1 00:00:04,480 --> 00:00:06,680 Speaker 1: This is buzz Night, and welcome to the Taken a 2 00:00:06,720 --> 00:00:10,120 Speaker 1: Walk Podcast, and welcome to another edition of This Week 3 00:00:10,200 --> 00:00:13,040 Speaker 1: in Music History for the week of November the third, 4 00:00:13,240 --> 00:00:16,000 Speaker 1: and we go to the Master of music Mayhem. That's 5 00:00:16,040 --> 00:00:19,360 Speaker 1: still my favorite, Harry Jacobs, The Master of music Mayhem. 6 00:00:19,880 --> 00:00:21,520 Speaker 1: I think it fits. It has a good rhyme. 7 00:00:22,400 --> 00:00:26,320 Speaker 2: I like being associated with Mayhem. There's no question about that. 8 00:00:26,320 --> 00:00:29,600 Speaker 2: That's right Mayhem. Had you've had your share of Mayhem 9 00:00:29,920 --> 00:00:33,280 Speaker 2: in my life? Indeed I have. Bus You're correct, sir. 10 00:00:33,600 --> 00:00:35,120 Speaker 1: We don't have to go down this path. 11 00:00:35,640 --> 00:00:38,240 Speaker 2: No, that's a rabbit hole. We don't need to go 12 00:00:38,280 --> 00:00:40,960 Speaker 2: down any rabbit holes. Maybe I give the time, Yeah, 13 00:00:41,159 --> 00:00:43,280 Speaker 2: I do you know. I do have a rabbit hole 14 00:00:43,280 --> 00:00:45,800 Speaker 2: for us to go down. And unfortunately one of us 15 00:00:45,800 --> 00:00:48,760 Speaker 2: can really participate in this. You were given an assignment 16 00:00:49,080 --> 00:00:52,440 Speaker 2: during our last podcasts, a couple of assignments. Which which 17 00:00:52,880 --> 00:00:55,440 Speaker 2: assignment would you like to discuss? Would you like to 18 00:00:55,680 --> 00:00:59,560 Speaker 2: discuss the song remains the same movie or would you 19 00:00:59,600 --> 00:01:02,320 Speaker 2: like to discussed the one that's really really super timely, 20 00:01:02,800 --> 00:01:06,360 Speaker 2: and that's the Bruce Springsteen movie which opened on the 21 00:01:06,440 --> 00:01:07,199 Speaker 2: twenty third. 22 00:01:08,440 --> 00:01:11,520 Speaker 1: I don't, Harry, I don't want to get my knuckles wrapped, 23 00:01:12,640 --> 00:01:14,720 Speaker 1: even though I didn't go to Catholic school, and that 24 00:01:14,720 --> 00:01:16,839 Speaker 1: wouldn't relate to you Catholic school either. 25 00:01:17,040 --> 00:01:17,959 Speaker 2: But so I don't want to. 26 00:01:17,920 --> 00:01:23,119 Speaker 1: Get my knuckles wrapped for not only one, but two misfires. 27 00:01:23,760 --> 00:01:26,200 Speaker 2: So lead us through. 28 00:01:25,959 --> 00:01:31,520 Speaker 1: The mayhem and I'll miraculously follow along, pretend I'm worrying. 29 00:01:31,560 --> 00:01:33,319 Speaker 2: What do they call that a habit before they whack 30 00:01:33,360 --> 00:01:35,240 Speaker 2: you with the rule of the habits on? Oh? That 31 00:01:35,319 --> 00:01:40,560 Speaker 2: sounds so, that sounds so wonderful. Yeah, the Springsteen movie, 32 00:01:40,640 --> 00:01:44,760 Speaker 2: let's let's talk about this. Let's I want to you know, 33 00:01:44,800 --> 00:01:47,800 Speaker 2: I want to know what you've been reading, what the 34 00:01:47,840 --> 00:01:51,040 Speaker 2: critics are saying, because I haven't. I haven't looked at 35 00:01:51,040 --> 00:01:54,280 Speaker 2: any of it. I've deliberately stayed away from it. I 36 00:01:54,360 --> 00:01:58,760 Speaker 2: found the movie to be incredibly heavy. The subject matter 37 00:01:59,880 --> 00:02:03,400 Speaker 2: is really, in a sense dark. There's a mental health 38 00:02:03,440 --> 00:02:08,760 Speaker 2: component to this, which we knew going into it. They 39 00:02:08,840 --> 00:02:11,360 Speaker 2: teased going into the movie that there are gonna be 40 00:02:11,360 --> 00:02:17,040 Speaker 2: discussions about his mental health battles. There's stuff dealing with 41 00:02:17,080 --> 00:02:20,040 Speaker 2: his relationship with his father that was very heavy. So 42 00:02:20,120 --> 00:02:23,480 Speaker 2: I think, you know, for a lot of people, this 43 00:02:23,680 --> 00:02:26,480 Speaker 2: is gonna hit you over the head like a two 44 00:02:26,560 --> 00:02:29,840 Speaker 2: by four, especially given how important the music is to 45 00:02:29,880 --> 00:02:30,520 Speaker 2: all of us. 46 00:02:30,800 --> 00:02:33,040 Speaker 1: All Right, this is the one that caught me. So 47 00:02:33,120 --> 00:02:37,680 Speaker 1: I shouldn't be so drawn to this particular review, this 48 00:02:37,760 --> 00:02:41,640 Speaker 1: comment from a review, and it's from the Wall Street Journal. 