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[SPEAKER_00]: This podcast is a member of the Voices of Wrestling Podcasting Network.
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[SPEAKER_00]: Visit Voicesof Wrestling.com to hear the rest of our great podcast as well as show reviews, columns, opinions, and updates across the world of wrestling.
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[SPEAKER_01]: Hello everyone and welcome to a music of the Matt Remix on the Voices of Wrestling Podcast Network.
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[SPEAKER_01]: I am your host Andrew Rich, joined today by a first-time guest here on the show.
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[SPEAKER_01]: I know him from the VOW Discord simply as, hit no toad.
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[SPEAKER_01]: Could have not myself there.
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[SPEAKER_01]: Hit no, what do the show?
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[SPEAKER_02]: Thank you very much for having me all glory to the hypnototin.
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[SPEAKER_01]: Yes, yes, glad you're here.
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[SPEAKER_01]: Like I said, I couldn't help but play the Futurama sound effect there, because not only is your discord name hypnototode, it's also your profile picture.
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[SPEAKER_01]: So I assume you're a big fan of the show.
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[SPEAKER_02]: Yeah, I think I picked that as a Twitter avatar somewhere around 15 years ago for a personal non-work Twitter and just kind of stuck ever since.
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[SPEAKER_01]: Well, season 11 is airing right now, which is, is crazy because I remember the original run of the show on Fox.
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[SPEAKER_01]: and watching those episodes is a kid, and then I got canceled, and then years later comedy central brought it back for a few more seasons, then it was canceled again, and then if a year ago Hulu brought it back, like the show, it just refuses to go away, it's like it's like TNA, you know we joke about how TNA is a comedy that just won't die, you know so as we draw him up apparently.
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[SPEAKER_02]: No, they just, they will not go up ahead, believe the, literally in the next week or so, the final, the final, the final episode is supposed to be coming out, but that'll be until Matt Graying and the team gets another idea and, I don't know, to be decides to bring them back.
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[SPEAKER_01]: Exactly.
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[SPEAKER_01]: It's always the way with these shows you never know, but um,
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[SPEAKER_01]: But today's episode is when I'm looking forward to here because it's one of my delightfully devilish puns, it's called, why am I so violent?
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[SPEAKER_01]: And of course for those that don't know, it's based on the fairly recent wrestling trope of a guy looking at his hands during a match, and he's good in saying, why am I so violent?
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[SPEAKER_01]: What have I become, what dark battle of the soul have I got myself into here?
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[SPEAKER_01]: It became a thing, I think, really during the Gargano Chomp of Futin NXT, and it's popped up here and there over the years in various forums.
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[SPEAKER_01]: Now, they don't actually say out loud why am I so violent, they just became the name of it, but they usually do tend to stare at their hands, have no.
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[SPEAKER_02]: Yeah, a lot of, I have so many memories of those, the, the, the, the, the, the, the, the, the, the, the, the horrendous, horrendous cinematic e match that they did that was just seem like hours and hours of, of, of, theater acting.
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[SPEAKER_02]: I think that match ended some point last week.
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[SPEAKER_01]: Yeah, I think you and I were in the same boat on this in that we don't really like the why am I so violent trope, A because it's way too played out and hack me to this point.
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[SPEAKER_01]: It's overdone and B, you know, it gets really annoying when you have a baby face that you want to see kick a bad guy's ass and then they start hesitating and and
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[SPEAKER_01]: Heming and high, oh, I don't want to go too far with it.
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[SPEAKER_01]: What if I become the monster?
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[SPEAKER_01]: You know, we just saw it with Belosper and the Death Riders a few months ago, or again, with Ospery a few years ago, when he wouldn't hit the Tiger Driver, because he was afraid of entering someone.
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[SPEAKER_01]: And it's like, you know, I want to see Willows for a B&S kicker.
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[SPEAKER_01]: You know, I want to see him just drop dudes on their heads and brain them with the hidden blade, because it looks cool as fuck.
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[SPEAKER_01]: And when he's all worrying and I don't know, he doesn't look cool.
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[SPEAKER_01]: He looks like, you know, when he's eating the coward.
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[SPEAKER_01]: And you don't want your good guys to come off like that, he doesn't know.
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[SPEAKER_02]: No, it's, it's pro wrestling.
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[SPEAKER_02]: The, you know, the point is to, to beat someone until they can no longer continue.
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[SPEAKER_02]: to do that.
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[SPEAKER_02]: You want to do that the most effective way you can.
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[SPEAKER_01]: Yeah, I mean, you know, a similar one is guy picks up a weapon or a title belt and he thinks about whether to hit his opponent with it.
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[SPEAKER_01]: And he's thinking and he's thinking and he's got to look into space.
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[SPEAKER_01]: and he looks at the crowd he looks at the weapon back at the crowd back at the weapon and then usually he throws it down and says no i'm not going to resort to such a violence which you know it it comes from Brett vs. Roddy at mania eight
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[SPEAKER_01]: and in that match it worked because it felt novel and it worked for the story of the match and with writing and breath relationship and all that and it's just been so over done over the years that it just became iron-rolling and yeah I just don't see these tropes going away anytime soon unfortunately hip-na.
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[SPEAKER_02]: No, I mean, I was at redemption a couple of months ago with Osprey and Mox and Kenny Omega and the saga of the plastic bag.
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[SPEAKER_02]: And you know, I think it got to a place that worked, but there seemed to be at, you know,
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[SPEAKER_02]: Quarter pass midnight in that building after six hours of wrestling did not quite need Will spending like what seemed to be an eternity agonizing over whether he was going to use the plastic bag or not
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[SPEAKER_01]: Yeah, it was not the best story beat for his, uh, building the excitement for all in for sure, but um, but as far as the music goes, uh, as you can guess by the word violin, uh, we are playing songs that have string section instruments in them.
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[SPEAKER_01]: You know, an orchestra has a string section with violins, violas, cellos, the double bass.
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[SPEAKER_01]: Um, well, those instruments have been used
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[SPEAKER_01]: in non-classical music, in rock songs, pop songs, metal country, and that's what we're going to look at today.
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[SPEAKER_01]: And I don't know about you, hip-nope, but I love a good string of Kutramont, a really ad-a-nice flourish to a song.
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[SPEAKER_02]: Yeah, I absolutely love when you were suggesting topics and this one came up.
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[SPEAKER_02]: This really struck me because when it's done well, it's just a spectacular, can really add something spectacular to a song.
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[SPEAKER_02]: It can be done over the top, it can be done to the point where it's arguably too much, but when it's done right, it can be really, really beautiful and really change the way you really change the whole way you feel about a song.
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[SPEAKER_01]: yeah it's like wrestling you know there's a balance you got to achieve there for sure yeah well yeah let's get to the music here we have ten songs each and a playout song at the end hip know you are the guest you'll go first what's your first pick
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[SPEAKER_02]: So my first pick is probably the most obscure song I'd be picking today from an Irish band called Interference.
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[SPEAKER_02]: Probably most known from being featured in the the 2007 movie once.
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[SPEAKER_02]: This is Interference and song is called Gold.
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[SPEAKER_05]: And I love her soul I wouldn't trade her phone I'm walking on movies I was born with a silver spoon
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[SPEAKER_02]: So this one I kind of come to in an interesting way because my first exposure to it wasn't either the original song or the version that was recorded in the movie was actually when they adapted once into a Broadway musical.
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[SPEAKER_02]: Uh, and this was the, is the act one closer in the show and it is just a song that I absolutely fell in love with, uh, the only song either in the movie or the show not written, uh, by Glenn Hansard and I just absolutely love the, the tone of this song and I came to something kind of listening to it for this once it popped in my head.
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[SPEAKER_02]: uh... of the the violin which is played by by koma kai the violin really seems to be playing a character in this song it honestly seems to be the woman uh... that uh... that the the the writer for so far all it is thing about and i just there was something about this song that i that i fell in love with the minute i heard it
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[SPEAKER_01]: Yeah, I've never seen once, I'm aware of it, of course, and I know falling slowly, but the other songs in it are a blank to me, but I really enjoyed this a lot, I thought it was very pretty, no big surprise that an Irish folk band has a fiddle player.
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[SPEAKER_01]: Not exactly a left field decision there, I don't know, I'd say so.
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[SPEAKER_02]: no no and and it was it's weird i have my my first exposure to once came from uh came from working in a blockbuster video in about 2007 when the in store trailer uh that would play this movie had just come out on DVD and i must have seen 90 seconds of this movie
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[SPEAKER_02]: 500 times over the span of about six months, but never, never actually, I've still never actually seen the movie, but the show is one of the best pieces of theater that I've ever seen.
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[SPEAKER_02]: They actually, they turn the entire theater in the original production into a working pop.
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[SPEAKER_02]: and you could actually go on stage prior to the performance and literally just get a drink while the cast who all play their own instruments were playing just really more traditional Irish folk songs.
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[SPEAKER_02]: But then
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[SPEAKER_02]: really this song was the one that you have sold me on on the show.
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[SPEAKER_02]: There's it's just a it's a theatrically a beautiful moment.
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[SPEAKER_02]: This is what they performed at the Tony Awards the year they won Best Musical and I just absolutely love this song and it's a sad one because Glenn Hansard who starred in one's wrote most of the music just passed away a few weeks ago and Ferguson Farrell from interference who wrote this song also passed away a few years ago
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[SPEAKER_02]: But a song that I found, I go back and listen to this one.
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[SPEAKER_02]: There's a few songs from once that I go back and listen to a lot.
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[SPEAKER_02]: There's this, there's falling slowly, which obviously won the Oscar and the opening song leave by Glen Hansard.
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[SPEAKER_02]: But this one just really creates a mood that is unlike anything else in that show.
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[SPEAKER_01]: Yeah, answered motorcycle crash a few months ago.
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[SPEAKER_01]: Yeah, just between that and helicopters, you know, those are, those are two big no-noes for me.
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[SPEAKER_01]: But yeah, he died the same day as Kavinsky.
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[SPEAKER_01]: And I know Glenn had his foibles and his accusations.
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[SPEAKER_01]: I know Nico Case.
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[SPEAKER_01]: had some very unkind things to say about him after he died as he was not shooting any tears for him at all but I mean look for the modern Irish folk world he was a pretty big loss so yeah I mean it's been a pretty big loss uh
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[SPEAKER_02]: for them for, I mean, and to be honest, it was Shane McGowan not too long ago as well, but it's not a genre that I typically gravitate towards, but there was just something about this song, and especially when I saw this song in this show that stuck with me for a long time.
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[SPEAKER_01]: Well, my first pick here, this is a ban I played on the previous episode, Pink Floyd, and that was a song from the David Gilmore led era, but this is smack dab in the middle of the golden era, with waters, you know, still in the band here, and this is an alternate version of Wish You Were Here, and I'd features the French violinist Stefan Grapelli,
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[SPEAKER_01]: And you can find it on the wish you were here 50th anniversary edition that came out a few months ago.
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[SPEAKER_01]: So let's hear wish you were here, featuring Stefan Grapelli.
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[SPEAKER_05]: We just do not so swimming in a fishbowl Here I'll be here Running over the same old ground And how we found the same old fish
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[SPEAKER_01]: So, a little back story here, a bit of lore for ya.
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[SPEAKER_01]: Stefan Grapelli, he's on the original version of the song.
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[SPEAKER_01]: but he's so low in the mix that he's almost inaudible so they don't credit him on the album and then for the wiping Floyd campaign in 2011 they put out these special versions of the album is called the experience edition and the immersion edition and they had all these bonus tracks on them and they remix this song to where you can actually hear the violin very well
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[SPEAKER_01]: I was blown away the first time that I heard this version.
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[SPEAKER_01]: I mean, wish you were here, it's already a beautiful song, but adding the violin just puts it over the top emotionally speaking to the point where it's hard to go back to the original version because I missed the violin hit though.
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[SPEAKER_02]: This is the original version of which show we're here is one of my favorite songs of all time and I had not heard this version until you you sent it along and Just fell in love with it Just it was a bit weird hearing in the in the in the intro to the song because there's a few bits of the guitar that sound different from the From the original mix and so there were a few things.
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[SPEAKER_02]: I was like bumping on at the beginning, but as soon as you get into it
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[SPEAKER_02]: uh... it's incredible and yet when the when the violins kick it it it makes a great song better and uh... in reading and finding out that this is this is essentially this was improvised blew me away yeah i think you can also at the beginning you can also hear i think either a Roger waters or david Gilmourco which is uh... which is funny uh... but yeah it's an amazing version and for the longest time
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[SPEAKER_01]: It wasn't available on streaming, you could find it on YouTube, but you couldn't get it officially on Spotify or Apple.
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[SPEAKER_01]: And then last year with the 50th anniversary edition, they put it on there thankfully.
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[SPEAKER_01]: Yeah, people can now enjoy this lost version of it, this new version, which is pretty cool.
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[SPEAKER_02]: Yeah, I mean, that's that's just really cool that they were able to to to to resurrect a song and it would sense to be the way they really wanted it to be originally, but just just such incredible violin playing by by Stefano Grapelli and it that just it really adds that sort of mournful quality that is, you know, really signature to which you were here from the front of the beginning.
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[SPEAKER_01]: Definitely, definitely.
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[SPEAKER_01]: All right, hit no, what's your next pick?
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[SPEAKER_02]: So my next pick goes back to the early 1960s and kind of classic early late 50s early 60s a kind of girl group pop written by Carol King and Jerry Goffin recorded by the Sherrells.
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[SPEAKER_02]: This is Will You Love Me Tomorrow.
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[SPEAKER_02]: So this one to me really has the classic like sound of what came out of the, out of the bro building songwriters around that time.
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[SPEAKER_02]: Probably not my favorite version of this song.
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[SPEAKER_02]: My favorite would probably be the, the Carol King version when she recorded on tapestry that has
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[SPEAKER_02]: James Taylor and Johnny Mitchell on backing vocals, but the way this song is recorded just really feels of a piece with so much music that would would come out right around that time.
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[SPEAKER_01]: Yeah, Carol's version.
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[SPEAKER_01]: It's definitely more subdued and stripped down.
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[SPEAKER_01]: Whereas this is more of your classic, you know, it's a decade earlier, of course, but this is more of your
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[SPEAKER_01]: classic pop kind of stylings of the day and as more going on to with the strings and it's actually the strings that I believe got this song made because according to the story Shirley Owens wasn't a fan of it thought it was too country but when they added the strings she relented and good for her because you know this became a number one hit
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[SPEAKER_01]: Um, so in this case, the strings aren't just a nice addition, they like to fix his ss.
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[SPEAKER_01]: Oh, him.
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[SPEAKER_02]: Yeah.
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[SPEAKER_02]: And it really feels to me like, it's a song that kind of set a tone for like, a lot of music that would come out around that time that would kind of eventually evolve into the, the Phil Spectre wall of sound.
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[SPEAKER_02]: This is not quite that, but,
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[SPEAKER_02]: And the strings really add a sweet quality to this that I really enjoy and yeah, the the Carol King version is kind of a lot more not just of do but always felt more more desperate and more questioning to it this song has a much more optimistic kind of hopeful quality to the to the to the will you still love me tomorrow question.
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[SPEAKER_01]: And speaking of the lyrical content, I've also read that this song was banned on some stations because of the lyrics, because it implies a one-night stand, is this a lasting treasure or just a moment's pleasure to night the light of love is in your eyes, but will you love me tomorrow?
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[SPEAKER_01]: And the 1960, that's quite body material cut to nowadays, and we've got songs about what has pussy
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[SPEAKER_01]: Drake, you're a pedophile, you know, we've come along the way.
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[SPEAKER_01]: Hit no, that's for sure.
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[SPEAKER_02]: Yeah, the sensors and the standards and practices have changed a little bit in the last 65 years.
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[SPEAKER_01]: Yeah, yeah, but um, but all right, my next pick here, I've got a band of
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[SPEAKER_01]: and there's an umla out over the why.
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[SPEAKER_01]: Thank you very much.
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[SPEAKER_01]: This is Queen's Reich's biggest hit.
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[SPEAKER_01]: They're big hit single from their album Empire in 1990.
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[SPEAKER_01]: This is Silent Lucidity.
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[SPEAKER_05]: So the little hills seem as much as new to that jungle
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[SPEAKER_05]: I'm smiling next to you and Silent Lucidity.
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[SPEAKER_01]: Every prog metal band has its soft side.
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[SPEAKER_01]: So yeah, I wouldn't call myself a queen's rank super fan, but I don't like I like a bunch of their stuff, and I'll say it, this song is a banger, you know, it's about lucid dreaming obviously and Going to this magic new dimension your dream is over or has it just begun if you persist in your efforts You can achieve dream control free from pain in the dream domain, et cetera, et cetera
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[SPEAKER_01]: Um, so very much still in the the Prague Rock world here, literally speaking, no doubt about it.
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[SPEAKER_01]: Um, but, you know, going about it in a softer, classier way as this,
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[SPEAKER_01]: orchestral power ballad and that's a smart move I think because you know the the sound scape of it all it makes you feel like you're floating through this majestic dream and you got to love the bombastic course to the backing vocals love that a lot so yeah I'm bowing down to the queens right here hit no.
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[SPEAKER_02]: Yeah, I went in not really very familiar with Queen's Reich at all, and I really enjoyed this.
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[SPEAKER_02]: It's about lucid dreaming and it really captures that dream like quality.
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[SPEAKER_02]: I almost felt like this belonged like,
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[SPEAKER_02]: Uh, over the scene in the never ending story, uh, where he's riding on, on Falcourt at the end, uh, where, where, where, where the, where the, where the, where the old, it feels like, like the, or like the, like it's, it's, it's the love theme to a, to a 1980s fantasy movie in, in so many ways.
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[SPEAKER_01]: I can definitely see it.
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[SPEAKER_01]: I can definitely see it, but, but again, no, this is.
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[SPEAKER_01]: the pro rock metal world, you know, that's that's their alley, you know, even when they're going for the big hits single, they can't help themselves.
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[SPEAKER_01]: And that was the case for a lot of middle bands, you know, back then with the power ballot, you know, that became their biggest hit, but
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[SPEAKER_01]: Um, but look, I, I go to bat for the song empire and jet city woman and, uh, the operation mind crying album is also really good, um, so yeah, I'm not a, a devout follower of the queue, like I said there, but, uh, they got some good stuff in now.
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[SPEAKER_02]: Yeah, this was, this was a, this was one that made me think, all right, I, you know, I pulled, pulled this one up on Spotify and, uh, it might be time to, to dip a little, my toe in a little bit further and, uh, and learn a little bit more.
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[SPEAKER_01]: Cool, cool.
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[SPEAKER_01]: Well, all right, hit no, what's your next pick?
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[SPEAKER_02]: So my next pick, if anyone knows my musical taste for heavily to this man, probably the first person I ever grew up listening to, this is Billy Joel from the 1990 Stormfront album, and this is with it's talk prominent violin, this is the Downeaster Alexa.
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[SPEAKER_05]: I got bills to pay and children who need clothes I know they're such a fair, but we're got only those They say these waters are in what they used to be
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[SPEAKER_05]: When I got people back on land, who counts on me So if you see my now, he's parallel like so And if you were with the rod and the rear Tell my wife, I am trolling at Lentus And I still have my hands on the wheel
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[SPEAKER_02]: Yeah, like I said, I grew up with Billy Joel and my parents' car, and I still can't tell if I like this song or not, 35 years later, it takes itself so incredibly seriously.
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[SPEAKER_02]: And I think it becomes almost me morally at that point, I mean,
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[SPEAKER_02]: to the point that I remember this being used in Zach Alfinex's ears when he gets on the plane in the hangover too.
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[SPEAKER_02]: And it's such an incredibly, incredibly, everything about this song is big.
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[SPEAKER_02]: In kind of the most wonderfully silly way, you've got Billy on the, you know, playing the accordion and the almost sea shanty kind of quality to it, and the extremely extremely literal lyrics, it's just, I am telling you exactly what I am.
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[SPEAKER_02]: There's not a lot of metaphor in what Billy's putting out here.
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[SPEAKER_01]: You basically read my notes for Betham, because I was going to say, like, you know that you're a superstar when you can be like, all right, my next single is going to be about a long island fisherman.
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[SPEAKER_01]: with all of these long island references that a lot of people won't get and it's going to be like a sea shanty when a court in a violin and nobody stops you because you're Billy Joel and you're a hitmaker dammit um... but now this is not my favorite Billy Joel song by a long stretch but look
28:49.449 --> 28:50.630
[SPEAKER_01]: I admire the gumption.
28:51.551 --> 28:52.151
[SPEAKER_01]: I really do.
28:52.571 --> 28:56.674
[SPEAKER_01]: And I was, you know, bought it along a little bit to it when I listened to it.
28:56.895 --> 29:05.701
[SPEAKER_01]: And, and also, Alexa is the name of Billy's actual boat, which is named after his daughter, Alexa Ray Joel.
29:05.821 --> 29:08.223
[SPEAKER_01]: So it's a little personal touch there as well, uh, Hibnau.
29:09.103 --> 29:30.758
[SPEAKER_02]: yeah it is such a yeah my my Billy Joel tastes ten to fall you know much further on on 70s to early 80s Billy Joel this is obviously this is kind of around the time where he starts to you know by by the mid 90s he's really winding down recording new material and is basically uh just becomes a touring act until he puts out uh
29:31.719 --> 29:47.819
[SPEAKER_02]: you know, obviously some some piano work and and and then this the turn the lights back on single a couple of years ago, but yeah, it is it is a it is a flex of I'm going to write about the fishing community on Long Island that I'm sure he cares.
29:48.540 --> 29:52.882
[SPEAKER_02]: deeply about this kind of way of life that he kind of grew up seeing, disappearing.
29:53.482 --> 29:57.063
[SPEAKER_02]: But yeah, he's just he just casts himself directly into it.
29:57.143 --> 30:15.550
[SPEAKER_02]: And there's another song I've got coming up pretty soon that that that that takes these the storytelling aspect very much differently, but but this one like I said, as as kind of silly and and insanely, you know, over the top as it can be, the man knows how to write a melody.
30:16.513 --> 30:27.837
[SPEAKER_01]: He does, he does, and also shout out to Yitzhak Perman as well doing the violin solo there, and he's still alive, by the way, he's 81, and it's still with us.
30:28.317 --> 30:29.377
[SPEAKER_01]: So, God bless him.
30:29.397 --> 30:39.041
[SPEAKER_01]: So, all right, I will follow your Billy with a Billy of my own, Mr. Billy Corgan, and his smashing pumpkins.
30:39.981 --> 30:42.862
[SPEAKER_01]: This is from Melon Colley and the Infinite Sadness.
30:43.502 --> 30:45.123
[SPEAKER_01]: This is tonight, tonight.
30:49.773 --> 31:15.471
[SPEAKER_05]: It doesn't for ever change We will never be the same Remember you changed the last few days We leave We leave We leave We leave We have to change the United States
31:54.778 --> 31:58.584
[SPEAKER_01]: Well Billy, you are an odd fellow, but I must say you're right a good song.
32:00.722 --> 32:01.882
[SPEAKER_01]: Yeah, this is great, man.
32:01.962 --> 32:23.168
[SPEAKER_01]: I mean, Billy Corgan, he said it's a song about hope and not giving up, and the message is to himself, like to keep believing himself, and man, when that chorus hits with the chucking guitar and the furious drumming and the strings and the tempo, it amps me up, you know, like, like, I want to shave my head and buy wrestling company.
32:23.208 --> 32:24.269
[SPEAKER_01]: Let's go, baby, come on.
32:26.015 --> 32:31.018
[SPEAKER_01]: But yeah, you know, melancholy itself is such a huge album, such a huge thing.
32:31.078 --> 32:38.341
[SPEAKER_01]: Like, it's a two hour double album with 28 songs and countless others that didn't make the cut.
32:38.661 --> 32:44.124
[SPEAKER_01]: Like, it's no shock that they got a 30-piece string section just for this one song.
32:44.284 --> 32:46.605
[SPEAKER_01]: So, yeah, but you know what?
32:46.685 --> 32:47.046
[SPEAKER_01]: It works.
32:47.106 --> 32:47.886
[SPEAKER_01]: It's a classic, no.
