June 13, 2024 • 32 mins
Hella hath no fury like a Stefani scorned. Kevin and Casey aren’t walking in the spiderwebs, instead they dive into this 2002 dancehall inspired No Doubt hit. But alas, there IS doubt! Will the boys find this song hella astonishing, hella acceptable, or… hella atrocious.
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Episode Transcript
Available transcripts are automatically generated. Complete accuracy is not guaranteed.
Speaker 1 (00:02):
Give it a chance, give it a chance. Give it
a chick. Come morning, Give it a chance, Give it
a chance, give it a chance, give it a chance.
Come morning, and give it a chi you want to
give it a chance, give it a chance, give it
a chance. Just oka, my man. I actually so, I
was just a little to pull the curtain back.
Speaker 2 (00:24):
I was.
Speaker 1 (00:24):
I was like, I'm running late, I am am finishing
a call. And I finished that call and I was like, oh, wait,
what song do I have?
Speaker 2 (00:31):
Do you have one?
Speaker 1 (00:32):
Oh? Yeah, okay, I actually like have I have actually
a few. I don't know what to do because I
have a few on the dock that I think all
like a lot of these are in the same category.
And I was thinking, maybe I do a little you
choose it's the adventure. Okay, I'm gonna put you head
(00:52):
to head, wow, and you're gonna pick which of these
songs you think resonates as a worse song that you
would want, that you don't want almost you don't you
the one you like least?
Speaker 2 (01:04):
Okay?
Speaker 1 (01:05):
And to me, both of these symbolize are maybe not
the right the exact symbol, but like they symbolize the
downfall of bands that I actually really liked.
Speaker 2 (01:16):
Oh, very specific category.
Speaker 1 (01:17):
Okay, okay, And I don't know if you if you
share it, and whether you share it or not. I
want to see which one of these.
Speaker 2 (01:23):
I love this, this category, actually, this is good.
Speaker 1 (01:26):
Okay, your choices.
Speaker 2 (01:29):
I just close my eyes.
Speaker 1 (01:30):
I don't know why.
Speaker 2 (01:30):
I want to go into a prayerful, meditative space.
Speaker 1 (01:34):
Beverly Hills by Weezer or Hella good Bye No Doubt.
Speaker 2 (01:37):
Okay, so I definitely was more. I have way more
personal pizza coming, so I have to go. No, I
have way more. I have way more of a personal
connection to Weezer than No Doubt. Yeah, I mean I'm
(01:57):
a misogynist, ultimately, it is what it is. Yeah, No,
I just you know, I love Spiderwebs, but I don't
really No Doubt it's not really you know, don't speak
is great, But that wasn't really my where my bread
got buttered? I think I say that every yep. But anyway,
I feel like Weezer was like Weezer, you know, they
were dead red in the middle for me for a while.
(02:19):
Maybe that's too close to the bone. Maybe we should
do No Doubt specifically for that reason. Beautiful it it
can always come back to Weeze.
Speaker 1 (02:26):
It's your journey, it's mine journey. I would say that
in some ways, I think Beverly Hills is more hated,
but I think Hella Good is worse.
Speaker 2 (02:34):
Well, what's weird about Weezer in this? Maybe we'll just
do a little capsule ninety seconds on this. Yeah, I mean,
it's why there was that Snel skit about it the people,
which is so funny and so niche and so crazy
that that was something that aired on you know, national television,
on the premiere sketch. It's amazing that.
Speaker 1 (02:52):
They did years or more after like the albums they're
talking about even came out.
Speaker 2 (02:56):
And it wasn't like they were the musical guest. It
just was like, it's so funny. But you know, to
say Beverly Hills is reviled by the people, by Weezer fans,
it's only accurate about a certain demographic and percentage. And
what I wonder is if that demographic and percentage has
actually become superseded, like by the people that came in
(03:18):
Beverly Hills forward, you know what I mean. There's Weezer's
playing like you know, it's like they're on tour with
Green Day and Fallout Boy playing City Field. It's not like, so,
whatever's going on with Weezer. They did like that tour
this summer that where like Modest Mouse was opening for
them on some kind of tour.
Speaker 1 (03:35):
I saw them in Utah. It was Pixies opening up
for Weezer.
Speaker 2 (03:38):
I was like that, that's right, Yes, that's what it was. Yes, yes,
And so I feel like that's not all people who
loved Pinkerton, you know, that's definitely something that's something has shifted.
And for someone like me that was kind of like
I was even and maybe this just makes me sound
like a garden variety snob. I actually would love to
(03:58):
indicates people that what I there's so it's so the opposite.
I'm like, so it's almost ignorance, a good snobbery. But
I definitely like I was somebody who like even the
Green album. When I got that, I was like, I
really tried to give that a chance, and the songs
are they're they're perfect in their way, but it was
(04:18):
like the spinal column had been removed or something, and
so anything from that point forward it's really like almost
like a Frankenstein monster. So anyway, I feel like like
it looks like Weezer, it sounds like Weezer, but the
thing that animated it for me was a bit zombified
in some way. I should probably shut up because also
(04:39):
there's there's some every once in a while I get
like I have the opportunity to do things like write
lyrics that might be for somebody else, and you know,
listen Rivers. If you ever want anythings, let me know.
But he's and he's incredible. He's actually like his melodic sensibility,
his construction, that's what makes it all the more frustrating.
Speaker 1 (05:02):
But we're not here for now.
Speaker 2 (05:05):
It's nice to have a little capsule inside. It's like Russian.
Can we say Russian nesting dolls? Anymore? Nesting dolls? I
don't know if you're supposed to say Ussian nesting dolls,
but I'll say of you know, boo boo change and
I think it's time to pivot to the real innermost doll.
Speaker 1 (05:24):
I don't typically do this, but I'm going to give
you the opening lyric to this song.
Speaker 2 (05:31):
Her lyrics are the problem often for me, but yes, yeah,
really hard on chancey terms.
Speaker 1 (05:37):
I'm going to hit you with this lyric and then
We're going to go listen to the song Oh God.
It's an opening lyric to the song the waves keep
on crashing on me for some reason. Enjoy questioner.
Speaker 2 (05:57):
You know what's funny sometimes, Casey, is when we come
out of the break. I experienced so much joy watching
you listening, and I also have this more where I
have to remember the entire purpose of this in every
app is to give it a Chancey. I come, there's
a part of my brain and this is maybe something.
(06:18):
You know, this is good for me. It's holding up
a mirror to some of the uglier aspects of my
spiritual condition. There's a part of my brain that wants
to come out right away and evaporate any chance of
a chancy. But that's not what we're here to do.
I know.
Speaker 1 (06:32):
I while I listen, I actually think of more things
I dislike than I do like. And you're right, but I,
you know, I have some things to give it a Chancey.
I will set the scene and say that this is
for me.
Speaker 2 (06:44):
Was a dance to this song with your mom. But
you're sorry.
Speaker 1 (06:51):
I also I forgot to say this in the last
episode really quick. So last episode was Rascal Flats My wish.
It was a song that I danced with my mom.
Speaker 2 (06:59):
Just to remind you said it might have been two
episodes ago.
Speaker 1 (07:01):
Oh yeah, you're right, it was two episodes ago. It
was too And anyway, the thing I wanted to say
was that recently I asked my mom about the song.
I was like, you remember the song that we danced too?
And she was like, no, what song was it? I
was like, Rascal Flats my wish and she was like,
I don't know what does that song? How's it go?
And I was like, wow, So she doesn't even remember
(07:23):
the name of the band, the song how it goes?
She admitted that she got it on a list.
Speaker 2 (07:28):
That's really amazing. She's like, I'm said, don't put my thoughts.
That's beautiful. I kind of love that.
Speaker 1 (07:35):
So this is very different. This is not was not
a part of my wedding at all. And I will
say though I was a big, no doubt fan in
the same way that I did like Weezer, Tragic Kingdom
was big. I even like some songs off their second album,
which was like, there's a song called new and there
I love to Soak in your old bathwater. That song
I don't never remember.
