07:30,480 Speaker 1: has always really honored a lot of that history, and 149 00:07:30,520 --> 00:07:33,240 Speaker 1: of course she has like when the levee breaks, don't 150 00:07:33,320 --> 00:07:36,320 Speaker 1: hurt yourself on Lemonade and kind of helps like give 151 00:07:36,640 --> 00:07:39,400 Speaker 1: a resurgence in that way to the great blues women 152 00:07:39,440 --> 00:07:41,640 Speaker 1: who came before her and kind of inspired what it 153 00:07:41,680 --> 00:07:43,800 Speaker 1: means to be a black woman performing and kind of 154 00:07:43,800 --> 00:07:46,080 Speaker 1: freed up what that means for a lot of artists. 155 00:07:46,120 --> 00:07:47,000 Speaker 1: Is just so incredible. 156 00:07:47,280 --> 00:07:51,960 Speaker 2: Absolutely, anybody who hasn't read Britney's essay on that particular 157 00:07:52,000 --> 00:07:55,400 Speaker 2: Beyonce song should drop everything you're doing and read it. 158 00:07:55,400 --> 00:07:59,320 Speaker 2: It's one of my favorite things written about not just Beyonce, 159 00:07:59,480 --> 00:08:02,680 Speaker 2: but about the entire long history of pop music. This 160 00:08:02,840 --> 00:08:06,640 Speaker 2: is Beyonce taking a song that everybody is familiar with 161 00:08:06,760 --> 00:08:10,160 Speaker 2: from the more recent versions when the Levee Breaks, and 162 00:08:10,480 --> 00:08:13,120 Speaker 2: connecting it to the whole history of Memphis Mini and 163 00:08:13,240 --> 00:08:16,600 Speaker 2: that Jack White, who definitely knows this history, is like 164 00:08:16,720 --> 00:08:19,320 Speaker 2: very much involved in this song. Everything about that song 165 00:08:19,440 --> 00:08:21,000 Speaker 2: is just it's just mind blowing. 166 00:08:21,240 --> 00:08:23,640 Speaker 1: Yeah, And I think you know, for the Boz Luhrman 167 00:08:23,680 --> 00:08:26,080 Speaker 1: Elvis movie, of course, there's a Doosha Cat version of 168 00:08:26,120 --> 00:08:30,920 Speaker 1: hound Dog which samples very prominently Big Mama Thornton's version. 169 00:08:31,040 --> 00:08:33,839 Speaker 1: I mean so, I mean, especially for this type of 170 00:08:33,880 --> 00:08:36,800 Speaker 1: like shiny biopic about Elvis, to kind of make sure 171 00:08:36,800 --> 00:08:38,600 Speaker 1: to shine a light on her and have this big 172 00:08:38,679 --> 00:08:40,480 Speaker 1: hit single with it. I think for a lot of people, 173 00:08:40,840 --> 00:08:43,120 Speaker 1: even after the list has come out, you know, has 174 00:08:43,160 --> 00:08:45,280 Speaker 1: allowed them to learn more about Big Mama Thornton, to 175 00:08:45,360 --> 00:08:47,520 Speaker 1: kind of be exposed to her performance of it, because 176 00:08:47,559 --> 00:08:50,200 Speaker 1: you can hear so much of that in music today 177 00:08:50,240 --> 00:08:51,600 Speaker 1: and you can still hear that. I mean, there is 178 00:08:51,640 --> 00:08:53,880 Speaker 1: nothing more for a lot of these blues women, there 179 00:08:53,920 --> 00:08:56,760 Speaker 1: was nothing more punk rock or transgressive or rock and 180 00:08:56,840 --> 00:09:00,280 Speaker 1: roll than who they were. Like, they were definitely not 181 00:09:00,320 --> 00:09:02,959 Speaker 1: adhering to any roles that were set for them and 182 00:09:03,040 --> 00:09:06,839 Speaker 1: any roles of performance, of being an artist and of 183 00:09:07,200 --> 00:09:09,760 Speaker 1: just what was expected of them, and that's like kind 184 00:09:09,760 --> 00:09:12,280 Speaker 1: of the purest form of rock and roll energy and 185 00:09:12,320 --> 00:09:13,280 Speaker 1: performance and all of that. 186 00:09:13,640 --> 00:09:16,400 Speaker 2: Absolutely. Yeah, it's so wild. How as soon as you know, 187 00:09:16,480 --> 00:09:19,600 Speaker 2: hound Dog comes out in fifty two, it's a massive hit. 188 00:09:20,360 --> 00:09:23,040 Speaker 2: And one of the amazing things is that from the 189 00:09:23,120 --> 00:09:27,040 Speaker 2: very beginning people are rewriting this song. Everybody who hears 190 00:09:27,120 --> 00:09:30,840 Speaker 2: this wants to do their own version, wants to add 191 00:09:30,880 --> 00:09:32,920 Speaker 2: their own thing to the story. It's