January 16, 2025 • 36 mins
Like KoRn or Limp Bizkit, the guys take on another band that purposely misspells their name. Is this White Album avant-garde composition a work of art or a failed experiment?
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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 a you want to give it
a chance, give it a chance, give it a chance.
Speaker 2 (00:14):
Just give it a.
Speaker 1 (00:17):
Poo.
Speaker 3 (00:18):
Happy New Year, Happy New Year, to case first and
foremost right in front of me, face, okay face, and
to all you little tiny omars out there, answers, omars, a.
Speaker 1 (00:34):
Tiny chancers, omars, whatever you consider yourself.
Speaker 3 (00:38):
That's true, right however you identify, that's true.
Speaker 1 (00:40):
If you like this podcast, but your team, Kevin, you're
an omar. And if you like this podcast and you're in,
you're a team Casey, you're a tiny chancer.
Speaker 2 (00:49):
Okay.
Speaker 1 (00:50):
And I want division in this country.
Speaker 3 (00:53):
Yeah, well, listen, things have been going too smoothly. We
do need some more division in this country. I feel like,
and it's cool that you were the voice to point
that out.
Speaker 2 (01:01):
I think that's what.
Speaker 3 (01:02):
Yeah, one brave man.
Speaker 2 (01:05):
Do you have any revolutions for this?
Speaker 3 (01:07):
Near revolutions? I feel like if I gave you the
honest answer to that question, it's so I roll inducing.
I don't want to spare. Well, whatever you asked you asked,
I try. I try. I try to. You know, if
you're in a day at a time, you don't need
(01:30):
resolutions because every New Year's Day is just another day,
and you can resolve to try to do a little
bit different or better every day. And I feel like
when I get on the clock with like binding things
like a resolution for a year, I tend to get
(01:50):
in trouble with that kind of thinking. So you know,
day to time. I made that up daya time. I'd
never heard that day time right now. Actually, when I
said it to you, data time, data time, mostly data time,
and it's like it was data and goonies or it
was data and I think data was Oh oh, he
(02:12):
was in both, thinking of he was in both two
different people because goonies had a data as well. Goonies
had a data as well. Data say data.
Speaker 2 (02:23):
But then I call those people data.
Speaker 3 (02:27):
You say data like I have to.
Speaker 2 (02:29):
Back up my data. I have to I have to
back up my data, right.
Speaker 3 (02:34):
Like you know, everything's just a data collecting mission. But
also I say that about when I'm collecting dada as
from my own little private Idaho.
Speaker 2 (02:46):
Data is like the art form, right.
Speaker 3 (02:48):
Mm hmmm, I think, yeah, it was. It was a movement, right,
kind of like Kookie cookie Ship, like cookie Ship.
Speaker 1 (02:55):
Actually that helps us with our transition into this episode
cookie Ship.
Speaker 3 (02:58):
I always want to help you transition.
Speaker 1 (03:00):
And do you know how many revolutions I have?
Speaker 3 (03:03):
How many revolutions do you have?
Speaker 2 (03:04):
New Year's revolutions?
Speaker 1 (03:06):
Not? Yeah, we got it, controversi controvers controversy.
Speaker 3 (03:12):
Are we doing the Beatles? Yeah? Wow, New Year's Strength.
Speaker 2 (03:19):
That's what I wanted to do.
Speaker 1 (03:20):
I wanted to come out the gate with boxing gloves
on because it's Boxing Day.
Speaker 3 (03:25):
And yep.
Speaker 1 (03:26):
I did a little research. I was trying to find
a group, like a band or artist that is beloved
but has a song that people don't like. And this
one came up a lot, so I decided, let's tackle it,
Let's give it a chancers.
Speaker 3 (03:42):
This one came up a lot in your research. The
revelation Revelation Revolution nine by the Beatles came up a
lot in your research. Is like a song by I mean,
and there is no more classic band than the Beatles.
That's the mountaintop. So I like this. I like this
a lot. There's no one and especially now that Chalome done,
is you know Dylan Reclamation Project you know, everybody's been
(04:03):
out on Dylan for fifty sixty years. I'm like the
only bibs burs. I don't even like him, So I
think now it's really beatles are the only thing that's left.
By the way, shout out to Shalomy for I haven't
seen it, but he looks his nose looks great. It
looks a lot like Bob.
Speaker 2 (04:20):
Yeah.
Speaker 3 (04:21):
Yeah, one little factoid before we transition. I'm so sorry,
but I do now that we're because this is like
a kind of post Golden Globes, pre Oscar pod too.
I did want to point out that Shalomy does use
this is this is the magic of movies. The Leonard
Bernstein knows that what's his name used in the film
that he directed last year. Yeah, so his playbook, Bradley Coop,
(04:46):
brad Bradley, Bradley Coop's fake nose is now Shalomether's fake nose.
Speaker 2 (04:51):
But permanent.
Speaker 3 (04:53):
It's real.
Speaker 2 (04:53):
But they had it in, they put it in, they
had it in.
Speaker 3 (04:56):
Yeah.
Speaker 1 (04:56):
Yeah, so just I was going to donate my nose.
I was actually going to donate my nose science. But
for movies, science and movies.
Speaker 3 (05:03):
They you should because this indicates there's a shortage. It's
the same nose for these two guys. But now we'll
go back to everyone's favorite Liverpudlians.
Speaker 1 (05:13):
And I just want to say that I would I
probably listened to this song maybe once in my life.
It's a song that you you once you hear it once,
you kind of skip. But I'm excited to listen to it.
It's long, so I also I also feel like it's
okay if we don't listen to the whole thing, but
maybe we'll get in trouble for like, as a podcast
for skipping. We've done it before, but it's usually been
(05:34):
like with when there's like.
Speaker 3 (05:36):
Twenty or thirty seconds. Yeah, yeah, I feel like I
feel like it is potentially in poor faith with our
trusted listeners if we say we're gonna give this a
chance and then listen to ninety seconds of it.
Speaker 2 (05:49):
All right here? We got revolution number nine.
Speaker 3 (05:54):
About it?
Speaker 2 (05:54):
I'm sorry, yes, exciting.
Speaker 3 (06:02):
Nine, number nine. The music has started.
Speaker 1 (06:06):
Number nine.
Speaker 2 (06:08):
Remember the piano is nice. I forgot about that.
Speaker 3 (06:10):
Sounds like a Beatles thing. Number nine.
Speaker 1 (06:14):
This must have been really crazy in nineteen sixty eight.
Speaker 3 (06:17):
Number nine. I mean, I'm guessing it's the first. It's
definitely it's like a backwards looping tape experiment thing that's
taking cues from things more like John Cage and stuff
like that. Experimental what the heck's.
Speaker 2 (06:37):
Called savant garde?
Speaker 3 (06:38):
Compose your avant garde composed.
Speaker 1 (06:41):
Your yes, yes, Charles, Charles Ivy.
Speaker 3 (06:47):
I just learned something right now? Is he burlives brother?
I don't.
Speaker 2 (06:53):
I don't.
Speaker 3 (06:55):
I just want to let the chances know to says.
What's awesome about this experiment is I hope you go
home and do this or after you listen to this
or while it's a really truly crazy thing to try
to listen to and speak during as well.
Speaker 1 (07:08):
I like that. Okay, I keep dipping the volume because
it's so chaotic, Like I hope you're like, like you're
you're pulling a uh.
Speaker 2 (07:17):
I hope that they're doing like a.
Speaker 1 (07:20):
Pink Floyd with the Dark Side of the movie Wizard
of oz.
Speaker 3 (07:25):
Oh, Wizard of oz right right right, Well, also you
can do that for Pink Floyd and the show oz
on HBO.
Speaker 1 (07:35):
So I like this because I think, like, right, like
this is maybe another first where where bands were I mean,
they were very experimental always but I think sometimes, you know,
in the studio, you do some things that you know
you might fall in love with that is not going
to make it to the record, and they were like,
or you know, this is the white album, We're putting
everything on it.
Speaker 2 (07:56):
Let's throw this on.
Speaker 3 (07:57):
Yeah. And I do think this is that period at
a time where they're, God, it's really kitchen sink stuff.
