July 11, 2024 • 33 mins
In 1997 Aerosmith boldly revealed their favorite color with a heavy case of innuendo. Kevin and Casey give “red but not quite” a chance and determine if Pink is a kink or if it stinks.
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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 I'm
pumped for today's song. I do this thing sometimes before
we start recording, where I'll tell them no, I'm telling them, Okay.
(00:27):
I look at a list of songs, these that I have,
and then I think, like, what am I feeling like?
Which one do I want to talk about? And of
course this is give it a chancy, where we take
a song and we give it a chancy and we
talk about the pros and cons of that song and
how our feelings and sometimes we tell stories about our moms.
Speaker 2 (00:49):
Well, that was a really robust comprehensive. That was good.
Speaker 1 (00:52):
You're all I do is robust. Everything I do is robust,
robustus robusts a bus. So today's song is it interesting one?
For a lot of reasons. I don't think we've done
this genre. And this artist spans decades.
Speaker 2 (01:17):
Jean Luke Picard Uss Enterprise.
Speaker 1 (01:19):
That's who it is. This band has probably like a
lot of hits, but also some some would say, a
lot of shits, but I wouldn't call them misses because
they're hits. But I think a lot of people like
it's a band that some people hate.
Speaker 2 (01:34):
Yes, I have no idea. What I'm sure?
Speaker 1 (01:37):
Do you want to take a guest jeans?
Speaker 2 (01:42):
Is the guest jeans that tell about maybe Peak Era?
Speaker 1 (01:46):
Oh?
Speaker 2 (01:47):
Oh?
Speaker 1 (01:47):
Actually yeah, Peak Era? But maybe you want to take
a gap jeans?
Speaker 2 (01:51):
Oh?
Speaker 1 (01:52):
Is it?
Speaker 2 (01:52):
Wait a minute, gap jeans? Oh? Is it? Is it Aerosmith?
Speaker 1 (01:56):
Yeah?
Speaker 2 (01:58):
Do you remember that this kind of a bobo in
black and white?
Speaker 1 (02:05):
Yes? And if you had to guess what arrow Smith's song?
If you have to guess jeans, what Arrowsmith's song? What
would it? Beans?
Speaker 2 (02:15):
Well, the chancers know that I'm a bit of a
nineties baba myself. Is it going to be the cops
are coming again? Is it going to be? I'm gonna
guess if we're in Gap Jeans.
Speaker 1 (02:30):
Era, Okay, is it going to be?
Speaker 2 (02:34):
It's not going to be Pink It's.
Speaker 1 (02:36):
Fag Oh no, it's fig Everybody at home they see
the title of this episode and they know and they
all went, he got it.
Speaker 2 (02:45):
Oh no, what.
Speaker 1 (02:48):
Was the last time you heard pink? It's been one
week since we both did it too.
Speaker 2 (02:57):
It's been probably since I've heard it in full. Yeah,
it might, this might sound crazy, It's possible. We're about
to do it in full, front to back for the
first intentional time ever. Wow, because this was a little late.
This is late nineties, mid to late nineties.
Speaker 1 (03:20):
I'll look it up. But yeah, it feels ninety seven.
Speaker 2 (03:23):
I'm feeling ninety sad. And do you know that song? No?
Is that a real one sound Garden? Now he says,
I'm feeling minnesotaa oh, galliforon yeah or he reverses those
I don't know, And then feeling Minnesota was of course
in Indian in the nineties with Steve Bee shemings. I
think he might No, Tree, I was getting that in
(03:45):
Tree's lounge. Confused anyway, Sorry, ninety seven I nailed it
ninety seven, Yeah, I was in nineties.
Speaker 1 (03:52):
I've been good at that. Today we were listening to
music for my daughter's sake, and I put on Bobby
Darren Across the Sea Along the Sea. Yeah, yeah, under
the sea.
Speaker 2 (04:03):
What is it under the sea? Is it it under
the sea? Or is that the Little.
Speaker 1 (04:07):
Mermaid among among the Sea?
Speaker 2 (04:11):
That song down the Sea.
Speaker 1 (04:13):
Nope, not that one. Okay, it goes beyond the sea
somewhere waiting for me.
Speaker 2 (04:21):
Oh yeah, yeah, yeah, yeah yeah.
Speaker 1 (04:23):
What did you think she loved it? I mean she
she definitely dug it. She liked the horns in it
and the part that's like you know that, and I
guess nineteen fifty nine and I got it right. So
that's two times today. I got the I got the
year right.
Speaker 2 (04:37):
You're on a roll, chancer, head chancer, but.
Speaker 1 (04:40):
We're not talking about beyond the sea. We're talking about
beyond the pink. Here we are, Okay, I love it.
Go to chancey, see it back in a second. Okay, dooksters, Okay, okay, okay,
(05:02):
what's your initial thoughts?
Speaker 2 (05:03):
I can tell you. I'm going to start with the
places where I can give it a chancey and perhaps
contextualize personally. The first music I really got into that
was like not received from my mom or my dad
or my older siblings, and maybe there's a little bit
(05:25):
of older siblings in this, but I don't think I
knew it yet. Was like late eighties strip metal, Hollywood
rock music. It was big, big, big, big love story
for me, as like a fourth grader with like a
Columbia House subscription. You'd get like twelve cassettes for a penny.
There's like nineteen eighty nine.
Speaker 1 (05:45):
And they look like superheroes here, they looked.
Speaker 2 (05:47):
You just nailed it. That is exactly right. Like the
eighty six Mets, poison guns and Roses all could have
been like the Avengers.
Speaker 1 (05:57):
And the X Men or some wrestling. I think wrestling is.
Speaker 2 (05:59):
Bigd thousand percents, like hul Cogan and the Ultimate Warrior
and the Macho Man and all of that.
Speaker 1 (06:04):
They're all the same vibe when you think about it.
Speaker 2 (06:06):
They are all the same.
Speaker 1 (06:07):
Baseball players too, for sure. Although the baseball players like
also looked like firefighters, you know what I mean.
Speaker 2 (06:13):
Like totally it depended who they were, like that's right, yeah,
Like Wally Bachman on the Mets absolutely looked like my
friend Tommy Lapere's dad, who was a fireman. Like that's
one hundred percent. But also Dwight Gooden and Darryl Strawberry
looked like you know, they could have been like celebrities
and some other arena you know. But anyway that being said,
all of them, you nailed it. They were basically superheroes
(06:36):
and Aerosmith and led Zeppelin came to me as like
the first maybe awareness I had that there was like
generational components to styles of music like Guns N' Roses,
Kind and Motley Crue. Clearly liked these bands, you know,
And I think I got like a cassette of Aerosmith's
greatest hits, and this at that time was like dream
(06:57):
on sweet emotion.
Speaker 1 (06:59):
There are so I mean, if you want to talk
about it, they have hits from like like every decade
or four of the first you know, certainly four decades
of their career or something like seventies.
Speaker 2 (07:09):
Nineties, and in all three of those like major major passages.
And then I don't know as much about.
Speaker 1 (07:16):
Two thousands and since, but I bet you they snuck
one in.
Speaker 2 (07:19):
They definitely probably did. And part of the language you
just used is we'll get sneaking when and we'll get
there later. But yeah, one of the things that I
will say, so I've I was at times, especially formative
times in my life, I think I owned greatest hits,
and then I definitely owned permanent vacation pump and get
a grip on cassette. This is like late eighties, early nineties.
(07:42):
What I think as a present I have a lot
of thoughts about Aerosmith, but as a Stephen Tyler and
specific but as a present listener, what is undeniable. I'm
not going to talk about the delivery just yet, and
I'm certainly not going to get into the lyrics, but
what I will say is this is a very dynamic
and accomplished and of rock singer who has been what
(08:03):
is oft imitated by whole genres of people in the
time since and what is the secret weapon of many
of the best mid especially I would say maybe even
going back as far as dream On, this is also
a band for all their butt head rock tendencies, tendencies
(08:24):
who had clearly spent some time internalizing the Beatles and
the chorus to this song, the back half of the
chorus to this song is so it's incredible, and it's
straight up pure magical mystery tour Strawberry that era Beatles melody,
chord construction, and so is the bridge, which is a
(08:46):
guitar solo which incorporates chords and key change stuff that
is not in the rest of the song, and it's
so aware of itself that Joe Perry kind of uses
this like what's it called like leslie this like spinning
effect sometimes, yes, exactly, and it's that and that is
a Beatles thing wing and those things for this listener
(09:10):
are very satisfying. I'm divorcing the content what's being said.
