July 26, 2024 • 37 mins
Kevin and Casey are gonna to get clipped for this. The boys indict an iconic and beloved tv theme song to ultimately see if the Sopranos intro is a HIT or if it’s born under a bad sign.
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Speaker 1 (00:04):
Give it a chance, Give it a chance, Give it
a chance. Come morning, give it a chance.
Speaker 2 (00:09):
Give it a chance, Give it a chance, Give.
Speaker 3 (00:11):
It a chance.
Speaker 2 (00:12):
Morning, give it a You want to give it a chance,
Give it a chance, give it a chance. Just give it.
We have a hot one, keV. I'm nervous about this one.
Speaker 1 (00:22):
I can't wait. Let me see if I can cool
it down.
Speaker 3 (00:29):
Welcome to give it a Chancey, I'm nervous about this one.
Speaker 2 (00:33):
What's interesting is I think our.
Speaker 1 (00:34):
Socio political perspective, what's the deal.
Speaker 3 (00:38):
Bro the soco path political? Now, No, I think the
whole audience knows what the song is. You don't because
I think the episodes are the song. So that's kind
of fun that there's a secret that you don't have.
Speaker 1 (00:54):
Casey's got a secret. I wonder if that song.
Speaker 2 (00:59):
So this is a really it's a fun one. It's
a weird one.
Speaker 3 (01:02):
You're not gonna expect it not you know it's three
blind mice.
Speaker 2 (01:08):
No, No, it's not that.
Speaker 3 (01:17):
No, this one is. It's fun. Like, here's the thing,
it's there's a there we've never done this before. It's
a TV show theme.
Speaker 1 (01:25):
Oh okay, those were the days and you know who
you are that.
Speaker 4 (01:35):
Oh yeah, oh yeah, isn't that Entourage?
Speaker 2 (01:39):
That's still very good? That one?
Speaker 3 (01:41):
Honestly, that's in line with what this is, and I
think that one would be good.
Speaker 2 (01:46):
The difference is beloved, A beloved show.
Speaker 1 (01:50):
Tony Morrison, Oprah Winfrey, beloved. Oh no, beloved. Okay, okay, okay.
Speaker 3 (01:55):
This show is beloved. It critically acclaimed. It's everyone loves it.
I oh is it?
Speaker 1 (02:01):
Wait a minute, okay, I got an idea. Hit me,
oh under the bed sound with the mood in you.
Speaker 3 (02:09):
Said it, he did it, he did it, But will
he give it?
Speaker 1 (02:17):
I don't want to get wet. I gotta give it
a change. See.
Speaker 3 (02:21):
So I love the Sourprians. I've watched it, I think
four times all the way through. I've watched and I
actually the first time I watched it, I think was
like in twenty thirteen, so it's within a decade. I've
watched it four times all the way through. It's like
two hundred hours of your life.
Speaker 2 (02:35):
Throw me in briz.
Speaker 3 (02:37):
I I don't think I the modern era. You could
skip the intro, which you really kind of couldn't do
with like if you watched on DVD, which is the
first time I.
Speaker 1 (02:45):
Watched BO you definitely couldn't.
Speaker 2 (02:47):
Yeah yeah, oh yeah, live you definitely couldn't.
Speaker 3 (02:49):
But if I watched on DVD, I'd have to like
get the controller and fast forward. But now you just
hit skip intro, which the kids don't even know what
it was like back in our day.
Speaker 1 (02:57):
No dude, I had to walk up and down the
DVD both sides of the hill, snowing in the DVD
digital snow on a VHS.
Speaker 3 (03:08):
So this is the Sopranos opening credits. Unbelievable choice, obiz
Moan called I just I found the I actually I
went on YouTube and I found that the Sopranos opening credits.
Speaker 1 (03:24):
Theme Sopranos Woke Up this morning by Dominic Houser.
Speaker 2 (03:30):
All right, enjoy everyone.
Speaker 3 (03:41):
Mine ended, so mine ended too. But when I was
reading the lyrics along, they said there's a full version.
Speaker 1 (03:46):
I was just looking at the same thing.
Speaker 2 (03:47):
Yep, I'm okay with just doing that the traditional Oh.
Speaker 1 (03:51):
My god, there's so much more going on.
Speaker 2 (03:53):
Is the band called Alabama three.
Speaker 1 (03:55):
Written by Alabama three, produced and arranged by Dominic howse
is what I have?
Speaker 2 (04:01):
So that's Doogie Houser's brother. Yes, yes, so Doogie Hauser.
Speaker 1 (04:05):
It make says Dominic would have been working on a Sopranis.
Speaker 2 (04:08):
But Doogie, he's smart. That kid so.
Speaker 1 (04:12):
An insult to me if he was still here in
twenty years.
Speaker 3 (04:16):
I love that if Dougie Hauser, who was like a
child that became a doctor who is like a genius,
and his brother just was just like I made the Sopranos.
Speaker 1 (04:23):
Thing, Goodwill Hauser starring Sopranis Houser stupid.
Speaker 3 (04:30):
Sorry, it's it's really fascinating this song because I really
do think I could give it a chance.
Speaker 2 (04:35):
He even though I've heard this so much and I
doubt don't.
Speaker 3 (04:38):
Like it, like on everything, everything about it on paper,
I don't like. It's like there's these weird beeps and
boops and there's like like you know what I mean,
like just the whole thing, like none of it, none
of it makes sense, like you got a.
Speaker 2 (04:50):
Blue moon in your eye?
Speaker 3 (04:53):
Like what, like what does it have to do with
the show? Like, but it does fit the show, Yes
it does. I don't know, like it's just of an era.
It's it really like it all the things I don't
like they put into one song.
Speaker 2 (05:05):
But as I'm listening to it I'm playing the high hat.
Speaker 3 (05:09):
There's that part where the guitar goes bab boo boo,
Like I remember that so well from watching.
Speaker 1 (05:15):
I mean, it sounds like to me, you have backed
into the chancy, and that's okay. Sometimes we have to
find our way in through. As led Zepp once said
in Through the Endoor, you know what I mean. But
that being said, this isn't about poop. This is about
sopranis junior. And to me what it is you said
it was of a time and a place, and it
(05:36):
certainly is. One of the things that it makes me
think of is I'm a Leonard Cohen fan, and there's
this great Leonard Cohen you know, Hallelujah has now become
like you know, Shrek sings it. It's canonical, like everyone
who's ever been on any singing program sings that song,
which is really odd if you think about the source,
because he was like a pretty legitimately idiosyncratic, weird songwriter
(05:59):
and guy. But one of the things that he did
that was kind of like I think, lengthened his career
and was like part of his not final act because
he had that whole thing in the with around Hallelujah.
But in the nineties he did the soundtrack for Natural
Born Killers, and it was like he did a bunch
or or rather I don't think he did that. I
think that might have been the first. I'm not sure
(06:21):
about this. Trent Reznor might have been involved with that,
But what I know is the songs that were on it.
There were like these songs from that whatever record of
his came out in that time. It might have been
called The Future Leonard Cohen. But there's this like a
song called Democracy. There's these songs that have this kind
of like low speaking and the lyrics are He's you know,
(06:43):
they're dark, they're very rich lyrically, but they're like they're heavy.
They're almost like biblical or like the Torah or something,
but heavy on the kind of like blood and guts
of that kind of thing. And in that context with
that movie, it felt very it was really additive in
the same that it kind of felt like a commentary
that was being made on the kind of like sliding
(07:05):
out of control of society, you know, and like through
these two characters and the media fascination with them and
everything something about Leonard Cohen, and it's this genre it's
this kind of like really almost like goofy sounding. There's
great stories about him in this period of time too,
where like he goes in and there's a crack band
like people who worked on like, you know, fucking thriller
(07:26):
and stuff or whatever. They're like assemble to work on
a Leonard Cohen song, and like they play and it's
just amazing. I actually met a guy who was a
guitarist in there that became a record producer later, and
he said like Leonard would then go out to the
car and be like, yeah, that was great, but I
kind of hear it more like this and literally just
play it on his little cassio like stupid little like
(07:46):
five cent drum beats and like two two finger keyboard
piano stuff, and they'd be like, well, if that's how
you want to record it, go ahead and record it
that way, which then prompted that conversation with like I
think it's Clive Davis where he says like, Leonard, I
know you're great, but I don't know if you're any good,
you know, like, and that's kind of like but that
thing when I heard this now, I've never made the
(08:08):
connection before. It's in keeping and it's like crash Test
Dummies are kind of like some weird pop offshoot of that,
like super low voice saying like weird kind of stuff.
Speaker 3 (08:18):
Lou Reed got into that too, like he was always
kind of like the speaky, but then his voice got.
Speaker 2 (08:22):
Lower, even like Bob Dylan got lower at.
Speaker 1 (08:25):
A point, well he got like, yeah, it's almost like
lower and like scratchy. He got like real scratchy.
Speaker 3 (08:31):
Yeah, but you're talking about once there was this Yeah,
it's almost like what's that called, like a baritone or whatever,
like that really deep or bass voice.
Speaker 2 (08:40):
And Johnny Cash, little Johnny Cash, a.
