Roderick on the Line

Ep. 97: "With Buckethead"


  well surely shovel [TS]

  [Music] [TS]

  get the boom daughter nothing then their [TS]

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

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

  sounds like barry gibb to me over and [TS]

  and then other times like ninety-eight [TS]

  percent of the rest of the time he [TS]

  sounds like the songs the beatles should [TS]

  have done instead of breaking up this [TS]

  was the covert mission statement of the [TS]

  move the move said when without the move [TS]

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

  when the movie is breaking up Roy Wood [TS]

  and him said that they thought they [TS]

  would be basically picking up with the [TS]

  beatles should have going yeah yeah well [TS]

  I think appropriately they're picking up [TS]

  with the beatles would have been if [TS]

  they'd stopped in 1967 [TS]

  uh-huh if they if they had alternate [TS]

  universe Beatles and 67 had decided to [TS]

  follow George's impulses [TS]

  hmm they would have ended up being [TS]

  yellow if they decided to keep making [TS]

  like a better version of magical mystery [TS]

  tour maybe I don't know there are a lot [TS]

  of better versions of magical mystery [TS]

  tomatoes made three of them probably was [TS]

  your time I have to have something about [TS]

  this the other day was there anyone [TS]

  beetle who had the creative a trajectory [TS]

  to have been to have gotten out of [TS]

  liverpool on his own [TS]

  is it [TS]

  the question that's like when you first [TS]

  of all I already really liked this [TS]

  episode [TS]

  second I think you could argue would [TS]

  have been Ringo interesting to see [TS]

  already had a career with Lori storm in [TS]

  the Hurricanes tried he was the B was [TS]

  the the cat she was the big the big [TS]

  cheese [TS]

  yeah it could have gone to London and [TS]

  been a session guy easily [TS]

  this is he just drive right there but [TS]

  like Lenin was just lettin what it was a [TS]

  self sabotage ER mm he would have never [TS]

  ever like independently become a [TS]

  musician certainly no bigger than Rory [TS]

  storm who was a much better looking guy [TS]

  better suits you know how you Rory storm [TS]

  put on a show for Christ's sake is a [TS]

  gentleman Lenin would have been better [TS]

  when I'm not gonna do that or whatever [TS]

  it is you know I can't really do a linen [TS]

  hi I'm I think it's a really interesting [TS]

  idea and you know we talked about before [TS]

  like how you know a lot of people even [TS]

  who are like kind of intermediate Beatle [TS]

  fans don't know exactly like how much of [TS]

  the time John Lennon was unhappy he was [TS]

  a very unhappy guy mad mad and like like [TS]

  but after I mean I i had not prepared [TS]

  for the beatles episode as well as I [TS]

  probably would've but I would say that [TS]

  if you look at the first couple records [TS]

  cool man i think the heart and soul the [TS]

  band clearly the best songwriter [TS]

  pound-for-pound was John he's running [TS]

  the band to start i mean ii we as I I [TS]

  know you'll side with me unlike notnot [TS]

  slag and Paul in any way at that only [TS]

  that but Paul didn't i mean the the band [TS]

  bloom when Paul started really find his [TS]

  own when John got super depressed and [TS]

  start smoking weed [TS]

  I think Paul really ran with the ball [TS]

  but if you go back and listen to this [TS]

  first few records the most distinctive [TS]

  stuff about what made the beatles the [TS]

  beatles was a songwriting but I mean I [TS]

  think John really propelled data on the [TS]

  first couple records especially he had [TS]

  you know John had John made 13 pop music [TS]

  sound compelling through the application [TS]

  of his anger like teen pop music is not [TS]

  interesting [TS]

  unless there is like anger and [TS]

  desperation behind it [TS]

  and John had all the anger and [TS]

  desperation Paul you know he was a year [TS]

  older than Paul over but I mean I think [TS]

  you could I think if certainly if Shawn [TS]

  Nelson were here he would be mad he [TS]

  would be mad he would be standing here [TS]

  with his hands jammed in his jacket [TS]

  pockets but try trying to figure out a [TS]

  polite way to excuse himself but if he [TS]

  were here and engaged in this [TS]

  conversation he would make the case that [TS]

  Paul had Paul had the talent Paul had [TS]

  the the possibility the capability of [TS]

  getting out of liverpool on his own but [TS]

  I would argue that he didn't I think [TS]

  without I think I think you're [TS]

  absolutely right i think Ringo probably [TS]

  could have made a made a go at it as a [TS]

  as like a player but you know George was [TS]

  going to be a junior high teacher John [TS]

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

  the bar [TS]

  it's got sick jon is going to be an [TS]

  alcoholic he was going to be an angry [TS]

  alcoholic at the end of the bar who [TS]

  worked at a shop in like a manufacturer [TS]

  all working in nursing home playing [TS]

  piano that's right that's absolutely [TS]

  right paul wood pulp would be probably [TS]

  yeah at the at the at the other end of [TS]

  the bar you know playing playing his [TS]

  father's favorite songs and lemon water [TS]

  would have hated his guts [TS]

  yep it but like I think you could say I [TS]

  mean really up the clock when I consider [TS]

  really the classic period everything [TS]

  really up to around the time of magical [TS]

  mystery tour in Nam they really just [TS]

  let's just establish magical mystery [TS]

  tour tonight sand here's the way to tell [TS]

  if a Beatles records good if you take [TS]

  away the singles is it still really an [TS]

  album [TS]

  yeah and they've got that yellow [TS]

  submariner a couple where you're like [TS]

  mmm yeah not really album lot of vinyl [TS]

  had to die for no reason but the thing [TS]

  is the two of them really did propel [TS]

  each other [TS]

  iima a mature student this I've read [TS]

  books about this i've read the you know [TS]

  the whole attribution of like who [TS]

  different people think should get which [TS]

  credits on which songs but i think the [TS]

  input fairly incontrovertible thing is [TS]

  even up to the time of I'm gonna say [TS]

  let's just say we can probably see [TS]

  through revolver [TS]

  they were still hugely influential on [TS]

  what made it onto the vinyl you might [TS]

  like back in the day I think there was a [TS]

  you can if you listen to stuff he had [TS]

  sold and kind of stuff that everybody [TS]

  listen to right now you can you can when [TS]

  they got their mics on and everything [TS]

  you can get here like how much they [TS]

  wrote that song together and then soon [TS]

  enough you start noticing [TS]

  oh you know John definitely worth the [TS]

  bridge on that or more often like Paul [TS]

  definitely read the bridge on that [TS]

  Ryan's probably didn't write the verses [TS]

  but the performance they just put you [TS]

  push each other so far forward [TS]

  yes don't you and you can even after [TS]

  even after it's evident that they are [TS]

  writing independent of one another [TS]

  they're still writing to impress one [TS]

  another you can hear Paul like Paul [TS]

  being deeper than he may be was on the [TS]

  first pass he did the first pass right [TS]

  he was like this is amazing i love the [TS]

  melody but then he added an element of [TS]

  he you know he added an element of [TS]

  tension narrative tension to impress [TS]

