Full Transcript for Dave’s I Know: DMB & Foo Fighters

Right. And Davids 00:02:26.349 --> 00:02:30.560 count too. Yes, Davids do count. Davies. Davids. 00:02:30.699 --> 00:02:34.919 What about Ray Davies? Does that count? No, unfortunately. 00:02:36.020 --> 00:02:38.379 So yeah, other considerations here. What were 00:02:38.379 --> 00:02:40.580 you thinking about? Well, we've done so much 00:02:40.580 --> 00:02:43.400 Bowie, so, you know, wanted to give that a rest. 00:02:43.580 --> 00:02:46.259 But I'd like to do one from his what's called 00:02:46.259 --> 00:02:49.259 his like Berlin trilogy. My favorite from that 00:02:49.259 --> 00:02:52.500 is Lowe from 1977. I think that would be good. 00:02:52.919 --> 00:02:54.860 You know, and I thought about one of the big 00:02:54.860 --> 00:02:59.750 names in early jazz was Dave Brubeck. the pianist. 00:03:00.349 --> 00:03:02.590 So the Dave Brubeck quartet, I think, kind of 00:03:02.590 --> 00:03:06.590 the biggest album is Time Out from 1959. Do you? 00:03:06.870 --> 00:03:09.949 Yeah. Wow. Just a shout out from my mom to the 00:03:09.949 --> 00:03:12.449 Dave Clark Five, which I really can't imagine 00:03:12.449 --> 00:03:17.650 finding an album with enough meat on it. That's 00:03:17.650 --> 00:03:19.710 a Dave. But for me, really, Van Halen, David 00:03:19.710 --> 00:03:21.689 Lee Roth, I thought about Women and Children 00:03:21.689 --> 00:03:25.810 First, 1984. I mean, anything pretty much from 00:03:25.810 --> 00:03:29.199 that David Lee Roth era. Yeah. And then just 00:03:29.199 --> 00:03:33.280 other Daves of note, Dave Mustaine from Megadeth. 00:03:33.699 --> 00:03:36.020 We've talked about them recently, at least in 00:03:36.020 --> 00:03:38.340 passing. Dream Theater, Dave Portnoy, the drummer, 00:03:38.659 --> 00:03:41.400 like they're just all kinds. There's Daves everywhere. 00:03:42.159 --> 00:03:44.419 David Coverdale. I didn't really realize how 00:03:44.419 --> 00:03:46.620 many Daves there are until we started researching 00:03:46.620 --> 00:03:49.780 for this. OK, the picks are in. The Daves are 00:03:49.780 --> 00:03:53.060 here. Let's get to our cha -cha -cha choices. 00:03:56.069 --> 00:04:05.430 Choo -choo -choo's me. All right, my Dave pick 00:04:05.430 --> 00:04:09.289 comes from Dave Matthews Band, their debut album, 00:04:09.449 --> 00:04:11.610 Under the Table and Dreaming, which was released 00:04:11.610 --> 00:04:14.849 in September of 1994. That was debut major label, 00:04:14.990 --> 00:04:16.430 right? Didn't they have something before that? 00:04:16.670 --> 00:04:20.629 Oh, yeah. OK. Yes. Zing. Yes, you got me. You 00:04:20.629 --> 00:04:24.750 just got daved. So the Dave Matthews band were 00:04:24.750 --> 00:04:27.990 formed in Charlottesville, Virginia in 1991. 00:04:28.750 --> 00:04:32.889 They're kind of a jam rock band with elements 00:04:32.889 --> 00:04:35.569 of jazz and folk and world music influences. 00:04:35.769 --> 00:04:38.430 The core lineup, of course, features Dave Matthews, 00:04:39.269 --> 00:04:42.069 the South African sensation. You nailed it. There's 00:04:42.069 --> 00:04:47.069 a Dave. So he does most of the singing and the 00:04:47.069 --> 00:04:49.610 acoustic guitar. You've got Carter Buford on 00:04:49.610 --> 00:04:52.990 drums and percussion, Stefan Lessard on bass, 00:04:53.490 --> 00:04:55.889 Leroy Moore on saxophones and other woodwinds, 00:04:55.990 --> 00:04:59.050 Boy Tinsley on violin and backing vocals. And 00:04:59.050 --> 00:05:01.670 for some reason, he's not a member of Dave Matthews' 00:05:01.790 --> 00:05:04.509 band, but the guitarist, Tim Reynolds, has also 00:05:04.509 --> 00:05:07.110 featured heavily on this album. Oh yeah, I remember 00:05:07.110 --> 00:05:09.850 when we worked at the record store. If Tim Reynolds' 00:05:09.910 --> 00:05:12.290 name was on stuff, the Dave Matthews' band was 00:05:12.290 --> 00:05:14.970 like, oh, it's I'm like, who the hell is Tim 00:05:14.970 --> 00:05:17.149 Reynolds? Yeah, they did an album together and 00:05:17.149 --> 00:05:19.990 I think maybe they've done tours where it's just 00:05:19.990 --> 00:05:24.029 the two of them. Gotcha. To be honest, this is 00:05:24.029 --> 00:05:28.009 really the ultimate Dave to pick because the 00:05:28.009 --> 00:05:30.910 fans just say Dave. I'm going to see Dave this 00:05:30.910 --> 00:05:32.850 summer. Have you seen Dave? Have you heard the 00:05:32.850 --> 00:05:36.009 new Dave album? It's like for us outsiders, it's 00:05:36.009 --> 00:05:37.569 like, who the hell am I supposed to be thinking 00:05:37.569 --> 00:05:41.250 you're talking about? But Dave is so pervasive 00:05:41.250 --> 00:05:44.709 in that world that he's just Dave. Right. So 00:05:44.709 --> 00:05:48.290 the Dave Matthews band, they're actually famous 00:05:48.290 --> 00:05:53.269 as a live touring band doing improvisations and 00:05:53.269 --> 00:05:56.029 extended arrangements. You know, kind of coming 00:05:56.029 --> 00:05:59.540 out of that same time is like. uh fish and you 00:05:59.540 --> 00:06:02.360 know some of the other um you know jam bands 00:06:02.360 --> 00:06:05.420 uh let's uh let's get right into the uh opening 00:06:05.420 --> 00:06:18.019 cut here's the best of what's around now there's 00:06:18.019 --> 00:06:22.139 a certain michael stipish quality sometimes to 00:06:22.139 --> 00:06:25.660 dave's vocals i think i often think of it as 00:06:25.660 --> 00:06:28.519 like a Like a saxophone or a horn or something 00:06:28.519 --> 00:06:31.439 like the the tonal quality or something or the 00:06:31.439 --> 00:06:34.220 phrasing always kinds of kind of feels like he's 00:06:34.220 --> 00:06:37.019 blowing into a saxophone. But, you know, he does 00:06:37.019 --> 00:06:40.459 have that range where he's like, and then sometimes 00:06:40.459 --> 00:06:47.399 down here like this. Any Dave fans have just 00:06:47.399 --> 00:06:51.579 I've just turned off the podcast. Yes. So the 00:06:51.579 --> 00:06:53.980 best of what's around was written

by Dave Matthews. 00:06:54.060 --> 00:06:56.560 Actually, I believe all of these songs are credited 00:06:56.560 --> 00:07:00.639 to Dave Matthews, except for a couple that are 00:07:00.639 --> 00:07:02.879 credited to the whole band. So, you know, kind 00:07:02.879 --> 00:07:07.089 of a mid. tempo opener. The lyrics are kind of 00:07:07.089 --> 00:07:10.509 that typical message of when life feels difficult, 00:07:10.709 --> 00:07:13.589 kind of look for small things, small positives 00:07:13.589 --> 00:07:17.170 in your life, look for supportive people. So 00:07:17.170 --> 00:07:20.610 a positive message. I would say for the most 00:07:20.610 --> 00:07:25.160 part, the album is full of... that kind of thing. 00:07:25.319 --> 00:07:28.459 Well, wasn't Dave a bartender that was just writing 00:07:28.459 --> 00:07:31.259 songs on his own and then saw some of these guys 00:07:31.259 --> 00:07:33.620 that ended up in his band that were jazz musicians 00:07:33.620 --> 00:07:36.139 and then screwed up the courage to ask them to 00:07:36.139 --> 00:07:38.620 play with them and stuff and then they made this 00:07:38.620 --> 00:07:45.620 thing, this quilt. Right. Yeah. His lyrics are 00:07:45.620 --> 00:07:48.579 maybe bartender advice or something that can 00:07:48.579 --> 00:07:52.019 be putting things into perspective. that kind 00:07:52.019 --> 00:07:55.740 of thing, which is cool. Musically, and it's 00:07:55.740 --> 00:07:58.139 got some interesting instrumentation going on. 00:07:58.300 --> 00:08:01.660 The bass guitar is particularly prominent in 00:08:01.660 --> 00:08:03.839 it. I guess one of the pleasures I took in this 00:08:03.839 --> 00:08:07.120 album was at times focusing on the bass guitar 00:08:07.120 --> 00:08:11.300 because you can really get lost in the lines. 00:08:11.480 --> 00:08:14.759 You're definitely a bass ace. You love that, 00:08:14.920 --> 00:08:16.540 especially in things you're unfamiliar with. 00:08:16.639 --> 00:08:18.459 I feel like that's how you find your way through 00:08:18.459 --> 00:08:21.660 it. That's true. That's exactly right. I feel 00:08:21.660 --> 00:08:26.620 like we just really connected there. Yeah, I 00:08:26.620 --> 00:08:28.500 guess this is one of the early songs going back 00:08:28.500 --> 00:08:32.220 to their 91 demo sessions. Yeah. Like, you know, 00:08:32.299 --> 00:08:34.620 it's not where, but who you're with that matters. 