Speaker 1 (08:42):
Little Johnny Cash and that morphine that was like a
New England band, that stuff. And it makes me think
in this context that Johnny Cash thing is a great pull,
cause it's this kind of like the Torah or like
the Book of Revelation from the New Time. It's this
kind of like you know, woke up this morning, got yourself.
It's those Wild West shit mixed with this like biblical heaviness,
(09:04):
like a storm clouds coming kind of thing. And in
the context of the Sopranos, which I feel like one
of the core concerns of that show, to talk about
The chosen One is this guy who feels like he's
assumed this mantle, but he's aware that he's like a
little too late. It's like the Mafia in nineteen ninety
eight or whatever and not nineteen forty or or twenty
(09:27):
or fifty five or whatever, and like all the riches
and whatever, the spoils of war that come with that
and the pressures. He's also like a guy living in
like suburban New Jersey, right, Like it's diminished. He's not
Gary Cooper. It's not the wild West. He's not like
the guy in the movie in the fifties or whatever.
Speaker 2 (09:47):
Yeah, the truth is, it's so hard to do this.
Speaker 3 (09:49):
Like what other song would be the intro, Right, it's
irreplaceable because.
Speaker 1 (09:54):
It's thinking of like the most instate.
Speaker 5 (09:57):
Walk like a man actually, like maybe the juxtaposition of
like a sixties crooner or fifties like you know, rock
and roll like kind of is that But I don't know.
Speaker 3 (10:11):
Yeah, I like that this choice in a way, even
though I don't like this song.
Speaker 1 (10:15):
Well yeah, one hundred yeah, like to be with C. C.
Peniston flypened. That's great, that's good because he's finally you
know what I mean?
Speaker 2 (10:24):
He's like he's the boss.
Speaker 1 (10:25):
He become boss.
Speaker 2 (10:27):
It could have been a siler.
Speaker 1 (10:29):
Sorry, it could have been Springsteeny, you know with the jersey,
that's good. You know what would they use something from Nebraska?
And I tell you how heavy inside it is, you
know what I mean? It's so good?
Speaker 3 (10:40):
Come on, you want in a million? You've got to
burn to shine. I don't like this song. I mean
I'm giving it a chance, but it's really hard for
me to do it. Like I keep going, I keep
like eyeing the lyrics and none of it really makes sense.
Like a few lines make sense, which is like, you
know your papa never told you right from wrong. That's
(11:00):
you know, you know, things ain't been the same since
the Blues walked into town.
Speaker 1 (11:05):
It's just really I mean, when was that. Maybe that's
a puberty thing, you know what I mean, like the
innocent children. I don't know, I'm just taking a little
stretch since the Blues walking into town. I mean, the
minute you have the kind of awareness that the world
is a more complicated place than you thought it was.
Speaker 2 (11:19):
Do you think the woke is like the modern woke,
like woke up this morning?
Speaker 1 (11:24):
Yeah, he was predicting he was predicting woke culture. And then,
by the way, if you are sort of like woke
herb listening to this, like just never come around. He
never kiss me now, no matter what you do in
the street, when you see me and say, oh, it's
kept chancy o, it's case chancy don't kiss me, don't
(11:47):
kiss us. Because I'm close to the edge.
Speaker 3 (11:52):
So I don't know how I feel about it, because
I get the nostalgia for like, or it's not even nostalgia.
I get the it's so related. It's intertwined with a
show that I really like the show. Every time I
watch it, I like it more and more. I see
new things.
Speaker 2 (12:06):
I love it.
Speaker 3 (12:07):
Like, I start talking differently when I watch the show.
Yeah you know what I mean, Like I'm meaner to
my wife.
Speaker 1 (12:13):
Cool. Yeah, yeah, honestly, that's the coolest shit you've said
in all these epps.
Speaker 2 (12:19):
No, I'm not, I'm not. I'm not.
Speaker 1 (12:20):
It's not true. It's not true. It's not true.
Speaker 3 (12:22):
I am like a little bit more like like I
will start being like, oh, like when things you know,
like I really do it does it is infectious in
this way, I don't know, I feel you. So when
the song comes on or like let's say, like I'm
scrolling at through Instagram and there's like a joke about
that song or like using it in the meme or something,
I will be like, oh, the Sopranos, Like it's so cool.
Speaker 2 (12:45):
Yeah, totally, Like it's like it's like chocolate.
Speaker 1 (12:49):
That's definitely that's nice think about chocolate, you know what
I mean.
Speaker 3 (12:53):
Yeah, it's just I guess in that sue, it's like
Sopranos is like chocolate, and like and maybe like the
song is like something I don't like but has chocolate
in it, and yeah, it reminds me of how good
chocolate is.
Speaker 1 (13:04):
Trying to think of something I don't like that has
chocolate in it.
Speaker 2 (13:07):
Maybe a mola Oh I could.
Speaker 1 (13:09):
See that of depending on the moley and no disrespect
in tend or no disrespect or like.
Speaker 2 (13:17):
You know, like you ever have like really cheap chocolate.
Speaker 1 (13:19):
Yeah, all the time. I'm broke, so yeah.
Speaker 2 (13:23):
And then so then you're like, oh, this reminds me
of like when you have good chocolate.
Speaker 1 (13:25):
Yeah, yeah that's great. Yeah, well what I think I
think that was the molay is good, The cheap chocolate's good.
What I think it's it's like something like this becomes
impossible to extract from its cultural context and the thing
to which it's tied. Like I don't know who the
hell is ever going to hear this song. That would
be fascinating actually to find the person who doesn't know
(13:48):
the sopranos, who just encounters this.
Speaker 2 (13:50):
Song that is so funny. Has that happened right?
Speaker 1 (13:53):
Like in my mind, it's like they're in Baton Rouge
in some bars somewhere and someone put this comes on
the jukebox and stuff. This is kind of like this
like got like a deep kind of funk to it.
What is this? Yeah, Like I kind of I dig
the thing this guy's.
Speaker 3 (14:06):
Saying, yeah, robot drums and blues and weird chirps it.
Speaker 1 (14:13):
I liked it at the end. That really does tie
it to a time and a place. I liked it
at the end. It ends, this version of it anyway,
ends with that like what want yes? Yes. So that's
so like we were trying that time late nineties. Let's
incorporate this sort of like gesture towards because that was
(14:35):
that moment where it's so funny to think about this. Now,
there was a legitimate moment where like American music press
things like Rolling Stone and Spin at that time, you know,
they were really genuinely like can there was this considering
of like will trip hop become the next big thing?
And like Moby had that song and fat Boy Slim
(14:56):
at a moment, and like the Prodigy was a thing.
But there was the sense of like it was like
almost is that going to be like the next grunge
or the next like where like some of that stuff sells,
is gonna sell like ten million records and become the
next five years of popular culture? And it was like no,
but but.
Speaker 3 (15:14):
The turntable not only was in the trip hop, but
like you know, you have like your Lincoln Parks that
had like a turntable players like three eleven and yes,
that rap rock thing really brought turntables. And then this
I think that's what's referencing as well.
Speaker 1 (15:27):
Yes, totally got yourself. There's something about his vocal delivery
and the like it's it's a little it is like
(15:49):
minor key and dark quote unquote dark, and like to me,
there's something about this song that's like a little So
I'm like flittering back and forth between Chancey and no Chancy. Okay,
there is something about the song. I do see now
it's rooted and yes, it is that gesturing towards both
(16:09):
the trip hop thing of the moment and also like
definitely the rap rock thing and this like weird Leonard
Cohen thing that was in that was and like, but
there's also this thing about it that's kind of like
self consciously dark in a way that's a little funny.
Like it's almost like you play a minor chord on
an instrument or a you know, synth pad or something,
(16:32):
and then you start like singing about certain things that
go well with the minor chord, Like this whole thing
all of these lyrics are like it's almost like is
this about a werewolf? Is this about like the devil?
You know, Like it's a little self consciously kind of
like negative. Now, it also worked for them because it
became connected to arguably the best, the highest regarded television
(16:55):
show in the history of the medium. It's one of them.
You know, I wonder if what's this band.
Speaker 2 (17:01):
Called Alabama three.
Speaker 1 (17:03):
Alabama three Little three. I wonder if they, I mean,
what else happened with Alabama three?
Speaker 2 (17:10):
This is the rem brands. I'll be there for you, right.
Speaker 1 (17:13):
That's actually the closest I wonder if that's the closest correlative.
Like I'm trying to think if there's another that's that's
an excellent poll. That's maybe the only other one of
this stature, because everything else is more.
Speaker 3 (17:26):
Like the Yeah, nothing's that big, right, Like so even
like you're not the boss of me now, like they
might be giants on Malcolm in the Middle.
Speaker 1 (17:34):
Wow, I have an embarrassing admission to make. I totally
forgot that was there. They might be giants.
Speaker 3 (17:39):
It doesn't really sound like a lot of their stuff.
And in fact, like that's another example of like that's
the shortened version and it's a much longer song, right,
but the show's not big enough and the song's not
big enough. I mean, it's iconic in a way, but
as much as any theme song is, right if you've
watched the show, now, this is.