We'll get to when we stop giving it a chancey,
but I will say, really lyrical, melodic, kind of lovely
guitar solo. He's a very good guitarist, very accomplished singer.
It's kind of cool that the bass is tuned way
down because when he hits that very bottom note that
(09:30):
he's hitting, it's definitely lower than cool. It's a cool
approach thing, and it sounds like it was recorded. The
drums have that big ambient sound that kind of like
influenced rock music. In the wake of Steve Albini making
like a number one album Servana. You didn't think I could,
but you could hear that the big whack. It's like
(09:51):
John Bonham esque.
Speaker 1 (09:53):
It's loud. It's loud in the mix.
Speaker 2 (09:54):
Yeah, an ambient sounding just like natural the mix.
Speaker 1 (09:58):
The mix is real when you think the mix is
really good and it starts with harmonica, which is like
you know of the time the Blues Traveler thing like
it's but it's a it's like the villain do hear everything? Yeah,
you're right about that Beatles and even the lyric, And
I actually think for a song that's so sexually innuendo charged,
having the lyric that that says, and I think everything
(10:19):
is going to be all right no matter what we
do tonight. Yeah, it's actually really nice, Like it's actually
it give them a lot of credit for it. And
and that Beatles harmony is so it's actually channeling Beatles
and your Robert Plans totally and at the same time
it connects it. So it's connecting those two things really successfully. Yes,
(10:42):
you know this song. You know, I think a lot
of people like cringe at this song for some obvious reasons,
but also just for the time and all that stuff.
But if I hated this song and I heard that
harmony in that moment, I'd go, oh, okay, that's actually
really interesting.
Speaker 2 (10:55):
It's very musical and cool. And one of the things
that happens, which I noticed the third pass through, is
actually they cross each other at the note. There's one
note that's in unison, and then the harmony, which was
under all of a sudden is over like through that note,
which is which is a cool thing.
Speaker 1 (11:11):
And it's also very like and your bird can sing beatles.
Speaker 2 (11:14):
Right, yes, yes, yes, that's right, that's right, And so
that stuff. I can give that a chancy all day.
That's very yeah, specific to this Chancellor's particular peccadillos, but
the peccadillos maybe where focus on how the chance he
falls apart after of course we take this little breakster
(11:37):
do now.
Speaker 1 (11:47):
So a lot of really fun stuff with this song
that I forgot. I haven't heard it since you know
it probably came out, but when it did come out,
my brother bought this album, which the one with like
a robot on it. Yes, yes, yes, it's called just
Push Play.
Speaker 2 (12:04):
We gotta do it anyway jes bush By, I remember that.
Speaker 1 (12:08):
Yeah, so yeah, and and and my brother had every
Arroosmith CD like like you mentioned, Get a Grip Big Ones,
which I think.
Speaker 2 (12:16):
Was that was that was one of the many hits packages.
Speaker 1 (12:21):
And them all. So so we were excited for this
album and I listened to this a lot. I also
watched the music video, and I just want to we
don't talk about the music videos all the time, but
it's ahead of its time. It's like all this it's
kind of like a like early deep fake where like
head on like a skelling in and like the guitar
player blacking on his name Joe Perry, Joe Perry, that's right,
(12:41):
he's on like a it's like a centaur at a
part like oh yes, yes, And this is actually really fun.
I'm glad I brought it up because there's you know,
on like YouTube, it'll show you like what's been watched
the most. It'll have like a little mountain. So there's
a part where there's a model in it who has
a nip slip and that's been the most star.
Speaker 2 (13:02):
We are such funny, such a predictable set of animals.
That's really funny.
Speaker 1 (13:08):
Yeah, so that's a little that's a little easter egg
for y'all. Yeah. Now I think are we do we
want to talk piccadillas?
Speaker 2 (13:15):
If you have I gave I know that I which
we went back and forth. If there's anything else that
you would like to give a chancey, I know that's
about all I got. But if there's something else that
you want to you know, offer that perspective.
Speaker 1 (13:27):
This is not a piccadillo, but I do think that
it comes very close sonically, not just the sound of
the guitar, but the notes to Cracker Low.
Speaker 2 (13:38):
Damn as you know, the rhythm, the actual tempo and rhythm,
and there's something in the swing that is an all
great song.
Speaker 1 (13:48):
With you go, that'd be low right, a great tune.
If you haven't heard that, that's not going to make
this podcast now.
Speaker 2 (13:56):
I would give that a chance all week.
Speaker 1 (13:58):
But if you know that song, maybe you heard that
that the riff in it and this song is is
very similar. It's I had to like I was singing
along to that while listening to Pink.
Speaker 2 (14:09):
Well right, this is like a bit more of like
a major key kind of blues influenced version of that,
which is a more kind of like minor key skewing,
slightly more like I don't know which one call it
depressive or something.
Speaker 1 (14:23):
I love it. It's like a low and Pink. Can
you share this thing?
Speaker 2 (14:26):
Low Low Pink? They have a single actually with Lady
Gaga Low Pink. But that being said, Low Pink, Yeah,
I do think that's that's a good call.
Speaker 1 (14:35):
I think it is.
Speaker 2 (14:35):
Really it's in the swing of it too, that's very specific.
I wonder that could be one of those things. What's
the story where like uh Adam Doritz tried to sign
Len Steal My Sunshine to like an imprint Counting Crows
must have had with their major label deal and Lynn
said no. So Counting Crows wrote Hanging Around, which is
basically Steal My Sunshine by Lynn, and had what a story? Really,
(15:00):
I'm really good at stories. I didn't know that I'm
a business man.
Speaker 1 (15:06):
That is fascinating because I've known both those songs my
whole life and I've never I mean, I wouldn't put
them next to each other as the same, but now
that you're saying it, it is very similar.
Speaker 2 (15:16):
Yes, wow mm hmmm.
Speaker 1 (15:18):
See, people aren't really getting trinkets from this from this,
from listen to this. They listen to this and they
get to take home anecdotes and trinkets.
Speaker 2 (15:26):
Anecdotes and trinkets, which is definitely that's my favorite. Mountain
Goats record anecdotes and drinkets.
Speaker 1 (15:33):
What's your favorite? I have the lyrics up, what's your
what lyric do you hate the most? And which and
using pink? And which is your favorite.
Speaker 2 (15:41):
Pink using pink? Which do I hate the most? Like?
Speaker 1 (15:45):
For instance, like my favorite lyric is probably the one
that I mentioned earlier, which is and I think everything
is going to be all right, but I want you,
I want to mean, I mean like because they say
pink so much, and I want to know what your
pink lyric is favorite and least favorite.
Speaker 2 (15:59):
I mean least Favorite's hard to pull apart here because
I really do have a lot of problems across the
board on several levels. Maybe i'd like at least when
he embraces his inner poet and he's like trying to
actually like in this like kind of like tongue in
cheek or elsewhere, butta being trying to do things that
(16:20):
are like, you know, like he's trying to like this
thing about the deco umbrella. Yes, hate it, hate it,
hate it, hate it a lot. Hate the one about
my favorite crayon. Don't like that either.
Speaker 1 (16:33):
I agree, But that's a surprising one. And another one
that I think I would normally hate, but I'm like, Okay,
I'm going to get into it. I'm gonna give it
a chance. He is pink, it's lagger red but not quiet.
Speaker 2 (16:44):
It's funny. Well that one's actually like that's like so stupid.
It's great.