00:08:34.879 --> 00:08:37.139 I was not into this at the time. It was just 00:08:37.139 --> 00:08:40.360 too tame. It kind of struck me as like adult 00:08:40.360 --> 00:08:43.080 contemporary jam band type stuff. It was just 00:08:43.080 --> 00:08:45.700 too nice sounding. I didn't get it. I don't know 00:08:45.700 --> 00:08:47.519 if the lyrics get dark or not, but it was just 00:08:47.519 --> 00:08:51.669 too nice sounding. But To dive into this album 00:08:51.669 --> 00:08:54.350 for the first time, this was a good intro, good 00:08:54.350 --> 00:08:58.350 opener, and it did calm my fears that it was 00:08:58.350 --> 00:09:01.409 going to be too much too fast. They ease you 00:09:01.409 --> 00:09:05.169 in. Right. Well, let's move on to another cut. 00:09:05.830 --> 00:09:20.690 Here's a song called Typical Situation. So despite 00:09:20.690 --> 00:09:25.009 the everybody's happy line there, it does have 00:09:25.009 --> 00:09:27.830 some more melancholy moments on it. You know, 00:09:27.990 --> 00:09:30.230 the main, the part where it's like, it's a typical 00:09:30.230 --> 00:09:36.389 situation in a typical time. Are you doing Aaron 00:09:36.389 --> 00:09:42.190 Neville? There are, yeah. There is a connection 00:09:42.190 --> 00:09:45.330 there, I think. Yeah, for some reason, this song 00:09:45.330 --> 00:09:48.129 kind of struck me. I think the dynamics change 00:09:48.129 --> 00:09:52.350 a lot. It gets quiet and kind of melancholy sounding, 00:09:52.570 --> 00:09:55.730 and then it gets a little happier. Some weird 00:09:55.730 --> 00:09:59.730 stuff going on with numbers. So at one point 00:09:59.730 --> 00:10:02.269 he's like 10 fingers, nine planets, eight balls, 00:10:02.529 --> 00:10:04.929 seven oceans. So I don't know if that's about 00:10:04.929 --> 00:10:08.929 how we sort of artificially try to apply order 00:10:08.929 --> 00:10:12.590 and patterns to our lives. I had also seen that 00:10:12.590 --> 00:10:16.049 it might be a reference to a poem by Robert Diedrich 00:10:16.049 --> 00:10:17.909 called A Prayer in the Pentagon. I read that 00:10:17.909 --> 00:10:22.289 too. Yeah, which I guess it uses numbers to frame 00:10:22.289 --> 00:10:26.110 thoughts about power in society. So pretty deep. 00:10:26.360 --> 00:10:29.399 Yeah, but kind of the numbness, right? That you're 00:10:29.399 --> 00:10:32.460 just going through the motions of life and not 00:10:32.460 --> 00:10:35.179 smelling the roses, if you will. Yes. That's 00:10:35.179 --> 00:10:37.559 kind of the vibe I got. There's some additional 00:10:37.559 --> 00:10:40.340 percussion on this one. It sounds like, I don't 00:10:40.340 --> 00:10:44.039 know, there was more sounds that kind of gave 00:10:44.039 --> 00:10:47.039 it like hills and valleys of sound to me. I don't 00:10:47.039 --> 00:10:50.379 know if that makes any sense. Yeah, it was a 00:10:50.379 --> 00:10:53.639 nice break, I think, for me on the album from 00:10:53.799 --> 00:10:56.519 You know, the initial push of songs are all, 00:10:56.519 --> 00:10:58.460 you know, very upbeat. Definitely different. 00:10:58.679 --> 00:11:00.980 Yeah. Yeah. This feels almost more progressive 00:11:00.980 --> 00:11:03.539 sounding. Yeah. So how about you? Was there a 00:11:03.539 --> 00:11:06.019 song you wanted to highlight? Well, I think it's 00:11:06.019 --> 00:11:18.620 kind of unavoidable. What would you say? Or maybe 00:11:18.620 --> 00:11:24.340 it was the show Silversteenie. Childlike, but 00:11:24.340 --> 00:11:28.919 from an adult perspective, sings songy Dr. Seussical

00:11:28.919 --> 00:11:33.000 lightness among the darkness, because, you know, 00:11:33.200 --> 00:11:36.279 music was popular music was, at least in the 00:11:36.279 --> 00:11:39.059 rock space, was pretty dark at the time. All 00:11:39.059 --> 00:11:42.340 the grunge stuff was really taking hold. So maybe 00:11:42.340 --> 00:11:45.179 this was like a light in the darkness for people 00:11:45.179 --> 00:11:47.820 looking for something fun. You know, if you're 00:11:47.820 --> 00:11:50.340 a doggy on a chain, don't bite. Don't bite the 00:11:50.340 --> 00:11:52.980 mailman. What would you say? I was there when 00:11:52.980 --> 00:11:55.279 the bear ate his head. He thought it was a candy. 00:11:55.720 --> 00:11:59.659 Like I never really is just, but it was like 00:11:59.659 --> 00:12:03.620 a, I thought it was a auctioneer sound, but it 00:12:03.620 --> 00:12:08.759 is interesting to listen to the stream of consciousness, 00:12:09.059 --> 00:12:12.279 maybe. Um, and I think that's a lot of what's 00:12:12.279 --> 00:12:15.519 on here is seeing past the mundane and seeing 00:12:15.519 --> 00:12:17.840 the beauty and the details. And that seems to 00:12:17.840 --> 00:12:20.299 be the case in a lot of these songs. Of course, 00:12:20.299 --> 00:12:24.940 the, uh, harmonica from Mr. John Popper. Yes. 00:12:25.340 --> 00:12:27.379 And they were having they were kind of at their 00:12:27.379 --> 00:12:30.580 peak at this time, too. Right. That 94, 95 period 00:12:30.580 --> 00:12:33.080 blues traveler. Yeah, they definitely fit in 00:12:33.080 --> 00:12:37.320 that same category of like safer jam band music, 00:12:37.320 --> 00:12:41.379 you know, jam band for the masses. Yeah. Yeah, 00:12:41.460 --> 00:12:44.799 I think, you know. Everyone knows that one, and 00:12:44.799 --> 00:12:47.639 I used to find it annoying, but I did find it 00:12:47.639 --> 00:12:49.820 quite interesting and endearing on this one. 00:12:50.100 --> 00:12:53.679 I started to feel the Dave -ness a little bit. 00:12:53.759 --> 00:12:57.820 Sure. Oh, yes. I listen to the entire discography, 00:12:57.960 --> 00:13:00.639 as a matter of fact, just to try and get my mind 00:13:00.639 --> 00:13:03.200 around this thing. If I'm going to do it, I'm 00:13:03.200 --> 00:13:04.539 going to try and do it. You know, I'm going to 00:13:04.539 --> 00:13:06.759 try and understand it the best I can in a week 00:13:06.759 --> 00:13:10.240 or two. Yeah. What were your thoughts on this 00:13:10.240 --> 00:13:14.799 one now from today's perspective? Right. Well, 00:13:14.860 --> 00:13:16.580 re -listening to it for the first time, I was 00:13:16.580 --> 00:13:19.399 convinced he said, don't bite the big one. I 00:13:19.399 --> 00:13:23.379 always thought that. That would have worked too. 00:13:23.419 --> 00:13:25.200 It would have been fine. Yeah. Well, because 00:13:25.200 --> 00:13:26.879 he says, don't drop the big one. And then the 00:13:26.879 --> 00:13:29.080 next line, it's don't bite the mailman. So it's 00:13:29.080 --> 00:13:31.340 easy to confuse. I wonder if that's almost intentional. 00:13:31.500 --> 00:13:37.240 I don't know. Yeah. You know, I like the violin. 00:13:37.549 --> 00:13:39.409 And there's a couple of really interesting parts 00:13:39.409 --> 00:13:42.450 there. It's basically it's acoustic. I mean, 00:13:42.450 --> 00:13:45.769 the acoustic guitar, I think, is at the center 00:13:45.769 --> 00:13:48.610 of all these songs, but they're upbeat. And I 00:13:48.610 --> 00:13:53.149 think I'm kind of used to acoustic guitars being 00:13:53.149 --> 00:13:56.629 more of a folky, quieter instrument. And I'm 00:13:56.629 --> 00:13:59.230 not used to it being sort of something you dance 00:13:59.230 --> 00:14:02.610 to. Yeah, more a kind of this might not be the 00:14:02.610 --> 00:14:05.710 right term, but. used like in a jug band kind 00:14:05.710 --> 00:14:09.250 of way. Yeah, that's true. Like, yeah, even blue 00:14:09.250 --> 00:14:13.330 grassy perhaps. Yeah, OK. Yeah, I'll buy that. 00:14:13.730 --> 00:14:16.870 Yeah, I'm not sure what it is. I guess because 00:14:16.870 --> 00:14:20.889 these are all jazz guys, the note combinations 00:14:20.889 --> 00:14:24.009 and stuff there. I don't recognize them or something. 00:14:24.169 --> 00:14:26.549 They're they're foreign to me. I actually dig 00:14:26.549 --> 00:14:29.750 that now that I'm really been listening that 00:14:29.750 --> 00:14:33.769 it is so like, you know, Jazz like in that it 00:14:33.769 --> 00:14:37.870 is just splashes of sounds and they don't they're 00:14:37.870 --> 00:14:40.269 sometimes at odds and that's kind of the point 00:14:40.269 --> 00:14:44.269 of the improv the whole Jammy vibe is it supposed 00:14:44.269 --> 00:14:48.769 to sound? Organic and this does yeah. Okay. Well, 00:14:48.769 --> 00:14:52.590 let's let's go to the closing track. Here's number 00:14:52.590 --> 00:15:06.159 34 It's to come down, man. Yeah, I like that. 00:15:07.179 --> 00:15:11.440 It actually reminds me a little bit of the instrumental 00:15:11.440 --> 00:15:15.759 tracks that are on Pet Sounds. It has a similar 00:15:15.759 --> 00:15:19.440 vibe. So this one is actually credited to the 00:15:19.440 --> 00:15:22.899 four members of the band. So the title, number 00:15:22.899 --> 00:15:27.220 34, I guess just comes from the band just numbering 00:15:27.220 --> 00:15:30.279 songs as they're writing them. So they must have 00:15:30.279 --> 00:15:33.440 had 34 songs at that point. And so this became 00:15:33.440 --> 00:15:36.679 number 34. There you go. Apparently, it was meant 00:15:36.679 --> 00:15:41.559 to be a tribute to a percussionist, Miguel Valdez, 00:15:41.740 --> 00:15:44.299 whose work I am not familiar with. Is he related 00:15:44.299 --> 00:15:49.080 to Juan of coffee bean fame? Could be. That'd 00:15:49.080 --> 00:15:52.960 be cool. Heir to the throne, heir to the fortune. 00:15:54.080 --> 00:15:58.080 Yeah. It's a good closer, and it shouldn't be.

