1 00:00:01,720 --> 00:00:04,680 Speaker 1: Hey, Discos, need a little more Disgraceland in your life, 2 00:00:05,080 --> 00:00:08,000 Speaker 1: just to touch, to get you through. Yeah, me too. 3 00:00:08,680 --> 00:00:11,920 Speaker 1: This is the podcast that comes after the podcast. Welcome 4 00:00:11,960 --> 00:00:30,720 Speaker 1: to Disgraceland, the after Party. Welcome to the Disgraceland bonus episode, 5 00:00:30,760 --> 00:00:33,560 Speaker 1: a little thing we like to call the after party. 6 00:00:33,600 --> 00:00:35,800 Speaker 1: This is the show after the show, the party after 7 00:00:35,800 --> 00:00:37,440 Speaker 1: the party, the bridge to get you from one full 8 00:00:37,479 --> 00:00:40,480 Speaker 1: episode of Disgraceland to the other, the backyard to dig 9 00:00:40,520 --> 00:00:44,440 Speaker 1: into the dirt. On this episode we are talking about 10 00:00:44,760 --> 00:00:48,720 Speaker 1: Velvet Underground, Fiddler's New Tom Peddy Cover, Jazz, Jazz and 11 00:00:48,760 --> 00:00:51,680 Speaker 1: more jazz, but especially Keith Jarret's The Rich and the Poor, 12 00:00:51,880 --> 00:00:54,639 Speaker 1: and of course your voicemails, texts, dms and. 13 00:00:54,640 --> 00:00:58,480 Speaker 2: More and as always a whole lot of Rosie. All right, Discos, 14 00:00:58,960 --> 00:01:09,759 Speaker 2: let's get into it. Yes, yes, yes, Run run run. 15 00:01:09,800 --> 00:01:11,720 Speaker 1: I am waiting for my man and you are here 16 00:01:11,720 --> 00:01:14,240 Speaker 1: with me and the after Party in this our Velvet 17 00:01:14,360 --> 00:01:17,919 Speaker 1: Underground week, ladies and gentlemen, is there a more influential 18 00:01:17,959 --> 00:01:20,520 Speaker 1: band than the Velvet Underground. I'm asking because this is 19 00:01:20,520 --> 00:01:22,560 Speaker 1: the week where we release our full episode on the 20 00:01:22,600 --> 00:01:25,440 Speaker 1: Velvet Underground. We did two episodes on lou Reed before 21 00:01:25,520 --> 00:01:28,600 Speaker 1: a couple of seasons ago, last season, but we're giving 22 00:01:28,640 --> 00:01:32,720 Speaker 1: a whole episode to the full band right here, right now. 23 00:01:33,200 --> 00:01:36,680 Speaker 1: And you know, I ask, I gotta ask, I gotta 24 00:01:36,720 --> 00:01:40,199 Speaker 1: ask because I just, I literally don't know. The answer. 25 00:01:40,360 --> 00:01:43,520 Speaker 1: Is the Velvet Underground the most influential band of all 26 00:01:43,600 --> 00:01:48,279 Speaker 1: time when it comes to guitar driven, alternative ish sounding music, Okay, 27 00:01:48,760 --> 00:01:51,320 Speaker 1: at least in the latter part of the twentieth century. 28 00:01:51,360 --> 00:01:52,680 Speaker 1: So we're gonna get into that. But I just want 29 00:01:52,720 --> 00:01:55,400 Speaker 1: to say off the top here, if you're hearing something 30 00:01:55,440 --> 00:01:57,280 Speaker 1: that sounds a little bit different, we're recording in a 31 00:01:57,280 --> 00:02:01,720 Speaker 1: new space. We are built this new mobile studio here 32 00:02:01,760 --> 00:02:05,440 Speaker 1: for a hot minute as I build a bigger, newer studio, 33 00:02:05,800 --> 00:02:07,480 Speaker 1: so we're getting out the kinks here a little bit. 34 00:02:07,480 --> 00:02:09,800 Speaker 1: So if it sounds different, that's what you're hearing. But 35 00:02:09,880 --> 00:02:11,680 Speaker 1: let's get right into it, all right. I'm back. I'm 36 00:02:11,680 --> 00:02:13,840 Speaker 1: psyched to be back. I took a week off from writing, 37 00:02:13,880 --> 00:02:16,400 Speaker 1: from recording, from talking to you guys. I was traveling, 38 00:02:16,440 --> 00:02:19,000 Speaker 1: did a huge road trip of my family about a 39 00:02:19,000 --> 00:02:22,959 Speaker 1: week long. Stoke to be diving back into it here. 40 00:02:23,160 --> 00:02:25,680 Speaker 1: So let's go back, all right, Let's hit this question 41 00:02:25,880 --> 00:02:29,520 Speaker 1: of the Velvet Underground's influence. Let's go back in time, 42 00:02:29,680 --> 00:02:32,560 Speaker 1: beginning now in twenty twenty three, and tracing back the 43 00:02:32,600 --> 00:02:35,760 Speaker 1: most impactful guitar driven rock and roll bands, beginning with 44 00:02:36,320 --> 00:02:39,080 Speaker 1: I don't know who's the new young guitar rock band 45 00:02:39,080 --> 00:02:42,040 Speaker 1: that's impacting youth culture. I would argue that there isn't one, 46 00:02:42,280 --> 00:02:44,079 Speaker 1: but that's a whole other can of words and probably 47 00:02:44,120 --> 00:02:48,080 Speaker 1: a whole other episode. But let's say, Fiddler, Fiddler, Fiddler, 48 00:02:48,080 --> 00:02:49,519 Speaker 1: How the hell you pronounce it? A band? I can't 49 00:02:49,520 --> 00:02:50,959 Speaker 1: shut up about it. I should know how to pronounce 50 00:02:51,120 --> 00:02:56,000 Speaker 1: the name of their band, This youngish guitar driven they're 51 00:02:56,080 --> 00:02:59,760 Speaker 1: making and releasing music as we speak. So let's start 52 00:02:59,800 --> 00:03:01,679 Speaker 1: with and then let's go back a couple more years. 53 00:03:01,720 --> 00:03:04,000 Speaker 1: Let's go to the Black Keys. They're still releasing music. 54 00:03:04,080 --> 00:03:07,079 Speaker 1: Black Keys are still selling out stadiums. And then let's 55 00:03:07,160 --> 00:03:10,800 Speaker 1: keep driving in reverse, Jack White, the White Stripes, the Strokes. 56 00:03:11,040 --> 00:03:13,120 Speaker 1: All right, we just tore ass backward in time to 57 00:03:13,160 --> 00:03:14,880 Speaker 1: two thousand and one, to the release of the first 58 00:03:14,880 --> 00:03:18,200 Speaker 1: Strokes record, to a time when rock and roll still mattered. 59 00:03:18,320 --> 00:03:20,800 Speaker 1: But let's not stop there. Let's keep going. Okay, Let's 60 00:03:20,840 --> 00:03:24,960 Speaker 1: keep going back in time, from the Strokes, Willco to 61 00:03:25,160 --> 00:03:29,160 Speaker 1: radio Head, to Flaming Lips, to Nirvana, Guns and Roses, 62 00:03:29,200 --> 00:03:32,560 Speaker 1: the Cult, who Else, The Pixies, the Jesus and Mary Chain, 63 00:03:32,680 --> 00:03:35,400 Speaker 1: the Smiths, the Cure, can't forget about our English friends. 64 00:03:35,440 --> 00:03:37,920 Speaker 1: And now now we're back into the latter half of 65 00:03:37,960 --> 00:03:40,760 Speaker 1: the seventies, The Clash, the Ramones, the New York Dolls, 66 00:03:40,920 --> 00:03:45,320 Speaker 1: all the way back to the Velvet Underground again. Let's 67 00:03:45,400 --> 00:03:49,160 Speaker 1: list those bands in reverse order. Fiddler, Black Keys, White Stripes, 68 00:03:49,200 --> 00:03:52,960 Speaker 1: The Strokes, Wilco, Radiohead, Flaming Lips, Nirvana, GNR, the Cult, 69 00:03:52,960 --> 00:03:54,880 Speaker 1: the Pixies, the Jesus and Mary Change, the Smith's, thee 70 00:03:54,920 --> 00:03:57,240 Speaker 1: Cure of the Clash, the Ramones, New York Dolls. Shit, 71 00:03:57,480 --> 00:04:00,800 Speaker 1: might as well even throw the Doors in, because the Doors, 72 00:04:00,840 --> 00:04:03,520 Speaker 1: along with the rest of these bands, went on to 73 00:04:03,600 --> 00:04:06,480 Speaker 1: be majorly influential in their own right, and not only 74 00:04:06,560 --> 00:04:08,480 Speaker 1: on the bands that came after them, but on their 75 00:04:08,520 --> 00:04:11,720 Speaker 1: peers and on each other. And all of those bands 76 00:04:11,840 --> 00:04:15,760 Speaker 1: were directly influenced by the Velvet Underground, to say nothing 77 00:04:15,920 --> 00:04:19,559 Speaker 1: of David Bowie, They're Rolling Stones, Bruce Springsteen, Bob Dylan, 78 00:04:19,600 --> 00:04:22,120 Speaker 1: and a handful of other heavies that in some ways, 79 00:04:23,480 --> 00:04:26,960 Speaker 1: both big and small all took inspiration from the Velvet Underground. 