May 30, 2024 • 34 mins
Kevin and Casey push and pull like a magnet do over this massive radio smash. Kevin comes for Ed Sheeran in what some are saying is the first case of “ginger on ginger crime”. Will the boys hate The Shape Of You or is their love handmade for somebody like ED?!?!
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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 chance. Good morning, give it a chance, Give it
a chance, give it a chance, give it a chance.
Good morning. Give it you want to give it a chance,
give it a chance, give it a chance. Just hi, folks,
it's us, Kevin, Divine and Casey Jo. Just back up
in it.
Speaker 2 (00:23):
Wow, you said my name and your name. I like that.
Speaker 1 (00:26):
I switch it up every time.
Speaker 2 (00:28):
Switching it up is the spice of nights.
Speaker 1 (00:32):
Is that the song today?
Speaker 2 (00:34):
Yep?
Speaker 1 (00:35):
So I want to tell switching it up.
Speaker 2 (00:38):
Nights, first of all, welcome back to give it a chance,
Casey and I do just that with songs that I
don't know. I guess it's a subjectively arrived at thing.
But you know, I don't know if we would say there.
I mean, reviled is a strong word. They're not revived.
Millions of people like them, but there's something about them.
Speaker 1 (00:58):
I think what we're revolving every day as humans, but
we're evolving in terms of I think. The way I
see this, you know, just to peel back the onion
is I see it as songs that the world hates,
and then also songs that we might dislike to some degree,
and I think obviously.
Speaker 2 (01:18):
The world is big enough that even something where millions
and millions of people love it, that means there's billions
of people that are either ignorant to it or actively
don't like it. Yes, and I'm always going to be
one of those three categories. I like it, I'm ignorant,
I don't like it. But the thing that I so
(01:39):
also something people should know. To this point, I think
this is our fifth Omar.
Speaker 1 (01:43):
Yeah, I think so.
Speaker 2 (01:44):
So we're doing these apps and I think that to
this point, Ksey has really burdened that carry the burden, burden,
the load loaded bird up.
Speaker 1 (01:54):
It's a tough burden too, It's really hard.
Speaker 2 (01:56):
He's exhausted. I'm looking at him. It's a lot, but
he's the songs and that's been part of the conceit.
And today I don't know if we'll do this every
five epps. If that's like, we'll figure it out.
Speaker 1 (02:06):
If it's a really thing today, young Deebs, it's.
Speaker 2 (02:09):
Up to young Deebs forty four years young debs to
pick the song. And you know something I do want
to say. Something I love about doing this with you,
Casey is like I feel like we could talk for
hours and hours about the sweet and the sour and like.
Speaker 1 (02:25):
Uh oh wow.
Speaker 2 (02:29):
And like I just we push and pull like a magnet,
do you know? And so I want you to, you know,
spend some time with do you know what the song is?
Speaker 1 (02:43):
I'm so close, I'm almost there. I'm getting it. I'm
getting sort of a.
Speaker 2 (02:48):
It's almost like you can see the sort of like
the outline, the contour, almost like the shape.
Speaker 1 (02:54):
Is this like an Incubus song?
Speaker 2 (02:58):
No, I will tell you that I made a conscious effort.
There was some like nineties stuff I wanted to go to. Yeah,
some stuff that's close to genres of music I actually
do like a lot that I wanted to go to,
which I feel like we've flirted with a little of
that a few times, some kind of like bastardized version
of something. And then I was like, I kind of
wanted to pick something more current, current ish and something
(03:23):
that I will have to work and I want to
work today. I want I want. I hope we gave
Rascal Flats in the last up enough of a chancy.
I want to give this a chancy because it is
a challenge for old debs.
Speaker 1 (03:37):
I'm feeling incredibly positive today Okay, well you may, I'm
gonna bring it. Wait, so it sounds so familiar.
Speaker 2 (03:45):
What song is that you need to tell you? Yes,
little known artist, similar complexion hair, I have red hair,
similar instrumentation from the place where we fought a revolution
to say great from back in seventeen seventy shearing. It's
an it shearing song.
Speaker 1 (04:04):
It's a sheer.
Speaker 2 (04:06):
And maybe that's too.
Speaker 1 (04:07):
On the nose, but I I it's so funny. Now
I hear the now I hear this sweet and Sour part.
I couldn't. I literally was like, what omp biscuit lyric
is that? And I was like, that's why when you said,
like the shape, oh this shit, Okay, now it's all
it's all sitting in my nogging brooking.
Speaker 2 (04:26):
Millions of people presently love this dude, and this song,
by all accounts, seems like a perfectly nice man. Yeah,
but that's not what we're here to talk about. I'm
going to talk about the shape of you by going
Edwin Shears, all.
Speaker 1 (04:42):
Right, you know the drill. Everybody go listen and report back.
Speaker 2 (04:46):
I'm sorry about Sweet and Sour and FM and is
doing okay.
Speaker 1 (04:55):
Man. It's interesting because on paper, when you said this song.
I was like, I don't if I dislike that song.
Speaker 2 (05:01):
I was gonna ask you. I was like, maybe you're
even a fan. A lot of people are fans. Everyone
loves Taylor, and uh, we can have a whole Taylor season,
get really really hated on or loved.
Speaker 1 (05:13):
I think they're they're they're they're comparable in that I
think the world loves them. And I don't know. There's
like moments that I like of both those artists and
and like this song. There's moments I like, but it's funny.
And you said, like you said the song, and I
was like, oh, I don't know if I hate that,
I don't. I can't like totally remember the last time
I ever chose to like I've chosen it to put
it on, but I didn't think I disliked it, and
(05:35):
I will a time.
Speaker 2 (05:38):
Ever have you ever chosen to put it on?
Speaker 1 (05:40):
Never? Okay, I've never clicked playing the song, but I've
heard it plenty obviously, Like this is a huge this
is a massive hit for him.
Speaker 2 (05:47):
You go to supermarkets, Yeah.
Speaker 1 (05:48):
Yeah, I do. I like them. I like a supermarket
and I actually I like supermarket music. I you know,
I love his dentist office.
Speaker 2 (05:56):
Music, very very special genre.
Speaker 1 (05:58):
Yes, if it's this, it's it's like it's throwback. So
it's like de barge. I like it, yes, you know,
and I love dentist music. It's like it's like the
cleanest of R and B. Yes, yes, And this has moments.
Speaker 2 (06:15):
You carding of me.
Speaker 1 (06:19):
Yeah, it sounds like it should be like theme songs
that of like eighties sitcoms that never were and but
this is Yeah, this is definitely grocery store music. And
that's incredible to get played in a grocery store. Oh
my god, Like there's a there's a cough, there's a
coffee house level that I think is almost like easier
to hit, you know what I.
Speaker 2 (06:38):
Mean, Like I can tell you it absolutely is. At
some point in his career had a song like on
a Starbucks sampler or something like that. Yeah, yeah, I
can get it, I think so. I think it was
somewhere around. It would have definitely been in the brief
flirtation with Capitol Records. So two thousand and six seven
something for put Your Grost Stress, probably Brooklyn Boy or
(07:00):
Stay probably credible because it's quieter.
Speaker 1 (07:02):
Yeah, yeah, that makes sense. That feels like a coffee out. Yeah, okay,
it's the title.
Speaker 2 (07:09):
Right, Brooklyn boy.
Speaker 1 (07:10):
Yeah, yeah, Like you make you like you're at Starbucks
ordering and you're like, maybe I'm a Brooklyn boy. But
so this is it's this is so interesting because yeah,
like I know that the lyrics again, like I don't
want to get hung up on it, all right, I
know we're starting.
Speaker 2 (07:26):
With chancey or start with anti chancy.
Speaker 1 (07:30):
Asy, I think we go chancy, we go Chancy.
Speaker 2 (07:33):
Okay.
Speaker 1 (07:34):
So there's definitely some cool guitary things, like this guy
thinks about layering, and there's some fun parts. Especially I
think he's like, I'm going to step out of the
box here and I'm going to try to make this
dancy Timberlake song. Yes, And I think he accomplished that
and knocked it out of the park.
Speaker 2 (07:54):
Dude, without question. And it's funny. I actually remember for
some reason, it's not something I do. One of the
reasons I was I picked this is because of exactly
what you're talking about. I remember the first time I
heard this song is I believe the first time he
performed it. It was on the Grammys, and I don't
know where I was that I was watching the Grammys.