Speaker 1 (17:56):
Like cultural sature, like Sopranos in the front the Friends,
The Friends Friends is like, you know, sopranos in the Friends.
It's classic nineteens.
Speaker 3 (18:07):
Yeah, Like I don't know the er theme song don't
off the top of my head, this is a good
game doogie howser?
Speaker 2 (18:15):
Is that? Yeah?
Speaker 1 (18:18):
It was like it was like predicting the trip. Yeah yeah.
Speaker 3 (18:21):
Oh so before we go too far away from the influences,
I have an influence on this that I think was
the maybe like right around this time that I didn't
realize but really channels it for me. And this is
one that I actually could do as a chancey. But
I think I'm going to spoil those beans now and
talk about.
Speaker 2 (18:38):
A little bit. But ready for this.
Speaker 1 (18:39):
Spoil the beans. Yes, then you really might know what
it's like.
Speaker 2 (18:45):
To have the blues everlast.
Speaker 1 (18:48):
For the people that couldn't see that, which is everybody
except me. Like the way you backed up off the
mic and you kind of did this thing like you
approached the mic like slithering your shoulders a little bit
and you got like a little deeper into yourself. That
was really good.
Speaker 2 (19:01):
Yeah yeah right, But isn't that the same vibe?
Speaker 6 (19:04):
Like I knew a gun named taxon he did do Jackson,
then he knows the deal, all right, Like that's this,
that's like with it, we'll gook this morning, got myself
a gun.
Speaker 1 (19:14):
Like no, And not only is it that is so
dead on, it's also like that is a d minor.
Oh wow, he hit that he played that D minor
cord and he was like, my brother once died. He
was twenty nine. He was grab o game, he was.
Speaker 2 (19:34):
He once died.
Speaker 1 (19:35):
Yeahs the camp flash off the build man and gone insane. Yeah,
Papa gonna die at the end of the night because
I played D mine. You know.
Speaker 2 (19:46):
Well, also like with with with that one, that one
at least.
Speaker 1 (19:49):
Like I think they were bringing in another song. Now
this is a crossover ep.
Speaker 2 (19:54):
It is it? Everlast? Uh might know what it's like?
Whatever at least has a chorus.
Speaker 1 (20:01):
This oh as you were saying, like Everlast might know
what it's like, I don't know. Yeah, yeah, then you
really might.
Speaker 3 (20:07):
This doesn't have a chorus, Like, it keeps feeling like
it's gonna go. It's like it's almost like you know, you're.
Speaker 6 (20:12):
Poorn under the bands with the blue moon in your eyes,
and then it's just like so yeah, well good, like
it's right back and like never I keep waiting for
like a chorus, but it keeps being like it's just like, yeah, it.
Speaker 1 (20:24):
Has I think it would call if you asked Alabama
three and Dominick Houser Nice whether or not I think
they would say the chorus is when the other thing
that makes me think of the the Leonard Cohen thing
is like, as a fan of his, one of the
barriers to fandom, is it he basically is like, listen,
(20:45):
if I'm gonna write great songs, and I'm gonna write
perhaps the best lyrics ever in like pop music, but
what I'm going to do is sing speak them at
this like what is that word? Souppoke crot like super
low kind of level over basically shitty cassio performances. But
(21:06):
I'll put heavily reverbed choirs of like gospel singing in
the background.
Speaker 2 (21:14):
Now, I gotta check this out. That sounds exciting.
Speaker 1 (21:16):
I will make you have to hurdle. And I'll make
every song six minutes long with eleven verses, and I
will you will have to hurdle that to get into
my music. After like a certain point, is he doing
Cory's He sometimes has Cory's yea, So he does verses
and he does Cory's sometimes that's here, that's a crazy yeah.
But in this.
Speaker 3 (21:36):
Way he does low, he does he does a lot.
He does a baritone.
Speaker 1 (21:40):
When you got to hear his version, it's it's insane.
If you hear that version. You're like, actually, like it
is on.
Speaker 2 (21:46):
I know the original, So you're saying he made he
made a new version of it. Are you talking about it?
Speaker 1 (21:50):
No, I'm saying, like the eighty four whatever it was
on that Various Positions album, it's pretty like he's not
like going up there. He's like huh yeah, oh.
Speaker 3 (21:59):
Wow, Okay, I got to check that out then because
I thought i'd heard it. Maybe I'm not thinking of
it right, But that song has everything you need.
Speaker 1 (22:06):
Like that song well, that song's like honestly bighlightning thing.
But even that song wasn't even released in America when
it came out because the label was like, what are
what is this? What is this arrangement? Who are these
gospels singing? Like? What is this? It almost sounds like
he's joking is the thing in this music, but then
it's deadly serious. And the reason I bring that up
is I think that Alabama three and Dominic Hauser would
(22:29):
say that the chorus in this is when it goes
to that the choir of like singing, gimme shelter level
gospel singing that's going on is doing that like uh
woke up this morning? Full moon in your eye thing
and he kind of does say like he repeats got
yourself a gun or full moon one of those things.
(22:50):
There is a moment where that it's like a breakout
and the what's it called is like going off. I'm
doing like a gesture.
Speaker 2 (22:56):
It's like a testifying Yes, they're they're.
Speaker 1 (22:59):
Testifying, and he's doing this like, uh, he's kind of
going for it. Uh in repeating that thing. I don't know.
I kind of feel like that's the chorus.
Speaker 3 (23:10):
But I mean, I mean, yeah, I know what you mean.
It feels cory. But now tell me this in a
music in a music world, in a music wa I'll
tell you, like it does do the chords change. I
don't know if there's a chord change in this song
because it's a bit more of like a I mean,
there are chords. I'd have to like sit down and
wrap it out.
Speaker 1 (23:27):
But I do think it's like it's sort of as
the same chords through the verses and Corey's I think
we might get blown up for this, yeah and kill me.
Speaker 3 (23:39):
My truth is like I've seen a rich man bag,
I've seen a good man sin, I've seen a tough
man cry.
Speaker 1 (23:46):
We're rocking we're going for two chances chances and one
two chances three JAXA's two.
Speaker 2 (23:51):
Chances one cup a loser win. I've seen a sad
man grit. I've heard an honest man.
Speaker 1 (23:57):
Lie Wow, profound shit. It's wild if you think about
let's talk about Everlast for a minute, if you think
about how, because I mean, I think it's inevitable when
you're talking about Dominic Hauser to end up on this
Everlast thing, this has been to deal with like for
time immemorial, whenever Noam Chopsky talks about this, whenever saw
him and Rusty as dark about as they always end
(24:18):
up dealing with this same sort of houser Everlast Nexus,
I know Salmon Rusky Nexus, Yes, And what I do
think about that song it's wild, is that he's adopting
the tenor of like a grizzled blues man, like an
eighty five year old Delta by you like, man, I've
seen everything. It's like you were the dude in the
(24:39):
House of Pain. I'm sure you've seen a lot.
Speaker 3 (24:42):
Yeah, right, Like that's that's him.
Speaker 1 (24:46):
That's no, that's for sure him around. Whitey Ford sings
The Blues, the album from which what it's like came from.
I think that's also when he was beefing with a
nascent Eminem.
Speaker 2 (24:58):
Yes, yeah, for sure, I remember that very well.
Speaker 1 (25:00):
Shots were fired because you couldn't have like I think,
Eminem on the way up, we're bringing in everybody, Leonard
co Eminem, Emmy, I saw the stupidest ship the other day,
by the way. Sorry, As we digressed from digressions, where
like it was like James Corden was interviewing doctor Dre.
We could bleep these things out if it's better for us,
but where he says like he's like, so, let me
(25:22):
get this straight. The first time you're in the studio
with Eminem, you right, my name is? What is that like?
And Doctor Jre's like, honestly, I put the beat on
and he's like, burden, She's like doing the beat and
then he goes and right away, right away, he just goes, hi,
my name is, what my name is? Who my name is?
(25:43):
And James Corden goes no, and look, look it's a
it's a canonical iconic millions millions these who am I?
These are super Bowl performers. But something about the self mythologizing,
like I put the beat on and right away, and
that's when I knew. I'm like, you know, I opt out.
(26:04):
This is insane.
Speaker 3 (26:04):
It's like I put the beat on and I swear
they just went so no one told you life was
gonna be this way.
Speaker 1 (26:11):
Wow, that's a good mashie. But yo, okay. So the
thing with Everlasty and slim Shades is is, no, we
don't have to go further into that, but I do
think that's interesting, like what's up in the late nineties
with these dudes. There's also some kind of like what
is influencing Like Johnny Cash was doing those Rick Rubin
(26:34):
records around now that's when this starts. So is there
some kind of like that was that was like cool?
That was like even on MTV a little bit like
like one hundred and twenty minutes, those like early Rick
Rubin Johnny Cash things.
Speaker 3 (26:48):
Is that like in nineteen ninety nine and this is
this feels very nineteen ninety nine.
Speaker 2 (26:52):
That's when the sopranos that all checks out. That's the thing.