80 00:04:27,000 --> 00:04:30,359 Speaker 1: But here's the thing. Ask your average music fan to 81 00:04:30,440 --> 00:04:33,679 Speaker 1: name three Velvet Underground songs and they'd be hard pressed 82 00:04:33,680 --> 00:04:36,720 Speaker 1: to do so. I'm not judging. I'm just pointing out 83 00:04:36,720 --> 00:04:39,400 Speaker 1: that the Velvet Underground one of those bands that was 84 00:04:39,480 --> 00:04:42,479 Speaker 1: way more influential than they were successful. I take it 85 00:04:42,520 --> 00:04:44,279 Speaker 1: for granted. I think of them as being these huge 86 00:04:45,360 --> 00:04:47,560 Speaker 1: icons of music history, and they are, they certainly are, 87 00:04:47,600 --> 00:04:51,440 Speaker 1: but they're not like you know, Ask the lay person, 88 00:04:51,480 --> 00:04:53,400 Speaker 1: like I said, off the street, who the Velvet Underground are, 89 00:04:53,440 --> 00:04:55,200 Speaker 1: or at least, like you know, name three songs or 90 00:04:55,680 --> 00:04:57,800 Speaker 1: a couple of albums and they can't do that. So 91 00:04:57,839 --> 00:05:01,120 Speaker 1: what is it? What is it a the Velvet Underground 92 00:05:01,720 --> 00:05:04,960 Speaker 1: that made that band so influential but did not make 93 00:05:05,000 --> 00:05:10,560 Speaker 1: them successful? To me, it boils down to one word cool. 94 00:05:11,279 --> 00:05:14,359 Speaker 1: When I think cool, the image that most comes to mind, 95 00:05:14,640 --> 00:05:17,840 Speaker 1: and this is so true, this is a god's honest truth. 96 00:05:17,880 --> 00:05:19,400 Speaker 1: When I think of cool, the image that comes to 97 00:05:19,400 --> 00:05:22,520 Speaker 1: mind is lou Reed, frozen in black and white, with 98 00:05:22,520 --> 00:05:26,720 Speaker 1: that short hair, those wrap around black sunglasses, the rest 99 00:05:26,720 --> 00:05:30,560 Speaker 1: of the Velvets standing around them, on stage, statuesque, grotesque 100 00:05:30,600 --> 00:05:35,080 Speaker 1: and drogyness beautiful all at the same time. It's rock 101 00:05:35,120 --> 00:05:38,040 Speaker 1: and roll, but it's also art. It's all some sort 102 00:05:38,040 --> 00:05:41,919 Speaker 1: of contrived put on that seems utterly effortless and totally 103 00:05:42,000 --> 00:05:44,240 Speaker 1: New York. And not to take your wife and kids 104 00:05:44,240 --> 00:05:46,040 Speaker 1: into town for the weekend to see a show version 105 00:05:46,080 --> 00:05:48,880 Speaker 1: of New York, but in that dangerous downtown take your 106 00:05:48,880 --> 00:05:51,000 Speaker 1: life into your own hands to cop some dope kind 107 00:05:51,040 --> 00:05:54,839 Speaker 1: of New York. The shit is compelling, all right. Even 108 00:05:54,920 --> 00:05:57,479 Speaker 1: Jim Morrison, who in the late sixties was cool and 109 00:05:57,520 --> 00:05:59,560 Speaker 1: carnate to Middle America and the rest of the mainstream 110 00:05:59,640 --> 00:06:04,239 Speaker 1: rock world, fell hard for the Velvet Underground. Andy Warhol, 111 00:06:04,279 --> 00:06:06,240 Speaker 1: of course, had a lot to do with this, and 112 00:06:06,279 --> 00:06:08,400 Speaker 1: we get into that in the full episode. But most 113 00:06:08,440 --> 00:06:12,400 Speaker 1: of this influence, most of this is cool. It's due 114 00:06:12,400 --> 00:06:15,880 Speaker 1: to the members of the band themselves. Even though Warhol 115 00:06:16,040 --> 00:06:19,240 Speaker 1: was a se Bengali to be all Svengali's, the members 116 00:06:19,279 --> 00:06:22,039 Speaker 1: of the band, Lou Reed, John Cale, Sterling, Morrison, Motucker, 117 00:06:22,160 --> 00:06:27,520 Speaker 1: even Nico, they were all naturally cool beyond compare. You 118 00:06:27,560 --> 00:06:29,640 Speaker 1: can see it in the images of the band, sure, 119 00:06:29,720 --> 00:06:31,919 Speaker 1: like I mentioned, But more important, you can hear it 120 00:06:31,960 --> 00:06:35,320 Speaker 1: in their playing. Depending on the members, sometimes it's virtuoso 121 00:06:35,440 --> 00:06:37,080 Speaker 1: like as this is the case with John Cale, and 122 00:06:37,120 --> 00:06:40,039 Speaker 1: sometimes completely amateur, as is the case with Nico and 123 00:06:40,160 --> 00:06:44,400 Speaker 1: sometimes Mo Tucker. But it's never alienating. It's always perfect, 124 00:06:44,400 --> 00:06:48,799 Speaker 1: pitch perfect. Even when it's not pitch perfect, it's pitch perfect. 125 00:06:49,040 --> 00:06:54,160 Speaker 1: It's always right on, it's always instinctually cool. The first 126 00:06:54,200 --> 00:06:56,720 Speaker 1: time I heard the Velvet Underground, I was walking down 127 00:06:56,800 --> 00:07:00,400 Speaker 1: the floor of my dorm on the first day, my 128 00:07:00,480 --> 00:07:04,440 Speaker 1: first day at Northeastern University, and I heard I heard 129 00:07:04,520 --> 00:07:06,159 Speaker 1: rock and Roll, the song rock and Roll, and I 130 00:07:06,200 --> 00:07:08,440 Speaker 1: knew it was the Velvet Underground because I knew the 131 00:07:08,520 --> 00:07:10,280 Speaker 1: Jan's Addiction version and I knew that was a Velvet 132 00:07:10,360 --> 00:07:12,840 Speaker 1: Underground cover, but I didn't actually know the Velvet Underground version. 133 00:07:12,840 --> 00:07:14,480 Speaker 1: So I heard it, I was like, oh, this is cool, 134 00:07:14,480 --> 00:07:16,600 Speaker 1: this must be the Velvet Underground. So, you know, I 135 00:07:16,640 --> 00:07:18,480 Speaker 1: go to the go to the room where this is 136 00:07:18,520 --> 00:07:21,000 Speaker 1: coming out of. There's two dudes in there smoking hash, 137 00:07:21,040 --> 00:07:23,840 Speaker 1: of course, so I walk in introduce myself. I smoke 138 00:07:23,880 --> 00:07:26,720 Speaker 1: some hash. We listened to that whole Velvet Underground record 139 00:07:27,040 --> 00:07:31,480 Speaker 1: just fucking blew my mind. And I've been hooked ever since. 140 00:07:31,720 --> 00:07:35,640 Speaker 1: And there's that danger to it, right that I hate 141 00:07:35,680 --> 00:07:39,120 Speaker 1: the sound juvenile, adolescent and cheesy. But there's just something 142 00:07:39,160 --> 00:07:42,960 Speaker 1: the culture of it that I'm in on something special. 