(08:17):
It's not a yearly thing for me, but I was
for whatever reason this year. And I'm pretty sure he
did it in advance of the record coming out, which
really indicates a degree of confidence for a person who's
that that big to be like, we're going to play
a song from our next record on the Grammys and
that the Grammys were like okay, And it was him
(08:37):
grown with his guitar and he built like you know,
came up or someone like that. He built all of
the percussive loops and then played the song. Now I had,
you know what. No, I'm going to save the rest
of that sentence for maybe when we get to Aunty
Anti Chancy, but I do remember thinking, like, well, beyond
even what you just said, which is more about the
(08:57):
actual construction of the song, I mean execution of it,
I did think that was like, you know, I can't
have one set of rules for thinking. It's like cool
when Nirvana wants to play rape Me on MTV before
the album's out and have it not apply to Ed Sheeran,
that's cool. He was definitely able to be like he said,
I want to do something no one's heard before. That's
not a thing people do now I know in music
(09:18):
at all, so Propstad sharing for that too.
Speaker 1 (09:21):
I think he's probably, you know, a forward pushing artist
in certain aspects, not all, but like in a lot
of aspects he gets he tried. I think he probably
wants to push more than he even can, and maybe
he's held back just by like, oh you know, maybe
it's a label. Maybe it's just an inner voice that's
like no stay sort of simple. But I bet you
(09:42):
he's got a lot of that in there. Oh back
to that like confidence.
Speaker 2 (09:46):
Yeah.
Speaker 1 (09:46):
I always think about that thing where Tom Petty his
label was like, we want you to make a Greatest
Hits album, like put all your best songs on the
Greatest Hits album and can you write a new song
for it? And Tom Piddy was like, how am I
going to write a new song that fits on my
greatest Hits? And then he wrote Mary Jane's Last.
Speaker 2 (10:03):
Dance that's absolutely insane. Oh that's the genesis of that song.
Speaker 1 (10:08):
He wrote it for the greatest hit like he wrote it.
I mean like he just wrote a song and it
happens to be like like one of his greatest hits,
but he wrote it for the greatest Hits out it's
and it and it blew wow. It's like it's pointing
to the it's pointing to the the bleachers and hitting
a home.
Speaker 2 (10:26):
Yes, it's absolutely and whow. I never knew that. I
was literally just thinking that song the other day and
thinking how it because I don't remember. I don't think
it's on Wild Flowers, right, you said.
Speaker 1 (10:35):
It's on the Greatest Hits, right on the great that's
the first album it appears on. So I remember thinking
like what because it was in that general timeframe, and
thinking it's the last time, like Tom Petty played that
song on the MTV Video Music Awards, like in the
middle of West Coast hip Hop, the ascension of like
Biggie and Wu Tang and whatever and nahs and like grunge,
(10:58):
Tom Petty was still like and he and it was
like him in the middle of that, and I was like,
I think that's probably the last time he was like
an MTV artist, not like a VH one artist. Total
used to be. It's so funny there used to be
a difference between the two, and now neither of them is.
Speaker 2 (11:16):
VH won't even exist.
Speaker 1 (11:17):
Yeah, yeah, I think it's just like love and hip
hop and like reality shows.
Speaker 2 (11:21):
Oh, it's right, they were like all of that. That's right,
almost pre Bravo kind of yeah, yeah, okay. Anyway, No,
I think that what you're saying too about that's wild.
That story is kind of blow in my mind. I
think that what you're saying too about his inner compass
or whatever ed shear and it's funny. I don't know
if this is real or not, but there's something that's
like memed that's been floating around in the periphery some
(11:42):
conversation between him and David Byrne, and I kind of
think it's meant to be a joke, but I can't
tell they're kind of playing on the square or it's real,
and they're talking in David Byrne more or less says
to him, I think you should really push out more,
you know, like push and he's talking about like the
like kind of musically or production wise, and he's kind
(12:04):
of like no, like kind of like everything. And at
some point it Sharan's like, well, you know, like millions
of people really like what I do and he's like, yeah,
but it's not very good.
Speaker 1 (12:13):
Wow really, so which makes me think it.
Speaker 2 (12:16):
Must have been a bit like they must have been
like ed, Shearon would like to talk to you for
you know, MasterCard presents two artists talking on YouTube or
whatever the hell is that they would be talking to
each other on between two. But I do think that's
it's clear like that thing, it's clear he comes from
like building that what that song becomes from production perspective,
(12:39):
which is very impressive and layered and nuanced. And yes
it does have the like cleanliness and perfections that come
from now what is like pop music in a box
and a computer, but it also does have a human
element to it. And I think that it is exactly
as you said, It is kind of cool that this
guy who is kind of known prior to this as like,
(13:00):
you know, maybe this is a pejorative but like kind
of a milk toast balladeer, like a guy that's saying
kind of like easy to like, and you know, young
dude that like you know, your your grandma might be
like I heard a really nice song in the supermook
the other day, and I think he was like, what
if I wrote a song that was like a sex song,
a dance song, and a traction song, a new love song,
(13:20):
a body song, not a brain song. Yea and I
think it's hard to do that well and the jury's
out well is subjective. I wonder I could talk about
this later. My thing with the song, well, I'm talking
about it now. My thing with this this is that
I'm like, I guess what is sexy is infinitely subjective.
But a song like this feels to me like it's
(13:40):
wearing the clothes of that without actually necessarily like achieving
the uh the core. But I but I think the
there's all there's points to be given for the uh.
It takes guts and it's like a little vulnerable and embarrassing.
Speaker 3 (13:56):
Yeah, it is right, and and I think he like
owned it.
Speaker 1 (14:10):
I agree that I wouldn't say that this song is sexy,
but I also don't think like sexy back is sexy, And.
Speaker 2 (14:19):
It's those songs that they are. Those songs. Sexiness has
have actually aged very poorly, I think. But but at
the time, everyone I knew was like, you know, very
j Tim was top of the groups.
Speaker 1 (14:32):
Studios, yeah, walk and but like, yeah, it's interesting because
I I do think he pulls off making a song
like that. There's a you know, here's the thing I
think Ed Cheran probably had. I'm not sure of like
his history, but I think that's I think I don't
know his history.
Speaker 2 (14:53):
Trust me, he has.
Speaker 1 (14:56):
He's a you know first hand apparently on a record
right now, this is Chancy News. I would say that
it's it's yeah, he he accomplishes that. I think he
writes he used to write songs for other people. I'm
pretty sure that he.
Speaker 2 (15:15):
Was like as as a songwriter for artists, and.
Speaker 1 (15:19):
Then I think he was like I want to push
myself and like obviously a record company was like you
have red hair, and like you're not you.
Speaker 2 (15:25):
Know what what we traditionally attractive or so.
Speaker 1 (15:29):
But I think and he had to push through that,
which I give him a lot of credit for doing.
And then I think this is like he wrote as
if he wrote this, like Rihanna could do this song,
especially like to you know that section that's like like
of you we pushing pool like a magnet.
Speaker 2 (15:46):
Do that's totally her? Yeah, yeah, very well identified.
Speaker 1 (15:50):
Even like you know, come on now follow my lead,
come on, you know, like he's.
Speaker 2 (15:55):
Definitely doing like there's like a reggae influence, maybe a
Jamaican in flints. There's something like a dance hall thing.
He's definitely like filtering that through the Ed Sheer.
Speaker 1 (16:05):
And Sean Paul would kill this too.
Speaker 2 (16:07):
Jean Paul would kill it too. I'm sure. I bet
those artists heard it and we're like, you know, what's
the jay Z thing? And then when the NAS that
this song for the NAS.
Speaker 1 (16:17):
With you made it a hot yeah.
Speaker 2 (16:20):
Exactly, yes, yes, yes. I wonder if there are people
who heard this that were like, that's cool. I would
have destroyed this song, but you did a nice job.
Speaker 1 (16:31):
I think Sean Paul would crush it. I I you know,
I don't know other people that would pull this off,
like maybe timber Like maybe Timberlake.
Speaker 2 (16:41):
He would have had that. He definitely would have had
the He would have been encouraged and he would have
had I think the self confidence whether you know again,
there's like so many funny lines that exist between self
delusion and self confidence. But he would have absolutely this.