Speaker 3 (26:56):
It's like TV is always going to be like dated
in certain shows like hold out, hold up forever, you.
Speaker 1 (27:02):
Know, or hold out for more money and hold out
for more money indication, but like you.
Speaker 3 (27:08):
Know, and then you start to love the datedness, Like
even as a kid, I loved that Seinfeld felt like
some of the old episodes felt old, you know, yeah,
even when even as new ones were coming out. And
then as I've gotten older, like there's it's fun that
it looks old.
Speaker 2 (27:23):
And music doesn't.
Speaker 3 (27:25):
Always age the way TV does, which is interesting because
like TV can look so much more dated and some music,
I know, but some music is timeless, right like obviously
like a lot of rock and roll is to a
certain degree.
Speaker 1 (27:40):
But then again this the question of that I think
it's so it depends on it's funny, it depends on
how like long you want to draw the arc, you know,
And I think even with stuff like you know, this
is a personal experience story that I that like illustrated
something to me. Generationally, our band had the opportunity. We've
(28:02):
had some kind of crazy opportunities to my estimation here
and there, and some of we've got to do some
of like these festivals that are like bigger festivals, and
we had a couple times we did Lollapalouze in Chicago
and the most recent time was I think in twenty
seventeen that I played that like as this band, we
had the opportunity to open the main stage that day,
(28:23):
and like the headliner was Lord, and like Migos was
on that state, and so what that meant was like
a whole bunch of people that were not people who
gave a shit about our band obviously, but like showed up.
Let's say there's like fifteen thousand people at one PM
in a space that will eventually old sixty thousand people
to watch Lord, but they're there and it's a three
piece band we're playing As at that point, it was
(28:45):
on a record called Instigator, and we're playing and like
I'm watching sixteen year old kids that are there to
see Migos and Lord and whoever else is going to
be on that stage, and they're like mock, not mocking.
They were like enjoying themselves, but they're playing the devil horns, yeah,
banging their heads. And it was just because like we
were just three guys playing instruments on stage. There was
(29:07):
no tracks, there was no like pyrotechnic. It was just
like we were just like getting up in our mind.
It's like cause playing Nirvana or something, and those kids
are watching it and it's like my dad would like this,
this is what you like do at a rock show.
And I'm like, in that moment, I was first of all, like,
oh my god, you're like actually old. You're like thirty
eight years old, but you might as well be two
(29:28):
hundred to these kids, like painting on a on the
on the walls of a cave or something. And it
really did make me think like, well, what something like
I don't hear the Beatles and think of like, oh,
that's so all these certain things. Oh that's either do
that or right exactly, Oh that's so nineteen sixty whatever.
(29:48):
But like, of course fucking sixty years ago. Like I'm
sure there's kids who were like here that stuff and
they're like timeless, what are you talking about? This sounds
like dog shit, you know.
Speaker 3 (30:00):
Or like the children's music, like the Beatles. Probably to
them sounds like kids' music, which it is.
Speaker 1 (30:04):
And it's become more sophisticated. In fact, the performance you
could argue in a lot of ways has has has not,
but the way it's recorded, in the fidelity with which
it's livered, and that the technological advancements, that's like this
stuff sounds like it was made on like you know.
Speaker 3 (30:19):
Right, well, there probably is though, like some Billie Eilish
or someone who's like, especially when it's really simple, when
it's like piano and vocal, there's you could take a
piano and vocal from any decade, yes, relativily. And and
if you told someone this just came out, they'd be like, oh,
if it's really stripped down.
Speaker 2 (30:37):
But once you.
Speaker 3 (30:38):
Start getting into the textures of drums, like, there's no
way you could play a Pixie song and be like
that this came out today. It just feels very the
way they mike the drums right echo. We like, there's
certain stuff and like you know eighties bands too, like
unless someone really knew their their stuff and was recording
it to sound like that, But then it would have
to be like a pretty big band in order to
(30:59):
con like you know, like or Taylor Swift would have
to be trying to make a song that sounds like that.
But then I almost feel like it would fade out
and become really popular.
Speaker 1 (31:08):
Yeah. Well, and also it's impossible to make things, even
when you are making things that at the time are
considered to be separated to some degree from the trappings
of stylistic trappings of the time. If you then listen
to that twenty years later, you still hear the time
which it was made. So the timelessness thing, you're actually
prompting a further thought, which is, like, right, the Beatles
(31:30):
are timeless because if someone sat down in a room
and played you, as was evidenced by that classic film
from a couple of years ago by Danny Boyce, I
didn't see it. What if the Beatles didn't exist? But
this idea that like what you're saying with Billie Eilisher
or whatever, anything like, I do firmly believe if someone
(31:51):
sits down in a room and performs a song for you,
there are songs that you're like. The reason they feel
evergreen is not not only because of the sort of
like towering figure to whom they're attached. It's because they're actually,
like really just powerful songs. The document itself is almost
like a material like Hallelujah actually is a perfect example.
(32:13):
People aren't like they're not even now. They might not
even know that it is a Leonard Cohen song. The
people who are some of the people who are even
covering it probably don't even know that it's a Leonard
Cohen song. They certainly don't know like what the core
recording sounds like, because it becomes a timeless matter of
public record. And I think the reason we're going down
this particular to say it might not be true or
(32:40):
the hounds chancy or not.
Speaker 4 (32:45):
That this song on its standalone merit there is that
any Boyle slum Dog Million Beatles.
Speaker 3 (33:04):
So ultimately you're you're saying that this this that you
don't really want to I don't even know if we've
I don't think we ever do this metric.
Speaker 1 (33:10):
I like this lets this is good new development.
Speaker 3 (33:14):
I will say that I've by listening to this song
standalone without the show, which I don't know if I've
ever done. Also, I do still love that idea that
it's like on a playlist and some guy works out
to it and he doesn't know that it's on the Sopranos,
like he's never seen.
Speaker 1 (33:26):
Surp, Like oh ship, yeah, yeah, I know.
Speaker 2 (33:28):
That's the song that I work out to something you guys.
Speaker 1 (33:30):
Like Alabama three.
Speaker 2 (33:33):
He's asking the TV. He's asking the show.
Speaker 1 (33:36):
Yeah, you driving? You know? You know Alaboa three? You
know what the hell?
Speaker 2 (33:43):
Toddy? Wait?
Speaker 1 (33:44):
How does TV work?
Speaker 3 (33:47):
So yeah, so ultimately I don't. I still don't think
it's great. I think there are better theme songs, but
they're also like you know, like everywhere you look. I
think it's a great theme song, but I don't. I'm
not going to put that song on.
Speaker 1 (34:00):
It is never no this, This is definitely I think
that the chancy given here is first of all, it
is inextricable or whatever that word is. It's either inextricable
or inextractable from the thing to which it's become primarily attached.
(34:21):
But in a way it's like a symbiotic relationship. Like
you do think of the Sopranos and over hear this
and it makes you want to watch it. Also the
Sopranos is made a little bit more of the Sopranos
by the existence of this song. Weirdly, and there is
like I don't know how to do that experiment if
you did remove it and put in like, you know,
hurt by nine inch Nails or something maybe or closer.
There's a little bit of not much nails in this too. Actually,
(34:43):
as we're.
Speaker 2 (34:43):
Right, that's the beats and boops, yes, and the show.
Speaker 3 (34:47):
It could never be like like certain theme songs like
I mean like Fresh Princes or something like explains the show.
Speaker 2 (34:53):
It could never be.
Speaker 3 (34:54):
Like Sopranos met Sopranos, right, Like, it can never be that,
so it to be like a standalone song, and I
think it would be weird if it was anything else.
It almost I almost like that. This is a hybrid
of so many genres. Yeah, you know, like it does
feel like it's of the time, but it doesn't feel
like it was.
Speaker 2 (35:11):
The most popular thing at the time. No, I like
that like that. It's not like I'll be you sh
be you dream up you know what I.
Speaker 1 (35:20):
Mean, Like, oh, that would be amazing. I like it.
Speaker 2 (35:23):
It's not nookie, so I like, you know, I like it.
It's no, it's.
Speaker 1 (35:27):
It's weird and it represents something that's a little weird too,
but I like the thing it represents. They're also both
accessible and sort of you can identify the component parts
the sopranos is itself, but you can see all the
things that go into it. And I feel like that's
true of this song. I don't know. I mean, look,
will I put this on after we get off this sessh?
(35:48):
I don't think so, But I will say that when
it's on. Maybe next time when I go through Sopranis
for the fourth.
Speaker 2 (35:54):
Time, are you gonna do it?
Speaker 1 (35:56):
I'll probably watch and I'll probably listen, and I'll think, oh,
you know what, I gave it the chancey once with
my friend Case.
Speaker 2 (36:04):
And you knew who you.
Speaker 3 (36:05):
Were then those Wranos, and we've been the chances.
Speaker 1 (36:18):
Give us a chancey click chancy at the bottom of
the screen.
Speaker 2 (36:24):
Memo code chancey for all your Sopranos VHS's. We should stop.
This could have ended a while ago, but we keep going.
