Roderick on the Line

Ep. 97: "With Buckethead"


00:00:00   well surely shovel [TS]

00:00:03   [Music] [TS]

00:00:07   get the boom daughter nothing then their [TS]

00:00:17   10 haha don't kind of photo lowdown do [TS]

00:00:24   that's the way it ought sometimes he [TS]

00:00:31   sounds like barry gibb to me over and [TS]

00:00:35   and then other times like ninety-eight [TS]

00:00:37   percent of the rest of the time he [TS]

00:00:38   sounds like the songs the beatles should [TS]

00:00:41   have done instead of breaking up this [TS]

00:00:44   was the covert mission statement of the [TS]

00:00:46   move the move said when without the move [TS]

00:00:50   excuse me LOL so after the move was but [TS]

00:00:52   when the movie is breaking up Roy Wood [TS]

00:00:54   and him said that they thought they [TS]

00:00:56   would be basically picking up with the [TS]

00:00:58   beatles should have going yeah yeah well [TS]

00:01:01   I think appropriately they're picking up [TS]

00:01:03   with the beatles would have been if [TS]

00:01:04   they'd stopped in 1967 [TS]

00:01:07   uh-huh if they if they had alternate [TS]

00:01:09   universe Beatles and 67 had decided to [TS]

00:01:12   follow George's impulses [TS]

00:01:14   hmm they would have ended up being [TS]

00:01:17   yellow if they decided to keep making [TS]

00:01:20   like a better version of magical mystery [TS]

00:01:22   tour maybe I don't know there are a lot [TS]

00:01:24   of better versions of magical mystery [TS]

00:01:26   tomatoes made three of them probably was [TS]

00:01:30   your time I have to have something about [TS]

00:01:32   this the other day was there anyone [TS]

00:01:35   beetle who had the creative a trajectory [TS]

00:01:43   to have been to have gotten out of [TS]

00:01:46   liverpool on his own [TS]

00:01:48   is it [TS]

00:01:52   the question that's like when you first [TS]

00:01:53   of all I already really liked this [TS]

00:01:54   episode [TS]

00:01:55   second I think you could argue would [TS]

00:01:59   have been Ringo interesting to see [TS]

00:02:02   already had a career with Lori storm in [TS]

00:02:04   the Hurricanes tried he was the B was [TS]

00:02:07   the the cat she was the big the big [TS]

00:02:08   cheese [TS]

00:02:09   yeah it could have gone to London and [TS]

00:02:11   been a session guy easily [TS]

00:02:13   this is he just drive right there but [TS]

00:02:15   like Lenin was just lettin what it was a [TS]

00:02:18   self sabotage ER mm he would have never [TS]

00:02:22   ever like independently become a [TS]

00:02:26   musician certainly no bigger than Rory [TS]

00:02:29   storm who was a much better looking guy [TS]

00:02:31   better suits you know how you Rory storm [TS]

00:02:34   put on a show for Christ's sake is a [TS]

00:02:36   gentleman Lenin would have been better [TS]

00:02:39   when I'm not gonna do that or whatever [TS]

00:02:41   it is you know I can't really do a linen [TS]

00:02:43   hi I'm I think it's a really interesting [TS]

00:02:46   idea and you know we talked about before [TS]

00:02:47   like how you know a lot of people even [TS]

00:02:50   who are like kind of intermediate Beatle [TS]

00:02:52   fans don't know exactly like how much of [TS]

00:02:54   the time John Lennon was unhappy he was [TS]

00:02:57   a very unhappy guy mad mad and like like [TS]

00:03:02   but after I mean I i had not prepared [TS]

00:03:04   for the beatles episode as well as I [TS]

00:03:07   probably would've but I would say that [TS]

00:03:08   if you look at the first couple records [TS]

00:03:10   cool man i think the heart and soul the [TS]

00:03:13   band clearly the best songwriter [TS]

00:03:15   pound-for-pound was John he's running [TS]

00:03:18   the band to start i mean ii we as I I [TS]

00:03:22   know you'll side with me unlike notnot [TS]

00:03:23   slag and Paul in any way at that only [TS]

00:03:25   that but Paul didn't i mean the the band [TS]

00:03:28   bloom when Paul started really find his [TS]

00:03:30   own when John got super depressed and [TS]

00:03:31   start smoking weed [TS]

00:03:32   I think Paul really ran with the ball [TS]

00:03:34   but if you go back and listen to this [TS]

00:03:35   first few records the most distinctive [TS]

00:03:37   stuff about what made the beatles the [TS]

00:03:40   beatles was a songwriting but I mean I [TS]

00:03:43   think John really propelled data on the [TS]

00:03:45   first couple records especially he had [TS]

00:03:47   you know John had John made 13 pop music [TS]

00:03:51   sound compelling through the application [TS]

00:03:55   of his anger like teen pop music is not [TS]

00:03:58   interesting [TS]

00:03:59   unless there is like anger and [TS]

00:04:03   desperation behind it [TS]

00:04:04   and John had all the anger and [TS]

00:04:06   desperation Paul you know he was a year [TS]

00:04:08   older than Paul over but I mean I think [TS]

00:04:12   you could I think if certainly if Shawn [TS]

00:04:15   Nelson were here he would be mad he [TS]

00:04:20   would be mad he would be standing here [TS]

00:04:21   with his hands jammed in his jacket [TS]

00:04:23   pockets but try trying to figure out a [TS]

00:04:26   polite way to excuse himself but if he [TS]

00:04:29   were here and engaged in this [TS]

00:04:31   conversation he would make the case that [TS]

00:04:33   Paul had Paul had the talent Paul had [TS]

00:04:37   the the possibility the capability of [TS]

00:04:40   getting out of liverpool on his own but [TS]

00:04:44   I would argue that he didn't I think [TS]

00:04:46   without I think I think you're [TS]

00:04:47   absolutely right i think Ringo probably [TS]

00:04:49   could have made a made a go at it as a [TS]

00:04:52   as like a player but you know George was [TS]

00:04:56   going to be a junior high teacher John [TS]

00:05:00   was going to be a a guy at the end of [TS]

00:05:03   the bar [TS]

00:05:04   it's got sick jon is going to be an [TS]

00:05:06   alcoholic he was going to be an angry [TS]

00:05:08   alcoholic at the end of the bar who [TS]

00:05:10   worked at a shop in like a manufacturer [TS]

00:05:13   all working in nursing home playing [TS]

00:05:15   piano that's right that's absolutely [TS]

00:05:18   right paul wood pulp would be probably [TS]

00:05:20   yeah at the at the at the other end of [TS]

00:05:22   the bar you know playing playing his [TS]

00:05:25   father's favorite songs and lemon water [TS]

00:05:28   would have hated his guts [TS]

00:05:29   yep it but like I think you could say I [TS]

00:05:31   mean really up the clock when I consider [TS]

00:05:33   really the classic period everything [TS]

00:05:35   really up to around the time of magical [TS]

00:05:38   mystery tour in Nam they really just [TS]

00:05:41   let's just establish magical mystery [TS]

00:05:42   tour tonight sand here's the way to tell [TS]

00:05:45   if a Beatles records good if you take [TS]

00:05:47   away the singles is it still really an [TS]

00:05:50   album [TS]

00:05:51   yeah and they've got that yellow [TS]

00:05:52   submariner a couple where you're like [TS]

00:05:54   mmm yeah not really album lot of vinyl [TS]

00:05:57   had to die for no reason but the thing [TS]

00:06:00   is the two of them really did propel [TS]

00:06:01   each other [TS]

00:06:02   iima a mature student this I've read [TS]

00:06:04   books about this i've read the you know [TS]

00:06:06   the whole attribution of like who [TS]

00:06:08   different people think should get which [TS]

00:06:09   credits on which songs but i think the [TS]

00:06:11   input fairly incontrovertible thing is [TS]

00:06:13   even up to the time of I'm gonna say [TS]

00:06:15   let's just say we can probably see [TS]

00:06:16   through revolver [TS]

00:06:18   they were still hugely influential on [TS]

00:06:20   what made it onto the vinyl you might [TS]

00:06:23   like back in the day I think there was a [TS]

00:06:24   you can if you listen to stuff he had [TS]

00:06:26   sold and kind of stuff that everybody [TS]

00:06:27   listen to right now you can you can when [TS]

00:06:29   they got their mics on and everything [TS]

00:06:30   you can get here like how much they [TS]

00:06:33   wrote that song together and then soon [TS]

00:06:37   enough you start noticing [TS]

00:06:38   oh you know John definitely worth the [TS]

00:06:40   bridge on that or more often like Paul [TS]

00:06:41   definitely read the bridge on that [TS]

00:06:43   Ryan's probably didn't write the verses [TS]

00:06:45   but the performance they just put you [TS]

00:06:47   push each other so far forward [TS]

00:06:50   yes don't you and you can even after [TS]

00:06:52   even after it's evident that they are [TS]

00:06:54   writing independent of one another [TS]

00:06:56   they're still writing to impress one [TS]

00:06:58   another you can hear Paul like Paul [TS]

00:07:02   being deeper than he may be was on the [TS]

00:07:07   first pass he did the first pass right [TS]

00:07:11   he was like this is amazing i love the [TS]

