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

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Speaker 1: a chance. Good morning, give it a chance, Give it

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

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Speaker 1: Good morning. Give it you want to give it a chance,

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Speaker 1: give it a chance, give it a chance. Just hi, folks,

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Speaker 1: it's us, Kevin, Divine and Casey Jo. Just back up

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Speaker 1: in it.

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Speaker 2: Wow, you said my name and your name. I like that.

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Speaker 1: I switch it up every time.

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Speaker 2: Switching it up is the spice of nights.

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Speaker 1: Is that the song today?

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Speaker 2: Yep?

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Speaker 1: So I want to tell switching it up.

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Speaker 2: Nights, first of all, welcome back to give it a chance,

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Speaker 2: Casey and I do just that with songs that I

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Speaker 2: don't know. I guess it's a subjectively arrived at thing.

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Speaker 2: But you know, I don't know if we would say there.

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Speaker 2: I mean, reviled is a strong word. They're not revived.

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Speaker 2: Millions of people like them, but there's something about them.

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Speaker 1: I think what we're revolving every day as humans, but

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Speaker 1: we're evolving in terms of I think. The way I

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Speaker 1: see this, you know, just to peel back the onion

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Speaker 1: is I see it as songs that the world hates,

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Speaker 1: and then also songs that we might dislike to some degree,

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Speaker 1: and I think obviously.

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Speaker 2: The world is big enough that even something where millions

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Speaker 2: and millions of people love it, that means there's billions

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Speaker 2: of people that are either ignorant to it or actively

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Speaker 2: don't like it. Yes, and I'm always going to be

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Speaker 2: one of those three categories. I like it, I'm ignorant,

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Speaker 2: I don't like it. But the thing that I so

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Speaker 2: also something people should know. To this point, I think

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Speaker 2: this is our fifth Omar.

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Speaker 1: Yeah, I think so.

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Speaker 2: So we're doing these apps and I think that to

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Speaker 2: this point, Ksey has really burdened that carry the burden, burden,

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Speaker 2: the load loaded bird up.

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Speaker 1: It's a tough burden too, It's really hard.

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Speaker 2: He's exhausted. I'm looking at him. It's a lot, but

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Speaker 2: he's the songs and that's been part of the conceit.

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Speaker 2: And today I don't know if we'll do this every

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Speaker 2: five epps. If that's like, we'll figure it out.

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Speaker 1: If it's a really thing today, young Deebs, it's.

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Speaker 2: Up to young Deebs forty four years young debs to

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Speaker 2: pick the song. And you know something I do want

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Speaker 2: to say. Something I love about doing this with you,

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Speaker 2: Casey is like I feel like we could talk for

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Speaker 2: hours and hours about the sweet and the sour and like.

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Speaker 1: Uh oh wow.

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Speaker 2: And like I just we push and pull like a magnet,

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Speaker 2: do you know? And so I want you to, you know,

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Speaker 2: spend some time with do you know what the song is?

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Speaker 1: I'm so close, I'm almost there. I'm getting it. I'm

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Speaker 1: getting sort of a.

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Speaker 2: It's almost like you can see the sort of like

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Speaker 2: the outline, the contour, almost like the shape.

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Speaker 1: Is this like an Incubus song?

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Speaker 2: No, I will tell you that I made a conscious effort.

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Speaker 2: There was some like nineties stuff I wanted to go to. Yeah,

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Speaker 2: some stuff that's close to genres of music I actually

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Speaker 2: do like a lot that I wanted to go to,

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Speaker 2: which I feel like we've flirted with a little of

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Speaker 2: that a few times, some kind of like bastardized version

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Speaker 2: of something. And then I was like, I kind of

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Speaker 2: wanted to pick something more current, current ish and something

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Speaker 2: that I will have to work and I want to

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Speaker 2: work today. I want I want. I hope we gave

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Speaker 2: Rascal Flats in the last up enough of a chancy.

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Speaker 2: I want to give this a chancy because it is

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Speaker 2: a challenge for old debs.

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Speaker 1: I'm feeling incredibly positive today Okay, well you may, I'm

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Speaker 1: gonna bring it. Wait, so it sounds so familiar.

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Speaker 2: What song is that you need to tell you? Yes,

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Speaker 2: little known artist, similar complexion hair, I have red hair,

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Speaker 2: similar instrumentation from the place where we fought a revolution

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Speaker 2: to say great from back in seventeen seventy shearing. It's

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Speaker 2: an it shearing song.

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Speaker 1: It's a sheer.

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Speaker 2: And maybe that's too.

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Speaker 1: On the nose, but I I it's so funny. Now

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Speaker 1: I hear the now I hear this sweet and Sour part.

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Speaker 1: I couldn't. I literally was like, what omp biscuit lyric

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Speaker 1: is that? And I was like, that's why when you said,

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Speaker 1: like the shape, oh this shit, Okay, now it's all

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Speaker 1: it's all sitting in my nogging brooking.

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Speaker 2: Millions of people presently love this dude, and this song,

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Speaker 2: by all accounts, seems like a perfectly nice man. Yeah,

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Speaker 2: but that's not what we're here to talk about. I'm

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Speaker 2: going to talk about the shape of you by going

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Speaker 2: Edwin Shears, all.

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Speaker 1: Right, you know the drill. Everybody go listen and report back.

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Speaker 2: I'm sorry about Sweet and Sour and FM and is

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Speaker 2: doing okay.

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Speaker 1: Man. It's interesting because on paper, when you said this song.

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Speaker 1: I was like, I don't if I dislike that song.

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Speaker 2: I was gonna ask you. I was like, maybe you're

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Speaker 2: even a fan. A lot of people are fans. Everyone

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Speaker 2: loves Taylor, and uh, we can have a whole Taylor season,

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Speaker 2: get really really hated on or loved.

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Speaker 1: I think they're they're they're they're comparable in that I

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Speaker 1: think the world loves them. And I don't know. There's

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Speaker 1: like moments that I like of both those artists and

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Speaker 1: and like this song. There's moments I like, but it's funny.

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Speaker 1: And you said, like you said the song, and I

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Speaker 1: was like, oh, I don't know if I hate that,

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Speaker 1: I don't. I can't like totally remember the last time

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Speaker 1: I ever chose to like I've chosen it to put

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Speaker 1: it on, but I didn't think I disliked it, and

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Speaker 1: I will a time.

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Speaker 2: Ever have you ever chosen to put it on?

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Speaker 1: Never? Okay, I've never clicked playing the song, but I've

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Speaker 1: heard it plenty obviously, Like this is a huge this

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Speaker 1: is a massive hit for him.

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Speaker 2: You go to supermarkets, Yeah.

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Speaker 1: Yeah, I do. I like them. I like a supermarket

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Speaker 1: and I actually I like supermarket music. I you know,

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Speaker 1: I love his dentist office.