Speaker 1 (36:36):
Yeah, I think we should keep talking about. In fact,
like I'd like to start a new chancey about like
my word
Speaker 6 (36:48):
Tell me more, tell me why
Give it a chance, Give it a chance, Give it
a chance. Come morning, give it a chance.
Speaker 2 (00:09):
Give it a chance, Give it a chance, Give.
Speaker 3 (00:11):
It a chance.
Speaker 2 (00:12):
Morning, give it a You want to give it a chance,
Give it a chance, give it a chance. Just give it.
We have a hot one, keV. I'm nervous about this one.
Speaker 1 (00:22):
I can't wait. Let me see if I can cool
it down.
Speaker 3 (00:29):
Welcome to give it a Chancey, I'm nervous about this one.
Speaker 2 (00:33):
What's interesting is I think our.
Speaker 1 (00:34):
Socio political perspective, what's the deal.
Speaker 3 (00:38):
Bro the soco path political? Now, No, I think the
whole audience knows what the song is. You don't because
I think the episodes are the song. So that's kind
of fun that there's a secret that you don't have.
Speaker 1 (00:54):
Casey's got a secret. I wonder if that song.
Speaker 2 (00:59):
So this is a really it's a fun one. It's
a weird one.
Speaker 3 (01:02):
You're not gonna expect it not you know it's three
blind mice.
Speaker 2 (01:08):
No, No, it's not that.
Speaker 3 (01:17):
No, this one is. It's fun. Like, here's the thing,
it's there's a there we've never done this before. It's
a TV show theme.
Speaker 1 (01:25):
Oh okay, those were the days and you know who
you are that.
Speaker 4 (01:35):
Oh yeah, oh yeah, isn't that Entourage?
Speaker 2 (01:39):
That's still very good? That one?
Speaker 3 (01:41):
Honestly, that's in line with what this is, and I
think that one would be good.
Speaker 2 (01:46):
The difference is beloved, A beloved show.
Speaker 1 (01:50):
Tony Morrison, Oprah Winfrey, beloved. Oh no, beloved. Okay, okay, okay.
Speaker 3 (01:55):
This show is beloved. It critically acclaimed. It's everyone loves it.
I oh is it?
Speaker 1 (02:01):
Wait a minute, okay, I got an idea. Hit me,
oh under the bed sound with the mood in you.
Speaker 3 (02:09):
Said it, he did it, he did it, But will
he give it?
Speaker 1 (02:17):
I don't want to get wet. I gotta give it
a change. See.
Speaker 3 (02:21):
So I love the Sourprians. I've watched it, I think
four times all the way through. I've watched and I
actually the first time I watched it, I think was
like in twenty thirteen, so it's within a decade. I've
watched it four times all the way through. It's like
two hundred hours of your life.
Speaker 2 (02:35):
Throw me in briz.
Speaker 3 (02:37):
I I don't think I the modern era. You could
skip the intro, which you really kind of couldn't do
with like if you watched on DVD, which is the
first time I.
Speaker 1 (02:45):
Watched BO you definitely couldn't.
Speaker 2 (02:47):
Yeah yeah, oh yeah, live you definitely couldn't.
Speaker 3 (02:49):
But if I watched on DVD, I'd have to like
get the controller and fast forward. But now you just
hit skip intro, which the kids don't even know what
it was like back in our day.
Speaker 1 (02:57):
No dude, I had to walk up and down the
DVD both sides of the hill, snowing in the DVD
digital snow on a VHS.
Speaker 3 (03:08):
So this is the Sopranos opening credits. Unbelievable choice, obiz
Moan called I just I found the I actually I
went on YouTube and I found that the Sopranos opening credits.
Speaker 1 (03:24):
Theme Sopranos Woke Up this morning by Dominic Houser.
Speaker 2 (03:30):
All right, enjoy everyone.
Speaker 3 (03:41):
Mine ended, so mine ended too. But when I was
reading the lyrics along, they said there's a full version.
Speaker 1 (03:46):
I was just looking at the same thing.
Speaker 2 (03:47):
Yep, I'm okay with just doing that the traditional Oh.
Speaker 1 (03:51):
My god, there's so much more going on.
Speaker 2 (03:53):
Is the band called Alabama three.
Speaker 1 (03:55):
Written by Alabama three, produced and arranged by Dominic howse
is what I have?
Speaker 2 (04:01):
So that's Doogie Houser's brother. Yes, yes, so Doogie Hauser.
Speaker 1 (04:05):
It make says Dominic would have been working on a Sopranis.
Speaker 2 (04:08):
But Doogie, he's smart. That kid so.
Speaker 1 (04:12):
An insult to me if he was still here in
twenty years.
Speaker 3 (04:16):
I love that if Dougie Hauser, who was like a
child that became a doctor who is like a genius,
and his brother just was just like I made the Sopranos.
Speaker 1 (04:23):
Thing, Goodwill Hauser starring Sopranis Houser stupid.
Speaker 3 (04:30):
Sorry, it's it's really fascinating this song because I really
do think I could give it a chance.
Speaker 2 (04:35):
He even though I've heard this so much and I
doubt don't.
Speaker 3 (04:38):
Like it, like on everything, everything about it on paper,
I don't like. It's like there's these weird beeps and
boops and there's like like you know what I mean,
like just the whole thing, like none of it, none
of it makes sense, like you got a.
Speaker 2 (04:50):
Blue moon in your eye?
Speaker 3 (04:53):
Like what, like what does it have to do with
the show? Like, but it does fit the show, Yes
it does. I don't know, like it's just of an era.
It's it really like it all the things I don't
like they put into one song.
Speaker 2 (05:05):
But as I'm listening to it I'm playing the high hat.
Speaker 3 (05:09):
There's that part where the guitar goes bab boo boo,
Like I remember that so well from watching.
Speaker 1 (05:15):
I mean, it sounds like to me, you have backed
into the chancy, and that's okay. Sometimes we have to
find our way in through. As led Zepp once said
in Through the Endoor, you know what I mean. But
that being said, this isn't about poop. This is about
sopranis junior. And to me what it is you said
it was of a time and a place, and it
(05:36):
certainly is. One of the things that it makes me
think of is I'm a Leonard Cohen fan, and there's
this great Leonard Cohen you know, Hallelujah has now become
like you know, Shrek sings it. It's canonical, like everyone
who's ever been on any singing program sings that song,
which is really odd if you think about the source,
because he was like a pretty legitimately idiosyncratic, weird songwriter
(05:59):
and guy. But one of the things that he did
that was kind of like I think, lengthened his career
and was like part of his not final act because
he had that whole thing in the with around Hallelujah.
But in the nineties he did the soundtrack for Natural
Born Killers, and it was like he did a bunch
or or rather I don't think he did that. I
think that might have been the first. I'm not sure
(06:21):
about this. Trent Reznor might have been involved with that,
But what I know is the songs that were on it.
There were like these songs from that whatever record of
his came out in that time. It might have been
called The Future Leonard Cohen. But there's this like a
song called Democracy. There's these songs that have this kind
of like low speaking and the lyrics are He's you know,
(06:43):
they're dark, they're very rich lyrically, but they're like they're heavy.
They're almost like biblical or like the Torah or something,
but heavy on the kind of like blood and guts
of that kind of thing. And in that context with
that movie, it felt very it was really additive in
the same that it kind of felt like a commentary
that was being made on the kind of like sliding
(07:05):
out of control of society, you know, and like through
these two characters and the media fascination with them and
everything something about Leonard Cohen, and it's this genre it's
this kind of like really almost like goofy sounding. There's
great stories about him in this period of time too,
where like he goes in and there's a crack band
like people who worked on like, you know, fucking thriller
(07:26):
and stuff or whatever. They're like assemble to work on
a Leonard Cohen song, and like they play and it's
just amazing. I actually met a guy who was a
guitarist in there that became a record producer later, and
he said like Leonard would then go out to the
car and be like, yeah, that was great, but I
kind of hear it more like this and literally just
play it on his little cassio like stupid little like
(07:46):
five cent drum beats and like two two finger keyboard
piano stuff, and they'd be like, well, if that's how
you want to record it, go ahead and record it
that way, which then prompted that conversation with like I
think it's Clive Davis where he says like, Leonard, I
know you're great, but I don't know if you're any good,
you know, like, and that's kind of like but that
thing when I heard this now, I've never made the
(08:08):
connection before. It's in keeping and it's like crash Test
Dummies are kind of like some weird pop offshoot of that,
like super low voice saying like weird kind of stuff.
Speaker 3 (08:18):
Lou Reed got into that too, like he was always
kind of like the speaky, but then his voice got.
Speaker 2 (08:22):
Lower, even like Bob Dylan got lower at.
Speaker 1 (08:25):
A point, well he got like, yeah, it's almost like
lower and like scratchy. He got like real scratchy.
Speaker 3 (08:31):
Yeah, but you're talking about once there was this Yeah,
it's almost like what's that called, like a baritone or whatever,
like that really deep or bass voice.
Speaker 2 (08:40):
And Johnny Cash, little Johnny Cash, a.
