1 00:00:01,760 --> 00:00:04,800 Speaker 1: Hey, discos, need a little more disgrace Land in your life, 2 00:00:05,160 --> 00:00:08,039 Speaker 1: just to touch, to get you through. Yeah, me too. 3 00:00:08,720 --> 00:00:11,920 Speaker 1: This is the podcast that comes after the podcast. Welcome 4 00:00:12,000 --> 00:00:30,600 Speaker 1: to Disgraceland, the after party. Welcome to the Disgraceland bonus episode, 5 00:00:30,640 --> 00:00:33,000 Speaker 1: a little thing we like to call the after party. 6 00:00:33,040 --> 00:00:35,479 Speaker 1: This is the show after the show, people, the party 7 00:00:35,520 --> 00:00:37,040 Speaker 1: after the party. The bridge to get you from one 8 00:00:37,040 --> 00:00:39,800 Speaker 1: full episode of disgrace Land to the other. The backyard, 9 00:00:39,840 --> 00:00:42,440 Speaker 1: to dig into the dirt, our mission to uncover the truth, 10 00:00:42,520 --> 00:00:44,519 Speaker 1: to confront the myth, to reclaim the story. Of this 11 00:00:44,600 --> 00:00:48,800 Speaker 1: bonus episode, Weezer's so called blue album The Glorious Year 12 00:00:48,920 --> 00:00:51,600 Speaker 1: for Music That nineteen ninety four was a bunch of 13 00:00:51,640 --> 00:00:54,240 Speaker 1: stuff about pulp fiction that you probably didn't know. Plus 14 00:00:54,440 --> 00:00:58,560 Speaker 1: your voicemails, texts, emails, comments, dms, and as always, a 15 00:00:58,680 --> 00:01:01,680 Speaker 1: whole lot of rosie. This is podcast for the musically obsessed, 16 00:01:01,920 --> 00:01:04,319 Speaker 1: the outsiders, the independent thinkers who know that the best 17 00:01:04,360 --> 00:01:07,120 Speaker 1: history is the history that gets buried. Disgrace Land is 18 00:01:07,160 --> 00:01:09,360 Speaker 1: where I tell the stories they didn't want told, the 19 00:01:09,440 --> 00:01:11,360 Speaker 1: kind that you'll end up telling to someone else. All right, 20 00:01:11,440 --> 00:01:24,520 Speaker 1: disc goes, Let's get into it. What's with these homies 21 00:01:24,880 --> 00:01:27,280 Speaker 1: this and my Girl. Why do they get a front? 22 00:01:28,040 --> 00:01:29,920 Speaker 1: Or is it? Why do they have to front? Did 23 00:01:29,920 --> 00:01:34,160 Speaker 1: he use proper English there? I don't know. We laughed 24 00:01:34,160 --> 00:01:37,600 Speaker 1: at that Weezer lyric now, and I guess we kind 25 00:01:37,600 --> 00:01:39,560 Speaker 1: of laughed at it back in nineteen ninety four when 26 00:01:39,560 --> 00:01:42,679 Speaker 1: it was released, when it smacked us in the face 27 00:01:43,080 --> 00:01:46,039 Speaker 1: as the opening line from the band's Buddy Holly single. 28 00:01:46,600 --> 00:01:49,400 Speaker 1: I didn't take Weezer seriously at the time. I took 29 00:01:49,480 --> 00:01:53,360 Speaker 1: them and the Blue album. I took the band and 30 00:01:53,400 --> 00:01:56,600 Speaker 1: the album for granted, I really did. And it wasn't 31 00:01:56,680 --> 00:02:01,040 Speaker 1: until their follow up in nineteen ninety six, until Pinkerton, 32 00:02:01,640 --> 00:02:03,840 Speaker 1: that I started to think of Weezer as a real band, 33 00:02:03,840 --> 00:02:06,760 Speaker 1: at least a band that I was interested in. And 34 00:02:06,800 --> 00:02:09,280 Speaker 1: the irony is that that was kind of the point 35 00:02:09,440 --> 00:02:13,760 Speaker 1: of Pinkerton, Rivers Cuomo. He wanted to be thought of 36 00:02:13,800 --> 00:02:16,960 Speaker 1: as a real artist, somebody akin to Kurt Cobain, and 37 00:02:17,360 --> 00:02:20,919 Speaker 1: when he made Pinkerton, that helped him achieve that goal. 38 00:02:21,080 --> 00:02:25,320 Speaker 1: But he ended up distancing himself from that album. There's 39 00:02:25,360 --> 00:02:28,640 Speaker 1: the irony. He dismissed it for a bunch of different reasons, 40 00:02:28,680 --> 00:02:30,560 Speaker 1: but it was a commercial flop, and it was a 41 00:02:30,680 --> 00:02:34,120 Speaker 1: huge departure from the Blue Album. But that Blue Album 42 00:02:34,240 --> 00:02:36,080 Speaker 1: was the album that caused us in the first place 43 00:02:36,120 --> 00:02:38,040 Speaker 1: to not take him seriously, which is the thing that 44 00:02:38,080 --> 00:02:40,520 Speaker 1: he was trying to correct with Pinkerton. I don't know, 45 00:02:40,560 --> 00:02:43,800 Speaker 1: it's all very confusing. He's since come around on Pinkerton 46 00:02:44,000 --> 00:02:46,120 Speaker 1: sort of. There's a bunch of conflicting comments out there, 47 00:02:46,440 --> 00:02:49,040 Speaker 1: but I believe deep down Rivers Cuomo knows what a 48 00:02:49,040 --> 00:02:53,040 Speaker 1: great album that is. But for me, Weezer never really 49 00:02:53,080 --> 00:02:56,720 Speaker 1: recovered after that, and being from Boston, being part of 50 00:02:56,720 --> 00:02:59,920 Speaker 1: the rock scene back then, we had a direct connection 51 00:03:00,160 --> 00:03:02,520 Speaker 1: to Weezer all of a sudden because of bass player 52 00:03:02,639 --> 00:03:06,000 Speaker 1: Mikey Welch, who was well known around town, and he 53 00:03:06,040 --> 00:03:11,840 Speaker 1: became the bass player for Weezer after Pinkerton. But you know, 54 00:03:11,919 --> 00:03:14,880 Speaker 1: the stuff they released afterward, I don't know. It just it. 55 00:03:15,120 --> 00:03:18,400 Speaker 1: I don't dislike Weezer, but I'm not running to listen 56 00:03:18,480 --> 00:03:21,400 Speaker 1: to their albums unless it's Pinkerton or even the Blue Album. 57 00:03:21,639 --> 00:03:24,480 Speaker 1: The Blue Album is the album in my house that 58 00:03:24,760 --> 00:03:26,959 Speaker 1: my kids and my wife love, and I lose the 59 00:03:26,960 --> 00:03:29,679 Speaker 1: Pinkerton argument every time. But that's not really the point. 60 00:03:29,680 --> 00:03:30,960 Speaker 1: I want to make. The point I want to make 61 00:03:31,040 --> 00:03:34,880 Speaker 1: is that nowadays it's weird to think that we had 62 00:03:34,920 --> 00:03:39,240 Speaker 1: the luxury of dismissing an album as great as the 63 00:03:39,280 --> 00:03:43,280 Speaker 1: Blue Album. Back in nineteen ninety four, we did not 64 00:03:43,880 --> 00:03:46,800 Speaker 1: know how good we had it when it came to music, 65 00:03:46,800 --> 00:03:48,800 Speaker 1: when it came to culture in general, but especially when 66 00:03:48,800 --> 00:03:50,800 Speaker 1: it came to music in nineteen ninety four. Nineteen ninety 67 00:03:50,840 --> 00:03:55,000 Speaker 1: four was a banger of a year for music releases, 68 00:03:55,720 --> 00:03:58,080 Speaker 1: but so it was basically every year during the nineties, 69 00:03:58,120 --> 00:04:01,120 Speaker 1: but ninety four in particular ninety one as well, but 70 00:04:01,240 --> 00:04:06,720 Speaker 1: really ninety four, it's just it's unbelievable. Check these records out. 71 00:04:06,840 --> 00:04:09,520 Speaker 1: These were full lengths that were released in nineteen ninety four. 72 00:04:09,880 --> 00:04:14,000 Speaker 1: Definitely Maybe by Oasis, Grace by Jeff Buckley, Dookie by 73 00:04:14,040 --> 00:04:18,880 Speaker 1: Green Day, Ill Communication by Beastie Boys, Vitology by Pearl Jam, 74 00:04:18,920 --> 00:04:22,800 Speaker 1: Ready to Die by Notorious Big, super Unknown Soundgarden, Park 75 00:04:22,839 --> 00:04:26,640 Speaker 1: Life by Blur, Mellow Gold by Beck Bad Religion, Stranger 76 00:04:26,680 --> 00:04:30,080 Speaker 1: Than Fiction, Roman, Candle by Elliott Smith, Illmatic by Nas, 77 00:04:30,400 --> 00:04:33,440 Speaker 1: Sick of It All, Scratched the Surface, Nirvana, MTV Unplug, 78 00:04:33,600 --> 00:04:37,040 Speaker 1: Shellac At Action Park, Tori Amos Came at us under 79 00:04:37,040 --> 00:04:38,960 Speaker 1: the Pink. I think that's our debut album or a 80 00:04:39,000 --> 00:04:41,000 Speaker 1: second album. I don't know, but that's the one with 81 00:04:41,040 --> 00:04:44,800 Speaker 1: Cornflake Girl. I believe Grandly Buffalo, Mighty Joe Moon, great album, 82 00:04:45,040 --> 00:04:48,279 Speaker 1: not super well known, but great, TLC Crazy, Sexy Cool, 83 00:04:48,440 --> 00:04:53,440 Speaker 1: Huge Record, Huge hits, nine inch Nails, Downward, Spiralrim Monster, 84 00:04:53,640 --> 00:04:57,760 Speaker 1: Tom Petty, Wildflowers, Mad Ball, Set It Off, Purple by Stone, 85 00:04:57,800 --> 00:05:01,080 Speaker 1: Tumble Pilots, The Jesus Lizards rerec Down came out. I 86 00:05:01,120 --> 00:05:03,080 Speaker 1: think I saw them in ninety four. Lu's just Jackson, 87 00:05:03,160 --> 00:05:09,000 Speaker 1: Natural Ingredients, Regulate the gfunk Eraby Warren g Sonic Youth, Experimental, 88 00:05:09,080 --> 00:05:12,400 Speaker 1: jet Set, Trash and No Star Kaias Welcome to Sky Valley. 