49 00:02:42,520 --> 00:02:45,440 Speaker 1: And I do quote, you're already. 50 00:02:45,080 --> 00:02:46,079 Speaker 2: Shaking your head. 51 00:02:48,200 --> 00:02:50,680 Speaker 1: It's a pretty funny quote. 52 00:02:51,080 --> 00:02:53,919 Speaker 2: Fun you know, you go ahead and give to me. 53 00:02:53,960 --> 00:02:56,000 Speaker 2: But my initial response is, do I really want to 54 00:02:56,040 --> 00:02:58,600 Speaker 2: hear what these d bags have to say? Go ahead? 55 00:02:59,040 --> 00:03:02,840 Speaker 1: It's like a Mariah carry movie about a Bruce Springsteen album? 56 00:03:03,800 --> 00:03:09,440 Speaker 2: What get it out? Really? Like? 57 00:03:09,480 --> 00:03:12,560 Speaker 1: I'm Mariah, I'm just I'm just reading you the quote. 58 00:03:12,560 --> 00:03:15,840 Speaker 1: But anyway, I like your lead up. So you say 59 00:03:15,880 --> 00:03:18,359 Speaker 1: it's a heavy movie. Did you see it once or twice? 60 00:03:18,400 --> 00:03:20,360 Speaker 1: Because you were gonna possibly see it twice. 61 00:03:20,840 --> 00:03:23,560 Speaker 2: I was gonna go see it twice, and I was 62 00:03:24,280 --> 00:03:27,200 Speaker 2: I'll tell you this, I was impacted by the movie emotionally. 63 00:03:27,480 --> 00:03:32,200 Speaker 2: It was really heavy material. I'm gonna go back and 64 00:03:32,240 --> 00:03:35,880 Speaker 2: see it, okay, but I needed a minute, and I 65 00:03:36,000 --> 00:03:38,680 Speaker 2: literally I left the theater. I sat in the theater, 66 00:03:38,760 --> 00:03:40,840 Speaker 2: I watched the credits, I watched it until the theater 67 00:03:41,040 --> 00:03:46,680 Speaker 2: was dark, and got up and walked out and sat 68 00:03:46,760 --> 00:03:52,440 Speaker 2: in my car, and I literally opened up my iTunes 69 00:03:52,560 --> 00:03:58,400 Speaker 2: and realized that they had released the whole project to 70 00:03:58,760 --> 00:04:01,640 Speaker 2: Apple Music while I was in the theater. That literally 71 00:04:01,720 --> 00:04:06,440 Speaker 2: happened wow during that time. So I went and I 72 00:04:06,640 --> 00:04:10,880 Speaker 2: put on his recording, which he just did at the 73 00:04:10,920 --> 00:04:13,560 Speaker 2: count Basic Theater, and I sat in my car and 74 00:04:13,640 --> 00:04:16,599 Speaker 2: I just listened to it, and I sat there for 75 00:04:16,720 --> 00:04:19,679 Speaker 2: half an hour. I sent the message to a friend 76 00:04:19,760 --> 00:04:22,600 Speaker 2: or two of mine that are Bruce people, and you know, 77 00:04:22,640 --> 00:04:24,520 Speaker 2: they had seen it on the East Coast and it 78 00:04:24,600 --> 00:04:27,080 Speaker 2: was just it was a heavy moment. I couldn't leave. 79 00:04:27,160 --> 00:04:32,479 Speaker 2: I sat there for half an hour, probably just digesting 80 00:04:32,560 --> 00:04:34,880 Speaker 2: what I had seen. There are some moments in this 81 00:04:34,960 --> 00:04:40,839 Speaker 2: film that are really insightful. They're dark there. I'm not 82 00:04:40,880 --> 00:04:43,080 Speaker 2: going to ruin it for anyone. There's a moment at 83 00:04:43,120 --> 00:04:45,360 Speaker 2: the end of the movie with Bruce and his dad 84 00:04:45,400 --> 00:04:50,000 Speaker 2: which is, you know, an incredible thing, and it's just 85 00:04:50,520 --> 00:04:55,120 Speaker 2: it's so much and you know, he's tortured. He's a 86 00:04:55,160 --> 00:04:58,839 Speaker 2: tortured soul. You know, you can tell that he's you know, 87 00:04:59,000 --> 00:05:02,680 Speaker 2: really in a way screwed up a lot of relationships 88 00:05:02,720 --> 00:05:06,000 