Speaker 1 (08:42):
Little Johnny Cash and that morphine that was like a
New England band, that stuff. And it makes me think
in this context that Johnny Cash thing is a great pull,
cause it's this kind of like the Torah or like
the Book of Revelation from the New Time. It's this
kind of like you know, woke up this morning, got yourself.
It's those Wild West shit mixed with this like biblical heaviness,
(09:04):
like a storm clouds coming kind of thing. And in
the context of the Sopranos, which I feel like one
of the core concerns of that show, to talk about
The chosen One is this guy who feels like he's
assumed this mantle, but he's aware that he's like a
little too late. It's like the Mafia in nineteen ninety
eight or whatever and not nineteen forty or or twenty
(09:27):
or fifty five or whatever, and like all the riches
and whatever, the spoils of war that come with that
and the pressures. He's also like a guy living in
like suburban New Jersey, right, Like it's diminished. He's not
Gary Cooper. It's not the wild West. He's not like
the guy in the movie in the fifties or whatever.
Speaker 2 (09:47):
Yeah, the truth is, it's so hard to do this.
Speaker 3 (09:49):
Like what other song would be the intro, Right, it's
irreplaceable because.
Speaker 1 (09:54):
It's thinking of like the most instate.
Speaker 5 (09:57):
Walk like a man actually, like maybe the juxtaposition of
like a sixties crooner or fifties like you know, rock
and roll like kind of is that But I don't know.
Speaker 3 (10:11):
Yeah, I like that this choice in a way, even
though I don't like this song.
Speaker 1 (10:15):
Well yeah, one hundred yeah, like to be with C. C.
Peniston flypened. That's great, that's good because he's finally you
know what I mean?
Speaker 2 (10:24):
He's like he's the boss.
Speaker 1 (10:25):
He become boss.
Speaker 2 (10:27):
It could have been a siler.
Speaker 1 (10:29):
Sorry, it could have been Springsteeny, you know with the jersey,
that's good. You know what would they use something from Nebraska?
And I tell you how heavy inside it is, you
know what I mean? It's so good?
Speaker 3 (10:40):
Come on, you want in a million? You've got to
burn to shine. I don't like this song. I mean
I'm giving it a chance, but it's really hard for
me to do it. Like I keep going, I keep
like eyeing the lyrics and none of it really makes sense.
Like a few lines make sense, which is like, you
know your papa never told you right from wrong. That's
(11:00):
you know, you know, things ain't been the same since
the Blues walked into town.
Speaker 1 (11:05):
It's just really I mean, when was that. Maybe that's
a puberty thing, you know what I mean, like the
innocent children. I don't know, I'm just taking a little
stretch since the Blues walking into town. I mean, the
minute you have the kind of awareness that the world
is a more complicated place than you thought it was.
Speaker 2 (11:19):
Do you think the woke is like the modern woke,
like woke up this morning?
Speaker 1 (11:24):
Yeah, he was predicting he was predicting woke culture. And then,
by the way, if you are sort of like woke
herb listening to this, like just never come around. He
never kiss me now, no matter what you do in
the street, when you see me and say, oh, it's
kept chancy o, it's case chancy don't kiss me, don't
(11:47):
kiss us. Because I'm close to the edge.
Speaker 3 (11:52):
So I don't know how I feel about it, because
I get the nostalgia for like, or it's not even nostalgia.
I get the it's so related. It's intertwined with a
show that I really like the show. Every time I
watch it, I like it more and more. I see
new things.
Speaker 2 (12:06):
I love it.
Speaker 3 (12:07):
Like, I start talking differently when I watch the show.
Yeah you know what I mean, Like I'm meaner to
my wife.
Speaker 1 (12:13):
Cool. Yeah, yeah, honestly, that's the coolest shit you've said
in all these epps.
Speaker 2 (12:19):
No, I'm not, I'm not. I'm not.
Speaker 1 (12:20):
It's not true. It's not true. It's not true.
Speaker 3 (12:22):
I am like a little bit more like like I
will start being like, oh, like when things you know,
like I really do it does it is infectious in
this way, I don't know, I feel you. So when
the song comes on or like let's say, like I'm
scrolling at through Instagram and there's like a joke about
that song or like using it in the meme or something,
I will be like, oh, the Sopranos, Like it's so cool.
Speaker 2 (12:45):
Yeah, totally, Like it's like it's like chocolate.
Speaker 1 (12:49):
That's definitely that's nice think about chocolate, you know what
I mean.
Speaker 3 (12:53):
Yeah, it's just I guess in that sue, it's like
Sopranos is like chocolate, and like and maybe like the
song is like something I don't like but has chocolate
in it, and yeah, it reminds me of how good
chocolate is.
Speaker 1 (13:04):
Trying to think of something I don't like that has
chocolate in it.
Speaker 2 (13:07):
Maybe a mola Oh I could.
Speaker 1 (13:09):
See that of depending on the moley and no disrespect
in tend or no disrespect or like.
Speaker 2 (13:17):
You know, like you ever have like really cheap chocolate.
Speaker 1 (13:19):
Yeah, all the time. I'm broke, so yeah.
Speaker 2 (13:23):
And then so then you're like, oh, this reminds me
of like when you have good chocolate.
Speaker 1 (13:25):
Yeah, yeah that's great. Yeah, well what I think I
think that was the molay is good, The cheap chocolate's good.
What I think it's it's like something like this becomes
impossible to extract from its cultural context and the thing
to which it's tied. Like I don't know who the
hell is ever going to hear this song. That would
be fascinating actually to find the person who doesn't know
(13:48):
the sopranos, who just encounters this.
Speaker 2 (13:50):
Song that is so funny. Has that happened right?
Speaker 1 (13:53):
Like in my mind, it's like they're in Baton Rouge
in some bars somewhere and someone put this comes on
the jukebox and stuff. This is kind of like this
like got like a deep kind of funk to it.
What is this? Yeah, Like I kind of I dig
the thing this guy's.
Speaker 3 (14:06):
Saying, yeah, robot drums and blues and weird chirps it.
Speaker 1 (14:13):
I liked it at the end. That really does tie
it to a time and a place. I liked it
at the end. It ends, this version of it anyway,
ends with that like what want yes? Yes. So that's
so like we were trying that time late nineties. Let's
incorporate this sort of like gesture towards because that was
(14:35):
that moment where it's so funny to think about this. Now,
there was a legitimate moment where like American music press
things like Rolling Stone and Spin at that time, you know,
they were really genuinely like can there was this considering
of like will trip hop become the next big thing?
And like Moby had that song and fat Boy Slim
(14:56):
at a moment, and like the Prodigy was a thing.
But there was the sense of like it was like
almost is that going to be like the next grunge
or the next like where like some of that stuff sells,
is gonna sell like ten million records and become the
next five years of popular culture? And it was like no,
but but.
Speaker 3 (15:14):
The turntable not only was in the trip hop, but
like you know, you have like your Lincoln Parks that
had like a turntable players like three eleven and yes,
that rap rock thing really brought turntables. And then this
I think that's what's referencing as well.
Speaker 1 (15:27):
Yes, totally got yourself. There's something about his vocal delivery
and the like it's it's a little it is like
(15:49):
minor key and dark quote unquote dark, and like to me,
there's something about this song that's like a little So
I'm like flittering back and forth between Chancey and no Chancy. Okay,
there is something about the song. I do see now
it's rooted and yes, it is that gesturing towards both
(16:09):
the trip hop thing of the moment and also like
definitely the rap rock thing and this like weird Leonard
Cohen thing that was in that was and like, but
there's also this thing about it that's kind of like
self consciously dark in a way that's a little funny.
Like it's almost like you play a minor chord on
an instrument or a you know, synth pad or something,
(16:32):
and then you start like singing about certain things that
go well with the minor chord, Like this whole thing
all of these lyrics are like it's almost like is
this about a werewolf? Is this about like the devil?
You know, Like it's a little self consciously kind of
like negative. Now, it also worked for them because it
became connected to arguably the best, the highest regarded television
(16:55):
show in the history of the medium. It's one of them.
You know, I wonder if what's this band.
Speaker 2 (17:01):
Called Alabama three.
Speaker 1 (17:03):
Alabama three Little three. I wonder if they, I mean,
what else happened with Alabama three?
Speaker 2 (17:10):
This is the rem brands. I'll be there for you, right.
Speaker 1 (17:13):
That's actually the closest I wonder if that's the closest correlative.
Like I'm trying to think if there's another that's that's
an excellent poll. That's maybe the only other one of
this stature, because everything else is more.
Speaker 3 (17:26):
Like the Yeah, nothing's that big, right, Like so even
like you're not the boss of me now, like they
might be giants on Malcolm in the Middle.
Speaker 1 (17:34):
Wow, I have an embarrassing admission to make. I totally
forgot that was there. They might be giants.
Speaker 3 (17:39):
It doesn't really sound like a lot of their stuff.
And in fact, like that's another example of like that's
the shortened version and it's a much longer song, right,
but the show's not big enough and the song's not
big enough. I mean, it's iconic in a way, but
as much as any theme song is, right if you've
watched the show, now, this is.