00:07:12   melody but then he added an element of [TS]

00:07:16   he you know he added an element of [TS]

00:07:18   tension narrative tension to impress [TS]

00:07:20   John and you can hear that in there [TS]

00:07:23   oh yeah and then you know John less [TS]

00:07:26   trying to impress Paul but more trying [TS]

00:07:29   to compete with Paul and you know and [TS]

00:07:33   trying to trying to shove yesterday back [TS]

00:07:37   down his throat and I think ultimately [TS]

00:07:40   failing failing to compete with Paul's [TS]

00:07:45   like pop generating like madness and [TS]

00:07:51   ultimately in failing to do that [TS]

00:07:53   resented Paul turning in that turning in [TS]

00:07:57   that direction of like accusing Paul of [TS]

00:08:00   doing the same old thing of creating [TS]

00:08:02   music accusing Paul of being predictable [TS]

00:08:05   intervie all these kind of like bitter [TS]

00:08:08   accusations that are really because he [TS]

00:08:11   couldn't match he couldn't match [TS]

00:08:15   yesterday [TS]

00:08:16   oh yeah I i agree and also two things [TS]

00:08:19   first of all like I think there's always [TS]

00:08:21   whenever I think about themselves their [TS]

00:08:22   writing songs together i always think [TS]

00:08:24   about that one guy coming in with you [TS]

00:08:26   know apart like good parts might maybe a [TS]

00:08:28   version of course maybe something like a [TS]

00:08:30   bridge [TS]

00:08:30   and I always imagined him in a lot of my [TS]

00:08:32   favorite Beatle songs what the other guy [TS]

00:08:34   maybe there's a lot of my favorite songs [TS]

00:08:36   are primarily Paul songs but i imagine [TS]

00:08:37   John coming and going [TS]

00:08:39   not so fast right so Paul coming and [TS]

00:08:41   going not so fast right and then because [TS]

00:08:44   like it's almost like a debate like some [TS]

00:08:46   of my favorite people sighs I'm trying [TS]

00:08:47   to think someone stole my head but like [TS]

00:08:48   Paul has written this beautiful like [TS]

00:08:51   thing that works as a unit within the [TS]

00:08:53   bridge the turn if you like is John [TS]

00:08:57   giving a rebuttal em and that's where [TS]

00:08:59   that that's where that like that perfect [TS]

00:09:00   amount of cynicism comes into it and [TS]

00:09:02   that's why the bets why those wings [TS]

00:09:04   records are such a turd piles as part of [TS]

00:09:12   it and the base got louder and louder [TS]

00:09:14   but you know this is this is really [TS]

00:09:16   really reductive but if you think about [TS]

00:09:17   a good pop song like so many pop songs [TS]

00:09:22   there's got to be a part that's about [TS]

00:09:23   building tension is going to be a part [TS]

00:09:25   about releasing tension and the most [TS]

00:09:27   productive way to put that I mean it is [TS]

00:09:29   that like a lot of times especially I'll [TS]

00:09:32   saying things like new wave an indie [TS]

00:09:34   rock em maybe you have like this kind of [TS]

00:09:37   minor chorus verse it's all about you [TS]

00:09:42   know kind of like tension building and [TS]

00:09:44   then they'll be this then the poppy [TS]

00:09:45   explosion comes on the course of [TS]

00:09:47   explosion but it could be you can invert [TS]

00:09:48   that but you know saying if you have all [TS]

00:09:50   if you have all like a 3-quart song with [TS]

00:09:53   all major all the way through [TS]

00:09:55   no minors on the bridge nothing like [TS]

00:09:56   that it just that you get the ramones [TS]

00:09:58   which is fun for its tight but even they [TS]

00:10:00   knew when to throw in a minor chord that [TS]

00:10:02   you've got to build it up you need to [TS]

00:10:03   have like two cars take a touch-and-go [TS]

00:10:05   right all i need is what you've got this [TS]

00:10:09   incredibly angular addicted to bear if [TS]

00:10:12   I'm talking about em okay you think this [TS]

00:10:14   has got to be the weirdest sounding [TS]

00:10:16   verse of a song I've ever heard [TS]

00:10:18   and then the course goes no didn't [TS]

00:10:20   didn't didn't didn't think you're going [TS]

00:10:23   to like how could this be the same song [TS]

00:10:25   but it kind of works yes [TS]

00:10:27   you know Sonic Youth sonic you songs are [TS]

00:10:29   like this too [TS]

00:10:30   they'll be like that you know this kind [TS]

00:10:32   of symphonic like explosion in the [TS]

00:10:34   chorus is after all this angular stuff [TS]

00:10:35   going on the verses and it happens in [TS]

00:10:37   pretty much every beatles song that way [TS]

00:10:38   to I at when i'm sitting in trying to [TS]

00:10:41   write songs which i have been doing for [TS]

00:10:43   the last six years and failing part of [TS]

00:10:46   what I'm part of what I aspire to [TS]

00:10:51   because i think if you listen to the [TS]

00:10:52   long winter songs the verses are the the [TS]

00:10:56   life of the tune is all in the verses [TS]

00:10:58   verses are exposed ettore it's they [TS]

00:11:01   they're you know they're kind of like [TS]

00:11:03   listicles they are not listicles I don't [TS]

00:11:12   I don't I don't see that at all and then [TS]

00:11:15   it comes to the chorus and there is [TS]

00:11:17   there's an attempt to have this [TS]

00:11:19   explosive pop you know indie-pop like [TS]

00:11:22   and now here's the chorus and half the [TS]

00:11:25   time it ends up it ends up being a [TS]

00:11:29   pre-course to a later course that where [TS]

00:11:31   I tried again but I mean I'm up the the [TS]

00:11:34   verses are where I i really like express [TS]

00:11:39   everything I need to express and then [TS]

00:11:40   I'm trying to tie it together with it [TS]

00:11:43   with a with a fun chorus / and what I've [TS]

00:11:46   been trying to do for the last six years [TS]

00:11:48   and failing is making the verses as [TS]

00:11:52   catchy as the choruses and making the [TS]

00:11:55   choruses as important to the song as the [TS]

00:11:59   verses we're still at the same refrain [TS]

00:12:02   right it's not just it's not just a one [TS]

00:12:06   word over and over it's behind the new [TS]

00:12:07   girl teaspoon teaspoon teaspoon I'm I [TS]

00:12:13   when I was when I was writing that song [TS]

00:12:15   i really felt like each iteration of the [TS]

00:12:18   word teaspoon what I was conveying a [TS]

00:12:22   different just different aspect of how [TS]

00:12:27   that how a teaspoon played into the [TS]

00:12:31   narration right i mean the TSP as a as a [TS]

00:12:35   item to cook your heroine a teaspoon [TS]

00:12:39   as the most diminutive of all the silver [TS]

00:12:42   where's etc but i didn't have but i did [TS]

00:12:45   not i but but that was that's pretty you [TS]

00:12:52   know I would I was counting on someone [TS]

00:12:55   writing a dissertation on it later i did [TS]

00:13:00   not actually completed not actually put [TS]

00:13:02   all those different meanings in the [TS]

00:13:05   lyrics i tried to communicate those [TS]

00:13:07   different meanings in the different ways [TS]

00:13:09   that I saying this one word and that you [TS]

00:13:11   know that's very that's frustrating to [TS]

00:13:13   me as an artist because my meaning will [TS]

00:13:17   never be clear unless I explained it and [TS]

00:13:21   what's what's great about great pop song [TS]

00:13:24   is great about the Beatles of course is [TS]

00:13:26   that [TS]

00:13:26   yeah they come in and say oh we didn't [TS]

00:13:28   mean LSD Lucy was Paul's and and the [TS]

00:13:33   diamonds were his you know and it sucks [TS]

00:13:36   but it's a lot of unnecessary explaining [TS]

00:13:39   that's just obfuscating trying to make [TS]

00:13:43   something that simple seem more [TS]

00:13:45   difficult and in and and my problem i [TS]

00:13:50   perceive my problem as a songwriter to [TS]

00:13:52   be that my sons are impossibly more [TS]

00:13:56   difficult than i could that then is [TS]

00:13:59   evident and explaining them is just like [TS]

00:14:02   a dumb or after the after the fact you [TS]

00:14:08   know you're like you had a chance to put [TS]

00:14:10   it in the song and you and your you're [TS]

00:14:14   hoping that people are telepathic [TS]

00:14:18   I like that about your songs i like that [TS]

00:14:20   they you know you wouldn't say that you [TS]

00:14:23   know this is a song about that and for [TS]

00:14:25   this is a song about this feeling I I [TS]

00:14:27   like that about and I it doesn't read as [TS]

00:14:29   and to just go to the other end of the [TS]

00:14:31   continuum i don't i don't think there [TS]

00:14:33   till they don't feel like they're [TS]

00:14:34   deliberately opaque and no no right but [TS]

00:14:37   yeah knowing that some of them are very [TS]

00:14:39   puzzling little puzzles but I I don't [TS]

00:14:42   ever feel like there's some kind of like [TS]

00:14:44   they're like a mystery song like I [TS]

00:14:45   actually he was dead all along or [TS]