Speaker 1 (16:50):
It's at the end of the song. Yeah, that's that
gets my favorite pink.
Speaker 2 (16:54):
You know what, that's funny, that's true. It's the last
thing he says, and it might be the stupidest one. Yeah,
it's funny. He like crests to the worst one. It's
not the worst because it's the grossest. It's the worst
because it's the stupidest. That's really true. I dig it.
I don't know. It's hard for me to pick. I
guess I had to pick. They're all gross, but my
(17:15):
least favorite one might be the deco umbrella because that
has pretensions of like cultural knowledge and that I'm like,
don't don't try to be all things to all people. Here,
to homie, You're just yeah, it's just gross. Just be
gross and we would find later. That's part of my
problem with the song. In retrospecty he's kind of been
outed as a pretty just to the surprise of no one,
(17:37):
like a pretty egregiously gross dude, which.
Speaker 1 (17:40):
I think he's telling you, Yeah, yeah, yeah, was it
not When he said pink as the being on your cherry, that's.
Speaker 2 (17:47):
Insane And for some reason I thought it was pink
as the being on your chandler.
Speaker 1 (17:53):
Wait when did you think that the last you know,
When I was.
Speaker 2 (17:57):
Reading it, I was like my brain Chandler n wow,
and also che maybe because the ch thing Chandler, Cherry.
Speaker 1 (18:06):
How's the bing on your Chandler.
Speaker 2 (18:10):
You gotta do Sandler gotta be Yeah, I think like
you're lunch lady Sandler.
Speaker 1 (18:17):
That's it. I was trying to find it. That's good.
Speaker 2 (18:21):
You can say something about like pink. You're in Trub's
Reprimander because the pink not green lights on Solo Mander
geck go, he goes, I love, he has the measure.
You're like pink because a bank with Sanender.
Speaker 1 (18:41):
Wow, you're dropping bars.
Speaker 2 (18:44):
Big shouts to Santander for supporting this pod from day one.
Speaker 1 (18:47):
Day one, Santander actually reminds me that we have to
take a break and from our sponsors, which is not Santander.
It's actually.
Speaker 2 (19:07):
As oh, I want one thing. I think we'd be
remiss to not cover. Have you seen the thing where
he's being interviewed by David I was gonna say, bowie,
David Lee Roth and he's speaking through the lyric process.
(19:29):
I think it's David Lee Roth. Maybe it's Stern and
maybe someone's made a meme where they put it David
Lee Roth on it. But he's walking through the writing
of this of this song, he puts his glasses on
to read the words from a notebook, and he's like
looking and he's explaining the innuendo as if.
Speaker 1 (19:47):
Like we didn't get it, come on funny.
Speaker 2 (19:50):
But the fact that he puts his glasses on is
pretty deco umbrella of him. Like he's being like, I'm
an rudite, you know, and he wants to that, you know,
all about like that he needs firs in these glasses.
But secondly, like I look smart when I wear them,
and also like Pang is my favorite Nephi. I don't
think you can say that, but yeah, I you should
(20:12):
watch that Chancers if you don't know that it's really
it's insane. He's a tough Prior to him being outed
as world class scumbag, it was also like he's been
a tough guy to root for for quite a while.
I feel like even Joe Perry is sort of like
on the record, it's like a Jagger Richard's thing or
but like Joe, that one seems really legitimately like bereft
(20:35):
of any warmth at this point, they're like, you know,
golden handcuffs, business partners who But Joe Perry's really like,
I hate this guy. This guy's just the worst. And
you know, if this if someone came in. I have
a running bit with my daughter about like what would
She basically thinks it's funny to imagine the Smith's presenting
(20:58):
their music to Marrow and then Marsy writing the words
to Smith's songs. This is her bit I've started.
Speaker 1 (21:06):
No, She's like, no, there was Smith's word.
Speaker 2 (21:11):
Thing that would come on a lot early in the
pandemic when we're just like walking around or driving around,
just like spending time going to like different outdoor places
cemetery gates, because we would go to this park here
that's Greenwood Cemetery. That's like an open, very beautiful like
kind of place you can trails and stuff like that.
A lot of famous people are buried there. I guess
I was gonna say lived there, Yeah, but she and
(21:33):
it would that. The running bit is always like the
Smith's write this really beautiful, dynamic piece of music, and
they are constantly deflated when Marsy comes in and he
says whatever insane bullshit Marsy says and all the songs
and it's an ever bit because it's like you present,
Heaven knows them miserable now as music, and this is
gonna be our number one hit. It's so buoyant, it's airy,
(21:55):
it's and then he comes in and he's I was
happy in the haze. It's fun to think about Aerosmith
writing whatever this music was and then him coming in
and being like, I'm gonna riff on pink for a
while and see if you could keep up, you.
Speaker 1 (22:09):
Know what I mean, going back to your childhood. If
Axel Rose decided to, if Axel Rose decided to, like,
you know, stop being wild, I think like the band
would be like bummed. I think like these bands want
the larger than life presence and they want everything that
(22:30):
comes along with that. And I think, like, I don't know,
I think there's something too. It's not like I encourage
people to be like assholes about it, but you do
want your you know, you do want something out of
your lead singer in this genre.
Speaker 2 (22:46):
Totally you like. And I think that was also a
construct that in a weird way, Aerosmith kind of pretty
early on. I wouldn't say they they weren't like you're rolling.
Stones are probably like the foundation text for this behaviorally,
and then it's kind of like led Zeppelin and Aerosmith
(23:06):
are like right there pretty early on, like within five
years seven years of the Stones, because Aerosmith's like seventy
four seventy five, led Zeppelin's right before that. Ozzie's in
there a bit, but they were like a little.
Speaker 1 (23:17):
Darker the who were breaking their instruments.
Speaker 2 (23:20):
They were, But if you think about the who, you don't.
I don't think the who, And I'm sure they have
plenty of stories and did plenty of things, but you
don't think about the who in the same kind of
like Bacchanalian or whatever.
Speaker 1 (23:33):
Like I know, you don't Roger what's his name, Roger.
Speaker 2 (23:36):
Roger Daltry, who looks like a centaur just standing up
normally in that period of time, there's something.
Speaker 1 (23:42):
Centaur everted centaur. Yeah, yeah, he shed his horse, but yeah,
I know, yeah, he doesn't seem like a wildman.
Speaker 2 (23:49):
But who?
Speaker 1 (23:50):
So was it the other what? There was u what's
his name? Who was destroying the instruments.
Speaker 2 (23:55):
But I feel like that's to me, there's two things.
That thing was definitely like rock and roll and like
kind of like rebellion and like a pantomime of a
kind of violence. You know that that's like part of
the thing. The thing with the guy with people like
Keith Jagger, Keith Jagger, Mick Jagger, Keith Richards, Stephen Tyler,
Joe Perry, certainly led Zeppelin, and then yes, definitely Axel
(24:17):
Rose and all of those people, is that that was
a bit more like there was like more sleas sexuality
put way up front and a kind of like yeah,
like almost like what's it like dionysis or something like
God of excess thing. And I think what's interesting is
like everyone talks about it. Oh, there's like everyone people
will say music people. I feel like there's this conversation
(24:39):
about like you can basically break every artist down too.
Are they Beatles or Stones?
Speaker 1 (24:44):
You know?
Speaker 2 (24:45):
Like cool and that's kind of a fun thing to do.
I think it's also fun to do it like across
genres like Kendrick Lamar is the Beatles, you know, and
then like maybe like I don't know, Lil John is
the Stones, not Little John, Lil Wayne Wayne is the Stones.
Something I think like to me, that's about like the
space they embody.
Speaker 1 (25:06):
Whether that's fair or Litill John is definitely the stones.
Speaker 2 (25:08):
Litil John is definitely the stones. But also you know,
like Nirvana is beetles, and maybe Guns and Roses are stones.
Speaker 1 (25:17):
Yeah, or stone temple pilots too. Maybe as a contemporary,
sure it might be the right, Like that's totally but
you know, Aerosmith, like we said, like it has some
Beatles moments here, but they're definitely more stones, no doubt.
