September 12, 2025 • 47 mins
Lauren & Russ are joined by special guest Noah (you know, “Noah Guy”) to unpack Weird Al’s hilarious-style parody “Good Enough for Now.” We dig into what makes this song both romantic and brutally honest, how it flips the country love-ballad trope on its head, and which lines hit you in the feels (or in your ego). Plus: reflections on relationships, comedy songwriting, and whether settling ever really “works.” Don’t miss:
Become a supporter of this podcast: https://www.spreaker.com/podcast/beer-d-al-podcast--5439475/support.
- Noah’s take on the difference between sugar-coated love and “above-average” backhanded compliments
- Which line in the song stings the most—and which one ends up being secretly the sweetest
- A few laughs, some uncomfortable truths, and all the Weird Al admiration you’d expect
- YouTube: The Jury House
- Spotify: The Jury House
- X / Twitter: @noahmussay
Become a supporter of this podcast: https://www.spreaker.com/podcast/beer-d-al-podcast--5439475/support.
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Transcript
Episode Transcript
Available transcripts are automatically generated. Complete accuracy is not guaranteed.
Speaker 1 (00:34):
Welcome everybody to yet another episode of the Beer About podcast,
the podcast about two of the greatest things in the world,
Beer and weird al And I'm Lauren and in the
room with me.
Speaker 2 (00:45):
Russ was kind enough to roll his chair in. Hello, husband.
Speaker 1 (00:50):
And friend of the show, fan of the show, contributor
to the show, and all around awesome fellow.
Speaker 2 (01:00):
Noah is back. Hello. We know a guy and you
are the guy that we know. Hello, Noah, how are you?
Speaker 3 (01:06):
I am the guy. I am great, happy to be here.
Speaker 1 (01:10):
We're happy to have you back, man, like you have
provided us with so much, just like back and forth
on things that we talk about on the show, that
it's like, man, I just enjoy it when you're on
the show. So for those listening, we've already talked to
Noah before we started recording about what he's going to
be doing for the next album. So get ready for
(01:33):
that because that's gonna happen. It's on the books and
I'm excited for it. Yay.
Speaker 2 (01:37):
But today today.
Speaker 1 (01:38):
We're here nearly wrapping up this Polka Party series, which
is kind of crazy to think about, but we are here.
Speaker 2 (01:46):
We're almost got.
Speaker 1 (01:48):
It done, and we're on the next to last track
on Polka Party, and that is good Enough for Now.
And when I put the call out for people to
pick tracks on Polka Party, you obviously you know, we're
one of the first people that I asked. I was like, hey,
what do you what do you want to talk about?
And you picked this one pretty quickly before we jump
(02:10):
into any of it.
Speaker 2 (02:11):
May I ask why?
Speaker 3 (02:15):
That's a great question, you know. I I that this
is probably not my favorite song on the album, but
I will say I think I gained a new appreciation
for it. I listened to it about a year ago.
(02:36):
It was actually I remember, so I was listening to
a podcast where these two guys were talking about everything
you know is wrong, and they just went through all
of the connections that AL kind of made with the
song with like things that they might be giants does
(02:58):
in their songs. And after I was done listening to that,
I was recommended good Enough for Now in my YouTube suggestions,
and so I listened to it again and I think,
just like BB King said that Generic Blues was the
best blues song he'd ever heard, I think this is
(03:21):
probably one of the best country songs I've ever heard.
There's just something about it that is so connected to
that particular era of country music that I really really
think that Al nailed.
Speaker 2 (03:38):
I find no fault in that logic.
Speaker 4 (03:41):
No, I don't either, And actually I'm going to in
the first like three minutes of this episode, I'm going
to just go ahead us too.
Speaker 5 (03:47):
I think that.
Speaker 4 (03:50):
Sound wise, as in, like the style of this song,
Al is like this is what eighty six?
Speaker 5 (03:59):
Right?
Speaker 4 (03:59):
Yeah, Okay, I'd have to look up the copyright on
like No Fences Garth's second LP, which I want to say,
is like eighty nine. Anyways, Garth is like at least
three years ahead of a Garth A weird. Al is
like three years ahead of the rest of country music.
Speaker 5 (04:19):
Okay.
Speaker 4 (04:20):
So, like the style of country that he's doing here
is okay. Lyrically, he's doing the opposite of the average
country ballad, like he's stopped loving her today always on
my mind, you know what I mean, Like the like
that I just love her so much country ballad, right,
(04:44):
but country music style wise, there wasn't anything like this
that was in the mainstream until like Garth, Alan Jackson,
Dwight Yoakum, you know. And the thing, the thing that's
stuck in my head because It's funny because it's almost
like a reverse Testige, but like two of a kind
of working on a full house.
Speaker 5 (05:05):
That song like sounds.
Speaker 2 (05:07):
Like this it does, right, yeah.
Speaker 4 (05:09):
Okay, except where they all did it three years or
four gears before that came out.
Speaker 5 (05:15):
Do you know what I'm saying.
Speaker 2 (05:15):
I don't say so.
Speaker 4 (05:17):
And yes, I'm aware that there was like upbeat country
before left. I mean it's stuff. I mean back to
Hay good Looking by Hank Senior and then you know,
Kissing Angel, good Morning and everything along the way. But
I'm talking about like what was in the mainstream, you know,
like in nineteen eighty six, Like okay, in the early
(05:37):
in the early eighties, Dolly with nine to five was
like mainstream, and then uh they're again with her and
Kenny with like islands in the stream, and that there
were there were Crystal Gale, like there were country artists
that were on the mainstream charts right in the mid eighties,
nobody was, and then Garth picked it up again, and
then Dwight and everybody else did, and then you have
Tim and so on right in the nineties. Okay, but
(06:00):
like here, the song comes out in nineteen eighty six
and it sounds like all of the country that's going
to be huge hits. Like if this song was on Alapalooza.
Speaker 2 (06:12):
It would make more sense to your brain.
Speaker 5 (06:14):
No, it wouldn't make more sense in my brain.
Speaker 4 (06:16):
It was people would go like, oh, well, he was
just ripping off, but it should get credit for being
so far ahead of its time in might opinion.
Speaker 2 (06:24):
I mean, I, yes, sure weird.
Speaker 1 (06:26):
I was always ahead of his time, and I thank
you for that very astute observation, you know, Like.
Speaker 5 (06:32):
Well, no, I don't.
Speaker 4 (06:33):
I'm just saying I think, like Noah, what Noah was saying,
Like the lyrics too, are like really they're really good lyrics.
Speaker 2 (06:41):
They're really good.
Speaker 4 (06:42):
It's it's it's the opposite of he start he stopped
loving her today, Like it's just like it's it's just
a guy being like I wish you I wish yeah,
like I wish you were as good as that woman
in that song, like you're not, but I really wish
you were. Yeah, you know, like and it's it's it's
so weird. L It's it's he's not being mean, he's
(07:04):
just stating a fact.
Speaker 2 (07:07):
Yep, it's beautiful.
Speaker 1 (07:13):
Yeah, Like I totally I hadn't even thought about what
you were saying as far as it's placed like in
the country music paradigm. I think that's the right word there.
I could be yeah either way. I wanted to say
ub but the pantheon of country music. But like you're
(07:35):
you're You're totally right because like for me again, like
I didn't hear this song until I had already heard
a whole bunch of country music, right, So that's a
really good does.
Speaker 4 (07:44):
Register to you as that like like fast as you
or you know what I mean?
Speaker 2 (07:48):
Yeah, yeah, yeah, yeah, you know.
Speaker 1 (07:51):
And I think the fact that it's just so the
style is so incredibly well done. I think, to the
point to the credit of what we're already all saying here,
that makes the jokes land better because the style is
just so perfect.
Speaker 2 (08:08):
Like you can listen to the lyrics and you go.
Speaker 1 (08:11):
Oh, I get exactly what's occurring in this moment.
Speaker 3 (08:16):
Yeah, absolutely, it sounds exactly like a love ballad, and
so that's what you're going in expecting, and then it
completely flips.
Speaker 1 (08:29):
Yeah, where does the best at flipping stuff? Like we
uh in preparation for this, obviously, listen to the song
a bunch, but also, you know, he performed this song
on some iterations of the Unfortunate Return of the Ridiculous
selfdiligentiisan Aity Tour and also just the ridiculously self Indulgent
(08:51):
vis Vanity Tour. And what's fun about that is if
you catch those performances on YouTube, there are people in
the crowd who are absolutely hearing it for the very
first time in that moment, and the crowd laughing at
the jokes when the jokes land is kind of beautiful.
(09:12):
You know, it's like the you know, I can honestly
say you're an above average lady.
Speaker 3 (09:20):
I love it, right, Yeah, You're You're just you're always
every verse. You're always waiting for the way that he's
going to like essentially kind of give her a backhanded compliment.
Speaker 2 (09:35):
Yeah, and uh yeah.
Speaker 3 (09:37):
Yeah, it really lands.
Speaker 1 (09:38):
The song is so full of backhanded compliments, Like this
song could be retitled you know good enough for now
parentheses backhanded compliments, right, you know, but like what we
were saying, this is what Weird Now does so incredibly well.
And this is not like the first or last time
(09:59):
that he does stuff like this. You know, like this
falls into that place where it's it's love songs that
throw you for a loop.
Speaker 2 (10:08):
Like one More Minute does or you don't love Me anymore?
Does you know?
Speaker 1 (10:12):
And then this also does the same thing, where it's
like right so for you, for any of you, either
of you, where does this sit on? Like weird Awl's
like love song but not quite love song, like liszt,
Like how do you feel about this?
Speaker 5 (10:30):
Well?
Speaker 4 (10:31):
First of all, and I think it's I don't think
anybody would disagree on this. I think it's criminally underrated.
Speaker 5 (10:37):
Like I.
Speaker 4 (10:39):
Polka Party is so frustrating for me because so many
people talk about it like it's such a bad album
and it's just not like it's there are things on
it that aren't great, and there are things that should
have gone better for the album than they did, but
it's not the album's fault, Like Here's Johnny is a
(11:00):
I mean, we've already talked about all this, but like
Here's Johnny is a great parody, It is not the
fault of weird al that that single wasn't.