I mean, this would have been a song he would
have had at some point some version of this. And
(17:02):
I think that really what we're circling and driving home is.
I do think as especially listening to you, credit due
credit due for like you know, like Magnet do Yeah,
just like Manet credit due you know, and credit do.
I don't have to say anything else, like he tried
to try something. I think that, you know, there is
something to be said to I have a lot of
(17:24):
very mixed thoughts about the kind of the flowers that
get thrown at a certain level with certain artists, with
certain infrastructure and certain It's very mixed. There's a part
of me that feels like it must be very hard
to be up there, and there's also me that feels
like sometimes like they're being graded on this ludicrous curve
(17:46):
that like other people who have a lot more actually
at stake in some ways, uh, you know, aren't afforded.
And there's something to be said about the flattening of
like critical lens and commercial success in anyway. That being said,
I do think it's really embarrassing if you are up
where a guy like Ed Shearon is and you try
something like this and it's a total failure. Like what
(18:09):
was the what was get him to the Greek? Is
that that movie a freaking child thing that the Russell
Brank character does, And it's basically like that's like a
that exists because that's real because people do that, and
you're like, oh my god, what the hell was that.
Speaker 1 (18:24):
And to think of a of like a version of
that from pop culture, like I know, like Huff Daddy's
probably done some really weird things.
Speaker 2 (18:34):
Do you remember when he did the Godzilla theme song?
Speaker 1 (18:37):
I doubt he was led Zeppel.
Speaker 2 (18:40):
They did an s mL skit about he did that
then where Tim Meadows played him and it was just
they played classic rock songs and then.
Speaker 1 (18:52):
He would just go, that's so funny.
Speaker 2 (18:54):
You're like, I don't want to close, come with me,
I don't want to come with me again.
Speaker 1 (19:01):
That's so funny. I love that, Oh, Tim Metas, I'm
trying to think of there are other ones that there
definitely exist out there. I'll probably think of them later
and be mad, but yeah, I know exactly what you're
talking about. You could fall on your face totally.
Speaker 2 (19:16):
I think there was a little bit more of a
trope with those like seventies, eighties into early nineties, like
kind of feather rock bands, cock rock bands, whatever the
hell like that kind of there was the inherent bloat
that kind of came with like now we're a big band,
we should do our double album where we bring in
floutists and you know, squire from some third world country
(19:37):
we just read about for the first time or you
know whatever, there was that kind of I think that's
where that kind of comes from.
Speaker 1 (19:44):
And another risky thing that I think of is like
Miley's journey was probably one of the hardest things to accomplish,
where you go from Hannah, Montana to party in the USA,
which isn't that hard, but like everyone's like, oh wait
a second.
Speaker 2 (20:00):
She's been here maybe yeah, yeah, yeah.
Speaker 1 (20:02):
Then it's sort of this messy version of like a
kid using like Molly references, and there's this like we
can't stop wrecking ball into now she's like hosting this
New Year's thing with Dolly Parton, like I think like, and.
Speaker 2 (20:20):
Along the Way also made a fucking weird art rock
record with the Flaming Lists Yeah like, which wasn't really
either act best hour, but cool that they did it,
crazy that.
Speaker 1 (20:30):
They huge win for Flaming Lips, like I bet you
got so much so much more like it probably kicked
them back up a little bit.
Speaker 2 (20:36):
They played on us Now as her band, Oh wow, yeah,
I didn't see that. And Zilla god she I mean,
she's part of her art because she got to know Godzilla.
Speaker 1 (20:48):
In college once. Also on the Godzilla soundtrack. In college
once a band that used to play at the coffee
shop was like, we're going to do the Green Day song,
but we're going to do the Godzilla remix, which is
brain stew but it just with sounds, and the drummer
just screamed god Zilla sounds. It was a really funny bit.
Speaker 2 (21:06):
Oh that's pretty good.
Speaker 1 (21:08):
And because that's if you listen to the remix, it's
just that it's the song but with so it's like, don't.
Speaker 2 (21:16):
That's real, that's the thing that exists.
Speaker 1 (21:18):
Yeah, it's like it's brain stew Godzilla remix, but it's
just brain stew with Zilla screams from the movie.
Speaker 2 (21:26):
Wow. Oh no, I thought they just made that up
at the coffee shop. I was still.
Speaker 1 (21:31):
Yeah, they covered it like he put it and put
them in exactly where they go. Oh, I wanted to say.
I like the lyric and now my bed sheets smell
like you.
Speaker 2 (21:43):
I'm so glad you pointed this out. Please go ahead.
Speaker 1 (21:45):
I like that lyric. I think it's really visual. I
think it if you've ever you know, I bedded a lover,
there's this you know, like when they leave and you
and you and you smell them she's it's visceral, and
he put that in a song in a way that's
like not gross and not like braggy. It's really kind
(22:08):
of heartfelt. And I think that lyric alone, you take
it out, not just that, not the not the couplet,
not the rhyme of like last night you were in
my room, and now my bed, she'd smell like you.
It's really I'm focusing on my bed, she'd smell like you.
It's really, it's just a it's a good lyric. It's
to throw into a pop song. It's incredible.
Speaker 2 (22:27):
I like that you pointed it out because I'm gonna
be honest. When I was first listening to the song
as we were in our little private spheres and and
you know, I got there and I had so it's funny.
I had a journey in four minutes through each chorus.
The first time I had the opposite response where I
was like first, I was like, oh god, it's like
(22:50):
I kind of was like, it's kind of cheesy. It's
kind of also like it's kind of like I was
a little bit like, is it gross? It makes me
sound like a puritanical prude. Definitely like kissed at least once,
but I was like it was sheer, yeah, all of
my kissing and but yeah, so and then by the
(23:14):
second course, I was like, that's actually kind of cool.
Everyone or most people, not everyone, that's not fair to say,
but like you said, everyone who's had this experience has
had that moment where you're living and you know, sent
is a very strong sense memory thing, kind of can it.
And then by the end I was like, no, it's
the best lyric in the song. Now, when it's time
(23:36):
to move away from Chancey, I can tell you about
some other things I felt differently about and did not
have that journey.
Speaker 1 (23:52):
Hit me hit me, which.
Speaker 2 (23:53):
Ones I can't abide by that whole second verse, I
have a real part.
Speaker 1 (23:59):
When we again, let the story begin. We're out on
our first date. You and me are a thrifty so
go all in, So go all you can eat, fill
up your bag and I fill up a plate. It's real,
like what just happened in the song, it really diverges.
Speaker 2 (24:14):
There are also a few things I'd like to talk
about and what just happened, you know? All right, So
he's pointing out there's a few things in the first verse. I,
you know, I just would say from like a lifestyle place, like, yeah,
the club's not the place to meet a lady, but
the bar is. I'm like, look, we've all had our
fair share of whatever. But I would say they're both
not necessarily probably the best place to have, you know,
(24:38):
we if you're looking for long term, lasting connection of
a certain kind, it's maybe they do happen at the
club in the bar. There's people who get married all
the time from that and not The marriage is the
point of every blessed unions, you know. But you know
what I'm saying, I think that he's got Maybe he's
got it. Sounds like he's I'd like to talk to
him about his methodology with respect to how he chooses
his partners. But that being said the second verse, so
(25:03):
am I to believe this guy? This guy could play
the Super Bowl halftime show. He might have already. I
don't know. No one would blink. Look, I'm not a materialist.
You know, we all live in capitalism. We have to
make our way through. I'm not somebody who prioritizes that
as the you know, that's not where my brid gets
(25:24):
buttered but Ed Sheeran can take somebody to a little
bit nicer place than China Pagoda on Fifth Avenue in
Bay Ridge, you know what I mean. And certainly when
they're you could be thrifty's that's cool. Maybe there's a
little bit about this that's like disingenuous in a just
folks way, right.
Speaker 1 (25:43):
Right, it's it's it's the country music guy that's like,
I'm just like you. But then he's got like a
private jet and all that.