  John and you can hear that in there [TS]

  oh yeah and then you know John less [TS]

  trying to impress Paul but more trying [TS]

  to compete with Paul and you know and [TS]

  trying to trying to shove yesterday back [TS]

  down his throat and I think ultimately [TS]

  failing failing to compete with Paul's [TS]

  like pop generating like madness and [TS]

  ultimately in failing to do that [TS]

  resented Paul turning in that turning in [TS]

  that direction of like accusing Paul of [TS]

  doing the same old thing of creating [TS]

  music accusing Paul of being predictable [TS]

  intervie all these kind of like bitter [TS]

  accusations that are really because he [TS]

  couldn't match he couldn't match [TS]

  yesterday [TS]

  oh yeah I i agree and also two things [TS]

  first of all like I think there's always [TS]

  whenever I think about themselves their [TS]

  writing songs together i always think [TS]

  about that one guy coming in with you [TS]

  know apart like good parts might maybe a [TS]

  version of course maybe something like a [TS]

  bridge [TS]

  and I always imagined him in a lot of my [TS]

  favorite Beatle songs what the other guy [TS]

  maybe there's a lot of my favorite songs [TS]

  are primarily Paul songs but i imagine [TS]

  John coming and going [TS]

  not so fast right so Paul coming and [TS]

  going not so fast right and then because [TS]

  like it's almost like a debate like some [TS]

  of my favorite people sighs I'm trying [TS]

  to think someone stole my head but like [TS]

  Paul has written this beautiful like [TS]

  thing that works as a unit within the [TS]

  bridge the turn if you like is John [TS]

  giving a rebuttal em and that's where [TS]

  that that's where that like that perfect [TS]

  amount of cynicism comes into it and [TS]

  that's why the bets why those wings [TS]

  records are such a turd piles as part of [TS]

  it and the base got louder and louder [TS]

  but you know this is this is really [TS]

  really reductive but if you think about [TS]

  a good pop song like so many pop songs [TS]

  there's got to be a part that's about [TS]

  building tension is going to be a part [TS]

  about releasing tension and the most [TS]

  productive way to put that I mean it is [TS]

  that like a lot of times especially I'll [TS]

  saying things like new wave an indie [TS]

  rock em maybe you have like this kind of [TS]

  minor chorus verse it's all about you [TS]

  know kind of like tension building and [TS]

  then they'll be this then the poppy [TS]

  explosion comes on the course of [TS]

  explosion but it could be you can invert [TS]

  that but you know saying if you have all [TS]

  if you have all like a 3-quart song with [TS]

  all major all the way through [TS]

  no minors on the bridge nothing like [TS]

  that it just that you get the ramones [TS]

  which is fun for its tight but even they [TS]

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

  you've got to build it up you need to [TS]

  have like two cars take a touch-and-go [TS]

  right all i need is what you've got this [TS]

  incredibly angular addicted to bear if [TS]

  I'm talking about em okay you think this [TS]

  has got to be the weirdest sounding [TS]

  verse of a song I've ever heard [TS]

  and then the course goes no didn't [TS]

  didn't didn't didn't think you're going [TS]

  to like how could this be the same song [TS]

  but it kind of works yes [TS]

  you know Sonic Youth sonic you songs are [TS]

  like this too [TS]

  they'll be like that you know this kind [TS]

  of symphonic like explosion in the [TS]

  chorus is after all this angular stuff [TS]

  going on the verses and it happens in [TS]

  pretty much every beatles song that way [TS]

  to I at when i'm sitting in trying to [TS]

  write songs which i have been doing for [TS]

  the last six years and failing part of [TS]

  what I'm part of what I aspire to [TS]

  because i think if you listen to the [TS]

  long winter songs the verses are the the [TS]

  life of the tune is all in the verses [TS]

  verses are exposed ettore it's they [TS]

  they're you know they're kind of like [TS]

  listicles they are not listicles I don't [TS]

  I don't I don't see that at all and then [TS]

  it comes to the chorus and there is [TS]

  there's an attempt to have this [TS]

  explosive pop you know indie-pop like [TS]

  and now here's the chorus and half the [TS]

  time it ends up it ends up being a [TS]

  pre-course to a later course that where [TS]

  I tried again but I mean I'm up the the [TS]

  verses are where I i really like express [TS]

  everything I need to express and then [TS]

  I'm trying to tie it together with it [TS]

  with a with a fun chorus / and what I've [TS]

  been trying to do for the last six years [TS]

  and failing is making the verses as [TS]

  catchy as the choruses and making the [TS]

  choruses as important to the song as the [TS]

  verses we're still at the same refrain [TS]

  right it's not just it's not just a one [TS]

  word over and over it's behind the new [TS]

  girl teaspoon teaspoon teaspoon I'm I [TS]

  when I was when I was writing that song [TS]

  i really felt like each iteration of the [TS]

  word teaspoon what I was conveying a [TS]

  different just different aspect of how [TS]

  that how a teaspoon played into the [TS]

  narration right i mean the TSP as a as a [TS]

  item to cook your heroine a teaspoon [TS]

  as the most diminutive of all the silver [TS]

  where's etc but i didn't have but i did [TS]

  not i but but that was that's pretty you [TS]

  know I would I was counting on someone [TS]

  writing a dissertation on it later i did [TS]

  not actually completed not actually put [TS]

  all those different meanings in the [TS]

  lyrics i tried to communicate those [TS]

  different meanings in the different ways [TS]

  that I saying this one word and that you [TS]

  know that's very that's frustrating to [TS]

  me as an artist because my meaning will [TS]

  never be clear unless I explained it and [TS]

  what's what's great about great pop song [TS]

  is great about the Beatles of course is [TS]

  that [TS]

  yeah they come in and say oh we didn't [TS]

  mean LSD Lucy was Paul's and and the [TS]

  diamonds were his you know and it sucks [TS]

  but it's a lot of unnecessary explaining [TS]

  that's just obfuscating trying to make [TS]

  something that simple seem more [TS]

  difficult and in and and my problem i [TS]

  perceive my problem as a songwriter to [TS]

  be that my sons are impossibly more [TS]

  difficult than i could that then is [TS]

  evident and explaining them is just like [TS]

  a dumb or after the after the fact you [TS]

  know you're like you had a chance to put [TS]

  it in the song and you and your you're [TS]

  hoping that people are telepathic [TS]