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Speaker 2: Music, very very special genre.

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Speaker 1: Yes, if it's this, it's it's like it's throwback. So

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Speaker 1: it's like de barge. I like it, yes, you know,

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Speaker 1: and I love dentist music. It's like it's like the

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Speaker 1: cleanest of R and B. Yes, yes, And this has moments.

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Speaker 2: You carding of me.

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Speaker 1: Yeah, it sounds like it should be like theme songs

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Speaker 1: that of like eighties sitcoms that never were and but

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Speaker 1: this is Yeah, this is definitely grocery store music. And

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Speaker 1: that's incredible to get played in a grocery store. Oh

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Speaker 1: my god, Like there's a there's a cough, there's a

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Speaker 1: coffee house level that I think is almost like easier

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Speaker 1: to hit, you know what I.

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Speaker 2: Mean, Like I can tell you it absolutely is. At

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Speaker 2: some point in his career had a song like on

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Speaker 2: a Starbucks sampler or something like that. Yeah, yeah, I

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Speaker 2: can get it, I think so. I think it was

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Speaker 2: somewhere around. It would have definitely been in the brief

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Speaker 2: flirtation with Capitol Records. So two thousand and six seven

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Speaker 2: something for put Your Grost Stress, probably Brooklyn Boy or

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Speaker 2: Stay probably credible because it's quieter.

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Speaker 1: Yeah, yeah, that makes sense. That feels like a coffee out. Yeah, okay,

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Speaker 1: it's the title.

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Speaker 2: Right, Brooklyn boy.

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Speaker 1: Yeah, yeah, Like you make you like you're at Starbucks

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Speaker 1: ordering and you're like, maybe I'm a Brooklyn boy. But

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Speaker 1: so this is it's this is so interesting because yeah,

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Speaker 1: like I know that the lyrics again, like I don't

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Speaker 1: want to get hung up on it, all right, I

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Speaker 1: know we're starting.

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Speaker 2: With chancey or start with anti chancy.

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Speaker 1: Asy, I think we go chancy, we go Chancy.

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Speaker 2: Okay.

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Speaker 1: So there's definitely some cool guitary things, like this guy

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Speaker 1: thinks about layering, and there's some fun parts. Especially I

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Speaker 1: think he's like, I'm going to step out of the

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Speaker 1: box here and I'm going to try to make this

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Speaker 1: dancy Timberlake song. Yes, And I think he accomplished that

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Speaker 1: and knocked it out of the park.

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Speaker 2: Dude, without question. And it's funny. I actually remember for

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Speaker 2: some reason, it's not something I do. One of the

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Speaker 2: reasons I was I picked this is because of exactly

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Speaker 2: what you're talking about. I remember the first time I

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Speaker 2: heard this song is I believe the first time he

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Speaker 2: performed it. It was on the Grammys, and I don't

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Speaker 2: know where I was that I was watching the Grammys.

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Speaker 2: It's not a yearly thing for me, but I was

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Speaker 2: for whatever reason this year. And I'm pretty sure he

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Speaker 2: did it in advance of the record coming out, which

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Speaker 2: really indicates a degree of confidence for a person who's

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Speaker 2: that that big to be like, we're going to play

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Speaker 2: a song from our next record on the Grammys and

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Speaker 2: that the Grammys were like okay, And it was him

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Speaker 2: grown with his guitar and he built like you know,

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Speaker 2: came up or someone like that. He built all of

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Speaker 2: the percussive loops and then played the song. Now I had,

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Speaker 2: you know what. No, I'm going to save the rest

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Speaker 2: of that sentence for maybe when we get to Aunty

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Speaker 2: Anti Chancy, but I do remember thinking, like, well, beyond

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Speaker 2: even what you just said, which is more about the

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Speaker 2: actual construction of the song, I mean execution of it,

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Speaker 2: I did think that was like, you know, I can't

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Speaker 2: have one set of rules for thinking. It's like cool

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Speaker 2: when Nirvana wants to play rape Me on MTV before

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Speaker 2: the album's out and have it not apply to Ed Sheeran,

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Speaker 2: that's cool. He was definitely able to be like he said,

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Speaker 2: I want to do something no one's heard before. That's

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Speaker 2: not a thing people do now I know in music

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Speaker 2: at all, so Propstad sharing for that too.

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Speaker 1: I think he's probably, you know, a forward pushing artist

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Speaker 1: in certain aspects, not all, but like in a lot

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Speaker 1: of aspects he gets he tried. I think he probably

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Speaker 1: wants to push more than he even can, and maybe

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Speaker 1: he's held back just by like, oh you know, maybe

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Speaker 1: it's a label. Maybe it's just an inner voice that's

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Speaker 1: like no stay sort of simple. But I bet you

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Speaker 1: he's got a lot of that in there. Oh back

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Speaker 1: to that like confidence.

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Speaker 2: Yeah.

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Speaker 1: I always think about that thing where Tom Petty his

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Speaker 1: label was like, we want you to make a Greatest

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Speaker 1: Hits album, like put all your best songs on the

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Speaker 1: Greatest Hits album and can you write a new song

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Speaker 1: for it? And Tom Piddy was like, how am I

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Speaker 1: going to write a new song that fits on my

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Speaker 1: greatest Hits? And then he wrote Mary Jane's Last.

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Speaker 2: Dance that's absolutely insane. Oh that's the genesis of that song.

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Speaker 1: He wrote it for the greatest hit like he wrote it.

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Speaker 1: I mean like he just wrote a song and it

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Speaker 1: happens to be like like one of his greatest hits,

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Speaker 1: but he wrote it for the greatest Hits out it's

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Speaker 1: and it and it blew wow. It's like it's pointing

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Speaker 1: to the it's pointing to the the bleachers and hitting

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Speaker 1: a home.

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Speaker 2: Yes, it's absolutely and whow. I never knew that. I

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Speaker 2: was literally just thinking that song the other day and

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Speaker 2: thinking how it because I don't remember. I don't think

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Speaker 2: it's on Wild Flowers, right, you said.

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Speaker 1: It's on the Greatest Hits, right on the great that's

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Speaker 1: the first album it appears on. So I remember thinking

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Speaker 1: like what because it was in that general timeframe, and

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Speaker 1: thinking it's the last time, like Tom Petty played that

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Speaker 1: song on the MTV Video Music Awards, like in the

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Speaker 1: middle of West Coast hip Hop, the ascension of like

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Speaker 1: Biggie and Wu Tang and whatever and nahs and like grunge,

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Speaker 1: Tom Petty was still like and he and it was

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Speaker 1: like him in the middle of that, and I was like,

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Speaker 1: I think that's probably the last time he was like

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Speaker 1: an MTV artist, not like a VH one artist. Total

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Speaker 1: used to be. It's so funny there used to be

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Speaker 1: a difference between the two, and now neither of them is.