Speaker 5 (11:07):
Big or remembered.
Speaker 4 (11:08):
It wasn't as big as it was supposed to be
or as remembered as it should be, you know what
I mean? Like and again, we've we've talked about the
whole record, almost the whole record so far, but like
this is there's great stuff on this album and this
is one of them. Like I feel like this is
user error that people look down on Polka Party because of.
Speaker 5 (11:30):
Songs like this.
Speaker 4 (11:31):
This is a great, original, weird al song and the
fact that people just lump it, oh well, yeah, Polka
Party is not a good album. Well, that's user error
in my in my opinion, I think, I just I
think this is I would put this against those ones
you mentioned. Yeah, I think there's people that would talk
about you Don't Love Me Anymore and the song would
never cross their mind and I don't know why.
Speaker 3 (11:54):
Yeah, and I think that this song goes great, great
up against it, you know, like uh, I mean, because
they're both uh you don't Love Me Anymore? Is is
a really great love song about a guy that that
really is devoted to his partner. Here as much as
(12:17):
he's kind of given her those backhanded compliments. He says
at one point like I probably couldn't ask for anything more.
Speaker 5 (12:26):
And uh so, hold then you just reminded me.
Speaker 4 (12:29):
There's the one line that I love where he says,
uh oh, I swear I'm never gonna leave you, darling
until something better comes along, where he's like, I'm really
committed to this unless.
Speaker 3 (12:43):
Yeah, yeah, I think that, you know, I I I
think that al uh, you know, just yeah, he he
put a lot of care in to this one. You
can always tell when he has a really strong idea
(13:07):
for a song and has like he's just able to
find a couple of really good lines that really make
the song work.
Speaker 1 (13:23):
Yeah, this is this is one of those ones that
absolutely builds on those one liners, like you have the concept,
but the one liners are totally what what sells it?
Right and again putting it in the context of its time,
you know, especially like the you know he stopped loving
her today and like then love songs us even in
the country genre where the you know, the object of
(13:43):
affection is being like overly idolized, right, this is.
Speaker 2 (13:48):
The thing that flies in the face of that. You know,
it's it's.
Speaker 1 (13:56):
I don't like using the word it's a commentary on
but like it kind of is taking a look at
like how the what relationships are like when you settle,
what anything is like when you settle.
Speaker 3 (14:12):
And it's interesting you bring that up because in So
in the process of me listening to this song a
few times in preparation for this, I was like, I
know that this sounds like something that I've heard of,
but I can't put my finger on it. But one
(14:34):
of the examples that I thought that is even more
apparent to me now that you said that, is there's
a song by a man named John Connolly called Rose
Colored Glasses, and it's basically this guy he's stating this
woman they've broken up, and he's realizing that as he's
(14:58):
missing her, he's looking at the relationship through rose colored glasses.
And this is kind of a similar sentiment here, except
the guys literally in this relationship not not realizing how
great the person.
Speaker 6 (15:17):
He's with is.
Speaker 1 (15:19):
Yeah, it's like the opposite of rose colored glasses is
like poop colored glasses.
Speaker 6 (15:22):
Right there.
Speaker 4 (15:23):
You go go one thing too, And I again, every
time I say this on your show, I go, I've
probably said this one hundred times, so we'll say this.
Speaker 5 (15:30):
Is one hundred and one.
Speaker 2 (15:31):
I keep inviting you back.
Speaker 4 (15:32):
Well, no, I wonder if we'd all thought of this.
And again, here's something else I've said a hundred times
on your show. He's so smart that I have to
assume that he did. So one thing a lot of
those ballads are known for, and by those ballads, I mean,
like you know, from the country ballads that we're written
in the forties up to ones that are being released today,
(15:56):
is they'll have that twist like there's the uh, you
know what the first two verses are something that happens,
and then the third verse happens and you're like, oh, no,
she died or you know, or or or.
Speaker 2 (16:09):
The door don't take the girl.
Speaker 4 (16:10):
I mean, well, I mean there's a million well and
there's that he stopped loving her today.
Speaker 5 (16:14):
Is that you know where you're.
Speaker 4 (16:16):
Like, oh, it's that's how he stopped loving her today,
Like it's not that he finally got over her, it's
that he can't love her anymore, like you know, don't
take the girl, or it's a lies. I'll wait for
you like I please. I probably just cause like at
least ten listeners to cry, like thinking about the songs,
you know. But here's the thing with this song. Though
(16:36):
when I first heard this, I thought the last verse
was going to have the twist, like he was going
to be like, oh no, really I love you, you know,
But the like there is no in this song. He's
just like, no, I'm the straightforward country guide. Like from
the start, I'm like, you're just yeah, you're just okay,
and then there is no twist like and I think
(16:59):
that again, this is where I'm trying to think, like
I wonder if we'll we all thought of that, like
this this person singing is so straightforward that he's like
and then there's no twist, like nope, I've been telling
you this since the beginning of the song, like you're
just so like if you're waiting for the thing where
then there's a bridge and I go. But then I
(17:20):
realized how much you mean to me, like nope, I'm
the straightforward guy. I've been telling you since the start.
You're just good enough for now, like you know, and
and again this could mean me overthinking it. But when
I first heard the song when I was a kid,
I thought that that was coming and I was like
and I was like, nope, like that guy's just a jerk,
(17:40):
like you know, so I just I just think it's brilliant.
And of course I hadn't heard anything from you know,
obviously I've not had access to a time machine, so
I hadn't heard anything from nineteen ninety forward, but like
years later I would go back and listen to this
and be like, dude was doing that.
Speaker 2 (17:57):
Style before them. Weird, how's so cool?
Speaker 1 (18:02):
He is?
Speaker 5 (18:03):
I agree, I'm forced to concur.
Speaker 1 (18:05):
You're forced to concur. Well, it's true. He kind of
is married to the weird ality. He is forced to concur.
Speaker 2 (18:13):
But hey, you know, I'm forced.
Speaker 4 (18:15):
To concur by common sense. Oh and then im and
then I also happen to be married to you.
Speaker 1 (18:20):
Right, Okay, that's good, that's good. But yeah, you know,
like so much, and you know, especially like as a kid,
you know, you listen to music and it's like idealize,
idealizing like relationships like so much. Like nobody's perfect, right,
Like nobody is that, you know, that golden thing. I
don't care who you are, you know, And what's so
(18:44):
great about this is like one of the words I have,
the phrases I have in my notes is like brutally underwhelming.
Like this is just like so straightforward, it's savage. It's like, no,
this is this is, this is where we are, this
is where we land, and this is how.
Speaker 2 (19:03):
It goes well.
Speaker 4 (19:04):
And that's how I feel about Like again, with and
I know where that was no stranger to playing characters
in its songs. But even the way this is written
is just like very weird out, like it's not mean,
it's just like I'm just stating facts.
Speaker 3 (19:21):
Yeah, yeah, yeah, absolutely, I I I I do feel
like there's kind of an under undercurrent in country music
of this era where it has a similar tone, where
(19:44):
where you know that that old thing of like, oh,
this is my old ball and Chain, right, and then uh,
you have that here. So what you were saying earlier,
learn about it being a commentary, I think, uh, certainly,
if you're looking at this stick decade of country music,
(20:05):
that might be an undertone that he kind of recognized
that kind of maybe gave him this idea for uh,
for this song.
Speaker 2 (20:17):
Probably.
Speaker 1 (20:17):
I mean, there's so much I love that old Ball
and Jane thing that absolutely got my brain going to
somewhere that's not even close to this. But I'm in
the middle of a Cheers rewatch as I do, you know,
because Fraser's my favorite show, so I go back and
watch Cheers to set that up again. But anyway, this
song reminds me so much of Norm and his wife Vera, right,
(20:40):
because Norm anytime Vera calls the bar, he's like, I'm
not here.
Speaker 2 (20:44):
I'm not here.
Speaker 1 (20:44):
I don't want to see her, like you know, I
don't want to talk to her, like oh my goodness, right,
but heaven forbid somebody says a crossword about her to him,
like he's gonna come for you.
Speaker 2 (20:56):
I just watched an episode where.
Speaker 1 (20:59):
Vera got a job at the restaurant upstairs from Cheers
as the hat check girl, and she was spent most
of her time looking through a people in the floor
down at Norm that she got fired for being a
hat check girl, and then Norm went off like how
dare you fire my? He spent the entire episode being
upset that she was just upstairs like he wanted his space,
(21:23):
but like like don't cross her though, you know, And
this feels very kind of much like that.
Speaker 2 (21:28):
It's like, you know, most of the time, it's like.
Speaker 1 (21:31):
The old ball and chain or like oh, you know
the wife over there, blah blah blah blah blah.
Speaker 2 (21:35):
You know, but then something happened.
Speaker 1 (21:37):
It's like wait a second, you know something, right, So
do you think maybe then the narrator of this song
could have that moment where like somebody does cross his
above average lady and above.
Speaker 2 (21:49):
Average like see that's a plus, And.
Speaker 1 (21:52):
Then he goes, oh, but wait a second, like I
have to I have to defend this person.
Speaker 2 (21:57):
You know, I don't know food for thought.
Speaker 3 (22:01):
Yeah, no, I I I completely agree. Yeah I I
I completely agree, because I mean he's very even keeled
about this whole kind of situation here. He's he's comfortable
in the relationship that that. Yeah, if if someone crossed her,
(22:25):
then I like to think you'd go to back four.
Speaker 2 (22:28):
I like to think so too.
Speaker 1 (22:30):
And actually, on that note, I feel like this is
a good time for me to make sure I take
the moment to throw it over to commercials take a break.
Speaker 4 (22:38):
And I was gonna say, like the guy in this
song should do break. Never mind, We'll go to commercial instead.
Speaker 1 (22:47):
Okay, we'll be right back after these ads that are
hopefully not terrible.
Speaker 5 (22:52):
That are probably good enough for now.