like, you know, 192 00:09:33,040 --> 00:09:37,120 Speaker 2: classic hip hop example like Roxanne Roxanne, whereas song just 193 00:09:37,920 --> 00:09:40,760 Speaker 2: transforms because so many people are doing different versions of 194 00:09:40,800 --> 00:09:44,800 Speaker 2: the story from different angles. And so right from the 195 00:09:44,840 --> 00:09:49,400 Speaker 2: beginning with Houndog you have so many artists, artists who 196 00:09:49,440 --> 00:09:52,640 Speaker 2: are name artists, or artists who are obscure artists, artists 197 00:09:52,679 --> 00:09:55,840 Speaker 2: from every genre, every part of the country, but they're 198 00:09:55,880 --> 00:10:00,360 Speaker 2: doing their answer song to Hounddog And it's wild that 199 00:10:01,200 --> 00:10:05,800 Speaker 2: people fixate on the Big Mama Thornton version and the 200 00:10:05,880 --> 00:10:09,480 Speaker 2: Elvis version, and there's so much more to this story 201 00:10:09,679 --> 00:10:13,200 Speaker 2: that You've got Rufus Thomas, who's already a legend in 202 00:10:13,240 --> 00:10:15,720 Speaker 2: Memphis at this point, doing bear Cat, which is an 203 00:10:15,760 --> 00:10:20,000 Speaker 2: explicit answer song Sun Records, and Sam Phillips thought he 204 00:10:20,120 --> 00:10:22,840 Speaker 2: was going to take the writing credit. Lieber and Stoller 205 00:10:22,920 --> 00:10:25,720 Speaker 2: weren't going to let that happen. Roy Brown doing his 206 00:10:25,800 --> 00:10:28,480 Speaker 2: great you know, mister hound Doggs comes to town like 207 00:10:29,320 --> 00:10:32,920 Speaker 2: and these are artists who were around before Big Mama Thornton, 208 00:10:32,960 --> 00:10:36,280 Speaker 2: but they're inspired by her song. They want to take 209 00:10:36,320 --> 00:10:39,440 Speaker 2: it somewhere new. And it was so wild that for 210 00:10:39,520 --> 00:10:42,559 Speaker 2: Leeburn Stoller, who wrote this, like you said, specifically for 211 00:10:43,559 --> 00:10:46,880 Speaker 2: Willie May Thornton, that they had no way of knowing 212 00:10:47,040 --> 00:10:49,200 Speaker 2: that this song was about to begin, this whole story 213 00:10:49,280 --> 00:10:52,200 Speaker 2: with all these different people doing all these different versions 214 00:10:52,200 --> 00:10:55,240 Speaker 2: of it, and that it became sort of a cross cultural, 215 00:10:55,280 --> 00:10:56,719 Speaker 2: cross generational dialogue. 216 00:10:56,800 --> 00:11:00,520 Speaker 1: Yeah. Yeah, and I think like getting back to like 217 00:11:00,600 --> 00:11:03,160 Speaker 1: the the roots of the song and gain to sort 218 00:11:03,200 --> 00:11:05,640 Speaker 1: of i know, people learning more about these histories and 219 00:11:05,679 --> 00:11:08,600 Speaker 1: sort of the kind of like little like Micro's sonic 220 00:11:08,720 --> 00:11:12,920 Speaker 1: universes that these kind of created, you know, even with 221 00:11:12,960 --> 00:11:14,640 Speaker 1: the song. And I mean, this is just like a 222 00:11:14,640 --> 00:11:17,200 Speaker 1: problem in the music industry that goes well beyond Hound 223 00:11:17,240 --> 00:11:18,920 Speaker 1: Dog and Big Mama Thornton. And of course there was 224 00:11:19,000 --> 00:11:21,400 Speaker 1: a lot of legal issues over these songs and a 225 00:11:21,400 --> 00:11:23,360 Speaker 1: lot of lawsuits that kind of went between Lee Burne 226 00:11:23,360 --> 00:11:26,439 Speaker 1: Stolen a lot of these artists and other writers who 227 00:11:26,440 --> 00:11:29,200 Speaker 1: were kind of doing different takes on it. But I mean, 228 00:11:29,240 --> 00:11:31,439 Speaker 1: I was reading how Big Mama Thornton only made five 229 00:11:31,520 --> 00:11:34,120 Speaker 1: hundred dollars on her version, which was a big hit 230 00:11:34,160 --> 00:11:36,199 Speaker 1: when it came out. Of course, like Elvis's version a 231 00:11:36,240 --> 00:11:39,200 Speaker 1: few years later, would end up, you know, because he's 232 00:11:39,520 --> 00:11:42,040 Speaker 1: a white man doing this song, and kind of you know, 233 00:11:42,360 --> 00:11:45,240 Speaker 1: everyone's really attracted to him and all this other stuff 234 00:11:45,240 --> 00:11:48,880 