Speaker 2 (25:50):
It literally is one of the ten biggest artists in
pop music, if it may be fewer, and so I
get the part of the brand with him and Taylor,
who in some ways do mirror one another, is actually
that they are meant. You are meant to see yourself
in them to some degree. I feel like there's two
things that happened with celebrity at that level. One is
we are meant to look at them and be like
(26:11):
they are untouchable, they're Greek gods, or they are the
ones that you're supposed to see yourself in, and that's
the brand. And I think that he is mega, that
he is mega supposed to be like a dude that
you you're not. You know, so I could understand from
a writing perspective wanting to like step away from that
to be relatable. But I just want to say, as
(26:34):
a fairly normal ass person, it is not normal and
relatable to fill up your bag with sweet and sour
chicken on your first date, which Chinese buffet.
Speaker 1 (26:47):
I don't even think people do that.
Speaker 2 (26:50):
Fill up their bag, like open their person, throw chicken inside.
Nobody does.
Speaker 1 (26:54):
He is just like, you know, the first thing we
do is fill up my shoes and a bunch of
chicken in it. It's like it's it's like he's like
if you could picture and be like, all right, what
do normal people do? Let's see these.
Speaker 2 (27:07):
Pigs that the trough fill up their bags with lots
of chicken. It's been a while since I knew. No,
that's for me.
Speaker 1 (27:15):
Yeah, it's also confusing. One weekend, right for one weekend
we go on our first date.
Speaker 2 (27:20):
That's a little humble brag. What he's trying to tell
you is like, yes, we've been you know, smacking hunk
in the bobo, but.
Speaker 1 (27:29):
You and me are thrifty. Is really funny. You and
me are thrifty. This is your first date? Yeah, but yeah,
you know so much that she's cheap.
Speaker 2 (27:38):
That's right, Well, that's part of actually what what is not?
The interior logic of this song is a little flawed.
This is where everything we just said and construction is immaculate.
He has a clear melodic sense. He knows how modern
music moves. But the interior logic of the song, there's
a lot of assumption or like kind of like yes,
(27:59):
like amost like these people have known each other for much, much,
much longer. But there's also something of there's a lyric
about every day discovering something brand new. Well, I would hope.
So you're telling me that you met this person yesterday,
and that is you've been knowing to be talking to
each other for a week. It's your first date, so
you know, I just feel like.
Speaker 1 (28:20):
Her bag is soaked with sweet and sour.
Speaker 2 (28:22):
Chicken, absolutely drenched, and.
Speaker 1 (28:24):
They're talking about the sweet and sour. Maybe that's what
he means. We talk for hours about the sweet and
the sour that's in her bag at the time.
Speaker 2 (28:31):
Yeah, but that's that to me was lyric first time
I heard it. I remember, like there's certain things that
we talk for hours and hours about the sweet and
the sour and how your family's doing. Okay, I can't
just catastrophic first date conversation. Could you imagine talking for
hours and hours? I'm talking that's more than one, that's
(28:52):
probably more than two. It's like three or four hours
about sweet and sour chicken.
Speaker 1 (28:57):
Yeah, because hours means too at least maybe, and it's
hours and hours.
Speaker 2 (29:02):
So yeah, and I know the sweet and the sours.
It's meant to be like the good things in life
and the bad things in life, as well as the chicken.
But I might be giving him a little extra cred
on that.
Speaker 1 (29:12):
So he really did go to an all you can
eat Chinese buffet because he says all you could eat,
and then he solidifies that with the sweeten the sour. Yeah,
I actually like it. I like that. Actually I like
that he's painting it.
Speaker 2 (29:26):
Oh that okay, detail like specificity breeds belief. That's what
the journalism teacher told me once.
Speaker 1 (29:32):
Was nice.
Speaker 2 (29:32):
That's right, okay, all right, So maybe I'm wrong again.
Speaker 1 (29:35):
So then they get in the taxi. They kiss in
the back seat, fun little rhyme.
Speaker 2 (29:39):
I don't like this classiest bullshit where they tell the
driver like make the radio play.
Speaker 1 (29:45):
Come on, make no one's like it sounds like an alien.
Make the radio play.
Speaker 2 (29:49):
Yeah, no one said that every either. I am learning
one sweetens our play.
Speaker 1 (29:55):
And then suddenly he's singing the song that's on the radio.
Speaker 2 (29:59):
Imagine, So you make down in the back of her car.
You are fullest speaking sour in your bag?
Speaker 1 (30:03):
Will you know you? I love you?
Speaker 2 (30:07):
Know? How is this song on the radio already? In
this interior logic?
Speaker 1 (30:12):
Oh man, someone shoving their sweet and sour tongue in
your mouth and singing at you, eating you chicken, taking
it out of your purse, taking it out of your purse.
Speaker 2 (30:23):
Let the radio play. And then he's like, it's my song,
spitting chicken, knuckles of chicken.
Speaker 1 (30:31):
Also, how thrifty are you if you're taking a cab everywhere?
Speaker 2 (30:34):
That's true, he's not on the tube.
Speaker 1 (30:36):
I also have a lot of issue with I'm in
Love with your body. Yeah, it's like, I mean, if again,
if it was Rihanna, I think she could pull that off.
But I don't really think I'm in love with your
body is like it's really, I don't know, it's a
really it's like too simple. Yeah, it's a little too simple.
I'm in love with your body.
Speaker 2 (30:57):
Yeah, yeah, if.
Speaker 1 (30:58):
I said that to my wife.
Speaker 2 (30:59):
Well, there's a way you could say that, but.
Speaker 1 (31:01):
The song doesn't exist. The song doesn't exist, and I'm
just like, I'm in love with your body in a car.
Speaker 2 (31:09):
Hey, Lisa, tell the radio to play.
Speaker 1 (31:14):
Driver, Make the radio play.
Speaker 2 (31:16):
I also do like that. One thing is whether it's
some purpose or not. Well, sorry you brought something up.
Let's deal with that first. Yeah, it's a little on
the nose, on the body straightforward. There is a sweet
way to say that. There's a sexy way to say that.
There's a revealing way to say that. There's a vulnerable
way to say that. There's a like holy shit way
to say that, you know, and then there's like a
(31:37):
kind of like it's almost an afterthought the way it's
expressed here, but it's like an it's managers to both
be an obvious afterthought, which is like over two. You know,
I wish you guys could see there's a face of
almost de niro esque concern on Casey right now. He's
really I'm watching him really parse this.
Speaker 1 (31:57):
Yeah, I've always felt that it, you know, it's it's
definitely like he's setting up like he's in love with
this person and he's doing something so baseline as like
I love you, I love your body.
Speaker 2 (32:07):
I think the whole thing. There's a push and pull
like magnet do in this song where I think he's
trying to both be like I'm in love, I'm falling
in love, but also like, let me emphasize, like this
is kind of cool, Like I'm having like casual sex
with this person and eating Chinese food and making out
in a cab while I sing my own song to
her and he chicken in her face. He wants you
to know like he's cool, but also he's falling in love.
(32:28):
And the shape of you?
Speaker 1 (32:29):
What's the shape of you? Does he because he doesn't
really he doesn't the body? Is it just body? Because
he's describing like this relationship, so are you. Maybe it's
the shape of the whole shape. But then he's just saying.
And then also that bridge where it's come on, be
my baby, come on one hundred times.
Speaker 2 (32:46):
I wanted to say this. We're at the ninety second mark,
so I just want to make sure that we land
this plane. I will just say the bridge is the
one total bullshit, total bullshit that is like if that
took more than two minutes. What I really think is
he had the rest of it, and then it was
like we need a bridge, and he was like no.
I just say like, come on, baby, come on, and
(33:07):
I'll just say it a bunch. We'll bring it, we'll
bring it back in the end. There'll be some cool
production stuff. It'll be fine. Yeah, that part's you know,
that part is saggy.
Speaker 1 (33:14):
He's like, I'll do it live.
Speaker 2 (33:19):
I like the idea of him as a tyrant in
the studio to you know who I am smell like shit,
I mean case. I think I think we've done a
fairly thorough excavation of this, and I appreciate you showing
up with your best both enthusiasm and critical lens.
Speaker 1 (33:38):
I look forward to listening to more Edge Heeran from
this point out. I think I've given I've given him
a chance.
Speaker 2 (33:43):
Damn.
Speaker 1 (33:44):
I want to see what else he's got in this catalog.
You know, maybe this kid can make it.
Speaker 2 (33:48):
Well, we'll see fingers crossed. But for now, please no
A had sex with No.