Speaker 2 (25:28):
Their magic trick was that they were stones and then
once in a while would throw in a Beetles passage.
But behaviorally, sort of energetically, the space they occupy is
way more stones. And I think you're right because that
stuff was like good for business, the outsized and for
some to some extent, for creativity. But what I will
say is I do think every band has its breaking
(25:51):
point with that stuff. Sure, and it's usually not always.
Usually it's as simple as once the wave starts to crest.
Speaker 1 (26:00):
But also cute, it's like not cute anymore, no, And
sometimes it's not.
Speaker 2 (26:03):
That Like thinking about a band like Guns N' Roses,
like half that band quit the core band by like
nineteen ninety three, even it was basically like him, and
that was kind of it like everybody at one by
one they'd all been like, I can't do this anymore.
If you think about the length of time that was,
that was actually like seven years or something like that, which.
Speaker 1 (26:25):
Is not that long you know, big band, Yeah not
you know.
Speaker 2 (26:29):
And and so I think an Aerosmith basically broke up
between like the early eighties and late eighties. And I
think part of it was that it was just like
this is and I can't these I hate these people. Yeah,
and then at some point the reality of his circumstances
and guns and roses are you know, slash and duff
for back there. Now there's like an extent to which
it's like, but I would make so much, which is
(26:51):
one of the reasons why I think the Smith's thing
remains that they'll like never reunite. They're kind of like
one of one.
Speaker 1 (26:58):
So to that degree, at this point, did the Smith's
basis die recently? He did?
Speaker 2 (27:04):
Yeah, is that I wasn't except the drummer in the
bassis Mike Joyce and Andy Rourke, but yeah.
Speaker 1 (27:09):
Andy Rourke, Yeah, Yeah, that's another reason. That's like, that's
a guy that i'd like to see play again. But
totally those songs. But yeah. Yeah. With Aerosmith though, you know,
like you mentioned that they had such a big nineties resurgence,
Like you can't take away from them, like the crazy Amazing.
Speaker 2 (27:30):
Some of their best most successful songs.
Speaker 1 (27:32):
What's thet crazy amazing, crazy amazing, that's it? Yeah, do
you remember?
Speaker 2 (27:38):
Yeah?
Speaker 1 (27:38):
Yeah, yeah, I go.
Speaker 2 (27:40):
Crazy, cry and crying amazing crazy. Yeah.
Speaker 1 (27:46):
That's great. So that I I mean that that was
a big part of my childhood. And like, I have
a friend who I work with who who hates Aerosmith
and hates those songs, and I can't hate them, even
Pink Pink. I chose because I I know that, like
the society kind of hates it and I don't like it,
but there's something about it. There is I will say that, like,
(28:07):
there is enough interesting stuff in this that if I
was at a bar and it came on, I might
roll my eyes, But I also might hear those things
that we mentioned that I like.
Speaker 2 (28:16):
No doubt, and this is a prime example of a
song to me that if this song, if you removed
the lyric, kept the melody maybe even but or at
least that chorus melody. But if you remove the lyric
and you heard this song as an instrumental and or
as an instrumental with or as a new song with
(28:38):
different lyrics. Yeah, it's a legitimately they're a good band.
Like there's a lot of like legitimately good compelling rock
music by Aerosmith. I don't think they're quite on that.
They're not held in the same esteem as like The
Who or Zeppelin is, or certainly not like Beatles or Stones,
but they're kind of held in and not. I bet
(28:58):
a lot of people would put them in the five
American rock and roll bands of all time.
Speaker 1 (29:03):
I'll say this that, like, hey, we talked about Train.
Speaker 2 (29:07):
They definitely are doing an Aerosmith thing on yes, he Yeah,
for sure.
Speaker 1 (29:12):
I don't think Train, or at least Drops of Jupiter
that we've listened to, like, it doesn't have that And
I think everything's going to be all right no matter
what we do. It doesn't have that kind of harm
anything or like anything that changes up like the whole song.
For me, when that comes in, I'm like, where did
this come from?
Speaker 2 (29:25):
Well? You know what's interesting, and I know that song
was this song is twenty six years ago, but maybe
what I'm saying evidence is twenty seven years ago. It
evidence is as we've moved further as sometimes one of
the things I will do is get into a room
with another artist and write with them for their music, right,
And one of the things, yeah, I just kind of
wanted to let people know I love that. Maybe. But
(29:45):
one of the things that I will do as a
Beatles and Beatles through yes, Elliott and Nirvana, but Beatles themselves,
like acolyte to some of those movements, is like, that's
where my brain goes sometimes with chordal stuff. And what
is really nuts is that the more that no that
sounds in the same because we're talking about like the
literal Beatles, it's like talking about the sun or something.
(30:06):
But like that thing that they brought harmonically to pop music,
which is what we're talking about in the back half
of this chorus, is disappearing in pop music. And when
you bring that into a room, even just a little
dash of it, there's always this like, oh wow, that's
so such a cool progression, and you're like, hey, it's
literally every Beatles song, half of the pop Nirvana songs,
(30:29):
and most of Elliott Smith's catalog hit the Two Chords,
I did it. I mean, I can't stop but I
won't stop. I'll never fucking stop. But I do think
that they were close enough to the source of heat
with that, and it was such a primary color influence
for them that they still it's still in there, and
when you hear it, you are like, oh, what a
(30:52):
wonderful harmonic decision that is quarterly and it's refreshing to you.
Probably even in nineteen ninety seven, it was refreshing to
hear it because that wasn't going on in whatever pop
was on the radio even at that time.
Speaker 1 (31:04):
I think Gaga might slip something in once in a
while that's like, that's like an interesting moment like that.
Speaker 2 (31:10):
Yeah, I mean, I'm not saying it's the only path
to musical spicienic in pop music, but yeah.
Speaker 1 (31:15):
But it's you're right though, it's like, you know, the
landscape is void of interesting choices and stuff like that,
and I get why. I get it's like easier and
it's quicker, and.
Speaker 2 (31:26):
Yeah, that's right, and it's what sounds best in the
background while people are doing other things.
Speaker 1 (31:31):
And the Beatles were lucky because they were experimental, but
also they got onto the pop. So it's it's like,
you know, when there's experimental bands that just drop in
and for some or you know, they get a big
hit out of nowhere or something. You know, That's what
it was for the Beatles, I think, and they were.
Speaker 2 (31:47):
Such the big bang in some ways that they also
were able to craft pop music in their image, which
is an extremely rare opportunity. But when you said Gaga,
and I know we're coming towards the end here, but
I did want to say, have you seen the thing
where Kanye West is talking about Gogloyd? It's amazing, that's great.
Speaker 1 (32:07):
Yeah, what does she know about cameras?
Speaker 2 (32:10):
Yeah? What fuck does she know about cameras? I encourage
you to watch that as well.
Speaker 1 (32:13):
That's a good plan.
Speaker 2 (32:14):
So where do we land on this case? I mean,
obviously it's gross and also has some really beautiful moments.
Is that what we're saying.
Speaker 1 (32:20):
I'm not going to choose to put it on, but
I won't kick it out of bar because I'm not
going to play it. I'm gonna pay. But if I'm
like at like a bar, restaurant or something and it
comes on, I'm not gonna I'm not going to leave
the restaurant.
Speaker 2 (32:31):
No, and you're not gonna like if Yeah, when you
not if when you next are with your closest friends
at Applebee's and it comes on, you.
Speaker 1 (32:42):
Will it's playing. It will play it out and.
Speaker 2 (32:44):
You'll drink the brutus and you'll look at your friends
and go, you know what the song's about, right, and
let go.
Speaker 1 (32:50):
No, I'll say crayons. I'm just gonna say that.
Speaker 2 (32:54):
Really, you know it's about crayons.
Speaker 1 (32:58):
Answers, tiny chancers. Thanks for listening, and yeah, we'll do
it again another time.
Speaker 2 (33:05):
I sure hope so do.
Speaker 1 (33:09):
We both just hit that.
