Oasis, Rage Against the Machine & Iconic Rock Anthems on Trial

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Welcome to the first ever episode of Tracks on
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Trial, the podcast that cross -examines our playlists
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and finds us guilty of great taste. Today, three
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songs, three passionate defences, one ruthless
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jury and only two outcomes. Is it a topper or
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a flopper? Roll credits if we have some music.
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Maybe I'll find some later. So here we go, folks.
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First ever episode of Tracks on Trial. AJ, good
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morning. How are you? Good morning. I'm good,
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Sam. Good to see y 'all this morning. In the
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words of Cilla Black, not that I expect you to
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know her, what's your name and where'd you come
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from? Oh, I love that. Y 'all are going to get
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sick of me asking you to repeat things just because
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I want to hear the way y 'all talk. Cilla Black
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hosted a dating show for many years on TV. It's
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called Blind Date. Oh, yeah, yeah. I've actually
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watched it. Yeah, and she's a scouser from Liverpool.
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She was a very singer as well, wasn't she? She
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was, yeah, yeah. So she had a very strong accent.
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But her tagline was, what's your name and where'd
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you come from? Cute. I'm not as cute as that,
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but I... As you said, I'm AJ. I'm Amy Jo. I am
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actually currently in Corinth, Mississippi. I
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will be in Nashville tomorrow. And I originally
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came from Indiana. So I'm in the U .S. And I've
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been a little bit of a gypsy. So I'm kind of,
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you know, that's par for the course. So I've
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been a little bit of everywhere, but that's where
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I am now. Well, thank you so much for being part
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of this podcast experiment. We're going to have
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a lot of fun. Andy? who are you and where are
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you thank you i'm andy i am andy um i am from
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bristol in the uk and i moved to australia uh
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in 2018 so i just realized that actually the
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beauty of this podcast aj what you said there
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no one's in their original homes are they so
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um where we were born yeah that's another little
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uh usp it's the power of the internet right there
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So I'm Sam from Essex in the UK. Originally,
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now I live and work out of my beautiful studio
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here in sunny Spain. So living a blessed life
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out in the sunshine. So that's who we are. Isn't
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that fun and exciting? So the premise of this
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podcast is that we're three musicians who love
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music. We want to talk about some music. hopefully
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share some interesting things, but more importantly,
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have a bit of banter and a good time talking
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about something that we love. So each session,
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we're each going to bring one song to the table
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based upon a theme that will reasonably randomly
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be selected the week before. We're going to...
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pitch that song to the jury and figure out whether
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or not we think it's a decent tune we'll also
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bring you three honorable mentions so three songs
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that didn't quite make our number one pick but
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are well worth you knowing about all the songs
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that we talk about we're gonna stick on a spotify
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playlist for you so if you search up tracks on
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trial podcast on spotify there's a playlist where
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you can hear all of the songs that we talk about
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you'll hear a little bit of those songs clipped
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up during this podcast, but you can go and find
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them all on the playlist and digest them at your
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leisure. Shall we get stuck into Quickfire round
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one? Oh, interesting. I know, right? Didn't expect
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that, did you? No, I did not, Samuel. What are
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you here? That's weird. Well, do you want to
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start, Andy? No. Too bad. Andy's going to start.
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Right. With his first quick pitch, I've got a
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really scary woman doing a timer for you. Just
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so you know how she sounds, so you're not thrown
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off. So these are the honorable mentions, yeah?
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Yeah, honorable mention number one. She sounds
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like this. 15, 14, 13, 12. What a rocket ship.
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Terrifying. That sounds like my first date. That's
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all the time you got, buddy. And I still have
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time left over. Goodness gracious. There we go.
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We started off where we've been to go on. Yeah,
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that's the tone. That's the low end. Yeah. Right,
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you ready? You've got 15 seconds to pitch your
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first song. Here you go. Your time starts now.
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I was leaving school and then I was multi -genre
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on listening to music. Then this song and this
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band just took over my life. And I've been a
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fan ever since REM, Losing My Religion. Oh, you
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did it. Wow. I thought I nailed it for the first
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five seconds. Nah, you nailed it. acting that's
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very loud yeah it's a bit better than my speech
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at the ice awards maybe we need her voice and
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the timer on the thing behind us you know that
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would be so good that would work that would work
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that would stop people yapping on i think i don't
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know how enjoyable it would be for everyone else
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but yeah imagine that an hour in here and that
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not again That damn woman with her super straight
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voice all the time. Get the cane, get the cane,
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she's going too long. It'd be like a K -pop song,
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wouldn't it? So in case you didn't quite pick
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up on it there, the three of us know each other
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through an organisation called ISSA. ISSA is
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the International Singer Songwriters. association
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and uh we just met this august in atlanta their
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annual awards ceremony um and we thought these
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are a nice bunch of people let's let's do something
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together so we won the award we did yeah we did
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so winners yeah guys winners there we go Cool.
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REM, Losing My Religion. Absolute tune. You'll
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have heard a bit of it, or I'll put in a bit
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now. I don't know where it's going to be, but
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you'll hear 15 seconds of it. AJ, do you want
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to go? Ready with our terrifying woman? Here
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you go. Three, two, one. All right. I'll see
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your terrifying woman. I'll raise you a redneck
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woman. Oh, a redneck woman if I grow up tomorrow.
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I'm pretty... Three, two, one. My goodness me.
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You guys are too professional. I don't know about
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that. All I could hear was the woman. Gretchen
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Wilson. She's known as the redneck woman. Yeah,
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okay. Interesting. And if you can lower the volume
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of that dog as well, that'd be great. Whose is
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that? No pets in the studio. That's mine. She
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wanted to go outside and she doesn't ever bark
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if she's in the house. And then if I let her
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out and she wants to come back in, she barks.
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She knows you're on this. I'll have to go let
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her in because she'll shut up. Oh, yeah. No,
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see, it wasn't effective from the back door.
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So she came to the front door where I'm sitting.
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Here she is. Now I get to hear her paws running
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around. Her name is Dolly. She's a monster. Dolly,
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like Parton. Yep. Dolly Parton. Yep. She's got
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a little bling of teeth. Damn for the wins. She's
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got a little pink rhinestone collar on. Nice.
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Beautiful. Right. Dog's back in the house. Shall
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we continue with my pitch? Sorry, Sam. So, Sam,
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give us your 15 seconds. Do not be intimidated
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by the lady in the background. Right. Four absolute
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monsters of musicianship in a room. No vocals,
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no limits, just sheer progressive chaos. Paradigm
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shift is what happens when virtuosity becomes
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conversation. I literally wrote my dissertation
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at uni on this and I still don't think I've caught
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every note. Liquid tension experiment, paradigm
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shift. I think I was over, but you know, I'm
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hosting, so tough. You are so made for radio,
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mate. You really do take me back to the 90s radio
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world. Yeah. You've got voice for radio. That's
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what they say, isn't it? Stick a bag on it. Hey,
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no, no. Yeah, you've got a face for radio. I
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wouldn't say you've got a face for radio. But
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you definitely have the personality for radio.
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Is that okay? Give me that. You're very good
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at delivering this, actually. Maybe it's my secret
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calling. I feel like adults still don't know
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what they're doing and where they're going in
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life, no matter what age, most of the time. Like,
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you can switch gears at any point. I'm like,
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yeah. I mean, I'm not going to tell you how old
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I am. I'm not 40 yet, but I'm like, I'm still
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figuring out who I want to pretend to be. Yeah,
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I know the feeling. I'm not 40 anymore. Oh, man.
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Or anything with a four in it at all. Unfortunately.
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I'm half a century now. Well, well batted. Yeah.
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Yeah. Well, in case it was in doubt, I'm also
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not 40 yet. 38. Wow. I have been passed off for
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like late 30s. So I'll take that and I'll join
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you in your club. All right. Yeah. There we go.
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We'll just all stay like 38 forever. Perfect.
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Sounds good to me. like a bunch of peter pans
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absolutely beautiful so you've had a round of
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quickfire pitches three songs there for you but
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it's time to get into our long form stuff we
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have each selected and prepared some tracks for
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you um today oh i should probably tell you what
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our selection criteria was i haven't even told
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you that so because we this is our first episode
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we sort of plucked something out of the air and
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we decided our theme for today would be songs
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that we think we can't live without so those
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three quickfire tracks that we just gave you
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they are songs we think we can't live without
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and uh we're gonna get into some more detail
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now would either of you like to start ladies
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first oh okay what a gent what a what a scholar
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the old man knows his manners sometimes place
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yeah yeah exactly the floor is yours aj go for
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it all right looking forward This was a really
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hard, I'm sure you guys feel the same way. This
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is a really hard category for me because, you
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know, songs you can't live without. I mean, like
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as musicians, we've got like, what, 50 ,000 songs
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that have like shaped our love of music and,
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and style and everything else. So that's really
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tough for me. Cause I'm like, do I go to like
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the OG stuff I grew up on that like was the foundation
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or do I do like the new modern stuff that kind
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of has influenced me now? And so I actually went
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with, they've been my favorite band for, oh gosh,
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well, since I've discovered them, they've actually
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changed names back in the beginning and I followed
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them before that. So I had to go with a song
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from Cadillac 3. Cadillac 3, they used to be
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known as Cadillac Black and they changed their
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name. And they had been together. They were three
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guys that grew up together in Nashville, and
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they make some amazing music with just three
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people. And they do like a mix of country, funk,
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and rock. And I feel like those things kind of
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entwined together, throwing some blues in there
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for me, and some Motown, because I grew up with
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my parents. They're all in their mid and late
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70s. So I've got the little Motown, like the
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50s vibe going on in there for me. But their
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music probably is most similar to what has influenced
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me altogether. So I went with White Lightning
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by Cadillac 3. Cool. Shall we hear a bit of it?
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Yeah. Here she comes. And you die beautiful um
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you can hear the whole song on the on the playlist
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on spotify go and find that and listen to the
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whole thing um i love those drums they're just
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straight up rock drums like plain and simple
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yeah yeah yeah the three guys it's um they're
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they're like the three they're so down to earth
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like just and that's kind of that's who i want
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to be in my music too so like that's it's i've
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been really influenced by like they're just very
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real and you know them like so I've met them.
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They're very, very cool. I actually, Kelby, Kelby
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Ray, he's the one that plays like the slide steel
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and all that stuff. I'm going to have him be
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on a couple of my tracks actually that are upcoming.
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And Jaron and Neil, Neil is the one on the drums
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and Jaron sings and plays the lead guitar. And
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so it's just, they're, it's pretty inspiring,
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honestly. And if you listen through all their
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different tracks, they kind of throw in different
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flavors into all of them. So it's, yeah. Yeah.
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Are they big? Are they, like, signed? Oh, yeah.
00:14:38.419 --> 00:14:41.799
Yeah, they have been. They have their own kind
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of, like, cult following. Like, they have, like,
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a huge following anyway, like, just of their
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own. But then, yeah, they have been signed for
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a good while now. The first thing, I'm not versed
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in country music at all, really. I started hearing
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a lot of it, obviously, out in Atlanta this summer.
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And I was surprised, actually, at how produced.
00:15:03.100 --> 00:15:05.580
a lot of it is like the level of the level of
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production is much higher than i had thought
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that country music would be like it's it's it's
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very clean it's very well recorded well played
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which which to me as a producer you know a recording
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engineer mixing engineer it always kind of adds
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more credibility to a record in my eyes because
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it's like well this stuff is serious you know
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they've gone to a proper studio they've done
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a proper recording had a proper mix done, and
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it's a real statement about how they take their
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art. To echo what you just said there with the
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production, I've noticed as well, a lot I've
00:15:43.149 --> 00:15:45.649
been listening to of it as well since Atlanta,
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is it's not over -layered. it's not tracks and
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tracks and tracks and tracks and tracks they
00:15:51.039 --> 00:15:53.700
actually can play it live like i was gonna say
00:15:53.700 --> 00:15:56.500
these guys you can go watch them and you're like
00:15:56.500 --> 00:15:58.360
i mean i've got video of them live where it's
00:15:58.360 --> 00:16:00.019
just like and the three of them will sit down
00:16:00.019 --> 00:16:01.899
and do like an acoustic round or they'll do like
00:16:01.899 --> 00:16:04.200
a full production thing either one and it's like
00:16:04.200 --> 00:16:07.100
that sounds like them you know it's not like
00:16:07.100 --> 00:16:09.059
like you're saying it's not like over produced
00:16:09.059 --> 00:16:12.279
either it's not i'm gonna add in like six different
00:16:12.279 --> 00:16:14.559
instruments that aren't there here here and here
00:16:14.559 --> 00:16:18.419
and i'm gonna like auto tune you know melodyne
00:16:18.419 --> 00:16:21.200
the heck out of it these guys are super raw which
00:16:21.200 --> 00:16:23.600
is what actually drew me to them because they
00:16:23.600 --> 00:16:25.960
sound live like they like their stuff is very
00:16:25.960 --> 00:16:28.519
well produced but that's what they sound like
00:16:28.519 --> 00:16:33.620
you know so it's um I listen to all music that
00:16:33.620 --> 00:16:36.940
way and I have like with rock music and things
00:16:36.940 --> 00:16:40.000
I talk about like the real musicianship of like
00:16:40.000 --> 00:16:42.820
rock and country like they still are all playing
00:16:42.820 --> 00:16:44.639
like real instruments and they're doing what
00:16:44.639 --> 00:16:48.259
they do on the track live on stage right so to
00:16:48.259 --> 00:16:50.220
me that has I have a lot of respect for that
00:16:50.220 --> 00:16:53.620
because it's not everything's over edited you
00:16:53.620 --> 00:16:55.360
don't even sound like yourself when you sing
00:16:55.360 --> 00:16:58.960
or you know what song is that again like I don't
00:16:58.960 --> 00:17:01.919
know what this is or just come out and sing with
00:17:01.919 --> 00:17:04.319
the track in the background, which is fine. But
00:17:04.319 --> 00:17:07.240
there's a whole bunch of musicianship that goes
00:17:07.240 --> 00:17:11.059
on there too, for sure. It shows off their talent
00:17:11.059 --> 00:17:14.259
100%, yeah. I mean, you should always be able
00:17:14.259 --> 00:17:16.500
to play what you've done in the studio live,
00:17:16.700 --> 00:17:20.960
right? You shouldn't be taking out songs onto
00:17:20.960 --> 00:17:23.819
the road that you can't play. Many people do
00:17:23.819 --> 00:17:25.980
it though. Many people, you know, they have loads
00:17:25.980 --> 00:17:29.980
of stuff on tape or, you know, if you're more
00:17:29.980 --> 00:17:33.849
of a... pop artist or an urban you know rap artist
00:17:33.849 --> 00:17:36.130
or whatever you might just be singing over a
00:17:36.130 --> 00:17:38.589
backing track with with no live musicians and
00:17:38.589 --> 00:17:41.650
i think that's a sad state of affairs um that
00:17:41.650 --> 00:17:43.970
that the industry has got there but musicians
00:17:43.970 --> 00:17:48.309
cost money um and they do and there's not loads
00:17:48.309 --> 00:17:51.470
of money in in touring so you know it's a cost
00:17:51.470 --> 00:17:53.230
thing everyone would love to play with live musicians
00:17:53.230 --> 00:17:55.450
because it's great but it's not cheap but no
00:17:55.450 --> 00:17:58.930
yeah good really good i enjoyed it you want to
00:17:58.930 --> 00:18:01.059
carry on i interrupted you I don't know what
00:18:01.059 --> 00:18:06.019
I was going to say. I don't think any of us would
00:18:06.019 --> 00:18:08.059
be short on words to come up with something else.