32:48.963 --> 32:54.488
[SPEAKER_02]: Oh, yeah, this is this song's fantastic and this was this was one that was on my short list as well.
32:54.548 --> 33:14.224
[SPEAKER_02]: And like you said the went went went when the believe believe and the chorus and I really wanted to put out Jimmy Chamberlain's drumming on this song and the I think I was reading it looked at it saw an interview we did where we really talked about it being like this kind of military kind of march to war style like propulsive drumming that just
33:14.904 --> 33:42.952
[SPEAKER_02]: It just gets you going every single time and yeah, everything about this song works this is this is just this It's my favorite smashing pumpkin song and then and everything about this works on on so many different levels I do want to also shout out one of the one of the really more interesting music videos You'll ever see with the the very heavily Georges Melliers inspired kind of around the a trip to the moon, but yeah, this is this is just great
33:44.500 --> 34:05.756
[SPEAKER_01]: Yeah, and good timing on my part as well because the pumpkins are doing the rats in the cage tour for the 30th anniversary of the album, and they're going to play Boston, I think just a few days after this episode drops, and I'm not that big of a pumpkins fan that I would go see them, but you know, 30 years is, it's a little bland of nursery for sure, I have no.
34:06.671 --> 34:12.473
[SPEAKER_02]: Yeah, it's, it's crazy to think, I mean, I was, I would have been 11, 11 years old when this album came out.
34:12.853 --> 34:19.515
[SPEAKER_02]: And just, this album was, was everyone, everything about it, like I said, was, was big.
34:19.555 --> 34:25.837
[SPEAKER_02]: And I think this song really, really fits that, where it's just everything about this is epic in scale.
34:25.857 --> 34:34.120
[SPEAKER_02]: A 30-piece string and, you know, Billy's, you know, very, very kind of, you know, desperate sounding, you know, vocals that,
34:34.780 --> 34:59.159
[SPEAKER_02]: you know I'm I'm 50 50 sometimes all on on his vocals as voice doesn't always work for me but when this song really really works definitely definitely all right uh what you got next hit no so next uh 1975 Bruce Springsteen uh it's off the big one it's off board to run uh not a ton of violin on this but it really makes an impact uh this is jungleland
35:02.979 --> 35:05.721
[UNKNOWN]: Thank you very much.
35:38.708 --> 35:59.865
[SPEAKER_04]: The Rangers at a homecoming, in a harem night last night, and a magic-ratch-over-slick machine, over a Jersey state line, barefoot girls sitting on the hood of the
36:05.730 --> 36:24.492
[SPEAKER_02]: this song is an epic in every sense of the word to me it's kind of the ultimate in what what Bruce can do as a as a songwriter and really what the E3 band can do musically where it starts so small with the about 22nd violin intro from from Suki LaHave
36:24.992 --> 36:45.125
[SPEAKER_02]: and then the piano comes in and it just builds and builds and builds and obviously, you know, culminates pretty heavily with Clarence Clements is probably his most famous saxophone solo, but it's just every piece of this puzzle works and I adore this song and
36:45.865 --> 36:57.377
[SPEAKER_02]: of the few times I've seen Bruce live the fact that I've never seen the band perform this one live is kind of one of my regrets and I know it's not one that gets pulled out too often, but I absolutely love this song.
36:58.759 --> 37:08.569
[SPEAKER_01]: Yeah, I played this over a year ago on the just a sexy boy episode with Rumba because of, you know, the famous sex solo from Clarence and
37:09.019 --> 37:16.330
[SPEAKER_01]: The clip I played then focused heavily on that solo, of course, but yeah, I mean, there is so much more to this song than just that.
37:16.370 --> 37:20.136
[SPEAKER_01]: It's almost ten minutes long for God's sake, it's not just the saxophone.
37:20.156 --> 37:23.301
[SPEAKER_01]: There's a whole, as I played just there, you know, the whole violin intro.
37:24.903 --> 37:42.434
[SPEAKER_01]: I looked up who did it, it's someone named Suki Lahave, this Israeli woman, who was only in the band for like six months before she left and moved back to Israel, but you know, she made it onto one of Bruce's most iconic songs, you know, she is part of that history, hit no.
37:43.499 --> 38:01.134
[SPEAKER_02]: And it's weird because this is kind of born to run as the album where the East Street band kind of becomes what it would become through the through the heyday of of the group Where Max Weinberg joins on the drums during this and and a few different things, but it's
38:02.315 --> 38:17.865
[SPEAKER_02]: It's this song that just the violin really just sets the tone for for what it's about to become, but it's one of the these every every every springsteen album, especially around this time would have one or two of these you know nine ten minute kind of story epics.
38:18.665 --> 38:30.275
[SPEAKER_02]: that you get these and you're racing in the streets or incident on 57th street, but this one is kind of just the whole culmination of it just just works for me in every single land.
38:30.375 --> 38:46.308
[SPEAKER_02]: And I said this was this was the song I was referring to earlier where you know, everything Billy Joel did in DownEatster, Alexa was so incredibly literal and here's Bruce with the you know, the urban poetry about the magic rat and the barefoot girl
38:47.730 --> 38:54.975
[SPEAKER_02]: And it's really just paints this picture that it feels like there's an entire movie kind of including, you know, intertwined within this whole song.
38:55.676 --> 38:56.196
[SPEAKER_01]: Mm-hmm.
38:56.216 --> 39:00.740
[SPEAKER_01]: Yeah, that's, that's what Bruce does best, that's, that's his bread and butter, for sure.
39:00.980 --> 39:08.506
[SPEAKER_01]: But, but alright, my next pick, gonna stay in the 70s with this one, 1972, to be specific.
39:18.768 --> 39:34.854
[SPEAKER_05]: Baby, baby, we're losing my head I sure do watch it, baby Got you where it fell There in a lady in the man's roof Oh man, we'll handle them, please
39:42.158 --> 40:07.377
[SPEAKER_05]: Now I'm home saying blues, I know how they go blues I have a left or more going you You were everywhere I live all the time but I don't know But I ain't forgetting that you won't want to spend But I'm living without you to try Now I'm leaving my heart out
40:23.165 --> 40:26.973
[SPEAKER_01]: So what I love about this song, besides the fact that it's a good song, is
40:27.917 --> 40:42.381
[SPEAKER_01]: I love the contrast between the way it sounds and the lyrics, because whenever you have a foxy violin song, you know, it has this old, tiny English countryside village feel to it.
40:43.161 --> 40:51.423
[SPEAKER_01]: Perhaps there's a vicar or a yield pub, but if you look at the story of the song, it's about
40:54.684 --> 41:17.709
[SPEAKER_01]: and being like, sweetie, I know you think I'm desperate and horny, but trust me, I'm not that, and he's writing it during his break at work, and there's references to Minnesota and Jackie O and calling collect, remember them basement parties, your brothers, karate, the all-day rock and roll shows, like there's all these modern references, and the music is like the shire.
41:18.230 --> 41:20.070
[SPEAKER_01]: So I just, I find that so amusing, Kimno.
41:21.000 --> 41:22.401
[SPEAKER_02]: Yeah, it's got that.
41:22.681 --> 41:23.502
[SPEAKER_02]: You mentioned the shower.
41:23.722 --> 41:30.588
[SPEAKER_02]: It's got kind of got almost a a blue grassy twang to it in in certain ways with the with the fiddle.
41:30.988 --> 41:38.875
[SPEAKER_02]: The thing that kept popping up to me as I as I listen to this song a few different times is there's so many points in the song that I'm listening to it and thinking
41:39.957 --> 41:40.837
[SPEAKER_02]: this is Maggie May.
41:42.037 --> 41:43.838
[SPEAKER_02]: This is just another version of Maggie May.
41:44.538 --> 42:08.263
[SPEAKER_02]: And I just, and, and, and, and, and, and, and, and, and, and, and, and, and, and, and, and, and, and, and, and, and, and, and, and, and, and, and, and, and, and, and, and, and, and, and, and, and, and, and, and, and, and, and, and, and, and, and, and, and, and, and, and, and, and, and, and, and, and, and, and, and, and, and, and, and, and, and, and, and, and, and, and, and, and, and, and, and, and, and, and, and, and, and, and, and, and, and, and, and, and, and, and, and, and, and, and, and, and, and, and, and, and, and
42:10.723 --> 42:17.305
[SPEAKER_01]: Yeah, I mean, it's basically trying to be Maggie Maypartue because Maggie May came out the year before, and it was a big hit.
42:18.125 --> 42:25.967
[SPEAKER_01]: So it's like, yeah, break up the violin again, we got to do it again here, so, in fact, it's even the same violin player too, Dick Powell.
42:26.828 --> 42:31.409
[SPEAKER_01]: And it works because it was number one in the UK, and it topped when he hit in America.
42:31.529 --> 42:35.410
[SPEAKER_01]: So I look, I can't blame him for doing it again because it worked, you know.
42:36.285 --> 42:57.891
[SPEAKER_02]: Oh, no, it's catchy and it does stand on its own right and I do I do really enjoy kind of the way the the lyrics and the music kind of play against each other in in pretty unexpected ways it is it is a lot of fun for sure for sure All right, hit no what's your next pick there so my next pick is probably as as country as I'll get
43:25.465 --> 43:45.737
[SPEAKER_03]: I made it down the coast in 17 hours Take a river, can't doubt what flowers And I'm hoping for a ride And I can see my famous tonight So rockin' me, my my like a wagon We'll rockin' me, my my anyway feel Hey
43:51.974 --> 44:00.019
[SPEAKER_03]: Rock, man, mama, like a wind, and a rain, rock, man, mama, like a sad about train, hey, mama
44:14.740 --> 44:28.356
[SPEAKER_02]: So yeah, this is kind of as cliche as cliche gets and is overplayed as overplayed gets especially after Darious Rucker recorded his version that kind of became his big crossover country hit.
44:29.223 --> 44:31.004
[SPEAKER_02]: but I still love this song.
44:31.804 --> 44:33.384
[SPEAKER_02]: I probably came to it.
44:33.984 --> 44:43.988
[SPEAKER_02]: I definitely heard the Darryest Rocker version first because it was very much on the pregame mix of a summer college baseball team that I was covering.
44:44.028 --> 44:46.928
[SPEAKER_02]: So I'd hear this while I was watching them take batting practice all the time.
44:47.709 --> 44:50.850
[SPEAKER_02]: But the original quasi original version,
44:51.910 --> 45:17.220
[SPEAKER_02]: from from Old Chromedicine show is my favorite version of this song and kind of a song with a fascinating history because the chorus is kind of a bob Dylan sketch demo from the from the pack air and and Billy the kid sessions in the 70s that just never gets finished and then catch sequel from from Old Chromedicine show kind of you know kind of writes
45:17.980 --> 45:33.793
[SPEAKER_02]: the verses and the music around that kind of gives a story to the song that really has nothing to do with the chorus, but somehow it kind of all works together and then just kind of terrific classic kind of country folk, uh, fiddle playing too.
45:34.780 --> 45:44.252
[SPEAKER_01]: Yeah, it must be nice for Bob Dylan to get royalties for a song that he probably doesn't even remember coming up with, like, even when he's not trying, he's still coming up with classic songs.
45:44.332 --> 45:52.662
[SPEAKER_01]: It's amazing, but yeah, even a country normi let myself as sort of the song, just because of how popular it became.
45:53.563 --> 46:06.168
[SPEAKER_01]: You know, it's like bluegrass freebird where you know, every country banned under the sun has covered it to the point where as you said, you know, some venues actually banned the song because they're like, you know, enough already.
46:07.208 --> 46:16.652
[SPEAKER_01]: And you know what, it's a really nice pleasant song, but I'm sure if you're a club owner and you hear it every single night, you'll lose your mind eventually hit no.
46:17.695 --> 46:44.735
[SPEAKER_02]: Oh yeah and and it is a song that really the live versions I've worked have seen work really well It's a classic like I've seen a few cars that they'll get 10 12 minutes long when you're just Throwing you know four or five different bands together with 19 different people taking random solos It's a song that really really works in that environment, but you kind of get incredibly self-indulgent, but song that I just
46:45.515 --> 47:00.942
[SPEAKER_02]: One of those songs I just listened to, it's a comfort song over and over again, and kind of funny that they said, you know, the, the headed west from the Cumberland gap to Johnson City Tennessee is the wrong direction, but they just kind of realized.
47:01.462 --> 47:01.922
[SPEAKER_02]: You know what?
47:02.362 --> 47:04.683
[SPEAKER_02]: It sounds that West sounds better than East.
47:05.383 --> 47:12.945
[SPEAKER_02]: West sounds a little bit more yearning and kind of the classic kind of frontier spirit to it, but always interested into this, you're going the wrong way.
47:12.965 --> 47:18.447
[SPEAKER_02]: You know, if you're actually trying to find the the Cumberland gap in Johnson City, Tennessee, don't go west.
47:19.688 --> 47:23.369
[SPEAKER_01]: Yeah, this is why we have maps and we don't use songs as maps.
47:23.729 --> 47:27.350
[SPEAKER_01]: So there are two distinct things, thankfully, but
47:28.416 --> 47:47.694
[SPEAKER_01]: but that that dareous record cover i've also heard that and that's also really good uh... somebody picked it for a musically ground and i dug it a lot there but but look it's it's kind of hard to mess this song up i think it's one of those songs where you have to be really trying hard to fuzz with it and make it not work have no i think
47:48.563 --> 47:55.905
[SPEAKER_02]: Yeah, it's just, it's catchy, it's got a beautiful kind of simplicity to it that really, really works.
47:55.985 --> 47:59.026
[SPEAKER_02]: And yeah, Darrystrucker has a, has a fantastic voice.
47:59.046 --> 48:02.307
[SPEAKER_02]: So I'm still struggle to only call him Darrystrucker.
48:02.347 --> 48:12.910
[SPEAKER_02]: I will always just want to call him hoody, but this, I, I just, I, I prefer the kind of slightly raw version that that came through first.
48:12.950 --> 48:13.370
[SPEAKER_02]: And I think,
48:14.250 --> 48:14.770
[SPEAKER_02]: Kind of keep there.
48:14.790 --> 48:24.177
[SPEAKER_02]: I believe they performed together at the grand old Aubrey and that kind of led Darius Walker to recording his version of the song which did go absolutely huge.
48:26.339 --> 48:30.362
[SPEAKER_01]: Alright, so my next pick going to go back to the UK with this one.
48:31.282 --> 48:34.925
[SPEAKER_01]: This is a band with a funny name, but they've got some pits to that name.
48:35.625 --> 48:37.747
[SPEAKER_01]: It's called Dexie's Midnight Runners.
48:39.002 --> 48:49.462
[SPEAKER_01]: and the song that they are best known for, both here and abroad, is the song of their album 2 Rae, this is of course, come on Eileen.
49:06.072 --> 49:23.332
[SPEAKER_05]: I'm gonna die, I suck it's more tight, but it's only tight too, I'm gonna fight it, it's fun, fun, run, run, run, run, run, run, run, run, run, run, run, run, run, run, run, run, run, run, run, run, run, run, run, run, run, run, run, run, run, run, run, run, run, run, run, run, run, run, run, run, run, run, run, run, run, run, run, run, run, run, run, run, run, run, run, run, run, run, run, run, run, run, run, run, run, run, run, run, run, run, run, run, run, run, run, run, run, run, run, run, run, run, run, run, run, run, run, run, run, run, run, run, run, run, run, run,
49:32.512 --> 49:56.460
[SPEAKER_05]: Oh oh oh oh oh oh oh oh oh oh oh oh oh oh oh oh oh oh oh oh oh oh oh oh oh oh oh oh oh oh oh oh oh oh oh oh oh oh oh oh oh oh oh oh oh oh oh oh oh oh oh oh oh oh oh oh oh oh oh oh oh oh oh oh oh oh oh oh oh oh oh oh oh oh oh oh oh oh oh oh oh oh oh oh oh oh oh oh oh oh oh oh oh oh oh oh oh oh oh oh oh oh oh oh oh oh oh oh oh oh oh oh oh oh oh oh oh oh oh oh oh oh oh oh oh oh oh oh oh oh oh oh oh oh oh oh oh oh oh oh oh oh oh oh oh oh oh oh oh oh oh oh oh oh oh oh oh oh oh oh oh oh oh oh oh oh oh oh oh oh oh oh oh oh oh oh oh oh oh oh oh oh oh oh oh oh oh oh oh oh oh oh oh oh oh oh oh oh oh oh oh oh oh oh oh oh oh oh oh oh oh oh oh oh oh oh oh oh oh oh oh oh oh
49:58.786 --> 50:10.953
[SPEAKER_01]: So this is one of those songs where I read the name of a bunch of times before I actually heard the song and I was confused naturally, like Dexie's Midnight Runners, what kind of name is that?
50:12.053 --> 50:26.381
[SPEAKER_01]: And then I heard it for the first time with this, you know, Twee, fiddle playing and the footsteps and the full set of vocals and the gang vocalator on, you know, come on, I lean to the right, come on.
50:27.152 --> 50:55.815
[SPEAKER_01]: and all that stuff and i was like a this is super english and b my toes are tapping like nobody's business uh... because this song is an absolute delight uh... it's very obvious why i went to number one in the u.s.nuk because it is catchy and fun is hell and it's about young love and all that and i think i know like two dexies mini-runners songs in total and this is one of them but they made their mark in my book him now
50:56.818 --> 51:00.981
[SPEAKER_02]: Yeah, this song just puts a smile on your face every single time.
51:01.742 --> 51:15.751
[SPEAKER_02]: When you hear the first violin, but as soon as that piano vamp comes in and they jump into it, if you can't just, yeah, if you're not tapping your feet when you hear this song, I just don't understand how you can't.
51:15.871 --> 51:21.535
[SPEAKER_02]: It's so incredibly catchy and yeah, the kind of
51:24.077 --> 51:30.440
[SPEAKER_02]: kind of just if you're if it's late at night and you're drunk in a bar and this song comes on everyone is singing along to that.
51:31.661 --> 51:50.330
[SPEAKER_01]: Yeah yeah and you know for those wondering dexies is short for dexedrine which is a stimulant that people would take in dance clubs to stay energized and this song would get you energized for sure without you know catching zippy it is and and the history of the band is fascinating because
51:50.991 --> 51:58.356
[SPEAKER_01]: They've broken up multiple times, and at all these lineup changes, and for a very long stretch, they were just known as Dexys.
51:58.936 --> 52:05.881
[SPEAKER_01]: They dropped them in Nightrunners, but then they put out a new album this year, and they're back to being Dexys in the Nightrunners.
52:06.081 --> 52:07.662
[SPEAKER_01]: So the name is back where it belongs, have you know?
52:08.522 --> 52:09.263
[SPEAKER_02]: Yeah, I know.
52:09.803 --> 52:11.004
[SPEAKER_02]: This song, uh,
52:12.217 --> 52:30.990
[SPEAKER_02]: a few years ago, they re-released it, or I've been watching some stuff on YouTube around it, where Kevin Rowland was not particularly thrilled with the original mix, or there were some small things that he wanted to, and they kind of remastered it to kind of get it to the original way that they wanted to.
52:32.533 --> 52:48.505
[SPEAKER_02]: some of those songs when you just listen to it, you can't help but feel like this is this is one of those great, you know, 80s British pop songs at a time when they were when they were cranking out things in the, you know, in a new wave that just they're just constantly that just hold up so well.
52:49.786 --> 52:50.346
[SPEAKER_01]: Absolutely.
52:50.507 --> 52:50.807
[SPEAKER_01]: Yeah.
52:50.987 --> 52:51.247
[SPEAKER_01]: Yeah.
52:52.128 --> 52:53.849
[SPEAKER_01]: Um, all right, hit no.
52:53.949 --> 52:54.810
[SPEAKER_01]: Uh, what you got next for us?
52:55.905 --> 53:00.267
[SPEAKER_02]: So next for me is going back to the late 70s again.
53:00.287 --> 53:05.769
[SPEAKER_02]: This is Kansas from the point of no return album and this is Dustin the Wind.
53:22.703 --> 53:36.228
[SPEAKER_05]: Crumbles to the ground, though we refuse to see Oh, God's love, oh, oh All we are is destined to be in Oh, oh, oh, oh
53:49.703 --> 53:52.164
[UNKNOWN]: Thank you very much for watching this video, see you in the next video.
54:11.767 --> 54:18.848
[SPEAKER_02]: So, you know, a lot of Kansas obviously kind of veers a bit bigger and more bombastic.
54:18.888 --> 54:25.730
[SPEAKER_02]: I mean, this is their, their second platinum song, the first is carry out, was carry on wayward son, which is about as big in bombastic as you get.
54:26.250 --> 54:36.932
[SPEAKER_02]: But this one, this one strips it way back down, you know, it's acoustic guitar, it's violin and viola hand drums, it's,
54:37.852 --> 55:04.214
[SPEAKER_01]: uh... got a very very ethereal quality to it that i've always really loved yeah i didn't want to cry today but you're not making it easy here hit no um... yeah it's it's one of the quintessential rock ballads about death and the passage of time all we are is dust in the wind to the point where like it's kind of become a depression cliche like uh... i remember years ago this was a joke on party down
55:05.035 --> 55:09.636
[SPEAKER_01]: where Ken Marino's character is sad and listening to Justin the Wind on repeat.
55:10.476 --> 55:18.097
[SPEAKER_01]: And just last year on smiling friends when Mr. Frog is depressed, he sings this on a karaoke.
55:18.497 --> 55:25.639
[SPEAKER_01]: But, you know, despite all that, and despite hearing this song a million times over the years, I do still get a twinge of emotion whenever I hear it.
55:26.039 --> 55:32.880
[SPEAKER_01]: And the bridge with the violin going into the final verse with the harmonies, I mean, come on, it still hits for sure, here you know.
55:33.787 --> 55:53.193
[SPEAKER_02]: Yeah, and this was a fun one for me because a couple of years ago I was running the the Arts and Entertainment section at the newspaper I was working at at the point and Kansas was coming to the area for a show and got the chance to interview their current
55:54.493 --> 55:56.975
[SPEAKER_02]: they're currently vocalist who's a guy named Ronnie Platt.
55:57.375 --> 56:05.002
[SPEAKER_02]: And he was a guy who was a singer in some other bands who was also a guy who was a professional long haul trucker.
56:05.802 --> 56:07.344
[SPEAKER_02]: But all of a sudden he's like
56:08.304 --> 56:24.383
[SPEAKER_02]: You know, I auditioned you know, so while back and all of a sudden I'm singing all these songs that got me into music and it was really one of the the more more fun interviews I got a chance to do during the the year I was writing about music and entertainment, but he
56:25.772 --> 56:42.783
[SPEAKER_02]: Absolutely, you know, loved singing, singing dust in the wind and this song, yeah, as a song that, you know, grown up listening to a lot of classic rock radio would play all the time and yeah, it always, it always hits you in the, you're kind of that deep part of your, your heart and your stomach.
56:43.663 --> 56:52.329
[SPEAKER_01]: Yeah, yeah, and, and like sound lucidity, you know, it's a big hit because it's not that pro-rocky, but.
56:53.037 --> 56:58.501
[SPEAKER_01]: The amazing thing, you know, and this is another case where this is a late addition to the album.
56:58.621 --> 57:03.004
[SPEAKER_01]: Carrie Livgren was just doing the guitar line, it's got finger exercise.
57:03.945 --> 57:07.247
[SPEAKER_01]: And his wife was like, that's really nice, you should break lyrics for that.
57:08.207 --> 57:14.632
[SPEAKER_01]: And he made this rough demo of it and played it for the rest of the band and they're like, that's a single, that's it.
57:14.992 --> 57:17.394
[SPEAKER_01]: And yeah, I ended up being their biggest hit.
57:17.814 --> 57:21.797
[SPEAKER_01]: Just by sheer habit stance of his wife, like in the melody, hit no, it's amazing.
57:22.605 --> 57:24.485
[SPEAKER_02]: That's the way some of these things work.
57:24.505 --> 57:27.106
[SPEAKER_02]: You know, you find that kind of moment of inspiration.
57:27.146 --> 57:31.207
[SPEAKER_02]: And yeah, that guitar line just works so well.