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Speaker 2: VH won't even exist.

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Speaker 1: Yeah, yeah, I think it's just like love and hip

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Speaker 1: hop and like reality shows.

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Speaker 2: Oh, it's right, they were like all of that. That's right,

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Speaker 2: almost pre Bravo kind of yeah, yeah, okay. Anyway, No,

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Speaker 2: I think that what you're saying too about that's wild.

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Speaker 2: That story is kind of blow in my mind. I

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Speaker 2: think that what you're saying too about his inner compass

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Speaker 2: or whatever ed shear and it's funny. I don't know

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Speaker 2: if this is real or not, but there's something that's

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Speaker 2: like memed that's been floating around in the periphery some

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Speaker 2: conversation between him and David Byrne, and I kind of

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Speaker 2: think it's meant to be a joke, but I can't

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Speaker 2: tell they're kind of playing on the square or it's real,

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Speaker 2: and they're talking in David Byrne more or less says

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Speaker 2: to him, I think you should really push out more,

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Speaker 2: you know, like push and he's talking about like the

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Speaker 2: like kind of musically or production wise, and he's kind

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Speaker 2: of like no, like kind of like everything. And at

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Speaker 2: some point it Sharan's like, well, you know, like millions

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Speaker 2: of people really like what I do and he's like, yeah,

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Speaker 2: but it's not very good.

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Speaker 1: Wow really, so which makes me think it.

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Speaker 2: Must have been a bit like they must have been

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Speaker 2: like ed, Shearon would like to talk to you for

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Speaker 2: you know, MasterCard presents two artists talking on YouTube or

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Speaker 2: whatever the hell is that they would be talking to

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Speaker 2: each other on between two. But I do think that's

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Speaker 2: it's clear like that thing, it's clear he comes from

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Speaker 2: like building that what that song becomes from production perspective,

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Speaker 2: which is very impressive and layered and nuanced. And yes

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Speaker 2: it does have the like cleanliness and perfections that come

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Speaker 2: from now what is like pop music in a box

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Speaker 2: and a computer, but it also does have a human

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Speaker 2: element to it. And I think that it is exactly

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Speaker 2: as you said, It is kind of cool that this

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Speaker 2: guy who is kind of known prior to this as like,

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Speaker 2: you know, maybe this is a pejorative but like kind

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Speaker 2: of a milk toast balladeer, like a guy that's saying

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Speaker 2: kind of like easy to like, and you know, young

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Speaker 2: dude that like you know, your your grandma might be

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Speaker 2: like I heard a really nice song in the supermook

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Speaker 2: the other day, and I think he was like, what

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Speaker 2: if I wrote a song that was like a sex song,

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Speaker 2: a dance song, and a traction song, a new love song,

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Speaker 2: a body song, not a brain song. Yea and I

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Speaker 2: think it's hard to do that well and the jury's

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Speaker 2: out well is subjective. I wonder I could talk about

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Speaker 2: this later. My thing with the song, well, I'm talking

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Speaker 2: about it now. My thing with this this is that

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Speaker 2: I'm like, I guess what is sexy is infinitely subjective.

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Speaker 2: But a song like this feels to me like it's

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Speaker 2: wearing the clothes of that without actually necessarily like achieving

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Speaker 2: the uh the core. But I but I think the

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Speaker 2: there's all there's points to be given for the uh.

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Speaker 2: It takes guts and it's like a little vulnerable and embarrassing.

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Speaker 3: Yeah, it is right, and and I think he like

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Speaker 3: owned it.

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Speaker 1: I agree that I wouldn't say that this song is sexy,

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Speaker 1: but I also don't think like sexy back is sexy, And.

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Speaker 2: It's those songs that they are. Those songs. Sexiness has

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Speaker 2: have actually aged very poorly, I think. But but at

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Speaker 2: the time, everyone I knew was like, you know, very

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Speaker 2: j Tim was top of the groups.

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Speaker 1: Studios, yeah, walk and but like, yeah, it's interesting because

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Speaker 1: I I do think he pulls off making a song

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Speaker 1: like that. There's a you know, here's the thing I

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Speaker 1: think Ed Cheran probably had. I'm not sure of like

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Speaker 1: his history, but I think that's I think I don't

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Speaker 1: know his history.

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Speaker 2: Trust me, he has.

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Speaker 1: He's a you know first hand apparently on a record

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Speaker 1: right now, this is Chancy News. I would say that

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Speaker 1: it's it's yeah, he he accomplishes that. I think he

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Speaker 1: writes he used to write songs for other people. I'm

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Speaker 1: pretty sure that he.

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Speaker 2: Was like as as a songwriter for artists, and.

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Speaker 1: Then I think he was like I want to push

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Speaker 1: myself and like obviously a record company was like you

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Speaker 1: have red hair, and like you're not you.

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Speaker 2: Know what what we traditionally attractive or so.

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Speaker 1: But I think and he had to push through that,

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Speaker 1: which I give him a lot of credit for doing.

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Speaker 1: And then I think this is like he wrote as

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Speaker 1: if he wrote this, like Rihanna could do this song,

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Speaker 1: especially like to you know that section that's like like

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Speaker 1: of you we pushing pool like a magnet.

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Speaker 2: Do that's totally her? Yeah, yeah, very well identified.

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Speaker 1: Even like you know, come on now follow my lead,

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Speaker 1: come on, you know, like he's.

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Speaker 2: Definitely doing like there's like a reggae influence, maybe a

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Speaker 2: Jamaican in flints. There's something like a dance hall thing.

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Speaker 2: He's definitely like filtering that through the Ed Sheer.

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Speaker 1: And Sean Paul would kill this too.

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Speaker 2: Jean Paul would kill it too. I'm sure. I bet

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Speaker 2: those artists heard it and we're like, you know, what's

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Speaker 2: the jay Z thing? And then when the NAS that

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Speaker 2: this song for the NAS.

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Speaker 1: With you made it a hot yeah.

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Speaker 2: Exactly, yes, yes, yes. I wonder if there are people

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Speaker 2: who heard this that were like, that's cool. I would

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Speaker 2: have destroyed this song, but you did a nice job.

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Speaker 1: I think Sean Paul would crush it. I I you know,

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Speaker 1: I don't know other people that would pull this off,

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Speaker 1: like maybe timber Like maybe Timberlake.

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Speaker 2: He would have had that. He definitely would have had

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Speaker 2: the He would have been encouraged and he would have

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Speaker 2: had I think the self confidence whether you know again,

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Speaker 2: there's like so many funny lines that exist between self

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Speaker 2: delusion and self confidence. But he would have absolutely this.