Speaker 1 (33:55):
Please don't add sex with Edge heeering. That's what you
want to end the episode, So yeah, that sounds right
by deed. Bye. Just give a ship m
Give it a chance, give it a chance, give it
a chance. Good morning, give it a chance, Give it
a chance, give it a chance, give it a chance.
Good morning. Give it you want to give it a chance,
give it a chance, give it a chance. Just hi, folks,
it's us, Kevin, Divine and Casey Jo. Just back up
in it.
Speaker 2 (00:23):
Wow, you said my name and your name. I like that.
Speaker 1 (00:26):
I switch it up every time.
Speaker 2 (00:28):
Switching it up is the spice of nights.
Speaker 1 (00:32):
Is that the song today?
Speaker 2 (00:34):
Yep?
Speaker 1 (00:35):
So I want to tell switching it up.
Speaker 2 (00:38):
Nights, first of all, welcome back to give it a chance,
Casey and I do just that with songs that I
don't know. I guess it's a subjectively arrived at thing.
But you know, I don't know if we would say there.
I mean, reviled is a strong word. They're not revived.
Millions of people like them, but there's something about them.
Speaker 1 (00:58):
I think what we're revolving every day as humans, but
we're evolving in terms of I think. The way I
see this, you know, just to peel back the onion
is I see it as songs that the world hates,
and then also songs that we might dislike to some degree,
and I think obviously.
Speaker 2 (01:18):
The world is big enough that even something where millions
and millions of people love it, that means there's billions
of people that are either ignorant to it or actively
don't like it. Yes, and I'm always going to be
one of those three categories. I like it, I'm ignorant,
I don't like it. But the thing that I so
(01:39):
also something people should know. To this point, I think
this is our fifth Omar.
Speaker 1 (01:43):
Yeah, I think so.
Speaker 2 (01:44):
So we're doing these apps and I think that to
this point, Ksey has really burdened that carry the burden, burden,
the load loaded bird up.
Speaker 1 (01:54):
It's a tough burden too, It's really hard.
Speaker 2 (01:56):
He's exhausted. I'm looking at him. It's a lot, but
he's the songs and that's been part of the conceit.
And today I don't know if we'll do this every
five epps. If that's like, we'll figure it out.
Speaker 1 (02:06):
If it's a really thing today, young Deebs, it's.
Speaker 2 (02:09):
Up to young Deebs forty four years young debs to
pick the song. And you know something I do want
to say. Something I love about doing this with you,
Casey is like I feel like we could talk for
hours and hours about the sweet and the sour and like.
Speaker 1 (02:25):
Uh oh wow.
Speaker 2 (02:29):
And like I just we push and pull like a magnet,
do you know? And so I want you to, you know,
spend some time with do you know what the song is?
Speaker 1 (02:43):
I'm so close, I'm almost there. I'm getting it. I'm
getting sort of a.
Speaker 2 (02:48):
It's almost like you can see the sort of like
the outline, the contour, almost like the shape.
Speaker 1 (02:54):
Is this like an Incubus song?
Speaker 2 (02:58):
No, I will tell you that I made a conscious effort.
There was some like nineties stuff I wanted to go to. Yeah,
some stuff that's close to genres of music I actually
do like a lot that I wanted to go to,
which I feel like we've flirted with a little of
that a few times, some kind of like bastardized version
of something. And then I was like, I kind of
wanted to pick something more current, current ish and something
(03:23):
that I will have to work and I want to
work today. I want I want. I hope we gave
Rascal Flats in the last up enough of a chancy.
I want to give this a chancy because it is
a challenge for old debs.
Speaker 1 (03:37):
I'm feeling incredibly positive today Okay, well you may, I'm
gonna bring it. Wait, so it sounds so familiar.
Speaker 2 (03:45):
What song is that you need to tell you? Yes,
little known artist, similar complexion hair, I have red hair,
similar instrumentation from the place where we fought a revolution
to say great from back in seventeen seventy shearing. It's
an it shearing song.
Speaker 1 (04:04):
It's a sheer.
Speaker 2 (04:06):
And maybe that's too.
Speaker 1 (04:07):
On the nose, but I I it's so funny. Now
I hear the now I hear this sweet and Sour part.
I couldn't. I literally was like, what omp biscuit lyric
is that? And I was like, that's why when you said,
like the shape, oh this shit, Okay, now it's all
it's all sitting in my nogging brooking.
Speaker 2 (04:26):
Millions of people presently love this dude, and this song,
by all accounts, seems like a perfectly nice man. Yeah,
but that's not what we're here to talk about. I'm
going to talk about the shape of you by going
Edwin Shears, all.
Speaker 1 (04:42):
Right, you know the drill. Everybody go listen and report back.
Speaker 2 (04:46):
I'm sorry about Sweet and Sour and FM and is
doing okay.
Speaker 1 (04:55):
Man. It's interesting because on paper, when you said this song.
I was like, I don't if I dislike that song.
Speaker 2 (05:01):
I was gonna ask you. I was like, maybe you're
even a fan. A lot of people are fans. Everyone
loves Taylor, and uh, we can have a whole Taylor season,
get really really hated on or loved.
Speaker 1 (05:13):
I think they're they're they're they're comparable in that I
think the world loves them. And I don't know. There's
like moments that I like of both those artists and
and like this song. There's moments I like, but it's funny.
And you said, like you said the song, and I
was like, oh, I don't know if I hate that,
I don't. I can't like totally remember the last time
I ever chose to like I've chosen it to put
it on, but I didn't think I disliked it, and
(05:35):
I will a time.
Speaker 2 (05:38):
Ever have you ever chosen to put it on?
Speaker 1 (05:40):
Never? Okay, I've never clicked playing the song, but I've
heard it plenty obviously, Like this is a huge this
is a massive hit for him.
Speaker 2 (05:47):
You go to supermarkets, Yeah.
Speaker 1 (05:48):
Yeah, I do. I like them. I like a supermarket
and I actually I like supermarket music. I you know,
I love his dentist office.
Speaker 2 (05:56):
Music, very very special genre.
Speaker 1 (05:58):
Yes, if it's this, it's it's like it's throwback. So
it's like de barge. I like it, yes, you know,
and I love dentist music. It's like it's like the
cleanest of R and B. Yes, yes, And this has moments.
Speaker 2 (06:15):
You carding of me.
Speaker 1 (06:19):
Yeah, it sounds like it should be like theme songs
that of like eighties sitcoms that never were and but
this is Yeah, this is definitely grocery store music. And
that's incredible to get played in a grocery store. Oh
my god, Like there's a there's a cough, there's a
coffee house level that I think is almost like easier
to hit, you know what I.
Speaker 2 (06:38):
Mean, Like I can tell you it absolutely is. At
some point in his career had a song like on
a Starbucks sampler or something like that. Yeah, yeah, I
can get it, I think so. I think it was
somewhere around. It would have definitely been in the brief
flirtation with Capitol Records. So two thousand and six seven
something for put Your Grost Stress, probably Brooklyn Boy or
(07:00):
Stay probably credible because it's quieter.
Speaker 1 (07:02):
Yeah, yeah, that makes sense. That feels like a coffee out. Yeah, okay,
it's the title.
Speaker 2 (07:09):
Right, Brooklyn boy.
Speaker 1 (07:10):
Yeah, yeah, Like you make you like you're at Starbucks
ordering and you're like, maybe I'm a Brooklyn boy. But
so this is it's this is so interesting because yeah,
like I know that the lyrics again, like I don't
want to get hung up on it, all right, I
know we're starting.
Speaker 2 (07:26):
With chancey or start with anti chancy.
Speaker 1 (07:30):
Asy, I think we go chancy, we go Chancy.
Speaker 2 (07:33):
Okay.
Speaker 1 (07:34):
So there's definitely some cool guitary things, like this guy
thinks about layering, and there's some fun parts. Especially I
think he's like, I'm going to step out of the
box here and I'm going to try to make this
dancy Timberlake song. Yes, And I think he accomplished that
and knocked it out of the park.
Speaker 2 (07:54):
Dude, without question. And it's funny. I actually remember for
some reason, it's not something I do. One of the
reasons I was I picked this is because of exactly
what you're talking about. I remember the first time I
heard this song is I believe the first time he
performed it. It was on the Grammys, and I don't
know where I was that I was watching the Grammys.