57:31.227 --> 57:39.269
[SPEAKER_02]: And then the playing, playing in the strings, it's, it's Robbie Steinhardt playing actually both violin and viola on the song.
57:39.689 --> 57:42.389
[SPEAKER_02]: And yeah, everything about it just works.
57:42.429 --> 57:45.270
[SPEAKER_02]: And I can see why it was their biggest hit.
57:48.138 --> 58:03.565
[SPEAKER_01]: Alright, my next pick, this is a live cut here, Metallica did a live album with the San Francisco Symphony Orchestra, it's called S&M for Symphony Metallica, not the other thing, you've dirty birds.
58:04.905 --> 58:08.907
[SPEAKER_01]: Yeah, this is Metallica with a song called No Leaf Clover.
58:28.781 --> 58:34.545
[UNKNOWN]: To fuck the night, do they kill the dead with a hold of love?
58:34.585 --> 58:51.375
[SPEAKER_05]: Said to be a rock this time Turn around around the light Good day to be an answer Good day to be a lie
58:56.680 --> 59:05.305
[SPEAKER_05]: When it comes to me the air of the soothing light And the air to you and tell her What does the freight train call to her?
59:05.345 --> 59:14.209
[SPEAKER_05]: When it comes to me the air of the soothing light And the air to me and the air to you
59:17.482 --> 59:22.944
[SPEAKER_01]: So how do you make Metallica an already epic band, even more epic, you add an orchestra?
59:23.764 --> 59:29.086
[SPEAKER_01]: And there have been plenty of bands over the years that have done live shows with orchestras.
59:29.126 --> 59:34.648
[SPEAKER_01]: I've got another one coming up later on actually, but this is one of the more famous examples of it.
59:35.048 --> 59:39.870
[SPEAKER_01]: And no leave Clover, it's one of the two original songs that they did for the album.
59:40.670 --> 01:00:03.566
[SPEAKER_01]: The other being a song called Minus Human and I wouldn't call it a hidden gem because it it was a number one rock a single But to a layman, I mean, it's not first of mind when it comes to Metallica and I didn't discover it myself until I played guitar here on Metallica The video game and I was like this song is awesome and Years later, I still think it's awesome.
01:00:03.646 --> 01:00:03.886
[SPEAKER_01]: Hey, no
01:00:05.198 --> 01:00:10.004
[SPEAKER_02]: Yeah, I had not heard this one until you passed this along.
01:00:10.024 --> 01:00:18.195
[SPEAKER_02]: I knew of the SNL album and a few of the songs from it, but yeah, I really, really enjoyed this.
01:00:18.235 --> 01:00:21.479
[SPEAKER_02]: And I'm kind of a metallic agnostic.
01:00:21.739 --> 01:00:26.544
[SPEAKER_02]: You know, I can take them or leave them at certain points, uh, but this really worked.
01:00:26.564 --> 01:00:34.172
[SPEAKER_02]: The, the, like you said, the, the epicness, the, the scale, uh, with the, with the San Francisco Symphony Orchestra, uh, working with them.
01:00:34.372 --> 01:00:36.875
[SPEAKER_02]: It just, everything is, is big.
01:00:36.895 --> 01:00:44.003
[SPEAKER_02]: And you know, we've talked a lot about what, what strings can add and this adds that, that, that bigness in, in, in so many ways.
01:00:45.060 --> 01:00:48.282
[SPEAKER_01]: Yeah, it's more power for an already powerful band.
01:00:48.322 --> 01:00:51.024
[SPEAKER_01]: It just, it meshes so well together.
01:00:51.604 --> 01:00:55.027
[SPEAKER_01]: And I want to shout out the conductor, as well, during this performance.
01:00:55.087 --> 01:00:56.368
[SPEAKER_01]: It's a guy named Michael Cayman.
01:00:56.988 --> 01:01:05.614
[SPEAKER_01]: He had actually worked with Metallica before this, because he arranged the orchestra parts in nothing else matters on the black album.
01:01:06.454 --> 01:01:10.137
[SPEAKER_01]: And he also did the music for die hard and lethal weapon and an X-Men.
01:01:10.876 --> 01:01:22.900
[SPEAKER_01]: and he worked with David Bowie, Pink Floyd, Queen, and a whole bunch of other bands, including a little band called Queens Reich on their song, Silent Lucidity.
01:01:23.380 --> 01:01:24.561
[SPEAKER_01]: He was the conductor on that.
01:01:24.821 --> 01:01:25.761
[SPEAKER_01]: And I didn't plan that.
01:01:26.322 --> 01:01:30.363
[SPEAKER_01]: I just found that out the other day, but it's a little bit of kism at there, have no.
01:01:31.207 --> 01:01:54.572
[SPEAKER_02]: Now that I happened to notice that when I was doing some research to these songs as well, and I mostly did know Michael came in through through movie scores and through the thing I probably knew him most for is he's the guy who writes, he wrote the American symphony at the end of the movie, Mr. Holland's Opus, with Richard Dreyfus.
01:01:54.672 --> 01:01:55.813
[SPEAKER_02]: That's his composition,
01:02:01.494 --> 01:02:08.683
[SPEAKER_02]: Yeah, fun just fun to see him doing, but yeah, he clearly knows how to work in orchestra, and he does it in this song really, really well.
01:02:09.283 --> 01:02:09.464
[SPEAKER_01]: Mm-hmm.
01:02:11.326 --> 01:02:12.968
[SPEAKER_01]: Okay, uh, him know what you got next.
01:02:14.123 --> 01:02:31.012
[SPEAKER_02]: Alright, next for me, going back to the 70s in a not quite a pro rock artist, but the most pro rock of his albums, this is Elton John from the Madman Across the Water Album, this is Lee von.
01:02:46.666 --> 01:03:12.566
[SPEAKER_05]: They got blue, and gone sailing While limon, limon slaughtered eyes He was born up all the two of them on a Christmas day When the New York Times said God is dead, and the wolf had gone All of them tossed their hair on the Sunday
01:03:17.560 --> 01:03:36.355
[SPEAKER_05]: And it's all about a new home And it's all about a new home And it's all about a new home And it's all about a new home And it's all about a new home And it's all about a new home
01:03:40.542 --> 01:03:50.971
[SPEAKER_02]: So along with Billy Joel, John is probably the other person I grew up listening to the most and this has been a favorite song of mine since I was very, very young.
01:03:51.932 --> 01:03:57.076
[SPEAKER_02]: And yeah, when you listen to the madman across the water album now, it is...
01:03:58.370 --> 01:04:01.952
[SPEAKER_02]: very different from a lot of the the rest of the Elton John catalog.
01:04:02.412 --> 01:04:23.823
[SPEAKER_02]: And a lot of that is the the strings and this the string arrangement most of this album uses string arrangements from Paul Buckmaster and leave on to me just has the most the biggest kind of scale to it and yeah I just love the way the song works with kind of Elton's singing, Elton's piano playing, Bernie Toppins
01:04:29.424 --> 01:04:51.195
[SPEAKER_01]: Yeah, when I started getting into Elton John, like actually digging into his catalog beyond the two or three songs that I knew, this is one of the first songs that I remember really liking a lot, because I was sick of tiny dancer, which is on the same album, and I wanted something else, and this blue, young me away, same with the song, Mad Men across the
01:04:54.025 --> 01:05:06.668
[SPEAKER_01]: uh... fun fact to think about leave on sun being born on christmas day out in john's first son was born christmas day and his middle name is leave on so that's you know kind of a little fun fact there for you so
01:05:07.668 --> 01:05:27.656
[SPEAKER_02]: and I know they had they named the leave on in the song after after leave on helm from the band, not about him, and no one's really ever figured out the so but who Alvin Tostig is, but just a complete fictional invention, but that just kind of a song that really works to the kind of
01:05:29.806 --> 01:05:47.820
[SPEAKER_02]: Sorry, kind of a testament to the songwriting partnership between Elton John and Bernie Toppon that is kind of one of the most unique relationships in music where, you know, Bernie will just go off and write some lyrics, come back with a weird little poem and hand it out and say, hey, buddy, go make a song.
01:05:49.148 --> 01:05:57.290
[SPEAKER_01]: Yeah, and Robbie Robertson, funny enough, said that Levi Hound did not like the song and we could be here.
01:05:57.310 --> 01:06:02.131
[SPEAKER_01]: It says, quoting him as saying, Englishmen shouldn't fuck with Americanism.
01:06:02.531 --> 01:06:08.013
[SPEAKER_01]: So the name's sake is not a big fan of the song there, but the guy
01:06:09.456 --> 01:06:35.375
[SPEAKER_01]: doing the orchestral arrangements on this one is guy named Paul Buckmaster and he worked on several other than John's early albums and he also worked on space audity, you're so vain, drops of Jupiter by train which you want to Grammy for and he's worked with skillet, no doubt, bend folds, UFO, grateful dead, Taylor Swift, guns and roses like
01:06:38.402 --> 01:07:03.158
[SPEAKER_02]: The guy has had a career and he absolutely not the string arrangements and the orchestrations here out of the park because it just swells with the moments of the song and kind of really crescendo's everything together in a way that, you know, it's it's a weird song and it's just it's just verse chorus verse chorus and then really letting the strings kind of play it out.
01:07:04.539 --> 01:07:06.661
[SPEAKER_01]: Yeah, yeah, it's a fantastic song for sure.
01:07:08.862 --> 01:07:13.545
[SPEAKER_01]: All right, mine next pick, I can go way back to 1962 with this one here.
01:07:14.606 --> 01:07:20.690
[SPEAKER_01]: This is a guy who used to be in the drifters, then he went solo, it's Ben E King.
01:07:21.011 --> 01:07:28.536
[SPEAKER_01]: Not Ben E King, Ben E King, and this is a iconic song here, this is Stand by Me.
01:07:34.047 --> 01:07:49.213
[SPEAKER_04]: In the night has come, and the land is dark, and the moon is the only light we'll see.
01:07:49.953 --> 01:08:03.198
[SPEAKER_04]: No, I won't be afraid, for I won't be afraid, just as long as you stand, stand by me.
01:08:04.401 --> 01:08:31.263
[SPEAKER_04]: So darling, darling, stand by me Holds them by me Holds them, stand by me Stand by me It's the sky that we look upon Should tumble and fall All the mountains
01:08:34.664 --> 01:08:38.346
[SPEAKER_01]: Wait a minute, that's not Corey Feldman and where the hell is Will Wheaton?
01:08:40.307 --> 01:08:44.769
[SPEAKER_01]: So yeah, I didn't just want all violence and strings on my picks.
01:08:45.350 --> 01:08:47.731
[SPEAKER_01]: I was also looking for a good double-based song.
01:08:48.111 --> 01:08:54.975
[SPEAKER_01]: I could stand up based tune and I did a quick search and this song popped up and I was like, oh, duh, of course.
01:08:55.655 --> 01:08:58.157
[SPEAKER_01]: It's got one of the most famous bass lines in music.
01:08:59.039 --> 01:09:27.277
[SPEAKER_01]: and that's how it starts with that do do do do do do do do do do I looked up who does that it's got him to Lloyd Trottman he was from Boston actually and he played with a million big names including the drifters and as the song goes on you know King's voice comes in and then the strings softly come in and the background vocals so it's it's so beautiful man and and this song is over 60 years old and it's still you know it still stirs up the emotions
01:09:28.638 --> 01:09:48.617
[SPEAKER_02]: Yeah, this is kind of an immortal song, I mean, a song so good, they get a, they name a movie after it and it's such a deeply emotional song and I said that that baseline at the beginning just sets the tone but the big sweeping strings.
01:09:49.377 --> 01:09:58.567
[SPEAKER_02]: coming in throughout it, really, really helps set a tone and yeah, I've loved this song for years and it's another one that I think it's kind of impossible not to love this song.
01:09:58.587 --> 01:10:06.315
[SPEAKER_02]: I mean it's literally a song, you know, so important that it's in the library of Congress and with a deserved spot.
01:10:07.180 --> 01:10:13.103
[SPEAKER_01]: Yeah, and according to the songs of Capitia, it's been covered over 500 times over the years.
01:10:13.904 --> 01:10:16.025
[SPEAKER_01]: It's like Wagon Wheel, everyone's done it.
01:10:16.365 --> 01:10:20.468
[SPEAKER_01]: Like, even Muhammad Ali did a version of this song, which is pretty amazing.
01:10:20.588 --> 01:10:23.790
[SPEAKER_01]: But going back to the baseline, I mean, that's really all you need.
01:10:23.910 --> 01:10:25.751
[SPEAKER_01]: Like, that's the crux of the song.
01:10:26.491 --> 01:10:33.275
[SPEAKER_01]: As long as you can do that baseline and go and dull and dull and stand by me.
01:10:34.035 --> 01:10:36.637
[SPEAKER_01]: As long as you can do that, you're good as gold, Hibna.
01:10:37.640 --> 01:10:47.064
[SPEAKER_02]: Yeah, you just, every time it swells to that chorus, it just hits you right in the old feelings, as they say.
01:10:47.104 --> 01:11:06.392
[SPEAKER_02]: And it's a song that has an incredible, you know, I was born in the mid 80s, you know, I was, I was also too, I was too young for the movie standby me when it came out, but there is an incredible nostalgic quality about the song, but still like you said, it's a timeless quality that just lasts kind of forever
01:11:07.998 --> 01:11:09.960
[SPEAKER_01]: Yeah, for sure, for sure.
01:11:10.840 --> 01:11:12.742
[SPEAKER_01]: All right, what is your next pick there, hit no?
01:11:13.562 --> 01:11:27.493
[SPEAKER_02]: So my next pick, going a little bit more modern than my last couple, this is back to the early 90s, back to where I started, which was in Ireland, this is from the cranberries, and this is linger.
01:11:46.752 --> 01:11:59.861
[SPEAKER_05]: I'm in fear, if you can't find, trying not to lie Things wouldn't be so cocky, and I wouldn't feel safe But you are with me, I just wanna be with you
01:12:13.698 --> 01:12:19.480
[SPEAKER_05]: You got me right there, have you been there?
01:12:20.540 --> 01:12:22.521
[SPEAKER_05]: Do you have to let it in?
01:12:22.561 --> 01:12:24.402
[SPEAKER_05]: Do you have to?
01:12:24.642 --> 01:12:25.662
[SPEAKER_05]: Do you have to?
01:12:25.902 --> 01:12:28.543
[SPEAKER_05]: Do you have to let it in?
01:12:35.418 --> 01:13:03.372
[SPEAKER_02]: So Dolores O'Reardon from the cranberries has kind of one of the most distinctive voices of the early 90s and this song kind of sets that to I know there's there's some bigger ones there are dreams obviously zombie is is there is is I kind of but for me there's something just incredibly beautiful about linger in this kind of story of
01:13:04.212 --> 01:13:18.166
[SPEAKER_02]: of kind of lost fleeting love that really, really works and another one that's got a fascinating story in reading about it that this is basically the song that gets Dolores are in into the cranberries.
01:13:18.647 --> 01:13:20.789
[SPEAKER_02]: Now they're looking for a for a new singer.
01:13:21.529 --> 01:13:22.370
[SPEAKER_02]: She's auditioning.
01:13:22.430 --> 01:13:26.855
[SPEAKER_02]: They give her the music and she comes back with these lyrics and blows them away.
01:13:28.654 --> 01:13:51.224
[SPEAKER_01]: I know I was in my notes there, I mean that's that's pretty amazing, I mean look it's it's hard not to let her in given how great this song is, like you got to let her in because of it so and you know I'm not going to say there and say oh my huge cranberries fan, like I know the same three songs that most people know, zombie dreams in this but
01:13:52.627 --> 01:13:53.608
[SPEAKER_01]: What a trio of songs.
01:13:54.188 --> 01:14:00.354
[SPEAKER_01]: I mean, just let's just put here a motion emitting from this song, Dolores are weird.
01:14:00.414 --> 01:14:02.776
[SPEAKER_01]: I mean, not just your voice, but are accent.
01:14:02.976 --> 01:14:04.457
[SPEAKER_01]: It just lights my brain up.
01:14:05.138 --> 01:14:11.623
[SPEAKER_01]: Every time she says, added to it, and very you, and dare bombs, and dare guns.
01:14:11.723 --> 01:14:14.746
[SPEAKER_01]: Like, I'm like, you've got my heart again, Dolores.
01:14:15.267 --> 01:14:16.808
[SPEAKER_01]: And yeah, it's just a beautiful song.
01:14:17.712 --> 01:14:46.745
[SPEAKER_02]: and another, another singer that lost that too soon, obviously, passing away about a decade ago, but it's that one of the most immediately recognizable voices, if you grew up at this time, and I'm pretty sure in the early days, I can't remember which album it was, but around the first time I ever bought a CD player, a cranberry CD was one of the very first things that I bought.
01:14:48.500 --> 01:14:58.469
[SPEAKER_01]: It was either, everybody else is doing it so I can't wait, or no need to argue, because those were like the two big ones, and they were packed back to back, so.
01:14:58.829 --> 01:15:04.835
[SPEAKER_02]: Yeah, and I think it was no need to argue, but I'd have to go back and dig through some 30, 32-year-old CDs to find it.
01:15:07.577 --> 01:15:26.530
[SPEAKER_01]: Yeah, that one has a zombie on it, and dreams to linger on the previous one, so yeah, but but all right, going from Ireland to Canada here with a band that I finally saw live a few days ago in Boston, so we're going to finally die happy here.
01:15:26.950 --> 01:15:30.313
[SPEAKER_01]: This is Rush, and this is from their
01:15:47.228 --> 01:16:12.013
[SPEAKER_05]: For some time I let you go from a shore Only when you are full The people will smile Through the dark in the storm Gather everything they can score Tears and nights won't burn anymore
01:16:17.533 --> 01:16:43.167
[SPEAKER_05]: All I know is it's time time to argue, be worried All the miracles to get to be true All I know is it's time to truth is contrary All the same is not even arguing All I know is it's time to argue, be worried All the miracles to get to be true All I know is it's time to truth is contrary
01:16:46.567 --> 01:17:03.682
[SPEAKER_01]: So Clockwork Angels is a concept album, and this song is about the main character being on a ship during a hurricane, and there's a light in the distance, and they think it's safety, but it's actually a trap set up by people on shore to destroy ships.
01:17:04.189 --> 01:17:05.269
[SPEAKER_01]: so they can plunder the cargo.
01:17:05.589 --> 01:17:11.951
[SPEAKER_01]: And that spelled out pretty clearly in the verses, but the chorus, it's a more universal message.
01:17:12.631 --> 01:17:17.573
[SPEAKER_01]: All I know is that sometimes you have to be wary of a miracle too good to be true.
01:17:17.933 --> 01:17:23.154
[SPEAKER_01]: All I know is that sometimes the truth is contrary, everything in life that you thought you knew.
01:17:24.235 --> 01:17:25.395
[SPEAKER_01]: And musically,
01:17:26.369 --> 01:17:32.175
[SPEAKER_01]: I think having the strings really amplifies the drama and gives it a cinematic quality as well.
01:17:32.235 --> 01:17:33.857
[SPEAKER_01]: You'll put it over the top there.
01:17:35.338 --> 01:17:36.359
[SPEAKER_01]: So yeah, you know what I mean?
01:17:36.379 --> 01:17:41.104
[SPEAKER_01]: There are other obvious songs that I could go with here, not by rush.
01:17:41.885 --> 01:17:45.589
[SPEAKER_01]: But given the timing, I had to shout out my boys here, HIPNA.
01:17:46.605 --> 01:18:08.678
[SPEAKER_02]: Yeah, so when you sent me your list of songs that put together a playlist and I had a three hour drive down from where I am in upstate New York to Long Island for work and I got to this song and I think I went back and replayed it instantly three or four times and I'm not a giant rush fan
01:18:09.698 --> 01:18:16.062
[SPEAKER_02]: uh, really I know the, the, the big songs that most people would know, I'd never heard this before.
01:18:16.642 --> 01:18:20.865
[SPEAKER_02]: And it got to the chorus for the first time, and it, I really fell in love with it.
01:18:20.885 --> 01:18:32.692
[SPEAKER_02]: I just absolutely love the, so it has this big and themic quality that I, that I don't always, uh, kind of associate with Rush, but it really, really work and the strings really, really work with this.
01:18:34.358 --> 01:18:40.940
[SPEAKER_01]: Yeah, they've used strings on some previous songs, but they used the, a bunch on this album.
01:18:41.180 --> 01:18:49.222
[SPEAKER_01]: And on the tour for the album, they brought a string piece with them when they played songs from the album.
01:18:49.242 --> 01:18:59.684
[SPEAKER_01]: It was the Clockwork Angels string ensemble, which is a bunch of like violins and cellos, which is a lot more people than they usually have on stage with them at a rush show.
01:19:00.524 --> 01:19:02.765
[SPEAKER_01]: Most of the time it's just getty, Alex and Neil.
01:19:03.646 --> 01:19:08.826
[SPEAKER_01]: And for this new tour, it's Getty, Alex, Anakiniles, and Lauren Gold, so it's four people.
01:19:09.762 --> 01:19:13.204
[SPEAKER_01]: And even that gives a little weird, because we think like, oh, rush is a trio.
01:19:13.324 --> 01:19:18.646
[SPEAKER_01]: But Lauren Gold is the keyboard player, and he helped fill in with keyboard stuff.
01:19:19.226 --> 01:19:21.487
[SPEAKER_01]: So getting and play the bass more is really good too.
01:19:21.627 --> 01:19:25.909
[SPEAKER_01]: So yeah, that's my review of the Russia that I went to.
01:19:26.009 --> 01:19:27.130
[SPEAKER_01]: It was pretty amazing.
01:19:27.790 --> 01:19:31.912
[SPEAKER_01]: And if they are in the area, and you can go see them, then please go see them.
01:19:31.932 --> 01:19:34.173
[SPEAKER_01]: Because who knows when they'll tour again, hip-na.
01:19:34.987 --> 01:19:38.468
[SPEAKER_02]: Yeah, no, that's an experience that I definitely like to have at some point.
01:19:38.488 --> 01:19:49.033
[SPEAKER_02]: Yeah, I'm never, I'm always 50, 50 on on Gettys voice, sometimes because sometimes it reaches that really high quality that doesn't always work for me.
01:19:49.053 --> 01:19:55.316
[SPEAKER_02]: But just this song really, really kind of hit a sweet spot for me that I really enjoyed.
01:19:56.236 --> 01:19:57.256
[SPEAKER_01]: For sure, for sure.
01:19:58.537 --> 01:19:59.437
[SPEAKER_01]: All right, I'll hit no.
01:19:59.517 --> 01:20:00.958
[SPEAKER_01]: What is your second to last pick here?
01:20:02.032 --> 01:20:10.578
[SPEAKER_02]: Second to last pick comes from the late 90s for mingland Is the verb and it's the big one from the verb.
01:20:11.158 --> 01:20:30.992
[SPEAKER_05]: It's bittersweet symphony I'll take you down I've never been down You know the one that sticks you to the places you're on
01:20:37.839 --> 01:20:56.591
[SPEAKER_05]: No change, I can change, I can change, I can change But I feel, you're my mode, I can hear you're my mode But I'm a million different people from war That's the next I can change, my mode, no, no
01:21:19.038 --> 01:21:30.314
[SPEAKER_02]: Yeah, yeah, I talked a little bit about the wall sound stuff earlier and this is as wall of sound as wall of sound gets and
01:21:31.667 --> 01:21:36.810
[SPEAKER_02]: It's so big and sweeping and epic.
01:21:36.910 --> 01:21:44.855
[SPEAKER_02]: It's a song that if you grew up in the mid to late 90s, you could not escape this song.
01:21:44.935 --> 01:21:51.859
[SPEAKER_02]: And you hear those opening string chords, and you just know where you are, and you know this song so well.
01:21:51.879 --> 01:21:57.703
[SPEAKER_02]: And I've heard the song, the hundreds and hundreds of times, and it doesn't get old for me.
01:21:59.153 --> 01:22:07.307
[SPEAKER_01]: Yeah, this one was on my shortlist because it's one of the first things I actually thought of really because it's that iconic.
01:22:07.727 --> 01:22:13.557
[SPEAKER_01]: The first time I heard it, I was at summer camp and one of the counselors had it on their iPod and I was just.