143 00:07:43,280 --> 00:07:47,200 Speaker 1: I'm in on something unique. I'm in on something that 144 00:07:47,200 --> 00:07:51,040 Speaker 1: that person over there is not in on that is 145 00:07:51,200 --> 00:07:55,360 Speaker 1: cool and I cannot define it. If I could define it, 146 00:07:55,360 --> 00:07:59,600 Speaker 1: it wouldn't actually be cool. So stupid question of the week. 147 00:07:59,600 --> 00:08:01,680 Speaker 1: Who is the most influential rock band of all time? 148 00:08:01,800 --> 00:08:04,480 Speaker 1: Is it Development Underground? I can already hear people screaming 149 00:08:04,480 --> 00:08:06,280 Speaker 1: back of me into their speaker, No, you're idiot, It's 150 00:08:06,280 --> 00:08:09,160 Speaker 1: the Stooges. It's the Stooges. So if so, if that's true, 151 00:08:09,200 --> 00:08:11,440 Speaker 1: why why is it Iggy? Why is it Iggy Pop 152 00:08:11,720 --> 00:08:15,240 Speaker 1: and the Stooges and not Lou and the Velvets Or 153 00:08:15,280 --> 00:08:17,000 Speaker 1: is it the Stones? This is you come at me 154 00:08:17,080 --> 00:08:19,280 Speaker 1: with the Beatles if you think so, the Pixies, Nirvana? 155 00:08:19,480 --> 00:08:22,720 Speaker 1: Who is the most influential rock band of all time? 156 00:08:22,800 --> 00:08:25,000 Speaker 1: And why? Let me know? Six one seven nine oh 157 00:08:25,040 --> 00:08:28,080 Speaker 1: six six six three eight, Leave a voicemail, send me 158 00:08:28,120 --> 00:08:30,160 Speaker 1: a text with your answers, or hit me on the 159 00:08:30,160 --> 00:08:33,160 Speaker 1: socials at disgrace Slam pod. I'm back after this with 160 00:08:33,240 --> 00:09:00,960 Speaker 1: your voicemails and your texts and your DMS. Alrighty, then 161 00:09:01,040 --> 00:09:03,880 Speaker 1: let's get into your voicemails. Let's get into your text hot. 162 00:09:03,920 --> 00:09:07,400 Speaker 1: On the heels of last week Sunny Rollins episode, we 163 00:09:07,440 --> 00:09:10,680 Speaker 1: got this voicemail from Anne in the three to three. 164 00:09:11,840 --> 00:09:15,880 Speaker 3: Hey Jake, this is Anne, also known as redhead one 165 00:09:16,120 --> 00:09:21,600 Speaker 3: from Instagram. I am your New York Scorsese and New 166 00:09:21,679 --> 00:09:24,840 Speaker 3: York connection. I've connected with you a few times. I 167 00:09:24,840 --> 00:09:28,840 Speaker 3: wanted to leave you a voicemail after listening to your 168 00:09:29,000 --> 00:09:33,280 Speaker 3: episode yesterday, and I'm excited for the Sunny Rollins episode today. 169 00:09:34,480 --> 00:09:38,400 Speaker 3: Most definitely a jazz head, and I have some suggestions 170 00:09:38,440 --> 00:09:43,920 Speaker 3: for you. Start with some Dave Brubeck, particularly Take five. 171 00:09:44,040 --> 00:09:48,680 Speaker 3: That's a great album you'll dig. Vince Giraldi, No, he 172 00:09:48,800 --> 00:09:52,120 Speaker 3: did not just do the Charlie Brown Christmas special. He 173 00:09:52,160 --> 00:09:56,040 Speaker 3: had a trio in the early sixties that is really 174 00:09:56,080 --> 00:10:01,319 Speaker 3: great straight ahead jazz West Montgomery Ja as guitarist, also 175 00:10:01,360 --> 00:10:06,240 Speaker 3: from the sixties, very very good, very chill. And finally, 176 00:10:06,360 --> 00:10:10,760 Speaker 3: Stan gets an incredible saxophonist. 177 00:10:10,480 --> 00:10:13,240 Speaker 4: Very weird dude. He might be worth looking into for 178 00:10:13,280 --> 00:10:14,040 Speaker 4: an episode. 179 00:10:14,360 --> 00:10:19,720 Speaker 3: Very strange guy, but an incredible saxophonist, and he's responsible 180 00:10:20,200 --> 00:10:23,200 Speaker 3: for bringing Boston Nova to the US from Brazil in 181 00:10:23,360 --> 00:10:28,480 Speaker 3: the sixties. Also, to tie into a bad Lands question, 182 00:10:29,080 --> 00:10:32,600 Speaker 3: which is a favorite summer movie, I'm going to go 183 00:10:32,920 --> 00:10:37,880 Speaker 3: with a music doc. So I'm tying into two questions. 184 00:10:38,559 --> 00:10:41,480 Speaker 3: Jazz on a Summer's Day. If you've never seen it, man, 185 00:10:41,679 --> 00:10:45,040 Speaker 3: check it out. I know you did a performance at 186 00:10:45,120 --> 00:10:48,959 Speaker 3: the Newport Folk Festival. This is the Newport Jazz Festival 187 00:10:49,240 --> 00:10:54,280 Speaker 3: from nineteen fifty eight. Everybody is in it, Louis Armstrong, 188 00:10:54,400 --> 00:10:55,319 Speaker 3: et cetera, et cetera. 189 00:10:55,520 --> 00:10:55,920 Speaker 1: Check it out. 190 00:10:56,000 --> 00:11:00,839 Speaker 3: Jazz on a Summer's Day. Love everything you do. I 191 00:11:01,559 --> 00:11:05,959 Speaker 3: have had a nice interactions with you previously, and I 192 00:11:06,240 --> 00:11:08,560 Speaker 3: just want to say, keep doing what you're doing and 193 00:11:09,000 --> 00:11:12,839 Speaker 3: check out some jazz. Have a wonderful day, rock a rolla. 194 00:11:13,120 --> 00:11:15,839 Speaker 1: All right, and I appreciate the call. Psyched to hear 195 00:11:15,840 --> 00:11:20,760 Speaker 1: from you again. I love Dave Brubeck, Okay, think he's 196 00:11:20,800 --> 00:11:24,520 Speaker 1: great and you'll appreciate this. I heard this really funny 197 00:11:24,520 --> 00:11:27,360 Speaker 1: story about Dave Rubec recently. I can't remember where I 198 00:11:27,400 --> 00:11:31,559 Speaker 1: heard it. Some documentary or something. I think I might 199 00:11:31,559 --> 00:11:34,239 Speaker 1: have been the Tom Petty doc. I'm not sure, but basically, 200 00:11:34,960 --> 00:11:39,400 Speaker 1: Dave Brubeck ends up meeting President Bill Clinton. Okay, and 201 00:11:39,520 --> 00:11:42,840 Speaker 1: Bill Clinton while he's president. I believe I believe this 202 00:11:42,880 --> 00:11:45,360 Speaker 1: is while he was president, says to Dave Brubeck. Oh, 203 00:11:45,640 --> 00:11:48,320 Speaker 1: I'm a huge fan. I love you. I love your music, 204 00:11:48,320 --> 00:11:53,280 Speaker 1: and Brubeck goes, yeah, name three records that just fucking 205 00:11:53,600 --> 00:11:57,640 Speaker 1: killed me. Just imagine you're meeting the president and the 206 00:11:57,640 --> 00:12:01,040 Speaker 1: president is like, I love you, and you call him out, 207 00:12:01,200 --> 00:12:04,080 Speaker 1: you challenge him, and apparently Clinton did it. Apparently Bill 208 00:12:04,120 --> 00:12:07,480 Speaker 1: Clinton could do it, you know. So the story goes, 209 00:12:07,520 --> 00:12:10,040 Speaker 1: Who the hell knows if that's true or not, but whatever, 210 00:12:10,120 --> 00:12:12,679 Speaker 1: I love it. I also love Vince Giraldi. A friend 211 00:12:12,679 --> 00:12:16,040 Speaker 1: of mine from Noble Records, this record shop in North 212 00:12:16,040 --> 00:12:19,720 Speaker 1: Carolina sent me, sent me a bunch of records, and 213 00:12:19,760 --> 00:12:24,000 Speaker 1: he sent me this Vince geralde record called Black Orpeus 214 00:12:24,160 --> 00:12:26,719 Speaker 1: Jazz Impressions of Black Orpheus that's the full title. I 215 00:12:26,760 --> 00:12:31,920 Speaker 1: fucking love it. I'm sure you know, and I'm sure 216 00:12:31,960 --> 00:12:35,520 Speaker 1: you know about the Vince Giraldy Grateful Dead connection San 217 00:12:35,559 --> 00:12:38,760 Speaker 1: Francisco guys. I once saw this cool picture of a 218 00:12:38,880 --> 00:12:41,880 Speaker 1: Vince with some of the guys. Jerry and the rest 219 00:12:41,920 --> 00:12:44,920 Speaker 1: of the dead. They're just hanging out. Very cool. Yeah, 220 00:12:44,960 --> 00:12:47,240 Speaker 1: West Montgomery, I got to get into it. Hit me 221 00:12:47,320 --> 00:12:49,320 Speaker 1: up with an album. Where do I start? There's so 222 00:12:49,440 --> 00:12:51,439 