It's I really think this is like where like Paul's
in one room doing like Lady Madonna, John's in another
room just like splicing tape together with you know, George
or whoever was the assistant Glenn Johns or however those
people were like the assistant engineers. And I do love
(08:21):
the idea of yeah, like this does create a kind
of model for this becomes a feature of like every
capital I important or album that is straining for the
sort of like label of importance. Nine nine has like
(08:41):
some kind of nod to this or iterates from this.
The thing, of course about this period of time it's
kind of nuts, is that whoever's doing this is literally
I don't know if John was literally on the floor
splicing tape together. I have a sense he might have
been involved, But there's probably somebody else's job that was. Yeah.
Speaker 1 (09:03):
What's interesting is like in the books, you do learn
about a lot of like the technicians, Like if you
if you kind of watch a Beatles documentary or read
a book, they do give flowers to a lot of
the people from behind. Obviously, George Martin is the number
one producer that gets gets shouted out, and he's you know,
definitely that fifth Yatt, But there are other technicians that
(09:26):
they kept along and that they that they utilize that
you kind of hear about.
Speaker 2 (09:31):
Are they a household name?
Speaker 1 (09:32):
No, but it's for the or it was a It's
amazing that.
Speaker 2 (09:40):
That they would even consider mentioning these people.
Speaker 1 (09:42):
But I guess it's also because there's a there's a
fan base that wants to know everyone involved.
Speaker 2 (09:47):
I guess that changes it too.
Speaker 3 (09:50):
Totally. Every single morsel of it has been poured over, historicized, mythologized,
and I think the appetite apparently seems to be endless
and inexhaustible because we're gonna get four four Beatles movies
in the next however, many is that your Oh? Yeah,
what's his name? Sam Mendes That director Shawn Mendez. Shawn Mendez,
(10:13):
the director who has tendencies. Let's just say that, No,
Shawn Mendes is directing a Four Beatles Movies with Harrison Dickinson.
Is that that person's name George Harrison. So Sean Menez
is directing George Harrison The Beatles Movies.
Speaker 2 (10:31):
What the news is?
Speaker 3 (10:32):
Yeah? And then John and Paul are being played by
the Menendez brothers.
Speaker 2 (10:36):
John Paul the Pope. John Paul John Paul.
Speaker 3 (10:40):
Is being played by each Menendez brother half of the
movie each.
Speaker 2 (10:46):
Sewn men brothers.
Speaker 3 (10:48):
Yes, Sean Menandez brothers are directing Four Beatles Movies.
Speaker 1 (10:52):
This conversation is as abstract as the music we're listening to.
Speaker 2 (10:55):
And I think that's so.
Speaker 3 (10:57):
I think that's great. This is the experimental episode of
Give It a Chancy. I mean, I really do hope
people sit and listen to this. What's happening right now
is like in my left channel, there's like a really fast,
like almost drill drone, single note guitar thing.
Speaker 2 (11:13):
That's me. It's not the song, that's me.
Speaker 3 (11:17):
That's case. I feel like a glitch happening that was you.
Oh my god, you can't do that. That's not fair.
I really looked with my mind. Oh it told me
my internet connection is unstable people, so lets see what happens.
I'm gonna shut my VID off so you'll just see
my name. Now there's a choir.
Speaker 4 (11:39):
Oh, I like this, Sjohn's voice, laughing some like laser beams.
Speaker 3 (11:51):
It's funny. It's like the oral equivalent of the last
Scotson scene of two thousand and one Space, you know
what I mean? Like everything like that also came a
shorthand for something that has been endlessly replicated that like
everything everywhere, all at once, streaming at you. No, And
(12:14):
I think what you were saying before about the personnel
stuff too, it's funny because I do think like they
were a party to like cultural history, those people because
like and facilitating it, because it is kind of nuts.
If you, I know, there's nothing new that can be
said about this stuff. But if you look at like
the White Album is nineteen sixty eight, We're listening to
(12:36):
you right now, which is an eight and a half
minute abstract tape collage by the most famous singer in
the world, basically is happening six years removed from them,
like playing clubs in Hamburg covering like Elvis songs or whatever.
The leap. It's almost impossible to overstate the speed at
(12:58):
which this moved and the degree to which the leap
was like you know, not to not to but too
fine a point on it, but revolutionary. And I'm your host,
Gaisy Gaze.
Speaker 1 (13:13):
Yeah, you know, I'm sure it's probably talked about, but
I think I think that the the the studio as
an instrument is something that gets brought up sometimes with
the Beatles, and this is an example of how, like,
you know, the music was changing so much and artists
were like living in the studio and doing so much more. Obviously,
(13:34):
you know, Brian Wilson is a huge of ones on
this as well, and so it was a chance for
them to put their hands on something other than a
guitar or a piano. It was like actual tape and
reversing things and distortion and all that stuff.
Speaker 2 (13:48):
Now does that make a good song? Right?
Speaker 1 (13:50):
That's what we're trying to talk about today, right, Like,
and I would say that my chances are on this.
Speaker 2 (13:56):
Aside from that, it's.
Speaker 3 (13:57):
I love that you're trying to give this a chance
in the midst of total chaos. I definitely can't even
think about the chance till sixteen seconds from now. But please,
this is awesome.
Speaker 1 (14:05):
You're an Olynthian or about to end our listening session.
Speaker 2 (14:09):
Oh, I think it's done.
Speaker 1 (14:10):
So I would say that my chancer is that, aside
from it being like an experimental song for its time,
my other chance is it's on the white album, right,
and we mentioned that briefly, but it's like on a
double album. I think you're allowed to throw some extras on,
(14:32):
especially if you're sort of saying that this is a
texture for this album, that this is just like, this
is something else that we did that is embodies they
not only the time of nineteen sixty eight, because obviously
the whole country was changing so much that.
Speaker 3 (14:46):
The world, Yeah, the Western world for sure.
Speaker 1 (14:48):
Yeah, and it was like you know, it's it's sort
of drugs and things like that as well.
Speaker 2 (14:52):
It's like it really in some ways.
Speaker 1 (14:55):
My chance is that that's more indicative of the time
than and you know, you know, Savory Trouble or Honey
Pie for sure is not indicative of the time. That's
like a throwback, you know, but I will skip this
for the rest.
Speaker 2 (15:14):
Of my life. That's my chance.
Speaker 3 (15:17):
An anty chance, Yeah, I understand. I feel like, how
many times does one need to listen to that to
I mean, on the one hand, if you are a
it really does depend on what you are looking for.
(15:38):
And again, this is like we talk about subjectivity all
the time on this podcast, because I think you can't
talk about entertainment or art without like centering it in subjectivity.
Like one person's nickelback is another person's Beatles, and one
person's Beatles is another person's. Like it's so funny. I
think about this, like, so this isn't this is the
most famous music act of all time and to that point,
(16:02):
of all time, right, and they are this is an
experimental piece of music, rightight? By this act, I wonder
what an actual like like lifelong avant garde experimental. I
would love to read that and research that, Like what
did these people, these composers think of this, because I
think about something like AFX twin right, that guy Richard James,
(16:22):
is that his name? And like when Radiohead takes this
turn around, okay, computer kid a And one of the
things and Radiohead is thought of is they're not the Beatles,
but they might be the most critically acclaimed band of
the last twenty five years. Roundly, they're pretty, they're up
there top two or three. When they were making that music.
(16:46):
One of the things Tommy York would always talk about
was that band was Afex Twin, and I feel like
what was so funny was Richard james Is asked about
it at some point, like, oh, what do you think
about kid A or whatever, and He's like, I don't
really think anything about it. It's kind of like garbage.
It's not very good. And that indicates like even the
coolest thing in the world, there's people who are actually
(17:06):
maybe you can make the argument Aphex Twin had been
like living in that style of presentation or a version
of it for his whole development, and so he was like,
this is a bunch of like educated kids from Oxford
with guitars trying to like make blips and bloops music.
It's and so the context is everything, and with respect
to like the chance or not a chance, Like what
do you want from a song? I don't want this
(17:28):
the way I want the other revolution. I listen to
that song over and over again. It's a perfect song,
but you're.