Speaker 2 (07:52):
This new I'm thinking of underneath it all? Is that
her on this.
Speaker 1 (07:57):
That's on this album, that's no doubt. I think it's on.
I think it's on, which I think is like their
third album. The other thing that's really interesting is just
to give you context, like their first album and some
of their second was every song co written by Eric Stefani,
her brother, who didn't want to be in the like
in the band, like didn't want to be on I
(08:17):
don't know, mean like on stage or something. But he
wrote like all those songs.
Speaker 2 (08:22):
I didn't know first, like yeah.
Speaker 1 (08:24):
All those songs he like it was heavy handed in
and then he was like, oh, I like departed from
the band. He's not in the music videos. Then they
blew up. I don't know what he went into or
I don't know, like a big Eric Stefani you know,
biopic yet have you seen a.
Speaker 2 (08:39):
Picture of him?
Speaker 1 (08:40):
No?
Speaker 2 (08:41):
So do you think that could be like a Tyler
Durdon thing?
Speaker 1 (08:44):
Oh wow? So who is I'm.
Speaker 2 (08:46):
Like, mister Robot, Sorry I'm dropping spoilers. No Eric Stefani,
but Eric Stefani Tyler Durdon.
Speaker 1 (08:54):
No.
Speaker 2 (08:54):
What I mean is is it real that she has
a brother or is she the brother.
Speaker 1 (08:59):
That's a If that's true, then she I give her
a lot of credit because that's really it's incredible.
Speaker 2 (09:05):
That's the biggest chancey. I would give her all day.
I'd be like, yo, honestly super respect for either having
some sort of disassociated I know, brother, or for inventing
a brother for songwriting purposes and a narrative.
Speaker 1 (09:18):
I don't know, but I guess.
Speaker 2 (09:21):
You give right now you're thinking about from this when
I don't know where to go.
Speaker 1 (09:27):
But the Tyler Dirdan of the band whoever was wrote
these beautiful songs in my opinion, like Spiderwebs, Sunday Morning obviously, Don't.
Speaker 2 (09:35):
Speak, that's on Project Kingdom too. Damn. Yeah, that was
a big, big record.
Speaker 1 (09:40):
There's another one too that that's another.
Speaker 2 (09:43):
Sit Just a Girl. That was the first song, right,
I'm just just a girl.
Speaker 1 (09:46):
That's I'm sorry. Yeah, thanks, just a Girl. So that's
like four pretty big song like you, yeah, like to
at least two to three. Yeah, Spiderwebs, just a Girl,
and Don't Speak were massive hits, yes, and then there
was maybe another song and then they had another one.
Then this album came out and it was such a
departure for me, like even just the production of it,
(10:06):
and in some ways it led to what I like,
which was some of her solo stuff like Halla Back Girl,
It's really fun. That's the Neptunes totally. Yeah, this song
I looked up was produced by this guy who did
a ton of York. He also produced Nothing Compares to
You by Shane O'Connor. He also did that song Everyone's
(10:27):
Everybody's Free to wear sunscreen.
Speaker 2 (10:29):
Oh yeah, yeah, I don't.
Speaker 1 (10:32):
Yeah, he produced Venus as a Boy. It's so quiet
army of me behavior like army of.
Speaker 2 (10:39):
Me, and I can hear that. I can. I can't
hear the other things you said really, which is funny,
but I can not. All producers only produce one way.
Speaker 1 (10:48):
Also, but yeah, but I would almost say, like if
I had known that, and I didn't know the band
at all, I would maybe go into this a little different.
But it doesn't have any of that kind of B
York cool factor that like this song is really I
don't know, it's too simple in a kind of like
they're trying to have this clubby thing and they went
to pop simple.
Speaker 2 (11:09):
I think, so are we starting with anti chancy or chancy?
Speaker 1 (11:12):
Well? My chancey is that I think if it was
reframed for me like, oh, you know No Doubt featuring
and if this guy was some sort of DJ, I
might be like, Okay, this is a department. This is
different right as they came out being like we're no Doubt,
you know us and this is our new sound.
Speaker 2 (11:26):
Right, Which is interesting because part of what we were
talking about with Ed Shearon is like the courage involved
in being like I think, and I think this is
maybe an indicative of and I don't even know that
it's comparative between the two. You could out, you could
apply it in any context. At that level, it's like
both courageous but also it's part of So you mentioned
(11:48):
Madonna a couple episodes ago. I think about your your
mom listening to her the immaculate collection in the car.
I feel like, what, there's there's an eternal abate, abait
debate about stuff like this. Which is this an eternal abate?
Which is like, is Madonna was Madonna? David Bowie, people
like that shape shifters formal stylistic shape shifters, not literal,
(12:12):
not like you know, you should check look us up.
David Ike. The ramp shape shifters. Yea, yeah, not like that.
But there's people, and I guess I'm more in this
category who see that as a kind of like they
were like ahead of curves, right, or they were like
almost like they could see a wheel that was about
(12:33):
to turn. And then there's the other argument that's like
they took things that were already percolating in underground environments
and sort of like co opted them through the lens
of their kind of established privilege. Both are probably kind
of true because you got to be like looking for
stuff like that to find it. And then also you
can't help if you're Madonna already or David Bowie already, Well,
(12:57):
there you go. You're already up there, you're already. It's
not like you can't. They're they're people who are interested
in art and creativity and things that are exciting to them,
and they're also already super famous people trying to make
new stuff. So something like this, to me, it's like
there is a courage involved in being like, I'm this
(13:17):
kind of artist, but now I'm going to make this
kind of record. It indicates a kind of curiosity and
a kind of aesthetic chancey that they're trying to give
to something different. It also indicates kind of what happens
in like the feeding frenzy of the music industry, which
is like, all right, that's not cool anymore. It's like
Metallica shaving their head and being like, let's make reload
(13:40):
right right.
Speaker 1 (13:40):
But this doesn't feel like that so much. This feels
like they aren't they want They wanted to go in
this direction, which I give them credit for that that
this feels intentional, like they wanted to try something more pop,
like I think that this was something that maybe Quinn
was influenced by and wanted to time, and so it
doesn't feel like they're they're trying to up with something.
(14:01):
I think they were trying to push their own limits,
which I give them a lot. That's the chancey I
give them credit for. My issue is that I think
if they weren't, no doubt an established band and this
was their first song, I don't think it would hit radio.
I will say that it's incredibly catchy. You feel in
hello good, like that's really that's a really catchy chorus.
The problem is that they they do it one hundred
times and it's like it no longer has it actually
(14:23):
as a chancey Thank god, it's kind of wacky, but
that that kind of bridge, that instrumental.
Speaker 2 (14:28):
But like that was almost like something that would be
in like a daft punk song or something, or like
a band like Hot Chip or something like that. Yeah, damn.
And then I feel like what was funny about the
bridge was that that that weird sort of it was
like a late nineties or the two thousands whenever this
record came out, like filtration of like a yacht rock thing. Yeah,
(14:52):
then they go to that funny it's like they're they're
dueling banjos. The next thing is like a little two
lead and that that part I actually authentically was like, whoa,
that's if you gave me a hundred thoughts about what
the next half of that was, and I love that.
Speaker 1 (15:08):
Yes, that's I was so when that came on. At first,
I was like what the hell is this? But then
I was like, no, it's like really refreshing because it's
so repetitive, like Dan Dan yes, you know, like it's
just I.
Speaker 2 (15:20):
Can't sound like a Mario video game. Yeah yeah, and.
Speaker 1 (15:25):
Did it and did it undone, like they was trying
to squeeze one hundred notes into like one little leave.