(08:17):
It's not a yearly thing for me, but I was
for whatever reason this year. And I'm pretty sure he
did it in advance of the record coming out, which
really indicates a degree of confidence for a person who's
that that big to be like, we're going to play
a song from our next record on the Grammys and
that the Grammys were like okay, And it was him
(08:37):
grown with his guitar and he built like you know,
came up or someone like that. He built all of
the percussive loops and then played the song. Now I had,
you know what. No, I'm going to save the rest
of that sentence for maybe when we get to Aunty
Anti Chancy, but I do remember thinking, like, well, beyond
even what you just said, which is more about the
(08:57):
actual construction of the song, I mean execution of it,
I did think that was like, you know, I can't
have one set of rules for thinking. It's like cool
when Nirvana wants to play rape Me on MTV before
the album's out and have it not apply to Ed Sheeran,
that's cool. He was definitely able to be like he said,
I want to do something no one's heard before. That's
not a thing people do now I know in music
(09:18):
at all, so Propstad sharing for that too.
Speaker 1 (09:21):
I think he's probably, you know, a forward pushing artist
in certain aspects, not all, but like in a lot
of aspects he gets he tried. I think he probably
wants to push more than he even can, and maybe
he's held back just by like, oh you know, maybe
it's a label. Maybe it's just an inner voice that's
like no stay sort of simple. But I bet you
(09:42):
he's got a lot of that in there. Oh back
to that like confidence.
Speaker 2 (09:46):
Yeah.
Speaker 1 (09:46):
I always think about that thing where Tom Petty his
label was like, we want you to make a Greatest
Hits album, like put all your best songs on the
Greatest Hits album and can you write a new song
for it? And Tom Piddy was like, how am I
going to write a new song that fits on my
greatest Hits? And then he wrote Mary Jane's Last.
Speaker 2 (10:03):
Dance that's absolutely insane. Oh that's the genesis of that song.
Speaker 1 (10:08):
He wrote it for the greatest hit like he wrote it.
I mean like he just wrote a song and it
happens to be like like one of his greatest hits,
but he wrote it for the greatest Hits out it's
and it and it blew wow. It's like it's pointing
to the it's pointing to the the bleachers and hitting
a home.
Speaker 2 (10:26):
Yes, it's absolutely and whow. I never knew that. I
was literally just thinking that song the other day and
thinking how it because I don't remember. I don't think
it's on Wild Flowers, right, you said.
Speaker 1 (10:35):
It's on the Greatest Hits, right on the great that's
the first album it appears on. So I remember thinking
like what because it was in that general timeframe, and
thinking it's the last time, like Tom Petty played that
song on the MTV Video Music Awards, like in the
middle of West Coast hip Hop, the ascension of like
Biggie and Wu Tang and whatever and nahs and like grunge,
(10:58):
Tom Petty was still like and he and it was
like him in the middle of that, and I was like,
I think that's probably the last time he was like
an MTV artist, not like a VH one artist. Total
used to be. It's so funny there used to be
a difference between the two, and now neither of them is.
Speaker 2 (11:16):
VH won't even exist.
Speaker 1 (11:17):
Yeah, yeah, I think it's just like love and hip
hop and like reality shows.
Speaker 2 (11:21):
Oh, it's right, they were like all of that. That's right,
almost pre Bravo kind of yeah, yeah, okay. Anyway, No,
I think that what you're saying too about that's wild.
That story is kind of blow in my mind. I
think that what you're saying too about his inner compass
or whatever ed shear and it's funny. I don't know
if this is real or not, but there's something that's
like memed that's been floating around in the periphery some
(11:42):
conversation between him and David Byrne, and I kind of
think it's meant to be a joke, but I can't
tell they're kind of playing on the square or it's real,
and they're talking in David Byrne more or less says
to him, I think you should really push out more,
you know, like push and he's talking about like the
like kind of musically or production wise, and he's kind
(12:04):
of like no, like kind of like everything. And at
some point it Sharan's like, well, you know, like millions
of people really like what I do and he's like, yeah,
but it's not very good.
Speaker 1 (12:13):
Wow really, so which makes me think it.
Speaker 2 (12:16):
Must have been a bit like they must have been
like ed, Shearon would like to talk to you for
you know, MasterCard presents two artists talking on YouTube or
whatever the hell is that they would be talking to
each other on between two. But I do think that's
it's clear like that thing, it's clear he comes from
like building that what that song becomes from production perspective,
(12:39):
which is very impressive and layered and nuanced. And yes
it does have the like cleanliness and perfections that come
from now what is like pop music in a box
and a computer, but it also does have a human
element to it. And I think that it is exactly
as you said, It is kind of cool that this
guy who is kind of known prior to this as like,
(13:00):
you know, maybe this is a pejorative but like kind
of a milk toast balladeer, like a guy that's saying
kind of like easy to like, and you know, young
dude that like you know, your your grandma might be
like I heard a really nice song in the supermook
the other day, and I think he was like, what
if I wrote a song that was like a sex song,
a dance song, and a traction song, a new love song,
(13:20):
a body song, not a brain song. Yea and I
think it's hard to do that well and the jury's
out well is subjective. I wonder I could talk about
this later. My thing with the song, well, I'm talking
about it now. My thing with this this is that
I'm like, I guess what is sexy is infinitely subjective.
But a song like this feels to me like it's
(13:40):
wearing the clothes of that without actually necessarily like achieving
the uh the core. But I but I think the
there's all there's points to be given for the uh.
It takes guts and it's like a little vulnerable and embarrassing.
Speaker 3 (13:56):
Yeah, it is right, and and I think he like
owned it.
Speaker 1 (14:10):
I agree that I wouldn't say that this song is sexy,
but I also don't think like sexy back is sexy, And.
Speaker 2 (14:19):
It's those songs that they are. Those songs. Sexiness has
have actually aged very poorly, I think. But but at
the time, everyone I knew was like, you know, very
j Tim was top of the groups.
Speaker 1 (14:32):
Studios, yeah, walk and but like, yeah, it's interesting because
I I do think he pulls off making a song
like that. There's a you know, here's the thing I
think Ed Cheran probably had. I'm not sure of like
his history, but I think that's I think I don't
know his history.
Speaker 2 (14:53):
Trust me, he has.
Speaker 1 (14:56):
He's a you know first hand apparently on a record
right now, this is Chancy News. I would say that
it's it's yeah, he he accomplishes that. I think he
writes he used to write songs for other people. I'm
pretty sure that he.
Speaker 2 (15:15):
Was like as as a songwriter for artists, and.
Speaker 1 (15:19):
Then I think he was like I want to push
myself and like obviously a record company was like you
have red hair, and like you're not you.
Speaker 2 (15:25):
Know what what we traditionally attractive or so.
Speaker 1 (15:29):
But I think and he had to push through that,
which I give him a lot of credit for doing.
And then I think this is like he wrote as
if he wrote this, like Rihanna could do this song,
especially like to you know that section that's like like
of you we pushing pool like a magnet.
Speaker 2 (15:46):
Do that's totally her? Yeah, yeah, very well identified.
Speaker 1 (15:50):
Even like you know, come on now follow my lead,
come on, you know, like he's.
Speaker 2 (15:55):
Definitely doing like there's like a reggae influence, maybe a
Jamaican in flints. There's something like a dance hall thing.
He's definitely like filtering that through the Ed Sheer.
Speaker 1 (16:05):
And Sean Paul would kill this too.
Speaker 2 (16:07):
Jean Paul would kill it too. I'm sure. I bet
those artists heard it and we're like, you know, what's
the jay Z thing? And then when the NAS that
this song for the NAS.
Speaker 1 (16:17):
With you made it a hot yeah.
Speaker 2 (16:20):
Exactly, yes, yes, yes. I wonder if there are people
who heard this that were like, that's cool. I would
have destroyed this song, but you did a nice job.
Speaker 1 (16:31):
I think Sean Paul would crush it. I I you know,
I don't know other people that would pull this off,
like maybe timber Like maybe Timberlake.
Speaker 2 (16:41):
He would have had that. He definitely would have had
the He would have been encouraged and he would have
had I think the self confidence whether you know again,
there's like so many funny lines that exist between self
delusion and self confidence. But he would have absolutely this.
I mean, this would have been a song he would
have had at some point some version of this. And
(17:02):
I think that really what we're circling and driving home is.