Speaker 7 (23:00):
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Speaker 8 (23:30):
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Speaker 2 (23:42):
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Speaker 6 (23:46):
Part of the Odd Pods Media Network. Hey, Jeff, Yeah, Jeff,
Remember yesterday I was telling you how I wished I
could have seen one of Billy Joel's sold out shows
at Madison Square Garden.
Speaker 9 (23:57):
Yeah, I said, you should go see Taylor Swift instead.
She's the modern day Billy Joel.
Speaker 6 (24:01):
Well, today my phone said I should read an interview
with Billy Joel where he talks about both retirement and
Taylor Swift.
Speaker 9 (24:07):
Till Man, it's always so creepy when that happens.
Speaker 6 (24:11):
We should do a podcast about how our devices are
always listening to us.
Speaker 9 (24:14):
We already do. It's called suggested Articles.
Speaker 6 (24:17):
A podcast we talk.
Speaker 9 (24:19):
About how technology is always spying on us and how
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Speaker 9 (24:34):
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Speaker 2 (24:38):
And we're back.
Speaker 5 (24:39):
They can get back.
Speaker 1 (24:41):
Ah, all right, I hope those weren't terrible, but maybe that, yeah,
they were good enough for now, Hi, they were good
enough to do what it is they're supposed to do.
Speaker 5 (24:49):
I suppose my thing is it's nine of it, you
always say.
Speaker 4 (24:53):
And it's true that your ads are based on like
what you googled, so like it's not even an election year,
so like if your ads are bad, then like you
really messed up.
Speaker 2 (25:02):
Yeah, I don't even know what they could be, you.
Speaker 5 (25:04):
Know what I mean?
Speaker 4 (25:04):
Because like usually in an election year, like I know
me personally, I try so hard to not have any
political contact at all, but sometimes it ends up in
your feet anyways, you know. Yeah, But like if, like
if it's not a political year and you still ended
up with crappy ads and that's super duper on you.
Speaker 2 (25:21):
Yep, I don't know what to tell you. I really don't.
Speaker 6 (25:26):
Know.
Speaker 4 (25:27):
Especially at this time of year, you should have your
your feet should be filled with like hot dogs, Like
the most offensive thing in your feet should be like
pumpkins my slote if like yeah, if like, if you
like I don't care about football at all, like that,
if that should come in my feet because everyone else
is talking about.
Speaker 2 (25:42):
It, you know, yeah, fair enough, I like that. I
like that for it. So yeah, I mean like, okay,
good enough for now.
Speaker 1 (25:54):
We we spend some time talking about the kind of
the way the the lyrics are framed in all this,
that and the other, and Russ, you touched on the
sound of it at the beginning. I would like to
go a little bit deeper into the music of it,
if you don't mind.
Speaker 7 (26:07):
M h.
Speaker 1 (26:08):
Of course, yes, especially since we watched live performance of this,
you know, before we sat down to record today. I
don't know, I am a sucker for a slide guitar,
and just watching Jim do that live with this where
it's just he was just so comfortable, looked like he
was having such a good little time playing this silly
little ditty and it's you know, it's a solid little
(26:31):
country song and it's got it is like note perfect
for what it's supposed to be.
Speaker 2 (26:36):
Makes me so happy.
Speaker 5 (26:37):
Yeah, just well, just real quick.
Speaker 4 (26:39):
One thing I want to say is I'm not saying
that this style of country never existed before. It definitely
did and at that time as well. I'm just saying
it like wasn't part of like mainstream, you know, like
to me, the late eighties at the earliest was when
when it started to become like hits again, you know.
So if weird All had his ear to the ground,
I'm sure, but like, know what, if anything, maybe that
(27:02):
is why some of something like this felt flat at
the time because people were like, I don't, I don't,
I don't know that style of country, you know what
I mean. But yeah, I think it sounds awesome. But
I'm sorry. I didn't mean to cut you off.
Speaker 3 (27:12):
No, oh no, no, you're good. Yeah, no, I I agree.
I think you know this is uh, like you said,
not not something that would have been in the mainstream.
But if you, like you were a regular listener of
country music, I think you would kind of hear this
style more. I love the guitars in this, I love
(27:37):
the violins, like the fact that it opens with those violins.
That that's one of my favorite parts of the of
the song because that's that's such a hallmark of country music,
especially of this time, and my so my favorite thing.
(27:59):
And I was thinking about this the other day, is
that there are certain that I mean, Al does great
with all his music and goes above and beyond with everything,
but there are certain songs where he is periodic parodying.
Speaker 2 (28:18):
Word I know, right, I say it alone.
Speaker 3 (28:22):
Where he's doing that like trying to get the artist
or the genre just perfect, and he'll add these little touches. So,
like I think back to Germs the Nine inch Nails
style parody. I have always loved at the end of
(28:45):
that song that there's those few little piano notes that
kind of close out the song because like you could
just and and I think I've said this on on
the podcast before, that you could easily just just write
a song that kind of sounds like nine inch Nails
(29:06):
or kind of sounds like a country song, but there
are just a little like you'll have lines that he'll
sing and in the background you'll just hear these very
like loose piano notes. Yeah, and that's that's like all
(29:27):
throughout the song where there's there's just these little like
piano fills almost that are happening all throughout it. And
I just think that that really shows how much attention
Al pays when he is doing these pastiches.
Speaker 2 (29:47):
Yeah, Oh my gosh.
Speaker 1 (29:48):
Yes, we've talked so much about how like you you
talk about my own eyes, how like that's every food
Fighter song ever, you know CNR that appssolutely hits the
Jack White White Stripes thing, like completely, Like the attention
to detail is so spot on, And I think it's
tough to like to say that al like quote nailed
(30:11):
it with a pastiche. That's not a particular artist, right,
It's just a pastiche of a genre, a genre that,
to Russ's point, like was still as far as popularity,
like popular opinion goes, was still kind of like finding
where it was in this sense right for him to
(30:34):
nail that so firmly, like you know, with the fiddle,
with the slide guitar, you know, with everything that's happening.
Like we were listening to the new Sabrina Carpenter album
earlier something uh and uh, there's a track on it
that when it started, Russ literally said, oh man, he goes,
(30:55):
there's gonna be a remix of this way there. I
throw a fiddle at it, and it's gonna get like
airplay on country radio.
Speaker 2 (30:59):
Right.
Speaker 1 (31:01):
We get another thirty seconds into the song what shows
up fiddles and.
Speaker 5 (31:07):
The record and yeah yeah, I was like.
Speaker 2 (31:10):
Yeah, like this is a country song, you know.
Speaker 1 (31:13):
And the fact that now, like this kind of stuff
that Al was doing on good Enough for Now is
just kind of part of like, yeah, that's a you know,
Man's Best Friend Sabrina Carpenter is a pop album, but
it's got these country undercurrents to it, and like everybody's
kind of reaching back now to what you know essentially
got popularized with Garth, but like Al definitely heard coming
(31:36):
before that.
Speaker 2 (31:37):
I just think it's super fun.
Speaker 1 (31:38):
Like I think that they're like there are people who
are like new weird Al fans now that would probably
appreciate this song more than it was appreciated when the album.
Speaker 3 (31:48):
Yeah, yeah, yeah, yeah, absolutely. I wish this type of
country music would make a comeback. We've gotten into from
your lips to hip hop country, you know, stadium country. Uh,
it's it's just any anyone that likes Squared Out. I
(32:12):
would also tell you to go listen to Bo Burnham's
country song Pandering. Yeah, perfect encapsulation of what country has
turned into.
Speaker 6 (32:24):
Like I just.
Speaker 3 (32:27):
I shudder, I shudder when I Yeah, that's why I
like my prime country man.
Speaker 4 (32:35):
Yes, wow, I have so many bad things to say
about where country music is at.
Speaker 2 (32:40):
Now, well you know you can do that.
Speaker 4 (32:42):
No, no, no, But here's here's what I will do.
I'm gonna I'll shift it back this way, so to
go to to put a finder point on what no
one was talking about with weird Al's attention to detail
as far as like, well, any any song really, but
this one specifically nothing to do with parodies, but with
(33:04):
pastiches and his originals. When I was a kid, weird
Al's pastiches and and and originals to a certain extent,
but mostly the pastiches are what made me understand the
phrase imitation is the sincerest form of flattery. Like when
people would say it when I was a kid, what
(33:25):
they meant was when like, uh rich Little would do
Johnny Carson right, They'd go.
Speaker 5 (33:29):
Oh, well, imitation is a sincere's form of flattery.
Speaker 4 (33:32):
And and yes, there's there's an immense amount of talent
and a lot of people who can directly imitate someone else. Okay,
and I'm not talking about like an I was a idenpersonator.
I'm talking about an imitator, like a person who does
exactly a Johnny Carson imitation. Okay, I think when when
(33:54):
I was a kid, the thing that made me realized, like, no,
when you can take and listen to something a whole
genre so intently that you come up with a piece
of original music that imitates it in every way without
making fun of it, that's the sincerest form of flattery.
So like when when I say that to people about
(34:18):
like my own eyes, I tell people, I'm like, do
you like the Food Fighters?
Speaker 5 (34:21):
Well, so does weird Al, Like you know what I mean?
Speaker 4 (34:23):
Like, would you like to hear every song they ever
did at once without in any way making fun of them?
Speaker 5 (34:30):
Like he could.
Speaker 4 (34:31):
It's such low hanging fruit. He could just write all
of these pastiches could be like this song could be.
Speaker 5 (34:38):
The dumb joke that everybody's ever done, or.
Speaker 4 (34:40):
You get when you play a country song backwards, you
get your wife back and your dog back, like weird.
Speaker 5 (34:44):
Al could just do that.
Speaker 4 (34:46):
The song could be making fun of country music and
it's not my own eyes could be making fun of
the food Fighters, and it's not you know what I mean,
Like it's literally him going and like Noah said about it,
like germs, Like that's weird Al going This is how
how much I listened specifically to the Not Pretty Game Machine.
What is a closer on? I can see the cover
(35:10):
in my head. The album was Closer. It's a downward spiral.