00:18:09.279 --> 00:18:12.759
I'll dip in and then you can dip in after again.
00:18:12.940 --> 00:18:15.519
But yeah, I really like the vocals of him. He
00:18:15.519 --> 00:18:19.539
sounded, have you heard of Paolo Nuttini? I don't
00:18:19.539 --> 00:18:22.259
know. If I heard something, I probably have,
00:18:22.400 --> 00:18:25.700
but I'm not for sure. He reminded me of him.
00:18:25.980 --> 00:18:27.859
And a little bit of Kings of Leon in there as
00:18:27.859 --> 00:18:30.450
well. Pal and the Teenies got a song called,
00:18:30.509 --> 00:18:34.930
is it New Shoes? I got my new shoes. And a pencil
00:18:34.930 --> 00:18:36.849
full of lead or something like that, isn't it?
00:18:36.890 --> 00:18:41.710
Yeah. Okay. I've heard it. I can see that. Yeah.
00:18:41.890 --> 00:18:43.849
Yeah. No, definitely. It's just that little,
00:18:43.950 --> 00:18:47.829
not that over twang, which a lot of country singers
00:18:47.829 --> 00:18:51.589
have got, but just that little bit, you know,
00:18:51.589 --> 00:18:54.369
in there. And I wrote down here, you couldn't
00:18:54.369 --> 00:18:57.069
really tell maybe if it was a country song. or
00:18:57.069 --> 00:19:00.849
just a rock and roll song. And I quite like that
00:19:00.849 --> 00:19:03.690
about it. Because again, like Sam said earlier,
00:19:03.890 --> 00:19:07.349
I'm quite naive with country music and it's not
00:19:07.349 --> 00:19:09.529
something I've been naturally drawn to. But since
00:19:09.529 --> 00:19:14.309
August, I've been listening to a lot of it. Andrew
00:19:14.309 --> 00:19:17.190
Moore and Andrew Chappell's album is just amazing.
00:19:19.609 --> 00:19:22.910
that sort of thing and um so but i i took it
00:19:22.910 --> 00:19:25.130
as it what it was and i never got naturally drawn
00:19:25.130 --> 00:19:27.470
to it being country which was awesome and the
00:19:27.470 --> 00:19:30.950
bait there's a bass line it builds from the start
00:19:30.950 --> 00:19:34.430
of the song and then really like kicks in and
00:19:34.430 --> 00:19:36.609
over layers halfway through it which was just
00:19:36.609 --> 00:19:42.740
like oh i'm turning that up love that But it
00:19:42.740 --> 00:19:45.420
sounded like they did layer guitars halfway through
00:19:45.420 --> 00:19:47.140
it with a bit of chorus, a bit of bubbling effect
00:19:47.140 --> 00:19:49.059
and panning it left to right, back and forth,
00:19:49.079 --> 00:19:51.660
very minimal for about 10 seconds. But it just
00:19:51.660 --> 00:19:55.339
sort of gave it that fullness to the song. I
00:19:55.339 --> 00:19:58.880
really enjoyed it. I thought it was really good.
00:19:59.000 --> 00:20:01.140
And I might listen to the album after this is
00:20:01.140 --> 00:20:03.420
done this weekend. Those comments that you made
00:20:03.420 --> 00:20:06.259
there sort of lean into two really important
00:20:06.259 --> 00:20:10.450
things. The first is arrangement. The arrangement
00:20:10.450 --> 00:20:14.710
is really mature and it's giving space for everything
00:20:14.710 --> 00:20:17.150
to have a little pocket, a little window to come
00:20:17.150 --> 00:20:20.369
through and be heard. But then secondly, also...
00:20:20.559 --> 00:20:23.359
the mix facilitates that as well. The arrangement
00:20:23.359 --> 00:20:26.079
is there and then it's been produced in a way
00:20:26.079 --> 00:20:28.539
that everything can be heard and have its place
00:20:28.539 --> 00:20:30.640
between left to right and its place to come forward
00:20:30.640 --> 00:20:33.140
and back. And across that spectrum field as well,
00:20:33.220 --> 00:20:35.980
it's just those frequencies just dip in at the
00:20:35.980 --> 00:20:39.079
right time. And yeah, whoever produced it did
00:20:39.079 --> 00:20:41.099
really well with it as well. They're very good
00:20:41.099 --> 00:20:43.859
at, so one of the things, the dynamics of this
00:20:43.859 --> 00:20:46.779
band are very, they're very mature as musicians.
00:20:46.960 --> 00:20:49.519
They're very mature, like seasoned. They know.
00:20:50.619 --> 00:20:52.960
I feel like something that's really hard for
00:20:52.960 --> 00:20:54.859
people that aren't, it's really hard for people
00:20:54.859 --> 00:20:58.539
to embrace space and like have the pauses and
00:20:58.539 --> 00:21:01.099
the builds and like have the lower, you know,
00:21:01.099 --> 00:21:03.119
like the dynamics aren't always there. And I
00:21:03.119 --> 00:21:04.839
feel like that's actually missing in a lot of
00:21:04.839 --> 00:21:07.920
like modern day music. It's very flat line to
00:21:07.920 --> 00:21:11.059
me. And so that's something that draws me to
00:21:11.059 --> 00:21:13.299
music like this. And you said something about
00:21:13.299 --> 00:21:15.440
it being. You couldn't really tell whether it
00:21:15.440 --> 00:21:16.799
was country, whether it was rock, which is what
00:21:16.799 --> 00:21:18.900
I love. I love that. Like it pulls in everything,
00:21:19.099 --> 00:21:21.259
right? It's not just like stuff. It's not just
00:21:21.259 --> 00:21:24.059
you're supposed to sound, you know, like old
00:21:24.059 --> 00:21:27.680
school Hank. And, you know, God, God love him.
00:21:27.740 --> 00:21:29.700
I mean, you know, blazing the trails, but like
00:21:29.700 --> 00:21:32.640
being able to turn that into like more art and
00:21:32.640 --> 00:21:35.319
add things that you love into it. That's what
00:21:35.319 --> 00:21:38.519
they did. And it's really cool because like they
00:21:38.519 --> 00:21:40.700
have several, obviously a lot of other songs,
00:21:40.759 --> 00:21:44.069
but they have like that soft side. you know and
00:21:44.069 --> 00:21:46.490
they can kind of like go with the vibe and then
00:21:46.490 --> 00:21:49.069
they can kind of build into this holy cow like
00:21:49.069 --> 00:21:51.490
this is a full -on rock beat right like this
00:21:51.490 --> 00:21:53.470
it kind of keeps you like you're talking about
00:21:53.470 --> 00:21:56.509
the the sound building into the space and filling
00:21:56.509 --> 00:21:58.829
it out the way it's supposed to be that's something
00:21:58.829 --> 00:22:00.529
that i really enjoy about them and you said you
00:22:00.529 --> 00:22:01.849
would you were thinking about listening to the
00:22:01.849 --> 00:22:06.049
album that many but um let's see i think it's
00:22:06.049 --> 00:22:09.480
legends has some really dynamic songs on it like
00:22:09.480 --> 00:22:12.720
take me to the bottom is more like a bluesy soul
00:22:12.720 --> 00:22:14.640
like you know we'll touch more on different things
00:22:14.640 --> 00:22:16.839
like that later but as a band themselves but
00:22:16.839 --> 00:22:19.619
even in this song he's kind of like got that
00:22:19.619 --> 00:22:21.759
slow roll in makes you want to listen and then
00:22:21.759 --> 00:22:23.880
they come into the and they've got the harmonies
00:22:23.880 --> 00:22:26.660
in there yeah um so they're all sick like they
00:22:26.660 --> 00:22:28.519
pull it all in and there's actually harmonies
00:22:28.519 --> 00:22:30.599
which you don't always get so that's kind of
00:22:30.599 --> 00:22:34.410
nice Yeah, no, I really enjoyed it. I wasn't
00:22:34.410 --> 00:22:36.890
shocked. Me and Saf, we spoke this afternoon
00:22:36.890 --> 00:22:39.609
earlier and we're like, okay, yeah, I listened
00:22:39.609 --> 00:22:41.410
to your, or was it yesterday? I was listening
00:22:41.410 --> 00:22:43.869
to your track, no idea what this is, okay? And
00:22:43.869 --> 00:22:46.109
then we're saying, is AJ going to post theirs?
00:22:46.210 --> 00:22:47.809
I said, I've got no idea what that's going to
00:22:47.809 --> 00:22:50.910
be. So I need a bit of time so I can listen to
00:22:50.910 --> 00:22:55.569
it up front. But I was really pleasantly surprised.
00:22:56.680 --> 00:22:59.819
with that. I really enjoyed it. Well, cool. I
00:22:59.819 --> 00:23:04.220
like to be full of surprises. So I think it's
00:23:04.220 --> 00:23:07.519
time to bring the gavel down on the Cadillac
00:23:07.519 --> 00:23:12.619
3. Andy, topper or flopper? I'm going top. I'm
00:23:12.619 --> 00:23:18.839
also going topper. Oh, yay! We passed. Passed
00:23:18.839 --> 00:23:21.859
my first class. Mummy would be so proud. The
00:23:21.859 --> 00:23:24.960
pressure's on us now, isn't it? Yeah, yeah, shafted,
00:23:24.960 --> 00:23:31.519
mate. So shall we go back to our quickfire round?
00:23:31.599 --> 00:23:35.200
Because nothing says objectivity like panicking
00:23:35.200 --> 00:23:38.579
under pressure. Yes, let's make everyone sweat.
00:23:38.920 --> 00:23:41.000
Got to stay on the edge. Andy, you went first
00:23:41.000 --> 00:23:43.839
last time. So AJ, you can be up first this time
00:23:43.839 --> 00:23:46.819
with your second honorable mention. Are you ready?
00:23:47.059 --> 00:23:52.240
Sure. Three, two, one, go. 15. lady um so it's
00:23:52.240 --> 00:23:56.440
strange but i actually chose a melody um and
00:23:56.440 --> 00:23:59.339
the song that i grew up my mom would sing it
00:23:59.339 --> 00:24:05.559
and she covers it probably by the righteous brothers
00:24:05.559 --> 00:24:09.019
so it's not you know country country but you
00:24:09.019 --> 00:24:12.200
went over time but um you know of course i did
00:24:13.769 --> 00:24:15.970
I actually had to search and make sure because
00:24:15.970 --> 00:24:17.569
there's so many versions of this song. I was
00:24:17.569 --> 00:24:20.029
like, it is the Righteous Brothers, right? Absolutely.
00:24:20.509 --> 00:24:24.910
Yeah, 100%. And we'll get all the amount of covers
00:24:24.910 --> 00:24:28.450
quickly. Nobody has done it better. No, no, no,
00:24:28.509 --> 00:24:30.569
no. And so it's very surprising. Like my mom,
00:24:30.609 --> 00:24:34.769
my mom's a tiny little lady. And I think almost
00:24:34.769 --> 00:24:37.970
every gig D or we have ever done, she has sang
00:24:37.970 --> 00:24:40.009
this song and everybody's just like, you know.
00:24:40.400 --> 00:24:42.799
It's a bit the same as the amount of people we've
00:24:42.799 --> 00:24:45.660
covered without you. Harry Nilsson's without
00:24:45.660 --> 00:24:50.000
you. Or Whitney Houston. I will always love you,
00:24:50.019 --> 00:24:54.000
right? The two that really annoy me, two covers.
00:24:54.319 --> 00:24:57.859
Creep, Radiohead. Oh yeah, you can't cover Creep.
00:24:58.079 --> 00:25:06.119
Stop, stop it. And Feeling Good. Was the original,
00:25:06.400 --> 00:25:08.490
was it Nina Simone or have I made that up? Or
00:25:08.490 --> 00:25:10.430
did she cover it? I don't know. So Michael Bublé
00:25:10.430 --> 00:25:12.410
covered it, right? Which his cover is actually
00:25:12.410 --> 00:25:15.130
pretty well done. It's not bad. Yeah, it's not
00:25:15.130 --> 00:25:17.990
bad. But it's still not the original, right?
00:25:18.009 --> 00:25:21.769
The original is way older. But Muse covered it
00:25:21.769 --> 00:25:24.329
as well. Oh, yes. I know the song you're talking
00:25:24.329 --> 00:25:27.430
about now. And I'm feeling good. Muse's version
00:25:27.430 --> 00:25:29.910
wasn't that bad, actually. You two did it as
00:25:29.910 --> 00:25:33.170
well? Oh, goodness me. He's like, no. You see
00:25:33.170 --> 00:25:35.470
what I mean? Too many people have played the
00:25:35.470 --> 00:25:39.549
same song. I thought Muse's version wasn't bad.