Speaker 2 (15:44):
I think what you just were talking about, though, is
a stylistic, aesthetic crystallization representation of what my kind of
issue is with Gwen Stefani. I know this is no
doubt she's one of four I'm not I don't mean
to unfair, but as the figurehead, as the kind of
breakout celebrity of the band, the identifier, it's like, you know,
(16:07):
you know, it is what it is. There's this almost weird,
like Gwyneth Paltrow thing for me about her, where she's
like all of the markings of a kind of like
traditionally charismatic, attractive person, you know, figure whatever someone would.
But it's like this song, right, this is as a
(16:28):
lot of music is, and it's great, thankful for it.
This is ultimately a body song. It's it's a sex song.
If you read the lyrics, she's effectively saying, like dancing
as if this is as old as like whatever blues
rock and roll. It's like dancing is basically like a
stand in for sex. That's what has been happening for
(16:48):
as long as you know, definitely as long as the
Beatles and Twist and Shout and Elvis before that, and
Chuck Berry before that, and the Blues Singers before that,
and also some of the lyrics indicate that directly. The
thing is there's always it's been something kind of too
dimensional to me about how she goes about embodying that,
and not just that, but like all of the things,
(17:09):
Like I do think this is a song where a
band wants to push itself out, but I also think
there is something about and certainly later with some of
the stuff she actually kind of got into trouble with
at some point, with like the Harajuku Girls and that
kind of stuff, there was a little bit of appropriation, yes,
And I think there's something about it that's a little
like maybe it's like everything is a copy of a
(17:31):
copy of a copy, and after you make enough copies,
things get a little like blood of their color, a
little degraded. But like there's something about her that feels
not totally it's a little like, uh yeah, like the
stuffing's been removed. There's some it's like it looks like
what it's supposed to look like. I don't mean that
literally exclusively about the way she looks. I mean like
the thing, the art, the yeah, the art, the packaging,
(17:53):
but there's something in it that's just missing. And I
think part of what it is is like the stuff
that's being said, it's like it doesn't inspire any kind
of It's like, this would be cool in the background
of any environment you could think of being in in
the background, like a supermarket, like a loud party where
(18:14):
you couldn't even really tell what the music was, but
there was like something on you could feel them, and
that's maybe enough, Maybe that's enough. But she's not. I've
never found her to be as like there's always something.
I'm like, I gotta like squint a little bit to
find what's compelling about her.
Speaker 1 (18:31):
While I agree, I don't care with her for some reason,
and I don't know why. It's it's not that I
ever thought that she even was the main contributor to
a lot of like the lyrics and stuff, because you know,
I know how bands work sometimes, and I think like
she went, I mean, like it's a bummer that she
went from, you know, like some of the lyrics of
Don't Speak being so specific and just sections that are
(18:54):
like as we die, both you and I with my
head in my hands, I sit and cry like cool
like you know, uh, like little things that are like
kind of personal, like I love that song and I
like a lot of it, and I like the character
of the band, and I think, like that's my bigger issue.
But I will say going back to like the sort
of plastic y vibe of her solo stuff like uh huh,
(19:16):
that's my this is shit has bananas like that to me,
I don't mind for some reason because like fun, yeah,
and it's and it's like I'm not looking for more.
I stopped looking. Maybe it was maybe this was the
transition that got me there, but I stopped looking for
more from her. But I agree that like her later
half of like even just her stuff on the Voice
(19:37):
or like she's with that guy like Cowboy and the Voice,
little Shelton, rich rich cowboy from the Voice, she was with.
Speaker 2 (19:46):
Young Sheldon, the rich cowboy from the Voice.
Speaker 1 (19:49):
Yeah, yeah, the rich cowboy from the Voice. I don't know. Yeah,
maybe I don't know what it was. Maybe this was
like the thing or where it's like I and I
also don't mind when there is sort of a figurehead
that is I don't know, like I don't mind a
puppet sometimes right, Like I don't know, I don't know.
(20:11):
For some reason for me, she pulls off puppet, especially
in that later section, and like, honestly, aside from Bananas Hell,
keep calling Hella good, hollow Back, hallow Back Girl. Yeah, yeah,
there was one other song that was like T Talk
tick you know that, Like it was another hops I
(20:31):
don't know what you what you're waiting for. It's it's
a kind of like another pop song that didn't do that.
It wasn't that big, right, Remember they also like after
all this, they did that Talk Talk cover It's My Life.
Speaker 2 (20:44):
Oh yeah, that was a huge, huge hit and.
Speaker 1 (20:46):
That was later too that I actually think that they
put that on their greatest hits.
Speaker 2 (20:51):
You know what's funny about that actually though, So this
is going to be a super parenthetical thing that has
nothing to do with anything. There's a record producer named
Rob Schnaff. He's made it bych of great records, by
a bunch of people, and we have had the opportunity
to work together a handful of times, and he one
of the first things he ever did. He worked he
was a studio assistant at a bunch of places in
Los Angeles and then he was he got asked to
(21:13):
work on Swallow This Live by Poison Now Live records
and greatest hits records, especially in this era of the
music industry, they're kind of cousins. It's usually something someone's
doing as a contractual obligation to speed getting out of
their contract. It's like, oh, well, if I give you
the greatest hits record and a live record, I'm two
records further up the thing. I didn't know that, yeah, totally.
(21:34):
And that's why, like that Radiohead, the last Radiohead record
on Capitol was a greatest hits record or something.
Speaker 1 (21:41):
I didn't know they had one exactly. I don't think
they why they put out a lot of B side
stuff too, like Ansiac and stuff like that.
Speaker 2 (21:49):
No, I think that might have actually just been like
a mark of ambition. I think Amesiac they were literally like, Hey,
we have a record we think is as good as
this other record we just put out. Let's just do
it six months later.
Speaker 1 (22:00):
Because I thought they made all those songs for Kid
A and they had all these extra songs and they
were like, this is all kid and then they were like, oh,
we should still use these they're good. Maybe we're just saying
the same thing. I didn't know if it was also
like a it was a tool to be like and
it certainly didn't hurt.
Speaker 2 (22:13):
I'm sure if they were able to get that to count,
but this this swallowed this live thing. So Rob's a
young ascendant. He's kind of like a foot in the door.
One of his jobs was on it literal tape machine,
taping together one C. C. Deville guitar solo to put
on the record from all of the ones he did
(22:34):
every night on tour, like he had to find like
and he said that was actually like a particular circle
of hell.
Speaker 1 (22:41):
Why did he need to do it because they were
all kind of they all they wanted bad Spot.
Speaker 2 (22:45):
They wanted Yeah, they kind of wanted to have one
of his guitar. So you know every of those kinds
of shows, it's like the guitars, we get a guitar solo,
the drummer, we get a drum solo. Tommy Lee's up
in something rotating in Motley Crue in the air. And
so he had to like listen to six of them
and put together a three minute guitar solo from like
the best pieces. And this is pre pro tools, pre
(23:07):
any of that. You're doing it on tape anyway. The
reason is that I bring this up is to say.
One of the things that would happen with these records,
and you said it yesterday, I didn't think of it.
You would. They would always write like a new song.
It would be like Alive from this, you know whatever,
Flesh and Blood tour plus one studio track, you know,
like get And there's a story about that where I
(23:30):
guess Brett Michaels and you know, sorry Brett Michaels, but
he said to Rob, what do you think of this lyric?
And Rob was like what what? What is it? And
he was like, my love for you is like the
river of a dried up stream or something. Rob was like, well,
it doesn't really make a lot of sense to me.
(23:53):
He's like, no, you just don't get it. I think
it made it. Oh yeah, anyway, so I have at
that moment none unless you're like Rick Ruben. I guess
if you're Rick Rubin, you might be like, nah, you
can't say that, you know, or somebody like maybe Phil
Spector might have pulled a gun on But if you're
like at a you know, you're just trying to You're like,
(24:13):
I guess I'm working for poison now. Anyway. That's just
to say I guess it's not crazy that they would
have put that talk Talk cover like done it expressly
for greate Sis record. I kind of forgot that was
like a feature of those kinds of things.
Speaker 1 (24:27):
To buy it because you already have the album. Yes,
so it's like another incentive.