There we go, Like that is weird now, announcing to
anyone who's ever heard Dinas Nails and him, this is
how intently I listened to the downward spiral, you know
what I mean? Like that is the sincerest form of flattery, right,
and this like no I'm bringing this all the way
(35:31):
back around to Noah's original point is this is in
weird now in nineteen eighty five when he recorded or
eighty six or whatever, saying like this is how intently
the polka guy of the edit guy that like a
surgeon guy is listening to an entire genre that you're
not even hip to, you know what I mean, Like,
(35:51):
that's the sincerest form of flattery. And did not bother
with the low hanging fruit of like and then also
you know I got a dog back, you know what
I mean? Like it's just the guy plays at a
whole different level than anybody else. And like what Noah
was saying, like that if you just if you like,
if you know anything about country music and you listen
(36:12):
to this and you don't if you don't have appreciation
for what it is that weird Al does and like
and you and you when you hear this, then it's
like I don't know what to tell you, you know, like, yeah,
this is one of those things where like if you
if I play this for you and you don't get
it here, then like I think I'm done trying, you
know what I mean?
Speaker 3 (36:35):
Yeah, I think that one of the the things that
Al does so brilliantly is that he's able to he
is able to poke fun at at these genres or
these artists. You know, he's able to kind of point
(36:58):
out tropes that are in these genres or that these
artists do, especially like if he's trying to mimic the
way that they sing. But in doing that, he's still
doing that by like giving you the thing that you want. So, like,
(37:21):
let's say that you're not super into country music because
there are certain things that it does that you're just
not too much of a fan of. Well, what El
is doing here is maybe he's kind of you know,
having all the musical tropes and the lyrical tropes, but
(37:42):
it's still something that you can enjoy, like it's a
country song that you can enjoy even if you don't
like country music, because you can appreciate what it is
that Al's doing here and the detail behind it is
the reason why you might be able to enjoy it
even if your type of thing.
Speaker 4 (38:03):
Yeah, and you referenced the song earlier, Generic Clues. I
have a friend of mine and Lauren knows him, and
he plays He fronts an eighties tribute act. He's one
of the best singers I've ever seen in my life,
and he's one of the most talented guitar players I've
ever seen in my life. And it's man hates the
blues with a living passion, Like I've been arguing with
him about it for since i met him in nineteen
eighty nine. Like he this man lows the blues like
(38:26):
he just he thinks it's like just the worst genre ever.
He'd likes precisely one blue song and it's generic clues,
you know what I mean, like it and he gets
like he gets it, like he's not like, oh haha,
he's making fun of the blues, like that's.
Speaker 5 (38:41):
Genuinely the blue.
Speaker 4 (38:42):
Like he literally heard it and he was like that's
every blues song like, and that's like that's the only one.
That's the only one I need to listen to? Is
that one? You know what I mean? Like literally like
and it's not just he's not just like, oh, well,
weird ELL's your guy, Like you know, he heard and
was like, well, that's literally the only blue song that
was Like he references it all the time, like, uh,
(39:06):
if we're ever like in a bar and the blues
are on, he'll like sing lyrics from it. Like, so
when you said that, it was instantly made me think
of that. I'm like, yeah, I bet, I bet there's
someone out there who goes, oh, I can't stand country,
but like there's this one weird AL song, you know,
Like like, I bet there's a weird Al fan who
can't stand country but likes the song.
Speaker 1 (39:25):
I bet you know, Oh, that's fantastic. That's probably very true.
And well, you know I don't like I don't like country,
but I love weird else. I guess this song is
good enough. Now.
Speaker 4 (39:34):
I was gonna say, if you, uh, if you're just
waiting for the Christmas at ground zero and you're like,
I really don't want this song to be on but
it's good enough for now.
Speaker 2 (39:42):
Good enough for now. That's it. That's it.
Speaker 1 (39:46):
So you know, no, did you have any other I
know you are very good at like coming prepared to
these things, so I want to make sure that you're
getting to say everything that you wanted to come in
here and say before I shuffle off to Buffalo with stuff.
Speaker 3 (40:00):
Know. Uh, I think I've said it all perfect. Yeah,
this is just a really really really good song.
Speaker 6 (40:12):
And uh.
Speaker 2 (40:14):
Yeah, yeah, I agree.
Speaker 1 (40:16):
Yeah, I'm just I'm just gonna stop myself, stop herself.
So all that's really left to do is give the
song a rating on a scale of one to twenty seven. Then,
and for how good this is in the country genrere.
Speaker 2 (40:29):
I just love to do it that way. Thank you,
Alex Trebek.
Speaker 1 (40:34):
You know I like this way better than to those
people which we talked about last time.
Speaker 2 (40:40):
I think it's a.
Speaker 1 (40:41):
Very good song for what it is, and I'm going
to give it a twenty four out of twenty seven.
Speaker 3 (40:48):
All right, Uh, well, I think that I'm going to
give it an eighteen. Oh my song, there there are
songs that I like more than this one, even though
I do think it is is underrated, and I think
(41:10):
the reason. You know, I think the fact that I
think that it is underrated is why I would probably
place it a little bit higher. Well well not white
going as high on it is as.
Speaker 2 (41:26):
You as me.
Speaker 1 (41:27):
Yeah, well see, very people could listen to me rate
things and like know exactly how I grade as a teacher.
By the way, like so if any prospective students at
any of the institutes of higher education are here listening
to this podcast, I write songs much like a grade.
Speaker 2 (41:43):
So Russ, you're left one to twenty seven, what do
you give it?
Speaker 4 (41:47):
Well, so you've heard me talked about this before, like
I and this as funny. I do this the same
way I managed like people. I start my song grades
at twenty seven and then look for things and go
like you know what I mean, like hey, what like
what would knock this down for me?
Speaker 5 (42:08):
And I'm not It's here's the thing.
Speaker 4 (42:11):
I'm not saying this is a perfect song or like
the best word else song ever. But I also don't
have any reason to kick it, like you know what
I mean? So like twenty seven okay, which.
Speaker 5 (42:23):
I but I know, but I know there's.
Speaker 4 (42:25):
People that are gonna be listening to this that are
gonna be like that's insane, But like I can't. I
can't think of anything that I would go, you know, like,
oh yeah, this absolutely needs to take a point off
of that. Like it's produced really well. It's I'm like,
all we all just talked about so many things we
love about it, you know what I mean, Like, I
(42:46):
can't think. There's not any reason I can think. I
mean and I can't. The only things I could detract
from it are not its fault, Like it's on an
album that doesn't get the love that it deserves. It's
placed poorly on the record, that's not the song's fault,
you know what I mean, Like, those aren't things that
the song did wrong.
Speaker 2 (43:06):
Right, So there you go. I love it.
Speaker 4 (43:08):
This is gonna be worse than the time I said
I didn't like Melanie as much as I liked Elamoni.
This is gonna go that poorly for me on your show.
Speaker 2 (43:15):
Well that's great. I mean I did the math.
Speaker 1 (43:17):
By the way, our three scores average out to twenty
three neat. Yeah, so if you multiply twenty three times three,
that's sixty nine neat.
Speaker 9 (43:26):
Nice.
Speaker 6 (43:28):
Nice.
Speaker 1 (43:30):
But anyway, Noah, before we close out, is there anything
that you'd like to plug or promote or talk about
or say if not, that's okay, that's good.
Speaker 4 (43:37):
But if hop music again, talk about it. Yeah, when
you asked them to talk about something's gonna be pop
music again.
Speaker 3 (43:43):
I actually do finally have something to plug on this show.
So if you go and follow me on social media,
I talk about reality TV all the time. My favorite
show is Big Brother, which is a reality competition show
(44:06):
much like Survivor, and it is my summer obsession. It's
the only thing you'll find me talking about other than
weird now. So anyway, I have a friend that I
recently started a podcast with and it is a Big
Brother rewatch podcast called The Jury House, and you can
(44:28):
find us on YouTube and Spotify, and we'll have all
the social media's on the show notes because there's a
lot of them.
Speaker 1 (44:41):
I went overboard, So you go overboard, man, and yeah,
you send me what you want me to put there,
and I assure you I will put it there.
Speaker 2 (44:48):
That's fantastic.
Speaker 5 (44:50):
That's fun.
Speaker 3 (44:50):
Yeah, absolutely, it was a lot of fun. It's been
something that I've wanted to do for a long time,
so finally found someone to do it. We I just
finished putting out the entire first season that we covered
about a month ago, right before this current season of
(45:11):
Big Brothers started, So yeah, go check it out. It
was a lot of fun and we had a lot
of really interesting conversations about the strategy and.
Speaker 2 (45:23):
Yeah, I love it.
Speaker 1 (45:24):
Well, good for you, that's awesome. Yeah, I've just I
love when people who like I love when people dip
their toe into something new like like that, And I
think that is so cool for you to do, and
I'm so excited about it.
Speaker 2 (45:36):
So yeah, I'll put all that information.
Speaker 5 (45:38):
I think it's talk about something that you love.
Speaker 1 (45:40):
You know, that's all you got to do. Man, I
love it. Well, speaking of things that I love, I've
loved this episode. I loved talking to both of you.
Tune in next time. We will be wrapping up Polar
Party with Christmas at Ground Zero with a fellow member
of the on Pods media network from suggested articles, We'll
(46:01):
be here to talk about Christmas at ground Zero. It
will be his first time on this show, but clearly
as he's a member of the same podcast network as.
Speaker 2 (46:09):
Us, it's not his first time on a podcast. So
you've probably heard their ads in the middle of our episode.
Speaker 5 (46:14):
He could just own the show he could.
Speaker 1 (46:16):
Yeah, yeah, well, you know, if you listen to the
ads in the middle, you've probably heard an ad for
a suggested articles.
Speaker 2 (46:22):
It's a point.
Speaker 1 (46:23):
So anyway, yeah, Jeff will be here, which I think
will be kind of cool, and then we'll wrap up
the album and then kind of go from there. But
with all of that, everybody, you know, Noah, thank you
again so much for being here. Hooray, Russ, thank you
as well.
Speaker 5 (46:38):
It's it's literally the least I.
Speaker 2 (46:40):
Could do, I know, and all of you, thank you
for listening.