89 00:05:12,440 --> 00:05:15,080 Speaker 1: We love that album. That was the precursor to Queens 90 00:05:15,080 --> 00:05:18,720 Speaker 1: of the Stone Age. Crooked Rain. Crooked Rain by Pavement, Portishead, 91 00:05:18,920 --> 00:05:21,880 Speaker 1: Dummy Drive Like Jay Hu Yank Crime. If you don't 92 00:05:21,920 --> 00:05:24,560 Speaker 1: know that album, go check it out. Backbeat came out 93 00:05:24,560 --> 00:05:28,839 Speaker 1: with an excellent soundtrack with a supergroup. The Crow soundtrack 94 00:05:28,920 --> 00:05:31,479 Speaker 1: was from nineteen ninety four. A Whole Lived Through This 95 00:05:31,880 --> 00:05:35,039 Speaker 1: Sunny Day Real Estate Diary, Nick Cave and the Bad 96 00:05:35,040 --> 00:05:38,360 Speaker 1: Seas Let Love in Wait by Rollins Band. I didn't 97 00:05:38,560 --> 00:05:42,080 Speaker 1: love all of these albums when they came out. Some 98 00:05:42,360 --> 00:05:46,839 Speaker 1: I've grown to appreciate over time, but I can confidently 99 00:05:46,880 --> 00:05:50,000 Speaker 1: say that they were all on my radar and I 100 00:05:50,040 --> 00:05:52,120 Speaker 1: was into most of them when they were released. In 101 00:05:52,160 --> 00:05:55,440 Speaker 1: nineteen ninety four, I lived with a bunch of roommates. 102 00:05:55,440 --> 00:05:58,279 Speaker 1: We were all huge music fans, too many roommates to count, 103 00:05:58,320 --> 00:06:02,560 Speaker 1: and the shitty little, literally rat infested basement apartment on 104 00:06:02,640 --> 00:06:05,920 Speaker 1: Huntington Avenue and Bostons. While I was going to Northeastern, 105 00:06:06,360 --> 00:06:09,479 Speaker 1: we were within walking distance to Newbury Street, so Newbury 106 00:06:09,480 --> 00:06:12,120 Speaker 1: Comics was there, Tower Records on the corner of Newbury, 107 00:06:12,200 --> 00:06:16,000 Speaker 1: Mass have And I can attest that nearly every one 108 00:06:16,040 --> 00:06:18,799 Speaker 1: of these records on CD, every one of these albums 109 00:06:18,839 --> 00:06:22,520 Speaker 1: on CD at least, was either physically purchased by myself 110 00:06:23,040 --> 00:06:26,599 Speaker 1: and or my roommates, or was in our radar, you 111 00:06:26,640 --> 00:06:29,560 Speaker 1: know what I mean. We had access to all of 112 00:06:29,600 --> 00:06:33,760 Speaker 1: this music in the year that it was released nineteen 113 00:06:33,960 --> 00:06:37,080 Speaker 1: ninety four. I didn't love all of it, obviously, I 114 00:06:37,120 --> 00:06:41,880 Speaker 1: wasn't buying TLC albums, but those singles were everywhere, for example, 115 00:06:42,560 --> 00:06:44,480 Speaker 1: and I didn't hate them, you know what I mean? 116 00:06:44,520 --> 00:06:47,760 Speaker 1: I didn't hate on THLC. Now I hear those singles 117 00:06:47,760 --> 00:06:50,760 Speaker 1: and I'm blown away by how great they are. And again, 118 00:06:50,880 --> 00:06:54,560 Speaker 1: how I just dismissed it. This is crazy to me. 119 00:06:55,240 --> 00:06:57,800 Speaker 1: And a lot of this stuff, you know, a lot 120 00:06:57,800 --> 00:07:02,040 Speaker 1: of these artists that I just mentioned, some of the stuff. 121 00:07:01,680 --> 00:07:04,520 Speaker 1: If I tried playing it in that apartment I'm talking about, 122 00:07:04,839 --> 00:07:06,760 Speaker 1: I'd get my ass turn up for listening to it. 123 00:07:06,800 --> 00:07:11,280 Speaker 1: Because music was hotly debated, bands fell in and out 124 00:07:11,280 --> 00:07:14,440 Speaker 1: of favor with every release, with every video, with basically 125 00:07:14,480 --> 00:07:18,400 Speaker 1: every move they made. For example, I loved that third 126 00:07:18,440 --> 00:07:21,800 Speaker 1: Pro Jam record, Vitology, but this is the third Pearl 127 00:07:21,880 --> 00:07:30,640 Speaker 1: Jam album. The second Pearl Jam album was a monster record, monster, huge, huge. 128 00:07:30,960 --> 00:07:34,000 Speaker 1: You could just walk around Boston and you would just 129 00:07:34,040 --> 00:07:38,480 Speaker 1: hear that album playing from windows. It was absolutely massive. 130 00:07:38,800 --> 00:07:41,360 Speaker 1: So by the time the third record comes out, I mean, 131 00:07:41,480 --> 00:07:43,120 Speaker 1: we were sick. I was sick of Pearl Jam by 132 00:07:43,160 --> 00:07:45,960 Speaker 1: ten basically, but I still it was so overplayed that 133 00:07:46,040 --> 00:07:49,440 Speaker 1: first album. But I still liked the band. My friend's 134 00:07:49,480 --> 00:07:51,880 Speaker 1: on the other hand, it was way uncool to like 135 00:07:51,920 --> 00:07:55,239 Speaker 1: Pearl Jam by the third record. It was definitely uncool 136 00:07:55,240 --> 00:07:58,320 Speaker 1: to like Pearl Jam. They were just you know, a 137 00:07:58,440 --> 00:08:02,960 Speaker 1: less cool version of Soundgarden, who we thought was beyond cool. 138 00:08:03,240 --> 00:08:05,760 Speaker 1: They were darker than Pearl Jam, their singer was just 139 00:08:05,800 --> 00:08:09,400 Speaker 1: as talented, they were heavier. But you know, I didn't 140 00:08:09,440 --> 00:08:11,840 Speaker 1: love super Unknown, the album that came out in nineteen 141 00:08:11,920 --> 00:08:13,680 Speaker 1: ninety four, as much as I love Bad motor Finger. 142 00:08:13,720 --> 00:08:15,640 Speaker 1: I still listen to Bad motor Finger. My neighbors can 143 00:08:15,680 --> 00:08:18,600 Speaker 1: attest to that. It's one of my favorite driving records. 144 00:08:18,640 --> 00:08:21,400 Speaker 1: I pull onto my street pretty much once a week 145 00:08:21,480 --> 00:08:24,960 Speaker 1: with Bad motor Finger blaring from my car windows. Great 146 00:08:25,040 --> 00:08:28,120 Speaker 1: driving records, one of my favorite driving records. It's interesting 147 00:08:28,200 --> 00:08:31,600 Speaker 1: for me to think about these albums from the perspective 148 00:08:31,800 --> 00:08:36,480 Speaker 1: of two of our greatest intellectuals and music scholars from 149 00:08:36,559 --> 00:08:39,920 Speaker 1: the nineties, Beavis and butt Head. Now their takes on 150 00:08:40,000 --> 00:08:43,240 Speaker 1: these artists still to this day crack me up. They're 151 00:08:43,320 --> 00:08:48,280 Speaker 1: exaggerated takes, obviously, but they're they're rooted in fact, and 152 00:08:48,320 --> 00:08:50,920 Speaker 1: they're exaggerated takes on what my friends that I really 153 00:08:50,920 --> 00:08:54,800 Speaker 1: thought about these artists, Soundgarden, the Butthole Surfers, Jesus Lizard, 154 00:08:55,000 --> 00:08:58,680 Speaker 1: Yes Please Yes, as Beavis and butthead We'll tell you 155 00:08:58,720 --> 00:09:01,920 Speaker 1: over and over again. Now Osbourne duetting with Leeda Ford, 156 00:09:02,280 --> 00:09:07,319 Speaker 1: not so much. We're Good nineteen ninety four was so good, 157 00:09:07,679 --> 00:09:11,280 Speaker 1: so good for music. So much went on too, I mean, 158 00:09:11,720 --> 00:09:15,520 Speaker 1: Kirk Comyine died. Oj Simpson took us on a wild 159 00:09:15,600 --> 00:09:20,000 Speaker 1: ride and his wife Bronco Nancy Kerrigan, a Northeastern University alum. 160 00:09:20,080 --> 00:09:22,000 Speaker 1: By the way, she got her knee popped ninety four 161 00:09:22,040 --> 00:09:25,480 Speaker 1: by Tanya Harding and her Thugs friends appeared for the 162 00:09:25,520 --> 00:09:28,319 Speaker 1: first time on television. Gave us something to look at 163 00:09:28,360 --> 00:09:32,040 Speaker 1: on Thursday nights. After Seinfeld, there was a massive earthquake. 