00:15:58.240 --> 00:16:03.379 But this band appears to be a band of contradictions 00:16:03.379 --> 00:16:07.340 and kind of throwing you off balance, kind of 00:16:07.340 --> 00:16:10.399 misdirection. And I think that this works really 00:16:10.399 --> 00:16:14.899 well in that respect. Like we said, I mean, some 00:16:14.899 --> 00:16:17.620 of the actual words could be construed as dark, 00:16:17.679 --> 00:16:22.379 but the overall vibe is strutting through a field 00:16:22.379 --> 00:16:27.399 of dandelions. Communing with the world around 00:16:27.399 --> 00:16:30.679 you and this is like, okay, sun's going down, 00:16:31.120 --> 00:16:34.639 it's sleepy time. Yeah. They just use a lot of 00:16:34.639 --> 00:16:37.360 space in it as well. It's not cluttered with 00:16:37.360 --> 00:16:40.340 instrumentation. I think there are moments on 00:16:40.340 --> 00:16:43.179 the album where it is. I think this is a nice 00:16:43.179 --> 00:16:46.399 contrast to that. Yeah, I think it's a cool closer. 00:16:46.700 --> 00:16:52.000 Agreed. It's time to rewind and reflect on Dave 00:16:52.000 --> 00:16:54.960 Matthew's band. Under the Table and Dreaming. 00:16:56.220 --> 00:16:59.279 I'll begin with my clickbait headline. Under 00:16:59.279 --> 00:17:02.000 the Table and Dreaming is not the best of what's 00:17:02.000 --> 00:17:05.740 around, but it has moments. So I mean, I think 00:17:05.740 --> 00:17:07.619 you and I maybe we're both kind of coming from 00:17:07.619 --> 00:17:11.819 the same place. Just we have associations with 00:17:11.819 --> 00:17:16.460 all people of this time. And and as I was overbearing, 00:17:16.460 --> 00:17:20.019 I'm sure about my Pearl Jam love and whatnot. 00:17:20.819 --> 00:17:24.259 Dave Matthews. band fans at the time were quite 00:17:24.259 --> 00:17:26.619 overwhelming with their enthusiasm to the point 00:17:26.619 --> 00:17:29.940 of being like, oh, you know, so. Yeah. Without 00:17:29.940 --> 00:17:32.799 all of that factored in, just yeah, it's nice 00:17:32.799 --> 00:17:35.319 to take this at face value and see what it's 00:17:35.319 --> 00:17:38.220 all about. Yeah. And I mean, I knew that I would 00:17:38.220 --> 00:17:40.779 respect it anyway. Like I knew, you know, that 00:17:40.779 --> 00:17:43.839 there's something, you know, here and there definitely 00:17:43.839 --> 00:17:47.440 is. I. I mean, of course, the musicianship is 00:17:47.440 --> 00:17:50.579 great. I guess the music theory, I think, is 00:17:50.579 --> 00:17:52.400 clever, right? Because it doesn't, you know, 00:17:52.400 --> 00:17:54.619 they're not using the typical, you know, pop 00:17:54.619 --> 00:17:57.960 tropes. Yeah. Well, and you know, it was alternative 00:17:57.960 --> 00:18:02.099 to alternative. You know, it was it was a break 00:18:02.099 --> 00:18:04.480 from from everything else that was going on. 00:18:04.559 --> 00:18:06.819 I think people embrace that. So my clickbait 00:18:06.819 --> 00:18:09.940 had like to describe the album. This is the Dave 00:18:09.940 --> 00:18:13.609 I know. an adult contemporary jam band vibe where 00:18:13.609 --> 00:18:16.089 everything feels smooth, warm and just jammed 00:18:16.089 --> 00:18:20.069 out enough to drift. It's loose and fluid and 00:18:20.069 --> 00:18:22.289 constantly in motion and their songs are all 00:18:22.289 --> 00:18:24.769 kind of built around groove, not so much structure. 00:18:24.990 --> 00:18:27.130 It's like they're playing through the songs rather 00:18:27.130 --> 00:18:31.150 than performing them. And that I think that's 00:18:31.150 --> 00:18:35.150 what maybe was so attractive to people with this 00:18:35.150 --> 00:18:39.920 because it feels uncontrived. Yeah. All right, 00:18:39.920 --> 00:18:42.759 well, let's go to killer to filler. Well, there's 00:18:42.759 --> 00:18:45.079 a couple of really famous tracks here. Probably 00:18:45.079 --> 00:18:51.359 the most famous is the Ants Marching. I think 00:18:51.359 --> 00:18:53.980 that would be a good cat food commercial. Yeah, 00:18:54.079 --> 00:18:57.220 there you go. I got another one about routine 00:18:57.220 --> 00:19:00.480 and conformity and drifting through life on autopilot, 00:19:00.519 --> 00:19:03.700 following along with the ants just doing their 00:19:03.700 --> 00:19:07.019 jobs without living their best life. They're 00:19:07.019 --> 00:19:11.019 just workers. Yeah, that's why I mean, I can't 00:19:11.019 --> 00:19:12.799 tell you how many times I've heard that song 00:19:12.799 --> 00:19:15.779 in my life, but I've never really paid attention 00:19:15.779 --> 00:19:17.720 to the lyrics. Sometimes it's actually hard to 00:19:17.720 --> 00:19:21.579 make them out. Yeah. But it is very interesting, 00:19:21.579 --> 00:19:25.200 you know, lyrically. It's kind of like a even 00:19:25.200 --> 00:19:28.339 though the message of the song, I think, is positive 00:19:28.339 --> 00:19:30.359 or it's kind of giving you advice, it still has 00:19:30.359 --> 00:19:32.960 sort of like a darkness to it. Well, that violin 00:19:32.960 --> 00:19:36.259 line drives the song and it also brings things 00:19:36.259 --> 00:19:39.419 down to earth when you're hearing these super 00:19:39.419 --> 00:19:42.579 traditional instruments, it does feel more earthy 00:19:42.579 --> 00:19:46.039 and more organic, you know? Yeah. And then another 00:19:46.039 --> 00:19:47.859 kind of famous track from the album, I think, 00:19:47.960 --> 00:19:52.079 is Satellite, which is, you know, a quieter, 00:19:52.079 --> 00:19:56.039 melodic song. I think it kind of starts out as 00:19:56.039 --> 00:19:58.960 just the acoustic guitar. You can even, you know, 00:19:59.059 --> 00:20:01.900 you can hear the the fingers moving up and down 00:20:01.900 --> 00:20:04.059 the fretboard stuff. Yeah, I always liked that. 00:20:04.059 --> 00:20:07.440 Yeah. And then, you know, the violin joins in 00:20:07.440 --> 00:20:09.619 and then you get the kind of the full

arrangement. 00:20:10.119 --> 00:20:11.920 A satellite kind of like kind of being on the 00:20:11.920 --> 00:20:15.559 outside, looking down, seeing life happen, you 00:20:15.559 --> 00:20:19.740 know, that's what I got from it. But I liked 00:20:19.740 --> 00:20:22.420 love or lay down as much as I wouldn't have thought 00:20:22.420 --> 00:20:26.549 I would. Well, you're a romantic. But, you know, 00:20:26.930 --> 00:20:29.490 it centers on closeness and emotional dependence. 00:20:29.849 --> 00:20:32.490 But there's just the vocals sit the right place 00:20:32.490 --> 00:20:35.109 in the mix. And it's a little clearer, maybe 00:20:35.109 --> 00:20:37.990 than some of the other tracks. A little more 00:20:37.990 --> 00:20:41.309 quiet. Not so much noise going on. It works. 00:20:41.670 --> 00:20:45.589 Yeah. And I do favor the quieter tracks. You 00:20:45.589 --> 00:20:48.509 know, the pay for what you get is also quieter. 00:20:49.230 --> 00:20:51.670 Interesting that the album kind of ends in a. 00:20:51.710 --> 00:20:54.250 you know, with with more quiet and then number 00:20:54.250 --> 00:20:57.089 34. So it is a, you know, kind of a gradual come 00:20:57.089 --> 00:21:00.309 down. Yeah. I had that on my filler list just 00:21:00.309 --> 00:21:03.390 because it just seems too restrained or something. 00:21:03.630 --> 00:21:06.569 I don't know. It didn't. It didn't land for me 00:21:06.569 --> 00:21:09.250 completely. But maybe I need to spend more time 00:21:09.250 --> 00:21:12.349 with it. One other weird one I liked was Jimmy 00:21:12.349 --> 00:21:15.289 thing, which I would think on the surface I wouldn't 00:21:15.289 --> 00:21:17.690 because it sort of feels more improvisational. 00:21:17.730 --> 00:21:21.180 But it's repetitious. But. in the right way, 00:21:21.259 --> 00:21:23.240 I don't know. It's something catchy about it. 00:21:23.519 --> 00:21:26.339 Yeah, that's one that grew on me. But yeah, all 00:21:26.339 --> 00:21:28.799 in all, nothing terrible here. I mean, it runs 00:21:28.799 --> 00:21:32.099 a little long. Yeah, it's just over an hour. 00:21:32.400 --> 00:21:37.559 But yeah. I think just because I was so familiar 00:21:37.559 --> 00:21:39.920 with a few of the tracks, I actually, you know, 00:21:40.359 --> 00:21:43.059 I kind of preferred the deeper album cuts. Gotcha. 