Speaker 1: that kind of came with his successive Houndog A lot 235 00:11:48,880 --> 00:11:51,840 Speaker 1: of her history got very quickly washed away in that 236 00:11:51,920 --> 00:11:54,280 Speaker 1: and so it's really insane to think about the fact 237 00:11:54,280 --> 00:11:56,520 Speaker 1: that she I mean, I guess not insane thinking about 238 00:11:56,520 --> 00:11:59,240 Speaker 1: the music industry, but like you know, she made five 239 00:11:59,280 --> 00:12:01,280 Speaker 1: hundred dollars was it on the song? 240 00:12:01,720 --> 00:12:04,720 Speaker 2: Yeah? Well, a huge turning point in the nineties when 241 00:12:04,760 --> 00:12:09,679 Speaker 2: the CD reissue boom and there's a compilation they call 242 00:12:09,760 --> 00:12:13,040 Speaker 2: me Big Mama, and that's the early nineties, and that 243 00:12:13,120 --> 00:12:15,840 Speaker 2: was the first time that there was an album CD 244 00:12:15,880 --> 00:12:18,720 Speaker 2: that was Big Mama Thornton that people could go into 245 00:12:18,720 --> 00:12:21,480 Speaker 2: the store and buy. Because everybody knew the story that 246 00:12:21,520 --> 00:12:24,880 Speaker 2: there was this version of Hounddog. People didn't know about 247 00:12:24,880 --> 00:12:26,880 Speaker 2: all the different versions at that point because history had 248 00:12:26,880 --> 00:12:29,559 Speaker 2: been so simplified. But this is the first time that 249 00:12:29,600 --> 00:12:32,480 Speaker 2: people could actually hear this Big Mama Thornton version that 250 00:12:32,520 --> 00:12:35,240 Speaker 2: they heard so much about. It was funny that three 251 00:12:35,320 --> 00:12:38,920 Speaker 2: things are apparent right away. First, it's phenomenal the guitar. 252 00:12:39,040 --> 00:12:41,440 Speaker 2: Oh my god, we could know Pete guitar Lewis is 253 00:12:41,640 --> 00:12:44,040 Speaker 2: such a monster in this song. It sounds nothing like 254 00:12:44,120 --> 00:12:48,679 Speaker 2: the Elvis version, Completely different songs, nothing in common except 255 00:12:48,720 --> 00:12:51,920 Speaker 2: for the first line and the title, and they're completely 256 00:12:51,960 --> 00:12:56,320 Speaker 2: different lyrics, completely different chords, structure, beat, everything. But also 257 00:12:56,600 --> 00:12:59,320 Speaker 2: Big Mama Thornton had so many other songs and that 258 00:12:59,400 --> 00:13:02,520 Speaker 2: this is an even her best song, just Can't Help 259 00:13:02,520 --> 00:13:06,120 Speaker 2: Myself is even better Big Mama Thornton's song Willie May's Blues, 260 00:13:06,160 --> 00:13:08,960 Speaker 2: which is in which she wrote, you know, she wrote 261 00:13:09,000 --> 00:13:11,080 Speaker 2: like plenty of her own material. Yeah, And of course 262 00:13:11,120 --> 00:13:14,760 Speaker 2: she wrote the song that became very famous for Janis 263 00:13:14,840 --> 00:13:18,760 Speaker 2: Joblin career making song, Beall and Chain, and that was 264 00:13:18,760 --> 00:13:21,280 Speaker 2: a song that she wrote and recorded very late in 265 00:13:21,320 --> 00:13:25,280 Speaker 2: her career that you know, became a legendary song. But 266 00:13:25,320 --> 00:13:27,960 Speaker 2: it's wild that there's so much to Big Mama Thornton's 267 00:13:28,000 --> 00:13:31,640 Speaker 2: story way beyond this song, and that this song is 268 00:13:31,679 --> 00:13:34,679 Speaker 2: so much more than just a back and forth between 269 00:13:34,720 --> 00:13:38,760 Speaker 2: Big Mama Thornton and Elvis. It's just fascinating to see 270 00:13:38,760 --> 00:13:40,920 Speaker 2: how much music that she was a part of, in 271 00:13:41,200 --> 00:13:43,000 Speaker 2: the whole genres that she was a part of. 272 00:13:43,240 --> 00:13:46,360 Speaker 1: Yeah, I mean even just like listening to the recording now, 273 00:13:46,360 --> 00:13:48,240 Speaker 1: I mean she just sounds like so that's just like 274 00:13:48,280 --> 00:13:51,040 Speaker 1: such a great vocal performance, like such a perfect vocal 275 00:13:51,080 --> 00:13:54,400 Speaker 1: performance happening on like I mean, all of her music, 276 00:13:54,480 --> 00:13:56,640 Speaker 1: but I mean with this one, it's just so funny 277 00:13:56,640 --> 00:13:59,200 Speaker 1: to like listen to her version and then like you know, 278 00:13:59,280 --> 00:14:01,439 Speaker 1: the Frankie Bell and the Bell Boys and like Elvis 279 00:14:01,440 --> 00:14:04,400 Speaker 1: Presley versions, and it's like her, like her vocals on 280 00:14:04,440 --> 00:14:07,240 Speaker 1: it are just like so explosive and so just kind 281 00:14:07,240 --> 00:14:09,240 Speaker 1: of like really get under your skin. The way that 282 00:14:09,240 --> 00:14:12,120 Speaker 1: she can growl on a song. It's just so perfect. 