164 00:09:32,240 --> 00:09:34,439 Speaker 1: People don't understand how big this earthquake was. It killed 165 00:09:34,480 --> 00:09:37,640 Speaker 1: a ton of people, like almost sixty people in southern California. 166 00:09:38,240 --> 00:09:42,760 Speaker 1: Michael Jordan started playing baseball. Pulp Fiction was released, and 167 00:09:42,800 --> 00:09:44,720 Speaker 1: so it was its soundtrack, and all of a sudden 168 00:09:44,720 --> 00:09:47,960 Speaker 1: we all liked cool in the gang. Bill Hicks died. Yes, 169 00:09:48,040 --> 00:09:50,439 Speaker 1: we were under Bill Hickson. Nineteen ninety four. Bill Hicks died. 170 00:09:50,480 --> 00:09:52,880 Speaker 1: Jim Carrey was everywhere in ninety four. He had like 171 00:09:52,920 --> 00:09:57,000 Speaker 1: eight hundred movies that year. Jenny McCarthy, who I don't 172 00:09:57,000 --> 00:10:00,160 Speaker 1: think yet was with Jim Carrey, but she was on 173 00:10:00,200 --> 00:10:03,360 Speaker 1: the cover of Playboy ninety four. Reality Bites was a 174 00:10:03,440 --> 00:10:06,640 Speaker 1: lame version of all of us that we all pretended 175 00:10:06,640 --> 00:10:08,840 Speaker 1: to hate but we secretly loved. Clerks was a worse 176 00:10:08,960 --> 00:10:11,320 Speaker 1: version of us that we all pretended to like more 177 00:10:11,320 --> 00:10:15,000 Speaker 1: than we liked Reality Bites. I guess my point is 178 00:10:15,040 --> 00:10:18,640 Speaker 1: that there was so much awesomeness going on back in 179 00:10:18,720 --> 00:10:23,439 Speaker 1: nineteen ninety four, and all of it had the potential 180 00:10:23,559 --> 00:10:26,760 Speaker 1: to distract me from the awesomeness that was going on 181 00:10:26,760 --> 00:10:32,440 Speaker 1: on Weezer's blue album Happy Days. Spoofs you know, kind 182 00:10:32,440 --> 00:10:35,880 Speaker 1: of funny but didn't really rate. And then Pinkerton, like 183 00:10:35,920 --> 00:10:37,760 Speaker 1: I said, opened my eyes. But it wasn't until a 184 00:10:37,760 --> 00:10:40,679 Speaker 1: couple of years later. That record was released in ninety 185 00:10:40,760 --> 00:10:45,199 Speaker 1: six and was radically different, radically different, And even though 186 00:10:45,200 --> 00:10:47,000 Speaker 1: that was the album that Rivers Cuomo set out to make, 187 00:10:47,480 --> 00:10:50,120 Speaker 1: and that album in a way did what he wanted 188 00:10:50,120 --> 00:10:55,199 Speaker 1: it to do, again, he's got so many conflicting comments 189 00:10:55,280 --> 00:10:59,599 Speaker 1: and thoughts about what I believe to be Weezer's best album, 190 00:11:00,120 --> 00:11:02,679 Speaker 1: not to mention a bunch of weird comments and actions 191 00:11:02,840 --> 00:11:04,640 Speaker 1: as well, which you can hear all about in this 192 00:11:04,720 --> 00:11:07,920 Speaker 1: week's new disgrace Land episode on Wheezer coming up next 193 00:11:07,960 --> 00:11:10,480 Speaker 1: to Disgraceland coming up in the feed next right after 194 00:11:10,520 --> 00:11:13,040 Speaker 1: this episode is going to be our archive episode on 195 00:11:13,200 --> 00:11:16,440 Speaker 1: Aaliyah speaking of the nineties and her illegal marriage to 196 00:11:16,559 --> 00:11:19,560 Speaker 1: r Kelly and her the mystery around her death. That's 197 00:11:19,559 --> 00:11:22,000 Speaker 1: coming this Sunday, and then on Tuesday, We've got our 198 00:11:22,080 --> 00:11:26,880 Speaker 1: new episode on Adele. Adele's album twenty one. It's sold 199 00:11:27,000 --> 00:11:31,760 Speaker 1: like seventeen billion copies, actually, no seventeen million, but it 200 00:11:31,800 --> 00:11:34,240 Speaker 1: feels like I just one of the biggest selling albums 201 00:11:35,400 --> 00:11:39,480 Speaker 1: and I don't own it. I'm not one of those 202 00:11:39,480 --> 00:11:43,160 Speaker 1: who bought it. I don't dislike Adele, but I'm not 203 00:11:43,240 --> 00:11:45,960 Speaker 1: running to listen to Adele or to go to her shows. 204 00:11:46,360 --> 00:11:48,679 Speaker 1: I like her more as a personality. I think she's 205 00:11:48,720 --> 00:11:52,640 Speaker 1: hot shit, and she's obviously tremendous talented, and honestly, if 206 00:11:52,640 --> 00:11:54,400 Speaker 1: she put her stuff out in ninety four, I probably 207 00:11:54,400 --> 00:11:58,040 Speaker 1: own the album, you know, but I don't. I'm one 208 00:11:58,040 --> 00:12:00,439 Speaker 1: of the few, I guess who doesn't know. And I 209 00:12:00,480 --> 00:12:04,000 Speaker 1: do have like seven copies of Frampton Comes Alive by 210 00:12:04,000 --> 00:12:06,400 Speaker 1: Peter Frampton does another one of those records that for 211 00:12:06,559 --> 00:12:12,840 Speaker 1: its time sold a gazillion copies. Which massive selling album 212 00:12:14,000 --> 00:12:17,400 Speaker 1: do you guys just not care about? Don't vibe with? 213 00:12:17,760 --> 00:12:21,040 Speaker 1: Is it thriller? I don't know anything? By the Beatles? 214 00:12:21,080 --> 00:12:24,079 Speaker 1: Abbey Road, let it be Exile on mainStreet by the 215 00:12:24,160 --> 00:12:27,079 Speaker 1: Rolling Stones might be my favorite album of all time. 216 00:12:27,240 --> 00:12:30,480 Speaker 1: You might hate it. It's largely considered to be the 217 00:12:30,559 --> 00:12:33,840 Speaker 1: Stone's greatest. I don't think it's their their biggest seller. 218 00:12:34,320 --> 00:12:39,280 Speaker 1: But my point is which top selling albums? Oasis definitely, 219 00:12:39,320 --> 00:12:43,959 Speaker 1: maybe Nirvana, never mind? Do you just not care about? 220 00:12:44,040 --> 00:12:45,600 Speaker 1: That's gonna be the question of the week next week 221 00:12:46,120 --> 00:12:49,120 Speaker 1: as we dive into Adell. It's gonna be a great episode. 222 00:12:49,559 --> 00:12:52,400 Speaker 1: Adele is fascinated with true crime, and because of that 223 00:12:52,440 --> 00:12:56,520 Speaker 1: we got a really interesting entry into Adell's story. Can't 224 00:12:56,520 --> 00:12:58,200 Speaker 1: wait for you to hear it. Six one seven nine 225 00:12:58,559 --> 00:13:00,719 Speaker 1: six six six three eight, be a call, leave me 226 00:13:00,760 --> 00:13:03,040 Speaker 1: a voicemail, Hit me up on text with your answer 227 00:13:03,080 --> 00:13:05,439 Speaker 1: to the question of the week? Which massive selling album? 228 00:13:05,559 --> 00:13:07,440 Speaker 1: Do you not have any your collection because you know 229 00:13:07,520 --> 00:13:10,360 Speaker 1: you just don't care? Disgrace Lampod on the Socials. Disgrace 230 00:13:10,360 --> 00:13:12,640 Speaker 1: Sampod at gmail dot com if you want to email 231 00:13:12,679 --> 00:13:16,120 Speaker 1: me now. I mentioned pulp fiction earlier and in the 232 00:13:16,160 --> 00:13:19,439 Speaker 1: exclusive section of this after Party. Uh Doctor Lundy and 233 00:13:19,520 --> 00:13:21,640 Speaker 1: I are going to take you deeper into nineteen ninety 234 00:13:21,640 --> 00:13:24,640 Speaker 1: four and discuss some of the weirdness connected to pulp fiction. 