00:14:47   something like that helps right now yeah [TS]

00:14:49   there's no there's no trick [TS]

00:14:51   yeah I don't know it [TS]

00:14:52   had been trying to write songs that are [TS]

00:14:53   like here's the here's the verse it's [TS]

00:14:56   just as poppy and melodic as a chorus [TS]

00:14:58   and then here's the chorus and boys and [TS]

00:15:02   fuck it fuck that melodic and poppy and [TS]

00:15:04   also tells you stuff it also tells you [TS]

00:15:09   stuff about the song and the the ideas [TS]

00:15:13   even think about anything about witness [TS]

00:15:21   is that Paul stopped caring whether his [TS]

00:15:25   songs meant anything uh hot story ever [TS]

00:15:29   did care really needs to be one wing [TS]

00:15:32   song and I had I mean I i personally [TS]

00:15:35   owned at least probably three wings 45 [TS]

00:15:37   she's pretty big deal because i was [TS]

00:15:39   eight at the time but you know that [TS]

00:15:41   something great like live and let die [TS]

00:15:42   crazy wackadoodle there's really only [TS]

00:15:44   one song you need to hear to understand [TS]

00:15:46   wings [TS]

00:15:47   yeah i think well there's probably [TS]

00:15:48   several one songs you can hear but i'm [TS]

00:15:50   going to say the major was a little lady [TS]

00:15:52   uh oh man suffer a jet jet don't know [TS]

00:15:57   who such a good song girl huh i was [TS]

00:16:01   amazed i'm gonna stick silly love some [TS]

00:16:03   books [TS]

00:16:04   oh haha first of all a is the base [TS]

00:16:07   definitely check yes that the base is [TS]

00:16:10   way too loud [TS]

00:16:12   it is a canonical three chord song that [TS]

00:16:15   would not have gotten past the first [TS]

00:16:17   table read in The Beatles the baselines [TS]

00:16:20   great do-do-do-do-do you can sure hear [TS]

00:16:23   it because it's nice and upfront but [TS]

00:16:25   here so we got you think people would [TS]

00:16:26   have had enough silly love songs and [TS]

00:16:28   it's just pretty much straightforward a [TS]

00:16:29   love song oh my god I'm are you i'm [TS]

00:16:31   already seven years old as soon as you [TS]

00:16:33   start singing I'm just like what's wrong [TS]

00:16:35   with that like to know because here we [TS]

00:16:38   go together [TS]

00:16:40   and then I haha you know that's where [TS]

00:16:46   John yeah arrived upon the scene get [TS]

00:16:50   drunk it's that right there [TS]

00:16:52   yeah what's wrong with that I'd like to [TS]

00:16:55   know because here i go again and then [TS]

00:16:57   John would have said something to the [TS]

00:17:00   effect of why do I keep going again [TS]

00:17:02   right [TS]

00:17:03   he wouldn't be able to brought a [TS]

00:17:04   counterparty let's go wait a minute [TS]

00:17:06   yes yeah I'm here's what's wrong with [TS]

00:17:09   that [TS]

00:17:09   yeah I do have a problem i got a big [TS]

00:17:11   fucking problem with silly love it's a [TS]

00:17:15   lot more complicated than that and then [TS]

00:17:18   at the end you got that little like kind [TS]

00:17:20   of kota it's dropout they do it again [TS]

00:17:24   and you get just a ah oh my god it's [TS]

00:17:30   nine feeling that you look Baba [TS]

00:17:32   Blackwater keep on rolling and hand it's [TS]

00:17:37   taking a lot of hand-wringing I loan [TS]

00:17:39   that's that because at that point at [TS]

00:17:43   that point Paul felt that every idea [TS]

00:17:46   that he had was the greatest idea that [TS]

00:17:50   is so high he did not need a second idea [TS]

00:17:53   he just needed the one idea [TS]

00:17:55   Oh a hundred percent in OB story to it [TS]

00:17:59   you know it's a and everybody was like [TS]

00:18:02   okay that's good [TS]

00:18:03   sure let's say your culture whatever you [TS]

00:18:05   say buddy i was thinking about Billie [TS]

00:18:07   Jean it was simply having a wonderful [TS]

00:18:12   christmas the pump and what was that [TS]

00:18:17   that's like the biggest selling single [TS]

00:18:19   of all time writers that Moloch entire [TS]

00:18:21   ohmic entire article song that was that [TS]

00:18:24   was mark entire was like the hugest [TS]

00:18:26   biggest UK i think until bohemian [TS]

00:18:30   rhapsody probably but if you think about [TS]

00:18:33   beat it [TS]

00:18:34   no no I'm sorry bility boot don't do you [TS]

00:18:41   know [TS]

00:18:43   alright dynamite dynamite baseline [TS]

00:18:47   through and you listen to the way it's [TS]

00:18:50   recorded in the way it tucks into the [TS]

00:18:52   two [TS]

00:18:53   like it's really menacing it's super [TS]

00:18:57   menacing like super dark and the bass [TS]

00:19:00   tone is she is shaped in such a way that [TS]

00:19:04   it can just you can just it's not in [TS]

00:19:06   your face right that baseline could have [TS]

00:19:09   been like Quincy Jones could could have [TS]

00:19:12   doubled the volume on that baseline and [TS]

00:19:14   then probably when they were mixing it [TS]

00:19:16   they tried it you know like let's put [TS]

00:19:19   this all the way forward like this is [TS]

00:19:20   dynamite but like part of its Menace is [TS]

00:19:24   that it's like it's kind of subsumed [TS]

00:19:28   like overtime but what got me thinking [TS]

00:19:32   about this was i was walking along and I [TS]

00:19:34   was singing billy gene and I said to [TS]

00:19:38   myself when about what's the baseline to [TS]

00:19:40   this song it is the greatest bass line [TS]

00:19:43   of all pop music but i'm having a hard [TS]

00:19:45   time remembering it and i'm walking a [TS]

00:19:48   lot of like billie jean is not my lover [TS]

00:19:50   and I couldn't recall how the base went [TS]

00:19:54   is it the same is it that same rough [TS]

00:19:58   kind of figure through the Saw III don't [TS]

00:20:04   to do is be so it's kind of starts on a [TS]

00:20:06   weird wacky will know so it's kind of [TS]

00:20:07   always unresolved right is divided into [TS]

00:20:10   20 so so good so good and a thing a [TS]

00:20:16   thing but like where we're in the Paul [TS]

00:20:21   McCartney arc creative ark would he have [TS]

00:20:25   left behind any chance of writing Billie [TS]

00:20:30   Jean playing it it was 60 [TS]

00:20:34   I don't know I feel like there's so much [TS]

00:20:37   wonderful stuff at the end to ever like [TS]

00:20:41   but I just feel like there was the [TS]

00:20:43   restraint the restraint that is on those [TS]

00:20:48   first couple of michael jackson solar [TS]

00:20:49   records [TS]

00:20:51   the I mean I guess it's that Quincy [TS]

00:20:53   Jones still had some i still had some [TS]

00:20:59   Authority in the picture where we're [TS]

00:21:02   probably the last three Beatles records [TS]

00:21:04   there was no authority left [TS]

00:21:06   let's also gets yelled it also is I was [TS]

00:21:07   going to say it's about Paul but it's [TS]

00:21:08   even sure of michael jackson was the [TS]

00:21:11   first of all they're both just natural [TS]

00:21:12   musicians and and musical people i mean [TS]

00:21:15   i really think Michael Jackson probably [TS]

00:21:17   had something almost like a four track [TS]

00:21:18   in his head [TS]

00:21:19   you can imagine what that stuff is like [TS]

00:21:21   he's doing a dance singing the song is [TS]

00:21:22   going to catch a case like figuring it [TS]

00:21:23   out so Stevie Wonder making those [TS]

00:21:25   records where he would play the drum I [TS]

00:21:27   don't I just that's completely [TS]

00:21:28   mind-blowing to go and play the freaking [TS]

00:21:30   drums to the sufferer get to pay my [TS]

00:21:32   electric bill you know but think about [TS]

00:21:35   the timing on that because you got off [TS]

00:21:37   the wall and which is also amazing offer [TS]

00:21:40   wall and thriller are both pretty great [TS]

00:21:43   but you know it's you know what that's [TS]

00:21:46   generous of you [TS]

00:21:47   they're pretty good but you know the [TS]

00:21:48   thing about both of those as with Paul's [TS]

00:21:50   rise to power circuits 65 was the timing [TS]

00:21:54   was the taste that Michael Jackson had [TS]

00:21:57   within the context of having quincy [TS]

00:21:59   jones as a producer his taste got [TS]

00:22:01   channeled in the best conceivable way so [TS]

00:22:04   Paul I mean Paul wrote you won't see me [TS]

00:22:07   like what a fantastic song with great [TS]

00:22:11   edginess and like every part of that [TS]

00:22:13   song is pretty much I mean it's just [TS]

00:22:16   want to say that it's just about perfect [TS]

00:22:17   song i think that one of your son's butt [TS]

00:22:19   but you know the things he had to [TS]

00:22:21   channel that through a room with those [TS]

00:22:23   guys in it and which on it and with you [TS]

00:22:25   know and with the torsion right setting [TS]