Speaker 1: much I hear it on mixes. I always love it. 223 00:12:51,480 --> 00:12:53,040 Speaker 1: I always remind myself to go back to it. I 224 00:12:53,080 --> 00:12:54,520 Speaker 1: never go back to him. So just let me know 225 00:12:54,559 --> 00:12:58,320 Speaker 1: what full length to check out. And speaking of jazz, oh, 226 00:12:58,559 --> 00:13:00,679 Speaker 1: I also have not seen jazz on a Summer's Day. 227 00:13:00,679 --> 00:13:04,760 Speaker 1: Despite playing at the Newport Folk Festival last year and 228 00:13:05,200 --> 00:13:07,960 Speaker 1: attending the Jazz Festival many times, I still haven't seen that. 229 00:13:08,040 --> 00:13:11,080 Speaker 1: Thanks for reminding me. Jazz on a Summer's Day is 230 00:13:11,080 --> 00:13:12,959 Speaker 1: what Ann is talking about. It's a it's a great 231 00:13:12,960 --> 00:13:17,640 Speaker 1: documentary about jazz musicians Newport Folk excuse me, Newford Jazz 232 00:13:17,640 --> 00:13:21,640 Speaker 1: Fest in particular. And speaking of jazz, Ann and New 233 00:13:21,720 --> 00:13:25,120 Speaker 1: York City where you're from your hometown. Looks like I 234 00:13:25,200 --> 00:13:28,560 Speaker 1: will be at a famous jazz venue in New York 235 00:13:28,840 --> 00:13:32,440 Speaker 1: in September doing an event. It's not my event, it's 236 00:13:32,440 --> 00:13:35,080 Speaker 1: a musician friend of mine that will be announced shortly. 237 00:13:35,320 --> 00:13:39,440 Speaker 1: I'm almost confirmed. It's give me some heavy hitters involved 238 00:13:39,480 --> 00:13:40,880 Speaker 1: to should be a lot of fun. I'll let you 239 00:13:40,920 --> 00:13:42,719 Speaker 1: know about that. I'll let everyone know about that when 240 00:13:42,720 --> 00:13:46,079 Speaker 1: it comes up. All right, Ann, thanks for the call. Okay. 241 00:13:46,240 --> 00:13:48,839 Speaker 1: Prior to our Sunny Rawins episode, we released a full 242 00:13:48,880 --> 00:13:51,400 Speaker 1: episode our Merle Haggard and that prompted a bunch of 243 00:13:51,440 --> 00:13:54,679 Speaker 1: country conversations. So let's hear this voicemail from the eight 244 00:13:54,720 --> 00:13:55,600 Speaker 1: to five to nine. 245 00:13:56,320 --> 00:14:00,160 Speaker 4: Hey, Jake, this is Roger from Dry Roads, Kentucky. I've 246 00:14:00,240 --> 00:14:03,680 Speaker 4: listened to pretty much all your episodes, love most of them, 247 00:14:04,080 --> 00:14:08,360 Speaker 4: but I feel that you're long overdue for a Whale 248 00:14:08,520 --> 00:14:13,920 Speaker 4: Jennings episode. When it comes to the outlaw badass country music, 249 00:14:14,120 --> 00:14:17,720 Speaker 4: you don't get more outlawed badass country than Whalem Jennings. 250 00:14:17,960 --> 00:14:21,200 Speaker 4: And I would love to hear one on Lane Stay 251 00:14:21,280 --> 00:14:24,840 Speaker 4: from Alison Chains. Keep up the great work. Peace out. 252 00:14:25,840 --> 00:14:28,880 Speaker 1: I hear you, man, Roger. There will be a Whalon 253 00:14:28,960 --> 00:14:31,560 Speaker 1: Jennings episode. This has now become Whalen has become one 254 00:14:31,560 --> 00:14:35,440 Speaker 1: of the most requested subjects for Disgraceland. I did do 255 00:14:35,760 --> 00:14:38,680 Speaker 1: a YouTube story on him. You can check that out. 256 00:14:38,720 --> 00:14:42,880 Speaker 1: That's at our YouTube YouTube dot com slash at Disgraceland 257 00:14:43,120 --> 00:14:46,720 Speaker 1: pod and that was this whole connection to the Cocaine Bear. 258 00:14:46,840 --> 00:14:49,360 Speaker 1: You can check that story out there. I think the 259 00:14:49,440 --> 00:14:51,960 Speaker 1: episode that I do, however, will be much more far 260 00:14:52,040 --> 00:14:55,720 Speaker 1: reaching than what we did on YouTube. But that's not 261 00:14:55,800 --> 00:14:59,280 Speaker 1: going to be anytime soon in the future, just not 262 00:14:59,400 --> 00:15:01,240 Speaker 1: in the new future. All right, So we get the 263 00:15:01,280 --> 00:15:04,280 Speaker 1: YouTube thing to tide over your whaling excuse me whaling, 264 00:15:04,800 --> 00:15:10,320 Speaker 1: Jennings Jones, all right, still on the country tip, Let's 265 00:15:10,400 --> 00:15:12,240 Speaker 1: check out this voicemail from the eighth one. 266 00:15:12,280 --> 00:15:16,520 Speaker 5: Oh hey, Jake, it's from the eight one to oh 267 00:15:16,640 --> 00:15:18,160 Speaker 5: just calling about your grace. 268 00:15:18,000 --> 00:15:21,320 Speaker 6: Playing topic of good like biofis. 269 00:15:20,800 --> 00:15:22,640 Speaker 5: And stuff like that on music artists and stuff like that. 270 00:15:24,240 --> 00:15:26,400 Speaker 5: I still think it's probably one of my favorites walk 271 00:15:26,480 --> 00:15:28,560 Speaker 5: the line, but I gotta say, like your Johnny Pash 272 00:15:28,640 --> 00:15:32,160 Speaker 5: episode kind of changes the perspective a little bit when 273 00:15:32,160 --> 00:15:34,000 Speaker 5: you watch that movie, it makes you think a little differently. 274 00:15:34,000 --> 00:15:35,640 Speaker 5: And then on top of that, when we brought this 275 00:15:35,800 --> 00:15:37,760 Speaker 5: up and it got me thinking, and I'm just doing 276 00:15:37,800 --> 00:15:41,720 Speaker 5: some Google searching around and I stumbled upon a documentary 277 00:15:41,720 --> 00:15:44,200 Speaker 5: called My Darling Vivian that came out a few years 278 00:15:44,240 --> 00:15:47,760 Speaker 5: ago about Johnny Cash's first wife, and that also just 279 00:15:47,840 --> 00:15:51,160 Speaker 5: like totally changes your perspective and outlook on Johnny Cash. 280 00:15:51,240 --> 00:15:51,840 Speaker 4: And stuff like that. 281 00:15:51,880 --> 00:15:53,920 Speaker 5: So keep it real, man, Rocker. 282 00:15:53,760 --> 00:15:55,360 Speaker 6: Rolla, I dave. 283 00:15:55,440 --> 00:15:59,600 Speaker 1: I love the Johnny Cash Walk the Line biopic. I 284 00:15:59,600 --> 00:16:02,360 Speaker 1: think it's it's one of the better ones, and I 285 00:16:02,480 --> 00:16:06,080 Speaker 1: go into it with a open mind. Went into it 286 00:16:06,120 --> 00:16:07,880 Speaker 1: with an open mind when I watched it, and when 287 00:16:07,920 --> 00:16:10,840 Speaker 1: it's on and I rewatch it, I do the same thing. 288 00:16:11,480 --> 00:16:11,640 Speaker 7: You know. 289 00:16:11,680 --> 00:16:14,320 Speaker 1: The bottom line is you've only got ninety minutes or 290 00:16:14,560 --> 00:16:17,600 Speaker 1: at most two hours to tell the story of these artists. 