Speaker 2: in his life by being the introvert that he is 89 00:05:06,120 --> 00:05:11,000 Speaker 2: by just avoiding, by not you know, quote from the film, 90 00:05:11,000 --> 00:05:14,560 Speaker 2: not dealing with his own shit. And I just found 91 00:05:14,600 --> 00:05:18,520 Speaker 2: it heavy, but I found it really inspirational. On the 92 00:05:18,560 --> 00:05:22,640 Speaker 2: other hand, but that creative process, I can't imagine what 93 00:05:22,760 --> 00:05:25,760 Speaker 2: it must be like to work with him now. It's 94 00:05:25,800 --> 00:05:29,320 Speaker 2: obviously different, but during that time, and you could also 95 00:05:29,480 --> 00:05:33,840 Speaker 2: one other thought, you also get a really good understanding 96 00:05:34,080 --> 00:05:39,520 Speaker 2: of how important John Landau is to the process and 97 00:05:39,600 --> 00:05:43,280 Speaker 2: to Bruce. You know, you hear people talk about gatekeepers 98 00:05:44,040 --> 00:05:50,000 Speaker 2: a lot, but it's almost like a father son relationship 99 00:05:50,040 --> 00:05:54,159 Speaker 2: in a way where things happen during the movie and 100 00:05:54,200 --> 00:05:57,320 Speaker 2: you watch John just step in and break things up 101 00:05:58,160 --> 00:06:02,840 Speaker 2: and say stop, everyone leave, everyone go, and you see 102 00:06:02,920 --> 00:06:05,960 Speaker 2: him handle Bruce and how he handles Bruce, and there 103 00:06:05,960 --> 00:06:08,520 Speaker 2: are some lovely moments between the two of them. There 104 00:06:08,600 --> 00:06:11,280 Speaker 2: was just a whole bunch of stuff that I didn't expect, 105 00:06:11,560 --> 00:06:13,919 Speaker 2: and it dredged a whole bunch of stuff up for me. 106 00:06:14,120 --> 00:06:16,719 Speaker 2: So this is for you personally. 107 00:06:17,240 --> 00:06:20,960 Speaker 1: Yeah, but that's a good that's a good thing to 108 00:06:21,000 --> 00:06:23,680 Speaker 1: look get out of music, to get out of the art. 109 00:06:24,000 --> 00:06:26,880 Speaker 1: You know, a movie, a book, that's a that's a 110 00:06:27,000 --> 00:06:31,560 Speaker 1: terrific thing. It's part of why we're drawn to artists 111 00:06:31,640 --> 00:06:36,360 Speaker 1: and and you know, entertainment because of how it reflects 112 00:06:36,400 --> 00:06:39,960 Speaker 1: something about us and what we remember and and the 113 00:06:40,000 --> 00:06:42,760 Speaker 1: things it brings back. So that that that to me, 114 00:06:44,240 --> 00:06:48,320 Speaker 1: you know, besides your affinity and the respect I have 115 00:06:48,480 --> 00:06:53,279 Speaker 1: for you on your music knowledge and love of it, 116 00:06:53,640 --> 00:06:57,800 Speaker 1: the fact that it touched you personally, I think that's 117 00:06:57,800 --> 00:06:59,120 Speaker 1: one of the biggest criteria. 118 00:07:00,279 --> 00:07:03,120 Speaker 2: It's it's interest. It's something I didn't expect. I thought 119 00:07:03,160 --> 00:07:04,800 Speaker 2: I was just going to get some insight into the 120 00:07:04,839 --> 00:07:06,680 Speaker 2: movie and a little bit you know, into the music, 121 00:07:06,760 --> 00:07:09,960 Speaker 2: rather into that process and what happened with Nebraska, and 122 00:07:10,000 --> 00:07:11,720 Speaker 2: I was going to get some insight into maybe his 123 00:07:11,840 --> 00:07:14,000 Speaker 2: mental health stuff and we get to see his dad. 124 00:07:14,040 --> 00:07:15,880 Speaker 2: And I thought, well, it's just good that that part 125 00:07:15,880 --> 00:07:17,240 Speaker 2: of it's just going to come and go for me. 126 00:07:17,960 --> 00:07:23,080 Speaker 2: And and much to my surprise, it stuck with me. 127 00:07:23,360 --> 00:07:26,040 Speaker 2: And it stuck with me for you know, for a 128 00:07:26,080 --> 00:07:28,960 Speaker 2: full day at least after and and and you know, 129 00:07:29,120 --> 00:07:31,000 Speaker 2: four days, I know it will be a part of 130 00:07:31,520 --> 00:07:33,000 Speaker 2: it and I'm going to have to go see it again. 