Speaker 1 (46:44):
And as always, you know, be awesome and stay weird
and we'll come at you again next time.
Speaker 2 (46:49):
Bye bye,
Welcome everybody to yet another episode of the Beer About podcast,
the podcast about two of the greatest things in the world,
Beer and weird al And I'm Lauren and in the
room with me.
Speaker 2 (00:45):
Russ was kind enough to roll his chair in. Hello, husband.
Speaker 1 (00:50):
And friend of the show, fan of the show, contributor
to the show, and all around awesome fellow.
Speaker 2 (01:00):
Noah is back. Hello. We know a guy and you
are the guy that we know. Hello, Noah, how are you?
Speaker 3 (01:06):
I am the guy. I am great, happy to be here.
Speaker 1 (01:10):
We're happy to have you back, man, like you have
provided us with so much, just like back and forth
on things that we talk about on the show, that
it's like, man, I just enjoy it when you're on
the show. So for those listening, we've already talked to
Noah before we started recording about what he's going to
be doing for the next album. So get ready for
(01:33):
that because that's gonna happen. It's on the books and
I'm excited for it. Yay.
Speaker 2 (01:37):
But today today.
Speaker 1 (01:38):
We're here nearly wrapping up this Polka Party series, which
is kind of crazy to think about, but we are here.
Speaker 2 (01:46):
We're almost got.
Speaker 1 (01:48):
It done, and we're on the next to last track
on Polka Party, and that is good Enough for Now.
And when I put the call out for people to
pick tracks on Polka Party, you obviously you know, we're
one of the first people that I asked. I was like, hey,
what do you what do you want to talk about?
And you picked this one pretty quickly before we jump
(02:10):
into any of it.
Speaker 2 (02:11):
May I ask why?
Speaker 3 (02:15):
That's a great question, you know. I I that this
is probably not my favorite song on the album, but
I will say I think I gained a new appreciation
for it. I listened to it about a year ago.
(02:36):
It was actually I remember, so I was listening to
a podcast where these two guys were talking about everything
you know is wrong, and they just went through all
of the connections that AL kind of made with the
song with like things that they might be giants does
(02:58):
in their songs. And after I was done listening to that,
I was recommended good Enough for Now in my YouTube suggestions,
and so I listened to it again and I think,
just like BB King said that Generic Blues was the
best blues song he'd ever heard, I think this is
(03:21):
probably one of the best country songs I've ever heard.
There's just something about it that is so connected to
that particular era of country music that I really really
think that Al nailed.
Speaker 2 (03:38):
I find no fault in that logic.
Speaker 4 (03:41):
No, I don't either, And actually I'm going to in
the first like three minutes of this episode, I'm going
to just go ahead us too.
Speaker 5 (03:47):
I think that.
Speaker 4 (03:50):
Sound wise, as in, like the style of this song,
Al is like this is what eighty six?
Speaker 5 (03:59):
Right?
Speaker 4 (03:59):
Yeah, Okay, I'd have to look up the copyright on
like No Fences Garth's second LP, which I want to say,
is like eighty nine. Anyways, Garth is like at least
three years ahead of a Garth A weird. Al is
like three years ahead of the rest of country music.
Speaker 5 (04:19):
Okay.
Speaker 4 (04:20):
So, like the style of country that he's doing here
is okay. Lyrically, he's doing the opposite of the average
country ballad, like he's stopped loving her today always on
my mind, you know what I mean, Like the like
that I just love her so much country ballad, right,
(04:44):
but country music style wise, there wasn't anything like this
that was in the mainstream until like Garth, Alan Jackson,
Dwight Yoakum, you know. And the thing, the thing that's
stuck in my head because It's funny because it's almost
like a reverse Testige, but like two of a kind
of working on a full house.
Speaker 5 (05:05):
That song like sounds.
Speaker 2 (05:07):
Like this it does, right, yeah.
Speaker 4 (05:09):
Okay, except where they all did it three years or
four gears before that came out.
Speaker 5 (05:15):
Do you know what I'm saying.
Speaker 2 (05:15):
I don't say so.
Speaker 4 (05:17):
And yes, I'm aware that there was like upbeat country
before left. I mean it's stuff. I mean back to
Hay good Looking by Hank Senior and then you know,
Kissing Angel, good Morning and everything along the way. But
I'm talking about like what was in the mainstream, you know,
like in nineteen eighty six, Like okay, in the early
(05:37):
in the early eighties, Dolly with nine to five was
like mainstream, and then uh they're again with her and
Kenny with like islands in the stream, and that there
were there were Crystal Gale, like there were country artists
that were on the mainstream charts right in the mid eighties,
nobody was, and then Garth picked it up again, and
then Dwight and everybody else did, and then you have
Tim and so on right in the nineties. Okay, but
(06:00):
like here, the song comes out in nineteen eighty six
and it sounds like all of the country that's going
to be huge hits. Like if this song was on Alapalooza.
Speaker 2 (06:12):
It would make more sense to your brain.
Speaker 5 (06:14):
No, it wouldn't make more sense in my brain.
Speaker 4 (06:16):
It was people would go like, oh, well, he was
just ripping off, but it should get credit for being
so far ahead of its time in might opinion.
Speaker 2 (06:24):
I mean, I, yes, sure weird.
Speaker 1 (06:26):
I was always ahead of his time, and I thank
you for that very astute observation, you know, Like.
Speaker 5 (06:32):
Well, no, I don't.
Speaker 4 (06:33):
I'm just saying I think, like Noah, what Noah was saying,
Like the lyrics too, are like really they're really good lyrics.
Speaker 2 (06:41):
They're really good.
Speaker 4 (06:42):
It's it's it's the opposite of he start he stopped
loving her today, Like it's just like it's it's just
a guy being like I wish you I wish yeah,
like I wish you were as good as that woman
in that song, like you're not, but I really wish
you were. Yeah, you know, like and it's it's it's
so weird. L It's it's he's not being mean, he's
(07:04):
just stating a fact.
Speaker 2 (07:07):
Yep, it's beautiful.
Speaker 1 (07:13):
Yeah, Like I totally I hadn't even thought about what
you were saying as far as it's placed like in
the country music paradigm. I think that's the right word there.
I could be yeah either way. I wanted to say
ub but the pantheon of country music. But like you're
(07:35):
you're You're totally right because like for me again, like
I didn't hear this song until I had already heard
a whole bunch of country music, right, So that's a
really good does.
Speaker 4 (07:44):
Register to you as that like like fast as you
or you know what I mean?
Speaker 2 (07:48):
Yeah, yeah, yeah, yeah, you know.
Speaker 1 (07:51):
And I think the fact that it's just so the
style is so incredibly well done. I think, to the
point to the credit of what we're already all saying here,
that makes the jokes land better because the style is
just so perfect.
Speaker 2 (08:08):
Like you can listen to the lyrics and you go.
Speaker 1 (08:11):
Oh, I get exactly what's occurring in this moment.
Speaker 3 (08:16):
Yeah, absolutely, it sounds exactly like a love ballad, and
so that's what you're going in expecting, and then it
completely flips.
Speaker 1 (08:29):
Yeah, where does the best at flipping stuff? Like we
uh in preparation for this, obviously, listen to the song
a bunch, but also, you know, he performed this song
on some iterations of the Unfortunate Return of the Ridiculous
selfdiligentiisan Aity Tour and also just the ridiculously self Indulgent
(08:51):
vis Vanity Tour. And what's fun about that is if
you catch those performances on YouTube, there are people in
the crowd who are absolutely hearing it for the very
first time in that moment, and the crowd laughing at
the jokes when the jokes land is kind of beautiful.
(09:12):
You know, it's like the you know, I can honestly
say you're an above average lady.
Speaker 3 (09:20):
I love it, right, Yeah, You're You're just you're always
every verse. You're always waiting for the way that he's
going to like essentially kind of give her a backhanded compliment.
Speaker 2 (09:35):
Yeah, and uh yeah.
Speaker 3 (09:37):
Yeah, it really lands.
Speaker 1 (09:38):
The song is so full of backhanded compliments, Like this
song could be retitled you know good enough for now
parentheses backhanded compliments, right, you know, but like what we
were saying, this is what Weird Now does so incredibly well.
And this is not like the first or last time
(09:59):
that he does stuff like this. You know, like this
falls into that place where it's it's love songs that
throw you for a loop.
Speaker 2 (10:08):
Like one More Minute does or you don't love Me anymore?
Does you know?
Speaker 1 (10:12):
And then this also does the same thing, where it's
like right so for you, for any of you, either
of you, where does this sit on? Like weird Awl's
like love song but not quite love song, like liszt,
Like how do you feel about this?
Speaker 5 (10:30):
Well?
Speaker 4 (10:31):
First of all, and I think it's I don't think
anybody would disagree on this. I think it's criminally underrated.
Speaker 5 (10:37):
Like I.
Speaker 4 (10:39):
Polka Party is so frustrating for me because so many
people talk about it like it's such a bad album
and it's just not like it's there are things on
it that aren't great, and there are things that should
have gone better for the album than they did, but
it's not the album's fault, Like Here's Johnny is a
(11:00):
I mean, we've already talked about all this, but like
Here's Johnny is a great parody, It is not the
fault of weird al that that single wasn't.
Speaker 5 (11:07):
Big or remembered.
Speaker 4 (11:08):
It wasn't as big as it was supposed to be
or as remembered as it should be, you know what
I mean? Like and again, we've we've talked about the
whole record, almost the whole record so far, but like
this is there's great stuff on this album and this
is one of them. Like I feel like this is
user error that people look down on Polka Party because of.
Speaker 5 (11:30):
Songs like this.
Speaker 4 (11:31):
This is a great, original, weird al song and the
fact that people just lump it, oh well, yeah, Polka
Party is not a good album. Well, that's user error
in my in my opinion, I think, I just I
think this is I would put this against those ones
you mentioned. Yeah, I think there's people that would talk
about you Don't Love Me Anymore and the song would
never cross their mind and I don't know why.