291 00:16:17,640 --> 00:16:20,800 Speaker 1: It's why I love what I do in Disgraceland because 292 00:16:20,840 --> 00:16:22,680 Speaker 1: I am not I mean, I have thirty minutes or 293 00:16:22,720 --> 00:16:24,960 Speaker 1: sometimes I can do double episodes or whatever, but I'm 294 00:16:24,960 --> 00:16:31,720 Speaker 1: not stuck to the sort of three act screenwriting format 295 00:16:31,880 --> 00:16:33,720 Speaker 1: and I don't have to hit the same beats that 296 00:16:33,760 --> 00:16:38,000 Speaker 1: you have to hit in a multimillion dollar budgeted film. 297 00:16:38,800 --> 00:16:40,720 Speaker 1: And so I kind of feel for the filmmakers in 298 00:16:40,760 --> 00:16:42,360 Speaker 1: a lot of way. But I think that Johnny Cash 299 00:16:42,360 --> 00:16:44,160 Speaker 1: went in particular, they did a really good job. There's 300 00:16:44,200 --> 00:16:46,280 Speaker 1: been some really bad ones. I don't want to shit 301 00:16:46,360 --> 00:16:48,360 Speaker 1: talk any of them, but we know what they are. 302 00:16:49,120 --> 00:16:52,200 Speaker 1: The bottom line is, these artists, especially an artists like 303 00:16:52,280 --> 00:16:56,360 Speaker 1: Johnny Cash, there's so much to cover there's so much 304 00:16:56,640 --> 00:17:00,000 Speaker 1: these lives that they live. His life in particular, lives 305 00:17:00,240 --> 00:17:02,960 Speaker 1: such a full life. And you know, when you're talking 306 00:17:02,960 --> 00:17:04,960 Speaker 1: about our side of the street here, what we do 307 00:17:05,080 --> 00:17:08,040 Speaker 1: you meet, the sort of music and true crime stuff. 308 00:17:08,119 --> 00:17:10,440 Speaker 1: It's there's so much to cover when it comes to 309 00:17:10,480 --> 00:17:12,720 Speaker 1: Johnny Cash. When I first started researching Johnny Cash for 310 00:17:12,720 --> 00:17:16,240 Speaker 1: that episode you were talking about, Dave, my my initial 311 00:17:16,280 --> 00:17:18,320 Speaker 1: thought was and I almost did it. I got I 312 00:17:18,400 --> 00:17:20,160 Speaker 1: got into pre production with it. I was like, this 313 00:17:20,200 --> 00:17:24,120 Speaker 1: is a ten episode series. This is far more than 314 00:17:24,119 --> 00:17:28,399 Speaker 1: one episode, and I ended up only doing one for 315 00:17:28,480 --> 00:17:30,280 Speaker 1: reasons that I won't go into. But I do think 316 00:17:30,400 --> 00:17:32,919 Speaker 1: down the line is a larger Johnny Cash story for 317 00:17:33,000 --> 00:17:36,280 Speaker 1: me to tell. But yeah, thanks for the call, Dave, 318 00:17:36,320 --> 00:17:39,400 Speaker 1: appreciate that. Let's let's check out Wendy from the four one. 319 00:17:39,480 --> 00:17:45,359 Speaker 8: Five Heather, I'm kind of a new listener, but I 320 00:17:45,440 --> 00:17:47,960 Speaker 8: love the show and I know it's a little late, 321 00:17:48,040 --> 00:17:51,000 Speaker 8: but I've been concentrating on Taylor's lift. My name is 322 00:17:51,000 --> 00:17:55,840 Speaker 8: tenty some scorel bos and yeah, I'm the same generation 323 00:17:55,920 --> 00:17:58,840 Speaker 8: with you, but I've been doing some deep. 324 00:17:58,720 --> 00:18:01,400 Speaker 9: Diving and I totally really why she has a female 325 00:18:01,520 --> 00:18:06,439 Speaker 9: like cult, mostly female because she's strong but vulnerable, and 326 00:18:06,560 --> 00:18:10,960 Speaker 9: like just women have such low self esteems and she's 327 00:18:11,000 --> 00:18:15,360 Speaker 9: saying things that girls feel and they can't say. And 328 00:18:15,800 --> 00:18:18,120 Speaker 9: I don't know, I just I kind of I really 329 00:18:18,160 --> 00:18:21,000 Speaker 9: get it. It's like a voice for girls and women 330 00:18:22,119 --> 00:18:25,480 Speaker 9: and to not be ashamed of it or be like, oh, 331 00:18:25,600 --> 00:18:29,520 Speaker 9: this is stupid, this is weak or whatever. It's like 332 00:18:29,760 --> 00:18:33,040 Speaker 9: she has issues with her self esteem but then goes 333 00:18:33,040 --> 00:18:37,680 Speaker 9: out there like a rock star and as a businesswoman, 334 00:18:38,119 --> 00:18:43,040 Speaker 9: as a songwriter in pop. Yeah, it's just a tornado. 335 00:18:43,440 --> 00:18:45,280 Speaker 7: Like and then with social media. 336 00:18:45,520 --> 00:18:47,840 Speaker 4: So I just want to give my two friends on there. 337 00:18:48,160 --> 00:18:51,280 Speaker 7: Because I kind of didn't understand it at first. I 338 00:18:51,320 --> 00:18:54,959 Speaker 7: mean I understood her, but not like this complete nuttiness. 339 00:18:55,000 --> 00:18:58,080 Speaker 7: But yeah, the little girls are growing up, I guess. 340 00:18:58,240 --> 00:19:02,760 Speaker 7: So take care left the show, And yeah, thank. 341 00:19:02,560 --> 00:19:06,520 Speaker 1: ARETI Wendy takes from the call. I hear you. It's 342 00:19:07,240 --> 00:19:11,280 Speaker 1: it's powerful stuff. I appreciate your insight into Missus Swift 343 00:19:11,480 --> 00:19:14,800 Speaker 1: and her fans. Thank you for listening. I appreciate the 344 00:19:14,840 --> 00:19:17,560 Speaker 1: new listeners. All right, let's check out a couple more here. 345 00:19:18,640 --> 00:19:20,600 Speaker 1: This one from the eight o week. 346 00:19:21,760 --> 00:19:23,879 Speaker 6: Bro number one. I want to know how many takes 347 00:19:23,880 --> 00:19:26,640 Speaker 6: it took to get that fucking fascinach down at the end, 348 00:19:26,680 --> 00:19:31,520 Speaker 6: but beyond that, I didn't realize it. It's Curtison, Connecticut, Dude, 349 00:19:31,560 --> 00:19:34,480 Speaker 6: you have to just do Gangstar. Gangstar has one of 350 00:19:34,480 --> 00:19:37,439 Speaker 6: the coolest stories for up and coming and being a 351 00:19:37,520 --> 00:19:40,639 Speaker 6: legend that's not spoken highly of or highly regarded by 352 00:19:40,680 --> 00:19:44,080 Speaker 6: a lot of people. Very underrated, hands down, one of 353 00:19:44,119 --> 00:19:46,560 Speaker 6: the best Gangstar one of the best yet. 354 00:19:47,240 --> 00:19:51,760 Speaker 1: Curtis my man, Uh, where do I start with Gangstar? Where? 355 00:19:51,920 --> 00:19:54,840 Speaker 1: What's the book? What's the doc? What's the music? What's 356 00:19:54,880 --> 00:19:59,160 Speaker 1: the magazine article? Where's the angle? Let me know? Hit 357 00:19:59,200 --> 00:20:01,760 Speaker 1: me back? Six ones seven nine six six six three eight. 358 00:20:01,840 --> 00:20:05,960 Speaker 1: Appreciate the message Johnny from the two oh seven. Let's 359 00:20:05,960 --> 00:20:08,040 Speaker 1: hear from you, jig. 360 00:20:08,760 --> 00:20:11,520 Speaker 10: It's you, buddy, Johnny for New Hampshire. Man, Hey, thank 361 00:20:11,560 --> 00:20:14,280 Speaker 10: you for the uh, thanks for the play and uh, 362 00:20:14,600 --> 00:20:17,800 Speaker 10: you know, honestly, thank you for giving a ship who 363 00:20:17,880 --> 00:20:21,399 Speaker 10: we are, Like, that's pretty cool. Like I I it 364 00:20:21,440 --> 00:20:22,879 Speaker 10: would be so easy. 365 00:20:22,520 --> 00:20:25,000 Speaker 6: For you to just be like whatever the listeners and 366 00:20:25,160 --> 00:20:25,760 Speaker 6: fuck them all. 367 00:20:25,840 --> 00:20:26,600 Speaker 3: I need you know that. 368 00:20:26,840 --> 00:20:27,880 Speaker 4: Just listen to my thing. 369 00:20:27,840 --> 00:20:32,000 Speaker 6: Is shut up. But it's really really I don't know. 370 00:20:32,000 --> 00:20:33,760 Speaker 1: If the word inclusive is thrown. 371 00:20:33,560 --> 00:20:36,320 Speaker 4: Around so much that it's lost its meeting, but it's. 372 00:20:36,160 --> 00:20:40,520 Speaker 10: Really it just creates such a sense of community for me, 373 00:20:40,840 --> 00:20:44,159 Speaker 10: Like I really look forward cheat this and I feel 374 00:20:44,160 --> 00:20:46,520 Speaker 10: like I feel like we're all part of it. So 375 00:20:46,560 --> 00:20:49,720 Speaker 10: it's cool, like we're, for lack of a better term, 376 00:20:49,800 --> 00:20:55,399 Speaker 10: I feel like when the Tasmanian Doubles just kind of 377 00:20:55,440 --> 00:20:58,239 Speaker 10: turns into a whirling dervish, like this whole show is 378 00:20:58,320 --> 00:21:02,240 Speaker 10: just like a crazy musical whirling dervish and people and. 379 00:21:02,359 --> 00:21:03,359 Speaker 4: Listening and different. 