00:21:43.619 --> 00:21:46.240 But that's just about familiarity. OK, how about 00:21:46.240 --> 00:21:49.480 production? This one was produced by Steve Lillywhite, 00:21:49.539 --> 00:21:52.880 who's come up a lot. In fact, just recently on 00:21:52.880 --> 00:21:54.980 the Morrissey album, of course, he's done. He's 00:21:54.980 --> 00:21:57.319 a cult we talked about. Peter Gabriel. Oh, yes, 00:21:57.319 --> 00:21:59.339 that's right. He wasn't the producer, but he 00:21:59.339 --> 00:22:03.140 almost was. It was the other Steve. Yeah. I mean, 00:22:03.160 --> 00:22:05.500 I think that the production emphasizes capturing 00:22:05.500 --> 00:22:08.519 the feel of a live band performance. So they 00:22:08.519 --> 00:22:11.119 do keep it pretty loose. I mean, there's no mistakes. 00:22:11.160 --> 00:22:13.359 I would have liked to hear a couple of sour notes 00:22:13.359 --> 00:22:16.150 just to make it sound more live. But the mix 00:22:16.150 --> 00:22:19.609 is really good. It's polished, but not too polished 00:22:19.609 --> 00:22:21.369 because I think if it wasn't, you wouldn't be 00:22:21.369 --> 00:22:23.799 able to make out any of the details. Yeah. Yeah, 00:22:23.819 --> 00:22:25.660 that's a good point. Yeah, I mentioned the challenge 00:22:25.660 --> 00:22:28.299 for Lily White was similar to what we talked 00:22:28.299 --> 00:22:30.440 about with Pink Floyd a couple of weeks ago, 00:22:30.779 --> 00:22:33.619 trying to just make sure that you're turning 00:22:33.619 --> 00:22:35.880 what is happening live into something that's 00:22:35.880 --> 00:22:39.700 more palatable for a record. So I'm sure most 00:22:39.700 --> 00:22:43.579 of these songs are much longer when performed 00:22:43.579 --> 00:22:47.700 live. All right, replay value. Yeah, I think 00:22:47.700 --> 00:22:51.980 so. I mean, I'm going to try to. Use it as a 00:22:51.980 --> 00:22:54.519 summertime background thing and try and feel 00:22:54.519 --> 00:22:57.099 that feeling I went to like, you know I saw blues 00:22:57.099 --> 00:23:00.279 traveler and stuff live back in the day and I'm 00:23:00.279 --> 00:23:02.619 gonna try and tap into that and learn to appreciate 00:23:02.619 --> 00:23:06.180 this from that perspective if I can I still prefer 00:23:06.180 --> 00:23:10.240 of the albums I liked every day from 2000 the 00:23:10.240 --> 00:23:12.099 best because I feel like it's kind of a nice 00:23:12.099 --> 00:23:14.339 mix of what they were doing early on and then 00:23:14.339 --> 00:23:17.740 a more mature Grown -up view of the world a little 00:23:17.740 --> 00:23:22.839 a little darker, but yeah My resistance has faded. 00:23:23.099 --> 00:23:26.359 Good. Yeah, I really wanted to, you know, kind 00:23:26.359 --> 00:23:29.680 of break that mental block that I have with him. 00:23:29.680 --> 00:23:32.299 So I just I listen to this album over and over 00:23:32.299 --> 00:23:34.220 again. And I didn't really have a chance to check 00:23:34.220 --> 00:23:36.539 out much of the other the rest of the catalog. 00:23:36.680 --> 00:23:39.519 But I was intrigued a little bit by his most 00:23:39.519 --> 00:23:41.859 recent album, which is probably the opposite 00:23:41.859 --> 00:23:44.720 of how most people feel. We kind of we butted 00:23:44.720 --> 00:23:47.460 heads on that one. Like, you know, we're we're 00:23:47.460 --> 00:23:50.200 in charge of what we pick. But, you know, Don, 00:23:50.319 --> 00:23:51.940 you're talking about doing that new album. I'm 00:23:51.940 --> 00:23:53.940 like, if we're going to talk about Dave Matthews 00:23:53.940 --> 00:23:57.180 band for the first time, we have to attack the

00:23:57.180 --> 00:23:59.859 beast. We can't play it safe with the new one. 00:24:00.180 --> 00:24:04.420 Well, I just I feel like the you know, the the 00:24:04.420 --> 00:24:08.759 older, slower. beaten by life, Dave Matthews 00:24:08.759 --> 00:24:13.380 just speaks to me more. Yes, maybe it does. But 00:24:13.380 --> 00:24:17.359 I feel like we had to we had to attack the thing 00:24:17.359 --> 00:24:20.119 that we both didn't like at the time and and 00:24:20.119 --> 00:24:22.460 try and find our way through it. So thank you. 00:24:22.720 --> 00:24:25.160 You were right this time. It happens every once 00:24:25.160 --> 00:24:30.279 in a while. Legacy wise, it's Dave Matthews band. 00:24:30.400 --> 00:24:34.779 I mean, it's a it's a. a tent pole of the mid 00:24:34.779 --> 00:24:37.700 nineties of what was going on in music and culture 00:24:37.700 --> 00:24:41.440 and the records of foundation for a massive tour 00:24:41.440 --> 00:24:45.339 and following and you know the whole have you 00:24:45.339 --> 00:24:48.920 seen Dave thing I mean it was a phenomenon so 00:24:48.920 --> 00:24:52.380 there's definitely a legacy of as much as like 00:24:52.380 --> 00:24:57.460 things like Nevermind and Ten like defined the 00:24:57.460 --> 00:25:01.099 hard rock alternative grunge thing Dave Matthews 00:25:01.099 --> 00:25:05.430 band was the figurehead really for that the jam 00:25:05.430 --> 00:25:07.670 band stuff at the time, whether, you know, there 00:25:07.670 --> 00:25:10.029 are other groups, but they were they were the 00:25:10.029 --> 00:25:12.950 ones everyone knew. Yeah. And so this album was 00:25:12.950 --> 00:25:16.789 released in 94. And I think it took about like 00:25:16.789 --> 00:25:19.309 a maybe a two year period there for, you know, 00:25:19.450 --> 00:25:21.849 it really to explode. And then by the time the 00:25:21.849 --> 00:25:24.210 crash came out, you know, it was huge. But I 00:25:24.210 --> 00:25:27.470 wonder, you know, Jerry Garcia died right around 00:25:27.470 --> 00:25:30.420 this time. And I wonder if. You know, that had 00:25:30.420 --> 00:25:32.700 something to do with kind of a resurgence in 00:25:32.700 --> 00:25:35.700 this, you know, jam band idea. Could be because 00:25:35.700 --> 00:25:38.680 people looking to fill the gaps left behind. 00:25:38.759 --> 00:25:42.000 Could be. Yeah. Well, under the table and dreaming's 00:25:42.000 --> 00:25:46.220 90s jam leaning jazz infused rock charmed deadhead 00:25:46.220 --> 00:25:49.279 wannabes and white cap wearing frat boys alike. 00:25:49.319 --> 00:25:56.279 Does it charm you? Let us know. Excuse me. I'd 00:25:56.279 --> 00:26:01.380 like to ask you a few questions. It's time again 00:26:01.380 --> 00:26:06.660 for Deep Questions by Don. So we've been talking 00:26:06.660 --> 00:26:10.519 about the Daves we know in the musical landscape. 00:26:11.240 --> 00:26:13.319 What about some other Daves? What other Daves 00:26:13.319 --> 00:26:16.440 do you know? Well,

I'm gonna go off the beaten 00:26:16.440 --> 00:26:19.039 path here and this is not music related. Dave 00:26:19.039 --> 00:26:22.700 Thomas, founder of Wendy's. Wendy's was such 00:26:22.700 --> 00:26:25.519 a huge part of my life in high school and college 00:26:25.519 --> 00:26:28.500 in terms of like, you know, the 99 cent menu. 00:26:28.920 --> 00:26:30.599 And there's one right across the street from 00:26:30.599 --> 00:26:33.099 the record store I worked at. So I, I just think 00:26:33.099 --> 00:26:35.900 about how much Wendy's I had and how many frosties 00:26:35.900 --> 00:26:39.339 I had. And did you do the big classic? No, I 00:26:39.339 --> 00:26:42.980 got the, uh, the, the junior bacon cheese burger. 00:26:42.980 --> 00:26:46.420 So I'd get like three of those. fries and chili 00:26:46.420 --> 00:26:49.319 and dip my fries in the chili on my break from 00:26:49.319 --> 00:26:53.359 work. Those square burger patties were just groundbreaking. 00:26:53.720 --> 00:26:55.619 It was. It was like, well, and they had a salad 00:26:55.619 --> 00:26:58.980 bar thing at the time. Oh, yeah. So yeah, definitely 00:26:58.980 --> 00:27:01.279 Dave Thomas. I mean, I could have said Dave Coulier 00:27:01.279 --> 00:27:03.700 and a bunch of other actors and stuff, but I 00:27:03.700 --> 00:27:05.500 don't know people. He used to do the commercials, 00:27:05.500 --> 00:27:07.940 so he was, he was for fun. And he was real. It 00:27:07.940 --> 00:27:10.099 wasn't like an actor and it wasn't. Yeah. He 00:27:10.099 --> 00:27:12.119 was just a real dude, like looked like he could 00:27:12.119 --> 00:27:13.960 be your grandpa or whatever. And there was just 00:27:13.960 --> 00:27:17.940 something. It just felt comfy going there. I 00:27:17.940 --> 00:27:19.859 guess I'm old fashioned. I think people should 00:27:19.859 --> 00:27:21.779 be able to eat good food without spending much 00:27:21.779 --> 00:27:24.119 money. So Wendy's is introducing a new super 00:27:24.119 --> 00:27:27.079 value menu, including our new junior bacon cheeseburger. 