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Speaker 2: I mean, this would have been a song he would

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Speaker 2: have had at some point some version of this. And

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Speaker 2: I think that really what we're circling and driving home is.

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Speaker 2: I do think as especially listening to you, credit due

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Speaker 2: credit due for like you know, like Magnet do Yeah,

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Speaker 2: just like Manet credit due you know, and credit do.

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Speaker 2: I don't have to say anything else, like he tried

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Speaker 2: to try something. I think that, you know, there is

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Speaker 2: something to be said to I have a lot of

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Speaker 2: very mixed thoughts about the kind of the flowers that

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Speaker 2: get thrown at a certain level with certain artists, with

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Speaker 2: certain infrastructure and certain It's very mixed. There's a part

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Speaker 2: of me that feels like it must be very hard

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Speaker 2: to be up there, and there's also me that feels

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Speaker 2: like sometimes like they're being graded on this ludicrous curve

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Speaker 2: that like other people who have a lot more actually

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Speaker 2: at stake in some ways, uh, you know, aren't afforded.

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Speaker 2: And there's something to be said about the flattening of

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Speaker 2: like critical lens and commercial success in anyway. That being said,

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Speaker 2: I do think it's really embarrassing if you are up

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Speaker 2: where a guy like Ed Shearon is and you try

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Speaker 2: something like this and it's a total failure. Like what

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Speaker 2: was the what was get him to the Greek? Is

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Speaker 2: that that movie a freaking child thing that the Russell

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Speaker 2: Brank character does, And it's basically like that's like a

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Speaker 2: that exists because that's real because people do that, and

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Speaker 2: you're like, oh my god, what the hell was that.

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Speaker 1: And to think of a of like a version of

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Speaker 1: that from pop culture, like I know, like Huff Daddy's

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Speaker 1: probably done some really weird things.

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Speaker 2: Do you remember when he did the Godzilla theme song?

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Speaker 1: I doubt he was led Zeppel.

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Speaker 2: They did an s mL skit about he did that

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Speaker 2: then where Tim Meadows played him and it was just

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Speaker 2: they played classic rock songs and then.

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Speaker 1: He would just go, that's so funny.

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Speaker 2: You're like, I don't want to close, come with me,

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Speaker 2: I don't want to come with me again.

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Speaker 1: That's so funny. I love that, Oh, Tim Metas, I'm

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Speaker 1: trying to think of there are other ones that there

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Speaker 1: definitely exist out there. I'll probably think of them later

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Speaker 1: and be mad, but yeah, I know exactly what you're

381
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Speaker 1: talking about. You could fall on your face totally.

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Speaker 2: I think there was a little bit more of a

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Speaker 2: trope with those like seventies, eighties into early nineties, like

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Speaker 2: kind of feather rock bands, cock rock bands, whatever the

385
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Speaker 2: hell like that kind of there was the inherent bloat

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Speaker 2: that kind of came with like now we're a big band,

387
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Speaker 2: we should do our double album where we bring in

388
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Speaker 2: floutists and you know, squire from some third world country

389
00:19:37,840 --> 00:19:39,920
Speaker 2: we just read about for the first time or you

390
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Speaker 2: know whatever, there was that kind of I think that's

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Speaker 2: where that kind of comes from.

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Speaker 1: And another risky thing that I think of is like

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Speaker 1: Miley's journey was probably one of the hardest things to accomplish,

394
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Speaker 1: where you go from Hannah, Montana to party in the USA,

395
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Speaker 1: which isn't that hard, but like everyone's like, oh wait

396
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Speaker 1: a second.

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Speaker 2: She's been here maybe yeah, yeah, yeah.

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Speaker 1: Then it's sort of this messy version of like a

399
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Speaker 1: kid using like Molly references, and there's this like we

400
00:20:10,280 --> 00:20:15,639
Speaker 1: can't stop wrecking ball into now she's like hosting this

401
00:20:15,680 --> 00:20:20,080
Speaker 1: New Year's thing with Dolly Parton, like I think like, and.

402
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Speaker 2: Along the Way also made a fucking weird art rock

403
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Speaker 2: record with the Flaming Lists Yeah like, which wasn't really

404
00:20:26,040 --> 00:20:29,680
Speaker 2: either act best hour, but cool that they did it,

405
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Speaker 2: crazy that.

406
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Speaker 1: They huge win for Flaming Lips, like I bet you

407
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Speaker 1: got so much so much more like it probably kicked

408
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Speaker 1: them back up a little bit.

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Speaker 2: They played on us Now as her band, Oh wow, yeah,

410
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Speaker 2: I didn't see that. And Zilla god she I mean,

411
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Speaker 2: she's part of her art because she got to know Godzilla.

412
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Speaker 1: In college once. Also on the Godzilla soundtrack. In college

413
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Speaker 1: once a band that used to play at the coffee

414
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Speaker 1: shop was like, we're going to do the Green Day song,

415
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Speaker 1: but we're going to do the Godzilla remix, which is

416
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Speaker 1: brain stew but it just with sounds, and the drummer

417
00:21:02,240 --> 00:21:06,640
Speaker 1: just screamed god Zilla sounds. It was a really funny bit.

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Speaker 2: Oh that's pretty good.

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Speaker 1: And because that's if you listen to the remix, it's

420
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Speaker 1: just that it's the song but with so it's like, don't.

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Speaker 2: That's real, that's the thing that exists.

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00:21:18,560 --> 00:21:21,680
Speaker 1: Yeah, it's like it's brain stew Godzilla remix, but it's

423
00:21:21,840 --> 00:21:26,280
Speaker 1: just brain stew with Zilla screams from the movie.

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Speaker 2: Wow. Oh no, I thought they just made that up

425
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Speaker 2: at the coffee shop. I was still.

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Speaker 1: Yeah, they covered it like he put it and put

427
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Speaker 1: them in exactly where they go. Oh, I wanted to say.

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Speaker 1: I like the lyric and now my bed sheets smell

429
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Speaker 1: like you.

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Speaker 2: I'm so glad you pointed this out. Please go ahead.

431
00:21:45,720 --> 00:21:49,240
Speaker 1: I like that lyric. I think it's really visual. I

432
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Speaker 1: think it if you've ever you know, I bedded a lover,

433
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Speaker 1: there's this you know, like when they leave and you

434
00:21:57,119 --> 00:22:01,359
Speaker 1: and you and you smell them she's it's visceral, and

435
00:22:01,400 --> 00:22:03,280
Speaker 1: he put that in a song in a way that's

436
00:22:03,320 --> 00:22:08,080
Speaker 1: like not gross and not like braggy. It's really kind

437
00:22:08,080 --> 00:22:11,280
Speaker 1: of heartfelt. And I think that lyric alone, you take

438
00:22:11,320 --> 00:22:13,920
Speaker 1: it out, not just that, not the not the couplet,

439
00:22:14,000 --> 00:22:15,560
Speaker 1: not the rhyme of like last night you were in

440
00:22:15,600 --> 00:22:17,479
Speaker 1: my room, and now my bed, she'd smell like you.