283 00:14:12,559 --> 00:14:15,920 Speaker 2: It's really amazing. But when she's doing the column response 284 00:14:15,960 --> 00:14:20,680 Speaker 2: between her voice and Pete guitar Lewis's guitar, it's really outstanding. 285 00:14:20,800 --> 00:14:24,720 Speaker 2: And even in the context of what people were doing 286 00:14:24,960 --> 00:14:26,920 Speaker 2: in R and B in the early fifties, you could 287 00:14:26,920 --> 00:14:29,880 Speaker 2: definitely see why this song was like such a massive 288 00:14:30,600 --> 00:14:33,560 Speaker 2: R and B hit nationally, which was rare for R 289 00:14:33,600 --> 00:14:34,720 Speaker 2: and B at that time. Yeah. 290 00:14:34,800 --> 00:14:36,600 Speaker 1: Yeah, And I also I had forgotten about the ball 291 00:14:36,640 --> 00:14:39,960 Speaker 1: and Chain Chance Joplin connection for the longest. 292 00:14:40,120 --> 00:14:43,920 Speaker 2: It's wild. Yeah, it's the Bay Area, it's the sixties 293 00:14:44,600 --> 00:14:47,800 Speaker 2: and Jennis Joplin and her friends in the band Big 294 00:14:47,840 --> 00:14:50,960 Speaker 2: Brother they are going to see Big Mama Thornton. Of course, 295 00:14:51,000 --> 00:14:54,640 Speaker 2: she's a legendary singer at this point, like she's not rich, 296 00:14:54,760 --> 00:14:56,920 Speaker 2: but like people know her and know her work. And 297 00:14:56,960 --> 00:14:59,320 Speaker 2: she does this song Ball and Chain that she wrote 298 00:14:59,320 --> 00:15:01,600 Speaker 2: and Jennis Choplin like goes over and talks to her 299 00:15:01,640 --> 00:15:03,800 Speaker 2: and she's like, where did that song come from? Like 300 00:15:03,880 --> 00:15:06,760 Speaker 2: and yeah, mam Threne said, you know, like just wrote 301 00:15:06,800 --> 00:15:09,680 Speaker 2: it and that became the career making song. That's a 302 00:15:09,680 --> 00:15:12,160 Speaker 2: song that Janis Joplin does at the Monterey Pop Festival 303 00:15:12,760 --> 00:15:16,120 Speaker 2: that everybody who's there is like, who the hell is this? 304 00:15:17,160 --> 00:15:19,760 Speaker 2: And you see that footage in the Monterey Pop movie 305 00:15:20,120 --> 00:15:23,920 Speaker 2: and it completely mind blowing performance. The great scene where 306 00:15:24,120 --> 00:15:27,160 Speaker 2: cass Elliott is watching and you just see cass Elliot 307 00:15:27,200 --> 00:15:30,880 Speaker 2: and the crowd going wow. You know so much comes 308 00:15:30,920 --> 00:15:34,640 Speaker 2: from just that amazing performance of that amazing song. Yeah. 309 00:15:34,720 --> 00:15:37,640 Speaker 1: Yeah, I think we're very, very overdue for like a 310 00:15:37,640 --> 00:15:40,400 Speaker 1: big Mama Thornton movie, like a great book, like it's 311 00:15:40,400 --> 00:15:42,800 Speaker 1: something about her, Like I feel like people are gonna 312 00:15:42,960 --> 00:15:44,000 Speaker 1: I feel like it's gonna come. 313 00:15:44,440 --> 00:15:45,120 Speaker 2: Absolutely. 314 00:15:45,360 --> 00:15:49,120 Speaker 1: Yeah. I'm curious, like what will happen in I mean, 315 00:15:49,160 --> 00:15:52,440 Speaker 1: it's inevitable that there will be a redux of the 316 00:15:52,800 --> 00:15:55,560 Speaker 1: of the list in the future and of course there's 317 00:15:55,720 --> 00:15:59,720 Speaker 1: you know, the resurgence that Elvis is having in a 318 00:15:59,760 --> 00:16:03,240 Speaker 1: more like aesthetic way right now, Like that's not necessarily 319 00:16:03,240 --> 00:16:06,600 Speaker 1: about his music, but like very much about the look 320 00:16:06,720 --> 00:16:11,760 Speaker 1: and kind of the the you know, problematic love story 321 00:16:11,760 --> 00:16:14,000 Speaker 1: with Priscilla and like the tragedy of the family and 322 00:16:14,040 --> 00:16:17,320 Speaker 1: all that stuff. And I'm curious kind of like, i mean, 323 00:16:17,320 --> 00:16:19,480 Speaker 1: all these things are so cyclical, right Like it's like 324 00:16:20,160 --> 00:16:23,160 Speaker 1: everything kind of comes back in waves that I'm wondering 325 00:16:23,240 --> 00:16:25,920 Speaker 1: like when, if, and if like there will be this 326 00:16:26,080 --> 00:16:30,280 Speaker 1: kind of fifties resurgence of like this style of music. 