Speaker 1 (17:35):
Still right, like the point of view or like the
listener it like you know, decides always the listener decides
how they feel about the work of art, right, But
it depends on whose.
Speaker 2 (17:47):
Lens your listener.
Speaker 1 (17:48):
Yeah, And so for instance, like if the Backstreet Boys
put out a song, like an experimental song like this,
which is a good parallel because.
Speaker 2 (17:58):
You know the I almost called them the BC Beatles Boys.
Speaker 1 (18:02):
They I mean, actually the BC Boys is an example
of this where these like eighty it morons that like,
we're definitely capable and came from like the right you
know mindset of going from like already from punk to
hip hop, started to make you know, more jazzy experimental
albums later on and push limits. So that's a good
example of it. But if they really was like a
(18:24):
pop group, right, because when they started it was like
she Loves You. It was like this real bubblegum pop
to do this, if the lenses someone like Philip Glass
or you know, Charles Ives or right, like, that person's
probably like, why, why is in sync you know making
this kind of music Like that's you know, like that's
probably what they were thinking, or maybe they go, this
(18:47):
is so fun. I think it's really fun that what
I thought was bubble gum. The same how we feel
about Bacie Boys, right, Like, which is which is, and
I I like the early BC Boys stuff too. Some
of it doesn't age as well, but it's more so
actually their antics off stage that didn't totally. Yeah, a
lot of those rhymes and stuff are still fun for
what it is, but I like that they took this
(19:09):
experimental path. I think Radio haads another good comp so
it's ultimately I do think that if these avant garde
composers are as open minded as they sure, they would
have an open mind towards this totally.
Speaker 3 (19:23):
And I think that there's probably two schools. I bet
there were people who were probably endlessly thrilled without knowing this,
like Gospel Oak knowing it. I'm pretty sure if we
did the research, I bet there were people in those
avancarde communities also who like John. The thing about culture
at that moment, too, is it was like everything was
bleeding into everything else. I'm not going to turn this
(19:44):
into like a D list D rate sixties. You can
find all this stuff better places than this podcast, but
I just mean like it was at that moment everything
was like sloshing around into one another. And John is
with Yoko Ono, it was like a you know, a
claimed avant garde artist and I'm sure he was meeting
all of these people through that relationship. I'm also sure
(20:06):
whoever the fuck the Beatles wanted to meet in nineteen
sixty seven eight, whether you were an avant garde or
artist or like a head of state, they probably could
meet them. And all of this stuff is becoming like internalized,
and it's kind of like mirroring whatever's happening in like
experimental film and even like certain writing poetry, certain things
(20:26):
that are and I think that it's you know, there
is this thing where everything's kind of like bleeding in
and out. So it's like I would imagine that there
was some population in those avant garde communities that was
thrilled that like the biggest thing in the world had
(20:48):
on its double record, which, by the way, another casual
thing the Beatles are kind of credited with inventing, is
like a double album sort of loosely conceptual or whatever
by you know, which then becomes like a staple of
rock music and beyond moving forward. But it feels like
I'm sure there were some people that were like the
(21:08):
coolest thing in the world is that these like bubblegum,
these guys that were this bubblegum pop act that are
now mirroring the culture as the culture mirrors them is
putting like an eight and a half minute tape experiment
on their double album. And then I'm sure there were
other more provincial gatekeepy people that were like, you know,
we don't want those people sullying our you know, the
purity or sanctity of our And I understand arguments from
(21:32):
both sides of that, but also at the end of
the day, it's like I would think that I'm and
I guarantee it did. I'm sure that Revolution nine got
some amount of people to check out some of the
music and art movements we're talking about who would have
never been interested in that before.
Speaker 1 (21:50):
You know, it is really interesting a song like this
because it is such a tent pole and it's it
goes both ways, right, Because I was I did like
a yoga class the other day and there was this
like nice ambient I know flex and actually actually literal flex.
There was this ambient music playing and I was like, oh,
(22:11):
I don't have no idea what this is. I love it.
I like love I don't know what it is. I
should listen to this more. It feels great and it
was just also the right place at the right time,
but that if you track it back far enough, there's
like moments in this song that probably influenced the mold.
The other things are brought it to such a forefront
that ambient music probably took off to a certain degree eventually,
(22:33):
But then it also pushes you backwards. So it's like,
can it connects yoga elevator ambient music to those you know,
those avant garde musicians of the past, right and like
all the Pink Floyd's and radioheads in between. Like it's
I think that it's really interesting. But I will say, though,
(22:55):
if I'm trying to really be like treat this one
song as like the the whole thing, and if it's
totally like here's the Beatles and played that song, I'd
be like, this band is doing something.
Speaker 2 (23:06):
But they suck butt well, but they suck. But they said,
but what?
Speaker 3 (23:12):
And I just want to briefly say because it's important
when I when things like this. It's like Mookie Wilson
in nineteen eighty six on the Mets when he was
talking about that at bat in the tenth inning where he.
Speaker 2 (23:21):
Kept wearing the shirt.
Speaker 1 (23:22):
Today too, I have to wear it's a Wally Backman shirt.
Speaker 3 (23:26):
Yeah, but Mookie did say he was going The Bible
says thou shalt not pass without offering, and that's what
his thought process was. I'm not going to be holding
the bat. I'm going to swing the bat whatever, and
however this works out, I'm not going to be the
guy holding the bat at the end of this. You
know this it bat And I bring that up to say,
(23:47):
I can't believe how long I've taken a get to
what we're about to get to. So excited. I just
want to say that when you said you were in
the yoga class and the song hit you and it
must have been the right place at the right time,
what I thought was, do you know maybe this is
for a future episode? You know, somebody goes, I must
have been the right place, but it must have been
the wrong time. And if you don't know that song,
then I'm glad I just spent ninety full seconds of
(24:10):
this episode.
Speaker 2 (24:11):
What is it?
Speaker 3 (24:11):
Wait?
Speaker 2 (24:12):
What song is it?
Speaker 3 (24:13):
That must have been the right please? But I thought
it was the wrong time. Anyway, this is not I.
Speaker 1 (24:18):
Think you're singing. You're making it sound too good. What
song is? Oh?
Speaker 3 (24:22):
Thank you? Oh, it's the one that goes It must
have been the right place, but it must have been
the wrong time. How does that sound?
Speaker 2 (24:29):
Sounds like a Dave Matthews band?
Speaker 3 (24:31):
Like does this look like aphext One? Oh?
Speaker 2 (24:33):
Is that aphex One that sings it?
Speaker 1 (24:35):
That does?
Speaker 3 (24:36):
Know?
Speaker 2 (24:36):
It does look like that video?
Speaker 3 (24:37):
Though, all right, look, I'm sorry, so forget about what
I was just saying. I just wanted to talk about
the yoga a little bit more in the right place
in the wrong time, and I want to talk about
Mookie Wilson in the Bible. But now let's get back
on track with Revolution number nine and sucks. But so
(25:00):
for me, yes, if someone presented and I think what
you're doing is important because it even it's been evidenced
in this episode, it is almost impossible to speak, at
least for me, it's almost impossible to speak like objectively
about the Beatles, not even that the Beatles are like
my favorite band or something, but I almost think, like,
(25:20):
there's kind of no, they're perfectly rated. There's no way
to under like, you can't overseell what this music meant
to like it's it's it's the band that sailed ten
million ships. Like everything you could.
Speaker 1 (25:36):
It's like it's like being like, oh, I like I
like plants, but I hate.
Speaker 2 (25:39):
That seed right totally.
Speaker 1 (25:42):
It like it made the it made the plants, like
it made so much.