01:22:14.111 --> 01:22:27.001
[SPEAKER_01]: and raptured by it as a youngster, like the strings and that drum beat and the vocal effects it's like this giant wall of sound that envelops you and carries you away, it still makes me feel that way.
01:22:27.661 --> 01:22:33.406
[SPEAKER_01]: And the music video as well of Richard Ashcroft walking down the street also very memorable.
01:22:33.526 --> 01:22:35.187
[SPEAKER_01]: So yeah, I'm
01:22:35.651 --> 01:22:46.375
[SPEAKER_01]: I'm very glad we had this song on the episode regardless of who picked it because there are a bunch of obvious songs that we left off but I just can't imagine leaving this song off.
01:22:47.155 --> 01:22:59.760
[SPEAKER_02]: No, this song absolutely fits and I really didn't know much about the history behind the song when I when I started looking into it but that it's a
01:23:01.220 --> 01:23:26.958
[SPEAKER_02]: kind of comes from a sample of an orchestral version of a rolling stone song from the from the sixties called the last time that ended up going into a big giant lawsuit where all of the all the royalties end up going back to to Mickey and Keith who then get added to the get added to the songwriter grants and then eventually taken back away.
01:23:28.273 --> 01:23:33.276
[SPEAKER_01]: Yeah, I mean, the sample, it's from the Andrew Olden Orchestra.
01:23:33.656 --> 01:23:36.378
[SPEAKER_01]: They did the last time that sample there.
01:23:36.438 --> 01:23:42.622
[SPEAKER_01]: And it was actually the Stone's former manager, Alan Klein, who had the rights to the song.
01:23:43.162 --> 01:23:44.443
[SPEAKER_01]: And you know, he sued over it.
01:23:45.103 --> 01:23:48.385
[SPEAKER_01]: And the band, yeah, they had to give their royalties to Klein.
01:23:48.996 --> 01:24:09.015
[SPEAKER_01]: and changed the songwriting credits to Mick and Keith and they lost a lot of money because of that and it was an until 2019 you know years after Alan climate died that they got the world teased and credits back but we're talking like 20 years of losing out in all that money that's that's got to sting a lot to hit no
01:24:09.913 --> 01:24:30.116
[SPEAKER_02]: Yeah, and I mean, when you think about just how everywhere and how used this song was, uh, that is a lot that got left on the table there and, uh, you know, there's a, it kind of a perfect song to be on an album called Urban Hems, uh, really, really feels like that fits perfectly and, uh,
01:24:31.683 --> 01:24:55.120
[SPEAKER_02]: There's another song on Urban Hems that I heard years later called Lucky Man that I also absolutely love, but this is kind of the definitive verb song, and it's weird as a song with the dispute over the credits, it's a song that really did kind of kind of outlive and outgrow the band itself, it's you know a bit of sweet symphony more than you know the verb.
01:24:55.798 --> 01:25:02.400
[SPEAKER_01]: Yeah, and they also have a song called The Drugs Don't Work, which is like the saddest most depressing song ever, apparently.
01:25:03.420 --> 01:25:17.705
[SPEAKER_01]: So it's the opposite of an inspector of this song here, but alright, my second-to-last pick here, this is Allison Chains, and they put out an EP called Jar of Flies in 94.
01:25:18.445 --> 01:25:22.546
[SPEAKER_01]: It's between their second album, Dirt, and their third album, the South-Hitled One.
01:25:23.371 --> 01:25:26.124
[SPEAKER_01]: And I picked a song called I Stay Away.
01:26:32.200 --> 01:26:38.183
[SPEAKER_01]: So I talked about this last year with DJ Convoy on the second album's episode with Dirt.
01:26:38.938 --> 01:27:02.853
[SPEAKER_01]: But, you know, a lot of Allison Chainslings are, they're pretty dark, they're not the happiest band in the world, especially with Lane Stalean's issues, but even in the darkness, there can be beauty, like you have lines like tears that soak it callous heart, and why you act crazy, not an act maybe, and you know, the anguish and Lane's voice,
01:27:03.558 --> 01:27:07.519
[SPEAKER_01]: When he belt's out, I stay away.
01:27:08.179 --> 01:27:18.443
[SPEAKER_01]: Like it gives me chills, but you also have this nice, melodic acoustic guitar work in there, and the strings coming into the end.
01:27:18.583 --> 01:27:22.424
[SPEAKER_01]: Like it's something of a counterbalance to a different darkness that's going on, Hypno.
01:27:23.403 --> 01:27:27.628
[SPEAKER_02]: Yeah, it's a song of kind of very disparate parts.
01:27:27.668 --> 01:27:30.892
[SPEAKER_02]: There are parts that I really found myself drawn to.
01:27:30.932 --> 01:27:34.877
[SPEAKER_02]: There are parts that that like there are parts I didn't love.
01:27:35.337 --> 01:27:42.966
[SPEAKER_02]: So much the kind of the very modulated vocals, big kind of sludgy crunchy guitars is not
01:27:43.787 --> 01:27:54.282
[SPEAKER_02]: Really my thing, but as soon as the strings pick in and it pops into the chorus That's where the song really finds something for me, and I really really enjoyed those parts.
01:27:54.642 --> 01:28:00.390
[SPEAKER_02]: I enjoyed I enjoyed The the some of the parts more than the whole with this song
01:28:02.466 --> 01:28:05.248
[SPEAKER_01]: Yeah, I get that, I get that, that's understandable.
01:28:05.789 --> 01:28:29.147
[SPEAKER_01]: But I also want to mention the music video for this song, which is also quite striking because it's claymation and it's about the band going to this traveling circus and there is this teenager with the with the with the jar of lies and he releases the flies and they cause chaos around the circus and eventually the whole place.
01:28:30.087 --> 01:28:35.171
[SPEAKER_01]: the ground and it's the 90s so there's all these close-ups and fast-cuts.
01:28:35.211 --> 01:28:49.562
[SPEAKER_01]: It's very disconcerting but at the same time it's also unwrapturing like I can't stay away from that video it seems but but yeah if if you're if you're about the song then you know you might want to stay away from the video there hip know.
01:28:50.562 --> 01:28:56.487
[SPEAKER_02]: Yeah that seems like that might be a little bit of yeah you watch that and you're not quite sure how to process that.
01:28:59.292 --> 01:29:00.704
[SPEAKER_01]: but a great song in my opinion, so.
01:29:01.360 --> 01:29:01.780
[SPEAKER_01]: There you go.
01:29:01.820 --> 01:29:07.763
[SPEAKER_02]: Yeah, the parts of the parts of this that worked for me, uh, I really, really liked.
01:29:07.823 --> 01:29:12.345
[SPEAKER_02]: And I was, was on with that, that it was an overall extremely positive.
01:29:12.365 --> 01:29:17.767
[SPEAKER_02]: There's just some, some of it is just kind of an issue that kind of, when I don't like grunge.
01:29:18.948 --> 01:29:25.130
[SPEAKER_02]: And that kind of, and those certain aspects, it's not that doesn't it for me, but when it hits well, it's really, really good.
01:29:25.751 --> 01:29:30.533
[SPEAKER_02]: And yeah, those, the, the courses and the kind of big epic strings over the top of it.
01:29:31.533 --> 01:29:57.473
[SPEAKER_02]: uh... really really work for me in the song all right hit no what is your last pick of the episode well for my last pick i wanted to have at least one instrumental in your mostly instrumental there's there's some vocal in there and uh... with a show about strings wanted to have a band called an orchestra and went with the electric light orchestra and this is fire on high
01:31:05.945 --> 01:31:30.518
[SPEAKER_02]: So this was probably the first instrumental that I ever remember hearing played on radio on WMGK in Philadelphia growing up and we didn't you didn't play there but the introduction to this song as a kid absolutely scared the shit out of me.
01:31:31.299 --> 01:31:53.334
[SPEAKER_02]: Yeah, with the kind of creepy, like jangling things and the back mass vocals and I'm pretty sure the first time I ever heard this song was like driving home somewhere in the back of my parents card late at night and I thought I had descended into hell and it really really got but then it kind of reaches that point where
01:31:54.375 --> 01:32:14.932
[SPEAKER_02]: that stops and then it just becomes for a minute it becomes this big epic song and then it reaches kind of the musical chorus of it where it's the guitar and the drums and violin in this kind of call and response and I just love that and I've loved it ever since.
01:32:16.505 --> 01:32:18.789
[SPEAKER_01]: Yeah, ELO was also on my short list.
01:32:18.849 --> 01:32:20.011
[SPEAKER_01]: Not this long in particular.
01:32:20.051 --> 01:32:23.356
[SPEAKER_01]: It was a live and thing that I had penciled in there.
01:32:24.555 --> 01:32:26.957
[SPEAKER_01]: But yeah, look, it's the electric light orchestra.
01:32:26.997 --> 01:32:28.578
[SPEAKER_01]: So there are plenty of songs to pick from here.
01:32:28.658 --> 01:32:31.640
[SPEAKER_01]: And as you said, I'm the same boat as you.
01:32:32.581 --> 01:32:35.563
[SPEAKER_01]: This song creeped me out so much the first time I heard it.
01:32:36.804 --> 01:32:38.365
[SPEAKER_01]: It's still got a creeps me out, you know?
01:32:38.385 --> 01:32:47.571
[SPEAKER_01]: I mean, the opening piano, and the horror movie strings and the guy talking backwards, it's kind of a nightmare.
01:32:48.452 --> 01:32:54.795
[SPEAKER_01]: But then the song actually opens and we get this pretty bombastic symphonic rock song.
01:32:55.875 --> 01:33:05.079
[SPEAKER_01]: It was actually used for the CBS Sports Spectacular Show in the 70s and I could see why, like it has the energy and the rhythm for a sports show.
01:33:05.119 --> 01:33:07.980
[SPEAKER_01]: You know, blah, blah, blah, blah, blah, blah, blah.
01:33:08.821 --> 01:33:11.942
[SPEAKER_01]: So weird intro aside, it's, it's a cool instrumental hit now.
01:33:12.803 --> 01:33:31.855
[SPEAKER_02]: Yeah, it's a song, and you mentioned the, the creepy backwards vocals, which had not until I look at it never realized it's literally just I'm saying the music is reversible but time is not turn back turn back turn back turn back and you know kind of going back on those the weird kind of
01:33:32.835 --> 01:33:44.226
[SPEAKER_02]: back-masking panic that was taking place in the 70s and hidden messages being stuck into songs and it's kind of Jeff Lynn having his fun there.
01:33:45.087 --> 01:33:56.558
[SPEAKER_02]: But as a kid, the beginning of this song always made me feel like you're walking into like a mad scientist layer in some, in some, you know,
01:33:57.941 --> 01:34:09.228
[SPEAKER_02]: you know, Schlockey 70s horror movie and yeah, it just comes into this kind of big triumphant fast pace instrumental at the end that that I've always loved in our room in college.
01:34:09.268 --> 01:34:14.972
[SPEAKER_02]: We definitely cut this up and you mentioned it being used for the the CBS sports specs spectacular.
01:34:15.812 --> 01:34:19.255
[SPEAKER_02]: We used it for highlight packages a bunch of different times.
01:34:20.255 --> 01:34:25.819
[SPEAKER_02]: So thinking of cutting strategies back to this song as a memory I'll always have.
01:34:27.503 --> 01:34:45.660
[SPEAKER_01]: Yeah, I mean, there is such a theatricality to this, that it works so well as a soundtrack because that's what you do when you have an orchestra, you can have that kind of tone and and the funny thing is that the string section in ELO, it's only around with the 70s.
01:34:46.020 --> 01:34:47.301
[SPEAKER_01]: You know, once the 80s hit,
01:34:48.022 --> 01:35:04.854
[SPEAKER_01]: The string section leaves, and it's down to just Jeff Lin, Richard Tandy, and Beve Bevin, and they went full bore into keyboards and synths, and I like a bunch of those later songs, but it's not really a orchestranny more hip-no, you know?
01:35:05.636 --> 01:35:05.997
[SPEAKER_02]: No, no.
01:35:06.037 --> 01:35:25.300
[SPEAKER_02]: And you mentioned live in thing, which was I was 50, 50 on whether I was going to go with with the song or live in thing, which has obviously really, really famous violent sections, but yeah, it doesn't, it's, if you're going to be in orchestra, you should have strings for sure.
01:35:27.165 --> 01:35:39.068
[SPEAKER_01]: Alright, so my last pick here, this is a band called Savatage, SAV-A-T-A-G, Savatage, or as William Shatter would call them Savatage.
01:35:39.789 --> 01:35:41.649
[SPEAKER_01]: You stay Savatage, I say Savatage.
01:35:42.749 --> 01:35:50.272
[SPEAKER_01]: This is from their album, Dead Winter Dead, and this is a song called Christmas Eve, Serie Avo, 12, 24.
01:37:00.767 --> 01:37:18.919
[SPEAKER_01]: So I know people complain about the holiday season starting earlier and earlier each year, so I'm now part of the problem, I apologize, but look, you know, I'm not a big Christmas music guy, it's just not really my thing, but I do have exceptions, and this is one of them.
01:37:19.019 --> 01:37:24.823
[SPEAKER_01]: It's, you know, sabotages most well-known song, I believe, it's a medley of God,
01:37:27.965 --> 01:37:39.813
[SPEAKER_01]: or ding fries are done if you know your old internet videos, and I just love how it's simultaneously very badass and also very Christmasy.
01:37:40.194 --> 01:37:46.918
[SPEAKER_01]: Like there are those violent night movies with David Harper or Santa Claus being people up.
01:37:47.739 --> 01:37:47.919
[SPEAKER_01]: Like
01:37:48.470 --> 01:37:54.552
[SPEAKER_01]: this song would be perfect for a montage of him gearing up for a showdown of the bad guys.
01:37:55.352 --> 01:37:57.673
[SPEAKER_01]: And I also, that this one was a hit.
01:37:57.953 --> 01:38:07.016
[SPEAKER_01]: Like this is a platinum selling record and it eventually led to the creation of the Transavirian Orchestra of the Spinoff Band, which is still going to stay a hit now.
01:38:08.036 --> 01:38:14.578
[SPEAKER_02]: Yeah, and that's where I always associated this with Transavirian Orchestra, not really realizing that this was
01:38:15.868 --> 01:38:23.070
[SPEAKER_02]: sabotage becoming the spin-off of an into-trans librarian orchestra, but yeah, I love this song.
01:38:23.730 --> 01:38:32.293
[SPEAKER_02]: It is so, again, we've used the word epic to describe things a lot in this show.
01:38:32.813 --> 01:38:35.714
[SPEAKER_02]: And this might be the most epic of all of them.
01:38:36.194 --> 01:38:41.836
[SPEAKER_02]: And yeah, every year there's not a lot of Christmas songs that I keep in my rotation.
01:38:42.976 --> 01:39:04.827
[SPEAKER_02]: uh but this one over and over and over again uh and doesn't really need to be the the the Christmas season uh to listen to this one but it is it is absolutely it's just just a both a beautiful song and a badass song and just the way everything works the the strings at the beginning doing uh
01:39:05.747 --> 01:39:19.487
[SPEAKER_02]: God resty Mary gentlemen and then when the the literal bell start towing and the and the guitars really start coming in it's it's a song that just it makes you it just brings everything together
01:39:20.729 --> 01:39:29.755
[SPEAKER_02]: in this kind of amazing way, and I've, I'm always regretted never seeing a transiberian orchestra live because it just seems like that would be a ball.
01:39:30.336 --> 01:39:32.497
[SPEAKER_02]: And they're, they're, they're touring every year.
01:39:32.517 --> 01:39:35.179
[SPEAKER_02]: They're pretty much around, you know, Christmas time every year.
01:39:35.279 --> 01:39:40.062
[SPEAKER_02]: And one of these years, I've got to go out and see one of those big arena spectaculars that they do.
01:39:41.083 --> 01:39:46.487
[SPEAKER_01]: Yeah, they're coming to Massachusetts in the next couple of months, because they come, you know, every year for the holidays.
01:39:47.293 --> 01:39:59.994
[SPEAKER_01]: and i've also never seen them alive but from what i've read and from the videos i've seen it's it's spectacular for sure it's it's a real big to do and uh... and and and it's funny you know this song
01:40:00.864 --> 01:40:17.068
[SPEAKER_01]: It's on this concept album about the Bosnian War, which is where Sarajevo is, and the song is inspired by the story of a cello player from Sarajevo coming back during the war and playing the cello in the rubble.
01:40:17.108 --> 01:40:23.250
[SPEAKER_01]: So it's a pretty serious backstory there, but you know, all I can think of is just, you know,
01:40:23.530 --> 01:40:33.075
[SPEAKER_01]: badass Santa Claus like you know it's the Christmas spirit is kind of you know overwritten I think the more serious undertones at the song perhaps uh him know.
01:40:33.916 --> 01:40:43.081
[SPEAKER_02]: Yeah the story behind it kind of gets uh lost in the sheer scale of it when those big giant guitars uh start coming in but
01:40:44.271 --> 01:41:11.216
[SPEAKER_02]: You know, I mean, the title of the site, and I think a lot of people just, they recognize the song, they don't know the title, they just think of it as maybe as Carol the bells, but it just has, like I said, that that incredible scale and scope and sound to it that is that every year I'm playing this multiple times, you know, it's is a great one on a late night drive back home if you need a little if you need a little bit of energy.
01:41:12.303 --> 01:41:13.384
[SPEAKER_01]: definitely definitely.
01:41:15.065 --> 01:41:17.006
[SPEAKER_01]: Alright well, that was the episode.
01:41:17.386 --> 01:41:19.287
[SPEAKER_01]: Those were our picks.
01:41:19.327 --> 01:41:21.228
[SPEAKER_01]: We did a lot of stirring in our hands today.
01:41:21.828 --> 01:41:27.431
[SPEAKER_01]: We got a little violent with this one here but but there were some big songs we didn't pick.
01:41:27.532 --> 01:41:36.937
[SPEAKER_01]: Cashmere berled Zeppelin Baba O'Reilly by the who hurricane by Bob Dylan, Conquista Doripa Prokual Herum, the live version with the orchestra,
01:41:37.577 --> 01:41:42.039
[SPEAKER_01]: and so on and so forth, but regardless, hit no, this was a lot of fun, man.
01:41:42.419 --> 01:41:43.239
[SPEAKER_01]: Thank you so much for being here.
01:41:43.919 --> 01:41:44.560
[SPEAKER_02]: Well, thank you.
01:41:44.580 --> 01:41:50.162
[SPEAKER_02]: It was great to be able to make my audio, you have to be on this one.
01:41:50.922 --> 01:41:53.663
[SPEAKER_01]: Of course, of course, any plugs you want to give, right ahead.
01:41:54.440 --> 01:42:10.273
[SPEAKER_02]: uh... you can uh... catch me on the uh... the vw discord on uh... mostly around a bunch of different uh... bunch of different channels that uh... random times but uh... if you if anyone really really cares about uh...
01:42:11.406 --> 01:42:38.322
[SPEAKER_02]: Upstate New York high school sports and college basketball and horse racing I right for the Albany Times Union and you can you can find me there I got post-linked time to time I've had a chance to to interview a handful of wrestlers at decent at different times if if a WWE comes around I try and find a way to get my bosses to to let me let me sneak in a sneak in some wrestling riding just just for kicks
01:42:39.443 --> 01:42:40.985
[SPEAKER_01]: You're fighting the good fight on that front.
01:42:41.145 --> 01:42:42.807
[SPEAKER_01]: So God, God bless you for the head.
01:42:43.347 --> 01:42:44.269
[SPEAKER_01]: Yeah.
01:42:45.350 --> 01:42:54.440
[SPEAKER_01]: All right, voices of wrestling podcast network, all the great shows on there, voices of wrestling.com, previews, reviews, articles, things like that.
01:42:54.941 --> 01:43:00.167
[SPEAKER_01]: Blue Sky at Music of the Met and at Just Andrew on Blue Sky.
01:43:00.767 --> 01:43:08.352
[SPEAKER_01]: If you want to leave a comment about this episode, share your picks, as a hypno said, voices of wrestling.com slash discord.
01:43:08.832 --> 01:43:12.474
[SPEAKER_01]: It's also where I post the Spotify playlist for each episode.
01:43:12.994 --> 01:43:20.579
[SPEAKER_01]: And of course, make sure you subscribe to the show on Apple, Spotify, or your podcast player of choice, and leave a nice rating and review.
01:43:21.099 --> 01:43:23.541
[SPEAKER_01]: All right, so the play I'd song for today.
01:43:23.801 --> 01:43:27.203
[SPEAKER_01]: This is by another UK band called The Manic Street Preachers,
01:43:28.160 --> 01:43:31.005
[SPEAKER_01]: and it's from now on called postcards from a young man.
01:43:31.706 --> 01:43:35.632
[SPEAKER_01]: I could just song called It's Not War, just the end of love.
01:43:36.212 --> 01:43:36.914
[SPEAKER_01]: Thanks again, hit no.
01:43:37.474 --> 01:43:37.835
[SPEAKER_01]: Thank you.
01:44:06.268 --> 01:44:17.916
[SPEAKER_05]: To feel forgiveness, you gotta forgive Do you see the stars, all the darkness begin You fight you all, I fight for my life You pay our dealers out
01:44:43.666 --> 01:44:47.586
[SPEAKER_02]: Music of the Mad is intended for entertainment and information purposes only.
01:44:47.767 --> 01:44:51.988
[SPEAKER_02]: The songs used throughout this show are property of their respective copyright holders.
00:00.371 --> 00:03.853
[SPEAKER_00]: This podcast is a member of the Voices of Wrestling Podcasting Network.
00:04.173 --> 00:12.538
[SPEAKER_00]: Visit Voicesof Wrestling.com to hear the rest of our great podcast as well as show reviews, columns, opinions, and updates across the world of wrestling.
00:37.736 --> 00:43.859
[SPEAKER_01]: Hello everyone and welcome to a music of the Matt Remix on the Voices of Wrestling Podcast Network.
00:44.480 --> 00:48.802
[SPEAKER_01]: I am your host Andrew Rich, joined today by a first-time guest here on the show.
00:49.422 --> 00:54.545
[SPEAKER_01]: I know him from the VOW Discord simply as, hit no toad.
01:00.528 --> 01:01.449
[SPEAKER_01]: Could have not myself there.
01:02.049 --> 01:03.010
[SPEAKER_01]: Hit no, what do the show?
01:03.957 --> 01:07.419
[SPEAKER_02]: Thank you very much for having me all glory to the hypnototin.
01:07.760 --> 01:09.761
[SPEAKER_01]: Yes, yes, glad you're here.
01:10.181 --> 01:19.548
[SPEAKER_01]: Like I said, I couldn't help but play the Futurama sound effect there, because not only is your discord name hypnototode, it's also your profile picture.
01:19.708 --> 01:21.389
[SPEAKER_01]: So I assume you're a big fan of the show.
01:22.512 --> 01:35.245
[SPEAKER_02]: Yeah, I think I picked that as a Twitter avatar somewhere around 15 years ago for a personal non-work Twitter and just kind of stuck ever since.
01:35.886 --> 01:44.214
[SPEAKER_01]: Well, season 11 is airing right now, which is, is crazy because I remember the original run of the show on Fox.
01:44.995 --> 02:05.341
[SPEAKER_01]: and watching those episodes is a kid, and then I got canceled, and then years later comedy central brought it back for a few more seasons, then it was canceled again, and then if a year ago Hulu brought it back, like the show, it just refuses to go away, it's like it's like TNA, you know we joke about how TNA is a comedy that just won't die, you know so as we draw him up apparently.
02:06.248 --> 02:25.485
[SPEAKER_02]: No, they just, they will not go up ahead, believe the, literally in the next week or so, the final, the final, the final episode is supposed to be coming out, but that'll be until Matt Graying and the team gets another idea and, I don't know, to be decides to bring them back.
02:26.165 --> 02:26.586
[SPEAKER_01]: Exactly.
02:26.606 --> 02:29.208
[SPEAKER_01]: It's always the way with these shows you never know, but um,
02:30.478 --> 02:39.643
[SPEAKER_01]: But today's episode is when I'm looking forward to here because it's one of my delightfully devilish puns, it's called, why am I so violent?