00:22:28   up in the sitting upstairs but the kind [TS]

00:22:31   of taste that makes one of the richest [TS]

00:22:33   man in the world right simply having a [TS]

00:22:35   wonderful christmas time the timing the [TS]

00:22:37   taste is off the timing is wrong and [TS]

00:22:39   there's nobody there he's getting all [TS]

00:22:40   these like George Lucas there's nobody [TS]

00:22:42   there telling him like you know you've [TS]

00:22:43   got to stop you got to stop doing this [TS]

00:22:45   yep i don't i was listening to the radio [TS]

00:22:47   the other day driving in my car turned [TS]

00:22:50   on the radio do duty it's going out the [TS]

00:22:55   mouth bass show ending we're going to be [TS]

00:22:59   everything [TS]

00:23:00   and and this band comes on and I was [TS]

00:23:03   like saying Bruce Springsteen song [TS]

00:23:05   you're probably seeing the pointer [TS]

00:23:08   sisters version of a pre spring song I a [TS]

00:23:13   song comes on and i'm having this the [TS]

00:23:15   same experience that I'm having a lot [TS]

00:23:16   now and listening to modern music which [TS]

00:23:19   is I said its people or property talked [TS]

00:23:22   it said this is either a James addiction [TS]

00:23:30   like outtake i had never heard before [TS]

00:23:34   which I know it isn't because there is [TS]

00:23:38   no James addiction outtake I haven't [TS]

00:23:40   heard or it is some new version of [TS]

00:23:44   jane's addiction that Perry Farrell has [TS]

00:23:46   recently put together with with bucket [TS]

00:23:49   head and a Michael Schenker and sweet [TS]

00:23:55   haha i think that could so happen that [TS]

00:24:00   was so having which I haven't heard [TS]

00:24:05   anything about but that doesn't mean [TS]

00:24:06   it's not it doesn't happen [TS]

00:24:08   I bet they've taken smoothie that they [TS]

00:24:10   have been fully sat down with very [TS]

00:24:14   Farrell and was like who can we get to [TS]

00:24:16   make sure that scene from godfather to [TS]

00:24:17   with the gold telephone like to thank [TS]

00:24:22   you mr. shaker German when i wake up if [TS]

00:24:27   there's a bag of money on the table were [TS]

00:24:28   diagnosed I know I have a partner for [TS]

00:24:33   this is a another example of this sort [TS]

00:24:37   of owl city situation where a band is [TS]

00:24:40   just staking their claim on reproducing [TS]

00:24:46   with no imagination reproducing the [TS]

00:24:49   sound of a earlier bandit and in a way [TS]

00:24:52   like yellow me it is amazing no that's [TS]

00:24:55   no that's bad that little Instagram [TS]

00:24:58   account taking pictures of any legal its [TS]

00:25:00   pictures [TS]

00:25:00   yeah exactly yeah i mean at yellow have [TS]

00:25:03   this overarching concept like let's go [TS]

00:25:06   in the direction that the Beatles would [TS]

00:25:09   have gone if they [TS]

00:25:13   had like stuck around kept taking acid [TS]

00:25:16   headless maybe he'd listen to george a [TS]

00:25:19   little more [TS]

00:25:20   listen to george a little more had a [TS]

00:25:22   24-track and the white cello and piano [TS]

00:25:26   white jello like basically when ya right [TS]

00:25:29   went into a like at basically expunged [TS]

00:25:34   the Blue Meanies and went into a kind of [TS]

00:25:38   magical mystery tour that was not that [TS]

00:25:40   was not characterized by total dread [TS]

00:25:43   like let's say okay magical mystery tour [TS]

00:25:47   if magical mystery tour was not a [TS]

00:25:50   response to the death of brian epstein [TS]

00:25:52   yeah right let's say that up here anyway [TS]

00:25:56   but this band so sorry i do this i do [TS]

00:26:00   the the the the shazam alright i thought [TS]

00:26:05   this on the tutor [TS]

00:26:06   yeah and it turns out that it is a band [TS]

00:26:08   that it's like a young band on on our a [TS]

00:26:12   record label and they are making it's [TS]

00:26:17   basically like in this is the thing [TS]

00:26:19   about Jane's Addiction like jane's [TS]

00:26:21   addiction was already influenced by the [TS]

00:26:23   doors enough let's say jane's addiction [TS]

00:26:26   was already influenced by the doors [TS]

00:26:28   enough by ten percent too much but this [TS]

00:26:33   new band their insight their innovation [TS]

00:26:36   i guess was to hear that there was [TS]

00:26:38   already too much doors in Jane's [TS]

00:26:40   Addiction and to just add more doors [TS]

00:26:43   like it's just that it's just everything [TS]

00:26:46   about jane's addiction with that sounds [TS]

00:26:48   like my Guantanamo band about my stress [TS]

00:26:51   music well I take this big into the [TS]

00:26:55   floor hit you with some cold water and [TS]

00:26:57   then play this really loud take a little [TS]

00:27:00   it takes them up and caught stealing [TS]

00:27:02   we had a little more breakfast I'll to [TS]

00:27:04   it so all of Perry Farrell's all of like [TS]

00:27:07   the tragedy in perry farrell that he is [TS]

00:27:10   a junkie that he is a freak in a world [TS]

00:27:13   that doesn't accept freaks that he is [TS]

00:27:15   like a sex uh he's like a set was one of [TS]

00:27:19   the second people that we've talked [TS]

00:27:20   about the goth expand person he's got a [TS]

00:27:22   pen person and so in inherently going to [TS]

00:27:26   be unhappy [TS]

00:27:26   the rest of his life because it's just [TS]

00:27:28   it's can't be a bad person and find and [TS]

00:27:31   no true happiness all of that is gone [TS]

00:27:34   it's a race because the singer of this [TS]

00:27:36   new band is 22 and has no pain and then [TS]

00:27:41   add more doors [TS]

00:27:43   uh-huh and i'm just i'm driving in my [TS]

00:27:45   car i'm like who I i mean i don't blame [TS]

00:27:49   the person that signed it I don't blame [TS]

00:27:51   the label that's putting it out because [TS]

00:27:52   that is the state of music today it is [TS]

00:27:56   that I heard that owl city song on the [TS]

00:27:59   radio and I did that she's amber I was [TS]

00:28:00   like all right this sounds like that I [TS]

00:28:02   guess right it was our city it was Al [TS]

00:28:04   city [TS]

00:28:05   it sounds exactly like you like a song [TS]

00:28:08   the Postal Service would probably not [TS]

00:28:10   put out us [TS]

00:28:11   that's exactly right that's something [TS]

00:28:12   that the Postal Service would have [TS]

00:28:13   rejected [TS]

00:28:14   yep that Ben would never have done and [TS]

00:28:17   yet all of his vocal mannerisms are [TS]

00:28:20   there but none of his vocal none of the [TS]

00:28:23   local characters that are the qualities [TS]

00:28:25   none of the yet none of the things that [TS]

00:28:26   make been an interesting or quirky [TS]

00:28:29   vocalist it's all been smoothed out it's [TS]

00:28:32   all been Pro Tools the way and shaved [TS]

00:28:34   down and yet there isn't any new there's [TS]

00:28:38   no new creative information [TS]

00:28:40   it doesn't sound like an evolution of it [TS]

00:28:44   it's just a it's just a polished it's [TS]

00:28:48   like all the good parts are are smoothed [TS]

00:28:50   off and so when I'm thinking about the [TS]

00:28:53   music that I'm trying to make now which [TS]

00:28:57   is like unlike Michael Jackson in 1982 I [TS]

00:29:04   mean this is that this is what's crazy [TS]

00:29:06   about that trying to think about about [TS]

00:29:08   the Beatles and 64 five michael jackson [TS]

00:29:11   in 1980-81 were they aware that they [TS]

00:29:16   were like in [TS]

00:29:20   such like kinetic communication with [TS]

00:29:22   their time that they were like that they [TS]

00:29:25   were one step ahead but not two steps [TS]

00:29:28   ahead from their moments or were they [TS]

00:29:31   thinking to themselves [TS]

00:29:34   we are so far out right now we are so [TS]

00:29:36   far out and it was just that it's just [TS]

00:29:43   that we were ready for it and the first [TS]

00:29:45   time the first time we heard it we were [TS]

00:29:47   like what is this crazy music but by the [TS]

00:29:49   fifth time it was it the world had [TS]

00:29:51   changed you know what I mean like that [TS]

00:29:54   yeah I don't know the answer but I'm [TS]

00:29:55   trying to figure it out i think was [TS]

00:29:56   Michael Jackson I'm I mean just knowing [TS]

00:29:59   what we know and kind of reverse [TS]

00:30:00   engineering and I think he wasn't [TS]

00:30:02   thinking of it that way you don't think [TS]

00:30:03   he was thinking like I'm gonna shake [TS]

00:30:07   I don't know he just strikes me as a guy [TS]

00:30:08   like is weird like I was like he seems [TS]

00:30:10   really admirable especially at that age [TS]

00:30:12   where like he just seemed like he seems [TS]

00:30:14   like he was such a creative like [TS]

00:30:16   wackadoodle guy like I just watching [TS]