00:25:39.809 --> 00:25:43.029
It's not bad. I don't know that one. I don't
00:25:43.029 --> 00:25:45.569
know if I know their version of it, but I'm super
00:25:45.569 --> 00:25:47.410
excited about this because you guys can talk
00:25:47.410 --> 00:25:49.650
about things that I know too because I love alternatives.
00:25:49.829 --> 00:25:54.869
So I already knew Sam's song that he has. I'm
00:25:54.869 --> 00:25:58.690
like, yeah, I can play. Yay. Right. Shall I go?
00:25:58.769 --> 00:26:02.869
My turn. Go for it, man. Three, two, one. This
00:26:02.869 --> 00:26:04.809
is a band called Dead Letter Circus. The song
00:26:04.809 --> 00:26:07.589
is called Big. The song is the definition of
00:26:07.589 --> 00:26:11.049
restraint meeting explosion. Perfect form, masterful
00:26:11.049 --> 00:26:14.250
dynamics, and he's got a hypnotic voice. It's
00:26:14.250 --> 00:26:16.630
a totally magnetic track. I was obsessed with
00:26:16.630 --> 00:26:18.650
this song for years. I'm going to keep going
00:26:18.650 --> 00:26:20.670
anyway, because if it's proof, you don't need
00:26:20.670 --> 00:26:23.670
volume to be powerful, just tension, taste, and
00:26:23.670 --> 00:26:26.910
timing. I don't know, 20, 25 seconds? Good job.
00:26:27.250 --> 00:26:30.569
Yeah. Close enough. Who's counting? Other than
00:26:30.569 --> 00:26:34.109
her. Nobody else but hers counting. Maybe I'll
00:26:34.109 --> 00:26:36.309
bring a 20 -second timer next week. There you
00:26:36.309 --> 00:26:40.289
go. Don't have it do the countdown. Just have
00:26:40.289 --> 00:26:43.450
it go, and then be like a timer, you know, like
00:26:43.450 --> 00:26:47.329
an egg timer. Yeah. Just hold it there. Yeah.
00:26:49.230 --> 00:26:51.420
I've never heard of that. Yeah, so they're an
00:26:51.420 --> 00:26:53.259
Aussie band. They're called Dead Letter Circus.
00:26:53.380 --> 00:26:55.779
Yeah, right. The song is called Big. I don't
00:26:55.779 --> 00:26:57.640
actually know if they're still together. They
00:26:57.640 --> 00:27:01.660
were never big or mainstream. The singer's got
00:27:01.660 --> 00:27:05.299
an awesome voice. And it's somewhere between
00:27:05.299 --> 00:27:10.380
the world of rock and almost metal, but not riffy
00:27:10.380 --> 00:27:13.619
hard. It's more like textures and pads and washiness
00:27:13.619 --> 00:27:18.559
and this ethereal, hypnotic vocal that is just...
00:27:18.910 --> 00:27:21.670
lush and this song big just builds and builds
00:27:21.670 --> 00:27:25.849
until you get this super cool soaring chorus
00:27:25.849 --> 00:27:29.089
i suppose at the end it's just like yeah that's
00:27:29.089 --> 00:27:32.509
great that's great go listen to it enjoy it big
00:27:32.509 --> 00:27:38.549
by dead letter circus dead letter circus oh i
00:27:38.549 --> 00:27:42.109
like this okay right andy ready your turn yes
00:27:42.109 --> 00:27:46.190
i'm ready No nerves, Andy. Here we go. Three,
00:27:46.269 --> 00:27:50.630
two, one. This is a British band started just
00:27:50.630 --> 00:27:54.430
before Britpop. They've made a massive resurgence
00:27:54.430 --> 00:27:57.230
as an independent band now and hit one of the
00:27:57.230 --> 00:28:00.589
only 12 bands in the UK to have two number one
00:28:00.589 --> 00:28:03.269
albums in the same year. This song is Chasing
00:28:03.269 --> 00:28:10.759
Rainbows by Shed 7. Oh. Shed 7. oh i love tasting
00:28:10.759 --> 00:28:15.380
rainbows i gotta check i got excited guys this
00:28:15.380 --> 00:28:19.160
is opening my bd eyes i love it it's just a big
00:28:19.160 --> 00:28:23.920
heartfelt course um that's it just builds to
00:28:23.920 --> 00:28:27.119
that chorus and it's just a big warm -in with
00:28:27.119 --> 00:28:32.380
lush melodic guitar licks i like guitar licks
00:28:32.380 --> 00:28:35.079
i can't say anything else on it really i mean
00:28:35.079 --> 00:28:38.799
you know the songs that songs i believe Yeah,
00:28:38.799 --> 00:28:42.480
I mean, not dissimilarly to what we were saying
00:28:42.480 --> 00:28:45.839
with the Cadillac 3 guys. It's just good arrangement,
00:28:46.000 --> 00:28:49.059
right? It's songs where you can hear the parts.
00:28:49.160 --> 00:28:52.359
It's not overly complicated. I mean, not dissimilar
00:28:52.359 --> 00:28:55.140
to the whole Britpop movement that came afterwards.
00:28:55.259 --> 00:28:59.319
Britpop is not about walls of sound and stupid
00:28:59.319 --> 00:29:03.359
technicalism. It's about good songs that people
00:29:03.359 --> 00:29:07.319
will remember, whether it's The Verve or Oasis
00:29:07.319 --> 00:29:12.279
or... blur or any of those yeah iconic bands
00:29:12.279 --> 00:29:16.119
from bands from the 90s it's that um addictive
00:29:16.119 --> 00:29:19.279
that addictive melody line or the sound or the
00:29:19.279 --> 00:29:21.700
vibe or whatever it is you know like those all
00:29:21.700 --> 00:29:24.700
have that yeah they their their album the second
00:29:24.700 --> 00:29:26.519
album they released last year which hit number
00:29:26.519 --> 00:29:29.720
one um they took a load of their songs and stripped
00:29:29.720 --> 00:29:32.900
them back brought the royal philharmonic orchestra
00:29:32.900 --> 00:29:36.279
in with them Nice. And changed them, completely
00:29:36.279 --> 00:29:39.140
reproduced the way they sound. You know, the
00:29:39.140 --> 00:29:41.279
melody's there and you know it's the same song,
00:29:41.359 --> 00:29:47.059
but it wasn't that indie 1993, 1994 sound, you
00:29:47.059 --> 00:29:51.240
know, and just made it relevant and fresh. And
00:29:51.240 --> 00:29:55.000
that song just sounds so amazing with strings.
00:29:55.700 --> 00:29:58.619
It's unbelievable. It just, even talking about
00:29:58.619 --> 00:30:00.380
now, it's making the hairs on my arms stand up.
00:30:00.480 --> 00:30:03.319
It just gives me that feeling, you know. I swear
00:30:03.319 --> 00:30:05.400
everything sounds better with orchestra. Yeah.
00:30:05.559 --> 00:30:10.099
Oh, yeah. Like any pop record, like popular music
00:30:10.099 --> 00:30:13.319
record that's been rescored with orchestra, whether
00:30:13.319 --> 00:30:16.599
it's like one of the OGs, like Metallica, S &M.
00:30:16.759 --> 00:30:19.039
Yeah, that's the one that came to my mind when
00:30:19.039 --> 00:30:21.319
you said that. It was like one of the first to
00:30:21.319 --> 00:30:23.839
do that, you know, orchestration thing. Or whether
00:30:23.839 --> 00:30:26.160
it's like stuff, the LSO in London has done a
00:30:26.160 --> 00:30:28.680
bunch of things. Like they did one with the electronic
00:30:28.680 --> 00:30:33.150
producer Nero. um which just worked super well
00:30:33.150 --> 00:30:35.130
they've done a number of those sorts of things
00:30:35.130 --> 00:30:36.849
and it's just like it all just sounds better
00:30:36.849 --> 00:30:40.029
because you've got you've got more more texture
00:30:40.029 --> 00:30:43.250
more drama that you can play with um you know
00:30:43.250 --> 00:30:47.910
the orchestra is all 400 years old and it's yeah
00:30:47.910 --> 00:30:50.750
so the dynamics yeah you know that's what we're
00:30:50.750 --> 00:30:52.349
talking about like it's oh you know when you
00:30:52.349 --> 00:30:54.769
get two or three people to do it you know in
00:30:54.769 --> 00:30:57.589
a band or four or five that's cool great it's
00:30:57.589 --> 00:31:00.190
there but when when you've got like a hundred
00:31:00.190 --> 00:31:03.049
people that can swell like that with all their
00:31:03.049 --> 00:31:05.670
instruments and stuff it's just like oh yeah
00:31:05.670 --> 00:31:08.170
that that is that is good stuff when you said
00:31:08.170 --> 00:31:10.470
metallica then i would love to hear uh nothing
00:31:10.470 --> 00:31:13.650
else matters it's uh it's like a whole well it
00:31:13.650 --> 00:31:15.829
was a double disc at the time because it there
00:31:15.829 --> 00:31:17.809
was was not digital releases but yeah it's like
00:31:17.809 --> 00:31:21.869
a whole two -hour live concert everything's orchestrated
00:31:24.029 --> 00:31:26.589
Nothing else matters is the beginning of the
00:31:26.589 --> 00:31:28.950
second half, I believe. They opened the second
00:31:28.950 --> 00:31:31.130
half with it. Oh, good. I mean, that's some song
00:31:31.130 --> 00:31:33.609
anyway, you know, just even acoustic. I've heard
00:31:33.609 --> 00:31:37.210
that where the two of them played it with two
00:31:37.210 --> 00:31:39.930
12 strings and it would just sound and one was
00:31:39.930 --> 00:31:44.109
tuned down and it was just, wow. It's chilling.
00:31:44.549 --> 00:31:47.769
Yeah. Yeah, amazing. I mean, most Metallica sounds
00:31:47.769 --> 00:31:49.789
better if you cut Lars Ulrich out of it anyway,
00:31:49.890 --> 00:31:54.019
so. Oh, he's getting old. That's all. He's getting
00:31:54.019 --> 00:31:57.279
old. All the greats. All the greats are. Right.
00:31:57.359 --> 00:32:00.720
Let's get back into our second long pitch of
00:32:00.720 --> 00:32:03.519
the day. Andy, do you want to go or shall I go?
00:32:03.880 --> 00:32:05.880
It's up to you, mate. You flip a coin, you're
00:32:05.880 --> 00:32:08.599
cool. I haven't got a coin, so you go. All right.
00:32:08.619 --> 00:32:12.880
I'll go then. All right. It's really hard, wasn't
00:32:12.880 --> 00:32:17.940
it? As we all agreed on choosing this. So I'm
00:32:17.940 --> 00:32:22.160
going back to when I was about 11, 12, 1980s.
00:32:22.819 --> 00:32:26.960
1985, I'll start the story, when music was really
00:32:26.960 --> 00:32:30.700
taking hold of me. My dad was a guitarist and
00:32:30.700 --> 00:32:33.940
played guitar in the 60s, in a band in the 60s.
00:32:34.339 --> 00:32:37.940
And I'll throw this one on this forum now, that
00:32:37.940 --> 00:32:41.940
he was friends with Cass Elliot and Jimi Hendrix
00:32:41.940 --> 00:32:45.779
before he went big. They were on first name terms.
00:32:46.380 --> 00:32:48.279
and all that sort of thing. And he only told
00:32:48.279 --> 00:32:50.559
me that about 15 years ago. So yeah, he was on
00:32:50.559 --> 00:32:53.000
the circuit in the 60s up in London and, you
00:32:53.000 --> 00:32:55.200
know, rubbing. This was, the Beatles had gone
00:32:55.200 --> 00:32:57.099
big, so it wasn't them, but the rest of them
00:32:57.099 --> 00:32:59.680
that followed, like the Kinks, Small Faces, Faces,
00:32:59.839 --> 00:33:02.920
even The Who, The Stones were following behind.
00:33:03.099 --> 00:33:04.680
And he sort of knew them. And I'm like, wow,
00:33:04.799 --> 00:33:07.240
okay. We were listening to music in the car,
00:33:07.339 --> 00:33:10.660
in the old cassette. You two young pups might
00:33:10.660 --> 00:33:13.420
be a bit young for that. I remember a cassette
00:33:13.420 --> 00:33:17.839
tape, Andy. I used to record the top 40 countdown
00:33:17.839 --> 00:33:19.819
on a cassette tape in the car. Everyone did that.
00:33:21.039 --> 00:33:25.279
So my dad was playing his music, 60s mega mix
00:33:25.279 --> 00:33:27.660
music. And I grew up loving all the 60s stuff.
00:33:27.839 --> 00:33:32.160
So this is like mid 80s. And then I started finding
00:33:32.160 --> 00:33:34.859
music for myself. And the first band I loved.