235 00:13:25,200 --> 00:13:29,080 Speaker 1: For example, did you know that Tarantino wrote the Bruce 236 00:13:29,200 --> 00:13:32,640 Speaker 1: Willis part for Matt Dylon. Okay, I did not know that. 237 00:13:33,520 --> 00:13:35,200 Speaker 1: There's a lot I didn't know about this movie. And 238 00:13:35,240 --> 00:13:40,040 Speaker 1: I love this movie. This movie, it was so ubiquitous 239 00:13:40,120 --> 00:13:42,040 Speaker 1: and it still kind of is in culture and in 240 00:13:42,120 --> 00:13:46,199 Speaker 1: history that it feels weird to get out there and 241 00:13:46,280 --> 00:13:49,200 Speaker 1: champion it. You know what I mean. It's like again, 242 00:13:49,240 --> 00:13:51,400 Speaker 1: I bring up the Beatles, like Champion into the Beatles. 243 00:13:52,080 --> 00:13:54,559 Speaker 1: You know, they don't need any more champions. It's good, 244 00:13:54,559 --> 00:13:57,480 Speaker 1: They're good. You know this movie's good. Everyone knows. It's 245 00:13:57,480 --> 00:14:00,360 Speaker 1: fucking great change the game. But still, there's so much 246 00:14:00,400 --> 00:14:02,200 Speaker 1: to this movie that I did not know about a 247 00:14:02,200 --> 00:14:04,240 Speaker 1: lot of weirdness. Zeth and I are gonna be diving 248 00:14:04,280 --> 00:14:06,599 Speaker 1: into it in the exclusive section of this episode. Go 249 00:14:06,600 --> 00:14:09,040 Speaker 1: to disgraceandpod dot com to become an all access member 250 00:14:09,040 --> 00:14:13,439 Speaker 1: of Disgraceland to unlock this exclusive content and add free listening. 251 00:14:14,040 --> 00:14:15,679 Speaker 1: All right, I'm gonna take a quick break. I'll be 252 00:14:15,720 --> 00:14:18,920 Speaker 1: back in a flash right after this with your voicemails, texts, emails, 253 00:14:19,000 --> 00:14:40,120 Speaker 1: dms and more. All right, guys, I'm backing them in 254 00:14:40,120 --> 00:14:42,000 Speaker 1: the phone, but it's the one across the hall. I'm 255 00:14:42,040 --> 00:14:45,360 Speaker 1: hanging on the telephone six one seven nine oh six 256 00:14:45,440 --> 00:14:46,920 Speaker 1: six six three eight. You want to give me a call, 257 00:14:47,000 --> 00:14:49,360 Speaker 1: I want to send me a text about anything, any 258 00:14:49,400 --> 00:14:52,600 Speaker 1: subject under the great blue sky. Last week we talked 259 00:14:52,600 --> 00:14:55,360 Speaker 1: a lot about great punk albums. It was in reaction 260 00:14:55,440 --> 00:14:59,400 Speaker 1: to Rolling Stones list of the one hundred greatest punk 261 00:14:59,680 --> 00:15:03,440 Speaker 1: rock albums. We're talking about records that are punk but 262 00:15:03,520 --> 00:15:06,640 Speaker 1: aren't by punk artists, all that stuff. Steve hits us 263 00:15:06,720 --> 00:15:07,960 Speaker 1: on this from Toronto. 264 00:15:08,400 --> 00:15:11,520 Speaker 2: Hey, Jake, Steve from Toronto here, just want to comment 265 00:15:11,600 --> 00:15:15,360 Speaker 2: on your punk albums that are punk but are punk, 266 00:15:15,440 --> 00:15:16,000 Speaker 2: that are punk. 267 00:15:17,440 --> 00:15:18,240 Speaker 3: I kind of feel like. 268 00:15:18,160 --> 00:15:21,640 Speaker 2: I'm cheating with this one. But nineteen eighty eight, it 269 00:15:21,680 --> 00:15:23,680 Speaker 2: takes a nation of millions to hold us back by 270 00:15:23,680 --> 00:15:27,040 Speaker 2: public enemy. I don't know if it gets more punk 271 00:15:27,120 --> 00:15:32,240 Speaker 2: than that, that's not punk, So yeah, that's my I'm 272 00:15:32,240 --> 00:15:32,760 Speaker 2: throwing that. 273 00:15:32,680 --> 00:15:34,840 Speaker 1: One into the proverbial ring. 274 00:15:34,840 --> 00:15:36,560 Speaker 2: There takes nations of millions to. 275 00:15:36,560 --> 00:15:38,280 Speaker 4: Hold us back by the great public Enemy. 276 00:15:38,360 --> 00:15:40,880 Speaker 2: Nineteen eighty eight. 277 00:15:40,600 --> 00:15:44,480 Speaker 1: Steve You're absolutely right. Doesn't get much more subversive, doesn't 278 00:15:44,480 --> 00:15:47,160 Speaker 1: get much more hard hitting than it takes a Nation 279 00:15:47,200 --> 00:15:50,000 Speaker 1: of millions to hold Us back by Public Enemy. And 280 00:15:50,120 --> 00:15:54,440 Speaker 1: I actually think that record for me, I believe it's 281 00:15:54,520 --> 00:15:57,920 Speaker 1: Public Enemy's second album, full length, right second. Yeah, that 282 00:15:58,040 --> 00:16:00,440 Speaker 1: was my introduction and I was just just kind of 283 00:16:00,440 --> 00:16:03,720 Speaker 1: catching up with who Public Enemy was by the time. 284 00:16:04,440 --> 00:16:07,800 Speaker 1: The Fight the Power single came out after that record 285 00:16:09,080 --> 00:16:12,880 Speaker 1: as part of Do the Right Thing, and I think 286 00:16:13,080 --> 00:16:15,640 Speaker 1: Fight the Power ended up on their third album, but 287 00:16:15,720 --> 00:16:17,680 Speaker 1: it was the single in the video, and I remember 288 00:16:17,760 --> 00:16:20,880 Speaker 1: watching that and just my jaw being on the floor. 289 00:16:21,280 --> 00:16:24,040 Speaker 1: I could I could not believe what I was seeing. 290 00:16:24,920 --> 00:16:29,600 Speaker 1: It was exhilarating, it was thrilling. It was a new 291 00:16:29,720 --> 00:16:32,280 Speaker 1: kind of hip hop. It felt like hip hop, but 292 00:16:32,320 --> 00:16:36,760 Speaker 1: it felt like history and CNN in Hollywood. It just 293 00:16:36,840 --> 00:16:41,320 Speaker 1: it was electrifying, just as electrifying as when bands like 294 00:16:41,400 --> 00:16:44,120 Speaker 1: The Sex Pistols or The Clash hit the scene, and 295 00:16:44,200 --> 00:16:48,120 Speaker 1: again with the same level of subversiveness. Are we gonna 296 00:16:48,120 --> 00:16:50,760 Speaker 1: call from Max? Let's see what Max has got to say. 297 00:16:51,000 --> 00:16:53,880 Speaker 4: Hey, it's Max on the sixty one Slash four to ten. 298 00:16:54,560 --> 00:16:59,040 Speaker 4: So favorite punk not punk record? How about Arthur By 299 00:16:59,080 --> 00:17:01,120 Speaker 4: The Kinks. Love the show. 300 00:17:01,200 --> 00:17:04,840 Speaker 1: Thanks Suji, Thanks Max. You know, I don't really think 301 00:17:04,840 --> 00:17:09,879 Speaker 1: of the Kinks as punk because they predate it. But 302 00:17:09,960 --> 00:17:12,399 Speaker 1: I hear what you're saying. I hear, I do. I 303 00:17:12,400 --> 00:17:16,159 Speaker 1: hear what you're saying. The attitude is fully there. And 304 00:17:16,200 --> 00:17:18,919 Speaker 1: if the Kinks came about, if they were younger, if 305 00:17:18,920 --> 00:17:21,320 Speaker 1: they came about later, they would have been part of 306 00:17:21,320 --> 00:17:24,520 Speaker 1: that whole movement for sure. All right, let's check in 307 00:17:24,680 --> 00:17:27,000 Speaker 1: with Sarah from the two oh six. 308 00:17:28,359 --> 00:17:30,520 Speaker 5: Hey, Jake, this is Sarah from two oh six. I 309 00:17:30,560 --> 00:17:33,360 Speaker 5: just wanted to add a little addenda to my previous 310 00:17:33,400 --> 00:17:40,200 Speaker 5: message regarding the Jed Farh and Daniel Johnson album. Okay, 311 00:17:40,480 --> 00:17:44,760 Speaker 5: so I'm a lifelong adult entertainer. I used to strip 312 00:17:44,880 --> 00:17:51,680 Speaker 5: on Bourbon Street in New Orleans right before the Hurricane Katrina. Anyhow, 313 00:17:52,920 --> 00:17:55,200 Speaker 5: we used to work they shift in this little strip 314 00:17:55,200 --> 00:17:58,240 Speaker 5: club on Bourbon Street, and when the customers weren't tipping 315 00:17:58,240 --> 