Speaker 3 (25:46):
I think that's accurate and but but at the same time,
you can you need to have some kind of like
critical apparatus and objectivity to drop in on like any
anything that exists in culture. Nothing's above reproach or a both,
not even reproach above critical analysis, certainly not them. And yeah,
(26:07):
what I think what's interesting is when I'm thinking about
giving this a chance from a critical perspective, I think
one of the reasons maybe I just kind of unlocked
this for myself. I keep coming back to whatever the
avant garde community may have thought about it, is that
I do wonder if one of the things is like,
maybe this is too heady and not musical either, But
(26:27):
if one of the things is like, you know, it's
like it's a privileged rock star sitting on the floor
of a studio with some guy working for him, cutting
up a bunch of bullshit and being like it's art. Now,
I'm already going to contradict myself because part of me
feels like well, what else is art? Isn't art exactly
what I just described, whether the person whatever, the material
(26:49):
conditions of the artist. But of course the difference between
some person making this music in Berlin or this collage
is not really music in Berlin in nineteen sixty three
and John Lennon is that John Lennon knew fifty million
people or whatever would hear this? Yes, And so yeah,
(27:12):
there is something to be said about like walking into
that like to. But the other side of that is
to be in the position that John Lennon was in
and be like, this is how I want to spend
eight minutes of my band's record is to me kind
of a foundational thing for the entirety of what I've
built my life around thinking about, like music and culture.
(27:34):
So I suppose keep being pulled away on the level
of what we do on this podcast. It's the biggest
thing to say about this song critically, is Is it
even a song like one eight seven seven Cars for
Kids is more legibly a song by a factor of
exponents than this. And so if I'm going to like
give a chance to if I'm going to find basis
(27:56):
to critique this on the level of is it oh,
is it a good or bad song? I would say
that the question is like is this even a song?
And even further is this even music? And then the
second layer of criticism would be and as what it
is purported to be, how does it hold up as
like a piece of avant garde tapage? You know what
(28:17):
I mean?
Speaker 1 (28:18):
No, I I definitely I will say that I one
hundred percent will tell you that that that it is
a song because going back to John Cage, she's got
that uh it's like four minutes and thirty three seconds
and it's and it's and he actually has like sheet
music for it and it's all rests. It's like yes, right,
And I think what he's trying to tell you is
that this is the music can even be silence, right,
(28:40):
and so that in that sense, music can also just
be U you know, eight minutes of suck butt and
that's and if it's and I think if it's on
a recording, if it's on if it's on an album,
I kind of think it's a song.
Speaker 3 (28:59):
But what you are describing and this is part of
what I think I know shocker with the Beatles, this
is the challenge. And I love that you picked up
this particular gauntlet. I think it's like, what you just
did is kind of it roots it in. Why I
end up giving it a chance is because it's that's
(29:22):
the art experiment. They actually turned a pop group's you know,
number one record on a multinational corporation you know whatever
at EMI or whatever at that point into like a
site for a philosophical art experiment, which is what even
is a song? What even is music? And they did
(29:46):
it as arguably the upper end most, upper endth percentile
avatars of capital s song, the Church of song. Maybe
no bigger one of the things about the Beatles, it's
probably under reported to a degree or under if there is,
if that exists, perhaps at least at their genesis and
(30:07):
even throughout no greater collection of music fans as a band, like,
they were so voracious about all that they were internalizing
and and and what's the word synthesizing, And I think
this proves to this indicates the expansion of that both
(30:27):
in what their appetites were and then also in what
their their excrement to be, you know what I mean, excreciu.
Speaker 1 (30:38):
And yeah, no, I think you're right. And they gave
such a beautiful homework assignment. You're finally right. They gave
a homework assignment to their fans to be like, play
this backwards and listen to it, and it's like all
like it's almost like I can't remember when the Paul's dead, right,
That's what it is. Paul's dead, and I know that
they on this record. I think is is a green.
Speaker 3 (31:02):
Ass onion where he says like, here's another clue.
Speaker 2 (31:15):
Yeah, I think you're right, and I think maybe this
was more of it.
Speaker 1 (31:18):
And it really is such a weird album because you know,
it's got this, it's got Revolution number nine, but it's
also got like you know, it's.
Speaker 3 (31:26):
Got blackbirds, Yeah, yeah, yeah. It has Goofy Goofy Ship,
some of the most beautiful stuff they've ever recorded, simple, simple, forward, beautiful,
and then honestly some of the coolest John stuff to me, like,
(31:49):
uh feel so lonely, want to die, like these songs
that are just like bracing and fucking crazy. It balanced
against peak Paul sweetness, melodic genius stuff, George coming on
and then this kind of shit plus like weird Goofy nonsense.
It is a really prismatic experience and weirdly it is
(32:12):
the record of theirs. Weirdly, it is the record of theirs.
I end up going back to the most often, Like
when I put a Beatles record on, it's it was
at a time revolver. It is for the last like
fifteen years probably most. I mean maybe this happens once
a year, but I go through a like, oh, I
want to listen to the White album, which checks out,
(32:33):
because that's how I am with like a kid a
A Ghost is born by Wilco. It's always like the
record after the record somehow is the one that I'm like,
what were they doing there? And that tends to be
I don't know what that is. You know, maybe that's
something for me to bring up with mine therapist, and
I'd like to bring her in right now.
Speaker 1 (32:54):
It's me Janet. I've always liked this record too.
Speaker 2 (32:58):
I've always liked.
Speaker 1 (33:02):
I've always been my like one of my number like
it's always in the top three spot for me is
Happiness is a Warm Gun because I think it's every
Beatles song in one. It's got like, it's got something
for every fan.
Speaker 3 (33:13):
It's perfect, It's perfect. You ever hear the Breeders cover it?
Speaker 2 (33:16):
No, I don't think I know that cool.
Speaker 3 (33:18):
We wouldn't have to give that a chance, people because
verdict send say says thumbs up.
Speaker 2 (33:27):
Janet.
Speaker 1 (33:28):
It Also, you know White album also has that offspring
song why No Now, why don't You get a job?
Speaker 3 (33:34):
Love that? Love that? Yeah? Yeah yeah.
Speaker 1 (33:36):
So long story, short, insumacious. Before we fully summarize, I
do want to say that interesting to cap it at
eight minutes and thirty seconds, right, because this could be
they could have dropped a ten minute forty minute song
or like a like, honestly, you get the idea of
the whole thing at like three minutes.
Speaker 3 (33:58):
You kind of get the idea like yeah, seventy five
seconds maybe even yeah, yeah, but yes.
Speaker 2 (34:04):
I mean there's some nice moments like that.
Speaker 1 (34:05):
You know, the choir comes in, I love the piano
at the beginning, there's like a there was a couple
of things that I was listening to that was different
this time, and you know there I can understand why
they might want to make it somewhere between you know,
three and five, but eight is pretty wild. But that's
also maybe they're them flexing like to be like this
is not like the same, you know, because they have
(34:28):
they have songs that could go up to like five minutes. Sure,
maybe it's not being like look, look, look if you
this is a long this is a long tune.
Speaker 3 (34:36):
Yeah you're gonna and if I and and it's it's
it's a it's a kind of a staring contest with
the audience too, like you're where Yeah, you're kind of
inviting them to engage in on these terms. And I
think what you're You're right, And the thing I would
ultimately another as we land this, I would a chance
(34:56):
has to be given to the fact that like I
don't know, I've I haven't listened to this all the
way through probably in ten years, like actively, not as
like in the background, and there was it's like where's Waldo.
You'll hear different thing, You'll like be like straining for
different things every time. Yeah, yeah, yoga. So I just
(35:17):
want to say that at the end of the day,
I give this a chance.
Speaker 1 (35:22):
Yeah, same same as I. This was almost an Octopus's
Garden episode. At LISTA wanted me to do that and
she was like, you get to talk about Ringo all
that stuff, and I was like, I think that didn't
about Ringo at all. There's a version on the anthology.
I think of this and it has like a drum.
Oh no, no, that's a.
Speaker 2 (35:37):
Turning off your mind.
Speaker 1 (35:38):
Relax and float downstream.
Speaker 2 (35:40):
Right, that's a better run.
Speaker 3 (35:41):
Oh yeah, that's kind of a versions. Yeah, that's sort
of a more that's like a capitalist son it is
it is.
Speaker 1 (35:49):
Anyway, there's a version where Ringo plays a really dope
beat on it.
Speaker 2 (35:52):
And that's all I want to say about that.
Speaker 3 (35:55):
Nice Ringo. Shout us out next time you're doing your
own pod and everybody chance out.