380 00:21:04,000 --> 00:21:04,560 Speaker 5: I'm into it. 381 00:21:04,640 --> 00:21:07,520 Speaker 10: So good job, all right, brother, love it, rock and 382 00:21:07,600 --> 00:21:08,760 Speaker 10: roll and keep up the good work. 383 00:21:08,800 --> 00:21:09,120 Speaker 4: My man. 384 00:21:09,240 --> 00:21:11,200 Speaker 5: I gotta go get on this roof fic this Jimmy 385 00:21:11,359 --> 00:21:11,840 Speaker 5: Jo John. 386 00:21:12,520 --> 00:21:15,080 Speaker 1: That's right, man. Community, that's what we're building. That's what 387 00:21:15,080 --> 00:21:18,520 Speaker 1: we're doing here. I don't know what else to say. 388 00:21:18,800 --> 00:21:23,239 Speaker 1: Keep listening, keep calling, keep texting, keep telling me what 389 00:21:23,280 --> 00:21:26,360 Speaker 1: you guys want, keep telling what you'd like, what you dislike, 390 00:21:26,440 --> 00:21:28,320 Speaker 1: what you want to hear, what you want me to create. 391 00:21:28,680 --> 00:21:31,480 Speaker 1: I am here for it. Six one seven nine oh 392 00:21:31,560 --> 00:21:34,760 Speaker 1: six six sixty three eight Voicemail and text. Speaking of texts, 393 00:21:35,080 --> 00:21:38,560 Speaker 1: let's let's get into some text right now. All right, 394 00:21:38,640 --> 00:21:41,000 Speaker 1: from the seven oh seven, The seven o seven rights, 395 00:21:41,040 --> 00:21:44,520 Speaker 1: and please make an April Fools episode about Millie Vanilli. 396 00:21:44,600 --> 00:21:46,280 Speaker 1: I can't think of a crime to tie them to, 397 00:21:46,400 --> 00:21:49,640 Speaker 1: but that's what researchers are for. On a more serious note, 398 00:21:49,640 --> 00:21:52,280 Speaker 1: I would love a White Stripes Jack White episode. His 399 00:21:52,320 --> 00:21:55,400 Speaker 1: album with Loretta Lynn is excellent. If you haven't heard it, uh, 400 00:21:55,440 --> 00:21:57,680 Speaker 1: seven oh seven, I have heard it. I have heard 401 00:21:57,720 --> 00:22:01,400 Speaker 1: that record. I think it's real good. I think an episode. 402 00:22:01,440 --> 00:22:03,320 Speaker 1: I've always thought there was a Jack White episode there. 403 00:22:03,320 --> 00:22:07,159 Speaker 1: He's so fucking prickly, though. I'm just worry, you know. 404 00:22:07,760 --> 00:22:10,280 Speaker 1: I don't want that dude freaking out or whatever. All Right, 405 00:22:10,320 --> 00:22:11,880 Speaker 1: let's see what else we got here from the seven 406 00:22:11,920 --> 00:22:14,400 Speaker 1: oh six. I just heard your rant on You two 407 00:22:14,560 --> 00:22:18,040 Speaker 1: the undertones in Thin Lizzy. I totally groove on Thin 408 00:22:18,160 --> 00:22:20,800 Speaker 1: Lizzie with you and you two has always kind of sucked. 409 00:22:21,200 --> 00:22:23,560 Speaker 1: But that's a big statement. But I wonder why you 410 00:22:23,640 --> 00:22:26,800 Speaker 1: completely forgot flogging Mollie. Well, I completely forgot flogging Mollie 411 00:22:26,800 --> 00:22:30,600 Speaker 1: because I forget shit. Man. Dave King put some amazing 412 00:22:30,640 --> 00:22:33,000 Speaker 1: shit together. They should give them a try. And if 413 00:22:33,040 --> 00:22:36,040 Speaker 1: I'm being honest, I'm not that familiar with flogging Mollie's catalog. 414 00:22:36,200 --> 00:22:38,400 Speaker 1: But I appreciate the prompt and I'm gonna go check 415 00:22:38,440 --> 00:22:40,920 Speaker 1: that out. Let's see what else we got here. From 416 00:22:41,040 --> 00:22:44,880 Speaker 1: the A two Jeff from the eight oh two Awesome 417 00:22:44,960 --> 00:22:47,960 Speaker 1: Duet to check out Aggy Pop and Kate Pearson Candy. 418 00:22:48,000 --> 00:22:50,359 Speaker 1: I agree with you eight oh two, it is great. 419 00:22:50,520 --> 00:22:52,679 Speaker 1: Two six oh right, saying, hey Jake, Rob from the 420 00:22:52,680 --> 00:22:55,000 Speaker 1: two six to oh, you were asking about times that 421 00:22:55,080 --> 00:22:57,280 Speaker 1: pop monsters shared the mic. I got a recent one 422 00:22:57,280 --> 00:23:00,280 Speaker 1: that I'm sure you probably heard about July fifteenth. That's 423 00:23:00,359 --> 00:23:03,800 Speaker 1: real recent, Rob. July fifteenth, Rob says, twenty twenty three, 424 00:23:03,920 --> 00:23:07,240 Speaker 1: Rob says Ford Field and Detroit says Rob. Michigan says Rob. 425 00:23:07,520 --> 00:23:10,080 Speaker 1: I was one of the lucky seventy thousand plus that 426 00:23:10,200 --> 00:23:14,080 Speaker 1: night that saw Eminem freaking Eminem pop up under Ed 427 00:23:14,200 --> 00:23:18,440 Speaker 1: Shearing's Mathematics stage. The plays absolutely erupted. You couldn't even 428 00:23:18,440 --> 00:23:21,480 Speaker 1: hear Marshall spitting until the chorus came back around after 429 00:23:21,520 --> 00:23:23,520 Speaker 1: we all lost ourselves to do Oh hit us with 430 00:23:23,560 --> 00:23:26,560 Speaker 1: a killer rendition of Stan before m left the stage 431 00:23:26,560 --> 00:23:29,919 Speaker 1: with a giant middle finger to the entire arena. It 432 00:23:30,000 --> 00:23:33,679 Speaker 1: was legendary. Now that's my kind of text, love that, 433 00:23:34,480 --> 00:23:38,399 Speaker 1: love that. Also, I've worked my way around on eminem 434 00:23:38,520 --> 00:23:42,080 Speaker 1: old school Disgraceland fans, I'll know what I'm talking about. Okay, Hey, 435 00:23:42,160 --> 00:23:44,399 Speaker 1: Jake Matthew here from the seven to one seven. I 436 00:23:44,440 --> 00:23:47,040 Speaker 1: was able to snag a copy and he's got a 437 00:23:47,040 --> 00:23:52,119 Speaker 1: picture here of Fishbone's Truth and Soul on vinyl. Damn, 438 00:23:53,560 --> 00:23:56,040 Speaker 1: I need that. I need that. I need that record 439 00:23:56,119 --> 00:23:58,359 Speaker 1: on vinyl. Where'd you get that nine to eight? What'd 440 00:23:58,400 --> 00:24:01,199 Speaker 1: you get that? Matthew? Why does number save nine to eight? 441 00:24:01,240 --> 00:24:02,760 Speaker 1: But you're saying you're from the seven one seven? I 442 00:24:02,800 --> 00:24:07,639 Speaker 1: don't understand anyways. More importantly, nice grab six four six. 443 00:24:07,720 --> 00:24:12,399 Speaker 1: In my opinion, Stevie owners impact culturally supersedes princes. You 444 00:24:12,480 --> 00:24:15,520 Speaker 1: talk about a brother from another planet that is from 445 00:24:15,840 --> 00:24:20,440 Speaker 1: my buddy from the six four six? Uh did Stevie 446 00:24:20,520 --> 00:24:24,119 Speaker 1: wonder impact culture? Did he more than Prince? It's a 447 00:24:24,119 --> 00:24:27,200 Speaker 1: good question. I don't know the answer. Uh. Six' one 448 00:24:27,240 --> 00:24:30,879 Speaker 1: two Eric from Minneapolis top duet, I go straight to 449 00:24:30,960 --> 00:24:33,520 Speaker 1: Nick Kave and Kylie Minogue. Eric says a lot I'm 450 00:24:33,520 --> 00:24:36,719 Speaker 1: gonna skim through this. He also says, today you asked 451 00:24:36,760 --> 00:24:39,240 Speaker 1: for the best musician in the talent versus Craft episode, 452 00:24:39,480 --> 00:24:42,560 Speaker 1: It's not possible. Best guitarist Andrew Blo, no question of 453 00:24:42,560 --> 00:24:44,520 Speaker 1: his impact and creativity, but is he as good as 454 00:24:44,640 --> 00:24:48,280 Speaker 1: Jimmy Page, Django, Reinhardt, Stanley Jordan are freaking Michael Hedges. 