I do think as especially listening to you, credit due
credit due for like you know, like Magnet do Yeah,
just like Manet credit due you know, and credit do.
I don't have to say anything else, like he tried
to try something. I think that, you know, there is
something to be said to I have a lot of
(17:24):
very mixed thoughts about the kind of the flowers that
get thrown at a certain level with certain artists, with
certain infrastructure and certain It's very mixed. There's a part
of me that feels like it must be very hard
to be up there, and there's also me that feels
like sometimes like they're being graded on this ludicrous curve
(17:46):
that like other people who have a lot more actually
at stake in some ways, uh, you know, aren't afforded.
And there's something to be said about the flattening of
like critical lens and commercial success in anyway. That being said,
I do think it's really embarrassing if you are up
where a guy like Ed Shearon is and you try
something like this and it's a total failure. Like what
(18:09):
was the what was get him to the Greek? Is
that that movie a freaking child thing that the Russell
Brank character does, And it's basically like that's like a
that exists because that's real because people do that, and
you're like, oh my god, what the hell was that.
Speaker 1 (18:24):
And to think of a of like a version of
that from pop culture, like I know, like Huff Daddy's
probably done some really weird things.
Speaker 2 (18:34):
Do you remember when he did the Godzilla theme song?
Speaker 1 (18:37):
I doubt he was led Zeppel.
Speaker 2 (18:40):
They did an s mL skit about he did that
then where Tim Meadows played him and it was just
they played classic rock songs and then.
Speaker 1 (18:52):
He would just go, that's so funny.
Speaker 2 (18:54):
You're like, I don't want to close, come with me,
I don't want to come with me again.
Speaker 1 (19:01):
That's so funny. I love that, Oh, Tim Metas, I'm
trying to think of there are other ones that there
definitely exist out there. I'll probably think of them later
and be mad, but yeah, I know exactly what you're
talking about. You could fall on your face totally.
Speaker 2 (19:16):
I think there was a little bit more of a
trope with those like seventies, eighties into early nineties, like
kind of feather rock bands, cock rock bands, whatever the
hell like that kind of there was the inherent bloat
that kind of came with like now we're a big band,
we should do our double album where we bring in
floutists and you know, squire from some third world country
(19:37):
we just read about for the first time or you
know whatever, there was that kind of I think that's
where that kind of comes from.
Speaker 1 (19:44):
And another risky thing that I think of is like
Miley's journey was probably one of the hardest things to accomplish,
where you go from Hannah, Montana to party in the USA,
which isn't that hard, but like everyone's like, oh wait
a second.
Speaker 2 (20:00):
She's been here maybe yeah, yeah, yeah.
Speaker 1 (20:02):
Then it's sort of this messy version of like a
kid using like Molly references, and there's this like we
can't stop wrecking ball into now she's like hosting this
New Year's thing with Dolly Parton, like I think like, and.
Speaker 2 (20:20):
Along the Way also made a fucking weird art rock
record with the Flaming Lists Yeah like, which wasn't really
either act best hour, but cool that they did it,
crazy that.
Speaker 1 (20:30):
They huge win for Flaming Lips, like I bet you
got so much so much more like it probably kicked
them back up a little bit.
Speaker 2 (20:36):
They played on us Now as her band, Oh wow, yeah,
I didn't see that. And Zilla god she I mean,
she's part of her art because she got to know Godzilla.
Speaker 1 (20:48):
In college once. Also on the Godzilla soundtrack. In college
once a band that used to play at the coffee
shop was like, we're going to do the Green Day song,
but we're going to do the Godzilla remix, which is
brain stew but it just with sounds, and the drummer
just screamed god Zilla sounds. It was a really funny bit.
Speaker 2 (21:06):
Oh that's pretty good.
Speaker 1 (21:08):
And because that's if you listen to the remix, it's
just that it's the song but with so it's like, don't.
Speaker 2 (21:16):
That's real, that's the thing that exists.
Speaker 1 (21:18):
Yeah, it's like it's brain stew Godzilla remix, but it's
just brain stew with Zilla screams from the movie.
Speaker 2 (21:26):
Wow. Oh no, I thought they just made that up
at the coffee shop. I was still.
Speaker 1 (21:31):
Yeah, they covered it like he put it and put
them in exactly where they go. Oh, I wanted to say.
I like the lyric and now my bed sheets smell
like you.
Speaker 2 (21:43):
I'm so glad you pointed this out. Please go ahead.
Speaker 1 (21:45):
I like that lyric. I think it's really visual. I
think it if you've ever you know, I bedded a lover,
there's this you know, like when they leave and you
and you and you smell them she's it's visceral, and
he put that in a song in a way that's
like not gross and not like braggy. It's really kind
(22:08):
of heartfelt. And I think that lyric alone, you take
it out, not just that, not the not the couplet,
not the rhyme of like last night you were in
my room, and now my bed, she'd smell like you.
It's really I'm focusing on my bed, she'd smell like you.
It's really, it's just a it's a good lyric. It's
to throw into a pop song. It's incredible.
Speaker 2 (22:27):
I like that you pointed it out because I'm gonna
be honest. When I was first listening to the song
as we were in our little private spheres and and
you know, I got there and I had so it's funny.
I had a journey in four minutes through each chorus.
The first time I had the opposite response where I
was like first, I was like, oh god, it's like
(22:50):
I kind of was like, it's kind of cheesy. It's
kind of also like it's kind of like I was
a little bit like, is it gross? It makes me
sound like a puritanical prude. Definitely like kissed at least once,
but I was like it was sheer, yeah, all of
my kissing and but yeah, so and then by the
(23:14):
second course, I was like, that's actually kind of cool.
Everyone or most people, not everyone, that's not fair to say,
but like you said, everyone who's had this experience has
had that moment where you're living and you know, sent
is a very strong sense memory thing, kind of can it.
And then by the end I was like, no, it's
the best lyric in the song. Now, when it's time
(23:36):
to move away from Chancey, I can tell you about
some other things I felt differently about and did not
have that journey.
Speaker 1 (23:52):
Hit me hit me, which.
Speaker 2 (23:53):
Ones I can't abide by that whole second verse, I
have a real part.
Speaker 1 (23:59):
When we again, let the story begin. We're out on
our first date. You and me are a thrifty so
go all in, So go all you can eat, fill
up your bag and I fill up a plate. It's real,
like what just happened in the song, it really diverges.
Speaker 2 (24:14):
There are also a few things I'd like to talk
about and what just happened, you know? All right, So
he's pointing out there's a few things in the first verse. I,
you know, I just would say from like a lifestyle place, like, yeah,
the club's not the place to meet a lady, but
the bar is. I'm like, look, we've all had our
fair share of whatever. But I would say they're both
not necessarily probably the best place to have, you know,
(24:38):
we if you're looking for long term, lasting connection of
a certain kind, it's maybe they do happen at the
club in the bar. There's people who get married all
the time from that and not The marriage is the
point of every blessed unions, you know. But you know
what I'm saying, I think that he's got Maybe he's
got it. Sounds like he's I'd like to talk to
him about his methodology with respect to how he chooses
his partners. But that being said the second verse, so
(25:03):
am I to believe this guy? This guy could play
the Super Bowl halftime show. He might have already. I
don't know. No one would blink. Look, I'm not a materialist.
You know, we all live in capitalism. We have to
make our way through. I'm not somebody who prioritizes that
as the you know, that's not where my brid gets
(25:24):
buttered but Ed Sheeran can take somebody to a little
bit nicer place than China Pagoda on Fifth Avenue in
Bay Ridge, you know what I mean. And certainly when
they're you could be thrifty's that's cool. Maybe there's a
little bit about this that's like disingenuous in a just
folks way, right.
Speaker 1 (25:43):
Right, it's it's it's the country music guy that's like,
I'm just like you. But then he's got like a
private jet and all that.
Speaker 2 (25:50):
It literally is one of the ten biggest artists in
pop music, if it may be fewer, and so I
get the part of the brand with him and Taylor,
who in some ways do mirror one another, is actually
that they are meant. You are meant to see yourself
in them to some degree. I feel like there's two
things that happened with celebrity at that level. One is
we are meant to look at them and be like
(26:11):
they are untouchable, they're Greek gods, or they are the
ones that you're supposed to see yourself in, and that's
the brand. And I think that he is mega, that
he is mega supposed to be like a dude that
you you're not. You know, so I could understand from
a writing perspective wanting to like step away from that
to be relatable. But I just want to say, as
(26:34):
a fairly normal ass person, it is not normal and
relatable to fill up your bag with sweet and sour
chicken on your first date, which Chinese buffet.