441
00:22:17,560 --> 00:22:21,480
Speaker 1: It's really I'm focusing on my bed, she'd smell like you.

442
00:22:21,560 --> 00:22:24,920
Speaker 1: It's really, it's just a it's a good lyric. It's

443
00:22:25,200 --> 00:22:27,000
Speaker 1: to throw into a pop song. It's incredible.

444
00:22:27,400 --> 00:22:30,080
Speaker 2: I like that you pointed it out because I'm gonna

445
00:22:30,080 --> 00:22:32,680
Speaker 2: be honest. When I was first listening to the song

446
00:22:32,720 --> 00:22:35,600
Speaker 2: as we were in our little private spheres and and

447
00:22:36,280 --> 00:22:39,720
Speaker 2: you know, I got there and I had so it's funny.

448
00:22:39,720 --> 00:22:43,280
Speaker 2: I had a journey in four minutes through each chorus.

449
00:22:43,320 --> 00:22:46,800
Speaker 2: The first time I had the opposite response where I

450
00:22:46,880 --> 00:22:50,679
Speaker 2: was like first, I was like, oh god, it's like

451
00:22:50,760 --> 00:22:53,680
Speaker 2: I kind of was like, it's kind of cheesy. It's

452
00:22:53,760 --> 00:22:56,399
Speaker 2: kind of also like it's kind of like I was

453
00:22:56,440 --> 00:22:58,480
Speaker 2: a little bit like, is it gross? It makes me

454
00:22:58,520 --> 00:23:02,199
Speaker 2: sound like a puritanical prude. Definitely like kissed at least once,

455
00:23:02,760 --> 00:23:08,080
Speaker 2: but I was like it was sheer, yeah, all of

456
00:23:08,119 --> 00:23:14,439
Speaker 2: my kissing and but yeah, so and then by the

457
00:23:14,480 --> 00:23:18,119
Speaker 2: second course, I was like, that's actually kind of cool.

458
00:23:18,280 --> 00:23:22,040
Speaker 2: Everyone or most people, not everyone, that's not fair to say,

459
00:23:22,280 --> 00:23:25,640
Speaker 2: but like you said, everyone who's had this experience has

460
00:23:25,840 --> 00:23:28,560
Speaker 2: had that moment where you're living and you know, sent

461
00:23:28,680 --> 00:23:31,440
Speaker 2: is a very strong sense memory thing, kind of can it.

462
00:23:32,240 --> 00:23:33,600
Speaker 2: And then by the end I was like, no, it's

463
00:23:33,640 --> 00:23:36,400
Speaker 2: the best lyric in the song. Now, when it's time

464
00:23:36,440 --> 00:23:38,720
Speaker 2: to move away from Chancey, I can tell you about

465
00:23:38,720 --> 00:23:41,320
Speaker 2: some other things I felt differently about and did not

466
00:23:41,440 --> 00:24:01,000
Speaker 2: have that journey.

467
00:23:52,080 --> 00:23:53,800
Speaker 1: Hit me hit me, which.

468
00:23:53,560 --> 00:23:56,520
Speaker 2: Ones I can't abide by that whole second verse, I

469
00:23:56,520 --> 00:23:57,560
Speaker 2: have a real part.

470
00:23:59,600 --> 00:24:02,280
Speaker 1: When we again, let the story begin. We're out on

471
00:24:02,280 --> 00:24:04,359
Speaker 1: our first date. You and me are a thrifty so

472
00:24:04,680 --> 00:24:07,920
Speaker 1: go all in, So go all you can eat, fill

473
00:24:08,000 --> 00:24:11,000
Speaker 1: up your bag and I fill up a plate. It's real,

474
00:24:11,119 --> 00:24:14,040
Speaker 1: like what just happened in the song, it really diverges.

475
00:24:14,280 --> 00:24:15,920
Speaker 2: There are also a few things I'd like to talk

476
00:24:15,920 --> 00:24:18,800
Speaker 2: about and what just happened, you know? All right, So

477
00:24:19,400 --> 00:24:22,159
Speaker 2: he's pointing out there's a few things in the first verse. I,

478
00:24:22,520 --> 00:24:25,040
Speaker 2: you know, I just would say from like a lifestyle place, like, yeah,

479
00:24:25,080 --> 00:24:26,879
Speaker 2: the club's not the place to meet a lady, but

480
00:24:26,960 --> 00:24:29,760
Speaker 2: the bar is. I'm like, look, we've all had our

481
00:24:29,800 --> 00:24:32,680
Speaker 2: fair share of whatever. But I would say they're both

482
00:24:32,760 --> 00:24:37,520
Speaker 2: not necessarily probably the best place to have, you know,

483
00:24:38,240 --> 00:24:40,359
Speaker 2: we if you're looking for long term, lasting connection of

484
00:24:40,400 --> 00:24:42,800
Speaker 2: a certain kind, it's maybe they do happen at the

485
00:24:42,800 --> 00:24:44,719
Speaker 2: club in the bar. There's people who get married all

486
00:24:44,760 --> 00:24:47,040
Speaker 2: the time from that and not The marriage is the

487
00:24:47,040 --> 00:24:51,159
Speaker 2: point of every blessed unions, you know. But you know

488
00:24:51,200 --> 00:24:53,000
Speaker 2: what I'm saying, I think that he's got Maybe he's

489
00:24:53,000 --> 00:24:55,399
Speaker 2: got it. Sounds like he's I'd like to talk to

490
00:24:55,440 --> 00:24:58,240
Speaker 2: him about his methodology with respect to how he chooses

491
00:24:58,240 --> 00:25:03,320
Speaker 2: his partners. But that being said the second verse, so

492
00:25:03,760 --> 00:25:07,480
Speaker 2: am I to believe this guy? This guy could play

493
00:25:07,480 --> 00:25:10,679
Speaker 2: the Super Bowl halftime show. He might have already. I

494
00:25:10,680 --> 00:25:16,400
Speaker 2: don't know. No one would blink. Look, I'm not a materialist.