Speaker 2 (33:11):
That was really good.
Speaker 1 (33:12):
Wow,
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 I'm
pumped for today's song. I do this thing sometimes before
we start recording, where I'll tell them no, I'm telling them, Okay.
(00:27):
I look at a list of songs, these that I have,
and then I think, like, what am I feeling like?
Which one do I want to talk about? And of
course this is give it a chancy, where we take
a song and we give it a chancy and we
talk about the pros and cons of that song and
how our feelings and sometimes we tell stories about our moms.
Speaker 2 (00:49):
Well, that was a really robust comprehensive. That was good.
Speaker 1 (00:52):
You're all I do is robust. Everything I do is robust,
robustus robusts a bus. So today's song is it interesting one?
For a lot of reasons. I don't think we've done
this genre. And this artist spans decades.
Speaker 2 (01:17):
Jean Luke Picard Uss Enterprise.
Speaker 1 (01:19):
That's who it is. This band has probably like a
lot of hits, but also some some would say, a
lot of shits, but I wouldn't call them misses because
they're hits. But I think a lot of people like
it's a band that some people hate.
Speaker 2 (01:34):
Yes, I have no idea. What I'm sure?
Speaker 1 (01:37):
Do you want to take a guest jeans?
Speaker 2 (01:42):
Is the guest jeans that tell about maybe Peak Era?
Speaker 1 (01:46):
Oh?
Speaker 2 (01:47):
Oh?
Speaker 1 (01:47):
Actually yeah, Peak Era? But maybe you want to take
a gap jeans?
Speaker 2 (01:51):
Oh?
Speaker 1 (01:52):
Is it?
Speaker 2 (01:52):
Wait a minute, gap jeans? Oh? Is it? Is it Aerosmith?
Speaker 1 (01:56):
Yeah?
Speaker 2 (01:58):
Do you remember that this kind of a bobo in
black and white?
Speaker 1 (02:05):
Yes? And if you had to guess what arrow Smith's song?
If you have to guess jeans, what Arrowsmith's song? What
would it? Beans?
Speaker 2 (02:15):
Well, the chancers know that I'm a bit of a
nineties baba myself. Is it going to be the cops
are coming again? Is it going to be? I'm gonna
guess if we're in Gap Jeans.
Speaker 1 (02:30):
Era, Okay, is it going to be?
Speaker 2 (02:34):
It's not going to be Pink It's.
Speaker 1 (02:36):
Fag Oh no, it's fig Everybody at home they see
the title of this episode and they know and they
all went, he got it.
Speaker 2 (02:45):
Oh no, what.
Speaker 1 (02:48):
Was the last time you heard pink? It's been one
week since we both did it too.
Speaker 2 (02:57):
It's been probably since I've heard it in full. Yeah,
it might, this might sound crazy, It's possible. We're about
to do it in full, front to back for the
first intentional time ever. Wow, because this was a little late.
This is late nineties, mid to late nineties.
Speaker 1 (03:20):
I'll look it up. But yeah, it feels ninety seven.
Speaker 2 (03:23):
I'm feeling ninety sad. And do you know that song? No?
Is that a real one sound Garden? Now he says,
I'm feeling minnesotaa oh, galliforon yeah or he reverses those
I don't know, And then feeling Minnesota was of course
in Indian in the nineties with Steve Bee shemings. I
think he might No, Tree, I was getting that in
(03:45):
Tree's lounge. Confused anyway, Sorry, ninety seven I nailed it
ninety seven, Yeah, I was in nineties.
Speaker 1 (03:52):
I've been good at that. Today we were listening to
music for my daughter's sake, and I put on Bobby
Darren Across the Sea Along the Sea. Yeah, yeah, under
the sea.
Speaker 2 (04:03):
What is it under the sea? Is it it under
the sea? Or is that the Little.
Speaker 1 (04:07):
Mermaid among among the Sea?
Speaker 2 (04:11):
That song down the Sea.
Speaker 1 (04:13):
Nope, not that one. Okay, it goes beyond the sea
somewhere waiting for me.
Speaker 2 (04:21):
Oh yeah, yeah, yeah, yeah yeah.
Speaker 1 (04:23):
What did you think she loved it? I mean she
she definitely dug it. She liked the horns in it
and the part that's like you know that, and I
guess nineteen fifty nine and I got it right. So
that's two times today. I got the I got the
year right.
Speaker 2 (04:37):
You're on a roll, chancer, head chancer, but.
Speaker 1 (04:40):
We're not talking about beyond the sea. We're talking about
beyond the pink. Here we are, Okay, I love it.
Go to chancey, see it back in a second. Okay, dooksters, Okay, okay, okay,
(05:02):
what's your initial thoughts?
Speaker 2 (05:03):
I can tell you. I'm going to start with the
places where I can give it a chancey and perhaps
contextualize personally. The first music I really got into that
was like not received from my mom or my dad
or my older siblings, and maybe there's a little bit
(05:25):
of older siblings in this, but I don't think I
knew it yet. Was like late eighties strip metal, Hollywood
rock music. It was big, big, big, big love story
for me, as like a fourth grader with like a
Columbia House subscription. You'd get like twelve cassettes for a penny.
There's like nineteen eighty nine.
Speaker 1 (05:45):
And they look like superheroes here, they looked.
Speaker 2 (05:47):
You just nailed it. That is exactly right. Like the
eighty six Mets, poison guns and Roses all could have
been like the Avengers.
Speaker 1 (05:57):
And the X Men or some wrestling. I think wrestling is.
Speaker 2 (05:59):
Bigd thousand percents, like hul Cogan and the Ultimate Warrior
and the Macho Man and all of that.
Speaker 1 (06:04):
They're all the same vibe when you think about it.
Speaker 2 (06:06):
They are all the same.
Speaker 1 (06:07):
Baseball players too, for sure. Although the baseball players like
also looked like firefighters, you know what I mean.
Speaker 2 (06:13):
Like totally it depended who they were, like that's right, yeah,
Like Wally Bachman on the Mets absolutely looked like my
friend Tommy Lapere's dad, who was a fireman. Like that's
one hundred percent. But also Dwight Gooden and Darryl Strawberry
looked like you know, they could have been like celebrities
and some other arena you know. But anyway that being said,
all of them, you nailed it. They were basically superheroes
(06:36):
and Aerosmith and led Zeppelin came to me as like
the first maybe awareness I had that there was like
generational components to styles of music like Guns N' Roses,
Kind and Motley Crue. Clearly liked these bands, you know,
And I think I got like a cassette of Aerosmith's
greatest hits, and this at that time was like dream
(06:57):
on sweet emotion.
Speaker 1 (06:59):
There are so I mean, if you want to talk
about it, they have hits from like like every decade
or four of the first you know, certainly four decades
of their career or something like seventies.
Speaker 2 (07:09):
Nineties, and in all three of those like major major passages.
And then I don't know as much about.
Speaker 1 (07:16):
Two thousands and since, but I bet you they snuck
one in.
Speaker 2 (07:19):
They definitely probably did. And part of the language you
just used is we'll get sneaking when and we'll get
there later. But yeah, one of the things that I
will say, so I've I was at times, especially formative
times in my life, I think I owned greatest hits,
and then I definitely owned permanent vacation pump and get
a grip on cassette. This is like late eighties, early nineties.
(07:42):
What I think as a present I have a lot
of thoughts about Aerosmith, but as a Stephen Tyler and
specific but as a present listener, what is undeniable. I'm
not going to talk about the delivery just yet, and
I'm certainly not going to get into the lyrics, but
what I will say is this is a very dynamic
and accomplished and of rock singer who has been what
(08:03):
is oft imitated by whole genres of people in the
time since and what is the secret weapon of many
of the best mid especially I would say maybe even
going back as far as dream On, this is also
a band for all their butt head rock tendencies, tendencies
(08:24):
who had clearly spent some time internalizing the Beatles and
the chorus to this song, the back half of the
chorus to this song is so it's incredible, and it's
straight up pure magical mystery tour Strawberry that era Beatles melody,
chord construction, and so is the bridge, which is a
(08:46):
guitar solo which incorporates chords and key change stuff that
is not in the rest of the song, and it's
so aware of itself that Joe Perry kind of uses
this like what's it called like leslie this like spinning
effect sometimes, yes, exactly, and it's that and that is
a Beatles thing wing and those things for this listener
(09:10):
are very satisfying. I'm divorcing the content what's being said.