00:33:35.440 --> 00:33:38.720
and fell in love with in war to death was aha's
00:33:38.720 --> 00:33:42.359
hunting high and low the album so take on me
00:33:42.359 --> 00:33:45.680
is just everyone knows that song regarding what
00:33:45.680 --> 00:33:50.160
genre you're into um just a mega mega huge song
00:33:50.160 --> 00:33:53.359
the album was unbelievable uh that first time
00:33:53.359 --> 00:33:55.500
and it just took me to a place then on my own
00:33:55.500 --> 00:33:59.880
where whoa this is unbelievable and very synth
00:33:59.880 --> 00:34:02.480
and i got ripped a bit at school because they
00:34:02.480 --> 00:34:05.019
were pin -up boys and what you can't like aha
00:34:05.019 --> 00:34:07.839
you know the girls like aha i'm like yeah but
00:34:07.839 --> 00:34:12.639
i'm not i listen to it i don't fancy them i like
00:34:12.639 --> 00:34:16.219
their music yeah so yeah come on right you know
00:34:16.880 --> 00:34:19.260
so yeah love that and that was like 18 months
00:34:19.260 --> 00:34:21.219
that album just played that to death and had
00:34:21.219 --> 00:34:23.280
to buy again because i wore the tape out then
00:34:23.280 --> 00:34:25.940
their second album come out 18 months after uh
00:34:25.940 --> 00:34:29.659
and the album's called scandal days and scandal
00:34:29.659 --> 00:34:32.619
days the song was the title track and i didn't
00:34:32.619 --> 00:34:35.360
think much of it when it first came out i've
00:34:35.360 --> 00:34:39.599
only appreciated it maybe 20 years ago so 20
00:34:39.599 --> 00:34:42.099
years after it come out, maybe. Just how good
00:34:42.099 --> 00:34:45.460
this song is. And every time I go to AHA or I've
00:34:45.460 --> 00:34:49.340
seen them live three times now, and it sounds
00:34:49.340 --> 00:34:54.380
better live. The song, it opens really, really
00:34:54.380 --> 00:34:56.400
dramatically. That should have been the Bond
00:34:56.400 --> 00:35:00.900
theme, not Living Daylights. It's got that dark
00:35:00.900 --> 00:35:05.780
feel to the intro to it and the opening lines
00:35:05.780 --> 00:35:09.210
to it. It's got that mysteriousness to it. You
00:35:09.210 --> 00:35:12.570
know, was that somebody screaming? It wasn't
00:35:12.570 --> 00:35:14.650
me for sure. I lift my head off an easy pillow,
00:35:14.829 --> 00:35:16.849
cut my wrist on a bad thought and head for the
00:35:16.849 --> 00:35:19.050
door. You know, like, hang on a minute. This
00:35:19.050 --> 00:35:21.670
is the pop band who were there dressing and all
00:35:21.670 --> 00:35:23.489
that to impress the girls. And you're right in
00:35:23.489 --> 00:35:26.150
something really dark here. That is a cool line,
00:35:26.269 --> 00:35:28.510
though. I got to say, I cut my wrist on a bad
00:35:28.510 --> 00:35:31.010
thought. That one got me. I got to say. Yeah.
00:35:31.889 --> 00:35:35.809
Morton's voice. His low baritone voice sounds
00:35:35.809 --> 00:35:38.909
really, really cool. And it just sounds so easy
00:35:38.909 --> 00:35:43.030
for him to sing in that tone. But then he goes
00:35:43.030 --> 00:35:47.230
up into that falsetto. And like I said, I've
00:35:47.230 --> 00:35:49.269
seen him live. And I saw him live just before
00:35:49.269 --> 00:35:53.530
I moved to Australia in 2018. And he was 60,
00:35:53.630 --> 00:35:56.309
what, 60, something like that. And he could still
00:35:56.309 --> 00:36:00.039
hit those notes. easy which is which is not very
00:36:00.039 --> 00:36:03.139
common for you know old you know rock stars pop
00:36:03.139 --> 00:36:05.980
stars like most of most of them that you know
00:36:05.980 --> 00:36:08.860
were great in in their heyday can't sing their
00:36:08.860 --> 00:36:10.920
stuff now like if you think about i don't know
00:36:10.920 --> 00:36:14.460
bon jovi he can't sing for love nor money or
00:36:14.460 --> 00:36:19.219
um mick jagger little bit here or there if they
00:36:19.219 --> 00:36:21.539
do sing it i gotta second you they're dropping
00:36:21.539 --> 00:36:24.400
in an octave Yeah, yeah, yeah. Or a half a step,
00:36:24.519 --> 00:36:26.539
right? So that they can actually still sing the
00:36:26.539 --> 00:36:28.719
songs that they recorded however many years ago.
00:36:29.079 --> 00:36:32.539
Or you do what Axl Rose does and just completely
00:36:32.539 --> 00:36:36.559
butcher your own songs. I was waiting on his
00:36:36.559 --> 00:36:41.340
name to come up. And then join ACDC for a year
00:36:41.340 --> 00:36:43.119
and butcher theirs as well. Yeah, yeah, yeah.
00:36:43.260 --> 00:36:48.679
Yeah, there you go. Oh, my God. Shall we hear
00:36:48.679 --> 00:36:50.639
a bit of Scandal Day? I want to hear it. Here
00:36:50.639 --> 00:37:54.840
it comes. I'm going to jump in straight away
00:37:54.840 --> 00:37:58.179
and say something because something that you
00:37:58.179 --> 00:38:01.780
hear a lot of with artists that use programmed
00:38:01.780 --> 00:38:05.000
drums is that you don't get enough variation
00:38:05.000 --> 00:38:07.539
in the drum patterns. You know, they might program
00:38:07.539 --> 00:38:09.820
an eight bar loop and then it's just the same
00:38:09.820 --> 00:38:11.579
all the way through. And it's like, that's boring.
00:38:11.820 --> 00:38:14.599
But even in that one minute section of that song,
00:38:14.719 --> 00:38:18.300
you can hear variety in the percussion that is
00:38:18.300 --> 00:38:21.449
giving the arrangement interest. You know, that
00:38:21.449 --> 00:38:24.010
shows a maturity in the writing for sure. They
00:38:24.010 --> 00:38:26.369
don't program the drums. They use a drummer,
00:38:26.469 --> 00:38:30.050
but they use pads as well as a kit. That would
00:38:30.050 --> 00:38:32.750
explain what you're saying there. Gotcha. Yeah,
00:38:32.829 --> 00:38:35.530
yeah. And also harmonically, like that's not
00:38:35.530 --> 00:38:40.570
a pop song. You know, that's complex harmony.
00:38:40.650 --> 00:38:44.010
That's non -diatonic harmony that will challenge
00:38:44.010 --> 00:38:48.070
you because as Westerners, we are programmed
00:38:48.070 --> 00:38:51.039
because of the quantity of... diatonic harmony
00:38:51.039 --> 00:38:53.860
that we hear to feel familiar with that so as
00:38:53.860 --> 00:38:56.659
soon as you hear something that is not within
00:38:56.659 --> 00:38:58.900
you know those seven notes of a key you're like
00:38:58.900 --> 00:39:01.380
oh what what is that that's a bit off the wall
00:39:01.380 --> 00:39:03.980
and and i think that's great i gotta second that
00:39:03.980 --> 00:39:05.739
i'm gonna jump in on that really quick sam like
00:39:05.739 --> 00:39:08.059
so like with the vocal and the writing and and
00:39:08.059 --> 00:39:10.380
going into it was really cool i actually got
00:39:10.380 --> 00:39:13.440
to produce so instead of like synth and stuff
00:39:13.440 --> 00:39:17.219
it's giving me a whole other um respect and appreciation
00:39:17.219 --> 00:39:20.400
for it because I did have a UK artist that came
00:39:20.400 --> 00:39:23.219
over and we got to produce this three songs for
00:39:23.219 --> 00:39:26.159
his project. And I was like, let's do this, but
00:39:26.159 --> 00:39:27.780
let's challenge ourselves and let's do this with
00:39:27.780 --> 00:39:29.980
a live band. And then we're going to recreate
00:39:29.980 --> 00:39:32.780
those sounds and that you, that's hard to do.
00:39:32.920 --> 00:39:35.340
I mean, it was, it was a challenge. It's been
00:39:35.340 --> 00:39:37.420
a challenge. It's a really cool sound though.
00:39:37.800 --> 00:39:39.980
So when you're listening through that, I noticed
00:39:39.980 --> 00:39:42.019
the drums too immediately. And then when he goes
00:39:42.019 --> 00:39:44.630
in, he's singing. his main melody line is kind
00:39:44.630 --> 00:39:46.230
of like lower like what you're talking about
00:39:46.230 --> 00:39:48.989
like that sound and um it makes me think very
00:39:48.989 --> 00:39:51.809
much like um like boy george and it takes me
00:39:51.809 --> 00:39:54.369
back to like some bowie right like and some things
00:39:54.369 --> 00:39:57.130
like that but like you're saying like the diatonics
00:39:57.130 --> 00:39:59.889
like the it's like the the melody line is almost
00:39:59.889 --> 00:40:01.989
like on a third or a fifth like it's a minor
00:40:01.989 --> 00:40:04.829
but it's an in between and that's not something
00:40:04.829 --> 00:40:08.130
that we that we do a lot like in in our culture
00:40:08.130 --> 00:40:11.670
here you don't hear those things a lot um unless
00:40:11.670 --> 00:40:15.739
it's in like the alternative more off the wall
00:40:15.739 --> 00:40:17.639
kind of stuff there's not a lot of people that
00:40:17.639 --> 00:40:20.539
can go and sing on that note as their melody
00:40:20.539 --> 00:40:23.219
line right like that's a harmony spot almost
00:40:23.219 --> 00:40:26.079
it's almost like an in -between and so that's
00:40:26.079 --> 00:40:28.119
something that it kind of took me to like okay
00:40:28.119 --> 00:40:30.519
he's he's hearing something they they created
00:40:30.519 --> 00:40:32.840
something different with them doing that they've
00:40:32.840 --> 00:40:34.400
been like so they started they're still going
00:40:34.400 --> 00:40:38.409
when you see them live their harmony is weird
00:40:38.409 --> 00:40:41.510
is like you were saying there AJ is their harmony
00:40:41.510 --> 00:40:44.210
comes first and then he brings out the lead afterwards
00:40:44.210 --> 00:40:48.909
yeah just kind of back to front but it so works
00:40:48.909 --> 00:40:51.409
but that album and that song especially was so
00:40:51.409 --> 00:40:54.309
different which it got slated in the press because
00:40:54.309 --> 00:40:58.710
it wasn't the pop stuff is what Take On Me was
00:40:58.710 --> 00:41:01.590
but it's just the haunting side of it and the
00:41:01.590 --> 00:41:05.090
dark and the mysterious side of it which drew
00:41:05.090 --> 00:41:09.519
me and now I hear it now. They did an album,
00:41:09.659 --> 00:41:14.039
an MTV Unplugged album four years ago up in Norway,
00:41:14.219 --> 00:41:16.559
where they're from. I think it was just at the
00:41:16.559 --> 00:41:20.219
end of COVID. And they did an Unplugged gig and
00:41:20.219 --> 00:41:22.679
they did a version out with Ian McCulloch from
00:41:22.679 --> 00:41:26.260
Echo and the Bunnymen. And they used the strings,
00:41:26.440 --> 00:41:28.019
going back to what we were saying a minute ago
00:41:28.019 --> 00:41:31.380
with the strings. And it just makes it even darker
00:41:31.380 --> 00:41:33.800
again. It's just like, well, hang on. I need
00:41:33.800 --> 00:41:35.940
to turn the lights off. This is just like...
00:41:36.230 --> 00:41:39.869
taking me to places but you know i don't ever
00:41:39.869 --> 00:41:44.070
want to leave and the demo weirdly of that was
00:41:44.070 --> 00:41:48.489
a trance song so pre -pop it was programmed drums
00:41:48.489 --> 00:41:51.750
and it was just it's not the same songs only
00:41:51.750 --> 00:41:53.909
because you know i know the lyrics that you recognize
00:41:53.909 --> 00:41:56.610
the song different melody everything and it was
00:41:56.610 --> 00:41:59.469
just like wow how did you get from that to that
00:41:59.469 --> 00:42:03.469
um i love it and i hear that i just gotta turn
00:42:03.469 --> 00:42:05.949
it up that's just that riff when you go back
00:42:05.949 --> 00:42:08.309
and listen to it the opening of the song you
00:42:08.309 --> 00:42:12.809
know leading into that first verse is just unbelievable
00:42:12.809 --> 00:42:15.269
and the guitar they brought into it because guitar
00:42:15.269 --> 00:42:18.050
was very minimal in the first album then it became
00:42:18.050 --> 00:42:20.289
more prominent in that album but just the way
00:42:20.289 --> 00:42:22.989
he licks that guitar in in and out just at the
00:42:22.989 --> 00:42:25.550
poignant parts of the song you know it's not
00:42:25.550 --> 00:42:27.969
overboard it's not like a rock and roll song
00:42:27.969 --> 00:42:30.349
you know so uh but he just brings that guitar
00:42:30.349 --> 00:42:34.349
in like down the top E string or just a little
00:42:34.349 --> 00:42:37.670
pick a little lick here and there but it just
00:42:37.670 --> 00:42:40.570
adds to that mood of it and I just love it even
00:42:40.570 --> 00:42:43.530
now like four years on I listen to it and it
00:42:43.530 --> 00:42:46.070
still sounds like oh this is amazing like it
00:42:46.070 --> 00:42:48.360
could have been made yesterday and that takes
00:42:48.360 --> 00:42:51.059
us back to what we were saying about the Cadillac
00:42:51.059 --> 00:42:54.820
3 which is you know silence is a great tool to
00:42:54.820 --> 00:42:57.239
use and you don't need to be playing all the
00:42:57.239 --> 00:42:59.599
way through the song you know you find windows
00:42:59.599 --> 00:43:01.760
where in this case you know little bits of guitar
00:43:01.760 --> 00:43:04.699
arrangement that adds you know add ear candy
00:43:04.699 --> 00:43:07.719
and make things interesting to listen to it's
00:43:07.719 --> 00:43:09.480
not just like I hear the chords and I'll just
00:43:09.480 --> 00:43:11.480
strum them all the way through the song It's
00:43:11.480 --> 00:43:14.579
much more mature than that. There's some surprises
00:43:14.579 --> 00:43:17.159
in there. You know, like it keeps you listening
00:43:17.159 --> 00:43:20.119
because of the changes. Because I think you're
00:43:20.119 --> 00:43:21.820
like, oh, they're filling this now. Okay, well,
00:43:21.900 --> 00:43:23.860
what's this going to? Okay, what's this next
00:43:23.860 --> 00:43:25.980
sound that they're putting in there? There is.
00:43:26.199 --> 00:43:29.059
And I picked that even though I'd known this
00:43:29.059 --> 00:43:31.219
song, but I was listening intently just to try
00:43:31.219 --> 00:43:33.460
and have some constructive niffs to talk about.
00:43:33.579 --> 00:43:35.360
You're right. Exactly what you said then, AJ.