131 00:07:33,440 --> 00:07:35,000 Speaker 2: There's stuff I need to process with it. 132 00:07:35,160 --> 00:07:37,960 Speaker 1: So I mean, in fact, if it didn't, I would 133 00:07:38,040 --> 00:07:42,120 Speaker 1: be sitting here going it didn't you know, move you personally, 134 00:07:42,160 --> 00:07:44,280 Speaker 1: I'd be asking you about that. So I think that 135 00:07:44,520 --> 00:07:50,240 Speaker 1: to me is the most you know, riveting part of 136 00:07:50,280 --> 00:07:53,640 Speaker 1: your characterization of it, which which you know, I think 137 00:07:53,680 --> 00:07:56,640 Speaker 1: we all kind of we may not want it going 138 00:07:56,680 --> 00:07:59,720 Speaker 1: in necessarily, but then when it happens, you go, oh 139 00:07:59,760 --> 00:08:00,239 Speaker 1: my god. 140 00:08:00,320 --> 00:08:04,440 Speaker 2: Yes, you know, if the music means something to you, 141 00:08:04,240 --> 00:08:07,480 Speaker 2: if you're listening to this as a fan and the 142 00:08:07,560 --> 00:08:09,720 Speaker 2: music is you know, we say that, you know, the 143 00:08:10,560 --> 00:08:12,880 Speaker 2: music has kind of been the soundtrack of our lives 144 00:08:12,960 --> 00:08:16,040 Speaker 2: or the fabric of my life in a way. And 145 00:08:17,880 --> 00:08:21,920 Speaker 2: I suppose because of that, you see what happened and 146 00:08:23,280 --> 00:08:27,160 Speaker 2: the process that your hero in a sense from that sense, 147 00:08:27,200 --> 00:08:30,680 Speaker 2: the guy who scored your life in a way, what 148 00:08:30,800 --> 00:08:33,719 Speaker 2: he went through, and that just hit me on an 149 00:08:33,720 --> 00:08:36,760 Speaker 2: emotional level and I wasn't expecting it. I'm glad I 150 00:08:36,840 --> 00:08:40,200 Speaker 2: got the whack across the forehead with it. And I 151 00:08:40,240 --> 00:08:43,680 Speaker 2: thought the movie was brilliant. I thought it was just 152 00:08:43,800 --> 00:08:48,120 Speaker 2: brilliant to watch the process, understand the process, see how 153 00:08:48,120 --> 00:08:53,680 Speaker 2: important land Out is to Bruce, really understand how Bruce 154 00:08:53,840 --> 00:08:56,960 Speaker 2: needed to be handled in a sense with kid gloves 155 00:08:57,080 --> 00:09:02,960 Speaker 2: at times with the record company watching the record company response, 156 00:09:03,280 --> 00:09:07,320 Speaker 2: Jimmy Iovine plays himself. There's a phone call at one 157 00:09:07,360 --> 00:09:11,199 Speaker 2: point about Nebraska, and I'm listening to it and I'm going, Oh, 158 00:09:11,240 --> 00:09:15,120 Speaker 2: that's Jimmy's voice. That's Jimmy in the movie. And then 159 00:09:15,160 --> 00:09:19,679 Speaker 2: I saw the credits and I thought, Jimmy Iovine as himself, right, 160 00:09:19,840 --> 00:09:26,440 Speaker 2: no one played themselves. So I just thought that part 161 00:09:26,480 --> 00:09:31,679 Speaker 2: of it was great. I thought that the guitar aspects 162 00:09:31,720 --> 00:09:33,520 Speaker 2: of it, what they taught him how to do for 163 00:09:33,640 --> 00:09:38,199 Speaker 2: being someone that didn't play guitar ever, was amazing. And 164 00:09:38,679 --> 00:09:41,840 Speaker 2: you get to hear him sing a lot of songs. 165 00:09:42,000 --> 00:09:44,400 Speaker 2: But what was most meaningful to me out of all 166 00:09:44,440 --> 00:09:48,480 Speaker 2: of it was hearing him blast through a full band 167 00:09:48,600 --> 00:09:52,079 Speaker 2: version of Born in the USA, and that like when 168 00:09:52,160 --> 00:09:56,720 Speaker 2: that comes on in the theater, it's just and it's 169 00:09:56,840 --> 00:09:59,640 Speaker 2: just the band. It's just that, you know, seven guys 170 00:09:59,720 --> 00:10:03,040 Speaker 2: or something whatever it was in the recording studio, but 171 00:10:03,160 --> 00:10:06,520 Speaker 2: it's note for note perfect like the record, and it's 172 00:10:06,720 --> 00:10:11,560 Speaker 2: Jeremy singing, and man, it's good, you know, And even 173 00:10:11,640 --> 00:10:13,440 Speaker 2: though I know it's not a song to