327 00:16:30,320 --> 00:16:32,760 Speaker 1: I mean thinking even just like of course the nineties 328 00:16:32,800 --> 00:16:36,080 Speaker 1: there is like Buddy Holly by Weezer, and then thinking 329 00:16:36,280 --> 00:16:38,920 Speaker 1: even going into the early two thousands, which I love 330 00:16:38,960 --> 00:16:41,480 Speaker 1: that Jacob already brought this up in his interviews the 331 00:16:41,760 --> 00:16:44,280 Speaker 1: about Priscilla where he was like his his encounter with 332 00:16:44,320 --> 00:16:47,120 Speaker 1: Elvis was through Lee Lo and Stitch and like Stitch 333 00:16:47,160 --> 00:16:49,560 Speaker 1: stressing out of Elvis, like these like kind of weird 334 00:16:49,600 --> 00:16:52,360 Speaker 1: moments that brought all that back. Like I'm wondering if 335 00:16:52,360 --> 00:16:56,920 Speaker 1: that if the product of this Elvis resurgence is kind 336 00:16:56,920 --> 00:17:00,840 Speaker 1: of naturally leading into that maybe or it stops with 337 00:17:00,920 --> 00:17:01,840 Speaker 1: Elvis or. 338 00:17:02,320 --> 00:17:07,160 Speaker 2: I think it doesn't stop with Elvis and it continues. Honestly, 339 00:17:07,200 --> 00:17:10,440 Speaker 2: people still, I mean, people are just now discovering Big 340 00:17:10,480 --> 00:17:13,719 Speaker 2: Mama Thornton. I feel like they will discover Roy Brown. 341 00:17:14,240 --> 00:17:16,080 Speaker 2: I know I'm talking about Roy Brown a lot. I'm 342 00:17:16,080 --> 00:17:20,000 Speaker 2: a huge fan. Love Don't Love Nobody is just to me. 343 00:17:20,119 --> 00:17:22,680 Speaker 2: That's a song that you hear. That you hear Little 344 00:17:22,680 --> 00:17:26,520 Speaker 2: Willie John, you hear Wenny Harris, you hear Nellie Lutcher. 345 00:17:26,920 --> 00:17:29,480 Speaker 2: There are so many amazing voices from this period that 346 00:17:29,520 --> 00:17:33,080 Speaker 2: are just still right to be rediscovered or discovered for 347 00:17:33,119 --> 00:17:36,879 Speaker 2: the first time. Yeah, And I feel like hopefully the 348 00:17:36,920 --> 00:17:39,800 Speaker 2: Big Mama Thornton, that the resurgence of interest in her 349 00:17:40,200 --> 00:17:43,080 Speaker 2: will just people will keep going with that amazing period 350 00:17:43,160 --> 00:17:46,040 Speaker 2: of late forties early fifties R and B. 351 00:17:46,600 --> 00:17:50,040 Speaker 1: And next up, we're gonna have Angie Martosio talk about 352 00:17:50,119 --> 00:17:54,879 Speaker 1: hound Dog with us a little bit. Thank you so much, 353 00:17:54,920 --> 00:17:57,320 Speaker 1: Angie for joining us to talk about hon Dog today. 354 00:17:57,440 --> 00:18:01,119 Speaker 1: Curious sort of when you first heard any version of 355 00:18:01,160 --> 00:18:01,560 Speaker 1: the song. 356 00:18:01,920 --> 00:18:05,879 Speaker 3: Yeah, it's called Grease. It's a really good film. You 357 00:18:05,880 --> 00:18:08,399 Speaker 3: should like catch it out sometime. Also, just want to 358 00:18:08,400 --> 00:18:11,159 Speaker 3: point out I was a kid watching that, so I 359 00:18:11,200 --> 00:18:14,400 Speaker 3: didn't know that it was like filmed later. I thought 360 00:18:14,400 --> 00:18:17,000 Speaker 3: it was like in the fifties, so I didn't understand 361 00:18:17,080 --> 00:18:19,080 Speaker 3: that sometimes a movie is like set at a certain 362 00:18:19,080 --> 00:18:22,440 Speaker 3: time at all. So to me, I was like John 363 00:18:22,480 --> 00:18:24,720 Speaker 3: Travolda's been around for a while, he had this movie. 