00:27:29.210 --> 00:27:32.509 I wonder if the Dunkin' Donuts guy was real at 00:27:32.509 --> 00:27:34.630 the time to make the donuts. Yeah, I used to 00:27:34.630 --> 00:27:41.390 live there. Well, I'll do the actor thing. David 00:27:41.390 --> 00:27:45.450 Hyde Pierce. Oh, OK, there you go. So, you know, 00:27:45.529 --> 00:27:48.589 one of my favorite sitcoms of all time is Frazier 00:27:48.589 --> 00:27:51.980 and of course, David Hyde Pierce. played Niles 00:27:51.980 --> 00:27:55.380 Crane, Frazier's brother. And I mean, it's a 00:27:55.380 --> 00:27:57.960 great ensemble cast. I mean, the show's just 00:27:57.960 --> 00:28:02.259 perfect. Just the casting and the dynamics, the 00:28:02.259 --> 00:28:06.220 chemistry. Yeah. Yeah. But for me, the star of 00:28:06.220 --> 00:28:10.220 the show is Niles. Yeah. I mean, it just has 00:28:10.220 --> 00:28:13.200 some of the best lines and even some of the. 00:28:13.259 --> 00:28:15.880 If you ever if you're into like slapstick comedy, 00:28:16.420 --> 00:28:19.460 the the scene where he is ironing and then cuts 00:28:19.460 --> 00:28:22.279 himself and. Well, yeah, those silent, those 00:28:22.279 --> 00:28:25.880 not like they had a lot of non speaking scenes 00:28:25.880 --> 00:28:30.740 with him doing like kind of silent films. Buster 00:28:30.740 --> 00:28:33.039 Keaton kind of thing. And a lot of times at the 00:28:33.039 --> 00:28:34.839 end of the show, when the theme song was playing, 00:28:35.019 --> 00:28:36.940 the little bit they would have going on there, 00:28:37.059 --> 00:28:39.589 he was in the. A lot of those are always good 00:28:39.589 --> 00:28:42.990 too. But yeah, I agree. Frazier, the character 00:28:42.990 --> 00:28:45.630 by itself as it had come from the show, Cheers, 00:28:45.869 --> 00:28:48.150 couldn't have, couldn't have held that show up 00:28:48.150 --> 00:28:52.789 without the cast. And definitely Niles is a big 00:28:52.789 --> 00:28:56.130 part of that. He made Frazier seem like the, 00:28:56.130 --> 00:28:59.569 like the more grounded regular dude, even though 00:28:59.569 --> 00:29:02.420 he was a snob too. Remember what mom always said, 00:29:02.740 --> 00:29:06.339 a handshake is as good as a hug. All right. Well, 00:29:06.339 --> 00:29:08.880 what are some Dave's you know? Let us know on 00:29:08.880 --> 00:29:11.059 our social media like Instagram and Facebook 00:29:11.059 --> 00:29:16.559 and Album Nerds. It's been a while since I've 00:29:16.559 --> 00:29:20.200 talked about this band, like theoretically on 00:29:20.200 --> 00:29:24.559 the show. Sure. The Foo Fighters and David Eric 00:29:24.559 --> 00:29:27.559 Grohl. Oh, yeah. There's the Dave. There's the 00:29:27.559 --> 00:29:32.160 Dave and kind of like the face of rock music, 00:29:32.160 --> 00:29:35.440 you know, the past and the future all at the 00:29:35.440 --> 00:29:38.680 same time. Founder, lead singer, guitarist, principal 00:29:38.680 --> 00:29:40.960 songwriter for Foo Fighters, obviously the former 00:29:40.960 --> 00:29:45.359 drummer of Nirvana. In 86, Dave joined the punk 00:29:45.359 --> 00:29:49.880 band Scream at 17 years old and then joined Nirvana. 00:29:50.500 --> 00:29:55.079 After that, after Kurt Cobain's death, he released 00:29:55.079 --> 00:29:58.700 a album called Foo Fighters in 95, where he played 00:29:58.700 --> 00:30:01.720 pretty much all the stuff. Very raw, a little 00:30:01.720 --> 00:30:07.740 more punk DIY energy. And then in May of 1997 00:30:07.740 --> 00:30:10.339 comes the color and the shape, a really full 00:30:10.339 --> 00:30:13.240 band treatment of the Foo Fighters. So this is 00:30:13.240 --> 00:30:14.940 their second album. It's kind of a blueprint 00:30:14.940 --> 00:30:18.380 for the big hooks, the tighter songwriting, the 00:30:18.380 --> 00:30:23.000 more aggressive edge. The loud, quiet dynamics 00:30:23.000 --> 00:30:26.839 worked out in a

new way produced by Gil Norton, 00:30:27.160 --> 00:30:30.740 who worked with bands such as Pixies, Echo and 00:30:30.740 --> 00:30:35.200 the Bunnymen, Jimmy Eat World. And why don't 00:30:35.200 --> 00:30:38.460 we kind of get into things here with the very 00:30:38.460 --> 00:30:42.240 short, soft intro opening track called Doll. 00:30:52.339 --> 00:30:56.140 So, you know, after the first album, Dave formed 00:30:56.140 --> 00:30:59.460 a touring band, Nate Mandel on bass, Pat Smear 00:30:59.460 --> 00:31:03.779 on guitar, and drummer William Goldsmith. Now, 00:31:03.799 --> 00:31:07.319 Goldsmith recorded some of these songs, but then 00:31:07.319 --> 00:31:10.319 he left the band after Dave redid the drums on 00:31:10.319 --> 00:31:12.599 almost every track, because he didn't like how 00:31:12.599 --> 00:31:15.539 it sounded. And Doll was one of the few where 00:31:15.539 --> 00:31:19.019 they kept Goldsmith's drumming. Up in Arms is 00:31:19.019 --> 00:31:21.869 the other one. But it's a song about being afraid 00:31:21.869 --> 00:31:23.769 to enter into something you're not prepared for. 00:31:23.809 --> 00:31:26.250 And this album is largely about Dave Grohl's, 00:31:26.250 --> 00:31:27.750 I can't believe at this point he was already 00:31:27.750 --> 00:31:31.029 getting a divorce, but about his divorce. So 00:31:31.029 --> 00:31:34.009 a lot of the songs touch on that sort of a therapy 00:31:34.009 --> 00:31:37.349 session. What were your thoughts on on Doll as 00:31:37.349 --> 00:31:41.390 the opener? The album is mostly heavy. and upbeat 00:31:41.390 --> 00:31:45.089 and I like when albums begin with kind of a curve 00:31:45.089 --> 00:31:47.869 ball. So it's not quite what I expected, but 00:31:47.869 --> 00:31:50.970 it does actually lead right into the next track. 00:31:51.509 --> 00:31:53.690 So I like it. Yeah, I think it's an effective 00:31:53.690 --> 00:31:56.710 opener. Yeah, I think it's kind of supposed to 00:31:56.710 --> 00:31:58.470 put you on your heels and not quite understand 00:31:58.470 --> 00:32:01.650 what's happening and then comes the monkey wrench. 00:32:10.559 --> 00:32:14.500 the lead single kind of a breakout for the Foo 00:32:14.500 --> 00:32:16.500 Fighters they had had hits off of the first record 00:32:16.500 --> 00:32:19.160 but so this one's specifically about the breakdown 00:32:19.160 --> 00:32:22.920 of his first marriage and not wanting to throw 00:32:22.920 --> 00:32:25.220 a wrench in the works for his ex that he was 00:32:25.220 --> 00:32:27.039 kind of at fault I mean the guy was on tour all 00:32:27.039 --> 00:32:30.000 the time and stuff so I imagine felt like he 00:32:30.000 --> 00:32:34.720 was kind of ruining her life And the guitars 00:32:34.720 --> 00:32:38.059 are using the drop D tuning and palm muted verses. 00:32:38.220 --> 00:32:40.380 I mean, it's pretty typical of what the Foo Fighters 00:32:40.380 --> 00:32:43.579 became. I think a very recognizable signature 00:32:43.579 --> 00:32:46.559 sound in this space somehow. Yeah, they're like 00:32:46.559 --> 00:32:51.059 it's almost like a wall of distorted layers or 00:32:51.059 --> 00:32:53.759 something, you know, but different from like 00:32:53.759 --> 00:32:56.960 what Smashing Pumpkins did earlier. They do have 00:32:56.960 --> 00:32:59.539 a distinct sound. I'll give you that. Yeah. And 00:32:59.539 --> 00:33:02.750 the quiet, loud dynamics really come through 00:33:02.750 --> 00:33:05.309 here. I read that Grohl said something along 00:33:05.309 --> 00:33:07.490 the lines of realizing you're the source of all 00:33:07.490 --> 00:33:09.549 the problems in a relationship and you love the 00:33:09.549 --> 00:33:11.470 other person so much you want to free them of 00:33:11.470 --> 00:33:16.049 the problem, which is yourself. That's a, I like 00:33:16.049 --> 00:33:19.910 that kind of self awareness. Yes. But that, uh, 00:33:19.950 --> 00:33:22.190 the bridge, the famous scream section, which 00:33:22.190 --> 00:33:24.309 is for me, when I heard this song for the first 00:33:24.309 --> 00:33:26.970 time, I'm like, Oh shit, they're really odd to 00:33:26.970 --> 00:33:29.609 something. Cause he used a little on the, on 00:33:29.609 --> 00:33:33.009 the first record, but I didn't just such a metal, 00:33:33.150 --> 00:33:36.500 like a metal vocalist sound. Yeah. that one last 00:33:36.500 --> 00:33:38.740 thing before I quit, I never wanted any more 00:33:38.740 --> 00:33:40.839 than I could fit into my head. I still remember 00:33:40.839 --> 00:33:42.880 every single word you said and all the shit that 00:33:42.880 --> 00:33:45.079 somehow came along with it. But then the final 00:33:45.079 --> 00:33:47.279 line where it says, still there's one thing that 00:33:47.279 --> 00:33:49.539 comforts me since I was always caged and now 00:33:49.539 --> 00:33:52.619 I'm free. Wow, that's good. And that guitar intro 00:33:52.619 --> 00:33:55.359 is one of the, I mean, that's unmistakable when 00:33:55.359 --> 00:33:57.440 you hear that. Yeah, it happens with the Foo 00:33:57.440 --> 00:34:01.680 Fighters a lot for me that the songs are so catchy. 