00:43:35.619 --> 00:43:38.360
Halfway through that, there's this phasing, bubbling
00:43:38.360 --> 00:43:41.579
effect in the second verse. on the guitar, and
00:43:41.579 --> 00:43:44.900
I think it must be a phaser, which sort of bubbles
00:43:44.900 --> 00:43:47.739
and then pans, and then it kicks that out, and
00:43:47.739 --> 00:43:51.340
then this psychedelic keyboard bit comes in through
00:43:51.340 --> 00:43:54.420
the bridge, and you're dropping that to that,
00:43:54.559 --> 00:43:58.599
but it's very minimal. It's genius. It gave me
00:43:58.599 --> 00:44:02.719
real Depeche Mode vibes. Yeah, yeah. Full Depeche
00:44:02.719 --> 00:44:06.179
Mode vibes. Full on, yeah. I guess they're similar
00:44:06.179 --> 00:44:09.199
periods in time. Yeah, 80s were late, Depeche
00:44:09.199 --> 00:44:12.550
Mode were late. 80s as well yeah no that has
00:44:12.550 --> 00:44:17.449
been compared especially that album to Depeche
00:44:17.449 --> 00:44:19.630
Mode absolutely just going to give you a quick
00:44:19.630 --> 00:44:21.789
anecdote anecdote I don't think that's the right
00:44:21.789 --> 00:44:25.530
word but anyway I was in Tallinn Estonia Tallinn
00:44:25.530 --> 00:44:29.670
is the capital of Estonia in the in the Baltic
00:44:29.670 --> 00:44:35.199
states and in Tallinn there is a bar solely dedicated
00:44:35.199 --> 00:44:38.519
to Depeche Mode. It is the Depeche Mode bar.
00:44:38.800 --> 00:44:42.719
All they play is Depeche Mode. It is bonkers.
00:44:42.900 --> 00:44:45.420
So I had a great time in there for a couple of
00:44:45.420 --> 00:44:48.179
nights when I was there on a school trip. Very
00:44:48.179 --> 00:44:50.460
interesting. I didn't know there was such a place
00:44:50.460 --> 00:44:54.880
that existed. It was great for stag nights in
00:44:54.880 --> 00:44:59.239
the early noughties. I bet it was. It's been
00:44:59.239 --> 00:45:02.159
interesting, especially things from that era
00:45:02.159 --> 00:45:06.860
and before. to see what like media and TV shows
00:45:06.860 --> 00:45:09.400
and movies are bringing back. So like that era,
00:45:09.559 --> 00:45:11.719
and especially in that part of music, like TikTok
00:45:11.719 --> 00:45:15.300
blew up. You're talking about Take On Me. And
00:45:15.300 --> 00:45:17.800
my kids were running around singing that song,
00:45:18.059 --> 00:45:21.820
right? And I was like, what the world? They're
00:45:21.820 --> 00:45:27.139
like, yeah, it's viral TikTok, mom. But it was
00:45:27.139 --> 00:45:29.280
really interesting. And I could think of there
00:45:29.280 --> 00:45:30.800
was this kid that was roller skating through
00:45:30.800 --> 00:45:33.840
his house. And that song is playing and stuff.
00:45:34.039 --> 00:45:37.300
And it's been kind of cool to see it go full
00:45:37.300 --> 00:45:40.699
circle because now youth are discovering those
00:45:40.699 --> 00:45:43.750
kind of songs. And it shows the caliber of these
00:45:43.750 --> 00:45:46.489
songs that do make it full circle, doesn't it?
00:45:46.530 --> 00:45:50.170
It does, yeah. I mean, synth wave, synth pop
00:45:50.170 --> 00:45:53.170
is truly in vogue right now. Like, if you think
00:45:53.170 --> 00:45:56.230
about the size of artists like The Weeknd, who
00:45:56.230 --> 00:45:58.210
are basically, you know, he's basically an 80s
00:45:58.210 --> 00:46:00.929
synth wave artist. That is what I was going to
00:46:00.929 --> 00:46:03.730
say, yep. Or like Stranger Things, you know,
00:46:03.730 --> 00:46:05.809
most of the music that's used on Stranger Things
00:46:05.809 --> 00:46:09.949
is 80s synth wave. Running up that hill, right?
00:46:11.489 --> 00:46:14.050
well and and even when you look at like master
00:46:14.050 --> 00:46:16.230
of puppets metallica which features that's that's
00:46:16.230 --> 00:46:19.170
an 80s song or it's metal thrash metal but it's
00:46:19.170 --> 00:46:21.969
80s yeah it's been wild so like my oldest son
00:46:21.969 --> 00:46:25.989
he'll be 18 in december and um he loves he loves
00:46:25.989 --> 00:46:28.610
the weekend so before i will say that was like
00:46:28.610 --> 00:46:30.889
his favorite mode of music for a long time like
00:46:30.889 --> 00:46:32.769
i wanted to take him to like the weekend concert
00:46:32.769 --> 00:46:34.710
and stuff because he liked he wanted to produce
00:46:34.710 --> 00:46:38.519
music like that And then he got into the musicianship
00:46:38.519 --> 00:46:40.719
of things and he started, he phased from that
00:46:40.719 --> 00:46:45.079
into metal. It's like, I'm like, okay, there's
00:46:45.079 --> 00:46:46.860
a little bit of a progression there, I guess,
00:46:46.900 --> 00:46:50.699
you know, somehow. Everyone turns to the dark
00:46:50.699 --> 00:46:53.000
side eventually. I know. I'm like, welcome to
00:46:53.000 --> 00:46:58.460
the dark side, my son. When I was younger, but
00:46:58.460 --> 00:47:02.800
then I got out of it. Well, you were lucky. Yeah,
00:47:02.960 --> 00:47:06.539
you survived. I did. But, you know, I am Lord
00:47:06.539 --> 00:47:11.239
Vader and my son is called Luke. So I did divert
00:47:11.239 --> 00:47:14.840
from the dark side eventually. And I have a T
00:47:14.840 --> 00:47:18.280
-shirt of Vader saying the world's greatest dad.
00:47:19.599 --> 00:47:23.400
No kidding. That's awesome. You couldn't make
00:47:23.400 --> 00:47:29.860
it up. AJ, topper or flopper for A -ha? So it's
00:47:29.860 --> 00:47:32.000
definitely it's a different genre for me than
00:47:32.000 --> 00:47:34.679
what I generally like gravitate to to listen
00:47:34.679 --> 00:47:37.539
to on the norm. But after listening through it
00:47:37.539 --> 00:47:40.619
and especially like with the longevity and everything
00:47:40.619 --> 00:47:44.280
of those, I say it's a topper. It's a topper
00:47:44.280 --> 00:47:48.320
for its genre. Yeah, for sure. Yeah, I am in
00:47:48.320 --> 00:47:51.880
concurrence. Not not my usual bag, but really
00:47:51.880 --> 00:47:58.960
enjoyed it. It's a topper. Loving that. I wasn't
00:47:58.960 --> 00:48:02.219
sure if you guys would be going for that one,
00:48:02.320 --> 00:48:06.079
but it was a song so close to me, so I thought
00:48:06.079 --> 00:48:08.739
I got to throw it out there. Well, congratulations.
00:48:08.820 --> 00:48:11.599
I like different, yeah. I think it's cool to
00:48:11.599 --> 00:48:13.659
hear things that are different, but I think that
00:48:13.659 --> 00:48:16.579
it's cool that we all have ears to be able to
00:48:16.579 --> 00:48:20.800
hear the important part, you know. Yeah, and
00:48:20.800 --> 00:48:22.539
that's the beauty of music, isn't it? It certainly
00:48:22.539 --> 00:48:25.079
is. Yeah, it certainly is. And it's also the
00:48:25.079 --> 00:48:27.739
beauty of musicians because proper musicians
00:48:27.739 --> 00:48:30.639
like to appreciate all music, even if it's not
00:48:30.639 --> 00:48:33.659
what we do ourselves. And also it's the beauty
00:48:33.659 --> 00:48:36.260
of this podcast, which these people are getting,
00:48:36.480 --> 00:48:39.400
that us fine people are passing judgment on these
00:48:39.400 --> 00:48:41.280
songs, which they may never have heard before.
00:48:42.119 --> 00:48:46.159
Precisely. So if you want to take our word for
00:48:46.159 --> 00:48:48.820
it, then go and listen to our playlist. Right.
00:48:49.199 --> 00:48:51.820
Quickfire round number three of three for the
00:48:51.820 --> 00:48:56.460
day. Are we ready for this? I believe I'm up
00:48:56.460 --> 00:49:01.239
first. Is that right? Here we go. Let's set our
00:49:01.239 --> 00:49:04.420
lovely best friend off. Here we are. Rage Against
00:49:04.420 --> 00:49:06.719
the Machine, Sleep Now in the Fire was the first
00:49:06.719 --> 00:49:09.880
song I ever tried to cover at age 14. It still
00:49:09.880 --> 00:49:11.699
hits like a revolution in four minutes flat.
00:49:11.860 --> 00:49:14.480
Tom Morello rewrote the rulebook and guitar tone
00:49:14.480 --> 00:49:17.380
and Zach's lyrics are pure, teary with purpose.
00:49:17.619 --> 00:49:21.420
Politics, poetry and groove all weaponized. Much
00:49:21.420 --> 00:49:25.010
closer. Oh, there. Rage Against the Mistine.
00:49:25.030 --> 00:49:27.949
I love Rage Against the Mistine. Which song was
00:49:27.949 --> 00:49:31.969
it? Sleep Now in the Fire. Yeah, okay. Sleep
00:49:31.969 --> 00:49:35.590
Now in the Fire. Such a banger. Good stuff. Yeah.
00:49:35.869 --> 00:49:38.730
Saw them at Glastonbury once before they stopped
00:49:38.730 --> 00:49:41.309
playing in front of, you know, went through political
00:49:41.309 --> 00:49:46.050
and stuff. Oh, yeah. Was it 93 or 92? Something
00:49:46.050 --> 00:49:48.429
like that it was. No, Reading, sorry. Not Glastonbury.
00:49:48.449 --> 00:49:50.590
Reading. I was going to say Reading. Well, even
00:49:50.590 --> 00:49:53.510
post all the political, like Killing in the Name
00:49:53.510 --> 00:49:55.989
of, which is super political song, I guess, but
00:49:55.989 --> 00:49:58.469
that's a banger. They play that on the radio
00:49:58.469 --> 00:50:02.650
still, like everywhere. They do. I lived outside
00:50:02.650 --> 00:50:04.809
of Austin for a while and man, that song was
00:50:04.809 --> 00:50:10.210
on once an hour. On Spanish rock radio, it's
00:50:10.210 --> 00:50:13.789
on every day. Really? Yeah. They still must be
00:50:13.789 --> 00:50:16.289
killing it, pardon the pun, from royalties on
00:50:16.289 --> 00:50:19.039
that. Oh, have to be. They must be living off
00:50:19.039 --> 00:50:20.820
that alone, let alone the rest of their catalog.
00:50:20.820 --> 00:50:22.440
But I need to go back and listen to this one
00:50:22.440 --> 00:50:24.440
now. I can't wait to listen to our own playlist.
00:50:25.579 --> 00:50:30.039
Yeah. I believe Killing in the Name of just passed
00:50:30.039 --> 00:50:35.219
1 billion streams on Spotify. It's a good song.
00:50:35.519 --> 00:50:37.940
Yeah. I think it's their first song that's gone
00:50:37.940 --> 00:50:41.519
past 1 billion streams. But they were groundbreaking
00:50:41.519 --> 00:50:44.699
in what they did as well, like combining them
00:50:44.699 --> 00:50:49.079
and the Beastie Boys. But, you know, you know,
00:50:49.079 --> 00:50:52.280
the rap in with grunge into rock. They were one
00:50:52.280 --> 00:50:55.139
of the OGs of rap rock, right? Yeah, they were
00:50:55.139 --> 00:50:58.679
super OG alternative rock band, like grunge band,
00:50:58.860 --> 00:51:01.440
you know, like 90s. And then they added in that
00:51:01.440 --> 00:51:04.500
other. Well, I mean, when you think of revolutionary
00:51:04.500 --> 00:51:09.099
musicians, if you think of like Hendrix as the
00:51:09.099 --> 00:51:12.940
pioneer of like alternative electric guitar playing,
00:51:13.079 --> 00:51:17.469
I don't know that I know. anyone else until tom
00:51:17.469 --> 00:51:21.030
morello that used the instrument so wildly differently
00:51:21.030 --> 00:51:24.769
yeah yeah an abundance of great players but tom
00:51:24.769 --> 00:51:28.110
morello's approach was just so different to everyone
00:51:28.110 --> 00:51:31.289
else prior who played it well but you know played
00:51:31.289 --> 00:51:33.969
the guitar as a guitar and tom morello just sees
00:51:33.969 --> 00:51:37.329
it as like a a sound making machine that he just
00:51:37.329 --> 00:51:42.090
manipulates and warps and it's just so What's
00:51:42.090 --> 00:51:45.010
the word? Inventive. The only one I would maybe
00:51:45.010 --> 00:51:49.429
put close near that would be Prince. Just the
00:51:49.429 --> 00:51:52.690
different things he did. But I do agree. Like,
00:51:52.690 --> 00:51:55.190
you know, Hendrix did what he did. And then,
00:51:55.210 --> 00:51:57.869
yeah, you're right. The noise and the sound,
00:51:57.949 --> 00:52:00.110
not just from the guitar, but the way he used
00:52:00.110 --> 00:52:04.510
his amp and everything was, whoa, hang on. And
00:52:04.510 --> 00:52:08.130
you're going to rap? Yeah. Yeah. Definitely.
00:52:08.730 --> 00:52:10.750
Prince definitely did do some different things.