  I like that about your songs i like that [TS]

  they you know you wouldn't say that you [TS]

  know this is a song about that and for [TS]

  this is a song about this feeling I I [TS]

  like that about and I it doesn't read as [TS]

  and to just go to the other end of the [TS]

  continuum i don't i don't think there [TS]

  till they don't feel like they're [TS]

  deliberately opaque and no no right but [TS]

  yeah knowing that some of them are very [TS]

  puzzling little puzzles but I I don't [TS]

  ever feel like there's some kind of like [TS]

  they're like a mystery song like I [TS]

  actually he was dead all along or [TS]

  something like that helps right now yeah [TS]

  there's no there's no trick [TS]

  yeah I don't know it [TS]

  had been trying to write songs that are [TS]

  like here's the here's the verse it's [TS]

  just as poppy and melodic as a chorus [TS]

  and then here's the chorus and boys and [TS]

  fuck it fuck that melodic and poppy and [TS]

  also tells you stuff it also tells you [TS]

  stuff about the song and the the ideas [TS]

  even think about anything about witness [TS]

  is that Paul stopped caring whether his [TS]

  songs meant anything uh hot story ever [TS]

  did care really needs to be one wing [TS]

  song and I had I mean I i personally [TS]

  owned at least probably three wings 45 [TS]

  she's pretty big deal because i was [TS]

  eight at the time but you know that [TS]

  something great like live and let die [TS]

  crazy wackadoodle there's really only [TS]

  one song you need to hear to understand [TS]

  wings [TS]

  yeah i think well there's probably [TS]

  several one songs you can hear but i'm [TS]

  going to say the major was a little lady [TS]

  uh oh man suffer a jet jet don't know [TS]

  who such a good song girl huh i was [TS]

  amazed i'm gonna stick silly love some [TS]

  books [TS]

  oh haha first of all a is the base [TS]

  definitely check yes that the base is [TS]

  way too loud [TS]

  it is a canonical three chord song that [TS]

  would not have gotten past the first [TS]

  table read in The Beatles the baselines [TS]

  great do-do-do-do-do you can sure hear [TS]

  it because it's nice and upfront but [TS]

  here so we got you think people would [TS]

  have had enough silly love songs and [TS]

  it's just pretty much straightforward a [TS]

  love song oh my god I'm are you i'm [TS]

  already seven years old as soon as you [TS]

  start singing I'm just like what's wrong [TS]

  with that like to know because here we [TS]

  go together [TS]

  and then I haha you know that's where [TS]

  John yeah arrived upon the scene get [TS]

  drunk it's that right there [TS]

  yeah what's wrong with that I'd like to [TS]

  know because here i go again and then [TS]

  John would have said something to the [TS]

  effect of why do I keep going again [TS]

  right [TS]

  he wouldn't be able to brought a [TS]

  counterparty let's go wait a minute [TS]

  yes yeah I'm here's what's wrong with [TS]

  that [TS]

  yeah I do have a problem i got a big [TS]

  fucking problem with silly love it's a [TS]

  lot more complicated than that and then [TS]

  at the end you got that little like kind [TS]

  of kota it's dropout they do it again [TS]

  and you get just a ah oh my god it's [TS]

  nine feeling that you look Baba [TS]

  Blackwater keep on rolling and hand it's [TS]

  taking a lot of hand-wringing I loan [TS]

  that's that because at that point at [TS]

  that point Paul felt that every idea [TS]

  that he had was the greatest idea that [TS]

  is so high he did not need a second idea [TS]

  he just needed the one idea [TS]

  Oh a hundred percent in OB story to it [TS]

  you know it's a and everybody was like [TS]

  okay that's good [TS]

  sure let's say your culture whatever you [TS]

  say buddy i was thinking about Billie [TS]

  Jean it was simply having a wonderful [TS]

  christmas the pump and what was that [TS]

  that's like the biggest selling single [TS]

  of all time writers that Moloch entire [TS]

  ohmic entire article song that was that [TS]

  was mark entire was like the hugest [TS]

  biggest UK i think until bohemian [TS]

  rhapsody probably but if you think about [TS]

  beat it [TS]

  no no I'm sorry bility boot don't do you [TS]

  know [TS]

  alright dynamite dynamite baseline [TS]

  through and you listen to the way it's [TS]

  recorded in the way it tucks into the [TS]

  two [TS]

  like it's really menacing it's super [TS]

  menacing like super dark and the bass [TS]

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

  it can just you can just it's not in [TS]

  your face right that baseline could have [TS]

  been like Quincy Jones could could have [TS]

  doubled the volume on that baseline and [TS]

  then probably when they were mixing it [TS]

  they tried it you know like let's put [TS]

  this all the way forward like this is [TS]

  dynamite but like part of its Menace is [TS]

  that it's like it's kind of subsumed [TS]

  like overtime but what got me thinking [TS]

  about this was i was walking along and I [TS]

  was singing billy gene and I said to [TS]

  myself when about what's the baseline to [TS]

  this song it is the greatest bass line [TS]

  of all pop music but i'm having a hard [TS]

  time remembering it and i'm walking a [TS]

  lot of like billie jean is not my lover [TS]

  and I couldn't recall how the base went [TS]

  is it the same is it that same rough [TS]

  kind of figure through the Saw III don't [TS]

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

  weird wacky will know so it's kind of [TS]

  always unresolved right is divided into [TS]

  20 so so good so good and a thing a [TS]

  thing but like where we're in the Paul [TS]

  McCartney arc creative ark would he have [TS]

  left behind any chance of writing Billie [TS]

  Jean playing it it was 60 [TS]

  I don't know I feel like there's so much [TS]

  wonderful stuff at the end to ever like [TS]

  but I just feel like there was the [TS]

  restraint the restraint that is on those [TS]

  first couple of michael jackson solar [TS]

  records [TS]

  the I mean I guess it's that Quincy [TS]

  Jones still had some i still had some [TS]

  Authority in the picture where we're [TS]

  probably the last three Beatles records [TS]

  there was no authority left [TS]

  let's also gets yelled it also is I was [TS]

  going to say it's about Paul but it's [TS]

  even sure of michael jackson was the [TS]

  first of all they're both just natural [TS]

  musicians and and musical people i mean [TS]

  i really think Michael Jackson probably [TS]

  had something almost like a four track [TS]

  in his head [TS]

  you can imagine what that stuff is like [TS]

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

  going to catch a case like figuring it [TS]

  out so Stevie Wonder making those [TS]

  records where he would play the drum I [TS]

  don't I just that's completely [TS]

  mind-blowing to go and play the freaking [TS]

  drums to the sufferer get to pay my [TS]

  electric bill you know but think about [TS]

  the timing on that because you got off [TS]

  the wall and which is also amazing offer [TS]

  wall and thriller are both pretty great [TS]

  but you know it's you know what that's [TS]

  generous of you [TS]

  they're pretty good but you know the [TS]

  thing about both of those as with Paul's [TS]

  rise to power circuits 65 was the timing [TS]

  was the taste that Michael Jackson had [TS]

  within the context of having quincy [TS]

  jones as a producer his taste got [TS]

  channeled in the best conceivable way so [TS]