Speaker 1 (17:56):
Like cultural sature, like Sopranos in the front the Friends,
The Friends Friends is like, you know, sopranos in the Friends.
It's classic nineteens.
Speaker 3 (18:07):
Yeah, Like I don't know the er theme song don't
off the top of my head, this is a good
game doogie howser?
Speaker 2 (18:15):
Is that? Yeah?
Speaker 1 (18:18):
It was like it was like predicting the trip. Yeah yeah.
Speaker 3 (18:21):
Oh so before we go too far away from the influences,
I have an influence on this that I think was
the maybe like right around this time that I didn't
realize but really channels it for me. And this is
one that I actually could do as a chancey. But
I think I'm going to spoil those beans now and
talk about.
Speaker 2 (18:38):
A little bit. But ready for this.
Speaker 1 (18:39):
Spoil the beans. Yes, then you really might know what
it's like.
Speaker 2 (18:45):
To have the blues everlast.
Speaker 1 (18:48):
For the people that couldn't see that, which is everybody
except me. Like the way you backed up off the
mic and you kind of did this thing like you
approached the mic like slithering your shoulders a little bit
and you got like a little deeper into yourself. That
was really good.
Speaker 2 (19:01):
Yeah yeah right, But isn't that the same vibe?
Speaker 6 (19:04):
Like I knew a gun named taxon he did do Jackson,
then he knows the deal, all right, Like that's this,
that's like with it, we'll gook this morning, got myself
a gun.
Speaker 1 (19:14):
Like no, And not only is it that is so
dead on, it's also like that is a d minor.
Oh wow, he hit that he played that D minor
cord and he was like, my brother once died. He
was twenty nine. He was grab o game, he was.
Speaker 2 (19:34):
He once died.
Speaker 1 (19:35):
Yeahs the camp flash off the build man and gone insane. Yeah,
Papa gonna die at the end of the night because
I played D mine. You know.
Speaker 2 (19:46):
Well, also like with with with that one, that one
at least.
Speaker 1 (19:49):
Like I think they were bringing in another song. Now
this is a crossover ep.
Speaker 2 (19:54):
It is it? Everlast? Uh might know what it's like?
Whatever at least has a chorus.
Speaker 1 (20:01):
This oh as you were saying, like Everlast might know
what it's like, I don't know. Yeah, yeah, then you
really might.
Speaker 3 (20:07):
This doesn't have a chorus, Like, it keeps feeling like
it's gonna go. It's like it's almost like you know, you're.
Speaker 6 (20:12):
Poorn under the bands with the blue moon in your eyes,
and then it's just like so yeah, well good, like
it's right back and like never I keep waiting for
like a chorus, but it keeps being like it's just like, yeah, it.
Speaker 1 (20:24):
Has I think it would call if you asked Alabama
three and Dominick Houser Nice whether or not I think
they would say the chorus is when the other thing
that makes me think of the the Leonard Cohen thing
is like, as a fan of his, one of the
barriers to fandom, is it he basically is like, listen,
(20:45):
if I'm gonna write great songs, and I'm gonna write
perhaps the best lyrics ever in like pop music, but
what I'm going to do is sing speak them at
this like what is that word? Souppoke crot like super
low kind of level over basically shitty cassio performances. But
(21:06):
I'll put heavily reverbed choirs of like gospel singing in
the background.
Speaker 2 (21:14):
Now, I gotta check this out. That sounds exciting.
Speaker 1 (21:16):
I will make you have to hurdle. And I'll make
every song six minutes long with eleven verses, and I
will you will have to hurdle that to get into
my music. After like a certain point, is he doing
Cory's He sometimes has Cory's yea, So he does verses
and he does Cory's sometimes that's here, that's a crazy yeah.
But in this.
Speaker 3 (21:36):
Way he does low, he does he does a lot.
He does a baritone.
Speaker 1 (21:40):
When you got to hear his version, it's it's insane.
If you hear that version. You're like, actually, like it
is on.
Speaker 2 (21:46):
I know the original, So you're saying he made he
made a new version of it. Are you talking about it?
Speaker 1 (21:50):
No, I'm saying, like the eighty four whatever it was
on that Various Positions album, it's pretty like he's not
like going up there. He's like huh yeah, oh.
Speaker 3 (21:59):
Wow, Okay, I got to check that out then because
I thought i'd heard it. Maybe I'm not thinking of
it right, But that song has everything you need.
Speaker 1 (22:06):
Like that song well, that song's like honestly bighlightning thing.
But even that song wasn't even released in America when
it came out because the label was like, what are
what is this? What is this arrangement? Who are these
gospels singing? Like? What is this? It almost sounds like
he's joking is the thing in this music, but then
it's deadly serious. And the reason I bring that up
is I think that Alabama three and Dominic Hauser would
(22:29):
say that the chorus in this is when it goes
to that the choir of like singing, gimme shelter level
gospel singing that's going on is doing that like uh
woke up this morning? Full moon in your eye thing
and he kind of does say like he repeats got
yourself a gun or full moon one of those things.
(22:50):
There is a moment where that it's like a breakout
and the what's it called is like going off. I'm
doing like a gesture.
Speaker 2 (22:56):
It's like a testifying Yes, they're they're.
Speaker 1 (22:59):
Testifying, and he's doing this like, uh, he's kind of
going for it. Uh in repeating that thing. I don't know.
I kind of feel like that's the chorus.
Speaker 3 (23:10):
But I mean, I mean, yeah, I know what you mean.
It feels cory. But now tell me this in a
music in a music world, in a music wa I'll
tell you, like it does do the chords change. I
don't know if there's a chord change in this song
because it's a bit more of like a I mean,
there are chords. I'd have to like sit down and
wrap it out.
Speaker 1 (23:27):
But I do think it's like it's sort of as
the same chords through the verses and Corey's I think
we might get blown up for this, yeah and kill me.
Speaker 3 (23:39):
My truth is like I've seen a rich man bag,
I've seen a good man sin, I've seen a tough
man cry.
Speaker 1 (23:46):
We're rocking we're going for two chances chances and one
two chances three JAXA's two.
Speaker 2 (23:51):
Chances one cup a loser win. I've seen a sad
man grit. I've heard an honest man.
Speaker 1 (23:57):
Lie Wow, profound shit. It's wild if you think about
let's talk about Everlast for a minute, if you think
about how, because I mean, I think it's inevitable when
you're talking about Dominic Hauser to end up on this
Everlast thing, this has been to deal with like for
time immemorial, whenever Noam Chopsky talks about this, whenever saw
him and Rusty as dark about as they always end
(24:18):
up dealing with this same sort of houser Everlast Nexus,
I know Salmon Rusky Nexus, Yes, And what I do
think about that song it's wild, is that he's adopting
the tenor of like a grizzled blues man, like an
eighty five year old Delta by you like, man, I've
seen everything. It's like you were the dude in the
(24:39):
House of Pain. I'm sure you've seen a lot.
Speaker 3 (24:42):
Yeah, right, Like that's that's him.
Speaker 1 (24:46):
That's no, that's for sure him around. Whitey Ford sings
The Blues, the album from which what it's like came from.
I think that's also when he was beefing with a
nascent Eminem.
Speaker 2 (24:58):
Yes, yeah, for sure, I remember that very well.
Speaker 1 (25:00):
Shots were fired because you couldn't have like I think,
Eminem on the way up, we're bringing in everybody, Leonard
co Eminem, Emmy, I saw the stupidest ship the other day,
by the way. Sorry, As we digressed from digressions, where
like it was like James Corden was interviewing doctor Dre.
We could bleep these things out if it's better for us,
but where he says like he's like, so, let me
(25:22):
get this straight. The first time you're in the studio
with Eminem, you right, my name is? What is that like?
And Doctor Jre's like, honestly, I put the beat on
and he's like, burden, She's like doing the beat and
then he goes and right away, right away, he just goes, hi,
my name is, what my name is? Who my name is?
(25:43):
And James Corden goes no, and look, look it's a
it's a canonical iconic millions millions these who am I?
These are super Bowl performers. But something about the self mythologizing,
like I put the beat on and right away, and
that's when I knew. I'm like, you know, I opt out.
(26:04):
This is insane.
Speaker 3 (26:04):
It's like I put the beat on and I swear
they just went so no one told you life was
gonna be this way.
Speaker 1 (26:11):
Wow, that's a good mashie. But yo, okay. So the
thing with Everlasty and slim Shades is is, no, we
don't have to go further into that, but I do
think that's interesting, like what's up in the late nineties
with these dudes. There's also some kind of like what
is influencing Like Johnny Cash was doing those Rick Rubin
(26:34):
records around now that's when this starts. So is there
some kind of like that was that was like cool?
That was like even on MTV a little bit like
like one hundred and twenty minutes, those like early Rick
Rubin Johnny Cash things.
Speaker 3 (26:48):
Is that like in nineteen ninety nine and this is
this feels very nineteen ninety nine.
Speaker 2 (26:52):
That's when the sopranos that all checks out. That's the thing.
Speaker 3 (26:56):
It's like TV is always going to be like dated
in certain shows like hold out, hold up forever, you.