00:52:10.789 --> 00:52:12.750
I mean, he was a killer musician, though. Not
00:52:12.750 --> 00:52:17.250
just on guitar, but overall. So, yeah. And producers,
00:52:17.349 --> 00:52:19.809
though. And other people would say, like, Steve
00:52:19.809 --> 00:52:22.550
Vai's got to be in the mix for that, for, like,
00:52:22.610 --> 00:52:25.750
inventor playing. Maybe Satriani, but he's less
00:52:25.750 --> 00:52:28.670
inventive than Vai, I would say. But even so,
00:52:28.829 --> 00:52:32.630
not as creative, I would say, personally, as
00:52:32.630 --> 00:52:36.150
Morello. Beautiful. Andy, you're up. Oh, I'm
00:52:36.150 --> 00:52:39.030
up. Might as well. Your final quickfire for the
00:52:39.030 --> 00:52:41.610
day. Here's your time. Three, two, one, let's
00:52:41.610 --> 00:52:45.570
go. Okay, this song probably is one of the reasons
00:52:45.570 --> 00:52:50.510
why I want to play in a band. It just resonates
00:52:50.510 --> 00:52:54.070
every time I hear it. It's raw and hits the home
00:52:54.070 --> 00:52:58.230
and the heart every time I hear it. It's Live
00:52:58.230 --> 00:53:01.889
Forever by Oasis. One of your favourite bands,
00:53:01.969 --> 00:53:09.010
Sam, I know. Divisive. but they are my band i
00:53:09.010 --> 00:53:14.750
saw them in bristol in 1994 the day supersonic
00:53:14.750 --> 00:53:17.789
was released and there was 50 people in the fleets
00:53:17.789 --> 00:53:20.730
and perkins in bristol right nobody there and
00:53:20.730 --> 00:53:22.610
i saw them all the way then up through i was
00:53:22.610 --> 00:53:26.210
in networth in uh well i've seen wembley finsbury
00:53:26.210 --> 00:53:29.250
and you know and from there on in and so back
00:53:29.250 --> 00:53:33.170
from the beginnings huh from the ashes yeah live
00:53:33.170 --> 00:53:40.090
forever live forever okay okay yeah that it's
00:53:40.090 --> 00:53:43.789
just the beat at the start nothing special nothing
00:53:43.789 --> 00:53:48.150
uber you know technical about it it's just big
00:53:48.150 --> 00:53:52.530
heavy it's the words the solo isn't the whole
00:53:52.530 --> 00:53:55.010
song isn't the most technical song in the world
00:53:55.010 --> 00:54:00.090
but it's anthemic and um being 20 years old when
00:54:00.090 --> 00:54:02.650
it come out 19 years old when it come out and
00:54:02.650 --> 00:54:07.670
in britain in 1994 95 at 20 you know the world
00:54:07.670 --> 00:54:11.190
or britain was just an amazing place to be at
00:54:11.190 --> 00:54:15.329
that age you know uh euro 96 was going on foot
00:54:15.329 --> 00:54:19.150
this is football and um it was music was just
00:54:19.150 --> 00:54:23.480
mind -blowing and they oasis went and did what
00:54:23.480 --> 00:54:25.300
it did and did what it did and you either jumped
00:54:25.300 --> 00:54:27.219
on it or you didn't you know they're a love or
00:54:27.219 --> 00:54:30.659
hate band but that song i i mean i love them
00:54:30.659 --> 00:54:32.199
don't get me wrong and i'm gonna see them in
00:54:32.199 --> 00:54:36.940
two weeks over here but um that song just i will
00:54:36.940 --> 00:54:38.880
have that played at my funeral without to be
00:54:38.880 --> 00:54:42.960
being too morbid so is it is it lyrics and emotion
00:54:42.960 --> 00:54:44.960
for you you're talking about it's not like a
00:54:44.960 --> 00:54:47.420
technical song so is it the overall like the
00:54:47.420 --> 00:54:49.599
feel or is it like what they're talking about
00:54:49.599 --> 00:54:54.670
or or both It's the feel, but also the lyrics.
00:54:54.670 --> 00:54:57.530
The lyrics is just about, I'm taking every day
00:54:57.530 --> 00:55:00.769
as it comes. I'm loving life. I want to keep
00:55:00.769 --> 00:55:04.190
being in this moment and never letting go of
00:55:04.190 --> 00:55:08.849
it. And for me, that's what life, especially
00:55:08.849 --> 00:55:13.969
doing what we do as musicians, is about. And
00:55:13.969 --> 00:55:18.210
every step of my life going from that era in
00:55:18.210 --> 00:55:22.019
the 90s in the UK was about that. Then the noughties,
00:55:22.019 --> 00:55:26.119
when I started to get a bit older, that got me
00:55:26.119 --> 00:55:31.159
out of my divorce, my first marriage. And I just
00:55:31.159 --> 00:55:33.420
focused on that, taking me and getting me through
00:55:33.420 --> 00:55:37.980
that. Then the 2010s was just about, I really
00:55:37.980 --> 00:55:41.000
enjoyed my 30s, living on my own. I moved and
00:55:41.000 --> 00:55:43.820
got this new flat and just had the time of my
00:55:43.820 --> 00:55:46.480
life, my 30s. And then I met my wife towards
00:55:46.480 --> 00:55:49.889
the end of that. And now it's all about... laura
00:55:49.889 --> 00:55:53.389
and my son luke and um you know and the music
00:55:53.389 --> 00:55:56.989
stuff we're all doing and this podcast we're
00:55:56.989 --> 00:55:59.230
just gonna live forever doing this that's really
00:55:59.230 --> 00:56:03.289
cool so it's a very um multi -purpose fluid like
00:56:03.289 --> 00:56:05.630
it can it can shift through all your different
00:56:05.630 --> 00:56:08.969
phases kind of thing with you song um yeah it's
00:56:08.969 --> 00:56:13.550
very deep it's weird it it resonates to every
00:56:13.550 --> 00:56:16.940
part of my life it it sort of really does cut
00:56:16.940 --> 00:56:19.239
that deep and like i said no the song itself
00:56:19.239 --> 00:56:22.480
isn't that technical the solo just cuts through
00:56:22.480 --> 00:56:25.380
you know and i know it's not that technical of
00:56:25.380 --> 00:56:27.639
a solo because i can play it and i'm not a lead
00:56:27.639 --> 00:56:31.300
guitarist yeah so some of the most some of the
00:56:31.300 --> 00:56:33.760
most emotional songs are the are the least technical
00:56:33.760 --> 00:56:36.099
though like you have to think about it a lot
00:56:36.099 --> 00:56:39.360
of the times is that really stripped down you
00:56:39.360 --> 00:56:42.619
know kind of kind of this is more thing isn't
00:56:42.619 --> 00:56:46.159
it yeah almost haunting when it's like that but
00:56:46.159 --> 00:56:49.079
it's a big part of my life that song and um that's
00:56:49.079 --> 00:56:51.920
why you know it is a toss -up between that and
00:56:51.920 --> 00:56:54.800
scoundrel days for the for the big one be honest
00:56:54.800 --> 00:56:56.920
but yeah it's a massive part of my life that
00:56:56.920 --> 00:56:59.579
song some of the best guitar solos like ever
00:56:59.579 --> 00:57:02.380
are super simple and the 90s were full of them
00:57:02.380 --> 00:57:05.260
the one that always jumps into my head is natalie
00:57:05.260 --> 00:57:11.550
and brulia torn like that guitar solo It's just
00:57:11.550 --> 00:57:14.869
like, oh, so good. That's a great song, by the
00:57:14.869 --> 00:57:16.889
way. And it's nothing, isn't it? Amazing song,
00:57:17.090 --> 00:57:19.650
yeah. She starred in Neighbours, wasn't she?
00:57:19.750 --> 00:57:21.449
Do you remember Neighbours? Yeah, yeah. That's
00:57:21.449 --> 00:57:26.289
an Aussie soap opera AJ shown. It was made in
00:57:26.289 --> 00:57:29.110
Australia, but it was more popular in England.
00:57:29.550 --> 00:57:33.190
Okay. And she was a bit like Jason Donovan and
00:57:33.190 --> 00:57:35.659
Kylie Minogue. Okay. Yeah, see, I didn't even
00:57:35.659 --> 00:57:37.719
know that was a thing, that she had done something
00:57:37.719 --> 00:57:40.400
like that. Yeah, so that's how she made a name
00:57:40.400 --> 00:57:44.059
for herself, Kylie. Yeah. Was in this soap opera.
00:57:44.480 --> 00:57:47.179
Yeah, yeah. Yeah. But so many people came that
00:57:47.179 --> 00:57:50.500
way. Holly Valance is another. Guy Pearce, the
00:57:50.500 --> 00:57:54.340
actor. Margot Robbie. Yeah, Margot Robbie. So
00:57:54.340 --> 00:57:57.840
many actors come from this show. Yeah, and gone
00:57:57.840 --> 00:58:00.719
on to bigger. Bigger things, you know. See, I
00:58:00.719 --> 00:58:04.119
get to learn from you guys. Yeah, don't go watch
00:58:04.119 --> 00:58:10.500
it, though. Right, AJ. Okay, okay. Give us your
00:58:10.500 --> 00:58:12.500
last quickfire. Here you go. Three, two, one.
00:58:13.420 --> 00:58:16.860
All right, going back to, like, 90s days. This
00:58:16.860 --> 00:58:20.380
came out a year after I was born in 89. In case
00:58:20.380 --> 00:58:22.280
you have to do the math, it's Ken and Doa, Two
00:58:22.280 --> 00:58:24.579
Dozen Roses. And I used to listen to this with
00:58:24.579 --> 00:58:28.659
the truck with my dad. So this is, like. zero
00:58:28.659 --> 00:58:33.400
life nice i i have no idea what that song is
00:58:33.400 --> 00:58:39.940
capture it in a nutshell for us so the idea is
00:58:39.940 --> 00:58:43.900
it's they had a breakup okay it's very it's very
00:58:43.900 --> 00:58:45.980
90s country country country it starts out like
00:58:45.980 --> 00:58:51.360
you know and uh he says i brought flowers to
00:58:51.360 --> 00:58:53.739
your door last night i did you wrong and i'm
00:58:53.739 --> 00:58:57.059
trying to make it right And so, you know, he's
00:58:57.059 --> 00:58:59.420
kind of questioning her. He's trying really hard.
00:58:59.719 --> 00:59:02.960
And she basically still shoots him down. So he's
00:59:02.960 --> 00:59:05.900
reflecting on it the next day. And he's like,
00:59:05.960 --> 00:59:09.219
but if I had two dozen roses and an old bottle
00:59:09.219 --> 00:59:12.380
of wine, you know, if I really could have hung
00:59:12.380 --> 00:59:14.599
the moon, would you change your mind? It's kind
00:59:14.599 --> 00:59:17.360
of, it's just anybody that loves and knows country
00:59:17.360 --> 00:59:19.059
music. I actually got to open for these guys
00:59:19.059 --> 00:59:21.280
once upon a time. They're called Shenandoah.
00:59:21.760 --> 00:59:24.539
And they're really, really down to earth people.
00:59:24.780 --> 00:59:26.760
It's just they write about, you know, it's just
00:59:26.760 --> 00:59:31.400
real life stuff. It's not anything too super
00:59:31.400 --> 00:59:34.099
deep. It's never anything that could really be
00:59:34.099 --> 00:59:35.800
offensive. You know what I mean? It's just like
00:59:35.800 --> 00:59:40.400
everyday life. And I think that it's kind of
00:59:40.400 --> 00:59:42.940
and there is a symbolism out there for two dozen
00:59:42.940 --> 00:59:45.199
roses. It's like saying you're like really, really
00:59:45.199 --> 00:59:49.760
serious. But I think that it's. When you think
00:59:49.760 --> 00:59:51.639
like old school country, it's not like one of
00:59:51.639 --> 00:59:54.159
the big superstars. Like you think, OK, 90s country,
00:59:54.199 --> 00:59:56.780
you think like Alan Jackson or you think, you
00:59:56.780 --> 00:59:59.420
know, those those guys in that era or you think
00:59:59.420 --> 01:00:03.059
George Strait or or whoever else. But these these
01:00:03.059 --> 01:00:06.500
guys, they're kind of underrated even for their
01:00:06.500 --> 01:00:08.590
time. They did really well through the 90s. But
01:00:08.590 --> 01:00:11.369
this song is just people nowadays, even younger
01:00:11.369 --> 01:00:15.170
people, you'll go out and you'll be in Nashville
01:00:15.170 --> 01:00:17.710
or down on Broadway and they play this song and
01:00:17.710 --> 01:00:21.230
everyone sings it. Everyone knows it. And there's
01:00:21.230 --> 01:00:23.489
a good reason for it. I'm glad it's kind of made
01:00:23.489 --> 01:00:26.389
like a comeback. But I think that when you listen
01:00:26.389 --> 01:00:28.650
to it, you'll be like, okay, it's kind of cheeky.
01:00:28.670 --> 01:00:31.489
You know, it's a little fun, but it's still,
01:00:31.550 --> 01:00:34.010
it's like, it's kind of sad at the same time.
01:00:34.190 --> 01:00:36.650
You know, like he's begging for his girl back.
01:00:37.530 --> 01:00:39.409
And she shot him down. He must have really, really
01:00:39.409 --> 01:00:40.969
screwed up. That's kind of how it paints the
01:00:40.969 --> 01:00:43.510
picture. I'm really big into songwriting. I do
01:00:43.510 --> 01:00:45.710
a lot of songwriting. I love the art of songwriting.
01:00:45.809 --> 01:00:48.429
And I think it was really well done. Cool. But
01:00:48.429 --> 01:00:50.429
it's a core memory for me. I remember driving
01:00:50.429 --> 01:00:52.949
down the gravel road in my dad's old pickup truck
01:00:52.949 --> 01:00:56.530
with this song being on the FM radio when I was
01:00:56.530 --> 01:01:00.489
like three years old, you know? So it's a good
01:01:00.489 --> 01:01:03.269
one. Deeply rooted within you. I like that. Core
01:01:03.269 --> 01:01:07.559
memory. We're on to our final long pitch of the
01:01:07.559 --> 01:01:09.980
session. Here we go then, Sam. I'm up for this.