02:40.584 --> 02:52.491
[SPEAKER_01]: And of course for those that don't know, it's based on the fairly recent wrestling trope of a guy looking at his hands during a match, and he's good in saying, why am I so violent?
02:53.291 --> 02:58.594
[SPEAKER_01]: What have I become, what dark battle of the soul have I got myself into here?
02:59.995 --> 03:07.803
[SPEAKER_01]: It became a thing, I think, really during the Gargano Chomp of Futin NXT, and it's popped up here and there over the years in various forums.
03:08.584 --> 03:18.315
[SPEAKER_01]: Now, they don't actually say out loud why am I so violent, they just became the name of it, but they usually do tend to stare at their hands, have no.
03:19.297 --> 03:37.108
[SPEAKER_02]: Yeah, a lot of, I have so many memories of those, the, the, the, the, the, the, the, the, the, the, the, the horrendous, horrendous cinematic e match that they did that was just seem like hours and hours of, of, of, theater acting.
03:37.128 --> 03:39.289
[SPEAKER_02]: I think that match ended some point last week.
03:41.129 --> 03:53.079
[SPEAKER_01]: Yeah, I think you and I were in the same boat on this in that we don't really like the why am I so violent trope, A because it's way too played out and hack me to this point.
03:53.099 --> 04:04.228
[SPEAKER_01]: It's overdone and B, you know, it gets really annoying when you have a baby face that you want to see kick a bad guy's ass and then they start hesitating and and
04:04.758 --> 04:07.221
[SPEAKER_01]: Heming and high, oh, I don't want to go too far with it.
04:07.261 --> 04:08.723
[SPEAKER_01]: What if I become the monster?
04:08.743 --> 04:19.418
[SPEAKER_01]: You know, we just saw it with Belosper and the Death Riders a few months ago, or again, with Ospery a few years ago, when he wouldn't hit the Tiger Driver, because he was afraid of entering someone.
04:20.439 --> 04:23.501
[SPEAKER_01]: And it's like, you know, I want to see Willows for a B&S kicker.
04:23.561 --> 04:31.066
[SPEAKER_01]: You know, I want to see him just drop dudes on their heads and brain them with the hidden blade, because it looks cool as fuck.
04:31.466 --> 04:35.549
[SPEAKER_01]: And when he's all worrying and I don't know, he doesn't look cool.
04:35.569 --> 04:37.330
[SPEAKER_01]: He looks like, you know, when he's eating the coward.
04:37.630 --> 04:40.992
[SPEAKER_01]: And you don't want your good guys to come off like that, he doesn't know.
04:41.012 --> 04:42.673
[SPEAKER_02]: No, it's, it's pro wrestling.
04:42.793 --> 04:48.497
[SPEAKER_02]: The, you know, the point is to, to beat someone until they can no longer continue.
04:50.105 --> 04:50.525
[SPEAKER_02]: to do that.
04:50.545 --> 04:52.327
[SPEAKER_02]: You want to do that the most effective way you can.
04:53.428 --> 05:02.495
[SPEAKER_01]: Yeah, I mean, you know, a similar one is guy picks up a weapon or a title belt and he thinks about whether to hit his opponent with it.
05:03.095 --> 05:05.977
[SPEAKER_01]: And he's thinking and he's thinking and he's got to look into space.
05:07.323 --> 05:22.178
[SPEAKER_01]: and he looks at the crowd he looks at the weapon back at the crowd back at the weapon and then usually he throws it down and says no i'm not going to resort to such a violence which you know it it comes from Brett vs. Roddy at mania eight
05:23.185 --> 05:39.907
[SPEAKER_01]: and in that match it worked because it felt novel and it worked for the story of the match and with writing and breath relationship and all that and it's just been so over done over the years that it just became iron-rolling and yeah I just don't see these tropes going away anytime soon unfortunately hip-na.
05:40.973 --> 05:52.104
[SPEAKER_02]: No, I mean, I was at redemption a couple of months ago with Osprey and Mox and Kenny Omega and the saga of the plastic bag.
05:53.024 --> 05:59.510
[SPEAKER_02]: And you know, I think it got to a place that worked, but there seemed to be at, you know,
06:00.371 --> 06:13.511
[SPEAKER_02]: Quarter pass midnight in that building after six hours of wrestling did not quite need Will spending like what seemed to be an eternity agonizing over whether he was going to use the plastic bag or not
06:14.503 --> 06:30.795
[SPEAKER_01]: Yeah, it was not the best story beat for his, uh, building the excitement for all in for sure, but um, but as far as the music goes, uh, as you can guess by the word violin, uh, we are playing songs that have string section instruments in them.
06:31.215 --> 06:36.379
[SPEAKER_01]: You know, an orchestra has a string section with violins, violas, cellos, the double bass.
06:37.159 --> 06:38.920
[SPEAKER_01]: Um, well, those instruments have been used
06:40.141 --> 06:46.966
[SPEAKER_01]: in non-classical music, in rock songs, pop songs, metal country, and that's what we're going to look at today.
06:47.486 --> 06:55.412
[SPEAKER_01]: And I don't know about you, hip-nope, but I love a good string of Kutramont, a really ad-a-nice flourish to a song.
06:56.485 --> 07:03.308
[SPEAKER_02]: Yeah, I absolutely love when you were suggesting topics and this one came up.
07:03.788 --> 07:10.371
[SPEAKER_02]: This really struck me because when it's done well, it's just a spectacular, can really add something spectacular to a song.
07:11.552 --> 07:23.237
[SPEAKER_02]: It can be done over the top, it can be done to the point where it's arguably too much, but when it's done right, it can be really, really beautiful and really change the way you really change the whole way you feel about a song.
07:24.808 --> 07:40.313
[SPEAKER_01]: yeah it's like wrestling you know there's a balance you got to achieve there for sure yeah well yeah let's get to the music here we have ten songs each and a playout song at the end hip know you are the guest you'll go first what's your first pick
07:41.670 --> 07:50.780
[SPEAKER_02]: So my first pick is probably the most obscure song I'd be picking today from an Irish band called Interference.
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[SPEAKER_02]: Probably most known from being featured in the the 2007 movie once.
07:57.527 --> 08:00.110
[SPEAKER_02]: This is Interference and song is called Gold.
08:26.944 --> 08:46.051
[SPEAKER_05]: And I love her soul I wouldn't trade her phone I'm walking on movies I was born with a silver spoon
09:06.305 --> 09:20.528
[SPEAKER_02]: So this one I kind of come to in an interesting way because my first exposure to it wasn't either the original song or the version that was recorded in the movie was actually when they adapted once into a Broadway musical.
09:21.449 --> 09:49.105
[SPEAKER_02]: Uh, and this was the, is the act one closer in the show and it is just a song that I absolutely fell in love with, uh, the only song either in the movie or the show not written, uh, by Glenn Hansard and I just absolutely love the, the tone of this song and I came to something kind of listening to it for this once it popped in my head.
09:50.238 --> 10:08.684
[SPEAKER_02]: uh... of the the violin which is played by by koma kai the violin really seems to be playing a character in this song it honestly seems to be the woman uh... that uh... that the the the writer for so far all it is thing about and i just there was something about this song that i that i fell in love with the minute i heard it
10:09.950 --> 10:27.768
[SPEAKER_01]: Yeah, I've never seen once, I'm aware of it, of course, and I know falling slowly, but the other songs in it are a blank to me, but I really enjoyed this a lot, I thought it was very pretty, no big surprise that an Irish folk band has a fiddle player.
10:28.168 --> 10:30.951
[SPEAKER_01]: Not exactly a left field decision there, I don't know, I'd say so.
10:32.109 --> 10:53.967
[SPEAKER_02]: no no and and it was it's weird i have my my first exposure to once came from uh came from working in a blockbuster video in about 2007 when the in store trailer uh that would play this movie had just come out on DVD and i must have seen 90 seconds of this movie
10:55.753 --> 11:08.503
[SPEAKER_02]: 500 times over the span of about six months, but never, never actually, I've still never actually seen the movie, but the show is one of the best pieces of theater that I've ever seen.
11:08.523 --> 11:14.468
[SPEAKER_02]: They actually, they turn the entire theater in the original production into a working pop.
11:15.650 --> 11:30.968
[SPEAKER_02]: and you could actually go on stage prior to the performance and literally just get a drink while the cast who all play their own instruments were playing just really more traditional Irish folk songs.
11:31.869 --> 11:32.149
[SPEAKER_02]: But then
11:33.385 --> 11:38.526
[SPEAKER_02]: really this song was the one that you have sold me on on the show.
11:38.546 --> 11:41.366
[SPEAKER_02]: There's it's just a it's a theatrically a beautiful moment.
11:42.207 --> 12:02.050
[SPEAKER_02]: This is what they performed at the Tony Awards the year they won Best Musical and I just absolutely love this song and it's a sad one because Glenn Hansard who starred in one's wrote most of the music just passed away a few weeks ago and Ferguson Farrell from interference who wrote this song also passed away a few years ago
12:02.895 --> 12:08.039
[SPEAKER_02]: But a song that I found, I go back and listen to this one.
12:08.059 --> 12:11.301
[SPEAKER_02]: There's a few songs from once that I go back and listen to a lot.
12:11.321 --> 12:18.406
[SPEAKER_02]: There's this, there's falling slowly, which obviously won the Oscar and the opening song leave by Glen Hansard.
12:18.546 --> 12:26.212
[SPEAKER_02]: But this one just really creates a mood that is unlike anything else in that show.
12:27.465 --> 12:31.506
[SPEAKER_01]: Yeah, answered motorcycle crash a few months ago.
12:31.526 --> 12:36.968
[SPEAKER_01]: Yeah, just between that and helicopters, you know, those are, those are two big no-noes for me.
12:38.149 --> 12:39.989
[SPEAKER_01]: But yeah, he died the same day as Kavinsky.
12:40.529 --> 12:45.191
[SPEAKER_01]: And I know Glenn had his foibles and his accusations.
12:46.752 --> 12:47.672
[SPEAKER_01]: I know Nico Case.
12:48.474 --> 13:03.751
[SPEAKER_01]: had some very unkind things to say about him after he died as he was not shooting any tears for him at all but I mean look for the modern Irish folk world he was a pretty big loss so yeah I mean it's been a pretty big loss uh
13:04.572 --> 13:19.202
[SPEAKER_02]: for them for, I mean, and to be honest, it was Shane McGowan not too long ago as well, but it's not a genre that I typically gravitate towards, but there was just something about this song, and especially when I saw this song in this show that stuck with me for a long time.
13:20.820 --> 13:47.434
[SPEAKER_01]: Well, my first pick here, this is a ban I played on the previous episode, Pink Floyd, and that was a song from the David Gilmore led era, but this is smack dab in the middle of the golden era, with waters, you know, still in the band here, and this is an alternate version of Wish You Were Here, and I'd features the French violinist Stefan Grapelli,
13:48.170 --> 13:54.660
[SPEAKER_01]: And you can find it on the wish you were here 50th anniversary edition that came out a few months ago.
13:55.442 --> 13:58.747
[SPEAKER_01]: So let's hear wish you were here, featuring Stefan Grapelli.
14:24.797 --> 14:42.148
[SPEAKER_05]: We just do not so swimming in a fishbowl Here I'll be here Running over the same old ground And how we found the same old fish
15:05.490 --> 15:08.515
[SPEAKER_01]: So, a little back story here, a bit of lore for ya.
15:09.878 --> 15:12.943
[SPEAKER_01]: Stefan Grapelli, he's on the original version of the song.
15:13.596 --> 15:40.897
[SPEAKER_01]: but he's so low in the mix that he's almost inaudible so they don't credit him on the album and then for the wiping Floyd campaign in 2011 they put out these special versions of the album is called the experience edition and the immersion edition and they had all these bonus tracks on them and they remix this song to where you can actually hear the violin very well
15:43.907 --> 15:46.491
[SPEAKER_01]: I was blown away the first time that I heard this version.
15:47.773 --> 15:59.609
[SPEAKER_01]: I mean, wish you were here, it's already a beautiful song, but adding the violin just puts it over the top emotionally speaking to the point where it's hard to go back to the original version because I missed the violin hit though.
16:01.168 --> 16:25.100
[SPEAKER_02]: This is the original version of which show we're here is one of my favorite songs of all time and I had not heard this version until you you sent it along and Just fell in love with it Just it was a bit weird hearing in the in the in the intro to the song because there's a few bits of the guitar that sound different from the From the original mix and so there were a few things.
16:25.140 --> 16:27.982
[SPEAKER_02]: I was like bumping on at the beginning, but as soon as you get into it
16:28.822 --> 16:53.873
[SPEAKER_02]: uh... it's incredible and yet when the when the violins kick it it it makes a great song better and uh... in reading and finding out that this is this is essentially this was improvised blew me away yeah i think you can also at the beginning you can also hear i think either a Roger waters or david Gilmourco which is uh... which is funny uh... but yeah it's an amazing version and for the longest time
16:54.639 --> 17:02.105
[SPEAKER_01]: It wasn't available on streaming, you could find it on YouTube, but you couldn't get it officially on Spotify or Apple.
17:02.565 --> 17:08.390
[SPEAKER_01]: And then last year with the 50th anniversary edition, they put it on there thankfully.
17:09.130 --> 17:13.774
[SPEAKER_01]: Yeah, people can now enjoy this lost version of it, this new version, which is pretty cool.
17:15.099 --> 17:37.328
[SPEAKER_02]: Yeah, I mean, that's that's just really cool that they were able to to to to resurrect a song and it would sense to be the way they really wanted it to be originally, but just just such incredible violin playing by by Stefano Grapelli and it that just it really adds that sort of mournful quality that is, you know, really signature to which you were here from the front of the beginning.
17:38.048 --> 17:39.049
[SPEAKER_01]: Definitely, definitely.
17:40.229 --> 17:41.690
[SPEAKER_01]: All right, hit no, what's your next pick?
17:43.134 --> 17:58.422
[SPEAKER_02]: So my next pick goes back to the early 1960s and kind of classic early late 50s early 60s a kind of girl group pop written by Carol King and Jerry Goffin recorded by the Sherrells.
17:59.262 --> 18:00.863
[SPEAKER_02]: This is Will You Love Me Tomorrow.
19:08.667 --> 19:17.932
[SPEAKER_02]: So this one to me really has the classic like sound of what came out of the, out of the bro building songwriters around that time.
19:18.513 --> 19:21.755
[SPEAKER_02]: Probably not my favorite version of this song.
19:22.515 --> 19:26.858
[SPEAKER_02]: My favorite would probably be the, the Carol King version when she recorded on tapestry that has
19:27.978 --> 19:40.027
[SPEAKER_02]: James Taylor and Johnny Mitchell on backing vocals, but the way this song is recorded just really feels of a piece with so much music that would would come out right around that time.
19:41.649 --> 19:42.810
[SPEAKER_01]: Yeah, Carol's version.
19:43.050 --> 19:45.792
[SPEAKER_01]: It's definitely more subdued and stripped down.
19:46.432 --> 19:52.397
[SPEAKER_01]: Whereas this is more of your classic, you know, it's a decade earlier, of course, but this is more of your
19:53.063 --> 20:16.547
[SPEAKER_01]: classic pop kind of stylings of the day and as more going on to with the strings and it's actually the strings that I believe got this song made because according to the story Shirley Owens wasn't a fan of it thought it was too country but when they added the strings she relented and good for her because you know this became a number one hit
20:23.685 --> 20:28.089
[SPEAKER_01]: Um, so in this case, the strings aren't just a nice addition, they like to fix his ss.
20:28.530 --> 20:28.850
[SPEAKER_01]: Oh, him.
20:29.310 --> 20:30.151
[SPEAKER_02]: Yeah.
20:30.251 --> 20:42.082
[SPEAKER_02]: And it really feels to me like, it's a song that kind of set a tone for like, a lot of music that would come out around that time that would kind of eventually evolve into the, the Phil Spectre wall of sound.
20:43.083 --> 20:45.244
[SPEAKER_02]: This is not quite that, but,
20:46.385 --> 21:06.179
[SPEAKER_02]: And the strings really add a sweet quality to this that I really enjoy and yeah, the the Carol King version is kind of a lot more not just of do but always felt more more desperate and more questioning to it this song has a much more optimistic kind of hopeful quality to the to the to the will you still love me tomorrow question.
21:07.953 --> 21:25.928
[SPEAKER_01]: And speaking of the lyrical content, I've also read that this song was banned on some stations because of the lyrics, because it implies a one-night stand, is this a lasting treasure or just a moment's pleasure to night the light of love is in your eyes, but will you love me tomorrow?
21:26.709 --> 21:35.076
[SPEAKER_01]: And the 1960, that's quite body material cut to nowadays, and we've got songs about what has pussy
21:36.057 --> 21:38.098
[SPEAKER_01]: Drake, you're a pedophile, you know, we've come along the way.
21:38.139 --> 21:38.979
[SPEAKER_01]: Hit no, that's for sure.
21:39.960 --> 21:46.664
[SPEAKER_02]: Yeah, the sensors and the standards and practices have changed a little bit in the last 65 years.
21:47.405 --> 21:53.129
[SPEAKER_01]: Yeah, yeah, but um, but all right, my next pick here, I've got a band of
21:57.877 --> 21:59.718
[SPEAKER_01]: and there's an umla out over the why.
22:00.038 --> 22:01.958
[SPEAKER_01]: Thank you very much.
22:01.998 --> 22:04.799
[SPEAKER_01]: This is Queen's Reich's biggest hit.
22:05.799 --> 22:09.360
[SPEAKER_01]: They're big hit single from their album Empire in 1990.
22:09.680 --> 22:11.801
[SPEAKER_01]: This is Silent Lucidity.
22:26.718 --> 22:32.628
[SPEAKER_05]: So the little hills seem as much as new to that jungle
23:00.923 --> 23:10.552
[SPEAKER_05]: I'm smiling next to you and Silent Lucidity.
23:18.700 --> 23:21.462
[SPEAKER_01]: Every prog metal band has its soft side.
23:23.152 --> 23:46.635
[SPEAKER_01]: So yeah, I wouldn't call myself a queen's rank super fan, but I don't like I like a bunch of their stuff, and I'll say it, this song is a banger, you know, it's about lucid dreaming obviously and Going to this magic new dimension your dream is over or has it just begun if you persist in your efforts You can achieve dream control free from pain in the dream domain, et cetera, et cetera
23:47.375 --> 23:52.623
[SPEAKER_01]: Um, so very much still in the the Prague Rock world here, literally speaking, no doubt about it.
23:53.304 --> 23:58.210
[SPEAKER_01]: Um, but, you know, going about it in a softer, classier way as this,
23:58.769 --> 24:18.424
[SPEAKER_01]: orchestral power ballad and that's a smart move I think because you know the the sound scape of it all it makes you feel like you're floating through this majestic dream and you got to love the bombastic course to the backing vocals love that a lot so yeah I'm bowing down to the queens right here hit no.
24:19.866 --> 24:26.236
[SPEAKER_02]: Yeah, I went in not really very familiar with Queen's Reich at all, and I really enjoyed this.
24:27.057 --> 24:32.145
[SPEAKER_02]: It's about lucid dreaming and it really captures that dream like quality.
24:32.165 --> 24:33.787
[SPEAKER_02]: I almost felt like this belonged like,
24:34.903 --> 24:51.501
[SPEAKER_02]: Uh, over the scene in the never ending story, uh, where he's riding on, on Falcourt at the end, uh, where, where, where, where the, where the, where the, where the old, it feels like, like the, or like the, like it's, it's, it's the love theme to a, to a 1980s fantasy movie in, in so many ways.
24:53.343 --> 24:54.324
[SPEAKER_01]: I can definitely see it.
24:54.384 --> 24:56.627
[SPEAKER_01]: I can definitely see it, but, but again, no, this is.
24:57.201 --> 25:05.084
[SPEAKER_01]: the pro rock metal world, you know, that's that's their alley, you know, even when they're going for the big hits single, they can't help themselves.
25:05.964 --> 25:12.727
[SPEAKER_01]: And that was the case for a lot of middle bands, you know, back then with the power ballot, you know, that became their biggest hit, but
25:13.466 --> 25:29.033
[SPEAKER_01]: Um, but look, I, I go to bat for the song empire and jet city woman and, uh, the operation mind crying album is also really good, um, so yeah, I'm not a, a devout follower of the queue, like I said there, but, uh, they got some good stuff in now.
25:30.193 --> 25:41.218
[SPEAKER_02]: Yeah, this was, this was a, this was one that made me think, all right, I, you know, I pulled, pulled this one up on Spotify and, uh, it might be time to, to dip a little, my toe in a little bit further and, uh, and learn a little bit more.
25:42.105 --> 25:42.825
[SPEAKER_01]: Cool, cool.
25:42.925 --> 25:46.327
[SPEAKER_01]: Well, all right, hit no, what's your next pick?
25:47.188 --> 26:05.858
[SPEAKER_02]: So my next pick, if anyone knows my musical taste for heavily to this man, probably the first person I ever grew up listening to, this is Billy Joel from the 1990 Stormfront album, and this is with it's talk prominent violin, this is the Downeaster Alexa.
26:08.702 --> 26:32.727
[SPEAKER_05]: I got bills to pay and children who need clothes I know they're such a fair, but we're got only those They say these waters are in what they used to be
26:34.728 --> 26:58.122
[SPEAKER_05]: When I got people back on land, who counts on me So if you see my now, he's parallel like so And if you were with the rod and the rear Tell my wife, I am trolling at Lentus And I still have my hands on the wheel
27:11.721 --> 27:29.891
[SPEAKER_02]: Yeah, like I said, I grew up with Billy Joel and my parents' car, and I still can't tell if I like this song or not, 35 years later, it takes itself so incredibly seriously.
27:29.911 --> 27:34.833
[SPEAKER_02]: And I think it becomes almost me morally at that point, I mean,
27:37.133 --> 27:44.183
[SPEAKER_02]: to the point that I remember this being used in Zach Alfinex's ears when he gets on the plane in the hangover too.
27:46.306 --> 27:53.136
[SPEAKER_02]: And it's such an incredibly, incredibly, everything about this song is big.
27:54.598 --> 28:13.090
[SPEAKER_02]: In kind of the most wonderfully silly way, you've got Billy on the, you know, playing the accordion and the almost sea shanty kind of quality to it, and the extremely extremely literal lyrics, it's just, I am telling you exactly what I am.
28:13.110 --> 28:16.473
[SPEAKER_02]: There's not a lot of metaphor in what Billy's putting out here.
28:17.871 --> 28:29.773
[SPEAKER_01]: You basically read my notes for Betham, because I was going to say, like, you know that you're a superstar when you can be like, all right, my next single is going to be about a long island fisherman.
28:30.386 --> 28:48.628
[SPEAKER_01]: with all of these long island references that a lot of people won't get and it's going to be like a sea shanty when a court in a violin and nobody stops you because you're Billy Joel and you're a hitmaker dammit um... but now this is not my favorite Billy Joel song by a long stretch but look
28:49.449 --> 28:50.630
[SPEAKER_01]: I admire the gumption.
28:51.551 --> 28:52.151
[SPEAKER_01]: I really do.
28:52.571 --> 28:56.674
[SPEAKER_01]: And I was, you know, bought it along a little bit to it when I listened to it.
28:56.895 --> 29:05.701
[SPEAKER_01]: And, and also, Alexa is the name of Billy's actual boat, which is named after his daughter, Alexa Ray Joel.
29:05.821 --> 29:08.223
[SPEAKER_01]: So it's a little personal touch there as well, uh, Hibnau.
29:09.103 --> 29:30.758
[SPEAKER_02]: yeah it is such a yeah my my Billy Joel tastes ten to fall you know much further on on 70s to early 80s Billy Joel this is obviously this is kind of around the time where he starts to you know by by the mid 90s he's really winding down recording new material and is basically uh just becomes a touring act until he puts out uh
29:31.719 --> 29:47.819
[SPEAKER_02]: you know, obviously some some piano work and and and then this the turn the lights back on single a couple of years ago, but yeah, it is it is a it is a flex of I'm going to write about the fishing community on Long Island that I'm sure he cares.