364 00:18:24,720 --> 00:18:27,560 Speaker 3: He was in the fifties, Like what's going on? But anyway, 365 00:18:27,920 --> 00:18:30,840 Speaker 3: hearing that song at that time was definitely my introduction, 366 00:18:31,160 --> 00:18:35,160 Speaker 3: and I would say, you know, I'm not a diehard 367 00:18:35,240 --> 00:18:38,240 Speaker 3: Elvis fan, and it's one of the songs that I'm 368 00:18:38,280 --> 00:18:41,320 Speaker 3: not sick of. It's awesome, it's great. I never get 369 00:18:41,320 --> 00:18:41,800 Speaker 3: tired of it. 370 00:18:42,080 --> 00:18:45,040 Speaker 1: And did you hear the big Mama Thornton version much 371 00:18:45,119 --> 00:18:46,480 Speaker 1: later or with it much later? 372 00:18:46,920 --> 00:18:49,320 Speaker 3: Which is crazy? You know, that was like a landmark 373 00:18:49,600 --> 00:18:52,120 Speaker 3: nineteen fifty three hit, and it was such a big 374 00:18:52,160 --> 00:18:55,600 Speaker 3: deal at the time, and it makes you know, I'm 375 00:18:55,600 --> 00:18:58,480 Speaker 3: not surprised with our treatment of how things were then 376 00:18:58,520 --> 00:19:02,240 Speaker 3: that it's just completely forgotten. But I am really glad 377 00:19:02,280 --> 00:19:04,280 Speaker 3: about the last like five years or so, and that 378 00:19:04,359 --> 00:19:06,280 Speaker 3: it's come back and that it was on our list. 379 00:19:06,359 --> 00:19:08,359 Speaker 1: Yeah, and the writers were so young when they worked 380 00:19:08,400 --> 00:19:11,399 Speaker 1: on it. I didn't realize they're nineteen when they wrote it. 381 00:19:11,880 --> 00:19:15,639 Speaker 3: Yeah, Leeber and Stoller were like, they're these two kids 382 00:19:15,680 --> 00:19:19,680 Speaker 3: in their early twenties. They're Jewish music nerds. They're obsessed 383 00:19:19,720 --> 00:19:23,040 Speaker 3: with black culture and it's so insane to me, Like 384 00:19:23,840 --> 00:19:26,639 Speaker 3: the amount of like drama and history that happens with 385 00:19:26,720 --> 00:19:30,240 Speaker 3: Hounddog is so crazy, and I think they're a huge 386 00:19:30,280 --> 00:19:32,760 Speaker 3: part of it, and they're often overlooked and not discussed. 387 00:19:32,960 --> 00:19:35,600 Speaker 3: And yeah, they wrote that song. Yeah, and they did 388 00:19:35,600 --> 00:19:38,879 Speaker 3: not like Elvis's version at first. Yeah, which is so crazy, 389 00:19:38,880 --> 00:19:41,560 Speaker 3: they said, was the line like it doesn't have the 390 00:19:41,600 --> 00:19:43,560 Speaker 3: groove that Big Mama Thornton. 391 00:19:43,320 --> 00:19:45,720 Speaker 2: Had, which is and the rest of their lives complaining 392 00:19:45,760 --> 00:19:48,600 Speaker 2: about it. Yess very funny how they were always outraged 393 00:19:48,800 --> 00:19:53,199 Speaker 2: that this song that was allegedly there was so famous 394 00:19:53,240 --> 00:19:54,720 Speaker 2: for Elvis in a totally different version. 395 00:19:54,920 --> 00:19:57,440 Speaker 3: The unsung hero this whole story is Freddy Bell, who 396 00:19:57,520 --> 00:19:59,720 Speaker 3: sadly even said, like, I hope my career is not 397 00:19:59,800 --> 00:20:03,080 Speaker 3: some up by like giving Elvis hound Dog, Which is 398 00:20:03,119 --> 00:20:06,359 Speaker 3: so sad that Elvis went to Vegas for the first 399 00:20:06,400 --> 00:20:10,080 Speaker 3: time saw them perform that version, the rabid version I 400 00:20:10,119 --> 00:20:13,879 Speaker 3: call it, and he's that's the version that he took 401 00:20:13,960 --> 00:20:16,119 Speaker 3: so it's so crazy to me that now it's boiled 402 00:20:16,160 --> 00:20:18,800 Speaker 3: down between like Elvis and Big Mama against each other, 403 00:20:19,359 --> 00:20:21,000 Speaker 3: when it was never like that to begin with. 404 00:20:21,320 --> 00:20:24,440 Speaker 1: Yeah, yeah, and I mean even just so, as Rob 405 00:20:24,440 --> 00:20:26,760 Speaker 1: and I discussed earlier in the episode, the history of 406 00:20:26,800 --> 00:20:29,359 Speaker 1: hound Dog and the fact that on the five hundred 407 00:20:29,359 --> 00:20:32,080 Speaker 1: Great Songs List, of course it is the highest ranking 408 00:20:32,119 --> 00:20:34,120 Speaker 1: song from the two thousand and four list to