be like 174 00:10:13,840 --> 00:10:17,760 Speaker 2: a Pride in the USA kind of song, you can't 175 00:10:17,800 --> 00:10:22,319 Speaker 2: not feel something when you hear that song, and the 176 00:10:22,840 --> 00:10:26,319 Speaker 2: entire movie did that to me. That song in particular 177 00:10:26,679 --> 00:10:29,280 Speaker 2: hit me. All right, Can we come back to. 178 00:10:29,200 --> 00:10:33,120 Speaker 1: It in the upcoming episodes here. 179 00:10:33,720 --> 00:10:37,199 Speaker 2: After you complete your assignment and we can discuss more 180 00:10:37,240 --> 00:10:40,199 Speaker 2: in detention when the session's over today. Okay, you can 181 00:10:40,240 --> 00:10:43,520 Speaker 2: talk to me about why you haven't gone, you knuckle rapper. 182 00:10:44,400 --> 00:10:47,280 Speaker 2: November third through the ninth is the week that we're 183 00:10:47,320 --> 00:10:51,360 Speaker 2: talking about. Nineteen seventy three, Derek and the Dominoes that 184 00:10:52,720 --> 00:10:56,080 Speaker 2: in concert set was released. This was the only recording 185 00:10:56,240 --> 00:10:59,319 Speaker 2: of Derek and the Dominos that was done, and they 186 00:10:59,320 --> 00:11:03,920 Speaker 2: were there were two nights that they played at the 187 00:11:04,000 --> 00:11:07,240 Speaker 2: film More East, the twenty third and twenty fourth of 188 00:11:07,280 --> 00:11:11,640 Speaker 2: October in I think in nineteen seventy is when when 189 00:11:11,679 --> 00:11:17,360 Speaker 2: they did that, and Bobby Whitlock and Carl Rattle and 190 00:11:17,480 --> 00:11:22,600 Speaker 2: Jim Gordon played drums on that, and it's an epic 191 00:11:22,679 --> 00:11:27,960 Speaker 2: recording and there were stuff from Clapton's solo period that 192 00:11:28,000 --> 00:11:31,200 Speaker 2: were played at that time, and it was interesting and 193 00:11:31,240 --> 00:11:33,360 Speaker 2: it was fitting because all three of those guys I 194 00:11:33,440 --> 00:11:36,200 Speaker 2: just mentioned were on the original recordings of the songs 195 00:11:36,240 --> 00:11:38,960 Speaker 2: they played that were Clapton's Let It Rain. It's like 196 00:11:39,000 --> 00:11:42,120 Speaker 2: a seventeen minute version of Let It Rain on that. 197 00:11:43,160 --> 00:11:47,439 Speaker 2: Blues Power was on that. They were on that track, 198 00:11:47,480 --> 00:11:50,400 Speaker 2: and then the other one was a blind Faith track. 199 00:11:50,559 --> 00:11:53,920 Speaker 2: It was a Presence of the Lord. I said to 200 00:11:53,920 --> 00:11:56,880 Speaker 2: look at that. Presence of the Lord was on there. 201 00:11:56,880 --> 00:12:01,040 Speaker 2: But that was a great live album which I had 202 00:12:01,080 --> 00:12:03,360 Speaker 2: totally forgotten about. I need to go find I love 203 00:12:03,440 --> 00:12:05,960 Speaker 2: Let It Rain, I love Blues Power. I'm a Clapton 204 00:12:06,000 --> 00:12:08,640 Speaker 2: fan and I love all those you know. 205 00:12:08,840 --> 00:12:11,680 Speaker 1: Just imagining the fil Moore East, Oh my god, you know. 206 00:12:11,760 --> 00:12:15,120 Speaker 2: Yeah, what a place. And we've been digging into Jim 207 00:12:15,160 --> 00:12:17,520 Speaker 2: Gordon a little bit for other reasons, so getting to 208 00:12:17,559 --> 00:12:20,640 Speaker 2: hear him on that, you know, was nice and gives 209 00:12:20,720 --> 00:12:24,200 Speaker 2: some new perspective. So that was November third, nineteen seventy three. 210 00:12:24,320 --> 00:12:28,880 Speaker 2: On the fourth of November, the Police released Outland us 211 00:12:29,559 --> 00:12:34,240 Speaker 2: Dr Moore. I'm not even saying that right, outlandous Da Moore, 212 00:12:34,640 --> 00:12:38,320 Speaker 2: but it was pretty close. I think, yeah, it means 213 00:12:38,480 --> 00:12:42,240 Speaker 2: Outlaws of Love can't stand losing you so lonely, and 214 00:12:42,280 --> 00:12:47,880 Speaker 2: of course message rock sand oh Okay Rock Radio played 215 00:12:47,920 --> 00:12:52,360 Speaker 2: the daylights out of It nineteen seventy eight. In sixty six, 216 00:12:52,720 --> 00:12:58,520 Speaker 2: the Monkeys hit number one with their debut album, and 217 00:12:58,520 --> 00:13:02,520 Speaker 2: and that wasn't interesting band for a lot of reasons. 