00:18:01,440 Speaker 5: and they were just there to drink, and we would 316 00:18:01,480 --> 00:18:04,919 Speaker 5: compete with each other to do what we call torture tracks, 317 00:18:05,240 --> 00:18:09,320 Speaker 5: which were the kind of music that was like not 318 00:18:09,560 --> 00:18:13,840 Speaker 5: amenable to drinking and that basically was kind of torturous 319 00:18:13,880 --> 00:18:19,760 Speaker 5: for normal flash drunk dudes to have to listen to 320 00:18:20,119 --> 00:18:25,040 Speaker 5: while they're also looking at gives and but my go too, 321 00:18:25,720 --> 00:18:27,520 Speaker 5: uh let me bring this on home. My go to 322 00:18:27,760 --> 00:18:33,400 Speaker 5: was always Frankenstein Conquers the World by Dad Fair and 323 00:18:33,640 --> 00:18:37,080 Speaker 5: Daniel Johnson. I just listened to it again and it 324 00:18:37,160 --> 00:18:45,119 Speaker 5: continues to remain brilliant, jagged rhythm, weird, freaking vocals and 325 00:18:45,400 --> 00:18:50,040 Speaker 5: kind of an anti science anti you know AI like, 326 00:18:50,280 --> 00:18:55,240 Speaker 5: but you know, obviously written in the eighties, so completely prescient. Anyhow, 327 00:18:55,800 --> 00:18:59,360 Speaker 5: that was my torture track. I love your show. Thank 328 00:18:59,400 --> 00:18:59,920 Speaker 5: you so much. 329 00:19:00,200 --> 00:19:00,440 Speaker 3: Hice. 330 00:19:00,920 --> 00:19:03,719 Speaker 1: All right, Sarah from the two six. First of all, guys, 331 00:19:03,840 --> 00:19:06,800 Speaker 1: if you if you're going to a strip club, you 332 00:19:06,880 --> 00:19:11,199 Speaker 1: have to tip. It's the whole point. I mean, so 333 00:19:11,480 --> 00:19:14,720 Speaker 1: the torture tracks, I get, I've never heard this before, 334 00:19:14,840 --> 00:19:17,480 Speaker 1: but I love it. I love this. It's like a 335 00:19:17,520 --> 00:19:21,440 Speaker 1: scene out of a movie. Now to her point, however, 336 00:19:21,520 --> 00:19:24,879 Speaker 1: about Daniel Johnson, Jad Fair, Jade I always called it 337 00:19:25,000 --> 00:19:28,440 Speaker 1: Jade Fair, which is probably wrong. Jad Fair is correct. 338 00:19:29,920 --> 00:19:33,320 Speaker 1: I don't know this album. I don't know it. I'm 339 00:19:33,320 --> 00:19:36,159 Speaker 1: looking it up right now. Jad Fair co founder the 340 00:19:36,160 --> 00:19:39,160 Speaker 1: influential lo fi band Half Japanese and cult singer songwriter 341 00:19:39,280 --> 00:19:41,960 Speaker 1: Daniel Johnston teamed up in the late nineteen eighties for 342 00:19:42,080 --> 00:19:45,560 Speaker 1: one of indie rock's most legendary collaborations. Their partnership resulted 343 00:19:45,560 --> 00:19:49,320 Speaker 1: in the nineteen eighty nine album It's Spooky, wildly celebrated 344 00:19:49,359 --> 00:19:54,280 Speaker 1: for its primitive term, emotional rawness, and childlike sincerity. I 345 00:19:54,320 --> 00:19:56,520 Speaker 1: want to hear this tracks like I did Acid with 346 00:19:56,600 --> 00:20:00,480 Speaker 1: Caroline McDonald's on the Brain Torture track compilations. This is 347 00:20:00,520 --> 00:20:03,359 Speaker 1: a good one. That's a good question. I'm a noodle 348 00:20:03,400 --> 00:20:06,000 Speaker 1: on this, Sarah. Thanks for your call. All right, let's 349 00:20:06,080 --> 00:20:09,720 Speaker 1: chick in with Arman in Calgary. 350 00:20:10,680 --> 00:20:13,840 Speaker 3: Hi, Jake, this is Arman from Calgary, Alberta. In regards 351 00:20:13,840 --> 00:20:16,359 Speaker 3: to your question. With a band that took a complete 352 00:20:16,480 --> 00:20:19,000 Speaker 3: left turn with an album. I'm a big Depeche Mode 353 00:20:19,000 --> 00:20:21,960 Speaker 3: fan and was into the synthpop stuff. Their song Faith 354 00:20:22,000 --> 00:20:25,400 Speaker 3: and Devotion went from full synth pop to full instruments, 355 00:20:25,760 --> 00:20:28,639 Speaker 3: and it was a complete left turn. Not only was 356 00:20:28,680 --> 00:20:32,280 Speaker 3: a complete left turn, but it was a successful left 357 00:20:32,320 --> 00:20:35,760 Speaker 3: turn and hit just as hard as any of the 358 00:20:35,800 --> 00:20:39,719 Speaker 3: original Depeche Mode stuff. Along with that, shortly afterwards, they 359 00:20:39,760 --> 00:20:43,479 Speaker 3: went back to what they were known for successfully thirty 360 00:20:43,480 --> 00:20:46,720 Speaker 3: plus years, forty plus years, still around, still making music, 361 00:20:46,800 --> 00:20:51,240 Speaker 3: still selling out concerts. That's a track record, and Songs 362 00:20:51,280 --> 00:20:55,560 Speaker 3: of Faith and Devotion just established a whole different clientele 363 00:20:55,960 --> 00:21:00,399 Speaker 3: and fan group for them while maintaining the group they had. 364 00:21:00,760 --> 00:21:03,639 Speaker 3: Thank you, love the show, Have a good night. 365 00:21:04,520 --> 00:21:10,360 Speaker 1: Armin great call man, great, great point about depeche Mode, 366 00:21:10,520 --> 00:21:13,240 Speaker 1: and I was gonna say it reminds me of Rolling 367 00:21:13,240 --> 00:21:17,600 Speaker 1: Stones Some Girls, which was at the time seen as 368 00:21:17,760 --> 00:21:20,800 Speaker 1: their quote unquote disco album. It's not a disco album, 369 00:21:20,840 --> 00:21:24,800 Speaker 1: but they've got that disco They deploy the disco base, 370 00:21:25,520 --> 00:21:28,359 Speaker 1: drum thing, doom doom, doom doom, do that thing, that 371 00:21:28,480 --> 00:21:34,520 Speaker 1: octave thing, and it's it's a fantastic departure from what 372 00:21:34,560 --> 00:21:40,000 Speaker 1: they were doing before. It's it's great. But unlike depeche Mode, 373 00:21:40,560 --> 00:21:45,960 Speaker 1: the Stones never really recover from that, recovers the wrong word, 374 00:21:46,560 --> 00:21:51,280 Speaker 1: They never really come back to what they were before that. Uh, 375 00:21:51,520 --> 00:21:53,680 Speaker 1: there's not a lot of great Stones records after that. 376 00:21:53,840 --> 00:21:57,560 Speaker 1: There's Tattoo You, which is basically Some Girls. It's the 377 00:21:57,600 --> 00:22:01,439 Speaker 1: same thing, same same sessions, I believe, And then I 378 00:22:01,480 --> 00:22:06,000 Speaker 1: mean Steel Wheels, what are we looking at? Harlem Shuffle? 379 00:22:06,640 --> 00:22:09,240 Speaker 1: You know what I'm saying they never really get back 380 00:22:09,359 --> 00:22:17,959 Speaker 1: to that rock, grindy Americana based rock that they amalgamated 381 00:22:18,000 --> 00:22:21,000 Speaker 1: into something that was wholly their own. I mean they try, 382 00:22:21,040 --> 00:22:23,560 Speaker 1: but it just never really, they never really do it, 383 00:22:24,119 --> 00:22:26,640 Speaker 1: not to the effect that the albums before some girls had. 384 00:22:26,680 --> 00:22:29,440 Speaker 1: But with depeche Mode, you're right, they go right back 385 00:22:29,480 --> 00:22:31,919 Speaker 1: to what they were doing before, and it's fantastic. I 386 00:22:31,920 --> 00:22:34,199 Speaker 1: love the Wrong Stones, don't get me wrong, but you 387 00:22:34,240 --> 00:22:39,040 Speaker 1: gotta admit stuff after nineteen eighties is lacking. Great call, 388 00:22:39,280 --> 00:22:42,040 Speaker 1: Great call, Armin, appreciate you three one zero on the 389 00:22:42,080 --> 00:22:44,720 Speaker 1: same subject, texting strange, just deviation of any band I 390 00:22:44,760 --> 00:22:47,080 Speaker 1: can think of as bad religion. Second studio album, Into 391 00:22:47,160 --> 00:22:50,800 Speaker 1: the Unknown, it truly was. It was prog rock and organs. Really. 