We'll get to when we stop giving it a chancey,
but I will say, really lyrical, melodic, kind of lovely
guitar solo. He's a very good guitarist, very accomplished singer.
It's kind of cool that the bass is tuned way
down because when he hits that very bottom note that
(09:30):
he's hitting, it's definitely lower than cool. It's a cool
approach thing, and it sounds like it was recorded. The
drums have that big ambient sound that kind of like
influenced rock music. In the wake of Steve Albini making
like a number one album Servana. You didn't think I could,
but you could hear that the big whack. It's like
(09:51):
John Bonham esque.
Speaker 1 (09:53):
It's loud. It's loud in the mix.
Speaker 2 (09:54):
Yeah, an ambient sounding just like natural the mix.
Speaker 1 (09:58):
The mix is real when you think the mix is
really good and it starts with harmonica, which is like
you know of the time the Blues Traveler thing like
it's but it's a it's like the villain do hear everything? Yeah,
you're right about that Beatles and even the lyric, And
I actually think for a song that's so sexually innuendo charged,
having the lyric that that says, and I think everything
(10:19):
is going to be all right no matter what we
do tonight. Yeah, it's actually really nice, Like it's actually
it give them a lot of credit for it. And
and that Beatles harmony is so it's actually channeling Beatles
and your Robert Plans totally and at the same time
it connects it. So it's connecting those two things really successfully. Yes,
(10:42):
you know this song. You know, I think a lot
of people like cringe at this song for some obvious reasons,
but also just for the time and all that stuff.
But if I hated this song and I heard that
harmony in that moment, I'd go, oh, okay, that's actually
really interesting.
Speaker 2 (10:55):
It's very musical and cool. And one of the things
that happens, which I noticed the third pass through, is
actually they cross each other at the note. There's one
note that's in unison, and then the harmony, which was
under all of a sudden is over like through that note,
which is which is a cool thing.
Speaker 1 (11:11):
And it's also very like and your bird can sing beatles.
Speaker 2 (11:14):
Right, yes, yes, yes, that's right, that's right, And so
that stuff. I can give that a chancy all day.
That's very yeah, specific to this Chancellor's particular peccadillos, but
the peccadillos maybe where focus on how the chance he
falls apart after of course we take this little breakster
(11:37):
do now.
Speaker 1 (11:47):
So a lot of really fun stuff with this song
that I forgot. I haven't heard it since you know
it probably came out, but when it did come out,
my brother bought this album, which the one with like
a robot on it. Yes, yes, yes, it's called just
Push Play.
Speaker 2 (12:04):
We gotta do it anyway jes bush By, I remember that.
Speaker 1 (12:08):
Yeah, so yeah, and and and my brother had every
Arroosmith CD like like you mentioned, Get a Grip Big Ones,
which I think.
Speaker 2 (12:16):
Was that was that was one of the many hits packages.
Speaker 1 (12:21):
And them all. So so we were excited for this
album and I listened to this a lot. I also
watched the music video, and I just want to we
don't talk about the music videos all the time, but
it's ahead of its time. It's like all this it's
kind of like a like early deep fake where like
head on like a skelling in and like the guitar
player blacking on his name Joe Perry, Joe Perry, that's right,
(12:41):
he's on like a it's like a centaur at a
part like oh yes, yes, And this is actually really fun.
I'm glad I brought it up because there's you know,
on like YouTube, it'll show you like what's been watched
the most. It'll have like a little mountain. So there's
a part where there's a model in it who has
a nip slip and that's been the most star.
Speaker 2 (13:02):
We are such funny, such a predictable set of animals.
That's really funny.
Speaker 1 (13:08):
Yeah, so that's a little that's a little easter egg
for y'all. Yeah. Now I think are we do we
want to talk piccadillas?
Speaker 2 (13:15):
If you have I gave I know that I which
we went back and forth. If there's anything else that
you would like to give a chancey, I know that's
about all I got. But if there's something else that
you want to you know, offer that perspective.
Speaker 1 (13:27):
This is not a piccadillo, but I do think that
it comes very close sonically, not just the sound of
the guitar, but the notes to Cracker Low.
Speaker 2 (13:38):
Damn as you know, the rhythm, the actual tempo and rhythm,
and there's something in the swing that is an all
great song.
Speaker 1 (13:48):
With you go, that'd be low right, a great tune.
If you haven't heard that, that's not going to make
this podcast now.
Speaker 2 (13:56):
I would give that a chance all week.
Speaker 1 (13:58):
But if you know that song, maybe you heard that
that the riff in it and this song is is
very similar. It's I had to like I was singing
along to that while listening to Pink.
Speaker 2 (14:09):
Well right, this is like a bit more of like
a major key kind of blues influenced version of that,
which is a more kind of like minor key skewing,
slightly more like I don't know which one call it
depressive or something.
Speaker 1 (14:23):
I love it. It's like a low and Pink. Can
you share this thing?
Speaker 2 (14:26):
Low Low Pink? They have a single actually with Lady
Gaga Low Pink. But that being said, Low Pink, Yeah,
I do think that's that's a good call.
Speaker 1 (14:35):
I think it is.
Speaker 2 (14:35):
Really it's in the swing of it too, that's very specific.
I wonder that could be one of those things. What's
the story where like uh Adam Doritz tried to sign
Len Steal My Sunshine to like an imprint Counting Crows
must have had with their major label deal and Lynn
said no. So Counting Crows wrote Hanging Around, which is
basically Steal My Sunshine by Lynn, and had what a story? Really,
(15:00):
I'm really good at stories. I didn't know that I'm
a business man.
Speaker 1 (15:06):
That is fascinating because I've known both those songs my
whole life and I've never I mean, I wouldn't put
them next to each other as the same, but now
that you're saying it, it is very similar.
Speaker 2 (15:16):
Yes, wow mm hmmm.
Speaker 1 (15:18):
See, people aren't really getting trinkets from this from this,
from listen to this. They listen to this and they
get to take home anecdotes and trinkets.
Speaker 2 (15:26):
Anecdotes and trinkets, which is definitely that's my favorite. Mountain
Goats record anecdotes and drinkets.
Speaker 1 (15:33):
What's your favorite? I have the lyrics up, what's your
what lyric do you hate the most? And which and
using pink? And which is your favorite.
Speaker 2 (15:41):
Pink using pink? Which do I hate the most? Like?
Speaker 1 (15:45):
For instance, like my favorite lyric is probably the one
that I mentioned earlier, which is and I think everything
is going to be all right, but I want you,
I want to mean, I mean like because they say
pink so much, and I want to know what your
pink lyric is favorite and least favorite.
Speaker 2 (15:59):
I mean least Favorite's hard to pull apart here because
I really do have a lot of problems across the
board on several levels. Maybe i'd like at least when
he embraces his inner poet and he's like trying to
actually like in this like kind of like tongue in
cheek or elsewhere, butta being trying to do things that
(16:20):
are like, you know, like he's trying to like this
thing about the deco umbrella. Yes, hate it, hate it,
hate it, hate it a lot. Hate the one about
my favorite crayon. Don't like that either.
Speaker 1 (16:33):
I agree, But that's a surprising one. And another one
that I think I would normally hate, but I'm like, Okay,
I'm going to get into it. I'm gonna give it
a chance. He is pink, it's lagger red but not quiet.
Speaker 2 (16:44):
It's funny. Well that one's actually like that's like so stupid.
It's great.
Speaker 1 (16:50):
It's at the end of the song. Yeah, that's that
gets my favorite pink.