455 00:24:49,119 --> 00:24:53,280 Speaker 1: This is what led me to my favorite slash great assistant, 456 00:24:53,280 --> 00:24:56,720 Speaker 1: which is number one, my all time overarching favorite. Number two. 457 00:24:56,760 --> 00:24:58,359 Speaker 1: My favorite is shown by who I listened to the 458 00:24:58,400 --> 00:25:02,399 Speaker 1: most three? Who I into right now? Example, in the 459 00:25:02,440 --> 00:25:06,240 Speaker 1: best favorite band category all time is the Residence. Number 460 00:25:06,240 --> 00:25:09,000 Speaker 1: two most listened to is ween Damn number three right now. 461 00:25:09,040 --> 00:25:11,560 Speaker 1: I'm super digging Vistas from Scotland. Sorry for going on. 462 00:25:11,600 --> 00:25:13,480 Speaker 1: I was gonna call, but I'm sick as heck and 463 00:25:13,520 --> 00:25:15,840 Speaker 1: can't talk, so swell. Keep making the quality you do. 464 00:25:15,960 --> 00:25:20,600 Speaker 1: It is appreciated. You got it, Eric, Thanks for that message. Yeah, man, 465 00:25:21,480 --> 00:25:24,760 Speaker 1: I don't know. I don't know. I'm gonna keep going. 466 00:25:24,840 --> 00:25:26,960 Speaker 1: There's a lot there, all right, one more? Here here 467 00:25:26,960 --> 00:25:31,080 Speaker 1: we go, Hey, Jake, it's from Lance Vallis not sure 468 00:25:31,160 --> 00:25:33,600 Speaker 1: if my Facebook messager message got through. Thought i'd send 469 00:25:33,640 --> 00:25:36,600 Speaker 1: you the same one via text. By request some essential 470 00:25:36,720 --> 00:25:40,080 Speaker 1: jazz listening Lee Morgan the Sidewinder, I have it. It's awesome. 471 00:25:40,119 --> 00:25:42,560 Speaker 1: Benny Golson, the Philadelphia's never heard of it. We'll check 472 00:25:42,600 --> 00:25:46,040 Speaker 1: it out. Dave Brubeck, time out, have it, listen to it? Awesome. 473 00:25:46,320 --> 00:25:50,320 Speaker 1: Wes Montgomery smoking at the half note. Well, I asked 474 00:25:50,359 --> 00:25:53,399 Speaker 1: earlier what no Wes Montgomery album to get into, and 475 00:25:53,440 --> 00:25:55,800 Speaker 1: I guess I have my answer here. Charlie Christian genius 476 00:25:55,800 --> 00:25:57,399 Speaker 1: of the electric guitar. I got the impression you were 477 00:25:57,400 --> 00:26:00,679 Speaker 1: looking for acoustic jazz, but a couple of excellent jazz 478 00:26:00,720 --> 00:26:04,600 Speaker 1: fusion records are Light as a feather Return to Forever Spectrum. 479 00:26:04,600 --> 00:26:07,960 Speaker 1: Billy Corbyn, very eagerly awaiting an Elliott Smith episode. I 480 00:26:08,000 --> 00:26:09,399 Speaker 1: used to live in the Boston area, and I might 481 00:26:09,440 --> 00:26:11,560 Speaker 1: be totally misremembering this, but did you used to host 482 00:26:11,600 --> 00:26:13,680 Speaker 1: an open mic or something like that the Brendan Bean 483 00:26:13,920 --> 00:26:17,359 Speaker 1: and Jamaica playing playing like twenty twenty five years ago? 484 00:26:17,600 --> 00:26:17,679 Speaker 2: No? 485 00:26:17,840 --> 00:26:20,720 Speaker 1: I did not did not host an open mic. Give 486 00:26:20,760 --> 00:26:23,520 Speaker 1: me some fucking credit, man. But my dad did have 487 00:26:23,560 --> 00:26:26,280 Speaker 1: a residency, not an open mic, at the Brendan Bean 488 00:26:26,359 --> 00:26:28,280 Speaker 1: about thirty years ago, and I talked about that on 489 00:26:28,280 --> 00:26:31,359 Speaker 1: one of the recent after Party episodes. You must have 490 00:26:31,560 --> 00:26:34,080 Speaker 1: just missed it, all right, So them is the text 491 00:26:34,119 --> 00:26:36,360 Speaker 1: is okay six one seven nine O six six six 492 00:26:36,520 --> 00:26:39,120 Speaker 1: three eight. Leave me a text, send me a voicemail 493 00:26:39,160 --> 00:26:41,480 Speaker 1: at this Gray Slam pod with the DMS, I will 494 00:26:41,480 --> 00:26:45,719 Speaker 1: get to you on direct message shortly, Facebook, Instagram, Twitter. 495 00:26:45,920 --> 00:26:48,520 Speaker 1: This bonus episode is turning out to be super long, 496 00:26:48,760 --> 00:26:51,520 Speaker 1: so we're gonna do the DMS next week. Uh take 497 00:26:51,600 --> 00:27:09,480 Speaker 1: one quick break back in a flash. The recommendations part. 498 00:27:09,600 --> 00:27:12,080 Speaker 1: This is the recommendation's part, the part where we recommend 499 00:27:12,119 --> 00:27:14,280 Speaker 1: the things that need recommending. The recommendations part what I've 500 00:27:14,320 --> 00:27:17,080 Speaker 1: been listening to. So as you can tell, I've been 501 00:27:17,119 --> 00:27:19,960 Speaker 1: listening to a lot of jazz. I mentioned the Vince 502 00:27:20,040 --> 00:27:23,720 Speaker 1: Durrell the album above, also been listening to Keith Jarrett. 503 00:27:23,800 --> 00:27:26,000 Speaker 1: Dude is a massive discography, but for me, it's all 504 00:27:26,000 --> 00:27:29,520 Speaker 1: about the album Treasure Island right now, specifically the leadoff track, 505 00:27:29,560 --> 00:27:32,480 Speaker 1: The Rich and the Poor quite possibly one, if not 506 00:27:32,680 --> 00:27:35,640 Speaker 1: the greatest end of the workday songs that I've ever heard. 507 00:27:35,680 --> 00:27:37,840 Speaker 1: It's screams, take a load off and crack a cold 508 00:27:37,840 --> 00:27:41,320 Speaker 1: can of beer. Makes me instantly feel like I'm like 509 00:27:41,400 --> 00:27:44,119 Speaker 1: some fucking hard boiled detective in a suit that I 510 00:27:44,119 --> 00:27:47,280 Speaker 1: haven't taken off in three weeks. And you know I'm 511 00:27:47,119 --> 00:27:49,840 Speaker 1: in some seventies crime thriller. I just walked into my 512 00:27:49,840 --> 00:27:52,320 Speaker 1: shitty studio apartment in the village and I'm on the 513 00:27:52,400 --> 00:27:55,359 Speaker 1: hunt for something wet and cold to fucking drown my day. 514 00:27:55,840 --> 00:27:58,760 Speaker 1: I love this song. Check it out. Keith Jarrett. The 515 00:27:58,880 --> 00:28:01,640 Speaker 1: Rich and the Poor and for Keith Jarrett. Heads out there, 516 00:28:01,640 --> 00:28:03,240 Speaker 1: and I know you're out there. I know there's some 517 00:28:03,320 --> 00:28:06,879 Speaker 1: heavy jazz dudes out there, some major dudes. Let me 518 00:28:06,920 --> 00:28:09,000 Speaker 1: know where to go next with Keith Jarrett. There's so 519 00:28:09,080 --> 00:28:11,120 Speaker 1: much of it, okay, six one seven, nine oh six, 520 00:28:11,200 --> 00:28:13,920 Speaker 1: six six three eight. Also, what are your holy shit 521 00:28:13,960 --> 00:28:16,200 Speaker 1: work is finally done and I need a beer songs? 522 00:28:16,440 --> 00:28:18,440 Speaker 1: What song do you reach for when work is done 523 00:28:18,440 --> 00:28:20,080 Speaker 1: and you're reaching for a cold one? Let me know 524 00:28:20,200 --> 00:28:23,280 Speaker 1: six one seven, nine oh six, six six three eight. 