Speaker 3 (11:54):
Yeah, and I think that this song goes great, great
up against it, you know, like uh, I mean, because
they're both uh you don't Love Me Anymore? Is is
a really great love song about a guy that that
really is devoted to his partner. Here as much as
(12:17):
he's kind of given her those backhanded compliments. He says
at one point like I probably couldn't ask for anything more.
Speaker 5 (12:26):
And uh so, hold then you just reminded me.
Speaker 4 (12:29):
There's the one line that I love where he says,
uh oh, I swear I'm never gonna leave you, darling
until something better comes along, where he's like, I'm really
committed to this unless.
Speaker 3 (12:43):
Yeah, yeah, I think that, you know, I I I
think that al uh, you know, just yeah, he he
put a lot of care in to this one. You
can always tell when he has a really strong idea
(13:07):
for a song and has like he's just able to
find a couple of really good lines that really make
the song work.
Speaker 1 (13:23):
Yeah, this is this is one of those ones that
absolutely builds on those one liners, like you have the concept,
but the one liners are totally what what sells it?
Right and again putting it in the context of its time,
you know, especially like the you know he stopped loving
her today and like then love songs us even in
the country genre where the you know, the object of
(13:43):
affection is being like overly idolized, right, this is.
Speaker 2 (13:48):
The thing that flies in the face of that. You know,
it's it's.
Speaker 1 (13:56):
I don't like using the word it's a commentary on
but like it kind of is taking a look at
like how the what relationships are like when you settle,
what anything is like when you settle.
Speaker 3 (14:12):
And it's interesting you bring that up because in So
in the process of me listening to this song a
few times in preparation for this, I was like, I
know that this sounds like something that I've heard of,
but I can't put my finger on it. But one
(14:34):
of the examples that I thought that is even more
apparent to me now that you said that, is there's
a song by a man named John Connolly called Rose
Colored Glasses, and it's basically this guy he's stating this
woman they've broken up, and he's realizing that as he's
(14:58):
missing her, he's looking at the relationship through rose colored glasses.
And this is kind of a similar sentiment here, except
the guys literally in this relationship not not realizing how
great the person.
Speaker 6 (15:17):
He's with is.
Speaker 1 (15:19):
Yeah, it's like the opposite of rose colored glasses is
like poop colored glasses.
Speaker 6 (15:22):
Right there.
Speaker 4 (15:23):
You go go one thing too, And I again, every
time I say this on your show, I go, I've
probably said this one hundred times, so we'll say this.
Speaker 5 (15:30):
Is one hundred and one.
Speaker 2 (15:31):
I keep inviting you back.
Speaker 4 (15:32):
Well, no, I wonder if we'd all thought of this.
And again, here's something else I've said a hundred times
on your show. He's so smart that I have to
assume that he did. So one thing a lot of
those ballads are known for, and by those ballads, I mean,
like you know, from the country ballads that we're written
in the forties up to ones that are being released today,
(15:56):
is they'll have that twist like there's the uh, you
know what the first two verses are something that happens,
and then the third verse happens and you're like, oh, no,
she died or you know, or or or.
Speaker 2 (16:09):
The door don't take the girl.
Speaker 4 (16:10):
I mean, well, I mean there's a million well and
there's that he stopped loving her today.
Speaker 5 (16:14):
Is that you know where you're.
Speaker 4 (16:16):
Like, oh, it's that's how he stopped loving her today,
Like it's not that he finally got over her, it's
that he can't love her anymore, like you know, don't
take the girl, or it's a lies. I'll wait for
you like I please. I probably just cause like at
least ten listeners to cry, like thinking about the songs,
you know. But here's the thing with this song. Though
(16:36):
when I first heard this, I thought the last verse
was going to have the twist, like he was going
to be like, oh no, really I love you, you know,
But the like there is no in this song. He's
just like, no, I'm the straightforward country guide. Like from
the start, I'm like, you're just yeah, you're just okay,
and then there is no twist like and I think
(16:59):
that again, this is where I'm trying to think, like
I wonder if we'll we all thought of that, like
this this person singing is so straightforward that he's like
and then there's no twist, like nope, I've been telling
you this since the beginning of the song, like you're
just so like if you're waiting for the thing where
then there's a bridge and I go. But then I
(17:20):
realized how much you mean to me, like nope, I'm
the straightforward guy. I've been telling you since the start.
You're just good enough for now, like you know, and
and again this could mean me overthinking it. But when
I first heard the song when I was a kid,
I thought that that was coming and I was like
and I was like, nope, like that guy's just a jerk,
(17:40):
like you know, so I just I just think it's brilliant.
And of course I hadn't heard anything from you know,
obviously I've not had access to a time machine, so
I hadn't heard anything from nineteen ninety forward, but like
years later I would go back and listen to this
and be like, dude was doing that.
Speaker 2 (17:57):
Style before them. Weird, how's so cool?
Speaker 1 (18:02):
He is?
Speaker 5 (18:03):
I agree, I'm forced to concur.
Speaker 1 (18:05):
You're forced to concur. Well, it's true. He kind of
is married to the weird ality. He is forced to concur.
Speaker 2 (18:13):
But hey, you know, I'm forced.
Speaker 4 (18:15):
To concur by common sense. Oh and then im and
then I also happen to be married to you.
Speaker 1 (18:20):
Right, Okay, that's good, that's good. But yeah, you know,
like so much, and you know, especially like as a kid,
you know, you listen to music and it's like idealize,
idealizing like relationships like so much. Like nobody's perfect, right,
Like nobody is that, you know, that golden thing. I
don't care who you are, you know, And what's so
(18:44):
great about this is like one of the words I have,
the phrases I have in my notes is like brutally underwhelming.
Like this is just like so straightforward, it's savage. It's like, no,
this is this is, this is where we are, this
is where we land, and this is how.
Speaker 2 (19:03):
It goes well.
Speaker 4 (19:04):
And that's how I feel about Like again, with and
I know where that was no stranger to playing characters
in its songs. But even the way this is written
is just like very weird out, like it's not mean,
it's just like I'm just stating facts.
Speaker 3 (19:21):
Yeah, yeah, yeah, absolutely, I I I I do feel
like there's kind of an under undercurrent in country music
of this era where it has a similar tone, where
(19:44):
where you know that that old thing of like, oh,
this is my old ball and Chain, right, and then uh,
you have that here. So what you were saying earlier,
learn about it being a commentary, I think, uh, certainly,
if you're looking at this stick decade of country music,
(20:05):
that might be an undertone that he kind of recognized
that kind of maybe gave him this idea for uh,
for this song.
Speaker 2 (20:17):
Probably.
Speaker 1 (20:17):
I mean, there's so much I love that old Ball
and Jane thing that absolutely got my brain going to
somewhere that's not even close to this. But I'm in
the middle of a Cheers rewatch as I do, you know,
because Fraser's my favorite show, so I go back and
watch Cheers to set that up again. But anyway, this
song reminds me so much of Norm and his wife Vera, right,
(20:40):
because Norm anytime Vera calls the bar, he's like, I'm
not here.
Speaker 2 (20:44):
I'm not here.
Speaker 1 (20:44):
I don't want to see her, like you know, I
don't want to talk to her, like oh my goodness, right,
but heaven forbid somebody says a crossword about her to him,
like he's gonna come for you.
Speaker 2 (20:56):
I just watched an episode where.
Speaker 1 (20:59):
Vera got a job at the restaurant upstairs from Cheers
as the hat check girl, and she was spent most
of her time looking through a people in the floor
down at Norm that she got fired for being a
hat check girl, and then Norm went off like how
dare you fire my? He spent the entire episode being
upset that she was just upstairs like he wanted his space,
(21:23):
but like like don't cross her though, you know, And
this feels very kind of much like that.
Speaker 2 (21:28):
It's like, you know, most of the time, it's like.
Speaker 1 (21:31):
The old ball and chain or like oh, you know
the wife over there, blah blah blah blah blah.
Speaker 2 (21:35):
You know, but then something happened.
Speaker 1 (21:37):
It's like wait a second, you know something, right, So
do you think maybe then the narrator of this song
could have that moment where like somebody does cross his
above average lady and above.
Speaker 2 (21:49):
Average like see that's a plus, And.
Speaker 1 (21:52):
Then he goes, oh, but wait a second, like I
have to I have to defend this person.
Speaker 2 (21:57):
You know, I don't know food for thought.
Speaker 3 (22:01):
Yeah, no, I I I completely agree. Yeah I I
I completely agree, because I mean he's very even keeled
about this whole kind of situation here. He's he's comfortable
in the relationship that that. Yeah, if if someone crossed her,
(22:25):
then I like to think you'd go to back four.
Speaker 2 (22:28):
I like to think so too.
Speaker 1 (22:30):
And actually, on that note, I feel like this is
a good time for me to make sure I take
the moment to throw it over to commercials take a break.
Speaker 4 (22:38):
And I was gonna say, like the guy in this
song should do break. Never mind, We'll go to commercial instead.
Speaker 1 (22:47):
Okay, we'll be right back after these ads that are
hopefully not terrible.
Speaker 5 (22:52):
That are probably good enough for now.
Speaker 7 (23:00):
If you're into comedy, game shows and improv, you should
come check out bfyitew. We are an adult British inspired
comedy panel show. New episodes release every Thursday through your
favorite podcast player or bfytwpod dot com. We're also a
founding member of the Odd Pods Media Network and would
love for you to join us for some laughs.
Speaker 8 (23:30):
Each of us identify with one of the Golden Girls.
I'm Sophia, Aaron is Dorothy, Kristen is Sweet Roads, And
each week we'll have a guest sit in the Blanche spot.
Speaker 2 (23:42):
The Naughty Seat. Come join us on the Lanai for
some cheesecake.
Speaker 6 (23:46):
Part of the Odd Pods Media Network. Hey, Jeff, Yeah, Jeff,
Remember yesterday I was telling you how I wished I
could have seen one of Billy Joel's sold out shows
at Madison Square Garden.
Speaker 9 (23:57):
Yeah, I said, you should go see Taylor Swift instead.
She's the modern day Billy Joel.