Speaker 1 (27:02):
Know, or hold out for more money and hold out
for more money indication, but like you.
Speaker 3 (27:08):
Know, and then you start to love the datedness, Like
even as a kid, I loved that Seinfeld felt like
some of the old episodes felt old, you know, yeah,
even when even as new ones were coming out. And
then as I've gotten older, like there's it's fun that
it looks old.
Speaker 2 (27:23):
And music doesn't.
Speaker 3 (27:25):
Always age the way TV does, which is interesting because
like TV can look so much more dated and some music,
I know, but some music is timeless, right like obviously
like a lot of rock and roll is to a
certain degree.
Speaker 1 (27:40):
But then again this the question of that I think
it's so it depends on it's funny, it depends on
how like long you want to draw the arc, you know,
And I think even with stuff like you know, this
is a personal experience story that I that like illustrated
something to me. Generationally, our band had the opportunity. We've
(28:02):
had some kind of crazy opportunities to my estimation here
and there, and some of we've got to do some
of like these festivals that are like bigger festivals, and
we had a couple times we did Lollapalouze in Chicago
and the most recent time was I think in twenty
seventeen that I played that like as this band, we
had the opportunity to open the main stage that day,
(28:23):
and like the headliner was Lord, and like Migos was
on that state, and so what that meant was like
a whole bunch of people that were not people who
gave a shit about our band obviously, but like showed up.
Let's say there's like fifteen thousand people at one PM
in a space that will eventually old sixty thousand people
to watch Lord, but they're there and it's a three
piece band we're playing As at that point, it was
(28:45):
on a record called Instigator, and we're playing and like
I'm watching sixteen year old kids that are there to
see Migos and Lord and whoever else is going to
be on that stage, and they're like mock, not mocking.
They were like enjoying themselves, but they're playing the devil horns, yeah,
banging their heads. And it was just because like we
were just three guys playing instruments on stage. There was
(29:07):
no tracks, there was no like pyrotechnic. It was just
like we were just like getting up in our mind.
It's like cause playing Nirvana or something, and those kids
are watching it and it's like my dad would like this,
this is what you like do at a rock show.
And I'm like, in that moment, I was first of all, like,
oh my god, you're like actually old. You're like thirty
eight years old, but you might as well be two
(29:28):
hundred to these kids, like painting on a on the
on the walls of a cave or something. And it
really did make me think like, well, what something like
I don't hear the Beatles and think of like, oh,
that's so all these certain things. Oh that's either do
that or right exactly, Oh that's so nineteen sixty whatever.
(29:48):
But like, of course fucking sixty years ago. Like I'm
sure there's kids who were like here that stuff and
they're like timeless, what are you talking about? This sounds
like dog shit, you know.
Speaker 3 (30:00):
Or like the children's music, like the Beatles. Probably to
them sounds like kids' music, which it is.
Speaker 1 (30:04):
And it's become more sophisticated. In fact, the performance you
could argue in a lot of ways has has has not,
but the way it's recorded, in the fidelity with which
it's livered, and that the technological advancements, that's like this
stuff sounds like it was made on like you know.
Speaker 3 (30:19):
Right, well, there probably is though, like some Billie Eilish
or someone who's like, especially when it's really simple, when
it's like piano and vocal, there's you could take a
piano and vocal from any decade, yes, relativily. And and
if you told someone this just came out, they'd be like, oh,
if it's really stripped down.
Speaker 2 (30:37):
But once you.
Speaker 3 (30:38):
Start getting into the textures of drums, like, there's no
way you could play a Pixie song and be like
that this came out today. It just feels very the
way they mike the drums right echo. We like, there's
certain stuff and like you know eighties bands too, like
unless someone really knew their their stuff and was recording
it to sound like that, But then it would have
to be like a pretty big band in order to
(30:59):
con like you know, like or Taylor Swift would have
to be trying to make a song that sounds like that.
But then I almost feel like it would fade out
and become really popular.
Speaker 1 (31:08):
Yeah. Well, and also it's impossible to make things, even
when you are making things that at the time are
considered to be separated to some degree from the trappings
of stylistic trappings of the time. If you then listen
to that twenty years later, you still hear the time
which it was made. So the timelessness thing, you're actually
prompting a further thought, which is, like, right, the Beatles
(31:30):
are timeless because if someone sat down in a room
and played you, as was evidenced by that classic film
from a couple of years ago by Danny Boyce, I
didn't see it. What if the Beatles didn't exist? But
this idea that like what you're saying with Billie Eilisher
or whatever, anything like, I do firmly believe if someone
(31:51):
sits down in a room and performs a song for you,
there are songs that you're like. The reason they feel
evergreen is not not only because of the sort of
like towering figure to whom they're attached. It's because they're actually,
like really just powerful songs. The document itself is almost
like a material like Hallelujah actually is a perfect example.
(32:13):
People aren't like they're not even now. They might not
even know that it is a Leonard Cohen song. The
people who are some of the people who are even
covering it probably don't even know that it's a Leonard
Cohen song. They certainly don't know like what the core
recording sounds like, because it becomes a timeless matter of
public record. And I think the reason we're going down
this particular to say it might not be true or
(32:40):
the hounds chancy or not.
Speaker 4 (32:45):
That this song on its standalone merit there is that
any Boyle slum Dog Million Beatles.
Speaker 3 (33:04):
So ultimately you're you're saying that this this that you
don't really want to I don't even know if we've
I don't think we ever do this metric.
Speaker 1 (33:10):
I like this lets this is good new development.
Speaker 3 (33:14):
I will say that I've by listening to this song
standalone without the show, which I don't know if I've
ever done. Also, I do still love that idea that
it's like on a playlist and some guy works out
to it and he doesn't know that it's on the Sopranos,
like he's never seen.
Speaker 1 (33:26):
Surp, Like oh ship, yeah, yeah, I know.
Speaker 2 (33:28):
That's the song that I work out to something you guys.
Speaker 1 (33:30):
Like Alabama three.
Speaker 2 (33:33):
He's asking the TV. He's asking the show.
Speaker 1 (33:36):
Yeah, you driving? You know? You know Alaboa three? You
know what the hell?
Speaker 2 (33:43):
Toddy? Wait?
Speaker 1 (33:44):
How does TV work?
Speaker 3 (33:47):
So yeah, so ultimately I don't. I still don't think
it's great. I think there are better theme songs, but
they're also like you know, like everywhere you look. I
think it's a great theme song, but I don't. I'm
not going to put that song on.
Speaker 1 (34:00):
It is never no this, This is definitely I think
that the chancy given here is first of all, it
is inextricable or whatever that word is. It's either inextricable
or inextractable from the thing to which it's become primarily attached.
(34:21):
But in a way it's like a symbiotic relationship. Like
you do think of the Sopranos and over hear this
and it makes you want to watch it. Also the
Sopranos is made a little bit more of the Sopranos
by the existence of this song. Weirdly, and there is
like I don't know how to do that experiment if
you did remove it and put in like, you know,
hurt by nine inch Nails or something maybe or closer.
There's a little bit of not much nails in this too. Actually,
(34:43):
as we're.
Speaker 2 (34:43):
Right, that's the beats and boops, yes, and the show.
Speaker 3 (34:47):
It could never be like like certain theme songs like
I mean like Fresh Princes or something like explains the show.
Speaker 2 (34:53):
It could never be.
Speaker 3 (34:54):
Like Sopranos met Sopranos, right, Like, it can never be that,
so it to be like a standalone song, and I
think it would be weird if it was anything else.
It almost I almost like that. This is a hybrid
of so many genres. Yeah, you know, like it does
feel like it's of the time, but it doesn't feel
like it was.
Speaker 2 (35:11):
The most popular thing at the time. No, I like
that like that. It's not like I'll be you sh
be you dream up you know what I.
Speaker 1 (35:20):
Mean, Like, oh, that would be amazing. I like it.
Speaker 2 (35:23):
It's not nookie, so I like, you know, I like it.
It's no, it's.
Speaker 1 (35:27):
It's weird and it represents something that's a little weird too,
but I like the thing it represents. They're also both
accessible and sort of you can identify the component parts
the sopranos is itself, but you can see all the
things that go into it. And I feel like that's
true of this song. I don't know. I mean, look,
will I put this on after we get off this sessh?
(35:48):
I don't think so, But I will say that when
it's on. Maybe next time when I go through Sopranis
for the fourth.
Speaker 2 (35:54):
Time, are you gonna do it?
Speaker 1 (35:56):
I'll probably watch and I'll probably listen, and I'll think, oh,
you know what, I gave it the chancey once with
my friend Case.
Speaker 2 (36:04):
And you knew who you.
Speaker 3 (36:05):
Were then those Wranos, and we've been the chances.
Speaker 1 (36:18):
Give us a chancey click chancy at the bottom of
the screen.
Speaker 2 (36:24):
Memo code chancey for all your Sopranos VHS's. We should stop.
This could have ended a while ago, but we keep going.
Speaker 1 (36:36):
Yeah, I think we should keep talking about. In fact,
like I'd like to start a new chancey about like
my word
Speaker 6 (36:48):
Tell me more, tell me why
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