Speaker 2 (24:31):
That's all they wanted was, you know, eighteen more bucks.
Going back to what we were saying, though I know
where we're I've written a real chancey no chancy line
this whole time. What I what I think what you're
saying too about? Maybe this is like too much what's
the word, like a stuff that exists outside the song itself,
(24:51):
like but that's part of how my brain works sometimes.
She became such a cultural figure and kind of like
a figure that was kind of like a emblematic of
a kind of like moment in really a kind of
like pop feminism, like a girl boss kind of thing.
And now, who the hell am I to have any
(25:12):
perspective or opinion about that? Perhaps she was every bit
that for a generation of young women and female identifying people.
And if that's the case, then I I sind people like,
that's not for me to say to me, that's part
of you're talking Like why I think it mattered to
me was that I was kind of looking at that
(25:35):
and feeling like there wasn't really much there. Yeah, and
so I was kind of like, well, that's kind of
a bummer, and I'm not everyone's gonna be Shinead O'Connor,
and not everybody's gonna be you know, Kathleen Hannah or
from Quit or something. But there was something about she
kind of came from, Oh.
Speaker 1 (25:52):
You're right, You're so right, You're maybe that's it too,
You're right because just a girl really is this anthem
of like almost it's very punk rock for a band
that sort of like was had punk rock and ska
ethos and like, you know, really home a truly homegrown
band that like toured a lot in a small bus,
like was a real band, not an industry plant. No
(26:13):
put out this message.
Speaker 2 (26:15):
Props them for that too, and then for.
Speaker 1 (26:17):
Yeah, I guess it is I never really put this together,
but you're right, And then to become so plastic and
everyone's you're right, the squinting is like, but maybe there's
maybe it's still just a girl in.
Speaker 2 (26:27):
The yes, yes, yes, yes, but I'm also not the
target demo and also maybe I'm not equipped to maker.
That's my that was my experience, my experience this song.
If it was on somewhere and you were like at
someone's wedding, you'd be dancing, you'd have a fine time.
Speaker 1 (26:56):
Do you think that in the right context the song
could still work? And even honestly, like like I said
when I give you the two choices, I haven't listened
to either song in a long time, and I was like, I,
actually I remember disliking Hella good. I still joke about
it with Lisa about the waves keep on crashing on
me for some reason.
Speaker 2 (27:12):
That's insane. Yeah, that's an also sorry in that same
finish your thought.
Speaker 1 (27:16):
Oh but like when I put this on and it
started playing, I was like, oh wait, did I pick
a song that actually is good?
Speaker 2 (27:22):
It's all of these songs are kind of good. That's
the purpose of this whole thing. There are songs that
they're I think, what's cool about well? And you know music,
this maybe invalidates us doing this at all, music and
art and any other thing. It's totally subjective, and that's
part of what this discussion is. Every time is like
moving around and that's kind of what I love about it.
(27:44):
But there is stuff this song does have, Like there
are cool rhythmic qualities to it. It's very the production
is cool. There's also parts of the production though. It's
interesting to hear that he comes from like that York
world and works with people like that. I've worked with
people like that. There are the moments where there is
this stuff happening that's like a little like here's some
spaceship sounds and she whispered, and I was like, what
(28:06):
did she say? That's supposed to be, Like, maybe there's
something super sexy that could sit at that moment, but
I didn't like butts.
Speaker 1 (28:12):
Yeah, that's super sexy like butts.
Speaker 2 (28:18):
But yeah, I do feel like there was a little
bit of arbitrariness to where some of that stuff was employed,
whereas in something like the Byork songs you mentioned, it
feels not arbitrary at all and aggregating in this way
that's cool as hell and builds a world. This definitely
feels a little bit like somebody who's a tourist in
that world to me, but it is super catchy. I
(28:41):
agree about the chorus. There was a thing when we
were on mut where I was like, wow, every chorus
after the second chorus is a doubled chorus, like that's
a lot. It actually felt like the song was dragging
and it's a dance pop song that's all sugar, and
that's kind of hard to do, like for a song
like that's a slow to feel like it's drag and
you're like, oh, that's not good, right, But I did
(29:03):
want to just say one last in my inco eight ramblings.
The other thing in that that whole first verse, I mean,
I really could do twenty minutes on every verse, but
that you love that first lyric, Your love keeps on
coming like a thunderbolt. I mean, you know, I don't
know if the science there checks out, but that's fine.
But then this lyric that says, come here a little
(29:23):
closer because I want to see you baby, real close up.
That's as like a grandma says to her like like
and it's also kind of doesn't it's a weird thing.
No one would say that like come here, come a
little closer. I want to see your real close up.
Speaker 1 (29:40):
It sounds like a drunk guy in a bar who
wants to fight you here, come here, I want you closer.
Ian's see you real close up? Is what I want
to do like it feels like a threat.
Speaker 2 (29:52):
Yeah, so I mean look and also, but I do
think that's what I'm saying, a performance deserving of standing ovations,
and who would have thought it'd be the two of us.
I don't think that's about dancing. I don't think they've
entered a dance competition. I think we're talking a little
bit about Saltburn Junior. And then it says, so don't
wake me if I'm dreaming, which is that's from like
(30:15):
a Prince song. I mean a lot of people say that,
but that I was like, what is that from? I
think that's from a Prince song?
Speaker 1 (30:21):
Jamin Man I mentioned.
Speaker 2 (30:22):
There's that, but there's something like it's from like don't
Wake Me dreams. Sometimes it snows in April, sometimes the
skies are gray. It's some print song from that like
mid eighties era. Because I'm in the mood come on
and give it up. I don't know if she's talking
about like give up your greatest moves because I love
to dance with you. I don't think so saying give
it up just talking about that Saltburn. So what I
(30:44):
think is something else. I haven't even seen the movie.
But what I do think is I don't understand like
performance deserving of standing ovations. Who would have thought it'd
be the two of us? Right, But don't wake me
if I'm dreaming, because so come on and give it up.
I don't know what that was like.
Speaker 1 (31:03):
It's so good if it's if it is a dream,
it's so good. Don't wake me up because I'm enjoying
it so.
Speaker 2 (31:08):
Much as sex stuff.
Speaker 1 (31:10):
Okay, but you know what we haven't talked about is
Hella Good? You love it, but I don't like it.
I'm fine with it now.
Speaker 2 (31:18):
And aren't they from southern California? Isn't that supposed to
be They're trying to show you like their friend they
know sublime.
Speaker 1 (31:25):
It's so strange that the song is called Hella Good
and it has nothing to do with like the origin
of that. Or maybe they're just trying to keep it
so casual, like if I had sex with someone I
hope one day, yeah, and they returned to me and
they went, that was Hella good. I just I mean,
I don't know. Maybe I could see it.
Speaker 2 (31:45):
Well, I think it would depend on the person in
the context, But I feel you, no, I don't.
Speaker 1 (31:50):
I mean, it's not just know in the comments, if
someone's ever turned to you and said that was Hella
good after if you've.
Speaker 2 (31:55):
Ever turned to someone after salt burn and said.
Speaker 1 (32:00):
Got me feeling Hella good.
Speaker 2 (32:01):
Honestly, I don't know if I was dreaming or not,
but if I am, don't wake me up. And also
he's just standing ovacious.
Speaker 1 (32:09):
Well that was Hella good. And I don't think we
do Beverly Hills, right. I think it's off the table now.
Speaker 2 (32:14):
I don't know. Maybe it comes back in season eight.
Speaker 1 (32:17):
You're right, you know what, You're right.
Speaker 2 (32:20):
That's the best damn champagne I had in my life.
Speaker 1 (32:25):
Well, thank you all for listening. You got us feeling
hella good by listening, and uh, we'll see you next time.
Speaker 2 (32:31):
That's true. Anything else, keV, No, definitely not. I do
have to go, though, I have. I'm going to see
a Mattenee screaming of salt.
Speaker 1 (32:39):
Me man's screaming, screaming of salt.