525 00:28:23,359 --> 00:28:25,040 Speaker 1: Is that specific enough for you? Have a feeling we're 526 00:28:25,040 --> 00:28:27,800 Speaker 1: gonna get a lot more classic country incoming on this one. 527 00:28:27,880 --> 00:28:30,760 Speaker 1: Let me know your favorite afterwork songs? All right. I'm 528 00:28:30,800 --> 00:28:35,000 Speaker 1: also listening to Fiddler's new single cover Tom Teddy's free Falling. 529 00:28:35,040 --> 00:28:36,880 Speaker 1: This is on the heels of the band's recent cover 530 00:28:36,960 --> 00:28:39,920 Speaker 1: of olymp Biscuits Nookie. Not sure what these guys are 531 00:28:39,960 --> 00:28:42,200 Speaker 1: up to but I am here for it. Keep the 532 00:28:42,240 --> 00:28:45,280 Speaker 1: fucked up covers coming, Guys. Anyone knows this band, let 533 00:28:45,280 --> 00:28:47,760 Speaker 1: them know how much I love them, would love to 534 00:28:47,760 --> 00:28:49,640 Speaker 1: talk to them. I love this band so much. I 535 00:28:49,640 --> 00:28:51,440 Speaker 1: wish I was in it. And that's saying something because 536 00:28:51,440 --> 00:28:53,320 Speaker 1: I really have zero desire to ever be in a 537 00:28:53,360 --> 00:28:55,520 Speaker 1: band again. It's a hard life. You guys know this, 538 00:28:55,840 --> 00:28:58,200 Speaker 1: but as the kids say, fuck it, dude, life is rid. 539 00:28:58,360 --> 00:29:00,760 Speaker 1: We asked a couple bonus episodes ago what were the 540 00:29:00,800 --> 00:29:04,120 Speaker 1: best non music biopick music movies, and a lot of 541 00:29:04,120 --> 00:29:05,920 Speaker 1: you wrote in Fast Times of Bridgemont High, and I 542 00:29:05,920 --> 00:29:08,320 Speaker 1: gotta say this might be my top choice as well. 543 00:29:08,720 --> 00:29:11,440 Speaker 1: Was on TCM recently. I think it was TCM and 544 00:29:12,040 --> 00:29:14,400 Speaker 1: I can't not watch this one. It's on, I can't 545 00:29:14,440 --> 00:29:17,080 Speaker 1: skip through it, I can't change the channel. So I 546 00:29:17,160 --> 00:29:20,640 Speaker 1: watched it and it was the beginning. It was great Bradley. 547 00:29:20,960 --> 00:29:23,120 Speaker 1: You know he's in the cruising vessel cruising into the 548 00:29:23,160 --> 00:29:24,760 Speaker 1: parking lot in that opening scene or one of the 549 00:29:24,800 --> 00:29:28,160 Speaker 1: opening scenes. It just this movie's one of those great 550 00:29:28,200 --> 00:29:31,680 Speaker 1: movies where it doesn't matter what the song is. The 551 00:29:31,680 --> 00:29:34,680 Speaker 1: photography is so good, the visuals are so great that 552 00:29:35,160 --> 00:29:36,760 Speaker 1: you know this is like I didn't give a shit 553 00:29:36,800 --> 00:29:38,440 Speaker 1: about Jackson Brown when I was a kid, but this 554 00:29:38,520 --> 00:29:40,400 Speaker 1: movie made me give a shit about Jackson Brown. That's 555 00:29:40,440 --> 00:29:42,760 Speaker 1: how good this movie is. I'm not telling you anything 556 00:29:42,800 --> 00:29:44,960 Speaker 1: you don't know, but my chance as any young kids 557 00:29:45,000 --> 00:29:46,920 Speaker 1: listening to this and you just like you've heard of 558 00:29:46,920 --> 00:29:49,200 Speaker 1: this movie but you have not seen it, go watch 559 00:29:49,240 --> 00:29:51,840 Speaker 1: it run Watch Fast Times of Bridgemant High six one 560 00:29:51,840 --> 00:29:53,800 Speaker 1: seven nine oh six, six sixty three. If you have 561 00:29:53,800 --> 00:29:57,000 Speaker 1: any more non biopick music movies to recommend. Also, let 562 00:29:57,040 --> 00:29:59,080 Speaker 1: me know what your favorite afterwork tune is. To crack 563 00:29:59,120 --> 00:30:01,280 Speaker 1: a cold one too, let me know and check out 564 00:30:01,320 --> 00:30:03,600 Speaker 1: The Richard the Poor by Keith Jarrett at Disgrace Lamd 565 00:30:03,640 --> 00:30:06,000 Speaker 1: pod on the Social six one seven nine oh six 566 00:30:06,080 --> 00:30:08,280 Speaker 1: six six three eight. I'm back in a flash with 567 00:30:08,360 --> 00:30:25,920 Speaker 1: some zen. All right, let's recap, shall we. Number one, 568 00:30:26,160 --> 00:30:28,800 Speaker 1: Velvet Underground is the latest episode of disgracelanded is in 569 00:30:28,800 --> 00:30:30,280 Speaker 1: your feeds right now. Number two, We've got a new 570 00:30:30,320 --> 00:30:33,160 Speaker 1: season of bad Lands just launched with an episode on 571 00:30:33,240 --> 00:30:36,880 Speaker 1: Johnny Depp that is available on the Badlands feed this week. 572 00:30:36,920 --> 00:30:41,640 Speaker 1: We are dropping this episode. It's a season launch episode, 573 00:30:41,680 --> 00:30:43,840 Speaker 1: so we're dropping it into the Disgraceland feed as well. 574 00:30:43,840 --> 00:30:46,800 Speaker 1: But guys, this show, the show, the show, the episodes 575 00:30:46,840 --> 00:30:49,719 Speaker 1: on Hollywood figures, on actors and actresses, that is Badlands, 576 00:30:49,720 --> 00:30:52,400 Speaker 1: that is not Disgraceland. We released those weekly as well, 577 00:30:52,440 --> 00:30:53,960 Speaker 1: but you got to go to the bad Lands feed 578 00:30:54,000 --> 00:30:56,760 Speaker 1: and subscribe and follow bad Lands there to get all 579 00:30:56,800 --> 00:30:59,600 Speaker 1: the episodes in addition to the Disgraceland episodes that you 580 00:30:59,600 --> 00:31:02,400 Speaker 1: get here in this feed. All right, so subscribe to 581 00:31:02,480 --> 00:31:04,520 Speaker 1: bad Lands is what I'm saying. Number three. Next week 582 00:31:04,520 --> 00:31:07,840 Speaker 1: in the Disgraceland Feed, we start our head first deep 583 00:31:07,880 --> 00:31:10,320 Speaker 1: dive into the world of hip hop with some archive 584 00:31:10,360 --> 00:31:13,640 Speaker 1: releases to t up the next season of Disgraceland, which 585 00:31:13,640 --> 00:31:15,640 Speaker 1: I am very excited to tell you about. Number four, 586 00:31:15,680 --> 00:31:17,959 Speaker 1: my number six one seven nine oh six six six 587 00:31:18,080 --> 00:31:21,360 Speaker 1: three eight call me on the telephone, text me all right, 588 00:31:21,480 --> 00:31:25,040 Speaker 1: my moment of bliss me reading you the phone book. 589 00:31:26,680 --> 00:31:31,000 Speaker 1: Lindon c T three five one one eighth Avenue South 590 00:31:31,480 --> 00:31:36,520 Speaker 1: f A four dash two six six four London, Carl T. 591 00:31:36,920 --> 00:31:40,360 Speaker 1: Junior seventy four hundred and two Long af eight three 592 00:31:40,400 --> 00:31:45,760 Speaker 1: six seven three three three Lindenberg fred a one oh 593 00:31:45,800 --> 00:31:50,080 Speaker 1: four dash a South sixtieth five nine two eight, six 594 00:31:50,440 --> 00:31:56,000 Speaker 1: seven seven, Linder BG Doctor Office of Medical Arts Buildings 595 00:31:56,440 --> 00:32:01,720 Speaker 1: AL three two Dash two three four Linderman see also 596 00:32:02,080 --> 00:32:09,200 Speaker 1: Lenderman Linderman Missus two eight three four Bessemer Road Scox 597 00:32:09,480 --> 00:32:14,200 Speaker 1: Dash seven seven and ninety six Landerman Gordon nineteen four 598 00:32:14,360 --> 00:32:18,920 Speaker 1: two six eight Fourth Avenue six five nine two two seventh. 599 00:32:23,040 --> 00:32:25,520 Speaker 1: Quit talking and start mixing