392 00:22:51,480 --> 00:22:53,879 Speaker 1: The album kicks off with a synth swell. It sounds 393 00:22:53,920 --> 00:22:56,080 Speaker 1: like it came out of an AT and T commercial. 394 00:22:56,640 --> 00:23:00,080 Speaker 1: It's so strange, So glad they abandoned that direction. I 395 00:23:00,119 --> 00:23:03,000 Speaker 1: don't know this album, never even heard of it, never 396 00:23:03,080 --> 00:23:06,479 Speaker 1: heard of it? What's it called? The Unknown? Into the Unknown? 397 00:23:06,640 --> 00:23:09,840 Speaker 1: All right? Six one oh rights in the Anthony Boardain 398 00:23:09,960 --> 00:23:12,520 Speaker 1: rewind gutted me, just like when I heard it the 399 00:23:12,560 --> 00:23:14,480 Speaker 1: first time, just like when I heard that he died, 400 00:23:14,560 --> 00:23:17,000 Speaker 1: What a heartbreaking disgrace. I saw him live in eastern 401 00:23:17,000 --> 00:23:19,199 Speaker 1: Pennsylvania at a talk he did and it was a 402 00:23:19,240 --> 00:23:21,560 Speaker 1: highlight of my life, especially talking about his love hate 403 00:23:21,560 --> 00:23:25,880 Speaker 1: relationship with the King, the Colonel and the Crown Mburger 404 00:23:26,000 --> 00:23:29,720 Speaker 1: King KFC at mcdeez. Thank you for sharing his life 405 00:23:29,760 --> 00:23:32,800 Speaker 1: and struggles with honesty and compassion, nuance and love instead 406 00:23:32,800 --> 00:23:34,480 Speaker 1: of gossip and preaching hiss. Kudos to you and the 407 00:23:34,520 --> 00:23:36,239 Speaker 1: Double Elves team. Keep up the great work and rock 408 00:23:36,280 --> 00:23:38,440 Speaker 1: and roll from your pal Jonathan in the six to one, 409 00:23:38,440 --> 00:23:42,080 Speaker 1: Oh Jonathan, thanks brother, appreciate you. Check out that Anthony 410 00:23:42,160 --> 00:23:45,080 Speaker 1: Bourdain episode in the rewind slot. Guys, if you haven't 411 00:23:45,800 --> 00:23:47,400 Speaker 1: should be at the top of your feet eight five 412 00:23:47,480 --> 00:23:49,959 Speaker 1: six right said hello, It's Mark from the A five 413 00:23:50,000 --> 00:23:53,480 Speaker 1: to six. Beck is pretty punk. Also, Midnight Vultures is 414 00:23:53,480 --> 00:23:56,000 Speaker 1: an outlier. It's an album that when I showed some friends, 415 00:23:56,040 --> 00:23:58,440 Speaker 1: they were like, what is wrong with you? Others loved it. 416 00:23:58,720 --> 00:24:01,480 Speaker 1: Midnight Vultures is very strange, even from an artist that 417 00:24:01,560 --> 00:24:07,000 Speaker 1: is known to Buck Trend's Yeah, super strange. But I 418 00:24:07,000 --> 00:24:09,560 Speaker 1: would say Sea Change is even weirder or it was 419 00:24:09,600 --> 00:24:13,160 Speaker 1: at the time. Midnight Vultures who were kind of like, eh, yeah, 420 00:24:13,160 --> 00:24:15,359 Speaker 1: I get it. He's doing the disco thing. Sea Change 421 00:24:15,440 --> 00:24:17,320 Speaker 1: is like, wait, he's Gordon Lightfoot. Now what the fuck 422 00:24:17,440 --> 00:24:19,960 Speaker 1: just happened? Kel from the seven eight one writes in Jake, 423 00:24:19,960 --> 00:24:22,040 Speaker 1: I got another Randy Road story. Come on spill it. 424 00:24:22,119 --> 00:24:25,880 Speaker 1: I won't tell your kids. Thank you. I can't go there. 425 00:24:26,800 --> 00:24:30,120 Speaker 1: I can't go there. Maybe someday, just uh, they gotta 426 00:24:30,119 --> 00:24:32,600 Speaker 1: be older. Six one, seven nine oh six six six 427 00:24:32,680 --> 00:24:34,080 Speaker 1: three eight. You want to hit me up on voicemail 428 00:24:34,119 --> 00:24:36,159 Speaker 1: or text, I'll be back in a flash with your 429 00:24:36,200 --> 00:24:55,360 Speaker 1: emails and a very important update. All right, Royal Tenenbaum's phenomenal, 430 00:24:55,680 --> 00:25:00,240 Speaker 1: phenomenal movie, great movie soundtrack. Zeth and I are taking 431 00:25:00,320 --> 00:25:04,240 Speaker 1: it all down this week, and this film should be 432 00:25:04,280 --> 00:25:08,200 Speaker 1: played loud. You're not gonna want to miss this episode. 433 00:25:08,400 --> 00:25:12,119 Speaker 1: I think this is our sixth or seventh episode of 434 00:25:12,160 --> 00:25:16,000 Speaker 1: this film should be played loud. Our monthly conversation video conversation. 435 00:25:16,080 --> 00:25:19,280 Speaker 1: I might add on great music from great films. Go 436 00:25:19,359 --> 00:25:23,280 Speaker 1: to Disgrace sampod dot com. Come an all access member 437 00:25:23,359 --> 00:25:27,159 Speaker 1: so you can access this great exclusive content. If I 438 00:25:27,160 --> 00:25:30,040 Speaker 1: do say so myself, Matt, give the people a little 439 00:25:30,119 --> 00:25:33,240 Speaker 1: taste of what we were cooking up in this film 440 00:25:33,240 --> 00:25:34,120 Speaker 1: should be played loud. 441 00:25:34,520 --> 00:25:34,680 Speaker 3: Yeah. 442 00:25:34,720 --> 00:25:37,720 Speaker 6: And I always had heard that Gene Hackman didn't like 443 00:25:37,760 --> 00:25:40,320 Speaker 6: get this movie and like didn't get Wes Anderson and 444 00:25:40,400 --> 00:25:42,640 Speaker 6: had a really tough time on set. But I saw 445 00:25:42,680 --> 00:25:45,840 Speaker 6: an interview this past week when we were doing research 446 00:25:45,880 --> 00:25:49,720 Speaker 6: for this where Wes is talking about shooting with Gene Hackman, 447 00:25:49,760 --> 00:25:51,320 Speaker 6: and he didn't really talk about it that way. He 448 00:25:51,359 --> 00:25:53,440 Speaker 6: just talked about it more as like Gene Hackman is 449 00:25:53,480 --> 00:25:56,159 Speaker 6: an actor who likes to be left alone, like and 450 00:25:56,640 --> 00:25:58,560 Speaker 6: he likes you to like, he doesn't like to know 451 00:25:58,600 --> 00:26:00,440 Speaker 6: that you're like standing there watching him. He wants you 452 00:26:00,480 --> 00:26:02,720 Speaker 6: to like be over there somewhere out of the way. 453 00:26:02,760 --> 00:26:05,879 Speaker 6: And so it's sounded like it's I think maybe this 454 00:26:05,880 --> 00:26:09,320 Speaker 6: this story about him being ill tempered on set was 455 00:26:09,359 --> 00:26:10,960 Speaker 6: maybe apocryphal or something, you know. 456 00:26:11,680 --> 00:26:14,760 Speaker 1: I could also see Wes Anderson just being a professional 457 00:26:15,000 --> 00:26:18,520 Speaker 1: and respective of the great artists of all time correct 458 00:26:18,720 --> 00:26:21,439 Speaker 1: and seeing it, really seeing it through his eyes and 459 00:26:21,600 --> 00:26:24,800 Speaker 1: understanding exactly what the guy needs. And Wes Anderson, being 460 00:26:24,800 --> 00:26:28,320 Speaker 1: the season professional that he is, is not like he's 461 00:26:28,359 --> 00:26:31,040 Speaker 1: not taking it like, oh, what a fucking egomaniac dickhead, 462 00:26:31,080 --> 00:26:34,280 Speaker 1: you know what, total but him not. But Alex Baldwin 463 00:26:34,400 --> 00:26:37,400 Speaker 1: doing the vo begs the question why didn't Gene Hackman 464 00:26:37,840 --> 00:26:38,480 Speaker 1: do the vo? 465 00:26:39,040 --> 00:26:41,480 Speaker 6: Because I think it it it feels more like a 466 00:26:41,480 --> 00:26:43,520 Speaker 6: book to me. It feels like the whole film is 467 00:26:43,560 --> 00:26:45,000 Speaker 6: set up like there's all these. 468 00:26:45,000 --> 00:26:47,200 Speaker 1: Oh yeah, they have his books, Yeah, yeah, of course, 469 00:26:47,480 --> 00:26:47,800 Speaker 1: And it just. 470 00:26:47,840 --> 00:26:49,640 Speaker 6: Feels like it's like a narrator of a book. It's 471 00:26:49,640 --> 00:26:51,800 Speaker 6: like the omniscient narrator who's telling the story. 