  Paul I mean Paul wrote you won't see me [TS]

  like what a fantastic song with great [TS]

  edginess and like every part of that [TS]

  song is pretty much I mean it's just [TS]

  want to say that it's just about perfect [TS]

  song i think that one of your son's butt [TS]

  but you know the things he had to [TS]

  channel that through a room with those [TS]

  guys in it and which on it and with you [TS]

  know and with the torsion right setting [TS]

  up in the sitting upstairs but the kind [TS]

  of taste that makes one of the richest [TS]

  man in the world right simply having a [TS]

  wonderful christmas time the timing the [TS]

  taste is off the timing is wrong and [TS]

  there's nobody there he's getting all [TS]

  these like George Lucas there's nobody [TS]

  there telling him like you know you've [TS]

  got to stop you got to stop doing this [TS]

  yep i don't i was listening to the radio [TS]

  the other day driving in my car turned [TS]

  on the radio do duty it's going out the [TS]

  mouth bass show ending we're going to be [TS]

  everything [TS]

  and and this band comes on and I was [TS]

  like saying Bruce Springsteen song [TS]

  you're probably seeing the pointer [TS]

  sisters version of a pre spring song I a [TS]

  song comes on and i'm having this the [TS]

  same experience that I'm having a lot [TS]

  now and listening to modern music which [TS]

  is I said its people or property talked [TS]

  it said this is either a James addiction [TS]

  like outtake i had never heard before [TS]

  which I know it isn't because there is [TS]

  no James addiction outtake I haven't [TS]

  heard or it is some new version of [TS]

  jane's addiction that Perry Farrell has [TS]

  recently put together with with bucket [TS]

  head and a Michael Schenker and sweet [TS]

  haha i think that could so happen that [TS]

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

  anything about but that doesn't mean [TS]

  it's not it doesn't happen [TS]

  I bet they've taken smoothie that they [TS]

  have been fully sat down with very [TS]

  Farrell and was like who can we get to [TS]

  make sure that scene from godfather to [TS]

  with the gold telephone like to thank [TS]

  you mr. shaker German when i wake up if [TS]

  there's a bag of money on the table were [TS]

  diagnosed I know I have a partner for [TS]

  this is a another example of this sort [TS]

  of owl city situation where a band is [TS]

  just staking their claim on reproducing [TS]

  with no imagination reproducing the [TS]

  sound of a earlier bandit and in a way [TS]

  like yellow me it is amazing no that's [TS]

  no that's bad that little Instagram [TS]

  account taking pictures of any legal its [TS]

  pictures [TS]

  yeah exactly yeah i mean at yellow have [TS]

  this overarching concept like let's go [TS]

  in the direction that the Beatles would [TS]

  have gone if they [TS]

  had like stuck around kept taking acid [TS]

  headless maybe he'd listen to george a [TS]

  little more [TS]

  listen to george a little more had a [TS]

  24-track and the white cello and piano [TS]

  white jello like basically when ya right [TS]

  went into a like at basically expunged [TS]

  the Blue Meanies and went into a kind of [TS]

  magical mystery tour that was not that [TS]

  was not characterized by total dread [TS]

  like let's say okay magical mystery tour [TS]

  if magical mystery tour was not a [TS]

  response to the death of brian epstein [TS]

  yeah right let's say that up here anyway [TS]

  but this band so sorry i do this i do [TS]

  the the the the shazam alright i thought [TS]

  this on the tutor [TS]

  yeah and it turns out that it is a band [TS]

  that it's like a young band on on our a [TS]

  record label and they are making it's [TS]

  basically like in this is the thing [TS]

  about Jane's Addiction like jane's [TS]

  addiction was already influenced by the [TS]

  doors enough let's say jane's addiction [TS]

  was already influenced by the doors [TS]

  enough by ten percent too much but this [TS]

  new band their insight their innovation [TS]

  i guess was to hear that there was [TS]

  already too much doors in Jane's [TS]

  Addiction and to just add more doors [TS]

  like it's just that it's just everything [TS]

  about jane's addiction with that sounds [TS]

  like my Guantanamo band about my stress [TS]

  music well I take this big into the [TS]

  floor hit you with some cold water and [TS]

  then play this really loud take a little [TS]

  it takes them up and caught stealing [TS]

  we had a little more breakfast I'll to [TS]

  it so all of Perry Farrell's all of like [TS]

  the tragedy in perry farrell that he is [TS]

  a junkie that he is a freak in a world [TS]

  that doesn't accept freaks that he is [TS]

  like a sex uh he's like a set was one of [TS]

  the second people that we've talked [TS]

  about the goth expand person he's got a [TS]

  pen person and so in inherently going to [TS]

  be unhappy [TS]

  the rest of his life because it's just [TS]

  it's can't be a bad person and find and [TS]

  no true happiness all of that is gone [TS]

  it's a race because the singer of this [TS]

  new band is 22 and has no pain and then [TS]

  add more doors [TS]

  uh-huh and i'm just i'm driving in my [TS]

  car i'm like who I i mean i don't blame [TS]

  the person that signed it I don't blame [TS]

  the label that's putting it out because [TS]

  that is the state of music today it is [TS]

  that I heard that owl city song on the [TS]

  radio and I did that she's amber I was [TS]

  like all right this sounds like that I [TS]

  guess right it was our city it was Al [TS]

  city [TS]

  it sounds exactly like you like a song [TS]

  the Postal Service would probably not [TS]

  put out us [TS]

  that's exactly right that's something [TS]

  that the Postal Service would have [TS]

  rejected [TS]

  yep that Ben would never have done and [TS]

  yet all of his vocal mannerisms are [TS]

  there but none of his vocal none of the [TS]

  local characters that are the qualities [TS]

  none of the yet none of the things that [TS]

  make been an interesting or quirky [TS]

  vocalist it's all been smoothed out it's [TS]

  all been Pro Tools the way and shaved [TS]

  down and yet there isn't any new there's [TS]

  no new creative information [TS]

  it doesn't sound like an evolution of it [TS]

  it's just a it's just a polished it's [TS]

  like all the good parts are are smoothed [TS]

  off and so when I'm thinking about the [TS]

  music that I'm trying to make now which [TS]

  is like unlike Michael Jackson in 1982 I [TS]

  mean this is that this is what's crazy [TS]

  about that trying to think about about [TS]

  the Beatles and 64 five michael jackson [TS]

  in 1980-81 were they aware that they [TS]

  were like in [TS]

  such like kinetic communication with [TS]

  their time that they were like that they [TS]

  were one step ahead but not two steps [TS]

  ahead from their moments or were they [TS]

  thinking to themselves [TS]

  we are so far out right now we are so [TS]

  far out and it was just that it's just [TS]

  that we were ready for it and the first [TS]

  time the first time we heard it we were [TS]

  like what is this crazy music but by the [TS]

  fifth time it was it the world had [TS]

  changed you know what I mean like that [TS]

  yeah I don't know the answer but I'm [TS]

  trying to figure it out i think was [TS]

  Michael Jackson I'm I mean just knowing [TS]

  what we know and kind of reverse [TS]

  engineering and I think he wasn't [TS]

  thinking of it that way you don't think [TS]

  he was thinking like I'm gonna shake [TS]

  I don't know he just strikes me as a guy [TS]

  like is weird like I was like he seems [TS]

  really admirable especially at that age [TS]

  where like he just seemed like he seems [TS]

  like he was such a creative like [TS]

  wackadoodle guy like I just watching [TS]

  people dance and he wasn't yeah really [TS]

  dedicated to the craft of making a you [TS]

  know in the same of appeals were making [TS]

  music at a time when a lot of people [TS]

  thought rock'n'roll was dead even then I [TS]

  mean Michael Jackson comes out even [TS]

  without off-the-wall comes out with like [TS]

  the greatest disco album of all time [TS]

  when not the greatest but [TS]

  it's definitely one of the most creative [TS]

  and like that that album off the wall [TS]