Speaker 6 (24:01):
Well, today my phone said I should read an interview
with Billy Joel where he talks about both retirement and
Taylor Swift.
Speaker 9 (24:07):
Till Man, it's always so creepy when that happens.
Speaker 6 (24:11):
We should do a podcast about how our devices are
always listening to us.
Speaker 9 (24:14):
We already do. It's called suggested Articles.
Speaker 6 (24:17):
A podcast we talk.
Speaker 9 (24:19):
About how technology is always spying on us and how
those tech corporations are such big buttholes.
Speaker 6 (24:23):
Dude, you can't say buttholes on a podcast promo, Dude,
we already did twice join us every other Monday on
suggested articles, the podcast on your favorite podcast app, part.
Speaker 9 (24:34):
Of the Odd Pods media network.
Speaker 2 (24:38):
And we're back.
Speaker 5 (24:39):
They can get back.
Speaker 1 (24:41):
Ah, all right, I hope those weren't terrible, but maybe that, yeah,
they were good enough for now, Hi, they were good
enough to do what it is they're supposed to do.
Speaker 5 (24:49):
I suppose my thing is it's nine of it, you
always say.
Speaker 4 (24:53):
And it's true that your ads are based on like
what you googled, so like it's not even an election year,
so like if your ads are bad, then like you
really messed up.
Speaker 2 (25:02):
Yeah, I don't even know what they could be, you.
Speaker 5 (25:04):
Know what I mean?
Speaker 4 (25:04):
Because like usually in an election year, like I know
me personally, I try so hard to not have any
political contact at all, but sometimes it ends up in
your feet anyways, you know. Yeah, But like if, like
if it's not a political year and you still ended
up with crappy ads and that's super duper on you.
Speaker 2 (25:21):
Yep, I don't know what to tell you. I really don't.
Speaker 6 (25:26):
Know.
Speaker 4 (25:27):
Especially at this time of year, you should have your
your feet should be filled with like hot dogs, Like
the most offensive thing in your feet should be like
pumpkins my slote if like yeah, if like, if you
like I don't care about football at all, like that,
if that should come in my feet because everyone else
is talking about.
Speaker 2 (25:42):
It, you know, yeah, fair enough, I like that. I
like that for it. So yeah, I mean like, okay,
good enough for now.
Speaker 1 (25:54):
We we spend some time talking about the kind of
the way the the lyrics are framed in all this,
that and the other, and Russ, you touched on the
sound of it at the beginning. I would like to
go a little bit deeper into the music of it,
if you don't mind.
Speaker 7 (26:07):
M h.
Speaker 1 (26:08):
Of course, yes, especially since we watched live performance of this,
you know, before we sat down to record today. I
don't know, I am a sucker for a slide guitar,
and just watching Jim do that live with this where
it's just he was just so comfortable, looked like he
was having such a good little time playing this silly
little ditty and it's you know, it's a solid little
(26:31):
country song and it's got it is like note perfect
for what it's supposed to be.
Speaker 2 (26:36):
Makes me so happy.
Speaker 5 (26:37):
Yeah, just well, just real quick.
Speaker 4 (26:39):
One thing I want to say is I'm not saying
that this style of country never existed before. It definitely
did and at that time as well. I'm just saying
it like wasn't part of like mainstream, you know, like
to me, the late eighties at the earliest was when
when it started to become like hits again, you know.
So if weird All had his ear to the ground,
I'm sure, but like, know what, if anything, maybe that
(27:02):
is why some of something like this felt flat at
the time because people were like, I don't, I don't,
I don't know that style of country, you know what
I mean. But yeah, I think it sounds awesome. But
I'm sorry. I didn't mean to cut you off.
Speaker 3 (27:12):
No, oh no, no, you're good. Yeah, no, I I agree.
I think you know this is uh, like you said,
not not something that would have been in the mainstream.
But if you, like you were a regular listener of
country music, I think you would kind of hear this
style more. I love the guitars in this, I love
(27:37):
the violins, like the fact that it opens with those violins.
That that's one of my favorite parts of the of
the song because that's that's such a hallmark of country music,
especially of this time, and my so my favorite thing.
(27:59):
And I was thinking about this the other day, is
that there are certain that I mean, Al does great
with all his music and goes above and beyond with everything,
but there are certain songs where he is periodic parodying.
Speaker 2 (28:18):
Word I know, right, I say it alone.
Speaker 3 (28:22):
Where he's doing that like trying to get the artist
or the genre just perfect, and he'll add these little touches. So,
like I think back to Germs the Nine inch Nails
style parody. I have always loved at the end of
(28:45):
that song that there's those few little piano notes that
kind of close out the song because like you could
just and and I think I've said this on on
the podcast before, that you could easily just just write
a song that kind of sounds like nine inch Nails
(29:06):
or kind of sounds like a country song, but there
are just a little like you'll have lines that he'll
sing and in the background you'll just hear these very
like loose piano notes. Yeah, and that's that's like all
(29:27):
throughout the song where there's there's just these little like
piano fills almost that are happening all throughout it. And
I just think that that really shows how much attention
Al pays when he is doing these pastiches.
Speaker 2 (29:47):
Yeah, Oh my gosh.
Speaker 1 (29:48):
Yes, we've talked so much about how like you you
talk about my own eyes, how like that's every food
Fighter song ever, you know CNR that appssolutely hits the
Jack White White Stripes thing, like completely, Like the attention
to detail is so spot on, And I think it's
tough to like to say that al like quote nailed
(30:11):
it with a pastiche. That's not a particular artist, right,
It's just a pastiche of a genre, a genre that,
to Russ's point, like was still as far as popularity,
like popular opinion goes, was still kind of like finding
where it was in this sense right for him to
(30:34):
nail that so firmly, like you know, with the fiddle,
with the slide guitar, you know, with everything that's happening.
Like we were listening to the new Sabrina Carpenter album
earlier something uh and uh, there's a track on it
that when it started, Russ literally said, oh man, he goes,
(30:55):
there's gonna be a remix of this way there. I
throw a fiddle at it, and it's gonna get like
airplay on country radio.
Speaker 2 (30:59):
Right.
Speaker 1 (31:01):
We get another thirty seconds into the song what shows
up fiddles and.
Speaker 5 (31:07):
The record and yeah yeah, I was like.
Speaker 2 (31:10):
Yeah, like this is a country song, you know.
Speaker 1 (31:13):
And the fact that now, like this kind of stuff
that Al was doing on good Enough for Now is
just kind of part of like, yeah, that's a you know,
Man's Best Friend Sabrina Carpenter is a pop album, but
it's got these country undercurrents to it, and like everybody's
kind of reaching back now to what you know essentially
got popularized with Garth, but like Al definitely heard coming
(31:36):
before that.
Speaker 2 (31:37):
I just think it's super fun.
Speaker 1 (31:38):
Like I think that they're like there are people who
are like new weird Al fans now that would probably
appreciate this song more than it was appreciated when the album.
Speaker 3 (31:48):
Yeah, yeah, yeah, yeah, absolutely. I wish this type of
country music would make a comeback. We've gotten into from
your lips to hip hop country, you know, stadium country. Uh,
it's it's just any anyone that likes Squared Out. I
(32:12):
would also tell you to go listen to Bo Burnham's
country song Pandering. Yeah, perfect encapsulation of what country has
turned into.
Speaker 6 (32:24):
Like I just.
Speaker 3 (32:27):
I shudder, I shudder when I Yeah, that's why I
like my prime country man.
Speaker 4 (32:35):
Yes, wow, I have so many bad things to say
about where country music is at.
Speaker 2 (32:40):
Now, well you know you can do that.
Speaker 4 (32:42):
No, no, no, But here's here's what I will do.
I'm gonna I'll shift it back this way, so to
go to to put a finder point on what no
one was talking about with weird Al's attention to detail
as far as like, well, any any song really, but
this one specifically nothing to do with parodies, but with
(33:04):
pastiches and his originals. When I was a kid, weird
Al's pastiches and and and originals to a certain extent,
but mostly the pastiches are what made me understand the
phrase imitation is the sincerest form of flattery. Like when
people would say it when I was a kid, what
(33:25):
they meant was when like, uh rich Little would do
Johnny Carson right, They'd go.
Speaker 5 (33:29):
Oh, well, imitation is a sincere's form of flattery.
Speaker 4 (33:32):
And and yes, there's there's an immense amount of talent
and a lot of people who can directly imitate someone else. Okay,
and I'm not talking about like an I was a idenpersonator.
I'm talking about an imitator, like a person who does
exactly a Johnny Carson imitation. Okay, I think when when
(33:54):
I was a kid, the thing that made me realized, like, no,
when you can take and listen to something a whole
genre so intently that you come up with a piece
of original music that imitates it in every way without
making fun of it, that's the sincerest form of flattery.
So like when when I say that to people about
(34:18):
like my own eyes, I tell people, I'm like, do
you like the Food Fighters?
Speaker 5 (34:21):
Well, so does weird Al, Like you know what I mean?
Speaker 4 (34:23):
Like, would you like to hear every song they ever
did at once without in any way making fun of them?
Speaker 5 (34:30):
Like he could.
Speaker 4 (34:31):
It's such low hanging fruit. He could just write all
of these pastiches could be like this song could be.
Speaker 5 (34:38):
The dumb joke that everybody's ever done, or.
Speaker 4 (34:40):
You get when you play a country song backwards, you
get your wife back and your dog back, like weird.
Speaker 5 (34:44):
Al could just do that.
Speaker 4 (34:46):
The song could be making fun of country music and
it's not my own eyes could be making fun of
the food Fighters, and it's not you know what I mean,
Like it's literally him going and like Noah said about it,
like germs, Like that's weird Al going This is how
how much I listened specifically to the Not Pretty Game Machine.
What is a closer on? I can see the cover
(35:10):
in my head. The album was Closer. It's a downward spiral.