Speaker 1 (36:00):
Ye
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 a you want to give it
a chance, give it a chance, give it a chance.
Speaker 2 (00:14):
Just give it a.
Speaker 1 (00:17):
Poo.
Speaker 3 (00:18):
Happy New Year, Happy New Year, to case first and
foremost right in front of me, face, okay face, and
to all you little tiny omars out there, answers, omars, a.
Speaker 1 (00:34):
Tiny chancers, omars, whatever you consider yourself.
Speaker 3 (00:38):
That's true, right however you identify, that's true.
Speaker 1 (00:40):
If you like this podcast, but your team, Kevin, you're
an omar. And if you like this podcast and you're in,
you're a team Casey, you're a tiny chancer.
Speaker 2 (00:49):
Okay.
Speaker 1 (00:50):
And I want division in this country.
Speaker 3 (00:53):
Yeah, well, listen, things have been going too smoothly. We
do need some more division in this country. I feel like,
and it's cool that you were the voice to point
that out.
Speaker 2 (01:01):
I think that's what.
Speaker 3 (01:02):
Yeah, one brave man.
Speaker 2 (01:05):
Do you have any revolutions for this?
Speaker 3 (01:07):
Near revolutions? I feel like if I gave you the
honest answer to that question, it's so I roll inducing.
I don't want to spare. Well, whatever you asked you asked,
I try. I try. I try to. You know, if
you're in a day at a time, you don't need
(01:30):
resolutions because every New Year's Day is just another day,
and you can resolve to try to do a little
bit different or better every day. And I feel like
when I get on the clock with like binding things
like a resolution for a year, I tend to get
(01:50):
in trouble with that kind of thinking. So you know,
day to time. I made that up daya time. I'd
never heard that day time right now. Actually, when I
said it to you, data time, data time, mostly data time,
and it's like it was data and goonies or it
was data and I think data was Oh oh, he
(02:12):
was in both, thinking of he was in both two
different people because goonies had a data as well. Goonies
had a data as well. Data say data.
Speaker 2 (02:23):
But then I call those people data.
Speaker 3 (02:27):
You say data like I have to.
Speaker 2 (02:29):
Back up my data. I have to I have to
back up my data, right.
Speaker 3 (02:34):
Like you know, everything's just a data collecting mission. But
also I say that about when I'm collecting dada as
from my own little private Idaho.
Speaker 2 (02:46):
Data is like the art form, right.
Speaker 3 (02:48):
Mm hmmm, I think, yeah, it was. It was a movement, right,
kind of like Kookie cookie Ship, like cookie Ship.
Speaker 1 (02:55):
Actually that helps us with our transition into this episode
cookie Ship.
Speaker 3 (02:58):
I always want to help you transition.
Speaker 1 (03:00):
And do you know how many revolutions I have?
Speaker 3 (03:03):
How many revolutions do you have?
Speaker 2 (03:04):
New Year's revolutions?
Speaker 1 (03:06):
Not? Yeah, we got it, controversi controvers controversy.
Speaker 3 (03:12):
Are we doing the Beatles? Yeah? Wow, New Year's Strength.
Speaker 2 (03:19):
That's what I wanted to do.
Speaker 1 (03:20):
I wanted to come out the gate with boxing gloves
on because it's Boxing Day.
Speaker 3 (03:25):
And yep.
Speaker 1 (03:26):
I did a little research. I was trying to find
a group, like a band or artist that is beloved
but has a song that people don't like. And this
one came up a lot, so I decided, let's tackle it,
Let's give it a chancers.
Speaker 3 (03:42):
This one came up a lot in your research. The
revelation Revelation Revolution nine by the Beatles came up a
lot in your research. Is like a song by I mean,
and there is no more classic band than the Beatles.
That's the mountaintop. So I like this. I like this
a lot. There's no one and especially now that Chalome done,
is you know Dylan Reclamation Project you know, everybody's been
(04:03):
out on Dylan for fifty sixty years. I'm like the
only bibs burs. I don't even like him, So I
think now it's really beatles are the only thing that's left.
By the way, shout out to Shalomy for I haven't
seen it, but he looks his nose looks great. It
looks a lot like Bob.
Speaker 2 (04:20):
Yeah.
Speaker 3 (04:21):
Yeah, one little factoid before we transition. I'm so sorry,
but I do now that we're because this is like
a kind of post Golden Globes, pre Oscar pod too.
I did want to point out that Shalomy does use
this is this is the magic of movies. The Leonard
Bernstein knows that what's his name used in the film
that he directed last year. Yeah, so his playbook, Bradley Coop,
(04:46):
brad Bradley, Bradley Coop's fake nose is now Shalomether's fake nose.
Speaker 2 (04:51):
But permanent.
Speaker 3 (04:53):
It's real.
Speaker 2 (04:53):
But they had it in, they put it in, they
had it in.
Speaker 3 (04:56):
Yeah.
Speaker 1 (04:56):
Yeah, so just I was going to donate my nose.
I was actually going to donate my nose science. But
for movies, science and movies.
Speaker 3 (05:03):
They you should because this indicates there's a shortage. It's
the same nose for these two guys. But now we'll
go back to everyone's favorite Liverpudlians.
Speaker 1 (05:13):
And I just want to say that I would I
probably listened to this song maybe once in my life.
It's a song that you you once you hear it once,
you kind of skip. But I'm excited to listen to it.
It's long, so I also I also feel like it's
okay if we don't listen to the whole thing, but
maybe we'll get in trouble for like, as a podcast
for skipping. We've done it before, but it's usually been
(05:34):
like with when there's like.
Speaker 3 (05:36):
Twenty or thirty seconds. Yeah, yeah, I feel like I
feel like it is potentially in poor faith with our
trusted listeners if we say we're gonna give this a
chance and then listen to ninety seconds of it.
Speaker 2 (05:49):
All right here? We got revolution number nine.
Speaker 3 (05:54):
About it?
Speaker 2 (05:54):
I'm sorry, yes, exciting.
Speaker 3 (06:02):
Nine, number nine. The music has started.
Speaker 1 (06:06):
Number nine.
Speaker 2 (06:08):
Remember the piano is nice. I forgot about that.
Speaker 3 (06:10):
Sounds like a Beatles thing. Number nine.
Speaker 1 (06:14):
This must have been really crazy in nineteen sixty eight.
Speaker 3 (06:17):
Number nine. I mean, I'm guessing it's the first. It's
definitely it's like a backwards looping tape experiment thing that's
taking cues from things more like John Cage and stuff
like that. Experimental what the heck's.
Speaker 2 (06:37):
Called savant garde?
Speaker 3 (06:38):
Compose your avant garde composed.
Speaker 1 (06:41):
Your yes, yes, Charles, Charles Ivy.
Speaker 3 (06:47):
I just learned something right now? Is he burlives brother?
I don't.
Speaker 2 (06:53):
I don't.
Speaker 3 (06:55):
I just want to let the chances know to says.
What's awesome about this experiment is I hope you go
home and do this or after you listen to this
or while it's a really truly crazy thing to try
to listen to and speak during as well.
Speaker 1 (07:08):
I like that. Okay, I keep dipping the volume because
it's so chaotic, Like I hope you're like, like you're
you're pulling a uh.
Speaker 2 (07:17):
I hope that they're doing like a.
Speaker 1 (07:20):
Pink Floyd with the Dark Side of the movie Wizard
of oz.
Speaker 3 (07:25):
Oh, Wizard of oz right right right, Well, also you
can do that for Pink Floyd and the show oz
on HBO.
Speaker 1 (07:35):
So I like this because I think, like, right, like
this is maybe another first where where bands were I mean,
they were very experimental always but I think sometimes, you know,
in the studio, you do some things that you know
you might fall in love with that is not going
to make it to the record, and they were like,
or you know, this is the white album, We're putting
everything on it.
Speaker 2 (07:56):
Let's throw this on.
Speaker 3 (07:57):
Yeah. And I do think this is that period at
a time where they're, God, it's really kitchen sink stuff.