29:48.540 --> 29:52.882
[SPEAKER_02]: deeply about this kind of way of life that he kind of grew up seeing, disappearing.
29:53.482 --> 29:57.063
[SPEAKER_02]: But yeah, he's just he just casts himself directly into it.
29:57.143 --> 30:15.550
[SPEAKER_02]: And there's another song I've got coming up pretty soon that that that that takes these the storytelling aspect very much differently, but but this one like I said, as as kind of silly and and insanely, you know, over the top as it can be, the man knows how to write a melody.
30:16.513 --> 30:27.837
[SPEAKER_01]: He does, he does, and also shout out to Yitzhak Perman as well doing the violin solo there, and he's still alive, by the way, he's 81, and it's still with us.
30:28.317 --> 30:29.377
[SPEAKER_01]: So, God bless him.
30:29.397 --> 30:39.041
[SPEAKER_01]: So, all right, I will follow your Billy with a Billy of my own, Mr. Billy Corgan, and his smashing pumpkins.
30:39.981 --> 30:42.862
[SPEAKER_01]: This is from Melon Colley and the Infinite Sadness.
30:43.502 --> 30:45.123
[SPEAKER_01]: This is tonight, tonight.
30:49.773 --> 31:15.471
[SPEAKER_05]: It doesn't for ever change We will never be the same Remember you changed the last few days We leave We leave We leave We leave We have to change the United States
31:54.778 --> 31:58.584
[SPEAKER_01]: Well Billy, you are an odd fellow, but I must say you're right a good song.
32:00.722 --> 32:01.882
[SPEAKER_01]: Yeah, this is great, man.
32:01.962 --> 32:23.168
[SPEAKER_01]: I mean, Billy Corgan, he said it's a song about hope and not giving up, and the message is to himself, like to keep believing himself, and man, when that chorus hits with the chucking guitar and the furious drumming and the strings and the tempo, it amps me up, you know, like, like, I want to shave my head and buy wrestling company.
32:23.208 --> 32:24.269
[SPEAKER_01]: Let's go, baby, come on.
32:26.015 --> 32:31.018
[SPEAKER_01]: But yeah, you know, melancholy itself is such a huge album, such a huge thing.
32:31.078 --> 32:38.341
[SPEAKER_01]: Like, it's a two hour double album with 28 songs and countless others that didn't make the cut.
32:38.661 --> 32:44.124
[SPEAKER_01]: Like, it's no shock that they got a 30-piece string section just for this one song.
32:44.284 --> 32:46.605
[SPEAKER_01]: So, yeah, but you know what?
32:46.685 --> 32:47.046
[SPEAKER_01]: It works.
32:47.106 --> 32:47.886
[SPEAKER_01]: It's a classic, no.
32:48.963 --> 32:54.488
[SPEAKER_02]: Oh, yeah, this is this song's fantastic and this was this was one that was on my short list as well.
32:54.548 --> 33:14.224
[SPEAKER_02]: And like you said the went went went when the believe believe and the chorus and I really wanted to put out Jimmy Chamberlain's drumming on this song and the I think I was reading it looked at it saw an interview we did where we really talked about it being like this kind of military kind of march to war style like propulsive drumming that just
33:14.904 --> 33:42.952
[SPEAKER_02]: It just gets you going every single time and yeah, everything about this song works this is this is just this It's my favorite smashing pumpkin song and then and everything about this works on on so many different levels I do want to also shout out one of the one of the really more interesting music videos You'll ever see with the the very heavily Georges Melliers inspired kind of around the a trip to the moon, but yeah, this is this is just great
33:44.500 --> 34:05.756
[SPEAKER_01]: Yeah, and good timing on my part as well because the pumpkins are doing the rats in the cage tour for the 30th anniversary of the album, and they're going to play Boston, I think just a few days after this episode drops, and I'm not that big of a pumpkins fan that I would go see them, but you know, 30 years is, it's a little bland of nursery for sure, I have no.
34:06.671 --> 34:12.473
[SPEAKER_02]: Yeah, it's, it's crazy to think, I mean, I was, I would have been 11, 11 years old when this album came out.
34:12.853 --> 34:19.515
[SPEAKER_02]: And just, this album was, was everyone, everything about it, like I said, was, was big.
34:19.555 --> 34:25.837
[SPEAKER_02]: And I think this song really, really fits that, where it's just everything about this is epic in scale.
34:25.857 --> 34:34.120
[SPEAKER_02]: A 30-piece string and, you know, Billy's, you know, very, very kind of, you know, desperate sounding, you know, vocals that,
34:34.780 --> 34:59.159
[SPEAKER_02]: you know I'm I'm 50 50 sometimes all on on his vocals as voice doesn't always work for me but when this song really really works definitely definitely all right uh what you got next hit no so next uh 1975 Bruce Springsteen uh it's off the big one it's off board to run uh not a ton of violin on this but it really makes an impact uh this is jungleland
35:02.979 --> 35:05.721
[UNKNOWN]: Thank you very much.
35:38.708 --> 35:59.865
[SPEAKER_04]: The Rangers at a homecoming, in a harem night last night, and a magic-ratch-over-slick machine, over a Jersey state line, barefoot girls sitting on the hood of the
36:05.730 --> 36:24.492
[SPEAKER_02]: this song is an epic in every sense of the word to me it's kind of the ultimate in what what Bruce can do as a as a songwriter and really what the E3 band can do musically where it starts so small with the about 22nd violin intro from from Suki LaHave
36:24.992 --> 36:45.125
[SPEAKER_02]: and then the piano comes in and it just builds and builds and builds and obviously, you know, culminates pretty heavily with Clarence Clements is probably his most famous saxophone solo, but it's just every piece of this puzzle works and I adore this song and
36:45.865 --> 36:57.377
[SPEAKER_02]: of the few times I've seen Bruce live the fact that I've never seen the band perform this one live is kind of one of my regrets and I know it's not one that gets pulled out too often, but I absolutely love this song.
36:58.759 --> 37:08.569
[SPEAKER_01]: Yeah, I played this over a year ago on the just a sexy boy episode with Rumba because of, you know, the famous sex solo from Clarence and
37:09.019 --> 37:16.330
[SPEAKER_01]: The clip I played then focused heavily on that solo, of course, but yeah, I mean, there is so much more to this song than just that.
37:16.370 --> 37:20.136
[SPEAKER_01]: It's almost ten minutes long for God's sake, it's not just the saxophone.
37:20.156 --> 37:23.301
[SPEAKER_01]: There's a whole, as I played just there, you know, the whole violin intro.
37:24.903 --> 37:42.434
[SPEAKER_01]: I looked up who did it, it's someone named Suki Lahave, this Israeli woman, who was only in the band for like six months before she left and moved back to Israel, but you know, she made it onto one of Bruce's most iconic songs, you know, she is part of that history, hit no.
37:43.499 --> 38:01.134
[SPEAKER_02]: And it's weird because this is kind of born to run as the album where the East Street band kind of becomes what it would become through the through the heyday of of the group Where Max Weinberg joins on the drums during this and and a few different things, but it's
38:02.315 --> 38:17.865
[SPEAKER_02]: It's this song that just the violin really just sets the tone for for what it's about to become, but it's one of the these every every every springsteen album, especially around this time would have one or two of these you know nine ten minute kind of story epics.
38:18.665 --> 38:30.275
[SPEAKER_02]: that you get these and you're racing in the streets or incident on 57th street, but this one is kind of just the whole culmination of it just just works for me in every single land.
38:30.375 --> 38:46.308
[SPEAKER_02]: And I said this was this was the song I was referring to earlier where you know, everything Billy Joel did in DownEatster, Alexa was so incredibly literal and here's Bruce with the you know, the urban poetry about the magic rat and the barefoot girl
38:47.730 --> 38:54.975
[SPEAKER_02]: And it's really just paints this picture that it feels like there's an entire movie kind of including, you know, intertwined within this whole song.
38:55.676 --> 38:56.196
[SPEAKER_01]: Mm-hmm.
38:56.216 --> 39:00.740
[SPEAKER_01]: Yeah, that's, that's what Bruce does best, that's, that's his bread and butter, for sure.
39:00.980 --> 39:08.506
[SPEAKER_01]: But, but alright, my next pick, gonna stay in the 70s with this one, 1972, to be specific.
39:18.768 --> 39:34.854
[SPEAKER_05]: Baby, baby, we're losing my head I sure do watch it, baby Got you where it fell There in a lady in the man's roof Oh man, we'll handle them, please
39:42.158 --> 40:07.377
[SPEAKER_05]: Now I'm home saying blues, I know how they go blues I have a left or more going you You were everywhere I live all the time but I don't know But I ain't forgetting that you won't want to spend But I'm living without you to try Now I'm leaving my heart out
40:23.165 --> 40:26.973
[SPEAKER_01]: So what I love about this song, besides the fact that it's a good song, is
40:27.917 --> 40:42.381
[SPEAKER_01]: I love the contrast between the way it sounds and the lyrics, because whenever you have a foxy violin song, you know, it has this old, tiny English countryside village feel to it.
40:43.161 --> 40:51.423
[SPEAKER_01]: Perhaps there's a vicar or a yield pub, but if you look at the story of the song, it's about
40:54.684 --> 41:17.709
[SPEAKER_01]: and being like, sweetie, I know you think I'm desperate and horny, but trust me, I'm not that, and he's writing it during his break at work, and there's references to Minnesota and Jackie O and calling collect, remember them basement parties, your brothers, karate, the all-day rock and roll shows, like there's all these modern references, and the music is like the shire.
41:18.230 --> 41:20.070
[SPEAKER_01]: So I just, I find that so amusing, Kimno.
41:21.000 --> 41:22.401
[SPEAKER_02]: Yeah, it's got that.
41:22.681 --> 41:23.502
[SPEAKER_02]: You mentioned the shower.
41:23.722 --> 41:30.588
[SPEAKER_02]: It's got kind of got almost a a blue grassy twang to it in in certain ways with the with the fiddle.
41:30.988 --> 41:38.875
[SPEAKER_02]: The thing that kept popping up to me as I as I listen to this song a few different times is there's so many points in the song that I'm listening to it and thinking
41:39.957 --> 41:40.837
[SPEAKER_02]: this is Maggie May.
41:42.037 --> 41:43.838
[SPEAKER_02]: This is just another version of Maggie May.
41:44.538 --> 42:08.263
[SPEAKER_02]: And I just, and, and, and, and, and, and, and, and, and, and, and, and, and, and, and, and, and, and, and, and, and, and, and, and, and, and, and, and, and, and, and, and, and, and, and, and, and, and, and, and, and, and, and, and, and, and, and, and, and, and, and, and, and, and, and, and, and, and, and, and, and, and, and, and, and, and, and, and, and, and, and, and, and, and, and, and, and, and, and, and, and, and, and, and, and, and, and, and, and, and, and, and, and, and, and, and, and, and, and, and, and, and, and
42:10.723 --> 42:17.305
[SPEAKER_01]: Yeah, I mean, it's basically trying to be Maggie Maypartue because Maggie May came out the year before, and it was a big hit.
42:18.125 --> 42:25.967
[SPEAKER_01]: So it's like, yeah, break up the violin again, we got to do it again here, so, in fact, it's even the same violin player too, Dick Powell.
42:26.828 --> 42:31.409
[SPEAKER_01]: And it works because it was number one in the UK, and it topped when he hit in America.
42:31.529 --> 42:35.410
[SPEAKER_01]: So I look, I can't blame him for doing it again because it worked, you know.
42:36.285 --> 42:57.891
[SPEAKER_02]: Oh, no, it's catchy and it does stand on its own right and I do I do really enjoy kind of the way the the lyrics and the music kind of play against each other in in pretty unexpected ways it is it is a lot of fun for sure for sure All right, hit no what's your next pick there so my next pick is probably as as country as I'll get
43:25.465 --> 43:45.737
[SPEAKER_03]: I made it down the coast in 17 hours Take a river, can't doubt what flowers And I'm hoping for a ride And I can see my famous tonight So rockin' me, my my like a wagon We'll rockin' me, my my anyway feel Hey
43:51.974 --> 44:00.019
[SPEAKER_03]: Rock, man, mama, like a wind, and a rain, rock, man, mama, like a sad about train, hey, mama
44:14.740 --> 44:28.356
[SPEAKER_02]: So yeah, this is kind of as cliche as cliche gets and is overplayed as overplayed gets especially after Darious Rucker recorded his version that kind of became his big crossover country hit.
44:29.223 --> 44:31.004
[SPEAKER_02]: but I still love this song.
44:31.804 --> 44:33.384
[SPEAKER_02]: I probably came to it.
44:33.984 --> 44:43.988
[SPEAKER_02]: I definitely heard the Darryest Rocker version first because it was very much on the pregame mix of a summer college baseball team that I was covering.
44:44.028 --> 44:46.928
[SPEAKER_02]: So I'd hear this while I was watching them take batting practice all the time.
44:47.709 --> 44:50.850
[SPEAKER_02]: But the original quasi original version,
44:51.910 --> 45:17.220
[SPEAKER_02]: from from Old Chromedicine show is my favorite version of this song and kind of a song with a fascinating history because the chorus is kind of a bob Dylan sketch demo from the from the pack air and and Billy the kid sessions in the 70s that just never gets finished and then catch sequel from from Old Chromedicine show kind of you know kind of writes
45:17.980 --> 45:33.793
[SPEAKER_02]: the verses and the music around that kind of gives a story to the song that really has nothing to do with the chorus, but somehow it kind of all works together and then just kind of terrific classic kind of country folk, uh, fiddle playing too.
45:34.780 --> 45:44.252
[SPEAKER_01]: Yeah, it must be nice for Bob Dylan to get royalties for a song that he probably doesn't even remember coming up with, like, even when he's not trying, he's still coming up with classic songs.
45:44.332 --> 45:52.662
[SPEAKER_01]: It's amazing, but yeah, even a country normi let myself as sort of the song, just because of how popular it became.
45:53.563 --> 46:06.168
[SPEAKER_01]: You know, it's like bluegrass freebird where you know, every country banned under the sun has covered it to the point where as you said, you know, some venues actually banned the song because they're like, you know, enough already.
46:07.208 --> 46:16.652
[SPEAKER_01]: And you know what, it's a really nice pleasant song, but I'm sure if you're a club owner and you hear it every single night, you'll lose your mind eventually hit no.
46:17.695 --> 46:44.735
[SPEAKER_02]: Oh yeah and and it is a song that really the live versions I've worked have seen work really well It's a classic like I've seen a few cars that they'll get 10 12 minutes long when you're just Throwing you know four or five different bands together with 19 different people taking random solos It's a song that really really works in that environment, but you kind of get incredibly self-indulgent, but song that I just
46:45.515 --> 47:00.942
[SPEAKER_02]: One of those songs I just listened to, it's a comfort song over and over again, and kind of funny that they said, you know, the, the headed west from the Cumberland gap to Johnson City Tennessee is the wrong direction, but they just kind of realized.
47:01.462 --> 47:01.922
[SPEAKER_02]: You know what?
47:02.362 --> 47:04.683
[SPEAKER_02]: It sounds that West sounds better than East.
47:05.383 --> 47:12.945
[SPEAKER_02]: West sounds a little bit more yearning and kind of the classic kind of frontier spirit to it, but always interested into this, you're going the wrong way.
47:12.965 --> 47:18.447
[SPEAKER_02]: You know, if you're actually trying to find the the Cumberland gap in Johnson City, Tennessee, don't go west.
47:19.688 --> 47:23.369
[SPEAKER_01]: Yeah, this is why we have maps and we don't use songs as maps.
47:23.729 --> 47:27.350
[SPEAKER_01]: So there are two distinct things, thankfully, but
47:28.416 --> 47:47.694
[SPEAKER_01]: but that that dareous record cover i've also heard that and that's also really good uh... somebody picked it for a musically ground and i dug it a lot there but but look it's it's kind of hard to mess this song up i think it's one of those songs where you have to be really trying hard to fuzz with it and make it not work have no i think
47:48.563 --> 47:55.905
[SPEAKER_02]: Yeah, it's just, it's catchy, it's got a beautiful kind of simplicity to it that really, really works.
47:55.985 --> 47:59.026
[SPEAKER_02]: And yeah, Darrystrucker has a, has a fantastic voice.
47:59.046 --> 48:02.307
[SPEAKER_02]: So I'm still struggle to only call him Darrystrucker.
48:02.347 --> 48:12.910
[SPEAKER_02]: I will always just want to call him hoody, but this, I, I just, I, I prefer the kind of slightly raw version that that came through first.
48:12.950 --> 48:13.370
[SPEAKER_02]: And I think,
48:14.250 --> 48:14.770
[SPEAKER_02]: Kind of keep there.
48:14.790 --> 48:24.177
[SPEAKER_02]: I believe they performed together at the grand old Aubrey and that kind of led Darius Walker to recording his version of the song which did go absolutely huge.
48:26.339 --> 48:30.362
[SPEAKER_01]: Alright, so my next pick going to go back to the UK with this one.
48:31.282 --> 48:34.925
[SPEAKER_01]: This is a band with a funny name, but they've got some pits to that name.
48:35.625 --> 48:37.747
[SPEAKER_01]: It's called Dexie's Midnight Runners.
48:39.002 --> 48:49.462
[SPEAKER_01]: and the song that they are best known for, both here and abroad, is the song of their album 2 Rae, this is of course, come on Eileen.
49:06.072 --> 49:23.332
[SPEAKER_05]: I'm gonna die, I suck it's more tight, but it's only tight too, I'm gonna fight it, it's fun, fun, run, run, run, run, run, run, run, run, run, run, run, run, run, run, run, run, run, run, run, run, run, run, run, run, run, run, run, run, run, run, run, run, run, run, run, run, run, run, run, run, run, run, run, run, run, run, run, run, run, run, run, run, run, run, run, run, run, run, run, run, run, run, run, run, run, run, run, run, run, run, run, run, run, run, run, run, run, run, run, run, run, run, run, run, run, run, run, run, run, run, run, run, run, run, run, run,
49:32.512 --> 49:56.460
[SPEAKER_05]: Oh oh oh oh oh oh oh oh oh oh oh oh oh oh oh oh oh oh oh oh oh oh oh oh oh oh oh oh oh oh oh oh oh oh oh oh oh oh oh oh oh oh oh oh oh oh oh oh oh oh oh oh oh oh oh oh oh oh oh oh oh oh oh oh oh oh oh oh oh oh oh oh oh oh oh oh oh oh oh oh oh oh oh oh oh oh oh oh oh oh oh oh oh oh oh oh oh oh oh oh oh oh oh oh oh oh oh oh oh oh oh oh oh oh oh oh oh oh oh oh oh oh oh oh oh oh oh oh oh oh oh oh oh oh oh oh oh oh oh oh oh oh oh oh oh oh oh oh oh oh oh oh oh oh oh oh oh oh oh oh oh oh oh oh oh oh oh oh oh oh oh oh oh oh oh oh oh oh oh oh oh oh oh oh oh oh oh oh oh oh oh oh oh oh oh oh oh oh oh oh oh oh oh oh oh oh oh oh oh oh oh oh oh oh oh oh oh oh oh oh oh oh oh
49:58.786 --> 50:10.953
[SPEAKER_01]: So this is one of those songs where I read the name of a bunch of times before I actually heard the song and I was confused naturally, like Dexie's Midnight Runners, what kind of name is that?
50:12.053 --> 50:26.381
[SPEAKER_01]: And then I heard it for the first time with this, you know, Twee, fiddle playing and the footsteps and the full set of vocals and the gang vocalator on, you know, come on, I lean to the right, come on.
50:27.152 --> 50:55.815
[SPEAKER_01]: and all that stuff and i was like a this is super english and b my toes are tapping like nobody's business uh... because this song is an absolute delight uh... it's very obvious why i went to number one in the u.s.nuk because it is catchy and fun is hell and it's about young love and all that and i think i know like two dexies mini-runners songs in total and this is one of them but they made their mark in my book him now
50:56.818 --> 51:00.981
[SPEAKER_02]: Yeah, this song just puts a smile on your face every single time.
51:01.742 --> 51:15.751
[SPEAKER_02]: When you hear the first violin, but as soon as that piano vamp comes in and they jump into it, if you can't just, yeah, if you're not tapping your feet when you hear this song, I just don't understand how you can't.
51:15.871 --> 51:21.535
[SPEAKER_02]: It's so incredibly catchy and yeah, the kind of
51:24.077 --> 51:30.440
[SPEAKER_02]: kind of just if you're if it's late at night and you're drunk in a bar and this song comes on everyone is singing along to that.
51:31.661 --> 51:50.330
[SPEAKER_01]: Yeah yeah and you know for those wondering dexies is short for dexedrine which is a stimulant that people would take in dance clubs to stay energized and this song would get you energized for sure without you know catching zippy it is and and the history of the band is fascinating because
51:50.991 --> 51:58.356
[SPEAKER_01]: They've broken up multiple times, and at all these lineup changes, and for a very long stretch, they were just known as Dexys.
51:58.936 --> 52:05.881
[SPEAKER_01]: They dropped them in Nightrunners, but then they put out a new album this year, and they're back to being Dexys in the Nightrunners.
52:06.081 --> 52:07.662
[SPEAKER_01]: So the name is back where it belongs, have you know?
52:08.522 --> 52:09.263
[SPEAKER_02]: Yeah, I know.
52:09.803 --> 52:11.004
[SPEAKER_02]: This song, uh,
52:12.217 --> 52:30.990
[SPEAKER_02]: a few years ago, they re-released it, or I've been watching some stuff on YouTube around it, where Kevin Rowland was not particularly thrilled with the original mix, or there were some small things that he wanted to, and they kind of remastered it to kind of get it to the original way that they wanted to.
52:32.533 --> 52:48.505
[SPEAKER_02]: some of those songs when you just listen to it, you can't help but feel like this is this is one of those great, you know, 80s British pop songs at a time when they were when they were cranking out things in the, you know, in a new wave that just they're just constantly that just hold up so well.
52:49.786 --> 52:50.346
[SPEAKER_01]: Absolutely.
52:50.507 --> 52:50.807
[SPEAKER_01]: Yeah.
52:50.987 --> 52:51.247
[SPEAKER_01]: Yeah.
52:52.128 --> 52:53.849
[SPEAKER_01]: Um, all right, hit no.
52:53.949 --> 52:54.810
[SPEAKER_01]: Uh, what you got next for us?
52:55.905 --> 53:00.267
[SPEAKER_02]: So next for me is going back to the late 70s again.
53:00.287 --> 53:05.769
[SPEAKER_02]: This is Kansas from the point of no return album and this is Dustin the Wind.
53:22.703 --> 53:36.228
[SPEAKER_05]: Crumbles to the ground, though we refuse to see Oh, God's love, oh, oh All we are is destined to be in Oh, oh, oh, oh
53:49.703 --> 53:52.164
[UNKNOWN]: Thank you very much for watching this video, see you in the next video.
54:11.767 --> 54:18.848
[SPEAKER_02]: So, you know, a lot of Kansas obviously kind of veers a bit bigger and more bombastic.
54:18.888 --> 54:25.730
[SPEAKER_02]: I mean, this is their, their second platinum song, the first is carry out, was carry on wayward son, which is about as big in bombastic as you get.
54:26.250 --> 54:36.932
[SPEAKER_02]: But this one, this one strips it way back down, you know, it's acoustic guitar, it's violin and viola hand drums, it's,
54:37.852 --> 55:04.214
[SPEAKER_01]: uh... got a very very ethereal quality to it that i've always really loved yeah i didn't want to cry today but you're not making it easy here hit no um... yeah it's it's one of the quintessential rock ballads about death and the passage of time all we are is dust in the wind to the point where like it's kind of become a depression cliche like uh... i remember years ago this was a joke on party down
55:05.035 --> 55:09.636
[SPEAKER_01]: where Ken Marino's character is sad and listening to Justin the Wind on repeat.
55:10.476 --> 55:18.097
[SPEAKER_01]: And just last year on smiling friends when Mr. Frog is depressed, he sings this on a karaoke.
55:18.497 --> 55:25.639
[SPEAKER_01]: But, you know, despite all that, and despite hearing this song a million times over the years, I do still get a twinge of emotion whenever I hear it.