00:30:19   people dance and he wasn't yeah really [TS]

00:30:21   dedicated to the craft of making a you [TS]

00:30:24   know in the same of appeals were making [TS]

00:30:26   music at a time when a lot of people [TS]

00:30:27   thought rock'n'roll was dead even then I [TS]

00:30:30   mean Michael Jackson comes out even [TS]

00:30:32   without off-the-wall comes out with like [TS]

00:30:33   the greatest disco album of all time [TS]

00:30:35   when disco.is.dead not the greatest but [TS]

00:30:37   it's definitely one of the most creative [TS]

00:30:39   and like that that album off the wall [TS]

00:30:42   I think off-the-wall you know because it [TS]

00:30:44   wasn't quite as ambitious i think it in [TS]

00:30:46   some ways is a it's an idea of things [TS]

00:30:49   thriller sounds updated in some ways is [TS]

00:30:51   the problem interesting you and I see [TS]

00:30:53   you and I go around these production [TS]

00:30:55   things but the songs I mean you think [TS]

00:30:57   about what you have like six seven [TS]

00:30:58   singles from that record something like [TS]

00:31:00   that i mean you know every song on that [TS]

00:31:02   record [TS]

00:31:02   yes so i don't know i mean i added the [TS]

00:31:05   the problem seems to come later on in a [TS]

00:31:06   career when somebody following your [TS]

00:31:09   point [TS]

00:31:09   the problem seems to come later in a [TS]

00:31:10   career where somebody thinks that it's [TS]

00:31:12   time to really think it's where you are [TS]

00:31:14   but again how do i get ahead of the [TS]

00:31:17   curve but whatever I do it's not [TS]

00:31:19   Rockettes not roll em but thats and you [TS]

00:31:23   know and that's why sometimes like every [TS]

00:31:24   time there's a new paul mccartney thing [TS]

00:31:26   out [TS]

00:31:27   I kind of make that noise I exhale and I [TS]

00:31:30   go home there's gonna be probably [TS]

00:31:32   something good here but like how could [TS]

00:31:34   he be like a 70 year old guy and still [TS]

00:31:36   not know how to balance a song just [TS]

00:31:38   don't I mean like I I feel like I kept [TS]

00:31:41   it as long as good as public art me [TS]

00:31:42   these days like these there's gotta be [TS]

00:31:44   some balance to it there has to be [TS]

00:31:45   something more to it than just the [TS]

00:31:48   reiteration or a list or or just the [TS]

00:31:51   same theme [TS]

00:31:52   this is going to be some tension is [TS]

00:31:55   gonna be at 95 upon the show haha and [TS]

00:31:58   just enjoy yourself [TS]

00:32:00   who let the madness in the music it to [TS]

00:32:05   you after is a bad huh haha little the [TS]

00:32:11   wall without of all and that you [TS]

00:32:17   couldn't sing that ok where's your [TS]

00:32:20   baseline ready you do nothing dude [TS]

00:32:24   getting do like how great is that [TS]

00:32:27   baseline it is I mean their tremendous [TS]

00:32:30   bass line cementless that I love you and [TS]

00:32:39   the thing is he's talking about Linda [TS]

00:32:42   and I can listen to the songs like I [TS]

00:32:46   think I think that music was the music [TS]

00:32:49   of my youth and so I had no awareness of [TS]

00:32:51   Linda really or like Linda represented [TS]

00:32:54   nothing to me then so I have that [TS]

00:32:57   sympathy for them because it's the bit [TS]

00:32:59   that's the songs of my childhood but the [TS]

00:33:02   overlay my my adult overlay of like paul [TS]

00:33:06   and linda with their simpering romance [TS]

00:33:11   and they're like are just picturing them [TS]

00:33:14   vegetarian meals are just just [TS]

00:33:16   canoodling together on there like fake [TS]

00:33:19   sheepskin rug Paul playing I love you to [TS]

00:33:25   her and her I I don't know what clasping [TS]

00:33:27   her hands under her chin with cartoon [TS]

00:33:30   hearts floating around here even think [TS]

00:33:31   he turned down in the mix I mean what I [TS]

00:33:34   what like Linda is such a cipher to me I [TS]

00:33:38   i have no sense of her [TS]

00:33:41   but I believe I I have to say I really [TS]

00:33:44   believe that they thought that it [TS]

00:33:46   matters this is a really dumb thing to [TS]

00:33:47   say but i think they really loved each [TS]

00:33:49   other [TS]

00:33:49   Lou except i have known enough people [TS]

00:33:56   who became famous in their early [TS]

00:33:59   twenties to know that it destroys [TS]

00:34:02   humanity to be to be famous before the [TS]

00:34:09   age of 28 is a burden as a psychological [TS]

00:34:14   burden on a person that that handicaps [TS]

00:34:18   their emotional development and Paul [TS]

00:34:22   McCartney was of the most famous of all [TS]

00:34:25   people and clearly an emotionally [TS]

00:34:28   handicapped person anyway so although i [TS]

00:34:34   do believe that he and Linda love each [TS]

00:34:36   loved each other because that is the [TS]

00:34:40   story that i have been told by them [TS]

00:34:43   I cannot imagine paul mccartney loving [TS]

00:34:50   really because of his humanity being [TS]

00:34:56   crushed because yes because because he [TS]

00:35:00   sat in that hotel room in new york city [TS]

00:35:03   after the ed sullivan show with a cold [TS]

00:35:08   right didn't have a cold butter now he [TS]

00:35:12   had a cold I think and the streets [TS]

00:35:16   around the hotel were thronging with [TS]

00:35:18   screaming girls and although he was [TS]

00:35:23   sitting in bed with the with an ice pack [TS]

00:35:24   on his head and a thermometer his mouth [TS]

00:35:27   disease clipart there were like four [TS]

00:35:30   photographers in the room but he [TS]

00:35:32   couldn't even be sick without right [TS]

00:35:36   without life magazine janji no did they [TS]

00:35:39   break up in 1970 the beatles yeah yeah [TS]

00:35:42   60 70 71 like that [TS]

00:35:44   no nose before 71 and 72 McCartney [TS]

00:35:48   turned 28 [TS]

00:35:50   but that your base and turn it up but i [TS]

00:35:59   remember duff mckagan was rapidly when [TS]

00:36:04   he first started writing for the Seattle [TS]

00:36:06   Weekly he was also going to seattle you [TS]

00:36:10   getting his degree i think or maybe even [TS]

00:36:14   a master's degree i'm not sure but he [TS]

00:36:16   was taking classes he was writing this [TS]

00:36:21   column for the weekly just started and [TS]

00:36:24   you know I feel like Duff Duff was in [TS]

00:36:27   rock and roll from the very beginning [TS]

00:36:29   like his life right he was in bands from [TS]

00:36:31   14 on he was in guns and roses and then [TS]

00:36:36   he he kind of hit this there was this [TS]

00:36:40   period of his life where gnr was over he [TS]

00:36:43   was recovering from the drugs and [TS]

00:36:45   everything and there was that there was [TS]

00:36:46   a kind of period of quiet in Duff's life [TS]

00:36:49   where he was able to say like go back to [TS]

00:36:52   college and like i'm going to write for [TS]

00:36:54   the Seattle Weekly and like you know [TS]

00:36:56   kind of take another stab at life from [TS]

00:37:02   from like what I think is an amazingly [TS]

00:37:05   humble place can you imagine like [TS]

00:37:09   another guy with Tufts stature showing [TS]

00:37:14   up for class at Seattle you like a [TS]

00:37:17   little kind of Jesuit college in the [TS]

00:37:20   middle of the city like he he went to [TS]

00:37:22   class and SAT there with his epic [TS]

00:37:23   presumably not at leather pants and [TS]

00:37:26   taking like sociology 101 or whatever I [TS]

00:37:28   mean very humble attempt at really I [TS]

00:37:34   can't imagine that is what makes it so [TS]

00:37:36   interesting is because when he's you [TS]

00:37:38   know I i realize that he's a guy who had [TS]

00:37:40   a life before and after and raised in [TS]

00:37:43   your your your powers of the many sounds [TS]

00:37:44   like I'm like I'm amazing weirdly [TS]

00:37:47   down-to-earth god I mean especially [TS]

00:37:49   given what his body's been through but [TS]

00:37:51   no I can't because I picture it being [TS]

00:37:52   like a second life sketch or somebody [TS]

00:37:54   there's a headlight somewhere about a [TS]

00:37:56   guy from Guns and Roses goes to college [TS]

00:37:58   and that's going to be like a terrible [TS]

00:38:00   sketch where there's a guy with a [TS]

00:38:01   bandana [TS]

00:38:02   you know with his base later on the task [TS]

00:38:05   more cowbell [TS]

00:38:06   yeah well and and i think it was just [TS]

00:38:08   enough time had passed that most of the [TS]

00:38:10   students in his class were not really i [TS]

00:38:13   mean they had heard of guns and roses [TS]

00:38:15   but it wasn't like he was in class with [TS]

00:38:16   a bunch of people that were pawing at [TS]

00:38:18   him but anyway in at during this process [TS]

00:38:22   he forms velvet revolver and so he's at [TS]

00:38:28   one point he tells the story where he's [TS]