  I think off-the-wall you know because it [TS]

  wasn't quite as ambitious i think it in [TS]

  some ways is a it's an idea of things [TS]

  thriller sounds updated in some ways is [TS]

  the problem interesting you and I see [TS]

  you and I go around these production [TS]

  things but the songs I mean you think [TS]

  about what you have like six seven [TS]

  singles from that record something like [TS]

  that i mean you know every song on that [TS]

  record [TS]

  yes so i don't know i mean i added the [TS]

  the problem seems to come later on in a [TS]

  career when somebody following your [TS]

  point [TS]

  the problem seems to come later in a [TS]

  career where somebody thinks that it's [TS]

  time to really think it's where you are [TS]

  but again how do i get ahead of the [TS]

  curve but whatever I do it's not [TS]

  Rockettes not roll em but thats and you [TS]

  know and that's why sometimes like every [TS]

  time there's a new paul mccartney thing [TS]

  out [TS]

  I kind of make that noise I exhale and I [TS]

  go home there's gonna be probably [TS]

  something good here but like how could [TS]

  he be like a 70 year old guy and still [TS]

  not know how to balance a song just [TS]

  don't I mean like I I feel like I kept [TS]

  it as long as good as public art me [TS]

  these days like these there's gotta be [TS]

  some balance to it there has to be [TS]

  something more to it than just the [TS]

  reiteration or a list or or just the [TS]

  same theme [TS]

  this is going to be some tension is [TS]

  gonna be at 95 upon the show haha and [TS]

  just enjoy yourself [TS]

  who let the madness in the music it to [TS]

  you after is a bad huh haha little the [TS]

  wall without of all and that you [TS]

  couldn't sing that ok where's your [TS]

  baseline ready you do nothing dude [TS]

  getting do like how great is that [TS]

  baseline it is I mean their tremendous [TS]

  bass line cementless that I love you and [TS]

  the thing is he's talking about Linda [TS]

  and I can listen to the songs like I [TS]

  think I think that music was the music [TS]

  of my youth and so I had no awareness of [TS]

  Linda really or like Linda represented [TS]

  nothing to me then so I have that [TS]

  sympathy for them because it's the bit [TS]

  that's the songs of my childhood but the [TS]

  overlay my my adult overlay of like paul [TS]

  and linda with their simpering romance [TS]

  and they're like are just picturing them [TS]

  vegetarian meals are just just [TS]

  canoodling together on there like fake [TS]

  sheepskin rug Paul playing I love you to [TS]

  her and her I I don't know what clasping [TS]

  her hands under her chin with cartoon [TS]

  hearts floating around here even think [TS]

  he turned down in the mix I mean what I [TS]

  what like Linda is such a cipher to me I [TS]

  i have no sense of her [TS]

  but I believe I I have to say I really [TS]

  believe that they thought that it [TS]

  matters this is a really dumb thing to [TS]

  say but i think they really loved each [TS]

  other [TS]

  Lou except i have known enough people [TS]

  who became famous in their early [TS]

  twenties to know that it destroys [TS]

  humanity to be to be famous before the [TS]

  age of 28 is a burden as a psychological [TS]

  burden on a person that that handicaps [TS]

  their emotional development and Paul [TS]

  McCartney was of the most famous of all [TS]

  people and clearly an emotionally [TS]

  handicapped person anyway so although i [TS]

  do believe that he and Linda love each [TS]

  loved each other because that is the [TS]

  story that i have been told by them [TS]

  I cannot imagine paul mccartney loving [TS]

  really because of his humanity being [TS]

  crushed because yes because because he [TS]

  sat in that hotel room in new york city [TS]

  after the ed sullivan show with a cold [TS]

  right didn't have a cold butter now he [TS]

  had a cold I think and the streets [TS]

  around the hotel were thronging with [TS]

  screaming girls and although he was [TS]

  sitting in bed with the with an ice pack [TS]

  on his head and a thermometer his mouth [TS]

  disease clipart there were like four [TS]

  photographers in the room but he [TS]

  couldn't even be sick without right [TS]

  without life magazine janji no did they [TS]

  break up in 1970 the beatles yeah yeah [TS]

  60 70 71 like that [TS]

  no nose before 71 and 72 McCartney [TS]

  turned 28 [TS]

  but that your base and turn it up but i [TS]

  remember duff mckagan was rapidly when [TS]

  he first started writing for the Seattle [TS]

  Weekly he was also going to seattle you [TS]

  getting his degree i think or maybe even [TS]

  a master's degree i'm not sure but he [TS]

  was taking classes he was writing this [TS]

  column for the weekly just started and [TS]

  you know I feel like Duff Duff was in [TS]

  rock and roll from the very beginning [TS]

  like his life right he was in bands from [TS]

  14 on he was in guns and roses and then [TS]

  he he kind of hit this there was this [TS]

  period of his life where gnr was over he [TS]

  was recovering from the drugs and [TS]

  everything and there was that there was [TS]

  a kind of period of quiet in Duff's life [TS]

  where he was able to say like go back to [TS]

  college and like i'm going to write for [TS]

  the Seattle Weekly and like you know [TS]

  kind of take another stab at life from [TS]

  from like what I think is an amazingly [TS]

  humble place can you imagine like [TS]

  another guy with Tufts stature showing [TS]

  up for class at Seattle you like a [TS]

  little kind of Jesuit college in the [TS]

  middle of the city like he he went to [TS]

  class and SAT there with his epic [TS]

  presumably not at leather pants and [TS]

  taking like sociology 101 or whatever I [TS]

  mean very humble attempt at really I [TS]

  can't imagine that is what makes it so [TS]

  interesting is because when he's you [TS]

  know I i realize that he's a guy who had [TS]

  a life before and after and raised in [TS]

  your your your powers of the many sounds [TS]

  like I'm like I'm amazing weirdly [TS]

  down-to-earth god I mean especially [TS]

  given what his body's been through but [TS]

  no I can't because I picture it being [TS]

  like a second life sketch or somebody [TS]

  there's a headlight somewhere about a [TS]

  guy from Guns and Roses goes to college [TS]

  and that's going to be like a terrible [TS]

  sketch where there's a guy with a [TS]

  bandana [TS]

  you know with his base later on the task [TS]

  more cowbell [TS]

  yeah well and and i think it was just [TS]

  enough time had passed that most of the [TS]

  students in his class were not really i [TS]

  mean they had heard of guns and roses [TS]

  but it wasn't like he was in class with [TS]

  a bunch of people that were pawing at [TS]

  him but anyway in at during this process [TS]

  he forms velvet revolver and so he's at [TS]

  one point he tells the story where he's [TS]

  in a hotel in rio de janeiro and he's [TS]

  trying to finish his term paper so he's [TS]

  up in the hotel on the 40th floor [TS]

  whatever typing his term paper for his [TS]

  his class at Seattle you but he can't [TS]

  concentrate because 200,000 people are [TS]

  chanting his name thronging the streets [TS]

  because they just played rock in rio for [TS]

  a million-plus people and so he got you [TS]

  know he goes to the window and he looks [TS]

  down in the streets around so tell all [TS]

  barricaded and all these brazilian fans [TS]

  are like chanting and screaming that he [TS]

  can hear it on the 20th floor or [TS]

  something and he and he just wishes that [TS]

  they would be quiet so that he can [TS]

  finish his term paper thanks and like [TS]

  come on [TS]

  where do you where do you start [TS]

  you know but how to get people [TS]

  sympathetic about that situation I think [TS]

  oh ok [TS]

  translate stuff it's it's it's really a [TS]

  check your privilege situation but but [TS]

  imagine paul mccartney going back to [TS]

  college in nineteen seventy people I [TS]

  believe would go a little something I in [TS]

  back to call me i'm beautiful setting at [TS]

  the desk [TS]