495
00:25:16,840 --> 00:25:18,639
Speaker 2: You know, we all live in capitalism. We have to

496
00:25:18,680 --> 00:25:22,640
Speaker 2: make our way through. I'm not somebody who prioritizes that

497
00:25:23,080 --> 00:25:24,920
Speaker 2: as the you know, that's not where my brid gets

498
00:25:24,920 --> 00:25:27,880
Speaker 2: buttered but Ed Sheeran can take somebody to a little

499
00:25:27,920 --> 00:25:31,040
Speaker 2: bit nicer place than China Pagoda on Fifth Avenue in

500
00:25:31,080 --> 00:25:35,280
Speaker 2: Bay Ridge, you know what I mean. And certainly when

501
00:25:35,280 --> 00:25:38,040
Speaker 2: they're you could be thrifty's that's cool. Maybe there's a

502
00:25:38,080 --> 00:25:42,119
Speaker 2: little bit about this that's like disingenuous in a just

503
00:25:42,280 --> 00:25:43,919
Speaker 2: folks way, right.

504
00:25:43,840 --> 00:25:46,600
Speaker 1: Right, it's it's it's the country music guy that's like,

505
00:25:46,640 --> 00:25:48,320
Speaker 1: I'm just like you. But then he's got like a

506
00:25:48,359 --> 00:25:50,080
Speaker 1: private jet and all that.

507
00:25:50,240 --> 00:25:54,240
Speaker 2: It literally is one of the ten biggest artists in

508
00:25:54,320 --> 00:25:57,359
Speaker 2: pop music, if it may be fewer, and so I

509
00:25:57,440 --> 00:25:59,560
Speaker 2: get the part of the brand with him and Taylor,

510
00:25:59,600 --> 00:26:01,760
Speaker 2: who in some ways do mirror one another, is actually

511
00:26:01,760 --> 00:26:04,320
Speaker 2: that they are meant. You are meant to see yourself

512
00:26:04,480 --> 00:26:06,400
Speaker 2: in them to some degree. I feel like there's two

513
00:26:06,440 --> 00:26:09,280
Speaker 2: things that happened with celebrity at that level. One is

514
00:26:09,320 --> 00:26:11,120
Speaker 2: we are meant to look at them and be like

515
00:26:11,320 --> 00:26:15,240
Speaker 2: they are untouchable, they're Greek gods, or they are the

516
00:26:15,240 --> 00:26:18,359
Speaker 2: ones that you're supposed to see yourself in, and that's

517
00:26:18,400 --> 00:26:21,639
Speaker 2: the brand. And I think that he is mega, that

518
00:26:21,920 --> 00:26:23,760
Speaker 2: he is mega supposed to be like a dude that

519
00:26:23,760 --> 00:26:27,040
Speaker 2: you you're not. You know, so I could understand from

520
00:26:27,040 --> 00:26:29,600
Speaker 2: a writing perspective wanting to like step away from that

521
00:26:30,000 --> 00:26:34,080
Speaker 2: to be relatable. But I just want to say, as

522
00:26:34,119 --> 00:26:38,480
Speaker 2: a fairly normal ass person, it is not normal and

523
00:26:38,560 --> 00:26:42,760
Speaker 2: relatable to fill up your bag with sweet and sour

524
00:26:42,960 --> 00:26:47,240
Speaker 2: chicken on your first date, which Chinese buffet.

525
00:26:47,760 --> 00:26:49,800
Speaker 1: I don't even think people do that.

526
00:26:50,600 --> 00:26:53,680
Speaker 2: Fill up their bag, like open their person, throw chicken inside.

527
00:26:53,720 --> 00:26:54,240
Speaker 2: Nobody does.

528
00:26:54,400 --> 00:26:55,960
Speaker 1: He is just like, you know, the first thing we

529
00:26:56,040 --> 00:26:58,320
Speaker 1: do is fill up my shoes and a bunch of

530
00:26:58,359 --> 00:27:02,280
Speaker 1: chicken in it. It's like it's it's like he's like

531
00:27:02,320 --> 00:27:03,800
Speaker 1: if you could picture and be like, all right, what

532
00:27:03,880 --> 00:27:07,480
Speaker 1: do normal people do? Let's see these.

533
00:27:07,280 --> 00:27:10,400
Speaker 2: Pigs that the trough fill up their bags with lots

534
00:27:09,840 --> 00:27:13,919
Speaker 2: of chicken. It's been a while since I knew. No,

535
00:27:14,400 --> 00:27:14,960
Speaker 2: that's for me.

536
00:27:15,119 --> 00:27:19,119
Speaker 1: Yeah, it's also confusing. One weekend, right for one weekend

537
00:27:19,280 --> 00:27:20,240
Speaker 1: we go on our first date.

538
00:27:20,640 --> 00:27:22,440
Speaker 2: That's a little humble brag. What he's trying to tell

539
00:27:22,480 --> 00:27:26,399
Speaker 2: you is like, yes, we've been you know, smacking hunk

540
00:27:26,440 --> 00:27:27,680
Speaker 2: in the bobo, but.

541
00:27:29,800 --> 00:27:32,119
Speaker 1: You and me are thrifty. Is really funny. You and

542
00:27:32,160 --> 00:27:36,000
Speaker 1: me are thrifty. This is your first date? Yeah, but yeah,

543
00:27:36,040 --> 00:27:38,359
Speaker 1: you know so much that she's cheap.

544
00:27:38,920 --> 00:27:42,159
Speaker 2: That's right, Well, that's part of actually what what is not?

545
00:27:42,800 --> 00:27:47,160
Speaker 2: The interior logic of this song is a little flawed.

546
00:27:47,200 --> 00:27:50,440
Speaker 2: This is where everything we just said and construction is immaculate.

547
00:27:50,480 --> 00:27:52,920
Speaker 2: He has a clear melodic sense. He knows how modern

548
00:27:53,040 --> 00:27:56,960
Speaker 2: music moves. But the interior logic of the song, there's

549
00:27:57,000 --> 00:27:59,680
Speaker 2: a lot of assumption or like kind of like yes,

550
00:27:59,720 --> 00:28:01,959
Speaker 2: like amost like these people have known each other for much, much,

551
00:28:02,080 --> 00:28:06,360
Speaker 2: much longer. But there's also something of there's a lyric

552
00:28:06,440 --> 00:28:09,560
Speaker 2: about every day discovering something brand new. Well, I would hope.

553
00:28:09,600 --> 00:28:11,760
Speaker 2: So you're telling me that you met this person yesterday,

554
00:28:11,880 --> 00:28:13,720
Speaker 2: and that is you've been knowing to be talking to

555
00:28:13,760 --> 00:28:16,919
Speaker 2: each other for a week. It's your first date, so

556
00:28:17,200 --> 00:28:18,400
Speaker 2: you know, I just feel like.

557
00:28:20,080 --> 00:28:22,400
Speaker 1: Her bag is soaked with sweet and sour.

558
00:28:22,240 --> 00:28:24,440
Speaker 2: Chicken, absolutely drenched, and.

559
00:28:24,400 --> 00:28:26,359
Speaker 1: They're talking about the sweet and sour. Maybe that's what

560
00:28:26,440 --> 00:28:28,879
Speaker 1: he means. We talk for hours about the sweet and

561
00:28:28,920 --> 00:28:31,120
Speaker 1: the sour that's in her bag at the time.