00:38:31   in a hotel in rio de janeiro and he's [TS]

00:38:39   trying to finish his term paper so he's [TS]

00:38:44   up in the hotel on the 40th floor [TS]

00:38:46   whatever typing his term paper for his [TS]

00:38:49   his class at Seattle you but he can't [TS]

00:38:53   concentrate because 200,000 people are [TS]

00:38:58   chanting his name thronging the streets [TS]

00:39:02   because they just played rock in rio for [TS]

00:39:07   a million-plus people and so he got you [TS]

00:39:11   know he goes to the window and he looks [TS]

00:39:12   down in the streets around so tell all [TS]

00:39:14   barricaded and all these brazilian fans [TS]

00:39:16   are like chanting and screaming that he [TS]

00:39:21   can hear it on the 20th floor or [TS]

00:39:23   something and he and he just wishes that [TS]

00:39:25   they would be quiet so that he can [TS]

00:39:27   finish his term paper thanks and like [TS]

00:39:31   come on [TS]

00:39:32   where do you where do you start [TS]

00:39:36   you know but how to get people [TS]

00:39:40   sympathetic about that situation I think [TS]

00:39:42   oh ok [TS]

00:39:44   translate stuff it's it's it's really a [TS]

00:39:46   check your privilege situation but but [TS]

00:39:48   imagine paul mccartney going back to [TS]

00:39:52   college in nineteen seventy people I [TS]

00:39:56   believe would go a little something I in [TS]

00:40:05   back to call me i'm beautiful setting at [TS]

00:40:10   the desk [TS]

00:40:12   I got to correct something for another [TS]

00:40:14   moment caused by Moloch entire Act [TS]

00:40:16   I came out making 77 I don't think only [TS]

00:40:18   late slate later last two years after [TS]

00:40:20   bohemian rhapsody don't know what I was [TS]

00:40:21   thinking [TS]

00:40:22   no I think it is the I think it is the [TS]

00:40:24   one of the biggest or Lord I'm according [TS]

00:40:27   to wikipedia which is never wrong right [TS]

00:40:29   wing's is 1996 1999 77 release Moloch [TS]

00:40:33   entire is one of the all-time [TS]

00:40:34   best-selling singles in the UK great [TS]

00:40:36   song to sing along the big sing along [TS]

00:40:38   sing alone that's right it's like my [TS]

00:40:41   time like that one by Chumbawamba yeah [TS]

00:40:44   that's yeah that's right Macarena [TS]

00:40:47   Macarena [TS]

00:40:49   yeah it knocked down and get nice stuff [TS]

00:40:51   again [TS]

00:40:52   who let the dogs out ah loo [TS]

00:40:56   I love you know although i also like [TS]

00:41:03   listen to what the man said I had that [TS]

00:41:04   on a 45 to very good song but i just-i [TS]

00:41:08   come back to jet anybody wants talking [TS]

00:41:14   about Paul McCartney they get through [TS]

00:41:16   jet exhibit a the lyrics of jet jet is a [TS]

00:41:21   incredible pops off incredible but you [TS]

00:41:27   just have to you just parse those lyrics [TS]

00:41:29   for me and tell me what that song is [TS]

00:41:31   about and tell me that the lyrics of [TS]

00:41:33   that song are not indicative of a hey of [TS]

00:41:37   of a raat ki smoke like a lot of pot i [TS]

00:41:42   think paul mccartney probably smoked a [TS]

00:41:44   lot of parts okay if you listen to Paul [TS]

00:41:47   tell it [TS]

00:41:47   mhm it wasn't John his mother holding it [TS]

00:41:51   for a friend [TS]

00:41:52   the ball was smoking pot and going to [TS]

00:41:54   art galleries when the rest of those [TS]

00:41:55   guys all back then now back then this is [TS]

00:41:58   the story that everything you and I know [TS]

00:42:00   that everybody should know you know all [TS]

00:42:02   tomorrow never knows huh that's all John [TS]

00:42:05   right [TS]

00:42:06   nah i am the walrus that's all John [TS]

00:42:08   right all right [TS]

00:42:09   wrong and wrong on know it's it's it's [TS]

00:42:14   very frustrating and you know we've been [TS]

00:42:15   threatening since very early on and the [TS]

00:42:17   seven years we've been doing the show [TS]

00:42:18   we've been threatening to have our Paul [TS]

00:42:19   McCartney episode because as much as he [TS]

00:42:22   is a frustrating character the band that [TS]

00:42:25   they would not have been that band [TS]

00:42:26   I mean he [TS]

00:42:27   yeah he didn't even play the [TS]

00:42:31   rickenbacker bass that long and yet the [TS]

00:42:35   rickenbacker bass forever partner will [TS]

00:42:40   heat the hot air base of course that [TS]

00:42:41   like the hot air base was the is that [TS]

00:42:44   like early Beatles the super I mean no [TS]

00:42:47   one else who's gonna play off who's [TS]

00:42:49   going to play often but violin bass now [TS]

00:42:51   you'd have to be a real thing looks like [TS]

00:42:53   it was a dare [TS]

00:42:55   yeah right it is so inextricably paul [TS]

00:42:58   mccartney but the but for me the [TS]

00:43:01   rickenbacker bass that he's that he [TS]

00:43:03   started playing at the end and then [TS]

00:43:06   played in wings the rickenbacker bass [TS]

00:43:10   which admittedly get ely made a run at [TS]

00:43:14   having the rickenbacker bass be his [TS]

00:43:16   signature instrument but I mean I still [TS]

00:43:19   think the early days of the long winters [TS]

00:43:22   Eric played a rickenbacker bass that was [TS]

00:43:25   given to me by Aaron huffman of harvey [TS]

00:43:28   danger and I gave it to Eric it was the [TS]

00:43:32   I think the at the time not only the [TS]

00:43:35   most expensive thing that Eric owned a [TS]

00:43:37   little expensive thing he'd ever touched [TS]

00:43:38   the most expensive thing he had not only [TS]

00:43:41   ever touched but like I gave it to him [TS]

00:43:43   for free [TS]

00:43:45   I didn't just give it to him I gave it [TS]

00:43:47   to him for free [TS]

00:43:49   Wow and it was like I think it was like [TS]

00:43:53   somebody handed him Excalibur didn't [TS]

00:43:56   even have to port from the stone eyes [TS]

00:43:59   that look at it as a case that's right [TS]

00:44:00   and this this rickenbacker bass and Eric [TS]

00:44:03   playing that rickenbacker bass I swear [TS]

00:44:06   to you it was all I was just trying to I [TS]

00:44:11   was trying to capture some of that [TS]

00:44:13   Stardust of paul mccartney and and this [TS]

00:44:19   was the way that I this is the closest [TS]

00:44:22   that i could come like Aaron hoffman had [TS]

00:44:25   30 basis [TS]

00:44:27   but the African bakr base was the one [TS]

00:44:30   that I zoomed in on and you know Aaron [TS]

00:44:34   obviously very generous guy [TS]

00:44:36   and at that time I you know I think [TS]

00:44:40   about this a lot [TS]

00:44:41   the long winters are such a debt of [TS]

00:44:42   gratitude to harvey danger because they [TS]

00:44:45   let us use their practice space they let [TS]

00:44:49   us use their van [TS]

00:44:51   Aaron gave us our base like we we [TS]

00:44:55   couldn't have we couldn't even gotten [TS]

00:44:57   out of the starting gate if Harvey [TS]

00:44:59   danger hadn't just sort of handed us the [TS]

00:45:03   key and said reactor had used the you [TS]

00:45:06   know use our PA andar big practice space [TS]

00:45:09   in our instruments i should write them a [TS]

00:45:13   thank-you note [TS]

00:45:14   yeah aaron i mean actually visit with [TS]

00:45:16   him just a little bit but if they strike [TS]

00:45:18   me as very nice man [TS]

00:45:19   no they're pricks yeah you you get that [TS]

00:45:22   when you play keys with them [TS]

00:45:24   yeah well all people in music or are [TS]

00:45:28   desperately broken except for me and [TS]

00:45:31   definitely Kagan yeah alright maybe you [TS]

00:45:33   can help you with your songs and quincy [TS]

00:45:35   jones and quincy jones god bless them [TS]

00:45:37   for you get him to produce you wouldn't [TS]

00:45:38   be something you should go to him we [TS]

00:45:40   should pitch my baseline well he's 90 [TS]

00:45:41   years old now [TS]

00:45:42   alright well or something close to that [TS]

00:45:44   i'm not sure that he would i'm not sure [TS]

00:45:47   that he would know [TS]

00:45:49   although maybe you know maybe Quincy it [TS]

00:45:53   would be expensive that are talked about [TS]

00:45:54   the time I had dinner with the Alan [TS]

00:45:56   Partridge helpful haha so Alan Partridge [TS]

00:46:01   came to Seattle to LA I think Alan [TS]

00:46:03   Partridge is a TV character [TS]

00:46:05   oh yeah no really thinking about how [TS]

00:46:08   valid first organized religion pink [TS]

00:46:11   floyd alan parsons that's right Alan [TS]

00:46:13   Parsons Project not the Partridge [TS]

00:46:15   project [TS]