Speaker 2 (16:54):
You know what, that's funny, that's true. It's the last
thing he says, and it might be the stupidest one. Yeah,
it's funny. He like crests to the worst one. It's
not the worst because it's the grossest. It's the worst
because it's the stupidest. That's really true. I dig it.
I don't know. It's hard for me to pick. I
guess I had to pick. They're all gross, but my
(17:15):
least favorite one might be the deco umbrella because that
has pretensions of like cultural knowledge and that I'm like,
don't don't try to be all things to all people. Here,
to homie, You're just yeah, it's just gross. Just be
gross and we would find later. That's part of my
problem with the song. In retrospecty he's kind of been
outed as a pretty just to the surprise of no one,
(17:37):
like a pretty egregiously gross dude, which.
Speaker 1 (17:40):
I think he's telling you, Yeah, yeah, yeah, was it
not When he said pink as the being on your cherry, that's.
Speaker 2 (17:47):
Insane And for some reason I thought it was pink
as the being on your chandler.
Speaker 1 (17:53):
Wait when did you think that the last you know,
When I was.
Speaker 2 (17:57):
Reading it, I was like my brain Chandler n wow,
and also che maybe because the ch thing Chandler, Cherry.
Speaker 1 (18:06):
How's the bing on your Chandler.
Speaker 2 (18:10):
You gotta do Sandler gotta be Yeah, I think like
you're lunch lady Sandler.
Speaker 1 (18:17):
That's it. I was trying to find it. That's good.
Speaker 2 (18:21):
You can say something about like pink. You're in Trub's
Reprimander because the pink not green lights on Solo Mander
geck go, he goes, I love, he has the measure.
You're like pink because a bank with Sanender.
Speaker 1 (18:41):
Wow, you're dropping bars.
Speaker 2 (18:44):
Big shouts to Santander for supporting this pod from day one.
Speaker 1 (18:47):
Day one, Santander actually reminds me that we have to
take a break and from our sponsors, which is not Santander.
It's actually.
Speaker 2 (19:07):
As oh, I want one thing. I think we'd be
remiss to not cover. Have you seen the thing where
he's being interviewed by David I was gonna say, bowie,
David Lee Roth and he's speaking through the lyric process.
(19:29):
I think it's David Lee Roth. Maybe it's Stern and
maybe someone's made a meme where they put it David
Lee Roth on it. But he's walking through the writing
of this of this song, he puts his glasses on
to read the words from a notebook, and he's like
looking and he's explaining the innuendo as if.
Speaker 1 (19:47):
Like we didn't get it, come on funny.
Speaker 2 (19:50):
But the fact that he puts his glasses on is
pretty deco umbrella of him. Like he's being like, I'm
an rudite, you know, and he wants to that, you know,
all about like that he needs firs in these glasses.
But secondly, like I look smart when I wear them,
and also like Pang is my favorite Nephi. I don't
think you can say that, but yeah, I you should
(20:12):
watch that Chancers if you don't know that it's really
it's insane. He's a tough Prior to him being outed
as world class scumbag, it was also like he's been
a tough guy to root for for quite a while.
I feel like even Joe Perry is sort of like
on the record, it's like a Jagger Richard's thing or
but like Joe, that one seems really legitimately like bereft
(20:35):
of any warmth at this point, they're like, you know,
golden handcuffs, business partners who But Joe Perry's really like,
I hate this guy. This guy's just the worst. And
you know, if this if someone came in. I have
a running bit with my daughter about like what would
She basically thinks it's funny to imagine the Smith's presenting
(20:58):
their music to Marrow and then Marsy writing the words
to Smith's songs. This is her bit I've started.
Speaker 1 (21:06):
No, She's like, no, there was Smith's word.
Speaker 2 (21:11):
Thing that would come on a lot early in the
pandemic when we're just like walking around or driving around,
just like spending time going to like different outdoor places
cemetery gates, because we would go to this park here
that's Greenwood Cemetery. That's like an open, very beautiful like
kind of place you can trails and stuff like that.
A lot of famous people are buried there. I guess
I was gonna say lived there, Yeah, but she and
(21:33):
it would that. The running bit is always like the
Smith's write this really beautiful, dynamic piece of music, and
they are constantly deflated when Marsy comes in and he
says whatever insane bullshit Marsy says and all the songs
and it's an ever bit because it's like you present,
Heaven knows them miserable now as music, and this is
gonna be our number one hit. It's so buoyant, it's airy,
(21:55):
it's and then he comes in and he's I was
happy in the haze. It's fun to think about Aerosmith
writing whatever this music was and then him coming in
and being like, I'm gonna riff on pink for a
while and see if you could keep up, you.
Speaker 1 (22:09):
Know what I mean, going back to your childhood. If
Axel Rose decided to, if Axel Rose decided to, like,
you know, stop being wild, I think like the band
would be like bummed. I think like these bands want
the larger than life presence and they want everything that
(22:30):
comes along with that. And I think, like, I don't know,
I think there's something too. It's not like I encourage
people to be like assholes about it, but you do
want your you know, you do want something out of
your lead singer in this genre.
Speaker 2 (22:46):
Totally you like. And I think that was also a
construct that in a weird way, Aerosmith kind of pretty
early on. I wouldn't say they they weren't like you're rolling.
Stones are probably like the foundation text for this behaviorally,
and then it's kind of like led Zeppelin and Aerosmith
(23:06):
are like right there pretty early on, like within five
years seven years of the Stones, because Aerosmith's like seventy
four seventy five, led Zeppelin's right before that. Ozzie's in
there a bit, but they were like a little.
Speaker 1 (23:17):
Darker the who were breaking their instruments.
Speaker 2 (23:20):
They were, But if you think about the who, you don't.
I don't think the who, And I'm sure they have
plenty of stories and did plenty of things, but you
don't think about the who in the same kind of
like Bacchanalian or whatever.
Speaker 1 (23:33):
Like I know, you don't Roger what's his name, Roger.
Speaker 2 (23:36):
Roger Daltry, who looks like a centaur just standing up
normally in that period of time, there's something.
Speaker 1 (23:42):
Centaur everted centaur. Yeah, yeah, he shed his horse, but yeah,
I know, yeah, he doesn't seem like a wildman.
Speaker 2 (23:49):
But who?
Speaker 1 (23:50):
So was it the other what? There was u what's
his name? Who was destroying the instruments.
Speaker 2 (23:55):
But I feel like that's to me, there's two things.
That thing was definitely like rock and roll and like
kind of like rebellion and like a pantomime of a
kind of violence. You know that that's like part of
the thing. The thing with the guy with people like
Keith Jagger, Keith Jagger, Mick Jagger, Keith Richards, Stephen Tyler,
Joe Perry, certainly led Zeppelin, and then yes, definitely Axel
(24:17):
Rose and all of those people, is that that was
a bit more like there was like more sleas sexuality
put way up front and a kind of like yeah,
like almost like what's it like dionysis or something like
God of excess thing. And I think what's interesting is
like everyone talks about it. Oh, there's like everyone people
will say music people. I feel like there's this conversation
(24:39):
about like you can basically break every artist down too.
Are they Beatles or Stones?
Speaker 1 (24:44):
You know?
Speaker 2 (24:45):
Like cool and that's kind of a fun thing to do.
I think it's also fun to do it like across
genres like Kendrick Lamar is the Beatles, you know, and
then like maybe like I don't know, Lil John is
the Stones, not Little John, Lil Wayne Wayne is the Stones.
Something I think like to me, that's about like the
space they embody.
Speaker 1 (25:06):
Whether that's fair or Litill John is definitely the stones.
Speaker 2 (25:08):
Litil John is definitely the stones. But also you know,
like Nirvana is beetles, and maybe Guns and Roses are stones.
Speaker 1 (25:17):
Yeah, or stone temple pilots too. Maybe as a contemporary,
sure it might be the right, Like that's totally but
you know, Aerosmith, like we said, like it has some
Beatles moments here, but they're definitely more stones, no doubt.
Speaker 2 (25:28):
Their magic trick was that they were stones and then
once in a while would throw in a Beetles passage.