Speaker 2 (32:42):
Yeah, I'll be yelling throughout the.
Speaker 1 (32:44):
Theater, all right, I'll see on the greatest sens
Speaker 2 (32:50):
Eave me damns.
Give it a chance, give it a chance. Give it
a chick. Come morning, Give it a chance, Give it
a chance, give it a chance, give it a chance.
Come morning, and give it a chi you want to
give it a chance, give it a chance, give it
a chance. Just oka, my man. I actually so, I
was just a little to pull the curtain back.
Speaker 2 (00:24):
I was.
Speaker 1 (00:24):
I was like, I'm running late, I am am finishing
a call. And I finished that call and I was like, oh, wait,
what song do I have?
Speaker 2 (00:31):
Do you have one?
Speaker 1 (00:32):
Oh? Yeah, okay, I actually like have I have actually
a few. I don't know what to do because I
have a few on the dock that I think all
like a lot of these are in the same category.
And I was thinking, maybe I do a little you
choose it's the adventure. Okay, I'm gonna put you head
(00:52):
to head, wow, and you're gonna pick which of these
songs you think resonates as a worse song that you
would want, that you don't want almost you don't you
the one you like least?
Speaker 2 (01:04):
Okay?
Speaker 1 (01:05):
And to me, both of these symbolize are maybe not
the right the exact symbol, but like they symbolize the
downfall of bands that I actually really liked.
Speaker 2 (01:16):
Oh, very specific category.
Speaker 1 (01:17):
Okay, okay, And I don't know if you if you
share it, and whether you share it or not. I
want to see which one of these.
Speaker 2 (01:23):
I love this, this category, actually, this is good.
Speaker 1 (01:26):
Okay, your choices.
Speaker 2 (01:29):
I just close my eyes.
Speaker 1 (01:30):
I don't know why.
Speaker 2 (01:30):
I want to go into a prayerful, meditative space.
Speaker 1 (01:34):
Beverly Hills by Weezer or Hella good Bye No Doubt.
Speaker 2 (01:37):
Okay, so I definitely was more. I have way more
personal pizza coming, so I have to go. No, I
have way more. I have way more of a personal
connection to Weezer than No Doubt. Yeah, I mean I'm
(01:57):
a misogynist, ultimately, it is what it is. Yeah, No,
I just you know, I love Spiderwebs, but I don't
really No Doubt it's not really you know, don't speak
is great, But that wasn't really my where my bread
got buttered? I think I say that every yep. But anyway,
I feel like Weezer was like Weezer, you know, they
were dead red in the middle for me for a while.
(02:19):
Maybe that's too close to the bone. Maybe we should
do No Doubt specifically for that reason. Beautiful it it
can always come back to Weeze.
Speaker 1 (02:26):
It's your journey, it's mine journey. I would say that
in some ways, I think Beverly Hills is more hated,
but I think Hella Good is worse.
Speaker 2 (02:34):
Well, what's weird about Weezer in this? Maybe we'll just
do a little capsule ninety seconds on this. Yeah, I mean,
it's why there was that Snel skit about it the people,
which is so funny and so niche and so crazy
that that was something that aired on you know, national television,
on the premiere sketch. It's amazing that.
Speaker 1 (02:52):
They did years or more after like the albums they're
talking about even came out.
Speaker 2 (02:56):
And it wasn't like they were the musical guest. It
just was like, it's so funny. But you know, to
say Beverly Hills is reviled by the people, by Weezer fans,
it's only accurate about a certain demographic and percentage. And
what I wonder is if that demographic and percentage has
actually become superseded, like by the people that came in
(03:18):
Beverly Hills forward, you know what I mean. There's Weezer's
playing like you know, it's like they're on tour with
Green Day and Fallout Boy playing City Field. It's not like, so,
whatever's going on with Weezer. They did like that tour
this summer that where like Modest Mouse was opening for
them on some kind of tour.
Speaker 1 (03:35):
I saw them in Utah. It was Pixies opening up
for Weezer.
Speaker 2 (03:38):
I was like that, that's right, Yes, that's what it was. Yes, yes,
And so I feel like that's not all people who
loved Pinkerton, you know, that's definitely something that's something has shifted.
And for someone like me that was kind of like
I was even and maybe this just makes me sound
like a garden variety snob. I actually would love to
(03:58):
indicates people that what I there's so it's so the opposite.
I'm like, so it's almost ignorance, a good snobbery. But
I definitely like I was somebody who like even the
Green album. When I got that, I was like, I
really tried to give that a chance, and the songs
are they're they're perfect in their way, but it was
(04:18):
like the spinal column had been removed or something, and
so anything from that point forward it's really like almost
like a Frankenstein monster. So anyway, I feel like like
it looks like Weezer, it sounds like Weezer, but the
thing that animated it for me was a bit zombified
in some way. I should probably shut up because also
(04:39):
there's there's some every once in a while I get
like I have the opportunity to do things like write
lyrics that might be for somebody else, and you know,
listen Rivers. If you ever want anythings, let me know.
But he's and he's incredible. He's actually like his melodic sensibility,
his construction, that's what makes it all the more frustrating.
Speaker 1 (05:02):
But we're not here for now.
Speaker 2 (05:05):
It's nice to have a little capsule inside. It's like Russian.
Can we say Russian nesting dolls? Anymore? Nesting dolls? I
don't know if you're supposed to say Ussian nesting dolls,
but I'll say of you know, boo boo change and
I think it's time to pivot to the real innermost doll.
Speaker 1 (05:24):
I don't typically do this, but I'm going to give
you the opening lyric to this song.
Speaker 2 (05:31):
Her lyrics are the problem often for me, but yes, yeah,
really hard on chancey terms.
Speaker 1 (05:37):
I'm going to hit you with this lyric and then
We're going to go listen to the song Oh God.
It's an opening lyric to the song the waves keep
on crashing on me for some reason. Enjoy questioner.
Speaker 2 (05:57):
You know what's funny sometimes, Casey, is when we come
out of the break. I experienced so much joy watching
you listening, and I also have this more where I
have to remember the entire purpose of this in every
app is to give it a Chancey. I come, there's
a part of my brain and this is maybe something.
(06:18):
You know, this is good for me. It's holding up
a mirror to some of the uglier aspects of my
spiritual condition. There's a part of my brain that wants
to come out right away and evaporate any chance of
a chancy. But that's not what we're here to do.
I know.
Speaker 1 (06:32):
I while I listen, I actually think of more things
I dislike than I do like. And you're right, but I,
you know, I have some things to give it a Chancey.
I will set the scene and say that this is
for me.
Speaker 2 (06:44):
Was a dance to this song with your mom. But
you're sorry.
Speaker 1 (06:51):
I also I forgot to say this in the last
episode really quick. So last episode was Rascal Flats My wish.
It was a song that I danced with my mom.
Speaker 2 (06:59):
Just to remind you said it might have been two
episodes ago.
Speaker 1 (07:01):
Oh yeah, you're right, it was two episodes ago. It
was too And anyway, the thing I wanted to say
was that recently I asked my mom about the song.
I was like, you remember the song that we danced too?
And she was like, no, what song was it? I
was like, Rascal Flats my wish and she was like,
I don't know what does that song? How's it go?
And I was like, wow, So she doesn't even remember
(07:23):
the name of the band, the song how it goes?
She admitted that she got it on a list.
Speaker 2 (07:28):
That's really amazing. She's like, I'm said, don't put my thoughts.
That's beautiful. I kind of love that.
Speaker 1 (07:35):
So this is very different. This is not was not
a part of my wedding at all. And I will
say though I was a big, no doubt fan in
the same way that I did like Weezer, Tragic Kingdom
was big. I even like some songs off their second album,
which was like, there's a song called new and there
I love to Soak in your old bathwater. That song
I don't never remember.
Speaker 2 (07:52):
This new I'm thinking of underneath it all? Is that
her on this.
Speaker 1 (07:57):
That's on this album, that's no doubt. I think it's on.