218 00:13:02,559 --> 00:13:05,880 Speaker 2: The great Lance Norris, who has since passed away. The 219 00:13:05,920 --> 00:13:09,400 Speaker 2: Boston folks will remember him part of the Charles lockwaderra 220 00:13:09,520 --> 00:13:13,320 Speaker 2: Show on WBCN and w CLX, was a huge Monkeys fan. 221 00:13:14,360 --> 00:13:17,920 Speaker 2: He Lance was a guy for better or worse. Who 222 00:13:18,000 --> 00:13:22,720 Speaker 2: was you know, a critical, tortured artist in a lot 223 00:13:22,720 --> 00:13:26,760 Speaker 2: of ways, right he was. It was easy for Lance 224 00:13:26,800 --> 00:13:31,600 Speaker 2: to look down at most anything that was popular. Oh yeah, Lance, 225 00:13:32,480 --> 00:13:35,640 Speaker 2: Lance was a monkey's nut. 226 00:13:36,240 --> 00:13:40,560 Speaker 1: That is so funny. I didn't remember that or realize that. 227 00:13:41,160 --> 00:13:44,560 Speaker 1: And yes about Lance in terms of Lance's view of 228 00:13:44,600 --> 00:13:47,960 Speaker 1: the world, yeah, Lance was you know, it's one a 229 00:13:47,960 --> 00:13:50,440 Speaker 1: bitter man. That was his character, but it really wasn't 230 00:13:50,440 --> 00:13:55,680 Speaker 1: his character. Yeah, it was rest in peace, Lance. But listen, 231 00:13:55,800 --> 00:14:00,280 Speaker 1: my take over the years shifted a bit and the 232 00:14:00,280 --> 00:14:04,320 Speaker 1: Monkeys because I was, you know, one of those people 233 00:14:04,400 --> 00:14:07,000 Speaker 1: that kind of went, I don't know, you know, it 234 00:14:07,080 --> 00:14:11,480 Speaker 1: didn't really like hit my heart. The member of that 235 00:14:11,559 --> 00:14:16,200 Speaker 1: band that is still to this day most fascinating to 236 00:14:16,280 --> 00:14:21,000 Speaker 1: me is Michael Nesmith and just his you know, his 237 00:14:21,120 --> 00:14:24,600 Speaker 1: solo genius, and you know, just the way I think 238 00:14:25,280 --> 00:14:33,320 Speaker 1: his cinematic mind and creativity, he's underappreciated in my view, 239 00:14:33,480 --> 00:14:37,120 Speaker 1: So he kind of elevated my view of the monkeys 240 00:14:37,120 --> 00:14:37,680 Speaker 1: in general. 241 00:14:38,240 --> 00:14:41,160 Speaker 2: Isn't there some sort of a connection between him and 242 00:14:41,920 --> 00:14:47,280 Speaker 2: industry somehow? Is his family connected somehow to something his mother? 243 00:14:47,560 --> 00:14:52,960 Speaker 1: His mother was I think the inventor of I'm sure 244 00:14:52,960 --> 00:14:55,920 Speaker 1: no one is going to remember white out when you. 245 00:14:55,920 --> 00:14:58,360 Speaker 2: Had a day that's. 246 00:14:57,520 --> 00:15:01,840 Speaker 1: Something you typed and you needed to correct it. It 247 00:15:01,880 --> 00:15:04,920 Speaker 1: was essentially like paint that you put on it, but 248 00:15:05,040 --> 00:15:10,080 Speaker 1: you were taping. Smelled like ooh, but you know, became 249 00:15:10,200 --> 00:15:15,440 Speaker 1: obviously quite a product. And I challenge anybody to this day, 250 00:15:15,440 --> 00:15:17,760 Speaker 1: if you can get white out, you probably can somewhere. 251 00:15:17,880 --> 00:15:20,160 Speaker 2: I guess Staples down the street. I wonder if they 252 00:15:20,200 --> 00:15:21,280 Speaker 2: have it. They probably do. 253 00:15:21,560 --> 00:15:25,120 Speaker 1: But that was his mother or his family had founded 254 00:15:25,120 --> 00:15:26,560 Speaker 1: that or created that or whatever. 