00:34:02.390 --> 00:34:05.230 and kind of poppy that you almost don't realize 00:34:05.230 --> 00:34:08.590 how heavy they are. Yeah, I agree. Yeah, I think 00:34:08.590 --> 00:34:12.409 there is sort of a misdirect there. I'm not quite 00:34:12.409 --> 00:34:15.449 sure how they do it. That's I think what the 00:34:15.449 --> 00:34:17.889 unique sound is that they're deceptively heavy, 00:34:17.889 --> 00:34:20.369 but it's so damn catchy that you think you're 00:34:20.369 --> 00:34:23.230 listening to 60s pop rock. All right, Don, what 00:34:23.230 --> 00:34:26.809 song did you want to talk about? Well, another 00:34:26.809 --> 00:34:34.360 big cut from the album is Everlong. I'm waiting 00:34:34.360 --> 00:34:42.949 here for you Don, do you remember Howard Stern 00:34:42.949 --> 00:34:45.389 was a big fan of the Foo Fighters and

specifically 00:34:45.389 --> 00:34:48.489 this song and on the Stern show way back then, 00:34:48.530 --> 00:34:51.949 you know, 25, six years ago, he would always 00:34:51.949 --> 00:34:54.250 try and get, he would try and sing it and like, 00:34:54.530 --> 00:34:56.309 if I wrote a perfect song like that, even I could 00:34:56.309 --> 00:34:59.829 have a hit and he'd try to sing it. I always 00:34:59.829 --> 00:35:01.630 think of that when I hear this song now. Yeah, 00:35:01.630 --> 00:35:06.309 I do too. This one is credited just to Dave Grohl. 00:35:06.969 --> 00:35:12.170 I just, I really like that. kind of droney verse. 00:35:14.170 --> 00:35:18.329 I just love that soundscape there. But then it 00:35:18.329 --> 00:35:21.590 kicks into the chorus and, anything could ever 00:35:21.590 --> 00:35:25.070 be this good. It's just such a well -written 00:35:25.070 --> 00:35:30.090 rock track. I think it's probably the first Foo 00:35:30.090 --> 00:35:34.070 Fighters song that ever really got my attention. 00:35:34.269 --> 00:35:36.050 Yeah, I think that line, if everything could 00:35:36.050 --> 00:35:38.969 ever feel this real forever is something we all, 00:35:39.090 --> 00:35:41.949 like those magic moments, those little things 00:35:41.949 --> 00:35:44.570 that happen in our life and it just feels like 00:35:44.570 --> 00:35:46.989 it's everything at that time and then it fades 00:35:46.989 --> 00:35:50.550 away and wanting to retain that. That's what 00:35:50.550 --> 00:35:53.449 this Everlong, this idea of never letting go 00:35:53.449 --> 00:35:56.829 of those magic moments. Yeah, and you know, not 00:35:56.829 --> 00:36:00.210 to get to, uh, you know, celebrity gossipy, but 00:36:00.210 --> 00:36:02.510 I supposedly, I just, this must be after the 00:36:02.510 --> 00:36:05.829 divorce. And he started to falling in love with, 00:36:05.829 --> 00:36:10.110 uh, Louise post from Veruca salt. Yeah. That's 00:36:10.110 --> 00:36:12.429 not very good enough. That's true. Yeah. They 00:36:12.429 --> 00:36:15.250 were good. The, the, the see there. Yep. Can't 00:36:15.250 --> 00:36:18.050 find the see there. Yep. Just in a little club. 00:36:18.429 --> 00:36:20.929 You had your finger on the pulse. I did for a 00:36:20.929 --> 00:36:23.880 short time. As we all do, there's that moment 00:36:23.880 --> 00:36:26.679 when we're cool. Everyone has a short period 00:36:26.679 --> 00:36:29.360 where they're totally cool. And then for me, 00:36:29.480 --> 00:36:32.239 anyway, it went away. Some are shorter than others. 00:36:33.699 --> 00:36:35.900 Yeah. So, I mean, Everlong, again, one of those 00:36:35.900 --> 00:36:39.780 iconic ones that has seeped into pop culture, 00:36:40.019 --> 00:36:43.219 I think. So to close it out, why don't we listen 00:36:43.219 --> 00:36:57.699 to the track New Way Home. The least offensive 00:36:57.699 --> 00:37:01.659 gravel scream in the business like It does not 00:37:01.659 --> 00:37:04.460 put people's shoulders up

to their up their necks, 00:37:04.480 --> 00:37:06.639 you know, like I don't know how he does it It's 00:37:06.639 --> 00:37:09.380 an accessible scream. I love it. Good point, 00:37:09.579 --> 00:37:12.159 but I love those moments the saw whenever it's 00:37:12.159 --> 00:37:14.860 soft You can pretty much count on you know, you 00:37:14.860 --> 00:37:16.659 hear something winding up. It's like here comes 00:37:16.659 --> 00:37:18.980 here comes here comes and they never disappoint 00:37:18.980 --> 00:37:21.949 in this song You know, it's about winding your 00:37:21.949 --> 00:37:24.170 way through like all the songs all the emotions 00:37:24.170 --> 00:37:26.469 the pitfalls and all that stuff And then you 00:37:26.469 --> 00:37:28.269 realize you're not scared anymore and you're 00:37:28.269 --> 00:37:31.769 gonna make it right? Yeah, and I'm not scared 00:37:31.769 --> 00:37:34.869 like it's all soft and then it's like, you know 00:37:34.869 --> 00:37:38.289 The the screaming is the declaration of I am 00:37:38.289 --> 00:37:41.090 ready to to move on and do more new things in 00:37:41.090 --> 00:37:43.409 my life Yeah, I think he is he making references 00:37:43.409 --> 00:37:46.730 to the like literally like walking home. So I 00:37:46.730 --> 00:37:49.429 think he's mentioning like Seattle landmarks 00:37:49.429 --> 00:37:51.949 and stuff. Yeah, as I mentioned of the kingdom. 00:37:52.289 --> 00:37:55.489 Yeah. But yeah, the it's five minutes and 40 00:37:55.489 --> 00:37:58.869 seconds, the longest on the album, the most developed, 00:37:58.869 --> 00:38:02.130 you know, but a really great closer and certainly 00:38:02.130 --> 00:38:06.210 a nice counterpoint to doll where it's kind of 00:38:06.210 --> 00:38:09.920 meekly coming in from this sort of. being scared 00:38:09.920 --> 00:38:12.099 perspective. And at the end, I'm not scared anymore. 00:38:12.099 --> 00:38:14.500 So I think it works really well. That's another 00:38:14.500 --> 00:38:17.440 one that is just kind of droney. Yeah. Like the 00:38:17.440 --> 00:38:20.719 guitar part. I just realized in the lyric of 00:38:20.719 --> 00:38:23.860 Doll, they do say, I've never been so scared. 00:38:23.900 --> 00:38:27.400 And then on this one, I'm not scared. So I think 00:38:27.400 --> 00:38:30.599 it's a pretty clear line between the two. I hadn't 00:38:30.599 --> 00:38:33.079 put that together till just now. No, me either. 00:38:33.380 --> 00:38:36.059 All right. Well, why don't we rewind and reflect 00:38:36.059 --> 00:38:41.840 on the color and shape. I'll kick this one off 00:38:41.840 --> 00:38:44.920 with my clickbait headline. This is the Dave 00:38:44.920 --> 00:38:47.800 I know. Foo Fighters finally find their Foo Fighterness 00:38:47.800 --> 00:38:51.400 in Big Hook's bigger emotion and controlled chaos. 