I think it's on, which I think is like their
third album. The other thing that's really interesting is just
to give you context, like their first album and some
of their second was every song co written by Eric Stefani,
her brother, who didn't want to be in the like
in the band, like didn't want to be on I
(08:17):
don't know, mean like on stage or something. But he
wrote like all those songs.
Speaker 2 (08:22):
I didn't know first, like yeah.
Speaker 1 (08:24):
All those songs he like it was heavy handed in
and then he was like, oh, I like departed from
the band. He's not in the music videos. Then they
blew up. I don't know what he went into or
I don't know, like a big Eric Stefani you know,
biopic yet have you seen a.
Speaker 2 (08:39):
Picture of him?
Speaker 1 (08:40):
No?
Speaker 2 (08:41):
So do you think that could be like a Tyler
Durdon thing?
Speaker 1 (08:44):
Oh wow? So who is I'm.
Speaker 2 (08:46):
Like, mister Robot, Sorry I'm dropping spoilers. No Eric Stefani,
but Eric Stefani Tyler Durdon.
Speaker 1 (08:54):
No.
Speaker 2 (08:54):
What I mean is is it real that she has
a brother or is she the brother.
Speaker 1 (08:59):
That's a If that's true, then she I give her
a lot of credit because that's really it's incredible.
Speaker 2 (09:05):
That's the biggest chancey. I would give her all day.
I'd be like, yo, honestly super respect for either having
some sort of disassociated I know, brother, or for inventing
a brother for songwriting purposes and a narrative.
Speaker 1 (09:18):
I don't know, but I guess.
Speaker 2 (09:21):
You give right now you're thinking about from this when
I don't know where to go.
Speaker 1 (09:27):
But the Tyler Dirdan of the band whoever was wrote
these beautiful songs in my opinion, like Spiderwebs, Sunday Morning obviously, Don't.
Speaker 2 (09:35):
Speak, that's on Project Kingdom too. Damn. Yeah, that was
a big, big record.
Speaker 1 (09:40):
There's another one too that that's another.
Speaker 2 (09:43):
Sit Just a Girl. That was the first song, right,
I'm just just a girl.
Speaker 1 (09:46):
That's I'm sorry. Yeah, thanks, just a Girl. So that's
like four pretty big song like you, yeah, like to
at least two to three. Yeah, Spiderwebs, just a Girl,
and Don't Speak were massive hits, yes, and then there
was maybe another song and then they had another one.
Then this album came out and it was such a
departure for me, like even just the production of it,
(10:06):
and in some ways it led to what I like,
which was some of her solo stuff like Halla Back Girl,
It's really fun. That's the Neptunes totally. Yeah, this song
I looked up was produced by this guy who did
a ton of York. He also produced Nothing Compares to
You by Shane O'Connor. He also did that song Everyone's
(10:27):
Everybody's Free to wear sunscreen.
Speaker 2 (10:29):
Oh yeah, yeah, I don't.
Speaker 1 (10:32):
Yeah, he produced Venus as a Boy. It's so quiet
army of me behavior like army of.
Speaker 2 (10:39):
Me, and I can hear that. I can. I can't
hear the other things you said really, which is funny,
but I can not. All producers only produce one way.
Speaker 1 (10:48):
Also, but yeah, but I would almost say, like if
I had known that, and I didn't know the band
at all, I would maybe go into this a little different.
But it doesn't have any of that kind of B
York cool factor that like this song is really I
don't know, it's too simple in a kind of like
they're trying to have this clubby thing and they went
to pop simple.
Speaker 2 (11:09):
I think, so are we starting with anti chancy or chancy?
Speaker 1 (11:12):
Well? My chancey is that I think if it was
reframed for me like, oh, you know No Doubt featuring
and if this guy was some sort of DJ, I
might be like, Okay, this is a department. This is
different right as they came out being like we're no Doubt,
you know us and this is our new sound.
Speaker 2 (11:26):
Right, Which is interesting because part of what we were
talking about with Ed Shearon is like the courage involved
in being like I think, and I think this is
maybe an indicative of and I don't even know that
it's comparative between the two. You could out, you could
apply it in any context. At that level, it's like
both courageous but also it's part of So you mentioned
(11:48):
Madonna a couple episodes ago. I think about your your
mom listening to her the immaculate collection in the car.
I feel like, what, there's there's an eternal abate, abait
debate about stuff like this. Which is this an eternal abate?
Which is like, is Madonna was Madonna? David Bowie, people
like that shape shifters formal stylistic shape shifters, not literal,
(12:12):
not like you know, you should check look us up.
David Ike. The ramp shape shifters. Yea, yeah, not like that.
But there's people, and I guess I'm more in this
category who see that as a kind of like they
were like ahead of curves, right, or they were like
almost like they could see a wheel that was about
(12:33):
to turn. And then there's the other argument that's like
they took things that were already percolating in underground environments
and sort of like co opted them through the lens
of their kind of established privilege. Both are probably kind
of true because you got to be like looking for
stuff like that to find it. And then also you
can't help if you're Madonna already or David Bowie already, Well,
(12:57):
there you go. You're already up there, you're already. It's
not like you can't. They're they're people who are interested
in art and creativity and things that are exciting to them,
and they're also already super famous people trying to make
new stuff. So something like this, to me, it's like
there is a courage involved in being like, I'm this
(13:17):
kind of artist, but now I'm going to make this
kind of record. It indicates a kind of curiosity and
a kind of aesthetic chancey that they're trying to give
to something different. It also indicates kind of what happens
in like the feeding frenzy of the music industry, which
is like, all right, that's not cool anymore. It's like
Metallica shaving their head and being like, let's make reload
(13:40):
right right.
Speaker 1 (13:40):
But this doesn't feel like that so much. This feels
like they aren't they want They wanted to go in
this direction, which I give them credit for that that
this feels intentional, like they wanted to try something more pop,
like I think that this was something that maybe Quinn
was influenced by and wanted to time, and so it
doesn't feel like they're they're trying to up with something.
(14:01):
I think they were trying to push their own limits,
which I give them a lot. That's the chancey I
give them credit for. My issue is that I think
if they weren't, no doubt an established band and this
was their first song, I don't think it would hit radio.
I will say that it's incredibly catchy. You feel in
hello good, like that's really that's a really catchy chorus.
The problem is that they they do it one hundred
times and it's like it no longer has it actually
(14:23):
as a chancey Thank god, it's kind of wacky, but
that that kind of bridge, that instrumental.
Speaker 2 (14:28):
But like that was almost like something that would be
in like a daft punk song or something, or like
a band like Hot Chip or something like that. Yeah, damn.
And then I feel like what was funny about the
bridge was that that that weird sort of it was
like a late nineties or the two thousands whenever this
record came out, like filtration of like a yacht rock thing. Yeah,
(14:52):
then they go to that funny it's like they're they're
dueling banjos. The next thing is like a little two
lead and that that part I actually authentically was like, whoa,
that's if you gave me a hundred thoughts about what
the next half of that was, and I love that.
Speaker 1 (15:08):
Yes, that's I was so when that came on. At first,
I was like what the hell is this? But then
I was like, no, it's like really refreshing because it's
so repetitive, like Dan Dan yes, you know, like it's
just I.
Speaker 2 (15:20):
Can't sound like a Mario video game. Yeah yeah, and.
Speaker 1 (15:25):
Did it and did it undone, like they was trying
to squeeze one hundred notes into like one little leave.
Speaker 2 (15:44):
I think what you just were talking about, though, is
a stylistic, aesthetic crystallization representation of what my kind of
issue is with Gwen Stefani. I know this is no
doubt she's one of four I'm not I don't mean
to unfair, but as the figurehead, as the kind of
breakout celebrity of the band, the identifier, it's like, you know,
(16:07):
you know, it is what it is. There's this almost weird,
like Gwyneth Paltrow thing for me about her, where she's
like all of the markings of a kind of like
traditionally charismatic, attractive person, you know, figure whatever someone would.