disappear 409 00:20:34,160 --> 00:20:36,840 Speaker 1: from the twenty twenty one list, and of course we 410 00:20:36,960 --> 00:20:39,560 Speaker 1: have Big Mom and Thornton's version on the newer list, 411 00:20:39,680 --> 00:20:43,560 Speaker 1: and even just the history of how kind of public 412 00:20:43,680 --> 00:20:46,920 Speaker 1: sentiment about Elvis has changed so much over I mean 413 00:20:47,359 --> 00:20:50,760 Speaker 1: over our kind of like from our childhoods to now, 414 00:20:50,760 --> 00:20:53,520 Speaker 1: and like from like even the last two years of 415 00:20:54,320 --> 00:20:56,119 Speaker 1: Elvis have changed so much. I mean, it's kind of 416 00:20:56,119 --> 00:20:58,960 Speaker 1: fascinating to think about how the ebbs and flows have 417 00:20:59,119 --> 00:21:01,560 Speaker 1: existed of Elvis as like the king of rock and 418 00:21:01,640 --> 00:21:04,520 Speaker 1: roll and what that means and kind of whether that 419 00:21:04,800 --> 00:21:07,800 Speaker 1: stands still and like how how that's completely changed even 420 00:21:07,840 --> 00:21:08,240 Speaker 1: before this. 421 00:21:08,280 --> 00:21:10,720 Speaker 3: List, And it does post the question right of like 422 00:21:10,800 --> 00:21:14,199 Speaker 3: future lists, like will that Elvis version come back on 423 00:21:14,240 --> 00:21:15,919 Speaker 3: the list? Like I think about that too. With the 424 00:21:15,960 --> 00:21:20,040 Speaker 3: fact that he's gaining such a huge fan base from children. 425 00:21:20,280 --> 00:21:25,320 Speaker 3: It's absolutely bonkers to me how huge he's become. Obviously, 426 00:21:25,359 --> 00:21:27,479 Speaker 3: the movies were a big deal and part of that, 427 00:21:27,600 --> 00:21:30,040 Speaker 3: but it's also just the fact that he's, sorry to 428 00:21:30,040 --> 00:21:33,000 Speaker 3: put it so bluntly, like Elvis is cool now and 429 00:21:33,040 --> 00:21:35,120 Speaker 3: he was not that cool like ten years ago. 430 00:21:35,240 --> 00:21:37,480 Speaker 1: There's a great piece that I remember David Brown Arcola, 431 00:21:37,680 --> 00:21:42,080 Speaker 1: David Brown wrote about Elvis's estate trying to get him 432 00:21:42,080 --> 00:21:44,920 Speaker 1: to be relevant again or to keep that legacy going. 433 00:21:45,040 --> 00:21:46,719 Speaker 1: No one wanted to engage with Elvis. Like a lot 434 00:21:46,760 --> 00:21:50,560 Speaker 1: of younger fans obviously found him gross and Skivie rightfully 435 00:21:50,880 --> 00:21:53,800 Speaker 1: for marrying a teenager, and he properated a lot of 436 00:21:53,800 --> 00:21:55,840 Speaker 1: black culture and like a lot of black artists were 437 00:21:55,880 --> 00:21:58,440 Speaker 1: lost in the process of him becoming really famous. And 438 00:21:58,840 --> 00:22:01,119 Speaker 1: I think there was a lot of of that sort 439 00:22:01,119 --> 00:22:05,040 Speaker 1: of disdain for him, and so it's really fascinating how 440 00:22:05,119 --> 00:22:08,159 Speaker 1: that still exists, Like that conversation is ongoing. But he 441 00:22:08,320 --> 00:22:11,119 Speaker 1: also there's so many people that are really really young 442 00:22:11,240 --> 00:22:14,159 Speaker 1: people who love him because of this movie, or like 443 00:22:14,280 --> 00:22:17,080 Speaker 1: love the lore of Elvis or the aesthetic of Elvis, 444 00:22:17,080 --> 00:22:20,600 Speaker 1: because of both this movie and the Sofia Coppola Priscilla, 445 00:22:21,520 --> 00:22:24,760 Speaker 1: which are again very like high aesthetic directors kind of 446 00:22:24,920 --> 00:22:26,119 Speaker 1: doing takes on Elvis. 447 00:22:26,240 --> 00:22:28,080 Speaker 2: But it's wild that, like you were saying, that this 448 00:22:28,240 --> 00:22:34,320 Speaker 2: story keeps changing, keeps evolving. Every generation, every fan base, 449 00:22:34,960 --> 00:22:41,359 Speaker 2: every culture, every new wave of Elvis fans rediscovers the 450 00:22:41,400 --> 00:22:44,760 Speaker 2: Elvis universe and has a new Elvis of their own. 451 00:22:45,040 --> 00:22:47,840 Speaker 2: It's really amazing how many, how everybody's got their own 452 00:22:47,880 --> 00:22:48,800 Speaker 2: different Elvis. 