00:38:52.179 --> 00:38:54.519 It's built around that whole controlled emotional 00:38:54.519 --> 00:38:58.659 escalation, quiet intros, explosive choruses, 00:38:59.099 --> 00:39:02.719 simple riffs, but they all escalate. The energy 00:39:02.719 --> 00:39:05.579 of this band comes from that escalation and de 00:39:05.579 --> 00:39:10.099 -escalation. It's hard. really heavy rock, but 00:39:10.099 --> 00:39:12.039 so accessible that you don't even notice it's 00:39:12.039 --> 00:39:14.619 heavy. Yep. Well, I'll give you my clickbait 00:39:14.619 --> 00:39:17.880 headline. Color and the shape turn straight ahead 00:39:17.880 --> 00:39:20.880 heavy guitars into sing along pop hooks. There 00:39:20.880 --> 00:39:25.820 you go. Nice. Yes. So a lot of these songs, you 00:39:25.820 --> 00:39:27.960 know, you could treat them differently and, you 00:39:27.960 --> 00:39:30.780 know, be quiet. different instrumentation and 00:39:30.780 --> 00:39:33.300 stuff like that, and I still think they're strong 00:39:33.300 --> 00:39:38.119 pop songs, but they really do have a knack for 00:39:38.119 --> 00:39:43.559 just creating this loud but palatable guitar 00:39:43.559 --> 00:39:47.360 sound. So yeah, for some reason I don't spend 00:39:47.360 --> 00:39:50.820 a lot of time with the Foo Fighters, but I do 00:39:50.820 --> 00:39:53.059 enjoy everything I listen to. Well, they have 00:39:53.059 --> 00:39:57.480 12 albums, so why don't you get to work. So Killer 00:39:57.480 --> 00:40:01.670 to Filler. There was, of course, My Hero, third 00:40:01.670 --> 00:40:03.989 single. It's about everyday people, ordinary 00:40:03.989 --> 00:40:07.230 heroes. I think we all know that. A hero could 00:40:07.230 --> 00:40:11.469 save us. Not that hero. It uses two separate 00:40:11.469 --> 00:40:15.369 drum tracks simultaneously, really big kind of 00:40:15.369 --> 00:40:19.269 a Led Zeppelin size boom to it. I think having 00:40:19.269 --> 00:40:22.170 the, you know. Are they both Dave's? Yeah, I'm 00:40:22.170 --> 00:40:24.309 sure. Yeah, I mean, that was a huge one. And 00:40:24.309 --> 00:40:27.369 I think another one that that everybody knows. 00:40:27.960 --> 00:40:31.219 You got some killers there, pal? Sure. You know, 00:40:31.300 --> 00:40:35.079 one of the lighter moments is See You, which 00:40:35.079 --> 00:40:37.099 I think is, you know, kind of an interesting 00:40:37.099 --> 00:40:40.360 track, more like more of a conversational vocal. 00:40:40.420 --> 00:40:43.559 And I think it's supposed to be kind of seeing 00:40:43.559 --> 00:40:47.019 someone after time apart or reflecting on somebody 00:40:47.019 --> 00:40:50.320 after time apart. It had a McCartney vibe to 00:40:50.320 --> 00:40:53.619 me, like McCartney solo stuff. Yeah, I can see 00:40:53.619 --> 00:40:55.599 that at the time. That's what I thought. Anyway, 00:40:56.260 --> 00:41:00.300 my poor brain. Very screamy. Love that one. Start, 00:41:00.440 --> 00:41:04.320 stop stuff. And then the the line. Sometimes 00:41:04.320 --> 00:41:06.500 I feel I'm getting stuck between the handshake 00:41:06.500 --> 00:41:11.460 and the fuck. I mean, that's a good line. I always

00:41:11.460 --> 00:41:13.840 appreciate it. Again, that's a screaming section 00:41:13.840 --> 00:41:16.900 right there. February stars, I think is beautiful. 00:41:17.159 --> 00:41:20.119 Yeah, I like that one, too. Kind of builds. That's 00:41:20.119 --> 00:41:22.159 another one that. you know, kind of climaxes. 00:41:22.159 --> 00:41:25.000 Yeah, I guess it's kind of about like just hanging 00:41:25.000 --> 00:41:27.320 on by the tips of your fingers, hoping that you 00:41:27.320 --> 00:41:30.619 won't slip and fall and fuck everything up. And 00:41:30.619 --> 00:41:33.320 it does have the like electric wall of sound 00:41:33.320 --> 00:41:36.159 type thing. But there's a lot of ballads on future 00:41:36.159 --> 00:41:38.559 albums that I think, you know, take their cue 00:41:38.559 --> 00:41:41.199 from this and it works well for them. Anything 00:41:41.199 --> 00:41:43.800 else? Well, no fillers, really. I mean, we could 00:41:43.800 --> 00:41:46.239 just keep listening tracks if you want. Wind 00:41:46.239 --> 00:41:48.219 Up is a good one. Wind Up is a great one. Yes. 00:41:48.360 --> 00:41:50.519 Yeah, it's a quick one. One of the shortest ones 00:41:50.519 --> 00:41:54.139 on the record, but it's very aggressive and it 00:41:54.139 --> 00:41:57.019 moves quick and it works really well. It's about 00:41:57.019 --> 00:41:59.940 the press in the music industry and consuming 00:41:59.940 --> 00:42:02.840 and packaging artists and wait until you see 00:42:02.840 --> 00:42:05.099 me wind up, you know. That makes sense. All right, 00:42:05.139 --> 00:42:06.920 yeah, we could keep listening songs, but we probably 00:42:06.920 --> 00:42:09.340 need to get moving. So production, what's your 00:42:09.340 --> 00:42:12.760 thoughts here on production? Well, I know Gil 00:42:12.760 --> 00:42:14.880 Norton. I'm sure you do. Gil Norton was a friend 00:42:14.880 --> 00:42:19.099 of mine. Actually, we just did the Pixies album 00:42:19.099 --> 00:42:22.119 recently, Doolittle. That was his work there. 00:42:22.280 --> 00:42:26.179 Actually, I found some similarity there. Maybe 00:42:26.179 --> 00:42:30.320 the guitar distortion or something. I had actually 00:42:30.320 --> 00:42:32.360 made the connection between Foo Fighters and 00:42:32.360 --> 00:42:34.280 Pixies before. I remember one time listening 00:42:34.280 --> 00:42:38.099 to an old Pixies record and then went right into 00:42:38.099 --> 00:42:41.699 a Foo Fighters album and I could just see the 00:42:41.699 --> 00:42:45.239 - I won't say evolution, but just the ancestral 00:42:45.239 --> 00:42:48.139 connection or something. I'm not sure exactly 00:42:48.139 --> 00:42:50.059 what it is. I mean, well, maybe the loud, quiet 00:42:50.059 --> 00:42:54.139 stuff, but also just sort of that more dreamy 00:42:54.139 --> 00:42:57.360 heaviness or something or atmospheric heaviness. 00:42:57.380 --> 00:43:00.099 Yeah, it's defined kind of by its compression 00:43:00.099 --> 00:43:03.860 of multiple layers into this like kind of it's 00:43:03.860 --> 00:43:08.679 like a high impact mix. Holds up really well. 00:43:08.800 --> 00:43:11.179 I think the guitar tones are classic and timeless. 00:43:11.480 --> 00:43:14.559 It's not. It doesn't feel like 1997. Just feels 00:43:14.559 --> 00:43:16.340 like the Foo Fighters because they just continue 00:43:16.340 --> 00:43:20.380 to turn out records that, although in this sonic 00:43:20.380 --> 00:43:23.219 universe, do not sound like copies of themselves. 00:43:24.139 --> 00:43:26.960 Replay value. Yeah. I mean, like I said before, 00:43:27.079 --> 00:43:29.179 I mean, I pretty much like everything I hear 00:43:29.179 --> 00:43:31.699 from the Foo Fighters. So, but yeah, I just have 00:43:31.699 --> 00:43:34.599 to remind myself to listen. When I first got 00:43:34.599 --> 00:43:36.340 this and first heard it, I thought it was the 00:43:36.340 --> 00:43:40.539 best album of all time for a while there. I do 00:43:40.539 --> 00:43:42.860 still enjoy it. I will continue to listen to 00:43:42.860 --> 00:43:45.500 it and the rest of their discography. Well, you 00:43:45.500 --> 00:43:48.340 needed something to latch on to as grunge faded 00:43:48.340 --> 00:43:51.539 away. Yeah, it was all dying and these guys saved 00:43:51.539 --> 00:43:55.349 me. Legacy wise, what are your thoughts? Well, 00:43:55.349 --> 00:43:57.329 first of all, I mean, it's just amazing that 00:43:57.329 --> 00:44:00.550 the drummer from Nirvana went on and had like 00:44:00.550 --> 00:44:03.210 a, you know, basically just carrying the torch 00:44:03.210 --> 00:44:06.429 for rock and roll into the in to now. And in 00:44:06.429 --> 00:44:09.530 many ways, it's like kind of a Neil Young type 00:44:09.530 --> 00:44:12.590 character in the space is being like the not 00:44:12.590 --> 00:44:15.630 the godfather of grunge, but still like a figure 00:44:15.630 --> 00:44:19.469 that represents rock and roll and and how important 00:44:19.469 --> 00:44:23.030 it is and all that stuff. So he's like an ambassador. 00:44:23.530 --> 00:44:26.489 of rock and roll. I think Neil Young has kind 00:44:26.489 --> 00:44:29.190 of served that role as well. That's true. And 00:44:29.190 --> 00:44:33.889 I think it's also important because it was side 00:44:33.889 --> 00:44:37.269 by side with the butt rock stuff. Yeah. But and 00:44:37.269 --> 00:44:39.030 it maybe has a few things in common with that, 00:44:39.030 --> 00:44:41.849 but it's different. It became arena rock, you 00:44:41.849 --> 00:44:46.210 know, like I would say in a similar space the 00:44:46.210 --> 00:44:49.190 Queen was in, in the late 70s and early 80s. 00:44:49.550 --> 00:44:51.550 So anyway, Color in the Shape is a record that 00:44:51.550 --> 00:44:54.559 takes heartbreak, pressure. and volume turns 00:44:54.559 --> 00:44:56.820 it into something you can shout back at full 00:44:56.820 --> 00:44:59.320 strength and gives you a dave to love in every 00:44:59.320 -->