It's I really think this is like where like Paul's
in one room doing like Lady Madonna, John's in another
room just like splicing tape together with you know, George
or whoever was the assistant Glenn Johns or however those
people were like the assistant engineers. And I do love
(08:21):
the idea of yeah, like this does create a kind
of model for this becomes a feature of like every
capital I important or album that is straining for the
sort of like label of importance. Nine nine has like
(08:41):
some kind of nod to this or iterates from this.
The thing, of course about this period of time it's
kind of nuts, is that whoever's doing this is literally
I don't know if John was literally on the floor
splicing tape together. I have a sense he might have
been involved, But there's probably somebody else's job that was. Yeah.
Speaker 1 (09:03):
What's interesting is like in the books, you do learn
about a lot of like the technicians, Like if you
if you kind of watch a Beatles documentary or read
a book, they do give flowers to a lot of
the people from behind. Obviously, George Martin is the number
one producer that gets gets shouted out, and he's you know,
definitely that fifth Yatt, But there are other technicians that
(09:26):
they kept along and that they that they utilize that
you kind of hear about.
Speaker 2 (09:31):
Are they a household name?
Speaker 1 (09:32):
No, but it's for the or it was a It's
amazing that.
Speaker 2 (09:40):
That they would even consider mentioning these people.
Speaker 1 (09:42):
But I guess it's also because there's a there's a
fan base that wants to know everyone involved.
Speaker 2 (09:47):
I guess that changes it too.
Speaker 3 (09:50):
Totally. Every single morsel of it has been poured over, historicized, mythologized,
and I think the appetite apparently seems to be endless
and inexhaustible because we're gonna get four four Beatles movies
in the next however, many is that your Oh? Yeah,
what's his name? Sam Mendes That director Shawn Mendez. Shawn Mendez,
(10:13):
the director who has tendencies. Let's just say that, No,
Shawn Mendes is directing a Four Beatles Movies with Harrison Dickinson.
Is that that person's name George Harrison. So Sean Menez
is directing George Harrison The Beatles Movies.
Speaker 2 (10:31):
What the news is?
Speaker 3 (10:32):
Yeah? And then John and Paul are being played by
the Menendez brothers.
Speaker 2 (10:36):
John Paul the Pope. John Paul John Paul.
Speaker 3 (10:40):
Is being played by each Menendez brother half of the
movie each.
Speaker 2 (10:46):
Sewn men brothers.
Speaker 3 (10:48):
Yes, Sean Menandez brothers are directing Four Beatles Movies.
Speaker 1 (10:52):
This conversation is as abstract as the music we're listening to.
Speaker 2 (10:55):
And I think that's so.
Speaker 3 (10:57):
I think that's great. This is the experimental episode of
Give It a Chancy. I mean, I really do hope
people sit and listen to this. What's happening right now
is like in my left channel, there's like a really fast,
like almost drill drone, single note guitar thing.
Speaker 2 (11:13):
That's me. It's not the song, that's me.
Speaker 3 (11:17):
That's case. I feel like a glitch happening that was you.
Oh my god, you can't do that. That's not fair.
I really looked with my mind. Oh it told me
my internet connection is unstable people, so lets see what happens.
I'm gonna shut my VID off so you'll just see
my name. Now there's a choir.
Speaker 4 (11:39):
Oh, I like this, Sjohn's voice, laughing some like laser beams.
Speaker 3 (11:51):
It's funny. It's like the oral equivalent of the last
Scotson scene of two thousand and one Space, you know
what I mean? Like everything like that also came a
shorthand for something that has been endlessly replicated that like
everything everywhere, all at once, streaming at you. No, And
(12:14):
I think what you were saying before about the personnel
stuff too, it's funny because I do think like they
were a party to like cultural history, those people because
like and facilitating it, because it is kind of nuts.
If you, I know, there's nothing new that can be
said about this stuff. But if you look at like
the White Album is nineteen sixty eight, We're listening to
(12:36):
you right now, which is an eight and a half
minute abstract tape collage by the most famous singer in
the world, basically is happening six years removed from them,
like playing clubs in Hamburg covering like Elvis songs or whatever.
The leap. It's almost impossible to overstate the speed at
(12:58):
which this moved and the degree to which the leap
was like you know, not to not to but too
fine a point on it, but revolutionary. And I'm your host,
Gaisy Gaze.
Speaker 1 (13:13):
Yeah, you know, I'm sure it's probably talked about, but
I think I think that the the the studio as
an instrument is something that gets brought up sometimes with
the Beatles, and this is an example of how, like,
you know, the music was changing so much and artists
were like living in the studio and doing so much more. Obviously,
(13:34):
you know, Brian Wilson is a huge of ones on
this as well, and so it was a chance for
them to put their hands on something other than a
guitar or a piano. It was like actual tape and
reversing things and distortion and all that stuff.
Speaker 2 (13:48):
Now does that make a good song? Right?
Speaker 1 (13:50):
That's what we're trying to talk about today, right, Like,
and I would say that my chances are on this.
Speaker 2 (13:56):
Aside from that, it's.
Speaker 3 (13:57):
I love that you're trying to give this a chance
in the midst of total chaos. I definitely can't even
think about the chance till sixteen seconds from now. But please,
this is awesome.
Speaker 1 (14:05):
You're an Olynthian or about to end our listening session.
Speaker 2 (14:09):
Oh, I think it's done.
Speaker 1 (14:10):
So I would say that my chancer is that, aside
from it being like an experimental song for its time,
my other chance is it's on the white album, right,
and we mentioned that briefly, but it's like on a
double album. I think you're allowed to throw some extras on,
(14:32):
especially if you're sort of saying that this is a
texture for this album, that this is just like, this
is something else that we did that is embodies they
not only the time of nineteen sixty eight, because obviously
the whole country was changing so much that.
Speaker 3 (14:46):
The world, Yeah, the Western world for sure.
Speaker 1 (14:48):
Yeah, and it was like you know, it's it's sort
of drugs and things like that as well.
Speaker 2 (14:52):
It's like it really in some ways.
Speaker 1 (14:55):
My chance is that that's more indicative of the time
than and you know, you know, Savory Trouble or Honey
Pie for sure is not indicative of the time. That's
like a throwback, you know, but I will skip this
for the rest.
Speaker 2 (15:14):
Of my life. That's my chance.
Speaker 3 (15:17):
An anty chance, Yeah, I understand. I feel like, how
many times does one need to listen to that to
I mean, on the one hand, if you are a
it really does depend on what you are looking for.
(15:38):
And again, this is like we talk about subjectivity all
the time on this podcast, because I think you can't
talk about entertainment or art without like centering it in subjectivity.
Like one person's nickelback is another person's Beatles, and one
person's Beatles is another person's. Like it's so funny. I
think about this, like, so this isn't this is the
most famous music act of all time and to that point,
(16:02):
of all time, right, and they are this is an
experimental piece of music, rightight? By this act, I wonder
what an actual like like lifelong avant garde experimental. I
would love to read that and research that, Like what
did these people, these composers think of this, because I
think about something like AFX twin right, that guy Richard James,
(16:22):
is that his name? And like when Radiohead takes this
turn around, okay, computer kid a And one of the
things and Radiohead is thought of is they're not the Beatles,
but they might be the most critically acclaimed band of
the last twenty five years. Roundly, they're pretty, they're up
there top two or three. When they were making that music.
(16:46):
One of the things Tommy York would always talk about
was that band was Afex Twin, and I feel like
what was so funny was Richard james Is asked about
it at some point, like, oh, what do you think
about kid A or whatever, and He's like, I don't
really think anything about it. It's kind of like garbage.
It's not very good. And that indicates like even the
coolest thing in the world, there's people who are actually
(17:06):
maybe you can make the argument Aphex Twin had been
like living in that style of presentation or a version
of it for his whole development, and so he was like,
this is a bunch of like educated kids from Oxford
with guitars trying to like make blips and bloops music.
It's and so the context is everything, and with respect
to like the chance or not a chance, Like what
do you want from a song? I don't want this
(17:28):
the way I want the other revolution. I listen to
that song over and over again. It's a perfect song,
but you're.