453 00:22:49,359 --> 00:22:51,639 Speaker 3: Yeah, and I think, you know, Priscilla came out and 454 00:22:51,680 --> 00:22:53,480 Speaker 3: it was a little bit how is this going to 455 00:22:53,480 --> 00:22:58,880 Speaker 3: be perceived, you know, especially competing with Elvis the movie, 456 00:22:59,320 --> 00:23:02,119 Speaker 3: and I thought that was kind of a polite that 457 00:23:02,320 --> 00:23:04,199 Speaker 3: I could have been a lot worse. I left the 458 00:23:04,240 --> 00:23:08,640 Speaker 3: movie loving it. Obviously, I love Sophia Coppola. I as 459 00:23:08,680 --> 00:23:11,399 Speaker 3: someone who's read the book Priscilla, it's very different, and 460 00:23:11,440 --> 00:23:14,439 Speaker 3: I think it was a pretty polite. Let's say, it 461 00:23:14,440 --> 00:23:15,440 Speaker 3: could have been a lot worse. 462 00:23:15,680 --> 00:23:17,919 Speaker 1: And it seems like it's also like a sort of 463 00:23:18,080 --> 00:23:21,080 Speaker 1: stylistic thing. Obviously, like a lot of people like love 464 00:23:21,160 --> 00:23:23,800 Speaker 1: that kind of look that he had and the look 465 00:23:23,840 --> 00:23:25,720 Speaker 1: that Priscilla had, like and you know, that kind of 466 00:23:25,760 --> 00:23:29,840 Speaker 1: comes with it the music. I'm kind of intrigued by 467 00:23:30,200 --> 00:23:32,520 Speaker 1: how that will shake out with it because there was 468 00:23:32,560 --> 00:23:36,040 Speaker 1: sort of a new interest in Big Mama Thornton's version 469 00:23:36,080 --> 00:23:39,639 Speaker 1: because of the Doja Cat song that used that sample 470 00:23:39,800 --> 00:23:43,120 Speaker 1: Big Mamma Thorton's original version of of hound Dog and 471 00:23:43,200 --> 00:23:44,880 Speaker 1: that was part of the soundtrack that was a huge hit. 472 00:23:44,920 --> 00:23:47,960 Speaker 1: So that kind of, you know, thankfully, brought a lot 473 00:23:48,000 --> 00:23:50,080 Speaker 1: more light to her and too kind of like the 474 00:23:50,480 --> 00:23:52,199 Speaker 1: history of the song. And of course she plays a 475 00:23:52,200 --> 00:23:54,040 Speaker 1: part in the movie as well. So I'm kind of 476 00:23:54,040 --> 00:23:57,200 Speaker 1: curious because I wonder if the songs will have that 477 00:23:58,000 --> 00:24:00,640 Speaker 1: life again, or if this will change the list once more. 478 00:24:00,760 --> 00:24:02,600 Speaker 1: I wonder if in like ten years, you know, and 479 00:24:02,640 --> 00:24:06,080 Speaker 1: we have a batch of younger critics and writers and 480 00:24:06,240 --> 00:24:10,440 Speaker 1: people who you know, loved this these movies or found 481 00:24:10,480 --> 00:24:12,480 Speaker 1: them fascinating that way will change it too. 482 00:24:12,600 --> 00:24:15,200 Speaker 3: Yeah, I absolutely can't wait to hear. And the last 483 00:24:15,200 --> 00:24:17,479 Speaker 3: thing I want to add is just that Lana del 484 00:24:17,560 --> 00:24:19,280 Speaker 3: Rey was right the whole time, you know, like that 485 00:24:19,440 --> 00:24:22,919 Speaker 3: Priscilla hairstyle is great and it's taken people years to 486 00:24:22,920 --> 00:24:23,640 Speaker 3: catch up with her. 487 00:24:23,760 --> 00:24:25,199 Speaker 1: I mean, there's a lot we need to catch up 488 00:24:25,240 --> 00:24:26,359 Speaker 1: on with with Lanna. 489 00:24:26,200 --> 00:24:27,719 Speaker 2: That's very true. 490 00:24:28,640 --> 00:24:30,920 Speaker 1: Well, thank you so much, Angie for me, Thank you always. 491 00:24:31,320 --> 00:24:33,800 Speaker 1: Thanks so much for listening to Rolling Stone's five hundred 492 00:24:33,800 --> 00:24:36,960 Speaker 1: Greatest Songs. This podcast is brought to you by Rolling 493 00:24:37,000 --> 00:24:41,280 Speaker 1: Stone and iHeartMedia. Written hosted by Me, Britney Spanos. 494 00:24:41,000 --> 00:24:43,520 Speaker 2: And Rob Sheffield, Executive. 495 00:24:43,040 --> 00:24:46,800 Speaker 1: Produced by Jason Fine, Alex Dale and Christian Horde, and 496 00:24:46,880 --> 00:24:50,320 Speaker 1: produced by Jesse Cannon, with music supervision by Eric Zeiler. 497 00:24:50,520 --> 00:24:52,040 Speaker 1: Thanks for watching, and thanks for listening.