00:45:04.139 chorus check it out can you dig it can you dig 00:45:04.139 --> 00:45:12.239 it can you dig it so on your way back from hanging 00:45:12.239 --> 00:45:15.360 out with dave whichever dave it might have been 00:45:15.360 --> 00:45:18.960 did you uh find anything else to dig i gotta 00:45:18.960 --> 00:45:22.010 tell you don i was really missing dave It just 00:45:22.010 --> 00:45:24.670 so happens that the Foo Fighters newest album 00:45:24.670 --> 00:45:28.090 just came out last week, so I had to dig into 00:45:28.090 --> 00:45:30.469 that one and listen. Early front runner for album 00:45:30.469 --> 00:45:33.389 of the year? Oh, I wouldn't even start to think 00:45:33.389 --> 00:45:35.449 about that, but it's called Your Favorite Toy, 00:45:35.789 --> 00:45:39.250 12th studio album, released April 24th, recorded 00:45:39.250 --> 00:45:41.610 mainly at Dave Grohl's home studio, co -produced 00:45:41.610 --> 00:45:44.670 by the band and Oliver Roman. It's a little raw. 00:45:44.809 --> 00:45:46.690 They have their new drummer, their second new 00:45:46.690 --> 00:45:49.539 drummer since Taylor passed. So why don't we 00:45:49.539 --> 00:45:52.739 listen to a little bit of Caught in the Echo. 00:45:57.019 --> 00:46:02.139 It's the Foo Fighters. That's Dave, really not 00:46:02.139 --> 00:46:04.780 much more you could say. You know, punk edges, 00:46:05.199 --> 00:46:08.780 aggressive riffs, hook driven, 36 minutes. So 00:46:08.780 --> 00:46:10.900 for 36 minutes, I think it's definitely worth 00:46:10.900 --> 00:46:13.960 at least one spin. Sure. See what the foos are 00:46:13.960 --> 00:46:17.039 up to now. All right. And then another Dave. 00:46:17.800 --> 00:46:21.719 Wow. From my vinyl collection, David Lee Roth 00:46:21.719 --> 00:46:26.719 with his 1985 EP, solo EP, Crazy From The Heat. 00:46:27.139 --> 00:46:29.360 Of course, Van Halen lead singer. He still was 00:46:29.360 --> 00:46:31.579 the lead singer at this point, technically. I 00:46:31.579 --> 00:46:35.420 think this, this project may have been one of 00:46:35.420 --> 00:46:38.019 the final nails in the coffin of, of him being 00:46:38.019 --> 00:46:41.659 in the band, but it does have a cover of California 00:46:41.659 --> 00:46:44.699 Girls. And of course. The very weird choice. 00:46:45.239 --> 00:46:57.340 Just a jiggle -o. What was he think? Like... 00:46:57.340 --> 00:47:01.880 It's so un -van Halen. Just a weird choice, but 00:47:01.880 --> 00:47:04.380 man, it was a huge hit. I remember that as a 00:47:04.380 --> 00:47:11.019 kid in all the school. Just so weird. But that's 00:47:11.019 --> 00:47:14.000 certainly a Dave. I'm happy to know he's a kook. 00:47:14.239 --> 00:47:16.539 And we're all I think it's four songs that were 00:47:16.539 --> 00:47:19.400 all four covers, I think. Yeah. So he covered 00:47:19.400 --> 00:47:22.699 Edgar Winter Group, Louie Prima on Just a Jiggle 00:47:22.699 --> 00:47:25.280 -O, California Girls by the Beach Boys and Coconut 00:47:25.280 --> 00:47:28.519 Grove by the Lovin' Spoonfuls. So he later established 00:47:28.519 --> 00:47:31.000 a hard rock sound on his other solo albums. But 00:47:31.000 --> 00:47:34.380 this was just a curiosity in the world of that 00:47:34.380 --> 00:47:37.329 Dave. What you got, man? Maybe it was because 00:47:37.329 --> 00:47:40.269 I was thinking about shapes and colors, but I 00:47:40.269 --> 00:47:43.969 found an album by a band called The Reds, Pinks, 00:47:44.210 --> 00:47:47.489 and Purples. And the album's called Acknowledge 00:47:47.489 --> 00:47:50.389 Kindness, just came out this year. It's a San 00:47:50.389 --> 00:47:54.570 Francisco indie project by a guy named Glenn 00:47:54.570 --> 00:47:57.070 Donaldson. And so I've officially taken us away 00:47:57.070 --> 00:48:01.769 from Dave's. Damn you. We're on a roll. I think 00:48:01.769 --> 00:48:04.469 he's known for doing kind of more like lo -fi 00:48:04.469 --> 00:48:08.409 sounding things, but you know, reflective songwriting. 00:48:09.050 --> 00:48:11.210 This one is a little more layered, a little less 00:48:11.210 --> 00:48:14.510 lo -fi, mo -fi, maybe we'll call it. Anyway, 00:48:14.670 --> 00:48:25.920 here's a song called Heaven of Love. I'm used 00:48:25.920 --> 00:48:28.039 to the Dave energy out here. What's going on? 00:48:28.420 --> 00:48:33.139 Yeah. Well, he isn't a Dave, but maybe more of 00:48:33.139 --> 00:48:36.059 the energy you're looking for. There's a documentary 00:48:36.059 --> 00:48:38.500 film that I think you can find on Hulu. I think 00:48:38.500 --> 00:48:40.679 that's where I watched it. It's called Billy 00:48:40.679 --> 00:48:44.320 Idol Should Be Dead, a film by Jonas Akerlund, 00:48:44.639 --> 00:48:47.679 but it's a documentary about Billy Idol, his 00:48:47.679 --> 00:48:51.719 rise from punk roots in Generation X to his MTV 00:48:51.719 --> 00:48:55.570 superstardom. Actually, in that David Lee Roth 00:48:55.570 --> 00:48:57.849 video, I remember there was a spoof of Billy 00:48:57.849 --> 00:49:01.409 Adel's video for this song here, Dancing With 00:49:01.409 --> 00:49:10.429 Myself. I assume you heard the same thing I did 00:49:10.429 --> 00:49:13.690 at the time of what Dancing With Myself was potentially 00:49:13.690 --> 00:49:17.360 referring to. I don't think that's... They tell 00:49:17.360 --> 00:49:19.280 the story of the documentary actually. So it's 00:49:19.280 --> 00:49:23.500 not about self -love. No, no, it was about just 00:49:23.500 --> 00:49:25.300 being at a club and there was like a mirrored 00:49:25.300 --> 00:49:29.039 wall or something. Yeah, it's interesting. I 00:49:29.039 --> 00:49:32.179 mean, Billy Idol was just such a mess in the 00:49:32.179 --> 00:49:35.000 80s and he wasn't really a likable character, 00:49:35.019 --> 00:49:37.420 I would say. But now, when they're talking to 00:49:37.420 --> 00:49:39.900 him, he just seems like a... Just a really cool 00:49:39.900 --> 00:49:41.659 guy, somebody you'd want to hang out with. And 00:49:41.659 --> 00:49:44.079 he's a good grandfather. I think his appearance 00:49:44.079 --> 00:49:46.460 in The Wedding Singer really changed people's 00:49:46.460 --> 00:49:48.380 perspective. I mean, it was a made up version 00:49:48.380 --> 00:49:51.400 of him, but it changed how they viewed him. Yes. 00:49:51.699 --> 00:49:53.920 Yeah, I agree with that. But yeah, definitely, 00:49:54.019 --> 00:49:56.679 definitely worth watching. It's Billy Idol Should 00:49:56.679 --> 00:50:00.400 Be Dead. Good title. So what are you digging? 00:50:00.599 --> 00:50:02.840 Let us know. Join us on the socials, Facebook, 00:50:03.059 --> 00:50:06.239 Instagram, threads and blue sky at Album Nerds. 00:50:09.570 --> 00:50:12.989 It will be a discovery of extraordinary value. 00:50:16.730 --> 00:50:18.789 Well, it's time on the show, and I'm reminded 00:50:18.789 --> 00:50:23.650 of the words of Hal 9000 in 1968's 2001, A Space 00:50:23.650 --> 00:50:27.190 Odyssey. I'm sorry, Dave. I'm afraid I can't 00:50:27.190 --> 00:50:31.349 do that. It was good. Thanks. Dave was the guy 00:50:31.349 --> 00:50:33.730 that the supercomputer was essentially trying 00:50:33.730 --> 00:50:36.099 to kill. Just so you know. Yes. With that in 00:50:36.099 --> 00:50:38.500 mind, let's bring out the Wheel of Musical Discovery 00:50:38.500 --> 00:50:41.139 to find out what kind of albums we'll be discovering 00:50:41.139 --> 00:50:52.340 next time. Next time, we're diving into self 00:50:52.340 --> 00:50:55.719 -titled albums. From bold introductions to confident 00:50:55.719 --> 00:50:58.340 reinventions, we're spotlighting records where 00:50:58.340 --> 00:51:00.929 artists put their name front and center. making 00:51:00.929 --> 00:51:03.909 a statement about identity, sound, and who they 00:51:03.909 --> 00:51:15.000 are. Laziness, a true representation. Oftentimes 00:51:15.000 --> 00:51:18.440 it's the debut. Yeah. So we'll have to find out. 00:51:18.679 --> 00:51:20.780 All right. What's your favorite self -titled 00:51:20.780 --> 00:51:23.079 album? Who's your favorite Dave? What else are 00:51:23.079 --> 00:51:25.719 you listening to? Email us at podcast at albumnerds 00:51:25.719 --> 00:51:28.300 .com or follow us on Instagram and other social 00:51:28.300 --> 00:51:31.280 media at Album Nerds. And you can visit albumnerds 00:51:31.280 --> 00:51:35.599 .com to listen to all 335 episodes. And the best 00:51:35.599 --> 00:51:37.960 way to support this show is to share it. Please 00:51:37.960 --> 00:51:40.139 subscribe, rate, and review on your favorite 00:51:40.139 --> 00:51:42.900 podcast app. Thank you as always for joining 00:51:42.900 --> 00:51:45.219 us here on the program. We'll catch you next 00:51:45.219 --> 00:51:47.559 time with some self -contitulation.