255 00:15:26,920 --> 00:15:30,080 Speaker 2: One of the things about the monkeys that I found 256 00:15:30,920 --> 00:15:33,240 Speaker 2: to be interesting, and I guess I didn't realize this 257 00:15:33,360 --> 00:15:36,280 Speaker 2: at the time. It's almost like the Jackson five as well. 258 00:15:37,480 --> 00:15:39,920 Speaker 2: When you think about music from that period of time, 259 00:15:40,280 --> 00:15:46,560 Speaker 2: you don't necessarily think about how intricate the music was 260 00:15:47,040 --> 00:15:50,760 Speaker 2: the recordings of them, the instrumentation, all that stuff. But 261 00:15:50,800 --> 00:15:52,080 Speaker 2: there was all the stuff going on, you know, with 262 00:15:52,120 --> 00:15:54,840 Speaker 2: Brian Wilson and Phil Spector, and then there was this 263 00:15:54,920 --> 00:15:58,280 Speaker 2: other group of guys men and women actually called the 264 00:15:58,320 --> 00:16:03,480 Speaker 2: Wrecking Crew, and especially with the Monkeys, I have gone 265 00:16:03,600 --> 00:16:05,800 Speaker 2: down the rabbit hole. There's a guy named Louis Shelton 266 00:16:05,840 --> 00:16:09,000 Speaker 2: who played and the Wrecking Crew, whose guitar playing is 267 00:16:09,040 --> 00:16:11,680 Speaker 2: on a bunch of songs, including Last Train to Clarksville, 268 00:16:12,280 --> 00:16:15,680 Speaker 2: which is a really intricate and neat guitar song. So 269 00:16:15,720 --> 00:16:20,040 Speaker 2: I have this appreciation of the Monkeys. Musically. Those guys played, 270 00:16:20,640 --> 00:16:24,200 Speaker 2: but they were they were shitty players. They went to 271 00:16:24,280 --> 00:16:27,720 Speaker 2: the studio and they got Glenn Campbell and Louise Shelton 272 00:16:28,240 --> 00:16:31,200 Speaker 2: and all the players in LA at that time, and 273 00:16:31,680 --> 00:16:34,160 Speaker 2: their music was great. It was like, you know, like 274 00:16:34,240 --> 00:16:36,680 Speaker 2: as a guitar player, you try to play like I 275 00:16:36,760 --> 00:16:40,280 Speaker 2: Want You Back or ABC by the Jackson Five. They're 276 00:16:40,440 --> 00:16:42,880 Speaker 2: very difficult songs to play. You would think they'd be 277 00:16:42,920 --> 00:16:46,680 Speaker 2: simple because they're so simple, but they're not, and they're 278 00:16:46,720 --> 00:16:48,800 Speaker 2: not because the guys like Louis Shelton and the Wrecking 279 00:16:48,920 --> 00:16:52,400 Speaker 2: Crew and what they did for the Monkeys was amazing 280 00:16:52,440 --> 00:16:56,240 Speaker 2: because they created some great music. Regardless of your position 281 00:16:56,320 --> 00:16:59,080 Speaker 2: of the silly TV show, people can't get away from that. 282 00:17:00,800 --> 00:17:04,240 Speaker 3: They were pretty good. I stand by that, all right. 283 00:17:04,320 --> 00:17:08,040 Speaker 3: I'm not listen. They made hits, so you can say 284 00:17:08,080 --> 00:17:10,280 Speaker 3: they made hits too, you know. I stand by it, 285 00:17:10,280 --> 00:17:14,720 Speaker 3: and Lance Norris stood by it. November sixth, nineteen seventy five, 286 00:17:14,760 --> 00:17:18,159 Speaker 3: Sex Pistols played their first gig ever. 287 00:17:18,880 --> 00:17:23,000 Speaker 2: We've had this conversation. I was never a sex Pistols fan. 288 00:17:23,200 --> 00:17:27,479 Speaker 2: I never got into it. I was nine when they 289 00:17:27,560 --> 00:17:30,520 Speaker 2: came out. I was a teenager listening to pop or 290 00:17:30,600 --> 00:17:36,480 Speaker 2: rock music that the punk scene never connected with me. 291 00:17:37,320 --> 00:17:41,400 Speaker 1: It was too extreme for a city boy from Stanford, 292 00:17:41,400 --> 00:17:46,720 Speaker 1: Connecticut like me to embrace. But you know, maybe if 293 00:17:46,720 --> 00:17:49,880 Speaker 1: I toughened up a little bit, I would have never 294 00:17:49,920 --> 00:17:51,320 Speaker 1: minded the Bullocks. 295 00:17:51,640 --> 00:17:55,840 Speaker 2: Yeah, right, the Bullocks. November seventh, nineteen eighty This is 296 00:17:55,840 --> 00:17:58,639 Speaker 2: an interesting day. This was the day that Back in 297 00:17:58,680 --> 00:18:01,640 Speaker 2: Black hit number four on the charts on the Billboard 298 00:18:01,680 --> 00:18:05,560 Speaker 2: Album Charts. This is interesting for a number of reasons. 299 00:18:06,280 --> 00:18:10,320 Speaker 2: Bon Scott passed away. The timing on this is really auspicious. 