But it's like this song, right, this is as a
(16:28):
lot of music is, and it's great, thankful for it.
This is ultimately a body song. It's it's a sex song.
If you read the lyrics, she's effectively saying, like dancing
as if this is as old as like whatever blues
rock and roll. It's like dancing is basically like a
stand in for sex. That's what has been happening for
(16:48):
as long as you know, definitely as long as the
Beatles and Twist and Shout and Elvis before that, and
Chuck Berry before that, and the Blues Singers before that,
and also some of the lyrics indicate that directly. The
thing is there's always it's been something kind of too
dimensional to me about how she goes about embodying that,
and not just that, but like all of the things,
(17:09):
Like I do think this is a song where a
band wants to push itself out, but I also think
there is something about and certainly later with some of
the stuff she actually kind of got into trouble with
at some point, with like the Harajuku Girls and that
kind of stuff, there was a little bit of appropriation, yes,
And I think there's something about it that's a little
like maybe it's like everything is a copy of a
(17:31):
copy of a copy, and after you make enough copies,
things get a little like blood of their color, a
little degraded. But like there's something about her that feels
not totally it's a little like, uh yeah, like the
stuffing's been removed. There's some it's like it looks like
what it's supposed to look like. I don't mean that
literally exclusively about the way she looks. I mean like
the thing, the art, the yeah, the art, the packaging,
(17:53):
but there's something in it that's just missing. And I
think part of what it is is like the stuff
that's being said, it's like it doesn't inspire any kind
of It's like, this would be cool in the background
of any environment you could think of being in in
the background, like a supermarket, like a loud party where
(18:14):
you couldn't even really tell what the music was, but
there was like something on you could feel them, and
that's maybe enough, Maybe that's enough. But she's not. I've
never found her to be as like there's always something.
I'm like, I gotta like squint a little bit to
find what's compelling about her.
Speaker 1 (18:31):
While I agree, I don't care with her for some reason,
and I don't know why. It's it's not that I
ever thought that she even was the main contributor to
a lot of like the lyrics and stuff, because you know,
I know how bands work sometimes, and I think like
she went, I mean, like it's a bummer that she
went from, you know, like some of the lyrics of
Don't Speak being so specific and just sections that are
(18:54):
like as we die, both you and I with my
head in my hands, I sit and cry like cool
like you know, uh, like little things that are like
kind of personal, like I love that song and I
like a lot of it, and I like the character
of the band, and I think, like that's my bigger issue.
But I will say going back to like the sort
of plastic y vibe of her solo stuff like uh huh,
(19:16):
that's my this is shit has bananas like that to me,
I don't mind for some reason because like fun, yeah,
and it's and it's like I'm not looking for more.
I stopped looking. Maybe it was maybe this was the
transition that got me there, but I stopped looking for
more from her. But I agree that like her later
half of like even just her stuff on the Voice
(19:37):
or like she's with that guy like Cowboy and the Voice,
little Shelton, rich rich cowboy from the Voice, she was with.
Speaker 2 (19:46):
Young Sheldon, the rich cowboy from the Voice.
Speaker 1 (19:49):
Yeah, yeah, the rich cowboy from the Voice. I don't know. Yeah,
maybe I don't know what it was. Maybe this was
like the thing or where it's like I and I
also don't mind when there is sort of a figurehead
that is I don't know, like I don't mind a
puppet sometimes right, Like I don't know, I don't know.
(20:11):
For some reason for me, she pulls off puppet, especially
in that later section, and like, honestly, aside from Bananas Hell,
keep calling Hella good, hollow Back, hallow Back Girl. Yeah, yeah,
there was one other song that was like T Talk
tick you know that, Like it was another hops I
(20:31):
don't know what you what you're waiting for. It's it's
a kind of like another pop song that didn't do that.
It wasn't that big, right, Remember they also like after
all this, they did that Talk Talk cover It's My Life.
Speaker 2 (20:44):
Oh yeah, that was a huge, huge hit and.
Speaker 1 (20:46):
That was later too that I actually think that they
put that on their greatest hits.
Speaker 2 (20:51):
You know what's funny about that actually though, So this
is going to be a super parenthetical thing that has
nothing to do with anything. There's a record producer named
Rob Schnaff. He's made it bych of great records, by
a bunch of people, and we have had the opportunity
to work together a handful of times, and he one
of the first things he ever did. He worked he
was a studio assistant at a bunch of places in
Los Angeles and then he was he got asked to
(21:13):
work on Swallow This Live by Poison Now Live records
and greatest hits records, especially in this era of the
music industry, they're kind of cousins. It's usually something someone's
doing as a contractual obligation to speed getting out of
their contract. It's like, oh, well, if I give you
the greatest hits record and a live record, I'm two
records further up the thing. I didn't know that, yeah, totally.
(21:34):
And that's why, like that Radiohead, the last Radiohead record
on Capitol was a greatest hits record or something.
Speaker 1 (21:41):
I didn't know they had one exactly. I don't think
they why they put out a lot of B side
stuff too, like Ansiac and stuff like that.
Speaker 2 (21:49):
No, I think that might have actually just been like
a mark of ambition. I think Amesiac they were literally like, Hey,
we have a record we think is as good as
this other record we just put out. Let's just do
it six months later.
Speaker 1 (22:00):
Because I thought they made all those songs for Kid
A and they had all these extra songs and they
were like, this is all kid and then they were like, oh,
we should still use these they're good. Maybe we're just saying
the same thing. I didn't know if it was also
like a it was a tool to be like and
it certainly didn't hurt.
Speaker 2 (22:13):
I'm sure if they were able to get that to count,
but this this swallowed this live thing. So Rob's a
young ascendant. He's kind of like a foot in the door.
One of his jobs was on it literal tape machine,
taping together one C. C. Deville guitar solo to put
on the record from all of the ones he did
(22:34):
every night on tour, like he had to find like
and he said that was actually like a particular circle
of hell.
Speaker 1 (22:41):
Why did he need to do it because they were
all kind of they all they wanted bad Spot.
Speaker 2 (22:45):
They wanted Yeah, they kind of wanted to have one
of his guitar. So you know every of those kinds
of shows, it's like the guitars, we get a guitar solo,
the drummer, we get a drum solo. Tommy Lee's up
in something rotating in Motley Crue in the air. And
so he had to like listen to six of them
and put together a three minute guitar solo from like
the best pieces. And this is pre pro tools, pre
(23:07):
any of that. You're doing it on tape anyway. The
reason is that I bring this up is to say.
One of the things that would happen with these records,
and you said it yesterday, I didn't think of it.
You would. They would always write like a new song.
It would be like Alive from this, you know whatever,
Flesh and Blood tour plus one studio track, you know,
like get And there's a story about that where I
(23:30):
guess Brett Michaels and you know, sorry Brett Michaels, but
he said to Rob, what do you think of this lyric?
And Rob was like what what? What is it? And
he was like, my love for you is like the
river of a dried up stream or something. Rob was like, well,
it doesn't really make a lot of sense to me.
(23:53):
He's like, no, you just don't get it. I think
it made it. Oh yeah, anyway, so I have at
that moment none unless you're like Rick Ruben. I guess
if you're Rick Rubin, you might be like, nah, you
can't say that, you know, or somebody like maybe Phil
Spector might have pulled a gun on But if you're
like at a you know, you're just trying to You're like,
(24:13):
I guess I'm working for poison now. Anyway. That's just
to say I guess it's not crazy that they would
have put that talk Talk cover like done it expressly
for greate Sis record. I kind of forgot that was
like a feature of those kinds of things.
Speaker 1 (24:27):
To buy it because you already have the album. Yes,
so it's like another incentive.
Speaker 2 (24:31):
That's all they wanted was, you know, eighteen more bucks.
Going back to what we were saying, though I know
where we're I've written a real chancey no chancy line
this whole time. What I what I think what you're
saying too about? Maybe this is like too much what's
the word, like a stuff that exists outside the song itself,
(24:51):
like but that's part of how my brain works sometimes.