01:01:10.320 --> 01:01:14.900
It must be my turn. Okay. So probably unsurprising
01:01:14.900 --> 01:01:19.500
to anybody that knows me, I've gone with a rock
01:01:19.500 --> 01:01:26.460
song. So let me give you my pitch. So today I'm
01:01:26.460 --> 01:01:30.260
presenting to you a song that didn't just get
01:01:30.260 --> 01:01:33.820
me through my youth. It reminded me why rock
01:01:33.820 --> 01:01:36.440
mattered in the first place. So Open Your Eyes,
01:01:36.599 --> 01:01:39.119
which is the title of the song by a band called
01:01:39.119 --> 01:01:41.860
Alterbridge. It's not just a great song. It's
01:01:41.860 --> 01:01:45.960
a thesis statement. So it's the sound of a band
01:01:45.960 --> 01:01:49.400
standing up in a crowded musical courtroom, banging
01:01:49.400 --> 01:01:52.940
the table and saying, we're not done yet. So
01:01:52.940 --> 01:01:55.800
it was released in 2004, right? So the rock landscape
01:01:55.800 --> 01:02:00.019
was shifting dramatically. So new metal was...
01:02:00.429 --> 01:02:03.030
Collapsing under its own weight, it was so heavy
01:02:03.030 --> 01:02:05.809
with Korn and Limp Bizkit and all of those guys.
01:02:06.250 --> 01:02:10.329
Emo was rapidly ascending. Panic at the Disco,
01:02:10.489 --> 01:02:13.230
My Chemical Romance, all that stuff. Indie bands
01:02:13.230 --> 01:02:16.170
were becoming like the new darlings of alternative
01:02:16.170 --> 01:02:20.070
radio. But somewhere in all of that noise, Alter
01:02:20.070 --> 01:02:22.829
Bridge appeared, a band that had the technical
01:02:22.829 --> 01:02:25.889
muscle of Creed, but the heart and vision of
01:02:25.889 --> 01:02:29.619
something much greater. Let's hear a little bit
01:02:29.619 --> 01:03:35.139
of it. Gets me every time. So we'll start with
01:03:35.139 --> 01:03:38.940
some obvious stuff. So Alterbridge were in many
01:03:38.940 --> 01:03:42.360
ways Creed reborn. So Mark Tremonti, Brian Marshall,
01:03:42.480 --> 01:03:44.940
Scott Phillips, they were all in Creed and they
01:03:44.940 --> 01:03:47.159
could have easily stayed in that comfort zone.
01:03:47.659 --> 01:03:50.719
But they wanted to do, I would say, something
01:03:50.719 --> 01:03:54.530
a bit more credible. Creed as a band, I love
01:03:54.530 --> 01:03:56.590
Creed, but they were quite Marmite -y in terms
01:03:56.590 --> 01:03:59.829
of the vocal style and delivery. And they were
01:03:59.829 --> 01:04:02.469
very God -focused in Creed. So, you know, if
01:04:02.469 --> 01:04:05.389
you weren't into the Christian message, then
01:04:05.389 --> 01:04:08.269
it was kind of, could have been a turnoff. And
01:04:08.269 --> 01:04:10.869
Alter Bridge are still ultimately a Christian
01:04:10.869 --> 01:04:14.449
rock band, but their way of communicating their
01:04:14.449 --> 01:04:18.900
faith is less obvious, I think. So it's more,
01:04:18.900 --> 01:04:21.780
more accessible to a non -religious type like
01:04:21.780 --> 01:04:25.360
myself. So Miles Kennedy obviously was, was the
01:04:25.360 --> 01:04:30.219
vocalist and my God, like he blows my mind. He
01:04:30.219 --> 01:04:33.800
can reach the rafters with power and nuance often
01:04:33.800 --> 01:04:37.260
in the same breath. Like to me, Miles Kennedy
01:04:37.260 --> 01:04:42.940
is the finest rock vocalist alive. Wow. Big statement.
01:04:43.469 --> 01:04:45.769
big statement not just for his range but for
01:04:45.769 --> 01:04:49.110
his restraint like he can he can soar but he
01:04:49.110 --> 01:04:52.730
always serves the song he has a great phone too
01:04:52.730 --> 01:04:56.190
i feel like you know it's him when he sings and
01:04:56.190 --> 01:04:59.570
and so it's it's very he has a but it's also
01:04:59.570 --> 01:05:02.730
really great like he said he can sing like he
01:05:02.730 --> 01:05:05.949
does live on on the recording like he really
01:05:05.949 --> 01:05:09.630
can like the intonation everything like the guy's
01:05:09.630 --> 01:05:13.000
got pipes for sure has a really great voice yeah
01:05:13.000 --> 01:05:16.659
for sure like in in in the current day the only
01:05:16.659 --> 01:05:20.300
the only vocalist that i personally feel competed
01:05:20.300 --> 01:05:24.000
with him was chris cornell who like great voice
01:05:24.000 --> 01:05:26.159
great voice rest in peace and there are lots
01:05:26.159 --> 01:05:29.039
of great vocalists in in the rock world but for
01:05:29.039 --> 01:05:32.920
a uniqueness of tone and that instantly identifiable
01:05:32.920 --> 01:05:35.579
to me he's in the league of like freddie mercury
01:05:35.579 --> 01:05:40.639
in terms of like a great rock voice virtuosic
01:05:40.639 --> 01:05:43.860
rock voice can sing anything could he do it live
01:05:43.860 --> 01:05:46.739
did you see him can he do it live yeah yeah yeah
01:05:46.739 --> 01:05:50.820
i i saw him live i was uh i was at university
01:05:50.820 --> 01:05:54.260
up in leeds in the north of in the north of the
01:05:54.260 --> 01:05:56.960
uk and i went over to manchester to see them
01:05:56.960 --> 01:06:01.360
live so it would have been like 2006 7 8 so you
01:06:01.360 --> 01:06:03.889
know after this first album, maybe their second
01:06:03.889 --> 01:06:06.170
album, Blackbird, was out by that point. But
01:06:06.170 --> 01:06:09.909
it was like the early days and like, oh, just,
01:06:10.030 --> 01:06:12.489
they just tear it up, like absolutely tear it
01:06:12.489 --> 01:06:15.550
up. You always know a good singer if they can
01:06:15.550 --> 01:06:17.570
go and do it live. I think we spoke about this
01:06:17.570 --> 01:06:20.869
a couple of times tonight. But, you know, the
01:06:20.869 --> 01:06:24.570
tone of a good singer is if you can sing it live
01:06:24.570 --> 01:06:28.579
and it proves, you know. yes you might sing it
01:06:28.579 --> 01:06:31.199
in a different key or put a different spin on
01:06:31.199 --> 01:06:34.139
that melody but you're not out of tune and you're
01:06:34.139 --> 01:06:37.159
still recognizable you know you don't rely on
01:06:37.159 --> 01:06:39.920
what you mean in the studio to me that's that's
01:06:39.920 --> 01:06:42.260
like you know in in looking at it in a competitive
01:06:42.260 --> 01:06:45.340
sense like vocalists like best vocalist or vocalist
01:06:45.340 --> 01:06:47.840
of the year or whatever should be like raw unproduced
01:06:47.840 --> 01:06:50.519
does do you you know can you sing it does it
01:06:50.519 --> 01:06:54.550
sound like it live yeah 100 But like when you
01:06:54.550 --> 01:06:56.610
play that track, I was so excited to see Alter
01:06:56.610 --> 01:06:58.750
Bridge because it's not one that you see come
01:06:58.750 --> 01:07:01.769
up very often because Creed was like the, you
01:07:01.769 --> 01:07:03.289
know, but when, and then when you hear Alter
01:07:03.289 --> 01:07:05.550
Bridge, it's like you hear all the same, they
01:07:05.550 --> 01:07:07.690
use a lot of the same, like it's got the same
01:07:07.690 --> 01:07:11.969
sounds and the same progressions. And I remember
01:07:11.969 --> 01:07:15.969
for me, I think when I was younger, was it, was
01:07:15.969 --> 01:07:18.670
it one, was it our first album together? One
01:07:18.670 --> 01:07:23.000
Day Remain? Broken Wing. Broken Wing? So they
01:07:23.000 --> 01:07:26.440
have a song called Broken Wings. And I think
01:07:26.440 --> 01:07:28.940
that was like one of the bigger ones that I knew
01:07:28.940 --> 01:07:31.340
of theirs. So it's the same record, One Day Remains.
01:07:31.780 --> 01:07:35.139
Yeah, okay. Yeah. And the one that went massive
01:07:35.139 --> 01:07:37.989
was, I think it's called Metalingus. because
01:07:37.989 --> 01:07:40.710
the edge used it as his walk -on music in in
01:07:40.710 --> 01:07:46.510
wwe that was it yeah he has yeah yeah that's
01:07:46.510 --> 01:07:50.570
hilarious so that so that one really really blew
01:07:50.570 --> 01:07:53.329
up obviously because wwe is massive yeah there's
01:07:53.329 --> 01:07:55.849
there's some beautiful track little wing or broken
01:07:55.849 --> 01:07:57.769
wing or yeah something about a wing in the name
01:07:57.769 --> 01:08:01.429
of it is yeah also a gorgeous song That is a
01:08:01.429 --> 01:08:03.809
very beautiful song. So it was, when you started
01:08:03.809 --> 01:08:05.670
playing this one, from where you played it out,
01:08:05.730 --> 01:08:10.750
obviously the guitar is just, it's it. Like the,
01:08:10.829 --> 01:08:14.250
the riff, the, the lead in to them singing was,
01:08:14.369 --> 01:08:17.029
I mean, I had, I closed my eyes and listened
01:08:17.029 --> 01:08:19.189
so that I can pick apart all the parts, you know?
01:08:19.210 --> 01:08:21.810
Yeah. I mean, it's, it's a, it's a metal song.
01:08:21.909 --> 01:08:24.090
It's a rock song, but it's actually really beautiful.
01:08:24.270 --> 01:08:26.289
Like it's gorgeous. The way that they put everything
01:08:26.289 --> 01:08:29.090
together. It's like a metal orchestra, basically.
01:08:29.979 --> 01:08:33.140
the way they do their music. So I really can
01:08:33.140 --> 01:08:36.000
appreciate it a lot. The guitar's a really interesting
01:08:36.000 --> 01:08:38.939
thing to look at in this song as well because
01:08:38.939 --> 01:08:42.779
of the tuning. So it's tuned to just an open
01:08:42.779 --> 01:08:47.520
D5 chord. So you've got D, A, D, A, A, D as the
01:08:47.520 --> 01:08:51.140
tunings across the six strings. So if you just
01:08:51.140 --> 01:08:53.979
bar, you just get the D with the fifth above
01:08:53.979 --> 01:08:58.319
it, the D and the A, and that's it. what that
01:08:58.319 --> 01:09:00.539
means is that you get all these really sympathetic
01:09:00.539 --> 01:09:03.140
resonances when you voice chords in different
01:09:03.140 --> 01:09:05.340
places because you've got all these notes kind
01:09:05.340 --> 01:09:06.819
of ringing. Well, that makes more sense to me.
01:09:06.899 --> 01:09:09.039
Yeah. But then also when you get to the solo,
01:09:09.140 --> 01:09:12.859
because of the irregular intervals between the
01:09:12.859 --> 01:09:15.979
strings, you get these wild patterns going between
01:09:15.979 --> 01:09:18.420
strings that you would never access in standard
01:09:18.420 --> 01:09:21.260
tuning, which is why the solo feels so like,
01:09:21.380 --> 01:09:23.739
whoa, I've never heard anything like that. That's
01:09:23.739 --> 01:09:27.340
cool. I made a note. Yeah, I made a note there.
01:09:28.359 --> 01:09:31.100
So the pre -solo, he's playing a couple of little
01:09:31.100 --> 01:09:35.399
licks before it goes into the solo, but he's
01:09:35.399 --> 01:09:37.060
playing a couple of licks in with the singer,
01:09:37.100 --> 01:09:41.020
singing the ooze. Forgive me, I've never heard
01:09:41.020 --> 01:09:42.739
this band, I've never heard this song, so I'm
01:09:42.739 --> 01:09:44.100
just picking out what I've listened to a couple
01:09:44.100 --> 01:09:46.920
of times tonight. But on that pre -solo, before
01:09:46.920 --> 01:09:51.359
he hits it, the singer's singing ooze and he's
01:09:51.359 --> 01:09:55.520
licking in between it. It stood out so much.
01:09:55.720 --> 01:09:59.479
That sounds exactly the same. The guitar bits
01:09:59.479 --> 01:10:02.840
was doing ooh, and the singer was doing ooh.
01:10:03.420 --> 01:10:06.260
And that makes sense now, what you just said,
01:10:06.279 --> 01:10:07.300
the way he's tuned his guitar. They can really
01:10:07.300 --> 01:10:10.399
mimic the vocals. It's really cool how they do
01:10:10.399 --> 01:10:13.180
that. I can listen to that bit again. It just
01:10:13.180 --> 01:10:17.340
sounds, whoa. In those oohs, it's one of my favorite
01:10:17.340 --> 01:10:20.600
moments in the track. There's like four phrases,
01:10:20.640 --> 01:10:24.619
if you like, two without. drums i think and then
01:10:24.619 --> 01:10:26.760
the drums come in and build into the solo and
01:10:26.760 --> 01:10:30.300
at that midway point uh miles jumps up the octave
01:10:30.300 --> 01:10:32.899
and goes into the falsetto across i think it's
01:10:32.899 --> 01:10:34.699
like a two octave leap and it's just like oh
01:10:34.699 --> 01:10:37.659
man you're just so good yeah how'd you do that
01:10:37.659 --> 01:10:41.680
yeah yeah really really well done and you want
01:10:41.680 --> 01:10:43.960
to talk about production and live performance
01:10:43.960 --> 01:10:46.220
like you're saying seeing them live like these
01:10:46.220 --> 01:10:49.619
guys are they're this it's a really well done
01:10:49.619 --> 01:10:53.380
production that piece is so clean it's so meticulous
01:10:53.380 --> 01:10:55.680
and so well put together all the all the moving
01:10:55.680 --> 01:10:58.300
parts and everything even filling that in with
01:10:58.300 --> 01:11:01.100
the you know with the licks and and the vocals
01:11:01.100 --> 01:11:03.619
and all that and then you know that they sound
01:11:03.619 --> 01:11:06.600
amazing live too like they're they're really
01:11:06.600 --> 01:11:09.960
fantastic performers to me i'm i'm kind of a
01:11:09.960 --> 01:11:11.920
stickler for that man i'm like if you don't sound
01:11:11.920 --> 01:11:15.279
good live you lose my agreed i totally agree
01:11:15.279 --> 01:11:20.430
with you And every time I, like I said, I haven't
01:11:20.430 --> 01:11:22.630
played live in Australia, but I used to in the
01:11:22.630 --> 01:11:26.850
UK and I used to give it everything. And I used,
01:11:27.050 --> 01:11:29.350
in my own end, I used to sing better live than
01:11:29.350 --> 01:11:33.250
I did on a record. Yeah. I understand that. I
01:11:33.250 --> 01:11:36.289
feel that way too. Going back to like, just me
01:11:36.289 --> 01:11:37.829
personally, you're talking about you performing.