55:26.039 --> 55:32.880
[SPEAKER_01]: And the bridge with the violin going into the final verse with the harmonies, I mean, come on, it still hits for sure, here you know.
55:33.787 --> 55:53.193
[SPEAKER_02]: Yeah, and this was a fun one for me because a couple of years ago I was running the the Arts and Entertainment section at the newspaper I was working at at the point and Kansas was coming to the area for a show and got the chance to interview their current
55:54.493 --> 55:56.975
[SPEAKER_02]: they're currently vocalist who's a guy named Ronnie Platt.
55:57.375 --> 56:05.002
[SPEAKER_02]: And he was a guy who was a singer in some other bands who was also a guy who was a professional long haul trucker.
56:05.802 --> 56:07.344
[SPEAKER_02]: But all of a sudden he's like
56:08.304 --> 56:24.383
[SPEAKER_02]: You know, I auditioned you know, so while back and all of a sudden I'm singing all these songs that got me into music and it was really one of the the more more fun interviews I got a chance to do during the the year I was writing about music and entertainment, but he
56:25.772 --> 56:42.783
[SPEAKER_02]: Absolutely, you know, loved singing, singing dust in the wind and this song, yeah, as a song that, you know, grown up listening to a lot of classic rock radio would play all the time and yeah, it always, it always hits you in the, you're kind of that deep part of your, your heart and your stomach.
56:43.663 --> 56:52.329
[SPEAKER_01]: Yeah, yeah, and, and like sound lucidity, you know, it's a big hit because it's not that pro-rocky, but.
56:53.037 --> 56:58.501
[SPEAKER_01]: The amazing thing, you know, and this is another case where this is a late addition to the album.
56:58.621 --> 57:03.004
[SPEAKER_01]: Carrie Livgren was just doing the guitar line, it's got finger exercise.
57:03.945 --> 57:07.247
[SPEAKER_01]: And his wife was like, that's really nice, you should break lyrics for that.
57:08.207 --> 57:14.632
[SPEAKER_01]: And he made this rough demo of it and played it for the rest of the band and they're like, that's a single, that's it.
57:14.992 --> 57:17.394
[SPEAKER_01]: And yeah, I ended up being their biggest hit.
57:17.814 --> 57:21.797
[SPEAKER_01]: Just by sheer habit stance of his wife, like in the melody, hit no, it's amazing.
57:22.605 --> 57:24.485
[SPEAKER_02]: That's the way some of these things work.
57:24.505 --> 57:27.106
[SPEAKER_02]: You know, you find that kind of moment of inspiration.
57:27.146 --> 57:31.207
[SPEAKER_02]: And yeah, that guitar line just works so well.
57:31.227 --> 57:39.269
[SPEAKER_02]: And then the playing, playing in the strings, it's, it's Robbie Steinhardt playing actually both violin and viola on the song.
57:39.689 --> 57:42.389
[SPEAKER_02]: And yeah, everything about it just works.
57:42.429 --> 57:45.270
[SPEAKER_02]: And I can see why it was their biggest hit.
57:48.138 --> 58:03.565
[SPEAKER_01]: Alright, my next pick, this is a live cut here, Metallica did a live album with the San Francisco Symphony Orchestra, it's called S&M for Symphony Metallica, not the other thing, you've dirty birds.
58:04.905 --> 58:08.907
[SPEAKER_01]: Yeah, this is Metallica with a song called No Leaf Clover.
58:28.781 --> 58:34.545
[UNKNOWN]: To fuck the night, do they kill the dead with a hold of love?
58:34.585 --> 58:51.375
[SPEAKER_05]: Said to be a rock this time Turn around around the light Good day to be an answer Good day to be a lie
58:56.680 --> 59:05.305
[SPEAKER_05]: When it comes to me the air of the soothing light And the air to you and tell her What does the freight train call to her?
59:05.345 --> 59:14.209
[SPEAKER_05]: When it comes to me the air of the soothing light And the air to me and the air to you
59:17.482 --> 59:22.944
[SPEAKER_01]: So how do you make Metallica an already epic band, even more epic, you add an orchestra?
59:23.764 --> 59:29.086
[SPEAKER_01]: And there have been plenty of bands over the years that have done live shows with orchestras.
59:29.126 --> 59:34.648
[SPEAKER_01]: I've got another one coming up later on actually, but this is one of the more famous examples of it.
59:35.048 --> 59:39.870
[SPEAKER_01]: And no leave Clover, it's one of the two original songs that they did for the album.
59:40.670 --> 01:00:03.566
[SPEAKER_01]: The other being a song called Minus Human and I wouldn't call it a hidden gem because it it was a number one rock a single But to a layman, I mean, it's not first of mind when it comes to Metallica and I didn't discover it myself until I played guitar here on Metallica The video game and I was like this song is awesome and Years later, I still think it's awesome.
01:00:03.646 --> 01:00:03.886
[SPEAKER_01]: Hey, no
01:00:05.198 --> 01:00:10.004
[SPEAKER_02]: Yeah, I had not heard this one until you passed this along.
01:00:10.024 --> 01:00:18.195
[SPEAKER_02]: I knew of the SNL album and a few of the songs from it, but yeah, I really, really enjoyed this.
01:00:18.235 --> 01:00:21.479
[SPEAKER_02]: And I'm kind of a metallic agnostic.
01:00:21.739 --> 01:00:26.544
[SPEAKER_02]: You know, I can take them or leave them at certain points, uh, but this really worked.
01:00:26.564 --> 01:00:34.172
[SPEAKER_02]: The, the, like you said, the, the epicness, the, the scale, uh, with the, with the San Francisco Symphony Orchestra, uh, working with them.
01:00:34.372 --> 01:00:36.875
[SPEAKER_02]: It just, everything is, is big.
01:00:36.895 --> 01:00:44.003
[SPEAKER_02]: And you know, we've talked a lot about what, what strings can add and this adds that, that, that bigness in, in, in so many ways.
01:00:45.060 --> 01:00:48.282
[SPEAKER_01]: Yeah, it's more power for an already powerful band.
01:00:48.322 --> 01:00:51.024
[SPEAKER_01]: It just, it meshes so well together.
01:00:51.604 --> 01:00:55.027
[SPEAKER_01]: And I want to shout out the conductor, as well, during this performance.
01:00:55.087 --> 01:00:56.368
[SPEAKER_01]: It's a guy named Michael Cayman.
01:00:56.988 --> 01:01:05.614
[SPEAKER_01]: He had actually worked with Metallica before this, because he arranged the orchestra parts in nothing else matters on the black album.
01:01:06.454 --> 01:01:10.137
[SPEAKER_01]: And he also did the music for die hard and lethal weapon and an X-Men.
01:01:10.876 --> 01:01:22.900
[SPEAKER_01]: and he worked with David Bowie, Pink Floyd, Queen, and a whole bunch of other bands, including a little band called Queens Reich on their song, Silent Lucidity.
01:01:23.380 --> 01:01:24.561
[SPEAKER_01]: He was the conductor on that.
01:01:24.821 --> 01:01:25.761
[SPEAKER_01]: And I didn't plan that.
01:01:26.322 --> 01:01:30.363
[SPEAKER_01]: I just found that out the other day, but it's a little bit of kism at there, have no.
01:01:31.207 --> 01:01:54.572
[SPEAKER_02]: Now that I happened to notice that when I was doing some research to these songs as well, and I mostly did know Michael came in through through movie scores and through the thing I probably knew him most for is he's the guy who writes, he wrote the American symphony at the end of the movie, Mr. Holland's Opus, with Richard Dreyfus.
01:01:54.672 --> 01:01:55.813
[SPEAKER_02]: That's his composition,
01:02:01.494 --> 01:02:08.683
[SPEAKER_02]: Yeah, fun just fun to see him doing, but yeah, he clearly knows how to work in orchestra, and he does it in this song really, really well.
01:02:09.283 --> 01:02:09.464
[SPEAKER_01]: Mm-hmm.
01:02:11.326 --> 01:02:12.968
[SPEAKER_01]: Okay, uh, him know what you got next.
01:02:14.123 --> 01:02:31.012
[SPEAKER_02]: Alright, next for me, going back to the 70s in a not quite a pro rock artist, but the most pro rock of his albums, this is Elton John from the Madman Across the Water Album, this is Lee von.
01:02:46.666 --> 01:03:12.566
[SPEAKER_05]: They got blue, and gone sailing While limon, limon slaughtered eyes He was born up all the two of them on a Christmas day When the New York Times said God is dead, and the wolf had gone All of them tossed their hair on the Sunday
01:03:17.560 --> 01:03:36.355
[SPEAKER_05]: And it's all about a new home And it's all about a new home And it's all about a new home And it's all about a new home And it's all about a new home And it's all about a new home
01:03:40.542 --> 01:03:50.971
[SPEAKER_02]: So along with Billy Joel, John is probably the other person I grew up listening to the most and this has been a favorite song of mine since I was very, very young.
01:03:51.932 --> 01:03:57.076
[SPEAKER_02]: And yeah, when you listen to the madman across the water album now, it is...
01:03:58.370 --> 01:04:01.952
[SPEAKER_02]: very different from a lot of the the rest of the Elton John catalog.
01:04:02.412 --> 01:04:23.823
[SPEAKER_02]: And a lot of that is the the strings and this the string arrangement most of this album uses string arrangements from Paul Buckmaster and leave on to me just has the most the biggest kind of scale to it and yeah I just love the way the song works with kind of Elton's singing, Elton's piano playing, Bernie Toppins
01:04:29.424 --> 01:04:51.195
[SPEAKER_01]: Yeah, when I started getting into Elton John, like actually digging into his catalog beyond the two or three songs that I knew, this is one of the first songs that I remember really liking a lot, because I was sick of tiny dancer, which is on the same album, and I wanted something else, and this blue, young me away, same with the song, Mad Men across the
01:04:54.025 --> 01:05:06.668
[SPEAKER_01]: uh... fun fact to think about leave on sun being born on christmas day out in john's first son was born christmas day and his middle name is leave on so that's you know kind of a little fun fact there for you so
01:05:07.668 --> 01:05:27.656
[SPEAKER_02]: and I know they had they named the leave on in the song after after leave on helm from the band, not about him, and no one's really ever figured out the so but who Alvin Tostig is, but just a complete fictional invention, but that just kind of a song that really works to the kind of
01:05:29.806 --> 01:05:47.820
[SPEAKER_02]: Sorry, kind of a testament to the songwriting partnership between Elton John and Bernie Toppon that is kind of one of the most unique relationships in music where, you know, Bernie will just go off and write some lyrics, come back with a weird little poem and hand it out and say, hey, buddy, go make a song.
01:05:49.148 --> 01:05:57.290
[SPEAKER_01]: Yeah, and Robbie Robertson, funny enough, said that Levi Hound did not like the song and we could be here.
01:05:57.310 --> 01:06:02.131
[SPEAKER_01]: It says, quoting him as saying, Englishmen shouldn't fuck with Americanism.
01:06:02.531 --> 01:06:08.013
[SPEAKER_01]: So the name's sake is not a big fan of the song there, but the guy
01:06:09.456 --> 01:06:35.375
[SPEAKER_01]: doing the orchestral arrangements on this one is guy named Paul Buckmaster and he worked on several other than John's early albums and he also worked on space audity, you're so vain, drops of Jupiter by train which you want to Grammy for and he's worked with skillet, no doubt, bend folds, UFO, grateful dead, Taylor Swift, guns and roses like
01:06:38.402 --> 01:07:03.158
[SPEAKER_02]: The guy has had a career and he absolutely not the string arrangements and the orchestrations here out of the park because it just swells with the moments of the song and kind of really crescendo's everything together in a way that, you know, it's it's a weird song and it's just it's just verse chorus verse chorus and then really letting the strings kind of play it out.
01:07:04.539 --> 01:07:06.661
[SPEAKER_01]: Yeah, yeah, it's a fantastic song for sure.
01:07:08.862 --> 01:07:13.545
[SPEAKER_01]: All right, mine next pick, I can go way back to 1962 with this one here.
01:07:14.606 --> 01:07:20.690
[SPEAKER_01]: This is a guy who used to be in the drifters, then he went solo, it's Ben E King.
01:07:21.011 --> 01:07:28.536
[SPEAKER_01]: Not Ben E King, Ben E King, and this is a iconic song here, this is Stand by Me.
01:07:34.047 --> 01:07:49.213
[SPEAKER_04]: In the night has come, and the land is dark, and the moon is the only light we'll see.
01:07:49.953 --> 01:08:03.198
[SPEAKER_04]: No, I won't be afraid, for I won't be afraid, just as long as you stand, stand by me.
01:08:04.401 --> 01:08:31.263
[SPEAKER_04]: So darling, darling, stand by me Holds them by me Holds them, stand by me Stand by me It's the sky that we look upon Should tumble and fall All the mountains
01:08:34.664 --> 01:08:38.346
[SPEAKER_01]: Wait a minute, that's not Corey Feldman and where the hell is Will Wheaton?
01:08:40.307 --> 01:08:44.769
[SPEAKER_01]: So yeah, I didn't just want all violence and strings on my picks.
01:08:45.350 --> 01:08:47.731
[SPEAKER_01]: I was also looking for a good double-based song.
01:08:48.111 --> 01:08:54.975
[SPEAKER_01]: I could stand up based tune and I did a quick search and this song popped up and I was like, oh, duh, of course.
01:08:55.655 --> 01:08:58.157
[SPEAKER_01]: It's got one of the most famous bass lines in music.
01:08:59.039 --> 01:09:27.277
[SPEAKER_01]: and that's how it starts with that do do do do do do do do do do I looked up who does that it's got him to Lloyd Trottman he was from Boston actually and he played with a million big names including the drifters and as the song goes on you know King's voice comes in and then the strings softly come in and the background vocals so it's it's so beautiful man and and this song is over 60 years old and it's still you know it still stirs up the emotions
01:09:28.638 --> 01:09:48.617
[SPEAKER_02]: Yeah, this is kind of an immortal song, I mean, a song so good, they get a, they name a movie after it and it's such a deeply emotional song and I said that that baseline at the beginning just sets the tone but the big sweeping strings.
01:09:49.377 --> 01:09:58.567
[SPEAKER_02]: coming in throughout it, really, really helps set a tone and yeah, I've loved this song for years and it's another one that I think it's kind of impossible not to love this song.
01:09:58.587 --> 01:10:06.315
[SPEAKER_02]: I mean it's literally a song, you know, so important that it's in the library of Congress and with a deserved spot.
01:10:07.180 --> 01:10:13.103
[SPEAKER_01]: Yeah, and according to the songs of Capitia, it's been covered over 500 times over the years.
01:10:13.904 --> 01:10:16.025
[SPEAKER_01]: It's like Wagon Wheel, everyone's done it.
01:10:16.365 --> 01:10:20.468
[SPEAKER_01]: Like, even Muhammad Ali did a version of this song, which is pretty amazing.
01:10:20.588 --> 01:10:23.790
[SPEAKER_01]: But going back to the baseline, I mean, that's really all you need.
01:10:23.910 --> 01:10:25.751
[SPEAKER_01]: Like, that's the crux of the song.
01:10:26.491 --> 01:10:33.275
[SPEAKER_01]: As long as you can do that baseline and go and dull and dull and stand by me.
01:10:34.035 --> 01:10:36.637
[SPEAKER_01]: As long as you can do that, you're good as gold, Hibna.
01:10:37.640 --> 01:10:47.064
[SPEAKER_02]: Yeah, you just, every time it swells to that chorus, it just hits you right in the old feelings, as they say.
01:10:47.104 --> 01:11:06.392
[SPEAKER_02]: And it's a song that has an incredible, you know, I was born in the mid 80s, you know, I was, I was also too, I was too young for the movie standby me when it came out, but there is an incredible nostalgic quality about the song, but still like you said, it's a timeless quality that just lasts kind of forever
01:11:07.998 --> 01:11:09.960
[SPEAKER_01]: Yeah, for sure, for sure.
01:11:10.840 --> 01:11:12.742
[SPEAKER_01]: All right, what is your next pick there, hit no?
01:11:13.562 --> 01:11:27.493
[SPEAKER_02]: So my next pick, going a little bit more modern than my last couple, this is back to the early 90s, back to where I started, which was in Ireland, this is from the cranberries, and this is linger.
01:11:46.752 --> 01:11:59.861
[SPEAKER_05]: I'm in fear, if you can't find, trying not to lie Things wouldn't be so cocky, and I wouldn't feel safe But you are with me, I just wanna be with you
01:12:13.698 --> 01:12:19.480
[SPEAKER_05]: You got me right there, have you been there?
01:12:20.540 --> 01:12:22.521
[SPEAKER_05]: Do you have to let it in?
01:12:22.561 --> 01:12:24.402
[SPEAKER_05]: Do you have to?
01:12:24.642 --> 01:12:25.662
[SPEAKER_05]: Do you have to?
01:12:25.902 --> 01:12:28.543
[SPEAKER_05]: Do you have to let it in?
01:12:35.418 --> 01:13:03.372
[SPEAKER_02]: So Dolores O'Reardon from the cranberries has kind of one of the most distinctive voices of the early 90s and this song kind of sets that to I know there's there's some bigger ones there are dreams obviously zombie is is there is is I kind of but for me there's something just incredibly beautiful about linger in this kind of story of
01:13:04.212 --> 01:13:18.166
[SPEAKER_02]: of kind of lost fleeting love that really, really works and another one that's got a fascinating story in reading about it that this is basically the song that gets Dolores are in into the cranberries.
01:13:18.647 --> 01:13:20.789
[SPEAKER_02]: Now they're looking for a for a new singer.
01:13:21.529 --> 01:13:22.370
[SPEAKER_02]: She's auditioning.
01:13:22.430 --> 01:13:26.855
[SPEAKER_02]: They give her the music and she comes back with these lyrics and blows them away.
01:13:28.654 --> 01:13:51.224
[SPEAKER_01]: I know I was in my notes there, I mean that's that's pretty amazing, I mean look it's it's hard not to let her in given how great this song is, like you got to let her in because of it so and you know I'm not going to say there and say oh my huge cranberries fan, like I know the same three songs that most people know, zombie dreams in this but
01:13:52.627 --> 01:13:53.608
[SPEAKER_01]: What a trio of songs.
01:13:54.188 --> 01:14:00.354
[SPEAKER_01]: I mean, just let's just put here a motion emitting from this song, Dolores are weird.
01:14:00.414 --> 01:14:02.776
[SPEAKER_01]: I mean, not just your voice, but are accent.
01:14:02.976 --> 01:14:04.457
[SPEAKER_01]: It just lights my brain up.
01:14:05.138 --> 01:14:11.623
[SPEAKER_01]: Every time she says, added to it, and very you, and dare bombs, and dare guns.
01:14:11.723 --> 01:14:14.746
[SPEAKER_01]: Like, I'm like, you've got my heart again, Dolores.
01:14:15.267 --> 01:14:16.808
[SPEAKER_01]: And yeah, it's just a beautiful song.
01:14:17.712 --> 01:14:46.745
[SPEAKER_02]: and another, another singer that lost that too soon, obviously, passing away about a decade ago, but it's that one of the most immediately recognizable voices, if you grew up at this time, and I'm pretty sure in the early days, I can't remember which album it was, but around the first time I ever bought a CD player, a cranberry CD was one of the very first things that I bought.
01:14:48.500 --> 01:14:58.469
[SPEAKER_01]: It was either, everybody else is doing it so I can't wait, or no need to argue, because those were like the two big ones, and they were packed back to back, so.
01:14:58.829 --> 01:15:04.835
[SPEAKER_02]: Yeah, and I think it was no need to argue, but I'd have to go back and dig through some 30, 32-year-old CDs to find it.
01:15:07.577 --> 01:15:26.530
[SPEAKER_01]: Yeah, that one has a zombie on it, and dreams to linger on the previous one, so yeah, but but all right, going from Ireland to Canada here with a band that I finally saw live a few days ago in Boston, so we're going to finally die happy here.
01:15:26.950 --> 01:15:30.313
[SPEAKER_01]: This is Rush, and this is from their
01:15:47.228 --> 01:16:12.013
[SPEAKER_05]: For some time I let you go from a shore Only when you are full The people will smile Through the dark in the storm Gather everything they can score Tears and nights won't burn anymore
01:16:17.533 --> 01:16:43.167
[SPEAKER_05]: All I know is it's time time to argue, be worried All the miracles to get to be true All I know is it's time to truth is contrary All the same is not even arguing All I know is it's time to argue, be worried All the miracles to get to be true All I know is it's time to truth is contrary
01:16:46.567 --> 01:17:03.682
[SPEAKER_01]: So Clockwork Angels is a concept album, and this song is about the main character being on a ship during a hurricane, and there's a light in the distance, and they think it's safety, but it's actually a trap set up by people on shore to destroy ships.
01:17:04.189 --> 01:17:05.269
[SPEAKER_01]: so they can plunder the cargo.
01:17:05.589 --> 01:17:11.951
[SPEAKER_01]: And that spelled out pretty clearly in the verses, but the chorus, it's a more universal message.
01:17:12.631 --> 01:17:17.573
[SPEAKER_01]: All I know is that sometimes you have to be wary of a miracle too good to be true.
01:17:17.933 --> 01:17:23.154
[SPEAKER_01]: All I know is that sometimes the truth is contrary, everything in life that you thought you knew.
01:17:24.235 --> 01:17:25.395
[SPEAKER_01]: And musically,
01:17:26.369 --> 01:17:32.175
[SPEAKER_01]: I think having the strings really amplifies the drama and gives it a cinematic quality as well.
01:17:32.235 --> 01:17:33.857
[SPEAKER_01]: You'll put it over the top there.
01:17:35.338 --> 01:17:36.359
[SPEAKER_01]: So yeah, you know what I mean?
01:17:36.379 --> 01:17:41.104
[SPEAKER_01]: There are other obvious songs that I could go with here, not by rush.
01:17:41.885 --> 01:17:45.589
[SPEAKER_01]: But given the timing, I had to shout out my boys here, HIPNA.
01:17:46.605 --> 01:18:08.678
[SPEAKER_02]: Yeah, so when you sent me your list of songs that put together a playlist and I had a three hour drive down from where I am in upstate New York to Long Island for work and I got to this song and I think I went back and replayed it instantly three or four times and I'm not a giant rush fan
01:18:09.698 --> 01:18:16.062
[SPEAKER_02]: uh, really I know the, the, the big songs that most people would know, I'd never heard this before.
01:18:16.642 --> 01:18:20.865
[SPEAKER_02]: And it got to the chorus for the first time, and it, I really fell in love with it.
01:18:20.885 --> 01:18:32.692
[SPEAKER_02]: I just absolutely love the, so it has this big and themic quality that I, that I don't always, uh, kind of associate with Rush, but it really, really work and the strings really, really work with this.
01:18:34.358 --> 01:18:40.940
[SPEAKER_01]: Yeah, they've used strings on some previous songs, but they used the, a bunch on this album.
01:18:41.180 --> 01:18:49.222
[SPEAKER_01]: And on the tour for the album, they brought a string piece with them when they played songs from the album.
01:18:49.242 --> 01:18:59.684
[SPEAKER_01]: It was the Clockwork Angels string ensemble, which is a bunch of like violins and cellos, which is a lot more people than they usually have on stage with them at a rush show.
01:19:00.524 --> 01:19:02.765
[SPEAKER_01]: Most of the time it's just getty, Alex and Neil.
01:19:03.646 --> 01:19:08.826
[SPEAKER_01]: And for this new tour, it's Getty, Alex, Anakiniles, and Lauren Gold, so it's four people.
01:19:09.762 --> 01:19:13.204
[SPEAKER_01]: And even that gives a little weird, because we think like, oh, rush is a trio.
01:19:13.324 --> 01:19:18.646
[SPEAKER_01]: But Lauren Gold is the keyboard player, and he helped fill in with keyboard stuff.
01:19:19.226 --> 01:19:21.487
[SPEAKER_01]: So getting and play the bass more is really good too.
01:19:21.627 --> 01:19:25.909
[SPEAKER_01]: So yeah, that's my review of the Russia that I went to.