Speaker 1 (26:47):
I don't even think people do that.
Speaker 2 (26:50):
Fill up their bag, like open their person, throw chicken inside.
Nobody does.
Speaker 1 (26:54):
He is just like, you know, the first thing we
do is fill up my shoes and a bunch of
chicken in it. It's like it's it's like he's like
if you could picture and be like, all right, what
do normal people do? Let's see these.
Speaker 2 (27:07):
Pigs that the trough fill up their bags with lots
of chicken. It's been a while since I knew. No,
that's for me.
Speaker 1 (27:15):
Yeah, it's also confusing. One weekend, right for one weekend
we go on our first date.
Speaker 2 (27:20):
That's a little humble brag. What he's trying to tell
you is like, yes, we've been you know, smacking hunk
in the bobo, but.
Speaker 1 (27:29):
You and me are thrifty. Is really funny. You and
me are thrifty. This is your first date? Yeah, but yeah,
you know so much that she's cheap.
Speaker 2 (27:38):
That's right, Well, that's part of actually what what is not?
The interior logic of this song is a little flawed.
This is where everything we just said and construction is immaculate.
He has a clear melodic sense. He knows how modern
music moves. But the interior logic of the song, there's
a lot of assumption or like kind of like yes,
(27:59):
like amost like these people have known each other for much, much,
much longer. But there's also something of there's a lyric
about every day discovering something brand new. Well, I would hope.
So you're telling me that you met this person yesterday,
and that is you've been knowing to be talking to
each other for a week. It's your first date, so
you know, I just feel like.
Speaker 1 (28:20):
Her bag is soaked with sweet and sour.
Speaker 2 (28:22):
Chicken, absolutely drenched, and.
Speaker 1 (28:24):
They're talking about the sweet and sour. Maybe that's what
he means. We talk for hours about the sweet and
the sour that's in her bag at the time.
Speaker 2 (28:31):
Yeah, but that's that to me was lyric first time
I heard it. I remember, like there's certain things that
we talk for hours and hours about the sweet and
the sour and how your family's doing. Okay, I can't
just catastrophic first date conversation. Could you imagine talking for
hours and hours? I'm talking that's more than one, that's
(28:52):
probably more than two. It's like three or four hours
about sweet and sour chicken.
Speaker 1 (28:57):
Yeah, because hours means too at least maybe, and it's
hours and hours.
Speaker 2 (29:02):
So yeah, and I know the sweet and the sours.
It's meant to be like the good things in life
and the bad things in life, as well as the chicken.
But I might be giving him a little extra cred
on that.
Speaker 1 (29:12):
So he really did go to an all you can
eat Chinese buffet because he says all you could eat,
and then he solidifies that with the sweeten the sour. Yeah,
I actually like it. I like that. Actually I like
that he's painting it.
Speaker 2 (29:26):
Oh that okay, detail like specificity breeds belief. That's what
the journalism teacher told me once.
Speaker 1 (29:32):
Was nice.
Speaker 2 (29:32):
That's right, okay, all right, So maybe I'm wrong again.
Speaker 1 (29:35):
So then they get in the taxi. They kiss in
the back seat, fun little rhyme.
Speaker 2 (29:39):
I don't like this classiest bullshit where they tell the
driver like make the radio play.
Speaker 1 (29:45):
Come on, make no one's like it sounds like an alien.
Make the radio play.
Speaker 2 (29:49):
Yeah, no one said that every either. I am learning
one sweetens our play.
Speaker 1 (29:55):
And then suddenly he's singing the song that's on the radio.
Speaker 2 (29:59):
Imagine, So you make down in the back of her car.
You are fullest speaking sour in your bag?
Speaker 1 (30:03):
Will you know you? I love you?
Speaker 2 (30:07):
Know? How is this song on the radio already? In
this interior logic?
Speaker 1 (30:12):
Oh man, someone shoving their sweet and sour tongue in
your mouth and singing at you, eating you chicken, taking
it out of your purse, taking it out of your purse.
Speaker 2 (30:23):
Let the radio play. And then he's like, it's my song,
spitting chicken, knuckles of chicken.
Speaker 1 (30:31):
Also, how thrifty are you if you're taking a cab everywhere?
Speaker 2 (30:34):
That's true, he's not on the tube.
Speaker 1 (30:36):
I also have a lot of issue with I'm in
Love with your body. Yeah, it's like, I mean, if again,
if it was Rihanna, I think she could pull that off.
But I don't really think I'm in love with your
body is like it's really, I don't know, it's a
really it's like too simple. Yeah, it's a little too simple.
I'm in love with your body.
Speaker 2 (30:57):
Yeah, yeah, if.
Speaker 1 (30:58):
I said that to my wife.
Speaker 2 (30:59):
Well, there's a way you could say that, but.
Speaker 1 (31:01):
The song doesn't exist. The song doesn't exist, and I'm
just like, I'm in love with your body in a car.
Speaker 2 (31:09):
Hey, Lisa, tell the radio to play.
Speaker 1 (31:14):
Driver, Make the radio play.
Speaker 2 (31:16):
I also do like that. One thing is whether it's
some purpose or not. Well, sorry you brought something up.
Let's deal with that first. Yeah, it's a little on
the nose, on the body straightforward. There is a sweet
way to say that. There's a sexy way to say that.
There's a revealing way to say that. There's a vulnerable
way to say that. There's a like holy shit way
to say that, you know, and then there's like a
(31:37):
kind of like it's almost an afterthought the way it's
expressed here, but it's like an it's managers to both
be an obvious afterthought, which is like over two. You know,
I wish you guys could see there's a face of
almost de niro esque concern on Casey right now. He's
really I'm watching him really parse this.
Speaker 1 (31:57):
Yeah, I've always felt that it, you know, it's it's
definitely like he's setting up like he's in love with
this person and he's doing something so baseline as like
I love you, I love your body.
Speaker 2 (32:07):
I think the whole thing. There's a push and pull
like magnet do in this song where I think he's
trying to both be like I'm in love, I'm falling
in love, but also like, let me emphasize, like this
is kind of cool, Like I'm having like casual sex
with this person and eating Chinese food and making out
in a cab while I sing my own song to
her and he chicken in her face. He wants you
to know like he's cool, but also he's falling in love.
(32:28):
And the shape of you?
Speaker 1 (32:29):
What's the shape of you? Does he because he doesn't
really he doesn't the body? Is it just body? Because
he's describing like this relationship, so are you. Maybe it's
the shape of the whole shape. But then he's just saying.
And then also that bridge where it's come on, be
my baby, come on one hundred times.
Speaker 2 (32:46):
I wanted to say this. We're at the ninety second mark,
so I just want to make sure that we land
this plane. I will just say the bridge is the
one total bullshit, total bullshit that is like if that
took more than two minutes. What I really think is
he had the rest of it, and then it was
like we need a bridge, and he was like no.
I just say like, come on, baby, come on, and
(33:07):
I'll just say it a bunch. We'll bring it, we'll
bring it back in the end. There'll be some cool
production stuff. It'll be fine. Yeah, that part's you know,
that part is saggy.
Speaker 1 (33:14):
He's like, I'll do it live.
Speaker 2 (33:19):
I like the idea of him as a tyrant in
the studio to you know who I am smell like shit,
I mean case. I think I think we've done a
fairly thorough excavation of this, and I appreciate you showing
up with your best both enthusiasm and critical lens.
Speaker 1 (33:38):
I look forward to listening to more Edge Heeran from
this point out. I think I've given I've given him
a chance.
Speaker 2 (33:43):
Damn.
Speaker 1 (33:44):
I want to see what else he's got in this catalog.
You know, maybe this kid can make it.
Speaker 2 (33:48):
Well, we'll see fingers crossed. But for now, please no
A had sex with No.
Speaker 1 (33:55):
Please don't add sex with Edge heeering. That's what you
want to end the episode, So yeah, that sounds right
by deed. Bye. Just give a ship m
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