00:46:17   lam cai the we are in this guy so that's [TS]

00:46:26   pretty good [TS]

00:46:27   mmm i can be yes oh yes it does that [TS]

00:46:31   once I night entertainment don't think [TS]

00:46:33   that one song playing sports and sports [TS]

00:46:35   events [TS]

00:46:35   yeah they I thought that they were great [TS]

00:46:38   sounding musical act some amazing you [TS]

00:46:41   know he doesn't sing those songs he has [TS]

00:46:43   the analyst his people [TS]

00:46:44   yeah but anyway so I'm sitting next so [TS]

00:46:46   so he comes to seattle he's given to [TS]

00:46:48   talk about recording a dark side of the [TS]

00:46:50   moon and you know he worked on some [TS]

00:46:53   Beatles records too [TS]

00:46:54   he's finally finally agreed to step out [TS]

00:46:56   and finally talked about that haha you [TS]

00:46:59   know you need Alan Partridge he was 17 [TS]

00:47:02   or something when know what they were [TS]

00:47:04   making the right out right he didn't [TS]

00:47:06   work out the window [TS]

00:47:07   I think you did yeah anyway so but you [TS]

00:47:08   have produced is produced Dark Side of [TS]

00:47:11   the Moon and you know right everybody [TS]

00:47:13   wants to know like about the tape loop [TS]

00:47:15   on money and he was he was very generous [TS]

00:47:18   about talking about that stuff but then [TS]

00:47:19   afterwards a small group of us go out to [TS]

00:47:21   dinner and we arrived at the restaurant [TS]

00:47:23   and it isn't really a small group [TS]

00:47:26   there's like 20 people who want to have [TS]

00:47:29   dinner with alan parsons and we show up [TS]

00:47:33   and you know he and I had been kind of [TS]

00:47:35   talking at the cocktail party beforehand [TS]

00:47:37   and he was very much like we talked for [TS]

00:47:40   a few minutes and then he candis [TS]

00:47:42   basically said right [TS]

00:47:46   I've talked to you now I'm going to turn [TS]

00:47:49   and talk to the next person because I [TS]

00:47:52   this is what I have to do now before i [TS]

00:47:55   go back to the hotel i have to give each [TS]

00:47:58   person two minutes of talking and you [TS]

00:48:01   have exhausted your two minutes and I [TS]

00:48:03   was like oh I'm fine with that [TS]

00:48:06   nice meeting you but he was already [TS]

00:48:07   talking to the next person you know [TS]

00:48:09   instance say [TS]

00:48:10   you're also we gonna tape loop over cash [TS]

00:48:15   register and he's you know he's he's [TS]

00:48:17   like it [TS]

00:48:18   drinking red wine and he's having a good [TS]

00:48:20   time anyway we get to the restaurant and [TS]

00:48:22   it's it's a long table so not a [TS]

00:48:27   situation where Alan Parsons can talk to [TS]

00:48:31   everyone at dinner [TS]

00:48:33   it's just a very long table and he [TS]

00:48:36   rather than sit at the head of the table [TS]

00:48:37   moves down to the to the middle of the [TS]

00:48:41   table sort of like where Jesus with [TS]

00:48:43   priceline last semester and so he puts [TS]

00:48:47   his hand on the back of a chair and the [TS]

00:48:50   other 19 people at the event all sort of [TS]

00:48:54   freeze it's like a musical chairs write [TS]

00:48:56   the music has stopped everybody freezes [TS]

00:48:59   Alan Parsons has chosen a chair now what [TS]

00:49:02   now where do you sit and there's this [TS]

00:49:07   pregnant five seconds where no one knows [TS]

00:49:13   what to do [TS]

00:49:14   no one's going to take it no one's going [TS]

00:49:16   to sit down at the end where they can't [TS]

00:49:17   talk to him but nobody wants to sit [TS]

00:49:19   directly across from him or and his wife [TS]

00:49:22   is there with them [TS]

00:49:23   no one knows what to do and so I said [TS]

00:49:27   well how many opportunities [TS]

00:49:29   I mean whatever the social faux pas [TS]

00:49:32   there are people here at this event who [TS]

00:49:36   outrank me in a lot of ways in terms of [TS]

00:49:40   who should sit next to alan parsons but [TS]

00:49:43   who gives a fuck [TS]

00:49:46   and so I just walked over and I sat down [TS]

00:49:48   in the chair next to his wife his wife [TS]

00:49:53   is on one side you're on the other [TS]

00:49:54   that's right back and then and then [TS]

00:49:56   having sat down now everybody else has [TS]

00:49:59   to school you know like I i got the [TS]

00:50:01   catbird seat so everybody else scrambles [TS]

00:50:03   to get like chairs at least in earshot [TS]

00:50:06   of him and he sits down in his chair he [TS]

00:50:09   looks over at me and he basically i [TS]

00:50:14   don't remember exactly what he said but [TS]

00:50:15   he basically said oh you well you know [TS]

00:50:21   you manage to get to [TS]

00:50:23   there you manage to sit there i mean i [TS]

00:50:25   think he was hoping that it would be a [TS]

00:50:27   beautiful lady or maybe it would be [TS]

00:50:29   someone famous but it was me and so I [TS]

00:50:34   spent the whole evening basically just [TS]

00:50:37   chatting with him and everyone else [TS]

00:50:39   around us like struggling like like EF [TS]

00:50:43   Hutton is speaking the Internet has a [TS]

00:50:46   terrible setup for a one-person based [TS]

00:50:48   dinner it was the worst and a loud noisy [TS]

00:50:50   restaurant and everybody's leaving in [TS]

00:50:52   and I'm just sounds like the Last Supper [TS]

00:50:54   in a lot of ways it was great it was [TS]

00:50:55   great although no one betrayed him as [TS]

00:50:58   far as i know but at one point I said so [TS]

00:51:03   what if i asked you to produce one of my [TS]

00:51:08   records and he said money for the right [TS]

00:51:17   amount of money i will produce your [TS]

00:51:21   record but it is a question of money and [TS]

00:51:26   I said yes money to do you have to do [TS]

00:51:36   babe him boom boom boom doing to Jean to [TS]

00:51:42   do but it's still I still think that I [TS]

00:51:46   still think about putting together [TS]

00:51:48   enough cash like to make an offer on [TS]

00:51:53   Alan Parsons coming out of retirement [TS]

00:51:54   and recording an album for me [TS]

00:51:56   why would you do that what would it cost [TS]

00:52:00   I just a waste of time it would cost [TS]

00:52:01   fifty to a hundred and fifty thousand [TS]

00:52:05   dollars it would be obscene i'm guessing [TS]

00:52:09   what do you think [TS]

00:52:10   but yes yeah as well that's a pretty [TS]

00:52:12   wide range but I think well I don't [TS]

00:52:13   think it's gonna cost you less than 50 [TS]

00:52:15   know it won't cost less than 50 and I [TS]

00:52:18   think 50 it's it's one of those like [TS]

00:52:20   producing a record is is one of those [TS]

00:52:22   like what do you mean seven days right [TS]

00:52:25   it will be all engineered you just send [TS]

00:52:27   him a can or not look like alan moore [TS]

00:52:29   look at it was a very handsome man [TS]

00:52:31   well he was now [TS]

00:52:33   it looks like a he looks like someone [TS]

00:52:35   basically animated a volcano [TS]

00:52:42   I love you did or did you do to my [TS]

00:52:52   pocket really overdo the horn [TS]

00:52:53   arrangements to kidney i see i am of the [TS]

00:52:56   opinion that you cannot overdo a horror [TS]

00:52:58   and you know i love the horn [TS]

00:52:59   arrangements you you like you said [TS]

00:53:01   that's when you turn into a real bad [TS]

00:53:02   right when you get the horns showing up [TS]

00:53:03   that's when you know you're in a band [TS]

00:53:05   right you said this I and I and I firmly [TS]

00:53:08   believe I mean have you seen have you [TS]

00:53:13   seen the footage of the stacks tour like [TS]

00:53:19   England 1960 now Chanel I'd love to [TS]

00:53:24   it sits on youtube it's all the stacks [TS]

00:53:27   artists at the time like a package to [TS]

00:53:31   her kind of thing as a package tour with [TS]

00:53:33   duck done with basically Booker T and [TS]

00:53:35   the MG's right as the band and then [TS]

00:53:38   every singer salmon Dave a butt like [TS]

00:53:44   this is that like that steep proper that [TS]

00:53:46   that kind of Korea that's that's the [TS]

00:53:48   game Muscle Shoals guys and then every [TS]

00:53:50   singer comes out and does their you know [TS]

00:53:56   224 signature number can you imagine [TS]

00:53:59   that and and it's a wonder why I could [TS]

00:54:02   only was England it might have been [TS]

00:54:04   sweet [TS]

00:54:05   it's some kind of scene where the [TS]

00:54:08   audience is I mean it's worth watching [TS]

00:54:10   just to see how beautiful everybody was [TS]

00:54:14   in 1966 you know like everybody's got [TS]

00:54:17   the coolest clothes and the coolest dumb [TS]

00:54:21   hair and their little beatnik beards and [TS]

00:54:23   their chunky classes and they're so [TS]

00:54:26   excited [TS]