Speaker 1 (17:35):
Still right, like the point of view or like the
listener it like you know, decides always the listener decides
how they feel about the work of art, right, But
it depends on whose.
Speaker 2 (17:47):
Lens your listener.
Speaker 1 (17:48):
Yeah, And so for instance, like if the Backstreet Boys
put out a song, like an experimental song like this,
which is a good parallel because.
Speaker 2 (17:58):
You know the I almost called them the BC Beatles Boys.
Speaker 1 (18:02):
They I mean, actually the BC Boys is an example
of this where these like eighty it morons that like,
we're definitely capable and came from like the right you
know mindset of going from like already from punk to
hip hop, started to make you know, more jazzy experimental
albums later on and push limits. So that's a good
example of it. But if they really was like a
(18:24):
pop group, right, because when they started it was like
she Loves You. It was like this real bubblegum pop
to do this, if the lenses someone like Philip Glass
or you know, Charles Ives or right, like, that person's
probably like, why, why is in sync you know making
this kind of music Like that's you know, like that's
probably what they were thinking, or maybe they go, this
(18:47):
is so fun. I think it's really fun that what
I thought was bubble gum. The same how we feel
about Bacie Boys, right, Like, which is which is, and
I I like the early BC Boys stuff too. Some
of it doesn't age as well, but it's more so
actually their antics off stage that didn't totally. Yeah, a
lot of those rhymes and stuff are still fun for
what it is, but I like that they took this
(19:09):
experimental path. I think Radio haads another good comp so
it's ultimately I do think that if these avant garde
composers are as open minded as they sure, they would
have an open mind towards this totally.
Speaker 3 (19:23):
And I think that there's probably two schools. I bet
there were people who were probably endlessly thrilled without knowing this,
like Gospel Oak knowing it. I'm pretty sure if we
did the research, I bet there were people in those
avancarde communities also who like John. The thing about culture
at that moment, too, is it was like everything was
bleeding into everything else. I'm not going to turn this
(19:44):
into like a D list D rate sixties. You can
find all this stuff better places than this podcast, but
I just mean like it was at that moment everything
was like sloshing around into one another. And John is
with Yoko Ono, it was like a you know, a
claimed avant garde artist and I'm sure he was meeting
all of these people through that relationship. I'm also sure
(20:06):
whoever the fuck the Beatles wanted to meet in nineteen
sixty seven eight, whether you were an avant garde or
artist or like a head of state, they probably could
meet them. And all of this stuff is becoming like internalized,
and it's kind of like mirroring whatever's happening in like
experimental film and even like certain writing poetry, certain things
(20:26):
that are and I think that it's you know, there
is this thing where everything's kind of like bleeding in
and out. So it's like I would imagine that there
was some population in those avant garde communities that was
thrilled that like the biggest thing in the world had
(20:48):
on its double record, which, by the way, another casual
thing the Beatles are kind of credited with inventing, is
like a double album sort of loosely conceptual or whatever
by you know, which then becomes like a staple of
rock music and beyond moving forward. But it feels like
I'm sure there were some people that were like the
(21:08):
coolest thing in the world is that these like bubblegum,
these guys that were this bubblegum pop act that are
now mirroring the culture as the culture mirrors them is
putting like an eight and a half minute tape experiment
on their double album. And then I'm sure there were
other more provincial gatekeepy people that were like, you know,
we don't want those people sullying our you know, the
purity or sanctity of our And I understand arguments from
(21:32):
both sides of that, but also at the end of
the day, it's like I would think that I'm and
I guarantee it did. I'm sure that Revolution nine got
some amount of people to check out some of the
music and art movements we're talking about who would have
never been interested in that before.
Speaker 1 (21:50):
You know, it is really interesting a song like this
because it is such a tent pole and it's it
goes both ways, right, Because I was I did like
a yoga class the other day and there was this
like nice ambient I know flex and actually actually literal flex.
There was this ambient music playing and I was like, oh,
(22:11):
I don't have no idea what this is. I love it.
I like love I don't know what it is. I
should listen to this more. It feels great and it
was just also the right place at the right time,
but that if you track it back far enough, there's
like moments in this song that probably influenced the mold.
The other things are brought it to such a forefront
that ambient music probably took off to a certain degree eventually,
(22:33):
But then it also pushes you backwards. So it's like,
can it connects yoga elevator ambient music to those you know,
those avant garde musicians of the past, right and like
all the Pink Floyd's and radioheads in between. Like it's
I think that it's really interesting. But I will say, though,
(22:55):
if I'm trying to really be like treat this one
song as like the the whole thing, and if it's
totally like here's the Beatles and played that song, I'd
be like, this band is doing something.
Speaker 2 (23:06):
But they suck butt well, but they suck. But they said,
but what?
Speaker 3 (23:12):
And I just want to briefly say because it's important
when I when things like this. It's like Mookie Wilson
in nineteen eighty six on the Mets when he was
talking about that at bat in the tenth inning where he.
Speaker 2 (23:21):
Kept wearing the shirt.
Speaker 1 (23:22):
Today too, I have to wear it's a Wally Backman shirt.
Speaker 3 (23:26):
Yeah, but Mookie did say he was going The Bible
says thou shalt not pass without offering, and that's what
his thought process was. I'm not going to be holding
the bat. I'm going to swing the bat whatever, and
however this works out, I'm not going to be the
guy holding the bat at the end of this. You
know this it bat And I bring that up to say,
(23:47):
I can't believe how long I've taken a get to
what we're about to get to. So excited. I just
want to say that when you said you were in
the yoga class and the song hit you and it
must have been the right place at the right time,
what I thought was, do you know maybe this is
for a future episode? You know, somebody goes, I must
have been the right place, but it must have been
the wrong time. And if you don't know that song,
then I'm glad I just spent ninety full seconds of
(24:10):
this episode.
Speaker 2 (24:11):
What is it?
Speaker 3 (24:11):
Wait?
Speaker 2 (24:12):
What song is it?
Speaker 3 (24:13):
That must have been the right please? But I thought
it was the wrong time. Anyway, this is not I.
Speaker 1 (24:18):
Think you're singing. You're making it sound too good. What
song is? Oh?
Speaker 3 (24:22):
Thank you? Oh, it's the one that goes It must
have been the right place, but it must have been
the wrong time. How does that sound?
Speaker 2 (24:29):
Sounds like a Dave Matthews band?
Speaker 3 (24:31):
Like does this look like aphext One? Oh?
Speaker 2 (24:33):
Is that aphex One that sings it?
Speaker 1 (24:35):
That does?
Speaker 3 (24:36):
Know?
Speaker 2 (24:36):
It does look like that video?
Speaker 3 (24:37):
Though, all right, look, I'm sorry, so forget about what
I was just saying. I just wanted to talk about
the yoga a little bit more in the right place
in the wrong time, and I want to talk about
Mookie Wilson in the Bible. But now let's get back
on track with Revolution number nine and sucks. But so
(25:00):
for me, yes, if someone presented and I think what
you're doing is important because it even it's been evidenced
in this episode, it is almost impossible to speak, at
least for me, it's almost impossible to speak like objectively
about the Beatles, not even that the Beatles are like
my favorite band or something, but I almost think, like,
(25:20):
there's kind of no, they're perfectly rated. There's no way
to under like, you can't overseell what this music meant
to like it's it's it's the band that sailed ten
million ships. Like everything you could.
Speaker 1 (25:36):
It's like it's like being like, oh, I like I
like plants, but I hate.
Speaker 2 (25:39):
That seed right totally.
Speaker 1 (25:42):
It like it made the it made the plants, like
it made so much.