There we go, Like that is weird now, announcing to
anyone who's ever heard Dinas Nails and him, this is
how intently I listened to the downward spiral, you know
what I mean? Like that is the sincerest form of flattery, right,
and this like no I'm bringing this all the way
(35:31):
back around to Noah's original point is this is in
weird now in nineteen eighty five when he recorded or
eighty six or whatever, saying like this is how intently
the polka guy of the edit guy that like a
surgeon guy is listening to an entire genre that you're
not even hip to, you know what I mean, Like,
(35:51):
that's the sincerest form of flattery. And did not bother
with the low hanging fruit of like and then also
you know I got a dog back, you know what
I mean? Like it's just the guy plays at a
whole different level than anybody else. And like what Noah
was saying, like that if you just if you like,
if you know anything about country music and you listen
(36:12):
to this and you don't if you don't have appreciation
for what it is that weird Al does and like
and you and you when you hear this, then it's
like I don't know what to tell you, you know, like, yeah,
this is one of those things where like if you
if I play this for you and you don't get
it here, then like I think I'm done trying, you
know what I mean?
Speaker 3 (36:35):
Yeah, I think that one of the the things that
Al does so brilliantly is that he's able to he
is able to poke fun at at these genres or
these artists. You know, he's able to kind of point
(36:58):
out tropes that are in these genres or that these
artists do, especially like if he's trying to mimic the
way that they sing. But in doing that, he's still
doing that by like giving you the thing that you want. So, like,
(37:21):
let's say that you're not super into country music because
there are certain things that it does that you're just
not too much of a fan of. Well, what El
is doing here is maybe he's kind of you know,
having all the musical tropes and the lyrical tropes, but
(37:42):
it's still something that you can enjoy, like it's a
country song that you can enjoy even if you don't
like country music, because you can appreciate what it is
that Al's doing here and the detail behind it is
the reason why you might be able to enjoy it
even if your type of thing.
Speaker 4 (38:03):
Yeah, and you referenced the song earlier, Generic Clues. I
have a friend of mine and Lauren knows him, and
he plays He fronts an eighties tribute act. He's one
of the best singers I've ever seen in my life,
and he's one of the most talented guitar players I've
ever seen in my life. And it's man hates the
blues with a living passion, Like I've been arguing with
him about it for since i met him in nineteen
eighty nine. Like he this man lows the blues like
(38:26):
he just he thinks it's like just the worst genre ever.
He'd likes precisely one blue song and it's generic clues,
you know what I mean, like it and he gets
like he gets it, like he's not like, oh haha,
he's making fun of the blues, like that's.
Speaker 5 (38:41):
Genuinely the blue.
Speaker 4 (38:42):
Like he literally heard it and he was like that's
every blues song like, and that's like that's the only one.
That's the only one I need to listen to? Is
that one? You know what I mean? Like literally like
and it's not just he's not just like, oh, well,
weird ELL's your guy, Like you know, he heard and
was like, well, that's literally the only blue song that
was Like he references it all the time, like, uh,
(39:06):
if we're ever like in a bar and the blues
are on, he'll like sing lyrics from it. Like, so
when you said that, it was instantly made me think
of that. I'm like, yeah, I bet, I bet there's
someone out there who goes, oh, I can't stand country,
but like there's this one weird AL song, you know,
Like like, I bet there's a weird Al fan who
can't stand country but likes the song.
Speaker 1 (39:25):
I bet you know, Oh, that's fantastic. That's probably very true.
And well, you know I don't like I don't like country,
but I love weird else. I guess this song is
good enough. Now.
Speaker 4 (39:34):
I was gonna say, if you, uh, if you're just
waiting for the Christmas at ground zero and you're like,
I really don't want this song to be on but
it's good enough for now.
Speaker 2 (39:42):
Good enough for now. That's it. That's it.
Speaker 1 (39:46):
So you know, no, did you have any other I
know you are very good at like coming prepared to
these things, so I want to make sure that you're
getting to say everything that you wanted to come in
here and say before I shuffle off to Buffalo with stuff.
Speaker 3 (40:00):
Know. Uh, I think I've said it all perfect. Yeah,
this is just a really really really good song.
Speaker 6 (40:12):
And uh.
Speaker 2 (40:14):
Yeah, yeah, I agree.
Speaker 1 (40:16):
Yeah, I'm just I'm just gonna stop myself, stop herself.
So all that's really left to do is give the
song a rating on a scale of one to twenty seven. Then,
and for how good this is in the country genrere.
Speaker 2 (40:29):
I just love to do it that way. Thank you,
Alex Trebek.
Speaker 1 (40:34):
You know I like this way better than to those
people which we talked about last time.
Speaker 2 (40:40):
I think it's a.
Speaker 1 (40:41):
Very good song for what it is, and I'm going
to give it a twenty four out of twenty seven.
Speaker 3 (40:48):
All right, Uh, well, I think that I'm going to
give it an eighteen. Oh my song, there there are
songs that I like more than this one, even though
I do think it is is underrated, and I think
(41:10):
the reason. You know, I think the fact that I
think that it is underrated is why I would probably
place it a little bit higher. Well well not white
going as high on it is as.
Speaker 2 (41:26):
You as me.
Speaker 1 (41:27):
Yeah, well see, very people could listen to me rate
things and like know exactly how I grade as a teacher.
By the way, like so if any prospective students at
any of the institutes of higher education are here listening
to this podcast, I write songs much like a grade.
Speaker 2 (41:43):
So Russ, you're left one to twenty seven, what do
you give it?
Speaker 4 (41:47):
Well, so you've heard me talked about this before, like
I and this as funny. I do this the same
way I managed like people. I start my song grades
at twenty seven and then look for things and go
like you know what I mean, like hey, what like
what would knock this down for me?
Speaker 5 (42:08):
And I'm not It's here's the thing.
Speaker 4 (42:11):
I'm not saying this is a perfect song or like
the best word else song ever. But I also don't
have any reason to kick it, like you know what
I mean? So like twenty seven okay, which.
Speaker 5 (42:23):
I but I know, but I know there's.
Speaker 4 (42:25):
People that are gonna be listening to this that are
gonna be like that's insane, But like I can't. I
can't think of anything that I would go, you know, like,
oh yeah, this absolutely needs to take a point off
of that. Like it's produced really well. It's I'm like,
all we all just talked about so many things we
love about it, you know what I mean, Like, I
(42:46):
can't think. There's not any reason I can think. I
mean and I can't. The only things I could detract
from it are not its fault, Like it's on an
album that doesn't get the love that it deserves. It's
placed poorly on the record, that's not the song's fault,
you know what I mean, Like, those aren't things that
the song did wrong.
Speaker 2 (43:06):
Right, So there you go. I love it.
Speaker 4 (43:08):
This is gonna be worse than the time I said
I didn't like Melanie as much as I liked Elamoni.
This is gonna go that poorly for me on your show.
Speaker 2 (43:15):
Well that's great. I mean I did the math.
Speaker 1 (43:17):
By the way, our three scores average out to twenty
three neat. Yeah, so if you multiply twenty three times three,
that's sixty nine neat.
Speaker 9 (43:26):
Nice.
Speaker 6 (43:28):
Nice.
Speaker 1 (43:30):
But anyway, Noah, before we close out, is there anything
that you'd like to plug or promote or talk about
or say if not, that's okay, that's good.
Speaker 4 (43:37):
But if hop music again, talk about it. Yeah, when
you asked them to talk about something's gonna be pop
music again.
Speaker 3 (43:43):
I actually do finally have something to plug on this show.
So if you go and follow me on social media,
I talk about reality TV all the time. My favorite
show is Big Brother, which is a reality competition show
(44:06):
much like Survivor, and it is my summer obsession. It's
the only thing you'll find me talking about other than
weird now. So anyway, I have a friend that I
recently started a podcast with and it is a Big
Brother rewatch podcast called The Jury House, and you can
(44:28):
find us on YouTube and Spotify, and we'll have all
the social media's on the show notes because there's a
lot of them.
Speaker 1 (44:41):
I went overboard, So you go overboard, man, and yeah,
you send me what you want me to put there,
and I assure you I will put it there.
Speaker 2 (44:48):
That's fantastic.
Speaker 5 (44:50):
That's fun.
Speaker 3 (44:50):
Yeah, absolutely, it was a lot of fun. It's been
something that I've wanted to do for a long time,
so finally found someone to do it. We I just
finished putting out the entire first season that we covered
about a month ago, right before this current season of
(45:11):
Big Brothers started, So yeah, go check it out. It
was a lot of fun and we had a lot
of really interesting conversations about the strategy and.
Speaker 2 (45:23):
Yeah, I love it.
Speaker 1 (45:24):
Well, good for you, that's awesome. Yeah, I've just I
love when people who like I love when people dip
their toe into something new like like that, And I
think that is so cool for you to do, and
I'm so excited about it.
Speaker 2 (45:36):
So yeah, I'll put all that information.
Speaker 5 (45:38):
I think it's talk about something that you love.
Speaker 1 (45:40):
You know, that's all you got to do. Man, I
love it. Well, speaking of things that I love, I've
loved this episode. I loved talking to both of you.
Tune in next time. We will be wrapping up Polar
Party with Christmas at Ground Zero with a fellow member
of the on Pods media network from suggested articles, We'll
(46:01):
be here to talk about Christmas at ground Zero. It
will be his first time on this show, but clearly
as he's a member of the same podcast network as.
Speaker 2 (46:09):
Us, it's not his first time on a podcast. So
you've probably heard their ads in the middle of our episode.
Speaker 5 (46:14):
He could just own the show he could.
Speaker 1 (46:16):
Yeah, yeah, well, you know, if you listen to the
ads in the middle, you've probably heard an ad for
a suggested articles.
Speaker 2 (46:22):
It's a point.
Speaker 1 (46:23):
So anyway, yeah, Jeff will be here, which I think
will be kind of cool, and then we'll wrap up
the album and then kind of go from there. But
with all of that, everybody, you know, Noah, thank you
again so much for being here. Hooray, Russ, thank you
as well.
Speaker 5 (46:38):
It's it's literally the least I.
Speaker 2 (46:40):
Could do, I know, and all of you, thank you
for listening.
Speaker 1 (46:44):
And as always, you know, be awesome and stay weird
and we'll come at you again next time.
Speaker 2 (46:49):
Bye bye,
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