562
00:28:31,359 --> 00:28:33,520
Speaker 2: Yeah, but that's that to me was lyric first time

563
00:28:33,520 --> 00:28:35,399
Speaker 2: I heard it. I remember, like there's certain things that

564
00:28:36,280 --> 00:28:38,880
Speaker 2: we talk for hours and hours about the sweet and

565
00:28:38,920 --> 00:28:43,280
Speaker 2: the sour and how your family's doing. Okay, I can't

566
00:28:43,560 --> 00:28:48,360
Speaker 2: just catastrophic first date conversation. Could you imagine talking for

567
00:28:48,680 --> 00:28:52,240
Speaker 2: hours and hours? I'm talking that's more than one, that's

568
00:28:52,240 --> 00:28:55,160
Speaker 2: probably more than two. It's like three or four hours

569
00:28:55,200 --> 00:28:56,640
Speaker 2: about sweet and sour chicken.

570
00:28:57,240 --> 00:29:00,720
Speaker 1: Yeah, because hours means too at least maybe, and it's

571
00:29:00,760 --> 00:29:01,880
Speaker 1: hours and hours.

572
00:29:02,040 --> 00:29:05,000
Speaker 2: So yeah, and I know the sweet and the sours.

573
00:29:05,040 --> 00:29:07,040
Speaker 2: It's meant to be like the good things in life

574
00:29:07,040 --> 00:29:09,240
Speaker 2: and the bad things in life, as well as the chicken.

575
00:29:09,320 --> 00:29:11,360
Speaker 2: But I might be giving him a little extra cred

576
00:29:11,440 --> 00:29:11,680
Speaker 2: on that.

577
00:29:12,160 --> 00:29:13,880
Speaker 1: So he really did go to an all you can

578
00:29:13,960 --> 00:29:18,320
Speaker 1: eat Chinese buffet because he says all you could eat,

579
00:29:18,320 --> 00:29:22,400
Speaker 1: and then he solidifies that with the sweeten the sour. Yeah,

580
00:29:22,480 --> 00:29:24,360
Speaker 1: I actually like it. I like that. Actually I like

581
00:29:24,400 --> 00:29:25,200
Speaker 1: that he's painting it.

582
00:29:26,640 --> 00:29:30,520
Speaker 2: Oh that okay, detail like specificity breeds belief. That's what

583
00:29:30,600 --> 00:29:32,000
Speaker 2: the journalism teacher told me once.

584
00:29:32,160 --> 00:29:32,680
Speaker 1: Was nice.

585
00:29:32,920 --> 00:29:35,080
Speaker 2: That's right, okay, all right, So maybe I'm wrong again.

586
00:29:35,240 --> 00:29:36,960
Speaker 1: So then they get in the taxi. They kiss in

587
00:29:37,040 --> 00:29:39,320
Speaker 1: the back seat, fun little rhyme.

588
00:29:39,440 --> 00:29:41,720
Speaker 2: I don't like this classiest bullshit where they tell the

589
00:29:41,800 --> 00:29:46,240
Speaker 2: driver like make the radio play.

590
00:29:45,160 --> 00:29:48,480
Speaker 1: Come on, make no one's like it sounds like an alien.

591
00:29:48,760 --> 00:29:49,800
Speaker 1: Make the radio play.

592
00:29:49,840 --> 00:29:52,440
Speaker 2: Yeah, no one said that every either. I am learning

593
00:29:52,680 --> 00:29:55,680
Speaker 2: one sweetens our play.

594
00:29:55,920 --> 00:29:58,920
Speaker 1: And then suddenly he's singing the song that's on the radio.

595
00:29:59,080 --> 00:30:01,000
Speaker 2: Imagine, So you make down in the back of her car.

596
00:30:01,200 --> 00:30:03,160
Speaker 2: You are fullest speaking sour in your bag?

597
00:30:03,960 --> 00:30:06,760
Speaker 1: Will you know you? I love you?

598
00:30:07,000 --> 00:30:10,600
Speaker 2: Know? How is this song on the radio already? In

599
00:30:10,680 --> 00:30:11,920
Speaker 2: this interior logic?

600
00:30:12,240 --> 00:30:14,760
Speaker 1: Oh man, someone shoving their sweet and sour tongue in

601
00:30:14,760 --> 00:30:18,800
Speaker 1: your mouth and singing at you, eating you chicken, taking

602
00:30:18,880 --> 00:30:22,120
Speaker 1: it out of your purse, taking it out of your purse.

603
00:30:23,600 --> 00:30:27,800
Speaker 2: Let the radio play. And then he's like, it's my song,

604
00:30:28,120 --> 00:30:31,440
Speaker 2: spitting chicken, knuckles of chicken.

605
00:30:31,600 --> 00:30:34,080
Speaker 1: Also, how thrifty are you if you're taking a cab everywhere?

606
00:30:34,240 --> 00:30:35,920
Speaker 2: That's true, he's not on the tube.

607
00:30:36,160 --> 00:30:38,000
Speaker 1: I also have a lot of issue with I'm in

608
00:30:38,040 --> 00:30:42,480
Speaker 1: Love with your body. Yeah, it's like, I mean, if again,

609
00:30:42,560 --> 00:30:45,120
Speaker 1: if it was Rihanna, I think she could pull that off.

610
00:30:45,160 --> 00:30:47,800
Speaker 1: But I don't really think I'm in love with your

611
00:30:47,800 --> 00:30:50,040
Speaker 1: body is like it's really, I don't know, it's a

612
00:30:50,080 --> 00:30:55,720
Speaker 1: really it's like too simple. Yeah, it's a little too simple.

613
00:30:55,760 --> 00:30:57,000
Speaker 1: I'm in love with your body.

614
00:30:57,240 --> 00:30:58,600
Speaker 2: Yeah, yeah, if.

615
00:30:58,480 --> 00:31:00,000
Speaker 1: I said that to my wife.

616
00:30:59,760 --> 00:31:01,760
Speaker 2: Well, there's a way you could say that, but.

617
00:31:01,800 --> 00:31:03,760
Speaker 1: The song doesn't exist. The song doesn't exist, and I'm

618
00:31:03,800 --> 00:31:08,720
Speaker 1: just like, I'm in love with your body in a car.

619
00:31:09,200 --> 00:31:16,240
Speaker 2: Hey, Lisa, tell the radio to play.

620
00:31:14,600 --> 00:31:16,440
Speaker 1: Driver, Make the radio play.

621
00:31:16,960 --> 00:31:19,120
Speaker 2: I also do like that. One thing is whether it's

622
00:31:19,160 --> 00:31:21,600
Speaker 2: some purpose or not. Well, sorry you brought something up.