She became such a cultural figure and kind of like
a figure that was kind of like a emblematic of
a kind of like moment in really a kind of
like pop feminism, like a girl boss kind of thing.
And now, who the hell am I to have any
(25:12):
perspective or opinion about that? Perhaps she was every bit
that for a generation of young women and female identifying people.
And if that's the case, then I I sind people like,
that's not for me to say to me, that's part
of you're talking Like why I think it mattered to
me was that I was kind of looking at that
(25:35):
and feeling like there wasn't really much there. Yeah, and
so I was kind of like, well, that's kind of
a bummer, and I'm not everyone's gonna be Shinead O'Connor,
and not everybody's gonna be you know, Kathleen Hannah or
from Quit or something. But there was something about she
kind of came from, Oh.
Speaker 1 (25:52):
You're right, You're so right, You're maybe that's it too,
You're right because just a girl really is this anthem
of like almost it's very punk rock for a band
that sort of like was had punk rock and ska
ethos and like, you know, really home a truly homegrown
band that like toured a lot in a small bus,
like was a real band, not an industry plant. No
(26:13):
put out this message.
Speaker 2 (26:15):
Props them for that too, and then for.
Speaker 1 (26:17):
Yeah, I guess it is I never really put this together,
but you're right, And then to become so plastic and
everyone's you're right, the squinting is like, but maybe there's
maybe it's still just a girl in.
Speaker 2 (26:27):
The yes, yes, yes, yes, but I'm also not the
target demo and also maybe I'm not equipped to maker.
That's my that was my experience, my experience this song.
If it was on somewhere and you were like at
someone's wedding, you'd be dancing, you'd have a fine time.
Speaker 1 (26:56):
Do you think that in the right context the song
could still work? And even honestly, like like I said
when I give you the two choices, I haven't listened
to either song in a long time, and I was like, I,
actually I remember disliking Hella good. I still joke about
it with Lisa about the waves keep on crashing on
me for some reason.
Speaker 2 (27:12):
That's insane. Yeah, that's an also sorry in that same
finish your thought.
Speaker 1 (27:16):
Oh but like when I put this on and it
started playing, I was like, oh wait, did I pick
a song that actually is good?
Speaker 2 (27:22):
It's all of these songs are kind of good. That's
the purpose of this whole thing. There are songs that
they're I think, what's cool about well? And you know music,
this maybe invalidates us doing this at all, music and
art and any other thing. It's totally subjective, and that's
part of what this discussion is. Every time is like
moving around and that's kind of what I love about it.
(27:44):
But there is stuff this song does have, Like there
are cool rhythmic qualities to it. It's very the production
is cool. There's also parts of the production though. It's
interesting to hear that he comes from like that York
world and works with people like that. I've worked with
people like that. There are the moments where there is
this stuff happening that's like a little like here's some
spaceship sounds and she whispered, and I was like, what
(28:06):
did she say? That's supposed to be, Like, maybe there's
something super sexy that could sit at that moment, but
I didn't like butts.
Speaker 1 (28:12):
Yeah, that's super sexy like butts.
Speaker 2 (28:18):
But yeah, I do feel like there was a little
bit of arbitrariness to where some of that stuff was employed,
whereas in something like the Byork songs you mentioned, it
feels not arbitrary at all and aggregating in this way
that's cool as hell and builds a world. This definitely
feels a little bit like somebody who's a tourist in
that world to me, but it is super catchy. I
(28:41):
agree about the chorus. There was a thing when we
were on mut where I was like, wow, every chorus
after the second chorus is a doubled chorus, like that's
a lot. It actually felt like the song was dragging
and it's a dance pop song that's all sugar, and
that's kind of hard to do, like for a song
like that's a slow to feel like it's drag and
you're like, oh, that's not good, right, But I did
(29:03):
want to just say one last in my inco eight ramblings.
The other thing in that that whole first verse, I mean,
I really could do twenty minutes on every verse, but
that you love that first lyric, Your love keeps on
coming like a thunderbolt. I mean, you know, I don't
know if the science there checks out, but that's fine.
But then this lyric that says, come here a little
(29:23):
closer because I want to see you baby, real close up.
That's as like a grandma says to her like like
and it's also kind of doesn't it's a weird thing.
No one would say that like come here, come a
little closer. I want to see your real close up.
Speaker 1 (29:40):
It sounds like a drunk guy in a bar who
wants to fight you here, come here, I want you closer.
Ian's see you real close up? Is what I want
to do like it feels like a threat.
Speaker 2 (29:52):
Yeah, so I mean look and also, but I do
think that's what I'm saying, a performance deserving of standing ovations,
and who would have thought it'd be the two of us.
I don't think that's about dancing. I don't think they've
entered a dance competition. I think we're talking a little
bit about Saltburn Junior. And then it says, so don't
wake me if I'm dreaming, which is that's from like
(30:15):
a Prince song. I mean a lot of people say that,
but that I was like, what is that from? I
think that's from a Prince song?
Speaker 1 (30:21):
Jamin Man I mentioned.
Speaker 2 (30:22):
There's that, but there's something like it's from like don't
Wake Me dreams. Sometimes it snows in April, sometimes the
skies are gray. It's some print song from that like
mid eighties era. Because I'm in the mood come on
and give it up. I don't know if she's talking
about like give up your greatest moves because I love
to dance with you. I don't think so saying give
it up just talking about that Saltburn. So what I
(30:44):
think is something else. I haven't even seen the movie.
But what I do think is I don't understand like
performance deserving of standing ovations. Who would have thought it'd
be the two of us? Right, But don't wake me
if I'm dreaming, because so come on and give it up.
I don't know what that was like.
Speaker 1 (31:03):
It's so good if it's if it is a dream,
it's so good. Don't wake me up because I'm enjoying
it so.
Speaker 2 (31:08):
Much as sex stuff.
Speaker 1 (31:10):
Okay, but you know what we haven't talked about is
Hella Good? You love it, but I don't like it.
I'm fine with it now.
Speaker 2 (31:18):
And aren't they from southern California? Isn't that supposed to
be They're trying to show you like their friend they
know sublime.
Speaker 1 (31:25):
It's so strange that the song is called Hella Good
and it has nothing to do with like the origin
of that. Or maybe they're just trying to keep it
so casual, like if I had sex with someone I
hope one day, yeah, and they returned to me and
they went, that was Hella good. I just I mean,
I don't know. Maybe I could see it.
Speaker 2 (31:45):
Well, I think it would depend on the person in
the context, But I feel you, no, I don't.
Speaker 1 (31:50):
I mean, it's not just know in the comments, if
someone's ever turned to you and said that was Hella
good after if you've.
Speaker 2 (31:55):
Ever turned to someone after salt burn and said.
Speaker 1 (32:00):
Got me feeling Hella good.
Speaker 2 (32:01):
Honestly, I don't know if I was dreaming or not,
but if I am, don't wake me up. And also
he's just standing ovacious.
Speaker 1 (32:09):
Well that was Hella good. And I don't think we
do Beverly Hills, right. I think it's off the table now.
Speaker 2 (32:14):
I don't know. Maybe it comes back in season eight.
Speaker 1 (32:17):
You're right, you know what, You're right.
Speaker 2 (32:20):
That's the best damn champagne I had in my life.
Speaker 1 (32:25):
Well, thank you all for listening. You got us feeling
hella good by listening, and uh, we'll see you next time.
Speaker 2 (32:31):
That's true. Anything else, keV, No, definitely not. I do
have to go, though, I have. I'm going to see
a Mattenee screaming of salt.
Speaker 1 (32:39):
Me man's screaming, screaming of salt.
Speaker 2 (32:42):
Yeah, I'll be yelling throughout the.
Speaker 1 (32:44):
Theater, all right, I'll see on the greatest sens
Speaker 2 (32:50):
Eave me damns.
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