  I got to correct something for another [TS]

  moment caused by Moloch entire Act [TS]

  I came out making 77 I don't think only [TS]

  late slate later last two years after [TS]

  bohemian rhapsody don't know what I was [TS]

  thinking [TS]

  no I think it is the I think it is the [TS]

  one of the biggest or Lord I'm according [TS]

  to wikipedia which is never wrong right [TS]

  wing's is 1996 1999 77 release Moloch [TS]

  entire is one of the all-time [TS]

  best-selling singles in the UK great [TS]

  song to sing along the big sing along [TS]

  sing alone that's right it's like my [TS]

  time like that one by Chumbawamba yeah [TS]

  that's yeah that's right Macarena [TS]

  Macarena [TS]

  yeah it knocked down and get nice stuff [TS]

  again [TS]

  who let the dogs out ah loo [TS]

  I love you know although i also like [TS]

  listen to what the man said I had that [TS]

  on a 45 to very good song but i just-i [TS]

  come back to jet anybody wants talking [TS]

  about Paul McCartney they get through [TS]

  jet exhibit a the lyrics of jet jet is a [TS]

  incredible pops off incredible but you [TS]

  just have to you just parse those lyrics [TS]

  for me and tell me what that song is [TS]

  about and tell me that the lyrics of [TS]

  that song are not indicative of a hey of [TS]

  of a raat ki smoke like a lot of pot i [TS]

  think paul mccartney probably smoked a [TS]

  lot of parts okay if you listen to Paul [TS]

  tell it [TS]

  mhm it wasn't John his mother holding it [TS]

  for a friend [TS]

  the ball was smoking pot and going to [TS]

  art galleries when the rest of those [TS]

  guys all back then now back then this is [TS]

  the story that everything you and I know [TS]

  that everybody should know you know all [TS]

  tomorrow never knows huh that's all John [TS]

  right [TS]

  nah i am the walrus that's all John [TS]

  right all right [TS]

  wrong and wrong on know it's it's it's [TS]

  very frustrating and you know we've been [TS]

  threatening since very early on and the [TS]

  seven years we've been doing the show [TS]

  we've been threatening to have our Paul [TS]

  McCartney episode because as much as he [TS]

  is a frustrating character the band that [TS]

  they would not have been that band [TS]

  I mean he [TS]

  yeah he didn't even play the [TS]

  rickenbacker bass that long and yet the [TS]

  rickenbacker bass forever partner will [TS]

  heat the hot air base of course that [TS]

  like the hot air base was the is that [TS]

  like early Beatles the super I mean no [TS]

  one else who's gonna play off who's [TS]

  going to play often but violin bass now [TS]

  you'd have to be a real thing looks like [TS]

  it was a dare [TS]

  yeah right it is so inextricably paul [TS]

  mccartney but the but for me the [TS]

  rickenbacker bass that he's that he [TS]

  started playing at the end and then [TS]

  played in wings the rickenbacker bass [TS]

  which admittedly get ely made a run at [TS]

  having the rickenbacker bass be his [TS]

  signature instrument but I mean I still [TS]

  think the early days of the long winters [TS]

  Eric played a rickenbacker bass that was [TS]

  given to me by Aaron huffman of harvey [TS]

  danger and I gave it to Eric it was the [TS]

  I think the at the time not only the [TS]

  most expensive thing that Eric owned a [TS]

  little expensive thing he'd ever touched [TS]

  the most expensive thing he had not only [TS]

  ever touched but like I gave it to him [TS]

  for free [TS]

  I didn't just give it to him I gave it [TS]

  to him for free [TS]

  Wow and it was like I think it was like [TS]

  somebody handed him Excalibur didn't [TS]

  even have to port from the stone eyes [TS]

  that look at it as a case that's right [TS]

  and this this rickenbacker bass and Eric [TS]

  playing that rickenbacker bass I swear [TS]

  to you it was all I was just trying to I [TS]

  was trying to capture some of that [TS]

  Stardust of paul mccartney and and this [TS]

  was the way that I this is the closest [TS]

  that i could come like Aaron hoffman had [TS]

  30 basis [TS]

  but the African bakr base was the one [TS]

  that I zoomed in on and you know Aaron [TS]

  obviously very generous guy [TS]

  and at that time I you know I think [TS]

  about this a lot [TS]

  the long winters are such a debt of [TS]

  gratitude to harvey danger because they [TS]

  let us use their practice space they let [TS]

  us use their van [TS]

  Aaron gave us our base like we we [TS]

  couldn't have we couldn't even gotten [TS]

  out of the starting gate if Harvey [TS]

  danger hadn't just sort of handed us the [TS]

  key and said reactor had used the you [TS]

  know use our PA andar big practice space [TS]

  in our instruments i should write them a [TS]

  thank-you note [TS]

  yeah aaron i mean actually visit with [TS]

  him just a little bit but if they strike [TS]

  me as very nice man [TS]

  no they're pricks yeah you you get that [TS]

  when you play keys with them [TS]

  yeah well all people in music or are [TS]

  desperately broken except for me and [TS]

  definitely Kagan yeah alright maybe you [TS]

  can help you with your songs and quincy [TS]

  jones and quincy jones god bless them [TS]

  for you get him to produce you wouldn't [TS]

  be something you should go to him we [TS]

  should pitch my baseline well he's 90 [TS]

  years old now [TS]

  alright well or something close to that [TS]

  i'm not sure that he would i'm not sure [TS]

  that he would know [TS]

  although maybe you know maybe Quincy it [TS]

  would be expensive that are talked about [TS]

  the time I had dinner with the Alan [TS]

  Partridge helpful haha so Alan Partridge [TS]

  came to Seattle to LA I think Alan [TS]

  Partridge is a TV character [TS]

  oh yeah no really thinking about how [TS]

  valid first organized religion pink [TS]

  floyd alan parsons that's right Alan [TS]