01:19:26.009 --> 01:19:27.130
[SPEAKER_01]: It was pretty amazing.
01:19:27.790 --> 01:19:31.912
[SPEAKER_01]: And if they are in the area, and you can go see them, then please go see them.
01:19:31.932 --> 01:19:34.173
[SPEAKER_01]: Because who knows when they'll tour again, hip-na.
01:19:34.987 --> 01:19:38.468
[SPEAKER_02]: Yeah, no, that's an experience that I definitely like to have at some point.
01:19:38.488 --> 01:19:49.033
[SPEAKER_02]: Yeah, I'm never, I'm always 50, 50 on on Gettys voice, sometimes because sometimes it reaches that really high quality that doesn't always work for me.
01:19:49.053 --> 01:19:55.316
[SPEAKER_02]: But just this song really, really kind of hit a sweet spot for me that I really enjoyed.
01:19:56.236 --> 01:19:57.256
[SPEAKER_01]: For sure, for sure.
01:19:58.537 --> 01:19:59.437
[SPEAKER_01]: All right, I'll hit no.
01:19:59.517 --> 01:20:00.958
[SPEAKER_01]: What is your second to last pick here?
01:20:02.032 --> 01:20:10.578
[SPEAKER_02]: Second to last pick comes from the late 90s for mingland Is the verb and it's the big one from the verb.
01:20:11.158 --> 01:20:30.992
[SPEAKER_05]: It's bittersweet symphony I'll take you down I've never been down You know the one that sticks you to the places you're on
01:20:37.839 --> 01:20:56.591
[SPEAKER_05]: No change, I can change, I can change, I can change But I feel, you're my mode, I can hear you're my mode But I'm a million different people from war That's the next I can change, my mode, no, no
01:21:19.038 --> 01:21:30.314
[SPEAKER_02]: Yeah, yeah, I talked a little bit about the wall sound stuff earlier and this is as wall of sound as wall of sound gets and
01:21:31.667 --> 01:21:36.810
[SPEAKER_02]: It's so big and sweeping and epic.
01:21:36.910 --> 01:21:44.855
[SPEAKER_02]: It's a song that if you grew up in the mid to late 90s, you could not escape this song.
01:21:44.935 --> 01:21:51.859
[SPEAKER_02]: And you hear those opening string chords, and you just know where you are, and you know this song so well.
01:21:51.879 --> 01:21:57.703
[SPEAKER_02]: And I've heard the song, the hundreds and hundreds of times, and it doesn't get old for me.
01:21:59.153 --> 01:22:07.307
[SPEAKER_01]: Yeah, this one was on my shortlist because it's one of the first things I actually thought of really because it's that iconic.
01:22:07.727 --> 01:22:13.557
[SPEAKER_01]: The first time I heard it, I was at summer camp and one of the counselors had it on their iPod and I was just.
01:22:14.111 --> 01:22:27.001
[SPEAKER_01]: and raptured by it as a youngster, like the strings and that drum beat and the vocal effects it's like this giant wall of sound that envelops you and carries you away, it still makes me feel that way.
01:22:27.661 --> 01:22:33.406
[SPEAKER_01]: And the music video as well of Richard Ashcroft walking down the street also very memorable.
01:22:33.526 --> 01:22:35.187
[SPEAKER_01]: So yeah, I'm
01:22:35.651 --> 01:22:46.375
[SPEAKER_01]: I'm very glad we had this song on the episode regardless of who picked it because there are a bunch of obvious songs that we left off but I just can't imagine leaving this song off.
01:22:47.155 --> 01:22:59.760
[SPEAKER_02]: No, this song absolutely fits and I really didn't know much about the history behind the song when I when I started looking into it but that it's a
01:23:01.220 --> 01:23:26.958
[SPEAKER_02]: kind of comes from a sample of an orchestral version of a rolling stone song from the from the sixties called the last time that ended up going into a big giant lawsuit where all of the all the royalties end up going back to to Mickey and Keith who then get added to the get added to the songwriter grants and then eventually taken back away.
01:23:28.273 --> 01:23:33.276
[SPEAKER_01]: Yeah, I mean, the sample, it's from the Andrew Olden Orchestra.
01:23:33.656 --> 01:23:36.378
[SPEAKER_01]: They did the last time that sample there.
01:23:36.438 --> 01:23:42.622
[SPEAKER_01]: And it was actually the Stone's former manager, Alan Klein, who had the rights to the song.
01:23:43.162 --> 01:23:44.443
[SPEAKER_01]: And you know, he sued over it.
01:23:45.103 --> 01:23:48.385
[SPEAKER_01]: And the band, yeah, they had to give their royalties to Klein.
01:23:48.996 --> 01:24:09.015
[SPEAKER_01]: and changed the songwriting credits to Mick and Keith and they lost a lot of money because of that and it was an until 2019 you know years after Alan climate died that they got the world teased and credits back but we're talking like 20 years of losing out in all that money that's that's got to sting a lot to hit no
01:24:09.913 --> 01:24:30.116
[SPEAKER_02]: Yeah, and I mean, when you think about just how everywhere and how used this song was, uh, that is a lot that got left on the table there and, uh, you know, there's a, it kind of a perfect song to be on an album called Urban Hems, uh, really, really feels like that fits perfectly and, uh,
01:24:31.683 --> 01:24:55.120
[SPEAKER_02]: There's another song on Urban Hems that I heard years later called Lucky Man that I also absolutely love, but this is kind of the definitive verb song, and it's weird as a song with the dispute over the credits, it's a song that really did kind of kind of outlive and outgrow the band itself, it's you know a bit of sweet symphony more than you know the verb.
01:24:55.798 --> 01:25:02.400
[SPEAKER_01]: Yeah, and they also have a song called The Drugs Don't Work, which is like the saddest most depressing song ever, apparently.
01:25:03.420 --> 01:25:17.705
[SPEAKER_01]: So it's the opposite of an inspector of this song here, but alright, my second-to-last pick here, this is Allison Chains, and they put out an EP called Jar of Flies in 94.
01:25:18.445 --> 01:25:22.546
[SPEAKER_01]: It's between their second album, Dirt, and their third album, the South-Hitled One.
01:25:23.371 --> 01:25:26.124
[SPEAKER_01]: And I picked a song called I Stay Away.
01:26:32.200 --> 01:26:38.183
[SPEAKER_01]: So I talked about this last year with DJ Convoy on the second album's episode with Dirt.
01:26:38.938 --> 01:27:02.853
[SPEAKER_01]: But, you know, a lot of Allison Chainslings are, they're pretty dark, they're not the happiest band in the world, especially with Lane Stalean's issues, but even in the darkness, there can be beauty, like you have lines like tears that soak it callous heart, and why you act crazy, not an act maybe, and you know, the anguish and Lane's voice,
01:27:03.558 --> 01:27:07.519
[SPEAKER_01]: When he belt's out, I stay away.
01:27:08.179 --> 01:27:18.443
[SPEAKER_01]: Like it gives me chills, but you also have this nice, melodic acoustic guitar work in there, and the strings coming into the end.
01:27:18.583 --> 01:27:22.424
[SPEAKER_01]: Like it's something of a counterbalance to a different darkness that's going on, Hypno.
01:27:23.403 --> 01:27:27.628
[SPEAKER_02]: Yeah, it's a song of kind of very disparate parts.
01:27:27.668 --> 01:27:30.892
[SPEAKER_02]: There are parts that I really found myself drawn to.
01:27:30.932 --> 01:27:34.877
[SPEAKER_02]: There are parts that that like there are parts I didn't love.
01:27:35.337 --> 01:27:42.966
[SPEAKER_02]: So much the kind of the very modulated vocals, big kind of sludgy crunchy guitars is not
01:27:43.787 --> 01:27:54.282
[SPEAKER_02]: Really my thing, but as soon as the strings pick in and it pops into the chorus That's where the song really finds something for me, and I really really enjoyed those parts.
01:27:54.642 --> 01:28:00.390
[SPEAKER_02]: I enjoyed I enjoyed The the some of the parts more than the whole with this song
01:28:02.466 --> 01:28:05.248
[SPEAKER_01]: Yeah, I get that, I get that, that's understandable.
01:28:05.789 --> 01:28:29.147
[SPEAKER_01]: But I also want to mention the music video for this song, which is also quite striking because it's claymation and it's about the band going to this traveling circus and there is this teenager with the with the with the jar of lies and he releases the flies and they cause chaos around the circus and eventually the whole place.
01:28:30.087 --> 01:28:35.171
[SPEAKER_01]: the ground and it's the 90s so there's all these close-ups and fast-cuts.
01:28:35.211 --> 01:28:49.562
[SPEAKER_01]: It's very disconcerting but at the same time it's also unwrapturing like I can't stay away from that video it seems but but yeah if if you're if you're about the song then you know you might want to stay away from the video there hip know.
01:28:50.562 --> 01:28:56.487
[SPEAKER_02]: Yeah that seems like that might be a little bit of yeah you watch that and you're not quite sure how to process that.
01:28:59.292 --> 01:29:00.704
[SPEAKER_01]: but a great song in my opinion, so.
01:29:01.360 --> 01:29:01.780
[SPEAKER_01]: There you go.
01:29:01.820 --> 01:29:07.763
[SPEAKER_02]: Yeah, the parts of the parts of this that worked for me, uh, I really, really liked.
01:29:07.823 --> 01:29:12.345
[SPEAKER_02]: And I was, was on with that, that it was an overall extremely positive.
01:29:12.365 --> 01:29:17.767
[SPEAKER_02]: There's just some, some of it is just kind of an issue that kind of, when I don't like grunge.
01:29:18.948 --> 01:29:25.130
[SPEAKER_02]: And that kind of, and those certain aspects, it's not that doesn't it for me, but when it hits well, it's really, really good.
01:29:25.751 --> 01:29:30.533
[SPEAKER_02]: And yeah, those, the, the courses and the kind of big epic strings over the top of it.
01:29:31.533 --> 01:29:57.473
[SPEAKER_02]: uh... really really work for me in the song all right hit no what is your last pick of the episode well for my last pick i wanted to have at least one instrumental in your mostly instrumental there's there's some vocal in there and uh... with a show about strings wanted to have a band called an orchestra and went with the electric light orchestra and this is fire on high
01:31:05.945 --> 01:31:30.518
[SPEAKER_02]: So this was probably the first instrumental that I ever remember hearing played on radio on WMGK in Philadelphia growing up and we didn't you didn't play there but the introduction to this song as a kid absolutely scared the shit out of me.
01:31:31.299 --> 01:31:53.334
[SPEAKER_02]: Yeah, with the kind of creepy, like jangling things and the back mass vocals and I'm pretty sure the first time I ever heard this song was like driving home somewhere in the back of my parents card late at night and I thought I had descended into hell and it really really got but then it kind of reaches that point where
01:31:54.375 --> 01:32:14.932
[SPEAKER_02]: that stops and then it just becomes for a minute it becomes this big epic song and then it reaches kind of the musical chorus of it where it's the guitar and the drums and violin in this kind of call and response and I just love that and I've loved it ever since.
01:32:16.505 --> 01:32:18.789
[SPEAKER_01]: Yeah, ELO was also on my short list.
01:32:18.849 --> 01:32:20.011
[SPEAKER_01]: Not this long in particular.
01:32:20.051 --> 01:32:23.356
[SPEAKER_01]: It was a live and thing that I had penciled in there.
01:32:24.555 --> 01:32:26.957
[SPEAKER_01]: But yeah, look, it's the electric light orchestra.
01:32:26.997 --> 01:32:28.578
[SPEAKER_01]: So there are plenty of songs to pick from here.
01:32:28.658 --> 01:32:31.640
[SPEAKER_01]: And as you said, I'm the same boat as you.
01:32:32.581 --> 01:32:35.563
[SPEAKER_01]: This song creeped me out so much the first time I heard it.
01:32:36.804 --> 01:32:38.365
[SPEAKER_01]: It's still got a creeps me out, you know?
01:32:38.385 --> 01:32:47.571
[SPEAKER_01]: I mean, the opening piano, and the horror movie strings and the guy talking backwards, it's kind of a nightmare.
01:32:48.452 --> 01:32:54.795
[SPEAKER_01]: But then the song actually opens and we get this pretty bombastic symphonic rock song.
01:32:55.875 --> 01:33:05.079
[SPEAKER_01]: It was actually used for the CBS Sports Spectacular Show in the 70s and I could see why, like it has the energy and the rhythm for a sports show.
01:33:05.119 --> 01:33:07.980
[SPEAKER_01]: You know, blah, blah, blah, blah, blah, blah, blah.
01:33:08.821 --> 01:33:11.942
[SPEAKER_01]: So weird intro aside, it's, it's a cool instrumental hit now.
01:33:12.803 --> 01:33:31.855
[SPEAKER_02]: Yeah, it's a song, and you mentioned the, the creepy backwards vocals, which had not until I look at it never realized it's literally just I'm saying the music is reversible but time is not turn back turn back turn back turn back and you know kind of going back on those the weird kind of
01:33:32.835 --> 01:33:44.226
[SPEAKER_02]: back-masking panic that was taking place in the 70s and hidden messages being stuck into songs and it's kind of Jeff Lynn having his fun there.
01:33:45.087 --> 01:33:56.558
[SPEAKER_02]: But as a kid, the beginning of this song always made me feel like you're walking into like a mad scientist layer in some, in some, you know,
01:33:57.941 --> 01:34:09.228
[SPEAKER_02]: you know, Schlockey 70s horror movie and yeah, it just comes into this kind of big triumphant fast pace instrumental at the end that that I've always loved in our room in college.
01:34:09.268 --> 01:34:14.972
[SPEAKER_02]: We definitely cut this up and you mentioned it being used for the the CBS sports specs spectacular.
01:34:15.812 --> 01:34:19.255
[SPEAKER_02]: We used it for highlight packages a bunch of different times.
01:34:20.255 --> 01:34:25.819
[SPEAKER_02]: So thinking of cutting strategies back to this song as a memory I'll always have.
01:34:27.503 --> 01:34:45.660
[SPEAKER_01]: Yeah, I mean, there is such a theatricality to this, that it works so well as a soundtrack because that's what you do when you have an orchestra, you can have that kind of tone and and the funny thing is that the string section in ELO, it's only around with the 70s.
01:34:46.020 --> 01:34:47.301
[SPEAKER_01]: You know, once the 80s hit,
01:34:48.022 --> 01:35:04.854
[SPEAKER_01]: The string section leaves, and it's down to just Jeff Lin, Richard Tandy, and Beve Bevin, and they went full bore into keyboards and synths, and I like a bunch of those later songs, but it's not really a orchestranny more hip-no, you know?
01:35:05.636 --> 01:35:05.997
[SPEAKER_02]: No, no.
01:35:06.037 --> 01:35:25.300
[SPEAKER_02]: And you mentioned live in thing, which was I was 50, 50 on whether I was going to go with with the song or live in thing, which has obviously really, really famous violent sections, but yeah, it doesn't, it's, if you're going to be in orchestra, you should have strings for sure.
01:35:27.165 --> 01:35:39.068
[SPEAKER_01]: Alright, so my last pick here, this is a band called Savatage, SAV-A-T-A-G, Savatage, or as William Shatter would call them Savatage.
01:35:39.789 --> 01:35:41.649
[SPEAKER_01]: You stay Savatage, I say Savatage.
01:35:42.749 --> 01:35:50.272
[SPEAKER_01]: This is from their album, Dead Winter Dead, and this is a song called Christmas Eve, Serie Avo, 12, 24.
01:37:00.767 --> 01:37:18.919
[SPEAKER_01]: So I know people complain about the holiday season starting earlier and earlier each year, so I'm now part of the problem, I apologize, but look, you know, I'm not a big Christmas music guy, it's just not really my thing, but I do have exceptions, and this is one of them.
01:37:19.019 --> 01:37:24.823
[SPEAKER_01]: It's, you know, sabotages most well-known song, I believe, it's a medley of God,
01:37:27.965 --> 01:37:39.813
[SPEAKER_01]: or ding fries are done if you know your old internet videos, and I just love how it's simultaneously very badass and also very Christmasy.
01:37:40.194 --> 01:37:46.918
[SPEAKER_01]: Like there are those violent night movies with David Harper or Santa Claus being people up.
01:37:47.739 --> 01:37:47.919
[SPEAKER_01]: Like
01:37:48.470 --> 01:37:54.552
[SPEAKER_01]: this song would be perfect for a montage of him gearing up for a showdown of the bad guys.
01:37:55.352 --> 01:37:57.673
[SPEAKER_01]: And I also, that this one was a hit.
01:37:57.953 --> 01:38:07.016
[SPEAKER_01]: Like this is a platinum selling record and it eventually led to the creation of the Transavirian Orchestra of the Spinoff Band, which is still going to stay a hit now.
01:38:08.036 --> 01:38:14.578
[SPEAKER_02]: Yeah, and that's where I always associated this with Transavirian Orchestra, not really realizing that this was
01:38:15.868 --> 01:38:23.070
[SPEAKER_02]: sabotage becoming the spin-off of an into-trans librarian orchestra, but yeah, I love this song.
01:38:23.730 --> 01:38:32.293
[SPEAKER_02]: It is so, again, we've used the word epic to describe things a lot in this show.
01:38:32.813 --> 01:38:35.714
[SPEAKER_02]: And this might be the most epic of all of them.
01:38:36.194 --> 01:38:41.836
[SPEAKER_02]: And yeah, every year there's not a lot of Christmas songs that I keep in my rotation.
01:38:42.976 --> 01:39:04.827
[SPEAKER_02]: uh but this one over and over and over again uh and doesn't really need to be the the the Christmas season uh to listen to this one but it is it is absolutely it's just just a both a beautiful song and a badass song and just the way everything works the the strings at the beginning doing uh
01:39:05.747 --> 01:39:19.487
[SPEAKER_02]: God resty Mary gentlemen and then when the the literal bell start towing and the and the guitars really start coming in it's it's a song that just it makes you it just brings everything together
01:39:20.729 --> 01:39:29.755
[SPEAKER_02]: in this kind of amazing way, and I've, I'm always regretted never seeing a transiberian orchestra live because it just seems like that would be a ball.
01:39:30.336 --> 01:39:32.497
[SPEAKER_02]: And they're, they're, they're touring every year.
01:39:32.517 --> 01:39:35.179
[SPEAKER_02]: They're pretty much around, you know, Christmas time every year.
01:39:35.279 --> 01:39:40.062
[SPEAKER_02]: And one of these years, I've got to go out and see one of those big arena spectaculars that they do.
01:39:41.083 --> 01:39:46.487
[SPEAKER_01]: Yeah, they're coming to Massachusetts in the next couple of months, because they come, you know, every year for the holidays.
01:39:47.293 --> 01:39:59.994
[SPEAKER_01]: and i've also never seen them alive but from what i've read and from the videos i've seen it's it's spectacular for sure it's it's a real big to do and uh... and and and it's funny you know this song
01:40:00.864 --> 01:40:17.068
[SPEAKER_01]: It's on this concept album about the Bosnian War, which is where Sarajevo is, and the song is inspired by the story of a cello player from Sarajevo coming back during the war and playing the cello in the rubble.
01:40:17.108 --> 01:40:23.250
[SPEAKER_01]: So it's a pretty serious backstory there, but you know, all I can think of is just, you know,
01:40:23.530 --> 01:40:33.075
[SPEAKER_01]: badass Santa Claus like you know it's the Christmas spirit is kind of you know overwritten I think the more serious undertones at the song perhaps uh him know.
01:40:33.916 --> 01:40:43.081
[SPEAKER_02]: Yeah the story behind it kind of gets uh lost in the sheer scale of it when those big giant guitars uh start coming in but
01:40:44.271 --> 01:41:11.216
[SPEAKER_02]: You know, I mean, the title of the site, and I think a lot of people just, they recognize the song, they don't know the title, they just think of it as maybe as Carol the bells, but it just has, like I said, that that incredible scale and scope and sound to it that is that every year I'm playing this multiple times, you know, it's is a great one on a late night drive back home if you need a little if you need a little bit of energy.
01:41:12.303 --> 01:41:13.384
[SPEAKER_01]: definitely definitely.
01:41:15.065 --> 01:41:17.006
[SPEAKER_01]: Alright well, that was the episode.
01:41:17.386 --> 01:41:19.287
[SPEAKER_01]: Those were our picks.
01:41:19.327 --> 01:41:21.228
[SPEAKER_01]: We did a lot of stirring in our hands today.
01:41:21.828 --> 01:41:27.431
[SPEAKER_01]: We got a little violent with this one here but but there were some big songs we didn't pick.
01:41:27.532 --> 01:41:36.937
[SPEAKER_01]: Cashmere berled Zeppelin Baba O'Reilly by the who hurricane by Bob Dylan, Conquista Doripa Prokual Herum, the live version with the orchestra,
01:41:37.577 --> 01:41:42.039
[SPEAKER_01]: and so on and so forth, but regardless, hit no, this was a lot of fun, man.
01:41:42.419 --> 01:41:43.239
[SPEAKER_01]: Thank you so much for being here.
01:41:43.919 --> 01:41:44.560
[SPEAKER_02]: Well, thank you.
01:41:44.580 --> 01:41:50.162
[SPEAKER_02]: It was great to be able to make my audio, you have to be on this one.
01:41:50.922 --> 01:41:53.663
[SPEAKER_01]: Of course, of course, any plugs you want to give, right ahead.
01:41:54.440 --> 01:42:10.273
[SPEAKER_02]: uh... you can uh... catch me on the uh... the vw discord on uh... mostly around a bunch of different uh... bunch of different channels that uh... random times but uh... if you if anyone really really cares about uh...
01:42:11.406 --> 01:42:38.322
[SPEAKER_02]: Upstate New York high school sports and college basketball and horse racing I right for the Albany Times Union and you can you can find me there I got post-linked time to time I've had a chance to to interview a handful of wrestlers at decent at different times if if a WWE comes around I try and find a way to get my bosses to to let me let me sneak in a sneak in some wrestling riding just just for kicks
01:42:39.443 --> 01:42:40.985
[SPEAKER_01]: You're fighting the good fight on that front.
01:42:41.145 --> 01:42:42.807
[SPEAKER_01]: So God, God bless you for the head.
01:42:43.347 --> 01:42:44.269
[SPEAKER_01]: Yeah.
01:42:45.350 --> 01:42:54.440
[SPEAKER_01]: All right, voices of wrestling podcast network, all the great shows on there, voices of wrestling.com, previews, reviews, articles, things like that.
01:42:54.941 --> 01:43:00.167
[SPEAKER_01]: Blue Sky at Music of the Met and at Just Andrew on Blue Sky.
01:43:00.767 --> 01:43:08.352
[SPEAKER_01]: If you want to leave a comment about this episode, share your picks, as a hypno said, voices of wrestling.com slash discord.
01:43:08.832 --> 01:43:12.474
[SPEAKER_01]: It's also where I post the Spotify playlist for each episode.
01:43:12.994 --> 01:43:20.579
[SPEAKER_01]: And of course, make sure you subscribe to the show on Apple, Spotify, or your podcast player of choice, and leave a nice rating and review.
01:43:21.099 --> 01:43:23.541
[SPEAKER_01]: All right, so the play I'd song for today.
01:43:23.801 --> 01:43:27.203
[SPEAKER_01]: This is by another UK band called The Manic Street Preachers,
01:43:28.160 --> 01:43:31.005
[SPEAKER_01]: and it's from now on called postcards from a young man.
01:43:31.706 --> 01:43:35.632
[SPEAKER_01]: I could just song called It's Not War, just the end of love.
01:43:36.212 --> 01:43:36.914
[SPEAKER_01]: Thanks again, hit no.
01:43:37.474 --> 01:43:37.835
[SPEAKER_01]: Thank you.
01:44:06.268 --> 01:44:17.916
[SPEAKER_05]: To feel forgiveness, you gotta forgive Do you see the stars, all the darkness begin You fight you all, I fight for my life You pay our dealers out
01:44:43.666 --> 01:44:47.586
[SPEAKER_02]: Music of the Mad is intended for entertainment and information purposes only.
01:44:47.767 --> 01:44:51.988
[SPEAKER_02]: The songs used throughout this show are property of their respective copyright holders.