300 00:18:10,480 --> 00:18:14,560 Speaker 2: Bon Scott passes away in February of nineteen eighty. This 301 00:18:15,160 --> 00:18:20,440 Speaker 2: album was released in July five months later, like literally 302 00:18:21,000 --> 00:18:23,679 Speaker 2: five months and a couple days later. They went to 303 00:18:23,720 --> 00:18:28,479 Speaker 2: work immediately to replace him. This is not only an 304 00:18:28,560 --> 00:18:33,199 Speaker 2: unbelievable recovery from ac DC, this turned into one of 305 00:18:33,200 --> 00:18:35,200 Speaker 2: the best selling albums of all time. 306 00:18:35,680 --> 00:18:39,440 Speaker 1: Back in Black Right and to this day holds up 307 00:18:39,480 --> 00:18:42,280 Speaker 1: and the band still holds up, And no one's holding 308 00:18:42,280 --> 00:18:42,879 Speaker 1: the band up. 309 00:18:43,520 --> 00:18:47,560 Speaker 2: No, absolutely not. They recorded it two months after Bond 310 00:18:47,680 --> 00:18:52,560 Speaker 2: died and they've sold fifty million copies. It was on 311 00:18:52,600 --> 00:18:57,119 Speaker 2: the Billboard charts for I think five hundred weeks. That 312 00:18:57,320 --> 00:19:02,879 Speaker 2: Hell's Bells, that actual two thousand. This was before AI. 313 00:19:03,520 --> 00:19:07,080 Speaker 2: A two thousand pounds bronze bell that was cast by 314 00:19:07,160 --> 00:19:10,960 Speaker 2: John Taylor and Company was used. Shoot the thrill What 315 00:19:11,000 --> 00:19:13,439 Speaker 2: do you do for money? Give the Dog a Bone? 316 00:19:13,520 --> 00:19:15,359 Speaker 2: Back in Black Shook Me all night long. I'm just 317 00:19:15,359 --> 00:19:18,119 Speaker 2: looking at the chart list. Here, have a drink on me, 318 00:19:18,240 --> 00:19:21,359 Speaker 2: shake a leg, rock and rollin noise pollution. It just 319 00:19:22,520 --> 00:19:25,080 Speaker 2: a bunch of great tracks. 320 00:19:25,320 --> 00:19:27,800 Speaker 1: Literally almost every song is great on that album. 321 00:19:28,080 --> 00:19:33,960 Speaker 2: Nine great barn burning songs. Yeah yeah, and just an 322 00:19:34,000 --> 00:19:39,040 Speaker 2: epic recovery from Bond Scott from losing him they were 323 00:19:39,080 --> 00:19:45,960 Speaker 2: good before Brian yeah, man post post Bond Scott. That 324 00:19:46,040 --> 00:19:50,679 Speaker 2: was something else what Brian did vocally, the incredible story. Yeah. 325 00:19:50,800 --> 00:19:56,240 Speaker 2: November eighth, nineteen seventy one, led Zep released led Zeppe 326 00:19:56,240 --> 00:20:01,399 Speaker 2: one four Got a bad record, you know, Yeah, we 327 00:20:01,440 --> 00:20:04,960 Speaker 2: went down the led Zeppelin rabbit hole last time. Just 328 00:20:05,600 --> 00:20:09,280 Speaker 2: you know, an amazing, amazing record for so many reasons. 329 00:20:09,560 --> 00:20:14,840 Speaker 2: November ninth, nineteen sixty seven, the Stones premiered their Satanic 330 00:20:15,040 --> 00:20:21,080 Speaker 2: Majesty's Request that material. That was a weird period for 331 00:20:21,119 --> 00:20:22,840 Speaker 2: the Stones. Yeah. 332 00:20:22,840 --> 00:20:26,680 Speaker 1: It was their own take or response to the Beatles, 333 00:20:26,760 --> 00:20:27,400 Speaker 1: wasn't it really? 334 00:20:27,600 --> 00:20:32,320 Speaker 2: Yeah, the psychedelic things it's odd. So at any rate, 335 00:20:32,400 --> 00:20:35,000 Speaker 2: that's the week November third through the ninth bunths. 336 00:20:35,480 --> 00:20:39,400 Speaker 1: All right, well, great job, Harry, Thank you very much 337 00:20:39,440 --> 00:20:44,239 Speaker 1: for your coverage of Delivering Me from Nowhere, and we 338 00:20:44,320 --> 00:20:47,720 Speaker 1: will touch on that certainly in the future. And thanks 339 00:20:47,760 --> 00:20:50,280 Speaker 1: to all of you for listening to this Week in 340 00:20:50,359 --> 00:20:53,480 Speaker 1: Music History for the week of November the third, and 341 00:20:53,560 --> 00:20:55,800 Speaker 1: thanks for listening to the Taking a Walk podcast.