472 00:26:51,840 --> 00:26:53,920 Speaker 1: But doesn't your brain tell you it's coming from Gene 473 00:26:53,920 --> 00:26:58,000 Speaker 1: Hackman's perspective, not his perspective, but that it's Gene, the 474 00:26:58,040 --> 00:26:59,960 Speaker 1: Gene Hackman character narrating it. 475 00:27:00,480 --> 00:27:03,120 Speaker 6: Yeah, I guess because the narrator is very biased. 476 00:27:03,680 --> 00:27:07,320 Speaker 1: And if you're a Wes Anderson, wouldn't you go because 477 00:27:07,320 --> 00:27:09,760 Speaker 1: it does sound like Gene Hackman. Wouldn't you go like 478 00:27:10,440 --> 00:27:12,240 Speaker 1: this is too g if you really wanted it to 479 00:27:12,280 --> 00:27:16,000 Speaker 1: be this omniscient kind of narrator voice, it's separate from 480 00:27:16,000 --> 00:27:18,320 Speaker 1: the whole thing. If you're Wes Anderson, wouldn't you go 481 00:27:18,359 --> 00:27:20,240 Speaker 1: like this is too much like Gene Hackman? 482 00:27:20,359 --> 00:27:22,240 Speaker 6: Perhaps, Yeah, but it. 483 00:27:22,160 --> 00:27:24,160 Speaker 1: Does sound like Gene Hackman. So that makes me feel 484 00:27:24,160 --> 00:27:26,960 Speaker 1: like Wes Anderson just didn't want to fuck with Gene 485 00:27:26,960 --> 00:27:29,720 Speaker 1: Hackman anymore, and he's like, now I'm gonna narrate this thing. 486 00:27:30,040 --> 00:27:32,160 Speaker 1: Give me the next best thing, and that's Alec Baldwin. 487 00:27:32,320 --> 00:27:33,240 Speaker 6: Could be Yeah, could be? 488 00:27:33,400 --> 00:27:35,280 Speaker 1: All right, guys, that's the new episode of this film 489 00:27:35,320 --> 00:27:37,520 Speaker 1: should be played loud. Go to Disgrace sampod dot com 490 00:27:37,520 --> 00:27:40,719 Speaker 1: to become an all access member to unlock this exclusive content, 491 00:27:40,760 --> 00:27:43,680 Speaker 1: plus ad free content and a whole lot more. Matt, 492 00:27:43,720 --> 00:27:46,320 Speaker 1: Since I have you here, I think it's high time 493 00:27:46,920 --> 00:27:48,480 Speaker 1: we get We're coming to the end of the month. 494 00:27:49,200 --> 00:27:53,560 Speaker 1: May Madness is winding down and the people are curious 495 00:27:53,840 --> 00:27:57,919 Speaker 1: what is going on whether May Madness sitcom theme music 496 00:27:58,080 --> 00:28:01,480 Speaker 1: Palooza that we've been following for the past three weeks. 497 00:28:01,480 --> 00:28:02,399 Speaker 1: Give us an update, will you? 498 00:28:03,119 --> 00:28:06,040 Speaker 7: Yeah, Jake, we are down to the final four in 499 00:28:06,080 --> 00:28:10,360 Speaker 7: our May Madness Sitcom theme Tournament. Voting in this semifinal 500 00:28:10,440 --> 00:28:14,080 Speaker 7: round will end tonight at eleven to fifty nine pm, 501 00:28:14,400 --> 00:28:16,280 Speaker 7: so there's still time to get in a vote if 502 00:28:16,320 --> 00:28:19,080 Speaker 7: you haven't yet. But I've got a little halftime update 503 00:28:19,240 --> 00:28:22,560 Speaker 7: here for you. In our first matchup, we've got the 504 00:28:22,640 --> 00:28:26,440 Speaker 7: Jeffersons with the early lead over the Surprising Adams Family 505 00:28:26,920 --> 00:28:30,240 Speaker 7: thirty five to twenty five. In our other matchup, two 506 00:28:30,320 --> 00:28:33,280 Speaker 7: great theme songs going up against each other, the Golden 507 00:28:33,320 --> 00:28:36,679 Speaker 7: Girls and Welcome Back Cotter currently caught Her and the 508 00:28:36,720 --> 00:28:39,280 Speaker 7: sweat Hogs are ahead thirty. 509 00:28:38,960 --> 00:28:40,720 Speaker 1: Eight to twenty two. 510 00:28:40,880 --> 00:28:44,800 Speaker 7: Again, there's still time to vote to make your voice 511 00:28:44,800 --> 00:28:48,040 Speaker 7: heard to get your favorite sitcom theme into the final. 512 00:28:48,960 --> 00:28:52,320 Speaker 7: Voting closes tonight at eleven fifty nine pm. 513 00:28:53,400 --> 00:28:55,160 Speaker 1: Well, there you have it. Thank you, Matt, appreciate you. 514 00:28:55,200 --> 00:29:01,280 Speaker 1: Appreciate the stellar analysis and for keeping people informed. If 515 00:29:01,320 --> 00:29:03,760 Speaker 1: you guys want to influence our bracket play, you know 516 00:29:03,800 --> 00:29:05,440 Speaker 1: where to do it. Head over to Patreon. You can 517 00:29:05,440 --> 00:29:07,360 Speaker 1: get there by going to disgrace sampod dot com and 518 00:29:07,400 --> 00:29:09,160 Speaker 1: you can make your voice be heard. You don't have 519 00:29:09,200 --> 00:29:11,280 Speaker 1: to become a paid member, all right. Of course, you 520 00:29:11,320 --> 00:29:14,040 Speaker 1: can become a paid member and we will greatly appreciate it. 521 00:29:14,440 --> 00:29:16,600 Speaker 1: We got a lot going on over here. We got 522 00:29:16,600 --> 00:29:20,520 Speaker 1: this film should be played loud. We got our sitcom 523 00:29:20,600 --> 00:29:25,800 Speaker 1: music Bracket of Palooza, Disgraceland hollywood Land. Subscribe to hollywood Land, 524 00:29:25,840 --> 00:29:28,080 Speaker 1: by the way on the iHeart podcast at wherever you 525 00:29:28,120 --> 00:29:31,280 Speaker 1: get your podcasts and we get this ongoing conversation. This 526 00:29:31,560 --> 00:29:38,440 Speaker 1: just forever happening phone, voicemail, text, and email. Speaking of which, 527 00:29:39,240 --> 00:29:42,440 Speaker 1: we got a very thoughtful email from Tom Powell, who 528 00:29:42,520 --> 00:29:44,800 Speaker 1: writes in, Hey Tom, from the five four to one. Here, 529 00:29:44,840 --> 00:29:48,040 Speaker 1: I have some thoughts on this list. Tom's talking about 530 00:29:48,040 --> 00:29:51,080 Speaker 1: the Rolling Stone Top one hundred punk Albums list that 531 00:29:51,120 --> 00:29:54,400 Speaker 1: we discussed last week. Tom goes on to say, first, 532 00:29:54,880 --> 00:29:58,280 Speaker 1: on the question of what is punk, I ultimately don't care. 533 00:29:58,640 --> 00:30:01,440 Speaker 1: It's either good rock and roll or not. But here's 534 00:30:01,440 --> 00:30:03,520 Speaker 1: how I like to think of it. The real punk 535 00:30:03,600 --> 00:30:06,479 Speaker 1: was a brief period in nineteen seventy six in nineteen 536 00:30:06,600 --> 00:30:10,080 Speaker 1: seventy seven, centered in London, New York, and Los Angeles. 537 00:30:10,480 --> 00:30:12,560 Speaker 1: It was carried on after that by hardcore in the 538 00:30:12,680 --> 00:30:16,760 Speaker 1: United States and OI crust Anarco in the UK. Everything 539 00:30:16,760 --> 00:30:20,760 Speaker 1: else before is proto punk, everything else after is post punk. 540 00:30:21,240 --> 00:30:23,280 Speaker 1: Works for my linear brain, I can get with this. 541 00:30:23,800 --> 00:30:25,800 Speaker 1: As for the list, the way I look at these 542 00:30:25,840 --> 00:30:28,640 Speaker 1: lists is to completely disregard the rankings and just think 543 00:30:28,680 --> 00:30:31,240 Speaker 1: of it as here's one hundred great punk and punk 544 00:30:31,280 --> 00:30:34,680 Speaker 1: related albums to here. The rankings are just splitting Harris, 545 00:30:34,760 --> 00:30:37,800 Speaker 1: you know, he's got a real good point, Tom. Overall, 546 00:30:37,960 --> 00:30:40,040 Speaker 1: Tom says, it's a good list. I was very pleased 547 00:30:40,040 --> 00:30:43,040 Speaker 1: to see bands like Naked Raygun, Soul Glow, the Mecons, 548 00:30:43,280 --> 00:30:45,800 Speaker 1: The Mecons. I can never get that right. I played 549 00:30:45,800 --> 00:30:48,000 Speaker 1: it that band back in the day too, and Team 550 00:30:48,120 --> 00:30:50,719 Speaker 1: Dresh on the list. On the other hand, where are 551 00:30:50,720 --> 00:30:53,080 Speaker 1: the Saints? That's a good point, and squirrel Bait in 552 00:30:53,120 --> 00:30:57,440 Speaker 1: the undertones? Damn, there's no undertones on that list. But 553 00:30:57,520 --> 00:31:01,320 Speaker 1: it's Rolling Stone, so what were we expecting? Love the show piece, Tom, 554 00:31:01,440 --> 00:31:03,320 Speaker 1: Thanks Tom, that's a great the great way of looking 555 00:31:03,320 --> 00:31:06,000 Speaker 1: at it. And great email. He's spelled out everything perfectly. 