00:54:27   to see Marvin Gaye and its Jets it's a [TS]

00:54:33   fantastic but you know but musically [TS]

00:54:35   it's fantastic to but one of the amazing [TS]

00:54:38   things about this show is that they've [TS]

00:54:39   got three horn players i got to [TS]

00:54:41   saxophone trumpet and another saxophone [TS]

00:54:44   and these three guys are doing all the [TS]

00:54:48   horn arrangements of all that stacks [TS]

00:54:52   stuff and it's really all you need / you [TS]

00:54:55   get the that you know like on the record [TS]

00:54:57   you probably had 14 horns in there but [TS]

00:55:01   really when that trumpet comes on like [TS]

00:55:04   one trumpet does a lot of heavy lifting [TS]

00:55:06   for it in terms of like the emotional [TS]

00:55:10   impact even if you just got a trumpet [TS]

00:55:12   and like I'm making it again what a [TS]

00:55:15   tenor sax those two together could fill [TS]

00:55:17   a lot of space [TS]

00:55:17   really dynamite yeah and I I mean I feel [TS]

00:55:20   like the trumpet because of the because [TS]

00:55:23   of the whole elephant six neutral milk [TS]

00:55:28   hotel like bolero trumpet thing that [TS]

00:55:32   happened there was a while they're indie [TS]

00:55:35   rock early days for me early two [TS]

00:55:38   thousands where the trumpet was the the [TS]

00:55:43   equivalent of the of the head and the [TS]

00:55:46   heart banjo or the you know what I mean [TS]

00:55:48   like the band that the mumford and sons [TS]

00:55:50   banjo is now used on used by every pop [TS]

00:55:54   and over and I really felt in 2001 the [TS]

00:55:59   neutral milk hotel trumpet was the was [TS]

00:56:02   the signifier and I so I was shy to use [TS]

00:56:07   it myself because it was so all the way [TS]

00:56:10   they would do it i'm thinking if not [TS]

00:56:12   going to get that the song against sex [TS]

00:56:14   song with the pic trombone on my kind of [TS]

00:56:18   stuff but all that you'd like you're [TS]

00:56:21   talking about like airplane of the sea [TS]

00:56:23   like an thetic stuff but you but you [TS]

00:56:26   used it like on shoot scared straight [TS]

00:56:29   scared straight like that that's what [TS]

00:56:32   are the songs not pretend to fall that [TS]

00:56:33   horse I'm scared straight to me is like [TS]

00:56:34   the big motown number right [TS]

00:56:36   yeah uh let's see what else has horn [TS]

00:56:38   well you know a blue diamonds has french [TS]

00:56:43   horn which is super weapon of every of [TS]

00:56:46   every great pop song young French horn [TS]

00:56:49   young you got John Entwistle mm-hmm [TS]

00:56:53   oh that's beautiful the guy the guy [TS]

00:56:56   played on my hydrangeas southern it's a [TS]

00:56:59   cult that song armor common thing and [TS]

00:57:03   something that I don't song from old [TS]

00:57:06   entire no I am NOT singing now anyway [TS]

00:57:11   French horn very difficult issue until [TS]

00:57:13   you got a fist it and it's also [TS]

00:57:15   embouchure yeah that I couldn't find at [TS]

00:57:17   the time I could not find a young person [TS]

00:57:20   to play the French horn and so I get [TS]

00:57:23   somebody to speak Navajo that's right i [TS]

00:57:26   couldn't find a code talker or no you're [TS]

00:57:28   gonna have a hard time getting up one so [TS]

00:57:30   i actually had to use a music teacher [TS]

00:57:32   high school music teacher that played [TS]

00:57:34   the French horn since that time now [TS]

00:57:36   now a lot of kids are playing the French [TS]

00:57:38   or is that a fact [TS]

00:57:40   what if you had a role in that yeah well [TS]

00:57:42   you know a lot of people after after [TS]

00:57:45   Baker Street came out the saxophone [TS]

00:57:49   regain my popularity i love that you [TS]

00:57:59   notice the level the same time with your [TS]

00:58:01   the cat member of al Stewart em on and [TS]

00:58:05   thumb that the God knew the you know I [TS]

00:58:08   those songs are inextricably linked John [TS]

00:58:10   but that's the second time i've used [TS]

00:58:12   inextricable in this podcast and I'm not [TS]

00:58:15   going to use it and cut it out said you [TS]

00:58:18   know it's one of those things where you [TS]

00:58:20   use a word that is that's just a bit [TS]

00:58:22   that pokes out a little bit i know I i [TS]

00:58:24   consider is being inextricably linked to [TS]

00:58:26   you [TS]

00:58:27   those boys are snapshots in time for me [TS]

00:58:30   buddy but you know what they're [TS]

00:58:31   connected to for me the television show [TS]

00:58:33   taxi what really don't i don't know why [TS]

00:58:36   tax i just think being a lonely preteen [TS]

00:58:39   taxi and well you know what is lonelier [TS]

00:58:42   about being a preteen than watching [TS]

00:58:44   taxis true taxi and Barney Miller dated [TS]

00:58:48   a girl in college that had a bob james [TS]

00:58:50   record straight [TS]

00:58:52   sitting around necking and have the taxi [TS]

00:58:53   song come on haha what i've said i've [TS]

00:58:59   said it before but when you are necking [TS]

00:59:01   with a girl [TS]

00:59:02   yes in a dark room and your CD your [TS]

00:59:05   six-cd changer your bow Bolivar yeah we [TS]

00:59:11   don't hit don't know if it flips over to [TS]

00:59:13   rush you are in but know if you can see [TS]

00:59:17   if you're making out with a girl in your [TS]

00:59:18   60 changes that make which over to John [TS]

00:59:20   Vanderslice is death of an American for [TS]

00:59:22   tracker [TS]

00:59:23   ah but it is like somebody just poured [TS]

00:59:25   cold water over both the right so I [TS]

00:59:28   guess there's a certain are contingent [TS]

00:59:29   that would find that very slippery as a [TS]

00:59:31   record [TS]

00:59:31   well you know what I didn't give the [TS]

00:59:33   girl the chance because I lunged oh [TS]

00:59:37   you're self-conscious at that point [TS]

00:59:39   well because listen I know John [TS]

00:59:41   Vanderslice I love John Vanderslice and [TS]

00:59:44   you sir are no John Vanderslice no i did [TS]

00:59:48   not want to make out with john [TS]

00:59:50   vanderslice like also like like singing [TS]

00:59:53   in a British accent my other ear i have [TS]

00:59:57   one did I want to get [TS]

00:59:57   one did I want to get [TS]

01:00:00   believe haha yeah maybe you don't want [TS]

01:00:04   to make out to your friends see how I [TS]

01:00:07   gotta think about that I gotta think [TS]

01:00:10   about that [TS]

01:00:11   yeah I sleep making up new order oh [TS]

01:00:13   that's good makeup that's good makeout [TS]

01:00:15   music and now i have made out a while [TS]

01:00:18   talking about it hurts honey dripping [TS]

01:00:20   what honey dripper honey drippers great [TS]

01:00:24   makeout music that record grab right [TS]

01:00:27   makeout music and rivers around I've [TS]

01:00:30   been a lot of kids today have never even [TS]

01:00:32   heard on the drama with me ma lo most [TS]

01:00:37   the other 10 good rockin tonight that [TS]

01:00:40   was right the big one that you know that [TS]

01:00:42   basically this is the business of this [TS]

01:00:45   is one of the main problems of my life I [TS]

01:00:48   grew up thinking that my sex life was [TS]

01:00:54   going to be a led zeppelin based [TS]

01:00:58   landscape soundtrack center in the in [TS]

01:01:03   that what you envisioned soundtrack [TS]

01:01:05   why's he was thinkin like cashmere [TS]

01:01:08   that's right led zeppelin established [TS]

01:01:10   the baseline for what I imagined being a [TS]

01:01:15   fully adult person was going to be like [TS]

01:01:18   it you know i'm going to reach i'm going [TS]

01:01:21   to reach the the age of of of manhood [TS]

01:01:25   and i'm going to enter into this led [TS]

01:01:29   zeppelin universe where basically i am [TS]

01:01:34   having sex on an airplane while all of [TS]

01:01:38   my friends are codeine that's so cool [TS]

01:01:43   and the airplane is going to be taking [TS]

01:01:45   me to have manners mansion i'm going to [TS]

01:01:48   be having sex on an airplane with [TS]

01:01:49   somebody that I don't even know the [TS]

01:01:51   plane might be taking you someplace like [TS]

01:01:53   I don't know where montserrat is that's [TS]

01:01:55   why I want to be having sex on a plane [TS]

01:01:57   that's going there right so so anyway [TS]

01:02:01   the language of my early sex life was [TS]

01:02:03   encoded in this looking led in Led [TS]

01:02:05   Zeppelin runes [TS]

01:02:07   and then the moment I arrived at my [TS]

01:02:13   sexual maturity suddenly the world was [TS]

01:02:18   written in Atlantis Morissette rooms it [TS]

01:02:23   was that late [TS]

01:02:24   well I'm an ironic i'm very shifted to [TS]

01:02:35   say stop right there [TS]