01:11:38.329 --> 01:11:41.069
When I go in and I'm thankful to be able to produce
01:11:41.069 --> 01:11:44.270
on my own stuff and have a really good team with
01:11:44.270 --> 01:11:46.720
me. I'm like, don't, I'm like, take the reverb
01:11:46.720 --> 01:11:49.159
off, strip it down. Like, I want it raw. Like,
01:11:49.239 --> 01:11:51.579
don't over edit me, you know? And like these
01:11:51.579 --> 01:11:53.539
guys, they're not over edited. There might be
01:11:53.539 --> 01:11:55.300
effect here or there or whatever, you know, to
01:11:55.300 --> 01:11:58.680
make all the sound uniform. But when you listen
01:11:58.680 --> 01:12:02.079
to it, like he's not, they're not flapping to
01:12:02.079 --> 01:12:05.300
the grid and being like super, that's them. They're
01:12:05.300 --> 01:12:08.279
raw. Like that's, they sound like that because
01:12:08.279 --> 01:12:11.539
they, they sound like that. You know, you can't
01:12:11.539 --> 01:12:14.409
reproduce that. It really reminded me of what
01:12:14.409 --> 01:12:16.390
you hear on local radio in Australia because
01:12:16.390 --> 01:12:20.590
Australia is still, you know, they're 40 years
01:12:20.590 --> 01:12:23.909
behind everyone else. Really? Yeah, pretty much
01:12:23.909 --> 01:12:27.909
1980s over here. Oh, that's curious. I didn't
01:12:27.909 --> 01:12:32.170
realize that. Musically, anyway, Aussie rock,
01:12:32.229 --> 01:12:38.210
I mean, Aussie rock and rap. There's no in between.
01:12:38.369 --> 01:12:41.350
And country. they're the three genres there's
01:12:41.350 --> 01:12:45.350
nothing else in between um so they would be really
01:12:45.350 --> 01:12:47.409
big over here and i thought this sounded like
01:12:47.409 --> 01:12:51.710
pearl jam oh yeah for sure yeah i mean it's it's
01:12:51.710 --> 01:12:55.170
the continuation of this is like post post 90s
01:12:55.170 --> 01:12:58.829
grunge but yeah not not very not very long after
01:12:58.829 --> 01:13:01.710
they they kept the grunge era alive a little
01:13:01.710 --> 01:13:04.689
bit there when did they come out this record
01:13:04.689 --> 01:13:08.560
was the first it was 2004 Obviously, they're
01:13:08.560 --> 01:13:10.239
all playing in Creed, apart from Miles Kennedy,
01:13:10.420 --> 01:13:15.000
through late 90s, I guess, Creed were about,
01:13:15.180 --> 01:13:18.560
and into the beginning of the 21st century. So
01:13:18.560 --> 01:13:20.420
there are a couple more things I want to pick
01:13:20.420 --> 01:13:22.479
up on the song, because I think they're worth
01:13:22.479 --> 01:13:25.420
talking about. The first is the structure. The
01:13:25.420 --> 01:13:28.819
song structure is just your classic strophic
01:13:28.819 --> 01:13:30.500
song, like verse, chorus, verse, chorus, bridge,
01:13:30.579 --> 01:13:33.939
chorus. There is nothing unique about it. The
01:13:33.939 --> 01:13:37.960
melody across the three choruses. is the same
01:13:37.960 --> 01:13:41.479
like the melody doesn't change but the way in
01:13:41.479 --> 01:13:45.920
which they they paint the melody with different
01:13:45.920 --> 01:13:48.439
hues of the same color and they and they build
01:13:48.439 --> 01:13:52.279
the arrangement and they build the dynamic they've
01:13:52.279 --> 01:13:54.680
got this sort of repetition that works because
01:13:54.680 --> 01:13:57.500
the meaning is evolving through the song i just
01:13:57.500 --> 01:14:00.300
think is great it's it's a real master class
01:14:00.300 --> 01:14:05.100
in in less is more but but intelligent development
01:14:05.819 --> 01:14:07.920
Build, yeah, like we were talking about. It's
01:14:07.920 --> 01:14:12.100
not flatline. And I keep looking at, and don't
01:14:12.100 --> 01:14:13.800
get me wrong, there is something to be said about
01:14:13.800 --> 01:14:16.300
commercialism and cranking things out and it's
01:14:16.300 --> 01:14:18.520
a machine and there's different things it's used
01:14:18.520 --> 01:14:20.680
for and people like what they already know kind
01:14:20.680 --> 01:14:24.579
of thing, right? Familiarity and, but I feel
01:14:24.579 --> 01:14:27.460
like I will admittedly say I don't listen to
01:14:27.460 --> 01:14:30.119
a ton of radio currently. I listen to a lot of
01:14:30.119 --> 01:14:32.239
the indie stuff that I know and love and that
01:14:32.239 --> 01:14:35.779
uses dynamic. that that has the build that has
01:14:35.779 --> 01:14:38.039
the because i feel like a lot of things are just
01:14:38.039 --> 01:14:40.600
put this out there and i'm like i i listened
01:14:40.600 --> 01:14:44.500
to um i i went through a playlist with someone
01:14:44.500 --> 01:14:46.800
and we listened through like the whole entire
01:14:46.800 --> 01:14:49.319
hour and a half two hours whatever it was and
01:14:49.319 --> 01:14:51.180
it was just like you've listened through half
01:14:51.180 --> 01:14:54.180
the song it was like new like a new list of songs
01:14:54.180 --> 01:14:56.819
coming out and it was like i was zoned out because
01:14:56.819 --> 01:15:00.239
i was so like it was like it was just like flatlined
01:15:00.680 --> 01:15:02.279
You know, it was like this one. And I'm like
01:15:02.279 --> 01:15:04.140
waiting for it to go somewhere, waiting for the
01:15:04.140 --> 01:15:06.039
song to build, waiting for the chorus, waiting
01:15:06.039 --> 01:15:08.579
for the progression. And it never got, it never
01:15:08.579 --> 01:15:10.960
happened. Like almost, almost every single song
01:15:10.960 --> 01:15:12.819
on that list was just flatlined. And I'm like,
01:15:12.859 --> 01:15:15.880
that's why, like with songs like this and with,
01:15:15.920 --> 01:15:19.720
with Alter Bridge and, and, you know, metal actually
01:15:19.720 --> 01:15:22.680
in general, there are bands that are crazy heavy
01:15:22.680 --> 01:15:25.319
metal bands that can sound amazing. Like, like
01:15:25.319 --> 01:15:27.449
think about Corey Taylor. Like he can do like
01:15:27.449 --> 01:15:30.489
stone sour and have the really soft, beautiful
01:15:30.489 --> 01:15:33.229
side of his voice. And then he can, he, that
01:15:33.229 --> 01:15:35.850
dude knows how to build. He's Slipknot, you know,
01:15:35.949 --> 01:15:40.569
like that's. So the, the dynamics and stuff in
01:15:40.569 --> 01:15:42.789
this, I really could appreciate that. Like I,
01:15:42.850 --> 01:15:45.869
I love, I'm a sucker for a well -structured,
01:15:45.970 --> 01:15:49.609
a well -formatted song and they, they did, they
01:15:49.609 --> 01:15:52.210
did progress and build it. And I think that just
01:15:52.210 --> 01:15:55.090
the dynamics of it alone. Make that a great song.
01:15:55.250 --> 01:15:56.930
I just think this, you know, this song really
01:15:56.930 --> 01:16:00.750
continued to fly the flag for like traditional,
01:16:00.789 --> 01:16:03.989
I suppose, traditional rock music in a period
01:16:03.989 --> 01:16:06.689
where, you know, things were going in different
01:16:06.689 --> 01:16:09.949
directions. So I will surmise just to round off
01:16:09.949 --> 01:16:14.109
my song here nicely. In my eyes, Open Your Eyes
01:16:14.109 --> 01:16:17.329
was and remains one of the most important rock
01:16:17.329 --> 01:16:20.590
statements of the early 2000s. Proof that taste
01:16:20.590 --> 01:16:24.529
and technical skill can and do coexist that emotion
01:16:24.529 --> 01:16:27.489
doesn't have to mean excess and that sincerity
01:16:27.489 --> 01:16:32.770
even in a cynical age can still hit hard um what
01:16:32.770 --> 01:16:36.170
are we saying andy topper or flopper oh aj do
01:16:36.170 --> 01:16:39.770
you want to go first i'm a topper i i wasn't
01:16:39.770 --> 01:16:44.130
expecting ultra bridge but i i i love it so that's
01:16:44.130 --> 01:16:47.430
definitely a topper for me okay you didn't get
01:16:47.430 --> 01:16:49.810
my message then did you the one summer and we
01:16:49.810 --> 01:16:52.869
both go oh we were we were i'm sorry i gotta
01:16:52.869 --> 01:16:58.930
change it we're flapping it oh my god i said
01:16:58.930 --> 01:17:01.449
let's wind sam up i'll message you let's wind
01:17:01.449 --> 01:17:05.189
him up a minute that's right no yeah no we're
01:17:05.189 --> 01:17:08.550
we're we're split it's a split decision so yeah
01:17:08.550 --> 01:17:12.750
no um in all seriousness i was only joking with
01:17:12.750 --> 01:17:15.810
just for a little uh bit of banter no but um
01:17:15.810 --> 01:17:18.689
i've never i've never heard of them i've never
01:17:18.689 --> 01:17:23.189
heard a song um but i put it on and um after
01:17:23.189 --> 01:17:26.010
listening to your stuff which i did strangely
01:17:26.010 --> 01:17:30.029
enjoy your own stuff i listen but i really i
01:17:30.029 --> 01:17:32.949
really like that um it reminded me of when i
01:17:32.949 --> 01:17:34.710
was back in school as well when i used to listen
01:17:34.710 --> 01:17:38.489
death lever but also judas priest reminded me
01:17:38.489 --> 01:17:41.229
i've been listening to a lot of them lately yeah
01:17:42.160 --> 01:17:45.960
Took me back to my teenage years, my early 12,
01:17:46.159 --> 01:17:49.859
13, 14, 15 years. And I was surprised I could
01:17:49.859 --> 01:17:51.720
remember that far back. But, you know, it took
01:17:51.720 --> 01:17:55.100
me back to then. And, no, I enjoyed it. So I'm
01:17:55.100 --> 01:17:59.920
going up. All right. Flapper, topper. We're all
01:17:59.920 --> 01:18:03.619
level pegging today. Yeah. Three for three. Congratulations,
01:18:03.939 --> 01:18:06.140
team. Are we just being nice because it's the
01:18:06.140 --> 01:18:12.079
first run? Probably. Probably. Well, the thing
01:18:12.079 --> 01:18:15.020
is we've all bought songs that we love this week,
01:18:15.079 --> 01:18:17.460
but who knows what you two have cooked up for
01:18:17.460 --> 01:18:23.859
next week. So I sent you each a list of 12 things
01:18:23.859 --> 01:18:26.560
and I told you each to pick one from the list.
01:18:27.020 --> 01:18:30.140
So Andy, what did I give you? I can't remember.
01:18:30.319 --> 01:18:32.880
And what have you chosen? I can't remember what
01:18:32.880 --> 01:18:34.880
you gave me, but I know what I've chosen. Go
01:18:34.880 --> 01:18:41.100
on. it was the it was i've gone for the collaboration
01:18:41.100 --> 01:18:46.439
um different genre duet collaboration bit yeah
01:18:46.439 --> 01:18:48.539
artists from different genres countries or scenes
01:18:48.539 --> 01:18:50.159
working together there you go that's the one
01:18:50.159 --> 01:18:54.300
yeah that one yeah yeah uh aj what have you gone
01:18:54.300 --> 01:18:57.319
for oh you know super difficult to know which
01:18:57.319 --> 01:19:01.300
one i'm gonna do next week so i i will switch
01:19:01.300 --> 01:19:04.770
it up i promise Country Americana and whatever
01:19:04.770 --> 01:19:08.210
else falls into those categories. So next week
01:19:08.210 --> 01:19:11.949
we are bringing collaborative Country Americana
01:19:11.949 --> 01:19:15.149
stuff to the table. That is exciting. Oh, fun.
01:19:15.489 --> 01:19:17.770
And absolutely, I don't know anything about that.
01:19:17.829 --> 01:19:20.069
So I'm going to be researching this week and
01:19:20.069 --> 01:19:22.489
figuring out. Yay, let's make Sam work some more.
01:19:23.869 --> 01:19:26.670
I'm going to blow your minds next week. It's
01:19:26.670 --> 01:19:30.500
quite open. It's quite a wide. scope you got
01:19:30.500 --> 01:19:32.539
there though isn't there a little bit with collaborative
01:19:32.539 --> 01:19:36.180
and country oh yeah it goes i mean and like this
01:19:36.180 --> 01:19:38.600
would be interesting in our country we collaborate
01:19:38.600 --> 01:19:40.680
with rappers and stuff and like no disrespect
01:19:40.680 --> 01:19:42.960
but like i call them crappers like the country
01:19:42.960 --> 01:19:47.739
rappers it just kind of goes together but no
01:19:47.739 --> 01:19:49.359
there's a lot of different because you can go
01:19:49.359 --> 01:19:52.899
rock you can go like there's all it's all have
01:19:52.899 --> 01:19:56.310
fun with that Well, you guys, this has been a
01:19:56.310 --> 01:20:00.289
pleasure. Thank you so much for your time. And
01:20:00.289 --> 01:20:02.069
I'll see you again next week.