556 00:31:06,680 --> 00:31:10,840 Speaker 1: This one comes from Laura Cobb. Hey there, my name 557 00:31:10,920 --> 00:31:13,920 Speaker 1: is Laura Cobb, and yes, as the email reads, I 558 00:31:13,960 --> 00:31:16,800 Speaker 1: am forty two. I was listening to an episode several 559 00:31:16,800 --> 00:31:19,160 Speaker 1: weeks ago. I never listened in order, but I'm a 560 00:31:19,200 --> 00:31:22,640 Speaker 1: longtime listener. Anyways, at the end of the episode, you 561 00:31:22,720 --> 00:31:26,160 Speaker 1: asked listeners to contact the podcast about a musical artist 562 00:31:26,360 --> 00:31:29,800 Speaker 1: who had a big impact on your life. Please do, 563 00:31:30,040 --> 00:31:33,920 Speaker 1: Tory Amos. I have a condensed explanation scripted out as 564 00:31:33,920 --> 00:31:35,880 Speaker 1: a voicemail, but I can't find the episode that you 565 00:31:35,960 --> 00:31:38,040 Speaker 1: ask for the feedback and list a phone number for 566 00:31:38,080 --> 00:31:40,280 Speaker 1: the voicemail. Well, the phone number is always six one 567 00:31:40,360 --> 00:31:42,880 Speaker 1: seven nine oh six six six three eight. Anyways, again 568 00:31:43,240 --> 00:31:47,000 Speaker 1: it's Laura. Like the salad Cobb and I can be reached. Oh, 569 00:31:47,120 --> 00:31:50,040 Speaker 1: she gives me her number there and gratitude Laura. Also 570 00:31:50,160 --> 00:31:53,640 Speaker 1: like the baseball guy Cobb in Florida. Laura, I would 571 00:31:53,640 --> 00:31:58,000 Speaker 1: love to get into a torri Amos episode just because 572 00:31:58,000 --> 00:32:00,040 Speaker 1: I'm fascinated by torri Amos and I don't know I 573 00:32:00,120 --> 00:32:04,240 Speaker 1: know a lot about her. However, I need some sort 574 00:32:04,280 --> 00:32:07,720 Speaker 1: of crime angle. So if you got anything, hit me 575 00:32:07,800 --> 00:32:10,720 Speaker 1: back and again the number six one seven nine oh 576 00:32:10,760 --> 00:32:14,960 Speaker 1: six six' six three. Eight AS i mentioned, Before zeth 577 00:32:14,960 --> 00:32:16,560 Speaker 1: AND i are gonna get into pulp. Fiction we're gonna 578 00:32:16,560 --> 00:32:18,440 Speaker 1: get into some pulp fiction. History we're gonna get into 579 00:32:18,480 --> 00:32:20,520 Speaker 1: some pulp fiction. Weirdness we're gonna get into some pulp 580 00:32:20,560 --> 00:32:22,959 Speaker 1: fiction facts that you did not. Know and that's all 581 00:32:23,000 --> 00:32:25,440 Speaker 1: coming up in the exclusive section of this. Podcast all, 582 00:32:25,520 --> 00:32:41,880 Speaker 1: Right i'll be back after this. Break all, right, guys 583 00:32:41,880 --> 00:32:46,040 Speaker 1: we mentioned so many artists that have been featured previously 584 00:32:46,080 --> 00:32:48,160 Speaker 1: In disgracesan in this, episode and we were talking about 585 00:32:48,200 --> 00:32:55,920 Speaker 1: nineteen ninety, Four, Nirvana, soundgarden The Notorious Big matt's gonna 586 00:32:55,920 --> 00:32:58,760 Speaker 1: pull a couple of those. Episodes grab the episode information 587 00:32:58,840 --> 00:33:00,280 Speaker 1: for you and throw in the show notes so you 588 00:33:00,280 --> 00:33:04,840 Speaker 1: can easily access those. Stories and if you're interested in anything, 589 00:33:04,880 --> 00:33:06,840 Speaker 1: else you might. Ask you might be new to the. 590 00:33:06,840 --> 00:33:09,120 Speaker 1: Show you might be, THINKING i don't know what these 591 00:33:09,160 --> 00:33:11,160 Speaker 1: guys have done in the. Past there's a lot of 592 00:33:11,160 --> 00:33:13,840 Speaker 1: episodes in the. Archive just email, me all. Right let 593 00:33:13,840 --> 00:33:15,560 Speaker 1: me know if you get a question about a certain 594 00:33:15,640 --> 00:33:18,680 Speaker 1: artist wondering if we cover them or. Not chances are 595 00:33:19,560 --> 00:33:21,440 Speaker 1: we either have or we're planning on. It six one, 596 00:33:21,480 --> 00:33:24,240 Speaker 1: seven nine oh six six six three. Eight let's recap 597 00:33:24,240 --> 00:33:25,920 Speaker 1: BECAUSE i got to get out of. Here number one this, 598 00:33:25,960 --> 00:33:28,640 Speaker 1: week our new episode On wheezer is available for you 599 00:33:28,680 --> 00:33:31,120 Speaker 1: to listen to right. Now number, two our rewind episode 600 00:33:31,120 --> 00:33:34,720 Speaker 1: coming up this weekend On aliyah will be available for. 601 00:33:34,840 --> 00:33:38,520 Speaker 1: You number Three Adele. Hits that's our next new episode 602 00:33:38,560 --> 00:33:40,680 Speaker 1: that's coming next. Week number Four zeth gives you Those 603 00:33:40,800 --> 00:33:43,560 Speaker 1: hollywood and crime vibes in The Hollywood land, podcast so 604 00:33:43,600 --> 00:33:47,600 Speaker 1: make sure you are. Subscribed and what. Else number Five 605 00:33:47,720 --> 00:33:50,520 Speaker 1: this film should be played. Loud Our Royal tenenbaum's. Episode 606 00:33:50,640 --> 00:33:52,920 Speaker 1: that video is available for you to watch right. Now 607 00:33:52,960 --> 00:33:55,240 Speaker 1: go To disgray sampod dot com to sign out number 608 00:33:55,240 --> 00:33:57,200 Speaker 1: six six one seven nine oh six six six three. 609 00:33:57,240 --> 00:33:59,360 Speaker 1: Eight your voice keeps us digging into the dark corners 610 00:33:59,360 --> 00:34:02,040 Speaker 1: of music. History so keep, calling keep, texting giving us 611 00:34:02,120 --> 00:34:04,000 Speaker 1: your answers to this week's question of the, week and, 612 00:34:04,080 --> 00:34:05,920 Speaker 1: more whatever else you guys want to talk. About number. 613 00:34:05,920 --> 00:34:08,720 Speaker 1: Seven do not forget thiss. Goes this isn't just. Content 614 00:34:08,760 --> 00:34:11,319 Speaker 1: it's a, community a community the, obsessed and no one 615 00:34:11,320 --> 00:34:13,720 Speaker 1: cares about, music, books, records and the crime and crime 616 00:34:13,760 --> 00:34:15,960 Speaker 1: that ties them all together like you. Do and well 617 00:34:16,120 --> 00:34:19,120 Speaker 1: that's a, disgrace all. Right Weezer's blue. Album it was 618 00:34:19,200 --> 00:34:22,640 Speaker 1: released On may, tenth nineteen ninety. Four and here's What 619 00:34:22,680 --> 00:34:25,719 Speaker 1: america was listening to on that, day according to The Billboard. 620 00:34:25,760 --> 00:34:31,160 Speaker 1: Charts number ONE I swear all For one last week 621 00:34:31,440 --> 00:34:36,440 Speaker 1: one peak position one weeks on chart twenty. One number, 622 00:34:36,440 --> 00:34:40,719 Speaker 1: Two the Sign ace Of base last week one peap 623 00:34:40,719 --> 00:34:44,759 Speaker 1: position one weeks on Chart we were twenty. Nine number 624 00:34:44,840 --> 00:34:49,759 Speaker 1: Three I'll remember from With Honors donna last week four 625 00:34:50,120 --> 00:34:54,360 Speaker 1: peak position well three number weeks on. Chart number, Four 626 00:34:54,680 --> 00:34:58,359 Speaker 1: The Most Beautiful girl in The. World prince last week 627 00:34:58,640 --> 00:35:03,520 Speaker 1: three peap, position three weeks on, chart number, twelve number. 628 00:35:03,560 --> 00:35:08,399 Speaker 1: Five bump and grind are killing last about five give 629 00:35:08,440 --> 00:35:23,959 Speaker 1: position for one, Weeks quit talking and start. Mixing cult 630 00:35:24,040 --> 00:35:24,120 Speaker 1: it