623
00:31:21,640 --> 00:31:24,920
Speaker 2: Let's deal with that first. Yeah, it's a little on

624
00:31:25,040 --> 00:31:28,840
Speaker 2: the nose, on the body straightforward. There is a sweet

625
00:31:28,840 --> 00:31:30,479
Speaker 2: way to say that. There's a sexy way to say that.

626
00:31:30,480 --> 00:31:32,880
Speaker 2: There's a revealing way to say that. There's a vulnerable

627
00:31:32,880 --> 00:31:35,000
Speaker 2: way to say that. There's a like holy shit way

628
00:31:35,040 --> 00:31:37,280
Speaker 2: to say that, you know, and then there's like a

629
00:31:37,520 --> 00:31:40,280
Speaker 2: kind of like it's almost an afterthought the way it's

630
00:31:40,280 --> 00:31:42,720
Speaker 2: expressed here, but it's like an it's managers to both

631
00:31:42,800 --> 00:31:47,880
Speaker 2: be an obvious afterthought, which is like over two. You know,

632
00:31:47,920 --> 00:31:49,360
Speaker 2: I wish you guys could see there's a face of

633
00:31:49,400 --> 00:31:53,400
Speaker 2: almost de niro esque concern on Casey right now. He's

634
00:31:53,520 --> 00:31:57,520
Speaker 2: really I'm watching him really parse this.

635
00:31:57,800 --> 00:32:01,000
Speaker 1: Yeah, I've always felt that it, you know, it's it's

636
00:32:01,000 --> 00:32:03,280
Speaker 1: definitely like he's setting up like he's in love with

637
00:32:03,320 --> 00:32:06,000
Speaker 1: this person and he's doing something so baseline as like

638
00:32:06,120 --> 00:32:07,640
Speaker 1: I love you, I love your body.

639
00:32:07,840 --> 00:32:09,640
Speaker 2: I think the whole thing. There's a push and pull

640
00:32:09,720 --> 00:32:11,360
Speaker 2: like magnet do in this song where I think he's

641
00:32:11,360 --> 00:32:13,600
Speaker 2: trying to both be like I'm in love, I'm falling

642
00:32:13,640 --> 00:32:16,320
Speaker 2: in love, but also like, let me emphasize, like this

643
00:32:16,400 --> 00:32:18,520
Speaker 2: is kind of cool, Like I'm having like casual sex

644
00:32:18,560 --> 00:32:20,680
Speaker 2: with this person and eating Chinese food and making out

645
00:32:20,680 --> 00:32:22,320
Speaker 2: in a cab while I sing my own song to

646
00:32:22,320 --> 00:32:24,600
Speaker 2: her and he chicken in her face. He wants you

647
00:32:24,640 --> 00:32:27,400
Speaker 2: to know like he's cool, but also he's falling in love.

648
00:32:28,000 --> 00:32:28,840
Speaker 2: And the shape of you?

649
00:32:29,040 --> 00:32:31,800
Speaker 1: What's the shape of you? Does he because he doesn't

650
00:32:31,840 --> 00:32:34,960
Speaker 1: really he doesn't the body? Is it just body? Because

651
00:32:35,040 --> 00:32:37,600
Speaker 1: he's describing like this relationship, so are you. Maybe it's

652
00:32:37,640 --> 00:32:41,000
Speaker 1: the shape of the whole shape. But then he's just saying.

653
00:32:41,440 --> 00:32:43,280
Speaker 1: And then also that bridge where it's come on, be

654
00:32:43,400 --> 00:32:45,640
Speaker 1: my baby, come on one hundred times.

655
00:32:46,200 --> 00:32:48,200
Speaker 2: I wanted to say this. We're at the ninety second mark,

656
00:32:48,240 --> 00:32:49,960
Speaker 2: so I just want to make sure that we land

657
00:32:50,000 --> 00:32:54,200
Speaker 2: this plane. I will just say the bridge is the

658
00:32:54,240 --> 00:32:59,040
Speaker 2: one total bullshit, total bullshit that is like if that

659
00:32:59,080 --> 00:33:03,280
Speaker 2: took more than two minutes. What I really think is

660
00:33:03,320 --> 00:33:04,440
Speaker 2: he had the rest of it, and then it was

661
00:33:04,480 --> 00:33:05,720
Speaker 2: like we need a bridge, and he was like no.

662
00:33:05,800 --> 00:33:07,320
Speaker 2: I just say like, come on, baby, come on, and

663
00:33:07,360 --> 00:33:08,760
Speaker 2: I'll just say it a bunch. We'll bring it, we'll

664
00:33:08,760 --> 00:33:10,560
Speaker 2: bring it back in the end. There'll be some cool

665
00:33:10,600 --> 00:33:13,680
Speaker 2: production stuff. It'll be fine. Yeah, that part's you know,

666
00:33:13,760 --> 00:33:14,920
Speaker 2: that part is saggy.

667
00:33:14,960 --> 00:33:16,000
Speaker 1: He's like, I'll do it live.

668
00:33:19,200 --> 00:33:21,000
Speaker 2: I like the idea of him as a tyrant in

669
00:33:21,120 --> 00:33:26,160
Speaker 2: the studio to you know who I am smell like shit,

670
00:33:29,320 --> 00:33:31,320
Speaker 2: I mean case. I think I think we've done a

671
00:33:31,320 --> 00:33:33,920
Speaker 2: fairly thorough excavation of this, and I appreciate you showing

672
00:33:34,000 --> 00:33:37,880
Speaker 2: up with your best both enthusiasm and critical lens.

673
00:33:38,160 --> 00:33:40,680
Speaker 1: I look forward to listening to more Edge Heeran from

674
00:33:40,720 --> 00:33:42,760
Speaker 1: this point out. I think I've given I've given him

675
00:33:42,800 --> 00:33:43,200
Speaker 1: a chance.

676
00:33:43,640 --> 00:33:44,040
Speaker 2: Damn.

677
00:33:44,480 --> 00:33:46,160
Speaker 1: I want to see what else he's got in this catalog.

678
00:33:46,400 --> 00:33:47,600
Speaker 1: You know, maybe this kid can make it.

679
00:33:48,200 --> 00:33:51,480
Speaker 2: Well, we'll see fingers crossed. But for now, please no

680
00:33:51,560 --> 00:33:52,200
Speaker 2: A had sex with No.

681
00:33:55,360 --> 00:33:58,200
Speaker 1: Please don't add sex with Edge heeering. That's what you

682
00:33:58,200 --> 00:34:02,000
Speaker 1: want to end the episode, So yeah, that sounds right

683
00:34:03,400 --> 00:34:15,200
Speaker 1: by deed. Bye. Just give a ship m