  Parsons Project not the Partridge [TS]

  project [TS]

  lam cai the we are in this guy so that's [TS]

  pretty good [TS]

  mmm i can be yes oh yes it does that [TS]

  once I night entertainment don't think [TS]

  that one song playing sports and sports [TS]

  events [TS]

  yeah they I thought that they were great [TS]

  sounding musical act some amazing you [TS]

  know he doesn't sing those songs he has [TS]

  the analyst his people [TS]

  yeah but anyway so I'm sitting next so [TS]

  so he comes to seattle he's given to [TS]

  talk about recording a dark side of the [TS]

  moon and you know he worked on some [TS]

  Beatles records too [TS]

  he's finally finally agreed to step out [TS]

  and finally talked about that haha you [TS]

  know you need Alan Partridge he was 17 [TS]

  or something when know what they were [TS]

  making the right out right he didn't [TS]

  work out the window [TS]

  I think you did yeah anyway so but you [TS]

  have produced is produced Dark Side of [TS]

  the Moon and you know right everybody [TS]

  wants to know like about the tape loop [TS]

  on money and he was he was very generous [TS]

  about talking about that stuff but then [TS]

  afterwards a small group of us go out to [TS]

  dinner and we arrived at the restaurant [TS]

  and it isn't really a small group [TS]

  there's like 20 people who want to have [TS]

  dinner with alan parsons and we show up [TS]

  and you know he and I had been kind of [TS]

  talking at the cocktail party beforehand [TS]

  and he was very much like we talked for [TS]

  a few minutes and then he candis [TS]

  basically said right [TS]

  I've talked to you now I'm going to turn [TS]

  and talk to the next person because I [TS]

  this is what I have to do now before i [TS]

  go back to the hotel i have to give each [TS]

  person two minutes of talking and you [TS]

  have exhausted your two minutes and I [TS]

  was like oh I'm fine with that [TS]

  nice meeting you but he was already [TS]

  talking to the next person you know [TS]

  instance say [TS]

  you're also we gonna tape loop over cash [TS]

  register and he's you know he's he's [TS]

  like it [TS]

  drinking red wine and he's having a good [TS]

  time anyway we get to the restaurant and [TS]

  it's it's a long table so not a [TS]

  situation where Alan Parsons can talk to [TS]

  everyone at dinner [TS]

  it's just a very long table and he [TS]

  rather than sit at the head of the table [TS]

  moves down to the to the middle of the [TS]

  table sort of like where Jesus with [TS]

  priceline last semester and so he puts [TS]

  his hand on the back of a chair and the [TS]

  other 19 people at the event all sort of [TS]

  freeze it's like a musical chairs write [TS]

  the music has stopped everybody freezes [TS]

  Alan Parsons has chosen a chair now what [TS]

  now where do you sit and there's this [TS]

  pregnant five seconds where no one knows [TS]

  what to do [TS]

  no one's going to take it no one's going [TS]

  to sit down at the end where they can't [TS]

  talk to him but nobody wants to sit [TS]

  directly across from him or and his wife [TS]

  is there with them [TS]

  no one knows what to do and so I said [TS]

  well how many opportunities [TS]

  I mean whatever the social faux pas [TS]

  there are people here at this event who [TS]

  outrank me in a lot of ways in terms of [TS]

  who should sit next to alan parsons but [TS]

  who gives a fuck [TS]

  and so I just walked over and I sat down [TS]

  in the chair next to his wife his wife [TS]

  is on one side you're on the other [TS]

  that's right back and then and then [TS]

  having sat down now everybody else has [TS]

  to school you know like I i got the [TS]

  catbird seat so everybody else scrambles [TS]

  to get like chairs at least in earshot [TS]

  of him and he sits down in his chair he [TS]

  looks over at me and he basically i [TS]

  don't remember exactly what he said but [TS]

  he basically said oh you well you know [TS]

  you manage to get to [TS]

  there you manage to sit there i mean i [TS]

  think he was hoping that it would be a [TS]

  beautiful lady or maybe it would be [TS]

  someone famous but it was me and so I [TS]

  spent the whole evening basically just [TS]

  chatting with him and everyone else [TS]

  around us like struggling like like EF [TS]

  Hutton is speaking the Internet has a [TS]

  terrible setup for a one-person based [TS]

  dinner it was the worst and a loud noisy [TS]

  restaurant and everybody's leaving in [TS]

  and I'm just sounds like the Last Supper [TS]

  in a lot of ways it was great it was [TS]

  great although no one betrayed him as [TS]

  far as i know but at one point I said so [TS]

  what if i asked you to produce one of my [TS]

  records and he said money for the right [TS]

  amount of money i will produce your [TS]

  record but it is a question of money and [TS]

  I said yes money to do you have to do [TS]

  babe him boom boom boom doing to Jean to [TS]

  do but it's still I still think that I [TS]

  still think about putting together [TS]

  enough cash like to make an offer on [TS]

  Alan Parsons coming out of retirement [TS]

  and recording an album for me [TS]

  why would you do that what would it cost [TS]

  I just a waste of time it would cost [TS]

  fifty to a hundred and fifty thousand [TS]

  dollars it would be obscene i'm guessing [TS]

  what do you think [TS]

  but yes yeah as well that's a pretty [TS]

  wide range but I think well I don't [TS]

  think it's gonna cost you less than 50 [TS]

  know it won't cost less than 50 and I [TS]

  think 50 it's it's one of those like [TS]

  producing a record is is one of those [TS]

  like what do you mean seven days right [TS]

  it will be all engineered you just send [TS]

  him a can or not look like alan moore [TS]

  look at it was a very handsome man [TS]

  well he was now [TS]

  it looks like a he looks like someone [TS]

  basically animated a volcano [TS]

  I love you did or did you do to my [TS]

  pocket really overdo the horn [TS]

  arrangements to kidney i see i am of the [TS]

  opinion that you cannot overdo a horror [TS]

  and you know i love the horn [TS]

  arrangements you you like you said [TS]

  that's when you turn into a real bad [TS]

  right when you get the horns showing up [TS]

  that's when you know you're in a band [TS]

  right you said this I and I and I firmly [TS]

  believe I mean have you seen have you [TS]

  seen the footage of the stacks tour like [TS]

  England 1960 now Chanel I'd love to [TS]

  it sits on youtube it's all the stacks [TS]

  artists at the time like a package to [TS]

  her kind of thing as a package tour with [TS]

  duck done with basically Booker T and [TS]

  the MG's right as the band and then [TS]

  every singer salmon Dave a butt like [TS]

  this is that like that steep proper that [TS]

  that kind of Korea that's that's the [TS]

  game Muscle Shoals guys and then every [TS]

  singer comes out and does their you know [TS]