Speaker 3 (25:46):
I think that's accurate and but but at the same time,
you can you need to have some kind of like
critical apparatus and objectivity to drop in on like any
anything that exists in culture. Nothing's above reproach or a both,
not even reproach above critical analysis, certainly not them. And yeah,
(26:07):
what I think what's interesting is when I'm thinking about
giving this a chance from a critical perspective, I think
one of the reasons maybe I just kind of unlocked
this for myself. I keep coming back to whatever the
avant garde community may have thought about it, is that
I do wonder if one of the things is like,
maybe this is too heady and not musical either, But
(26:27):
if one of the things is like, you know, it's
like it's a privileged rock star sitting on the floor
of a studio with some guy working for him, cutting
up a bunch of bullshit and being like it's art. Now,
I'm already going to contradict myself because part of me
feels like well, what else is art? Isn't art exactly
what I just described, whether the person whatever, the material
(26:49):
conditions of the artist. But of course the difference between
some person making this music in Berlin or this collage
is not really music in Berlin in nineteen sixty three
and John Lennon is that John Lennon knew fifty million
people or whatever would hear this? Yes, And so yeah,
(27:12):
there is something to be said about like walking into
that like to. But the other side of that is
to be in the position that John Lennon was in
and be like, this is how I want to spend
eight minutes of my band's record is to me kind
of a foundational thing for the entirety of what I've
built my life around thinking about, like music and culture.
(27:34):
So I suppose keep being pulled away on the level
of what we do on this podcast. It's the biggest
thing to say about this song critically, is Is it
even a song like one eight seven seven Cars for
Kids is more legibly a song by a factor of
exponents than this. And so if I'm going to like
give a chance to if I'm going to find basis
(27:56):
to critique this on the level of is it oh,
is it a good or bad song? I would say
that the question is like is this even a song?
And even further is this even music? And then the
second layer of criticism would be and as what it
is purported to be, how does it hold up as
like a piece of avant garde tapage? You know what
(28:17):
I mean?
Speaker 1 (28:18):
No, I I definitely I will say that I one
hundred percent will tell you that that that it is
a song because going back to John Cage, she's got
that uh it's like four minutes and thirty three seconds
and it's and it's and he actually has like sheet
music for it and it's all rests. It's like yes, right,
And I think what he's trying to tell you is
that this is the music can even be silence, right,
(28:40):
and so that in that sense, music can also just
be U you know, eight minutes of suck butt and
that's and if it's and I think if it's on
a recording, if it's on if it's on an album,
I kind of think it's a song.
Speaker 3 (28:59):
But what you are describing and this is part of
what I think I know shocker with the Beatles, this
is the challenge. And I love that you picked up
this particular gauntlet. I think it's like, what you just
did is kind of it roots it in. Why I
end up giving it a chance is because it's that's
(29:22):
the art experiment. They actually turned a pop group's you know,
number one record on a multinational corporation you know whatever
at EMI or whatever at that point into like a
site for a philosophical art experiment, which is what even
is a song? What even is music? And they did
(29:46):
it as arguably the upper end most, upper endth percentile
avatars of capital s song, the Church of song. Maybe
no bigger one of the things about the Beatles, it's
probably under reported to a degree or under if there is,
if that exists, perhaps at least at their genesis and
(30:07):
even throughout no greater collection of music fans as a band, like,
they were so voracious about all that they were internalizing
and and and what's the word synthesizing, And I think
this proves to this indicates the expansion of that both
(30:27):
in what their appetites were and then also in what
their their excrement to be, you know what I mean, excreciu.
Speaker 1 (30:38):
And yeah, no, I think you're right. And they gave
such a beautiful homework assignment. You're finally right. They gave
a homework assignment to their fans to be like, play
this backwards and listen to it, and it's like all
like it's almost like I can't remember when the Paul's dead, right,
That's what it is. Paul's dead, and I know that
they on this record. I think is is a green.
Speaker 3 (31:02):
Ass onion where he says like, here's another clue.
Speaker 2 (31:15):
Yeah, I think you're right, and I think maybe this
was more of it.
Speaker 1 (31:18):
And it really is such a weird album because you know,
it's got this, it's got Revolution number nine, but it's
also got like you know, it's.
Speaker 3 (31:26):
Got blackbirds, Yeah, yeah, yeah. It has Goofy Goofy Ship,
some of the most beautiful stuff they've ever recorded, simple, simple, forward, beautiful,
and then honestly some of the coolest John stuff to me, like,
(31:49):
uh feel so lonely, want to die, like these songs
that are just like bracing and fucking crazy. It balanced
against peak Paul sweetness, melodic genius stuff, George coming on
and then this kind of shit plus like weird Goofy nonsense.
It is a really prismatic experience and weirdly it is
(32:12):
the record of theirs. Weirdly, it is the record of theirs.
I end up going back to the most often, Like
when I put a Beatles record on, it's it was
at a time revolver. It is for the last like
fifteen years probably most. I mean maybe this happens once
a year, but I go through a like, oh, I
want to listen to the White album, which checks out,
(32:33):
because that's how I am with like a kid a
A Ghost is born by Wilco. It's always like the
record after the record somehow is the one that I'm like,
what were they doing there? And that tends to be
I don't know what that is. You know, maybe that's
something for me to bring up with mine therapist, and
I'd like to bring her in right now.
Speaker 1 (32:54):
It's me Janet. I've always liked this record too.
Speaker 2 (32:58):
I've always liked.
Speaker 1 (33:02):
I've always been my like one of my number like
it's always in the top three spot for me is
Happiness is a Warm Gun because I think it's every
Beatles song in one. It's got like, it's got something
for every fan.
Speaker 3 (33:13):
It's perfect, It's perfect. You ever hear the Breeders cover it?
Speaker 2 (33:16):
No, I don't think I know that cool.
Speaker 3 (33:18):
We wouldn't have to give that a chance, people because
verdict send say says thumbs up.
Speaker 2 (33:27):
Janet.
Speaker 1 (33:28):
It Also, you know White album also has that offspring
song why No Now, why don't You get a job?
Speaker 3 (33:34):
Love that? Love that? Yeah? Yeah yeah.
Speaker 1 (33:36):
So long story, short, insumacious. Before we fully summarize, I
do want to say that interesting to cap it at
eight minutes and thirty seconds, right, because this could be
they could have dropped a ten minute forty minute song
or like a like, honestly, you get the idea of
the whole thing at like three minutes.
Speaker 3 (33:58):
You kind of get the idea like yeah, seventy five
seconds maybe even yeah, yeah, but yes.
Speaker 2 (34:04):
I mean there's some nice moments like that.
Speaker 1 (34:05):
You know, the choir comes in, I love the piano
at the beginning, there's like a there was a couple
of things that I was listening to that was different
this time, and you know there I can understand why
they might want to make it somewhere between you know,
three and five, but eight is pretty wild. But that's
also maybe they're them flexing like to be like this
is not like the same, you know, because they have
(34:28):
they have songs that could go up to like five minutes. Sure,
maybe it's not being like look, look, look if you
this is a long this is a long tune.
Speaker 3 (34:36):
Yeah you're gonna and if I and and it's it's
it's a it's a kind of a staring contest with
the audience too, like you're where Yeah, you're kind of
inviting them to engage in on these terms. And I
think what you're You're right, And the thing I would
ultimately another as we land this, I would a chance
(34:56):
has to be given to the fact that like I
don't know, I've I haven't listened to this all the
way through probably in ten years, like actively, not as
like in the background, and there was it's like where's Waldo.
You'll hear different thing, You'll like be like straining for
different things every time. Yeah, yeah, yoga. So I just
(35:17):
want to say that at the end of the day,
I give this a chance.
Speaker 1 (35:22):
Yeah, same same as I. This was almost an Octopus's
Garden episode. At LISTA wanted me to do that and
she was like, you get to talk about Ringo all
that stuff, and I was like, I think that didn't
about Ringo at all. There's a version on the anthology.
I think of this and it has like a drum.
Oh no, no, that's a.
Speaker 2 (35:37):
Turning off your mind.
Speaker 1 (35:38):
Relax and float downstream.
Speaker 2 (35:40):
Right, that's a better run.
Speaker 3 (35:41):
Oh yeah, that's kind of a versions. Yeah, that's sort
of a more that's like a capitalist son it is
it is.
Speaker 1 (35:49):
Anyway, there's a version where Ringo plays a really dope
beat on it.
Speaker 2 (35:52):
And that's all I want to say about that.
Speaker 3 (35:55):
Nice Ringo. Shout us out next time you're doing your
own pod and everybody chance out.
Speaker 1 (36:00):
Ye
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