But behaviorally, sort of energetically, the space they occupy is
way more stones. And I think you're right because that
stuff was like good for business, the outsized and for
some to some extent, for creativity. But what I will
say is I do think every band has its breaking
(25:51):
point with that stuff. Sure, and it's usually not always.
Usually it's as simple as once the wave starts to crest.
Speaker 1 (26:00):
But also cute, it's like not cute anymore, no, And
sometimes it's not.
Speaker 2 (26:03):
That Like thinking about a band like Guns N' Roses,
like half that band quit the core band by like
nineteen ninety three, even it was basically like him, and
that was kind of it like everybody at one by
one they'd all been like, I can't do this anymore.
If you think about the length of time that was,
that was actually like seven years or something like that, which.
Speaker 1 (26:25):
Is not that long you know, big band, Yeah not
you know.
Speaker 2 (26:29):
And and so I think an Aerosmith basically broke up
between like the early eighties and late eighties. And I
think part of it was that it was just like
this is and I can't these I hate these people. Yeah,
and then at some point the reality of his circumstances
and guns and roses are you know, slash and duff
for back there. Now there's like an extent to which
it's like, but I would make so much, which is
(26:51):
one of the reasons why I think the Smith's thing
remains that they'll like never reunite. They're kind of like
one of one.
Speaker 1 (26:58):
So to that degree, at this point, did the Smith's
basis die recently? He did?
Speaker 2 (27:04):
Yeah, is that I wasn't except the drummer in the
bassis Mike Joyce and Andy Rourke, but yeah.
Speaker 1 (27:09):
Andy Rourke, Yeah, Yeah, that's another reason. That's like, that's
a guy that i'd like to see play again. But
totally those songs. But yeah. Yeah. With Aerosmith though, you know,
like you mentioned that they had such a big nineties resurgence,
Like you can't take away from them, like the crazy Amazing.
Speaker 2 (27:30):
Some of their best most successful songs.
Speaker 1 (27:32):
What's thet crazy amazing, crazy amazing, that's it? Yeah, do
you remember?
Speaker 2 (27:38):
Yeah?
Speaker 1 (27:38):
Yeah, yeah, I go.
Speaker 2 (27:40):
Crazy, cry and crying amazing crazy. Yeah.
Speaker 1 (27:46):
That's great. So that I I mean that that was
a big part of my childhood. And like, I have
a friend who I work with who who hates Aerosmith
and hates those songs, and I can't hate them, even
Pink Pink. I chose because I I know that, like
the society kind of hates it and I don't like it,
but there's something about it. There is I will say that, like,
(28:07):
there is enough interesting stuff in this that if I
was at a bar and it came on, I might
roll my eyes, But I also might hear those things
that we mentioned that I like.
Speaker 2 (28:16):
No doubt, and this is a prime example of a
song to me that if this song, if you removed
the lyric, kept the melody maybe even but or at
least that chorus melody. But if you remove the lyric
and you heard this song as an instrumental and or
as an instrumental with or as a new song with
(28:38):
different lyrics. Yeah, it's a legitimately they're a good band.
Like there's a lot of like legitimately good compelling rock
music by Aerosmith. I don't think they're quite on that.
They're not held in the same esteem as like The
Who or Zeppelin is, or certainly not like Beatles or Stones,
but they're kind of held in and not. I bet
(28:58):
a lot of people would put them in the five
American rock and roll bands of all time.
Speaker 1 (29:03):
I'll say this that, like, hey, we talked about Train.
Speaker 2 (29:07):
They definitely are doing an Aerosmith thing on yes, he Yeah,
for sure.
Speaker 1 (29:12):
I don't think Train, or at least Drops of Jupiter
that we've listened to, like, it doesn't have that And
I think everything's going to be all right no matter
what we do. It doesn't have that kind of harm
anything or like anything that changes up like the whole song.
For me, when that comes in, I'm like, where did
this come from?
Speaker 2 (29:25):
Well? You know what's interesting, and I know that song
was this song is twenty six years ago, but maybe
what I'm saying evidence is twenty seven years ago. It
evidence is as we've moved further as sometimes one of
the things I will do is get into a room
with another artist and write with them for their music, right,
And one of the things, yeah, I just kind of
wanted to let people know I love that. Maybe. But
(29:45):
one of the things that I will do as a
Beatles and Beatles through yes, Elliott and Nirvana, but Beatles themselves,
like acolyte to some of those movements, is like, that's
where my brain goes sometimes with chordal stuff. And what
is really nuts is that the more that no that
sounds in the same because we're talking about like the
literal Beatles, it's like talking about the sun or something.
(30:06):
But like that thing that they brought harmonically to pop music,
which is what we're talking about in the back half
of this chorus, is disappearing in pop music. And when
you bring that into a room, even just a little
dash of it, there's always this like, oh wow, that's
so such a cool progression, and you're like, hey, it's
literally every Beatles song, half of the pop Nirvana songs,
(30:29):
and most of Elliott Smith's catalog hit the Two Chords,
I did it. I mean, I can't stop but I
won't stop. I'll never fucking stop. But I do think
that they were close enough to the source of heat
with that, and it was such a primary color influence
for them that they still it's still in there, and
when you hear it, you are like, oh, what a
(30:52):
wonderful harmonic decision that is quarterly and it's refreshing to you.
Probably even in nineteen ninety seven, it was refreshing to
hear it because that wasn't going on in whatever pop
was on the radio even at that time.
Speaker 1 (31:04):
I think Gaga might slip something in once in a
while that's like, that's like an interesting moment like that.
Speaker 2 (31:10):
Yeah, I mean, I'm not saying it's the only path
to musical spicienic in pop music, but yeah.
Speaker 1 (31:15):
But it's you're right though, it's like, you know, the
landscape is void of interesting choices and stuff like that,
and I get why. I get it's like easier and
it's quicker, and.
Speaker 2 (31:26):
Yeah, that's right, and it's what sounds best in the
background while people are doing other things.
Speaker 1 (31:31):
And the Beatles were lucky because they were experimental, but
also they got onto the pop. So it's it's like,
you know, when there's experimental bands that just drop in
and for some or you know, they get a big
hit out of nowhere or something. You know, That's what
it was for the Beatles, I think, and they were.
Speaker 2 (31:47):
Such the big bang in some ways that they also
were able to craft pop music in their image, which
is an extremely rare opportunity. But when you said Gaga,
and I know we're coming towards the end here, but
I did want to say, have you seen the thing
where Kanye West is talking about Gogloyd? It's amazing, that's great.
Speaker 1 (32:07):
Yeah, what does she know about cameras?
Speaker 2 (32:10):
Yeah? What fuck does she know about cameras? I encourage
you to watch that as well.
Speaker 1 (32:13):
That's a good plan.
Speaker 2 (32:14):
So where do we land on this case? I mean,
obviously it's gross and also has some really beautiful moments.
Is that what we're saying.
Speaker 1 (32:20):
I'm not going to choose to put it on, but
I won't kick it out of bar because I'm not
going to play it. I'm gonna pay. But if I'm
like at like a bar, restaurant or something and it
comes on, I'm not gonna I'm not going to leave
the restaurant.
Speaker 2 (32:31):
No, and you're not gonna like if Yeah, when you
not if when you next are with your closest friends
at Applebee's and it comes on, you.
Speaker 1 (32:42):
Will it's playing. It will play it out and.
Speaker 2 (32:44):
You'll drink the brutus and you'll look at your friends
and go, you know what the song's about, right, and
let go.
Speaker 1 (32:50):
No, I'll say crayons. I'm just gonna say that.
Speaker 2 (32:54):
Really, you know it's about crayons.
Speaker 1 (32:58):
Answers, tiny chancers. Thanks for listening, and yeah, we'll do
it again another time.
Speaker 2 (33:05):
I sure hope so do.
Speaker 1 (33:09):
We both just hit that.
Speaker 2 (33:11):
That was really good.
Speaker 1 (33:12):
Wow,
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