  224 signature number can you imagine [TS]

  that and and it's a wonder why I could [TS]

  only was England it might have been [TS]

  sweet [TS]

  it's some kind of scene where the [TS]

  audience is I mean it's worth watching [TS]

  just to see how beautiful everybody was [TS]

  in 1966 you know like everybody's got [TS]

  the coolest clothes and the coolest dumb [TS]

  hair and their little beatnik beards and [TS]

  their chunky classes and they're so [TS]

  excited [TS]

  to see Marvin Gaye and its Jets it's a [TS]

  fantastic but you know but musically [TS]

  it's fantastic to but one of the amazing [TS]

  things about this show is that they've [TS]

  got three horn players i got to [TS]

  saxophone trumpet and another saxophone [TS]

  and these three guys are doing all the [TS]

  horn arrangements of all that stacks [TS]

  stuff and it's really all you need / you [TS]

  get the that you know like on the record [TS]

  you probably had 14 horns in there but [TS]

  really when that trumpet comes on like [TS]

  one trumpet does a lot of heavy lifting [TS]

  for it in terms of like the emotional [TS]

  impact even if you just got a trumpet [TS]

  and like I'm making it again what a [TS]

  tenor sax those two together could fill [TS]

  a lot of space [TS]

  really dynamite yeah and I I mean I feel [TS]

  like the trumpet because of the because [TS]

  of the whole elephant six neutral milk [TS]

  hotel like bolero trumpet thing that [TS]

  happened there was a while they're indie [TS]

  rock early days for me early two [TS]

  thousands where the trumpet was the the [TS]

  equivalent of the of the head and the [TS]

  heart banjo or the you know what I mean [TS]

  like the band that the mumford and sons [TS]

  banjo is now used on used by every pop [TS]

  and over and I really felt in 2001 the [TS]

  neutral milk hotel trumpet was the was [TS]

  the signifier and I so I was shy to use [TS]

  it myself because it was so all the way [TS]

  they would do it i'm thinking if not [TS]

  going to get that the song against sex [TS]

  song with the pic trombone on my kind of [TS]

  stuff but all that you'd like you're [TS]

  talking about like airplane of the sea [TS]

  like an thetic stuff but you but you [TS]

  used it like on shoot scared straight [TS]

  scared straight like that that's what [TS]

  are the songs not pretend to fall that [TS]

  horse I'm scared straight to me is like [TS]

  the big motown number right [TS]

  yeah uh let's see what else has horn [TS]

  well you know a blue diamonds has french [TS]

  horn which is super weapon of every of [TS]

  every great pop song young French horn [TS]

  young you got John Entwistle mm-hmm [TS]

  oh that's beautiful the guy the guy [TS]

  played on my hydrangeas southern it's a [TS]

  cult that song armor common thing and [TS]

  something that I don't song from old [TS]

  entire no I am NOT singing now anyway [TS]

  French horn very difficult issue until [TS]

  you got a fist it and it's also [TS]

  embouchure yeah that I couldn't find at [TS]

  the time I could not find a young person [TS]

  to play the French horn and so I get [TS]

  somebody to speak Navajo that's right i [TS]

  couldn't find a code talker or no you're [TS]

  gonna have a hard time getting up one so [TS]

  i actually had to use a music teacher [TS]

  high school music teacher that played [TS]

  the French horn since that time now [TS]

  now a lot of kids are playing the French [TS]

  or is that a fact [TS]

  what if you had a role in that yeah well [TS]

  you know a lot of people after after [TS]

  Baker Street came out the saxophone [TS]

  regain my popularity i love that you [TS]

  notice the level the same time with your [TS]

  the cat member of al Stewart em on and [TS]

  thumb that the God knew the you know I [TS]

  those songs are inextricably linked John [TS]

  but that's the second time i've used [TS]

  inextricable in this podcast and I'm not [TS]

  going to use it and cut it out said you [TS]

  know it's one of those things where you [TS]

  use a word that is that's just a bit [TS]

  that pokes out a little bit i know I i [TS]

  consider is being inextricably linked to [TS]

  you [TS]

  those boys are snapshots in time for me [TS]

  buddy but you know what they're [TS]

  connected to for me the television show [TS]

  taxi what really don't i don't know why [TS]

  tax i just think being a lonely preteen [TS]

  taxi and well you know what is lonelier [TS]

  about being a preteen than watching [TS]

  taxis true taxi and Barney Miller dated [TS]

  a girl in college that had a bob james [TS]

  record straight [TS]

  sitting around necking and have the taxi [TS]

  song come on haha what i've said i've [TS]

  said it before but when you are necking [TS]

  with a girl [TS]

  yes in a dark room and your CD your [TS]

  six-cd changer your bow Bolivar yeah we [TS]

  don't hit don't know if it flips over to [TS]

  rush you are in but know if you can see [TS]

  if you're making out with a girl in your [TS]

  60 changes that make which over to John [TS]

  Vanderslice is death of an American for [TS]

  tracker [TS]

  ah but it is like somebody just poured [TS]

  cold water over both the right so I [TS]

  guess there's a certain are contingent [TS]

  that would find that very slippery as a [TS]

  record [TS]

  well you know what I didn't give the [TS]

  girl the chance because I lunged oh [TS]

  you're self-conscious at that point [TS]

  well because listen I know John [TS]

  Vanderslice I love John Vanderslice and [TS]

  you sir are no John Vanderslice no i did [TS]

  not want to make out with john [TS]

  vanderslice like also like like singing [TS]

  in a British accent my other ear i have [TS]

  one did I want to get [TS]

  one did I want to get [TS]

  believe haha yeah maybe you don't want [TS]

  to make out to your friends see how I [TS]

  gotta think about that I gotta think [TS]

  about that [TS]

  yeah I sleep making up new order oh [TS]

  that's good makeup that's good makeout [TS]

  music and now i have made out a while [TS]

  talking about it hurts honey dripping [TS]

  what honey dripper honey drippers great [TS]

  makeout music that record grab right [TS]

  makeout music and rivers around I've [TS]

  been a lot of kids today have never even [TS]

  heard on the drama with me ma lo most [TS]

  the other 10 good rockin tonight that [TS]

  was right the big one that you know that [TS]

  basically this is the business of this [TS]

  is one of the main problems of my life I [TS]

  grew up thinking that my sex life was [TS]

  going to be a led zeppelin based [TS]

  landscape soundtrack center in the in [TS]

  that what you envisioned soundtrack [TS]

  why's he was thinkin like cashmere [TS]

  that's right led zeppelin established [TS]

  the baseline for what I imagined being a [TS]

  fully adult person was going to be like [TS]

  it you know i'm going to reach i'm going [TS]

  to reach the the age of of of manhood [TS]

  and i'm going to enter into this led [TS]

  zeppelin universe where basically i am [TS]

  having sex on an airplane while all of [TS]

  my friends are codeine that's so cool [TS]

  and the airplane is going to be taking [TS]

  me to have manners mansion i'm going to [TS]

  be having sex on an airplane with [TS]

  somebody that I don't even know the [TS]

  plane might be taking you someplace like [TS]

  I don't know where montserrat is that's [TS]

  why I want to be having sex on a plane [TS]

  that's going there right so so anyway [TS]

  the language of my early sex life was [TS]

  encoded in this looking led in Led [TS]

  Zeppelin runes [TS]

  and then the moment I arrived at my [TS]

  sexual maturity suddenly the world was [TS]

  written in Atlantis Morissette rooms it [TS]

  was that late [TS]

  well I'm an ironic i'm very shifted to [TS]

  say stop right there [TS]